A.K.A. Robert Zimmerman

In his early Minnesota days, Robert Zimmerman (a.k.a. Bob Dylan) was a multi - instrumentalist extraordinaire. After graduating kazoo cum laude from the Hibbing Conservatory of Music, he was immediat ely hired by Joey Wojkiewicz’s All - Star Polka Band, where he was featured prominently on cornet, tabla and aviator glasses. Because he was a disciple of the Mahavisigoth Yogi, Robert wore long, silken robes. His attire became the bu tt of his bandmates’ gib es when he dropped his kazoo into the folds of his robe just as he was about to solo, then couldn’t locate it until two charts later. Wh en the yogi was drafted into the Pakistani Air National Guard, Robert followed his lead and switched into a brown flight suit, and the ribbing subsided. Although Joey would have preferred everyone to wear a traditional tuxedo, he permitted Robert this one foible because he was so darn good in every other respect . One time, for example, Joey was auditioning a dozen guitar pl ayers, but not one of them had what he called “that pickety - pockety polka passion.” Then Robert unsheathed a previo usly unseen Fender Stratocaster – a real beaut ! – and commenced to “polka out.” Joey had his man. Little known fact: in 1960 at Omaha’s Blue Barn Theater, the band opened for The Amazing Wallabyes Gymnastics Troupe, and it was there that Robert got his idea for his hit song, “ Mr. Trampoline Man. ”

David Gunn
www.DavidGunn.org

A Circle of Sound / A Slice of the Scene

‘Cut and polished compositions that utilise all manner of sounds’ -Patricia Walsh

An impressively diverse collection of sonic gems purposefully inhabit this double casket of multi-faceted, rare and unusual pieces. Select from any one of the tracks in this compilation and a unique and individual jewel of some worth will emerge. As though embarking on the proverbial ‘Grand Tour’ it is notions of adventure and treasure that spring to the fore as this journey into sound and music gradually unfolds. The eclectic nature and inherent quality of the 120 sixty-second works which comprise this two CD set are not only vivid, crisp and fluid in their content and styles but also vibrant and intriguing in their creative and imaginative scope.

This top grade selection allows an exploration of works by some of the best known and time-honoured 60x60 contributors: Robert Voisey, Liana Alexandra, Justin Breame, Eldad Tsabary, Lyn Job, Dorothy Hindman, Paul Burnell, Allen Strange, Maggi Payne, Katrina Wreede, Mike McFerron, Noah Creshevsky, David Gunn, Julia Norton, Sandeep Bhagwati - to name just a mere fraction of the incredible talent onboard. There is also a thriving plethora of pieces by those who are by now, no doubt, well on their way to sporting that coveted ‘veteran’ title themselves. Many of the tracks are remarkably original and effortlessly evoke exotic atmospheres and striking imagery. Whilst the more prosaic, yet still edgy, inclusions add subtle reflective glints, they also bring a welcome contrast with their presentation of everyday auditory ephemera that we can all relate to in the machinations of daily life. Other arrangements favour occupancy in the refracted settings of the dramatic, the haunted, the comedic, the dream-like, the discordant or the frantic. But still there is a surprisingly cohesive international flavour apparent that simultaneously draws each of the strongly independent works together and the avid listener in.

An expansive range of artists, themes and genres find expression in a choice gathering such as this. Audiences will have no hesitation in navigating their way around the Circle of Sound as a means to take in all of the different musical, tonal or ambient destinations en route. Occasional pauses and breaks, to share in an inviting Slice of the Scene, can be taken at leisure and will only serve to add to the overall acoustic experience. Layers of meaning which reverberate with flashes of colour, tone and shade are there in abundance and are ready to be uncovered within the character of each particular piece. Through the entire ensemble of these expertly cut and polished compositions that utilise all manner of sounds, whether orchestrated, vocal, electronic, manipulated or found, this distinctive collection offers an excursion into rhythmic realms like no other.

Composers on the 60x60 2005 CD

Lydia Ayers, Kenneth Babb, Christopher Bailey, Greg Bartholomew, J.C. Batzner, Eve Beglarian, Steven Betts, Benjamin Bierman, John G. Bilotta, Paul Burnell, Julian Cartwright, David Claman, Paul Clouvel, Douglas Cohen, Andrew Cormier, Lucio Cuellar, Aaron Drake, Ivan Elezovic, Travis Ellrott, David Gunn, Mike Hallenbeck, David Hamill, David Handford, Justin Freeman, Marihiko Hara, Erdem Helvacioglu, Dorothy Hindman, Lynn Job, Gary Knudson, Myroslava Lashkevych, John Link, Stan Link, Tom Lopez, Don Malone, Mike McFerron, Leslie Melcher, Polly Moller, Rodney Oakes, Cezary Ostrowski, Ronald Parks, Alexis Perepelcia, Samuel Pluta, Kevin Ponto, Malcom Rector, Mark Rose, Heike Schmidt, Alex Shapiro, Martin Simon, Adam Sovkoplas, Kenneth Steen, Jonathan Stone, Dirk Johan Stromberg, Peter Swanzy, Peter Swendsen, Mike Swinchoski, Piotr Szewczyk, Norman Teale, Robert Scott Thompson, Rene Veron, Mike Vernusky, and Straiph Wilson

Composers on the 60x60 2004 CD

Riad Abdel-Gawd, Aaron Acosta, Liana Alexandra, John Allemeier, Jethro Bagust, Christian Banasik, Dennis Bathory-Kitsz, Sandeep Bhagwati, Jason Bolte, Benjamin Boone, Justin Breame, George Brunner, Benedikt Brydern, Elvio Cipollone, Ray Cole, Noah Creshevsky, Moritz Eggert, Karlheinz Essl, Carlo Forlivesi, Larry Gaab, David Gamper, Ryan Garber, Douglas Geers, Peter Gilbert, Robert Gluck, Daniel Goode, Ramon Gorgoitia, Pat Hanchet, Jason Heald, James Hegarty, Mark Henry, Killick, Bernand Hughes, David Jaggard, Solange Kershaw, Igor Korneitchouk, Charles Mason, David McIntre, James McWilliam, David Mooney, Serban Nichifor, Julia Norton, Richard O'Donnell, Maggi Payne, Mark Petering, Giuseppe Rapisarda, Steven Ricks, Robert Sazdov, John Schappert, Jacky Schreiber, Paul Steenhuisen, Allen Strange, Thomas Sutter, Vladimir Tosic, Eldad Tsabary, Joseph Vogel, Robert Voisey, Meri von KleinSmid, Chris Ward, and Katrina Wreede

You can find the album here on CD baby at http://www.cdbaby.com/cd/60x60

Patricia Walsh
http://www.patriciawalsh.info

Upcoming Performances

Composer’s Voice presents Vision of Sound

Saturday, March 29th, 2014 at 4:00 PM

The Vision of Sound concert is a collaboration between composers, choreographers, dancers, and musicians to produce new choreographic works with live music written by composers primarily within the last five years. The pieces on the concerts all reflect the most current aesthetic sensitivities of representative composers and choreographers. The dancers and musicians are sincerely committed to the promotion and performance of new works by living composers and choreographers.

Composer's Voice presents Sound of Vision
Sunday, Sunday, March 29, 2014 - 4:00PM
Jan Hus Church
351 East 74th Street
New York, New York
FREE ADMISSION

Composer’s Voice presents New York Women Composers
Jan Hus Church, New York City

Sunday, March 30, 2014 at 1:00 PM

Nailah Nombeko, a native of New York, comes from a musical family. Her works were performed by a variety of ensembles, soloists and choirs such as, the Orfeo Duo (violin/piano), Shannon Roberts, Tiffany DuMouchelle, and Marcia Eckert. Ms. Nombeko’s music has been performed at Symphony Space, Columbia University, as well as other venues in New York City. Her music was featured on Classical Discoveries 103.3 FM and What’s Next Radio 91.1 FM.

Beth Anderson is a composer of new romantic music, text-sound works, and music theater events. Her early work was considered post-Cagian, non-academic but more recently, the music became more lyrical while retaining the cut-up quality of the minimalists. Her all-Beth Anderson recordings are out on Albany New World, Pogus. AMERICAN WOMEN: Modern Voices In Piano Music recorded by Nancy Boston includes SEPTEMBER SWALE was released 2006. POINTS OF ENTRY:The Laurels Project Vol. I Comment for flute solo (based on a poem by Dorothy Parker) is out on a Capstone CD (CPS-8759)

A virtuoso violinist with diverse musical interests, Katarzyna Bryla made her debut as a soloist with Zielona Gora Philharmonic at the age of 14 and in Royal Albert Hall with Poznan Chamber Orchestra, and recently performed at the J.F.Kennedy Centerin Washington D.C. Katarzyna has won an impressive number of international competitions, including 1st prize at the National Children’s Art Competition in Warsaw, 2nd prize at the National J.S.Bach competition, where she was awarded a special prize for the best performance of Bach, and 3rd prize at the Krzysztof Penderecki International Competition, after which she was invited by Maestro Penderecki himself to perform as a soloist with Sinfonietta Cracovia in the International Maazel/Vilar Conducting Competition.

Pianist Hui-Chuan Chen is an active chamber musician, in 2003, she accompanied soprano Shou- Hua Su in concert at the National Recital Hall in Taipei, Taiwan. In 2004, she collaborated with mezzo-soprano Chi-Chun Chan in the same hall. Hui-Chuan has also participated in many festivals, including the Chigiana Accademia in Siena, Italy, and Universität Mozateum in Salzburg. In the summer of 2009, Hui-Chuan was awarded the fellowship in the field of instrumental collaborative artist to attended the Aspen Festival of Music, where she was invited back as a staff accompanist in 2011. The past summer, Hui-Chuan participated in Songfest, where she performed Schumann's Spanish Lieder for vocal ensemble under the instruction of Graham Johnson.

Pianist Sookkyung Cho has performed in such renowned venues as Alice Tully Hall in New York, Sarasota Opera House in Florida, Beaux concerts de la relève in Quebec, and Château de Fontainebleau in France. An avid chamber musician, she has been featured in major chamber music festivals, including Yellow Barn, Norfolk, and Sarasota, and is a founding member of New York-based piano trio Almava Trio. Recently awarded a Doctor of Musical Arts degree as a C.V.Starr fellow from Juilliard, she has also taught as a Performing Associate at Bowdoin Music Festival, a Teaching Fellow in both Piano Minor and Music Theory departments at Juilliard, and a Piano Instructor in the LINKS Signature Arts Program at Juilliard.

Stanichka Dimitrova’s playing has been described as “wonderfully full in tone and exuberant in performance” by the San Francisco Classical Voice, was a winner of the 2010 Concerto Competition at Stony Brook University, which resulted in a solo performance of the Sibelius Violin Concerto with the SBU orchestra. She has been a First Prize winner in the “Barbara Krakauer Scholarship Award” Competition at the Associated Music Teachers League in New York, “Hopes, Talents, Masters” International Competition in Dobrich, Bulgaria, “Svetoslav Obretenov” National Competition in Provadia, Bulgaria, and was a Top Prize winner of the National Competition for Austrian & German Music in Burgas, Bulgaria.

Dorothy Duncan, clarinet, is a member of the Westfield (NJ) Symphony, St. Cecilia Chamber Ensemble, and Lehman Woodwind Quintet. As principal clarinetist with the New York Grand Opera, she performed all 28 of Verdi’s operas in chronological order for the NYGO’s historic eight-summer Verdi cycle in Central Park.

Marcia Eckert is active as piano soloist and collaborative artist and has appeared in the Mostly Mozart Festival, as well as at Merkin, Alice Tully, and Weill concert halls, and London’s Leighton House. She has travelled throughout the United States presenting lecture-recitals on piano music by women composers and on the music of Charles Ives. She recorded Songs by Women on the Leonarda label with soprano Susan Gonzalez and has performed with sopranos Lucy Shelton, Tiffany DuMouchelle and Helen Gabrielsen and tenor Daniel Molkentin. She is the pianist of the Beehive Piano Trio and has collaborated with Deborah Gilwood in the Eckert-Gilwood Piano Duo.

Elisenda Fábregas has been praised for writing with an “imaginatively colored... idiom” (The New York Times). During the 2013-2014 season, Fábregas Symphony No. 1 for Symphonic Band will be premiered at ‘L’Auditori’ in Barcelona, and her Triple Concerto for violin, cello and piano will be premiered by the Atlanta Virtuosi (US) in the Fall of 2014. Recent premieres at the Seoul Arts Center, the International Percussion Festival of Seoul, and the Wonju Philharmonic. Her music is published by Hofmeister Musik Verlag, and Alphonse Leduc & Cie. and is recorded on Haenssler, Albany, Centaur, and NCA. Fábregas is currently an Invited Professor of Music at Kyung-Hee University.

Mary Ann Joyce’s works have been performed at international festivals and concerts through the United States, Europe, and Russia. In summer, 2012, Parma Records released two of her works, Cantata for the Children of Terezin, and Aceldama on the CD ,Cantata for the Children of Terezin.” In 2014, her piece, Immortal Diamond, for St. Petersburg State Orchestra and Chorus, will be distributed by Novello Records. She received the 2013 Boston Metro Award for her art song The Heights of Macchu Picchu.

Julie Mandel writes chamber music and musical theatre. Her String Qt. 3 and Harp Trio are published by E.B. Marks. Her one-act opera I Wish, I Wish was presented at Thalia Theatre June 2012. Her Musical Theatre work Subway Suite was produced at Queens College. Her chamber works have been performed by American Chamber Ensemble, Seattle Chamber Players, Motyl String Quartet. Member and Treasurer of New York Women Composers and Long Island Composers, Concerts Director of Long Island Composers Alliance.

Adrienne Patino Dunn, soprano, is originally from Livermore, California and is now actively working as an oratorio and sacred singer, and teacher. Recently she premiered the oratorioEnoch with Taconic Opera, sang the soprano solos in Haydn’s Lord Nelson Mass and in Mozart's Great Mass in C Minor with orchestra. Adrienne regularly sings with the St. Patrick's Cathedral, National Chorale at Lincoln Center, the Salvatones, the Cornerstone Chorale, and the Mineola Choral Society. She made her Avery Fisher Hall debut as a soprano soloist with the National Chorale in 2009. She is a co-founder, producer and performer of Opera Collective, a group of young performers that strives to make opera accessible to the general public.

Since 1990 Alla has lived in New York and is a member of New York Women Composers, Inc., a member of IAWM (International Alliance for Women Composers) and a Friend of Irish National Youth Ballet (www.inybco.com). Alla Pavlova has written a number of compositions for orchestra, including eight symphonies and the ballet SULAMITH (2003–2005), based on the 1908 story by the famous Russian writer Alexandre Kuprin about the love of King Solomon for Sulamith, a servant from his vineyard. She is also the composer of numerous instrumental and vocal works that have been performed in the United States, Europe, Canada, Japan, India and Australia.

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Composer’s Voice presents New York Women Composers
St. Mary's Episcopal Church, New York City

Sunday, April 6, 2014 at 3:00 PM

Sunday April 6 at 3:00 PM Composer’s Voice will be presenting its second concert featuring the New York Women Composers along with its musical staple Fifteen Minutes of Fame at the St. Mary's Episcopal Church on 521 West 126th street in New York City. This performance will feature the music and performances of Adrianna Mateo, Luda Lee, Elisenda Fabregas, Rain Worthington, Hilary Tann, Binnette Lipper, Joyce Hope Suskind, and Nailah Nombeko.

The 15 composers being presented in this Fifteen-Minutes-of-Fame are: Scott Brickman, Matthew Van Dongen, Sheila Forrester, Jay Anthony Gach, Burton Goldstein, Mary Ann Joyce-Walter, Laszlo Kekszakallu, Geoffrey Kiddle, Tyler Kline, D.H. Lawrence, Kevin Scott, Jose Jesus de Azevedo Souza, Dale Trumbore, Blair Whittington, and Christopher M. Wicks New York Women Composers

THE MISSION OF NEW YORK WOMEN COMPOSERS, INC. is to create performing, recording, networking, and mentoring opportunities for its members, and to work for the betterment of all women concert-music composers. We believe that continually focusing attention on music by women composers will hasten its full inclusion in the concert repertoire.

Composer's Voice & New York Women Composers concert.
Sunday April 6, 2014 at 3:00 PM
St. Mary's Episcopal Church
521 West 126th street
New York, New York 10027
FREE ADMISSION

Calendar

Vox Novus Projects

Opportunities

Fifteen Minutes of Fame

CALL FOR SCORES

Fifteen-Minutes-of-Fame:
Pedro Dias
Portuguese guitar

Deadline: April 21, 2014

Vox Novus is calling for one-minute pieces composed for Fifteen-Minutes-of-Fame: Pedro Dias to be premiered on June 21, 2014 for the Composer’s Voice collaboration with the Universidade Nova de Lisboa, in Portugal Portuguese Guitar

Pedro will be using a Lisbon guitar with the appropriate tuning: D3D4 - A3A4 - B3B4 - E4E4 – A4A4 – B4B4. (Three of the strings are in fact tuned in pairs) More about the the Portuguese guitar cna be found here: http://nfist.pt/sf/sf3/musica/guitarra.htm "The Portuguese guitar is very widespread in Portugal being the closest to the feeling of the Portuguese Lusitano. The Portuguese guitar has an unmistakable timbre so that wherever you are, any Portuguese recognizes the first chords. It is a musical instrument loaded with symbolism and, at the mercy of its long alliance with Fado, is connoted with the "way of being" Portuguese. Destiny, fate and longing are words that naturally associate the trilling of the Portuguese guitar. The origins of the Portuguese guitar date back to the Middle Ages, an instrument called cítula. This has evolved over time, through sitar, culminating in the Portuguese guitar. Originally the usual instrument in the salons of the haute bourgeoisie survived and became in the hands of the people, a popular instrument. The Portuguese guitar is, in technical language, one chordophone compound, whose harmonic box is pear-shaped. It consists of six pairs of strings and has had several tunings. There are three types of Portuguese guitar: that of Lisbon, Porto and Coimbra, with different traditions of manufacture. The Lisbon is the smallest of the three, with rounded lower case and is the one that has the sound "brighter".”

About the performer: Pedro Dias has been studying and performing the Portuguese guitar since his childhood. “Para mim a guitarra portuguesa é a melhor de me exprimir. (For me the Portuguese Guitar is the best way of expressing myself.)” Pedro Dias has performed throughout Portugal, performing primarily Fado; but has also collaborated in other genres. Pedro Dias is currently living in Lisbon and studying at the Universidade Nova de Lisboa.

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Composer's Voice
CALL FOR SCORES

Call for scores for the
Tom do Brasil Band
Bb clarinet or bass clarinet;
guitar (electric jazz);
double bass;
and percussion

Deadline: April 18, 2014

Call for scores for the Tom do Brasil Band - Bb clarinet or bass clarinet; guitar (electric jazz); double bass; and percussion Deadline: April 18, 2014 Vox Novus is calling for 3-5 minute pieces composed for Tom do Brasil: Kristen Mather de Andrade, clarinet; Rob Helsel, guitar (electric jazz); Phillip Helm, double bass; & Craig Bitterman, percussion to be recorded 2014 for the their upcoming CD. The theme of this call is Brazil. The Brazilian theme could include pieces inspired by Brazilian musical or visual art works (either traditional or contemporary), Brazilian culture or pieces using technical elements found in Brazilian music Pieces should be for quartet: Bb clarinet or bass clarinet; guitar (electric jazz); double bass; and percussion. Guitar is for electric jazz guitar. However, this is not a jazz call: In the instances where the guitar is not playing a written melody, standard chord symbols (eg: Ebm7b5) should be written on score & parts. Percussion includes Cajon, Pandeiro, Riq, Bodhran, Tar, Djembe, Shakers (caxixi, maracas, eggs shakers, etc..), small concert percussion accessories (Tambourine, Triangle, Castanets, Wood Blocks, Finger Cymbals, Guiro, etc..) Lead Steeldrum/Tenor Pan (Range middle C to D above treble clef). Steel pan is available on pieces that do not have rhythm percussion. Quartets only: No solos, duos, or trios considered.

Kristen Mather de Andrade is principal clarinetist with the West Point Band and clarinetist with Quintette 7. She frequently performs with the West Point Band and local community and college organizations as soloist. In 2010 she recorded a CD of the music of Raymond Scott with Quintette 7. Kristen frequently tours with chamber ensembles to perform and give master classes in colleges across the country. In 2005 Kristen earned a Bachelor of Music in clarinet performance from The Dana School of Music, where she studied with Robert Fitzer. In 2006, she attended DePaul University in Chicago and studied with Chicago Symphony Orchestra principal clarinetist Larry Combs. Inspired by working with the El Sistema-inspired Harmony Program in New York City, Kristen has begun studies at Columbia University Teachers College. She is currently pursuing a Master of Arts in Education, and aspires to break down the walls between performance and education by putting the arts and artists at the service of communities. Kristen has a varied musical background. Prior to obtaining her position in the West Point Band she performed with the American Wind Symphony Orchestra (with which she was soloist), the Ohio Light Opera Orchestra, with renowned jazz ensemble The Dave Holland Quintet, singer Maureen McGovern, Vanguard Jazz Orchestra pianist Jim McNeely, and theater star Tommy Tune, among others.

Guitarist Rob Helsel is from Newburgh, NY, and has been playing and teaching professionally in the Hudson Valley area for 25 years. He was a member of the West Point’s Jazz Knights for 18 years and has performed with such artists as Cab Calloway, James Williams, The Harper Brothers, Byron Stripling, Bill Watrous, David Liebman, John Riley, Eddie Daniels, and Dennis Mackrel. Recent projects include working with “E of 3,” al 11-piece 70’s and 80’s funk/soul band performing at such venues as the Iridium Jazz Club, NYC. His resume also includes performing and teaching at both High School and College jazz clinics and performing Broadway musicals. He has studied with Steve Freeman (Guitar Institute of Technology) and ECM jazz recording artist John Abercrombie.

Bassist Phillip Helm is an active freelance musician and educator in the Hudson Valley. He is the principal bassist of the Hudson Valley Philharmonic, assistant principal bassist of the Albany Symphony, bassist with the West Point Band, and performs frequently with the Binghamton, Buffalo, Ridgefield and the Rochester Philharmonic Orchestras. He is the double bass instructor at Bard College, Dutchess Community College and SUNY New Paltz. Phil earned his Bachelor of Music from West Texas A&M University, where he studied with David Murray. He also attended the Manhattan School of Music, where he studied with Linda McKnight. Phil can be heard around the Hudson Valley performing with his bluegrass band “Uncommon Ground” and has recorded on Albany Records and performed on NPR.

Percussionist Craig Bitterman is from Buffalo, NY. He earned his Bachelor of Music in performance from SUNY Buffalo and relocated to Connecticut to pursue a Master of Music in performance from the Hartt School of Music. After completing graduate studies, Bitterman freelanced in the New England area and taught percussion at Holyoke Community College, Wesleyan University and Hartford Conservatory. Performance highlights include appearances with Nebojsa Zivkovic and the Jovan Perkussion Projekt; Maelstrom percussion ensemble; June in Buffalo new music festival; Ankara new music festival; Full Force Dance Theatre; Steelsunrise Steelband and worked with composers Steve Reich, David Felder, James Tenney, Lou Harrison and Amy Williams. Craig has recorded under hat(now)ART, mode, EMF, Yesa, Malletjazz and Whitewater labels.

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http://www.voxnovus.com/composersvoice/calls/

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