2016 February 16 at Saint Peter's Church
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Transcript of 2016 February 16 at Saint Peter's Church
Dedicated to the creation and performance of new music
SAINT PETER’S CHURCHCITIGROUP CENTER
NEW YORK CITY
FEBRUARY 16, 2016 7:30 PM
A CONCERT OFNEW MUSIC
THE NEW YORK COMPOSERS CIRCLE
FEBRUARY 16, 2016 7:30 PM
Yellow Alert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert S. Cohen
Daniel Pate, percussion
Masks and Miracles (2013)* . . . . . . . . . . . . .Yekaterina Merkulyeva
1. Adagio molto; Vivacissimo molto 2. Allegro molto
Vassa Shevel, piano
Trumpet Sonata* . . . . . . . . . . . . . . . . . . . . . Dana Dimitri Richardson
Jerry Bryant, trumpet Craig Ketter, piano
INTERMISSION
Whirligig** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Craig Slon
Craig Ketter, piano
Polyrhythmic Suite in Six Movements** . . . . . . . Dary John Mizelle
1. Fasten Your Seatbelts: Andante 2. Riding a Unicycle: Allegretto 3. Solitude: Slow Blues Tempo 4. Acrobatics: Andante 5. Fireworks: Allegretto 6. TiltAWhirl: Tempo Primo
Craig Ketter, piano
Quartet for Flute, Clarinet,Violin & Vibraphone**. . Frank Picarazzi
1. Brisk, with Energy 2. The Fear of Failure: Slow 3. Relentlessly
Michael Laderman, flute Vasko Dukovski, clarinetGregor Kitzis, violin Frank Picarazzi, vibraphone
*New York Premiere**World Premiere
PLEASE JOIN US FOR A RECEPTIONAFTER THE CONCERT
The NYCC thanks the staff and personnel of Saint Peter's Church for their assistance with this concert.
The New York Composers Circle gratefully acknowledges support by a grant from theAlice M. Ditson Fund of Columbia University.
ROBERT S. COHEN has written music for chorus, orchestra, chamberensemble, dance and theatre and has been the recipient of numerousawards and commissions, including a New Jersey State Council on theArts Fellowship, an American Music Center Grant, a Meet the ComposerAward, New York Composer’s Circle Award, the 2011 New EnglandString Quartet International Composition Competition and several grantsfrom the Geraldine R. Dodge Foundation. His works have beenperformed in such prestigious venues as Carnegie Hall, Severance Hall,Symphony Space, Bargemusic & the Sofia Opera House. Alzheimer’sStories, for soloists, chorus and large ensemble, with a libretto by 2012Grammy winner Herschel Garfein, has been performed in major citiesthroughout the U.S. and Europe. Other works include: Of EternityConsidered as a Closed System, for soloists, chorus and orchestra; EdisonInvents, a monodrama for baritone and orchestra; String Quartet #2 (ADay in the Life), The Mysterious Transformation of Johann B., FiveNights in Sofia, for violin and piano, Dream Journal, for brass quintet,Homeland Security Suite, for percussion, and an extensive catalogue ofchoral works including: Creation, Sleep, Little Baby, Sleep, The RoadBack, The Beauty of Life, Night Cadence, Sprig of Lilac, and God’sWhisper. He is published by Peer Music Classical Gmbh, Edition Peters,Hal Leonard, Shawnee Press, Dramatic Publishing, HoneyRock Music,and his own Leapfrog Productions. In addition, Bob coauthored the bookand composed the score for the 2000 Richard Rodgers AwardwinningOffBroadway musical Suburb. He currently lives in Montclair, NewJersey with his wife Maryann and two cats, Fred & Ginger. His website iswww.robertscohen.com and can be contacted at [email protected]. He writes, “Yellow Alert is the third movement of my Homeland SecuritySuite for percussion, inspired by the now defunct Homeland Advisorycolor system (Green, Blue, Yellow, Orange and Red Alerts). It ispublished by HoneyRock Music. Given the security issues facing thiscountry at this time, it seems more relevant than ever.”
YEKATERINA MERKULYEVA was born in Saint Petersburg, Russia.She graduated with honors from the piano department of the RimskyKorsakov College of Music under Galina Orlovskaia. She studiedcomposition with Yuri Falik in the Saint Petersburg conservatory where
COMPOSERS
she graduated in 1983. Ms. Merkulyeva’s Carnival Overture forSymphony Orchestra was performed at the 19th Leningrad Spring MusicFestival in 1983. Her various compositions include piano, chamber,orchestral, vocal, and choral music. Ms. Merkulyeva’s composition stylecombines traditional Russian folk music with Russian music of the 20th
century. In 1999 Ms. Merkulyeva became a member of the Piano TeacherCongress of New York and joined the New York Composers Circle as acomposer member in 2006. In 2007 her composition Mirage wasperformed in the concert “New Music” at the Leonard Nimoy Thalia atSymphony Space by Vassa Shevel. Her works have been performed at theconcert dedicated to “20th Century Russian Music” at the HarborConservatory for the Performing Arts, at the Queensborough PublicLibrary, and at Steinway Hall. In 2012, Mirage was also performed byMaxim Anikushin in Carnegie Hall. In 2014 Ms. Merkulyeva became amember of the New York Women Composers, Inc. In 2015 Vassa Shevelperformed Ms. Merkulyeva’s works in the concert “Russian Composersliving in America” at the Center for Jewish History. The world premiereof Masks and Miracles was performed at the Trinity Lutheran Church inBrewster, New York on September 20, 2015 by Vassa Shevel. Ms.Merkulyeva is continuing to compose songs and music for piano and forother instruments as well. She writes, “Masks and Miracles is a musical fantasy that describes thedifferent emotions I get from life in New York City. These emotions comefrom reality, fantasy, miracles, and my strong sense that dreams come truethrough hard work and with the help of God.”
DANA DIMITRI RICHARDSON was born in Long Beach, Californiain 1953. His music has been broadcast over more than 70 radio stations inthe United States and Greece, including WNYC and ERT, Athens, wherehe spent three years teaching music theory. During that period he wasinterviewed by Bobby Kanas on ERT and became a member of the GreekComposer’s Union. His record released on the Dionysian label in 1987features The American Chamber Ensemble. After earning a Ph.D. inTheory and Composition from New York University in 2001, he taught atFredonia College and New York University. Since then he has taughtmusic theory and history at Cooper Union, Nassau Community College,and Kingsborough Community College in Brooklyn. In August 2007, hedelivered a lecture at the Aspen Composer’s Conference on therelationship between syntonality, his original system for musicalcomposition, and his compositional practice, and in 2009 his article
Syntonality: A new System of Harmony was published in the first issue ofthe SCI online theory journal. In 2008, his Ballade for piano solo wasawarded first prize in the New York Composers Circle Competition.More recently, and in parallel with his concert music composition, he hasbeen writing syntonal rock music. The CD Bonds of Life of his syntonalrock music was released in August 2014. He is also a published poetwhose Aphrodite and Other Poems is available on Amazon.com. The Trumpet Sonata is a onemovement work divided into three sections:lyrical, dramatic, and ecstatic.
CRAIG SLON studied rhythm, harmony, counterpoint, composition, andmusic ethnography at Sarah Lawrence College. He won a Craft Award forOriginal Score from New York University and recieved a grant fromArtlink (Scotland). His music has been performed in Spain, Mexico, Peru,the United States, England, Scotland, Germany, and Denmark. He ispresently employed as a recording engineer for various New Yorkbasedensembles. Whirlygig is a short onemovement piece for solo piano. The title refersto beetles that swim rapidly in circles on the surface of the water.
DARY JOHN MIZELLE studied trombone (B.A. California StateUniversity, Sacramento) as well as composition (M.A. University ofCalifornia, Davis, Ph.D. University of California, San Diego) and while atU.C. Davis participated in the New Music Ensemble (a pioneering freeimprovisation group that dispensed with scores). He was an originalmember of the group that founded SOURCE – music of the avantgardemagazine. His mentors include: Larry Austin, Richard Swift, JeromeRosen, Karlheinz Stockhausen, David Tudor, Roger Reynolds, RobertErickson, Pauline Oliveros, and Kenneth Gaburo. His music involvesmastery of instrumental, electronic, and vocal resources, as well as hisown performance on several different instruments and voice. He works inmany different genres and media. His SPANDA project consists ofthirteen days of music with a coherent macrostructure, which includesmusic theater, opera, orchestral works, choral works, electronic music,chamber music, solo instrumental, and vocal music, as well ascombinations and integrations of all these. He has composed over 500compositions and more than 40 jazz tunes. He refers to his music as"multidimensional" in scope and practices his musical art in multipletuning systems ("macrotonality") and simultaneous tonal, modal, andatonal systems ("polyatonality") as well as multiple rhythmic systems
(systemic polyrhythm). He has held academic positions at University ofSouth Florida, Oberlin Conservatory of Music where he was head of theTechnology In Music And Related Arts (TIMARA) program, and StateUniversity of New York at Purchase where he was Chair of theComposition Program. He makes his home in Westchester County, NewYork. He writes, “I composed Polyrhythmic Suite in Six Movements inDecember 2014 and January 2015 to explore rhythmic modes inventedover the course of the last two decades, as well as some new ones. I use amusical system which I call “polyatonality” which includes modal, tonal,and atonal pitch structures. Some of the individual movements contain aquote from Beethoven’s Grosse Fuge (opus 133) for string quartet as a slyallusion to earlier music that I admire.”
FRANK PICARAZZI is a composer and percussionist. His publishedworks include Rondo for Two Keyboards, 3 Etudes for Vibraphone, and 3Songs for Soprano and Vibraphone on Poems of e.e. cummings. Frank wasthe recipient of the 2000 American Music Center’s Margaret FairbanksJory Award for his chamber quintet A Struggle in Microcosm. He has beencommissioned by Morris Lang to compose the Octet for Percussion forthe Brooklyn College Percussion Ensemble (2006), as well as by Dr. JasonBaker to compose a work for solo marimba, which was completed inJanuary of 2015, titled Single Source for Solo Marimba. Frank resides inBrooklyn with his wife and daughter, and maintains an active performingschedule as a percussionist across many genres. He is a graduate of theUniversity of Connecticut in Music Performance. He writes, “This work was written to celebrate a reunion of sorts: In thebeginning of 2013, three dear friends of mine had each returned to NewYork from their own individual journeys. These friends joined forces tourge me to compose a work for the four of us, and thus was born the ideaof this Quartet.”
JERRY BRYANT is a member of the New York City Opera Orchestra,Radio City Music Hall Orchestra, and Hartford Symphony Orchestra,Principal Trumpet of the Princeton Symphony Orchestra, and PrincipalTrumpet/Orchestra Personnel Manager of the Glimmerglass OperaFestival in Cooperstown, New York. Before joining the New York CityOpera in 2004, Jerry was a member of the United States Navy Band inWashington for seven years. During that time, he was a featured soloistand performed for presidents, dignitaries, and international audiences.Jerry is a regular on Broadway and has also performed with theMetropolitan Opera, National Symphony (Washington, D.C.), New Jersey,Jacksonville, McLean, Tallahassee, Fairfax, Annapolis, Long Island,Brooklyn, Bronx Arts Ensemble, Washington Ballet, and WestfieldSymphony Orchestras. He currently teaches applied trumpet at MontclairState, Seton Hall, New Jersey City, and Kean Universities. He is also theDirector of Athletic Bands for Kean University. Jerry holds a Master ofMusic degree from The Catholic University of America and a Bachelor ofMusic from Florida State University.
Clarinetist VASKO DUKOVSKI is a New Yorkbased multidisciplinaryartist and diverse stylistic performer of the highest caliber, one of the mostsoughtafter instrumentalists of his generation. Even though classicallytrained, Dukovski sees no boundaries in music or musical styles, butembraces all of them. An avid performer and advocate of avantgarde freestyle and contemporary classical music, Dukovski has collaborated withsome of New York’s most respected ensembles including Argento NewMusic Ensemble, Bang on a Can All Stars, Either/Or Ensemble, TaleaEnsemble, Wet Ink, ECCE East Coast Contemporary Ensemble, EnsemblePamplemousse, Lost Dog Ensemble, LPR Ensemble, The KnightsOrchestra, and others. In addition to being a frontman of his worldmusicquartet Tavche Gravche, he is a member and cofounder of GrnetaEnsemble. Dukovski’s musical sophistication spans the continents,appearing in Macedonia, Bulgaria, Serbia, Croatia, Slovenia, Bosnia,Austria, Lebanon, Morocco, Brazil, Tunisia, extensively in China, andthroughout the United States, and on a regular basis in New York City.Dukovski has recorded for Naxos American Classics, Albany Records,Sono Luminus Dorian, Tzadik, Chicken Madness, In a Circle Records,
PERFORMERS
Evolver Records, Furious Artisans, INNOVA Recordings, and ParmaRecordings. Born in Ohrid, in the Republic of Macedonia, Dukovskibegan playing with sound at age five and started his musical education atthe age of eight. His dedication to music and the clarinet earned him aFine Arts Award from the Interlochen Arts Academy, which he attendedbefore earning Bachelor’s and Master’s Degrees from The Juilliard Schoolof Music as a student of Charles Neidich and Ayako Oshima. For moreinformation please visit: www.dukovski.com.
American pianist CRAIG KETTER is rapidly distinguishing himself as aleading pianist of his generation, performing as soloist and chambermusician throughout the world. Critically acclaimed for “transporting thelisteners to extraordinary heights” and “into a world beyond time andspace,” Mr. Ketter is known for playing with powerhouse sonoritycombined with longlined dulcet lyricism. He has performed as soloistwith the Grant Park Symphony Orchestra, the North Carolina Symphony,the Sacramento Philharmonic, the Oakland East Bay Symphony, the SouthOrange Symphony, the Garden State Philharmonic, the RaleighSymphony, the Durham Symphony, the Rocky Ridge Music FestivalOrchestra, and the American Festival for the Arts Orchestra. His soloconcerts have taken him to Mexico, Argentina, Barbados, France,Germany, and Japan, and across the United States and Canada. Mr. Ketterregularly joins forces with international singers and chamber groups.Venues include NPR’s Performance Today series, CBS Sunday Morning,Sirius Satellite Radio, Carnegie Hall, Avery Fisher Hall, the Teatro Colónin Buenos Aires, La Huaca, Atlapa in Panama City, the Savannah MusicFestival, Bay Chamber Concerts in Rockport, Maine, Music in theMountains in Colorado, and The Marilyn Horne Foundation. Musicianshe has collaborated with include flutist Eugenia Zukerman, clarinetistsStephen Williamson, Ricardo Morales, and Jon Manasse, cellists RobertdeMaine and Eric Bartlett, violinists Kelly HallTompkins and RoyMalan, and singers Deborah Voigt, Margaret Jane Wray, CynthiaLawrence, Samuel Ramey, Paul Plishka, Ben Heppner, Cliff Forbis, andRobert White. Mr. Ketter is currently on the piano faculty of New JerseyCity University.
Violinist GREGOR KITZIS plays regularly with The Orchestra of St.Luke's at Carnegie Hall and is a founding member of The Ouluska PassChamber Music Festival in Saranac Lake, New York. He has performedearly music on period instruments with The American Classical Orchestra,
premiered and recorded countless new works with ensembles includingOrchestra of Our Time and CollideOScope, arranged, performed, andrecorded with David Bowie, been the string contractor for TV appearanceswith Enya, and performed with artists ranging from Anthony Braxton toJohn Cage, playing everything from solo and chamber music recitals torock and tango in venues ranging from Carnegie Hall and the late CBGB'sto Saturday Night Live, David Letterman, and new music and jazzfestivals throughout the United States, Canada, and Europe. He plays anold Italian violin made in the 1690s by Giovanni Grancino. Of hisperformance of Vigeland's Ives Music, The New York Times wrote"scratchier and more mistuned than even Ives would have foundamusing." And in a later review: "The important violin solos wereexcellently projected by Gregor Kitzis, sometimes with whistling purity,always with vivid presence" (Paul Griffiths, The New York Times). Morerecently, newmusicbox.org reviewed a solo performance with the AlbanySymphony at Carnegie Hall in May of 2010 as “authentic, jawdroppingfiddling,” and American Record Guide reviewed the same performance,saying “Kitzis stole the show in his procession from one end of CarnegieHall to another, his violin resonating brilliantly and vanishing with ghostlyshivers in Carnegie’s remarkable acoustic.”
MICHAEL LADERMAN (www.fluteperformer.com), a recitalist,freelancer, jazz musician, and recording artist, has performed at WeillRecital Hall as an Artists International competition winner; three National Flute Association conventions; the 1995 New York Flute Club Flute Fair;the Settimana Musicale Senese at the Accademia Chigiana in Siena, Italy;Merkin Concert Hall; jazz festivals in New York with ZSound Collectband; and three New York Flute Club concerts, including one as a YoungArtists competition winner. David Sherman wrote in a review of MMCRecords CD #2087 (music by Matthew Fields) for soundstage.com/musicthat: "Michael Laderman flawlessly negotiates the lengthy programmaticwork Rooster's Court Ball in a studio recording that is a pleasure to listento.” Dr. Laderman’s flute teachers included Samuel Baron, KeithUnderwood, Sandra Miller, Julius Baker, Thomas Nyfenger, and TrudyKane, plus master classes with Alain Marion, Philippe Pierlot, and PeterLukas Graf, under a Javits Fellowship that also funded his last four yearsof graduate school at SUNYStony Brook, through a Doctor of MusicalArts degree. His article “The Power of Omnipotens,” (The BeethovenJournal, Vol. 13/2 [Winter 1998]), addresses the structural, textinterpretive, and spiritual significance of the “Pater Omnipotens” section
of the Gloria in the Missa Solemnis. Dr. Laderman also teaches musiccourses at Polytechnic Institute/NYU.
Percussionist DANIEL PATE (b. 1984) is an active performer in NewYork City and the surrounding areas. He has presented performances onthe Green Umbrella Concert Series held at Walt Disney Hall in LosAngeles, The Ojai Music Festival, the Mondavi Center, Symphony Spacein New York, and The Abrons Center in New York. He has also presentedconcerts and masterclasses at Southeastern Louisiana University, NewYork University, Gettysburg University, Denver Metropolitan Universityand Mesa College. As an advocate of contemporary music, Mr. Pate haspresented premieres by Paula Matthusen and Adam Beard, and has been aguest performer with the contemporary ensemble “Red Fish, Blue Fish.”Currently, he serves as percussionist and a member of the steeringcommittee for the New York Electroacoustic Music Festival as well as amember of the faculty at Blue Lake Fine Arts Camp where he performsfrequently as a soloist and chamber musician, and with the Blue LakeFestival Orchestra and Band. Mr. Pate is pursuing a doctorate inContemporary Music Performance at Stony Brook University, where he isa student of Eduardo Leandro and a member of the ContemporaryChamber Players. Mr. Pate received his Master’s Degree in PercussionPerformance from The University of Massachusetts in Amherst under theinstruction of Eduardo Leandro and Thom Hannum, as well as aBachelor’s Degree in Percussion Performance from San Diego StateUniversity. During his studies, Mr. Pate worked with such performers asmarimbists Robert Van Sice, Gordon Stout, Christopher Norton, NancyZeltsman, and Michael Burritt, and percussionists Steven Schick, JackVan Geem, and Raynor Carroll.
Born and raised in St. Petersburg, Russia, VASSA SHEVEL won theCappella Competition at age 11, performing the Bach Double Concerto,and later began her undergraduate education at the RimskyKorsakovConservatory, where she studied with Galina Orlovskaya. Immigrating tothe United States with her family in 1978, she continued her studies at theNew England Conservatory and SUNY Purchase, and earned her master'sdegree at the Juilliard School, where she was a teaching assistant to OxanaYablonskaya. She has studied piano with Jacob Maxin, Russell Sherman,Jerome Lowenthal, Gregory Haimovsky, and Karl Ulrich Schnabel, andchamber music with Yehudi Wyner, Jennifer Langham, Lawrence Lesser,
Nancy Cirullo, Paul Doktor, and Robert Levin. A finalist in the MurrayDranoff International Competition, Ms. Shevel has performed at AliceTully Hall, Symphony Space, and Symphony Hall (Boston), as well as atmajor venues and festivals in Europe. In addition to being artistic directorof the Phoenix Chamber Ensemble, she is a member of the PhiladelphiaPiano Duo with Claire Belkovsky, and also maintains an active privateteaching practice.
Staff for this concert:Dana Dimitri Richardson, producer and stage manager
Dary John Mizelle, stagehandEmiko Hayashi and David Picton, reception
Joseph Pehrson, page turnerEugene Marlow and Josy Fox Goodman, at the door
Paul Geluso, recording engineerTamara Cashour, publicity
Jacob E. Goodman, programs
The NEW YORK COMPOSERS CIRCLE, now in its fourteenth year, is amultifaceted artistic and educational organization of composers and performers,whose mission is to promote public awareness and appreciation of contemporarymusic through concerts, salons, and other events in the New York metropolitanarea. For its members, the NYCC offers a variety of opportunities for testingworks in progress at monthly salons open to the public, performing completedworks in concert, and fostering collaboration and development, both artistic andprofessional. For composers who are not members, the NYCC offers theopportunity of a public performance to winners of its annual composers’competition. For the sophisticated concertgoing public, the NYCC offers at leastfour concerts a year of works by members and others, curated by a jury headedby distinguised composer Tania León. And for members of the public who havenot yet been exposed to much contemporary music, the NYCC sponsors anoutreach program, in which we send performers to various institutions includinghigh schools and community centers, at no charge to the institution, to performmusical works of the 20th and 21st centuries. Inspired by a workshop at the American Music Center, Jacob E. Goodmanfounded the New York Composers Circle in the spring of 2002 as an associationof composers meeting regularly to play their music for one another. It soonbecame apparent that we had the artistry and commitment to present our music,along with the music of other composers, to a larger audience. In May, 2003, theNYCC produced its first public concert at Saint Peter’s Church, featuringPulitzer Prizewinning composer David Del Tredici along with eleven of theNYCC's original members. This wellattended concert was favorably reviewedin the New Music Connoisseur. Under the continued leadership of Debra Kaye, John de Clef Piñeiro, RichardBrooks, and currently Hubert Howe, the NYCC's membership has quintupledsince its inception, and the number of its concerts has grown from one eachseason to its current calendar of five concert presentations during the 201516season. At the same time, our roster of performers has grown to include many ofthe world’s leading instrumental and vocal artists specializing in new music. The group continues to expand its programs. Informal readings of new piecesallow composers to "test fly" their works with some of New York's finestprofessional and advanced student musicians. Such events, along with ourmonthly music salons and collaborations with other groups and institutions,support the creation and presentation of new music through the various stages ofits development. In the 200405 season, awardwinning composer EzraLaderman joined members of the NYCC in its spring concert. In addition to itsown two concerts, in March 2006 the NYCC presented a joint concert with theperforming ensemble ModernWorks; during the following season wecollaborated with New York University in our first concert at NYU's FrederickLoewe Theatre; in March 2010 we collaborated with the Italian “No Borders”
Quartet in presenting a program of works by American and Italian composersthat was performed both here and in Italy; in September 2012 we presented aconcert under the auspices of the celebrated Bargemusic series “Here and Now”;and in 2014 we inaugurated a series of NYCC jazz concerts. In the summer of 2007 the NYCC held the first of its annual composers'competitions, open only to nonmembers. The winning work in the 2015competition, our eighth, Ross G. Griffey's Tied by a Chance Bond Together, forviolin and piano, will receive its premiere performance at our final concert of thisseason, on June 4, 2016 at Symphony Space. Seven seasons ago the NYCC launched a new outreach initiative—the NewYork Composers Circle's Community Encores program. We send professionalperformers to institutions throughout New York City such as schools andcommunity centers, at no cost to the institution, with the aim of acquaintingpreviously untapped audiences with concert music of the 20th and 21st centuries;each concert is emceed by a member of the NYCC, who introduces theperformers and the music they play. The first concert in this series, featuringpianist/composer Nataliya Medvedovskaya with commentary by John de ClefPiñeiro, took place to great audience acclaim on February 24, 2009, at theHebrew Home in Riverdale. To date, we have presented 23 such outreachconcerts, at public high schools (Bronx H.S. of Science, Stuyvesant, and HunterCollege H.S.) and at additional community centers (Lenox Hill NeighborhoodHouse at Saint Peter's Church and JASA, as well as two outreach concerts, byEugene Marlow’s Heritage Ensemble, at Lighthouse International); several moreare planned for this season. A recent Community Encores concert at StuyvesantHigh School featuring soprano Sofia Dimitrova and pianist Catherine Millergarnered a rapt audience of 350 students, whose probing questions were fieldedby the performers and by composer Richard Russell, who acted as emcee. These free outreach concerts are presented under the sponsorship of NYCCcontributors, and the list of schools and community centers is expanding. Seethe next page for how you can become a sponsor of this important project, whichis bringing new music to new audiences.
Friends of the New York Composers CircleJudith AndersonNaoko AokiOliver BaerWilliam and Marilyn BakerRoger BermasNancy R. Bogen-GreissleHervé BrönnimannRichard Brooks and Clifford HallArline BrownBarry CohenRobert CohenGloria ColicchioMary CronsonDavid Del Tredici and Ray WarmanGary DeWaal and Myrna ChaoMargaret DeWittRobert and Karen DewarMr. and Mrs. John EatonJeanne EllisMichael and Marjorie EngberWilliam and Harriet EnglanderMargaret Fairlie-KennedyAnne FarberAllen C. Fischer and Renate BelvilleAmy Roberts FrawleyElizabeth FriouVictor FrostMark and Louise GatanasPeter and Nancy GellerLucy GertnerJacob E. and Josy Fox GoodmanDorine GordonPerry GouldStanley S. GrosselMartin HalpernLinda HongHubert HoweCarl and Gail KanterDavid KatzLou KatzDavid KaufmanBarbara Kaye
Debra KayeRichard KayeDaniel KleinVladislav KlenikovAlvin and Susan KnottAndrea KnutsonSusan KornLeo KraftHerbert and Claire KranzerMichael LadermanRaphael LadermanDorothy LanderArnold and Michelle LebowMr. and Mrs. Robert LeibholzStephen and Ann LeibholzNancy and Norman LoevErwin LutwakJoseph and Nina MalkevitchDavid MartinMartin MayerWilliam MayerEugene W. McBrideChristopher MontgomeryWilliam and Beryl MoserGayther and Carole MyersBill NerenbergLinda Past and Joseph PehrsonJeanette and Stuart PertzMurray S. PeytonRichard Pollack and Lori SmithBruce S. PyensonRochelle and Douglas SauberMarjorie SenechalJohn H. SolumAbby Jacobs StuthersAl and Alice TeirsteinMr. and Mrs. Douglas TownsendRaymond TownsendGary and Katrine WatkinsSally WoodringThomas Zaslavsky and Seyna BruskinMartin Zuckerman and Susan Green
The NYCC gratefully welcomes donations large and small, which help make ourconcerts possible. Contributions to the New York Composers Circle are taxdeductibleunder Section 501(c)(3) of the Internal Revenue Code. Your donations may be sent tothe address on the last page of this program, or you may click on the "Donate Now"button on our website, www.NYComposersCircle.org
If you would like to help us in our efforts to build new audiences for new music, pleasebecome a Friend of the New York Composers Circle and send us your contribution.
New York Composers CircleBoard of Directors
Richard Brooks John de Clef Piñeiro, Chair Jacob E. Goodman David Katz
AdministrationHubert Howe, Executive Director
Max Giteck Duykers, Deputy Executive Director and Membership CoordinatorDavid Katz, Treasurer
Susan J. Fischer, SecretaryTania León, Program Committee Chair
Jacob E. Goodman, Concert Director and Outreach CoordinatorTamara Cashour, Publicity Coordinator
Robert S. Cohen, ASCAP and BMI LiaisonDary John Mizelle, Salon Coordinator
Emiko Hayashi, Coordinator of ReadingsRichard Russell, Webmaster and Editor of In the Loop
Honorary MembersElliott Carter (dec.) John Eaton (dec.) Ezra Laderman (dec.)
Tania León Paul Moravec
Composer MembersJosé Beviá Jennifer Griffith Kevin McCarter David PictonRoger Blanc Martin Halpern David Meciones Raoul PleskowRichard Brooks Emiko Hayashi Nataliya Medvedovskaya Frank RetzelMadelyn Byrne Hubert Howe Yekaterina Merkulyeva Dana RichardsonTamara Cashour Carl Kanter Scott Miller Richard RussellRobert S. Cohen Debra Kaye Dary John Mizelle David SeeMax Giteck Duykers Patricia Leonard Gayther Myers Inessa SegalSusan J. Fischer Eugene Marlow Nailah Nombeko Craig SlonJoe Gianono Peri Mauer Joseph PehrsonJacob E. Goodman Richard McCandless Frank Picarazzi
Performer MembersDemetra Adams, soprano Oren Fader, guitar Daniel Panner, violaHaim Avitsur, trombone Leonard Hindell. bassoon Lisa Pike, hornMary Barto, flute Craig Ketter, piano Anthony Pulgram, tenorAllen Blustine, clarinet Michael Laderman, flute Ricardo Rivera, baritoneVirginia Chang Chien, oboe Jacqueline Milena, soprano Stephen Solook, percussionSofia Dimitrova, soprano Daniel Neer, baritone Patricia Sonego, sopranoStanichka Dimitrova, violin Maxine Neuman, cello Anna Tonna, mezzo-sopranoTiffany Du Mouchelle, soprano Margaret O'Connell, mezzo Arlene Travis, sopranoMarcia Eckert, piano Javier Oviedo, saxophone
ContactNew York Composers Circle
20 Scott Drive EastWesthampton, NY 11977-1015
www.NYComposersCircle.org
Our next concert will take place at 7:30 PM on Tuesday, April 26, 2016,at Saint Peter's Church, 54th St. and Lexington Ave. in Manhattan.
For more information, please see the NYCC website.