2020 Mizzou International Composers Festival Online Program

Mizzou International Composers Festival Online

July 27–August 1 2020

July 27–August 1 2020

Mizzou International Composers Festival Online

FESTIVAL SCHEDULE MONDAY July 27, 2020 6:30 PM – 9:30 PM

Resident Composer Presentations Stream live at the Mizzou New Music Initiative’s Facebook

TUESDAY July 28, 2020 6:00 PM – 9:00 PM

Resident Composer Presentations Stream live at the Mizzou New Music Initiative’s Facebook

WEDNESDAY July 29, 2020 6:00 PM

David T. Little, Guest Composer Presentation Stream live at the Mizzou New Music Initiative’s Facebook

7:00 PM FRIDAY July 31, 2020 9:00 PM

SATURDAY August 1, 2020 8:00 PM

Chen Yi, Guest Composer Presentation Stream live at the Mizzou New Music Initiative’s Facebook

UNDER TWILIGHT: A Drive-In Multimedia Event Sinquefield Music Center Parking Lot (see map) Click here to reserve parking space Stream live at the Mizzou New Music Initiative’s Facebook

FINALE CONCERT: Featuring Alarm Will Sound, Meredith Monk & Vocal Ensemble, Khemia Ensemble, Mizzou New Music Ensemble, and IONE Click here to pre-register

Schedule subject to change. For an updated schedule, please visit composersfestival.missouri.edu All times are Central Daylight Time ALL EVENTS ARE FREE

Mizzou International Composers Festival

Directors

STEFAN FREUND, ARTISTIC DIRECTOR Stefan Freund received a BM with High Distinction from the Indiana University School of Music and an MM and a DMA from the Eastman School of Music. His primary composition teachers included Pulitzer Prize winners Christopher Rouse and Joseph Schwantner as well as Augusta Read Thomas, Frederick Fox, and Don Freund, his father. He studied cello with Steven Doane, Tsuyoshi Tsutsumi, and Peter Spurbeck, among others. He is presently Professor of Composition at the University of Missouri.

Previously he was Assistant Professor of Composition at the Eastman School of Music.

Freund is the recipient of two William Schuman Prizes and the Boudleaux Bryant Prize from BMI, five ASCAP Morton Gould Grants, seventeen ASCAP Plus Awards, a Music Merit Award from the National Society of Arts and Letters, and the Howard Hanson Prize.

He was selected as the 2004 Music Teachers National Association-Shepherd Distinguished Composer of the Year. In 2006 and 2013 he was awarded Outstanding Faculty Research and Creative Activity Awards from MU. Freund has received commissions from the New Spectrum Foundation, the Carnegie Hall Corporation, the Lincoln Center Festival, the New York Youth Symphony, the Pittsburgh New Music Ensemble, the Verdehr Trio, Town Hall Seattle, Sheldon Concert Hall, and SCI/ASCAP. His music has been performed at such venues as Carnegie Hall, Lincoln Center, Merkin Hall, and the Kennedy Center as well as by ensembles such as the Copenhagen Philharmonic, the St. Louis Symphony, and the Phoenix Symphony. International performances include the Berliner Philharmonie, the Moscow International Performing Arts Center, Glinka Hall (St. Petersburg), Queen’s Hall (Copenhagen), the Bank of Ireland Arts Centre, and concert halls in seven other European countries, Canada, and Mexico. His works have been recorded on the Albany, Innova, Crystal, Centaur, and New Focus labels.

Active as a performer, conductor, and producer of new music, Freund is the founding cellist of the new music ensemble Alarm Will Sound. His cello performances include Carnegie Hall, Lincoln Center, the Met Museum, Merkin Hall, Millennium Park, Disney Hall, the Barbican (UK), the Hermitage Theatre (RU), the Muzikgebouw (ND), the World Financial Center, Culture Station Seoul, and the Beijing Modern Music Festival. His cello playing can be heard on 17 released albums featuring Alarm Will Sound. In addition, Freund is the Artistic Director of the Mizzou New Music Initiative and the Music Director of the Columbia Civic Orchestra.

Mizzou International Composers Festival

Directors

JACOB GOTLIB, MANAGING DIRECTOR Jacob Gotlib is a composer, musician, educator, and administrator who is dedicated to the creation and promotion of contemporary music. As a composer, his works explore patterning, repetition, and concepts informed by electroacoustic music. He has written works for instrumental ensembles, electronics, and multimedia that have been performed throughout the United States in Europe

by Ensemble Surplus, Ensemble Linea, Schlagwerk Den Haag, and others. His works have been recognized with grants and awards by the Acht Brücken Festival, ASCAP/SEAMUS, Gaudeamus Muziekweek, Ossia, and the Kentucky Arts Council.

As an administrator, Jacob has worked to build communities for new music in the cities where he’s lived. In 2007, he was a cofounder of the Kansas City Electronic Music and Arts Alliance (KcEMA), whose mission was to promote experimental music of all types across the Kansas City area.

Jacob was also a member of the Buffalo, NY-based new music collective Wooden Cities and was a co-artistic director of the Louisville, KY-based Mothership Ensemble. In addition, he was the host of Muddle Instead of Music, a weekly radio program dedicated to contemporary music on Louisville’s ARTxFM station. Currently, he is the Managing Director of the Mizzou New Music Initiative at the University of Missouri.

Jacob received his BM from the Oberlin Conservatory, an MM from the University of Missouri-Kansas City, and a PhD from the University at Buffalo.

Mizzou International Composers Festival

Directors

CAROLINA HEREDIA, ASSISTANT DIRECTOR Carolina Heredia is a composer of acoustic and electronic classical new music, as well as an intermedia producer and artist.

Her works have been commissioned and performed in the United States, South America, and Europe by several esteemed musicians and ensembles, including JACK Quartet, Alarm Will Sound, Aspen Contemporary Ensemble, Oberlin New Music Ensemble, Alex Fiterstein, Derek Bermel, Tesla Quartet, and Khemia Ensemble, among others. Her music has been featured at the SONIC Festival NYC, Aspen Music Festival and School, Bowling Green New Music Festival, the Mizzou International Composers Festival, SEAMUS, Strange Beautiful Music, among many others. Her work Ius in Bello (2014), for clarinet and string quartet, was released in 2019 in an album titled Joy and Desolation, recorded by Alexander Fiterstein and the Tesla Quartet and produced by Orchid Classics.

Heredia’s 2015 Fromm Music Foundation Commission supported the creation of her work Ausencias/ Ausências/Absences, for string quartet and fixed media, which was premiered by the JACK Quartet in March 2016. Ausencias/Ausências/Absences was awarded several prizes, including the 2018 International New Music Competition John Corigliano Grand Prize and the 2019 Lake George Music Composition Competition, among others.

Carolina holds a Doctorate in Music Composition degree and was a Research Fellow for the Institute of Humanities at the University of Michigan. Her mentors include Michael Daugherty, Evan Chambers, Erik Santos, and Kristin Kuster. She was a 2017-18 postdoctoral fellow at the University of Missouri School of Music where she currently holds the position of Assistant Professor in Music Composition and Assistant Director of the Mizzou New Music Initiative.

Carolina Heredia founded Khemia Ensemble in 2015 as a contemporary music ensemble that strives to create innovative audiovisual concert experiences involving interactive technology. She currently serves the ensemble as the Executive Director.

Mizzou International Composers Festival

Guest Composers

CHEN YI As a prolific composer who blends Chinese and Western traditions, transcending cultural and musical boundaries, Dr. Chen Yi is a recipient of the Ives Living Award from the American Academy of Arts and Letters. She has been Lorena Cravens/ Millsap/Missouri Distinguished Professor at the Conservatory of Music and Dance in the University of Missouri-Kansas City since 1998. She was elected to American Academy of Arts & Sciences in 2005, and the American Academy of Arts & Letters in 2019.

Born in China, Ms. Chen received bachelor’s and master’s degrees from the Central Conservatory in Beijing, and the Doctor of Musical Arts degree from Columbia University in the City of New York. Her composition teachers included Profs.

Wu Zu-qiang, Chou Wen-chung, and Mario Davidovsky. She has served as Composer-in-Residence for the Women’s Philharmonic, Chanticleer, and Aptos Creative Arts Center (1993–96), supported by Meet the Composer, and taught on the composition faculty at Peabody Conservatory of Johns Hopkins University (1996–98). She has also been Distinguished Visiting Professor in China since 2006.

Fellowships and commissioning awards were received from Guggenheim Foundation (1996), American Academy of Arts and Letters (1996), Fromm Foundation at Harvard University (1994), Koussevitzky Music Foundation at the Library of Congress (1997), and National Endowment for the Arts (1994). Honors include the first prizes from the Chinese National Composition Competition (1985, 2012), the Lili Boulanger Award (1993), the NYU Sorel Medal Award (1996), the CalArts/Alpert Award (1997), the UT Eddie Medora King Composition Prize (1999), the ASCAP Concert Music Award (2001), the Elise Stoeger Award (2002) from Chamber Music Society of Lincoln Center, the Friendship Ambassador Award from Edgar Snow Fund (2002), the UMKC Kauffman Award in Artistry/Scholarship and Faculty Service (2006, 2012), and Pulitzer Prize Finalist with Si Ji for orchestra (2006). Honorary Doctorates are from Lawrence University (2002), Baldwin-Wallace College (2008), University of Portland (2009), The New School University (2010), and University of Hartford (2016). She has received the Sterling Patron Award of Mu Phi Epsilon International Fraternity in 2011 and the Society for American Music Honorary Member Award in 2018.

Her music is published by Theodore Presser Company, performed worldwide, and recorded in over 100 CDs, on Bis, New Albion, Teldec (with a Grammy Award for Colors of Love), New World (with NPR Top 10 Classical Music Album Award for Sound of the Five), Albany, Naxos, BMOP/sound, XAS Records, Bridge, Centaur, Innova, Delos, Angel, Nimbus, Cala, Avant, Atma, Hugo, Koch International Classics, Eroica, Capstone, Quartz, and China Record Corporation since 1986.

Most recent premieres have included Introduction, Andante, and Allegro by the Seattle Symphony Orchestra at Benaroya Hall in Seattle, and Fire for 12 players by Grossman Ensemble at Logan Center Performance Hall in the University of Chicago in 2019; piano concerto Four Spirits by China Philharmonic in Beijing and the University of North Carolina at Chapel Hill in 2016; Totem Poles for organ solo at AGO national conference in Kansas City, Pearle River Overture by Guangzhou

Mizzou International Composers Festival

Guest Composers

Symphony in China, and Southern Scenes for flute, pipa and orchestra by the Hawaii Symphony in Honolulu in 2018.

Find more information about Chen Yi and her music.

DAVID T. LITTLE David T. Little is “one of the most imaginative young composers” on the scene (The New Yorker), with “a knack for overturning musical conventions” (The New York Times). His operas Dog Days, JFK, and Vinkensport (librettos by Royce Vavrek), and Soldier Songs have been widely acclaimed, “prov[ing] beyond any doubt that opera has both a relevant present and a bright future” (The New York Times).

Other recent works include the earthen lack (London Sinfonietta/BGSU), The Conjured Life (Cabrillo Festival/Cristian Măcelaru), Ghostlight—ritual for six players (Eighth Blackbird/ The Kennedy Center), AGENCY (Kronos Quartet), and dress in magic amulets, dark, from My feet (The Crossing/ICE). Little is currently composing a new monodrama for Grammy-winning tenor Karim Sulayman and Alarm Will Sound, based on Garth Greenwell’s celebrated novel What Belongs to You, and developing a new work commissioned by the Metropolitan Opera/Lincoln Center Theater new work program.

This season, Chicago Opera Theater presents a production of Little’s acclaimed monodrama Soldier Songs, starring renowned baritone Nathan Gunn, and the Chicago Symphony Orchestra presents obscure clues and shiny objects as part of its MusicNOW series. The 2019-2020 season also sees the world premiere of Little’s hold my tongue for voice, percussion, and electronics in September by Bec Plexus as part of the Gaudeamus Muziekweek in The Netherlands. Bec Plexus will also release an album, Sticklip, featuring hold my tongue, in March on New Amsterdam Records.

Other upcoming album releases this season include AM I BORN, recorded by The Choir of Trinity Wall Street and NOVUS NY with Julian Wachner conducting (Acis Records), and AGENCY, a thirty-two minute-long work for string quartet and electronics, recorded by the American Contemporary Music Ensemble (ACME) and Third Coast percussion (New Amsterdam Records).

David T. Little is published by Boosey & Hawkes. Find more information about him and his music.

Mizzou International Composers Festival

Resident Ensembles

ALARM WILL SOUND MIZZOU INTERNATIONAL COMPOSERS FESTIVAL ENSEMBLE–IN–RESIDENCE Alarm Will Sound is a 20-member band committed to innovative performances and recordings of today’s music. They have established a reputation for performing demanding music with energetic skill. Their performances have been described as “equal parts exuberance, nonchalance, and virtuosity” by the Financial Times of London and as “a triumph of ensemble playing” by the San Francisco Chronicle. The New York Times says that Alarm Will Sound is “one of the most vital and original ensembles on the American music scene.”

With classical skill and unlimited curiosity, Alarm Will Sound takes on music from a wide variety of styles. Its repertoire ranges from European to American works, from the arch-modernist to the pop-influenced. Alarm Will Sound has been associated since its inception with composers at the forefront of contemporary music, premiering pieces by John Adams, Steve Reich, David Lang, Michael Gordon, Aaron Jay Kernis, Augusta Read Thomas, Derek Bermel, Benedict Mason, and Wolfgang Rihm, among others. The group itself includes many composer-performers, which allows for an unusual degree of insight into the creation and performance of new work.

Alarm Will Sound is the resident ensemble at the Mizzou International Composers Festival. Held each July at the University of Missouri in Columbia, the festival features eight world premieres by early-career composers. During the weeklong festival, these composers work closely with Alarm Will Sound and two established guest composers to perform and record their new work.

Alarm Will Sound may be heard on fourteen recordings, including their most recent, The Hunger; Omnisphere, with jazz trio Medeski Martin & Wood; a collaboration with Peabody Award-winning podcast Meet the Composer titled Splitting Adams; and the premiere recording of Steve Reich’s Radio Rewrite. Their genre-bending, critically acclaimed Acoustica features live-performance arrangements of music by electronica guru Aphex Twin. This unique project taps the diverse talents within the group, from the many composers who made arrangements of the original tracks, to the experimental approaches developed by the performers.

In 2016, Alarm Will Sound in a co-production with Opera Theatre of St. Louis, presented the world premiere of the staged version of Donnacha Dennehy’s The Hunger at the BAM Next Wave Festival and the Touhill Performing Arts Center. Featuring Iarla O’Lionárd (traditional Irish singer) and Katherine Manley (soprano) with direction by Tom Creed, The Hunger is punctuated by video commentary and profound early recordings of traditional Irish folk ballads mined from various archives including those of Alan Lomax.

Mizzou International Composers Festival

Resident Ensembles

In 2013-14, Alarm Will Sound served as artists-in-residence at The Metropolitan Museum of Art. During that season, the ensemble presented four large ensemble performances at the Met, including two site-specific productions staged in museum galleries (Twinned, a collaboration with Dance Heginbotham and I Was Here I Was I, a new theatrical work by Kate Soper and Nigel Maister), as well as several smaller events in collaboration with the Museum’s educational programs.

In 2011, at Carnegie Hall, the group presented 1969, a multimedia event that uses music, images, text, and staging to tell the compelling story of great musicians—John Lennon, Karlheinz Stockhausen, Paul McCartney, Luciano Berio, Yoko Ono, and Leonard Bernstein—striving for a new music and a new world amidst the turmoil of the late 1960s. 1969’s unconventional approach combining music, history, and ideas has been critically praised by the New York Times (“...a swirling, heady meditation on the intersection of experimental and commercial spheres, and of social and aesthetic agendas.”)

Alarm Will Sound has been presented by Carnegie Hall, Lincoln Center, (le) Poisson Rouge, Miller Theatre, Brooklyn Academy of Music, the Kitchen, the Bang on a Can Marathon, Disney Hall, Kimmel Center, Library of Congress, the Walker Arts Center, Cal Performances, Stanford Lively Arts, Duke Performances, and the Warhol Museum. International tours include the Holland Festival, Sacrum Profanum, Moscow’s Art November, St. Petersburg’s Pro Arte Festival, and the Barbican.

The members of the ensemble have also demonstrated our commitment to the education of young performers and composers through residency performances and activities at the Community Music School of Webster University, Cleveland State University, University of Colorado at Boulder, University of Missouri, Eastman School of Music, Dickinson College, Duke University, the Manhattan School of Music, Harvard University, New York University, and the Massachusetts Institute of Technology.

For more information and to join the mailing list, visit Alarm Will Sound’s website at alarmwillsound.com

ALAN PIERSON, ARTISTIC DIRECTOR AND CONDUCTOR Alan Pierson has been praised as “a dynamic conductor and musical visionary” by the New York Times, “a young conductor of monstrous skill” by Newsday, “gifted and electrifying” by the Boston Globe, and “one of the most exciting figures in new music today” by Fanfare. In addition to his work as artistic director of Alarm Will Sound, he is Principal Conductor of the Dublinbased Crash Ensemble, has served as Artistic Director of the Brooklyn Philharmonic, and has guest conducted the Los Angeles Philharmonic, the Chicago Symphony, the London Sinfonietta, the Orchestra of St. Luke’s, the Steve Reich Ensemble, Carnegie Hall’s Ensemble ACJW, the Tanglewood Music Center Orchestra, the New World Symphony, and the Silk Road Project, among other ensembles. He is co-director of the Northwestern University Contemporary Music Ensemble and has been a visiting faculty conductor at the Indiana University Jacobs School of Music and the Eastman School of Music. Mr. Pierson has collaborated with major composers and performers, including Yo Yo Ma, Steve Reich, Dawn Upshaw, Osvaldo Golijov, John Adams, Augusta Read Thomas, David Lang, Michael Gordon, La

Mizzou International Composers Festival

Resident Ensembles

Monte Young, and choreographers Christopher Wheeldon, Akram Khan and Elliot Feld. Mr. Pierson received bachelor’s degrees in physics and music from the Massachusetts Institute of Technology, and a doctorate in conducting from the Eastman School of Music. He has recorded for Nonesuch Records, Cantaloupe Music, Sony Classical, and Sweetspot DVD. PERSONNEL Erin Lesser, flute

John Orfe, piano

Gavin Chuck, Executive Director

Christa Robinson, oboe

Courtney Orlando, violin

Bill Kalinkos, clarinet

Patti Kilroy, violin

Jason Varvaro, Production Manager

Elisabeth Stimpert, clarinets

Michael Casimir, viola

Peter Ferry, Assistant Director of Artistic Planning

Michael Harley, bassoon

Stefan Freund, cello

Chihiro Shibayama, Librarian

Laura Weiner, horn

Miles Brown, bass

Annie Toth, General Manager

Tim Leopold, trumpet

Alan Pierson, conductor and Artistic Director

Tracy Mendez, Development Manager

Michael Clayville, trombone Matt Smallcomb, percussion

Daniel Neumann, Audio Engineer

Peter Ferry, percussion

ACKNOWLEDGMENTS Alarm Will Sound’s residency at the Mizzou International Composers Festival is generously supported in part by the Sinquefield Charitable Foundation.

Alarm Will Sound gratefully acknowledges the generous support of our individual donors and the following foundations for their support of our 2019/20 Season: Aaron Copland Fund for Music, Amphion Foundation, Alice M. Ditson Fund of Columbia University, Andrew W. Mellon Foundation, BMI Foundation, Cheswatyr Foundation, Howard Gilman Foundation, New York Community Trust, Pacific Harmony Foundation, and the Sinquefield Charitable Foundation. Additional Support provided by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; the New York State Council on the Arts with the support of Governor Andrew M. Cuomo; and the National Endowment for the Arts.

Mizzou International Composers Festival

Resident Ensembles

KHEMIA ENSEMBLE khemiaensemble.com /’kemēa/ n.

1. derived from the Ancient Greek word χημεία (khēmeia) meaning “cast together” 2. a contemporary concert music ensemble based in the United States

PERSONNEL Chelsea Tinsler Jones, Ensemble Manager/percussion Carolina Heredia, Executive Director/composer

Amy Petrongelli, soprano Mary Matthews, flute Thiago Ancelmo, clarinet Er-Gene Kahng, violin Hamilton Berry, guest cello Siyuan Li, piano Shane Jones, percussion / Financial Manager

Eric Dluzniewski, Audio Engineer

Hailed by the Columbia Daily Tribune as “adding a fresh dimension” to the classical concert music experience, Khemia Ensemble is a contemporary chamber ensemble focused on championing the works of living composers through vivid, multimedia performances.

They foster collaborations among the arts by working closely with designers, visual artists, and writers as well as incorporating poetic, visual, and interactive elements in our performances. The members of Khemia Ensemble have come together across four countries from around the world: Argentina, Brazil, China, and the United States to form an ensemble that seeks to diversify and share the music of living composers.

The ensemble has been featured in venues and festivals such as National Sawdust, the Mizzou International Composers Festival, Strange Beautiful Music in Detroit, New Music Gathering, Latin IS America at Michigan State University and the Biennial New Music Festival at the National University of Cordoba. Khemia has held residencies at University of Michigan, Tufts University, Michigan State University, the National University of Bogota and the National University of Cordoba as well as two consecutive years at Avaloch Farms.

Khemia Lights is a permanent installation for the ensemble and was created in a collaboration between composer Bret Bohman and the Cincinnati-based sound and visual production company Intermedio. The lights use audio-visual technology that responds live to the rhythm and intensity of the music we are performing, creating an exciting multi-sensory experience for the audience.

Mizzou International Composers Festival

Resident Ensembles

THE MIZZOU NEW MUSIC ENSEMBLE The Mizzou New Music Ensemble is dedicated to promoting new music at Mizzou through performances on and off campus. The Ensemble is the repertory group for the Mizzou New Music Initiative, working with faculty, students, and visiting composers, and giving public performances on campus and in the community.

The Ensemble is comprised of seven University of Missouri graduate students under the direction of Stefan Freund, a cellist, composer, conductor, professor of composition, and artistic director of the Mizzou New Music Initiative.

PERSONNEL Ann Mozina, flutes Andrew Wiele, clarinets Stephen Landy, percussion Jordan Nielsen, percussion Daniel Fitzpatrick, piano Pedro Ramiro, violin Cameron Tubbs, cello

Stefan Freund, director and conductor Yoshiaki Onishi, assistant director

UNDER TWILIGHT A Drive-In Multimedia Event Friday, July 31, 2020 9:00 PM Sinquefield Music Center Parking Lot (see map) Reserve Parking Space

Stream live at the Mizzou New Music Facebook page. Stream audio live at KMUC 90.5 FM.

Goddess Under Twilight (2020) �����������������������������������������Ben Dawson (b. 1996) Ben Dawson, video Alexandra Roper, painting Zoetrope (2012) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charlie Piper (b. 1982) Alarm Will Sound Max Freeman and Margaret Singer, video Never Catch Me (2014). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flying Lotus (b. 1983) Kendrick Lamar, vocals and lyrics Hiro Murai, video Hair Painting, 2020 (2020). . . . . . . . . . . . . . . . . . . . . . . . . Maria Chavez (b. 1980) Maria Chavez, video Fireworks/Black is Beautiful (2012) �������������������������� Carolina Heredia (b. 1981) Carolina Heredia, violin and video Until the Quiet Comes (2012) ����������������������������������������������Flying Lotus (b. 1983) Kahlil Joseph, video Keening (from The Hunger) (2019). . . . . . . . . . . . Donnacha Dennehy (b. 1970) Alarm Will Sound Katherine Manley, soprano Iarla Ó Lionáird, sean nós singer Deborah Johnson, video June (2012). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melissa Dunphy (b. 1980) Amy Petrongelli, voice Eric Dluzniewksi, video Seven Last Words of the Unarmed (2014) ����������������� Joel Thompson (b. 1988) Sphinx Symphony Orchestra and the University of Michigan Men’s Glee Choir Eugene Rogers, Director of Choirs and Associate Professor of Conducting

UNDER TWILIGHT GODDESS UNDER TWILIGHT (2020) Born from boredom and the desire to create (otherwise known as “quarantine”), Goddess Under Twilight is my first true, holistic approach at building an entirely digital soundscape. Originally just a fun project to pass the time, I asked my friend and artist Alexandra Roper if she had any pieces that she would like to see transformed into a musical setting, and this is the result. Goddess Under Twilight sounds a mystical evening, graced with a divine presence. The quiet darkness gives way to a curious ancient song, carried on the winds of the night. It’s said that those who listen are due an awakening of self-discovery and inner desire.

— Ben Dawson

BEN DAWSON Born in Atlanta, GA, Ben Dawson is a senior at the University of Missouri, pursuing a degree in Music Composition. Interested in music from a young age, Dawson credits video game soundtracks as one of the driving forces behind his love of the art and would like to go on to score music for games and other interactive media.

ZOETROPE (2012) Invented in 1833 by mathematician William Horner, the zoetrope is a device designed to create the illusion of a moving image from a rapid succession of static pictures. The zoetrope consists of a cylinder with vertical slits in the side. On the inner surface of the cylinder is a band of sequential images and when the cylinder spins round, the user looks through the slits at the facing pictures. The presence of the slits prevents the pictures from blurring together and produces the illusion of relatively smooth motion.

This invention spawned a series of similar devices around the world such as the phenakistoscope and stroboscope. And years later Eadweard Muybridge applied a similar principle to photographs with his zoopraxiscope, a logical precursor to film. zoetrope is one of several recent pieces in which I am exploring the idea of infinite cycles, applying this to all aspects of composition. In fact, this work is designed so that the very end of the piece could seamlessly loop back to the opening. When using a zoetrope, the faster the cylinder is spun, naturally the smoother the action appears – blurring the line between still and moving image. My piece opens with slow pulsing material that gradually speeds up throughout. The faster the pulse is the more fluid the line becomes, so that a melody that might only be implied at a slower speed will be more apparent at a faster speed – blurring the line between pulse and sustain as well as melody and harmony.

— Charlie Piper

UNDER TWILIGHT CHARLIE PIPER Charlie Piper is an award-winning London-based composer who completed his master’s degree with distinction at the Royal College of Music, studying with David Sawer and Michael Zev Gordon. He recently completed a PhD at the Royal Academy of Music under the supervision of Philip Cashian, with funding from the Arts and Humanities Research Council.

Already highly regarded as an extremely talented young composer, he’s been commissioned by or had works performed by the London Symphony Orchestra, BBC National Orchestra of Wales, Britten Sinfonia, Asko|Schönberg, London Sinfonietta, CHROMA, the English National Ballet and many more.

His work has been performed at a host of prestigious festivals and venues including Cheltenham, Huddersfield, Spitalfields, Bang-On-A-Can and Aix-en-Provence Festivals, the Barbican Hall, the South Bank Centre, Wigmore Hall, King’s Place and Le Grand Théâtre de Provence, has been broadcast on BBC Radio 3 and Radio 4 in the Netherlands and has had pieces premiered as far afield as New York and Milan.

Charlie Piper was a resident composer of the 2012 Mizzou International Composers Festival.

NEVER CATCH ME (2020) Never Catch Me, nominee for Best Dance Recording at the 58th Grammy Awards, features “buoyantly” jazzy, occasionally Zappa-esque production, as Kendrick Lamar raps over warp-speed psychedelic soul-jazz beat. According to music critics, the track shows influences from jazz-tinged drum and bass artist Roni Size, the “gleeful” mania of OutKast’s “B.O.B”, and early ‘90s jazz rap.

Consequence of Sound editor Nina Corcoran wrote: “when combined with one of Lamar’s hottest verses to date (before To Pimp a Butterfly), the song explodes. But it doesn’t stop there. FlyLo shows off his talent by shifting gears post-Kendrick verse the only way you can: insane keys, double-time bass drum, and unrelenting hand claps. Eventually, it’s all swallowed up in massive swelling synth and choral hums, fading to a beautiful, passionate outro.

— ‘Never Catch Me’ (2020) Wikipedia

FLYING LOTUS Steven Ellison, known by his stage name Flying Lotus or sometimes FlyLo, is an American record producer, musician, DJ, filmmaker, and rapper from Los Angeles, California. He is also the founder of the record label Brainfeeder. ‌1983 Flying Lotus has released six studio albums‍— (2006), Los Angeles (2008), Cosmogramma (2010), Until the Quiet Comes (2012), You’re Dead! (2014), and Flamagra (2019)‍—‌to critical acclaim. He has produced much of the bumper music on Cartoon

UNDER TWILIGHT Network’s Adult Swim programming block and also contributed remixes for fellow Plug Research artists including Mia Doi Todd.

HAIR PAINTING, 2020 (2020) Hair Painting, 2020 is a meditative documentation of a fragile time, combining time-lapse footage of two recent painting sessions with unreleased sound recordings for the Kitchen Broadcast series.

The painting sessions used a specially made paintbrush consisting of hair that was shaved from Chavez’s head in preparation for a brain surgery she received in Shiga Perfecture of Japan in February 2019. Using traditional Japanese paintbrush-making techniques, the object maintains her original hair length, making the use of it unwieldy. The front of the paintbrush holds a golden Japanese amulet of good luck, a reminder of the long recovery journey that lies ahead as she is currently on medical sabbatical, unable to perform or be in public until the winter of 2021.

Every painting provides an abstract record of her physical state during a delicate moment, no longer placing importance on painterly technique but on tenacity of the human condition. Each video sequence is carefully edited to pull the viewer through time, following along with the sound pieces, weaving the two components into a united memory of healing.

— Maria Chavez

MARIA CHAVEZ “Over the last decade, (Chavez) has pursued pristine and thoughtful turntablist work.”- The WIRE MAGAZINE, UK Born in Lima, Peru and based in NYC, Maria Chávez is best known as an abstract turntablist, sound artist, and DJ. Accidents, coincidence and failures are themes that unite her sound sculptures, sound installations, and other works with her improvised solo turntable performance practice. Her latest album Maria Chavez PLAYS Stefan Goldmann’s Ghost Hemiola, released

by MACRO Records in 2019 was nominated for the Preis der deutschen Schallplattenkritik in Jan. of 2020.

Her sound installations and exhibitions focus on conceptual approaches to sound art, avoiding sonic emission as much as possible in order to further illustrat the conceptuality of sound outside of music and performance practice.

Maria has exhibited her sound installations and other works for museums and arts organizations like the Getty Museum (Los Angeles), the JUDD Foundation (Marfa, Texas), and Documenta 14 in Kassel, Germany as part of Every Time A Ear di Soun. In March of 2018, Maria presented a new body of paintings for the University of Richmond entitled Topography of Sound: Peaks and Valleys. Three paintings from that exhibition are now part of the permanent collection at the Harnett Museum of Art. She also has a permanent painting on view in the Shiga Perfecture of Japan at Koto Memorial Hospital.

UNDER TWILIGHT She was a research fellow with the Sound Practice Research Department of Goldsmith’s University of London from 2015 – 2017, a David Tudor Fellow with Mills College, an arts fellow with the Robert Rauschenberg Foundation, and a composer fellow with Civitella Ranieri in Umbertide, Italy. Maria was artist in residence with the Royal Academy of Music in Aarhus, Denmark, artist in residence with CEC. Maria is on the cover of the textbook about the history of Experimental and Electronic music.

Currently Maria is on a medical sabbatical due to receiving brain surgery in Feb. 2019 will return to performing for the public in 2022-23. She appreciates everyone’s patience and compassion.

FIREWORKS/BLACK IS BEAUTIFUL (2012) Fireworks/Black is Beautiful was created in 2012 as video art for which I composed, recorded, and produced the electronic track and video. Inspired by 火影 (Hikage), video art directed by Japanese artist Sayaka Shimada, I engaged with the idea of abstraction by detaching selected footage of fireworks from their intrinsic color and sound. I converted the video into a negative image (through manipulation of their contrast, color, and exposure traits), to allow the focus to be on the sole movement of the fire. I also detached the footage from their original sound, departing from a simulation of their explosive nature that morphs into a more peaceful, soothing track, that aligns better with my own perception of beauty and awe.

— Carolina Heredia

UNTIL THE QUIET COMES (2019) Directed by Kahlil Joseph, Until the Quiet Comes plays like a space-dust-sprinkled dream, though it’s rare a music promo at a mere 3:50 actually feels like a significant piece of work. The gorgeous clip was shot on 35 mm in the Nickerson Gardens project in Watts and features three songs from the LP Until the Quiet Comes.

— Chris Martins

KEENING (2019) The Hunger concerns itself with a big topic, the Great Irish Famine of 1845-52, which transformed Irish society irrevocably. The main narrative voice in the piece is provided by the astonishing accounts of the famine by the American non-conformist Asenath Nicholson (sung here by Katherine Manley). The keen that appears in “The Hunger” is based on Cití Ní Ghallachóir’s astonishing and renowned rendition in this tradition. While the melody is based on a traditional song, the words were composed by her. Words for the keen used with the kind permission of Cití Ní Ghallachóir.

— Donnacha Dennehy

UNDER TWILIGHT DONNACHA DENNEHY Donnacha Dennehy’s music has been featured in festivals and venues around the world, such as the Edinburgh International Festival, Carnegie Hall New York, The Barbican London, The Wigmore Hall London, The Linbury at the Royal Opera House London, BAM New York, Tanglewood Festival, Holland Festival, Kennedy Center, Huddersfield Contemporary Music Festival in the UK (which opened its 2012 Festival with a portrait concert devoted to Dennehy’s music), Dublin Theatre Festival, ISCM World Music Days, Bang On A Can, Ultima Festival in Oslo, Musica Viva Lisbon, the Saarbrucken Festival, and the Schleswig-Holstein Festival.

Dennehy has received commissions from, among others, Alarm Will Sound, Bang On A Can, Contact (Toronto), Dawn Upshaw, Doric String Quartet (London), Fidelio Trio, Joanna MacGregor, Kronos Quartet, Icebreaker, Nadia Sirota, National Symphony Orchestra of Ireland, Orkest de Volharding (Amsterdam), Percussion Group of the Hague, San Francisco Contemporary Music Players, So Percussion, St. Paul Chamber Orchestra (Minnesota), Third Coast Percussion, Ulster Orchestra, United Instruments of Lucilin (Luxembourg), and Wide Open Opera (Dublin). Collaborations include pieces with the writers Colm Tóibín (The Dark Places), Paul Muldoon (in progress) and Enda Walsh (including the two operas The Last Hotel and The Second Violinist). In 2010 his single-movement orchestral piece Crane was “recommended” by the International Rostrum of Composers.

Donnacha Dennehy was a guest composer of the 2012 and 2019 Mizzou International Composers Festivals.

JUNE (2012) The poem June by Lauren Rile Smith is in two parts, representing the experience of two consecutive Junes, so the idea of using a looper pedal for this song seemed apt; like canonical lines of music, our calendar loops, but the addition of new layers and developments change the experience of each iteration. The voice in the text is intensely personal, and there’s similarly something very personal about harmonizing with the sound of your own voice using a looper; in our day to day lives, the only time we might hear our own voice layered on top of itself is inside our own heads. Because the song is for solo voice with no accompanying instruments or pre-recorded music, it can be freely sung in any register – each performance is unique to the singer and his or her voice.

— Melissa Dunphy

UNDER TWILIGHT MELISSA DUNPHY Born to refugee parents and raised in Australia, Melissa Dunphy immigrated to the United States in 2003 and has since become an award-winning and acclaimed composer specializing in vocal, political, and theatrical music. She first came to national attention in 2009 when her large-scale choral work the Gonzales Cantata was featured in The Wall Street Journal, The Atlantic, Harper’s Magazine, National Review, Comedy Central, and on Fox News and MSNBC’s The Rachel Maddow Show, where host Rachel Maddow described it as “the coolest thing you’ve ever seen on this show.”

The Gonzales Cantata was subsequently staged as an opera by American Opera Theater and played a sold-out run in Baltimore, and has been performed in Chicago, Texas, and twice in the Pacific Northwest.

Dunphy’s first song cycle Tesla’s Pigeon has been recognized with several awards, including first place in the 2012 National Association of Teachers of Singing Art Song Composition Award. Her choral work What do you think I fought for at Omaha Beach? won the Simon Carrington Chamber Singers Composition Competition and has been performed around the country by ensembles including Chanticleer, Cantus, and the St. Louis Chamber Chorus, who recorded it for their album American Declarations (Regent Records). Dunphy has also received awards from ASCAP, the Lotte Lehmann Foundation, Boston Metro Opera, and Boston Choral Ensemble and her commissions include pieces for Resonance Ensemble, Choral Arts Philadelphia, PhilHarmonia, Opus Anglicanum (UK), Cornell University Chorus, Susquehanna University, mezzo-soprano Maren Montelbano, the Kennett Symphony Children’s Choir, and Piedmont Children’s Choir. She is the recipient of a 2020 Opera America Discovery Grant for Alice Tierney, a new opera commission by Oberlin Conservatory, set to premiere in 2023.

SEVEN LAST WORDS OF THE UNARMED (2014) After being troubled by the onslaught of killings of unarmed black men and finding Shirin Barghi’s #lastwords project, Joel Thompson began his journey in writing his most important composition today, The Seven Last Words of the Unarmed. Using the text structure of the Joseph Haydn’s Seven Last Words of Christ, Joel chose seven last words from Shirin’s artwork that formed the structure of the work.

The last words and/or correspondences of each victim spoke to Joel deeply, and he chose seven that most easily aligned with the text structure of Haydn’s work. Each victim’s last words are set in a different musical style and Thompson incorporates the L’homme armé (The armed man) Renaissance french secular tune throughout the composition. Originally scored for male chorus, string quintet and piano, the work has also been scored for full orchestra.

Dr. Eugene Rogers and the Michigan Men’s Glee Club joined forces with Joel Thompson to cultivate, premiere, and record the piece. The work has received critical acclaim and has been the source of much conversation and inspiration since its premiere in 2015. A documentary highlighting

UNDER TWILIGHT the work and the Glee Club’s journey with this powerful piece and Dr. Roger’s arrangement of Glory entitled Love, Life & Loss has been aired on Detroit Public Television, shown at the Michigan Theatre and received five Michigan Emmy Awards including best composition and arrangement and best current/public/community affairs documentary.

— Joel Thompson

JOEL THOMPSON Emmy award-winning composer, Joel Thompson is a composer, pianist, conductor, and educator from Atlanta.

His largest work, Seven Last Words of the Unarmed for TTBB chorus, strings and piano, was premiered in November 2015 by the University of Michigan Men’s Glee Club under the direction of Dr. Eugene Rogers.

Recently, Thompson was a composition fellow at the Aspen Music Festival and School, where he worked with composers Stephen Hartke and Christopher Theofanidis. Thompson taught at Holy Innocents’ Episcopal School in Atlanta 2015-2017, and also served as Director of Choral Studies and Assistant Professor of Music at Andrew College 2013-2015. Thompson is a proud Emory alum, graduating with a BA in Music in 2010, and an MM in Choral Conducting in 2013. His teachers include Eric Nelson, William Ransom, Laura Gordy, Richard Prior, John Anthony Lennon, Kevin Puts, Robert Aldridge, and Scott Stewart.

Thompson is currently pursuing his DMA in composition at the Yale School of Music.

FINALE CONCERT Performances by Alarm Will Sound, Meredith Monk & Vocal Ensemble, Khemia Ensemble, and the Mizzou New Music Ensemble with IONE Saturday, August 1, 2020

Introduction by Julia Gaines A conversation with Alan Pierson and Meredith Monk Anthem (2020)* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meredith Monk (b. 1942) Performed by Alarm Will Sound and Meredith Monk & Vocal Ensemble A conversation with Carolina Heredia and Niko D. Schroeder moves (2020)**. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Niko D. Schroeder (b. 1994) Performed by the Khemia Ensemble Niko D. Schroeder, composer and animator Stephen Downing, video production A conversation with Stefan Freund and Daniel Fitzpatrick

Registration and streaming instructions

Ancient Echoes (2020). . . . . . . . . . . . . . . . . . . . . . . . Daniel Fitzpatrick (b. 1994) Performed by the Mizzou New Music Ensemble Daniel Fitzpatrick, banjo soloist A conversation with Alan Pierson and IONE From Unknown Silences (1996). . . . . . . . . . . . . . . . . . Pauline Oliveros (1932-2016) A conversation with Stefan Freund, Carolina Heredia, Alan Pierson, Meredith Monk, Niko Schroeder, and Daniel Fitzpatrick.

King Kong Sing Along (1977) . . . . . . . . . . . . . . . . . . . . Pauline Oliveros

* first performance ** world premiere

FINALE CONCERT ANTHEM (2020) Anthem is one section of an evening-length work-in-progress inspired by the Buddhist concepts of interdependence and cause and effect as applied to our relationship with nature. A prayer for the continuation of our planet and for our commonality as its citizens, Anthem is an affirmation of nature’s power, particularly in this time of crisis and upheaval.

When Alan Pierson asked about working on a project that addresses the question, “how can we find ways of playing live together when we can’t be in the same actual space?,” I realized that Anthem might be a good possibility to work with since it already had delays and simultaneous time variations built into the composition. We both felt that it could accommodate the irregularities of virtual technology.

Anthem plays with various aspects of time, beginning with a simple linear progression that gradually accumulates layers of rhythm and timbre. It ends with a complex, multi-layered passage in which each performer plays/sings in his or her own time trajectory, together creating a larger sound cycle that slowly extends and then dissolves into space.

— Meredith Monk

MEREDITH MONK Meredith Monk is a composer, singer, and creator of new opera and music-theater works. Recognized as one of the most unique and influential artists of our time, she is a pioneer in what is now called “extended vocal technique”. Her groundbreaking exploration of the voice as an instrument, as an eloquent language in and of itself, expands the boundaries of musical composition, creating landscapes of sound that unearth feelings, energies, and memories for which there are no words.

Over the last six decades, Ms. Monk has been hailed as one of National Public Radio’s 50 Great Voices and “one of America’s coolest composers”. Her numerous awards and honors include a MacArthur Fellowship and Officer of the Order of Arts and Letters from the Republic of France. In the last few years she has received three of the highest honors bestowed on a living artist in the United States: induction into the American Academy of Arts and Letters (2019), the 2017 Dorothy and Lillian Gish Prize, and a 2015 National Medal of Arts from President Barack Obama.

In 1965, Monk began her innovative exploration of the voice as a multifaceted instrument, composing solo pieces for unaccompanied voice and voice and keyboard. In 1978, she formed Meredith Monk & Vocal Ensemble to further expand her musical textures and forms. Most of her music can be heard on the ECM label, including the Grammy-nominated Impermanence and highly acclaimed On Behalf of Nature. Her compositions have also been featured in films by Terrence Malick, Jean-Luc Godard, David Byrne and the Coen Brothers. Celebrated internationally, her work has been presented at major venues around the world.

FINALE CONCERT Since the early 2000s, Monk has been creating vital new repertoire for orchestra, chamber ensembles, and solo instruments, with recent commissions from the San Francisco Symphony and Carnegie Hall, where she held the 2014-15 Richard and Barbara Debs Composer’s Chair in conjunction with her 50th Season of creating and performing. Her latest music-theater piece, Cellular Songs, premiered in March 2018 at the Brooklyn Academy of Music to sold-out houses, and has since toured internationally. In March 2020 Monk released MEMORY GAME with Bang on a Can All-Stars, a collection of arrangements of never-before-recorded selections of her work.

MEREDITH MONK & VOCAL ENSEMBLE Meredith Monk & Vocal Ensemble consists of some of the finest and most adventurous singer/ instrumentalist/performers active in new music. Founded in 1978 to further expand Monk’s groundbreaking exploration of the human voice, the Vocal Ensemble has received multiple awards and critical acclaim, including a 2008 GRAMMY nomination for impermanence.

Appearing in festivals, theaters, and concert halls around the world, Meredith Monk & Vocal Ensemble can also be heard on numerous recordings on the ECM New Music Series label.

PERSONNEL Tariq Al-Sabir, vocalist Katie Geissinger, vocalist Meredith Monk, vocalist Allison Sniffin, vocalist

Allison Sniffin, score preparation

MOVES (2020) The game of chess mimics music composition in many ways. Beyond shared terminology, the way that one goes about developing a line, creating a transposition, or conceptualizing an ending are likewise similar. The fanaticism of music and chess devotees is also striking—many have dedicated their lives to the relatively niche and very limited fields.

— Niko D. Schroeder

NIKO D. SCHROEDER Niko D. Schroeder’s compositions span a wide array of genres, from contemporary classical to punk rock. Regardless of venue and medium, collaboration and the communal aspects of music are central to his work. His projects often incorporate co-composition, multimedia, and direct response to the work of others. His collaborative spirit also informs his work as a bandleader and performer. He has toured with rock, jazz, and contemporary classical ensembles in many capacities, and he regularly performs with his polka outfit, the Bierkeller Boys Oompah Band. As manager of several chamber ensembles and as the sound engineer for the Grand Valley State University New Music Ensemble, he has facilitated the premieres of dozens of new works. Cherished past projects include several ensembles dedicated to co-composition, like indie-pop band The Lake Effects and folk/classical quintet Waiting for Niko. His music has also been performed by Sō Percussion, Roomful of Teeth, the Donald Sinta Quartet, invoke string quartet, the Grand Valley State University New Music Ensemble, and members of Fifth House

FINALE CONCERT Ensemble. Niko is a graduate assistant with the New Music Initiative at the University of Missouri, where he serves as both educator and sound engineer. He was the recipient of the 2019 Sinquefield Prize, the university’s highest honor for a composer. Niko holds a Bachelor of Arts from Grand Valley State University, where he was named the 2015/16 and 16/17 Composer of the Year, won the 2017 Concerto Competition, and was awarded the Glenn A. Niemeyer Award—the highest distinction for student contributions to the university.

ANCIENT ECHOES (2020) Ancient Echoes is a banjo concertino for Pierrot ensemble featuring the synthesis of numerous musical styles. Folk music and instruments from the Middle East and Africa in addition to contemporary classical music inspired many aspects of the composition. The banjo part is far from typical due to the use of three voice counterpoint, nonstandard tuning, and a lack of common banjo rolls (arpeggiobased plucking patterns). Generally, the tuning of the banjo is an open G chord with the notes D-GB-D-G in ascending order; however, I have created a new tuning to better fit the composition with the notes C-Gb-Bb-D-G. The use of natural harmonics is one aspect that is significantly impacted by this alternate tuning since the strummed harmonics are no longer a resolute major chord but rather an ambiguous augmented chord with a tritone below the root (and a minor ninth above if the highest string is included). Despite the dissonance, the chord blends flawlessly due to the pure timbre of the natural harmonics and, furthermore, possesses a striking quality that commands attention. Similarly, I made use of two specific natural harmonics in the piano part (the fifth partials of C-1 and Ab-1) to create the sound of an ominous death knell (the ringing of a church bell to announce someone’s death).

Beyond the natural harmonics, numerous new and inventive techniques have been employed across the ensemble to create an otherworldly atmosphere.

— Daniel Fitzpatrick

DANIEL FITZPATRICK Daniel Fitzpatrick is a composer with an exceedingly diverse musical background. Having played banjo since the age of seven, bluegrass and folk music have considerable significance in his life as a composer and performer. He has been featured as a banjo soloist and composer in various concerts and recitals at the University of Missouri, Southeast Missouri University, and East Central College.

He has also had the honor to be featured in a collaborative recital with artist Najjar Abdul-Mussawwir’s Reconstructed exhibition at Southeast Missouri State University. During this event, Daniel premiered his piece Premonition (2017) and performed traditional bluegrass music as well as works by Béla Fleck and Tony Trischka.

As a banjo player and composer, Daniel is always working on writing and arranging music to reinvent the instrument. For example, his piece Perplexion (2019) fuses the styles of bluegrass, rag, jazz, and contemporary classical music. Furthermore, Daniel has arranged and performed Sergei Rachmaninoff’s Prelude in C# minor Op. 3, No. 2 on the banjo, considerably expanding what audiences think of an often typecasted instrument. In addition to being a banjo player, Daniel also plays piano, guitar, and mandolin.

FINALE CONCERT Currently he is the pianist of the New Music Ensemble at the University of Missouri, where he is studying for his master’s in music composition with Dr. Stefan Freund. His past composition professors include Dr. Robert Fruehwald and Dr. Joseph Tyldesley. Daniel’s interests in writing music are seemingly limitless as he has explored many different folk traditions in his compositions along with the genres of dubstep, glitch, pop, and modern classical music. Rather than being defined by one particular genre of music, Daniel’s compositions are characterized by the seamless integration of many musical influences.

FROM UNKNOWN SILENCES (1996) For instrumentalists and vocalists: an invitation to make independent sounds-single sounds, no melodies.

“Sound” means any type of sound, including pitches and non-pitched sounds (noise) to make an inclusive and very wide variety of sounds.

Silence before and silence after each sound -- listening for the beginning and ending of each sound.

Each sound as dissimilar as possible.

Duration of sounds and silences are free -- silences need as much variety in length as sounds.

Articulations and dynamics include the full range that is possible.

The piece is over when there is no more sound.

An optional soft ensemble performs the same score at a low ppp dynamic level, moving slowly in and around the audience and adjoining spaces such as the foyer or other entryways. Depending on the length of the piece, the performers gradually make their way to the stage to be with the other players for the final silence.

— Pauline Oliveros

KING KONG SING ALONG (1977) In a calling style you like, call your name, or the names of people that you would like to communicate with or remember. Listen first. Direct your voice toward reflective surfaces to make echoes. Let the call become a song that blends with others calling from long distances through large crowds of people.

— Pauline Oliveros PERFORMERS Alarm Will Sound Erin Lesser, flute Christa Robinson, oboe Tim Leopold, trumpet Michael Clayville, trombone John Orfe, piano Miles Brown, bass

Khemia Ensemble Amy Petrongelli, soprano Chelsea Tinsler Jones, percussion Shane Jones, percussion

Mizzou New Music Ensemble Ann Mozina, flute Pedro Ramiro, violin Cameron Tubbs, cello

FINALE CONCERT PAULINE OLIVEROS Pauline Oliveros’s life as a composer, performer, and humanitarian was about opening her own and others’ sensibilities to the universe and facets of sounds. Her career spanned fifty years of boundary-dissolving music-making. In the 1950s she was part of a circle of iconoclastic composers, artists, poets gathered together in San Francisco. In the 1960s she influenced American music profoundly through her work with improvisation, meditation, electronic music, myth, and ritual.

She was the recipient of four Honorary Doctorates and among her many recent awards were the William Schuman Award for Lifetime Achievement, Columbia University, New York, NY, The GigaHertz-Award for Lifetime Achievement in Electronic Music from ZKM, Center for Art and Media, Karlsruhe, Germany, and The John Cage Award from the Foundation of Contemporary Arts.

Oliveros was Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, Troy, NY, and Darius Milhaud Artist-in-Residence at Mills College. She founded “Deep Listening®,” which came from her childhood fascination with sounds and from her works in concert music with composition, improvisation, and electro-acoustics. She described Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, of one’s own thoughts as well as musical sounds.

Artistic Advisor IONE IONE is the recipient of the 2019 Arts Mid Hudson Individual Artists Award and a Certificate of Merit from the General Assembly of the State of New York.

She is a noted author, playwright/director, and poet whose works include the critically acclaimed memoir, Pride of Family: Four Generations of American Women of Color, Listening in Dreams, and This is a Dream! Other works include The Night Train to Aswan, Nile Night: Remembered Texts from the Deep, Spell Breaking: Remembered Ways of Being, and Anthology of Women’s Mysteries.

She is the playwright and director of Njinga the Queen King (BAM’s Next Wave Festival) and the dance Opera Io and Her and the Trouble with Him (Union Theatre, Madison, WI), as well as The Lunar Opera: Deep Listening For Tunes (Lincoln Center Out of Doors). She has created two experimental films, Venezia e L’egitto and Dreams of the Jungfrau.

IONE and Pauline Oliveros collaborated on The Nubian Word for Flowers: A Phantom Opera.

Encompassing the Nubian Diaspora and the life of Lord Horatio Herbert Kitchener of Khartoum, the opera is “a deep dream exploration of Nubian soul and the Colonial Mind.” IONE is also an improvising sound/text artist who performs in the United States and Internationally.

IONE is the Founding Director of the Ministry of Maåt, Inc. (MoM, Inc.) and former Artistic Director of Deep Listening Institute, Ltd. Both organizations seek to foster a harmonious world community. She is a Deep Listening Certification Instructor for the Center for Deep Listening in Rensselaer, Troy, NY.

Mizzou International Composers Festival Online

THANK YOU! DR. JEANNE AND MR. REX SINQUEFIELD SINQUEFIELD CHARITABLE FOUNDATION SLAY & ASSOCIATES, INC.

The University of Missouri School of Music prepares students to make meaningful contributions in the world as performers, composers, teachers, and scholars. Its notable alumni include Grammy award-winning singer/ songwriter Sheryl Crow, Canadian Brass founder Eugene Watts, and opera stars, Ryan MacPherson and Caroline Worra, as well as members of major orchestras, arts administrators, and leaders in the field of music education.

The School of Music offers professionally oriented bachelor’s and master’s degrees in performance (brass, percussion, piano, strings, voice, and woodwinds), composition, music education, music history, and music theory.

Master’s degrees are also available in conducting (choral, orchestral, and wind ensemble), collaborative piano, and piano pedagogy, and the PhD is offered in music education.

Undergraduate music majors can further enrich their studies by pursuing a certificate in jazz studies, and a graduate certificate in jazz studies is available either as an add-on or freestanding credential. The School of Music also offers the Bachelor of Arts in music, a degree program attracting numerous double majors, students who combine study in music and another field, drawing from the numerous academic options available on the Mizzou campus.

Major ensembles include the University Philharmonic, Wind Ensemble, Symphonic Band, University Band, Marching Mizzou, Concert Jazz Band, University Singers, Concert Chorale, Women’s Chorale, Men’s Chorale, Choral Union, and Show-Me Opera, and these are augmented by numerous chamber and studio ensembles.

The Mizzou New Music Initiative brings together

a full-scholarship undergraduate composition program; a graduate-assistantship-based new music ensemble, serving as a laboratory for composition students; a major summer festival for composers; and the Creating Original Music Project (COMP), an outreach program directed at composers in grades K-12.

Over 250 music majors and numerous music minors enjoy extensive interaction with the School of Music’s distinguished faculty, comprising 39 full-time and 10 part-time members. Hundreds of non-music majors also participate in School of Music activities— everything from courses such as “Jazz, Pop, and Rock” to Marching Mizzou. The School of Music is also home to several community programs housed within Community Music @ Mizzou: private lesson opportunities, Missouri String Project, Experiencing Piano, Esterhazy Chamber Music Seminar, and several options for community ensembles. A strong community presence is also maintained with a dedicated radio hour on Classical 90.5, KMUC – the region’s only classical music station. For more information, visit music.missouri.edu.

THE PROGRAMS OF THE MIZZOU NEW MUSIC INITIATIVE HAVE BEEN MADE POSSIBLE THROUGH THE GENEROUS SUPPORT OF THE SINQUEFIELD CHARITABLE FOUNDATION.

Sinquefield Charitable Foundation Dr. Jeanne and Mr. Rex Sinquefield, Founders University of Missouri School of Music Julia Gaines, Director, School of Music Holly Tenute, Assistant to the Director Nathan Martin, Fiscal Officer Brooke Danielsen, Coordinator of Large Instrumental Ensembles Joanna Griffith, Coordinator of Community Outreach and Marketing Tammy McNiel, Website Designer Susan Worstell, Student Support and Facilities Lucy Urlacher, Piano Technician Ben Harting, Admissions Coordinator Mizzou International Composers Festival Stefan Freund, Artistic Director Jacob Gotlib, Managing Director Carolina Heredia, Assistant Director David Myers, Director of Audio/Visual Services Robert D. Boullion, Recording Engineer Brad M. Carlson, Visual Media Designer Luis Hermano Bezerra, Production Assistant Benjamin Dawson, Production Assistant Jordan Nielsen, Production Assistant Daniel Vega, Production Assistant

Slay and Associates, Inc. Laura Slay Dean Minderman Julie Lally

Thank You! Dr. Jeanne and Mr. Rex Sinquefield Sinquefield Charitable Foundation Slay & Associates, Inc. LinderVox Sound and Entertainment Aaron Hay and KMUC 90.5 FM Matthew Crook, Executive Director, Dismal Niche Arts Brad M. Carlson, Visual Media Designer Matthew Miller, System Administrator Tim Schmolzi, Information Technology Consultant Mike Watson, Associate Director of IT Graphic design and layout by Rye-Jol

Mizzou International Composers Festival Online