CrossSound
Jocelyn Clark and Stefan Hakenberg - directors
Sally Schlichting - Juneau coordinator
Roger Schmidt and Susan Brandt-Ferguson - Sitka coordinators
1109 C St.
Juneau, Alaska 99801
+1-907-586-9601
In Seoul: +82-2-515-5395




DAVID SEID - CELLO - will listen to his mother in his next life and continue to play and practice his cello throughout school. After about 13 years of musical inactivity, including a degree in English and law school, he started playing again in Ketchikan. Two kids later, David is back in Juneau and loves to be asked to play with chamber groups and orchestras.







J O H N S T A U B - a woodworker by trade, has played BASS since his early teens in orchestras and chamber groups, in jazz and big bands and around gypsy campfires. John has been principal bassist for many years with the Juneau Symphony and has also performed in local jazz trios and with the Fiery Gypsies among other ensembles. "I like an instrument that can do it all." And, he's both base and vile.

JOYCE PARRY MOORE - Soprano - completed her Master's studies in Opera at the Boston and New England Conservatories under John Moriarty. She also performed with Mr. Moriarty at Central City Opera in Colorado. Ms. Parry Moore has sung roles with Lake George Opera Theatre and Liederkrantz Opera in New York, and Boston Lyric Opera and Longwood Opera in Massachusetts. Her roles include Violetta in La Traviata, Mimi in La Boheme, and Rosalinda in Die Fledermaus. Always a fan of new music, Joyce worked with Friends and Enemies of New Music in New York, and performed contemporary pieces like Face on the Barroom Floor at Central City and the children's opera The Goose Girl by Pasatieri with Boston Lyric. Now a voice teacher in Juneau, Alaska, Ms. Parry has herself studied with such notable teachers as Edward Zambarra in Boston/New York, and Marianne Weltmann in Seattle. Also an actress, Joyce came to Alaska to work with Perseverance Theatre and Molly Smith, with whom she performed Martha in Who's Afraid of Virginia Woolfe both in Juneau and Anchorage.

N A T H A N B A S T U S C H E C K, EUPHONIUM, received the majority of his musical education at the University of Washington where he was a three-time recipient of the Walter Welke Scholarship for Wind Ensemble. While at the University, Nathan performed regularly with the Wind Ensemble and the University Symphony, and studied privately with Richard Byrnes and Stuart Dempster. Other performance credits include the Seattle Brass Ensemble, Seattle Philharmonic, Everett Symphony, Washington Wind Symphony, Seattle Concert Band, Puget Sound Musical Theater, Civic Light Opera, Village Theater, Tacoma Concert Band and the Seattle Symphony Brass Ensemble. Nathan has also been an active freelance musician with many different small ensembles and as a solo performer. He currently plays with the Juneau Symphony, the occasional polka gig with accordionist Dale Wygant, and with his personal favorite, the Nimbus Ensemble, which counts among its members his lovely wife, Julia.

J U L I A B A S T U S C H E C K began her study of the VIOLA in the Palo Alto, CA, public schools in 1965. She was fortunate to have many outstanding teachers and musical opportunities as she was growing up, and decided to make music her career. In 1978, she received a B.A. in viola performance from Western Washington University in Bellingham, WA, where she studied viola and chamber music with Barton Frank, Serge Kardalian and Charmian Gadd. After graduation, Julia moved to Seattle, where she performed regularly with local symphonies and musical theater groups on a free-lance basis. Feeling the need for full-time work inmusic as well as the responsibility to continue the tradition of string education, Julia decided to pursueteacher certification at the University of Washington. She enrolled in the music education program in 1985 and studied viola and chamber music with Paul Coletti, conducting with RickByrnes and Timothy Salzman and played in the University Symphony and Chamber Orchestra, where she met her husband, Nathan. After receiving certification in 1988, Julia was contacted by the Juneau School District, where she has been teaching strings, choir and general music classes since October 1988. During the 10 years Julia has been teaching in Juneau, the orchestra program has growntremendously. The Juneau-Douglas High School Orchestra was recently selected to perform inDisneyland as part of Magic Music Days. Besides her teaching duties, Julia has been conductorof the Juneau Youth Symphony, is principal violist with the Juneau Symphony and performs with the Nimbus Ensemble.

NIMBUS - JUNEAU'S STRING QUARTET - Named after the five-ton, sixteen-foot tall steel sculpture called "Nimbus", perhaps the most controversial piece of art in Alaska´s history, Nibus is Juneau's premeire string quartet, from a certain angle: STEVE TADA -violin, SALLY SCHLICHTING - flute (violin), JULIA BASTUSCHECK - viola, NATHAN BASTUSCHECK - euphonium (cello). Nimbus, the commissioned sculpture cost $40,000 and was first installed in front of the Courthouse in Juneau in 1978. Public outrage soon erupted. Such was the public's disatisfaction with the abstract piece and its cost that it was removed in1984 at the direction of then-Governor Bill Sheffield. He was acting on the request of the State Legislature, which had passed a resolution to remove "Nimbus." After rusting for six years in outside storage in a yard at the Department of Transportation, "Nimbus" returned. "Friends of Nimbus", a group of Juneau residents interested in preservation and relocation of the sculpture, funded all costs of repainting and installing the piece on the grounds of the Alaska State Museum. Taking comfort in the return of Nimbus, the Nimbus ensemble dared to branch out into a new repertoire, requesting CrossSound to comission a piece that took into account its ideosyncratic instrumentation (for a string quartet). CrossSound will comission a piece again this year for the Nimbus Ensemble.

S A L L Y S C H L I C H T I N G - began playing flute at the age of ten in her home town, Juneau, Alaska. She played FLUTE through high school, and attended music workshops and summer camps including Interlochen before continuing her music studies at the University of Southern California and the University of Washington, where she earned a degree in music in 1990. She has studied flute with Pamela Ryker, Mary Louise Poor, Felix Skowronek, Gary Woodward and Mel Flood. Ms. Schlichting currently enjoys a full life in music, playing regularly with the Juneau Symphony, the Nimbus Ensemble, the Dal Segno flute and guitar duo and especially with her aunt, pianist Mary Watson. She has been the concert coordinator for the Symphony Showcase chamber music concerts since 1995, and firmly believes there can not ever be too much chamber music in the world.

R I C K T R O S T E L - experienced his first joy with music classes, choirs and piano lessons as a young student at Interlochen, National Music Camp (now National Arts Camp) where he spent five summers studying voice, drama, piano, trumpet, orchestra and band. Rick began playing TRUMPET at the age of ten and has studied with a number of teachers, most notably Ron Hassleman of the Minnesota Orchestra and Richard Pressley of the Seattle Symphony. Rick attended Oberlin College and where he received BA in Biology (in order to get a "real job.") After several years pursuing real jobs, music reared its beautiful head in the form of a music teaching job at a school in southwestern Alaska. More recently he has returned to studying conducting with Dr. William Jones of the University of Iowa and is contemplating a masters degree in conducting. Rick is executive director of a small music school in Juneau where he conducts and arranges music for three small student ensembles. He has also had the opportunity to conduct rehearsals of the Juneau Symphony for which he has been principal trumpet for the last seven seasons. In addition, Rick performs regularly as principal trumpet.

B I L L P A U L I C K was hooked on the FRENCH HORN following the Leonard Bernstein "Concerts for Young People" series of the 1960's. He started playing in the public school system of Whittier, California and continued studying privately for many years under Arthur Franz and later Philip Farkas. Bill played in various ensembles in the Los Angeles area, including regional honor bands, brass and woodwind quintets, and the Rio Hondo Symphony, conducted by Mehli Mehta. Following graduation from the U.S. Coast Guard Academy in 1973, Bill settled in Juneau and has been active in brass and woodwind quintets, the Juneau Symphony and the Southeast Alaska Symphony in Ketchikan. In a 1984 partnership with Professor Farkas, Bill produced a two-hour video entitled "The Horn" for use as a surrogate instructor in rural areas. Distribution eventually included 14 countries around the world. Bill was president of the Juneau Symphony in 1986 and currently teaches horn and manages the Juneau Brass Quintet. He is owner/manager of Juneau Brass & Woodwinds, serving the repair, sales, and rental needs of Southeast Alaska brass and wind musicians.

M A R Y W A T S O N - piano

PAUL HILL - TROMBONE

LEE HACKER - PERCUSSION began playing percussion at the age of nine. After high school he attended the U.S. Navy School of Music in Washington D.C., later serving on board the USS Kitty Hawk as a member of the admiral’s band. Following his military service, Hacker earned a bachelor’s degree at Southern Illinois University where he studied composition with Alan Oldfield, himself a student of Nadia Boulanger of the Paris Conservatoire. Since then he’s been a regular freelance musician, playing the club and dance circuit, and performing with more than 20 stage productions. About 15 years ago, Hacker got serious about symphonic music and has since played with the Stockton Symphony, the Camellia Symphony in Sacramento, and the Bremerton Symphony, along with many dance and opera companies. In addition to regular performing, Lee has worked as a piano technician for the past 36 years.

In 1995, Hacker moved to Juneau to tune the pianos throughout Southeast Alaska, a decision that also brought him to the Juneau Symphony, where he is a regular and versatile member of the percussion section. When asked what instrument he likes best, Lee doesn’t play favorites. “I like the triangle as much as the tympani,” he says.

As a composer, Lee has a particular appreciation of new music, both the challenges of writing music to be performed, as well as performing the new works of other composers. “New music is a kick. It’s really difficult, but it’s a status report, an update, it’s the news. We need to get that feedback on what’s happening in music. There’s so much that’s happened in music, just in the last 60 years, that we don’t even know about. We need to grow audiences’ ears. This music needs exposure.”

LIU Xiangyun - pipa, a member of Musician Association of Jiangsu Province, and first chair pipa of the Traditional Orchestra of the Jiangsu Dance and Opera Theatre, was born in Nanjing, Jiangsu Province in 1973. At the age of seven, she began studying pipa under her father and entered Nanjing Primary School of Arts at age ten, joining a tour to Japan during the following year. In 1987, as a delegate of Nanjing Middle School Art Group, she toured Japan again.

In 1991, Ms. Liu entered Nanjing College of Art where she studied under master pipa player Liu Shi. After graduating with honors, she joined Traditional Orchestra of the Jiangsu Dance and Opera Theatre. The following year, Ms Liu took part in a highly successful tour of Taiwan and recorded two CDs. In 1997, she placed third in the Jiangsu Traditional Instrument Competition. In the year 2000, she participated in a large-scale recording of Chinese folk songs and dances. The result, What Nice Jasmine, won the gold award at the Sixth China Art Festival.

In addition to regular performance, she devotes herself to teaching and promoting Chinese music, performing at number of different university campuses and student orchestras. Invited by the International Student Education Center of Nanjing University as a guest lecturer in 1999, she began to introduce the students from all over world to Chinese traditional music and instruments. In addition to the pipa she also plays two other traditional instruments, the zhong ruan and the liu qin.








Henri Bok - Bass Clarinet - received his musical education at the Rotterdam Conservatoire where he obtained performance degrees for saxophone and bass clarinet "cum laude". In 1981 he was appointed Professor of Bass Clarinet at the Rotterdam Conservatoire, where the unique bass clarinet program attracts students from all over the world.

In 1978 he was a founding member of the Netherlands Clarinet Quartet, in 1981 he founded Duo Contemporain (with Spanish marimba / vibraphone virtuoso Miguel Bernat), now one of the world's leading groups in the contemporary music field. In 1991 he formed Duo Novair with Dutch accordionist Miny Dekkers and in 1995 he became a member of Duo Bass Instincts (with Canadian bass oboe specialist Lawrence Cherney).

Hundreds of new compositions have been written for / dedicated to Henri Bok by renowned composers such as Franco Donatoni, Leo Brouwer, Peter Sculthorpe, Luis de Pablo, e.a. Henri Bok was a regular guest professor at the Royal Flemish Music Conservatory, Antwerp and co-organiser / teacher for the Rotterdam - Antwerp Bass Clarinet Days and the International Bass Clarinet Days Ghent.

As a bass clarinet specialist he has appeared at many important clarinet events, a.o. ClarinetFest Ghent, ClarinetFest Paris, ClarinetFest Lubbock, Texas (1997), ClarMeetOporto (1997) and Encontro Brasileiro de Clarinetistas, Brasilia (1997). He has been a soloist with major international symphony orchestras and wind bands (a.o. RIAS Berlin, Bangkok Symphony Orchestra, Banda Municipal de Madrid).

Henri Bok is regularly invited to give concerts and masterclasses in Europe, North & South America, Australia and Asia. He has performed in the world's most prestigious concert halls and has appeared in every major Music Festival. The BBC, ABC, BRT and WDR are just a few of the many radio and t.v. stations to have recorded Henri Bok. He has recorded more than 20 CD's, most recently on the Globe label. He is the author of the standard work for his instrument "New Techniques for the Bass Clarinet".

In 1996 Henri Bok was awarded the Medal of Honour by the Colegio de Espana / Paris for his musical merits and in the same year he was appointed to the Faculty of the Mahidol University in Bangkok, Thailand.

During the 1998 / 1999 concert season Henri Bok will perform at the Encontro Brasileiro de Clarinetistas in Salvador and as a soloist with the Orquestra de Câmara Theatro Sao Pedro, Porto Alegre; with the Banda Sinfonica of the Sao Paulo State; with the Orquestra Metropolitana de Lisboa and with the Orquestra Nacional do Porto.









Miguel Bernat - percussion- A performer of great virtuosity Miguel Bernat has played premieres of more than 75 pieces specially written for him as a soloist and chamber musician. After his studies in Valencia, Madrid, Brussels and Rotterdam, he was awarded several prizes, including the Special Percussion Prize of the E. Nakamichi Competition (USA). Bernat plays concerts in major cities and festivals. He has recorded for the BBC, ABC, BRT and several CD companies. He is a member of the ICTUS quartet/ensemble and Trio Allures and has played with Orchestra Guitat and Royal Concertgebouw of Amsterdam. He has taught at Rotterdam and Brussels Conservatories and is establishing a percussion class at Escuela Superior de Porto and Professional School in Espinho.










JOCELYN CLARK attended grades K-12 in Juneau where she took piano lessons and played the clarinet and oboe in various school music groups as well as the Juneau Symphony. After graduating from Juneau-Douglas High School in 1987 she spent a year in Japan where she became interested in non-Western music. She started studying the koto at the age of 18 with the Sawai Koto Academy at Wesleyan University. From 1990 she studied zheng at the Nanjing Academy for the Arts in China, continuing her studies the following year with Wang Changyuan in New York City. In the winters of 1992 and 1993 she toured Southeast Alaska performing zheng and doing workshops with the Orion Trombone Quartet and the Alaska Musicians Guild. From 1992 to 1995 she received a scholarship to study traditional Korean music majoring in kayagûm performance at the National Classical Music Institute in Seoul, Korea. Currently she is a Ph.D. candidate at Harvard University in Boston where she has produced a number of concerts featuring both traditional and modern compositions for East Asian instruments. Clark performs regularly with the Wang Changyuan Zheng Art Ensemble of New York, and the Sawai Koto Ensemble of New York, and also as a soloist. Most recently, she has won a Seonam Foundation Fellowship for the 2000-2001 academic year to return to Korea to study Korean traditional music.

SUSAN BRANDT-FERGUSON lives and teaches music in her home town of Sitka, Alaska. Although baritone saxophone is her primary instrument, she began her musical studies on piano, and continued them on the clarinet. However, it was her introduction to the baritone saxophone at the age of twelve that gave her love for music a voice. In college she also studied the bassoon. Susan has a music education degree from Pacific Lutheran University where she studied saxophone with Roger Stemen and Bruce Wilson, and bassoon with Francine Peterson. Following college, Ms. Brandt-Ferguson taught music in Washington state before making Sitka her home once again. Susan has been teaching general music and band at Verstovia Elementary School since 1996. She has recently become certified in the Kodály philosophy of music education. She is also a member of the Sitka Sound Saxophone Quartet.

ROGER SCHMIDT grew up in his present home, Sitka. As a musician he has studied music at the Bruckner Konservatorium in Linz, Austria, at Oberlin Conservatory and at the Aspen Music Festival. His principal teachers have been Raymond Premru of the Philharmonia Orchestra and Paul Welcomer of the San Francisco Symphony. He has worked as a free lance musician in the San Francisco Bay area playing with various groups in a wide range of musical styles.

For the past twenty-five years, composer John Luther Adams has made his home in the boreal forest near Fairbanks, Alaska. From there, he has created a unique musical world, grounded in the elemental landscapes and indigenous cultures of the North.
Adams' music embraces a wide range of media - including works for orchestra, chamber ensembles, radio, film, television, and theater - and is recorded on New World, New Albion, Opus One, Owl and Centaur. His latest recording - Strange and Sacred Noise - featuring Percussion Group Cincinnati, will be released on surround-sound DVD and CD by Mode Records, in spring 2001.

Recent performances of JLA's music have been heard throughout the world, including premieres of new works commissioned by The Paul Dresher Ensemble (San Francisco), The Third Angle New Music Ensemble (Portland, OR), and The Monophony Consort (Yokohama, Japan). In the past, he has worked with many prominent performers and presenters - including Bang On A Can, New Music America, the Sundance Institute, the California E.A.R. Unit, Perseverance Theater, The Children's Theater Company, and Present Music.

Adams studied composition with James Tenney and Leonard Stein at the California Institute of the Arts, where his other teachers included Harold Budd, Mel Powell, and Morton Subotnik. He has received awards and fellowships from Meet the Composer, the National Endowment for the Arts, the Lila Wallace Arts Partners Program, the Rockefeller Foundation, Opera America, and the Foundation for Contemporary Performance Arts.

Adams has served as composer in residence with the Anchorage Symphony, Fairbanks Symphony, Arctic Chamber Orchestra, Anchorage Opera, and the Alaska Public Radio Network, and has taught at the University of Alaska and Bennington College, and the Oberlin Conservatory of Music. He has also worked as executive director of the Northern Alaska Environmental Center, as a producer and music director for public radio station KUAC-FM, and as timpanist and principal percussionist for the Fairbanks Symphony and the Arctic Chamber Orchestra. Currently he serves as president of the American Music Center <http://www.newmusicbox.net>.

Articles about Adams and his music appear in The New Grove Dictionary of Music, Baker's Biographical Dictionary of Music and Musicians, American Music in the 20th Century (G. Schirmer), Music in the United States (Prentice Hall), and The Avant Music Guide (Japan).









Composer and saxophonist NODA Ryo was born in 1948 in Amagasaki Japan. He studied with O. Kita and A. Sakaguchi in Japan before he moved to the United States to study saxophone with Fred L. Hemke and composition with W. L. Karlins. From the U.S. he moved to the Bordeaux Conservatory in France where he studied with Jean-Marie Londeix and M. F. Lambezat. Prizes include a laureate from the Osaka College of Music, a Premier Prix for his work on the saxophone, and the Prix d’Honeur from the City of Bordeaux, in addition to the SACEM Prize for composition. Noda has written several chamber works and continues his career as a performer with concerts in Europe, the USA and Japan, with a “resolutely contemporary reperoire.”

Born in Tokushima, Japan in 1962, Yuriko Hase KOJIMA holds BFA in piano from Osaka College of Music, BM in composition from Boston Conservatory, and MA and DMA (2000) in composition from Columbia University. She studied composition with Tristan Murail, Jonathan Kramer, John Clement Adams and Isao Matsushita; computer/electronic music with Brad Garton and Art Kreiger; piano with Niels Ostbye and Jung-Ja Kim, among many others.

As a student, she was given many awards and prizes, including Summa Cum Laude with Arthur T. Whitney Award for Highest Scholastic Achievement and Roger Sessions Composition Award from Boston Conservatory, and Andrew Mellon Fellowships and Rapaport Composition Prize from Columbia University, where she taught music courses until 1998. In 1997, she was nominated for a composition award by American Academy of Arts and Letters, which she gave up because of her visa status in the US.

Her music expands from contemporary European musical idiom to Asian musical aesthetics, combining instruments from different part of the world, including forefront computer music techniques. Her works have been broadcasted by NHK-FM, Japan, and presented at various international festivals and conferences, such as ISCM World Music Days in Luxembourg, ACL Asian Music Week in Yokohama, International Computer Music Conference in Greece, Fontainebleau Summer Music Festival in France, First International Guitar Festival in Mexico, performed by ensembles such as Ensemble Modern (Germany), Pearls Before Swine Experience (Sweden), and North/South Consonance (USA).

Ms. Kojima has been a member of International Computer Music Association and Japan Federation of Composers, by whom her piano trio has been published (JFC-9807). Since 1999, she has been a faculty member at Toho Gakuen College School of Music and Senzoku Gakuen College in Tokyo, and continues composing and doing researches on musical aesthetics.

Thomas Oboe Lee was born in China in 1945. He lived in São Paulo, Brazil, for six years before coming to the United States in 1966. After graduating from the University of Pittsburgh, he studied composition with William Thomas McKinley, George Russell and Gunther Schuller at the New England Conservatory (1972-76); with Betsy Jolas at Tanglewood (1976) and Earl Kim at Harvard University (1977-81). He currently teaches at Boston College.

Mr. Lee has received many awards for his work, among them the Rome Prize Fellowship, the Charles Ives Fellowship from the American Academy and Institute of Arts and Letters, two Guggenheim Fellowships, two National Endowment for the Arts Composers Fellowships, two Massachusetts Artists Fellowships, First Prize at the Kennedy Center Friedheim Awards for his String Quartet No. 3 ... "child of Uranus, father of Zeus," the Georges Enesco International Composition Prize, the Koussevitzky Tanglewood Composition Prize, recording grants from the Martha Baird Rockefeller Fund and the Aaron Copland Fund for Music, residencies at Yaddo, the MacDowell Colony and the Charles Ives Center in Danbury, CT, and Charleston, SC.

In 1984, Esquire magazine selected him as one of two composers in its First Annual Register, "The Best Of The New Generation: Men and Women Under 40 Who Are Changing America." He has been commissioned by Amnesty International USA, the Thoreau Society, the Fromm Music Foundation, the Koussevitzky Music Foundation, the Saint Paul Chamber Orchestra, the Boston Pro Arte Chamber Orchestra, the Civic Symphony Orchestra of Boston, the Omaha Symphony Orchestra, the Lydian, Kronos, Artaria, Manhattan, and Hawthorne String Quartets, the Díaz Trio, the Raphael Trio, Madam Rubio, the Arto Ensemble, Marimolin, Alea III, Collage, Apple Hill Chamber Players, Pittsburgh New Music Ensemble, and the Cambridge Chamber Players. Additional orchestral performances include those by the Boston Symphony Orchestra with Keith Lockhart, the Charleston Symphony with David Stahl, and the American Composers Orchestras with Gunther Schuller. His music is published by Margun Music, Inc. and is recorded on GM, MCA Classics, Northeastern and Nonesuch Records. A compact disk of his music featuring the Hawthorne String Quartet will soon be released on Koch International Classics. Mr. Lee is also active as a jazz flutist. A recording of his band, Departed Feathers, is available on GM Recordings.







Carl Schimmel was born in Pensacola, Florida in 1975, and moved to Wakefield, Rhode Island in 1981. At the age of ten, he began studying piano, and shortly thereafter took up music composition. His composition studies began with Geoffrey Gibbs at the University of Rhode Island, and at the Cleveland Institute of Music he studied with Jennifer Conner while attending Case Western Reserve University. In the summer of 1996, he attended the Aspen Music Festival where he studied under George Tsontakis. He entered the Master's degree program at Yale University in 1997, where he studied with Ezra Laderman, Martin Bresnick, Evan Ziporyn, and Ned Rorem. He is the recipient of the 1999 Bearns Prize from Columbia University for his orchestral work Capa Cocha, and Yale University's 1999 Woods Chandler Memorial Prize for best composition written in a larger form during the year. His trio Pieces of Eight for english horn, bass clarinet, and bassoon was a finalist in the 2001 Seoul International Composition Competition. His work has been performed in New York City, Seoul, Cleveland, New Haven, CT, Wakefield, RI, and Aspen, CO. In a review of the Aulis Collective's New York production of King Lear, for which Schimmel wrote the incidental music, Leonard Jacobs of Backstage <http://www.backstage.com> called the score "scintillating," while Brooke Pierce of Theatermania.com <http://www.theatermania.com> wrote: "One of the finest touches is Carl Schimmel's original music.... Schimmel's moody music evokes the period and helps to create an atmosphere of tension, fear, and madness." Schimmel also received a Bachelor's degree in Mathematics from Case Western Reserve University, and his interest in math is reflected in much of his music. Mathematical patterns and forms often form the basis of his work; however, he uses math only as a rough framework to create emotional and accessible pieces of music which do not sound inherently mathematical. In fact, he frequently draws upon poetry or art for inspiration. Schimmel's aesthetic style has been influenced primarily by Bartok, Brahms, Shostakovich, Prokofiev, and Szymanowski.

Konrad BOEHMER was born in 1941 in Berlin. He studied composition with Gottfried Michael Koenig (1959-61) and philosophy, sociology and musicology at the University of Cologne, writing his doctoral thesis on the theory of open form in new music (“Zur Theorie der offenen Form in der neuen Musik”, 1966). From 1961-1963 he was active at the electronic music studios of the WDR (West German Broadcasting Company) in Cologne. In 1966 he moved to the Netherlands and worked until 1968 at the Institute of Sonology at Utrecht University. He then became music editor of the Dutch weekly newspaper Vrij Nederland and in 1972 professor of music history and new music theory at the Royal Conservatory in The Hague, where since 1994 he has been director of the Institute of Sonology.

In the 1970’s and ‘80’s he was repeatedly guest professor at the “Latin-American Courses for Contemporary Music”, as well as extensively in the USA and Europe. - His composition “Information” was presented with the Dutch AVRO-award (1966) and the electronic work “Aspekt” was awarded the first price of the Vth Paris Biennale in 1968. His music drama “Doktor Faustus” was awarded the Rolf-Liebermann prize in 1983. In 1985 the City of Rotterdam awarded him the “Pierre-Bayle-Prize” for his writings on music and musical life.

His works include concert music (chamber and symphonic), music theatre and electroacoustic music. Boehmers works have been featured at the following festivals and organisations: Musik der Zeit (WDR, Cologne), Domaine Musical (Paris), Radio Télévision Belge (Brussels), Österr. Rundfunk (Vienna),Tage der Neuen Musik (Hannover), musica nova (Bremen), Gaudeamus Music Week (Hilversum), Allgemeines Deutsches Musikfest (Munich), Concertgebouw (Amsterdam), ORTF (Paris), Théatre National de l’Opéra (Paris), Centre Pompidou (Paris), Nationale Opera (Amsterdam), Nat. Opera België (Brussels), UNM Festival (Albuquerque), Donaueschinger Musiktage, Wittener Tage für Neue Kammermusik, Stadsschouwburg (Rotterdam), Festival International de Musique Expérimentale (Bourges), Hamamatsu Festival (Japan), Helsinki Festival (Finland).

Marti Epstein started studying composition in 1977 with Professor Robert Beadell at the University of Nebraska. She has degrees from the University of Colorado and Boston University, and her principle teachers were Charles Eakin, Joyce Mekeel, and Bernard Rands. Marti was a fellow in composition at the Tanglewood Music Center in 1986 and 1988 and worked with Oliver Knussen and Hans Werner Henze. As a result of her association with Henze, she was invited by the City of Munich to compose her puppet opera, Hero und Leander, for the 1992 Munich Biennale for New Musik Theater. She was on the jury for the 1994 Biennale.

Marti has received commissions from Sequitur New Music Ensemble, the Fromm Foundation, guitarist David Tanenbaum, the American Dance Festival, the A*DEvant-garde Festival of Munich, tubist Samuel Pilafian, flutist Marianne Gedigian, the New England Brass Quintet, Boston Conservatory, Boston University Marsh Chapel Choir, pianist Kathleen Supove, and the Pro Arte Chamber Orchestra of Boston. Her music has been performed all over the United States and in Italy, Germany, and China. In April 1998 the San Francisco Symphony under the direction of Alisdair Neale presented the premiere performances of Marti’s orchestral work, Celestial Navigation.

Marti’s music has been recorded by pianist Kathleen Supove, guitarist Ulf Golnast, and the University of Iowa Brass Quintet. She was a resident at the MacDowell Colony in 1998 and in 1999. She was a recipient of a 1998 Fromm Foundation Commission, and she won the 1998 Lee Ettleson Composition Prize.

In September 1999, the Radio Symphony Orchestra of Frankfurt premiered Print, an orchestral work Marti composed in the spring of 1998. In February 2000, the Pro Arte Chamber Orchestra of Boston premiered Twylle which they commissioned from her. In August 2001, the CrossSound Sinfonietta (Juneau AK) will premiere Chant, a work Marti is composing for the CrossSound New Music Festival in Southeast Alaska.

Marti Epstein is an Associate Professor at Berklee College of Music, where she has taught harmony, counterpoint, and composition since 1991. Marti is currently a co-director of the Boston new music ensemble, Extension Works.

HIROKO ITO was born in Japan. She studied composition under Mario Davidovsky, Stephen Mosko, Mel Powell and Bernard Rands. She also studied Gagaku with Suenobu Togi at the University of California in Los Angeles. Following receipt of her undergraduate degree in literature in Tokyo, Hiroko earned a Master's degree in composition and conducting from the California Institute of the Arts and is currently a Ph.D. candidate in composition at Harvard University. One of her most recent performances was in Halifax, England, directed by Shakuhachi virtuoso Elizabeth Bennett. Ito's current interest includes a composition for an ensemble using non-western instruments and European orchestral instruments. She is also working on a reference addressing problems and issues associated with composing and performing works for such an ensemble. The project with CrossSound satisfies her strong interest in the topic. She is currently writing a
dissertation, while teaching at Asahi Gakuen in Los Angeles. She is also an active performer of Gagaku in Southern California..

MISSION STATEMENT

During the 1940's internationally famous Russian pianist Maxim Shapiro came to Juneau to give a concert. Favorably impressed with the place, he suggested an "Alaska Music Trail" with a series of four artists or groups yearly. His hand-picked musicians from all over the world contracted concerts in eighteen Alaskan towns and in about six Canadian towns. He hoped that the "Music Trail" would last at least ten years, but he died in the ninth year, and his wife, Jane, carried his project through twenty-five years.

The CrossSound Festival continues the spirit of this Alaska Music Trail in Southeast Alaska, but not only does CrossSound present musicians from all over the world in Southeast Alaska, it also provides newly written compositions for them to play together with musicians from Southeast. The goal is the creation of integrated, balanced ensembles that give especially amateur and student musicians the opportunity to experience the multiple artistic standards heard today in professional performances internationally.

This celebration of musical diversity offers a variety of engaging aesthetic experiences for Southeast Alaskans. Including as many as six world premieres each year, the programs focus on contemporary music and incorporate new compositions for non-western instruments.

CrossSound is for Southeast Alaskans. The festival will travel through Southeast communities that agree to host the concerts via the Alaska Marine Highway.

CrossSound functions as an agent that brings together artists from Southeast Alaska with guest artists from all around the globe. Southeast Alaskan musicians encounter a wide variety of contemporary compositional styles thus connecting Southeast Alaska to the array of artistic developments in other parts of the world and creating an ever expanding range of aesthetic experiences. The concerts serve to enrich the cultural life in Southeast, rounding out the concert seasons in a way that only very few regions the world can boast.

Through rehearsals and concerts, and with out-reaching ancillary programs, CrossSound involves musicians and audiences of all ages from all communities in Southeast Alaska. CrossSound aims to bridge cultural and social barriers, facilitating cross-cultural interaction and encourage reciprocal learning. Over time it allows audiences and artists to embrace new and unfamiliar music and inspires individual explorations into new musical worlds. CrossSound is open for applications to participate in the concerts from individual musicians, groups of musicians, as well as composers of all ages and heritages.