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“What Hath II” by Kate Neal

PERFORMANCE SPOTLIGHT:

“What Hath II” by Kate Neal

Performed by Mobius Percussion

 

Mallet Selection for this Piece:

M131

Orchestral Series (M131)

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Medium soft rubber. Full sound on xylophone.

M132

Orchestral Series (M132)

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Medium rubber. Dark sound with clarity on xylophone.

M133

Orchestral Series (M133)

Buy Now

Medium poly. Light and clear for xylophone and bells. A great choice for “rags”.

ABOUT THE PIECE:

Vicious Children

The schoolyard and the playground can be places of savagery, where each child must nervously navigate the shifting alliances, the ruthless and cruel scheming, and sometimes the unjustified violence of their fellows. It’s not clear whether these behaviours are learned from grown-ups, or whether they are innate. In any case, they are ubiquitous, and no child escapes them. Vicious Children recalls this struggle with a musical and theatrical narrative of brittle stick clicks and driving drumming, dreamscapes of meditative bells, and grim, sinister nursery rhymes whispered, sung and shouted. The piece was composed for Mobius Percussion. — WG

ABOUT THE COMPOSER:

Kate Neal studied early music at the Victorian College of the Arts, graduating with a Bachelor of Performance (Early Music Instruments) in 1996. During this time she also studied composition with Mary Finsterer, Mark Pollard and Brenton Broadstock.

She received a NUFFIC scholarship from the Dutch Government in 1998 and moved to the Netherlands to study composition with Louis Andriessen, Martijn Padding and Gilius van Bergeijk at the Koninklijk Conservatory, and CMTNWT (contemporary music through non-western techniques) with Rafael Raina at the Sweelink Conservatory, Amsterdam.

She returned to Melbourne, Australia in 2003, establishing her events company Dead Horse Productions. In August 2005 Kate Neal received a scholarship from the Accademia Musicale Chigiana, Siena, Italy, and, in 2006, she was the recipient of the Hephzibah Tintner Fellowship, affiliated with the Australian Ballet, Sydney Dance Company and Sydney Symphony Orchestra.

Kate Neal is the recipient of various awards and fellowships. She has enjoyed working as an orchestrator and arranger for many pop and rock bands as well as feature and independent films, choreographers and dance companies. At the Victorian College of the Arts in Melbourne, Neal worked as a sessional composition teacher in the Music Department and also lectured in Music and Image at the Centre for Ideas in 2004-2007.

In 2008 Neal received a post-grad diploma from the Royal Northern College of Music, Manchester (under Paul Patterson and Gary Carpenter) and in 2009 Neal moved to the US to begin a PhD in composition at Princeton University.

In 2012 Neal continues as a Graduate Fellow at Princeton University. In January 2011 premiered two short animations with live score accompaniment in Melbourne, as part of the 2009 Albert Maggs composition award. In 2010 Neal premiered her piano concerto, commissioned by Sonja Lifshitz, in America and Australia. In July 2010 she undertook a Culture Lab residency at the Arts House Meat Market, developing her large scale music/dance work Semaphore. She continues her work with notated and scored physical gesture, presenting regularly at the Composers concerts at Princeton University.

ABOUT THE PERFORMERS:

David Degge is an active performer of contemporary solo and chamber music for percussion. His first inclination toward chamber music developed when he attended the Sō Percussion Summer Institute in 2009. An avid improviser and composer, David has recently begun working on a series of short chamber pieces for percussion as well as drawing upon jazz and other influences to write music with open-ended instrumentation.

He received a Bachelor of Music in education from Abilene Christian University, where he gave frequent performances as a jazz drummer and hammer dulcimer soloist. He went on to complete a Master of Music at the Peabody Conservatory of the Johns Hopkins University, studying percussion performance with Robert van Sice.

A recipient of a Fulbright grant to Hungary for the 2013-14 academic year, David worked as an exchange student at the Franz Liszt Academy of Music under the direction of Zoltán Rácz of the world-renowned Amadinda Percussion Group. He is currently the Teaching Assistant at the Bard College Conservatory of Music under the direction of So Percussion. David’s teachers have included Allen Teel, Keith Lloyd, Robert van Sice, David Skidmore, and Judah Adashi.

Mika Godbole recently completed her DMA at Rutgers University. Her freelance activities include performing with the Philadelphia Orchestra, the Curtis Symphony Orchestra, the Richmond Symphony, the Maryland Symphony Orchestra, the Annapolis Symphony, the Lancaster Symphony Orchestra in addition to various other groups in the Philadelphia and New York areas. She has also been involved in summer music programs such as the Aspen Music Festival, So Percussion Summer Institute, the Artosphere Festival, and the China International Summer Music Academy. She has collaborated with conductors and artists such as Sir Simon Rattle, Michael Tilson Thomas, Charles Dutoit, Martha Argerich, Yefim Bronfman, Christoph Eschenbach, James DePriest, David Robertson, James Conlon, Jorge Mester, among other deeply committed musicians. Other musical pursuits include involvement in contemporary music with Mobius Percussion, starting a new music collective, and commissioning new works for various ensembles.

As a teacher, she maintains an active studio of thirty students at various levels of ability at the Westminster Conservatory, York College of PA (as Adjunct Faculty), and other private students. Recent activities include collaborations with So Percussion for a performance of Steve Reich’s “Drumming” at (le) Poisson Rouge, a duo recital with organist Rob Ridgell for a webcast performance at the Trinity Wall Street Church in Manhattan, the Rutgers University premiere of Steve Reich’s “Music for 18 Musicians”, her solo recital including the world premiere of Jason Treuting’s new percussion quartet “paper melodies (my music box music), Xenakis‘ tour-de-force “Pleaides”, and Gerard Grisey’s “Le Noir de L’etoile”.

Yumi Tamashiro trained as a pianist but was “converted” to percussion, drawn by the allure of teaching high school drumline. And it was her undergraduate 20th century music history class that turned her on to contemporary music. Yumi, a freelance percussionist based in New York City, has developed a strong interest in performing with electronics and visual media and has begun collaborating with animation artists and dancers.

Yumi has performed at the Tennessee Theater, the Kennedy Center, The Stone, The Bohemian National Hall, and Le Poisson Rouge. She has performed on a range of projects including Big Ears Festival 2014, Carnegie Neighborhood Series, Ecstatic Music Festival and Make Music New York. Her repertoire includes works by Elliot Carter, Steve Reich, Karlheintz Stockhausen, Daniel Wohl, and Iannis Xenakis among many others. She has had the privilege of performing with groups such as Nexus, EnsembleLPR, and Mivos Quartet.

Yumi is the Director of Operations for So Percussion. Her work as an arts administrator includes tour managing, creating travel itineraries, grant writing, and managing the logistical aspects for all concerts and events.

Frank Tyl stems from an expansive artistic background exploring music, visual media, and writing. He is currently an active freelance percussionist based in New York City and specializing in contemporary solo and chamber music repertoire. He has worked with and performed alongside Mobius Percussion, So Percussion, Ensemble LPR, Ensemble sans maître, Tristan Perich, Blind Ear, Nouveau Classical Project, Niia, Circles and Lines, MuSE (Multicultural Sonic Evolution), Cadillac Moon Ensemble and the New York Pops. He has appeared in such projects as Make Music New York, MADE Fashion Week, World Technology Awards Gala, and Carnegie Hall Neighborhood Concerts.

In 2010 Frank became Artistic Director and percussionist of SYZYGY NEW MUSIC—an ensemble dedicated to the curation of innovative new concert works and collaborations. With SYZYGY, Frank has commissioned and premiered many new works and won grants from the Aaron Copland Fund for Music and the Jerome Foundation.

Frank has performed in venues at Lincoln Center, Carnegie Hall, Symphony Space, United Nations, (Le) Poisson Rouge, Galapagos Art Space, Roulette, 92|Y Tribeca, RedBull Space, Milk Studios, and Public Assembly, among others. An alumnus of the Juilliard Pre-College Division, he earned his B.M. at NYU studying percussion performance under Jonathan Haas, James Saporito, and Simon Boyar.