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.
Cuncordu Sas Bator Colonnas perform at Outpost
Sas Bator Colonnas is a multipart singing group from the Scano di Montiferro, a mountainous region in central Sardinia, Italy. Antioco Milia, Antonio Carboni, Stefano Desogos and Francesco Fodde started singing together in 2002, carrying on the vernacularmultipart singing practice, one of the most representative cultural forms of their village and their island, which is performed by four male singers and called cuncordu.
Different Rivers: Sardinian Hill Country and the DIY Ethos of River of Gennargentu
In the summer of 2014, the Bluesman “River of Gennargentu” released, on his SoundCloud page, three songs of hill country blues, sung in English and played with a technique like those of historical Delta blues artists, recorded in low-quality sound. Within a few months, the web page collected dozens of comments from users who were amazed by this new “discovery” and demanded the real artist’s origin, as-yet-not-specified.
Decolonizing Strategies in Ethnomusicology, Teaching, and Performance
Perspectives from the US Southwest and Latin America featuring performances by J.D. Robb Trust. This symposium consists of an initial roundtable centered on decolonizing strategies in ethnomusicology followed by two shorter sessions: the first focusing on decolonizing pedagogies and the second on performance and activism.