when he was twenty-four, and achieved his first national success a year later when his
Clarinet Concerto was given its first performance at the Cheltenham Festival by Gervase de
Peyer and the Hallé Orchestra, under Sir John Barbirolli. In 1951 he was appointed lecturer
in music at the Welsh College of Music and Drama; he later became lecturer at University
College, Cardiff and was made Professor and Head of Department there in 1967.
Hoddinott has achieved a mastery of composition which embraces almost every musical
medium. As Professor of Music at University College, Cardiff, and Artistic Director of the
Cardiff Festival, he has had considerable influence in awakening interest in contemporary
music in South Wales. He has also formed close and regular contacts in both the USA and
Germany.
Divertimenti for Eight Instruments was commissioned by the Cheltenham Festival
Committee and first performed by the Virtuoso Ensemble at Cheltenham on February 11,
1968. The movements, of which the markings are more or less self-explanatory, are typical
of Hoddinott's individual musical thinking — taut, concise, subtly related internally, with a
very personal lyricism in the slow ones — and carried out with great technical expertise,
though with a light touch suitable to 'divertimenti'. The eye detects at once many of the
composer's 'fingerprints', melodic, harmonic, rhythmic — the toccata-like march of scherzo
2, for example, with its potent dotted rhythm coda; sudden rhythmic 'clusters', tonal
juxtapositions; the prestissimo second part of Scherzo 3 in rapid quavers, woodwind
staccato, strings tremolo, and the horn with a chorale-like sustained theme.
Michael Daugherty:
Dead Elvis
No rock and roll personality seems to have inspired as much speculation, adulation, and
impersonation as Elvis Presley (1935-77). In Dead Elvis (1993), the bassoon soloist is an
Elvis impersonator accompanied by a chamber ensemble. It is more than a coincidence
that Dead Elvis is scored for the same instrumentation as Stravinsky's Histoire du Soldat
(1918), in which a soldier sells his violin, and his soul, to the devil for a magic book.
Daugherty offers a new spin on this Faustian scenario: a rock star sells out to Hollywood,
Colonel Parker, and Las Vegas for wealth and fame. Daugherty uses the Dies irae — a
medieval Latin chant for the Day of Judgement — as the principal musical theme in the
composition to pose the question, is Elvis dead or alive beyond the grave of Graceland? In
Dead Elvis we hear fast and slow fifties rock-and-roll ostinati in the double bass, violin, and
bongos, while the bassoonist gyrates, double-tongues, and croons his [or her] way through
variations of the Dies irae.
Contemporary
Chamber Players
Robert Gutter, director
Friday, November 14, 2003
7:30 pm
Recital Hall, School of Music
Program
A One Act in Two Parts (2003) Adam Murphy
(b. 1983)
Emily Orr, flute
Nathan Olawsky,clarinet
Noah Hock, viola
Deborah Shields, violoncello
Say a Prayer, But the Sea Wind Blows Them Out (1996) Mark Engebretson
(b. 1969)
Lorena Guillén, voice
Frédéric St-Pierre, violin
Chris Jusell, violin
Noah Hock, viola
Gina Pezzoli, violoncello
Mark Engebretson, conductor
Intermission
Divertimento for Eight Instruments Alun Hoddinott
Scherzo 1 (b. 1929)
Canzonetta
Scherzo 2
Barcaruola
Scherzo 3
Laura Meyers, flute
Sean Copeland, clarinet
Heather Kelly, bassoon
Mary Pritchett, horn
Frederic St.-Pierre, violin
Noah Hock, viola
Joel Wenger, violoncello
Andy Hawks, double bass
Robert Gutter, conductor
Dead Elvis (1993) Michael Daugherty
(b. 1954)
Elaine Peterson, bassoon
Chris Jusell, violin
Nathan Olawsky, clarinet
Luke Boudreault, trumpet
Robert Rocha, percussion
Chris Cline, trombone
Rebecca Marland, double bass
Jaemi B. Loeb, conductor
___________
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers 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.
Buenos Aires-born soprano Lorena Guillén’s performance experience ranges from the
madrigal operas of Banchieri to the avant-garde musical theater of Berio and Stockhausen
or the traditional American-Broadway of Yeston. As an active performer of contemporary
repertoire, she has been a guest artist in: “New Music New Haven” of Yale University,
Chautauqua Institution, College Music Society Convention 1999, Music Gallery at Toronto
(Canada), June in Buffalo Festival, Boston Conservatory, Buffalo’s Symphony Circle. One
of Guillén’s highlights in her career as a contemporary music performer has been her
participation and performance at Karlheinz Stockhausen Curses 1999 and 2000 in Kuerten
(Germany) where she performed “Indianerlieder: In the Sky I Am Walking” under the
direction, lighting and sound design of Stockhausenr himself. This event was followed by
the Argentine tour of Indianerlieder at Fernández Blanco Museum (Buenos Aires) and
University of San Juan (concert-lecture), concerts at different venues in Buffalo (US) and
Toronto (Canada). She has received various scholarships and awards: Britten-Pears
School of Advanced Studies (England, 1999), Teaching Assistantship (SUNY at Buffalo,
1997-2000), Clyde Scholarship (University of New Mexico, 1996-97), Parker Martin & Alta
Ryther Fields Award (University of New Mexico, 1996-97), New Mexico National
Association of Teachers in Singing - First Place Category IV and "Most Promising Singer
Award" (1995), Bienal de Arte Joven de la Municipalidad de la Ciudad de Buenos Aires:
First Place in Chamber Music with Ensamble Uqbar (Argentina, 1993). Guillén has sung
as leading singer and guest soloist with Orpheus Music Theater Company (NY, US), the
Chamber Opera of Morón (Arg.), Chamber Vocal Group of Quilmes (Arg.), La Zarzuela de
Albuquerque (NM, US), Catskill Choral Society (NY, US) and Santa Fe Opera Educational
Concerts Touring Quartet (NM, US).
Mark Engebretson, Assistant Professor of Composition and Electronic Music at UNCG, has
recently undertaken composing a series of high-powered solo works entitled “Energy Drink”
and writing music for large ensembles. He lived for five years as 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), Hörgänge Festival (Vienna), Ny Musikk
(Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the
Florida Electroacoustic Music Festival, ISCM Festivals (Tirana, Albania and Baku,
Azerbaijan) and World Saxophone Congresses (Pesaro, Italy, Montreal, Canada and
Minneapolis, Minnesota). Recent performances include premieres by the Wroclaw
(Poland) Philharmonic Orchestra and the State University of New York at Fredonia Wind
Ensemble and a presentation by the Jacksonville Symphony. His work “She Sings, She
Screams” for alto saxophone and digital media has been performed countless times
worldwide, and has been released on three commercial compact disc recordings, two of
which are on the innova label. 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 previously taught composition at the University of Florida, music theory at the
SUNY Fredonia and 20th-century music history at the Eastman School of Music. He studied
at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de
Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the
Doctor of Music degree. At Northwestern he studied composition with M. William Karlins,
Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim
and saxophone with Frederick Hemke. His teachers in France were Michel Fuste-Lambezat
and Jean-Marie Londeix.
Alun Hoddinott:
Divertimento for Eight Instruments
Alun Hoddinott was born in Bargoed, Glamorganshire, in 1929. His compositional talents
developed early, and he won a university scholarship at the age of sixteen. After graduating
from University College, Cardiff, he studied for some years with the Australian composer
and pianist, Arthur Benjamin. He was awarded the Walford Davies prize for composition
The UNCG Contemporary Chamber Players is an instrumental-vocal ensemble devoted
to the performance of 20th and 21st century chamber music. The ensemble is composed
of faculty, graduate, and undergraduate students from the School of Music of the University
of North Carolina at Greensboro. The ensemble is committed to the performance of both
traditional and experimental music of our century. Each program that it performs strives to
present various instrumental and vocal genres that reflect both the traditional and changing
nature of contemporary chamber music. During its 14 year existance, programs have
included the music of Stravinsky, Copland,Webern, Varese, Persichetti, and Ward,
representing the traditional side of the century. The more experimental side has been
represented by such composers as Alfred Schnittke, Barbara Kolb, Michael Torke, Ellen
Taaffe Zwillich, Betsy Schramm, Joanne Kuchera Morin, and Oliver Knussen. In the last
several years the ensemble has invited George Rochberg, Michael Colgrass, Emma Lou
Diemer, Libby Larsen, Bernard Rands and others to the UNCG campus for residencies,
workshops and performances of their music.The UNCG Contemporary Chamber Players
was the only collegiate "serious music" ensemble to be invited to perform at the 1994 World
Conference of the International Society for Music Education in Tampa, Florida.
Adam Murphy:
A One Act in Two Parts
A One Act in Two Parts is an exploration of dramatic relationships among four
instrumentalists. The players convey strong emotions in several abstract scenarios.
However, the players do not narrate a definite program. Rather, they are encouraged to
dramatize all dynamic and rhythmic contrasts so that the listener can experience a musical
continuum of personal emotions and reactions. A listener can choose to either listen
leisurely allowing the music to unconsciously play with your emotions or to hang on tightly
as the motives of this quick paced piece of about five minutes fly by! Recently, the UC
Davis Summer Arts Program has awarded A One Act in Two Parts First Prize in their
Young Composers Competition.
A native of southern New Jersey, Adam Murphy recently completed his second year of
studies at the University of North Carolina at Greensboro, where he is pursuing a Bachelor
degree in Music Composition and Music Education. Mr. Murphy began his own music
education with the fine arts curricula of South Jersey public schools supplemented by
private clarinet instruction from Mr. Bill Garton. His pre-collegiate achievements include
numerous performances with district, regional, and state level honors bands, and the
Semper Fidelis award for musical dedication and leadership. Currently Mr. Murphy
performs with the UNCG Wind Ensemble, continuing his clarinet studies under the tutelage
of Dr. Kelly Burke. As a composition student, Mr. Murphy recently completed two years of
study with Dr. Eddie Bass, and is continuing his studies with Dr. Engerbretson. His work
has been recognized twice by the South Eastern Composers' League, and recently by the
UC Davis Summer Arts Program. Mr. Murphy is a member of Phi Mu Alpha Sinfonia and a
recipient of UNCG merit and music scholarships.
Mark Engebretson:
Say a Prayer, But the Sea Wind Blows Them Out
Say a Prayer, But the Sea Wind Blows Them Out was composed in 1996, and premiered
that year in the Wien Modern Festival in Vienna, Austria. The piece is dedicated to soprano
Katharina Rössner and cellist Ingrid Wagner-Kraft, friends of the composer who
participated in the premiere. The text, by Chicago poet Dina Elenbogen, details the demise
of a complicated relationship under difficult circumstances in Israel. Scored for soprano
voice, string quartet and digital media, the pre-recorded portion of the composition features
samples of both Dina Elenbogen and Katharina Roessner reading the poem. Other sounds
that one may hear include sampled violin and saxophone and in the live strings such as
quartertones (those “in-between-the-pitches” sounds), scratch tone (sounds like you might
imagine), snap pizzicato and numerous other sound manipulations. The 21-minute
composition has a four-part structure following the format of the poem.
Say a Prayer, But the Sea Wind Blows Them Out Poem by Dina Elenbogen
You say it's easier to embrace the dead,
easier to stand next to your grandmother's grave,
easier to light her a candle, toss a flower
across her eyes, easier to tell her why you must leave,
easier than your mother crying over dinner,
your mother with black wicked hair, your mother without
teeth. It is easier to turn your back on
your grandmother's silence than your mother standing
at the doorway, watching her oldest mistake walk away.
She throws stones at the moon which will not shatter.
You leave me with the heaviness of your grandmother
sunk in the earth of Tarshiha, where sheep pass
and the sun sets slowly behind white roofs.
You leave me with the spaces in your mother's mouth,
the darkness behind her eyes, the strap of her black
brassiere. You leave me with your father who has not spoken
since you threw him against the wall for hitting
your mother. His eyes are lost, his jaws clench
with each movement of your arm. You leave me with your father
selling na'nna on the street, the insufferable sun.
You leave me, my sun, alone on this bed we pressed
into, this thin space you once shared with three
brothers and a sister. Then, there was only darkness,
reading books over candle. There are still things
I can't imagine. You leave me with the breasts
of Ma’a lot, the sun setting an orange ball sinking past
the windmill, beyond the Arab villages, sinking
into the sea on one side of the sky, the moon up
on the other. You leave me with these heavy roads
that once were gravel. You leave me with your childhood
steps, your madness.
You leave me, walking alone past the shul
where you went as a boy with your skull covered friends
and all of the other men pulled out of bed late night to pray.
It was the fruit you wanted, the cake you devoured,
this month before the Day of Atonement. I walk, still,
the staircase to your room. There is no light just
a few slats of open space to let the moon in.
You said once, the world is mostly darkness, that is why
we need these things, candles, menorahs and bulbs;
that is why you tell me just before the first three stars
appear to light the candles for Shabbat.
I press them in the sand,
say a prayer, but the sea wind blows them out.
Tarshiha is an Arab village in the Western Galil.
Na’nna is mint leaves.
Ma’a lot is a Jewish development town in the Western Galil.
The UNCG Contemporary Chamber Players is an instrumental-vocal ensemble devoted
to the performance of 20th and 21st century chamber music. The ensemble is composed
of faculty, graduate, and undergraduate students from the School of Music of the University
of North Carolina at Greensboro. The ensemble is committed to the performance of both
traditional and experimental music of our century. Each program that it performs strives to
present various instrumental and vocal genres that reflect both the traditional and changing
nature of contemporary chamber music. During its 14 year existance, programs have
included the music of Stravinsky, Copland,Webern, Varese, Persichetti, and Ward,
representing the traditional side of the century. The more experimental side has been
represented by such composers as Alfred Schnittke, Barbara Kolb, Michael Torke, Ellen
Taaffe Zwillich, Betsy Schramm, Joanne Kuchera Morin, and Oliver Knussen. In the last
several years the ensemble has invited George Rochberg, Michael Colgrass, Emma Lou
Diemer, Libby Larsen, Bernard Rands and others to the UNCG campus for residencies,
workshops and performances of their music.The UNCG Contemporary Chamber Players
was the only collegiate "serious music" ensemble to be invited to perform at the 1994 World
Conference of the International Society for Music Education in Tampa, Florida.
Adam Murphy:
A One Act in Two Parts
A One Act in Two Parts is an exploration of dramatic relationships among four
instrumentalists. The players convey strong emotions in several abstract scenarios.
However, the players do not narrate a definite program. Rather, they are encouraged to
dramatize all dynamic and rhythmic contrasts so that the listener can experience a musical
continuum of personal emotions and reactions. A listener can choose to either listen
leisurely allowing the music to unconsciously play with your emotions or to hang on tightly
as the motives of this quick paced piece of about five minutes fly by! Recently, the UC
Davis Summer Arts Program has awarded A One Act in Two Parts First Prize in their
Young Composers Competition.
A native of southern New Jersey, Adam Murphy recently completed his second year of
studies at the University of North Carolina at Greensboro, where he is pursuing a Bachelor
degree in Music Composition and Music Education. Mr. Murphy began his own music
education with the fine arts curricula of South Jersey public schools supplemented by
private clarinet instruction from Mr. Bill Garton. His pre-collegiate achievements include
numerous performances with district, regional, and state level honors bands, and the
Semper Fidelis award for musical dedication and leadership. Currently Mr. Murphy
performs with the UNCG Wind Ensemble, continuing his clarinet studies under the tutelage
of Dr. Kelly Burke. As a composition student, Mr. Murphy recently completed two years of
study with Dr. Eddie Bass, and is continuing his studies with Dr. Engerbretson. His work
has been recognized twice by the South Eastern Composers' League, and recently by the
UC Davis Summer Arts Program. Mr. Murphy is a member of Phi Mu Alpha Sinfonia and a
recipient of UNCG merit and music scholarships.
Mark Engebretson:
Say a Prayer, But the Sea Wind Blows Them Out
Say a Prayer, But the Sea Wind Blows Them Out was composed in 1996, and premiered
that year in the Wien Modern Festival in Vienna, Austria. The piece is dedicated to soprano
Katharina Rössner and cellist Ingrid Wagner-Kraft, friends of the composer who
participated in the premiere. The text, by Chicago poet Dina Elenbogen, details the demise
of a complicated relationship under difficult circumstances in Israel. Scored for soprano
voice, string quartet and digital media, the pre-recorded portion of the composition features
samples of both Dina Elenbogen and Katharina Roessner reading the poem. Other sounds
that one may hear include sampled violin and saxophone and in the live strings such as
quartertones (those “in-between-the-pitches” sounds), scratch tone (sounds like you might
imagine), snap pizzicato and numerous other sound manipulations. The 21-minute
composition has a four-part structure following the format of the poem.
Say a Prayer, But the Sea Wind Blows Them Out Poem by Dina Elenbogen
You say it's easier to embrace the dead,
easier to stand next to your grandmother's grave,
easier to light her a candle, toss a flower
across her eyes, easier to tell her why you must leave,
easier than your mother crying over dinner,
your mother with black wicked hair, your mother without
teeth. It is easier to turn your back on
your grandmother's silence than your mother standing
at the doorway, watching her oldest mistake walk away.
She throws stones at the moon which will not shatter.
You leave me with the heaviness of your grandmother
sunk in the earth of Tarshiha, where sheep pass
and the sun sets slowly behind white roofs.
You leave me with the spaces in your mother's mouth,
the darkness behind her eyes, the strap of her black
brassiere. You leave me with your father who has not spoken
since you threw him against the wall for hitting
your mother. His eyes are lost, his jaws clench
with each movement of your arm. You leave me with your father
selling na'nna on the street, the insufferable sun.
You leave me, my sun, alone on this bed we pressed
into, this thin space you once shared with three
brothers and a sister. Then, there was only darkness,
reading books over candle. There are still things
I can't imagine. You leave me with the breasts
of Ma’a lot, the sun setting an orange ball sinking past
the windmill, beyond the Arab villages, sinking
into the sea on one side of the sky, the moon up
on the other. You leave me with these heavy roads
that once were gravel. You leave me with your childhood
steps, your madness.
You leave me, walking alone past the shul
where you went as a boy with your skull covered friends
and all of the other men pulled out of bed late night to pray.
It was the fruit you wanted, the cake you devoured,
this month before the Day of Atonement. I walk, still,
the staircase to your room. There is no light just
a few slats of open space to let the moon in.
You said once, the world is mostly darkness, that is why
we need these things, candles, menorahs and bulbs;
that is why you tell me just before the first three stars
appear to light the candles for Shabbat.
I press them in the sand,
say a prayer, but the sea wind blows them out.
Tarshiha is an Arab village in the Western Galil.
Na’nna is mint leaves.
Ma’a lot is a Jewish development town in the Western Galil.
Contemporary
Chamber Players
Robert Gutter, director
Friday, November 14, 2003
7:30 pm
Recital Hall, School of Music
Program
A One Act in Two Parts (2003) Adam Murphy
(b. 1983)
Emily Orr, flute
Nathan Olawsky,clarinet
Noah Hock, viola
Deborah Shields, violoncello
Say a Prayer, But the Sea Wind Blows Them Out (1996) Mark Engebretson
(b. 1969)
Lorena Guillén, voice
Frédéric St-Pierre, violin
Chris Jusell, violin
Noah Hock, viola
Gina Pezzoli, violoncello
Mark Engebretson, conductor
Intermission
Divertimento for Eight Instruments Alun Hoddinott
Scherzo 1 (b. 1929)
Canzonetta
Scherzo 2
Barcaruola
Scherzo 3
Laura Meyers, flute
Sean Copeland, clarinet
Heather Kelly, bassoon
Mary Pritchett, horn
Frederic St.-Pierre, violin
Noah Hock, viola
Joel Wenger, violoncello
Andy Hawks, double bass
Robert Gutter, conductor
Dead Elvis (1993) Michael Daugherty
(b. 1954)
Elaine Peterson, bassoon
Chris Jusell, violin
Nathan Olawsky, clarinet
Luke Boudreault, trumpet
Robert Rocha, percussion
Chris Cline, trombone
Rebecca Marland, double bass
Jaemi B. Loeb, conductor
___________
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers 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.
