Kevin Stalheim, Artistic Director between two...

between two worldsKevin Stalheim, Artistic Director

Saturday, March 24th, 2018 | 7:30pmUW-M Zelazo Center for the Performing Arts, Helen Bader Concert Hall

2017-18 Season

Program Contents:Program & Ensemble 2Sarah Goldfeather Texts 3 Guest Artist Bios 4Program Notes 6 & 7About the Composers 8 & 9Musician Bios 10 & 11About the After-party 12Donors 14 & 15

This concert is funded in part through a grant from the Milwaukee County Arts Fund and the Wisconsin Arts Board

Major Funding Provided By

Present Music Sponsors

LIGHTHOUSE Refugee Music by a Pacific exPatRiate (2010) Dylan Mattingly (b. 1991)

A SENSE OF WHO (2015) Annika Socolofsky (b. 1990)

ORTON'S ODE (2008) Daniel Trueman (b. 1968)Eric Segnitz, Hardanger Fiddle

AS AN NÓS (2009) Donnacha Dennehy (b. 1970)

SYMPHONY OF W'S: ii. Ways of the undeRWoRld (2013) Daniel Trueman

THE HARDEST AND UNCOMMON LIGHT (2016) Sarah Goldfeather- WORLD PREMIERE -

See Lyrics on Page 3 to the Right

IN DREAMING (2016) Sarah Goldfeather- WORLD PREMIERE -

See Lyrics on Page 3 to the Right

GREASY GLASS (2016) Sarah Goldfeather (b. 1988)See Lyrics on Page 3 to the Right

LOVIN'S FOR FOOLS (2006/2018) Sarah Siskind (b. 1978)See Lyrics on Page 3 to the Right arr. David Bloom

Between Two WorldsPerformed without Intermission

Present Music Ensemble:Kevin Stalheim, Artistic DirectorDavid Bloom, Guest ConductorSarah Goldfeather, Guest Artist/Composer

2 | Program

Jennifer Clippert, FluteWilliam Helmers, ClarinetMark Hoelscher, TrombonePaul Kerekes, PianoCarl Storniolo, PercussionDerek Johnson, Guitar

Eric Segnitz, ViolinPaul Hauer, ViolinErin Pipal, ViolaAdrien Zitoun, CelloJon McCullough-Benner, BassMarty Butorac, electronics

Between Two Worlds 20183

The Hardest and Uncommon Light text by Martha Sprackland

I lie storm high, heavy with rain;this sky will break. Here, yesterdayone tree, riven at the cold root.We went different ways.Sundered, I have been askingcompulsively for what I wanttouching all of the cold partswhat whole was taken by the tempestthe hardest and uncommonlight comes quick and will not repair.

In Dreaming text by Martha Sprackland

In dreamingit’s so hard torun, with feet insand or honeyfalling backfurther from wakingfrom the surface light.Prismaticslow to movethe days when evenmoving one armtakes years of time and airdream logicholding too tightly to your wristsand you’re running in a circle

Greasy Glasstext by Sarah Goldfeather

Will I see each blade of grass shimm’ring in the wind

from behind this greasy glass, pressed on nose and chin?

Fleeting shapes blur through the frame I’m fogging up the window paneboxed within this murky place I’m waiting for my saving grace.

I am free.

Piece Texts

Lovin's For FoolsCrazy how I feel living without youInside this house that we builtFeels like the window's finally openLetting the memories out

GO ON AND LOVE HER, LOVE HER FOREVERI WILL NOT TELL HER, I TOLD YOU TOYOU'LL NEVER KNOW DEAR, HOW MUCH I LOVE YOULOVIN'S FOR FOOLS, LOVIN'S FOR FOOLS

Maybe you'll find me walking the gardenLooking for something pureRoots that are growing deeper and deeperMaybe you'll pull them too

GO ON AND LEAVE HERE, LEAVE HERE FOREVERNO ONE CAN MAKE YOU DO WHAT YOU DOYOU'LL NEVER KNOW DEAR, HOW MUCH I LOVE YOULOVIN'S FOR FOOLS, LOVIN'S FOR FOOLS

Sarah Goldfeather

Sarah Siskind}

David BloomSARAH GOLDFEATHER is a Brooklyn-based indie-folk-

rock band led by native Minnesotan singer and song-writer Sarah Goldfeather. A bleugrass quintet that morphed into a rock trio with Ethan Woods and Robby Bowen, Goldfeather's music has been described as "full of light and life" (The Current, Minnesota Public Radio), "distinctive...whimsical" (The Boot) "poignant...striking and laudable" (The Deli Magazine), with "lush, dynamic collective of sound," "striking intensity" (Elmore Mag-azine) and "astonishing musicianship" (Impose Maga-zine), and even "[the] most musically talented ensem-

DAVID BLOOM is founding co-artistic director and con-ductor of Contemporaneous, a New York-based ensem-ble of 21 musicians dedicated to performing the most exciting music of the present moment. Noted for his "enthusiastic commitment and exactness" (Shepherd Express) as well as his "graceful sensitivity" (I Care If You Listen) , David is a devoted advocate for new music, reg-ularly working with composers and ensembles to bring new works to life.

David has conducted over 200 world premieres for such

4 | Sarah Goldfeather

new record which will be released next year.

In her concurrent life as a contemporary music violinist, Sarah has performed as a soloist in Madrid, Valencia, Berlin, the TEDxMET series at the Metropolitan Museum of Art in New York, to name a few. She has worked closely with many artists, including 2016 MacArthur Fellow and Pulitzer Prize winner Julia Wolfe, Courtney Love, Steve Reich, Timo Andres, Chris Cerrone, Kishi Bashi, Todd Almond, and has additionally performed with Ronnie Spector, Nona Hendryx, Gaby Moreno, Torres, Eliot Glazer, Ensemble Signal, Beth Morrison Projects, Contemporane-ous, and many more. Sarah is also the founder,

ble ever" (Pen's Eye View). Performance highlights include DePauw Univer-sity's 21CM Initiative at (le) Poisson Rouge, the Ecstatic Music Festival and MATA Interval Series in New York, a feature on WQXR, The Museum of Contemporary Art in Chi-cago presented by Eighth Blackbird, the Times Two Series in Boston, and tours across the East Coast and Midwest. Gold-feather has a full-length album, Patchwork Quilt (September 2016) and an EP, Goldfeather (2014), and is in the midst of a

co-director and violinist of the seven-piece new music ensemble, Exceptet, one half of the sopra-no-violin duo, Cipher, co-founder and singer for the new electronics band, RSP, whose music video won the 2017 Atlanta Shortsfest and the Gold Star Film Festival. She performs with Rokenri, the peculiar art-rock band, Ecce Schnak, and the country music singer Cooper Boone.

Sarah is also dangerously delving into the world of composition. She has been commissioned by the new music chamber orchestra Contemporaneous to write and sing a song-cycle with the ensemble, an excerpt of which will premiere at the Present Music Festival in Milwaukee and with Contemporaneous at National Saw-dust in Brooklyn. She is also writing new pieces for her ensembles Exceptet (premiering at Roulette in Brook-lyn in February 2018) and Cipher (premiering in 2018).

Ó Lionáird.

Especially ac-tive as a con-ductor of new opera through-out the US and Canada, David has led p r o d u c t i o n s for PROTO-TYPE Festival (Matt Marks' Mata Hari), Beth Morrison Projects (Todd Almond's Kan-sas City Choir Boy), American Opera Projects

(Daniel Thomas Davis' Six. Twenty. Outrageous.), and Experiments in Opera (numerous productions), among others. He has recorded for the Innova, New Amsterdam, Mexican Summer, Mona, and Starkland labels.

Also a passionate educator, David is staff conductor for Face the Music (the nation's only youth music program dedicated to the work of living composers) and Special Music School High School. Along with Contemporaneous, he leads frequent educational programs for students of all ages, including free work-shops for children and residencies at such institutions as City University of New York, the University of New Orleans, Williams College, and his alma mater, Bard College.

presenters as Carnegie Hall, Lincoln Center, New York's Museum of Mod-ern Art, Walker Art Center, Merkin Concert Hall, and Bang on a Can. He has been a guest conductor for NOW Ensemble, Present Music, ensemble mise-en, JACK Quartet, and Mantra Percussion, among others. He has worked with such composers and artists as Donnacha Dennehy, Lucy Dhegrae, Michael Gordon, Dylan Mattingly, Andrew Norman, Dawn Upshaw, and Julia Wolfe and regu-larly works outside of the classical realm with such artists as David By-rne, Kimbra, Courtney Love, and Iarla

; Across Borders ; Across Time ;

414.225.3113 | EARLYMUSICNOW.ORG

April 14 | 5:00pmPre-concert lecture at 4:00

St Joseph Chapel | 1501 S Layton Blvd | Milwaukee, WI

The Queen’s Six Sacred & Profane: Music of the Tudor and Jacobean Courts

Tickets available online, or by phone.

Lighthouse (Refugee Music by a Pacific Expatriate)By: Dylan MattinglyComposer's Note:

Lighthouse (Refugee Music by a Pacific Expatriate) is black window music for when too small thunderstorms sing against vast vast humidity and storm lights flash mutes beneath starships and crosscountry metal and sleepscape crashing trans-Pacific journeys drift flower petals across routes of diluted warm rain and sudden-ly all you want is skyscraper saltwind and wet rocks and foghorns and dancing cold bridge lights and cars and distant suns flying by black black waves and you say to that indifferent bottomlessness, that throbbing gamelan, that breather of clouds like 747s, “you’re my home” and you run your hands through her hair again.

A Sense of WhoBy: Annika SocolofskyComposer's Note:

“I find that people who come from small places have a very strong sense of who they are.” – Nic Gareiss

I have never come from a small place. I’ve spent my life jumping around from Edinburgh, to Chicago, to Pitts-burgh—city after city after city. But in 2012, for the first time in my life, I moved to a smaller place. In Ann Ar-bor, Michigan my fiddle and I were swallowed, heads-first, into the traditional Irish music scene. Showing up to familiar faces and tunes and conversation at Conor O’Neill’s on Main St. every Sunday night provided a sense of community I’d never before experienced.

Over the last few years, there’s been this microscopic point inside of me that has started to grow. That point is that sense of belonging, that sense of friendship, that sense of love, that sense of community, that sense of grounding, that inkling of a sense of who… It’s been growing. And that is everything.

Orton's OdeBy: Dan TruemanComposer's Note:

-I wrote this for my great Uncle Orton Enstad on his 100th birthday, who lived his entire adult life in Wausau, WI.

Orton's Ode in composed in the traditional Norwegian "Huldrestille" tuning of the Hardanger fiddle, a high-ly-ornate folk fiddle, with 6 extra ringing sympathetic strings and a dragon scroll. This tuning represents the lore of the "Huldra", in Scandanavian mythology a vengeful forest troll who assumes the appearance of a dairy maid- the only give-away being the cow's tail beneath her petticoat, and her hallow bark back, similar to a rotting tree-trunk. The huldra lures a man into the forest, saps him of his power and wits, and he wanders lost the rest of his days.

As An NósBy: Donnacha Dennehy

Unsurprisingly, Donnacha Dennehy, a co-founder of the [Crash] ensemble, revels in the “classic” Crash sound in his piece As An Nós, with its layering of rhyth-mic cells, its instruments echoing or moving in hocket with each other, and its fabric of tightly woven musical threads. Dennehy offers a kaleidoscopic range of in-strumental colors from one moment to the next in the work’s tremulous middle section, but the piece gradu-ally asserts itself and becomes an insistent, chattering conversation of rhythms.

- John Schaefer

Symphony of W's - II: Ways of the UnderworldBy: Dan TruemanComposer's Note:

Walking wobbly whilst waking and warning and being warned of the ways of the world and the underworld: these are all at work in the Symphony of W's. I call this a symphony in part because it is first and foremost sim-ply sound and music: a "concord of sound," I hope. It is in four movements, like many symphonies, though perhaps the symphony it is most indebted to is Stra-vinsky's Symphonies of Winds, which is in but one short movement. Also, like many symphonies, it easily enough inspires a story, or the sense of a story as it may be.

W's kept cropping up as I composed this piece: the footsteps of a drunkard walking wobbly towards an abyss in movement 1; an Old Time tune called Ways of the World, which inspired the New tune I made for movement 2; an obscure Robert Frost poem -- Warning -- which I set more than 25 years ago and re-visited for movement 3; and finally a sense of slowly waking, rising into a new world in movement 4 (there is also a bit of thievery here, from a famous Bach Cho-rale that features an ascending whole-tone scale). Finally, I can't deny that I was also hoping to reclaim this wonderful letter from it's political associations in some small way; it is full of zigs and zags and pizzazz, and deserves better (though the recent revelations of the former president's private painting habit make me wonder).

Symphony of W's was premiered by Crash at the Muse-um of Contemporary Art in Dublin in 2011.

The Hardest and Uncommon LightBy: Sarah GoldfeatherComposer's Note:

The Hardest and Uncommon Light and In Dreaming are excerpts from my upcoming song cycle which explores the varied ways in which we experience cognitive dis-tortions. I worked with the incredible poet, Martha Sprackland, to interweave text and music to shed light on the illogical corners of the mind.

6 | About the Program


The Hardest and Uncommon Light explores the miserable and distorted thinking surrounding the end of a relationship. It runs the emotional gamut from irrational, obsessive thought to quiet contemplation and introspection, fixating on the desperate immobil-ity and inner torment that comes with powerlessness, and how one’s tempestuous and compulsive behavior and closed-circuit thought processing can sweep the good away. The eponymous last line of the text cap-tures a cruel clarity: “the hardest and uncommon / light comes quick and will not repair” - nothing will be ever be the same again.

In DreamingBy: Sarah GoldfeatherComposer's Note:

In Dreaming evokes time passing at different simulta-neous speeds; a feeling of falling and being unable to move, trapped in the viscous world of our unconscious over which we have no control. It is the feeling of be-ing held hostage by one’s own distorted thoughts, either literally in our sleeping unconscious, or in the fantasies we construct to explain our own inner logic and the way we perceive reality.

The Hardest and Uncommon Light and In Dreaming were comissioned by Contemporaneous in 2016.

Greasy GlassBy: Sarah GoldfeatherComposer's Note:

Greasy Glass is a song about transformation that was originally written for my indie-folk band, Goldfeath-er, and appears as the last track of our most recent album, Patchwork Quilt. It describes the feeling of listlessly watching your own life pass by without be-ing able to see clearly or participate, until a sudden, simple realization snaps everything into focus:the way we feel and live within our circumstances can be in our own control, that we might be prisoners within our own minds, but we also possess within us the key to free ourselves from despondency. It is an almost comically simple notion, chanted over and over in the words “I am free.”

Lovin's For FoolsBy: Sarah Siskind

Lovin's For Fools was featured as the opening track on Sarah Siskind's 2006 album, Studio.Living Room, an album of recordings cut from her home and co-pro-duced by her first husband, Brian Siskind. The piece, having said that it "changed his life" was famously covered by Bon Iver as the closing song of his concerts while on tour in 2008. Sarah Siskind joined Bon Iver in Nashville on August 11, 2008 to sing the piece with him for his appearance onstage at Exit/In. Bon Iver then invited Siskind to join them for their European Tour in December of 2008.

- Tai Renfrow

Dylan Mattlingly Called “visionary magic” by Susan Scheid, composer Dylan Mattingly’s work is funda-mentally ecstatic, committed to the extremes of hu-man emotion, drawing from influences such as Olivier Messiaen, Joni Mitchell, and the microtonal folk sing-ing of Polynesian choirs and the Bayaka of Central Afri-ca. Mattingly is the founding executive and co-artistic director of Contemporaneous and was previously the co-director of Formerly Known as Classical, a youth-run new music ensemble whose members play only music written in their lifetimes. Mattingly performs frequently as a cellist, bassist, pianist, guitarist, and percussionist.

Among the ensembles and performers who have com-missioned Mattingly are the Los Angeles Philharmonic, the Cabrillo Festival Orchestra, the Berkeley Sympho-ny, the Del Sol String Quartet, John Adams, Marin Al-sop, Contemporaneous, Sarah Cahill, and many others. Mattingly holds a B.A. in Classical Greek and a B.M. in Music Composition from Bard College. He holds an M.M. in Music Composition from The Yale School of Music, where he studied with David Lang, Martin Bresnick, and Christopher Theofanidis, and is men-tored as well in Berkeley by composer John Adams. Mattingly is also an avid painter, poet, and pitcher, hav-ing played for Bard College’s first ever baseball team.

Mattingly, whose work has been described as “gor-geous” and “beautifully crafted” by the San Francisco Chronicle, was the Musical America “New Artist of the Month” for February 2013. In 2016, he was awarded the prestigious Charles Ives Scholarship by the American Academy of Arts and Letters. Mattingly also received both the Ezra Laderman Prize and the Philip Francis Nelson Prize from the Yale School of Music in 2016. Among the other awards Mattingly has won include the first prize in the 2011 New York Art Ensemble Young Composer’s Competition, 2010 First Prize for Composi-tion from the Pacific Musical Society, The 2009 Helen C. Elliot Award for Composition from the Pacific Musi-cal Society, Finalist in the ASCAP Morton Gould Young Composer’s Award in 2010 and 2012, and a Finalist in Or-pheus Chamber Orchestra and WQXR’s “Project 440.”

Annika Socolofsky is a composer, avant-folk vocalist, and fiddler. Her music stems from the timbral nu-ance and inwards resonance of the human voice, and is communicated through mediums ranging from orchestral works to unaccompanied folk ballads.

New projects for the 2017 – 2018 season include works for Eighth Blackbird, sean-nós singer Iarla Ó Lionáird, the Knoxville Symphony Orchestra, the Al-bany Symphony Dogs of Desire, Music from Copland House, Parhelion Trio, and saxophonist Jonathan Hulting-Cohen. As a composer, Annika has had works performed by artists such as the Albany Symphony, Third Coast Percussion, Emissary Quartet, Shattered Glass, Donald Sinta Quartet, JACK Quartet, Latitude

49, Mobius Percussion, shakuhachi grandmaster Ri-ley Lee, and bassist Evan Runyon, among others. As a vocalist, she has performed as soloist with the Albany Symphony, Knoxville Symphony Orchestra, and the Tulsa Camerata. Her works, projects, and related research have been presented at The Ital-ian Society of Contemporary Music, Bang on a Can Summer Festival, Carnegie Hall, Northwestern New Music Institute, Strange Beautiful Music Detroit, Listening to Ladies, and Princeton Sound Kitchen.

Annika is a recipient of a 2014 Fromm Foundation Commission and a 2017 BMI Student Composer Award. Her research focuses on physiology in contemporary vocal music, using Estill Voice Training and the music of Dolly Parton to create a pedagogical approach to com-position that does not box the composer into an either/or decision of straight tone vs. operatic vocals. She is a doctoral candidate in composition at Princeton Uni-versity. She holds a master’s in composition from the University of Michigan where she was a Regents Fel-low. Her primary mentors have been Evan Chambers, Dan Trueman, Kristin Kuster, and Reza Vali. She has an intense interest in Yiddish song and contra dance, and can be heard in avant-Isles folk band Ensoleil.

Dan Trueman is a composer, fiddler, and electronic mu-sician. He began studying violin at the age of 4, and decades later, after a chance encounter, fell in love with the Norwegian Hardanger fiddle, an instrument and tradition that has deeply affected all of his work, whether as a fiddler, a composer, or musical explorer. He has composed for small ensembles and for orches-tra, for voice, for electronic instruments of his own design, and he regularly performs as part of his work.

Dan's current projects include: a double-quartet for So Percussion and the JACK Quartet, commissioned by the Barlow Foundation; Olagón -- an evening length work in collaboration with singer Iarla Ó Lionáird, poet Paul Muldoon, and eighth blackbird; the Prepared Dig-ital Piano project; a collaborative dance project with choreographer Rebecca Lazier and scientist Naomi Leonard; ongoing collaborations with Irish fiddler Cao-imhín Ó Raghallaigh and guitarist Monica Mugan (Troll-stilt). His recent albums with Adam Sliwinski (Nostalgic Synchronic), Ó Raghallaigh (Laghdú) and So Percussion (neither Anvil nor Pulley) have met with wide acclaim.

His explorations have ranged from the oldest to the newest technologies; Dan co-founded the Princeton Laptop Orchestra, the first ensemble of its size and kind that has led to the formation of similarly inspired en-sembles across the world, from Oslo to Dublin, to Stan-ford and Bangkok. Dan's compositional work reflects this complex and broad range of activities, exploring rhythmic connections between traditional dance music and machines, for instance, or engaging with the unusu-al phrasing, tuning and ornamentation of the tradition-

8 | Composer Biographies


al Norwegian music while trying to discover new music that is singularly inspired by, and only possible with, new digital instruments that he designs and constructs. His tools of the trade are the first-of-its-kind Hardan-ger d'Amore fiddle by Salve Hakedal (played with a beautiful baroque bow by Michel Jamonneau), and the ChucK music programming language by Ge Wang.

Dan's work has been recognized by fellowships, grants, commissions, and awards from the Gug-genheim Foundation, the Barlow Endowment, the Bessies, the Fulbright Commission, the American Composers Forum, the American Council of Learned Societies, Meet the Composer, among others. He is Professor of Music and Director of the Princeton Sound Kitchen at Princeton University, where he teaches counterpoint, electronic music, and composition.

Donnacha Dennehy’s music has featured in festivals and venues around the world, such as the Edinburgh International Festival, Carnegie Hall New York, The Barbican London, The Wigmore Hall London, The Linbury at the Royal Opera House London, BAM New York, Tanglewood Festival, Holland Festival, Kennedy Center, Huddersfield Contemporary Music Festival in the UK (which opened its 2012 Festival with a portrait concert devoted to Dennehy’s music), Dublin Theatre Festival, ISCM World Music Days, Bang On A Can, Ul-tima Festival in Oslo, Musica Viva Lisbon, the Saar-brucken Festival, and the Schleswig-Holstein Festival.

Dennehy has received commissions from, among oth-ers, Alarm Will Sound, Bang On A Can, Contact (Toron-to), Dawn Upshaw, Doric String Quartet (London), Fide-lio Trio, Joanna MacGregor, Kronos Quartet, Icebreaker, Nadia Sirota, National Symphony Orchestra of Ireland, Orkest de Volharding (Amsterdam), Percussion Group of the Hague, San Francisco Contemporary Music Play-ers, So Percussion, St. Paul Chamber Orchestra (Minne-sota), Third Coast Percussion, Ulster Orchestra, United Instruments of Lucilin (Luxembourg), and Wide Open Opera (Dublin). Collaborations include pieces with the writers Colm Tóibín (The Dark Places), Paul Muldoon (in progress) and Enda Walsh (including the two operas The Last Hotel and The Second Violinist). In 2010 his single-movement orchestral piece Crane was ‘recom-mended’ by the International Rostrum of Composers.

Returning to Ireland after studies abroad, principally at the University of Illinois in the US, Dennehy founded Crash Ensemble, Ireland’s now-renowned new music group, in 1997. Alongside the singers Dawn Upshaw and Iarla O’Lionáird, Crash Ensemble features on the 2011 Nonesuch release of Dennehy’s music, entitled Grá agus Bás. NPR named it one of its “50 favorite albums’’ (in any genre) of 2011. In October 2014, RTE Lyric FM released a portrait CD of Dennehy’s orchestral music. Other releases include a number by NMC Re-cords in London, Bedroom Community in Reykjavik and Cantaloupe in New York. Previously a tenured lecturer at

Trinity College Dublin, Donnacha was appointed a Glob-al Scholar at Princeton University in the Autumn of 2012. He was also appointed composer-in-residence for the Fort Worth Symphony Orchestra in Texas (2013-14). He joined the music faculty at Princeton University in 2014.

In recent years, Dennehy has concentrated especial-ly on large-scale musico-dramatic works. His first opera The Last Hotel (2015), with a libretto by Enda Walsh, was met with critical acclaim in the UK when it premiered at the Edinburgh International Festival in August 2015. His second opera with Enda Walsh, The Second Violinist (2017) won the 2017 Fedora Prize for Opera (Salzburg/Paris) and was premiered in July 2017 at the Galway International Arts Festival. It is sched-uled for a run at the Barbican in London in September 2018. Other recent pieces include the docu-opera The Hunger (2012-16), co-produced by Alarm Will Sound and Opera Theatre St. Louis, and presented at BAM, New York; Surface Tension, premiered by Third Coast Percussion in February 2016, and The Weather of it for the Doric Quartet co-commissioned by the Wigmore Hall and Carnegie Hall, premiered at the Wigmore Hall in July 2016. Forthcoming projects include a piece for the members of the LA Philharmonic (for their Green Umbrella Series), and Broken Unison for So Percussion, co-commissioned by the Cork Opera House and Carn-egie Hall. A recording of his new piece for Nadia Sirota and viol consort, Tessellatum, was released by Bedroom Community in August 2017. His music is published by G. Schirmer in New York, part of the Music Sales Group.

Sarah Siskind continues to be one of today’s most re-spected and covered songwriters as well as a stand-out independent artist, who Spin Magazine calls “an artist you must hear now”. Armed with a striking vocal style and solid guitar and piano work, Sarah is a regular NPR performer with features on NPR’s Tiny Desk Concerts, World Cafe with David Dye, All Songs Considered, Song Of The Day and most recently NPR’s Mountain Stage. She has toured with Bonnie Raitt, Paul Brady, Gram-my winner Bon Iver (who also famously covered her Lovin’s For Fools) and The Swell Season and had songs recorded by Alison Krauss (the GRAMMY nominated Simple Love), Randy Travis, Madi Diaz and many more.

In July 2013, Justin Vernon’s Chigliak Records re-re-leased Sarah’s debut full-length album Covered which she recorded at age 22 but could not properly release due to illness. The album is now available world-wide and highlights the guitar work of Bill Frisell.

Siskind’s songs are heavily featured on ABC’s hit TV show Nashville and she recently made her prime-time television debut in the music special “Nash-ville: On the Record”, performing her song A Life That’s Good with the show’s cast. Other television shows that have featured Sarah’s songs are MTV’s Teen Mom 2, MTV’s Awkward, ABC’s Pretty Little Liars, Lifetime’s Army Wives and HBO’s The Wire.

JENNIFER CLIPPERT (Flute)Professor of Flute at the University of Wisconsin-Milwaukee, Jennifer Clippert is equally comfortableas a soloist, chamber musician, and orchestral player.She has performed throughout Chicago with groupssuch as the Chicago Symphony Orchestra, GrantPark Orchestra, Music of the Baroque, Chicago OperaTheater and the Chicago Symphony’s MUSICNOWseries. Clippert began her studies at an early age inWisconsin, studying first the piccolo and later theflute. She attended UWM where she received herBFA while studying with Robert Goodberg. She isalso a graduate of Northwestern University, whereshe received her MM and DM under Walfrid Kujala.

WILLIAM HELMERS (Clarinet)William Helmers performs regularly with the Mil-waukee Symphony Orchestra, Milwaukee Chamber Orchestra, Present Music, and as a guest artist with several other Midwestern ensembles and orchestras. In summers, he has been a member of the Santa Fe Opera Orchestra, the Washington Island Chamber Music Festival, the Colorado Music Festival, and the Token Creek Festival. Active in the performance and recording of new music, he gave the North Amer-ican premiere of John Adams’ clarinet concerto Gnarly But- tons in 1997, and the world premiere of James Grant’s Concerto for Bass Clarinet in 2004.

MARK HOELSCHER (Trombone)Bass trombonist Mark Hoelscher is a member of the Chicago-based Millar Brass Ensemble and is an Ed-wards artist/clinician. He freelances with groups in the Chicago, Milwaukee, and Madison areas and is an ac-tive teacher and coach. Mark holds a Master's Degree in trombone performance from Kent State Universi-ty and an undergraduate degree in trombone from Wichita State University. As a fellowship recipient at the Aspen Music Festival, he performed with the Fes-tival Jazz Ensemble, Chamber Symphony and Festival Orchestra and studied chamber music with American Brass Quintet. He is an active studio musician and has toured nationally and internationally with classical and pops orchestras, as well as big bands and tour-ing shows. Hoelscher has performed with the Hamil-ton Philharmonic and Symphony Hamilton (Hamilton Ontario, Canada), the Canton Symphony, and was a member of the Wichita Symphony. Since moving to Milwaukee in 1993, he has performed with such groups as the Chicago Sinfonietta, Milwaukee Symphony, El-gin Symphony, Chicago Civic Orchestra, Milwaukee Ballet Orchestra, Present Music, Madison Symphony Orchestra, and the Wisconsin Chamber Orchestra.

PAUL KEREKES (Piano)Paul Kerekes is a New York based composer and pianist whose music has been described as “gently poetic” (The New York Times), “striking” (WQXR), and “highly eloquent” (New Haven Advocate). He has had the privilege of hearing his pieces performed by many

outstanding ensembles, some of which include the American Composers Orchestra, Da Capo Cham-ber Players, and New Morse Code, in such venues as Merkin Hall, (le) poisson rouge, and The Winter Gar-den. He has also attended notable programs such as the Bang on a Can Summer Music Festival, Aspen Music Festival, and the Young Artists Piano Pro-gram at Tanglewood. Paul is also a member of Grand Band, a six piano ensemble that has been featured in such events as the Bang on a Can Marathon and the Gilmore International Keyboard Festival. He has received awards from ASCAP, the Academy of Arts and Letters, and was the recipient of the 2015 JFund award from the American Composer’s Forum. He is a graduate of Queens College and Yale School of Mu-sic and currently teaches at Sarah Lawrence College.

CARL STORNIOLO (Percussion)Carl Storniolo is a freelance percussionist who per-forms with ensembles throughout the Midwest. Carl is a versatile musician with performance credits that in-clude: contemporary music ensembles such as Present Music, Music From Almost Yesterday, and the Cham-ber Music Institute at the University of Wisconsin – Milwaukee. Carl manages, composes/arranges and performs with the Pangaea Steel Drum Group. He also performs regularly as vibraphonist, percussionist, and conga player with jazz ensembles, Latin bands, and big bands in the Milwaukee and Chicago areas. Carl is Director of Percussion Studies at the University of Wis-consin - Milwaukee, a position he has held since 2002.

DEREK JOHNSON (Guitar)Derek Johnson is a composer, electric guitarist and educator active in the world of contemporary concert music and beyond. He is a founding member of the virtuoso chamber ensemble BASILICA and a regular performer with the post-rock improvisation collective the goodhands team. Johnson has performed inter-nationally with the powerhouse new music ensem-ble the Bang On A Can All-Stars in collaboration with guest artists Iva Bittova, Don Byron, Bryce Dessner (The National), Bill Frisell, Glenn Kotche (Wilco), Lee Ranaldo (Sonic Youth), Steve Reich, and Ryuichi Saka-moto. Deeply engaged in the emerging position of the electric guitar in concert music, Derek is an active as a both a soloist and chamber musician presenting the rich and steadily growing canon of works written spe-cifically for the electric guitar.

ERIC SEGNITZ (Violin) Eric Segnitz is a violinist, composer/ arranger and a charter member of Present Music. He attended the New England Conservatory and the Banff Centre for the Arts. As an orchestral player, Segnitz has per-formed with the Milwaukee Symphony Orchestra and held concertmaster positions with several regional or-chestras. He has also worked in theater, television and film, and produced recordings in several genres.

10 | Ensemble Biographies


PAUL HAUER (Violin)Wisconsin native Paul Hauer joined the violin sectionof the Milwaukee Symphony Orchestra in the fall of 2016. Solo concerts have brought Mr. Hauer to the countries of Germany, Greece, France, the Czech Re-public, and the Philippines. Chamber music and or-chestral concerts have brought him to Italy, Singapore, Mexico, and China. Before moving to Milwaukee, Mr. Hauer was Principal Second Violin of the Evansville Philharmonic Orchestra and played regularly with the Indianapolis Symphony and Louisville Orchestra. He is Artist in Residence at the Barcel Suzuki String Acade-my and this past summer he joined the Peninsula Mu-sic Festival in Door County, WI.

ERIN PIPAL (Viola)Erin Pipal grew up in Kaneohe, HI, and earned a Bach-elor’s degree in music from Oberlin College Conserva-tory of Music in Oberlin, OH. She has played viola with the Milwaukee Symphony Orchestra since January of 1998 and also performs with Milwaukee Ballet, Wood-stock Mozart Festival and Present Music.

ADRIEN ZITOUN (Cello) Adrien Zitoun joined the Milwaukee Symphony Or-chestra in 2001. He performs with the Philomusica String Quartet, is resident at the Wisconsin Lutheran College, teaches privately, and coaches Milwaukee Youth Symphony Orchestra. Zitoun studied cello in Paris, Geneva, and Lyon. In the US, he earned his Artist Diploma and Masters from IU studying with Tsutsumi and Starker. In 2001 he won the Gold medal at the Fis-choff Chamber Music Competition and in 2006 the Jap-anese Music Pen club award for best Chamber music recording. In 2016, Zitoun wrote Play Cello Today! for Hal Leonard. He recently received the 2017 CIVIC MU-SIC Certificate of Excellence for Studio Music.

MARTY BUTORAC (Electronics)Marty Butorac graduated from the Lawrence Universi-ty Conservatory of Music in 1982, studying under Rob-ert Below, and in 1984 earned a Master of Music degree from Western Michigan University in performance and composition, studying under C. Curtis Smith. Marty has performed with Present Music since coming to Mil-waukee in 1985.

The After Party12 | Following the Concert....

The After-Band (derek pritzl & andrew koenig)Derek Pritzl is a Wisconsin singer/songwriter born and raised in the fertile

farm land of Valders, Wisconsin. He brings a style and narrative that is reminiscent of some of the great songwriters of yesterday and today, con-tinuing a tradition of songwriting developed by artists such as John Prine, Guy Clark, John Fogerty and Bill Walkner. His songs evoke visions of the struggles of the working man, the road weary traveler and of love found and love lost. Regardless of the size of venue, his music and songs create an atmosphere of intimacy, reflection and fellowship that brings the audi-ence into his world.

Andrew Koenig is a Milwaukee based musician and 2016 Shepherd Express Best of Milwaukee winner for guitarist. Focusing primarily in roots and Americana music, he plays with a diverse group of bands and musicians. He is currently involved with Buffalo Gospel, Thriftones, Derek Pritzl, Jesse Walker's Hitch, and Andrew Koenig Band among others.

The Mosaic Installation (sally duback) Last Dance on a Hot Planet

This work is intended to convey a message about our environment and some of the endangered species who inhabit it. I chose frogs, because so many people mistakenly believe that they are abundant - but the fact is, many species of frogs are endangered. So, I think of them as canaries in the coal mine. I created the frogs on a human scale to bring home the importance of this environmental emergency. The composition of this work bor-rows from two very well-known paintings: 1) "The Dance", by Matisse, and 2) "The Starry Night", by Van Gogh. The materials used are mostly up cycled and recycled objects, such as, bro-ken and discarded costume jewelry, compact discs, mirrors, shells, stones, buttons, dishes, plastic bottle caps, handmade cloth and polymer clay beads, seed beads.

The bright-show (wes tank)My directing/shooting/editing work is imbued with a poetic collage aesthet-ic. I have directed and edited two feature films as well as a long list of shorts and music videos. As a freelancer I specialize in shooting and editing use-ful and meaningful media for artists and non-profits who focus on the arts, community development, culture, education, health and social justice.

This list is current as of 2/15/2018. Every effort has been made to provide an accurate list. If you identify an error or omission in this list, please notify the office immediately and a correction will be made.

The Present Music Board of Directors woud like to thank the following organi-zations and individuals for their generous contributions to Present Music! These gifts make it possible to continue shar-ing thrilling music, world premieres and engaging community education projects with Milwaukee!

Thank Yout o o u R d o n o R s

INDIVIDUAL DONORS Creators $20,000+ Anonymous

Conceptualists $10,00-19,999 Laskin Family Foundation John Shannon and Jan Serr

Navigators $5,000-9,999 Louise Hermsen and John Kaufman Dave Keen and Judy Perkins Richard and Suzanne Pieper

Innovators $2,500 – 4,999 Cecile Cheng Richard and Karen ChristensonClaudia Egan Reed and Nancy Groethe Julilly Kohler Randall Lindert M. RobbertLois Smith Elaine Stalheim Anonymous

Rhapsodists $1,000 – 2,499 Donna and Donald Baumgartner Nichole Chagnon and Jason Sieberg

Heidi and Brian Dondlinger Will and Kris Edwards David Johnson George Owen and Eleanor Harris Gwen and Karen Plunkett Kevin Stalheim Anonymous

Explorers $500-999 Mark and Laura BarnardJill and Frits Broekhuizen Sandy Duffy John and Catherine Firth GordonJessica Franken and David Korr Timothy and Sue Frautschi Scott and Lyn Geboy Margarete and David Harvey William and Marguerite HelmersRuth Kallio-Mielke Brian and Maura Packham Fran and Steve Richman The Jack and Lucille Rosenberg Donor Advised FundNita Soref Paula and Vance Strother

Resonators $250-499 William and Barbara Boles Marcia Brooks and Ed Hammond The Douglas Frazer and Karen Schapiro

Donor Advised FundJames M. Green Lindsay Lochman and Eric Chatlain Jeff Kalenek and Kathleen Muldowney Paul McElvee and Gayle Rosemann Marilyn Merker GoldmanJoAnn Norris Jane O’Connell

Daniel Petry Jill Anna Ponasik and William BradleyThe Richman Family Donor Advised FundCarlton Stansbury Patricia Wessel Elacqua Herb Zien and Elizabeth Levins John Zippel AnonymousAnonymous

Intoners $100-249 Margo Anderson and Stephen MeyerJanine Arseneau Clair and Mary Baum Barbara Beckert Cris Belstein Keith Berg and Mary L Hedblom Jane Bowers Barbara Brennan-Nelson Suzy Brennan John Brooks Sarah L. Connor Marlene and Wayne Cook Maureen Daly and Mark Drewek Cary Desnoyers Judy Donegan Melissa Dorn RichardsRoberta and David Drews June Eastvold Thomas and Ellen Etten Dale and Carole Faught David Flores David Froiland and Lisa Bates-Froiland Luella Gesky Edith GilmanKarleen HaberichterCarol and Mike Hauer Mary Hartman Sally Heuer Rose Hilbert and Jeff Norman Fred Himmerich Dotty Holman George and Angela Jacobi Alexander Jacobs and Drusilla CagnoniThomas Jansen Raymond Janusiak Judy and Bill Kay Paul Kosidowski and Kathy DoniusDiane Lane Patricia Lasky and John Hanrahan Robert LawrenceJohn and Jan Liebenstein Elliot and Eve Lipchik Therese and John LiuMary and Barry McNulty Sue Medford Fujie and Wayne Moses Liz and Ken Nowakowski Debbie and Jamshed Patel Clint Peterson Claire Pfleger Helen Reich Nicole Reed Allen and Pat Rieselbach Mildred SchapiroVicki Schroeder

CORPORATE & FOUNDATION SUPPORT$100,000+ United Performing Arts Fund

$10,000-20,000 The Aaron Copland Fund for Music, Inc. Herzfeld Foundation Laskin Family Foundation

$5,000-9,999 The Amphion Foundation, Inc. The ASCAP Foundation Bader Philanthropies, Inc. Eaton City of Milwaukee Arts Board Milwaukee County CAMPAC John J Brander and Christine E Rundblad Fund Wisconsin Arts Board

$1,000-4,999 Cate and Clark at Clark Graphics David and Julia Uihlein Charitable FoundationFair & Square Custom Remodeling GE Foundation Hilker & AssociatesNorthwestern MutualPieper Power FoundationWe Energies


Don Sipe Carolyn and Clark Skagen Scott and Peggy Stalheim Christopher Stawski Victoria and Timothy Stratner Barbara Tays Winifred Thrall Jim and Kathie Vint Liesbeth Wenzel Janet WilgusLinda and Andrew Willms Heidi and Harvey Woehick George Wolz Clyde Zimmerman In memory of

Jean Zimmerman Mary Lou Zuege Anonymous

Igniters $1-99 George Affeldt Jean Baker and Phil KronerSusan and Bob Barnett Lynn Binder John Blum Anne Broda William Carey Chris Carlson Kristen Carter Helen Ceci and Bryan McDermott Barbara Champion James Chenevert Valerie Clark Timothy Couillard Michael Cunningham Faith and Michael Danneil Thallis Drake Maryann Erdtmann Russel Evans Andrew FalkGrace Felion Ginny Finn & Evan Lenhardt Christina Fredette David GarmanNadine and Brent GeisslerRobin Gerson Mary HancockPeggy Hans Joan Janus Beverly Katter Lois and Edward Kinsfogel Melissa and Megan KoeppelMary Krolikowski Dani Kuepper Melissa LeClair Elberta and Todd LeVine Nancy Leff Cory Masiak M. Kent Mayfield Patricia Monroe Bruce Murphy and Rosemarie Balistreri Michelle Nahmens Denice and Garry Warren Niebuher Joe Nienhaus Jane PachnerWesley PalmerJ. Ruben Pirainen

Devon Pittman Mary PlemonsHannah Ricke Philip Sarol Kathryn Schmidtkunz Rozanne Screven Maripat and Robert Shaw Ben Shiffler Karen and RJ Siegel Kristina Skagen Ronald StoryRandal Swiggum Susan Thompson-MitchellSharon Tiedge and Brian ReddingCarl Von Estorff Megan WallCharles Wavra Phyllis WaxCraig Williams and Rachaell Thuot Melanie and Frederic J. Varin Howard and Jane Zeff

Mat Ter!Art s

By donati ng to the United Performing Arts Fund, you can provide children with an outlet for creati vity and expression. You can help create jobs and boost the local economy. You can make our city a more creati ve place. To put it simply, your support of Milwaukee’s performing arts makes life bett er for everyone.

Donate today at UPAF.org/donate

Susan Gartell of Milwaukee Ballet Photo by Rachel Malehorn and Timothy O’Donnell; Milwaukee Youth Symphony Orchestra Photo by Ron Oshima;

Christi na Hall (Mrs. Lovett ) and Andrew Varela (Sweeney Todd) in Skylight Music Theatre’s Sweeney Todd

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Kevin Stalheim, Artistic Director between two...

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