(503) 227.3127 • home grown: fresh ... · fresh, delectable sounds by oregon composers ... My Scena (from an imaginary opera) is in three sections: Cavatina, Recitativo and Aria.

Dear Fearless Friends,As Oregon celebrates its 150th anniversary of statehood, fEARnoMUSIC adds a fresh, musical twist to the festivities with a three-city tour of an all-Oregon program, which features premieres of three works written especially for this grand occasion! In addition, two of the other homegrown pieces will be graced with new choreography by Agnieszka Laska and Paul Drestrooper. We are especially excited to be collaborating with the Agnieszka Laska Dancers and Gavin Larsen, a lead dancer for the Oregon Ballet Theater, who will be moving to the music of Tomas Svoboda, Jack Gabel, and Robert McBride.

P. O. Box 1262 Portland, OR 97207(503) 227.3127 • www.fearnomusic.org

Inés Voglar — Artistic Director

home grown: fresh, delectable sounds by oregon composersa celebration of the 150th anniversary of oregon statehood

portland: friday 13 february 2009 • disjecta

eugene: tuesday 17 february 2009 • presented by vanguard concert seriesbeall concert hall, university of oregon

salem: thursday 19 february 2009 • presented by new music at willamettehudson concert hall, mary stuart rogers music center, willamette university

Featuring:

Musicians of fEARnoMUSIC: Inés Voglar, Joël Belgique, Mika Sunago, and Joel Bluestone; Guest artists: Tomas Svoboda, Evan Kuhlman, Nancy Ives, the Agnieszka Laska Dancers, and Gavin Larsen (Oregon Ballet Theater)

This project is supported in part by a grant from the Oregon Cultural Trust, investing in Oregon’s arts, humanities and heritage, and presented as partners of Oregon 150.

The concert in Portland is supported in part by a grant from RACC and Work for Art.

bonnie miksch Ever widening rings of being (2009)* (for percussion and computer-realized recording)

Joel Bluestone, percussion

john peel Scena ed Aria (1997)Inés Voglar, violin; Mika Sunago, piano

robert mcbride Jilted (2007) Choreography by Paul Destrooper*

Inés Voglar, violin; Mika Sunago, piano;Gavin Larsen, dancer

tomas svoboda Three Etudes of Love (1965) (from Nine Etudes in Fugue Style, Vol. I, Op. 44) Choreography by Agnieszka Laska

Etude No. 6 Adagio (4 voice)Etude No. 7 Allegro Vivace — Czernogorsk (4 voice)Etude No. 8 Andante (5 voice)

Tomas Svoboda, piano; Ela Kwasek, costumes;Allegra Carlson, Michelle Rogers, Kristine Anderson,Nick Cavanaugh, Richard Sokpor, dancers

program

intermission

home grown

david schiff Joycesketch II (1981)Joël Belgique, viola

ryan anthony francis Litany (2006)Nancy Ives, cello; Mika Sunago, piano

bob priest Cirque de Deux (2009)*Nancy Ives, cello; Evan Kuhlmann, bassoon/contrabassoon

jack gabel Mama’s Song (2007) Choreography by Agnieszka Laska*

Inés Voglar, violin; Michelle Rogers, dancer

robert kyr Variations for a New Day (2009)*Inés Voglar, violin; Joël Belgique, viola; Nancy Ives, cello;Mika Sunago, piano; Joel Bluestone, percussion

*world premiere

The electronic part consists of roaming landscapes built from small samples of mostly pitched metallic percussion. By using percussion to generate the electronic part, the landscapes reference the percussion part in timbre, but the gestures between parts serve widely different roles. You can think of the electronic part as the outward manifestations of the self, or the environment. The percussionist represents the inner manifestations of the self and executes concrete phrases that play upon and inhabit the electronic landscape. All of the components of the percussion part use pitched metal, and include the haunting sounds of the waterphone.

— Bonnie Miksch

program notes

Ever widening rings of being (2009)for percussion and computer-realized recording

world premiere

The “conceit” for Scena ed Aria arose during the Christmas holidays one year. I was listening to a recording of arrangements and transcriptions by the Viennese violinist, Fritz Kreisler. While listening to Kreisler, I was inspired to write a piece “as if” I were making an arrangement for violin and piano of a scena from a nineteenth-century opera. My Scena ( from an imaginary opera) is in three sections: Cavatina, Recitativo and Aria.

— John Peel

john peel (b. 1946)Scena ed Aria (1997)

bonnie miksch (b. 1970)

Jilted is a work for two musicians and one dancer, but it can be performed sans danse. I got the idea many years ago, imagining a solo ballerina having to bid farewell to the man she was about to marry, because she has been “jilted” by his death. My friendship with Oregon Ballet Theatre principal ballerina Gavin Larsen inspired me to get the piece written down, finally, in 2007.

— Robert McBride

robert mcbride (b. 1953)

Jilted (2007)world premiere, choreographed version

paul destrooper choreography:

tomas svoboda (b. 1939)

agnieszka laska choreography

Three Etudes of Love (from Nine Etudes in Fugue Style, Vol. I, Op. 44) (1965)

Tomas Svoboda began composing his Etudes in Fugue Style in Frank-furt, shortly after his family escaped Czechoslovakia and just before emigrating to the United States in 1965. The first volume was completed several years later in Los Angeles, California. Agnieszka Laska says that in choreographing this work, she reflected primarily on the turbulence so common in relationships of deep love; not only those of passion, but of camaraderie and friendship.

david schiff (b. 1945)Joycesketch II (1981)

I wrote Joycesketch II in 1981 for the great violist John Graham. In the early 1980s I was working on an opera (which I still hope to complete some day) based on James Joyce’s early collection of short stories, Dubliners, and I wrote three sketches in preparation. Joycesketch II mixes many of the kinds of music that Joyce refers to in his stories, especially Irish ballads and fiddle tunes, and I think it also conveys something of the humor and pathos found in these portraits of very ordinary people for whom music is one of the few sources of pleasure in life.

— David Schiff

ryan anthony francis (b. 1981)Litany (2006)

Litany is something of a companion piece to Consolations, a work for solo piano I completed two years earlier. The piece is essentially a fantasy built around several recurrent motifs that cycle through while continuously building momentum towards a climax, followed by a coda. The title was chosen as a reflection of both the meditative, searching character of the piece and the recurring chant-like material that is used throughout.

— Ryan Anthony Francis

bob priest (b. 1951)Cirque de Deux (2009)world premiere

In your town for one night only, a bassoonist and cellist from D-Bob’s sound circus come out to play . . .

— Bob Priest

Variations for a New Day is a set of variations on the Sacred Harp tune, “Thou Great Mysterious God Unknown,” one of the only two-part harmonizations of a tune from this unique American choral repertoire. After a brief violin introduction, the two-part version is played by the ensemble in an arrangement that reveals its stark boldness, including a colorful use of parallel fifths (forbidden in European music, but abundant in the Sacred Harp hymns of the American South). The variations take the theme on a wild journey that traverses diverse musical terrains, often contrasting lyrical music with energetic dance-like pieces. This work was completed on Inauguration Day (January 20, 2009), a time during which the world was focused on ushering in a New Day filled with hope, which is reflected in the title. The set of variations also celebrates Oregon Statehood (the theme of this concert): May the state renew and creatively reinvent itself in a way that propels us beyond our current economic and environmental challenges.

— Robert Kyr

Variations for a New Day (2009)world premiere

robert kyr (b. 1952)

Mama’s Song was composed for Anna Laska, Agnieszka’s mother, for her 75th anniversary. It was premiered at a family gathering in Kraków in 2007, and given its US premiere at the Polish Hall by Inés Voglar, at the May ’08 Agnieszka Laska Dancers fundraiser. These series of concerts will present the official premiere of the cho-reographed work commissioned by fEARnoMUSIC.

— Jack Gabel

jack gabel (b. 1949)

Mama’s Song (2007)world premiere, choreographed version

agnieszka laska choreography:

The compositions of Portland native Ryan Anthony Francis have been met with audience and critical acclaim throughout the Unit-ed States and Europe. His works have been variously described as “shimmering,” “focused,” and “rhythmically sharp-edged” (New York Times), as well as “compelling” (Los Angeles Times). In 2008 Mr. Francis received commissions from Metropolis Ensemble, the Je-

rome Foundation, the Wordless Music Series, The New York Choreographic Institute, and Axiom Ensemble. His complete piano works will be released by pianist Vicky Chow on Tzadik Records in the fall of 2009. Mr. Francis holds both an M.M. and a D.M.A from the Juilliard School; more information can be found at www.ryananthonyfrancis.com.

the composers & choreographers

ryan anthony francis

Jack Gabel is the Resident Composer and Technical Director for Agnieszka Laska Dancers. He has written numerous concert works for many combinations of instruments and voices, with and without electroacoustic accompaniments and/or enhancements. He also creates mixed-media works alone and with collaborators, using musique concrète and poetry (frequently his own), some of

which has been published apart from its use in contemporary performance pieces and more traditional settings for singers. (Photo by Chris Leck)

jack gabel

Paul Destrooper is the Artistic Director of Ballet Victoria, to which he brings more than two decades of international dance experi-ence. He joined the Royal Winnipeg Ballet Company in 1993, upon graduation from the School’s Professional Division, receiving the prestigious Prince Edward Award and the Arnold Spohr Schol-arship; he was promoted to second soloist in 1997. He was a princi-

pal dancer with Alberta Ballet for two seasons, and with Oregon Ballet Theater from 2003 until 2007. Paul has worked closely with his past artistic directors: John Meehan, William Whitener, Andre Lewis, Miko Nissenen, Jean Grand-Maitre, and Christopher Stowell.

paul destrooper

Robert Kyr is a composer, writer, and filmmaker. He has com-posed twelve symphonies, three violin concerti, three chamber symphonies, a variety of chamber works, and a large repertoire of vocal music for ensembles of all types. His most recent projects include Ah Nagasaki: Ashes into Light for soloists, chorus, and or-chestra, about which he is making a feature-length documentary,

and Anthem for the Earth for the Revalia Male Chamber Choir. He is currently the chair of the composition department at the University of Oregon School of Music, where he also directs the Oregon Bach Festival Composers Symposium (for information about the symposium, visit www.iwagemusic.com), the Music Today Festival, and the Vanguard Concert and Workshop Series.

robert kyr

Agnieszka Laska danced for more than twenty-five years with Balet Form Nowoczesnych AGH—a top Polish modern dance company, touring Europe and North America. She also choreographed ex-tensively for leading Polish theatre companies in award-winning productions across Europe and at festivals in Edinburgh and Avi-gnon, among others. Launched in 2003, Agnieszka Laska Dancers

is noted for its work with live music. The company performs regularly on the West Coast and has toured to festivals in Mexico and Poland. (Photo by Jack Gabel)

agnieszka laska

Robert McBride is an award-winning announcer and producer at KBPS, Portland’s All Classical FM radio station, as well as a part-time percussionist and composer. His recent premieres have included performances by the Portland Columbia Symphony Or-chestra and the Portland Symphonic Girlchoir. As a percussionist he’s performed locally with guitarist Scott Kritzer and the Reed College Chamber Orchestra.

robert mcbride

Bonnie Miksch teaches composition and theory, and coordi-nates composition studies at Portland State University, and has held previous academic positions at Williams College, Colgate University, and Mercer University. Her compositions embrace multiple musical universes, creating both acoustic and elec-troacoustic works, which have been heard in Asia, Europe, Canada, and throughout the United States.

bonnie miksch

Originally from Los Angeles, Bob Priest is the founder and artistic director of Marzena and the Free Marz String Trio. He received his Ph.D. at the University of Victoria, where he taught the world’s first college course on the music of Jimi Hendrix. Bob studied classical guitar with Pepe Romero and composition with Olivier Messiaen, Robert Ward, and Witold Lutosławski. He was a two-year Fulbright

scholar in Poland and has received grants and fellowships from the National Endowment for the Arts and the MacDowell Colony, among others. Bob currently teaches at Marylhurst University and helps goose-along the bottom line at Powell’s Books as a part-time cashier.

bob priest

David Schiff is R.P. Wollenberg Professor of Music at Reed Col-lege. He studied composition with John Corigliano and Ursula Mamlok at the Manhattan School of Music, and with Elliott Carter at the Juilliard School. His recent works include the Nonet, pre-miered at Chamber Music Northwest in 2007; Mountains/Rivers, premiered by Third Angle in 2008; and Stomp (re-lit), premiered by

the American Composers Orchestra in New York in February 2009.

david schiff

After completing an undergraduate degree in French literature at the University of Texas, John Peel pursued graduate studies in music at Columbia University and Princeton University, where his teachers in-cluded Milton Babbitt, Benjamin Boretz, J.K. Randall, Claudio Spies, and Charles Wuorinen. In 1990 he was appointed Composer-in-Res-idence, Irene Gerlinger Swindells Professor of Music, at Willamette

University, where he created New Music at Willamette, a series of concerts, residencies, and lectures dedicated to presenting the finest performers and composers of our time.

john peel

Born in Paris of Czech parents, Tomas Svoboda (also guest pianist, this concert) is recognized as one of Oregon’s foremost composers, as well as an incredible pianist. More than twelve hundred perfor-mances of his music have taken place throughout the world, and his works have been recorded on more than twenty-one CD releases.

tomas svoboda

the composers & choreographers continued

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guest artists

Evan Kuhlman is the Assistant Principal Bassoonist and Contra-bassoonist of the Oregon Symphony. He has also performed with the Seattle Symphony (with whom he made his concerto debut), Orpheus, and the Orchestra of St. Luke’s. He studied bassoon and composition at the Juilliard School with Frank Morelli and Robert Beaser.

evan kuhlman

Nancy Ives has been the Principal Cello of the Oregon Symphony since October 2000. During the 2003–04 season, Ives was acting Artistic Director of fEARnoMUSIC, and presented the premiere of David Dzubay’s Northwest Passages for the Continental Harmony Project of the American Composer’s Forum. July of 2005 marked her debut with Chamber Music Northwest, and she has played sev-

eral times for the innovative “Music in Context” series, as well as the Ernest Bloch Festival Composers’ Symposium.

nancy ives

Kristine Anderson recently graduated with her B.A. in Dance from San Francisco State University. She has a lasting passion for the art of movement and collaborating with artists. She currently dances with Agnieszka Laska Dancers and Pure Dance Company. Kristine also can be found teaching dance at the Belmont Academy.

kristine anderson

Allegra Carlson has danced with Canyon Concert Ballet in Fort Collins, CO; Port-land Kinetic Images Dance Company; and Lane Hunter Dance; and regularly performs tango and ballroom dance with partner and choreographer Eric Zimmer. Allegra joined Agnieszka Laska Dancers in 2006.

allegra carlson

the dancers

Nick Cavanaugh performed as a member of the Woodburn Highliners Dance Troupe and as a headlining artist for four years consecutively at the outdoor summer drag festi-val Peacock in the Park. He has also directed and choreographed several productions for charities, galas, and public events. Cavanaugh’s dance training includes ballet, modern, pop, hip hop, jazz and flamenco. He is especially grateful to his instructors, as well as his mentors Gary Palmer and Michele Girard.

nick cavanaugh

Gavin Larsen was born and raised in New York City, where she trained at the School of American Ballet. After graduating, she began her professional career at Pacific Northwest Ballet in Seattle, Washington. She subsequently went on to dance as a member of Alberta Ballet in Calgary, Alberta, and the Suzanne Farrell Ballet in Washington, D.C. Gavin is cur-rently a principal dancer with Oregon Ballet Theatre, where she has danced since 2003.

gavin larsen

Michelle Rogers studied with the Joffrey Ballet, Boston Ballet, and Pennsylvania Ballet. At the University of Notre Dame, Michelle focused on modern dance. She is in her third year dancing with Agnieszka Laska Dancers. You can also see Michelle dancing with Oslund + Company.

michelle rogers

Richard Sokpor trained in contemporary dance and theatre as well as tribal dance. He is a former member of the National Dance Company of Ghana, which toured both nationally in Ghana and internationally to England, Germany, France, Zimbabwe, and beyond.

richard sokpor

photo: Chris Leck

Community Music Center presents

amilyridaysF

A musical night out with the kids

March 13, 2009 Classical Revolution PDX

April 17, 2009 Cloud 9

May 8, 2009 Oregon Renaissance Band

All concerts atCommunity Music Center3350 SE Francis St.Portland, OR 97202503-823-3177

7:00 pm • Tickets at the door$5/person, $15/family

www.CommunityMusicCenter.orgPORTLAND PARKS & RECREATIONHealthy Parks, Healthy Portland

Inés Voglar, in her fourth year as fEARnoMUSIC’s Artistic Director, has been a member of the Oregon Symphony since 2004. For-merly a member of the Pittsburgh New Music Ensemble, Inés is also the violinist of the Free Marz String Trio. By the end of this season she will have been responsible for the premiere of ten new works with FNM.

fEARnoMUSIC

inés voglar

joël belgique

Joël Belgique is the principal violist of the Oregon Symphony and a seven-year veteran of fEARnoMUSIC. He is also a member of the Oregon Symphony String Quartet and the Free Marz String Trio. Joël is currently working on his first recital CD, which will include sonatas by Jacob Avshalomov, Rebecca Clarke, and Marion Bauer, with pianist Cary Lewis, as well as the premiere recording of Tomas Svoboda’s sonata.

joel bluestone

Joel Bluestone, D.M.A., is entering his seventeenth year as co-founder and percussionist with fEARnoMUSIC. His latest project is The_Waters_Bluestone_Duel for percussion and live electronics, which has taken him all over the world. He has been the head of the Percussion department at Portland State University since 1989.

Jeffrey Payne (pianist and Young Composers Project Director), founded the fEARnoMUSIC ensemble with percussionist Joel Blue-stone in 1992. As a member of the ensemble he has appeared in New York City, California, and Colorado, as well as throughout the Pacific Northwest. During his tenure as Artistic Director for the group he was responsible for the presentation of twenty World Premiere or American Premiere performances of works by Pacific Northwest composers. In 1997 he founded the Young Composers Project, as part of the mission of fEARnoMUSIC, and continues as its Director, overseeing the development of aspiring young creative minds around the region.

jeffrey payne

mika sunago

Mika Sunago, a native of São Paulo, has a special interest in in-troducing Latin American classical music to US audiences. She has been involved with several groups in town, including Tango Pacifico. Mika has released two CDs: Between the Tropics (Latin American solo piano music) and Café 1930 (Piazzolla tangos).

R.L. Autrey, Joël Belgique, A.E. Lourie Bigelow, Persis Ann Blachly, Elizabeth Blachly Dyson, Terry Bryll, Andrés Cárdenes, Keith Clark, Julie Coleman, John Coulter, Linda Craig, Frances Davidson, Florence Dezeix, Janet Dietz, Matt Doran, Darcy Edgar, Pauline Eidemiller, Steven & Bonnie Esbensen, Evelyn R. Fortier, Erin Furbee, Jack Gabel, George & Molly Gearn, Christopher Gillem, Laura Graser, Gerald & Loraine Griffy, John Gross, Richard Harris, Linda Hathaway Bunza, Anne Hendren, Patricia Hendrix, Robert & Robin Holmes, Michael Horsfall, Linda Hutchins, M.K. & D.F. Kennedy, Priscilla Lane, Agnieszka Laska, P.J. Lebsack, Barbara Lee, Thomas Levings, Carole Lindell-Ross, Randall Magahay, Susan Mandiberg, Jamail McKinney, Stefan Minde, John Montague, Martin Muller, Sue A. Nelson, Richard & Beverly North, Mary & Kent Norville, Jeff Payne, David & Diane Perkinson, Bob Priest, Patti & David Rivinus, Sandra (Sahni) Samuelson, Mary Schaeffer, J.F. Schilke, Steven & Karen Schmidt, Paul Schuback, Arlene Schwartz, B.J. Seymour, Manya Shapiro, Lindsey & Charles Shere, Yvonne Marie Sherlock, Robert Sherwood, Christopher Shiner, Lawrence Smith, David & Eileen Threefoot, Henry Threefoot, Gregory Vajda, Inés Voglar, Nancy Walpole, Tim Wescott, Jeffrey Winslow, Geneva Wright, Pavel & Giovanna Zivny, and anonymous donors.

David Abel, Brett Campbell, John Chandler, Keith Clark, JoAnn & Riley Crabtree, Leo & Anna Daedalus @ HELSINQI, Bonnie & Steve Esbensen, Sharon Francis, Jack Gabel, Bob Gardner @ Western Trade Printing , Paloma Griffin, Anne Hendren, Justin Kagan, All Classical 89.9 KBPS, Kathleen Kennedy, David Kennedy, David Kerr, Theresa Kohlhoff, Agnieszka Laska, Thomas Levings, Cary Lewis, Robert McBride, Bob McClung, Community Music Center, Charles Noble, Jeff Payne, Michelle’s Pianos, Bob Priest, Jim Radosta, Theodore & Molly Raphael, Lotof Shahtout @ Michelle’s pianos, David Stabler, Michael Stirling, Edmond Stone, The Young Composers Project Students, Claire Sykes, Rachel Tallesmanick, Inés Voglar, Michael Walsh, David Weaver, Larry Westdahl, Julie Wickman, Mary Wright, and many more.

special thanks

For their Financial SUPPort

For their tiMe anDGeneroSitY

about FnM + Young composers Project

fEARnoMUSIC has been consistently praised for its unusual and innovative programs, offering performances of the highest artistic quality that are passionate and humorous. Now in its seventeenth season, the ensemble is committed to promoting the chamber music of our time, from the masters of the twentieth century to the young composers working right here in our city.

fEARnoMUSIC members have been featured artists on Seattle’s KING Radio and Portland’s KBPS All-Classical Radio. As recipients of a Continental Harmony grant in 2003–04 (sponsored by the American Composers Forum and the National Endowment for the Arts), fEARnoMUSIC premiered David Dzubay’s Northwest Passages in collaboration with the Lewis and Clark Bicentennial, a work chosen to represent Oregon in the celebration. fEARnoMUSIC has also received grants from the Copland Fund for Performing Ensembles, the Regional Arts and Culture Council, the Templeton Foundation, and the JackStraw Foundation. The ensemble is proud to have performed in Merkin Hall in New York in September 2001, at the invitation of acclaimed young composer (and Portland native) Kenji Bunch. In the Spring of 2008, fEARnoMUSIC were Artists in Residence at Brigham Young University, invited by composer Steve Ricks.

The Young Composers Project offers the only program of its kind in the country. Currently sponsored by the Templeton Foundation, this innovative program gathers young composers (grades 6–12) from around Oregon for workshops over a nine-month period. During the workshops, the students develop their compositional ideas, experiment with orchestration, and have their works professionally performed and recorded. More than a hundred students have taken advantage of this exceptional opportunity, and they have won more than two dozen state, regional, and national awards for their compositions.

KBPS Classical Radio has annually broadcast interviews with students along with performances of their pieces, and segments of the workshop have been featured on Oregon Public Broadcasting’s ArtBeat. Students have also participated in master classes with Pulitzer Prize-winning composer William Bolcom, and Indiana University faculty member David Dzubay.

fEARnoMUSIC can be heard on The Bridge, Vol. I (released by the Regional Arts and Culture Council), and on Electric Fences performing music of Shaun Naidoo and Jack Gabel’s Spring Quartet.

inés Voglar – artistic director HELSINQI / leo + anna Daedalus – program design David abel – editing charles noble – photos + season brochure design larry Westdahl – website Jeff Payne – director of the Young Composers Project Joann crabtree – assistant to the YCP director Mary Wright, Jeff Payne, inés Voglar – grant writing Julie Wickman – marketing manager

all of our volunteers

and our sponsors:

OregonCulturalTrust • RACC&WorkforArt • Oregon150 HELSINQI • Michelle’sPianos • AllClassical89.9KBPS

special thanks to the FNM team behind the scenes:

775 summer street ne, ste 200 [email protected](503) 986–0088salem, or 97301

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Learn more at www.culturaltrust.org.

License plate design: Kelly KievetPhoto: American Rambler by Mike Sullivan

Drive culture

upcoming concertsfurther details at www.FearNoMusic.org

2008–09

concertno. 4The Inaugural

concert of cascadia composersFriday, March 13, 2009, 8:00 p.m.

The Old Church1422 SW 11th Avenue, PDX

www.cascadiacomposers.org

march 13

concertno. 5Parallaxis: Music and Moving Pictures

co-curated with HELSINQI media studio

Friday, April 17, 2009, 8:00 p.m.

Colonial Heights Presbyterian Church2828 SE Stephens Street, PDX

works by contemporary composers and film/video artists

april 17

concertno. 6hearing the Future: Young Composers

Sunday, April 26, 2009, 3:00 p.m.

Evans Auditorium at Lewis & Clark College0615 SW Palatine Hill Road, PDX

directions at www.lclark.edu/general/maps

music by students of the Young Composers Project

april 26