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1996 Conference, Concert 2

Southern Exposures: Latin Composers and Their Music

Concert

Steve Nelson-Raney is a composer/performer who is active in jazz, free improvisation and contemporary classical music. His compositions have been performed throughout the US and Europe. He has ongoing collaborations with instrument maker/ percussionist Hal Rammel and jazz drummer Terry Smirl as well as performing in and composing for the eclectic jazz/world music trio Dreamtime. He teaches in the Music Department at UWM.

Duo 1994 was written with Yehuda Yannay in mind after seeing his collection of Brazilian bird calls. Having a fixed linear structure which allows for improvisation, the piece is a paradigm for various types of human interaction: from sweetness of agreement to abrasive conflict. The entire composition is around 40 minutes in length; an excerpt will be performed.

James Chaudoir is Oshkosh Foundation Endowed Professor of Music at UW-Oshkosh where he teaches composition and theory. He is a charter member of WAC.

Fantasy for Clarinet and Tape is the first of three compositions for solo instruments and tape. The work is in three parts: the outer sections allow some freedom in interpretation while the central part (alternating between slow and fast five times) demands strict-time playing from the soloist.

John Downey is one the original founders and long time director of the Wisconsin Contemporary Music Forum, a forerunner of WAC. He is continuing to be most active as composer at UWM where he holds the title of Distinguished Professor of Music. He has five large orchestral works on CDs recorded by the London Symphony Orchestra on the Cala and Chandos labels, and his chamber works are available on the Gasparo label. His "Ode To Freedom" for large orchestra was recently given its European premiere by the Czech Radio Orchestra in Prague, conducted by Vladimir Valek.

Rough Road was first premiered on radio station WFMT in 1995 by Mary Stolper, flute, and Jeffrey Kust, who commissioned the work. Today's performance marks the Wisconsin premiere. Additional performances are projected by the present duo as well as by the Chicago Duo, Shannon Murphy, flute, and Matthew Heaton, guitar.

David Bohn was born in Manitowoc, Wisconsin in 1965. He has degrees from the University of Wisconsin, University of Wisconsin-Milwaukee, and the University of Illinois; his primary composition teachers were Joel Naumann, Yehuda Yannay, and Bill Brooks. He is currently organist at the Unitarian-Universalist Church in Urbana, Illinois, and works as a free-lance composer and copyist .

Lechuguilla Ancillary brings together compositional threads from his Third Symphony (for two trombone choirs) and the Three Trombone Duos (1986, 1990, and 1993). In the case of the former, the threads relate to matters of pitch and time, while the latter threads relate to the nature of the ensemble (two like instruments) and the nature of writing for such an ensemble. The piece was written at the behest of Frankie Kelly.

Roseane Yampolschi (b.1956 in Rio de Janeiro, Brazil) is a candidate for doctoral the doctoral degree in composition at the University of Illinois at Urbana-Champaign. Currently, she is working on her doctoral dissertation entitled Dialogues consisting of two interdisciplinary chamber compositions for music and gestures and a theory project on interdisciplinary composition within a dialogical framework. Her work have been performed in the USA, Italy, Spain and important new music festival in Brazil. She represented Brazil at the 1990 World Music Days Festival(ISCM) in Oslo. Also, she was awarded several prizes in music competitions in Brazil and holds a two-year fellowship from the Brazilian government. This year Ciclos will be performed by Ensemble Contrechamps in Geneva.

Fragmentos I is a part of a series of short pieces intended to explore the musical potentials of the instrument. Ciclos has three cycles: "Introduction" and "Final" form the first cycle. The second cycle lies between the "Introduction" and "Final." The third cycle corresponds to the entire piece: micro-cells and melodic motifs progress in order to the middle of the second cycle and from that mark the order is reversed proceeding to the end.

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