2005-10-13 Society of Composers, Inc. Programs and Abstracts [recital program]

              CONCERT PROGRAMS and PRESENTATION ABSTRACTS
7
Pre-Conference CONCERT – THURSDAY OCTOBER 13th, 2005 – 7:30 pm
Recital Hall
Thelema Trio
Hypnosis * Juan María Solare
(Argentina)
Singen Schwingen ** Aloïs Bröder
(Germany)
Le retour du Golem * Giorgio Colombo Taccani
(Italy)
Ice Poems * Hallveig G. K. Àgústsdóttir
I. Monday Morning (Iceland)
II. Outside My Window
III. Winter Voice
Clarmaggeddon * Peter Verdonck
(Belgium)
-Intermission-
Dingle Way * Ward De Vleeschhouwer
(Belgium)
Summer * Dirk Brossé
(Belgium)
All Together * Jacques Palinkcx
(Netherlands)
Winter Zon ** Hans-Henrik Norstrøm
(Denmark)
Nox * Korneel Bernolet
(Belgium)
Ward De Vleeschhouwer, piano and keyboard
Peter Verdonck, alto, tenor and baritone saxophone
Marco Antonio Mazzini, clarinet, bass and contrabass clarinet
* USA premiere
** world premiere
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT I – THURSDAY OCTOBER 13th, 2005 – 9:00 am
Recital Hall
UNCG Percussion Ensemble, Cort McClaren, Nathan Daughtrey, directors
UNCG Brass Ensemble, Mark Norman, director
Centennial John Ross
UNCG Percussion and Brass Ensembles
Dissolve Daniel Adams
Spirits David Long
I. The Succubus
II. The Poltergeist
UNCG Percussion Ensemble
Moonbow Chan Ji Kim
Inara Zandmane and Vincent Van Gelder, pianos
UNCG Percussion Ensemble
Turnaround John Stafford
UNCG Brass Quintet
Oregon Sketches Jenece C. Gerber
I. Where the Mountains Meet the Sea
II. That Which Lies Beneath
III. Flowering Meadow
IV. Mystic Waterfalls
V. Primeval Forest
Sarah Evans, piano
encounters.dce Jon Anderson
Jon Anderson, piano
Doug Riser, choreography
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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Paper Presentation – THURSDAY OCTOBER 13th, 2005 – 10:30 am
Organ Hall
Edward Green – Scelsi in the Mainstream; Or, Trio à Cordes
Giacinto Scelsi has had the misfortune to be seen both by his defenders and his critics as having
made a fundamental break with prior Western musical practice. And while it is certainly true that
various non-Western musical concepts can shed valuable light on the composer’s tonal and
rhythmic practices, this paper will argue that for all its obvious novelty, Scelsi’s music is best
understood when listened to as part of the Western “Mainstream.” To see how this so, it is
necessary to see the philosophic underpinnings of Western music. And so, use will be made in this
paper of concepts both from Edmund Husserl’s Phenomenology and Eli Siegel’s Aesthetic
Realism. Scelsi—like Stravinsky, like Beethoven—it will be shown, with examples from all three
composers, is interested in making a perceptual one of sonic reality as that which changes, and
that which remains unchanged. This drama of sameness and change underlies all Western music;
Scelsi’s included. A detailed analysis of the first movement of his Trio à Cordes will serve as the
center of his presentation. An overview of the entire composition, however, will also be provided.
That Scelsi does not eschew “modulatory” techniques will become apparent. Finally, there will be
an indication of where the Trio à Cordes fits in Scelsi’s career—for it is a critical work. In it the
composer’s early love of Webern, mirrored in many of his compositions of the 1940s, bursts its
chrysalis and emerges with the new form it will, in essence, retain for all the decades to follow. As
part of this discussion, an attempt will also be made to clarify Scelsi’s frequently voiced (and,
truth be told, hard to grasp) opinion that musical sound is “spherical” in its essence.
CONCERT II – THURSDAY OCTOBER 13th, 2005 – 1:00 pm
Organ Hall
Canticle for Communion Tayloe Harding
John Alexander, organ
Thgirbla W. Chihchun Chi-sun Lee
Zheng-Tu
Haiqiong Deng, gu-zheng
Sometimes the City is Silent Janice Misurell-Mitchell
Janice Misurell-Mitchell, flute
Love Songs Shawn Hundley
I.
II.
III.
Robert Wells, baritone
James Douglass, piano
Approaching Northern Darkness Kenneth Jacobs
Sheila A. Browne, viola
David Brunell, piano
CRUSH Michael Timpson
Richard Scruggs, saxophone
Haiqiong Deng, gu-zheng
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT III – THURSDAY OCTOBER 13th, 2005 – 3:30 pm
Recital Hall
Red Clay Saxophone Quartet
Apparitions Edward Martin
Susan Fancher, alto saxophone
3D Donald Womack
I. Damage
II. Distance
III. Disarray
Susan Fancher, alto saxophone
Inara Zandmane, piano
Trio for violin, violoncello, and piano ("Address") Scott Robbins
I. 7-8-9
II. Chaconne
III. Recycling via Rondo
The Converse Trio
Sarah Johnson, violin
Kenneth Law, violoncello
Douglas Weeks, piano
Alley Dance Benjamin Boone
Into Xylonia (world premiere) Carl Schimmel
SCI/ASCAP Student Competition Winner
I. gleaming teak parquet, boundless, oceanic
II. Bubinga buttons and ash pegs bubble in clumps
III. Newelposts and dominoes jostle with alphablocks, caespitose and shrubby
IV. Ligneous tendrils bear fattening spindle tips, shooting about dowelsprouts
V. PYRGOIDAL PEPPERMILLS AND PEGLEGS—MAMMOTH
AXEHANDLES—TITANIC BIEDERMEIER BEDSTANDS—
VI. From the barbicans flutter deckle and chads, tickertape and timbersplinters, crepe
paper billowing like hennin cloth
All Four One Charles Mason
Red Clay Saxophone Quartet
Susan Fancher, soprano saxophone
Robert Faub, alto saxophone
Steve Stusek, tenor saxophone
Mark Engebretson, baritone saxophone
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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SCI GENERAL BUSINESS MEETING – 5:00 pm
Room 223
OPENING RECEPTION – 6:00 pm
Recital Hall Atrium
CONCERT IV – THURSDAY OCTOBER 13th, 2005 – 7:30 pm
Aycock Auditorium
UNCG Wind Ensemble
John Locke, conductor
The Fire of the Living God Jesse Ayers
from and they gathered on Mount Carmel
Latino Preludes Derek Healey
I. Fanfare – Gloria a Dios (Mexico)
II. Cancion - Ofertorio Nicaraguense (Nicaragua)
III. Aria - Un Mandamiento Nuevo (Spain)
IV. Salida - Como el Rey David (Mexico)
Symphony for Winds Neil McKay
I. Risoluto
II. Larghetto
III. Rondo
Kevin Geraldi, conductor
-Intermission-
Concerto for Violin and Symphonic Winds Arthur Gottschalk
I. Cadenzas (Kabbalah)
II. Largo (Holocaust)
III. Scherzo (Klezmerlich)
John Fadial, violin
The Perilous Adventures of Comet, the Wonderdog Paul Siskand
The Wilds of Missouri
Nice Day for a Walk
A New Friend
Learning to Bark
The Mysterious Journey
Chocolate Overdose
Obedience School
Chasing Squirrels
Joie de Vivre
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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Panel Discussion – FRIDAY OCTOBER 14th, 2005 – 8:00 am
Room 110
Geoffrey Kidde, moderator; Janice Misurell-Mitchell and Benjamin Boone, panelists –
Improvisation and Contemporary Music: Intersections and Cross Fertilizations
This panel discussion will focus on a topic that has been around for a while: the role of
improvisation in contemporary music. We aren’t trying to give any definitive answers, but several
area of pertinent questions come to mind when thinking about improvisation and contemporary
music. Among the important questions are the following:
1. What happened to the movement in the 1960’s wherein composers were experimenting with
notation and methods of performer interaction? Is the music improvisatory, or are performers be
called on to create the music beforehand and recreate it in live performance? Has there been an
attempt to codify techniques that would help performers with these “experimental scores?”
2. Have Jazz and Contemporary Music come closer? Can the methods of improvisation that Jazz
musicians use be successfully incorporated into other contexts? Could, for instance, a Pierrot
ensemble (flute, clarinet, violin, cello, and piano) blow on the changes of “Giant Steps”?
3. Is there a place in the music education landscape for improvisation outside of the Jazz
Department? What methods could be developed, or have been developed? What can we learn
about improvisation from music history? Did lesser composers and musicians in Bach and
Mozart’s time also improvise? To what extent did figured bass help people learn how to
improvise? Was this kind of improvising like “comping” or like “soloing”? Could we create
improvisation exercises for our students that would help them to become more complete
musicians?
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT V— FRIDAY OCTOBER 14th, 2005 – 9:00 am
Recital Hall
EastWind Ensemble, UNCG Brass Ensemble, UNCG Faculty String Quartet
Lewis Fanfare Mike McFerron
UNCG Brass Ensemble
Strata (world premiere) Douglas O’Grady
SCI/ASCAP Student Competition Winner
I.
II.
III.
EastWind Trio d’Anches
Kelly Burke, clarinet
Ashley Barrat, oboe
Michael Burns, bassoon
Five Songs of Passion Mark Engebretson
I.
II.
III.
IV.
V.
EastWind Ensemble
Kelly Burke, clarinet
Ashley Barrat, oboe
Michael Burns, bassoon
Inara Zandmane, piano
Four Fables Karim Al-Zand
I. The Grasshopper and the Ant
II. The Owl and the Echo
III. The Lion, the Fox and the Fish
IV. The Man and the Fish-Horn
Deborah Egekvist, flute
Kelly Burke, clarinet
Andrew Willis, piano
Sound Bytes Sue Dellinger
I. Blues
II. The Crypt
III. The Life of Mosquito
IV. Catnap
V. Tiptoe
VI. Frog Dance
Kelly Burke, clarinet
Lynn Beck, horn
Brooks Whitehouse, violoncello
Andrew Willis, piano
l’Edge David Smooke
UNCG Faculty String Quartet
John Fadial and Janet Orenstein, violins
Scott Rawls, viola
Brooks Whitehouse, violoncello
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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Paper Presentations – FRIDAY OCTOBER 14th, 2005 – 10:30 am
Room 110
Maria Niederberger – Frank Martin’s Oratorio In Terra Pax
My essay touches briefly on the historical context of the composition, and the oratorio’s text with
its sources. A brief introduction to the composer Frank Martin (1890-1974) himself and his
musical philosophy follows.
In Terra Pax (Peace on Earth) was commissioned by Radio Geneva in 1944 and premiered in
1945 to mark Armistice Day at the end of World War II. Almost sixty years later, the Cathedral
Choral Society in Washington D.C. resurrected this work to celebrate the dedication of the US-National
Wold War II Memorial.
The main body is of analytical and theoretical nature and discusses Martin’s unique source-scale
that is at the root of his varied harmonic and melodic language. With the help of select passages
and extracted musical examples, I attempt to show how Martin’s musical language logically
grows out of his initial pitch-class material. In this connection, I demonstrate how Martin created
an expressive work that is rooted in melodic thinking, often in connection with countrapuntal
layering.
Finally, I uncover Martin’s covert musical tribute to the great composer J.S. Bach with his
beautiful twelve-tone passacaglia-bass.
Donivan Johnson – Webern circa 2005
Since 1990, entirely new perspectives, attitudes and ways of listening to the music of Anton
Webern have been published in English. Such important works as:
The Twelve-Note Music of Anton Webern, Kathryn Bailey (1991)
Webern and the Lyric Impulse, Anne C. Shreffler (1994)
Webern Studies, Bailey, ed. (1996)
The Life of Webern, Bailey (1998)
The Atonal Music of Anton Webern, Allen Forte (1998)
Webern and the Transformation of Nature, Julian Johnson (1999)
have deeply impacted, challenged and, thankfully, changed the post-war Darmstadt Cologne Die
Reihe Perspectives Of New Music pseudo-scientific mathematical analytical set-theoretic jargon
and shibboleth-laden world-view of “St. Anton” (Stravinsky’s ironic phrase).
It was in 1945 that Webern was shot and killed by an American sentry of the occupation. The
purpose of this jubilee paper is to: (1) very briefly share excerpts from the body of work listed
above – all based on “revisiting” Webern’s original sketches now located in The Paul Sacher
Institute; (2) provide “brief” examples from Webern’s music that may foster a much more artistic
manner of how we are to listen to, perform and understand his music as music – and not as an
artifact (corpse) to be used as grist (specimen) for the academic mill and the training of future
composers.
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT VI FRIDAY OCTOBER 14th, 2005 - 1:00 pm
Recital Hall
Valdosta State University Faculty Chamber Ensemble
Joe Brashier, director
Tango Loops Alejandro Rutty
No Disrespect David Wightman
The Locomotive Geryon James David
Incidents (world premiere) Grace Choi
SCI/ASCAP Student Competition Winner
Sounds and Shapes Takuma Itoh
I. Pyramid
II. Spiral
Scintilla Helena Michelson
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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Paper Presentations – FRIDAY OCTOBER 14th, 2005 – 3:00 pm
Room 221
John Dribus – The Other Ear: A Consideration of Aesthetics, Semiotics and the Technique
of Sonification
The International Community for Auditory Display (ICAD) defines sonification as "the use of non-speech
audio to convey information." With such a broad definition, the process of sonification,
which could be considered to fall into scientific or communications fields, also has implications
for the arts. For a composer, one benefit of sonification techniques is the fact that a data source
provides an extra-musical text upon which to base artistic decisions. The Other Ear is a
sonification of EEG data provided by ICAD. The data, collected while a subject was listening to
music, became the source of a new musical work based upon the neural processes of listening. An
additive synthesis engine used twenty-nine channels of EEG data to control almost every musical
parameter including frequency, amplitude, panning, and filtering. The work’s success hinged
primarily upon choosing appropriate data sets to drive different musical parameters. Mapping
decisions were made either by a direct translation of data to sonic features, or by an interpretative
mapping of data in light of its extra-musical source. A balance of these mapping types was
crucial; good translation decisions ensured an aesthetically sound composition, while good
interpretive mappings shed light on the music’s conceptual background, deepening its meaning.
The Other Ear provides an inside look at the neural process of listening. The subject's initial
listening experience was regenerated into a new musical work, shedding light on the internal
workings of a listening mind.
Peter Swendson – (Re)hearing the Potential: Collisions and Explorations of Sonic
Landscapes in Maggi Payne’s Resonant Places
The electro-acoustic music community of composers and scholars has taken great strides over the
past three decades in developing a stable theoretical framework for their field. Emerging from
20th-century traditions of musique concrète and eco-acoustics, theorists such as R. Murray
Shafer, Barry Truax, and Trevor Wishart have codified stylistic and procedural foundations for
“acousmatic” and “soundscape” composition that grant scholars important theoretical contexts
for research and analysis. Certain composers, however, challenge these genres with work for
fixed media that exists between their borders. This work draws into question the completeness of
existing classifications structures and must therefore be carefully examined as part of an ongoing
effort to expand critical contexts for the study of electro-acoustic music.
Maggi Payne’s composition, Resonant Places, provides an excellent example of a fixed media
composition that both incorporates and defies the current theoretical models. Payne employs an
approach in which the original contexts of sound sources are important and remain at least
somewhat audible, or even “visible”, in the piece. And yet she also expands these sounds and our
perception of them into something more than they could be on their own. My detailed analysis of
the piece, supplemented by interviews with Payne as well as her original notes and track charts,
illustrates how Resonant Places deftly fits between the genres of soundscape and acousmatic
electro-acoustic music and highlights the ambiguity of these current stylistic categories.
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT VII FRIDAY OCTOBER 14th, 2005 – 4:30 pm
Organ Hall
Three for Two David Vayo
I. Allegro energico
II. Lilting
III. Imminent
David Allen and Soo Goh, clarinets
Spell Aaron Alon
I. Spell (attacca)
II. Pagan Dance (attacca)
III. Embers
LaTannia Ellerbe, violin
Meaghan Skogen, violoncello
Gina Pezzoli, violoncello
Language Josh Goldman
for digital media
Klezmer Rhapsody Paul Steinberg
Alan Woy, clarinet
Sapphire Kaleidoscope Ken Davies
Rebecca McNair, piano
Fringe Ronald Parks
Phil Thompson, clarinet/saxophone
James Cannon, percussion
Tomoko Deguchi, piano
Goldgräber Robert Denham
Timothy Lees, violin
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT IX FRIDAY OCTOBER 14th, 2005 – 7:30 pm
Recital Hall
UNCG University Choir, William Carroll, director
UNCG Chamber Singers, Welborn Young, director
Fumeux Fume Daniel Nass
God’s World Jonathan Santore
I Died for Beauty Eddie Bass
I. On this Wondrous Sea
II. I Died for Beauty
III. What Inn is This?
IV. Afraid?
V. Me! Come!
UNCG Chamber Singers
-Intermission-
Cowboy Songs Libby Larsen
I. Bucking Bronco
II. Billy the Kid
III. Lift me into Heaven Slowly
Nancy Walker, soprano
Song of War and Peace Judith Shatin
I. And How My Brother Is Cain
II. Peace
III. The Rain is Ready to Fall
IV. Peace Poem After a Ugarithic Inscription
UNCG University Chorale
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT X – SCI CD RELEASE – SATURDAY OCTOBER 15TH, 2005 8:00 am
Recital Hall
Phillip Schroeder, presenter
Jeri-Mae G. Astolfi, piano
Mélange
Music from the Society of Composers, Inc.
Performer’s CD Series #1
Chant d’augmentation (1999) Andrián Pertout
(b.1963)
Parallax (2003) Suite for Piano (1989) Paul Dickinson
I. Prelude (b.1965)
II. Dialectic
III. Intermezzo
IV. Postlude
Lotus Pond (2004) Pui-Shan Cheung
(b.1976)
Illusions (1982) Edward Knight
I. Prelude (b.1961)
II. Toccata
…into all crevices of my world (1997) Craig Weston
(b.1964)
Wrap It Up (2004) Phillip Schroeder
(b.1956)
Jeri-Mae G. Astolfi, piano
Presentation
“The Establishment of a Performer’s CD Series”
Phillip Schroeder
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT XI –SATURDAY OCTOBER 15th, 2005 – 9:00 am
Organ Hall
Leporelo Juraj Kojs
Daniel Skidmore, violin
Frederic St. Pierre, violins
Noah Hock, viola
Brian Carter, violoncello
Tremolo Joo Won Park
Russell Brown, bass clarinet
Ad Lib Stefan Weisman
Brian Kennedy, organ
Non-Connubial Sigh Stephen Wilcox
Ed Owen, tuba
Summer Songs Neil Flory
I. The Sudden Field
II. Late Afternoon Impression on Cocoa Beach
III. After a Summer Shower
IV. Touching
V. Beach Nocturne #2
Nancy Walker, soprano
Deborah Egekvist, flute
Mark Mazzatenta, guitar
Nimbus Movements Lothar Kreck
I. Bright Halo
II. Rising Clouds
Gerald Berthiaume, piano
Constelaciones extraviadas entre luciernagas Ileana Perez Velazquez
I. Constelaciones extraviadas entre luciernagas
II. Danza
III. Constelaciones disturbaron la paz de luciernagas durmientes centenarias…
Steve Stusek, alto saxophone
Inara Zandmane, piano
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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Paper Presentations – SATURDAY OCTOBER 15th, 2005 – 10:30 am
Room 217
Bruce Reiprich – Voice-Leading and Harmonic Background in Toru Takemitsu’s A Bird
Came Down the Walk
Although most often praised for his command of orchestration, Toru Takemitsu continued to
demonstrate throughout his career a fascination for pitch relationships as well. Completed two
years before his death in 1996, A Bird Came Down The Walk for viola and piano, in many ways,
exemplifies the culmination of this aspect of the composer’s development. By focusing upon the
opening section of A Bird Came Down The Walk, that is, approximately one-third of its total
length, this paper will illustrate Takemitsu’s sensitive and sophisticated treatment of pitch.
Schenkerian voice-leading graphs combined with pitch-set analysis will reveal the hybrid nature
of Takemitsu’s musical language as it relates to the organizational practices of much twentieth-century
atonal music while being governed at the same time by fundamental aspects of the tonal
tradition. The analysis of intentionally blurred tertian-harmony underpinnings, embedded
streams of pentatonic sets and major-minor seventh chords, and the multi-level projection of
motives, pitch-sets, and linear progressions will illuminate a slowly moving, goal-oriented,
hierarchical, contrapuntal/harmonic foundation of exceptional invention.
Michael Slayton, presenter, with Mei Zhong, Jerome Reed and Elizabeth Austin –
In the Hand of the Frau: Elizabeth Austin’s Frauenliebe und –leben in Comparision to
Schumann’s Setting
Elizabeth R. Austin’s Frauenliebe und –Leben (1999) may attribute its creative roots not only to
Adelbert von Chamisso and Robert Schumann but also to the Austrian poet and author, Ingeborg
Bachmann. Austin had been pondering the question of how one, as a post-modern composer, sets
out to compose music for a text (Chamisso’s) that is not only over a century old, but a text that has
already been utilized by several of the foremost composers of the Romantic Era (including, of
course, Schumann). The poem outlines the adoring and subservient attitude of a nineteenth-century
woman, who gains her sole validity through her suitor’s/husband’s eyes. When Austin
came upon Bachmann’s novel, Malina, the quandary began to settle itself in a most inspired
manner. Schumann’s well-known song cycle stands as a bastion of Romantic vocal music, from
the male standpoint of both composer and poet. Austin’s Frauenliebe takes a closer look at the
varying interpretations of the feminine reactions in this poetry. Chamisso’s writing, full of
unashamed adoration and absolute devotion, provides at once a solely positive example of the
nineteenth-century romance aesthetic as well as a somewhat dubious glimpse of woman when
viewed through a contemporary lens. With Bachmann as muse, Austin’s cycle sets out to reveal a
challenging vision of this woman’s feelings, asking “Can the woman’s authentic feelings,
chronicled in these various stages of her life, be interpreted differently today? How and why does
the woman love? Might there even be a touch of hysteria in her reactions?”
This paper proposes a lecture recital featuring performances of both the Schumann Frauenliebe
und -Leben and the Austin cycle of the same name. The lecture will demonstrate how Austin’s
setting, catalyzed by the Ich character from Bachmann’s novel, led her to provide Chamisso’s
poems with a startling contemporary musical viewpoint. The manner in which her version lies in
contrast and comparison to the Schumann cycle will be explored. Both cycles will be performed by
soprano Mei Zhong and pianist Dr. Jereome A. Reed.
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT XII SATURDAY OCTOBER 15th, 2005 – 1:00 pm
Recital Hall
Meditation Hubert Howe
for computer and eight channel diffusion
fix-a-tion Samuel Hamm
for clarinet, computer and eight channel diffusion
Russell Brown, clarinet
Blue Bruce Mahin
I.
II.
Nitza Kats and Lucy Mauro, pianos
Matthew Frederick and David Hopkins, assistants
Dragon Moon Chin-Chin Chen
for soprano, digital media and eight channel diffusion
Mei Zhong, soprano
Dreamtime Eric Honour
for didgeridoo, digital media and eight channel diffusion
Eric Honour, didgeridoo
Jackhammer Keith Carpenter
I. John Henry
II. Cut Your Corners
III. Casey Jones
Susan Fancher, saxophones
Steve Stusek, saxophones
Brooks Whitehouse, violoncello
Inara Zandmane, piano
Robert Gutter, conductor
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT XIII – SATURDAY OCTOBER 15th, 2005 – 3:30 pm
Recital Hall
Thelema Trio
Wistful Green Carleton Macy
ghosts Burton Beerman
Musique Légèr HyeKyung Lee
When night came… Karen Thomas
Five Miniatures Fernando Benadon
Incantation Kevin Walczyk
Ward De Vleeschhouwer, piano and keyboard
Peter Verdonck, alto, tenor and baritone saxophone
Marco Antonio Mazzini, clarinet, bass and contrabass clarinet
CONCERT PROGRAMS and PRESENTATION ABSTRACTS
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CONCERT XIV – SATURDAY OCTOBER 15th, 2005, 7:30 pm
Aycock Auditorium
UNCG Symphony Orchestra
Robert Gutter, director, Matthew Troy, guest conductor
Ring of Fire Libby Larsen
All In a Moment’s Time Greg A Steinke
I. “The rolling golden dunes,”
Interlude I – “glowing for an eternity. . .” – Cadenza I
II. “a crystal in the mist. . .” – Cadenza II
Interlude II – “All in a moment’s time,”
III. “The mist rises . . .
with the whistle of the breeze.”
Scott Rawls, viola
-Intermission-
Magic City Dorothy Hindman
Matthew Troy, guest conductor
Salus…esto Ellsworth Milburn