JHW-Cipher-a

EDUCATION AND PRINCIPAL TEACHERS

DMA–COMPOSITION, 2003

Boston University–Boston, Massachusetts

Lukas Foss, Charles Fussell

MM–COMPOSITION, 1986

Northwestern University–Evanston, Illinois

Alan Stout

BM–COMPOSITION/HORN PERFORMANCE, 1983

DePaul University–Chicago, Illinois

Raymond Wilding-White, Darleen Cowles-Mitchell


PROFESSIONAL EXPERIENCE

BOSTON UNIVERSITY–COLLEGE OF FINE ARTS–SCHOOL OF MUSIC

Assistant Professor (2007–Present)

Director of Undergraduate Studies (2010–2015)

Coordinator of Online Music Theory (2007–2015)

Full-Time Lecturer (2006–2007)

Adjunct Faculty (2004–2006)

TEACHING

On-Campus Courses Taught

MT701–Doctoral Proseminar

MT601–Analytical Techniques 1

MT401–Graduate Theory Review

MT302–Music Theory 6

MT301–Music Theory 5

MT202–Music Theory 4

MT201–Music Theory 3

MT105–Elementary Music Theory 1

MT102–Music Theory 2

MT101–Music Theory 1

Graduate and Undergraduate Composition

Online Courses Taught

MT630–Orchestration

MT600–Analytical Techniques 1

MT400–Graduate Theory Review

Online Courses Developed/Revised

MT630–Orchestration

MT600–Analytical Techniques 1

MT400–Graduate Theory Review


GUEST LECTURES

Composing for Voice: A Personal View

Song Literature 3—2 December, 2015

Searching for an Academic Teaching Job

Music Career Management Workshop—24 February, 2015

Chorale Harmonizations: A Tonal Setting of a Modal Melody-2

Music Career Management Workshop—4 November, 2013

Chorale Harmonizations: A Tonal Setting of a Modal Melody-1

Music Career Management Workshop—16 September, 2013

Arvo Pärt—Tabula Rasa/Silentium and Post-Minimalism

MU222/4–History and Literature of Music 2—26 April, 2013

Searching for an Academic Teaching Job

Music Career Management Workshop—27 September, 2012

John Adams—Short Ride in a Fast Machine and Post-Minimalism

MU222/4–History and Literature of Music 2—23 April, 2012

John Adams—Short Ride in a Fast Machine and Post-Minimalism

MU222/4–History and Literature of Music 2—25 April, 2011

COMMITTEE WORK

University

University Program Learning Outcomes Assessment Committee (2013–2015)

University Council–Executive Committee (2011–2013)

University Council–Committee on Curriculum and Degrees, Chair (2011–2013)

University Council–Committee on Admissions and Enrollment Policies (2010–2011)

Faculty Council–Executive Committee (2011–2013)

Faculty Council–Curriculum and Academic Policies Committee, Chair (2011–2013)

Faculty Council–CFA Representative (2009–2011)

Faculty Council–Credentials and By-laws Committee (2009–2011)

Faculty Council–Nominating Committee (2009–2010)

College of Fine Arts

CFA Task Force (2015–Present)

Curriculum Steering Committee (2011)

School of Music

Executive Committee (2011–2015)

Undergraduate Studies Committee (Chair, 2010–2015; Member, 2009)

Policy Committee (2010–2015)

Merit Review Committee (2009–2010)

Student Life and Honors Committee (2007–2008)

Search Committee–Associate Professor of Piano (2011–2012)

Search Committee–Assistant Director for Admissions/Student Affairs (2009–2010)

Doctoral and Masters Orals and Dissertation/Theses Committees (2006–Present)

OTHER SERVICE

Advising

Advisor to Residence Life “Music House” (2009–2010)

Music Minor Advisor (2008–2009)

Admissions

Panelist on a series of discussions for Audition, Visitor’s, and Open House days (2010–2015)

Participant in Orientation Sessions for incoming undergraduates and their families (2010–2015)

MASSACHUSETTS INSTITUTE OF TECHNOLOGY (CAMBRIDGE, MASSACHUSETTS)

Adjunct Faculty (2002–2006)

Keyboard/Theory Lab Instructor

PRIVATE INSTRUCTION (BOSTON, MASSACHUSETTS)

Tutor (2002–2006)

Individualized instruction in Music Theory and Music History

THE BOSTON CONSERVATORY (BOSTON, MASSACHUSETTS)

Guest Lecturer (2003–2006)

American Music in the 20th Century

History of Music Review for Grad Students—19 April, 2006

Boston Composers Since 1960

American Music Seminar—21 April, 2005

The Music of Webern, Sessions, Messiaen and Carter

History of Music Review for Grad Students—Spring 2004

Mozart’s Piano Concerti and Beethoven’s Eroica

History of Music Review for Grad Students—Fall 2003

MIDDLESEX COMMUNITY COLLEGE (BEDFORD, MASSACHUSETTS)

Substitute Instructor (2003)

Music Theory I

Applied Piano for Beginners

BOSTON YOUTH SYMPHONY ORCHESTRA

Music Theory Instructor (2002–2003)

BOSTON UNIVERSITY–COLLEGE OF FINE ARTS–SCHOOL OF MUSIC

Teaching Assistantship (2000–2002)

Aural Skills TA

MU401–Graduate Theory Review—Spring 2002

MU401–Graduate Theory Review—Fall 2001

Keyboard Harmony TA

MU102–Music Theory 2—Spring 2002

MU101–Music Theory 1—Fall 2001

MU102–Music Theory 2—Spring 2001

MU101–Music Theory 1—Fall 2000

Instructor

MU208–Ear-Training and Sight-Singing 4—Spring 2001

MU207–Ear-Training and Sight-Singing 3—Fall 2000

DEPAUL UNIVERSITY SCHOOL OF MUSIC (CHICAGO, ILLINOIS)

Adjunct Faculty (1998–1999)

Business Manager (1991–1999)

TEACHING

Instructor

Understanding Music—Winter 1999

Guest Lecturer

Focal Point Seminar—Fall 1998

Intro to Composition—Spring 1998

FINANCIAL
$3.5mm budget. Ordering and authorization of payment for all goods and services; reconciliation of financial statements; financial and logistical oversight of opera productions and major event performances
ADMINISTRATIVE
Direction of instrument inventory acquisition, tuning and maintenance programs; assessment and configuration of new computers; supervision of two full-time administrative, one part-time professional and 30 student employees
COMMUNICATIONS
Marketing/Advertising–Support of major event performances, subscription series, and Admissions activities through the development and implementation of a strategic marketing plan, and creation of radio and print ads
Graphic Design/Printing–Design of printed materials, from one-color to full-color pieces, including brochures, flyers, journal and newspaper ads, programs, catalogs, posters and events calendars; sourcing and coordination of photographic and print vendors
Web Presence–Design and maintenance of the School of Music website
COMMITTEE WORK

University

Technology Advisory Group (1997–1999)

Copyright Committee (1994–1995)

Editorial Council (1993–1994)

School of Music

Administrative Council (1991–1998)

Search Committee–Sound Recording Technology (1996–1997)


SELECTED WORKS

Works

RECENT PERFORMANCES

Triskele

Classical at the Cabot Series

Virtuoso Soloists—Courtney Miller, oboe; Yoni Avi Battat, viola; Edoardo Carpenedo, Inês Andrade, piano

19 February, 2017—Beverly, Massachusetts

String Quartet No. 1, “pale reflections...”

Classical at the Cabot Series

Arneis Quartet—Heather Braun and Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello

13 November, 2016—Beverly, Massachusetts

How Curious the Light Behaves

Virtuoso Soloists

Luiza Dedisin, soprano; Samuel Brandão Marques, clarinet; Ivana Jasova, violin;

Yoni Avi Battat, viola; Gracie Keith, cello; Edoardo Carpenedo, Inês Andrade, piano

29 July, 2016, 6:30 p.m.—Casa Fernando Pessoa, Rua Coelho da Rocha 16, Lisboa, Portugal

23 July, 2016, 9:30 p.m.—Fórum Cultural do Seixal, Quinta dos Franceses, Seixal, Portugal

22 July, 2016, 9:30 p.m.—Auditório Fernando Lopes Graça at Fórum Romeu Correia, Praça da Liberdade, Almada, Portugal

17 July, 2016, 6:00 p.m.—Igreja Matriz de Malcata, Rua da Fontainha, Malcata, Sabugal, Portugal

16 July, 2016, 9:30 p.m.—Casa da Musica da Bendada, Avenida da Casa do Povo, Bendada, Sabugal, Portugal

Triskele

Virtuoso Soloists

Courtney Miller, oboe; Yoni Avi Battat, viola; Edoardo Carpenedo, Inês Andrade, piano

31 May, 2016—Lilypad, Cambridge, Massachusetts

27 May, 2016—Lyric Hall, New Haven, Connecticut

26 May, 2016—Caffe Vivaldi, New York, New York

Triskele

New Music DePaul

Andrew Nogal, oboe; Anthony Devroye, viola; Chris Jones, Kurt Westerberg, piano

20 May, 2016—Chicago, Illinois

Summer Mosaics

Eastern New Mexico University Saxophone Quartet

Richard Schwartz, director; Alexander Olivas, soprano saxophone; Duncan Miller,

alto saxophone; Chance O’Shea, tenor saxophone; Logan Aragon, baritone saxophone

17 March, 2016—Temple University, Philadelphia, Pennsylvania

16 March, 2016—Boston University, Boston, Massachusetts

15 March, 2016—New England Conservatory, Boston, Massachusetts

Summer Mosaics

Eastern New Mexico University Saxophone Quartet

Richard Schwartz, director; Alexander Olivas, soprano saxophone; Duncan Miller,

alto saxophone; Chance O’Shea, tenor saxophone; Logan Aragon, baritone saxophone

8 March, 2016—Portales, New Mexico

Symphony

Boston University Symphony Orchestra

David Hoose, conductor

29 October, 2015—Boston, Massachusetts

Triskele

Virtuoso Soloists

Courtney Miller, oboe; Yoni Avi Battat, viola; Edoardo Carpenedo, Inês Andrade, piano

7 August, 2015—Foyer della Magnolia at the Theatro Comunale L. Russo, Portogruaro, Italy

5 August, 2015—Sala Oriana Fallaci at the Centro Comunale “Bressanin-Sicher,” Venice, Italy

2 August, 2015—Auditorium Ex Convento di San Francesco, Pordenone, Italy

Summer Mosaics

Boston University Tanglewood Institute

Sarah Antiles, James Campbell, Katherine Campbell, Claudia Chan, Joel Ferst, Connor Haines,

Shawn Liu, Sophia Palocz, Marina Sakellakis, Bhavik Shah, Caleb Woo, saxophones

3 July, 2015—Lenox, Massachusetts

String Quartet No. 1, “pale reflections...”

The Fifth Floor Collective: After the Thaw

Arneis Quartet—Heather Braun and Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello

28 April, 2015—Somerville, Massachusetts

String Quartet No. 1, “pale reflections...”

Belmont Public Library Concert Series

Arneis Quartet—Heather Braun and Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello

25 April, 2015—Belmont, Massachusetts

String Quartet No. 1, “pale reflections...”

Winsor Music, Chamber Series III

Arneis Quartet—Heather Braun and Rose Drucker, violin; Daniel Doña, viola; Agnes Kim, cello

23 March, 2015—Somerville, Massachusetts

String Quartet No. 1, “pale reflections...”

Piano Quintet

Structures

Boston University Faculty Recital

Arneis Quartet & Friends—Heather Braun and Rose Drucker, violin; Daniel Doña, viola;

Agnes Kim, cello; Victor Cayres, piano; Vanessa Holroyd, flute; Sujie Kim, bassoon

19 September, 2014—Boston, Massachusetts

Four Bagatelles

Time’s Arrow New Music Ensemble

Rodney Lister, conductor; Ju Hee Kang, flute; Lizzie Nelson, oboe; Shanon Rubin, clarinet;

Christina Dioguardi, bassoon; Parker Nelson, horn; Lara Poe, piano; MaeLynn Arnold,

John Bian, violin; Sam Kelder, viola; Stephen Allen, cello; Christian Gray, bass

26 February, 2014—Boston, Massachusetts

While the Drowsy World Lies Lost in Sleep

New Music DePaul

Julia Bentley, mezzo-soprano; Kuang-Hao Huang, piano

3 May, 2013—Chicago, Illinois

Summer Mosaics

Boston Conservatory Saxophone Ensemble

Goran Daskalov, soprano saxophone; Brendan Stewart, alto saxophone;

Nat Peterson-Blankenship, tenor saxophone; Connor McLarrin, baritone saxophone

12 November, 2012—Boston, Massachusetts

Five Miniatures

ALEA III–BU Composers Conduct Their Own Works

John H. Wallace, conductor; Kathleen Boyd, flute; Diane Heffner, clarinet; Craig McNutt,

percussion; Yukiko Shimazaki, piano; Krista Buckland Reisner, violin; Mark Berger, viola;

Mark Simcox, cello; Nathan Varga, double bass

1 February, 2012—Boston, Massachusetts

Summer Mosaics

The 34th Annual International Saxophone Symposium

Hosted by the United States Navy Band–George Mason University

Southeastern Louisiana University Saxophone Quartet

Vitalie Gumeniuc, soprano saxophone; Durand Jones, alto saxophone;

Jonathan Lyons, tenor saxophone; David Gambino, baritone saxophone

7 January, 2011—Fairfax, Virginia

Structures

Music at Eden’s Edge–2010 Summer Concert Series

Solstice in Chiaroscuro: A Study in Light and Color

Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello;

Orlando Cela, flute; Neil Fairbairn, bassoon

26 June, 2010—North Shore Arts Association, Gloucester, Massachusetts

22 June, 2010—North Shore Unitarian Universalist Church, Danvers, Massachusetts

21 June, 2010—Peabody Institute Library, Peabody, Massachusetts

Structures, Mov. III, “First Religious Society” (Newburyport–1801)

WGBH 95.5 All Classical Festival, hosted by Laura Carlo and Ray Brown

Music at Eden’s Edge—Maria Benotti, violin; Mark Berger, viola;

Sarah Freiberg, cello; Orlando Cela, flute; Neil Fairbairn, bassoon

19 June, 2010—Boston, Massachusetts

Structures, Mov. III, “First Religious Society” (Newburyport–1801)

Music at Eden’s Edge—2010 Family Benefit Concert, with guest host Ray Brown

Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello;

Orlando Cela, flute; Neil Fairbairn, bassoon;

21 March, 2010—Newburyport, Massachusetts

Arboreal Memories

Boston University Symphony Orchestra

In Memory of Lukas Foss (1922–2009)

David Hoose, conductor

4 March, 2010—Boston, Massachusetts

Foss Epigram

ALEA III–Celebrating Lukas

Theodore Antoniou, conductor; Kathleen Boyd, flute; Kyoko Hida-Battaglia, oboe;

Diane Heffner, clarinet; Janet Underhill, bassoon; Daniel Doyle, horn; Taylor Graham,

trumpet; Robert Hoveland, trombone; Chris Whyte, Alex Delgado, percussion; Yukiko

Shimazaki, piano; Annegret Klaua, Emily Chao, violin; Peter Sulski, viola; Mark Simcox,

cello; Irving Steinberg, bass

2 March, 2010—Boston, Massachusetts

Structures, Mov. III, “First Religious Society” (Newburyport–1801)

Music at Eden’s Edge—2010 Youth Chamber Concert Program

Lecture/demonstration of live classical chamber music, including

36 performances in nine north-shore Massachusetts public schools.

Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello;

Orlando Cela, flute; Neil Fairbairn, bassoon

February–June, 2010—Essex County, Massachusetts

Thus Winter Falls

Boston University Chamber Chorus

Ann Howard Jones, conductor

3 April, 2009—Boston, Massachusetts

Gloaming in perpetuum

Arcadian Winds at Clark University

Vanessa Holroyd, flute; Jane Harrison, oboe; Mark Miller, clarinet;

Janet Underhill, bassoon; Laura Carter, horn

24 March, 2009—Worcester, Massachusetts

Gloaming in perpetuum

Arcadian Winds at Boston University

Vanessa Holroyd, flute; Jane Harrison, oboe; Mark Miller, clarinet;

Janet Underhill, bassoon; Laura Carter, horn

17 March, 2009—Boston, Massachusetts

The Wind Sall Blaw for Evermair

Boston University Faculty Recital

Shiela Kibbe, piano; Barbara Poeschl-Edrich, harp;

Linda Toote, flute; Richard Ranti, bassoon

18 November, 2008—Boston, Massachusetts

Gloaming in perpetuum

Arcadian Winds Concert Series

Vanessa Holroyd, flute; Jane Harrison, oboe; Mark Miller, clarinet;

Janet Underhill, bassoon; Laura Carter, horn

1 June, 2008—Boston, Massachusetts

Sangis off Wyntir

Cavatina, Recitativo and Passacaglia from Frank Lloyd Wright

MIT Affiliated Artists Recital

Penelope Bitzas, mezzo-soprano; Gary Durham, baritone; Matthew Guerrieri, piano;

Whitney Pencina, flute; Mark Berger, viola; Barbara Poeschl-Edrich, harp

17 May, 2005—Cambridge, Massachusetts

Summer Mosaics

Boston University Tanglewood Institute

Tyler Gauldin, soprano saxophone; Jesse Bowman, alto saxophone;

Ivan Navedo, tenor saxophone; Stephen Chen, baritone saxophone

30 July, 2004—Lenox, Massachusetts

Sangis off Wyntir

Chicago Composers’ Consortium

Pinotage—Julia Bentley, mezzo-soprano; Janice MacDonald, flute;

Claudia Lasareff-Mironoff, viola; Alison Attar, harp

29 February, 2004—Chicago, Illinois

Preludio

Tie Dye Revisited

Clarinet Trio

Light and Shadow

Doctoral Composition Recital

Julie Cannata, baroque violin; Julie Vreman, Eb clarinet; Mei-Mi Lan, Eb clarinet;

Paul Demers, bass clarinet; Krista River, mezzo-soprano; Matthew Guerrieri, piano

25 October, 2003—Boston, Massachusetts

Preludio

Solo Violin Recital

Julie Cannata, baroque violin

5 May, 2001—Boston, Massachusetts

Clarinet Trio

Boston University Composers’ Forum

Katherine Leaman, Eb clarinet; Erika Means, A clarinet;

Meghan Donohue, bass clarinet

1 May, 2001—Boston, Massachusetts

Clarinet Trio

DePaul University Faculty Recital

Chicago Clarinet Trio—Julie DeRoche, Eb clarinet;

Larry Combs, A clarinet; John Bruce Yeh, bass clarinet

26 February, 2001—Chicago, Illinois

Preludio

Boston University Composers’ Forum

Julie Cannata, baroque violin

24 April, 2001—Boston, Massachusetts

Piano Quintet

Vilnius String Quartet Concert Series

Audrone Vainiunaite, Arturas Silale, violin; Girdutis Jakaitis, viola;

Augustinas Vasiliauskas, cello; Guest Artist, Rokas Zubovas, piano

7 January, 2000—Vilnius, Lithuania

6 January, 2000—Plunge, Lithuania

5 January, 2000—Siauliai, Lithuania

String Quartet No. 1, “pale reflections...”

Boston University Composers’ Forum

John H. Wallace, conductor; Yeon-Su Kim, Aleeza Wadler, violin;

Flavio Gaeta, viola; Gabriel Shapiro, cello

7 December, 1999—Boston, Massachusetts

The Exquisite Corpse (Collaborative Work)

Chicago Composers’ Consortium

The Chicago Chamber Music Collective

Sebastian Huydts, conductor; Irene Boruszko, alto flute; Kyle Bruckmann, English horn;

Christie Vohs, bass clarinet; Sara Mamminga, horn; Tina Laughlin-Keitel, Eric Pancer,

percussion; Elizabeth Start, cello

15 June, 1999—Chicago, Illinois

String Quartet No. 1, “pale reflections...”

Chicago Composers’ Consortium

Nouvelle Lumiere Quartet—James Martin, Lisa Hansen, violin;

Loretta Gillespie, viola; Elizabeth Start, cello

27 April, 1999—Chicago, Illinois

Piano Quintet

New Music DePaul

John H. Wallace, conductor; Lisa Hansen, James Martin, violin;

Elizabeth Holzman, viola; Elizabeth Start, cello; Kurt Westerberg, piano

26 February, 1999—Chicago, Illinois

Piano Quintet

Chicago Composers’ Consortium

John H. Wallace, conductor; David Katz, James Martin, violin;

Elizabeth Holzman, viola; Elizabeth Start, cello; Kurt Westerberg, piano

10 June, 1998—Chicago, Illinois

Demon Dreams of Electric Fairies

Chicago Composers’ Consortium

Nozzle at Lounge Ax

8 April, 1997—Chicago, Illinois

Music for Winds, Percussion and Piano

DePaul University Wind Ensemble

Donald DeRoche, conductor

27 May, 1994—Chicago, Illinois

Piano Quintet

New Music DePaul

John H. Wallace, conductor; David Katz, James Martin, violin;

Frank Babbitt, viola; William Cernota, cello; Kurt Westerberg, piano

15 April, 1992—Chicago, Illinois


RECORDING, PRESENTATIONS, PRESS, REVIEWS AND RESEARCH

RECORDING

John H. Wallace: pale reflections…

Album release on Centaur Records—CRC 3483

String Quartet No. 1, “pale reflections...,” Piano Quintet, and Structures, with the Arneis

Quartet & Friends—Heather Braun, Rose Drucker, violin; Daniel Doña, viola; Agnes

Kim, cello; Victor Cayres, piano; Vanessa Holroyd, flute; Sujie Kim, bassoon; Michael

Culler, recording engineer; John H. Wallace, producer; all session work at Futura

Productions, Roslindale, Massachusetts, 20–21 September, 2014

Release Date—8 July, 2016

PROFESSIONAL PRESENTATIONS

Project Scholar–Peabody Institute Library (Peabody, Massachusetts)

Project Scholar for America’s Music: A Film History of Our Popular Music from Blues to

Bluegrass to Broadway, a six-week program series featuring documentary film screenings

and scholar-led presentations and discussions of twentieth-century American popular

music. America’s Music is a project by the Tribeca Film Institute in collaboration with

the American Library Association, Tribeca Flashpoint, and the Society for American

Music. America’s Music has been made possible by a major grant from the National

Endowment for the Humanities: Exploring the Human Endeavor

23 October, 2013—No. 6–Latin Rhythm from Mambo to Hip Hop

16 October, 2013—No. 5–Rock

9 October, 2013—No. 4–Country and Bluegrass

2 October, 2013—No. 3–Swing Jazz

25 September, 2013—No. 2–Broadway and Tin Pan Alley

18 September, 2013—No. 1–The Blues and Gospel Music

Really Open Rehearsal–Salem Athenæum

Lecture/demonstration and open rehearsal of Structures with Music at Eden’s Edge;

Maria Benotti, violin; Mark Berger, viola; Sarah Freiberg, cello; Orlando Cela, flute;

Neil Fairbairn, bassoon

13 June, 2010—Salem, Massachusetts

Online Learning at BU: Innovations, Outcomes and Insights

Presenter in an interactive conference on distance learning sponsored by the Provost’s

Faculty Advisory Board for Distance Education, the Office of Distance Education and

the Center for Excellence in Teaching

13 May, 2009—Boston, Massachusetts

National Association of Schools of Music (NASM)—2008 Annual Meeting

Teaching Music Theory in the On-Line Environment. Presenter/panelist on a roundtable

for Associate Deans/Assistant Directors focusing on curriculum creativity

22 November, 2008—Seattle, Washington

Visiting Composer–Duquesne University–Mary Pappert School of Music

Presented a series of three lectures presenting a number of recent compositions, and

discussion of the integration of midi realizations with live voice

Fall, 2005—Pittsburgh, Pennsylvania

PRESS / REVIEWS

Wicked Local—Salem

Feature story, “Chamber music ensemble debuts new ‘Classical at the Cabot’ series,”

by correspondent Shelley A. Sackett, on the premiere performance by the Virtuoso

Soloists in the Classical at the Cabot series at the Cabot Performing Arts Center in

Beverly, Massachusetts, as a resident ensemble. The article features an interview

with Virtuoso Soloists’ violist Yoni Avi Battat, who discusses the ensemble as well as

the role of John H. Wallace as composer-in-residence at the Cabot and upcoming

performance of his work, Triskele.

Publication Date—10 February, 2017

Fanfare Magazine

Feature interview, “Radio Days: A Conversation with John H. Wallace,” by Robert

Schulslaper, on Wallace’s background, education and influences as a composer.

Publication Date—Issue 40:2, Nov/Dec 2016

Fanfare Magazine

Four reviews of “John H. Wallace: pale reflections…,” released on Centaur Records

(CRC 3483) in July, 2016:

No. 1, by Huntley Dent—In discussing how Wallace brings something “new and

personal” to his music, Dent writes, “He has two notable talents to reach this end:

structure and expression. Neither is an abstract term in Wallace’s case. For structure,

he has devised a soundscape where counterpoint and balance (including musical

palindromes) create a settled, inward, mood by drawing us into small details that

stand out like snowflakes suspended in slow motion.” Continuing, Dent states that

“Wallace’s meticulous craftsmanship produces variations extracted from a narrow

range of notes or motifs,” noting how this sounds “schematic—never a quality that

promises enjoyment—but here is where his second talent, for expression, enters. In

all three works the carefully, sometimes tightly, organized progression has emotional

overtones. The ear is never lost, because a steady stream of expression—generally

calm but at times sensual, nostalgic, elegiac, and (rarely) disruptive—envelops us.”

No. 2, by David DeBoor Canfield—In summarizing the works on this album,

Canfield states that “Wallace has a distinctive compositional voice, characterized by

uncompromising but elegant dissonances, long flowing lines, and consistent forward

direction. This is mesmerizing music, superbly rendered by the Arneis Quartet and

their colleagues. It may not be for all tastes, but will pay rewards for the adventurous

listener whose ears have been tuned by composers such as Sessions, Carter, Berg

(especially in a work such as his Lyric Suite), and others with a similar aesthetic.

Accordingly, warmly recommended.”

No. 3, by Ronald E. Grames—Comparing Webern’s use of the BACH motive in his

Op. 28 to Wallaces’ in the Piano Quintet, Grames asserts that “It is a remarkable

structure for a composition, and Wallace uses it quite differently and effectively over

a longer time scale, while suggesting the austere otherworldliness of the quartet.”

Continuing, he summarizes “it is Charles Ives’s use of strings which comes to mind

in the long-held chords of the first movement. The second movement is more

Pointillist, almost mechanical at times, but with the bell-like lightness of gamelan.

The combination in the third movement of the Ivesian string chords from the first

and the Pointillist piano from the second is really quite exquisite and unexpectedly

moving.”

No. 4, by Colin Clarke—Stating that Wallaces’ music, “from the very first note,

draws the listener in and never releases its grip,” is how Clarke begins his comments.

Assessing the overall quiet nature of Structures, he writes that in “keeping the

dynamic level low, one’s attention becomes focused on detail,” continuing that the

second movement in particular is “terrifically written and receives the perfect

realization; the rehearsal that went into getting this movement so well coordinated

must have been huge, and really does present the score in the very best light.”

Continuing with “Another aspect of Wallace’s writing that is striking is his way

with harmony. Not only are his simultaneities carefully considered; there is a true

feeling for the beauty of intervallic relationships here, a trait perhaps reflected in

his overall preference for the lower dynamic levels (which tend to emphasize the

beauty of his sound structures).” He concludes with the declaration that this is

“Fascinating music; I for one want to hear more by this composer.”

Publication Date—Issue 40:2, Nov/Dec 2016

Wicked Local—Beverly

Feature story, “The Cabot goes Classical,” by correspondent Keith Powers, on the

appointment of John H. Wallace as the first composer-in-residence at the Cabot

Performing Arts Center in Beverly, Massachusetts, and the theatre’s expansion of

classical programming with the introduction of a chamber music series.

Publication Date—9 September, 2016

BU Today

Quote published in “Task Force Ponders the Future of CFA,” by staff writer Susan

Seligson, on the ongoing activities of the Provost’s 21-member task force, charged

with creating a strategic vision for the College of Fine Arts.

Publication Date—30 November, 2015

The Salem News

Feature story, “Construction & Composition,” by staff writer Amanda McGregor,

on the premiere of Structures, a work commissioned by Music at Eden’s Edge.

Publication Date—18 June, 2010

BU Today

Feature story, “Historic Architecture Inspires CFA Prof: North Shore chamber group

premieres Structures,” by staff writer Kimberly Cornuelle, on the premiere of Structures,

a work commissioned by Music at Eden’s Edge.

Publication Date—18 June, 2010

The Newburyport Daily News

Feature story, “Music appreciation; Eden’s Edge seeks to hit the right note with all ages,”

on the creation of Structures, a work commissioned by Music at Eden’s Edge.

Publication Date—18 March, 2010

NewMusicBox

Interview published in the premiere edition of the American Music Center’s webzine,

NewMusicBox—“Speak For Yourself! A Hyper-History of American Composer-Led

New Music Ensembles,” by Ken Smith, discussing the Chicago Composers Consortium.

Publication Date—1 May, 1999

RESEARCH INTEREST

The Bach Chorale Style

Exploration of the Bach chorale style, through an extensive examination of the stylistic

and voice-leading principles of the pieces in an historical, theoretical context, avoiding the

theory-based-on-theory approach prevalent in many existing texts. The intent is to produce

a book aimed at guiding the college-level student to a level of knowledge necessary to

successfully harmonize a chorale melody in the style of Bach, in a logical, progressive

manner, and to provide a general music audience with an easily accessible resource for

information on the chorales.


PROFESSIONAL ORGANIZATIONS, SERVICE AND HONORS

MEMBERSHIP IN PROFESSIONAL ORGANIZATIONS

American Society of Composers, Authors and Publishers (ASCAP)

Member as Composer and Publisher

Elected to Membership—5 May, 2010

Pi Kappa Lambda

National Music Honor Society

Elected to membership in the ZETA ETA chapter, DePaul University

Elected to membership in, and transferred membership to, the ALPHA

KAPPA chapter, Boston University

College Music Society

Member, Northeast Regional Chapter

Membership since 1 April, 2013

Chicago Composers’ Consortium

Composer-led non-profit organization dedicated to creating new music in Chicago

Chair—1996–1998

Member—1996–2004

SERVICE TO THE PROFESSION

College Music Society

Member of a three-person committee to review and recommend compositions for the

2015 CMS Northeast Regional Conference at Boston University, 20–21 March, 2015

Composers’ Concert—20 March, 2015

Boston Youth Symphony Orchestra (BYSO)

Served on a three-person panel to adjudicate the 2008–2009 Concerto Competition

25 October, 2008

HONORS

United States Distance Learning Association (USDLA)

Recipient of a 2009 Excellence in Distance Learning Teaching Award

for the design and implementation of MU-400—Graduate Theory Review

Boston University—College of Fine Arts Certificate of Appreciation

Recipient of a Class of 2007 Gift Program

Civic Orchestra of Chicago

Winner of the 1990 Reading Session Competition

John Corigliano, Chicago Symphony Orchestra Composer-in-Residence, coordinator;

Michael Morgan, conductor

16 March, 1990