Edwin Riley
Clarinet
Ināra Zandmane, piano
assisted by:
Marcia Riley, violoncello
John Fadial, violin
Faculty Recital
Wednesday, October 5, 2005
7:30 pm
Organ Hall, School of Music
Program
Eight Pieces, Op 83 for Clarinet, Cello, and Piano Max Bruch
II Allegro con moto (1838-1920)
V Rumanishe Melodie—Allegro
VII Allegro vivace, ma non troppo
Sonatina Bohuslav Martinu
Moderato (1890-1959)
Andante
Poco Allegro
Intermission
Liquid Ebony Dana Wilson
I. Call (1946- )
II. Prayer
III. Dance of not pretending
Serenade for Three for Clarinet, Violin, and Piano Peter Schickele
I. Dances—Joyful, boisterous (1935- )
II. Songs—Slow, serene
III. Variations—Fast, rowdy
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Max Bruch: Eight Pieces, Op. 83.
Although these pieces were brought together in 1810 by the publisher Simrock as a single
opus, they were not conceived as an integrated work. They are eight independent short pieces
which are frequently played in various combinations. These pieces along with the Double
Concerto for Clarinet and Viola with Orchestra were written with Bruch’s son Max Felix in mind.
Pieces no. 2 and 5 are in a three part form featuring a dialogue between the cello and the
clarinet. Piece no. 7 is structured more like a sonata with development in the middle section.
Bohuslav Martinu: Sonatina
Martinu’s Sonatine for Clarinet was written in 1956 during the composer’s final stay in
America. He had recently taken up a teaching post at the Curtis Institute in Philadelphia.
The Sonatina is constructed in three short movements with the second movement acting as
a brief calm interlude between the outer movements. The first movement is the most structured,
being in a simplified rondo form. The last movement is dance like in character and has an almost
frenetic energy.
Dana Wilson: Liquid Ebony
“Liquid Ebony” explores Eastern European folk traditions, including well known Klezmer
music: it implores, not to forget about or deny life’s difficulty, but to sing and dance joyously and
defiantly in its midst.
On the surface, each movement is rather different in nature, but the tenacious
reinterpretation of the same material in each is intended to reinforce the overlaying of contrasting
emotions. The first is exuberant yet uncertain, the second introspective yet purposeful, the third a
Bulgarian romp amidst an ominous reality.
Liquid Ebony was commissioned by Larry Combs and premiered at the 2003 Clarinet Fest
in Salt Lake City, Utah.
Peter Schickele: Serenade for Three
The Serenade for Three was written for and commissioned by the Verdehr Trio.
The first movement is a headlong series of dances set off by robust refrain. The
four sections (and three keys) of the lyrical second movement are tied together
by the note Eb, which repeats in raindrop fashion throughout. The finale is more
ranging in style ranging from country fiddling to boogie-woogie piano and a
rabble-rousing finish.
Dr. Edwin Riley is a nationally known recitalist, soloist, and clinician. He
received his B.M. and M.S. degrees from The Juilliard School and his D.M.A.
degree from the University of Iowa. His teachers include Bernard Portnoy,
Joseph Allard, George Silfies, and Himie Voxman.
Formerly, Dr. Riley played in the American
Symphony under Leopold Stokowski, and was
principal clarinet in the Cedar Rapids Symphony
(Iowa). He also played clarinet in the Atlanta Opera
Orchestra.
Dr. Riley currently teaches clarinet at UNC
Greensboro. Dr. Riley plays assistant principal/2nd
clarinet in the Greensboro Symphony and plays
regularly as a substitute for the North Carolina
Symphony. Most recently he plays principal clarinet
in the Carolina Ballet.
Dr. Riley plays Selmer (Paris) clarinets and has been a national clinician with the Conn-Selmer
Company since 1979. He has performed clinics at Midwest in Chicago, MENC, Texas
Bandmasters, and over 30 state and regional MENC conventions. Recently, he has given clinics,
recitals and master classes at over 100 universities, colleges, and conservatories throughout the
US as a part of a major educational project by the Conn-Selmer Co.
Ināra Zandmane, born in the capital of Latvia, Rīga, started to play the piano at the age of six.
Zandmane holds a BM and MM from Latvian Academy of Music, MM in piano performance from
Southern Illinois University at Carbondale, and DMA in piano performance from the University of
Missouri at Kansas City. She has been the staff accompanist at the UNCG since 2003. She also
served as the official accompanist for the MTNA Southern Division competition and the North
American Saxophone Alliance conference in 2004. Zandmane has performed in recitals in St.
Paul, Kansas City, Cleveland, St. Louis, and New York, as well as in many Republics of the
former Soviet Union. In April 2000, she was invited to perform at the Glenn Gould Studio in
Toronto. Ināra Zandmane has appeared as a soloist with the Latvian National Orchestra, Liepāja
Symphony, Latvian Academy of Music Student Orchestra, SIU Symphony, and UMKC
Conservatory Symphony and Chamber orchestras. She has performed with various chamber
ensembles at the International Chamber Music Festivals in Rīga, Vilnius, Tallinn, Helsinki
(Finland), and Norrtelje (Sweden). For a few last years, Zandmane has worked together with the
Latvian composer Pēteris Vasks. She has given Latvian premieres of his two latest piano pieces,
Landscapes of the Burnt-out Earth and The Spring Music, and recorded the first of them on the
Conifer Classics label.
Marcia Riley, cellist, received her Bachelor of Music and Master of
Science degrees from the Juilliard School where she was a scholarship
student of Leonard Rose. Prior to moving to Columbus, Georgia in 1971,
she performed in numerous chamber and solo concerts in the New York City
area. She also played cello in the American Symphony under Leopold
Stokowski and assistant principal cello in the Bridgeport Symphony under
Jose Iturbi. More recently, she performed with the Atlanta Virtuosi,
and the Atlanta Contemporary Chamber Ensemble. She taught cello
at Columbus College for 15 years, and she was a member of the Columbus
College Piano Trio, which performed extensively throughout the Southeast
and gave a Kennedy Center performance in Washington, D.C.
Ms. Riley currently plays cello in the Greensboro Symphony and regularly plays as substitute for
the North Carolina Symphony.
“Wow!” The Washington Post, “sparkling technique” L’Est Republicain, Nancy, France. Associate
Professor of Violin John Fadial has garnered critical acclaim for performances around the globe.
Though he is familiar to Greensboro audiences through his regular appearances on the UNCG
School of Music stages and as concertmaster of the Greensboro Symphony Orchestra, he also
maintains a vigorous schedule as soloist, chamber music performer and recording artist and
teacher throughout the year.
He has performed on four continents as a United States Information Service Artistic Ambassador
and has appeared at such notable venues as the Smithsonian Museum, the Philips Collection,
and the Terrace Theater of the Kennedy Center,
John Fadial also has established a national reputation as teacher. His students have been
winners of the Pittsburgh Symphony Young Artist Solo Competition and the Eastern Music
Festival Concerto Competition, and include collegiate finalists and junior prizewinners in the
Music Teachers National Association National Competitions. Dr. Fadial holds degrees from the
North Carolina School of the Arts (BM), the Eastman School of Music (MM) and the University of
Maryland (DMA) and maintains a large class of very talented students ranging from
undergraduate through the graduate level.
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/
