Concert program from January 21, 2014, presented by the New York Composers Circle. Featuring the music of Debra Kaye, Peri Mauer, Robert S. Cohen, Jennifer Griffith, Patricia Leonard, and John Eaton
Concert program from January 21, 2014, presented by the New York Composers Circle. Featuring the music of Debra Kaye, Peri Mauer, Robert S. Cohen, Jennifer Griffith, Patricia Leonard, and John Eaton
Concert program from January 21, 2014, presented by the New York Composers Circle. Featuring the music of Debra Kaye, Peri Mauer, Robert S. Cohen, Jennifer Griffith, Patricia Leonard, and John Eaton
SAINT PETER'S CHURCH CITIGROUP CENTER 54 TH STREET & LEXINGTON AVENUE NEW YORK CITY JANUARY 21, 2014 8:00 PM NEW MUSIC FOR VOICE AND PIANO NEW YORK COMPOSERS CIRCLE JANUARY 21, 2014 8:00 PM While We Were Sleeping . . . . . . . . . . . . . . . . . Debra Kaye Craig Ketter, piano At Home with Allen Ginsberg* . . . . . . . . . . . . . Peri Mauer 1. At Home with Allen Ginsberg 2. Sunset 3. Blueberry Candles 4. This Just In... 5. 23G vs HPD Daniel Neer, baritone Christopher Berg, piano Parable** . . . . . . . . . . . . . . . . . . . . . . . . . Robert S. Cohen 1. Black Cloudbank Broken 2. Arise from Sleep Old Cat 3. Gathering May Rains 4. Ah Me, I Am the One 5. Interlude: See, See, See! Oh See 6. A Lost Child Crying 7. White Moth, Flutter Off 8. Rainy Month 9. Fever Felled Halfway 10. Epilogue: Three Loveliest Things Valerie Gonzalez, soprano Craig Ketter, piano INTERMISSION Rumi Songs . . . . . . . . . . . . . . . . . . . . . . . . Jennifer Griffith 1. Ode 966, Divan II 2. Ode 1586, Divan III Heather Meyer, mezzo-soprano Christopher Oldfather, piano Demonstrations of Love*** . . . . . . . . . . . Patricia Leonard 1. Hope 2. 40 Years 3. Everywhere Sharon Harms, soprano Christopher Oldfather, piano Sor Juana Songs . . . . . . . . . . . . . . . . . . . . . . . . John Eaton 1. Que contiene una fantasa contenta con amor decente 2. Encarece de animosidad la eleccin de estado durable hasta la muerte 3. Refiere con ajuste, y envidia sin l, la tragedia de Pramo y Tisbe Sharon Harms, soprano Christopher Oldfather, piano * World Premiere ** New York Premiere ***American Premiere PLEASE JOIN US FOR A RECEPTION AFTER THE CONCERT The NYCC thanks the staff and personnel of Saint Peter's Church for their assistance with this concert. The New York Composers Circle gratefully acknowledges support by a grant from the Alice M. Ditson Fund of Columbia University. Parable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert S. Cohen Black cloudbank broken Scattered in the night Now see, moonlighted mountains. (Basho) Arise from sleep old cat And with great yawns Amble out for love. (Isso) Gathering May rains From cold streamlets for the sea: Murmuring Mogami. (Basho) Ah me, I am the one Who spends his little breakfast Morning-glory gazing. (Basho) See, see, see! Oh see Oh, what to say Ah, Yoshino, mountain all abloom (Teishitsu) A lost child crying Stumbling over the dark fields Catching fireflies. (Ryusui) White moth, flutter off Fly back into my breast now quickly My own soul (Wafu) Rainy month dripping on and on As I lie abed; Ah, old man's memories. (Buson) Fever felled halfway My dreams arose to march again Into a hollow land. (Basho) Three loveliest things Moonlight, cherry bloom..... Now I go, seeking silent snow. (Rippo) SONG TEXTS Rumi Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jennifer Griffith Text by Rumi, English translations by Zahra Partovi Ode 966, Divan II My eyes are sanguine Blood never sleeps. It is from madness That my heart never sleeps. Birds and fish look at me baffled: Days and nights pass, how can he never sleep! In the past I too wondered How does the inverted sky never sleep? Now the sky is asking: How does this forsaken man never sleep? Love reads me long fables at night My heart listens to them and can never sleep. Before the time of death I am certain When the soul abandons the body, it does not sleep. Hush! Go silently then to the beginning Eyes looking to journeys end never sleep. Ode 1586, Divan III When I found I was a thorn, I fled to the flower. When I saw I was vinegar, I mingled with sugar. I was a bowl-full of poison, I rushed to the antidote. Becoming a cup of dregs I poured into the water of life. As an afflicted eye I held out my hand to Jesus. When I knew I was an unripe fruit I suspended from the ripe. The dust from loves road Was collyrium for my soul. In tenderness I became a poem Sifting through the kohl. Love said: Its all true, O, but do not presume! I am wind, you are fire, I inflame you. Demonstrations of Love . .Words and music by Patricia Leonard Hope The map of the human heart is vast. Along its transverses graceful trees In blowing breeze reach to Heaven for another chance And open fields with shallow graves These freshly wounded hearts still pray. With all its flaws and fractures The heart can thaw and capture The light of another soul Like a firefly in a childs hand. 40 Years Our love has endured these 40 years with joy and dreaming. And though I have grown old, to gray from gold My love stays new. How our kids have grown and sow seeds of their own. Its their time for dreaming The world now belongs to them. Fondest memories live in these rooms and cannot die. From mending childrens socks and broken hearts, to lullabies. Who says age can tarnish the soul? Our love ever shimmers brightly as it grows. Where did the time go? The seasons fly by the days too few. I have just one wish For 40 more great years with you. Everywhere October chill, the leaves are dying; I close my eyes and pretend its springtime. The past relived suspended in my mind. Were young again our love is endless; I feel your kiss it melts the distance Only for a moment then youre gone. Everywhere, everywhere, I see you Everywhere love belongs. I still can see your face; its now the month of May My heart comes back to life and then youre gone. I walk for miles through a sea of faces to recognize the one love I lost I think its you and I call out your name. A music hall, a crowded caf, A gallery, and on the subway Only for a moment then youre gone. Everywhere, everywhere, I see you Everywhere love belongs. I still can see your face; its now the month of May My heart comes back to life you cant be gone I see you everywhere. Sor Juana Songs . . . . . . . . . . . . Poetry by Sor Juana Ins de la Cruz Que contiene una fantasa contenta con amor decente Detnte, sombre de mi bien esquivo imagen del hechizo que ms quiero bella ilusin por quien alegre muero, dulce ficcin por quien penosa vivo. Si al imn de tus gracias, atractivo, sirve mi pecho de obediente acero, para qu me enamras lisonjro si has de burlarme luego fugitivo? Mas blasonar no puedes, satisfecho, de que triunfa de m tu tirana: que aunque dejas burlado el lazo estrecho que tu forma fantstica ceia, poco importa burlar brazos y pecho si tu labra prisin mi fantasa. . . . . . . . . . . . . . . . John Eaton (translations by Alan S. Trueblood) Which contains an amorous fantasy, content with platonic love Semblence of my illusive love, hold still image of a bewitchment fondly cherished, lovely fiction that robs my heart of joy, fair mirage that makes it joy to perish. Since already my breast, like willing iron, yields to the powerful magnet of your charms, why must you so flatteringly allure me, then slip away and cheat my eager arms? Even so, you shan't boast, self-satisfied, that your tyranny has triumphed over me, evade as you will arms opening wide, all but encircling your phantasmal form: in vain shall you elude my fruitless clasp, for fantasy holds you captive in its grasp. Encarece de animosidad la eleccin de estado durable hasta la muerte Si los riesgos del mar considerara, ninguno se embarcara; si antes viera bien su peligro, nadie se atrviera ni al bravo toro osada provocara. Si del fogoso bruto ponderara la furia desbocada en la carrera el jinete prudente, nunca hubiera quein con discreta mano lo enfrenara. Pero si hubiera algune tan osado que, no obstante el peligro, al mismo Apolo quisiese gobernar con atrevida mano el rpido carro en luz baado, todo lo hiciera, y no tomara slo estado que ha de ser toda la vida. Spiritedly, she considers the choice of a state enduring unto death If men weighed the hazards of the sea, none would embark. If they foresaw the dangers of the ring, rather than taunt the savage bull, they'd cautiously withdraw. If the horseman should prudently reflect on the headlong fury of the steed's wild dash, he'd never undertake to rein him in adroitly, or to wield the cracking lash. But, were there one of such temerity that, facing undoubted peril, he still planned to drive the fiery chariot and subdue the steeds of Apollo himself with daring hand, he'd stop at nothing, would not meekly choose a way of life binding a whole life through. Refiere con ajuste, y envidia sin l, la tragedia de Pramo y Tisbe De un funesto moral la negra sombra, de horrores mil y confusiones llena, en cuyo hueco tronco aun hoy resuena el eco que doliente a Tisbe nombra, cubri la verde matizada alfombra en que Pramo amante abri la vena del corazn, y Tisbe de su pena dio la seal que aun hoy al mondo asombra. Mas viendo del Amor tanto despecho, la Muerte, entonces de ellos lastimada, sus dos pechos junt con lazo estrecho. Mas, ay de la infeliz y desdichada que a su Pramo dar no puede el pecho ni aun por los duros filos de una espada! Refers to fit and envy without him, the tragedy of Pyramus and Thisbe A dismal mulberry tree's black shade where shadowy dreads stir dolefully and in whose hollow trunk there still resounds an echo calling Thisbe soulfully, covered the dappled greensward of a lawn where amorous Pyramus pierced his breast and bled away, and Thisbe showed her grief by an act with which the world is still impressed. But seeing Love behave so atrociously, Death pitied them and bound their chests in one tight knot together dotingly. Oh, surely a fate far more to be deplored is that poor woman who can't bind her breast to Pyramus's own with so much as a sword. ROBERT S. COHEN has written music for chorus, orchestra, chamber ensemble, dance, and theatre, and has been the recipient of numerous awards and commissions. His works have been performed in such prestigious venues as Carnegie Hall, Severance Hall, Symphony Space, Bargemusic, and the Sofia Opera House, as well as numerous others throughout the United States, Europe, and Asia. Major works include: Alzheimers Stories for soloists, chorus and large ensemble, Of Eternity Considered as a Closed System for soloists, chorus, and orchestra, and a monodrama entitled Edison Invents for baritone and orchestra. Other works include: String Quartet (A Day in the Life), The Mysterious Transformation of Johann B. for clarinet and percussion, Five Nights in Sofia, for violin and piano, Dream Journal, for brass quintet, and an extensive catalogue of both accompanied and a cappella choral works. In addition, Bob co-authored the book and composed the score for the 2000 Richard Rodgers Award-winning Off-Broadway musical Suburb. He is published by Edition Peters, Hal Leonard, Shawnee Press, HoneyRock Music, and Dramatic Publishing. Bob is a graduate of Brown University and Queens College and served time at Columbia University. He lives with his wife Maryann and two cats, Fred and Ginger, in Upper Montclair, New Jersey. His website is www.robertscohen.com. He writes: Parable, a song cycle for soprano and piano, is a setting of translations of ten haiku by a variety of well-known traditional Japanese poets. In arranging the poetry, I sought to create a narrative that simultaneously follows a number of arcs: birth to death, morning to night, and spring to winter. While borrowing certain elements from non-western music, e.g., scales, simplicity of texture, etc., my primary goal was to use the poetry to illuminate the cyclical nature of life. Parable is structured in two parts with an interlude in between. In the final two songs I examine both the fear of and the ultimate acceptance of death. JOHN EATON was called "The most interesting opera composer writing in America today" by Andrew Porter in The London Financial Times. Eaton's work has been performed extensively throughout the world. In the early 1960s he did perhaps the first live performances on modern sound synthesizers. They were put together for him by Paolo Ketoff (the Syn- Ket) and Robert Moog. Later, he performed on the new Eaton-Moog Multiple-Touch-Sensitive Keyboard, called the most sensitive instrument to human nuance ever developed except for the human voice. A number of these early pieces were recently re-issued on a record called First COMPOSERS Performances by the Electronic Music Foundation. He has written some twenty operas including The Cry of Clytaemnestra, which has received great public and critical acclaim at its nearly twenty performances. The Tempest was called a "formidable intellectual as well as musical achievement ... an opera of stark beauty" by Michael Walsh of Time magazine following its premiere by the Santa Fe Opera. His TV opera Myshkin has been seen by an estimated 15,000,000 people. In 1993 he formed the Pocket Opera Players, which has presented a dozen pieces by him in this new form, most recently The Curious Case of Benjamin Button. Martin Bernheimer raved in Opera News, Everyone managed to focus the fuzzy line that connects whimsy to pathos. And Anthony Tommasini in The New York Times said opera is a form of drama, and The Curious Case of Benjamin Button kept me involved right through. Eaton has been the recipient of many awards, most notably the genius award from the MacArthur Foundation, three Prix de Rome, and two Guggenheim grants. His newest pocket opera, the farce Rerouted, was produced last October at Symphony Space. He writes, The poems speak for themselves, they hardly need explication: the illusive love of the first is expressed musically by the liberal use of the middle pedal of the piano as well as having the singer sing directly into the strings with the sustaining pedal engaged. The second poem seems to me a personal manifesto: Sor Juana was an incredibly courageous woman, in discounting the cost of defying the overbearing authority of her undoubtedly envious male detractors. The third speaks in anguish of an unrealized love, using the tale of Pyramus and Thisbe as a departure: the vain calling of Pyramus for Thisbe again uses the strings of the piano to evoke the hollow echo of his call. These songs have had many performances, both in the soprano and mezzo version. They are among the most difficult pieces I have written both for the singer and pianist. I feel utterly confident in the superb abilities of both the singer, Sharon Harms, and the pianist, Christopher Oldfather, to handle them. JENNIFER GRIFFITH moves between creative efforts as composer and scholar. At the Graduate Center of the City University of New York she studied composition with Thea Musgrave, David Del Tredici, and Tania Len, and wrote her dissertation on composer/bandleader/bassist Charles Mingus. Griffiths commissions include In E for the 2008 Festival Non Sequitur, several songs, and her chamber oratorio, The Reed (2010), for the Grace and Spiritus Chorale of Brooklyn. Her pocket opera Dream President was presented at New York City Operas VOX 2004, and she has also written for the new music ensembles Newspeak, Glass Farm, and Cygnus. Griffiths green opera, Beautiful Creatures, was presented November 11, 2011, in a staged reading directed by Christopher Alden. She is currently writing a stage piece, an aria of which has been commissioned by Heather Michele Meyer (soprano), entitled The Domme. Composer DEBRA KAYE has received a steady stream of commissions since 2003. Chamber music from these collaborations will be released on PARMA Recordings in 2014. Support for her music includes grants from ASCAP, Meet the Composer, Mannes College, the Edward T. Cone Foundation, Ft. Wayne Childrens Choir, and New School University, and residencies at the Millay Colony and Wurlitzer Foundation. With roots in the classical tradition, Debras music embraces a wide range of influences and inspirationsjazz, world music, experimental improvisations, poetry, world events, and the found sounds of daily life: a canon of footsteps, polyrhythmic waves on a lake, the counterpoint of a New York City street. Debra is former executive director of NYCC and currently vice president of the Howland Chamber Music Circle, Beacon, New York, and holds degrees from NYU and Mannes College, where she is on the Preparatory Division faculty. She writes, Super Storm Sandy brought devastation to our doorsteps; friends and loved ones were uprooted. The storm approached at night, and I improvised a beginning, thought of our unheeded wake up calls, and woke to find what had happened while we were sleeping. A native of Boston, PATRICIA LEONARD studied composition with Larry Bell and David del Tredici. Her works have been performed frequently in the United States and Europe. Her piano trio Strangely Close yet Distant was recently featured on a special Mahler anniversary CD performed by members of the Met Opera Orchestra. Her song cycle My Dearest Friend - The Letters of John and Abigail Adams is scored for soprano, baritone, and orchestra, and will have its world premiere in Boston in October 2014. She is a recent finalist for the American Prize. This piece was written for soprano Lauren Welliehausen as part of her concert series of vocal works by Wagner and Puccini. Demonstrations of Love had its world premiere in Germany in 2010, then was later performed in Switzerland. PERI MAUER: M.M., B.M. Manhattan School of Music, B.A. Bard College, graduate of the High School of Music and Art, has composed works for solo instruments, chamber music ensembles, orchestra, and theater. Recent premiere performances of her music include A Little New Year's Flair for piano, premiered in Bargemusic's Here and Now Winter Festival by Blair McMillen, Red Sky for trumpet at Kupferberg Center for the Performing Arts, Life on Earth for chamber ensemble (for which she was also conductor and cellist) in Music With a View Festival 2013, Illuminations of the Night for orchestra, by the New York Repertory Orchestra at Church of St. Mary the Virgin, Nudibranch Friday for violin and cello, in Bargemusic's Here and Now Series with an encore performance at Symphony Space, Quietly, at Dusk for solo clarinet, in the Composers Voice Concert of New Music, In the Moment for contralto and cello (for which she was also cellist) and Blogarhythm, for 24-piece chamber ensemble (which she also conducted) in Music With a View at the Flea Theater, Dutchess Starlight Revisited for cello, trombone, and electric guitar in Composers Concordance Festival at DROM (for which she was also cellist), among others. Upcoming performances include new works she is developing for performance with the ensemble Eight Strings and a Whistle and the LaGuardia High School Junior Band. She has received grants for her work from New Music USA Composer's Assistance Program, Meet the Composer, Composers Guild of Utah, and National Federation of Music Clubs. Also a professional cellist and conductor, Ms. Mauer has performed with such groups as American Symphony Orchestra in Carnegie Hall, Encompass New Opera Theater in Alice Tully Hall, Radio City Music Hall Orchestra, Manhattan Chamber Orchestra, The Chelsea Symphony, Playwrights Horizons, NYU Contemporary Players, Prospect Theater Company, Manhattan Contemporary Ensemble, American Chamber Opera, etc., and has held the position of assistant conductor of Redeemer Arts Chamber Orchestra in New York City. She writes, The inspiration behind At Home with Allen Ginsberg is Ginsberg's poem "The Lion For Real." I do not work with the poem in a literal sense, however, but use the timbre and rhythm of Ginsberg himself reading the poem (as posted on a YouTube video) as motifs to work off of and develop. The other songs are completely my own (I am the lyricist as well as composer,) and the collection is quite varied, tied together by universality of life experience articulated by my own sense of modern life spirit. CHRISTOPHER BERG is a composer, pianist, and music director. Reviewing a recording of his Songs on Poems of Frank O'Hara, the American Record Guide said, "On the evidence of these songs, Berg may be an American Hugo Wolf." Steven Blier, Artistic Director of the New York Festival of Song, has written, "Just as Poulenc illuminated the poetry of PERFORMERS Apollinaire and Eluard, Chris Berg clarifies O'Hara. He musicalizes O'Hara's words with an expert sense of timing, a perfect balance of recitative and tunefulness and a dry sense of humor. In this subtle blend of music, words, and silence, he locates the poem's furtive sensuality." New recordings of several of his song cycles featuring singers David Krohn, Lauren Snouffer, and Vera Slywotzky, were released in 2013. Among his other composing credits are a musical, Back Home, produced at the New York Music Theater Festival 2007, an opera, Cymbeline, based on Shakespeares play, and a song for the Five Borough Song Cycle. As pianist and composer, he has an ongoing long-term collaboration with the Mirror Visions Ensemble. A concert of his songs (featuring Naomi OConnell and Jesse Blumberg) was presented on the prestigious Trinity Church Noontime Concerts series in February 2013; a week later, Ms. OConnell performed four new songs by Mr. Berg on her debut recital at Weill Recital Hall. Canadian soprano VALERIE GONZALEZ has appeared on the international opera stages of Canada, United States, and Europe, portraying numerous soubrette, coloratura and comprimario roles that have earned her a reputation as an acrobatic and verismo actress with a quicksilver presence and a soaring, brilliant coloratura. Valerie has sung such roles as Blondchen in Mozarts Die Entfhrung aus dem Serail, Norina in Donizettis Don Pasquale, and Oscar in Verdis Un Ballo in Maschera with Pacific Opera Victoria, Olympia in Offenbachs Les contes dHoffmann with LOpera Montreal, Barbarina in Mozarts Le nozze di Figaro and the Dew Fairy in Humperdincks Hansel and Gretel with the Canadian Opera Company, as well as Esmeralda in Smetanas La Fiance vendue with LOpra de Genve, the title role in Le coq dor with LOpra de Nice, Papagena in Mozarts Die Zauberflte with Opera Lyra in Ottawa, Adele in Strauss Die Fledermaus with Pacific Opera Victoria, as well as Zerbinetta in Ariadne auf Naxos, a role that she also sang at the Glimmerglass Opera Festival in New York, and with which she made her European debut in the Jonathan Miller production of Ariadne at the Broomhill Festival in Kent, England. She has also performed numerous renditions of Naiad in Strauss Ariadne auf Naxos, Flora in Brittens The Turn of the Screw, Emmie in Brittens Albert Herring, Papagena in Mozarts Die Zauberflte, and Esmeralda in The Bartered Bride, in the theaters of the Canadian Opera Company, Edmonton Opera, Calgary Opera, and Cleveland Opera. She has also been heard many times on CBC Radio broadcasts and has appeared in several world premieres of new Canadian operas, including Hunahpu in John Olivers Guacamayos Old Song and Dance. Valerie graduated from the University of British Columbia with a B.Sc. in Chemistry, and was a Resident Artist with the Canadian Opera Company. She continues to sing regionally, and currently teaches voice at NJCU, as well as in her private music studio, Viva La Diva Music Studio in Fair Lawn, New Jersey. Praised as "superb", "dramatically astute", and "luscious-toned" by The New York Times, American soprano SHARON HARMS is known for fearless performances of works new and old for the concert and operatic stage. Ms. Harms has sung premieres by the living composers Gabriela Ortiz, Charles Wuorinen, Louis Karchin, Oliver Knussen, David Fulmer, Jesse Jones, John Eaton, and Georg Friedrich Haas, among others. She has been featured with the Argento Ensemble, Ensemble Signal, New Fromm Players, Simon Bolivar Orchestra, Pueblo Symphony, Baroque Band of Chicago, Slee Sinfonietta, New Chamber Ballet, Ensemble Mise-en, Alter Ego Ensemble, and Orchestra of the League of Composers. She has held two fellowships at the Tanglewood Music Festival and been a guest artist at the June in Buffalo Festival and the Los Angeles International New Music Festival. She recently received a Latin Grammy nomination for her work on Gabriela Ortiz' Aroma Foliado, and will be featured on a new CD of works by Louis Karchin with Da Capo Chamber Players on Bridge Records. She will also premiere a new work by John Eaton with Eighth Blackbird and the Pacifica Quartet for the 50th anniversary of Contempo at Chicago University. Other upcoming activities include a residency with the Argento Ensemble at Princeton's Institute for Advanced Study, and a newly choreographed performance of Kurtg's Kafka Fragments with New Chamber Ballet. Ms. Harms studied at Indiana University's Jacobs School of Music with Carol Vaness. During her time there she was the inaugural recipient of the Georgina Joshi Graduate Fellowship. She holds a Bachelor of Music degree in vocal performance from the University of Northern Colorado and a Master of Music degree in vocal performance from Indiana University. American pianist CRAIG KETTER is rapidly distinguishing himself as a leading pianist of his generation, performing as soloist and chamber musician throughout the world. Critically acclaimed for transporting the listeners to extraordinary heights and into a world beyond time and space, Mr. Ketter is known for playing with powerhouse sonority combined with long-lined, dulcet lyricism. He has performed as soloist with the Grant Park Symphony Orchestra, the North Carolina Symphony, the Sacramento Philharmonic, the Oakland East Bay Symphony, the South Orange Symphony, the Garden State Philharmonic, the Raleigh Symphony, the Durham Symphony, the Rocky Ridge Music Festival Orchestra, and the American Festival for the Arts Orchestra. His solo concerts have taken him to Mexico, Argentina, Barbados, France, Germany, and Japan and across the United States and Canada. Mr. Ketter regularly joins forces with international singers and chamber groups. Venues include NPRs Performance Today series, CBS Sunday Morning, Sirius Satellite Radio, Carnegie Hall, Avery Fisher Hall, the Teatro Colon in Buenos Aires, La Huaca, Atlapa in Panama City, the Savannah Music Festival, Bay Chamber Concerts in Rockport, Maine, Music in the Mountains in Colorado, and The Marilyn Horne Foundation. Musicians he has collaborated with include flutist Eugenia Zukerman, clarinetists Stephen Williamson, Ricardo Morales, and Jon Manasse, cellists Robert deMaine and Eric Bartlett, violinists Kelly Hall-Tompkins and Roy Malan, and singers Deborah Voigt, Margaret Jane Wray, Cynthia Lawrence, Samuel Ramey, Paul Plishka, Ben Heppner, Cliff Forbis, and Robert White. Mr. Ketter is currently on the piano faculty of New Jersey City University. A native of Santa Barbara, California, soprano HEATHER MICHELE MEYER has received critical acclaim for her strong shimmering voice and her riveting, poignant delivery. Especially at home with Britten and Mozart, she made her professional debut as the Governess in The Turn of the Screw. Since then, she has been seen as the Countess in Le Nozze di Figaro, Ellen Orford in Peter Grimes, and Donna Elvira in Don Giovanni. A passionate supporter of new music, she has collaborated with such groups as American Opera Projects, Opera Index, Mannes College Faculty and Alumni composers, and Encompass New Opera Theatre. During the 2009-2010 season, Ms. Meyer joined the internationally renowned Caramoor Music Festival as a Bel Canto apprentice artist, and made her role debut as First Lady in The Magic Flute with Baltimores Opera Vivente. Her 2010-2011 engagements included the soprano solos in Mendelssohns Elijah with Amor Artis and Vaughan Williams A Sea Symphony with Grace Choral Society of New York City, and the role of Rica in Jennifer Griffith's new opera, Beautiful Creatures, produced by Stage|Time Collaborative and directed by Christopher Alden. In the 2011-2012 season, she was seen in Poulenc's Stabat Mater with the acclaimed Voices of Ascension and as Lisbe in Spohr's rarely heard opera Zemire und Azor with Liederkranz Opera Theatre, and was the soprano soloist for Rossini's Petite Messe Solennelle with Amor Artis. Most recently she was seen in Paula Kimpers new opera Truth at the New York City Fringe Festival in the dual role of Olive/Mary, and as Vitellia in La clemenza di Tito with dell'Arte Opera Ensemble. Upcoming engagements include a recital of new works as a part of the Brooklyn Sounds series. DANIEL NEER enjoys a uniquely diverse career as a singer, librettist, and lyricist. Concert appearances range from Carnegie Hall, Lincoln Center, Merkin Concert Hall, Guggenheim Museum, and Morgan Library to The Apollo, Chicago Art Institute, and Aspen Music Festival. On Broadway he has performed in two original companies: in the Tony-award winning production of Baz Luhrmanns La Bohme and the UKs National Theatre production of Coram Boy, directed by Melly Still. Other New York City collaborations include Rebel Baroque Orchestra, Gotham Chamber Opera, Metropolis Ensemble, Vox Vocal Ensemble, Opera Slavica, Ekmeles, Two Sides Sounding, Vertical Player Repertory, and Mark Morris Dance Company. Daniel is a frequent collaborator on new works including Pete Wyers Numinous City (Royal Opera House Covent Garden), Petr Kotiks Many Many Women (Ostrava Days Festival), Simon Bainbridges Tenebrae (Roulette), Douglas Cuomos Arjunas Dilemma (New York City Operas Vox on the Edge), Michael Dellairas The Secret Agent (Center for Contemporary Opera), Stephen Schwartzs Sance on a Wet Afternoon (American Opera Projects), Chandler Carters Strange Fruit (Harlem School for The Arts), and Yoav Gals Three Weeks (LABA Productions). He has recorded for the Dreamworks, Albany, Newport Classics, and Naxos labels. As a writer, Daniels first play The Interview received a world premiere as part of the New Works International Festival for Short Plays at the Richmond Shepherd Theater in New York City. He is librettist for three chamber operas: Mercury Falling (Long Leaf Opera Festival), Odes to Earth and Air (Adelphi University), and Stop and Frisk (Beat Festival) and for the cantata Brooklyn Queens Expressway (Queens New Music Festival). Song settings of his poetry and chamber texts have been heard in concert at Yale University, the New Gallery Concert Series in Boston, the Andrea Clearfield Salon in Philadelphia, and with the QUBE String Quartet in Columbus, Ohio. Daniel studied music and theater at The Ohio State University, the University of Michigan, and the Royal Academy of Music in London, England. One of New Yorks most gifted, trusted, respected, often-requested, and well- liked pianists, CHRISTOPHER OLDFATHER has devoted himself to the performance of twentieth-century music for more than thirty years. He has participated in innumerable world-premiere performances, in every possible combination of instruments, in cities all over America. He has been a member of Bostons Collage New Music since 1979, of New York Citys Parnassus since 1997, and of New York Philomusica since 2007, and as a collaborator has joined singers and instrumentalists of all kinds in recitals throughout the United States. In 1986 he presented his recital debut in Carnegie Recital Hall, which was then immediately closed for renovations. Since then he has pursued a career as a free-lance musician. This work has taken him as far afield as Moscow and Tokyo, and he has worked on every sort of keyboard ever made, including, of all things, the Chromelodeon. He is widely known for his expertise on the harpsichord, and is one of the leading interpreters of twentieth century works for that instrument. As soloist he has appeared with the MET Chamber Players, the San Francisco Symphony, and Ensemble Modern in Frankfurt, Germany. His recording of Elliott Carter's violin-piano Duo with Robert Mann was nominated for two Grammy Awards in 1990. Recently he has collaborated with the conductor Robert Craft, and can be heard on several of his recordings. The NEW YORK COMPOSERS CIRCLE, now in its twelfth year, is a multifaceted artistic and educational organization of composers and performers, whose mission is to promote public awareness and appreciation of contemporary music through concerts, salons, and other events in the New York metropolitan area. For its members, the NYCC offers a variety of opportunities for testing works in progress at monthly salons open to the public, performing completed works in concert, and fostering collaboration and development, both artistic and professional. For composers who are not members, the NYCC offers the opportunity of a public performance to winners of its annual composers competition. For the sophisticated concertgoing public, the NYCC offers four concerts a year of members works, curated by a jury of members headed by MacArthur Award-winning composer John Eaton. And for members of the public who have not yet been exposed to much contemporary music, the NYCC sponsors an outreach program, in which we send performers to various institutions including high schools and senior centersat no charge to the institutionto perform musical works of the 20th and 21st centuries. Inspired by a workshop at the American Music Center, Jacob E. Goodman founded the New York Composers Circle in the spring of 2002 as an association of composers meeting regularly to play their music for one another. It soon became apparent that we had the artistry and commitment to present our music to a larger audience. In May, 2003, the NYCC produced its first public concert at Saint Peters Church, featuring Pulitzer Prize-winning composer David Del Tredici along with eleven of the NYCC's original members. This well-attended concert was favorably reviewed in the New Music Connoisseur. Under the continued leadership of Debra Kaye, John de Clef Pieiro, and Richard Brooks, and currently of Hubert Howe, the NYCC's membership has more than quintupled since its inception, and the number of its concerts has grown from one each season to its current calendar of five concert presentations during the 2013-14 season. The group continues to expand its programs. Informal readings of new pieces allow composers to "test fly" their works with some of New York's finest professional and advanced student musicians. Such events, along with our monthly music salons and collaborations with other groups and institutions, support the creation and presentation of new music through the various stages of its development. In the 2004-05 season, award- winning composer Ezra Laderman joined members of the NYCC in its spring concert. In addition to its own two concerts, in March 2006 the NYCC presented a joint concert with the performing ensemble ModernWorks; during the following season we collaborated with New York University in our first concert at NYU's Frederick Loewe Theatre; in March 2010 we collaborated with the Italian No Borders Quartet in presenting a program of works by American and Italian composers that was performed both here and in Italy; and in September 2012 we presented a concert under the auspices of the noted Bargemusic series Here and Now. In the summer of 2007 the NYCC held the first of its annual composers' competitions, open only to nonmembers. The winning work in the 2013 competition, Eric Segerstrom's Two Poems, for piano trio, and David Brooks's 'Metamorphosis' Variations, for prepared piano, the winner of the honorable mention, will receive their premiere performances at our final concert of the season on June 7, 2013, at the Symphony Space Thalia. Five seasons ago the NYCC launched a new outreach initiativethe New York Composers Circle's Community Encores program. We send professional performers to institutions throughout New York City such as schools and senior centers, at no cost to the institution, with the aim of acquainting previously untapped audiences with concert music of the 20th and 21st centuries; each concert is emceed by a member of the NYCC, who introduces the performers and the music they play. The first concert in this series, featuring pianist/composer Nataliya Medvedovskaya with commentary by John de Clef Pieiro, took place to great audience acclaim on February 24, 2009, at the Hebrew Home in Riverdale. To date, we have presented seventeen such outreach concerts, at public high schools (Bronx Science, Stuyvesant, and Hunter College H.S.) and at additional senior centers (Lenox Hill Neighborhood House at Saint Peter's Church and JASA); three more are scheduled for this season. A recent Community Encores concert, at Stuyvesant High School, featuring soprano Sofia Dimitrova and pianist Catherine Miller, garnered a rapt audience of 350 students, whose probing questions were fielded by the performers and by composer Richard Russell, who acted as emcee. These free outreach concerts are presented under the sponsorship of NYCC contributors, and the list of schools and senior centers is expanding. See the next page for how you can help support this important project, which is bringing new music to new audiences. Staff for this concert: Paricia Leonard, producer Eugene W. McBride, stage manager and page turner Yekaterina Merkulyeva and Patricia Leonard, reception Eugene Marlow and Josy Fox Goodman, at the door Robert Anderson, sound recordist Tamara Cashour, publicity Jacob E. Goodman, programs Friends of the New York Composers Circle Judith Anderson Naoko Aoki Oliver Baer William and Marilyn Baker Roger Bermas Gary Bloom Nancy R. Bogen-Greissle Herv Brnnimann Richard Brooks and Clifford Hall Barry Cohen Robert Cohen Gloria Colicchio Mary Cronson David Del Tredici and Ray Warman Gary DeWaal and Myrna Chao Robert and Karen Dewar Mr. and Mrs. John Eaton Jeanne Ellis Michael and Marjorie Engber Harriet Englander Margaret Fairlie-Kennedy Anne Farber Allen C. Fischer and Renate Belville Amy Roberts Frawley Victor Frost Peter and Nancy Geller Lucy Gertner Dinu Ghezzo Essie Glusman Jacob E. and Josy Fox Goodman Perry Gould Stanley S. Grossel Martin Halpern Linda Hong Hubert Howe Carl and Gail Kanter David Katz Lou Katz David Kaufman Barbara Kaye Richard Kaye Daniel Klein Alvin and Susan Knott Andrea Knutson Susan Korn Leo Kraft Herbert and Claire Kranzer Gabriel and Carol Laderman Michael Laderman Raphael Laderman Dorothy Lander Arnold and Michelle Lebow Mr. and Mrs. Robert Leibholz Stephen and Ann Leibholz Erwin Lutwak Joseph and Nina Malkevitch David Martin Martin Mayer William Mayer Eugene W. McBride Christopher Montgomery William and Beryl Moser Gayther and Carole Myers Bill Nerenberg Linda Past and Joseph Pehrson Jeanette and Stuart Pertz Murray S. Peyton Richard Pollack and Lori Smith Bruce S. Pyenson Marjorie Senechal John H. Solum Abby Jacobs Stuthers Alice and Al Teirstein Mr. and Mrs. Douglas Townsend Raymond Townsend Gary and Katrine Watkins Sally Woodring Thomas Zaslavsky and Seyna Bruskin Martin Zuckerman and Susan Green The NYCC gratefully welcomes donations large and small, which help make our concerts possible. Contributions to the New York Composers Circle are tax-deductible under Section 501(c)(3) of the Internal Revenue Code. Your donations may be sent to the address on the last page of this program, or you may click on the "Donate Now" button on our website, www.NYComposersCircle.org. If you would like to help us in our efforts to build new audiences for new music, please become a Friend of the New York Composers Circle and send us your contribution. New York Composers Circle Board of Directors Richard Brooks John de Clef Pieiro John Eaton Jacob E. Goodman David Katz Stephen Leibholz, Chair Administration Hubert Howe, Executive Director and Grant Cordinator Patricia Leonard, Deputy Executive Director David Katz, Treasurer David Picton, Secretary Jacob E. Goodman, Concert Director and Outreach Coordinator Tamara Cashour, Publicity Coordinator Emiko Hayashi, Coordinator of Readings Richard Russell, Webmaster and Membership Coordinator Honorary Members Elliott Carter (dec.) John Eaton Ezra Laderman Tania Len Paul Moravec Composer Members Roger Blanc Richard Brooks Jennifer Griffith Martin Halpern Patricia Leonard Eugene Marlow Nailah Nombeko Joseph Pehrson Madelyn Byrne Tamara Cashour Emiko Hayashi Hubert Howe Peri Mauer Eugene W. McBride David Picton Frank Retzel Robert S. Cohen Memrie Innerarity Richard McCandless Dana Richardson Jesse Diener-Bennett Carl Kanter Kevin McCarter Richard Russell Max Giteck Duykers Jonathan Katz Nataliya Medvedovskaya Inessa Segal Brian Fennelly Debra Kaye Yekaterina Merkulyeva Nina Siniakova Susan Fischer Leo Kraft Scott Miller Cesar Vuksic Joseph Gianono Orlando Legname Dary John Mizelle Matt Weber Jacob E. Goodman Stephen Leibholz Gayther Myers David Wolfson Performer Members Demetra Adams, soprano Marcia Eckert, piano Noah Palmer, piano Christina Ascher, contralto Oren Fader, guitar Lisa Pike, horn Haim Avitsur, trombone Leonard Hindell, bassoon Anthony Pulgram, tenor Mary Barto, flute Jill Jaffe, viola Ricardo Rivera, baritone Virgil Blackwell, bass clarinet Craig Ketter, piano Stephen Solook, percussion Allen Blustine, clarinet Michael Laderman, flute Patricia Sonego, soprano Sofia Dimitrova, soprano Maxine Neuman, cello Jacqueline Thompson, soprano Stanichka Dimitrova, violin Margaret O'Connell, mezzo Anna Tonna, mezzo-soprano Tiffany Du Mouchelle, soprano Javier Oviedo, saxophone Arlene Travis, soprano Contact New York Composers Circle 20 Scott Drive East Westhampton, NY 11977-1015. www.NYComposersCircle.org Our next concert will take place at 8 PM on Tuesday, Feb. 18, 2014, at Saint Peter's Church, 54th St. and Lexington Ave. For more information, please check the NYCC website.