The
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 12,700 university students, the UNCG School of
Music serves over 575 music majors with a full-time faculty and staff of 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 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 psycho-acoustics lab,
electronic music labs, and recording studio space are additional features of the
new facility. In addition, an enclosed multi-level parking deck adjoins 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 further 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/
McIverEnsemble
John Fadial, violin
Scott Wyatt Rawls, viola
Christopher Hutton, violoncello
with special guest
Jacqui Carrasco, violin
Faculty Recital
Monday, March 4, 2002
7:30 pm
Recital Hall, School of Music
Program
String Quartet in F Major Maurice Ravel
dedicated to Gabriel Fauré (1875-1937)
Allegro modertato. Très doux
Assez vif – Très rhythmé
Très lent
Vif et agité
Ouvertüre zum Fliegenden Holländer, wie sie Paul Hindemith
eine schlechte Kurkapelle morgens um 7 am Brunnen (1895-1963)
vom Blatt spielt
The “Flying Dutchman” Overture, as sight-read by a bad
pick-up orchestra at 7 in the morning by the village well.
Intermission
String Quartet in A major, Op. 43 No. 3 Robert Schumann
dedicated to Felix Mendelssohn (1810-1856)
Andante espressivo. Allegro molto moderato
[Scherzo] Assai agitato
Adagio molto
Finale: Allegro molto vivace. Quasi Trio
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
John Fadial holds degrees from the North Carolina School of the Arts, the Eastman
School of Music, and the University of Maryland. As a United States Information
Service Artistic Ambassador, he has toured extensively on four continents. Recent
recital appearances have included performances at the Phillips Collection; the
Kennedy Center; the Sale Poirel, Nancy, France; and the American University in
Blagoevgrad, Bulgaria. A highly successful teacher, his students has been accepted
by such prestigious institutions as Oberlin Conservatory, Peabody Conservatory, the
Eastman School, The Cleveland Institute, and the National Repertory Orchestra.
They also have included winners of the Pittsburgh Symphony Young Artist Solo
Competition; and winners and finalists in the MTNA National Competitions. John
Fadial currently serves as concertmaster of the Greensboro Symphony Orchestra, as
well as violinist of the Chesapeake Trio and the McIver Ensemble. His mentors
include Elaine Richey, Charles Castleman, and Arnold Steinhardt.
Scott Rawls holds the B.M. degree from Indiana University and the M.M. and
D.M.A. from The State University of New York at Stony Brook. His major teachers
have included Abraham Skernick, Gorges Janzer, and John Graham, to whom he
was assistant at SUNY-Stony Brook. A champion of new music, Rawls has toured
extensively as a member of Steve Reich and Musicians with recent performances in
San Francisco, Milan, and New York. He is a founding member of the Locrian
Chamber Players, a New York City based group dedicated to performing new music.
Rawls is invited frequently as guest artist with chamber ensembles across the
country. He has recorded for CRI, Elektra, Nonesuch, Capstone, and Philips labels.
In addition to serving as viola professor and coordinator of the string area at the
University of North Carolina at Greensboro, Rawls is very active as guest clinician,
adjudicator, and master class teacher at universities and festivals in America and
Europe.
Christopher Hutton is Lecturer of Cello at the University of North Carolina -
Greensboro. He studied at Boston University with Leslie Parnas, and earned his
Masters and Doctorate with Paul Katz and Steven Doane at the Eastman School of
Music. While at Eastman he was teaching assistant to Steven Doane and taught
cello for the University of Rochester and the Eastman School's Community
Education Division. He also has had a broad range of experiences as a performer,
including duo recital tours in his home country of New Zealand (most recently with
pianists Paul Wyse, Sergey Schepkin, and Thomas Lausmann) and chamber
performances at the Schlossfestspiele in Heidelberg, Germany. He has played in the
New Zealand Symphony Orchestra and was rotating principal cellist in the New
World Symphony Orchestra under music director Michael Tilson Thomas. He has
recorded for New Zealand's Concert FM, Germany's SWF Radio, and for a disc of
contemporary music on Albany Classics. In the summer of 2001 he taught on the
faculty of the Eastern Music Festival, and has been invited to return for a second
season in 2002.
Madeleine Dring H
The UNCG Artist Faculty chamber Series
presents:
Festival of Women
Composers
Thursday, March 27, 2002 · 7:30 pm
Recital Hall, School of Music
Please call the
University Box Office
at (336) 334.4849
Monday-Friday from
Noon-5:00 pm to
inquire about pricing!
ector Berlioz, Ambroise Thomas, Charles Gounod, Charles Bizet, Marc-Antoine
Charpentier, Claude-Achilles Debussy, and Henri Duttileux – an impressive list of
composers to be sure, but also all winners of the coveted Prix de Rome, a prize in
composition awarded most years between 1803-1968. Notably absent: Maurice
Ravel, though not for lack of trying. Ravel entered five times between 1900 and
1905 until he reached the age limit, never placing higher than third. The final failure
ignited a controversy known as “L’affaire Ravel”, resulting in the resignation of the
director of the conservatoire to be replaced by Ravel’s teacher Gabriel Fauré.
The reason for the controversy was that Ravel had already established himself as a
composer of some repute, not the least for his string quartet. The quartet had been
performed at the Société Nationale de Musique – an institution created following the
Franco-Prussian wars as a forum for music by young French composers – on March
5, 1904. Right from the beginning critics observed the similarities between the new
work and the quartet of Debussy, previously heard at the Society in 1893. Both
works include a second movement Scherzo featuring pizzicato articulations, sonata
forms based on thematic elements rather than on the polarity of traditional tonic-dominant
harmonies, modal and pentatonic sonorities, floating parallel harmonies,
and ever more imaginative instrumental textures and colors. A consumate
craftsman, Ravel unifies the work by weaving thematic material from the first
movement into the slow movement. The scherzo movement presents interesting
cross-rhythms due to the outer instruments playing in 3/4 at the same time as the
inner instruments play in 6/8. The finale, in vigorous 5/8 and 5/4 (sometimes
simultaneously!) recalls sections of previous movements in 3/4 and rushes to a
brilliant conclusion.
Paul Hindemith actually began his career as a performer, playing second violin in
the Adolf Rebner Quartet, later switching to viola. He continued performing
chamber music in various capacities until he came to the United States in 1940
where he taught at Yale University. As might be expected, as a composer he wrote a
large amount of chamber music including six string quartets, two string trios, four
violin-piano sonatas, four viola-piano sonatas, and three cello-piano sonatas.
Often thought of as something of an academic – writing music that is logical,
organized, and somewhat restrained – there exists another entirely different side to
Hindemith. Many of his works include a degree of parody (popular dance tunes,
military marches) alongside the neo-Baroque elements of the “New Objectivity”.
Throughout his career he turned out a number of pieces where satire (both social and
musical) becomes the main focus. These pieces include such titles as “Bobby’s
Wahn-Step, two-step”, the dramatic piece “Melodrama (instructions for US tax form
1040)”, “The Expiring Frog”, and “Music for the union festival import trade show
in Timbuktu.” Obviously “The Flying Dutchman Overture as sight-read by a bad
pick-up orchestra at 7 in the morning by the village well” (1925) can be included in
this category as a humorous send up of both amateur orchestras and the obsession
with the great Richard Wagner.
After Beethoven’s monumental late quartets, Robert Schumann, like so many other
composers, was forced to build a new conception of the genre. To Schumann the
string quartet became a piece in which “everyone has something to say”, which
avoids “symphonic furor”, and is “by turns [a] beautiful and even abstrusely woven
conversation among four people.” Schumann believed that a composer must relate
to the tradition of quartets including those of Haydn, Mozart, Beethoven, and
Mendelssohn, but while avoiding slavish imitation. With these precepts in mind it is
not surprising that we find in the A major quartet a blending of elements from many
composers: Beethoven (motivic fragmentation and development), Mendelssohn
(lyrical lines), and the more “classical” proportions of the late Haydn and Mozart
quartets, all combined in a way which is uniquely Schumann.
The opening movement begins with a short slow introduction, which is transformed
into the theme of the Allegro. After a quick modulation, the second theme is spun
out over an off-beat accompaniment. The spirit of the introduction returns before the
recapitulation, this time with the order of the themes reversed. The scherzo is
unusual in its theme-and-variations form, beginning in a syncopated 3/8 meter, later
leading to a duple-meter fugato section. The latter appears in the middle of the
movement, and hence fulfills the role of a traditional trio section. The slow
movement shows Schumann at his most romantic. A contrasting section is
accompanied by an ostinato dotted rhythm, which perhaps foreshadows the driving
theme of the finale. When the opening material returns it has been transformed, with
the cello outlining the bass in pizzicato triplets. The rondo finale alternates between
a refrain, which obsessively treats the rhythmical figure set out in the opening
measures (7 times at each appearance!), and a series of episodes. If the slow
movement represents the emotionally affected of Eusebius, the finale is a full-blooded
rendition of Florestan.
Program Notes by Christopher Hutton
Jacqui Carrasco has performed as a soloist and chamber musician throughout the
United States, Canada, Europe, Japan, Mexico and Russia, including solo
appearances at Lincoln Center's Alice Tully Hall and at the Library of Congress.
Currently the violinist of the Cygnus Ensemble, the ensemble-in-residence for the
CUNY Graduate Center, she has also appeared regularly with New York-based new
music groups such as the S.E.M. Ensemble, Anthony Braxton's Tri-Centric
Ensemble, Newband and Musicians Accord. Ms. Carrasco has toured extensively
with the Mark Morris Dance Group, with whom she performed as a soloist for the
2000 Kennedy Center Awards Gala Concert and CBS broadcast, and has been a
frequent guest at the June in Buffalo Festival and the Foothills Music Festival in
North Carolina. She has recorded contemporary chamber music for the Nonesuch,
Koch, Mode, CRI and Braxton House record labels. Also a noted performer of
Argentine tango music, she has joined cellist Yo-Yo Ma for Astor Piazzolla tribute
concerts and a PBS broadcast, and internationally renowned tango musicians to
make her Philadelphia Orchestra solo debut. Ms. Carrasco received her B.A., magna
cum laude, from UCLA, and her M.M. and D.M.A. from SUNY at Stony Brook,
where she studied with Joyce Robbins. After previously teaching at Princeton
University, she joined the faculty at Wake Forest University in 1999.
ector Berlioz, Ambroise Thomas, Charles Gounod, Charles Bizet, Marc-
Antoine Charpentier, Claude-Achilles Debussy, and Henri Duttileux – an
impressive list of composers to be sure, but also all winners of the coveted
Prix de Rome, a prize in composition awarded most years between 1803-1968.
Notably absent: Maurice Ravel, though not for lack of trying. Ravel entered five
times between 1900 and 1905 until he reached the age limit, never placing higher
than third. The final failure ignited a controversy known as “L’affaire Ravel”,
resulting in the resignation of the director of the conservatoire to be replaced by
Ravel’s teacher Gabriel Fauré.
The reason for the controversy was that Ravel had already established himself as a
composer of some repute, not the least for his string quartet. The quartet had been
performed at the Société Nationale de Musique – an institution created following the
Franco-Prussian wars as a forum for music by young French composers – on March
5, 1904. Right from the beginning critics observed the similarities between the new
work and the quartet of Debussy, previously heard at the Society in 1893. Both
works include a second movement Scherzo featuring pizzicato articulations, sonata
forms based on thematic elements rather than on the polarity of traditional tonic-dominant
harmonies, modal and pentatonic sonorities, floating parallel harmonies,
and ever more imaginative instrumental textures and colors. A consumate
craftsman, Ravel unifies the work by weaving thematic material from the first
movement into the slow movement. The scherzo movement presents interesting
cross-rhythms due to the outer instruments playing in 3/4 at the same time as the
inner instruments play in 6/8. The finale, in vigorous 5/8 and 5/4 (sometimes
simultaneously!) recalls sections of previous movements in 3/4 and rushes to a
brilliant conclusion.
Paul Hindemith actually began his career as a performer, playing second violin in
the Adolf Rebner Quartet, later switching to viola. He continued performing
chamber music in various capacities until he came to the United States in 1940
where he taught at Yale University. As might be expected, as a composer he wrote a
large amount of chamber music including six string quartets, two string trios, four
violin-piano sonatas, four viola-piano sonatas, and three cello-piano sonatas.
Often thought of as something of an academic – writing music that is logical,
organized, and somewhat restrained – there exists another entirely different side to
Hindemith. Many of his works include a degree of parody (popular dance tunes,
military marches) alongside the neo-Baroque elements of the “New Objectivity”.
Throughout his career he turned out a number of pieces where satire (both social and
musical) becomes the main focus. These pieces include such titles as “Bobby’s
Wahn-Step, two-step”, the dramatic piece “Melodrama (instructions for US tax form
1040)”, “The Expiring Frog”, and “Music for the union festival import trade show
in Timbuktu.” Obviously “The Flying Dutchman Overture as sight-read by a bad
pick-up orchestra at 7 in the morning by the village well” (1925) can be included in
this category as a humorous send up of both amateur orchestras and the obsession
with the great Richard Wagner.
After Beethoven’s monumental late quartets, Robert Schumann, like so many other
composers, was forced to build a new conception of the genre. To Schumann the
quartet became a piece in which “everyone has something to say”, which avoids
“symphonic furor”, and is “by turns [a] beautiful and even abstrusely woven
conversation among four people.” Schumann believed that a composer must relate
to the tradition of quartets including those of Haydn, Mozart, Beethoven, and
Mendelssohn, but while avoiding slavish imitation. With these precepts in mind it is
not surprising that we find in the A major quartet a blending of elements from many
composers: Beethoven (motivic fragmentation and development), Mendelssohn
(lyrical lines), and the more “classical” proportions of the late Haydn and Mozart
quartets, all combined in a way which is uniquely Schumann.
The opening movement begins with a short slow introduction, which is transformed
into the theme of the Allegro. After a quick modulation, the second theme is spun
out over an off-beat accompaniment. The spirit of the introduction returns before the
recapitulation, this time with the order of the themes reversed. The scherzo is
unusual in its theme-and-variations form, beginning in a syncopated 3/8 meter, later
leading to a duple-meter fugato section. The latter appears in the middle of the
movement, and hence fulfills the role of a traditional trio section. The slow
movement shows Schumann at his most romantic. A contrasting section is
accompanied by an ostinato dotted rhythm, which perhaps foreshadows the driving
theme of the finale. When the opening material returns it has been transformed, with
the cello outlining the bass in pizzicato triplets. The rondo finale alternates between
a refrain, which obsessively treats the rhythmical figure set out in the opening
measures (7 times at each appearance!), and a series of episodes. If the slow
movement represents the emotionally affected of Eusebius, the finale is a full-blooded
rendition of Florestan.
Program Notes by Christopher Hutton
Jacqui Carrasco has performed as a soloist and chamber musician throughout the
United States, Canada, Europe, Japan, Mexico and Russia, including solo
appearances at Lincoln Center's Alice Tully Hall and at the Library of Congress.
Currently the violinist of the Cygnus Ensemble, the ensemble-in-residence for the
CUNY Graduate Center, she has also appeared regularly with New York-based new
music groups such as the S.E.M. Ensemble, Anthony Braxton's Tri-Centric
Ensemble, Newband and Musicians Accord. Ms. Carrasco has toured extensively
with the Mark Morris Dance Group, with whom she performed as a soloist for the
2000 Kennedy Center Awards Gala Concert and CBS broadcast, and has been a
frequent guest at the June in Buffalo Festival and the Foothills Music Festival in
North Carolina. She has recorded contemporary chamber music for the Nonesuch,
Koch, Mode, CRI and Braxton House record labels. Also a noted performer of
Argentine tango music, she has joined cellist Yo-Yo Ma for Astor Piazzolla tribute
concerts and a PBS broadcast, and internationally renowned tango musicians to
make her Philadelphia Orchestra solo debut. Ms. Carrasco received her B.A., magna
cum laude, from UCLA, and her M.M. and D.M.A. from SUNY at Stony Brook,
where she studied with Joyce Robbins. After previously teaching at Princeton
University, she joined the faculty at Wake Forest University in 1999.
H
The
McIverEnsemble
John Fadial, violin
Scott Wyatt Rawls, viola
Christopher Hutton, violoncello
with special guest
Jacqui Carrasco, violin
Faculty Recital
Monday, March 4, 2002
7:30 pm
Recital Hall, School of Music
Program
String Quartet in F Major Maurice Ravel
dedicated to Gabriel Fauré (1875-1937)
Allegro modertato. Très doux
Assez vif – Très rhythmé
Très lent
Vif et agité
Ouvertüre zum Fliegenden Holländer, wie sie Paul Hindemith
eine schlechte Kurkapelle morgens um 7 am Brunnen (1895-1963)
vom Blatt spielt
The “Flying Dutchman” Overture, as sight-read by a bad
pick-up orchestra at 7 in the morning by the village well.
Intermission
String Quartet in A major, Op. 43 No. 3 Robert Schumann
dedicated to Felix Mendelssohn (1810-1856)
Andante espressivo. Allegro molto moderato
[Scherzo] Assai agitato
Adagio molto
Finale: Allegro molto vivace. Quasi Trio
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
