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Thursday, January 15 2015 at the San Francisco Conservatory of Music CH = Concert Hall RH = Recital Hall OS = Osher Salon C1 = Classroom #1 9:30 AM Registration 10:00-11:00 AM (CH) Welcome by New Music Gathering Co-Founders: Lainie Fefferman Daniel Felsenfeld Mary Kouyoumdjian Matt Marks Greeting from San Francisco Conservatory of Music President David H. Stull Keynote Address by Claire Chase 11:00-12:45 PM Therapy Room for DIY Music-Makers (C1) New Music Therapists: Samantha Buker (Board of Directors, Post-Classical Ensemble) Kevin Clark (New Music USA) Noah Luna (BCP Publishing) Meerenai Shim (DIY Commissioner Extraordinaire) Are you a self-managed ensemble or composer? Are you up to your eyeballs in administrative headaches? Do you need some advice on how to do something? Do you

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have some knowledge to share? Do you just need to get something off your chest? Do you need a hug? Do you have hugs to give? Stop by the therapy room for group discussions or sign up to get quick “therapy” sessions with this panel on how to forward your musical goals and career out in the world! Attendees are encouraged to share advice with others as well. 11:00-11:45 AM Talks/Panels/Demos I TALK (RH): Kelsey Walsh, The Innovations of Henry Cowell Henry Cowell is one of the most important figures in the history of American music. His innovations and contributions to music go far beyond the tone cluster. This talk/demo will focus primarily his piano compositions and his efforts to bring "ultra modern" music to a wider audience. Kelsey Walsh, piano LECTURE/DEMO (OS): Clay Chaplin, Pi and Pd A brief introduction to networked Raspberry Pi computing, OSC, and Pure Data for computer music and installation-based sound works. The lecture will focus on my recent audio-visual installation work for eight networked speakers and two-channel video called PiAV. For the demonstration I will premiere a short work for amplified viola and networked Rapsberry Pi speakers. Heather Lockie, viola

TALK (CH): Gavin Chuck, Collaborative decision-making in an arts organization Alarm Will Sound has successfully navigated several stages of growth over its 15-year history through collaborative decision-making by which all our 20 members are involved

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in artistic and organizational issues. This may seem to be unwieldy, yet we have created an organizational culture and infrastructure that harnesses the creative energies of individual members towards a common vision. This presentation covers principles and practicalities of that culture, from the politics of collaboration, to the online tools and work environment that facilitate collaborative decision-making. We believe that our practice of collaborative decision-making can be adapted by other organizations to their own missions and circumstances. 12:00-12:45 PM Talks/Panels Demos II TALK (RH): Scott Rubin, Experimental time perceived in Fausto Romitelli’s Professor Bad Trip, Lesson I LECTURE/DEMO (OS): Headless Monkey Attack, Latency in the System Ryan Carter, electronics Nick Woodbury, percussion David Wegehaupt, saxophone TALK (CH): Dan Becker, “If You Don’t Like The News, Go Out and Make Some of Your Own” – Founding & Running a Composer’s Collective Dan Becker is the Founder and Artistic Director of the Common Sense Composers' Collective, founded in 1993. (Other members are Belinda Reynolds, Randall Woolf, John Halle, Marc Mellits, Melissa Hui, Carolyn Yarnell, and Ed Harsh.) Together they have created over 80 new works for different ensembles through Collaborative projects. Common Sense was one of the first (if not the first) Composers' Collective that began sprouting up in the 1990s, and he will discuss the whos, whys and hows that caused his group to band together. 12:45-1:30 PM LUNCH! 1:30-2:30 PM CONCERT (OS)

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Megan Inhen & Hillary LaBone

Two Joyce Songs Lullaby There Will Come Soft Rain Hymns Only

John Cage Shawn Brogan Allison Jessica Rudman Gilda Lyons Morton Feldman

Areon Flutes

Broken Birds Danny Clay Areon Flutes is Sasha Launer, Jill Heinke Moen, and Kassey Plaha 2:45-3:30 PM Talk/Panels/Demos III LECTURE/DEMO (RH): Ian Dicke, Scripting Unscripted: Composing for Live Electronics (and Bric-à-brac) Ian Dicke's solo percussion and live audio processing piece Eight Oh Eight pays homage to the TR-808 drum machine, which was first introduced by the Roland Corporation in early 1980. The TR-808 has earned a cult status with musicians worldwide through its use on countless pop and hip-hop recordings. In Eight Oh Eight, the percussionist is challenged to synchronize with a series of live loops of varying length, which overlap and shift in seemingly unpredictable ways. The percussionist determines many aspects of the work, including the instrumentation, form, and improvised solos. Although most of the audio material is created in real-time, the unmistakable samples of the TR-808 appear in several places, most notably in the middle section.

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In this presentation, composer Ian Dicke gives a performance of Eight Oh Eight followed by a detailed explanation of the digital technology used to generate the composition. Issues of portability, user interface, and technical requirements will be discussed, along with an overview of the advantages and disadvantages of live audio processing as a compositional tool. TALK (OS): Ryan Ross Smith, Study no. 47 [Lecture3] Study no. 47 [Lecture3] is the third in a series of lectures on topics generated and realized as real-time scores using animated music notation. Lecture3 will speak primarily to the author's creative practice with animated music notation, the lecture itself an instance of this practice, and will attempt to highlight the potentials for electroacoustic synchronicity in a real-time, generative context. PANEL (C1): Lainie Fefferman and any who wish, Singing new music and new opera: concerns, discoveries, and possibility Featuring: Lainie Fefferman Pam Stein Megan Ihnen members of Volti Indre Viskontas Anne Hege Aaron Siegel Daniel Felsenfeld Matt Marks Matt Welch and anyone else who wants to participate! What are the questions and concerns of the modern composer of vocal music? Does vocal pedagogy match the demands of new music? How is technology changing

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performance/composition? Where are we departing from tradition and where have we embraced it? Come tell us what you think! Featuring Lainie Fefferman, Pam Stein, Megan Ihnen, members of Volti, Indre Viskontas, Anne Hege, Aaron Siegel, Daniel Felsenfeld, Matt Marks, Matt Welch and anyone else who wants to participate! 3:45-4:30 PM Talks/Panels/Demos IV PANEL (RH): Eve Beglarian, Nat Evans, Chris Kallmyer, Music of Place Notes by Nat Evans: In 2014 Nat Evans spent five months hiking the 2600 mile Pacific Crest Trail which runs from Mexico to Canada - collaborating with a series of people on the west coast, making field recordings, as well as creating sound and performance based works that explore landscape, place, human geography ecology, and concepts of time. Evans will speak about his time in the wilderness, research, projects sprung from the trail in collaboration with other panelists bringing different aspects of human geography and place through sound and music. LECTURE/DEMO (OS): Dan Iglesia/Sideband Mobile Quartet, Live performance with Mobile Devices Half the demo will be a performance by the Sideband Mobile Quartet, with works incorporating phones, tablets, tether controllers, live video, and more! Half the demo will be an introduction to using PureData on mobile devices, via the app MobMuPlat: www.mobmuplat.com. Learn how to incorporated sensors, GPS, networking, multitouch, and more. (Note that there will not be time for a hands-on workshop, so while you can certainly bring your laptops and devices, they are not required.) Sideband Mobile Quartet is Lainie Fefferman, Anne Hege, Daniel Iglesia, and Jascha Narveson

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TALK (C1): Noah Luna (BCP) & Jenny Silva (Sheet Music Plus), Publishing Models for the Independent Composer While many of today's composers have made the decision to self-publish, but most are unaware of all the components that go into properly publishing your works. This discussion will discuss the various "moving parts" of any publishing organization, as well as offer a few publishing models that have emerged as more and more composers are moving away from the "old model". 5:00-6:00 PM Panel: Stories of Established Ensembles (RH) Claire Chase (International Contemporary Ensemble) Gavin Chuck (Alarm Will Sound) Matt Marks (Alarm Will Sound) Christina Johnson (Kronos Performing Arts Association) Sidney Chen (Kronos Performing Arts Association) 6:00-7:00 PM DINNER! 7:00-10:00 PM Concert (CH followed by performance in OS) Claire Chase Density 2036: part ii Claire Chase, flutes Levy Lorenzo, sound engineer Meditation and Calligraphy for bass flute (2014) San Francisco Premiere Parabola na caverna for amplified flute (2013-14) San Francisco Premiere Commissioned by the Fromm Music Foundation Emergent for flute and electronics (2014) San Francisco Premiere

Felipe Lara Felipe Lara George Lewis

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Commissioned by the Pnea Foundation Luciform for flute and electronics (2013) San Francisco Premiere An Empty Garlic for bass flute and electronics (2014) San Francisco Premiere Commissioned by Project& Density 21.5 for flute alone (1936)

Mario Diaz de León Du Yun Edgard Varèse

Density 2036: part ii is dedicated to the loving memory of Elise Mann Flutist and MacArthur Fellow Claire Chase continues her 22-year project to commission an entirely new body of repertory for solo flute each year between 2014 and 2036, the 100th Anniversary of Edgard Varèse’s groundbreaking flute solo, Density 21.5. In this performance of Density 2036: part ii, Chase plays Density 21.5 and gives the San Francisco premieres of work by George Lewis, Felipe Lara, Mario Diaz de León, and Du Yun. Flutist Claire Chase, described as “the young star of the modern flute” by The New Yorker, is a soloist, collaborative artist, and activist for new music. Over the past decade she has given the world premieres of over 100 new works for flute, many of them tailor-made for her, and, in 2012, she was awarded a MacArthur Fellowship. Chase co-founded the International Contemporary Ensemble (ICE) in 2001 and, in collaboration with her creative partner Joshua Rubin, serves as the organization’s Co-Artistic Director in addition to playing over fifty concerts a year as an ensemble member. Chase has performed throughout the Americas, Europe and Asia, including recent and upcoming solo engagements in Budapest, São Paolo, New Dehli, Bilbao, Tokyo and Guangzhou. She lives in Brooklyn. http://www.clairechase.net For more information on pieces and composer bios visit: http://newmusicgathering.org/chasenotes Eve Beglarian Songs from the River Project BRIM: Eve Beglarian, vocals and electronics

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Mary Rowell, violin and mandolin Giacomo Fiore, electric guitar Autoduplicity (Rachel Beetz & Jennifer Bewerse)

?Corporel Vinko Globokar Matthew Welch's Blarvuster

The Finger Lock Matthew Welch Matthew Welch (bagpipes, sax, vox) Will Northlich-Redmond (electric guitar) Aaron Germain (bass guitar) Jordan Glenn (drums) In the Osher Salon: David Coll

Position, influence for soprano and sound sculpture David Coll Vanessa Langer, soprano

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Friday, January 16 2015 at the San Francisco Conservatory of Music 10:00-11:00 AM Composer/Performer Speed Dating, with Brooks Frederickson and Lainie Fefferman Bring your music playback device and headphones to share! 11:15-1:00 PM Therapy Room for DIY Music-Makers (C1) New Music Therapists: Samantha Buker (Board of Directors, Post-Classical Ensemble) Kevin Clark (New Music USA) Noah Luna (BCP Publishing) Rajiv Parikh (Sheet Music Plus) Meerenai Shim (DIY Commissioner Extraordinaire) 11:15-12:00 PM Talks/Panels/Demos V PANEL (CH): Discussion on New Music Education Featuring: Dan Becker (San Francisco Conservatory of Music) Daniel Felsenfeld (New York Philharmonic Very Young Composers) Brenna Noonan (Stanford Jazz Workshop) Kate Sheeran (Mannes College of Music) Pamela Stein (Your Music Bus) PANEL (OS): Rachel Beetz & Jennifer Bewerse, Theatricality What is a performer? In the highly trained instrumental world of western classical music, a performer is defined by her instrument. I am a pianist.

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What is a performer when the instrument is removed? Rapidly, the central tools of the performer – the normative means for defining her role – shift. The performing body and the voice emerge, bringing with them new critical implications for genre, gender, and identity. In a cultural environment where the western classical performer is expected to labor for transparency of the score, Werktreue, performances that inhabit the performing body instead of erasing it present themselves as transgressions. The gestural body and the speaking voice, these are theater or dance, not music. TALK (RH): Aaron Siegel, Getting Better? (How to make sure you are) Any creative person knows that they don’t get everything right the first time. We have to embrace the activity of creating with the same spirit that we embrace the activity of learning. Growing, in musical work and in most work, is about not making the same mistake twice. This requires some thoughtful planning so we can step back and reflect on our work to keep track of how things are going. This workshop will explore some practical strategies for taking stock of where we are with our artistic practice, either from an artistic standpoint or a business one. We will work hard to keep our reflecting relevant to what we care about most deeply and identify ways to make changes that will help our work get better right away. Maintaining a flexible and artistically-focused reflective practice is key to keeping our musical and creative energies moving in a positive direction. We will listen to musical performances, look at marketing materials, and read performance reviews and audience surveys as a means for grounding this workshop in a real-world applications. Attendees will walk away having noted some of the big questions that they are struggling with and some ‘next-day’ steps to keep the momentum from the session going. 12:15-1:00 PM Talks/Panels/Demos VI TALK (RH): Michael Clayville, A Rising Tide: Using Social Media to Grow a Global Audience for New Music

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Over fifteen years, Alarm Will Sound has worked to champion music that expresses contemporary life. Michael Clayville, who is not only AWS's trombonist but also media manager, has worked to share that message. Clayville will discuss the challenges and opportunities that arise when doing the job from within the ensemble, the need for the new music community to gather and work together and concrete ideas for how to bolster audiences. PANEL (CH): Alternative Ensembles Leaha Maria Villarreal & Mary Kouyoumdjian (Hotel Elefant) Moderating Nick Benavides & Danny Clay (Guerrilla Composers Guild) Jen Wang (Wild Rumpus) Sugar Vendil (Nouveau Classical Project) Hotel Elefant leads a round-table discussion focusing on the artist-run ensemble. Presenting innovative work by young and emerging composers, this flexible roster of musicians will share its experiences and compare running an organization in New York City with equally enterprising communities from San Francisco and beyond. Fluid/open participation encouraged. TALK (OS): Samantha Buker, The Art of the Possible: The Role of a Board and a Clear Vision Whether you have three people on staff or 300, board leadership and activity will get you where you want to be. First you, as artist and leader, need a clear vision. Then you need a board to share it, foster it and spread it like gospel. If you make that your first objective, raising funds will follow. Your board has to be nimble. It has to be ready to field e-mail and social media comments. Your board has to tackle the hurdle of fundraising in a market where public funds are shrinking… Your board is your strength in the good times and bad. Never underestimate what you can achieve. My talk reviews what has worked in my own experience as board member of PostClassical Ensemble, and new member of Evolution Contemporary Music Series… Plus, the strengths

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fostered by organizations in Cleveland and Boston under luminaries like Richard Bogomolny and Ben Zander. I’ll discuss scale, vision and goal-setting. I’ll examine how boards will shift with growth, but that excellence and vision should never be compromised. We’ll cover how to create the right board for your community and the size of your present and future goals. 1:00-2:00 Concert (RH) Joo Won Park Joo Won will perform his electroacoustic solo set consisting of pieces for toy instruments, no-input mixer, custom synthesizer, computer, and slinky. www.100strangesounds.com Retrace Toccata Fireflies and Cicadas Introvert Large Intestine Elegy 2:00-3:00 PM Piano Concert (OS) Nicholas Phillips

Occidental Psalmody On the Drawing of Constellations Hotfingers

I. Superfractalistic II. Growing Season Blues III. Écoutez et Répétez

Ethan Wickman Ben Hjertmann David Rakowski

Garrett Schumann and Jeanette Fang

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Escapement Garrett Schumann 3:00-4:45 Hot Air Music Festival, Open Rehearsal (CH)

Let Go Julie Barwick Jessie Nucho, flute Gordon Daole-Wellman, clarinet Collin Whitfield, piano Stephanie Webster, percussion Marian Yang, violin Sarah Lee, viola Bridget Pasker, cello Tyler Catlin, conductor 3:00-3:45 Talks/Panels/Demos VII TALK (C1): Kevin Clark, New Music USA and curing Baumol’s Cost Disease Kevin Clark is a composer, podcaster, platform builder and strategist at New Music USA. He is also a consultant and speaker on arts philanthropy, technology, and entrepreneurship. Kevin will discuss his work building New Music USA’s project platform, and answer questions about New Music USA’s grantmaking process. He will also discuss new pathways in crowdfunding, audience development, and curing Baumol’s Cost Disease as an independent artist. LECTURE/DEMO (RH): Judah Adashi & Lavena Johanson, Putting on a Show: Bringing the Alternative Venue Into the Concert Hall New-music events can and should be much more than recitals of contemporary repertoire, creating an inviting communal experience within and beyond the concert itself. Join us for a performance by cellist Lavena Johanson, and remarks by composer

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and presenter Judah Adashi. Dr. Adashi is a member of the composition and music theory faculty at the Peabody Institute of the Johns Hopkins University, and the founder and artistic director of Baltimore's Evolution Contemporary Music Series. Ms. Johanson is on the faculty of the Baltimore Symphony Orchestra's OrchKids program, and an active soloist and chamber musician who has worked with several of today's leading composers. PANEL (OS): Damjan Rakonjac, Isaac Schankler, and Joelle Zigman, Actually It’s About Ethics in New Music Journalism While we practitioners of new music like to think of ourselves as savvy consumers of new media, we still covet and rely on reviews in old media to confer cachet and prestige on our endeavors, enshrining them as "culturally relevant." What's wrong with this picture? Can we imagine a new kind of new music journalism that is less concerned with "objective" evaluation of compositions and performances and more concerned with personal ideas and stories? What would be the challenges and pitfalls of such a medium? 4:00-4:45 PM Talks/Panels/Demos VIII LECTURE/DEMOS (RH): Indre Viskontas/Vocallective, Resonate: How effective musical performance engages our brain Conflict often results from a lack of empathy: that is, by treating a person or a group of people as ‘others’, and focusing on differences rather than similarities, it becomes easier to mistreat them in a myriad of ways. But when we put ourselves in someone else’s shoes, and feel what they must be feeling, we begin the process of tearing down boundaries and move closer to peace and harmony. Eliciting empathy in listeners is one of the greatest powers of music. Empathy, which often leads to compassion, can change our minds and, most importantly, our actions. Empathy involves putting oneself into the shoes of someone else; to literally feel what they are feeling. One argument for why music is effective in eliciting powerful emotions is that it taps into this empathic system directly.

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The Ensemble Project, featuring the chamber music group Vocallective, is designed to suss out the conditions under which music making is most effective at eliciting empathy from the audience. Musicians who make music as a group strive to play ‘in sync’: to connect with each other so that they can connect with the audience. Even if just for a fleeting moment, the ensemble of individual artists breathes like one animal and music pours out that transcends any single musician. Audiences feel this connection immediately and demand more. Anne Hege with Carrie Ahern, Ritual Practice as Compositional Material: Including the Audience in the Process In an age where the word “iteration” implies a gathering of data, debugging, and honing of markets, I wonder if the arts can redefine iteration as an embodied form of revision and participation through inclusive practices. Composers used to write exercises, warm-ups, and etudes for their students and themselves; maybe we should revisit that idea? In this lecture/demonstration, composer Anne Hege and choreographer Carrie Ahern will discuss their collaborations over the last five years and the way they have both been inspired to use compositional material in public workshops, ritual practice, and performance works as a way to hone their material and engage the public in an embodied dialog. Hege and Ahern will co-lead two short practices with the audience, one that is more musically based (although they both include sound and movement) that is an excerpt from my workshop Reclaiming What is Lost as part of the larger performance work From the Waters for laptop orchestra and one that is more movement based titled The Art of Burial and central to her performance work Borrowed Prey II. We will discuss how these practices shaped the creation of the larger compositions, how they continue as workshops that engage new audience members, and how they lead to new collaborations and new works as a part of a fulfilling and very natural compositional process. PANEL (C1): Presenting New Music: A Roundtable Discussion Featuring:

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Rob Deemer (State University of New York at Fredonia, Fredonia, NY) Kurt Doles (Bowling Green State University, Bowling Green, OH) Jen Wang (Center for New Music, San Francisco) Judah Adashi (Evolution Music Series, Baltimore, MD) Ravi Kittappa (Permutations Concert Series, SF & NYC) An important facet to the strength of today's new music environment is the variety of presenting organizations that provide artists and ensembles the opportunity to perform outside of their local community. These presenters are based in a wide array of venues and locales across the country, and they work with a mix of needs, goals, dreams, missions, outlooks, and procedural concepts. DEMO (OS): Roger Linn, Demo of the Linnstrument The promise of electronic sound generation was to produce any instrument sound you can imagine. However, if you've ever tried to play a convincing guitar, sax, violin, clarinet or cello solo on a MIDI keyboard, you've found it to sound static and lifeless because keyboards can't do much more than turn sounds on and off at different volumes. LinnStrument takes a new approach, capturing each finger's subtle movements in three dimensions for simultaneous fine control of note expression, pitch and timbre. With this level of expressive control, the promise of electronic sound generation is finally a reality. 5:00-6:30 PM Concert (RH) Taka Kigawa Plays complete Boulez piano music Incises Third Sonata Formant 2: Constellation – Miroir Sigle (from “Formant 1: Antiphonie”) Formant 3: Trope First Sonata 1. Lent 2. Assez Largo, Rapide

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Douze Notations 1. Fantasque – Modéré; 2. Très vif; 3. Assez lent; 4. Rythmique; 5. Doux et improvise; 6. Rapide; 7. Hiératique; 8. Modéré jusqu’à très vif; 9. Lointain – Calme; 10. Mécanique et très sec; 11. Scintillant; 12. Lent - Puissant et âpre Une page d’éphéméride Second Sonata 1. Extrêmement rapide 2. Lent 3. Modéré 4. Vif 6:30-7:30 PM DINNER! 7:30-9:30 PM Concert (CH) Left Coast Chamber Ensemble

...maestoso...misterioso... Kurt Rohde Anna Presler, violin Kurt Rohde, viola Sam Nichols, electronics Volti

In Lumine (2007) Effortlessly, Love Flows from Ecstatic Meditations (1999) "Dawn" Movement 1 of Pandora's Gift (2014) ¡Chicanofobia! from Jalapeño Blues (2007)

Huck Hodge Aaron Jay Kernis Mark Winges Gabriela Lena Frank

Robert Geary, Artistic Director/Conductor Soprano: Yuhi Aizawa Combatti, Lauren Eigenbrode, Shauna Fallihee, Cecilia Lam, Christa Tumlinson

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Alto: Monica Frame, Rachel Rush, Emily Ryan, Colby Smith, Celeste Winant Tenor: Ben Barr, Julian Kusnadi, Roderick Lowe, Ryan Matos, Jeffrey Wang Bass: Jeff Bennett, Sidney Chen, Peter Dennis Mautner, Jefferson Packer, Philip Saunders Wild Rumpus

Minutiae Spectral Fields In Time

Lee Weisert Joshua Carro

Vanessa Langer, soprano Margaret Halbig, piano Dan VanHassel, electric guitar Sophie Huet, bass clarinet Weston Olencki, trombone Eugene Theriault, double bass Nick Woodbury, percussion Sarah Cahill A Piano Party for Terry Riley at 80 Keyboard Studies (from the mid-60s) Poppy Infinite (premiere) Shade Studies (premiere) excerpt from YEAR (premiere) A Trilling Piece for Terry (premiere) The Philosopher's Hand (premiere of transcription by Toon Vandevorst) Circle Songs (premiere)

Terry Riley Gyan Riley Samuel Carl Adams Dylan Mattingly Pauline Oliveros Terry Riley Danny Clay

2015 is the eightieth birthday year of composer-pianist Terry Riley, who has had a profound influence on generations of composers and musicians. A Piano Party for Terry Riley at 80 pays tribute to Riley’s enduring impact with the premieres of new solo

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piano pieces written in honor of his eightieth birthday by Samuel Carl Adams, Pauline Oliveros, Gyan Riley, Christine Southworth, Dylan Mattingly, and Danny Clay, combined with some of Riley’s own dazzling piano compositions. Sarah Cahill has worked closely with Terry Riley since 1997, when she commissioned his four-hand piece Cinco de Mayo for an all-piano festival at Cal Performances celebrating Henry Cowell’s hundredth birthday. She commissioned four more four-hand pieces from Riley, toured with him in Edinburgh and Glasgow, performed in his 70th birthday concert at Royce Hall at UCLA, and commissioned a solo piece, Be Kind to One Another, which NPR listed on its 100 Best Songs of 2013, and MSNBC included on its Top Ten Political Songs of 2013.

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Saturday, January 17 2015 at the Center for New Music, then the SFCM AT THE CENTER FOR NEW MUSIC: 10:00-11:00 AM Panel on Community – Starting & Building Featuring: Annie Phillips, Switchboard Music co-director Ryan Brown, Switchboard Music co-director Jeff Anderle, Switchboard Music co-director Adam Fong, Center for New Music executive director Brent Miller, Center for New Music managing director Luis Escareño, Center for New Music membership manager Switchboard Music and the Center for New Music's directors will discuss their beginnings as artists noticing something missing in their landscape and their process to build organizations to fill those niches. The second part of the panel will be focused on both organizations' concerted efforts to build a community of performers, composers, ensembles, bands, and audience members around the Bay Area’s unique styles of music making. 11:00-12:00 PM Panel on Technology in New Music MaryClare Brzytwa Ryan Carter Clay Chaplin Lainie Fefferman Anne Hege Dan Iglesia Jascha Narveson Ryan Ross Smith 12:00-1:00 PM Concert Isaac Schankler Xerodrome

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Isaac Schankler, accordion and electronics video by Christopher O'Leary 1:00-2:00 PM LUNCH! 2:00-3:30 PM Kronos Quartet, Open Rehearsal with Wu Man

The Cusp of Magic (2004) Terry Riley Terry Riley has written almost 30 piece for Kronos. He celebrates his 80th birthday in 2015, and Kronos will focus on his music all year. Join Kronos and Wu Man in an open rehearsal of "The Cusp of Magic," which they will perform at Hertz Hall (Cal Performances) the following day. The rehearsal is followed by a conversation with the artists. For more information on The Cusp of Magic, please visit: http:newmusicgathering.org/kronosnotes For more than 40 years, San Francisco’s Kronos Quartet—David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello)—has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts worldwide, releasing more than 50 recordings, collaborating with many of the world’s most eclectic composers and performers, and commissioning more than 800 works and arrangements for string quartet. A Grammy winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize. With a staff of ten, the non-profit Kronos Performing Arts Association (KPAA) manages all aspects of Kronos’ work, including the commissioning of new works, concert tours and home-season performances, and education programs. 3:30-3:45 PM BREAK 3:45-4:30 Kronos Quartet and Wu Man, Artistic Panel Discussion BACK AT THE SAN FRANCISCO CONSERVATORY OF MUSIC 5:00-6:00 PM Roundtable Discussion on Women in New Music

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Mary Kouyoumdjian Moderator Brenna Noonan Joelle Zigman Lainie Fefferman Leaha Maria Villarreal and any other who want to join! An examination of oppression and future empowerment of women in new music. We will discuss notable female composers and musicians, female-led ensembles, and female-centric programs/competitions. Panelists will hopefully share their perspectives on being a woman in the male-dominated new music world and, if they have had gendered struggles, talk about how they overcame them. We would also like to address the historical significance of women's positional power in music. We would love to have fluid and audience participation. Audience members would be welcome to ask questions and share their own stories of oppression/empowerment in music. Although counterpoint is of course encouraged and I hope many men will attend, we would like it to be noted that this will be a safe space for women to discuss their roles in new music. 6:00-6:30 PM Open Conversation: Suggestions for Next Year’s New Music Gathering 6:30-7:30 PM DINNER! 7:30-10:30 PM FINAL MARATHON CONCERT (CH) 7:30-9:00 PM Till by Turning

Grito del Corazón Four Chambered Heart: movement six

Judith Shatin Katherine Young

Katherine Young, bassoon Erica DIcker, violin

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Amy Cimini, viola Emily Manzo, piano Paul Rowley, video projections Incendiary Cycle

Manzanita Fontana Santa Ana

Ted Allen Ted Allen Ted Allen

Zack Pitt-Smith, clarinet Ted Allen, trombone Zack Pitt-Smith and Sean Norris, tenor saxophones Daniel Andrade, trombone Greg Barr, guitar Isaac Schwartz, drums Transient Canvas

Vestibule III dirty water sift

Curtis K. Hughes Tina Tallon Daniel T. Lewis

Transient Canvas is Amy Advocat, bass clarinet & Matt Sharrock, marimba 9:00-10:30 PM The Living Earth Show

Squeeze! Squeeze! Squeeze! Renvoi/Shards Pork Roll, Egg, & Cheese on a Kaiser Bun

Luciano Chessa Brian Ferneyhough Ken Ueno

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Director: Luciano Chessa Staging General: Dennis Aman Bartender: Erika Johnson Light Bearers: Luis Escareño, Anne Rainwater, Carrie Smith, Joseph Colombo, Derek Drudge, Marc Deriso (we may have four more as well, I'll let you know ASAP). The Living Earth Show: Travis Andrews, Andrew Meyerson Additional Vocals: Luciano Chessa, Ken Ueno PROGRAM DESCRIPTION The Living Earth Show is honored to present a program that could only exist in San Francisco: three immense tour-de-force works by three of the world’s most innovative, unique, and eccentric composers, all of whom make their homes in the Bay Area. The composers are united by their utilization of microtonality, their desire to interrogate the boundaries of musical and physical possibility inherent in the performance of classical music, and their incorporation of physical gesture--both of the physical acts of performing music and extra-musical gestures that inform the performance practice--into the scores and performances themselves. The work around which the program is centered is Squeeze! Squeeze! Squeeze!, an hour-long piece by San Francisco Conservatory of Music professor Luciano Chessa. Written for The Living Earth Show in 2012, the piece uses a wide variety of seemingly non-musical tools (electric toothbrushes, amplified plastic cups, an hourglass, and an albatross feather, among other things) to create a hypnotic world of microtonal sound upon which the composer sets a text by Herman Melville, delivered through a megaphone by the composer himself. The second work on the program, Ken Ueno’s Pork Roll, Egg, & Cheese On A Kaiser Bun, was written for the Living Earth Show in 2013. A microtonal whirlwind, the piece marries UC Berkeley professor Ken Ueno’s almost impossibly complex technical writing with the visceral elements of volume, screaming, and timbral shifts to craft an unsettlingly virtuosic overwhelming monolith of color, texture, and precision. The final work on the program, Renvoi/Shards, was composed in 2007 by Stanford professor Brian Ferneyhough and given its United States premiere by The Living Earth Show in 2013. Christened “the favourite bogeyman of modern music” by The Telegraph in London, Ferneyhough crafts music that finds and annihilates the boundaries of

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performative complexity in contemporary music. Renvoi/Shards, Ferneyhough’s first and only piece that features the quartertone vibraphone, offers a stunningly diverse array of musical material in a union of virtuosity and physicality. The production will be directed and staged by Luciano Chessa, a composer whose own work is known for its utilization of staging and the physical space in which music is performed. In dialogue with the other two composers, Chessa is collaborating with lighting designers, set designers, costume designers, and video artists from throughout the Bay Area to craft a unified work, merging three of the most innovative musical minds in Northern California into a cohesive production far greater than the sum of its parts. BIO Called “a much sought after presence on the indie classical scene” by The San Francisco Classical Voice, a "virtuosic tantrum" by the Huffington Post, and “a fully distorted perpetual motion of awesome” by I Care If You Listen, The Living Earth Show has developed a reputation as one of the most versatile and virtuosic contemporary chamber groups on the west coast. Comprised of electric guitarist Travis Andrews and percussionist Andy Meyerson, The Living Earth Show presents commissioned electro-acoustic chamber music that dialogues with classical and modern music simultaneously. The Living Earth Show memorizes every work it performs, pushing boundaries of both technical possibility and the performance of musical complexity. Andrews’ and Meyerson’s commitment and dedication to presenting the most effective possible performances is evident through the ensemble’s consistently ambitious programming and “energetically provocative” collaborations, leading The San Francisco Examiner to christen them a“vanguard effort of new chamber music.” Founded in 2010, the ensemble has commissioned and premiered works by such diverse composers as Timo Andres, Samuel Carl Adams, Christopher Cerrone, Nicole Lizée, Dan Becker, Jacob Cooper, Dennis Aman, Sahba Aminikia, Ted Hearne, Anna Meredith, Jon Russell, Adrian Knight, Alden Jenks, Nick Vasallo, Jonathan Pfeffer, and Matt Marks. Several of these commissions were recorded for the group's critically acclaimed debut album, High Art, which was released through Innova Records in 2013. The ensemble has been presented at universities and conservatories across the country, and has served as featured artists at the Tribeca New Music Festival in Manhattan, Switchboard Music Festival in San Francisco, Music for People and Thingamajigs Festival in Oakland, Fast Forward Austin, MicroFest in Los Angeles, 12 Nights in Miami, and numerous others. When not performing classical music, the artistically omnivorous duo forms a rhythm section adept at navigating the complicatedly-hyphenated subgenres of the contemporary pop music landscape. They serve as the drummer and guitarist for electro-pop singer Tim Carr, experimental-indie rock band Makeunder, avant-metal trio Freighter, and alt-folk songwriter Will Greene.

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The Living Earth Show exists to use these seemingly disparate influences to de-mystify the classical music experience, presenting virtuosic performances of boundary pushing chamber music to people who would not otherwise experience the art form. About the San Francisco Conservatory of Music Founded in 1917, the San Francisco Conservatory of Music has championed new music throughout its history, from the 1920s under the school’s first director, eminent composer Ernest Bloch, through the tenure of faculty composers including John Adams, Andrew Imbrie, and Conrad Susa. SFCM was also the first institution of its kind to offer world-class graduate degree programs in chamber music and classical guitar. This confluence has fostered a rich environment for the creation of new works, new ensembles and even new music festivals founded and run by Conservatory alumni, faculty, and students. New Music Box recently wrote, “the concentration and commitment to new music and the interconnectedness of the network coming out of SFCM in recent years has been exceptional.” SFCM is building on this legacy with a brand new major in composition for film, games, and new media (www.sfcm.edu/tac), a new chamber music fellowship for existing quartets, and new business curricula tailored for artist-entrepreneurs. http://www.sfcm.edu About the Center for New Music The Center for New Music fosters contemporary music’s growth by giving practicing artists access to professional resources and expertise, and by providing them with opportunities for sharing knowledge and exploring new ideas. Founded in 2012 by composers Adam Fong and Brent Miller, and located at 55 Taylor Street in San Francisco's Tenderloin district, the Center presents 15-20 events per month, provides flexible space for work and rehearsals to 120 individual members and 35 member organizations, and offers workshops and discussion forums that help incubate new work, and build the new music community. For more information, visit centerfornewmusic.com.