< PreviousJOURNAL OF THE IAWM47 MEMBERS’ NEWS ANITA HANAWALT A new sound and score video was released with Artis Wodehouse per- forming Beth Anderson’s 1983 composition, Quilt Music, for solo piano. Wodehouse performed the work live at Merkin Hall in New York City in 2005 and subsequently made a single-pass recording on a nine-foot Yamaha Disklavier at Yamaha Concert Artists (also in New York City) during the same time period as the live performance. The Disklavier on which Wodehouse recorded Quilt Music captured her keystrokes, note timings, pedaling and dynamics in the form of MIDI data. She was able to take this data and play it through Pianoteq’s virtual piano program in classic nine-foot- Steinway sound heard in this video. Beth Anderson Performs Selections from Namely was released on November 10, 2021, on YouTube. “Namely” is her text-sound project based on the names of some people who have been important in her life and whose creative work she admires. The video was recorded at various locations around Brooklyn, New York. On December 5, 2021, New York Women Composers Seed Money Grant recipients—violinist Moonkyung Lee and guitarist Jangheum Bae—per- formed their grant concert, which included Anderson’s Guitar Swale, at the Seoul Museum of Craft Art (SeMoCA) Seoul, Republic of Korea. Guitar Swale was commissioned and performed by University of the Redlands New Music Ensemble, Barney Childs, director, and was also per- formed at California State University, Hayward’s Musica Delle Donne. Through Tears and Beyond, a set of four pieces for piano solo, either hand alone, by Deborah Yardley Beers was performed by Jonathan Levin in March 2022 on Concert 4 of the Music by Women Festival at Mississippi University for Women. A recording of the performance is available online at https://www.muw.edu/musicbywomen/ previous/2022/7899-music-by- womenfestival-2022-concert-4. Teil Buck was selected to present at the Charlotte BOOM festival in April 2022, an artist-led performance and visual arts showcase of contempo- rary and experimental works created on the fringes of popular culture. The 30-minute performance included oboe and electronic music called Oboe-tronica in a virtual tour around the musical world, including contem- porary works from the Netherlands, Africa, Portugal, Ukraine, and America. Submissions are always welcome concerning appointments, honors, commissions, premieres, performances, and other items. The deadline for the next issue is June 30. —ANITA HANAWALT48VOLUME 28, NO. 2 • 2022 Orietta Caianello is one of the editors of the newly issued book, Compositrici e Musiciste: Storia e Storie, presented at the 6th annual “Le Musiciste” Conference held in Rome, Italy, October 11-12, 2021. Organized by the departments of Scienze della Formazione and Filosofia, Comunicazione e Spettacolo of the Università di Roma Tre, the event had been delayed due to the pandemic and was held in person. The text col- lects the contributions of the scholars who participated in the previous con- ferences and encloses a collection of eighteen essays encompassing sev- eral centuries, from Ancient Rome to modern times. Caianello also par- ticipated in the concert following the presentation as part of the Domus Piano Trio (Filippo Fattorini, violin, Paolo Andriotti, cello, and Caianello at the piano). The program was ded- icated to French women composers and included music by Pauline Viardot, Mel Bonis, Nadia Boulanger, Clémence de Grandval, and Germaine Tailleferre. The Festival “Ombra illuminata: Donne nella musica,” founded by Professors Angela Annese and Orietta Caianello in 2014, involves both students and pro- fessors in annual seminars, concerts, and research projects with a focus on the work of women composers, in both research and performance, with the purpose of integrating their music into the mainstream of the canon- ized Western music repertory. Now well rooted in the life and activities of the Conservatorio Di Musica “Niccolò Piccinni” Bari, the festival was included among the projects of cultural interest in the European Year of Cultural Heritage in 2018, also receiving a grant from the Italian Ministry of University and Research in 2021. Each edition adds new women composers to the list, now including nearly one hun- dred entries. The global pandemic delayed the 2020 festival to 2021, so the 6th and 7th festivals were held in the same year, in the spring and fall of 2021. Due to pandemic restrictions, the spring edition consists of fifteen video recordings, issued on the insti- tutional YouTube channel: https:// www.youtube.com/playlist?list=PL0v- ABf--Xjjou4pov0Jqvq_5ZuCxntzvP. Jerry Casey’s O, Death Rock Me Asleep was presented by soprano Jessica Kahn and violinist Erica Donahoe at the NACUSA Dallas New Music Virtual Festival held May 21-23, 2021. Two of her works were performed on con- certs at the Sixth International Festival of Music by Women at Mississippi University for Women, Columbus, Mississippi, March 3-5, 2022: Fountain Fantasy, performed by clarinetist Michelle Kiec and pianist Jonathan Levin, and “Jesus Has Come at Last” from Seven Signs (Song Cycle for Seven Singers and Seven Instrumentalists), performed by Dana Zenobi, soprano, and Ellie Jenkins, horn. Jerry Casey and Marika Kyriakos presented a lecture recital at the festival premiering Mary Magdalene at the Tomb for unaccom- panied soprano. Casey spoke about its composition and Kyriakos addressed the various performance possibili- ties, followed by a performance of the work with dramatic background PowerPoint images. At the 2022 Annual Conference of Christian Fellowship of Art Music Composers (CFAMC) held at Fresno Pacific University, Fresno, California, March 25-26, 2022, Casey’s hymn, I Take Thy Hand, was used in the worship service. In a concert, her woodwind trio entitled Harlequinade was performed by Elaine Wilkinson, flute, Joshua Jensen, clarinet, and Harmony Mendez, bassoon. On April 3, 2022, Women in Music–Columbus presented a con- cert of works by women composers at Messiah Lutheran Church, Westerville, Ohio, where Casey’s setting of A Birthday (poetry of Christina Rossetti) for soprano and woodwind trio was premiered. Performers were Jessica Kahn, soprano, Sarah Luckey, flute, Joy Norris, clarinet, and Alan Ray, bassoon. Casey collaborated with a voice student of Cheryl Coker at Millsaps College, Jackson, Mississippi, in the writing of an art song. The student, Samantha Sherman, sang the song, The Key-Note, on her senior recital in late April 2022. During the pandemic, Emma Lou Diemer produced a book, My Life as a Woman Composer, available at Amazon. She also wrote several works that are now published by Subito/ Seesaw: Pandemic Piano Collection and By the Sea for piano four hands (written for Bradley Gregory and Tachell Gerbert). Piano Trio No. 2, written for the Rawlins Piano Trio and recorded by them, was also recently published by Subito/Seesaw. Veronika Krausas announced the West Coast premiere of Caryatids for Orchestra on April 22, 2022, performed by the Los Angeles Philharmonic, Thomas Adès, con- ductor, for Voices of a Generation: GEN X Festival. Commissioned by the Detroit Symphony Orchestra as the winner of the 10th Annual Elaine Lebenbom Memorial Award for Female Composers, the piece was inspired by the caryatids or the female sculptures on Book Tower in Detroit. Premiered by the Detroit Symphony in 2021 during COVID lockdown with JOURNAL OF THE IAWM49 limited musicians, this performance will be the full orchestral version for a live audience. Pianist Inna Faliks performed the world premiere of the entire work, The Master and Margarita Suite, for speaking pianist on May 6, 2022, at the Wende Museum in Culver City, California. The Suite was com- missioned by Faliks and the Wende Museum. A preview performance of five of the movements was given at the Bargemusic Concert Series in Brooklyn, New York early in 2020. The Suite will be recorded by Sono Luminus. Wilderness (Rêve du Canada) for French Horn and Narrator will be performed by Kristy Morrell on May 25 at the International Women’s Brass Conference in Denton, Texas. Krausas gave UPBEAT LIVE @ Disney Concert Hall pre-concert lectures in Disney Hall before the following concerts given by the Los Angeles Philharmonic: March 4-6, Elgar, Tchaikovsky & Farías; March 12-13, Shostakovich, Prokofiev & Thorvaldsdóttir; April 22, Voices of a Generation: Gen X Festival; and April 23-24 Norman & Corigliano: Gen X Festival. Shao Ying Low’s compositions have been published since March 2021 by the renowned Viennese music pub- lisher, Universal Edition. Jane O’Leary announces a number of deferred premieres taking place in the coming months: as the wind often does… for bass clarinet, violin, cello, and piano will be premiered at the National Concert Hall on June 15 as part of the After Beethoven series, originally planned for 2020 and Beethoven’s 250th birthday celebrations. Curated by O’Leary, the concert features Bagatelles by Beethoven, Elizabeth Lutyens, and O’Leary (Five Bagatelles from 2013), as well as works by Webern, Ed Bennett, Judith Ring, and Greg Caffrey, performed by pianist Xenia Pestova Bennett and members of Concorde ensemble. A piano con- certo commissioned for the 40th anniversary of Music for Galway, unfolding landscapes, will be premiered by the National Symphony Orchestra in Galway and Dublin on October 6 and 7 with soloist Finghin Collins and conductor Kenneth Montgomery. Other performances include pia- nist Isabelle O’Connell playing a solo recital at the Hugh Lane Galway in Dublin on June 5, including breathing spaces, a work written for O’Connell and inspired by the Guggenheim Museum in New York City. A trio for flute, clarinet, violin, Winter Reflections, will be featured on the June 17 Hard Rain SoloistEnsemble’s Schoenberg Revisited program in Belfast. Janice Macaulay’s C.D.D. in Memoriam for solo viola was performed by vio- list Kimia Hesabi on the Baltimore Composers Forum Micro-Brewed: I Want to Be Left Alone virtual concert on March 5, 2022. The concert may be viewed any time on the Baltimore Composers Forum website. The video of Three Pieces for String Quartet per- formed by the Azimuth String Quartet is included on a virtual Baltimore Composers Forum concert called String Theory, available on the Baltimore Composers Forum website. In January 2022, Janice Misurell- Mitchell and jazz singer Joanie Pallatto created a new work, Night of the Living Flag, for voices, flute, and assorted per- cussion at the New Music at the Green Mill series. In February, she presented a new version of her interpretation of Dadaist Tristan Tzara’s Proclamation without Pretension for voice/flute and various percussion instruments at Constellation Chicago. The Gift of Tongues, her work about the Tower of Babel, was performed by Joan Collaso, vocalist; Misurell-Mitchell on flute/ voice; Mwata Bowen, clarinet; and Yosef Ben Israel, bass. In early April, she per- formed on flute and voice with dancers and musicians from the ensemble Freedom From and Freedom To. Deon Nielsen Price’s Silver and Gold, duo for flute and piano; To All Women Everywhere, song cycle for soprano, flute, and piano, with poetry by Carol Lynn Pearson; and Angelic Piano Pieces, were performed in Music She Wrote: A Celebration of International Women’s Day at the Performing Arts Center, California Polytechnic University, San Luis Obispo, March 8, 2022. After pre- senting fifteen online concerts during the pandemic, in the fall of 2021, the Interfaith Center at the Presidio of San Francisco Sunday Series resumed in-person concerts in historic Presidio Chapel, now also live-streamed and posted on its YouTube channel. Price’s works performed were Bach’s famous Arioso arranged for violin and piano, October 17, 2021; Gallery, song cycle for medium voice and piano, text by poet laureate James Morehead, November 14, 2021; Silver and Gold, To All Women Everywhere; and Whither Can I Go from Your Presence? (Psalm 139) and Nobody Knows De Trouble I’ve Seen (traditional, arranged), both for voice and piano, March 20, 2022. On March 21, the audio was recorded in the same venue for a Cambria CD release of Silver and Gold and To All Women Everywhere, by Amy Goymerac, soprano; Suzanne Duffy, C and alto flutes; Susan Azaret Davies, piano; Barbara Hirsch, engi- neer; Jeannie G. Pool, session producer. Catherine Reid performed five of her compositions with colleagues for an appreciative audience at Composers Share the Stage, held at the Strand Theater in Hudson Falls, New York, on March 5. A recording will soon be avail- able at reidmusic.org. Another such concert is anticipated in November. Upcoming events include Essential Voices at the Hyde Collection in Glens Falls, New York, on May 22, a musical/ theatrical/multimedia event based on interviews of essential workers. There will be a full production of Nearby Faraway (music by Reid, words by Neal Herr) at the Carriage House Theater in Lake George, New York, during the last two weekends in July. This musical is about the art and lives of Alfred Stieglitz and Georgie O’Keeffe. Clare Shore’s Full Moon Circle for harp and fixed media (abridged version) was premiered by harpist Kristina Finch on March 26, 2022, as part of the Frontwave New Music Festival in West Palm Beach, Florida. Shore is currently 50VOLUME 28, NO. 2 • 2022 completing Afterimages for viola, piano, and fixed media for violist Michael Hall and pianist Kathleen Supové. Laura Schwendinger’s second opera, Cabaret of Shadows, a 2020 Fromm Foundation Commission, received its world premiere performances March 5 and 6 at MATCH (Midtown Arts & Theater Center) in Houston, Texas, sponsored by Musiqa. The work is about artistic innovation in the cabarets of turn-of-the-century Paris. In these after-hours spaces, poets, musicians, painters, and bohemians of all sorts rubbed shoulders and laid the ground- work for the expressionist, abstract, and modernist movements that con- tinue to shape our culture today. And it was here that an American-born dancer, choreographer Loie Fuller daz- zled audiences, inspired artists from Toulouse-Lautrec to Isadora Duncan, and redefined modern dance, only to be largely forgotten in the decades that followed. The opera shines an overdue spotlight on the female cre- ators of the Folies Bergère, Chat Noir, and other famous cabarets of the time. A collaborative work with writer Ginger Strand, Cabaret was directed by Stages Artistic Director Kenn McLaughlin and conducted by Opera in the Heights Artistic Director Eiki Isomura. Featured singers included Julia Fox, Megan Berti, Shannon Murray, Albert Stanley, Scott Clark, and Marina Harris. The instru- mental ensemble included Doug DeVries (flute), Maiko Sasaki (clarinet), Jacob Schafer (violin), Nick Pelletier (viola), and Bree Ahern (cello). Faye-Ellen Silverman’s Interval Untamed: Five Miniatures was per- formed by Todd Rewoldt, alto saxophone, on a recital and master- class held at Montclair (New Jersey) State University on October 21, 2021. On November 19, pianist Roberta Swedien performed “The Mysterious Stranger” from Fleeting Moments at The Thomas Center in Gainesville, Florida. The program was repeated on December 12 at Christ & St. Stephen’s Church in New York City. On December 11, Veronique Valdes, mezzo-so- prano, Lyda Chen-Argerich, viola, and Titta Carvelli, piano, gave the world premiere performance of Reflections on a Distant Love for mezzo-soprano, viola, and piano at the Theatre des Salons in Geneva, Switzerland. Amy Gilreath will give the world premiere performance of A Time to Mourn for flugelhorn (dedicated to the memory of Joan Fann) on May 25, 2022, at the wel- come concert and opening ceremony of the 2022 International Women’s Brass Conference held at the University of North Texas in Denton, Texas. On May 26, Silverman will lead the Composers Panel at the conference. Elizabeth Start has had three well-received premieres thus far this season. On October 4, 2021, O, Aedificatio for 10 players was premiered by the ensemble Unsupervised on New Music Chicago’s Ear Taxi Festival; on October 16, 2021, Traces, commis- sioned for the 100th Anniversary of the Kalamazoo Symphony (originally scheduled for September 2020) was premiered; Conclusions was premiered by Spektral Quartet on a Chicago Composers’ Consortium concert, also including nine premieres of works by Bernard Rands and C3 members. Happy 88th Birthday, Deon! Deon Nielsen Price is a prize-winning pianist, commissioned composer, choral and orchestra conductor, recording artist, veteran educator, published author, and former pres- ident of the IAWM. Since the fall of 2017, she has curated the monthly Sunday Concert Series at historic Presidio Chapel for the Interfaith Center at the Presidio of San Francisco, where she is Composer-in-Residence. As a solo and collaborative pia- nist since the early 1950s, she has performed regularly on university and community concerts across the continental United States, as well as at international festivals in the U.S.A., China, Italy, Austria, Germany, England, France, Spain, Mexico, Panama, and Korea. Her compo- sitions have been performed in many countries in Europe, former Soviet Union, Asia, and Central America, as well as across the United States. Most titles are published by Culver Crest Publications or Southern Music Company. Many chamber works are recorded on Cambria Master Recordings distributed by NAXOS. Retired from the piano/theory faculty at El Camino College in Torrance, CA, Dr. Price has also taught on the music faculties at California State University, Northridge; University of California, Santa Barbara; University of Southern California; Los Angeles Harbor; Mission Colleges; Long Beach City College; and the Crossroads School of Arts and Sciences, as well as in her private studio. Deon is author of Accompanying Skills for Pianists, 2nd Edition, and the manual SightPlay with Skillful Eyes (Culver Crest Publications). She has also written articles on piano accompanying and sight-playing for Clavier Magazine and Keyboard Companion, and she has edited the text College Class Piano- Comprehensive Approach (Demibach Editions; Reading Keyboard Music, Ltd.).Originally scheduled for April 19, 2020, this concert was performed on March 7, 2022, in Kalamazoo Michigan, on March 14 in Chicago, Illinois, on April 2 in Madison, Wisconsin, and on April 15 in Carbondale, Illinois. Echoes in Life appears on Thomas Mesa’s Division of Memory album, which won a bronze prize in the 2022 Global Music Awards. On May 15, 2022, the Durward Ensemble premiered Together 360 in Chicago. Start recently learned that on June 26, 2021, Amanda Laborete performed Echoes in Life on a virtual concert presented by the Filam Music Foundation, available on YouTube. Hilary Tann was the “Special Guest Composer” at CAMPGround22 in Tampa, Florida, March 21-29. CAMP stands for Contemporary Music Arts Project and will be an annual event worthy of your attention. No Wind Yet Leaves Fall for violin solo (Sini Virtanen) and the Robert McCormick Percussion Ensemble was Tann’s contribution (a premiere postponed for two years due to the pandemic). Gradually, some degree of normalcy is returning: a quintet premiere with the 21st Century Consort in Washington, D.C., April 9 (In the Enchantment); a chamber orchestra piece in Cleveland, Ohio, May 7 (BlueWater Chamber Orchestra, with the Heather and Small Birds); and a string quartet at Tanglewood, July 2 (And the Snow Did Lie). New CDs are also in the pipeline: On Ear and Ear (cello and piano) with the Fischer Duo (Parma) will be released in September, and First Light, launched in Bangor, Wales (piano and violin), also in September. Pianist Jeri-Mae G. Astolfi performed several preludes from Betty Wisharts’s Preludes: In Memoriam, Atmospheres, and Illusions suites on the Women in Music: 19th-21st Centuries concert at Campbell University in Buies Creek, North Carolina on October 19, 2021. Astolfi also performed Preludes No. 9 and No. 10 at the Campbell University Living Composers Concert on October 21. Faculty from Campbell University and the University of North Carolina-Greensboro premiered Prelude to Praise and Fanfares Nos. 2 and 3 for brass quartet. Astolfi performed Illusions, Preludes: In Memoriam Nos. 1, 2, 4, 7, and 8, and the Vibes suite at Methodist University in Fayetteville, North Carolina, on March 18, 2022, and at the University of North Carolina- Pembroke on March 20. On April 6, she performed Fanfares Nos. 1, 2, and 3 on the Cape Fear New Music Recital at Methodist University. The Armenian State Symphony Orchestra, conducted by Elias Brown, premiered Rain Worthington’s Dream Vapors Suite for orchestra on April 20, 2022, in Aram Khachaturian Hall, Yerevan, Armenia. The United States premiere of Resolves for cello was performed by Esther Seitz, cello, and The Bowery Trio for the New York Contemporary Music Symposium 2022 at Columbia University’s St. Paul’s Chapel in New York City, with both an in-person audience and a webcast via Columbia University. On February 25, violinist Audrey Wright and pianist Yundu Wang gave the world premiere performance of Balancing on the Edge of Shadows for violin and piano at An die Musik Live in Baltimore, Maryland. On December 5, 2021, violinist Moonkyung Lee and guitarist Jangheum Bae gave the version premiere perfor- mance of Jilted Tango for violin/guitar at the Seoul Museum of Craft Art (SeMoCA) in the Republic of Korea. Members’ News Submissions News items are listed alphabetically by member’s name and include recent and forthcoming activities. Submissions are always welcome concerning appointments, honors, commissions, premieres, perfor- mances, and other items. We recommend that you begin with the most significant news first and follow that with an orga- nized presentation of the other information. Due to space limita- tions, information such as lengthy descriptions, lists of performers, long websites, and reviews may sometimes be edited. The deadline for the next issue is June 30. Please send your news 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 infor- mation directly to her. NB: The column does not include radio broadcasts; see Linda Rimel’s weekly “Broadcast Updates.” Awards and recent publications and recordings are listed in separate columns. Send this information to the editor in chief, Dr. Eve R. Meyer, at evemeyer45@gmail.com. On December 12, 2021, Shredding Glass received its North American premiere in two performances with the Washington Metropolitan Philharmonic, Ulysses James, conductor, at the Annandale United Methodist Church, Annandale, Virginia, and then at the George Washington Masonic National Memorial in Alexandria, Virginia. On December 15, 2021, the version pre- miere of On Curious Reflection for piano/vibraphone was performed by Andrea Lodge, piano, Chris Graham, vibe, and the Hypercube Ensemble at the Greenwich House Music School in New York City.Proudly supporting the International Alliance for Women in Music DESIGN | MARKETING | PRINTING wizards@cheetahgraphicsinc.com 865-446-0688OUR MISSION The International Alliance for Women in Music (IAWM) fosters and encourages the activities of women in music. THE VISION The IAWM is the world’s leading organization devoted to the equity, promotion, and advocacy of women in music across time, cultures, and genres. Let’s Connect www.iawm.org www.twitter.com/iawmcommunity www.instagram.com/iawmcommunity www.facebook.com/IAWMusic YouTube: Coming in 2022!Next >