Résumé
updated 1/2010
Education
M.M. Percussion, Boston Conservatory ’07 – ‘09
B.M. Percussion, San Francisco Conservatory of Music ‘05 – ’07
California State University, Hayward ’02 – ‘05
Primary Teachers
• Jack Van Geem, David Herbert, Artie Storch (San Francisco Bay)
• Keith Aleo, John Grimes, Samuel Solomon, Nancy Zeltsman (Boston)
Performance Experience
Juventas! New Music Ensemble (Boston, MA)Fall ’08 – present
• Core Musician (percussion)
Recorded with Nancy Zeltsman (Boston, MA)Jan. ‘09
• Premiere studio recording of Daniel Levitan’s Marimba Four Hands (III, IV)
Boston Conservatory (TBC)’07 – ‘09
• Orchestra, Wind Ensemble, Percussion Ensemble, Chamber Music, Theater Pit
San Francisco Conservatory of Music (SFCM)‘05 – ‘07
• Orchestra, New Music Ensemble, Ensemble Parallele, New Century Percussion Ensemble
• Conservatory Chorus (voice), Musical Theatre Workshop (voice)
San Francisco Symphony Youth Orchestra‘04 – ‘06
Concord Blue Devils Drum & Bugle A-Corps, front ensemble (pit) ’03, ’04, ‘05
Sacramento Freelancers Winter Drumline, front ensemble (pit) ‘04
California Youth Symphony Percussion Ensemble ‘01 – ‘02
Festivals & Master Classes
Bang On A Can Summer Institute (North Adams, MA)July ’09
• 2009 fellow, premiered numerous works
• Performed music of Steve Reich with composer present
Zeltsman Marimba Festival 2009 (Appleton, WI)July ‘09
• Performed (voice, vibraphone) with Lyle Mays (Pat Metheny Group) & ZMF faculty
• Played in James Rolfe composer master class
• Played for composers Chen Yi & Errolyn Wallen
Zeltsman Marimba Festival 2008 (Los Angeles, CA)July ‘08
• Performed with Nancy Zeltsman & Jack Van Geem on faculty concert (marimba, percussion & voice)
• Made & performed arrangements of Paul Simon music
• Premiered two movements of composer Daniel Levitan’s latest, Marimba Four Hands (III, IV) with Nancy Zeltsman
NYU Broadway Percussion Seminar June ‘08
• James Baker & James Saporito (West Side Story percussion excerpts)
Zeltsman Marimba Festival 2007 (Appleton, WI)July ‘07
• Nancy Zeltsman & Ivana Bilic master classes
• Performed with Jean Geoffroy on faculty concert
Frederic Macarez, percussion master class (TBC)Spring ‘08
Nick Woud, timpani master class (TBC)Fall ‘07
Mario Boivini, marimba master class (SFCM)Fall ‘06
Toronto Summer Music Academy & Festival (Toronto, CAN)July ‘06
• NEXUS Percussion Workshop
• Performed John Cage’s First Construction, dir. Robin Engleman
Teaching & Related Experience
Boston Conservatory – Admissions Office ’09 – present
• Admissions Representative
Zeltsman Marimba Festival, Inc. (Boston, MA) ’08 – present
Administrative Assistant
• Nancy Zeltsman’s personal assistant
Palo Alto Unified School District (Palo Alto, CA)Summer ’06, ’07, ’09
• Accompany the band & orchestra for 12 elementary schools (piano & drumset)
Hayward-La Honda Summer Music Camp (La Honda, CA) Summer ‘06, ‘07, ‘08
• Percussion counselor & coach
Foothill High School (Pleasanton, CA)‘04 – ‘07
• Pit percussion instructor
BAA Children’s Percussion Ensemble (Fremont, CA)Fall ‘04 & ‘06
• Taught beginning elementary school music & percussion classes
California Band Director’s Association (Hayward, CA) Winter ‘04 + ‘05
• Led performance master classes at CSUH
Mountain View High School (Mountain View, CA)Fall ‘02
• Pit percussion instructor & arranger
Awards & Recognition
Pi Kappa Lambda, music honor society’09
Graduate Student Marshall at Commencement (TBC)‘09
Dean’s Award for Community Service (SFCM) ‘07
• Recognition for work as Chair of Student Advisory Committee
Percussion Department Award (SFCM) ‘07
References provided upon request.
Acclaim
BANG ON A CAN FESTIVAL, Summer 2009
The Boston Globe: “Minimalism played to the max”
By Ty Burr, Globe Staff / July 27, 2009
NORTH ADAMS - The greatest shock in seeing “Music for 18 Musicians’’ performed is discovering how warm this warhorse of cool, cerebral minimalism can actually be. On Saturday night at MassMoCA, as the culmination of both the annual Bang on a Can music festival and a heady day celebrating the places where new music and modern art overlap, Steve Reich’s towering 1976 epic rang out like a renewed statement of purpose: a postmodern hoedown of joyfully interlocking parts.
The musicians - 19 in all; did someone not get the memo? - provided an engaged and engaging definition of organic process. Players held down a steady pulse on marimbas, xylophones, and pianos while ornamenting it with evolving polyrhythms. Todd Reynolds on violin and Laura Radnofsky on cello sawed gently back and forth, like sea anemones in a tidal pool. Ken Thomson and Nathan Smith played their chugging bass clarinet riffs like a vaudeville team, one antic and bouncy, the other serene.
Every so often, metallophonist David Cossin would tap out the four shimmering notes that signaled the Bang on a Can players to move to the next section of “18 Musicians,’’ and the group would charge ahead with barely suppressed delight. Newcomers to this piece and to minimalism in general sometimes assume that nothing happens in the music. On the contrary: This performance had the drama and the drive of great theater.
The composer was there, dispensing measured blessings to the players afterward. Reich is an avuncular but particular presence, a gracious 70-something in a funky baseball cap, and musicians work harder when he’s around. Earlier in the day, on the same stage, he and Bang on a Can cofounder (and fellow Pulitzer Prize-winner) David Lang discussed the late Sol LeWitt, who was a friend and peer of Reich’s. The artist’s astonishingly vibrant wall paintings, on display at MassMoCA, are a visual correlative to what the composer is about: patterns and processes built upon each other until the mystic is achieved. Following the discussion, several Reich pieces were played in a large gallery next to the LeWitt exhibition.
New Century Percussion Ensemble, BluePrint Festival (Oct. 2005)
• Review of performance of John Cage's Third Construction
"The four players — Chris Breeden, Brian Calhoon, Jamie Drake, and Stan Muncy — breezed through a variety of melodic, metallic instruments and drums with no sign of effort in coordination. It all sounded as natural as mother's milk. Technical security and refinement abounded from this talented quartet, showing that there's more musical worth to such pieces than mere banging away at musical instruments."
– The San Francisco Classical Voice, Fall 2005
BluePrint Festival(Oct. 2006)
• Review of performance of George Crumb’s Quest
“The ensemble — harp, bass, soprano sax, and three percussionists who handled an impressive variety of instruments — produced timbres that were refined, even by Crumb's standards. … Like much of Crumb's music, it seemed more atmosphere than substance, but that atmosphere was rare and attractive. … Justin Riberio was the deft guitarist; he was joined by members of the New Music Ensemble in a performance of great subtlety and control under Paiement's precise baton.”
–The San Francisco Classical Voice, Fall 2006
