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CONTACT: PETER ALEXANDER
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Iowa City IA 52242
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e-mail: peter-alexander@uiowa.edu

Release: Immediate

UI CAMPUS NOTES -- IOWA CENTER FOR THE ARTS

COMPOSERS WORKSHOP LAUNCHES FALL SEASON AUG. 27 -- The Composers Workshop from the University of Iowa School of Music will open its fall semester series of concerts by student composers with a performance at 8 p.m. Wednesday, Aug. 27, in Clapp Recital Hall on the UI campus.

A project of the theory and composition department of the School of Music, the workshop is devoted to the performance of music composed at the UI. Each semester the workshop presents three or more concerts featuring new works by composition students at the UI.

The program for the Aug. 27 concert will include works completed last spring by current and former students:

-- "City Mouse" for percussion by James Romig, a graduate of the UI in percussion who is now a doctoral student in composition at Rutgers;

-- "Partita III" for piano and "Chiau Daa II" for percussion by Chee-Swen Cheng, who received his master's degree in composition last year and returned to his home in Malaysia; and

-- "Light Blossom" for cello by UI doctoral student John Allemeier.

Also included on the program will be "The Great Plasto-Dio-Dada Drama" for percussion by Lisa Bielawa, best known as the vocalist in the Philip Glass Ensemble. She produces a concert series in New York featuring emerging composers. Her most recent works have evolved from research into the writings of William Blake, Gertrude Stein and the Berlin Dadaists, and the documentary histories of teenage-girl visionaries.

In the spring of 1996, Bielawa was in residence at the UI department of theatre arts, where she collaborated with playwright Eric Ehn on "Ideas of Good of Evil" for the University Theatres Mainstage.

The UI Composers Workshop is directed by Martin Jenni, professor of music and chair of the theory and composition department in the School of Music. Jenni said of the workshop, "It provides a wonderful opportunity for composers and performers to work together, and both groups benefit. The performers can know exactly what the composer wants, because the composer is right there. On the other hand, the composer gets constant feedback from the performers, learning what does or doesn't work in a particular situation."

8/20/97