Reva and David Logan Center for the Arts, Performance Hall
05.09.14
FRI | 7:30 PM
Tomorrow’s Music Today I
IGOR SANTOS
quiet rooms (2014)
I. Semplice
II. Frozen
MARCELLE PIERSON
.dne (2014)
ANDREW MCMANUS Tim Munro, flute
Michael J. Maccaferri, clarinet
Matt Albert, violin
Masumi Per Rostad, viola
Nicholas Photinos, cello
Lisa Kaplan, piano
Doug Perkins, percussion
Tim Munro, flute
Michael J. Maccaferri, clarinet
Matt Albert, violin
Nicholas Photinos, cello
Lisa Kaplan, piano
Doug Perkins, percussion
Flights (2012)
1. Insects
2. Aerials
3. Propellers
Masumi Per Rostad, viola
INTERMISSION
ALICAN ÇAMCI
‘
[απο] [ορίζειν]­­– [apo] [horízein] (2014)
twenty fragments in search for a horizon
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CHICAGO PRESENTS | CONTEMPO 2014
Tim Munro, flute
Michael J. Maccaferri, clarinet
Matt Albert, violin
PROGRAM NOTES
Masumi Per Rostad, viola
Nicholas Photinos, cello
Lisa Kaplan, piano
Doug Perkins, percussion
much of the melodic figures and form, and
the second movement has the same
blueprint of the first, but is expanded and
adds a brief developmental insert that
slowly reveals a cantabile solo. The total
work lasts approximately nine minutes.
IGOR SANTOS
b.1985
quiet rooms (2014)
Igor Santos is a composer and current
Ph.D. candidate in Music Composition at
the University of Chicago. He received his
Master’s degree from the Eastman School
of Music, where he studied under Ricardo
Zohn-Muldoon and Carlos SánchezGutiérrez. At Eastman he was an active
member of the Ossia New Music group,
MARCELLE PIERSON
b. 1985
and assisted organizing and promoting
.dne (2014)
concerts of contemporary music. He
Marcelle Pierson is currently a musicologist
received his B.M. in composition from the
University of South Florida, where he was
also active as board member and pianist for
the USF Composer’s Consortium. Igor is
currently studying under Shulamit Ran,
Marta Ptaszyn’ska and Augusta Read
Thomas.
About quiet rooms, the composer writes:
Quiet rooms is a work in two movements
which share similar character and form, but
differ in content. The first movement
and composer at the University of Chicago.
Her academic work focuses on the
destabilization of melody, singing and voice
in post-war modernist composition, and her
current compositional interests implicate
some of the same issues. She has studied
with Lewis Nielson, Randy Coleman,
Shulamit Ran, and Augusta Read Thomas;
the current piece was written under the
guidance of Anthony Cheung.
About .dne, the composer writes:
focuses on mirror images that determine
CHICAGO PRESENTS | CONTEMPO 2014
7
PROGRAM NOTES
My approach to form in .dne is captured in
the title of the piece. When composing, I
find it easier to “grow” an idea from a
relatively simple “seed,” but — following
the same metaphor — this piece is instead
a quest for the seed within the flower. In
other words, it enacts a process of
reduction, a stripping away of extra pitches,
noise, and ornamentation in order to reveal
what I take to be its essence at the very
end.(ßà.dne)
I don’t take these organic metaphors too
ANDREW MCMANUS
literally, that is, I don’t think that the
b. 1985
beginning of this piece or any other is
predetermined based on its generating
Flights (2012)
motive. But I did write .dne from end to
The music of Andrew McManus mixes
beginning so that what you’ll hear is one
strange sounds and irregular rhythms
possibility for the process of “growth” in
— some beautiful, others grating and
reverse.
bizarre — to find new ways of exploring
spirituality, surrealism and theatrical drama.
Most recently his orchestral work Strobe
— a blend of acute orchestral brilliance,
erratic dance rhythms and faded lyricism —
was selected for the American Composers
Orchestra Earshot readings with the New
York Philharmonic. In 2013 his Ancient
Vigils, a New York Youth Symphony First
Music Commission, was premiered at
Carnegie Hall in New York City, and was
recently performed by Amy Briggs and the
Spektral Quartet in Chicago. This piano
quintet is a restive, distorted tapestry of
complex bell sonorities, Renaissance dance
rhythms, faded religious imagery and viol
consorts. His other orchestral works include
Identity (2008), which was premiered at the
2008 Minnesota Orchestra Composer
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CHICAGO PRESENTS | CONTEMPO 2014
Institute, and The Concerto of Deliverance
(2010), which was read by the St. Paul
Chamber Orchestra and premiered by the
University of Oklahoma Symphony. He is
also a creator of electronic music. His
playback work Mesospherics (2011-2013),
recently featured at the University of South
Florida New Music Festival, weaves
together a diverse collection of sounds that
range from beautiful, vivid and scintillating
to rough, unwieldy and cacophonous.
Other works have been performed at the
ALICAN ÇAMCI
Wellesley Composers Conference, the
b. 1989
Bowdoin International Music Festival and
the Atlantic Music Festival. A native of
Massachusetts, he is currently a doctoral
student at the University of Chicago, where
[απο] [ὁρίζειν]­­ ­­ – [apo] [horízein]
twenty fragments in search for a horizon
(2014)
he studies with Augusta Read Thomas,
alican çamcı’s output includes works for
Marta Ptaszyn’ska, Shulamit Ran and
small and large ensembles, solo
Howard Sandroff. He also holds degrees
instrumental music and electro-acoustic
from the Eastman School of Music and Yale
compositions. His music seeks to create a
University. His other honors include a BMI
narrative with musical ideas inside and
Student Composer Award and honorable
outside of Western concert music tradition
mentions from ASCAP. For more, please
as well as with themes and concepts from
visit www.andrewmcmanusmusic.com
philosophy and semiotics. A native of
Istanbul, Turkey, he studied composition at
the Peabody Conservatory with Michael
Hersch. Currently he is continuing his
studies in the University of Chicago with
Marta Ptaszyn’ska, Augusta Read Thomas
and Shulamit Ran.
Note about the piece:
‘
[απο] [ορίζειν]­­– [apo] [horízein]
twenty fragments in search for a horizon
CHICAGO PRESENTS | CONTEMPO 2014
9
PROGRAM NOTES
“The true picture of the past flits by. The
past can be seized only as an image which
flashes up at the instant when it can be
recognized and is never seen again […] For
every image of the past that is not
recognized by the present as one of its own
concerns threatens to disappear
irretrievably.”
– Walter Benjamin, “Theses on the
Philosophy of History”
“There is a moment in the life of concepts
when they lose their immediate
intelligibility and can then, like all empty
terms, be overburdened with contradictory
meanings.”
– Giorgio Agamben, Homo Sacer
“Isolation is the basis for manipulation.”
– Ulrike Meinhof, Fragment Regarding
Structure
αφορισμός (Gr.): definition, pithy statement,
aphorism; from αφορίζειν, «to mark ‘off,
divide»; from απο- (apo-) «from» + ορίζειν
(horízein) «to bound» (see horizon).
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CHICAGO PRESENTS | CONTEMPO 2014