CONTACT: PETER ALEXANDER
100 Old Public Library
Iowa City IA 52242
(319) 384-0072; fax (319) 384-0024
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."