Escape Wisconsin (2006) 3:29
Jellyfish (2004) 10:02
Lucia Unrau, piano
As Biddeth Thy Tongue (2006) 9:44
Duo Sonata (2002)
Arrival (Blues) 2:15
Robert Spring, clarinet
The Alex Set (1995)
Alex I 3:14
Interlude I 0:38
Alex II 3:10
Interlude II 0:59
Alex III 1:41
GLINT (2006) 4:40
RISE (2004) 7:42
Lucia Unrau, piano
ESCAPE WISCONSIN (2006) for solo alto saxophone Caleb Burhans
Caleb Burhans writes, “Escape Wisconsin is a funny piece regarding the way it came into existence. I began writing the original material in 2000 for two vibraphones and six years later I finished it as a solo alto saxophone piece. In 2006 the Albany Symphony commissioned twenty-some composers to write 3 to 4 minute works for solo instruments of the orchestra to be inspired and go along with various pieces of art in the Capitol Heritage Series at the New York State Museum/Rockefeller collection in Albany, NY. I chose alto saxophone and a piece by Conrad Marca-Relli entitled "Black Rock". I considered naming my piece after the painting but ultimately found myself referring to it as it's original working title ‘Escape Wisconsin’. I grew up in Wisconsin where the tourism slogan is ‘Escape to Wisconsin’. This is my play on that slogan.”
JELLYFISH (2004) for alto saxophone and piano Kristin Kuster
Jellyfish was commissioned by saxophonist Timothy McAllister and pianist Lucia Unrau. The piece is in three sections, each inspired by a different mode of jellyfish-ness: 1. “medusa,” after the full-formed stage of a jellyfish’s life; 2. “blob,” after an enormous, black, slow-moving deep-sea jellyfish; and 3. “thimbles,” after the tiny jellyfishes that swim in schools of thousands like swarming bees.
AS BIDDETH THY TONGUE (2006) for solo alto saxophone Kati Agócs
As Biddeth Thy Tongue by Kati Agócs was commissioned for the 2006 Inaugural Fox River Chamber Music Festival in Oshkosh, Wisconsin, hosted by the QUORUM Chamber Arts Collective. This virtuoso work is a single-movement, rhapsodic episode that highlights the saxophone’s deeply lyrical nature and its profound similarities with the human voice. The piece covers multiple sonorities and extended techniques, with a character ranging from intensely serene to overtly whimsical.
DUO SONATA (2002) for clarinet and alto saxophone Gregory Wanamaker
Duo Sonata combines the traditional formal aspects of the classical sonata genre with some more recent musical trends and languages, and it exploits many of the coloristic and virtuosic qualities of the clarinet and alto saxophone as individuals and as an ensemble. It is in four movements each exploiting a different musical style characteristic while sharing common motives and themes: Departure is a highly chromatic and rhythmically driven movement in sonata form; Elegy is strictly white-note aeolian and freely rhythmic; the Scherzo resembles the popular so-called minimalism; and Arrival (Blues) is a fast blues with development.
THE ALEX SET (1995) for solo soprano saxophone Daniel Asia
“In 1971, as an undergraduate at Hampshire College, and under the tutelage of Randall McClellan, I wrote the initial Alex. It was a few years latter, while on the faculty of the Oberlin Conservatory, that I met the eminently gifted oboist, Alex Klein. A friendship blossomed, that has continued to this day.
In the winter of 1995, Alex suggested that I write more music for oboe, perhaps a continuation of the Alex piece. After some hesitation (after all, the first Alex was already twenty-five years old, and my music has changed and developed considerably in this intervening period), I embarked on this project. The result is The Alex Set, which includes the first Alex as its first movement. Alex II and Alex III take as their starting point various rhythmic, pitch, and/or registral ideas from this first Alex, and can certainly be viewed as variations on it. The Interludes are just that.” -Daniel Asia
After collaborations with saxophonists Michael Hester and Timothy McAllister, the work is now available as a published version for oboe or saxophone (Theodore Presser).
GLINT (2006) for clarinet and alto saxophone Roshanne Etezady
“When I think of the word ‘glint,’ I think of something small, hard, and shiny, like broken glass on asphalt, or a diamond catching sunlight. It seemed like the perfect title for this piece, which is a fiendishly difficult showpiece for clarinet and alto saxophone. Both players are called upon to circular breathe and play virtuosic passages well above the “normal” registers of their instruments, and intertwine timbres so that at times, individual voices are indistinguishable. Glint was commissioned in 2006 by Robert Spring and Timothy McAllister.” -Roshanne Etezady
OPCIT (1984) for solo tenor saxophone Philippe Hurel
In Opcit (referring to the Latin ‘opus citatum’), Hurel’s first piece composed with the computer, he calculates all frequencies, durations, rhythmic structures and formal proportions. It was generated with the S.I.M.C. of Montreal and Claude Delangle, who is the dedicatee. Although not a set of quotations, as the title might imply, the work does refer to the composer’s Eolia for solo flute written in 1982. The piece consists of four sections-or movements-in which difficulties increase according to order. Polyphonic structures were written on several staves and then re-infused and played by the saxophone, which, naturally, is considered a monodic instrument. Various layers and threads emanate from the extreme ranges of the saxophone—most notably, low Bb, and are brought forth intermittently until finally converging in the climax of section IV on an altissimo G.
RISE (2004) for alto saxophone, piano, and tape Peter Terry
--To increase in size, volume, or level
--To increase in intensity, force, or speed
--To increase in pitch or volume
--To come into existence; originate
--To become apparent to the mind or senses
--To uplift oneself to meet a demand or challenge
“It always strikes me that calling a piece into existence is somewhat artificial, since, unlike a novel or a movie, a piece begins life without any context, it creates its world as it progresses and cannot conjure up history or ideas or characters from the past. Most pieces seem to start with a sense of slowly mounting tension. What if the piece starts in the middle? How does it then rise to completion, and what controls the ascent?
Rise is based around the idea of rising lines, and the idea that starting in the middle is as good a place to start as anywhere. The piece is also about the nature of rhythm—contrast is almost always about increasing the rhythmic syncopation, in a variety of ways—also a ‘rise’ in density, or a rise in the amounts of silence in the texture. Integral to Rise is the fusion of the tape part and the piano part into a new hybrid type of instrument—the tape is embedded in the piano and the piano reacts to, and comments upon the tape. The tape plays figures impossible to the piano, and the piano responds in a tightly-linked conversation with the tape and the saxophone. The effect of the whole is of a dangerously overloaded machine spinning almost out of control but for the ability of the live performers to rise to the occasion.” -Peter Terry
for his “flamboyant” playing (Los Angeles
Times), "virtuoso artistry" (The
Saxophone Symposium), "impeccable musicianship" (American Record Guide), "warmth and
agility" (The Sacramento Bee)
and "beautifully rounded tone" (The
Ann Arbor News), Timothy McAllister is one of America's leading classical
saxophone performers. His solo, orchestral, and chamber music recordings
appear on the Naxos, Einstein, Albany, Summit, Equilibrium, Centaur, G.I.A.
Publications, AUR, New Dynamic, and innova labels.
He has been featured multiple times on National Public Radio's
"Performance Today", Dutch National Radio, BBC, Chamber Music
Minnesota's televised "Music da Camera"
series, WNYC's "Soundcheck"
hosted by Jonathan Schaefer, and various PBS affiliates throughout the U.S.
His work is highlighted in the Deutsche Grammophon
DVD release of John Adams’ CITY NOIR,
filmed as part of Gustavo Dudamel’s Inaugural Concert
as Music Director of the Los Angeles Philharmonic.
McAllister has been a recent soloist with the Cabrillo Festival Orchestra, Texas Festival Orchestra at Round Top, Hot Springs Festival Orchestra, Detroit Chamber Winds and Strings, Royal Band of the Belgian Air Force, United States Navy Band, Dallas Wind Symphony, the Columbus Symphony, Jacksonville Symphony, Ocean City Pops (NJ), Augusta Symphony, Nashville Symphony, and the Boston Modern Orchestra Project among others. In addition, he has performed as saxophonist in the wind sections of the Detroit Symphony Orchestra, Houston Symphony, Phoenix Symphony, Tucson Symphony, New World Symphony, Ann Arbor Symphony, Dogs of Desire Chamber Orchestra of the Albany Symphony, and Opera Colorado/Colorado Symphony Orchestra. His work with the Los Angeles Philharmonic throughout the 2009-2010 Season includes performances in Los Angeles, San Francisco, Phoenix, Chicago, Philadelphia, and New York City’s Lincoln Center. He appears frequently on chamber music series nationwide with the PRISM Quartet, including repeat performances each season in venues such as New York City’s Merkin Hall, Whitney Museum, Le Poisson Rouge, Symphony Space, Zankel Hall at Carnegie Hall; and Philadelphia’s Museum of Art, Trinity Center, PNC Bank/Presser Recital Hall at the Settlement School, and the Painted Bride Arts Center.
McAllister serves as Associate Professor of Saxophone at Arizona State University’s Herberger Institute School of Music. In addition, he spends his summers on the faculty of the Interlochen Center for the Arts, Michigan. He previously held professorships at The Crane School of Music at the State University of New York-Potsdam and the University of Arizona School of Music in Tucson, and he has been a visiting artist at the University of Michigan School of Music and the Conservatoire National Supérieur de Musique of Paris among many others.
Credited with over 100 premieres of new works by eminent and emerging composers worldwide, he holds the prestigious Albert A. Stanley Medal, Earl V. Moore Award, and Doctor of Musical Arts from the University of Michigan where he studied saxophone with Donald Sinta and conducting with H. Robert Reynolds. He has also been honored with the Paul C. Boylan Distinguished Alumni Award from the Michigan School of Music Alumni Society for his contributions to the field of music.
Lucia Unrau has been described as a “magnificent artist” who makes “…intricate and difficult passage work…seem almost effortless.” The Los Angeles Times says Unrau “…provided pointed, bravura playing.” As a soloist and chamber musician, Dr. Unrau performs extensively across the United States and recently appeared with the Detroit Symphony Chamber Orchestra. A finalist in the Joanna Hodges International Piano Competition and the winner of many competitions, Dr. Unrau has been featured on the Spotlight series on WGMS-FM, Washington, D.C., and Front Row Center on KLRU-TV in Austin, Texas.
Dr. Unrau has CD recordings released by EM Productions, Faith and Life Press, HDC Productions and Cambria Master Recordings in the United States, Europe and Japan. She holds degrees from the University of Texas at Austin, Indiana University and Oberlin Conservatory and has studied with Nancy Garrett, Robert Shannon and Alan Feinberg.
Dr. Unrau is currently Professor of Music at Bluffton University. She is also a member of the summer faculty and serves as the Piano Area Coordinator at the Interlochen Arts Camp, Interlochen Center for the Arts.
Robert Spring has been heralded as "one of this country's most sensitive and talented clarinetists" (Arizona Republic), and "a formidable soloist...[who] played with great emotional life" (Copenhagen, Denmark, Politiken). Spring's recording of the clarinet works of Grawemeyer Award-winning composer Joan Tower was described by The Clarinet Magazine as "truly outstanding....one would be hard pressed to find better performances of contemporary music....performed with the highest professional standards." The Instrumentalist Magazine describes his recording, "Dragon's Tongue", a CD of virtuoso music for clarinet and wind band, as “a must for every CD collection." Fanfare Magazine says of the CD, "Tarantelle", music of legendary violinist Jascha Heifetz, performed on clarinet, that it “was meant to amaze and, man, it succeeds." American Record Guide cites, in Spring’s recent recording of the Copland Clarinet Concerto, that "Spring...is fabulous in the Copland. His phrasing is elegant swing tailored with great flow and a spread of tone colors and expressive subtleties...”
Spring attended the University of Michigan where he was awarded three degrees, including the Doctor of Musical Arts degree. He was recently awarded the "Citation of Merit Award" from the School of Music Alumni Society. His teachers included John Mohler, David Shifrin and Paul Shaller. Spring has performed as a recitalist or soloist with symphony orchestras and wind bands in the United States, Canada, Europe, Asia and South America, and has been heard in the United States on National Public Radio's, "Performance Today." He frequently serves as clinician and adjudicator and teaches on the faculties of several summer music festivals. He has published numerous articles on multiple articulation and other contemporary clarinet techniques.
Spring was President of the International Clarinet Association from 1998-2000 and has performed for twelve International Clarinet Association conventions. He hosted the 1995 International Clarinet Association ClarinetFest at Arizona State University where he is presently Professor of Clarinet. Dr. Spring is also principal clarinet of the ProMusic Chamber Orchestra of Columbus, OH. He is a Buffet Artist, and plays the Buffet Greenline Clarinet exclusively.
Robert Spring appears courtesy of Summit Records.
Composer, violinist/violist, countertenor, and multi-instrumentalist CALEB BURHANS was born in Monterey, CA, and has lived in New York with his wife, Martha Cluver, since 2003. He has been heralded by The New York Times as, “animated and versatile”, being a, “sweet voiced countertenor” as well as a “new music virtuoso”. He is a regular member of groups including ACME, Alarm Will Sound, Beyondo, Bleknlok, Escort, itsnotyouitsme, Newspeak, Signal, Trinity Wall Street Choir and the Wordless Music Orchestra. His compositions have often been premiered--and commissioned--by ensembles he works with in notable venues such as Alice Tully Hall at Lincoln Center, Carnegie/Zankel Hall, among many others.
A specialist in early music, new music, pop/rock, and improvisation, Caleb has premiered numerous pieces and worked with such composers as La Monte Young, Lou Harrison, Philip Glass, Steve Reich, John Adams, Meredith Monk, Gavin Bryars, David Lang, Michael Gordon, Jacob Ter Veldhuis, Poul Ruders, Per Norgard, Roger Reynolds, George Crumb, Brian Ferneyhough, Martin Bresnick, Brad Lubman, and Bernard Rands.
Caleb has recorded for Nonesuch, Harmonia Mundi France, Universal, Virgin, Winter & Winter, Bridge, Naxos, Lujo, Cantaloupe, Hanssler, MSR Classics, Hybrid, Vagrant, Arthaus Musik, Sweet Spot and Oxford Press. He attended Interlochen Arts Academy as well as the Eastman School of Music, where he received a bachelor's degree in viola performance and composition. His composition teachers have been David Liptak, Robert Morris, Joseph Schwantner and Augusta Read Thomas.
Composer KRISTIN KUSTER "writes commandingly for the orchestra," and her music "has an invitingly tart edge" (The New York Times). Kuster’s colorfully enthralling compositions take inspiration from architectural space, the weather, and mythology.
The American Composers Orchestra (ACO) commissioned and premiered Ms. Kuster's Myrrha for voices and orchestra in Carnegie Hall in May 2006. Her orchestral work The Narrows won the top prize of ACO's Underwood Emerging Composer Commission. Ms. Kuster was selected for the 2007–2008 American Opera Projects' nationally-recognized Composers & the Voice Series, and the Annapolis Symphony Orchestra commissioned her for the Annapolis Charter 300 Young Composers Competition, premiering her work Beneath This Stone in March 2008. Upcoming projects include works for the National Flute Association 2010 Young Artist Competition, the Left Coast Chamber Ensemble String Quartet, and a percussion quartet commissioned by multi-percussionist Joseph Gramley.
Ms. Kuster has many honors and commissions to her credit. Her music has received support from such organizations as the American Academy of Arts and Letters, the Sons of Norway, the Argosy Foundation, the American Composers Forum, the Jack L. Adams Foundation, the American Composers Orchestra, the Composers Conference at Wellesley College, and the Larson Family Foundation. She has received commissions from ensembles such as the Plymouth Symphony Orchestra, the New York Central City Chorus, the PRISM Saxophone Quartet, the Summerfest Chamber Series, 45th Parallel, Vox Early Music Ensemble, conductor John Lynch and the University of Georgia Wind Ensemble, the Heartland Opera Troupe, and a consortium of wind ensembles organized by University of Michigan conductor Michael Haithcock.
Born in 1973, Ms. Kuster grew up in Boulder, Colorado. She earned her doctorate from the University of Michigan, where she studied with William Bolcom, Michael Daugherty, Evan Chambers, and William Albright. In Fall 2008, Ms. Kuster joined the University of Michigan School of Music faculty as Assistant Professor of Composition.
KATI AGÓCS was born 1975 in Windsor, Canada, of Hungarian and American background. Bridging the gap between lapidary rigor and sensuous lyricism, her music has been performed by leading musicians and ensembles and hailed as original, daring and from the heart. A 2008 citation from the American Academy of Arts and Letters praises the “soulful directness” of her music, its “naturalness of dissonance,” and its “melody, drama, and clear design.” The Boston Globe recently described it as "music of fluidity and austere beauty," while The New York Times has characterized it as "nimble", "striking," and "filled with attractive ideas" and has described her vocal music as possessing "an almost 19th-century naturalness."
Recent commissions include works for the CBC Radio Orchestra (Vancouver), the St. Luke's Chamber Ensemble (New York), the American Composers Orchestra, the Da Capo Chamber Players (New York), pianist Fredrik Ullén (Stockholm, Sweden), Metamorphosen Chamber Orchestra (Boston), the Autumn Festival in Budapest, Hungary, The Albany Symphony, saxophonist Timothy McAllister, PRISM Saxophone Quartet, The Canada Council for the Arts, and the Juilliard School. Agócs was chosen for Meet the Composer's 'Music Alive: New Partnerships' program for 2008-2009.
In recent seasons her works have been featured by the Chamber Music Society of Lincoln Center, eighth blackbird, the Ottawa International Chamber Music Festival, and the Lontano Festival of American Music in London, U.K. Time Out New York featured the premiere recording of Every Lover is a Warrior, on harpist Bridget Kibbey's debut CD, Love is Come Again, as one of its top ten recordings of 2007, describing the work as "a powerful, ruminative suite" and Agócs as an "innovative" and "promising" composer.
Awards include a 2008 Charles Ives Fellowship from the American Academy of Arts and Letters, ASCAP Leonard Bernstein Fellowship at the Tanglewood Music Center, the Canada Council for the Arts, a Fulbright Fellowship to the Franz Liszt Academy in Budapest, Jacob K. Javits Fellowship from the U.S. Department of Education, a New York Foundation for the Arts Composition fellowship, a Jerome Foundation commission, Presser Foundation Award, and honors from ASCAP in their Morton Gould Young Composer Awards. Fellowships and residencies include the Great Lakes Chamber Music Festival, the Norfolk Chamber Music Festival, Aspen Music Festival, MacDowell Colony, Yaddo, Dartington International Music Festival (U.K.), and Virginia Arts Festival.
Kati Agócs earned the Doctor of Musical Arts and Masters degrees from The Juilliard School, studying with Milton Babbitt. In 2008, she was appointed to the composition faculty of the New England Conservatory of Music in Boston.
GREGORY WANAMAKER’s music explores and extends unique timbral qualities of instruments and voices while maintaining lyric and dramatic characteristics commonly associated with works of earlier eras and contemporary popular music. The winner of numerous awards from the American Society of Composers, Authors, and Publishers; National Association of Composers; and Britten-on-the-Bay; Wanamaker’s music has been commissioned and performed throughout the United States, Canada, South America, Europe, and Asia, by performers including the PRISM Saxophone Quartet, Trujillo Symphony Orchestra, the MAVerick Ensemble, the West Point Saxophone Quartet, the Gregg Smith Singers, Timothy McAllister, Robert Spring, Deborah Bish, Ensemble Radieuse, Noah Getz, and Lynn McGrath.
Recent premieres and other performances include such prestigious venues as the Niksic Guitar Festival in Montenegro; Festival de Inverno de Vale Veneto, Brazil; Festival Internacional Bach in Trujillo, Peru; World Saxophone Conferences in Ljublijana, Minneapolis, and Montreal; and the International Clarinet Association’s ClarinetFests in Atlanta and Vancouver. In demand as a composer of solo and chamber music, Wanamaker has several recorded works on the Albany, Innova, Summit, Mark Custom, and KCM labels.
Wanamaker has also served as the composer-in-residence at the twelfth and thirteenth International Bach Festivals in Trujillo, PERU in 2005 and 2006, and at the 2005 American University Saxophone Symposium. Wanamaker is associate professor of composition and theory at the Crane School of Music at SUNY Potsdam. His principal composition teachers were Ladislav Kubík, William Averitt, and Thomas Albert.
DANIEL ASIA, born in Seattle, WA in 1953, has been the recipient of the most competitive grants and fellowships in music including a Meet The Composer/ Reader's Digest Consortium Commission, United Kingdom Fulbright Arts Award Fellowship, a Guggenheim Fellowship, four NEA Composers Grants, a M. B. Rockefeller Grant, an Aaron Copland Fund for Music Grant, MacDowell Colony and Tanglewood Fellowships, ASCAP and BMI composition prizes, and a DAAD Fellowship for study in the Federal Republic of Germany. From 1991-1994, Mr. Asia was the Meet the Composer/ Composer In Residence with the Phoenix Symphony. As Elliott Hurwitt writes in his Schwann Opus review of the composer’s compact disc, IVORY, "Daniel Asia is a genuine creative spirit, an excellent composer,... He is a welcome addition to the roster of our strongest group of living composers."
Working with many renowned soloists, ensembles, and orchestras, Mr. Asia has been commissioned by the Cincinnati Symphony Orchestra, Seattle Symphony Orchestra, Milwaukee Symphony Orchestra, New Jersey Symphony Orchestra, Phoenix Symphony, American Composers Orchestra, Columbus Symphony Orchestra, Grand Rapids Symphony Orchestra, Jacksonville Symphony Orchestra, Chattanooga Symphony, Memphis Symphony Orchestra, Tucson Symphony Orchestra/Syde Family, Knoxville Symphony, Greensboro Symphony Orchestra, Seattle Youth Symphony Orchestra, Colorado Philharmonic Orchestra, Koussevitsky Music Foundation, Fromm Music Foundation, D’Addario Foundation for the Performing Arts/Domus, Oberlin Woodwind Quintet, Dorian Wind Quintet, American Brass Quintet, Meadowmount Trio, Alex Klein/oboe, violinists Curtis Macomber, Gregory Fulkerson, Mark Rush and Zina Schiff, and Robert Dick/flute, among many others.
Assistant Professor of Contemporary Music and Wind Ensemble at the Oberlin Conservatory from 1981-6, Mr. Asia resided in London from 1986-8 working under the auspices of the UK Fulbright Arts Award and Guggenheim Fellowship. He is presently Professor of Composition, and head of the Composition Department, at The University of Arizona, Tucson. Married to Carolee Asia, Mr. Asia and his wife are the parents of three children.
As a young musician, ROSHANNE ETEZADY studied piano and flute, and developed an interest in many different styles of music, from the musicals of Steven Sondheim to the 1980’s power ballads and Europop of her teenage years. One fateful evening evening in 1986, she saw Philip Glass and his ensemble perform as the musical guests on Saturday Night Live. This event marked the beginning of her interest in contemporary classical music, as well as her interest in being a composer herself.
Etezady's works have been commissioned by the Albany Symphony, Dartmouth Symphony, the International Festival-Institute at Round Top (TX), clarinetist Robert Spring, eighth blackbird, Music at the Anthology, percussionist Gwendolyn Burgett-Thrasher, and the PRISM Saxophone Quartet. She has been a fellow at the Aspen Music Festival, the Norfolk Chamber Music Festival and at the Atlantic Center for the Arts. Performers and ensembles including Rźlache, Amadinda Percussion Ensemble, Ensemble De Ereprijs, and the Dogs of Desire Chamber Orchestra have performed Etezady’s music throughout the United States and Europe. Roshanne’s music has earned recognition from the American Academy of Arts and Letters, the Korean Society of 21st Century Music, the Jacob K. Javits Foundation, Meet the Composer, and ASCAP.
As one of the founding members of the Minimum Security Composers Collective, Etezady has helped expand the audience for new music. Through collaborative projects with performing ensembles as well as creative outreach programs, MSCC creates an open dialogue between composers, performers and audiences.
Etezady has served on the faculties of the Interlochen Arts Camp, Yale University, Saint Mary’s College, The University of Arizona, and the Crane School of Music at SUNY Potsdam. She has given masterclasses at Holy Cross College, the Juilliard School, and the Norfolk Chamber Music Festival. She is currently on the composition faculty at The Herberger Institute School of Music at Arizona State University in Tempe.
She holds degrees from Northwestern University and Yale University, and has worked intensively with numerous composers, including William Bolcom, Martin Bresnick, Michael Daugherty, and Ned Rorem. She completed her doctorate at the University of Michigan in March, 2005. Her compositions have been recorded for the Innova, Naxos, Summit, Equilibrium, and the New Dynamic Records labels.
PHILIPPE HUREL (b. 1955) belongs to the generation of French composers who developed the principles of ‘spectral music’. Exploring the development of timbre and influenced by his research in psychoacoustics, Hurel smoothly transitions from one state of sound matter to another. He studied musicology at the Université de Toulouse from 1974-79 and composition with Betsy Jolas and Ivo Malec at the Conservatoire National Supérieur de Musique de Paris from 1980-83. He also had private studies in musical computer science with Tristan Murail in Paris in 1983. His honors include the Pensionnaire ą la Villa Médicis ą Rome (1986-88), the Förderpreis der Siemens-Stiftung in Munich (1995, for Six miniatures en trompe l'Ōil), the Prix des Compositeurs from SACEM (2002), and the Prix de la Meilleure Création de l'Année from SACEM (2003, for Aura). He worked as a music researcher at IRCAM in 1985-86 and 1988-89, and he taught composition at IRCAM from 1997-2001. He also served as composer-in-residence to both the Arsenal de Metz and the Philharmonie de Lorraine from 2000-02. With Pierre André Valade he founded the new music ensemble Court-circuit in 1990 and has since served as its artistic director.
His music has been performed in Australia, Belgium, Canada, Finland, France, Germany, Ireland, Italy, Japan, Latvia, The Netherlands, Norway, Portugal, Romania, Russia, Spain, Sweden, Switzerland, the UK, the USA… His pieces has been conducted by Pierre Boulez, David Robertson, Jonathan Nott, Esa Pekka Salonen, Reinbert de Leeuw, Bernard Kontarsky, Stefan Asbury, Kent Nagano, Peter Eötvös, Markus Stenz, Ed Spanjaard, and Pierre-André Valade.
Editions Billaudot publishes his music written between 1981-96 and Éditions Lemoine publishes his music written since 1997.
The Los Angeles Times describes PETER TERRY as a composer with a “prodigious ability to write virtuosic melodic lines and ostinatos.” Peter is the recipient of numerous honors and awards, including an Ohio Arts Council Individual Artist Fellowship in composition, two Composition awards from the ASCAP Foundation and honors from the Austin Open Theater. Peter Terry's music has been performed on prestigious festivals, concert series, and in alternative galleries and concert halls throughout the United States, Asia and Europe.
His teachers include Christopher Rouse, William Kraft and Russell Pinkston, and he has served on the faculties of the University of Texas at Austin, Cal-State-LA, Bowling Green University and Bluffton University. He is recorded on the Cambria CD-1089, SIMPLE REQUESTS and has a solo CD of his electronic and acoustic works on Cambria CD-1103 "A HALO of DARK STARS", performed by his ensemble, Electro-Metamorphosis.
A video and multi-media artist, Dr. Terry is Associate Professor of IT and music at Bluffton University, Bluffton, Ohio.
Escape Wisconsin by Caleb Burhans was commissioned by the Albany Symphony Orchestra for the Capital Heritage Commission Program. Premiere performance: March 4, 2007. New York State Museum, Albany, NY.
Timothy McAllister is a Conn-Selmer Artist and performs Selmer saxophones and mouthpieces exclusively. For more information, please visit www.timothymcallister.com
Soprano Saxophone: Selmer Paris Series III; Selmer S80 C* mouthpiece, BG gold-plated ligature
Alto Saxophone: Selmer Paris Series III; Selmer S90 190 mouthpiece, Bay Gold ligature
Tenor Saxophone: Selmer Paris Series III; Selmer S80 C* mouthpiece, BG gold-plated ligature
Reeds: Vandoren and Rico Reserve (alto)
Piano: Steinway and Sons
Tracks 1-3; 8-12; 14-18 recorded Sept. 2006-May 2007 at The University of Arizona School of Music Recording Studio, Tucson.
Engineer: Wiley Ross, firstname.lastname@example.org
Microphones: DPA 4011 cardioid and DPA 4003 omni condensers; AEA R84 ribbon
Editing and Mastering: Wiley Ross
Co-Producers: Lucia Unrau, Peter Terry, Kati Agócs, Robert Beaser
Tracks 4-7; 13 recorded February 2007 at Tempest Recording Studios. Tempe, AZ.
Engineer: Clarke Rigsby
Editing and Mastering: Clarke Rigsby
Producers: Timothy McAllister, Robert Spring
Co-Producers: Roshanne Etezady, Joshua Gardner
Final Mixing and Mastering: Wiley Ross
Producer: Timothy McAllister
Executive Producer: Philip Blackburn
Tracks 1, 3, 13, 18 recorded in the presence of the composers.
Innova is supported by an endowment from the McKnight Foundation.
Philip Blackburn: director, design
Chris Campbell: operations manager