Previous Performances

Previous Performances 2013 -2006

All performances will be held in the
Peter and Elizabeth C. Tower Auditorium at the
Burchfield Penney Art Center at Buffalo State College
1300 Elmwood Avenue, Buffalo , NY 14222
For more information, call  the Burchfield Penney Art Center at: (716) 878-6011

Tickets: Call 716-878-6011
$10 Burchfield Penney members
$20 “not yet” members
Join today.
Advance tickets strongly recommended.


Friday  APRIL 12, 2013   8 PM
Program Notes

Song and Dance for  bass trombone  and piano
by David Taylor ( 1944)
1. song
2. dance
David Taylor, bass trombone    Michael McNeill, piano

Waves at Matsushima (2011)
by John Bacon ( 1963)
Rin Ozaki, marimba

Impromptu in G Flat Op.90 NR.3   (1827)  Franz Schubert (1797-1828)
Claudia Hoca, pianist

Der Doppelgaenger   Franz Schubert (1797-1828
Heinrich Heine (1797-1856)  arranged by David Taylor (1944)
David Taylor, bass trombone


Signs of the Zodiac ( 1975) by Karlheinz Stockhausen ( 1928-2007)

CAPRICORN  (arr. David Taylor)
GEMINI  (arr. David Taylor)
AQUARIUS (arr. John Bacon)
ARIES  (arra. by John Bacon)
LEO (arr. Jonathan Golove)

Michael Mc Neill, piano; Rin Ozaki, marimba;  John Bacon, vibes ;
David Taylor, bass trombone;  Jonathan Golove, cello


Sunday, March 10, 2013   2pm
Program Notes

Small Stones (2009) Matt Sargent(1984.)
Bob Fullex, Jason Bauers
(Crossfire Percussion Duo)

Konzertstück für Zwei Altsaxophone (1933)   Paul Hindemith (1895-1963)
I. Lebhaft
II. Mäßig langsam
III. Lebhaft

Diane Hunger, saxophone
Wildy Zumwalt, saxophone

Minstrels Claude Debussy (1862-1918)
From Preludes books (December 1919/January 1910)
12 Minstrels
Claudia Hoca, piano
Charles Castleman,violin

Poème élégiaque, Op. 12 ( 1895) Eugène Ysaÿe (1858-1931).
Claudia Hoca, piano
Charles Castleman, violin


Suite italienne ( from Pulcinella 1932) Igor Stravinsky ( 1882-1971)
5.Minuetto e Finale

Claudia Hoca, piano
Jonathan Golove, cello

Three Dances Astor Piazzolla (1921 – 1992)
Invierno Porteño
La Muerte del Àngel

Wildy Zumwalt saxophone,   Claudia Hoca piano,
Jonathan Golove, cello,  Moshe Shulman, bandoneon

Peter & Elizabeth C. Tower Auditorium Burchfield Penney Art Center
at Buffalo State College 1300 Elmwood Avenue, Buffalo , NY 14222
878-6011 or


Friday,  November 9, 2012 8 PM
Program Notes

A Musical Feast 2012-2013 season opens with Julia Bentley, Kuang-Hao Huang, and the LehrerDance Company!

Literary Advisor: Ann C. Colley, SUNY Distinguished Professor
Musical Advisor:  Julia Bentley


The Electronic Playground (2007) John Bacon (1963)
The Fredonia Faculty Percussion Quartet, Kay Stonefelt, Tiffany Nicely. Matthew Wilson, John Bacon, percussion and electronics

Five Songs for Contralto and Piano on texts by ee cummings (1938)
(Edward Estlin Cummings] 1894-1962
music by John Cage  (1912-1992)
Julia Bentley mezzo-soprano, Kuang-Hao Huang piano

Trois Fables de Jean de la Fontaine ( 1919)
texts  by Jean de la Fontaine  (1621-1695)
music  by André Caplet. (1878-1925)
1.) Le corbeau et le renard
2.) La cigale et la fourmi
3.) Le loup et l’agneau

Four Dances (1942-43) John Cage  (1912-1992)
for piano  (also handclap) percussion (tom tom, handclap, footstomp) and voice
Dance 1
Dance 2
Julia Bentley mezzo-soprano, Kuang-Hao Huang piano
LehrerDance  Company
Kurt Adametz, Rachael Humphrey, Theodore Krzykowski


Edward Lear (1812-1888) Nonsense Cookery,
Lear Recipes from Nonsense Gazette 1870
Julia Bentley mezzo-soprano

Souvenirs of Childhood    by Oskar Morawetz ( 1917-2007)
Poetry by Robert Louis Stevenson  (1850-1894)
A Child’s Garden of Verses.  ( 1885)
From a Railway Carriage
The Swing
Escape at Bedtime
Foreign Children
Julia Bentley mezzo-soprano, Kuang-Hao Huang piano

Four Dances ( 1942-43)  John Cage  (1912-1992)
for piano (also handclap) percussion (tom tom, handclap, footstomp) and voice
Dance 3
Dance 4
Julia Bentley mezzo-soprano, Kuang-Hao Huang piano
LehrerDance  Company:
Kurt Adametz, Rachael Humphrey, Theodore Krzykowski

Friday, April 13, 8:00pm   2012
Program Notes

Tickets: Call 716-878-6011
Purchase Online by Clicking Here
$10 Burchfield Penney members
$20 “not yet” members   students: $10 with ID
Join today.
Advance tickets strongly recommended.

The Robert and Carol Morris Center for 21st Century Music
University at Buffalo : Co-Sponsor

Trio for Flute, Cello and Piano  (1944)    Bohuslav Martinu (1890 – 1959)
1. Moderato
2. Adagio
3. Andante — Allegretto scherzando
Carol Wincenc, flute
Jonathan Golove, cello
Claudia Hoca, piano

Duo Concertant (1932)    Igor Stravinsky (1882 -1971)
Eglogue I
Eglogue II
Charles Castleman, violin
Claudia Hoca, piano

“Lamentations of Jeremiah” by David Finko
Charles Castleman, violin


6 Chassidic Folks Songs (2007)      Paul Schoenfeld ( 1947)

Achat Sha’alti
Vah’hi Vishurun Melech
Carol Wincenc, flute
Claudia Hoca, piano


Sunday, March 18,  2:00 pm, 2012
Program Notes

…wind, water, metal, skin… (2011)        John Bacon  (1963)
John Bacon, percussion                 Barry Crawford, flute

Mozart Fantasy in D minor (1782)  W. A. Mozart (1756-1791)
Eric Huebner, piano

Descriptions of the Moon   ( 2010) Nathan Heidelberger (1987)

World Premier Performance
Poems: Descriptions of the Moon
I. Dante and Beatrice set foot on the moon
II.  Dialogue (Concerning the Two Chief World Systems)
III. Simples
IV. Then it wasn’t true?
V. the Cambridge ladies
VI. Reflection of the Moon
VII.  Girl’s Melancholy (Interlude)
VIII. To Jane
IX. The Distance of the Moon

mezzo-soprano: Julia Bentley              piano: Eric Huebner


Memo 7 (2000)                       Bernard Rands  (1934)
mezzo soprano,  Julia Bentley

Night Fantasies (1980)          Elliott Carter (1908)
piano, Eric Huebner Carter (1908)
piano, Eric Huebner


November 20, 2011  2 PM
Program Notes

Buffalo News – “In “Morphic Slip,” the dancers costumed in bobsled racer-looking suits, moved like reptiles along the stage floor before melding into more sculptural intertwinings of bodies.”

“An astoundingly acrobatic, other-worldly duet. Lehrer Dance took the house not so much by storm as by quantum physics. Jon Lehrer’s strikingly original choreography transformed the stage into an energy field of super-charged particles.” – Dance Magazine

Morphic Slip     Music : Aphex Twin
Choreograph Jon Lehrer
Dancers Theodore Krzykowski , Rachael Humphrey

Argentine Tango     Moshe Shulman (1978)
Moshe Shulman, accordion,     Julia Shulman   double bass,               Charles Castleman violin,      Eric Huebner piano

Tango, Song and Dance (2001)      Andre Previn ( 1929)
Charles Castleman, violin    Claudia Hoca, piano


Petrouchka  ( 1910-11 revised in 1947)   Igor Stravinsky 1882-1971
Eric Huebner, piano

Pohádka (Fairy tale) (1910 revised 1923)    Leoš Janá¥ek ( 1854-1928
Con moto
Con moto
Jonathan Golove, cello        Eric Huebner, piano
Choreography Jon Lehrer
Dancers:  Immanuel Naylor, Colleen Walsh



CONCERT: SUNDAY, April  10, 2011

2pm  RendezBlue
A FREE Four Day Art Happening of art, music, film and performance at the Burchfield Penney Art Center
Presented by BlueCross BlueShield of

The Robert and Carol Morris Center for 21st Century Music”
University at Buffalo : Co-Sponsor

Brigid’s Flame ( 2009)     by Amy Williams (1969)
Amy Williams, piano

Durations 2 for cello and piano (1960)
by  Morton Feldman (1926-1987)
Amy Williams, piano               Jonathan Golove, cello

Kottos (1977)   by Iannis Xenakis (1922-2001)
Jonathan Golove, cello

Inflexionen (.2010) world premier  by Ruth Wiesenfeld (1972)
Alice Teyssier, flute

Secret Messages (2009)   by Moshe Shulman (1978)
Charles Haupt, violin


Sonata for Violin and Piano in A major  (1886)
by Cesar  Franck (1822-1890)
1. Allegretto ben moderato
2. Allegro
3. Ben moderato
4. Allegretto poco mosso
Claudia Hoca, piano       Charles Castleman, violin


A Musical Feast: Sunday, April 10th, 2pm 2011
‘A Musical Feast’, the resident musical ensemble at the Burchfield Penney Art Center, presents the final concert of its current season at 2pm on Sunday, April 10, as part of ‘Rendezblue’, a free four day happening of art, music, film and performance at the Burchfield Penney Art Center, presented by BlueCross BlueShield of WNY.

Amy Williams, who along with her performance partner Helena Bugallo, make up the Bugallo-Williams Piano Duo, is Buffalo’s favorite, wandering-pianist daughter. Hailed as “beyond brilliant” (San Francisco Classical Voice) and “simply stunning” (Gramophone), the Bugallo-Williams Piano Duo has been presenting innovative programs of contemporary music throughout Europe and the Americas since 1995. Williams makes a welcome return to our series, performing her own composition, Brigid’s Flame, composed in memory of her father-in-law, and based on the life of Saint Brigid, who is associated with many symbols, including sacred flames, high intelligence, and poetic eloquence. Williams will also join cellist Jonathan Golove for Morton Feldman’s Durations 2 for cello and piano, the first of a series of small ensemble works composed in 1960, in which Feldman relinquished some of the usual control exerted by the composer over the harmonic content of the music.

Mythological references rule in Greek composer Iannis Xenakis’ Kottos, a challenging but approachable work for solo cello which will be performed by cellist Jonathan Golove. Moshe Shulman (b. 1978), takes the title of his 2009 work, Secret Messages, literally, i.e. he supplies no description of the piece,  composed for solo violin, since if he provided a description beforehand,  the work, which will be performed by Charles Haupt, the founder and Artistic Director of ‘A Musical Feast,’  would no longer be secret.
A memorable performance of contemporary German composer Ruth Wiesenfeld’s haunting work, stories still, for cello and recorded text by Samuel Beckett, was a highlight on the last program. Alice Teyssier performs the world premiere of the composer’s intriguing  inflexionen, for solo flute on this program.

After intermission, virtuoso violinist Charles Castleman, professor of violin at Eastman, and pianist Claudia Hoca, join forces for a performance of Cesar Franck’s passionately romantic Sonata for Violin and Piano in A major  (1886). Castleman, who plays both the 1708 Stradivarius “Marquis de Champeaux”, and a 1709 Venetian Matteo Goffriller, previously owned by Albert Sammons, concertmaster of the London Philharmonic, is vividly remembered by series audiences for his previous performances of the fiendishly difficult sonatas for solo violin by Eugene Ysaÿe, while Claudia Hoca is widely acknowledged as one of the finest pianists in Western New York.

The performance is co-sponsored by the Robert and Carol Morris Center for 21st Century Music at the University at Buffalo. Seating is limited, so call now to reserve your seat in the Peter and Elizabeth C. Tower Auditorium at the Burchfield Penney Art Center at Buffalo State College, 1300 Elmwood Avenue, Buffalo, NY 14222. Tickets may be reserved at the Burchfield Penney, or by phone at 878-6011, during gallery hours. For more information, please visit  or,


Friday, February 11,   8 PM
Seating is limited, so call now to reserve your seat
Purchase tickets online: .

Tickets: $ 10.00 and $ 5.00 for members and students
The Robert and Carol Morris Center for 21st Century Music”
University at Buffalo : Co-Sponsor

Gallery: Suite for Unaccompanied Cello  (1971)
by Robert Muczynski (1929 –2010)
Carter Enyeart, cello

2-Rainy Night
3-Noonday Heat
5-Winter Houses
6-Ice Glare
7-Black Iron
8-September Light
9-End of Day

Kreisler’s Coat for cello and piano  (2011)
by Jonathan Golove (b.1966)
 Jonathan Golove, cello      Claudia Hoca, piano

Séquence pour un hymne à la nuit for cello and piano  (1979)
by Alain Margoni  (b.1934)
Jonathan Golove, cello      Claudia Hoca, piano

stories still for cello and pre-recorded tape; (2004) text Samuel Beckett
by Ruth Wiesenfeld (b.1972)
Jonathan Golove, cello        Peter Hulton, voice

Duo for violin and cello, opus 7  ( 1914)
by Zoltán Kodály (1882-1967)

I. Allegro serioso, non troppo
II. Adagio
III. Maestoso e largamente, ma non troppo lento – Presto
Charles Haupt, violin,      Feng Hew, cello

“A Musical Feast Concert Program

Peter & Elizabeth C. Tower Auditorium
Burchfield Penney Art Center
Buffalo State College
1300 Elmwood Avenue, Buffalo , NY 14222
878-6011 or

RendezBlue – SOURCE
A FREE Four Day Art Happening of art, music, film and performance at
the Burchfield Penney Art Center
Presented by BlueCross BlueShield of WNY:




Co-Sponsor: The Robert and Carol Morris Center
for 21st Century Music” University at Buffalo

Co-Sponsor: The Robert and Carol Morris Center for 21st Century Music”
University at Buffalo

Cello Sonata by Claude Debussy (1862-1918)

I. Prologue: Lent, sostenuto e molto risoluto
II. Sérénade: Modérément animé
III. Final: Animé, léger et nerveux

Jonathan Golove, cello             Claudia Hoca, piano

Sonata in A Major by Philippe Gaubert (1879-1941)

1. Modéré
2. Lent
3. Allegro moderato

Barry Crawford, flute          Alison D’Amato, piano


Vocalise by Sergei Rachmaninoff (1873-1943)

Jonathan Golove, theremin cello         Claudia Hoca, piano

Hebrew Melody by Joseph Achron (1886-1943)

Jonathan Golove, theremin cello         Claudia Hoca, piano

Café Music by Paul Schoenfield (b.1947)

1. Allegro
2. Rubato, andante moderato
3. Presto

Claudia Hoca, piano    Charles Haupt, violin
Jonathan Golove, cello

All performances will be held in the Peter and Elizabeth C. Tower Auditorium at the Burchfield Penney Art Center at Buffalo State College 1300 Elmwood Avenue, Buffalo , NY 14222 . For more information, call (716) 878-6011 or visit



PROGRAM for APRIL 15, 2010 concert: 7 PM
Program Notes   |   Press Release


Thursday, April 15, 2010 , 7PM ADMISSION FREE

Peter & Elizabeth C. Tower Auditorium
Burchfield Penney Art Center
at Buffalo State College
1300 Elmwood Avenue, Buffalo , NY 14222
878-6011 or

“The Robert and Carol Morris Center for 21st Century Music”
University at Buffalo 


Capriccio Italien, Op. 45

Capriccio Italien, Op. 45 ( 1880)      Peter Ilyich Tchaikovsky (1840-1893}
arranged for piano, four-hands, by the composer
Claudia Hoca, piano
Phyllis East,    piano

November Sky (1992)           David Felder (1953)
for flute doubling piccolo, alto, and bass flutes, with computer processed sounds.
Barry Crawford, flute
Commissioned by N.E.A. and Rachel Rudich


“The product of my genius and my misery, and that which I have written in my greatest distress, is that which the world seems to like best.”
Franz Schubert

String Quintet in C Major for 2 violins, viola, 2 cellos, D.956, Op.163 (1828
Franz P. Schubert      (1797-1828)

1. Allegro ma non troppo
2. Adagio
3. Scherzo. Presto – Trio. Andante sostenuto
4. Allegretto

Charles Haupt, violin; Shieh-Jian Tsai, violin;
Feng Hew, cello; Robert Hausmann, cello;
Virginia Barron, viola;

“A Musical Feast Concert Program”
Peter & Elizabeth C. Tower Auditorium
Burchfield Penney Art Center
Buffalo State College
1300 Elmwood Avenue, Buffalo , NY 14222
878-6011 or


A FREE Four Day Art Happening of art, music, film and performance at
the Burchfield Penney Art Center

Presented by BlueCross BlueShield of WNY:


Thursday, February 11– Sunday, February 14, 2010
Peter & Elizabeth C. Tower Auditorium
Burchfield Penney Art Center

at  Buffalo State College
1300 Elmwood Avenue, Buffalo , NY 14222
(716) 878-6011  or

“The Robert and Carol Morris Center for 21st Century Music”
University at Buffalo


Press Release for February 2010

Duo No.2 for Violin and Cello, H.371   |  Bohuslav Martinu (1890-1958)
Allegetto  |  Adagio  |  Poco Allegro
Charles Haupt, violin         Jonathan Golove, cello

Eric Satie ( 1866-1925)   Sarabande Nr.3 (1877)
Je te veux ( 1904)
Le Piccadilly ( 1904)
Claudia Hoca, piano

 Animus III, for clarinet and tape      Jacob Druckman  (1928-1996)
Jean Kopperud, clarinet

ANIMUS III by Jacob Druckman for clarinet and electronic tape 1969
ANIMUS III is the third of a series of works for live performers and tape. Each of the works is involved with the actual presence of the performers theatrically, as well as musically. Each work limits its focus to a particular area of human affection as well as to a limited body of musical materials. Each work presumes that the theatrical and musical elements are inseparable; that the performance of the drama in inherent in the ideal performance of the music. ANIMUS III deals with virtuosity. The ideal performance gradually develops a theatrical image which is a projection of the mindless aspects of virtuosity.



Shamayim began as a music work commissioned in 3 parts from numerous European festivals and Project Isherwood, an initiative to create new works for bass singer Nicholas Isherwood.  Funds were also provided by the Argosy Fund for Contemporary Music, and the New York State Music Fund, the Birge-Cary Chair in Music, the UB2020 Scholar’s Fund, and the Morris Creative Arts Fund (image realization) all at the University at Buffalo.

Shamayim is a work for solo bass voice, 8 channels of electronic sound made or modeled upon bass singer’s Nicholas Isherwood’s vocal instrument, with video created by Elliot Caplan. The work is an extended meditation inspired in part by close readings of the Book of Formation (Sefer Yetzirah), the writings of thirteenth century mystic Abraham Abulafia, and descriptions of states of consciousness that accompany prophetic experiences. The work is in three sections titled respectively:

1. Chashmal  (speaking silence) 2006-7
2. Sa’arah (stormy wind) 2007-8
3. Black Fire / White Fire 2008-9

The unique talents and abilities of bass singer Isherwood (a 5 octave range and experience in harmonic singing, and much more) were the primary sources for all of the sounds in the piece, with accompanying natural sounds and selected ringing metals.

Video maker Elliot Caplan began work in Spring 2006 on Chashmal, and the premiere of that portion of the work occurred at “June in Buffalo”, June, 2006. Sa’arah was previewed in October, 2007, and the entire work received its premiere in June, 2008. Final mixing and realization for the DVD presentation was made from December through May, 2009.

It is important to note that this work is designed to exist in two complementary versions; the first, is a conventional live performance, with or without image, in concert halls with live amplification, processing, and 8 channels of sound; the second, a version for installation or home theater presentation in surround 5.1 and with a specially prepared image presentation. The latter was released October, 2009 by Albany Records.

Spatial distribution of musical elements is a critical component in the composition. The DVD/DTS may be played through a dvd multi-channel audio player by connecting the output to a surround receiver and a system that has a 5.1 setup. A stereo mix is available in the audio menu, as well as the preferred surround, and may be selected.

Black Fire/White Fire
a film by Elliot Caplan and David Felder

David Felder (1953)

Elliot Caplan

Elliot Caplan
Donald DuBois

Bass Voice
Nicholas Isherwood

Musical assistants for computer realizations
JT Rinker
Olivier Pasquet, Ben Thigpen

Music Recording
Joel Gordon
Bernd Gottinger
Chris Jacobs
Olivier Pasquet

Music Mixing and Editing
JT Rinker
Ben Thigpen

Music Mastering
Bob Ludwig /Gateway Mastering

Video Mastering
Tracy Centrone / Devlin Video

A production of Picture Start Films
in association with
Center for 21st Century Music
Center for the Moving Image
University at Buffalo,
The State University of New York

This program was made possible with funds provided by the Robert and Carol Morris Center for 21st Century Music, the Robert and Carol Morris Fund for Artistic Expression and the Performing Arts, the Birge-Cary Chair in Music, University at Buffalo 2020 Scholar’s Fund, all at the University at Buffalo, Argosy Fund for Contemporary Music, The New York State Music Fund, and Project Isherwood, a world-wide consortium of festivals and organizations.

Video © 2009 Picture Start Films, Inc./ Music © 2009 David Felder

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer , philosopher, poet, music theorist, artist, printmaker ,[1] and amateur mycologist and mushroom collector. A pioneer of chance music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde . Critics have lauded him as one of the most influential American composers of the 20th century.[2][3] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage’s romantic partner for most of their lives.[4][5]

Cage is perhaps best known for his 1952 composition “¥¥¥¥433 “, the three movements of which are performed without a single note being played. The content of the composition is meant to be perceived as the sounds of the environment that the listeners hear while it is performed,[6] rather than merely as four minutes and thirty three seconds of silence, [7] and the piece became one of the most controversial compositions of the twentieth century. Another famous creation of Cage’s is the prepared piano (a piano with its sound altered by placing various objects in the strings), for which he wrote numerous dance-related works and a few concert pieces, the best known of which is Sonatas and Interludes (1946–48).[8]

His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music and coincidentally their shared love of mushrooms, but Cage’s major influences lay in various Eastern cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of chance-controlled music, which he started composing in 1951. The I Ching , an ancient Chinese classic text on changing events, became Cage’s standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music , he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living”
Video © 2009 Picture Start Films, Inc./ Music © 2009 David Felder


CONCERT: Thursday, November 19, 2009 7 PM
Leo Smit Review
Additional Program Notes   Notes from RendezBlue

Remembering Leo Smit (1921-1999)
Curated by John Bewley

Leo Smit was fond of quoting the following passage from a letter that Beethoven wrote in 1812 to a young musical admirer named Emilie. In a way it serves as a credo for the extraordinarily rich musical and artistic life that Leo Smit led. Persevere, do not only practice your art, but endeavor also to fathom its inner meaning; it deserves this effort. For only art and knowledge can raise men to the level of gods.
Leo Smit’s career as composer, pianist, conductor, and educator spanned seven decades of musical life in the United States. He established close working relationships, and/or friendships, with many of the most prominent musicians of the 20th century, incl uding Igor Stravinsky, Béla Bartók, Aaron Copland, Leonard Bernstein, Harold Shapero, William Schuman, Alex Haieff, Leopold Stokowski, and Lukas Foss. As a performer, Smit was an enthusiastic and persuasive advocate and interpreter of the mu sic of his time, especially the solo piano music of Aaron Copland. His compositional output totals more than one hundred works, including two operas, three symphonies, more than ninety songs, two ballets, and numerous chamber and piano works. Smit was also a talented photographer. In addition to the many photographs he took of noted musicians, Smit also used his skill as a photographer to capture images from his travels. Many of his travel pictures reflect his reverence for nature. As part of his innovative approach to programming, Smit would often include displays of his photography in his theme-based concerts.

During his career Leo Smit earned several awards and honors, including Fulbright (piano) and Guggenheim (composition) Fellowships in 1950, a fellowship at the American Academy in Rome for 1950-51, the Boston Symphony Merit Award in 1953 for his Symphony No. 1 (premiered October 16, 1953 by the Boston Symphony Orchestra, conducted by Charles Munch), the New York Critics Circle Award in 1957 (also for his Symphony No. 1), his selection as an artist for a State Department concert tour of Latin America in 1967-68, and the Buffalo Evening News Man of the Year award in 1969. As an educator, Smit held positions at Sarah Lawrence College (1947-49), UCLA (1957-63), and the State University of New York at Buffalo (1962-84).

Peter & Elizabeth C. Tower Auditorium
Burchfield Penney Art Center
Buffalo State College
1300 Elmwood Avenue, Buffalo , NY 14222
878-6011 or


Remembering composer/ pianist LEO SMIT

The three pieces of Leo Smit gives a lively and inclusive portrait of the late composer/pianist who lived and taught in Buffalo for over thirty years. The composer’s Jewish heritage is expressed in the brooding Tzadik for piano trio. The Izadik, saintly thaumaturge who appeared in remote, isolated Jewish villages of Eastern Europe nearly three hundred years ago, was the maker of wonders and miracles through his joyful, ecstatic music, suffusing the soul of the universe with his inspired and divine song. The spirit of healing brings wellness to troubled people. Dance Card (1985) acknowledges both the world of ballet and popular dance forms and is full of musical allusions. In the concluding Prater Rag, for example, a tag from Gershwin’s “How long has this been going on?” appears in the trio. The Waltz is a meditation on intervals from Wagner’s Tristan and the Diabelli Polka elaborates the opening interval of the waltz theme Beethoven monumentalized in his Diabelli Variations. The referencing of other music is common in Leo’s music, as it is in Stravinsky’s, and is present in all three of the pieces heard in this concert. The brilliant Dance Card for solo piano is a suite of four pieces full of allusions to classical composers Smit loved and Childe Emilie is the first cycle in Smit’s magnum opus of over 80 settings of the poems of Emily Dickinson.

Produced by A Musical Feast in the Peter and Elizabeth C. Tower Auditorium.

Heralded as one of the top chamber groups in Western New York and described by critics as innovative and exciting, A Musical Feast was founded three years ago by its artistic director, Charles Haupt, the retired concertmaster of the Buffalo Philharmonic Orchestra and Mostly Mozart Festival at Lincoln Center, NY. Irene Haupt serves as the group’s general manager.

 Charles Haupt, violin; Claudia Hoca, piano; Jonathan Golove, cello; Jean Kopperud, clarinet; Amanda DeBoer, soprano.


 Tzadik (1985) [piano trio]
Charles Haupt, violin;
Claudia Hoca, piano;
Jonathan Golove, cello

Dance Card (1986) [solo piano]
Tango Bolshoi
 Diabelli Polka
 Valse Tristan
 Prater Rag
 Claudia Hoca, piano


Olivier Messiaen [solo clarinet]
From the Quatuor pour la fin du temps,
Abime des oiseaux
 (Quartet for the End of Time, Abyss of the Birds)
 Jean Kopperud, clarinet

The Ecstatic Pilgrimage (1988-1991) [piano and soprano]
Six Cycles of Eighty Songs for Soprano and Piano
 Cycle 1 (1989)

Fourteen Songs About Memories and Fantasies of Childhood Poems by Emily Dickinson (1830-1886) [music by Leo Smit]
Claudia Hoca, piano; Amanda DeBoer, soprano

Zero Hour by Pete Johnson [solo piano, Leo Smit]
Recorded in the Great Hall, Cooper Union, New York
City, April 1981.
Produced by Thomas Frost: A Thomas Frost
Production, 1981.
Engineering: Digital by Dickenson
(JVC Digital System).

Sponsored by
BlueCross BlueShield of Western New York

GUSTO at The Gallery 8 PM
APRIL 10, 2009 | 716 882.8700
Albright Knox Art Gallery
Buffalo, NY Elmwood Avenue

Co-Sponsor: “The Robert and Carol Morris Center for
21st Century Music”, University at Buffalo

Co-sponsor: The Irish Classical Theatre Company


APRIL 10 2009 GUSTO at the Gallery
poetry with Vincent O’Neill

Rebonds (a) Iannis Xenakis ( 1922-2001)
Tom Kolor, percussion

The primal basis of music is rhythm, whose visceral vibrations send sound waves into motion. It is no accident that we perceive sound by means of eardrums, which resonate to the countless simultaneous frequencies of our auditory world. The potency of rhythm is the focus of Iannis Xenakis’s set for solo percussionist, titled Rebonds (Rebounds). In both portions of this work, the sole performer plays multiple instruments: bongos, tom-toms, and bass drums in Rebonds “a”, with the addition of a set of woodblocks for Rebonds “b”. A basic pulse is immediately established in the first part, starting with the simple alternation of strokes between one bongo and one bass drum. By the third repetition, a tom-tom is interposed, signaling the additive processes that provide the compositional underpinnings of the work. For example, the number of strokes within each of the first four beats follows the pattern 2-2-2-3. Next, one stroke is added to the first beat, changing the arrangement to 3-2-2-3. Such arithmetic permutations, including the Fibonacci series, inevitably produce rhythmic combinations of formidable complexity, belying the straightforward simplicity of their initial presentation. Our ability to consciously track these patterns evaporates quickly, allowing us to turn attention to the diversity of sound-colors and rhythmic variants emanating from within this relentless, undulating sound-field. Rebonds “b”, which opens the second half of tonight’s program, employs woodblocks to delineate contrasting sections within its larger form, layering further complication upon an already inextricable percussive thicket. These escalating complexities drive the work toward its inexorable conclusion, a virtuoso display incorporating all the instruments in spectacular fashion.

DUO for VIOLIN and VIOLA No. 1 in G major, K.423 (1783)
W.A. Mozart (1756-1791)
I. Allegro
II. Adagio
III. Rondo : Allegro
Charles Haupt, violin Valerie Heywood, viola
Wolfgang Amadeus Mozart
Austrian composer, pianist and violinist
born: 27 January 1756, Salzburg; died: 5 December 1791, Vienna

The Duo in G major was written in the summer of 1783 under unusual circumstances. It so happened that Mozart’s friend and fellow-composer Michael Haydn (the brother of Franz Joseph) was taken seriously ill, and was unable to fulfill his contract for Archbishop Colloredo of Salzburg. Most compelling was the Archbishop’s deadline to receive a pair of new duets. Michael was thus at risk of losing not only the commission, but probably his position as servant to the court.

When Mozart learned of his friend’s dilemma, he immediately set about the task of writing the duos, masquerading as Michael Haydn, and taking care to employ the latter’s elements of style. Biographers account that the gesture by Wolfgang Amadeus was not only one of kindness, but also one of genuine admiration for his friend’s music. Of course, Mozart’s quick hand turned out both duos (K.423 and K.424) like a short order chef. In just a day or two the ‘forgeries’ were delivered and happily accepted. The truth would not be revealed until after the passing of Michael Haydn in 1806, when a biography of the composer was published for the benefit of his widow. As for the music, despite Mozart’s coy deflection, he could not camouflage his own natural gift. The Duo in G features two bright outer movements complemented by a tender Adagio.

Frigate J.T. Rinker
Rin Ozaki, crotales


Rebonds (b) Iannis Xenakis
Tom Kolor, percussion

Tres danzas seculares ( 1994)
Mario Lavista

I.Lento flessible ed espressivo
II. Allegro giocoso e leggiero
III. Lentissimo. Presto delirando
Jonathan Golove, cello
Alan Feinberg: piano
Melanie Aceto, Christina Walsh

With this work, Lavista, one of Mexico’s leading contemporary composers, returns to the cello and piano combination he had previously explored in Quotations (1976).The earlier composition was a sustained effort at the suspension of time, both experiential and historical (It quotes a number of works from the history of the repertoires of the two instruments).The danzas, on the contrary, are brief studies in motion, particularly the moto perpetuo of the second and third pieces.

RENDEZ BLUE FEST   –  Recital Notes
Texts for Time Cycle

4 Day Mini Event at the Buchfield:

Sunday, February 8th 2009, 2 PM

Peter & Elizabeth C. Tower Auditorium
Burchfield Penney Art Center
1300 Elmwood Avenue, Buffalo, NY 14222
Admission: Buffalo State College Students, Faculty & Staff: FREE
ADMISSION to Gallery and all events: FREE

WBFO interview
Buffalo Avenues: Concert Honors Lukas Foss

Jesse Levine Discusses the Work of Lucas Foss
Please click here to listen

Lukas Foss, Composer at Home in Many Stylistic Currents, Dies at 86

Honoring composer Lukas Foss: Guest artists Amy Williams, Carol Wincenc, Charles Haupt, Claudia Hoca, Nils Vigeland, Jerry Kirkbride, Charles Z. Bornstein, Amanda DeBoar, Tom Kolor, Jonathan Golove, Jan Williams, and many other artists

Rendez Blue Fest is a Burchfield-Penney Art Center initiative featuring fourday mini-festivals held on extended weekends throughout the year. These programs are designed around common themes that allow the Burchfield-Penney to address the varied and diverse interests of the community.  Offered during these weekends are a wide array of programs including films, lectures/symposia, musical presentations, poetry readings, and workshops.

Foss – Renaissance Concerto interview:

Panel discussion: 2PM
Program: 3PM

Two Part Inventions    Foss/Bach

Two-Part Invention #3: Tranquillo ma mosso (1938)   Lukas Foss

Invention #1 in C major, BWV 772   J.S. Bach

 Two-Part Invention #2: Allegretto (1938)   Lukas Foss

  Amy Williams, piano

Renaissance Concerto (1985)   Lukas Foss

Baroque Interlude
Carol Wincenc,  flute
Claudia Hoca, piano

FOR LENNY………………Lukas Foss
Variation on New York, New York 1988
Charles Z. Bornstein, piano

3 1/3 Dances  (2005)      Nils Vigeland
 Carol Wincenc, flute
Charles Haupt, violin


Solo (1982)     Lukas Foss
Amy Williams, piano

Time Cycle (1960)       Lukas  Foss
I. We’re Late (W.H. Auden)
II. When the Bells Justle (A.E. Housman)
III. Sechzehnter Januar (Franz Kafka)
IV. O Mensch, gib Acht (Friedrich Nietzsche)

 Amanda DeBoer, soprano
Jerry Kirkbride, clarinet
Jonathan Golove, cello
Tom Kolor, percussion
Amy Williams, piano
Jan Williams, conductor


An interview with David Taylor from WBFO FM


Tuesday, May 27, 2008, 8 PM – Recital Notes

Co-Sponsor:  “The Robert and Carol Morris Center for
21st Century Music”, University at Buffalo

Passacaglia for violin and cello     George F. Handel (1685- 1759)
arr. Johan Halvorsen (1864-1935)
Charles Haupt, violin        Jonathan Golove, cello

Zelig Mood Ring      Johnny Reinhard ( 1956-)
David Taylor, trombone

Un Grand Sommeil Noir   Maurice Ravel (1875-1937)
(After a poem by Paul Verlaine)

Chants Populaires Hébraïques:  Darius Milhaud (1892-1974)
  No. 2   Le Chant du Veilleur
No. 5   Gloire à Dieu

Psalm No. XXXIV   Arthur Honegger (1892-1955)

David Taylor, trombone – Claudia Hoca, piano


2 Slavonic Dances Op 72, No. 2 & 8    Dvorak-Kreisler (1841-1904)
2 Waltzes Op 54, No.1 &  3    Dvorak-Ondricek
Gypsy Song (“Songs My mother taught me”) Op 55     Dvorak-Kreisler
Charles Castleman, violin – Claudia Hoca, piano

Piano Trio in C major K. 548    Wolfgang Amadeus Mozart (1756-1791)
Andante cantabile
Charles Haupt, violin – Jonathan Golove, cello – Claudia Hoca, piano

“A Musical Feast” – Press Release for 5-27-08
(Buffalo, NY) – For immediate release: May 2, 2008
For more information or photos contact:
Irene Haupt – General Manager:
For tickets, call the Kavinoky Theater 829-7668
General admission: $ 25.00 Seniors: $ 20.00 Students: $ 10.00
Group prices available

 “A Musical Feast,” the dynamic new chamber music organization founded by retired Buffalo Philharmonic Orchestra concertmaster Charles Haupt in 2006, presents the final concert in its very successful second season at The Kavinoky Theater of D’Youville College on Tuesday, May 27, 2008 at 8 PM. The program is presented in conjunction with the series’ co-sponsor, “The Robert and Carol Morris Center for 21st Century Music,” University at Buffalo. 

Making a very welcome return to “A Musical Feast” will be a special guest, the bass-trombone virtuoso David Taylor. The only bass trombonist to win the National Academy of Recording Arts and Science’s “Most Valued Player Award,” Mr. Taylor has done so a total of five times, the most times that it can be awarded to any musician.  He has been on numerous Grammy award-winning recordings, having recorded with artists as diverse as Duke Ellington, Miles Davis, YoYo Ma and the Rolling Stones, in addition to recording seven solo CD’s.

 Mr. Taylor currently performs with the Chamber Music Society of Lincoln Center, the Charles Mingus Big Band, the Mostly Mozart Festival Orchestra, the Michelle Camillo Band and the Bob Mintzer Band. Additionally, Mr. Taylor is a member of the Daniel Schnyder, David Taylor, Kenny Drew Jr Trio, the Trio Hidas and the group known as B3+.  He also appears frequently with Orpheus, and the St. Lukes Chamber Orchestras, and he is on the faculties of the Manhattan School of Music and Mannes College. (For more information, visit his website:

Immediately before and after his Buffalo performance in May, Mr. Taylor will be performing and teaching in Europe. Highlights include a teaching and performing residency at the principal conservatory in Vienna and a residency at the Anton Bruckner Haus in Linz, as well as performing on May 8, as both a trombonist and a vocalist in the premier of the chamber/hip-hop opera Money, by Gene Pritsker, at the Etna Festival in Catania, Sicily.

Mr. Taylor previously appeared during “A Musical Feast’s” first season, in a highly praised performance featuring own transcriptions of works by J.S. Bach and Franz Schubert. At the May 27 event, he will perform his transcriptions of songs by the 20th century French masters Maurice Ravel and Darius Milhaud, and Arthur Honegger, Swiss-born member of the influential French group of composers known as ‘Les Six,’ accompanied by  Claudia Hoca on piano. Mr. Taylor will also perform Zelig Mood Ring, the soulfully exotic and chameleon-like performance piece for spoken word and bass trombone by the microtonal composer Johnny Reinhard.

Violinist Charles Castleman, whose stylish performances of the fiendishly difficult Sonatas for Solo Violin by Eugene Ysaye have been featured in several previous ‘Musical Feast’ programs, will be offering a change of pace for this concert. Pianist Claudia Hoca will join Mr. Castleman in offering three transcriptions, two by Fritz Kreisler and one by Ondricek, of music by Dvorak.

Making his welcome first appearance at “A Musical Feast,” UB faculty member Jonathan Golove, cello, will join Mr. Haupt, violin, in a performance of the Passacaglia for violin and cello by Handel, in the brilliant, well-known arrangement by the Norwegian composer Johan Halvorsen. Mr. Golove , one of the finest cellists currently performing in Western New York, is both a composer and an outstanding concert performer, whose performances with the Baird Trio have garnered universal acclaim. Notable performances by Mr. Golove in the last month alone have included those of works as diverse as the Haydn Concerto for Cello in C Major (UB Symphony) and the monumental modern masterpiece “Lerchenmusik” – Recitatives and Ariosos, op. 53 for clarinet, cello and piano by the great contemporary Polish composer Henryk Gorecki.

The evening will conclude with a performance of Mozart’s Piano Trio No. 5, in C major K. 548, featuring Mr. Haupt (violin), Mr. Golove (cello) and Ms. Hoca (piano). Composed towards the end of the composer’s all too brief life, the work has a very natural elegance, combining great vitality with intimacy and, ultimately, a wonderful sense of serenity.

Once again, “A Musical Feast,” promises an evening of deep listening enjoyment, where the most talented artists perform a carefully selected and balanced program of the very finest compositions, both familiar and rare.


Tuesday, January 29, 8 PM   –  Recital Notes

THE KAVINOKY THEATER, D’Youville College, 320 Porter Avenue, Buffalo, NY 14201
General Admission:
$ 25.-  seniors: $ 20.-   students: $ 10.-  group prices available
Safe parking lot from Fargo or Connecticut Street

Co-sponsor: “The Robert and Carol Morris Center for 21st Century Music”,
University at Buffalo

J.S.Bach Partita #3 for violin solo  BWV 1006
Sonata #2 for violin solo “Obsession”   Eugene Ysaye
Danse des Ombres
Les Furies
Charles Castleman, violin

Olivier Messiaen: From the Quatuor pour la Fin du Temps “Abime des oiseaux” (Quartet for the End of Time, Abyss of the Birds)
Jean Kopperud, clarinet

Stravinsky:” L’histoire du Soldat”
The Soldier’s Tale
Christian Baldini: conductor
Paul Todaro: narrator, devil, soldier

Jean Kopperud, clarinet
Charles Haupt, violin
Marha Malkiewicz, bassoon
Jonathon Lombardo, trombone

Rin Ozaki, percussion
Edmond Gnekow, bass

Jon Nelson, trumpet

Paul Todaro is the narrator, the devil, the soldier in the very seldom performed Masterpiece ” The Soldier’s Tale” by Igor Stavinsky. The concert ” A Musical Feast”, organized by former BPO concertmaster Charles Haupt is starting its third year and going strong. The Faustian tale will be performed Tuesday, January 29, 8 PM. The exiting young Argentinian conductor, Charitian Baldini, will conduct Jean Kopperud, clarinet, Edmond Gnekow, bass; Jon Nelson, trumpet; Charles Haupt, violin; Martha Malkiewicz, bassoon; Jonathan Lombardo, trombone; Rin Ozaki, percussion Stravinsky collaborated with the novelist Ramuz in translateting a Russian story of the devil, who with Machiaviallian manipulations convinces the soldirt to compromise between his ideals and the ease of expediency. Once the contract is made, then the fun starts.

Jean Kopperud, clarinetist will play a solo part from the Quatuor pour la Fin du Temps “Abime des oiseaux” by Olivier Messiaen. Charles Castleman, violin, performs Bach solo sonata in G minor No.3 and Eugene Ysaye Sonata No.2 for unaccompanied violin 


Tuesday, Nov. 13, 2007, 8 PM    –  Recital Notes

The Kavinoky Theater,  D’Youville College, 320 Porter Avenue, Buffalo, NY 14201
General Admission : $ 25.- , Seniors: $ 20.- , Students: $ 10.- , group prices available


Co-Sponsor: ” The Robert and Carol Morris Center for 21st Century Music”,
University at Buffalo

  From: In Armida’s Garden, Part One
Torquato Tasso (1544-1595)

Selections  from: “The Liberation of Jerusalem”, a new verse translation by Max Wickert
Max Wickert, reader

Rocket Summer
David Felder (b. 1953)
Paolo Cavallone, piano

Paolo Cavallone (b.1975)
Paolo Cavallone, piano

Sonata for violin and piano
Claude Debussy (1862-1918)
Charles Castleman, violin    Claudia Hoca, Piano

Sonata for violin solo, opus 27, no. 6
Eugene Ysaye (1858-1931)
Charles Castleman, violin


 From: In Armida’s Garden, Part Two
Torquato Tasso (1544-1595}

Selections from: “The Liberation of Jerusalem”, a new verse translation by Max Wickert
Max Wickert, reader

from Mörike Lieder
Hugo Wolf (1860–1903)
Im Frühling
Auf ein altes Bild
An den Schlaf

from Goethe Lieder
Gleich und Gleich
Tony Arnold, soprano    Claudia Hoca, piano

Piano Trio no. 1, op. 49
Felix Mendelssohn (1809-1847)
Charles Haupt, violin    Feng Hew, cello   Claudia Hoca, piano


January 16, 2007, 8pm   –  Recital Notes

Rebonds (a)
Iannis Xenakis (1922-2001)
Tom Kolor, percussion

Toru Takemitsu (1930-1996)
Cheryl Gobbetti-Hoffman, flute

Music for Three
John Cage (1912-1992)
Tony Arnold, voice Cheryl Gobbetti-Hoffman, flute
Tom Kolor, percussion

Sonata no. 2 for violin solo, opus 95
Mieczyslaw Weinberg (1919-1996)
Allegro moderato (Monody) – Andantino grazioso (Pauses) – Presto agitato (Intervals) –
Andantino non tanto (Replicas) – Allegretto leggiero (Accompaniment) –
Lento affetuoso (Invocation) – Vivace marcato (Syncopation)
Charles Castleman, violin

Thea Musgrave (born 1928)
Tony Arnold, voice
Cheryl Gobbetti-Hoffman, flute


Rebonds (b)
Iannis Xenakis
Tom Kolor, percussion

Duo for violin and cello, opus 7
Zoltán Kodály (1882-1967)

I. Allegro serioso, non troppo
II. Adagio
III. Maestoso e Largemente ma non troppo lento – Presto
Charles Haupt, violin
Feng Hew, cello


October 3, 2006, 8pm  –  Recital Notes

Kavinoky Theater at D’Youville,
Porter Avenue (716) 829-7668

“Drei Deutsche Fantasien”

1. Pedal-Exercitium, BWV 598
Johann Sebastian Bach (1685-1750) / David Taylor (b. 1944)
David Taylor, bass trombone

2. Gavotte from Partita Six, BWV 830. transcribed by Steve Swallow
Johann Sebastian Bach (1685-1750)
Charles Haupt, violin               David Taylor, bass trombone

3. Der Doppelgänger
Franz Schubert (1797-1828) / Heinrich Heine (1797-1856) / David Taylor (b. 1944)
David Taylor, bass trombone

Romanze, Opus 85
Max Bruch (1838-1920)
Jesse Levine, viola                   Claudia Hoca, piano

Come Sunday, arranged by Michael Abene
Edward Kennedy”Duke” Ellington (1899-1974)
Charles Haupt, violin    David Taylor, bass trombone   Claudia Hoca, piano

Duo for violin and viola, No. 2 in Bb Major, K. 424
Wolfgang Amadeus Mozart (1756-1791)
I. Adagio – Allegro
II. Andante cantabile
III. Tema con variazioni (Andante grazioso – Allegretto)
Charles Castleman, violin   Jesse Levine, viola


Sonata for violin solo, Opus 27, No. 3 “Ballade”
Eugene Ysa¥e (1858-1931)
Charles Castleman, violin

Contrasts, SZ 111
Béla Bartók (1888-1945)
I. Verbunkos: Moderato, ben ritmato
II. Pihenö: Lento
III. Sebes: Allegro vivace
Charles Haupt, violin    Salvatore Andolina, clarinet   Claudia Hoca, piano


March 29, 2006 –  Recital Notes

Kavinoky Theater at D’Youville,
Porter Avenue (716) 829-7668

PHANTASY for VIOLIN ,  Opus  47
Arnold Schoenberg  (1874-1951)
Charles Haupt, violin,                Claudia Hoca, piano

 Benjamin Britten (1913-1976)
I. PAN who played upon the reed pipe which was Syrinx, his beloved
II. PHAETON who rode upon the chariot of the sun for one day and was hurled into the river Padus by a thunderbolt.
III. NIOBE who, lamenting the death of her fourteen children, was turned into stone
IV. BACCHUS at whose feasts is heard the noises of gaggling women’s tattling tongues and shouting out of boys.
V. NARCISSUS who fell in love with his own image and became a flower.
VI. ARETHUSA who, flying from the love of Alpheus the river god, was turned into a fountain.
Cheryl Gobbetti-Hoffman , flute

Arnold Bax  (1883-1953)
Jesse Levine, viola          Claudia Hoca,  piano

 DUO for VIOLIN and VIOLA  No. 1 in G major, K.423 (1783)
W.A. Mozart (1756-1791)
I. Allegro
II. Adagio
III. Rondo : Allegro
Charles Haupt , violin          Jesse Levine, viola


SOLO SONATA Opus 27, No. 4
Eugene Ysaye  (1858-1931)
I. Allemande
II. Sarabande
III. Finale
Charles Castleman ,  violin

   TERZETTO in  C Major for TWO VIOLINS and VIOLA, Opus 74

Antonin  Dvorak (1841-1904)
I        Allegro ma non troppo
II       Larghetto
III      Scherzo, Vivace
IV      Tema con variazioni, poco adagio, molto  allegro
Charles Castleman, violin     Charles Haupt , violin     Jesse Levine, viola