ANoise Did Rise: Chamber Works 1993-1999
 HornTrio (1993) [9:36]
WilliamPurvis, Horn • Mark Steinberg, Violin • Alan Feinberg, Piano
[2-5] TheSiren (1997)
 I FirstFantasie [2:39]
 II Ballade[2:41]
 III SecondFantasie [1:28]
 IV Ground[5:52]
Mark Rimple,Countertenor • James Hogg, Viola • William Anderson, Guitar
 FractalFarm For WoodwindQuintet (1999) [19:04]
The PhoenixEnsemble: Tanya Witek, Flute/Piccolo • Robert Ingliss, Oboe
Mark Lieb,Clarinet • Patrick Pridemore, Horn • Jennifer Rhodes, Bassoon
[7-10] Towr’dTrumpets for Guitar (1993)
 I Trumpets[1:49]
 II FrozenLake [0:41]
 IIIDebates [2:13]
 IVBattles Rejoined [2:40]
ideas. In thedrama of this work, new levels of structure are created as older previous
material isreinforced through pitch, and rhythmic instrumental doublings, fashioning the
foundation foroff-shoot melodies. These new filigrees, always derived from the music
‘beneath’them, then, in turn, become the stable platform for still fresher recursions.The
first originalstructures thus becoming deep pillars of design. The beginning material from
which the HornTrio builds its dynamic design comes from a comes from a restructuring
of thetwelve-tone series in Karlheinz Stockhausen’s early work, Sonatine forviolin and
a collection(1595) by the late-Renaissance composer Thomas Morley (1557-1602). These
pre-Baroqueborrowings act as the starting building blocks from which a fanciful outgrowth
of tunes andpolyphony arise, alluding to sounds both ancient and quite modern.
The text isfrom prefatory praises by an admiring poet contained in Morely’s own book, A
Plaine andEasie Introdvction to Practicall Mvsicke (1597). Of further note, the culminating
passages ofthe final movement, Ground, which reveal rhythmic passages of the most
intricatecomplexity, are based quite literally upon metric schemes cited directly from
Morley’s ownmusic examples contained in his book.
Based deeplyupon concepts of fractal geometry, Fractal Farm
ranging fromlong lyrical lines of simple beauty to intricate rhythmic moments of dazzling
complexity.The work itself is a journey through an elaborate self-similar design; and in
the course ofthis expedition numerous smaller shapes emerge like fantastic fractal creatures
housed in thevery architecture that spawns them. Fractal Farm was commissioned
by AnsoniaMusic Outreach.
Towr’dTrumpets for sologuitar, inspired by John Milton’s epic poem Paradise Lost
extendsimagery suggested in the fantastic scenes of great battle between legions of
angels andrebels. Here, towers of watch, defense, or assault, house multiple trumpets,
protrudingfrom all sides, and of all sizes; from thin clarions heralding high piercingtones
to greattrombas of girth bellowing low rounded rings. This explosive expositionmaterializes
into furtherdepictions: the following section reveals the ‘Burning Lake’ upon which
the fallenLucifer with his army are sunk and stuck, while the next passage witnesses the
grim debate asSatan hold council with his dissatisfied brood. The final section frames
this minitone-poem with a further furious accounting of the clashing mighty battles for
JonathanDawe has emerged as anexciting and original composer of the 21st century.
His music,described as “skillful”, “sparkling” (New York Times) and “envelopepushing”
(Boston Globe)embodies a striking mix of modernist nuance and baroque
imagery,spanning grand orchestral forces to delicate chamber music combinations. His
works areenergetic, rich, yet sharp and transparent.
Commissionsinclude The Flowering Arts for The Boston Symphony Orchestra with James
Levine, Prometheusan opera in three actopera for Works & Process at The Guggenheim
Museum, PianoConcerto for Robert Tauband The Wharton Center for Performing Arts,
furiousartisans • 101 pondfield rd. w. • bronxville, ny 10708 (914) 290-4134www.furiousartisans.com
JonathanDawe was born in Boston, Massachusetts in 1965 and studied at the OberlinConservatory and the Juilliard School, where he has been a member of thegraduate faculty since 1995. In 2004 he was commissioned by James Levine tocompose a new work for the Boston Symphony Orchestra and in 2005 his operaPrometheus was premiered at the Guggenheim Museum.
MarkRimple is a countertenor, lutenist,and composer who enjoys mixing his dual passions of early and new music. TheWashington Post has praised his "splendid" countertenor singing, andin 2004 a Chicago Tribune reviewer wrote of a performance with the NewberryConsort that "Rimple's technique as a lutenist is fluid and confident,adding a kinetic lift to the ensemble. His considerable assets as acountertenor include a centered, clear tone,” and “effortless upper notescapable of pinpoint agility.” He is a founding member of Trefoil, an ensembledevoted to the performance of late medieval music from mensural notation, andhe can be heard on two recordings with the ensemble: Cristo e Nato: Lauding theNativity in Medieval Italy, and Masters, Mazes and Monsters: Treading theMedieval Labyrinth (both recordings available at www.msrcd.com). He is afrequent guest of the Newberry Consort, and appears on their most recentmedieval recording, Puzzles and Perfect Beauty. He also appears regularly withPiffaro, the Renaissance Band, and The Folger Consort. He is a specialist inthe theory and notation of early music and often teaches this material atworkshops throughout the country. Mark is an accomplished composer, and holds aDMA in Composition from Temple University. His compositions have been performedby the ISCM Chamber Players, Parnassus, and The Network for New Music. He hasalso championed new music for guitar, lute, mandolin, and countertenor withsuch ensembles as the Cygnus ensemble and the Network for New Music. Mark is anAssociate Professor of Music Theory and Composition at West Chester Universityof Pennsylvania.
TanyaDusevic Witek has been the recipientof many awards in the United States and Canada, including the Sony ES Award forExcellence, a Fulbright Scholarship and several Canada Council grants. She hasperformed as soloist, chamber musician and principal flute throughout the U.S.,Europe and Japan with the New York Symphonic Ensemble, Orpheus and Continuum.Ms. Witek has recorded for EMI, Panasonic and CBC, and has appeared at MarlboroMusic and Lincoln Center’s Mostly Mozart Festival. She graduated from theUniversity of Calgary as a student of Philippa Fullerton and received hermaster and doctoral degrees from Juilliard, studying with Carol Wincenc. Lastfall, she was honored with the McGraw-Hill Company’s Robert Sherman Award forMusic Education and Community Outreach, which is awarded to a distinguishedJuilliard alumnus. Ms. Witek is currently a Teaching Artist for Lincoln CenterInstitute and the New York Philharmonic.
JenniferRhodes, a bassoonist based in NewYork City, is a 2005 doctoral candidate at the Juilliard School. She is amember of the esteemed Opera Orchestra of New York with which she performs atCarnegie Hall. She also plays regularly with the Brooklyn Philharmonic,American Composers’ Orchestra, and Westchester Philharmonic. An active chambermusician, Ms. Rhodes has performed with the Chamber Music Society of LincolnCenter, the Jupiter Symphony Chamber Players, and the North Country ChamberPlayers. Jennifer has worked with such well-known conductors as ChristophEschenbach, Kurt Masur, Leonard Slatkin, and Michael Tilson Thomas and can beheard as principal bassoonist on Itzhak Perlman’s 1998 EMI recording"Concertos From My Childhood."
Guitarist/composerWilliam Anderson began performingchamber music at Tanglewood at age 19. He now performs in guitar festivals andnew music festivals in Europe, the U.S., Latin America and in Japan. In NewYork Anderson performs regulalry with many ensembles including the CygnusEnsemble, which he founded in 1985. He performs regularly with the TheaterChamber Players in Washington D.C. He has released three recordings: The GuitarMusic of Meyer Kupferman, on Soundspells; Diary of a Seducer, on CRi; andHausmusik, on Furious Artisans labels. He appears on numerous other recordingson various labels including Koch, Bridge Records, and Open Space. Anderson’sessay, Hausmusik dealing with some of the problems of modernism, will appear inthe June 2003 issue of Bejamin Boretz’ Open Space magazine. Anderson’scompositions have been heard on Danish National Radio, Polish National Radio,and at festivals including the Europe/Asia Festival in Kazan, the Weekend ofChamber Music in the Catskills, the Rotenburg Festival in Northern Germany, andvarious music festivals in Spain and Italy. Anderson is now Artistic Directorof the Composers Guild of New Jersey. He teaches guitar at Sarah LawrenceCollege.
MarkSteinberg is first violinist of the Brentano String Quartet, which hasan active career both in the US and abroad since 1992. The quartet has won theNaumburg Chamber Music Award, the first Cleveland Quartet Award, Lincoln Center’sMartin Segal Prize, and the Royal Philharmonic Society Award. The group is alsoquartet-in-residence at Princeton University. With a repertoire that spans fromthe Renaissance to the music of today, the quartet has been involved innumerous commissions and special projects.
MarkLieb received a Bachelor of Music degree in clarinet performancefrom Northwestern University, studying with Robert Marcellus, and a Master ofMusic degree in clarinet performance from The Juilliard School, studying withDavid Shifrin. He has performed with the Columbus Symphony, New World Symphony,Bronx Arts Ensemble, Essential Music, Vanguard Chamber Players, SpeculumMusicae, and is the founder of the Phoenix Ensemble. With various groups he hastoured extensively throughout the United States, Europe, and Asia, and hasrecorded with New World Records, Mode Records, Newport Classics, Dorian, andBMG Classics labels.
PhoenixEnsemble is a New York City basedchamber music group dedicated to the performance and recording of classicalmusic, and to the mission of making the musical arts a more essential andvaluable experience in the lives of the general public. Since 1992, throughperformances, recordings, and residencies in schools and communities, thePhoenix Ensemble has presented hundreds of events designed to inspire a new anddiverse audience for classical music. The group has a special interest inencouraging and giving a voice to composers of contemporary music, and creatingevents where these composers can present their music to a new audience.
Members:Tanya Dusevic Witek -flute, Robert Ingliss -oboe, Mark Lieb -clarinet, PatrickPridemore -horn, Jennifer Rhodes –bassoon
WilliamPurvis made his debut as soloist with the Pittsburgh Symphony at theage of 18, performing the Strauss Second Horn Concerto; today he pursues amultifaceted career as French horn soloist, chamber musician, and conductor. Heis a member of the New York Woodwind Quintet, Speculum Musicae, Orpheus ChamberOrchestra, and the Orchestra of St. Luke's, performing frequently as soloistwith both orchestras. Mr. Purvis appears frequently with such organizations asTanglewood, Aston Magna, the Salzburg Festivbal, and the Chamber Music Society ofLincoln Center. A frequent performer on "early horns," he hasperformed and recorded with the original instrument sextet Mozzefgiato and withthe Amadeus Winds. Closely identified with the music of our time, Mr. Purvishas had numerous compositions written for him, and has premiered works by suchcomposers as Lieberson, Silver, Babbitt, Carter, Maxwell Davies andStockhausen. As a conductor Mr. Purvis has recorded works by Carter, Wolpe,Crumb, Hyla, and others. In addition to Stony Brook, Mr. Purvis has taught atColumbia University, the Juilliard School, and the Hochschule für Musik inKarlsruhe, Germany.
AlanFeinberg has achieved a remarkable reputation as a vanguard pianistand musician who has charted his own unique path in music. His intelligence,integrity and affinity for an unusually wide range of repertoire place himamong those few artists who are able to build a bridge between music of thepast and present. With repertoire that ranges from Bach to Babbitt, Mr.Feinberg's creative approach to programming places contemporary music within abroad framework as part of an ongoing, living tradition.
RobertIngliss, principal oboist of theAmerican Symphony Orchestra, Bachworks, Northeastern Pennsylvania Philharmonicand Philharmonia Virtuosi, Robert Ingliss has appeared with almost everyimportant large ensemble in New York City. He has also served as principaloboist with the New Zealand Symphony Orchestra and the Mexico CityPhilharmonic. He tours worldwide with the Orpheus Chamber Orchestra, and was asoloist in the Haydn Sinfonia Concertante during Orpheus' much heralded tour ofSoutheast Asia, during which they were the first American orchestra to play inVietnam since the war. In 2003, Robert participated in a memorial concert inBosnia with the Sarajevo Philharmonic for the victims of the massacre inSrebrenica. As a chamber musician, he is a member of An die Musik - oboe,strings and piano, and served as oboist of the Aspen Wind Quintet for sixyears. A member of Cygnus Ensemble and Ensemble Sospeso, Bob is one of the mostsought-after new music oboists. In one month, for example, he performed NY andworld premieres of chamber works by Babbitt, Dalbavie, Dufort, Harbison andBruno Mantovani. He has played with the Da Capo Chamber Players, League-ISCMChamber Players, New Music Consort, Parnassus, Ensemble XXI and appearsfrequently with Speculum Musicae, and is a founding member of the new ColumbiaSinfonietta. Bob can also be heard on dozens of record labels and on numerousfilm and television soundtracks representing a wide range of styles andrepertoire. Mr. Ingliss has given masterclasses in oboe and chamber music atsuch places as the Juilliard School, the Manhattan School of Music, ColumbiaUniversity and at numerous schools and universities across the USA. RobertIngliss graduated from the Juilliard School, and studied with Robert Bloom andArthur Krilov, as well as with Heinz Holliger in Darmstadt, Germany.