D ul 'ul n0 -0 -- 1 nl. (D. r) ul - !2 2 THE NATIONAL ASSOCIATION OF COMPOSERS/U.S.A. Program Notes by Robert Stewart JOHN VINCENT was born in Birmtngham, Alabama In 1902. He studied at the New England Conservatory, George Peabody College, the Ecole Normale de Musique, Harvard Untversity and Cornell University. He taught composition at UCLA from 1946 until his retirement tn 1969. From 1953 to 1975 he was director of the Huntington Hartford Foundatton artist colony, and served as president of the National Association for American Composers and Conductors, now NAC/USA. This will be the world premiere of the two piano verston 1 of John Vincent's Consort which was made by Dolly Kessner , under the supervtsion of the composer, who indicated that the second movement could be excerpted as a separate ptece. ALFRED CARLSON studied with Eisler, Krenek, Toch, and Schoenberg. He writes mostly for chamber groups. The --Suite for Clarinet --and Piano was written tn 1958, and somewhat revised In 1975. The work ts based on a tone row, and borrows some formal ideas from the Baroque suite model. ROBERT STEWART is an Associate Professor of Music and Co- ordinator of Theory and Compositton at Californta State University, Fullerton. His educational background includes degrees from Suny Fredonia, Butler University, and the , University of Iowa with addittonal study at Eastman and UCLA. Symphysis --I for Trumpet -and Tape was written for William Cole who was, at that time, completing at graduate degree in performance at CSUF. The work is multi-sectional, is based on a diatonic theme which is treated more In the manner of a cantus firmus, and exploits many of the stylistic and technical characteristtcs associated with * the trumpet. The use of prerecorded parts offered the I opportunity to record in several different locations and I to use certain sound modifications avatlable through tape manipulation. ELLIS 8. KOHS is Professor of Music and former chairman of the Theory Department, School of Music, USC, and a former treasurer, vice-president, and president of NAACC, the predecessor of NACUSA. He has written numerous chamber faculty at California State University Northridge, where works, two symphonic, and two texts--"Music Theory" and he teaches theory and composition and directs the New "Musical Form". For two years he headed the MENC Ford Music Ensemble. Foundation sponsored Western Regional Institutes for Music in Contemporary Education of the Contemporary Tri form was commi ss ioned by John Gates, Carol ine Music Project. Worthington, and Delores Stevens, who premiered the work in Stockholm in January. Three contrasting musical The Sonata -----for Snare Drum and Piano, probably the first sections are presented toward the beginning of the piece: sonata for this unusual combination, was composed in (A) fast and rhythmic, with extensive use of quarter 1968 at the MacDowel l Colony when ~r.Kohs was at. work tones; (B) emphasizing long, sustained sounds; (C) a on his opera "Amerika" (after the novel by Franz Kafka) virtuoso cadenza for all three players. All succeeding and is derived in part from elements abstracted from sections are variations of these three. that work. The complete form of the piece is as follows: The short prelude is in binary form; the second movement, a mirror form, features highly contrasting dynamics and A - original statement; a1 legro a1 ternating meters of 7/8 and 3/4. B - original statement; sustained A - first portion only, rhythmically varied The last movement is a quasi-baroque binary form, with C - original statement; simultaneous each half repeated. The contrasting dynamics here triple cadenza; a1 legro furioso suggest whimsy and mordant humor, in contrast to the B - played backwards schizoid hallucinations of the second or the relatively C - with the three parts segmented and abstract contrasts of the fi rst movement. heard individually instead of all together B - played as fast as possible A - played extremely slowly and rhythmically DONAL MICHALSKY, until his untimely death, was Professor var i ed of Music and head of compositional studies at California brief transition - free State University, Fullerton. His educational background A - first portion; further variations of included degrees from USC with additional study at the tempo and dynamics State Academy of Music in Freiberg. He served for many C - like the original statement, but beginning years on the Board of Directors and as vice-president of in pianissimo NAACC and was founder of the intercollegiate student A - last portion; virtually a 1 iteral repeat composers forums of NAACC. of the end of the original statement A native of Los Angeles, DANIEL KESSNER was born in 1946. A New Yorker by .birth, a Southern Cal i forn ian by choice, He studied composition with Henri Lazarof at UCLA, where FRANK CAMP0 i s current 1 y Cha i rman of Compos i t i on-Theory he received his Ph.D. with Distinction in 1971. He has at Cal ifornia State University Northridge. Souveni rs, been the recipient of two BMI Awards, the Queen Marie- completed in D&cember of 1975, is essentially a brief, Jose International Composition Prize in Geneva, and a. evocative moment of reminiscence. The taped piano sounds - Composers Fellowship Grant.from the National Endowment only occasionally modified - serve as counterpoint and for the Arts. Since 1970, he has been on the music .contrast to the 1 ive performer. 3; of of SONATA FOR PIANO Michael Mitacek The Demment Music The College of Fine and Communication Arts I. -d= 72 Loyola Marymount University 11. - Mesto and 111. - d + d,= 72-76 The National Association of Composers, U.S.A. Andrea Anderson Swem - piano present A COPCWT OF PaTSIC BY LOS ANGELES COMPOSERS NOTES E4UALI IV Daniel Kessner The sonata by Michael Mitacek finds aspects of its The Composers' Brass Quintet stylistic origins in the Baroque and Classic periods Steve Charpie - trumpet by way of Stravinsky and other 20th century masters Craig Parker - tmpet who have returned to the musical wellsprings of the James Thatcher - horn 18th century. The first movement is motoric, Roy Main - tenor trombone rhythmically insistent, within a framework in which Robert Sanders - bass trombone one may discern the influences of Classic sonata form. Movement two is in three-part form, the outer sections CAECR IZAPIS (1976 ) Leroy 1.1. Southers, Jr. of which initially resemble a four-part chorale and Anthony Plog - trumpet the middle section of which utilizes the tremelo Lloyd Lippert - trumpet effect. The final movement is percussive and dramatic, alternating periods of rhythmic stability. Shortly DUFT FOR EQUAL TRUMPETS Frank Campo before the conclusion of the piece the material con- Anthony Plog - trumpet nections between this and the other movements are Lloyd Lippert - trumpet made clear. L.W.S. INTERM IS SION FANFARE FOR TWO TRUMPETS Anthony Plog Anthony Plog - trumpet Lloyd Lippert . -. trumpet * Music Performance Services Staff ... DUET FOR 'CEUO AHTI PIANO Alfred . Carlson Ken Ishii - violoncello Neil Barclay ...................... Manager Chet Swiatkarski - pianoforte Kymrn Barrett ...................... Administrative Assistant MOMOPHONIUM I Ted Shreffler for Trumpet and Four Pre-Recorded Trumpets Craig Parker - trumpet St. 3oberts Auditorium, February 18, 197P., 8:30 * Addition to the program. Page 4 DUE2 FOR 'CELLO AND PIAKO Alfred Carlson EQUAL.1 IV Daniel Kessner The --Duet for 'Cello and Piano was written in 19'75. This Quali IV was commissioned by the Spoleto Festival U.S.A. one movement work is based on a twelve-tone row, and uti- for premiere by the Spoleto Festival Brass Quintet at the lizes a fused variation and sonata fon. Mr. Carlson's 1977 festival in Charleston, South Carolina. It is cast most recent works include a three movement work for violin in a single movement which is divid.ed into four sections. and piano, and a set of pieces for solo horn. The first section is in ternary form, the second is caden- A. C. za-like in character, the third uses primarily coloristic textures, and the fourth, featuring long sustained tones, MOKOPHOMIUM I Ted Shreffler has the form of a pyramid. for Trumpet and Four be-recorded Trumpets D ,1.; . The term "IIomophonium" is my own and has two distinct CANCIIIZAP:S FOR TWO TRUMPETS (1976) Leroy IsT. Southers, Jr. meanings to me. The first meaning,, "like or same sound", is reflected in the instrumentation of the en- As is true of the other trumpet duets on this program, semble. The second meaning, "sound of man or one", illus- CAP1Z9IZATrS was written especially for a folio of trum- trates a metaphysical goal to be achieved by the soloist, pet duets compiled by Anthony Plog and published by 1.limbledon Iiusic Inc. In character this is a "just for in this case finding a separate identity within a very fun" piece, sounding rather like a d-issonant rag in ter- compatible group. nary form. Close inspection will reveal that the piece The structure is primarily based upon three aspects: would sound the same played backward, the two parts are the opening five-part chord (a specific sonority without interchangeable, and various more obvious canonic devices appear during the course 'of the piece. functional implications), a free, five-part-twelve-tone L.I.!.S. canon which has a disintegrating effect upon the opening chord, and the solo line arising from the introductory section. Though certain row techniques are employed, DUTT FOR RUAL TRUMPETS bank Campo it is not a twezve-tone work. However one row-quote The piece contrasts and develops two musical ideas - one each from works by Schoenberg, Berg, and Webern is used. fanfare-like, the other more rhapsodic. Additional con- trast is provided by the juxtaposed metered. and non-meter- The work is written for and dedicated to Craig Parker.