The 24 Hours of the Day
April 7 & 8, 2018
10 a.m. – Midnight
Tickets: $25-$40
Two-Day Pass: $75

FringeArts
140 North Columbus Boulevard
Philadelphia, PA 19106

ABOUT Karlheinz Stockhausen’s final epic, KLANG: The 24 Hours of the Day, will be presented in full by Analog Arts and Elizabeth Huston. Intended to include 24 pieces but left incomplete at the time of Stockhausen’s death, this 21-part work gives space to meditate on time, spirituality, and reality, allowing the audience to reflect on the meaning of mortality. KLANG is the final, epic statement of one of the 20th century’s most important composers. It charts the journey of the soul from the body into the afterlife, and is a fitting capstone to Stockhausen’s massive career. The music ranges from intimate chamber pieces to virtuosic displays and electronic extravaganzas. This production features performances by Cologne’s MusikFabrik, light paintings by Thomas Dunn, and sound projection by Joe Drew. A break room with stimulating conversations, lectures, and a cash bar will be available.

This piece is composed of three sections. Section one deals with the spiritual world and features performances reflecting the ascension of Christ, harps in heaven expressing the joy of Pentecost, and the door to heaven opening into the pieces of section two, which contains the music that is heard in heaven. The seven pieces of the second section, all instrumental trios, are based on the same underlying music, rearranged and re-imagined to create seven beautifully different yet increasingly familiar-sounding works. The final section takes an immediate and surprising turn towards the imagined universe of Urantia. This section begins with the only fully electronic piece, Cosmic Pulses, and then dives into pieces based on the Urantia book, a mysterious text which appeared in the early 20th century with no known author. This book describes unknown universes, each planet of which is represented by an electro-acoustic performance in the second section.

Attendees will be able to hear the work in its entirety on both days of the production over the course of fourteen hours through four unique but cohesive concert experiences.

KLANG Up Close (10am – 1pm): An intimate look at Stockhausen’s music in the FringeArts Studio where the audience can recline on the floor and get as close as they want to the musicians.

Modular KLANG (1pm – 4pm): The audience shapes their own version of KLANG during simultaneous performances in the FringeArts Theater and Studio.

KLANG Immersion (4pm – 7pm): The audience is invited onto the stage of the FringeArts Theater to hear the music in a unique way.

KLANG in Concert (7pm – 12am): An abridged version of the entire KLANG cycle played in sequence.

Scholars will be present to answer questions and foster conversation, musicians and researchers will give lectures, and visitors will be invited to visit stations for further reading and listening. This presentation will also feature four curated collections of pieces featuring parts of each of the three sections. In this way, a sampling of the full work can be experienced in a handful of hours.

Major support for KLANG has been provided to Elizabeth Huston by The Pew Center for Arts & Heritage, with additional funding from the Philadelphia Cultural Fund, Goethe Institute, and the Penn Treaty Special Services District.
REPERTOIRE
1. HIMMELFAHRT (Ascension) for organ, soprano, and tenor
Taka Kigawa, organ
Sharon Harms, soprano
Steve Williamson, tenor
39′
2. FREUDE (Joy) for two harps
Lilac 94:
Kathryn Sloat & Christina Brier, harps
38′
3. NATÜRLICHE-DAUERN (Natural Durations) for piano
Christopher Oldfather, piano
120′
4. HIMMELS-TÜR (Heaven’s Door) for percussionist and little girl
Stuart Gerber, percussion
little girl
21′
5. HARMONIEN (Harmonies) for flute, trumpet, or bass clarinet
Marco Blaauw/Joe Drew, trumpet
Margaret Lancaster, flute
Audrey Miller, bass clarinet
15′
6. SCHÖNHEIT (Beauty) for trumpet, flute, and bass clarinet
Marco Blaauw, trumpet
Emma Resmini, flute
Sean Bailey, bass clarinet
28′
7. BALANCE for flute, English horn, bass clarinet
Emma Resmini, flute
Evan Ocheret, English horn
Sean Bailey, bass clarinet
32′
8. GLÜCK for bassoon, English horn, oboe
Dominic Panunto, bassoon
Evan Ocheret, English horn
Geoff Deemer, oboe
40′
9. HOFFNUNG (Hope) for cello, viola, and violin
Veronica Jurkiewicz, viola
Rachel Segal, violin
Eric Coyne, cello
34′
10. GLANZ (Brilliance) for bassoon, viola, clarinet, oboe, trumpet, trombone, tuba
Ensemble MusikFabrik:
Heidi Mockert, bassoon
Axel Porath, viola
Carl Rosman, clarinet
Marco Blaauw, trumpet
Chris McIntyre, trombone
Peter Veale, oboe
Melvyn Poore, tuba
Paul Jeukendrup, sound projection
40′
11. TREUE (Fidelity) for Eb clarinet, basset horn, bass clarinet
Joe Dvorak, basset horn
Sean Bailey, bass clarinet
Mallory Tittle, Eb clarinet
30′
12. ERWACHEN (Awakening) for trumpet, cello, and soprano saxophone
Joe Drew, trumpet
Eric Coyne, cello
Aaron Stewart, soprano saxophone
30′
13. COSMIC PULSES for tape
Joe Drew & Rudolf Kamper, sound projectionist
32′
14. HAVONA for tape and bass
Robert Osborne, bass
Rudolf Kamper, sound projectionist
25′
15. ORVONTON for tape and baritone
Jeffrey Gavett, baritone
Rudolf Kamper, sound projectionist
25′
16. UVERSA for tape and basset horn
Joe Dvorak, basset horn
Joe Drew, sound projectionist
23′
17. NEBADON for tape and horn
Christine Chapman/Kristina Gannon, horn
Rudolf Kamper, sound projectionist
22′
18. JERUSEM for tape and tenor
Steve Williamson, tenor
Rudolf Kamper, sound projectionist
21′
19. URANTIA for tape and soprano
Sharon Harms, soprano
Rudolf Kamper, sound projectionist
20′
20. EDENTIA for tape and soprano saxophone
Aaron Stewart, soprano saxophone
Joe Drew, sound projectionist
19′
21. PARADIES for tape and flute
Emma Resmini, flute
Rudolf Kamper, sound projectionist
19′


SCHEDULE
OVERVIEW Welcome to KLANG! There is a lot happening today, so we recommend you take a quick look at this packet to orient yourself. Inside you will find the schedule and location of performances, the schedule and location of talks, interviews, and Q & A s, and a guide to all amenities that will be available as you navigate this marathon.

First, let’s start with the rules:

The day is broken up into four sections. You may have purchased a ticket for just one section, or you may have purchased an all-day pass. Either way, please familiarize yourself with the rules for each section, as each is a distinctly different experiences:

Welcome to KLANG: At 10 am sharp you will be welcomed by a performance of all three versions of HARMONIEN performed in La Peg, the Theater, and the Studio simultaneously. Feel free to wander between the spaces, eventually settling in the Studio for…

KLANG up Close (10am – 1pm): This time period is an opportunity to have an intimate concert experience with KLANG. This will take place entirely in the Studio. You’ll see we have a small number of chairs available, which you are welcome to sit in, but we recommend you take the opportunity to sit on the floor near the performers. You are even welcome to lay beneath the piano as it’s being performed, and move between the performances to a new location for a new angle on the concert.

Modular KLANG (1pm – 4pm): Stockhausen used KLANG to explore many angles on the same material. All of the trios are based on the same themes, all of the electro-acoustic solos utilize Cosmic Pulses as their accompaniment. Because of this, we are offering this time to view these works in parallel so you can compare the material. You may stay in just the Studio or the Theater, or wander between them. The experience is yours to shape. Please note: This is the ONLY time slot where you are welcome to enter and exit the spaces during performances. At all other times, please be courteous and enter and exit between performances.

KLANG Immersion (4pm – 7pm): A mix between KLANG up Close and KLANG in Concert, this time period showcases some of the most well known parts of KLANG, while still allowing the audience to be up close with the music. Taking place entirely in the Theater, the audience is welcome to sit on stage or in the seats, depending on what makes you the most comfortable. PLEASE NOTE: If you choose to sit on the stage, please keep your cushion outside of the taped areas. Performers will need to move through these spaces. Please also give the performers sufficient room.

KLANG in Concert (7pm – Midnight): Featuring Cologne’s Ensemble MusikFabrik, Stuart Gerber and Heaven’s Door, Lilac 94, and Christopher Oldfather, this time block is a veritable Who’s Who of contemporary music. The most well-know Hours of KLANG will be showcased in a more “traditional” concert environment, where stage seating is excluded. This will take place in the Theater.
MusikFABRIK Marco Blaauw, Trumpet

Born in 1965, Marco Blaauw studied at the Sweelinck Conservatorium in Amsterdam, later continuing his studies with Pierre Thibaud and Markus Stockhausen. “I first heard New Music on television as a child. I saw how people in the audience covered their ears with their hands. That was exactly what I wanted – for people to make an effort and be surprised at what they are hearing.”

Why this instrument? At first, a practical decision: “I grew up in a village. There was a band there, and it needed a trumpet player.” Then one of his life’s goals: “I always had a picture in my head of a troubadour spreading the latest news. That’s what I want to do too – with my trumpet.” And: “The trumpet has been neglected in many regards. I see this as my appointed task – to develop the technique of the trumpet and to interest composers in the instrument.”

The results up to now: Works by Richard Ayres, Martijn Padding, Gijsbrecht Roye, Isabel Mundry, Peter Eötvös and others, written for and suggested by Marco Blaauw; intensive collaboration with Karlheinz Stockhausen; many performances as soloist; Marco Blaauw is member of Ensemble Musikfabrik.

Christine Chapman, Horn

Raised in the coastline woods of western Michigan, Christine Chapman has traveled far and wide to pursue her passion for music. In 1990, after finishing her musical studies at the University of Michigan and Indiana University, she broke out of the rural heartland of America for an orchestra job on the still fresh border between East and West Germany. The desire to gain a bit of work experience before returning to the States has since turned into a quarter of a century of exploration and adventure. As a member of Ensemble Musikfabrik, Christine Chapman has had the opportunity to collaborate directly with many of today’s greatest composers, premiering and performing works by Karlheinz Stockhausen, Wolfgang Rihm, Peter Eötvös, Rebecca Saunders and Georg Friedrich Haas, among others. The experience of performing “outside of the box”, such as with the music of Harry Partch, La Monte Young, Sun Ra, or Mouse on Mars, is the main impetus of her work.

“Trying to see through the technicalities of playing to bring out the soul of the music; that is what’s so exciting for me.”

Heidi Mockert, Bassoon

Heidi Elizabeth Mockert always led a life between worlds. Born in England in 1975, Heidi moved to south-west Germany, where she spent her formative years. She began her bassoon studies in Stuttgart with Prof. Akio Koyama, but being fascinated in so many art forms, she decided to move to London to study performing arts. She was quickly accepted to the Royal College of Music, where she received the “Bassoonist of the Year” award, finishing up her studies back in Germany with Prof. Eckart Hübner at the UdK Berlin. ​

Heidi took part in the Pacific Music Festival Japan and the Stuttgart Bach Academy. She has also participated in master classes with Prof. Sergio Azzolini, Prof. Klaus Thunemann and Marco Postinghel, as well as the Warsaw Herbst and the Ensemble Modern Academy. Numerous concert tours as chamber musician and soloist has brought her to China, Vietnam, Argentina, Russia, America throughout Europe. She has performed at the Wigmore Hall, La Scala Milan and the Lincoln Center, as well as the Berlin Philharmonie, Donaueschinger Musiktage and the Concertgebouw Amsterdam. Her dedication to chamber music and contemporary music makes Heidi a much sought after guest musician with various ensembles such as Ensemble Musikfabrik, Ensemble Modern, KNM Berlin, Ensemble Mosaic and she is founder of the prize nominated sextet Berlin Counterpoint.

Melvyn Poore, Tuba

“The direction was clear from early on. From the age of four, I played euphonium – like my father; at seven I gave my first public performance; later, I started piano as well; and at twelve I finally decided in favour of tuba.”

But exactly how far one can go with this apparently unwieldy instrument only became clear to Melvyn Poore while he was studying. His experiences as “music director” of the “Birmingham Arts Laboratory” contributed to the realisation that there is a life as tubist beyond the humdrum of the orchestra. “Even as a student, I preferred to play pieces that weren’t written for tuba at all.”

Poore’s first experiments in the “Arts Lab” with tape and electronics led him on to a new passion: the experimental interaction of acoustic instruments and technology, which for him now has the same priority as purely acoustic experiments involving the sound possibilities of the tuba. Poore has passed on his experience in the capacities of interpreter, composer and also lecturer: he was “Research Assistant” at the Salford College of Technology (1989-1991), a guest at the Zentrum für Kunst- und Medientechnologie (Centre for Art and Media Technology) in Karlsruhe from 1992-1994 (where he developed his concept ‘METAinstrument’), and 1993-95 “Visiting Professor for Electro-Acoustic Music” at the Royal College of Music in London.

Since 1995 he is a permanent member of Ensemble Musikfabrik and dedicates himself to the creation of the pedagogical department of the ensemble.

Axel Porath, Viola

Born 1972 in Hagen, Axel Porath studied viola with Hermann Voss and Gunter Teuffel at the Stuttgart Musikhochschule, with Hubert Buchberger in Frankfurt and in Karlsruhe with Jörg-Wolfgang Jahn, as well as undertaking studies in string quartet playing with the Melos Quartet. He also attended courses given by the Borodin Quartet.

As a chamber musician, he has enjoyed successful collaborations with the Abegg Trio, the Odeon Quartet, the Tübinger Kammersolisten and other ensembles. He was lecturer at the 8th – 10th Symphonischen Akademie Baden-Württemberg, and from 2000 to 2003 was principal viola in the Heidelberg Symphony Orchestra, also performing as a guest with the SWR Radio Symphony Orchestra Stuttgart and the Stuttgart Chamber Orchestra. He performs contemporary music as a member of the ensembles Gelber Klang and ZEMENTWERK. He was a lecturer at the International Stuttgart/Krakow New Music Workshop in 1997-98 and has since then appeared on many radio and CD recordings.

“Meeting and working with Helmut Lachenmann sparked my interest not only in his work but in new music in general. I am always excited by the fascinating sound-worlds of new music, its broad stylistic range, and the creativity and flexibility it demands of the performer, especially in direct collaboration with composers.”

Since 2002 he is a member of Ensemble Musikfabrik.

Carl Rosman, Clarinet

Born in England, Carl Rosman studied clarinet in Australia, with Phillip Miechel in Melbourne and with Peter Jenkin in Sydney, graduating with a Masters degree from the Sydney Conservatorium of Music. From July–December 2002 he was an artist in residence at Akademie Schloss Solitude (Stuttgart), returning there for further residencies during 2003 before he moved to Europe.

Carl has performed widely as a soloist, with appearances throughout Europe and Australia, as well as in the USA, Japan and South Korea. He has performed at the Huddersfield, Sydney Spring, Melbourne, Perth, Adelaide and Akiyoshidai Festivals, as well as at the 1997 ISCM World Music Days and the 1994 Darmstädter Ferienkurse, where he became the first Australian recipient of a Kranichsteiner Musikpreis. He is a member of the ELISION ensemble (www.elision.org.au) and co-artistic director with Mark Knoop of the libra ensemble (www.libraensemble.com). He has also appeared with Ensemble Modern (Frankfurt), Ensemble SurPlus (Freiburg), Reservoir (UK), the Melbourne Symphony, Ensemble Offspring, ChamberMade Opera, the Gavin Bryars Ensemble and many other groups.

Carl has also conducted libra ensemble, ELISION, Ensemble Varianti (Stuttgart), Sydney Alpha, and many other groups in works by a wide variety of composers from Berg (Kammerkonzert) and Boulez (le marteau sans maître) to Cage (Concert for Piano and Orchestra) and Ferneyhough. He conducted ELISION at the Studio of the Sydney Opera House in 1999 in a programme including the Australian premiere of Brian Ferneyhough’s La Chûte d’Icare, and at the 2000 Adelaide Festival in performances of John Rodgers’ Inferno. Carl has enjoyed direct working relationships with a wide range of Australian and international composers including Brian Ferneyhough (whose Time and Motion Study I he has performed on four continents and recorded for ELISION Ensemble release), Michael Finnissy, Chris Dench, Gavin Bryars, James Dillon, Liza Lim, Adam Yee, Richard Barrett and many others. Works composed for him include Chris Dench’s ruins within for solo clarinet in A, Liza Lim’s INGUZ (fertility) for clarinet in A and cello and Richard Barrett’s interference for contrabass clarinet. His articles on works by Liza Lim and Chris Dench have recently been published by Musik und Ästhetik, and he also writes regularly for International Record Review, Symphony Australia, Universal Music Australia and ABC Classics.

Peter Veale, Oboe

Grandma, grandpa and parents: all of them studied music. The fact that Peter Veale took up the violin and piano at the age of six was therefore of no surprise to anyone. Gaining acceptance for his wish to change to oboe later required some persuasiveness on his part, however. But it was well-invested. Peter Veale, born in New Zealand and brought up in Australia, soon drew attention to himself with the help of the best local teachers. Even before beginning to study with Heinz Holliger in Freiburg, he played in the radio orchestra in Adelaide – “that was an important learning experience for me, and I’m very glad that I was able to have it when I did.”

Since then, becoming an orchestra musician no longer counts among Peter Veale’s goals. But there are other perspectives instead. He learned the conductor’s craft under Francis Travis, something which he doesn’t see in a purely practical light: “Every musician benefits from looking at music and its performance from the other side as well.” In addition to his work as a member of ensemble recherche (1986-94) and Ensemble Musikfabrik, Veale is active as soloist, chamber musician, lecturer, author (“The Techniques of Oboe Playing” – written together with Claus-Steffen Mahnkopf), and as editor of the series “Contemporary Music for Oboe”.

More than 50 works have been composed for Peter Veale to date.

PERFORMERS Sean Bailey, Bass Clarinet

Sean Bailey is a Philadelphia-born clarinet and saxophone player; known for his creativity and lyricism, he plays a wide array of genres in venues spanning from intimate jazz clubs to world-renowned concert halls. He holds M.M. and B.M. degrees in Clarinet Performance from Temple University, where he studied with Ricardo Morales.

Sean has performed on clarinet, alto saxophone, and tenor saxophone with the Philadelphia Orchestra, and he is a regular clarinet soloist and lead tenor with Terell Stafford’s Jazz Orchestra of Philadelphia. He can often be seen playing clarinet, saxophone, and flute with the Philly POPS Orchestra, and he has appeared with a number of other regional ensembles, including the South Florida Symphony Orchestra and the Northeastern Pennsylvania Philharmonic.

Sean is part of the Music Studies faculty at Temple University, where he teaches courses on audio engineering and editing. His work as an engineer can be found on the Naxos label.

Eric Coyne, cello

Geoffrey Deemer, Oboe

Joseph Dvorak, Basset Horn

Jeffrey Gavett, Baritone

called a “brilliantly agile singer” by the New York Times, has performed with a broad array of artists, including Alarm Will Sound, ICE, Meredith Monk, New Juilliard Ensemble, Roomful of Teeth, SEM Ensemble, Ensemble Signal, Talea Ensemble, and his own ensembles Ekmeles and loadbang. As a recording artist he appears on a Kairos release of the music of Chaya Czernowin with ICE conducted by Steve Schick, and conducted and music directed for Roomful of Teeth’s CD The Colorado. Theatrical appearances include Rudolf Komorous’s Nonomiya and Petr Kotik’s Master-Pieces at New Opera Days Ostrava in the Czech Republic, Annie Dorsen’s Yesterday Tomorrow at the Holland Festival, in France, and Croatia, and Matt Marks’s Mata Hari on the 2017 Prototype Festival, as well as appearing on video in Judd Greenstein’s A Marvelous Order. Mr. Gavett holds degrees from Westminster Choir College and Manhattan School of Music.

Stuart Gerber, Percussion

Lauded as having “consummate virtuosity” by The New York Times, Stuart Gerber has performed extensively throughout the US, Europe, Australia, and Mexico as a soloist a chamber musician. He is Associate Professor of Percussion at Georgia State University in Atlanta.

As an active performer of new works, Stuart has been involved in a number of world-premiere performances. He gave the world premiere of Karlheinz Stockhausen’s last solo percussion work Himmels-Tür in Italy, and his percussion trio Mittwoch-Formel at the annual Stockhausen-Courses in Kürten, Germany. He has also given the US and Australian premieres of Stockhausen’s duo version of Nasenflügeltanz for percussion and synthesizer, and the US premiere of his solo percussion work Komet. Dr. Gerber has been the faculty percussionist for the Stockhausen-Courses since 2005 and has recorded a number of pieces for the Stockhausen Complete Edition released by the Stockhausen-Verlag.

In addition to his work with Stockhausen, Stuart has worked with many other notable composers, such as Kaija Saariaho, Steve Reich, Tristan Murail, Frederic Rzewski, George Crumb, Tania Lèon, Michael Colgrass, Ricardo Zohn-Muldoon, and John Luther Adams.

Sharon Harms, Soprano

Praised as “superb”, “luscious-toned”, “extraordinarily precise and expressive”, and “dramatically committed and not averse to risk” by The New York Times, young American soprano Sharon Harms is known for fearless performances and passionate interpretations of works new and old.

Ms. Harms has premiered the music of some of today’s preeminent and up-and-coming composers in venues around the world with leading contemporary classical music ensembles. She has been a fellow with the Tanglewood Music Center and is on faculty for the Wellesley Composer’s Conference and Chamber Workshops. She was most recently a guest professor of voice at East Carolina University in Fall, 2017.

Recording projects include Gabriela Ortiz’ Latin Grammy nominated Aroma Foliado with Southwest Chamber Ensemble, Louis Karchin’s To the Sun and Stars with Da Capo Chamber Players, Of Love of You with Robert Osborne and pianist Todd Crow, Jesse Jones’ Ephemera with guitarist Ken Meyer and Ensemble Recherche, and Charles Wuorninen’s It Happens Like This.

Recent highlights include the premiere of John Eaton’s The End of It with Eighth Blackbird and the Pacifica Quartet, Mendelssohn’s Elijah with baritone Nathan Gunn and the Notre Dame Sacred Music program, Sharon’s Carnegie Hall debut in Charles Wuorinen’s cantata It Happens Like This with the MET Chamber Ensemble under James Levine, Jonathan Dawe’s Cracked Orlando with the Juilliard School’s Center for Innovation of the Arts, and Matthew Ricketts’ Unset with the Talea Ensemble.

Veronica Jurkiewicz, Viola

Veronica Jurkiewicz is a violist, violinist, and vocalist based in Philadelphia. She is drawn to sound involving the intersection of experimental, improvisational, and traditional practice. ​ ​

Veronica is often seen performing in ​the​ conductor-less string ensemble​ Prometheus​, singing Bach and new music with Choral Arts Philadelphia​, improvising alongside Afro-Cuban percussionists​ in Sonic Liberation 8​, and interpreting new music​ as a member of the Arcana New Music Ensemble​.

Taka Kigawa, Organ

Critically acclaimed pianist TAKA KIGAWA has earned outstanding international recognition as a recitalist, soloist, and chamber music artist since winning the Diploma Prize at the 1998 Concurs Internacional Maria Canals De Barcelona in Spain, with such accolades from The New York Times as “Phenomenon. There’s no denying that he is something special,” “The extraordinary pianist.” and from The New Yorker “Unbelievably challenging program. Kigawa is an artist of stature.” and from La Nación (Buenos Aires) “Taka Kigawa is a stupendous virtuoso.” His New York City recital in 2010 was chosen as one of the best concerts of the year by The New York Times. His New York City recital in August 2011 was picked as one of the most notable concerts in the 2011-2012 season by Musical America. Also his Buenos Aires recital in April 2014 was chosen as one of the best concerts of the year by Argentina’s leading paper, La Nación. He has performed extensively as a recitalist and soloist, with appearances in Carnegie Hall, Lincoln Center, Severance Hall in Cleveland, Cité de la Musique, and Salle Gaveau in Paris, Plau de la Música Catalana in Barcelona, and Teatro Colón in Buenos Aires. He has performed with such distinguished institution as The Cleveland Orchestra. He has been a featured artist on many television and radio networks throughout the U.S., Europe and Asia. His repertoire is extremely large and varied, ranging from the baroque to avant-garde compositions of today. He has collaborated closely with such renowned musicians as Pierre Boulez, Myung-Whun Chung and Jonathan Nott. Also he premiered the last solo piano piece of Yusef Lateef, the jazz legend, in New York City in 2013. Mr. Kigawa grew up in Nagano, Japan. He received his Bachelor of Arts degree from Shinsyu University, and his Master of Arts degree from Tokyo Gakugei (Liberal Arts) University, graduating with honors in Piano Performance. He furthered his studies in the United States at The Juilliard School in New York, where he earned his Master of Music degree. Mr. Kigawa currently lives in New York City, U.S.A.

Margaret Lancaster, Flute

“New-music luminary” (NY Times), Margaret Lancaster (flutes) also works as an actor, dancer, amateur furniture designer and has built a large repertoire of cross-disciplinary solo works that employ electronics and mixed media. Performance highlights include Lincoln Center Festival, Spoleto Festival USA, Santa Fe New Music, Edinburgh Festival, Tap City, NIME/Copenhagen and the 7-year global run of OBIE-winning Mabou Mines Dollhouse (Helene). A member of Either/Or, Ipse, and Fisher Ensemble, guest appearances include Argento, American Modern Ensemble, and the New York Philharmonic. Recent collaborations include projects with Jean- Baptiste Barrière and Kaija Saariaho, ArmitageGone!Dance, and touring Morton Feldman’s 5 hour epic For Philip Guston.

Lilac 94 As the Wilmington Star News writes, “Christina Brier and Kathryn Sloat of Lilac 94 aren’t your grandmother’s harpists. Brier and Sloat hit their soundboards, pound their harps with mallets, slap their strings, and generally make a ruckus.” The contemporary harp duo is dedicated to performing new and previously undiscovered music and exploring creative ways of using the harp. Since 2013, Lilac 94 has been performing throughout the United States and premiering new works in venues ranging from retirement homes to public schools, to shopping malls to churches, from traditional concert halls to museums and street cafes.

Over the past year, Lilac 94 has explored a range of program variations using Carlos Salzedo’s pivotal work Pentacle as a centerpiece for chamber music concerts, informances, and workshops for presenters such as The Troy Savings Bank Music Hall, rural New York’s Hill and Hollow Music, Christopher Newport University’s Inaugural CNU Harp Festival, and the Philadelphia Chapter of the American Harp Society’s Philly Harp Day 2017. Lilac 94 was also invited to perform at the March 2017 Northeast Chapter of the College Music Society’s Spring Conference to present Daniel Morel’s KC Blue, a piece written for Lilac 94 as part of a collection of works portraying different settings in the Midwest, including Kansas City. KC Blue received its world premiere, along with Bret Bohman’s Swirl and Foglifter, as part of Lilac 94’s program of twenty-first century works for two harps presented at the 2015 American Harp Society’s Summer Institute. With its interest in programming by living composers, Lilac 94’s participation in Fifth House Ensemble’s 2014 Fresh Inc Festival fostered an ongoing connection with composer Rebecca Larkin and her work The Juniper Tree and a subsequent Midwest concert tour at venues including Constellation Chicago, Milwaukee Art Museum, Beford Concert Hall (WI), Fishtank Theater (MO), [co][lab] (IL), and Rohs Street Cafe (OH).

2018 sees Lilac 94 continuing to garner opportunities to feature works written for two harps including a return to Philadelphia in April for a rare full production of Karlheinz Stockhausen’s KLANG: The 24 Hours of the Day being presented by Analog Arts and producer Elizabeth Huston. Lilac 94 will perform KLANG’s second part “Freude” (Joy), which was written for two harps. In September, Lilac 94 joins Conductor Steven Errante and the Wilmington Symphony Orchestra (NC) for a performance of Karl Jenkin’s double-harp concerto Over the Stone.

In addition to its dedication to contemporary music, Lilac 94 revels adventuring into the realm of cutting edge harp sounds to embrace everything from Gershwin to Bollywood beats and everything in between at such venues as MISE-EN Place in Brooklyn. The harp duo loves the chance to feature the work of women composers and is delighted to have performed works by Wei Dai, Rebecca Larkin, Naomi Lewis, and Caroline Lizotte at the 2016 Women Composers Festival of Hartford’s Music Marathon, an event featuring 12 full hours of music by historic and living women composers.

With roots in North Carolina and New York, Lilac 94 has also had the pleasure of sharing their musical collaboration with the greater communities of Wilmington (NC), Rochester (NY) and New York’s Greater Capital Region. As new programs begin to bud, these are the communities that have nurtured the Duo’s growth and often give Lilac 94’s programs a first listen. While performing newly discovered or forgotten repertoire and collaborating with composers to bring their work to life is central to Lilac 94, advocating for the harp and coaching young harpists is also important to the duo. They continue to work with communities with inventive outreach programs and workshops and masterclasses for various harp camps, ensembles, and college programs such as the Connecticut Valley Harp Intensive, Christopher Newport University, and most recently–the HARPS Foundation, the home of the American Harp Youth Ensemble, in Richmond, VA.

Christina Brier and Kathryn Sloat began playing together in their first semester as masters students at the Eastman School of Music, and formed Lilac 94 just before their graduation in May 2013. They chose their name to reflect their origins in Rochester, New York where the lilac is the flower of the city and the 94 strings of their two harps.

Audrey Miller, Bass Clarinet

Dr. Audrey Miller is the Assistant Professor of Clarinet at Northern State University in Aberdeen, South Dakota. At NSU, Dr. Miller teaches concert band, applied clarinet, clarinet choir, advanced music theory, and music technology. Dr. Miller is also a D’Addario Woodwinds Clinician where she gives clinics throughout South Dakota.

Audrey spent this past summer in Germany as a guest artist at the Saarburg International Chamber Music Festival. She spent the summer of 2013 teaching and performing in Tanzania as a part of Clarinets for Conservation. Her international debut was in Belgium in 2011 at the Belgium Clarinet Academy. She has performed around the United States, premiering a work by composer Scott McAllister at the 2012 International Clarinet Association’s ClarinetFest in Lincoln, NE.

In 2014, Dr. Miller finished her Doctorate of Musical Arts Degree in clarinet performance at Arizona State University working as a Graduate Teaching Assistant and studying with Dr. Robert Spring and Dr. Joshua Gardner. She is a graduate of Florida State University with a M.M, where she studied with Frank Kowalsky and earned a B.M. from Western Washington University, studying with Eugene Zoro.

Kristina Mulholland, French Horn

Kristina Mulholland is an active freelance French hornist and educator in the greater Philadelphia area. Some of her recent performances have included Symphony in C, Riverside Sinfonia, Patriot Brass, and Opera Delaware. Her teaching engagements have spanned from private instruction to large ensemble rehearsal, from summer camp to general music, and from preschool through college-aged students. Ms. Mulholland received her Bachelors in Music Education from The College of New Jersey and her Masters and Artist Diploma in French Horn Performance from Temple University. Mrs. Mulholland’s primary mentors have included Kathryn Mehrtens and Jeffrey Lang.

Evan Ocheret, English Horn

Christopher Oldfather, Piano

One of New York’s most gifted, trusted, respected, often-requested, and well-liked pianists, Christopher Oldfather has devoted himself to the performance of twentieth-century music for more than thirty years. He has participated in innumerable world-premiere performances, in every possible combination of instruments, in cities all over America. He has been a member of Boston’s Collage New Music since 1979, New York City’s Parnassus since 1997, New York Philomusica since 2007, and as a collaborator has joined singers and instrumentalists of all kinds in recitals throughout the United States. In 1986 he presented his recital debut in Carnegie Recital Hall, which immediately was closed for renovations. Since then he has pursued a career as a free-lance musician. This work has taken him as far afield as Moscow and Tokyo, and he has worked on every sort of keyboard ever made, including, of all things, the Chromelodeon. He is widely known for his expertise on the harpsichord, and is one of the leading interpreters of twentieth century works for that instrument.

As soloist he has appeared with the MET Chamber Players, the San Francisco Symphony, and Ensemble Modern in Frankfurt, Germany. His recording of Elliott Carter’s violin-piano Duo with Robert Mann was nominated for two Grammy Awards in 1990. He collaborated with the late Robert Craft, and can be heard on several of his recordings.

Robert Osborne, Bass

Bass-baritone Robert Osborne has sung over fifty roles in operas from Bernstein to Weill, with companies in Paris, Lyon, Berlin, New York, Houston, Santa Fe and Los Angeles. His concert career has taken him to Royal Albert Hall in London, the Concertgebouw in Amsterdam, Victoria Hall in Singapore, the Gran Teatro in Havana, Carnegie Hall and Lincoln Center in New York, and Tchaikovsky Hall in Moscow where he has sung under such distinguished conductors as Bernstein, Ozawa, Spivakov, Tilson Thomas, John Williams and Russell Davies. Festivals: Tanglewood, Schleswig-Holstein, Nakamichi, USArts/Berlin, Aspen and Marlboro. Telecasts: BBC, PBS, Russian and European television. Faculties: Vassar College and Columbia University/Barnard College.

Dominic Panunto, Bassoon

Dominic Panunto is an active freelance bassoonist and teacher in the Philadelphia area. Having graduated from Temple University in 2017, Dominic has performed with such ensembles as The Reading Symphony Orchestra and The Greater South Jersey Choir. He performs regularly in university orchestras at Temple, Drexel, Penn, Rutgers, and Swarthmore. Dominic became a member of Arcana New Music Ensemble in 2017.

Emma Resmini, Flute

Emma Resmini has soloed with the Philadelphia Orchestra, National Symphony, Dallas Symphony, and Pittsburgh Symphony. Additional recent engagements include the Music in the Galleries and Bowerbird series, as well as the National Flute Association Convention. Emma’s music is played on NPR’s Performance Today, and in May 2016 was their Young Artist in Residence. A passionate advocate of contemporary music, Emma has premiered works by numerous composers, including Sean William Calhoun, Chelsea Komschlies, and Aaron Jay Myers. A review of her performance at the 2016 New Music Gathering by the contemporary classical music website I Care If You Listen raved “Emma Resmini stunned the crowd.” She is also a member of Bowerbird’s Arcana New Music Ensemble. Emma attends the Curtis Institute of Music, studying with Jeffrey Khaner, Principal Flutist of the Philadelphia Orchestra, and was previously a long time student of Alice Kogan Weinreb.

Rachel Segal, Violin

Aaron Stewart, Soprano Saxophone

Born in Paris, France, (1985) Saxophonist Aaron Stewart has appeared in ensembles as soloist, chamber, and orchestral musician at venues including the International Saxophone Symposium in Washington, D.C., The Kimmel Center, Field Concert Hall at the Curtis Institute of Music, The Holywell Music Hall at Oxford University, The Kitchen, NYC, and Carnegie Hall. Mr. Stewart has been actively involved in classical and contemporary music performances in Philadelphia since 2007, and has performed with various ensembles at The Curtis Institute, Symphony in C, NJ, as well as being called as saxophonist for The Philadelphia Orchestra. He has devoted much of his artistic energy to premiering new works and collaborating with composers such as Iancu Dumitrescu, Matthew Greenbaum, Jeremy Gill, Scott Ordway, and has established himself as one of the most sought-after contemporary saxophonists in Philadelphia. Aaron Stewart is a founding member of the Philadelphia based ARCANA New Music Ensemble.

In 2013 Aaron Stewart completed his Master of Music degree in saxophone performance as student and graduate teaching assistant to professor Lynn Klock at the University of Massachusetts, Amherst, and taught students of the Five College Consortium in the western Massachusetts Pioneer Valley. His teachers also include Marshall Taylor, Gilles Tressos, and Christophe Bois, and has performed in master classes for Timothy McAllister and Claude Delangle.

Mallory Tittle, Eb Clarinet

Mallory Tittle is a freelance clarinetist and teaching artist in Philadelphia. She has performed with various ensembles in the area. An Alabama native, she holds a Bachelors degree from the University of Alabama and a Masters degree from Temple University. Her main teachers were Samuel Caviezel (TU) and Osiris Molina (UA).

Mallory is a clinician for the company D’Addario Woodwinds. She gives presentations to band programs, college studios, and music stores in Pennsylvania to educate single reed players on the various products. She has been to schools in the Philadelphia, Harrisburg, and Pittsburgh areas.

Mallory teaches group clarinet lessons with the PYO el Sistema program Tune Up Philly. She maintains two group classes of various levels. Some of her students in this program have been accepted into the Primavera Fund, PYO ensembles, Philadelphia Sinfonia, Temple CMSP, GAMP, as well as various high schools/district band competitions in the Philadelphia area. Mallory also maintains a private clarinet studio.

Steven Williamson, Tenor

Tenor Steven Williamson made his first appearance with Philadelphia Fringe Arts in 2015 as part of Andy: A Popera with The Bearded Ladies, and is very excited to make his solo debut this season in Stockhausen’s KLANG. A member of the Opera Philadelphia Chorus since 2008, he recently participated in OP’s world-premiere productions of Breaking the Waves in 2016 and The Wake World in 2017. He is currently the tenor section leader at The Presbyterian Church of Chestnut Hill in Philadelphia, sings with the Opera Philadelphia Chorus and the Metropolitan Opera Extra Chorus.

PRODUCTION Producer, Elizabeth Huston

Elizabeth Huston has been fascinated by contemporary art since she can remember. She grew up on Washington State’s Olympic Peninsula, a surprisingly culturally active area. The daughter of two professional musicians, she watched in awe as her parents took her to incredible events with throat singers, experimental art installations, and 1990s cutting-edge electronic instrument technology. Eizabeth’s parents were the founders of the first-ever youth symphony in their town, and a teenage Elizabeth was often tasked with administrative duties including mailing marketing flyers, making copies, organizing refreshments, and creating room schedules, sparking an interest in production work.

Elizabeth arrived in Philadelphia in the summer of 2010. Here she met a dedicated art patron merely by chance. He invited Elizabeth to attend the many Philadelphia Fringe Festival performances that he was interested in. She saw performances by Pig Iron Theater and Lucinda Childs Dance, among many others, which showed how projection, costuming, lighting, and staging can change how you interact with performance. Elizabeth immediately began to think about how what she had seen could be applied to music performance, with its traditionally stuffy and plain staging. In 2012 she created A Change of Harp and launched her first concert series which explored what composers saw inside their heads as they wrote. Elizabeth interviewed six local composers about six pieces for solo harp and created visual accompaniments for each piece based on what they had said. This resulted in a performance of dance, projection, theater, and harp which took place during the Fringe Festival: the festival which had so inspired her. The success of this performance made Elizabeth understand that she had touched on a need in the community, and she began exploring other performance styles, putting together multi-media solo harp showcases all over the city.

She has since started the Arcana New Music Ensemble in collaboration with Bowerbird, produced numerous shows that explore new stagings of contemporary music, started a brand new harp program for Play on Philly, started a summer harp program for inner city youth, and teaches through her private studio.

Artistic Director, Joe Drew

Joe Drew is a veteran of the new music & experimental concert scene, as well as New York’s downtown rock clubs. He has toured with musikFabrik, Cursive, the Symphony Orchestra of Mumbai under Charles Dutoit, and an eclectic roster of independent acts. He specializes in the music of Karlheinz Stockhausen. In 2015, he performed the U.S. premiere of the melodic version of La Monte Young’s Second Dream… under the composer’s direction.

As a founding director of Analog Arts, Joe created a new music festival where he curated a program of Samuel Beckett’s short plays, arranged a Rameau ballet-opera, and conducted Ballet Mécanique. He projected the US & NY premieres of Stockhausen’s last electronic piece Cosmic Pulses. He is also the director of the Iron Composer competition, which he created in 2007.

Joe moved to New York City after receiving his masters degree from the Yale School of Music. He earned his Ph.D in trumpet performance from New York University, writing his dissertation on the role of Michael in Karlheinz Stockhausen’s 7-opera cycle LICHT (Light, 1977-2003). He frequently performs as a keyboardist in bands or on his recitals. He has given 9, 12 & 24-hour solo performances of John Cage’s ASLSP, and is currently working on a 48-hour version. His latest performance project is called dung.

Lighting Design, Thomas Dunn

Thomas is an American artist based in New York City. His approach to lighting design stems from years of investigative work with light, treating it as both a sculptural medium and a facet of stage design. His interest in light as an artistic medium was spurred by a desire to distill his fascination of the visual world to its essence. Over time he developed and inevitably learned to see light in new ways, playing with its perceptual qualities, using it as a tool to activate, bend, and manipulate space. His early works drew inspiration from artist he championed such as James Turrell and Robert Irwin. From these beginnings, engaging with performance was a natural progression. He has always had an interest in time, spatial relationships and kinesthesia. The marriage of his optical research in sculpture and the temporal nature of the stage make for a unique vehicle to explore and express these interest.

Selected design credits includes works with; Wally Cardona, Steve Cosson/The Civilians, Annie Dorsen, DD Dorvillier/human future dance corps, Daniel Fish, Beth Gill, Trajal Harrell, Jennifer Lacey, Noémie Lafrance/Sens Production, Ong Keng Sen/TheatreWorks Singapore and Jay Scheib/NYCO. Thomas is also a recipient of a 2009 Kevin Kline Award for Outstanding Lighting Design, The Little Dog Laughed, The Repertory Theatre of St. Louis as well as a 2007 Bessie Design Award, Nottthing Is Importanttt, DD Dorvillier/human future dance corps. He received his education at Bennington College and Yale School of Drama.

Lighting Assistant, Todd Kelmar

Audience Experience Consultant, Adrienne Mackey

Adrienne Mackey is the founder of Swim Pony Performing Arts, dedicated to challenging conventional ideas about what live performance can be and do. She has directed over 12 original works including SURVIVE! – a 22,000 square foot choose-your-own-adventure installation exploring the universe and The Ballad of Joe Hill at the historic Eastern State Penitentiary for Fringe Arts profiled on NPR’s Radio Times. Most recently she created The End a month long theater/ARG exploring mortality. She teaches at Drexel University and Pig Iron’s MFA Program in Devised Theatre.

Print Design, Alda Leung

Alda Leung is a graphic designer, currently residing in Brooklyn, NY. She decided she wanted to become a graphic designer while pursuing a painting degree at University of Southern California. She made the move in 2005 to New York, to study at Parsons The New School of Design, graduating with a Bachelor of Arts in Communication Design. Over the past 6 years she has had the opportunity to grow as an in-house graphic designer at Manhattan School of Music, Mrs. John L. Strong, a luxury stationery company and currently as the senior graphic designer at VistaJet, a private aviation company. In addition to her full-time job, she values her freelance projects, because it allows her to work with a variety of people and design styles. She excels and specializes in Branding, Logo, Publication and Marketing design, which includes poster, postcard, brochures and social media. Alda is passionate about constantly challenging herself to create more engaging designs for her clients.

Typefacing and Booklet Design, Jura Pintar