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School of Music U N C G an evening of works by Faculty Recital Tuesday, January 25, 2004 7:30 pm Recital Hall, School of Music Faculty Composers School of Music U N C G Program An Idyll for Nancy George Kiorpes Debbie Egekvist, flute Michael Mathews, violoncello Nancy Davis, piano Day Songs, Night Songs Greg Carroll Sunday Morning Just Before Night Treasured Moment One Last Word Carla LeFevre, soprano Andrew Willis, piano Sonata for Clarinet and Piano Eddie Bass Lento Allegro Kelly Burke, clarinet Andrew Willis, piano Two Versions Mark Engebretson Version I Version II Kelly Burke, bass clarinet Brian French, trombone Brooks Whitehouse, violoncello Intermission Messages Steve Haines Eager Zealots Rob Smith Tune for Jesse Steve Haines No Botox! John Salmon UNCG Faculty Jazz Quartet Rob Smith, trumpet and saxophone John Salmon, piano Steve Haines, bass Thomas Taylor, drums _____ The hall is equipped with a listening assistance system. Patrons needing such assistance should contact an usher in the lobby. Patrons are encouraged to take note of the exits located on all levels of the auditorium. In an emergency, please use the nearest exit, which may be behind you or different from the one through which you entered. Willis holds the BM in Piano from The Curtis Institute of Music, where he studied with Mieczyslaw Horszowski, the MM in Accompanying from Temple University, where he studied with George Sementovsky and Lambert Orkis, and the DMA in Historical Performance from Cornell University, where he studied with Malcolm Bilson. For a number of years, his multifaceted musical career was based in Philadelphia, where he served as keyboardist of The Philadelphia Orchestra for several seasons. He has also taught at several colleges and universities and at Tanglewood. — — The UNCG School of Music has been recognized for years as one of the elite music institutions in the United States. Fully accredited by the National Association of Schools of Music since 1938, the School offers the only comprehensive music program from undergraduate through doctoral study in both performance and music education in North Carolina. From a total population of approximately 14,000 university students, the UNCG School of Music serves nearly 600 music majors with a full-time faculty and staff of more than sixty. As such, the UNCG School of Music ranks among the largest Schools of Music in the South. The UNCG School of Music now occupies a new 26 million dollar music building, which is among the finest music facilities in the nation. In fact, the new music building is the second-largest academic building on the UNCG Campus. A large music library with state-of-the-art playback, study and research facilities houses all music reference materials. Greatly expanded classroom, studio, practice room, and rehearsal hall spaces are key components of the new structure. Two new recital halls, a large computer lab, a psychoacoustics lab, electronic music labs, and recording studio space are additional features of the new facility. In addition, an enclosed multi-level parking deck is adjacent to the new music building to serve students, faculty and concert patrons. Living in the artistically thriving Greensboro—Winston-Salem—High Point “Triad” area, students enjoy regular opportunities to attend and perform in concerts sponsored by such organizations as the Greensboro Symphony Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In addition, UNCG students interact first-hand with some of the world’s major artists who frequently schedule informal discussions, open rehearsals, and master classes at UNCG. Costs of attending public universities in North Carolina, both for in-state and out-of-state students, represent a truly exceptional value in higher education. For information regarding music as a major or minor field of study, please write: Dr. John J. Deal, Dean UNCG School of Music P.O. Box 26167 Greensboro, North Carolina 27402-6167 (336) 334-5789 On the Web: www.uncg.edu/mus/ performed with several groups including The Charles Earland Quartet (on trumpet and saxophones), and The Woody Herman Orchestra, with whom he toured throughout the United States, Canada, Scandinavia, Europe and the Middle East, and still tours on occasion. In 1991, Smith accepted a position as Instructor of Jazz Studies at St. Francis Xavier University in Nova Scotia, Canada, and remained there until 1993. He returned to this position again for one year in 1997. He has taught as an adjunct instructor at several schools including Michigan State University, Mott Community College, Central Michigan University, and the Interlochen Center for the Arts. Most recently, Smith was the Director of Jazz Studies at Central Michigan University (2000-2004). He is a versatile musician who performs in many different styles of music on trumpet, saxophone, and electric bass. Thomas Taylor, on the UNCG jazz faculty since 2003, is in great demand all over the Southeast for his performance as well as teaching abilities. He has performed with Ellis Marsalis, Kenny Garrett, Eric Alexander, Kevin Mahogany, Vanessa Rubin, David Baker, Bill Charlap, Cedar Walton, and many others in concerts and clinics. Thomas has taught and performed at many festivals including The University of Louisville Jazz Week, The UNC Jazz Festival, IAJE conference in Toronto, The Ethno Jazz Festival in Moldova, The Odessa International Jazz Carnival in Ukraine, and served as an ambassador to the state of North Carolina by performing at the U.S. Embassy in Chisinau, Moldova. He has also been a performer and clinician in Japan, Alaska, Hawaii, and all over the continental United States. Thomas earned his BM from UNCG in 1991. Since that time he has taught at several Universities and Colleges, toured nationally and internationally, and recorded with local and national artist. Brooks Whitehouse (BA, Harvard College; MMA and DMA, SUNY Stony Brook) comes to Greensboro from the University of Florida where he spent a year as Assistant Professor of Cello and Chamber Music. Whitehouse has performed and taught chamber music throughout the US and abroad, holding Artists-in-Residence positions at SUNY Stony Brook, the Guild Hall in East Hampton, NY, the University of Virginia (as a member of The Guild Trio) and The Tanglewood Music Center. The Guild Trio was a winner of both the "USIA Artistic Ambassador" and "Chamber Music Yellow Springs" competitions, and with them he has performed and held master classes throughout the United States and Canada, as well as in Norway, Turkey, the former Yugoslavia, Belgium, Luxembourg, Germany, Portugal, France and Australia. In 1991 The Guild Trio received a three-year grant from Chamber Music America for their unique music/medicine residency at SUNY Stony Brook's Medical School. The trio has been a frequent feature on National Public Radio's "Performance Today", and has also appeared on the University of Missouri's public television series "Premiere Performances", and "Front Row Center" on KETC-TV9 in St. Louis. As a soloist Whitehouse has appeared with the New England Chamber Orchestra, the Nashua Symphony, the New Brunswick Symphony, the Billings Symphony, and the Owensboro Symphony, and has appeared in recital throughout the northeastern United States. His performances have been broadcast on WQXR's "McGraw-Hill Young Artist Showcase", WNYC's "Around New York," and the Australian and Canadian Broadcasting Corporation networks. He has held fellowships at the Blossom and Bach Aria festivals, and was winner of the Cabot prize as a fellow at the Tanglewood Music Center. As guest artist he has appeared with the Seacliffe Chamber Players, the New Millennium Ensemble, the JU Piano Trio, The Apple Hill Chamber Players, the Atelier Ensemble and the New Zealand String Quartet. His principal teachers were Timothy Eddy and Norman Fischer. Andrew Willis is recognized for his performances on historical and modern pianos in the United States and abroad. He has recorded a wide variety of solo and chamber repertoire for Claves, Albany, Centaur, Newport Classics, and CRI records. The New York Times called his recording of Beethoven’s Op. 106 “a ‘Hammerklavier’ of rare stature.” At UNCG, where he joined the piano faculty in 1994, Willis serves as Artistic Director of the biennial Focus on Piano Literature, at which he premiered Martin Amlin’s Sonata No. 7 in 2000. —continued Program Notes by the Composers George Kiorpes: An idyll for Nancy An Idyll for Nancy was composed during my convalescence from major knee surgery this past September. “Nancy” is of course pianist Nancy Davis, whose interest in playing the piano part encouraged me to respond to an invitation to compose something for this concert. Some old sketches for a piano piece, something decidedly better suited to a chamber work, provided the generating material for some of the formal procedures and thematic content of what was finally scored as a trio for flute, cello and piano. Though utterly tonal in effect, the work's harmonic foundation is equivalent to a ground bass harmonized almost exclusively with major chords in first inversion, with each chord descending a whole step. This results in a seemingly drastic tonal shift that adds two flats to each measure, but any sense of modulation is counterbalanced by a thematic procedure first introduced by the flute, wherein a sequential melody adapts itself to each tonal shift with common tones, often subtly masked by appoggiaturas. The harmonic formula, or ground, is introduced in simple chords by the piano, then restated by the cello and piano under the main idea in the flute, a slow pastoral melody with an improvisatory character, beginning in C major and resolving to that key at the last moment from a suspended fourth, F-E. The cello then takes the lead with a new melody, restated by the flute and piano, on the third and fourth appearances of the ground. The opening material returns, modified by chromatic contrapuntal play from the piano and cello. The more agitated central section of the piece abandons literal use of the ground, instead developing motivic cells extracted from the previous material. A powerful climax is quickly reached, followed by a retransition to the first theme. This does not return intact, however, but is fragmented by flute and piano while the cello drags out the descending ground in a blend of pizzicato and arco down to its lowest C. In the higher registers flute and piano dissolve into a barely audible pianissimo, repeating the resolution F-E that has defined the tonal direction of the piece throughout. A final faint pluck on the cello’s low C leads to the vanishing point. — — George Kiorpes holds the BM degree, Artist Diploma, and MM from Peabody Conservatory, and the DMA from Boston University. His teachers have included Frederick Petrich, Austin Conradi, Julio Esteban, and Bela Nagy. He has also been awarded numerous awards and prizes, including Peabody’s May Garrettsom Evans and Bach-Horstmeier Scholarships and the coveted Paul Thomas Prize for Outstanding Pianistic Achievement. Kiorpes has participated in solo, ensemble, and concerto performances throughout the United States and in the Far East and has participated in convention programs at the state, regional and national level for numerous professional organizations. Concerto collaborations include conductors Reginald Stewart, Arthur Fiedler, David Moskowitz and Herbert Hazelman. In 2002, he was the recipient of the Outstanding Teacher Award in the UNCG School of Music. He has published articles in many national periodicals and for four years was editor of The North Carolina Music Teacher. His compositions for piano have been published by Ditson, Willis, and Kjos music publishers. Greg Carroll: Day Songs, Night Songs The first three songs of Day Songs, Night Songs were performed at UNCG in February 2002. The last song in the cycle was "in gestation" at a later time. Now that the family of songs is complete, I wish to present all four "children" to you this evening. Incidentally, this song cycle won the Honorable Mention Award in the NATS national art song composition contest this past spring. The poet is Klaus Luthardt, a native Austrian, who has lived the majority of his life in the state of Virginia. This is the second song cycle I have composed using his poems for texts. The beauty, imagery, and lyricism of the poetry demand the same kind of music. Night follows day in the arrangement of poems. In Sunday Morning, the poet relates the breath of air in human speech to the wind that sets Nature in motion. Just Before Night captures the essence of day turning into night, and the sparkling stars “that draw our attention skyward.” In Treasured Moment the poet recalls his focus upon a singular morning glory. One Last Word depicts the radiance of light that transforms the sky as the sun sets beneath the horizon and where the exquisite beauty reassures us that we need not fear the night. Sunday Morning The light green and yellow glows among the leaves, Dances with a silver sheen on blood red tufts of oak. Branches wave, leaves tremble, Hiss at hurried gusts of fitful air. A rush and rustle fills the brilliant spaces In the morning light, Instruments of wind. But we may draw a breath and speak in our own time, making seasons. Misty, man-made, mind-made images, Formed and clarified, are borne On a rush of air, emerge from a living reed, Words, yours and mine, notes in the song of Earth. Just Before Night Just before night the delicate blue at the edge of the sky And the outlines of the houses and pines before it Gathered into beauty Such as the masters of the Renaissance spoke of Where every line combined to point to the central theme. Into that momentary passage from day to night All that had shaped this day seemed drawn, distilled, Then given back with quiet eloquence Until the image deepened into indigo, And the light of the stars drew our attention skyward. Haines holds a BM in Jazz Performance from St. Francis Xavier University in Canada and a MM in Music (Jazz Studies) from the University of North Texas. While at the University of North Texas, Haines directed the Three O'clock Lab Band, and was a member of the One O'clock Lab Band, with whom he traveled internationally. Haines' music for large jazz ensembles is published at the University of Northern Colorado Press and has been broadcast on the Canadian Broadcasting Cooperation's national radio shows Jazz Beat and All the Best. Most recently, Steve orchestrated and arranged the musical Ella: The Life and Music of Ella Fitzgerald. He has served as a clinician and as an adjudicator for large and small jazz ensembles at numerous high schools, colleges, and universities. At UNCG, he is the Director of the Annual UNCG Honors High School Jazz Band, and the Jazz Director's Summit. Carla LeFevre holds the BMEd in voice and horn from Central Missouri State University and MA and DMA degrees in performance and pedagogy from the University of Iowa. She has performed extensively in oratorios and operas, including leading roles in The Magic Flute, La Bohème, The Turn of the Screw, and Handel's Agrippina, which she performed at the Festival di Musica Antica in Urbino, Italy, and the Classical Music Seminar in Eisenstadt, Austria. An active recitalist, LeFevre was selected as the 1991 National Winner of the Gertrude Fogelson Cultural and Creative Arts Vocal Competition and has also been a national finalist in both the National Federation of Music Clubs Young Artist Competition and the National Opera Association Vocal Competition. In addition to her teaching and performing experience, she has served as a consultant for the Peoria Ear, Nose, and Throat Clinic, assisting in the diagnosis and treatment of voice disorders. Michael Mathews is a native of Greensboro, where he began cello studies at the age of five. He graduated with a Bachelor's and Master's in Music from the University of Southern California, studying with renowned Gabor Rejto. Other teachers include Zara Nelsova and Janos Starker. Among his many awards and prizes are the Tchaikovsky International Competition (quarter finalist), Gaspar Cassado International Cello Competition (gold medal) and the Piatigorsky Seminar Prize. Mr. Mathews has been a member of both the Los Angeles Chamber Orchestra and the Los Angeles Philharmonic. As a chamber musician, he was invited twice to the prestigious Marlboro Music Festival. Prior to his return to North Carolina, he was active as a recording artist for motion pictures, television and records. John Salmon, on the UNCG piano faculty since 1989, has distinguished himself as both a classical and jazz artist. Critics have cited his “mastery and virtuosity” (La Suisse, Geneva, Switzerland), called him a “tremendous pianist” (El País, Madrid, Spain), and praised his ability to “set his audience on fire” (News & Courier, Charleston, South Carolina). He has appeared at the International Bartók Festival in Hungary, the Festival Internacional de Música del Mediterráneo in Spain, and at festivals across the U.S. His performances have been broadcast on the national radio stations of Australia, Canada, Finland, Germany, Hungary, Italy, Moldova, New Zealand, Norway, Spain, Switzerland, and the Ukraine; and on National Public Radio’s “Performance Today,” WFMT in Chicago, and WNYC in New York. Prizes include the Premio Jaén, as well as awards from the Busoni and Maryland competitions. He holds the Solistendiplom from the Freiburg (Germany) Hochschule für Musik, the Master of Music degree from The Juilliard School, and the Doctor of Musical Arts degree from The University of Texas. Salmon has championed piano pieces by many contemporary composers, especially Dave Brubeck who dedicated two pieces to Salmon. His two compact discs of Brubeck’s piano music (Phoenix PHCD 130; and Naxos 8.559212) have received widespread critical acclaim. Rob Smith is Assistant Professor of Jazz Studies at UNCG School of Music. He graduated from Central Michigan University in 1986 with a BAA in Trumpet Performance. He then attended The University of North Texas and earned the MM in Jazz Studies Performance in 1989. While studying at UNT, Smith performed in the world-renowned One O’clock Lab Band, and can be heard on recordings from 1987-1989. Upon graduating from UNT, he Burke has received several teaching awards, including UNCG's Alumni Teaching Excellence Award, the School of Music Outstanding Teacher Award, and has been named three times to Who's Who Among America's Teachers. She is the author of numerous pedagogical articles and the critically acclaimed book Clarinet Warm-Ups: Materials for the Contemporary Clarinetist. Nancy Davis received her BM and MM degrees from the University of North Carolina at Greensboro. Her teachers have included Marvin Blickenstaff and George Kiorpes. Offering a varied "pallette of colors" and flare, she performs an average of 50 concerts a year. She has participated in materclasses with Martin Katz, Jean Barr, Barbara Lister-Sink and Eugene Rousseau. She has recently presented the Trombone Sonata by Dr. Eddie Bass in a North Carolina Premiere performance with Daniel Rice. She has performed in New York with Phyllis Tektonidis, Dr. Edward Bach and locally with Dr. Randy Kohlenberg and other UNCG faculty, guest artists and students. She has served as Musical Director of the Young Artist Opera Theatre and on the faculties of Greensboro College and Elon University, as Guest Lecturer for Song Repertoire at UNCG, UNCG Community Music School, and is a regular faculty member of the UNCG Summer Music Camp. Deborah Egekvist earned the BM from Lawrence University, the MM at the Eastman School of Music, and the DM at Florida State University. She has taught at Marshall University in Huntington, West Virginia, and at the University of Oklahoma at Norman. Active as a soloist and chamber musician, Egekvist has performed throughout the United States, Germany, Canada, and the Asian South Pacific. She has appeared as soloist with the Minnesota Orchestra, the Green Bay Symphony, the West Virginia Symphonette, the Aurora Symphony, and the Huntington Chamber Orchestra. She has also performed as principal flute of the Huntington Chamber Orchestra, the Greensboro Symphony, and the EastWind Quintet at UNCG. In June 1989, Egekvist made her New York debut at Carnegie Recital Hall. Brian French, principal trombonist of the Winston-Salem Symphony Orchestra, made his Wachovia Masterworks Series solo debut in February 2002, joining the orchestra for three performances of George Walker’s Trombone Concerto. French has held principal positions in the Arkansas Symphony Orchestra and the Civic Orchestra of Chicago, and has performed with the North Carolina Symphony and the Chicago Symphony Orchestra. He is a native of Greensboro, and received both his BM and MM from Northwestern University, counting Frank Crisafulli, Jay Friedman, and Arthur Linsner among his primary teachers. While in Chicago, he became active as a recitalist and chamber musician, and made appearances with the Millar Brass Ensemble, London Brass, and the Storioni Ensemble. French has played both principal and bass trombone positions with orchestras of the Eastern Music Festival, and in 1995 gave a critically acclaimed performance of the Grøndahl Concerto with the academy orchestra. Additionally, he has performed as a member of the Encore Brass Quintet in residence at the Bravo! Vail Valley Music Festival, and in 1997 was a member of the Pacific Music Festival Orchestra in Japan. French is on the performance faculty at Davidson College and is Concert Manager for the School of Music at UNCG. Steve Haines is currently the Director of the Miles Davis Jazz Studies Program. He has performed was players such as Dick Oatts, Adam Nussbaum, Bob Berg, Joe Williams, Mark Levine, Richard Stolzman, Bruce Forman, Ellis Marsalis and Marcus Roberts; and has supported clinicians such as Tim Hagans, Fred Hersch, Mulgrew Miller, Lou Marini, Jim McNeely, Mike Stern, and Kenny Garrett. Performance venues include the Pori Jazz Festival in Finland, the Molde Jazz Festival in Norway, the Ethno Jazz Festival in Moldova, the Odessa International Jazz Carnival in Ukraine, and the Kennedy Center in Washington, D.C. With the UNCG Jazz Faculty Trio, Steve served as an ambassador to the state of North Carolina by performing for heads of state at the U.S. Embassy in Chisinau, Moldova. —continued Treasured Moment Morning glories in translucent purple cathedral colors fashioned from water and earth Poised on waves of air. A blossom sways and bows, Blushes like a dancer before her suitor’s gaze. Trembles on measures of light, Turns with ineffable promise To embrace The alchemy of longing. One Last Word The red round sun Has touched the mountain ridge, Edge of the Earth. Day’s death is near. The bright light breaks, and fades, A ruddy glow suffuses, Warm orange too. The sun, a semi-circle soon, Dips more swiftly downward, disappears. Though vanished, it yet reaches up with rays, Resplendent fingers. A mighty hand in space gives benediction. We who watch the temple of light Witness the language of the universe Where there is no fear of night. — — Gregory Carroll holds a BA in music from St. John's University (MN), and earned the MM and PhD in Composition/Theory from the University of Iowa, where he studied under Donald Jenni, William Hibbard and Richard Hervig. Carroll has also taught at Indiana State University, the College of St. Teresa, and the University of Iowa. His compositions have been performed in Canada, Europe, Australia and the United States. He has served as finalist judge for numerous state and national composition contests, and is frequently sought after nationally as a guest lecturer and clinician. He is on the Board of Advisors to the Monroe Institute, a professional organization that explores the effects of sound on the brain. Eddie Bass: Sonata for Clarinet and Piano The Sonata for Clarinet and Piano was written in 1990. It was premiered in Greensboro in October, 1990 by Kelly Burke, clarinet, and Arthur Tollefson, piano. The first movement is based on two themes. The clarinet introduces the first of these, unaccompanied until joined by some comments from the piano. The piano presents the second theme, which has a steadier pace and a slightly faster tempo. Thereafter the two themes alternate, combine, and spin off fragments. The second movement opens with a fanfare-like dissonance, which immediately sends the piano off on a sort of mad dash. The clarinet presents a more lyrical theme but soon joins the chase with the piano. This romp is twice interrupted by more meditative cadenzas, but near the end the pace quickens even more and both clarinet and piano drive the movement toward a conclusion that is, in the best tradition of such things, loud, fast, and frantic. — — Eddie Bass is Professor emeritus in the School of Music at UNCG. He earned the AB, MM, and PhD degrees from the University of North Carolina at Chapel Hill. Until 1992 he was chair of the Composition/History/Theory division of the School of Music at UNCG. From 1992 until his retirement in 2003 he served as coordinator of composition. He has composed for a variety of media, including orchestra, wind ensemble, chorus, vocal soloists, and chamber ensembles. His music has been performed throughout the U.S., in Canada, Britain, Russia, and the Far East. His Pas de Quatre for Trombone Quartet was awarded first prize in the 1989 composition contest of the International Trombone Association. His music is published by Seesaw (New York), BVD Press (Connecticut) and Warwick (England). From 1968 to 1985 he was principal trumpet of the Greensboro Symphony, and until 2000 a member of the Market Street Brass. He has published articles on the music of Debussy, Berlioz, and Mahler. Mark Engebretson: Two Versions Two Versions was written for Ensemble Reconsil of Vienna, Austria, and premiered by that ensemble in June, 2004. Many times when composing music, ideas present themselves that must be rejected, suppressed, or ignored in order to insure the integrity or artistic unity of the piece intact. Other times material is written and then expanded upon, re-written, manipulated or varied to the point that the original idea, which may have been already quite interesting, is completely lost. For this piece, I decided to take advantage of this situation by writing a piece in two versions. The first version is the first composition of the piece, true to certain originating ideas. The second version contains elaborations that suggested themselves while writing the first version, but rather than either rejecting them or allowing them to obscure the original piece, they have been integrated into an independent movement. Thus the piece is called Two Versions, with movements Version I and Version II. It could be said that, in some way, these are two versions of the same piece, although Version II is obviously much different than Version I. Either or both Versions may be performed, and if they are both performed, they may be performed in either order. Many thanks to Ensemble Reconsil and my dear friend, composer and flutist Alexander Wagendristel for commissioning this piece. — — Mark Engebretson, Assistant Professor of Composition and Electronic Music, has recently undertaken composing a series of high-powered solo works entitled “Energy Drink” and writing music for large ensembles. He was previously a freelance composer and performer in Stockholm and Vienna, earning numerous commissions from official funding organizations. His music has been presented at many festivals, such as Wien Modern (Vienna), Gaida Festival (Vilnius, Lithuania), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival and ISCM Festivals (Tirana, Albania and Baku, Azerbaijan). Recent performances include presentations by the Wroclaw Philharmonic Orchestra and the Jacksonville Symphony. His work “She Sings, She Screams” for saxophone and digital media has been performed countless times worldwide and has been released on three compact disc recordings. As a performer, he has appeared as a soloist and chamber musician worldwide, and he is a former member of the Vienna Saxophone Quartet. Dr. Engebretson has taught at the Eastman School of Music, the University of Florida and at the State University of New York, College at Fredonia. He holds the DMA degree from Northwestern University, and also studied at the University of Minnesota and the Conservatoire de Bordeaux. His teachers include Michel Fuste-Lambezat, Ruben Haugen, Frederick L. Hemke, Jean-Marie Londeix, M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim. Steve Haines: Messages Messages was written with assistance from the 2004 UNCG Summer Excellence Grant. It's a composition that is meant to fall over itself like a Slinky, constantly pushing itself forward with momentum, like a freight train out of control. This explains frequent changes in feel from Afro-Cuban to swing. This also explains the chord structure, which seems to forge ahead- while in fact circling back to the top of the form. Rob Smith: Eager Zealots Written for those whose blind faith and misguided determination have led them to become eager zealots. This piece is a lament for their lost and eternally tortured souls. Steve Haines: Tune for Jesse Tune for Jesse was completed this past January 17, when the music building was quiet during the Martin Luther King Jr. holiday. This tune is fairly simple- it visits F# minor, F minor, E minor, and A minor with plenty of chromatics to keep things interesting during the solos. It is through composed, which is becoming more and more common in within the jazz idiom. John Salmon: No Botox! While Dylan Thomas challenged us to `rage against the dying of the light,’ I don’t want any needles near my face. — — Kelly Burke holds the BM and MM degrees from the Eastman School of Music and the DMA from the University of Michigan. An active performer, Burke is the principal clarinetist of the Greensboro Symphony Orchestra and has appeared in recitals and as a soloist with symphony orchestras throughout the United States, Canada, Germany, New Zealand, Australia, and Russia. As a member of the Mallarmé Chamber Players, the EastWind Trio d'Anches, and the Cascade Wind Quintet, Burke is frequently heard in chamber music settings. She has recorded for Centaur, Telarc, and Arabesque labels. —continued School of Music U N C G an evening of works by Faculty Recital Tuesday, January 25, 2004 7:30 pm Recital Hall, School of Music Program An Idyll for Nancy George Kiorpes Debbie Egekvist, flute Michael Mathews, violoncello Nancy Davis, piano Day Songs, Night Songs Greg Carroll Sunday Morning Just Before Night Treasured Moment One Last Word Carla LeFevre, soprano Andrew Willis, piano Two Versions Mark Engebretson Version I Version II Kelly Burke, bass clarinet Brian French, trombone Brooks Whitehouse, violoncello Sonata for Clarinet and Piano Eddie Bass Lento Allegro Kelly Burke, clarinet Andrew Willis, piano Intermission Messages Steve Haines Eager Zealots Rob Smith Tune for Jesse Steve Haines No Botox! John Salmon UNCG Faculty Jazz Quartet Rob Smith, trumpet and saxophone John Salmon, piano Steve Haines, bass Thomas Taylor, drums _____ The hall is equipped with a listening assistance system. Patrons needing such assistance should contact an usher in the lobby. Patrons are encouraged to take note of the exits located on all levels of the auditorium. In an emergency, please use the nearest exit, which may be behind you or different from the one through which you entered. Faculty Composers
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Title | 2004-01-25 Faculty Composers [recital program] |
Date | 2004 |
Creator | University of North Carolina at Greensboro. School of Music, Theatre and Dance |
Subject headings | University of North Carolina at Greensboro. School of Music, Theatre and Dance;University of North Carolina at Greensboro |
Place | Greensboro (N.C.) |
Description | Spring 2004 programs for recitals by students in the UNCG School of Music. |
Type | Text |
Original format | programs |
Original publisher | Greensboro N.C.: The University of North Carolina at Greensboro |
Contributing institution | Martha Blakeney Hodges Special Collections and University Archives, UNCG University Libraries |
Source collection | UA9.2 School of Music Performances -- Programs and Recordings, 1917-2007 |
Series/grouping | 1: Programs |
Finding aid link | https://libapps.uncg.edu/archon/index.php?p=collections/controlcard&id=608 |
Rights statement | http://rightsstatements.org/vocab/NoC-US/1.0/ |
Additional rights information | NO COPYRIGHT - UNITED STATES. This item has been determined to be free of copyright restrictions in the United States. The user is responsible for determining actual copyright status for any reuse of the material. |
Object ID | UA009.002.BD.2004SP.999 |
Digital publisher | The University of North Carolina at Greensboro, University Libraries, PO Box 26170, Greensboro NC 27402-6170, 336.334.5304 |
Full Text | School of Music U N C G an evening of works by Faculty Recital Tuesday, January 25, 2004 7:30 pm Recital Hall, School of Music Faculty Composers School of Music U N C G Program An Idyll for Nancy George Kiorpes Debbie Egekvist, flute Michael Mathews, violoncello Nancy Davis, piano Day Songs, Night Songs Greg Carroll Sunday Morning Just Before Night Treasured Moment One Last Word Carla LeFevre, soprano Andrew Willis, piano Sonata for Clarinet and Piano Eddie Bass Lento Allegro Kelly Burke, clarinet Andrew Willis, piano Two Versions Mark Engebretson Version I Version II Kelly Burke, bass clarinet Brian French, trombone Brooks Whitehouse, violoncello Intermission Messages Steve Haines Eager Zealots Rob Smith Tune for Jesse Steve Haines No Botox! John Salmon UNCG Faculty Jazz Quartet Rob Smith, trumpet and saxophone John Salmon, piano Steve Haines, bass Thomas Taylor, drums _____ The hall is equipped with a listening assistance system. Patrons needing such assistance should contact an usher in the lobby. Patrons are encouraged to take note of the exits located on all levels of the auditorium. In an emergency, please use the nearest exit, which may be behind you or different from the one through which you entered. Willis holds the BM in Piano from The Curtis Institute of Music, where he studied with Mieczyslaw Horszowski, the MM in Accompanying from Temple University, where he studied with George Sementovsky and Lambert Orkis, and the DMA in Historical Performance from Cornell University, where he studied with Malcolm Bilson. For a number of years, his multifaceted musical career was based in Philadelphia, where he served as keyboardist of The Philadelphia Orchestra for several seasons. He has also taught at several colleges and universities and at Tanglewood. — — The UNCG School of Music has been recognized for years as one of the elite music institutions in the United States. Fully accredited by the National Association of Schools of Music since 1938, the School offers the only comprehensive music program from undergraduate through doctoral study in both performance and music education in North Carolina. From a total population of approximately 14,000 university students, the UNCG School of Music serves nearly 600 music majors with a full-time faculty and staff of more than sixty. As such, the UNCG School of Music ranks among the largest Schools of Music in the South. The UNCG School of Music now occupies a new 26 million dollar music building, which is among the finest music facilities in the nation. In fact, the new music building is the second-largest academic building on the UNCG Campus. A large music library with state-of-the-art playback, study and research facilities houses all music reference materials. Greatly expanded classroom, studio, practice room, and rehearsal hall spaces are key components of the new structure. Two new recital halls, a large computer lab, a psychoacoustics lab, electronic music labs, and recording studio space are additional features of the new facility. In addition, an enclosed multi-level parking deck is adjacent to the new music building to serve students, faculty and concert patrons. Living in the artistically thriving Greensboro—Winston-Salem—High Point “Triad” area, students enjoy regular opportunities to attend and perform in concerts sponsored by such organizations as the Greensboro Symphony Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In addition, UNCG students interact first-hand with some of the world’s major artists who frequently schedule informal discussions, open rehearsals, and master classes at UNCG. Costs of attending public universities in North Carolina, both for in-state and out-of-state students, represent a truly exceptional value in higher education. For information regarding music as a major or minor field of study, please write: Dr. John J. Deal, Dean UNCG School of Music P.O. Box 26167 Greensboro, North Carolina 27402-6167 (336) 334-5789 On the Web: www.uncg.edu/mus/ performed with several groups including The Charles Earland Quartet (on trumpet and saxophones), and The Woody Herman Orchestra, with whom he toured throughout the United States, Canada, Scandinavia, Europe and the Middle East, and still tours on occasion. In 1991, Smith accepted a position as Instructor of Jazz Studies at St. Francis Xavier University in Nova Scotia, Canada, and remained there until 1993. He returned to this position again for one year in 1997. He has taught as an adjunct instructor at several schools including Michigan State University, Mott Community College, Central Michigan University, and the Interlochen Center for the Arts. Most recently, Smith was the Director of Jazz Studies at Central Michigan University (2000-2004). He is a versatile musician who performs in many different styles of music on trumpet, saxophone, and electric bass. Thomas Taylor, on the UNCG jazz faculty since 2003, is in great demand all over the Southeast for his performance as well as teaching abilities. He has performed with Ellis Marsalis, Kenny Garrett, Eric Alexander, Kevin Mahogany, Vanessa Rubin, David Baker, Bill Charlap, Cedar Walton, and many others in concerts and clinics. Thomas has taught and performed at many festivals including The University of Louisville Jazz Week, The UNC Jazz Festival, IAJE conference in Toronto, The Ethno Jazz Festival in Moldova, The Odessa International Jazz Carnival in Ukraine, and served as an ambassador to the state of North Carolina by performing at the U.S. Embassy in Chisinau, Moldova. He has also been a performer and clinician in Japan, Alaska, Hawaii, and all over the continental United States. Thomas earned his BM from UNCG in 1991. Since that time he has taught at several Universities and Colleges, toured nationally and internationally, and recorded with local and national artist. Brooks Whitehouse (BA, Harvard College; MMA and DMA, SUNY Stony Brook) comes to Greensboro from the University of Florida where he spent a year as Assistant Professor of Cello and Chamber Music. Whitehouse has performed and taught chamber music throughout the US and abroad, holding Artists-in-Residence positions at SUNY Stony Brook, the Guild Hall in East Hampton, NY, the University of Virginia (as a member of The Guild Trio) and The Tanglewood Music Center. The Guild Trio was a winner of both the "USIA Artistic Ambassador" and "Chamber Music Yellow Springs" competitions, and with them he has performed and held master classes throughout the United States and Canada, as well as in Norway, Turkey, the former Yugoslavia, Belgium, Luxembourg, Germany, Portugal, France and Australia. In 1991 The Guild Trio received a three-year grant from Chamber Music America for their unique music/medicine residency at SUNY Stony Brook's Medical School. The trio has been a frequent feature on National Public Radio's "Performance Today", and has also appeared on the University of Missouri's public television series "Premiere Performances", and "Front Row Center" on KETC-TV9 in St. Louis. As a soloist Whitehouse has appeared with the New England Chamber Orchestra, the Nashua Symphony, the New Brunswick Symphony, the Billings Symphony, and the Owensboro Symphony, and has appeared in recital throughout the northeastern United States. His performances have been broadcast on WQXR's "McGraw-Hill Young Artist Showcase", WNYC's "Around New York" and the Australian and Canadian Broadcasting Corporation networks. He has held fellowships at the Blossom and Bach Aria festivals, and was winner of the Cabot prize as a fellow at the Tanglewood Music Center. As guest artist he has appeared with the Seacliffe Chamber Players, the New Millennium Ensemble, the JU Piano Trio, The Apple Hill Chamber Players, the Atelier Ensemble and the New Zealand String Quartet. His principal teachers were Timothy Eddy and Norman Fischer. Andrew Willis is recognized for his performances on historical and modern pianos in the United States and abroad. He has recorded a wide variety of solo and chamber repertoire for Claves, Albany, Centaur, Newport Classics, and CRI records. The New York Times called his recording of Beethoven’s Op. 106 “a ‘Hammerklavier’ of rare stature.” At UNCG, where he joined the piano faculty in 1994, Willis serves as Artistic Director of the biennial Focus on Piano Literature, at which he premiered Martin Amlin’s Sonata No. 7 in 2000. —continued Program Notes by the Composers George Kiorpes: An idyll for Nancy An Idyll for Nancy was composed during my convalescence from major knee surgery this past September. “Nancy” is of course pianist Nancy Davis, whose interest in playing the piano part encouraged me to respond to an invitation to compose something for this concert. Some old sketches for a piano piece, something decidedly better suited to a chamber work, provided the generating material for some of the formal procedures and thematic content of what was finally scored as a trio for flute, cello and piano. Though utterly tonal in effect, the work's harmonic foundation is equivalent to a ground bass harmonized almost exclusively with major chords in first inversion, with each chord descending a whole step. This results in a seemingly drastic tonal shift that adds two flats to each measure, but any sense of modulation is counterbalanced by a thematic procedure first introduced by the flute, wherein a sequential melody adapts itself to each tonal shift with common tones, often subtly masked by appoggiaturas. The harmonic formula, or ground, is introduced in simple chords by the piano, then restated by the cello and piano under the main idea in the flute, a slow pastoral melody with an improvisatory character, beginning in C major and resolving to that key at the last moment from a suspended fourth, F-E. The cello then takes the lead with a new melody, restated by the flute and piano, on the third and fourth appearances of the ground. The opening material returns, modified by chromatic contrapuntal play from the piano and cello. The more agitated central section of the piece abandons literal use of the ground, instead developing motivic cells extracted from the previous material. A powerful climax is quickly reached, followed by a retransition to the first theme. This does not return intact, however, but is fragmented by flute and piano while the cello drags out the descending ground in a blend of pizzicato and arco down to its lowest C. In the higher registers flute and piano dissolve into a barely audible pianissimo, repeating the resolution F-E that has defined the tonal direction of the piece throughout. A final faint pluck on the cello’s low C leads to the vanishing point. — — George Kiorpes holds the BM degree, Artist Diploma, and MM from Peabody Conservatory, and the DMA from Boston University. His teachers have included Frederick Petrich, Austin Conradi, Julio Esteban, and Bela Nagy. He has also been awarded numerous awards and prizes, including Peabody’s May Garrettsom Evans and Bach-Horstmeier Scholarships and the coveted Paul Thomas Prize for Outstanding Pianistic Achievement. Kiorpes has participated in solo, ensemble, and concerto performances throughout the United States and in the Far East and has participated in convention programs at the state, regional and national level for numerous professional organizations. Concerto collaborations include conductors Reginald Stewart, Arthur Fiedler, David Moskowitz and Herbert Hazelman. In 2002, he was the recipient of the Outstanding Teacher Award in the UNCG School of Music. He has published articles in many national periodicals and for four years was editor of The North Carolina Music Teacher. His compositions for piano have been published by Ditson, Willis, and Kjos music publishers. Greg Carroll: Day Songs, Night Songs The first three songs of Day Songs, Night Songs were performed at UNCG in February 2002. The last song in the cycle was "in gestation" at a later time. Now that the family of songs is complete, I wish to present all four "children" to you this evening. Incidentally, this song cycle won the Honorable Mention Award in the NATS national art song composition contest this past spring. The poet is Klaus Luthardt, a native Austrian, who has lived the majority of his life in the state of Virginia. This is the second song cycle I have composed using his poems for texts. The beauty, imagery, and lyricism of the poetry demand the same kind of music. Night follows day in the arrangement of poems. In Sunday Morning, the poet relates the breath of air in human speech to the wind that sets Nature in motion. Just Before Night captures the essence of day turning into night, and the sparkling stars “that draw our attention skyward.” In Treasured Moment the poet recalls his focus upon a singular morning glory. One Last Word depicts the radiance of light that transforms the sky as the sun sets beneath the horizon and where the exquisite beauty reassures us that we need not fear the night. Sunday Morning The light green and yellow glows among the leaves, Dances with a silver sheen on blood red tufts of oak. Branches wave, leaves tremble, Hiss at hurried gusts of fitful air. A rush and rustle fills the brilliant spaces In the morning light, Instruments of wind. But we may draw a breath and speak in our own time, making seasons. Misty, man-made, mind-made images, Formed and clarified, are borne On a rush of air, emerge from a living reed, Words, yours and mine, notes in the song of Earth. Just Before Night Just before night the delicate blue at the edge of the sky And the outlines of the houses and pines before it Gathered into beauty Such as the masters of the Renaissance spoke of Where every line combined to point to the central theme. Into that momentary passage from day to night All that had shaped this day seemed drawn, distilled, Then given back with quiet eloquence Until the image deepened into indigo, And the light of the stars drew our attention skyward. Haines holds a BM in Jazz Performance from St. Francis Xavier University in Canada and a MM in Music (Jazz Studies) from the University of North Texas. While at the University of North Texas, Haines directed the Three O'clock Lab Band, and was a member of the One O'clock Lab Band, with whom he traveled internationally. Haines' music for large jazz ensembles is published at the University of Northern Colorado Press and has been broadcast on the Canadian Broadcasting Cooperation's national radio shows Jazz Beat and All the Best. Most recently, Steve orchestrated and arranged the musical Ella: The Life and Music of Ella Fitzgerald. He has served as a clinician and as an adjudicator for large and small jazz ensembles at numerous high schools, colleges, and universities. At UNCG, he is the Director of the Annual UNCG Honors High School Jazz Band, and the Jazz Director's Summit. Carla LeFevre holds the BMEd in voice and horn from Central Missouri State University and MA and DMA degrees in performance and pedagogy from the University of Iowa. She has performed extensively in oratorios and operas, including leading roles in The Magic Flute, La Bohème, The Turn of the Screw, and Handel's Agrippina, which she performed at the Festival di Musica Antica in Urbino, Italy, and the Classical Music Seminar in Eisenstadt, Austria. An active recitalist, LeFevre was selected as the 1991 National Winner of the Gertrude Fogelson Cultural and Creative Arts Vocal Competition and has also been a national finalist in both the National Federation of Music Clubs Young Artist Competition and the National Opera Association Vocal Competition. In addition to her teaching and performing experience, she has served as a consultant for the Peoria Ear, Nose, and Throat Clinic, assisting in the diagnosis and treatment of voice disorders. Michael Mathews is a native of Greensboro, where he began cello studies at the age of five. He graduated with a Bachelor's and Master's in Music from the University of Southern California, studying with renowned Gabor Rejto. Other teachers include Zara Nelsova and Janos Starker. Among his many awards and prizes are the Tchaikovsky International Competition (quarter finalist), Gaspar Cassado International Cello Competition (gold medal) and the Piatigorsky Seminar Prize. Mr. Mathews has been a member of both the Los Angeles Chamber Orchestra and the Los Angeles Philharmonic. As a chamber musician, he was invited twice to the prestigious Marlboro Music Festival. Prior to his return to North Carolina, he was active as a recording artist for motion pictures, television and records. John Salmon, on the UNCG piano faculty since 1989, has distinguished himself as both a classical and jazz artist. Critics have cited his “mastery and virtuosity” (La Suisse, Geneva, Switzerland), called him a “tremendous pianist” (El País, Madrid, Spain), and praised his ability to “set his audience on fire” (News & Courier, Charleston, South Carolina). He has appeared at the International Bartók Festival in Hungary, the Festival Internacional de Música del Mediterráneo in Spain, and at festivals across the U.S. His performances have been broadcast on the national radio stations of Australia, Canada, Finland, Germany, Hungary, Italy, Moldova, New Zealand, Norway, Spain, Switzerland, and the Ukraine; and on National Public Radio’s “Performance Today,” WFMT in Chicago, and WNYC in New York. Prizes include the Premio Jaén, as well as awards from the Busoni and Maryland competitions. He holds the Solistendiplom from the Freiburg (Germany) Hochschule für Musik, the Master of Music degree from The Juilliard School, and the Doctor of Musical Arts degree from The University of Texas. Salmon has championed piano pieces by many contemporary composers, especially Dave Brubeck who dedicated two pieces to Salmon. His two compact discs of Brubeck’s piano music (Phoenix PHCD 130; and Naxos 8.559212) have received widespread critical acclaim. Rob Smith is Assistant Professor of Jazz Studies at UNCG School of Music. He graduated from Central Michigan University in 1986 with a BAA in Trumpet Performance. He then attended The University of North Texas and earned the MM in Jazz Studies Performance in 1989. While studying at UNT, Smith performed in the world-renowned One O’clock Lab Band, and can be heard on recordings from 1987-1989. Upon graduating from UNT, he Burke has received several teaching awards, including UNCG's Alumni Teaching Excellence Award, the School of Music Outstanding Teacher Award, and has been named three times to Who's Who Among America's Teachers. She is the author of numerous pedagogical articles and the critically acclaimed book Clarinet Warm-Ups: Materials for the Contemporary Clarinetist. Nancy Davis received her BM and MM degrees from the University of North Carolina at Greensboro. Her teachers have included Marvin Blickenstaff and George Kiorpes. Offering a varied "pallette of colors" and flare, she performs an average of 50 concerts a year. She has participated in materclasses with Martin Katz, Jean Barr, Barbara Lister-Sink and Eugene Rousseau. She has recently presented the Trombone Sonata by Dr. Eddie Bass in a North Carolina Premiere performance with Daniel Rice. She has performed in New York with Phyllis Tektonidis, Dr. Edward Bach and locally with Dr. Randy Kohlenberg and other UNCG faculty, guest artists and students. She has served as Musical Director of the Young Artist Opera Theatre and on the faculties of Greensboro College and Elon University, as Guest Lecturer for Song Repertoire at UNCG, UNCG Community Music School, and is a regular faculty member of the UNCG Summer Music Camp. Deborah Egekvist earned the BM from Lawrence University, the MM at the Eastman School of Music, and the DM at Florida State University. She has taught at Marshall University in Huntington, West Virginia, and at the University of Oklahoma at Norman. Active as a soloist and chamber musician, Egekvist has performed throughout the United States, Germany, Canada, and the Asian South Pacific. She has appeared as soloist with the Minnesota Orchestra, the Green Bay Symphony, the West Virginia Symphonette, the Aurora Symphony, and the Huntington Chamber Orchestra. She has also performed as principal flute of the Huntington Chamber Orchestra, the Greensboro Symphony, and the EastWind Quintet at UNCG. In June 1989, Egekvist made her New York debut at Carnegie Recital Hall. Brian French, principal trombonist of the Winston-Salem Symphony Orchestra, made his Wachovia Masterworks Series solo debut in February 2002, joining the orchestra for three performances of George Walker’s Trombone Concerto. French has held principal positions in the Arkansas Symphony Orchestra and the Civic Orchestra of Chicago, and has performed with the North Carolina Symphony and the Chicago Symphony Orchestra. He is a native of Greensboro, and received both his BM and MM from Northwestern University, counting Frank Crisafulli, Jay Friedman, and Arthur Linsner among his primary teachers. While in Chicago, he became active as a recitalist and chamber musician, and made appearances with the Millar Brass Ensemble, London Brass, and the Storioni Ensemble. French has played both principal and bass trombone positions with orchestras of the Eastern Music Festival, and in 1995 gave a critically acclaimed performance of the Grøndahl Concerto with the academy orchestra. Additionally, he has performed as a member of the Encore Brass Quintet in residence at the Bravo! Vail Valley Music Festival, and in 1997 was a member of the Pacific Music Festival Orchestra in Japan. French is on the performance faculty at Davidson College and is Concert Manager for the School of Music at UNCG. Steve Haines is currently the Director of the Miles Davis Jazz Studies Program. He has performed was players such as Dick Oatts, Adam Nussbaum, Bob Berg, Joe Williams, Mark Levine, Richard Stolzman, Bruce Forman, Ellis Marsalis and Marcus Roberts; and has supported clinicians such as Tim Hagans, Fred Hersch, Mulgrew Miller, Lou Marini, Jim McNeely, Mike Stern, and Kenny Garrett. Performance venues include the Pori Jazz Festival in Finland, the Molde Jazz Festival in Norway, the Ethno Jazz Festival in Moldova, the Odessa International Jazz Carnival in Ukraine, and the Kennedy Center in Washington, D.C. With the UNCG Jazz Faculty Trio, Steve served as an ambassador to the state of North Carolina by performing for heads of state at the U.S. Embassy in Chisinau, Moldova. —continued Treasured Moment Morning glories in translucent purple cathedral colors fashioned from water and earth Poised on waves of air. A blossom sways and bows, Blushes like a dancer before her suitor’s gaze. Trembles on measures of light, Turns with ineffable promise To embrace The alchemy of longing. One Last Word The red round sun Has touched the mountain ridge, Edge of the Earth. Day’s death is near. The bright light breaks, and fades, A ruddy glow suffuses, Warm orange too. The sun, a semi-circle soon, Dips more swiftly downward, disappears. Though vanished, it yet reaches up with rays, Resplendent fingers. A mighty hand in space gives benediction. We who watch the temple of light Witness the language of the universe Where there is no fear of night. — — Gregory Carroll holds a BA in music from St. John's University (MN), and earned the MM and PhD in Composition/Theory from the University of Iowa, where he studied under Donald Jenni, William Hibbard and Richard Hervig. Carroll has also taught at Indiana State University, the College of St. Teresa, and the University of Iowa. His compositions have been performed in Canada, Europe, Australia and the United States. He has served as finalist judge for numerous state and national composition contests, and is frequently sought after nationally as a guest lecturer and clinician. He is on the Board of Advisors to the Monroe Institute, a professional organization that explores the effects of sound on the brain. Eddie Bass: Sonata for Clarinet and Piano The Sonata for Clarinet and Piano was written in 1990. It was premiered in Greensboro in October, 1990 by Kelly Burke, clarinet, and Arthur Tollefson, piano. The first movement is based on two themes. The clarinet introduces the first of these, unaccompanied until joined by some comments from the piano. The piano presents the second theme, which has a steadier pace and a slightly faster tempo. Thereafter the two themes alternate, combine, and spin off fragments. The second movement opens with a fanfare-like dissonance, which immediately sends the piano off on a sort of mad dash. The clarinet presents a more lyrical theme but soon joins the chase with the piano. This romp is twice interrupted by more meditative cadenzas, but near the end the pace quickens even more and both clarinet and piano drive the movement toward a conclusion that is, in the best tradition of such things, loud, fast, and frantic. — — Eddie Bass is Professor emeritus in the School of Music at UNCG. He earned the AB, MM, and PhD degrees from the University of North Carolina at Chapel Hill. Until 1992 he was chair of the Composition/History/Theory division of the School of Music at UNCG. From 1992 until his retirement in 2003 he served as coordinator of composition. He has composed for a variety of media, including orchestra, wind ensemble, chorus, vocal soloists, and chamber ensembles. His music has been performed throughout the U.S., in Canada, Britain, Russia, and the Far East. His Pas de Quatre for Trombone Quartet was awarded first prize in the 1989 composition contest of the International Trombone Association. His music is published by Seesaw (New York), BVD Press (Connecticut) and Warwick (England). From 1968 to 1985 he was principal trumpet of the Greensboro Symphony, and until 2000 a member of the Market Street Brass. He has published articles on the music of Debussy, Berlioz, and Mahler. Mark Engebretson: Two Versions Two Versions was written for Ensemble Reconsil of Vienna, Austria, and premiered by that ensemble in June, 2004. Many times when composing music, ideas present themselves that must be rejected, suppressed, or ignored in order to insure the integrity or artistic unity of the piece intact. Other times material is written and then expanded upon, re-written, manipulated or varied to the point that the original idea, which may have been already quite interesting, is completely lost. For this piece, I decided to take advantage of this situation by writing a piece in two versions. The first version is the first composition of the piece, true to certain originating ideas. The second version contains elaborations that suggested themselves while writing the first version, but rather than either rejecting them or allowing them to obscure the original piece, they have been integrated into an independent movement. Thus the piece is called Two Versions, with movements Version I and Version II. It could be said that, in some way, these are two versions of the same piece, although Version II is obviously much different than Version I. Either or both Versions may be performed, and if they are both performed, they may be performed in either order. Many thanks to Ensemble Reconsil and my dear friend, composer and flutist Alexander Wagendristel for commissioning this piece. — — Mark Engebretson, Assistant Professor of Composition and Electronic Music, has recently undertaken composing a series of high-powered solo works entitled “Energy Drink” and writing music for large ensembles. He was previously a freelance composer and performer in Stockholm and Vienna, earning numerous commissions from official funding organizations. His music has been presented at many festivals, such as Wien Modern (Vienna), Gaida Festival (Vilnius, Lithuania), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival and ISCM Festivals (Tirana, Albania and Baku, Azerbaijan). Recent performances include presentations by the Wroclaw Philharmonic Orchestra and the Jacksonville Symphony. His work “She Sings, She Screams” for saxophone and digital media has been performed countless times worldwide and has been released on three compact disc recordings. As a performer, he has appeared as a soloist and chamber musician worldwide, and he is a former member of the Vienna Saxophone Quartet. Dr. Engebretson has taught at the Eastman School of Music, the University of Florida and at the State University of New York, College at Fredonia. He holds the DMA degree from Northwestern University, and also studied at the University of Minnesota and the Conservatoire de Bordeaux. His teachers include Michel Fuste-Lambezat, Ruben Haugen, Frederick L. Hemke, Jean-Marie Londeix, M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim. Steve Haines: Messages Messages was written with assistance from the 2004 UNCG Summer Excellence Grant. It's a composition that is meant to fall over itself like a Slinky, constantly pushing itself forward with momentum, like a freight train out of control. This explains frequent changes in feel from Afro-Cuban to swing. This also explains the chord structure, which seems to forge ahead- while in fact circling back to the top of the form. Rob Smith: Eager Zealots Written for those whose blind faith and misguided determination have led them to become eager zealots. This piece is a lament for their lost and eternally tortured souls. Steve Haines: Tune for Jesse Tune for Jesse was completed this past January 17, when the music building was quiet during the Martin Luther King Jr. holiday. This tune is fairly simple- it visits F# minor, F minor, E minor, and A minor with plenty of chromatics to keep things interesting during the solos. It is through composed, which is becoming more and more common in within the jazz idiom. John Salmon: No Botox! While Dylan Thomas challenged us to `rage against the dying of the light,’ I don’t want any needles near my face. — — Kelly Burke holds the BM and MM degrees from the Eastman School of Music and the DMA from the University of Michigan. An active performer, Burke is the principal clarinetist of the Greensboro Symphony Orchestra and has appeared in recitals and as a soloist with symphony orchestras throughout the United States, Canada, Germany, New Zealand, Australia, and Russia. As a member of the Mallarmé Chamber Players, the EastWind Trio d'Anches, and the Cascade Wind Quintet, Burke is frequently heard in chamber music settings. She has recorded for Centaur, Telarc, and Arabesque labels. —continued School of Music U N C G an evening of works by Faculty Recital Tuesday, January 25, 2004 7:30 pm Recital Hall, School of Music Program An Idyll for Nancy George Kiorpes Debbie Egekvist, flute Michael Mathews, violoncello Nancy Davis, piano Day Songs, Night Songs Greg Carroll Sunday Morning Just Before Night Treasured Moment One Last Word Carla LeFevre, soprano Andrew Willis, piano Two Versions Mark Engebretson Version I Version II Kelly Burke, bass clarinet Brian French, trombone Brooks Whitehouse, violoncello Sonata for Clarinet and Piano Eddie Bass Lento Allegro Kelly Burke, clarinet Andrew Willis, piano Intermission Messages Steve Haines Eager Zealots Rob Smith Tune for Jesse Steve Haines No Botox! John Salmon UNCG Faculty Jazz Quartet Rob Smith, trumpet and saxophone John Salmon, piano Steve Haines, bass Thomas Taylor, drums _____ The hall is equipped with a listening assistance system. Patrons needing such assistance should contact an usher in the lobby. Patrons are encouraged to take note of the exits located on all levels of the auditorium. In an emergency, please use the nearest exit, which may be behind you or different from the one through which you entered. Faculty Composers |
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