Artists to Create Doctorate from the University of Michigan
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Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 9-28-2012 Faculty Recital Nick Terry Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Terry, Nick, "Faculty Recital" (2012). Printed Performance Programs (PDF Format). Paper 747. http://digitalcommons.chapman.edu/music_programs/747 This Faculty Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Faculty Recital: Nick Terry, percussion September 28, 2012 •mCHAPMAN -UNIVERSITY COLLEGE OF PERFORMING ARTS CHAPMAN UNIVERSITY FALL 2012 calendar highlights september Conservatory of Music September 27-29, October 4-6 Company, Book by George Furth, Music and Lyrics by Stephen Sondheim presents a Directed by Todd Nielsen, Music Direction by Bill Brown october October 19-21 Opera Chapman presents "2012: An Opera Odyssey - The Journey Continues" Peter Atherton, Artistic Director, Carol Neblett, Associate Director October 26 Chapman University Choir and Women's Choir in Concert Stephen Coker and Angel Vazquez-Ramos, Conductors november November 12 Faculty Recital November 2-3 University Singers in Concert American Celebration Stephen Coker, Conductor Dale A. Merrill, Artistic Director and Producer William Hall, Music Director and Conductor November 16 Nick Terry, percussion November 7-11 Chapman Chamber Orchestra Daniel Alfred Wachs, Music Director and Conductor If All the Sky Were Paper By Andrew Carroll, Directed by John Benitz November 28-December 1 November 10 Fall Dance Concert Directed by Jennifer Backhaus Chapman University Wind Symphony Paul Sherman, Music Director and Conductor december December 7-8 49th Annual Holiday Wassail - Banquet and Concert Pres~nted by the University Choir and University Singers, Stephen Coker, Conductor, Urnvers1ty Women's Choir, Angel Vazquez-Ramos, Conductor, and the Chapman University Chamber Orchestra, Daniel Alfred Wachs, Conductor September 28, 2012 • 8:00 P.M. CHAPMAN For more information about our events, please visit our website at UNIVERSITY http://www.chapman.edu/copa or call 714-997-6519 Salmon Recital Hall COLLEGE OF PERFORMING ARTS or email [email protected] Program Program Notes Moi .. .Jeu (1999) Bruno Mantovani (B. 1974) Loops II: In this Loops, I have added an extra level to the principle of looping. The piece is so Loops II (2002) Philippe Hurel constructed that the process of cell transformation always brings you back to the motif (b. 1955) announced at the outset. Although the music may seem to be undergoing perpetual transformation because of the morphing process, the listener will nevertheless feel it is going round in circles, since each long procedure brings you back to the starting point, like E tude in e Minor (2006) Pius Cheung the little local loops that you can hear throughout the piece. (b.1982) As the work was intended to be used for an advanced-level vibraphone competition, I thought about introducing more difficult playing techniques than in Loops I for flute. Two Mexican Dances (197 4) Gordon Stout Although I had no desire to use the instrument in ways not intended for it, I did want the (b. 1952) performer to get to grips with a variety of techniques in a virtuoso context. For example, the piece ends with a long section in chords, which cannot be justified only on a compositional level. This section - like other, very different sections in the work - acts as ~Intermission~ a "study" and involves the performer in specific technical study. Despite this, Loops II remains a very playful piece full of rhythmic energy, and I wrote it in a spirit of great pleasure and jubilation. It constitutes another stage of my work on percussion, and on the vibraphone in particular, which was begun in 1996 with ... a IJ \ mesure, where the vibraphone plays a dominant role, and continued in 1999 and 2000 with v the Tombeau in memoriam Gerard Grisey and the Four variations for percussion and Am I a Particle or a Wave? (2011) Ben Hackbarth ensemble, in which the vibraphone takes on the role of a concerto soloist. (Philippe Burel) for two percussionists and imaginary pianist (b. 1982) Justin DeHart, percussion Two Mexican Dances: 1974. The first Mexican Dance was originally the ninth etude from Etudes for Marimba, night-breath (2010) Sean Heim Book 2. Warren Benson thought that the character of the music of the first dance was very 0 (b. 1967) different from the rest of the etudes of Book 2. He suggested that I remove it from that collection, write a second piece in a similar style, and call them Two Mexican Dances. Stacey Fraser, soprano Thus the dedication of the two pieces to Warren Benson. So I didn't think of the first dance as being Mexican. I had never been to Mexico at that point in my life. Warren Ben- On Clear Mind (2012) Chih-Chen Wei son however, heard something that made him think that. The first dance was composed in (b. 1975) one day, with no revisions or changes. The second dance was begun on vibes, and took Andrew Crane, tenor much longer to compose. (Gordon Stout) Stacey Fraser, soprano Jocelyn Chang, piano Program Notes Program Notes night-breath: night-breath, for soprano and metal percussion, uses as its primary text a late 16th century Self grasping another meditation by the enigmatic Taoist figure Huanchu Daoren. In keeping with the Is like mud entering water. contemplative and atmospheric nature of the meditation's poetry, the work seeks to not Self moved by another only reveal this text in a linear sense, but to also generate fertile sound environments in Is like throwing fat on the fire. which this evocative, serene, and often potent verse may contentedly reside. (Sean Heim While the outer realm is chaos, self is true. Lying in the snow, sleeping in the clouds, When chaos is taken to be real, self is born. under a reed-flower quilt, If self is not born I keep a room of night-breath whole. Vexations, burning for eons, turn to ice. In a cup of wine I sing with the breeze, Thus perfected ones enjoying the moon, First empty the defilement of self. having sidestepped tidal waves of red dust. When the defilement of self is emptied How can the outer realm be an obstruction? Resilience is the function Of the self forgotten. On Clear Mind: As soon as idiosyncrasies appear On Clear Mind describes the method of Chan (Zen) practice from the state of self to the You recognize them immediately. state of no-self. The poem was written by Chan Master Han Shan (1546-1623) for begin- ning students' guidance, and was translated by Chan Master Sheng-yen (1931-2009). Han The point of recognitions is enlightenment. Shan compared the mind to muddy water - in order to calm our mind we have to keep it The instant one thought returns to brightness perfectly still so that the mud will settle to the bottom, leaving the water clear. The im- All traces are swept away. portant thing is not to allow waves of vexation to stir up the mud again. If there is a self, That moment is refreshing. the turbulence in the outer realm will cause your mind to move. The mind emptied of self Refreshing, quiescent, will naturally be calm and peaceful, impervious to any obstruction. You will feel free and Peerless, independent, independent, and as far as you are concerned, nothing can transcend it. (Chih-Chen Wei) Tranquil, harmonious. Nothing can match it. True nature is pure and deep Like clear still water. If beaten with hate or love Waves of vexation arise. Arising without cease Self-nature becomes turbid. Vexations and ignorance Ever increase unconsciously. Composers Composers As a composer-recitalist he has premiered a number of his original compositions and works Bruno Mantovani was born on October 8, 197 4. After receiving five first-prizes from the by other contemporary composers. Many of his compositions for marimba are published, Paris Conservatory (analysis, aesthetics, orchestration, composition, music history), and and have already become standard repertoire for marimbists world-wide. A frequent attending the computer music courses at IRCAM, he began an international career. His lecture-recitalist for the Percussive Arts Society, he has appeared at twelve International works have been performed at the Concertgebouw in Amsterdam, the Philharmonie in PAS Conventions to date, as featured marimbist, as well as throughout the United States Cologne, the KKL in Lucerne, La Scala in Milan, Carnegie Hall and Lincoln Centre in and Canada, Europe, Japan, Taiwan, Thailand, Singapore, Hungary, Mexico, Denmark, New York, the Cite de la Musique and the Salle Pleyel in Paris. Faithful to his preferred Puerto Rico, and Spain .. In May of 1983 he performed clinics and recitals in France, performers, he collaborates with prestigious soloists Gean-Efflam Bavouzet, Alain Billard, Germany, Holland and Belgium with "transcendental virtuosity", being described as "the Jean-Guihen Queyras, Antoine Tamestit, Tabea Zimmermann), conductors (Pierre Boulez, Rubinstein of all aspects of the marimba". Sir Andrew Davis, Peter Eotvos, Laurence Equilbey, Gunter Herbig, Emmanuel K.rivine, Susanna Malkki, Jonathan Nott, Pascal Rophe Fran~ois-Xavier Roth), ensembles Gordon will be inducted into the PAS Hall of Fame in November of 2012 at PASIC 2-12/ (Accentus, Intercontemporain, TM+) and orchestras (Bamberg Symphony, BBC Cardiff, Austin, TX. Gordon is a clinician/ recitalist for Malletech, and performs on and owns their Chicago Symphony, WDR Cologne, La Chambre Philharmonique, Frankfurt Radio M5.0 Roadster five-octave marimba. Gordon Stout is represented by the Percussion Orchestra, Liege Philharmonic, BBC London, Lucerne Academy, Orchestre de Paris, Paris Events Registry Company.