Parsons School of Design, Queens Library, Rockwood Music Hall, Spectrum, St. Mark's Church, andTurtle Bay Music School; In addition, it performed at Experimental Sound Studio in Chicago, Monk
Space in Los Angeles, Corner Store Arts in Washington, DC, Cité Internationale des Arts andl’Institut Finlandais in Paris, and Koendori Classics and Monten Hall in Tokyo. Miolina recently
premiered a double concerto by composer Victor Kioulaphides with the North/South Consonance
Chamber Orchestra. Both violinists are longtime advocates of new music, and have also performed
with various new music groups, including the American Symphony Orchestra, Composers
Concordance, Glass Farm Ensemble, North/South Consonance, SEM Ensemble, & VIA. They havereceived grants from Japan Foundation NY, the Lower Manhattan Cultural Council, and New York
Women Composers. Their debut album will be released in 2017. Miolina is a 501(c)(3) non-profit
organization. www.miolinanyc.wixsite.com
Since she settled in NYC, Japanese violinist Mioi Takeda earned her reputation as a soloist,chamber musician, orchestral player, and a seasoned new music specialist. Ms. Takeda has performed
with various new music groups, including North/South Consonance as concertmaster, SEM Ensemble,
and Composers Concordance, giving countless premieres. She has also performed with the Orchestraof St. Luke's, American Symphony Orchestra, Washington Square Festival, Scandia Symphony,
Stamford Symphony, Strathmere Orchestra, The Japan Philharmonic, and The New Japan
Philharmonic. Ms. Takeda's performances can be heard on North/South and Naxos Recordings. She
was a scholarship student of Dorothy DeLay and Masao Kawasaki at The Juilliard School, and earneda Doctorate of Musical Arts from The City University of New York under the guidance of Itzhak
Perlman. She also enjoys doing yoga and watching The Big Bang Theory when she is not playing theviolin.
Noted for her ‘virtuosity and technical expertise’ in All About Jazz, called 'unapologeticallydominating' in San Diego Story, and labeled ‘up-and-coming’ by Time Out, violinist/composer Lynn
Bechtold has appeared in recitals throughout North America and Europe, and has premiered
solo/chamber works by composers such as Carter Burwell, Gloria Coates, John Harbison, Alvin Lucier,and Morton Subotnick. She is a member of groups including Miolina, Quartet Metadata, SEM, andZentripetal. Her performances have been broadcast on various TV channels and radio shows,including 30 Rock, Unbreakable Kimmy Schmidt, CBC, NPR, and NHK. An active performer of all
genres of music, she has appeared at venues including Carnegie Hall, Joe’s Pub, Jordan Hall, Lincoln
Center, (le) Poisson Rouge, and Madison Square Garden, with artists such as Willie Colon, Escort, Sir
Simon Rattle, Donna Summer, Paul Taylor Dance, and Pablo Ziegler. She holds degrees from Tufts
University, New England Conservatory, and Mannes College-The New School for Music, where she
studied with noted violinist Felix Galimir. Her electroacoustic compositions have been performed on
festivals such as Circuit Bridges, Composers Concordance Festival, Electro-Music, Music With A View,
and NWEAMO, and in cities such as Chicago, Los Angeles, NYC, Paris, Philadelphia, San Diego,
Tokyo, and Washington, DC. She is on the faculties of the Dwight School, Greenwich House Music
School, and the Town School in NYC.

Sunday, March 12, 2017, 7:30pm
Tenri Cultural Institute of New York
7

Japan-USA: Musical Perspectives Series 7~Hibiki - Japanese Sonority~

Akio Mokuno is an electroacoustic music composer, noise bassist, and multimedia performer.

About Our Group, JUMP
We wish to express our gratitude to the Tenri Institute for allowing us to use theirspace again for the seventh concert in our series and to the Japan Foundation of New
York. We also would like to thank all of you for coming.
JUMP (Japan-USA: Musical Perspectives) is a composers’ collective, created forthe purpose of organizing a series of contemporary music concerts both in the US and inJapan. We present experimental works, collaborating with active contemporary artists
and musicians. We seek to expand cultural exchange between Japan and the US throughmusic and arts.
In our past concerts we focused on works that involved computer technology andvisual arts as well as Japanese culture, including Japanese traditional instruments. Thistime, we feature MIOLINA, a violin duo based in New York, which specializes in an
exciting and challenging range of repertoire.
Searching for beauty in music is an endlessly fascinating subject for me as acomposer. What is beauty? Beauty is very personal. For me it does not mean ‘externalbeauty’, but all of the ugly, fearful, sad, and crazy things that live inside of us. I believethat internal beauty, and not only the outward appearance, attracts people. I very muchhope that you will experience this kind of beauty through our music.
It is very important for composers to receive feedback from the audience. Please,feel free to talk to the composers and musicians after the performance.

After exploring psychedelic/new wave bands in Nagoya, he moved to New York in 1994 and joined thenoise band Electoputas, as a bass and voice performer. After earning a B.F.A. in Sonic Arts from theCity College of New York, Akio went on to earn an M.F.A. in Performance and Interactive Media Arts
from Brooklyn College. He studied under David Grubbs, Douglas Geers, Vito Acconci, and Morton
Subotnick. Akio is expected to finish the Master of Music Program for Composition from Brooklyn
College in Spring 2017.
In the 1980s, when Doug Geers was a nerdy guitar-playing tween, a beige Atari computerchanged his life. The Atari, his guitar playing, and Doug’s other love -- making comic "radio" showswith cassette recorders-- all seemed totally unrelated to each other until the day he stumbled into anelectronic music class in college. There, instruments, tape recorders (this was a long time ago), andcomputers all collaborated to make odd and intriguing music. He was hooked. Today Geers continues
to use technology in nearly all of his works, whether in the compositional process, as part of theirsonic realization, or both. He has created concert music, installations, and several large multimedia
theater works. He has also performed as an improviser, playing laptop and his own homemade
electronic instruments. Geers is an Associate Professor of Music Composition at Brooklyn College, acampus of the City University of New York (CUNY). There he is Director of the Center for Computer
Music and the MFA program in Sonic Arts. He also serves on the Ph.D. composition faculty of the
CUNY Graduate Center. For more information, please see www.dgeers.com.

Karen Tanaka is a versatile composer and pianist. Her works have been performed by
distinguished orchestras and ensembles worldwide, including the BBC Symphony Orchestra, Los
Angeles Philharmonic, Netherlands Radio Symphony Orchestra, Orchestre Philharmonique de RadioFrance, among many others. Born in Tokyo, she started formal piano and composition lessons as achild. After studying composition at Toho Gakuen School of Music, she moved to Paris in 1986 withthe aid of a French Government Scholarship to study with Tristan Murail and work at IRCAM as anintern. In 1987 she was awarded the Gaudeamus Prize at the International Music Week in
Amsterdam. She studied with Luciano Berio in Florence in 1990-91 with funds from the Nadia
Boulanger Foundation and a Japanese Government Scholarship. In 1998 she was appointed a CoArtistic Director of the Yatsugatake Kogen Music Festival, previously directed by Toru Takemitsu. In
2012, she was selected as a fellow of the Sundance Institute’s Composers Lab for feature film andmentored by Hollywood’s leading composers. Recently, she served as Lead Orchestrator for the BBC's
TV series, Planet Earth II. Her music is published by Chester Music in London, Schott Music in New
York (PSNY), and Editions BIM in Switzerland. Karen Tanaka lives in Los Angeles and teaches
composition at California Institute of the Arts. http://directory.calarts.edu/node/3103

About the Performers
MIOLINA was formed in 2012, when artistic director/violinist Mioi Takeda decided to form a violin

Miyuki ITO, Founder1

duo with a longtime collaborator, violinist/composer Lynn Bechtold. Miolina specializes in violin duomusic that employs the natural beauty and sound of the instruments, with or without electronics andvideo. The duo enjoys collaborating on new compositions with composers, as well as discovering
hidden gems of the past. To date, the duo has had successful performances in NYC at The Church of
the Transfiguration, Gallery MC, Greenwich House Music School, The Morbid Anatomy Museum,6

resident at the Rockefeller Brothers’ Fund. Last year, she released a solo CD Harmonic
Constellations (New World Records), featuring works for violin and electronics by Americancomposers, which includes Sarahal. Mari’s latest CD (2017), Voyage Apollonian (Innova Recordings)
features her works for subharmonics and interactive compositions using a motion sensor. Since 2016,
Mari is using “µgic”, an original prototype WIFI sensor, which extracts her bowing movements andmusical expressions. In September 2014, she won a grant from Harvestworks Creativity + Industry =Enterprise program, supported by the New York State Council on the Arts with the support ofGovernor Andrew Cuomo and the New York State Legislature and The Rockefeller Foundation’s New
York City Cultural Innovation Fund. In 2013, Mari inaugurated “Future Music Lab” summer programat the Atlantic Music Festival. Mari teaches Interactive Computer Music Performance at Juilliard.
Born in the Ukraine, Lyudmila German received her education in New York, earning a BA from
Brooklyn College and MM and DMA degrees from the Manhattan School of Music. Lyudmila’s
compositions include works for piano, organ, string quartet, voice, percussion, chamber music,
electronics, orchestra, and choir. In the past few years her compositions featuring Japanese
instruments have been performed at Tenri Cultural Institute. Last summer, Three Songs on Poems by
Philip Larkin were premiered at the Source Song Festival in Minneapolis, MN. Children’s Music
School in Lyudmila’s native town of Chernivtsi, Ukraine, commissioned her to write a piece forstudent orchestra, which was premiered last year in Ukraine. Lyudmila’s Six Miniatures and Four
Fragments for clarinet and cello will be broadcast live from National Sawdust (in Brooklyn, NY) on
April 21st at 11 pm on the radio show Relevant Tones (87.7 WFMT). Lyudmila’s current projects
include a commission for a trio for clarinet, ryuteki (Japanese flute) and piano, and a chamber opera
based on a short story by Soviet writer Daniil Kharms. Lyudmila is a recipient of Miriam Gideon
Scholarship from Brooklyn College, Meet the Composer Grant, Ivar Mikhaschoff Grant for New Music,
Cantate Chamber Singers Award and Robert Helps Prize. Lyudmila teaches music theory at Stamford
Music and Arts Academy (CT) and is an organist at Bethlehem Lutheran Church in Redding, CT.

JUMP, Series 7
PROGRAM

Mari Kimura | Sarahal (2013) for two violins and interactive computer
Lyudmila German | In the World of Shadows (2017) for violin solo *Lynn Bechtold | Away/Home 1.2 (2010/12) for two violins and pre-recorded electronics
Miyuki Ito | Étoile Double (I) (2017) for two violins *Akio Mokuno | Stream (2017) for two violins and electronics *Douglas Geers | Teach Sum, Cheat Sum (2017) for two violins and voice synthesizer *Karen Tanaka | Shibuya Tokyo (2009) for two violins

Miyuki Ito , a native of Nagoya, Japan, received her B.A. from Aichi University of the Arts, Japan,
M.A. from the Manhattan School of Music, and D.M.A. from Columbia University, studying with
Tristan Murail. She pursued research at IRCAM (Paris) with an artist grant from the Agency for
Cultural Affairs, Japan. Her works have been performed at festivals and venues across the globe,
including Centre Acanthes (France), ISCM, Résonances (IRCAM), ICMC, SMC, Re:New and Visiones
Sonoras (Mexico). She has received commissions from Tokyo Opera City (Japan), Music From Japan(NY), Attack Theater (Pittsburgh), Onix Ensemble (Mexico), Aichi Arts Center (Japan), Sinus Ton(Germany), as well as from individual musicians. Her awards include the Nagoya Cultural Promotion
Agency Prize (Japan), Japan Symphony Foundation Prize and the First Prize in Concorso diComposizione Franco Evangelisti (Rome). She had been a fellow at the Djerassi Artist Residency in
California with an Oshita Fellowship and at CMMAS in Morelia (Mexico) with a Japan Foundation.
She has taught at Nagoya University of Arts, Chiba Commerce University and Aichi University of theArts in Japan as well as Shichuan Conservatory of Music in China as a guest composer. Ito is a cofounder and producer of the composer collectives NymphéArt and JUMP. The NymphéArt tenthconcert was awarded as the 14th Keizo Saji Prize from the Suntory Foundation for Arts, Japan. Itoreleased a solo CD, titled The Sands of Time, which focuses on works with electronics, on ALCD80.
Her work Réminiscence d’un ancien esprit is published by Edizioni Suvini Zerboni (Italy).
www.miyuki-ito.com* World Premiere

MIOLINA
Mioi Takeda
Lynn Bechtold(violins)

5

2

Program Notes

Sarahal (2013) for two violins and interactive computer, by Mari Kimura
In 2013 I was commissioned by violinist Sarah Plum, a former fellow student from our Juilliard days,
to write a violin duo with interactive computer. She made the commission possible by receiving a
Faculty Development Grant from Drake University, where she is a professor of violin. The title
Sarahal is the combination of names Sarah and her duo violin partner Hal Grossman (Sarah+Hal).
When I use interactive computer, I imagine musical and motivic gestures and figures that cannot be
imagined or conceived with acoustic instruments. I also take particular joy in combining classicalviolin language with computer techniques, to see how it could be transformed.
In the World of Shadows (2017) for violin solo, by Lyudmila German
At the end of last year I went skiing. On December 30th, at a local restaurant, a countdown to the
New Year was playing on a classical radio station. Amid the cheer of a festive Olympic village,
Albinoni’s Adagio sounded strangely out of place. When I started composing, almost despite myself,
the composition started to unfold in a strange, collage-like form. I imagined I was wandering in a“composers’ underworld”, encountering the shadows of the classical music giants. They are
represented by altered quotations from decidedly non-violin music. The melody of the Adagio
sounds distorted, out-of-tune. Rachmaninoff’s C-sharp minor Prelude emerges after “showy” violin
passages. At first it sounds pompous, but later disintegrates into dissonant chords. The second
movement from Beethoven’s Seventh Symphony is muted, unfinished, and transformed into broken
arpeggios. The theme of Bach’s F-minor Fugue from the Well-Tempered Clavier breaks down into
persistent sixteenth-note figures. The shadows appear and dissipate. The Bach quotation perseveres
the longest. Arriving at a theatrical pause, the violinist tunes the lowest string a half step down(scordatura), to F-sharp, to complete the theme in the “correct key” and bring a sense of closure toan otherwise disintegrating world of shadows.

Away/Home 1.2 (2010/12) for two violins and pre-recorded electronics, by Lynn Bechtold
Away/Home 1.2 is about the feelings one has when being away from home for a long period of time,
and the feelings associated with home. Home could be a childhood home, a current home, one's
country, the relief to just be home after traveling and seeing amazing places and meeting new people.
The sounds that were manipulated are sounds I recorded in Japan for the "away" part, and sounds
that I recorded in NYC for the "home" part. The piece was originally written for violin and cello,and premiered at the Austrian Cultural Forum in NYC.

Étoile Double (I) (2017) for two violins, by Miyuki Ito
Étoile Double means a double star, which is a pair of stars that look close to each other from an
optical telescope on the Earth. Because they lie at different distances, it is, in fact, an optical double.
The idea gave me an inspiration to compose this piece. Before starting to compose I had an idea foranother piece for two ondes martenots (French instruments) for a coming project, and so I also3

named this piece in French. Both pieces are for the same two instruments and are part of a series.
According to this optical double image, I tried to create an audible double atmosphere. Bothinstruments constantly move and merge with similar gestures, but with slight differences, using
microtones and complicated rhythms, which partly derive from computer analyses. The interaction
creates musical perspective and cosmic imaginary panorama.

Stream (2017) for two violins and electronics, by Akio Mokuno
Although it sounds like a continuous repetition of the same note, each note in the piece is interpreted
differently, with its own unique characteristics. By exposing the subtle differences in timbre of A4and E5 (including the quarter tones), along with the noise from the two violins, the piece attempts anauditory representation of the rippling of the waves flowing from a (sonic))) meditation.

Teach Sum, Cheat Sum (2017) for two violins and voice synthesizer, by Douglas Geers
Teach Sum, Cheat Sum is a lighthearted exploration of mapping graphic shapes and cultural
associations to musical gesture. Its two human performers play a game, drawing shapes ofmustaches with musical sounds. A 1980s-style voice synthesizer housed in a small box sits between
them onstage, and when it joins the piece it alters the course of their dialogue with its disembodied
but vaguely human sounds. The synthesized voice is both foil and playmate to the violins, pulling
their games in new directions. This piece is dedicated to the memory of composer Pauline Oliveros,
who left a deep impression upon me and many, many others who encountered her and her music.

Shibuya Tokyo (2009) for two violins, by Karen Tanaka
Shibuya is one of the busiest railway stations in Tokyo. There are almost three million passengers
that move through the station every day. The place is famous for its scramble crossing, which stops
vehicles in all directions to allow pedestrians to swarm the entire intersection. Shibuya Tokyo wasinspired by this hectic, sleepless, and chaotic place. Shibuya Tokyo was commissioned by the BIT20
Ensemble for their 20th Anniversary. It was first performed by Sveinung Lillebjerka and Jutta
Morgenstern in Bergen, Norway on 5th December, 2009.
About the Composers
Mari Kimura is at the forefront of violinists who are extending the technical and expressive
capabilities of the instrument. Mari is widely admired as the inventor of “subharmonics”, and as aviolinist, Mari has premiered many notable works, including John Adams’s Violin Concerto (Japanesepremiere), Luciano Berio’s Sequenza VIII (US premiere), Tania Léon’s Axon for violin and computer(world premiere), and Salvatore Sciarrino’s Sei Capricci (US premiere), among many others. In 2007,
Mari premiered Jean-Claude Risset’s violin concerto Schemes with the Tokyo Symphony Orchestra. In
November 2010 Mari appeared as a soloist with the Hamburg Symphony performing John Adams’
Dharma at the Big Sur. As a composer, Mari is well known for her works for interactive computer,
winning the Guggenheim Fellowship, Fromm Commission, and a residency at IRCAM in 2010. In
recognition of her ground-breaking work, Mari was listed in “Immigrants: Pride of America” by the
Carnegie Corporation, published by the New York Times. In 2014, she was a Composers Now
4