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Looking Back Recorded, Edited, and Mastered by Vincent Labelle at BOOM! Produced by Shannon Scott and Leonard Garrison

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Looking Back Recorded, Edited, and Mastered by Vincent Labelle at BOOM! Produced by Shannon Scott and Leonard Garrison CREDITS looking back Recorded, edited, and mastered by Vincent LaBelle at BOOM! Produced by Shannon Scott and Leonard Garrison. Cover photo by Shannon Scott. Recorded in May 2011 in Haddock Performance Hall, Lionel Hampton School of Music, the University of Idaho, Moscow, ID. Powell Flute, Yamaha alto flute, and Steinway piano. PUBLISHERS leonarD Garrison, flute // Jay Mauchley, piano Joseph Schwantner, Looking Back for flute and piano (2009): Schott Music. Elliott Carter, Scrivo in vento for solo flute (1991): Boosey & Hawkes. Donald Martino, Quodlibets for solo flute (1954): Dantalian, Inc. Vincent Persichetti, Parable for solo alto flute (1965): Theodore Presser Company. Robert Dick, Fish Are Jumping for solo flute (1999): Multiple Breath Music Company. Samuel Barber, Canzone for flute and piano (1959): G. Schirmer, Inc. Robert Beaser, The Old Men Admiring Themselves in the Water for flute and piano (1986): Schott Helicon Music Corporation. Joseph Schwantner, Black Anemones for flute and piano (1982): Schott Music. www.albanyrecords.com TROY1389 albany records u.s. Joseph schwantner Vincent persichetti robert beaser 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 elliott carter robert Dick albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 DonalD Martino saMuel barber © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. the Music Blessed in sleep and satisfied to languish, to embrace shadows, And to pursue the summer breeze, I swim through a sea that has Joseph SchwanTner (b. 1943), a Pulitzer-Prize winning composer who taught for many years at the no floor or shore, I plow the waves and found my house on sand Eastman School of Music, composed Looking Back (2009) on commission from many former students and and write on the wind; colleagues of flutist Samuel Baron (1925-1997). The commission memorializes Baron, and the work’s title refers both to nostalgia for him and use of sonorities from previous pieces. The composer notes the extreme Reprinted by permission of the publisher from demands the work makes on the performers: “There is something to be said for just being on the verge of PETRARCH’S LYRIC POEMS: THE RIME SPARSE AND OTHER LYRICS, translated and losing it –and really good players embrace that sometimes, and go for the jugular.” edited by Robert M. Durling, p. 366, Cambridge, Relentless virtuosity is certainly a feature of the first movement, “Scurry about…” Flute and piano begin Mass.: Harvard University Press. Copyright © and end in hectic unison but in between perform cross rhythms. The second movement, scored for flute alone, 1976 by Robert M. Durling. explores a freer and more lyrical character. The flutist repeatedly chants “ricordando,” or “remembering” in Italian. The movement features extended techniques such as simultaneous singing and playing, whistle The piece juxtaposes long lyrical lines, mostly in the low register, with pointed staccato outbursts in the high tones, and spit attacks. The third movement builds through long sequences towards a “Looking Back” to the register and scurrying, agitated figures. The three characters are at first clearly differentiated but are then beginning of the piece. intermingled, reflecting the ambiguity of the poem. For the first time in history, a major composer celebrated his own centennial in 2008 and is still actively Donald Martino (1931-2005) is best known for his lyrical twelve-tone compositions reflecting the style of writing. Elliott Cook Carter was born in New York on December 11, 1908. Over his unprecedentedly his teacher, Luigi Dallapiccola. Quodlibets (1954) is an early work, written before his immersion in serialism, long career, he has garnered more awards, including two Pulitzer Prizes, than any other American composer. about the same time and in the same style as his popular Set for Clarinet (1954). Martino says that his main Carter’s music does not use themes but rather is a drama of contrasting characters. Scrivo in vento (1991), influence at the time was Bartok, but his background in jazz also permeates these two pieces. He claims that dedicated to Robert Aitken, who first played it in Avignon, France, is inspired by a poem of Petrarch Quodlibets is a written-out improvisation, and a performance of the piece must capture its spontaneous character. (1304-1374), who lived for a time in Avignon: VIncenT Persichetti (1915-1987) classified his music into two veins: “gracious” and “gritty.” His Beato in sogno et di languir contento, gracious music is well represented on concert programs, but his equally commendable gritty music has not d’abbracciar l’ombre et seguir l’aura estiva, gained a foothold. His Parable for Solo Alto Flute, Op. 100 (1965), rarely performed, might be classified as nuoto per mar che non à fondo o riva; gritty because of its quasi-serial technique. It is loosely based on a twelve-tone row, stated at the beginning of solco onde, e ‘n rena fondo, et scrivo in vento; the work and in retrograde at the end. The piece can be performed on C flute but was originally intended for the alto flute and explores the full range of the instrument. There are no barlines, and the work is in a free, improvisatory style, but with specific rhythms. This Parable began a long series of pieces for various instru- ments with the same title. Persichetti states, “The Parables are non-programmatic musical essays… They are always in one movement, almost always about a single germinal idea.” As a composer, flutist, writer, and teacher, Robert Dick (b. 1950) has contributed more than any other Beaser’s setting divides the poem into two stanzas which begin with the same music (“I heard the old, old person to the field of extended techniques for flute, and many of his works bring music from other styles mean say…) and each reach a climax, the first on a long melisma on “waters” and the second with a more into a modern Classical idiom. His solo flute piece, Fish Are Jumping (1999), takes its title from a line from dramatic melisma on “drifts away.” The song ends with an unresolved cadence. George Gershwin’s aria “Summertime” from Porgy and Bess with lyrics by DuBose Heyward. Dick relates that, growing up in Brooklyn, he always thought that the Gershwin line was just poetic fantasy until he actually Joseph SchwanTner’S Black Anemones is his own transcription (1991) of the second song from his Two observed fish jumping years later. Dick’s piece takes the form of a twelve-bar blues and is inspired by Chicago Poems of Agueda Pizarro, written for soprano Lucy Shelton and recorded famously by soprano Dawn Upshaw. blues guitarists such as B.B. King, Albert King, Buddy Guy, and Son Seals. The piece effectively mimics The piece has become a favorite of flutists. Pizarro is a surrealist Columbian-American poet. The narrator of blues gestures, especially slides, on the flute, and selects multiphonics that highlight blues harmonics. The the poem is a child addressing its mother, but surprisingly speaks not of intimacy but of estrangement and fear. performer is called upon to improvise a cadenza near the end of the piece. Black Anemones Samuel Barber (1910-1981) dedicated his Canzone for flute and piano (1959) to his friend, the German Mother, you watch me sleep amateur flutist Manfred Ibel, who lived on Barber’s estate. The piece is standard repertoire and was until and your life recently thought to be the composer’s own transcription of the second movement of his Piano Concerto, but is a large tapestry Barber actually wrote the flute version first. The title is Italian for “song,” and Barber employs the low register of all the colors of the flute to spin a delicate melody. of all the most ancient murmurs, Robert BEaser (b. 1954) is chair of the composition department at The Juilliard School and a leading knot after twin knot, neo-tonal composer. He wrote “The Old Men Admiring Themselves in the Water” as a song for voice and root after root of story. piano with words by William Butler Yeats and later transcribed it for flute. You don’t know how fearful your beauty is while I sleep. The Old Men Admiring Themselves In The Water Your hair is the moon I heard the old, old men say, of a sea sung in silence. ‘Everything alters, You walk with silver lions And one by one we drop away.’ and wait to estrange me They had hands like claws, and their knees deep in the rug Were twisted like the old thorn-trees covered with sorrow By the waters. embroidered by you I heard the old, old men say, in a fierce symmetry ‘All that’s beautiful drifts away binding with thread Like the waters.’ of Persian silk the perforMers the pinetrees and the griffins. you call me blind LEonard Garrison is Associate Professor of Flute and Aural Skills at the you touch my eyes University of Idaho, flutist in the Northwest Wind Quintet, the Scott/Garrison Duo with Black Anemones and the IWO Flute Quartet, and Principal Flute of the Walla Walla Symphony. In I am a spider that keeps singing summers he teaches and performs at Blue Lake Fine Arts Camp in Michigan and from the spool in my womb, the Red Lodge Music Festival in Montana, where he is Artistic Director. Leonard weaving through eyes has been flutist in the Chicago Symphony and the Tulsa Philharmonic and soloist the dews of flames on National Public Radio’s Performance Today and has served as Chair of The on the web. National Flute Association. He studied with Walfrid Kujala, Samuel Baron, and From Sombraventadora/Shadowinner, by Agueda Robert Willougbhy.
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