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View PDF Document THECRANESCHOOLOFMUS~ State University of New York College at Potsdam SOCI~PY O~ COMPOS~2\S, I!J\[C. ~~(jIO'JlJJ CO?ff~~~9{CE The Crane School of Music SUNY Potsdam November 7 - 8, 1997 PROGRAM I Friday, November 7, 1997 Sara M. Snell Theater 3:30 p.m. Greeting Dr. James Stoltie Dean, The Crane School of Music REVERIE ... .. ..... .... .... .. ............. .... .. .... Marshall Onofrio Carol Heinick, Piano CITHAERAIS ESMERALDES. James Chaudoir LeAnne Wistrom, Flute COUPLET . David Gompper David Gompper, Piano SAN JO .. .. .. .. ...... ....... ............ ... .. .. ... .. .. Paul Yeon Lee Kenneth Martinson, Viola AUTUMN SHADOWS . David Heinick Overlooking the Desert Afloat on the Lake Rai n in the Aspens Riding at Daybreak The Flute Autumn Leaves The Frost Home Robert Loewen, Baritone Alan Woy, Clarinet Matthias Wexler, Cello David Heinick, Piano - l - PROGRAM II Friday, November 7, 1997 Helen M. Hosmer Hall 8:15 p.m. CAULDRON .. .. .... .. ... .... .. ... .... ... .... .. .. .. ............ .. .. David Heuser · Crane Symphony Orchestra Richard Stephan, Conductor DESERT LIGHT . Stephen Gryc Potsdam Brass Quintet John Ellis, Trumpet James Madeja, Trumpet Roy Schaberg, Horn Mark Hartman, Trombone Peter Popiel, Tuba KURBITSMALNING . Ulf Grahn John Lindsey, Violin Crane Chamber Choir Daniel Gordon, Conductor CYCLES OF MOONS AND TIDES. Mary Jeanne van Appledorn Crane Wind Ensemble Timothy Topolewski, Conductor - 2 - PROGRAM III Saturday, November 8, 1997 Sara M. Snell Theater 9:00 a.m. SEXTET ............................................................... William Ryan Katherine McKenna, Alto Saxophone Matthew Sisia, Alto Saxophone Jayson Velez, Tenor Saxophone Mark Stopek, Trumpet Jeffrey Swift, Trombone Thaddeus Hotto, Trombone Michael Schaff, Conductor 20 E. 40 W. for Cello and Tape. John Richey Andra Lunde, Cello SOLILOQUY ..................................................... Gregory Wanamaker John Lindsey, Violin NEON SKETCHES . Scott Brickman Bright Neon Soft Fluorescence Big Band Dancing Alan Woy, Clarinet David Heinick, Piano ARIADNE'S CROWN Terry Winter Owens Carol and David Heinick, Piano PHOENIX Andrew Bonacci Mark Hartman, Trombone THE OTHER STREAM Ann Silsbee John Lindsey, Violin Olga Gross, Piano - 3 - PROGRAM IV Saturday, November 8, 1997 Sara M. Snell Theater I l :OOa .m. THE UPPER WEST SIDE . ..... ..... .. ..... ............. .. ....... ... Paul Steinberg Kiosk Ants The San Remo The Hayden Planateri um Hack Attack Blues Bethesda Fountain Mathias Wexler, Cello FOUR HUMORS ............................................... Elizabeth Walton Vercoe Phlegmatic Choleric Melancholy Sanguine Alan Woy, Clarinet David Heinick, Piano OBOE QUINTET. Richard Brooks Allegro molto; Largo, molto espressivo; Allegro molto Glenn Guiles, Oboe John Lindsey, Violin Sarah Hersh, Violin Kenneth Martinson, Viola Mathias Wexler, Cello THREE THUMBNAIL SKETCHES. Vernon Taranto Lento, sempre rubato Allegro agitato Allegro spiritoso Douglas Rubio, Guitar AIRS AND FANCIES ................................................. Michael Dellaira Vivace (piu presto possibile); Adagio; Allegro Gail Schaberg, Flute Glenn Guiles, Oboe Alan Woy, Clarinet Roy Schaberg, Horn Kim Wangler, Bassoon - 4 - PROGRAMV Saturday, November 8, 1997 Sara M. Snell Theater 2:00 p.m. MOON .... ... ....... ... ....... .. ... ...... ... .. ............. Larisa Montanaro for Voice and Tape Larisa Montanaro, Voice MUSE-INGS ................................. .. ..... ... .. .. Gregoria Karides Suchy Polyhymnia (Song, Rhetoric and Geometry) Erato (Love) Melpomene (Tragedy) Cleio (History) Calliope (Epic Poetry) Terpsichore (Dance) Jessica Suchy-Pilalis, Harp UNDERTOW .. ...... ...... .. ........ ... .... ... Margaret Fairlie-Kennedy Sonya Monosoff, Violin Edward Murray, Piano CLOISTERS . Andrew Simpson Douglas Rubio, Guitar HOLLOW GROUND II . ..... .. .... ......... .. ....... .. ...... .... .. Tom Lopez for Voice and Tape Larisa Montanaro, Voice FIRE DANCE Salil Sachdev Rodolfo Brito, Piano - 5 - ABOUT THE COMPOSERS Andrew Bonacci, a native of New Hartford, New York, received the Bachelor of Music degree in Piano Performance from the State University of New York, College at Fredonia, and Master of Music degrees in Piano Performance and Music Theory and Composition from the University of Louisville School of Music in Louisville, Kentucky. He is currently a graduate student at the University of Kansas where he is completing the Doctor of Musical Arts degree in Music Composition. His principal teachers include Walter S. Hartley, Steve Rouse, Frederick Speck, and Charles Hoag. Scott Brickman (b. 1963, Oak Park, Illinois) received his Ph.D. in music composition from Brandeis University. Currently he is an Assistant Professor of Music at the University of Maine at Fort Kent, where he directs the Chamber Choir and Jazz Combo and teaches Music History and Theory. NEON SKETCHES was commissioned by the Maine Music Teachers Association and first performed at the Music Teachers National Association Quad-State Convention in Boston on October 25, 1995. The piece is a merger of 12-tone music and jazz in a neoclassical guise. The pitch materials of all movements are derived from 12-tone rows whose first six pitches are sub­ sets of the octatonic scale, a scale often used by jazz musicians. NEON SKETCHES is dedicated to my daughter, Sophie Rebecca Brickman, in celebration of her first birthday, October 24, 1995. Richard Brooks QUINTET FOR OBOE (SAXOPHONE) AND STRINGS was commissioned by the New York State Music Teachers Association. The premiere performance was given at Ithaca College in October, 1994 at the NYSMTA Convention. From earliest stages of composition, it was in­ tended that the work be equally suited to performance with saxophone as well as oboe. Though there are distinct sectional divisions creating a broad ternary structure, it was conceived as a single movement. The middle section in a slower tempo is perceived as an interruption of the main, fast movement. All the material is derived from a twelve tone set which begins and ends with a minor triad. The inversion, therefore, begins and ends with a major triad. These chords are used in the accompaniment figures at the begining and elsewhere. The primary melodic idea presented first by the oboe (sax) combines the interior six tones of the row and the inver­ sion. This melody is also highly tonally inflected. At the beginning, three conflicting "meters" are juxtaposed: the five-eight accompaniment in the violins and viola, a six-eight (three-four) pizzicato pattern in the cello and four-eight pattern of the melody. These various meters vie for assertiveness and each predominates at various moments in the piece. The melody is subjected to intense, contrapuntal treatment as well as motivic development. The middle, slow section also plays with meters using repetitive 8-7-6-5-4-5-6-7-8 alternation of measures. James Chaudoir (b. 1946, Baton Rouge, Louisiana) is Professor of Music Composition and Theory at the University of Wisconsin Oshkosh and has written a wide range of works for vocal and instru­ mental ensembles-from solo performer to choir and orchestra-and many pieces incorporating dance as well as the electronic medium. A highly published and commissioned composer, his works have been performed in Europe, Canada, the Far East and major cities throughout the United States. In addition to composing, he is an active performer, conductor and supporter of contemporary music. - 6 - CITHAERIAS ESMERALDA (1982) is named after the species of butterfly found in the forests of Brazil and Peru. Its wings are transparent except for a small color patch on the hind wings. This color patch may vary from blue to rose to violet. When the butterfly is in flight, it gives the impression of a flower petal blowing in the wind. The work was written for Kenneth Andrews. Michael Dellaira performed widely as solo guitarist with numerous rock groups from 1966-72. He began formal studies with Robert Paris in 1972, with Mario Davidovsky and Roger Sessions at the Composer's Conference, with Goffredo Petrassi at the Accademia di Santa Cecilia, and finally with Milton Bahhill and Paul Lansky at Princeton, where he received his Ph.D. He was awarded first prize in the American Society of University Composers' first student competi­ tion and, in addition to a Fulbright-Hays fellowship to Italy, has received awards from the ASCAP Foundation, the New Jersey Arts Council, and the Mellon and Ford Foundations. He has taught theory, composition, and electronic and computer music at The George Washington University, Princeton, and Union College. He left academia in 1986 to reside full time in New York City. Since - 1995, starting with Three Rivers for chamber orchestra, his music has integrated the harmonic and rhythmic language of American popular music with the techniques and formal designs of the Euro­ pean classical tradition. His concert music is recorded on Opus One and CRI. He is currently Vice President of the American Composers Alliance, and also serves on the board of the New York Virtuoso Singers. Margaret Fairlie Kennedy received her Bachelor of Science degree from Juilliard, and Master of Music degree from Converse School of Music. Her primary composition teachers have included E. Gerschcfski and W. Riegger. She has received numerous commissions and awards, including the Georgia Commission on the Arts, New York Composers Forum, Southeast Regional Composers Forum, Meet the Composer, Pro-Mozart Society, Tampa Bay Composers Forum Competition, NEH, NEA, and the
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