|S U M M E R I N S T I T U T E F O R C O N T E M P O R A R Y P E R F O R M A N C E P R A C T I C E
A T T H E N E W E N G L A N D C O N S E R V A T O R Y O F M U S I C J U N E 1 3 T H R O U G H 2 1 , 2 0 1 4
|SICPP Faculty Bios
|The Callithumpian Consort|
|The Callithumpian Consort is based at New
England Conservatory, and was founded by Stephen Drury sometime in the
1980's. Dedicated to the proposition that music is an experience,
the Consort has performed music by John Cage, Morton Feldman, John
Zorn, Karlheinz Stockhausen, Giacinto Scelsi, Ivan Tcherepnin, Iannis
Xenakis, Lee Hyla, David Shea, Pierre Boulez, Franco Donatoni, Paul
Elwood, John Heiss, Louis Andriessen, Christian Wolff, Earle Brown,
Lukas Foss, and others. Recordings on Tzadik and Mode Records.
Mustering up "rock solid technique" and "the kind of vocal velvet you don't often hear in contemporary music" (Boston Phoenix), soprano Jennifer Ashe has been praised for performances that are "pure bravura ... riveting the audience with a radiant and opulent voice" (The Boston Globe). A strong advocate of new works, she frequently performs on series such as Harvard Group for New Music, New Music Brandeis, New Gallery Concert Series, and the Fromm Festival at Harvard, and regularly sings with the Callithumpian Consort and the the Boston Microtonal Society's chamber ensemble NotaRiotous. She created the role of Sarah Palin in Guerilla Opera's premiere of Say It Ain't So, Joe by Curtis Hughes and was a semi-finalist at the 2007 Gaudeamus Interpreters Competition. Recent projects include Lukas Foss's Time Cycle with Boston Musica Viva, and Phillipe Leroux's Voi(Rex) with Sound Icon. She also sings with renowned early music groups Blue Heron, Boston Baroque and the Handel & Haydn Society. Ashe holds a DMA in Vocal Performance and an MM in Vocal Pedagogy from New England Conservatory, and a BM from the Hartt School of Music. Formerly on the faculties of the College of the Holy Cross and Eastern Connecticut State University, she currently teaches for Music and Movement of Newton and Music Together Arlington.
Percussionist Scott Deal’s appearances include venues, festivals and conferences in North America and Europe. A performer who presents "a riveting performance (Sequenza 21), his recent recording of the music of John Luther Adams has been described as “a soaring, shimmering exploration of texture and tone...an album of resplendent mood and incredible scale” (Musicworks). Continually inspired by new and emerging artistic technologies, Deal is the founder of the Telematic Collective, a networked group of artists and empiricists. He has performed at Almeida Opera, Supercomputing Global, SIGGRAPH, Arena Stage, Chicago Calling, Ingenuity Festival, Moscow Alternativa, and with groups that include ART GRID, Another Language, Percussion Group Cincinnati, Digital Worlds Institute and the Helsinki Computer Orchestra. He is a Professor of Music and Director of the Donald Tavel Arts and Technology Research Center at Indiana University Purdue University Indianapolis (IUPUI). He holds degrees from the University of Miami, University of Cincinnati College-Conservatory of Music, and Cameron University. Scott Deal is a Yamaha artist.
Georgia native Gabriela Diaz began her musical training at the age of five, studying piano with her mother, and the next year, violin with her father. Gabriela came to Boston to study at New England Conservatory, where she completed her Bachelor's and Master's degrees, studying with James Buswell. As a Hodgkin's Disease survivor, Gabriela is committed to cancer research and treatment. In 2004 Gabriela was a recipient of a grant from the Albert Schweitzer Foundation. This grant enabled Gabriela to begin organizing a series of chamber music concerts in cancer units at various hospitals in Boston called the Boston Hope Ensemble. Devoted to contemporary music, Gabriela has been fortunate to work closely with many significant living composers on their own compositions, namely Pierre Boulez, Magnus Lindberg, Frederic Rzewski, Alvin Lucier, John Zorn, Roger Reynolds, Steve Reich, Brian Ferneyhough, and Helmut Lachenmann. Boston critics have mentione Gabriela as "indefatigably expressive," and "a young violin master," Lloyd Schwartz of the Boston Phoenix noted, "...Gabriela Diaz in a bewitching performance of Pierre Boulez's 1991 Anthmes. The come-hither meow of Diaz's upward slides and her sustained pianissimo fade-out were miracles of color, texture, and feeling." Others have remarked on her "vibrant playing," "polished technique," and "vivid and elegant playing." Gabriela is a member of several Boston-area contemporary music groups, including Sound Icon, Ludovico Ensemble, Dinosuar Annex, Firebird Ensemble, and Callithumpian Consort. In 2012 Gabriela joined the faculty of Wellesley College. Highlights of this season include recording Roger Reynolds' solo work, "Kokoro," and concerto, "Personae," the continuation of concerts with Lois Shapiro, playing the complete sonatas for violin and piano by Mozart, and the release of her recording of the Lou Harrison Suite for Violin and American Gamelan with BMOP on BMOPSound. Gabriela can be heard on New World, Centaur, BMOPSound, Mode, Naxos, and Tzadik records.
as a champion of twentieth-century music, Institute director Stephen
Drury has given performances throughout the U.S., Europe, Asia, and
Latin America, soloing with orchestras from San Diego to Bucharest. A
prizewinner in several competitions, including the Concert Artists
Guild, Affiliate Artists, and Carnegie Hall/Rockefeller competitions,
his repertoire stretches from Bach, Mozart, and Liszt to the music of
today. The U.S. State Department sponsored two concert tours that
enabled him to take the sounds of dissonance to Paris, Hong Kong,
Greenland, Pakistan, Prague, and Japan. He has appeared as conductor
and pianist at the Angelica Festival in Italy, the MusikTriennale
Köln in Germany, Spoleto Festival USA, and with the Britten
Sinfonia in England, as well as at Roulette and the Knitting Factory in
New York. Drury has also performed with Merce Cunningham and Mikhail
Barishnikov in the Lincoln Center Festival, at Alice Tully Hall as part
of the Great Day in New York Festival, with the Boston Symphony Chamber
Players, and with the Seattle Chamber Players in Seattle and Moscow. A
champion of 20th-century music, Drury’s critically acclaimed
performances range from the piano sonatas of Charles Ives to works by
John Cage and György Ligeti. He premiered the solo part of John
Cage’s 1O1 with the Boston Symphony and gave the first
performance of John Zorn’s concerto for piano and orchestra
Aporias with Dennis Russell Davies and the Cologne Radio Symphony. He
has commissioned new works from Cage, Zorn, Terry Riley, Lee Hyla, and
Chinary Ung. Drury has given masterclasses at the Moscow Tchaikovsky
Conservatory, Oberlin Conservatory, Mannes Beethoven Institute and
throughout the world, and served on juries for the Concert Artist Guild
and Orléans Concours International de Piano XXème
Siècle Competitions. His recordings include music by
Beethoven, Liszt, Stockhausen, Ravel, Stravinsky, Charles Ives, Elliott
Carter, Frederic Rzewski, John Cage, Colin McPhee, and John Zorn.
Louis Goldstein was co-founder and co-director of the California New Music Ensemble and an associate member of the Los Angeles Group for Contemporary Music and Newband, in New York City. His CD recordings of John Cage's Sonatas and Interludes, Dream, and One5, and Morton Feldman's Triadic Memories have garnered accolades from print and internet sources as well as fellow musicians ("One of the most beautiful piano recordings ever made," Fanfare; "The year's best piano release," La Folia). His most recent recording, of Morton Feldman's For Bunita Marcus (Nuscope Recordings), ranked in the top 10 modern composition recordings of 2010 by The Wire Magazine.
Georgian pianist and musicologist. After graduating from V.Sarajishvili Tbilisi State Conservatoire, Nino Jvania went to Germany to study at the R. Schumann-Hochschule Dsseldorf. Her particular interest in contemporary music led her to multiple participations in Stockhausen-courses and the prizewinning performance at the Orlean International Piano Competition of 20th Century-Music. During her studies in Germany she was the grant holder of the DAAD, Alfred Toepfer Stiftung, the Heinrich Boell Foundation and the International Ensemble Modern Academy. Her interest in contemporary music determined also her research activity. NinoÕs doctoral dissertation observes the piano work by K. Stockhausen; she is also the author of several scholarly works and a monograph on contemporary piano performance.
Described as having "consummate virtuosity" by The New York Times, Stuart Gerber has performed extensively throughout the US, Europe, Australia, and Mexico as a soloist an chamber musician. He is associate professor of percussion at Georgia State University in Atlanta.
As an active performer of new works, Dr. Gerber has been involved in a number of commissions and world-premiere performances. He gave the world premiere of Karlheinz Stockhausen's last solo percussion work Himmels-Tür in Italy, as well as his percussion trio Mittwoch-Formel at the annual Stockhausen-Courses in Kürten, Germany. He has also given the US and Australian premieres of Stockhausen's duo version of Nasenflügeltanz for percussion and synthesizer, and the US premiere of his solo percussion work Komet. Dr. Gerber has been the faculty percussionist for the Stockhausen-Courses since 2005 and has recorded a number of pieces for the Stockhausen Complete Edition released by the Stockhausen-Verlag. In addition to his work with Stockhausen, Stuart has worked with many other notable composers, such as Kaija Saariaho, Steve Reich, Tristan Murail, Frederic Rzewski, George Crumb, Tania Lèon, Michael Colgrass, Ricardo Zohn-Muldoon, and John Luther Adams.
Recent performances include: solo performances at the Gulbenkian Center in Lisbon, Portugal, the South Bank Centre in London, a performance with Stewart Copeland (the legendary drummer for The Police) at the Savannah Music Festival, a solo performance at the Ultraschall Festival in Berlin, as well as an appearance at the Spoleto Festival. He also is featured on the world-premiere recording of John Luther Adams' Strange and Sacred Noise with the Percussion Group Cincinnati (Mode Records) and Adams' Qilyaun released by Code Blue Records. Dr. Gerber has extensive recording experience and can be heard on recordings released by Bridge Records, Capstone Records, Telarc, Wesleyan University Press, Albany Record, and Vienna Modern Masters.
As pedagogue Dr. Gerber has recently presented a lecture-recital at the Percussive Arts Society International Convention (PASIC) and a scholarly paper at the Hawaii International Conference on Arts and Humanities in Honolulu. He has given numerous masterclasses at conservatories and universities around the US and abroad. Recent masterclasses include: the Eastman School of Music, Manhattan School of Music, University of Texas-Austin, University of Florida, University of South Florida, University of Montreal, Southbank Centre (London), and the Sydney Conservatory and Victoria College of Arts in Australia.
5 Dr. Gerber is a founding member of the Atlanta-based new music group Bent Frequency, performs internationally with the Australian pianist Michael Fowler in ENSEMBLE SIRIUS, and is regularly heard as extra percussionist with the Atlanta Symphony Orchestra.
Dr. Gerber received his Bachelor of Music degree from the Oberlin College Conservatory where he studied with Michael Rosen, and was awarded a Master of Music and Doctor of Musical Arts degree from the University of Cincinnati College-Conservatory of Music (CCM). His teachers at CCM were Allen Otte, Russell Burge and James Culley of the Percussion Group Cincinnati. He has also done advanced studies at the Hochschule für Musik und Theater in Hannover, Germany, with Professor Andreas Boettger.
| Composer, Sound Artist
I live and work in Boston, MA, and am fortunate to have a teaching position on the Composition Faculty at the New England Conservatory of Music where I work with many talented students and direct the Electronic Music Studio. Much of my compositional process is informed by spatial models and concepts. I enjoy collaborating with visual artists on multimedia works including installation. Recent projects include a collaboration with new media artist Denise Marika on a score for her performance video Leg, and a collaboration with animator/bookmaker Misa Saburi on her work entitled The Boy In the Windy Town.
My music has been performed internationally by organizations such as Musicacoustica (Beijing, China), Ensemble N_JP (Japan/US), ZeroOne Festival of New Media (San Jose), L.A. Freewaves (Los Angeles), Gaudeamus (The Netherlands), International Computer Music Association, Society for Electro-Acoustic Music in the United States, Zeppelin Festival of Sound Art (Barcelona, Spain), Festival Synthèse (Bourges, France), Interensemble’s Computer Arts Festival (Padova, Italy), Society for New Music (New York), CyberArts, and Medi@terra`s Travelling Mikromuseum (Greece, Bulgaria, Germany, Yugoslavia, Slovenia).
I was a Visiting Assistant Professor at the Center for Experimental Music and Intermedia (CEMI) at the University of North Texas (2004-5), and have also taught electroacoustic music and sound art at Franklin Pierce College, Northeastern University, the School of the Museum of Fine Arts, Boston, College of the Holy Cross, Clark University, and Brandeis University.
Photo by Andrew Hurlburt
Clarinetist Rane Moore enjoys a very active performing schedule at home and abroad. Well-regarded for her thoughtful, provocative interpretations of cutting edge contemporary repertoire, she is fiercely devoted to the music communities of the East Coast. As a member of Callithumpian Consort, Talea Ensemble, and Sound Icon, she has given numerous premieres of new works at major festivals around the world. She is also a regularly invited collaborator with the Boston Musica Viva, Firebird Ensemble, Ludovico Ensemble, International Contemporary Ensemble, Milwaukee's Present Music, East Coast Contemporary Ensemble, Brave New Works, Guerilla Opera, Hyperion Ensemble, and the Bang on a Can All-Stars. She is a frequent guest with Boston-based chamber music groups Raduis Ensemble and Vento Chiaro as well as the Orchestra of Emmanuel Music and Boston Modern Orchestra Project.
Roger Reynolds, Pulitzer-winning American composer, is known for his capacity to integrate diverse ideas and resources, for the seamless blending of traditional musical sounds and those newly enabled by technology. His work responds to text of poetic (Beckett, Borges, Stevens, Ashbery) or mythological (Aeschylus, Euripides) origins. His reputation rests, in part, upon his "wizardry in sending music flying through space: whether vocal, instrumental, or computerized". This signature feature first appeared in the notorious theater piece, The Emperor of Ice Cream (1961-62).
Early in his career, Reynolds worked in Europe and Asia, returning to the US in 1969, to an appointment in the Music Department at the University of California, San Diego. His leadership there helped establish it as a state of the art facility for composition and computer music exploration. He has addressed the tradition with three symphonies, and four string quartets, but has also explored multimedia, music for dance and theater, and real-time computer processing.
Reynolds won early recognition with Fulbright, Guggenheim, and National Institute of Arts and Letters awards. In 1989, he received the Pulitzer Prize for a string orchestra composition, Whispers Out of Time, responding to John AshberyÕs extended Self-Portrait in a Convex Mirror. Reynolds is author of three books and numerous journal articles. He has received three commissions from Ircam in Paris, and been featured at international festivals including Warsaw Autumn, Agora (France), the Proms (UK), Darmstadt (Germany), the Suntory International Series (Tokyo), and the Helsinki and Venice Biennales. The Library of Congress established a Special Collection of his work in 1998.
His nearly 100 compositions to date are published by C.F. Peters Corporation, and several dozen CDs and DVDs have been commercially released. Performances by the Philadelphia, San Francisco, Los Angeles, and San Diego symphonies, among others, preceded the recent large-scale work written for the National Symphony Orchestra in honor of george WASHINGTON. This work knits together the ReynoldsÕs career-long interest in orchestral music, text, extended musical forms, projected imagery, and computer processing and spatialization of sound.
Reynolds's work embodies an American artistic idealism reflecting the influence of Varse and Cage, and his music has also been compared with that of Boulez and Scelsi.
Takagi received Bachelor’s and Master’s degrees from the
New England Conservatory where she studied with Veronica Jochum and
Stephen Drury. While a student at the Conservatory she was
selected to perform in several Honors programs and appeared regularly
with the NEC Contemporary Ensemble. Ms. Takagi has performed with
the orchestra of the Bologna Teatro Musicale, the John Zorn Ensemble,
the Auros Group for New Music, Santa Cruz New Music Works, the Harvard
Group for New Music and the Chameleon Arts Ensemble. She performs
regularly with the Eliza Miller Dance Company and the Ruth Birnberg
Dance Company and gives frequent duo-piano concerts with Stephen
Drury. Ms. Takagi is a featured performer with the Callithumpian
Consort. Her recording of Colin McPhee’s Balinese Cerimonial Dances
was released by MusicMasters. At New England Conservatory Yukiko
Takagi has appeared on the First Monday series at Jordan Hall, and is a
teacher and guest artist for NEC's Summer Institute for Contemporary
John Tilbury has given concerts and broadcasts of new music, including first performances, in many countries around the world. His solo recordings include Cage's Sonatas and Interludes for Prepared Piano, from the seventies, and more recently the music of Cornelius Cardew, Howard Skempton, Christian Wolff and the complete solo piano works of Morton Feldman. His recordings with the Smith Quartet of the complete works for piano and strings are being released on three DVDs, the first of which appeared in 2010, and the second in 2012. His performance, along with Carla Rees and Simon Allen, at the Huddersfield Festival last year of Feldman's mammoth For Philip Guston has recently been released on the Italian Atopos label. He is also well known as an improvising musician through his membership of AMM and there is a large body of recorded work available on CD and DVD. More recently he has gained recognition as an actor, in particular for his interpretations of the works of Harold Pinter and Samuel Beckett, which include a CD of two of Beckett's radio plays. Tilbury's biography of the life and work of Cornelius Cardew, Cornelius Cardew - a life unfinished, was published at the end of 2008.
|Nicholas Vines (b.1976, Sydney) is a young Australian composer based in the US. His works have been performed in Australia, the US, the UK and Europe by such interpreters as Alarm Will Sound, the Boston Modern Orchestra Project, ChamberMade Opera, the Callithumpian Consort, Ensemble Offspring, the Schola Cantorum Gedanesis Chamber Choir, White Rabbit, the BT Scottish Ensemble, the Australian Voices, Eliot Gattegno and Liwei Qin. He has received commissions from numerous ensembles and institutions, such as Faber Music, the Callithumpian Consort, Primary Duo, Prana Duo, the Sydney Philharmonia Choirs, Firebird Ensemble, the Tait Memorial Trust, the Sydney Symphony Orchestra, 2MBS FM Radio (Sydney) and Ars Musica Australis.
Recognition for Vines’ work includes an Honourable Mention in the 2006 Salvatore Martirano Memorial International Composition Competition for Dolmen of New Albion, and a semi-finals position in the 2009 Opera Vista Competition (Houston) with The Sepulchre of Love. This summer, he will be a Fellow in Composition at the Tanglewood Music Center. One work of his, Firestick, is published by Faber Music, London, while several other pieces have been selected for the Australian Composers Online Project. The remainder of his output is available through the Australian Music Centre. A CD of his compositions, featuring The Butcher of Brisbane, Firestick and Torrid Nature Scene, is in development with Callithumpian Consort and Mode Records.
Having received a PhD in Music in 2007 from Harvard University, Vines is now a lecturer in theory and composition there, as well an adjunct professor at the Massachusetts Institute of Technology. He has been the New Works Program Coördinator for New England Conservatory’s Summer Institute for Contemporary Performance Practice since 2007.
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