May 4th, 3:00pm, CFA Keller Hall
Antonio Rosales, bass clairnet
Juan José García, double bass
José Luis Hurtado, piano
World Premiers by UNM Composition Students
Mathew Arrellin
Christian Newman
Danielle Savage
Matthew Stanley
and other works by
Hans Werner Henze
Jacob ter Veldhuis
José Luis Hurtado
An active champion of new music, Antonio Rosales has done the Mexican premiere of the most important pieces of the clarinet modern repertory such as Lachenman’s “Dal niente”, Dusapin’s “Itou”, Xenakis’ “Échange” and Kagel’s “Schattenkläng” among others. Antonio Rosales holds degrees from the “Escuela Superior de Música” in Mexico where he studied with Luis Humberto Ramos and from the Conserfatorium Van Amsterdam in the Netherlands where he studied under Harry Sparnaay and Erik van Deuren. Antonio Rosales is member and Artistic Directo fo QUARTZ and UMBRATONO ensembles as well as member of LIMINAR ensemble, ANEMOS CLARINET QUARTET and TRO d’ORIZZONTE. All these chamber ensembles have Contemporary Music as its Central Repertoire.
Multidisciplinary bass player and educator Juan J. García studied at the Moore’s school of music under Dennis Whitaker and obtained his masters at ASU under Catalin Rotaru. He is currently bassist of the Yucatán Symphony, principal bassist in Liminar and CEPROMUSIC, two of the most prestigious modern music ensembles in Mexico. García has collaborated with some of the most important creative composers/thinkers of our era including Pauline Oliveros, Copper-Moor, Keith Rowe, Joelle Leandre, and Steffano Scodanibbio, among others. García has performed in world class contemporary music festivals in Mexico, the US and in the UK. García is a resident artist at the prestigious Centro de Experimentación y Producción de Música Contempranea from the FONCA – INBA in Mexico City.
José-Luis Hurtado’s music has been performed worldwide by ensembles and soloists such as the Boston Modern Orchestra Project, JACK Quartet, ICE, Talea Ensemble, Quatuor Molinari, Tony Arnold, Garth Knox, Le Nouvel Ensemble Moderne and the Arditti Quartet among many others. He has been the recipient of the Kompositionspreis der Stadt Wolkersdorf (Austria), the Harvard University Green Prize for Excellence in Composition (USA), the Rodolfo Halffter Ibero-American Composition Prize (Mexico), the Julián Carrillo Composition Prize (Mexico), and the Prix International de Composition du Quartuor Molinari (Canada). Hurtado is highly active as a pianist and new music advocate. He is the pianist of Nueva Música Dúo (Contemporary Vn & Pno duo), founding member of áltaVox (Latin-American composers collaborative in the U.S), and former director of The Harvard Group for New Music. Hurtado holds a Ph.D. from Harvard University where he studied under Mario Davidovsky, Chaya Czernowin, Magnus Lindberg, Brian Ferneyhough and Helmut Lachenmann.
The Gay West: From Drug Store Cowboys to Rodeo Queens
The masculine ideal represented by the American cowboy is variously interpreted by spectators, dancers, musicians, and contestants at gay rodeos and country western dances across the U.S. Examining embodied gender practices within these communities, this talk articulates the sonic, social, and geographical spaces of the gay American West.
The Cruelty of Jazz: Toward a Hemispheric Politics of Sound
Rooted in concepts of affect and Empire, this paper argues that jazz operated in various 20th century Latin American settings as a vital touchstone bearing the risks and benefits of urban modernization, hemispheric geopolitics, and transnational cultural production, “cruelly” echoing the United States’ cultural, political, and economic dominance in the hemisphere and beyond.
Music from the Americas presents Versus 8
Percussion music in the Americas is one of the most exotic, visually attractive, and antique forms of expression since pre-hispanic times. Preserving, promoting and creating music for the percussion family of instruments is at the core of Versus 8’s mission through international collaboration with composers, performers, students, and cultural centers that contribute with their resources to the cycle of music, namely: creation, performance, and listening..