The 2012-2013 Season is dedicated to Elliott Carter. The Concert Tonight is dedicated to John Korchok Founder and Director of Experimental Musicians New Jersey. Program Inventions on a Motive (1955) Michael Colgrass for Percussion Quartet Motive Invention 1 Invention 2 The William Paterson University Invention 3 Invention 4 Invention 5 presents Invention 6 Finale John Henry Bishop, Travis Salem, Kiana Salameh, Dakota Singerline Peter Jarvis - Conductor New Music Series Out of Frame (2012) James Romig Peter Jarvis, director For Three Marimba Players Tim Malone, Steve Nowakowski & David Endean John Ferrari – Conductor with guests Without a Doubt (2009) * Dominic Donato Lynn Bechtold, Dan Cooper For Solo Drum Set and Peter Jarvis Gene Pritsker Inside (2006) Gene Pritsker For Electronic Sounds Invention 2 (2006) Daniel Levitan For Percussion Duo Monday, April 1, 2013, 7:00 PM Patrick Lapinski & Mike Jacquot Peter Jarvis - Coach Shea Center for the Performing Arts Paroxysm Extract (2012) Gene Pritsker For Electronic Sounds The Frame Problem (2003) James Romig For Percussion Trio Tim Malone, Steve Nowakowski & David Endean Payton MacDonald - Conductor Invention 2: Daniel Levitan Red Eye (2012) * Evan Hause Invention 2 is a short percussion duos in which the choices of instrumentation, Trio for Guitar, Bass and Drums tempo, and dynamics are left to the performers. The musical interest lies is the interplay Dan Cooper, Peter Jarvis & Gene Pritsker of rhythms between the two players, so that the pieces should be immediately recognizable no matter which instruments are used. Paroxysm Extract: Gene Pritsker Controlled Improvisation Number 2 (2012) Peter Jarvis I wrote Paroxysm as a commission for a dance piece by Erin Bomboy . The For Amplified or Electric Violin and Drum Set music is very textural. Using mostly acoustic instruments I modify electronically these Lynn Bechtold & Drum Set timbers to create new sonic textures. This is a 60 seconds extract from the original 7 minuet composition * = World Premiere - Gene Pritsker Program Notes The Frame Problem: James Romig The Frame Problem, composed in 2003, was commissioned by a consortium of Inventions on a Motive: Michael Colgrass percussion ensembles from Iowa State University, Susquehanna University, Truman Inventions on a Motive by Michael Colgrass is among the earlier pieces State University, University of Akron, University of Illinois, University of Northern Iowa, composed for percussion quartet and is often played by college percussion ensembles. University of North Florida, University of Southern Mississippi, Western Illinois Colgrass, a Pulitzer Prize winning composer, is a pioneer in percussion ensemble as both University, and William Patterson University. The work's instrumentation comprises player and composer. He has composed many pieces that have obtained status of multiple "trios": each player performs on a trio of woods, metals, or small drums, while standard repertoire for percussion groups. a fourth trio—of larger drums—is distributed between the three parts. The work, a strict circular canon (each part is identical, merely starting from a different point on a Out of Frame: James Romig looped continuum), also incorporates a paradigmatic "trio of trios" into its large-scale Out Of Frame, for three marimbas (or three players sharing two instruments) structure: a particularly explosive and distinct section of the work occurs three times in was commissioned in 2012 by the Millikin University Percussion Ensemble. The work, each part (nine times, therefore, in total), functioning as a kind of "keystone.” Over the lasting approximately eight minutes, is a companion piece to The Frame Problem, a span of the work, this short section is heard twice as a solo (once in the metals; once in 2003 percussion trio scored for un-pitched drums, woods, and metals. Out Of Frame is a the small drums), twice as a duet between players (woods and small drums; woods and strict canon: each of the three players performs the same musical material, but in a metals), and finally as a trio that concludes the work. different octave and starting at a different point on a looped continuum. The title refers to a primary difficulty in designing robots and computer - James Romig programs with "artificial intelligence." Human brains have a remarkable ability to "frame" information: in an instant, we are able to observe and organize an enormous amount of data, sorting and categorizing what is relevant and what is not. When Without a Doubt: Dominic Donato listening to music, one of the primary hierarchical "frames" we create is that of Without a Doubt (2009) was written for Peter Jarvis and his drum set meter. In this percussion trio, multiple distinct meters occur concurrently—in different anthology. A driving rhythmic line on low and high tom-tom evolves with lines, at constantly shifting dynamic levels, and in different timbral aggregations— accumulating bass drum and cymbal interjections. This music alternates providing human listeners with the opportunity to resolve multiple overlapping with a more flexible unhurried music creating a somewhat “schizophrenic” “frames” simultaneously. solo for drum set. Without a Doubt is part of my series of four drum - James Romig solos - djembe, timpani, 7 drums, drum set. - Dominic Donato Red Eye: Evan Hause Inside: Gene Pritsker Red Eye was written in response to a request from Gene Pritsker and Peter Inside consists entirely of sounds produced by playing inside the piano. I Jarvis for a piece for Electric Guitar and Drums. The opening riff came from an opened up my beat up Up right and recorded as many sounds I could think of making improvisation (one of many) I did on guitar with a drummer a few years ago. I developed inside it. Including harmonics, scrapes, glissandos, muted strings with pedal and the riff compositionally and, with Gene and Peter’s consent, added the electric bass that without, etc. i put these sounds into my computer and started affecting them and I had been hearing in my head. It is written largely in 5/4, though this is due mainly to arranging them until I felt I created a coherent composition. I hope I have succeeded in the guitar riff, as the surrounding music is often layered in multiple meters (7/4 across making a lucid piece of music inside the span of 60 seconds and saying inside the piano. 5/4, as one example). The title “Red Eye” came to me in the middle of writing this piece, - Gene Pritsker and it stuck firmly. There is no special meaning by it. - Evan Hause Controlled Improvisation Number 2: Peter Jarvis ballet, opera and jazz ensembles. He organized the percussion sections for Gunther Controlled Improvisation Number 2 for amplified or electric violin and drum Schuller’s recordings and concerts, as well as for premieres of new works by John Cage, set was completed on September 2, 2012. The piece was written for and is dedicated to Elliott Carter, Edgard Varese, and many others. During this New York period he friend and colleague Lynn Bechtold. continued to study composition with Wallingford Riegger (1958) and Ben Weber (1958- This is the second piece in an ongoing series of “controlled improvisations.” 60). Throughout the piece the duo weaves in and out of sections that are completely Colgrass has received commissions from the New York Philharmonic and The composed, one player having a composed part while the other improvises and other Boston Symphony (twice). Also the orchestras of Minnesota, Detroit, San Francisco, St. sections of free improvisation. Louis, Pittsburgh, Washington, Toronto (twice), the National Arts Centre Orchestra - Peter Jarvis (twice), The Canadian Broadcast Corporation, The Lincoln Center Chamber Music Society, the Manhattan and Muir String Quartets, The Brighton Festival in England, The Biographical Information Fromm and Ford Foundations, The Corporation for Public Broadcasting, and numerous other orchestras, chamber groups, choral groups and soloists. Lynn Bechtold: He won 1978 Pulitzer Prize for Music for Déjà vu, which was commissioned Violinist Lynn Bechtold has appeared in recital throughout the U.S., Canada, and premiered by the New York Philharmonic. In addition, he received an Emmy Award Holland, and Switzerland. An advocate of contemporary music, she has worked with in 1982 for a PBS documentary “Soundings: The Music of Michael Colgrass.” He has composers such as Gloria Coates, George Crumb, John Harbison, Steve Mackey, and been awarded two Guggenheim Fellowships, A Rockefeller Grant, First Prize in the Morton Subotnick. In 2001, she gave the premiere of "Violynn," a work for violin and Barlow and Sudler International Wind Ensemble Competitions, and the 1988 Jules Leger electronics written for her by Alvin Lucier. As a member of groups that have included Prize for Chamber Music. Zentripetal, the East Village Opera Company (rock/opera band), the SEM Ensemble, and - From michaelcolgrass.com the NY Symphonic Ensemble, Ms. Bechtold has performed around the world, and has been heard on CBC Radio, CBS-TV, NHK-TV, and WNYC. Other programs have been with Dan Cooper: Absolute Ensemble, DJ Spooky, North/South Consonance, Parsons Dance, Paul Taylor Dan Cooper’s music has been noted in The Associated Press, American Record Dance Company, the Vermont Symphony, VisionIntoArt, VOX Opera Readings, and Pablo Guide, Berkshire Eagle, Boston Globe, CurtainUp, Fanfare, Greenwich Times, Metroland Ziegler. In addition, she's performed with entertainers such as Boyz II Men, Willie Colon, Albany, NMC, The New York Times, Times Union, and Time Out New York, among others Sheryl Crow, Escort, Roberta Flack, Left Banke, Smokey Robinson, J-Pop band SMAP, and - "contemporary impressionism," "inventive," "creative," "vibrant," "drawing on Donna Summer. An active performer, she has performed at diverse venues such as Alice vernacular styles," "especially fascinating," "full of instrumental virtuosity and sly Tully Hall, the Blue Note, the Frick Museum, the Harvard Club, Joe's Pub, Merkin Hall, humor," "utterly charming," "incorporates blues...into a contemporary context," nublu, le Poisson Rouge, St John the Divine, and Zankel Hall.