From “First Suite” to “Kansas City Suite” with the HSU Symphonic Band and the Jazz Orchestra
The HSU Symphonic Band performs three works with an international flavor while the HSU Jazz Orchestra plays an epic work of American jazz in their joint concert on Saturday, February 23 in the Fulkerson Recital Hall at Humboldt State University.
Singer Elisabeth Harrington will join the Symphonic Band in Bernard Gilmore’s “Five Folk Songs” for soprano voice and wind instruments. Inspired by such folk artists as Theodore Bikel and the Limelighters, this work features passages sung in five languages: an Irish dialect, English, Greek, Spanish and Yiddish. According to Paul Cummings, the Symphonic Band director, Gilmore’s work is characterized by its “judicious balance of voice and instruments.”
The Symphonic Band plays two other selections: early twentieth century English composer Gustav Holst’s “First Suite,” which Cummings said “is considered to be one of the earliest masterworks for wind band,” and “the Florentiner March” by Hungarian composer Julius Fucik. Of European marches now played in America, this march in the grand Italian style “is one of the most beloved,” Cummings said.
For their half of the program, the HSU Jazz Orchestra performs a single work: “Kansas City Suite” by Benny Carter. According to Jazz Orchestra director Dan Aldag, Carter was “one of the principal architects of the Big Band sound” of the 1930s and 1940s. A skilled performer on alto saxophone and other instruments, he was a mentor to many modern jazz musicians such as Dizzy Gillespie and Miles Davis. “He spent close to thirty years as one of the major film and television composers and paved the way for other African-American composers in Hollywood,” Aldag said. Carter was a Kennedy Center honoree in 1996 and was awarded the National Medal of Arts in 2000.
“Kansas City Suite” features trumpet solos by every member of the Jazz Orchestra’s trumpet section: Ari Davie, Tristan Kadish, Krystal Moore, Chisana White and Karolyn Wyneken. Other soloists include trombonists Melissa Gussin, Leah Jmaeff and Talon Nansel; saxophonists Sky Miller and Leo Echazabel, and pianist Jeff Kroeger.
The combined concert of the HSU Symphonic Band and the Jazz Orchestra begins at 8 PM on Saturday, February 23 in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door. Free to HSU students with ID.
Saturday, February 23, 2008
Paul Cummings: Director's Notes for Symphonic Band
The First Suite in Eb was composed by Gustav Holst in 1909. Along with his Second Suite in F, as well as the English Folk Song Suite by Holst's British contemporary, Ralph Vaughan Williams, the First Suite is considered to be one of the earliest masterworks for wind band. It embodies many of the attributes of British compositional style prevalent in the early decades of the 20th century, including clear formal structure, idiomatic writing for the winds, and a fondness for folk song style.
However, it is interesting to note that the rich melodic writing in the work is entirely original; that is, Holst did not borrow material from any extant folk songs. The fact that your ear may associate the music with folk songs may be attributed to Holst's close affinity for the style of indigenous British music, including his mastery of modal counterpoint.
While Holst is known as a thoroughly English composer, his family roots lay elsewhere. His father hailed from Germany, and the family name was von Holst until the outbreak of World War I when the composer decided that a German surname might have pejorative connotations in a time of war. It is not surprising, therefore, to find strong evidence of Germanic compositional elements in the First Suite. The best example of this is in the opening tune, an eight-measure ground bass that repeats 16 times in the first movement. This tune serves as the raw material, or melodic germ, from which virtually every other melodic idea is derived, not only in the first movement but also in movements two and three. Holst was familiar with the German practice of spinning out melodies from an initial melodic germ through his study of Bach, Mozart, and Beethoven.
Bernard Gilmore's Five Folk Songs for soprano and winds was composed in 1967 for the annual conference of the College Band Directors National Association. According to the program notes in the conductor's score, "it was inspired by folk recordings of Theodore Bikel and groups like The Limelighters." The work is one of the few pieces in the repertoire to exploit the combination of soprano voice with wind and percussion instruments. Obviously, there is a danger of overpowering the voice with the band's characteristically powerful sound, so it is easy to see why composers have avoided this merger. Much of the craft of Gilmore's work, therefore, lies in his judicious balance of voice and instruments. Rarely are all musicians performing at once, yet there is sufficient variety of dynamics and textures to create interest.
The work contains five movements, each of which is in a different language. This polyglot amalgam actually has roots in the Medieval era when composers would sometimes combine texts of two or more languages in the same motet. But the use of a multilingual text did not find its way into the mainstream of 19th or 20th century music, and it certainly imbues the Five Folk Songs with a maverick spirit. In order, the songs are in an Irish dialect, English, Greek, Spanish, and Yiddish. From the bouncy lyricism of the opening Irish tune, "Mrs. McGrath," to the playful, at times fitful, stops and starts of the final movement, "A Fidler," Gilmore's work is an aesthetic joy.
Of the many European marches that have found their way across the pond, Julius Fucik's Florentiner March is one of the most beloved. Composed in the "grande marcia Italiana" style, it captures the spirit of Italian opera while maintaining the simplicity and directness of expression typical of the genre. The eminent American conductor and champion of marches of all countries, Frederick Fennell, points out that Fucik's career as a military bandmaster was complemented by his skill as a composer of marches, which were the popular music of the time. And with Nationalism exerting such a powerful influence throughout Europe in the 19th century, it was quite natural for Fucik to join the many composers who were filling this niche of the musical marketplace. "Thus it is not surprising," Fennell states, "to find a Hungarian writing an Italian grand march and out-doing many Italians in the process!"
Paul Cummings conducts the HSU Symphonic Band, and the Humboldt Symphony. He is Assistant Professor of Music at HSU, and holds a California life credential in music. He is also an active performer on clarinet and saxophone, appearing with the Nova Vista Symphony, the Oregon Wind Ensemble, and the Master Sinfonia Chamber Orchestra. He is coordinator of the HSU music education program.
The First Suite in Eb was composed by Gustav Holst in 1909. Along with his Second Suite in F, as well as the English Folk Song Suite by Holst's British contemporary, Ralph Vaughan Williams, the First Suite is considered to be one of the earliest masterworks for wind band. It embodies many of the attributes of British compositional style prevalent in the early decades of the 20th century, including clear formal structure, idiomatic writing for the winds, and a fondness for folk song style.
However, it is interesting to note that the rich melodic writing in the work is entirely original; that is, Holst did not borrow material from any extant folk songs. The fact that your ear may associate the music with folk songs may be attributed to Holst's close affinity for the style of indigenous British music, including his mastery of modal counterpoint.
While Holst is known as a thoroughly English composer, his family roots lay elsewhere. His father hailed from Germany, and the family name was von Holst until the outbreak of World War I when the composer decided that a German surname might have pejorative connotations in a time of war. It is not surprising, therefore, to find strong evidence of Germanic compositional elements in the First Suite. The best example of this is in the opening tune, an eight-measure ground bass that repeats 16 times in the first movement. This tune serves as the raw material, or melodic germ, from which virtually every other melodic idea is derived, not only in the first movement but also in movements two and three. Holst was familiar with the German practice of spinning out melodies from an initial melodic germ through his study of Bach, Mozart, and Beethoven.
Bernard Gilmore's Five Folk Songs for soprano and winds was composed in 1967 for the annual conference of the College Band Directors National Association. According to the program notes in the conductor's score, "it was inspired by folk recordings of Theodore Bikel and groups like The Limelighters." The work is one of the few pieces in the repertoire to exploit the combination of soprano voice with wind and percussion instruments. Obviously, there is a danger of overpowering the voice with the band's characteristically powerful sound, so it is easy to see why composers have avoided this merger. Much of the craft of Gilmore's work, therefore, lies in his judicious balance of voice and instruments. Rarely are all musicians performing at once, yet there is sufficient variety of dynamics and textures to create interest.
The work contains five movements, each of which is in a different language. This polyglot amalgam actually has roots in the Medieval era when composers would sometimes combine texts of two or more languages in the same motet. But the use of a multilingual text did not find its way into the mainstream of 19th or 20th century music, and it certainly imbues the Five Folk Songs with a maverick spirit. In order, the songs are in an Irish dialect, English, Greek, Spanish, and Yiddish. From the bouncy lyricism of the opening Irish tune, "Mrs. McGrath," to the playful, at times fitful, stops and starts of the final movement, "A Fidler," Gilmore's work is an aesthetic joy.
Of the many European marches that have found their way across the pond, Julius Fucik's Florentiner March is one of the most beloved. Composed in the "grande marcia Italiana" style, it captures the spirit of Italian opera while maintaining the simplicity and directness of expression typical of the genre. The eminent American conductor and champion of marches of all countries, Frederick Fennell, points out that Fucik's career as a military bandmaster was complemented by his skill as a composer of marches, which were the popular music of the time. And with Nationalism exerting such a powerful influence throughout Europe in the 19th century, it was quite natural for Fucik to join the many composers who were filling this niche of the musical marketplace. "Thus it is not surprising," Fennell states, "to find a Hungarian writing an Italian grand march and out-doing many Italians in the process!"
Paul Cummings conducts the HSU Symphonic Band, and the Humboldt Symphony. He is Assistant Professor of Music at HSU, and holds a California life credential in music. He is also an active performer on clarinet and saxophone, appearing with the Nova Vista Symphony, the Oregon Wind Ensemble, and the Master Sinfonia Chamber Orchestra. He is coordinator of the HSU music education program.
Dan Aldag: Director's Notes for Jazz Orchestra
We're playing the complete "Kansas City Suite" by Benny Carter, written for and recorded by the Count Basie Orchestra in 1960. It is a ten-song suite celebrating the city that the original Count Basie Orchestra emerged from in 1936.
Kansas City in the 1920s and 1930s was still a bit of a wild west town,with the emphasis on "wild". The city was run by the corrupt Democraticmachine of Tom Pendergast, which allowed gambling and alcohol to flourish despite Prohibition. The town's many clubs featured musicians engaged inall-night (and on into the morning) jam sessions. Two of those clubs are celebrated in the Suite's "Paseo Promenade" and "Rompin' At The Reno."Both of those clubs and many others were in the 18th and Vine neighborhood, remembered in "Vine St. Rumble".
Kansas City was more thanjust all-night speakeasies, though. Some of its other features are evoked in the summer-fair joy of "Jackson County Jubilee", the church service reminiscence "Meetin' Time" and "Sunset Glow". Women, both in general andspecifically, are celebrated in "Miss Missouri", "The Wiggle Walk" and"Katy Do", the latter named in honor of Basie's wife Katherine, a former dancer who met Basie while working opposite his band at Kansas City's ClubHarlem.
KC's wide-open atmosphere allowed music to flourish, and many of jazz's greatest musicians came from or spent significant time in KansasCity during the 1920s and 1930s. This heritage is celebrated in "Blue Five Jive", named after one of Basie's early groups, "Count Basie's Blue Five."
The composer of "Kansas City Suite", Benny Carter, is one jazz's most significant, if undercelebrated figures. A seminal alto saxophonist, he also excelled on the trumpet and occasionally performed on tenor sax,clarinet, trombone and piano. He was one of the principal architects of the big band sound through his arrangements for the Fletcher Henderson Orchestra and McKinney's Cotton Pickers in the early 1930s, but wasn't around when that sound exploded in popularity a few years later, having emigrated to Europe, where he did much to spread jazz to England, France,Scandinavia and the Netherlands.
When he returned to the States, he provided important early professional opportunities for such modern jazz musicians as Dizzy Gillespie, Miles Davis, J.J. Johnson, Kenny Clarke andMax Roach. He spent close to thirty years as one of the major film and television composers and paved the way for other African-American composers in Hollywood, as well as helping to integrate the Los Angeles Musicians' Union. He remained a vital performer into his 90s and received the Kennedy Center Honor in 1996. He passed away in 2003 at the age of 96.
Performing the "Kansas City Suite" allows the Jazz Orchestra to feature anumber of soloists, including the entire trumpet section of Ari Davie,Tristan Kadish, Krystal Moore, Chisana White and Karolyn Wyneken,trombonists Melissa Gussin, Leah Jmaeff and Talon Nansel, saxophonists SkyMiller and Leo Echazabel and pianist Jeff Kroeger.
The HSU Jazz Orchestra is conducted by Dan Aldag, Assistant Professor of Music at HSU. He is also a performer as trombonist with classical orchestras and jazz ensembles, having played with Dizzy Gillespie, Joe Williams and the Manhattan Transfer, and as a soloist specializing in contemporary music for the trombone. His compositions for trombone and jazz band have been performed throughout the United States and Europe, and recorded on the Seabreeze Vista label.
We're playing the complete "Kansas City Suite" by Benny Carter, written for and recorded by the Count Basie Orchestra in 1960. It is a ten-song suite celebrating the city that the original Count Basie Orchestra emerged from in 1936.
Kansas City in the 1920s and 1930s was still a bit of a wild west town,with the emphasis on "wild". The city was run by the corrupt Democraticmachine of Tom Pendergast, which allowed gambling and alcohol to flourish despite Prohibition. The town's many clubs featured musicians engaged inall-night (and on into the morning) jam sessions. Two of those clubs are celebrated in the Suite's "Paseo Promenade" and "Rompin' At The Reno."Both of those clubs and many others were in the 18th and Vine neighborhood, remembered in "Vine St. Rumble".
Kansas City was more thanjust all-night speakeasies, though. Some of its other features are evoked in the summer-fair joy of "Jackson County Jubilee", the church service reminiscence "Meetin' Time" and "Sunset Glow". Women, both in general andspecifically, are celebrated in "Miss Missouri", "The Wiggle Walk" and"Katy Do", the latter named in honor of Basie's wife Katherine, a former dancer who met Basie while working opposite his band at Kansas City's ClubHarlem.
KC's wide-open atmosphere allowed music to flourish, and many of jazz's greatest musicians came from or spent significant time in KansasCity during the 1920s and 1930s. This heritage is celebrated in "Blue Five Jive", named after one of Basie's early groups, "Count Basie's Blue Five."
The composer of "Kansas City Suite", Benny Carter, is one jazz's most significant, if undercelebrated figures. A seminal alto saxophonist, he also excelled on the trumpet and occasionally performed on tenor sax,clarinet, trombone and piano. He was one of the principal architects of the big band sound through his arrangements for the Fletcher Henderson Orchestra and McKinney's Cotton Pickers in the early 1930s, but wasn't around when that sound exploded in popularity a few years later, having emigrated to Europe, where he did much to spread jazz to England, France,Scandinavia and the Netherlands.
When he returned to the States, he provided important early professional opportunities for such modern jazz musicians as Dizzy Gillespie, Miles Davis, J.J. Johnson, Kenny Clarke andMax Roach. He spent close to thirty years as one of the major film and television composers and paved the way for other African-American composers in Hollywood, as well as helping to integrate the Los Angeles Musicians' Union. He remained a vital performer into his 90s and received the Kennedy Center Honor in 1996. He passed away in 2003 at the age of 96.
Performing the "Kansas City Suite" allows the Jazz Orchestra to feature anumber of soloists, including the entire trumpet section of Ari Davie,Tristan Kadish, Krystal Moore, Chisana White and Karolyn Wyneken,trombonists Melissa Gussin, Leah Jmaeff and Talon Nansel, saxophonists SkyMiller and Leo Echazabel and pianist Jeff Kroeger.
The HSU Jazz Orchestra is conducted by Dan Aldag, Assistant Professor of Music at HSU. He is also a performer as trombonist with classical orchestras and jazz ensembles, having played with Dizzy Gillespie, Joe Williams and the Manhattan Transfer, and as a soloist specializing in contemporary music for the trombone. His compositions for trombone and jazz band have been performed throughout the United States and Europe, and recorded on the Seabreeze Vista label.
Sunday, January 20, 2008
Community Chamber Music
Three community chamber music groups play rare works by Mozart, Beethoven and Bach, plus some classic ragtime and Thelonious Monk, on Sunday, January 20 at 8 P.M. in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door. An HSU Music Department production.
Three community chamber music groups play rare works by Mozart, Beethoven and Bach, plus some classic ragtime and Thelonious Monk, on Sunday, January 20 at 8 P.M. in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door. An HSU Music Department production.
Community Musicians Play All Kinds of Classics
North Coast community musicians in three chamber music groups play rare works by Mozart, Beethoven and Bach, plus some classic ragtime and Thelonious Monk, on Sunday, January 20 at 8 P.M. in the Fulkerson Recital Hall on the HSU campus in Arcata.
Highlighting the evening is the popular ensemble, Trombones @ 4. Well-known for appearances at various community celebrations, this will be their first concert appearance. Also on the bill are PianoVoce and the Humboldt Camerata, playing works by Mozart and Beethoven rarely or never before heard on a North Coast stage.
For the community musicians in these ensembles, chamber music is a labor of love, involving frequent trips up and down Highway 101 for rehearsals at private homes. “It’s typical for chamber music groups worldwide to represent a great variety of occupations,” notes Val Phillips, retired HSU dean who plays horn with one of the featured groups, the Humboldt Camerata. The “day jobs” of players in this upcoming concert include food service manager, college deans (active and retired), dentist, land surveyor, teacher, music librarian, teachers (including piano teachers), dental surgeon and artist. They live in the communities of McKinleyville, Blue Lake, Kneeland, Arcata, Eureka and Bayside.
”Many of our players have leadership roles with other North Coast music organizations,” Phillips notes, “such as the Eureka Symphony, Humboldt Light Opera Company, College of the Redwoods Big Band, Humboldt Brass Band, the All Seasons Orchestra and various church music organizations.” This is the second concert of community ensembles sponsored by the HSU Music Department.
The first group taking the stage will be PianoVoce, which features works that combine piano and voice. Pianists Nancy Correll and Annette Gurnee Hull are especially fascinated by relatively unknown masterworks composed for two pianists at a single piano, and they will present one of these rarely performed pieces: Mozart’s Sonata for Piano Four Hands in B-flat Major. Joining them will be speaker Richard Dunning. Annette and Nancy have long been very active as staff pianists in the HSU Music Department choral and vocal recital programs, as well as with the Humboldt Light Opera.
Next, the Humboldt Camerata will play another seldom-heard work (according to Phillips, this will be the first North Coast presentation): Beethoven’s Sextex for Winds. “Beethoven was in his early twenties when he composed this piece,” Phillips explains. “It was what is often called his ‘classical period,’ when his music was strongly influenced by the most eminent composers of the time, Mozart and Joseph Haydn.”
Musicians of the Humboldt Camerata are HSU dean Ken Ayoob, Gwen Gastineau Ayoob, Virginia Ryder, Val Phillips, Justin Sousa and Wendell Row.
Finally, Trombones @ 4 takes the stage for an eclectic program that ranges from Bach to Hoagy Carmichael’s “Stardust,” Scott Joplin and Thelonious Monk’s “Round Midnight.” George Epperson, Doug Beckstead, Doug Hendricks and Dick LaForge are the musicians.
The concert begins at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door.
Media: HSU Now, Eureka Reporter, Northern Lights, Arcata Eye, Humboldt Beacon.
North Coast community musicians in three chamber music groups play rare works by Mozart, Beethoven and Bach, plus some classic ragtime and Thelonious Monk, on Sunday, January 20 at 8 P.M. in the Fulkerson Recital Hall on the HSU campus in Arcata.
Highlighting the evening is the popular ensemble, Trombones @ 4. Well-known for appearances at various community celebrations, this will be their first concert appearance. Also on the bill are PianoVoce and the Humboldt Camerata, playing works by Mozart and Beethoven rarely or never before heard on a North Coast stage.
For the community musicians in these ensembles, chamber music is a labor of love, involving frequent trips up and down Highway 101 for rehearsals at private homes. “It’s typical for chamber music groups worldwide to represent a great variety of occupations,” notes Val Phillips, retired HSU dean who plays horn with one of the featured groups, the Humboldt Camerata. The “day jobs” of players in this upcoming concert include food service manager, college deans (active and retired), dentist, land surveyor, teacher, music librarian, teachers (including piano teachers), dental surgeon and artist. They live in the communities of McKinleyville, Blue Lake, Kneeland, Arcata, Eureka and Bayside.
”Many of our players have leadership roles with other North Coast music organizations,” Phillips notes, “such as the Eureka Symphony, Humboldt Light Opera Company, College of the Redwoods Big Band, Humboldt Brass Band, the All Seasons Orchestra and various church music organizations.” This is the second concert of community ensembles sponsored by the HSU Music Department.
The first group taking the stage will be PianoVoce, which features works that combine piano and voice. Pianists Nancy Correll and Annette Gurnee Hull are especially fascinated by relatively unknown masterworks composed for two pianists at a single piano, and they will present one of these rarely performed pieces: Mozart’s Sonata for Piano Four Hands in B-flat Major. Joining them will be speaker Richard Dunning. Annette and Nancy have long been very active as staff pianists in the HSU Music Department choral and vocal recital programs, as well as with the Humboldt Light Opera.
Next, the Humboldt Camerata will play another seldom-heard work (according to Phillips, this will be the first North Coast presentation): Beethoven’s Sextex for Winds. “Beethoven was in his early twenties when he composed this piece,” Phillips explains. “It was what is often called his ‘classical period,’ when his music was strongly influenced by the most eminent composers of the time, Mozart and Joseph Haydn.”
Musicians of the Humboldt Camerata are HSU dean Ken Ayoob, Gwen Gastineau Ayoob, Virginia Ryder, Val Phillips, Justin Sousa and Wendell Row.
Finally, Trombones @ 4 takes the stage for an eclectic program that ranges from Bach to Hoagy Carmichael’s “Stardust,” Scott Joplin and Thelonious Monk’s “Round Midnight.” George Epperson, Doug Beckstead, Doug Hendricks and Dick LaForge are the musicians.
The concert begins at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students/seniors, from the HSU Ticket Office (826-3928) or at the door.
Media: HSU Now, Eureka Reporter, Northern Lights, Arcata Eye, Humboldt Beacon.
Friday, December 07, 2007
Humboldt Symphony, Chorale and University Singers
The world premiere of “Fallen Heroes” by HSU professor emeritus Dr. Jim Stanard is performed by the Humboldt Symphony and choir comprised of the Humboldt Chorale and University Singers in their winter concert on Friday, December 7 and Sunday December 9 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. An HSU Department of Music production; Paul Cummings conducting the Humboldt Symphony, the Humboldt Chorale directed by Carol Ryder, and the University Singers directed by Harley Muilenburg.
The world premiere of “Fallen Heroes” by HSU professor emeritus Dr. Jim Stanard is performed by the Humboldt Symphony and choir comprised of the Humboldt Chorale and University Singers in their winter concert on Friday, December 7 and Sunday December 9 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. An HSU Department of Music production; Paul Cummings conducting the Humboldt Symphony, the Humboldt Chorale directed by Carol Ryder, and the University Singers directed by Harley Muilenburg.
World Premiere of Humboldt Composer’s “Fallen Heroes”
The world premiere of Fallen Heroes, a work for orchestra and chorus composed by HSU professor emeritus Dr. Jim Stanard, will highlight the combined winter performances of the Humboldt Symphony, Humboldt Chorale and the University Singers.
There will be two performances—on Friday, December 7 and Sunday, December 9, both in Fulkerson Recital Hall beginning at 8 PM.
“Dr. Stanard taught vocal music at HSU for many years prior to his retirement in 2006,” said Humboldt Symphony conductor Paul Cummings. “He has used poetry from the Civil War as the text, in creating a memorial to fallen soldiers.”
“The work is composed for full orchestra with mixed choir,” he noted, “ and there will be over 150 performers on stage for this piece.”
The chorus is comprised of the Humboldt Chorale, directed by Carol Ryder, and the University Singers, directed by Harley Muilenburg.
Before Fallen Heroes caps the evening, the Humboldt Symphony orchestra will play the Hungarian March by Hector Berlioz, Concerto Grosso Opus 6 #4 by Arcangelo Corelli and Finlandia by Jean Sibelius.
The Hungarian March is one of the better known pieces by Berlioz, and was so popular when first performed in 1846 that he included it in his opera, The Damnation of Faust. Corelli’s Concerto Grosso, written late in his career, is considered to be among the finest examples of the baroque style.
Findlandia is also one of the best known compositions of Sibelius, a symphonic poem written as a patriotic statement in favor of Finnish independence from Russia in 1900. It contains the “Findlandia Hymn” which was adopted for the tune of a Christian hymn, and has been heard on movie soundtracks.
The combined concert by the Humboldt Symphony, Humboldt Chorale and University Singers will be performed at 8 PM in the Fulkerson Recital Hall on Friday, December 7 and Sunday, December 9. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
The world premiere of Fallen Heroes, a work for orchestra and chorus composed by HSU professor emeritus Dr. Jim Stanard, will highlight the combined winter performances of the Humboldt Symphony, Humboldt Chorale and the University Singers.
There will be two performances—on Friday, December 7 and Sunday, December 9, both in Fulkerson Recital Hall beginning at 8 PM.
“Dr. Stanard taught vocal music at HSU for many years prior to his retirement in 2006,” said Humboldt Symphony conductor Paul Cummings. “He has used poetry from the Civil War as the text, in creating a memorial to fallen soldiers.”
“The work is composed for full orchestra with mixed choir,” he noted, “ and there will be over 150 performers on stage for this piece.”
The chorus is comprised of the Humboldt Chorale, directed by Carol Ryder, and the University Singers, directed by Harley Muilenburg.
Before Fallen Heroes caps the evening, the Humboldt Symphony orchestra will play the Hungarian March by Hector Berlioz, Concerto Grosso Opus 6 #4 by Arcangelo Corelli and Finlandia by Jean Sibelius.
The Hungarian March is one of the better known pieces by Berlioz, and was so popular when first performed in 1846 that he included it in his opera, The Damnation of Faust. Corelli’s Concerto Grosso, written late in his career, is considered to be among the finest examples of the baroque style.
Findlandia is also one of the best known compositions of Sibelius, a symphonic poem written as a patriotic statement in favor of Finnish independence from Russia in 1900. It contains the “Findlandia Hymn” which was adopted for the tune of a Christian hymn, and has been heard on movie soundtracks.
The combined concert by the Humboldt Symphony, Humboldt Chorale and University Singers will be performed at 8 PM in the Fulkerson Recital Hall on Friday, December 7 and Sunday, December 9. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
Thursday, December 06, 2007
AM Jazz Band (Dec. 6) and Jazz Orchestra (Dec. 8)
The AM Jazz Band performs classics by Dizzy Gillespie and others on Thursday, December 6 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. The HSU Jazz Orchestra plays selections from Marcus Shelby’s Port Chicago Suite commemorating a landmark in Civil Rights history, as well as tunes by Count Basie, Miles Davis, Charles Mingus and others on Saturday, December 8 at 8 PM, also in the Fulkerson Recital Hall. Tickets for each show are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. HSU Department of Music productions, Dan Aldag directing.
The AM Jazz Band performs classics by Dizzy Gillespie and others on Thursday, December 6 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. The HSU Jazz Orchestra plays selections from Marcus Shelby’s Port Chicago Suite commemorating a landmark in Civil Rights history, as well as tunes by Count Basie, Miles Davis, Charles Mingus and others on Saturday, December 8 at 8 PM, also in the Fulkerson Recital Hall. Tickets for each show are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. HSU Department of Music productions, Dan Aldag directing.
Historical Suite and Classics by Jazz Orchestra and AM Jazz Band
The HSU Jazz Orchestra will perform three movements from Marcus Shelby’s Port Chicago Suite, which commemorates a landmark in Civil Rights history with a northern California connection, to climax its concert at HSU on Saturday, December 8.
According to Oakland-based composer Shelby, Port Chicago was the northern California naval base where an explosion in 1944 killed more than 320 men, mostly African American sailors, in the single worst disaster on U.S. soil during World War II. The Navy was racially segregated then, and only blacks were assigned to load ammunition on ships, under unsafe conditions. A protest by hundreds of African American sailors led to the largest mutiny trial in Navy history and a public outcry, ultimately resulting in an integrated U.S. Navy.
The performance of this work is a prelude to an appearance by the composer in March, said HSU Jazz Orchestra director Dan Aldag. “Marcus Shelby is bringing his jazz orchestra to perform his newest work, a jazz oratorio called ’Harriet Tubman: Bound for the Promised Land.’ It will be the keynote event for the HSU diversity conference, which will now be called the Social Justice Summit.”
In addition to the Shelby work, the Jazz Orchestra will perform another piece with a Civil Rights connection: the Charles Mingus composition, “Fables of Faubus,” a caustic “tribute” to Orval Faubus, the Arkansas governor who attempted to stop African American students from desegregating the Little Rock Central High School in 1957.
The program also includes the Count Basie arrangement of “Meetin’ Time,” a classic Miles Davis tune (“Milestones”) with a new arrangement by Mike Tamaro, a Latin Jazz number (Cubauza"), a piece by the Seattle-based avant-garde composer, Wayne Horvitz, a Duke Ellington Orchestra tune, and the blues and hip-hop influenced “Blue Opening” by Ike Sturm.
A couple of nights before the Jazz Orchestra performs, the AM Jazz Band performs classics in the Big Band style, including “Summertime” by George Gershwin, “Salt Peanuts” by Dizzy Gillespie, “My Funny Valentine” by Rodgers and Hart, “Jeannine” by Duke Pearson, and “Cold Duck Time” by Eddie Harris. The band also performs “Drivin,” an original by band member Adrian Re.
The AM Jazz Band performs on Thursday, December 6, and the Jazz Orchestra concert is on Saturday, December 8. Both concerts begin at 8 PM in the Fulkerson Recital Hall on the HSU campus. Tickets to each are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
The HSU Jazz Orchestra will perform three movements from Marcus Shelby’s Port Chicago Suite, which commemorates a landmark in Civil Rights history with a northern California connection, to climax its concert at HSU on Saturday, December 8.
According to Oakland-based composer Shelby, Port Chicago was the northern California naval base where an explosion in 1944 killed more than 320 men, mostly African American sailors, in the single worst disaster on U.S. soil during World War II. The Navy was racially segregated then, and only blacks were assigned to load ammunition on ships, under unsafe conditions. A protest by hundreds of African American sailors led to the largest mutiny trial in Navy history and a public outcry, ultimately resulting in an integrated U.S. Navy.
The performance of this work is a prelude to an appearance by the composer in March, said HSU Jazz Orchestra director Dan Aldag. “Marcus Shelby is bringing his jazz orchestra to perform his newest work, a jazz oratorio called ’Harriet Tubman: Bound for the Promised Land.’ It will be the keynote event for the HSU diversity conference, which will now be called the Social Justice Summit.”
In addition to the Shelby work, the Jazz Orchestra will perform another piece with a Civil Rights connection: the Charles Mingus composition, “Fables of Faubus,” a caustic “tribute” to Orval Faubus, the Arkansas governor who attempted to stop African American students from desegregating the Little Rock Central High School in 1957.
The program also includes the Count Basie arrangement of “Meetin’ Time,” a classic Miles Davis tune (“Milestones”) with a new arrangement by Mike Tamaro, a Latin Jazz number (Cubauza"), a piece by the Seattle-based avant-garde composer, Wayne Horvitz, a Duke Ellington Orchestra tune, and the blues and hip-hop influenced “Blue Opening” by Ike Sturm.
A couple of nights before the Jazz Orchestra performs, the AM Jazz Band performs classics in the Big Band style, including “Summertime” by George Gershwin, “Salt Peanuts” by Dizzy Gillespie, “My Funny Valentine” by Rodgers and Hart, “Jeannine” by Duke Pearson, and “Cold Duck Time” by Eddie Harris. The band also performs “Drivin,” an original by band member Adrian Re.
The AM Jazz Band performs on Thursday, December 6, and the Jazz Orchestra concert is on Saturday, December 8. Both concerts begin at 8 PM in the Fulkerson Recital Hall on the HSU campus. Tickets to each are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Sunday, December 02, 2007
Madrigal Singers/MRT
Madrigals and Mad Torch Songs by the HSU Madrigal Singers and the Mad Transit Singers in their holiday concert on Sunday, December 2 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Harley Muilenburg directing.
Madrigals and Mad Torch Songs by the HSU Madrigal Singers and the Mad Transit Singers in their holiday concert on Sunday, December 2 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Harley Muilenburg directing.
Toasts and Torch Songs for Madrigal and MRT Holiday Concert
The HSU Madrigal Singers perform their traditional holiday menu of Renaissance solos, duets and ensemble madrigals on Sunday, December 2 in the Fulkerson Recital Hall. In the second half of the program, the Mad Transit Singers will vocalize up-tempo jazz and swing, as well as lighting up the night with some torch songs.
This year’s Madrigal menu begins with toasts from Thomas Arne (“Which is the Properest Day To Drink?”) and Erasmus Widmann (“Good Health, All Gathered Here!”) With the command to “Sing Ye Muses,” and “Fanfare for Christmas Day,” soloists and various combinations of singers perform works by Henry Purcell, John Dowland, Thomas Morley, Thomas Campion and others, as well as traditional songs from Elizabethan times. Two Madrigal Royalty, Clinton Rebik and Sarah Benzinger, preside over the festivities.
Mad River Transit takes over with songs by Miles Davis and Roger Treece before breaking into a series of solos, duets, trios and quartets. These include Robin DiCello and Melody Walker singing torch song ballads by Harold Arlen, and Rodgers and Hart. The evening ends with a trio rendition of “Late Night Blues.”
The MRT singers are accompanied by Darius Brotman on piano, Robert Amirkhan on bass and Jonathan Kipp on drums.
The holiday concert of the HSU Madrigal Singers and the Mad Transit Singers is on Sunday, December 2 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
Media: North Coast Journal, Arcata Eye
The HSU Madrigal Singers perform their traditional holiday menu of Renaissance solos, duets and ensemble madrigals on Sunday, December 2 in the Fulkerson Recital Hall. In the second half of the program, the Mad Transit Singers will vocalize up-tempo jazz and swing, as well as lighting up the night with some torch songs.
This year’s Madrigal menu begins with toasts from Thomas Arne (“Which is the Properest Day To Drink?”) and Erasmus Widmann (“Good Health, All Gathered Here!”) With the command to “Sing Ye Muses,” and “Fanfare for Christmas Day,” soloists and various combinations of singers perform works by Henry Purcell, John Dowland, Thomas Morley, Thomas Campion and others, as well as traditional songs from Elizabethan times. Two Madrigal Royalty, Clinton Rebik and Sarah Benzinger, preside over the festivities.
Mad River Transit takes over with songs by Miles Davis and Roger Treece before breaking into a series of solos, duets, trios and quartets. These include Robin DiCello and Melody Walker singing torch song ballads by Harold Arlen, and Rodgers and Hart. The evening ends with a trio rendition of “Late Night Blues.”
The MRT singers are accompanied by Darius Brotman on piano, Robert Amirkhan on bass and Jonathan Kipp on drums.
The holiday concert of the HSU Madrigal Singers and the Mad Transit Singers is on Sunday, December 2 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
Media: North Coast Journal, Arcata Eye
Madrigal Singers: Fall 2007
Sarah Benzinger, Tiffany Guenter,Claire Bent, Katherine Kinley, Lauren Hay, Michele Enenstein, Hailey Kopf, Jemimah Lodes, Katie Mills, Joanne Rand, Brandy Rose, Emily Skold, Cindy Uhrhammer, Rebecca Ross, Jerilyn Phippeny Gashi, Kaia Renouf, Lizzie Poock, Kelly Whitacker, Carrie O’Niell, Gabriel Holman, Richard Alvarez, Jonathan Walton, Joseph Morf, Ryan Knight, Ian Radloff, Clint Rebik, Nicholas Tringale.
Sarah Benzinger, Tiffany Guenter,Claire Bent, Katherine Kinley, Lauren Hay, Michele Enenstein, Hailey Kopf, Jemimah Lodes, Katie Mills, Joanne Rand, Brandy Rose, Emily Skold, Cindy Uhrhammer, Rebecca Ross, Jerilyn Phippeny Gashi, Kaia Renouf, Lizzie Poock, Kelly Whitacker, Carrie O’Niell, Gabriel Holman, Richard Alvarez, Jonathan Walton, Joseph Morf, Ryan Knight, Ian Radloff, Clint Rebik, Nicholas Tringale.
The Program: Madrigals
Madrigals to be performed:
Which is the Properest Day To Drink? Thomas Arne
Good Health, All Gathered Here! Erasmus Widmann
Sing Ye Muses John Blow
Mairi’s Wedding arr. Bob Chilcott
Barbara Allen arr. King Singers
Fanfare For Christmas Day Martin Shaw
Change Then For Lo William Holbrone
Duets and Solos to be sung:
Dreams and Imaginations by Robert Jones
Katherine & Emily
Let Us Wander Henry Purcell
Kaia & Brandy
What Can We Poor Females Do? Henry Purcell
Rebekah &Jemimah
Come Away Sweet love Thomas Greaves
Sarah & Claire
Since Robin Hood Thomas Weelkes
JoAnne Rand, Emily Skold
What If a Day Time of Elizabeth
Joseph Morf and Ian Radloff
Now What is Love Robert Jones
Ian, Ryan & Jerilyn
It Was a Lover and His Lass Thomas Morley
Kelly Whitcker, Lizzy Poock
Two Daughters of This Aged Stream Henry Purcell
Jerilyn & Claire
Sweet Nymph Thomas Morley
Sarah Benzinger & Nick Tringale
You Gentlemen of England Time of Elizabeth I
Tiffany Guenter and Madrigal Lords
Solos to be Sung:
A Secret Love or Two Thomas Campion
Cindy Uhrhammer
O Come O Come My Dearest Thomas Arne
Katherine
Willow Song Time of Shakespeare
Sarah
Have You Seen But a White Lily Grow? Time of Shakespeare
Emily Skold
I Live Not Where I Love Time of Elisabeth
Claire
The Silver Swan Orlando Gibbons
Jemimah Lodes
Come Again John Dowland
Jerilyn
Madrigals to be performed:
Which is the Properest Day To Drink? Thomas Arne
Good Health, All Gathered Here! Erasmus Widmann
Sing Ye Muses John Blow
Mairi’s Wedding arr. Bob Chilcott
Barbara Allen arr. King Singers
Fanfare For Christmas Day Martin Shaw
Change Then For Lo William Holbrone
Duets and Solos to be sung:
Dreams and Imaginations by Robert Jones
Katherine & Emily
Let Us Wander Henry Purcell
Kaia & Brandy
What Can We Poor Females Do? Henry Purcell
Rebekah &Jemimah
Come Away Sweet love Thomas Greaves
Sarah & Claire
Since Robin Hood Thomas Weelkes
JoAnne Rand, Emily Skold
What If a Day Time of Elizabeth
Joseph Morf and Ian Radloff
Now What is Love Robert Jones
Ian, Ryan & Jerilyn
It Was a Lover and His Lass Thomas Morley
Kelly Whitcker, Lizzy Poock
Two Daughters of This Aged Stream Henry Purcell
Jerilyn & Claire
Sweet Nymph Thomas Morley
Sarah Benzinger & Nick Tringale
You Gentlemen of England Time of Elizabeth I
Tiffany Guenter and Madrigal Lords
Solos to be Sung:
A Secret Love or Two Thomas Campion
Cindy Uhrhammer
O Come O Come My Dearest Thomas Arne
Katherine
Willow Song Time of Shakespeare
Sarah
Have You Seen But a White Lily Grow? Time of Shakespeare
Emily Skold
I Live Not Where I Love Time of Elisabeth
Claire
The Silver Swan Orlando Gibbons
Jemimah Lodes
Come Again John Dowland
Jerilyn
Mad River Transit Singers: Fall 2007
Soprano: Jessica Malone, Melody Walker, Rosalie Venza.
Middle: Traci Alvarez, Jamie Banister, Calista LaBolle.
Alto: Robin DiCello, Melissa Modifer, Korrie Williams.
Tenor: Bernie Steinberg, Jonathan Walton.
Middle: Bryan Osper
Baritone/Bass: Kyle Blase, Joshua Boronkay, Alex Saslow.
Rhythm Section: Darius Brotman, Piano; Robert Amirkhan, Bass; Johathan Kipp, Drums.
Soprano: Jessica Malone, Melody Walker, Rosalie Venza.
Middle: Traci Alvarez, Jamie Banister, Calista LaBolle.
Alto: Robin DiCello, Melissa Modifer, Korrie Williams.
Tenor: Bernie Steinberg, Jonathan Walton.
Middle: Bryan Osper
Baritone/Bass: Kyle Blase, Joshua Boronkay, Alex Saslow.
Rhythm Section: Darius Brotman, Piano; Robert Amirkhan, Bass; Johathan Kipp, Drums.
MRT Singers: The Program
Roger’s Idea by Roger Treece
Male: Jon Walton Female: Rosalie Venza
Improv: 1. Jon Walton 2. Korrie Williams 3. Bernie Steinberg
Boblicity by Miles Davis Arr. Clinton Day
Improv: 1. Bryan Osper 2. Joshua Boronkay 3. Jessica 4. Bernie
Joy by Todd Buffa
Improv: 1. Melody Walker Darius Brotman, Piano
Some Other Time by Cahn & Styne
Jessica Malone & Kyle Blase
Words by Anders Edenroth
Melody, Bryan, Robin, Traci
It Was Written in the Stars by Leo Robin & Harold Arlen (1948)
Robin DiCello
Joy Spring by Clifford Brown
Improv: 1. Kyle & Bernie Darius Brotman, Piano
It Never Entered My Mind by Rodgers & Hart
Melody Walker
Late Night Blues by Doug Beach & Mike Tomaro
Improv: 1. Robin 2. Calista 3. Bernie
Roger’s Idea by Roger Treece
Male: Jon Walton Female: Rosalie Venza
Improv: 1. Jon Walton 2. Korrie Williams 3. Bernie Steinberg
Boblicity by Miles Davis Arr. Clinton Day
Improv: 1. Bryan Osper 2. Joshua Boronkay 3. Jessica 4. Bernie
Joy by Todd Buffa
Improv: 1. Melody Walker Darius Brotman, Piano
Some Other Time by Cahn & Styne
Jessica Malone & Kyle Blase
Words by Anders Edenroth
Melody, Bryan, Robin, Traci
It Was Written in the Stars by Leo Robin & Harold Arlen (1948)
Robin DiCello
Joy Spring by Clifford Brown
Improv: 1. Kyle & Bernie Darius Brotman, Piano
It Never Entered My Mind by Rodgers & Hart
Melody Walker
Late Night Blues by Doug Beach & Mike Tomaro
Improv: 1. Robin 2. Calista 3. Bernie
Saturday, December 01, 2007
Calypso Band and Percussion Ensemble
New Samba music from Brazil and high-energy dance music from the Caribbean highlight the holiday concert of the HSU Percussion Ensemble and Calypso Band on Saturday, December 1 at 8 PM in the Van Duzer Theatre on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. First 50 HSU students free with ID. Produced by HSU Department of Music, Eugene Novotney directing.
New Samba music from Brazil and high-energy dance music from the Caribbean highlight the holiday concert of the HSU Percussion Ensemble and Calypso Band on Saturday, December 1 at 8 PM in the Van Duzer Theatre on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. First 50 HSU students free with ID. Produced by HSU Department of Music, Eugene Novotney directing.
Sounds of Trinidad and Brazil in Calypso Band/Percussion Ensemble Fall Concert
A new suite of Samba music gathered in Brazil will be among the musical works played by the HSU Percussion Ensemble in its upcoming performance with the Calypso Band on Saturday, December 1 at the Van Duzer Theatre.
Dr. Eugene Novotney, director of the Percussion Ensemble, made four separate trips to Brazil to collect this music, most recently last year. He was accompanied at various times by a total of two other faculty members, three alumni and 11 students. Four of the students, all current music majors (Jesse Franzen, John Evans, Bryan Osper and Melody Walk) and one faculty member (Howard Kaufman) will be among the performers of the Samba suite for this concert.
Novotney, the group’s founder and leader, transcribed the music they collected. “We will present it to the Humboldt audience in its classic form,” he said, “using all indigenous instruments from Brazil.”
The featured classical work of the Percussion Ensemble’s half of the program is Paschal Dances by award-winning composer David Gillingham. The piece is scored for piano and an ensemble of a dozen percussionists playing a variety of instruments. “The composition is haunting and beautiful,” Novotney said, “ and at other times, highly rhythmic and brutal.”
The second half of the show features the festive dance music of the Humboldt State Calypso Band, this time emphasizing Panorama compositions: the high-energy dance music of the Caribbean Carnival in Trinidad and Tobago.
“The Humboldt State Calypso Band prides itself in maintaining an accurate and authentic connection to the roots of the steel band movement and the innovative musicians of Trinidad, the island on which this unique percussion phenomenon was born,” Navotney said.
In addition to its regular performances at Humboldt State and throughout Northern California, the band’s tours have included stops in Eugene, Oregon and Seattle, Washington, as well as the California cities of San Francisco, Santa Cruz, San Jose, Santa Rosa, Sacramento, Stockton, Fresno, Oakland, Long Beach and Los Angeles.
The fall concert of the HSU Percussion Ensemble and Calypso Band is on Saturday, December 1 at 8 PM in the Van Duzer Theatre on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. First 50 HSU students free with ID.
Media: North Coast Journal, Arcata Eye.
A new suite of Samba music gathered in Brazil will be among the musical works played by the HSU Percussion Ensemble in its upcoming performance with the Calypso Band on Saturday, December 1 at the Van Duzer Theatre.
Dr. Eugene Novotney, director of the Percussion Ensemble, made four separate trips to Brazil to collect this music, most recently last year. He was accompanied at various times by a total of two other faculty members, three alumni and 11 students. Four of the students, all current music majors (Jesse Franzen, John Evans, Bryan Osper and Melody Walk) and one faculty member (Howard Kaufman) will be among the performers of the Samba suite for this concert.
Novotney, the group’s founder and leader, transcribed the music they collected. “We will present it to the Humboldt audience in its classic form,” he said, “using all indigenous instruments from Brazil.”
The featured classical work of the Percussion Ensemble’s half of the program is Paschal Dances by award-winning composer David Gillingham. The piece is scored for piano and an ensemble of a dozen percussionists playing a variety of instruments. “The composition is haunting and beautiful,” Novotney said, “ and at other times, highly rhythmic and brutal.”
The second half of the show features the festive dance music of the Humboldt State Calypso Band, this time emphasizing Panorama compositions: the high-energy dance music of the Caribbean Carnival in Trinidad and Tobago.
“The Humboldt State Calypso Band prides itself in maintaining an accurate and authentic connection to the roots of the steel band movement and the innovative musicians of Trinidad, the island on which this unique percussion phenomenon was born,” Navotney said.
In addition to its regular performances at Humboldt State and throughout Northern California, the band’s tours have included stops in Eugene, Oregon and Seattle, Washington, as well as the California cities of San Francisco, Santa Cruz, San Jose, Santa Rosa, Sacramento, Stockton, Fresno, Oakland, Long Beach and Los Angeles.
The fall concert of the HSU Percussion Ensemble and Calypso Band is on Saturday, December 1 at 8 PM in the Van Duzer Theatre on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. First 50 HSU students free with ID.
Media: North Coast Journal, Arcata Eye.
Friday, November 30, 2007
Symphonic Band
Song and Dance: HSU Symphonic Band plays Leonard Bernstein, Wagner and the premiere of “Krump” on Friday, November 30 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Paul Cummings directing.
Song and Dance: HSU Symphonic Band plays Leonard Bernstein, Wagner and the premiere of “Krump” on Friday, November 30 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Paul Cummings directing.
Songs, Dances and Krumping with the Symphonic Band
“If music had to be classified into only two categories,” said HSU Symphonic Band director Paul Cummings, “song and dance may be the best choices.”
The Symphonic Band concert on Friday, November 30 features outstanding works in each category, including a premiere. And they’re not just krumping around.
Krump is a work commissioned by the Symphonic Band as a member of a consortium of 10 university bands, and it will be performed at HSU for the first time. Composed by Scott McAllister of Baylor University, "Krump" refers to a popular dance form known as clown-dancing or “krumping,” that emanates from south central Los Angeles.
Cummings describes McAllister’s approach as drawing on “popular styles and genres, while using traditional media such as concert band and orchestra. Krump exemplifies this proclivity for borrowed style. Just as dancers at a krumping competition display their solo dancing skills for an audience, several instrumentalists in the Symphonic Band will play solos in the Hip-Hop musical style associated with krump dancing.”
Krump isn’t the only dance on the card. Earlier in the evening, the band plays two others: the Candide Overture by Leonard Bernstein, and The Solitary Dancer by Warren Benson.
Cummings confesses that he believes Bernstein was at his best when composing for the stage. “Though not as famous as the music from West Side Story,” Cummings said, “Candide is one of his crowning achievements.”
Based on the novel by Voltaire, the Broadway musical Candide had a powerhouse pedigree: besides music by Bernstein, the book was by playwright Lillian Hellman, lyrics by poet Richard Wilbur (and additional lyrics by Dorothy Parker), directed by the legendary Tyrone Guthrie. Though it’s first Broadway run in 1956-57 wasn’t very successful, its revival in 1974 ran for two years, and a second Broadway revival in 1997 topped 100 performances.
The overture to Candide, Cummings said, “is one of Bernstein’s most frequently performed works by both bands and orchestras. It is also one of Bernstein's most difficult works,” mostly for its tremendous speed. “ Don't get too close to the clarinets,” Cummings warned. “There are sparks shooting off of their keys!”
Warren Benson’s The Solitary Dancer is a dance of a different kind. An attempt to combine a fast tempo and soft volume level, it sweeps along at a swift pace but is, as Cummings described it, “quite understated and subtle. Rarely are more than ten instruments playing at once, and rarely do they enter or stop en masse.” By featuring wind and percussion solos, Cummings said, Benson emphasizes “the solo dance he depicts.”
The “song” aspect of the program is represented first by another selection from Leonard Bernstein’s score for Candide: Make our Garden Grow. “As thrilling as the overture is, this piece is equally compelling in its serenity,” Cummings said. Beginning with the solo for English horns that opens the piece, “it expresses Candide's resolve to find meaning in life through cultivation of the earth.”
Elsa’s Procession to the Cathedral by Richard Wagner, Cummings said, “presents a melody of great depth while employing instrumentation that is best described as a wall of sound.” Fans of brass instruments are apt to be pleased by this song, Cummings suggested. “For brass, “Elsa’s Procession” is about as good as it gets.”
“Song and Dance,” a program by the HSU Symphonic Band is presented on Friday, November 30 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
Media: Arcata Eye, Eureka Times Standard Northern Lights.
“If music had to be classified into only two categories,” said HSU Symphonic Band director Paul Cummings, “song and dance may be the best choices.”
The Symphonic Band concert on Friday, November 30 features outstanding works in each category, including a premiere. And they’re not just krumping around.
Krump is a work commissioned by the Symphonic Band as a member of a consortium of 10 university bands, and it will be performed at HSU for the first time. Composed by Scott McAllister of Baylor University, "Krump" refers to a popular dance form known as clown-dancing or “krumping,” that emanates from south central Los Angeles.
Cummings describes McAllister’s approach as drawing on “popular styles and genres, while using traditional media such as concert band and orchestra. Krump exemplifies this proclivity for borrowed style. Just as dancers at a krumping competition display their solo dancing skills for an audience, several instrumentalists in the Symphonic Band will play solos in the Hip-Hop musical style associated with krump dancing.”
Krump isn’t the only dance on the card. Earlier in the evening, the band plays two others: the Candide Overture by Leonard Bernstein, and The Solitary Dancer by Warren Benson.
Cummings confesses that he believes Bernstein was at his best when composing for the stage. “Though not as famous as the music from West Side Story,” Cummings said, “Candide is one of his crowning achievements.”
Based on the novel by Voltaire, the Broadway musical Candide had a powerhouse pedigree: besides music by Bernstein, the book was by playwright Lillian Hellman, lyrics by poet Richard Wilbur (and additional lyrics by Dorothy Parker), directed by the legendary Tyrone Guthrie. Though it’s first Broadway run in 1956-57 wasn’t very successful, its revival in 1974 ran for two years, and a second Broadway revival in 1997 topped 100 performances.
The overture to Candide, Cummings said, “is one of Bernstein’s most frequently performed works by both bands and orchestras. It is also one of Bernstein's most difficult works,” mostly for its tremendous speed. “ Don't get too close to the clarinets,” Cummings warned. “There are sparks shooting off of their keys!”
Warren Benson’s The Solitary Dancer is a dance of a different kind. An attempt to combine a fast tempo and soft volume level, it sweeps along at a swift pace but is, as Cummings described it, “quite understated and subtle. Rarely are more than ten instruments playing at once, and rarely do they enter or stop en masse.” By featuring wind and percussion solos, Cummings said, Benson emphasizes “the solo dance he depicts.”
The “song” aspect of the program is represented first by another selection from Leonard Bernstein’s score for Candide: Make our Garden Grow. “As thrilling as the overture is, this piece is equally compelling in its serenity,” Cummings said. Beginning with the solo for English horns that opens the piece, “it expresses Candide's resolve to find meaning in life through cultivation of the earth.”
Elsa’s Procession to the Cathedral by Richard Wagner, Cummings said, “presents a melody of great depth while employing instrumentation that is best described as a wall of sound.” Fans of brass instruments are apt to be pleased by this song, Cummings suggested. “For brass, “Elsa’s Procession” is about as good as it gets.”
“Song and Dance,” a program by the HSU Symphonic Band is presented on Friday, November 30 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
Media: Arcata Eye, Eureka Times Standard Northern Lights.
Saturday, November 10, 2007
Mozart and More :Cindy Moyer and Ching-Ming Cheng
Violinist Cindy Moyer and pianist Ching-Ming Cheng play sonatas by Mozart, Brahms and Copland in their Faculty Artist Series concert on Saturday, November 10 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students and seniors from HSU Ticket Office (826-3928) or at the door.
Violinist Cindy Moyer and pianist Ching-Ming Cheng play sonatas by Mozart, Brahms and Copland in their Faculty Artist Series concert on Saturday, November 10 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students and seniors from HSU Ticket Office (826-3928) or at the door.
Pianist Debuts in HSU Faculty Concert
Sonatas by Mozart, Brahms and Aaron Copland highlight the November 10 concert at HSU by violinist Cindy Moyer and, in her debut appearance in the Faculty Artist Series, pianist Ching-Ming Cheng.
According to HSU Professor of Music Cindy Moyer the Mozart Sonata in A is “one of the last and one of the best he wrote. The first movement is cheerful, while the last is the Mozart equivalent of a rollicking barn dance—especially the piano part, which has many notes!”
That will be the first challenge for pianist Ching-Ming Cheng. Born in Taiwan, she has just completed her doctorate at the University of Miami, and is now teaching piano at HSU.
The next challenge is the Sonata for violin and piano that Aaron Copland wrote in 1943, in memory of a friend who had recently been killed in World War II. “The first two movements have that wide-open-spaces American sound that we associate with Copland,” Moyer said, “but the final movement is more aggressive and jaunty.”
Next on the program, the Brahms Sonata #1 in G Major is “my favorite of the three he wrote,” Moyer said. “ It’s lyrical, intense, passionate—everything that’s great about Brahms!”
Completing the evening is Danse Espangole, a transcription of a dance from the opera La Vida Breve by 20th century composer Manuel De Falla. “It’s very Spanish in style—a fun, flashy piece,” Moyer said, and added, “Although the arrangement is for just violin and piano, the audience will have no problem imagining the castanets!”
This Faculty Artist Series concert by violinist Cindy Moyer and pianist Ching-Ming Cheng play sonatas by Mozart, Brahms and Copland, beginning at 8 pm on Saturday, November 10 in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students and seniors from HSU Ticket Office 826-3928) or at the door.
The Program
Mozart Sonata in A, K. 526
Copland: Sonata
Brahms: Sonata No. 1 in G Major
De Falla: Danse Espangole from La Vida Breve
Media: Arcata Eye, Eureka Times Standard Northern Lights
Sonatas by Mozart, Brahms and Aaron Copland highlight the November 10 concert at HSU by violinist Cindy Moyer and, in her debut appearance in the Faculty Artist Series, pianist Ching-Ming Cheng.
According to HSU Professor of Music Cindy Moyer the Mozart Sonata in A is “one of the last and one of the best he wrote. The first movement is cheerful, while the last is the Mozart equivalent of a rollicking barn dance—especially the piano part, which has many notes!”
That will be the first challenge for pianist Ching-Ming Cheng. Born in Taiwan, she has just completed her doctorate at the University of Miami, and is now teaching piano at HSU.
The next challenge is the Sonata for violin and piano that Aaron Copland wrote in 1943, in memory of a friend who had recently been killed in World War II. “The first two movements have that wide-open-spaces American sound that we associate with Copland,” Moyer said, “but the final movement is more aggressive and jaunty.”
Next on the program, the Brahms Sonata #1 in G Major is “my favorite of the three he wrote,” Moyer said. “ It’s lyrical, intense, passionate—everything that’s great about Brahms!”
Completing the evening is Danse Espangole, a transcription of a dance from the opera La Vida Breve by 20th century composer Manuel De Falla. “It’s very Spanish in style—a fun, flashy piece,” Moyer said, and added, “Although the arrangement is for just violin and piano, the audience will have no problem imagining the castanets!”
This Faculty Artist Series concert by violinist Cindy Moyer and pianist Ching-Ming Cheng play sonatas by Mozart, Brahms and Copland, beginning at 8 pm on Saturday, November 10 in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students and seniors from HSU Ticket Office 826-3928) or at the door.
The Program
Mozart Sonata in A, K. 526
Copland: Sonata
Brahms: Sonata No. 1 in G Major
De Falla: Danse Espangole from La Vida Breve
Media: Arcata Eye, Eureka Times Standard Northern Lights
Saturday, November 03, 2007
Urinetown: The Musical
Hip, hilarious, wicked, satirical, delirious… Postmodern parody, political subversion, an anti-musical musical--just some of the descriptions that have been applied to URINETOWN: THE MUSICAL, presented by HSU in the Van Duzer Theatre on the Humboldt State University campus in Arcata on October 25, 26, 27 and November 1, 2 and 3 at 7:30PM, plus a matinee on October 28 at 2PM. General admission tickets are $15/$10, seniors and all students $10/$8, from the HSU Ticket Office (826-3928). A co-production of HSU Department of Music and HSU Department of Theatre, Film & Dance: Rae Robison, stage director; Elisabeth Harrington, musical director.
For much more information, including photos, go to UrinetownHSU.
Media Previews: HSU Lumberjack, Eureka Times-Standard, Eureka Reporter, Arcata Eye, North Coast Journal. Reviews in Times-Standard and Eureka Reporter.
Hip, hilarious, wicked, satirical, delirious… Postmodern parody, political subversion, an anti-musical musical--just some of the descriptions that have been applied to URINETOWN: THE MUSICAL, presented by HSU in the Van Duzer Theatre on the Humboldt State University campus in Arcata on October 25, 26, 27 and November 1, 2 and 3 at 7:30PM, plus a matinee on October 28 at 2PM. General admission tickets are $15/$10, seniors and all students $10/$8, from the HSU Ticket Office (826-3928). A co-production of HSU Department of Music and HSU Department of Theatre, Film & Dance: Rae Robison, stage director; Elisabeth Harrington, musical director.
For much more information, including photos, go to UrinetownHSU.
Media Previews: HSU Lumberjack, Eureka Times-Standard, Eureka Reporter, Arcata Eye, North Coast Journal. Reviews in Times-Standard and Eureka Reporter.
Sunday, October 28, 2007
Jazz Combos
HSU student Jazz Combos perform classic and original jazz on Sunday, October 28 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Produced by HSU Department of Music, Dan Aldag directing. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
HSU student Jazz Combos perform classic and original jazz on Sunday, October 28 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Produced by HSU Department of Music, Dan Aldag directing. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
Three Combos, Three Styles of Jazz
Every semester produces three jazz combos, composed of the best student players, each named after the day of the week they rehearse. But the three that will perform on Sunday, October 28 at the Fulkerson Recital Hall also each have a characteristic style.
The Monday Combo “is the most mainstream,” says Dan Aldag, HSU Music assistant professor who directs the combos. “They’re playing jazz standards such as Errol Garner’s ‘Misty,’ ‘Barbara’ by Horace Silver, and ‘Triste’ by Antonio Carlos Jobim. They will also play an original blues tune by the group’s guitarist, Ali Chaudhary.
The Wednesday Combo “is taking soul and funk tunes like Stevie Wonder’s ‘Boogie On, Reggae Woman’ and Bill Withers’ ‘Use Me,’ and adapting them to the jazz idiom,” Aldag said, “ in the same way that earlier generations of jazz musicians played the pop songs of their time.”
Friday’s Combo “is the most tapped into the leading edge of current jazz. They are performing Steve Swallow's ‘Bend Over Backward’, an original by theirpianist Joel Bettencourt and a contemporary arrangement of John Coltrane's ’Impressions.’"
All three Jazz Combos perform on October 27, beginning at 8pm, at Fulkerson Hall on the HSU campus. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
The players in the Monday Combo are Clay Carey (tenor sax), Ali Chaudhary (guitar), Maia Wiitala (bass) and Gabriel Ben-Shalom (drums.) Wednesday Combo is Brian Jones (alto sax and vocals), Trevor Wendel (guitar), Cullen Miller (bass) and Chris Kaller (drums.)The Friday Combo is Sky Miller (tenor sax), Joel Bettencourt (piano), Bobby Amirkhan (bass) andMike Munroe (drums.)
Every semester produces three jazz combos, composed of the best student players, each named after the day of the week they rehearse. But the three that will perform on Sunday, October 28 at the Fulkerson Recital Hall also each have a characteristic style.
The Monday Combo “is the most mainstream,” says Dan Aldag, HSU Music assistant professor who directs the combos. “They’re playing jazz standards such as Errol Garner’s ‘Misty,’ ‘Barbara’ by Horace Silver, and ‘Triste’ by Antonio Carlos Jobim. They will also play an original blues tune by the group’s guitarist, Ali Chaudhary.
The Wednesday Combo “is taking soul and funk tunes like Stevie Wonder’s ‘Boogie On, Reggae Woman’ and Bill Withers’ ‘Use Me,’ and adapting them to the jazz idiom,” Aldag said, “ in the same way that earlier generations of jazz musicians played the pop songs of their time.”
Friday’s Combo “is the most tapped into the leading edge of current jazz. They are performing Steve Swallow's ‘Bend Over Backward’, an original by theirpianist Joel Bettencourt and a contemporary arrangement of John Coltrane's ’Impressions.’"
All three Jazz Combos perform on October 27, beginning at 8pm, at Fulkerson Hall on the HSU campus. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
The players in the Monday Combo are Clay Carey (tenor sax), Ali Chaudhary (guitar), Maia Wiitala (bass) and Gabriel Ben-Shalom (drums.) Wednesday Combo is Brian Jones (alto sax and vocals), Trevor Wendel (guitar), Cullen Miller (bass) and Chris Kaller (drums.)The Friday Combo is Sky Miller (tenor sax), Joel Bettencourt (piano), Bobby Amirkhan (bass) andMike Munroe (drums.)
Saturday, October 27, 2007
Humboldt Bay Brass Band
In its only local appearance this year, the Humboldt Bay Brass Band performs works by Rossini, Vaughan Williams and local composers, including the lost “Redwood Highway March” from the 1930s, on Saturday, October 27 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Gil Cline directing.
In its only local appearance this year, the Humboldt Bay Brass Band performs works by Rossini, Vaughan Williams and local composers, including the lost “Redwood Highway March” from the 1930s, on Saturday, October 27 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Gil Cline directing.
Humboldt Bay Brass Band Brings Back the Lost “Redwood Highway March” in October 27 Concert
In its only local appearance this year, the Humboldt Bay Brass Band will revive a lost work by a local composer from several generations ago. Its title is “The Redwood Highway March.”
“Several weeks ago, the Humboldt County Historical Society received a box of music from someone in Seattle, who found twenty band compositions in storage in an apartment building,” explains band director and HSU Music professor Gil Cline. Titles which included words such as “Eureka” and “Big Lagoon” prompted the Seattle resident to send the music to Humboldt County historians.
“It turned out to be the work of Professor Frank Flowers, who was the Eureka High School band director in the 1920s and 30s,” said Cline. Flowers was also a cornet soloist as well as a composer. The twenty works, Cline believes, “were likely part of the repertory of the Redwood Empire Concert Band, which for many years played weekend concerts at the bandstand in Eureka’s Sequoia Park.”
Gil Cline examined the musical find, and with the Humboldt Historical Society’s blessings, scheduled the revival of one piece, called “The Redwood Highway March.”
This will be a highlight of the Humboldt Bay Band’s fall concert on Saturday, October 27 at the Fulkerson Recital Hall on the HSU campus in Arcata. Because the band will be “on academic break” until the fall of 2008, this will be its only local concert this year. HBBB, a true all-brass band in the British style, is composed of some of the best brass players from North Coast communities as far away as Brookings, Oregon, as well as students.
Besides the Flowers revival, this year’s program features an energetic overture by Rossini, “English Folk Songs” by British composer Ralph Vaughan Williams, and two recent works by local composer, Treblig Enilc.
The last remaining copies of the Band’s CD, “Pageantry of Brass” will be on sale at the concert, the final time it will be offered.
The musicians of the Humboldt Bay Brass Band are: Cornets - Chris Cox, Tristan Kadish, William Zoller, Jennifer Sisk, Clara Navarro, Joyce Carter, John Ferriera, Gary Ross;E flat Tenors - Matt Morgan, Leon Hamilton, Anwyn Halliday; Trombones - Bodie Pfost, Melissa Gussin, Toshi Noguchi; Baritones – Phil Sams, Dick LaForge; Euphonium - George Ritscher, Matt Sullivan; E flat Tubas - Gregg Moore, Joe Eckert; B flat Tubas - Jerry Carter, Damien Adams, Elizabeth Cruz; Percussion – Jessica Bishop, Grace Kerr, and Julia Chase.
Media: KIEM-TV news, Arcata Eye, Eureka Times-Standard, Eureka Reporter.
In its only local appearance this year, the Humboldt Bay Brass Band will revive a lost work by a local composer from several generations ago. Its title is “The Redwood Highway March.”
“Several weeks ago, the Humboldt County Historical Society received a box of music from someone in Seattle, who found twenty band compositions in storage in an apartment building,” explains band director and HSU Music professor Gil Cline. Titles which included words such as “Eureka” and “Big Lagoon” prompted the Seattle resident to send the music to Humboldt County historians.
“It turned out to be the work of Professor Frank Flowers, who was the Eureka High School band director in the 1920s and 30s,” said Cline. Flowers was also a cornet soloist as well as a composer. The twenty works, Cline believes, “were likely part of the repertory of the Redwood Empire Concert Band, which for many years played weekend concerts at the bandstand in Eureka’s Sequoia Park.”
Gil Cline examined the musical find, and with the Humboldt Historical Society’s blessings, scheduled the revival of one piece, called “The Redwood Highway March.”
This will be a highlight of the Humboldt Bay Band’s fall concert on Saturday, October 27 at the Fulkerson Recital Hall on the HSU campus in Arcata. Because the band will be “on academic break” until the fall of 2008, this will be its only local concert this year. HBBB, a true all-brass band in the British style, is composed of some of the best brass players from North Coast communities as far away as Brookings, Oregon, as well as students.
Besides the Flowers revival, this year’s program features an energetic overture by Rossini, “English Folk Songs” by British composer Ralph Vaughan Williams, and two recent works by local composer, Treblig Enilc.
The last remaining copies of the Band’s CD, “Pageantry of Brass” will be on sale at the concert, the final time it will be offered.
The musicians of the Humboldt Bay Brass Band are: Cornets - Chris Cox, Tristan Kadish, William Zoller, Jennifer Sisk, Clara Navarro, Joyce Carter, John Ferriera, Gary Ross;E flat Tenors - Matt Morgan, Leon Hamilton, Anwyn Halliday; Trombones - Bodie Pfost, Melissa Gussin, Toshi Noguchi; Baritones – Phil Sams, Dick LaForge; Euphonium - George Ritscher, Matt Sullivan; E flat Tubas - Gregg Moore, Joe Eckert; B flat Tubas - Jerry Carter, Damien Adams, Elizabeth Cruz; Percussion – Jessica Bishop, Grace Kerr, and Julia Chase.
Media: KIEM-TV news, Arcata Eye, Eureka Times-Standard, Eureka Reporter.
The Program
La Gazza Ladra (overture) by Gioacchino Rossini
John Peel-- traditional. Arranged by Fred Mortimer.
English Folk Songs by R. Vaughan Williams. Arranged by Frank Wright Montreal Citadel by J.N. Audoire
The Pied Pipers by Treblig Enilc
633 Squadron by Ron Goodwin. Arranged by F. BryceFour.
Dot Flourish by Gil Cline
- interval -
The Cossack by William Rimmer
Clok Tok by Gil Cline
Amazing Grace Arranged by William Hines
Toldedo (trombone trio) by T. L. Sharpe
The Redwood Highway by Frank Flowers
Dodge City by Jeff Smallman
La Gazza Ladra (overture) by Gioacchino Rossini
John Peel-- traditional. Arranged by Fred Mortimer.
English Folk Songs by R. Vaughan Williams. Arranged by Frank Wright Montreal Citadel by J.N. Audoire
The Pied Pipers by Treblig Enilc
633 Squadron by Ron Goodwin. Arranged by F. BryceFour.
Dot Flourish by Gil Cline
- interval -
The Cossack by William Rimmer
Clok Tok by Gil Cline
Amazing Grace Arranged by William Hines
Toldedo (trombone trio) by T. L. Sharpe
The Redwood Highway by Frank Flowers
Dodge City by Jeff Smallman
Sunday, October 21, 2007
Jay Crone
Trombonist and former HSU faculty member Jay Crone performs works by David Ott, Alec Wilder, Robert Suderburg and Eric Ewazen in concert with pianist Tracy Cowden in the HSU Music Guest Artist series on Sunday, October 21 at 8PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Trombonist and former HSU faculty member Jay Crone performs works by David Ott, Alec Wilder, Robert Suderburg and Eric Ewazen in concert with pianist Tracy Cowden in the HSU Music Guest Artist series on Sunday, October 21 at 8PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $8 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Jay Crone Returns to HSU
Trombonist and former HSU faculty member Jay Crone performs in the HSU Music Guest Artist series on Sunday, October 21 at 8PM in the Fulkerson Recital Hall on the HSU campus in Arcata.
Jay Crone taught at HSU for the 1992-93 and 1993-4 academic years. “I know there are people in town who remember Jay,” said current HSU Music faculty member Dan Aldag. These days, Crone is head of the Music Department at Virginia Tech, where he has taught trombone, euphonium and tuba for the past 14 years. He returns home to California for three concert dates, including Sunday, October 21 at HSU. He will be accompanied by pianist Tracy Cowden, who also teaches at Virginia Tech. She performs and lectures widely on the subject of collaborative piano.
This HSU Guest Artist Series concert features four works that straddle lines between classical, jazz and other genres. Alec Wilder's Sonata for Trombone and Piano was written for John Swallow, a founding member of the New York Brass Quintet. Swallow recorded it as the entire first side of his solo trombone album in the 1950s, “the first such trombone recording of its kind,” Crone notes.
Another Sonata for Trombone and Piano is by David Ott, who Crone calls “one of America's most sought-after and critically acclaimed symphonic composers.” Palmetto Suite, a 2004 work for alto trombone by Eric Ewazen, was inspired by coastal South Carolina and includes blues rhythms and other iconic sounds of Americana. Robert Suderburg’s Chamber Music III is more jazz-oriented, inspired by memories of the composer’s jazz trombonist father.
Tickets for the Jay Crone concert are $8 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Trombonist and former HSU faculty member Jay Crone performs in the HSU Music Guest Artist series on Sunday, October 21 at 8PM in the Fulkerson Recital Hall on the HSU campus in Arcata.
Jay Crone taught at HSU for the 1992-93 and 1993-4 academic years. “I know there are people in town who remember Jay,” said current HSU Music faculty member Dan Aldag. These days, Crone is head of the Music Department at Virginia Tech, where he has taught trombone, euphonium and tuba for the past 14 years. He returns home to California for three concert dates, including Sunday, October 21 at HSU. He will be accompanied by pianist Tracy Cowden, who also teaches at Virginia Tech. She performs and lectures widely on the subject of collaborative piano.
This HSU Guest Artist Series concert features four works that straddle lines between classical, jazz and other genres. Alec Wilder's Sonata for Trombone and Piano was written for John Swallow, a founding member of the New York Brass Quintet. Swallow recorded it as the entire first side of his solo trombone album in the 1950s, “the first such trombone recording of its kind,” Crone notes.
Another Sonata for Trombone and Piano is by David Ott, who Crone calls “one of America's most sought-after and critically acclaimed symphonic composers.” Palmetto Suite, a 2004 work for alto trombone by Eric Ewazen, was inspired by coastal South Carolina and includes blues rhythms and other iconic sounds of Americana. Robert Suderburg’s Chamber Music III is more jazz-oriented, inspired by memories of the composer’s jazz trombonist father.
Tickets for the Jay Crone concert are $8 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
The Program and Performer's Notes
Palmetto Suite (2004) by Eric Ewazen (b. 1954)
I. Wild Dunes
II. Lowcountry Sweetgrass
III. Isle of Palms
Sonata for Trombone and Piano (1986) by David Ott (b. 1947)
I. Allegro
II. Quarter note =76
III. Andante cantabile
IV. Driving, relentless
INTERMISSION
Sonata for Trombone and Piano by Alec Wilder (1907-1980)
I. Moderato
II. Andante cantabile
III. Allegro guisto
IV. Allegro comodo
V. Grandioso
Chamber Music III (1972) by Robert Suderburg (b. 1936)
I. cry, man
II. it’s been a long, long time
III. brother Devil
Notes
Eric Ewazen offers the following about Palmetto Suite:
"Palmetto Suite is gratefully dedicated to my friend Ronald Barron (Principal Trombone, Boston Symphony) whom I have known for several years. He has recorded, conducted and performed various pieces of mine-so it was with great enthusiasm that I accepted his commission for a new piece for alto trombone-the first work I have written expressly for this instrument.
The alto trombone, with its wonderfully rich colors is an instrument that composers can write for with great expressivity. This piece was inspired by a visit I made to the coastal region of Charleston, South Carolina in the spring of 2004. A long time friend of mine, Ann Stephens, was holding a celebration for her mother's 80th birthday and she gathered together friends who were living throughout the United States to come to this very special area. We were all amazed by the beauty, gracefulness, and charm of the Lowcountry of South Carolina, with its dramatic seashore, its historical architecture and its spectacular flora. Palmetto Suite is a description of this very beautiful part of the country. One windy night, walking along the coast's sand dunes, I walked right up to the ocean, and was so taken with inexorable pounding of the waves. It was energetic, almost rhythmic, and somewhat exhilarating.
The first movement, "Wild Dunes" describes this wonderful scene. The second movement, "Lowcountry Sweetgrass" is influenced by the centuries-old African-American art form of the woven sweeetgrass baskets that one sees throughout the islands near Charleston. They are sold outside at these very picturesque markets- and the fragrant smell of the sweet grass-gentle, aromatic- becomes almost intoxicating. This movement has the sound of an old time blues harmony and rhythm to convey this image of traditional Americana. The final movement, "The Isle of Palms," depicts the large, graceful, and impressive Palmetto trees, standing majestically with the clear blue sky as a backdrop. The music is full and rich-describing the sensation one feels when one sees such impressive trees. A final reflection of the nearby coastal waves brings the piece to a close."
David Ott is one of America's most sought-after and critically acclaimed symphonic composers. He earned graduate degrees from the University of Indiana and the University of Kentucky, and has served on the faculties of Houghton College, Pfeiffer College, and DePauw University. In 1991 he was named Composer-in-Residence of the Indianapolis Symphony Orchestra, a position he held until 1997. His catalog includes four symphonies, fifteen concerti, numerous overtures, fanfares and ceremonial music, film scores, and a host of chamber pieces.
David Manson, instructor of trombone at Indiana State University during the 1980’s, commissioned David Ott’s Sonata for Trombone and Piano. The piano is an equal partner to the trombone in Ott’s sonata. The four movements range in style from agitated to melancholy, while the second movement employs the use of sympathetic vibrations inside the piano.
Alec Wilder, a Rochester, New York native, studied briefly at the Eastman School of Music, but was largely self-taught as a composer. His primary residence during his adulthood was the Algonquin Hotel in New York City, though he traveled extensively during his lifetime. Aside from his many compositions for obscure instruments such as the euphonium and marimba, Wilder is primarily remembered for his contributions to American popular song. The following excerpts from Alec Wilder-An Introduction to the Man and His Music, published by Margun Music, perhaps best describe Alec Wilder's music:
"Alec Wilder's music is a unique blend of American musical traditions-among them, jazz and the American popular song-the basic 'classical' European forms and techniques. As such it fiercely resists all labeling. Although it often pained Alec that his music was not more widely accepted by either jazz or classical performers, undeterred he wrote a great deal of music of remarkable originality in many forms: sonatas, suites, concertos, operas, ballets, art songs, woodwind quintets, brass quintets, jazz suites- and hundreds of popular songs…"
"Wilder, at his best, represents a fascinating amalgam of three quite different composer-archetypes, here all rolled into one: Gershwin, Poulenc, Villa-Lobos. In its baldest outlines, Wilder's oeuvre is unusually diverse and characteristically American, a synthesis of the brilliant song writer (Gershwin); the not-too-intellectual, traditional and determinedly conservative composer of easily accessible American-style Gebrauchsmusik, making use of popular and jazz elements as a matter of course (Poulenc); and a sometimes uncritical, too-casual writer who writes too much too easily-like Shakespeare's old bromide about loving too well but not wisely. (Villa-Lobos)….
"…What those who knew him well respected in Alec Wilder was his absolute independence and incorruptible aesthetic integrity as an artist. For years Alec wrote music of taste and quality with that personal melodic touch that was all his own, unaffected by musical fashion or fads, and never accepting any form of remuneration…It was almost a mission in Alec's life to assuage the thirst for good music for the so-called underdog instruments: bass, tuba, euphonium horn, marimba, etc. Alec was truly the musician's friend-an American original."
Alec Wilder's Sonata for Trombone and Piano was written for John Swallow, a founding member of the New York Brass Quintet, longtime faculty member of the Yale School of Music, and an important figure in the contemporary music scene of New York City for many years. This work made up the entire first side of Swallow's solo trombone long play recording from the 1950's, the first such trombone recording of its kind.
Night Set for Trombone and Piano was commissioned by the trombonist Stuart Dempster and premiered by Dempster and Robert Suderburg in Minneapolis, Minnesota in 1972. The work is dedicated to the composer's jazz-trombonist father with the following note:
"Being the son of a jazz and club trombonist, one recalls a childhood filled with the coming and going of all types of musicians at all varieties of hour. Most of all, however, it guaranteed that the instrument itself and the way R.A. Suderburg played it would produce sound and sight images never to be forgotten. Thus, when commissioned by Stuart Dempster for a Night Set for trombone, the musical occasion was offered to let out those hot-licks and sliding-styles which were the jazz trombonist's stock and trade during the thirties and forties as he wandered from indoor dance hall to outdoor bandstand and from club date to stage show. Hopefully, nurtured by Dempster's unique performance art, these styles and scenes can live again in NIGHT SET, fusing memory with bit-of-the-devil and sweetness with satire. Thus the work is dedicated to my father who-along with Stuart Dempster-should take a bow, at least for those portions of the work which may please or amuse."
Performer biographies
Jay Crone, associate professor of music, is in his fourteenth year as professor of low brass at Virginia Tech. Originally from California, Crone received degrees from the University of Southern California, the Yale School of Music, and California State University at Fresno. In addition to his duties as professor of trombone, euphonium and tuba, Crone was the assistant director of Virginia Tech's marching band, the Marching Virginians for ten years. Currently, Mr. Crone is the Head of the Department of Music at Virginia Tech.
Mr. Crone has performed on trombone and euphonium with many symphony orchestras and bands throughout the United States, including the Fresno Philharmonic, the Roanoke Symphony Orchestra and Opera Roanoke. During the summers he performs with the orchestras of the Wintergreen Performing Arts Festival and the Shenandoah Valley Bach Festival.
As a trombone and euphonium soloist Crone has appeared with the University of Southern California Symphonic Winds, CSU Fresno Wind Ensemble, the Virginia Wind Symphony, Virginia Tech Symphonic Wind Ensemble, CSU Humboldt Wind Ensemble, Virginia Tech Wind Symphony, and the West Georgia State University Wind Ensemble. Crone also performs with Virginia Tech's Faculty Brass Trio, and is a founding member of the Appalachian Trombone Quartet. In June of 2006 he premiered Dr. James Sochinski’s Fantasie-Variations on a Dowland Ayre for trombone and band with the CSU Fresno Alumni Wind Ensemble during their tour of England under the direction of Dr. Lawrence Sutherland.
A unique aspect of Mr. Crone's musical career has been his dual role as both trombonist and pianist. He has been a collaborative pianist in voice and instrumental recitals throughout the United States, most recently performing Eric Ewazen’s Palmetto Suite for Alto Trombone and Piano with Ronald Barron of the Boston Symphony. Before coming to Virginia Tech Crone was a visiting assistant professor of music at Humboldt State University in Arcata, California.
Tracy Cowden joined the music department faculty at Virginia Tech as Assistant Professor of Piano and Vocal Coach in 2004. She received the D.M.A. and M.M. degrees in Piano Accompanying and Chamber Music from the Eastman School of Music, and a B.M. degree in Piano Performance from Western Michigan University.
As a collaborative pianist, Tracy has performed with the Cavani Quartet, the Audubon Quartet, and the Marble Cliff Chamber Players, and in recitals with principal musicians from the Montreal, Vancouver, Boston, and Columbus symphony orchestras. She has been featured as a concerto soloist with the Central Ohio Symphony Orchestra, the Chamber Orchestra of Southwest Virginia, the Ohio Wesleyan University Chamber Orchestra, and the Virginia Tech Symphonic Wind Ensemble.
Tracy has presented lectures on the art of collaborative piano in Ohio, Michigan, and Virginia, and she was selected to present at the College Music Society National Conference in Québec City and at the Music Teachers National Association National Conferences in Seattle, Washington (2005) and Austin, Texas (2006).
In collaboration with Dr. Nancy Gamso from Ohio Wesleyan University, Tracy released a CD entitled “With Blackwood and Silver,” which features modern duo repertoire for flute with piano and clarinet with piano. She also can be heard with the Eastman Wind Ensemble in its 50th anniversary recording, released in 2002.
Tracy has previously served as a faculty member at Ohio Wesleyan University, and as an adjunct faculty member at Kalamazoo College and Hope College in western Michigan. Her principal teachers have included Jean Barr, Douglas Humpherys, Fernando Laires, Phyllis Rappeport, and Marilyn Sluka.
Palmetto Suite (2004) by Eric Ewazen (b. 1954)
I. Wild Dunes
II. Lowcountry Sweetgrass
III. Isle of Palms
Sonata for Trombone and Piano (1986) by David Ott (b. 1947)
I. Allegro
II. Quarter note =76
III. Andante cantabile
IV. Driving, relentless
INTERMISSION
Sonata for Trombone and Piano by Alec Wilder (1907-1980)
I. Moderato
II. Andante cantabile
III. Allegro guisto
IV. Allegro comodo
V. Grandioso
Chamber Music III (1972) by Robert Suderburg (b. 1936)
I. cry, man
II. it’s been a long, long time
III. brother Devil
Notes
Eric Ewazen offers the following about Palmetto Suite:
"Palmetto Suite is gratefully dedicated to my friend Ronald Barron (Principal Trombone, Boston Symphony) whom I have known for several years. He has recorded, conducted and performed various pieces of mine-so it was with great enthusiasm that I accepted his commission for a new piece for alto trombone-the first work I have written expressly for this instrument.
The alto trombone, with its wonderfully rich colors is an instrument that composers can write for with great expressivity. This piece was inspired by a visit I made to the coastal region of Charleston, South Carolina in the spring of 2004. A long time friend of mine, Ann Stephens, was holding a celebration for her mother's 80th birthday and she gathered together friends who were living throughout the United States to come to this very special area. We were all amazed by the beauty, gracefulness, and charm of the Lowcountry of South Carolina, with its dramatic seashore, its historical architecture and its spectacular flora. Palmetto Suite is a description of this very beautiful part of the country. One windy night, walking along the coast's sand dunes, I walked right up to the ocean, and was so taken with inexorable pounding of the waves. It was energetic, almost rhythmic, and somewhat exhilarating.
The first movement, "Wild Dunes" describes this wonderful scene. The second movement, "Lowcountry Sweetgrass" is influenced by the centuries-old African-American art form of the woven sweeetgrass baskets that one sees throughout the islands near Charleston. They are sold outside at these very picturesque markets- and the fragrant smell of the sweet grass-gentle, aromatic- becomes almost intoxicating. This movement has the sound of an old time blues harmony and rhythm to convey this image of traditional Americana. The final movement, "The Isle of Palms," depicts the large, graceful, and impressive Palmetto trees, standing majestically with the clear blue sky as a backdrop. The music is full and rich-describing the sensation one feels when one sees such impressive trees. A final reflection of the nearby coastal waves brings the piece to a close."
David Ott is one of America's most sought-after and critically acclaimed symphonic composers. He earned graduate degrees from the University of Indiana and the University of Kentucky, and has served on the faculties of Houghton College, Pfeiffer College, and DePauw University. In 1991 he was named Composer-in-Residence of the Indianapolis Symphony Orchestra, a position he held until 1997. His catalog includes four symphonies, fifteen concerti, numerous overtures, fanfares and ceremonial music, film scores, and a host of chamber pieces.
David Manson, instructor of trombone at Indiana State University during the 1980’s, commissioned David Ott’s Sonata for Trombone and Piano. The piano is an equal partner to the trombone in Ott’s sonata. The four movements range in style from agitated to melancholy, while the second movement employs the use of sympathetic vibrations inside the piano.
Alec Wilder, a Rochester, New York native, studied briefly at the Eastman School of Music, but was largely self-taught as a composer. His primary residence during his adulthood was the Algonquin Hotel in New York City, though he traveled extensively during his lifetime. Aside from his many compositions for obscure instruments such as the euphonium and marimba, Wilder is primarily remembered for his contributions to American popular song. The following excerpts from Alec Wilder-An Introduction to the Man and His Music, published by Margun Music, perhaps best describe Alec Wilder's music:
"Alec Wilder's music is a unique blend of American musical traditions-among them, jazz and the American popular song-the basic 'classical' European forms and techniques. As such it fiercely resists all labeling. Although it often pained Alec that his music was not more widely accepted by either jazz or classical performers, undeterred he wrote a great deal of music of remarkable originality in many forms: sonatas, suites, concertos, operas, ballets, art songs, woodwind quintets, brass quintets, jazz suites- and hundreds of popular songs…"
"Wilder, at his best, represents a fascinating amalgam of three quite different composer-archetypes, here all rolled into one: Gershwin, Poulenc, Villa-Lobos. In its baldest outlines, Wilder's oeuvre is unusually diverse and characteristically American, a synthesis of the brilliant song writer (Gershwin); the not-too-intellectual, traditional and determinedly conservative composer of easily accessible American-style Gebrauchsmusik, making use of popular and jazz elements as a matter of course (Poulenc); and a sometimes uncritical, too-casual writer who writes too much too easily-like Shakespeare's old bromide about loving too well but not wisely. (Villa-Lobos)….
"…What those who knew him well respected in Alec Wilder was his absolute independence and incorruptible aesthetic integrity as an artist. For years Alec wrote music of taste and quality with that personal melodic touch that was all his own, unaffected by musical fashion or fads, and never accepting any form of remuneration…It was almost a mission in Alec's life to assuage the thirst for good music for the so-called underdog instruments: bass, tuba, euphonium horn, marimba, etc. Alec was truly the musician's friend-an American original."
Alec Wilder's Sonata for Trombone and Piano was written for John Swallow, a founding member of the New York Brass Quintet, longtime faculty member of the Yale School of Music, and an important figure in the contemporary music scene of New York City for many years. This work made up the entire first side of Swallow's solo trombone long play recording from the 1950's, the first such trombone recording of its kind.
Night Set for Trombone and Piano was commissioned by the trombonist Stuart Dempster and premiered by Dempster and Robert Suderburg in Minneapolis, Minnesota in 1972. The work is dedicated to the composer's jazz-trombonist father with the following note:
"Being the son of a jazz and club trombonist, one recalls a childhood filled with the coming and going of all types of musicians at all varieties of hour. Most of all, however, it guaranteed that the instrument itself and the way R.A. Suderburg played it would produce sound and sight images never to be forgotten. Thus, when commissioned by Stuart Dempster for a Night Set for trombone, the musical occasion was offered to let out those hot-licks and sliding-styles which were the jazz trombonist's stock and trade during the thirties and forties as he wandered from indoor dance hall to outdoor bandstand and from club date to stage show. Hopefully, nurtured by Dempster's unique performance art, these styles and scenes can live again in NIGHT SET, fusing memory with bit-of-the-devil and sweetness with satire. Thus the work is dedicated to my father who-along with Stuart Dempster-should take a bow, at least for those portions of the work which may please or amuse."
Performer biographies
Jay Crone, associate professor of music, is in his fourteenth year as professor of low brass at Virginia Tech. Originally from California, Crone received degrees from the University of Southern California, the Yale School of Music, and California State University at Fresno. In addition to his duties as professor of trombone, euphonium and tuba, Crone was the assistant director of Virginia Tech's marching band, the Marching Virginians for ten years. Currently, Mr. Crone is the Head of the Department of Music at Virginia Tech.
Mr. Crone has performed on trombone and euphonium with many symphony orchestras and bands throughout the United States, including the Fresno Philharmonic, the Roanoke Symphony Orchestra and Opera Roanoke. During the summers he performs with the orchestras of the Wintergreen Performing Arts Festival and the Shenandoah Valley Bach Festival.
As a trombone and euphonium soloist Crone has appeared with the University of Southern California Symphonic Winds, CSU Fresno Wind Ensemble, the Virginia Wind Symphony, Virginia Tech Symphonic Wind Ensemble, CSU Humboldt Wind Ensemble, Virginia Tech Wind Symphony, and the West Georgia State University Wind Ensemble. Crone also performs with Virginia Tech's Faculty Brass Trio, and is a founding member of the Appalachian Trombone Quartet. In June of 2006 he premiered Dr. James Sochinski’s Fantasie-Variations on a Dowland Ayre for trombone and band with the CSU Fresno Alumni Wind Ensemble during their tour of England under the direction of Dr. Lawrence Sutherland.
A unique aspect of Mr. Crone's musical career has been his dual role as both trombonist and pianist. He has been a collaborative pianist in voice and instrumental recitals throughout the United States, most recently performing Eric Ewazen’s Palmetto Suite for Alto Trombone and Piano with Ronald Barron of the Boston Symphony. Before coming to Virginia Tech Crone was a visiting assistant professor of music at Humboldt State University in Arcata, California.
Tracy Cowden joined the music department faculty at Virginia Tech as Assistant Professor of Piano and Vocal Coach in 2004. She received the D.M.A. and M.M. degrees in Piano Accompanying and Chamber Music from the Eastman School of Music, and a B.M. degree in Piano Performance from Western Michigan University.
As a collaborative pianist, Tracy has performed with the Cavani Quartet, the Audubon Quartet, and the Marble Cliff Chamber Players, and in recitals with principal musicians from the Montreal, Vancouver, Boston, and Columbus symphony orchestras. She has been featured as a concerto soloist with the Central Ohio Symphony Orchestra, the Chamber Orchestra of Southwest Virginia, the Ohio Wesleyan University Chamber Orchestra, and the Virginia Tech Symphonic Wind Ensemble.
Tracy has presented lectures on the art of collaborative piano in Ohio, Michigan, and Virginia, and she was selected to present at the College Music Society National Conference in Québec City and at the Music Teachers National Association National Conferences in Seattle, Washington (2005) and Austin, Texas (2006).
In collaboration with Dr. Nancy Gamso from Ohio Wesleyan University, Tracy released a CD entitled “With Blackwood and Silver,” which features modern duo repertoire for flute with piano and clarinet with piano. She also can be heard with the Eastman Wind Ensemble in its 50th anniversary recording, released in 2002.
Tracy has previously served as a faculty member at Ohio Wesleyan University, and as an adjunct faculty member at Kalamazoo College and Hope College in western Michigan. Her principal teachers have included Jean Barr, Douglas Humpherys, Fernando Laires, Phyllis Rappeport, and Marilyn Sluka.
Saturday, October 13, 2007
Timothy Smith
Pianist Timothy Smith, a Steinway Concert Artist, performs selections from Liszt, Scriabin and Coray in a Guest Artist Concert on Saturday, October 13 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $10 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Pianist Timothy Smith, a Steinway Concert Artist, performs selections from Liszt, Scriabin and Coray in a Guest Artist Concert on Saturday, October 13 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $10 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Liszt and Sky Spirit at HSU by Pianist Timothy Smith
Appearing in the HSU Guest Artist Series, pianist Timothy Smith performs pieces included on his latest recording of Franz Liszt, and a work by a contemporary Alaska composer incorporating Native themes, on Saturday, October 13 in the Fulkerson Recital Hall on the HSU campus in Arcata.
Timothy Smith is Professor of Piano and head of Piano Studies at the University of Alaska Anchorage. As a performer, Smith won the Artists International Competition and made his New York debut in Carnegie Recital Hall. He is currently a Steinway Concert Artist.
Raised in Seattle, Smith was attending the Julliard School of Music at age 10, and made his orchestral debut at 15. He has appeared with many orchestras in the U.S., Canada and in Asia, where he has given more than 50 concerts. He has recently returned from a month-long concert tour of China.
At HSU, Smith will play several pieces by Franz Liszt. Of his Liszt recording, Fanfare Magazine wrote: “…impressive and towering…one of the more gripping accounts of the (Liszt) sonata in recent memory.”
Smith’s program begins with “Silam Inua,” a 1992 work by Alaska composer Craig Coray, based on Native music recorded in Alaska and northern Canada between 1940 and 1960. The title translates as “Sky Spirit,” representing the Inupiat concept of the spirit that governs all things above the earth: the sky, the weather, the universe.
At HSU, Smith will also play “Sonata No 5 in F# major, Op. 53” by early 20th century Russian pianist and composer Alexander Scriabin, and a work by Chinese composer Chen Peixun.
A celebrated teacher, Timothy Smith will also conduct a free piano workshop on Sunday, October 14, from 10 AM until noon, also in Fulkerson Recital Hall.
The Timothy Smith concert will begin at 8PM on Saturday, October 13 in Fulkerson Recital Hall. Tickets are $10 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Media: Arcata Eye.
Appearing in the HSU Guest Artist Series, pianist Timothy Smith performs pieces included on his latest recording of Franz Liszt, and a work by a contemporary Alaska composer incorporating Native themes, on Saturday, October 13 in the Fulkerson Recital Hall on the HSU campus in Arcata.
Timothy Smith is Professor of Piano and head of Piano Studies at the University of Alaska Anchorage. As a performer, Smith won the Artists International Competition and made his New York debut in Carnegie Recital Hall. He is currently a Steinway Concert Artist.
Raised in Seattle, Smith was attending the Julliard School of Music at age 10, and made his orchestral debut at 15. He has appeared with many orchestras in the U.S., Canada and in Asia, where he has given more than 50 concerts. He has recently returned from a month-long concert tour of China.
At HSU, Smith will play several pieces by Franz Liszt. Of his Liszt recording, Fanfare Magazine wrote: “…impressive and towering…one of the more gripping accounts of the (Liszt) sonata in recent memory.”
Smith’s program begins with “Silam Inua,” a 1992 work by Alaska composer Craig Coray, based on Native music recorded in Alaska and northern Canada between 1940 and 1960. The title translates as “Sky Spirit,” representing the Inupiat concept of the spirit that governs all things above the earth: the sky, the weather, the universe.
At HSU, Smith will also play “Sonata No 5 in F# major, Op. 53” by early 20th century Russian pianist and composer Alexander Scriabin, and a work by Chinese composer Chen Peixun.
A celebrated teacher, Timothy Smith will also conduct a free piano workshop on Sunday, October 14, from 10 AM until noon, also in Fulkerson Recital Hall.
The Timothy Smith concert will begin at 8PM on Saturday, October 13 in Fulkerson Recital Hall. Tickets are $10 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door.
Media: Arcata Eye.
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Notes on“Silam Inua” by Craig Coray
Silam Inua:
Ceremonial Song
Shaman’s Power Song
Calling the Walrus
Rhythmic Breathing
Hunting for Musk Ox
Women’s Dance Song
Weather Song
Dance Song
Anchorage Composer Craig Coray, a graduate of the University of Alaska, Fairbanks and the State University of New York, Buffalo, has incorporated native Alaskan songs as thematic material in his music since 1973, reflecting the influence of his childhood in bush Alaska.
Silam Inua (“Sky Spirit”), composed in 1992, was funded by a grant from the Alaska State Council on the Arts. The Inupiat title represents the spirit that governs all things above the earth; the sky, weather, and universe. The eight movements evolved from original Eskimo material recorded in Alaska and northern Canada between 1940 and 1960.
Coray describes the work as follows: “In Ceremonial Song (Kotzebue), a free introduction becomes the countermelody to an Eskimo song in a different key. The left hand begins drumming and the music is repeated fortissimo. In Shaman’s Power Song (Hooper Bay) an unusual form of the pentatonic scale is disguised within the large melodic leaps and 7/4 meter. The music gains power through the repetition of a single chord. In Calling the Walrus (Southampton Island) an Eskimo hunter seems to sing as he speaks the language of the walrus.
On the piano, many overtones convey a feeling of space; the “silence that can be heard.” A stalking motive creeps into the lower register. In Rhythmic Breathing (Baker Lake) two girls breathe gustily into a kettle, causing the sound to bounce back. The piano mimics the reverberation; everything in the right hand is repeated upside down by the left hand. Other sounds represent the babble of geese on the tundra.
Hunting for Musk Ox (Chesterfield Inlet) is based on a minor pentatonic scale with one “blue” note. The left hand becomes a drum; true to the original, it’s in a different meter than the melody. Women’s Dance Song (Kobuk Valley) employs vigorous drumming in a metric division of 2 plus 3 – a forceful piano figure emerges. What sounds like an improvisation is actually a four-note Eskimo melody. The drumming and dancing intensify.
In Weather Song (Kotzebue) a single repeated chord hangs in the air like fog; the booming sound on the open strings suggests an unseen power. Somewhere a lone voice floats over the tundra in a prayer to Silam Inua for good weather. Dance Song (Barrow) – A village dance begins tentatively then builds as more singers, drummers, and dancers join in. An undefined celebration is underway; perhaps the people are rejoicing for the return of daylight in spring.”
Silam Inua:
Ceremonial Song
Shaman’s Power Song
Calling the Walrus
Rhythmic Breathing
Hunting for Musk Ox
Women’s Dance Song
Weather Song
Dance Song
Anchorage Composer Craig Coray, a graduate of the University of Alaska, Fairbanks and the State University of New York, Buffalo, has incorporated native Alaskan songs as thematic material in his music since 1973, reflecting the influence of his childhood in bush Alaska.
Silam Inua (“Sky Spirit”), composed in 1992, was funded by a grant from the Alaska State Council on the Arts. The Inupiat title represents the spirit that governs all things above the earth; the sky, weather, and universe. The eight movements evolved from original Eskimo material recorded in Alaska and northern Canada between 1940 and 1960.
Coray describes the work as follows: “In Ceremonial Song (Kotzebue), a free introduction becomes the countermelody to an Eskimo song in a different key. The left hand begins drumming and the music is repeated fortissimo. In Shaman’s Power Song (Hooper Bay) an unusual form of the pentatonic scale is disguised within the large melodic leaps and 7/4 meter. The music gains power through the repetition of a single chord. In Calling the Walrus (Southampton Island) an Eskimo hunter seems to sing as he speaks the language of the walrus.
On the piano, many overtones convey a feeling of space; the “silence that can be heard.” A stalking motive creeps into the lower register. In Rhythmic Breathing (Baker Lake) two girls breathe gustily into a kettle, causing the sound to bounce back. The piano mimics the reverberation; everything in the right hand is repeated upside down by the left hand. Other sounds represent the babble of geese on the tundra.
Hunting for Musk Ox (Chesterfield Inlet) is based on a minor pentatonic scale with one “blue” note. The left hand becomes a drum; true to the original, it’s in a different meter than the melody. Women’s Dance Song (Kobuk Valley) employs vigorous drumming in a metric division of 2 plus 3 – a forceful piano figure emerges. What sounds like an improvisation is actually a four-note Eskimo melody. The drumming and dancing intensify.
In Weather Song (Kotzebue) a single repeated chord hangs in the air like fog; the booming sound on the open strings suggests an unseen power. Somewhere a lone voice floats over the tundra in a prayer to Silam Inua for good weather. Dance Song (Barrow) – A village dance begins tentatively then builds as more singers, drummers, and dancers join in. An undefined celebration is underway; perhaps the people are rejoicing for the return of daylight in spring.”
Friday, October 12, 2007
Humboldt Symphony
The Humboldt Symphony plays Bach, Elgar, Saint-Saens and Edvard Grieg’s “Symphonic Dances” in honor of his centennial, on Friday, October 12 and Sunday, October 14 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office 826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Paul Cummings conducting.
The Humboldt Symphony plays Bach, Elgar, Saint-Saens and Edvard Grieg’s “Symphonic Dances” in honor of his centennial, on Friday, October 12 and Sunday, October 14 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office 826-3928) or at the door. HSU students free with ID. Produced by HSU Department of Music, Paul Cummings conducting.
Humboldt Symphony Features Grieg’s “Symphonic Dances”
The Humboldt Symphony pays tribute to the centennial year of composer Edvard Grieg with one of his signature compositions, the “Symphonic Dances,” in its fall concert on Friday, October 12, and Sunday, October 14 in the Fulkerson Recital Hall on the HSU campus in Arcata.
Conducted by HSU assistant professor Paul Cummings, the Symphony will also perform short pieces by Bach, Edward Elgar and Camille Saint-Saens.
The centennial of Grieg’s death in 1907 is being noted by orchestras around the world. The Norwegian composer wrote the “Symphonic Dance” around 1896, based on folk songs and dances of his native country. Several of Grieg’s works synthesized folklore and European concert music. With four “dances” like the four movements of a symphony, together with the unity of the composition, the “Symphonic Dances” is aptly named.
The preceding pieces on the program are “Marche Militaire Francaise,” by Grieg’s contemporary in France, Camille Saint-Saens; “Nimrod,” a section of the “Enigma Variations” by British composer Edward Elgar (also written in Grieg’s lifetime), and the chorale prelude of “Wachet Auf” (“Sleepers, Wake”) by J. S. Bach, as arranged for orchestra by Eugene Ormandy.
The Humboldt Symphony, conducted by Paul Cummings, performs in Fulkerson Recital Hall on Friday, October 12 and Sunday, October 14 at 8PM.Tickets are $7 general, $3 students and seniors, from HSU Ticket Office 826-3928) or at the door. HSU students free with ID.
Media: Arcata Eye, Eureka Times-Standard Northern Lights.
The Humboldt Symphony pays tribute to the centennial year of composer Edvard Grieg with one of his signature compositions, the “Symphonic Dances,” in its fall concert on Friday, October 12, and Sunday, October 14 in the Fulkerson Recital Hall on the HSU campus in Arcata.
Conducted by HSU assistant professor Paul Cummings, the Symphony will also perform short pieces by Bach, Edward Elgar and Camille Saint-Saens.
The centennial of Grieg’s death in 1907 is being noted by orchestras around the world. The Norwegian composer wrote the “Symphonic Dance” around 1896, based on folk songs and dances of his native country. Several of Grieg’s works synthesized folklore and European concert music. With four “dances” like the four movements of a symphony, together with the unity of the composition, the “Symphonic Dances” is aptly named.
The preceding pieces on the program are “Marche Militaire Francaise,” by Grieg’s contemporary in France, Camille Saint-Saens; “Nimrod,” a section of the “Enigma Variations” by British composer Edward Elgar (also written in Grieg’s lifetime), and the chorale prelude of “Wachet Auf” (“Sleepers, Wake”) by J. S. Bach, as arranged for orchestra by Eugene Ormandy.
The Humboldt Symphony, conducted by Paul Cummings, performs in Fulkerson Recital Hall on Friday, October 12 and Sunday, October 14 at 8PM.Tickets are $7 general, $3 students and seniors, from HSU Ticket Office 826-3928) or at the door. HSU students free with ID.
Media: Arcata Eye, Eureka Times-Standard Northern Lights.
Saturday, October 06, 2007
HSU Symphonic Band and Jazz Orchestra
Music from Europe to hip-hop is featured in the HSU Symphonic Band and Jazz Orchestra joint concert on Saturday, October 6 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
Music from Europe to hip-hop is featured in the HSU Symphonic Band and Jazz Orchestra joint concert on Saturday, October 6 at 8 PM in the Fulkerson Recital Hall on the HSU campus in Arcata. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office (826-3928) or at the door. HSU students free with ID.
From Europe to Hip-Hop: Symphonic Band to Jazz Orchestra
The first half is all Europe,and the second half is jazz, from Count Basie to blues with a hip-hop beat, when the HSU Symphonic Band and Jazz Orchestra present a joint concert on Saturday, October 6 at the Fulkerson Recital Hall on the HSU campus in Arcata.
The HSU Symphonic Band joins the worldwide recognition of Norwegian composer and pianist Edvard Grieg’s centennial with Grieg’s “Funeral Music for Rikard Nordraak.” Also on the program are works by Richard Strauss (“Koenigsmarsch”), Ralph Vaughan Williams (English Folk Song Suite) and Arthur Sullivan, of the famed operatic team of Gilbert and Sullivan (“Pineapple Poll.”)
“This represents an all-European program, which is somewhat unusual for a modern American concert band to do,” said Paul Cummings, director of the Symphonic Band and HSU Assistant Professor of Music. “But we especially wanted to honor the centennial year of Grieg’s death by performing some of this great Norwegian composer’s music.”
The second half of the concert will be performed by the HSU Jazz Orchestra, directed by Assistant Professor of Music Dan Aldag. The program ranges from traditional to contemporary jazz. It begins with a tune from today: “Blues Opening” by New York City jazz bassist Ike Sturn, which Aldag describes as combining “blues harmonies with a hip-hop beat, creating something that is simultaneously old and raw, and new and sleek.” “Prodigal Son Revisited” by Seattle-based composer and electronic musician Wayne Horvitz continues the avant-garde theme.
But tradition is also served, beginning with "Meetin'Time" by legendary alto saxophonist and composer Benny Carter, using the exact arrangement played by the Count Basie Orchestra. The classic Miles Davis “Milestones” is followed by “Fables of Faubus” by jazz great Charles Mingus, which Aldag calls “a caustic and uproarious ‘tribute’ to Orval Faubus,” the Arkansas governor who tried to defy integration in the Civil Rights era. The HSU Symphonic Band and Jazz Orchestra concert begins at 8PM in Fulkerson Recital Hall. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office 826-3928) or at the door. HSU students free with ID.
The first half is all Europe,and the second half is jazz, from Count Basie to blues with a hip-hop beat, when the HSU Symphonic Band and Jazz Orchestra present a joint concert on Saturday, October 6 at the Fulkerson Recital Hall on the HSU campus in Arcata.
The HSU Symphonic Band joins the worldwide recognition of Norwegian composer and pianist Edvard Grieg’s centennial with Grieg’s “Funeral Music for Rikard Nordraak.” Also on the program are works by Richard Strauss (“Koenigsmarsch”), Ralph Vaughan Williams (English Folk Song Suite) and Arthur Sullivan, of the famed operatic team of Gilbert and Sullivan (“Pineapple Poll.”)
“This represents an all-European program, which is somewhat unusual for a modern American concert band to do,” said Paul Cummings, director of the Symphonic Band and HSU Assistant Professor of Music. “But we especially wanted to honor the centennial year of Grieg’s death by performing some of this great Norwegian composer’s music.”
The second half of the concert will be performed by the HSU Jazz Orchestra, directed by Assistant Professor of Music Dan Aldag. The program ranges from traditional to contemporary jazz. It begins with a tune from today: “Blues Opening” by New York City jazz bassist Ike Sturn, which Aldag describes as combining “blues harmonies with a hip-hop beat, creating something that is simultaneously old and raw, and new and sleek.” “Prodigal Son Revisited” by Seattle-based composer and electronic musician Wayne Horvitz continues the avant-garde theme.
But tradition is also served, beginning with "Meetin'Time" by legendary alto saxophonist and composer Benny Carter, using the exact arrangement played by the Count Basie Orchestra. The classic Miles Davis “Milestones” is followed by “Fables of Faubus” by jazz great Charles Mingus, which Aldag calls “a caustic and uproarious ‘tribute’ to Orval Faubus,” the Arkansas governor who tried to defy integration in the Civil Rights era. The HSU Symphonic Band and Jazz Orchestra concert begins at 8PM in Fulkerson Recital Hall. Tickets are $7 general, $3 students and seniors, from HSU Ticket Office 826-3928) or at the door. HSU students free with ID.
Director's Notes: Paul Cummings on the Symphonic Band
For the first half of the concert, the Symphonic Band is performing “Koenigsmarsch” by Richard Strauss, “Funeral Music for Rikard Nordraak” by Edvard Grieg, “English Folk Song Suite” by Ralph Vaughan Williams, and “Pineapple Poll” by Arthur Sullivan. This represents an all-European program which is somewhat unusual for amodern American concert band to do. This is the centennial year of Grieg's death (1907), so we are joining the bandwagon, so to speak, of groups performing this great Norwegian composer's music.
The work we’re doing by Edvard Grieg, "Funeral Music for Rikard Nordraak," has an interesting story behind it. Rikard Nordraak, in whose memory the piece was composed, was a close friend of Grieg. Nordraakis remembered today primarily as the composer of the Norwegian national anthem, which he composed when he was only 17 years old.
While visiting Rome, Grieg heard of Nordraak's premature death, and immediately composed the funeral music. It was originally written for piano, but Grieg transcribed it for winds and percussion, since many funeral marches of this era were to be played outdoors. At the interment for Nordraak in Bergen, the town band apparently was not quite up to the task of performing the wind band version of the piece. Instead, an orchestral version was hastily cobbled together by a local composer to suit the Bergen musicians. Ironically, the band setting was played at Grieg's own funeral which occurred three years later.
The English Folk Song Suite is a staple of the wind band repertoire, and Gordon Jacob's transcription for orchestra is also quite popular, thoughthe band version came first. Vaughan Williams employs nine different English folk songs in the suite, mostly drawn from the collections of Cecil Sharpe. What was originally a group of rugged tunes from the English countryside was transformed by Vaughan Williams into a beautifully crafted, elegant artwork. The pristine settings require Mozartean precision from the ensemble, and depict an incredibly wide range of emotion, from lovesick sadness to carefree glee.
For the first half of the concert, the Symphonic Band is performing “Koenigsmarsch” by Richard Strauss, “Funeral Music for Rikard Nordraak” by Edvard Grieg, “English Folk Song Suite” by Ralph Vaughan Williams, and “Pineapple Poll” by Arthur Sullivan. This represents an all-European program which is somewhat unusual for amodern American concert band to do. This is the centennial year of Grieg's death (1907), so we are joining the bandwagon, so to speak, of groups performing this great Norwegian composer's music.
The work we’re doing by Edvard Grieg, "Funeral Music for Rikard Nordraak," has an interesting story behind it. Rikard Nordraak, in whose memory the piece was composed, was a close friend of Grieg. Nordraakis remembered today primarily as the composer of the Norwegian national anthem, which he composed when he was only 17 years old.
While visiting Rome, Grieg heard of Nordraak's premature death, and immediately composed the funeral music. It was originally written for piano, but Grieg transcribed it for winds and percussion, since many funeral marches of this era were to be played outdoors. At the interment for Nordraak in Bergen, the town band apparently was not quite up to the task of performing the wind band version of the piece. Instead, an orchestral version was hastily cobbled together by a local composer to suit the Bergen musicians. Ironically, the band setting was played at Grieg's own funeral which occurred three years later.
The English Folk Song Suite is a staple of the wind band repertoire, and Gordon Jacob's transcription for orchestra is also quite popular, thoughthe band version came first. Vaughan Williams employs nine different English folk songs in the suite, mostly drawn from the collections of Cecil Sharpe. What was originally a group of rugged tunes from the English countryside was transformed by Vaughan Williams into a beautifully crafted, elegant artwork. The pristine settings require Mozartean precision from the ensemble, and depict an incredibly wide range of emotion, from lovesick sadness to carefree glee.
Director’s Notes: Dan Aldag on the Jazz Orchestra
The Jazz Orchestra will perform the second half of the concert, playing "Blue Opening," "Milestones," "Meetin' Time," "Prodigal Son Revisited" and"Fables of Faubus."
"Blue Opening," composed by Ike Sturm, combines blues harmonies and inflections with a hip-hop beat, creating something that is simultaneously both old and raw and new and sleek. It was composed by Ike Sturm, a young bassist who is the music director for jazz at St. Peter's Church in Manhattan, the famed "jazz church," where he composes and performsoriginal music for weekly jazz services. "Blue Opening" was arranged for jazz orchestra by Ike Sturm's father Fred, a noted jazz arranger and educator.
"Prodigal Son Revisited" was composed by Wayne Horvitz, a Seattle-based composer, pianist and electronic musician who has performed with many ofthe leading lights of the jazz avant-garde and composed music for everyone from the Kronos Quartet and choreographer Paul Taylor to Gus Van Sandt'sremake of "Psycho."
Besides these two contemporary works, the Jazz Orchestra will play three pieces that, each in their own way, deal with the jazz tradition. "Meetin' Time" is the exact arrangement played by the Count Basie Orchestra on their 1960 album Kansas City Suite. All of the music on that album was composed by the legendary alto saxophonist and composer Benny Carter, and was about some place or event in Kansas City, where the Basie band got its start. "Meetin' Time" evokes the sounds of a church service.
"Milestones" is a classic Miles Davis tune in a brand-new arrangement by Mike Tomaro.
"Fables of Faubus" is Charles Mingus's caustic and uproarious "tribute" to Orval Faubus, the Arkansas governor of the mid-1950s who, in 1957, defied the United States Supreme Court by ordering the Arkansas National Guard to stop African American youngsters from desegregating Central High School in Little Rock. The Jazz Orchestra will perform the arrangement created for the Mingus Big Band, a group formed after Mingus's death by his widow Sue,which is dedicated to keeping Mingus's music alive.
Featured soloists on the concert will include saxophonists Sky Miller and Steve Alton, trombonist Talon Nansel, trumpeters Ari Davie and TristanKadish and pianist Jeff Kroeger.
The Jazz Orchestra will perform the second half of the concert, playing "Blue Opening," "Milestones," "Meetin' Time," "Prodigal Son Revisited" and"Fables of Faubus."
"Blue Opening," composed by Ike Sturm, combines blues harmonies and inflections with a hip-hop beat, creating something that is simultaneously both old and raw and new and sleek. It was composed by Ike Sturm, a young bassist who is the music director for jazz at St. Peter's Church in Manhattan, the famed "jazz church," where he composes and performsoriginal music for weekly jazz services. "Blue Opening" was arranged for jazz orchestra by Ike Sturm's father Fred, a noted jazz arranger and educator.
"Prodigal Son Revisited" was composed by Wayne Horvitz, a Seattle-based composer, pianist and electronic musician who has performed with many ofthe leading lights of the jazz avant-garde and composed music for everyone from the Kronos Quartet and choreographer Paul Taylor to Gus Van Sandt'sremake of "Psycho."
Besides these two contemporary works, the Jazz Orchestra will play three pieces that, each in their own way, deal with the jazz tradition. "Meetin' Time" is the exact arrangement played by the Count Basie Orchestra on their 1960 album Kansas City Suite. All of the music on that album was composed by the legendary alto saxophonist and composer Benny Carter, and was about some place or event in Kansas City, where the Basie band got its start. "Meetin' Time" evokes the sounds of a church service.
"Milestones" is a classic Miles Davis tune in a brand-new arrangement by Mike Tomaro.
"Fables of Faubus" is Charles Mingus's caustic and uproarious "tribute" to Orval Faubus, the Arkansas governor of the mid-1950s who, in 1957, defied the United States Supreme Court by ordering the Arkansas National Guard to stop African American youngsters from desegregating Central High School in Little Rock. The Jazz Orchestra will perform the arrangement created for the Mingus Big Band, a group formed after Mingus's death by his widow Sue,which is dedicated to keeping Mingus's music alive.
Featured soloists on the concert will include saxophonists Sky Miller and Steve Alton, trombonist Talon Nansel, trumpeters Ari Davie and TristanKadish and pianist Jeff Kroeger.
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