Sponsored by the Hopkins Symphony Orchestra and the Arts, Entertainment, Media, and Entrepreneurship Affinity
These dramatic 21st century works both explore the orchestral tonal palette with great imagination and strength. Edginess in each is offset by great intimacy. Yet they have a completely contrasting hues and melodic invention. Composers Linda Dusman and Carlos Sanchez-Gutierrez join us for a discussion of these pieces and their creative approach. We will watch the HSO October 2019 performance of What Remains and the March 2017 performance of Girando Danzando. This program will be presented on Zoom. A link will be shared with registrants in advance of the program.
Don't miss our other programs in our series of Evenings with the Hopkins Symphony Orchestra!
February 3rd - Star-Crossed: Tchaikovsky's Romeo and Juliet and Bernstein’s Symphonic Dances from West Side Story
March 3rd - Exquisite Revolution: Mendelssohn’s Violin Concerto
April 7th - Bloodlust: Stravinsky’s Rite of Spring
Please, register for each program individually.
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MEET OUR SPEAKERS
The music of Carlos Sanchez-Gutierrez has been described by the press as, “vigorously organized and highly visceral…neither eclectic nor post-modern nor owing allegiance to any passing fashion.”
Born in Mexico City in 1964, he studied at the Peabody Conservatory, Yale University, Princeton, and Tanglewood under Henri Dutilleux, Jacob Druckman, and Martin Bresnick. He is Professor of Composition at the Eastman School of Music in Rochester, New York.
Among the many awards he has received are the 2007 Barlow Prize, a Finalist Prize at the 2004 Malaysian Philharmonic Orchestral Composer Competition, as well as the 2003 Lee Ettelson Composition Award. He has also been honored in recent years with awards and fellowships from the Koussevitzky, Guggenheim, Fromm, Rockefeller, Camargo and Bogliasco Foundations. He was the 2000-01 American Academy of Arts and Letters Charles Ives Fellow and has received two B.M.I. Composition Awards, the Mozart Medal from the governments of Mexico and Austria, and a Fulbright Fellowship.
Sanchez-Gutierrez’s work is performed and recorded frequently in the U.S, Latin America, Europe and Asia.
Recently, Sanchez-Gutierrez has been Composer-in-Residence at several international festivals: Puentes Mexico/España, Chihuahua International Festival, Michoacan International New Music Festival, S.L.A.M. Festival in Seattle, as well as with the Binghamton Philharmonic (through a grant from the New York State Fund for Music.)
Among Sanchez-Gutierrez’s most recently completed works are “Diaries” (a commission from the Orchestra of the League of Composers/ISCM), “Memos” (a Barlow Endowment-commissioned work for the percussion ensembles SO, Kroumata and Nexus); “Five Memos” (a Fromm Music Foundation commission, written for Eighth Blackbird); …Ex Machina, for marimba, piano and orchestra (NY State Music Fund for the Binghamton Philharmonic); and “[…and of course Henry the Horse…] Dances the…” (Koussevitzky Music Foundation in the Library of Congress.)
Linda Dusman’s compositions and sonic art explore the richness of contemporary life, from the personal to the political. Her work has been awarded by the International Alliance for Women in Music, Meet the Composer, the Swiss Women’s Music Forum, the American Composers Forum, the International Electroacoustic Music Festival of Sao Paulo, Brazil, the Ucross Foundation, and the State of Maryland in 2004, 2006, and 2011 (in both the Music: Composition and the Visual Arts: Media categories). In 2009 she was honored as a Mid- Atlantic Arts Foundation Fellow for a residency at the Virginia Center for the Creative Arts. She was invited to serve as composer in residence at the New England Conservatory’s Summer Institute for Contemporary Piano in 2003. In the fall of 2006 Dr. Dusman was a Visiting Professor at the Conservatorio di musica “G. Nicolini” in Piacenza, Italy, and while there also lectured at the Conservatorio di musica “G. Verdi” in Milano. She recently received a Maryland Innovation Initiative grant for her development of Octava, a real-time program note system (octavaonline.com.)
Linda Dusman’s recent works have been inspired by the landscape of Cape Ann, Massachusetts, where she vacations each summer on Folly Cove. Lake, Thunder was premiered at the National Gallery of Art in Washington, DC in 2015. Thundersnow was commissioned by the Italian Trio des Alpes in 2014, and premiered in Genoa, Italy that year. Her work for piccolo and alto flute An Unsubstantial Territory was recorded by the inHale Duo, and has received many performance throughout the United States and Europe. Piano Interiors was Dusman’s response to the 2012 Cape Ann Museum’s Soliloquy in Dogtown exhibition of works by Marsden Hartley. Her works are published by I Resound Press and Neuma Publications, and are recorded on the NEUMA, Capstone, and New Albany labels.
As a sound artist, Dusman began experimenting with spatialized texts in the 1980s with a passage from Gertrude Stein’s The Making of Americans. Originally designed for quadraphonic tape, Becoming Becoming Gertrude explored the rhythms of Stein’s simple language in a dynamic evolution. Becoming Becoming Gertrude 2, available on Capstone Records, presents a stereo re-mix of the piece. Subsequent works include an interactive installation inspired by environmental decline using bird distress calls (and a voice was heard in Rama), and Mixed Messages, which uses telephone answering machine messages and an antique telephone switchboard as an interactive device. Mixed Messages was premiered at the University of New Mexico Museum of Art in 2005, and locations for other installations include the Pierogi 2000 gallery in New York, the alternative alternative exhibition on Wall Street, Dartmouth College, and the Hong Kong University of Science and Technology. Magnificat 4: Ida Ida was released on the Sounding Out! DVD in 5.1 surround by Everglade Records in 2010.
As a frequent contributor to the literature on contemporary music and performance, Dr. Dusman’s articles have appeared in the journals Link, Perspectives of New Music, and Interface, as well as a number of anthologies. She was a founding editor of the journal Women and Music: A Journal of Gender and Culture, and is as an associate editor for Perspectives of New Music. She is founding editor of I Resound Press, a digital archive for music by women composers (iresound.umbc.edu). Former holder of the Jeppeson Chair in Music at Clark University and the Liptiz Chair at UMBC, she is currently Professor of Music and Chair of the Department of Music at UMBC in Baltimore.
Dr. Jed Gaylin, Music Director, Hopkins Symphony Orchestra
As Music Director, Dr. Jed Gaylin leads the Hopkins Symphony Orchestra (HSO), the Bay Atlantic Symphony, and Two Rivers Chambers Orchestra. He has been the Music Director of the HSO since 1993 during which time the orchestra has grown in size, prominence, and artistry into one of the country’s most accomplished university orchestras. The high standards of the orchestra and Jed’s belief in art’s ability to knit together and ignite new energy in our communities have resulted in collaborations with arts groups throughout Baltimore City, as well as with other non-profit and civic organizations.
Dr. Gaylin earned both a Bachelor of Music in piano and as Master of Music in conducting at the Oberlin Conservatory, and a Doctor of Musical Arts in conducting at the Peabody Conservatory. He attended the Aspen Music Festival as a Conducting Fellow.
Dr. Gaylin makes music with spirit and intellect, soul and rigor, a deep knowledge of world cultures, human nature, and the arts – that is, with his whole being. His approach to music, musicians, and life is rare; an old world commitment to the study and depth of conception, combined with a welcoming presence and warm engagement – both on and off the podium.
To learn more about Dr. Jed Gaylin, please visit his website - https://jedgaylin.com/
The perspectives and opinions expressed by the speaker(s) during this program are those of the speaker(s) and not, necessarily, those of Johns Hopkins University and the scheduling of any speaker at an alumni event or program does not constitute the University’s endorsement of the speaker’s perspectives and opinions.