Fall Undergraduate Composers - Children of Enlightenment

UCLA Herb Alpert School of Music

Tuesday November 12, 2024

Lani Hall

8:00pm

Composers

Naveed Perkins

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Naveed Perkins is a twenty-two year old self taught Pianist and Composer from San Diego.
He has attended Summer Programs such as the Indiana University Piano Academy as well as the Summerfest at the Curtis Institute of Music. He has been a student of Richard Danielpour for three years and is currently studying composition with Ian Krouse. Among being a composer, he is an avid poet and artist. Recently, he has been appointed as the Assistant Conductor of the Iranshahr Orchestra, an Iranian Orchestra under the direction of Dr. Shahab Paranj. This gives him the continued opportunity to learn and incorporate all of the heritage and culture Persian Music has to offer into his own music. While he is continually growing, he seeks to inspire those around him by sharing a music experience that incorporates his music, his poetry, and his art.

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Mia Ruhman

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Mia Ruhman, b.2003, is a Los Angeles based composer, soprano, and actress. A fourth year music composition undergraduate at UCLA, Ruhman also studies classical voice with Professor Vladimir Chernov. Ruhman works for the National Children’s Chorus as a vocal mentor and for the Palisades Methodist Church as soprano section leader. Ruhman was a 2019-21 fellow in the LA Phil’s composer fellowship program, the LA Phil YOLA Sue Tsao composer fellow in 2020, the winner of a global music award (2024), and served on the speaking panel of the 77th National League of American Orchestra conference. Her compositions have been conducted by Gustavo Dudamel and Grant Gershon, and performed by the LA Phil, the National Children’s Chorus, Seraphour, Hub New Music and the Youth Orchestra of Los Angeles. Ruhman is grateful to the composition faculty for their endless support, and to her peers for sharing their boundless friendship and talent.

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Celina Anna Kintscher

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Celina Anna Kintscher is a German-Austrian composer whose artistry is shaped by her life on three continents, having lived in Germany, South Africa, and the U.S. Her compositions have been performed by Orchestra Arturo Toscanini, Orchestra Senzaspine, Los Angeles Brass Alliances, Salastina, Carpe Diem String Quartet, soprano singers Hila Plitmann and Tony Arnold, among others. She is a 2022 and 2023 ASCAP Morton Gould Young Composer Award Finalist. As a composer and concert host who organizes players and venues for new works frequently, Kintscher maintains a dual responsibility to the integrity of past works and the innovation of new music. She is faculty at the Los Angeles Philharmonic’s Composer Fellowship Program and lectures at the Los Angeles Philharmonic with Upbeat Live Pre-Concert talks.

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Aidan Vass

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Aidan Vass (b. 2003) is an American composer. He is a three-time YoungArts winner for classical composition, a finalist for the ASCAP Morton Gould Award, and a first place winner in the MTAC Composers Today competition. He was a Nancy and Barry Sanders’ Composer Fellow with the Los Angeles Philharmonic from 2018-2021. His composition mentors include Andrew Norman, Ted Hearne, Sir James MacMillan, Brett Banducci, David Lefkowitz, and Kay Rhie. Vass has written music for ensembles including the American Youth Symphony, Los Angeles Philharmonic, Los Angeles Master Chorale, Seraphour, Nu Deco Ensemble, Sandbox Percussion, and Tallgrass Chamber Choir, and he has independently released a catalog of music including a debut solo piano album (8 Sketches for Piano, 2021). He is currently published with Hal Leonard and Santa Barbara Music Publishing, and his music has been featured on publications such as The Violin Channel, LA Opus, Planet Hugill, and others.

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Sydney Wang

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“Sydney Wang (b. 2002) is a Los-Angeles based composer and pianist whose work draws upon her extensive experience as a collaborative performer. From 2017-2021, Wang was a composer fellow in the Los Angeles Philharmonic’s Nancy and Barry Sanders Composer Fellowship Program. Her music has been played by acclaimed artists and ensembles including the Los Angeles Philharmonic, Pasadena Symphony, Salastina, and New Thread Quartet. Wang is the recipient of accolades including the 2017 BMI Student Composer Award and the 2020 Marvin Hamlisch International Music Award.

 

A versatile solo and collaborative pianist, Wang is passionate about recording and performing both classical and new music. Since 2023, she has been a staff pianist at UCLA, working primarily with the voice department. In June 2024, she performed in the West Coast premiere of William Averitt’s oratorio Easter, 1906 alongside pianist James Lent and the UCLA Chamber Singers.”

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Ariel Rbibo

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Ariel Rbibo was born in LA in 2005. At the age of 7, he began to play guitar, and at 10 play, piano and compose. Throughout his piano education with his teacher he wrote music for solo piano, and Later on began writing larger-scale music, chamber music, orchestral, and concerti. In 2022, he won the MTAC California Composers Today competition, and was admitted to the MTAC Young Composer’s Guild which he is still in today. In 2023 he performed in a recital at Carnegie Hall, and had one of his orchestral works performed and recorded in Bulgaria. Today, piano remains his primary instrument and passion, and he studies at UCLA’s Herb Alpert School of Music for composition.

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JP Hicks

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J.P. Hicks (b. 2003) is currently a third-year undergraduate at UCLA, pursuing a BA in Music Composition with a minor in Philosophy. Born and raised in San Francisco, he is a longtime member of the SF Art and Film community, where he grew up immersed in various new music, cinema, theater, and performance art. His influences draw equally from philosophers and other art forms as they do music, including George Bataille, Agnes Varda, and Cy Twombly, alongside Elliott Carter, Nancarrow, and Bach. This is all he cared to share for this bio, but he insists that there is more to his music than the 109 words seen here.

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Repertoire (not performance order)

Torso of Venus, Piano, ca. 1886-present

JP Hicks

Ryan Jia

 

Three Dialogues’ for Soprano and Harp

Naveed Perkins (b. 2001)

I. Stay
II. When Day Breaks
III. Forevermore

Yekaterina Lynch (Soprano) and Alaina Stark (Harp)

 

Children of the Enlightenment

Mia Ruhman (b. 2003)

“Children of the Enlightenment” from “Nannerl”

Mia Ruhman
Ross Chitwood
Dylan Price

 

Sinking Stones

Celina Anna Kintscher (b. 1998)

Adam Zilberman, clarinet
Sydney Wang, piano

 

Breaths

Celina Anna Kintscher (b. 1998)

I.
II.
III.

Windswept Voices

 

Sequoia

Aidan Vass

David Hernandez

 

Travel

Sydney Wang (b. 2002)

Yekaterina Lynch, soprano
Sydney Wang, piano

 

String Quartet No. 1 in E Minor

Ariel Rbibo

I. Andante
II. Energico
III. Comodo
IV. Finale

Medtner Quartet

Donor Acknowledgement

This event is made possible by the David and Irmgard Dobrow Fund. Classical music was a passion of the Dobrows, who established a generous endowment at The UCLA Herb Alpert School of Music to make programs like this possible. We are proud to celebrate this program as part of the 2024 – 25 Dobrow Series.

Program Notes

Torso of Venus, Piano, ca. 1886-present

 

This piece, to me, begins before the first notes on the piano are heard, and continues long after they end. The material begs for much more than I have given it here, though I don’t think it is incomplete, per se. It is, however, much less ‘digested’ than I’d care to admit, and while the title—Torso of Venus—lends it a certain corporeal and/or spatial quality, the music tends more toward linearity (the work could just as easily be titled something like “Piano Music”—which is still an option!). Interestingly, I think this piece falls somewhere in between Torso of Venus and Piano Music in how we perceive it, though the ambiguity invites extensive exploration in the future, which, in itself, is quite exciting.


Three Dialogues’ for Soprano and Harp

 

The piece ‘Three Dialogues’ was written with the intent of a monologue disguised as a dialogue to another. When this piece began, I assembled three poems which are separated by the time they were written and related to each other only by their intention. Each movement can be performed individually, but for the intended effect and meaning of the piece to be felt, the piece in its entirety should be performed as written. It is my intention to convey a dialogue covering love, introspection, and the value of self-expression, and I encourage all to make their own interpretation of the work as I view all interpretations to be correct.


Children of the Enlightenment

 

This piece highlights one of the final dramatic peaks present in my original musical, “Nannerl.” Nannerl has the opportunity to move to Vienna with her lover, Franz, and to pursue a career as a teacher and performer alongside her brother Wolfgang. Her father, Leopold, feels abandoned and betrayed by his children. He sings a dramatic rage aria, declaring that Nannerl must choose between risking her life and societal standing in Vienna, or living securely in Salzburg in the life he’s made for her. Leopold’s rage is put on full display, yet we also witness his genuine love for his daughter and his driving determination to protect her at all costs. Finally at her breaking point, Nannerl grapples with excessive guilt- trying to balance her own ambitions and dreams with her deeply engrained sense of duty toward her family. Please keep an eye out for audition announcements coming soon!


Sinking Stones

“Sinking Stones” captures the introspective experience of loss and the quiet, inevitable descent of grief. Inspired by the image of stones slowly sinking into deep, dark waters, the piece explores the weight of memory and the sorrow of saying goodbye to someone who was once an anchor in life. “Sinking Stones” serves as a meditation on loss, a way to honor memories, and a reminder that even when they are no longer seen, loved ones remain with us, deeply and eternally.


Breaths

The fundamental essence of life itself is the act of breathing. Designed to showcase the woodwinds’ organic connection to breath, the piece explores the sounds, rhythms, and emotions evoked by this simple, yet profound action.


Sequoia

Sequoia, like much of my other music, ponders the idea of how we represent shape and contour in music. Sequoia trees balance two perspectives – one can look up to the top of the tree and see a towering, formidable sight, or enter the spaces in between the roots of the tree and find a space that feels super intimate. These feelings come from our perspective of contour in nature and offer a fascinating angle to explore in music.


Travel

“Travel” – Edna St. Vincent Millay (1892-1950)

The railroad track is miles away,
And the day is loud with voices speaking,
Yet there isn’t a train goes by all day
But I hear its whistle shrieking.

 

All night there isn’t a train goes by,
Though the night is still for sleep and dreaming,
But I see its cinders red on the sky,
And hear its engine steaming.

 

My heart is warm with the friends I make,
And better friends I’ll not be knowing;
Yet there isn’t a train I wouldn’t take,
No matter where it’s going.


String Quartet No. 1 in E Minor

Written in January 2023, this string quartet was based on sketch I wrote nearly 2 years prior. The whole work is shaped around the primary motif, a four-note figure, which is repeated and developed extensively throughout each movement. The work oscillates between romantic, satirical, energetic, and melancholic atmospheres, each mood facilitated through different uses of the primary motif.