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Theatrical Music for Solo Percussion Acknowledgments

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Theatrical Music for Solo Percussion Acknowledgments Acknowledgments Recorded in Dekelboum Concert Hall, Clarice Smith Performing Arts Center, University of Maryland – College Park, 2012-2013 Recorded and mastered by Antonino D’Urzo (Opusrite™, [email protected]) Daniel Adams’ Of a Just Content (ASCAP) is available directly from the composer: dcadams@ airmail.net; Georges Aperghis’ Le Corps à Corps is published by Boosey & Hawkes and is avail- Lee Hinkle, percussion & voice able from his website: www.aperghis.com; Lee Hinkle’s Vibratissimo (ASCAP) music is published by Octopus Press and is available from his website: www.leehinkle.com; Stuart Saunders Smith’s The Authors and Tunnels are published by Smith Publications: www.smith-publications.com. Special thanks to my parents Ross and Nona Hinkle and my sister Valerie Hinkle for their con- tinued love and support. Special thanks to my wife Kristen for her steadfast love, support, help Theatrical Music for with French pronunciations, and for generally putting up with all of the “weird” music that I play. Thanks to Daniel Adams, Georges Aperghis, and Stuart Saunders Smith for their beautiful music Solo Percussion that encompasses this CD. Additionally, thanks to the many people and organizations without whom this CD would not have been possible: Robert McCormick, Tony Ames, Danny Villanueva, the UMD Percussion Studio, Arielle Miller, Robby Bowen, Eric Plewinski, the UMD School of Music, Nancy Zeltsman, Stuart Saunders Smith, Sylvia Smith, Daniel Adams, Tom DeLio, Chris Gekker, John Tafoya, Antonino D’Urzo, Robert Gibson, Ashley Fleming, Rachel Novak. works by Georges Aperghis, Daniel Adams, Stuart Saunders Smith, Lee Hinkle WWW.ALBANYRECORDS.COM TROY1524 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Performer The Composers & Music Lee Hinkle, D.M.A. is a percussionist and baritone vocalist Georges Aperghis: Le Corps à Corps whose percussion playing has been called “rock-steady” Georges Aperghis (b. 1945) is a Greek composer who resides in France. His compo- by the Washington Post. Hinkle is the principal percussionist sitions explore the boundaries between contemporary music and theatre. Aperghis’ with the 21st Century Consort, a position he has held since studied composition with Iannis Xenakis. In 1977, he founded the French music 2012. He made his Carnegie Hall solo debut in March 2014 theatre company ATEM (Atelier Théâtre et Musique) and has composed extensively with the world premiere performance of Baljinder Sekhon’s for this ensemble. Double Percussion Concerto for two percussion soloists and wind ensemble. Composed in 1978, Le Corps à Corps for a percussionist and his zarb is like many of Aperghis’s compositions, exploring the boundaries between theater and music Hinkle’s notable performances have included the National performance. Scored with stage directions and French spoken dialogue, the performer Symphony Orchestra and the Taipei Philharmonic Orchestra narrates a poeticized dual imagery between an ancient horse-drawn chariot race and as well as tours with Bebe Neuwirth, Bernadette Peters, and a modern day car race gone horribly wrong. The performer portrays three characters: the American Wind Symphony Orchestra. With several CDs to his credit, Hinkle’s a drummer, a sports commentator, and an innocent bystander. The piece is split into recordings can be heard on six different labels including the Capstone Records, New three sections: “Overture,” “The Story,” and “The Struggle.” World Records, and C. F. Peter’s Corporation labels. In “Overture,” the percussionist plays his zarb and imitates drum noises with his An active percussion recitalist and soloist, Hinkle has performed at universities mouth, as if the two “instruments” were doing battle with one another. The nonsensical and festivals across the US, several state PAS Days of Percussion, as well as two French syllables imitating drum noises create intense rhythmic polyphony with the Percussive Arts Society International Conventions. He is in demand as a soloist and drum. In “The Story,” the performer, as the sports commentator, begins to take notice clinician both locally and internationally. of the scene to his right, splicing together minute sections of the story in cinematic fashion. The drama builds until the innocent bystander takes over, screaming as Hinkle currently serves on the faculty at the University of Maryland in College Park, he recounts the horrors of the scene. In “The Struggle,” the two previous dramatic Maryland where he teaches, performs, and directs the UM Percussion Ensemble. characters are bound together, with the performer barely being able to continue in He also serves on the Percussive Arts Society Percussion Ensemble Committee light of the intense narrative catapulting the piece to its dramatic ending. Le Corps à and is the President of the MD / DE Chapter of the Percussive Arts Society. Hinkle Corps is tied together musically not only by its dramatic narrative but also by its gradual is a Yamaha Performing Artist and proudly endorses Remo drumheads, Innovative revealing of rhythmic elements in an expanding fashion (i.e. 1, 12, 123, and so on). Percussion sticks and mallets, and Grover Pro Percussion. To learn more about Lee, visit www.leehinkle.com. I. Ouverture – Overture Miami (1981) and a Bachelor of Music from Louisiana State University (1978). He is the composer of numerous published musical compositions and the author of many II. Le Récit – The Story articles and reviews on various topics related to Twentieth Century percussion music, Translation: musical pedagogy, and the music of Texas. His book entitled The Solo Snare Drum Commentaire: was published by HoneyRock in 2000. He is also the author of two entries published Before ten o’clock. in 2009 in the Oxford Encyclopedia of African-American History 1896 to the Present Commentaire: and has authored a revision of the Miami, Florida entry for the New Grove Dictionary of Before ten o’clock, surrounding the body. American Music (2013). Adams has served as a panelist and lecturer nationally and Commentaire: internationally, on topics ranging from music composition pedagogy to faculty gover- Before ten o’clock, surrounding the body, having already run the length of the track, nance. In 2011 he presented a composition master class at Ewha University in Seoul, two sides, body to body. South Korea. His music has been performed throughout the United States, and in Action: Spain, Germany, Belgium, Sweden, Turkey, Costa Rica, Argentina, Canada, and South Before ten o’clock, surrounding the body, having already run the length of the track, Korea. His music is recorded on Capstone, Ravello, Summit, and Potenza Records. two sides, body to body, the only visible action took place at the starting line where now and then a chariot surged, grasping the glittering helmet, bounding forward, Of a Just Content (2010) was commissioned by Lee Hinkle in 2009 and received its wounding his arm, with each cloud of dust, and he descended, staggering from his world premiere performance by him in 2010. Scored for one percussionist, the per- burden that the pit crew rushed to fill with gasoline and to re-launch onto the track, former plays a vibraphone; three metal bowl gongs; metal wind chimes; a bell plate; with a clean rag upon his fresh wound, on his arm the blood flowing, immense three suspended cymbals; and a small gong. He also speaks and sings text. Adams cheers arise. provides us with the following program notes: The bronze digging into the crack of the breast-plate, plunges into the entrails. The texts for the two verses of Thoreau’s Flute come from a poem writ- For another eighty kilometers of the circuit. ten in memory of Thoreau by Louisa May Alcott and published in For another hour of brutal madness. Atlantic magazine in the summer of 1863 and a notable quote from The bronze plate bracing their chests resonates horrifically, and from it spills a black Henry David Thoreau’s Walden, published in 1854. The piece is based blood that they wash with tepid water. on Thoreau’s descriptions of his sonic environment as described in Walden, his journal of life on the banks of Walden Pond from 1845 to III. La Lutte – The Struggle 1847. In a chapter of Walden entitled “Sounds” Thoreau admonishes the reader not to depend too much on the written word, but to attain Daniel Adams: Of a Just Content transcendence through the perception of one’s surroundings. However, Dr. Daniel Adams (b. 1956) is a Professor of Music at Texas Southern University references to his sonic environment pervade the entire book and in Houston where he has served on the faculty and taught courses in music theory include regularly recurring sounds heard at different times of the day. and composition since 1988. Adams holds a Doctor of Musical Arts (1985) from the Thoreau described sounds of nature, human voices in the distance, University of Illinois at Urbana-Champaign, a Master of Music from the University of and mechanical sounds such as a train whistle, which he considered and reflective wisdom for which Thoreau is remembered. His vivid intrusive. In particular, he mentioned the melodious sounds of birds the written descriptions of all perceptual dimensions of his world including thundering sounds of ice breaking on the pond, rain falling against his sound the internal rhyme scheme of the poem articulates an A B B A cabin, church bells the bleating of calves and sheep, and onomatopoetic pattern modified to an A B B´ A´ structure that serves a basis for the (and anthropomorphic) descriptions for owl and bullfrog sounds. Also overall form of the piece, as the sections following the poetic recitation notable in Thoreau’s descriptions is the ABSENCE of some familiar are substantially modified versions of those which precede it including sounds such as those of children and domestic life.
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