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SAN FRANCISCO COMPOSERS CHAMBER ORCHESTRA
Mark Alburger, Music Director
Saturday, October 9, 2004, at 8:00pm
544 Capp Street Community Music Center
San Francisco, CA

PROGRAM
   

Philip Freihofner -- oboist, synthesist & composer, has been a member of the San Francisco Composers Chamber Orchestra since the fall of 2004. He has an A.B. in Music from the University of California in Berkeley, and works variously as a contract programmer, oboe performer, coach & "reed doctor," composer & sound designer, and as a retail clerk on Saturdays at Forrests Music in Berkeley. His diverse musical background includes classwork at the SF Conservatory of Music (Prep Dept), Blue Bear School of Music and the Ali Akbar College of Music, and appearances on a recording each by The Residents & negativland, performance with the groups "Flak" and J Poet's rock band "Young Adults," and scoring (artistic, commercial and experimental) for video, A/V, drama and dance. Credits include title music for the UC Berkeley "The Distinguished Teaching Awards" and the theme music for Harry Kreisler's "Conversations with History" series (over 400 episodes produced). He wrote and served as Music Director for Cheryl Koehler/Zig Zag Theatre's full-length dance theater production: "The Fish and the Fire" (performed at Julia Morgan Center in 1993, and the Cowell Theater in 1994) as well as three UC Berkeley Drama Department productions (with directors George House & Lorne Buckmann). The New Music group EARPLAY workshopped a sketch that has been further developed into a work-in-progress setting of the short story "Carmilla" by Sheridan Le Fanu (performed at SFCCO's December 2008 concert). His "Quartet #1 for Oboe, Clarinet, Horn & Bassoon" has been performed by the UC Santa Cruz Music Department faculty, and excerpts of his silent film score for "Der Golem" were recently released on CD by the double reed consort: "WiZARDS!". Most recent work includes electro-acoustic compositions, including "It's only the Wind" premiered at SFCCO Fall 2009 concert at Chapel-of-the-Chimes, "The Obelisk" performed by Steve Adams (SFCCO June 2009) and "What Are You Going to Dream Tonight?" (SFCCO Feb 2009). He also self-publishes and sells sheet music arrangements and original compositions for chamber music ensembles, with an emphasis on double reed quartets, and invented a tool to assist with oboe reed making, the "Blend-Guide Mandrel," currently being marketed by Forrests Music. As an oboist, in addition to working with SFCCO, he has recently performed with Bay Area Chamber Harmonies, and for Bay Area composers Harry Bernstein, Mark Alburger, Jan Pusina, and in Lisa Schola Prosek's Chamber Opera "Trap Door."

Philip Freihofner

The Fivefold Way

John Beeman studied with Peter Fricker and William Bergsma at the University of Washington where he received his Master's degree. His first opera, The Great American Dinner Table was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark Philharmonic, Santa Rosa Symphony, and the Peninsula Symphony. The composer's second opera, Law Offices, premiered in San Francisco in 1996 and was performed again in 1998 on the steps of the San Mateo County Courthouse. Concerto for Electric Guitar and Orchestra was premiered in January 2001 by Paul Dresher, electric guitar. Mr. Beeman has attended the Ernest Bloch Composers' Symposium, the Bard Composer-Conductor program, the Oxford Summer Institutes, and the Oregon Bach Festival and has received awards through Meet the Composer, the American Music Center and ASCAP. Compositions have been performed by Ensemble Sorelle, the Mission Chamber Orchestra, the Ives Quartet, Fireworks Ensemble, the Oregon Repertory Singers and Schola Cantorum of San Francisco.

John Beeman

Misty Canyon Morning: At the River's Shore
from Rogue River Canyon

David Graves has been writing a variety of musical works since the 1970s, including jazz, pop, electronic and neoclassical pieces for film, theater, studio recordings and orchestra. He has studied at the San Francisco Conservatory of Music and City College of San Francisco. In 2003 and 2005 David was a resident composer with the Djerassi Resident Artist Program where he was awarded the William and Flora Hewlett Foundation Fellowship. He was also a resident composer with the Berkeley Symphony for two consecutive seasons and wrote six pieces that were performed as a part of their Under Construction series. His large-scale ambient works have been installed in a redwood canyon (tree/sigh), The LAB (Deciduous), and the renowned San Francisco AudioBus (Human Street Textures). For many years, he has been the Coordinator for the San Francisco Composers Chamber Orchestra and has had pieces performed annually by that ensemble as well as the Irregular Resolutions composer collective. In the late 2000s he released albums with the prog-rock group ScienceNV, recorded a collection of pop vocal tunes, received grants from the American Composers Forum and Meet the Composer, was sound designer for Miss Julie at the Aurora Theater, and developed a collection of short video dreams (Living in the Village of My Dreams). More recently, he was sound designer for Mary Stuart at Shotgun Theater, performed as AmbientBlack at various venues, created soundscapes for the featurette Alien Worlds at the California Academy of Sciences, and installed Fog and Expectations in the backyard garden of Urban Bazaar.

David Graves

The Ministry of Peace from Insecurity (and Other Agencies of Government)

Lisa Scola Prosek is a graduate of Princeton University in Music Composition. Her teachers include Edward Cone, Milton Babbitt, Lukas Foss, and Gaetano Giani Luporini. Scola Prosek is the recipient of numerous grants, commissions and awards, including The NY Center for Contemporary Opera "Atelier" Award for The Lariat. Scola Prosek has composed and produced eight operas with librettos in Italian and English. In 2012, Daughter of the Red Tzar, written for acclaimed tenor John Duykers, premiered in San Francisco to capacity audiences, and is currently on the outreach season with Long Beach Opera. Lisa serves as General Manager and Director of the San Francisco Composers Chamber Orchestra, since 2001. Other awards have been from Theatre Bay Area, the LEF Foundation, The Argosy Contemporary Music Fund, Meet the Composer, the Hewlett Foundation, the American Composers Forum, The San Francisco Arts Commission, The Center for Cultural Innovation, The California Arts Council, the NEA and the Zellerbach Foundation.

Lisa Scola Prosek

A Silvia

Dr. Mark Alburger (b. 1957, Upper Darby, PA) is a multiple-award-winning ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. His compositions are generally assembled or gridded over pieces ranging from ancient and world music, to postmodern art and vernacular sources -- 174 opus numbers (markalburgerworks.blogspot.com), including 16 concertos, 20 operas, 9 symphonies, and the four-hours-and-counting opera-oratorio work-in-progress, The Bible. He is Music Director of San Francisco Composers Chamber Orchestra (sfcco.org) and San Francisco Cabaret Opera / Goat Hall Productions (goathall.org), Editor-Publisher of 21st-Century Music Journal (21st-centurymusic.blogspot.com and 21st-centurymusic.com), Instructor in Music Literature and Theory at Diablo Valley and St. Mary's Colleges, and Music Critic for Commuter Times. He studied at Swarthmore College (B.A.) with Gerald Levinson and Joan Panetti, Dominican University (M.A., Composition) with Jules Langert, Claremont Graduate University (Ph.D., Musicology) with Roland Jackson, and privately with Terry Riley. Alburger writes daily at markalburger2009.blogspot.com and is in the fifth year of an 11-year project recording his complete works for New Music Publications and Recordings.

Mark Alburger

Horn Concerto ("Sherlock"), Op. 114
I. Allegro
II. Andante
III. Allegro vivace

Jan Burres, soloist

Traditional, arranged by

Alexis Alrich is presently living in Hong Kong but visits the Bay Area frequently. Her Marimba Concerto, which was presented by the SFCCO, will be played by the Plymouth Symphony in Plymouth, Michigan in 2009 with conductor Nan Washburn. Her piece Island of the Blue Dolphins was performed by the Santa Barbara Symphony on January 19, 2007. She attended an artists' colony in 2007, I-Park in Connecticut, where she wrote Fragile Forests II: Cambodia, next in the series after Fragile Forests I: California Oaks, which was premiered in December 2006 by the San Francisco Composers Orchestra. As one of the winners of a Continental Harmony grant from the American Composers Forum she has written a piece for chorus, orchestra and soloists for the state of Maine. Avenues, her first orchestra piece, was premiered by the Women's Philharmonic and has been played around the country. Her chamber compositions have been performed by members of the San Francisco ballet, opera and symphony orchestras and ensembles including Bay Brass, City Winds, the Ahlert and Schwab guitar and mandolin duo in Germany, the Ariel Ensemble, New Release Alliance and Earplay in San Francisco. Ms. Alrich is the director of the John Adams Young Composers program in Berkeley, California. This is an intensive training program for composers ages 9-18 in honor of and under the aegis of John Adams.

Alexis Alrich
with Ho Chan

Two Cambodian Songs:
Soria Ling I Ting Ai (Evening and Dawn)
Au Pdei Srok Khmer (Oh Beautiful Khmer Countryside)

Charya Burt, vocalist

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PERFORMERS

 

Flute
Bruce Salvisberg
Harry Bernstein

Oboe
Phil Freihofner

Clarinet
Rachel Condry
Michael Kimbell

Bassoon
Michael Garvey

Trumpet
Jon Pankin

French Horn
Jan Bures

Piano
Alexis Alrich
Lisa Scola Prosek
Erling Wold

Percussion
Chris Froh

Violin I
Alisa Rose *

Violin II
Ruby Fulton

Viola
Tom Elliott

Cello
TBA

Bass
John Beeman

*concertmaster

 

Charya Burt is a graduate and former dance faculty member of the Royal University of Fine Arts in Phnom Penh, Cambodia. Her training began in 1982 under the direction of the foremost dance masters of Cambodia. As a member of Cambodia­s royal dance troupe, Charya toured nationally and internationally. After immigrating to Northern California in 1993, Charya performed throughout the United States, including the Kennedy Center in Washington DC, the Jacob­s Pillow Festival at U.C.L.A., the AsiaFest Monoa in Honolulu, the opening of the new Getty Center in Los Angeles, and eleven times as a featured performer at the San Francisco Ethnic Dance Festival. Charya has also conducted dance workshops at several colleges and universities around the country including the California State University Summer Arts Program at California State University, Long Beach. She received a B. A., Cum Laude, in Liberal Studies from Sonoma State University in Rohnert Park, California. As teacher, performer, and choreographer, Charya has been awarded numerous grants including ones from the Irvine Dance in California Program, (3 times), the Fund for Folk Culture, the Alliance for California Traditional Arts, the Creative Work Fund, and the CCI Investing in Artists grant. She is also a recipient of the Isadora Duncan Award for Outstanding Achievement in Individual Performance. Currently, Charya is the artist-in-residence for the Khmer Arts Academy in Long Beach and the artistic director of Charya Burt Cambodian Dance, based in Windsor, California.

Mark Alburger Dr. Mark Alburger is the Music Director, Conductor and founder of the San Francisco Composers Chamber Orchestra. Mark is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is the Music Director of Goat Hall Productions / San Francisco Cabaret Opera, Editor-Publisher of 21st-Century Music Journal, an award-winning ASCAP composer of concert music published by New Music, Instructor in Music Theory and Literature at Diablo Valley College, Music Critic for Commuter Times, author, musicologist, oboist, pianist, and recording artist.

Dr. Alburger studied oboe with Dorothy Freeman, and played in student orchestras in association with George Crumb and Richard Wernick. He studied composition and musicology with Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.), Karl Kohn at Pomona College, Jules Langert at Dominican College (M.A.), Tom Flaherty and Roland Jackson at Claremont Graduate School (Ph.D.), and Terry Riley.
       Since 1987 he has lived in the San Francisco Bay Area, initially producing a great deal of vocal music with assembled texts, including the opera Mice and Men (1992), the crisis-madrigal collection L.A. Stories (1993), the rap sheet For My Brother For My Brother (1997), and the hieratic Passion According to Saint Matthew (1997).

Since 1997, Dr. Alburger has gridded and troped compositions upon pre-existent compositions ranging from world music and medieval sources to contemporaries such as George Crumb and Philip Glass. To date, he has written 16 concerti, 7 masses and oratorios, 12 preludes and fugues, 20 operas, 6 song cycles, 9 symphonies -- a total of 130 opus numbers and more than 800 individual pieces. He is presently at work on Waiting for Godot and Diabolic Variations.


John Kendall Bailey John Kendall Bailey is an Associate Conductor with the San Francisco Composers Chamber Orchestra and is Principal Conductor and Chorus Master of the Trinity Lyric Opera, Music Director and Conductor of Voices of Musica Sacra, and Artistic Director of the San Francisco Song Festival. In 1994, Mr. Bailey founded the Berkeley Lyric Opera and served as its Music Director and Conductor until 2001. Since then he has been a guest conductor with the Oakland East Bay Symphony, Oakland Youth Orchestra, and Oakland Ballet, and music director and conductor for productions with North Bay Opera, Mission City Opera, Goat Hall Productions, Solo Opera, the Crowden School and Dominican University. From 2002-2006 he was the Chorus Master of the Festival Opera of Walnut Creek. Mr. Bailey is also a composer, and his works have been performed and commissioned in the Bay Area and abroad.

Mr. Bailey also maintains a busy performance schedule as a bass-baritone, oboist, and pianist, and has performed with the San Francisco, Santa Rosa, Oakland East Bay, Berkeley, Redding, Napa, Sacramento, and Prometheus symphonies, American Bach Soloists, Philharmonia Baroque Orchestra, the Midsummer Mozart and West Marin music festivals, San Francisco Bach Choir, Coro Hispano de San Francisco, Pacific Mozart Ensemble, California Vocal Academy, San Francisco Concerto Orchestra, Masterworks Chorale of San Mateo, Baroque Arts Ensemble, San Francisco Korean Master Chorale, the Master Sinfonia, the Mark Morris and Merce Cunningham dance companies, Goat Hall Productions, Opera Piccola, the Berkeley, Golden Gate, and Oakland Lyric Opera companies, and many other groups. He has recorded for the Harmonia Mundi, Koch International, Pro Musica, Wildboar, Centaur, and Angelus Music labels.

Mr. Bailey has been a pre-performance lecturer for the Oakland East Bay Symphony and the San Francisco Opera, a critic for the San Francisco Classical Voice, a writer of real-time commentary for the Concert Companion, and has taught conducting at the University of California at Davis.