RED NOTE new music festival March 26th - March 28th, 2018 - co-directors , distinguished guest composer - College of Fine Arts Illinois State ...
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Illinois State University
RED NOTE
new music festival
March 26th – March 28th, 2018
co-directors
, distinguished guest composer
, distinguished guest composer
, guest performersCALENDAR OF EVENTS
MONDAY, MARCH 26TH
8 pm, Center for the Performing Arts
The Festival opens with a concert featuring the Illinois State University Wind Symphony and Illinois State University
choruses. Professor Anthony Marinello conducts the ISU Wind Symphony in a performance of the winning work in this
year’s Composition Competition for Wind Ensemble, Patrick Lenz’s Pillar of Fire. The Wind Symphony also performs
guest composer William Bolcom’s Concerto for Soprano Saxophone with ISU faculty Paul Nolen, and the world
premiere of faculty composer Martha Horst’s work Who Has Seen the Wind? The ISU Concert Choir and Madrigal Singers,
conducted by Dr. Karyl Carlson, perform the winning piece in the Composition Competition for Chorus, Wind on the
Island by Michael D’Ambrosio, as well as William Bolcom’s Song for Saint Cecilia’s Day.
TUESDAY, MARCH 27TH
7:30 pm, Kemp Recital Hall
ISU students and faculty present a program of works by featured guest composers Gabriela Lena Frank and William
Bolcom. The concert will also include the winning work in this year’s Composition Competition for Chamber Ensemble,
Downloads, by Jack Frerer.
WEDNESDAY, MARCH 28TH
7:30 pm, Kemp Recital Hall
Ensemble Dal Niente takes the stage to perform music of contemporary European composers, including Salvatore
Sciarrino, Kaija Saariaho, and György Kurtag.
THURSDAY, MARCH 29TH
7:30 pm, Kemp Recital Hall
The Festival concludes with a concert of premieres by the participants in the RED NOTE New Music Festival Composition
Workshop: James Chu, Joshua Hey, Howie Kenty, Joungmin Lee, Minzuo Lu, Mert Morali, Erik Ransom, and Mac Vinetz.2 RED NOTE Composition Competition/Composition Workshop
COMPOSITION COMPETITION
We are pleased to announce the results of the Eighth Annual RED NOTE CATEGORY B (Wind Ensemble)
New Music Festival Composition Competition.
There were 73 anonymous submissions in the Wind Ensemble category.
This year, there were three categories: Category A (Works for Chamber Initial rounds were judged by the Music Composition faculty at Illinois State
Ensemble), Category B (Works for Wind Ensemble), and Category C University. The final round was judged by Anthony Marinello, Director of
(Works for Chorus). There were many outstanding entries in all Bands at ISU.
three categories.
WINNER
Pillar of Fire, by Patrick Lenz (Eastman, WI)
CATEGORY A (Chamber Ensemble)
RUNNER-UP
There were 370 anonymous submissions from 27 nations around the world Boogie and Blues, by Roger Briggs (Asheville, NC)
and from 39 of the United States. Initial rounds were judged by members of
the Music Composition faculty at Illinois State University. HONORABLE MENTIONS
Cyclotron, by David Biedenbender (East Lansing, MI)
The final round was judged by the esteemed composers Robert Beaser Hivemind, by Peter Van Zandt Lane (Athens, GA)
(The Juilliard School), Gabriela Lena Frank (freelance composer & recent
composer-in-residence of the Detroit Symphony Orchestra), and Narong Patrick Lenz will receive the $750 prize, and his winning work will be
Prangcharoen (Mahidol University & composer-in-residence of the performed by the Illinois State University Wind Ensemble at the Illinois
Pacific Symphony). State University School of Music on March 26, 2018, on the opening
concert of the 2018 RED NOTE New Music Festival in Normal, IL.
WINNER
Downloads, by Jack Frerer (Sydney, Australia) CATEGORY C (Chorus)
RUNNER-UP In the Choral category, there were 107 anonymous works submitted from
Ausencias, by Carolina Heredia (Córdoba, Argentina) around the world. Initial rounds were judged by the Music Composition
faculty at Illinois State University. The final round was judged by Dr. Karyl
HONORABLE MENTIONS Carlson, Director of Choral Activities at the Illinois State University School
Beacon, by Bret Bohman (Columbia, Missouri, USA) of Music.
Sparks and Flares, by Michael Seltenreich (Tel Aviv, Israel)
Shimmers the Shivery Moon, by Kai-Young Chan (Hong Kong) WINNER
Wind on the Island, by Michael D’Ambrosio (Murray, KY)
Jack Frerer will receive the $1000 prize, and his winning work will be
performed by faculty at the Illinois State University School of Music on RUNNER-UP
March 27, 2018, on the second concert of the 2018 RED NOTE Snow, by Alona Epshtein (Ramat-Gan, Israel)
New Music Festival in Normal, IL.
HONORABLE MENTIONS
The Cloak of Sorrow, by Paul Sidney Richards (Gainesville, FL)
Michael D’Ambrosio will receive the $750 prize, and his winning work will
be performed by the Illinois State University Concert Choir at the Illinois
State University School of Music on March 26, 2018, on the opening
concert of the 2018 RED NOTE New Music Festival in Normal, IL.
COMPOSITION WORKSHOP
This year at the RED NOTE New Music Festival we are pleased to host OPEN REHEARSALS
8 talented student composers who are taking part in the first RED NOTE Tuesday, March 27th, Kemp Recital Hall
New Music Festival Composition Workshop. The students will have their (12:20 pm – 1:50 pm, and 4:00 pm – 5:30 pm)
new compositions rehearsed and performed by Ensemble Dal Niente, un-
der the mentorship of guest composers William Bolcom and Gabriela Lena Wednesday, March 28th, Kemp Recital Hall
Frank. Rehearsals are free and open to the public. In addition, they and (9:00 am – 12:00 pm)
several esteemed visiting composers will give presentations on their music. Thursday, March 29th, Kemp Recital Hall
(throughout the day, TBD)Guest Composer and Guest Ensembles 3
GUEST COMPOSERS
National Medal of Arts, Pulitzer Prize, and Grammy Included in the Washington Post’s list of the 35
Award-winner William Bolcom (born May 26, 1938) most significant women composers in history
is an American composer of keyboard, chamber, op- (August 2017), identity has always been at the
eratic, vocal, choral, and symphonic music. Born in center of composer/pianist Gabriela Lena Frank’s
Seattle, Washington, he began composition studies music. Born in Berkeley, California (September
at the age of 11 with George Frederick McKay and 1972), to a mother of mixed Peruvian/Chinese
John Verrall at the University of Washington while ancestry and a father of Lithuanian/Jewish
continuing piano lessons with Madame Berthe Poncy descent, Frank explores her multicultural heritage
BOLCOM FRANK
Jacobson. He later studied with Darius Milhaud at most ardently through her compositions. Inspired
Mills College while working on his Master of Arts degree, with Leland Smith by the works of Bela Bartók and Alberto Ginastera, Frank is something
at Stanford University while working on his D.M.A., and with Olivier of a musical anthropologist. Winner of a Latin Grammy and nominated
Messiaen and Milhaud at the Paris Conservatoire, where he received for Grammys as both composer and pianist, Gabriela also holds a
the 2éme Prix de Composition. He joined the faculty of the University of Guggenheim Fellowship and a USA Artist Fellowship given each year to
Michigan’s School of Music in 1973, was named the Ross Lee Finney Dis- fifty of the country’s finest artists. Her work has been described as “craft-
tinguished University Professor of Composition in 1994, and retired in 2008 ed with unself-conscious mastery” (Washington Post), “brilliantly
after 35 years. Bolcom won the Pulitzer Prize for music in 1988 for 12 New effective” (New York Times), “a knockout” (Chicago Tribune) and
Etudes for Piano, and his setting of William Blake’s Songs of Innocence and “glorious” (Los Angeles Times). Gabriela Lena Frank is regularly
Songs of Experience on the Naxos label won four Grammy Awards in 2005: commissioned by luminaries such as cellist Yo Yo Ma, soprano Dawn
Best Choral Performance, Best Classical Contemporary Composition, Best Upshaw, the King’s Singers, and the Kronos Quartet. She has received
Classical Album, and Producer of the Year, Classical. As a pianist Bolcom orchestral commissions and performances from leading American
has performed and recorded his own work frequently in collaboration with orchestras including the Chicago Symphony, the Boston Symphony, the
his wife and musical partner, mezzo-soprano Joan Morris. Their primary Philadelphia Orchestra, the Atlanta Symphony, the Cleveland Orchestra,
specialties in both concerts and recordings are cabaret songs, show tunes, the San Francisco Symphony, the Detroit Symphony, and the Houston
and American popular songs of the 20th-century. They have recorded 25 Symphony. Frank’s first opera, The Last Dream of Frida, will be
albums together – Autumn Leaves was released in 2015. As a composer, performed by Fort Worth Opera and San Diego Opera in upcoming
Bolcom has written four violin sonatas; nine symphonies; four operas seasons. Frank has been the subject of several PBS documentaries as
(McTeague, A View from the Bridge, A Wedding, and Dinner at Eight), plus well as several scholarly books including the W.W. Norton Anthology:
several musical theater operas; twelve string quartets; two film scores (Hes- The Musics of Latin America. She has volunteered extensively in
ter Street and Illuminata); incidental music for stage plays, including Arthur hospitals and prisons, with a recent project working with deaf Afri-
Miller’s Broken Glass; fanfares and occasional pieces; and an extensive can-American high school students in Detroit who rap in sign language.
catalogue of chamber, choral, and vocal works. Dinner at Eight premiered at In 2017, Frank founded the Gabriela Lena Frank Creative Academy of
Minnesota Opera in March 2017 to great acclaim. The University of Michigan Music, a non-profit training institution that offers emerging composers
School of Music, Theatre and Dance Opera Department mounted four short-term retreats at Gabriela’s two farms in Mendocino County, CA.
performances of it in November 2017 in Ann Arbor, Michigan, and Wexford Frank attended Rice University (B.A. and M.A.) and the University of
Festival Opera will mount the European premiere with six performances in Michigan (D.M.A.), studying with Sam Jones, William Albright, William
October and November 2018 in Wexford, Ireland. 2018 marks the occasion Bolcom, Leslie Bassett, and Michael Daugherty. Gabriela Lena Frank’s
of Mr. Bolcom’s 80th birthday, and his work will be celebrated by perfor- music is published exclusively by G. Schirmer, Inc.
mances both in the United States and abroad.
GUEST ENSEMBLE
Noted for its presentation of expedited by their acclaimed performances at the Darmstadt Summer
“bracing sonic adventures” Courses for New Music in 2010 and 2012; in 2012, Dal Niente became
(Chicago Tribune), Ensemble the first-ever ensemble recipient of the coveted Kranichstein Music Prize
Dal Niente, “a superb contempo- and was invited to give the 2014 festival’s culminating performance in
rary-music collective” (The New Darmstadt, Germany. Recordings of Dal Niente’s performances of new
York Times), aims to drive and recent repertoire have been released on the New Amsterdam, New
musical discourse with adventur- Focus, Navona, Parlour Tapes+, and Carrier labels. The ensemble also
ous projects that exhibit an shares performance videos and discussions with their audience through
ENSEMBLE DAL NIENTE ambitious range of aesthetic YouTube and other social media. Dal Niente’s outreach includes educa-
values tied to contemporary life and culture. The ensemble performs tional activities of all kinds, exhibited most commonly in university settings
music written for large ensemble, chamber music, and solo works, each with composition workshops, masterclasses, discussions, and perfor-
with relentless attention to interpretation. Dal Niente works with a range of mances. The ensemble’s residencies have included work with faculty and
composers, from emerging and established living artists to the post-World students at various universities including Northwestern, Chicago, Harvard,
War II avant-garde generation. Recent projects include a collaboration Stanford, Indiana, Illinois, and Western Michigan, among others.
with Deerhoof and Marcos Balter; a tour of Latin American countries; The ensemble’s name, Dal Niente (“from nothing” in Italian), is a tribute to
performances and recordings of works by George Lewis; an East Coast Helmut Lachenmann’s Dal niente (Interieur III), the revolutionary style of
tour of German music; the Hard Music, Hard Liquor concert series and its which serves as an inspiration for its musicians. The name also references
annual Party. With each project, programs are curated and presented in its humble beginnings – founded in 2004 by a group of student composers
ways that highlight the music’s relationship with our culture and society. at Northwestern University, the ensemble has risen from obscurity to a
The ensemble’s introduction to the international music community was position as one of North America’s most prominent new music groups.4 Concert I
CONCERT I
8 pm, March 26, 2018, Center for the Performing Arts
ISU WIND SYMPHONY AND CONCERT CHOIR
Wind on the Island (2007) Michael D’Ambrosio (b. 1974)
Winner, RED NOTE New Music Festival Composition Competition – Choral Category
ISU Madrigal Singers
Karyl Carlson, conductor
A Song for Saint Cecilia’s Day (2011) William Bolcom (b. 1938)
ISU Concert Choir
Samuel Fleming and Dennis Gotkowski, organ
Karyl Carlson, conductor
-INTERMISSION-
Pillar of Fire (2016) Patrick Lenz (b. 1994)
Winner, RED NOTE New Music Festival Composition Competition –Wind Ensemble Category
Who Has Seen the Wind? (2016) Martha Horst (b. 1967)
ISU Wind Symphony
Anthony Marinello, conductor
Concerto for Soprano Saxophone and Band (2015) William Bolcom
Paul Nolen, soprano saxophone
ISU Wind Symphony
Anthony Marinello, conductor
Thank you for joining us for today’s performance of the Illinois State University Wind Symphony. We hope that you will enjoy our concert, and that you
might consider joining us again for future performances here at the ISU School of Music. Please visit www.bands.illinoisstate.edu for more information.
Thank you for your support!
PROGRAM NOTES
A Song for Saint Cecilia’s Day—Commissioned by the University of
Wind on the Island—please see lyrics on page 7. Chicago for the rededication of its E. M. Skinner organ in Rockefeller
Chapel in 2008, William Bolcom’s setting of the same famous text set by
Mike D’Ambrosio is Associate Professor of Theory Handel in the 18th century explores the many sounds of the organ and
and Composition at Murray State University in responds to the musical esprit found in Dryden’s poem.
Kentucky and has been there since fall 2008. He
has held previous teaching positions at Jacksonville The biography for William Bolcom is on page 3.
State University (AL), Oklahoma State University,
University of Dayton, and Cincinnati’s College-Con-
Pillar of Fire was composed in the spring of 2016 and was named the
servatory of Music (CCM). He received his D.M.A.
winner of the 2016 Baylor University Composition Contest. The piece
and M.M. degrees in music composition from CCM
D’AMBROSIO
where he studied with Joel Hoffman and Ricardo is approximately 7 minutes in duration, ternary in form, and features a
Zohn-Muldoon (now at Eastman). Originally from Long Island, New York, neo-tonal language that emphasizes the division of the octave into 3 equal
Mike did his undergraduate work at Lehigh University where he dou- parts. The namesake and inspiration of the piece comes from a passage
ble-majored in music and accounting. Recent commissions include the in Exodus: “By day the Lord went ahead of them in a pillar of cloud to
Luther College Trumpet Ensemble, Celeste Johnson Frehner (University guide them on their way and by night in a pillar of fire to give them light,
of Missouri-Kansas City), the Murray State University Wind Ensemble, so that they could travel by day or night.”(Exodus 13:21, NIV) The image
Kentucky Center’s Governor School for the Arts Faculty Quintet, and Larry of a pillar of fire that begins on the ground and reaches endlessly into the
Wyatt (Director of Choral Studies at the University of South Carolina). sky, burns so brightly that it is painful to look at and so hot that nothing
Mike’s music has been performed by the Muncie Symphony, Philadelphia can approach it, and is the manifestation of the God of Israel, inspired the
Brass, Monarch Brass, Shepherd School Brass Choir (Rice University), harmonic and melodic ideas. At the root of these ideas is the division of
Indiana University Brass Choir, Cincinnati Symphony Youth Orchestra, the the octave into 3 equal parts. This concept serves to invoke images of the
Cincinnati College-Conservatory of Music (CCM) Wind Ensemble, and by Holy Trinity and is the forefront symbolism in the piece. This composition
soloists and chamber musicians throughout the United States. Mike’s is an exploration of the guidance that God gives to His people. The above
music is published with C. Alan Publications, Potenza Music, Triplo Press, verse from Exodus may seem like a simple narrative passage; however,
and Dorn Publications. upon deeper reading, it becomes evident that the passage still applies to
God’s people today. During the day, when the path is clear and free of ob-Concert I 5
struction, God protects and gently guides His people; but during the night, Who has seen the wind?
when the path is dark and losing your way is much easier than staying on Neither I nor you.
the path, God is a Pillar of Fire to show the Way and fill His people with But when the leaves hang trembling,
His light. This imagery inspired the larger sections and the emotional arc The wind is passing through.
of the composition.–PL Who has seen the wind?
Neither you nor I.
Patrick Lenz (b.1994) is a M.M. Composition But when the trees bow down their heads,
student at Rice University from Eastman, The wind is passing by.
Wisconsin. Patrick completed his Bachelor of (1872) Christina Rossetti, 1830-1894
Music degree at Baylor University. Patrick has
studied with Dr. Anthony Brandt, Dr. Scott As I read this poem to my young daughter while in Finland, I attempted to
McAllister, and Dr. Edward Taylor. He has write music that represented through sound what Rossetti was trying to
written numerous works for chamber groups and describe through words. The resulting work for woodwind ensemble, Who
soloists, as well as for large ensembles. Recent- Has Seen the Wind?, is approximately seventeen and a half minutes long
LENZ
ly, Patrick’s composition for Wind Ensemble, and falls into two movements performed attacca. The first movement, in-
Pillar of Fire, was named the winner of the 2016 Baylor University spired by Hiltunen’s sculpture, is reminiscent of air passing through a giant
Composition Contest and the 2018 RED NOTE New Music Festival pipe organ. The relationship between air, sound, breath and music is cap-
Composition Competition. Notable commissions are Dr. Jun Qian, tured in the sound of the opening contrabass clarinet tone emerging from
Assistant Professor of Clarinet at Baylor University, 15.19 Ensemble, the sound of breath from the player. A subsequent E flat chord is passed
and Morpheme Saxophone Quartet. Notable performances include through the woodwind ensemble for nine minutes. After an introductory
2016 Baylor University Wind Ensemble under the direction of Dr. J. passage in the second movement, running sixteenth note passages occur;
Eric Wilson, 2018 Illinois State University Wind Symphony at the 2018 these are meant to evoke the rustling motion of wind and air discussed in
RED NOTE New Music Festival, Oregon State University Wind Rossetti’s poem. This rustling motion moves through the ensemble and
Ensemble at 2017 Western International Band Clinic, the 2015 rises to a climactic passage that then dissipates into the upper register
International Clarinet Association conference. As a saxophonist, of the ensemble. After an extensive vibraphone solo, pitch and rhythm
Patrick was a member of the Baylor University Wind Ensemble and fade away. At the end, all that is left is the sound of a single clarinet – the
Baylor University Jazz Ensemble for 4 years, has played as a concerto timbre of a single air column that opened the work.–MCH
grosso soloist with the Baylor University Wind Ensemble at their 2016
TMEA Performance, and won the 2016 and 2017 Sempre Pro Musica
chamber music competition with Morpheme Saxophone Quartet. Martha Callison Horst is a composer who has
Patrick was a student of Dr. Michael Jacobson (Professor of Saxo- devoted herself to the performance, creation, and
phone, Baylor University) and has studied with Dr. J. Eric Wilson instruction of classical music. Her music has also
(Director of Bands, Baylor University). Patrick now teaches privately been performed by performers and groups such as
in the Houston Area. the Fromm Players, CUBE, Earplay, Alea III,
Empyrean Ensemble, Chicago Composers
Who Has Seen the Wind?–While living in Helsinki, Finland, I visited the Orchestra, Susan Narucki, Left Coast Ensemble,
Sibelius Monument, an abstract sculpture by Eila Hiltunen dedicated to Dal Niente, The Women’s Philharmonic, Compos-
HORST
Finland’s most famous composer. This sculpture uses a cluster of 600 ers, Inc., members of the Scottish Chamber
stainless steel pipes to represent Sibelius’ music. The air in the pipes, Orchestra, Eric Mandat, and Amy Briggs. Ms. Horst has won the Copland
like his music, is ethereal; it cannot be seen–only heard via motion of Award, the Symphony Number One Commissioning Prize, the 2005 Alea
something like an air column of an organ pipe or wind instrument such as III International Composition Competition for her work Threads, and the
a clarinet. Rebecca Clarke International Composition Competition for her work
Cloister Songs, based on 18th century utopian poetry. She has held
fellowships at the MacDowell Colony, Atlantic Center for the Arts,
Wellesley Conference, Norfolk Chamber Music Festival and Dartington
International School in the UK. Her work Piano Sonata No. 1, recorded by
acclaimed pianist Lara Downes, was released nationally by Crossover
Media, and a recording of her wind ensemble work Straussian Land-
scapes has been released by the Symphony Number One label. Dr. Horst
currently teaches composition and theory at Illinois State University and
has also taught at the University of California, Davis, East Carolina
University, and San Francisco State University.
Concerto for Soprano Saxophone and Band—The soprano saxophone
had far fewer proponents in jazz’s classical era than either the alto or
tenor, and the only name that comes to mind quickly is Sidney Bechet.
This has changed a great deal in the last few decades, and it helps that
newer saxophones are considered better in tune and general construction
The impalpable nature of air is also the subject of Christina Rossetti’s
than the old ones. I’ve also found the soprano saxophone to be sensitive
poem “Who Has Seen the Wind?”
and expressive enough to play for instance my Aubade, which was written
for the oboe. It can cross the divide between classical and other music
easily when asked. I felt this concerto to be in a celebratory mood, as6 Concert I
I feel I’m beginning to understand the band in a way I didn’t when only France, and performed at Carnegie Hall in New York City. Karyl resides in
writing for orchestra. In the last years I’ve been exploring the possibilities Normal, IL, and enjoys spending time with family and friends. She has a
inherent in the band and can say with certainty that this whole concerto wide variety of non-musical interests, including video production, constant
would have been far different had it been first conceived for orchestra, as rehabbing of her 1890’s home, and caring for her rescue dogs, KoKo and
were my Saxophone Concerto Grosso and Clarinet Concerto before their KiefKief.
band versions appeared. In an orchestral milieu, even with its growing
credibility in the classical world, a soprano saxophone might feel a little Anthony C. Marinello, III serves as Director of
like an ugly duckling (which after all will present itself at the end as a Bands at Illinois State University where he is the
swan) as soloist; the meeting might thus be somewhat confrontational and conductor and music director of the Illinois State
dramatic in dialogue with the orchestra, opening its own wealth of musical University Wind Symphony and Symphonic Winds.
possibilities. In the band the soprano saxophone is totally at home and In addition to his conducting responsibilities, he
can converse with colleagues like the friendly discourse between piano leads the graduate wind conducting program and
and orchestra as in a Mozart concerto, and this pushes the dialogue into a teaches courses in instrumental conducting. He
more collegial direction and a very different mood. Though I can conceive joins the faculty at Illinois State University from The
that a later orchestral version could be fine, I wanted this concerto to feel MARINELLO
University of Texas at Austin, where he is currently
right now totally like a band piece. There are three movements in this completing the Doctor of Musical Arts degree in wind conducting. Before
Concerto. Lively, with humor contrasts the opening material featuring the pursuing his graduate studies at The University of Texas, he served on
high register of the saxophone with a more bluesy second theme in the the faculty of in Butler School of Music as Assistant Director of the
lower part. Serenade follows with a sort of South Seas rhythm-and-blues Longhorn Band, Director of the Longhorn Pep Band, and Assistant to the
atmosphere. Charade tosses itself between a jazz-type “head” with what Director of Bands. Prior to his appointment at The University of Texas,
customarily follows versus a 1960s early-rockstyle hymn with 1930s Marinello served on the faculty of Virginia Tech as Assistant Director of
echoes. These two things together grow into an apotheosis, ending the Athletic Bands. Marinello has previously taught in the public schools of
concerto.–WB Louisiana, Ohio, and Texas. Marinello received invitations to the National
Band Association’s 2006 Young Conductor Mentor Project and 2008
PERFORMER NOTES International Conductors Symposium in Rome, Italy where he conducted
La Banda dell’Esercito (Italian Army Band). In 2011, he received an
Karyl Carlson is now in her thirteenth year as invitation to the West Point Conducting Workshop where he conducted the
Director of Choral Activities at Illinois State West Point Band. Marinello holds the Bachelor of Music Education degree
University where she conducts the Concert Choir, from Louisiana State University and the Master of Music Degree from the
Madrigal Singers, and teaches graduate conduct- University of Cincinnati College-Conservatory of Music.
ing. Her graduate students have gone on to
successful teaching careers and further study at Paul Nolen currently serves as Associate Profes-
major university graduate programs. Carlson came sor of Saxophone at Illinois State University. He
to central Illinois after serving as Director of Choral has appeared as soloist, chamber musician, and
CARLSON Activities and Associate Chair of the music jazz artist throughout the United States, Canada,
department of Central Washington University in Ellensburg, Washington and the United Kingdom. Paul performed as
where she conducted the Chamber Choir, taught graduate conducting, concerto soloist at the 2012 World Saxophone
and undergraduate music education courses. She earned music educa- Congress in St. Andrews, Scotland, and the 2015
tion degrees from the University of Michigan and the University of Illinois. World Association of Symphonic Bands and
Karyl earned her Doctor of Musical Arts degree from Michigan State NOLEN Ensembles in Sacramento, CA. His recording of
University, where she studied with Charles K. Smith. Prior to earning her David Maslanka’s Concerto for Alto Saxophone and Wind Ensemble on
doctorate she taught in the public schools for twelve years in Miami, Albany Records has received critical praise, and an upcoming Albany
Florida, including the famed New World School of the Arts in Miami, FL. release will feature new recordings of concerti by David Maslanka and
While at CWU and ISU, Dr. Carlson has conducted many major choral/ Roy Magnuson. As soprano saxophonist with the acclaimed Iridium
orchestral works, including Benjamin Britten’s War Requiem as the Quartet, Paul has toured and performed throughout the U.S. and Puerto
inaugural event of the international Benjamin Britten at 100: An American Rico since 2010, giving numerous concerts in over ten states. He has
Centenary Symposium (2013). Carlson has also conducted numerous been a featured artist at Festival of New American Music (FeNAM) in
operas and musicals, including the Illinois State University’s recent Sacramento, the John Donald Robb Composers’ Symposium in Albuquer-
productions of Cabaret and Kurt Weill’s Street Scene. For many years, que, and Texas A&M University Artist Series. Individually and with Iridium
Carlson sang and recorded in ensembles with Robert Shaw in France and Quartet, he has been a champion of new music, commissioning works by
at the Professional Training Workshops at Carnegie Hall. She has also composers Shih-Hui Chen, David Kirkland Garner, Peter Gilbert, Peter
performed a wide variety of piano and vocal solo repertoire, but has Lieuwen, Roy Magnuson, Marcus Maroney, Karola Obermüller, David
particular fondness for playing and conducting chamber music. Carlson Rakowski, and Carl Schimmel. Regionally, Paul performs with the Illinois
regularly works with contemporary composers and enthusiastically Symphony Orchestra, Peoria Symphony Orchestra, and the Heartland
supports the commissioning of new choral compositions. Equally, student Festival Orchestras. He has given master classes at numerous universi-
works are frequently given readings and performances on major concerts. ties and festivals, including classes at the Brevard Music Festival, and
Carlson is an active choral adjudicator and honor choir conductor. Her has twice led an International Saxophone Course at the Aberystwyth
choirs have been featured at state and regional festivals, and have toured MusicFest in Wales, UK. He received his Doctorate of Musical Arts and
nationally and internationally. The Illinois State University Concert Choir, Master of Music degrees from Michigan State University, and his under-
and the Madrigal Singers, have enjoyed collaborating with professional graduate degree in saxophone performance from the UMKC Conservatory
local and regional symphony orchestras. Under her direction she has of Music. His teachers and mentors have included Prof. Joseph Lulloff,
toured internationally with her ensembles to Italy, Spain, England and Prof. Tim Timmons, Dr. Jackie Lamar, Mr. Gary Foster, Mr. Hal Melia, and
Mr. Bob Martin.Concert I 7
ILLINOIS STATE UNIVERSITY CONCERT CHOIR AND MADRIGAL SINGERS
Madrigal Singers are marked with an asterisk
Kenzie Ahlman* Sam Fleming Sho Otsuka
Macauley Allen* Evan Gallermo Collin Page
Nathan Anton Payton Gehm* Ivana Popovic
Ashley Arneson Rafael Gonzales* Kevin Rahtjen*
Katie Badger Alize Graves* Dominic Regner
Caleb Bent* Madison Green Sophie Remmert*
Jeffrey Burke Jonathan Groebe* Mary Pat Robey
Bethany Busch* Jake Hackl Gabrielle Rogers* LYRICS
Mickey Byrne Miley Heisler Conner Rooney
Jonathan Childs Laura Hollingsworth Sarah Schumacher
Taylor Chioros Lauren Knicl Matthew Sears “Wind on the Island,” by Pablo Neruda
Aaron Church* Cristian Larios* Yangang Tai El Viento En La Isla Wind On The Island
Erika Clark* Matthew Mancillas* Sarah Vannette El viento es un caballo: The wind is a horse:
Zacharias Coronado* Griffin Megeff Francesca Velcich* óyelo cómo corre hear how he runs
Katherine Cosenza Sidney Megeff* Robert Voelker por el mar, por el cielo. through the sea, through the sky.
Matthew Davis Rachel Miller* Sydney Waleski Quiere llevarme: escucha He wants to take me: listen
Barbora Dirmontaite Blaise Mollett Olivia Watkins cómo recorre el mundo how he roves the world
Matthew Fink Emma Moran Russel Zillman para llevarme lejos. to take me far away.
Adam Frank Riley Nahlik Escóndeme en tus brazos Hide me in your arms
por esta noche sola, just for this night,
mientras la lluvia rompe while the rain breaks
contra el mar y la tierra against sea and earth
ILLINOIS STATE UNIVERSITY WIND SYMPHONY su boca innumerable. its innumerable mouth.
Section leaders are denoted with an asterisk Escucha cómo el viento Listen how the wind
me llama galopando calls to me galloping
FLUTE SAXOPHONE EUPHONIUM para llevarme lejos. to take me far away.
Elizabeth Briney Devin Cano Bryce Bowlin* Con tu frente en mi frente, With your brow on my brow,
Alexandra Clay* Riley Carter Sean Breast con tu boca en mi boca, with your mouth on my mouth,
Brianne Steif Charles Kilmer Andrew McGowan atados nuestros cuerpos our bodies tied
Ben Wyland Brett Thole* al amor que nos quema, to the love that consumes us,
Rachel Wolz TUBA deja que el viento pase let the wind pass
OBOE Sam Tedeschi sin que pueda llevarme. and not take me away.
John D’Andria HORN Derek Zimmerman* Deja que el viento corra Let the wind rush
Elizabeth Okrzesik Jordyn Shultz coronado de espuma, crowned with foam,
Kevin Rahtjen* Tom Wade PERCUSSION que me llame y me busque let it call to me and seek me
Emily Wolski* Baryl Brandt galopando en la sombra, galloping in the shadow,
CLARINET Kristin Wooldridge Miles Bohlman mientras yo, sumergido while I, sunk
Tyler DeVault Leah Young Jarrett DeFields bajo tus grades ojos, beneath your big eyes,
Samuel Frosch Matt James* por esta noche sola just for this night
Taeyeoung Jung TRUMPET Katie Klipstein descansaré, amor mío. shall rest, my love.
Peyton Kerley Eric Caldwell Kyle Waselewski
Marykate Kuhne* Clinton Linkmeyer* English translation by Donald D. Walsh
Michele Manuk Amber Hozey STRING BASS “Wind On The Island” by Pablo Neruda, from The Captain’s Verses, ©1972 by Pablo Neruda and Donald
Madeline Renken Brendan Korak Regan Berkshier D. Walsh. Used by permission of New Directions Publishing Corp.
Thomas Shermulis Zach Taylor
Brian Zielinski PIANO
TROMBONE Alexa Sowers
BASSOON Jordan Harvey*
Katelyn Fix Zachary Lew
Bradley Sarmiento Mason Riedel
Adriana Sosa* Johnathan Sabin8 Concert I
“A Song for Saint Cecilia’s Day,” by John Dryden
Stanza 1 Stanza 4
From harmony, from Heav’nly harmony The soft complaining flute
This universal frame began. In dying notes discovers
When Nature underneath a heap The woes of hopeless lovers,
Of jarring atoms lay, Whose dirge is whisper’d by the warbling lute.
And could not heave her head,
The tuneful voice was heard from high, Stanza 5
Arise ye more than dead. Sharp violins proclaim
Then cold, and hot, and moist, and dry, Their jealous pangs, and desperation,
In order to their stations leap, Fury, frantic indignation,
And music’s pow’r obey. Depth of pains and height of passion,
From harmony, from Heav’nly harmony For the fair, disdainful dame.
This universal frame began:
From harmony to harmony Stanza 6
Through all the compass of the notes it ran, But oh! what art can teach
The diapason closing full in man. What human voice can reach
The sacred organ’s praise?
Stanza 2 Notes inspiring holy love,
What passion cannot music raise and quell! Notes that wing their Heav’nly ways
When Jubal struck the corded shell, To mend the choirs above.
His list’ning brethren stood around
And wond’ring, on their faces fell Stanza 7
To worship that celestial sound: Orpheus could lead the savage race;
Less than a god they thought there could not dwell And trees unrooted left their place;
Within the hollow of that shell Sequacious of the lyre:
That spoke so sweetly and so well. But bright Cecilia rais’d the wonder high’r;
What passion cannot music raise and quell! When to her organ, vocal breath was giv’n,
An angel heard, and straight appear’d
Stanza 3 Mistaking earth for Heav’n.
The trumpet’s loud clangor
Excites us to arms GRAND CHORUS
With shrill notes of anger As from the pow’r of sacred lays
And mortal alarms. The spheres began to move,
The double double double beat And sung the great Creator’s praise
Of the thund’ring drum To all the bless’d above;
Cries, hark the foes come; So when the last and dreadful hour
Charge, charge, ’tis too late to retreat. This crumbling pageant shall devour,
The trumpet shall be heard on high,
The dead shall live, the living die,
And music shall untune the sky.Concert II 9
CONCERT II
7:30 pm, March 27, 2018, Kemp Recital Hall
MUSIC OF WILLIAM BOLCOM & GABRIELA LENA FRANK
Jakakllito from Hombre Errante (2002) Gabriela Lena Frank (b. 1972)
ISU Madrigal Singers
Karyl Carlson, conductor
Cello Suite No. 1 in C Minor (1994) William Bolcom (b. 1938)
I. Prelude
II. Arioso 1
III. Badinerie
IV. Arioso 2
V. Alla Sarabanda
Adriana La Rosa Ransom, cello
Downloads (2017) Jack Frerer (b. 1995)
1. .zip – 1mb
2. pirated.mov – 732mb
3. result.pdf – 0.1mb (slow internet)
4. virus - 128kb
4.5 antivirus.dmg – 32mb
5. oldphotos.jpg – 7mb
1.5 .zip (contents) – 1gb
Winner, RED NOTE New Music Festival Composition Competition – Chamber Ensemble Category
Kimberly McCoul Risinger, flute David Gresham, clarinet Sarah Gentry, violin
Adriana La Rosa Ransom, cello Tuyen Tonnu, piano
-INTERMISSION-
Leyendas: An Andean Walkabout (2001) Gabriela Lena Frank
I. Toyos
II. Tarqueada
III. Himno de Zampoñas
IV. Chasqui
V. Canto de Velorio
VI. Coqueteos
ISU Faculty String Quartet
Sarah Gentry & Kelsey Klopfenstein, violins Katherine Lewis, viola Adriana La Rosa Ransom, cello
At the Last Lousy Moments of Love, from Cabaret Songs, Vol. 4 (1997) William Bolcom
Lime Jello Marshmallow Cottage Cheese Surprise (1980) William Bolcom
Jennifer Hilbish Schuetz, soprano
Andrew Voelker, piano
from MINICABS (2010) William Bolcom
1. I Feel Good
2. People Change
3. Those
4. Food Song #1
5. Food Song #2
from Cabaret Songs, Vol. 1 (1978) William Bolcom
Waitin’
Song of Black Max (As Told by the De Kooning Boys)
Joan Morris, mezzo-soprano
William Bolcom, piano10 Concert II
PROGRAM NOTES “Tarqueada” is a forceful and fast number featuring the tarka, a heavy
wooden duct flute that is blown harshly in order to split the tone. Tarka
The biographies for William Bolcom and Gabriela Lena Frank ensembles typically also play in fourths and fifths.
are on page 3. “Himno de Zampoñas” features a particular type of panpipe ensemble that
divides up melodies through a technique known as hocketing. The charac-
Jakakllito—“The Andean people have always been a singing, a poetically teristic sound of the zampoña panpipe is that of a fundamental tone blown
disposed, race....” So writes translator Ruth Stephan in her introduction to flatly so that overtones ring out on top, hence the unusual scoring of double
The Singing Mountaineers, a collection of Peruvian poems and tales col- stops in this movement.
lected by the folklorist, José María Arguedas. These poems form the basis
for the choral work Hombre Errante (“Wandering Man”), which attempts “Chasqui” depicts a legendary figure from the Inca period, the chasqui
to convey a sense of Andean cultures that have endured for thousands of runner, who sprinted great distances to deliver messages between towns
years. The poetry has been freely adapted and rearranged to craft a loose separated from one another by the Andean peaks. The chasqui needed to
plot – that of the hombre errante, or wandering man of the Andes, home travel light. Hence, I take artistic license to imagine his choice of instru-
to current-day descendants of the Incas. “Jakakllito” is the lively second ments to be the charango, a high-pitched cousin of the guitar, and the light-
movement, inspired by the Peruvian coastal “romancero” style where men weight bamboo quena flute, both of which are featured in this movement.
sing of conquests, love, and a good drink.–GF “Canto de Velorio” portrays another well-known Andean personality, a
Presented in five movements, William Bolcom’s Suite No. 1 in C Minor for professional crying woman known as the llorona. Hired to render funeral
solo violoncello is adapted from the score for the Arthur Miller play Broken rituals even sadder, the llorona is accompanied here by a second llorona
Glass, used in part in the Long Wharf (New Haven, CT) and Booth (New and an additional chorus of mourning women (coro de mujeres). The chant
York City) Theaters, in the Spring of 1994. Dies Irae is quoted as a reflection of the comfortable mix of Quechua
Indian religious rites with those from Catholicism.
Downloads is a set of miniatures that find interest in the mundane,
“Coqueteos” is a flirtatious love song sung by gallant men known as ro-
hyperbolizing the emotional process one goes through when downloading
manceros. As such, it is direct in its harmonic expression, bold, and festive.
different file types. All of the miniatures combine in the final movement after
The romanceros sing in harmony with one another against a backdrop of
the first miniature, a small .zip file, is opened.–JF
guitars which I think of as a vendaval de guitarras (“storm of guitars”).–GF
Jack Frerer is an Australian composer of music for
William Bolcom’s monumental, four-volume collection of Cabaret Songs,
concert, film and dance, as well as an instrumental-
setting the lyrics of Arnold Weinstein, were complete in 1996. The first
ist, producer and filmmaker based in Manhattan,
two volumes were composed from 1977 to 1985, and the third and fourth
currently studying composition with John Corigliano
volumes were composed from 1993 to 1996.
at The Juilliard School with the help of the Adrian
Weller Scholarship and the Steuermann Memorial
Prize. Jack has written pieces and arrangements for Lime Jello Marshmallow Cottage Cheese Surprise – William Bolcom
a variety of ensembles and performers, and has wrote this novelty song for his wife, mezzo-soprano Joan Morris. It was
FRERER
had works performed around Australia, Europe and inspired by his childhood playing the piano for local women’s clubs, which
the US. In 2018, Jack won the Illinois State RED NOTE Chamber Music would serve bland, processed food that was in vogue in America during
composition competition, and was a winner of the Juilliard Orchestra the post-World War II era. The song, which is entirely spoken over a piano
Competition. In 2016, his trio Last In, First Out was given both first prize playing alternating chords, makes fun not only of the unappetizing food but
and the audience prize in the Alba Rosa Viëtor Composition Competition in also the genteel manners that prevail at such social gatherings.
Utrecht, and was a winner of the Indiana State University Music Now
competition. In 2014 Jack won the inaugural Matt Withers Young Australian Inspired in part by Carrie Jacobs-Bond’s Half-Minute Songs (1911), the
Music Composition Competition open to all Australian music majors under Minicabs – mini-cabaret songs – are fashioned from sometimes one-line
30, became the youngest ever finalist in APRA and Tropfest’s Tropscore, sketches in Arnold Weinstein’s papers, at other times certain phrases
and was one of three composers selected to partake in the Ku-ring-gai that had been successfully kited from show to opera to play without ever
Philharmonic’s Emerging Composers Workshop. Jack has also been the previously finding homes.
recipient of a Charles Ives Scholarship from the American Academy of Arts
and Letters, and has been an ASCAP Morton Gould award finalist. As a
PERFORMER NOTES
filmmaker, Jack has created films for dancers Marcelo Gomes and Julie
Kent, institutions including the Juilliard School and Quest Magazine, as Karyl Carlson – see bio page 6.
well as music videos for bands and ensembles. Jack is also a co-creator
and producer of The Roof, a collaborative film series he created with Sarah Gentry is Professor of Violin at Illinois State
dancer Liana Kleinman which features New York based choreographers University. She currently performs as Concertmaster
and composers. of the Heartland Festival Orchestra. She has also
held Concertmaster positions with Opera Illinois,
Leyendas: An Andean Walkabout for string quartet draws inspiration Baroque Artists of Champaign-Urbana, Sugar Creek
from the idea of mestizaje as envisioned by the Peruvian writer José María Music Festival, and served as Associate Concert-
Arguedas, where cultures can coexist without the subjugation of one by the master for the Peoria Symphony Orchestra from
other. As such, this piece mixes elements from the western classical and 1992-2000. A Louisiana native, Gentry began
GENTRY playing the violin as a Suzuki student at age 6. After
Andean folk music traditions.
receiving a Violin Performance degree from Louisiana State University, she
“Toyos” depicts one of the most recognizable instruments of the Andes, the
earned a Master of Music degree from Yale University and the Doctor of
panpipe. One of the largest kinds is the breathy toyo which requires great
Music degree from Indiana University in 1995. Her principal teachers
stamina and lung power, and is often played in parallel fourths or fifths.
include Franco Gulli, Sally O’Reilly, Sidney Harth, Henryk Kowalski, andConcert II 11
the Tokyo String Quartet. As a soloist, Dr. Gentry has performed with the ty at both a local and national level. As an elected member of the Ameri-
Kansas City Civic Symphony, Heartland Festival Orchestra, Lake Charles can Viola Society Executive Board, she serves as chair of the Education
Symphony, and the Baroque Artists of Champaign-Urbana. Solo recitals Committee, working to broaden educational offerings through media and
this past year include performances in Louisiana, Minnesota, and Florida. programming. She also hosts annual Viola Days at Illinois State in order to
As a chamber musician she has performed with the Mount Vernon provide students of all ages with opportunities to work with nationally
Chamber Players in Arizona and the Millennium Strings of Morris, New recognized artists and teachers. Additionally, Dr. Lewis is in her second
York. She also performs as first violinist of the ISU Faculty String Quartet. term as Secretary of the Illinois chapter of the American String Teacher’s
Dr. Gentry is active throughout the state and region as a clinician in Association. As a performer, Dr. Lewis has recently appeared as soloist
schools and as an adjudicator for events such as the Illinois Music with the Peoria Symphony, the Peoria Bach Festival Orchestra, and the
Educators Association All-State and All-District Orchestra Auditions. Dr. ISU Symphony Orchestra. She premiered Libby Larsen’s viola duo In
Gentry has served on the faculty for the Music for All Symposium, Blue Such a Night, written for her and violist James Dunham for a performance
Lake Fine Arts Camp, and the Eureka Summer Strings Festivals. at the 38th International Viola Congress. She has also recorded chamber
music by composers Karim Al-Zand and John Allemeier for recordings on
Clarinetist Dr. David Gresham, a United States the Naxos Record Label. As an orchestral musician, her previous
Information Agency Artistic Ambassador Fellow and orchestral experience includes appointments in the River Oaks Chamber
a recipient of the Lincoln Center Martin E. Segal Orchestra in Houston, TX and the Civic Orchestra of Chicago as well as
Award, has performed recitals, concertos, and frequent work with the Houston and New World Symphonies. Dr. Lewis is
chamber concerts in over 30 countries and across a recipient of several awards and grants for her teaching, research, and
the U.S. He has recorded the Mozart concerto with service including the ISU College of Fine Arts Outstanding Teaching
the Kiev Camerata (Ukraine), the Maslanka Desert Award, the ISU College of Fine Arts Research Initiative Award, and the
Roads concerto with the ISU Wind Symphony, and ISU University Service Initiative Award. She has given recitals, presenta-
GRESHAM
multiple modern music CDs with the New York tions, and master classes at venues throughout the country. She has
based contemporary chamber group, Continuum. Dr. Gresham performs presented sessions at several conferences including the Primrose
with the Heartland Festival Orchestra, the Peoria Symphony, the ISU International Viola Festival, the International Double Reed Society
faculty woodwind quintet Sonneries, and the new music clarinet and piano Conference, the American String Teacher’s Association National Confer-
duo Intersecting Lines. Dr. Gresham holds a B.A. from the Univ. of South ence, the College Music Society Great Lakes Conference, and the
Carolina, a master’s degree from the Manhattan School of Music, and a Chicago Viola Festival. Recent recital and master class highlights include
doctorate from The Juilliard School. appearances at the University of Tennessee Viola Celebration, Indiana
University, Oberlin Conservatory, Kansas State University, the University
Expressed as having finesse and a lyrical tone, of Wisconsin-Madison, the University of Wisconsin-Eau Claire, Lawrence
Kelsey Klopfenstein is an emerging chamber University, and Valdosta State University. Dr. Lewis earned the Doctor of
violinist and soloist. Ms. Klopfenstein currently Musical Arts degree from Rice University’s Shepherd School of Music,
holds the Graduate Violin Assistantship at Illinois where she was a Brown Foundation Scholar. She holds a Bachelor
State University and studies with Dr. Sarah Gentry. degree from Lawrence University and a Master’s degree from The
In addition to studying with award winning violinists Cleveland Institute of Music. Her principal teachers include Jeffrey Irvine,
such as Dr. Scott Conklin (University of Iowa), James Dunham, Karen Ritscher, and Matthew Michelic.
Marcia Henry Liebenow (Bradley University), and
KLOPFENSTEIN Elizabeth Rust (formerly of the Western Illinois Madrigal Singers member list on page 7.
University), Ms. Klopfenstein studied conducting privately as an under-
graduate. She began her conducting under the tutelage of Brian Dollinger Since 1973 mezzo-soprano Joan Morris has
(Muscatine Symphony Orchestra) and studied at summer festivals with concertized with her husband and accompanist,
pedagogues such as Donald Portnoy (University of South Carolina) and William Bolcom, singing popular songs from the
Apo Hsu (Bard College). Currently in pursuit of a Masters of Music in late 19th-century through the 1920s and ‘30s, the
Performance, Ms. Klopfenstein holds a Bachelor of Music in Performance latest songs by Leiber and Stoller, and cabaret
degree from Bradley University (2012), where she was rewarded as the songs by Bolcom and poet-lyricist Arnold Wein-
Presser Scholar (2011-2012). Ms. Klopfenstein, a dedicated teacher, stein. In the words of the Chicago Tribune, “Her
volunteered for a year at L’École Musique Sainte Trinité in Port-au-Prince, voice is notable for ease, flexibility, expressiveness;
Haiti as a violin teacher, orchestra conductor and theory tutor. This year MORRIS you understand every word she sings, and in these
marks her eleventh year of private violin teaching. songs the words deserve to be heard. She projects not just a song, but
the character singing it, and gives that character her own irresistibly funny
Violist Katherine Lewis enjoys a multi-faceted and winning personality.” The first of the 25 Bolcom and Morris recordings
career as a teacher, and as a chamber, solo, and garnered a Grammy nomination for her in 1973. From 1981-2009 Ms.
orchestral musician. Since 2006 she has taught Morris taught a cabaret class at the School of Music, University of
courses on viola performance and technique, viola Michigan, where she also wrote, produced, and directed several musicals.
pedagogy, string pedagogy, and chamber music at She has performed with the BBC Symphony Orchestra, the Pacific
Illinois State University where she is Associate Symphony, the Saint Louis Symphony Orchestra, the Seattle Symphony,
Professor of Viola and Master Teacher for the ISU and the Boston Symphony Chamber Players. The Naxos recording of
String Project. As a performer, she is a member of Bolcom’s Songs of Innocence and of Experience, in which she was a
LEWIS the ISU Faculty String Quartet and principal viola in featured soloist, won four Grammy Awards. On their travels throughout
the Peoria Symphony and Peoria Bach Festival Orchestras and gives the United States, Canada, and abroad, Joan Morris and William Bolcom
numerous solo performances each year throughout the U.S. During the frequently give master classes focusing on “classic American popular
summer she is an Artist-Faculty member at the Sewanee Summer Music song.” Recent residencies have been at College Conservatory of Music in
Festival in Sewanee, Tennessee. Dr. Lewis is active in the viola communi- Cincinnati, Northwestern University, Rice University (Houston, TX),12 Concert II
SongFest (Los Angeles, CA), and the Ravinia Festival. Ms. Morris’ Jennifer Hilbish Schuetz has a DMA from
soon-to-be-published book, entitled Let Me Sing and I’m Happy, is a University of Michigan and teaches voice at Illinois
memoir/how-to compendium recalling the 40+ years she and Bill have Wesleyan. Previously, she was Assistant Professor
performed together. of Voice and Opera at Heidelberg University,
Eastern Michigan University, Bowling Green State
Adriana La Rosa Ransom is Professor of Cello University, University of Michigan at Flint, and
and Director of String Project and the Community Appalachian State University. She taught at the
School for the Arts at Illinois State University. She Interlochen Arts Camp. Dr. Schuetz has performed
SCHUETZ major roles with Ohio Light Opera, University of
received a Bachelor of Music degree from the
University of Missouri where she studied with Nina Michigan Opera Theater, Toledo Opera, Mid-Michigan Opera, and
Gordon. She earned Master and Doctorate degrees University of Michigan Gilbert & Sullivan Society. Her recent directing
from the University of Minnesota where she studied experience includes: The Marriage of Figaro, Orpheus in the Underworld,
with Tanya Remenikova. As a soloist, Ms. Ransom Annie Get Your Gun, Into the Woods, Pirates of Penzance, Iolanthe,
RANSOM has recently appeared with the Peoria Symphony Gianni Schicchi, and Trouble in Tahiti! Jennifer will direct Amahl and the
Orchestra, the Illinois State Wind Symphony, and the Illinois State Night Visitors and Trial by Jury for Illinois Wesleyan. She is thrilled to be
Symphony Orchestra. She has also appeared as a guest artist on notable able to sing for the Bolcoms again.
solo and chamber music recital series, including the Dame Myra Hess
Memorial Concert Series in Chicago, Chicago Cello Society concerts, Known for her sensitive command of timbral color,
Trinity Lutheran Candlelight Concert Series, and at universities throughout her singing lyricism and striking style, pianist Tuyen
the Midwest. Currently Principal Cellist of the Peoria Symphony Orches- Tonnu has graced the world’s stages with solo and
tra, she formerly was a member of the Minnesota Opera Orchestra, the St. chamber music concerts from the US to Asia and
Cloud Symphony, the European Musical Festival Orchestra, and Sinfonia Europe. As a champion of new music, Tonnu’s
da Camera. Ms. Ransom has served on the faculty at Gustavus Adolphus performances have garnered praise for their
College, St. Cloud State University, the MacPhail Center for Music in powerful and insightful interpretations. Her
Minneapolis, and the Grumo (Italy) Music Festival. She is the recipient of collaborations have included premieres and works
the College of Fine Arts Outstanding Teacher Award and the University TONNU by Tristan Murail, Hans Otte, Sheila Silver, Libby
Service Initiative Award at Illinois State. She is an invited presenter at the Larsen, Jeffrey Mumford, Martha Horst, Lukas Ligeti, and Steven Rosenhaus,
American String Teacher National Conference, covering topics such as among others. For the past two decades, she has been the foremost
David Popper’s character pieces, supplementary etudes for intermediate interpreter of the music by Egyptian-American composer Halim El-Dabh,
level cello concertos, and the use of visual color as a means towards Professor Emeritus at Kent State University. El-Dabh’s first piano concerto
musical expression. which was composed for and dedicated to her in 2001, was the first of
many great collaborations to follow. As a consummate chamber musician,
Flutist Kimberly McCoul Risinger has been an Tonnu has shared the stage with the Escher String Quartet at the
active soloist, chamber and orchestral musician. Emerson String Quartet International Chamber Music Festival and has
She is principal flutist in the Heartland Festival collaborated with members of the Argento Chamber Ensemble, the
Orchestra and the Illinois Symphony and Chamber Talujon Percussion Ensemble, and the Bryan Park Quartet. In collabora-
Orchestras and is a member of the Linden Flute tion with the Stony Brook Contemporary Chamber Players, she has
and Guitar Duo, the Sonneries Woodwind Quintet, premiered works by Richard Wernick, Tristan Murail, and Lukas Ligeti
and the ensemble Difference Tones. Risinger has under the direction of Gilbert Kalish and Eduardo Leandro. Tonnu is
also performed with the Chicago Jazz Symphony, currently working on a project of performing and recording the complete
RISINGER the Ohio Light Opera, the Sugar Creek Symphony piano works of world-renowned composer Roque Cordero. Dr. Tonnu is
and Song Opera Orchestra and the Washington Bach Sinfonia. An currently Associate Professor of Piano at Illinois State University. Her
advocate of contemporary music, Risinger has played concerts throughout teachers have included Gilbert Kalish, Christina Dahl, Sergei Babayan,
the US, Europe and Canada, often presenting world premieres of new James Avery, Daniel Shapiro, Thomas Hecht, Margaret Baxtresser, and
works written for and dedicated to her. She has soloed in most of the Calvin Knapp.
major concert halls in New York City, including Alice Tully Hall in Lincoln
Center and Merkin Recital Hall, and performed her Carnegie Hall debut in Pianist Andrew Voelker studied collaborative
June 2003. She also made her Chicago solo debut as part of the Dame piano at the Cleveland Institute of Music, where he
Myra Hess Concert Series in Preston Bradley Hall at the Chicago Cultural was active as a pianist in the studios of numerous
Center. Risinger has recorded for the Vienna Modern Masters, BWE principal members of the Cleveland Orchestra, as
Classics, Albany and Americana Records labels. Her solo CD, Sonata well as with the CIM Opera Theater and the Great
Fantasy, of contemporary American pieces for flute and piano is available Lakes Light Opera company. His previous appoint-
on the Albany Records label. She is currently recording all of David ments include work at Case Western Reserve
Maslanka’s works for flute. She has been published in the Flutist Quarterly University, and Ursuline College. Andrew is an
and has performed at several National Flute Conventions. Her primary VOELKER alumnus of Northern Illinois University. Since 2014,
teachers have been William Montgomery, Max Schoenfeld, Diedre he has worked at the Interlochen Arts Camp as a voice and opera coach.
McGuire and George Pope. Risinger is Professor of Flute at Illinois As a tenor, he sang the role of Frederic in The Pirates of Penzance and
State University. has appeared in concert performances including Haydn’s Lord Nelson
Mass, Mozart’s Coronation Mass, and Handel’s Messiah. Andrew joined
the faculty at Illinois Wesleyan University in the fall of 2016.You can also read
