Sunday, November 16, 2014

                Bobolink: Tyler Martin, Alex Espe, Aaron Katz, Bret Johnson.

  Jazz Combos Accent Originals

 The accent is on originality as four Jazz Combos perform at HSU on Sunday November 16, but jazz classics aren’t neglected.

 All four members of the 12:00 Quartet—Trevor Kumec (guitar), Alan Spencer (tenor sax), Ryan Woempner (bass) and Eric Tolfa (drummer)-- contribute an original composition to their set.

 The quartet called Bobolink plays two originals along with “Seattle” by Avishai Cohen and a jazz rendition of the Beatles tune, “Because.” Tyler Martin plays alto sax, Alex Espe piano, Bret Johnson bass and Aaron Katz drums.

 Business Casual is the largest combo, with two saxophones, flute, violin, piano, guitar, bass, drums and percussion. They play originals by alto sax player Kyle McInnis, guitarist Kenneth Bozanich and violinist Michael Donovan, as well as “Mambo Inn” by famed Latin jazz trumpeter Mario Bauza.

 The 1:00 Quintet performs a classic Duke Ellington tune as well as “Kite” from the band Snarky Puppy and “The Saga of Harrison Crabfeathers” by Steve Kuhn. Lauren Strella and Olivia Bright handle vocals. Strella also plays sax and clarinet, and Bright plays piano. Thatcher Holvick-Norton plays bass and Courtney Abajian drums.

 HSU Jazz Combos perform on Sunday November 16 at 8 p.m. in Fulkerson Recital Hall at HSU. Tickets from HSU Ticket Office (826-3928) or at the door: $8 general, $5 seniors and children, HSU students with ID admitted free. Directed by Dan Aldag, produced by HSU Music Department.

Media: Humboldt State Now

Jazz Combos: The Program

The 12:00 Quartet 

Bumpas Hell by Trevor Kumec
Thoughts of Tomorrow by Alan Spencer
El Guapo by Ryan Woempner
11 1/2 by Eric Tolfa

 Business Casual

Party on Endor by Kyle McKinnis
Ain't Never Too Late by Kenneth Bozanich
Boogy Time by Michael Donovan
Mambo Inn by Mario Bauza for Machito and His Afro-Cubans

 The 1:00 Quintet

Kite by the band Snarky Puppy
Heaven by Duke Ellington from his Second Sacred Concert
The Saga of Harrison Crabfeathers by Steven Kuhn

Bobolink

Seattle by Avishai Cohen
Because by Lennon-McCartney
two untitled originals by Alex Espe and Tyler Martin

Saturday, November 15, 2014

Sail Away with Humboldt Bay Brass Band

 Sail away with the Humboldt Bay Brass Band in its 10th anniversary concert on November 15, featuring music with a watery theme, and a Veterans Day segment that includes an unusual version of the Star Spangled Banner. A splendid maritime is guaranteed for all! 

 The concert begins with three works featured in the very first HBBB performance in 2004: the British symphonic overture “Prelude for an Occasion” by Edward Gregson, and two watery-themed pieces, the lush “Moon River” and the lively “Fantasy on British Sea Songs.” 

 The band then performs one of its unique numbers: “Sunken Rock,” a lost 1865 piano composition commemorating the sinking of the coastal steamer Brother Jonathan off the coast of Crescent City, in HBBB director Gil Cline’s band arrangement. “It features the singing voice of our solo cornetist, Molly Harvis,” Cline said, “accompanied by a small brass band of the sort that would have been heard in that era.” 

 Along with Irish and British melodies, the concert includes several characteristically American works, some with a military theme to commemorate Veteran’s Day, highlighted by an unusual but historically based rendition of The Star Spangled Banner. Using the original introduction and transition by composer John Stafford Smith, the band presents three seldom-heard verses by Francis Scott Key.

 Humboldt Bay Brass Band players are HSU advanced music students plus recent graduates, community musicians and music teachers. It is northwest California’s only all-brass band in the traditional British format. “One of our slogans is ‘25 brass plus three percussion equal sustained intensity,’” said director Cline. “And that equals ecstasy!” This is the band’s only HSU concert until next fall. 

The Humboldt Bay Brass Band performs on Saturday November 15 at 8 p.m. in Fulkerson Recital Hall at HSU. Tickets from HSU Ticket Office (826-3928) or at the door: $8 general, $5 seniors and children, HSU students with ID admitted free. Directed by Gilbert Cline, produced by HSU Music Department.

Media: Mad River Union, North Coast Journal The Setlist, Humboldt State Now, Times-Standard Urge

HBBB: Program and Notes

Humboldt Bay Brass Band musicians in Fall 2014 (not in order pictured; click on photo to enlarge): on Cornet: Molly Harvis, Ari Davie, Ryan Brown, Matt Scott, Jesse Burns, Monica Dekat, Leon Hamilton, Melissa Gussin, Tom Cover, & Gary Ross; Flügelhorn: Lauren Strella; Tenor Horn: Matt Morgan, Anwyn Halliday, & Hannah Lambrecht; Baritone Horn: Toshi Noguchi & Chris Joe; Trombone: George Epperson, Matthew Brown, & Corey Tamondong; Euphonium: Phil Sams & Bret Johnson; Basses (Tubas): Audrey McCombs, Jerry Carter, Ryan Egan, & Charles Hollowell; Percussion: Grace Kerr, Nev Mattinson, Kevin Amos, & Niamh Mercer. Music Director & Conductor: Dr. Gilbert Cline; Assistant Conductor: Audrey McCombs.

Program
with notes by Gilbert Cline

 HBBB repeats the very first three concert works from our very first concert, of April 2, 2004. (and we thought it wouldn’t last!) Those three are:

 1- Prelude for an Occasion (1972) by Edward Gregson
 This is a British symphonic overture, with cornets and trombones sounding as if they were in the Chicago Symphony. The tones are 20th century vertical harmonies, including pyramids and polychords. After an classic overture-type slow beginning, the music really takes off -- even the basses getting to saw away at fast-moving 16th notes; timpani and the other percussion brighten the total effect.

 2- Moon River (1961) by Henry Mancini
 We’ve always enjoyed this arrangement of the film score, and the music is extremely tender and expressive. First heard in the film “Breakfast at Tiffany’s,” the theme and underlying chords are so very American -- for HBBB’s director, his earliest and most impressionable sounds of major- seven chords and flatted-fifths -- all under a completely gorgeous melody.

 3- Fantasy on British Sea Songs:traditional arranged by Gordon Langford
 This one begins as if on a genuine tall ship like a British Man ‘o War, with truly heroic sounds. The tunes in this music, essentially a medley, are classic, and even partly comical; the trombones shine in a distinctive interpretation of “Who’s Afraid of a Drunken Sailor?” (! not our trombonists!)

4- Sunken Rock (1865) by E. Russell / P. R. Nicholls, arranged by Gil Cline.    Here is a rarity, and “proprietary” so far to HBBB. Recorded on our 2005 CD, this arrangement is based on piano sheet music published in San Francisco composed to commemorate the tragic loss of life resulting from the sinking of the large coastal steamer Brother Jonathan which struck the sunken rocks of St. George Reef off the coast of Crescent City.

  The HBBB arrangement of the music, somewhat Gilbert & Sullivan in nature, features the singing voice of Miss Molly Harvis (HBBB’s solo cornetist), accompanied by a small brass band of the sort which would have been hear in San Francisco during that year, and includes an historic circa 1865 E-flat rotary valve cornet of the very type in use then. We also use an 1895 tuba (the “Bayside Bombardon”) once owned by Leonard Yocum, Humboldt County bandsman, County Supervisor, and one of the founders of HSU.

 5- O.R.B. (contest march) by Charles Anderson
 O.R.B. stands for Oldham Rifles Brigade, which existed in Manchester, England from the 1860s to perhaps the 1930s. A civilian band, they served local volunteer military units, regiments and battalions; the sense of national defense in a small island nation is strong beyond the belief of those in the United States. Anderson was one of the original directors of the band and is best known for this particular march, serving to this day as a required test piece contest march in the UK. Musically it is distinctive for the flurry of chromatic 16th notes heard at the very beginning, followed by a serious sounding melody in minor. We use the proper British stride-tempo of 112 beats per minute. Assistant conductor Audrey McCombs takes the baton for this one.

 6- Gaelforce (2000) by Peter Graham Quite popular with bands in Great Britain these days, this music uses folk tunes of the Irish type -- with a lilting, almost Riverdance effect. Included are “The Rocky Road to Dublin”, then “The Minstrel Boy,” and as a finale “Tossing the Feathers.” Featured along the way are the cornets as a section, and a very sweet trombone solo, a virtuoso euphonium solo -- along with force-of- a-Gale percussion.

7- Post Horn Galop (1928) by Koening
 In the band world, these are at “Quick Step” tempo--160 beats per minute! This  march is “The Post Horn Gallop,” the first time HBBB has performed this famous work. Genius in simplicity and concept (even Mozart wrote a “Posthorn Serenade”), the instrument intended is the straight, short, 30-inch posthorn. For this performance, Gil Cline has the privilege of playing “the Genuine Article,” on loan directly from London and trumpet-maker David Edwards, former trumpeter and soloist with the Queen’s Life Guard Band.

 8- Shenandoah (ca. 1870)  arranged by Matthew Morgan
 One of the great songs in Americana, the various lyrics and usages reference a variety of settings including not only the Shenandoah Valley but also the Missouri River, river boatmen, clipper ship sailors, westward-bound settlers, and even escaped slaves. In this arrangement, the melody is taken not only by tenor horn, but also by the combined HBBB bass and baritone elements.

The next works pertain to the Veterans Day and in recognition of those among us, as well as family members and others before us, who have served in the various branches of military service.

 9- Images for Brass (2001)by Stephen Bulla
 Excellent brass band writing is not confined to the UK only. American composer Stephen Bulla for almost 30 years has served as Chief Arranger for “The President’s Own” U.S. Marine Band and White House Orchestra. This particular work was written upon the 50th Anniversary of the very important, and deadly, World War II battle of Iwo Jima, a seaborne landing invasion of an island crucial to ending the war in the Pacific against Japan. According to the composer's notes, the four movements depict “the quiet anticipation before conflict, the arduous journey into the scene of the battle, a time of introspection and prayer (the hymn tune “Melita” is featured), and finally the hostile confrontation.”

 Taps (1864)
In recent years of research and performance on natural trumpet (baroque and renaissance trumpets), Professor Cline has come to the conclusion that what we term “bugle” is actually a natural trumpet which gradually became shorter and shorter for various reasons. Each year, an example from his personal, modest collection is employed for the playing of Taps; this year it’s an unmarked low F trumpet/bugle of the sort favored by cavalry units of the 1880s and also by John Philip Sousa.

 11- The Star Spangled Banner (1814 / 2014)
This presentation is the result of some research and some creative activity here at HSU. We know the words, so famously penned by Francis Scott Key; fewer know that the music is by John Stafford Smith. But how many people these days know, or have ever heard, all FOUR verses?! HBBB’s Director first saw them on a statue in Golden Gate Park. After some research at a band music archive in Minnesota and some further digging at the Smithsonian, it was decided to present the singing of three verses (in reverse order) so seldom heard, and based on the original 1814 published music.

 12- U.S. Service Songs. Arranged by Gilbert Cline.
We offer our custom arrangement of US Service Songs, with not only Army, Navy, Marines, and Air Force, but also Coast Guard --and-- the forgotten personnel in harms way, the U.S. Merchant Marine. We invite audience members to elect the option to stand at the appropriate time (for the music of that particular branch of service) if you are a veteran, or if you are family, or even relative in any generation. We do this out of respect to the considerable sacrifices made in service.

Friday, November 14, 2014

Guitar Ensemble Goes South of the Border

Tunes from Cuba, Mexico and the Andes, accompanied by bass, conga and flute highlight the HSU Guitar Ensemble performance of Central and South American music on Friday November 14, with guest appearance by soprano Elisabeth Harrington.

 “Each piece on the program is coming from a different place,” said Guitar Ensemble director Nicholas Lambson. “Some are directly based on folk melodies, some are complex modern works. Some are aligned with Western European styles and some are improvisatory. Many combine these elements into unique pieces of music that represent a complex and intimate relationship with the guitar.”

 Guitar Ensemble performers are Kenneth Bozanich, Tyler Burkhart, Michael Carrasco, Sandee Castaneda, Nick Hart, Andrew Heavelin, Bryant Kellison, Jason Keyes, Erin Laetz, Leo Plummer and Ryan Woempner. 

 Elisabeth Harrington joins Heavelin on a selection by famed Brazilian composer Heitor Villa-Lobos.  Composers of other tunes on the program include Manuel Ponce (Mexico), Agustin Barrios Mangore (Paraguay), Guido Santorsola (Uruguay) and Leo Brouwer (Cuba.) 

 The HSU Guitar Ensemble performs on Friday November 14 at 8 p.m. in Fulkerson Recital Hall at HSU. Tickets from HSU Ticket Office (826-3928) or at the door: $8 general, $5 seniors and children, HSU students with ID admitted free.  Directed by Nicholas Lambson, produced by HSU Music Department.

Media: Humboldt State Now

Guitar Ensemble Program & Notes


Performers (not in order pictured; click photo to enlarge): Kenneth Bozanich, Tyler Burkhart, Michael Carrasco, Sandee Castaneda, Nick Hart, Andrew Heavelin, Bryant Kellison, Jason Keyes, Erin Laetz, Leo Plummer, Ryan Woempner.  Special Guest: Elisabeth Harrington.


Program 

 Arrulladora mexicana by Manuel Ponce
 Danza Paraguaya – Agustin Barrios Mangore
 Two Andean Folk Songs – arranged by Jeremy Sparks
 Bachianas Brazilieras No.5 – Heitor Villa-Lobos
 Micropiezas – Leo Brouwer
 I Suite All’Antica – Guido Santorsola Minuetto
 Arietta Zapateado Caribe – Agustin Barrios
 Mangore Mambo Inn – Mario Bauza, Edgar Sampson, Bobby Woodlen
 Agua de Beber - Antonio Carlos Jobim

Notes by Nicholas Lambson

The HSU Guitar Ensemble will perform music from Central and South America on this concert, represented through works from Cuba, Mexico, Peru, Paraguay, and Brazil. The program will include collaborations with students on bass, congas, and flute, and we are also excited to also be joined by Elisabeth Harrington, HSU professor of voice.

 Although most of the pieces on the program were written within the past few decades, versions of the guitar have been a major component of musical life there for hundreds of years. Much of this music does not survive, partly because a lot of it was improvised - guitarists tend to do a lot of that now also, so I guess not much has changed!

Heitor Villa-Lobos
The famous Brazilian composer, Heitor Villa-Lobos, frequently “jammed” with Brazilian street groups, called Choro bands. Paraguayan composer, Barrios Mangore, was also steeped in the improvisatory folk music of his country, and he would even perform in full traditional Guarini tribal dress. Luckily, they left us with fully composed music as well, which has the advantages of being able to clearly communicate what they intended, the works can often be more complex, and the pieces are generally repeatable.

 Each piece on the program is coming from a different place here: some are directly based on folk melodies, some are aligned with Western European styles, some are complex modern works, some are “improvisatory,” and many combine these into unique pieces of music that represent a complex and intimate relationship with the guitar.

Sunday, November 09, 2014

Violinist Cindy Moyer Plays and Talks Bach 

 Violinist Cindy Moyer plays and talks about a Bach composition called “one of the greatest pieces of music ever written,” the Chaconne for solo violin, on Sunday November 9 at 8 p.m. in the Fulkerson Recital Hall at HSU.

 “I'll play the Chaconne, then talk about the historical background of the piece, the way the piece is constructed, and some of the performance decisions that I've made,” Moyer said, “and then I'll play it again.” 

 “The goal is to have the audience understand the piece better and thus to have them listen differently the second time. In addition, the piece is complex enough that a second time helps the listener grasp more of what is going on.” 

 The Chaconne is the final movement of the Partita in D minor for solo violin by J.S. Bach. “It is recognized as one of the monumental masterpieces of the violin repertoire,” Moyer said. “It’s profound, interesting in its construction, and very difficult to play.”

 “The setting for this concert will be unusually intimate,” Moyer notes. The audience will sit on the Fulkerson stage along with the performer.

 Cindy Moyer performs this lecture-recital on Sunday November 9 at 8 p.m. in the Fulkerson Recital Hall. Tickets are $10/$5 students and seniors, from the HSU Box Office (826-3928) or at the door.  A Faculty Artist Series concert produced by HSU Music Department.

Bach's Chaconne: Quotes

Violinist Joshua Bell describes the Chaconne as "not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It's a spiritually powerful piece - emotionally powerful, structurally perfect."




Composer Johannes Brahms said of the piece: "The Chaconne is one of the most wonderful, incomprehensible pieces of music. On a single staff, for a small instrument, the man writes a whole world of the deepest thoughts and the most powerful feelings. If I were to imagine how I might have made, conceived the piece, I know for certain that the overwhelming excitement and awe would have driven me mad."





According to violinist Yehudi Menuhin, the Chaconne is "the greatest structure for solo violin that exists."

Friday, November 07, 2014


Humorous and Heartfelt: Opera Workshop Does Musical Theatre

HSU Opera Workshop presents humorous and heartfelt solos, duets and group scenes from musical theatre for two performances, Friday evening and Saturday afternoon, November 7 and 8 in Fulkerson Recital Hall.

 “This semester’s Opera Workshop class has focused on the basic stagecraft skills involved in musical theater and opera—using voice and movement to create effective storytelling, ” said Elisabeth Harrington, director of the Workshop and HSU professor of music. 

 Workshop students present scenes and tunes from Les Miserables, South Pacific, Miss Saigon, Annie Get Your Gun and other classic and contemporary musicals. 

 There will also be scenes for and about children, including several from the children’s musical Annabelle Broom—the Unhappy Witch. In December the Opera Workshop will perform that complete show for elementary school students in Humboldt County. 

 Performers are Makenna Baker, Ana Ceja, Paige Crownover, Sean Laughlin, Stephanie Lemon, Cora Rickert, Alberto Rodriguez, Jessie Rawson and Kimberly Sarmiento. John Chernoff is the pianist. Catherine Brown designed costumes and Christopher Joe designed the lighting.

 HSU Opera Workshop performs Friday November 7 at 8 p.m. and Saturday November 8 at 4 p.m. in Fulkerson Recital Hall at HSU. Tickets from HSU Ticket Office (826-3928) or at the door: $8 general, $5 seniors and children, HSU students with ID admitted free.  Directed by Elisabeth Harrington, produced by HSU Music Department.

Opera Workshop: Notes and Program

 This semester’s Opera Workshop class has focused on the basic stagecraft skills involved in musical theater and opera: using voice and movement to create effective storytelling. The repertoire we present this evening features twelve different stories, ranging from solo scenes to full ensembles, and from the heartfelt to the petty, to the comic. We have included several scenes for and about children.

 In mid-November, the members of the Opera Workshop will travel to Oakland to present portions of our show for middle and high school students. And, in December, we will present performances of Annabelle Broom-The Unhappy Witch for elementary school students in Humboldt County.

 Please join us again in spring of 2015, when the Opera Workshop class will partner with HSU Symphony instrumentalists to present Henry Purcell’s opera Dido and Aeneas in Gist Hall, conducted by Paul Cummings.

Singers: Makenna Baker, Ana Ceja, Paige Crownover, Sean Laughlin ,Stephanie Lemon, Cora Rickert,  Alberto Rodriguez, Jessie Rawson, Kimberly Sarmiento.

Director: Elisabeth Harrington
Pianist: John Chernoff
Costumes: Catherine Brown
Lighting: Christopher Joe

The Program

 “I’m Gonna Wash that Man Right Out-a My Hair” from South Pacific (Richard Rodgers and Oscar Hammerstein): All women singers

 “Pulled” from The Addams Family (Andrew Lippa): Makenna

 “Plant a Radish” from The Fantasticks (Tom Schmidt and Harvey Jones): Alberto and Sean

 “Turning Turning” from Les Miserables (Claude-Michel Schonberg and Alain Boublil): All women

 “Kindergarten Love Song” (Drew Gasparini): Jessie

 “The Last Night of the World” from Miss Saigon (Claude-Michel Schonberg and Alain Boublil): Kimberly and Sean

 “What is this Feeling?” from Wicked (Stephen Schwartz): Makenna and Stephanie

 “Who Will Love me as I Am?” from Side Show (Henry Krieger and Bill Russell): Cora and Jessie

“Anything You Can Do” from Annie Get Your Gun (Irving Berlin): Paige and Alberto

 “Swamps of Home” from Once Upon a Mattress (Mary Rodgers and Marshall Barer): All Women, with special appearance as “Dauntless” by Sean.

 Scenes from Annabelle Broom-The Unhappy Witch (Eleanor and Ray Harder): Jessie and Alberto

 “Racing with the Clock” from The Pajama Game (Richard Adler and Jerry Ross): Full Company

Saturday, November 01, 2014

String Along with the Humboldt Symphony (and Guests)

 String along with the Humboldt Symphony string section and the Eureka High School String Orchestra in their shared concert with a combined finale on Saturday November 1 in Fulkerson Recital Hall.

 After the Eureka High players perform the first half of the concert, the Humboldt Symphony offers excerpts from three pieces for string orchestra. “Featuring our string section only is very unusual for us,” notes conductor Paul Cummings.

 “From Holberg’s Time” by 19th century Norwegian composer Edvard Grieg “is a famous work,” Cumming said. “In typical Grieg style, there is always something melodic happening. Melody really drives his music.”

 Grieg wrote this suite for strings to commemorate the bicentennial of Ludvig Holberg, a writer credited with pioneering modern Norwegian and Danish literature in the early 18th century.

 The Symphony also performs several movements of the best-known work for strings by Italian Baroque composer Archangelo Corelli, and a distinctly modern work by Pulitzer Prize-winning American composer Karel Husa. 

 “We’ll play the first movement of the Husa, which is a set of highly contrasting variations,” Cummings said. “Some are very tonal, very singable and others are abstract, so you may be surprised that the same composer could have written all of them. It’s really good music by a good composer.” 

 The combined concert ends with a collaboration by both string ensembles.

 The Humboldt Symphony and Eureka High School String Orchestra perform on Saturday November 1 at 8 p.m. in the Fulkerson Recital Hall at HSU in Arcata. Tickets are $8 general, $5 seniors and children, and free to HSU students, from the HSU Box Office (826-3928) or at the door. Concert produced by HSU Music Department.

Humboldt Symphony November 1 Concert: Director's Notes

Excerpted from an interview with Paul Cummings

"We are we are collaborating with the Eureka High School String Orchestra. The high school students will perform the first part of the concert, we’ll do the second with Humboldt Symphony strings only, then some music combined with both groups.

 Featuring just the string section only is very unusual for us. In our portion of the concert we’ll perform excerpts from three pieces for string orchestra. Then in December we’ll play the complete works."

 Archangelo Corelli: Concerto Grosso #8

"Corelli is one of the great mid-Baroque period composers at the end of the 17th century. He was mainly active in Rome. This piece is probably his best- known work for strings. It might sound familiar from parts of it heard during the holiday season.

 Corelli wrote quite a few pieces in this form of the concerto grosso, which features two main groups: the concertino group, which is a group of soloists, and the ripeno, which is everybody else. In most cases the concertino group is two violins and one cello.

 The concerto grosso is an historical form that was very important in the Baroque period. Most composers of the time wrote music in this form. It was the earliest form of what later became known simply as the concerto, with one soloist accompanied by the orchestra.

 In this piece the concertino group plays for awhile, then the ripeno comes in. Sometimes they play together, sometimes separately. We’ll be playing this piece with harpsichord and strings. It’s a chance to feature the stronger players as part of the concertino group. We’re going to feature three different soloists in each concert in November and December, so more of our students get the opportunity to experience the solo role without the music being really long, as in a nineteenth century concerto, or really really difficult."

 Karel Husa: Four Little Pieces (Vier kleine Stucke) 1955 

" From mid-Baroque we jump over 250 years to a contemporary piece. Karel Husa was born in 1921 in Czechoslovakia. He emigrated to the United States and began teaching at Cornell University in 1954. He published this work the next year.

This work is about as far removed from Archangelo Corelli as one can imagine. Husa uses modern harmonic language including atonal passages. There are two movements in this work that are atonal, meaning that there is no key center to the music.

 In this concert we’ll be playing the first movement, which is a set of variations. They are highly contrasted—some are very tonal, very singable, and others are harsh and abstract, so you find yourself surprised that the same composer could have written all of them. It’s really good music by a good composer."

 Edvard Grieg: From Holberg’s Time, Suite for Strings op. 40 #168 

 "This is a very famous work. In typical Grieg style, there is always something melodic happening. In the same vein as Franz Schubert, melody really drives his music. That’s very apparent in this piece, where there’s always melodic material that’s the basis of the development of the music.

 Grieg is considered Norway’s greatest composer. He wrote this in 1884 to honor Ludvig Holberg, a writer of the early 18th century who is considered the founder of modern Norwegian and Danish literature. He was called “the Moliere of Scandanavia.” So Grieg is capturing the spirit embodied in his literature and that earlier time. We’ll do two or three of the five movements this time, and the complete suite in December."