2007-02-06 Faculty Composers [recital program]

              UNCG
Faculty Composers Concert
with special guests:
Nancy Davis, piano
Tadeu Coelho, flute
Ronald Keith Parks, composer
Tuesday, February 6, 2007
7:30 pm
Recital Hall, School of Music
Program
Rhapsody in F minor (2006) George Kiorpes
world premiere
Gina Pezzoli, violoncello
Nancy Davis, piano
Eclecticism III: Quintet for Reeds and Piano (2006) Michael Burns
world premiere (b. 1963)
Ashley Barret, oboe
Kelly Burke, clarinet
Steven Stusek, alto saxophone
Michael Burns, bassoon
Ināra Zandmane, piano
Energy Drink III (2006) Mark Engebretson
world premiere (b. 1964)
Scott Rawls, viola
Scherzo (2006) Gregory Carroll
from Violin Sonata (b. 1949)
world premiere
John Fadial, violin
Joe DiPiazza, piano
Intermission
Afterimage 3 Ronald Keith Parks
for percussion and MaxMSP (b. 1960)
Braxton Sherouse, percussion
Energy Drink II (2000) Mark Engebretson
Tadeu Coelho, flute
New Time, New Space (1999/2006) Eddie Bass
I. Boldly (b. 1937)
II. Allegro
world premiere of version for soprano saxophone and piano
Steve Stusek, soprano saxophone
Ināra Zandmane, piano
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Notes
George Kiorpes, Rhapsody in F Minor for cello and piano (Homage à S.R.)
Duration: 8:00
The Rhapsody was composed during the summer of 2006 with the request that "both
performers should have their hands full," a condition that should not intimidate either Nancy Davis
or Gina Pezzoli, who will assuredly be entirely at home in a big romantic work with, possibly, a
few "too many notes."
However "rhapsodic" the effect, the piece is in a clear-cut sonata-allegro form. A slow
introduction features virtually all the motives that form the nuclei of everything that follows, and
the development section is in the form of a fugato. The exposition and recapitulation feature a
frenetic allegro theme counterbalanced by a slower but passionate second subject. Motivically,
almost every event in the piece features the repeated note, the ascending/descending second,
and the ascending or descending broken triad, all of which appear at the outset in the cello part.
When the second subject, Andante con moto, reaches its crest, I found that my commitment to a
motivic continuation, however I manipulated it, inevitably led to a Rachmaninoffian drive to
cadence. As a result, though the piece as a whole has perhaps more of Franck or early Prokofieff
in it than the Russian master, I felt obliged to acknowledge the resemblance with the subtitle
"Homage a S.R." (In any event, who should be ashamed at sounding, here or there, a little like
such a master?)
--George Kiorpes
Michael Burns, Eclecticism III: Quintet for Reeds and Piano
Duration: 5:00
Continuing my eclecticism series of works for reed trio with additional players we now have the
third installment which itself is aimed to be a movement within a larger work. Eclecticism III is a
quintet for reeds and piano with the combination of oboe, clarinet, bassoon, alto saxophone and
piano. To my knowledge, this combination has not been written for before but I think it has good
potential for future exploration of this sonority. The work is based on an earlier piece of mine from
my undergraduate days when I completed a double degree in bassoon performance and
composition at Victoria University of Wellington. As befits the eclecticism title, it again combines
elements of popular musics (jazz, rock) with 'art music (serialism, modalism) to create a hybrid of
sorts.
-- Michael Burns
Mark Engebretson, Energy Drink II and Energy Drink III
Durations 6:00 and 7:00, respectively
With the completion of Energy Drink III, I can finally speak of the Energy Drink pieces as a
series, which it has been my intention to create for a number of years. These pieces are intense,
energetic and demanding works, demanding a virtuoso performance from both the player and
composer. Energy Drink II was written for the Austrian composer and flutist Alexander
Wagendristel, who premiered the piece in Baku, Azerbaijan in the context of an International
Society of Contemporary Music (ISCM) event. The piece is basically a tale of four motives that
seek over time to “infect” one another: they latch on to one another’s being, expand, try to
overtake. The very first gesture of the piece (a sustained G#) does not participate in that
developmental process, but remains aloof, presenting itself as a signpost or icon that appears at
structurally significant moments in the piece. It has it’s own, independent, development.
Energy Drink III, to be heard for the first time this evening, was commissioned by my colleague
and friend, violist Scott Rawls. This piece is, in essence, a blues, with a chord structure derived
from this form stretched out one time over the entirety of the short work, thus forming the
harmonic plan for the whole. I wanted to work with (varied) repeatability in this piece, so material
you hear once, you may hear again. There are a myriad of localized harmonic schemes and
motivic variations overlaid onto the basic harmonic scheme, considerable amount of work with
sound, timbre, rhythm and meter. My conception of harmony may seem somewhat distant from
the inspiration, but ultimately, it is all derived from the blues.
I’m very please for this concert to welcome our guests, Tadeu Coelho from North Carolina School
of the Arts and Ron Parks from Winthrop University.
-- Mark Engebretson
Gregory Carroll, Scherzo
Duration: 5:00
Scherzo is the last movement of a three-movement sonata for violin and piano. Its character is
similar to the 19th century concept of a scherzo: it is serious rather than jocular, its predominant
meter is triple, and its tempo is very fast—each measure is felt as a single beat. Octatonic
scales—scales created by alternating half- and whole-step patterns—provide the pitch material
for the entire movement. An ascending three-note motive (identical to the first three notes of the
minor scale) generates most of the melodic material of the piece, and the prevailing rhythmic
motives give the movement a distinct sense of urgency.
--Gregory Carroll
Ronald Keith Parks, Afterimage 3
Duration: 10:00
Afterimage 3 was completed in February, 2004 and was written for percussionist Kristin Clark
who premiered the work in spring, 2004 in Columbia, SC. Afterimage 3 is the third in a series of
works for instruments and computer processing using MaxMSP. It was the culmination of a series
of pieces in which I had been exploring ways to use conventional materials to model the types of
sounds I had been incorporating in my computer music such as granular synthesis, convolution,
and spectral filtering. The first such work was a large-scale percussion quartet called FLOW. In
FLOW I was interested in finding ways to model the types of sounds resulting from the above
mentioned computer music techniques and create similar sound events using acoustic means.
My hope was that if I could model these types of sound events, then the new acoustic sounds
might provide for new approaches to extending and developing those materials. Despite its
expansive nature and glacial pace, FLOW has been performed by several quartets and has
reached as much as thirty minutes in duration. At the suggestion of Dr. Michael Williams, the
percussion instructor at Winthrop University, FLOW was succeeded by a more concert-friendly
diminutive version called undercurrent… which was premiered by the Winthrop Percussion
Ensemble. Afterimage 3 is the final installment of pieces derived from FLOW. Afterimage 3
completes the circle, so to speak, by utilizing only one player and live computer-based processing
using MaxMSP. I had always wanted to create such a version because I thought it would be
intriguing to subject sounds from the acoustic sources (which model sound created by
electroacoustic techniques) to processing by their counterparts in the electroacoustic realm, and
to sometimes create counterpoint by applying contradictory electroacoustic processes. Whe the
opportunity arose to write a new work for percussionist Kristin Clark, Afterimage 3 seemed a
natural choice. The result is a work that is squarely rooted in the ‘sound-mass’ tradition, and in
which traditional melody, harmony, and rhythm are usurped by gradually evolving and
overlapping acoustic and electroacoustic sound mass events. All electroacoustic sounds in
Afterimage 3 are generated in real time by a MaxMSP program I wrote specifically for the piece. A
variety of processing is utilized including granular sampling, spectral filtering, convolution, and a
host of more conventional techniques.
-- Ronald Keith Parks
Eddie Bass, New Time, New Space
Duration: 9:40
In the fall of 1999 The UNCG School of Music moved into its new building. Arthur Tollefson,
pianist and Dean of the School, and James Prodan, oboist and Associate Dean, asked me to
write a work with which they could inaugurate the Recital Hall in the new building. The title New
Time, New Space reflects those circumstances. Tonight’s performance is the premiere of a
version for soprano sax and piano.
The work is celebratory in overall mood. An improvisatory opening is followed by a more pensive
slow section and then by an exuberant allegro. Periodic quotations of the Dies irae motive are a
reminder than even in a new building the roof can leak (which prophecy did in fact, alas, prove to
be true!).
-- Eddie Bass
Composers
Eddie Bass is Professor emeritus in the School of Music at UNCG. He earned the A.B., M.M.,
and Ph. D. degrees from the University of North Carolina at Chapel Hill. Until 1992 he was chair
of the Composition/History/Theory division of the School of Music at UNCG. From 1992 until his
retirement in 2003 he served as coordinator of composition. He has composed for a variety of
media, including orchestra, wind ensemble, chorus, vocal soloists, and chamber ensembles. His
music has been performed throughout the U.S., in Canada, Britain, Russia, and the Far East. His
Pas de Quatre for Trombone Quartet was awarded first prize in the 1989 composition contest of
the International Trombone Association. Bass has received numerous commissions, most
recently from the Bel Canto Ensemble. His music is published by Seesaw (New York), BVD
Press (Connecticut), C. Alan Publications, and Warwick (England). From 1968 to 1985 he was
principal trumpet of the Greensboro Symphony, and until 2000 a member of the Market Street
Brass. He has published articles on the music of Debussy, Berlioz, and Mahler.
Michael Burns, (b. 1963) Bassoonist and Composer, holds a BM with Honours from the Victoria
University of Wellington, New Zealand, an MM from New England Conservatory, Boston, and a
DMA from the University of Cincinnati College-Conservatory of Music. Currently he is an
Associate-Professor of Bassoon at the University of North Carolina at Greensboro, and the
Bassoonist in the Eastwind Trio d’Anches. He has held positions teaching Bassoon at Indiana
State University in Terre Haute, playing Principal Bassoon in the Midland/Odessa Symphony
Orchestra in Texas, the Cincinnati Chamber Orchestra, and playing contrabassoon and bassoon
in the Cincinnati Symphony and the New Zealand Symphony Orchestra.
As a composer, Burns was awarded third place in the 1986 Young Composers’ Competition in
New Zealand for Moods/Modes for solo horn and Orchestra, and also third place in the Victoria
University Composition Competition in 1985, with Conflicts for flute, bassoon, trumpet, piano, and
percussion, and A New Year's Piece for flute and piano. His piece Swamp Song for bassoon and
electronic tape has been performed extensively around the U.S. and appears on the CD New
Music for Bassoon by William Dietz. Burns has performed works of his own composition at
International Double Reed Society conferences including Swamp Song at Evanston IL, Riffs for
flute bassoon, and piano at Tempe AZ, and Two Aotearoa Sketches for bassoon and piano at
Melbourne, Australia. His reed trio E Toro nga Hau: The Three Winds has been performed in New
Zealand, Australia, Canada, and throughout the U.S. including in a recital at Carnegie Hall.
Several of his works are under contract for publication and Blues for Contra, Eclecticism 2 for
wind quintet and Two Aotearoa Sketches for bassoon and piano were recently released by
TrevCo Music.
Dr. Burns' principal teachers include William Winstead, Sidney Rosenberg, Sherman Walt,
Leonard Sharrow, and Colin Hemmingsen on Bassoon; and Jack Body, Ross Harris, David
Farquhar, and William Waite for Composition.
Gregory Carroll holds a BA in music from St. John’s University (MN), and earned the MM and
PhD in Composition/Theory from the University of Iowa, where he studied under Donald Jenni,
William Hibbard and Richard Hervig. Carroll has also taught at Indiana State University, the
College of St. Teresa, and the University of Iowa. His compositions have been performed in
Canada, Europe, Australia and the United States. He has served as finalist judge for numerous
state and national composition contests and is frequently sought after nationally as a guest
lecturer and clinician. He is on the Board of Advisors to the Monroe Institute, a professional
organization that explores the effects of sound on the brain.
Mark Engebretson
Melody...complexity…virtuosity…interactivity…melody…multi-dimensionality…electronic and
acoustic instruments…sonority…melody…
Lived in Minneapolis, Bordeaux, Chicago, Stockholm, Vienna, Chicago, Buffalo, Gainesville,
Greensboro…concerts at ICMC, SCI, CMS, Bowling Green Festival, Wien Modern, Gaida Festival
(Vilnius, Lithuania), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival
(Terre Haute, Indiana), FEMF (Florida Electroacoustic Music Festival) and ISCM Festivals
(Tirana, Albania and Baku, Azerbaijan), Carnegie Hall…
Taught at Eastman, University of Florida, SUNY Fredonia…Studied at Northwestern University
(D.M.), University of Minnesota, Conservatoire de Bordeaux...Composition teachers: Michel
Fuste-Lambezat, M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro,
Stephen Syverud and Jay Alan Yim…Saxophone teachers: Ruben Haugen, Frederick L. Hemke,
Jean-Marie Londeix…
A graduate of Annapolis High School, where he received the Harvard Book Award as
valedictorian, George Kiorpes received his Bachelor and Master of Music Degrees at Peabody
Conservatory, along with the Artist Diploma, the highest award there for outstanding performance.
He was also the recipient there of the first May Garretson Evans Scholarship, the Bach-
Horstmeier Scholarship for graduate study, and the Paul Thomas Award for "outstanding pianistic
achievement." His teachers in piano include Frederich Petrich and Austin Conradi, and in
composition Renee Longy, Spencer Huffman, and Henry Cowell. Some years later he attended
Boston University, studying piano with Bela Nagy, and completed his D.M.A. degree. His two-volume
dissertation on Chopin ornamentation remains a standard reference in the field. His
teaching career spans over fifty years: two at Peabody, ten at Greensboro College, and over
forty at UNCG. He has performed nationally and in the far east for an equal period of time, toured
as a member of several ensemble groups here and in Japan, collaborated with well-known
conductors such as Reginald Stewart and Arthur Fiedler, and has a long record of lecturing and
presenting masterclasses for professional associations. His piano compositions have been
published by Kjos, Willis, and Hal Leonard publishers, and his latest collection is soon to be
released by Willis/Hal Leonard.
Ronald Keith Parks, born in Waynesville, NC, is an active composer of acoustic and electronic
music. His diverse output includes large orchestral works, instrumental and vocal chamber music,
choral music, electroacoustic music, and interactive computer music. He has written music for
numerous professional ensembles and performers including the NeXT Ens, the Bradner-Deguchi
piano duo, pianist Tomoko Deguchi, flutist Jill O'Neill, the Winthrop University Chamber Winds,
the Winthrop University Percussion Ensemble, the University at Buffalo Percussion Ensemble,
the Sallie Fouse Flute Quartet, the University of Georgia Contemporary Ensemble, the North
Carolina School of the Arts Symphony, the NCSA International Music Program Ensemble, the
North Carolina School of the Arts String Orchestra, and others.
Many of his compositions have been selected for inclusion at numerous national and international
festivals and conferences including the Florida Electroacoustic Music Festival, the Bowing Green
State University Contemporary Ensemble Concert, the Society for Electroacoustic Music in the
United States Conference, the International Computer Music Conference, the Electronic Music
Midwest Festival, the National Flute Association Conference, The Australian Flute Festival,
Society of Composers' National and Regional Conferences, the Two-Sided Triangle concert
series in Essen Germany, the NextWave~ festival in Melbourne Australia, the Earfest and
Computer Music at SUNY Stony Brook series, the Unbalanced Connection Concerts at the
University of Florida, the Timara Faculty and Guests Concert Series at Oberlin College,
Southeastern Composers' League Concerts, the College Music Society Composers' Concerts and
numerous performers and composers concerts and recitals throughout North and South America,
Europe, and Asia.
Dr. Parks’ research into computer music techniques, including granular sampling, granular
synthesis, and FFT-based spectral accumulation and evaporation, has been included in the
Amsterdam Catalogue of Csound Computer Instruments and has been presented at SEAMUS
conferences, SCI conferences, the SPARK Festival, and the Electronic Music Midwest Festival.
Dr. Parks received the BA in composition from the North Carolina School of the Arts, an MM in
composition from the University of Florida, and a Ph.D. in composition from the University at
Buffalo. He is currently an assistant professor of music technology, theory, and composition and
Director of the Winthrop Computer Music Labs at Winthrop University.
I believe that the act of creating a piece of music, or any work of art,
requires first an act of exploration. The exploration can be a smaller part of
a life-long quest or a single, isolated journey. In music, such quests can
manifest themselves in many forms, such as the search for a new musical
language, the exploration of the inherent musical possibilities of a scale or
collection of pitches, the exploration of timbre, or the developmental
possibilities revealed through new compositional techniques, instruments,
or new technologies (to name only a few). I regard such undertakings as an
exploration of undiscovered territory, as trips to new and unspoiled places
where the sheer joy of discovery, or even the journey itself, is reason
enough to go there. If these new places, or the journey itself, is interesting
enough we bring back artifacts, memoirs, because we were excited enough
about the discovery, or the journey, to take the time to document something
of the experience. We bring back the best of it to share with those who have
not yet been there. For me, this is enough. To explore, and to bring back
some evidence of a place or journey that, for me, surpasses the mundane.
Performers
Mary Ashley Barret has been on the faculty at the University of North Carolina at Greensboro
since 1998. She holds the BM from The Eastman School of Music, the MM from Baylor
University, and the DM with a certificate in the Pedagogy of Theory from Florida State University.
An active performer, Barret is currently principal oboe of the Greensboro Symphony Orchestra.
She has appeared as soloist with the Salisbury Symphony, the Pottstown Symphony, the UNCG
Orchestra, the Florida State Wind Orchestra, and has presented numerous guest recitals and
master classes throughout the United States, Caribbean, New Zealand, Canada, Central
America, and Australia. In the summer of 2003, she was a host for the International Double Reed
Society Conference. Barret is a member of the EastWind Trio d’Anches, the Cascade Wind
Quintet, and can be heard on the recording "Out of the Woods: Twentieth-Century French Wind
Trios" with TreVent, and Centaur Records’ The Russian Clarinet and Samuel Coleridge-Tayor:
Chamber Music.
Kelly Burke joined the faculty at the University of North Carolina at Greensboro in 1989. She is
currently the principal clarinetist of the Greensboro Symphony Orchestra and bass clarinetist of
the Eastern Music Festival Orchestra. Equally at home playing Baroque to Bebop, she has
appeared in recitals and as a soloist with symphony orchestras throughout the United States,
Canada, Germany, New Zealand, Australia, and Russia. An avid chamber musician, Burke is
frequently heard in concert with the Mallarmé Chamber Players, for whom she plays both clarinet
and bass clarinet, the EastWind Trio d'Anches, Middle Voices (clarinet, viola and piano), and the
Cascade Wind Quintet.
Burke’s discography includes several recent releases with Centaur Records: the Russian
Clarinet, with works by Prokofiev, Shostakovich, Glinka, Melkikh, and Goedicke. Middle Voices:
Chamber Music for Clarinet and Viola, featuring works by several American composers; and
Samuel Coleridge-Taylor: Chamber Music featuring the quintet and nonet. She has also recorded
for Telarc, Albany and Arabesque labels. Click on the CD title to hear sound clips. Middle Voices:
Chamber Music by Eddie Bass will be released in the fall of 2005.
Burke has received several teaching awards, including UNCG's Alumni Teaching Excellence
Award, the School of Music Outstanding Teacher Award, has been named several times to Who's
Who Among America's Teachers, and was recently honored with the 2004 UNC Board of
Governor's Teaching Excellence Award. She is the author of numerous pedagogical articles and
the critically acclaimed book Clarinet Warm-Ups: Materials for the Contemporary Clarinetist. She
holds the B.M. and M.M. degrees from the Eastman School of Music and the D.M.A. from the
University of Michigan.
Burke is an artist/clinician for Rico International and Buffet Clarinets.
Tadeu Coelho joined the artist-faculty of School of Music at the North Carolina School of the Arts
in the fall of 2002. Prior to this appointment, Dr. Coelho served as Associate Professor of Flute at
the University of Iowa and as Assistant Professor of Flute at the University of New Mexico in
Albuquerque. He has also served as visiting professor at the Ino Mirkovich Music Academy in
Croatia. Mr. Coelho has appeared as soloist and chamber musician throughout Europe and the
Americas. He has performed as first solo flutist of the Santa Fe Symphony, Hofer Symphoniker in
Germany, and the Spoletto Festival Orchestra in Italy, among others, including guest
appearances in the summer of 1996 with the Boston Symphony.
A recipient of many awards and scholarships, USIA/Fulbright, LASPAU, and CAPES, Tadeu
Coelho received his Doctor of Musical Arts degree from the Manhattan School of Music, New
York, as a student of Julius Baker and Keith Underwood. Started on the flute by his father, Tadeu
Coelho also studied with Thomas Nyfenger, Ransom Wilson, Andrew Lolya, and Arthur Ephross.
Mr. Coelho gave his New York recital debut at Weill Recital Hall at Carnegie Hall in April of 1992.
Tadeu Coelho is an avid proponent of new music. He has commissioned, performed and
recorded works by Steven Block, João Dias Carrasqueira, Margaret Cornils, Michael Eckert,
Eduardo Gamboa, Lawrence Fritts, Joaquin Gutierrez-Heras, Richard Hermann, Ronald
Roseman, Ruth Schonthal, Amaral Vieira, and Michael Weinstein. Mr. Coelho can be heard in
several solo recordings by Tempo Primo playing music from Brazil and Mexico. He can also be
heard performing works by Thomas Delio on 3D Classics.
Tadeu Coelho has published the complete works of Pattápio Silva as well as Flute Workout, a
collection of daily exercises with accompanying CD. His published works are available at
www.eble.com and Flute World. Tadeu Coelho is a Miyazawa artist and performs on a platinum
Miyazawa flute.
Nancy Davis, a much sought-after accompanist, is known for offering a varied palette of colors
and flare. Performing an average of 50 concerts a year, she has performed in the North Carolina
area with University of North Carolina-Greensboro faculty; in Wooster, Ohio as part of the First
Friday concert series; and in New York recitals with Phyllis Tektonidis and Dr. Edward Bach, with
whom she recently released a CD entitled Contrast. Mrs. Davis has collaborated with many
upcoming young protégés in both national and international competitions. Beginning March
2007, Mrs. Davis will begin her tenure as one of the official accompanists for the National
Trumpet Competition in Washington, DC. In addition, she participates on a regular basis in
premieres of new works. Davis received both the Bachelor and Master of Music degrees in Piano
Performance from the University of North Carolina-Greensboro. Her teachers include Marvin
Blickenstaff and George Kiorpes.
John Fadial, associate professor of Violin, is familiar to Greensboro audiences as concertmaster
of the Greensboro Symphony Orchestra. He maintains a vigorous schedule as soloist, chamber
music performer, recording artist and teacher, performing on four continents as a United States
Information Service Artistic Ambassador. He has appeared at the Smithsonian Museum, the
Philips Collection, and the Terrace Theater of the Kennedy Center, with numerous engagements
at summer festivals in Aspen, Banff (Canada), Brevard, Eastern, Heidelberg (Germany),
Mirecourt (France), Costa Rica and Salvador (Brazil). He has shared the stage in chamber music
collaborations with pianist Jon Nakamatsu, harpsichordist Anthony Newman, cellists Tillman Wick
and Paul Katz, violist John Graham, and bandoneon virtuoso David Alsina of the New York Tango
Trio, among others, and has performed widely in the U.S. and Europe since 1997, as violinist of
the Chesapeake Piano Trio. The 2004-05 season featured concerts throughout the U.S., Brazil
and France, including the French premiere, with cellist Beth Vanderborgh, of William Bolcom's
Suite for Violin and Cello and chamber music performances with Dmitry Sitkovetsky, Lynn Harrell,
Bella Davidovich and the Quatuor Stanislas. Fadial's recent recording of the chamber music of
Samuel Coleridge-Taylor for the Centaur label, with members of UNCG's Artist Faculty Chamber
Players, was a Featured New Release at Tower Records.com for spring 2005, and deemed “not
to be missed” by American Record Guide. In October of 2005, he is to give the world premier of
Arthur Gottschalk's Concerto for Violin and Symphonic Wind Ensemble in Aycock Auditorium at
UNCG, as part of the SCI National Conference for contemporary music. Dr. Fadial holds degrees
from the North Carolina School of the Arts (BM), the Eastman School of Music (MM) and the
University of Maryland (DMA).
Gina Pezzoli is currently pursuing her DMA in cello performance at the University of North
Carolina - Greensboro with Brooks Whitehouse. She holds a MM in Cello Performance from
UNCG and a BA in French and Music from the University of Virginia. For two seasons she served
as Education Manager of the Greensboro Symphony Orchestra. She now is a contracted
member of the cello section. She frequently performs as a substitute with the North Carolina
Symphony, the Winston-Salem Symphony, and the Carolina Ballet. She also teaches an
undergraduate course in career development at UNCG.
Scott Rawls has appeared as soloist and chamber musician in the United States, Canada,
Mexico, Japan, and Europe. Chamber music endeavors include performances with the Diaz Trio,
Kandinsky Trio and Ciompi Quartet as well as with members of the Cleveland, Audubon and
Cassatt String Quartets. His most recent CD recording, released on the Centaur label, features
the chamber music of Samuel Coleridge-Taylor and was released summer 2004. His recording of
chamber works for viola and clarinet was released spring 2003 on the same label. The
ensemble, Middle Voices, will record another disc for Centaur featuring the chamber music of
American composer, Eddie Bass. Additional chamber music recordings can be heard on the CRI,
Nonesuch, Capstone, and Philips labels. Also a champion of new music, Rawls has toured
extensively as a member of Steve Reich and Musicians since 1991. As the violist in this
ensemble, he has performed the numerous premieres of The Cave and Three Tales, multimedia
operas by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting
organizations such as the Wiener Festwochen, Festival d'Automne a Paris, Holland Festival,
Berlin Festival, Spoleto Festival USA and the Lincoln Center Festival, he has performed in major
music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague,
Amsterdam, Brussels, Los Angeles, Chicago and New York. He is a founding member of the
Locrian Chamber Players, a New York City based group dedicated to performing new music. Dr.
Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division in
the School of Music at the University of North Carolina at Greensboro. Under the baton of
maestro Dmitry Sitkovetsky, he plays principal viola in the Greensboro Symphony Orchestra. He
is very active as guest clinician, adjudicator, and master class teacher at universities and festivals
in America and Europe. During the summers, Rawls plays principal viola in the festival orchestra
at Brevard Music Center where he also coordinates the viola program. He holds a BM degree
from Indiana University and a MM and DMA from State University of New York at Stony Brook.
His major mentors include Abraham Skernick, Georges Janzer, and John Graham.
Braxton Sherouse has been writing computer programs and music since his youth. The
interplay of these activities is manifested in electronic and acoustic compositions: his live
electronic works focus on the use of Max/MSP/Jitter as a "controller free" instrument playable by
physical movement. His acoustic works are largely algorithmic, exploiting multiple simultaneous
audible processes.
Sherouse’s compositions have recently been acknowledged at a national level, with Regulated
Action for solo piano receiving an Honorable Mention from the New York Art Ensemble and
(she.moves.the.ocean) for solo dancer and live electronics being scheduled for performance on
the Florida Electroacoustic Music Festival this April.
Sherouse is currently finishing his Bachelor's degree in Music Composition at UNC-Greensboro
under the instruction of Mark Engebretson and Tom Dempster. In his spare time he maintains
several software projects that have received positive international attention.
Steve Stusek has earned an international reputation for virtuosic performances of standard and
new works for the saxophone as well as for his engaging master classes and clinics. A founding
member of both the acclaimed Red Clay Sax Quartet and the UNCG Quatuor d’Anches, he has
won the prestigious Dutch Chamber Music Competition as part of the saxophone-accordion duo
2Track with Dutch accordion player Otine van Erp. Along with degrees from Indiana University
(BM, DM) and Arizona State University (MM), Stusek has studied at the Paris Conservatoire and
the Conservatoire de la Region de Paris, where he earned the Prix d'Or à l'Unanimité in
saxophone performance. He is also founder and host of the Carolina Saxophone Symposium,
a day-long conference held at UNCG each Fall, and dedicated to the highest level of saxophone
performance and education. The CSS is open to all saxophonists at no charge. In addition to
being performing artist for the Vandoren and Selmer companies, Stusek is on the faculty of the
Blue Lake Fine Arts Academy.
Ināra Zandmane, born in the capital of Latvia, Rīga, started to play the piano at the age of six.
Zandmane holds a BM and MM from Latvian Academy of Music, MM in piano performance from
Southern Illinois University at Carbondale, and DMA in piano performance from the University of
Missouri at Kansas City. She has been the staff accompanist at the UNCG since 2003. She also
served as the official accompanist for the MTNA Southern Division competition and the North
American Saxophone Alliance conference in 2004. Zandmane has performed in recitals in St.
Paul, Kansas City, Cleveland, St. Louis, and New York, as well as in many Republics of the
former Soviet Union. In April 2000, she was invited to perform at the Glenn Gould Studio in
Toronto. Ināra Zandmane has appeared as a soloist with the Latvian National Orchestra, Liepāja
Symphony, Latvian Academy of Music Student Orchestra, SIU Symphony, and UMKC
Conservatory Symphony and Chamber orchestras. She has performed with various chamber
ensembles at the International Chamber Music Festivals in Rīga, Vilnius, Tallinn, Helsinki
(Finland), and Norrtelje (Sweden). For a few last years, Zandmane has worked together with the
Latvian composer Pēteris Vasks. She has given Latvian premieres of his two latest piano pieces,
Landscapes of the Burnt-out Earth and The Spring Music, and recorded the first of them on the
Conifer Classics label.