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T H E S C I N E W S L E T T E R

XLVII: 2, April - June 2017

General announcements &Member News

Pages 1-4, Cont. 7

CD Review of RainWorthington's DreamVapors by Brian Belet

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Contact information tosubmit news, photos,articles, and more forupcoming issues

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Membership info, membersof the NationalCouncil/Executive

Commi�ee

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A N NOUNC EMEN T S & M EMB E R N EWS

S o c i e t y o f C o m p o s e r s I n c . N e w s l e t t e r ( X L V I I , A p r - J u n 2 0 1 7 )

From David Vayo - Illinois Wesleyan University

Harpsichordist Michiyo Honma's Tokyo concert on Feb.20 included three compositions by David Vayo,including the world premiere of Dream Cartoon forviolin, cello and harpsichord. Vayo's Ceremony ofYearningwas premiered on June 8 at the National RecitalHall in Taipei, Taiwan, by the Li�le Giant ChineseChamber Orchestra under the baton of Chen Chih-Sheng. In 2016, Summit Records released Dig., a CD ofperformances by trombonist Mark He�ler that includesVayo's Entelechy, wri�en for He�ler and commissionedby the University of Wisconsin.

From Be�y Wishart

Pianist Max Lifchi� performed Be�yWishart's Prelude I and Toccata III on the June 8NACUSA concert in New York City. On the June9th North/South Consonance at the Tenri CulturalInstitute, Max Lifchi� and Lisa Hansen performedWishart's Oracles for Flute and Piano.

FromMark Dal Porto - Eastern NewMexicoUniversity

Dr. Mark Dal Porto had his work Valley of Enchantmentpremiered by the Orchestra of Southern Utah led byMusic Director Dr. Xun Sun (who commissioned thework) at the Heritage Center Theater in Cedar City, UTon February 23, 2017.

Valley of Enchantment is a 37-minute symphonic tonepoem inspired by the natural surroundings and beautyof Southern Utah and Northern Arizona (AntelopeCanyon, Bryce Canyon, Grand Canyon, Red Canyon,and Zion National Park).

2017 Region VII Conference

Arizona State University will host the 2017 Region VIIConference from October 13-14 in Tempe Arizona. Theconference will include 5 programs of music fromcurrent SCI Members. We are thankful to JodyRockmaker for serving as conference host. If you findyourself in the area be sure to a�end! More info can befound by visiting the official SCI Website and lookingunder the Upcoming Conferences page.

A N NOUNC EMEN T S & M EMB E R N EWS CON T .

S o c i e t y o f C o m p o s e r s I n c . N e w s l e t t e r ( X L V I I , A p r - J u n 2 0 1 7 )

From Gabriel Mãlãncioiu

We congratulate Gabriel on his recent performance, including:

14-07-2017, Mihai Eminescu Theatre, Oravița-Romania, Semnale peripatetice for soprano, violin, cello andpiano, Peripatetica Symposium, Atem Ensemble (firstperformance)

18-06-2017, St Nikolaus, Wipperfurth-Germany, De profundisfor bass, Martin Wistinghausen

09-05-2017, George Enescu National Museum, București-Romania, Cântec de leagăn for mezzosoprano and electronicplayback, Opera 9 collective opera, SonoMania Ensemble,libre�o by Rucsandra Pop (first performance)

01-05-2017, Wanganui Collegiate Chapel-NewZealand,Mysterium tremendum et fascinans for organ, DavidDobson

29-04-2017, Cineteca Nacional, Mexico City-Mexico, The Giftmusic for a silent film by Julio Pot, Sound of Silent FilmFestival, Mal'Akh Acústico Ensemble, Felipe Pérez Santiago -conductor

29-04-2017, Cineteca Nacional, Mexico City-Mexico, Now Heremusic for a silent film by Beatrice Grande, Sound of SilentFilm Festival, Mal'Akh Acústico Ensemble, Felipe PérezSantiago - conductor

07-04-2017, St Peter, Duisburg-Germany, De profundis forbass, FreitagsMusik, Martin Wistinghausen

21-03-2017, BKA Berlin-Germany, De profundis forbass, Unerhörte Musik, Martin Wistinghausen

11-03-2017, Munich-Germany, Flauros - inmemoriam Constantin Brâncuşi for flute, Flöten Festival desDeutschen Gesellschaft für Flöte, Vlad Colar

11-03-2017, Munich-Germany, Hommage a Marsyas forpiccolo flute, Flöten Festival des Deutschen Gesellschaft fürFlöte, Vlad Colar

02-03-2017, Vestibulo del Cubo CECUT, Tijuana(Mexico), Katharythmos for five percussion players,RePerccussio Ensemble, Orquestra de Baja California

From Brian Belet

Brian Belet’s CD Sufficient Troublewas released onPARMA’s Recordings Ravello label in July 2017(RR7969). The CD contains ten of Belet’s computermusic compositions spanning the past twenty years, andit features solo instrumental performances by PatriciaStrange, Stephen Ruppenthal, Keith Kirchoff, and JanisMercer.

Belet and Stephen Ruppenthal premiered A StrangeDiversion, their new co-composed work for Buchlasynthesizer and Kyma system (from their ‘BuchKymaSequence’), at the Don Buchla Memorial Concerts, SanFrancisco, CA, on April 23, 2017. The composition wasalso performed, in fixed media format, on the VU 2festival, Park City, Utah, on July 18, 2017.

They also performed their co-composed Tessellation Rag(from their ‘Disconcerting Speech’ series, for two voicesand Kyma processing; 2012, revised 2017) at the NewYork City Electroacoustic Music Festival, New York, NY,June 25, 2017.

For information at: www.BeletMusic.com

S o c i e t y o f C o m p o s e r s I n c . N e w s l e t t e r ( X L V I I , A p r - J u n 2 0 1 7 )

A N NOUNC EMEN T S & M EMB E R N EWS CON T .

From Aaron Alon

Aaron Alon is the new Director of Music at Lone StarCollege-University Park. His feature film musicalBULLY (bullythemusical.com) premiered in Houston onSeptember 24-25. On July 14th, his se�ing of WilfredOwen's "Dulce Et Decorum Est," for baritone and stringquartet, was including on the latest SCI CD release(Ascend on the Navona Records label). Learn more ataaronalon.com.

From Steven L. Rosenhaus

April 23, 2017: PREMIERE of "JFK: A Profile" fornarrator and orchestra. Rita Geil, narrator; CarsonCity Symphony (NV), David Bugli, music director; thecomposer conducting. Orchestra version commissionedby the Carson City Symphony.

September 23, 2017: PREMIERE of "JFK: A Profile" fornarrator and concert band. Narrator TBA; VirginiaGrand Military Band (VA), Loras John Schissel, musicdirector and conductor. Band version commissioned bythe Virginia Grand Military Band.

November 29, 2017: PERFORMANCE of "JFK: A Profile"for narrator and concert band. Roby George, narrator;Indiana State University Band, Roby George, musicdirector; the composer conducting.

December 9, 2017: PREMIERE, NEWWORK fororchestra. New York Repertory Orchestra (NYRO),David Leibowi�, music director and conductor.Commissioned by NYRO.

From Jerry Casey

My Christmas anthem, In a Stable, for SSA was selectedfor performance by the Women's Chorale of FresnoPacific University in Fresno California, at the ChristianFellowship of Art Music Composers (CFAMC) 2017Conference which was held October 5-7, 2017.

I have wri�en a new hymn tune for the traditionalhymn "The Solid Rock" which was sung during aworship service at the conference.

From Jamie Leigh Sampson

Jamie Leigh Sampson has been named ExecutiveDirector of the soundSCAPE Festival in Maccagno, Italy.soundSCAPE a�racts composers, performers andconductors from around the world for two weeks ofconcerts, lectures, master classes and workshops. Theessence of the festival is process and collaboration, andit’s become the starting point for new music initiativesthat have flourished beyond the festival and throughoutthe world.

Ms. Sampson's appointment comes at a time of growthfor the festival, which completed its 13th season in July2017. Faculty include renowned soprano Tony Arnold,pianist Thomas Rosencranz, flutist Lisa Cella, cellistFelix Fan, violinist Mark Fewer, guitarist DieterHennings and percussionist Aiyun Huang as well ascomposers Ricardo Zohn-Muldoon, Marcela Pavia andLuca Cory.

Jamie is a composer, performer and author ofContemporary Techniques for the Bassoon: Multiphonics.Her works and research have been presented atinternationally respected conferences and festivals,including the Society of Composers NationalConference, Eastman’s NewBassoon Workshop,International Double Reed Society InternationalConference and Women Composers’ Festival ofHartford. Music composed by Sampson has beenperformed by Ensemble Dal Niente, QuinceContemporary Vocal Ensemble, Columbus OhioDiscovery Ensemble and Toledo Symphony YouthOrchestras. She is the co-founder of ADJ•ective NewMusic, LLC, which coordinates the publication anddistribution of contemporary music scores by 11 livingcomposers.

S o c i e t y o f C o m p o s e r s I n c . N e w s l e t t e r ( X L V I I , A p r - J u n 2 0 1 7 )

A B O U T S C IAbout the Newsletter

Editor: Carter John RiceAssistant Editor: Brad Decker

Access: available on the SCI website ath�p://www.societyofcomposers.org/publications/newsle�er/

The SCI Newsle�er is a quarterly publicationwhich serves the SCI membership bypublishing materials pertaining to the field ofcomposition and contemporary music cultureincluding: history, pedagogy, philosophy,opinion, current events, interdisciplinaryconnections, etc. Specifically, the types ofarticles published are blog or academic stylearticles, interviews, album reviews,concert/conference reviews, etc. The viewsand opinions expressed in articles publishedby the SCI Newsle�er are those of the authorsand do not necessarily reflect the official policyor position of the Society of Composers, Inc.

Copyright © 2017 Society of Composers, Inc.All rights reserved.

Internet & Email

www.societyofcomposers.org-Conference dates and submission guidelines-Contact information and links to member web-pages-Student chapters and opportunities-CDs and journals produced by SCI-Details on SCI such as membership, contacts forofficers, regional structure, by-laws, newsle�erarchives and more…

SCIONSCION is a listing of opportunities on our websiteexclusively for members. It is updated on a continualbasis so that it may by checked at any time for themost current notices. In addition, members areemailed on the first Monday of each month to remindthem to visit the site for new or recent postings. Thelarge number of listings is easily managed by a tableof contents with links to the individual notices. In-depth coverage; contest listings in full; all items listeduntil expiration; this is a valuable resource that youmay print in its entirety or in part at any time.

John Bilo�a, SCION Editorscion@societyofcomposers.org

scimembersscimembers is a member-driven e-mail mailing listthat is intended to facilitate communication betweenmembers of the Society on topics of concern tocomposers of contemporary concert music. Itconveys whatever notices or messages are sent by itsmembers, including announcements of performancesand professional opportunities, as well as discussionson a wide variety of topics. For more information,including how to join and participate in the listserv:

h�p://www.societyofcomposers.org/publications/listserv.html

A N NOUNC EMEN T S & M EMB E R N EWS CON T .

From Richard Cameron-Wolfe

Richard Cameron-Wolfe’s autumn schedule includes anOctober 21 performance at the National Opera Center(NYC) of his micro-opera “Mute Hand Muse” (soprano,alto/bass flutes, and piano; libre�o by the composer) andfinal editing of recording sessions for his forthcoming CD“An Inventory of Damaged Goods” (on the FuriousArtisanslabel). In November, Cameron-Wolfe will be in Ukraine,conducting “music for dancers” and“composer/choreographer collaboration” workshops inZhitomir and Kiev. Additionally, three of hiscompositions - the cantata “AMeasure of Love and Silence”(soprano, baritone, and 6 instruments), the duo “RoerichRhapsody” (‘cello and piano), and the micro-opera “ASound-Shroud for Bill Kno�” (actor, Butohdancer, bassoon, trombone, and double bass) - will bepresented on November 9 in Kiev, during the “Impulseof Transformation" Festival.

This last academic year, the SCI student chapters ofArizona State University (ASU) and Florida StateUniversity (FSU), led by presidents Dale Sakamoto andJabez Co, combined forces to put on a student exchangewhere a select group of composers from each schoolvisited the other school. On November 2nd, five ASUcomposers, Brice Johnson, Tyler Don Kemp, StephenMi�on, Dale Sakamoto, and Jeremiah Sweeney visitedFSU, presenting their music in the college's SCI forum,then having a concert of their works performed thatevening. Then on March 13th, FSU composers Jabez Co,Justin Giarrusso, Aaron Spo�s, and Ash Stemke visitedASU, likewise presenting in their forum and havingworks featured on an evening concert. It was a fruitfuland rewarding collaboration experience for both schools,out of which lasting friendships were made.

FromAaron Spo�s

Member News Cont. on Page 7

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A B O U T S C I

A R T I C L E S

SCI CD Review

Dream VaporsRain WorthingtonNavona Records NV 6026(PARMA Recordings)Released February 2016

Reviewed by Brian Belet, October 2017beletmusic@sbcglobal.netwww.BeletMusic.com

SCI CD Review

Dream VaporsRain WorthingtonNavona Records NV 6026(PARMA Recordings)Released February 2016

Reviewed by Brian Belet, October 2017beletmusic@sbcglobal.netwww.BeletMusic.com

Dream Vapors is Rain Worthington’s debut solo album oforchestral music, released in February 2016 on NavonaRecords (NV6026), an imprint of PARMA Recordings.The seven compositions on this album, all with durationsbetween six and ten minutes, establish a consistentoverall timbral and gestural signature pale�ewhilecarving out individual soundscapes.

I hear each work as a tone poem, even though only one isso named. Many (perhaps all) can also be nocturnes,although again only one is so named. Assembled into asingle collection, these compositions strike me as sevendifferent takes on a larger set of artistic concerns: timbreas gesture, gesture (and fragments) as melody, and anemotional journey through worlds that may not everexist outside of the realm of dreams, reveries,and fantasies.

Shredding Glass (2004) is the most overtly sectional workon this album, and the longest at ten minutes. Thecomposition focuses on transforming background intoforeground, thus permi�ing a closer listen to texture asgesture. The opening section features ethereal shimmersand cascades, an abstracted dreamscape of danger justbeyond the horizon of perception. There is also aplodding pulse, like slowly advancing footsteps, that isboth relentless and patient. This melds into a section ofdarker melodic fragments, small melodic cells, with tonedecays blurring like watercolor transitions. This sectionis static overall, despite small-scale restless movement. Abrief staccato transition follows, as if in a hurry to getnowhere. A new section emerges with

longer gestures over pulsing brass. High string andwoodwind tone decays emerge, balanced by microflurries interjected in the high and middle gestures.(Maybe we are ge�ing to a solid place at last, but maybejust moving through more fog.) Just a bit past the GoldenMean point there is an exposed flute solo, imitated by theoboe, with quiet melodic cells circling about. This leadsto chromatic scales running up and down, oftensimultaneously, with a long crescendo to the climax ofthe work. A gradually dissipating Coda follows, built onupward violin scale fragments over long tones in the lowbrass. The texture gradually dissipates into the ending,an exposed plaintive m3 dyad that remains as elusive asthe rest of the soundscape.

Reversing Mirrors in the Quiet (2012) is a six-minute tonepoem arch with small-scale melodic fragments that resistse�ling into full length, romantic melodies. Thisrestraint, plus the low pervasive pulsing backgroundlayer, strikes me as a struggle with our own innerdemons, successfully keeping them from escaping intothis world today, but with no promise for tomorrow’srematch. The work opens with a pulsing anticipation thatopens into chords that unfold like flower petals inopposing directions. Despite the low dynamic level, theemotional impact is not subdued. Rather, it opens into anoverall sense of bigness, in timbral space more thanamplitude. The pulsing chords return often (a staticleitmotif of low-pitched relentlessness), juxtaposed withbrief respites. I perceive this either as a harbinger ofdoom or of eventual ecstatic joy (I sense the darkness anddoom will prevail).

Tracing a Dream (2009) is an eight-minute tone poemwithrich timbres both light and dark, constantly exchangingforeground and background roles. There are longermelodic gestures here, romantic without falling intosentimentality. This definitely is a dreamscape, one thatcarries the listener along even in daylight. A percussiveheartbeat cadence travels beneath parts of the texture,perhaps connecting the dream with the corporeal realm,but always just out of reach. There are moments of heavybass texture, immediately countered with wispy gesturesin the higher registers. Do they conflict? Do theyconverge? Or do they just coexist? The question is notdirectly answered, and the resulting emotional impact isone of suspense, of potential without resolution, and acanvas of limitless potential. The final high open P5(sounding a major triad with its overtones),

S o c i e t y o f C o m p o s e r s I n c . N e w s l e t t e r ( X L V I I , A p r - J u n 2 0 1 7 )

A B O U T S C I

A R T I C L E S CON T .

while perhaps a cry for resolution, is but a shadow of theotherwise roiling sonic path.

Fast Through Dark Winds (2013) is a brief snapshot fromwithin another fantasy realm. High woodwinds open thedance of the diverse winds, which swirl down throughthe other winds to end up in the piano. Evan as therhythm soon se�les into longer, more stable gestures, theopening activity remains in the subconscious, andcontinues throughout the work. During six and one-halfminutes, I hear the many wind deities of old, somepowerful and well established, and others just minoreddies waiting for their opportunity to raise a li�le dust,playing out their ethereal drama around (yet above) thedaily pulse of our mortal lives.

An overall serenity pervadesWithin a Dance: A Tone Poemof Love (2012), a gestural stability that supports the manysmall-scale difficulties and distractions that any lovenavigates over a long span of time. There are statelygestures, two- and three-note fragments that long tocombine into larger melodic entities. These fragmentseventually develop into longer strands, and thendiminish again into small collections of tones, neverbecoming a single primary theme to sing later, whenrecollecting the performance. It is a soundscape (slightlyless than eight minutes in duration) that makes sensewhile it occurs, yet is difficult to fully describeafterwards. Like other works on this album, this iselusive, just out of reach, yet still very real as it occurs.

The opening plaintive descending m3 call of Yet StillNight: A Nocturne for Orchestra (2001) is a primalconnection for us all. The gesture here is quiet, distant,with hints of approaching weather; a night scene whereshapes and realities that are familiar in the daytimetransform into a strange and unknown landscape. Ashort work (less than six minutes), there is an aestheticakin to Holst’s “Neptune, the Mystic” from The Planets:that distant, yet still comforting sense of being in anotherplace, perhaps within a calm, centered dream.

Of Time Remembered (2011) is a composition ofbecoming, of something more solid emerging from thesurrounding context. Tones emerge from a lowharmonic cloud; this emerging is the remembering.Perhaps this is an apt metaphor for the entire album, aseach work, in its own way, presents a process of organicgestures emerging from a primordial sea of sound. Iclearly hear the work of a single composer throughoutthe album, even with works spanning twelve years.There is a consistency of timbral pale�e, of melodicgesture and fragmentation, of register alternations andjuxtapositions, and of dramatic arc. While some of theworks have clear double-bar endings, most dissolve intothe mist from when they started, as if these are auralsnapshots into worlds that are ongoing, and which we,as listeners, simply stumbled upon for a short timebefore moving on to our other life paths.

The overall album production is very good, which iswhat we expect from PARMA Recordings. Some of theworks would benefit from future performances andrecordings by more accomplished ensembles, as thesetracks lack that extra special sheen that only comes fromthe fingers and hands of the top-tier orchestras. Sadly, wehave fewer and fewer of these premiere ensembles as theyears pass, which casts a shadow on the future of theorchestral genre for contemporary composers as we lookto the future.

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A B O U T S C INational Council

PresidentMark Phillips

Ohio UniversityRegion 1

Sco� BrickmanUniversity of Maine at Fort Kent

Beth WiemannUniversity of Maine

Region 2Neil Flory

Jamestown Community CollegeRegion 3

Harvey StokesHampton University

Christopher CookChristopher Newport University

Region 4Martín Gendelman

Georgia Southern UniversityThomas Couvillon

Eastern Kentucky UniversityRegion 5

Lisa Renee CoonsWestern Michigan University

Amy KaplanBall State University

Region 6Dan Cavanagh

University of Texas at ArlingtonCraig Weston

Kansas State UniversityRegion 7

Jody RockmakerArizona State University

Glenn HackbarthArizona State University

Region 8Rob Hutchinson

University of Puget SoundPatrick Williams

University of Montana

Membership Information

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Full Membership ($75/year): Eligible tosubmit scores to the National Conferences,regional conferences, SCI Recording Series,SCI Journal of Music Scores. Access to theSCI Newsle�er in electronic form. Optionalsubscription to [scimembers], the SCIlistserv and all other SCI publications.Eligible to vote on Society Ma�ers and inelections for the National Council.

Joint Membership ($100/year): Samebenefits as full members

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Lifetime Membership ($1400 or $150/yearfor 10 years): Benefits the same as fullmembers, for life.

Executive Committee

ChairMike McFerron

Lewis UniversityNewsle�er EditorCarter John Rice

Brad DeckerSCION EditorJohn G. Bilo�a

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University of Nebraska at OmahaSubmissions Coordinator

Anne NeikirkUniversity of DelawareSCI/ASCAP CommissionCompetition Coordinator

Mark PhillipsOhio University

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S o c i e t y o f C o m p o s e r s I n c . N e w s l e t t e r ( X L V I I , A p r - J u n 2 0 1 7 )

A N NOUNC EMEN T S & M EMB E R N EWS CON T .

From Orlando Garcia

Orlando Jacinto Garcia spent part of February in Malaga,Spain recording his 8th solo CD conducting his musicwith the Malaga Philharmonic. The CD which featuresfour works for orchestra and soloists is scheduled tocome out later this year on the British based ToccataClassics label. The soloists are violinist Jennifer Choi,pianist Cristina Valdes, and clarinetist FernandoDominguez. During the last academic year, Garcia hadperformances of his music at major festivals and concertsin the UK, Cuba, Mexico, Spain, Serbia, Italy, Venezuela,and throughout the US including several performancesin NYC. He conducted his works and presented lecturesabout his music and master classes as part of many ofthese events. Garcia spent part of April, May, and Junecomposing new works at artist’s residencies in Sweden(Visby International Centre for Composers) andWyoming (Brush Creek Ranch) and continues tocollaborate with other artists to create interdisciplinaryworks most recently scoring the music for thedocumentary film Liberty Square Rising, created byfilmmaker Moses Shumow. This year his music will bepremiered in several countries by noted orchestras,chamber ensembles, soloists, and will include theopening of a new sound installation during Art Baselbeing created for and at VizcayaMuseum andGardens inMiami. Garcia continues to serve as Composer inResidence, Professor of Music, and Program Coordinatorfor Music Composition, at the Florida InternationalUniversity School of Music.

From Adam Vidiksis

Adam Vidiksis traveled to Beijing and Shanghai, Chinafor concerts, lectures, and the premiere of two newelectroacoustic works. He lectured on composing fordata-driven instruments at the Miraphone SummerFestival as the featured guest composer. Other recentperformances include the Rutgers Camden Electric Café,Cybersounds, the SCI National Conference, the SEAMUSNational Conference, The Fire, New Music Gathering,and the National Opera Center. Vidiksis wascommissioned to compose original music for Diageo’sLes Diners de Dali, an evening dinner party andtheatrical experience at the renowned Le Cheri, based onDali’s surrealist cookbook. As a performance andcomposition faculty of the SPLICE Institute, Vidiksistaught classes this summer at Western MichiganUniversity in beginning and advanced SuperCollider, aswell as performing three concerts of electroacousticmusic with his fellow members in Splice Ensemble.Vidiksis is currently completing an electroacoustic workfor allendance company based on the teachings of AlanWa�s for Philadelphia’s Fringe Festival this fall. Hecontinues to serve on the music technologyand composition faculty of Temple University.

Adam Vidiksis joins SPLICE Institute Guest Faculty, Paula Ma�husen and

Mari Kimura, along with fellow Splice Ensemble members and faculty,

Keith Kirchoff and SamWells, after one of the concerts at Western

Michigan University this summer.