Festival of Contemporary Music

featuring works by students from

The University of Missouri at Kansas City
The University of Iowa


Saturday, March 27, 2010, 11:00 am
UCC Recital Hall


Gifts Ungiven (2009)   Aaron KIRSCHNER (1988)
  Megan Hofeldt, flute
Michael Van Heel, saxophone
Casey Rafn, piano
Kira Horel, conductor
The Dichotomy of Staci Martick (2009)   Stamos James MARTIN (1985)
  Brad Baumgardner, clarinet  
Study for Cello (2009)   Matthew DOTSON (1981)
  Parker Stanley, violoncello  
  — Intermission —  
(De)Constructions (2007)   Brad BAUMGARDNER (1980)
  Brad Baumgardner, created wind instrument & bass clarinet
Scott Blasco, found percussion
Trio for Oboe, Clarinet and Piano (2007)   Ju Hye KIM (1979)
  Angela Lickiss, oboe
Aaron Kirschner, clarinet
Casey Rafn, piano
Unfoldings (2009)   Shane HOOSE (1985)
  Fixed Electronic Media  


Notes & Bios


Gifts Ungiven

was written for the 2009 Oregon Bach Festival Composer's Symposium. It is, in part, a reflection on the sacrifices that must be made to fulfill one's dreams. It is a single movement work with seven sections (or "gifts") and a coda. While there are many people that this work could have been dedicated to, no one gift is for any single person. Instead, the work as a whole reflects on what I would have liked to say to many of my friends from previous places I have lived, but could never put into words.

Aaron Kirschner (b. 1988) is in his fourth year of study at the University of Iowa. Born in Plano, Texas, Kirschner lived in Maryland, Georgia, South Dakota, and Arizona before moving to Iowa City. In 2009, his string quartet In Memoriam won the Des Moines Symphony Academy Composition Contest, and later that year he was asked to write Gifts Ungiven for the Oregon Bach Festival Composer's Symposium. His music has been performed by members of the Des Moines Symphony Orchestra, the Fireworks new music ensemble, and Beta Collide. Kirschner currently studies composition with David Gompper. His previous composition teachers include John Eaton and Christopher Gainey.

Stamos James MARTIN

The Dichotomy of Staci Martick

The piece is result of a collaboration between myself and a clarinetist named Kaci Schick. In the beginning phases of the collaboration, Kaci expressed a desire that the piece be "upbeat and in major," two words never used to describe my music. The piece, then, is based on the conflict of this "upbeat and major" music and a music more akin to what I like to write.

Stamos James Martin was born in Dallas, Texas, where, at the age of 8, he became interested in music. Only a few years after beginning the cello, he began to write music. As an alumnus of the Catholic University of America, Mr. Martin has received 2nd place in the NAACP National ACT-SO competition of 2004 and a commission for the Benjamin T. Rome School of Music in 2006. Mr. Martin is currently a graduate student at the University of Missouri-Kansas City and has studied with both Chen Yi and Zhou Long.

Matthew DOTSON

Study For Cello

This work, like Study for Violin preceding it, is an exploration in the dual nature of stringed instruments. Whereas before I dealt with the differences between closed/open strings and harmonics, in this piece I deal with those between bowed and plucked strings. Although open strings serve as cadential resting-points, much as they did in the Study for Violin, the dialogue between "consonant" (fifths and thirds) and "dissonant" (seconds and tritones) intervals is of much more structural importance in this regard. In its most reduced form, this piece travels linearly from arco to pizzicato and in a kind of broken arch pattern from "consonant" to "dissonant" and back. The return of the opening material at the end, articulated pizzicato rather than arco, I believe makes for a particularly bitter-sweet conclusion.

Matthew Dotson (b. 1981) is currently pursuing a PhD in Composition at the University of Iowa where he has studied with Lawrence Fritts, John Eaton and David Gompper in addition to assisting in the operations of the Electronic Music Studios. Recent performances of his music include New York City (New York City Electroacoustic Music Festival), Evanston, Illinois (Midwest Graduate Music Consortium), Cambridge, Massachusetts (Wired for Sound), Belgrade, Serbia (Art of Sounds Festival), Mexico City (Circuito Electrovisiones), and Santiago, Chile (Festival Ai-Maako). Additional info can be found at Matthew Dotson's website.



was inspired by my experiments in avant garde improvisation. This piece advocates a return to the free and spontaneous nature of music by allowing the players to improvise on found or created instruments within a notated framework that also allows the bass clarinet to explore its own sonic capabilities. The bass clarinet is basically a long cylindrical wooden tube whose interior air column is excited by a small vibrating piece of cane and may be manipulated by shortening and lengthening the tube through a complicated mechanical system. When described in this way, it sounds more like a component of an HVAC system than a musical instrument, sometimes I like it to sound this way too.

Composer and Bass Clarinetist Brad Baumgardner earned a B.A. in music from Western Kentucky University in 2003, a M.M. in composition from the University of Louisville in 2006, and is currently pursuing a D.M.A. in composition as the Graduate Teaching Assistant and Assistant Director of the Musica Nova ensemble at the UMKC Conservatory of Music and Dance. Brad's music has been featured all over the United States, including recent performances by the Trio Bel Canto at the North American Saxophone Alliance 2008 convention, and performances by the avante garde ensemble thingNY in Brooklyn, NY.

Brad continues to remain active both as a soloist and as a performer with area ensembles and continues to foster the development of new music. He has collaborated with area composers and has premiered multiple works including during his time in Kansas City, including the recent premier of his own Bass Clarinet concerto with the UMKC orchestra. Recent awards include an individual artist grant from the Kentucky Arts Council and a residency at the Atlantic Center for the Arts.

Ju Hye KIM

Trio for Oboe, Clarinet, and Piano

The pitch A, modified and developed in various ways, is not only the point of departure but also the point of arrival in the piece.

Originally from Seoul, South Korea, Ju Hye Kim is currently pursuing her Doctoral degree at the University of Iowa where she is studying music composition under the instruction of Lawrence Fritts. She has given many recitals since 1998. She had the WIU Symphonic Orchestra Winners concert (2009), four Student Composers Recitals at WIU in 2007-2008, an Electro-Acoustic Music Macomb concert in 2008, a Publication Ceremony for Sacred Music in 2006 (Seoul, Korea), two composition recitals sponsored by Korea Composition Society of Jesus in 2005, a concert for The Night of Young Talented Composers in 2004 (Seoul, Korea), two EWHA Computer Music Composition Recitals in 2002 and 2000, seven Ewha Sung-gok Composition Recitals in 1998-2001, and an EWHA-USF Music Festival Composition Recital in 2001 (University of South Florida, Tampa, Florida).



was realized in the University of Iowa Electronic Music studios in the fall of 2009. I was particularly interested in exploring temporal parameters in this work-- specifically the evolution and variation of timbres over time. Sonic material exists upon multiple levels: long, continuously evolving sustained sounds, and shorter, more punctual sounds. Signal processing techniques were carefully controlled over the work's duration to create an ever-changing and colorful palate.

Shane Hoose (b. 1985) is a graduate of Bowling Green State University (MM) and Ball State University (BM) and is currently pursuing a doctorate in composition at the University of Iowa. He composes for both acoustic and electroacoustic media, and his works have received honors, awards, and performances across the United States. His mentors in composition include Lawrence Fritts, Elainie Lillios, Burton Beerman, Mikel Kuehn, Jody Nagel, Michael Pounds, Jesse Allison, Keith Kothman, and David Foley.