2004-01-25 Faculty Composers [recital program]

              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