Tuesday, November 20, 2012

HELIANTHUS ELECTRO-ACOUSTIC CONCERT


An evening of combined electronic media and acoustic instruments.
Featuring works written and performed by KU, WSU, and ESU students and faculty.

Saturday, December 1, 7:30,
Fisch Haus Studios
524 S. Commerce, Wichita

 Friday, November. 30 7:30 pm 
Kansas Room, Student Union
University of Kansas

Tuesday, Nov. 27 7:30 pm 
Heath Recital Hall
Emporia State University

WSU: Scott Oakes, bassoon, Phil Black, tuba,
 Aleksander Sternfeld-Dunn, composer

KU: Susan Mayo, cello, Mary-Elizabeth Thompson, flute, John Brabant, bass clarinet, Timothy Ray, piano,
Grant Bingham, bassoon, Kip Haaheim, composer

ESU: Susan Mayo, cello,  Andrew Houchins, composer


I. Stand Facing the Stove……………………………………………… Beth Weimann
John Brabant - bass clarinet

II.  January Rain: ……………………………………………………… Kip Haaheim
Susan Mayo/Kip Haaheim - cello/computer

III. It Makes No Sound…………………………………………………Aleks Sternfeld-Dunn
Scott Oakes – bassoon

IV. Tuba Concrete for Solo Tuba and Recorded Sounds (2002)……… Andrew Houchins
Phillip C. Black - tuba

V. Wunderkind (for toy piano, live processing, and fixed media)…….. Timothy Roy
Laura Hrivnak - Schoenhut toy piano

VI. Swamp Song…………………………………………………….. Michael J. Burns
Grant Bingham – bassoon

VII.  Red Antisocial I………………………………………………. Felipe Pérez Santiago (b. 1973)
Mary-Elizabeth Thompson - C flute, Alto Flute, and Piccolo




I. Stand Facing the Stove…………………………………………… Beth Weimann
John Brabant - bass clarinet

performer bio:

John Brabant was born in Pennsylvania, but raised in the small Northern Maine town of Presque Isle.  He first picked up the clarinet at age 8, and his primary teachers have been Dr. Beth Wiemann and Dr. Stephanie Zelnick.  At the University of Maine, Brabant was the principal clarinet of the Symphonic Band, University Orchestra, Chamber Orchestra, and Jazz Ensemble.  In addition to many significant performance in the New England region Brabant constantly challenges himself by performing virtuosic Twentieth century works for clarinet and bass clarinet.  He graduated Summa Cum Laude from the University of Maine in 2011 with degrees in Music Education and Clarinet Performance, and was inducted to the Phi Beta Kappa and Pi Kappa Lambda Honors Societies.  He is now pursuing the Masters of Music in Clarinet Performance degree at the University of Kansas.

composer bio:

Beth Wiemann was raised in Burlington, VT and studied composition and clarinet at Oberlin College and Princeton University. Her works have been performed by the New York New Music Ensemble, Continuum, Ensemble 21, Earplay, the Motion Ensemble, Opera Vista, saxophonist John Sampen, singers Paul Hillier, Susan Narucki, pianist Marilyn Nonken, and others. Her compositions have won awards from Copland House, the Orvis Foundation,Colorado New Music Festival, American Women Composers, and Marimolin as well as various arts councils, and have been featured on the Capstone, Americus, innova and Albany record labels. She teaches composition, music theory and clarinet at the University of Maine.

program notes:

Stand Facing the Stove uses processed video of both public domain cooking instruction footage and home movies of dinner preparations, with the electronic sound and video accompanying a bass clarinet soloist. The title, a beginning cooking
instruction itself, was also used as the title of the biography of the Rombauer cookbook authors by Anne Mendelson. The sounds of the electronic accompaniment were made using SoundHack and Reason software.


II.  January Rain: ………………………………………………………… Kip Haaheim
Susan Mayo/Kip Haaheim - cello/computer

performer bio:

Susan Mayo has been part of the Kansas musical landscape for over 30 years.  She is the reigning  Kansas Queen of Adjuncts: currently teaching at Emporia State University, Friends University, and Tabor College. She is a member of the Wichita Symphony and enjoys performing with her friends in a variety of small groups including ZHM, SPQ and the Great Plains Piano Trio. She is currently pursuing her DMA at KU and has greatly enjoyed working Kip Haahiem in classes and on this project.

composer bio:

After a spending many years as a freelance bassist, composer/arranger, and music producer in the San Francisco Bay Area, Kip Haaheim received his Bachelors degree from California State University, Hayward; his Masters degree in Composition from the University of Minnesota; and his Doctorate in Composition from the University of Arizona. He has been on the faculty of the University of Kansas School of Music since 2001 where he teaches Composition, Computer Music, Multi-media, and 20th Century music theory. 

Haaheim's music is available on DVD and CD on the Summitt Records release "Sacred and Profane" and on two CDs on the AUR label in Tucson, AZ. The work Halo, recorded by the chamber group Allegresse is available on CD through CD Baby or as a download through iTunes. In addition to concert music and interactive installations he has scored and produced the music for two critically acclaimed films "Fall from Grace" (broadcast by the Showtime network) and "The Only Good Indian" (premiered at the 2009 Sundance Film Festival and screened at numerous other film festivals in Europe and the US).  Haaheim has had major works performed or installed in San Francisco, Eugene, Houston, New York, Santa Fe, Kansas City, Baltimore, Detroit, Chicago, Minneapolis, and Austin. And he has had works performed internationally in Lubeck, Toronto, Mexico City, Paris, Berlin and Tel Aviv. 

program notes:

The work January Rain was written in collaboration with cellist Ed Laut. His mother, acclaimed poet Norma Jean Laut wrote the text that is the heart of the work. The poem is an unflinchingly dark meditation on aging. To capture the tone of the poem the cello and voice are blended together electronically to create a ghostly sonority evocative of both the physical ravages of old age and the starkly beautiful sense of peace and wisdom. All of the electronic sounds in the piece are created from samples of rain, the cello, and my voice as a whisper.

III. It Makes No Sound…………………………………………………Aleks Sternfeld-Dunn
Scott Oakes - bassoon

performer bio:

Scott Charles Oakes recently returned from St. Petersburg, Russia, where he performed with the Lieurance Woodwind Quintet at the Conservatory Week Frestival at the Rimsky-Korsakov St. Petersburg State Conservatory. He serves as Assistant Professor of Bassoon at Wichita State University and Principal Bassoonist of the Wichita Symphony. Previously, Mr. Oakes held positions of Principal Bassoon of the Quad City Symphony (Davenport, IA), the Rockford Symphony (IL). Mr. Oakes has performed with numerous orchestras throughout the upper Midwest, including the Illinois Symphony, Illinois Philharmonic, Chicago Chamber Orchestra, Elgin Symphony, and the Wisconsin Chamber Orchestra. He has worked extensively in opera orchestras and is also an avid chamber musician. Mr. Oakes holds a Master of Music degree from DePaul University and a Bachelor of Music from the Pacific Conservatory of Music. His principal teachers were William Buchman of the Chicago Symphony and Dr. Donald DaGrade. Following his passion for technology, Scott is working toward a Master of Science degree at the DePaul University College of Computing and Digital Media.

composer bio:

Aleksander Sternfeld-Dunn grew up in the SanFrancisco Bay Area, was educated on both coasts and now finds himself in the middle of the country. His music combines a frenetic rhythmic language, lean textures and lyrical sensitivity. His music has been recorded and performed throughout the U.S., Europe, Canada, and Asia by ensembles and organizations including the Kiev Philharmonic, The Contra Costa Chamber Orchestra, Huntsville Alabama Army Band, Composers Inc, Conundrum, The Yale Brass Trio, Scott/Garrison Duo, and Vox Novus. Soloists like Richard Kriehn, Diane Maltester, Craig Hultgren, and Robert Young have also been champions of his music. His works are published by FJH Music, Dorn Publications, Trevco Music, Alry and Boom Crash  Music and can be heard on the ERM and Capstone Labels. He serves on the faculty at Wichita State University where he teaches composition, electronic music and music theory.

program notes:

The Moon is Round
The Moon is Round
It has Two Eyes
One Nose
And it Makes No Sound

IV. Tuba Concrete for Solo Tuba and Recorded Sounds (2002)………… Andrew Houchins
1.      Perpetuality
2.      Veni Valse
3.      Soliloquy and finale
Phillip C. Black - tuba

performer bio:

Phillip C. Black, Wichita State University Tuba/Euphonium Professor, was born and raised in Columbia City, IN. He attended to Ball State University and University of New Mexico for Undergrad and Masters degree work, then spent six years in Ann Arbor,MI “Paying His Dues” playing in the Galliard Brass Ensemble, the Flint,MI Symphony, and going to work at 3AM as a baker to make the rent. In the summer of 1986, he got a call from Wichita State University asking him to audition for a Faculty position and position as Principal tubist with the Wichita Symphony. Phillip has performed from coast to coast in Octubafests and Regional Conferences, and has recorded for the Musical Heritage Society label. Of his illustrious career Black states, “I began playing the tuba in 7th grade under Mr. Fox, and haven’t stopped since” - - boy are my lips tired!!! 

composer bio:Andrew Houchins studied with John Baur and Donald Freund at the The University of Memphis where he received his master’s degree in composition and received a doctorate in composition from The Florida State University studying with Ladislav Kubik.  He also studied in Prague at the Czech-American Summer Music Institute, where he received a performance of Songs: Four Haiku for Voice, Horn, and Piano, at the Dvorak Museum. He has written for diverse ensembles including solo, electronic, and small and large ensembles, and his compositions have been played at numerous venues and conferences throughout the United States.  Fanfare and Eulogy was a finalist in the Lancaster Festival Chamber Orchestra Competition and Andy’s commissions include Elements, for flute, bassoon, piano, and percussion, written for the Kansas Music Teachers Association, and Face Off, for percussion duo, written for the Conservatory at Lynn University.  Tracy Freeze with the University of Oregon Wind Ensemble, conducted by Robert Ponto, premiered his percussion concerto, The Big Bang.  Dr. Houchins teaches theory, composition, and technology at Emporia State University in Emporia, KS, and is a member of the College Music Society, the Society of Composers, Inc, and was initiated as a Friend of the Arts by the Sigma Alpha Iota international music fraternity in 2008.

program notes:

Tuba Concréte was written for Jeff Hodapp.  All the recorded sounds were derived from sounds made by Dr. Hodapp.  These include notes of various lengths and articulations, tapping the mouthpiece, lightly tapping the instrument with keys, slapping the instrument, blowing and singing through the instrument, and in the final movement, a couple of shouts.  All of the recorded sounds were assembled and manipulated using Digital Performer. 

The first movement begins with a mouthpiece tap (mega-reverb and echo) and before the tuba enters in the sixth bar, key taps on the instrument (with chorus and flange) set the tempo.  The name perpetuality refers to the circular motive that generates the material for the tuba in this movement.  The mouthpiece tap is featured in a different guise in the middle when the movement modulates to compound meter.  By transposing the tap to different pitch levels, I was able to create a persistent drum set rhythm against which the tuba has espressivo e legato lines.

Veni Valse starts with what seems to be an electronically generated collection of rhythmic sounds.  It was created by taking a staccato note and time stretching it.  The rhythm is actually the individual peaks and valleys of the waveform.  This movement is the vocal premiere for Dr. Hodapp.  He sings and whispers Veni Creator Spiritus through his tuba.  Of course there is a little pitch manipulation and some other effects like Reverse and eVerb applied.

The last movement, soliloquy and finale, begins with an unmetered section before the recording is started.  The bell sounds were created by running staccato pitches through ring modulation and adding echo and reverb.  After a slow beginning, this movement really gets moving at 192 beats a minute!  Some of the sounds from the first movement, like the sforzando chords and the key taps, are brought back to support the other sounds featured in this movement.  The shouts, hey, huh, and what, are the only sounds that did not involve the tuba in their production in one way or another. 

I wrote this composition as a personal challenge.  While attending a conference I was talking to a colleague about a performance I had heard of a sonata for tuba and piano.  My colleague’s reaction was “What’s the point of solo tuba.  Tubas just f--t.”  Shortly after this conversation Dr. Hodapp auditioned for the low brass position at ESU.  I thought anyone who played a solo funk version of the Beatles’ Blackbird on tuba for a job interview would be up for trying just about anything.


V. Wunderkind (for toy piano, live processing, and fixed media)…………….Timothy Roy
Laura Hrivnak - Schoenhut toy piano

performer bio:

Laura Hrivnak is from Newport News, VA and is currently pursuing a Doctor of Musical Arts degree in piano performance at the University of Kansas. She holds a B.M. in piano from Belmont University as well as a M.M. in piano from KU and has been an active member of the teaching community in Lawrence, KS since 2006. She was the director of the KU Community School for five years and has recently opened a private piano studio. Along with enjoying her new venture, she currently specializes in the piano music of Scriabin, Janacek, and the late sonatas of Beethoven. She has also been an avid performer of new music - premiering numerous works for solo piano and chamber ensembles. Laura's toy piano, lovingly named "Lil' Guy," was received as a special gift two years ago and she is very enthusiastic about sharing him with audiences. She hopes to concertize with him much more in the future.

composer bio:

Timothy Roy (b. 1987) is a composer whose music seeks to illuminate both the beautiful and sacred in the world. Timothy is a graduate of Southern Methodist University, where he was both a President’s Scholar and Theodore Presser Scholar, studying composition with Martin Sweidel, Kevin Hanlon, and Simon Sargon, and piano with Alfred Mouledous. His music has been selected for performance by Denison University's “Tutti” New Music Festival, Heidelberg University's New Music Festival, Electronic Music Midwest, the Electronic Music Studios Concert Series at the University of Iowa, the Kansas City Electronic Music & Arts Alliance (KcEMA), Stacey Barelos’ Missouri Piano Project, and the International Electroacoustic Music Festival of Chile, “Ai-maako.” He was recently a Finalist in the ninth edition of the International Composition Competition "Città di Udine,” and First Prize winner in the 9th International Musicacoustica-Beijing Composition Competition. Timothy teaches undergraduate courses in music theory at MidAmerica Nazarene University in Olathe, Kansas, while completing a master’s degree in composition at the University of Missouri-Kansas City, studying with James Mobberley, Paul Rudy, and Chen Yi.

program notes:

"Wunderkind" is a well -known German term historically applied to a person who possesses an extraordinary talent or brilliance (particularly musical) at an early age. The creative impetus for this work was the desire to explore the intellectual workings of a developing child prodigy, the electronic component used to expand the palette of such a restricted instrument while representing the mind's ear of the child. The opening cadenza begins clumsily as the "child" seemingly explores the instrument for the first time. Musical ideas begin to mature, congeal, and find meaning. The fixed media playback begins after two minutes of solo, and a complex and harmonically-saturated sound world emerges from and interacts with performed gestures, meant to be perceived as imagined musical structures, astonishingly advanced for a mere child. All of the sounds in the fixed media were created by recording and processing my own toy piano. I did in fact sit on the six-inch-high bench while doing so. 





VI. Swamp Song…………………………………………………….. Michael J. Burns
Grant Bingham - bassoon

performer bio:

Grant Bingham (b. 1992) grew up in west Texas where he began studying music at an early age, starting with Kindermusik through the local church.  When he was ten years old his family relocated to central Oklahoma where he spent the rest of his grade school years in school band, jazz, and orchestra programs. He is a two-time All State Band member and a one-time Honor Band of America member. He is currently studying bassoon performance and music composition at the University of Kansas.

composer bio:

Michael Burns is Associate Professor of bassoon at the University of North Carolina at Greensboro, and is a Yamaha Performing Artist. He has recorded for the Centaur, CAP, Telarc, EMI, Klavier, and Mark labels and has a new solo CD Primavera: Music for Bassoon and Piano by Bassoonists which was released to critical acclaim in mid-2009 on the Mark Masters label. Burns holds the B.M. degree from the Victoria University of Wellington, New Zealand, the M.M. from the New England Conservatory, and the D.M.A. from the University of Cincinnati College-Conservatory of Music. He performs as principal bassoon with the Asheville Symphony, the Opera Company of North Carolina, the Fibonacci Chamber Orchestra, and the Carolina Ballet and as bassoonist in the EastWind Ensemble, the Blue Mountain Ensemble, the I-40 ensemble, and the Cascade Quintet. He also performs regularly with the North Carolina, Greensboro, and Charlotte Symphonies and as a guest with the Ciompi Quartet and Mallarme Chamber Players. Burns is also an active composer with many of his pieces being published by TrevCo Music, Potenza Music and Effiny Music and frequently performed throughout the country as well as internationally.

program notes:

Swamp Song for bassoon and CD was originally composed at the Electronic Music Studios at Victoria University of Wellington, New Zealand in 1986. This work has been reedited and the accompaniment tape transferred to compact disc for ease of use. It has been very popular and is regularly performed throughout North America and beyond. This work was recorded by Dr. William Dietz on his CD New Works for Bassoon MJSD 144. All of the sounds on the tape part were originally produced on the bassoon by various means and then electronically filtered and altered. The goal was to blur the lines of separation between the soloist and the accompaniment making it difficult at times to determine which is which. There is a section that features a duet between "normal bassoon sounds that have been electronically altered, on the tape and live 'melodic' multiphonics on the solo bassoon. The similarity of the two sound sources intrigued me and, I believe, provides interest. The piece is also supposed to be fairly light-hearted and fun.

VII.  Red Antisocial I………………………………………………. Felipe Pérez Santiago (b. 1973)
Mary-Elizabeth Thompson - C flute, Alto Flute, and Piccolo

performer bio:

Flutist Mary-Elizabeth Thompson performs frequently as a solo and chamber music artist, with recent performances throughout México and the United States. She is an advocate for new music and has commissioned and premiered multiple works and has participated in festivals such as the New York City Electroacoustic Festival, Puentes Festival, and the Foro Internacional de Música Nueva Manuel Enríquez in Mexico City. Thompson recently the flute chamber music of composer Gabriela Ortiz for a CD entitled Denibe. Last year Thompson was located in Mexico City as a Fulbright-García Robles Scholar engaging in postdoctoral research in contemporary Mexican music for flute with flutist Alejandro Escuer one of Mexico’s preeminent flute performers. Thompson currently holds the position of Interim Professor of Flute at the University of Kansas.

composer bio:

Felipe Pérez Santiago completed his undergraduate studies in Mexico before moving to Holland for Masters studies at the Rotterdam Conservatory. He has been a composer-in-residence in five countries and has worked with numerous major ensembles such as the Rotterdam Philharmonic, the Czech Nacional Symphony, and the Kronos Quartet. He is the founder and artistic director of the rock-contemporary Mal'Akh Ensemble, a multidisciplinary formation combining chamber music with free jazz, rock, improvisation, multimedia and electronic music.

program notes:

Of Red Antisocial I the composer states, “The piece is a reflection on today’s communications. The more we have access to worldwide real-time information and interaction through internet, the more we become isolated and unable to develop our social skills.” Two particular relevant characteristics of this work are the multi-layering of the flute tracks and the sections of improvisation throughout, in which the performer interacts dynamically with the fixed media. Pérez Santiago uses minimalist techniques frequently to create the fixed media recording and then adds electronic sounds on top of that. It is written for piccolo, C flute, and alto flute, with all of those instruments appearing in the electronic track as well. This piece was written as part of the grant given to the author by the Mexican Fund for the Culture and Arts (FONCA) Mexico, as part of the National System for Art Creators program.