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New Music Depaul Friday, May 4, 2018 • 8:00 P.M. NEW MUSIC DEPAUL DePaul Concert Hall 800 West Belden Avenue • Chicago Friday, May 4, 2018 • 8:00 P.M. DePaul Concert Hall NEW MUSIC DEPAUL PROGRAM Brad Robin (b. 1969) Torrents for alto saxophone and live electronics (2015) Taylor Barbay Assad, alto saxophone Kurt Westerberg (b. 1950) Three Orphic Hymns (2018) To Fire To Night To the Stars The Bach and Beethoven Ensemble: Brandi Barry, violin Anna Steinhoff, viola da gamba Thomas Alaan, counter-tenor Fred Gifford (b. 1972) Grrr for Bass Trombone and Percussion (2011) William Riley Leitch, bass trombone Ethan H. Martin, percussion INTERMISSION NEW MUSIC DEPAUL • MAY 4, 2018 PROGRAM Sven-Ingo Koch (b. 1974) Quel portone dimenticato (The forgotten gate) (2011) Ann Yi, piano Karen Tanaka (b. 1961) Night Bird for alto saxophone and soundtrack (1996) Jeremy Ruthrauff, alto saxophone Jeremy Ruthrauff (b. 1968) Birdsong for sopranino saxophone and soundtrack (2017) Jeremy Ruthrauff, sopranino saxophone Barry Cockcroft (b. 1972) Ku Ku for solo soprano saxophone (1997) Jeremy Ruthrauff, soprano saxophone NEW MUSIC DEPAUL • MAY 4, 2018 PROGRAM NOTES Brad Robin (b. 1969) Torrents for alto saxophone and live electronics (2015) Duration: 10 minutes Torrents invites a live saxophone to find common ground with a computer element. The latter combines various permutations of water and the saxophone through processing in its ever morphing voice in an evolving dialogue with the acoustic instrument. Though glimpses of intersection are found momentarily, the overall struggle to find peace is never resolved. Note by Brad Robin. Kurt Westerberg (b. 1950) Three Orphic Hymns (2018) Duration: 12 minutes Three Orphic Hymns is the second recent work of mine for an ensemble that features baroque instruments. Both works owe their genesis to a demonstration/presentation by violinist Brandi Berry for DePaul’s student composer studio class on extended instrumental techniques in baroque string music. This initially led to a work (Baroco) for baroque violin and harpsichord that was premiered by Brandi and Mabel Kwan in February of 2016. The first version ofTwo Orphic Hymns was titled Orbits and consisted only of what is now “To the Stars”. This owed its existence to a suggestion by Brandi that I compose a work for the Bach and Beethoven ensemble to perform on a January 25, 2017 DePaul Humanities Center event. Brandi even went so far as to suggest a text that was a translation (from 1792) by Thomas Taylor of Orphic hymn VI. This text is one of 87 brief Greek poems that were created sometime during the late Hellenistic or early Roman era and reflected the philosophies/beliefs of Orphism, a cult that honored and believed itself to be descended from the teachings of Orpheus. I composed the work in December, 2017 and found its imagery (stars, lights, fires, flames) both compelling and inspiring, easily connecting to the many festivals of light that take place in December and imagery that was particularly needed at the end of 2017. I was pleased by both the ensemble’s performance and by the work itself and this led to a revision of “To the Stars” and the creation of two more settings, “To Fire” and “To Night”. NEW MUSIC DEPAUL • MAY 4, 2018 PROGRAM NOTES In all three settings, the two string instruments are used as a duo that provides support to the vocal part as well as presenting its own group of musical ideas that amplify textual images. The string and vocal parts, while using “modern” pitch idioms, refer to music of the Baroque through the use of dotted rhythms, fanfare motives, trills, terraced dynamics, repeated chords, pizzicato “walking bass” patterns, etc. The essence of the work is its presentation and elaboration of the rhythm and imagery of the text. My sincere thanks to Brandi Berry and to the Bach and Beethoven ensemble: I greatly appreciate their willingness to take on this unusual project. Note by Kurt Westerberg. Fred Gifford (b. 1972) Grrr for Bass Trombone and Percussion (2011) Duration: 10 minutes Grrr for Bass Trombone and Percussion was commissioned by Nuno Martins for a concert exploring connections between music and surrealism in 2011. Grrr applies automatic writing techniques associated with early surrealist thought. The music at first attempts to find a complete utterance, but the material remains closer to the stuff of dreams (eventually taking the form of two archetypal ideas from the bass trombone’s subconscious: a descending scale and a triumphant, rising arpeggio). It is as though the two musicians are caught up in a dream-machine where mechanisms function but the why and the where keep slipping away. The percussion reacts similarly, embodying its own instrumental “memories” of prototypical gestures -–keeping time, accenting points of arrival – but the time keeps changing and the two voices seldom arrive anywhere, much less together. The title of the work is an onomatopoeic pre-word (thinking in English - is it “growl” or “granite” or “gruesome”, etc.?): an homage to the Bretonian precedents of literary surrealism, and, at the same time, a reference to one of the most formidable composers to ever wrestle with things surreal, Mauricio Kagel (Rrrrrrr…). Note by Fred Gifford. NEW MUSIC DEPAUL • MAY 4, 2018 PROGRAM NOTES Sven-Ingo Koch (b. 1974) Quel portone dimenticato (The forgotten gate) (2011) Duration: 14 minutes While enjoying a nightly walk over the Forum Romanum (the guards again had forgotten to close a certain gate) I suddenly pictured/internally heard the opening texture of my piano solo work: Every stone, which I saw there, every fragment of a column told stories of its peculiarly overlapping temporal and historical layers. Like on a fantastic search for traces and hints also I as a composer discover surprising possibilities of the materials in the opening polyphonic texture which I am little by little excavating during the discourse of the piece. Quel portone dimenticato was composed as a commission of the SWR for the Eclat Festival, Stuttgart. Note by Sven-Ingo Koch. Karen Tanaka (b. 1961) Night Bird for alto saxophone and soundtrack (1996) Duration: 8 minutes Night Bird is a love song filled with tender whispers of lovers. I have tried to weave colors and scent into the sound of alto saxophone and soundtrack. This piece was commissioned by and is dedicated to saxophonist Claude Delangle. Note by Karen Tanaka. Jeremy Ruthrauff (b. 1968) Birdsong for sopranino saxophone and soundtrack (2017) Duration: 7 minutes Birdsong is a composition for sopranino saxophone and soundtrack that involves eleven sections or episodes with each section’s sound material for the playback derived exclusively from the sopranino saxophone and the sounds of eleven birds. The birds are common ones native to the Chicago area where I live. The magpie is a sort of wild card in the piece since it is not NEW MUSIC DEPAUL • MAY 4, 2018 PROGRAM NOTES native to the Chicago area and traditionally has been a symbol endowed with mystical properties. Recorded sound material is often manipulated electronically in an exaggerated manner, resulting in sounds quite distantly separated from their original context. The piece is a kind of strange dream landscape inhabited by magical birds. Birdsongs episodes: Starlings Goldfinch Bluejay Robin Crow House Finch Sparrow Mourning Dove Cardinal Swallows Magpie “Counting Crows” Traditional Rhyme One for sadness, Two for mirth; Three for marriage, Four for birth; Five for laughing, Six for crying: Seven for sickness, Eight for dying; Nine for silver, Ten for gold; Eleven for a secret that will never be told. NEW MUSIC DEPAUL • MAY 4, 2018 PROGRAM NOTES Barry Cockcroft (b. 1972) Ku Ku for solo soprano saxophone (1997) Duration: 6 minutes Ku Ku by Barry Cockcroft for solo soprano saxophone begins with lyrical melodic lines and grooving loops. The later part of the piece uses various extended techniques such as percussive tonguing and multiphonics to create rhythmic grooves sounding like a chicken! Barry Cockcroft’s program notes: Kuku in Swahili means chicken. Ku-ku is a type of clock made in the Black forest. Ku Ku means crazy. There are happy hens, ones that live on an organic farm, that have worms to eat and lay lots of eggs. The air is fresh and the handsome rooster caters for all their needs… There are other kinds of chickens, ones that may have lost their mind, or their head! Each day they do the same thing, they live in little boxes, cluck, cluck…. cluck, cluck. Notes by Jeremy Ruthrauff. NEW MUSIC DEPAUL • MAY 4, 2018 TEXT Three Orphic Hymns Translation from Latin by Thomas Taylor in 1792. TO FIRE O Ever untam’d Fire, who reign’st on high in Zeus’ dominions ruler of the sky; The glorious sun with dazzling lustre bright, and moon and stars from thee derive their light; All taming pow’r, ætherial shining fire, whose vivid blasts the heat of life inspire: The world’s best element, light-bearing pow’r, with starry radiance shining, splendid flow’r, O hear my suppliant pray’r, and may thy frame be ever innocent, serene, and tame. TO NIGHT Night, parent goddess, source of sweet repose, from whom at first both Gods and men arose, Hear, blessed Venus, deck’d with starry light, in sleep’s deep silence dwelling Ebon night! Dreams and soft case attend thy dusky train, pleas’d with the length’ned gloom and feaftful strain. Dissolving anxious care, the friend of Mirth, with darkling coursers riding round the earth. Goddess of phantoms and of shadowy play, whose drowsy pow’r divides the nat’ral day: By Fate’s decree you constant send the light to deepest hell, remote from mortal sight For dire Necessity which nought withstands, invests the world with adamantine bands.
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