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Rafael Leonardo Junchaya
‘Tres Danzas Episkénicas’ for baritone/tenor saxophone, bass clarinet/clarinet and piano
1. Kordax for baritone saxophone, bass clarinet and piano
2. Emmeleia for baritone/tenor saxophone, bass clarinet and piano
3. Sikkinus for tenor saxophone, clarinet and piano

HyeKyung Lee

4. ‘Shadowing’ for alto saxophone and clarinet

Keith Carpenter

5. ‘The Devil His Due’ for baritone saxophone and piano

Eric Honour

6. ‘Neither From Nor Towards (ballade)’ for baritone saxophone, clarinet and piano

Marco Antonio Mazzini

7. ‘Imprevisto’ for solo clarinet

Kevin Walczyk
8.‘Refractions’ for alto saxophone, clarinet and piano

Fernando Benadon

‘Five Miniatures’ for baritone saxophone, bass clarinet and piano
9. one
10. two
11. thee
12. four
13. five

Christian Faur, artwork

Rafael L. Junchaya

Peruvian composer, orchestral conductor and music researcher, was born in Lima in 1965. Started piano lessons in 1973 with Ivonne Schiaffino and continued at the National Conservatory with Eduardo Bolaños (violin) and Norma Sosa (Theory) between 1975 and 76. In 1983 began studying Architecture at the National Enginerring University in Lima, where he also became a member of the chorus. In 1988 comes back to study Composition at the National Conservatory, and left the university next year. Since 1990 until 2002 worked at Radio Filarmonía (formerly Sol Armonía), conducting several programs, among them, “Crescendo” (1993). In 1992 travelled to La Serena, Chile, to attend the 4th Contemporary Music Encounter-Latin American Courses and Workshops, where he directed a workshop on MIDI instruments. He studied orchestral conducting with Miguel Harth-Bedoya between 1994 and 1996, and visited New York City in 1995 for complementary training. He later attended courses in orchestral conducting at the National Conservatory in Lima, between 2000 and 2003, under the supervision of Eduardo García-Barrios. Also attended to a orchestral conducting workshop at the National Symphony in 2002. Junchaya has been invited to conduct the National Conservatory Symphony Orchestra (1994, 2002 and 2003 as guest, and 2004 as principal), Symphony Orchestra of Trujillo (Peru, 1996, 1999), the Summer Workshop Orchestra, which he co-founded (1996) and has been principal conductor of “La Filarmónica” Orchestra between 2005 and 2007. He has been a teacher of Analysis, Music History and Composition at the Regional Conservatory “Carlos Valderrama” of Trujillo (1998–99), the National Conservatory in Lima (2000–07), the San Martín University Institute of Arts (2006–07) and the Peruvian Air Force (2007). His compositions have been premiered in several concerts and recitals in Peru and abroad. Among his works, it can be mentioned: Piano Prelude Op.1, “Picaflor esmeralda” and “Ave Maria” for chorus, “Estancias II” for voice and string quartet, “Variantes motímbricas” for clarinet, trumpet and synthesizer, “Marsyatikos” for flute and piano, Three Episkenic Dances, for clarinet, sax and piano, “Concertino Silvestre” for bass clarinet and string orchestra, and Symphonic Movement, “Esquisse” and “Varidanzas” for orchestra. He has also created several electroacoustic pieces, like “Piedra del Q'osqo”, “Ccoyllurcha”, “In-vita”, “Die Erscheinung”, “Sevoc Anatos” and “Tambok”. He has been awarded two composition prizes, at the 2005 Composers Kombat, in USA (for Magnificat for two sopranos, flute, oboe and horn) and in Lima the National Conservatory Anniversary Prize in 2006 for “Varidanzas”.At present moment, Junchaya is researching for a Musicology PhD thesis on musical composition at the University of Helsinki, Finland.

Three Episkenic Dances

1. Kordax
2. Emmeleia
3. Sikkinus

The titles of the work and of the movements refer to ancient Greek dances performed in theatre, although the music itself is not to be necessarily taken as a piece for dancing. It is dedicated to Thelema Trio and written for Bass/Bb Clarinet, Baritone/Tenor Sax and Piano. The composition is guided by the idea of complementariness. Each performer becomes an actor playing a different role, but that fits in a complementary role for the others. Sometimes they gather in pairs, or in threes, but mainly they act independently. But the independence is not absolute: there are joining elements, like rhythm, melodies and pitch sets.
Kordax acts as an introduction, quite straight, to the whole composition. It is characterized by a steady rhythm and figural repetitions. Emmeleia is more introspected, tends to depict a more melancholic and longing atmosphere, and emphasizes timbrical variations. Sikkinus is based, in rhythm and melody, on Peruvian dances from the Central Andes, where also the use of the clarinet and sax combination is quite common, so it highly resembles the sounds of that part of the country.
The Three Episkenic Dances were premiered by Thelema Trio at the Third Contemporary Music Festival of Lima in November 2005, and later also performed in Europe and the United States by the same ensemble.

HyeKyung Lee

HyeKyung Lee (born in Seoul, Korea) graduated from The University of Texas at Austin (DMA in Composition /Performance in Piano) where she studied composition
with Karl Korte, Donald Grantham, Dan Welcher, Stephen Montague, electronic music with Russell Pinkston, and piano with Danielle Martin and HeaSook Rhee. She also studied with Bernard Rands at the Atlantic Center for the Arts and Ladislav Kubik at the Czech-American Summer Music Institute in Prague. Her awards include Harvey Gaul Composition Competition (honorable mention), Composers Guild Competition, Delius Composition Contest, Indianapolois Chamber Orchestra Composition Competition, ASCAP Standard Award, SCI & SEAMUS/Student Composition Competition, and Nancy Van de Vate Prize for Orchestral Music from International Alliance for Women in Music. Her music can be found on New Ariel Recordings, Capstone Recordings, Mark Custom Recordings, Aurec Recordings, Robin Cox Ensemble Vol.7, and SEAMUS CD Series Vol.8. She recorded the CD, “Blue–New Music for Saxophone and Piano” with saxophonist Todd Yukumoto (released on Equilibrium) while she was teaching at the University of Hawaii in 2001. One of her commissioned work, “Dreaming in Colours” for Bassoon and Piano was written for theMeg Quigley Vivaldi Competition 2005. She was a Composer-in-Residence at Interlochen Arts Academy, University of Houston, University of Florida, University of Akron, and University of Missouri at Kansas City Conservatory of Music. Currently she is an Assistant Professor at Denison University, Granville, Ohio.


Shadowing (2006) was written for Marco Antonio Mazzini, Peter Verdonck, and dedicated to Ward: Thelema Trio. The instruments follow each other, sometimes honestly, diligently, and sometimes hesitantly, in disguise. Shadowing was premiered on October 18 on the 27th Annual New Music & Art Festival in Bowling Green, Ohio.

Keither Carpenter

Keith Carpenter was born in 1967 in Ashland, KY, and currently lives in Milwaukee, WI. He holds degrees from Rice University, the University of Cincinnati College-Conservatory of Music, and Northwestern University. He studied composition with Ellsworth Milburn, Joel Hoffmann, Jay Alan Yim, M. William Karlins, Michael Pisaro, Gerhard Stabler, Tristan Murail, and Louis Andriessen. His music explores the intersections of vernacular music with art music, often characterized as having an intense, highly syncopated rhythmic profile. This is coupled with a harmonic language that occupies a space between tonal modality and chromaticism creating a sound unique among composers. His music has been performed widely, including performances in France, Germany, Italy, Albania, Argentina and throughout the United States. His works have been performed by the Amherst Saxophone Quartet, Present Music, the Northwestern University Contemporary Music Ensemble, Nouvel Ensemble Moderne, The Wisconsin Wind Orchestra, and saxophonists Mark Engebretson and Susan Fancher. Recent works include a piano concerto for pianist Jane Livingston and a work for solo guitar for guitarists Paul Bowman and Rene Izquierdo. Carpenter teaches composition and theory at the University of Wisconsin-Milwaukee.

The Devil His Due

The Devil His Due is a response to saxophonist Peter Verdonck’s love for Death Metal Music. Not being tuned into that kind of rock, I imagined what it might sound like if written for saxophone and piano. As a starting point, I began with the lowest, most raucous sound I could imagine for the combination of bari sax and piano. From there, I organized the piece numerically around occult numbers, all the while emphasizing the devil’s interval, the tri-tone and the muscular sound of metal power chords made of fifths and octaves. The appeal of writing “devil” music has appealed to composers since at least the Romantic era (composer/violinist Niccolo Paganini even tried his best to look devilish), and my piece is an attempt at the same.

Eric C. Honour

Eric C. Honour, Jr. (b. 1970) is an associate professor of music and director of the Center for Music Technology at the University of Central Missouri, in Warrensburg, Missouri. His compositions have been performed across the United States, in Greece, Belgium, London, Budapest, and Bologna, including performances at regional, national, and international festivals and conferences. He is affiliated with the classical music division of Broadcast Music, Inc. (BMI) and his music has been published by Roncorp, Inc. and recorded on Capstone Records. He has won widespread recognition in competitions for both composition and performance, including the SCI National Composition Competition, the MTNA Collegiate Artist (both woodwind & composition) competitions, and the ASCAP Morton Gould Awards to Young Composers competitions. His music has been performed by such notable artists as Quintet Attacca, Q-02, Quintet of the Americas, Winston Choi, Mia Hynes, and Quartetto Musicattuale. His composition teachers have included M. William Karlins, Stephen Syverud, John Anthony Lennon, Jay Alan Yim, and Budd Udell. He completed the Doctor of Music degree in composition at Northwestern University in 2004. He earned his master's degree in saxophone and composition at Northwestern in 1997, studying saxophone with Frederick Hemke and Jonathan Helton. He was awarded a bachelor's degree in saxophone and composition with highest honors as well as the Performer's Certificate by the University of Florida in 1995.

neither from nor towards (ballade)

"neither from nor towards (ballade)" explores motion within stasis, and the intersection of process with intuition. Its quick flurries of notes tend only gradually toward large-scale movement, and fall back time and again to the unchanging center. The piece is based on my earlier work, "Ballade," for soprano saxophone and marimba, and takes its title from a line of T. S. Eliot's "Four Quartets 1: Burnt Norton." Like Eliot's paradoxical "still point of the turning world" – itself clearly linked to contemporaneous ideas emerging from early quantum mechanics – the pitch center of "neither from nor towards" is always crucial, yet never in the foreground. Instead, the instruments dance around that center, sometimes trading glances at
each other across it, sometimes joining in furious consort to stray away from it (and yet always falling back).


Marco Antonio Mazzini


This short piece is based on four notes (E - G# - B - D# ) which creates a seventh mayor arpeggio. These notes explode the full register of the clarinet, from the low E to the D# in the altissimo register. The tremolos already introduce three notes, and they should be play "as a whisper".
Imprevisto ("Unexpected") is dedicated to the memory of Mario Alvarado (1974-2002).


Kevin Walczyk

A native of Portland Oregon, Kevin Walczyk received a Bachelor of Arts in Education degree (instrumental music education) from Pacific Lutheran University and the Master of Music and Doctor of Musical Arts degrees from the University of North Texas. His composition instructors have included Larry Austin, Jacob Avshalomov, Martin Mailman, Cindy McTee, Thomas Svoboda, and David Del Tredici. As an accomplished jazz arranger and composer, Walczyk refined his craft with prominent jazz arrangers Tom Kubis and Frank Mantooth.
Walczyk's works have been commissioned and/or recorded by numerous ensembles, including the St. Louis Symphony Orchestra, Oregon Symphony, Kiev Philharmonic, Czech Philharmonic, Seattle Symphony, Vancouver Symphony, Ukraine National Symphony, Pittsburgh New Music Ensemble, Portland Youth Philharmonic, Third Angle Contemporary Music Ensemble, American Guild of Organists, Hutchins Consort, SoundMoves, Providence Ensemble, Thelema Trio, trumpet virtuoso Tim Morrison, and the Art Abrams Swing Machine Big Band. His works have been featured throughout Europe, Asia, South America and North America and at new music festivals in the United States, Holland, Belgium, Russia,
Ukraine, and Peru.Walczyk’s honors include grants from Meet the Composer, Argosy Foundation, American Music Center, and Western Oregon University. He has earned prizes or finalist status from Chamber Orchestra Kremlin International-blitz Competition, the Pittsburgh New Music Ensemble’s Harvey Gaul Competition, ASCAP, BMI, CBDNA Young Band Composition Contest, Lionel Hampton Creative Composition Contest, Phi Mu Alpha
Sinfonia, three Masterworks of the New Era recording prizes, Minnesota Orchestra Composer Institute, and the Los Angeles Philharmonic Synergy project. His works have been selected for participation by the Mid American Center for Contemporary Music Festival, Ernest Bloch Composers Symposium, College Band Directors National Association, Southeastern League of Composers, College Music Society, Society of Composers, Inc., and the North American Saxophone Alliance. Walczyk is currently resident composer and Professor of composition
studies at Western Oregon University, where he has taught since 1995.


Refractions was commissioned by the Thelema Trio of Belgium and premiered by that ensemble at the Western Oregon University 2005 Composer’s Workshop. The title defines the work’s process of sonic and formal change, especially in regards to the direction of sound propagation and the use of pitch boundaries that refract the music layers in an effort to diffuse or focus them throughout the ensemble. The work’s arch form features an active, fluid A section, a rhythmically declamatory B section, and an intimate, lyrical C section that contains brief sections of improvisation for the two wind performers.

Fernando Benadon

A native of Buenos Aires, Fernando Benadon studied jazz arranging at the Berklee College of Music and composition at UC-Berkeley, earning a Ph.D. in 2004. Praised as “engagingly forward” by the New York Times, Fernando was the winner of the Fromm commission at Tanglewood, the Aaron Copland Award from the Copland House, the League of Composers/ISCM competition, and UC-Berkeley’s Ladd Prize, which supports a two-year residency in Paris. He has received fellowships from Tanglewood, Fondation Royaumont, the Wellesley Composers Conference, the MacDowell Colony, and the Aspen Advanced Master Class. His music for film has been featured at Cannes and at numerous other film festivals around the world. As a scholar, he has written articles on jazz microtiming, John Lee Hooker’s boogie, graphical representations of rhythm, and tempo modulations. He is assistant professor of Music at American University in Washington DC.

Five Miniatures

Miniature 1: Drunk, Oriondo stumbles into a remote and dusty tavern. He spots a small table in a dark corner where Fulgencia sips from a golden flask. He trips a few times before landing at her side. Miniature 2: Fulgencia offers Oriondo her flask, which he refuses. She voices her
displeasure with ultramodern mediocrity. Miniature 3: Oriondo tries to explain something very important, gesticulating passionately between burps and curses. She does not understand him. Maybe he throws up. Miniature 4: “The problem,” laments Fulgencia, “ is our espousal of inane fabulists whose sapid sermonettes inure the bereft. Incidentally, you are most inurbane.” Miniature 5: Credits roll.


About the artwork by Christian Faur

The things that inspire me to create, I find, are buried deep within the structures and systems that form the underpinning of our natural world. My studies in the natural sciences have made me aware of these hidden layers of complexity present in even the simplest objects. These invisible layers are seen most clearly through the lens of logic, which is used to decipher the underlying rules and laws that govern the physical world.

In my work, I try to mimic these elegant structures of nature by developing systems of my own with which to express my thoughts and ideas, so that the medium and the message appear as one.

I think of it like a game, with a set of axioms that are established at the outset through the limitations of the material or forms from which the work is constructed, which then dictates what can and cannot be "said" within the boundaries of the chosen medium. This material limitation can also be a strength, as there is the potential to contain thoughts and ideas in unique ways, so that the "medium" can become the "message." This intertwining of form and function can be seen most directly in my most recent work, which is comprised of crayons and shredded paper.

These systems function as a private language, that allows me to express many layers of meaning within each work that I create. I think of them as complex visual "poems," which can redefine the way we think about the meaning of communication.

In my newest body of work, I focus on the semiotic nature of color by using a color alphabet system, which I have developed. This system uses pure color to mimic the function of letters (glyphs) to hold language and forms the basic foundation for many of the experimental works that I have produced.

These works range from a “Mating Jacket,” a brightly colored dinner jacket composed of dozens of colored-sentences of male oriented come-ons, pick up lines, slogans, and macho self promotions to an artist book, in which I developed a system of written glyphs to translate Wittgenstein’s text “Remarks on Colour” into pure color.

This color system of writing has also informed many of my other recent works. In the Forgotten Children, a series of photorealistic grayscale portraits of young children composed of tens of thousands of individually stacked crayons-tips, the color-alphabet crayons are used to spell out hundreds of children names within each of the individual panels. The Pangram series uses holoalphabetic sentences (pangrams) in conjunction with the color-alphabet to produce a set of colorful abstract encaustic works.