fllinois Wesleyan University School of Music presents
David Vayo and Mario J. Pelusi,
Co-Directors
Westbrook Auditorium March 19-20, 2015 A School of Music Sesquicentennial Event
l �O ILLll O(S WESLEYAN ¥MRS SCHOOL OF MUSIC Celebrating Our Past-lnspiriJlg Your Future ./
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Thursday, March 19 4PM Roundtable Discussion: Transitioning from College to Career Members of Fifth House Ensemble
A School ofMusic Sesquicentennial Event
Friday, March 20 7:30 PM Concert: Music by IWU Composers A School ofMusic Sesquicentennial Event Fifth House Ensemble Melissa Snoza, flute
Sang Mee Lee, violin
Pablo Moreno, oboe
Clark Carruth, viola
Jennifer Woodrum, clarinet
Herine Koschak, cello
Eric Heidbreder, bassoon
Eric Snoza, double bass
Valerie Whitney, hom
Jani Parsons, piano
And Unto Dust
David Vayo
David Vayo, sound mixing and electronics Lev Ivanov, conductor Something Old, 'Something New ... Jonathan D. Green, conductor
Jonathan D. Green
Concertante for Ten Instruments
Mario J. Pelusi
Mario J. Pelusi, conductor
Discussion The composers, with members of Fith House Ensemble
Following the concert, the audience is invited to a reception, presented by Sigma Alpha Iota, in the Smith Reception Room. This concert presented as part of the lWU New Music Series. To receive email notifications of Series events, contact David Vayo, Series director: dvavo@iwu.edu Program Notes: And Unto Dust
Out of whispers and rustlings, tones emerge, gradually taking on energy and momentum, leading to a paroxysm. All passion spent, the music subsides into mystical driftings, merging with the sonic dust from which it arose. - David Vayo (b. 1957) is the Fern Rosetta Sherff Professor of Composition and Theory and head of the composition, history and theory department at Illinois Wesleyan University. At IWU he teaches composition, improvisation and contemporary music and serves as Coordinator ofNew Music Activities. Vayo has also taught at Connecticut College and theNational University of Costa Rica. He holds an A.Mus.D. in Composition from The David Vayo
University of Michigan, where his principal teachers were Leslie Bassett and WilliamBolcom; his M. Mus. andB. Mus. degrees are from Indiana University, where he studied with Frederick Fox and Juan Orrego-Salas. Vayo has received awards and commissions from the John Simon Guggenheim Memorial Foundation, ASCAP, the Koussevitzky Music Foundations, the Barlow Endowment for Music Composition, the American Academy and Institute of Arts and Letters, the American Music Center, the National Association of College Wind and Percussion Instructors, and the Illinois Council for the Arts, and has been granted numerous artists' colony residencies. Over four hundred performances and broadcasts of his compositions have taken place, including recent performances in Mexico, Taiwan, the Netherlands, Hong Kong, and Spain and at Harvard University, Ohio State University and the universities of Wisconsin and Iowa. Festivals which have programmed his work include the International Trumpet Guild festival, the International Trombone Festival, the International Double Reed Festival, the Grand Teton Music Festival, and three World Music Days of the International Society for Contemporary Music. His compositions are published by Honeyrock,BerbeniItalia Guitar Society Series, and the International Trombone Association Press. Vayo is also active as a keyboardist performing contemporary music,jazz and free improvisations.
Something Old, Something New... was composed during the summer of
2014 for the Fifth House Ensemble and Illinois Wesleyan
University's New Music Symposium in honor of the sesquicentennial of the School of Music. My goal was to write an accessible and celebratory piece that belies its complexity. This composition is an exercise in thematic development using a modified rondo form of AB A C AB' D C' D' E in which all of the sections use melodies derived from two common motives. The title is a riff on the traditional English wedding rhyme: the A, B, and E melodies are new to this piece; themes C and D are adapted from earlier (illQ) pieces; in theB' section, I have borrowed "National Hymn," the tune of Alma Wesleyana, as a
counterrnelody; and the U sections are in a blues mode. In the U' section, portions of the C material are integrated, and to strengthen the symmetry of the piece, the E material is a synthesis of sections A and B.
Jonathan the
D.
Green,
Faculty
at
Provost and Dean of
Illinois
Wesleyan,
is a
conductor and composer. His composition teachers were
Robert
Stern,
Salvatore
Macchia, and Eddie Bass. He is the author of seven music-reference books and has received awards from ASCAP, the North Carolina Arts Council, and the Virginia Center
for
the
compositions,
Creative
Arts
for
his
which include numerous
songs, choral works, three piano concertos, seven
Commissions
include
A
Devil's
Abecedarium for a performance at Carnegie Hall in 2013; Riding the Winds of December, which was written for the Centennial of First Flight at Kitty Hawk in 2003; and Leviathan's Wrath, which was premiered by Dennis AsKew and the U.S. Army Field Band in
2002. Recordings include When We Were Giants on the album Carolina Mornings, and Study on the Life Cycle ofthe Phoenix on the album The Piano in China.
Concertante for Ten Instruments Notes by the composer The word "concertante" has appeared in titles of compositions of Western concert music for several hundred years, and it has had a different meaning during different periods. Perhaps the most common usage is in the title "sinfonia concertante," which emerged during the Classical era, which was a genre of music that was, essentially, a mixture of a symphony and a concerto. Today, the word "concertante" suggests a composition in which there are many soloists. At various moments in my composition, each of the
musicians becomes a soloist, hence the title Concertante jar 'J 'en
Instruments. The Fifth House Ensemble's instrumentation determined, to a great extent, the formal structure of my composition. The instruments can be grouped as follows: a woodwind quartet (i. e., flute, oboe, clarinet, and bassoon), a brass instrument (i. e., French hom), piano, and a string quartet (i.e. , violin, viola, cello, and double bass). Because there are no companion instruments for French hom and piano,
I
chose to feature these two instruments even more so than the other eight instruments.
The contrasts among these four subgroups of
instruments are most obvious during the fIrst part of the work (and later in two subsequent and similar parts); e.g. , the piano begins, after which there is alternating music between the woodwinds and the strings, which occurs while the piano continues, and then eventually, the French hom makes its "surprise" entrance. Also, throughout the composition, there are interludes that feature only the piano. There are innumerable additional ways in which relationships between and among these four subgroups of instruments unfold in this composition, but they cannot be recounted in this limited space. With respect to form, and by way of making it easier to follow the course of this composition during a fIrst hearing, it may help to know that the work is comprised of
17 parts that are connected without
interruption (see below): Part
I: Features ostinato-like music for the piano and
alternating music for the woodwinds and strings. Part
II: Features the French hom accompanied by piano and
woodwinds. Part
III: Feature the viola accompanied . by piano and
woodwinds.
Part IV: Features the violin accompanied by piano and woodwinds. Part V: An interlude featuring the piano. Part
VI: Features the double bass accompanied by piano,
woodwinds, and French hom.
Part VII: Features the cello accompanied by piano, woodwinds, and French hom. Part VIII: An interlude featuring the piano. Part IX: Features essentially the same music that appeared in Part I but in a different order. Part X: Features the oboe and clarinet accompanied by piano and strings. Part XI: An interlude featuring the piano. Part XII: Features the flute and bassoon accompanied by piano and strings. Part XIII: Features the oboe and clarinet in counterpoint to the flute and bassoon and accompanied by piano and strings. Part XIV: Cadenza-like music for the piano. Part XV: Features the French hom and piano. Part XVI: Features essentially the same music that appeared in Part I. Part XVII: Features the French hom, piano, and eventually the entire ensemble. Because the music of Part I recurs in Parts IX and XVI and is very similar in nature, the composition also has the characteristic of a rondo. With regard to the music's melodic and harmonic vocabularies, all of the melodies and harmonies are based on a single series (and various transformations thereof) of pitch classes and interval classes. Also, the composition is extensively polyphonic, polyrhythmic, and has continually changing meters. In these and other respects, I believe that it is accurate to state that, as a composer, I am a "maximalist"; i.e., I find it fascinating to see to what extent I can vary, develop, and prolong in time a restricted collection of musical elements. Because this is music that can be performed properly only by virtuosi, I am thrilled that the members of the Fifth House Ensemble will be giving my work its premiere.
Finally, I regard it as an honor and a privilege to have the opportunity to contribute to this concert my work as a composer and conductor and to participate in one of the many events with which the Illinois Wesleyan University School of Music has been celebrating its Sesquicentennial.
Mario J. Pelusi is Director of the School of Music and Professor of Composition and Theory at Illinois Wesleyan University. He has composed numerous commissioned chamber and orchestral works for some of this country's leading performers of new music and is the recipient of numerous grants, prizes, and fellowships. Pelusi holds the M.F.A. and Ph.D. degrees in composition from Princeton University, where his principal teachers were Milton Babbitt and Edward T. Cone, and the B.M. and M.M. degrees in composition from the University of Southern California. He has held teaching positions at The Ohio State University, Reed College, the University of Southern California, the Lawrenceville School, and the Westminster Choir College and has taught courses on a wide range of subjects, including composition, theory, counterpoint, analysis, orchestration, twentieth-century music, film music, jazz arranging and improvisation, and music entrepreneurship. In addition to his work in composition, Pelusi's research interests include non-tonal theory, music analysis, rhythm in music, the process of creativity, music and mathematics, and music and linguistics. Pelusi, who is also a conductor, specializes in twentieth-century and contemporary music and has conducted new music ensembles in the performances of numerous compositions, including many premieres of works by his contemporaries. Earlier in his career, he was a professional jazz pianist and arranger and composed music for films and television programs. Finally, Pelusi is active in service to the profession (e.g., he is the immediate past President of the Association of Illinois
Music Schools and currently holds leadership positions with the National Association of Schools of Music, The College Music Society, and Pi Kappa Lambda, which is a national music honor society.) For more detailed information, visit: http://www. iwu.edu/music/faculty/peJusi .htmJ. About Fifth House Ensemble:
The Chicago-based Fifth House Ensemble is a versatile and dynamic group praised by theNew York Times for its "conviction, authority, and finesse." Having pioneered the art of narrative chamber music, SHE is defmed by its limitless imagination and energy, and an insatiable desire to bring chamber music to audiences of all types. With humor and joy, SHE harnesses the collaborative spirit of chamber music to create transformative cross-media performance experiences that breathe life into repertoire both established and emerging through community-based storytelling, physical theatre, and graphic novels. Having established itself as a regular on the Chicago chamber music scene, Fifth House has performed on some of the city's most well-regarded series and venues including Ravinia, the Dame Myra Hess Memorial Concerts, Pritzker Pavilion, WFMT Impromptu, Preston Bradley Hall and Rush Hour Concerts at st. James. Bringing its signature connective programming from the stage to the classroom, SHE develops young audiences through curriculum-integrated interactive concerts and residencies for students grades K-12 in partnership with the International Music Foundation, Communities in Schools Chicago, and Ravinia's Reach*Teach*Play program. Currently in residence at Carthage College and at DePauw University, Fifth House has led workshops, residencies, and performances at Yale College, Eastman School of Music, New England Conservatory, Northwestern University, the Miller Theater at Columbia University, and the Colburn School. In 2012, SHE launched fresh inc (www.freshincfestival.com). a one of a kind chamber music festival that brings together emerging composers and instrumentalists for side-by-side performances and training in creative presentation and entrepreneurship.
As part of its 2014-2015 season, Fifth House Ensemble (SHE) presents four landmark events: Dances Through Time, comprised of trios for violin, clarinet, and piano, transports the listener through a century of dance and folk music, highlighting these genres as powerful vehicles for cultural expression; Broken Text, a collaboration with Raven Theatre and Free Write Jail Arts that tells the stories of young people at the Cook County Temporary Juvenile Detention Center; VerkHirteNacht, Schoenberg's masterwork reimagined by video artist Adebukola Bodunrin; andNedudim, a musical journey in collaboration with Tel Aviv and Berlin-based Mediterranean folk band Baladino. On tour, SHE visits the Detroit Symphony Orchestra, the University ofNorthern Iowa, the Civic Music Association the Manchester Symphony Society, Concordia University of Ann Arbor, Carthage College, and three world premieres at Illinois Wesleyan University as part of their Sesquicentennial celebration's Symposium of Contemporary Music.
Fifth House Ensemble is supported in part by the John D. and Catherine T. MacArthur Foundation, Northern Trust, the Arts Work Fund, theNational Endowment for the Arts, the MacArthur Funds for Arts and Culture at the Richard H. Driehaus Foundation, the Gaylord and Dorothy Donnelley Foundation, the BMI Foundation, Inc., a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events, the Ann and Gordon Getty Foundation, and by a grant from the Illinois Arts Council Agency.
Melissa Snoza - Flute
A passionate advocate for chamber music, Melissa Snoza is a founding member of Fifth House Ensemble. A dynamic educator and coach, Melissa currently teaches a music entrepreneurship course at DePaul University, and has served as professor of flute at Carthage College. As SHE's Executive Director, Melissa drives the organization's entrepreneurship programs, having created workshops for New England Conservatory, the Colburn S , the Eastman School of Music, TEDx Michigan Ave, and the fresh inc festival on arts entrepreneurship and creative programming. Her writing has been featured on the Entrepreneur the Arts blog and Huffington Post. Having held positions with the Wisconsin Chamber Orchestra, Civic Orchestra of Chicago and the Peninsula Music Festival, Melissa's performance activities have spanned South America, Europe, Russia and Japan. Previous award credits include First Prize at theNational Flute Association's Orchestral Audition Competition. Melissa is a graduate of the Eastman School of Music andNorthwestern University, with principal teachers including Bonita Boyd and Walfrid Kujala. Melissa is not only a well-known flutist and educator - she also makes a mean spread of Brazilian food and a mouth watering chocolate pecan bourbon pie.
Pablo Moreno - Oboe
Born in Manizales, Colombia, Pablo Moreno began his musical studies at the School of Music at the University of Caldas, studying in oboe and English hom with Tracy Russell. In 2000, he moved to Bogota where he was admitted to the Conservatory of the UniversidadNacional de Colombia and studied with Andreas Schneider before winning the Mazda Scholarship for Art and Science (Beca Mazda para e Arte y la Ciencia) in 2003. Pablo obtained his Bachelors degree in Oboe Performance from the Ponticia Unversidad Javeriana where he participated in masterclasses with Gordon Hunt, George Meerwein, Remy Carbonara, and Andres Eloy Medina. Pablo studied under Alex Klein at the Double Reed Festival of Central America, Mexico, and the Caribbean (2006, 2007, 2008) which took place in Panama City, and attended FEMUSC (2008, 2009) in Santa Catarina, Brazil where he studied with David Walter, Washington Barella, Luis Carlos Justi, and Lazlo Hadady. In 2008, Pablo was invited to join the Youth Orchestra of the Americas (YOA), where he toured throughout various Latin American cities such as Medellin, Panama, Salvador Bahia, Sao Paulo, Rio de Janeiro, Campos do Jordao, Buenos Aires, Rosario, and Montevideo. During this tour, he was highlighted for solo performances in Medellin and Panama City. Interested in sharing his knowledge with young musicians, Pablo took part in the Sembrando Talentos (2007, 2008) where he performed as a soloist and taught youth in Montevideo and Punta del Deste. In 2009, Pablo continued his education through his studies at the Oberlin Conservatory of Music where he obtained an Artist Diploma in oboe under the tutelage of Alex Klein and Robert Walters as well as obtaining an Artist Diploma in Baroque oboe under the tutelage of
Kathryn Montoya. While at Oberlin, Pablo was an active performer, playing with the Oberlin Balkan Music Ensemble, experimental ensembles, and the Oberlin Baroque Ensemble, with which he attended the Boston Early Music Festival in 2011. Currently, Pablo is flnishing his Masters degree in Oboe Performance at DePaul University's School of Music where he studies under Eugene Izotov. While at DePaul, his woodwind trio, Tres Triestes Tigres, was selected as one of the six flnalists for the 2014 Fischoff Chamber Music Competition. Jennifer Woodrum - Clarinet
Jennifer Woodrum, born and raised in the suburbs of Chicago , maintains a busy schedule playing and teaching clarinet throughout Illinois . Jennifer holds a bachelors and masters degree from Northwestern University , where she studied with Russell Dagon. Her other principal teachers have included Aris Chavez and Leslie Grimm. Ms. Woodrum holds many awards from local competitions including the Evanston Music Club, the Farwell award from the Chicago Musicians' Club of Women, the Union League Civic and Arts Foundation, and the American Opera Society, and performs several solo recitals a year. Jennifer has been a member of the Civic Orchestra of Chicago and the Rockford Symphony. She has performed with the Elgin Symphony, the Ravinia Festival Orchestra, the South Bend Symphony, and the Grant Park Symphony. Jennifer is the proud parent of a pit bull pointer mix, named after one of her favorite vocalists, Miss Peggy Lee. When not involved in clarinet activities, you'll probably fmd Jennifer at the Evanston Pooch Park or singing karaoke at the nearest karaoke bar.
Eric Heidbreder - Bassoon
Origin�ly from Merrillville, IN, Eric Heidbreder holds a Bachelor of Music Degree from Ball State University and a Masters in Music Degree from DePaul University. Eric has previously held positions in the Civic Orchestra of Chicago, Muncie Symphony Orchestra, and the Laporte County Symphony Orchestra. Eric has performed as a substitute musician with the Chicago Symphony Orchestra and MusicNOW. Outside of performing, Eric is a casual arranger of 1990s power ballads and a skateboarding enthusiast. Over past summers, Eric has attended the Aspen Music Festival and the Pacific Music Festival. Eric's primary teachers are Steve Ingle, Keith Sweger, William Buchman, and Robert Barris. Valerie Whitney - French Horn
Valerie Whitney is an active freelance artist in the Chicago and Milwaukee areas. An alumna of the Civic Orchestra of Chicago, she is currently the assistant hom of the South Bend Symphony, and performs frequently with the Milwaukee Symphony Orchestra. Ms. Whitney has appeared with several local ensembles, including the Chicago Symphony Orchestra, Ars Viva Orchestra, and the Chicago Jazz Ensemble, as well as the Peninsula Music Festival in Door County, WI. She has played principal horn with The Florida Orchestra by guest invitation, and received honorable mention at the 2011 International Horn Competition of America.
Ms. Whitney is also an enthusiastic teacher, and she currently maintains a full private studio of hom students. Ms. Whitney's education includes degrees from Wheaton College under the instruction of Melanie Cottle, andNorthwestern University as a student of Gail Williams and William Bamewitz. She is currently pursuing her doctorate atNorthwestern, the first candidate in hom to be admitted to the program. Sang Mee Lee - Violin
MM, The Juilliard School; BM, The Juilliard School; student of Dorothy DeLay, Hyo Kang, Masao Kawasaki, Felix Galimir, Joseph Gingold, Roland and Almita Vamos, Victor Aitay, Betty Haag; master classes with Salvatore Accardo, David Cerone, Sidney Hartďż˝ Cho-Liang Lin, Robert Lipsett, Ruggiero Ricci, Pinchas Zukerman; additional studies at the Aspen Summer Music Festival, the Encore School for Strings, and Meadowmount School for Strings; recitals throughout the country and solo appearances with the Chicago Symphony Orchestra, the Lausanne Chamber Orchestra, the Korean Broadcasting Symphony Orchestra and others; top prizes in the Tibor Varga and Leopold Mozart International Competitions for Violin, the Irving M. Klein Competition, Seventeen Magazine/General Motors Concerto Competition, Julius Stulberg Auditions, FischoffNational Chamber Music Competition; co-founder of the Metamorphosen Chamber Ensemble of Boston; recipient of numerous awards and distinctions including Honorary Member of the Delta Omicron Fraternity Music. the Summer Academy of the Mozarteum Salzburg (Austria), the Banff Centre and the Heifetz Summer Institute of Music, she received further instruction from Igor Oistrakh, Pamela Frank, Joel Smirnoff, Daniel Phillips, and Soovin Kim.
Clark Carruth - Viola
Violist Clark Carruth performs primarily with the Chicago-based chamber group Fifth House Ensemble which he joined in 2008. With SHE Clark plays dozens of concerts each year in the Chicago area and increasingly around the country, with recent concerts presented in Minneapolis, Ann Arbor, New Haven, and Indianapolis. From 2003 to 2009 he performed with the Northwest Indiana Symphony Orchestra, theNew Philharmonic and the DuPage Opera Theatre. A former member of the Civic Orchestra of Chicago and South Bend Symphony, previous performance credits also include ten live appearances on Chicago's 98.7 WFMT, the National Repertory Orchestra, theNational Orchestra Institute, and the FischoffNational Chamber Music Competition. A graduate of the University of Georgia (BM) andNorthwestern University (MM), Clark's primary instructors were Mark Cedel, Li-Kuo Chang, and Roland Vamos. He enjoys cooking and (carefully!) biking around Chicago. Herine Coetzee Koschak - Cello
Cellist Herine Coetzee Koschak, originally from South Africa, holds bachelor's and master's degrees from the Indiana University School of Music, where she was a student of Janos Starker and Tsuyoshi Tsutsumi. Ms. Koschak has appeared as a features soloist with numerous orchestras, including the Nittany Valley Symphony and the National Repertory Orchestra, as well as in recital as a soloist and chamber musician throughout the East Coast and the Midwest. Her master class performances include those for Y0-Yo
Ma, Anner Byslma, Truls Mork and Orlando Cole. In 2002 she was a prizewinner fin the Indiana University Cello Concerto Competition, playing Ernest Bloch's Schelomo-Hebraic Rhapsody for Cello and Orchestra. Herine has held titled positions in such groups as the National Repertory Orchestra and the Civic Orchestra of Chicago. As a teacher, she serves on the facwty of the Merit School of Music. She resides in Evanston and enjoys taking on the Viking Breakfast at Svea's in Andersonville. Eric Snoza - Double Bass
Eric Snoza has been a double bass performer before he could even properly reach the fingerboard. He received his Bachelors and continuing Masters degrees from the Eastman School of Music in Rochester,NY . At Eastman, Eric studied solo performance with one of the world's leading double bass performers, James VanDemark. He has performed with many leading new music ensembles including OSSIA, MusicaNova, and Ensemble X. Eric's solo accomplishments include the Rochester debut of the Eduard Tubin Double Bass Concerto and his own world premier transcription of the Elgar Cello Concerto for Double Bass led by Rochester Philharmonic Pops Conductor, Jeff Tyzik. Also a fourth degree black belt, Eric is a visiting instructor witl;1 the American School of Karate and Judo. As well as performing with Fifth House he also owns and operates SnoStudios Photography and provides much of the marketing and promotional material for the group.
Jani Parsons - Piano
Award-winning Canadian pianist Jani Parsons is making fresh waves on the new music scene, as pianist with the Chicago based Fifth House Ensemble and Latitude 49, a new music ensemble she co-founded at the University of Michigan. She holds a bachelors degree from the Vancouver Academy of Music and both Masters and Doctorate of Musical Arts degrees in performance and pedagogy from the University of Michigan, along with a performer's certificate from the Royal Conservatory of Music. An advocate of new music with "rich, colorful playing of the highest caliber", her dissertation-recital featured the works of only living composers, and included three commissions by up-and-coming composers. She has been featured on CBC Radio 2 and radio broadcasts throughout the midwest, performing throughout Canada and the United States, at the Chan Centre for the Arts, Banff Centre for the Arts, Chicago's Museum of Contemporary Art, and Chicago's Ravinia Festival. A passionate teacher, Jani has taught at Interlochen Summer Arts Camp, and maintains an active private studio.
Symposium of Contemporary Music Guest Composers/Performers/Scholars, 1952-2015
1952: Earl George, Grant Fletcher, Burrill Phillips 1953: Anthony Donato, Homer Keller 1954: Normand Lockwood, Robert Palmer 1955: Wallingford Riegger, Peter Mennin 1956: Hunter Johnson, Ulysses Kay 1957: Ernst Krenek, William Bergsma 1958: Aaron Copland 1959: Paul Pisk, George Rochberg 1960: Roy Harris 1962: Robert Erickson, George Rochberg, Glenn Glasow 1963: Robert Wykes, Alabama String Quartet 1964: Robert Wykes, E. J. Ulrich, Salvatore Martirano, Herbert BrUn, Ben
Johnston 1966: Louis Coyner, Edwin Harkins, Philip Winsor, Edwin London 1967: Frederick Tillis, George Crumb 1968: lain Hamilton 1969: The Loop Group, DePaul University 1970: Halim El-Dabh, Olly Wilson 1971: Edward J. Miller 1972: Stravinsky Memorial Concert 1973: Courtney Cox, Phil Wilson 1974: Scott Huston 1975: David Ward-Steinman 1976: Donald Erb 1977: Lou Harrison, Ezra Sims 1978: M. William Karlins 1979: Leonard B. Meyer 1981: Walter S. Hartley 1982: David Ward-Steinman 1983: George Crumb Concert 1984: Robert Bankert, Abram M. Plum, R. Bedford Watkins 1985: Michael Schelle 1986: Jean Eichelberger Ivey 1987: Jan Bach 1988: John Beall 1989: Hale Smith
(continued on back cover)
Symposium of Contemporary Music Guest Composers/Performers/Schoiars, 1952-2015
(continued from inside back cover) 1990: Karel Husa 1991: Alice Parker 1993 (Spring): Alexander Aslamazov 1993 (Fall): Leslie Bassett, John Crawford (Society of Composers, Inc.
Region 5 Conference) 1995: David Diamond 1996: Morton Gould Memorial Concert 1997: Joseph Schwantner 1998: Arvo Part 1999: John Corigliano 2000: Libby Larsen 2001: William Bolcom, Joan Morris 2002: Present Music 2003: Mario Lavista, Carmen Helena Tellez 2004: Louis Andriessen, James Quandt, Monica Germino, Cristina
Zavalloni 2005: Vince Mendoza 2006: New York New Music Ensemble 2007: Stephen Paulus 2008 (Spring): Roderik de Man, Annelie de Man (Amsterdam) 2008 (Fall): John Sharpley, Orchid Ensemble 2009: ONIX Ensamble (Mexico City) 2011: Yang Xiaozhong, Song Mingzhu, Zhou Tianli (Sichuan Conservatory
of Music) 2012 (Spring): Shulamit Ran 2012 (Fall): Chinary Ung, Susan Ung, Adam Greene, Stacey Fraser,
Jocelyn Chang 2014: John Daversa 2015: Fifth House Ensemble