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Mark Alburger, Music Director
Friday, October 4th, 2002, at 8:00pm
Goat Hall, 400 Missouri Street
San Francisco, CA

Listen to the complete concert.



Composer, conductor and bass trombonist, Frank Bunger has recently returned to California after performing as acting bass trombonist with the Auckland Philharmonia, in Auckland, New Zealand. Among his top honors: he was 1st place in the 2001 Zellmer Competition, the world's largest cash-prize awarding trombone competition; 1st place in the 1997 Eastern Trombone Workshop HS division competition; and 3rd place in the 2002 Lewis Van Haney competition.

Frank Bunger

Sonata in Eb for Bass Trombone and Piano

Thomas Goss's credits as a composer include music written for dance, film, television, and the concert stage. His works have been commissioned and premiered by such groups as Marin Symphony, Earplay, Onyx String Quartet, and the San Francisco Symphony Chamber Ensemble, and he has created concerto repertoire for soloists such as violist Linda Ghidossi-DeLuca and erhuist Xiaofeng Zhang. He lives in New Zealand with his wife Erica and one unappreciative cat. Goss is a member of ASCAP, and is published by Tiritiri Matangi Music.

Thomas Goss

Concerto in B Minor for Cello (Bass Clarinet) and Strings

Rachel Condry, Bass Clarinet

Brian Holmes is a physics professor at San Jose State University, specializing in the physics of musical instruments. He usually composes for voice or chorus. During the last year, he has completed commissions for the Peninsula Women's Chorus, the Peninsula Girls Chorus, Pinewood School, and Castileja School. His opera The Fashion God was performed last May by Fresh Voices VI; the song cycle Updike's Science will be performed by Lara Bruckmann as part of Fresh Voices VII later this month. Next weekend, the San Jose Symphonic Choir will perform two pieces of his in Palo Alto as part of a NACUSA concert; one is a premier.

Brian Holmes

Concertini for Toy Piano and Orchestra

Marcia Burchard, Toy Piano

Stan McDaniel studied composition with an inspiring teacher and consummate musician named H. Klyne Headley, who (although now forgotten) at that time was quite well known as a composer, conductor and concert pianist. Mr. Headley taught him skills for serious musical composition. Although he pursued a career in philosophy, Stan continued to compose music, bits here and there, and even one or two major pieces over the years, based on further reading and experience as time permitted. Stan made efforts at self-publishing, and in 1965-66 two of his pieces, "The White Tree" and "Estel" (Hope) for solo alto recorder, were received favorably, the first by a laudatory review in The American Recorder magazine (1965) and the second in a letter from the outstanding professional recorder artist Franz Bruggen, who called "Estel" "a real contribution to the modern recorder repertoire."

Stan McDaniel

The Passing of the Master
from "In Memoriam Tolkien"



Lisa Scola Prosek is a graduate of Princeton University in Music Composition. Her teachers include Edward Cone, Milton Babbitt, Lukas Foss, and Gaetano Giani Luporini. Scola Prosek is the recipient of numerous grants, commissions and awards, including The NY Center for Contemporary Opera "Atelier" Award for The Lariat. Scola Prosek has composed and produced eight operas with librettos in Italian and English. In 2012, Daughter of the Red Tzar, written for acclaimed tenor John Duykers, premiered in San Francisco to capacity audiences, and is currently on the outreach season with Long Beach Opera. Lisa serves as General Manager and Director of the San Francisco Composers Chamber Orchestra, since 2001. Other awards have been from Theatre Bay Area, the LEF Foundation, The Argosy Contemporary Music Fund, Meet the Composer, the Hewlett Foundation, the American Composers Forum, The San Francisco Arts Commission, The Center for Cultural Innovation, The California Arts Council, the NEA and the Zellerbach Foundation.

Lisa Scola Prosek


Ric Louchard Two Arias for Soprano and Chamber Orchestra

Yolanda Rhodes, Soprano

The multi-instrumentalist Michael Cooke is a composer of jazz and classical music. This two-time Emmy, ASCAPLUS Award and Louis Armstrong Jazz Award winner plays a variety of instruments: you can hear him on soprano, alto, and tenor saxophones, flute, soprano and bass clarinets, bassoon and percussion. A cum laude graduate with a music degree from the University of North Texas, he had many different areas of study; jazz, ethnomusicology, music history, theory and of course composition. In 1991 Michael began his professional orchestral career performing in many north Texas area symphonies. Michael has played in Europe, Mexico, and all over the United States. Cimarron Music Press began published many of Michael's compositions in 1994. After relocating to the San Francisco Bay Area, he has been exploring new paths in improvised and composed music, mixing a variety of styles and techniques that draw upon the creative energy of a multicultural experience, both in and out of America. In 1999, Michael started a jazz label called Black Hat Records ( and is currently on the Board of Directors of the San Francisco Composers Chamber Orchestra. The San Francisco Beacon describes Michael's music as "flowing out color and tone with a feeling I haven't heard in quite a while. Michael plays with such dimension and flavor that it sets (his) sound apart from the rest." Uncompromising, fiery, complex, passionate, and cathartic is how the All Music Guide labeled Michael's playing on Searching by Cooke Quartet, Statements by Michael Cooke and The Is by CKW Trio. His latest release, An Indefinite Suspension of The Possible, is an unusual mixture of woodwinds, trombone, cello, koto and percussion, creating a distinct synergy in improvised music that has previously been untapped.

Michael Cooke


Dr. Mark Alburger (b. 1957, Upper Darby, PA) is a multiple-award-winning ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. His compositions are generally assembled or gridded over pieces ranging from ancient and world music, to postmodern art and vernacular sources -- 174 opus numbers (, including 16 concertos, 20 operas, 9 symphonies, and the four-hours-and-counting opera-oratorio work-in-progress, The Bible. He is Music Director of San Francisco Composers Chamber Orchestra ( and San Francisco Cabaret Opera / Goat Hall Productions (, Editor-Publisher of 21st-Century Music Journal ( and, Instructor in Music Literature and Theory at Diablo Valley and St. Mary's Colleges, and Music Critic for Commuter Times. He studied at Swarthmore College (B.A.) with Gerald Levinson and Joan Panetti, Dominican University (M.A., Composition) with Jules Langert, Claremont Graduate University (Ph.D., Musicology) with Roland Jackson, and privately with Terry Riley. Alburger writes daily at and is in the fifth year of an 11-year project recording his complete works for New Music Publications and Recordings.

Mark Alburger

Overture to "The Bald Soprano"

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Bruce Salvisberg

Mark Alburger
John Kendall Bailey

Rachel Condry
Michael Kimbell

Michael Cooke

Jon Pankin
Eduard Prosek

French Horn
Erica Challis
Brian Holmes

Frank Bunger

Josh Sirotiak

Marcia Burchard
Ric Louchard

Ken Crawford
Scott Looney

Violin I
Brooke Aird *
Thomas Yee

Violin II
Charles Montague

Marsha Gonick

Danielle DeGruttola
Carolyn Jean Tyler

John Beeman

Yolanda Rhodes



Mark Alburger Dr. Mark Alburger is the Music Director, Conductor and founder of the San Francisco Composers Chamber Orchestra. Mark is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is the Music Director of Goat Hall Productions / San Francisco Cabaret Opera, Editor-Publisher of 21st-Century Music Journal, an award-winning ASCAP composer of concert music published by New Music, Instructor in Music Theory and Literature at Diablo Valley College, Music Critic for Commuter Times, author, musicologist, oboist, pianist, and recording artist.

Dr. Alburger studied oboe with Dorothy Freeman, and played in student orchestras in association with George Crumb and Richard Wernick. He studied composition and musicology with Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.), Karl Kohn at Pomona College, Jules Langert at Dominican College (M.A.), Tom Flaherty and Roland Jackson at Claremont Graduate School (Ph.D.), and Terry Riley.
       Since 1987 he has lived in the San Francisco Bay Area, initially producing a great deal of vocal music with assembled texts, including the opera Mice and Men (1992), the crisis-madrigal collection L.A. Stories (1993), the rap sheet For My Brother For My Brother (1997), and the hieratic Passion According to Saint Matthew (1997).

Since 1997, Dr. Alburger has gridded and troped compositions upon pre-existent compositions ranging from world music and medieval sources to contemporaries such as George Crumb and Philip Glass. To date, he has written 16 concerti, 7 masses and oratorios, 12 preludes and fugues, 20 operas, 6 song cycles, 9 symphonies -- a total of 130 opus numbers and more than 800 individual pieces. He is presently at work on Waiting for Godot and Diabolic Variations.

John Kendall Bailey John Kendall Bailey is an Associate Conductor with the San Francisco Composers Chamber Orchestra and is Principal Conductor and Chorus Master of the Trinity Lyric Opera, Music Director and Conductor of Voices of Musica Sacra, and Artistic Director of the San Francisco Song Festival. In 1994, Mr. Bailey founded the Berkeley Lyric Opera and served as its Music Director and Conductor until 2001. Since then he has been a guest conductor with the Oakland East Bay Symphony, Oakland Youth Orchestra, and Oakland Ballet, and music director and conductor for productions with North Bay Opera, Mission City Opera, Goat Hall Productions, Solo Opera, the Crowden School and Dominican University. From 2002-2006 he was the Chorus Master of the Festival Opera of Walnut Creek. Mr. Bailey is also a composer, and his works have been performed and commissioned in the Bay Area and abroad.

Mr. Bailey also maintains a busy performance schedule as a bass-baritone, oboist, and pianist, and has performed with the San Francisco, Santa Rosa, Oakland East Bay, Berkeley, Redding, Napa, Sacramento, and Prometheus symphonies, American Bach Soloists, Philharmonia Baroque Orchestra, the Midsummer Mozart and West Marin music festivals, San Francisco Bach Choir, Coro Hispano de San Francisco, Pacific Mozart Ensemble, California Vocal Academy, San Francisco Concerto Orchestra, Masterworks Chorale of San Mateo, Baroque Arts Ensemble, San Francisco Korean Master Chorale, the Master Sinfonia, the Mark Morris and Merce Cunningham dance companies, Goat Hall Productions, Opera Piccola, the Berkeley, Golden Gate, and Oakland Lyric Opera companies, and many other groups. He has recorded for the Harmonia Mundi, Koch International, Pro Musica, Wildboar, Centaur, and Angelus Music labels.

Mr. Bailey has been a pre-performance lecturer for the Oakland East Bay Symphony and the San Francisco Opera, a critic for the San Francisco Classical Voice, a writer of real-time commentary for the Concert Companion, and has taught conducting at the University of California at Davis.

Rachel CondryRachel Condry is the Booking Manager of the San Francisco Composers Chamber Orchestra. She has spent her career commissioning, premiering and performing new works for solo clarinet, clarinet with tape and clarinet and orchestra. In the spring of 2005 she made her Carnegie Hall debut with The Matt Small Chamber Ensemble, a group that seamlessly blends jazz, improvised music and classical genres. As a performing member of the San Francisco Composer’s Chamber Orchestra, Rachel premiered the Cello Concerto of Thomas Goss on Bass clarinet in 2003 and in 2005 she premiered Erling Wold’s work “Brightness” for solo clarinet and orchestra. She has independently produced several concerts comprised of recent and newly commissioned work for clarinet and bass clarinet by Bay Area composers such as Earl Zindars, Erling Wold, Andrew Shapiro, Lisa Prosek, Janis Mercer, Jono Kornfeld, Melissa Hui, Alexis Alrich and others. Rachel received a Bachelor of Music degree from Oberlin Conservatory where she was a finalist of the Oberlin Concerto Competition and was a soloist with the Oberlin Contemporary Music Ensemble.