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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.
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Title | 2007-02-06 Faculty Composers [recital program] |
Date | 2007 |
Creator | University of North Carolina at Greensboro. School of Music, Theatre and Dance |
Subject headings |
University of North Carolina at Greensboro. School of Music, Theatre and Dance University of North Carolina at Greensboro |
Place | Greensboro (N.C.) |
Description | Spring 2007 programs for recitals by students in the UNCG School of Music. |
Type | Text |
Original format | programs |
Original publisher | Greensboro N.C.: The University of North Carolina at Greensboro |
Contributing institution | Martha Blakeney Hodges Special Collections and University Archives, UNCG University Libraries |
Source collection | UA9.2 School of Music Performances -- Programs and Recordings, 1917-2007 |
Series/grouping | 1: Programs |
Finding aid link | https://libapps.uncg.edu/archon/index.php?p=collections/controlcard&id=608 |
Rights statement | http://rightsstatements.org/vocab/NoC-US/1.0/ |
Additional rights information | NO COPYRIGHT - UNITED STATES. This item has been determined to be free of copyright restrictions in the United States. The user is responsible for determining actual copyright status for any reuse of the material. |
Object ID | UA009.002.BD.2007SP.999 |
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Full Text | 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. |
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