Newsletter of the Consortium of Vermont Composers

This edition of Consorting is sponsored by...
Malted/Media Productions


February 1997 -- Volume VIII, Number 1
Rev. 9 April 97

Consortium Meeting

The next meeting of the Consortium of Vermont Composers will be on Sunday, April 20, 1997, at 1 P.M. at David Fuqua's house at 45 Forest Avenue, Lebanon, New Hampshire. Call 603-448-3415 or contact David Fuqua if you have any questions.


Karen Kevra Flutist Karen Kevra finishes performing music by Gilles Yves Bonneau at the Burlington concert of the FourScore Festival of New Music by Vermont Composers.

Lisa and Paula ILisa Jablow and Paula Ennis Dwyer. Lisa mugs for the audience after performing a series of art songs by Vermont composers.

Lisa and Paula II

Bella Rosa The Bella Rosa String Quartet performs in southern Vermont in this composite photo.

Zeke Hecker

Directorís Report

Four Score & Beyond: 1996 in Review, and Ideas for 1997

by Zeke Hecker

   Happy New Year, everybody. Much else is new: David Fuqua is our new editor of Consorting (thanks, David!), relieving Dennis Báthory-Kitsz after many extra innings (thanks, Dennis!). Larry Read has stepped down as Director, having agreed to take the role for a year during which he led us ably (thanks, Larry!) thus catapulting me into the position of Acting Director, even though I've never been much good at acting or directing.

Four Score Festival
   Our major achievement in 1996 was FourScore, the fall festival of music by Consortium composers spread over four programs, one each in Brattleboro, Manchester, Montpelier, and Burlington. From my perspective (though hardly an objective one) there was much to praise: lots of good pieces representing a couple of dozen composers and various media, including electronic and improvisatory; consistently fine performances by Vermont singers and instrumentalists (several of whom were joining us for the first time); good publicity; good reviews by Joe Schaaf (Bennington Banner) and Jim Lowe (Barre Times Argus); generous financial support from the Vermont Community Foundation, First Vermont Bank and BankNorth Group, and Friends of Music at Guilford; collaboration with such important Vermont presenters as the aforementioned FOMAG (thanks, Don McLean!), the Manchester Music Festival (thanks, Michael Rudiakov and staff!), and UVM (thanks again, Larry!); canny budgeting that left us financially solvent; effective house management and hospitality; a couple of large and enthusiastic houses.

   Not everything was wonderful, of course: too few submissions of scores in several categories led to imbalances in programming, with some composers overrepresented and others neglected (partly from time constraints, partly the result of performers' choices); there was a limited range of musical styles, with a dearth of "cutting edge" material for instrumental and vocal forces; a couple of programs went way over acceptable length; a couple were poorly attended; some composers whose works were being presented didn't show up. We did well; next time, though, we'll do better.

   It's astonishing to recall what our plucky little organization (with a total annual budget that wouldn't keep most arts groups in coffee and doughnuts) has accomplished during its brief few years. We've had large festivals in Burlington, Putney, Montpelier, Middlebury, and Woodstock, as well as the peripatetic FourScore. We've brought together scores of Vermont composers, and their scores. (Just a little levity, there. Sorry.) We've midwifed hundreds of performances of new and recent works, introducing them into the repertory of dozens of fine singers and players. We've established relationships with such important presenters as the ones named above, as well as the Vermont Symphony Orchestra, the Vermont Contemporary Music Ensemble, the Craftsbury Chamber Players, Sara Doncaster's ambitious Warebrook Festival, WVPR, and many others. We've cultivated new audiences, new venues, new commissions. We've increased Vermonters' awareness of the the wealth of creative musical talent in their own neiqhborhoods. We've assembled an aviary of birds who don't ordinarily Ģock together: composers amateur, professional, and academic; traditionalists and iconoclasts; purveyors of electronic music, performance art, keyboard improvisation, singing-songwriting in contemporary idiom-as well as the usual bleary-eyed strict-notationists (like me) in European/American modernist mode.

Where do we go from here?
   Some consensus emerged during an informal meeting in January at the Tunbridge home of treasurer Don Stewart. We're pursuing (cautiously) nonprofit status. We're seeking new grant sources. We're saying a reluctant goodbye to the large festivals of the past, given their logistical demands and the unpleasant realities of arts funding at the millenium. Now that our music is "out there" among audiences and in the repertory of performers, we're going to encourage its continued dissemination by offering to co-sponsor programs that feature music by CVC members.    The Consortium itself will present periodically a "sampler" program of moderate length, representing as full a range as possible of works by CVC composers, repeated in various locations around the state. We'll try to increase our presence in the media, especially radio, through local and statewide stations as well as nationally if (with our endorsement, among others') Dennis Kitsz and David Gunn get national distribution of their interview show.

What do you think of all this? Tell Consorting.
   Here's what else you should do:
  1. Keep writing, performing, and recording music.
  2. Inform Consorting of all your activities, and get the Consortium involved in your events. Let's help each other by supplying artistic support, recognition, even coffee and doughnuts (see budget statement above).
  3. Pay your 1997 dues. It's a new year, so we all owe twenty-five bucks. If you have let your membership lapse, then relapse it.
  4. Encourage your friends to join: composers, music-lovers, fellow-travellers.
  5. Write for Consorting: essays, letters, autobiographies, manifestos, recipes.
  6. Join the board, and offer your candidacy for such positions as director, treasurer, and membership chair. Many of us hold these positions by default. It's time to shake the tree (thus supplanting the ornithological metaphor).
  7. When we organize our next CVC presentation (i.e. the "sampler" bruited above), send your music. The more we get, the better programs we can make.
  8. If any (or all) of this is unsatisfactory, change it. CVC is our organization, uniquely inclusive and democratic (I would say closer to anarchic, actually); it's got a track record, a mailing list, a newsletter, stationery, and money in the bank. What more could you ask?
OK. Ask.

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News and Notes

New editor

   This issue of Consorting brings with it many changes, both of style and substance. The long-time editor of these pages, Dennis Kitsz, is stepping aside, and I am going to try to fill his shoes. I bring with me a few design changes, but hope to continue providing the quantity and quality of information that have filled this newsletter during Dennis' tenure.

New officers

   There have been several other changes in our Consortium. As mentioned in Zeke Hecker's column, Larry Read is stepping down, and Zeke has agreed to be an acting co-diretor for our Southern region. Lisa Jablow will be the co-director for our Northern region. Don Stewart has agreed to remain our treasurer for the time being, and David Gunn will once again be the Listkeepers. If any among you are inclined towards financial affairs, Don would not object to being replaced as treasurer. Anyone willing to volunteer should contact Don at 889-3354.

Listkeeping Note

   Check your mailing label. If it is wrong -- name, address, expiration -- or if you are not getting a newsletter and know you are a current member and should be receiving it, please contact our new listkeeper, David Gunn, 7 Huntington Place, Waterbury, Vermont 05676,

Next meeting

   Our next meeting will be held in late March or early April at David Fuqua's house in Lebanon, New Hampshire. (Is it sacrilegious for Vermont composers to meet in the Granite State?) The exact time and date will be announced, and we encourage everyone to attend. Call David at (603) 448-3415 for more information,

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Tuba Music to the Heartland

Aboriginal Voices  Mark Nelsonís new CD "Aboriginal Voices", produced by Good Vibrations/RJR Digital in Bonita, California, will be available in mid-October or so for $15.00 plus $2.00 shipping which includes Spiritual Alloys for Tuba and Vibraphone by Erik Nielsen, Brillenbass for Tuba, Celeste, and Cymbals by Thomas Read and Three Furies for Solo Tuba by former Vermont composer James Grant. "Come out and support your fellow Vermont Composers," says Mark. The ordering info is:

Aboriginal Voices * Vermont Composers

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Treasury Report, February 1997

by Don Stewart

   At this moment, our balance is $902.61. That sum includes dues paid for '97, and what we were able to carry forward from '96 activities. Just a few good members have paid dues ($25 each and every year) for 1997. Our ability to press on with activities is heavily dependent on individual dues. At this moment, no grants are in sight. In the next newsletter I'd like to present a very inclusive listing of current paid-up memebers.

   An interesting note: ASCAP (of which some of us are members) just paid three years' dues : '95, '96, and '97. I am obligated to report that ASCAP also suggests that CVC purchase a license to cover the concerts we gave/will give. (In our continued interest, all presentors of concerts should be licensed.) I have not purchased this license, and have suggested to ASCAP that they first license several other concert presentors in Vermont; I gave them a list. But I should also say that our efforts have several good supporters at ASCAP.

   As an incorporated tax-exempt entity, CVC is obligated to file a IRS report, and I am doing so. I continue to work on our IRS recognition as a 501c3 organization. Newt made this harder, I fear. The report of last year's activities will get to the Vermont Community Foundation this week, I hope.

   Please do speak up if you know of any funding possiblities. I will do the follow-up if appropriate.

   Don Stewart

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Listkeeping Note ... New -- January 1997

   Check your mailing label. If itís wrong -- name, address, expiration -- or if youíre not getting a newsletter and know youíre a current member and should be receiving it, please contact our new listkeeper, David Gunn, 7 Huntington Place, Waterbury, Vermont 05676

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February 1. Please send material to: David Fuqua, email to


Call for Scores ... New -- March 1997

   Double-bassist is seeking early American music for double bass from 1900 (or earlier) until 1960. Looking for solo double bass (unaccompanied or with piano), chamber music with significant double bass parts, or double bass concerti. I am interested in scores and/or information about American composers who may have written such pieces. Please send any information to:

Robert Black
1800 Albany Ave.
Hartford, CT 06105
tel: (860) 523-1820
fax: (860) 232-5214
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Seventh Annual Deep Listening Retreat ... New -- February 1997

with Pauline Oliveros and Heloise Gold in the Sangre de Christo Mountains of New Mexico

Pauline Oliveros Foundation   The Pauline Oliveros Foundation is pleased to announce the Seventh Annual Deep Listening Retreat with Composer Pauline Oliveros and T'ai Chi, Taoist and Creative Movement specialist Heloise Gold at the Rose Mountain Retreat Center in the Sangre de Christo Mountains of New Mexico July 13-18, 1997. The Second Annual Advanced Deep Listening Retreat follows from July 20-25. The advanced retreat is for those who have completed at least one Deep Listening Retreat at Rose Mountain.

   The first week-long training is designed to awaken creativity and a sense of well being through the meditative exploration of listening and sounding, and to learn flexibility in as many forms of listening as possible. Listening and sounding is complemented by gentle creative movement and exercises. Participants may also begin the three year Deep Listening Certificate program to qualify for teaching. Two more advanced retreats and two year long home study projects based on the retreat work are required for the certificate.

   Deep Listening Retreat participants are not required to be musicians. The exercises are designed to facilitate challenge for each individual at her own level of understanding and creative experience. This Retreat is for anyone interested in expanding and deepening respect and appreciation of an inner music and the possibilities for expressing it: musicians and artists interested in expanding their understanding of sound; meditators interested in enhancing their depth of practice through listening; teachers who want to encourage appreciation for listening in their students; and those interested in well being, relaxation, excitement and connection with others and the environment.

   Rose Mountain Retreat Center is situated 8,000 ft. up in the pristine Sangre de Christo Mountains of New Mexico. Camping is encouraged, with optional space available for indoor accommodations and participants are provided with healthful, vegetarian meals. The beauty and tranquillity of the center rests on its isolation, simplicity and low-impact relationship with the environment. Far removed from the sounds of urban life, Rose Mountain provides a rich quiet for deep listening.

   The Pauline Oliveros Foundation, Inc., is a non-profit organization based in Kingston, NY. 1997 marks its twelveth year as an organization committed to the support of the creation and dissemination of new work in music, literature and performance. locally, nationally and internationally.

   For more information, please contact the Pauline Oliveros Foundation, Inc., at (914) 338-5984, Fax (914) 338-5986 or E-mail: or Address: PO Box 1956 Kingston NY 12401

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On Analysis

by William Harris

   I have always been interested by Schenker analysis of music, after a protreptic from Larry Read on Salzer's development and interpretation of Schenker ideas, I plunged into this area again and burned some midnight oil with a stack of formidable reading. Some things were so good that I cannot help commenting; other aspects do not seem pertinent to modern composition. Putting together my thoughts as a way of clarifying myself, I come up with an approach for my own use, based indirectly on Schenker's visual graphing system.

Bill Harris    A quick look at Schenker's Five Graphic Music Analyses with introduction by Felix Salzer (Dover reprint 1969 from the 1933 edition from the Mannes College of Music) shows a brilliant visual way of approaching music. Not only does a passage have a natural and intuitive beginning and End, as every teacher inculcates, but there are inner sections which fold out, and within each are smaller coherences, down to slurs and even ties. Understanding the building blocks of a passage, from minor phrases to the overall contour is essential for sensitive interpretation, and Schenker has laid out a method of visual patterning to show both the macro and micro structure at one glance. Actually it takes a lot of glances, but if you look carefully it is all in there.

   This was especially interesting to me because for years I was doing a very similar poetry graphing for literature students, with events contoured on a ten foot long roll of 12-inch paper in colored lines, the vertical axis representing strength of effect and the horizontal axis representing time. When more than a handful of the "contour lines" congregated about a given point, we always found there a special focus of intensity, a poetic node. The students made their own graphs, which opened their eyes to what was going into good poetry, but my colleagues passed the wall where our streams of graphs were posted with a sneer and never had a notion of what we were doing. So with Schenker, with a novel and complex approach of this kind one can easily be set off miss the point.

   Reading the detailed commentaries in Salzer's Structural Hearing (2 vols. 1952, Dover 1962), one comes to the conclusions that:

  1. Music can be taken apart this way, but probably not put together thus, as Salzer openly admits. This is a method for analysis, not for composition.
  2. The approach to the leading of inner voices, brilliant as it is, is harmonic and based on examples from the Eighteenth and Nineteenth centuries. Detailed, terribly precise and academically professional, this type of analysis does not apply to music outside its sphere. But the overall sense of form and orientation is generic, fascinating and well worth study.

   In order to clear my mind, I started putting together a different system for my own use, but within Schenkerís notion of micro-to-macro in the framework of a graphical layout. This is a beginning, so I will compress my thinking into a few paragraphs:

   Starting with a general music base rather than a harmonic predisposition, I state:

  1. Music is composed of tones and of non-tones, which are empty spaces. (I avoid the word "note" which refers to a mark on paper rather than sound.)
  2. A tone can be followed by another tone or by a space.
  3. Tones and spaces can have varying lengths, which when taken in a series will produce rhythm.
  4. Tones in a matrix of rhythm are heard as "tone-series" or voices, which will often be taken as what we call melodies.
  5. Arrays of voices in the same time-space produce two very different sorts of polyphony:
  6. Tones progress in a time-frame, varying in both pitch and duration simultaneously. Pitch can go up, down or repeat. Durations can be located on a binary framework by halving, as we conventionally do in Western music, or there can be a free time designation based on real-time.
  7. In close formation, tones can be seen as forming scales, which can be eighth-tones, quarter tones, chromatics, diatonics, whole tones, or arpeggiated series. In contra-distinction, non-scalar series do form the fabric of most music, offering many melodic options for the ear.
  8. Tones stand at the basic structural level, but they cannot exist without further definition as to:
   Salzer's Harmony may be limited and historically based, but harmony does exist naturally in music. If tones are simultaneous, we have either harmonic chordal displays, or if sequential, voices leading in and out of harmonic arrays. If two or more tones are leading in time, they can progress in and out of each othersí "envelopes", or they can be separate and detached and in a sense "syncopating" harmonically either accidentally or intentionally. But memory will associate dynamic tones over a considerable passage of time, and consider them part of overall structure.

   Summary: Certain basic features must exist. There must be tones and optionally spaces. There must be more than one tone, thus series or voice or melody-line, which will have some sort of rhythm, stretching from perfectly even to incomprehensibly variable. Register will exist as a variant of pitch, since mono-tone music is invariably monotonous. Right after this we will want to specify the kind of sound, that is instrumentation and orchestration.

   Now we come to the critical area. Salzer's harmonic spectrum has at its core a small cluster of tone-relationships, the beatless octave, relatively pure fifth and fourth, rich and buzzy third/sixth, while the rest fall in the class of the so-called dissonances of various sorts. Triadic at heart, this layout is beautiful, and has served the West well for centuries, but after the turn of this century, it was felt to be restrictive in a culture where everything else from Einsteinian relativity to Cubism was going through radical change.

   Look for a moment at the intervals of the scales we use in the West. The octave was known from antiquity for its peculiar quality of beatlessness, in Just Intonation fifth and fourth shared this quality, adjusting by ear for ensemble playing. In the 14th Century, the Church finally permitted use of thirds and sixths, which had been outlawed because of their disturbing, high beat rate. With the development of equal temperament for piano and organ, small amounts of beat were introduced for fourths and fifths, slightly enriching these intervals (at the cost of the old purity). By the 17th Century, thirds/sixths with their fast and exciting beat rates, were established as central to music which became triadic by rule. An open octave or open fifth/fourth were not to be used without a major/minor third inserted, and we became used to this as The Sound of Music. On the one side of this musical spectrum stood, aloof and unused, the pure octaves, just fifth and fourth. The mid-range of triadic combinations was now basic, to be pointed-up here and there with seconds in a triadic display, or for momentary passing effect. On the other end of our spectrum stood the dissonances, the major and minor seconds, the tritone, timbral clashes, and arpeggios of fourths as a sort of scale replacement -- all used most cautiously in the last century, but coming to the fore with this century's New Music, with its anti-triadic obsessions.

   Two tone harmonies, simultaneous or sequential, can range from pure and beatless in their charming emptiness, through the rich, chocolatey, piled-up thirds and sixths, on to the world of dissonance which can be sly and intuitive, dynamic and shocking, or as novel to our ears as a melodic run of parallel tritones. Register and timbre from many instruments complexify this greatly, so it is no longer a question of what series of Schoenbergian notes we use, but a matter of how wide our spectrum of pitch, register, instrumental timbre, and neo-harmonic beating-richness can be. Add to this the tone-slides of the violin, trombone or synth., and the quarter tones of Indian music, and we have more than enough for New Music in New Directions.

   But form remains. There is still beginning and end, even if they don't sound like it any more. There are still scale series, and chordal effects even if they come from voices bumping each other in time. And there are micro-relationships all over the page of score which build into musical paragraphs, and finally define the total musical display, as in Schenker's overall, condensed Ur-linie. Schenker said, you do not compose to this Ur-linie, rather it is the analytical statement of what an intuitive musician with Improvising Mind (it is his word here, not mine) fits together with craft as his work.

   Turn to Schenker's graphical display (Five Graphic Music Analyses, ed Salzer., 1933, Dover reprint 1969) with its wonderful sense of inner structure and overall form. Here we can see the analysis of where the voices come from and where they are leading to, and what inner relationships they have, but in a specialized way. Things were seen by Schenker as forever referring to a triadic display or listed as dissonant, that is, outside the harmonic series (the minor second, the tritone, distant parallel fifths). But they now can all be taken as the tones of Conscious Design and Intent. Scales built on fourths, or pentatonically, or a Lydian sequence are open for our use. Nor do we have to end a piece with a dominant-to-tonic resolution, or even a tonic-like finale. We can flirt with tonic for a while, then end on the seventh, effectively. Tones four octaves apart have strikingly different timbral properties.

   We have to rethink the whole gamut of available beat-relationships, which become available as we leave the tempered piano and organ for wind instruments, string and synth. These Neo-harmonic relationships become the basis for a new kind of analysis, but one which we can still insert within the framework of a Schenkerian visual and graphical display. There is a reason for use of graphic display, as Salzer notes: There are relationships which the ear hears well, but the eye understands quite differently, and in some ways more coherently.

   I am not thinking of abandoning Salzer's harmonic analysis. It would be the worst kind of snobbery to think that Modern Music must construct its melodic-notions, as often happens, out of continual minor seconds and augmented fourths. To outlaw a major triad from new music, would be like rejecting the reds and yellows from a painter's palette. By expanding our notion of sound, we can use, with relish, the traditional harmonic world , and at the same time work with sound-relationships which Classical composers could not have imagined or heard.

   Would such mixed music, spanning in its tone-relationships from Gregorian through developed Diatonic and on to the options we have at hand, sound odd and idiosyncratic? It is to be hoped so, because the Greek word idio-syncratic means literally a private-mixture, a personal way of putting things together. In a highly social world where everyone, including many a composer, is busy trying to look like everyone else, having a Private Mixture in mind is perhaps the most important thing one can do in so vital a discipline as the art of music.

W. Harris

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The Frog Peak Collaborations Project: An Invitation, September 11, 1996 -- Still active -- January 1997

  Frog Peak Music (A Composers' Collective) invites all composers to compose a short piece (about 1 minute long) based on a 66 second soundfile of a text written and read by Chris Mann. Frog Peak will produce a CD compilation of these pieces.

To receive the source material

To submit finished pieces
The text

Frog Peak Music (A Composers' Collective), Box 1052, Lebanon, NH 03766 USA
ph/fax: 603-448-8837; email:
Please distribute this invitation freely.

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Networking Update ... New -- March 1997

by Dennis Báthory-Kitsz

   The Kalvos & Damian New Music Bazaar radio show and the on-line Bazaar it inspired have grown. The site counted over 25,000 visitors in 1996 and now includes pages on each guest composer (see the index of composers), together with their catalogs, interview clips, musical examples, biographies, and other goodies; this newsletter and special Consortium announcements; news of the Vermont Contemporary Music Ensemble, a large list of composer websites worldwide, and an extensive list of resources available for composers. The site includes photos and sound clips, together with sound players for web browsing software. Visit the Kalvos & Damian Home Page and explore more than 500 on-line pages, photos, graphics and audio clips. Finally, tapes of the Bazaar can be ordered.

  Interesting place to visit: Take in the essays found at the Music Unbound site. This is a provocative locale.

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Lisa McCormick Releases Right Now

Lisa McCormick  Lisa McCormick has released her new CD, Right Now, available from Rising Records, P.O. Box 327, Princeton, Massachusetts 01541, 1-800-798-8989. Lisa's upcoming concerts: October 27, Northampton, Massachusetts, at the Iron Horse, 7pm, with Jonathan Edwards. November 24 in White River Junction, Vermont, at the Briggs Opera House, 5 pm, with Jonathan Edwards. For other appearances, contact Lisa at RD #1, Box 182, Putney, Vermont 05346.

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Kalvos & Damian Show Conducts Tours, Plans Internetcast ... New -- March 1997

Vermont Composers are Invited to Join the Live, Spontaneous Radio Program
by Kalvos or Damian

The Bazaar   The Kalvos & Damian New Music Bazaar -- radio show and website for new music -- has completed its first 1997 travels to record interviews with composers in North America and Europe. The Bazaar is broadcast every Saturday afternoon from 2:30 to 4:30 on WGDR-FM 91.1 in Plainfield, Vermont. The Bazaar also begins internetcasting this Spring from its home page,, in RealAudio 3, a high-quality, stereo audio stream. Though the internetcasts will begin with the current shows, eventually all 95 past shows will also be archived. K&D are also preparing edited shows for radio stations in New Hampshire and Massachusetts.

   Vermont composers were consistently featured in the show's first year, with more than 30 interviews, but have been sparse in 1997; only Craig Bove has joined us from Vermont this year (a really wonderful interview), as well as the students of Su Lian Tan and Evan Bennett in a remarkable live performance (see below). Vermont composers are very much encouraged to contact the producers, Dennis Báthory-Kitsz (802-485-3972; 176 Cox Brook Road, Northfield, Vermont 05663) and David Gunn (802-244-1747; 7 Huntington Place, Waterbury, Vermont 05676). Composer interviews and music run 60 to 80 minutes on each program.

   Since the last Consorting, K&D show guests have included electroacoustician Marc Battier and Kitchen co-founder Rhys Chatham (Paris), artificial intelligence expert Peter Beyls (Brussels), sustained-music creator Maria de Alvear and composer/theorist Klarenz Barlow (Cologne), orchestral addict Benedict Mason (Amsterdam), eclectic chamber composer Richard St. Clair (Boston), and post-minimalist Michael Torke (New York).

   Michael Torke was recorded in his apartment in New York City. New York visits also included groundbreaking electroacoustician David Behrman, opera composer Daron Hagon (who will be at the upcoming Middlebury vocal music festival), creator of computer-generated rock music Nick Didkovsky (Dr. Nerve, coming to Dartmouth April 5), eclecticist Jeff Harrington, electroacoustician/improviser Tom Hamilton, performance artist Peter Van Riper, chamber composer and quasi-pop performer Eve Beglarian, computer composer Chris Koenigsberg, and eclecticist Joseph Celli.

   A special presentation on K&D's February 15 show was Gimpel the Fool, an opera by students of Su Lian Tan of Middlebury. The opera, complete with 16 instrumentalists and chorus of 20, was performed live in the Bazaar's performance studio at WGDR. With the cooperation of station manager and engineer Stu Bautz, the two-hour performance was broadcast in beautiful, clear sound. Tapes of this performance (and other K&D shows) are available.

   A tour to Toronto was also made, where K&D were joined by a wide range of creative expression represented by Ann Southam, Allison Cameron, Gary Barwin, Martin Arnold, Christos Hatzis, Sarah Peebles, Stephen Parkinson, Bill Gilliam, Elma Miller, James Tenney, John Oswald, Linda Catlin Smith, and Udo Kasemets.

   Three European interviews were done in March: Arthur Sauer, Richard Tolenaar and Johan van Kreij. Alas, we weren't able to conduct our planned interviews with Frederic Rzewski, Tom Johnson, Georg Hajdu, and Karlheinz Essl, but will re-schedule them as soon as we can.

   A very special On-line mentoring program was done in collaboration with The WebProject, including composers Anne La Berge in Amsterdam, Richard Tolenaar in Amersfoort, Rhys Chatham and Eliane Radigue in Paris, and Laurie Spiegel, Tom Hamilton and Nick Didkovsky in New York. For more information, check out the European Composers Mentoring Project    Again, Vermont composers are encouraged to join the K&D show, whose schedule is open beginning in May. The composer-hosts can also be reached by email: Dennis (Contact Form) or David (

   Keep in touch with the Bazaar at its new, easy-to-remember URL,

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List of Consortium Members

Membersí addresses and phone numbers are only provided with the printed version of the newsletter. Please contact David Gunn. This list was updated October 6, 1996.

Consortium Membership, October 1996
Michael Arnowitt-Reid
Olexandra Beck
Michael Billingsley
Gilles Yves Bonneau
Sarah Brock
Gene Childers
Constitution Brass Quintet
Paul Dedell
Sara Doncaster
Kathy Eddy
George W. Emlen
David Gibson
Larry Grover
David Gunn
William Harris
Zeke Hecker
Bruce Hobson
Donald Jamison
Rip Keller
Ed Knight
David Krauss
Kenneth P. Langer
Wayne Lauder
John Levin
Laddie Lushin
Orra Maussade
Lisa McCormick
Don McLean
Gregory J. Mertl
George Milne
Dennis Murphy
Bob Nuner
Lucius Parshall
Beth Phinney
Vita & Louis Pisciotta
William D. Prue
T L Read
Jessica Roemischer
Charlie E. Schneeweis
Alan Shawn
Marga Richter Skelly
Sonatina Enterprises
David Robert Stewart
Ernest Stires
Gary T. Vick
Gwyneth Walker
Batya Weinbaum
Robert Wigness

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Published by the Consortium of Vermont Composers
Zeke Hecker, Southern Director and President
Lisa Jablow, Northern Director
David Fuqua, Editor
Don Stewart, Treasurer
David Gunn, Listkeeper

Board: David Fuqua, David Gunn, Craig Hanson, Bill Harris, Zeke Hecker, Lisa Jablow, Dennis Báthory-Kitsz, Maria Lattimore, Ed Lawrence, Peggy Madden, Don McLean, Erik Nielsen, Bea Phillips, Thomas L. Read, Don Stewart, Gwyneth Walker, Batya Weinbaum.

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