[NEohioPAL]Oberlin Contemporary Music Ensemble Joins Forces with Violinist Jennifer Koh for New York City and Oberlin Recitals

[Marci Janas]

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MEDIA CONTACT:
Marci Janas
440-775-8328 (office)
marci.janas at oberlin.edu


FOR IMMEDIATE RELEASE:


Acclaimed Oberlin Contemporary Music Ensemble to Perform with
=93Risk-Taking, High-Octane=94 Violinist Jennifer Koh in all-Ligeti =
Concert=20
at New York City=92s Miller Theatre

Program will also be presented in Oberlin.

<Editors please note: photos of the Contemporary Music Ensemble
and of Jennifer Koh are available upon request.>

OBERLIN, OHIO (October 18, 2005) =97 The award-winning Oberlin=20
Contemporary Music Ensemble (CME), under the direction of Gardner=20
Professor of Music Timothy Weiss and featuring violinist Jennifer Koh=20
=9297, will present an all-Ligeti program at New York City=92s Miller=20
Theatre on Saturday, November 12, at 8 p.m.

	The program, which is also being presented in Oberlin on =
Thursday,=20
November 10, at 8 p.m. in Warner Concert Hall, includes performances by=20=

the Oberlin Percussion Group, conducted by Professor of Percussion=20
Michael Rosen, mezzo-soprano Lorraine Manz, associate professor of=20
singing, and trumpeter Peter Evans =9203.

	Tickets for the Miller Theatre concert are $20 and are available =
by=20
calling the Miller Theatre box office at 212-854-7799. The Miller=20
Theatre is located on the campus of Columbia University, 2960 Broadway=20=

(at 116th Street), in Manhattan.

	The Oberlin concert is free and open to the public, and free =
parking=20
is available throughout the campus. Warner Concert Hall is located at=20
the corner of Professor and West College streets. For more information=20=

about concerts and recitals at Oberlin, please call the 24-hour Concert=20=

Hotline: 440-775-6933.

	One of the world=92s best-known living composers, Gy=F6rgy =
Ligeti is=20
widely acknowledged as a musical pioneer of the late-20th century,=20
forging his own musical alternative to a general stylistic crisis in=20
the mid-century avant-garde. That alternative, based on texture and=20
sound density, has become one of the major influences on contemporary=20
music. The Oberlin and New York programs will include Ramifications;=20
Mysteries of the Macabre from the opera Le Grand Macabre, with Evans as=20=

trumpet soloist; Sippal, Dobbal, N=E1diheged=FCvel, with the Oberlin=20
Percussion Group and Manz as soloist; and Violin Concerto with Koh as=20
soloist.

	=93I cannot wait to work with Tim Weiss and the CME,=94 says =
Koh. =93And I=20
believe that the Ligeti Concerto is one of the great masterpieces=20
written in my lifetime. I am honored to be playing this piece.=94

	This concert at the Miller Theatre is the CME=92s third New York=20=

appearance within the last 18 months. In March 2004, Weiss led the=20
ensemble in a program of composer Lewis Nielson=92s works at Carnegie's=20=

Weill Recital Hall (Nielson is Professor of Composition at Oberlin).=20
Music critic Anthony Aibel, writing for the New York Concert Review,=20
called those performances "unbelievably polished, superb ... [and]=20
impeccable." His enthusiasm was unwavering when the CME performed at=20
Merkin Hall last January: =93One hopes [the CME] will continue =
performing=20
annually in New York, a city that deserves great performances such as=20
these.=94

	Winner of an award for adventurous programming by the American =
Society=20
of Composers, Authors, and Publishers (ASCAP) and the American Symphony=20=

Orchestra League (ASOL) in 2002, the Oberlin Contemporary Music=20
Ensemble is considered one of the premiere new music ensembles in=20
higher education in the United States. The CME performs music of all=20
styles and genres, with a repertoire that is as broad as the entirety=20
of contemporary music. In addition to premiering works by student,=20
faculty, and alumni composers, the CME has given first performances of=20=

new works by prominent composers, including James Dillon's The Soadie=20
Waste and an upcoming work by Jason Eckhart. The CME also offers=20
students the chance to perform with such famous exponents of modern=20
music as Steven Schick, Marilyn Nonken, and Ursula Oppens, among many=20
others. In May 2005, the CME, under the baton of Timothy Weiss,=20
performed two concerts of works by Sir Harrison Birtwistle, who was in=20=

residence at Oberlin.

	Timothy Weiss holds diplomas from the Royal Conservatory of =
Music in=20
Brussels and degrees from Northwestern University and the University of=20=

Michigan. In his 13 years as music director of the CME, he has brought=20=

the ensemble to a level of professionalism in performance that rivals=20
the finest new music groups in the United States. His repertoire in=20
contemporary music is vast and fearless, and includes masterworks, very=20=

recent compositions, and an impressive number of premieres. A much=20
sought-after guest conductor in the U.S., he is the chair of the=20
division of conducting and ensembles at the Oberlin Conservatory of=20
Music, where he holds the Ruth Strickland Gardner chair in music.

	Violinist Jennifer Koh, a 1997 Oberlin graduate, won the =
International=20
Tchaikovsky Competition in Moscow, the Concert Artists Guild=20
Competition, and the Avery Fisher Career Grant, all in the 1994-1995=20
season. She has been heard with leading orchestras and conductors=20
around the world, including the Chicago Symphony, the Cincinnati=20
Symphony (under Yakov Kreizberg), the National Symphony, the Detroit=20
Symphony, the New World Symphony, and many other leading ensembles. A=20
prolific recitalist, Koh appears frequently at major music centers and=20=

festivals, including Carnegie Hall, the Kennedy Center, Mostly Mozart,=20=

Marlboro, and Wolf Trap, and with Christoph Eschenbach at Ravinia and=20
Schleswig-Holstein. She is heard annually at the Spoleto Featival in=20
Italy, where she recorded Menotti=92s Violin Concerto live in concert=20
with the Spoleto Festival Orchestra, conducted by Richard Hickox. A=20
committed educator, she has also won high praise for her innovative=20
Music Messenger outreach program, which takes her to perform in=20
classrooms throughout the country. After graduation from Oberlin, she=20
worked extensively with Jaime Laredo at the Curtis Institute in=20
Philadelphia and counts Felix Galimir, also of the Curtis Institute, as=20=

an important mentor. An active recording artist, she has recorded to=20
date a program of chaconnes by Bach, Barth, and Reger for Cedille=20
Records, and recordings of the violin concertos of Menotti (for=20
Chandos), Nielsen (for Kontrapunkt), and Klami (for BIS). Her latest=20
recording on the Cedille label =97 featuring fantasies by Schubert,=20
Schumann, Schoenberg, and Ornette Coleman =97 has garnered wide critical=20=

praise. Koh is grateful to her private sponsor for the generous loan of=20=

the 1727 Ex Grumiaux Ex General DuPont Stradivari she uses in=20
performance.

	The Oberlin Percussion Group [OPG], an ensemble of student =
percussion=20
majors at the Oberlin Conservatory of Music, is conducted by Professor=20=

of Percussion Michael Rosen and was founded by him in 1972. Premiering=20=

new works is a major objective of the group; they have commissioned=20
more than 12 compositions by composers such as Ed Miller, Richard=20
Hoffman, Dary John Mizelle, Randy Coleman, Evan Hause, and Michael=20
Daugherty. The OPG has also performed the American premieres of several=20=

works by Japanese and European composers, including the first American=20=

performance of Pleides, Zythos, and IDEM by Iannis Xenakis, For o for o=20=

the hobby horse is forgot by Sir Harrison Birtwistle, Prelude by=20
Riccardo Malipiero, Con Luigi Dallapiccola by Luigi Nono, and Vo=FBtes =
by=20
Micha=EBl Levinas. An extensive collection of fine exotic and=20
conventional Western percussion instruments helps make such=20
performances possible. The group rehearses a minimum of four hours per=20=

week, during which members develop skills in finding the right sound,=20
apply techniques learned in lessons, and nurture a keen sense of=20
ensemble playing while, at the same time, gain valuable performing=20
experience. In 1984 the OPG won the Percussive Arts Percussion Ensemble=20=

Contest, performing Persephassa by Xenakis at the Percussive Arts=20
Society Convention [PASIC] in Washington, D.C. The group performs=20
outside of Oberlin often and played at the PASIC convention again in=20
1990 and 1996. The OPG has made several recordings for the Opus One,=20
Lumina and CRI labels. Michael Rosen welcomes and encourages composers=20=

to send scores for performance in future concerts.

	Michael Rosen is professor of percussion at the Oberlin =
Conservatory=20
of Music, where he teaches, conducts the Oberlin Percussion Group, and=20=

directs the Oberlin Percussion Institute. He is as at home with=20
symphonic literature as he is with contemporary music, having served as=20=

principal percussionist with the Milwaukee Symphony from 1966 to 1972.=20=

He has performed with the Cleveland Orchestra and the Concertgebouw=20
Orchestra as well as at the Grand Teton Music Festival. Rosen has=20
concertized and taught extensively in Europe, at the Jeunesses=20
Musicales Internationale Summerkurse in Weikersheim, Germany, at the=20
Sweelinck Conservatory in Amsterdam, Holland, and at the Arturo=20
Toscanini Foundation in Parma, Italy.  Other engagements have included=20=

concerts and clinics at conservatories and music courses in Italy,=20
France, Holland, Germany, Switzerland, Denmark, Finland, Belgium,=20
Spain, Hong Kong and Beijing, China. He maintains a continuing column=20
in Percussive Notes Magazine dealing with percussion terms in foreign=20
languages and is editor of the Focus on Performance section of the=20
magazine. He was a member of the Board of Directors of the PAS for many=20=

years and is a clinician and endorser for the Zildjian Cymbal Company.=20=

He has served as panelist for the National Endowment for the Arts and=20
has recorded for the Bayerische Rundfunk, Opus One, Furious Artisans,=20
Albany, Lumina, and CRI labels. A native of Philadelphia, Rosen was a=20
student of Charles Owen and earned his master=92s of music degree from=20=

the University of Illinois, where he studied with Jack McKenzie. He has=20=

also studied with Cloyd Duff and Fred Hinger.

	Lorraine Manz, mezzo-soprano, has been featured as soloist =
throughout=20
the United States in orchestral, oratorio, recital, and chamber music=20
settings.  She has performed as soloist with the Cleveland Orchestra,=20
the Aspen Music Festival Orchestra, Blossom Music Festival, New=20
Hampshire Music Festival, Round Top Festival in Texas, Bach Festival=20
Society, Shreveport Summer Music Festival, Jefferson Performing Arts=20
Society (New Orleans), and the Santa Barbara Chamber Orchestra, and=20
with such conductors as Leonard Slatkin, Robert Spano, Marin Alsop,=20
Garreth Morrell, and Heichiro Oyama. She has been heard on artist=20
series in recital and with contemporary chamber music ensembles (she=20
has premiered works of several American composers), in performances at=20=

the Lincoln Center, Contemporary Directions of the Aspen Music=20
Festival, Music Academy of the West, the Walker Arts Center=20
(Minneapolis), and the New Music Festival (California), among other=20
venues. Her most recent operatic performance was as Cecelia in Lyric=20
Opera Cleveland=92s production of Little Women, under the direction of=20=

the composer, Mark Adamo. She has toured Japan and the West Coast=20
performing a variety of chamber music works. Manz is associate=20
professor of singing at the Oberlin Conservatory of Music, where she=20
has been a member of the faculty since 1993 and where she serves as=20
director of the Otto B. Schoepfle Vocal Arts Center.

	Peter Evans =9203 is a trumpeter, improviser, and composer =
living in New=20
York City.=A0Born in 1981, he grew up=A0near Boston, and moved to New =
York=20
after graduating from the Oberlin Conservatory of Music with a bachelor=20=

of music degree in classical trumpet performance. While at Oberlin,=20
Evans was able to collaborate and perform=A0with many musicians,=20
including James Dillon, George Lewis, Francis Marie-Uitti, and Ursula=20
Oppens.=A0In New York, he works primarily in the fields of improvised =
and=20
creative music, jazz, and contemporary classical music.=A0Evans co-leads=20=

the New York Trumpet Ensemble with Mark Gould, plays in the=20
improvisation=A0groups Imaginary Folk and Effects on Man =
and=A0Animals,=A0and=20
leads a maximalist jazz quartet with Mary Halvorson, Moppa Elliott, and=20=

Kevin Shea.=A0Other collaborators have included Guillermo Brown, Perry=20=

Robinson, Taylor Ho Bynum, Brian Chase, Stefan Tcherepnin, David=20
Taylor, Marcus Rojas, Butch Morris, and Dave Douglas.=A0=A0Recent =
projects=20
have included American premieres of music by Brian Ferneyhough, the=20
premiere of=A0Composition 103=A0for 7 Trumpets by Anthony Braxton, the =
10th=20
Annual Vision Festival, several performances at the 3rd Annual Festival=20=

of New Trumpet Music, a collaboration at the Bowery Ballroom with the=20
math-metal band Hella, and performances with Moppa Eliott's terrorist=20
bebop band Mostly Other People do the Killing.=A0Peter also plays with=20=

contemporary music groups Alarm=A0Will Sound, the International=20
Contemporary Ensemble, and Ensemble 21.=A0 Peter has presented his=20
music=A0in various New York City venues, including dancespace at St.=20
Mark's church, Tonic, and the Stone.=A0

	The Oberlin Conservatory of Music, founded in 1865 and situated =
within=20
the intellectual vitality of Oberlin College since 1867, is the oldest=20=

continuously operating conservatory in the United States. Renowned=20
internationally as a professional music school of the highest caliber=20
and pronounced a =93national treasure=94 by the Washington Post, Oberlin=20=

has long been an undergraduate haven for many nationally acclaimed new=20=

music soloists, chamber musicians and ensembles, including soprano Tony=20=

Arnold =9290, and all of the members of eighth blackbird and the=20
International Contemporary Ensemble (ICE). These represent a only a=20
small sample of Oberlin alumni who have gone on to achieve illustrious=20=

careers in all aspects of the serious music world. For more information=20=

about Oberlin, please visit www.oberlin.edu.

# # #



Marci Janas
Director of Conservatory Media Relations
Oberlin Conservatory of Music
39 West College Street
Oberlin, OH  44074
www.oberlin.edu/con
(P) 440-775-8328
(F) 440-775-5457
marci.janas at oberlin.edu=

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<x-tad-smaller>MEDIA CONTACT:=20

</x-tad-smaller><italic><x-tad-smaller>Marci Janas

</x-tad-smaller></italic><x-tad-smaller>440-775-8328 (office)

=
</x-tad-smaller><underline><color><param>0000,0000,FFFD</param><x-tad-smal=
ler>marci.janas at oberlin.edu</x-tad-smaller></color></underline>



FOR IMMEDIATE RELEASE:



<center><bold><bigger><bigger>Acclaimed Oberlin Contemporary Music
Ensemble to Perform with=20

=93Risk-Taking, High-Octane=94 Violinist Jennifer Koh in all-Ligeti
Concert at New York City=92s Miller Theatre

</bigger>

<italic>Program will also be presented in =
Oberlin.</italic></bigger><italic>

<x-tad-smaller>

</x-tad-smaller></italic><<Editors please note: photos of the
Contemporary Music Ensemble=20

and of Jennifer Koh are available upon request.><smaller>

</smaller></bold></center><bigger>

OBERLIN, OHIO (October 18, 2005) =97 The award-winning Oberlin
Contemporary Music Ensemble (CME), under the direction of Gardner
Professor of Music Timothy Weiss and featuring violinist Jennifer Koh
=9297, will present an all-Ligeti program at New York City=92s Miller
Theatre on Saturday, November 12, at 8 p.m.


	The program, which is also being presented in Oberlin on =
Thursday,
November 10, at 8 p.m. in Warner Concert Hall, includes performances
by the Oberlin Percussion Group, conducted by Professor of Percussion
Michael Rosen, mezzo-soprano Lorraine Manz, associate professor of
singing, and trumpeter Peter Evans =9203.


	Tickets for the Miller Theatre concert are $20 and are available =
by
calling the Miller Theatre box office at 212-854-7799. The Miller
Theatre is located on the campus of Columbia University, 2960 Broadway
(at 116th Street), in Manhattan.=20


	The Oberlin concert is free and open to the public, and free =
parking
is available throughout the campus. Warner Concert Hall is located at
the corner of Professor and West College streets. For more information
about concerts and recitals at Oberlin, please call the 24-hour
Concert Hotline: 440-775-6933.


	One of the world=92s best-known living composers, Gy=F6rgy =
Ligeti is
widely acknowledged as a musical pioneer of the late-20th century,
forging his own musical alternative to a general stylistic crisis in
the mid-century avant-garde. That alternative, based on texture and
sound density, has become one of the major influences on contemporary
music. The Oberlin and New York programs will include
<italic>Ramifications</italic>; <italic>Mysteries of the
Macabre</italic> from the opera <italic>Le Grand Macabre,</italic>
with Evans as trumpet soloist; <italic>Sippal, Dobbal,
N=E1diheged=FCvel</italic>, with the Oberlin Percussion Group and Manz =
as
soloist; and <italic>Violin Concerto</italic> with Koh as soloist.


	=93I cannot wait to work with Tim Weiss and the CME,=94 says =
Koh. =93And I
believe that the Ligeti <italic>Concerto</italic> is one of
<italic>the</italic> great masterpieces written in my lifetime. I am
honored to be playing this piece.=94


	This concert at the Miller Theatre is the CME=92s third New York
appearance within the last 18 months. In March 2004, Weiss led the
ensemble in a program of composer Lewis Nielson=92s works at Carnegie's
Weill Recital Hall (Nielson is Professor of Composition at Oberlin).
Music critic Anthony Aibel, writing for the <italic>New</italic>
<italic>York Concert Review</italic>, called those performances
"unbelievably polished, superb ... [and] impeccable." His enthusiasm
was unwavering when the CME performed at Merkin Hall last January:
=93One hopes [the CME] will continue performing annually in New York, a
city that deserves great performances such as these.=94


<bold>	Winner of an award for adventurous programming</bold> by the
American Society of Composers, Authors, and Publishers (ASCAP) and the
American Symphony Orchestra League (ASOL) in 2002, the <bold>Oberlin
Contemporary Music Ensemble</bold> is considered one of the premiere
new music ensembles in higher education in the United States. The CME
performs music of all styles and genres,<bold> </bold>with a
repertoire that is as broad as the entirety of contemporary music. In
addition to premiering works by student, faculty, and alumni
composers, the CME has given first performances of new works<bold>
</bold>by prominent composers, including James Dillon's <italic>The
Soadie Waste</italic> and an upcoming work by Jason Eckhart. The CME
also offers students the chance to perform with such famous exponents
of modern music as Steven Schick, Marilyn Nonken, and Ursula Oppens,
among many others. In May 2005, the CME, under the baton of Timothy
Weiss, performed two concerts of works by Sir Harrison Birtwistle, who
was in residence at Oberlin.


	<bold>Timothy Weiss</bold> holds diplomas from the Royal<bold>
</bold>Conservatory of Music in Brussels and degrees from Northwestern
University and the University of Michigan. In his 13 years as music
director of the CME, he has brought the ensemble to a level of
professionalism in performance that rivals the finest new music groups
in the United States. His repertoire in contemporary music is vast and
fearless, and includes masterworks, very recent compositions, and an
impressive number of premieres. A much sought-after guest conductor in
the U.S., he is the chair of the division of conducting and ensembles
at the Oberlin Conservatory of Music, where he holds the Ruth
Strickland Gardner chair in music.=20

<color><param>FFFD,0000,0000</param>

</color><bold>	Violinist Jennifer Koh, </bold>a 1997 Oberlin
graduate,<bold> </bold>won the International Tchaikovsky Competition
in Moscow, the Concert Artists Guild Competition, and the Avery Fisher
Career Grant, all in the 1994-1995 season. She has been heard with
leading orchestras and conductors around the world, including the
Chicago Symphony, the Cincinnati Symphony (under Yakov Kreizberg), the
National Symphony, the Detroit Symphony, the New World Symphony, and
many other leading ensembles. A prolific recitalist, Koh appears
frequently at major music centers and festivals, including Carnegie
Hall, the Kennedy Center, Mostly Mozart, Marlboro, and Wolf Trap, and
with Christoph Eschenbach at Ravinia and Schleswig-Holstein. She is
heard annually at the Spoleto Featival in Italy, where she recorded
Menotti=92s <italic>Violin Concerto</italic> live in concert with the
Spoleto Festival Orchestra, conducted by Richard Hickox. A committed
educator, she has also won high praise for her innovative Music
Messenger outreach program, which takes her to perform in classrooms
throughout the country. After graduation from Oberlin, she worked
extensively with Jaime Laredo at the Curtis Institute in Philadelphia
and counts Felix Galimir, also of the Curtis Institute, as an
important mentor. An active recording artist, she has recorded to date
a program of chaconnes by Bach, Barth, and Reger for Cedille Records,
and recordings of the violin concertos of Menotti (for Chandos),
Nielsen (for Kontrapunkt), and Klami (for BIS). Her latest recording
on the Cedille label =97 featuring fantasies by Schubert, Schumann,
Schoenberg, and Ornette Coleman =97 has garnered wide critical praise.
Koh is grateful to her private sponsor for the generous loan of the
1727 Ex Grumiaux Ex General DuPont Stradivari she uses in performance.


	<bold>The Oberlin Percussion Group</bold> [OPG], an ensemble of
student percussion majors at the Oberlin Conservatory of Music, is
conducted by Professor of Percussion Michael Rosen and was founded by
him in 1972. Premiering new works is a major objective of the group;
they have commissioned more than 12 compositions by composers such as
Ed Miller, Richard Hoffman, Dary John Mizelle, Randy Coleman, Evan
Hause, and Michael Daugherty.<fontfamily><param>Arial</param>
</fontfamily>The OPG has also performed the American premieres of
several works by Japanese and European composers, including the first
American performance of <italic>Pleides, Zythos, and IDEM</italic> by
Iannis Xenakis, <italic>For o for o the hobby horse is forgot
</italic>by Sir Harrison Birtwistle, <italic>Prelude</italic> by
Riccardo Malipiero, <italic>Con Luigi Dallapiccola</italic> by Luigi
Nono, and <italic>Vo=FBtes</italic> by Micha=EBl Levinas. An extensive
collection of fine exotic and conventional Western percussion
instruments helps make such performances
possible.<fontfamily><param>Arial</param> </fontfamily>The group
rehearses a minimum of four hours per week, during which members
develop skills in finding the right sound, apply techniques learned in
lessons, and nurture a keen sense of ensemble playing while, at the
same time, gain valuable performing experience. In 1984 the OPG won
the Percussive Arts Percussion Ensemble Contest, performing
<italic>Persephassa</italic> by Xenakis at the Percussive Arts Society
Convention [PASIC] in Washington, D.C. The group performs outside of
Oberlin often and played at the PASIC convention again in 1990 and
1996. The OPG has made several recordings for the Opus One, Lumina and
CRI labels. Michael Rosen welcomes and encourages composers to send
scores for performance in future concerts.

<bold>

</bold>	<bold>Michael Rosen </bold>is professor of percussion at the
Oberlin Conservatory of Music, where he teaches, conducts the Oberlin
Percussion Group, and directs the Oberlin Percussion Institute. He is
as at home with symphonic literature as he is with contemporary music,
having served as principal percussionist with the Milwaukee Symphony
from 1966 to 1972. He has performed with the Cleveland Orchestra and
the Concertgebouw Orchestra as well as at the Grand Teton Music
Festival. Rosen has concertized and taught extensively in Europe, at
the Jeunesses Musicales Internationale Summerkurse in Weikersheim,
Germany, at the Sweelinck Conservatory in Amsterdam, Holland, and at
the Arturo Toscanini Foundation in Parma, Italy.  Other engagements
have included concerts and clinics at conservatories and music courses
in Italy, France, Holland, Germany, Switzerland, Denmark, Finland,
Belgium, Spain, Hong Kong and Beijing, China. He maintains a
continuing column in <italic>Percussive Notes Magazine</italic><bold>
</bold>dealing with percussion terms in foreign languages and is
editor of the <italic>Focus on Performance</italic> section of the
magazine. He was a member of the Board of Directors of the PAS for
many years and is a clinician and endorser for the Zildjian Cymbal
Company. He has served as panelist for the National Endowment for the
Arts and has recorded for the Bayerische Rundfunk, Opus One, Furious
Artisans, Albany, Lumina, and CRI labels. A native of Philadelphia,
Rosen was a student of Charles Owen and earned his master=92s of music
degree from the University of Illinois, where he studied with Jack
McKenzie. He has also studied with Cloyd Duff and Fred Hinger.


	<bold>Lorraine Manz, mezzo-soprano,</bold> has been featured as
soloist throughout the United States in orchestral, oratorio, recital,
and chamber music settings.  She has performed as soloist with the
Cleveland Orchestra, the Aspen Music Festival Orchestra, Blossom Music
Festival, New Hampshire Music Festival, Round Top Festival in Texas,
Bach Festival Society, Shreveport Summer Music Festival, Jefferson
Performing Arts Society (New Orleans), and the Santa Barbara Chamber
Orchestra, and with such conductors as Leonard Slatkin, Robert Spano,
Marin Alsop, Garreth Morrell, and Heichiro Oyama. She has been heard
on artist series in recital and with contemporary chamber music
ensembles (she has premiered works of several American composers), in
performances at the Lincoln Center, Contemporary Directions of the
Aspen Music Festival, Music Academy of the West, the Walker Arts
Center (Minneapolis), and the New Music Festival (California), among
other venues. Her most recent operatic performance was as Cecelia in
Lyric Opera Cleveland=92s production of <italic>Little Women</italic>,
under the direction of the composer, Mark Adamo. She has toured Japan
and the West Coast performing a variety of chamber music works. Manz
is associate professor of singing at the Oberlin Conservatory of
Music, where she has been a member of the faculty since 1993 and where
she serves as director of the Otto B. Schoepfle Vocal Arts Center.


	<bold>Peter Evans</bold> =9203 is a trumpeter, improviser, and =
composer
living in New York City.=A0Born in 1981, he grew up=A0near Boston, and
moved to New York after graduating from the Oberlin Conservatory of
Music with a bachelor of music degree in classical trumpet
performance. While at Oberlin, Evans was able to collaborate and
perform=A0with many musicians, including James Dillon, George Lewis,
Francis Marie-Uitti, and Ursula Oppens.=A0In New York, he works
primarily in the fields of improvised and creative music, jazz, and
contemporary classical music.=A0Evans co-leads the New York Trumpet
Ensemble with Mark Gould, plays in the improvisation=A0groups Imaginary
Folk and Effects on Man and=A0Animals,=A0and leads a maximalist jazz
quartet with Mary Halvorson, Moppa Elliott, and Kevin Shea.=A0Other
collaborators have included Guillermo Brown, Perry Robinson, Taylor Ho
Bynum, Brian Chase, Stefan Tcherepnin, David Taylor, Marcus Rojas,
Butch Morris, and Dave Douglas.=A0=A0Recent projects have included
American premieres of music by Brian Ferneyhough, the premiere
of=A0<italic>Composition 103=A0for 7</italic> <italic>Trumpets</italic> =
by
Anthony Braxton, the 10th Annual Vision Festival, several performances
at the 3rd Annual Festival of New Trumpet Music, a collaboration at
the Bowery Ballroom with the math-metal band Hella, and performances
with Moppa Eliott's terrorist bebop band Mostly Other People do the
Killing.=A0Peter also plays with contemporary music groups Alarm=A0Will
Sound, the International Contemporary Ensemble, and Ensemble 21.=A0
Peter has presented his music=A0in various New York City venues,
including dancespace at St. Mark's church, Tonic, and the Stone.=A0=20


<bold>	The Oberlin Conservatory of Music</bold>, founded in 1865 and
situated within the intellectual vitality of Oberlin College since
1867, is the oldest continuously operating conservatory in the United
States. Renowned internationally as a professional music school of the
highest caliber and pronounced a =93national treasure=94 by the
<italic>Washington Post</italic>, Oberlin has long been an
undergraduate haven for many nationally acclaimed new music soloists,
chamber musicians and ensembles, including soprano Tony Arnold =9290,
and all of the members of eighth blackbird and the International
Contemporary Ensemble (ICE). These represent a only a small sample of
Oberlin alumni who have gone on to achieve illustrious careers in all
aspects of the serious music world. For more information about
Oberlin, please visit www.oberlin.edu.


</bigger><center><bigger># # #

</bigger></center>



Marci Janas

Director of Conservatory Media Relations

Oberlin Conservatory of Music

39 West College Street

Oberlin, OH  44074

www.oberlin.edu/con

(P) 440-775-8328

(F) 440-775-5457

marci.janas at oberlin.edu=

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