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

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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.

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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. He serves also as Treasurer of the Mid- Atlantic Chapter of NACUSA.

The Hampton Roads Woodwind Quintet Friends Making Music The Hampton Roads Woodwind Quintet (HRWQ) consists of a consortium of musicians from the Hampton Roads area that first came together in 2007 to perform at the Experiencing Villa-Lobos International Festival held February 2008 year at Virginia Commonwealth University. The musicians of the HRWQ are Wayne Hedrick, flute, Harvey Stokes, oboe, Rena Long, English horn, Marvin Western, clarinet, and Stephanie Sanders, bassoon. Wayne Hedrick was the principal flutist of the United States Air Force Heritage of America Band for over 20 years. He has an extensive discography of over 70 albums, including solo flute and harp recordings, chamber music, large wind ensembles, and studio recordings. He has performed or recorded with the USAF Heritage of America Band, the U.S. Air Force Band in Washington D.C., the National Chamber Players, the National Symphonic Winds, the Virginia Symphony and the Williamsburg Symphonia. Wayne performed at the 6th International World Harp Congress and the 2000 National Flute Association Convention. Harvey J. Stokes, oboist is Professor of Music at Hampton University. He has taught also at Miami University, Christopher Newport University, and the College of William and Mary. His oboe performance experiences include those with the Virginia Symphony, the Tidewater Winds, Symphonicity-The Symphony Orchestra of Virginia Beach, the Millennium Symphony, and the Royal Ethiopian Philharmonic. His degrees are from Michigan State University (Ph. D.), The University of Georgia (M. M.), and East Carolina University (B. M.). Currently, he serves on the National Council of the Society of Composers, Inc. as well as the National Association of Composers USA. He is the author of two books on music as well as an award-winning composer of numerous works. Rena L. Long, English hornist, received her Bachelors of Music degree from West Virginia University in oboe performance and music history. She earned her Masters of Music at Duquesne University in oboe performance and was certified in Music Education. Currently, she teaches at Oakland Elementary in Suffolk, Virginia. She enjoys playing with the Tidewater Winds and Symphonicity-The Symphony Orchestra of Virginia Beach. She is a private piano and oboe instructor. She is an active member of the American Orff-Schulwerk Association, Music Educators National Conference, and Virginia Educators Association. Marvin Western, clarinetist, is an active recitalist and chamber music performer, and the founding artistic director of the Virginia Chamber Music Academy, and the Hampton University “Faculty and Friends” chamber music concert series. He served for four years as the position of Artistic Director and Conductor of the Chesapeake Bay Wind Ensemble. He holds the degrees of Doctor of Musical Arts from Shenandoah University, Master of Music 5 from Pacific Lutheran University, and Bachelor of Science in Music Education from the Colorado State University- Pueblo. He has served on the faculty of Hampton University, and on the adjunct faculties at Christopher Newport University and Elizabeth City State Universities. Stephanie K. Sanders, bassoonist, serves Assistant Professor of Music (Woodwinds) and Assistant Band Director Spartan “Legion” Marching Band and Director of the Jazz Ensemble at Norfolk State University. She earned the Bachelor of Music Education from Jackson State University and the Master of Music in Applied Music- Bassoon from the University of Houston. Her performing history includes: Symphonicity – the Symphony Orchestra of Virginia Beach, the Tidewater Winds, Rajazz Unplugged, Woodlands Symphony, Brazos Valley Symphony, Texas Music Festival. She is an active performer and clinician. In addition she has been recognized in Who’s Who Among America’s Teachers (2005, 2006 and 2007).

Jeraldine Saunders Herbison, composer, and public school music teacher, retired, directed orchestras, band, chorus, general music classes, ESEA libraries, for 34 years. She studied theory and composition with Undine Smith Moore at Virginia State University, Claire Boge and Tom Clark at the University of Michigan Division of Interlochen, Music and Computer composition with Harvey Stokes, HU. Her instrumental studies include Violin, with Thomas Bridge, VSU, Percy Kalt at Interlochen, viola and violin with Ray Montoni, University of Richmond, cello with James Herbison at Hampton University, and Alex Segal, University of Alaska., voice with Willis Patterson at VSU. She also studied chamber music, with James Herbison at HU, and Alex Segal with the Philadelphia String Quartet. Five of her string orchestra pieces which include, Suites No. 1 in C, Suite No. 2 in F, Three Pieces for Winter, Theme and Variations for String Orchestra, and Marching Through Pierrot's Door formerly published by Velke Publishing, are or have been listed in the Lucks Music Library. Two art songs, “The Rainy Day” and “Love Me Not”, are featured on a CD by Sebronette Barnes entitled You Can Tell The World. Two art songs with scores and CD accompaniments, “We Met By Chance”, and “A List of Things I’ll Not Forget” are found in A New Anthology of Art Songs by African American Composers selected by Simmons and Wagner. A photo, biography, and listing of her piano and cello music are found in the book From Spirituals to Symphonies by Helen Walker-Hill. Additional piano, chamber and vocal works are listed in anthologies by Selma Epstein, and Hildred Roach. She has received commissions for: A piano quartet “Melancholy on the Advent of Departure for the Andersen Quartet; Trio no. 3 a piano trio for piano, violin, and cello by the NOVA trio; Concerto No. 1 for cello and orchestra, and Concertino for Viola and orchestra, by the AACM Society; Narrative of Sojourner Truth: “Ain’t I a Woman” by Hope Montoni and the Richmond YWCA. Her Concertino for Viola and Orchestra was performed in February, 2013 in Los Angeles, CA by the AACM Society along with her Suite No. 2 in F, and two movements from her Symphony No. 1. Jeraldine is currently principal second violin, and alternate cellist/violist with the York River Symphony Orchestra (YRSO) The YRSO, where she currently holds the title “Composer in Residence”, has performed several of her orchestra pieces since 2002; Symphony No. 1, Concerto No. l for cello and orchestra, Promenade for Flute, Clarinet, Horn, Bassoon, Timpani and strings, and Suite No. 3 for Flute, Oboe and strings. Jeraldine, widow, is mother of one, grandmother of three, great grandmother of one, and a member of NACUSA, SCI, ACF, and ASTA.

Eun Kyong Jarrell, pianist, earned her Masters in Piano Performance from Yeungnam University in South Korea and a certificat de perfectionnement from Ecole Normale de Musique in Paris, France. At the age of five, she began her study of piano. During her childhood, she performed recitals including orchestral works in Korea, Japan and China. In 1995, she came to the United States in order to continue her post-graduate degree, and visited Hampton, Virginia. While visiting the area, she met her husband, Maxton Jarrell, an educator. She started her career in the United States as a performer and an educator. Until 2006, she served on the faculty at Hampton University and Christopher Newport University. In 2006, she traveled to Paris, France, to continue her study of piano literatures with Michael Wladkowski, a Chopin and Szymanowski specialist. During her residence in Paris, she worked with Devy Erlih, a violinist; her study of ensemble literature included the complete Violin and Piano Sonatas by Beethoven. She has performed as a soloist and a collaborator throughout the USA, Europe and Asia. She also has given premiere performances of works by Nigel Clarke and Martin Ellerby in the UK and Harvey Stokes in the USA. Since she returned to the United States, she presented a Literature and Art Project Series with young gifted program students in Williamsburg, Virginia, in 2009. She also performed a tour of concerts which celebrated Chopin's Bicentennial on the east coast of Virginia in 2010. She continued with the Bicentennial Series of Franz

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Liszt in 2011, a program dedicated to the works of one of the greatest pianists of all time. In 2012, she opened a tour featuring the music of the great impressionist composer Debussy in celebration of his 150th anniversary in Williamsburg, Virginia.

Paula Pressnell is the Artist-in-Residence at Chowan University in Murfreesboro, North Carolina. Mrs. Pressnell is a cum laude graduate of Salem College, where she was a piano student of Clemens Sandresky. In additional to her work at Chowan, Mrs. Pressnell maintains a private piano studio and is the organist at Murfreesboro Baptist Church.

Walter Ross, whose works have been performed in over 40 countries, is perhaps best known for his compositions featuring brass and woodwinds. Raised in Nebraska, he became a professional orchestral French horn player by the age of seventeen and went on to gain more performance experience in college as a member of the University of Nebraska symphonic band, and as a flute player with a baroque ensemble. Currently he plays bass in the Blue Ridge Chamber Orchestra. After four years of engineering and astronomy, he switched to music, receiving much of his early compositional training under Robert Beadell. While working on his doctoral degree at Cornell (where he studied under Robert Palmer and Karel Husa), he received an Organization of American States Fellowship to study composition privately under Alberto Ginastera in Argentina. The influences of his own extensive performance background and his musical training under composers who stressed bright orchestration and rhythmic excitement can be heard in many of Ross' over one hundred works. He likes to write music that musicians enjoy performing and audiences enjoy hearing. Many of his recent works are representative of his current interest in neo-modal, pandiatonic composition. Ross has already written a number of major orchestral concertos including ones for oboe and harp, bassoon, clarinet, piano, flute and guitar, trombone, tuba, double bass, and violin. He is currently writing a Concerto for 'Cello and Orchestra. He prefers the concerto form to that of the symphony because of its more varied possibilities for artistic expression in contrasting the solo against the orchestra. Three of his concertos are featured on his latest CD and five more have been recorded and will be released soon. In 1997 he wrote a cantata featuring the poetry of Rita Dove, American Poet Laureate. She sang as the soloist at the premier with the Charlottesville Oratorio Society. Recent choral works include Evensong and Lux Aeterna. Written to honor the victims of 9/11, Lux Aeterna has been performed at Ground Zero among many other locations. Ross has received a number of awards and prizes and many significant grants and fellowships. His work is widely performed, and many of his compositions have been published and recorded. Currently a resident of Charlottesville, Virginia, he has served as president of the Southeastern Composers League and served as a judge at international composition symposia. He has been a visiting composer at the Aspen Music Festival and a featured composer at several universities and forums and on national and international radio broadcasts, and a member of the board of the Capital Composers Alliance.

Jeanette Winsor studied piano with Clifford Herzer, Lois Rova Ozanich, and Shirley Harrison. She received a Bachelor of Music degree cum laude from Heidelberg College and a Master of Music degree in piano performance from Kent State University. She teaches piano in her studio in Virginia Beach and music appreciation, theory and piano at Tidewater Community College - Norfolk Campus, is the Applied Music Coordinator at TCC, accompanies the Virginia Beach Chorale, and serves as an adjudicator for the National Guild of Piano Teachers. She is also the pianist for the Hardwick Chamber Ensemble, and has been a piano soloist with Symphonicity. Jeanette holds permanent National and State Professional Teaching Certificates from MTNA and VMTA as well as certification through the American College of Musicians. Jeanette is listed in the 21st edition of Who's Who of American Women.

John Winsor (B.Mus., Heidelberg College; M.A., Kent State University) studied clarinet Robert Marcellus of the Cleveland Orchestra and composition with John Rinehart and James Waters. He has taught music theory at the Armed Forces School of Music and at the Virginia Governor’s School for the Arts. He is a member of the Hardwick Chamber Ensemble and webmaster for the National Association of Composers/USA (NACUSA), the MusicLink Foundation, and the Virginia Music Teachers Association (VMTA) and a past Chairman of NACUSA’s Board of Directors. John's composition prizes include 1992 and 1995 Delius Awards, 1992, 1994, and 2004 VMTA Commissioned Composer awards, and the Modern Music Festival 2000 Film Scoring Competition prize. He has received grants from the American Music Center and from Meet the Composer, Inc. and ASCAP awards. He is the author of Breaking the Sound Barrier: An Argument for Mainstream Literary Music (iUniverse Writer’s Showcase), which won a Bronze Medal in ForeWord Magazine’s 2003 Book of the Year Awards.

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Chowan University Department of Music One University Place Murfreesboro, NC 27855 USA (252) 398-6295

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