I was very fortunate to have great teachers who were also phenomenal players. Every one of their performances that I attended or concerts I was lucky enough to play with them were sheer source of inspiration. I came to believe that showing the examples of fine musicianship and what it takes to constantly improve oneself to the students is an immensely important component of teaching. I also came to learn that it is no easy task to maintain a status of performing musician while teaching a full studio (you can read about my 15/16 studio at TTU here). In any case, I am thrilled to announce my 2015-16 season schedule filled with exciting performances, collaborations, and projects.

Just having performed my TTU Faculty Recital last night, I am now preparing for the upcoming three-day residency in College Station, TX. I and Grace will be featured as guest artists at Texas A&M University's Department of Performance Studies. We will present a full 90-minute recital featuring some of our favorite duo repertoires as well as some of recent additions such as Peter Lieuwen's Bright River. It will be a treat to bring this work to Peter's own university. We are also scheduled to give master classes and a lecture.

In October, I will perform Frank Ticheli's Clarinet Concerto, one of my self-imposed challenges for the year, with TTU Wind ensemble. While I am anxious to work up this very difficult piece, I am excited to collaborate with some stellar student musicians in the ensemble and my colleague Joe Hermann. I also cannot wait to play with my friend and amazing pianist Esther Park during her visit to TTU. In Esther's French-themed recital, we will play Debussy's Premiere Rhapsody and Poulenc's Clarinet Sonata.

In January, I will be joined by enhake and its now ever-expanding family members in a three-state tour (Colorado, Wyoming, and Utah). We will serve as Artist-in-Residence at Fort Lewis College, where our violinist Brent is a faculty member. Our recital at the St. Mark's Recital Series will feature some of our favorite, including Olivier Messiaen's Quartet for the End of Time. We are also scheduled to perform at Colorado Mesa University, and the tour will conclude with our appearance at the Chamber Music Society of Logan and the Utah State University.

Logan should be very beautiful and "snowy" during our visit

In February, I will host two friends of mine, violinist Emily Westell and pianist Sasha Karpeyev, for the TTU Center Stage Series. I will join the duo in performance of Brahms Clarinet Sonata No. 1, Milhaud's Suite for Clarinet, Violin, and Piano, and Bartok's Contrasts. I am scheduled to appear as the guest clarinetist for the 2016 University of Northern Iowa Woodwind Day later in March. Few trips to NYC and Florida are also being planned in the spring. Finally, I hope to survive through another TTU Clarinet Day in April.

While the summer plans are not completely set at this point, I have some great events scheduled during July and August. I will be doing a good deal of teaching and playing in various cities in Korea, including a performance of Messiaen's Quartet for the End of Time with Mirus Trio (my friend Jayoung's ensemble) at Seoul Arts Center's IBK Chamber Hall.

Seoul Arts Center's IBK Chamber Music Hall, built only few years ago!

Throughout the year, I am also looking forward to playing as a clarinetist of the Cumberland Quintet with my admirable TTU colleagues as well as the principal clarinet for the Bryan Symphony Orchestra and the Albany Symphony in GA. Which clarinetist can possibly complain when the season schedule include such works as Kodaly's Dances of Galanta, Brahms' Third Symphony, Elgar's Enigma Variations and Sibelius Symphony No. 2!!?

For my complete list of performances during 2015-16 season, please visit my calendar page.

Peter Lieuwen's Bright River (2014) written for me and Grace will receive its world premiere on July 21st at Lyceum Chamber Music Series in Alexandria, VA. The work will also be performed at ICA's ClarinetFest in Madrid, Spain later in Jul… — Peter Lieuwen's *Bright River* (2014) written for me and Grace will receive its world premiere on July 21st at Lyceum Chamber Music Series in Alexandria, VA. The work will also be performed at ICA's ClarinetFest in Madrid, Spain later in July.

I first met Peter in 2009 while working on his piece, Gulfstream, as a member of enhake, during our emerging years as graduate students at Florida State University. We were invited to perform Peter’s work at the opening recital of FSU’s biennial New Music Festival, and this very difficult piece prompted us to put an untold amount of time and effort on learning it intimately. In the end, we became personally attached to the work and gave a very satisfying performance. Peter, who were present at the recital, became a good friend of ours. Since then, enhake has given about 15 additional performances of Gulfstream at various places, including Carnegie’s Weill Recital Hall and Texas A&M University (College Station, where everything from rental car to hotel room seemed to be extra large), where Peter is a faculty member and composer-in-residence. We also recorded the work for our 2011 Naxos album, which was later entitled “Gulfstream”! The CD received number of rave reviews and was selected as recording of the month by major journals such as BBC Music Magazine and MusicWeb International. Now thinking back, it is truly amazing how a serendipitous first meeting can lead to such exciting venture! I always advise my students to cherish every opportunity they get to meet with new colleagues as you never know where it will lead them.

enhake with Peter Lieuwen during their residency at Texas A&M - College Station, TX in 2009

Few years after I started working at TTU and joined its faculty ensemble, Cumberland Quintet, Peter asked me if we would be interested in looking at his recent woodwind quintet entitled Windjammer. Fortunately, my quintet colleagues are always after exploring new works and agreed to commit to learn and record the piece. The unrelenting pacing of Windjammer demanded utmost stamina from all members of the quintet and posed a myriad of challenges, but the piece really grew on us in the end. Our quintet recorded the piece on August 2013 with the help of Peter and his recording engineer Brad Sayles who works for the Houston Symphony Orchestra, and the CD was recently released on MSR Record.

During Peter and Brad’s visit to Cookeville, I had a chance to take them to nearby Burgess Fall. It is a quite impressive site without being too overwhelming. Peter’s music is often “inspired by nature and legend,” and I particularly enjoyed his reference to water. I asked him if he would be willing to write a clarinet-piano duo for me and my wife, and Peter graciously agreed to move the project forward.

Peter and Brad enjoying a pool game at my house during their visit to Cookeville

Peter already wrote several works for the clarinet, including a concerto for clarinet and orchestra, “River of Crystal Light,” written for the renowned British clarinetist David Campbell. Below is the YouTube link to Campbell’s recording of "River of Crystal Light":

"River of Crystal Light" (1999) for Clarinet, Harp, Piano and Strings David Campbell, clarinet/Texas Music Festival Orchestra conducted by Franz Anton Krager from Albany TROY928 http://www.albanyrecords.com An attractive array of shimmering, shuddering sonorities. The music of the outstanding American composer Peter Lieuwen has been described by The New York Times as "an attractive array of shimmering, shuddering sonorities."

I was thrilled to receive the final draft of our piece Bright River from Peter last September. This was the most exciting commission for our husband-wife duo to date, and we have been preparing hard since the start of this summer for our upcoming premiere and performances. After several years of ongoing collaboration, I became so familiar with Peter’s musical language and sound world. It helped me greatly in conceptualizing the musical ideas, and I knew exactly how I wanted to bring the score into the performance. As a result, past few weeks of my work has been mainly dealing with various issues on technical execution and acoustic realization.

An example of ever-ascending phrases which require a great deal of tonal and dynamic control — An example of ever-ascending phrases which require a great deal of tonal and dynamic control

Some passages require extra attention to the acoustics of our instrument: how we want the music to sound versus how it actually sounds — Some passages require extra attention to the acoustics of our instrument: how we want the music to sound versus how it actually sounds

Peter's use of extreme range of the clarinet in some of the most delicate and melodic passages poses many challenges. By taking greater liberty on dynamic and articulation, I sometimes had to come up with creative ways to produce the desired sound and effect. The piano part also turned out to be quite hard with non-repeating patterns which involve very difficult fingerings. All of these problems are worth overcoming as the piece is completely filled with shimmering beauty, rapturous joy, and scintillating colors. As our ensemble has made a significant progress over the past few weeks, I feel such raw enthusiasm I have not experienced from playing new music in a while. Both I and Grace are truly looking forward to introducing Bright River to our audiences in our upcoming concerts. If you are attending this year's ClarinetFest, please plan on coming to my recital on the 22nd!

Here is the composer's program note:

The inspiration for Bright River (2014) is found in the visual and auditory intricacies of rivers as they evolve from rivulets and continually fluctuate between waterfalls, violent rapids and tranquil pools as the terrain changes. In Bright River the piano presents a constant flowing motion that is placid and lyrical in some passages while spirited and syncopated in others. The clarinet presents a bold awakening introductory gesture and weaves in and out of the musical fabric as the piece moves forward. Drama and tension are enhanced with pandiatonic sections juxtaposed with those employing the diminished (half-step/whole-step) scale. The melody is often presented “in harmony” at the interval of the 7th or 9th creating a translucent musical aura.

Bright River was written for and is dedicated to Wonkak Kim and Grace Choi.

On our recent Facetime "rehearsal" with Peter Lieuwen

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