MALCOLM MESSITER, Oboe
JOHN MILLER, Bassoon
Sunday, August 15, 1982, 7:30 P.M.
John Miller, Bassoon
Concerto in F Major for Bassoon and Orchestra - Johann Hummel (1778-1837)
INTERMISSION
Malcolm Messiter, Oboe
Reynaldo Reyes, Piano
Morceau de Salon, Op. 288 - Johannes W. Kalliwoda (1801-1866)
Reverie - Debussy/Messiter
Sonata in C major - Scarlatti/Messiter
Caprice Viennois - Fritz Kreisler
Carmen: Fantaisie brillante - Bizet/Messiter
ORCHESTRA PERSONNEL
Monday, August 16, 1982, 2:30 P.M.
Georgia Bassoon Ensemble
John Corina, Conductor
Sensazione for English Horn Solo - Lawrence Singer (1980)
James Ostryniec, English horn
The Siren Stream to the Outcast - Gordon Cyr (1980)
James Ostryniec, Oboe
Ruth Drucker, Soprano
Arno Drucker, Piano
Impressions of a Baudelaire Poem for two bassoons and piano - Robert Rollin (1981)
Donald Byo, Bassoon
Robert Cochran, Bassoon
Reynaldo Reyes, Piano
Summer Music, Op. 31 - Samuel Barber (1956)
The Ohio Wind Quintet of the Ohio State University
GEORGIA BASSOON ENSEMBLE
William David
June Carland
Catharine Gnann
Raymond Walton
Susan Splawn
Theodore Jahn
THE OHIO WIND QUINTET OF THE OHIO STATE UNIVERSITY
Overda Page, Flute
William Baker, Oboe
John Norton, Clarinet
James Frank, Horn
Robert Cochran, Bassoon
Diversions for Six Bassoons was composed for the 1978 IDRS Convention in Los Angeles. However, the work was not completed in time for that Convention making today's performance a world premiere. Robert Linn is Professor of composition at the University of Southern California. Mr. Linn composed the fanfares for the Squaw Valley Winter Olympics.
Sensazione (1980) is a virtuoso piece which exploits many of the newly discovered monophonic and mulitphonic (chor-like) possibilities of the English Horn. The dense harmonic structure, delicate flute-like timbres, and combinations of the two create a quasi-orchestral, quasi-electronic effect. The premiere performance took place October 26, 1980 at the Mozarteum in Salzburg, Austria, by James Ostryniec.
The Siren Stream to the Outcast was composed in January-February 1980 for oboist James Ostryniec. The work is a kind of cantata for oboe, soprano, and piano, in which each of the three performers has one solo movement, two duo movements, and on movement (the final one) where they perform as a trio. The text is a poem by the Reverend John Banister Tabb, a turn-of-the-century Maryland poet. Father Tabb's poem used in the present composition is in four stanzas, each of which forms a vocal movement. The first two are framed by instrumental movements: a prelude for oboe an piano, and oboe solo (using several of Dr. Ostryniec's fingering specialties which produce harmonics, multiphonics, microtones, etc.), and a piano solo. The fourth stanza (the only movement involving all three performers) follows the third stanza (an unaccompanied vocal solo) without pause. The movement scheme follows:
Prelude. Oboe and pianoThe premiere performance took place February 16, 1981 at the Corcuran Gallery of Art in Washington, D. C.
Stanza I. Soprano and piano
interlude I. Oboe solo
Stanza II. Soprano and oboe
Interlude II. Piano solo
Stanza III. Soprano solo
Stanza IV. Soprano, oboe, and pianoImpressions of a Baudelaire Poem. The poem and the piece are a kind of irate response to the frustration we often withstand in everyday life. The coloristic choice of the three instruments in intended to strengthen this conception. there are five main divisions in the poem and the music. It is suggested that the poem be read silently while the piece is in progress, since the music reflects the form and content of the words.
ANGER
When the sky, low and heavy, presses like a coverlet
On the sighing spirit, in the throes of worry,
And encircling the ring of the horizon
Releasing on us a black day, gloomier than night;When the earth is transformed into a dank jail,
Where Hope, like a bat,
Batters the walls with her troubling wing,
And beats her head against the rotting ceiling;When the rain spreading its numerous tracks
Imitates the bars of huge prison,
And, like a voiceless mob of deadly spiders,
Suspends its filaments in the back of our minds.Suddenly, bells explode with fury,
And fling a hideous outcry toward the sky.
Like lost souls without homeland
That begin on obstinate wailing.--And long corteges, with neither drums nor music,
Pass through my soul in slow procession;
Hope overpowered, weeps and brutal, tyrannic Anguish
Plants her black standard on my bowed head.(Translated by Robert Rollin)
HARRY SARGOUS, Oboe
CHRISTOPHER WEAIT, Bassoon
SUSAN CHENETTE, piano
Monday, August 16, 1982, 7:30 p.m.
Duo for Oboe and Bassoon - Peter Lutek
INTERMISSION
Oskar Morawetz was born in Czechoslovakia and moved to Canada in 1940 at the age of 23. Since that time he has established himself as one of Canada's leading and most frequently performed composers. His orchestral compositions have been programmed in North and South America, Europe, Australia, and Asia by nearly 120 orchestras and by outstanding conductors such as Zubin Mehta, Seiji Ozawa, Raphael Kubelik, William Steinberg, Sir Adrian Boult, Walter Susskind, Karel Ancerl, Andrew Davis, Kazuyoshi Akiyama, Sir Charles Mackerras, and all the prominent Canadian conductors. His chamber music compositions have been commissioned and performed by well known musicians such as Mstislav Rostropovich, Zubin Mehta, Maureen Forrester, Jon Vickers, Glenn Gould, and Rudolf Firkueny. Between 1977 and 1981 he was commissioned by the principal wind players of the Montreal, Toronto, and Vancouver Symphonies to write sonatas for flute and piano, oboe and piano, clarinet and piano, bassoon and piano, and horn and piano. He has been awarded a Canada council Senior Arts Fellowship three times for his contribution to Canadian music, In 1981 the Canadian Broadcasting corporation paid tribute to him by issuing an anthology of his music on six records.
Peter Lutek (Duo for Oboe and Bassoon) is a Canadian composer, born in 1962. He is currently attending the University of Toronto where he has just completed his second year. He has studied bassoon for ten years with Thomas Elliott, Christopher Weait and David Carroll. he has also studied piano, clarinet, and saxophone, and has done independent work in jazz and composition. In May 1981 Mr. Lutek won the Winds section of the CBC Talent Competition and had his work premiered by New Works for Woodwinds festival in 1978.
Richard Johnston was born in Chicago in 1917. After receiving his baccalaureate in composition from Northwestern University (1942) he taught piano and theory at Luther College in Nebraska and studied with Nadia Boulanger in Madison, Wisconsin. He received his M.M. (1945) and Ph.D. (1951) degrees in composition form the Eastman School of Music where he was a teaching fellow from 1944-1947. From 1947-`968 he taught at the Faculty of Music, University of Toronto. He then served a five-year term as Dean of the Faculty of Fine Arts, University of Calgary, where he is presently Chairman of the Division of Theory and Composition.
Tuesday, August 17, 1982, 2:30 p.m.
Patricia Rogers, Basson Cameron Grant, Piano
Trio for Mixed Voices -- "Sofrothe"- William Winstead (1981)
Laura Nillman, Mezzo-soprano
William Winstead, Basson
Karyl Louvenaar, Harpsichord
Interferences pour Basson et Piano - Roger Boutry (1972)
Orientals for Bassoon and Piano - Leighton Lucas (1957)
Yoshiyuki Nakanishi, Bassoon
Reynaldo Reyes, Piano
Trio for Mixed Voices. Subtitled "Sofrothe" - an acronym for "Songs form the Heart" - Winstead's Trio was composed in 1981. The work contains the essence of three movements, although no divisions are indicated. The mezzo-soprano seems to speak first in Latin, then in French; syllables form no comprehendable phrases, yet seem to convey meaning. Vowels and consonants now share the medium of the other voices - sound - and all are equal.
Yuzo Toyama's work, Japanese Lyric Suite, was completed only recently and was composed for Mr. Nakanishi. It is first performed here at the IDRS conference at Towson State University.
The harpsichord used in today's concert is furnished through the courtesy of Willard Martin, the maker of the instrument. Mr. Martin of Bethlehem, Pennsylvania served as an apprentice for two years with William Dowd before spending three years in Paris researching and building harpsichords. His shop is one of the most active in America today.
FERNAND GILLET YOUNG ARTIST PERFORMANCE COMPETITION
SEMI-FINALS
Tuesday, August 17, 1982, 4:00 p.m.
SEMI-FINALISTS:
Scott Bell, Veracruz, Mexico
Candis Wood Hanson, Denton, Texas
Spring Hill, Spring, Texas
Deby Thomas, Cincinnati, Ohio
Kathleen Schietroma, Arlington, Virginia
Victor Zlobinsky, Philadelphia, Pennsylvania
Accompanist: Reynaldo Reyes
Tuesday, August 17, 1982, 7:30 p.m.
Rudoph Vrbsky, Oboe
Peter Serkin, Piano
Rudolph Vrbsky, Oboe
Yasuoki Tanaka,Violin
Mari Matsumoto, Violin
Richard Field, Viola
Susan Cohen, Cello
INTERMISSION
Partita for Electronic Oboe - John Corina (1978)
John Corina, Oboe
William Davis, Synthesizer
Ungarische Fantasie - C. M. von Weber
Linda Harwell, Bassoon
Elizabeth Mruk-Stevens Piano and Harpsichord
Linda Harwell, Bassoon
Renee Barcafer-Martin, Bassoon
Donald Shore, Bassoon
Julie Burke, Bassoon
Elizabeth Mruk-Stevens, harpsichord
Wednesday, August 18, 1982, 2:30 p.m.
Sol Schoenbach, Bassoon
Otto Eifert, Bassoon
William Winstead, Bassoon
Jerzy Lemiszka, Bassoon
Reynaldo Reyes, Piano
Symmetries (1982) for Oboe, Bassoon, and Piano - William Bergsma (1921- )
Laila Storch, Oboe
Arthur Grossman, Bassoon
Joseph Levine, Piano
Wednesday, August 18, 1982, 4:00 p.m.
THE BALTIMORE SYMPHONY BASSOON QUARTET
Phillip Kolker
Brent Rickman
Julie Green
David Coombs
THE NORTH AMERICAN FRENCH BASSOON QUARTET
Kim Laskowski
Gerald Corey
Ronald Klimko
Charles Holdeman
Assisted by Reynaldo Reyes, Piano
Aria form Orchestra Suite No. 3 - J. S. Bach/Holdeman
Prelude and Fugue in C Major - J. S. Bach/Klimko
In Memorium Vincenzo Pezzi (1887-1966) - Thomas Beveridge
(Pezzo per Pezzi, 1969)
INTERMISSION
Milde Scale Etude No. 1 (version for four bassoons) - Charles Holdeman
(A humourous Happy Birthday to Sol Schoenbach, 1980)
Heth sold ein meisken garn on win - Anon. 16th C./John Miller
Arabesque: 'Carignane' - Jacques Ibert
Bourre (from Gustav II Adolf Suite), trio - Hugo Alfven
Adagio cantable and Allegretto scherzando - Vitaly Gevikeman
Wednesday, August 18, 1982, 7:30 p.m.
Baltimore Wind Quintet
Phyllis McGinley Song Cycle for Voice, Bassoon, and Harp - Alec Wilder (1979)
Sonata for Oboe and Piano - Paul Hindemith
Quintette en forme de Choros - Heitor Villa-Lobos (1928; rev. 1953)
INTERMISSION
'The Beauty of the Rose is in its Passing' for Solo Bassoon, Two Horns, Harp and Percussion - Paul Chihara (1976)
Baltimore Wind Quintet
Timothy Day, Principal Flute, Baltimore Symphony
Joseph Turner, Principal Oboe, Baltimore Symphony
Steven Barta, Principal Clarinet, Baltimore Symphony
David Bakkegard, Principal Horn, Baltimore Symphony
Phillip Kolker, Principal Bassoon, Baltimore Symphony
Other Guest Artists:
Karen Bakkegard, Horn
Beborah Fleisher, Harp
Elisabeth Irvin-Kolker, Soprano
Katherine Jacobsen, piano
Jane Marvine, English Horn
Frederick Urrey, Tenor
Christopher Williams, Percussion
FERNAND GILLET YOUNG ARTIST'S COMPETITION
Thursday, August 19, 1982, 2:30 p.m.
Finalists:
Scott Bell
Spring Hill
Kathleen Schietroma
Victor Zlobinsky
Richard Woodhams, Oboe
Kiyoko Takeuti, Piano
Thursday, August 19, 1982, 7:00 p.m.
Fantasie Pastorale, Opus 37 - Eugéne Bozza
THOMAS STACY
English Horn and Oboe d'amore
Thursday, August 19, 1982, 8:00 p.m.
Thomas Stacy, oboe d'amore
Yasuoki Tanaka, violin
Mari Matsumoto, violin
Richard Field, viola
Susan Cohen, cello
Jan Bishop, harpsichord
**Trinity - Sydney Nodkinson
Ny Veng 267 (Esperance) - TON-THAT Tiet
Thomas Stacy, English horn
Karyl Louwenaar, harpsichord
Thomas Stacy, English horn
Reynaldo Reyes, piano
INTERMISSION
Performed by participants in the Eleventh Annual conference of the International Double Reed Society
* recorded by Thomas Stacy
** commissioned by Thomas Stacy
SUPPORTING MUSICIAN FOR HANDEL'S ROYAL FIREOWRKS
Trumpets
Don Tison
Gail Hutchens
Ronald Bange
Ted Jones
James Wesloh
David Apple
Tom Williams
David Meaux
Don Warnaar
Horns
David Bakkegard
Karen Bakkegard
Kirk Laughton
Jay Pasquales
Leslie Norris
Lora Katz
Brian LeDeux
Ed Nagel
David Phillips
Timpani
Dale Rauschenberg
Gary Carr
Snare Drums and Field Drum
Edward Mathews
Neal Moore
Thomas Sablia
Tracy Startt
The harpsichord used in today's concert is furnished through the courtesy of Willard Martin, the maker of the instrument. Mr. Martin of Bethlehem, Pennsylvania served as an apprentice for two years with William Dowd before spending three years in Paris researching and building harpsichords. His shop is one of the most active in America today.