{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Contemporary+Composers+Collection%2C+1981%2F2002%2C+bulk+1981%2F2002\u0026f%5Brepository%5D%5B%5D=Old+Dominion+University\u0026page=4","prev":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Contemporary+Composers+Collection%2C+1981%2F2002%2C+bulk+1981%2F2002\u0026f%5Brepository%5D%5B%5D=Old+Dominion+University\u0026page=3","last":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Contemporary+Composers+Collection%2C+1981%2F2002%2C+bulk+1981%2F2002\u0026f%5Brepository%5D%5B%5D=Old+Dominion+University\u0026page=4"},"meta":{"pages":{"current_page":4,"next_page":null,"prev_page":3,"total_pages":4,"limit_value":10,"offset_value":30,"total_count":38,"first_page?":false,"last_page?":true}},"data":[{"id":"vino_repositories_2_resources_28_c32","type":"Item","attributes":{"title":"Newmark, Jonathan: Duo Sonatina, 1995","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vino_repositories_2_resources_28_c32#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003ePianist, violist, and conductor Jonathan Newmark '74 composes his own music by hand, resisting the increasingly common tendency to rely on computer programs that ease the process of editing. \"The hardest thing is to get started,\" he says. \"Every work starts with some sort of germ: a chord, a chord progression, a motive, or even a form. 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Once there, the process of expansion and variation is more organic and a lot more fun.\"\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vino_repositories_2_resources_28_c32#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vino_repositories_2_resources_28_c32","ref_ssm":["vino_repositories_2_resources_28_c32"],"id":"vino_repositories_2_resources_28_c32","ead_ssi":"vino_repositories_2_resources_28","_root_":"vino_repositories_2_resources_28","_nest_parent_":"vino_repositories_2_resources_28","parent_ssi":"vino_repositories_2_resources_28","parent_ssim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"parent_ids_ssim":["vino_repositories_2_resources_28"],"title_filing_ssi":"Newmark, Jonathan: Duo Sonatina","title_ssm":["Newmark, Jonathan: Duo Sonatina"],"title_tesim":["Newmark, Jonathan: Duo Sonatina"],"normalized_title_ssm":["Newmark, Jonathan: Duo Sonatina, 1995"],"text":["Newmark, Jonathan: Duo Sonatina, 1995","Contemporary Composers Collection, 1981/2002, bulk 1981/2002","Pianist, violist, and conductor Jonathan Newmark '74 composes his own music by hand, resisting the increasingly common tendency to rely on computer programs that ease the process of editing. \"The hardest thing is to get started,\" he says. \"Every work starts with some sort of germ: a chord, a chord progression, a motive, or even a form. Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"","Newmark's first CD of his own chamber works, Trios and Duos: Chamber Music 1993-2001, features four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"","Remarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.","Balancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"","Newmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. If they enjoy it, that's icing on the cake.\"","http://harvardmagazine.com/2009/05/life-in-counterpoint"],"parent_unittitles_ssm":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"parent_unittitles_tesim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"normalized_date_ssm":["1995"],"unitdate_other_ssim":["1995"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[1],"sort_isi":32,"repository_ssim":["Old Dominion University"],"collection_ssim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[1995],"scopecontent_html_tesm":["\u003cp\u003ePianist, violist, and conductor Jonathan Newmark '74 composes his own music by hand, resisting the increasingly common tendency to rely on computer programs that ease the process of editing. \"The hardest thing is to get started,\" he says. \"Every work starts with some sort of germ: a chord, a chord progression, a motive, or even a form. Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"\u003c/p\u003e","\u003cp\u003eNewmark's first CD of his own chamber works, \u003cemph render=\"italic\"\u003eTrios and Duos: Chamber Music 1993-2001\u003c/emph\u003e\u003cemph render=\"italic\"\u003e, \u003c/emph\u003efeatures four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"\u003c/p\u003e","\u003cp\u003eRemarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.\u003c/p\u003e","\u003cp\u003eBalancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"\u003c/p\u003e","\u003cp\u003eNewmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. If they enjoy it, that's icing on the cake.\"\u003c/p\u003e","\u003cp\u003ehttp://harvardmagazine.com/2009/05/life-in-counterpoint\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Pianist, violist, and conductor Jonathan Newmark '74 composes his own music by hand, resisting the increasingly common tendency to rely on computer programs that ease the process of editing. \"The hardest thing is to get started,\" he says. \"Every work starts with some sort of germ: a chord, a chord progression, a motive, or even a form. Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"","Newmark's first CD of his own chamber works, Trios and Duos: Chamber Music 1993-2001, features four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"","Remarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.","Balancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"","Newmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. 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Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"","Newmark's first CD of his own chamber works, Trios and Duos: Chamber Music 1993-2001, features four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"","Remarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.","Balancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"","Newmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. If they enjoy it, that's icing on the cake.\"","http://harvardmagazine.com/2009/05/life-in-counterpoint"],"parent_unittitles_ssm":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"parent_unittitles_tesim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"normalized_date_ssm":["2001"],"unitdate_other_ssim":["2001"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[1],"sort_isi":31,"repository_ssim":["Old Dominion University"],"collection_ssim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[2001],"scopecontent_html_tesm":["\u003cp\u003ePianist, violist, and conductor Jonathan Newmark '74 composes his own music by hand, resisting the increasingly common tendency to rely on computer programs that ease the process of editing. \"The hardest thing is to get started,\" he says. \"Every work starts with some sort of germ: a chord, a chord progression, a motive, or even a form. Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"\u003c/p\u003e","\u003cp\u003eNewmark's first CD of his own chamber works, \u003cemph render=\"italic\"\u003eTrios and Duos: Chamber Music 1993-2001\u003c/emph\u003e\u003cemph render=\"italic\"\u003e, \u003c/emph\u003efeatures four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"\u003c/p\u003e","\u003cp\u003eRemarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.\u003c/p\u003e","\u003cp\u003eBalancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"\u003c/p\u003e","\u003cp\u003eNewmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. If they enjoy it, that's icing on the cake.\"\u003c/p\u003e","\u003cp\u003ehttp://harvardmagazine.com/2009/05/life-in-counterpoint\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Pianist, violist, and conductor Jonathan Newmark '74 composes his own music by hand, resisting the increasingly common tendency to rely on computer programs that ease the process of editing. \"The hardest thing is to get started,\" he says. \"Every work starts with some sort of germ: a chord, a chord progression, a motive, or even a form. Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"","Newmark's first CD of his own chamber works, Trios and Duos: Chamber Music 1993-2001, features four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"","Remarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.","Balancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"","Newmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. If they enjoy it, that's icing on the cake.\"","http://harvardmagazine.com/2009/05/life-in-counterpoint"],"_nest_path_":"/components#30","timestamp":"2026-08-14T22:39:05.984Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_2_resources_28","ead_ssi":"vino_repositories_2_resources_28","_root_":"vino_repositories_2_resources_28","_nest_parent_":"vino_repositories_2_resources_28","ead_source_url_ssi":"data/oai/ODU/repositories_2_resources_28.xml","aspace_url_ssi":"https://archivesguides.lib.odu.edu/repositories/2/resources/28","title_filing_ssi":"Contemporary Composers Collection","title_ssm":["Contemporary Composers Collection"],"title_tesim":["Contemporary Composers Collection"],"unitdate_ssm":["1981-2002","1981-2002, undated","Date acquired: 05/00/2011"],"unitdate_inclusive_ssm":["1981-2002"],"unitdate_bulk_ssim":["1981-2002, undated"],"unitdate_other_ssim":["Date acquired: 05/00/2011"],"normalized_date_ssm":["1981/2002, bulk 1981/2002"],"normalized_title_ssm":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"text":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002","DCR PC 1","/repositories/2/resources/28","Music--United States--20th century","Composers","Open to researchers without restrictions.","Additions to this collection are made on an ongoing basis by several donors.","Materials are arranged in alphabetical order by composer's last name.","This collection was processed by Jessica Mirasol in 2011.","New Music Performance Collection of the Old Dominion University Libraries Diehn Composers Room","This collection is made up of unpublished new music scores and recordings. 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Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"","Newmark's first CD of his own chamber works, Trios and Duos: Chamber Music 1993-2001, features four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"","Remarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.","Balancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"","Newmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. 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Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"\u003c/p\u003e","\u003cp\u003eNewmark's first CD of his own chamber works, \u003cemph render=\"italic\"\u003eTrios and Duos: Chamber Music 1993-2001\u003c/emph\u003e\u003cemph render=\"italic\"\u003e, \u003c/emph\u003efeatures four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"\u003c/p\u003e","\u003cp\u003eRemarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.\u003c/p\u003e","\u003cp\u003eBalancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"\u003c/p\u003e","\u003cp\u003eNewmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. If they enjoy it, that's icing on the cake.\"\u003c/p\u003e","\u003cp\u003ehttp://harvardmagazine.com/2009/05/life-in-counterpoint\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Pianist, violist, and conductor Jonathan Newmark '74 composes his own music by hand, resisting the increasingly common tendency to rely on computer programs that ease the process of editing. \"The hardest thing is to get started,\" he says. \"Every work starts with some sort of germ: a chord, a chord progression, a motive, or even a form. Getting to that germ takes the most time and effort. Once there, the process of expansion and variation is more organic and a lot more fun.\"","Newmark's first CD of his own chamber works, Trios and Duos: Chamber Music 1993-2001, features four pieces for a variety of instruments (including oboe, bassoon, horn, piano, and strings). The project reflects a long-standing love. He began studying piano and viola in third grade and attended the preparatory divisions of the Juilliard and Manhattan Schools in New York. One of his greatest influences was his high-school viola teacher, now 90, with whom he still keeps in touch. \"The biggest thing she did for me was that she turned me on to chamber music,\" he says. \"When I was in ninth grade, I organized a string quartet with three eighth-grade friends, and we stayed together, even while we were going to different colleges, for 10 years. We discovered the literature the old-fashioned way, not by listening to records, but by sight-reading.\" Newmark still plays chamber music full-time two weeks a year at the Chamber Music Conference and Composers' Forum of the East at Bennington College. \"If my chamber works are well-written,\" he explains, \"it's due to spending decades playing really great literature for small combinations.\"","Remarkably, music is not his primary career. He is a clinical neurologist, as well as a specialist in medical responses to chemical and biological warfare and terrorism. In 1993, at a professional crossroads and not having written music in more than 25 years, he started composing seriously. The same year, he switched from the Army Reserve to active duty. He now holds the rank of colonel and is medical deputy to the two-star general who manages all acquisition programs for the Department of Defense in chemical and biological defense. He continues to attend on the inpatient neurology service at Walter Reed Army Medical Center and lectures to medical students at the Uniformed Services University of the Health Sciences.","Balancing his multiple careers is not easy. \"There's no rulebook, and I have to improvise,\" he says. \"I think, like most reservists and many of my musician friends, that I've gotten quite good at multitasking, a skill I probably honed in college.\" During the recording process, Newmark was sometimes frustrated by the near-impossibility of synchronizing his own schedule with those of the professional musicians. But despite the challenges of coordinating collaboration in the studio, he counts himself lucky as a composer. \"It was indeed an honor,\" he says, \"to have such wonderful players taking my music seriously.\"","Newmark's musical tastes, developed in part during his undergraduate years as an announcer for WHRB, are eclectic; he listens to many different genres, including classical, Appalachian bluegrass, and jazz. Still, his \"desert island composer\"—the one whose music he would want to keep if he had to give up all others'—is J.S. Bach. In the future, he wants to dedicate more time to composition. \"I'd like to continue to write music that gets played and survives me, so that there's something left of me when I'm gone,\" he says. \"I realize that sounds a bit egotistical, but having the chutzpah to inflict my dissonances on others, in Charles Ives's phrase, is an egotistical act. And no one has to listen to what I write. If they enjoy it, that's icing on the cake.\"","http://harvardmagazine.com/2009/05/life-in-counterpoint"],"_nest_path_":"/components#29","timestamp":"2026-08-14T22:39:05.984Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_2_resources_28","ead_ssi":"vino_repositories_2_resources_28","_root_":"vino_repositories_2_resources_28","_nest_parent_":"vino_repositories_2_resources_28","ead_source_url_ssi":"data/oai/ODU/repositories_2_resources_28.xml","aspace_url_ssi":"https://archivesguides.lib.odu.edu/repositories/2/resources/28","title_filing_ssi":"Contemporary Composers Collection","title_ssm":["Contemporary Composers Collection"],"title_tesim":["Contemporary Composers Collection"],"unitdate_ssm":["1981-2002","1981-2002, undated","Date acquired: 05/00/2011"],"unitdate_inclusive_ssm":["1981-2002"],"unitdate_bulk_ssim":["1981-2002, undated"],"unitdate_other_ssim":["Date acquired: 05/00/2011"],"normalized_date_ssm":["1981/2002, bulk 1981/2002"],"normalized_title_ssm":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"text":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002","DCR PC 1","/repositories/2/resources/28","Music--United States--20th century","Composers","Open to researchers without restrictions.","Additions to this collection are made on an ongoing basis by several donors.","Materials are arranged in alphabetical order by composer's last name.","This collection was processed by Jessica Mirasol in 2011.","New Music Performance Collection of the Old Dominion University Libraries Diehn Composers Room","This collection is made up of unpublished new music scores and recordings. 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The collection promotes new music through performance and actively pursues donations.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection is made up of unpublished new music scores and recordings. The collection promotes new music through performance and actively pursues donations."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"corpname_ssim":["ODU Diehn Composers Room Collection","Old Dominion University. Libraries. F. 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Gramophone hailed the sparkling beauty of his music, calling \"Vespers\"spectacular. The Philadelphia Inquirer called it \"ecstatically beautiful\" American Record Guide, \"a major new work\" Audiophile Audition, \"easily one of the best releases of the year of any type a crime to pass up\" and Fanfare, \"a magnificent achievement.\"\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vino_repositories_2_resources_28_c33#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vino_repositories_2_resources_28_c33","ref_ssm":["vino_repositories_2_resources_28_c33"],"id":"vino_repositories_2_resources_28_c33","ead_ssi":"vino_repositories_2_resources_28","_root_":"vino_repositories_2_resources_28","_nest_parent_":"vino_repositories_2_resources_28","parent_ssi":"vino_repositories_2_resources_28","parent_ssim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"parent_ids_ssim":["vino_repositories_2_resources_28"],"title_filing_ssi":"Smith, Kile: Three Dances","title_ssm":["Smith, Kile: Three Dances"],"title_tesim":["Smith, Kile: Three Dances"],"normalized_title_ssm":["Smith, Kile: Three Dances, 1998"],"text":["Smith, Kile: Three Dances, 1998","Contemporary Composers Collection, 1981/2002, bulk 1981/2002","Kile Smith's music is praised by critics and audiences for its emotional power, direct appeal, and strong voice. Gramophone hailed the sparkling beauty of his music, calling \"Vespers\"spectacular. The Philadelphia Inquirer called it \"ecstatically beautiful\" American Record Guide, \"a major new work\" Audiophile Audition, \"easily one of the best releases of the year of any type a crime to pass up\" and Fanfare, \"a magnificent achievement.\"","Recent commissions include Red-tail and Hummingbird for Orchestra 2001 and Piffaro, The Red Book of Montserrat for the Philadelphia Sinfonia, The Waking Sun and Where Flames a Word for The Crossing, the song cycle Plain Truths (baritone, chorus, and string quartet) for the Newburyport Chamber Music Festival, The Nobility of Women for Melomanie, and the Mass for Philadelphia by the Association of Anglican Musicians. Current commissions include Two Meditations on Freu dich sehr for organist Alan Morrison, a work for the Pennsylvania Girlchoir, anthems, and a new work for orchestra. He's composed for Concertmaster David Kim and Principal Horn Jennifer Montone of the Philadelphia Orchestra.","Kile is Composer in Residence for The Church of the Holy Trinity, Rittenhouse Square, Philadelphia. Kile also hosts Now Is the Time, Discoveries from the Fleisher Collection, and is a classical host at WRTI-FM, writes for the Broad Street Review and WRTI, and teaches. Kile was Curator of the Fleisher Collection of Orchestral Music, the world's largest lending library of orchestral performance materials, at the Free Library of Philadelphia.","http://kilesmith.com/"],"parent_unittitles_ssm":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"parent_unittitles_tesim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"normalized_date_ssm":["1998"],"unitdate_other_ssim":["1998"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[1],"sort_isi":33,"repository_ssim":["Old Dominion University"],"collection_ssim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[1998],"scopecontent_html_tesm":["\u003cp\u003eKile Smith's music is praised by critics and audiences for its emotional power, direct appeal, and strong voice. Gramophone hailed the sparkling beauty of his music, calling \"Vespers\"spectacular. The Philadelphia Inquirer called it \"ecstatically beautiful\" American Record Guide, \"a major new work\" Audiophile Audition, \"easily one of the best releases of the year of any type a crime to pass up\" and Fanfare, \"a magnificent achievement.\"\u003c/p\u003e","\u003cp\u003e\tRecent commissions include Red-tail and Hummingbird for Orchestra 2001 and Piffaro, The Red Book of Montserrat for the Philadelphia Sinfonia, The Waking Sun and Where Flames a Word for The Crossing, the song cycle Plain Truths (baritone, chorus, and string quartet) for the Newburyport Chamber Music Festival, The Nobility of Women for Melomanie, and the Mass for Philadelphia by the Association of Anglican Musicians. Current commissions include Two Meditations on Freu dich sehr for organist Alan Morrison, a work for the Pennsylvania Girlchoir, anthems, and a new work for orchestra. He's composed for Concertmaster David Kim and Principal Horn Jennifer Montone of the Philadelphia Orchestra.\u003c/p\u003e","\u003cp\u003e\tKile is Composer in Residence for The Church of the Holy Trinity, Rittenhouse Square, Philadelphia. Kile also hosts Now Is the Time, Discoveries from the Fleisher Collection, and is a classical host at WRTI-FM, writes for the Broad Street Review and WRTI, and teaches. Kile was Curator of the Fleisher Collection of Orchestral Music, the world's largest lending library of orchestral performance materials, at the Free Library of Philadelphia.\u003c/p\u003e","\u003cp\u003e\t\u003cextref href=\"http://kilesmith.com/\"\u003ehttp://kilesmith.com/\u003c/extref\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Kile Smith's music is praised by critics and audiences for its emotional power, direct appeal, and strong voice. Gramophone hailed the sparkling beauty of his music, calling \"Vespers\"spectacular. The Philadelphia Inquirer called it \"ecstatically beautiful\" American Record Guide, \"a major new work\" Audiophile Audition, \"easily one of the best releases of the year of any type a crime to pass up\" and Fanfare, \"a magnificent achievement.\"","Recent commissions include Red-tail and Hummingbird for Orchestra 2001 and Piffaro, The Red Book of Montserrat for the Philadelphia Sinfonia, The Waking Sun and Where Flames a Word for The Crossing, the song cycle Plain Truths (baritone, chorus, and string quartet) for the Newburyport Chamber Music Festival, The Nobility of Women for Melomanie, and the Mass for Philadelphia by the Association of Anglican Musicians. Current commissions include Two Meditations on Freu dich sehr for organist Alan Morrison, a work for the Pennsylvania Girlchoir, anthems, and a new work for orchestra. He's composed for Concertmaster David Kim and Principal Horn Jennifer Montone of the Philadelphia Orchestra.","Kile is Composer in Residence for The Church of the Holy Trinity, Rittenhouse Square, Philadelphia. Kile also hosts Now Is the Time, Discoveries from the Fleisher Collection, and is a classical host at WRTI-FM, writes for the Broad Street Review and WRTI, and teaches. Kile was Curator of the Fleisher Collection of Orchestral Music, the world's largest lending library of orchestral performance materials, at the Free Library of Philadelphia.","http://kilesmith.com/"],"_nest_path_":"/components#32","timestamp":"2026-08-14T22:39:05.984Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_2_resources_28","ead_ssi":"vino_repositories_2_resources_28","_root_":"vino_repositories_2_resources_28","_nest_parent_":"vino_repositories_2_resources_28","ead_source_url_ssi":"data/oai/ODU/repositories_2_resources_28.xml","aspace_url_ssi":"https://archivesguides.lib.odu.edu/repositories/2/resources/28","title_filing_ssi":"Contemporary Composers Collection","title_ssm":["Contemporary Composers Collection"],"title_tesim":["Contemporary Composers Collection"],"unitdate_ssm":["1981-2002","1981-2002, undated","Date acquired: 05/00/2011"],"unitdate_inclusive_ssm":["1981-2002"],"unitdate_bulk_ssim":["1981-2002, undated"],"unitdate_other_ssim":["Date acquired: 05/00/2011"],"normalized_date_ssm":["1981/2002, bulk 1981/2002"],"normalized_title_ssm":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"text":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002","DCR PC 1","/repositories/2/resources/28","Music--United States--20th century","Composers","Open to researchers without restrictions.","Additions to this collection are made on an ongoing basis by several donors.","Materials are arranged in alphabetical order by composer's last name.","This collection was processed by Jessica Mirasol in 2011.","New Music Performance Collection of the Old Dominion University Libraries Diehn Composers Room","This collection is made up of unpublished new music scores and recordings. 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He has lectured on these initiatives at professional meetings for groups including the College Music Society, Society for Composers, Music Educators National Conference, College Band Directors National Association, MidWest International Band and Orchestra Clinic, and World Conference on Educational Hypermedia and Multimedia. His commissioned works have been performed at the Western States Collegiate Wind Band Festival, conferences of the College Music Society, College Band Directors National Association, and Virginia Music Educators Association, and at several MidWest International Band and Orchestra Clinics.\u003c/p\u003e","\u003cp\u003e\tIn venues from New Orleans' Superdome to the DCI World Championships to New York's Carnegie Hall, his music reaches diverse audiences of many musical tastes. He is an active performer and has served as bass trombonist for the Roanoke Symphony orchestra since 1977. 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Mr. Vanneschi has been composing the music for the plays put on by the Compagnia del Teatro Povero di Monticchiello since 1991.","Mr. Vanneschi has received numerous international awards for his compositions, including 3rd Prize, Union Grand-Duc Adolphe (Luxemburg, 1995); 3rd Prize, Citta di Barletta (Bari, 1996); 1st Prize, G. F. Ghedini (La Spezia, 1996); 1st Prize, IBLA Foundation (New York, 1997); 3rd Prize, Citta di Pescara (Pescara, 1997); 5th Prize, Britten-on-the Bay (New York, 1998); 3rd Prize, Citta di Barletta (Bari, 1999); 1st Prize, Wiener Sommer-Seminars fur neue Musik (Vienna, 1999); 3rd Prize, A.Gi.Mus. Varenna (Lecco, 1999); 2nd Prize, Rosolino Toscano (Pescara, 1999); 2nd Prize, Paolo Barsacchi (Viareggio, 2000); 3rd Prize, Ottavio Caiazzo (Napoli, 2000); 3rd Prize, 2001 Percussive Arts Society (Lawton-USA, 2001); 3rd Prize, Ottavio Caiazzo (Napoli, 2001); 2nd Prize, Rosolino Toscano (Pescara, 2001); 1st Prize, Brass in Association-Leeds University (Great Britain, 2002); 1st Prize, 2002 IMRO/Mostly Modern (Dublin, 2002); 1st Prize Ars Poetica (Chisinau-Moldova, 2002); 1st Prize, Poesie in musica (Cesenatico, 2003); 2nd Prize, Sassi vivaci 2005 (Barge, 2005) and numerous other nominations by jury in national and international competitions.","Hans Werner Henze said about his music: \"it is an intelligent, non conformist, elegant and full of grace music.\" Mr. Vanneschi was elected Fellow of the North American Academy of Arts and Sciences since year 2002.","Source: http://www.voxnovus.com/composer/Luca_Vanneschi.htm"],"parent_unittitles_ssm":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"parent_unittitles_tesim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"unitdate_other_ssim":["undated"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[1],"sort_isi":37,"repository_ssim":["Old Dominion University"],"collection_ssim":["Contemporary Composers Collection, 1981/2002, bulk 1981/2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"scopecontent_html_tesm":["\u003cp\u003eLuca Vanneschi (b. 1962 in Montepulciano) received a diploma in flute at the Morlacchi Conservatory of Music in Perugia, where he studied under Roberto Fabbriciani. He then studied composition with Detlev Glanert, Carlo Alberto Neri, David Graham, and Dinu Ghezzo. He has written many works for orchestra, chamber groups and soloists, as well as music for theatre scenes, sound tracks, and musical commentaries for TV and radio programs.\u003c/p\u003e","\u003cp\u003e\tHis music had been performed in Italy, Austria, Belgium, France, Germany, Great Britain, Holland, Hungary, Ireland, Luxemburg, Moldova, Russia, Spain, Switzerland, Ukraine, Indonesia, Singapore, South Korea, Australia, New Zealand, Argentina, Peru, Canada and the United States of America, and broadcast by RAI (Italy), BBC (Great Britain) and ZDF (Germany). His recordings are featured on such labels as Agenda, Athena Records, CENNY, LGNM Editions and Pentaphon. Mr. Vanneschi has been composing the music for the plays put on by the Compagnia del Teatro Povero di Monticchiello since 1991.\u003c/p\u003e","\u003cp\u003e\tMr. Vanneschi has received numerous international awards for his compositions, including 3rd Prize, Union Grand-Duc Adolphe (Luxemburg, 1995); 3rd Prize, Citta di Barletta (Bari, 1996); 1st Prize, G. F. Ghedini (La Spezia, 1996); 1st Prize, IBLA Foundation (New York, 1997); 3rd Prize, Citta di Pescara (Pescara, 1997); 5th Prize, Britten-on-the Bay (New York, 1998); 3rd Prize, Citta di Barletta (Bari, 1999); 1st Prize, Wiener Sommer-Seminars fur neue Musik (Vienna, 1999); 3rd Prize, A.Gi.Mus. Varenna (Lecco, 1999); 2nd Prize, Rosolino Toscano (Pescara, 1999); 2nd Prize, Paolo Barsacchi (Viareggio, 2000); 3rd Prize, Ottavio Caiazzo (Napoli, 2000); 3rd Prize, 2001 Percussive Arts Society (Lawton-USA, 2001); 3rd Prize, Ottavio Caiazzo (Napoli, 2001); 2nd Prize, Rosolino Toscano (Pescara, 2001); 1st Prize, Brass in Association-Leeds University (Great Britain, 2002); 1st Prize, 2002 IMRO/Mostly Modern (Dublin, 2002); 1st Prize Ars Poetica (Chisinau-Moldova, 2002); 1st Prize, Poesie in musica (Cesenatico, 2003); 2nd Prize, Sassi vivaci 2005 (Barge, 2005) and numerous other nominations by jury in national and international competitions.\u003c/p\u003e","\u003cp\u003e\tHans Werner Henze said about his music: \"it is an intelligent, non conformist, elegant and full of grace music.\" Mr. Vanneschi was elected Fellow of the North American Academy of Arts and Sciences since year 2002.\u003c/p\u003e","\u003cp\u003e\tSource: \u003cextref href=\"http://www.voxnovus.com/composer/Luca_Vanneschi.htm\"\u003ehttp://www.voxnovus.com/composer/Luca_Vanneschi.htm\u003c/extref\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Luca Vanneschi (b. 1962 in Montepulciano) received a diploma in flute at the Morlacchi Conservatory of Music in Perugia, where he studied under Roberto Fabbriciani. 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Mr. Vanneschi has been composing the music for the plays put on by the Compagnia del Teatro Povero di Monticchiello since 1991.","Mr. Vanneschi has received numerous international awards for his compositions, including 3rd Prize, Union Grand-Duc Adolphe (Luxemburg, 1995); 3rd Prize, Citta di Barletta (Bari, 1996); 1st Prize, G. F. Ghedini (La Spezia, 1996); 1st Prize, IBLA Foundation (New York, 1997); 3rd Prize, Citta di Pescara (Pescara, 1997); 5th Prize, Britten-on-the Bay (New York, 1998); 3rd Prize, Citta di Barletta (Bari, 1999); 1st Prize, Wiener Sommer-Seminars fur neue Musik (Vienna, 1999); 3rd Prize, A.Gi.Mus. 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