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Mid-Atlantic Chapter National Association of Composers USA (NACUSA) Mid-Atlantic Chapter presents A CONCERT OF CHAMBER MUSIC FOR WINDS AND STRINGS Sun., January 26, 2014, 3:30 pm Turner Auditorium, Chowan University One University Place Murfreesboro, NC 27855 USA The National Association of Composers/USA (NACUSA) is a 501 (c) (3) non-profit organization. Founded by Henry Hadley in 1933, it is one of the oldest organizations devoted to the promotion and performance of American concert hall music. Many of America's distinguished composers have been among its members. NACUSA presents several chamber concerts each year that feature music by its members. NACUSA has chapters in the Mid-South region, Los Angeles, New York, San Francisco, Tennessee, Texas, the Mid-Atlantic region, and Washington/Oregon. For the past thirty years, NACUSA has sponsored a Young Composers Competition for composers between the ages of 18 and 30. Many of today's best known American composers have won this competition early in their careers, and their association with NACUSA has often helped launch these careers. NACUSA also publishes Composer/USA three times a year, in which issues important to composing concert music are discussed. NACUSA/Mid-Atlantic was founded in 1997. It performs one or more chamber music concerts each year that feature music by its members. Past seasons have included concerts at Old Dominion University, Christopher Newport University, the University of Richmond, the Virginia Beach Contemporary Arts Center, the Richmond Public Library, Tidewater Community College, the College of William and Mary, Hampton University, Chowan University, and the Chesapeake Central Library. National Association of Composers/USA P.O. Box 49256 Barrington Station Los Angeles, CA 90049 www.music-usa.org/nacusa/index.html Program Hummingbirds for wind quintet and piano John Winsor The Hampton Roads Wind Quintet Jeanette Winsor, piano Fantasia for solo violoncello James Guthrie James Guthrie, violoncello Piano Sonata No. 5 (CGH) Harvey Stokes I. Largo II. Giocoso III. Andante eroico Eun Kyong Jarrell, piano The Faerie Queen for wind quintet and piano John Winsor The Hampton Roads Wind Quintet Jeanette Winsor, piano Eight Duos for Flute and Violin Jeraldine Herbison I. Winding Tune II. Daybreak III. Frolic IV. After You V. Curiosity VI. Skipping Song VII. A Serpentine Path Through Wildflowers VIII. Perpetual Motion William Grunow, Flute Jeraldine Herbison, Violin Harlequinade for five winds and piano Walter Ross I. Allegro giubiloso II. Affetuoso III. Animato IV. Allegro energico The Hampton Roads Wind Quintet Paula Pressnell, piano 2 Work Notes James M. Guthrie Fantasia for Solo Violoncello seeks to reconcile two opposing ideas. The first is a short agitated theme based on [0,1,7,10]. The second idea is a lyrical theme based on a synthetic multi-octave whole-tone scale. The piece is constructed along the lines of a sonata form. Through the development process, elements of both ideas are combined to form a brief quotation from the Prelude of the Bach G-Major Cello Suite. The quotation is then developed and eventually consumed by the continuing conflict between the two opposing elements. Jeraldine S. Herbison Eight Duos for Flute and Violin, which are about a minute each, are musical visions, descriptions, playtimes, and conversations reminiscent of children. As is true of most music each are images produced in the mind’s eye through the employment of pitches, rhythms, harmonic color, forms, and instrumental devices. In most cases I decided upon a title after the duet was completed. However, there were other times I wrote a duet to solve a technical problem or to draw a spiral. In Winding Tune, my object was to keep the sixteenth notes winding from one part to the other, until the end. In Daybreak, the trill, and the gray-yellow harmony, with soft staccatos, made me visualize more than birds, but also hear the early morning. Frolic is kids at play, but for the violin it is also an exercise in string crossing on two pitches that must sound except for texture. After You gives each part its “hour upon the stage”. Curiosity is a canonic style more like “follow the leader”, a childhood game. In Skipping Song, my philosophical, compositional and theoretical object was to work with opposing forces which would finally come to an agreeable end. The flute begins in 2/4, and the violin is in 6/8. Later there is an opposition in key with each melody keeping its own logical pitches, but gradually, the forces come together in both rhythm and key to end harmoniously. In A Serpentine Path Through Wild Flowers, I used abrupt modulations to give the feeling of changing directions and changing colors in the flute part, while holding stable a walking part in the violin. I attempted to draw a sound perception of flowers by the looping over and under of the sixteenth notes. The flowers did not need to be wild, but the petals needed to flow delicately in a soundless breeze. Perpetual Motion is more about acceleration, bumping, sliding yet hanging together to the end. Walter Ross I wrote Harlequinade as a commission from the Albemarle Ensemble. I enjoy writing for wind instruments, and so, when I was asked to write a sextet for piano and winds, a combination of instruments that I have already been thinking about for some time, I eagerly accepted their request. I titled this work to refer to the old Italian improvised comedy, the commedia dell'arte. A performance of such comedy became known as a "harlequinade" after the principal character in the troop--Harlequin. My work is, thus, lighthearted in character. The first movement is in a simple ABA'coda form. It opens with running eighth-notes in the piano with rhythmic punctuation in the winds. The tempo slows in the middle section and the music is more lyrical. After the return to the A section in a varied and expanded manner, a brief piano solo ushers in the coda, and the movement ends with a flourish. The second movement is in the manner of a rondo. The main idea, presented by the piano, is repeated several times with interruptions from the winds. The horn announces the principal theme of the scherzo movement. A long piano solo begins the central section, and the final section, introduced by the horn, returns to the opening ideas in varied form. The last movement is a lively dance, a galop, again with a slower, more lyrical, middle section. 3 Harvey Stokes Piano Sonata No. 5 (CGH) was composed during the summer/fall of 2013. The three movements are performed attacca. The work is composed to the memory of Dr. Carl G. Harris, who is the late Professor of Piano and Organ at Hampton University. Solemn and mournful expressions are presented in the first movement of the sonata, and are based on the notes C, G, and B in succession (representing the first letters of the name of the dedicatee). The work continues with more joyous expressions in the second movement. Finally, the concluding movement is heroic, and represents the great accomplishments of the dedicatee. John Winsor The Faerie Queen is one of several neoimpressionistic pieces I’ve written recently. It employs quartal harmony similar to that of Hindemith, but also attractive and pleasant instrumental colors and structural transparency that resemble the music of Maurice Ravel. It’s a fairly calm and atmospheric piece which is intended to evoke the impression of fairies flitting about. Hummingbirds is an energetic little encore intended to evoke the image of hummingbirds flitting about. 4 Biographies William A. Grunow, Flute, grew up in Fort Worth Texas, hearing the hymns his mother sang to him at bedtime, and hearing his father, a radiologist, practicing the piano and playing the pipe organ at church. His father decided that the flute would be his instrument, and so flute is what he began to play in the 5th grade. As soon as he could make tones, he was sent off to summer music camp at TCU. Within six months he was playing Bach with the church choir and taking weekly lessons from Dr. Guenther at TCU. From then until now he has played the flute in orchestra memberships in Junior High School through his residency at the University of Chicago where he played in the University of Chicago Symphony Orchestra. He moved to the Hampton Roads area in 1984 to become Chief of Pathology at the Veterans Affairs Medical Center in Hampton. In this area, he has played flute with the York River Band, the Hampton Roads Flute Choir, and the York River Symphony Orchestra where he is currently principal. Since 2007 he has performed solo parts in Mozart’s Flute and Harp Concerto, Delius’ Sleighride, Bizet’s “Galop” from Jeux D’enfants, In the Steppes of Central Asia, Herbison’s Promenade, and Suite No. 3 for Flute and Oboe, Resphigi’s Botticelli Triptych, Sibelius’ “Nocturne” from Belshazzar’s Feast Suite, Mozart’s 2nd movement of Symphony No. 40. At the Hampton University NACUSA concert in 2010, he played the flute part in Herbison’s piano quartet, I Heard the Trailing Garments of the Night, and in 2012 at the SCI conference at Christopher Newport University he performed her Four Soundscapes for Flute. Dr. Grunow, father of two, currently resides in York County, Virginia with his wife Patricia. He faithfully plays flute and sings with the chorus at Resurrection Lutheran Church where he is a member. James M. Guthrie (D.M.A., Louisiana State University, 1989, Professional Certificate in Studio Production, Berklee College of Music, 2012) currently serves as Associate Professor of Music, Music Industry Coordinator, and Conductor of the Meherrin Chamber Orchestra at Chowan University.
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