Hot Air Music Festival 2013 — Program and Notes
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8/22/2019 Hot Air Music Festival 2013 Program and Notes
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march 3, 2013
san francisco conservatory of music
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HOT AIR MUSIC FESTIVAL 2013 A2
PROGRAM1:00 >> 6
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2:00
3:00
4:00
RH
RH
CH
RH
CH
THOMAS CONROY The Brodie Set A FOOTE + CONROY
DANNY CLAYChildrens Songs, Book 2 A LIBBY + HALL + CAMP
DAVID CONTE String Quartet No. 2 A IVES QUARTET
DOMINICK ARGENTOThree Songs A VOCALLECTIVE
ALDEN JENKSHammered A ENDO + JENKS
KYLE HOVATTERThe Naughty Child
A
LOWRY + MACHIZ + CANNON
STEVE REICHElectric Counterpoint A SFCM GUITAR ENSEMBLE
CRESSWELLHesheyoumeusA
MORGAN BRENNER + CRESSWELLRANDALL-MYERSRust and Anchors A ESCAREO + NASHIMOTO + CLAY
LUCIANO BERIOOpus Number Zoo | JOSEPH STILLWELLClarinet Quartet
BYRON ADAMSSerenade for Nine Instruments
EVAN BUSHMANThese Ragged Times A LEPAGE + GINN + RODDA
KAITO NAKAHORIHidden Instincts A NARIZUKA
DOUGLAS MOOREGallantry A BRAND + OHANIAN + FRIENDS
RecitalHall
RecitalHall
RHBECKERLast Light | KNIGHTBon Voyage | WALLACEMore Gargoyles
MOBIUS T RIO
RecitalHall
ConcertHall
RecitalHall
OSEVE BEGLARIAN Until It Blazes | CHRISTIAN WOLFFAnother Possibility
ANTHONY PORTERhair of the thing that bit you | POLANSKYfreeHorn
GIACOMO F IORE
OsherSalon
ConcertHall
V AL INOR W INDS + F RIENDS
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FESTIVAL SCHEDULE A3
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5:00
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RH
OS
CH
RH
CH
JUSTIN RALLSNight-Psalms
A
GULYAS
WINTON YUICHIRO WHITETwo Japanese Komoriuta A WHITE + SEDAN
JOHN CORIGLIANOIrish Folksong Settings A WHITE + SEDAN
CLARICE ASSADDanas Nativas A COCKERHAM + FRIENDS
RENAUD CT-GIGURE Two Machines A COCKERHAM + FRIENDS
MATTHIAS MCINTIREEarthbound and Skyward A COOLIDGE
NICK BENAVIDESPain has an element of blank A REUTTER-HARRAH + LUO
STEPHEN GOSSUnder Milk Wood Songs A JARRING SOUNDS
LAURA SCHWENDINGERThe Violinists in My Life A HE + NAKAGOSHIBENJAMIN BOYLETo One in Paradise A OHANIAN + HOT AIR ORCHESTRA
HENRYK GRECKIGood Night A LIBBY + GULYAS + MACDOUGALL + GODOY
RecitalHall
OsherSalon
ConcertHall
RecitalHall
ConcertHall
OSWANGDelta | BROWN This Time Finer | WHITEGroove III
TEMPLE Triggersh | VANHASSELRevealing, Unraveling
W IL D RUMPUS
OsherSalon
RHDAN BECKERLockdown | PETERS VASKS String Quartet No. 4
GABRIELA SMITHReection Nebulae
F RICT ION QUART ET
OsherSalon
NICHOLAS WHITEstitchings | JOSEPH M. COLOMBO Ouroboros
INGRID LEEOf Monsters | ANTHONY PORTER archers | IAN DICKEDj
Dancing on the Brink of the World
BAILEY + HOT AIR FESTIVAL ORCHESTRA
NEW K EYS
L OREN JONES
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HOT AIR MUSIC FESTIVAL 2013 A4
CREDITSHOT AIR FESTIVAL STAFF
Collin Boltz
Festival DirectorRed BennettFestival Co-director
Louis CruzFestival Co-director
Vasken OhanianFestival Co-director
Nicholas PavkovicCo-director of Communications
Anthony Porter
Co-director of Communications
Sasha Launer DirectorofEnsemble/AlumniAairs
Loren Jones DirectorofOutreachandEducationalAairs
Zach MileyPrincipal Recording Engineer
HOT AIR PROGRAM ANNOTATORS
Jim CoughenourEditor
Adam Cockerham, Joseph Stillwell,Sarah Wald, Winton Yuichiro White
Contributing Writers
SPECIAL THANKS
Elinor Armer
Jiayi Jiang
Alice Beckett
Dan Becker
Jason OConnell
Mary Ellen Poole
Lauren Quimby
Seth Ducey
Clay Bennett
Noam Szoke
SFCM Percussion Department
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Playing world-class music.Making life-long friends.
Re-connecting is easy.
Email [email protected] to get started.
Where it all begins.
When you attend the
San Francisco Conservatory
of Music, you gain morethan a top tier music
education. You make
friends, create ensembles
and join networks.
As an alumni of the
Conservatory you dont
just thinkthat anything is
possible. You know it.
George Duke (B.M., trombone and composition, 67) andEric Peterson (B.M., trumpet, 69) enjoy a laugh about
their college playing trio days.
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HOT AIR MUSIC FESTIVAL 2013 A6
ABOUT THE BRODIE SET
The Brodie Set is a multi movement song cyclefor soprano and piano based on the MurielSpark novella, The Prime of Miss Jean Brodie.
Jean Brodie imparts life lessons and the virtuesofwomanhoodbuthardlyanyofthespeciedcurriculum to her ten-year-olds at the MarciaBlaine School for Girls in Edinburgh. The songcycleisaseriesofreectionsonsixparticular
girls who were Jean Brodies favorites, collec-tively known as The Brodie Set.
ABOUT THOMAS CONROY
Dr. Thomas Conroy has been teaching harmonyand musicianship at the San Francisco Con-servatory of Music since 2009. He earned his
DMA in composition at the Shepherd School ofMusic, Rice University (2006) and his MM fromthe San Francisco Conservatory of Music (2003).He is also a composer and teaching artist in the
ARIA NETWORK opera education program.
Conroy has taken part in the The EuropeanAmerican Musical Alliance summer course atthe cole Normale de Musique in Paris, and ispursuing a masters degree in the Great BooksProgram at St. Johns College during summersessions.
Recent performances include his homage tochoral music teachers and conductors: This isWhy I Sing, premiered by the Houston ChamberChoir and featured on NPR; and Searching for
Spinoza, a two-act musical drama premiered bythe opera department at UNC Chapel Hill.
THOMAS CONROY
The Brodie Set (2013)
I. I Am Miss Jean BrodieII. Eunice Gardiner (You Are an Ariel)
III. RoseStanley(WiththeProle)
IV. Mary MacGregor (Slowly Lumping Backand Forth)
V. Jenny Grey (A Leaven in the Lump,There Needs Must Be)
VI. Monica Douglas (Famous for CalculatingFigures in Your Head)
VII. Sandy Stranger (Sister Helena of theTransguration,ClutchingtheBars of the Grille)
VIII. I Am Miss Jean Brodie
Thomas Conroy, piano
Amy Foote, soprano
DANNY CLAY
Childrens Songs, Book 2 (2011)
I. sitting on a rock
II. the wind is a ghost
III. questions
IV. today
V. Id love to take you home
Lora Libby, soprano
Elizabeth Hall, McKenzie Camp,
percussion
RH 1:00RECITAL HALL
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RECITAL HALL 1:00 PM A7
ABOUT CHILDRENS SONGS
Childrens Songs, book 2isacollectionofvefound poems written by kids from Ohioelementary schools. Ranging from meditationson nature, to surreal evocations of lonelinessand isolation, to a pure and unbridled love song,Indthesepoemsembodymuchmorethanthe
quirkiness of childhood thoughts and musings.Tome,eachfragmentoftexttouchesonfeelings
thataredeepandoenquiteprofoundthekindoffeelingsthatallpeopleexperience,regardless of age.
ABOUT DANNY CLAY
Born in 1989, Danny Clay is a composer andgeneral noise-maker from Ohio. Clay draws
upon elements of Americana (genealogy, arteducation, childrens theater, digital media) tomake his music.
He has been commissioned and performedby the Kronos Quartet, the Cincinnati Sym-phony Orchestra, the Central Ohio Symphony,concert:nova + the Cincinnati Ballet, toy pianistPhyllis Chen, the Mobius Trio and Nonsemble6, and has released music on labels such asRural Colours, Audio Gourmet and Heat DeathRecords.
CHILDRENS SONGS TEXTS
I.
Im sitting on a rock
with the clouds above
the trees are all above the sky
the water is as chilly as can be
a bird is ying looking for his friends
and Im still sitting on a rock
waiting for my friend
II.
The wind is a ghost that whirls and twirls
Twists in moccasins - sweeps up frost
Spinning across the grey atlands.
A whirlwind is a ghost! Dancing!
III.
Winter - do you cry with snow?Trees - can you talk?
Ancestors - why are most of you family branches?
Where did I get my name?
Why am I so inventive?
Where do I store all of my pressure and anger?
IV.
The weather is the frostiest ction I have ever seen.Somewhere where your mind explodes.
Sitting somewhere where you grow your mind.
I feel multiplied!
I see the past outside the window.
V.
Id love to take you home
on a cold and wintry day.You are the one I think about everyday!
And in the day or night,
every day and night,
youre all I ever think about.
Id love to take you home.
From Cave Daze, originally published by the Ohio Arts
Council. Written by children of Ohio elementary schools.
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ABOUT THE SECOND STRING QUARTET
Of this work, the composer has written:String Quartet No. 2 was composed between July2009 and January 2010. I wrote my First StringQuartet in 1979 and was delighted to be given theopportunity by the Ives Quartet to return to thisrewarding and challenging medium.
Therstmovement,markedMolto Moderato, isthe longest of the movements. It is composed inanexpandedsonataform.withadoubleexpo -sition of an introductory theme repeated downa half-step. This introductory theme is variedand developed in several ways throughout themovement; as the basis for a faster version thatservesasthersttheme,andinthedevelopmentsection as the basis for fugal development. Thesecondtheme,rststatedbytherstviolin,and
then by the cello, has a consciously romantic andexpressivecharacter.Aeraclimacticpassagethat
includesdouble-stopsfortherstviolinandrapidsextupletsfortheaccompanyinginstruments,there is a brief transition leading to the recapit-ulation,whichissomewhatexpandedfromthe
exposition.Thereisasolemncodathatfeaturesastatement of the introductory theme in the viola.
The second movement is markedAllegro scher-zando, and is cast in 6/8 time. The character ofthe movement is slightly quirky, and is built outofcontrastingsectionsofthemainthemerst
statedintherstviolinwithpartialstatementsofthe choraleHow Brightly Shines the Morning StarbyPhilippNicolai(1556-1608)rststatedinthe
cello. All the instruments have a turn in singingsuccessive phrases of the chorale, culminating inacompletestatementofthechoralebytherstviolin at the end of the movement.
The third movement is anElegy, and is dedicatedto the memory of a dear friend of mine who diedin2009.Shewasagiedsingerandthismove -ment honors her memory through its essentiallyvocal lyricism. Marked Lento assai, the Elegy iscast in 3/4 time; it is based on a single, cantabilethemerstsungbytherstviolin,andaccom -paniedbyachordalwalkingbasstexture,thus
HOT AIR MUSIC FESTIVAL 2013 A8
DAVID CONTE
String Quartet No. 2 (2010)
I. Molto Moderato; AllegroII. Scherzo/Chorale: Allegro scherzando
III. Elegy: Lento assai
IV. Allegro energico
THE IVES QUARTET
Bettina Mussumeli, violin
Susan Freier, violin
Jodi Levitz, viola
Stephen Harrison, cello
DOMINICK ARGENTO
Three songs from
To be sung upon the water (1973)I. The Lake at Evening
II. In Remembrance of Schubert
III. The Lake at Night
VOCALLECTIVE
Indre Viskontas, soprano
Luz Brahn, clarinetIan Scarfe, piano
CH 2:00CONCERT HALL
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CONCERT HALL 2:00 PM A9
giving the feeling of a rhythm section supporting
a singer.The fourth movement is a spirited and energetic
Allegroin4/4meter.Thisnaleisdesignedasamodiedrondoform,withthreecontrastingthemes. The third of these is related to thesecondthemeoftherstmovementand,likethatmelody,isconsciouslyromanticandexpressivein
character.Thenaleconcludeswithbriskcodain
compoundmeterthatconcludeswithaourishinall instruments.
ABOUT DAVID CONTE
David Conte (b. 1955) is currently Professor ofComposition and Conductor of the ConservatoryChorus at the San Francisco Conservatory of
Music. He has received commissions from Chan-ticleer, the San Francisco Symphony Chorus, theDayton, Oakland and Stockton Symphonies, the
American Guild of Organists, Sonoma City Opera,Gerbode Foundation and the American ChoralDirectorsAssociation.Contehascomposedveoperas: The Dreamers, The Gi of the Magi,Firebird
Motel,America Tropical andFamous as well as a
musical, The Passion of Rita St. James. His operashave been produced at the Berlin InternationalOpera, USC, University of Minnesota, Hidden
Valley, and many other colleges, universities, andregional companies. A Fulbright Scholar in Pariswith Nadia Boulanger, a Ralph Vaughan WilliamsFellow and an Aspen Music Festival ConductingFellow, Conte earned his bachelors degree from
Bowling Green State University, where he studiedwithRuthIngleeldandWallaceDePue,andhismasters and doctoral degrees from Cornell Uni-versity where he studied with Karel Husa, RobertPalmer, Steven Stucky and Thomas Sokol. In 1982,Conte worked with Aaron Copland preparing astudy of the composers sketches. Contes musichas been heard in the documentariesBallets Russes,
and Orozco: Man of Fire. In 2010 he was appointedto the composition faculty of the European
American Musical Alliance in Paris.
ABOUT THE IVES QUARTET
Inspired by the passionate, artistic commitmentand unique temperament of American composerCharles Ives (18741954), the quartet has attractedcritical enthusiasm for its practice of reveling inthe unfamiliar, championing an eclectic rep-ertoire that combines established masterworkswith underappreciated gems, neglected scores ofearly-twentieth-century America, and specially
commissioned new pieces.
The Quartet has established a reputation forpassion, precision, and provocative programming,winning accolades for playing that shows bothsuper-renementandvisceral,rock-and-rollintensity. The Ives Quartet presents an annualhome concert series in Silicon Valley and the
Greater San Francisco Bay Area in addition toperforming nationally and internationally at notedchamber music series and festivals.
ABOUT VOCALLECTIVE
Founded in 2011, Vocallective is a consortiumof singers and instrumentalists dedicated to the
art of vocal chamber music. Repertoire includesboth world and west coast premieres of piecesby American composers Mohammed Fairouzand Giancarlo Aquilanti, as well as thoughtfulreinterpretations of well-known classical works.The variety of music presented by the ensembleunderscores a commitment to present not onlypieces that have stood the test of time but tochampion living composers and commissionnew works of vocal chamber music. Vocallectivehas been featured on 91.7 KALW and KUSC inLosAngeles,onVoiceBox.LedbysopranoIndre
Viskontas,theensembleisanaliateoftheSanFrancisco Friends of Chamber Music. Moreinformation and sounds clips can be found atwww.vocallective.com.
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ABOUT HAMMERED
Of this work, the composer has written:Thispieceisanexperiment,usingthecomputerto modify the sound of the piano. The listenerhearsboththepianodirectlyand(viaAbletonLIVEsowareacoloredversionofthesamesound.Thetwoshouldmixabout50:50inthehall.
The computer operator is responsible for chang-ing the character of the coloration as the piece
progresses. At points the computer contributesanother voice, a ghost piano, with which the livepiano interacts.
ABOUT ALDEN JENKS
Alden Jenks (b. 1940) teaches composition and isDirector of the Electronic Music Studio at the San
Francisco Conservatory of Music. His music hasbeen performed in the San Francisco Bay Areaand around the world. He was born in Michigan,attended Yale University and the University of Cal-ifornia, Berkeley, from which he received BA andM.A. degrees. Among his composition teacherswere Darius Milhaud, Ben Weber, Andrew Imbrie,and Karlheinz Stockhausen. He studied piano
withRobertHelpsandBarbaraShearer.Aerhisacademic work was completed, he collaboratedwith David Tudor and John Cage in several per-formance presentations. With composer MartinBartlettheperformedasDeusexMachina,using
home-made electronic devices and materials scav-enged from second-hand stores. His work includeselectronic music for recorded media alone and
withliveperformers,andasignicantamountofmusic for live performers alone as well.
Mr. Jenks has premiered two works at past Hot AirMusic Festivals: War of Words in 2010 and UnrestfulSleep in 2011.
HOT AIR MUSIC FESTIVAL 2013 A10
ALDEN JENKS
Hammered (2013)
Mikako Endo, piano
Alden Jenks, laptoppist
KYLE HOVATTER
The Naughty Child (2013)
ElisabethLowry,ute
Doug Machiz, cello
Matthew Lee Cannon, marimba
STEVE REICH
Electric Counterpoint (1987)
SFCM GUITAR ENSEMBLE
Travis Andrews, solo electric guitar
Renaud Ct-Gigure, Tatiana
Senderowicz, Tim Sherren, Matt Bacon,
Alexandra Iranfar, Matthew Lyons,
Paul Morton, Christopher Hague,
John Zientek, Sarah Stallings,J.C. de Luna, Kyle Sampson, guitars
Adam Cockerham, bass
Nahuel Bronzini, bass
David Tanenbaum, conductor
RH 2:00RECITAL HALL
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melodic patterns that result from the contrapuntal
interlocking of those eight prerecorded guitars.The second movement cuts the tempo in half,changes key and introduces a new theme, which isthen slowly built up in nine guitars in canon. Onceagain, two other guitars and bass supply harmony,while the soloist brings out melodic patterns thatresult from the overall contrapuntal web.
The third movement returns to the originaltempo and key and introduces a new pattern intriplemeter.Aerbuildingupafour-guitarcanon,
two bass guitars enter suddenly to further stressthe triple meter. The soloist then introduces anew series of strummed chords that are built upin three-guitar canon. When these are complete,the soloist returns to melodic patterns that result
from the overall counterpoint, suddenly, thebasses begin to change both key and meter backand forth between E minor and C minor, andbetween3/2and12/8,sothatonehearsrstthree
groups of four eighth-notes and then four groupsof three-eighth notes. These rhythmic and tonalchanges speed up more and more rapidly until atthe end the basses slowly fade out and the ambi-
guitiesarenallyresolvedin12/8andEminor.ExcerptedfromWritings on Music, 1965-2000(Reich,SteveandPaulHillier,Oxford:OxfordUP,2002)
ABOUT THE NAUGHTY CHILD
The Naughty Child is based on the poem byLangston Hughes:
The naughty child
Who ventured to go cut owers,Fell into the mill pond
And was drowned.
But the good children allAre living yet,
Nice folks nowIn a very nice town
ABOUT KYLE HOVATTER
Kyle Hovatter (b. 1986) is a composer, organist,pianist, and founding member of SFNewMusic.His works range from orchestral, choral, chamber,and electronic. He has had the privilege to studywith Robert Coburn, Francois Rose, and ElinorArmerattheUniversityofthePacicandthenatthe San Francisco Conservatory.
He has collaborated with Paula Brusky, CorneliaPetroiu, the Third Wheel Trio, and Nonsemble 6.
Among his favorite premieres was that of PlumGreen a multi-movement work for piano andbassoon. Currently Mr. Hovatter is an activemusician in San Francisco and a member of theInternational Orange Chorale.
ABOUT ELECTRIC COUNTERPOINT
Of this work, the composer has written:Electric Counterpoint was commissioned by theBrooklynAcademyofMusicsNextWaveFestivalfor the guitarist Pat Metheny.
Theworkisinthreemovementsfast,slow,
fastplayedoneaertheotherwithoutpause.Therstmovement,aeranintroductorypulsing
section where the harmonies of the movement arestated, uses a theme derived from Central Africanhorn music. That theme is built up in eight voicecanon and, while the remaining two guitars andbass play pulsing harmonies, the soloist plays
RECITAL HALL 2:00 PM A11
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HOT AIR MUSIC FESTIVAL 2013 A12
ABOUT LAST LIGHT
The last light of any phenomena is a mysteriousandmagicaloccurrence,andoenjustthebegin-ning of something, not the end. Whether its thatmoment when the sun dips below the horizon, orthat moment when a loved one passes from thisworld,veryoentheenergysurroundingsuch
an event increases rather than diminishes. ThepieceLast Light was commissioned by and written
expresslyforthethreeyoungmenofMobius,fantastic players all. It is ultimately and simply aplay of patterns, spinning out personal musicaltranslations of the thoughts, emotions, and statesofmindconjuredupbyitstitle
ABOUT DAN BECKER
Dan Becker (b. 1960) is a San Francisco-basedcomposer whose artistic work has been describedaspost-minimalistduetothestronginuenceofworks by Terry Riley (with whom he studied) andother minimalists of the early 1960s: La Monte
Young, Steve Reich and Philip Glass. Becker is thefounder and Artistic Director of the CommonSense Composers Collective, a member of the
Board of Directors of the American Music Center,and a professor of composition at the San Fran-cisco Conservatory of Music.
Becker received his DMA in Composition fromYale University, where he earned his masters ofmusic and masters of arts degrees. His teachersinclude Terry Riley, Jacob Druckman, MartinBresnick, Elinor Armer, Poul Ruders and Louis
Andriessen. He is the recipient of awards andgrants from the American Academy of Arts andLetters (2001), Meet the Composer (2002/2008),
American Music Center (2006), Live Music forDance (2006), the America Composers Forum(2004), and the Mary Flagler Cary Charitable Trust(2003). His music has been performed at universi-ties and festivals large and small, across the United
States, including the Norfolk Summer Festival,Chicago Arts Series, Park City String QuartetFestival, Bates College American Music Festival.
RH 3:00RECITAL HALL
DAN BECKER
Last Light (2013)
ADRIAN KNIGHT
Bon Voyage (2013)
FRANK WALLACE
More Gargoyles (2013)MOBIUS TRIO
Robert Nance, Mason Fish,
Matthew Holmes-Linder, guitars
CHRIS CRESSWELL
Hesheyoumeus (2013)
JillMorganBrenner,soprano(amplied)
Chris Cresswell, electronics
BRENDON RANDALL-MYERS
Rust and Anchors (2012)
Luis Escareo, viola
Ami Nashimoto, violoncello
Danny Clay, toy piano
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ABOUT FRANK WALLACE
Frank Wallace (b. 1952) is an American compos-er, guitarist and baritone.Fanfare magazine haspraised him as a composer with an authenticexpressivevoiceandahighstandardofmusicalinterestwhoperformswithawlesstechnical
prociency.Self-taughtasacomposer,hisstylehasinuencesfromthebluesandjazztomedi-eval and avant-garde. Wallaces works showcasethe classical guitar in solo, duo, ensemble worksfrom 3-6 guitars, and in chamber works. He haswritten works for Nancy Knowles, ChromaDuo,JugendZupfOrchesters NRW, Mare Duo, MarekPasiezcny, Norbert Dams, Olson/De Cari Duo,Providence Mandolin Orchestra and others.
Frank Wallace founded and directed the BostonClassical Guitar Societys Festival 21. He was also
a founder and co-director of the Second SundaysClassical Guitar Series in New York. He has taughtat the New England Conservatory, Plymouth StateCollege, Emmanuel College, Keene State Collegeand Franklin Pierce College and has a bachelorsdegree from San Francisco Conservatory.
ABOUT MOBIUS TRIO
Described by the eminent Sergio Assad as themostinventiveandexcitingyoungguitarensemble today, Mobius Trio has made it itsmission to fully integrate the classical guitar intothe21stcenturysnascentmusicallexicon.Thetrioexclusivelyperformsmusicthattheyhave
commissioned;theyseektoexpandtheguitar
ensembles repertoire to encompass all of themyriad currents of contemporary art music.Formed in 2010 by guitarists and SFCM studentsRobert Nance, Mason Fish, and Matthew Holmes-Linder, the Trio has already commissioned morethan a dozen compositions and performed atthe Kennedy Center. They recently released theirdebut album,Last Light, following a successful
Kickstarter campaign.
ABOUT BON VOYAGE
Witharunningtimeofapproximatelysevenminutes,Bon Voyage consists almost entirely ofarticialharmonics,demandinggreatstaminafrom its performers. As in many of his otherworks, Knight focuses here on creating a tranquil,immersive ambience rather than a fast-paceddrama. The stasis of the works harmonies andtonality are underscored by an arppeggiated
ostinato which permeates the piece. A simple,fragmentedmelodylineoccasionallyoats
abovethetextureandharmony.Knightgivestheimpression of rubato to the melody lines throughthe use of uneven divisions of the beat, includingquintuplets and rhythms of two against three andthree against four. SARAH WALD
ABOUT ADRIAN KNIGHT
Adrian Knight (b. 1987) is a Swedish composerand musician who currently lives in New York. HewritesandperformswithMaxZuckermanasBlue
Jazz TV.
Recent activities include performances at TheStone, New York; San Francisco Conservatory ofMusic (The Living Earth Show); Orchestra Hall(Minnesota Orchestra); Yale School of Drama, NewHaven; and (Le) Poisson Rouge, New York
Since 2008, he has operated the smallest recordlabel in the world, Pink Pamphlet.
ABOUT MORE GARGOYLES
About this work, the composer has written:More Gargoyles [was written] for the Mobius Trioof San Francisco. Gargoyles seem to represent thetwosidesofhumanitytheyprotectthesacredspace within the walls they adorn, frighten usaway. They are ugly by design, but beautiful intheirintensityandinthesculptorsexecution.In
factitisoenthemostgrotesquethatfascinateand inspire. Yet it is the sacred space we mustenter by facing the gargoyles.
RECITAL HALL 3:00 PM A13
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HOT AIR MUSIC FESTIVAL 2013 A14
ABOUT RUST AND ANCHORS
About this work, the composer has written:Rust and Anchors is a somewhat nautically-themedpiece about pressure. The toy piano is squeezedbetween the two string parts, the sound emergingonly for a second. The string players are asked tobow with increasing amounts of pressure, whichgradually squeezes the pitch out of the sound.Much of the piece is unmeasured and the players
are asked to avoid visual cues, putting pressureon them to listen carefully to each other in orderto stay synchronized. I hear the groans of sunkenwrecks collapsing under the weight of the ocean,littlebubblesescaping.Butmaybethatsjustme.
ABOUT BRENDON RANDALL-MYERS
Brendon Randall-Myers (b. 1986) is a composer,guitarist,andimproviser.Hismusicexaminespeoplesinteractions,expectations,andbound-aries,oenthroughjuxtapositionsandcombi-nations of music for bars and music for concerthalls.Brendonco-foundedthepunk-inectedcomposing/improvising group Grains, and wasa fellow in guitar at the Bang on a Can summer
festival in 2012. He has been commissioned by theGuitar Foundation of America and the GuerillaComposers Guild, and by performers such asTheLivingEarthShow,Friction,AlienBoxMan,Sqwonk, Celliola, Nonsemble 6, Mobius Trio, andutistEstherLandau.Brendongrewupinrural
WestVirginia,attendedPhillipsExeterAcademyand Pomona College, and is currently pursuing
an masters in composition at the Yale School ofMusic, studying with David Lang and Chris Theo-fanidis. His primary guitar teachers have been BobSquires and Jack Sanders, and past compositionteachers include Kurt Rohde, Belinda Reynolds,and Tom Flaherty.
ABOUT HESHEYOUMEUS
About this work, the composer has written:hesheyoumeusisaworkforampliedsopranoandelectronics.Itisanexplorationofloveandcreativityparticularlywhathappenswhenyouridentity is wrapped up in these two concepts andtheybegintosimultaneouslyfallapart.Intherst
twomovements,thesingerbeginstoconatetheconceptsuntiltheylosetheirdenition.Aseach
movement develops we lose sense of what wordsthesingerissingingandareleonlywiththevowels.Inthenalmovement,wehearmorestory,
buteventhisdisintegratesintheclimax,whereweareleonlywiththesound i as the singer losesherself in the cascading waves of electronic sound.
The electronics are constructed around thenotion of lost identity. Sounds develop by takingfragments of popular songs and manipulatingthesewithvariousltersandeects.Builtalmostentirely out of loops, drones, and with diatonicmelodic material, these three movements aremoreakintopopsongsthanclassicalmusic
popfromaplanetinagalaxyfarfaraway.
ABOUT CHRIS CRESSWELLChris Cresswell (b. 1988) is an award-winningcomposer whose music includes works for largeand chamber ensembles, voice, solo instruments,as well as electro-acoustic music. Commissionedby the American Composers Forum, The JeromeFoundation, The Society for New Music, TrudyChan, Sar-Shalom Strong, and Melissa Wid-
zinski, his music has been presented by KathleenSupoves Music with a View Festival, the Museumof Modern Art and the Kennedy Center.
Upcomingprojectsincludetheworldpremiereof
Description of a Lost Thing, written for Phillip Cheahand Trudy Chan, and Stone Seeking Warmth, a songcycle written for tenor Jon English.
Cresswell graduated magna cum laude fromSyracuse University in 2011. He currently livesin Brooklyn, NY and studies with ZibuokleMartinaityte.
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RECITAL HALL 1:00 PM A15
ABOUT UNTIL IT BLAZES
Ihavecastreupontheworld,andwatch,Iamguarding it until it blazes.
Jesus,GospelofThomas
This piece sets up repeating patterns, thengradually groups notes until new melodies growoutoftheaccents.Forexample,whenyouareplaying a three-note pattern, if you accent everyfourth event, you will get one melody; if youaccenteveryhevent,youwillgetadierentmelody.TherearesixpatternsinUntil It Blazes,each an outgrowth of the previous pattern. Thepatternisplayedverysolywithnoaccentsatall,
thengraduallyexpressesagroupingthatcreatesa slower melody arcing across the pattern. Theaccents occur within a slow crescendo, reach aclimax,thenrecedeindiminuendo.Thelengthof the piece varies depending on how slowlycross-melodiesarebuilt,thenrecededallowingthe listener to hear both the pattern and themelody that it intersects.
ABOUT EVE BEGLARIAN
Eve Beglarian (b. 1958) is a contemporary Amer-ican composer, performer and audio producerofArmeniandescent.Hermusicisoencharac -terized as postminimalist. Her chamber, choral,and orchestral music has been commissionedand widely performed by The Los Angeles MasterChorale, the Bang on a Can All-Stars, The Cham-ber Music Society of Lincoln Center, The Califor-nia EAR Unit, The Orchestra of St. Lukes, Relche,The Paul Dresher Ensemble, Sequitur, and The
American Composers Orchestra.
EVE BEGLARIAN
Until It Blazes (2001)
CHRISTIAN WOLFF
Another Possibility (2004)
ANTHONY PORTER
hair of the thing that bit you (2011)
LARRY POLANSKY
freeHorn (2012)
Giacomo Fiore,
solo electric guitar, electronics
OS 3:00OSHER SALON
HOT AIR MUSIC FESTIVAL 2013
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HOT AIR MUSIC FESTIVAL 2013 A16
ABOUT HAIR OF THE THING THAT BIT YOU
Commissioned by Matthew Holmes-Linder of theMobiusTrio,thisfantasyexplorestheaermathin four sections:
I. Contemplative and earnestII. Spritely and a bit naveIII. Sharp and frustratedIV. Very sentimental (like a love letter)
ABOUT ANTHONY PORTER
The composer writes:I started playing piano at around age 10 thanks toa generous nudge from my Italian grandma, anditwasnttoolongaerthatIbegansharingtheleside of the bench with her playing old standardslike Caravan and Up a Lazy River as shed shout
out the chords to play while she improvised themelody on top. I began writing songs in highschool imitating this improvisatory style untilarriving at UC Berkeley where I started to honemycrastudyingpianowithMichaelSethOrlandandcompositionwithJohnThow.Beforenishingat Cal, I went to Bologna, Italy to study music (atthe G.B. Martini Conservatory and the University
of Bologna), but ended up learning much moreaboutlanguage.There,Iexperiencedrst-handhowdierentpatternsofspeechandbodycues
andexpressions(ofwhichItaliansare,ofcourse,notorious)justsimplycouldnotbetranslated;most of my compositions to this day focus on thisconcept of meaning being lost in translation. InishedmymastersincompositionattheSan
Francisco Conservatory of Music in 2011; there Istudied with Dan Becker.
ABOUT ANOTHER POSSIBILITY
In 1966, Morton Feldman wrote his friend andcolleagueChristianWolapieceforsoloelectric
guitar entitled The Possibility of a New Work forElectric Guitar.Wolwhowasnotaguitaristperformed the piece a few times in concert andon various radio stations, until the guitar (and thecase in which he kept the only copy of the music)was stolen from his car one night.
In 1994 composer Larry Polansky wrote 34 Chords,an electric guitar orchestration of Feldmans shortchoral work Christian Wol in Cambridge as a nod tothelostguitarpiece.Thisunexpectedreminder,inturn,promptedWoltocomposeAnother
Possibility, in part from what he remembered ofthe Feldman original.
ABOUT CHRISTIAN WOLFF
ChristianWolwasbornin1934inNice,France,
but has lived in the US since 1941. He studiedpianowithGreteSultanand,briey,composition
with John Cage. Though mostly self-taught as acomposer, his association with John Cage, MortonFeldman, David Tudor, Earle Brown, FredericRzewski and Cornelius Cardew has been import-ant. His music allows performers to freely interactas it is performed. A number of pieces have beenused by Merce Cunningham and the CunninghamDance Company, starting in 1953.
Wolhasbeenactiveasaperformerandasanimproviser. His writings on music, up to 1998, are
collected in the book Cues: Writings and Conversa-tions. He has received awards and grants from the
American Academy and National Institute of Artsand Letters, DAAD Berlin, the Fromm Foundation,the Foundation for Contemporary Performance
Arts and the Mellon Foundation. He is a memberof the Akademie der Knste and has received anhonorary doctorate degree from the California
Institute of the Arts. Trained at Harvard as a classi-cist,WoltaughtclassicsatHarvardandfrom1971to 1999 was professor of Classics and Musicat Dartmouth College.
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OSHER SALON 3:00 PM A17
ABOUT FREEHORN
Of this work, the composer writes:freeHorn is a live computer work meant to beperformed with live instruments. Its a gener-alization of a set of my previous works, which Irefer to as the psaltery set. Its designed so thatperformers can make their own versions of thepiece. LikePsaltery (1978), this version offreeHornmoves through three related harmonic series,
tunedapuremajortriadabovethefundamentalA.Theoverallharmonictrajectoryofthisversion
ifAC#EA.Aerthebuild-upoftheoriginalseries, each new series is introduced in reverseprime order, from the 17th harmonic down:1713111471510591263168421).Harmonics are substituted through a nearestavailable pitch algorithm. The guitar is tuned in
harmonic tuning, and the guitarist is free to matchthe pitches produced by the live computer part.Or not.
ABOUT LARRY POLANSKY
Larry Polansky (b. 1954) is a composer, theorist,teacher, writer, performer, programmer, editor
and publisher. He lives in Hanover, New Hamp-shire, is co-director and co-founder of Frog PeakMusic, and teaches at Dartmouth College.
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HOT AIR MUSIC FESTIVAL 2013 A18
BYRON ADAMS
Serenade for Nine Instruments (2012)I. Allegro amabile
II. Ballade: Andante moderato eteneramente
III. Intermezzo: Allegretto grazioso ma pocoscherzando
IV. Finale: Allegro giocoso
SashaLauner,ute
Jessica Huntsman, oboe
Brenden Guy, clarinet
Alexis Luque, bassoon
Caitlyn Smith, horn
Tess Varley, violin
Emily Botel, violin
Vijay Chalasani, viola
Erin Kelly, cello
Alanna Jones, bass
John Kendall Bailey, conductor
ABOUT THE QUARTET FOR CLARINET, VIOLIN,CELLO AND PIANO
Of this work, the composer writes:The idea of composing a chamber work for clari-net has been on my musical to-do list for years. Infact, a number of times I began sketches for such apiece, though all occupied a much lighter emo-tional landscape than the piece on this program.
While I typically do not subscribe to the notion ofcompositionasself-expression,Icannothelpbutconsider this piece my most personal to date.
The work is cast in a two movement, slowfastform.Therstmovement,markedAdagio seriobegins with a somber melody that appears in anumberofdierentguisesthroughoutthemove-
ment.Theunfoldingofthemovementreectsmy desire to employ a more organic approach tocompositionwithoutsacricingformalintegrity.
LUCIANO BERIO
Opus Number Zoo (1950/1970)
I. Barn DanceII. The Fawn
III. The Grey Mouse
IV. Tom Cats
VALINOR WINDS
SashaLauner,ute
Jessica Huntsman, oboe
Brenden Guy, clarinet
Alexis Luque, bassoon
Caitlyn Smith, horn
JOSEPH STILLWELL
Quartet for Clarinet, Violin, Cello,
and Piano (2012)
I. Adagio serio
II. Allegro con malizia
Brenden Guy, clarinet
Kevin Rogers, violin
Erin Kelly, cello
Joseph Stillwell, piano
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provided the key that unlocked the portal to
sustained invention. I have sought to honor Husabypayinganaectionatetributetohismusicinparticular and Czech music in general. Finally, Isoughttocreateapiecelledwithlyricism,charm,
and gentle wit but leavened by an occasionaltouch of melancholy.
ABOUT BYRON ADAMS
Byron Adams is a composer, conductor, andmusicologist.Hisessayshaveappearedinjournals
such as19th-Century Music, The Musical Quarterly,Music and Letter; Twentieth-century Music and The
John Donne Journal, and have been included in avarietyofscholarlyjournals.In2000,theAmeri -can Musicological Society presented him with thePhilip Brett Award and in 2007, he was appointedscholar-in-residence for the Bard Music Festival,and edited Edward Elgar and His World (Prince-ton, 2007).
Adams music has been performed at the26th Warsaw Autumn International Festivalof Contemporary Music, the Leith Hill Festi-val in England, the Conservatoire Amricain
in Fontainebleau, France, and the ArmenianPhilharmonic Orchestra. A recipient of numer-ous awards and grants, he has had his scoresprogrammed in America by such ensembles asthe Syracuse Symphony; Cantori New York; andBoston Secession. Recent commissions includethe Variationes alchemisticae for Chamber MusicPalisades;LeJardinProvenal;forPacicSere -
nades; and Illuminations for piano commissionedby the distinguished pianist Armen Guzelimian.In the summer of 2011, The PhilharmoniaOrchestra performed his Midsummer Music fororchestraunderthebatononPeterOundjianfora
performance in Great Britain. That same year theChautauqua Symphony Orchestra performed hisCapriccio concertante, conducted by Grant Cooper.
Iftherstmovementseemstolookinward
emotionally, the second,Allegro con malizia (withmalice), is surely an outward reaction to suchinner contemplation.
ABOUT JOSEPH STILLWELL
Joseph Stillwell (b. 1984) began composing at age17. He currently resides in San Francisco where hemaintains a busy schedule teaching, performing,and composing. Stillwell received his mastersof music degree in 2010 from the San FranciscoConservatory of Music, where he studied com-position with David Conte. In 2007, he graduatedmagna cum laude from the University of Wiscon-sin-Stevens Point where he studied compositionwith Charles Rochester Young, piano with J.Michael Keller, and conducting with BrendanCaldwell. Stillwell has composed works for avariety of genres, ranging from solo piano and artsong to wind ensemble and orchestra. In additionto composing, Joseph is active as a performer ofnew music, and also maintains an avid interest inmusic and art history.
In a review for the San Francisco Classical Voice,
critic Janos Gereben described Stillwells music as,complexandyetinstantlyappealing,gorgeouslytonal but not old-fashioned. Awards include the2010 James Highsmith Composition Competitionfor his orchestral workMusic for a Forgotten City.His String Quartet No. 1wasoneofthreenalistsinthe 2009 Lyrica Chamber Music Young Compos-ers Competition.
ABOUT THE SERENADE FOR NINE INSTRUMENTS
Of this work, the composer has written:For many years, I wanted to compose an homageto the great Czech-American composer KarelHusa, who was my composition teacher at CornellUniversity. I hesitated for a long time, as I was
unsure what musical form such an homage mighttake.TheconuenceofacommissionfromMark Mandarano for the Sinfonietta of Riverdaleand Professor Husas ninetieth birthday in 2011
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HOT AIR MUSIC FESTIVAL 2013 A20
RH 4:00RECITAL HALL
EVAN BUSHMAN
These Ragged Times (2013)
BrandonLePage,ute/piccolo
James Thomas Ginn, trombone
Jess Rodda, tuba
KAITO NAKAHORI
Hidden Instincts (2012)
I. Opening my eyes
II. Beingwiseaertheevent
Mona Narizuka, piano
DOUGLAS MOORE
Gallantry (1958)
Announcer:
Amber Rose Johnson, mezzo-soprano
Doctor Greg:
Alexandre Tarczynski, baritone
Lola Markham:
Sarah Eve Brand, sopranoDonald Hopewell:
Brandon Casbeer, tenor
Dancers:
Katya Lohngoen and Annie Smith
Ted Zoldan, stage director
James MacDougall, piano
Vasken Ohanian, conductor
ABOUT THESE RAGGED TIMES
These Ragged Times is the most recent in a seriesof collaborations between Evan Bushman andBrandonLePage(ute),spanning6years.Danceforms and the theatrical have a prominent place inhis work (including three operas and two ballets),and this piece draws inspiration from the ragtime/cakewalk idiom. Throughout, the ragged rhyth-micavorandsubdivisionfamiliarinJoplins
ragtime is taken to another level with the heavyuseofmixedmeter,andthestratifyingofdierentlevels of metric subdivision being implementedsimultaneously. The pieces slow introductionpresents several ideas which later develop and playprominent roles. These include several simplerhythmic and melodic motives, as well as somemarkedly dissonant harmonic ideas which color
the fundamentally tonal thematic material of thequicker rag section which follows. The rest of thepieceunfoldsinseveralclearlydenedsections,
includingamuchfasterandmetricallystratiedsection,areectionoftheintroductorymaterialmixedwiththemainragtheme,andapresto
tag-oncodatonishwithstyle.
BIOGRAPHY
Evan Bushman (b. 1988) received his bachelorsdegree from Michigan State University in 2010,where he studied composition with CharlesRuggiero and Jere Hutcheson. His masters degreewas completed at Florida State University in 2012,where he studied composition with Dr. Ladislav
Kubik, and was also employed as an aural skillsinstructor.
Evans oeuvre of over one hundred works includesavarietyofchamberandorchestralworks,sixsymphonies, art songs, operas, and ballets. HisballetRumpelstiltskin was selected by competitionfor a reading session with the Detroit SymphonyOrchestra in 2010.
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Moore uses several musical devices to represent
soapoperas:jazzyguresformutedtrumpetandtunesreminiscentofjinglesduringtheAnnounc-ersintroduction;animpressiverangeandoendisjunct,dramaticmelodiesfortheleadsoprano;
and constant tonal uncertainty throughout thework,thusreectingtheconstantdramatictwists
in soap opera plots.
Synopsis. AertheAnnouncerpromotesLoch-
invar Soap (the operas sponsor), the surgeonDoctor Gregg confesses to the anesthetist LolaMarkham that he has fallen in love with her.Lola, however, is engaged to one of the hospitalspatients,DonaldHopewell.LolarebusDoctorGregg,andacommercialforBillyBoyWax
follows. Donald later reveals to Lola that DoctorGregg is a married man. When Lola confronts
Doctor Gregg and threatens to reveal his philan-deringwaystothepublic,theDoctorexpresseshis anger by attempting to stab Donald. Lola savesDonald from the Doctors wrath, and the dramaends with a quartet, with Lola and Donald declar-ing their passion for one another on the one hand,and the Announcer and Doctor Gregg advocatingLochinvar Soap on the other.
ABOUT DOUGLAS MOORE
Douglas Moore (1893-1969) was an Americancomposer remembered primarily for his operas.Theseareoenreferredtoasfolkoperas,as
they center on themes in American rural life oron aspects of contemporary American culture,
as in the case with Gallantry. Moores best-knownopera is The Ballad of Baby Doe, which premieredin1956.Mooreseducationwasheavilyinuencedby French musical traditions, as he studied with
Vincent DIndy and Nadia Boulanger in Paris.He served as a professor at Columbia Universitybetween 1926 and 1962, during which time hewrote many of the works he is known for today.
PROGRAM NOTE AND BIOGRAPHY BY SARAH WALD
RECITAL HALL 4:00 PM A21
ABOUT HIDDEN INSTINCTS
This two-movement work based on the HarukiMurakami novelLederhose and dedicated topianist Aki Takahashi, who performed theworks 2012 premiere in Tokyo, Japan.
ABOUT KAITO NAKAHORI
Kaito Nakahori (b. 1989) is a Japanese composer
based in Tokyo and San Francisco whose workshave been described by Timeless Atmosphereas, Very Asian, very elegant. He is well knownfor his string ensemble and orchestral worksandmakesheavyuseofextendedtechniques.
He received his bachelors degree from theToho College of Music and is currently pur-suing a masters degree at the San Francisco
Conservatory of Music, where he studies withConrad Susa. His past compositional teachershave included Jun Nagao, Kazuaki Ogikubo andRen Staar. He has written for the theater incollaboration with company Keizaito H. Naka-horis works have been performed in Europe,
America and Japan by well-known musicianssuch as Aki Takahashi. He has recently taken
partintheinternationalA-ENProjectwithHikari Kiyama and is a member of the TokyoInternational Association of Artists as well as the
Japanese composer group The Sound Set.
ABOUT GALLANTRY
Douglas Moores short opera Gallantry was
composed with a libretto by Arnold Sundgaardand was premiered at Columbia Universityin 1958. The works subtitle is A Soap Opera,and indeed, Gallantry is a parody of televisionsoapoperasthatisstillrelevantoveryyearsaeritspremiere.Theplotrecallssoapoperaclichs (it centers around a love triangle andindelityinahospital)andeveninterrupsthe action with commercial breaks at criticaldramaticmomentstohumorouseect.
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HOT AIR MUSIC FESTIVAL 2013 A22
JUSTIN RALLS
Night-Psalms (2013)
GinaGulyas,ute
WINTON YUICHIRO WHITE
Two Japanese Komoriuta (2013)
I. Edo no Komoriuta
II. Takeda no Komoriuta
Winton Yuichiro White, tenor
AmySedan,ute
JOHN CORIGLIANO
From Three Irish FolksongSettings (1988)
I. The Foggy Dew
III. She Moved Through the Fair
Winton Yuichiro White, tenor
AmySedan,ute
CLARICE ASSAD
Danas Nativas (2006)
I. Twisted Samba
II.ReectiveCano
III.MadBaio
Renaud Ct-Gigure, Paul Morton,
Chris Hague, Adam Cockerham, guitars
RENAUD CT-GIGURE
Two Machines (2013)I. Machine with Abandoned Doll
II. Thinking Chair
Renaud Ct-Gigure, Paul Morton,
Matthew Lyons, Adam Cockerham,
guitars
ABOUT NIGHT-PSALMS
Of this work, the composer has written:Night-Psalms was composed as an homage to thehermit thrush, one of the most beautiful songbirds. The harmonic and melodic material isentirely derived from its song, making use of theidiomaticandtimbrevariationsoftheute.Thesong is a unique whistled prelude accompaniedbyarpeggiatedourishes,mysterious,barelydecipherable to human ears. Phrases vary throughindividuals and regions, yet all share a simple,rmmusicalframeworkofcontrastingvariations.The hermit thrush, which nests on the ground,climbstoahighperchlateatnight,oensinging
in the twilight alone. It prefers the pine barrensabove open woodland, its ethereal whistle echoingothetreesapowerfulpsalminthenightini-tiating travelers to the temples of North Americasmountain forests.
ABOUT JUSTIN RALLS
Composer Justin Ralls (b. 1987) has premieredworks at the Hydansaal in Eisenstadt, Austria, theLucca International Youth Orchestra Festival in
Albano Terme, Italy, Oregon Bach Festival, aswell as other venues in Salzburg, Rome, Portland,Los Angeles, San Francisco, and Boston. Winnerof Third Angle Ensembles inaugural 2012 NewIdeas in Music Competition, he conducted his
winning work,Anthrophony, at two of the groupsNew Ideas in Music Concerts. In July 2012 heparticipatedintherst-everComposinginthe
Wilderness workshop in Denali National Park, in
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Colorado, and National Symphonies as well asby colleagues in Japan, Singapore, France, andthroughout the United States. During his time inLos Angeles, he was active as a tuba player andbassist. Still active as a performer, Winton nowsings as a tenor and countertenor with a variety ofBay Area ensembles.
ABOUT THREE IRISH FOLKSONG SETTINGS
The simple instrumentation that Corigliano com-posed for this cycle evokes a setting of musiciansin old Ireland; this type of music may have beenperformedwithjustvoiceandute. The Foggy
Dew is a classic and familiar Irish folk tune abouta mans pursuit of a woman. She Moved Throughthe Fairisalsoatraditionalfolktune;itssubjectisthe awaited union between the man and woman.Corigliano creates a celestial, religious tone thatis reminiscent of medieval music, building onsimilarities between music of that period andIrish folk music. WINTON YUICHIRO WHITE
ABOUT DANAS NATIVAS
Of this work, the composer has written:Danas Nativas is a collection of four Braziliandances in three movements, written for the
Aquarelle Guitar Quartet. Each movement is basedon contrasting ideas of form and musical style.
Therstmovementcombinestheexcitingrhyth -mic pulse of the samba and the lush, sophisticatedharmoniesassociatedwithjazz.Becausethe
nalresultisnotrealsamba,bossanovaorjazz,I decided to give it the title of Twisted Samba,atake-oonafamousbossanovasongcalled
Samba Torto by Antonio Carlos Jobim.
Thesecondmovement,ReectiveCano
(canoisthewordforsonginmynativePortu -guese), begins with a slow and sorrowful melodythat gradually turns into a more cheerful waltz.My goal was to create ambiguity not only withmeters and form, but with the evocation ofcontrastingemotionalcontextbydrawingideasfrom each other.
collaboration with the Fairbanks Summer ArtsFestival and Alaska Geographic. Justin takes anactive interest in natural soundscapes, believingthat cultural relevance and sustainability entail astringent commitment to regionalism in contem-porary music.
ABOUT TWO JAPANESE KOMORIUTA
Of this work, the composer has written:My Japanese folk song arrangements were writtento pair with John Coriglianos Three Irish FolksongSettings for this years Hot Air Music Festival.
Although I was raised in Japan, I was not familiarwith the Takeda no Komoriuta. Akomori uta is alullaby sung by a mother or nanny. Takeda noKomoriutaismorespecicallyamoriko utaalullaby sung by young teenage girls who cared forthe infants of the aristocrats and the wealthy. Thesong is a lament: A teenage girl wants to attendtheBonFestivalbutherfamilycannotaordthe
appropriateouttfortheoccasion.Takingcareof the baby amidst the cheerful sounds she hearsfrom the Bon Festival, she longs to leave thecity and return to her familys poverty-strickenhome.Edo no Komoriuta is a traditional lullaby thatmothers have sung to their infants since JapansEdo Period (1603-1868).
ABOUT WINTON YUICHIRO WHITE
Winton Yuichiro White (b. 1980) has been com-posing for more than 15 years, emerging as aversatile composer for orchestral instruments,vocalensembles,dancegroupsandlm.BorninNew York, raised in Japan, he has pursued com-position studies in California at the San FranciscoConservatory of Music and at Biola University.Wintonrecentlycomposedhisrstsoundtrackfor the HAFU Film, which will have its premiere
American screenings at the Hapa Japan Confer-ence (University of Southern California) and at
University of California, Berkeley in April.
Whites work has been performed by members ofthe Milwaukee, Baltimore, Pittsburgh, Cincinnati,
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HOT AIR MUSIC FESTIVAL 2013 A24
ABOUT TWO MACHINES
Two Machines is inspired by two kinetic sculpturesby Arthur Ganson. Ganson, an American artistand engineer, builds machines that bring simpleobjectstolifeinachoreographicmanner.Therstsculpturerepresentedinthemusic,Machinewith Abandoned Doll, displays a stained baby dollmovinglikearealnewborn.Theobjectisrestingon a dozen metal sticks which are connected to a
machine. The machine causes the sticks to moveupanddowninasyncopatedmatterasoneofthe infants arm comes up, the other goes down.Themusicinspiredbythisscenemostlyreectsits peaceful quality. When accompanied by thevideo of the sculpture, this piece contributes tothe illusion that the abandoned doll is real. Anintrospectiveaectiscreatedbyusingminimal -
ism containing lullaby-sounding melodies andrestful chords.
In Gansons Thinking Chair, a small yellow chairslowly sways from one leg to another, emulatingsomeone thinking and pacing in circle. Themachines musical representation is found in Ct-Gigure choice of harmony for the second sectionof the movement: It constantly seeks somewhere
happier to settle, but eventually has to no choicebut to return to D minor. The idea of thinkingespeciallythinkinginacircleisrepresented
byunstablepolyrhythmsintherstsectionandemphasisedbyinfrequenttripletgures.
ABOUT RENAUD CT-GIGURE
Guitarist and composer Renaud Ct-Gigure(b. 1990) has performed in numerous venues andfestivals throughout Canada and the United States,including recent appearances at the SwitchboardMusic Festival (with his guitar duo, Pinocchio) andthe Kennedy Center. Renaud began his studies atthe Conservatory of Montral at 16 and completedhis bachelors degree there under the tutelage of
Jean Vallires. He is currently in his second yearof the masters program at the San FranciscoConservatory, where he studies with composerand guitarist Srgio Assad.
MadBaioclosesthissetofworks,againbyintroducingtwodierentmusicalideasandthen
combiningtheminthecoda.Itstartsowithaseriesofidiomaticstrumminggesturesinmixed
meters that suddenly drop out and give room tothebaio(aNortheastBrazilianrhythm)thatcom-prises the main body of this piece. In the end, thetwo ideas mingle as the rhythmic melody of the
baioisaccompaniedbythegrooveofthemixedmeter patterns from the movements beginning.
ABOUT CLARICE ASSAD
Clarice Assad (b. 1978) is a pianist, arranger,vocalist and composer. A native of Rio de Janeiro,
Assad was born into one of Brazils most famous
musical families; she is the daughter of SrgioAssad, and has performed professionally since theage of seven. her compositions incorporate a widevarietyofstyleswhichoenmergeinherworks.
Assads formal piano studies began with SheilaZagury in Brazil; she then studied with NatalieFortin in Paris and had additional instructioninjazzandBrazilianpianounderthetutelageof Leandro Braga. Assad continued her classicalpiano studies in the United States with Ed Bed-ner (Berklee School of Music) and Bruce Berrat Roosevelt University in Chicago. Assad hasstudied composition with Ilya Levinson, StacyGarrop,DavidRakowski,OsvaldoGolijov,MichaelDaugherty, Evan Chambers and Claude Baker.Her voice teachers have included Susan Botti and
Judy Blazer. She received her bachelors degreefrom the Chicago College of the Performing Arts,Roosevelt University in Chicago, Illinois and hermasters in composition from the University ofMichigan, Ann Arbor.
ABOUT DANAS NATIVAS, CONTINUED
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A25
NICHOLAS WHITE
stitchings (2010)
JOSEPH M. COLOMBO
Ouroboros (2013)
NEW KEYS
Lucy Moore, Kanoko Nishi,
AnthonyPorter,ReginaSchafer,piano
INGRID LEE
Of Monsters (2012)
Anthony Porter, accordion
ReginaSchafer,piano
ANTHONY PORTER
archer (2011)
Anthony Porter,
ReginaSchafer,piano
IAN DICKE
Dj (2009)
Lucy Moore, Kanoko Nishi,
AnthonyPorter,ReginaSchafer,piano
OS 5:00OSHER SALON
ABOUT STITCHINGS
Regarding this work, the composer has written:While attending Fullerton Community College,I was part of a piano ensemble. For one of ourconcerts, we had programmed Six Pianos by SteveReich, and, while rehearsing the piece, I had theidea to write a piece for the same ensemble.
stitchings is my take on Reichs minimalist tech-nique, which I have always been fond of as both
listenerandcomposer.Becauseitisdiculttondvenuesequippedwithsixpianos,Irearrangedthe work for four players on two pianos.
ABOUT NICHOLAS WHITE
A native of Anaheim, California, Nicholas White(b. 1988) received his bachelors degree from Cal-
ifornia State University, Fullerton in 2010 wherehe studied composition with Ken Walicki andLloyd Rodgers and piano with Eduardo Delgado.
While at CSUF, he performed on oboe, recorder,and harpsichord in a variety of ensembles largeand small. White is a founding member of theLong Beach New Music Collective and is currentlywriting works for their June concert.
ABOUT OUROBOROS
Ouroboros is the name for the symbol of a snake, ordragon, swallowing or eating its own tail, creatingacircle,andsymbolizingwholenessorinnity.Taken pessimistically, it depicts a creature causingits own destruction.
Both cycles and the self-implosion come intoplay in this work for the piano eight hands writtenfor and dedicated to New Keys. A chromatic linedescends the entire range of the piano, only toreappear in the highest register, circling backupon itself, continuing its descent. Once it returnsto where it started from another faster line slipso.Morelinescontinuetopileupuntilthemusic
collapses under its own weight.
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California Institute of the Arts where she studiedcomposition with Michael Pisaro, Karen Tanaka,and Wadada Leo Smith, and piano with VickiRay. She currently teaches piano and performsinexperimental,newmusic,andimprovisation
ensembles including KREation and the L.A.Stylophonic.
ABOUTARCHER
archer is a love letter.
ABOUT ANTHONY PORTER
The composer writes:I started playing piano at around age 10 thanks toa generous nudge from my Italian grandma, anditwasnttoolongaerthatIbegansharingthele
side of the bench with her playing old standardslike Caravan and Up a Lazy River as shedshout out the chords to play while she improvisedthe melody on top. At UC Berkeley, I started tohonemycra,studyingpianowithMichaelSethOrland and composition with John Thow.
BeforenishingatCal,IspenttimeinBologna,
Italiy,whereIexperiencedrst-handhowdier -entpatternsofspeechandbodycuesandexpres-sions (of which Italians are, of course, notorious)justsimplycouldnotbetranslated;mostofmycompositions to this day focus on this conceptofmeaningbeinglostintranslation.Inished
my masters in composition in 2011 at the SanFrancisco Conservatory of Music, where I studied
with Dan Becker.
ABOUT DJ
Dj is scored for two pianos/four pianists. Itexplorestwouniqueandmysticalhumansensations: dj vu (already seen) and dj rve(already dreamed). Nearly all of us have had
thefeelingthatweveexperiencedsomethingbeforewhetheritwasanimage,sound,orsomecombination of both. This eerie feeling has causedmany to believe that our brains have a built-in
ABOUT JOSEPH M. COLOMBO
Joseph M. Colombos (b. 1989) work is charac-terized by a strong rhythmic drive and vibrantenergy.Hehaswrittenfortheconcerthall,oen
enjoysperforminghisownmusic,andisexcitedtopresenthisrstinstallationatthisyearsHot
Air Festival. He has studied with Dalit Warshaw,CurtisHughes,JanSwaord,andAndyVores.Mr. Colombo has a bachelors degree in music
composition from the Boston Conservatory andis currently pursuing a Masters degree at the SanFrancisco Conservatory, where he studies withDanBecker.HeisafoundingmemberoftheFihFloor Collective.
ABOUT OF MONSTERS
About this work, the composer has written:Notions of the Self/Other dichotomy are centralinmyworkandareexpressedinheruseofsoundsthat trigger (attack), grow from (sustain), or end(release)fromdierentpointsofcontact.Of
Monsters consists of hybrid sounds resulting fromdierentkindsofresonancesbetweenthestringsof the piano, and between the accordion and thepiano. Using the microtonal tunings of the pianoharmonics against the equal tempered tuningsof the piano keyboard and the accordion, subtlebeatings emerge and dissipate throughout thepiece.Eachsoundispatchedtogetherfromdier-entsources,extendedbysympatheticresonance,disturbed by beatings, resulting in a series ofhybrid, monstrous sounds.
ABOUT INGRID LEE
Ingrid Lee (1990-) is a Los Angeles based com-poser, improviser, and pianist from Hong Kong.Leesworkisinuencedbyideasofbecomingandfailure in human-technology relationships. Leescollaboratveprojectswithlmmakers,animators,dancers, and visual artists have been performed/screened in Hong Kong, Los Angeles, New York,and Essen, Germany. Lee received a bacherlors inmusic composition and piano performance from
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OS S O 5:00
ABOUT NEW KEYS
New Keys, now entering its tenth full season, pro-motes the most innovative work written for thepiano. Having performed Steve Reichs iconic Six
Pianos in 2010 on the Hot Air stage with 6 Yamahakeyboards, New Keys returns with a full hour setof newfangled music for the piano, featuring 2worldpremieres,andaslewofotherexcitingmulti-hand works.
system of clairvoyance, or that the fabric of spaceand time is not always what it seems.
Therstmovementechoesthisexperiencethrough the use of repetitive patterns, creatinga literal sense of hearing it before. The end ofthe movement features a famous chord that maycausearealsensationofdjvu.
Inthesecondmovement,DjRve,thefourpianists weave together independent layers intoa dream-like series of waves. Here the repeatedpatterns are less regular and clear, similar to howweexperiencetheseeminglyrandomdiscardingof the days sights and sounds via dreaming.
Dj concludes with a question that awakens thepower of our subconscious: is the future deter-mined by our past dreams?
ABOUT IAN DICKE
The music of American-born composer IanDicke (b. 1982) includes works for orchestra, windensemble, chamber ensembles, and electronicmedia. Heralded by the San Francisco ClassicalVoiceascolorful,well-designed,anddelyscored,Dickesworksoenexplorecontemporary
social-politicalculturethroughamixtureofpun-gent and triadic harmonies, dance-like rhythms,andintricatelylayeredtextures.
Dicke has received awards and recognition fromthe Fulbright Program, San Francisco Conserva-tory of Music, Meet the Composer Foundation,
ASCAP, and BMI, among others. He was recently
awarded two summer 2012 artist residencies: TheAtlantic Center for the Arts in New Smyrna Beach,Florida and Art342 in Fort Collins, Colorado.
Dicke is an Assistant Professor of Digital Compo-sition at the University of California, Riverside.HeholdsdegreesfromTheUniversityofTexasat
Austin, University of Michigan, and San FranciscoConservatory of Music. Dicke has studied com-position with David Conte, Dan Becker, BrightSheng, Michael Daugherty, Dan Welcher, YevgeniySharlat, Donald Grantham, and Russell Pinkston.
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ABOUT DANCING ON THE BRINK OF THE WORLD
Conductor John Kendall Bailey writes:At 6:00pm on March 3 in the main Concert Hallat the San Francisco Conservatory of Music, I willconduct the world premiere of composer Loren
Jones 14-movement tribute to the city of SanFrancisco, titledDancing on the Brink of the World,which will be the centerpiece of the annual Hot
Air Music Festival. Each movement of Jones work
bringstolifedierentepisodes,cultures,andmoments in San Franciscos rich history. Echoesof music from China, the Ohlone people, and theearly California Missions combine with move-ments which remember historical events like theGoldRush,theWestCoastsrstWorldsFair,andthe1906earthquakeandre;othermovements
commemorate beloved places in SF, capturingthemintheirtimeofgreatesthistoricalsigni-canceorpopularityPlayland,GoldenGatePark,HaightAshbury,theCastro,NorthBeachand
ofcoursethemyriadofdierentculturesandstyles inevitably demands a wonderfully uniqueinstrumentation for the orchestra, including erhu,pipa,banjo,NativeAmericanute,accordion,musical saw, and more.
ABOUT LOREN JONES
Loren J. Jones (b. 1950) began composing as achild.Hespenthisearlyyearsbetweenlm-mak -ingandmusic,andhislmworkwasperiodicallybroadcast on local television station KTVU.Eventually choosing to pursue music instead oflm,Jonesformedseverallocalbands,performing
andcreatingdierentgenresoforiginalmusic.HehasstudiedwithTomConstantine,AlexisAlrich,and David Conte.
Jones music has been performed by his ownchamber group, by the The San Francisco Com-posers Chamber Orchestra, the Zofo Duet, andby students, teachers and professional musicians
from around the Bay Area. He has producedrecordings,workedinradioandlm,andcreatedthe sound track for an animated short which wona special Academy Award.
CH 6:00CONCERT HALL
LOREN JONES
Dancing on the Brink
of the World (2012)I. Ohlone Song 1600II. Ave Maria Yerba Buena 1776
III. Gold Rush 1849
IV. Dragon Gate 1850s
V. The Barbary Coast March 1860s
VI.MidwinterExposition1894
VII. The Outside Lands 1900VIII. Earthquake & Fire 1906
IX. Playland 1920s
X. Golden Gate Bridge 1930s
XI. North Beach 1950s
XII. Haight Ashbury 1960s
XIII. The Castro 1970s
XIV. The City by the Sea 2013sSteve Adams, soprano sax
Travis Andrews,
acoustic and electric guitar
Dan Cantrell, accordion, melodica, saw
Ariella Hyman, cello
LorenJones,NativeAmericanute
Anna Maria Mendieta, harpMitch Polzak, banjo
Tao Shi, Erhu
JefreyStaulcup,horn
Joseph Stillwell, piano
Shenshen Zhang, pipa
Golden Gate Chorus
Hot Air Festival Orchestra
John Kendall Bailey, conductor
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RH 6:00RECITAL HALL
DAN BECKER
Lockdown (2010)
PETERIS VASKS
String Quartet No. 4 (2003)
I. Elegy
II. Toccata 1
III. Chorale
IV. Toccata 2
GABRIELA SMITH
Reection Nebulae (2011)
FRICTION QUARTET
Kevin Rogers, violin
Otis Harriel, violin
Pei-Ling Lin, viola
Doug Machiz, cello
ABOUT LOCKDOWN
Of this work, the composer has written:Lockdown is all about patterns. A teeming, over-heatedandoverstuedprisonofpatterns.Some-times they interlock harmoniously, but moreoentheygrindercelyagainsteachotherinwhat
seemslikeanattempttoescapeothemusicalpage. Such unruly musical material needs an evenmore ferocious and dangerous group of perform-
ers to maintain control and keep the scoundrels intheir compositional cells.
LockdownwascommissionedbytheBanInter-nationalStringQuartetCompetitionfortheAaraString Quartet and premiered in January, 2010 attheBanCentreaspartofacollaborationwiththeCommon Sense Composers Collective.
ABOUT DAN BECKER
Dan Becker (b. 1960) is a San Francisco-basedcomposer whose work has been described aspost-minimalist,showingtheinuencesofTerryRiley (with whom he studied) and other minimal-ists (La Monte Young, Steve Reich and Philip Glass).
Becker received his bachelors degree from theSan Francisco Conservatory and subsequentlycompleted masters degrees and a doctorate at
Yale University. His teachers included Terry Riley,Jacob Druckman, Martin Bresnick, Elinor Armer,Poul Ruders and Louis Andriessen. He is therecipient of awards and grants from the American
Academy of Arts and Letters (2001), Meet theComposer (2002/2008), American Music Center(2006), Live Music for Dance (2006), the AmericaComposers Forum (2004), and the Mary FlaglerCary Charitable Trust (2003). His music has beenperformed at the Norfolk Summer Festival, Chi-cago Arts Series, Park City String Quartet Festivaland the Bates College American Music Festival.Becker is the founder and Artistic Director of theCommon Sense Composers Collective, a memberof the Board of Directors of the American MusicCenter, and a professor of composition at the SanFrancisco Conservatory of Music.
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vision of this multi-million-year process of starformation, condensed into about 13 minutes.
ABOUT GABRIELA SMITH
The music of Gabriella Smith (b. 1991) has beenperformed by the Berkeley Symphony under KentNagano, the Aspen Contemporary Ensemble, the
Azure Ensemble, Classical Revolution, Contempo-raneous, members of Eighth Blackbird, Ensemble
39 and Monadnock Music. A winner in the ASCAP/Morton Gould Young Composer Competition,Smith also received the First Place Prize in the2009PacicMusicalSocietyCompositionCom -petition. Most recently she was selected to writeforthe2012OneBookOnePhiladelphiaproject.
Smiths composition teachers have included
Arkadi Serper, Yiorgos Vassiladonakis and JohnAdams. She currently attends The Curtis Instituteof Music, where she studies with David Ludwig,Jennifer Higdon, and Richard Danielpour. Anactive violinist, she has played in the Superdel-egates (an improvisational classical/blues stringquartet), the Formerly Known as Classical ensem-ble, and the Young Peoples Symphony Orchestra.
ABOUT FRICTION QUARTET
The recipient of the 2012 Berkeley Piano ClubEmerging Artist Award, Friction Quartet hasestablished a reputation for edgy programmingandexhilaratingperformances.Thequartethascommissioned new works from Daniel Felsenfeld,
Brendon Randall-Myers, Noah Luna, and RafaelHernandez. By fostering artistic collaborationinvariedmediums,exploringnewgenres,andadding movement to performances, the ensem-ble creates a progressive and inviting concertatmosphere that attracts audiences of all ages andinterests. Community improvement and educa-tion are crucial elements of their mission. Theyprovide free public performance and outreach instrugglingcommunitiesandschoolsinorderto build and sustain musical cultures as well asbroaden future audiences of classical music.
ABOUT STRING QUARTET NO. 4
Vasks fourth string quartet was premiered in2000bytheKronosQuartet.Itconsistsofvemovementsandrunsapproximatelythirtyminutes.
Vasks has said the following about the piece: Therehas been so much bloodshed and destruction, andyet loves power and idealism have helped to keepthe world in balance. I wanted to speak of thesethings in my new quartet; not from the sidelines,but with direct emotion and sensitivity. To accom-plishthis,Vasksjuxtaposedfolkelementswithchaoticpassages,ebbingandowingasdramaticmoments are succeeded by tranquility. Critic Rob-ert Levine has compared the quartet with the musicof Arvo Prt and Dmitry Shostakovich, and indeed,VaskshimselfhasacknowledgedtheinuenceofShostakovich in this work.
ABOUT PETERIS VASKS
Peteris Vasks (b. 1946), born in Latvia, studieddouble bass and composition as a teenager in Riga.Formal studies in double bass continued at theLithuanian Conservatory in 1970 and compositionstudies began at the Latvian Music Academy in1973. He is particularly known for his choralwriting, although his instrumental works have beenperformed all over the world and have proven to bepopular with choreographers.
PROGRAM NOTE AND BIOGRAPHY BY SARAH WALD
ABOUT RELECTION NEBULAE
Of this work, the composer has written:Nebulae are giant, interstellar clouds of dust andgasses. Seen through a telescope, they are beautifulandfascinatingwithshapesandtexturesrangingfrom foggy and nebulous to delicate wisps and in-tricacies.Reection nebulaereectthelightofnearbystars to produce a multitude of brilliant, glowingcolors. Over the course of billions of years, the dustand gasses of nebulae rotate and clump together,gradually forming larger and larger masses. Eventu-ally the entire nebula is pulled in to one giant massand a star is born. This piece is my own musical
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OS 6:00OSHER SALON
JEN WANG
Delta (2011)
AmySedan,uteSophie Huet, clarinet
Joseph Maile, violin
Joanne DeMars, cello
Margaret Halbig, piano
Carla Fabris, harp
Dan VanHassel, electric guitar
Nathaniel Berman, conductor
ELIZA BROWN
The Barely Cycle:
This Time Finer (2012) Sophie Huet, clarinet
LIZA WHITE
Groove III (2011)
AmySedan,ute
Sophie Huet, clarinet
Joseph Maile, violin
Joanne DeMars, cello
Margaret Halbig, piano
ALEX TEMPLE
Triggersh (2006) Dan VanHassel, electric guitar
DAN VANHASSEL
Revealing, Unraveling (2012)
AmySedan,ute
Sophie Huet, clarinet
Joseph Maile, violin
Joanne DeMars, cello
Margaret Halbig, piano
Carla Fabris, harp
Dan VanHassel, electric guitar
Maria Janus, soprano
Margaret Jones, soprano
Nathaniel Berman, conductor
ABOUT DELTA
Of this work, the composer has written:Deltarefersbothtotheplacewhereariverowsinto an ocean and to the Greek letter that, inmathematics,signieschange.Beginningwithparallel threads of music, both measured andunmeasured, the piece unfolds as a series of ideasthat arise and dissolve, half-formed snippets ofmaterial moving toward increasingly pronouncedformsandgreaterexpansesovertime.
ABOUT JEN WANG
The work of Jen Wang (b. 1980) has been featuredat the Wellesley Composers Conference, the Inter-national Computer Music Conference, the BangOn A Can Summer Institute, the California EAR
Unit Residency at Arcosanti, the Music 03 and04 festivals, and the SPARK Festival. Her com-missions include works for the Iktus Percussion
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During the composition process, this frictionbetween the innate and the imposed is a source of
revelation, prompting a search for musical iden-tity that mirrors, abstractly, the human process ofself-discovery.
ABOUT ELIZA BROWN
Composer Eliza Brown (b. 1985) writes music thatexplorestheinteractionbetweennaturalacoustic
properties of sound, the physical construction ofinstruments,andculturallydenedelementsof
musicalmeaningandsyntax.Describedasdeli-cate, haunting, [and] introspective by SymphonyMagazine, Browns music has been performedand/or commissioned by Ensemble Dal Niente,Network for New Music, Spektral Quartet, WetInk Ensemble, and members of the PRISM and
Anubissaxophonequartets.
RecentprojectsincludeWax Figure, a solo guitarpiece written for Ensemble Dal Nientes JesseLangen, andIch bin der Welt abhanden gekommen(aerMahler),commissionedbyNetworkforNewMusic. As a winner of Center City Opera Theaters2012 Art Song Competition, Eliza is currently creat-
ing an opera scene for the company with librettistRoyce Vavrek.
Currently a doctoral student in composition atNorthwestern University, Brown received herbachelors degree in compositionsumma cum laudefrom the University of Michigan, where she alsostudied cello and viola da gamba performance.
ABOUT GROOVE III
Of this work, the composer has written:Groove IIIis part of a family of pieces that includesshort solo piano movement, Groove, solo pianopiece, Groove II,andmixedseptet,Groove Excur-
sion.Itexplorestherepetitionofamusicalgure,whilealteringdierentcharacteristicssuchas
duration, orchestration, or location of rhythmicemphasis. A musical motive becomes, rather thanasteppingstonetosomethingnew,anobjecttobe
fullyexaminedandexperiencedinitsownright.
Quartet, Coro DAmici, the UC Berkeley ChamberChorus,utistJanetMcKay,NeXTEns,and
clarinetist Cristhian Rodriguez; she has alsobeen performed by Lucy Shelton, the CaliforniaEARUnit,OnixEnsamble,EcoEnsemble,theNew Spectrum Ensemble, and the percussionensembles of Mannes College and the UniversityofCalifornia,Davis.Herrstinstallationwork,
Black Cloud (for streaming data and electronics),premiered as part of Panorama, an evening-lengthmulti-media performance featuring choreographyby Merce Cunningham and Lisa Wymore.
Wangs percussion quartet,Renderings of Things WeCouldnt Take Home, was recently featured at SanFranciscosOtherMindsFestival.Otherprojectsinclude a song cycle for contralto Karen Clark anda piece for piano and electronics for pianist GloriaCheng. She has held residencies at the MacDowellColony, where she was a National Endowment forthe Arts Fellow, and the Millay Colony of the Arts.Her bachelors degree was completed at CarletonCollege and her masters at the University of Cin-cinnati College-Conservatory of Music. Currentlya doctoral candidate at the University of Califor-
nia, Berkeley, she has been awarded the EisnerAward in Music, the Nicola de Lorenzo Prize, andthe William V. Power Graduate Award. Jen Wang isthe founder and co-director of Wild Rumpus.
ABOUT THE BARELY CYCLE
Of this work, the composer has written:
The Barely Cycle isanextractablesetofsolopiecesforvedierentinstrumentslinkedbyminiaturechamber works. Each solo focuses on somethingessential about the instrument at hand, while alsolimiting or handicapping the instrument in someway. This Time Finer showcases the unique setof microtones available in each register of theclarinet, but limits the music to narrow bands of
pitches within each register, forcing it to simulta-neously accommodate tiny microtonal intervalsandextremelywideleapsbetweenregisters.
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ABOUT ALEX TEMPLE
The composer writes:My work has been performed by a variety ofsoloists and ensembles, including Mellissa Hughes,Timothy Andres, Mark Dancigers, the AmericanComposersOrchestra,FihHouseEnsemble,and Ensemble de Sade. I also write vocal andelectronic music for myself, which Ive performedinNewYorkvenuessuchasRoulette,Exapno,
the Tank, the Gershwin Hotel, and Galapagos ArtSpace.AsthekeyboardistforBenHjertmannschamber-rock group The Sissy-Eared Molly-coddles, Ive performed at Chicagos Green MillCocktail Lounge and at the South by SouthwestFestival; at Chicagos Elastic Arts Foundation; andwith aperiodic, an ensemble dedicated to the per-formance of indeterminate music in the tradition
of John Cage. Im currently working on an operacalledEnd about TV production company closinglogos and the end of the world.
AlexTemple(b.1983)hasstudiedatYaleandthe University of Michigan. Her teachers haveincludedKathrynAlexander,JohnHalleandMat -thew Suttor, Erik Santos, Michael Colgrass, TaniaLen and Betsy Jolas. She is currently pursuing a
doctorate at Northwestern University, where shehas studied with Hans Thomalla and Jay Alan Yim.
ABOUT REVEALING, UNRAVELING
Of this work, the composer has written:Revealing, Unravelingdivides the ensemble intotwo groups. The two groups are not completely
xed,withinstrumentssometimesswitchingloy-alty, but in general the piano and harp provide aneternally-cycling harmonic and rhythmic frame-work for the piece, on top of which the remaininginstrumentsinterjectnoisy,percussivephrases.
In this way I achieve a slow moving, continuouslyevolving form, while simultaneously creatingextremesofmusicalandemotionalcontrastonthe
locallevel.Thetwosopranosdontsinganytext,but instead participate as additional instrumentalvoicesofgreatrangeandexibility.Thispieceisdedicated to my colleagues in Wild Rumpus.
ABOUT LIZA WHITE
Hailed by disquiet.com as melodically incisive,and ever surprising, Liza Whites music servesideals of direct, focused and socially relevantexpression.Herworkhasbeenperformedby
Alarm Will Sound, Ensemble SIGNAL, FulcrumPointNewMusicEnsemble,FihHouseEnsem -ble, members of the Charleston SymphonyOrchestra, and ALEAiii conducted by GuntherSchuller. It has been featured at top venuesand festivals including REDCAT, the NorfolkChamber Music Festival, the Mizzou New MusicSummerFestival,JuneinBualo,theBowdoinInternational Music Festival, and the ComposersConference at Wellesley College, as well as onNationalPublicRadio.Upcomingprojectsinclude
new works for Ensemble Dal Niente, the PalomarEnsemble, the Chicago Q Ensemble, and Singerson New Ground. Liza has won the Craig and JanetSwan Prize and the Margaret Blackburn Compo-sition Competition. Brown has held residenciesat the MacDowell Colony, the Atlantic Center forthe Arts, the Virginia Center for the Creative Arts,the Brush Creek Foundation for the Arts, and theHambidge Center for Creative Arts and Sciences.
Currently pursuing doctoral studies in compo-sition at Northwestern University, she is MusicTheory and Composition Department Chair atthe Merit School of Music, and she also teaches atNorthwestern and at Access Contemporary Music.
ABOUT TRIGGERFISH
Of this work, the composer has written:Triggersh was originally part of a set called ThreeCreatures, written for guitarist Mark Dancigersbetween 2002 and 2006. [E]verything the guitaristplaysisgivenanelectronicechoorrather,twoechoes at once, one faster than the other. A singlenote becomes a rhythmic pattern (familiar tomusic students as pass the goddamn butter), and
amelodybecomesacomplex,interlockinglattice.Itseasyforthetexturetobecomeoversaturated,as if the music had been plunged underwater.
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ABOUT DAN VANHASSEL
Dan VanHassel (b. 1981) is a composer andmulti-instrumentalist living in the San FranciscoBay Area. A musical omnivore, his works combinenoise and chaos with moments of sensuous beautyand simplicity, creating a quirky and evocativesoundworlddrawingfromhisexperienceper -forming in rock bands, gamelan orchestras, freejazzgroups,andchamberensembles.
ABOUT WILD RUMPUS
Founded in 2011, the San Francisco-based newmusic ensemble Wild Rumpus is dedicated to thedevelopment of new music through collaborationwith young and emerging composers. Its per-formances span the spectrum of contemporarymusic, from hard-edged modernism to post-min-imalandworksinuencedbypopculture.Withsupport from the Columbia Foundation, theZellerbach Foundation, and the American Com-posers Forum, Wild Rumpus has commissionedeighteen pieces from emerging composers in itsrsttwoseasons,fosteringthedevelopmentofthenextgenerationofcontemporarymusic.
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MATTHIAS MCINTIRE
Earthbound and Skyward (2012)
Kyle Coolidge, piano
NICK BENAVIDES
Pain has an element of blank (2013)
I. Its such a little thing to weep
II. WildnightsWildnights!
III. Faithisaneintervention
IV. Heart!Wewillforgethim!
V. Success is counted sweetest
VI. I felt a Funeral
VII. ImNobody!Whoareyou?
VIII. Hope is the thing with feathers
IX. I taste a liquor never brewed
Danielle Reutter-Harrah, mezzo-soprano
Katy Luo, piano
STEPHEN GOSS
Under Milk Wood Songs (1990)
I. Polly Garter
II. Lily Smalls
III. Rosie Probert and Captain Cat
IV. Oh, whatll the neighbours say, whatllthe neighbours
V. Pretty Polly hums and longs
JARRING SOUNDS
Danielle Reutter-Harrah, mezzo-soprano
Adam Cockerham, guitar
RH 7:00RECITAL HALL
ABOUT EARTHBOUND AND SKYWARD
Of this work, the composer has written:Earthbound and Skyward was written while I wasdeepinthetrenchesofthenalyearofmymas -ters in violin performance at the San FranciscoConservatory of Music. On a personal level it rep-resentsamilestoneformeasacomposertherstpiecethatIhadwrittenforsomeoneelsetoplay. On an artistic level, my goal was to contrast afeelingofearthlysueringandstresswiththerarefeeling of celestial release and serenity. In my ownexperiencethesefeelingsoftotalserenitylastonlybrieybeforeIamwhiskedbackdowntoearth.
ABOUT MATTHIAS MCINTIRE
Violinist Matthias McIntire (b. 1986) is active as aperformer, improviser, composer, and teacher inmanydierentcontextsandstyles.Recentprofes -sional highlights include performing with LiviaSohn and members of the St. Lawrence StringQuartet in a concert of music by Vivaldi; sittingconcertmaster for the Bay Area Summer OperaTheatre Institute (BASOTI) orchestra; performingwithworld-renownedjazzpianistVijayIyerattheBanCentreInternationalWorkshopinJazzand Creative Music; playing on the soundtrackof the new movie Looper as a member of theMagik*MagikOrchestra;andjoiningtheteam
atBlueBearSchoolofMusicasviolinandddleinstructor. He is committed to bridging the gapbetween classical and non-classical styles of music.
ABOUT PAIN HAS AN ELEMENT OF BLANK
Of this work, the composer has written:Before Emily Dickinson died she instructed hersister, Lavinia, to burn all of her correspondence.ThoughLaviniacomplied,itissignicantthatDickinsonlenoinstructionsregardingalockedchest that was later found with forty notebooksworth of poems