Contemporary Chamber
Players
Robert Gutter,
Mark Engebretson and
Alejandro Rutty, Co-Directors
Tuesday, April 26, 2011
3:30 pm
Recital Hall, Music Building
Program
Piano Concerto No. 1 Trevor Bumgarner
Mvt. 1- Allegro (b. 1991)
Sally Todd, piano
KLTPZYXM; Concerto for Clarinet Eric Lacy
Leslie Simmons, clarinet (b. 1969)
Concert Piece for Bass Keith Miller
Keith Miller, double bass (b. 1983)
Psalm 23 Elizabeth Kowalski
Elizabeth Kowalski, voice and electronics (b. 1986)
UNCG Contemporary Chamber Players
Elizabeth Kowalski, flute
Emily Oʼshields, oboe
Leslie Simmons, clarinet
Eric Bridges, clarinet
Trevor Bumgarner, bassoon
Ned Emerson Jr. alto saxophone
Mark Engebretson, baritone saxophone
Daniel Taber, French horn
Amber Kocher, trombone
Brandon Richardson, trombone
Andrew Weathers, percussion
James Lego, percussion
Carlos Fuentes, piano
Nicholas Rich, guitar
Travis Railsback, guitar
Sarah Baugher, viola
Jonathan Stuart-Moore, cello
Maelyn Cable, cello
Keith Miller, bass
Robert Gutter, conductor
Program Notes
Trevor Bumgarner, Piano Concerto no.1 - Mvt. 1- Allegro
The piano throughout this concerto strives to be like its grand romantic concerto
predecessors. The orchestra just wonʼt let it, too much music has happened since then.
The struggle continues throughout and at the end, they finally reach an agreement. Special
thanks to soloist Sally Todd.
Eric Lacy, KLTPZYXM; Concerto for Clarinet
KLTPZYXM is the first clarinet concerto composed by Eric Lacy. The idea for this title
came from the third movement of Michael Daughertyʼs Metropolis Symphony.
KLTPZYXM starts with a whirlwind of excitement in the winds and brass and ends with a
soft whisper by the solo clarinet. A few noteworthy aspects of KLTPZYXM are the metric
diversity in the first section, the thematic variations in the middle section, and the chaotic
nature of the final section.
Keith Miller, Concert Piece for Bass
Concert Piece for bass is written around “groove” oriented ideas. There are many repeated
ostinatos; many of which do not correlate with each other. The first groove is introduced in
a small cadenza directly after the intro. The majority of the time the bass uses small
cadenzas or perpetual motion to bridge the gap between different grooves.
I wanted to use CCP as a way to find out what works and does not work in terms of “feel”
with a larger, and primarily classically trained ensemble. Does there need to be an
understanding of “microtiming” in order to know how to fit into a groove?
Elizabeth Kowalski, Psalm 23
The twenty third psalm is an ancient psalm taken from the Old Testament by the King
David during the time around 1000 B.C. The piece by Elizabeth Kowalski is a combination
of what might sound like a mix of traditional and contemporary electronics (via live digital
processing of the voice). "Psalm 23" is a programmatic song narrating Psalm 23 from
different English translations of the Bible.
