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Are You Brave? Festival v5.0 - Oct. 21-26, 2002
Concert No. 1  Concert No. 2   Concert No. 3  Concert No. 4  

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Concert No. 1
10.22.2002
Tuesday
Kerrytown concert house
ONE

Andrew Mead
Let the Air Circulate
Jennifer Goltz, voice

Schulamit Ran
East wind
Emily Perryman, flute

Mark Kilstofte
you (Unfolding)
Katri Ervamaa, cello

Joan Towers
Wild Purple
Tim Christie,
viola

Grazyna Bacewicz
Sonatina per violino Solo
Maria Sampen, violin

Elliot Carter
90
Winston Choi, piano

Christian Wolff
Eleven Preludes for piano
Winston Choi, piano

Program Notes



Andrew Mead
Let the Air Circulate
In many of her poems, Amy Clampitt wrote about a part of the coast of Maine that coincidentally I know intimately, both from the shore and from having spent many summers cruising its waters on my dad's sailboats. 'Tit Manan light is a lighthouse some miles offshore on a small rocky island that can be seen from a considerable distance in all directions.
-- Andrew Mead
Andrew Mead, Chair of the Music Theory Department, earned his Ph.D. from Princeton University. He has published analytical and theoretical articles on music of the twentieth century in Music Theory Spectrum, Perspectives of New Music, The Journal of Music Theory and elsewhere. His book, An Introduction to the Music of Milton Babbitt, is published by Princeton University Press. He is a recipient of the Young Scholar Publications Award from the Society of Music Theory, and has received the Goddard Lieberson Fellowship from the American Institute/Academy of Arts and Letters. Recent compositions include concertos for alto saxophone and cello, as well as works for various chamber ensembles.

East Wind by Shulamit Ran
East Wind was commissioned by the National Flute Association in 1987 for its annual Young Artists Competition and was first performed by the six semi-finalists at the 1988 San Diego NFA Convention. The composer dedicated the work to the memory of Karen Monson, a writer, critic, and friend, who died in February 1988 at the age of 42. It may or may not have been Ran's intention to embody a biblical force when she composed this piece, but one cannot deny the connection to the east wind as found in many scripture passages of the bible. It is the fiercest of all winds, the one in Exodus that brought the eighth plague of locusts and was powerful enough to part the Red Sea for Moses and his people. Ran's East Wind is also remarkably ferocious (and certainly uncharacteristic of the flute), but it is the so-called "calm after the storm" that the composer describes as East Wind's central image: "from within its ornamented, inflected, winding, twisting, at times convoluted lines, a gentle melody gradually emerges." --Notes by Emily Perryman

Shulamit Ran was born in Tel Aviv, Israel, where she received her early training in music. She came to the U.S. at the age of fourteen to study, having received scholarships from The Mannes College of Music in New York and the America Israel Cultural Foundation. Among her numerous awards, fellowships and commissions are those from the Martha Baird Rockefeller Fund, the Ford Foundation, the National Endowment for the Arts, the Guggenheim Foundation, Chamber Music America, the Chamber Music Society of Lincoln Center, the Philadelphia Orchestra, the Chicago Symphony Orchestra, the Baltimore Symphony, and many more. In 1990, Ms. Ran was appointed by Maestro Daniel Barenboim to be Composer-in-Residence with the Chicago Symphony Orchestra, a position she held for seven seasons. From 1994 to 1997, Ran also served as Composer-in-Residence with the Lyric Opera of Chicago. She is presently the William H. Colvin Professor in the Department of Music at the University of Chicago, where she has taught since 1973.

You [unfolding] by Mark Kilstofte (commissioned by Theodore Antoniou and Alea III and dedicated to cellist Leslie Nash)
You [unfolding] is a one-movement work comprising three contrasting sections. It reflects, through form and process, the richness of discovery and understanding at deeper and deeper levels-deliberately, yet imperceptibly-as if through an extended correspondence. The opening features a series of statements in expanding variations form in which each subsequent phrase can be heard as an elaboration and amplification of the former. In other words, each new phrase not only embellishes what has been played previously, but also introduces new structural material. In this way the variations increase in length and complexity, moving from the succinct to the sublime. In contrast to the slow, improvisatory character of the first section, the central portion of the work is suddenly brisk and terse, replete with syncopation. Here the notion of unfolding is depicted by ever-widening intervallic wedges and ever-contracting rhythmic cells which propel the piece to an abrupt, but lingering climax. On the heels of this suspended caesura the piece reclaims the tempo and character of the beginning. Here, however, each statement is condensed or abridged (rather than elaborated on) as the work makes its way to what seems its inevitable conclusion.-Notes by Katri Ervamaa

"Mark Kilstofte is admired as a composer of lyrical line, engaging harmony, and strong, dramatic gesture, beautiful linear writing, expert text setting, and keen sensitivity to sound, shape and event." So reads a recent citation from the American Academy of Arts and Letters describing his music-qualities stemming, in part, from years of vocal study. Winner of the 2002-03 Rome Prize from the American Academy in Rome, Kilstofte holds degrees from St. Olaf College and the University of Michigan where he studied with William Albright, Leslie Bassett, William Bolcom and Eugene Kurtz, and served as assistant conductor of the Contemporary Directions Ensemble. He is currently associate professor of composition and music theory at Furman University. In addition to the Frederick A. Julliard/Walter Damrosch Rome Prize Fellowship, Kilstofte is also the recipient of the Goddard Lieberson Fellowship and Charles Ive's Scholarship from the American Academy of Arts and Letters, and the ASCAP Foundation Rudolf Nissim Award. His music is published by the Newmatic Press.

Wild Purple by Joan Tower
"I always thought of the viola sound as being the color purple. Its deep, resonant and luscious timbre seems to embody all kinds of hues of purple. I never thought of the viola as being particularly wild. So I decided to try and see if I could create a piece that had wild energy in it and meet the challenge of creating a virtuosic piece for solo viola."-Joan Tower "Wild Purple" was written for the violist Paul Neubauer who premiered the work at Merkin Concert Hall, New York City, September 1998.

Joan Tower is one of this generation's most dynamic and colorful composers. Her bold and energetic music, with its striking imagery and novel structural forms, has won large, enthusiastic audiences. For nearly thirty years, Tower was active as founder and pianist with the 1973 Naumburg Award-winning ensemble the Da Capo Chamber Players. They commissioned and premiered many of her most popular works including: Platinum Spirals, Hexachords, Wings, Petroushskates, and Amazon I. Also active as a conductor, Tower has conducted at the White House, the Scotia Festival in Canada, and the American Symphony Orchestra. She was the recipient of the Delaware Symphony's 1998 Alfred I. DuPont Award for Distinguished American Composers and Conductors, and was inducted into the membership of the American Academy of Arts and Letters. She is currently Asher Edelman Professor of Music at Bard College, where she has taught since 1972. She is also co-artistic director of the Yale/Norfolk Chamber Music Festival, and composer-in-residence at the Summit Institute for the Arts and Humanities in Utah.



90+ by Elliott Carter
90+ for piano is built around ninety short, accented notes played in a slow regular beat. Against these the context changes character continually. It was composed in March of 1994 to celebrate the ninetieth birthday of my dear and much admired friend, Goffredo Petrassi, Italy's leading composer of his generation.-Notes by the composer
Born in New York City on 11 December 1908, Elliott Carter attended Harvard University where he studied with Walter Piston, and later went to Paris where for three years he studied with Nadia Boulanger. He then returned to New York to devote his time to composing and teaching. With the explorations of tempo relationships and texture that characterize his music, Carter has been one of the prime innovators of 20th-century music he has been recipient of the highest honors that a composer can receive: the Gold Medal for Music awarded by the National Institute of Arts and Letters, the National Medal of Arts, membership in the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and honorary degrees from many universities. He has received two Pulitzer Prizes and commissions from prestigious organizations.

Eleven Preludes for Piano by Christian Wolff
This is a collection of self-contained pieces, each representing one principal idea or process. Among his most accessible pieces, many of these preludes are quite tuneful, with popular or politically connected American songs being the influences. There is a lot of freedom in the interpretation of these pieces, as they are left free of tempo, articulation, dynamic and phrase markings. Yet, they are very spirited and outgoing; it is music that speaks in a very direct way.

The French-born American musician Christian Wolff came to prominence in the 1950s as an associate of John Cage, Morton Feldman, Earle Brown and the other American experimentalists of that period, later working with Cornelius Cardew and Frederic Rzewski. His work has gone through many transformations, including minimalism (the early 1950s), indeterminacy, open form and works connected with political issues. His academic training in classics and comparative literature at Harvard University lead him to professorships in classics at Harvard and, since 1971, at Dartmouth College, where he also teaches comparative literature and music. His academic training in classics and comparative literature at Harvard University lead him to professorships in classics at Harvard and, since 1971, at Dartmouth College, where he also teaches comparative literature and music. Concert No. 2

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Concert No. 2
10.23.2002
Wednesday
Kerrytown Concert house

Guest Artists
Matthew Ardizzone,
guitar
&
ulla Suokko, flute
Sponsored
by the
Finlandia Foundation

Leo Brouwer
Elogio de la Danza

Paul Lansky
Semi-Suite (Selected Movements)
Putative Prelude
Aimless Air
Awkward Allemande

William Walton
Three Bagatelles
Allegro
Lento
Alla Cubano

Leo Brouwer
Danza Caracteristica

Intermission

Toru Takemitsu
Voice

Claude Debussy
Syrinx

Alexandre Lundsqy
Topografia de um Caminho Andalo for Bass Flute

Kaija Saariaho
Laconisme de l'aile

Marcelo Toledo
Aliento/Arrugas

Program Notes

Guitarist Matthew Ardizzone has performed throughout the United States and Canada and was a prizewinner in the Stotsenberg and Rantucci International Guitar Competitions. In addition to being a solo recitalist, he is an active collaborator. His recent chamber music partners include violinist Movses Pogossian, tenor Gregory Kunde, and saxophonist Matthew Sintchak (Duo Nouveau). Matthew's first CD, entitled Mazurka!, was recently released by the Aardvark Media record label, and has been nationally distributed. It was a recipient of a 2001 "Crystal Award for Excellence." An avid scholar, Matthew's work has been published in Soundboard Magazine and with Mel Bay Publications. His festival appearances as a performer and teacher include the Shady Side Chamber Music Festival (Pittsburgh), Brave New Works (Ann Arbor), and the Ithaca College Guitar Festival; he has given master classes at schools throughout the country, including the Cleveland Institute of Music, Eastern Michigan University, and the University of Iowa. With Bachelor and Master of Music degrees in guitar performance from Ithaca College, Matthew was the first guitarist to receive the Doctor of Musical Arts from the Eastman School of Music where he was also awarded the Performer's Certificate. He has been on the faculties of Eastman's Community Education Division, St. John Fisher College, and Nazareth College in Rochester, NY (the latter since 1992). He now resides in Ann Arbor and teaches at Bowling Green State University.

Representing the Finlandia Foundation as Performer of the Year, concert flutist and performing artist Ulla Suokko enjoys a versatile career sharing the magic of music, poetry and stories with audiences on both sides of the Atlantic. Active both as a soloist and chamber musician, she has been featured in some of New York City's most prestigious concert halls and in many other venerated concert venues throughout the East Coast, Europe and Central Asia. Her performances are heard regularly throughout the New York Metropolitan area, and New York City's classical radio station WNYC has often broadcast her recordings and live performances. Ms. Suokko has been a featured artist at many summer festivals in her native Finland, including the Kuhmo Chamber Music Festival and Uusikaupunki Crusell Festival. Last year brought her to perform at international festivals also to Tashkent, Uzbekistan and to Ulan Bator and Gobi desert in Mongolia. This year her performances include concerts in Azerbaijan, Armenia and Georgia. Performing regularly with some of New York's best contemporary music ensembles, she collaborates with composers, inspiring new works for her instrument. She has premiered scores of works, including several dedicated to her. Ms. Suokko earned the Master of Music degree from Sibelius Academy in Finland and a Performer's Certificate from Eastman School of Music. While still living in Finland, she was flutist in the Helsinki Philharmonic Orchestra and spent many summers studying and performing in Italy. She has taught master classes in the U.S., Europe and Central Asia. She holds the Doctor of Musical Arts degree from The Julliard School, where she studied with Julius Baker. In her spare time Ms. Suokko enjoys reading and writing, exploring languages and cultures, practicing Shorin Ryu karate as well as dancing flamenco and Argentinean tango.

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Concert No. 3
10.24.2002
Thursday
Britton Recital Hall

Chamber Music by

Bruce Broughton
Tyvek Wood
1.
2.
3.
Emily Perryman, flute
Tim Christie, viola
Amy Ley, Harp

Luciano Berio
violin Duets
Maria Sampen, violin
Tim Christie, Violin

Carter Pann
Differences
Katri Ervamaa, cello
Winston Choi, piano

Forrest Pierce
moses and the Shepherd Op. 2
Jennifer Goltz, voice
Katri Ervamaa, Cello

William Bolcom
piano Quintet
Sonata Movement
Larghetto
Lamentation
Maria Sampen, violin
Steve Miahky, violin
Tim Christie, Viola
Katri Ervamaa, Cello
Winston Choi, Piano

Program Notes

Tyvek Wood by Bruce Broughton

Bruce Broughton was born March 8, 1945 in Los Angeles, California. He was a successful composer of many TV credits during the 60's and 70's including "Dallas" and "Hawaii Five-O". In the 1980's Broughton began to write film scores and was soon awarded an Oscar for best original score for the music of "Silverado" in 1985. To this date he as been nominated for nineteen Emmys and awarded seven. His Film scores include "Lost in Space", "A Miracle on 34th Street", "Field of Dreams" and many more. Tyvek Wood displays Broughton's diversity as a composer as a chamber work for flute , viola and harp. It was premiered at the World Harp Conference in Prague, Czech Republic in 1999 by the Debussy Trio.-Notes by Amy Ley

Differences by Carter Pann

Differences was composed in February of 1998 for Derek Snyder. The work is comprised of five short movements very much like a suite or a partita in the Baroque style. However, the individual little pieces are radically different from each other in style and musical content. Derek had the idea of transcribing a larger chamber work of mine (in which he performed) for cello and piano. The end result would have been a six or seven movement work entitled "Dance Partita" after the larger chamber piece. The project began as such and grew into its own by the end. It happened that the only movements taken from the chamber orchestra piece were the "Air" and the "Country dance."

I Strand can be best described as a kind of pop tune where the cello has the vocal line. The piano supplies the harmonies and rhythms against which the cello plays. Different from an actual pop tune, the rhythms are bit more complex and sometimes jarring.

II Air is an arrangement from a larger work entitled Dance Partita. The musical language here is baroque. As in the Baroque period, the title refers to the "canto" style of long legato vocal lines over a slow and undulating accompaniment.

III Country Dance, another movement from Dance Partita, is a peasant tune. The middle section is very pastoral (with church bells) in which one might imagine the drone of bagpipes on the countryside.

IV Blues is just that. Very different from the preceding movement, this is a small chance for the performers to show a little soul.

V Song, like Strand, is a pop tune. This one is a bit more direct in its tone and somewhat more recognizable as it draws its language from the late 70's and early 80's.

--Notes by the composer

Carter Pann (b.1972) began studying piano at an early age with his grandmother. At fifteen he began lessons with Emilio Del Rosario at the North Shore School of Music in Winnetka, Illinois. He received his Bachelor's degree from the Eastman School of Music and subsequently his Master's degree from the University of Michigan. Honors in composition include the K.Serocki Competition, first prizes in the Zoltan Kodaly and FranÙois d'Albert Concours Internationales de Composition, a Charles Ives Scholarship from the Academy of Arts and Letters and five ASCAP composer awards. His works have been performed by the London Symphony, City of Birmingham Symphony, Vancouver Symphony, National Repertory Orchestra, National Symphony of Ireland, Syracuse Symphony, New York Youth Symphony, Chicago Youth Symphony, and the Haddonfield Symphony among others. In 1997 the Czech State Philharmonic of Brno recorded four of his orchestral works under JosÚ Serebrier, which were later released by Naxos on its Amercian Classics. His Piano Concerto was submitted for a Grammy nomination in the "Best Classical Composition of the Year" category for 2001.

Moses and the Shepherd, op. 2 by Forrest Pierce

A lay in the bardic tradition;

a parable set to music in lyric recitative;

a work for a singer-actor;

to be performed with no text provided

to the audience, in the oral tradition;

a story of Moses, a shepherd, and God.

Text from Rumi, translated by Coleman Barks. Used with permission of the translator.-Notes by the composer

Forrest Pierce is occupied with the end of things. He is not certain if new things naturally come after large endings, although that has indeed been a recurring pattern in his life. New friends become old friends, and teachers such as Dominick Argento and Don Freund are now no longer his teachers. His successive homes in Pullman, Tacoma, Minneapolis, Indiana, and Austin are now places he once lived. Just recently, Pierce set aside over one hundred works and began his opus numbers, in the belief that the recent epiphanies he has been chasing through the tall grass with a club are in fact beginnings. Forrest Pierce is now teaching at Lewis and Clark College in Portland, Oregon, and is composer-in-residence of the Seattle New Music Ensemble.

Piano Quintet by William Bolcom

I've known Isaac Stern tangentially for many years; one day he called me asking for a chamber piece involving him, other players, and the young pianist Jonathan Biss. I had never heard Biss play but was sent a CD of a 92nd St. Y concert in New York; here was a pianist displaying maturity of execution and interpretation beyond his nineteen years, and it seemed a good opportunity to attempt a piano quintet (which I had never done) for the occasion. Each chamber music formation has its own particular historical atmosphere, that of the string quartet being of course the best-known. A composer can choose to ignore these legacies or invoke them; I've done both on different occasions, but here I wanted to recall the great Schumann and Brahms tradition-of course with important differences. The Sonata Movement has some of the legacy and atmosphere of my spiritual models. Larghetto alternates a lyrical first section with a scherzo-like music, ending in a will-o-the-wisp pianistic disappearance. The short introduction to the last movement, Lamentation, leads to a Rondo furioso, headlong and inexorable; the Rondo centers on a musical motive borrowed from my 1969 opera for actors, Greatshot; its mood is of a terribly speeded-up samba gone berserk.-Notes by the composer

William Bolcom, the Ross Lee Finney Distinguished University Professor of Music, recipient of the 1988 Pulitzer Prize for music, has received commissions from the Vienna Philharmonic (Salzburg Mozarteum), Philadelphia Orchestra, New York Philharmonic, Berlin Domaine Musical, Koussevitsky Foundation, Saarlandischer Rundfunk, American Composers Orchestra, Saint Louis National and Pacific Symphonies, Lyric Opera of Chicago and many others. As piano soloist, accompanist, and composer, Mr. Bolcom is represented on recordings for Nonesuch, Deutsche Grammophone, RCA, CBS, MHS, Arabesque, Cala, Jazzology, Vox, Advance, CRI, Phillips, Laurel, First Edition, Newport Classics, Crystal, New World, and others. As writer about musical subjects, he is published by several music magazines, by Viking in a book about Eubie Blake (with Robert Kimball), and in articles in The New Grove Dictionary. Recipient of fellowships and grants from numerous major foundations, Mr. Bolcom joined the faculty of the University of Michigan in 1973. He taught previously at the University of Washington, Queens and Brooklyn Colleges of the City University of New York, and at New York University's Tisch School of the Arts. Mr. Bolcom has been admitted to the American Academy of Arts and Letters, and holds honorary doctorates from the San Francisco Conservatory and Albion College.

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Concert No. 4
10.26.2002
Saturday
Britton Recital Hall

Art of the Fugue Project

J.S.Bach/Arr. Thomas Gregory
Contrapuntus I

Tom Schnauber
Die Schwestern Fesseln
"Heaviest Chains"

J.S.Bach/Arr. Thomas Gregory
Contrapuntus VII

Christos Hatzis
S.T.Y.L.U.S.

J.S.Bach/Arr. Thomas Gregory
Contrapuntus IX

John Berners
Praeludium

intermission

Thomas Gregory
Prelude and Scherzo

J.S.Bach/Arr. Thomas Gregory
Contrapuntus XII

John McDonald
Inventious Network

Forrest Pierce
Broken Teeth op. 4
I. Oxblood
II. Lion of the Tribe
[Job 4:10]
III. Eagle
[Revelations 12:14]
IV. Manhandle
[Pope, "Essay on Man"]

J.S.Bach/Arr. Thomas Gregory
Chorale

Brave New works Core Ensemble
Chris Younghoon Kim
conductor

Program Notes

Art of the Fugue arranged by Thomas Gregory.

The Art of the Fugue begins with a fugue in D minor. What follows is a series of variations on this fugue, exploring many permutations of the subject. The theme appears upside down, backwards and in different rhythmic guises, resulting in very different fugues of differing lengths and speeds. This extraordinary example of Bach's technique, is the culmination of a lifetime's dedication to the art of contrapuntal music. This monumental work was written with no particular instrumentation in mind, and as a result, has been heard in many shapes and forms. It seems only natural that there should be one for Brave New Works. The Art of the Fugue Project was Chris Kim's brainchild. I was delighted when he asked me to arrange a number of the fugues for Brave New Works. I chose five contrasting fugues and arranged them simply, making use of the variety of colours and sounds available from the Brave New Works ensemble.-Notes by the composer

Thomas Gregory was born in Denmark in 1973. Soon after, his family settled in his father's homeland, England. He studied cello performance at the Guildhall School of Music in London, before receiving a fellowship to study further at the University of Michigan and the Aspen Music Festival. Having returned to London, Thomas divides his time between performing, teaching and composing. Thomas is closely associated with Brave New Works contemporary ensemble based in Ann Arbor, for whom he has written and arranged various works. Future projects include incidental music for a production of Coriolanus in London.

Variation on a Fugue by Thomas Gregory

Variation on a Fugue is based on the first of Bach's fugues. Whilst the fugue's structure stays close to Bach's original, the piece contrasts tonally, and has a slightly quirkier edge to it.-Notes by the composer

Praeludium by John Berners

I was delighted when Chris Kim asked me to write a piece for the Brave New Works Art of Fugue Project. My first thought was, with all those fugues, why not a prelude? I began composing Praeludium with the idea of a serene, major-key prelude like some found in the WTC. After a few pages, however, the mood of the piece took a definite turn for the worse. A short quote from Bach's Contrapunctus IX leads the music in a darker direction. Eventually, the fragments of Baroque-style figures are left to fend for themselves in increasingly bleak surroundings. -Notes by John Berners

John Berners (b.1961, Milwaukee) began composing at an early age and studied trombone at Northwestern University with Frank Crisafulli, earning a B.M in performance and a B.A. in Mathematics. Composition studies began privately with C. Curtis-Smith in Kalamazoo, MI and continued at the University of Michigan under William Albright, Evan Chambers, Bright Sheng, Michael Daugherty and William Bolcom. Currently a Ph.D. candidate, John Berners lives in Silver Spring MD, and is Assistant Professor of Music at American University in Washington, D.C. His works have been played by the Detroit Symphony, the Boston Symphony brass section, the Tanglewood Festival Brass, Kalamazoo Symphony, Brave New Works, the Michigan Chamber Brass and many college ensembles. His music has been recorded by pianist Alan Huckleberry, the Millar Brass Ensemble, and Boston's Old South Brass.

Die schwersten Fesser "Heaviest Chains" by Tom Schnauber

This work is a five-part ensemble piece written in the spirit of the 16th-century motet. It is also an homage to a later composer, J.S. Bach. The Cantus Firmus quotes the subject of his Kunst der Fuge, and the text (translation: "The heaviest chains have become flower garlands.") is a sentence with which Phillip Spitta has described the composer's handling of canonic composition. Although all the parts are texted, this piece is designed to be performable by a wide variety of instrumental/vocal combinations, as were most Renaissance motets. It is also based on a single mode (for the theoretically minded: E-Phrygian plus D-sharp) and uses some of the compositional devices found in many of those earlier works. It is my first real attempt at putting what I have learned from my love of "early" music to practical use.-Notes by the composer

German-American composer Tom Schnauber completed his bachelor of music in composition as well as an advanced studies degree in scoring for motion pictures at the University of Southern California. On a scholarship from the German government, he then went to Berlin to study ethnomusicology as well as to continue his studies in composition. After his return to the US a year later, he did a small stint in Hollywood scoring films no one will ever see. He is currently a Ph.D. candidate in composition and theory at the University of Michigan where he also earned a master of music in composition. His major teachers have included Donald Crockett, Stephen Hartke, Paul-Heinz Dittrich, William Albright, Michael Daugherty, Bright Sheng, Evan Chambers, and William Bolcom. Schnauber has received commissions for orchestral, chamber, and vocal works from ensembles such as Brave New Works, the Dexter String Quartet, the Valhalla Band (St. Olaf College), and the Falls Church Chamber Orchestra. He has also written music for stage productions by Toledo University, Coe College, and Ann Arbor's Wild Swan Theater. He lives in Northfield, MN, and has taught composition and theory at St. Olaf College.

Prelude and Scherzo by Thomas Gregory

Prelude and Scherzo was written in London between August 2001 and May 2002. I worked on the two movements simultaneously, each exploring different, yet complimentary tonalities. The two movements use quite conventional structures, i.e. sonata form and scherzo respectively. Although neither is modeled on any pieces by Bach, his influence is present in both with respect to contrapuntal and sometimes fugal writing.-Notes by the composer

See above for Thomas Gregory's biography

Stylus by Christos Hatzis

Stylus is the third piece in an ongoing series of compositions based on Johann Sebastian Bach's The Art of the Fugue. It is a palimpsest on Contrapunctus VII. As the title suggests, my only means of acting upon the Bach original was the compositional equivalent of the effect of a skipping phonograph stylus. I was intrigued by the possibility of changing the semantic continuity of Bach's music by means of strategically placed asymmetrical repetitions. By using (1) repetitions within repetitions, (2) phasing repetitions (the left or right bracket advances or retreats by a sixteenth-note after each iteration) and (3) by occasionally choosing similar beginning and end points which result in continuous melodic and contrapuntal flow within a loop, I sought to create a composition which parallels that of Bach, but has, never-the-less, a character and style of its own. With regards to instrumentation, Stylus was originally composed for tenor recorder, viola and accordion for recordist Peter Hannan, violist Douglas Perry and accordionist Joseph Petric. A subsequent version for string quartet also exists. To date neither version has been performed in public.-Notes by the composer

Born in Greece, educated in the United States and a Canadian citizen since 1985, award winning composer Christos Hatzis is "one of the most important composers in Canada" (International Musician) and is recently enjoying international recognition for his work. He is the recipient of the 1998 Jean A. Chalmers National Music Award, the 1996 (Governor General) Jules LegÚr Prize, the 1996 Prix Italia Special Prize, the 1998 Prix Bohemia Special Prize and the 2002 New Pioneer Award. He has composed major works for all media and is the recipient of numerous commissions from some of the best-known artists in Canada and abroad. Christos' works are "brilliant, complex, and intellectually and emotionally challenging but [they] touch the heart of the average listener" (Paul Pedersen). His music has been featured in many international festivals, is being broadcast regularly by CBC and foreign networks and is frequently performed worldwide. In addition to composing, Christos teaches composition full-time as an Associate Professor of Music at the University of Toronto. In addition to composing and teaching, Christos writes about music and particularly about the role of contemporary classical music within our present and future societies. Christos is now married to percussionist Beverley Johnston and they live together at their rural home outside of Uxbridge, Ontario.

Inventious Network (2002) [A Trope on Contrapunctus XIII from J.S. Bach's "The Art of Fugue" for Flute, Clarinet, String Quartet, Piano, Harp, Guitar, and Percussion) by John McDonald

This short piece composed for the Brave New Works "Art of Fugue" project pays homage to Bach's "Canon per Augmentationem in contrario motu" by creating four overlapping "networks" or short pieces (one for piano/harp/guitar, a second for flute/clarinet/percussion, a third for piano and string quartet, and a fourth for clarinet and string quartet) made from chunks of Bach's ever unfolding model. Two of the "networks" return and are varied, and two occur only once, before a string of four duets (harp and guitar, cello and harp, clarinet and viola, flute and violins) takes over and thins the textures of the preceding "network" section. A final appearance of the opening piano/harp/guitar material yields a ringing, chordal closing section. Inventious Network attempts to accomplish much in a short space of time, and exists in unabashed gratitude for the existence of the canons found within Bach's unfinished work (I can get my hands on them and play them often!). If it amplifies or refracts some of the light cast by its formidable model, it will have one count of success. Inventious Network" is dedicated to Chris Younghoon Kim with gratitude and admiration.-Notes by the composer

A "fresh, inventive, urbane, and keen-witted young composer" (Boston Globe) and "a splendid pianist" "with a born pianist's command of colors, textures, dynamics" (Boston Globe), John McDonald has earned international acclaim as a musician. His compositions have been performed on four continents, and his work is frequently featured in the U.S.A. by such ensembles as Alea III, Arden Quartet, Boston Composers String Quartet, Hartt Contemporary Players, Marimolin, Rivers Trio, and Duo 101. Recently, McDonald served as Cultural Specialist in Mongolia, where he premiered his "Music for Piano and String Orchestra". In his performing capacity, recent honors include a Duo Recitalists Grant from the NEA, an Artistic Ambassadorship to Asia, and an Artists' Residency at M.I.T. McDonald's solo piano recital of "Common Injustices" by twenty-five living composers given in September of 2001 prompted Richard Dyer of The Boston Globe to write "one can hardly imagine anyone else undertaking such a program, or playing it with such modest and unobtrusive but total musical and pianistic mastery." Currently Associate Professor of Music and Chair of the Music Department at Tufts University, McDonald's recent accomplishments have included commissions from American Composers Forum and the Harvard Musical Association, and First Prize in the Leo M. Traynor Composition Competition for music for viol consort.

Broken Teeth, op. 4 by Forrest Pierce

The texts of Broken Teeth reflect the medieval animal manifestations of the four evangelists, as portrayed in the Eusebian Canons of such ancient texts as the Book of Kells. The subject matter is apocalyptic, the intent bleak and at times gruesome. The loss of great beauty is here not merely potential, but inevitable. Perhaps the broken ending of the Bach masterwork upon which Broken Teeth is based was likewise a certainty. When does such a project as the Art of the Fugue end? When the maker ends.-Notes by the composer


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