Thursday May 15 at 8pm
Random Access Music (RAM)
Risa Harman, soprano
Seth Gilman, baritone
Lish Lindsey, flute
Thomas Piercy, clarinet
Sabina Torosjan, violin
Molly Aronson, cello
Tengku Irfan, piano

Program
Seth Boustead “Dead Reckoning” for violin, cello, and piano  (2025) (World Premiere)

Masatora Goya “Dickinson Suite” for soprano, flute, clarinet, violin, cello, and piano (2024)
1. Bird of mine; 2. A picture of the sun; 3. A dying tiger; 4. Happy letter

The original version of Dickinson Suite was written 17 years ago for one of my graduate recitals, for three singers and a different combination of instruments. At the time my focus was solely on musical theater, so this was my first conscious effort to expand my musical language into chamber music. I tried to preserve my younger self as fresh as possible, while updating what felt illogical and redundant. I hope everyone finds the new suite joyful.

Beata Moon “the true meaning of justice...” for flute, clarinet, violin, cello, and piano (2024)
1. “If you want to know who controls you, look at who you are not allowed to criticize.”
2. "You can trust the algorithm to tell you the truth - not the truth you asked for but the truth you need.”
3. "Every time we witness an act that we feel to be unjust and do not act, we become a party to injustice."
4. "For to be free is not merely to cast off one’s chains - but to live in a way that respects and enhances the freedom of others.”
5. "Peace cannot exist without justice, justice cannot exist without fairness, fairness cannot exist without development, development cannot exist without democracy, democracy cannot exist without respect for the identity and worth of cultures and peoples."

“the true meaning of justice…”sets out to explore what justice really means in the world we are living in today. The quotes chosen inspired each movement and are intended to activate curiosity and further inquiry. Because I want listeners to think about the meaning of the quotes first, the authors are revealed at the end. 

Authors for “the true meaning of justice...” quotes.
1. Voltaire; 2. Caitlin Johnstone; 3. Julian Assange;
4. Nelson Mandela; 5. Rigoberta Menchú Tum

Allen Schulz “Three American folk songs” for baritone,  flute, clarinet, violin, and cello (2025)

Frances White "Piano trio" for violin, cello, and piano (2021)
1. Mountain; 2. Tundra; 3. Wandering tattler 

My Piano Trio, inspired by the incomparable landscape of Denali National Park in Alaska, is in three movements.
1. Mountain — The mountains of Denali evoked powerful emotions in me. They are sublime, terrifying, exhilarating, dramatic, and yet possessed of an unearthly peace.
2. Tundra — Hearing the word “tundra” always made me picture a desolate and barren terrain, but in July it's the most alive place imaginable. If you look down, you see and hear the carpet of tiny wildflowers humming with bees; if you look up, you see golden eagles flying. In the higher elevations
there are Dall sheep, and in the valleys there are caribou and sometimes bears. But while its beauty gave me great joy, I felt a sorrowful awareness of its fragility; how thoughtless human activity threatens this and all wilderness.
3. Wandering Tattler — The Wandering Tattler is a bird who mates and nests by the rivers, creeks, and streams of Denali. I like to imagine them soaring over the singing water in their courtship flights, calling to each other through the unending summer days of the far north.

 

Friday May 16 at 8pm
Fifteen Minutes of Fame
Dance and Piano Collide
Pianist Yumi Suehiro and choreographer Rachael Kosch
 

Two Sets of 15, an evening of music, movement, and contemporary expression; a fusion of live piano and innovative dance, bringing together a whirlwind of miniatures and theatrical vignettes across two dynamic sets.   These one-minute musical works are choreographed and performed by Charlotte Aucella, Cayla Blake, Louise Coleman, Hannah Franzen, Leann Gioia, Margot Hartley, Tori Hey, Laurie Hockman, Rachael Kosch, Nicole Y. McClam, Kevin Predmore, Casey Schwarz, David Stocchi, and Gabriel Zaragoza.

Set One includes:

• No Handel Bars – Daniel Carpenter

• Spike – David Bohn

• Plunk – Amelia Kaplan

• Carillon #1 – Michael Todd Kovell

• Serial minute – Pablo A. Rago

• Simple Canon – Blair Whittington

• Almost – Anicia Kohler

• Question – Oleh Harkavyy

• Ritini – Ivan Moody

• Starting Out (Palindromic Version) – Edward Ruchalski

• Spiel' Zeug! – Sebastian Zaczek

• fall 2021 toy piano – Josh Schmidt

• No Bohns About It – Yehuda Yannay

• toi toi toi – Rainer Berger

• Ersatzwaltz – Melinda Faylor
   

Sandwiched between 2 sets of Fifteen-of-Minutes-of-Fame is the dance The Fawn on the Lawn by choreographer / composer team Rachael and Michael Kosch.  A theatrical dance inspired by the whimsical world of early modernist painter Florine Stettheimer, The Fawn on the Lawn combines vivid music, imaginative choreography, and elaborate costumes by Rachael Kosch, performed by a talented cast of dancers:

• Cayla Blake

• Hannah Franzen

• Leann Gioia

• Izzy Hanson-Johnston

• Margot Hartley

• Riccardo Passera

• David Stocchi

Set Two includes:

• Haiku – José Jesús Martínez-Espuig

• Refutes dans un verre d'eau – Satoru Ikeda

• Evaporación detenida – Juan Maria Solare

• Konnakol – Volker Ignaz Schmidt

• Alien Language – Alp Durmaz

• Benediction – Ross James Carey

• Chanson triste – Leo Brauneiss

• Boxed Reminiscence – Jonah Vicente

• Uno – Carlotta Ferrari

• 28/12/21 – Oscar Johnzén

• Run Away, Penguin! – Álvaro Bravo Martínez

• Flickering – Paul Smith

• Lucy's Dance – James Bohn

• I would have loved to play the C4 too, but the piano key was broken...! – Enrico Francioni

• Schroeder's Limits – Michael Kimber

​

Saturday May 17 at 2pm
Aaron Copland Guitar Ensemble and guests

Program
tba- ​Kevin Gallagher, guitar
tba - Dan Lippel

Last Train From Mariupol - William Anderson
based on the song by Suzanne Vega
William Anderson, guitar

​

Hyperoperator5 - Pat Muchmore

guitarists: Kyle Miller, Adam Negrin, John Chang, Pascual Araujuo

 

Bartok Guitar Duets 

Sean Ferguson

Dan Lippel

Matt Zlotkin

Kevin Gallagher

Diego Andrade

William Anderson

 

Calamity - Aiden Lyons
Aiden Lyons, guitar
Oliver Rivera, piano

​

Pièce en forme de Habanera - Maurice Ravel

Kelly Aguilar, flute

Danile Zapata, guitar

​

Café 1930 - Astor Piazzola

Kelly Aguilar, flute

Daniel Zapata, guitar

 

Saturday May 17 at 6pm
Ju-Ping Song, piano
In this program I explore ways in which the acoustic piano can be experienced through digital and analog “lenses” to create meaningful listening experiences. 
Christopher Cerrone: Hoyt-Schermerhorn (2010), with live electronics
Isaac Schankler: Future Feelings (2018) with live electronics
Molly Joyce: Rave (2015), with track
Karen Tanaka: Techno Etudes I&II (2000,2020), with effects pedals

~~~

Discount tickets available if attending the Ju-Ping Song
AND the NakedEye Ensemble concerts;
https://www.simpletix.com/e/ram-s-queens-new-music-festival-2025-tickets-215766


Saturday May 17 at 8pm
NakedEye Ensemble

Program
NakedEye Ensemble tackle politics and identity works in their next performance at QNMF. Okland-based composer and cellist Theresa Wong eloquently portrays her Chinese immigrant roots in video and music. NYC-based composer Jerome Kitzke sets Lawrence Ferlinghetti's poems to a theatrical work for NakedEye and actor/singer Lisa Karrer. The evening also includes a multimedia world premiere by NYC-based electronic music composer Neil Rolnick, based on his interviews of elderly people sharing their joys, hopes, fears, and wisdom in the final act of their lives.

 

Theresa Wong: The Secret of Growth (2022), for video and ensemble
Neil Rolnick: Better Than The Alternative (Premiere 2025), for video and ensemble

Jerome Kitzke: I Am Waiting (2019), with guest performer/vocalist Lisa Karrer

Sunday May 18 at 2pm
Recap Quartet and Mantra Percussion

Recap Quartet

Recap is more than just a collective of musicians; it’s a testament to the power of collaboration and shared purpose. Comprised of Alexis Carter, Mani Jones, and Lucy Tarantino, our bond grew from mere strangers to a deep, unshakable musical partnership, driven by our mutual passion for pushing the boundaries of music. This foundation of inclusion and innovation forms the heart of our ensemble, empowering us to create and perform music that resonates not only with technical precision but with raw, emotional depth. We aim for our advocacy to go beyond the stage, inspiring others to embrace the transformative power of music in their own lives. Representing a fusion of youthful energy, artistic freedom, and a commitment to diversity, Recap Quartet stands as a voice for the new generation of musicians, dedicated to highlighting works that reflect the world we live in today. We unite through a shared musical passion and a desire to shape a future where every voice is heard. Recap is not just about performance; it’s about creating a space where creativity, connection, and culture can flourish, paving the way for a new chapter in chamber music.
 

Recap:

Weeds by Cassie Wieland
Shui by Juri Seo
Performers: Alexis Carter, Lucy Tarantino, Mani Jones 


Mantra Percussion

title tbd by Gian Torrano Jacobs
Loved by Michael Gordon
Science is Only a Sometimes Friend (excerpt) by Aaron Siegel 

Performers: Joesph Bergen, Michael McCurdy,
Mika Godbole, Mark Utley, Caitlin Cawley, Chris Graham 

Sunday  May 18 at 4pm

Hypercube

Erin Rogers, saxophones 
Jay Sorce, classical and electric guitar

Andrea Lodge, piano and accordion 

Chris Graham, percussion 
 

Mirror to Fire (2025) by Erin Rogers 
Mist and Mirage (2025) by Alireza Khodayari
The Force for Good, Movement 1 (2020) by Michael Fiday
Fidelity in the Age of Plausibility (2025)  by Antoine Goudreau 
Smother to Reignite (2024) by Kylan Hillman​

Sunday May 18 at 7pm
Random Access Music
RAM composers and guest composers
Thomas Piercy, clarinet, hulusi
Sabina Torosjan, violin
Mitch Lyon, cello
Marina Iwao, piano
Zhihua Hu, piano

RAM Composers
Zhihua Hu
“Ruyi Niang” for hulusi, cello and piano (2025) (World premiere)
Gilbert Galindo
“Spring Oasis” for violin and piano (2025) (World premiere)

Guest Composers
Kevin Charoensri
“Blossom” for clarinet, cello, and piano (2025)
(World premiere, clarinet version)

Miho Sasaki “premonition” for clarinet, cello, and piano (2025)
(World premiere)

"premonition" (2025) reflects unpredictable movements where something is starting to grow, then disappear, or where some invisible force is approaching, then it's gone. Events are constantly changing and adopting throughout the piece. The texture becomes thicker and more aggressive as the piece moves on, calming down at the end - yet a mysterious atmosphere remains to the very last note. (Composed for Thomas Piercy)
 

Michael Schelle “Switchblade Stockhausen” for clarinet, cello, and piano
(2025) (World premiere)

There are NO direct references to any of Karlheinz Stockhausen's scores, BUT the inspiration from his tense, rebellious music is real. The original working title of the trio was Switchblade Stockhausen but, as the piece evolved, the implied violence of this notorious weapon (illegal / banned in many states across the US and in Europe) was gradually replaced by somewhat more innocent and less threatening musical materials, suggesting that the title, perhaps, should also be less threatening - such as Switchback Stockhausen (switchback : sudden twists and turns in highways, trails, railway lines - a musical style often found in many of Stockhausen's scores) - but still, with the presence of some 1950's piano figures (the switchblade was THE go-to weapon of the 1950's rebellious American teenage gangs / hoods, full of post-war angst) and the addition of some tense, suspenseful, threatening materials, the original title returned. 

 

So, cue the iconic Griffith Observatory switchblade knife fight scene in "Rebel Without a Cause" (1955, dir. Nicholas Ray) - a real switchblade was used in the scene resulting in James Dean's ear being cut. The moments of innocence in the piece might reflect the Natalie Wood character, caught in this web of teen rebellion, angst and violence. This became the foundation of the piece (there are NO references to Leonard Rosenman's brilliant score for "Rebel Without a Cause"). n.b.: Rosenman had been James Dean's piano teacher!

 

Focusing on emotionally confused suburban, middle-class teenagers, "Rebel Without a Cause" offers both social commentary and an alternative to previous films depicting delinquents in urban slum environments. The film was an attempt to portray the moral decay of disaffected American youth, critique parental styles and examine the defiant post-war youth culture. By developing numerous conflicting and confrontational musical materials, my piece embraces many of these sociological complications. There are also a few very brief references to musical materials developed in my 1993 orchestral tone poem "The Last Ride of James Dean", premiered by the Milwaukee Symphony Orchestra under the direction of Maestro Neal Gittleman.
(Composed for Thomas Piercy)

Hifumi Shimoyama
“Ice Fall” for clarinet (2000)