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Show The Three Composers by Rick Mortensen What do these three handsome faces have in common? They all received a cash award from the American Society of Composers Authors and Publishers this year (actually their work received the award, not their feces). However, this award is just one drop in the bucket to these three. All have had impressive careers as composers and educators. Each brings a unique vision to the university community and the music world at large. Henry Wblking Also featured in last year's 'Openings'' issue of the Chronicle, Walking has added a double-pia- no concerto to his portfolio since then. This work will be premiered this fall in Warsaw, Poland by the Gritton Deuhlmeier Duo. This piano duo, comprised of two U. profes- sors, commissioned the work after Wolking arrangements impressed them with his two-pia- no for their Gershwin CD. The work will be performed at September In Warsaw, an international new music festival A concert work in the jazz idiom, the concerto has five movements with two sections each. "(It is based on styles from Fats Waller to Bill Evans to Eddie Palmiere and McCoy Tiner. Even Gil Evans and Thelonius Monk are quoted", commented Wolking. It will be the onry work of American Jazz at the festival The concerto was programmed by Tom McKinley, a composer and entrepreneur who first became acquainted with Wolking's work when it two-pia- no was performed by the Fairbanks. Alaska Symphony. The piece was "Powell Canyons a 20 minute work for Jazz quartet and orchestra. McKinley was so impressed that he recorded it on his own record label. Master Musician Collective with the London Symphony. In addition to Warsaw and London. Wolking has liad his work performed in Australia. Germany, and dozens of orchestras in America. He was recently invited along with a select group of jazz educators to Beijing, China to teach band how to swing. then-militar-y His vocal and chamber piece "Reaching" recently debuted at Carnegie hall after a world premiere in Santiago, Chile. His wife Laura wrote the text for thb piece. Wolking attributes part of his success to self promotion. Tin pretty aggressive about doing my catalogue and pushing my work. I keep a bst of and orchestra managers and most of the con-ducto- rs major ones are familiar with my work" In addition to jazz. Wolking writes concert music in a variety of styles. He has written atonal music such as his Chamber Concerto for horn, violin and bassoon which won the 1987 International Horn Composition Competition. 20th-centur- academia. "We have ignored a great amount of American music in our universities. How much Copland do we How study? much Bernstien or Barber?" Who better than an advocate of American music to repre- S3- . post-moder- nist, sight-readin- the Koussivitsky Commission and numerous national awards for his compositions. Rosenzweig graduated from the Eastman School of Music, then got his master's from the University of Pennsylvania and his doctorate from Columbia University. Before coming to the U., he. taught at New York University. see "Composers" on page 11 J lite taking the valley. . .one watt at a time coming September 29th K U T E Alternative Radio 600 AM 581-798- 1620 AM 1 sent us bi Poland? TuDy Cmmncu said "I consider myself a Wolking, "which basically means that I can use anything at my disposal This includes jazz, pop, y academic techniques." and This puts Wblking outside that camp of composers who trace their work back to the "Second Viennese School" of the carry 1900's. This was the group that pioneered seriabsm and atonality, and many serious composers onry accept other musk as "serious" if it comments on or adds to the work of Shoenberg or Weburn. As an educator, Wolking strives to give students a. "practical education and an awareness of the larger world of musk". Wolking's jazz classes are a rare treat, because he personally knows many of the composers and arrangers his students study. By "larger world of musk," Wolking refers in part to modern musk outside the narrow body of works accepted as great in modern "Disposable City" which was performed by both the Utah Symphony and U. Philharmonia last year, Cathey has taught at the U. since 1989. He teaches musk theory and both classical and jazz guitar, and is working toward a Ph.D. in compositioa Cathey also describes himself as a and his portfolio is varied. It includes a work for the Modern Mandolin Quartet entitled "Elements Suite (I. Fire. II Earth, III Air. IV Water)." This tonal work premiered in January of this year at Merken Hall in New York City. It has since been performed at the Utah Arts Festival and at Berkeley, (the piece was funded by the "Meet Wallace the Composer" Reader's Digest-Li- la Commissioning program.) Cathey's choral work, "Trilogy: An Homage to Edgar Allen Foe", won "His Majesties sic) Clerke Choral Composition Competition" and will be performed in Chicago this spring. "I'm not so much concerned with doing something new as expressing myself," Cathey says, describing his compositional philosophy. "I see techniques as a spectrum and I've used everything from species counterpoint to serialism." As a teacher, Cathey stresses fundamentals such g . His goal is "to provide as scales and a technical foundation so that students can ultimately do what they want". Morris Rosenzweig Known by his students for his biting wit and fierce devotion to "art" music. 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