University of Missouri School of Music

Event No. 070 in the 2015-2016 Series Student Ensemble

Upcoming Musical Events

Exit 128
12/8/15 Student Ensemble: Symphonic Band and University Band 7:30 PM $ Missouri Theatre Travis Herd, music director
12/13/15 Special Event: MSP/MYO concert 3:00 PM Whitmore Recital Hall
1/31/16

Graduate Recita: Jaron Lester, horn
and Natalia Bolshakova, piano 2:00 PM Whitmore Recital Hall
with guests Roberto Maggio, flute,
2/1/16 Guest Artist Recital: Daniel Schene, piano 7:30 PM $ Whitmore Recital Hall and Feral States, rock band
2/2/16 Faculty Recital: Concordia String Trio 7:30 PM $ Whitmore Recital Hall
2/5/16 Guest Artist Recital: Breaking Winds Bassoon Quartet with
the University of Missouri Bassoon Ensemble 7:30 PM $ Whitmore Recital Hall
2/8/16 Faculty Recital: Peter Miyamoto, piano 7:30 PM $ Whitmore Recital Hall

Mizzou New
2/13/16 Special Event: Jazz Festival - RBHS
2/13/16 Guest Artist Recital: Alarm Will Sound 7:30 PM $ Whitmore Recital Hall
2/15/16 Faculty Recital: Missouri Quintet 7:30 PM $ Whitmore Recital Hall

G SOM Faculty or Guest Recital $ Tickets

Requests for accomodations related to disability need to be made to Dan Willett, 135 Fine Arts
Music Ensemble
Building, 882-0933, at least seven days in advance of the event. Events are subject to change.
For up-to date information, please visit our web site: www.music.missouri.edu
Stefan Freund, music director
Please consider visiting our partner organizations:
with guests Roberto Maggio, flute,
University Concert Series www.concertseries.org | Odyssey Chamber Music Series www.odysseymissouri.org
Columbia Civic Orchestra cco.missouri.org | We Always Swing Jazz Series www.wealwaysswing.org Ryan Wall, flute, and Grant Bradshaw, viola
Columbia Chorale www.ColumbiaChorale.com

December 6, 2015 7:30 PM

Missouri Theater, 203 S. Ninth Street
 Program Personnel

Exit 128 Exit 128

Travis Herd, music director Travis Herd, conductor

Assembly Lines (2011). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian Dicke Ryan Koesterer, flute

(b. 1982) Trey Makler, oboe
Devin Kaveler, clarinet
Anthony Hasek, bassoon
Drei Romanzen, Op. 94 (1849) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Schumann Joseph Rulli, saxophone
(1810-1856) Ryan McFall, horn
with Roberto Maggio, flute Adam Matejek, trumpet
Andrew Meyer, trombone
Andrew Ludwig, percussion
FAUVE (2015). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Meland Rebecca McDaniel, percussion
(b. 1993) Patrick Smith, keyboard
with Feral States, rock band Henry Stewart, piano
Xiaoxiao Du, violin
James Shemwell, violin
Intermission Andrew Monson, viola
Rachel Czech, cello
Mizzou New Music Ensemble Luke Henderson, bass
Stefan Freund, music director
with guest Roberto Maggio, flute Rachel Hill, managing director

Workers Union (1975). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Louis Andriessen

(b. 1939) Feral States
Joe Meland, keyboard
Sam Hasting, guitar
Poetry . . . for ensemble (2015). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeremiah Rittel Noah Gehrmann, guitar
Cyclic Thyme (b. 1991) Erik Opland, bass
Drone Shark Daniel Hinze, saxophone
Chromatic Fantasia Justin Peters, drums

Mentis Motus (1995/2015) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Giuseppe Di Bianco Mizzou New Music Ensemble

(b. 1969) Stefan Freund, conductor

Jeremiah Rittel, clarinet

Rhapsody in Zoo (2015). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erin Hoerchler Panagiotis Skyftas, saxophone
(b. 1995) Britney Stutz, violin
with Ryan Wall, flute, and Grant Bradshaw, viola Rachel Czech, cello
Jos Martnez, percussion
Rebecca McDaniel, percussion
Gyumi Rha, piano
Giuseppe Di Bianco (b. 1969) holds
degrees in piano, composition, choral
conducting, and music pedagogy from the
conservatories of Salerno and St. Pietro a
Majella of Naples as well a post Lauream
masters degree from Rome University.
Active as a pianist, teacher and composer,
with a particular interest in choral
composition, Di Bianco has gained
international recognition. He has won first
prizesin many composition competitions
and has emerged as one of the most
compelling and interesting Italian choral
composers of his generation.
His music has been performed in
Vatican City, France, Denmark, Latvia,
the Netherlands, Spain, Portugal, the
Philippines, Russia, and the United States
at such venues as the Auditorium of
Santa Cecilia in Rome, St. Peters Church
(Vatican City), the Pantheon of Rome, the
Niemayer Auditorium of Ravello, the
Verdi Theater of Salerno, Glinka Hall (St.
Petersburg), the Museum of the Moving
Image (NY), Hill Hall Concert Hall (UNC-
Chapel Hill), the Utrecht Domkerk (ND),
the Amsterdam Westerkerk (ND), the
University of Latvia (LV) and other concert
halls in Spain, Portugal, the Philippines,
and the USA.
Rhapsody in Zoo (2015)
Written for its premiere at the St. Louis
Zoo in May of 2015, Rhapsody in Zoo
is a theatrical adventure through the
imagination of its composer. The ensemble
transforms itself into a cast of characters
whose dramatic interplay shapes the
piece and carries the listener through the
development of three themes. Rhapsody
in Zoo features rambunctious clarinet
musings, flirtatious flute solos, and
sentimental string section features. A
stylized piano solo and rock drum beat
are the finishing touches on a delightfully
compelling experience. Framed by its
charm and decorated with moments
of cheeky humor, Rhapsody in Zoo is a
coming of age journey that explores the
impact of art and energy on each other and
our experiences.
Erin Hoerchler (b. 1995) is a young
composer whose music is characterized by
its rock and pop influence and theatrical
nature. Erins work has been performed at
the Sheldon Concert Hall, Macklanburg
Playhouse, the Mizzou International
Composers Festival, and the St. Louis
Zoo. She has had thepleasureof sharing
herinfectiousenthusiasmfor her work
(Amy Wilder, Columbia Daily Tribune)
with St. Louis Symphony musicians as well
as Vox Nova and soloists and ensembles
at the University of Missouri. Erin studies
composition with Dr. William Thomas
McKenney, Dr. Stefan Freund, and Dr.
William J. Lackey through the Sinquefield
Charitable Foundations Composition
Scholarship. Erin hasreceivedFirst Prize
in the 2015 Webster University Young
Composers Competition, the Eric T.
Schabacker Recording and Music Business
Scholarship, and was named a finalist for
the 2015 Sinquefield Prize.She is looking
forward to hearing her most recent and
upcoming works, commissioned by the
Sheldon Arts Foundation and Vox Nova,
to be premiered at the Sheldon Concert
Hall and Sacred Heart Church in 2016.
Additionally, Erin enjoys her role as the
Composition instructor of the Community
Music School and performing with
University Singers and the Studio Jazz Band.
Program Notes and Biographies
Assembly Lines (2011)
Assembly Lines was commissioned by the
Detour New Music Ensemble. The work
can be optionally accompanied by live
video projections of factory footage from
the Prelinger Archives. After a brief, yet
clangorous fanfare, a solo bassoon unveils
the works conveyor belt theme. Not
unlike Fords automobile assembly line, the
ensemble appends this tune with a series of
interchangeable motifs, which hammer and
thrash the musical texture in an intricate
web of syncopation and orchestral color.
The Model T is born.
Ian Dicke (b. 1982) is a composer inspired
by social-political culture and interactive
technology. Active in a diverse array of
genres and multi-media, Dickes music
exhibits a clarity of expression while
integrating acoustic ensembles with cutting
edge audio processing techniques. Praised
for his refreshingly well-structured (Feast
of Music) and uncommonly memorable
(Sequenza 21) catalogue of works, Dicke
currently serves as an Assistant Professor
of Digital Composition at the University
of California, Riverside. Dickes music has
been commissioned and performed by
ensembles and festivals around the world,
including the New World Symphony,
Alarm Will Sound, the Cabrillo Festival
Orchestra, ISCM World New Music
Days, and the Atlantic Coast Center
Band Directors Association. Dicke was a
Resident Composer for the 2014 Mizzou
International Composers Festival.
Drei Romanzen, Op. 94 (1894)
These song-like works are not particularly
virtuosic. They demonstrate that
artistically-successful works do not need
to be overly complex. The first piece (Not
fast) is calm, with an expressive theme and
an inventive accompaniment. The second
piece (Simply, heartfelt) is similar to the
first one, but it features a relatively edgy
middle section. The third piece (Not fast)
inverts the approach of the earlier ones not
only by being more rhythmically active
and starker, but also by providing a middle
section that is reminiscent of the calmness
of the first two pieces.
FAUVE (2015)
I wrote FAUVE between August 2014 and
January 2015. A pseudo-concerto for rock
band, the piece is written in four disparate
movements and represents my love of new
music, rock/metal, and those in-between
artists like Frank Zappa and Mr. Bungle.
The title FAUVE is both a homage to the
bands original name and a comparison
between the polystylism of the piece with
the wildly contrasting colors characteristic
of Fauvism. Between polyrhythmic
grooves, short improvisatory sections, and
musical jokes, the piece is an attempt to
achieve an original take on the fusion of
contemporary classical music and popular
music without taking itself too seriously.
Joe Meland (b. 1993) is a composer
and performer whose music has been
described as often elegiac, waiting until
its passengers are lulled, then swerving
into oncoming traffic ... an antidote to
placidity (A Closer Listen), and twisted
in a particular way that is pretty gripping
(Smile Politely). He recently premiered
his concerto for rock band, FAUVE, at the
Krannert Center for the Performing Arts,
for which he won a BMI Student Composer
Award. He has also received awards from
the Wisconsin School Music Association,
the National Federation of Music Clubs,
and was a finalist in the ASCAP Morton
Gould Young Composers Awards for his
electro-acoustic composition null cycles. He
holds a bachelors degree in composition
from the University of Illinois at Urbana-
Champaign, and his composition teachers
include Carlos Carrillo, Stephen Taylor,
Erik Lund, and Narcs Bonet.
In addition to his compositional
achievements, Joseph sings, plays piano,
and writes for the band Feral States.
Their first release, Light, was featured
as one of the Top 10 releases of 2013 in
Champaign by Smile Politely magazine,
and was further praised by Champaign
radio station WPGU 107.1 FM for having
excellent composition. Never satisfied
with a single project, he also plays organ for
Church Booty, an R&B, hip-hop, and soul
influenced band, and produces for his pop
duo, Boycut.
He is currently located in Chicago, where
he works as a mixing engineer and session
musician, in addition to performing with
his bands.
Workers Union (1975)
Workers Union is written for any loud
sounding group of instruments. The score
gives performers specific rhythms without
specific pitches, allowing the performers
to choose their own notes for the 15-20
minute duration. Andriessens performance
notes include the instruction: Only in the
case of every player playing with such an
intention that their part is an essential one,
the work will succeed; just as in political
work.
Louis Andriessen (b. 1939) is one of
Europes most eminent and influential
composers. His music combines propulsive
energy with economy of material and
distinctive sonorities, often dominated
by pungent winds and brass, pianos, and
electric guitars. His music explores the
subjects of politics, time, velocity, matter,
and mortality while including influences
of Stravinsky and minimalism. A central
figure in Dutch contemporary arts scene,
Andreissen was the winner of the 2011
Grawemeyer Award.
Poetry ... for ensemble (2015)
Poetry ... for ensemble is the result of a
project on unconventional notation
and extended techniques from the
Composition II class I took last spring. I
had already used a multitude of extended
techniques in another composition
so I decided to branch out and try an
experiment with unconventional notation.
I used Karlheinz Stockhausens Aus den
sieben Tagen text pieces as my model.
Because Stockhausen clearly demonstrates
the use of potency in text choice-with
some of his pieces incorporating play a
vibration in the rhythm of the universe
or hold the tone and listen to the tones
of others ... and the whole sound turns
to gold, I wanted to take a light-hearted
approach and see what music could
be created when prompted with puns,
imagery, rhyme, and storyline.
Cyclic Thyme
Create a spicy groove
Continue to stir until done
Occasionally add some seasoning
Dont forget the fun
Drone Shark
State your pitch
But explore the sea
Be independent
Although try and defend it
Chromatic Fantasia
Be loud or soft, that choice is yours
But once you choose, you are to stay
Until the tides turn, about half way
As you play, move up and down
Chromaticism is your sound
Jeremiah Rittel (b. 1991) is a graduate
student at the University of Missouri
pursuing advanced degrees in instrumental
performance and jazz performance and
pedagogy. He holds a bachelors degree
in clarinet performance with honors
from the University of Montana. In
addition to these programs, he maintains
extensive research and coursework in
ethnomusicology, and has taken courses in
composition.
Jeremiah seeks musical opportunities in a
variety of genres and settings. He performs
regularly on woodwind instruments
and various world music instruments.
Performance experiences have included
concerts with professional symphony
orchestras and chamber ensembles such
as the Missouri Symphony, Missoula
Symphony, String Orchestra of the Rockies,
Esterhazy Quartet, and Missouri Quintet;
for musicals such as Chicago and Fiddler
on the Roof; and with university ensembles
such as the Mizzou New Music Ensemble,
Concert Jazz Band, Symphonic Wind
Ensemble, Latin Jazz Orchestra, Steel Pan
ensemble, Mbira ensemble, and Ghanaian
drum ensemble. Recent highlights include
premiering Jos Martinezs Oh, The
Places Ive Been for solo bass clarinet and
electronics at the International Clarinet
Associations ClarinetFest 2015 in Madrid,
Spain, and attending the 2014 International
Folklore Festival in Strnice, Czech
Republic.
Mentis Motus (1995/2015)
Mentis Motus (i.e. Minds Motion) is
inspired by the idea of subliminal space, an
area on the threshold - the in-between-
ness. It is an excited and fleeting foray
into the magmatic territory of the minds
permutation - a playful, funny intrusion
into ones deepest thoughts, even looking
for careless ghosts and memories.
Scored for a wide and heterogeneous
chamber ensemble, its tripartite structure
permeates stylistic elements of modernism
with thin threads of tonal structures,
deliberately blended in a territory from
which flashes of humor and melancholy
emerge at the same time.
The piece begins in the distance, like a
remote prelude, with a few isolated shots.
A dark background becomes present,
while the foreground shapes the space with
rhythmic flashes. Contrasts, fragmentation,
asymmetries, and canons characterize the
initial section, with a frantic and orgiastic
game of closely interwoven lines. The
central episode is like a thin notturno,
reflecting the inescacaple need to restore
a hieratic contemplation. This creates a
gravitational center and keystone of the
world of conflicting emotions between the
restless whirls of the external episodes. This
culminates with the movement ripresa and
a turbulent home stretch. This version of
Mentis Motus was arranged for the Mizzou
New Music Ensemble.