< PreviousJOURNAL OF THE IAWM26 IAWM NEWS The IAWM 2021 Annual Concert NATALIA KAZARYAN The latest edition of the IAWM Annual Concert took place at Howard University in Washington, D.C. on November 16th, 2021. After being postponed twice due to Covid, the concert presented works chosen from the 2020 Call for Submissions. The program included vocal pieces: Praise the LORD by Tatev Amiryan, I’m Falling by Catherine Reid, When the Rain Comes by Bonnie McLarty, Vocal Fantasy for two sopranos and alto by Anne Hege, and For Whom the Dog Tolls, a one-act opera by Ashi Day. Instrumental works included Sonata Concertante for violin and piano by Gyuli Kambarova, Alf’s Labyrinth for viola and piano by Hannah Selin, and Mother Emanuel from Charleston Suite for piano, written and performed by Karen Walwyn, who is also Professor of Piano at Howard University. Annual Concert Participants: L-R: Deyzha Gonzales, Liana Valente, Faith Mitchell, Simone Paulwell, Natalia Kazaryan, Allyson Goodman, and Sonya Hayes. Annual Concert Pianist and Composer Karen Walwyn27VOLUME 28, NO. 1 • 2022 Journal of the IAWM: Guidelines for Contributors EVE R. MEYER The concert featured Howard University vocal students Deyzha Gonzales and Faith Mitchell, as well as Professor of Voice Dr. Liana Valente and piano faculty member Dr. Natalia Kazaryan. Howard students and faculty were joined by Kennedy Center musicians, including violinist Sonya Hayes, vio- list Allyson Goodman, and soprano Simone Paulwell. The concert was livestreamed on the IAWM Facebook page and received thousands of views; it is still available to watch. The Annual Concert marked the beginning of live The concert was livestreamed on the IAWM Facebook page and received thousands of views; it is still available to watch. —NATALIA KAZARYAN performances at Howard University and was a joyous celebration of new music by women composers. The audience had a chance to meet the composers in attendance, as well as the musicians over a reception following the con- cert. The IAWM 2021 Annual Concert was coordinated and organized by Dr. Natalia Kazaryan, who serves on the IAWM Board. Stay tuned for the announcement of the next edition of the IAWM Annual Concert. We invite you to contribute an article, a review, a report, an announcement, or members’ news information to a future issue of the Journal of the IAWM. Articles Before submitting an article, please send an abstract, the approximate number of words, and a brief biog- raphy to the editor in chief, Dr. Eve R. Meyer at evemeyer45@gmail.com. Most articles are between 2,000 and 4,000 words; the maximum number of words is 5,000. The subject matter should relate to women in music, con- temporary or historical. You can also write about your own work or inter- view another musician. If the proposal is approved by the Journal’s Editorial Board, the editor will send detailed information concerning the format, illustrations, and musical examples. Members’ News Please send your news items to the Journal’s Members’ News Editor, Anita Hanawalt, at anita@hanawalthaus.net. Submissions are always welcome concerning honors, appointments, commissions, premieres, performances, publications, and other news items. Do not include radio broadcasts; they appear weekly on the IAWM listserv. We recommend that you start with the most significant news first, followed by an organized presentation of the other information. Awards and recent CD releases and book publications are listed elsewhere. That information should be sent to the editor in chief at evemeyer45@gmail.com. Reports and Announcements We look forward to reading reports on the activities of our sister organiza- tions and IAWM committees, reports on women in music festivals and conferences, and announcements of future events and recently releases CDs and publications. They should be sent as email attachments to evemeyer45@gmail.com. Reviews Compact discs and books for review should be submitted to the Journal’s Review Editor, Dr. Laura Pita. Scores will be considered for review if accom- panied by a recording. If you wish to be included on the list of reviewers, send Dr. Pita a brief sample of your writing and indicate your area of specializa- tion. For detailed information, contact laurapita830@gmail.com. Deadlines Major Articles: December 15 for the February issue, March 15 for the May issue, June 15 for the August issue, and September 15 for the November issue. Reports, short articles, and members’ news are due on the 30th of the above months. Women and Music Women and Music: A Journal of Gender and Culture is an annual journal of scholarship about women, music, and culture. It is published for the International Alliance for Women in Music by the University of Nebraska Press. Drawing on a wide range of disciplines and approaches, the refereed journal seeks to further the understanding of the relationships among gender, music, and culture, with special attention being given to the con- cerns of women. The publication is not included as part of IAWM membership. For information, see the journal’s websiteJOURNAL OF THE IAWM28 MEMBERS’ NEWS ANITA HANAWALT Andrea Clearfield announces nine world premieres during the 2021-22 season. She was recently a fellow at MacDowell, Ragdale, Virginia Center for the Creative Arts, and starting in January 2022, a Fellow at Bloedel Reserve on Bainbridge Island. The 35 Year Anniversary of Clearfield’s Salon concert series was celebrated on September 26, 2021. Now a SZALON hybrid, the Salon features live perfor- mances from her loft and remotely-performed jazz, classical, contemporary, electronic, opera, folk, world, dance, spoken word, and multimedia collaborations. (www.zalonarts.org/ and www.andreaclearfield.com/music-salon/) A Brush with our Time, commissioned by Fourth Coast Ensemble (to a libretto by Doreen Rao), was premiered at Newberry Library in Chicago on September 19, 2021. Fourth Coast also recorded the work on their new CD, Human to Human. On January 29, 2022, Grammy-award-winning classical guitarist William Kanengiser premiered Reflections on the Life of the Dramyin, which he commissioned for his Diaspora Project in Washington, DC. During spring 2022, soprano Laura Strickling will premiere and record Let us Remember Spring (to poetry by Charlotte Mew), commissioned by Strickling for her 40@40 Project. Commissioned by Michigan State University to heal from the trauma of abuse of female gymnasts, the pre- miere of Standing at the Beam, for chorus and string quintet (to poetry by Anthony Silvestri), is scheduled for April 2. Clearfield will be composer in residence at University of New Mexico in early May. The premiere performance of the cantata Singing into Presence (to poetry by Catherine O’Meara) will take place on May 5, commissioned and premiered by the University of New Mexico Chorus and Orchestra. “Pan with Us” for chorus and orchestra from Fire and Ice will also be performed. The premiere of Beyond the Binary (a meditation on humans and machines), with libretto by Ellen Frankel and custom-built instruments by David Kontak, is scheduled for May 15 at the Fillmore in Philadelphia, Pennsylvania. The work celebrates the 100-year anniversary of the publication of Czech writer Karel Capek’s influential science fiction play, R.U.R. (Rossum’s Universal Robots), bringing the word “robot” to our vocabulary. In a world where technology encroaches more and more on our lives, Beyond the Binary explores the question of what it means to be fully human. The performance will feature rock ensemble Square Peg Round Hole and the Philadelphia-based drag performer Cookie DiOrio. Submissions are always welcome concerning appointments, honors, commissions, premieres, performances, and other items. The deadline for the next issue is March 30. —ANITA HANAWALT29VOLUME 28, NO. 1 • 2022 May 22 marks the premiere of Here I Am: I Am Here, a cantata on transgender youth and conversion therapy for soloists, chorus, and string quartet, commis- sioned and premiered by Coro Allegro on their concert “Letters to Our Children: Voices across Generations for LGBTQ+ Youth” at Harvard University. The pre- miere of Part II “Speech,” from Clearfield’s trilogy on what is home (to poetry by Sienna Craig), will be presented by National Concerts, Meredith Bown, conductor, at Carnegie Hall, on June 11. July 30 marks the premiere of Where Everything is Music (to poetry by Rumi) for women’s chorus and piano at the Sigma Alpha Iota 2022 National Convention in Greensboro, North Carolina. Tsippi Fleischer’s song cycle Girl Butterfly Girl, in the 2012 version for soprano and symphony orchestra, sung in Arabic, was performed in a festive concert at the 24th Israeli Music Festival. The lyrics, by contemporary Lebanese and Syrian poets, were sung in their original languages by soloist Reut Rivka. The Jerusalem Symphony Orchestra was conducted by Maestro Ariel Zuckerman. The concert took place at the Jerusalem Theater, Henry Crown Hall, on Monday, December 20, 2021, and was broadcast. On October 15, 2021, a film dedicated to the world- wide versions of the song cycle was screened in the Tel Aviv Cinematheque (in Hebrew). The film is available for viewing on both YouTube and Facebook. A separate video featuring the post-screening discussion (in Hebrew) can also be viewed on both YouTube and Facebook. Music Wall Duo (Abigail Walsh, flute, and Pei-I Wang, piano) gave their first in-person performance of Yvonne Freckmann’s Dragonflies at a Composers Alliance of San Antonio (Texas) concert in the Fine Arts Series at Illinois College in Jacksonville, Illinois on November 20, 2021. The project was organized by CASA members and spearheaded by Timothy A. Kramer. This performance and a pre- vious virtual concert release are available on YouTube on the CASA and Illinois College channels. The SOLI Chamber Ensemble premiered two pieces from the Postcard Miniatures series, “Deep True” (for Carolyn True, piano) and “Serene” (for David Mollenauer, cello) in their concert on September 27. The pieces are from a series of solo miniatures sent as gifts to thirteen musicians who have inspired Freckmann. In September 2020, Freckmann challenged herself to write a one- page piece per week, which she sent to the musicians. One year later, the seeds of the project sprouted into live performances at the Botanical Garden in San Antonio. Members’ News Submissions News items are listed alphabet- ically by member’s name and include recent and forthcoming activities. Submissions are always welcome concerning appoint- ments, honors, commissions, premieres, performances, and other items. NB: The column does not include radio broadcasts; see Linda Rimel’s weekly “Broadcast Updates.” Awards and recent publi- cations and recordings are listed in separate columns. Send this infor- mation to the editor in chief, Eve R. Meyer, at evemeyer45@gmail.com. We recommend that you begin with the most significant news first and follow that with an organized pre- sentation of the other information. Due to space limitations, informa- tion such as lengthy descriptions, lists of performers, long websites, and reviews may sometimes be edited. The deadline for the next issue is March 30. Please send news about your activities to Members’ News Editor Anita Hanawalt at anita@hanawalthaus.net. Anita does not monitor announcements sent to the IAWM listserv; be sure to send the information directly to her.Lynn Gumert was elected Vice President of the New Jersey Association for Music Therapy. Judith Markovich’s King for a Day, for woodwind quintet, was selected to be presented at the International Composers Festival in Sussex, UK, in May 2022. It is part of The Looking Glass, a larger chamber work. The Dabbling Duck, for two cellos, was performed at the Music Tomorrow Festival in Nashville, Tennessee, in January 2022. The ConTempo Quartet gave the premiere performance of Jane O’Leary’s Strings in the Air, Songs in the Stones (string quartet) in November 2021 at Claregalway Castle in Galway, Ireland. The work was written to capture the atmosphere of this beautifully restored 15th-century castle. The Navarra Quartet gave several performances of the passing sound of forever (string quartet) on an Irish tour in November 2021. The group will perform this work again in a concert presented by the London Chamber Music Society at Kings Place, London, on April 3, 2022, along with works by Mozart, Tchaikovsky, and Dvorak. Performances of Judith Shatin’s music include clarinetist Andrea Cheeseman’s March 22, 2021 performance of Penelope’s Song for amplified clarinet and elec- tronics (from the sounds of weaving) at the University of Jacksonville, Florida. Grito del Corazon was performed on April 1 by Jan Baker on soprano saxophone and Stuart Gerber; the concert was given at the Breman Museum in Atlanta on April 1 and on May 13 at the Herb Alpert School of Music. Violist Patricia McCarty played Penelope’s Song at the Keene Arts Center in Keene, New York on June 26, and The Aspen Contemporary Ensemble performed Secret Ground (flute, clarinet, violin, cello) at the Aspen Art Museum on August 10. Cellist Adam Hall performed another electroacoustic piece, For the Birds, for amplified cello and electronics on the program With Wings Attached at the Rozsa Center for Performing Arts in Houghton, Michigan. The University of Virginia University Singers, conducted by Michael Slon, released a digital choral recording of Adonai Ro’i (a setting of Psalm 23 in the original Hebrew), and also performed it live on their fall concert on November 12 and on the Family Holiday Concerts held December 4 and 5. The San Jose Chamber Orchestra, led by Barbara Day Turner, gave the digital premiere of Respecting the First (Amendment) on November 14, with an accompanying video by Shatin and Jonah Tobias. Max Tfirn and his Electronic Music Ensemble performed Zipper Music for two amplified zipper players and two MIDI controllers at the Ferguson Center for the Performing Arts in Newport News, Virginia. Percussionist I-Jen Fang premiered Adventure on Mt. Hehuan for solo bass drum and optional interactive electronics, with the composer performing the electronics on TechnoSonics XXI, in Old Cabell Hall at the University of Virginia in Charlottesville on November 18. In addition, two Backstory recordings are available on YouTube, following their digital premieres. The first was on Chai Variations for Eliahu HaNavi, a set of 18 variations for solo piano, with an introduction from pianist Nathan Carterette. The second was with flutist Lindsey Goodman and included Penelope’s Song (amp. flute and electronics from weaving sounds) and For the Fallen (amplified flute and electronics fashioned from the great Peace Bell in Rovereto, Italy. Each recording combines a discussion from the composer’s and performer’s viewpoints followed by videos of the performances. Amy Stephens was chosen as the California Association of Professional Music Teacher Association’s 2021 Commissioned Composer. Advertise in the Journal of the IAWM As a benefit of membership, you can place an ad at a reduced rate! And if you are a member of any organizations that would benefit from the exposure the Journal can provide, please encourage them to take advantage of our inexpensive rates. Specifications: Ads should be supplied as high resolution Print PDF, or Photoshop TIF or JPG. Images must be 300dpi or larger at 100% size used. 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