WAC WAC Main Page
 1998 Conference
Concert 1
>Concert 2
Concert 3

1998 Conference, Concert 2

April 4, 1998, Siebert Chapel, Carthage College, Kenosha.


Serenade for Two, for trombone and piano (1996) Al Benner
Kenneth Winkle, trombone
Stephen Smith, piano
Preludes, 1-4 (1994-97) James Bohn
Amy Gruszewski, piano
Reoccurrence (1990) Al Benner
David Cowley, cello
Evocation and Song (1988) James Chaudoir
David Cowley, cello
Alchemy: Visions, for two-track tape (1997) Daniel W. Hosken
Sirens' (1998) Michael Edgerton
Kristy Cheadle, Maura Jones, Ravi Manghnani, Kevin Mertz, Gregory Smith, Stephen Tasko, voice
Riding Angela's Knees (1997) Ryan Conners
Ryan Conners, piano
When I Encountered Myself Saying I Am (1998) Jeff Klatt and Jay Mollerskov
Jeff Klatt, amplified cello
Jay Mollerskov, computer


The music of Al Benner has been performed frequently throughout the United States and Canada, including New York's Lincoln Center. Five Variations for Piano will be played by Stephen Brown at Carnegie Hall this May, 1998. He has received numerous commissions, ASCAP Standard Awards, and the Audience Choice Award from the Louisiana Sinfonietta's 1997 String Quartet Festival of New Works. Benner is the editor for Conners Publications' "Music of America" reprint series; the editor for Composer/USA, the bulletin of the National Association of Composers in the USA (NACUSA); and on the Board of Directors and the newsletter editor for the Wisconsin Alliance for Composers, Inc. (WAC). He has taught composition at Louisiana State University and composition and counterpoint at St. Norbert College (De Pere, WI). His degrees are from Tulane University and the DMA in composition from LSU where he served as President of the Society of Composers, Inc.'s student chapter.

Serenade for Two (1996) for trombone and piano is another version of the original work written for euphonium and piano (1990, rev. 1995). The piece is in two sections played non-stop. The opening melodic section features two cadenzas to highlight the tone of the trombone. The piano accompaniment, build upon a series of chords featuring intervals of fourths and fifths, plays a supporting role. The closing fast section highlights the skill and stamina of both the trombone and piano players until the exciting and frenzied conclusion. This version of Serenade for Two was premiered January 29, 1996, in New Orleans, Louisiana, by Cason Duke (trombone) and Louis Wendt (piano).

Reoccurrence (1990) was a commission from the cellist, Kent Jensen, and is dedicated to and written for him. The piece mixes unmeasured sections, played as cadenzas, with specific rhythmic areas. Thus the title refers to the constant "re-occurrence" of material. Spanning a range of over four octaves, the work explores various advance cello techniques. Reoccurrence was premiered by Jensen in Baton Rouge, Louisiana on May 2, 1991.

Cellist David Cowley enjoys a national reputation as a solo recitalist. He has presented concerts in more than 25 states, and has performed in the Carnegie Recital hall--to the critical acclaim of John Rockwell of the New York Times. He has been a member of the Milwaukee, Buffalo and Pittsburgh Symphony orchestras; and has recorded for both Nonesuch and Mercury Records. Cowley is principal cellist of the Oshkosh Symphony Orchestra, cellist with the Collegium Chamber Players, and is on the faculty of UW Oshkosh.

Michael Edgerton has received awards and recognition both in the U.S. and abroad. His works are published by T.U.B.A. Press and C. Allen Publications. Commissioned projects include electroacoustic, acoustic and music theater works. He received the Doctor of Musical Arts from the University of Illinois at Urbana-Champaign. He has taught composition at Yonsei University and was a Visiting Scholar at Hanyang University in Seoul, South Korea. Mike is currently a Postdoctoral Fellow with the National Center for Voice and Speech, where he is conducting physiological and acoustical research on extended vocal techniques for a book on the contemporary voice, to be published by the University of California Press. Additionally, he has an Extended Vocal Techniques Performance Group at the University of Wisconsin, and has been conducting workshops and seminars on extended vocal techniques for both composers and singers.

Sirens', composed in 1998, is a rewriting of Joyce, a retelling of Homer and the sounds of the dawn of civilization. A weeping sigh, a crying sing, a curse of lust and propriety knows no bard from his platform of stone like the blind penniless beggar. This landscape between logic, inhabited by annoying creatures are buffoons. Our Fears do not look unkindly upon them, Please. A crime of reason and passion, d'aouuuu mission is de'mud, daouuuu mission to nurture/growt'hh, not combat and defeat (unless the mud stays on de' feet).
     to the Prince of Greens

(this performance is supported in part by the National Center for Voice and Speech.)

Daniel Hosken (dwhosken@alum.mit.edu) lives in the Chicago area and is currently completing a D.M.A. in composition from the University of Wisconsin-Madison. At UW, Hosken managed the computer music studios and taught courses in music technology and computer music. Hosken's music has been performed at Carnegie Recital Hall, "The Cube" at the MIT Media Lab, and at such festivals as the National Conference of the Society of Composers, the National Conference of SEAMUS (Society for Electro-Acoustic Music in the US), and the International Symposium on Electronic Art. His honors include Honorable Mentions in the ASCAP Grants to Young Composers competition, and a grant from the MIT Council for the Arts. Hosken is a co-founder of AUROS, a Boston-based new music ensemble, for which he has served as co-director and conductor. He has also served as a co-director of the Madison Chapter of the Wisconsin Alliance for Composers. Hosken holds an M.M. in composition from New England Conservatory of Music and an S.B. in music and physics from the Massachusetts Institute of Technology. He has studied computer music with Barry Vercoe, Tod Machover, and Robert Ceely, and composition with John Harbison, Stephen Dembski, and William Thomas McKinley.

Alchemy: Visions is based on recordings of percussion instruments and a voice reading poetry. The work was realized with the Csound synthesis language and Matt Ingalls' score generator using granular synthesis techniques, phase vocoder resynthesis, and linear predictive coding resynthesis. The work was realized in my home studio and the studios of the University of Wisconsin, Madison.

Jeff Klatt has studied composition with Dr. Paul Siskind at Hamline University, Dr. Bill Wood at the University of New Mexico in Albuquerque, and presently studies with Dr. Yehuda Yannay at the University of Wisconsin in Milwaukee where he is a student in the Music Composition and Technology program. He studies electronic music and sound design with Dr. Jon Welstead and Dan Gnader. He also studies improvisation with Steve Nelson-Raney and cellist Matt Turner.

Jay Mollerskov is in his third year of study as a Music Composition Technology major at the University of Wisconsin Milwaukee. He is currently studying with Dr. Yehuda Yannay and Dr. Jon Welstead. He has also studied with Gregoria Karides-Suchy and Steve Nelson-Raney.

When I Encountered Myself Saying I Am was composed jointly by the two composers through a series of improvisations and subsequent compositional refinements. The piece's macro-structure was essentially mapped out through the improvisations while its micro-structure was detailed and solidified through more precise, compositional attention. The score employs graphic notation to describe timbre, pitch contour, density, dynamics, etc. Inspirational to the title of the work were the writings of Alejandra Pizarnik.

Stephen Smith is an active performer in the Midwest including regular solo recitals, piano chamber music concerts, and concerto appearances. He has toured several times throughout Florida and frequently provides accompaniment for members of the Carthage voice faculty. A member of WMTA and MTNA, he currently serves as chair of the East Central Division Yamaha High School Competition. He has presented several lecture-demonstration recitals, workshops, master classes and recitals for local chapters and at state conventions in Wisconsin and Illinois, and serves regularly as an adjudicator. A new performance project exploring the music, culture and times of major keyboard composers will open this year with a lecture-performance exploring Johannes Brahms' piano music as representative of Romanticism and of Nineteenth Century culture. His teaching includes lessons in piano to music majors, piano pedagogy, piano literature, and related courses. He received his B.M. and M.M. degrees from Florida State University and his D.M.A. from the University of Michigan. Smith came to Carthage in 1976.

Kenneth W. Winkle is director of the Carthage Wind Symphony and teaches courses in instrumental music education, conducting, American music, orchestration, world music, and applied brass. He is an active adjudicator and clinician for public schools in the northern Illinois and southern Wisconsin region. In addition to his involvement in chamber music, Winkle has played trombone for many years in the Kenosha Symphony and occasionally has played in the Racine Symphony and the North Shore Chamber Brass Ensemble. He also has played euphonium in the Kenosha and Milwaukee Symphonies. Winkle served for many years on the board of the Kenosha Symphony and is a former president of the association. He is the current president of the board of directors for the Association of Wisconsin Symphony Orchestras. He received his B.M. from Huron College, his M.M.E. from Indiana University, and his Ph.D. from the University of Iowa. Winkle joined the Carthage faculty in 1973.

1998 Conference
[Concert 1] [Concert 2] [Workshop] [Concert 3]

[WAC Main Page] [Archives]

Copyright © 1998 Wisconsin Alliance for Composers. All rights reserved.
Last updated 4 June 1998. Contact information.