A Secrest Artists Series Event 8,•M Friday, Octoba 10, 2003

Bre11clle Rental ll11/I, \ \~1k1• Forest Uni1wsity Winston-Salf'/11, .North C11ralit1<1

'

TH E AMERICAN BRASS QJJJNTET Raymond Ma,e, tr11111pt•t

Kc,·in Cobb, tru111pet D.ivid Wakdield, l1C1m

t--lichael Powell, tro111lm1H' John D. Roiak, bass trcm1bo11e

A Suite of I 7th-Century Dances lntrad,1

tditcd by Raymond Mase Thom.is ~i mp~nn ( I 5R2 I 630) Willi.im Brade (1560 1630) Simp~on/BrJd~

Padu,tnd Galli,,rd-(,alliard Paduana C,.illiard

Fantasia e Rondo (1977)

Relais ( 1967)

•---· Tntermission

Music of th e 26th N.C. Regimental Band, C.~.A

Colc h~ter Fantas y ( 1987) lht Ros.: .111d C rown The M.ir<1ui~ ofGranbr The DrJgoon Tho:-ReJ Lion

Sinipsnn Rrad<'

Ol>valdo Lacerda (b. 1927)

Gi lb ert Am> (b. 1936)

·--· Edited b} No la Recd Knouse, arranged by Raymond Ma~e

Eric Ewa,en (b. 1954)

1 hii. appearanu? of Am~riL.in ttr.1s, Quintet "\upport,:d, in pJrt, hi' the !'sationJl Fndt>wment for the Arts and t.lw Ameriwn Bra,~ ( hdmba ,\lu,i, :h,o<.iation, l11,.

Amcm:.an !Ira,, Quinto:l Jppe~r, by amu1grmcnt "ith :,tan ton ManJ)\~•menl. 45 ,05 :,;,..\, l<l\•fl Road, ,\m1ria, :-,.:\ 1110.i.

ww,,.!>tJnton 1',1gt.rnm w "'" ·Amrri,anllra ... ,Qu1ntct.org

PROGRAM NUT ES

A Su ice of 17th-Century Dances William Brade and Thomas Simpson are among a group of notable English musicians who worked in Germany during the early decades of the 17th centur)'· Both were accomplished viol players, and while Simpson worked primarily in Heidelberg , Brade held numerous posts in Copenhagen, Berlin, Hamburg, Gottorp, and Halle. Between 1610 and J 630 several important collections of dances by these composers were published in Germany - including Simpson's most fa molls instrumental opus, Taffelcomort ( 1621 ). Interestingly, these collections are stylistically quite varied, including not on ly traditional German dances, but pieces of English, Italian, and even French origin. A new style of voicing seen in these pieces employs two equal, continually crossing soprano parts unlike dances of earlier composers, such as Anthony Holborne ( 1699), who generally used only one upper part (cantus) .

A~ in other American Bniss Quintet performances of early music, these editions adhere to several performance practi .ccs of the petiod including ormunentation and changing instrumentation . Combined with these, the crisp articulation and homogeneous tone quality of brass instruments make these dances stylish and exhilarating iii modern performance.

-Rayinond Mase Pa,1/a;sia e Ro11do ( J 977) Born March 23, 1927 in Sao Paulo, Bra1il Osvaldo Lacerda graduated from the Carlos Gomez Con:scrvatory of Music in 1960 with studie-S in piano, l:iarmony and composition with Camargo Guarnieri. In 1986, he received a Guggenheim Foundation grand to study in the U.S. for a year, where he studied composition with VillQ(io Giannini and Aaron Copland. He \\las founder and Art istic Director of three musical societies in Sao Paulo, and has won many national composition prizes. Mr. Lacerda acknowledges the influence oft he work of Brazilian mu~icologis1 Mario de Andrade. In addition, he shares .i basic philosophy with Ralph Vaughan Williams; their music ls written in a national idiom intended to be universally understood. Lacerda's music attempts to capture rhe essence of Brazil's musical soul through the incorporation of its folk and popular music into his own. The composer has provided the following note: "Since there are tew brass ensembles in Brazil, there are very few (lriginal works of Brazilian composers for brass. This made me write the Fanrasia e Rondo for brass quintet in 1977. It is scored for two trumpets, horn, tenor trombone and tuba (or bass trombone). "The Fantasia, as its name implies, has a very free form. There is a small first part, followed by a short fugato, begun by the bass tromboi1e. There follows a son of humorous central section, and the movement closes with a varied recxposition of the first parL The Rondo has five parts, following the scheme ABACA. It consists of a lively and continuous di~logue between all the instruments . In some parts of both movements, one can hear some of the ecclesfastical modes, in the way they appear in the Braril.ian folk music.'' Re/ais (1967) As Director of the Paris concen series ''Domaine Musicale," founded by Pierre Boulez in 1955, Gilbert Amy inherited one of the more important musica l positions in France. His Relais was written in 1967, commissioned by the Biennale Contemporary Musk Festival in Zagreb, Yugoslavia, and is dedicated to the American Brass Quintet. The work contains six folios (score pages), of which two are rigidly controlled (standard notation) and four co11tai11 varying degrees of performing freedom: graphic notation of undetermined sounds where each player suppl ies his own notes according to a perceived visual pattern, and proportional notation with fixed pitch, which the composer refers to as "notation out of tempo." The brass instruments "play in relays and by turns regroup themselves."

RclJis also J,ks for a f,n''11 number of ,pcoJI cff<:(h ,u~h a, loud hre.11h111g through i1hlrumcnh ,mi:mg "hik plJ)'ing (which produ<c, a growJmg >IJllllU), pillhln, ,1.i,<,1lm, ,md 1nl" ul \Jr\mg \clo41t1, "In h dnm1nJlc the se,<md 111ow111cnt. Modern brass imtn11n,111', Jr<: c,,pJbk 111 thl· 11m~1 c~ln:'nll' umll,1,1, 111 ,hn.1mic 1nl11mc from 1he mo,t thundcrou, outu1c, to the ,nltest whisper,, and tlw me uf ,,muu, 111uk, und other mor,· 1111nr1hodu~ wchnics allo" .Mr.Amy tu wntn>nt the l'n,cn,blc with a ,ontmual b,1na~c of dun.md< f.u out,11.k 1he re Jim of tradition.ti brJ" perfmmonce. \\ 11h di! 1hc,c d1ffi,uh1cs ,pokrn for, th;m er JI! npn1,·nu fur both pcrlormcr, Jnd audicn,e i, one di ,pinfed pfay, ., whim\u;JI, e,cr-slu!I 111)! )..,1111t!u,,opc ot ,nunJ

c 1,,,, < ,,·U,' ,\1111sic v/ 1l1e 26th N.r.. Rvg,me111,1/ Ba111l, C.S.A Throughou t its hbtory, Amcr"J has alw,1r, h,1J a keen mtrrt',t 111 b,rnd mu,,,. Till ,-arh h,1nd, oft hi' Re1,uhhl mduded winds and hrJss, but h)' thtt s<.'.:ond h,1lf of th~ llllll'lll"11lh u·nturJ, \n1e1 i,a ,urrortl'd h1111dr,·d, of hands of ,ill bra<s- profe\,ion,1I. drn.11cur, and m1h1.irv. Bros, hand, \\ere .111111fegr,1t p.1r1 ,,1 Amcn.-a11 hk and J wurce ufimmen,c communuy priJc.

One()( the beM brJ\s band, 1>11 tither 5tdc during the C1v1I \\'Jr \\,IS the !).Jkm 8Jnd-,1 "ell s,tJhh,h1d. ,kilkJ group of MmJvian mu,iciJns. l"he SJ(em Band s,·rvcd hunorJhlJ durmg 1lw lir,1 \"tJf of fht> Wdf IH pl.1y111g wncerh JI home for vi,i1ing Ji~nit,irics and fnr the ncv,h· formed compJmes lking ,c nt off 1n wa1 Jlut 111

11162, after a ,hance meNing of first ~ornctist SJm Mkkev Jm.l Cplond Zeb \'.inu· ( I.Ha l,11v, rnor \'Jn,e), th< members or the Salem B.111d wen~ enli,1ed Js the 2fl1h :-,.l . lkgimtnt,1I B.,nd. ln,rcd,hlr, 1hc diam·, ot h.111dknd, r Mickey Jnd bandsman Julius lembadi Jocumrnt a det,11led account ol the 8,111d, tour of dn11, cnmrl,·1, 1,11h wh,11 picn·, 1,cr,· pcrforrm:d for whJt o,,a,ion,. Thc ~Mh B,md ,,a, lu1.k} no rmmber, w, re l-111«1 during the w.1r-bm b)• thu ,pring of I !lli"i, the b,111d h,1d hcwm, ~crarnted fr,un 1h, bud, of thit rcg11nc111 and \\JS

ncJrlv ,urving to deatlL Thq surrendered at Appomwox 1,·ith 1>t'ncral I econ \prtl 9, lllt>5, ,,ert· 1n1pt1,nncd in :-.t.irrland for thrcit month,, and returned home on Jul\' 2, ,1uually pcr(11rn11ng ,1g,11n lor lhc town,pu>ple of Salem two day, later.

The A.mt'rt,,111 £1r.1ss Q11in1e1's mtcr,·,t 111 bra,, h.md mmk ht'g.tn 111 1h..-I Y70'• \\hen"'<' prc,1•111t<l the music of ~•ew l·ngland brass hJnds. induding the 1,dl-known ,\merilJn Bra,, Band ol l',m 1d,•11cc IU. anJ the little known town bJnd of lkthel, /I 1ainc led b, l lo,eJ Ripln. I"hmugh 1lw g,·ncru,111· ,11 I Jr Roh.rl Ru,cnbJum a private mu~llJI 111~tru111cnt ,ollcdor, 1,i: bq:Jn play111g 1h1, n·pnmire ,,n hhlorttal in,trnm,nt, and p,·rtormcJ for th~ opening ol the l\c\\ .\men,an Wini! 11I 1h,· ;,,kfr11r1•li1.1n .\lu,cum ol Ari in the sprmg ol 19i-o. 1 he \llQ llrass B.md wJ, org,1nm·d th,· fullm,mg i.:,,r .111.! r«ordcd 1 It,· \(111~« Rr,-i,, l-lt011I for~<" \\'orlJ lkwrrt, ( \;\\' S0.\12-21 Sewr.il 1·e,11, .1go, 1w \\,re .!pprn.tchnl b) l'h1ltp l>umgw, J ,u!lca£Ue ot mutt un th, facull) of the North ( arolma School of thl ,\rt,, .1ho1111hc po,sib11i11 ot br111g111~ l:>J,k 1he 1\llQ llra.,s llanJ tor a rcu>1<l111g of th, work, or the :!r-th :-,: ( Rq:1111, ntJI lt111d prc-. r1<·d t,) tlw ,\ luru1 ,an \Im,, I uunJ,11,on in

\\111,1n11-S,1km. It 1,J, JI\ ex,11111g rro,pcd, but thcr< pr111nl h> be much 10 du 1 he mu 1c nce,k<l to be: pul 111 read.1blt· wnduinn, corrt't.:ll'<l, Jnd cdllt'd \\c nn·dcd to ,ccure and rdc.1rn tht' h1~h>nc,1I 111,trumcnts we h,1d u~t·d lor our pn:11ou, .\HQ llr,1s\ Uand n·u1nlmg. lluf \\htn ,,, r(;lli,t"J tht· ,,gmfi,.in,t• ul 1h1< prt•J<CI .11\J thl· 1-.•,1lth uJ unkrwwn 11111,1, th,11 lh< l·numl,11u1n had ,,e 1umrcJ JI th<" chan-.< l\\cllll thrrc gems of 1he ~Mh :-.:.t. Rq;ime111.1l I\Jnd ,an nm, bt lu 1rd 10.1th th.- rck,IM' of unr "'-""' rcc,,rdmg I r rm m thl' l.a11d ( N\\' RU601l-2) .• \lam 1lwib to l'h1lip I )u111gJn ,.,r h1<, •"''" 111 th, recordlllg of thi~ 11111,,c and tv ~ola lkcd Km111\t', 11in.'dnr ul 1h,· ;\fnrJ\IJll \!u,1< I ,,und,111on f,>r her pamstakmg rrq,ar 11,un of th,~ mu IC 1mm thr nrigm.11 hand pan~ an,I h,·r ,ommllmcnt tn rt.llizing thi, prme-.1

Ra1111 ,ul l.-/a,

(P ROGRAM NOTES continued)

Colchester P411tasy ( 1987) Colchester Fantasy was wriuen for the American Hrass Quintet while I was teaching at the Estherwood Music Festival, held in Colchester, England during the summer of 1987. Colchester is the oldest recorded town in Britain. It has an old Roman wall, a massive Norman casile, picturesque homes and drnrches and, as in all decent English towns, colorful old pubs. Each movement in this work is named after an old Colchester pub. The first movement, "The Rose and Crown''. is filled with bright, sonorous chords, energetic rhythmic patterns, ru1d constant ly <:hanging and 0uctuating motives. The second movement "The Marquis of Granby" (a name which I associated with a distant, faded aristocracy) is a sta tely, chora le-like movement with somber, plaintive themes. The third movement "The Dragoon" brings forth the sounds of battle with dissonant, clashing harmonies, agitated rhythms and fragmented melodies. To close the w,)rk, the fourth movement, "T he Red Lion" (a name with its intimations of royalty and nobility) is a 1'esonant fugue.propelled forward with motoric motion, and a rapid, spinning fugue theme . These old English pubs of Colchester were a fine source or inspiration. Their name; brought to my mind images of ancient and historical traditions, and impressions of the grandeur and majesty of lime past. The beer was good, too!

-ErtcEwazen

Eric Ewa?en (b. 1954, Cleveland}, Composer-in -Re~idence of the St. Luke's Chamber Ensemble in New York City, studied under Samuel Adler, Milton Babbitt, Gunther Schuller, and Joseph Schwantner at the Eastman School and The Juilliard School (where he received numerous composirion awards, prizes, and fellowships) . His works have been perforn1.ed by nun1erous ensembles and orchestras in the U.S., overseas, and at festivals such as Woodstock, Tanglewood, Aspen, Caramoor, Tidewater, and the Music Academy of 1he West, among others . Mr. Ewnen's music is published by Hrass Ring Editions, Triplo Press, Encore Music, Southern Music, Boosey & Hawke,, Seesaw, and Eric Ewaien Publishing.

Currently on the faculty of The Juilliard School and lecturer for the New York Philharmonic 's Musical Encounters Series, he has also served on the faculties of the Hebrew Arts School and the Lincoln Center Institute. He served as Vice President of the League of Composers-Internationa l Society of Contemporary Music from 1982-1989.

AMERI CAN BRASS QU INTET-Biography

\\'hen the Am eri ca n Bra ~~ Quin tet lt.11·mond ,\l,1'< and Kc\'111 Cobb, 1rumrc1>. DJ, td \\Jk< ii< Id h,1111, Michael Powdl. tcnor tmmbom·. mJ John RoiJk. ba" tromhtm~) ga1< 11, liN publi< rn1,,rmanC<' ,,,.r lurn-two war~ ago. bra,s chan1bn mu,ic ",1, rdati1ch· unknu\\ n tu '''""rt .111Jicn.t \ I hat n111Jc,1 Jd,ut, un lk,embcr 11, 1960, m.1rkcd the b1.·i.:mnmg ol .111 intcrnJllonal urncerl c.ir,cr Jor 1hc <ll'>Cmhk 1h.11 ~<"' ""ck ,,ill, "tht· h1gh pric,is ol hrJ,~."

In the L. S .• the Quintet h,1, performed on n1J1or wn«:rt wm, 1n JI! tih1 \1.tt<'' mdmllng Jt t,.1rncg1c I l.1II, Lmwln Cenrnr and 1hc Kennedy Center. rhe •\BQ\ for<'t8n 1011r111g h.,, 1.1ken 11 thr11u~ho111 [ uropc, l rntr,tl .111d South Am.-rk,1, the ,\liddk E,1,t, ,h1,1, an<l Au,1rJha. Amung rc«nt ton:1gn r< rlormJlll<', th, l_lu111tet performc<l 10 ra\'~ rcvit•w, ,ll th< ,kca,fomia Na11on.1k di S,111IJ Cn1lrJ m Romc, 111 lapan ~t the 10th \11111v1.rsJT\' or the Aspcn-J.1pan fr\t1va!, ,11 the :'\,lli<ltlJI Concett l lall 111 J".upd, th<· Orqnc,ta S1nfo11i,J C:arl,is C ha,u m ,\kxirn Cit,, Hr.11i~l.iv.i :-.tu,ic l-'c\tivJ! 111 Sim JkiJ, JnJ Bnw ,\utumn fc,th al Ill th.: ( 1«h Rq>uhlic

Sinct' it, in~<·ption, 1hc ,\UQ hJ, mJmt.1inc<l an t'Xt<'t1Si1c rt·.ording .,,hc<lult-. llv the rnd of 1hc 200~-2001 ,c.1\011, th, ABQ will han• m.1de liflv rewrding, rcpr.:,<·ntmg 1hr largc,t hodv nl ~ri111h hrJ" d1.11nbcr mu,1, e,•cr n·wrded hr one cmrn,ble. Tht· Qumtct h,1, n·rnrdcd for .\lh;mv, Aralx,quc, BASJ. l{rnli;c, t US, C HI, ( ry,t.tl, lldo,. folk" dY,, Japan Vktnr \II IS. \!:',IC, l'\t·w World, :--:nn~,u<h, Scrt•mr,, Summit. I it IIH<, ,mJ \Vell-li>mpcre<l. Of equJI 1mportdn,e tn 1hc AllQ\ rt',<>rd1t1)! pn>jl'Ct i, tts ,,,mm",,unini; proil'~I thJI now numbeT\ ovet om hundrcJ work, for brJ~, quinh:1 Work, lw Jan !\.1th. Rob..'n HCJ\C'r, \\'1lltam Bt•l<o!ll, [ 111011

t,;1rter, J,tcob ()ruckman, L:ric Ewatcn. I ),w1J I ddcr. B1 tJn Fcnnt'lh·. [)J\'id SJlllJ'-<111, Gu111hn ,,hulkr \'rrg1! r homson, and Mdind.1 W,1g1wr ,tmnng other,, are wn,id<·r<'<I ,um.: uf th, mml ,11lhlJOhJ) .idd1t1un, lu the repertoire. l'hi:se tOlllllll"lom, ,tlong w11h the Qn111tc1\ own cdn1un, ol RcnJl',,l!lu!' and BJro,1u, n11N,, unJ premiere, of forgotten l\lth ~.:nlllry bras- rcpl'rtoirr, hJ,e firm!) .:,1.1hli,twd thi, {n,cmhk\ ,ommitrmnt to the ewr gr,,wing fi, Id ul hra,, dw11hcr musk.

))~dic:atcd cdu,,uor, ,1, wdl .is pcrlormcr,. the ()uintct 1, in r"1den,c at l he Ju11li.ir<l <;d,011! \\ her< thc, ha,<' .1dmini,t~red the bra,, chamhcr musK prni:r Jm ,in«• that prugr.im, mu puon m I \/Hi, .i, "di a, lt'J1.h111g indil'idual stud<·nts. Since I '170, th,· qumM h.1, admtnisll'r,·d tlw hr,1" chamher mn,1, rr,,grJm .it the \,,,, 11 ,\!u,1l h•stl\·,11111 the ,umm..r.

--------------

Remaining Events in the 2003-2004 Secrest Artists Season

W<ike Forest Uni1•ersity expresser its d,·ep "l'/'reciatio11 to Mrs. Mumm Secrest ,md her

husb,md, th,· /r11e Dr. Willis Secrest, for gtnerously endowillg the

Secrest Art,;ts Series.

The Secr~st Series thanks Dr. Nola Reed Knouse ('78),

Direcwr of the Moravian Music Foundation, for her pre•concen lecture.

Recordings oftheABQ are available for purchase in the lobby.

A workshop for brass musician$ will be held from IOam-I 2pm

tomorrow in Brendle Recital Hall. The event i> free.

Late reservations can be made by calling 336.758.5757. Instruments encouraged.

Tickets for all Secrest events are available without charge to all

Wake Forest students, faculty, and staff. They are ~old. individ,1ally and by season subscription, to the general public. 1b purchase tickets,

call the Theatre Box Office at 336.758.5295 ur the Secrest Series at 758.5757. /\tasterCard and Visa

accepted.

Visit the Secrest web site at http://www.wfu.edu/5'.uestartists

Your counc.y in turning off ,ill electronic devices is appreciated.

The use of tape recorders and video equipment is not allowed.

WAKE FOREST l N I \ I I( -. I I \

St. Lawrence String Quartet w/ Todd Palmer, darinetist-Thursday 11/6 Cominuing in the tradition of presenting only the fine~t of string quartets, the Secrest Serie~ is excited to bring the St. Lawrence to Wake Fore~t. Recipient of rwt) Grammy nominations in 2002, this string quartet continues to establish itself among the world-class chamber ensembles of its generation. Their program wiU inclu<.le the highly acclaimed Dre11ms anti Prayers of /sane the Blint/ by Osvaldo Golijov, a celebrated Argentinean-American composer, and features Todd Palmer, clarinetist. The St. Lawrence Quartet resides in California where the)' are Ensemble-in-Residence at Stanford University. Visit http://slsq.comandhttp://www.andoverchambermusic.org/biotoddpalmer for more information on lhe SLSQ and Mr. Palmer.

Brad Me.hl.dau Jazz Trio-Thursday I /23 A jan review in the Los Angeles Ti111es in 1999 reported that Brad Mehldau is ''universal!)' admired .is one of the most adventurous pianists to arrive on the Jaa scene in years." Since then his once blo~oming career has come to fruition. 1-0s trio build, on its classical training in its extraordinary improvisational inruition. They have toured extensively throughout the U.S. and Europe. "While his work tends to be courageous!)' complex ... he never gets lost in the labyrinth of his intellect" (Time Magriiitte). Vi,il http://www.imnworld.com/mehldau for more inforrnation.

National Symphony Orchestra w/ Leonard Slatkin, Conductor-T hursday 2/ 19 As the orchestra of the U.S. capital, the National Symphony Orchestra regularly participates in events of national and international importance, i•cloding performances for state occasions, presidential inauguration,, and oftidal holid.i)' celebrations. The National Symphony also fills an important international role with its tours spanning four continents. Now in its 72nd season, the NSO is generally recogni,-ed as one of today's finest orchestras. In hi~ ~evcnth ,season as Music Director of the NSO, Leonard Slatkin i:S internationally acclaimed as one of today's leadin.g conductors. Mr. Slatkin's insightful comment~ about Mahler's re-tuuchings of the Beethoven Eroica will be an unusual and tasty musical treat. Also included in the program wiU be the Cim1ivnl Overture of Dvofiik and Three Place ln New England of Charles fve.<. Dr. David Levy, Chairman of the Department of Music and noted Beethoven scholar, will give the pre-concert talk. Visit hnp://www.kennedy-ccnter.org/nso for more information.

Masters of Mexican Music- Friday 3/26 These masrer musicians from four distinct regional traditions explore the musical histories of Mexicv: the mariachi of Jalisco, the Veracruz harp ensemble, the accordion-based con jun to tejano of the Texas-Mexican border area, and the marimba of southern Mexico. The featured player in the tejano tradition is two•lime Grarnrny nominee, Domingo Saldivar, "The. Dancing Cowboy," recently awarded a National Heritage Fellowship b)' the National Endowment for the Arts. This event is presented in partnership with Artslgnire and the Arts Ctiuncil of Winston-Salem and Fotsytb County. Major support for this national tour is provided by the National Endowment for the Arts, the MidAtlanlic Arts Foundation and the NEA Regional Touring Program. Vish http://www.ncta.net for more information.