ing surface called the Radio Baton, and the second is an improvisational program
called Runs. Under the Runs program, the right stick determines which pitch is played,
and the left stick determines if the pitch is played legato or staccato. Further, when
either of the sticks is held on the surface for a moment, arpeggios begin to sound. The
pitch content and relative speed of the pitches is also determined by the location of the
sticks above the surface. From this simple set of conditions a rich and sometimes
humorous exchange unfolds.

Concerto for Virtual Orchestra is a composition in six movements. In the
work, a variety of synthetic and sampled instruments assume solo roles against a
collage of orchestral timbres and textures. The six episodes are musically characterized
by the following themes: Awaken, Wonder, Challenge, Desire, Forgive, and Hope. The
work was composed during the six months$ preceding the birth of my third son Adrien,
and is dedicated to him. In it, I hope he will one day discover my fears, hopes,
friendship, and love.

The Musicians

Dean Anderson is a graduate of the University of Florida at Miami and the New
England Conservatory and is currently the Chair of the Percussion Department at
Berklee. Considered one of the world’s leading contemporary percussionists, he has
given numerous recitals and premiers, and has appeared as a soloist with the Boston
Symphony and the Boston Pops. A member of the Boston Ballet and the Boston Pops
Esplanade orchestras, Dean is also the solo percussionist with Boston Musica Viva, a
member of the Harvard Chamber Orchestra, and has had numerous performances with
the Pittsburgh Symphony. He has recorded on the RCA, Deutsche Grammophon, -
Phillips, Northeastern, CRI, and Delos labels. Dean is a performing artist for Zildjian
Cymbals, OM Percussion, and KAT MIDI Percussion Controllers.

Richard Boulanger holds a Ph.D. in Computer Music from the University of
California at San Diego. In composition, his principal teachers have been Hugo Norden
and Roger Reynolds; in computer music, he has worked extensively with F. Richard
Moore, Barry Vercoe, and Max Mathews. Active as a composer and performer,
Richard’s compositions have been played and broadcast in eastern and western
Europe, Sweden, Australia, Canada, Japan, and throughout the U.S. His music is
recorded on the NEUMA label. Currently, Richard is an Associate Professor in the Music
Synthesis Department at Berklee and a research associate at the MIT Media Lab.

Matt Marvuglio is Chair of Berklee’s Woodwind Department and is an active
concert performer and composer. He has performed in Europe and Japan on the MIDI
wind controller featuring his works, and has written a number of articles about MIDI
wind controllers including “Wired for Sound” for the American Recorder magazine.
Matt appeared as a presenter featuring the MIDI wind controller at this year’s Acoustic
Society of America Conference and has performed as a jazz clinician and soloist for the
National Flute Association.

Dennis Thurmond is Chair of the Music Synthesis Department at Berklee and is
an active composer, keyboardist, and author who has done extensive studio session
work in New York and European tours with the Manhattan Vocal Jazz Ensemble.
Dennis has received grants from the National Endowment for the Arts for original film
and dance scores. He is a consultant for major Japanese synthesizer companies and is
currently working with an MIT sound architect in designing environmental music for
public institutions.