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program from Mic Gendreau collection copyright 649w

NO DEAD COMPOSERS.

Footwork/20th Century Forum presents an evening of very live new music by Jonathan Segel, Fred Lonberg-Holm, Janis Mercer, Michael Di Santo and Greg Stephens and featuring works by George Crumb. Friday-Saturday July 20 and 21 8:30 PM Saturday, July 21, 1990.

program. FOOTWORK

Oberammergau. Michael Di Santo. (1962-) John Davis, Flute; Karen Wells, Clarinet; Janis Mercier, Piano; Alan Biggs, Percussion; Catherine Clune, violin; Gerold Miller, 'Cello; Michal Lesham conducting.

Peace Plans. Fred Lonberg-Holm (1962-). Janis Mercer, Piano; Catherine Clune, Violin; Gerold Miller, 'Cello.

Intermission.

Four Movements for Solo Violin. Johnathan Segel (1963-) Catherine Clune, Violin.

Piece. Janis Mercer. Janis Mercer, piano.

Feldman Variations. Greg Stephens. (1962-) Laura Reynolds, Oboe; Karen Wells, Clarinet; Ben Goldberg, Bass Clarinet; Thalia Cassimatis, Bassoon; Uri Wassertzug, Viola; Gerold Miller and Robin Bonnell, 'Cellos; Michal Leshem conducting.

Madrigals, Book I. George Crumb (1929-) Text by Federico Garcia Lorca. Joan Beal, Soprano; Alan Biggs, Percussion; Clyde Yasuhara, Bass.

Michael Di Santo, born in 1962, attended Musician's Institute in Hollywood and graduated from the University of California at Santa Barbara with a B.A. degree in composition. He is currently working on his Master's degree in composition at the University of Southern California.

Oberammergau was named after a city in the south of West Germany known for its wood carvings. The work itself is in one movement. The principal themes and concepts are presented in the opening measures. The work unfolds with occasional octave doubling until the climax, at which time the melody is played by all of the instruments in different octaves. Another aspect of the piece is juxtaposition of a metered part with no metric pulse.

Fred Lonberg-Holm was born in Wilmington, Delaware in 1962. He has studied music at Mills College, Brooklyn College, Manhattan School of Music and Julliard. Currently he is residing in Berkeley and looking for a job.

"Peace Plans" is a series of movements exploring some of the possibilities for more egalitarian relationships within a traditional (and imbalanced) setting. It is dedicated to the Reverend Jesse Jackson who, while this piece was composed, made an attempt to do the same on a global scale. Although neither of us may have fully succeeded, it is hoped that the music (in the broadest possible sense) left behind, warranted our search.

Jonathan Segel, born in 1963, attended the University of California at Santa Cruz, studying music with Gordon Mumma, David Cope, and Steed Cowart. He graduated in 1985. Segel spent the next four years performing and recording 'Camper Van Beethoven' as well as with Eugene Chadbourne and by himself.

This piece was written for Catherine Clune in 1983.

Janis Mercer received a B.M. in composition from the University of Illinois and an MA in composition from Mills College. She has studied composition with Herbert Brun, Salvatore Martirano, Larry Polansky and others. She has studied piano with Albertine Votapek, Dady Mehta, and Ian Hobson. Mercer has performed in and organized numerous concerts of 20th Century Music in and out of the Bay Area.

"Piece" is a piano solo in four sections. It is about an unfortunate situation which is unchanging.

A native resident of California, Greg Stephens currently resides in San Francisco, where he freelances on the trombone, composes and organizes new music concerts. He studied at CSU Northridge and UC Santa Barbara, where he received his BA in 1987. He died sometime after this concert.

"The Feldman Variations" (Aaron, not Morton) is based on one theme which is introduced by the bassoon. The movements are as much character variations as thematic variations.

20th Century Forum wishes to extend thanks to many many people including: Dan Misuras, Ray Stephens, Lawrence Thomas, Footwork, The Zellerbach Family Fund, and all the musicians. Special thanks to Hillary Fielding and Michal Leshem. This project was funded in part by a generous contribution from The Zellerbach Family Fund.


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