Rotation II
Engine Room
presents
James Campbell (b. 1953)
Eric Sammut (b. 1968)
REDEMPTION
Kim Askell Masson (b. 1953)
Refrakt
a graduate recital by Meaghan Nikole Treviño percussion assisted by UTSA Percussion Ensemble
Andrea Venet (b. 1983)
Featuring: Zachary Cook, Emilio DeLeon, Gabe Durand -Hollis
An Economy of Means
Mvt. 2: Chorale
April 5th 7:30pm
Recital Hall
Arts Building
Robert Honstein (b. 1980)
PROGRAM
Program
Marimba Dances (1982)
I.
II.
III. Eight Pieces for Four Timpani (1950/66)
V. Improvisation
This too shall pass… (2013)
Ross Edwards (b. 1943)
Elliott Carter (1908-2012)
Ivan Treviño (b.1983)
Concerto for Vibraphone and Percussion Ensemble (1998)
I. Recitativo - Allegro
II. Acalanto (bridge)
III. Vivo - Presto
UTSA Percussion Ensemble
Conductor: Mrs. Sherry Rubins
Ensemble Members: Erin Faehnle, Rieve Garza, Adam Jackson, Gabe Leal, Josh Lauterbach, Rebecca Palmer, Mark Sawyer
Ney Rosauro (b. 1952)
This r ecital is pr esented in par tial fulfillment of the Master of Music in Music Perfor mance degr ee. Meaghan Nikole Tr e viño is fr om the studio of Mrs. Sher r y R ubins .
Flash photography and unauthoriz ed audio-video r ecordings ar e strictly pr ohibited. Please deacti vate all cell phones, pagers, and wristwatch alar ms.
Program Notes
Marimba Dances (1982) - Ross Edwards (b 1943)
This light-hearted (though highly virtuosic) piece consists of two radiant dances framing an introspective, recitative-like interlude. The musical idiom is that of my Piano Concerto, composed in the same year. In such pieces it was my intention to reintroduce levity, joy and exuberance into ‘serious’ music, which at the time seemed to me to be a danger of ossification. The marimba writing is influenced by a transcription I made of music for African harp in my reconstruction of a Madagascan folksong. This folksong became part of my instrumental sextet Laikan, composed in 1979 for the British ensemble The Fires of London and its conductor, Sir Peter Maxwell Davies, with whom I had studied. The Marimba part was first performed by Greg Knowles, whom Marimba Dances is dedicated.
Marimba Dances was first performed by Michael Askill at a concert of my music in Wollongong City Gallery in 1983. It remains one of my most widely performed and recorded works throughout the world. A sequel, More Marimba Dances, was composed in 2004 for the percussionist Claire Edwardes.
- Ross Edwards
Eight Pieces for Four Timpani (1950/66): V. Improvisation - Elliott Carter (1908-2012)
Improvisation contrasts speeding up and slowing down lines and is the most varied of the set, with sudden contrasts between slow and fast rhythms, loud and soft dynamics, and varying patterns of accentuation.
The Canto and Adagio of this set of Eight Pieces for Four Timpani (One Player) were written in 1966, while the other six were composed in 1949. In those days, these six were found difficult, if not impossible to play effectively, but, as time passed interest in them and performing skills grew, so I decided to publish the set complete, as four of them had been widely circulated in manuscript, in 1966. At that time, they were revised with the help of the percussionist, Jan Williams, of the New York State University at Buffalo. In gratitude for his advice, the Canto and Adagio were composed for him and included the set. Unlike the other, each of which is a four-note piece based on different tunings of the drums, these two employ the possibilities of the pedal-tuned chromatic timpani.
The six from 1949, besides being virtuoso solos for the instrumentalist, are studies in the controlled, interrelated changes of speed now called “metric modulation,” and generated ideas carried further in my First String Quartet begun at the same time and completed shortly afterwards. Each piece is dedicated to a performer who showed an interest in the works in their early days:
V. Improvisation - Paul Price - The opening phrase furnishes materials for numerous variations with constant changes of speed.
- Elliott Carter
This too shall pass… (2013)
- Ivan Treviño (b.1983)
This Too Shall Pass… is scored for solo vibraphone. The piece is part of a three movement suite for percussion soloist called Crossed Wires, which was commissioned by a consortium led by percussionist Phillip O’Banion.
I wrote this piece for someone who was going through difficult times. I hope it reaches anyone feeling the same way.
- Ivan Treviño
Concerto for Vibraphone and Percussion Ensemble (1998) - Ney Rosauro (b. 1952)
The Concerto for Vibraphone and Orchestra was written in Santa Maria, RS, Brazil in 1995 and 1996 and is dedicated to Evelyn Glennie. The work was originally written for vibraphone and chamber orchestra (1 flute, 1 oboe, 1 clarinet, 1 bassoon, 2 horns, percussion and strings). The concerto was premiered with piano reduction during the 1996 Japan Percussion Festival in Tokyo, and the orchestral version was first presented at the composers’ festival ENCOMPOR in Porto Alegre, RS, Brazil later that year performed by the composer and accompanied by the Orquestra Unisinos under the direction of Maestro Jose Pedro Boessio. The first arrangement for wind ensemble was made by Rodrigo Morte and the actual arrangement is by the composer.
The work is written in three movements and has a bridge connecting the last two movements without pause. The first and last movements are constructed over a mixed scale that combines lydian and mixolydian modes, which are quite often found in the folk music of northeastern Brazil.
The first movement develops from a chromatic theme, presented in a slow tempo in the opening measures of the work, and represents the constant life struggle of the poor people in the dry lands of northeastern Brazil.
The second movement is based on the Brazilian folk lullaby called Tutu Maramba, and depicts a child’s peaceful passage to a dream-filled slumber The effect of playing the vibraphone with the rattan handle of the mallet recalls the sound of music boxes used to lull children to sleep.
The last movement depicts the flight of seagulls, which was inspired by time spent by the composer at Ipanema Beach in Rio de Janeiro, while watching a breathtaking view of the sun setting over the Arpoador rock formations. Percussive Notes magazine calls the concerto “an excellent showcase for the solo vibist, and, like the Marimba Concerto, another excellent work that audiences will find enjoyable and exciting.”
- Ney Rosauro
