Krisna portfolio2012

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ECD and CD BookletSummer Circle, Martin SchlumpfInternship work with PARMA Recordings, Feb - May 2012

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Let’s take an example from the opening of the piece. The music begins in the top staff (right

hand) with a catchy figure that is then repeated several times. In metrical terms, the figure’s

cells are long – long – long – short, or, as described above, 3 + 3 + 3 + 2 units. This straight-

forward situation receives an element of tension from the lower staff (left hand), which, in

an entirely different rhythm, presents a freely written bass line that stands in a constantly

changing relation to the ostinato upper voice.

As the overall form of Part A is laid out as an arch, the opening right-hand figure recurs

toward the end of the piece. Initially it appears in a lower register with a bass that is likewise

composed as an ostinato. This time, however, it appears in two-bar cycles, in that the motif,

though actually filling a single bar, enters first on the off-beat and then, in the next bar, on

the on-beat. In other words, the bass plays on the downbeat one time and immediately after

the downbeat the next time. By employing harmonic modulation, metrically regrouping the

three-unit and two-unit cells, and manipulating the tonal space to the original register in the

right hand and to the lowermost register in the left, the opening situation is continuously

varied up to the very end of the piece.

Equally striking is the unisono cadenza, a cascade of irregularly pulsing fast notes that

are stretched or compressed at the beginning by means of several changes of tempo.

Eventually the entire melody gradually descends from the high register and, in the end, crashes

dramatically in a large crescendo.

The course of the music might be visualized as a heavy rainstorm pouring down on a roof:

first it gathers force, then it grows louder, and finally it recedes. (Other passages may,

of course, evoke similar associations.) A possible lead to the “rain” metaphor is given in

the title, which became December Rains simply because the initial sketches originated in

December 1992.

This CD presents what is surely my central piece of chamber music, the Clarinet

Trio of 1997, accompanied by the piano piece December Rains (composed four

years earlier) and the string quartet Summer Circle, which originated in 2007 as

an arrangement of my saxophone quartet Winter Circle.

These pieces have several things in common: strikingly vibrant and varied

rhythms, colorful harmonies, melodies built from clear-cut motifs, and a formal

design that unites all these elements with great powers of variation into a story

that is intended to goad the listener into creating, in his mind, a “theatre” filled

with vivid images.

DECEMBER RAINSKarolina Rojahn, piano

This relatively short piano piece of 1993 was commissioned by Zurich University of the Arts

for an in-house piano competition.

It need hardly be said that such a combination of factors means that the composer has to

write music with an ample amount of virtuosity. In Part A of the piece, I met this demand in

relatively “conventional” fashion — meaning that I avoided unusual performance techniques,

not that the music itself is “conventional.” It is primarily my use of rhythm that makes the

music independent and fresh.

Most of the passages in Part A have irregular metrical preconditions. This means, to put

it simply, that the player must often distinguish between long and short rhythmic cells in

irregular succession, where “long” refers to three-unit cells and “short” to two-unit cells

measured against a relatively fast regular pulse. 2 3

click or drag the page corners to view booklet

10

Martin stands in front of the The John F. Kennedy Center for the Performing Arts,

Washington DC, where rehersals for Summer Circle took place

11

Photos of “Musighüsli” – Martin’s garden house at his home in Switzerland, where he composes his works.www.martinschlumpf.ch

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Other sections reveal irregular meters and time signatures, culminating in a section of

unisono (Part E) in which another level of variation enters the scene, with tempo leaps in

ratios of 3:2 / 4:3 / 5:4 / 6:5. When combined with ostinato phrases and offbeat accents,

the result is a rhythmic universe in which the temporal events are largely governed by

proportional ratios.

In a slightly different context, the same also applies to the piece’s architecture. The large-scale

design is conceived on the basis of the Fibonacci series (an approximation of the Golden

Ratio), with a large number of subdivisions and a total duration of 1597 seconds. The

proportions of the Golden Ratio interlock on several levels, creating a labyrinth of initially

empty “time boxes” that I successively “fill” with rhythmic-metric, melodic, harmonic,

conceptual, articulatory, dynamic and spatial ideas, at the same time interweaving different

types of analogy or reprise.

Just before its midpoint, the piece begins to approach a passage from the first movement of

Brahms’ Clarinet Trio. The music metamorphoses and comes surprisingly close to Brahms

(in part C), only to recede with scraps of this bygone tonal language ...

Sometime around 1970, while studying the clarinet, I played in the Brahms Trio at a school

forum. Before long I had changed my main instrument to the piano; before then, up to my

high-school diploma in 1966, I had devoted myself to the cello. In other words, I composed

this piece for “my” instruments. Today I play different instruments altogether.

Clarinet Trio is dedicated to my wife Antoinette – and anyone who’s got rhythm.

If the cadenza can only be mastered with great technical virtuosity, the concluding

“December Song” (Part B) calls for completely different qualities of performance, first and

foremost those of a “singing” piano. Indeed, the object is to have the piano convey, to the

greatest possible extent, the impression that someone is actually singing. And this on an

instrument whose mechanism (striking the strings with hammers and allowing the sound

to decay) is as remote as possible from the human voice, where notes are sustained and

modulated in many different ways. But the truly astonishing thing is that the impression of

“sung” melody really can arise in our minds if the pianist employs subtle articulation and

intelligent pedaling.

Moreover, and very much unlike the Part A, it is important here to use a form of agogics that strikes an ideal and very subtle balance between delicately tightening and then relaxing the tempo curve.

CLARINET TRIORane Moore, clarinet; Rafael Popper-Kaiser, cello; Cory Smythe, piano

Clarinet Trio forms the first chapter in my Book of Proportions. Its main concern is to treat

rhythm with maximum variety and diversity while remaining rigorous and logical. The instru-

mental parts often run almost independently and proceed on different temporal planes, yet

without “losing contact” with each other.

A key role is sometimes assigned to the piano. For example (part A), the left and right hands

may play in a temporal ratio of 2:3, after which the clarinet and cello each “sit” on one of

the voices (hands) and create further subdivisions, leading to initial ratios of 9:4 and 9:8,

respectively.

4 5 12 13

Session Producer Charlie Barnett reviews the score for Summer Circle with Martin Martin clarifies his vision with Karolina Rojahn, pianist for December Rains

It is both a partner as well as an adversary and commentator. It is a partner in that it shares

the metrical structure of the motivic kernel with the other instruments. It is an adversary in

that, though it always plays synchronously with one of the other instruments, it constantly

changes partners. Finally, it is a commentator in the sense that its contrary melodic motion

plunges the tonally constant music of the upper voices into changing harmonic hues.

But it is not only in Part A that the motivic kernel plays a role with its minimalist antics.

Expanded with counter-figures, transposed into new harmonic areas, diminuted and

augmented in tempo, and partly transformed into triplets, the motivic kernel steps into the

limelight over and over again in the manner of a rondo – in latter half of Part B as well as in

Parts D and F.

In this way Winter Circle took on a new and lighter form with a partly new underlying

harmonic conception, a different use of registers and articulation, and an expanded polymet-

ric conception in certain passages. The result is Summer Circle, whose title reflects not only

the date of its première but also its brighter and warmer aura.

In its temporal progress, the piece forms a circle in that the music heard at the beginning

recurs in retrograde at the end. In symbolic terms, it thus traverses the human life-cycle:

beginning with the tentative blossoming of life, proceeding through savage outbursts of

strength, periods of consolidation, contemplation, and reflection, and various everyday

influences from the outside, the piece finally comes full circle in a slow farewell. But a main

focus of Summer Circle, interspersed with “fractures” and digressions, is the element of flux,

the primal force of life, here captured in the piece’s minimalist motivic kernel, which recurs

over and over again in ever-new variants.

8

Martin Schlumpf (b. 1947) was born in the Swiss town of Aarau, where he was raised and educated through his highschool graduation in 1966. During these years, he played double bass in various jazz groups, along with studying classical cello. Schlumpf also began writing essays on composition during this time, beginning with his discovery of the music of Austrian composer Anton Webern.

In 1968, Schlumpf moved to Zurich to study clarinet, piano, conducting, theory and composition. He received a teaching certificate in piano with Warren Thew in 1971, and completed his degree in music theory with Rudolf Kelter-born in 1972. Further studies in composition took him to

Boris Blacher in Berlin in 1974. Since 1977 Schlumpf has been professor of music theory at the Zurich University of the Arts, where he has also taught group improvisation since 1991.

Until 1980, Schlumpf was mainly active as a composer of contemporary art music, winning awards at the Zurich Competition (first prize, 1972 and 1979) and the Tonhalle Competi-tion (1975), among others. Beginning in 1980 he returned to improvised music and started playing in a number of his own groups — at first as a bass player in Trio 80, then as a bass clarinetist in his eleven-piece band Swiss Fusion 84, as well as the sextet Die Vögel, and especially Bermuda Viereck. Schlumpf has also taken part in other projects, including John Tchicai and Cadavre Exquis Orchestras, film and theater music projects, and cabarets.

Since the late 1980s, Schlumpf has been widely active in the borderlands between improvi-sation and composition. He has placed increasing emphasis on his work as a composer in a new post-modern style. Beginning in 1999, Schlumpf’s interests increasingly incorporated the computer in his compositions with the aim of obtaining a larger range of timbres and complex polymetrical structures.

9

CD CoverCantata For The Children Of Terezin, Mary Ann Joyce-WalterInternship work with PARMA Recordings, Feb - May 2012

Place this product in your computer to view full scores, extended liner notes, and more

CANTATA FOR THE CHILDREN OF TEREZIN Oxnaya Oleskaya, soprano 1 TRANSPORTS 5:30 A.M. .......................................................... 3:06

2 HOME ....................................................................................... 2:58

3 BIRDSONG ............................................................................... 2:48

4 A LITTLE MOUSE ..................................................................... 1:35

5 A LITTLE GARDEN ................................................................... 3:41

6 A LITTLE SONG WITHOUT WORDS ...................................... 3:56

7 THE ROSE ................................................................................. 5:58

8 EVENING TRANSPORTS ......................................................... 3:41

9 SOMEDAY ................................................................................. 9:38

10 ACELDAMA ..................................................................... 13:17

Kiev Philharmonic Orchestra and King Singers of Kiev

Kiev Philharmonic Orchestra and King Singers of KievRobert Ian Winstin, conductor

Recorded in 2007 at the National Radio Studio of Kiev, UkraineProducer Alexander HornostalEngineer Andrij MokrytskyInitial Editing & Mixing Vlacheslav Hdanov

Label Executive Producer Bob LordProduct Manager Jeff LeRoyMastering, Editing, Mixing Andy HappelArt and Production Director Brett PicknellA&R Jon McCormackPR Coordinator Rory Cooper

Ravello Records is a PARMA Recordings company

[email protected] www.ravellorecords.com 223 Lafayette RoadNorth Hampton NH 03862

The CANTATA FOR THE CHILDREN OF TEREZIN is dedicated to all children who suffer and die too soon. The work was composed with the intention of evoking compassion for the most innocent and vulnerable among us, along with the hope that acts of horror against the young and innocent throughout the world will happen never again.

I am grateful to Manhattanville College for granting me a sabbatical leave in order to compose CANTATA FOR THE CHILDREN OF TEREZIN, and to my husband, Frank

Walter, for his encouragement from the earliest stages of this composition to its fi nal recording. I owe special thanks to Binnette Lipper whose support and musical suggestions over many years have been invaluable, and fi nally, to Nancy Petschek-Kohn and Ruth Davis for their impeccable, strong and important research on the lives of the children incarcerated in Terezin (Theresianstadt).

Mary Ann Joyce-Walter

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MARY ANN JOYCE-WALTERTHIS PRODUCT ©2012 RAVELLO RECORDS LLC. ALL RIGHTS RESERVED. THE RAVELLO IMPRINT IS A REGISTERED TRADEMARK OF PARMA RECORDINGS LLC.

ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS A VIOLATION OF APPLICABLE LAWS. WWW.RAVELLORECORDS.COM

Place this productin your computer to view full scores, extended liner notes, and more

Place this productin your computer to Place this product

RR7845

BLEED

5.547” 5.547”

5.594”

5.594”

4.922”

4.938”

Spin

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5”.3

12”

Item #D1003 Title Digipak®-Style Packaging - 4 Panel - Tube Pocket on Left - Tray on RightFlat Size 10.61”x11.406” - Folded Size 5.594”x.25”x4.938” Bleed 3/16“ (.188” )All Around - Size with Bleed 10.235”x11.781”

.75”

Outside Back Cover Glue Tab

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CD CoversCapstone Re-releasedInternship work with PARMA Recordings, Feb - May 2012

ROBERT BAKSAFLUTE SONATA NO.1,WIND QUINTET NO.1

QUARTET FOR PIANO AND WINDS

RAVELLO RECORDS PRESENTS

THE CAPSTONE COLLECTION

THE VIRTUOSI QUINTET

AEREE KIM, PIANO



JESSICA KRASHOBSTRUCTED VIEW

NEW WORKS FOR SOLO PIANO

PERRY TOWNSEND



NO SUGGESTION OF SILENCE

Flute Sonata No. 1.......................................... 16:04 1 Allegro; Cadenza I.................................................................................... 6:59 2 Adagio; Cadenza II................................................................................... 4:55 3 Allegro....................................................................................................... 4:10 Woodwind Quintet No. 1................................ 16:34 4 Quiet fast................................................................................................... 5:15 5 Tranquil, not too slow............................................................................... 5:51 6 Not too fast, with humor.......................................................................... 5:28 Quartet For Piano and Winds........................ 23:16 7 Moderato; Allegro.................................................................................. 10:04 8 Moderato................................................................................................... 6:06 9 Allegro....................................................................................................... 6:47

The Virtuosi QuintetBradley Garner, Flute; David Kossoff, Oboe; Larry Tietze, Clarinet; James Jeter, Bassoon; Milton Phibbs, Horn with AeRee Kim, Piano

In 2008 PARMA Recordings acquired Capstone Records, the highly respected New York-based classical label founded by composer Richard Brooks in 1986, with the intent of shepherding the company and its music into the digital era. This product, originally released on Capstone and now presented by PARMA’s Ravello Records imprint, is one of a series of re-releases from the catalog called THE CAPSTONE COLLECTION. For more music in this series, please visit www.ravellorecords.com.

©2012 RAVELLO RECORDS LLC. ALL RIGHTS RESERVED. THE RAVELLO IMPRINT IS A REGISTERED TRADEMARK OF

PARMA RECORDINGS LLC. UNAUTHORIZED DUPLICATION IS A VIOLATION OF APPLICABLE LAWS.RR7831

ALLEN BRINGSA CONCERT OF MUSIC



RESONANT EDGES



BRUCE HAMILTON

JASON HANEY

PAUL OSTERFIELD

J. RYAN GARBER



PAUL KIRBYFOUR SONATAS



CULTURE SAMPLESCONCERTI FOR FLUTE

WITH PERCUSSION ORCHESTRA

WITH KIM MCCORMICK, FLUTE AND THE MCCORMICK PERCUSSION GROUP

CHESTER COLLEGE of New England

Holiday ART Sale

Wadleigh Library GalleryThursday, December 9 4-7 pm

Refreshment and holiday cheer provided

Holiday Art Sale Poster at Chester CollegeNovember 2010

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Tangram Calendar of 2011Desember 2010

Helvetica PosterNovember 2011

WIN

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CHAMPAGNE

Alabrino $7/$28Licia Riax Baixas. Spain,2006

Viognier $7/$28Alamos, Bodega Catena lapata. Argentina,2007

Riesling $7/$28Dona Isadora, Cousin Macul. Chile, 2005

Veuve Clicquot Crut $12/$75NV France, Complex nose of apple citrus and caramel.

Veuve De Vernay Brut $6/$36NV France, Simple sparkle witn on enticing array of nectarine.

Taittinger “La Francaise” Brut 1/2 Btl $32NV France, Gold colors with powerful apple and pears aroma

Chard/Viognier $6/$24Santa Isabel, Mendosa. Argentina, 2006

Chardonnay $7/$28Vinedos TerraNoble, Maule Valley. Chille, 2006

Chardonnay $7/$28Alamos, Bodega Catena Lapata. Argentina,2006

Tempranillo $7/$28Mesta, Bodega Fontana. Spain, 2006

Merlot $7/$28Alamos, Bodega Catena lapata. Argentina,2007

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Cabernet $10/$40Catena, Bodega Catena Lapata. Argentina,2004

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Moules 6Mussels of the day

Boudin aux pommes 6.5Pan seared blood sausage with apple

Poireaux 6.5Warm leeks in "gribiche" sauce

Asperges 6.95white asparagus in truffle oil

Escargots 6.95Snails "flambe" with pastis and spinach

Calamars 6.95Sautéed calamari with potato

Tartare de thon 6.95tuna and ginger tartar

Soup of the day 4.5Fish soup 5.5Onion soup 5.5

French Fries Vegetable gratinGrilled vegetableSautéed spinachRatatouilleMixed Greens

Feuillete 7.5Camembert and figs puff pastry

Endives 8.5Endives and blue cheese salad

Chêvres chauds 8.5Goat cheese on toast over frisée

Niçoise 12with fresh grilled tuna

Périgourdine 11.5Duck gizzards confit, duck breast and duck pate salad

Provençale 9.5Selection of provençale specialities

Selection of cold cut meatsCharcuterie 14

Fromages et fruits 14Selection of cheese (5) with fruit

Moules 11.5Mussels of the day

Raviolis Frais 11Fresh spinach ravioli with a creamy mushroom sauce

Végétarien du jour 10.5Veggie of the day

Coq au vin 15Chicken stew cooked in red wine sauce served with boiled potatoes.

Pore 15Pork chop with a tomato “concasse” sauce.

Gigot d’agneau 16Lamb steak served with a rosemary sauce and a vegetable gratin.

Steak fries 17Free range 12oz grilled ribe eye steak served with french fries.

Aioli traditionnel 15Steamed codfish served with “aioli” sauce and a selection of steamed vegetables.

Saumon 15Roasted salmon served with a tomato couli sautéed fennel and polenta.

Mérou 16Sautéed grouper served with a saffron sauce and a vegetable “julienne”.

Lotte 17Roasted monk fish served with an old fashion mustard sauce and a lentil stew.

Napoléon de thon 17Grilled tuna steak served with an olive and red pepper relish and grilled vegetable.

Bourride 16Fisherman’s stew.

APPETIZERS ENTREES

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made in marseille

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Traditional dish served in 2 courses:Soup with croutons"Rouille” and cheeseFish (5 types)Served with potatoes

FADA (a french bistro) MenuDesember 2011

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Identity DesignOctober 2011

“A Hole in the World. On Tuesday morning, a piece was torn out of our world. A patch of blue sky that should have not been opened up in the New York skyline. The heaven were raining human beings. Our world was changed forever. ”

- Jonathan Schell

Historical Event PosterMay 2011

City Portrait with TypographyApril 2011

City Portrait with TypographyApril 2011

jack

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Jack Johnson’s T-shirtDecember 2010

~ Alice von Hildebrand, The Privilege of Being a Woman, p.24 ~

"...is it surprising that today we have become so morally

blind (for wickedness blinds) that we save the baby whales at

great cost, and murder millions of unborn children?"

“Be Not Afraid.”- Pope John Paul II

Political PosterOctober 2010

“Be Not Afraid.”- Pope John Paul II

John Paul II Portrait with TypographyMay 2011

The Catcher in the Rye



J.D. S

alinge

r

a novel by J.D. Salinger

US$ 25.99 / 33.99 CAN

Anyone know who has read J.D Salinger’s new yorker stories--particularly A Perfect Day for Banana�sh, Uncle Wiggily in Connecticut, �e Laughing Man, and For Esme-With Love and Squalor, will not be surprised by the fact that his �rst novel is full of children.

�e hero--narrator of THE CATCHER IN THE RYE is an ancient child of sixteen, a native New Yorker named Holden Cau�eld. �rough circumtances that tend to prelude adult, secondhand description, he leaves his prep school in Pennsylvania and goes underground in New York City for three days.

�e boy himself is at once too simple and too complex for us to make any �nal comment about him or his story. Perhaps the safest thing we can say about Holden is that he was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it.

�ere are many voices in this novel : children’s voices, adult voices,underground voices--but Holden’s voice is the most eloquent of all. Transcending his own vernacular, yet remaining marvelously faithful to it, he issues a perfectly articulated cry of mixed pain and pleasure. However, like most lovers and clowns and poets of the higher olders, he keeps most of the pain to and for, himself. �e pleasure he gives away, or sets aside, with all his heart. Is it there for the reader who can handle to keep.

J.D Salinger was born in New York City in 1919 and attended Manhattan public schools, a military academy in Pennsylva-nia and three colleges (no degrees). “A happy tourist’s year in Europe,” he writes, “when I was eighteen and nineteen. In the Army from ‘42 to ’46, most of the time with the Fourth Divi-sion.”

“I’ve been writing since I was ��een or so. My short stories have appeared in a number of magazines over the last ten years, mostly--and most happily--in �e New Yorker, I worked on THE CATCHER IN THE RYE, on and o�, for ten years.”

�e Catcher in the RyeNine StoriesFranny and ZooeyRaise High the Root Beam,Carpenters and Seymour--An Introduction

He imagines childhood as an idyllic �eld of rye in which children romp and play, and adulthood as death - a fatal fall over the edge of the cli�.

Book Jacket “The Catcher in the Rye“December 2010

Be A Healthy Role Model For Children

You are the most important influence on your child. You can do many things to help your children develop healthy eating habits for life. Offering a variety of foods helps children get the nutrients they need from every food group. They will also be more likely to try new foods and to like more foods. When children develop a taste for many types of foods, it’s easier to plan family meals. Cook together, eat together, talk together, and make mealtime a family time!

show by exampleEat vegetables, fruits, and whole grains with meals or as snacks. Let your child see that you like to munch on raw vegetables.

focus on each other at the tableTalk about fun and happy things at meal time. Turn o� the television. Take phone calls later. Try to make eating meals a stress-free time.

listen to your childIf your child says he or she is hungry, o�er a small, healthy snack—even if it is not a sched-uled time to eat. O�er choices. Ask “Which would you like for dinner: broccoli or cauli ower?” instead of “Do you want broccoli for dinner?”

limit screen timeAllow no more than 2 hours a day of screen time like TV and computer games. Get up and move during commer-cials to get some physical activity.

encourage physical activityMake physical activity fun for the whole family. Involve your children in the planning. Walk, run, and play with your child-instead of sitting on the sidelines. Set an example by being physically active and using safety gear, like bike helmets.

be a good food role modelTry new foods yourself. Describe its taste,texture, and smell. O�er one new food at a time.Serve something your child likes along with the new food. O�er new foods at the beginning of a meal, when your child is very hungry. Avoid lecturing or forcing your child to eat.

go food shopping togetherGrocery shopping can teach your child about food and nutrition. Discuss where vegetables, fruits, grains, dairy, and protein foods come from. Let your children make healthy choices.

get creative in the kitchenCut food into fun and easy shapes with cookie cutters. Name a food your child helps make. Serve “Janie’s Salad” or “Jackie’s Sweet Potatoes” for dinner. Encourage your child to invent new snacks. Make your own trail mixes from dry whole-grain, low-sugar cereal and dried fruit.

offer the same foods for everyoneStop being a “short-order cook” by making di�erent dishes to please children. It’s easier to plan family meals when everyone eats the same foods.

reward with attention, not foodShow your love with hugs and kisses. Comfort with hugs and talks. Choose not to o�er sweets as rewards. It lets your child think sweets or dessert foods are better than other foods. When meals are not eaten, kids do not need “extras”—such as candy or cookies-as replacement foods.

Go to www.ChooseMyPlate.gov for more information.

Causes of contamination :

Ways to avoid contamination :

If a gluten free flour is used to make bread or anything else, the flour can remain in the air for a couple of hours and cover all surfaces. Be sure not to do any cooking or prepping of gluten free products until it is been cleaned.

Gluten-free foods cooked with gluten-containing foodsCroutons or crackers on salads or in soupsPlain hamburgers, chicken, or fish served on bread, bun, roll, or bagelCrumbs on or in toasters, grills, slicers, or fall from clothingSharing cutting boards or other preparation surfacesServing containers or utensils used on buffet or serving linesSharing storage containersTransfer of gluten by hand, utensils, or clothing

Clean all cooking surfaces and utensils before cooking gluten-free foodsCook gluten-free foods before gluten-containing foodsUse separate preparation areas, i.e., cutting boards, counters, etc.Use separate utensils and equipment, i.e., toasters, hand mixers, etc.Serve gluten-free foods separately from gluten-containing foodsSeal or wrap gluten-free foods in specifically gluten-free storage containersStore gluten-free foods away from gluten-containing foodsWash gluten-free storage containers in hot, soapy water after each useWash hands after touching gluten-containing foodsClean refrigerator, freezer, oven, microwave, and cupboard door handles often

KITCHEN SAFETY

HEALTHY FOOD CHOICES My Meal Plan

Starch / Bread / GrainsEach of these equals one starch/bread/grains choice (80 calories)

VegetablesEach of these equals one vegetable choice (25 calories)

MilkEach of these equals one fruit choice (60 calories)

Casserole and Hot Dishes

1 cup = 2 starch/bread choices, plus 2 meat choices, plus 1 fat choice

Soup

** 1 cup (milk-based) = 1 starch/bread choice plus 1 fat choice** 1 cup (broth-based) = 1 starch/bread choice** 1 cup (bean-based) = 2 starch/bread choice

Free FoodsLess than 20 calories per serving

** Bouillon without fatCatsup (1Tbsp)Coffee/TeaDiet, calorie-free drinksDiet syrupHot saucesLemonLimeLow sugar jam/jelly (2tsp)MustardNonstick pan sprays**Soy sauceSpices/HerbsSugar subtitutesUnsweetened gelatin**Unsweetened picklesVinegarWine (1/4 cup used in cooking)Worcestershire Sauce

Vegetables, raw

CabbageCeleryCucumbersGreen beans

1/2 cup pasta or barley1/3 cup rice or cooked dried beans and peas1 small potato (or 1/2 cup mashed)1/2 cup starchy vegetables (corn,peas, or winter squash)1 sliced bread or 1 roll1/2 english muffin, bagel, or hamburger/hot dog bun1/2 cup cooked cereal3/4 cup dry cereal, unsweetened4 - 6 crackers3 cups popcorn, unbuttered, not cooked in oil

Meat / Eggs / LegumesEach of these equals one meat choice (75 calories)

Each of these equals 2 meat choices (150 calories)

1 oz.cooked poultry, fish, or meat1/4 cup cottage cheese1/4 cup salmon or tuna, water packed1 Tbsp. peanut butter/nut butters1 egg (limit to 3 per week)1 oz. low-fat cheese, such as Mozza-rella, ricotta1/4 Nuts1/2 cp beans (soy kidney, etc ))

1 small chicken leg or thigh1/2 cup cottage cheese or tuna

Each of these equals 3 meat choices (225 calories)

1 small pork chop1 small hamburger cooked meat, about the size of a deck of cards1/2 of a whole chicken breast1 medium fish fillet

1/2 cup cooked vegetables1 cup raw vegetables1/2 cup tomato/vegetable juice

1 cup skim milk (90 calories)1 cup lowfat milk (120 calories)8-ounce carton plain lowfatyogurt (120 calories)

FatEach of these equals one fat choice (45 calories)

1 teaspoon margarine, oil, mayonnaise2 teaspoon diet margarine or diet mayonnaise1 Tbsp salad dressings2 Tbsps reduced-calorie salad dressing

FruitEach of these equals one fruit choice (60 calories)

1 fresh medium fuit1 cup berries or melon1/2 cup canned in juice or without sugar1/2 cup fruit juice1/4 cup dried fruit

Green OnionsMushroomsRadishesZucchini

Salad Greens

LettuceRomaineSpinach

** HIGH IN SALT

Foods For Occasional Use

Some of Your Favorite Foods :

Meal plan for: ___________________________ Dietitian:_____________________Calories Each Day: ________________

Eat Less Fat

- Eat smaller servings of meat. Eat fish and poultry more often. Choose lean cuts of red meat.- Prepare all meats by roasting, baking or broiling. Trim off all fat. Be careful of added sauces or gravy. Remove skin from poultry.- Avoid fried foods. Avoid adding fat in cooking.- Eat fewer high-fat foods such as cold cuts, bacon, sausage, hot dogs, butter, margarine, nuts, salad dressing, lard, and solid shortening.- Dink skim or low-fat milk.- Eat less ice cream, cheese, sour cream, cream, whole milk, and other high fat dairy products.

Use Less Salt

- Reduce the amount of salt you use in cooking.- Try not to put salt on food at the table.- Eat fewer high-salt foods, such as canned soup, ham sauerkraut, hot dogs, pickles, and foods that taste salty.- Eat fewer convenience and fast foods.

Eat More High-Fiber Foods

- Choose dried beans, peas, and lentils more often.- Eat whole grain breads, cereals, and crackers.- Eat more vegetables--raw and cooked.- Eat whole fruit in place of fruit juice.- Try other high fiber foods, such as oat bran, barley, bulgur, brown rice and wild rice.

Eat Less Sugar

- Avoid regular soft drinks. One 12-ounce can has nine teaspoons of sugar!- Avoid eating table sugar, honey, syrup, jam, jelly, candy, sweet rolls, fruit canned in syrup, regular gelatin desserts, cake with icing, pie, or other sweets.- Choose fresh fruit or fruit canned in natural juice or water.- If desired, use sweeteners that donʼt have any calories, such as saccharin or aspartame, instead of sugar.

TIME MEAL PLAN COMMENTS

Breakfast

Morning Snack

Lunch

Afternoon Snack

Dinner

Bed Time Snack

StarchMeat

VegetableFruitMilk

Fat

StarchMeat

VegetableFruitMilk

Fat

StarchMeat

VegetableFruitMilk

Fat

Freelance for Patricia Murray, M.Ed., R.D.

Our first meeting will be on Thursday,

September 6th at St. Joseph Cathedral,

145 Lowell Street Manchester, NH 03104

We will begin with Mass at 6:00 p.m.,

followed by dinner, social time,

and teaching. Our first small group meetings will

be held on Thursday, September 20th,

at Liberty Harbor Academy, 1230 Elm Street Manchester,

NH 03101.

Are you in your 20’s or early 30’s, a college student or young professional, married or single looking to connect with other young Catholics?

You’ve come to the right place!

facebook.com/URL.nh [email protected]

Join other Catholic young adults

in growing as Christ's disciples

through a monthly large group

gathering and men's and

women's small study

groups.

"To be true disciples of the Lord, believers must bear witness to their faith, and 'witnesses testify not only with words, but also with their lives.'".

Ecclesia in America – JPII

RSVP for the September 6 meeting by email us at [email protected] or calling Karen at603-622-4615. Please bring $5.00 to cover the cost of dinner.

Event Posters, Business Card and Logo URL Young Adult Group, New Hampshire2012