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Shepherd School Symphony Orchestra SHEPHERD SCHOOL SYMPHONY ORCHESTRA LARRY J. LIVINGSTON, conductor JULIE LANDSMAN, faculty soloist LAURA HUNTER, faculty soloist Monday, January 30, 1984 8 :00 p. m. in Hamman Hall, Houston Syzygy Concert (Penderecki) Tuesday, January 31, 1984 8:00 p.m. in Hamman Hall, Houston Wednesday, February 1, 1984 4:30 p.m. in Caruth Auditorium, Southern Methodist University, Dallas Thursday, February 2, 1984 1:30 p.m. in the Tarrant County Convention Center Theatre, Fort Worth, TMEA conference the RICE UNIVERSITY ~~rd ofMusic PROGRAM Die Meistersinger: Prelude Richard Wagner (1813-1883) \Orn,"'~~ to~~ Threnody: To the Victims of Hiroshima (1961) / Krzysztof Penderecki ~ (b.1933) © ~·.2~J - 8~as3" / Concerto No. 1 for Horn in Eb major, Op. 11 Allegro Andante *Allegro Tcii~\...."'1twte.--~ ~IC). · r'I.V'-tt.,~·I 1~) 2°~- . Julie Landsman, horn yYI - Pictures at an Exhibition (arr. Ravel)@<CI , \Q t° q ~,y Modest Mussorgsky t Promenade 4 ~ I • - I - r-,;.;:, (1839-1881) tI Gnomus Promenade tII II vecchio castello (The Old Castle) 70T,.4;(;:' .tME':-;,; Promenade tIII Tuileries IV Bydlo Promenade V Ballet des poussins dans leurs coques (Ballet of the Chickens in their Shells) VI Samuel Goldenberg und Schmuyle tVII Limoges-Le Marche \VIII Catacombae: Sepulcrum Romanum Con Mortuis in lingua mortua (Speaking to the Dead in a Dead Language) i.. f tIX La Cabane sur des pattes de poule (The Hut on Fowls' Legs) ,Sf~ (-6 tX La grande porte de Kiev (The Great Gate of Kiev) 7 /q Laura Hunter, saxaphone I ilf!.o ~~ 1 ~ - • ~ o- ~ ~ J -.f) *Tl movement only to be performed at The Tarrant County Convention Center Theatre in Fort Worth for the TMEA Conference. t These movements only to be performed at Caruth Auditorium in Dallas and at the Tarrant County Convention Center Theatre in Forth Worth for the TMEA Conference. · Photographing and sound recording are prohibited. We further request that audible paging devices not be used during the performance. Paging arrangements may be made with the ushers. SHEPHERD SCHOOL SYMPHONY ORCHESTRA First Violin Cello Continued Contra-bassoon Lucy Lin, Champaign, IL Beth Vanderborgh, Ins Alamos, NM Deanna Chryst Donna Poole, Spokane, WA Stanley Bronisz, Houston, TX Bendi Goodfriend, Bangor, MN Suzi Carter, Albuquerque, NM Horn Linda Anderson, Edmond, OK William Hoel, Corpus Christi, TX Kitty Schmidt, Duncanville, TX David Streufert, Seward, NE Carey Wingert, Webster, TX Wendy Vaughan, Placentia, CA Ellen Jewett, Evanston, IL Angus McKenzie, Houston, TX Jessica Howard, Houston, TX Steven Svensson, Pittsburgh, PA Ian Davisdon, Houston, TX Rick Zackery, Central City, KY Judy Lin, Taiwan Mark Munson, Stuart, FL Shawn Pagliarini, Stillwater, MN Bass Gary Sippel, Long Island, NY Barbara Shreffler, Bellaire, TX Chris Sloniger, Albuquerque, NM Trumpet Mary Garcia, Emporia, KS Frank Murry, Simpson, LA James McKenzie, Friendswoods, TX Laura Rosky, Louisville, KY Jean Michon, Montreal, Canada Ken Fitzgerald, Houston, TX Marty Merritt, Jackson, TX Justin Cohen, Williamsville, NY Second Violin Jay Johnson, Fort Morgan, CO Joan Faigen, Pittsburgh, PA David Dean, Dallas, TX Trombone Lucy Shaw, Nova Scotia, Canada Beth Little, Houston, TX Ricky Reeves, Mobile, AL Doreen Hanrahan, Miami, FL Ed Ben, Vienna, VA William Glenski, Sioux Falls, SD Nicolae Soare, Romania James Pedigo, Dallas, TX Mary Campion, Spring, TX Piccolo Connie Sunday, Wichita, KA Amy Saxton, Fort Dodge, IA Tuba Jane Wang, Taiwan Joe Boylan, Las Vegas, NV Kevin Dowden, Hurst, TX Flute Sam Griggs, Houston, TX Leonard Estrada, Stockton, CA Kelly Bolam, Singapore Timpani Beth McKenna, Denver, CO Gretchen Bebb, Houston, TX Chrissy Carroll, Salina, KA Timothy McMillian, San Antonio, TX Debbie Norton, San Antonio, TX Oboe Percussion Carmen Falls, Plano, TX Alan Juza, Blue River, OR Lovie Smith, Houston, TX Pam Markus, Miami, FL Dennis Friesen-Carper, Houston, TX Viola Daniel Edwards, El Paso, TX Blanton Alspaugh, Hermitage, TN Maureen Michels, Cleveland, OH Darryl Umhoefer, Houston, TX Scott Ligocki, Bellevue, WA English Hom William Goodwin, Seattle, WA Alan Juza Celesta Renee Moore, Albuquerque, NM Dennis Friesen-Carper Karen Johnson, Columbus, OH Clarinet Harp Terri Van Valkinburgh, Spokane, WA Chris Jepperson, San Diego, CA Elaine Barber, Houston, TX Kay Cochran, Kansas City, MO Lori Talbert, Somerset, MA Robin Matlock, Mesa, AZ Mercedes Leon, New York, NY Richard Briglia, Erie, PA Iris Gonzalez, Newark, DE Orchestra Administrator Joseph Pagan, Tacoma, WA Bass Clarinet James C. Hagberg Jooyong Ahn, Korea Richard Briglia Orchestra Librarian Cello Bassoon Jean Michon Allan Weinstein, Dorchester, MA Deanna Chryst, Buckley, MI Orchestra Manager Chien-an Chen, Taiwan Jonathan Reeder, Vestal, NY Marty Merritt David Zeger, Houston, TX Jim Mann, Wolf Point. MT PROGRAM NOTES Tren: Ofiarom Hiroszimy (Threnody: To the Victims of Hiroshima) was completed in 1961 and is one of three compositions written by Penderecki in the early 1960' s that explore extended string techniques for large groups of instrumentalists. The work is also one of the most famous and important compositions that employ a new, graphic notation. Penderecki's Threnody has a very clear and basic shape: AB A'. Within this design, the composer has provided for sharp contrasts of unmetered sonic events to highly rhythmicized "canons" and a return to a kind of stream of consciousness. The total effect is extremely convincing. Despite the appearance of the new notation, there are strong relationships to tradition. For example, the work opens with 11 11 11 11 11 the following time sequence: 15 , 11 , 4 , 6 , 13 et cetera. At each time interval a new sonority, dynamic, or performance indication is introduced, producing phrase and period equivalents. The composer adroitly "overlaps" textures, not too dissimilarly to the phrase overlapping of the sixteenth century or to the cadence evasion of the nineteenth century. The constantly changing sonorities are, in effect, linked together by transitions. Certain kinds of sonorities, particularly clusters, appear several times, giving the work a sense of unity. The opening and the reprise suggest states of flux whereas the middle section contains many elements of stability, traditional rhythmic patterns, and considerable energy. When Penderecki gave a seminar for the students and faculty of the Shepherd School in the Spring of 1981, he made some interesting comments regarding the Threnody. Specifically, he stated that he had no idea how the piece would sound when he composed the work and only after hearing the first performance did he amend the title to include "To the Victims of Hiroshima." He seemed to take a wry satisfaction that this highly influential work - published, recorded, widely performed, and cited in both history and theory texts - received third place in an international competition with the other two compositions remaining in obscurity. He also stated his belief in clear aural associations for the listener. Tren clearly established the twenty-eight year old composer in international circles. Penderecki remains today as one of the most influential, prolific, and eloquent composers of our time. Paul Cooper THE SHEPHERD SCHOOL SYMPHONY ORCHESTRA From its inception in 197 4, the Shepherd School of Music of Rice University has emphasized orchestral training as a central component in its performance curriculum. In addition to seven hours of full rehearsal there are orchestral excerpts classes given in each instrumental area, as well as orchestral repertoire classes in brass, percussion, woodwinds, and strings each week. The Shepherd Symphony Orchestra has played under such distinguished guest conductors as Erich Berge/, Akira Endo, Alexander Gibson, Jeffrey Gilbert, William Harwood, Samuel Jones, Otto-Werner Mueller, Toshi Shimada and Richard Lert. In 1982, Sergiu Comissiona, Music Director of the Houston Symphony Orchestra, was appointed Artist-in-Residence in conducting at the Shepherd School of Music. Each year Maestro Comissiona works with the Shepherd Symphony Orchestra in a series of rehearsals which are open to the entire student body. This year's TMEA concert in Fort Worth will be led by Larry Livingston, Dean of The Shepherd School of Music. BIOGRAPHIES LAURA HUNTER,artist-teacher of saxophone at the Shepherd School, has been hailed by the New York Times as "a musician not easily ignored . .. and possessing an imposing technique." Carl Cunningham of the Houston Post said "she shows evidence of a rare and highly communicative musical talent." Ms. Hunters awards include the National Endowment for the Arts Solo Fellowship, Consortium Commissioning Grants, and a Concert Artists Guild Award. She has also been a recipient of a Pro Musicus Sponsorship and an Ima Hogg National Young Artists Competition winner. She holds a Bachelor's and Master's degree from the University of Michigan. JULIE LANDSMAN, artist-teacher of horn at the Shepherd School, was born in New York in 1953. She began her studies at the age of twelve with Howard T. Howard and Carmine Caruso. She was a scholarship student oflames Chambers at the Juilliard School of Music and was awarded the Walter A. Naumberg Scholarship for Graduate Studies. Prior to her appointment with the Houston Symphony Orchestra, Ms. Landsman was a free-lance musician in the New York area. Her performances included appearances with the New York Brass Quintet, the New York Philharmonic, the Metropolitan Opera Orchestra, the St. Paul Chamber Orchestra and numerous chamber ensembles. In June, 1983, Ms. Landsman made her solo
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