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New Music Series Is Dedicated to Elliott Carter The 2012-2013 New Music Series is dedicated to Elliott Carter. Program March (1950-66) Elliott Carter From Eight Pieces for Four Timpani (one player) Peter Jarvis New Music Series Canaries (1950-66) Elliott Carter From Eight Pieces for Four Timpani (one player) Peter Jarvis, director John Ferrari Elephant Breath (1997) Evan Hause Presents For Four Percussionists Tim Malone, Steven Nowakowski, David Endem, John Henry Bishop Music Payton MacDonald - Coach with guests Tactic (2012) Gene Pritsker For One Piano (Eight Players) Nicholas Doktor, Amanda Zook, Anthony Fabrizio Travis Salim, Robert Morris - Composer Payton MacDonald, Peter Jarvis, John Ferrari, Gary Van Dyke Septet (1980) Daniel Levitan Taka Kigawa - Pianist For Percussion Ensemble and featuring the WPU Percussion Ensemble New Jersey Percussion Ensemble Patrick Lapinsky, Joseph Scala, Jasmine Henry, Kiana Salameh, with soloists Steve Sarkissian, Anthony Fabrizio and Nick Doktor John Ferrari, Payton MacDonald Peter Jarvis - Coach and Peter Jarvis Incises, (original versión) (1994) Pierre Boulez For Solo Piano Taka Kigawa Monday, November 26, 2012, 7:30 PM Shea Center for Performing Arts Etude, No. 2 "Cordes à vide" (1985) György Ligeti For Solo Piano Etude, No. 6 "Automne à Varsovie" (1985) György Ligeti For Solo Piano Taka Kigawa Concerto for Vibraphone and Percussion Sextet (2011-12) * Peter Jarvis Tactic: Gene Pritsker For Percussion Ensemble Tactic - A plan, procedure, or expedient for promoting a desired end or result, NJPE for this piece to create a large sonority utilizing the full piano and all the 12 tones of the Michael Aberback, Payton MacDonald, Nicholas Doktor, chromatic scale. Various rhythms change the mood and texture of the piece, the Gary Van Dyke, April McCkloskey Stehr, Jeffrey Rubin performers guide the journey by playing and not playing their assigned pitches. We arrive at a tonal and tranquil melody with echoes of the preceding textures John Ferrari - Vibraphone superimposed upon it. Peter Jarvis - Conductor - Gene Pritsker Intermission Elephant Breath: Evan Hause Elephant Breath was written for the Pittsburg State University (Kansas) A Waltzer in the House (2003) Milton Babbitt Percussion Ensemble, which I created in 1997. It is about 5 minutes long and draws For Soprano and Vibraphone Stanley Kunitz upon rock drumming for its energy and rhythms. The title is a description of the piece as Stephanie Irven – Soprano a heavy ponderous beast in action, who takes a few moments here and there to catch Peter Jarvis - Vibraphone its breath, represented by the points of quiet with light improvisations on the triangles and wind chimes. Danse Russe From Trois Mouvements de Petrouchka (1921) Igor Stravinsky - Evan Hause For Solo Piano Taka Kigawa Septet: Daniel Levitan Septet is a essentially a feature for bongos (played with sticks) and timbales; although the large rototom, the bass voice in the ensemble, also assumes a solo role at Stream Runner (2007) * Robert Morris times. The piece has a modified rondo form: The theme reappears a number of times, For Marimba Solo or Marimba and Percussion Quartet but each time, it is arranged differently. In between the appearances of the theme, the NJPE bongos and timbales, and occasionally the rototom, have developmental sections in which they embellish a steadily repeating underlying rhythm. Anthony Fabrizio, Jeffrey Rubin, Gary Van Dyke – Percussion - Daniel Levitan Gary Kirkpatrick - Piano Incises: Pierre Boulez Payton MacDonald - Marimba Incises is Boulez's first work for solo piano since his third piano sonata of 1955– John Ferrari - Conductor 57/63. Originally written in 1994, it has been revised twice, most recently in 2001. It * World Premiere plays with contrasts of gestures and textures, for instance, repeated pitches or chords in Program Notes an even tempo interrupted by violent melodic arcs, or sparse chordal interjections without discernible rhythm over long held sonorities. Eight Pieces for Four Timpani: Elliott Carter - From Wikipedia Eight Pieces for Four Timpani is a collection of short pieces by Elliott Carter for solo timpani – four drums played by one musician. Six of the pieces were composed in Études: György Ligeti 1950. Two new pieces were added in 1966, and the rest were revised in collaboration György Ligeti composed a cycle of 18 Études for solo piano between 1985 and 2001. with percussionist Jan Williams. Carter wrote the pieces as studies in tempo They are generally seen[by whom?] as one of the major creative achievements of his last modulation and the use of four-note chords. They are a collection rather than a suite, as decades, and one of the most significant sets of piano studies of the 20th century, Carter suggested no more than four be performed at once. The pieces make heavy use combining virtuoso technical problems with expressive content, following in the line of of extended techniques, including playing with the back end of the timpani sticks, the études of Frédéric Chopin, Franz Liszt, and Claude Debussy but addressing new varying the beating spot on the drumhead, glissandos, and sympathetic vibration. technical ideas as a compendium of the concepts Ligeti had worked out in his other Canaries, a reference to the French Baroque dance, consists of contrapuntal works since the 1950s. dance rhythms played at different speeds. Canaries is dedicated to Raymond - From Wikipedia DesRoches. March is a contrapuntal piece: one march rhythm is played with the head of A Waltzer in the House (2003): Milton Babbitt one mallet, while another is played at a different speed with the back of the other A Waltzer in the House was composed in 2003 and presented along with mallet. This is perhaps the most-often played piece of the suite settings of his poems by other composers, as a tribute to Stanley Kunitz at the - From Wikipedia Guggenheim Museum. - Milton Babbitt Danse Russe From Trois Mouvements de Petrouchka: Igor Stravinsky role was akin to a group of enthusiasts standing on the banks cheering the avid paddler Upon completing the ballet, The Firebird, Stravinsky's mentor, Serge Diaghilev, on. had expected Stravinsky would proceed with the composition of another dance Supporting the dynamic conception of the composition, Stream Runner is work, The Rite of Spring. The idea for such a work had occurred to Stravinsky while still based on a rhythmic cycle of 43 beats temporally embedded in itself, so that the same working on Firebird, but Stravinsky felt the need to write something unrelated to the rhythm controls the pacing of the entire piece down to the details of surface rhythm, theater and conceived an orchestral work in which the piano would have a which tends to divide the beat into groups of five. The pitch structure of the piece is preponderant part: Stravinsky himself used the word Konzertstuck for the based on a different kind of cycle—a ring of 29 notes embracing all twenty-nine types of composition.[1] harmonies possible in the equal-tempered system. The ring is deployed so that each Stravinsky relates that he had in mind a distinct picture of a puppet who tried the subsection of the piece is colored by a different tetrachordal harmony, from the most patience of the orchestra with "diabolical cascades of arpeggios." In turn, the orchestra chromatic to the most diatonic and all the shades in between. retaliates with trumpet blasts and after reaching a climax, the conflict ends with the - Robert Morris collapse of the puppet. Stravinsky recalled that after completing the piece, he searched vainly for an appropriate name for his puppet until he remembered Petrushka, a Concerto for Vibraphone and Percussion Sextet: Peter Jarvis popular hero of country fairs everywhere.[1] Concerto for Vibraphone and Percussion Sextet is dedicated to Ray In the fall of 1910, Diaghilev came to visit Stravinsky who at that time was DesRoches and the solo vibraphone part was written specifically for John Ferrari. Just living in Lausanne, Switzerland, expecting to hear the beginning of The Rite of Spring, over 5 minutes in length, the piece was composed, with many interruptions, between but instead was greeted with Petrouchka. Diaghilev immediately recognized the July of 2011 and July of 2012. possibilities of developing this orchestral work into a full length stage work. Thus, the For many years I have been interested in the proliferation of literature for the concert piece became the second part of the ballet, Petrouchka, a burlesque in four vibraphone. This, my first percussion ensemble piece reflects that interest. One of my scenes. The full score was completed on May 11, 1911, and on the following June considerations while composing the piece was to provide soloists with a piece that could 3, Petrouchka was performed by Diaghilev's Ballet Russe in Paris at the Theatre du be used as touring repertoire. It is my hope that various university ensembles will Chatelet under the baton of Pierre Monteux.[1] prepare the piece and invite a soloist to join them as guest artist. This idea was inspired Three Movements from Petrouchka for the solo piano were composed ten by the collaboration of Payton MacDonald and Robert Morris on Stream Runner by years later for his friend, pianist Arthur Rubinstein, and are dedicated to him. Stravinsky Robert Morris. is very explicit in stating that the movements are not transcriptions. He was not trying to - Peter Jarvis reproduce the sound of the orchestra, but instead wished to compose a score which would be essentially pianistic even though its musical material was drawn directly from Biographical Information the ballet. Stravinsky also wanted to create a work which would encourage pianists to play his music, but it should be one in which they could display their technique, an Robert Morris: objective he amply achieved.[1] Robert Morris, born in Cheltenham, England in 1943, received his musical The first movement, Danse Russe, is drawn from the closing part of the first education at the Eastman School of Music (B.M.
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