Chamber Music Milwaukee April Winds and Brass A l w i n N i k o l a i s ’ Wa t e r S t u d i e s
Mark Morris’ Canonic 3/4 Studies
April 7, 2011, 7:30pm Helen Bader Concert Hall PROGR A M Syrinx (1913)..............................................................................................................................Claude Debussy 1862-1918 Caen Thomason-Redus, flute Divertimento, op. 62b (1946)....................................................................................................... Adolf Busch Allegretto Grazioso 1891-1952 Molto Comodo Scherzo, Allegretto Caen Thomason-Redus, flute Margaret Butler, english horn Todd Levy, clarinet Brass Quintet No. 1 in Bb minor, op. 5 (1902)........................................................................ Victor Ewald Moderato 1860-1935 Adagio-Allegro-Adagio Allegro Moderato Kevin Hartman, trumpet James Nufer, trumpet Gregory Flint, horn Samuel Schlosser, trombone Mark Hoelscher, bass trombone - Intermission Four Dances from “The Danserye”........................................................................................Teilman Susato La Mourisque c. 1510-1570 Ronde arr. by John Iveson Ronde-Mon Amy Basse Danse Bergeret Kevin Hartman, trumpet James Nufer, trumpet Gregory Flint, horn Samuel Schlosser, trombone Mark Hoelscher, bass trombone UWM Peck School of the Arts 1
P R O G R A M ( c o n t .) Sextet in Eb Major, op. 71 (1796).......................................................................... Ludwig van Beethoven Adagio-Allegro 1770-1827 Adagio Menuetto: Quasi allegretto Rondo: Allegro Todd Levy, clarinet Steve Ahearn, clarinet Theodore Soluri, bassoon Beth W. Giacobassi, bassoon Gregory Flint, horn Dietrich Hemann, horn Supported in part by the William F. Vilas Trust and the Greater Milwaukee Foundation’s Dr. Abraham B. and Irma F. Schwartz Fund.
PROGR A M NOTES By Timothy Noonan, Senior Lecturer – Music History and Literature Debussy, Syrinx In November 1913 Debussy composed a short work for solo flute as part of an intended set of incidental music for a dramatic poem by Gabriel Mourey titled Psyché. While he never wrote the remainder of the music, the flute piece received its premiere on December 1 of that year, performed by its dedicatee, flutist Louis Fleury. It was then titled Flûte de Pan, but when Jobert published the work in 1927, he assigned it the title Syrinx, or pan flute. Less than three minutes in duration, the piece is a major work of the solo flute repertoire, one that offers the performer an array of opportunities for individual expression. Its melodic content is built around modified repetitions of motivic ideas. The motive of the very beginning with its distinctive rhythmic profile, recurs a number of times, on each occasion preceded by a breathing pause. The score is replete with dynamic shadings, and where there are pauses there may have been a spoken part from Mourey’s poem. The work concludes with a descending whole-tone scale. Adolf Busch, Divertimento for Flute, English Horn, and Clarinet, Op. 62b Adolf Busch, the younger brother of conductor Fritz Busch, was a violinist and composer of the first half of the twentieth century. He was an active chamber player, having founded a string quartet and worked with Max Reger in the performance of his chamber music. During the 1930s he collaborated with pianist Rudolf Serkin and his cellist brother Hermann Busch in piano trio and sonata performances, and the trio moved to the United States in 1939. Busch and Serkin co-founded the Marlboro School of Music in Vermont in 1950 (Serkin had married Busch’s daughter Irene in 1935). He is best known for his work in chamber music performance, having recorded Bach’s Brandenburg Concertos and Orchestral Suites and many chamber works by Beethoven, Schubert, and Brahms. As a composer, Busch is little known, and his works, which show the influence of Reger, are not often heard today. The Divertimento for flute, English horn, and clarinet, composed in 1946, was never published. The piece was dedicated to Simeon Bellison, a member of the Busch Chamber Players and former principal clarinetist of the New York Philharmonic. We are indebted to Rudolf Serkin’s daughter Judith for providing the score that made tonight’s performance possible. Victor Ewald, Brass Quintet No. 1 in B-Flat Minor, Op. 5 Russian composer Victor Ewald, whose 150th birth anniversary took place in November 2010, worked as a civil engineer and professor at the Institute of Civil Engineering in St. Petersburg. He musical activities were purely as avocation. He played the cello in the Beliaeff Quartet, a prominent group that served to introduce Russian audiences to the standard quartet literature. Through these performances he entered the circle of the Mighty Handful, including such figures as Mussorgsky and Rimsky-Korsakov. Ewald was also keenly interested in collecting Russian folk music, and its style leaves its mark on his compositions. In addition to the cello, he played the French horn and, evidently in response to the encouragement of Rimsky-Korsakov, composed four quintets for brass instruments. The brass quintet was not an entirely new type of chamber music at the time, but Ewald is largely credited with establishing the group as a viable chamber ensemble. His First Quintet, Op. 5, was the 2 UWM Peck School of the Arts
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P R O G R A M ( c o n t .) only one of the four that was published during his lifetime. Composed in 1902 and revised a decade later, Ewald’s First Quintet is a staple of the brass quintet literature. Tielman Susato, Dances from “The Danserye” Sixteenth-century composer Tielman Susato was born near Cologne and worked in the southern Netherlands. During the period 1543-1561 he worked in the music publishing business, producing many volumes of chansons, masses, motets, and secular songs in Dutch, including single-composer volumes of music by Clemens, Josquin, Lassus, and himself, among others. While his fame rests mainly in his work as publisher, he played the trumpet and several other instruments, and composed some 90 chansons, a collection of motets, and a single mass. He also composed a substantial collection of instrumental dances titled Het derde musyck boexken … alderhande danserye, published in Antwerp in 1551. Based on popular tunes of the day, the dances were written for unspecified instruments, typical in the period. These engaging, pre-tonal melodies are set in a simple homophonic texture. Beethoven, Sextet in E-Flat Major, Op. 71 In 1796 Beethoven undertook a concert tour, with stops in Prague and Berlin. His new compositions during the trip included the concert aria “Ah, perfido,” Op. 65, and the Piano Sonata in G, Op. 49 No. 2. It was evidently in this period as well that he worked on the present sextet, with its first three movements probably completed by 1796 and the finale written in mid-1798. The work, scored for two clarinets, two horns, and two bassoons, did not receive its premiere performance until April 1805, when it was given in a chamber music concert to benefit violinist Ignaz Schuppanzigh, a prominent member of Beethoven’s circle. In a letter of 8 August 1809 to the Leipzig publisher Breitkopf und Härtel, Beethoven wrote of the work,“The sextet is one of my earlier things and, moreover, was written in a single night—nothing can really be said of it beyond that it was written by an author who at least has produced a few better works; yet for many people such works are the best.” Perhaps we may infer that Beethoven brought together his earlier work on the piece and added finishing touches in a single night. It was published in 1810, and was thus assigned a relatively late opus number in spite of its early genesis. The first movement, in a clear sonata form, opens with a small slow introduction that serves as a strong preparation for the onset of the Allegro. Its theme begins with the solo first clarinet presenting a four-note figure, and then the theme is repeated by the whole ensemble. The second theme also begins with a thin texture, this time the two bassoons, punctuated by the horns. The exposition features rapid passagework in the first clarinet part, and late in the development section, the clarinet and first bassoon share rapid solo lines that prepare for the recapitulation. The coda begins as the whole ensemble develops the opening theme’s four-note idea, and the movement ends quietly. The slow movement, a sonata form without development, features a lyrical melody that is first presented by the first bassoon, and the bassoon also introduces the second theme. Horn fifths introduce the minuet and trio movement with a motive reminiscent of the opening of Mozart’s String Quintet in E-flat, K. 614. The trio section adopts a more contrapuntal texture. In keeping with the scoring of the work, the finale is a spirited march in rondo form. Uncommon in this rondo is the presence of three episodes, in alternation with the refrain; most classical rondos have two. The work ends boldly with the dotted figures of the opening theme.
BIOGR APHIES Steve Ahearn, clarinet Ahearn is currently acting principal clarinetist of the Sarasota Opera Orchestra, bass clarinetist with the Santa Fe Opera Orchestra, and a frequent guest with the Milwaukee Symphony Orchestra. An active chamber and orchestral musician, he appears throughout the U.S. Highlights of this season include performances with the Santa Fe Chamber Music Festival and the Philadelphia Orchestra. Ahearn holds a Bachelor of Arts in Biology and Music from the University of Richmond, and a Master of Music from the University of Wisconsin – Milwaukee. His teachers include Todd Levy, Ricardo Morales, David Weber and David Niethamer. 4 UWM Peck School of the Arts
Margaret Butler, english horn Oboist Margaret Butler grew up in Rhode Island where she began her studies on the recorder and flute. A love for the sound of the Baroque oboe led her to study the modern oboe. She received her Bachelor of Music degree from the New England Conservatory of Music and her Master of Music degree from Rice University’s Shepherd School of Music. Margaret participated in the Ban! Summer Music Festival where she was a featured soloist and has also played in Graz, Austria with the American Institute of Musical Studies. She was principal oboist for the Florida Grand Opera, Miami City Ballet and Palm Beach Opera before joining the Milwaukee Symphony Orchestra in 2002.
B I O G R A P H I E S ( c o n t .) In 2007, she played principal oboe for the Santa Fe Opera Company and participated as a soloist in the Santa Fe Chamber Music Festival. The following Spring she was invited to play as guest principal oboist for the Royal Scottish National Orchestra. In addition to performing with the Milwaukee Symphony, Margaret is principal oboist for the Milwaukee Ballet Orchestra and is on faculty at the University of Wisconsin-Milwaukee. Gregory Flint, horn Flint is associate professor of horn at the University of Wisconsin-Milwaukee and co-director of the Chamber Music Milwaukee concert series. As a performer, he is currently principal horn with the Elgin Symphony, the Chicago Jazz Orchestra, Present Music of Milwaukee and the Fulcrum Point New Music Project. He often performs with the Milwaukee Symphony, and has also appeared with the Chicago Symphony, Colorado Symphony Orchestra, Lyric Opera of Chicago, Honolulu Symphony, the Florida Orchestra, and the Ravinia Festival Orchestra. A busy chamber musician, Flint is a founding member of the critically acclaimed Asbury Brass Quintet, hornist with the Tower Brass of Chicago, and has also toured regularly with the Prairie Winds and the Chicago Brass Quintet. Past summers have included solo appearances in Spain, Costa Rica and South America. Flint currently spends his summer months in New Mexico as a member of the Santa Fe Opera orchestra. Beth W. Giacobassi, bassoon Giacobassi was appointed to play contrabassoon and bassoon with the Milwaukee Symphony Orchestra in 1982 and was also acting Assistant Principal for the MSO from Jan. 2002-June 2005. In the fall of 2001, she joined the faculty at UW-Milwaukee and became the Principal Bassoonist of the Milwaukee Chamber Orchestra. Each summer she has been the bassoonist for the Washington Island Chamber Music Festival since 1994. Ms. Giacobassi received her Bachelor of Music Degree from the University of Michigan in 1982. She has performed in the Rome Festival Orchestra, the Colorado Music Festival, Bedford Springs Music Festival, the Ohio Light Opera Company, and the Berea Summer Theater. She has also been on the faculty of Alverno College and UW-Parkside. She has appeared as a soloist with the Milwaukee Symphony, UWM Wind Ensemble, the University of Michigan Philharmonic and Wind Ensemble, UW-Parkside, and the Tahlia Chamber Music Concerts. She won the University of Michigan Concerto Competition and the Green Bay Young Artists Concerto competition. She is active in the MSO ACE program, works with the Milwaukee Youth Symphony, and teaches privately in her home. She has
recently completed 2 new DVDs: Bassoon Reed Making and Bassoon Fundamentals which are being sold nationwide. Kevin Hartman, trumpet Hartman performs frequently with the Milwaukee Symphony Orchestra and has played numerous concerts, recordings and tours with the Chicago Symphony Orchestra. He has also served as principal trumpet with the Wichita Symphony Orchestra, the Fort Wayne Philharmonic, the Ravinia Festival Orchestra and the Lancaster Festival Orchestra. He has performed with the Lyric Opera of Chicago, the Atlanta Symphony Orchestra, and in 2002 was acting assistant principal trumpet with the Grant Park Symphony Orchestra. He is a founding member of the Asbury Brass Quintet and was a member of the Chicago Brass Quintet. On the commercial side, he has spent countless hours in the theater pits of Chicago during runs of Showboat, Beauty and the Beast, Miss Saigon, West Side Story, and has performed with Doc Severinsen, Arturo Sandoval, Celine Dion, Enrique Eglasias, Dennis DeYoung, Yes, the Temptations, the Manhattan Transfer and many others. Dietrich Hemann, horn Hemann has been the second horn of the Milwaukee Symphony Orchestra since 2008. He has previously been Associate Principal Horn of the Barcelona Symphony Orchestra, Assistant Principal and Acting Principal Horn of the Rochester Philharmonic Orchestra, Acting Assistant Principal Horn of the Grant Park Orchestra, and a member of Burning River Brass. He performed as soloist with the Rochester Philharmonic on multiple occasions and has appeared at numerous festivals including the Skaneateles Music Festival, Bravo! Vail Valley Music Festival, the Peninsula Music Festival, and the National Repertory Orchestra. Hemann has taught at the Eastman School of Music, Hochstein Music School, Nazareth College, and as visiting horn instructor at UW-Oshkosh. A native of Albany, CA, Dietrich studied at the Eastman School of Music with Verne Reynolds, and at Rice University with William VerMeulen. Dietrich resides in Shorewood with his wife, MSO Principal Trombonist Megumi Kanda, and their two boys, Hans and Max. Mark Hoelscher, bass trombone Hoelscher is a member of the Chicago-based Millar Brass Ensemble and is an Edwards artist/ clinician. He freelances with groups in the Chicago, Milwaukee, and Madison areas and is an active teacher and coach. Mark holds a Master’s Degree in trombone performance from Kent State University and an undergraduate degree in trombone from Wichita State UWM Peck School of the Arts 5
B I O G R A P H I E S ( c o n t .) University. As a fellowship recipient at the Aspen Music Festival, he performed with the Festival Jazz Ensemble, Chamber Symphony and Festival Orchestra and studied chamber music with American Brass Quintet. He is an active studio musician and has toured nationally and internationally with classical and pops orchestras, as well as big bands and touring shows. Hoelscher has performed with the Hamilton Philharmonic and Symphony Hamilton (Hamilton Ontario, Canada), the Canton Symphony, and was a member of the Wichita Symphony. Since moving to Milwaukee in 1993, he has performed with such groups as the Chicago Sinfonietta, Milwaukee Symphony, Elgin Symphony, Chicago Civic Orchestra, Milwaukee Ballet Orchestra, Present Music, Madison Symphony Orchestra, and the Wisconsin Chamber Orchestra. Todd Levy, clarinet Principal Clarinet of the MSO and The Santa Fe Opera orchestras, two-time Grammy Award winner Todd Levy has performed as a soloist at Carnegie Hall, Mostly Mozart, with the Israel Philharmonic, and at the White House; as chamber musician with members of the Guarneri, Juilliard, Orion, Miami quartets, James Levine, Christoph Eschenbach, and Mitsuko Uchida; and as guest principal clarinet with the New York Philharmonic, the Metropolitan Opera, and
frequently for Seiji Ozawa and Ricardo Muti in Japan. He has performed world premiere concerti or chamber works by composers such as John Harbison, Joan Tower, Peter Schickele, Paquito D’Rivera, Morton Subotnick, and Marc Neikrug and performs on the new release of Marc Neikrug’s Through Roses chamber work with violinist Pinchas Zuckerman, actor John Rubenstein and the composer conducting. He has recorded the Brahms Clarinet Sonatas for Avie, and three educational book/CDs of clarinet competition works for G. Schirmer/Hal Leonard, and a new edition/CD of the Bernstein Clarinet Sonata for Boosey and Hawkes/ Hal Leonard. He performs exclusively on Vandoren reeds, mouthpieces, and ligatures, and Selmer Signature clarinets. He is also on the faculty of UW-Milwaukee and is co-director of Chamber Music Milwaukee. For a more complete biography, visit toddlevy.org. James Nufer, trumpet James Nufer serves as a graduate teaching assistant at the University of Wisconsin-Milwaukee while completing his Master of Music degree in trumpet performance. During his time at UWM he has performed with the symphony orchestra, wind ensemble, and graduate brass quintet. He earned his bachelor’s degree in performance at Lawrence University in Appleton, where he
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B I O G R A P H I E S ( c o n t .) studied with John Daniel and performed with a wide range of ensembles including orchestra, wind ensemble, jazz ensemble, brass quintet, and salsa band. James has spent several summers involved in drum and bugle corps, participating as a member of the 2008 Blue Devils, and as an instructor with the Troopers in 2009 and the Oregon Crusaders since 2010. Other summer activities include the 2010 Summer Brass Institute in Atherton, CA, and plans to participate in the 2011 Chosen Vale International Trumpet Seminar. Though spending most of his time these days masquerading as a Wisconsin resident, he hails from Beaverton, OR. When he gets the chance, he enjoys spending time outdoors camping, hiking, and skiing. Samuel Schlosser, trombone Schlosser, from Seattle, WA, joined the Milwaukee Symphony Orchestra in 2010 as Assistant Principal/2nd Trombone. Previously he served as Principal Trombone with the Symphony in C in Camden, NJ, and attended the Curtis Institute of Music in Philadelphia, studying with Nitzan Haroz. He has also been on the A-sublist with the Philadelphia Orchestra since 2008. He began playing trombone in elementary school in Seattle, focused primarily on jazz until high school, and then attended the San Francisco Conservatory of Music from 2006-2007, studying with Mark Lawrence. He has been a finalist for principal trombone positions with the Vancouver and National Symphony Orchestras, and during recent summers has been a fellow at the Pacific Music Festival, National Orchestral Institute, Music Academy of the West, and the Tanglewood Music Center. In his spare time he likes, among other things, to go hiking in the mountains of the Pacific Northwest. Theodore Soluri, bassoon Soluri has been the principal bassoonist of the Milwaukee Symphony Orchestra since 2004. Prior to this appointment, he held the same position with the Canton Symphony Orchestra (Ohio), the Akron Symphony Orchestra, and the Wheeling Symphony (West Virginia). Soluri is also the principal bassoonist of the Santa Fe Opera. As a soloist, he has performed numerous works, including Mozart’s Concerto for Bassoon, Carl Maria von Weber’s Bassoon Concerto, Ferdinand David’s Concertino, Richard Strauss’s Duett-concertino, and Michael Daugherty’s Dead Elvis. Soluri has performed at many music festivals including the National Repertory Orchestra, the National Orchestral Institute, The Los Angeles Philharmonic Institute, the Solti Orchestral Project at Carnegie Hall, the Grand Teton Music Festival, and the Santa Fe Chamber Music
Festival. Soluri has performed with the Cleveland Orchestra, and the Grant Park Orchestra among others. He was also invited to play with the Chicago Symphony Orchestra on their East Coast tour in 2005 and has played with them several times since. In the summers of 2006 and 2010, Soluri was invited to perform recitals at the International Double Reed Society Conferences in Muncie, IN and Norman, OK. He will also be performing at the 2011 conference in Tempe, AZ. Soluri received his Bachelor of Music degree from The Florida State University and his Master of Music degree from The Cleveland Institute of Music. He plays Fox bassoons and owns a 101 and red maple 601. Mr. Soluri is a Fox Artist. Caen Thomason-Redus, flute Thomason-Redus is the Assistant Professor of Flute at the University of Wisconsin-Milwaukee and enjoys traveling the world performing and teaching. Solo appearances in recent years include the Milwaukee Symphony Orchestra, the National Flute Association Convention, and UWM’s major ensembles. Recital programs vary greatly and include everything from virtuosic baroque sonatas to contemporary African American music for solo flute. At UWM, Thomason-Redus is particularly active in chamber music through the faculty artist series Chamber Music Milwaukee and his own series of recitals. You can hear him on The Flute Collection and the Moyse Collection of Flute Classics, two sets of recordings and anthologies published by Schirmer. Prior to arriving in Milwaukee, Thomason-Redus spent two years performing with the Detroit Symphony Orchestra as their Minority Fellow and now performs often with professional orchestras such as the St. Louis, Milwaukee and Kansas City symphonies. Caen began playing Muramatsu flutes in 2003 and is a Muramatsu Artist. His previous teaching activities include faculty positions at Wayne State University and the Sphinx Preparatory Academy, both located in downtown Detroit. He is professionally active with the National Flute Association, Early Music Now, the Milwaukee Youth Symphony Orchestra, and several other arts organizations. Caen and his wife, hornist Kristi Crago, served as principals in the Evansville Philharmonic Orchestra and as faculty at the University of Evansville in Indiana. Dedicated to education and musical outreach, Caen and Kristi spend much of their personal time creating and taking part in programs that bring music closer to people of all backgrounds and ages. They are the proud parents of two young boys and love living in Milwaukee.
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D E PA R TM E N T O F M U S I C FAC U LT Y A N D T E AC H I N G S TA F F Ensembles John Climer, Bands Scott Corley, Bands Margery Deutsch, Orchestras Curt Hanrahan, Jazz Band Gloria Hansen, Choirs Sharon Hansen, Choirs David Nunley, Choirs José Rivera, Choirs Guitar Peter Baime Beverly Belfer Pete Billmann Elina Chekan René Izquierdo Don Linke John Stropes Harp Ann Lobotzke+ Jazz Studies Curt Hanrahan, Jazz Ensemble/ Jazz Arranging Steve Nelson-Raney, Jazz Theory and History Music Education Scott Emmons Sheila Feay-Shaw Jeffrey Garthee José Rivera
Music History and Literature Mitchell Brauner Judith Kuhn Timothy Noonan Gillian Rodger Martin Jack Rosenblum Music Theory, Composition and Technology James Burmeister Christopher Burns Lou Cucunato William Heinrichs Jonathan Monhardt Steve Nelson-Raney Kevin Schlei Amanda Schoofs Jon Welstead* Piano Elena Abend Judit Jaimes Leslie Krueger Peggy Otwell Jeffry Peterson Katja Phillabaum Strings Scott Cook, String Pedagogy^ Darcy Drexler, String Pedagogy^ Stefan Kartman, Cello Lewis Rosove, Viola Laura Snyder, String Bass+ Bernard Zinck, Violin
Fine Arts Quartet Ralph Evans, Violin Efim Boico, Violin Nicolò Eugelmi, Viola Wolfgang Laufer, Cello Voice Valerie Errante Jenny Gettel Constance Haas Jamie Johns Tanya Kruse Ruck Kurt Ollmann Teresa Seidl Winds, Brass and Percussion Dave Bayles, Percussion Dean Borghesani, Percussion+ Margaret Butler, Oboe+ Stephen Colburn, Oboe+ Marty Erickson, Tuba & Euphonium Gregory Flint, Horn Beth Giacobassi, Bassoon+ Curt Hanrahan, Saxophone Kevin Hartman, Trumpet Mark Hoelscher, Trombone Kyle Knox, Clarinet+ Todd Levy, Clarinet+ Ted Soluri, Bassoon+ Carl Storniolo, Percussion Caen Thomason-Redus, Flute Thomas Wetzel, Percussion+ *Department Chair +Milwaukee Symphony Orchestra ^String Academy of Wisconsin
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