2022 IAMA Winner Greg Steinke
“SUITE-in memory of Chief Joseph”
(Image Music XI-C) for Bass Clarinet and Piano
Joanna McCoskey Wiltshire, bass clarinet
Jasmin Arakawa, piano
"SUITE-in memory of Chief Joseph" was written as an additional memorial to Chief Joseph and his band and grows out of a continuing fascination with and study of Northwest Native Americans. This is a continuation of a series of chamber pieces (already written and/or projected) which represent, for the composer, musical excursions into the Northwest’s history, geography and ethnology. The present work is freely conceived, being through-composed and based on a cyclic, multipart approach to form; no “system” as such is used, and the composer has felt free to draw upon whatever compositional resources suitable for his purpose. These movements represent “abstractions” of the place/situation entitled. They should be enjoyed as is but with reflection upon the implications suggested.
Greg A Steinke is Former Chair, Departments of Art and Music, (The Joseph Naumes Endowed Chair in Music), and Associate Dean of Undergraduate Studies, Marylhurst University, Marylhurst, Oregon (retired, 6/15/01); Associate Director, Ernest Bloch Music Festival (‘93–97) and Director, Composers Symposium (‘90–97) (Newport, OR). He holds a B.M. degree from Oberlin Conservatory, a M.M. degree from Michigan State University, a M.F.A. degree from the University of Iowa, and a Ph.D. from Michigan State University. He has written articles on new oboe literature and music composition and revisions to the Paul Harder Harmonic Materials in Tonal Music, 6th-10th Ed., Basic Materials in Music Theory, 7th-13thEd., Bridge to Twentieth-Century Music, Rev. Ed. for Pearson, and with H Owen Reed the Harder-Reed Basic Contrapuntal Techniques for Warner Bros. Pub.; and “Music for Dance: An Overview” in The Dance Has Many Faces, 3rd Ed., Ed. by Walter Sorell, a cappella books.
Steinke has served as the National Chairman of the Society of Composers, Inc. (‘88–97) and currently National President of NACUSA (‘12–19). He is a Board Member of NACUSA Cascadia. A composer of chamber and symphonic music with published/recorded works and performances across the US and internationally, he is speaker on interdisciplinary arts and oboe soloist specializing in contemporary music.
His composition honors include Winner of Robert Avalon International Competition for Composers – ’12 (2nd place) ’14 (3rd place). He was a finalist in the America Prize in Composition Competition for (2012 Orchestra - Professional Division - All In A Moment’s Time for Viola and Orchestra);. ’13, ’14,’15 Chamber Music - Professional Division – Expressions Ii for 2 Saxes, Two Perc. and Piano; Suspended for Bsn. & Strings, Random Blackouts I for Baritone and Piano (4 Hands)). He is the 2012 Bassoon Chamber Music Composition Competition winner (Suspended for Bassoon & Strings) and Winner of Con Vivo’s Composers Competition (Native American Notes (Image Music VI) for String Quartet). He was named OMTA Composer of the Year 2012–13 and winner for 2015 of 10th NACUSA Texas Composition Competition for his Tip Top Tap Ballroom Bonanza ver. for Flute and Contrabass. His Honorable Mentions include the Flute New Music Consortium 2015 Composition Contest for his In Memoriam Sacajawea for Flute Quartet and from Cortona Prize 2016 for his From Argart for Soprano and Piano (‘16). He was a Semi -Finalist in International Composition Competition “Maurice Ravel” Cat. B (’15), Cat. C (’16); Inquietude for Solo Flute selected for RMN Classical CD (London), (’16).
His recent commissions include the Delgani Quartet of Eugene, OR (From Songs Of The Fire Circles) and from Prof. Paul Reilly, guitarist of Ball State University (Random Blackouts Iv for Tenor and Guitar).
He is a member of the SAI Composers Bureau.
The 2022 Composer-Judges are Andrea Clearfield and Amy Riebs Mills:
Andrea Clearfield
SAI Honorary Member, member of the SAI Composers Bureau, and composer of music for opera, orchestra, chorus, chamber ensemble, dance and multi-media collaborations (www.andreaclearfield.com)
Commission Piece:
“Where Everything Is Music”
Choral piece for Treble Choir
Brittany Kaehler, conductor
Inspired by Jelaluddin Rumi’s poem, Where Everything is Music by Andrea Clearfield uses this particularly melodic translation by Coleman Barks and John Moyne:
Where Everything Is Music
by Jelaluddin Rumi
Don’t worry about saving these songs!
And if one of our instruments breaks,
it doesn’t matter.
We have fallen into the place
where everything is music.
The strumming and the flute notes
rise into the atmosphere,
and even if the whole world’s harp
should burn up, there will still be
hidden instruments playing.
So the candle flickers and goes out.
We have a piece of flint, and a spark.
This singing art is sea foam.
The graceful movements come from a pearl
somewhere on the ocean floor.
Poems reach up like spindrift
and the edge of driftwood along the beach, wanting!
They derive from a slow and powerful root
that we can’t see.
Stop the words now.
Open the window in the center of your chest,
and let the spirit fly in and out.
from Rumi – Selected Poems (Penguin Classics) Translated by Coleman Barks and John Moyne
Amy Riebs Mills
SAI initiate of Beta Chapter, Northwestern University, former affiliate of the Washington, D.C. Alumnae Chapter, and a member of the SAI Composers Bureau who is known for her vibrant conducting and compositions in all genres (www.amymillsmusic.com)
Commission Piece:
“Flee!”
Novella for String Quartet
Premiered by:
Deborah Volker, violin
Olivia Coyne, violin
Marcie Trembus Kraus, viola
Amy Catron, cello
“Flee!” was written in 2021 during the covid-19 crisis. Originally planned to be premiered at the summer 2021 SAI National Convention, like so many compositions from this period, the convention, and thus the premiere, was delayed by a year. Later, as live gatherings and concerts were reinstated, a new sense of the joy and wonder of live music prevailed for musicians and audiences alike.
“Flee!” is a novella, a short story. Imagine being captive, the opportunity arises, take a chance and flee, mixing the exuberance of restored freedom with the fear of recapture. At Sad, pause to think of those still in captivity, but not for long. Danger! During the four episodes in Evade - leap, hide, scurry, and project bravado until the coast is clear, and once again, Flee! Finally arriving at a place of Refuge, rejoice, then revel in new found freedom!
Many thanks to SAI for the opportunity to write for you!
