|
Are You Brave ? Festival V.5.0 10.24.02 |
Brave New Works |
10.24.2002
October 24, 2002
Thursday
8 pm concert
An
Evening
of
Chamber
Music
[No themes!]
Bruce Broughton
Tyvek Wood
Emily Perryman, flute
Tim Christie, viola
Amy Ley, harp
Luciano Berio
violin duets
Maria Sampen, violin
Tim Christie, violin
Carter Pann
Differences
Katri Ervamaa, cello
Winston Choi, piano
intermission
Forrest Pierce
Moses and the Shepherd
Jennifer Goltz, voice
Katri Ervamaa, cello
William Bolcom
Piano Quintet
Maria Sampen, violin
Steve Miahky, violin
Tim Christie, viola
Katri Ervamaa, cello
Winston Choi, piano
Tyvek Wood by Bruce Broughton
Bruce Broughton was born March 8, 1945 in Los Angeles, California. He was
a successful composer of many TV credits during the 60's and 70's including
"Dallas" and "Hawaii Five-O". In the 1980's Broughton began to write film
scores and was soon awarded an Oscar for best original score for the music
of "Silverado" in 1985. To this date he as been nominated for nineteen Emmys
and awarded seven. His Film scores include "Lost in Space", "A Miracle on
34th Street", "Field of Dreams" and many more. Tyvek Wood displays Broughton's
diversity as a composer as a chamber work for flute , viola and harp. It
was premiered at the World Harp Conference in Prague, Czech Republic in 1999
by the Debussy Trio.-Notes by Amy Ley
Differences by Carter Pann
Differences was composed in February of 1998 for Derek Snyder. The work is
comprised of five short movements very much like a suite or a partita in
the Baroque style. However, the individual little pieces are radically different
from each other in style and musical content. Derek had the idea of transcribing
a larger chamber work of mine (in which he performed) for cello and piano.
The end result would have been a six or seven movement work entitled "Dance
Partita" after the larger chamber piece. The project began as such and grew
into its own by the end. It happened that the only movements taken from the
chamber orchestra piece were the "Air" and the "Country dance."
I Strand can be best described as a kind of pop tune where the cello has
the vocal line. The piano supplies the harmonies and rhythms against which
the cello plays. Different from an actual pop tune, the rhythms are bit more
complex and sometimes jarring.
II Air is an arrangement from a larger work entitled Dance Partita. The musical
language here is baroque. As in the Baroque period, the title refers to the
"canto" style of long legato vocal lines over a slow and undulating accompaniment.
III Country Dance, another movement from Dance Partita, is a peasant tune.
The middle section is very pastoral (with church bells) in which one might
imagine the drone of bagpipes on the countryside.
IV Blues is just that. Very different from the preceding movement, this is
a small chance for the performers to show a little soul.
V Song, like Strand, is a pop tune. This one is a bit more direct in its
tone and somewhat more recognizable as it draws its language from the late
70's and early 80's.
--Notes by the composer
Carter Pann (b.1972) began studying piano at an early age with his grandmother.
At fifteen he began lessons with Emilio Del Rosario at the North Shore School
of Music in Winnetka, Illinois. He received his Bachelor's degree from the
Eastman School of Music and subsequently his Master's degree from the University
of Michigan. Honors in composition include the K.Serocki Competition, first
prizes in the Zoltan Kodaly and François d'Albert Concours Internationales
de Composition, a Charles Ives Scholarship from the Academy of Arts and Letters
and five ASCAP composer awards. His works have been performed by the London
Symphony, City of Birmingham Symphony, Vancouver Symphony, National Repertory
Orchestra, National Symphony of Ireland, Syracuse Symphony, New York Youth
Symphony, Chicago Youth Symphony, and the Haddonfield Symphony among others.
In 1997 the Czech State Philharmonic of Brno recorded four of his orchestral
works under José Serebrier, which were later released by Naxos on
its Amercian Classics. His Piano Concerto was submitted for a Grammy nomination
in the "Best Classical Composition of the Year" category for 2001.
Moses and the Shepherd, op. 2 by Forrest Pierce
A lay in the bardic tradition;
a parable set to music in lyric recitative;
a work for a singer-actor;
to be performed with no text provided
to the audience, in the oral tradition;
a story of Moses, a shepherd, and God.
Text from Rumi, translated by Coleman Barks. Used with permission of the
translator.-Notes by the composer
Forrest Pierce is occupied with the end of things. He is not certain if new
things naturally come after large endings, although that has indeed been
a recurring pattern in his life. New friends become old friends, and teachers
such as Dominick Argento and Don Freund are now no longer his teachers. His
successive homes in Pullman, Tacoma, Minneapolis, Indiana, and Austin are
now places he once lived. Just recently, Pierce set aside over one hundred
works and began his opus numbers, in the belief that the recent epiphanies
he has been chasing through the tall grass with a club are in fact beginnings.
Forrest Pierce is now teaching at Lewis and Clark College in Portland, Oregon,
and is composer-in-residence of the Seattle New Music Ensemble.
Piano Quintet by William Bolcom
I've known Isaac Stern tangentially for many years; one day he called me
asking for a chamber piece involving him, other players, and the young pianist
Jonathan Biss. I had never heard Biss play but was sent a CD of a 92nd St.
Y concert in New York; here was a pianist displaying maturity of execution
and interpretation beyond his nineteen years, and it seemed a good opportunity
to attempt a piano quintet (which I had never done) for the occasion. Each
chamber music formation has its own particular historical atmosphere, that
of the string quartet being of course the best-known. A composer can choose
to ignore these legacies or invoke them; I've done both on different occasions,
but here I wanted to recall the great Schumann and Brahms tradition-of course
with important differences. The Sonata Movement has some of the legacy and
atmosphere of my spiritual models. Larghetto alternates a lyrical first section
with a scherzo-like music, ending in a will-o-the-wisp pianistic disappearance.
The short introduction to the last movement, Lamentation, leads to a Rondo
furioso, headlong and inexorable; the Rondo centers on a musical motive borrowed
from my 1969 opera for actors, Greatshot; its mood is of a terribly speeded-up
samba gone berserk.-Notes by the composer
William Bolcom, the Ross Lee Finney Distinguished University Professor of
Music, recipient of the 1988 Pulitzer Prize for music, has received commissions
from the Vienna Philharmonic (Salzburg Mozarteum), Philadelphia Orchestra,
New York Philharmonic, Berlin Domaine Musical, Koussevitsky Foundation, Saarlandischer
Rundfunk, American Composers Orchestra, Saint Louis National and Pacific
Symphonies, Lyric Opera of Chicago and many others. As piano soloist, accompanist,
and composer, Mr. Bolcom is represented on recordings for Nonesuch, Deutsche
Grammophone, RCA, CBS, MHS, Arabesque, Cala, Jazzology, Vox, Advance, CRI,
Phillips, Laurel, First Edition, Newport Classics, Crystal, New World, and
others. As writer about musical subjects, he is published by several music
magazines, by Viking in a book about Eubie Blake (with Robert Kimball), and
in articles in The New Grove Dictionary. Recipient of fellowships and grants
from numerous major foundations, Mr. Bolcom joined the faculty of the University
of Michigan in 1973. He taught previously at the University of Washington,
Queens and Brooklyn Colleges of the City University of New York, and at New
York University's Tisch School of the Arts. Mr. Bolcom has been admitted
to the American Academy of Arts and Letters, and holds honorary doctorates
from the San Francisco Conservatory and Albion College.
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