Contemporary Chamber Players
Robert Gutter, conductor
Richard Earl Cook, guest conductor
A Retrospective on the Works
of
Stacy Garrop and William Davis
Wednesday, April 3, 2002
7:30 pm
Recital Hall, School of Music
upcoming performances
Katie Verinder, flute
Thursday, April 4 · 5:30 pm
Recital Hall
Ross Lafleur, guitar
Miles Davis Jazz Studies Program
Thursday, April 4 · 7:30 pm
Recital Hall
Eric Mandat, clarinet
Guest Masterclass/Recital
Friday, April 5 · 2:00 pm
Organ Recital Hall
Catherine Butler, piano
Sunday, April 7 · 3:30 pm
Organ Recital Hall
Damien Grosser, saxophone
Sunday, April 7 · 5:30 pm
Organ Recital Hall
Nathan Daughtrey, marimba
Sunday, April 7 · 7:30 pm
Organ Recital Hall
Ginny Keast, trumpet
Monday, April 8 · 5:30 pm
Recital Hall
David Menestres, bass
Miles Davis Jazz Studies Program
Monday, April 8 · 7:30 pm
Recital Hall
Caitlin Teter, bassoon
Monday, April 8 · 7:30 pm
Organ Recital Hall
Tuba/Euphonium Studio
Recital
Tuesday, April 9 · 5:30 pm
Recital Hall
John Cristiano, horn
Wedensday, April 10 · 5:30 pm
Organ Recital Hall
TubaBand
Wednesday, April 10 · 7:30 pm
Recital Hall
UNCG Jazz Ensemble
Tuesday, April 16, 2002
7:30 pm · Recital Hall, School of Music
*Fee charged. Please call the University Box
Office at (336) 334.4849 Monday-Friday from
Noon-5:00 pm to inquire about pricing.
Program
Seven Stacy Garrop
(b. 1969)
John Fadial, violin
Christopher Hutton, violoncello
Andrew Willis, piano
Tantrum ~world premiére Stacy Garrop
I. Rough, explosive
II. Shimmering: innocent; moody
III. Hurried, impatient
Steven Stusek, alto saxophone
Elizabeth Loparits, piano
Remnants of Nine (1999) Stacy Garrop
Katie Costello, violin
Jennifer Self, violoncello
Bethany Snyder, flute
Leslie Miller, clarinet
Jeff Calissi, percussion
Richard Earl Cook, conductor
intermission
Escapades (1997) William Davis
(b. 1949)
Jolene Davis, organ
Fantasy and Presto for Two Bassoons (1986) William Davis
Michael Burns, bassoon
William Davis, bassoon
professional conferences and on guest artist recitals at universities around the
USA. She has been particularly active in performances of twentieth century
music and has premiered several compositions. Her service as an officer in
professional organizations includes the presidency of the Georgia Association of
Music Theorists from 1990 to 1992.
Escapades (1997) for organ was composed for Jolene Davis, who premiered the
work in April, 1997 in Radford, Virginia. The composer's intention is that the
work encompass the lyrical as well as the technical capabilities of the organ, and
that various coloristic effects and contrasts will be demonstrated. Although
Stravinsky once remarked that the organ is "the monster that never breathes," the
composer hopes that the phrasing of the music will leave the audience with a
feeling of satisfaction rather than breathlessness.
Fantasy and Presto (1986) is a virtuoso showpiece for two bassoons. The
Fantasy takes advantage of special effects, including muffled timbres, quarter
tones, and multiphonics. It consist of an Andante opening which cadences with
both bassoons in their highest range, a faster middle section which eventually
takes them down to their lowest range, a section containing multiphonics, and a
coda in which the bassoons play simple dotted rhythms together. The Presto is a
technical tour de force, exploiting fast tonguing effects and scalar passages. It is
in arch form (ABCBA), followed by a brief return of material from the Fantasy,
including multiphonics, and finally a spirited coda.
Of the Georgia Night Wind's Telling (1999) for woodwind quartet and strings
consists of two movements, both of which are inspired by scenes related to The
University of Georgia. The first movement, "On North Campus," paints a
musical picture of the beautiful site of the University's original campus on a hill
above the Oconee River, and the history represented there by buildings dating
from the early 1800's. One will understand the second movement, "The Iron
Horse," better if one knows the story on which it is based. The Iron Horse is an
extraordinary two-ton iron sculpture which stands proudly on a hill fifteen miles
south of Athens, Georgia overlooking the Oconee River. It was created in 1954
by Abbott Pattison, a Chicago sculptor who at the time was serving as a visiting
professor at The University of Georgia. The Iron Horse created quite a
sensation, to say the least. Immediately upon its initial placement on campus,
indignant students-turned-art-critics proceeded to exercise their own creative
ideas on the piece. They painted it green. They wrote obscenities on it. They put
hay in its mouth. They spread manure on the ground behind it. They set it on
fire. The horse caused so much commotion that it had to be taken into hiding,
never to return to campus. In 1959 it was taken on a flatbed truck during the wee
hours to its current location beside a state highway, its tail pointing towards
Athens. The musical setting of this movement portrays the tumult (as well as the
fanciful "ride" of the Iron Horse) through continuous, unrelenting sixteenth
notes in the strings along with technical work in the woodwind solo parts.
Of the Georgia Night Wind's Telling (1999) William Davis
for Woodwind Quartet and Strings
On North Campus
The Iron Horse
Bethany Snyder, flute
Melanie Hoffner, oboe
Lauren Denney, clarinet
Tom Dempster, bassoon
Shanna Swaringen, violin 1
Katie Costello, violin 1
Kwanghee Park, violin 1
Will Freeman, violin 1
Wayne Reich, violin 2
Rachel Holmes, violin 2
Kimberly Farlow, violin 2
Rebecca Averill, violin 2
Sally Burton, viola
Maria Kindt, viola
Erin Klimstra, violoncello
Megan Miller, violoncello
Andy Hawks, double bass
Jonathan Gunter, double bass
Robert Gutter, conductor
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Stacy Garrop (D.M., Indiana University, 2000) has a dramatic writing style that
is gaining attention in the United States. She has won several orchestra
competitions resulting in performances by the Civic Orchestra of Chicago,
Omaha Symphony, New England Philharmonic, and the Women’s
Philharmonic, and two readings by the Minnesota Orchestra (and another
reading by the American Composers Orchestra to be on April 15, 2002). Recent
performances were given by EARPLAY, the Santa Cruz County Symphony, and
by the Roosevelt University Chamber Orchestra on their January 2002 tour to
Japan. She was a finalist for the 2001 Rome Prize and received a 2001 Barlow
Endowment commission. In 1999-2001, she attended residences at the Banff
Centre for the Arts, MacDowell Colony, Millay Colony, Yaddo, Wellesley
Composers Conference, and the Atlantic Center for the Arts. Theodore Presser
Company publishes several of her works; Hildegard Publishing Company
publishes her piano trio SEVEN. She is an Assistant Professor in Composition
at Roosevelt University in Chicago.
The genesis of SEVEN emerged from two separate sources. The first is Anne
Sexton’s evocative poem Seven Times, in which the speaker of the poem longs
for release from life. Upon dying, she is surprised to find a quiet, peaceful place
(this poem can be found in the book Anne Sexton: The Complete Poems). The
second source was the TV show Star Trek Voyager. One of humanity’s worst
enemies are the Borg, which are a half-machine, half-organic species who
assimilate all species they encounter and add them to their collective conscious.
The crew of Voyager managed to sever one Borg’s connection with the
collective consciousness, thus leaving the Borg isolated and human for the first
time since she had been abducted as a young girl. This Borg, named Seven of
Nine, found the isolation of being an individual almost unbearable for numerous
episodes before she began realizing her full potential in her new human life. As
I began writing the trio, I saw a connection between Sexton’s poem and Seven
of Nine. Both represent change. Anne Sexton’s speaker craves death. Seven of
Nine fought her forced change from collective consciousness to isolated
individualism. In both cases, neither character expected what waited for them
on the other side. This change is represented musically near the end of the
piece. You might imagine the change to be Sexton’s moment of death, or of
Seven’s switch from being a Borg drone to a human.
William Davis has been a faculty member in the University of Georgia School
of Music since 1981. He earned Bachelor of Music and Master of Music degrees
at the University of Kansas, and the Doctor of Musical Arts degree at the
Eastman School of Music. His main bassoon teachers have been David Van
Hoesen and Austin Ledwith, and he has studied composition with John Pozdro,
Samuel Adler, and Warren Benson. His published compositions include works
for soloists,chamber ensembles, chorus, and symphonic band. As a bassoonist,
he has performed solos and chamber music in the United States, Europe, and
South America, and he is featured on five commercial compact discs. Prior to
taking his current position at the University of Georgia, he was an Army Band
Officer (1972-74), a bassoonist in the San Antonio Symphony Orchestra (1974-
1975), and a faculty member at West Texas State University (1975-81). He has
served in officer positions in the International Double Reed Society, and as
President of the Southeastern Composers League and the National Association
of College Wind and Percussion Instructors.
Jolene Davis has been a faculty member at the University of Georgia since
1982, teaching organ, harpsichord, music theory, and church music. She has
also served as Coordinator of Graduate Studies in Music. She earned the
Bachelor of Music degree at Southwestern College in Winfield, Kansas and the
Master of Music and Doctor of Musical Arts degrees (in organ performance) at
the University of Kansas. She studied organ with James Moeser and James
Strand, and piano with Larry Solomon. In addition to regular performances in
Georgia, she has performed extensively at international, national, and regional
Of the Georgia Night Wind's Telling (1999) William Davis
for Woodwind Quartet and Strings
On North Campus
The Iron Horse
Bethany Snyder, flute
Melanie Hoffner, oboe
Lauren Denney, clarinet
Tom Dempster, bassoon
Shanna Swaringen, violin 1
Katie Costello, violin 1
Kwanghee Park, violin 1
Will Freeman, violin 1
Wayne Reich, violin 2
Rachel Holmes, violin 2
Kimberly Farlow, violin 2
Rebecca Averill, violin 2
Sally Burton, viola
Maria Kindt, viola
Erin Klimstra, violoncello
Megan Miller, violoncello
Andy Hawks, double bass
Jonathan Gunter, double bass
Robert Gutter, conductor
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Stacy Garrop (D.M., Indiana University, 2000) has a dramatic writing style that
is gaining attention in the United States. She has won several orchestra
competitions resulting in performances by the Civic Orchestra of Chicago,
Omaha Symphony, New England Philharmonic, and the Women’s
Philharmonic, and two readings by the Minnesota Orchestra (and another
reading by the American Composers Orchestra to be on April 15, 2002). Recent
performances were given by EARPLAY, the Santa Cruz County Symphony, and
by the Roosevelt University Chamber Orchestra on their January 2002 tour to
Japan. She was a finalist for the 2001 Rome Prize and received a 2001 Barlow
Endowment commission. In 1999-2001, she attended residences at the Banff
Centre for the Arts, MacDowell Colony, Millay Colony, Yaddo, Wellesley
Composers Conference, and the Atlantic Center for the Arts. Theodore Presser
Company publishes several of her works; Hildegard Publishing Company
publishes her piano trio SEVEN. She is an Assistant Professor in Composition
at Roosevelt University in Chicago.
The genesis of SEVEN emerged from two separate sources. The first is Anne
Sexton’s evocative poem Seven Times, in which the speaker of the poem longs
for release from life. Upon dying, she is surprised to find a quiet, peaceful place
(this poem can be found in the book Anne Sexton: The Complete Poems). The
second source was the TV show Star Trek Voyager. One of humanity’s worst
enemies are the Borg, which are a half-machine, half-organic species who
assimilate all species they encounter and add them to their collective conscious.
The crew of Voyager managed to sever one Borg’s connection with the
collective consciousness, thus leaving the Borg isolated and human for the first
time since she had been abducted as a young girl. This Borg, named Seven of
Nine, found the isolation of being an individual almost unbearable for numerous
episodes before she began realizing her full potential in her new human life. As
I began writing the trio, I saw a connection between Sexton’s poem and Seven
of Nine. Both represent change. Anne Sexton’s speaker craves death. Seven of
Nine fought her forced change from collective consciousness to isolated
individualism. In both cases, neither character expected what waited for them
on the other side. This change is represented musically near the end of the
piece. You might imagine the change to be Sexton’s moment of death, or of
Seven’s switch from being a Borg drone to a human.
William Davis has been a faculty member in the University of Georgia School
of Music since 1981. He earned Bachelor of Music and Master of Music degrees
at the University of Kansas, and the Doctor of Musical Arts degree at the
Eastman School of Music. His main bassoon teachers have been David Van
Hoesen and Austin Ledwith, and he has studied composition with John Pozdro,
Samuel Adler, and Warren Benson. His published compositions include works
for soloists,chamber ensembles, chorus, and symphonic band. As a bassoonist,
he has performed solos and chamber music in the United States, Europe, and
South America, and he is featured on five commercial compact discs. Prior to
taking his current position at the University of Georgia, he was an Army Band
Officer (1972-74), a bassoonist in the San Antonio Symphony Orchestra (1974-
1975), and a faculty member at West Texas State University (1975-81). He has
served in officer positions in the International Double Reed Society, and as
President of the Southeastern Composers League and the National Association
of College Wind and Percussion Instructors.
Jolene Davis has been a faculty member at the University of Georgia since
1982, teaching organ, harpsichord, music theory, and church music. She has
also served as Coordinator of Graduate Studies in Music. She earned the
Bachelor of Music degree at Southwestern College in Winfield, Kansas and the
Master of Music and Doctor of Musical Arts degrees (in organ performance) at
the University of Kansas. She studied organ with James Moeser and James
Strand, and piano with Larry Solomon. In addition to regular performances in
Georgia, she has performed extensively at international, national, and regional
Contemporary Chamber Players
Robert Gutter, conductor
Richard Earl Cook, guest conductor
A Retrospective on the Works
of
Stacy Garrop and William Davis
Wednesday, April 3, 2002
7:30 pm
Recital Hall, School of Music
Program
Seven Stacy Garrop
(b. 1969)
John Fadial, violin
Christopher Hutton, violoncello
Andrew Willis, piano
Tantrum ~world premiére Stacy Garrop
I. Rough, explosive
II. Shimmering: innocent; moody
III. Hurried, impatient
Steven Stusek, alto saxophone
Elizabeth Loparits, piano
Remnants of Nine (1999) Stacy Garrop
Katie Costello, violin
Jennifer Self, violoncello
Bethany Snyder, flute
Leslie Miller, clarinet
Jeff Calissi, percussion
Richard Earl Cook, conductor
intermission
Escapades (1997) William Davis
(b. 1949)
Jolene Davis, organ
Fantasy and Presto for Two Bassoons (1986) William Davis
Michael Burns, bassoon
William Davis, bassoon
Of the Georgia Night Wind's Telling (1999) William Davis
for Woodwind Quartet and Strings
On North Campus
The Iron Horse
Bethany Snyder, flute
Melanie Hoffner, oboe
Lauren Denney, clarinet
Tom Dempster, bassoon
Shanna Swaringen, violin 1
Katie Costello, violin 1
Kwanghee Park, violin 1
Will Freeman, violin 1
Wayne Reich, violin 2
Rachel Holmes, violin 2
Kimberly Farlow, violin 2
Rebecca Averill, violin 2
Sally Burton, viola
Maria Kindt, viola
Erin Klimstra, violoncello
Megan Miller, violoncello
Andy Hawks, double bass
Jonathan Gunter, double bass
Robert Gutter, conductor
