EAST COAST TOUR 2007 [Press Release]
Toru Takemitsu (1930-1996)
|Rain Coming (1982)|
Joseph Sheehan (b. 1981)
| Suspended in Perpetual Ascent (2006)
world premiere, IU Dean's Prize Commission
Claude Baker (b. 1948)
|Tableaux Funèbres (1988/2003)|
PQ Phan (b. 1962)
|from Perseus Cluster (2004)|
David Dzubay (b. 1964)
|Double Black Diamond (2005, rev. 2007)|
The New Music Ensemble heads east again March 10-12, 2007, performing in the Clarice Smith Performing Arts Center in College Park, Maryland, the Perelman Theatre in Philadelphia and Miller Theatre in New York City. In keeping with the theme of our recording series, “New Music from Indiana,” the ensemble will perform recent works by Indiana University faculty composers Claude Baker, PQ Phan and David Dzubay, and a commissioned work by award-winning IU doctoral student Joseph Sheehan. Takemitsu’s stunningly beautiful Rain Coming will round out the program in an anticipation of spring!
TORU TAKEMITSU was born in Tokyo on 8 October 1930. After the war, resolving to become a composer, he began to study composition with Yasuji Kiyose in 1948, though he remained basically self-taught. His composing debut came at the age of twenty with the piano piece Lento in due movimenti . Takemitsu showed a very clear interest in many nonmusical art forms, such as modern painting, literature (particularly poetry), theater and film. In 1951, together with other composers and artists from the most divergent disciplines, he founded the "Experimental Workshop", a mixed-media group which soon became known for its avant-garde multi-media activities.
Takemitsu first gained public recognition as a composer in the late fifties, with his Requiem for strings (1957). His interest in different artistic fields and his self-taught status deeply influenced his avant-garde style. He was using tape recorders to create musical collages out of "real" sounds ( musique concrète ) as soon as 1950 ( Water Music , 1960, Kwaidan , 1964). In the early sixties two new influences established themselves in Takemitsu's music: traditional Japanese music (e.g. November Steps , 1967, for biwa, shakuhachi and orchestra) and nature (e.g. ARC I , 1963, for orchestra, A Flock Descends into the Pentagonal Garden , 1977, for orchestra). On the occasion of the world exhibition EXPO 1970 in Osaka , he was musical director of a theatre project ("Space Theater of Street Pavilion"). Whereas the influence of Schönberg and Berg were noticeable in the works of his early period, the French style of composition, particularly that of Debussy, has remained the basis for his works thereafter. Takemitsu was also very receptive towards other music (jazz, chanson, pop tunes) and, being an ardent film fan, he has also composed film music (e.g. Ran, Dodes'ka-Den ). Although at home in the electronic media and film music, his most characteristic works are perhaps for chamber ensemble and large orchestra. Including arrangements of classic pop-melodies, the 12 Songs for Guitar (1977) are evidence of Takemitsu's liking for so-called light music. Takemitsu is in particular an instrumental composer and being adherent to a musique concrète , he uses - even in his electronic pieces - solely natural sounds instead of electronic ones.
He lectured on composition at the Yale University and was also invited by universities in the USA , Canada and Australia as a lecturer or composer-in-residence. He was awarded many honours and prizes, for example the UNESCO-IMC Music Prize in 1991 and the University of Louisville Grawemeyer Award for Music Composition in 1994.
Takemitsu died in Tokyo on 20 February 1996.
Rain Coming (1982) 9 minutes
1*111 - 1110 - 2perc, piano – 2111
Rain Coming belongs to a series of works by Takemitsu inspired by rain (the others including Rain Spell, Waterscape, Garden Rain, Rain Tree, and so on). It was the composer's intention to create a series of works that pass through various metamorphoses aiming at the sea of tonality, just like water which circulates in the universe. Rain Coming is a variation of colour on the simple figure which appears at the beginning of the piece, played mainly on the alto flute. The work is dedicated to the London Sinfonietta.
JOSEPH SHEEHAN is a composer interested in a wide variety of musical soundworlds. Important influences on his music include the harmonic language of jazz, the cyclical rhythms of minimalism and African music, the elegant simplicity and immediacy of popular music, and the pulsing dance beats of techno. Recent pieces have drawn from a variety of sources including rainbows, sailing, paintings of Umberto Boccioni, haiku of Issa, poetry of Ogden Nash, and the solo piano playing of Herbie Hancock and Bill Evans. Sheehan's music has been performed by the Alea III Ensemble in Boston , by numerous ensembles in the Bloomington and Pittsburgh area, and read by the American Composers Orchestra in New York City . He has won awards from BMI and Indiana University , was a finalist in the 2004 Alea III International Composition Competition, and a participant in the 2005 ACO Underwood New Music Readings. Born in 1981 and raised in Pittsburgh , Pennsylvania , Sheehan holds degrees from Duquesne University and Indiana University , where he is currently a doctoral student. He has studied principally with Eugene O'Brien, P.Q. Phan, Don Freund, Sven-David Sandstrom, Claude Baker and David Stock. He is also an active performer as a jazz pianist and singer, and is a member of the Bloomington-based funk band “Mojai”.
Colors Suspended in Perpetual Ascent (2006) 11 minutes
1/pc.111-1111-hp, pn-2111, featuring both violins
The initial ideas for Suspended in Perpetual Ascent arose from listening to and studying Vivaldi's The Four Seasons and J.S. Bach's three famous violin concertos. These pieces, as well as other Baroque music, exhibit a certain quality of expression – the brightness of the sound, the vigor of the rhythm, the sheer joy conveyed in the music – that I wanted to capture in my piece. They also suggested the idea of a virtuoso soloist (in this case, as in Bach's D minor concerto, two violins) at the forefront of the music. I was also inspired by Gyorgy Ligeti's Melodien , which I feel is connected to Baroque music through its bright soundworld and active, virtuosic writing throughout. The constantly ascending scales that permeate Suspended in Perpetual Ascent are a direct reference to the beginning of Melodien . A non-musical influence on my thinking were the paintings of the Italian Futurist Umberto Boccioni, whose work struck me as being somewhat paradoxically related to the aesthetic of Baroque music through the use of bright colors and dynamic lines that create the illusion of active motion. Though my piece does not sound like Baroque music, I hope I have captured some of the qualities I admire from the great music of that period.
The title references the constantly ascending scales or chords, often moving at different speeds, which are present throughout the entire piece. At a point towards the middle of the work, descending scales enter in opposition to the already established patterns of ascent. The music begins to pull apart, and it is at the point of furthest separation that the climax of the piece occurs.
The solo violins always work in tandem, sometimes in imitation or canon, sometimes playing freely off of one another. They are often a part of the connective thread of continuously ascending lines, but at other times they dance around this music with their own unique threads. Suspended in Perpetual Ascent was written for and dedicated to David Dzubay and the Indiana University New Music Ensemble. I hope you enjoy.
SCORE EXCERPTS from Suspended in Perpetual Ascent.: one two three
AUDIO SAMPLES of Joseph Sheehan's music.
CLAUDE BAKER (b. 1948) attained his doctoral degree from the Eastman School of Music, where his principal composition teachers were Samuel Adler and Warren Benson. As a composer, Mr. Baker has received a number of professional honors, including an Academy Award in Music from the American Academy of Arts and Letters; two Kennedy Center Friedheim Awards; the Eastman-Leonard and George Eastman Prizes; a “Manuel de Falla” Prize (Madrid); BMI-SCA and ASCAP awards; commissions from the Fromm and Koussevitzky Music Foundations; and fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the Rockefeller Foundation, the Bogliasco Foundation and the state arts councils of Indiana, Kentucky and New York.
Among the orchestras that have performed his music are those of Saint Louis, San Francisco, Atlanta, Pittsburgh, Indianapolis and Louisville, as well as the New York Philharmonic, the National Symphony Orchestra, the Orquesta Sinfonica de RTV Española and the Orquesta Nacional de España. His works are published by MMB Music and Carl Fischer, and are recorded on the ACA, Gasparo and Louisville First Edition labels.
Mr. Baker has served on the faculties of the University of Georgia and the University of Louisville and has been a Visiting Professor at the Eastman School of Music. He is currently Professor of Composition in the Jacobs School of Music at Indiana University, Bloomington. At the beginning of the 1991-92 concert season, he was appointed Composer-in-Residence of the Saint Louis Symphony Orchestra, a position he held for eight years. In recognition of his contributions to the St. Louis community during that period, Mr. Baker was awarded an honorary doctorate by the University of Missouri-St. Louis in 1999.
Tableaux Funèbres (1988/2003) 18 minutes
piano & string quartet
Tableaux Funèbres provides musical commentary on four haiku texts of rather dark imagery. A haiku is a very short, seventeen-syllable form of Japanese verse that is intended to evoke a wealth of thoughts and emotions. Because of its brevity, the haiku must depend for its effect on the power of suggestion and a deliberate elusiveness: the reader must “fill in” the outlines that have been drawn.
The music of Tableaux Funèbres seeks not only to reflect the moods suggested by the poetry, but also to amplify the implied meanings present in each haiku…and even to create additional associations. This is accomplished in part by the allusion to and quotation of passages from well-known vocal works that echo the spirit and content of the haiku selected.
The poems from which the piece gains its programmatic impetus are given below (in English translations by Harold G. Henderson), each followed by a brief description of the respective movement. Since each of the four haiku refers to a different time of the year, the movements they inspired are laid out in a “four-seasons” sequence, from summer to spring.
I. Summer night:
from cloud to cloud the moon
is swift in flight.
Upon first encountering this haiku, I thought immediately of the text of “Der Abschied,” the final movement of Gustav Mahler’s symphonic song cycle, Das Lied von der Erde, and in particular of the passage that reads, in translation:
O see, like some tall ship of silver sails,
The moon upon her course, through heaven’s blue sea.
I feel the stirring of some soft south-wind
Behind the darkling pine-wood.
Herein is described the death of the day, when the sun sets and the world falls asleep. Midway through my first movement, after disjointed references to other elements in Mahler’s song, there appears an altered quotation of the music that underscores this text. Now, however, Mahler’s orchestral fabric is reduced to a string quartet, and the lines emerge as if recalled in distant memory.
II. Grave mound, shake too!
My wailing voice –
the autumn wind.
The pitch materials for this movement are derived almost exclusively from permutations of the five-note row that serves as the basis of Igor Stravinsky’s In Memoriam Dylan Thomas for tenor, string quartet and four trombones. Stravinsky selected as text for the “Song” (the principal section of his work) the poem Dylan Thomas composed in memory of his father, “Do Not Go Gentle into That Good Night.” In my own movement, there are two modified quotations of the “Song’s” brief refrain, that portion of Stravinsky’s music written to the words, “Rage, rage against the dying of the light.”
III. Night; and once again,
while I wait for you, cold wind
turns into rain.
The third movement draws its inspiration from “Der Dopplegänger,” the last of the “Heine Lieder” that comprise the second part of Franz Schubert’s song cycle, Schwanengesang (Swan Song). In Heine’s poem, the narrator stands before the house where his lost love once lived and is horrified when he imagines that he sees a stranger in the moonlight whose face reflects his own pain. Although Schubert’s haunting setting of the poem provides the structural and emotional basis of my movement, the only literal reference to the original song is the appearance of the recurring four-note bass pattern in the piano.
IV. The beginning of spring:
thoughts come – and there is loneliness;
the autumn dusk is here.
The final movement is in two parts, the division corresponding to the colon in the haiku above. Spring is normally a time for happiness and renewal. For me, one of the greatest poetic and musical celebrations of spring is Richard Strauss’ “Frühling”, the first number in his valedictory work, the Four Last Songs. The final cadential chords of the orchestral accompaniment to the Strauss song are adapted here as a sort of motto in the first section of this movement.
By way of transition to the contrasting second part, I make reference to various elements from the opening movement of Tableaux. For the concluding section itself, the juxtaposition of the words “loneliness” and “autumn” brought thoughts again of a passage from Das Lied von der Erde, this time from the second of the six songs, whose individual title is “Der Einsame im Herbst” (“The Lonely One in Autumn”):
O love’s warm sunshine, have you gone forever
And will my burning tears be never dried?
As the climax for this movement (and, indeed, for the entire work), Mahler’s setting of these poignant words erupts suddenly from the texture of my own music. Thus, with the quotation of a fragment from “Der Abschied” in the first movement of Tableaux, Mahler’s music frames mine and brings to full circle the seasonal changes of the haiku.
Tableaux Funèbres was commissioned by the Chamber Music Society of Louisville in celebration of its 50 th Anniversary and is dedicated to the memory of Nelson Keyes. The revised version of the work was premiered in Louisville on April 25, 2004 by Ursula Oppens and the Pacifica String Quartet.
SCORE EXCERPT of movement 3.
AUDIO SAMPLES of Claude Baker's music.
P.Q. PHAN was born in 1962 in Vietnam . He became interested in music while studying architecture in 1978 and taught himself to play the piano, compose, and orchestrate. In 1982, he immigrated to The United States and began his formal musical training. He earned his BM from University of Southern California and his DMA in Composition from University of Michigan .
Phan's music has been performed throughout the United States , Canada , Mexico , in Europe ( England , France , Austria , Italy , Holland , Norway , Germany , Belgium , Spain , Estonia , Lithuania , Russia , Denmark , etc.,...), Israel , Turkey , Australia , New Zealand , China , Hong Kong , Singapore , Korea , and Japan . Mr. Phan has received numerous commissions, including from the Kronos Quartet (3), the American Composers Orchestra, Ensemble Alternance, the Cleveland Chamber Symphony (2), the Greater East Lansing Symphony, the Pittsburgh New Music Ensemble (2), the Samaris Piano Trio, the First Music 8 - New York Youth Symphony, La Sierra University, trombonist David Taylor, the Deknatel Consort, William Albright, oboist Harry Sargous, etc.
His works have been performed by the Kronos Quartet, the BBC Scottish Symphony Orchestra, the Radio France, Ensemble Modern, the American Composers Orchestra, the Cincinnati Orchestra, the St. Louis Orchestra - Chamber Group, the Cleveland Chamber Symphony, the Charleston Symphony, the Greater East Lansing Symphony, the Sinfonia da Camera, Pittsburgh New Music Ensemble, Society for New Music, the New York Youth Symphony, etc. Phan has received a Rome Prize, ASCAP Standard Awards (1990-present), '95 Ohio Arts Council Individual Artist Fellowships, Charles Ives Center for American Music, the Concordia Orchestra, and residencies at the MacDowell Colony. He was a guest composer at several music festivals, including the Asian New Music Festival in October '99 in Tokyo - Japan, the New Music Festival at Hamilton College (New York) in April '97 and April '99, the'96 residency with the Kronos Quartet at Univ. of Iowa - Hancher Auditorium, the '95 Asian Composers' Forum in Sendai - Japan, the '94 New Music Festival at UC Santa Barbara, the '92 Music Lives in Pittsburgh, etc. His recorded works include Tragedy at the Opera ("Kronos Quartet: 25 Years" , Nonesuch 19504), Nights of Memory for solo guitar (Michael McCormick, Plaxton - CD001, L.A., 1992), and a new CD titled "Banana Trumpet Games" (includes Unexpected Desire, Banana Trumpets Games, My Language, Rough Trax, Beyond the Mountains, and Rock Blood ) is forthcoming on CRI.
He is currently an Associate Professor in composition at Indiana University at Bloomington . He had previously taught at University of Illinois at Urbana Champaign and Cleveland State University .
from Perseus Cluster (2004) 15 minutes
1111 - 111 - 1pc,piano - 2111
From Perseus cluster of galaxies a monstrous supermassive black hole hums a deep bass of Bb 57 octaves below the middle C (said Andrew Fabian, September 09, 2003). This is far deeper than humans can hear, and it's believed the deepest note ever detected in the universe. Fabian said the ripples were caused by the rhythmic squeezing and heating of the cosmic gas by the intense gravitational pressure of the jumble of galaxies packed together in the cluster. As the black hole pulls material in, he said, it also creates jets of material shooting out above and below it, and it is these powerful jets that create the pressure that creates the sound waves. (The Associated Press, September 09, 2003)
The above scientific facts and quotation best describe the inspirations for my from Perseus Cluster . This composition is a reflection of the composer's imagination of this incredible phenomenon, where sound can be created through fluctuation and conflict among non-solid matter. Gravitating around the main tone of Bb, the sonic scheme of the composition travels from afar to an up-close explosion, at the fullest possible spectrum.
From a distance, the hum (of the cluster) is viewed subjectively as a mere interest. It gradually becomes an explosive sound mass when the black hole pulls materials in at an intensive gravitational pressure. Employment of equal temperament is used in the beginning, as it is suggesting that one speculates the subject. The composition gradually explores complex juxtapositions of the spectrums of harmony, timbre, and tempos, as it is suggesting that one becomes part of the event. Toward the middle of the composition, upper voices behave at their best as harmonic partials derived from the single bass tone. Here, a secondary spectrum (in woodwinds) relatively derives from its fundamental tone (contrabass), which reflects the violent nature of the singularity. Meanwhile, the remaining brass melodies play in equal temperament intonation to reflect last attempts as spectator. As the journey travels closer to the black hole, all matter merges into one single object as strings of slow massive sounds gradually move to the final tone of Bb. The aesthetic of the composition lies mainly on creating movements of sonorities, which represent sound-mass instead of lines. Melodies arbitrarily behave to provide addition interests. The work is considered consonant throughout. The structure of the composition is a temporal equivalent to the Chandra X-ray's magnification of the cluster, which travels from afar to up close. The composition's length therefore is perceived through developments of real time rather than as a combination of sections.
AUDIO SAMPLES of PQ Phan's music.
DAVID DZUBAY was born in 1964 in Minneapolis, grew up in Portland, Oregon, and earned a D.M. in Composition at Indiana University in 1991. Additional study was undertaken as a Koussevitzky Fellow in Composition at the Tanglewood Music Center (1990), the June in Buffalo Festival, and as co-principal trumpet of the National Repertory Orchestra in Colorado (1988, 1989). His principal teachers have been Donald Erb, Frederick Fox, Eugene O'Brien, Lukas Foss, Allan Dean and Bernard Adelstein.
David Dzubay's music has been performed in the U.S., Europe, Canada, Mexico, and Asia, by ensembles including the symphony orchestras of Aspen, Atlanta, Baltimore, Cincinnati, Detroit, Honolulu, Kansas City, Louisville, Memphis, Minnesota, Oregon, Oakland, St. Louis and Vancouver; the American Composers Orchestra, National Symphonies of Ireland and Mexico, New World Symphony, National Repertory Orchestra and New York Youth Symphony; and ensembles including Le Nouvel Ensemble Moderne (Montreal), Onix (Mexico), Manhattan Brass, Voices of Change (Dallas), the Alexander and Orion String Quartets, the League/ISCM, Earplay and the San Francisco Contemporary Music Players. His music has been championed by soloists including Christine Schadeberg, Thomas Robertello, Corey Cerovsek, Carter Enyeart, James Campbell, Eric Nestler and David Starobin, and conductors including James DePreist, George Hanson, David Loebel, Michael Morgan, Eiji Oue, Richard Pittman, Lawrence Leighton Smith, Carl Topilow, David Wiley, Samuel Wong, Kirk Trevor and David Zinman. His music is published by Pro Nova Music, Dorn, and Thompson Edition and is recorded on the Centaur, Innova, Crystal, Klavier, Gia, First Edition and Indiana University labels.
Recent honors include the 2005 Utah Arts Festival Commission (Utah Symphony), the 2005 Columbia Orchestra American Composers Competition, the 2004 William Revelli Memorial Prize from the National Band Association, the 2003 Commission from the Metropolitan Wind Symphony, the 2001 Walter Beeler Memorial Prize, the 2000 Wayne Peterson Prize, and a grant from the Aaron Copland Fund for Music for the Voices of Change recording of the first all-Dzubay CD (innova 588). Dzubay has also received awards from the NEA (1992-1993), BMI (1987, 1988), ASCAP (1988, 1989, 1990), the American Music Center, Composers, Inc., Phi Mu Alpha Sinfonia, Indiana State University, Indiana University (including the “Outstanding Junior Faculty Award”), the Tanglewood Music Center, and the Cincinnati Symphony. David Dzubay is currently Professor of Music, Chair of the Composition Department, and Director of the New Music Ensemble at the Indiana University Jacobs School of Music in Bloomington. He was previously on the faculty of the University of North Texas in Denton. Dzubay has conducted at the Tanglewood, Aspen, and June in Buffalo festivals. He has also conducted the Pittsburgh New Music Ensemble, the Greater Dallas Youth Symphony Orchestra, Music from China, Voices of Change, an ensemble from the Minnesota Orchestra, the Kentuckiana Brass and Percussion Ensemble and strings from the Louisville Orchestra at the Maple Mount Music Festival. From 1995 to 1998 he served as Composer-Consultant to the Minnesota Orchestra, helping direct their "Perfect-Pitch" reading sessions, and during 2005-2006 he was Meet the Composer/American Symphony Orchestra League Music Alive Composer-in-Residence with the Green Bay Symphony Orchestra.
Double Black Diamond (2005, rev. 2007) 11 minutes
1/pc.111 - 11111 - 2perc.pno.synth - 2111
Asked to write a celebratory opening work for chamber orchestra for the Utah Arts Festival, I decided to write a piece called Double Black Diamond, after the rating for very challenging ski runs. Opening with icy wintry sounds, the work has three large sections, the first of which is a hazy dream of what lies ahead, with alternating slow and fast tempos, all a bit blurry and out of focus. The middle section evokes the rather mechanical climb up the mountain in a chairlift, with a constantly ascending harmonic progression. The last third of the piece reflects a thrilling ride downhill, with sharp turns, surprises, air-time, one lost ski and perhaps a few bumps along the way. Of course, I felt it important to research this work, so I spent a weekend in March of 2005 skiing near Salt Lake City, at Snowbird and Solitude. In 2007, I made a few revisions and added parts for tuba and synthesizer, in preparation for an East Coast Tour with the Indiana University New Music Ensemble.
SCORE EXCERPTS from Double Black Diamond.
AUDIO SAMPLES of David Dzubay's music.^ top
Christian Capocaccia is the Assistant Conductor of both the Indiana University Opera Theater and the New Music Ensemble. Mr. Capocaccia was Assistant Conductor of the orchestras and Assistant Professor of Conducting at the State University of New York (2004-2005). Since 2003 he conducts regularly at The New Auditorium “Parco della Musica” in Rome at the head of several professional orchestras. He also co-founded the Association “Amici dell'Auditorium" and was president of its Youth section. He has appeared in several festivals in Italy .Born in Rome in 1973, he began studying the violin at the age of 9, and attended the Santa Cecilia Music Conservatory in his home town. He continued his studies under Maestro Paolo Ciociola earning his diploma and later traveled to New York City to study with world renowned violinist Nina Beilina. He has subsequently studied composition under Boris Porena and Luciano Pelosi, and conducting under Piero Bellugi, Donato Renzetti, David Effron and Thomas Baldner.
I-Jeng Yeh , flutist, was born in Taiwan and is currently in her first year of Doctor of Music studies at Indiana University. She is studying with Kathryn Lukas.
Keith W. Sorrels is a first-year graduate student at Indiana University pursuing a Master's of Music in Oboe Performance. He is currently studying with Roger Roe and Linda Strommen and previously studied with William Denton at Indiana State University. Mr. Sorrels is originally from Munster, Indiana.
Leigh Lafosse is currently pursuing her doctoral degree in clarinet performance at Indiana University under the guidance of Howard Klug. She holds Bachelor's and Master's degrees in clarinet performance from Texas Tech University. Leigh was born and raised in Houston, Texas.
Matthew Hogan, originally from Chicago, IL, serves as Associate Instructor of Bassoon at Indiana University, where he is pursuing a Master's of Music in Bassoon performance, studying with Arthur Weisberg. His former teachers include David McGill and Kim Walker. He is currently a member of the Columbus Indiana Philharmonic and is Acting Principal Bassoon of the Carmel Symphony Orchestra. Also an organist, he serves in that position at Immanuel United Church of Christ in Indianapolis, IN.
Kirstin Schularick comes to the Indiana University Jacobs School of Music from her hometown of Mason City, Iowa. She is currently in her junior year as a french horn performance major, with a minor in studio art. She has performed in various ensembles at Indiana University, including the IU Philharmonic Orchestra, University Orchestra, and Promethean Brass Quintet.
EJ Ramos, from Saint John, IN, is currently persuing his Master's in Music in Trumpet Performance at Indiana University Jacobs School of Music. He received his BA from Valparaiso University. He is currently studying with Edmund Cord.
Matthew Maslanka is currently pursuing doctoral studies in Brass Pedagogy on Trombone with Carl Lenthe. He holds Bachelor's and Master's degrees in Euphonium Performance from Michigan State University and Indiana University. He is a New Yorker, first transplanted to Missoula, Montana and then to Bloomington, Indiana .
James Saliers has been playing the tuba for 11 years. He will receive his Bachelors in Music this spring from Indiana University. He would like to thank Dan Perantoni for his guidance over the last four years.
Brian Blume is a senior from Logansport, IN, majoring in percussion performance. He has studied with Tony Cirone, Gerald Carlyss, and is currently studying drum set and vibes with Steve Houghton.
Joshua Bowman, a native of California, is currently pursuing doctoral studies in percussion performance at Indiana University. Joshua has performed with Shockwave, and as a freelance musician with numerous groups. In Indiana, Joshua has performed with the Evansville Philharmonic, the Columbus Philharmonic, and the Terre Haute Symphony.
Jane Yoon is currently a sophomore at Indiana University where she had completed Artist Diploma under the tutelage of Prof. Susann McDonald. Yoon has been the youngest winner of Japanese and French International Harp Competition and gave recitals in numerous locations. She has performed live on BBC radio and Korean Broadcasting System and recorded a CD.
Timothy Best has a Bachelor's degree in piano from New England Conservatory and Master's degrees in piano and music theory from IU; he is currently working on a PhD in music theory at IU. He was a winner of the concerto competition and piano honors competition at NEC. He has worked with many notable composers on their music, including John Cage, Alfred Schnittke, and Pierre Boulez.
Born in Israel, Yael Manor graduated with honors from both her Bachelor's and Master's degrees at the Tel-Aviv Music Academy in Israel where she studied under Professor Alexander Volkov. She nurtured and developed her skills in contemporary music through concerts she gave in Israel, performing works from the classical repertoire of the 20th century, and giving premieres of piano pieces by leading Israeli composers. She is currently pursuing her Doctorate in the Jacobs School of Music in Bloomington , Indiana , where she studies with Professor Arnaldo Cohen.
Véronique Mathieu was born in Montreal , Canada . She is currently pursuing a doctorate degree in violin performance under the guidance of Mark Kaplan. Véronique wishes to thank the Canada Arts Council for its support through the loan of the 1715 Domininus Montagnana violin.
Stanislav Pronin was born in Moscow, Russia . He has had numerous national and international performances and received grants from IU as well as other organizations. Stanislav is currently a Senior studying with professor Jaime Laredo.
Born in Edmonton, Canada, Sheldon Person is currently a Performance Diploma student on viola at Indiana University, where he studies with Atar Arad. Sheldon has performed at Wigmore Hall, Buckingham Palace, on BBC Radio, and with the London Symphony Orchestra.
Born in Hong Kong, Alvin Wong started studying the cello when he was 14. He received his Master's from Indiana University, and is currently a doctoral student at IU with Distinguished Professor Janos Starker.
Ben Jensen is the Associate Instructor of Double Bass at Indiana University. He has served as principal bass of the Detroit Symphony as well as principal bass of the National Arts Centre Orchestra. He's also performed with the Indianapolis Symphony and the Columbus (Ohio) Symphony Orchestras.
Last updated: 05-Mar-2007
Comments: ddzubay @ indiana . edu
Copyright 2007, The Trustees of Indiana University