Jose Lezcano (BM ’81) Reply

Concierto Cubanero, the second guitar concerto by José Lezcano (BM ’81) will have its world premiere at Christ & St. Stephen’s Episcopal Church in New York City on May 22. Lezcano will perform the concerto with the North-South Consonance Orchestra, conducted by Max Lifchitz.

Lezcano received two GRAMMY nominations in 2009 for his work on the CD Remembrances/Recuerdos released by North-South Consonance. He received nominations and was semi-finalist for Best Contemporary Composition (for his guitar concerto) and Best Performance, Soloist with Orchestra (for his solo performance in the concerto). Lezcano was also interviewed in January on Classical Guitar Alive, a radio program broadcast on 200 stations nationwide; selections from two of his CDs (Remembrances and Latin Landscapes) were played.

John Duffy Composer Institute Reply

MM candidate Jake Runestad was recently awarded a full fellowship to attend the John Duffy Composer Institute at the Virginia Arts Festival from May 30 to June 12. The Institute is an opportunity for composers to have their original opera scenes workshopped by professional musicians and work closely with acclaimed composers. Runestad’s new opera, with libretto by double degree student Elizabeth Reeves, will be workshopped at the event. This year’s faculty composers are David Lang, Libby Larsen, Bernard Rands, John Musto, and John Duffy.

Grants for Adashi Reply

Composition faculty member and DMA candidate Judah Adashi (MM ’02) has received grants from Meet the Composer and the American Composers Forum in support of  upcoming performances of his woodwind quintet, Songs and Dances of Macondo, by the Quintet of the Americas. The ensemble will perform the work at Symphony Space in New York on May 11 at 7:30 pm.

Charles Halka’s Round and Round Reply

Round and Round, a new work for violin, cello, and piano 4-hands by composer Charles Halka (BM ’06, Piano; MM ’08, Composition and Music Theory Pedagogy), was premiered in March at the historic Coolidge Auditorium of the Library of Congress. The work was inspired by a little-known composition by the great American patron Elizabeth Sprague Coolidge as well as her correspondence with composer Rebecca Clarke, whose work also appeared on the program.