Proposal “Colors” “Beams” Performance Parlor Project is a collaborative effort created by artists for the creation of chamber works and different performing experience for all Parlor Project is a part of Collage Ensembles A greater coop of artists and artisans combining together for a whole
“Taking the Performance Experience To New Levels” Unique, Sensitive, Small to Large, On the Edge, Boundless, Ubiquitous, Encompassing, Emotional, Inspiring, Awesome, Fantastic, Inclusive, Participating, Involved, Casual.
The Journey While I was studying and performing with the greats, I found out something extremely interesting that I didn't know up to that point. Robert Marcellus, Stanley Drucker, Leon Russianoff, Bette Midler, Nell Carter and a wide range of others never had degrees until later in life. Mr. Marcellus finally received the honorary doctorate from the University of Nova Scotia at the age of 70. Stanley studied at Curtis, but made first chair Clarinet when he was 19, no degree, Leon emigrated from Russia and began teaching eventually getting his bachelors later in life, but in the meantime taught Benny Goodman, Artie Shaw, Stanley Drucker and a whole slew of others with international prominence. Leon did not come to teach at Julliard until the 1980's. Robert studied with Daniel Bonade and practiced in a garage with a bucket of ice water, a fan and a stack of music. I adapted to their way of achieving, work, practice, dedication to learning and the willingness to learn. There was one lesson with Robert Marcellus I will never forget. I came in, did the Mozart, not up to snuff and not prepared like I should have been and after the 3 hour lesson was over, he looked in my direction and said �Jere, there is nothing I can teach you , you already know all there is to know about the Clarinet, but, if you want to learn what I know, I will see you next week." Talk about tucking my tail feathers, one of my greatest dreams in life at the time, to study with Marcellus and I just about blew it. I came back next week, put his horns together and got them set up for him and very humbly said "Mr. Marcellus, I'm ready to learn." That was a major turning point in my life. 3 years later, he finally told me something that floored me again. "Jere, you were already an accomplished clarinetist when you came to me, I just put finishing touches on you." That was my last lesson with him, friend, mentor and great teacher. When it comes to the end of my journey, I will look back and know I dreamed, took a chance and lived my dream. In essence, I did it my way! I hope you enjoy the experience of the Parlor Project, one of my life’s dreams! Jere Kizer Douglas
Co Founder Parlor Project
Beams The Program Prelude and Dance Mr. James Richens, Composer Laurate Memphis Symphony ASCAP Award Winner Clarinet and Piano Quartet for the End of Time Olivier Messiaen Clarinet, Violin, Cello, Piano Kaddish Mr. Sean Salamon Composer Clarinet, Piano, Tenor and Percussion Saints/Medley Ensemble
In Creation Phase at Present Time!
Colors The Program Prelude and Dance USA Premiere Mr. James Richens, Composer Laurate Memphis Symphony ASCAP Award Winner Clarinet and Piano Sonata Maestro Leonard Bernstein Movement One Clarinet and Piano Sonata Opus 120 Johannes Brahms Movement Two Clarinet and Piano Kaddish World Permiere Mr. Sean Salamon Composer Clarinet, Piano, Tenor and Percussion Saints/Medley Ensemble
Colors Collaborative Artists Dr. Kennith Freeman
Piano
Mr. Jere Douglas
Clarinet
Mr. Travis Pratt
Tenor/Piano Percussion (TBA)
Mr. Sean Salamon
Composer
Kaddish Composer’s notes Kaddish is a setting of the Jewish prayer for the dead (of the same name). It uses the Hebrew text, untranslated. I have grown so weary of composers who impose modernist “concepts” on their music, and of pretentious constructs. My setting of the Kaddish is unaffected and unapologetic. Its only aim is to bring out the meaning of the text— the glorification of God through times of grief and strife, and the plea for peace— in a musical language which is natural and direct. There are a few musical details of note. Firstly, the overarching motive 2-3-1 binds the piece together thematically, and abounds in every movement. Secondly, though the piece as a whole seeks to portray the boundless eternity of heaven as evoked by the Kaddish, the second movement in particular is a wordless interpretation of this. And lastly, I have not been afraid to employ jazz techniques, especially nos. 3 and 4, in homage to the four late maestros which this piece specifically remembers.
—Sean Michael Salamon Kaddish for Jere Douglas, and for the memories of Leonard Bernstein, Alan Balter, Leon Russianoff, and Robert Marcellus No. 1 Fugue: Glorified and sanctified be God’s great name No. 2: May His great name be praised forever, and to all eternity No. 3: Perpetuum mobile: Blessed be He above all No. 4: May there be peace and good life
I am considering coupling Kaddish with the Messiaen "Quartet for the end of time" as I feel this is a link between the generations of utmost importance and will give a lot more relevance to your piece. To that end I am setting up some meetings with leaders of the Jewish Community here in Houston and elsewhere to accomplish this goal and finding the right mix of musicians for a task this great. Originally I was planning on doing Kaddish in August and that may still stand and if that does happen will still do this other program with the appropriate Jewish Celebration to give it maximum impact and meaning. Please forgive me as my thoughts are rambling a bit right now but I see a century generational bridge here and want to stress that. I had the great joy in an informal atmosphere of doing the Quartet with Olivier "coaching" the quartet during the time frame I was working with Marcellus and Balter. I find that interesting right now and have a strong feeling this is something that I need to push. And yes, I do see this work of yours on the same level as the Quartet in depth and meaning. I had no formal studies with Olivier, merely more casual talks and dinners over a two week period in the 1980's and he was a great clarinetist, organist and pianist along with his single story of life in the concentration camps during WWII. I find it interesting in putting these programs together that I have worked with four of the composers and it’s a feeling of fulfillment in my personal life and career to share these works.
Bio’s Mr. Jere Kizer Douglas Clarinet Clarinetists, Clinician and Performance Artist is the winner of the Lubrani Clarinet Award for Clarinet Performance Excellence at University of Memphis for 3 years. He has performed as a soloist with the First Marine Aircraft Wing Band, First Marine Division Band, University of Memphis Wind Ensemble, Arkansas Repertory Theatre and various on and off Broadway Productions, including the world premiere of “Good Woman of Schezchuan” based on a Berthold Brecht play. Jere has performed with the Germantown Symphony, Memphis Symphony, Ray Charles, Bette Midler, Barry Manilow and Joyce Cobb. As a clinician, Jere has taught around the US of A, including through the Mid-America Arts Alliance and the City of Milan School System, TMEA. He has performed as guest soloist in Japan, England, Australia, Korea, Thailand, China, Germany, and Artist in Residence “The Clearing” Sister Bay Wisconsin, Woodwind Specialist Arkansas Repertory Theatre and across the United States with various chamber ensembles doing world premieres/commissions of works by various composers. “Pick and choose your personal mentor's/ teacher's with great care and with your personal career in focus and not the world of academia or the world of the social society. Make your own way, even if it means stepping outside the box. I actually created my own course of study, much to the chagrin of the powers that be at the time and ended up with paperwork, credentials out the yen yang that look nice on a wall but the substance behind the paperwork is what’s important to me. In fact, I prefer a nice Van Gough or Picasso on the wall instead of the listing of credentials....”
Dr. Kennith Freeman Pianist Dr. Kennith Freeman, Piano holds degrees in piano performance from the University of Memphis and Pepperdine University (Malibu, California). An avid chamber musician, Freeman has performed in chamber festivals in his native Arkansas as well as California, Oregon, Kansas, Tennessee, and Marktoberdorf, Germany. In August, 2010, Dr. Freeman and his collaborative partner, flutist Sandra Cox, will appear as guest artists at the International Society of Music Educators’ conference in Beijing, China. In addition to his solo and chamber performances, Kennith has held the position of musical director for youth and adult productions throughout the Mid-South and greater Los Angeles areas. Currently, Freeman serves as Music Director for Abundant Grace Ministries in Collierville, Tennessee and is a member of the music faculty of Mid-South Community College in West Memphis, Arkansas
Mr. Travis Pratt Tenor
Travis in Don Giovanni
Percussion to be named
Sean Michael Salamon Composer Sean Michael Salamon is a 19-year-old composer, singer and instrumentalist native to New Jersey. Having attended the Pingry School, he currently studies music composition with Nancy Galbraith at Carnegie Mellon University in Pittsburgh, Pennsylvania. He is equally conversant in the musical languages of classical music and musical theatre, having been most influenced by Bach, Sondheim, Vaughan Williams and Bart贸k. Salamon first delved into composition at age twelve. He enrolled at Carnegie Mellon in 2010, where he has written music for both the concert hall and the School of Drama. His pieces have been performed by numerous ensembles in several cities throughout the United States as well as Canada and Romania. In his spare time, he sings in the Carnegie Mellon Concert Choir (Robert Page, director), as well as the CMU Originals, an all-male a cappella group. Sean is also passionate about the stage. In 2010, he co-directed a production of Finn's The 25th Annual Putnam County Spelling Bee (incl. musical direction). He has played leading roles in Sweeney Todd: The Demon Barber of Fleet Street, Falsettos, The Rocky Horror Show, Rent, and Les Mis猫rables. Additionally, he is an Eagle Scout. Sean is delighted when musicians perform his pieces and requests that you email him if you do this. Contact Sean at ssalamon@andrew.cmu.edu.
Open Rehearsal
Chamber Coaching’s
Per Artist
Per Artist
1200
450/
800/
Per Artist
2 Hours
2 Hours
1200
450/
800/
Per Artist
2 Hours
2 Hours
Collage
Performance
Meet Artist
Master Class
Performers
Guarantee
Discussions
Lectures
Minimum
Per Artist
Discussions
7000
150
Beams
Colors
4000
150
Beams Package 10000
X
X
X
Colors Package
X
X
X
7500
Collage Ensemble Booking Fees
Individual artists are available for other events/performances at their discretion. Half of fees payable upon confirmation of booking. Residual fees paid on completion of service. Members of Collage are available for Private Instruction in their locales. Future Plans of Collage include commissioning new chamber works for varied instrumentation with the target being a summer series of chamber music camps for young people. Collage requests that permanent instruments (piano, etc...) be tuned to A440. Open Rehearsal includes question and answer session with attendees. Package Discount for all the above, this performance, 10,000.00
Parlor Project Sponsorship Levels Impressario
2500
Vivace
1000
Allegro
750
Mezzo
500
Dolce
250
Amabile
100
Friend
50
Private Lessons, Tutoring, Coaching Jere has studied with Robert Marcellus, Alan Balter, Leon Russianoff, Dr. James Gholson, Mr. Anthony D’Andrea and Mr. Robert Hodge. Performances include: Mr. Ray Charles Memphis Symphony Orchestra Ballet Memphis Orchestra Mr. Isaac Hayes Ms. Joyce Cobb Beverly Sills And others. Member American Federation of Musicians NAMTA Currently Jere Performs with Collage Chamber Ensembles St. Philips Presbyterian Choir For samples of past and current performances www.jeredouglas.com
Artist Candid’s