ANDALUSIA INTERNATIONAL MUSIC DAYS

Conservatorio Superior, Seville

Thursday, March 12, 2009

PROGRAM

CAROLINE NEWMAN Le Chat*

PATRICIA LEONARD Venetian Moonlight*

CARLOS DELGADO Desvaneciendo*

DINU GHEZZO Imaginary Voyages

K. STOCKHAUSEN In Freundshaft,

for Solo Clarinet & Dancers

JOHN CAGE Sonata for Clarinet (1933)

LINDA MARCEL Genome*

ALAN TERRICCIANO Seis Oraciones (a Santo Antonio)*

CHAN JI KIM 9 Years*

DINU GHEZZO Wind Rituals**

for Sax, Clarinet, Wind Objects, Percussion, Piano (D. Ghezzo) , Dancers and Tape

* First Performance ** First Revised Performance

____________________

The Performers: TRIO BELA BARTOK

EMIL SEIN, Saxophones, Clarinets, Wind Objects, is a much-awarded performer, raised and educated in Timisoara <Romania. Presently much in demand as a performer in Europe and the US, Mr. Sein is a recipient of many international awards: State First Prize of the Romanian Composers Society (1990), the Stipendienpreis of the New Music Festival in Darmastadt (1990), the Kranichsteiner Prize of the same Darmstadt Festival (1992), the ANMC Award in New York (1995) and twice the INMC Inc. Award (1997 & 1998). He appeared as a soloist of the 1988 George Enescu Festival in Bucharest, Romania, at Darmstadt New Music Festival (1990-1992), the 1991 Bordeaux Music Festival, the 1991 East-West Festival in Amsterdam, the 1993 New Music Festival of Bogota, Colombia, the 1993 New Music Festival of Huddresfield, England, the 1996 ANMC Festival in Italy, the 1996-98 INMC Series and at the Lincoln Center in New York, at the Jerusalem Music & Dance Academy, in Korea, Japan, etc. For almost ten years, Mr. Sein is living and active in Spain, as a respected performer, educator and organizer of music activities, such as the director of MUSICA NEUVA MALAGA Festival, the ANDALUSIA INTERNATIONAL MUSIC DAYS (Seville, Granada & Malaga).

Mr. Sein has been a perfoers of the Banat Philharmonic in Timisoara, and has been invited as performer-in-residence at many music institutions in the US & Europe: 1996 Distinguished Performer-in-Residence at NYU, 1998 Visiting-Performer at Tulane University, New Orleans, at Bergen College, New Jersey, Univ. of Chicago, 1995 at Musicarama in Hong Kong, as well as at the soloist and chamber music specialist in Heidelberg, Tubingen, Baden Baden, Alen, Karlsruhe, Berlin, Bremen, Oldenburg (Germany), Einhoven, Venlo, Zvolle and Groninge (Netherland), Manchester (England), Budapest and Szeged (Hungary), Paris, Valencia, Hung Tzu and Beijing.

Mr. Emil Sein has appeared as soloist with many orchestras, such as Oradea Symphony, Banat Philharmonic, and has premiered many works specifically written for him by Leo Kraft, Dinu Ghezzo, Ron Mazurek, Carlos Delgado, Anatol Vieru, Stefan Niculescu, Tiberiu Olah, Aurel Stroe, Nicolae Brindus, Costin Miereanu, T. Loevendie, Robert Sirota, R. Denisov, V. Globokar, Richard Schwartz, Yehuda Yannay, R. Tzang, Ng. Chun Hoi, John Gilbert and many others. His repertoire includes over 300 contemporary works of Iannis Zenakis, Luciano Berio, John Cage, Steve Reich, G. Scelsi, K. Stockhausen, G. Ligheti, etc.

IULIA SEIN, violoncello, is a former member of the Timisoara Philharmonic, and for the past ten years was a member of various orchestras and chamber ensembles in Romania and in Spain, appearing as soloist or member of concerts in Germany, Italy, France, Holland, Spain, etc.

From 2001 is a soloist of the Orchestra Simfonica de Málaga and a member of the Malaga String Quartet. She has been a member of the prestigious Ensemble CONTRASTE for the past 27 years. She is also member of baroque and contemporary groups in Malaga and throughout Andalusia. Since 2003 she teaches Violoncello at Flauta Magica, and a faculty of Curso Internacianal de Musica Frigiliana – Malaga.

DAVID GARCIA MORENO, piano, was born in 1983. At nine years old have started musical studies at Conservatorio Superior de Musica, Malaga. He has studied with professora Yolanda Calle, receiving the highest certificate and Matricula de Honor at his last class of Grado Medio. Afterwards he continued his music formation under the guidance of Professor D. José Felipe Díaz, finishing the Grado Superior with Matricula de Honor at the Concerto Exams.

In 2004 has participated at the Muestra de Jóvenes Intérpretes de Málaga, receiving the Mencion Honorifica. Has participated in several concerts with the Orquesta Joven de Andalucía, and being guided in classes magistrales with professors Ángel Sanzo, Alexander Kandelaki, Claudio Martínez Mehner and Guillermo González.

He is continuing his piano formation, with accompaniment and chamber music membership in several chamber music groups. He is a member of Trio Contraste since 2005.

The Composers

CARLOS DELGADO's music has been heard in concerts, festivals, and radio broadcasts in Argentina, Australia, England, France, Germany, Hungary, Italy, Japan, Romania, Venezuela, and the United States. A composer who specializes in electro-acoustic chamber music and multimedia, his works have been presented at venues such as Merkin Recital Hall in New York; St. Giles Cripplegate / Barbican, in London, England; the Rencontre Internationale de Science Ž Cinema (RISC) in Marseille, France; the Strada Facendo Festival, in Pisa, Italy; the International Contemporary Music Week and the International Society for Contemporary Music's World Music Days in Bucharest, Romania; and the BKA Theater in Berlin, Germany. A winner of the 1996 Society of Composers CD Series Award, several of his works have been recorded by world-class artists such as Emil Sein, Corrado Canonici, Roger Heaton, and Beate-Gabriela Schmitt, and are available on the CRI (New World Records), Living Artist, Capstone Records, and Sonoton ProViva labels. His research interests range from gestural control to applications of artificial intelligence techniques and the design of interactive music systems. He is the author of several software programs, including Lev, a gestural control instrument for music and video performance, and Simone, an interactive live performance program. He has performed at Symphony Space in New York City; the Ennio Morricone Auditorium in Rome, Italy; the Titu Maiorescu Romanian Cultural Institute in Berlin, Germany; the Musica Senza Frontiere Festival, in Perugia, Italy; and many others. www.bestweb.net/cdelgado

Vanishing, for B-flat clarinet, cello, piano, and electronic sounds was written in the fall of 2003 and premiered at Merkin Recital Hall in New York in November of that year. In 2005 it became the inspiration for a collaborative multimedia project with video artist Abre Chen, who created the video "7 Minutes to Midnight", thus adding a visual dimension to the work. Vanishing has led a dual life as a concert piece and a multimedia work ever since, having been performed in France, Romania, and the USA. The piece has been substantially revised for this performance. Vanishing is a meditation on the journey of a nascent voice as it struggles to be. Emerging suddenly, a singular impulse endeavors to assert its individuality, but it is soon caught in the ebb and flow of currents which pull it in different directions. The piece chronicles an idea's solitary quest to endure.

JOHN MILTON CAGE, JR. (September 5, 1912 – August 12, 1992) was an American composer. A pioneer of chance music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde and, in the opinion of many, the most influential American composer of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for the most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, the three movements of which are performed without a single note being played. A performance of 4′33″ can be perceived as including the sounds of the environment that the listeners hear while it is performed, rather than merely as four minutes and thirty three seconds of silence and became one of the most controversial compositions of the twentieth century.

Sonata for Clarinet is scored for a clarinet in B-flat. There are no dynamics, articulation or phrasing indications (Nicholls 1990, 176). Overall, the style is, in the words of Cage scholar James Pritchett, "chromatic, rhythmically complex, and unmetrical." There are three movements: Vivace, Lento and Vivace. The first movement is influenced by serial music, but is not bound by its formal procedures: there is no row in the strict sense of the word, but the music is based on retrogrades of various melodic and rhythmic fragments. By contrast, the second movement uses the tone row technique in a much stricter manner, although still only marginally related to Schoenberg's method. The third movement is an exact pitch retrograde of the first.

DINU GHEZZO is a Professor Emeritus at NYU, also teaching at Lehman College (CUNY). Much involved in national and international music projects, he is founder and president of ICIA Inc. (International Composers and Interactive Artists), founder and director of the INMC Inc. (International Music Consortium), the Assisi International Music Days, among others, and is past director or president of ANMC Inc., Todi International Music Days, Gubbio Festival, Molfetta Festival, CIPAM Festival in Montevarchi (Italy), Andalusia International Music Days, Musica Nueva Malaga Festival (Spain), Constanta International Music Days, The Week of Romanian American Music in Oradea, Romania, etc. He is a recipient of a Honorary Doctorate from Ovidius University, Constanta (Romania), and of many awards, prizes, residences, and commissions: Fulbright Senior Scholar (2006), visiting composer at the American Academy in Rome, recipient of Commander Medal, for faithful Service from the Romanian Presidency (2000), composer-in-residence at Dresden Festival and guest composer at the Berlin Hochschuel der Kunste (Germany), at the Royal Conservatory in Brussels, Belgium, at the Hungarian Arts and Letters Academy in Budapest, at the Jerusalem Music Academy (Israel) and at the Music Academy in Krakow (Poland), CAPS Award - New York, George Enescu Awards, ASCAP Awards, NYSCA and NEA Grants, leading international ensembles and soloists, and residencies as guest composer, conductor and performer. Biographical entries include the Baker Music Dictionary, the Geschichte und Gegenwart, Who’s Who in Music, and J. Machlis Contemporary Composers. Reviews: "…The most substantial piece..." (WIRE Magazine, London); “... All of Ghezzo's materials come together in startlingly beautiful fashion. It was quite an event to end this diverse concert...” (The Music Connoisseur, NY); “The concert sampled Saturday afternoon (had) Dinu Ghezzo's skillful, striking "Aphorisms"...New York Times; "Letters to Walt Whitman ….was a skillful and suggestive effort" New York Times; "...most intriguing for its colors and patterns..."New York Times;"...Undaunted, this American-Romanian composer has come up with a pleasant musical endeavor in which various wood timbres flirt with ancient folk patterns in the guise of futuristic effects... ” Los Angeles Times.

Imaginary Voyages is comprised of seven movements. The trio of flutes, cello and piano is treated at times as a tight ensemble, and at times as three collaborating soloists, through interconnected cadenzas. Some of these cadenzas are clear-cut solo moments (the 2nd movement, for solo Clarinet, the 4^th movement for solo Cello), and some are accompanied. Elements of controlled improvisation are approached in short fragments, interconnecting fully written moments. The entire piece presents at times a complicated web of linear activity, while other times consists of a clear vertical texture, as a composition of a loosely organized arch, in which the 1st and the 7th movements are interrelated, with the 3rd movement as a central "perpetuum mobile" moment. Wind Rituals investigates multiple relationship between a solo wind player and a tape or interactive Macintosh computer. The score - which is more of a diagram of activities, suggesting textures, modes, and relationships - is centered around two lengthy cadenzas, and three computer (or tape) files. These files are the essential shaper of the pitch material of the piece, which is modal in character, shifting from a D modified Dorian to a C Phrygian and back to D Dorian, and it shapes its overall structure into a loosely organized A-Cadenza I-B -Cadenza II-A' form. This piece is recorded on a Capstone CD by Mr. Sein.

CHAN JI KIM composes for dance, chamber ensembles, orchestra, multimedia performances and electroacoustic music. Dr. Kim is a native of Korea, studied music composition at E-Wha Women's University in Korea (BA), New York University (MA), and The University of Florida (Ph.D). Currently, she is Assistant Professor of Music at Brevard Community College in Florida. Her music has been performed in Asia, Europe, and North America including the World Music Days in Timisuara, Romania, International New Music Consortium concert series in Asisi, Bari, and Florence, Italy and in Constanta, Romania, Anton Webern Ensemble Concerts in Berlin, Germany, Sinfonia Orchestra of Bucharest concert in Romania,R20 String Orchestra concert in Wroclaw, Poland, New Music Society concert in Seoul, Korea, International Alliance of Women in Music conference, International Double Reed Society conference, the Society of Composers, Inc. national conference, and Florida Electroacoustic Music Festival. Her works have been published by Sejong Cultural Society and TrevCo Music, and are also released on CD on the Emeritus label and featured on the “Era of Modern Bassoon” CD collection released in Japan. More info at http://www.chanjikim.net

9 years, Trio for Clarinet in B flat, Cello and Piano is dedicated to my dear friend and teacher, Ron Mazurek who passed away last year. He was the first teacher I ever had in New York when I moved to America. For 9 years, I was blessed to know Dr. Ron Mazurek. For 9 years, I learned not only about music but also a bigger picture of artistic direction through collaboration. For 9 years, I have been looking for my own compositional voice that he told me to find through my music. For 9 years, I have been trying to find musical originality and the answer the question he asked me at my first lesson - why I am a composer? Suddenly it happened. I lost him but I will always remember all the lessons I learned from him. I will miss him.

A native of Boston, PATRICIA LEONARD’s early musical training began with piano studies, followed by composition studies at The New England Conservatory. She received a B.M. in Composition from The Boston Conservatory and came to New York to study composition with Pulitzer Prize-winning composer David Del Tredici. Ms. Leonard’s music is performed frequently in New York at venues such as The Stella Adler Theatre, Symphony Space and Carnegie Hall. Her music has also enjoyed recent premieres in Perugia and Venice, Italy. Ms. Leonard's compositions have been reviewed as “arresting and evocative with innovative harmonies” by New York Concert Review, and New Music Connoisseur reviewed her musical style as “revealing musical sophistication and a high level of craftsmanship.” Awards include the 2008 IBLA Foundation Prize for Distinguished Composer, the Mark Brunswick Prize for Composition and the CUNY Award for excellence by a woman composer. Ms. Leonard is a founding member of New York Composers. She is also a Board member of The League of Composers/I.S.C.M and The New York Women Composers. To find out more please write to pklmusic@gmail.com

Composed in the autumn of 2008, Venetian Moonlight tells the story of desire, adventure and time travel, all under the magical moonlight of Venice. An old man is standing on Venice’s Rialto Bridge to watch the sunset over the Grand Canal one last time. He thinks back to all of his life achievements, mistakes and regrets. He reaches into his pocket to pull out four gold coins. As he throws each coin into the Canal, he makes a foolhardy wish for the things he most longed for: 1) Youth; 2) Fortune; 3) Love and 4) Fame. It is then that the old man is approached by a charming stranger. The stranger opens his hand to reveal four gold coins – the same ones just thrown into the Canal. The Stranger strikes a bargain with the old man and promises a sample of what the old man’s four wishes could become while the moon is high, but the old man must return to the Rialto with the four gold coins before sunrise and accept a “deal.” With theme and transformation as the musical form, we journey through dark passageways and casinos, to café’s in St. Mark’s Square and mysterious piazzas, and ultimately back to the Rialto where the man in his newfound wisdom, returns the coins to the Grand Canal.

KARLHEINZ STOCKHAUSEN (22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied with Olivier Messiaen in Paris, and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular-music artists. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company. Some of his notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the percussion solo Zyklus, Kontakte, the cantata Momente, the live-electronic Mikrophonie I, Hymnen, Stimmung for six vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis, Inori for soloists and orchestra, and the gigantic opera cycle Licht.

In Freundschaft was composed in 1977 and can be performed by a number of instruments. In Freundschaft is quite demanding of the performer. The structure of the piece calls for contrasting fragments (limbs), little nucleus of sound, which gradually converge around a common, repeated element – the formula. The fragments are played in all registers and all dynamics. Each time the formula is played the high limbs get lower, the low higher, until they all circle a near-constant trill on F sharp / G natural. Many more evolutions emerge as the piece progresses, but in the end all limbs are played together as one melody line.

Educated at Yale University and the Eastman School of Music, ALAN TERRICCIANO is the Acting Dean of the University of California, Irvine.  A Professor of Dance, Alan served as chair of the Dance Department from 2001 to 2008. For the past 25 years Mr. Terricciano has been professionally active as both a composer for choreography, and as a pianist with a particular focus on choreographic collaboration.  Mr. Terricciano has received numerous commissions and awards.  He was recently named Orange County's 2005 Outstanding Individual Artist of the Year by the organization Arts Orange County.  He is also the 2006-7 recipient of UCI's Distinguished Mid-Career Faculty Award for Service. In 2000, He won the Grand Prize in Quebec's Festival des Arts de Saint-Sauveur international competition for original composition for choreography with his work Blue Motions for String Quartet.

More recently, Professor Terricciano's score for orchestra and voice, Masque, an adaptation of Edgar Allan Poe's 'The Masque of the Red Death,' was developed into a theatrical work with the dance department.  In the recent past, Alan has received several significant commissions.  In June of 2005 he composed and performed the sound score for an evening length installation at the Japan America Theater for the company, Loretta Livingston and Dancers.  In April of 2005, he completed a commission for the Ballet company of the Amsterdam TheaterSchule to choreography by Douglas Becker.  In October, 2003, the Orange Coast Symphony commissioned and premiered the Concerto for Clarinet and Strings.  In November, 2002, Canciones de Fray Serra, for orchestra, premiered with the Elmhurst Symphony Orchestra (Illinois).  Another large-scale work, Night Cafe (after Vincent), a commission from the Yale Concert Band, premiered in November of 1998. His first orchestral score, A Tale of the Spider, for narrator and orchestra, was performed by the Minnesota Orchestra in November of 1994, and by the Elmhurst Symphony in March of 1996.

Six Prayers to Saint Anthony (2009) was composed as a welcoming gift for Anthony Franklin Terricciano, adopted at birth into our lives, December 5th, 2007, and is made up of six movements: 1) Disperser of Devils; 2) Guide of Pilgrims; 3) Consoler of the Afflicted; 4) Restorer of Sight; 5) Martyr of Desire; 6) Performer of Miracles

CAROLINE H. NEWMAN graduated from the Mannes College of Music in 1979 with a Professional Diploma in Music Composition. For a period, she continues her studies privately, she subsequently returned to academic studies at New York University, where she worked intensely with Dr. Justin Dello Joio. She received a Bachelor of Music in Theory and Composition in May 2001, and her Masters degree in Performing Arts in Music Composition in January 2004; she earned a Founders Day Award for outstanding scholarship and an award for outstanding achievement in composition. Ms. Newman has enjoyed recognition both here and abroad. Her Two Tuscan Airs for Sextet have been performed in Italy; Moods for Orchestra made its debut in Bucharest, Romania; Meditation for Octet has enjoyed performances in New York City, along with Three Preludes for Piano Solo; Two Pieces for Unaccompanied Cello, Duet for C Flute and Bass Flute, and Piece for Four Percussionists featuring concert grand marimba. Her quintet for clarinet, tenor saxophone, violin, cello, and percussion, Unter der Lindenbaum, was performed in Berlin by Anton Webern Berlinische Ensemble in the spring of 2005. In October of 2005, Ms. Newman was invited by the Black Sea Symphony to participatre in the Constanta Music Festival, where her newest work, Impressions for Orchestra was performed (recorded in 2006). Fantasie, a trio for clarinet, cello, and piano, was a commission piece by the Palisades Virtuosi Trio, on Albany Records, New American Masters Volume Two. The three piano preludes were recorded by Patricia Hendrix and Impression I-V are being released on her new CD in the fall.

LISA NAUGLE, Professor and Chair of the Dance Department at University of California, Irvine. Lisa is a choreographer and dance improvisation performer whose international and national work spans the traditional concert stage as well as interactive, media environments and installations. Her performance background includes work with dance pioneers such as Hanya Holm, Alwin Nikolais, Merce Cunningham, Eric Hawkins, and Viola Farber. She was a member of the Nancy Hauser Dance Company and then earned her M.FA in Dance from Tisch School of the Arts and her Ph.D in Dance Education from The School of Music and Performing Arts Professions at New York University. As a solo dance improviser Lisa has collaborated and toured with Dinu Ghezzo for over 15 years. She was a guest artist and teacher at The Javeriana University in Colombia, South America, The State Theatre Ballet Theatre School in Romania, Beijing Modern Dance Company, Guangdong Performing Arts Academy and held an appointment as Visiting Professor at Beijing Dance Academy in China She has performed solo improvisation in venues such as the Merkin Concert Hall (Lincoln Center), Barbican Arts Center in London, and Prague Biennale of Contemporary Art. Her choreography was presented in a wide international circuit including Portugal, Germany, France, Italy, the Netherlands, Poland, Brazil, Argentina, China and Canada. As a member of the faculty in the Dance Department at UC, Irvine, Lisa teaches contemporary dance technique, improvisation, choreography, graduate research, pedagogy and special projects in telematic (networked) performance. Her distributed choreography for telematic performances (Ootoo, Voyage of Aeneas: FIXED/NOT, Reverse Patterns, Songs of Sorrow, Songs of Hope, The Cassandra Project, and Janus/Ghost Stories) integrate dance, music and interactive video with other artists at different geographical locations. She is a mentor for several students (Shane Scopatz, Natalie Johnson and Jay Carlon) who received Undergraduate Research Opportunity Awards to participate in this concert. This is Lisa's second time visiting Spain and she is delighted to be in this beautiful country once again. Special Thanks to the University of California, Irvine, Claire Trevor School of the Arts and the Undergraduate Research Opportunity Program.

Featured dancers for this evening: Shane Scopatz, Natalile Johnson and Jay Carlon.