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Peter Jarvis, Director Suite for Percussion (1958) William Kraft for Percussion Quartet I

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Peter Jarvis, Director Suite for Percussion (1958) William Kraft for Percussion Quartet I The concert tonight is lovingly dedicated to Michael Aberback. Our thoughts for a speedy recovery remain with him. Program Tambuco (1967) Carlos Chávez For Percussion Ensemble Steven Nowakowski, Mike Jaquot, Samir Egusquiza, Patrick Lapinski, Kiana Salameh, Joe Scala Gary Van Dyke - Conductor The William Paterson University Etude No. 11 (1986) Michael Udow Arrangement for Percussion Ensemble presents Payton MacDonald, John Henry Bishop, Kenneth Cubillas, David Endean, Tim Malone, Steven Nowakowski, Dakota Singerline Arranged by John Henry Bishop and Steven Nowakowski New Music Series Payton MacDonald – Coach Peter Jarvis, director Suite for Percussion (1958) William Kraft For Percussion Quartet I. Fanfare II. Andante III. Ostinatos IV. Toccata V. Cadenze David Endean, Tim Malone, Kenneth Cubillas, Patrick Lapinsky John Ferrari – Conductor Monday, April 22, 2013, 7:00 PM Rain Tree (1981) Toru Takemitsu For Percussion trio Shea Center for the Performing Arts Travis Salem, Patrick Lapinsky Samir Egusquiza – Vibe Solo Peter Jarvis - Conductor In Memory of Milton (2011) * David Saperstein Piano Concerto with Mixed Ensemble Lynn Bechtold, Dan Cooper, Samir Egusquiza, Anthony Fabrizio, John Ferrari, Jeffrey Kresky, Patrick Lapinski, Payton MacDonald, David Saperstein, Gary Van Dyke Max Stehr – Piano following midday. Its hundreds of thousands of tiny leaves - finger-like - store up Peter Jarvis – Conductor moisture while other trees dry up at once. What an ingenious tree, isn't it?"" - From weimprovise.net * = World Premiere In Memory of Milton: David Saperstein In Memory of Milton (2011), a concerto for piano and open-ended orchestra, Program Notes was written during the weekend of Milton’s passing (1/29-1/30/2011). It is in thirteen sections, each with a specific instruction as to pitch material, dynamics, and other Tambuco: Carlos Chávez features which may be used. The tempo stays steady at one beat per second throughout I have named this piece Tambuco because the word itself has a percussive the entire piece. The piano opens the work, presenting us with the opening notes of the sound and we are concerned with a work for percussion instruments. Otherwise, there piece, the notes C, Db, F and Gb. In the second section, the piano gives us a quote from is no relation whatsoever between the name and the music. The music in this work the literature which is suggested by a detail in the opening section. In the third section, develops in a constant process of consequent evolution. That is to say, an initial idea each member of the orchestra enters individually. In the fourth section, the piano serves as antecedent to a consequent, which in turn immediately becomes an responds to the material presented by the orchestra in section III. In the antecedent to a new consequent, and so on until the end of the piece. Also, a minimum fifth section, both piano and orchestra open the section (giving us the notes C, D, E, F, of repetitive and symmetric elements are present. This of course, constitutes a F#), but then the orchestra drops out. At the beginning of the sixth section, the piano considerable deviation from the conventional contrapuntal procedures and classical drops out and the orchestra splits into two groups. The orchestra continues divided until developments, and indeed from serial techniques in all its forms, since all these the 11th section (the fifth and eleventh sections being the only sections in which both expedients are based on repetition and symmetry. Finally, the variety of sound colors piano and orchestra play together). chosen determines a special problem of sound composition, or let us say, of - David Saperstein instrumental economy; in other words the problem of how to spend sensibly the sonorous wealth in the course of the whole work. - Carlos Chávez Biographical Information Etude 11: Michael Udow Lynn Bechtold: Etude No. 11 is from a collection of 20 multiple percussion solos in Michael Violinist Lynn Bechtold has appeared in recital throughout the U.S., Canada, Udow and Chris Watts' The Contemporary Percussionist. The arrangement heard tonight Holland, and Switzerland. An advocate of contemporary music, she has worked with is by John Henry Bishop and Steven Nowakowski. Bishop and Nowakowski will be composers such as Gloria Coates, George Crumb, John Harbison, Steve Mackey, and among those heard in the performance tonight. Morton Subotnick. In 2001, she gave the premiere of "Violynn," a work for violin and electronics written for her by Alvin Lucier. As a member of groups that have included Suite for Percussion: William Kraft Zentripetal, the East Village Opera Company (rock/opera band), the SEM Ensemble, and Suite for Percussion is one of the earlier pieces for percussion in William the NY Symphonic Ensemble, Ms. Bechtold has performed around the world, and has Kraft’s catalog. He wrote nearly two dozen percussion pieces over the course of some been heard on CBC Radio, CBS-TV, NHK-TV, and WNYC. Other programs have been with five decades. Suite for Percussion remains a piece of standard repertoire for college Absolute Ensemble, DJ Spooky, North/South Consonance, Parsons Dance, Paul Taylor percussion ensembles. Dance Company, the Vermont Symphony, VisionIntoArt, VOX Opera Readings, and Pablo Ziegler. In addition, she's performed with entertainers such as Boyz II Men, Willie Colon, Rain Tree: Toru Takemitsu Sheryl Crow, Escort, Roberta Flack, Left Banke, Smokey Robinson, J-Pop band SMAP, and There are three compositions by Takemitsu on the subject of the Rain Tree. Donna Summer. An active performer, she has performed at diverse venues such as Alice Rain Tree Sketch (1982) and Rain Tree Sketch II (1992, in memoriam Olivier Messiaen) Tully Hall, the Blue Note, the Frick Museum, the Harvard Club, Joe's Pub, Merkin Hall, are among Takemitsu's most often performed piano works. The origin of the Rain Tree nublu, le Poisson Rouge, St John the Divine, and Zankel Hall. She received her Masters Sketches can be traced back to Takemitsu's percussion trio Rain Tree (1981). Degree from the Mannes College of Music, where she was a student of noted violinist Rain Tree is used as a metaphor of water circulating in the cosmos, and Felix Galimir. Prior to that, she received a double-degree in Violin and English from the Takemitsu employed Messiaen's modes of limited transposition in order to construct New England Conservatory and Tufts University in Boston. In addition, she likes to the pitch collections evocative of cosmic imagery. Takemitsu's goal as an artist was to compose electroacoustic works, and to write articles about food/music/life. Her expand the possibilities of music, and to express himself through creation of a compositions were recently performed on the Composers Concordance Festival and the universal language. The title was suggested by a passage from the novel Atama no ii, Music With a View Festival during the 2011-12 season. She is on the faculty of Ame no Ki by Kenzaburo Oe: "It has been named the 'rain tree,' for its abundant foliage Greenwich House Music School in NYC, and the Norwalk Youth Symphony. continues to let fall rain drops collected from last night's shower until well after the (www.zentripetalduo.com) Dan Cooper: School of Music’s graduate Contemporary Performance program. He is also on the Dan Cooper’s music has been noted in The Associated Press, American Record teaching artist rosters of Hunter College (since 2008) and Princeton University (since Guide, Berkshire Eagle, Boston Globe, CurtainUp, Fanfare, Greenwich Times, Metroland 2010). Albany, NMC, The New York Times, Times Union, and Time Out New York, among others - "contemporary impressionism," "inventive," "creative," "vibrant," "drawing on Peter Jarvis: vernacular styles," "especially fascinating," "full of instrumental virtuosity and sly Peter Jarvis is a percussionist, conductor, drummer, composer, copyist, print humor," "utterly charming," "incorporates blues...into a contemporary context," music editor, consultant and educator. Over the years he has performed as soloist, "whimsical," "carefree," "acute," "daring," "well-plotted," "hauntingly beautiful," and chamber player, principal percussionist in several orchestras and with choruses with a "spirit of originality, verve, and humor, now being passed on to a new including the Chamber Music Society of Lincoln Center, The Group for Contemporary generation." Cooper was born and raised in Manhattan, and educated at Horace Mann, Music, The American Modern Ensemble, The New Jersey Percussion Ensemble (which he Columbia, NEC, and Princeton. His music has been recognized with various awards, directs), The Greg Smith Singers, Bang On A Can All-Stars, Talujon and on new commissions, premieres, recordings, showcases, and residencies from Albany music/arts festivals throughout the United States and abroad. Symphony, Albany Records, ASCAP, Artists International, Cary Trust, Circadia, Electro- Some of his recent and ongoing projects include scoring, arranging and Music, ESYO, Engine 27, Femmes Four, Fontainebleau, Imani Winds, ISC, June in Buffalo, performing for film and television including work on the award winning HBO series Meet the Composer, NARAS, NEA, NYNME, NYYS, North River Music, Palisades Virtuosi, Boardwalk Empire (seasons 2 and 3) and for Wes Anderson’s Moonrise Kingdom, which ACO / Sonic Festival, Tanglewood, Vox Novus, Walter W. Naumburg Fund, and received a Golden Globe nomination for Best Score along with an Academy Award Zentripetal Duo, among others. He has performed at Anadolu Auditorium
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