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Ijt»Uston Friends of Lbepherd Lchool of ~Qusic NINETEENTH SEASON EIGHTH CONCERT .IJt»uston Friends of ~Qusic, Inc. and lbepherd lchool of ~Qusic PRESENT THE Albert Tipton, flute Richard Pickar, clarinet Michael Rosenberg, oboe Eric Arbiter, bassoon Thomas Bacon, French horn Hamman Hall Wednesday, May 2, 1979 Rice University 8:00P.M. SS!vi HOUSTON FRIENDS OF MUSIC is a non-profit organization PROGRAM dedicated to the presentation of chamber ensembles with national and 79 - 5 . ~ international reputations and the development of new audiences for S~(Q, chamber music through concerts available to everyone. HOUSTON FRIENDS OF MUSIC NINETEENTH SEASON HOUSTON FRIENDS OF MUSIC/ SHEPHERD SCHOOL OF MUSIC SECOND SEASON October 19, 1978 . .............. .............. Prague String Quartet November 1, 1978......................... Paillard Chamber Orchestra Quintet, Op. 71 (arr. from the Sextet) ........... Beethoven December 10, 1978 ............. Friedman, Vardi, Silberstein String Trio Adagio-Allegro February 1, 1979 ........ ..................... Tel Aviv String Quartet, Adagio with Yona Ettlinger, Clarinet March 1, 1979 ...... .......................... Baroque Music Masters Menuetto: Quasi Allegretto March 21, 1979........................... ... Vermeer String Quartet Rondo: Allegro April 11, 1979 .. ......... .................... Borodin String Quartet May 2, 1979 ............................. Shepherd Woodwind Quintet PATRON Shell Companies Foundation Quartet No.4 in B flat major ...................... Rossini BENEFACTORS Allegro vivace J. K. Arbenz A. and I. Lipschutz Mr. and Mrs. E. Carl W. and I. Mannheimer Andante D. Carlyle · \ J. W. Mazow Rondo: Allegro W. F. Cole B. Osborne A. Goldstein M. Proler H. Gordon Y. Scher S. Gorisch H. and N. Sternlicht G. L. Hallman S. B. Wells W. J. Jones S. Wexler Intermission T. Klima R. Zinn SPONSORS J. K. Alexander A. A. Mintz R. Anderson M. Sher C. Crawford R. T. Solis Quintet ..................... 1.' •••••••••••••••••• J. and M. Karon P. Van Meurs Taffanel R. J. Kauffman · Allegro con moto CONTRIBUTORS Andante A. Bingel C. C. Knapp J. Butler J. W. Malin Vivace N. Decker H. Marmell F. Haufrect R. Rosencranz C. Heaps F. Sawin La Cheminee du Roi Rene....... .: ....... ... ...... : . Milhaud F. Jungman D. Wechter I; Cortege A. Kahn H. Williams II. Aubc;~de PAST PRESIDENTS 1960-1967- John Hill Stratton Hill - 1968-1973 Ill. Jongleurs 1967-1968 - Alfred Neumann Harvey Gordon- 1973-1977 IV. La Maousinglade 1977 - 1978 OFFICERS V . Joutes sur /'Arc President. .. .. ....... '· .. .. ... ...... ... ... .. Nancy Sternlicht Vice President'(Program Chairman) .... .... ..... .... .. ... Jack B. Mazow VI. Chasse a Valabre Vice President (Publicity) .... .... .. .................. .. Naomi Levinson Vll. Madrigal Nocturne Vice President (Concert Arrangements) ... .... .. .... David G. Parsons Vice President (Membership Chairman) .. .. .. .... .... .. Carter Crawford Secretary-Treasurer. .. ... .... .... .. .. ... ... Walter Mannheimer The Shepherd Woodwind Quintet PROGRAM NOTES The Shepherd Woodwind Quintet is a faculty ensemble of the Shepherd School of Music composed of the following artists: Most of the chamber music for wind instruments by Ludwig Albert Tipton, Chairman of Applied Studies and Professor of Flute at The van Beethoven (1770-1827) dates from the 1790's when the Shepherd School of Music, was formerly professor of flute and director of the wind ensemble at Florida State University. He has been associated with the young virtuoso pianist lived and performed in Vienna and at the Aspen Music Festival and School for eighteen years as administrator, performer same time polished and perfected his craftsmanship as a genius and teacher. For twelve years Tipton was principal flutist of the Detroit Sym­ composer. The sextet Opus 71, that we hear tonight in an arrange­ phony. Mr. Tipton began his studies as a violinist, but turned seriously to the flute when, at 14, he entered the famed Curtis Institute as a student of William ment for woodwind quintet, was one of these works and was pro­ Kincaid. He also attended the Eastman School of Music, L'Ecole Monteaux, and bably completed in 1796. Thus it predates the string quartets Opus Catholic University in Washington, D.C. He received degrees from Washington 18 and the first symphony, although the composer did not submit it University in Saint Louis and the St. Louis Institute of Music. Mr. Tipton is to a publisher until 1810 when it received its anachronistic opus recognized as a skilled composer and conductor as well as one of the foremost flutists in the world. He has been affiliated with many symphony number. The sextet, originally written for two clarinets, two bas­ orchestras and has toured the United States as director of his own chamber or­ soons and two horns, has a style and mood of a divertimento much chestra. Through the success of his many students, his reputation as a ped­ in the manner of Haydn or Mozart whose works the young com­ agogue is international. Tipton plays a Powell platinum flute, one of eight in the world. poser greatly admired and emulated. The work opens with a brief . fanfare (Adagio) which leads directly to a lively but generally lyrical Richard Pickar, Principal Clarinetist with the Houston Symphony, earned his B.A. degree at UCLA, his M.A. from Sam Houston State University and his Allegro. Only occasionally is this relaxed mood interrupted by a Diploma from the Akademie fur Musik in Vienna as a recipient of a Fullbright rollicking run or arpeggio. The slow movement (Adagio), a tender Grant. Mr. Pickar became solo clarinetist with the Philharmonia Hungarica after song-like piece, maintains the gentle mood set in the preceeding graduation and was a prize winner at the International Clarinet Competition in Munich. He is founder and conductor of the Contemporary Chamber Ensem­ part. A hunting motive appears in the minuet interrupted by a ble, based in Houston and Artist Teacher of Clarinet at The Shepherd School of quietly simple canonic trio section. The lively Rondo has a return­ Music. ing martial dotted main theme separated by three brief "episodes" Michael Rosenberg, Artist Teacher of Oboe at The Shepherd School of of varying character. Music, was most recently Principal Oboist with the Aspen Chamber Symphony as well as Associate Faculty of the Aspen Music Festival. He has performed as Principal Oboist with the Oregon Symphony Orchestra and the Civic Orchestra of Chicago. He received his Bachelor of Music degree from Northwestern Gioacchino Rossini (1792-1868), known to us mainly as a University and has taught at Portland State University as well as privately. Mr. composer of numerous operas - some forty in all - wrote in his Rosenberg has been a participating artist at the Marlboro Music Festival for youth some chamber music works among which six quartets for several years and has recorded for the Marlboro Recording Society. flute, clarinet, French horn and bassoon. The fourth of these in B Eric Arbiter, Associate Principal Bassoonist with the Houston Symphony, flat major is characteristic for much of this youthful output, un­ holds a Bachelor of Music degree from the Oberlin College Conservatory and a Master of Music from the Cleveland Institute of Music. He has performed with pretentious in form and development but rich in melodic invention the Ohio Chamber Orchestra, the Fort Wayne Philharmonic, and was a soloist and demanding a good deal of virtuosity on part of the individual with Marlboro Festival Orchestra with Pablo Casals conducting. he has been performers. A soft and pastoral Allegro vivace movement opens principal bassoonist with the Orchestra of the Grand Teton Music Festival and is a member of the Houston Woodwind Ensemble. Mr. Arbiter is Artist Teacher of the quartet and is followed by an equally subdued and melancholy Bassoon at The Shepherd School of Music. Andante aria. A gay Rondo concludes the work on a happy and l cheerful note. Thomas Bacon, principal Hornist with the Houston Symphony and Artist ' Teacher of Horn at The Shepherd School of Music, was formerly the Solo Hornist with the Berlin Radio Symphony. Other activities have included ap­ pearances as horn soloist with the Mozarteum Orchestra in Salzburg, the Amati Ensemble in Europe and North Africa, and as jazz soloist with the Radio Free The French flutist, educator, conductor and composer Claude Berlin Big Band. He formerly held first horn positions with the Syracuse Sym­ Paul Taffanel (1844-1908) is the founder of the modern French phony and the Detroit Symphony. tradition of flute playing. Among his many professional activities was the creation and leadership of the Societe des Instruments a PROGRAM NOTES (continued) Vent (the French Society of Wind Instruments) for which he wrote in 1880 his quintet for woodwinds and horn. This richly sonorous UNDERWOOD, NEUHAUS composition not only shows the composer's intimate knowledge of WANTS)OU10 the versatility, range and character of each instrument but also his MAKE MONEY. considerable craft and genius as a composer who is deeply rooted I. And we have the people to help. in the romantic tradition of Mendelssohn, Schumann and Brahms. II The quintet also points the way to the writing of such future com­ Underwood, Neuhaus & Co. posers as Debussy, !bert and Milhaud and their handling of wind Incorporated n4 Tr.n~ .,1 Ru ... l..l)(w..ntown . PtlSI O.ak TUW t't"Co~ ll t>ri.l . Houston, Tt"\.a!'> instruments. The broadly flowing Allegro con brio is unabashedly 224-1224- . romantic in character and impresses the listener by its luscious sound
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