THE SOCIETY OF COMPOSERS, INC_:-:,

REGION I

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.................................................. ml! .. 111111 ............ 1985ACALAURELLEAFAWAR

ANNUAL CONFERENCE, APRIL 8-9, WELLESLEY COLLEGE-JEWETT ARTS CENTER

ARLENE ZALLMAN - CONFERENCE COORDINATOR

PAPER SESSION I, SATURDAY, 11:00-12:00 PM

1. "NUMBERS, ROWS AND RHYTHM:DETERMINANTS OF FORM IN BERG'S LYRIC SUITE, III"

Valerie Cruice Writer, New York Times

2. "TOWARDS A NEW INTERDISCIPLINARITY - IF I KNEW MUSIC LIKE I KNOW MUSIC NOW, I'D ... OR, CONFESSIONS OF A MUSIC GRADUATE"

Greg Steinke Ass't Dir. School of Music University of Arizona-Tucson National Chair, SCI

3. "MARIE JAELL:WOMAN WITH A PHILOSOPHER'S BRAIN AND AN ARTIST'S FINGERS"

PAPER SESSION II, SUNDAY, 10:30-11:30 AM

Lena L. Mandell Wheaton College

1 . "TELEOLOGY AND STRUCTURAL DETERMINANTS IN BEETHOVEN'S C# MINOR QUARTET"

2. "ON COMPOSITION THEORY"

3. "RHYTHM AS PULSE"

JEWETT ARTS CENTER ROOM 106

Barbara Barry Longy School of Music

Otto Laske Boston College

Kay Gardner, Composer Healing Music, Maine

MODERATOR: POZZI ES COT

SOCIETY OF COMPOSERS, INC. REGION I CONFERENCE

JEWETT ARTS CENTER, WELLESLEY COLLEGE, APRIL 8-9 , 1989

A SATURDAY, APRIL 8

Coffee Hour , Regisfration

Concert I (Jewett Auditorium)

Papers, Session I (Room 106)

J>~ Lo-un~ Lunch, Business Meeting (Wellesley College Campus)

Concert II (Jewett Auditorium)

Coffee Break ~ci l-e ~· c<P? Cl)yf.-Sa.,~ Concert III ( Je 1·' e1:t Alr<i-~ · '14m-)

Dinner

Concert IV (Jewett Auditorium)

Reception

B SUNDAY, APRIL 9

Papers, Session II (Room 106)

Lunch

Concert V (Houghton Memorial Chapel)

Ar lene Zal lman Con fe renc e Coo r d i na tor

Poz zi Es c ot Chair, SCI Region I

8:30- 9 : 30

9:30-11 : 00

11:00-12:00

12 : 00 - 2 : 00

~.'o o 2 : 00- '3-:-3-e ¥!o cJ ")

-3-:-9-E> - 4 : 00

4 :CJO- 5: 30

5:30- 8 : 00

8:00

10:30-11:30

11:30- 1:00

1:00- 3:00

Saturday, April 8, 9:30 am

Fantasia Veneziana Francis Judd Cooke

Cantabridgia Brass Quintet Robert Pettipaw, Richard Given, trumpets

George Sullivan, horn Lawrence Isaacson, trombone Robert Searle, tuba

"Unknown" Hero Jennifer Seise movement 1 (piece in progress)

Elizabeth Sayrs, Chin-hwa Shen, clarinet Julie Morgan, piano

oboe/English horn

Noralee Walker, viola Isabelle Plaster,

Richard Yoder, horn Lucinda Larson, violin Anne Trout, contrabass conductor

Nocturne Martin Schreiner

Kevin Murphy, piano

Psalm 8 0 Lord our Lord When I look at the heavens Thou hast made him ... 0 Lord our Lord

Lisa Sheppard, mezzo-soprano Yuki Arimasa, piano

from Three Little Pieces for String Trio for the Artemis Trio

Suite for Flute and Piano

Leah Knudson, violin Noralee Walker, viola

Aviva Segall, violoncello

Bronwen Kahn, flute Chien-Hung Lin, piano

Lydia Okumura

Steven Roens

Juli Nunlist

String Trio in One Movement Katherine Ladd Moody

Anne Barse, violin Laurie Redmer, viola

Bryndis Baldursson, violoncello

Inclinations

Vignettes

Old Lace: I. II. III.

Mary Jane Rupert, harp with tape

David Witten, piano

Love Lyrics in English The Lover Tells of the Rose in His Heart She Was Beautiful Why Should We Two Ever Want To Part

Carol Ann O'Connor, soprano Leonard Seeber, piano

Performances are being recorded. Copies will be available. Written requests and a pre-paid fee of $7 may be left at the registration desk.

Takashi Kato

Hayg Boyadjian

Arthur Welwood

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Saturday April 8, 2:00 pm

Rainforest, The McLean Mix

Transformations I-VII Stephany Plesk-Tiernan

Ellen Polanski, piano

Mosaic Ron L. Warren

Susan Hickman, flute Guy Urban, piano

Sonata for Viola and Piano David Kechley

Judith Nelson, viola Doris Stevenson, piano

from Sonata for Bassoon and Piano Ellen Spokane

Isabelle Plaster, bassoon Jean Alderman, piano

Ten Minutes to Tibet (music for tape)

Rings of Saturn

In the Pillared Dark

Chris Krueger, flute Nancy Cirillo, violin

Teruko Maki, piano

Linda Dusrnan

Russell Steinberg

William P. Dougherty

Chris Krueger, flute David Witten, piano

Toward the Center Yehudi Wyner

Yehudi Wyner, piano

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Saturday, April 8, 4:30 pm

Cantiones

Ret-Rak

from Tre Esercizi

Julie Cumming, alto recorder Elizabeth Sayrs, oboe

Thomas Coleman, contrabass

Suzanne Cleverdon, harpsichord

Nightsongs I (for a young violinist)

Three Bagatelles (1987) tranquillo sonore scherzoso

Immersion

Vicki Citron, violin Carol Farley, piano

Julie Morgan, piano

William Malone, alto saxophone

Three Poems for Soprano Voice and Piano Syllable Word Phrase

Suzanne Robbins, soprano Sarah Pelletier, piano

William Goldberg

David Cleary

Allen Brings

Arlene Zallman

Michael Co l eman

Otto Laske

Nick Raspa

Saturday, April 8, 8:00 pm

three songs on poems on e.e. cummings (1984) who were so dark of heart quick i the death of thing to start, to hesitate, to stop

Carolyn Candella, soprano

Chris Roze

Patricia Hefron, flute Patricia Johnson, vibraphone Deana Burrows, violin Chris Kane, cello

Chris Roz~, conductor

Goldbach's Conjecture

Jean DeMart Warren, flute with tape

Episodes

William Malone, saxophone

e.e. cummings bagatelles (1986) of this wilting wall the colour drub as usual i did not find him in cafes,

the more dissolute atmosphere my naked lady framed Jinunie's got a goil

goil goil,

Jinunie up into the silence the green

Constance DeFotis, mezzo-soprano/piano

Shirish Korde

Greg Steinke

William DeFotis

And Death Shall Have No Dominion Joseph Gabriel Maneri

from Herstory II

Maria Tegzes, soprano Geoffrey Burleson, piano

INTERMISSION

Julia Hart, Sarah Powers, Sarah Pelletier, Trina Barning, Sarah Dahlin, Christine Cave,

Cynthia Herndon, Jeannette Law, sopranos Guy Urban, Pamela Miller, piano, percussion

Elizabeth Vercoe

Points Point of Order (Prelude) Point of Reference (Meditation on A Flat) Pointless (Jazz/Waltz?) Point Four (Chorale) Point-Blank (Etude)

Allen Bonde, piano

Allen Bonde

Lament Jon Christopher Nelson

Elizabeth Sayrs, English horn with tape

I Like to Think of Harriet Tubman

Piano Variations

Constance DeFotis, voice William Malone, clarinet

Deanne Daleiden, alto saxophone Anne Trout , contrabass

Abbott Ruskin, piano

Performances are being recorded. Copies will be available. Written requests and a pre-paid fee of $7 may be left at the registration desk.

Christian Wolff

David Epstein

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Sunday, April 9, 1:00 pm

Daughter, Awake With the Moon

Radcliffe Choral Society Beverly Taylor, conductor

Apparitions

Charles Fisk, piano

Reflections on a Southern Hymn

from Four Whitman Songs A Clear Midnight As If A Phantom taress'd Me A Farm Picture

solo horn

Donna Hewitt-Didham, mezzo-soprano Ellen Polanski, piano

No Attack of Organic Metals

Diane Luchesi, organ

INTERMISSION

How Many Times Had We Found Ourselves Mouthing Received Opinions, Using the Language of Oppression, Before We No Longer Had Any Claim to Be Oblivious to Our Having Become Both Victim and Perpetrator of Injustice?

Wellesley College Choir Constance DeFotis, conductor

Janice Hamer

Martin Brody

Stephen Gryc

Thomas Read

Robert Cogan

William DeFotis

Mysterious Dancer The Eagle and the Skylark

Madelyn Curtis, traverse

The Blind Seer of Ambon

Missa Triste

Donna Hewitt-Didham, mezzo-soprano Ellen Polanski, piano

Lucinda Larson, violin Helen Cantwell, organ Bronwen Kahn, alto flute

Wellesley College Chamber Singers Constance DeFotis, conductor

The Elusive White Roebuck

Dickinson Triptych

Richard Menaul, horn Jean Alderman, piano

My river runs to thee; Come slowly, Eden! Wild nights! Wild nights!

Hazel O'Donnell, soprano Charles Fisk, piano

The Muse, the Stove, and the Willow Plate

Wellesley College Chamber Singers Constance DeFotis, conductor

Performances are being recorded. Copies will be available. Written requests and a pre-paid fee of $7 may be left at the registration desk.

Madelyn Curtis

Jonathan Berger

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Pozzi Escot

Kay Gardner

Daniel Godfrey

Zae Munn

PROGRAM NOTES

Francis Judd Cooke, Fantasia Veneziana In the text of Browning's Strafford are printed words and music of a Venetian boat-song. From those six bars evolve five sections: Canzona nella barca, Aria (for Tuba), Carnevale, Nebbia (fog), and San Marco. The music is "near-to" music of reminiscence.

Lydia L. Okumura, Psalm 8 The words in the Hebrew original are attributed to David .. This is a song of praise, designed for public worship. In it, David proclaims the greatness of his God, and reflects on mankind as seen through His eyes.

Juli Nunlist, Suite for Flute and Piano The suite was commissioned by the Fortnightly Musical Club of Cleveland, Ohio, and is dedicated to the late Patricia Murray Cox, formerly Director of the Performing Arts School of Worcester, MA. Its motifs are for the most part based on actual loon calls I heard at Pat's home on Moosehead Lake. The calls are as close, both in pitch and rhythmic pattern, to the actual sounds as I could get them.

Takashi Koto, Inclinations Inclinations was originally composed for four Kotos, Japanese traditional instruments, and can be played by two harps. Today, the piece will be played by a harp and computer previously recorded in tape. The piece is made of only dispersed notes which were scattered mechanically and freely changed later by the hands of the composer. Melodies are accidentally created. My ~bject was not to compose a program music, but to create a new musical structure.

Hayg Boyadjian, Vignettes These three very short compositions can best be described by describing the meaning of the title. A vignette is a short composition characterized by compactness and subtlety.

Arthur Welwood, Old Lace: Love Lyrics in English The songs are based on texts by William Butler Yeats, Gertrude Stein and the 15th century mystic, Kabir, in translation by Robert Bly. The music is set for lyric coloratura by composer Arthur Welwood and was written upon the request of Carol Ann O'Connor.

Stephany Plesk-Tiernan, This piece is dedicated to the memory of Madame Chaloff, my piano teacher. Number 7 serves as a generating idea for all the various parameters of the piece.

David Kechley, Sonata for Viola and Piano Buff etto - "a snap of the fingers" is a burlesque using "funky" rhythms contrasting with a more straight forward, but lyrical middle section. Ballata - "ballad" is notated in both traditional and indeterminate notation beginning with sonorities in the piano from which the viola slowly unfolds a melodic line. This material returns dramatically after a rhythmic interlude. Buff ero - "tempest" is very fast, almost a perpetual motion machine reminiscent of the Italian tarantella.

Ellen Spokane, Sonata for Bassoon and Piano . Presented today are the first and third movements from a three movement work. The sonata was commissioned by Christopher West of the Ohio State University. The intention of this work was to present the multifaceted character of the bassoon and to present the bassoonist as a fully integrated chamber ensemble player in concert with the piano. The Sonata was written shortly after my father's death. The music expresses first the pain and then the ultimate acceptance and happy memories.

Russell Steinberg, Rings of Saturn Influenced by impressionism and a growing timbral concern, Rings of Saturn is a gentle, introspective work was is written for the rather unusual combination of flute, violin, and piano. Donald Martino once remarked about a special aural haze which seems to hover throughout the piece. This is due both to the relatively 'high tessitura os the violin and flute and from the use of the piano to highlight their resonances with the use of pedal and string plucking inside the instrument.

William P. Dougherty, In the Pillared Dark In the Pillared Dark was commissioned by the New Hampshire Music Teacher's Association and it was completed in 1988. The work was inspired by Robert Frost's Come In, and the title is taken from a line in the poem. The pitch material is drawn from octatonic collections.

William Goldberg, Cantiones Although the recorder and oboe were frequently used together in the Baroque era, the pairing of two such dissimilar instruments using modern idiom is less common and poses problems for the composer. The title is borrowed from Orlando di Lasso.

David Cleary, Ret-Rak My solo contrabass piece Ret-Rak is the only work I've written which consciously follows the metamorphosis of a cellular fragment throughout the duration of a piece in a very systematic fashion. Basically, this fragment (a rising major second, stated singly or in chain) first occurs stated very quickly and then slows down on subsequent statements. At the end, the rising seconds are left by themselves to creep along slowly in long note values.

Arlene Zallman, Nightsongs I The movements are entitled Crickets, Reverie, Night-trauma, Berceuse.

C. Michael Coleman, Three Bagatelles These three short works for piano could be described as miniatures with the first two being slow and reflective and the "scherzoso" having a playful, humorous character. The "tranquillo" and "scherzoso" are loosely derived from serial techniques while the "sonore" is built around a four-note motif.

Chris Roze, three songs on poems of e.e. cummings Each of the poems deals with the subject of death and each suggests its own antidote: in the first, innocence, in the second, love, and in the third (the capitalized letters in the poem spell "death" backwards), creativity. None of the poems, however, seems to require a lugubrious musical setting and it was for this reason that I was drawn to them.

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Shirish Korde, Goldbach's Conjecture Goldbach's Conjecture was composed with the use of I Xenakis' program for computer-aided composition called ST 10. It is a stochastic score generator in which specific pitch sequences, durations, modes of attack, and types of glissandi are chosen based on a pre-defined set of compositional rules and probability tables supplied by the composer. Once the large-scale structure and the elements of the work have been defined by the user, the computer program makes the local decisions about point-to-point continuities. In the version performed tonight, the flute is joined by a pre-recorded tape.

Joseph Gabdel Maneri, And Death Shall Have No Dominion The text of the piece is the poem "And Death Shall Have No Dominion" by Dylan Thomas.

Elizabeth Vercoe, Herstory II Herstory II is a setting of thirteen poems by Japanese women of the 8th through the 12th century with two instrumental interludes. Although intended for a single soprano with piano and percussion, it is fitting that the distinctive "voices" of the poems are literally different soloists as in this evening's performance of nine excerpts.

Jon Christopher Nelson, Lament This short plaintive composition was inspired by a film entitled In the Shadows by Amy Kravitz of RISD. Throughout the work the tape provides a palette from which the English horn emerges and vanishes. The tape was created at MIT's Music and Cognition Group.

Janice Hamer, Daughter. Awake With the Moon Since meeting Julia Budenz when we were both Fellows of the Bunting Institute, I have wanted to set her poems to music; this commission for the centennial of the Radcliffe Choral Society seemed the perfect opportunity. I chose unrelated poems which, when arranged in a sequence, seem to chronicle a search and a vision. The seeker (and ultimately, seer) is a woman; the object of her search is herself, her soul, represented as a white fire, a blue garden, a swan ...

Robert Cogan, no attack of organic metals In No Attack ... certain mechanical-electrical sounds serve as sonic models; their spectral formation, registral spread, and inner vibrancy all generate strings of consequences in organ sounds. Commissioned by Martha Folts.

Madelyn Curtis, The Mysterious Dancer, The Eagle and the Skylark The Mysterious Dancer and The Eagle and the Skylark, for traverso solo, are based on parables by Kahlil Gibran. One piece reflects the moods of the Dancer as she performs several short dances, including the Dance of Flames, Swords and Spears; the Dance of the Flowers in the Wind; and the Dance of Stars and Space. In the other story, the eagle claims that he is the king of birds, far superior to the skylark; whereas the skylark claims that they are equals, members of the same family. This piece uses contrasting motives and moods to depict the two birds throughout their discussion, altercation and reconciliation.

Jonathan Berger, The Blind Seer of Ambon George Everad Rumpf (1628?-1702), great Dutch naturalist, who lived most of his life in the East Indies, and there wrote all his great works and lost the sight of his eyes.

Pozzi Escot, Missa Triste A joyous gathering (missa=feast, triste=OF meeting); every musical detail is controlled by a set of consecutive odd and even numbers initiated by 1-2-3. Commissioned by Russell-Sage College for a convocation. ·

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Kay Gardner, The Elusive White Roebuck ·Casting the horn as a small deer, the work, after stating the ascending minor seventh as the roebuck's theme, takes the listener on an enchanted adventure. Beginning with THE CHASE, the roebuck escapes to taunt the hunter in the second movement, CALLING, only to disappear .> into THE THICKET (third movement). The final movement, THE BARD'S SECRET, casts the elusive roebuck (and horn) as but a memory in the poet's mind.

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