Department of Music Concert and Event Listing

Free UC San Diego student-only event as part of UC San Diego Welcome Week

GIVEAWAYS & INTERACTIVE ACTIVITIES by Campus Arts Departments (UC San Diego Music, UC San Diego Visual Arts, UC San Diego Theatre and Dance, UC San Diego Division of Arts & Humanities), Organizations (ArtPower at UC San Diego, La Jolla Playhouse, La Jolla Symphony and Chorus, Stuart Collection), and Student Arts Organizations

FREE ICE CREAM & ROOT BEER FLOATS
Check in with your student ID at various spots throughout Celebrate the Arts to get a ticket for a free ice cream, slushie, or ice cream float from King Kream Ice Cream.

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REGARDING CHICKENS (feat. music by Carolyn Chen, Johann Paul von Westhoff, Celeste Oram, and poetry by Christopher and Keir GoGwilt)

Performances: 10/6 @ 5 PM and 10/8 @ 7 PM
Installation opens 10/6 @ 2 PM

Installation by Audrey Hope;

Music by Carolyn Chen, Celeste Oram, and Johann Paul von Westhoff; Poetry by Christopher and Keir GoGwilt

Regarding Chickens is an immersive musical-poetic performance-installation. Audrey Hope’s accumulation of colorful refuse and chicken-sculptures houses Keir GoGwilt's performance, which navigates between the realities of this art space and that of the classical violin, the sounds of which emerge as more glittery scraps and scrapes.

"'Grow,' says collective vision, 'Grab as many...' Impossible. When will my 'as many' ever be enough. I will not will my own growth; who is to say one grows into many; who is to say many is anything but the exclusion of few, of any, of never and

anon—"

Music:
Partita in d minor - Johann Paul von Westhoff
Regarding Chickens, Death - Carolyn Chen
Study on Westhoff Partita in d minor - Carolyn Chen
Craigie Hill - Keir GoGwilt & Celeste Oram

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Co-sponsored by: the South Asian Studies Minor Program, UC San Diego Music, and the India Fine Arts Association of San Diego (IFAASD)

A conversation featuring jazz musician Rudresh Mahanthappa, Revathi Subramanian (India Fine Arts Academy of San Diego), David Borgo (UC San Diego Music), Mark Dresser (UC San Diego Music), Anthony Davis (UC San Diego Music), Kartik Seshadri (UC San Diego Music)

Free and open to the public. No tickets required.

UC San Diego Conrad Prebys Music Center
Recital Hall, Room 127

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REGARDING CHICKENS (feat. music by Carolyn Chen, Johann Paul von Westhoff, Celeste Oram, and poetry by Christopher and Keir GoGwilt)

Performances: 10/6 @ 5 PM and 10/8 @ 7 PM
Installation opens 10/6 @ 2 PM

Installation by Audrey Hope;

Music by Carolyn Chen, Celeste Oram, and Johann Paul von Westhoff; Poetry by Christopher and Keir GoGwilt

Regarding Chickens is an immersive musical-poetic performance-installation. Audrey Hope’s accumulation of colorful refuse and chicken-sculptures houses Keir GoGwilt's performance, which navigates between the realities of this art space and that of the classical violin, the sounds of which emerge as more glittery scraps and scrapes.

"'Grow,' says collective vision, 'Grab as many...' Impossible. When will my 'as many' ever be enough. I will not will my own growth; who is to say one grows into many; who is to say many is anything but the exclusion of few, of any, of never and

anon—"

Music:
Partita in d minor - Johann Paul von Westhoff
Regarding Chickens, Death - Carolyn Chen
Study on Westhoff Partita in d minor - Carolyn Chen
Craigie Hill - Keir GoGwilt & Celeste Oram

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A performance showcasing recent trans-disciplinary works for percussion, live electronic music, interactive video and animation. 
Windward, composed by David Bithell in 2018 and premiered at the Banff Centre for Arts and Creativity by Aiyun Huang, is a technologically driven meditation on storytelling and the power of myth. Using the head of a concert bass drum as a projection screen, the performer conjures dynamic images and sounds through their musical gestures. The interactive visuals for Windward are created through procedural animation developed in Unity and triggered by audio-analysis cues and events generated in 3ds Max. Real-time audio processing of the bass drum is mixed with pre-recorded sound elements to create an immersive environment.

With visual inspiration drawn from traditional and contemporary shadow play practices combined with the iconography of percussion performance, the second work, Penumbra, focuses on the human form situated in a technologically saturated atmosphere. Collaboratively composed by David Bithell and Terry Longshore in 2014, Penumbra explores the gestural implications of percussion performance, as well as the audience’s expectations about how physical gestures and percussion manifest in sound and image. Penumbra makes use of 2D and 3D animations that are reactive - changing shape, size, and scope in relation to the live musical input. The sonic environment is created out of real-time processing of live input (including granular synthesis and sample triggering), generative sample playback and patterning, and prerecorded electronic elements.

SPEAKER BIO:

David Bithell is an interdisciplinary composer, artist, and performer exploring the connections between visual art, music, theater and performance. Using new technologies and real-time interactive environments, his work brings the precision and structure of contemporary music and audio practices together with an understanding of performance, narrative and humor drawn from recent theater, live cinema and performance art. His works have been presented at major venues in the United States, Europe and Asia. Highlights include: the Lucerne Festival (Switzerland), SPARK Festival of Electronic Music and Art (Minneapolis), Ghent International Film Festival, Pixilerations [v.6], the Seoul International Computer Music Festival, the MANCA Festival (France), the IS ARTI Festival (Lithuania), and at numerous colleges and universities in the United States. He has received grants and commissions from Meet the Composer Commissioning Music / USA, the American Composer?s Forum, the Ammerman Center for Arts and Technology, and the President's Research, Scholarship and Creative Activity Fund at SOU. He is a professor of art and emerging media at Southern Oregon University where he heads the Cross-disciplinary Studio for Art and Technology (xARTS) and is a core faculty member of the Center for Emerging Media and Digital Arts (EMDA).
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The ever-evolving Aiyun Huang ( http://www.aiyunghuang.com ) enjoys a musical life as a soloist, chamber musician, researcher, teacher and producer. She was the First Prize and the Audience Award winner at the Geneva International Music Competition in 2002. Recent highlights include engagements with L’Orchestre de la Suisse Romande, Taipei Symphony Orchestra, St. Lawrence String Quartet, and Aventa Ensemble. Recent collaborations include works with Nicole Lizée, Vivian Fung, Philippe Leroux, Roland Auzet and David Bithell. An expert in "percussion theater," her work on the subject has been published in Cambridge Companion to Percussion (2016) and Save Percussion Theater (Mode 242). She holds a Doctor of Musical Arts from UC San Diego. Between 2004 and 2006, she was a faculty fellow at UC San Diego. Between 2006 and 2017, she led the percussion program and was a William Dawson Scholar at McGill University in Montreal, Canada. She is currently an associate professor, directs the percussion program, and is in the midst of establishing Centre for Brain, Performance, and Music Creation with Michael Thaut (neuroscience/music) and Eliot Britton (music technology/composition) at the University of Toronto.
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Terry Longshore ( http://www.terrylonghsore.com ) is a percussionist based in Ashland, Oregon whose genre-crossing work exhibits the artistry of the concert stage, the spontaneity of jazz and the energy of a rock club. He performs nationally and internationally as a soloist and ensemble member, collaborates with artists working in diverse media and has premiered and recorded numerous works. Longshore is a Yamaha Performing Artist, a Marimba One Vibe Artist, and an artist endorser for Zildjian Cymbals, Vic Firth Sticks and Mallets, Remo Drumheads, Gon Bops Percussion and Beato Bags. He is also a member of the Black Swamp Percussion Education Network. He is a trained HealthRHYTHMS facilitator. He holds bachelor’s degrees in business administration from California State University, Fresno and percussion performance from California State University, Sacramento, and earned his master’s and doctoral degrees in contemporary music performance from UC San Diego. He is a professor of music and coordinator of the Music Graduate Program at the Oregon Center for the Arts at Southern Oregon University

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A reception will be held at 6 p.m.

This event is free and open to the public.

RSVP requested to galleryinfo@calit2.net

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The Grand Tour
Thursday, October 10th, 2019 | Experimental Theater

Examining the time-bound and timeless, this event utilizes video from NASA's Solar Dynamic Observatory, the Apollo XI mission, and amateur ground-based astronomers; photography from the twin Voyager space probes; audio derived from the plasma and radio waves of Jupiter, Saturn, Uranus, Neptune, Earth, and the solitary red giant Xi Hydrae; amongst other media in tandem with a program with works by Christopher Adler, Josh Levine, Daniel Tacke, & Lewis Nielson

Sean Dowgray is a classical percussionist specializing in modern and contemporary music. Currently a doctoral candidate at UC San Diego, Dowgray performs frequently with resident ensembles red fish blue fish and Palimpsest. He has appeared with the La Jolla Symphony & Chorus, RENGA, San Diego New Music, Art of Èlan, The San Francisco Contemporary Chamber Players, Monday Evening Concerts, the WasteLAnd New Music Series, La Jolla Music Soceity, members of the San Diego Symphony, and members of the International Contemporary Music Ensemble.

SEAN DOWGRAY:  As a soloist, Dowgray has been featured at the Oberlin Percussion Institute, the Percussive Art Society International Convention, the WasteLAnd New Music Series, the Radcliffe Institute for Advanced Study, the University of Arizona, SoundON, and Eureka! Musical Minds of California. Dowgray collaborates closely with composers Daniel Tacke, Josh Levine , Lydia Winsor Brindamour, and Justin Murphy-Mancini. In the recent past, he has collaborated with composers including Jürg Frey, Christopher Adler, Ioannis Mitsialis, Lewis Nielson, and James Wood.

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This program explores different types of embodied engagement in a diverse selection of solo flute pieces.
Sam Hayden's 'attente' (2019) is a search for intense physicality in a performance. The material combines relatively static multiphonic textures with more rapid and directional linear gestures.
'OR' (1978) by R.Dick investigates extremity on a different level: intimate, microtonal multiphonics shape the vulnerability of this work.
Anahita Abbasi introduces a dialogue in 'No I am not roaming aimlessly' (2017), where the composite concept “dialogical self” goes beyond the self-other dichotomy, by infusing the external to the internal and, in reverse, to introduce the internal into the external.
Finally, The Silenced (2015), the mono drama for flutist by Jason Eckardt is a journey from trauma to (at least partial) healing. While the scars of the trauma are still present by the end, the protagonist arrives at a place where the memories and feelings are manageable.

attente for flute solo (2019) - Sam Hayden (world premiere)
OR for flute solo (1978) - Robert Dick
No I am not roaming aimlessly (2017) - Anahita Abbasi
The Silenced, a mono drama for flutist (2015) - Jason Eckardt

Recital Hall, Conrad Prebys Music Center, UC San Diego

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CAMERA LUCIDA

Concert 1 : Bridge, Bartok, Shostakovich
Frank Bridge, Piano Quartet
Bela Bartok, Contrasts for violin, clarinet and piano
Dmitri Shostakovich, Piano Quintet

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Professor Helen Rees will present her documentary film, Playing the Flute in Shanghai: the Musical Life of Dai Shuhong, in the Focus on Integrative Studies seminar (MUS 205). 

PLAYING THE FLUTE IN SHANGHAI: THE MUSICAL LIFE OF DAI SHUHONG

Dai Shuhong (b.1937) is one of Shanghai's most renowned performers and teachers of China's traditional bamboo flutes, the transverse dizi and endblown xiao. Plucked in 1956 from life as a factory worker to join the first ever Chinese traditional instrument class at the prestigious Shanghai Conservatory of Music, Dai subsequently taught at the Conservatory for almost fifty years. As a young performer, he made his mark as dizi accompanist to Tibetan megastar propaganda singer Caidan Zhuoma (Tseten Drolma). Since the 1980s, he has specialized in a rather different genre, the esoteric art of qin-xiao performance. Partnering with several of China's foremost qin zither performers, including his legendary mentor Zhang Ziqian (1899–1991), he creates delicate xiao lines to complement the elegant pieces of the qin repertoire, many of which date back centuries. Dai's recordings with Zhang and others stand as landmarks of this style.

Shot over 2016–2017 in Shanghai and incorporating historical photographs and video footage, this documentary focuses not just on Dai's artistry and pedagogical skill, but also on his firsthand experience of the seismic upheavals in Chinese musical life since the 1950s. He witnessed the Soviet-inspired institutionalization of local folk music, the modernization of traditional instruments, the creation of a new civil servant class of professional performers, and, more recently, the nostalgic revival of attenuated traditions such as the qin zither. Possessed of a prodigious memory, Dai is a natural raconteur who engagingly recounts how such national trends played out in one individual's everyday life.

From the outset, this film has been a collaborative endeavor, with Dai and other participants helping plan the shoots and critiquing the results during the editing process. It was selected for screening in August 2019 at the Shanghai Grand Theater as part of the First Festival of Chinese-language Ethnographic Films on Music.

BIO

Helen Rees, director of Playing the Flute in Shanghai, is a professor of ethnomusicology at UCLA, where she is also director of the World Music Center. As a recipient of a British Council scholarship to the Shanghai Conservatory of Music in the late 1980s, she studied Chinese flutes with Dai Shuhong for two years. Frequent trips back to Shanghai since then have resulted in an extensive oral history, which is the basis for a forthcoming biography that will complement the film. Her other research interests lie in ritual musics of southwest China, and in East Asian intangible cultural heritage protection policies. She also performs professionally on recorders and Chinese flutes.

 

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Conrad Prebys Music Center, Experimental Theater - 7PM
*FREE*
Come kick off the first Grad Forum of the year with an evening of performances by music department grads!

- Program -

Tiange Zhou performing her own "Finger Work" for electronics and projection

Kathryn Schulmeister, Alexandria Smith, and Madison Greenstone performing an untitled trio

Anqi Liu performing a modular synthesizer improvisation

Barbara Byers, Celeste Oram, Alexandria Smith, and Joseph Bourdeau Performing "Appalachian Hell / Bag of Bones" by Barbara Byers

Madison Greenstone performing "Telegrams" by Michelle Lou

 

Grad Forums provide an outlet for Department of Music graduate students to present individual and collaborative works on their own terms.  From theatrically-oriented conceptions to virtuosic instrumental solos, this Grad Forum highlights the artistic diversity that coexists at UC San Diego.

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A concert of music by Lydia Winsor Brindamour, performed by James Beauton, Erik Carlson, Sean Dowgray, Madison Greenstone, Michael Jones, Rebecca Lloyd-Jones, Michael Matsuno and Kathryn Schulmeister.

6.30pm- installation (audience can come and go freely)
7pm- concert (no late seating)

Conrad Prebys Music Center, Experimental Theater
FREE

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ENS EKT

Tuesday, October 22 at 8:00 p.m.
UC San Diego's Conrad Prebys Music Center
Experimental Theater

The ENS EKT trio features the experimental musical inventions of Paul Stapleton (Californian born, Belfast-based) in dialogue with the circular breathed multi-phonics and harmonic textures of David Bud (English born, Berlin-based) and the resonant gestural and spectrally focused playing of Mad Pulse Maybe (Danish born, Berlin-based). The group explores emergent timbral, dynamic and social musical structures through improvisation.

Paul Stapleton is an improviser and sound artist originally from Southern California. He designs and performs with a variety of modular metallic sound sculptures, custom made electronics and found objects in settings ranging from Echtzeitmusik venues in Berlin to the annual NIME conference. Paul is currently Professor of Music at SARC in Belfast, where he teaches and supervises research in new musical instrument design, music performance, sound design and critical improvisation studies. Paul is also currently the co-director of Sonorities Festival Belfast. He has received critical acclaim for several artistic projects and for his sound design and composition work as part of the immersive audio theatre piece Reassembled, Slightly Askew.

Mad Pulse Maybe is a prolific bass player, composer and PhD-researcher in sonic arts. His work with extended instrument techniques and adaptive electro-acoustic performance systems is documented on several releases and through sound installations. He is a frequent collaborator with dancers, has created music for film and theatre and exhibited audio-generated sculpture. He has toured extensively in Europe, the US, Japan and Australia and has performed with Evan Parker, Audrey Chen, Lotte Anker, Tony Malaby and many others.

David Bud is a saxophonist, author and researcher from London, England based in Berlin, Germany. He has performed on baritone and alto with hundreds of musicians in small and large groups, collaborations have included Pauline Oliveros, Evan Parker, Lol Coxhill, Steve Noble, Mark Dresser, Tristan Honsinger, Alexander von Schlippenbach, Audrey Chen, Mark Sanders and many others. His work in improvisation has led to collaborating beyond music with dancers, visual artists, mixed media, built instruments, site specific performance and more. His research interest is in creative processes.

Visitor Parking information:
http://transportation.ucsd.edu/parking/visitor/index.html

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Thursday, October 31st at 7:30 p.m.

The Fall Composition Jury Concert presents an evening of premieres by graduate composers.

Composers: Stephen de Filippo, Nathan Haering, Nasim Khorassani, Zach Konick, Sang Song, & Jacques Zafra

Performances by: David Aguila, Teresa Díaz, Juliana Gaona Villamizar, Alex Ishov, Michael Jones, Rebecca Lloyd-Jones, Dimitris Paganos Koukakis, Berk Schneider, Kathryn Schulmeister, Ilana Waniuk, and Ashley Zhang

Conducted by Steven Schick

The concert will begin in the Conrad Prebys Concert Hall.
At intermission, the audience will be asked to move to the Experimental Theater for Nasim Khorassani's piece.

THURSDAY, OCTOBER 31 at 7:30 p.m. - Conrad Prebys Concert Hall
CONCERT PROGRAM ORDER
Nathaniel Haering - “Spate II” 
Stephen DeFilippo - “Casuarina-salvaged Dreaming” 
Sang Song - “Tracing Gretel” 
    Intermission
Zachary Konick “Currents” 
Jacques Zafra - “liusa”
    Pause as audience moves to Experimental Theater
Nasim Khorassani (Experimental Theater) - “Line” 
 

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Grad Forums provide an outlet for Department of Music graduate students to present individual and collaborative works on their own terms.  From theatrically-oriented conceptions to virtuosic instrumental solos, this Grad Forum highlights the artistic diversity that coexists at UC San Diego.

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Morton Feldman, Crippled Symmetry

Performers:
Alex Ishov (flute)
Michael Jones (percussion)
Shaoai Ashley Zhang (piano)

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"διΧΑσμΟΣ"

Music for Piano and Electronics By Stephenson, Van Der Aa, Lillios and Papatrechas.

Piano: Dimitris Paganos Koukakis

Electronics: Theocharis Papatrechas

November 14th, 7:00 pm. 
Conrad Prebys Music Center, Experimental Theater
UC San Diego

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The Penderecki Piano Trio was created by three of the most dedicated and outstanding Polish musicians of our time. The promisingly gifted pianist Konrad Skolarski, the breathtaking virtuoso Jaros?aw Nadrzycki , and the sensational cellist Karol Marianowski are all acclaimed artists in their country and abroad. They are laureates of many international music competitions, each with a long history of performances all over Europe, North and South America, as well as Asia.

As soloists or as chamber musicians (two of the musicians were recently at the core of the Meccore String Quartet), each member of the trio has performed in distinguished concert halls, such as Wigmore Hall (London), Frick Collection (New York), Pollack Hall (Montreal), as well as with leading orchestras such as the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, and the Simón Bolivar Orchestra of Venezuela.

Program
Claude Debussy: Premier trio in G Major; J. Haydn: Piano Trio in G Major Hob. XV/25 “Gypsy”; P. ?ukaszewski – Piano trio;

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Since 2014, the Semana Internacional de Improvisación has gathered cutting-edge artists from both sides of the border, and beyond, in the Mexican city of Ensenada. This showcase will officially light the spark for next year's edition of the festival, to be held in March of 2020. Featured in this concert is trumpeter, composer, and bandleader Iván Trujillo, presenting the debut of his 8-piece Ensemble. Trujillo will be joined by Ensenada-based improvising visual artist Esther Gámez and by flutist and UC San Diego Faculty member Wilfrido Terrazas as special guests. The combo will present a spicy mix of original compositions and creative music classics, with a Baja California flavor. Furthermore, and in correspondence with the Semana's cross-border spirit, the Ensemble will also be joined by a handful of UC San Diego Grad students to create site-specific large ensemble improvisations at UC San Diego's Conrad Prebys Music Center.   

Iván Trujillo Ensemble

Iván Trujillo - Trumpet & Electronics 
Martha Rolón - Clarinet
Katherine Hernández - Saxophone
Lesly Sandoval - French Horn 
Kevin Urzua - Trombone
Kalid García - Electric Guitar 
Gabriel Nava - Electric Bass 
Javier Gómez - Drums

Special Guests 
Wilfrido Terrazas - Flutes & Whistles 
Esther Gámez - Live Art  

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Grad Forums provide an outlet for Department of Music graduate students to present individual and collaborative works on their own terms.  From theatrically-oriented conceptions to virtuosic instrumental solos, this Grad Forum highlights the artistic diversity that coexists at UC San Diego.

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The New York Times calls red fish blue fish a "dynamic percussion ensemble from the University of California." Founded 20 years ago by Steven Schick, the San Diego-based ensemble performs, records, and premieres works from the last 85 years of western percussion's rich history. The group works regularly with living composers from every continent. Recent projects include the world premiere of Roger Reynolds' Sanctuary and the American premiere of James Dillon's epic Nine Rivers cycle with the International Contemporary Ensemble (ICE). In the Summer of 2011 red fish blue fish collaborated with George Crumb, Dawn Upshaw and Peter Sellars to premiere the staged version of The Winds of Destiny. Eighth Blackbird invited red fish blue fish to join them in performances of works by American icons John Cage and Steve Reich at the Park Avenue Armory in New York City. The New York Times called their "riveting" John Cage performance the "highlight" of the program. Recordings of the percussion chamber music of Iannis Xenakis and Roger Reynolds on Mode Records have been praised by critics around the world. Recordings released in the 2012-13 season included the works of Karlheinz Stockhausen, Giacinto Scelsi and rare works of Iannis Xenakis.

In 2012 red fish blue fish presented four concerts of percussion music alongside Percussion Group Cincinnati at the John Cage Centennial Festival in Washington, D.C., where they performed highlights from Cage's collection of percussion works.

RFBF has had a huge impact on new music percussion performances, recordings and education. Successful RFBF/UC San Diego Department of Music alums include Ross Karre, now with ICE; Aiyun Huang, who heads the percussion department at McGill University; Morris Palter, an assistant professor at University of Alaska Fairbanks, where he is also the artistic director of the 64.8 percussion group; and Justin DeHart, who is a member of the Chapman University faculty and of the Los Angeles Percussion Quartet.

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Computer music concert featuring: live video analysis + synthesis, spatial audio, projection, theatre, and interactive works.

FREE AND OPEN TO ALL STUDENTS!!!

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SElectOr

This concert is brought to you by the Sound Electroacoustic Orchestra (SElectOr) at UCSD. This collective is composed of performers, programmers, producers, visual artists and composers. The group is designed to bring access to technological tools to all graduates and undergraduates around campus. Leveraging our positions and connections the collective works together to give everyone access to state-of-the-art equipment and technical support for the purposes of creating new musical materials. Our goal is that no student’s musical vision will remain a dream because of lack of access or knowledge. The group is open to all UCSD students, faculty and staff.

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Trio, Op. 274 (1905) - Carl Reinecke (1873-1916)
for piano, clarinet and horn
Allegro | Ein Märchen | Scherzo | Finale

Quintet in D Major, Op. 42 (1893) - Zden?k Fibich (1850-1900)                             
for violin, clarinet, horn, cello and piano
Allegro non tanto | Largo | Scherzo | Finale

Mari Kawamura, piano
Cecilia Kim, cello
Päivikki Nykter, violin
Robert Zelickman, clarinet
Jane Zwerneman, French horn                                                     

Program notes

Born in Hamburg but living most of his life in Leipzig, Carl Reinecke was one of the most versatile musicians in 19th century Germany, recognized as a conductor, pianist and teacher as well as a composer. In 1860, he was appointed director of Leipzig’s great Gewandhaus orchestra, a position he held for more than 30 years. There he led the premier performance of Brahms’s German Requiem and joined the Gewandhaus Quartet in the premier performance of Brahms’s great Piano Quintet. He served as a teacher for 35 years, first as a professor at the Cologne Conservatory and then at the Leipzig Conservatory. Students came from all over Europe to study with him, and included composers Edvard Grieg, Leoš Janá?ek, Isaac Albeniz, Max Bruch and Frederick Delius. As a pianist, he toured Western Europe as a concert artist, probably unrivaled as a performer of Mozart. Known for his legato style in a time of keyboard brainstorming, Liszt picked him as the teacher for his own two daughters. Near the end of his life, at the age of 80, he recorded piano rolls, making him the earliest-born pianist to have his playing preserved in any format. As a composer, he first wrote music for his own performance – four piano concertos and cadenzas for concertos by other composers. After his retirement from teaching, he devoted his time for composing, resulting in a life-time output of nearly 300 published works. At a time of great changes in music, he was basically a conservative, producing music of classical design, proportion and restraint.

This Trio was one of three, composed in his mature years, for unusual combinations of instruments; Op. 188 for oboe, horn and piano; Op. 264 for viola, clarinet and piano, and Op. 274 for clarinet, horn and piano. He produced them to perform with Leipzig friends who played instruments then with limited roles in the chamber music repertory.

The Op. 274 Trio, which we hear today, was composed in 1905, five years before Reinecke’s death, and is the work of a superior craftsman writing in the harmonic language and spirit of the late Romantic period just coming to an end. Indeed, the first movement, Allegro, is in conventional sonata form and could well have written by Brahms. It begins with a six-measure horn call repeated by the clarinet and blended with a third theme led by the piano and culminating in a long crescendo to a climax. The second movement is titled Ein Märchen (a German fairytale) – a caption used previously by Schumann for music depicting a somewhat sinister world of fairies. There is a touch of that element here in an otherwise restful mood picture. In the third movement, a Scherzo, Reinecke again follows Schumann’s lead in providing two contrasting trios. Note the vigor and bravura writing for the horn. The Finale, is launched with the clarinet’s statement of the main theme. This is followed by a series of sections giving all three instruments a chance to shine and ending with a formal announcement of the starting theme.  -Willard J. Hertz

Zden?k Fibich is the third of the so-called Big Three of 19th century Czech composers, the other two being Smetana and Dvo?ák. That Fibich is not as well known as the other two is not because his music was in any way inferior, but simply because he lived during a time of extreme national consciousness and unlike Dvorak and Smetana, he did not choose only to write in a purely Czech idiom. Rather, his music, though exhibiting Slavic elements, is more typically Central European in sound. This reflects his background. One of his parents was Czech, the other an Austrian German. His education was at both Czech and German schools. He studied at the famous Leipzig Conservatory then spent a year in Paris. Hence Fibich, in contrast to either Dvorak or Smetana, was the product of two cultures, German and Czech. His instrumental works are generally in the vein of the German romantics such as Mendelssohn, Schumann and Wagner.

Fibich’s Quintet is one of the most original sounding chamber music works because of the unusual tone color effects that Fibich creates. Clearly, in its original version for piano, winds and strings, the nature of the instruments, by themselves alone, creates the stunning and rich effects. However, the version for standard piano quintet benefited immeasurably because Fibich strove hard to maintain the wonderful tone color of the original. The Quintet dates from 1893. Because of the unusual combination of instruments Fibich selected for the original version, his publisher, knowing not many copies would be sold, asked for a version for standard piano quintet. This he produced and yet, such was Fibich's genius, that it in no way sounds like an arrangement and often even gives the feeling of being an altogether separate composition. The main theme to first movement, Allegro non tanto, is warm-hearted and presents a colorful reflection on the peacefulness of nature with a somewhat rustling quality in the background. There is a brief orchestral call to attention before the music seamlessly drifts away. The second movement, Largo, has for its main subject a melody which is serene and dignified but also capable of tremendous passion. A Schubertian Scherzo, with two trios comes next. Fibich gives the instruction "to be played with wild humor." The finale, Allegro con spirito, is bright, joyous and festive.  -Edition Silvertrust

 

Biographies for performers

Robert Zelickman, clarinetist, has been teaching and performing in San Diego since 1982.  He is a member of the bass clarinet quartet JAMB and co-director of Second Avenue Klezmer Ensemble.  Robert was a member of Orchestra Nova for 23 seasons and has performed with the San Diego Symphony and the San Diego Opera. Recently, Robert retired from UC San Diego (1983-2015) where he lectured on Jewish Music, conducted the Wind Ensemble and performed regularly, premiering many new compositions.  He currently performs in recitals and chamber music concerts throughout San Diego. Zelickman earned his BA at UCLA and a MFA at Cal Arts. He studied with Hugo Raimondi, Michele Zukovsky and Ronald Rueben. 

Jane Zwerneman has been an active recitalist, freelance musician and teacher in the San Diego area since 1987, performing regularly in productions at the La Jolla Playhouse and the Old Globe Theater, and with the Gilbert Castellanos Jazz Orchestra, Joe Garrison and Night People, Orchestra Nova and the San Diego Symphony. As horn soloist with the Orquesta de Baja California from 1992-2000 she performed and recorded extensively throughout Mexico and the United States. She earned her MM and DMA degrees from the Eastman School of Music where she studied horn with Verne Reynolds and composition with Samuel Adler and Joseph Schwantner. Dr. Zwerneman was a member of the faculty at Grossmont College from 1989 to 2009. In her spare time she works as Assistant Director of the Stuart Collection at UC San Diego, commissioning new public art for the campus.

A versatile recitalist and chamber musician, violinist Päivikki Nykter, is equally at home with standard repertoire as well as contemporary music. A native of Finland, she is a graduate of the Sibelius Academy in Helsinki. Ms. Nykter served as an Artist-in-Residence at the University of California San Diego Music Department from 1994 to 2006. She is now a freelance violinist maintaining a busy concert schedule as well as teaching the Alexander Technique both in the US and Europe. Ms. Nykter is an artistic director of a Chamber Music Concert Series in Lappeenranta, Finland. She has recorded on Neuma, Aucourant Records, CRI, Old King Cole, Omega Editions and mode labels.

Cellist Cecilia Kim, a native of Korea, where she began her music career at a young age. She received a Bachelor and a Master’s degree at the Daegu Catholic University as a full scholarship recipient and earned another Master degree at San Diego State University. She has held positions in many orchestras including the Daegu Symphony Orchestra and the Daegu Chamber Ensemble. Simultaneously, she made highly acclaimed solo appearances with the Daegu Symphony Orchestra, the Daegu Philharmonic Orchestra, the Daegu Catholic University Orchestra and the University of San Diego Orchestra. Also, she held a faculty position at the Daegu Catholic University and the University of San Diego. Currently, she has been giving many performances around San Diego County.

Mari Kawamura is a concert pianist whose curiosity and wide-ranging interests have taken her in many directions. Her repertoire includes pieces by William Byrd, late Scriabin, Xenakis, Cage and several contemporary Japanese composers. She has been collaborating with composers for many years and has premiered many works by young composers. She has appeared in the major festivals, such as Tanglewood Music Center, Spoleto Festival USA and the Darmstadt International Summer Course and has given both solo and chamber music concerts in various venues, including Jordan Hall (Boston), Regent Hall (London) and Kirsten Kjær Museum (Denmark). Her 2013 performance of Xenakis’s Dikthas at the SICPP in Boston was described as "an unrelenting volcanic eruption" by NEWMUSICBOX. Kawamura holds a Master’s degree from the Royal Academy of Music, where she achieved the DipRAM prize for her outstanding final recital. Her teachers included Vadim Sakharov and Tatiana Sarkissova. After studying with Stephen Drury at the

New England Conservatory in the Graduate Degree Program, Kawamura is now pursuing her DMA degree under Aleck Karis at the University of California San Diego. 

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New Works for Improvisers

featuring:
Joseph Bourdeau - found percussion
Teresa de Cossio Diaz - flute
Mariana Flores - voice
Juliana Villamizar Gaona - oboe
Felipe Rossi - Bass Clarinet
Alexandria Smith - trumpet
Jonathan Stallings - clarinet 
Qingqing Wang - piano
Ilana Waniuk - violin
Mark Dresser - bass/instructor

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Come enjoy MUS 131's Fall 2019 concert! We will showcase our 7-piece combo, led by Dr. David Borgo. From bebop to fusion, latin to funk, we hope you join us for a night of JAZZ.

WHEN: Monday, November 25th @7PM
WHERE: The Loft
Free! No ticket required.

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Cellist Michael Nicolas and pianist Aleck Karis will perform Sergei Rachmaninoff's magnificent Sonata in G minor for Cello and Piano, Op. 19 (1901) along with the Cello Sonata in C, Op. 65, by the English composer Benjamin Britten. 
 

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Directed by Ken Anderson, the choir combines hundreds of voices to fill the auditorium with the uplifting sound of African American spirituals, blues, traditional songs, and gospel.

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As part of his residency at the University of California San Diego, Finnish percussionist Kalle Hakosalo presents a solo marimba recital featuring a mixed program of marimba literature and transcriptions of piano, cello and orchestral music. Romantic imagery and Baroque dances are contrasted with contemporary tone language and shimmering virtuosity meets intimate ambiance in this concert extraordinaire.

Time & place: Recital Hall (Conrad Prebys Music Center), 11/27/2019 at 4pm

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Students from Aleck Karis' piano studio perform selected works.

Program:
Tyler Koh: Sinfonia No.2 in C minor, BWV 788 by J.S. Bach
Chris Lin: Piano Sonata No. 8 in C minor, op. 12 "Pathétique" by Ludwig van Beethoven
Chia-yu Chang: Capriccio no. 3 from Fantasien, op. 116 by Johannes Brahms
Jad Barrere: Années de pèlerinage. Première année "Suisse" S.160/R.10-4 by Franz Liszt
Mari Kawamura: Sonata No.21 in C major "Waldstein" by Ludwig van Beethoven

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UC San Diego Vocal Masterclass presents Make Our Garden Grow: Songs of Bernstein and Sondheim

The singers from the UC San Diego Vocal Masterclass offer a recital of songs and ensembles composed by Leonard Bernstein and Stephen Sondheim, two of the most celebrated theater composers of the past century. The program will feature selections from works both familiar and rarely heard, including Bernstein’s West Side Story, Candide and Peter Pan, and Sondheim’s Into the Woods, Follies, and Evening Primrose. The singers will be joined on stage by Dr. Kyle Adam Blair (piano) and Julianne Chen (cello).

Featuring:

Adam Berry, Sophia Casas, Rachel Dovsky, Elizabeth Fisher, Myasia Fox, Joseph Garcia, Lauren Jue-Morrison, Seongmin Kim, Leya Ledvin, Halana Macamay, Vita Muccia, Shane Ramil, Teagan Rutkowski, and Julia Yu. With Julianne Chen (cello) and Dr. Kyle Adam Blair (piano).

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Join UC San Diego's Department of Music for our Monday Night Jazz event of the year! Directed by Kamau Kenyatta, The 95JC concert will feature a small ensemble performing a variety of exciting compositions, including some written and arranged by student musicians.

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Dysfunctional Jazz Experiment. Tuesday, December 3rd, 2019 11:30am. Mandeville Auditorium, East Room. Free
Paul Roth-Alto Sax
Tommy Babin-Acoustic Bass
Kevin Green-Drums

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The UC San Diego Chamber Orchestra directed by Matt Kline presents their Fall performance on December 3, 7:30 p.m. at the Mandeville Auditorium. 

Program:

Overture in D Minor - Emilie Mayer

Symphony No. 35 in D Major "Haffner" - Wolfgang Amadeus Mozart

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The students of Music 33 "Introduction to Composition," led by Prof. Lei Liang, will present their original compositions. For many students in this class, this is the first time they composed their own music! These students came from diverse backgrounds, and many are double-majors or music minors. Their original works reflect their diverse interests and talents, and all are invited to attend.

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Éliane Radigue (b. 1932) is a pioneering French composer of undulating continuous music marked by patient, virtually imperceptible transformations that purposefully unfold to reveal the intangible, radiant contents of minimal sound—its partials, harmonics, subharmonics and inherent distortions. As a student and assistant to musique concrète pioneers Pierre Schaeffer and Pierre Henry in the ‘50s and ‘60s, Radigue mastered tape splicing techniques, but preferred the creation of fluid, delicately balanced feedback works to the spasmodic dissonance of her teachers’ music. Finding peers among minimalist composers in America, Radigue began working with synthesis in 1970, eventually discovering the ARP 2500 synthesizer, which she would use exclusively for her celebrated electronic works to come. With remarkable restraint, Radigue spent years on each piece, painstakingly assembling series of subtle, pulsating ARP recordings to be later mixed meticulously into hourlong suites of precise, perpetual mutation, including masterpieces Trilogie de la mort and Adnos I-III. In 2001, Radigue adapted an early feedback work to live performance on electric bass, Elemental II, and in 2004, with the encouragement of ongoing collaborator Charles Curtis, she permanently abandoned electronics for acoustic composition, beginning with Naldjorlak for solo cello, composed for Curtis. As within each individual work, Radigue has maintained an obstinate focus throughout the flow of her career, her dedication to the materiality of sound earning her numerous accolades and ensuring her place as one of the most important composers of our time.

Occam Ocean is an ongoing series of solo and ensemble pieces composed by Radigue for individual instrumentalists in which a performer’s personal performance technique and particular relationship to their instrument function as the compositional material of the piece. The “knights of the Occam,” as Radigue refers to the performers participating in the project, are therefore musicians who have developed individualistic, creative approaches to their instruments; and the resulting compositions are not transferable to other performers on that instrument. Citing the ocean as a calming antidote to the overwhelming nature of our vibratory wave-filled surroundings, Radigue has named the tributary components of her Occam series with the image of fluid water in mind. Solo pieces are Occams, duo pieces Rivers, and larger ensemble pieces Deltas. The process of combining or over-laying the solos as small ensemble pieces, with only minor adjustments in the solos themselves, recalls Radigue’s procedure in the early feedback works made as sound installations, in which individual feedback loops are to combined freely in slight non-synchronization such that combinations of loops rarely or never repeat. With the extreme simplicity of Occam’s razor, continuous pieces that are iridescent on their own achieve a new radiance of interacting pulsation in their River and Delta configurations. The Occam series began in 2011 with a solo for harpist Rhodri Davies and has continued steadily to the present, counting now well over fifty individual solos and ensemble pieces.

Each night of Occam Ocean at Pace Gallery will feature different combinations of performances in Occam, River, and Delta configurations by Charles Curtis, Rhodri Davies, and Robin Hayward.

Acknowledged internationally as a performer of new and experimental music, cellist Charles Curtis has been associated with minimalist pioneer La Monte Young and Marina Zazeela since 1987, their intimate working relationship having yielded retroactive recalibrations of pieces like Young’s 1958 Trio for Strings. Curtis is also the first performer to collaborate with Éliane Radigue on a work for an unamplified, acoustic instrument without electronic support or accompaniment. This work, Naldjorlak, composed in 2004 and premiered in December 2005, is an hour-long, exhaustive enquiry into the inherent resonating properties of the cello.

Rhodri Davies is an improvising harpist who confronts traditional concepts of the harp through his use of preparations, detuned, bowed, and e-bowed strings. One of the most prominent members of the London reductionist school of improvised music, new pieces for solo harp have been composed for him by Philip Corner and Yasunao Tone, in addition to Éliane Radigue.

Robin Hayward is a tuba player and composer who has introduced radical playing techniques to brass instruments, initially through the discovery of the ‘noise-valve’ and later through the development of the first fully microtonal tuba in 2009. In 2012 he invented the Hayward Tuning Vine, partly out of a desire to visualise the harmonic space implicit within the microtonal tuba, and began working on a solo tuba piece with Éliane Radigue, which became Occam XI. Other composer collaborations include Christian Wolff and Alvin Lucier.

 

Occam Ocean is part of Éliane Radigue: Intermediate States, a retrospective curated by Lawrence Kumpf and Charles Curtis and developed in collaboration with Éliane Radigue for Blank Forms in New York. The retrospective seeks to present Radigue’s practice in a richly contextualized, holistic manner to draw out important connections between her early and late periods of work, examining the breadth of her practice and juxtaposing her compositions with new interpretations and experimental re-stagings by contemporary composers. The retrospective will continue with more programs into 2020.

Éliane Radigue: Intermediate States has been made possible with generous support from Pace Gallery, Wales Arts International, the Goethe-Institut, and through the New Music Fund, a program of FACE Foundation, with generous funding from the Cultural Services of the French Embassy in the United States, Florence Gould Foundation, Fondation CHANEL, French Ministry of Culture, Institut français-Paris, and SACEM (Société des Auteurs, Compositeurs et Editeurs de Musique). 

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Students of Pandit Kartik Seshadri and Arup Chattopadhyay perform Indian Classical Music on December 5, 2019 in an evening of Ragas and Talas (Indian Classical Music) under the directorship of Kartik Seshadri. All are welcome to attend.

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IDEAS: Time Unfolded, with Johannes Reginier and Nakul Tiruviluamala

Date: December 5th, 2019  to December 5th, 2019
Time: 5:00 pm - 7:00 pm
Location: Atkinson Hall Theater/VRoom , UC San Diego
Host: Shahrokh Yadegari, professor, Department of Music

DESCRIPTION/ABSTRACT:

Time Unfolded is an interdisciplinary and immersive multi-media work, combining highresolution video, dance and live electronics.

Time Unfolded is an exploration of the movements of a dancer, filmed in 4.6K and high frame rate and decomposed instant after instant, following and extending the techniques of chronophotography of Eadweard Muybridge and Étienne-Jules Marey, and accompanied by an immersive 8-channel live electronics performance. Through the interplay of sounds and images, time unfolds and shapes emerge from the succession of the instants.

SPEAKER BIO:

Johannes Regnier (UC San Diego Music) In a career that spans more than a decade, Johannes Regnier has been active as a composer and sound engineer and has conducted several projects in the field of electronic music. He studied mathematics at the University Pierre et Marie Curie in Paris, sound engineering at the Ecole Nationale Supérieure Louis-Lumière in Paris and sound art at the University of the Arts in Berlin. Regnier is currently pursuing a doctoral degree in computer music at UC San Diego under the supervision of Miller Puckette.

Nakul Tiruviluamala (UC San Diego Music) Nakul Tiruviluamala has a deep passion for music that began when he started studying piano at the age of four. He is a keyboardist, composer, singer, conductor, sound artist, and multiinstrumentalist. He received his bachelor’s of music in classical piano performance at UC Irvine. Afterwards, he earned both a master’s in music composition as well as an artist diploma in jazz piano performance at San Diego State University. He is currently pursuing a PhD at UC San Diego in computer music.

Verónica Santiago Moniello - Verónica is a Venezuelan-Italian choreographer and dancer currently based in the south of California and Mexico. She holds an M.F.A. Master of Fine Arts in the Theatre & Dance Program at UCSD, the University of California, San Diego (U.S.) and a B.A. in Dance Making by the Folkwang Universität der Künste, Essen (Germany), where she worked on Pina Bausch’s “Le Sacre Du Printemps” répertoire. Her practice is inspired by the relationships between human movement and unstable surfaces, the connection between the body, its organs and naturals elements, notions of memory and the idea of birth, antagonist subjects of resistance, utopian bodies, and dreams. Her projects have been presented in Mexico, Venezuela, Belize, Germany, Czech Republic, Lithuania, Spain and the U.S. Currently she is teaching Movement Laboratory for undergraduates at the Dance Program at UCSD in San Diego- California,U.S. Recently she has been choreographing “Women at War” (dir. Rebecca Johannsen,) at California State University San Marcos. Also Anna Moench’s “Mothers at Play” (dir. Bea Basso) at the Potiker Theatre in La Jolla. San Diego- California, U.S. She also has choreographed “Amor es más Laberinto” (dir. Raquel Araujo,) co-produced between the National Theater Company of Mexico and La Rendija theater company in MeridaYucatan. She has directed “Before the Horses Crash into the Ground, and then the Ground,” as part of her ongoing research “The Body that has Been Possessed” awarded by the Tinker Fellowship, CILAS (Center for Latin American and Caribbean Studies) and The Friends of California, and is co-creator of “DosLados;” a collaboration between Habitual and La Mecedora, that re-imagines new ways of shortening and folding the territory between, Rosarito, Tijuana and San Diego through dance. She has performed in the dance video piece “Until it Lives in the Muscle” (dir. Andrea Canepa) at the Bauhaus School (Dessau, Germany.) Also she has presented her solo “implicitself” at “Series of Performances” program hosted by Movement Research (NYC, U.S.) Since 2015 she has been guiding dance workshops and masters classes at “La Rendija” theater company at the same time collaborating with the dance company Tumakat as directors assistant for Vania Duran in Mérida, Yucatán (México.) 

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A reception will be held at 6 p.m.

This event is free and open to the public.

RSVP requested to galleryinfo@calit2.net

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Phillip Larson directs the CHAMBER SINGERS of MUS 95K.

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Katharina Rosenberger: surge for bass clarinet, cello, piano
Anna-Louise Walton: uttered for clarinet, cello, piano
Ashley Fure: therefore i was for cello, percussion, piano
Katharina Rosenberger: Up-Close new collaborative work for fl, bcl, vcl, pno, perc (as listed above)

Performers:
Michael Matsuno, flute (guest)
Madison Greenstone, clarinets
Tyler J. Borden, cello
Rebecca Lloyd-Jones, percussion (guest)
Wei-Han Wu, piano
Jason Thorpe Buchanan, electronics and sound diffusion

 

About [Switch~ Ensemble]

A new music ensemble for the 21st Century, the [Switch~ Ensemble] is dedicated to the creation of new works for chamber ensemble, integrating technology and live performance. We believe that working directly with composers throughout their creative process—in a medium where the score is a departure rather than a finish line—allows for new and thrilling musical possibilities.

Recent engagements include ensemble residencies at Harvard, Cornell, Bard, University of Chicago, Ithaca College, Buffalo State, and UC Berkeley, as well as performances at the Image/Sound Festival, San Francisco Center for New Music, Valencia International Performance Academy, MATA Interval Series, the New York City Electroacoustic Music Festival, the Queens New Music Festival, and the Vanguard New Music Series at Kent State University.

[Switch~] contributes to the future of the genre by strongly advocating for and commissioning the music of a new generation of early career composers. Commissions by and for [Switch~] include works by Katharina Rosenberger, Anna-Louise Walton, Matt Sargent, Esaias Järnegard, Adrien Trybucki, and Timothy McCormack. Additionally, we have performed European or American premieres of major works by composers from across continents, like Alexander Schubert, Elvira Garifzyanova, Santiago Diez-Fischer, Lisa Streich, Rand Steiger, or Anthony Pateras. [Switch~ Ensemble] has been generously supported by the Ernst von Siemens Musikstiftung, New Music USA, the Amphion Foundation, the Paul R. Judy Center for Innovation and Research, and more.

[Switch~]’s 2019-2020 season highlights include a residency with Harvard Group for New Music, a workshop and performance at UC San Diego for a new commission by Katharina Rosenberger, a return engagement at Eastman Audio Research Studio’s Image/Sound Festival, residencies at the Frost School of Music in Miami and SPLICE Festival in Kalamazoo, and performances in New York City.

Founded in 2012 at the Eastman School of Music’s Computer Music Center as a flexible-size professional ensemble looking toward the future of contemporary music, the [Switch~ Ensemble] specializes in high-level chamber music integrated with cutting-edge technology. We are passionate about helping to build a diverse canon of 21st century works that leaves space for all voices—especially those that have historically been excluded from our field. Read more about the ensemble and its members at: http://www.switchensemble.com/about/  

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Kevin Good and Katie Eikam present Kunsu Shim’s rarely heard percussion piece “Marimba, Bow, Stone, Player."

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Undergraduate students under the direction of Takae Ohnishi will perform chamber music. All are welcome to attend.

The program includes the works by Telemann, Haydn, Schumann, Migot, Barrmann, Popper, etc. 

G. Ph. Telemann - Concerto, Allegro ma non troppo in G major
Irene Lee, flute, Jacqueline Guy, violin 1, Hsian-ying Lu, violin 2, Siddhartha Krishnan, Baroque guitar, and Sherry Zheng, harpsichord

J. Haydn - String Quartet “Sunrise” Allegro con spirito in B-flat major, op.76, no.4
Jane Park, violin1, Meng-Chia Lee, violin 2, Mische Holland, viola, and Gabrielle Carr, cello

D. Popper - Requiem in F-sharp minor, op.66
Henry Helmuth, cello 1, Julianne Chen, cello 2, Russell Chiang, cello 3, and Chonling Liu, piano

G. Migot - Les Parques
Anu Chaparala, violin 1, Anete Ramos, violin 2, Adam Woll, viola, and Yidong Guo, piano

C. Baermann - Duo Concertant op. 33 
Evan Lam, clarinet 1, Mara Casebeer, clarinet 2, Qinghong (Sherry) Xie, piano 

I. Lachner - Trio No. 1 in B-flat Major, op. 37 
II. Andante con moto | III. Scherzo. Allegro molto 
Ben Boyarko, violin, Claire Morris, viola, and Xiaoyan Ren, piano 

C. Rorich - Burleske op. 64 
E. Krakamp - Scherzo “Il maestro e gli allievi” op. 100 
Seema Ahmed, flute 1, Simran Bhakta, flute 2, Sadaf Khwajazada, flute 3, and Chia-yu Chang, piano 

R. Schumann - Piano Quintett, Allegro brillante in E-flat major, op44 
Jonathan Fong, violin 1, Helen Thio, violin 2, Kane Gu, viola, Sarah Kang, cello, and John Guo, piano 

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David Aguila plays the music of Karlheinz Stockhausen

Harmonien (2007)

Tierkreis (1975)
arr. Aguila (2017)

• Leo
• Virgo
• Libra
• Scorpio
• Sagitarius
• Capricorn

Spiral (1968)

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Join us for a conversation with composer Anthony Davis, conducted by UC San Diego Music professor emeritus Cecil Lytle, exploring the genesis of The Central Park Five and the artist’s duty to reflect on important social and political issues of the day.

Opera News has called UC San Diego Music Professor Anthony Davis, "A National Treasure," for his pioneering work in opera. His important contributions also extend to chamber, choral and orchestral music as well as improvised music and jazz. His six operas include works centered on recent historical figures Malcolm X and Patty Hearst. His latest opera, The Central Park Five, an exploration of the infamous wrongful conviction of five teenagers of color in NYC in the 1980s, premiered at the Long Beach Opera in 2019 to international acclaim.

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Steven Schick, conductor

Celeste Oram Thomas Nee Commission
Robert Schumann Violin Concerto
John Adams Harmonium

Soloist: Keir GoGwilt, violin

Keir GoGwilt, who dazzled in Thomas Adès’ Violin Concerto two seasons ago, returns with another unfamiliar (and very different) piece, the Violin Concerto of Robert Schumann, one of that doomed composer’s final works. The La Jolla Symphony Chorus joins the orchestra for the work that launched John Adams’ career: Harmonium sets texts by John Donne and Emily Dickinson, and its premiere in 1981 announced the arrival of a major composer. Celeste Oram, this year’s Nee Commission winner, continues our tradition of melding music and visual art.

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Steven Schick, conductor

Celeste Oram Thomas Nee Commission
Robert Schumann Violin Concerto
John Adams Harmonium

Soloist: Keir GoGwilt, violin

Keir GoGwilt, who dazzled in Thomas Adès’ Violin Concerto two seasons ago, returns with another unfamiliar (and very different) piece, the Violin Concerto of Robert Schumann, one of that doomed composer’s final works. The La Jolla Symphony Chorus joins the orchestra for the work that launched John Adams’ career: Harmonium sets texts by John Donne and Emily Dickinson, and its premiere in 1981 announced the arrival of a major composer. Celeste Oram, this year’s Nee Commission winner, continues our tradition of melding music and visual art.

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David Aguila plays the music by Aguila, Andre, Cage, and Stockhausen.

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Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

PROGRAM:

Schumann, Märchenerzählungen, Op. 132
György Kurtag, Hommage a Robert Schumann, Op. 15d
Darius Milhaud, Sonatina for Violin and Viola, Op. 226
Richard Strauss, Violin Sonata in E-flat major, Op. 18

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). 

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Under the artistic directorship of UC San Diego distinguished professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and UCLA professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

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nonPERCUSSION is an entity that explores a set of transformations. The symmetrically arranged program features three types of works: instrumental, non-instrumental and object- centered. Each of them have been assigned an acoustic and an electroacoustic variant. The result is a narrative arch that depicts the loss and re-discovery of oneself. The transitions between pieces also undergo a change, first developing an (electronic) existence of their own and little by little being reduced to a simpler form.

 

Kalle Hakosalo is a young, prolific Finnish percussionist. Passionate about popularizing percussion music in his native Finland and abroad, he performs extensively as a soloist and chamber musician (in ensembles like NEKO3 and km2). His repertoire extends from Baroque arrangements to cornerstone works of percussion literature, multidisciplinary art and music written for him.

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Seminar in Composition, instructed by Anthony Davis presents their end of term concert featuring new and innovative premiere works. 

Featuring compositions by: Emmitt Carroll, Jackie Guy, Kaolyn Hong, Adrian Martinez, Daniel Mendoza, Ekaterina Myshliaeva, Braden Rigling, Diego Rodriguez, Korey Ross, Irene Sha, and Katherine Wilkes.

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In her final DMA recital, Fiona Digney is joined by friends and colleagues Steven Schick, Aleck Karis, Kyle Adam Blair, and Kyle Johnson for a concert exploring the macro and the micro. The program will begin with a new work by duo ...and then we run, followed by the rarely performed magical and wondrous 1974 work for two pianos and two percussion; Makrokosmos III: Music for a Summer Evening by George Crumb.

Please join us for this FREE event that will be sure to start the new decade off right with ancient mystical sounds and a new work for a new world.

 

About Fiona Digney:

Fiona Digney is an Australian-born multi-faceted percussionist who holds both education and performance degrees and is currently based in California while she undertakes doctoral studies under the guidance of Prof. Steven Schick. She has enjoyed a wide-ranging freelance career over the last decade, performing in solo, ensemble, and theatrical settings in Australia, China, Canada, The Netherlands, Sweden, England, Mexico, and the United States. As an avid proponent of new music, she has commissioned and premiered various percussion works from composers across the globe and has been involved in many new music ensembles; most recently as on-stage percussionist in the European premiere of Anne Washburn’s highly acclaimed post-electric play, Mr. Burns at the Almeida theatre, London. Fiona has performed with West Australian Symphony Orchestra, Tetrafide percussion quartet (AUS), Ensemble 64.8 (USA), Het Zuiderlijk Toneel, and Diamantfabrielk theatre companies (NL), as well as a soloist at Club Zho and the launch of the Totally Huge New Music Festival (AUS). Fiona is a current member of red fish blue fish and is active in both the music and theatre departments at the University of California San Diego.

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Percussionist Rebecca Lloyd-Jones presents her first DMA recital: 

Program:
Betsy Jolas - Études Aperçues (1992)
Vanessa Tomlinson - world premiere (2019)
Theocharis Papatrechas- world premiere (2019)
Kaija Saariaho - Six Japanese Gardens (1993-95)

About Rebecca: 
Australian born percussionist Rebecca Lloyd-Jones is a diverse musician who is passionate about percussion performance, research and education. She has worked extensively with the Queensland, Melbourne, Sydney and Darwin Symphony Orchestra, The Australian National Academy of Music (ANAM) and served as a musician in The Australian Defence Force.

Rebecca has performed at several focus days for the Percussive Arts Society International Convention, has attended the Roots and Rhizomes program at the Banff Centre for Arts and Creativity, Canada, and has also presented at the 2017 Transplanted Roots Research Symposium. In 2019, Rebecca was a guest artist at the VI Semana Internacional de Improvisación held in Ensenada, and will also be a guest tutor at the Festival de Música Nueva, Ensenada.

Based in San Diego, Rebecca is a doctoral candidate at UCSD under the guidance of Distinguished Professor Steven Schick. In Australia, Rebecca graduated from the Victorian College of the Arts completing her Honours Degree, under the tutelage of percussionist Peter Neville and is also an alumnus of the Higher Degree Research Department at Queensland Conservatorium completing her Masters of Music Research Degree with Dr. Vanessa Tomlinson.

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One Fish Two Fish is made up of undergraduate percussion players who are enrolled in either MUS 32 (private lessons) or MUS 95L (Wind Ensemble). They are presenting a concert of new percussion classics.


Program:

Gravity - Marc Mellits

Baby Bot - Andrea Mazzariello

Early Sentiments - Edward Hamel
Matt Leveque, soloist

Mallet Quartet - Steve Reich


Directed by James Beauton:
DMA Candidate, red fish blue fish member, and conductor of the UCSD Wind Ensemble

one fish two fish members:
Hailey Brown
Wesley Chen
Katie Hsieh
Matt LeVeque
Adrian Martinez
Eric Nguyen

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Camera Lucida is a chamber music collaboration between four musicians with diverse backgrounds. Camera Lucida is a unique project matching masterpieces of the chamber music repertoire with a group of world-class instrumentalists who happen to call San Diego home.

PROGRAM:

Mozart, Piano Trio in Bb, Divertimento K. 254
Beethoven, String Quartet in D major, Op.18 Nr. 3
Sergei Rachmaninov, Sonata Op 19 for viola and piano

PERFORMERS:

Jeff Thayer, violin

Hanah Stuart, violin

Che-Yen Chen, viola

Charles Curtis, cello

Reiko Uchida, piano

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). 

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Under the artistic directorship of UC San Diego distinguished professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and UCLA professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

 

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PROGRAM:

Joseph Haydn: Piano Sonata No. 59 in E flat Major, Hob.XVI/49
Erik Ulman: Au seul souci de voyager for solo piano
Michael Finnissy: Snowdrift
Ludwig van Beethoven: Piano Sonata No. 21 in C major, Op.53 "Waldstein"

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2020 is upon us at last, and so too is the latest installment in a proud lineage of Grad Forum concerts! An eclectic, thrice-quarterly grab bag of electro-acoustical-musical-theatrical excellence showcasing the ongoing work of UC San Diego Music Department grad students. Grad Forums are always free, always weird, and usually not terribly long, so join us Friday, January 17th in the Experimental Theater as we plunge ourselves into a shiny new year doubtlessly full of fun new experiences, and fresh existential horrors!

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“A blazing, larger-than-life performance.”—Washington Post

Distinguished by its virtuosic playing and impassioned interpretations, the Ariel Quartet has earned its glowing international reputation. Formed in Israel nearly twenty years ago, the Quartet was recently awarded the prestigious Cleveland Quartet Award. The Ariel serves as the Faculty Quartet-in-Residence at the University of Cincinnati’s College-Conservatory of Music, where they direct the rigorous chamber music program and perform their own annual series of concerts in addition to their busy touring schedule.

In honor of Beethoven’s sestercentennial in 2020, the Ariel Quartet will perform the complete Beethoven Cycle. This concert marks the second of a five-concert series.

Program:
Ludwig van Beethoven: String Quartet in E-flat Major;op. 127; String Quartet in B-flat Major, op. 18, no. 6; String Quartet “Rasumovsky,” op. 59, no. 3

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Two new works of electronic music:

 

- All sorts

 

- conscientiousness

 

 

Two synths were programmed to have internal dynamic mechanisms, where the musician can mix what processes co-occur and couple together creating rhythmic vibrations. Timbres reach into heavy saturation and unexpected resonance shapes via containing high volume signals with power-preservation.  Signals are projected to higher-dimensions and rotated with other signals or oscillators, altering and adding to the psychedelic sound of the instrument.  

 

Coupling helps multiple processes find a central tendency, a rhythmic voice coupled to a chaotic process gives the chaotic process inflections of pulse timing and due to bi-directionality the rhythm is perturbed by the chaotic process creating phase changes. Demarcations as decelerations form among processes, the consistency of decelerations in terms of its resonance can mask or reveal activity depending on the relations and the actions of the musician.   

 

______

 

The titles of the two works All sorts and conscientiousness signal to the old and new problematics of power and follow from these sentences lifted from instructional documentation of IBM’s Watson-based Personality Insights service:  “You need text written by the person whose personality you are interested in. It should contain words about everyday experiences, thoughts, and responses.  This service applies linguistic analytics and personality theory to infer attributes from a person’s unstructured text. Gain insight into how and why people think, act and feel the way they do.” **

 

**A new IBM service providing micro-targeting capability -- or the antidemocratic identification and persuasion of consumers and voters alike by personality metrics. The Watson system it is based on is general purpose and generates responses to questions using methods of web-based inference. The founder of IBM Thomas J Watson started the corporation up on the technology of census processing, developing punch-card machines to automate sorting and tabulation of populations into grouped types.  Before punch-card technology the census would take 10 years to tally and after only 3 months.  Watson would later work closely with the Nazi party through subsidiary branches in Germany to furnish nazi officials with as many as of such machines with single-use punch-cards that were in the exact shape of the dollar bill as he could, keeping 90% of the profits.  IBM employed workers went door to door to collect population data in search of Jewish people throughout Europe to later abduct and work to death.  The IBM punch-card machine served as an enabling technology for the high-speed realization of Hitler’s idea. It is a haunting example of capitalism and fascism becoming indistinguishable. 

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First-year graduate students studying composition and performance will present their winter jury concert at 7:00 p.m. on Friday, January 24th in the Conrad Prebys Concert Hall.

The evening will feature five world premiere performances by Erin Graham, Douglas Osmun, Janet Sit, Jonathan Stallings, and Alexander Taylor.

The program will feature performances by Mariana Flores (voice, piano), Peter Ko (cello), 
Miguel Zazueta (voice), Erin Graham (percussion), and Alexander Taylor (voice, percussion, and violin). 

PROGRAM:

Manual, by Erin Graham 

Between Breaths, by Janet Sit

Interregnum, by Douglas Osmun 

La Invasión de la Noche, by Jonny Stallings 

Poema de la Siguiriya Gitana, by Alex Taylor

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Discussion session with faculty response to the 1st Year Composition Jury Concert on Friday, January 24th.  Open to the public.

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24th Annual Concert to Benefit the Lytle Scholarship at UC San Diego

Featuring: Cecil Lytle

Program: Music of Remembrance

Please join us as we raise scholarship funds for promising students.

The notion of art for art's sake is a misnomer: every sculpture, painting, dance, poem, or piece of music is a conscious act of principle and intent. Though the purpose may not be literal, and indeed its genesis may be quite obscure, art stems from individual experience and memory. This year's program presents classical compositions in memory of a person, idea, or an occasion.

For more information, please visit rels.ucsd.edu.

 

PROGRAM:

Alan Berg (1885-1935) - Four Pieces for Clarinet and Piano (1913) 

Franz Joseph Haydn (1732-1809) - Keyboard Sonata in E-flat Major Hob. XVI/49 (1790)

Zden?k Fibich (1850-1900) - Quintet in D Major, Opus 42 (1893)

 

PERFORMERS:

Cecil Lytle, piano

Robert Zelickman, clarinet

Mari Karamura, piano

Cecilia Kim, cello

Päivikki Nykter, violin

Jane Zwerneman, French horn

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Prebys Chair Concert featuring Karis, Schick, Steiger, Terrazas and Kanasevich

Compositions by Rand Steiger, Anqi Liu and Alex Stephenson
Conducted by Steven Schick

Conrad Prebys (1933-2016) was an extremely generous philanthropist who made the largest and most important gift to the UC San Diego Department of Music that we have ever received, enabling us to complete the Conrad Prebys Music Center in 2009. His subsequent gifts enabled us to establish an endowment for graduate student support (and name our concert hall in his honor) and to establish the Conrad Prebys Presidential Chair in Music. To honor the memory of Mr. Prebys, and to commemorate the establishment of the Endowed Chair five years ago, the Department of Music presents a concert of the music of Rand Steiger, the current holder of the Chair. The program will include the premiere of a new work for solo piano Simple Gifts, Variations for Conrad Prebys, performed by Professor Aleck Karis, along with Beacon (2015), for flute and electronics, performed by Professor Wilfrido Terrazas, and Cyclone (2013), for clarinet and electronics, performed by clarinetist Gleb Kanasevich. The program will conclude with Steven Schick conducting Palimpsest in a performance of Steiger’s innovative composition Ecosphere in a new version with revised electronics. Steiger’s work broke new ground in the use of realtime digital signal processing of musical instruments when it was commissioned and premiered by IRCAM and the Ensemble Intercontemporain at the Centre Pompidou in Paris in 2002. Schick will also lead the premiere of two new works written for the occasion for the same 16-piece ensemble by graduate composers Anqi Liu and Alex Stephenson.

PROGRAM:  
Simple Gifts (Variations for Conrad Prebys) - Rand Steiger (Aleck Karis, piano)
Cyclone - Rand Steiger (Gleb Kanasevich, clarinet)
How Light Arrives… (premiere for Ecosphere ensemble) - Anqi Liu
Cantus  (premiere for Ecosphere ensemble) - Alex Stephenson 
Beacon - Rand Steiger (Wilfrido Terrazas, flute)
Ecosphere - Rand Steiger [DSP]                      

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Beethoven turns 250 this year.  He was a great composer, as everybody already knows. But in the midst of what will certainly be a mind-numbing hagiography, I can’t help but think that he would feel misunderstood by us. After all, he was much more in spiritual league with the flame-throwing radicals of the Jacobin rather than the cultural mainstream. What would the person who turned his back on princes and emperors say about today’s cultural worship of his music in the form of a well-heeled gala crowd at a symphony orchestra concert?

We propose another kind of birthday present.  Building on the classical notion of interpolation to shed light on Beethoven’s impact on 20th and 21st music, we will nest among the movements of Beethoven’s mercurial First Symphony (1800) newer work that contains 20th and 21st century echoes of Beethoven’s mind. Webern’s Symphony, Dallapiccola’s Una Piccola Musica Notturna, and new music by PamelaZ and Anna Thorvaldsdottir help reveal the often unseen Beethoven: his formalism, his penchant for lyricism, and his wicked sense of humor.  We hope to afford insight into parallel moments of cultural and political peril.  From the turn of the 19th century in post-revolutionary Europe to the volatile time between world wars in the 20th century to our early 21st century michigas, these works, taken together, demonstrate the necessity for an artist to react to her or his time.

PROGRAM:
Pamela Z - Heiligenstadt Lament
Ludwig van Beethoven - Symphony #1, First Movement
Anton Webern - Symphony Op. 21
Beethoven - Symphony #1, Second Movement 
Luigi Dallapiccola - Una Piccola Musica Notturna 
Beethoven - Symphony #1, Third Movement 
Beethoven - Symphony #1, Fourth Movement
Anna Thorvaldsdottir - Aequilibria 

The concert will be preceded by a conversation with Steven Schick and a distinguished panel including: Pamela Z, Lilian Faderman, and Henry Torres Blanco, entitled: "How do we as artists working in different genres use (or abuse) classic works?"

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Composer Felipe Rossi presents his dissertation recital in support of his Ph.D. defense.

 

Program:

Entrelignes for violoncello and live electronics

Saturation for violin and live electronics

h2enh1 for bass flute and live electronics

Quartet in five scenes for clarinet, viola, double bass and piano

 

Featuring:

Teresa Diaz de Cossio, bass flute

Mark Dresser, double bass

Peter Ko, violoncello

Dimitrios Paganos Koukakis, piano

Päivikki Nykter, viola

Ilana Waniuk, violin

Robert Zelickman, clarinet

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Alexandria Smith – praised by the New York Times for her “appealingly melancholic sound” and “entertaining array of distortion effects" (on the trumpet) – presents a repertoire recital, Shifting: an exploration of Timbre. Highlighting the vocal nature and complex timbre of the trumpet, Smith will perform pieces that include extended vocal techniques, distortion-like sounds, and linear virtuosity. Featuring the creative voices of Kathryn Schulmeister (bass) and Rebecca Lloyd-Jones (percussion), Alexandria Smith will present an evening of works by Liza Lim, Pedro Alvarez, Robert Erickson, and herself.

Liza Lim: Roda - The Living Circle 2017
Liza Lim: Ehwaz (Journeying) 2010
Pedro Alvarez: Canto for amplified trumpet 2018
Robert Erickson: Kryl 1980
Alexandria Smith: Shifting 2020

 

Part of the Festival of New Trumpet Music West, http://extension.ucsd.edu/fontwest

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Professor Shlomo Dubnov will be giving a talk at the Cultured Data Symposium this Saturday, February 8th between 11-12:30pm titled “In Fleeting Moments: Recomposing Prokofiev with Deep Neural Networks”

Learn more: http://cultureddata.net/schedule/#panel3

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Steven Schick, conductor

Anahita Abbasi - New Work *BRENDA AND STEVEN SCHICK COMMISSION
Johannes Brahms - Symphony No. 3
Michael Pisaro - Concerto for Amplified Percussion & Orchestra

Soloist: Greg Stuart, percussion

Brahms’ mighty Third Symphony manages also to be his most intimate and–some would say–his most beautiful symphony.  The La Jolla Symphony has not played it for over a quarter of a century–come, listen fresh, and rediscover the wonders of this glorious music. We premiere two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi, known for her electric and electro-acoustic works; and Michael Pisaro’s Concerto for Amplified Percussion, featuring extraordinary percussionist and frequent Pisaro collaborator, Greg Stuart.

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Steven Schick, conductor

Anahita Abbasi - New Work *BRENDA AND STEVEN SCHICK COMMISSION
Johannes Brahms - Symphony No. 3
Michael Pisaro - Concerto for Amplified Percussion & Orchestra

Soloist: Greg Stuart, percussion

Brahms’ mighty Third Symphony manages also to be his most intimate and–some would say–his most beautiful symphony.  The La Jolla Symphony has not played it for over a quarter of a century–come, listen fresh, and rediscover the wonders of this glorious music. We premiere two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi, known for her electric and electro-acoustic works; and Michael Pisaro’s Concerto for Amplified Percussion, featuring extraordinary percussionist and frequent Pisaro collaborator, Greg Stuart.

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David Borgo celebrates his half-century birthday in musical style, inviting friends old and new to collaborate on an improvised suite of epic proportions, 
transforming the worldly sounds of brass, wind, wood, voice and skin through otherworldly electronic means into a metamodern masterpiece.

David Borgo - saxophones, winds, electronics

Jeff Kaiser - quartertone trumpet, voice, electronics

Kjell Nordeson - percussion

Tobin Chodos - piano

Tommy Babin - contrabass

Paul Roth - alto saxophone

Peter Sloan - trombone

Alexandria Smith - trumpet

Wilfrido Terrazas - flute

let the crazy out
let the weirdness shout
let the unconscious loose
release inner recluse
let the automatic sing
let the gibberish ring
let the heart guide
let the energy preside
let the mind wander
drifting over yonder
into the hills
let the spontaneity spike
let it be 
the free roaming psych
(poem by Andy Cappricorn)

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“It may have an air of nothingness, this machine for two instruments: there is nearly a year and a half of toil in it.” (Ravel on his Sonata for Violin and Cello)

We welcome you to listen to the eccentricities, intricacies and oddities of Ravel’s celebrated Duo, and to read Anthony Burr’s detailed essay on the swirl of figures that surround this work:  Dixieland jazz, Duchampian “Bachelor Machines,” the “Whirlwind of Death" circus showpiece, Murnau’s expressionist film “The Cabinet of Dr. Caligari,” and more. Also, we near the completion of our cycle of the entire Beethoven quartets with Opus 18 Nr. 4 in c-minor. And finally we will play Brahms’ melancholic, late Clarinet Quintet, one of his last compositions. Composer Carolyn Chen (currently holder of the Berlin Prize from the American Academy in Berlin!) writes in our program about gardens and fog, fragments and ruins, Romantic love, Dürer’s Melancholia and the clarinet as a “shadow instrument.” Join us in puzzling over these musical mysteries and sonic miracles, listening through the past to the present moment, just as we do, absorbed in ineffable waves of sound energy.

PROGRAM:

Ravel, Sonata for Violin and Cello
Beethoven, String Quartet in c minor, Op. 18 Nr. 4
Brahms, Clarinet Quintet in b minor, Op. 115

No late seating.

For additional program information, please visit Camera Lucida's website: sdcamlu.org

Subscription and single tickets available at the UC San Diego Box Office. Ticket information: (858) 534-TIXS (8497). 

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Under the artistic directorship of UC San Diego distinguished professor and cellist Charles Curtis and anchored by regular featured performances by San Diego Symphony Concertmaster Jeff Thayer, Formosa Quartet violist and UCLA professor Che-Yen Chen, concert pianist Reiko Uchida, UC San Diego performance faculty and occasional guests, Camera Lucida has established a tradition of challenging, musically ambitious programs performed with the assurance of an established ensemble, with the added flexibility of changing instrumentation and guests from the international chamber music world.

 

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Wilfrido Terrazas and Tasha Smith Godinez present an evening of work for flute and harp featuring a version of Cynthia Martínez Lira’s beautiful graphic score Marcos (2016-17), Mariana Villanueva’s seldom performed classic Canto Nocturno (1985), for bass flute, José Gurría-Cárdenas' Mobile Active Simulated Humanoids (2017), for solo harp, Iva?n Trujillo's Autunno (2019), and two works of by Terrazas: Jaspe (2014) and Ifigenia en (2013).

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Extending their prior 2016 collaboration to a new level of immersive audio-visual design, in February, 2020 an intercultural team of artists presents Changing Tides II, an intercultural music collaboration responding to the climate crisis, featuring renowned improvisers in Seoul and San Diego performing together via cutting-edge technologies. With audiences at both locations, the event links 10 musicians in a stunning scenic environment created by visual artists, including Korean director Jungung Yang who conceived the design in relation to a Korean shamanic ceremony to simultaneously evoke sorrow and the recirculation of new life. Blending live collaborative performance, pre-recorded materials, visualizations of climate data, and original compositions integrating Korean music, jazz and beyond, Changing Tides II addresses our urgent need for global collaboration and blends past and future artistic expressions in a unique act of collective imagination.

Director in Korea: Jungung Yang
Directors in San Diego: Mark Dresser, Michael Dessen
Producer in Korea: Jun Oh
Artist Director at CultureHub NY: Billy Clark
Scenic design in San Diego: Victoria Petrovich
Digital Content and Design: Kyle Johnson
Technical Director in San Diego: Trevor Henthorn
Event produced in collaboration with Seoul Institute of the Arts and CultureHub NY
Musicians in San Diego: Stephanie Richards, Mark Dresser, Wilfrido Terrazas, Michael Dessen and Joshua White
Musicians in Seoul: Yoon Jeong Heo, Jean Oh, Aram Lee, Min Wang Hwang, Bae Il Dong and Jungpyo Lee
Event produced in collaboration with Seoul Institute of the Arts and CultureHub NY

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Soirée for Music Lovers: A tradition continues
In 1987, renowned virtuoso violinist János Négyesy established a series of Chamber Music concerts called the “Soirée for Music Lovers.” These programs were intended to be a musical counterpoint to the experimental music that characterized the music department at the University of California, where Professor Négyesy was a long-time faculty member. The quarterly concerts, featuring chamber music from the 18th, 19th and 20th centuries, grew to be a popular and elegant part of the musical life of San Diego. The tradition continues this year on Friday, February 14th, at the Conrad Prebys Concert Hall on the UC San Diego campus. Päivikki Nykter, the late Professor Négyesy’s wife, musical partner and a featured performer in every previous Soirée, has taken up the mantle in presenting a program worthy of the Négyesy legacy. The program begins at 7 p.m., and admission is free. 

The post concert reception will feature a customary toast to Professor Négyesy.

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SCHALLFELD ENSEMBLE

Schallfeld is an international ensemble for contemporary music based in Graz. The group sparks the interest of its audience by its vivid virtuosity and refined chamber music sound, paired with interpretations that pay special attention to concert format, creating events that adapt to the specific venue while aiming for a new dimension of listening.

The ensemble was founded in 2013 by alumni of Klangforum Wien and composition students of Kunstuniversita?t Graz. It currently consists of musicians from 8 nationalities and reflects the diversity and different interests of its members in its artistic direction. In the last few years, Schallfeld has been able to establish itself on international stages through exciting programming with a focus on young composers, innovative concert-stagings as well as through the quality of its collective improvisations and innovative use of live-electronics.
Schallfeld sees its mission in bringing music of international young composers to Austria and acting as an ambassador for new music production abroad. Besides its own concert cycle in Graz, Schallfeld is regularly guest in festivals in Austria and abroad, such as Wien Modern, Impuls Graz, Klangspuren Schwaz, Darmsta?dter Ferienkurse, Afekt (Estonia), Poznan Musical Spring (Poland), EMA (Spain), Daegu International Contemporary Music Festival (South Korea). In 2016 and 2017 Schallfeld has been selected by the Ministry of Foreign/cultural Affairs as representative of NASOM (New Austrian Sound of Music), a program designed to promote young Austrian artists internationally.

The ensemble is also involved in pedagogical activities and collaborative theater projects for children and adults. Schallfeld is funded by the municipality of Graz, the federal state of Styria, the Austrian federal Government and receives generous support from the University of Music and Performing Arts Graz and the iem (Institute for Electronic Music and Acoustics) Graz. Past projects by Schallfeld have also received grants by the EU (Youth in Action), Music Austria (MICA) and KulturKontakt Austria.

www.schallfeldensemble.com

 

PROGRAM:

Anahita Abassi -Situation II / Dialoge for Flute, Clarinet, Saxophone, Piano, Violin, Cello, Double bass & Objects

Andrés Gutiérrez Martínez – Monolito, for bassclarinet, doublebass and piano

Stephen de Filippo – A moment exposed, for mixed chamber ensemble

Ioannis Mitsialis – Jupiter, for ensemble

Nasim Khorassani – Paper Pigeons, for Schallfeld Ensemble and papers

Qingqing Wang – Circles, for clarinet, piano, violin violoncello and contrabass

Tiange Zhou - Morphing, for clarinet, violin, cello, contrabass, and piano

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Satoko Fujii's "Kaze"
featuring
Natsuki Tamura – trumpet
Christian Pruvost - trumpet
Satoko Fujii – piano
Peter Orins– drums

Tuesday, February 18 at 7:00 p.m. - Free event
UC San Diego's Conrad Prebys Music Center
Recital Hall, room 127

Kaze

Melodic, abstract, mysterious, beautiful, and confrontational, Kaze plays free jazz at its most creative and powerful. The members of this international quartet share an insatiable appetite for sonic experimentation, boundless energy and enthusiasm, and the disciplined intelligence of accomplished spontaneous composers.

The group has released three acclaimed recordings - 2011’s Rafale, 2013’s Tornado, and 2015’s Uminari which the London Jazz News calls “...bold, uncompromising music." Uminari is a Japanese word that refers to a sound rising from the sea, a low-frequency roar that portends a coming storm or tsunami. The two-horn quartet is equally adept at the calm and the storm, with expressive subtleties giving way to overwhelming torrents of sound

“...the rarely heard sound of two trumpets collaborating, interweaving and cross-talking is at the center of the group Kaze, whose penultimate set of the festival was also one of the high points of the overall program.” – Josef Woodard, DownBeat

“… one of the most musically dynamic and intense "jazz" sets of the year… If you think you can imagine what piano, drums, and two trumpets will sound like, think again.” ? Derk Richardson, KPFA Radio

“One of the best gigs I’ve seen this year…one of my favorite working groups.” – Steve Dalachinsky, The Brooklyn Rail

“[Fujii] is a demon on the keys, capable of delicately pretty melodies as easily as full-keyboard chord-blocks, and amazingly controlled inside-the-piano stringwork.” – Byron Coley, exclaim.ca

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Remembering Chou Wen-chung

One of the 20th century’s most important musicians, Professor Chou Wen-chung died at the end of October, leaving behind a wealth of extraordinary music, and a legacy of stewardship.  He paved the way for many young composers, especially those with roots in Asia, and his abiding devotion to the music of his mentor, Edgard Varèse, changed the way many of us heard this great composer of the 20th century. 

Beginning with one of his most ambitious pieces, Echoes from the Gorge for percussion quartet, red fish blue fish pays tribute to Chou Wen-Chung.  We will also perform music by two of his most important students, our colleagues, Chinary Ung and Lei Liang.  Edgard Varèse, paterfamilias of American experimental music, will also make an appearance.  Through this and other music, we will hear the many ways that Chou Wen-chung lives on. 

PROGRAM: 
Part 1: Echoes - Roger Reynolds, comments from the stage

Chou Wen-Chung - Echoes from the Gorge
Steven Schick, James Beauton, Fiona Digney, and Garrett Mendelow

Chinary Ung - Cinnabar Heart 
Rebecca Lloyd-Jones, marimba

Lei Liang - Trans (Quartet Version)
Michael Jones, Rebecca Lloyd Jones, Matthew LeVeque, and Steven Schick

Consulting artist, Yao Lu

Part 2: Rain - Steven Schick Comments from the Stage (5-8’)

Michael Pisaro - ricefall   

Edgard Varèse - Poème Electronique

 

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On her 1st oboe DMA recital: vortexes, Juliana will be collaborating with great colleagues and friends: Rebecca Lloyd Jones- percussion and Kathryn Schulmeister- bass.

PROGRAM:
Sequenza VII (1969) - Luciano Berio
Karura for oboe solo (2007) - Akira Nishimura
Ming Qi (bright vessel) (2000) - Liza Lim
Vortex (2020) - Juliana Gaona-Villamizar and Kathryn Schulmeister

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Alternate spaces:

This computer music concert will feature: improvised electronic music with real-time analysis to drive lights, piano with electronics, 16-channel fixed-media pieces, modular paired with analog video feedback and more. All the pieces created for this concert were created by UC San Diego alumni or current students. UC San Diego SElectOr is an open creative arts group focused on the use of technology for musical expression. 

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Over the past ten years musicians from Korea and the United States have been collaborating on virtual concerts centered around common themes of peace, climate change, and shared artistic values. Following "Changing Tides 2, a Virtual Concert on February 13th/14th between Seoul Institute of the Arts and UC San Diego, the distinguished ensemble from Korea, Black String and their UC collaborators, Professor David Borgo-moderator,  Professors Mark Dresser, Michael Dessen, Stephanie Richards and Wilfrido Terrazas will have conversation on February 25th about common themes of cross cultural collaboration and those artistic values that are permeable those that are not. 

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Aleck Karis leads the Palimpsest Ensemble in a program honoring Pulitzer-Prize winning composer Mario Davidovsky.  In 1959, the Argentine born composer emigrated to America at the behest of Aaron Copeland, with whom studied at the Berkshire Music Center (now Tanglewood). There he met Milton Babbitt, who encouraged Davidovsky’s move to New York City where he eventually became director of the Columbia-Princeton Electronic Music Center.  In honor of Davidovsky, who passed away last August, Aleck Karis has chosen a program including: Flashbacks, Sefarad, Pennplay, and Biblical Songs, featuring Susan Narucki, soprano.  The program will also highlight Milton Babbitt’s Composition for 12 Instruments, from which a new “palimpsest” composition with the same ensemble will be created by UC San Diego graduate composer Yi-hsien Chen.

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"The voice has the power to communicate through words, and yet also the ability to create a multitude of percussive sounds. Together with percussion, they act as a conduit for a musician's virtuosity and emotions, whether or not the language of the voice is understandable, or the rhythm of the percussion instruments is comprehensible." - Garrett Mendelow

This recital features works on Garrett's upcoming album "singing to his craft...," which is a collection of pieces for a solo vocalizing percussionist. The album not only explores the ability of the voice to interact with various percussion instruments. But the multi-lingual component also renders a wide array of articulations and sounds from the voice, while at the same time communicating the spoken text.

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Featuring new music composed by the MUS131 contingent, led by Prof. Stephanie Richards

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Extended Reality (XR) encompases Virtual Reality (VR), Mixed Reality (MR) and Augmented Reality (AR). The three pieces in this concert feature musical instruments for each one of these XR modalities. The compositions and instrument designs debuts by University of California San Diego Computer Music PhD Candidate Isaac Munoz.

 

PROGRAM:

VR Singing Kite - A VR Concerto

Between a Log and a Pluck Place - An MR Minuet

Push Pull - An AR Rock Single

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Two x Two: a chamber concert

University of California San Diego graduate pianists Dimitris Paganos Koukakis and Shaoai Ashley Zhang present a program of works for piano duo. They will be joined by percussionists Michael Jones and Rebecca Lloyd-Jones for Bartok's Sonata for Two Pianos and Percussion.

PROGRAM:
Figures de Résonances (1976)- Henri Dutilleux
Two Pianos (1957)- Morton Feldman
La Valse (1920)- Maurice Ravel
Sonata for Two Pianos and Percussion (1937)- Béla Bartók

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Monday Night Forum is back! That wonderful, once-a quarter soirée that’s basically just a fancy Grad Forum in the Conrad Prebys Concert Hall. Performances by Alex Taylor + Celeste Oram, Joseph Bourdeau + Qingqing Wang, Michael Matsuno, and more! Dust off your Monday best and join us at 7pm on Monday, March 2nd in the Conrad Prebys Concert Hall for our last forum of the quarter!

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Louder and Faster: Reflections on Writing a Book about Pain, Joy, and the Body Politic in Asian American Taiko
Deborah Wong (University of California, Riverside)

Recently published, Louder and Faster is a study of taiko in California, focused on the play of sound, performance, identity, ethnicity, race,
gender, and politics. Wong explores taiko as a music/dance art form that creates spaces in which memories of the WW2 Japanese American incarceration,
Asian American identity, and a desire to be seen/heard intersect with global capitalism, the complications of mediation, and legacies of imperialism.
Based on two decades of participatory ethnographic work, the book offers a vivid glimpse of an Asian American presence both loud and fragile. Wong will
reflect on the process of researching taiko in Southern California, read short passages from the book, and consider how and why Japanese American
activism matters.

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Bassist Kathryn Schulmeister presents an adventurous solo recital program including Roger Reynolds' electroacoustic work for solo bass and real time algorithm transformation, MARKed Music, and Liza Lim's stunning work for solo bass with voice and preparation, The Table of Knowledge. Featuring the talents of Alexandria Smith and Mari Kawamura, this program will explore a range of contemporary compositional approaches to the double bass. 

 Program:
 Schulmeister: Prelude (2020)
 Reynolds: imagE/contrabass (2008)
 Lim: The Table of Knowledge (2017) for solo double bass with voice and preparation
 Messiaen, Arr. Schulmeister: Quartet for the End of Time, V. Louange à l'Éternité de Jésus (1940, Arr. 2020)
                 featuring Mari Kawamura, piano
 Reynolds: MARKed Music (2011) for solo contrabass and real-time algorithmic transformation 
                 featuring Alexandria Smith, electronics

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This concert will feature the contrabass clarinet as a polyphonic instrument. Internal microphones are used as a sonic microscope, giving subtle sounds more physical presence. The concert will feature solo and duo works by John McCowen for contrabass clarinet(s) performed by Madison Greenstone and McCowen.

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suddenly drenched with dawn 

Soprano Susan Narucki will present an evening of music that celebrates the human voice in its most intimate, lyrical and exuberant. The recital takes place at UC San Diego Department of Music’s Conrad Prebys Concert Hall on March 4, 2020 at 7 p.m. Narucki, will be joined by guest artists Aleck Karis (piano), Pablo Gomez (guitar), Kirsten Ashley Wiest (soprano) Teresa Diaz-de-Cossio (flute) and Sean Dowgray (percussion). 

The concert includes two distinctive works of modern vocal chamber music: Kaija Saariaho’s Adjö for voice, flute and guitar and Karin Rehnqvist’s Puksånger/Lockrop for two voices and percussion. Saariaho’s work is an exquisite setting of Solveig von Schoultz’s poem celebrating the return of the sun after months of darkness; Rehnqvist’s extended work incorporates Finnish proverbs about women, and traditional folk texts, and utilizes a traditional (and spectacular) vocal “herding-call” technique. 

Two elegiac works for voice and guitar are included on the program: Hosokawa’s Renka I and songs by the English composer John Dowland. Both works speak to parting and loss through unique and elegant compositional styles separated by centuries. 

Francis Poulenc’s lyrical masterwork for voice and piano, Tel Jour, Telle Nuit, is the other connecting thread of the program. Composed in 1937 with texts by surrealist poet Paul Éluard, the cycle of nine songs traverses a landscape of the unusual and beautiful, describing a journey less to a specific destination than to a place within, suddenly drenched with dawn. 

Susan Narucki is a Professor of Music at UC San Diego and leads the Arts and Community Engagement Initiative for the Division of Arts and Humanities. Her most recent recording “The Edge of Silence: Vocal Chamber Music of György Kurtág” has been nominated for a 2020 Grammy Award as Best Classical Vocal Album. 

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The UC San Diego Bass Ensemble featuring Tommy Babin, Kathryn Schulmeister and Mark Dresser will play new and recent works composed by Lilac Attasi, Tommy Babin, Alexandria Smith, Miya Masaoka, Kathryn Schulmeister, Nakul Tiruviluamala, Tiange Zhou, and Mark Dresser.

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Directed by Ken Anderson, the choir combines hundreds of voices to fill the auditorium with the uplifting sound of African American spirituals, blues, traditional songs, and gospel.

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Fluid Calligraphy takes its name from Dai Fujikura’s work for solo violin with video by Tomoya Yamaguchi. Also on the program are compositions by Jo Kondo, Else Marie Pade, Natacha Diels, Jürg Frey and the world premiere of Reflections for violin, live electronics and projections by Alexandria Smith.

Graduate violinist Ilana Waniuk, will be joined by special guests Rebecca Lloyd-Jones (percussion), Teresa Díaz de Cossio and Joseph Bourdeau (objects). 

 

PROGRAM:

Jo Kondo - Three Songs of the Elderberry Tree (1995)

For solo Violin with Percussion with Rebecca Lloyd-Jones (percussion)

 

Else Marie Pade - Afsnit I (1961)

For solo Violin with electronics

 

Dai Fujikura - Fluid Calligraphy (2010)

For solo violin with video by Tomoya Yamaguchi

 

Alexandria Smith - Reflections (2020)*

For violin, live electronics and projections

 

Jürg Frey - Distant Colours (2013)

For violin and electronics

 

Natacha Diels - Second Nightmare, for Kiku (2013, 2014 rev)

For violin and 2 assistants with Teresa Díaz de Cossio and Joseph Bourdeau

 

*world premiere

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The Duo of Dresser Davis performs a wide range of music from the lyrical to the political. It features the music of both celebrated composers, pianist Anthony Davis and contrabassist Mark Dresser.

The music is a commentary on today from the political and dramatic, with works like “The Central Park Five” to the whimsical, “I Can Smell You Listening” and “Heil Twitler.” Informed by four decades of collaboration, these two master improvisers engage the full spectrum of Jazz and Improvised music.
 

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Under the direction of James Beauton, the UC San Diego Wind Ensemble performs selected works by American composers. The program features classic and new works for symphonic winds, and highlights a warped patriotism embedded within American legislation (or the lack thereof) and rhetoric today.

Program:

William Schuman - New England Triptych
I. Be Glad Then, America
II. When Jesus Wept
III. Chester

Charles Ives - Variations on “America”

G.N. Gianopoulos - The Volstead Act
*world premiere*

Brief Intermission

Jennifer Jolley - the eyes of the world are upon us

Aaron Copland - Lincoln Portrait
Jonathan Nussman, speaker
Christopher Clarino, ASL Interpreter

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Program:
Cynthia Martínez: Miradas (Premiere)
Kaaija Saariaho: NoaNoa for flute and electronics
Anqi Liu: — for solo bass flute, with or without live signal processing and spatialization (Premiere)
Bryan Ferneyhough: Cassandra’s Dream Song
Impro with Joseph Bourdeau

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The MUS 95JC Jazz Ensembles concert, under the direction of Kamau Kenyatta, will feature small ensembles performing a variety of exciting compositions, including some written and arranged by student musicians. The instrumentation will include alto, tenor, and baritone saxophones, flute/bass flute, trumpet, trombone, piano, guitar, bass, drums, and vocals.  Full-band and small-group tunes will be included in the program.

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The UC San Diego Chamber Orchestra, under the direction of Matthew Kline, presents their Winter performance in Mandeville Auditorium.

Program:
Symphony No.1 in E Minor - Florence Price
Sérénade mélancolique - Pyotr Tchaikovsky (soloist: Allison Tung)

A post-reception will be hosted by the Symphonic Student Association (ssa.ucsd.edu).

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The 12 composers of the second in the three-part sequence of the MUS 33 Introduction to Composition course present their final projects.

 

PROGRAM:

Tino Tirado

Teacher to the Last, for tenor saxophone and piano

Christian Gaytan, tenor saxophone • Tino Tirado, piano 

Program Notes: Dedicated to Morrie Schwartz and his philosophy

 

Jillian Heller

Nostalgia, for violin and piano

Jillian Heller, violin • Tino Tirado, piano

 

Sebastian Clark

AGlutiotSaarx, for alto saxophone and guitar

Hailey Myers, alto saxophone • Sebastian Clark, guitar

 

Zhennuo (Juno) Wu

Alive, for violin and piano

Zhaoyue Xiang, violin • Terry Feng, piano

 

Roselle Martinez

ok bet, for alto saxophone and piano

Roselle Martinez, alto saxophone • Yen Agusting, piano

 

Milo Bougetz-Aulabach

Unresolved, for violin and piano

 

Joonsik (Angy) Kim

Life in the Winter, for cello and piano

Henry Helmuth, cello

 

Shangshu (Mint) Shi

Mitosis, for electric guitar and piano

Shangshu (Mint) Shi, electric guitar • Xiaochen (Jacob) Li, piano

 

Jeffrey Xing

Bingeing, for trumpet and viola

Sophia DiGiovanni, trumpet • Colleen Weatherwax, viola

 

Donald Liang

Mourning, for clarinet and piano

Evan Lam, clarinet • Terry Feng, piano

 

Yibo Wei

Hana’s Theme, for clarinet and piano

Yibo Wei, clarinet • Sophie Hao, piano

 

Charles Schultz

Skipping Stones, for 2 double basses

Kathryn Schulmeister & Charles Schultz, double basses

 

 

Instructor: Theocharis Papatrechas

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UC San Diego Bach Ensemble is directed by Dr. Takae Ohnishi and comprised of selected undergrad students from Music 130 Chamber Ensemble. We have presented major pieces from the Baroque period. Celebrating the Bach Ensemble's  5th anniversary this year, we invite guest artists Zou Yu (violinist) from the San Diego Symphony and Kathryn Schulmeister (double bass), our graduate students. The program includes works by A.Vivaldi, A. Corelli and J.Pachelbel etc. Please come and enjoy the night with us. 

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Kyle Motl presents a concert of music for solo contrabass.

Kyle Motl: Illuminated Shadows

Caroline Louise Miller: Hydra Nightingale

Kyle Motl: Phosphene

Anqi Liu: Light Beams Through Dusts, Through a Mist of Moistures

Kyle Motl: Interlocutions I

 

...a wide range of wonderful protean delights that promise to change us by revealing things we could have never imagined.” - Rick Joines, Free Jazz Collective

Kyle Motl is a bassist, composer, and improviser dedicated to the performance of creative music. His work explores aspects of chaos and complexity through involved rhythmic and spectral transformations while remaining grounded in an embodied approach to performance. Kyle regularly gives solo concerts which expand upon the vast timbral resources of the contrabass.

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A mixture of contemporary and classical works will be presented by UC San Diego graduate and undergraduate students.

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The UC San Diego Chamber Singers present their Winter program, which this quarter centers on three world premieres composed by undergraduate members of the Chamber Singers. Jackie Guy, Taylor Ozbun, and Katherine Wilkes have each composed vivid and intricate choral works responding to poetic texts which meditate on the richness and interconnectedness of life. In addition, the program presents experimental vocal works by Pauline Oliveros and Alison Knowles, and music from the Caucasus mountains, contemporary Brazil, and Renaissance Spain. The Chamber Singers are joined in performance by accompanist Loie Flood, and community members of the La Jolla Symphony Orchestra.

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Chamber Ensemble class, directed by Dr. Takae Ohnishi, presents our end of the quarter concert. It features undergraduate students of both music and non-music majors. All are welcome!

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The UC San Diego Vocal Masterclass Presents

An Evening of Italian Songs and Arias

 

Featuring:

Sophia Casas, Rachel Dovsky, Lizze Fisher, Myasia Fox, Joseph Garcia, Lauren Jue-Morrison, Leya Ledvin, Halana Macamay, Vita Muccia, Shane Ramil, Teagan Rae Rutkowski, Julia Yu and Danlei Zhao. With Dr. Kyle Adam Blair (piano).

 

Event Description:

The singers from the UC San Diego Vocal Masterclass offer a stirring recital of songs and arias in Italian. Beginning with music from the early Baroque and ending with selections from the height of Romanticism, these young singers will guide the listener through a survey of the remarkable ways Italian lyricism has manifested across the centuries. Song selections include works by Monteverdi, Scarlatti, and Donaudy, as well as operatic arias drawn from celebrated works like Mozart's Così fan tutte, Bellini's I puritani, and Puccini's La bohème.

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The Checkout from WBGO's next Live and In Lockdown Performance, real duets in real-time, features Michael Dessen on trombone and live electronics performing with Mark Dresser on double bass.

Join Simon Rentner, and the two “OGs” – the original generators – of this new “telematics” technology, for a special LIVE concert webcast, Friday, June 5th at 3pm PT/ 6pm ET on WBGO’s and The Checkout’s Facebook Pages.

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Join us for a Virtual Spring Undergraduate Forum showcasing UC San Diego's undergraduate music majors! The performances will be premiering on UC San Diego Music's Youtube channel on Friday, June 5th at 7:00 p.m.

Subscribe to our YouTube channel to stay updated: https://www.youtube.com/channel/UCpJHCILhXmj-MOuqYAgujoQ

PROGRAM:
coming soon

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Join us on Wednesday, June 10th at 5 p.m. for a live stream of Best of ICAM on UC San Diego Music's YouTube channel! Senior year students of UC San Diego's ICAM Music major will be presenting their senior projects.

Watch Full Best of ICAM 2020 Livestream: https://youtu.be/4_mT4ShPT80

Subscribe to our YouTube channel to stay updated: https://www.youtube.com/channel/UCpJHCILhXmj-MOuqYAgujoQ

PRESENTING STUDENTS:

GROUP 1 - 5:00 P.M.

Tianyi Cao - Zhiyin: It is a rhythm game that I made from scratch. Currently, the game has three levels with three pieces I composed. I used Chinese traditional instruments and Chinese pentatonic scale to compose these pieces. I asked an artist friend to help me create the visual elements in the game using the Chinese Shuimo (Ink washed painting) style. And I used Unity Engine to make the game.

• Webpage: https://sites.google.com/view/tianyi-cao
• Soundcloud: https://soundcloud.com/tianyi-cao
• Best of ICAM Presentation: https://youtu.be/oV5J6mxhvw4

Marcel Cedeno - In the Pocket: In this project I produced four songs that are inspired by the music I typically play as a DJ (Hip-Hop, Soul, R&B). The focus was to create music that would blend well (in terms of instrumentation, groove, overall vibe) in the context of the kind of music I would play in a mix. At the Best of ICAM presentation I will have a video demonstration of the songs I produced in a "live" DJ set with songs that have inspired my production style. The songs will be available to listen to on bandcamp through the link that I entered above.

• YouTube: https://www.youtube.com/channel/UCST0yV6zthdmpMxvqGqKJMg
• Soundcloud: https://soundcloud.com/marcelangelo
• Bandcamp: https://marcelangelo.bandcamp.com
• Best of ICAM Presentation: https://youtu.be/BfTflp7iM5k

Kevin Cervantes - Brokehouse Audio: This project is the creation of my online music production brand. The focus of my website is to showcase my work and attract artists wishing to work with me as a mix engineer.

• Webpage: https://www.brokehouseaudio.com
• YouTube: https://www.youtube.com/channel/UC3ztwCGoWEBbo4bh3HdnPgA
• Instagram: https://www.instagram.com/brokehouseaudio
• Best of ICAM Presentation: https://youtu.be/f2D3Gwipsjc

Max D'Amico - mEd.x: For my senior project, I made my first EP consisting of songs about experiences I've struggled with. The songs are attempting to represent the emotional process of the experiences the songs are based on. I hope you enjoy!

• Soundcloud: https://soundcloud.com/mede_x
• Instagram: https://www.instagram.com/med.xofficial
• Best of ICAM Presentation: https://youtu.be/j1M8Jdhg9lo

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GROUP 2 - 5:30 PM

Mason Davis - Not Yet: With great thanks to my collaborators - Zeju Zheng (guitars & composition) and Lwin DuMont (bass).

• Soundcloud: https://soundcloud.com/scrwdrvr
• Best of ICAM Presentation: https://youtu.be/6lfnDXZYDLg

Kazuya Fujita - Hitori

• Best of ICAM Presentation: https://youtu.be/Zz2wLxe0Sd0

Francis Galang - Localizing the Visitor: This is a video that proposes a project I would like to pursue in the future after the pandemic. I wish to produce a three-walled projection installation about Californianess as told through travel brochures. In this installation, guests may scan travel brochures from each of the counties in California which will cause the projection to display a duplicate of each travel brochure, with the text and images replaced by interviews and photography from local residents. The content filling these travel brochures is selected through this activity called "participatory mapmaking", where I interview residents of each locale and ask them to highlight locations that are important in their community for a resident.

The projection serves to produce a "local" travel brochure, which visitors of the installation may view and contrast against the physical travel brochures they had scanned. This project aims to problematize travel brochures as objects distant from the biographies and histories of residents living in locales. The selection of brochures also calls into question in what ways the lived experience of residents in locales sum to produce the idea of what 'California' is as a whole. This project follows a series of visits to all counties across California starting in 2018.

• Best of ICAM Presentation: https://youtu.be/iSwmXIgWiXY

Diego Garza - Trip Chamber

• Webpage: https://sites.google.com/ucsd.edu/midi-lighting-tech/home?authuser=1
• Instagram: https://www.instagram.com/dig.arza
• Best of ICAM Presentation: https://youtu.be/NudaAf_Fnpk

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GROUP 3 - 6:00 PM

Jason Gray - Telamiron: “Telamiron” is a text-based, story-driven video game that I have been developing since late 2019, and is my first multimedia project of this caliber. Telamiron includes the video game itself, a musical score, and a custom built console for it to be optionally played on. Thank you to all of my professors and peers who have been there for my college journey.

• Webpage: http://telamiron.com
• Instagram: https://www.instagram.com/heyjakegray
• Best of ICAM Presentation: https://youtu.be/zKQ2aUxbAUs 

Shichenhao Hu

• YouTube: https://www.youtube.com/channel/UCUKDSSoELIzZQozBtP6rN5Q
• Best of ICAM Presentation: https://youtu.be/ZPN0gYMQhOU

Margaux Katz - The Difference Between

• Webpage: http://Margauxkatz.com
• Instagram: https://www.instagram.com/margauxkatz
• Best of ICAM Presentation: https://youtu.be/G1cOVQo2vQs

Evan Kopshever - Sayed II: This is a six track EP called "Sayed II", the second project released under my "Sayed" brand. I wrote, composed, recorded, produced, and mixed this project in my garage over the past several months. This project chronicles my four years in college and my my personal journey of self-discovery with music, and the digital composition and production draws from many different modern genres. This project will be available on SoundCloud, Spotify, Apple Music, and any other streaming service you might listen with. Enjoy!

• Soundcloud: https://soundcloud.com/prodsayed/sets/sayed-ii
• Instagram: https://www.instagram.com/akasayed
• Spotify: https://open.spotify.com/album/5BlMsyeeuG4m7D3kajoiyU?si=-NU-dJM5QHGzomDFSGwvpg
• Best of ICAM Presentation: https://youtu.be/_1sKjdcaS2U

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GROUP 4 - 6:30 PM

Alonso de la Peña - El Camion, Part 1: "El Camion" is a binaural experience through which a short narrative unfolds inside a San Diego tour bus. The listeners will have the perspective of Main, the main character of the story, and will encounter unexpected people and events throughout the ride. (HEADPHONES REQUIRED)

• YouTube: https://www.youtube.com/channel/UC8oaNzPi0p0iJwGel0VX9gQ
• Soundcloud: https://soundcloud.com/user-187962275
• Instagram: https://www.instagram.com/osoman25
• Best of ICAM Presentation: https://youtu.be/EjqD4uKHBYw

Carlos Rios-Dominguez - 10 Seconds to Change the World: There is constant music all around us; our memories feed the echo chamber of our hearts and minds. How do we behave when the sounds we make are memorized & integrated into our environment? Using a 2-in 2-out recording & playback configuration, 10 Seconds to Change the World is a sound installation that combines feedback and delay to explore memory and room resonance. Learn more: https://criosdom.com/436-2/

• Webpage: https://criosdom.com
• Bandcamp: https://riosdom.bandcamp.com
• Instagram: https://www.instagram.com/c.riosdom
• Best of ICAM Presentation: https://youtu.be/CPbJ9EE9lyE

Christopher Robinson: I coded an audio plug-in, which is based on Wavetable Synthesis and Subtractive Synthesis. In this presentation, I will show what it is, the sounds you can make with it, and a beat using only the synthesizer (and drums and audio effects).

• YouTube: https://www.youtube.com/c/neanderthalofficial
• Bandcamp: https://neanderthalofficial.bandcamp.com
• Soundcloud: https://soundcloud.com/neanderthalofficial
• Instagram: https://www.instagram.com/neanderthalofficial
• Best of ICAM Presentation: https://youtu.be/hv6yXco1gYs

Nicole Rodriguez - Lone Pair: It’s a 22 minute film titled “Lone Pair”. It is an experimental scifi shot on 16mm film. It will be available via limited online release, in-person screenings, and entered into festivals. I’m working on the sound design, and updates will be posted on my personal website, nicatnite.com, soon.

• Webpage: http://nicatnite.com
• Instagram: https://www.instagram.com/n.wav
• Best of ICAM Presentation: https://youtu.be/fWs6C0LuAik

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GROUP 5 - 7:00 PM

Kenji Sommers - The Drop: The Drop is an experiment in modular music. Inspired by the Beach Boys, The Drop is a modular song where the audience determines the song structure. Utilizing harmonic and textural techniques, each section can be arranged in any order, delivering a song where the audience plays a role in composition!

• Webpage: https://www.kenjisommers.com
• Soundcloud: https://soundcloud.com/kenjuug
• Best of ICAM Presentation: https://youtu.be/D7ZkyigZWDA

Yuanmei Wei - Lucid Dream

• Soundcloud: https://soundcloud.com/yuanmei-wei
• Instagram: https://www.instagram.com/yuanmei_wei
• Best of ICAM Presentation: https://youtu.be/n800zy1KXdQ

Kaleigh Wernick - Synesthesia

• Instagram: https://www.instagram.com/kaleighwernick
• Best of ICAM Presentation: https://youtu.be/A5OmPNEPk08

Martine Xenja - Dark Star: Martine Xenja is a musician, producer, sound designer, and multi-media artist from the Bay Area.

• Webpage: https://xenja.productions
• Soundcloud: https://soundcloud.com/martine-x
• Instagram: https://www.instagram.com/mxenja
• Best of ICAM Presentation: https://youtu.be/4C0bm_5TQt8

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