Daniel Grabois Daniel hornist in the Meridian Arts Ensemble Arts Meridian the in hornist , –

your thoughts about life. Which is just what music is supposed to do. to supposed is music what just is Which life. about thoughts your

I will let Andy tell the story in his own words: own his in story the tell Andy let will I

article, which sounds so good, so rich, and so deep on brass instruments that it will leave you whistling the tunes and thinking thinking and tunes the whistling you leave will it that instruments brass on deep so and rich, so good, so sounds which article,

is a piece with a program or story behind it, so so it, behind story or program a with piece a is MacBeth) Lady (by Music Fanfare Little A duo, and for Scored

It is fitting that, after so many toes have been dipped in the world of older music, the disc should conclude with the genuine genuine the with conclude should disc the music, older of world the in dipped been have toes many so after that, fitting is It

sounds reminiscent of the early music sounds that were to prove such an inspiration to the composer later. composer the to inspiration an such prove to were that sounds music early the of reminiscent sounds

a song about real life masquerading as a song about God. God. about song a as masquerading life real about song a

discovering a friend’s past. The hallmarks of the later Rindfleisch are all there: power, sharp contrast, brassy textures, even some some even textures, brassy contrast, sharp power, there: all are Rindfleisch later the of hallmarks The past. friend’s a discovering

stark quality to the group sound that, to me, expresses much more about the real world than the spiritual one. Andy has created created has Andy one. spiritual the than world real the about more much expresses me, to that, sound group the to quality stark

in 1988 for the Wisconsin . For us Meridians, learning this piece was like like was piece this learning Meridians, us For Quintet. Brass Wisconsin the for 1988 in Quintet Brass for Fanfare the wrote Andy

uses a technique called hand-stopping, which makes a buzzing sound that you can hear in the middle of the texture. There is a a is There texture. the of middle the in hear can you that sound buzzing a makes which hand-stopping, called technique a uses

time you finish the CD. In this version, all the players are muted, which immediately pulls the church out of the music. The horn horn The music. the of out church the pulls immediately which muted, are players the all version, this In CD. the finish you time

where old and new meet to form something else entirely. else something form to meet new and old where

, a hymn given the kind of treatment you will have come to expect from Andy by the the by Andy from expect to come have will you treatment of kind the given hymn a , Me with Abide is CD the on work closing The

, the composer has managed to perch himself at some hitherto undiscovered intersection intersection undiscovered hitherto some at himself perch to managed has composer the , Zone the In in As Yes. world? modern

world, giving us four sides of the trumpet coin. Does the piece look back to the fanfare tradition? Yes. Does it look ahead to the the to ahead look it Does Yes. tradition? fanfare the to back look piece the Does coin. trumpet the of sides four us giving world,

ample opportunities to change the sound of the instruments. the of sound the change to opportunities ample

really does exist in the world of trumpet. The piece captures, in a brief period of time, this this time, of period brief a in captures, piece The trumpet. of world the in exist does really Two for Fanfares Four the

arrangement sounds simple while in fact requiring tremendous concentration, with shifting characters and tempo changes and and changes tempo and characters shifting with concentration, tremendous requiring fact in while simple sounds arrangement

was music for just two instruments. I kind of wish those duos had included horn, because I would have liked to play them. But But them. play to liked have would I because horn, included had duos those wish of kind I instruments. two just for music was

by Stephen Foster. Like the rest of the set of these songs, this this songs, these of set the of rest the Like Foster. Stephen by Banjo de Ring is set the in song final The melody. the of spirit

songs, some was new brass quintet music, and some was brass quintet music that Andy had written in the past. And some of it it of some And past. the in written had Andy that music quintet brass was some and music, quintet brass new was some songs,

of the piece. The trombone is featured as soloist here, and that instrument, slurpier than the rest of us, perfectly captures the the captures perfectly us, of rest the than slurpier instrument, that and here, soloist as featured is trombone The piece. the of

As our collaboration with Andy developed, music started coming to us by mail. Some of it was arrangements of 19th century century 19th of arrangements was it of Some mail. by us to coming started music developed, Andy with collaboration our As

was the first of these arrangements to reach us by mail, and we all responded immediately to the ebb and flow flow and ebb the to immediately responded all we and mail, by us reach to arrangements these of first the was Sixteen Sweet

When You Were Were You When fullest. the to chops arranging Andy’s off shows and play to satisfying emotionally extremely is that moment a is

suddenly brighter, lighter and heavier at the same time, all of a sudden existing in high definition. definition. high in existing sudden a of all time, same the at heavier and lighter brighter, suddenly

music, with many open intervals. There is a long unison duo between the horn and trombone that erupts into full harmony – this this – harmony full into erupts that trombone and horn the between duo unison long a is There intervals. open many with music,

into taffy-coated peanuts. When the mutes finally come off, it is like the moment in the Wizard of Oz when the color comes on: on: comes color the when Oz of Wizard the in moment the like is it off, come finally mutes the When peanuts. taffy-coated into

feels like Civil War era brass band band brass era War Civil like feels Annie Gentle bending. genre Rindfleischian of bit classic a in music show old-time American

also muted. The sound of brass instruments playing loud with mutes provides a nice chew to the music, like getting your teeth teeth your getting like music, the to chew nice a provides mutes with loud playing instruments brass of sound The muted. also

like most waltzes, it is able to express a little sadness while seeming happy on the surface. The ending turns in the direction of of direction the in turns ending The surface. the on happy seeming while sadness little a express to able is it waltzes, most like

moving canon theme played loud on a muted trumpet, and repeated – this is, after all, what happens in a canon – in the horn, horn, the in – canon a in happens what all, after is, this – repeated and trumpet, muted a on loud played theme canon moving

builds to a rollicking waltz, and and waltz, rollicking a to builds warte Warte, song German The contrasts. dynamic and character, in shifts changes, tempo of

, opens a fast fast a opens , Canons movement, second The other. the immediately then and way, one moment one at leaning sounds, new and

, followed by a 19th century hymn. The arrangements all bear the Rindfleisch stamp: lots lots stamp: Rindfleisch the bear all arrangements The hymn. century 19th a by followed , Songs Vintage Four with ends CD The

and enter in a different key, we know something strange is happening. Andy is able to ride right on the edge between old old between edge the on right ride to able is Andy happening. is strange something know we key, different a in enter tuba and

, begins with a little trio in trumpets and horn, but when the trombone trombone the when but horn, and trumpets in trio little a with begins , Introitus movement, first The colors. of palette Medieval

other. As an example of mockery disguised as pomp, this piece cannot be beat. be cannot piece this pomp, as disguised mockery of example an As other.

completely of our own era. The brass writing is muscular, with rich dissonance working together with (and against) an almost almost an against) (and with together working dissonance rich with muscular, is writing brass The era. own our of completely

trumpet and trombone, while supposedly collaborating to express the nobility of royalty, are almost constantly at odds with each each with odds at constantly almost are royalty, of nobility the express to collaborating supposedly while trombone, and trumpet

Renaissance song. The two movement titles sound old. Some of the harmonic language sounds old. The attitude, however, is is however, attitude, The old. sounds language harmonic the of Some old. sound titles movement two The song. Renaissance

away. I would never have thought Andy had inside of him this wonderfully twisted appreciation of the dark side of humanity. The The humanity. of side dark the of appreciation twisted wonderfully this him of inside had Andy thought have never would I away.

– a a – canzon a is title the in to referred “zone” The new. the and old the between intersection some at voice musical its found piece

When I heard Ben and Tim start to record this piece, it sounded incredibly strange to me. Happily, that strangeness never went went never strangeness that Happily, me. to strange incredibly sounded it piece, this record to start Tim and Ben heard I When

sight. Andy had written us a piece that was visceral, energetic, fun to play, fun to listen to, and just all-around satisfying. The The satisfying. all-around just and to, listen to fun play, to fun energetic, visceral, was that piece a us written had Andy sight.

. For us Meridians, it was love at first first at love was it Meridians, us For . Zone the In was Ensemble Arts Meridian the for wrote Rindfleisch Andrew piece first The

her sickly ears, and to those of her newly crowned husband, it is a stately fanfare of elegant royalty and refinement. Music fit for a King. a for fit Music refinement. and royalty elegant of fanfare stately a is it husband, crowned newly her of those to and ears, sickly her

coupled with her tortured psyche (of power-lust, murder, paranoia and guilt), produces a fanfare that is grotesque, lop-sided and deranged. But to to But deranged. and lop-sided grotesque, is that fanfare a produces guilt), and paranoia murder, power-lust, (of psyche tortured her with coupled

NOTES ON THE PROGRAM THE ON NOTES

Her music is scored for two, as of yet, un-invented instruments and she spares no expense to have them hastily and awkwardly constructed. This, This, constructed. awkwardly and hastily them have to expense no spares she and instruments un-invented yet, of as two, for scored is music Her

Shakespeare’s Lady MacBeth, having just assumed the throne alongside her husband King, conceives of a fanfare to be played at his every entrance. entrance. every his at played be to fanfare a of conceives King, husband her alongside throne the assumed just having MacBeth, Lady  Shakespeare’s  Andrew Rindfleisch Andrew Rindfleisch

CREDITS AND ACKNOWLEDGEMENTS ANDREW RINDFLEISCH IN THE ZONE WITH THE MERIDIAN ARTS ENSEMBLE Producer: All tracks produced by Andrew Rindfleisch ANDREW RINDFLEISCH Engineer: David Yost In the Zone (2009) for Brass Quintet (7:08) Mastering: Matthew Zimmerman, David Yost 1 I. Introitus (2:14) 2 II. Canons (4:54) IN THE ZONE Cover Art: Collage Cube 2 by Edwin Wade Design: Gusto Designs, LLC, Lakewood, Ohio Four Fanfares for Two Trumpets (2011) (5:16) Notes: Daniel Grabois 3 I. Strict, relentless (1:21) 4 II. Intense (0:34) 5 III. Driving, articulated (0:49) Innova Director: Philip Blackburn 6 IV. Austere (2:32) Operations Manager: Chris Campbell

Publicist: Steve McPherson in the zone in the zone 7 Fanfare (1988) for Brass Quintet (1:10) Innova is supported by an endowment from the McKnight Foundation 8 A Little Fanfare Music (by Lady MacBeth) for Trumpet and Trombone (2:46) All composition copyrights owned by Andrew Rindfleisch (ASCAP) All compositions published by Manzo Music: manzomusic.com Four Vintage Songs (Arranged by Andrew Rindfleisch) (2011) for Brass Quintet (15:08) Also by Andrew Rindfleisch (with Zeitgeist) on innova: NIGHT SINGING (innova #785). 9 I. Warte, warte, nur ein Weilchen (1922) by Walter Kollo (3:45) 10 II. Gentle Annie (1856) by Stephen Foster (5:09) 11 III. When You Were Sweet Sixteen (1898) by James Thorton (3:00) 12 IV. Ring de Banjo (1861) by Stephen Foster (3:14)

12 Abide With Me by Henry Monk (1861) (5:24) Arranged for Brass Quartet by Andrew Rindfleisch (2011)

All tracks composed and arranged by Andrew Rindfleisch Meridian Arts Ensemble: Jon Nelson and Tim Leopold, trumpets, Daniel Grabois, horn, Benjamin Herrington, trombone, Raymond Stewart, tuba innova 850 innova 850

innova is the label of the American Composers Forum. © Andrew Rindfleisch, 2013. All Rights Reserved. Andrew Rindfleisch Meridian Arts Ensemble   MERIDIAN ARTS ENSEMBLE innova Recordings, 332 Minnesota Street E-145, St. Paul, MN, 55101, USA   www.innova.mu andrewrindfleisch.com manzomusic.com