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Wild Rumpus presents our first concert of the season as part of Old First Concerts in San Francisco. We will be presenting the world premiere performance of a newly commissioned work by Nicolas Tzortzis; the vivid, theatrical Incompatible(s) VI demands that a harpist portray both sides of a contentious relationship in speech and movement, with support from bass clarinet, violin, and cello. Several members of Wild Rumpus will also be featured in solos that run the gamut of contemporary expression, including the wild, noisy frenzy of Fausto Romitelli’s Trash TV Trance performed by electric guitarist Dan VanHassel, the delicate and sensuous sonic worlds of Toru Takemitsu’s Air and Morton Feldman’s Only, performed by flutist Amy Sedan and soprano Vanessa Langer, respectively. Also featured will be Joanne De Mars in Steve Reich’s Cello Counterpoint, a hard-driving piece by the minimalist master in which the cellist must play in sync with seven other pre-recorded versions of herself. In addition the group will be performing Cendres by Kaija Saariaho, a hauntingly beautiful trio for flute, cello, and piano, as well as a reprise of a work commissioned by Wild Rumpus in 2012 by Yao Chen; O…What an Awakening, again featuring soprano Vanessa Langer.
Wild Rumpus: “Incompatibles”
Toru Takemitsu – Air
Yao Chen – O…What an Awakening
Fausto Romitelli – Trash TV Trance
Morton Feldman – Only
Nicolas Tzortzis – Incompatible(s) VI (World Premiere)
Steve Reich – Cello Counterpoint
Kaija Saariaho – Cendres
Results are in! 383 submissions later, we’re delighted to announce that we’re commissioning the following composers for new pieces:
Leaha Maria Villareal
Nina C. Young
Born in Thessaloniki, Greece in 1988. He studied in the Department of Music of Aristotle University of Thessaloniki and he received his undergraduate degree in composition. His principal teacher was Prof. Christos Samaras. Since fall 2011 he has been living in Boston, where he is studying with Joshua Fineberg in a master’s degree in composition in Boston University.
He is a recipient of many international and national awards and distinctions and he has been selected in numerous festivals of new music.
Per Bloland is a composer of acoustic and electroacoustic music whose works have been described as having an “incandescent effect” with “dangerous and luscious textures.” The New York Times recently praised him for his “ear-opening electronic innovations.” His compositions range from short, intimate solo pieces to works for large orchestra, and incorporate video, dance, and custom built electronics. He has received awards and recognition from national and international organizations, including SEAMUS/ASCAP, Digital Art Awards of Tokyo, ISCM, and SCI/ASCAP. Performers of his work include the Berkeley Symphony Orchestra, the ICE Ensemble, Bent Frequency, Insomnio, the Callithumpian Consort, Linea Ensemble, ECCE, and Inauthentica, among others. His music can be heard on the TauKay (Italy), Capstone, Spektral, and SEAMUS labels, and through the MIT Press. The first album dedicated to his compositions, featuring performances by the East Coast Contemporary Ensemble, will be released on John Zorn’s Tzadik label in the fall of 2013.
Bloland is also the co-creator of the Electromagnetically-Prepared Piano, about which he has given numerous lecture/demonstrations and published a paper. He is an Assistant Professor of Technology and Music Theory at Miami University, Ohio, and is currently in residence at IRCAM in Paris for the spring semester of 2013 for a Musical Research Residency. He received his D.M.A. in composition from Stanford University and his M.M. from the University of Texas at Austin.
Composer Eliza Brown (b. 1985) writes music that explores the interaction between natural acoustic properties of sound, the physical construction of instruments, and culturally defined elements of musical meaning and syntax. Eliza’s music, described as “delicate, haunting, [and] introspective” by Symphony Magazine, has been performed and/or commissioned by Ensemble Dal Niente, Network for New Music, Spektral Quartet, Wet Ink Ensemble, members of the PRISM and Anubis saxophone quartets, and others. Eliza’s current projects include the Barely cycle, an extractable cycle of solo works and chamber miniatures that seeks to render in sound the interior psychological processes of identity formation and attempted communication, and a new opera with librettist Royce Vavrek inspired by Bronzino’s 1539 portrait of Cosimo I di Medici as Orpheus. A native of Philadelphia, Eliza is currently a doctoral student and lecturer at Northwestern University.
joshua michael carro (b.1982) is a sound artist based in Los Angeles, California. starting at the age of 5 years old, carro pursued a life in the arts by drawing and the making of objects. at the age of 9, josh became obsessed with jazz and quickly began to play and specialize in jazz drumset. this would later lead him to a scholarship to Arizona State University where he then was able to study classical percussion and new music composition. carro is now pursuing a master’s degree in performance and composition from CalArts where he studies with Ulrich Krieger, Wolfgang Von Schweinitz, Pandit Swapan Chaudhuri, Susan Allen, and Randy Gloss. carro has released over 10 electro-acoustic albums on a series of net labels including: H.L.M. (France), Somehow Recordings (London), with reviews by Silent Ballet, Kultur Industrialna (Poland), Norman Records, and Linus Records (Japan).
Baltimore-based musician Ruby Fulton (b.1981) writes music which invites listeners to explore non-musical ideas through sound. Her musical portfolio includes explorations into mental illness, buddhism, philosophy, psychedelic drugs, addiction, and chess strategy; and profiles of iconic popular figures Syd Barrett, Jean-Michel Basquiat and Ringo Starr. She holds degrees from Boston University, the San Francisco Conservatory of Music and the Peabody Conservatory, and she teaches composition at the Shenandoah Conservatory.
Blending literature and visual art with experimental composition, Leaha Maria Villareal brings a contemporary focus to classical music. Her sonic explorations often stem from themes of home, loss, and memory.
With works written for dance, opera, and the concert hall, Villarreal’s output includes the electro-acoustic solo The Warmth of Other Suns for violinist Andie Tanning Springer, The Bell for Waking/The Bell for Sleep premiered by the JACK Quartet, and A Window to a Door commissioned by Experiments in Opera. She has worked with organizations and ensembles such as W4, the Composers’ Voice concert series, the Boston New Music Initiative, BODYART, and the PUBLIQuartet. Past composition teachers include Pulitzer-prize winner Roger Reynolds, Steven Kazuo Takasugi, Chinary Ung, and Tania Leon. Villarreal holds a B.A. from the University of California, San Diego and is pursuing her M.M. at New York University with Julia Wolfe and Michael Gordon.
In addition to her work as a composer, Villarreal is an avid supporter of the performing arts. She has lent her services to such preeminent institutions as Lincoln Center for the Performing Arts, Wordless Music Series, Lower Manhattan Cultural Council, MATA, the Unsound Festival, and the FIGMENT Arts Festival on Governor’s Island. She is a co-founder and the artistic director of the New York-based contemporary music ensemble Hotel Elefant. (www.hotelelefant.org)
Originally from Los Angeles, Leaha lives and works in New York City.
Lee Weisert is a composer of instrumental and electronic music. His recent work draws inspiration from a wide variety of scientific disciplines and reinterprets their respective principles into an artistic context. His instrumental music has been played by nationally recognized performers and ensembles, including Steve Schick and the red fish blue fish percussion ensemble, the Callithumpian Consort, the International Contemporary Ensemble (ICE) and the JACK string quartet. His pieces have been performed at several music festivals including the Summer Institute for Contemporary Performance Practice (SICPP 2009, 2011), June in Buffalo (2008), and New Interfaces In Musical Expression (NIME 2009, 2012).
His electronic music, composed primarily in cSound and MAX/MSP, deals with algorithmic and chaotic structures in 4- and 8-channel spatialization. Along with composer Jonathon Kirk, he is a member of the Portable Acoustic Modification Laboratory (PAML), a collaborative sound installation team. PAML’s most recent project, Cryoacoustic Orb, uses hydrophones frozen inside several large spheres of ice to create a dense and naturally-evolving soundscape. Lee has degrees in music composition from the University of Colorado (BM), California Institute of the Arts (MM), and Northwestern University (DM). His primary composition instructors have been James Tenney, Michael Pisaro, Jay Alan Yim, and Chris Mercer. He is currently an assistant professor at UNC Chapel Hill.
Nina C. Young (b.1984) is a New York-based composer who writes instrumental and electronic music. Her pieces incorporate her research on blending amplification and live electronics into instrumental ensembles, always with a view toward creating a natural and cohesive sound world.
Nina’s music has been performed internationally by ensembles including the Orkest de ereprijs, Nouvel Ensemble Moderne, JACK Quartet, Sixtrum, Yarn/Wire, the Chameleon Arts Ensemble, and artists affiliated with the Live@CIRMMT Concert Series. The American Composers Orchestra recently read her orchestral work “Remnants” as part of the Underwood New Music Readings. Nina has received honors from BMI, IAWM, SEAMUS, and SCI and has participated in festivals and conferences including the 17th International Young Composers Meeting, SEAMUS, N SEME, Domaine Forget’s New Music Session, the Electroacoustic Barn Dance, the European American Musical Alliance, and the US State Department’s Fusion Arts Exchange. Nina has held fellowship residencies at the Atlantic Music Festival and the Bennington Chamber Music Conference; and will participate as a fellow at the Tanglewood Music Center in 2013.
Nina is currently pursuing doctoral studies in composition at Columbia University under the tutelage of Fred Lerdahl, George Lewis, Richard Carrick, and Brad Garton. She is an active participant at the Columbia Computer Music Center where she is teaching electronic music. Nina received a Master’s degree from McGill University, studying with Sean Ferguson. While in Montreal she worked as a research assistant at the Centre for Research in Music Media and Technology (CIRMMT) and as a studio and teaching assistant at the McGill Digital Composition Studios. Nina completed her undergraduate studies at MIT receiving degrees in ocean engineering and music (working with Keeril Makan) alongside holding a research assistantship at the MIT Media Lab.
In addition to concert music Nina composes music for theatre, dance, and film. She also works as a concert organizer and promoter of new music; Nina currently serves as General Manager for the publisher APNM (Association for the Promotion of New Music) and as a board member of Columbia Composers.
We are holding our final concert of the season on Saturday, May 11, 2013 at Salle Pianos (1632 C Market St) in Hayes Valley in San Francisco at 8 pm. We will be performing five world premieres by young and emerging composers from all over the world: Julian Day, Ruben Naeff, Jonathan Russell, Jeffrey Treviño, and Dan VanHassel. Tickets will be available at the door, prices are $25 ($15 for students). Wine and desserts from La Boulange Bakery included in ticket price.
Jeffrey Treviño: The World All Around (2013) for piano, harp, and clarinet
Dan VanHassel: Incite (2013) for electric guitar and piano
Julian Day: Father (2013) for clarinet, electric guitar, piano, violin, cello, and percussion
Ruben Naeff: Euphoria (2013) for flute, clarinet, harp, electric guitar, piano, violin, cello, and percussion
Jonathan Russell: Lament and Frippery (2013) for clarinet, harp, piano, violin, and cello
Julian Day :: www.julianday.com
Julian Day is a composer and sound artist based in Sydney, Australia. Described as “an epic and intimate formalist”, he creates evocative works through simple yet often lateral means. His work inhabits a lush and frequently dark world of slowed down sounds, broken patterns and basic geometries, influenced by conceptual art, cracked media and pop culture. Recent works include Ascent for 100 flutes, Totem for skipping CDs and Ceremony for multiple spatialized synthesizers. Much of his work is site-specific and collaborative, taking place in spaces as varied as railway sheds, former meat markets and even on New York’s Central Park lake.
Day has worked with Lisa Moore and Mark Stewart (Bang On A Can All Stars), TILT Brass, Mark Dancigers (NOW Ensemble), David Longstreth (Dirty Projectors), ExhAUST and DuoSolo. His work has featured at New York’s MATA festival, Massachusetts Museum of Contemporary Art, ISCM World New Music Days, Whitechapel Gallery (London), Het Nutshuis (The Hague), Liquid Architecture Festival and Perth Institute of Contemporary Art. He directs the keyboard ensemble An Infinity Room (A.I.R) and co-directs Super Critical Mass, a large-scale performance project for massed identical instruments.
Day studied at the Queensland Conservatorium and Sydney College of the Arts, undertaking lessons and masterclasses with Louis Andriessen, Martin Bresnick, Michael Gordon, David Lang and Julia Wolfe among others. He won the British Council’s Realize Your Dream Award and The Australian Voices Young Composer of the Year. Julian is also a writer and new music broadcaster, having appeared on BBC Radio 3 and ABC Classic FM. His interviewees include Steve Reich, Philip Glass, Pauline Oliveros, Christian Wolff, Terry Riley, Laurie Anderson and John Cale.
Ruben Naeff :: www.rubennaeff.nl
Educated in both mathematics and music and recently employed as an economist, Dutch composer Ruben Naeff (1981) finds himself in an attempt to comprehend the world and set it to music. His broad interest led to many interdisciplinary pieces like De Bètacanon (about the hard sciences), The Dancing Dollar (about the current financial crisis), and the YouOpera (about our lives online). Currently, he is a recipient of the HSP Huygens Talent Scholarship from the Dutch government to study composition with Michael Gordon in a master’s program at New York University.
Ruben has collaborated with numerous people and organizations from a wide range of disciplines, reaching from national newspaper de Volkskrant to the debate & fine arts festival happyChaos. He is co-founder of the West 4th New Music Collective, which promotes the work of emerging composers in New York. He has written for renowned ensembles as the Deviant Septet, JACK Quartet, Vigil Ensemble, Cadillac Moon Ensemble, the Los Angeles based duo Meyerson & Valitutto, and the Dutch Erasmus Kamerkoor and Quatre Bouches, and for festivals as the Bang on a Can Summer Festival, Music11, and the UNL Chamber Music Institute. His music has been performed in the Netherlands, Belgium, Switzerland, Latvia, and various states across the USA (NY, CA, MA, CT, TX, NE). He has joined forces with such public figures as NRC Handelsblad economics editor Maarten Schinkel, scientists and (former) presidents of the Royal Dutch Academy of Sciences Robbert Dijkgraaf and Frits van Oostrom, and the Dutch Fokke & Sukke cartoonist Jean-Marc van Tol.
Jeffrey Treviño :: www.jeffreytrevino.com
Jeff Treviño’s recent projects include a one-act musical theater adaptation of Anthony Ha’s award-winning science-fiction story, Orbiting, a set of solo percussion frames for recordings of Alice Notley reading her poems, four two-minute duos for for a two-seat theatre in the Hammer Museum’s coat closet, a series of abstract animations for Golden Parachutes gallery’s Total Vivid Presence, and a year-long series of fluxus performances with his Berlin-based ensemble, the Institute for Intermediate Studies. Notable mentors include Mark Applebaum, Brian Ferneyhough, Max Mathews, Rand Steiger, Miller Puckette, Tom Erbe, Walter Zimmermann, Pauline Oliveros, Beat Furrer, Helmut Lachenmann, Chaya Czernowin, and Steven Takasugi.
Treviño has received commissions from the University of California at Berkeley Graduate Program in Media Studies, the University of Southern California’s School of Cinematic Arts, the Center for the Interdisciplinary Study of Music at the University of California at Santa Barbara, bass clarinetist Anthony Burr, percussionist Ross Karre, pianist Rei Nakamura, contrabassist James Ilgenfritz, violinist Batya MacAdam-Somer, and the Arditti String Quartet, with notable premieres at the International Computer Music Conference (Miami, 2004, and New Orleans, 2006), the Oberlin Conservatory Percussion Institute (2006), New York City’s Symphony Space, Germany’s Akademie Schloss Solitude Summer Residencies, South Korea’s Seoul International Computer Music Festival (2007), Mexico’s Visiones Sonoras (2007), SIGGRAPH (2007), the International Conference of the Society for Improvised Music (Chicago, 2007), the Freiburg Hochschule für Musik, June in Buffalo (2008), Portugal’s Vila Real Conservatory, New York City’s Miguel Abreu Gallery, the Carlsbad Music Festival (2008), Freiburg im Breisgau’s E-Werk (2009), and Berlin’s Hanns Eisler Akademie (2009).
An accomplished pianist and tubist, Treviño has performed in world class venues such as Carnegie Hall, Walt Disney Concert Hall, the Sheldonian Theatre, and the Sydney Opera House. He is currently studying John Cage’s Sonatas and Interludes for prepared piano with pianist Aleck Karis.
Treviño researches the ways composers think when they write computer programs, and his doctoral work at the University of California at San Diego is supported by the university’s San Diego Fellowship, the Woodrow Wilson Foundation, the Andrew W. Mellon Foundation, and the university’s Center for Latin-American Studies.
Jonathan Russell :: www.jonrussellmusic.com
Jonathan Russell is a composer, clarinetist, conductor, and educator who is active in a wide variety of music, from classical to experimental to klezmer to church music. Especially known for his innovative bass clarinet and clarinet ensemble compositions, his works for bass clarinet duo, bass clarinet quartet, bass clarinet soloists, and clarinet ensembles have been performed around the world and are radically expanding the technical and stylistic possibilities of these genres. He has received commissions from ensembles such as the San Francisco Symphony, Empyrean Ensemble, ADORNO Ensemble, Classical Revolution, Woodstock Chamber Orchestra, Harvard-Radcliffe Orchestra, Imani Winds, and DZ4, and performances from numerous other ensembles and performers, including the Berkeley Symphony, San Francisco Composers Chamber Orchestra, the BluePrint Project, the Great Noise Ensemble, the new music bands FIREWORKS, Capital M, and Oogog, pianist-percussionist Danny Holt, and pianists Sarah Cahill, Lisa Moore, Lara Downes, and Matthew McCright. Upcoming projects include compositions for So Percussion, the guitar-percussion duo The Living Earth Show, the new music ensemble REDSHIFT, and a new Bass Clarinet Concerto commissioned by the Bass Clarinet Commissioning Collective. His works are published by Potenza Music and BCP Music, and have been commercially recorded by the Sqwonk bass clarinet duo and pianist Jeffrey Jacob.
An avid performer on clarinet and bass clarinet, Jonathan is a member of the heavy metal-inspired Edmund Welles bass clarinet quartet and the Sqwonk bass clarinet duo, which has commissioned numerous new works and released two CDs of new American bass clarinet duets. He has also music directed two dance productions with choreographers Janice Garrett and Charles Moulton, and is co-director of the Switchboard Music Festival, an annual eight-hour marathon concert that brings together the San Francisco Bay Area’s most creative and innovative composers and performers. He has served on the Music Theory Faculty at San Francisco Conservatory and on the Composition Faculty at the Conservatory’s Adult Extension and Preparatory Divisions. He has a B.A. in Music from Harvard University and an M.M. in Music Composition from the San Francisco Conservatory of Music. His composition teachers have included Paul Lansky, Dmitri Tymoczko, Dan Becker, Elinor Armer, Eric Sawyer, John Stewart, and Eric Ewazen. He is currently a student in the Composition PhD program at Princeton University.
Dan VanHassel :: www.danvanhassel.com
Dan VanHassel is a composer and multi-instrumentalist based in the San Francisco Bay Area. His music has been performed across North America, Europe, and Asia by performers such as pianists Keith Kirchoff and Gloria Cheng, Dinosaur Annex, Red Fish Blue Fish, Ensemble SurPlus, saxophonist Michael Straus, and bassoonist Dana Jessen. Active as a performer, Dan draws influence from his experience performing in rock bands, Javanese and Balinese gamelan, free jazz groups, and chamber ensembles. Dan is co-director of the Wild Rumpus new music ensemble in San Francisco and was a founding member of the new music ensemble Agenda, the free-improv group Output, and the Embryonic Noise new music series in Boston. He has studied composition at Carnegie Mellon University, the New England Conservatory, and the University of California at Berkeley.
It’s time! The Wild Rumpus Kickstarter project is now live. In our first 24 hours, we reached 30% of our fundraising goal, which is wonderful. We still have a ways to go before we meet our goal, though, and Kickstarter’s all-or-nothing. We’d love your help spreading the word about the project, and we’d also be so grateful if you donated!
Last year, Wild Rumpus held our first open call for the Wild Rumpus Commissioning Project. From the 215 submissions we got last year, we commissioned eight composers to write pieces from our 2012-2013 season: Julian Day, Ruben Naeff, Andrea La Rose, Elizabeth Lim, Nicole Murphy, Jonathan Russell, Nicolas Tzortzis, and Jeffrey Treviño. The Kickstarter project will support their commissioning fees, and help ensure that we not only can support emerging artists by producing their work, but that we can compensate them for the huge investment of time and energy that a new work comprises.
Wild Rumpus is dedicated to collaboration with emerging artists. Selected composers are not only commissioned for a new piece, but are invited to collaborate with the ensemble through individual meetings and monthly reading sessions. We believe that, by giving composers a space to experiment and push their own boundaries, we can not only support new music through its performance, but foster the growth and development of emerging artists.
We have an incredible array of rewards available for donors to our project. Would you like go on a hiking brewery tour through the hills in Germany with Andrea La Rose? Visit jazz clubs in Paris with Nicolas Tzortzis or galleries in Sydney with Julian Day? Or would you like Jen to teach you to make Chinese dumplings, or get your power ballad on with the members of Wild Rumpus? Would you like a custom arrangement or a home concert, or recordings of all the new pieces you help support? Or amazing seats at the San Francisco Symphony? You can get all these and much more when you give!
You can donate and learn more about the project at:
It’s almost time! The Wild Rumpus spring concert is fast approaching, and we’d love it if you came down and joined us for the show! We have a fantastic program lined up of newly-commissioned works written just for us:
Jenny Olivia Johnson
Friday, June 8, 2012: 8 PM
For those of you who aren’t in the Bay Area, we might be able to offer live streaming of the concert; we’ll be testing it out this weekend. Stay tuned! We’ll let you know soon if it works out!