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VPMs:  MIT TRAINING CURRICULUM  (available in the Officer Portal document library)



(also available in the Officer Portal document library)


Randall Snyder   

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Koreana by The Sakura Ensemble with Jean Pierre Thoma, flute and Annu Shinoya, piano in HI.  Second Sonata by Paul Haar, tenor saxophone at the 2010 North American Saxophone Alliance Conference in Athens, GA.  Jump Time and Quetzalcoatl by The Learned Project, an ensemble led by pianist Vince Learned featuring narrator, Matt Landis in Lincoln, NE.  Chicago Profiles, a suite based on Chicago authors by Members Chicago’s Anaphora Ensemble, Bryant Scott, trombone, and Cory Tiffin, clarinet.  Possibility’s Face by Recorder player John Langfeld, along with a vocal quartet in Chicago at the St. Luke’s Church Recorder Series.


Remembering Rivers by John Bailey, flute and George Pope, narrator at the 2010 National Flute Association Convention.


Native Scenes and Etudes in Wood, for flute duet were published by JP Publications.


Celluloid, for saxophone ensemble, was recorded in Austin by TexSax, Harvey Pittel, director.




The New Music Agency presented a “Wall of Snyder” recital in Lincoln, NE, in 2009. Introduced at this concert were Return of the Randwulf and Water Music Revisited, for flute, clarinet, bassoon, marimba, and synthesizer. Performers were Betsy Bobenhouse, flute; Jessica Lindsey, clarinet; Karen Sandene, bassoon; Joseph Holmquist, marimba; and Jack Rinke, synthesizer; under the direction of Randall Snyder. Also at this concert, Lindsey gave the first performance of Legong Studies for solo bass clarinet; Bobenhouse presented the revised version of Dream of Naksongdae; and Holmquist and Sandene (on contrabassoon) played Boogie on Contra Woman. Snyder’s paintings and collages were displayed at the Box Awesome and at the Lincoln Community Playhouse in 2009.


Night Country, for flute and piano, was introduced in Lincoln by John Bailey and Mark Clinton, at a recital at the University of Nebraska. John Langfeld, tenor recorder, along with bassist Corey Biggerstaff, presented Miniature Set at St. Luke’s Church in Chicago, IL. Christine Beason led the Quincy (IL) University band in Ars Antiqua, written for the school’s 150th anniversary. Pat Fortney led the Lincoln Community Concert Band in Snyder’s arrangement of  G. F. Handel’s Water Music Suite.


Celluloid for large saxophone choir was presented at the University of Texas in Austin and at Southern Oregon University, while Night Country was performed at the National Flute Association Convention in New York by flutist John Bailey and pianist Dan Velicer. Quartet 441 played Second Quartet for saxophones at a concert at the Chamber Music Institute at the University
of Nebraska.


Matsuri and Ars Antiqua, both for symphonic band; by BRS music.


Lyric Sonata for flute and piano, and Remembering Rivers for narrator and flute; flutist John Bailey, pianist Mark Clinton; narrator Donna Harler-Smith; Centaur Recordings.



A free-lance musician living in Lincoln, NE, the composer teaches part time at Peru (NE) State College. An exhibition of  paintings and collages was held at the Jones Coffee House in Lincoln, NE during August 2008.


The composer introduced Variations On An Irish Tune for solo saxophone on a faculty recital, Peru (NE) State College (PSC). Along with vibraphonist Joe Holmquist, the composer presented Chance Designs at the Box Awesome in Lincoln, NE. The University of Texas Saxophone Quartet premiered Second Quartet, Austin, TX, while the University of Southern Mississippi Woodwind Sextet gave the premiere of First Waltzes, based on the early music of Franz Schubert. The composer narrated The Robinson Sequence, a setting of poems by Weldon Kees, with the University of Nebraska Orchestra, under the direction Tyler White. Evan Lee led the Norris High School band in One Day in May, a multi media work commemorating the fourth anniversary of the Hallam (NE) tornado; while the New Music Agency of Lincoln presented Mexico City Blues Part Three for saxophone and percussion, performed by Chris Steinke and percussionist Joe Holmquist, and Mexico City Blues Part Five for flute, clarinet, and bassoon with Betsy Bobenhouse, Jessica Lindsey, Karen Sandene; the composer narrated Jack Kerouac’s poetry for both works. A recorder trio led by John Langfeld gave the first performance of Variations on a Medieval Tune, as part of the St. Luke’s Recorder Series in Chicago, IL. At a recital at the University of Nebraska, violist Clark Potter and cellist Karen Becker played Le Sacre du Big Red; at the same university oboist William McMullen and narrator Donna Harler-Smith gave the first performance of Lagu Obo and later repeated the work at the International Double Reed Society (IDRS) Convention in Utah.


Flutists James Pellerite and Walfrid Kujala presented Transverse  in recitals at Northwest and the University of Indiana; Pellerite also performed Journeys, with the Peaceful Valley Chamber Players in Indiana. Saxophonist Lawrence Gwozdz perfomed Tristesse at the Sacramento (CA) State Festival of New American Music, as well as at recitals in Nebraska and Mississippi. Holmquist presented Ritual Cadences for solo snare drum at “Bugles and Joe.” while Zack Pischotte played Saxophone Sonata at a recital, both performances in Lincoln, NE.

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