MICHAEL SIDNEY TIMPSON's musical beginnings were borne out of playing baritone saxophone and "electric" bass clarinet with a strong interest in American improvisational forms, especially Free Jazz and Fusion; this would later evolve into incorporations American popular genres, such as Funk, Hip-Hop, and Alternative Techno. A child of the multicultural era in Northern California, he was intrigued with East and Southeast Asian traditional musics, these seeds that would eventually bear a lasting impact on his musical style. With his research on Chinese instruments, he has also become an improviser on various Asian woodwinds.
A composer in virtually every medium, many of his recent compositions are for percussion ensemble and for orchestra; he has also composed many works for Chinese and Korean instruments. A winner of multiple composition awards, recorded on major labels, and with significant publications, his works continue to be featured throughout North and South America, Europe, and Asia. Timpson won the ASCAP Grant for Young Composers, the BMI Student Composers Award, the DownBeat Magazine award for extended composition, and was twice nominated for the American Academy of Arts and Letters composition award. He also won the Brian M. Israel Prize (The Society for New Music and the New York Federation of Music Clubs), the Lee Ettelson Composer's Award, National Federation of Music Club's Youse competition, second places at the Music From China International Competition and in NACUSA's composition competition, very highly commended in England's Kathryn Thomas Flute Competition, and honorable mention at the National Federation of Music Club's Beyer competition. His orchestral works have received performances and recording by the Kiev Philharmonic, the Czech Philharmonic, the Florida Orchestra, the Jacksonville Symphony, the Singapore Chinese Orchestra, and the National Orchestra of Korea. Timpson's works continually appear on radio shows throughout the U.S., Asia, and Europe and have a strong visibility on the web.
He is an Associate Professor of Music Composition at at Ewha Womans University in Seoul, Korea. He was a Senior Fulbright Research Scholar in the Humanities in Taipei, Taiwan in 2009 for research on his forthcoming book on orchestration and compositional philosophy on Chinese instruments for western composers (for which he has already published two articles.) He has also been on the music composition and electronic music faculty at the University of South Florida, Rhodes College and the University of Kansas. A student of Samuel Adler, William Albright, William Bolcom, Donald Crockett, Morten Lauridsen, Frederick Lesemann, Milcho Leviev, Andrew Mead, and Joseph Schwantner, he earned his undergraduate composition degree at the University of Southern California, his master's at the Eastman School of Music, and a doctorate from the University of Michigan. www.michaelsidneytimpson.com
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Michael Sidney TimpsonCross-Cultural Collisions, Reinventions, and Fertilizations
Inspired by the image of winds and wood flying through the air, Ricardo Climent and Paul Wilson conceived THE TORNADO PROJECT: a set of commissioned works for flute, clarinet and computer-generated sound, to be performed by American wind virtuosi Esther Lamneck (clarinet) and Elizabeth McNutt (flute). Tornado performances have taken place in New York, Manchester, Belfast, Aberdeen, Phoenix AZ, Denton TX, Cincinnati OH, and at the SEAMUS Conference, International Computer Music Conference, and New York City Electroacoustic Music Festival. The first Tornado Project event was the opening of the NOVARS Research Centre at the University of Manchester, England, in 2007, and included the Climent, Wilson, May, and Lyon works on this album. The repertoire of the project has grown with each performance. www.tornadoproject.xyz
Shelly Tramposh (b. 1970) has enjoyed a varied career as a chamber musician, orchestral player, and teacher. She has performed as recitalist in venues across the United States, Canada, Central America, and Europe, including the American Viola Society national conference. Tramposh has also presented lectures and master classes at the ASTA National Conference and various colleges and music schools in the United States and abroad; her first article was published by The Strad in the Fall of 2011. She has been performing with Cullan Bryant for the last five years; in addition to the pieces presented here, they have performed works by Hindemith, Shostakovich, Brahms, Enesco, Kiel, Clarke, and Milhaud. Other chamber music affiliations include The Perron Trio, the Potsdam Piano Quartet, and the Ariel Chamber Players.
Tramposh is currently Associate Professor of Viola at the Crane School of Music at SUNY Potsdam, where she is coordinator for the string area. Before joining the Crane School faculty in 2005, Tramposh was Principal viola of the Mercury Ensemble and Associate Principal viola of the Colorado Springs Symphony. Her orchestral career also included positions in the Colorado Symphony, the Rochester Philharmonic, and the Berkeley Symphony. Festival appearances include the Taos School of Music, the Spoleto Festival, and the National Repertory Orchestra. She has coached with members of the Emerson, Guarneri, and American String Quartets. Her principal teachers include Martha Katz, Steven Tenenbom, Erika Eckert, Burton Kaplan, and Don Ehrlich. Tramposh holds degrees from San Francisco Conservatory of Music, the Eastman School of Music, and the University of Colorado at Boulder.
The members of Trio Verlaine are drawn together by friendship and a strong desire to further this unusual instrumental combination first dreamt of by Debussy. Each player has distinguished themselves in their respective field. David Harding is Professor of Viola and Chamber Music at Carnegie Mellon University, Pittsburgh. He has an extensive solo and chamber music career, having performed in such venues as the chamber music halls of Berlin Philharmonie and Concertgebouw, and Weill Hall at Carnegie Hall. In addition to Trio Verlaine, David is also member of Philip Glass' chamber ensemble, the "Days and Nights Festival Players" with whom he has made several recordings.
Heidi Krutzen is principal harpist of the Vancouver Opera Orchestra and former principal harpist of the CBC Radio Orchestra. She has been guest principal harpist of the National Symphony (Washington D.C), Toronto Symphony, Calgary Philharmonic, and Vancouver Symphony. Celebrated for her chamber music, she performs in the US, Canada, UK, and Asia. Heidi teaches at the University of British Columbia, and is on faculty for the National Youth Orchestra of Canada. She is also a member of COULOIR, a duo with cellist Ariel Barnes with whom she has commissioned and recorded numerous works.
Scottish-born Lorna McGhee is principal flute with the Pittsburgh Symphony Orchestra in the USA. She has performed as guest principal with Chicago Symphony, Minnesota Orchestra, London Symphony, London Philharmonic, Academy of St-Martin-in-the-Fields, Chamber Orchestra of Europe and the Vancouver Symphony. Before emigrating to North America in 1998, Lorna was co-principal flute of the BBC Symphony Orchestra, England.
Together the members of Trio Verlaine draw on a wealth of experience and imagination. In the words of one critic, "these three showed how good a trio can get when they spend a lot of time together...making music and coming up with truly original programs." (The Register-Guard, Oregon)
Trio Verlaine can be heard frequently on NPR radio in the States and CBC radio in Canada. Recently featured at the Edinburgh International Festival, the Trio has also performed a live recital for BBC Radio 3 as part of a retrospective on Debussy's last sonatas. In North America, they have appeared t at many of the finest chamber music festivals and series, including the Oregon Bach Festival, Ottawa Chamber Music Festival, Seattle Chamber Music Society, Music in the Vineyards, Sitka Summer Music Festival, Strings in the Mountains, Music in the Morning, Festival Vancouver, and World Harp Congress. In addition to standard repertoire, Trio Verlaine's exploration includes arrangements of works suited to this rare combination, and the commissioning of entirely new, original works.
Trio Verlaine has released two CDs, "Fin de Siecle, the music of Debussy and Ravel" on Skylark Music and "Six Departures" on Ravello Records.