Engine 27 events in June + Special added performance this Saturday

Thu, 29 May 2003 10:35:05 -0400

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June @ Engine 27
173 Franklin St., New York, NY, 10013
(between Hudson & Greenwich)
1/9 subway to Franklin St.

tel. 212-431-7466, fax 212-431-7403
email: post@engine27.org

http://www.engine27.org

Don't miss the live performance this Saturday by Robert Dick & David
Soldier. See below for details.

Flutes, flutes and flutes. Our next two works explore the diversity and
distance between the multiple American sound worlds in the first half of the
twentieth century through the flute. From the prisoner's work songs of the
notorious Parchman Farm prison of 1930's Mississippi to the pioneering
'uptown' innovations of mid-century electronic and tape music pioneer Otto
Luening. The flute's range is stretched - substituting for everything from
bass field calls to 'fantasies in space.'

See below for artist bios.

Engine 27 is proud to present an installation and performance:

Robert Dick and David Soldier - Our Other Moon
Robert Dick (flutes) and Dave Soldier (violin, programming)
& Eric Mingus (vocals)
Matthew Ostrowski (spatialization programming) & Joe Raia (recording)

In Our Other Moon, Robert Dick and Dave Soldier co-compose an installation
work inspired by the work songs recorded by Alan Lomax at the Parchman Farm
prison in Mississippi in the 1940's. Proto-blues in a sound world that
transcends all preconceptions of what the flute can be (from the depths of
the contrabass flute to the bends of Dick's custom glissando flute) amidst
the gospel call of Eric Mingus and David Soldier's primal violin.

date & time: Saturday & Sunday, May 31 & June 1, 7, 8, 2-8pm
opening reception and performance: Saturday, May 31, reception 6-8pm,
performance 8-9pm

In Our Other Moon, Robert Dick and Dave Soldier co-compose an installation
work inspired by the work songs recorded by Alan Lomax at the Parchman
prison farm in Mississippi in the 1940's. Dick's "Glissando Headjoint" on
his flute and Soldier's violin are the core musical material, creating a
16-channel chorus. Further, samples are triggered and a sound world created
based on the pain and strength of humanity in these songs, fundamental to
the blues and much of what makes music "American." Dick and Soldier have
collaborated on two notable CDs, Third Stone from the Sun (New World
Records) and Jazz Standards on Mars (ENJA Records). In Our Other Moon, they
also pay tribute to the fife and drum music of the Deep South, the most
primal form of flute music in our culture.

Engine 27 is proud to present in our gallery a live performance:

Music of Otto Luening and Dan Cooper
with Lynn Bechtold (violin); Dan Cooper, Kaoru Hinata & Helen Richman
(flutes)
R. Luke Dubois (Engine 27 programming)

Dan Cooper, composer and multi-instrumentalist, will commemorate the 50th
anniversary of electro-acoustic music in the United States with a tribute to
his mentor Otto Luening, a founder of the Columbia-Princeton Electronic
Music Center, known for his pioneering multi-track compositions for flute,
echo/delay and magnetic tape.

date & time: Saturday, June 14, 8pm
suggested admission: $10

Luening was one of the first American composers to systematically explore
the form for which Vladimir Ussachevsky coined the term "tape music." Two
years ago, the Cary Trust commissioned Cooper to transcribe Luening's early
pieces for flute on tape recorder so that they could be performed live by a
flutist with computer processing, starting with the 1952 Nocturnes. At
Engine 27, Cooper continues this project, spatializing Low Speed, Fantasy in
Space, Invention in Twelve Notes (all from 1952), Gargoyles (1961) and his
own Dance Sonata (2003). Cooper describes Leuning's works as "carefully
constructed musical pearls fashioned with subtle compositional craft and
ageless curiosity."

The Herald Tribune described the landmark 1952 concert of Leuning and
Ussachevsky's work as

"...the music of fevered dreams, of sensations called back from a dim past.
It is the sound of echo...vaporous, tantalizing, cushioned. It is in the
room and yet not part of it. It is something entirely new. And genesis
cannot be defined." (1952)

Program:
Otto Luening:
Excerpts from an Otto Luening lecture on early electro-acoustic music
(~4min.)
Nocturnes, (~5min.), transcribed for live flute and echoes by Dan Cooper
Fantasy in Space, (~3min.), Invention, (~3min.), Low Speed, (~3min.), all
three transcribed for three live flutes and echoes by Dan Cooper.
Gargoyles, (~9min.) for violin and electronics
Dan Cooper:
Dance Sonata, (~15min.) for violin and electronics.

Artist Bios:
Robert Dick and David Soldier - Our Other Moon
Robert Dick is a creative virtuoso in the tradition of Paganini and Hendrix.
Composer, performer, improviser, author, teacher, inventor, he is known
worldwide for redefining the flute, creating revolutionary visions of its
musical role to stand alongside the flute's established musics. Robert's
musical taproots are inspiration from the traditions central to him -- free
improvisation, American and European contemporary music, Indian and other
world musics, electronic, psychedelic, Blues, jazz, Western classical music.
His operative axiom is that any musical role can be taken by any instrument
regardless of traditional thinking. He has toured the world playing solo
concerts of his music and has performed with leading improvisers in the US
and Europe. Dick's compositions have been frequently performed by flutists
around the globe and he's received numerous grants and commissions,
including a Guggenheim Fellowship, two NEA Composer's Fellowships and a
Koussevitzky Foundation commission. Widely recorded playing solo and in
creative chamber music, his discography spans original repertoire to works
by composers as diverse as Telemann and Jimi Hendrix. Visit
http://jecklinassociates.com/dick.htm for more information.

Dave Soldier founded the Soldier String Quartet, the delta punk band the
Kropotkins, and the Thai Elephant Orchestra. There are a dozen extant CDs of
his compositions, including works for orchestra, concertos, animals, little
kids, and electronics. He works as an arranger for film (I Shot Andy
Warhol), pop groups (John Cale, David Byrne, Guided by Voices) and has
performed on over 50 CDs and with a broad array of artists (Pete Seeger, Bo
Diddley, Komar and Melamid). Current projects include a second CD by the
Thai Elephant Orchestra and a second collaboration with Kurt Vonnegut, The
Soldier's Story, recorded by the Manhattan Chamber Orchestra under Richard
Auldon Clark. He is working with avian neuroscientist Linda Wilbrecht to
teach songbirds to compose using electronic musical instruments as the
Songbird Philharmonic. His day job is a professor of neuroscience at the
Columbia University Medical School.

The Kropotkins' music is largely based on that by Othar and Bernice Turner
of the Rising Star Fife and Drum band, who were kind hosts for the band's
barbeque in Senatobia, Mississippi. The fife and drum pieces are dedicated
to their memory.

For more information, http://www.mulatta.org/otherCDS.html.

Eric Mingus studied voice and bass with various luminaries of the music
world and a brief semester at Berklee college of music. Seeking the
"education of the road" he toured as a vocalist with Carla Bley and Karen
Mantler. Moving to London in 1994, Eric met trumpeter Jim Dvorak and they
formed a poetry based duet which resulted in the recording of This Isn't Sex
(SLAM Records UK). Upon returning to the United States in 1996 Eric was
signed to the independent label Some Records, culminating in the release of
the CD Um...Er...Uh.... He has also gained notoriety for working with famed
producer Hal Willner on such projects as The Poe Project, two benefits for
the Poetry Project (The Music of Doc Pomus and the writing of the Marquis De
Sade) and A Tribute to Harry Smith (in support of the Harry Smith archives).
Having performed in these concerts Eric was able to collaborate with an
eclectic group of musicians: Marianne Faithful, Beck, Todd Rundgren, Jarvis
Cocker, Nick Cave, Beth Orton, Elvis Costello and others. Currently he's
working with musician Elliott Sharp, and can be heard on Elliot's recent
release Elliott Sharp's Terraplane Blues For Next on Knitting Factory
records. Elliot has also produced Eric's next CD, Too Many Bullets, Not
Enough Soul.

Music of Otto Luening and Dan Cooper
Otto Luening (1990-1996) was a composer and a tireless new music educator
and advocate. In the 1950s, he and composer Vladimir Ussachevsky helped
establish the Columbia-Princeton Electronic Music Center where they created
a landmark series of collaborative compositions for magnetic tape and
synthesizer, as well as works for acoustic instruments in combination with
electronic sounds. This association resulted in twenty compositions,
Luening's sole-authored works including Fantasy in Space for tape (1952),
Gargoyles for violin and tape (1960), and Synthesis for orchestra and tape
(1962), commissioned for the 20th anniversary of BMI. Luening composed a
vast body of music, much of it chamber music, known for its accessibility
and stylistic variety. Highlights of his extensive output include a flute
concertino, four symphonic fantasias, a short symphony for chamber
orchestra, three string quartets, three sonatas for violin and piano, three
solo violin sonatas, and a substantial body of chamber music with flute, an
instrument he played professionally throughout his life. Luening also
composed scores for Hollywood films and television. For more information:
http://newmusicbox.org/first-person/nov99/ottoluening.html

Dan Cooper (http://www.dan-cooper.com) was born in 1970 in Manhattan; he
went to the Horace Mann School, and has music degrees from Columbia, The New
England Conservatory and Princeton, where he is currently a PhD candidate.
His mentor was Otto Luening and principal teachers include John Heiss, Steve
Mackey, and Paul Lansky. In 2000, Cooper received a composition fellowship
from the Aaron Copland Fund for Music to Tanglewood, where he has composed
and produced incidental music for several Shakespeare and Company
productions directed by Tina Packer. Awards include an ASCAP Young
Composer's Prize for Cooper's electronic setting of Jabberwocky, a Prix
Blanche-de-Castille from Fontainebleau, and a Certificate of Achievement
from the New York Youth Symphony for Cooper's 1997 work The Millennium.
Commissions include the Mary Flagler Cary Charitable Trust, the Circadia
ensemble, the Bethlehem Central High School Orchestra, and the Albany
Symphony Orchestra, whose 2003 CD recording The Best of the Dogs of Desire
will include Cooper's work Mass Inertia. In addition, Cooper has performed
in over 60 cities internationally as a multi-instrumentalist with Decca
recording artist Ute Lemper, including performances at New York's Town Hall,
London's Royal Albert Hall, Tokyo's Orchard Hall, Berlin Philharmonic Hall,
and the Sydney Opera House (2000 Olympics Arts Festival) among others, with
various broadcasts on NBC, CNN, Radio France, RAI, and Bravo. He endorses
Overwater bass guitars of Carlisle, UK. Cooper has taught at Princeton and
is currently an adjunct professor at SUNY/FIT, where he teaches a course in
American Music from 1750 to the present.

Violinist Lynn Bechtold has appeared in recital throughout the U.S., and in
Canada, Holland, and Switzerland. In the past, she has collaborated with
composers such as Gloria Coates, George Crumb, John Harbison, and Alvin
Lucier. As a chamber musician, she has also performed in Italy, Japan,
Tatarstan, and the Ukraine. She performs with numerous ensembles, including
the Absolute Ensemble, the Manhattan Chamber Orchestra, and the Orchestra of
the SEM Ensemble. Festival appearances include the Kneisel Hall Festival,
the Pacific Music Festival, the Scotia Festival, and the Spoleto Festivals
in the U.S. and Italy, among others. She is a past recipient of arts
scholarships from the Leopold Schepp Foundation and the Hilda Mesta Willis
Fund. Bechtold received her Masters Degree from the Mannes College of Music,
where she was a student of Felix Galimir. Prior to that, she received a
double degree in violin and English from the New England Conservatory of
Music and Tufts University in Boston. She is on the faculty of Greenwich
House Music School in New York City.

Kaoru Hinata received her Masters of Music and Artists Diploma from Yale,
studying under Random Wilson. Hinata has held positions with the Civic
Orchestra of Chicago and the Wallingford Symphony, has performed with the
Orchestra of St Luke's, the New Jersey Symphony, New Haven Symphony, the Da
Capo Opera Orchestra, the Berkshire Opera, and Camerata New York. As a
soloist, Hinata won the Lawrence Beauregard Competition in Canada in 1994,
placed second in the Myrna Brown Competition in Texas in 1995, and has
premiered flute works by Christopher Theofanidis and Dan Sonenberg. She is a
founding member of the chamber ensemble Circadia, and is on the faculty of
Bloomingdale School of Music.

Flutist Helen Richman enjoys a diverse career as a soloist, chamber
musician, and teacher. She has participated in the Aspen, Bowdoin, and
Norfolk Summer Music Festivals, and has been a featured soloist at the Banff
Center for the Arts and the Mannes Bach Institute. She is a member of the
SEM Ensemble and can be heard in orchestral and chamber music settings with
members of the New Haven Symphony, and with the award winning flute quartet,
Flute Cocktail. A sought-after Suzuki instructor, Helen maintains an active
private flute studio in Brooklyn, and serves on the faculty of Turtle Bay
Music School in Manhattan.

To be added or removed from Engine 27's email list please go to:
http://64.247.23.2/mailman/listinfo/events_engine27.org 

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<HTML>
<HEAD>
<TITLE> June + Special added performance this Saturday</TITLE>
</HEAD>
<BODY BGCOLOR=3D"#FBEDFF">
June @ Engine 27 
173 Franklin St., New York, NY, 10013 
(between Hudson &amp; Greenwich) 
1/9 subway to Franklin St. 
 
tel. 212-431-7466, fax 212-431-7403 
email: post@engine27.org=
 
 
<H5>http://www.engine27.org 
 
</H5><H5>Don't miss the live performance this Sa=
turday by Robert Dick &amp; David Soldier. See below for details. 
</H5> 
Flutes, flutes and flutes. Our next two works explore the diversity and dis=
tance between the multiple American sound worlds in the first half of the tw=
entieth century through the flute. From the prisoner's work songs of the not=
orious Parchman Farm prison of 1930's Mississippi to the pioneering 'uptown'=
 innovations of mid-century electronic and tape music pioneer Otto Luening. =
The flute's range is stretched - substituting for everything from bass field=
 calls to 'fantasies in space.' 
 
 
<H5>See below for artist bios. 
 
<HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%"> 
 
</H5>Engine 27 is proud to present an installation and perfo=
rmance: 
 
Robert Dick and David Soldie=
r - Our Other Moon 
<H5>Robert Dick (flutes) and Dave Soldier (violin, pr=
ogramming) 
</H5>&amp; Eric Mingus (vocals) 
Matthew Ostrowski (spatialization programming) &amp; Joe Raia (recording)<B=
R>
<H5> 
</H5>In Our Other Moon, Robert Dick and Dave Soldier co-c=
ompose an installation work inspired by the work songs recorded by Alan Loma=
x at the Parchman Farm prison in Mississippi in the 1940's. Proto-blues in a=
 sound world that transcends all preconceptions of what the flute can be (fr=
om the depths of the contrabass flute to the bends of Dick's custom glissand=
o flute) amidst the gospel call of Eric Mingus and David Soldier's primal vi=
olin. 
 
date &amp; time: Saturday &amp; Sunday, May 31=
 &amp; June 1, 7, 8, 2-8pm 
opening reception and performance: Satu=
rday, May 31, reception 6-8pm, performance 8-9pm 
<H5> 
</H5>In Our Other Moon, Robert Dick and Dave S=
oldier co-compose an installation work inspired by the work songs recorded b=
y Alan Lomax at the Parchman prison farm in Mississippi in the 1940's. Dick'=
s &quot;Glissando Headjoint&quot; on his flute and Soldier's violin are the =
core musical material, creating a 16-channel chorus. Further, samples are tr=
iggered and a sound world created based on the pain and strength of humanity=
 in these songs, fundamental to the blues and much of what makes music &quot=
;American.&quot; Dick and Soldier have collaborated on two notable CDs, T=
hird Stone from the Sun (New World Records) and Jazz Standards on Mar=
s (ENJA Records). In Our Other Moon, they also pay tribute to the=
 fife and drum music of the Deep South, the most primal form of flute music =
in our culture. 
<H5> 
</H5><HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%"> 
 
Engine 27 is proud to present in our gallery a live p=
erformance: 
 
Music of Otto Luening and Da=
n Cooper 
with Lynn Bechtold (violin); Dan Cooper=
, Kaoru Hinata &amp; Helen Richman (flutes) 
R. Luke Dubois (Engine 27 programming) 
<H5> 
</H5>Dan Cooper, composer and multi-instrumentalist, will=
 commemorate the 50th anniversary of electro-acoustic music in the United St=
ates with a tribute to his mentor Otto Luening, a founder of the Columbia-Pr=
inceton Electronic Music Center, known for his pioneering multi-track compos=
itions for flute, echo/delay and magnetic tape. 
 
date &amp; time: Saturday, June 14, 8pm 
suggested admission: $10 
<H5> 
</H5>Luening was one of the first American composers =
to systematically explore the form for which Vladimir Ussachevsky coined the=
 term &quot;tape music.&quot; Two years ago, the Cary Trust commissioned Coo=
per to transcribe Luening's early pieces for flute on tape recorder so that =
they could be performed live by a flutist with computer processing, starting=
 with the 1952 Nocturnes. At Engine 27, Cooper continues this project=
, spatializing Low Speed, Fantasy in Space, Invention in Twelve No=
tes (all from 1952), Gargoyles (1961) and his own Dance Sonata=
 (2003). Cooper describes Leuning's works as &quot;carefully constructed=
 musical pearls fashioned with subtle compositional craft and ageless curios=
ity.&quot; 
 
The Herald Tribune described the landmark 1952 concert of Leuning an=
d Ussachevsky's work as 
 
&quot;...the music of fevered dreams, of sensations called back from a d=
im past. It is the sound of echo...vaporous, tantalizing, cushioned. It is i=
n the room and yet not part of it. It is something entirely new. And genesis=
 cannot be defined.&quot; (1952) 
 
<H5>Program: 
</H5>Otto Luening: 
Excerpts from an Otto Luening lecture on early electro-acoustic music (~4mi=
n.) 
Nocturnes, (~5min.), transcribed for live flute and echoes by Dan Co=
oper 
Fantasy in Space, (~3min.), Invention, (~3min.), Low Speed=
, (~3min.), all three transcribed for three live flutes and echoes by Da=
n Cooper. 
Gargoyles, (~9min.) for violin and electronics 
Dan Cooper: 
Dance Sonata, (~15min.) for violin and electronics. 
<H5> 
<HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%"> 
 
</H5><H2>Artist Bios: 
</H2>Robert Dick and David Soldier - Our Other Moo=
n 
Robert Dick is a cre=
ative virtuoso in the tradition of Paganini and Hendrix. Composer, performer=
, improviser, author, teacher, inventor, he is known worldwide for redefinin=
g the flute, creating revolutionary visions of its musical role to stand alo=
ngside the flute's established musics. Robert's musical taproots are inspira=
tion from the traditions central to him -- free improvisation, American and =
European contemporary music, Indian and other world musics, electronic, psyc=
hedelic, Blues, jazz, Western classical music. His operative axiom is that a=
ny musical role can be taken by any instrument regardless of traditional thi=
nking. He has toured the world playing solo concerts of his music and has pe=
rformed with leading improvisers in the US and Europe. Dick's compositions h=
ave been frequently performed by flutists around the globe and he's received=
 numerous grants and commissions, including a Guggenheim Fellowship, two NEA=
 Composer's Fellowships and a Koussevitzky Foundation commission. Widely rec=
orded playing solo and in creative chamber music, his discography spans orig=
inal repertoire to works by composers as diverse as Telemann and Jimi Hendri=
x. Visit http://jecklinassociates.com/dick.htm =
for more information. 
 
Dave Soldier founded the Soldier String Quartet, the delta punk band=
 the Kropotkins, and the Thai Elephant Orchestra. There are a dozen extant C=
Ds of his compositions, including works for orchestra, concertos, animals, l=
ittle kids, and electronics. He works as an arranger for film (I Shot And=
y Warhol), pop groups (John Cale, David Byrne, Guided by Voices) and has=
 performed on over 50 CDs and with a broad array of artists (Pete Seeger, Bo=
 Diddley, Komar and Melamid). Current projects include a second CD by the Th=
ai Elephant Orchestra and a second collaboration with Kurt Vonnegut, The =
Soldier's Story, recorded by the Manhattan Chamber Orchestra under Richa=
rd Auldon Clark. He is working with avian neuroscientist Linda Wilbrecht to =
teach songbirds to compose using electronic musical instruments as the Songb=
ird Philharmonic. His day job is a professor of neuroscience at the Columbia=
 University Medical School. 
 
The Kropotkins' music is largely based on that by Othar and Bernice Turner =
of the Rising Star Fife and Drum band, who were kind hosts for the band's ba=
rbeque in Senatobia, Mississippi. The fife and drum pieces are dedicated to =
their memory. 
 
For more information, http://www.mulatta.org/otherCDS=
.html. 
 
Eric Mingus studied voice and bass with various luminaries of the mu=
sic world and a brief semester at Berklee college of music. Seeking the &quo=
t;education of the road&quot; he toured as a vocalist with Carla Bley and Ka=
ren Mantler. Moving to London in 1994, Eric met trumpeter Jim Dvorak and the=
y formed a poetry based duet which resulted in the recording of This Isn'=
t Sex (SLAM Records UK). Upon returning to the United States in 1996 Eri=
c was signed to the independent label Some Records, culminating in the relea=
se of the CD Um...Er...Uh.... He has also gained notoriety for workin=
g with famed producer Hal Willner on such projects as The Poe Project=
, two benefits for the Poetry Project (The Music of Doc Pomus and the writin=
g of the Marquis De Sade) and A Tribute to Harry Smith (in support of=
 the Harry Smith archives). Having performed in these concerts Eric was able=
 to collaborate with an eclectic group of musicians: Marianne Faithful, Beck=
, Todd Rundgren, Jarvis Cocker, Nick Cave, Beth Orton, Elvis Costello and ot=
hers. Currently he's working with musician Elliott Sharp, and can be heard o=
n Elliot's recent release Elliott Sharp's Terraplane Blues For Next o=
n Knitting Factory records. Elliot has also produced Eric's next CD, Too =
Many Bullets, Not Enough Soul. 
 
 
 
Music of Otto Luening and Dan Cooper</F=
ONT> 
Otto Luening (1990-1996) wa=
s a composer and a tireless new music educator and advocate. In the 1950s, h=
e and composer Vladimir Ussachevsky helped establish the Columbia-Princeton =
Electronic Music Center where they created a landmark series of collaborativ=
e compositions for magnetic tape and synthesizer, as well as works for acous=
tic instruments in combination with electronic sounds. This association resu=
lted in twenty compositions, Luening's sole-authored works including Fant=
asy in Space for tape (1952), Gargoyles for violin and tape (1960=
), and Synthesis for orchestra and tape (1962), commissioned for the =
20th anniversary of BMI. Luening composed a vast body of music, much of it c=
hamber music, known for its accessibility and stylistic variety. Highlights =
of his extensive output include a flute concertino, four symphonic fantasias=
, a short symphony for chamber orchestra, three string quartets, three sonat=
as for violin and piano, three solo violin sonatas, and a substantial body o=
f chamber music with flute, an instrument he played professionally throughou=
t his life. Luening also composed scores for Hollywood films and television.=
 For more information: http://newmusicbox.org/first-pe=
rson/nov99/ottoluening.html 
 
Dan Cooper (http://www.dan-cooper.com) =
was born in 1970 in Manhattan; he went to the Horace Mann School, and has mu=
sic degrees from Columbia, The New England Conservatory and Princeton, where=
 he is currently a PhD candidate. His mentor was Otto Luening and principal =
teachers include John Heiss, Steve Mackey, and Paul Lansky. In 2000, Cooper =
received a composition fellowship from the Aaron Copland Fund for Music to T=
anglewood, where he has composed and produced incidental music for several S=
hakespeare and Company productions directed by Tina Packer. Awards include a=
n ASCAP Young Composer's Prize for Cooper's electronic setting of Jabberw=
ocky, a Prix Blanche-de-Castille from Fontainebleau, and a Certificate o=
f Achievement from the New York Youth Symphony for Cooper's 1997 work The=
 Millennium. Commissions include the Mary Flagler Cary Charitable Trust,=
 the Circadia ensemble, the Bethlehem Central High School Orchestra, and the=
 Albany Symphony Orchestra, whose 2003 CD recording The Best of the Dogs =
of Desire will include Cooper's work Mass Inertia. In addition, C=
ooper has performed in over 60 cities internationally as a multi-instrumenta=
list with Decca recording artist Ute Lemper, including performances at New Y=
ork's Town Hall, London's Royal Albert Hall, Tokyo's Orchard Hall, Berlin Ph=
ilharmonic Hall, and the Sydney Opera House (2000 Olympics Arts Festival) am=
ong others, with various broadcasts on NBC, CNN, Radio France, RAI, and Brav=
o. He endorses Overwater bass guitars of Carlisle, UK. Cooper has taught at =
Princeton and is currently an adjunct professor at SUNY/FIT, where he teache=
s a course in American Music from 1750 to the present. 
 
Violinist Lynn Bechtold has appeared in recital throughout the U.S.,=
 and in Canada, Holland, and Switzerland. In the past, she has collaborated =
with composers such as Gloria Coates, George Crumb, John Harbison, and Alvin=
 Lucier. As a chamber musician, she has also performed in Italy, Japan, Tata=
rstan, and the Ukraine. She performs with numerous ensembles, including the =
Absolute Ensemble, the Manhattan Chamber Orchestra, and the Orchestra of the=
 SEM Ensemble. Festival appearances include the Kneisel Hall Festival, the P=
acific Music Festival, the Scotia Festival, and the Spoleto Festivals in the=
 U.S. and Italy, among others. She is a past recipient of arts scholarships =
from the Leopold Schepp Foundation and the Hilda Mesta Willis Fund. Bechtold=
 received her Masters Degree from the Mannes College of Music, where she was=
 a student of Felix Galimir. Prior to that, she received a double degree in =
violin and English from the New England Conservatory of Music and Tufts Univ=
ersity in Boston. She is on the faculty of Greenwich House Music School in N=
ew York City. 
 
Kaoru Hinata received her Masters of Music and Artists Diploma from =
Yale, studying under Random Wilson. Hinata has held positions with the Civic=
 Orchestra of Chicago and the Wallingford Symphony, has performed with the O=
rchestra of St Luke's, the New Jersey Symphony, New Haven Symphony, the Da C=
apo Opera Orchestra, the Berkshire Opera, and Camerata New York. As a solois=
t, Hinata won the Lawrence Beauregard Competition in Canada in 1994, placed =
second in the Myrna Brown Competition in Texas in 1995, and has premiered fl=
ute works by Christopher Theofanidis and Dan Sonenberg. She is a founding me=
mber of the chamber ensemble Circadia, and is on the faculty of Bloomingdale=
 School of Music. 
 
Flutist Helen Richman enjoys a diverse career as a soloist, chamber =
musician, and teacher. She has participated in the Aspen, Bowdoin, and Norfo=
lk Summer Music Festivals, and has been a featured soloist at the Banff Cent=
er for the Arts and the Mannes Bach Institute. She is a member of the SEM En=
semble and can be heard in orchestral and chamber music settings with member=
s of the New Haven Symphony, and with the award winning flute quartet, Flute=
 Cocktail. A sought-after Suzuki instructor, Helen maintains an active priva=
te flute studio in Brooklyn, and serves on the faculty of Turtle Bay Music S=
chool in Manhattan. 
 
 
 
To be added or removed from Engine 27's email list pl=
ease go to: http://64.247.23.2/mailman/listi=
nfo/events_engine27.org=20
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