May 28, 2022 (17:30 EDT)
BRYNE:KOZAR:DUO
Recital Program:
Of Something by Michael Boyd
Song of the House Martin by Jessica Rudman
A Jelly-Fish (from It Floats Away from You) by Beth Wiemann
Poem by Marianne Moore
Performer Bio:
Created by New York City and Boston based soprano Corrine Byrne and trumpeter Andy Kozar, the Byrne:Kozar:Duo presents historically informed performances of Baroque music for natural trumpet and soprano in addition to commissioning new works for modern trumpet and soprano. They have been said to create ‘an arresting symbiosis in their melding of voice and trumpet timbres’ (Textura) and that the ‘trumpet and voice seem to take on one another’s qualities’ (Bandcamp Daily). As individuals, Corrine has been called a ‘celebrated singer’ (Broadway World) and ‘a rising star’ (Arts Westchester) while Andy has been called a ‘star soloist’ (TimeOutNY) and ‘polished and dynamic, with very impressive playing’ (Baltimore Sun). Combining their strengths as performers and interpreters of both early and modern music, the Byrne:Kozar:Duo has commissioned new works by composers including Reiko Futing, Paula Matthusen, David Smooke, Scott Worthington and Scott Wollschleger. As recording artists, they can be heard on a recent release of the music of Scott Wollshleger on New Focus Recordings which was named a Notable Recording of 2017 in The New Yorker. Recent appearances include performances at the Boston Early Music Festival, Lake George Music Festival, Divergent Studio at the Longy School of Music, NienteForte in New Orleans, and New Music Miami. They have also been heard on American Public Media’s Performance Today as well as on National Public Radio. More at https://www.byrnekozarduo.com
Composer Bios and Program Notes:
Michael Boyd is a composer, scholar, and experimental improvisor. Currently Associate Professor of Music at Chatham University, he holds graduate degrees from the University of Maryland (DMA, composition) and SUNY Stony Brook (MA, music theory). Boyd’s music embraces experimental practices such as installation, multimedia, and performance art, and has been performed in a variety of venues throughout the United States and abroad. As a scholar he has focused on recent experimental and avant garde practices, particularly Roger Reynolds’s music. Boyd has published articles in Perspectives of New Music, Tempo, and Notes, as well as review essays in Computer Music Journal, Popular Music & Society, and American Music. Active in his community, Boyd has been an elected member of the Wilkins Township Board of Commissions since 2012 where he works on issues including transportation, waste reduction, and public safety. An active cyclist, he often bikes to work, periodically competes in mountain bike races, and advocates for bicycle and pedestrian improvements at work and in his community. Boyd was Bike Pittsburgh’s 2012 Advocate of the year and was included in Pittsburgh Magazine’s 2013 “40 Under 40.” More info at https://michaelrboyd.com.
of something is a work for one or more performers of any type who create a series of performance gestures that reflect several distinct positions along two intersecting conceptual continuums: move/stop and connect/disconnect. A graphic network guides performer(s) through this two-dimensional, conceptual space. Performances may include sonic, visual, and/or theatrical interpretations, and can range from short concert performances to extended performed installations.
Jessica Rudman’s music inspires empathy for social issues through stories of myth, magic, and the modern world. Described as a “new music ninja” by the Hartford Advocate, she blends lyrical melodies and dramatic narrative structures with sensual harmony and vibrant color to draw the audience into the world she has created. Her works for the concert hall, dance, and opera often differ in musical language and approach, with the common thread always being expressivity. She believes that the ability to reach one’s audience is of extreme importance in our current social, economic, and political environment. Rudman’s works have been performed by groups such as the International Contemporary Ensemble, the Cadillac Moon Ensemble, The Omaha Symphony’s Chamber Orchestra, the Yakima Symphony Orchestra, and the Hartford Independent Chamber Orchestra. She has received awards from SCI/ASCAP, Error! Hyperlink reference not valid., the College Music Society, the International Alliance for Women in Music, and others. Jessica is a 2019 Connecticut Artist Fellow, with support from the Connecticut Office of the Arts. Learn more about Rudman at https://www.jessicarudman.com.
Four Songs for Lady Macbeth sets four poems by Kendra Preston Leonard. Each gives a different perspective on Lady Macbeth (either Shakespeare’s character or the historical figure on which she is based), and the music tries to capture these distinct angles. Interestingly, the pivotal figure’s own voice (and that of her husband) is strikingly absent from the collection. All are the thoughts of observers, leaving us ultimately to guess at Lady Macbeth’s own thoughts and motivations. Song of the House Martin was originally composed for mezzo-soprano and piano. It also exists in a variety of other combinations of voice and solo instrument.
Beth Wiemann was raised in Burlington, VT, studied composition and clarinet at Oberlin College and received her PhD in composition from Princeton University. Her works have been performed around the U.S. and internationally by the ensembles Guerilla Opera, the Vermont Symphony, Continuum, Earplay, performers Marilyn Nonken, Paul Hillier, Susan Narucki and others. She teaches clarinet, composition and theory at the University of Maine. A CD of Wiemann’s music, Why Performers Wear Black, was released on Albany Records and other works of hers appear on the Raviello, Capstone, innova and Americus record labels. Her music is available from American Composers Alliance. More info at https://bethwiemann.com.
A Jelly-Fish by Marianne Moore
Visible, invisible,
A fluctuating charm,
An amber-colored amethyst
Inhabits it; your arm
Approaches, and
It opens and
It closes;
You have meant
To catch it,
And it shrivels;
You abandon
Your intent—
It opens, and it
Closes and you
Reach for it—
The blue
Surrounding it
Grows cloudy, and
It floats away
From you.
DuoMotive
Recital Program:
Sonata for Flute and Piano by Matthew R Durrant
Insomnia Dance by Jessica Rudman
Crash by Zach Gulaboff Davis
Performer Bio:
DuoMotive is an ensemble of flute and piano that specializes in new music. Founded by flutist, Michelle Li and pianist, Michael McAndrew during their time at Binghamton University, DuoMotive gave their debut concert in 2018 and continued on a tour through three different states the following year, premiering several pieces. During the pandemic, DuoMotive has collaborated virtually, with both artists participating in several iterations of All Score Urbana, a free and for-all program founded by composer Ralph Lewis. Both artists are in different locations at the time of this writing, but that does not stop the duo from working together in a creative virtual context.
Composer Bios and Program Notes:
Matthew R Durrant holds Bachelor’s degrees in composition and piano performance from Boise State University and Master’s and Ph.D. degrees in composition from the University of Utah. He has also studied trombone for many years and performed with a number of ensembles. His music has been performed throughout the United States at various concerts and festivals. Matthew enjoys music of many styles and genres, and that interest is often reflected in his compositions. They can vary from quite traditional to more complex, atonal works. He particularly enjoys writing for winds and brass and has a number of pieces published for solo instruments and small ensembles. Often times his work is influenced by the sweeping vistas of the American West, particularly Idaho and Utah. Currently, Matthew serves at the University of Utah as an adjunct faculty member in the music theory area. He is also a member of the theory faculty of the Gifted Music School in Salt Lake City. When he is not teaching or working on music he is outdoors hiking and climbing mountains or spending time with family. Matthew is from Preston, Idaho, and currently resides in Midvale, Utah with his wife and kids. More at https://www.mrdcomposer.com.
Completed in January of 2020, Sonata for Flute and Piano is a wonderful showpiece for both the flute and the piano. Each movement is unique and showcases a different style of writing and harmonic language. The opening movement is majestic in tone and explores both lyricism and virtuosity, setting the tone for what is to follow. The inner movement is a hauntingly beautiful song that features soaring modal melodies and intricate contrapuntal lines. Closing the sonata is a tour de force whirlwind of a finale that showcases stunning virtuosity in both the flute and piano. Premiered on January 20, 2022.
Jessica Rudman’s music inspires empathy for social issues through stories of myth, magic, and the modern world. Described as a “new music ninja” by the Hartford Advocate, she blends lyrical melodies and dramatic narrative structures with sensual harmony and vibrant color to draw the audience into the world she has created. Her works for the concert hall, dance, and opera often differ in musical language and approach, with the common thread always being expressivity. She believes that the ability to reach one’s audience is of extreme importance in our current social, economic, and political environment. Rudman’s works have been performed by groups such as the International Contemporary Ensemble, the Cadillac Moon Ensemble, The Omaha Symphony’s Chamber Orchestra, the Yakima Symphony Orchestra, and the Hartford Independent Chamber Orchestra. She has received awards from SCI/ASCAP, Error! Hyperlink reference not valid., the College Music Society, the International Alliance for Women in Music, and others. Jessica is a 2019 Connecticut Artist Fellow, with support from the Connecticut Office of the Arts.
Learn more about Rudman at https://www.jessicarudman.com.
Insomnia Dance tries to capture the tossing and turning of nights when vivid dreams and half-remembered stresses sneak into the semi-conscious mind. Two main ideas circle throughout the work: slow, ominous piano chords juxtaposed with long flute lines and fast, slightly off-balance rhythmic dance sections. The latter gradually takes over, and the music works into a frenzy before finally exhausting itself.
Described as “beautiful, lyrical” and brimming with “unexpected harmonic shifts” (International Trumpet Guild), the music of Macedonian-American composer Zach Gulaboff Davis centers on the expressive and dramatic possibilities of compositional narrative. The winner of the 2019 American Prize in Composition (Vocal Chamber Music division) and Finalist for the 2020 ASCAP Morton Gould Young Composer Awards, Zach maintains an active schedule as a composer and collaborator across the globe. His works have been performed at venues including Carnegie Hall, Columbia University, University of Pennsylvania, Bulgaria’s National Palace of Culture, Norway’s Arctic Cathedral, Hamburg’s Zinnschmelze Cultural Center, New York University Steinhardt and Shanghai, the DiMenna Center, International Trumpet Guild and National Saxophone Alliance conferences, and at schools and conservatories throughout North America. Since beginning compositional studies in 2013, his works have garnered over 25 national and international awards. Zach is also active as a pianist and conductor, having appeared as concerto soloist, chamber musician, solo recitalist, and champion of young composers’ works at the keyboard and podium. He holds a B.A. in piano performance and composition/theory, summa cum laude, from Linfield College, an M.M. in composition from Mannes College of Music, and a D.M.A. in composition and M.M. in music theory pedagogy from the Peabody Institute of the Johns Hopkins University, where he studied under Pulitzer Prize-winning composer Kevin Puts. In his spare time, Zach is active in American Kennel Club dog sports, traveling the country as a licensed Dog Agility judge. Don’t ask him about the (countless) similarities between composing and designing Agility courses unless you have hours to spare! Born in Los Angeles and raised in Oregon, Zach currently resides in Jersey City, NJ. More at https://www.zgulaboffdavis.com/bio.
Crash explores the color and contrast found between the flute and piano. Listen for changes in character and texture as the work unfolds, eventually reaching a frantic coda reminiscent of the opening.
Du.0
Recital Program:
Interview by Stephen Lilly
Antithesis by Matthew Lam
Animal Magnetism by Michael Boyd
Performer Bio:
Du.0 is a New York City-based violin duo that specializes in experimental contemporary and noise-based improvised music. Formed in 2015 by Aimée Niemann and Charlotte Munn-Wood, the ensemble “[shines] in moments of deep listening”(I Care If You Listen) and cultivates freedom and innovation in its artistic expression. Whether through improvisation, graphic notation, or use of extra-violinistic sounds and instruments, Du.0 seeks to continue the violin’s legacy into the 21st century by expanding beyond the traditional role and identity of the violinist. Du.0 is passionate about collaborating with living composers, particularly femme and queer artists. We lead by example in this area, having collaborated with or performed the works of composers Emily Praetorius, Aleksandra Vrebalov, Leah Asher, Sky Macklay, Chiyoko Szlavnics, Lucie Vitkova, Laura Jayne Bowler, and actor-director Polina Ionina. Aimée and Charlotte have also co-composed several pieces, in addition to their more free-form improvised music. The duo toured the East Coast in 2018 and have shared shows with musicians of many different genres and styles. They successfully crowd-funded large-scale commissions from Leah Asher and Scott Wollschleger, premiered for a standing-room-only audience in February 2020. Most recently, Du.0 received the City Artist Corps Grant to present their program O Most Noble Greenness, inspired by Hildegard von Bingen and performed in the tunnels of New York City. The violinists of Du.0 are dedicated educators and believe that people living outside of New York City deserve access to daring and imaginative music just as much as folks in the “scene.” They serve on faculty of Third Street Music Settlement and the Larchmont Music Academy and have led classes and workshops at NYU and in Pennsylvania’s East Penns Valley. Through their community engagement, hunger for new collaborations, and choice of off-the-beaten-path venues, Du.0 has garnered an “enthusiastic audience [and] demonstrates that lively support for an unconventional ensemble is not a relic of the past.” (ICIYL) More at https://www.du-point-oh.com.
Composer Bios and Program Notes:
Originally from the Pacific Northwest, Stephen Lilly is a composer, performer, audio engineer, poet and sound artist. His music ranges from “just dark” and “so demanding on the listener” (The Retriever) to “really more ‘performance art’…the sort of thing you are very glad to have experienced without necessarily wanting to revisit it” (The Washington Post). Stephen has degrees from the University of Idaho (composition/bass performance: BM) and the University of Maryland (composition: MM, DMA). He also spent a year studying electroacoustic music at the Institute of Sonology in The Hague. Amateur poetics, theatricality, and satire are the trappings of much of his work, the majority of which are chamber works written for friends and friends of friends. His writings on contemporary experimental music have been published in Organised Sound, Performance Research, Perspectives of New Music, and Computer Music Journal. Recordings of his compositions are available from ink&coda, the SEAMUS Electroacoustic Miniatures Recording Series, the SCI CD Series, and C7 Music, and recordings he has engineered have been released on Neuma, Navona, and Albany Records. Stephen use to teach but now just lives in Minneapolis, where he composes and performs. More at https://www.stephenlilly.net.
Some people will never be called upon as experts. So, what would an interview with someone lacking any obvious expertise be like? Or, what if a person’s expertise was completely mundane? Interview contemplates these questions, being equal part game and performance. As a game, the host and expert spar, seeking to unmask one another (whether or not any expertise exists, the nature of that expertise, and then the depth of knowledge supporting it) through natural-sounding banter. As a performance, both the host and the expert are painting portraits (even if only an exaggeration of self) communicated via physical gesture, word choice, and emotional state. Interview is not seeking to lampoon celebrity interviews; it draws more from Fresh Air than it does from The Tonight Show. While it does welcome (and even invites) the occasional tension between host and expert, Interview is not antagonistic. Similarly, the piece is not just a work of absurdity or an excuse for the performers to be “weird.” Interview is rooted in reality while simultaneously inviting in surreal and absurd elements to heighten the clichés and artificiality native to all interviews.
Born and raised in Hong Kong, Matthew Lam is an active composer and an enthusiast of contemporary music style. His goal is to explore and experiment on a wide array of sounds and timbre, especially with contemporary instrumental techniques. Lam is the winner of Toolbox Percussion International Composition Competition 2019 (TPICC 2019), was awarded a merit award of the 1st Hong Kong International Composition Competition for Chromatic Harmonica 2021 (Category B – Solo Harmonica with Orchestra) and honourable mentions of Hong Kong New Music Ensemble call-for-scores 2020 and 2019 Ensemble Ibis Composition Competition. His works were featured in various festivals and events, most notably including soundSCAPE Festival, Toolbox International Creative Academy, Praecepta Minifest and three consecutive Music from the Heart concerts held by Hong Kong Chinese Orchestra. His works were played and read by various groups, including the Mivos Quartet (USA), Mise-en Ensemble (USA), Cong Quartet (HK), Music-joint Association (HK), Stellar Trio (Beijing), Chung Chi Wind Orchestra (HK), Toolbox Percussion (HK), and the Hong Kong Chinese Orchestra. Lam earned his Bachelor of Arts in Music with first-class honours from the Chinese University of Hong Kong, where he studied composition with Prof. Wendy Lee, Prof. Kai-Young Chan and Dr Hau-Man Lo. He is now pursuing his master’s studies in composition with Dr. Marilyn Shrude and Dr. Christopher Dietz at Bowling Green State University. More at https://matthewlamcomposer.wixsite.com/composer/about.
Antithesis means the opposition between two things or persons. Composing in mind as a sequel from my previous piece “Acrimonies”, which depicts an acrimonious relation and a failed dialogue within a group of people, in this piece, I intend to depict the confrontation between two people in this piece. In general, the dark, vigorous, and forceful timbre together with the call and response nature between the two violins mimic a verbal conflict between the two. I used rhythm and timbre to further signify the confrontation: at most times, the two violins do not play together, while starting in the second section, the two violins would have extremely opposing timbre, one featuring harmonics (and harmonic trill), with the other features excessive bow pressure.
Michael Boyd is a composer, scholar, and experimental improvisor. Currently Associate Professor of Music at Chatham University, he holds graduate degrees from the University of Maryland (DMA, composition) and SUNY Stony Brook (MA, music theory). Boyd’s music embraces experimental practices such as installation, multimedia, and performance art, and has been performed in a variety of venues throughout the United States and abroad. As a scholar he has focused on recent experimental and avant garde practices, particularly Roger Reynolds’s music. Boyd has published articles in Perspectives of New Music, Tempo, and Notes, as well as review essays in Computer Music Journal, Popular Music & Society, and American Music. Active in his community, Boyd has been an elected member of the Wilkins Township Board of Commissions since 2012 where he works on issues including transportation, waste reduction, and public safety. An active cyclist, he often bikes to work, periodically competes in mountain bike races, and advocates for bicycle and pedestrian improvements at work and in his community. Boyd was Bike Pittsburgh’s 2012 Advocate of the year and was included in Pittsburgh Magazine’s 2013 “40 Under 40.” More info at https://michaelrboyd.com.
Animal Magnetism is a series of duets for one string and one wind instrument that explores the basic building blocks of Iannis Xenakis’s Charisma for clarinet and cello: oppositional timbres and dynamic envelopes. While Xenakis’s composition, which was very influential on my development as a composer, carefully and gradually merges these disparate materials, this work approaches that task is a more variable manner. Transparencies, a nod of course to Cage, are employed that put each performer on an independent trajectory through different combinations of sounds and dynamic shapes, resulting in unpredictable intermixtures of these elements.
Ascending
Recital Program:
Perfect Gifts by Roydon Tse
In C7 (violin sonata no. 3) by Nolan Stolz
Long Green Weeks: A Summer Fantasy by Nebojsa S. Macura
Performer Bio:
Founded in the summer of 2014 by Tricia Bonner (violin) and Caitlin Frasure (piano), Ascending performs works by current composers across the country and around the world. In its debut, Ascending presented “In So Many Words” at the Firehouse Space (Brooklyn, NY) as a concert in exploration of text and sound within music, including two premieres and a range of traditional and non-traditional performance approaches from improvisation to spoken word. Since then, Ascending has concertized across the states, commissioning and premiering 14 compositions along the way. They are active collaborators with fellow members in the new art music community, and have been featured as guest ensemble of the 45th Annual Ball State Festival of New Music (Ball State University), the Aquila Summer Concert Series (CO), the Spirit & Place Festival (IN), Christian Fellowship of Art Music Composers’ National Conference (OH), the Applause Concert Series (TX), and the Music By Women Festival (Mississippi University for Women). In 2019 Ascending released their self-titled debut album, consisting of seven original commissioned works. More information at www.ascendingduo.com.
Composer Bios and Program Notes:
Dr. Roydon Tse (b.1991) is an award-winning Canadian-Chinese composer, pianist and educator. He is passionate about communicating to audiences from all backgrounds and his works for orchestra, chamber and vocal forces are inspired by the fusion of Eastern and Western elements, the visual arts and the environment. Roydon has collaborated with ensembles and musicians across Canada, Europe and Asia. They include the Brussels, Hong Kong, Shanghai, and Brno Philharmonic Orchestras, the Toronto, Vancouver, Edmonton, Winnipeg, Suzhou, Niagara, and Kitchener-Waterloo Symphonies, National Youth Orchestra of Canada, Austin Civic Orchestra, Vancouver Bach Choir, China National Orchestra Chorus, Piano and Erhu Project, Locrian Chamber Players, the Cecilia, Delgani and Bozzini String Quartets, and members of the Paris Opera & Teatro Alla Scala Orchestra. His works have been performed in 16 countries, in venues such as De Doelen (Rotterdam), Melbourne’s Recital Hall, Shanghai’s Symphony Hall, Schonbrunn Palace (Vienna), and the Kennedy Center. Recent commissions include works for the Atlanta Opera, Toronto Symphony Orchestra, Esprit Orchestra, and the Verona Quartet, among others. Roydon has won several awards, including five SOCAN Foundation Awards for Young Composers, the Washington International Composition Prize, CMC Prairies Emerging Composer Prize, Lieutenant Governor of Alberta’s Emerging Artist Award, and the Johanna Metcalf Performing Arts Protégé Prize. He was named to CBC music’s top “30 under 30” Canadian Classical Musicians list and received the Weinzweig Award from the University of Toronto for exceptional potential in composition. Additionally, he has received support for commissioning from the Toronto Arts Council, Ontario Arts Council, SOCAN Foundation and the Canada Council for the Arts. Born in Hong Kong, Roydon studied piano and violin in the U.K. as a teenager and earned composition degrees from the University of British Columbia (B.Mus) and the University of Toronto (M.Mus, D.M.A). He is based in Toronto Canada. More at https://roydontse.com.
Written and dedicated to my wife Sarah’s birthday, Perfect Gifts (2012) is a romantic duet for violin and piano that explores lyrical melodies and lush harmonies.
Nolan Stolz is a composer, scholar, percussionist/drummer, and music professor. Born in Milwaukee, WI, Stolz grew up in Las Vegas, where he worked for several years as a freelance jazz drummer. He is Associate Professor and Coordinator of Music at University of South Carolina Upstate in Spartanburg. He has served on the faculties at University of Nevada-Las Vegas, Southeast Missouri State University, University of South Dakota, Naugatuck Valley Community College, and Three Rivers Community College. He has been Artist-In-Residence at Goldwell Open Air Museum, Osage Arts Community, Prairie Center of the Arts, Sitka Center for Art and Ecology, and the Virginia Center for the Creative Arts. His compositions are clearly influenced by his performance background in jazz fusion and progressive rock, yet firmly rooted in the contemporary classical tradition. The Brno Philharmonic recording of his Lincoln Highway Suite was awarded second place in the 2020 American Prize’s Ernst Bacon Award. Fanfare magazine called it a “brilliant piece of Americana. . .a piece of inspiration and skill,” the “orchestration is brilliantly managed,” and “Stolz clearly has a fine repository of [melodies] in his back pocket.” His flute piece Princess Ka’iulani was published in Society of Composers, Inc. Journal of Scores (vol. 51) and SCI’s CD series (vol. 30, titled Modes). Stolz’s other works may be heard on releases from Ablaze, ESM, Six Strings Sounds, and Tributary Music. He has been commissioned by the Alturas Duo, Cello Times Two, CCSU Chamber Players, Las Vegas Academy Jazz Ensemble, Las Vegas Music Festival Orchestra, Southeast Missouri State University Department of Theatre and Dance, Spartanburg Philharmonic Espresso Series, SUNY-Stony Brook, Synchronix, Terminus Ensemble, and several solo performers. More at http://nolanstolz.com.
The melodic and harmonic material in In C7 is derived from the overtone series of the pitch C. The title is a reference to Terry Riley’s In C, but the music is not at all related. The first seven harmonics of the overtone series (C-E-G-Bb) spell a C7 chord, hence the title. Other pitches from the series are used: D (the 9th), the pitch halfway between F and F# (the 11th), A (the 13th) and B (the 15th). Microtones are employed to approximate the natural overtone series. Gestures are relatively simple until the climactic section (mm. 47–59), and the final section (m. 60–end) plays with the timbre of this complex C sonority, recalling gestures from earlier in the work. Sketches for the composition began in West Hartford, Connecticut, but the piece was primarily composed on a piano in the basement of the student union at the University of Wisconsin-Milwaukee. The work was completed in Waialua, Hawaii in May 2010. It was commissioned by the Vox Novus Composers Voice Concert Series in New York City. The violinist’s name for the premiere was Nolan, probably the first time a Nolan has ever performed a piece by another Nolan!
Born in 1982 in Belgrade, Serbia, Nebojsa (Neb) Macura has resided in North America since 1990. He holds degrees from the University of Cincinnati College-Conservatory of Music (DMA), University of British Columbia (MM), and University of Wisconsin-Madison (BM). His composition teachers include Joel Hoffman, Ellen Harrison, Stephen Chatman, Dorothy Chang, Stephen Dembski, Laura Schwendinger, Joel Naumann, and Scott Gendel. A prolific composer specializing in instrumental chamber music and works for wind band, Neb has received performances in 22 US states and 3 Canadian provinces, as well as Bolivia, Brazil, Croatia, and Israel. His music has been featured at the SCI National and Regional Conferences, Sonic Boom Festival, Midwest Composers Symposium, CBDNA Southern Division Conference, Midwest Graduate Music Consortium, New Dischord Festival, and MusicX. Neb has a strong interest in string instruments of all shapes and sizes. Currently, he plays viola in the Middleton Community Orchestra and fretted strings in the folk bands Karavay and Blue Accordion & Friends. He has also performed with the University of Wisconsin Russian Folk Orchestra and BDAA Festival Orchestra. More at http://www.societyofcomposers.org/members/NebojsaMacura.
Long Green Weeks: A Summer Fantasy is a musical depiction of a pandemic-era “boy meets girl” story, based on real events involving social media, an office building, a herd of goats, and an ill-fated jam session. Details are best left to the listener’s imagination.
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