FRI 7:30 PM. Tomorrow s Music Today I. Reva and David Logan Center for the Arts, Performance Hall

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1 Reva and David Logan Center for the Arts, Performance Hall FRI 7:30 PM Tomorrow s Music Today I IGOR SANTOS quiet rooms (2014) I. Semplice II. Frozen MARCELLE PIERSON.dne (2014) ANDREW MCMANUS Flights (2012) 1. Insects 2. Aerials 3. Propellers INTERMISSION ALICAN ÇAMCI [απο] [ορίζειν] [apo] [ h orízein] (2014) 6

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.

He received his Master s degree from the Eastman School of Music, where he studied under Ricardo Zohn-Muldoon and Carlos Sánchez- Gutiérrez.

2 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 Sánchez- Gutiérrez. At Eastman he was an active member of the Ossia New Music group, and assisted organizing and promoting concerts of contemporary music. He 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 focuses on mirror images that determine MARCELLE PIERSON b dne (2014) Marcelle Pierson is currently a musicologist 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: 7

3 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 literally, that is, I don t think that the beginning of this piece or any other is predetermined based on its generating motive. But I did write.dne from end to beginning so that what you ll hear is one possibility for the process of growth in reverse. ANDREW MCMANUS b Flights (2012) The music of Andrew McManus mixes strange sounds and irregular rhythms some beautiful, others grating and 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 8

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.

4 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 ( ), 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 Wellesley Composers Conference, the 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 he studies with Augusta Read Thomas, Marta Ptaszyn ska, Shulamit Ran and Howard Sandroff. He also holds degrees from the Eastman School of Music and Yale University. His other honors include a BMI Student Composer Award and honorable mentions from ASCAP. For more, please visit ALICAN ÇAMCI b [απο] [ὁρίζειν] [apo] [ h orízein] (2014) alican çamcı s output includes works for small and large ensembles, solo instrumental music and electro-acoustic compositions. His music seeks to create a narrative with musical ideas inside and outside of Western concert music tradition as well as with themes and concepts from 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] [ h orízein] 9

5 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 ( h orízein) «to bound» (see horizon). 10

Jonas Thoms, horn. Education M.M. University of Cincinnati-College Conservatory of Music, B.M. Eastman School of Music, 2006

Jonas Thoms, horn. Education M.M. University of Cincinnati-College Conservatory of Music, B.M. Eastman School of Music, 2006 , horn 147 High Street, Apartment 2 Dayton, Ohio 45403 Phone: 585.506.6239 E-Mail: jonasfthoms@gmail.com Education M.M. University of Cincinnati-College Conservatory of Music, 2008 Studied horn performance