UNIVERSITY MUSICAL SOCIETY

Global Music Master Percussionists

Bob Becker William Cahn John Wyre Robin Engelman Russell Hartenberger

Assisted by Christopher McCourry, David Jackson, and Daniel Harris

Friday Evening, March 8, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan

PROGRAM

Fauna ...... William Cahn

Marubatoo ...... John Wyre

Gankogui ...... an. Nexus

Remembrance ...... Robin Engelman

Assisted by Christopher McCourry, trumpet, David Jackson, trombone, and Daniel Harris, bass trombone, U-M School of Music graduate students

INTERMISSION

Mudra ...... Bob Becker

Kichari ...... arr. Nexus

Teddy at the Throttle (a Mack Sennet film) ...... arr. Cahn

Nexus is represented by Great World Artists Management Inc., Toronto, Ontario, Canada. U.S. Representation: Betsy M. Green Associates, Inc., Wayland, Massachusetts. The box office in the outer lobby is open during intermission for purchase of tickets to upcoming concerts. Copies of this title page are available in larger print; please contact an usher.

Thirtieth Concert of the 112th Season Twentieth Annual Choice Series Program Notes

Fauna(1988) Remembrance (1988) WILLIAM CAHN ROBIN ENGELMAN auna was composed in April and ld familiar tunes, in whole or May, 1988. It is an experimental in part, frequently come to piece combining electronic instru­ mind. A rhythmic motive or a ments and acoustic instruments, and particular succession of tones it is also programmatic in nature. can spontaneously remind one FThe electronic instruments are used to gen­ ofO music heard in the past. The resulting erate reproductions of natural sounds (water, juxtaposition of what is being heard and the loons, voices), as well as reproductions of intrusion of the familiar tune are often bi­ acoustic musical instruments (drums, marim­ zarre, but not irreverent. Remembrance was bas, Chinese opera gongs, penny whistles). written in 1988 because of these experiences. These sounds are combined with acoustic instruments such as Australian didgeridoo, Mudra(1990) conch shell trumpet, melodion, Brazilian BOB BECKER rainstick, marimbas, and Chinese opera udra consists of music that gongs, to produce music that is constructed was originally composed to around a single melody, harmonized, and accompany the dance repeated in several series of variations. Inspi­ UrbhanaMudra by choreog­ ration for the piece arose from experiences in rapher Joan Phillips. Com­ seeing the gentle and incredibly vulnerable Mmissioned by INDE '90 and premiered in wildlife of Australia during the first visit of Toronto in March 1990 as part of the Du- Nexus to that continent in 1986. Maurier Quay Works Series, UrbhanaMudra was awarded the National Arts Centre Award Marubatoo(1988) for best collaboration between composer and JOHN WYRE choreographer. The music was subsequently arubatoo is the expansion of edited and reorchestrated as a concert piece Maruba, commissioned by for Nexus during May 1990. Mudra is scored Ex Tenebris with the support for marimba, vibraphone, songbells, glocken­ of the Ontario Arts Council. spiel, crotales, muffled drum, and bass drum. Maruba is a recent composi­ UrbhanaMudra was created, for the Mtion for marimba and tuba, written for Bev- most part, using the "dance first" approach, erly Johnston and Scott Irvine in the summer in which the music is composed to fit pre-ex­ of 1987. In developing Marubatoo for Nexus, isting choreography. Thus, in this instance, the composer says, "I have given the melody the rhythmic structure and overall form re­ (tuba line) to bass marimba and have added flect the episodic and gestural character of the crotales (tuned antique cymbals) to support original choreography. In Joan Phillips' the melodic line. I have also added another words: "The content of the piece is set within marimba part and a vibraphone part so that a multi-cultural urban infrastructure that al­ there are three voices (two marimbas and one lows the conflict of traditional and modern vibraphone) to support the melodic lines in issues to surface." Two main sources of inspi­ the bass marimba and crotales." Marubatoo ration for the choreography were the "system was completed in October 1988. of expression" theory advanced by Francois Delsarte and Ted Shawn, as well as Ms. Gankogui Phillips' personal study with Indian choreog­ arc. Nexus rapher and dancer Menaka Thakkar. The ankogui is a Nexus arrangement term "mudra" refers in general to the system­ using traditional African mel­ atic use of facial, torso, and hand and arm odies and instruments, includ­ gestures in many Indian dance forms. ing the mbira (thumb piano- The composer writes: "In this piece, I gourd), log drums, and gan- knew I wanted to use an instrumental ensem­ G kogui (iron bells). ble in an accompaniment role similar to that found in traditional Indian dance concerts where a solo drum is the principal voice. I Kichari did not, however, want to use Indian instru­ arr. Nexus ments, nor did I wish to imitate an 'Indian' ichari is a word from the Hindu, sound with western instruments. In response meaning "mixture."Thispiece is to the choreographic approach, I wanted to an improvisation and varies with allow my awareness of classical Indian musical every performance. Nexus first structures to influence the formal, rhythmic, came to world prominence be­ and harmonic aspects of the music. Kcause of its impressive improvisational abili­ "I first became interested in North ties and techniques, and the ensemble has Indian classical music in 1970. My involve­ been asked to improvise for theatre produc­ ment was, and continues to be, primarily with tions, dance performances, and film scores, the tabla drums. At the same time, I began as well as in its concerts. to study the theory of rhythm (tal) and melody (rag), principally as they are expressed in the vocal forms khyal and dhrupad. Al­ though Indian music is usually characterized Teddy at the Throttle as being elaborately melodic with no har­ (a Mack Sennet film 1916) mony, my personal experience from the be­ arr. WILLIAM CAHN ginning has been a strong sensation of implied t the height of the silent film harmonic movement. This subliminal effect era, from 1915 to about 1930, is clearly related to my cultural background many musicians were em­ and training in western classical music and is ployed by the movie theatres the type of uniquely interesting cross-refer­ to provide musical accompani­ encing always experienced when one strong mentsA to the films. Theatre orchestras, organ­ cultural expression encounters another. ists, and pianists were necessary to add a "I find this effect to be most pro­ crucial emotional background to the visual nounced in ragas (most simply defined as action. The music for "Teddy" has been generalized scales or particularized modes) arranged for Nexus from original theatre or­ that contain relatively few tones. In particu­ chestrations of that period, including the lar, the pentatonic modes containing no fifth following pieces: "The Wizard of the Nile" scale degree (for example, the ragas (1896) by Victor Herbert, "Dainty Games" Malkauns, Chandrakauns, and others) have, (1915) by Charlotte Blake, "Cupid's Garden" to my ear, the most ambiguous and intriguing (1901) by Max C. Eugene, "Fluffy Ruffles" harmonic implications. Rag Chandrakauns, (1918) by George Hamilton Green, "Zephyr" traditionally linked to the full moon and (1916) by George J. Trinkhaus, and generic late-night hours and with the scale degrees film music by Ernst Luz. tonic, minor third, fourth, minor sixth, and major seventh, has always attracted me. I used these interval relationships to determine both the melodic and harmonic content of this piece. "Rhythmically, Mudra is based on two important and common structures found throughout North Indian music: motivic de­ velopment (palta) and rhythmic cadence for­ mulas (ti hai). These structural devices are used most systematically in the final drum solo section of the piece, in which rhythmic rather than harmonic cadencing is used to create tension and, ultimately, accord." About the Artists

Robin Engelman, Bob Becker, John Wyre, Russell Hartenberger, Bill Cahn ormed in 1971 by Bob Becker, Wil­ The same musicians also performed liam Cahn, Robin Engelman, Rus­ Takemitsu's piece, From me flows what you call sell Hartenberger, and John Wyre, Time, in Washington's Kennedy Center for Nexus has come to be recognized as the Performing Arts, causing the Washington one of Canada's premier chamber Post's reviewer to write: "The Concert Hall groupsF and one of the foremost percussion literally rang with opulent splendor ... the ensembles in the world. stage was surrounded by a huge battery of Nexus performs a wide and eclectic percussion instruments, including sets of bells range of music, much of which has been suspended from the top balcony and played composed and/or arranged by members of the from the stage by means of lengthy colored ensemble. Contemporary composers who ribbons. Takemitsu's latest exploration into have been commissioned to write for the his storehouse of subtle sounds has produced group include Warren Benson, John Haw- a work of mesmerizing beauty, whose mildly kins, Jo Kondo, Bruce Mather, Kirk Nurock, programmatic spirit the orchestra and soloists , Toru Takemitsu, and James captured superbly." This commission will be Tenney. To perform their unique repertoire, performed again in late 1991 in Tokyo's the members utilize a huge collection of Suntory Hall, celebrating the Hall's fifth instruments from all parts of the globe, in­ anniversary. cluding assorted drums and rattles, bird calls Since 1975, Nexus has traveled exten­ and bundt pans, marimbas and xylophones, sively, including tours of Australia and New and more exotic instruments such as Chinese Zealand, Asia (the first western percussion gongs, Japanese temple bowls, and West group to perform in the People's Republic of African drums. Their combination of reper­ China), and Europe, as well as regular appear­ toire and instruments has led to appearances ances throughout the United States and Can­ with symphony orchestras, in addition to ada. Nexus has been featured at the Adelaide their own ensemble engagements; they have Festival, Holland Festival, Tanglewood performed with the , Music Festival, Celebrations at the the Toronto Symphony, the Detroit Sym­ Los Angeles Festival, the Toronto Interna­ phony, The , and the tional Festival, Forum des Percussions in National Arts Centre Orchestra (Ottawa), Paris, London's Southbank Festival and BBC among others. Proms, and World Drums Festivals. Other In celebrating its centennial season this highlights have been the British Percussion year, Carnegie Hall commissioned Toru Festival and a British tour, the Calgary Olym­ Takemitsu to write a work for Nexus and pic Arts Festival, and a return tour to Aus­ symphony orchestra, which was premiered tralia that opened with ten days of last October with the Boston Symphony Or­ performances at Expo '88. chestra under the direction of Seiji Ozawa. Nexus created and performed the music illiam Cahn has been the for the Academy Award-winning documen­ principal percussionist of tary film "The Man Who Skied Down Ever­ the Rochester Philhar­ est." Their activities in radio and television monic Orchestra since include recordings and performances with Gil graduating from the East­ Evans, Oscar Peterson, Paul Horn, Chuck manW School of Music in 1968. He has ap­ Mangione, and David Darling, among many peared regularly as soloist with the Rochester others. Their video, "Super Percussion," was Philharmonic and has also performed as per­ filmed at the Tokyo Music Joy Festival and cussion soloist with symphony orchestras and released in 1988, and in 1989 they received music festivals throughout the United States the Toronto Arts Award in Music. and Canada. In addition to designing and Nexus now returns for a second appear­ building his own percussion instruments, Mr. ance after its Ann Arbor debut in November Cahn has composed and arranged dozens of 1984, when it participated in the 1984 Per­ works for percussion, including chamber and cussive Arts Society International Conven­ symphonic scores. He has performed in con­ tion hosted by the U-M School of Music. cert with many celebrated musicians of widely-differing musical styles, including Leo­ Nexus has received the support of the Canadian Depart­ pold Stokowski, Edgard Varese, John Cage, ment of External Affairs, the Canada Council, the On­ tario Arts Council, the Arts Council of Great Britain, the the Paul Winter Consort, the Chuck New York State Arts Council, and the Connecticut Com­ Mangione Orchestra, and Chet Atkins. mission on the Arts. The recent Toru Takemitsu commis­ sion was made possible in part by a grant from Suntory ussell Hartenberger is professor of Hall, Tokyo. percussion at the and holds a Ph.D. in World Music. He performs regu­ ob Becker holds bachelor's and larly with New Music Concerts master's degrees from the Eastman ofR Toronto and the Steve Reich Ensemble. School of Music, where he studied A graduate of , Mr. percussion with William Street Hartenberger has studied the mrdangam, and John Beck and composition tabla, West African drumming, and Javanese withB Warren Benson. He was awarded the gamelan. His travels include extensive tour­ school's prestigious Performer's Certificate for ing in North and South America, Europe, his performance as marimba soloist with the music studies in Ghana, and attendance at Rochester Philharmonic Orchestra. He also the Carnatic Music Festival in Madras, India. spent four years doing post-graduate study in He has also performed with the Oklahoma the World Music program at Wesleyan Uni­ City Symphony and at the Marlboro Music versity, where he became intensely involved Festival. with the music cultures of North and South India, Africa, and Indonesia. Mr. Becker has been percussionist for the Marlboro Music Festival, timpanist with the Festival Orchestra under Pablo Casals, and for several years was percussionist for the Paul Winter Consort. As soloist, he has appeared with the New York Philharmonic, Cleveland Orchestra, Detroit Symphony Or­ chestra, Rochester Philharmonic, and Boston Chamber Players. He has also performed and recorded with Gene Bertoncini, Marion Brown, Gil Evans, Paul Horn, Chuck Mangione, and Oscar Peterson. Presently, he performs with American composer Steve Reich's ensemble, as well as appearing regu­ larly as a soloist and clinician on a remarkable variety of instruments. \v»

The Grange Recording Studios, Toronto

obin Engelman studied percus­ ohn Wyre is a native of Philadelphia, sion and composition with War­ , where he studied percus­ ren Benson and conducting with sion with Fred Hinger. He studied at Don Craig at Ithaca College in the and per­ New York. He was principal per­ formed for eight summers at the Marl- cussionistR in three symphony orchestras in the boro Music Festival. Before moving to United States before serving in that capacity JCanada in 1966, he was a member of the with the Toronto Symphony Orchestra. He Rochester Philharmonic, the Oklahoma City has taught at the , Symphony, and the Milwaukee Symphony. Ithaca College, York University, and pres­ Joining the Toronto Symphony as timpanist ently conducts the contemporary music and in 1966, he served for eleven years as princi­ percussion ensembles at the University of pal timpanist of that ensemble. As soloist, he Toronto. Throughout North America, he has has performed with the Toronto Symphony, lectured at universities on composing for Japan Philharmonic, and the Boston Sym­ percussion and on percussion performance. phony Orchestra. He has composed numerous works for Nexus, An active composer, Mr. Wyre has many of which have been recorded. received commissions from the Canada Mr. Engelman has conducted contem­ Council and the Ontario Arts Council, the porary music concerts and recordings for the Canadian Broadcasting Company, the Elmer Canadian Broadcasting Company, New Iseler Singers, and the National Youth Or­ Music Concerts, and Chamber Concerts Can­ chestra of Canada. His works have been ada. In July 1989, he conducted the North performed by the New York Philharmonic, American premiere of Manuel de Falla's orig­ Toronto Symphony Orchestra, Japan Phil­ inal chamber version of El amor brujo with harmonic, Tokyo Philharmonic Choir, and David Earle's choreography and the Toronto the Winnipeg Symphony, among others. Dance Theatre. He also composed and di­ Currently, Mr. Wyre is artistic director of rected the music for a Tim Wynne Jones World Drums, which presents international original story, with dance, Once there was only drum festivals for such events as Expo '86, the sky, which was performed at the Young 1987 Winter Olympics in Calgary, and Expo People's Theatre in December of 1989. '88 in Australia. Metropolitan Opera Orchestra

A Benefit Concert for the University Musical Society

JamesLevine JessyeNorman

30 April 1991 Eight o'clock Hill Auditorium

Benefit Concert Ticket Prices (Tax-deductible contributions listed in parentheses.)

Main Floor Beethoven $200(5144) Scene and Aria, Ah, Perfido!, Op.65 Includes Post-concert Champagne Reception $150(5114) 575 ($46) Berg $50 ($21) Three Pieces for Orchestra, Op.6 $1,000 ($885) Includes Pre-concert Dinner at Escoffier and Post-concert Champagne Reception

First Balcony Richard Strauss $125 ($90) Le Bourgeois Gentilhomme Suite, Op.60 $50 ($22)

Second Balcony $75 (550) Richard Wagner 525 (55) "Immolation" Scene from Gdtterdammerbng

Reservations for this gala evening are being taken now! Please place your University Musical Society telephone order by calling of The University of Michigan 313.764.2538 Burton Memorial Tower Ann Arbor, Michigan 48109-1270 Gewandhaus Orchestra of Leipzig Ku r t M asur, conductor

M ay 1-4, 1991 8:00 p.m. Hill Auditorium Midori, violinist Christian Funke, violinist Jiirnjakob Timm, cellist Elisabeth Leonskaja, pianist Claudine Carlson, mezzo-soprano The Festival Chorus Thomas Hilbish, director

Pr ogr ams

Wednesday, May 1 Sibelius: Violin Concerto in D minor (Midori) Mendelssohn: Symphony No. 3, "Scottish"

Thursday, May 2 Brahms: "Double" Concerto in A minor for Violin, Cello, and Orchestra (Funke/Timm) Brahms: Symphony No. 2 in D major

Friday, May 3 Prokofiev: Excerpts from Romeo and Juliet Henze: Seven Love Songs for Cello and Orchestra (Timm) Strauss: Till Eulenspiegels lustige Streiche

Saturday, May 4 Glinka: Ruslan and Ludmila Overture Tchaikovsky: Piano Concerto No. 2 in G major (Leonskaja) Prokofiev: Alexander Nevsky, cantata for Mezzo-soprano, Mixed Chorus, and Orchestra (Carlson)

programs subject to change

Music Happens Here 313.764.2538 Monday-Friday 10:00 a.m. to 6:00 p.m. Saturday 10:00 a.m. to 1:00 p.m. University Musical Society of The University of Michigan Burton Memorial Tower Ann Arbor. Michigan 48109-1270