Event Program - School of Music

Transcription

music + festival 2014
O c t o b e r
1 8 - 1 9
Villa-Lobos Ginastera Chávez Revueltas
Seventh Annual Composers Festival
Daniel Asia & Odaline de la Martínez, Festival Directors
C ollege of Fi ne Art s - School of Musi c
Tucson, Arizona 520-621-1655 www.music.arizona.edu
C o - s po n s o r s
Co-sponsors:
Wesley Green
Christopher Granillo, DDS
Center for American Culture and Ideas
Classical 90.5 FM / Arizona Public Media
KVOI 1030 AM “The Voice” Radio
Consulate of Mexico in Tucson
Arizona Commission on the Arts
National Endowment for the Arts
Hanson Film Institute
UA Center for Latin American Studies
UA Gender and Women’s Studies Program
UA College of Fine Arts Bank One Visiting Artist Professorship Awards
Wesley Green
Christopher
Granillo
DDS
Center for
American Culture
and Ideas
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Music + Festival 2014: Villa-Lobos, Ginastera, Chávez, Revueltas
The University of Arizona School of Music
October 18-19, 2014
Dear Friends,
This year’s festival features the music of the Latin American composers Heitor Villa-Lobos, Alberto Ginastera,
Carlos Chávez, and Silvestre Revueltas. These four composers were among the major forces in music in Latin
America in the 20th Century, and are the progenitors of modern classical music in their respective countries, Brazil,
Argentina and Mexico. While their music is quite different from each other, they also have great similarities. Much
of their music incorporates the native music of their own countries. In this regard they are nationalist composers.
At the same time, they were all influenced by the tradition of European classical music and the music of the early
part of the twentieth century, most significantly that of Stravinsky, other composers in Paris, jazz, and Varèse.
While they developed and evolved throughout their careers, they always wrote music that was for their audience;
they were decidedly part of their societies, of their particular place, and often at the same time creating the musical
institutions to promote this music. The festival looks at the output of their entire careers and in all genres. Thus
you will hear song, choral, wind, solo and orchestral works.
In addition to all this we welcome our first co-festival director/conductor/composer, Odaline de la Martínez.
Chachi, as she is called by her friends and colleagues, is quite simply one of the most exciting personalities on
the new music scene. Her knowledge of Latin American music is wide and deep, her conducting is full of energy
and excitement, and her compositions are lyrical, evocative, and playful. You will have the opportunity to get to
know her in all of these capacities.
The festival begins with a symposium featuring presentations on the history of Latin American music by
Odaline de la Martínez and Juan de Dios Hernandez (a recent UA graduate with a specialty in this music),
moderated by our own ethnomusicologist Janet Sturman. Four concerts follow and the festival concludes
with a screening of “Redes,” featuring music of Revueltas.
Performers include University of Arizona School of Music faculty, students and the major ensembles, including
the Arizona Symphony, Wind Ensemble, Arizona Choir and our Festival Chamber Orchestra. Without them,
and their hard work and dedication, this festival couldn’t take place. Many thanks to all of them, and to
all of you - our wonderful audience. Thanks for attending!
Cordially,
Daniel Asia, Festival Director
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October 18-19, 2014
Daniel Asia & Odaline de la Martínez, festival directors
SATURDAY, OCTOBER 18, 2014
1:00 p.m. – Music Room 146 – Symposium
Odaline de la Martínez, composer/conductor
Juan de Dios Hernandez, conductor/pianist
Janet Sturman, moderator
4:00 p.m. – Holsclaw Hall – Concert I
Kristin Dauphinais, mezzo-soprano; Brian Luce, flute; Sara Fraker, oboe; Jerry Kirkbride, clarinet;
Edward Reid, Cory Driscoll, Oscar Thorp and Alexander Freund, trumpet;
Michael Keepe, baritone saxophone; Pamela Decker, organ;
Daniel Asia, conductor
7:30 p.m. – Crowder Hall – Concert II
UA Percussion Group, Odaline de la Martínez, conductor
Festival Chamber Orchestra, Odaline de la Martínez, conductor
UA Wind Ensemble, Gregg Hanson, conductor
Arizona Symphony Orchestra, Thomas Cockrell, conductor
•••
SUNDAY, OCTOBER 19, 2014
2:00 p.m. – Holsclaw Hall – Concert III
Award winning guitarists from the Bolton Guitar Studio
4:30 p.m. – Holsclaw Hall – Concert IV
Daniel Katzen, horn; UA Betty Katzen Horn Studio; Kristin Dauphinais, mezzo-soprano; Tannis Gibson, piano;
Norman Weinberg, percussion; Edward Reid, Cory Driscoll, Oscar Thorp and Alexander Freund, trumpet;
Arizona Choir, Bruce Chamberlain, conductor
7:00 p.m. – Center for Creative Photography – Film
“Redes” (1936)
Directed by Emilio Gómez Muriel and Fred Zinnemann
Music by Silvestre Revueltas
Cinema photography by Paul Strand
We are pleased to announce that these concerts are part of Daniel Pearl World Music Days,
the world’s largest symphony for peace. This international network of concerts is in memory
of slain journalist/musician Daniel Pearl, who traveled the world working toward
cross-cultural understanding with simply a pen and a fiddle.
Through our music today, we reaffirm our conviction
that humanity will triumph and harmony
will prevail.
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October 18-19, 2014
Sat urday, Oct ob er 18, 2014
Concert I – Holsclaw Hall – 4:00 p.m.
Alberto Ginastera (1916-1983)
Fanfare, Op. 51a (1980)
Edward Reid, Cory Driscoll, Oscar Thorp and Alexander Freund, trumpet
Ginastera
Toccata, Villancico y Fuga, Op. 18 (1947)
Pamela Decker, organ
Heitor Villa-Lobos (1887-1959)
Sexteto místico (1917)
Kate Nichols, flute
Andrew Clark, oboe
Christine Yi, saxophone
Grant Miller, guitar
Rachel Knight, harp
Min Jeong Kim, celeste
Odaline de la Martínez, conductor
Ginastera
Duo, Op. 13 (1935)
Sonata
Pastorale
Fuga
Brian Luce, flute
Sara Fraker, oboe
Villa-Lobos
Bachianas Brasileiras No. 5 (1938-1945)
Ária
Dança
Kristin Dauphinais, mezzo-soprano
Renato Serrano, guitar
INTERMISSION
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(Concert I program continued)
Carlos Chávez (1899-1978)
Antígona (1932)
Prólogo
Episodio y treno
Patricia Bradley, piccolo
Rachel Kamradt, oboe
Andrew Clark, English horn
John De La Paz, clarinet
Cory Driscoll, trumpet
Rachel Knight, harp
Damon Knepper, percussion
Eric Sorenson, percussion
Keun Oh, conductor
Silvestre Revueltas (1899-1940)
Dos Pequeñas Piezas Serias (1940)
Brian Luce, flute
Sara Fraker, oboe
Jerry Kirkbride, clarinet
Michael Keepe, saxophone
Edward Reid, trumpet
Daniel Asia, conductor
Villa-Lobos
Chôros No. 7 (Settiminio)
Kate Nichols, flute
Andrew Clark, oboe
César Manjarrez, alto saxophone
Ethan Miller, bassoon
JoAnna Park, violin
Robert Marshall, cello
Matthew Timman, tam-tam
•••
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Concert I Program Notes
Ginastera’s Fanfare uses themes from his orchestral work Jubilum, which he wrote for the 400th anniversary of
Buenos Aires. The year was 1980, and he was well into his expressionist or serial period. The orchestral work is a
somewhat austere piece, with a series of thick, dissonant chords centered in the horns, often alternating with aleatoric
muted off-stage trumpets playing fast, quasi-fanfare rhythms that sound rather squirrely. The tension is palpable
before it dissipates into a final major chord.
– Roger Hecht
Toccata, Villancico y Fuga, like Ginastera’s Psalm 150 and Hieremiae prophetae lamentationes, moves away from folk
references. The Toccata takes its inspiration from the Baroque model and is improvisatory in nature. From the very
beginning, a clear allusion pays homage to J.S. Bach. The Villancico is a traditional South American Christmas carol,
dedicated to the baby Jesus. The final Fuga is based on a theme built around the letters B–A–C–H and culminates
in a grandiose coda with the theme in diminution.
– Fernando Viani
The unusual scoring of Sexteto místico, a short impressionistic work, is typical of the experimentation in Villa-Lobos’
chamber music of the 1910s, in which he was moving away from European romantic textures and structures towards
a freer, more recognizably Brazilian idiom. The impressionism of the work is a bright and colorful interpretation of
the urban improvised music-making which Villa-Lobos himself enjoyed during his youth – an interpretation soon to
culminate in the chôros series. The presence of the guitar lends Brazilian color to the score, which is constructed in a
clear and simple way. The ideas spring spontaneously and the material is distributed with intuitive logic resulting
in a wonderful combination of timbres, which produce the mystical atmosphere suggested in the title.
– Raquel Braune
Although the flute and the oboe, instruments whose timbre differ so widely, are often very closely linked in
chamber music, double concertos and in the orchestra, there are very few original duets for these two instruments
within the classical repertoire. Most duets were written perhaps for pedagogical purposes. Within the 20th century,
Ginastra’s Duo speaks a crystal-clear and almost neoclassical idiom of admirable contrapuntal and formal perfection
while also being influenced by South American folklore.
– Heinz Holliger
The admiration of Villa-Lobos for Bach had been fostered by his aunt Zizinha and in the Bachianas Brasileiras No. 5
Villa-Lobos draws double inspiration from both Bach and Brazil, although technical indebtedness to the former
may be relatively superficial or at other times pervasive. It is, however, always the spirit of Bach that is evoked,
the ultimate source of inspiration. The series, variously scored, began in 1930 with a work for an orchestra
consisting of at least eight cellos and ended in 1945 with the ninth of the series for string orchestra.
The Ária, the first of the two movements of the fifth of the Bachianas Brasilerias, originally scored for soprano
and orchestra of cellos, was written in 1938. A second movement, Dança, was added in 1945. The first of these two
movements is among the best known of all and is more demonstrably indebted to Bach than O trenzinho do caipira,
which is a world away from eighteenth century Leipzig. The Ária offers a very Brazilian melodic contour over
a Bachian accompaniment for the eight cellos of the original scoring, with the first cello shadowing the soprano
melodic line. The movement, one of particular lyrical beauty, is equally effective in the arrangement for voice
and guitar.
– Keith Anderson
Chávez wrote Antígona as incidental music for a production of Jean Cocteau’s adaptation of Sophocles’ tragedy
Antigone that was first performed by Teatro Orientación in Mexico City in 1932. Chávez latter re-shaped the musical
materials and orchestrated the result as his First Symphony. The two movements of the original theatre music were
eventually published by the composer’s estate as Antígona, apuntes para la Sinfonía. Chávez employs a modal language
consciously borrowed from the Ancient Greek musical system, in particular the Greek Dorian and Hypodorian. The
rhythms sometimes employ 5/8 time, taken from the ancient Greek paeonic (or cretic) meter. The harmonic idiom
employed systematically avoids conventional triads, replacing them with quartal harmonies generated by
superimposing fourths. Although there are no programmatic references, the music’s austere character reflects
the drama for which it was originally created.
– adapted from Wikipedia
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Dos Pequeñas Piezas Serias for wind quintet are two of Silvestre Revueltas’ lesser known works, which are seldom
performed or recorded. They were discovered in 1957, but were written by the composer in 1940. In these works
Revueltas explores some of the unique instrumental timbres of each of the five instruments in various combinations.
One can hear clear folk references in the various playful rhythmic ideas and little tunes that each instrument takes
up during the course of the music. While these works are very short, each is a little gem of twentieth century
Mezzo-American art music, influenced both by modern European musical trends of the mid-twentieth
century and by native music from Revueltas’ home country, Mexico.
– Jordan A. Key
There is a note included in some of the scores to the Chôros published by Editions Max Eschig: The Chôros represents
a new form of musical composition, in which the different modalities of indigenous and popular Brazilian music are
synthesized, having as its main elements rhythm and whatever melody of popular character that emerges now and
again at random, always modified according to the composer’s personality. The harmonic processes are, equally, an
almost complete stylization of the original. The word “serenade” may give an approximate idea of the meaning of
Chôros.
The wonderful Chôros No. 7 (Settimino), composed in 1924, a “synthesis of syntheses” as the composer described it,
was first performed in Rio de Janeiro in 1925. It is scored for flute, oboe, clarinet, bassoon, saxophone, violin and cello,
to which is added a tam-tam played off-stage. It is the last of the Chôros to be composed for a chamber group. Something
in its rhythm evokes The Rite of Spring, disguising itself behind influences from indigenous Brazilian music. The
collage principle (which is also evident in other Chôros), the superimposing of polkas and fragmented waltzes, of
laments and rhythms, brings to mind the works of Charles Ives. There is an old recording conducted by Villa-Lobos
in Rio de Janeiro in 1934: with certain indolence, it reveals a conception that abolishes any rigidity and in fact
suggests the improvisation that the composer sought among the performers of Chôros.
– Jorge Coli
Odaline de la Martínez
Juan de Dios Hernandez
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October 18-19, 2014
Sat urday, Oct ob er 18, 2014
Concert II – Crowder Hall – 7:30 p.m.
Toccata para instrumentos de percusión (1942)
Allegro sempre giusto
Largo
Allegro un poco marziale
Michael Royer, Michael McAtamney, Andrew Morales, Alex Bosse,
Matthew Timman & Alex Merideth, percussion
Silvestre Revueltas (1899-1940)
Homenaje a Federico García Lorca (1936)
Baile
Duelo
Son
Meghan Davis, piccolo
Cory Driscoll, trumpet
Oscar Thorp, trumpet
Matt Varney, trombone
Drew Morales, percussion
Michael Royer, percussion
Ben Johnson, tuba
Douglas-Jayd Burn, piano
Oliver Blaylock, violin
JoAnna Park, violin
Philip Alejo, bass
Revueltas
Sensemayá (1938)
transcribed by Christiaan Janssen
The University of Arizona Wind Ensemble
Ingvi Kallen, narrator
Gregg Hanson, conductor
INTERMISSION
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(Concert II program continued)
Variaciones Concertantes para orquesta de cámara, Op. 23 (1953)
Tema per violoncello ed arpa
Interludio per corde
Variazione giocosa per flauto
Variazione in modo di scherzo per clarinetto
Variazione drammatica per viola
Variazione canonica per oboe e fagotto
Variazione ritmica per trombe e trombone
Variazione in modo di moto perpetuo per violino
Variazione pastorale per corno
Interludio per fiati
Ripresa del tema per contrabasso
Variazione finale in modo di rondo per orchestra
Arizona Symphony Orchestra
Thomas Cockrell, conductor
Revueltas
Suite from the film “Redes” (1935)
Los pescadores (The fishermen)
Funeral del niño (The child’s funeral)
Salida a la pesca (Launching of the fishing boats)
La lucha (The fight)
Regreso de los pescadores con su compañero muerto (The return of the fishermen with their dead comrade)
Arizona Symphony Orchestra
•••
Federico García Lorca (1934)
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The University of Arizona Wind Ensemble
Gregg Hanson, conductor
Flute
Kate Nichols*
Patricia Bradley, piccolo
Julia Gundacker
Harrison Alvarez
Oboe
Joshua Hall*
Andrew Clark, English horn
Corrie Bain
E-flat Clarinet
John De La Paz
B-flat Clarinet
Nick Topping*
Andrea Steele
Lauren Dietrich
Danielle Fisk
Daniela Gonzalez
Kendra Liu
Bass Clarinet
Sophia Rechel
Contrabass Clarinet
Amorette Languell
Saxophone
Cesar Manjarrez* alto
Christine Yi, alto II
Christopher Vasquez, tenor
Kyle Edwards, baritone
Bassoon
Ethan Miller*
Kevin Milligan
Ross Eckley, contra
Horn
Kaitlin Dickson*
Kevin O’Brien
Wade Williford
Trumpet
Cory Driscoll*
Oscar Thorp
Byron Ward
Eric Fiero
Laura Hockenberger
Trombone
Dylan Joseph Carpenter*
David Arthur Adams
Arturo Salinas-Aguayo
Euphonium
Matt Viesca*
Taylor Mitchell
Hunter Swanson
Tuba
Ben Johnson*
Paul Thoenes
- 10 -
Percussion
Liz Soflin*
Alexander Bosse
Yu Ling Cheng
Alexander Meredith
Drew Morales
Michael Royer
Kevin Cross
String Bass
Adam Gurczak
Harp
Xiandi Xu
Piano
Glenda Courtois García
Librarian
Kate Nichols
Graduate Assistants
T. André Feagin
Oscar Thorp
Taylor Mitchell
* Principal
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The Arizona Symphony Orchestra
Violin Emily Asay
Oliver Blaylock
Colin Bowers
Jessica Cunningham
Xiaochen Dong
Michelle Guzman
Susanna Lopez
Kaitlyn Miller
Hannah Milner
Emily Nolan, concertmaster *
JoAnna Park, principal
Gabriela Rincón
Callum Robbins-Gennerich
Rachel Schlesinger
Kelsey Shea
Viola
Luis Alarcón
Adrienne Cannon
Tommy Tran Doan
Kathryn Harpainter, principal *
Denise Jones
Tizheng Shen
Violoncello
Miguel Campos
Samuel Jacob
Alberto Macias
Robert Marshall, principal *
Rex Colin Mitchell
Brandon Sutter
Bass
Dallas Carpenter *
Adam Gurczak
Benjamin Iñiguez
Harp
Rachel Knight
Flute
Meghan Davis
Kate Nichols, piccolo *
Oboe
Joshua Hall
Rachel Kamradt *
Clarinet
Daniel Becker
Natalie Groom *
Bassoon
Daniel Hursey *
Matthew Kowalczyk
Horn
Christopher Blanco
Sean Gale
Michael Mesner *
Kevin O’Brien
- 11 -
Trumpet
Jared Engstrom *
Kenneth Saufley
Byron Ward
Trombone
Kelly McCarthy *
Matt Varney
Tuba
Paul Thoenes
Percussion
Daniel Bersetti-Nerland *
Kevin Cross
Cameron Figueroa
Matthew Timman
Orchestral Assistants
Miguel Campos
Ace Edewards
Keun Oh
Assistant Conductors
Ace Edewards
Keun Oh
* Ginastera soloist
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Concert II Program Notes
In the 1930s, avant-garde composer John Cage approached Chávez and asked him to compose a piece for the
percussion ensemble with which Cage was touring the West Coast. Chávez obliged, composing the Toccata that we
hear tonight. Unfortunately, Cage’s ensemble found themselves unable to play the opening section, which calls for
long, sustained drum rolls by all players, and therefore never performed the piece. It was not until 1948 that the
Toccata received its premiere, with members of the Orquesta Sinfónica de México (of which Chávez was founding
director) as soloists. Since then, the piece has become a staple of the percussion repertoire.
Traditionally, a toccata (derived from the Italian word toccare, or “to touch”) was a virtuoso piece for a keyboard or
plucked instrument, designed to showcase the player’s facility. Instead of fast-moving melodic passages, Chávez’s
Toccata utilizes advanced rhythmic interplay and extended techniques on multiple drums and gongs. The first and
last of the Toccata’s three movements follow a sonata form in which Chávez explores the sound potential of the
battery, writing long, layered rolls, interlocking syncopated patterns, and a section in which the players are instructed
to cover the drum heads with a cloth or chamois (denoted “coperto” or “covered”). The slow inner movement –
scored for non-pitched metallic instruments, plus glockenspiel and xylophone – is rhythmically simple, featuring
small broken intervals on the two melodic instruments. In Chávez’s own words, the Toccata “was written as an
experiment in orthodox percussion instruments,” and makes for an enduring example of melodic, thematic writing
for a seemingly non-pitched instrumental family.
– Los Angeles Philharmonic Music and Musicians Database
On August 19, 1936, the Spanish poet Federico García Lorca was murdered by fascist militia forces. Outraged, along
with many other intellectuals and artists, that October Revueltas composed Homenaje a Federico García Lorca, one of his
most important works, which was premiered on November 14, 1936 conducted by the composer.
The work is scored for a chamber orchestra of piccolo, E-flat clarinet, two trumpets, trombone, tuba, tam-tam,
xylophone, piano, two violins, and a double bass. The absence of low woodwinds, violas, and cellos produces a
sound meant to evoke a Mexican village band, or the sound of Indian music. The composition is in three movements.
The Allegro section of the first movement is typical of Revueltas’s orchestration. An almost constant rhythmic
substructure in 4/16 time is produced by the staccato of the piano, repeated plaintive fourths in the violins, and an
obstinately repeated ‘g’ in eight notes in the double basses. Over this texture, wind instruments present the thematic
material, “at once sad and gay, in a light contrapuntal passage of the greatest transparency.” The second movement,
Duelo, is written in a style close to the Andalusian martinets sung by miners and prisoners awaiting sentence. In
imitation of the characteristic hammer-and-anvil accompaniment, Revueltas wrote a major-second ostinato for
xylophone and pizzicato double bass, over which the trumpet plays a mournful melody in C-sharp minor. The final
movement superimposes several ostinatos, a device Revueltas uses extensively through his oeuvre.
– adapted from Wikipedia
Sensemayá is a musical adaptation of a poem by the Cuban poet Nicolás Guillén, written originally as an orchestral
work by the Mexican composer Silvestre Revueltas. Guillén’s poem evokes a ritual Afro-Caribbean chant performed
while killing a snake. The verses of the poem imitate onomatopoeically the sounds and rhythms of Afro-Cuban cult
music, with various words appearing as a sort of refrain and constituting the basic rhythmic cell of the composition.
Musically, the work builds to a grandiose climax created gradually through the thickening of the orchestration and
texture (with the three themes of the score combined contrapuntally), and through increased polyrhythms and
dissonance. The coda feels like the final dropping of a knife.
– adapted from Wikipedia and Gerard Behague
Variaciones Concertantes for Chamber Orchestra, Op. 23, is scored for two flutes (one doubling on piccolo), oboe, two
clarinets, bassoon, two horns, trumpet, trombone, timpani, harp and strings. The work is in twelve sections. The
theme is first stated in the upper registers of a single cello over a recurring figure in the harp that is at first the notes
of the natural, open strings of the gauchesco guitar (E-A-D-G-B-E) and later a chromatically altered form of the same
chord. An interlude for strings alone serves as a bridge to the seven orchestral variations that follow, each variation
highlighting in turn as solo instruments: (1) flute, (2) clarinet, (3) viola, (4) oboe and bassoon, (5) trumpet and
trombone in a brief variation that serves as little more than a fanfare for the moto perpetuo that follows featuring (6)
violin and (7) horn. Then, a second interlude, this time for wind choir, leads to a reprise of the theme by a solo string
bass (rather than by a solo cello as before) over the same gauchesco figure in the harp. The entire orchestra brings the
work to a frenetic conclusion with a virtuosic musical malambo, the archetypical “jousting” dance of the gaucho once
described as follows in an 1883 monograph, The Province of Buenos Aires:
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In the manner of dances, none is comparable to the malambo. It is the gaucho’s “tournament” when he feels the
urge to display his skill as a dancer. Two men place themselves opposite each other. The guitars flood the rancho with
their chords, one of the gauchos begins to dance; then he stops and his opponent continues; and so on it goes. Many
times the joust lasts from six to seven hours [and may consist] of seventy-six figures by each of the dancers. The
spectators are fascinated by the dancer’s feet, which go through complicated tapping, shuffling, stamping, doubling,
and crisscrossing, at times barely seeming to touch the ground with the soles of their boots. The onlookers applaud,
shout, and make bets on one dancer or the other, while even the women and children are swept along by the frenetic
enthusiasm engendered by the vertiginous motion.
The first performance of Variaciones concertantes was given on June 2, 1953 in Buenos Aires by the Orchestra of the
Association of the Friends of Music, Igor Markevitch conducting.
– Rudy Ennis
Redes (Nets), as the work was eventually titled, became the first of Revueltas’ ten film scores. The film was released
in the United States as “The Wave.” The sixty-minute film, which blurs the line between documentary and fiction, was
filmed on location with a mix of professional actors and untrained fishermen and their families. Redes focuses on the
poor Veracruz fishing community and its battles with big business, labor unions, and politics. Revueltas composed
most of his score before shooting was finished. In two parts, the suite begins with music associated with the strife of
the fishermen and leads to a lament for the funeral of a village child. The first part ends with the festivities of a fishing
party. Part two includes music for a fight scene, continues with another dirge, and concludes with a scene of
fishermen returning to land with the body of a murdered friend. Revueltas’s score, even its evocations of a village
fiesta, has nothing to do with picture postcard scenery, but with a bold and unsparing kind of realism. All his music
seems preceded by something that is not joy and exhilaration, as some believe, or satire and irony, as other believe.
The Mexican poet Octavio Paz wrote, “That element, better and more pure… is his deep-felt but also joyful concern
for man, animal, and things. It is the profound empathy with his surrounding which makes the works of this man,
so naked, so defenseless, so hurt by the heavens and the people, more significant than those of many of his
contemporaries.”
– Phillip Huscher
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Sensemayá
Canto para matar a una culebra (Song to Kill a Snake)
Nicolás Guillén (1902-1989)
¡Mayombe—bombe—mayombé!
Mayombe—bombe—mayombé!
La culebra tiene los ojos de vidrio;
la culebra viene y se enreda en un palo;
con sus ojos de vidrio, en un palo,
con sus ojos de vidrio.
The snake has eyes of glass;
the snake comes and wraps around a stick;
with its eyes of glass, on a stick,
with its eyes of glass.
La culebra camina sin patas;
la culebra se esconde en la yerba;
caminando se esconde en la yerba,
caminando sin patas.
The snake walks without feet;
the snake hides in the grass;
walking, it hides in the grass,
walking without feet.
Tú le das con el hacha y se muere:
¡dale ya!
¡No le des con el pie, que te muerde,
no le des con el pie, que se va!
You hit it with an ax and it dies:
Hit it now!
Don’t hit it with your foot, or it’ll bite you,
don’t hit it with your foot, or it’ll get away!
Sensemayá, la culebra,
sensemayá.
Sensemayá, con sus ojos,
sensemayá.
Sensemayá, con su lengua,
sensemayá.
Sensemayá, con su boca,
sensemayá.
Sensemayá, the snake,
Sensemayá.
Sensemayá, with its eyes,
Sensemayá.
Sensemayá, with its tongue,
Sensemayá.
Sensemayá, with its mouth,
Sensemayá…
La culebra muerta no puede comer,
la culebra muerta no puede silbar,
no puede caminar,
no puede correr.
La culebra muerta no puede mirar,
la culebra muerta no puede beber,
no puede respirar
no puede morder.
The dead snake can’t eat,
the dead snake can’t hiss,
it cannot walk,
it cannot run.
The dead snake can’t see,
the dead snake can’t drink,
it cannot breathe,
it cannot bite.
Sensemayá, la culebra…
Sensemayá, no se mueve…
Sensemayá, la culebra…
Sensemayá, se murió.
Sensemayá, the snake...
Sensemayá doesn’t move …
Sensemayá, the snake…
Sensemayá is dead!
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October 18-19, 2014
S un day, Oct ob er 19, 2014
Concert III – Holsclaw Hall – 2:00 p.m.
Sonata, Op. 47 (1976)
Esordio
Scherzo
Canto
Finale
Misael Barraza Díaz, guitar
Ástor Piazzolla (1921-1992)
Histoire du Tango (1986)
Bordello 1900
Café 1930
Nightclub 1960
Concert d’Aujourd’hui
Diana Schaible, flute
Renato Serrano Muñoz, guitar
intermission
arranged by Ricardo de Mello (world première)
Concerto para violão e pequena orquestra (1951)
Andantino e andante
Allegro preciso
Ricardo de Mello, guitar
Bin Hu, guitar
Piazzolla
Tango Suite (1983)
Tango No. 1: Andante, rubato, melancolico
Tango No. 2: Allegro
Misael Barraza Díaz, guitar
Renato Serrano Muñoz, guitar
•••
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Concert III Program Notes
Ginastera’s Sonata, Op. 47, written in 1976 and revised in 1981, opens with an introductory movement, Esordio, which
initially draws on the intervals of guitar tuning, before exploring the possibilities of percussive resonance provided by
striking the bridge with the thumb, and other effects of this kind. The energetic Scherzo introduces varied sonorities,
and the third movement, Canto, still dominated by the chord suggested by the guitar tuning, moves into a more lyrical
and meditative mood. The last movement offers an immediate contrast in its syncopated rhythms, strummed chords
and percussive interruptions. – Keith Anderson
We first encountered the music of Astor Piazzolla when we were young music students in Rio de Janeiro in the ‘70s.
At the time, contemporary classical music was dominated by dodecaphonism and serialism, so Piazzolla was
introduced to Brazilian audiences as a popular composer. Unimpressed by labels, we were fascinated by the music’s
strong rhythms, great melodic lines, and the use of counterpoint, which was rare in those days. His album Lumiere was
a favorite, in particular, Suite Troileana, written in four movements and dedicated to Anibal Troilo. From the suite, we
arranged Escolaso for our guitar duo, a piece that became a favorite at our recitals. In October 1983, we played our
arrangement of Escolaso for Astor at a dinner party in his honor at José Pons’ house in Paris. To our great joy, he was
thrilled with the performance and promised to write a piece for us. A few months later we were taken by surprise
when we received the score of the now famous Tango Suite. We premiered the piece in Liège, Belgium, honored
by the presence of Astor, who jumped on stage after the performance, full of excitement.
– Sérgio and Odair Assad
Histoire du Tango, written for flute and guitar in 1986, is one of the most famous compositions by tango composer
Ástor Piazzolla. It was Piazzolla’s life work to bring the tango from the bordellos and dance halls of Argentina into the
concert halls of Europe and America. He is among the astonishingly varied group of composers who were enabled by
the teaching of Nadia Boulanger to become more authentically themselves. Histoire du Tango attempts to convey the
history and evolution of the tango in four movements: Bordello 1900, Café 1930, Nightclub 1960 and Concert
d’Aujourd’hui.
Piazzolla provided program notes that expand on the individual movements:
Bordello 1900: The tango originated in Buenos Aires in 1882. It was first played on the guitar and flute. Then came
arrangements for the piano, and later, the concertina. This music is full of grace and liveliness. It paints a picture of the
good natured chatter of the French, Italian, and Spanish women who peopled those bordellos as they teased the
policemen, thieves, sailors, and riffraff who came to see them. This is a high-spirited tango.
Café 1930: This is another age of the tango. People stopped dancing it as they did in 1900, preferring instead simply
to listen to it. It became more musical, and more romantic. This tango has undergone total transformation: the
movements are slower, with new and often melancholy harmonies. Tango orchestras come to consist of two violins,
two concertinas, a piano, and a bass. The tango is sometimes sung as well.
Nightclub 1960: This is a time of rapidly expanding international exchange, and the tango evolves again as Brazil and
Argentina come together in Buenos Aires. The bossa nova and the new tango are moving to the same beat. Audiences
rush to the nightclubs to listen earnestly to the new tango. This marks a revolution and a profound alteration in some
of the original tango forms.
Concert d’Aujourd’hui: Certain concepts in tango music become intertwined with modern music. Bartok, Stravinsky,
and other composers reminisce to the tune of tango music. This [is] today’s tango, and the tango of the future as well.
– Astor Piazzolla
Another important work by Heitor Villa-Lobos, written in 1951 and commissioned by Andrés Segovia, is the Concerto
para violão e pequena orquestra. It was initially called Fantasia Concertante, but at the suggestion of Segovia, and even of
the composer’s wife, Villa-Lobos added a virtuoso cadenza and renamed the work “Concerto.” It is an unusually vivid
and varied piece. The first movement, Allegro preciso, sparkles with ideas and impetuousness. The second, Andantino e
andante, takes us into the world of impressionist music. The virtuoso cadenza contains various guitar techniques,
which were not yet commonly in use at the time of its composition, and here the composer refers here to his Twelve
Studies. The third movement, Allegretto non troppo, shows the very best of both the soloist and the orchestra. It is full
of energy and happy lyricism. This great tribute to the guitar as a concert instrument is not a typical instrumental
concerto. It is very much a chamber piece – with all the instruments of the orchestra complementing the solo part.
– Krzysztof Meisinger
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October 18-19, 2014
S un day, Oct ob er 19, 2014
Concert IV – Holsclaw Hall – 4:30 p.m.
Fanfare, Op. 51a (1980)
Edward Reid, Cory Driscoll, Oscar Thorp and Alexander Freund, trumpet
Ginastera
Piano Sonata No. 1, Op. 22 (1952)
Allegro marcato
Presto misterioso
Adagio molto appassionato
Ruvido ed ostinato
Joshua Tan, piano
Odaline de la Martínez (b. 1949)
Canciones (1983)
Remanso (Backwater)
Canción del jinete (Song of the rider)
Es verdad (It’s true)
(Despedida) Farewell
Kristin Dauphinais, mezzo-soprano
Norman Weinberg, percussion
Tannis Gibson, piano
Adagio cantabile from Sonata for four horns (1929-1930)
Daniel Katzen, Christopher Blanco, Kaitlin Dickson & Michael Mesner, horn
Bendita Sabedoria (1958)
Sapientia foris predicat
Vas pretiosum
Principium sapientiae
Vir sapiens, fortis est
Beatus homo invenit
Dexeteram tuam sic notam
Arizona Choir
Bruce Chamberlain, conductor
•••
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Arizona Choir
Bruce Chamberlain, conductor
Sooyoen Kim, accompanist
Tenor
Olman Alfaro
Jason Dungee
Luke Lusted
Dan Marino
William Mattison
Brian McNiff
Terry Pitt-Brooke
James Stirling
Bryce Tomlin
Stanton Usher
Stephen Warner
Carlos Zapien
Soprano
Melanie Alameda
Caroline Crawford
Claire Demer
Anne Grimes
Diana Olivares
Ivette Ortiz
Michelle Perrier
Jessica Pierpont
Jordan Wilson
Kehui Wu
Alto
Jacqueline Black
Peggy Chamberlain
Xiao Xiao Fan
Christine Hales
Jooyeon Hwang
Samantha Luna
Erin McMullen
Alexandra Morris
Joohyun Park
Katy Vaitkevicius
Erin Walker
Bass
Matthew Alexander
Benjamin Hansen
Jonathan Kim
Matthew La Rochelle
Douglas Leightenheimer
Thomas E. Lerew
Brent Rogers
Hyoungil Seo
Jeffery Simpson
Travis Sletta
Joshua Tan
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Concert IV Program Notes
Ginastera’s Fanfare uses themes from his orchestral work Jubilum, which he wrote for the 400th anniversary of
Buenos Aires. The year was 1980, and he was well into his expressionist or serial period. The orchestral work is a
somewhat austere piece, with a series of thick, dissonant chords centered in the horns, often alternating with aleatoric
muted off-stage trumpets playing fast, quasi-fanfare rhythms that sound rather squirrely. The tension is palpable
before it dissipates into a final major chord.
– Roger Hecht
Cast in four movements, Sonata No. 1, Op. 22, is one of Ginastera’s most popular works for piano, and the only one
that belongs to the period of subjective nationalism, during which Ginastera resolved the problem of incorporating
nationalist elements into larger-scale works by using indirect references to Argentine folk music. The Allegro marcato
opens with an ascending-thirds motif and an emphatic rhythm that dominates the entire movement, inspiring the
secondary theme as well, although this gentle and pastoral music is very different in character. The Presto misterioso is
a forerunner of the scherzos Ginastera would compose in later works. The use of the full chromatic scale with rarely
interrupted runs of quavers in a mysterious, pianissimo atmosphere would become one of his signature techniques.
A new lyricism and depth are achieved in the Adagio molto appassionato, before the Ruvido ed ostinato closes the work
in festive manner, combining the 3/4 and 6/8 rhythms characteristic of Argentine folk-music.
– Fernando Viani
Canciones (Songs) is based on four early poems of Federico García Lorca, from the collection of the same title. The
poems date from around 1920 and are very much immersed in the folk-like elements of the Andalucía. The texts
are simple, at times child-like and full of imagery and character. The work was commissioned by Simon Limbrick
and Janis Kelly through the Greater Long Arts Association and first performed by them at the Wigmore Hall in the
summer of 1983.
– Odaline de la Martínez
It’s True
It is such toil
to love you like I love you!
Because of my love for you
It hurts me to breath,
my heart hurts, and my hat.
Who would buy me this little
Belt and this little bit of
Linen to make me handkerchiefs?
It is such toil
To love you like I love you!
Backwater
Night is coming.
The rays of the moon are knocking.
Night is coming.
A large tree wraps itself
with words of songs.
If you come to see me
through paths of air
Night is coming.
You would find me crying
under the large elm tree.
Farewell
If I die
Leave my balcony open
The boy eats oranges.
(I can see him from my balcony)
The reaper harvests the wheat
(I heart him from my balcony)
If I die
Leave my balcony open!
Song of the Rider
Córdoba.
Distant and alone.
Black filly, large moon
and olives in my saddlebag.
Even though I know the roads
I will never reach Cordoba.
Through the plain, through the wind,
black, filly, red moon.
Death stares at me
from the towers of Córdoba.
Ay! What a long road
Ay! My brave filly
That death awaits me
before I reach Córdoba.
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The Sonata for Four Horns is one of the most important pieces in the repertory for the ensemble of four horns. The
number of pieces for that combination is not high, yet groups of four horns are not particularly hard to find: there are
at least four horns in just about any full symphony orchestra. Chávez’s music of the 1920’s is usually sober, cleanlined, and harmonically uncompromising. Daring dissonances somehow maintain a grounding in tonality, and his
music has an architectural quality that commentators could not help comparing to Aztec pyramids. These qualities
were particularly strong when he wrote this sonata. Aside from being strongly self-expressive, the sonata appears to
have been written to explore all limits of technique on the modern double horn and the combinations that it makes
possible. The second movement, Adagio cantabile, is flexible in tempo and uses mixed sonorities of open, stopped,
and muted horn playing.
– Joseph Stevenson
Bendita Sabedoria is Villa-Lobos’s most significant choral work from his final period, and consists of six movements
on Latin Bible texts: the first five are from the Book of Proverbs and the final one is taken from the Book of Psalms. The
first movement, Sapientia foris predicat, begins with a three-part vocalise. In the middle section, the Latin text enters
and the music reaches its expressive climax. The second movement, Vas pretiosum, seems more playful despite
its melancholy overall mood, with a folk song-like twist. The third movement, Principium sapientiae, is lyrical, yet
restrained and dignified. The fourth movement, Vir sapiens, fortis est, is dominated by a cheerful, exuberant tone that
finds expression in a jubilantly dance-like rhythm. Male and female voices alternate in spirited triplets on the syllable
‘la’, before all of them come together in a festive round dance. The fifth movement, Beatus homo invenit, forms the
work’s climax. The soprano begins in a meditative fashion, humming with lips closed. The piece then intensifies,
with strong rhythmic gestures and denser harmonies. The sixth movement, Dexeteram tuam sic notam, closes
the work with a majestically dignified admonition.
– Manuel Negwer
Sapientia foris predicat
Wisdom cries aloud,
she utters her voice in the streets.
Vas pretiosum
But the lips of knowledge are a precious jewel.
Principium sapientiae
The beginning of wisdom is: get wisdom.
Vir sapiens, fortis est
A wise man is strong.
Beatus homo invenit
Happy is the man who finds wisdom.
and the man who gets understanding.
For the merchandise of it is better than
the merchandise of silver
and the gain thereof than fine gold.
Dexeteram tuam sic notam
So teach us to number our days,
that we may apply our hearts unto wisdom.
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Biographies
CARLOS ANTONIO DE PADUA CHÁVEZ Y RAMÍREZ was born on June 13, 1899 in Popotla, near Mexico City,
Mexico. The youngest of six children, Carlos was brought up by his mother Juvencia after his father died
when Carlos was only five.
In 1910 he became a student of Mexico’s leading composer of the time, Manuel Ponce. Five years later he met the
man whom Carlos would say developed his musical formation, Pedro Luis Ogazón. Largely self-taught, Chávez
never attempted to become a disciple of another composer. He did, however, complete his formal studies at the
National Conservatory and received his diploma in composition.
In 1922 Carlos married Otilia Ortiz, a fellow student of Luis Ogazón and an accomplished pianist in her own right.
Together she and Carlos toured Europe and promoted his musical compositions. Returning to Mexico, Carlos began
organizing concerts of contemporary music and promoted many works never before heard in Mexico, including
works by Bartók, Honegger, Milhaud, Poulenc, Satie, Schoenberg, Stravinsky and Varèse — as well as compositions
by himself.
Chávez traveled to New York and befriended both Aaron Copland and Edgard Varèse, who assisted him in
becoming introduced to the musical shakers of the time. His works began to be heard at last, and they received
favorable reviews. Chávez returned to Mexico in 1928 to accept the post of musical director of the Orquesta Sinfónica
Mexicana, and also was appointed director of the Conservatorio Nacional where he taught composition.
The 1930s saw the birth of many of Chávez’s most memorable works, including the Sinfonía de Antígona (1933),
Sinfonía india (1935), Chapultepec (1935), 10 Preludes for Piano (1937) and his Concerto for Piano and Orchestra (1938).
As though to cap the decade, he was commissioned in 1940 to compose a work to commemorate an exhibit of
Mexican art at the New York’s Museum of Modern Art, and the result was Xochipilli: An Imagined Aztec Music,
scored for four winds and six percussionists, using a variety of indigenous Mexican instruments.
Shortly after the inauguration of Mexican President Alemán, Chávez was appointed director of a new administrative
body called the Instituto Nacional de Bellas Artes (INBA). Under his directorship, the arts flourished throughout
Mexico as never before. Chávez retired from INBA in 1952 in order to devote more time to composing, teaching,
lecturing, and conducting. He resumed administrative duties in 1969 when he accepted the post as Secretariat of
Public Education. Mexico’s new president Luis Echeverría appointed him to develop a comprehensive curriculum
for the public schools and bestowed on him the post of head of the music department of INBA and music director of
the Orquesta Sinfónica Nacional. A dispute with the orchestra members’ union led to his resignation from both posts.
After this disappointment, Chávez turned more to his northern
neighbor for the expression of his musical ideas. He worked with
several organizations and universities in both the United States
and England and most of his final years were spent in New York
City. Carlos Chávez died on August 2, 1978 in the Coyoacán
suburb of Mexico City.
– adapted form the Carlos Chávez website
Carlos Chávez
by Carl van Vechten (1880-1964)
Library of Congress
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SILVESTRE REVUELTAS, the “great free spirit of Mexican
music,” was born on the very eve of the 20th century, on December
31, 1899. After early training as a violinist, he concentrated his
talents on conducting and composition. At Carlos Chávez’s
invitation, he became assistant conductor of the Mexico Symphony
Orchestra (1929-1935) and taught violin and composition at the
National Conservatory of Music in Mexico City, also conducting the
Conservatory Orchestra.
In 1937 he conducted several of his orchestral works in Spain,
lending his support to the Republican cause during the Spanish
Civil War. In October 1940, barely 40 years old, he succumbed to
pneumonia aggravated by alcoholism.
In his last decade, Revueltas was astonishingly productive,
writing almost 40 works - including six for full orchestra
and eight film scores – in a mature, vitally individual voice.
Silvestre Revueltas
Fonoteca Nacional de México
Palacio de Bellas Artes – Mexico City (photo by Carlos Ramírez Guzmán)
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HEITOR VILLA-LOBOS was born March 5, 1887 in Rio de Janeiro, Brazil. He was one of the foremost Latin
American composers of the 20th century, whose music combines indigenous melodic and rhythmic elements with
Western classical music.
Villa-Lobos’s father was a librarian and an amateur musician. Under the influence of his father’s weekly musical
get-togethers, the boy became interested in music. He learned to play a modified viola at age six and was inspired by
music from Johann Sebastian Bach’s A Well-Tempered Clavier that was given to him by an aunt. While traveling with
his family to various regions of the vast country, he also developed an interest in native Brazilian folk music. He left
home at age 18 because his widowed mother opposed his “delinquent” friends and wanted him to become a doctor.
Instead, he became a musical vagabond, playing cello and guitar to support himself while traveling throughout the
states of Espírito Santo, Bahia, and Pernambuco, absorbing Brazilian folk music and composing his own pieces.
During this period Villa-Lobos enrolled briefly at the Instituto Nacional de Música in Rio de Janeiro, but he was to
continue his travels for three years. He returned to the city with a large group of manuscripts and an intimate
knowledge of the Afro-Brazilian music of the country’s northern and northeastern regions. He began a serious study
of the works of Bach, Richard Wagner and Giacomo Puccini, whose influence can be
noted in his compositions. Although many critics initially attacked the dissonance and
modernity of his work, he persisted in his efforts to merge Western music and the
Brazilian vernacular tradition.
He composed ceaselessly and by the time of his first trip to Europe in 1923 he had
produced a long list of compositions in every form. The success of his first trip—he
made Paris his home base for the remainder of the 1920s – solidified an international
reputation.
In Brazil for a performance in 1930, Villa-Lobos presented a plan for music
education in the São Paulo school system and was appointed director of music
education there. In 1932 he took charge of music education throughout Brazil. With
fellow composer Oscar Lorenzo Fernandez, he cofounded the Brazilian Academy of
Music in 1945. Between 1944 and 1949 he traveled widely in the United States and
Europe, where he wrote music for film, received many honors, and was in demand as
a conductor. He died on November 17, 1959 in Rio de Janeiro.
Heitor Villa-Lobos ca. 1922
Biblioteca Nacional do Brasil
Teatro Municipal
Rio de Janeiro, Brazil
photo by
Haakon S. Krohn
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ALBERTO GINASTERA, the leading Argentinian composer of the twentieth century, was born in Buenos Aires,
Argentina on April 11, 1916. He studied at the National Conservatoire of Music in his home city. His first compositions
date from his early youth. Early works initially developed the nationalist tendencies announced in the Piezas infantiles,
as such titles as Concierto argentino and Sinfonía Porteña reveal.
In 1946-47 Ginastera spent a year in the United States on a Guggenheim
fellowship, joining the teaching staff of the National Conservatory upon
his return home. His first opera, Don Rodrigo, was premiered to acclaim
in 1966 and was soon followed by two others, Bomarzo (1967) and Beatrix
Cenci (1971). Bomarzo, as Slonimsky points out, “reveals extraordinary
innovations in serial techniques, with thematic employment not only
of different chromatic sounds but also of serial progressions of different
intervals.” In 1969, finding himself out of sympathy with the prevailing
political climate in Argentina (indeed, he was twice ejected from his
academic posts because of his protests against the repressive regime),
Ginastera left the country, settling in Geneva with his second wife,
the cellist Aurora Natola.
Alberto Ginastera
In the early 1950s the nationalist element in his music gradually lost its
dominance, and more explicitly modernist characteristics began to make
their presence felt in what Ginastera called his “neo-expressionistic
period.” He actively adopted the twelve-tone technique and his works
also incorporated microtones and polytonality. By the time of his death,
on June 25, 1983, his modernism had softened, and he began to look again
at the tonality and folk music inflexions of his early output.
– Reprinted by kind permission of Boosey & Hawkes
Teatro Colón – Buenos Aires, Argentina
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Festival Directors
DANIEL ASIA (b. Seattle, Washington, 1953) has been an eclectic and unique composer from the start. He has
enjoyed the usual grants from Meet the Composer, a UK Fulbright award, Guggeneheim Fellowship, MacDowell
and Tanglewood fellowships, ASCAP and BMI prizes, Copland Fund grants, and numerous others. He was recently
honored with a Music Academy Award for the American Academy of Arts and Letters. From 1991-1994 he was
composer in residence of the Phoenix Symphony.
Asia’s five symphonies have received wide acclaim from live performance and their international recordings.
The Fifth Symphony was commissioned by The American Israel Friendship League/Tucson for the Tucson and
Jerusalem symphony orchestras in celebration of Israel’s 60th anniversary. His new Amichai Songs for chamber
ensemble, drawn from the symphony, are commissioned by SOLI (San Antonio) and the New Music Network
(Philadelphia) in honor of Israel’s 65th. The Amichai Songs, in the piano vocal version, are commissioned by
Wesley Green for Robert Swensen.
His various orchestral works have been performed by the Cincinnati Symphony, Seattle Symphony, Milwaukee
Symphony, New Jersey Symphony, Phoenix Symphony, American Composers Orchestra, Columbus Symphony,
Grand Rapids Symphony, Jacksonville Symphony, Chattanooga Symphony, Memphis Symphony, Tucson Symphony,
Knoxville Symphony, Greensboro Symphony, Seattle Youth Symphony Orchestra, Colorado Philharmonic Orchestra,
and many others.
In the chamber music arena, Mr. Asia has written for, and been championed by, the Dorian Wind Quintet,
American Brass Quintet, Meadowmount Trio, Cypress Quartet, Andre-Michel Schub (piano), Carter Brey (cello),
Alex Klein (oboe), Benjamin Verdery (guitar), John Shirley-Quirk and Sara Watkins (baritone and oboe), Jonathan
Shames (piano), violinists Curtis Macomber, Gregory Fulkerson, Mark Rush and Zina Schiff and Robert Dick (flute).
Under a Barlow Endowment grant, he recently finished a new work for The Czech Nonet, the longest continuously
performing chamber ensemble on the planet, founded in 1924. The recorded works of Daniel Asia may be heard on
the labels of Summit, New World, Attacca, Albany, Babel and Mushkatweek.
Asia has been on the faculty of the University of Arizona for twenty-five years, where he has taught composition,
directed the Arizona Contemporary Ensemble and directed the annual Music + Festival. Asia is professor of music
and director of the Center for American Culture and Ideas. For further information, visit the Daniel Asia website
at www.danielasia.net, www.tinangelopera.com, www.summitrecords.com, and www.presser.com.
One of the liveliest and most enterprising musical personalities on the International music scene, Cuban American
ODALINE DE LA MARTÍNEZ pursues a demanding and successful career, conducting repertoire from Mozart
symphonies to the latest contemporary music, composing-particularly opera, record production for Lontano Records
(LORELT) which she founded, and music education charity working with disadvantaged children.
Brought up and educated in Tucson, she settled in London and studied at the Royal Academy of Music.
Odaline de la Martínez became the first woman to conduct a BBC Promenade concert at the Royal Albert Hall in 1984.
Since then she has been invited to the Proms regularly, including a special performance in 1994 of Dame Ethel Smyth’s
opera The Wreckers. This historic performance was recorded for Conifer Records and also released by BMI in the
United Stated.
Martínez studied at Tulane University, New Orleans reading both music and mathematics, graduating in 1972
summa cum laude and receiving several major awards. A Marshall Scholarship from the British government, and
Danforth and Watson Fellowships allowed her to continue her studies both in the UK and the European Continent.
At the Royal Academy of Music, she studied composition with Paul Patterson and piano with Else Cross and in 1976
she founded the ensemble Lontano. Martínez received her MMus in composition from the University of Surrey
(1977), studying with Reginald Smith Brindle.
This was followed by composer awards from the American National Endowment for the Arts (1979) and a
Guggenheim Fellowship (1980), which supported the composition of her first opera Sister Aimée: An American Legend
(1984). This was premiered at Tulane University in 1984, followed by two other productions at the Royal College of
Music, London (1987) and in Marin County College, California in 1995.
Martínez has received awards and prestigious positions including Outstanding Alumnus of Newcomb College,
Tulane University, the Villa-Lobos medal by the Brazilian government in recognition promoting and conducting his
music, a Cintas Fellowship, named a Fellow of the Royal Academy of Music.
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For about ten years in the 1990s Martínez pursued a rigorous conducting schedule, working in Colombia, Canada
and New Zealand, Iceland-as part of the Nordic Season, Argentina, United States, Denmark, Mexico, Brazil, South
Africa, and Australia and performances throughout the United Kingdom, including a BBC Prom with Lontano
and a two-month tour of the United Kingdom performing Mozart’s The Magic Flute.
In 2006 together with Lontano Ensemble, she founded the London Festival of American Music with the aim of
bringing a broader spectrum of the best American and U.S.-based contemporary composers to UK audiences,
which has since been celebrated biennially.
In the late 1990s Martínez resumed her composing career writing such pieces as Music to a radio play commissioned
by BBC Radio 4 (1998); The Hansen Variations for Piano (1999), commissioned by the Music Department of Tulane
University; her second opera Imoinda, about slavery and the beginning of the Afro-Caribbean culture (2005-2008).
This, the first of the Slavery Trilogy, with libretto by Joan Anim-Addo, was commissioned by the Caribbean Women
Writers’ Alliance of the United Kingdom (CWWA), with funds from the Heritage Lottery Fund. She has also written
2012 The Crossing, Part II of the Slavery Trilogy, which was commissioned by Tulane University with a grant from the
Newcomb Institute and was premiered by the Tulane and Xavier University Choirs, soloists, and the Louisiana
Philharmonic in April 2013.
Martínez is founder and music director of the contemporary ensemble Lontano with whom she has performed and
broadcast all over the world, of the London Chamber Symphony and, in 1990, the European Women’s Orchestra.
As well as frequent appearances as guest conductor with leading orchestras throughout Great Britain, including all
the BBC orchestras, she has conducted amongst others, the San Diego and New Zealand Symphony Orchestras, the
Australian Youth Orchestra, the Natal Philharmonic, the Aarhus Symphony, the Canberra Symphony Orchestra,
Radio-Television Orchestra of Brazil, the Kansas City Symphony and the Vancouver Chamber Orchestra. She is also
known as a broadcaster for BBC Radio and Television. She records for the BBC and makes commercial recordings
for Metier, Chandos, Conifer, BMI, Summit, Da Capo, Albany and her own label, Lorelt Records. Martínez was
interviewed and featured as conductor in a two-hour radio program for Swiss Radio, introduced composers for
BBC Radio3 Composer of the Week, and participated in Channel 4 television series featuring women composers.
Odaline de la Martínez is in demand throughout the world both as an orchestra and opera conductor and with her
ensemble Lontano. She has recorded numerous CDs for Lorelt, her own record label, as well as Summit, BMI, and
Albany Records in the United States, Chandos and Conifer Classics in the UK and Da Capo in Denmark. As a
musician she has acquired a remarkable reputation for her versatile and eclectic vision, and supreme ability
to work with others to make the vision a reality.
Odaline de la Martínez is also trustee of The Mornington Trust, who together with Lontano has been responsible
community and educational work in Waltham Forest and other London boroughs since 2000. Presently the charity is
involved in a three-year project working with Roma, Gypsy and Traveller communities in the East of London.
Symposium
Conductor and pianist JUAN DE DIOS HERNANDEZ serves as assistant dean of music in the College of Fine
Arts and Production at Grand Canyon University. He is the music director and conductor of the Canyon Symphony
Orchestra, the Canyon Choral Society and the Canyon Chorale. A truly flexible conductor, Dr. Hernandez is equally
at home on the symphonic podium, in the opera pit, in front of choral ensembles, or leading chamber music
performances. Dr. Hernandez has served as director of choral activities and associate professor of music at
MidAmerica Nazarene University in Olathe, Kansas. He has served as conductor of the Arizona Philharmonic
Orchestra, assistant conductor of the Arizona Symphony Orchestra, assistant conductor of the Arizona Opera
Theater, assistant conductor of the Yale Glee Club and director of the Yale Glee Club Chamber Singers, assistant
conductor of the Yale Camerata, and assistant conductor of the Yale Symphony Orchestra. His broad and eclectic
approach to repertory includes performances in symphonic and symphonic-choral music, choral music with large
and small ensembles, concert and fully staged opera productions, chamber music, church music, and 20th century
music including world premieres working directly with composers such as Martin Bresnick and Stephen Paulus.
Dr. Hernandez enjoys working with musicians regardless of their proficiency level or experience. Whether leading
a professional group, an ensemble of students, or a group of volunteers, Dr. Hernandez enjoys the challenges and
finds the experiences equally rewarding. He strives to find repertory that will both educate the ensembles about some
of the great works of the literature and at the same time build their technical capabilities both individually and as an
ensemble.
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Dr. Hernandez is an active choral and orchestral conductor. He has served as clinician for the Arizona State ACDA,
the Music Teachers National Association and the National Association for Music Education. In addition to ensemble
work, Dr. Hernandez also coaches pianists, singers, and instrumentalists in solo and chamber music works. He currently
serves in the Arizona State Board of the American Choral Directors Association as Chair of Youth and Student Activities. Dr. Hernandez enjoys performing as a pianist, doing solo and collaborative work, particularly with his wife,
harpist Dr. Heidi Tims-Hernandez. He has served on the faculties of MidAmerica Nazarene University and
The Master’s College.
Dr. Hernandez holds a Bachelor of Arts in Music degree from The Master’s College, a Master of Music and Artist
Diploma degrees in choral conducting from Yale University, and a Doctor of Musical Arts degree in orchestral
conducting from the University of Arizona. He is a member of the Conductors Guild, The American Choral Directors
Association, the National Association for Music Education, the Music Teachers National Association, the National
Association of Schools of Music and the College Music Society.
JANET STURMAN is currently associate dean of the University of Arizona Graduate College and professor of
music. She is the director of the Center for Studies in Latin American music and coordinator of the ethnomusicology
program at the University of Arizona. The author of Zarzuela: Spanish Operetta, American Stage, University of Illinois
Press, she is also the general editor for the SAGE Encyclopedia for Ethnomusicology, in press. Her research centers on
the role of music in the maintenance, creation, and projection of ethnic and social identity with a focus on Spanish
and Latin American expressions. Her book The Course of Mexican Music, will be published by Routledge Press in 2016.
Professor Sturman earned her Ph.D. in ethnomusicology from Columbia University in New York City.
Concert I
Distinguished University Outreach Professor EDWARD REID has been teaching trumpet in the School of Music
since 1994. He is the recipient of both the School of Music’s Maestro Award for student achievement and the College
of Fine Arts’ Charles and Irene Putnam Excellence in Teaching Award. Beyond his University duties, Professor Reid
is one of three solo cornetists with The New Sousa Band, which is featured in concerts throughout the United States,
China and Japan. He has recently taken UA students to perform in Thailand, Greece, Canada, Mexico, China and
Australia. In addition, he has presented master classes in Mexico, China, Taiwan, and throughout the United States.
As part of a teaching residency, he performed a solo recital and was the first non-Chinese citizen to perform as guest
soloist with The People’s Liberation Army Central Band at Beijing University in 2001.
Professor Reid also held the title of principal trumpet of the Tucson Symphony and was a member of that orchestra
from 1987 to 2010. He was principal trumpet of the Flagstaff Festival of the Arts Orchestra and has performed with,
among others, the Royal Philharmonic Orchestra, the Grand Teton Music Festival Orchestra, the Phoenix Symphony
Orchestra and the Heidelberg Castle Festival Orchestra in Germany. He has appeared as a soloist with the Dallas
Brass, the University of Arizona Wind Ensemble, the Arizona Symphonic Winds, the New Sousa Band and the
Tucson Symphony Orchestra.
Professor Reid served as chair for the International Trumpet Guild’s Composition Competition in 2005. He also
served as a judge for the Ellsworth Smith International Solo Trumpet Competition, the major contest held by the ITG
every other year. He hosted the 2007 Carmine Caruso International Jazz Trumpet Solo Competition, which was
sponsored by the Herb Alpert Foundation and the ITG and now serves on the Caruso Competition Committee for
ITG. He received the Bachelor of Music degree in applied music and music education and the Master of Music
degree from the Eastman School of Music, where he studied with Barbara Butler, Sidney Mear and Allan Dean.
Other teachers include David Hickman, Lewis Van Haney, Charles Berginc, Anthony Plog, Charles Geyer,
Richard Green and Philip Smith.
PAMELA DECKER is professor of organ and music theory at the University of Arizona. She also serves as organist
at Grace St. Paul’s Episcopal Church in Tucson. Her career as a performer has been managed by Phyllis Stringham
Concert Management, and her primary publishers are Wayne Leupold Editions and C.F. Peters. She now records for
Loft Recordings of Seattle. Compositions by Pamela Decker have been performed by American, Canadian, European,
Asian and Australian artists, and have been heard in at least twenty countries. She has had performances of her
works in Moscow, Paris, Hamburg, London and Vienna. Performances in the United States have been too numerous
to list. Her keyboard works have been performed at national and regional conventions of the American Guild of
Organists and in many other festivals and conferences. Her Elegy and Dances for Alto Saxophone and Orchestra was
premiered to enthusiastic response and critical acclaim in 2003. There are commercial recordings of her works on the
Loft, Albany, Arkay, Gothic, ReZound (Loft), and Arktos labels. She has published music with Wayne Leupold
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Editions (affiliated with E.C. Schirmer), C.F. Peters, Augsburg Fortress, Hinshaw Music, Inc., and World Library
Publications. She is the editor, as well as author of the preface, for the C.F. Peters publication of William Albright’s
Flights of Fancy: Ballet for Organ.
Pamela Decker holds the Doctor of Musical Arts (DMA) degree in organ performance, with emphasis also in
composition, from Stanford University. During her doctoral study she was awarded a Fulbright Grant for study of
organ and composition in Lübeck, West Germany. While in Germany she worked in both areas at the Musikhochschule
Lübeck and was invited to perform in many venues. The Norddeutscher Rundfunk (NDR), or North German Radio,
recorded and broadcast a recording of her performance of her work Passacaglia (for organ) at the Lübeck Cathedral.
In 2004 Pamela Decker was awarded the Henry and Phyllis Koffler Prize in Research/Creative Activity at the
University of Arizona. This prize is awarded to the one professor in the entire university community considered to
have the most impressive body of work in research or creative activity. Dr. Decker was the first-ever winner representing
an arts-related field. In 2000 Pamela Decker was awarded the College of Fine Arts Award for Teaching Excellence at
the University of Arizona.
Arizona native BRIAN LUCE is the professor of flute at the University of Arizona and a Yamaha Performing Artist.
Dr. Luce has performed as principal flute of the Champaign-Urbana, Midland-Odessa, and Johnstown symphony
orchestras. In addition, he has performed with the Dallas Chamber Orchestra, Dallas Bach Society, Dallas Wind
Symphony, Keystone Wind Ensemble, and the Tucson Chamber Orchestra. As a solo artist, he has performed during
the National Flute Association’s New York, Atlanta, Dallas, Las Vegas, San Diego, Albuquerque, Kansas City and
Chicago conventions. He has also performed throughout the United States, Europe and China at music festivals
sponsored by the British Flute Society, Shanghai International Exposition, Arizona Flute Society, Tucson Flute Club,
Texas Flute Society, Las Vegas Flute Club, Florida Flute Association, Mid-South Flute Society, and Flute Society of
St. Louis. His performances have been broadcast throughout the United States and his recordings are recommended
references by music education associations including the A.B.R.S.M.
Acclaimed as “an authoritative soloist,” his Albany Records SACD, Music of the Superpowers: Sputnik, Spies, and
the Space Race, has been lauded by The American Record Guide: “This release should be of particular interest for the
less known, seldom recorded Denisov and Smirnova, though everything on it is enjoyable from beginning to end.
Brian Luce plays with flair and intelligence…” He has also made the premiere recording of Anthony Plog’s
Concerto for Flute and Wind Ensemble with the University of Arizona Wind Ensemble. He has given recitals and master
classes throughout the U.S. and Europe. Editions BIM and IntegrityInk publish his compositions, arrangements, and
realizations. His articles on performance and pedagogy topics have appeared in Flute Talk Magazine, and his doctoral
dissertation, Light from Behind the Iron Curtain: Style and Structure in Edison Denisov’s Quatre Pièces pour flûte et piano,
earned the 2001 Morgan Outstanding Dissertation Award from the University of North Texas.
SARA FRAKER is assistant professor of oboe at the University of Arizona and a member of the Tucson Symphony
Orchestra. She has performed at numerous festivals including Tanglewood, Aspen, the Shenandoah Valley Bach
Festival, Chautauqua, Spoleto Festival USA, and Schleswig-Holstein in Germany. Ms. Fraker has played with the
Phoenix Symphony, Arizona Opera, Illinois Symphony, Sinfonia da Camera and Tucson Chamber Artists.
Ms. Fraker performs regularly as a member of the Arizona Wind Quintet. She was also a founding member of the
Paloma Winds, which was honored to present a full recital at the 2010 Conference of the International Double Reed
Society (IDRS). Ms. Fraker has performed on recital series throughout Southern Arizona, including the St. Andrews
Bach Society, Arcosanti, Music From Greer, St. Philips in the Hills, and the Santa Cruz Foundation. Recently, she has
been featured as a chamber soloist at the Dove of Peace chamber music series and the 2011 IDRS Conference, where
she premiered Jay Vosk’s Lyric Passages for oboe and string trio. Recent solo English horn appearances with the
Tucson Symphony include Sibelius’ Swan of Tuonela and Copland’s Quiet City.
Raised in New Haven, Connecticut, Ms. Fraker is a graduate of the University of Illinois at Urbana-Champaign
(DMA), New England Conservatory (MM), and Swarthmore College (BA). Her principal teachers include Robert Botti,
John Dee, Mark McEwen, Jonathan Blumenfeld and John de Lancie. Her doctoral thesis, The Oboe Works of Isang Yun,
explores twenty solo and chamber pieces by the Korean composer, with a focus on tonal language and relationships
to East Asian philosophy.
Mezzo-soprano KRISTIN DAUPHINAIS is highly regarded for her artistry and versatility. She has worked in a
variety of genres including musical theatre, opera, concert, oratorio, chamber music and solo recitals. Her performing
career has taken her throughout the United States as well as internationally with tours in Italy, China, Australia and
additional concert performances in Germany, Spain, Austria and Luxembourg. As an orchestral soloist, Dr. Dauphinais
has been often featured in works by Manuel de Falla with orchestras such as the Phoenix Symphony, the Tucson
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Symphony, the Southern Arizona Symphony, and the Catalina Chamber orchestra. Additional performances as a
featured soloist with orchestra include with the Arizona Symphony. Dr. Dauphinais graduated magna cum laude and
Phi Beta Kappa with a BFA in musical theatre performance from the Lee Harvey Honors College at Western Michigan
University, and earned MM and DMA degrees in vocal performance from Arizona State University. She has served on
the voice faculty of the American Institute of Musical Studies (AIMS) in Graz, Austria and currently serves on the
voice faculty at the Saarburger Serenaden-International Music Festival in Germany and is the chair of vocal studies
at of the University of Arizona.
RENATO SERRANO is one of the most outstanding Chilean guitarists of his generation. He has been awarded
with top prizes in more than ten international guitar competitions, including the first prize in the Andrés Segovia
Guitar Competition in La Herradura, Granada, Spain, which was founded by Maestro Segovia himself. Mr. Serrano
has performed concerts in more than twelve countries in Europe and South and North America, as solo performer,
chamber musician and soloist with orchestra, having been featured in several festivals such as José Tomás Guitar
Festival in Petrer, Spain, Tampere Guitar Festival in Tampere, Finland, and Tallinn Guitar Festival in Tallinn, Estonia.
Mr Serrano holds a Master of Music degree from the University of Arizona, where he is currently finishing his
Doctor of Musical Arts degree, while serving as teaching assistant in the Bolton Guitar Studio.
JERRY KIRKBRIDE, professor of music for clarinet, was the clarinetist of the world famous Dorian Wind Quintet
for over forty years. He has toured the United States, Canada, Mexico, and Europe extensively as well as India,
Pakistan and the Middle East. Before joining the Dorian Wind Quintet in 1970, Kirkbride was principal clarinetist
with the Metropolitan Opera National Company and was a creative associate at the Center of the Creative and
Performing Arts at the State University of New York at Buffalo. Kirkbride has performed in numerous chamber music
concerts and free-lanced extensively in New York City for nearly twenty years. He was principal clarinetist of the
Brooklyn Philharmonic for six years. After graduating from the University of Southern California, where he studied
with Mitchell Lurie, he was awarded a Fulbright Grant for two years to continue his studies in Rome, Italy where he
worked with such artists as Nadia Boulanger, Efrem Kurtz, and Franco Ferrera. Kirkbride wrote the clarinet section of
Teaching Woodwinds, a text for college wind instrumental techniques classes, and has several editions and
arrangements published by International Music Publishing Company. He has recorded for Vox, Columbia, CRI,
Deutsche Grammophon, New World and Summit Records. Kirkbride joined the faculty at the University of Arizona
in 1987 and is a member of the Arizona Wind Quintet. He was principal clarinetist with the Arizona Opera from 1989
to 1998 and performed each year at the Arizona Musicfest in Carefree, Arizona as principal clarinet from 1990 to 2010
where he performed the Mozart and Copland Clarinet Concertos with the Festival Orchestra. In May 2011, he served
as a senior juror at the Fischoff Chamber Music Competition.
MICHAEL KEEPE is assistant professor of saxophone at the University of Arizona, and instructor of saxophone
and music industry at Pima College in Tucson, Arizona. He has maintained a thriving private studio for over 30 years
teaching students of all ages and backgrounds, and is an active member in local and national teachers associations
and has served as president of the Tucson Music Teachers Association. As a performer, Mike’s goal is to promote and
perpetuate the rich and diverse heritage of concert saxophone repertoire. His playing is described as “sonically potent”
(Tucson Citizen), “flawless and riveting . . . his interpretation thoughtful and commanding” (Dr. Bryan Haaheim,
composer) and “a beautiful and powerful presence” (David Maslanka, composer). In addition to performing with the
Rodriguez & Keepe Duo, Mike performs locally with the Tucson Symphony, and is the soprano chair and founding
member of the Tucson based and internationally acclaimed Presidio Saxophone Quartet. As a freelance musician,
Mike has worked as a studio sideman and has performed with artists such as Bernadette Peters, Michael Feinstien,
the Cab Calloway Orchestra and The Temptations.
Mike remains active in the creation and performance of new repertoire from composers around the world. This
commitment to new music has led him to create Keepe Publishing House, publishing and promoting the finest of
today’s classical and jazz saxophone repertoire. His critical reviews of CDs, historical collections and texts have been
published in the peer-reviewed journals of the North American Saxophone Alliance (Saxophone Symposium) and the
Music & Entertainment Industry Educator’s Association.
Dr. Keepe received his Doctor of Musical Arts degree in saxophone performance with a specialized minor in music
business at the University of Arizona. He can be heard on the Albany, AUR, Coseismic, and Nostalgie recording
labels, and is a performing artist for the Selmer Company, performing on Selmer Paris saxophones exclusively.
He lives in Tucson, Arizona with his lovely wife and three beautiful daughters.
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Concert II
Professor GREGG HANSON joined the UA School of Music faculty in the fall of 1990. As a young musician,
he studied trumpet, piano and voice before attending the University of Michigan, where he earned bachelor’s and
master’s degrees in 1967 and 1968. While at Michigan he studied conducting with Elizabeth A. H. Green and William
D. Revelli. He now heads the graduate conducting program in wind band conducting at the University of Arizona.
Before coming to the UA, Professor Hanson taught high school for seven years and served as director of bands at the
University of Utah for 14 years. He was inducted into membership in the American Bandmasters Association in 1984.
Over the course of his conducting career, his performing ensembles have appeared at all of the major venues for wind
band performance including the conferences of the College Band Directors National Association, Music Educators
National Conference, the American Bandmasters Association Convention, and in Lucern, Switzerland for the World
Association of Symphonic Bands and Ensembles.
Hanson’s conducting experience is varied and includes commercial music, musical theatre, opera, chamber music,
orchestra and wind band. Under his baton, the University of Arizona Wind Ensemble has achieved national and
international prominence with the release of five commercial CDs under the Albany label. With numerous guestconducting and clinic appointments in the United States, Canada, Mexico, Europe and China, Hanson was the first
American wind band conductor to conduct a public concert with the People’s Liberation Army Band. Later, during
the fall semester of 2003, he returned to China for the purpose of creating the first-ever wind ensembles at both the
Beijing Central Conservatory and the Xian Conservatory of Music.
Hanson has been praised for his authentic interpretations and degree of excellence of his work and is credited with
numerous commissions and premieres of outstanding new repertoire for wind band. The faculty of the UA College of
Fine Arts selected professor Hanson as the recipient of the prestigious James R. Anthony Award for Sustained
Excellence in Teaching for 2011-2012. Professor Hanson serves as artistic director and conductor of the San Diego
Winds, a professional organization that draws personnel from the Southern California region.
Raised in Morelia, Michoacán, Mexico, Ingvi Kallen studied music at the University of Michoacán’s School of
Fine Arts. Ms. Kallen was a member of the State of Michoacán Symphony Orchestra, playing piccolo and percussion,
as well as serving as narrator for educational concerts. Since moving to Tucson in 1989, she has worked in editorial,
graphic design and public relations fields. She has been a member of the staff at the University of Arizona since 2004,
where she loves her public relations and outreach job at the School of Music.
THOMAS COCKRELL has served as the Nelson Riddle Endowed Chair in Music, director of orchestral activities
and music director of the UA Opera Theater at the University of Arizona since 2000. Cockrell is equally at home on
the symphonic podium and in the opera pit, working with professionals or student musicians. In 2010 he was
appointed artistic director of Opera in the Ozarks, which he had previously served as music director from 2003 to
2005. In July 2014 he was named conductor of the Phoenix Youth Symphony, the senior orchestra of one of the nation’s
premier youth orchestra programs. He has conducted the professional symphony orchestras of Dallas, Cincinnati,
Phoenix, Tucson, Louisville and Boulder, as well as several in Romania, Italy, Mexico and South Korea. Operatic
credits include productions for Dayton Opera, Opera Colorado, Opera Theatre of the Rockies and Washington D.C.’s
Summer Opera Theatre. He served as the associate conductor of Cincinnati Opera, Opera Colorado, The Colorado
Symphony Orchestra and the Spoleto Festivals and music director of Denver Young Artists Orchestra. He was a
member of the conducting faculty of the Interlochen Arts Camp from 2006 to 2008. Cockrell frequently is the conductor
and clinician for regional and all state music festivals. In 2008 he was the conducting master teacher for the College
Orchestra Directors Association national conference and is increasingly sought after for conducting master courses
in the USA, Mexico, Asia and Europe.
Before coming to the University of Arizona, Dr. Cockrell was on the faculty of the University of California, Irvine
and the State University of New York at Purchase. He has been a visiting professor at the National Academy of Music
in Bucharest, Romania and a faculty artist at the Academie Internationale de Musique, Chateau de Rangiport.
Cockrell earned his Doctor of Musical Arts and Master of Music degrees from the State University of New York
at Stony Brook and a Bachelor of Arts from Yale University. He studied conducting with Franco Ferrara in Rome and
at Accademia Musicale Chigiana in Siena, Italy. Additionally, he was an Aspen Conducting Fellow and completed
advanced training at the Conservatoire Americain in Fontainebleau, France and the Tanglewood Music Center,
where he worked with Gustav Meier, Leonard Bernstein and Seiji Ozawa.
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Concert III
MISAEL BARRAZA DÍAZ, born in Hermosillo, Mexico in 1990, began his guitar studies at eleven years of
age with professor Jesús Cota. One year later he was invited to join the classical guitar ensemble Staccato at the
University of Sonora, with whom he recorded a CD in 2005 titled Aire Latino. Three years later, Misael was
accepted at the University of Arizona to study classical guitar performance with professor Thomas Patterson.
Since 2008, Misael has studied regularly with Grammy Award wining guitarists David Russell, Sergio Assad and
Odair Assad. He has also taken master classes with world-renown guitarists such as Manuel Barrueco (Grammy),
Roberto Aussel, Fabio Zanon, Shin Ishi Fukuda, David Tanenbaum, Ignacio Rodes, Marcyn Dylla and Thomas
Viloteau, as well as with early music performers Hopkinson Smith and Paul O’dette.
In 2013, Misael was awarded first prize at the Montreal Guitar Competition and the Indiana Guitar Competition.
During that same year, he was featured as the only solo musician in the world première of Passionately, Piazzolla!, a
musical with movie star Robert Beltrán as the leading role. Misael has just returned from Alicante, Spain where he
graduated with honors from the second edition of the prestigious masters program Máster Guitarra Alicante. He will
also complete his Master of Music degree at University of Arizona in December 2014, where he will stay to pursue a
doctorate.
Originally from Idaho Falls, Idaho, DIANA SCHAIBLE received a bachelor’s degree in music performance from
the University of Idaho in 2011, where she studied flute with Leonard Garrison and classical guitar with James Reid.
In 2013, She received her master’s degree in flute performance from the University of Arizona under the tutelage of
Dr. Brian Luce. While studying at UA, she competed as a finalist in the UA Concerto Competition, performed as
principal flutist with the UA Wind Ensemble and the Arizona Symphony, and was a member of the Fred Fox
Graduate Wind Quintet, the university’s premier student chamber ensemble. Diana currently teaches at the
Artistry Academy and the Tucson Music and Dance Academy, while maintaining a private studio.
RENATO SERRANO MUÑOZ (see Concert I biographies)
RICARDO DE MELLO began studying classical guitar at the age of eight. He received his bachelor’s degree in
guitar from the Federal University of Santa Maria–RS, Brazil. As an undergraduate student he received a scholarship
financed by the Asociación de Universidades Grupo Montevideo (AUGM), which enabled him to attend a refresher
course in guitar and chamber music at the Universidad Nacional del Litoral, in Argentina. In 2009 he earned his
Master of Music degree in guitar performance, through the Graduation Program at Federal University of Bahia,
Brazil, financed by the National Research Council (CNPq). He has developed activities related to research, with
papers frequently published in conferences organized by the Royal College of Music and the European Association
of Conservatories (AEC). In 2009, Ricardo was awarded first place in the selection for guitar professor for the Music
Course at Federal University of Bahia. Today, it is one of the most competitive and sought after positions in Brazil
due to its effective nature and the impact the course has in the university as one of the country’s most prestigious,
one of few which offers master and doctorate degrees in guitar performance. Currently, he is pursuing a doctorate
degree in guitar performance at University of Arizona through a grant awarded by Comissão de Aperfeiçoamento
de Pessoal do Nível Superior (CAPES).
Born in Tianjin, China, BIN HU has received many prizes from both national and international competitions.
His subtle interpretation of style and emotion has earned him recognition from audiences around the world.
“Hu played with a commanding technique and stoicism, captivating the audience with his pensive interpretations.
Hu managed to convey a meditative aura underscored with shades and hints of tastefully applied power and
delicacy.” - a concert review released by Indiana University.
Bin Hu received his first guitar lesson from Mr. Zhiwei Li when he was ten years old. Four years later, he took part
in his first guitar competition in Tianjin and won first prize. In 2005, he moved to Europe to pursue a professional
career studying at the University of Arts Mozarteum in Salzburg, Austria. “Bin Hu possesses a great musical
intelligence which is accompanied by his great capability of performing on the classical guitar.” - Maestro Marco
Tamayo. Bin Hu has attended master classes by respected guitarists such as David Russell, Sergio Assad, Leo
Brouwer and Manuel Barrueco. As a young soloist and chamber musician, he has performed in many European
countries, the United States, and in China. He has collaborated with various symphony orchestras and conductors
such as Jorma Panula. With the Pärnu City Symphony Orchestra (Estonia), he premiered the guitar concerto
Dos mundos by Spanish composer Jorge Rodríguez-Caballero in 2008. Bin Hu is currently a doctoral candidate
and teaching assistant of Professor Thomas Patterson at the University of Arizona.
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Concert IV
JOSHUA TAN, a native of St. Paul, Minnesota, has been a participant in several prestigious music festivals
including Masterworks, New Orleans Piano Institute, Texas State and Chautauqua. In 2013, Joshua won first place
in the MTNA State Young Artist and Mika Hasler Foundation competitions in Texas. He received his undergraduate
degrees in piano performance (under Nancy Weems) and choral music education from the University of Houston.
Joshua is currently pursuing an MM in piano performance under John Milbauer at the University of Arizona.
In addition to performing at the piano, he is committed as an educator and composer, actively involved in
the choral music scene and Phi Mu Alpha Sinfonia, a national music fraternity.
KRISTIN DAUPHINAIS (see Concert I biographies)
NORMAN WEINBERG is professor of music and the director of percussion studies at the University of Arizona.
He has performed as the principal timpanist/principal percussionist with the Corpus Christi Symphony Orchestra
and as principal timpanist with the Jerusalem Symphony Orchestra, the Evansville Philharmonic, the Spoleto Festival
Orchestra, and the Leonard Bernstein Festival Orchestra. Currently he performs with the Arizona Opera and the
Tucson Symphony Orchestra.
Norm has performed and presented seminars at many regional, national, and international conventions.
A prolific author, Norm has published over 250 articles in journals. In addition, he has several compositions
published by Southern Music Corporation. His text, The Electronic Drummer, is part of the Modern Drummer
Library and his most recent book, Guide to Standardized Drumset Notation, has set a worldwide standard and
is published by the Percussive Arts Society. Both books are distributed by Hal Leonard Publications.
Educational achievements include the prestigious Performer’s Certificate from Indiana University, where Norm
received the Master of Music degree in percussion performance with honors and the Doctor of Musical Arts degree.
He has studied with several outstanding teachers during his career including George Boberg, Jerry Carlyss, George
Gaber, William Roberts, Ben Udell, Gary Werdesheim, Charmaine Asher Wiley, and William Zickos. Norm is a
Yamaha Performing Artist, a Vic Firth Artist, a Zildjian Educational Clinician, a Grover Pro Percussion Artist,
and a Remo Gold Level Endorser.
Norman created and helped to establish the World Percussion Network which later became pas.org. At PASIC ’94,
he was given the Outstanding Service Award from the Percussive Arts Society. In 2000, Norman was invited to
present the keynote address at the Percussive Arts Society International Convention’s New Music/Research Day.
He served as a member of the board of directors of the Percussive Arts Society from 1998 to 2004. In 2002, Norman
was honored to be the recipient of the Maestro Award from the University of Arizona School of Music and Dance,
awarded “in recognition of his students’ outstanding achievements”.
Pianist TANNIS GIBSON’s performances have been described as “luminous” (The Boston Globe) and “thoroughly
captivating” (The Washington Post) and Fanfare Magazine recently commended her CD performance as notable for its
“powerhouse pianism.” Ms. Gibson has been heard in concert halls throughout North America, Europe, South
America and Asia. Venues include Weill Recital Hall (Carnegie), the Kennedy Center, Merkin Hall, Corocoran Gallery,
National Gallery of Art and the Gardner Museum in Boston. Her festival performances include among others, the
Bath Festival in England, the ppIANISSIMO festival in Sofia, Bulgaria, Chile’s Jornadas Musicales de Invierno,
New York’s Bang On a Can and Weekend of Chamber Music Festivals. She has collaborated with many fine artists,
as well as ensembles such as the Shanghai, Muir, American, Lark, Audubon and Calder String Quartets. Recently,
she toured major centers throughout China as concerto soloist with the Southern Arizona Symphony Orchestra.
Ms. Gibson has recorded for CRI, ASV (London), JRI, Naxos, The Classics Label and Summit Records. Several CDs
have been honored with European awards, including selection as finalist for a Gramophone Award. Ms. Gibson has
been featured in live performance on WGBH Boston and WQXR New York. She has been heard on NPR’s
“Performance Today” on numerous occasions and has also appeared on the “Today Show” (NBC).
Tannis Gibson holds a MM from the Juilliard School and attended the Banff Center in Canada for post-graduate
studies. Currently, she is professor of music at the University of Arizona and for the last three years has held the
position of distinguished visiting artist at Asuza Pacific University in Los Angeles.
DANIEL KATZEN came to the University of Arizona School of Music faculty after finishing his 29th year as
second horn of the Boston Symphony Orchestra, a position he held from 1979 to 2008. Prof. Katzen’s studies and
performance career have taken him to 25 U.S. states and 22 foreign countries on five continents to perform more
than 5000 concerts. He can be heard live in concert at his annual UA solo and chamber recitals, various orchestral
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appearances around the United States and on his dozens of CDs with the Boston Symphony and Boston Pops
Orchestras, Empire Brass and other orchestral and chamber ensembles. His CD, Bach Suites for ‘Cello Solo vol. 1
has sold out of its first printing, and volume 2 will be released this year.
In addition to his tenure in the BSO, Prof. Katzen was a faculty member at Boston University College of Fine Arts,
New England Conservatory and Tanglewood Music Center in the East, and California Institute of the Arts and
University of California/Irvine School of Music in the West. His previous orchestral affiliations include fourth horn
with the San Diego Symphony, second horn in both the Grant Park (Chicago) and Phoenix Symphonies, and extra
horn with the Chicago Symphony and the Munich, Los Angeles and Rochester Philharmonics. He can also be heard
on the soundtracks of more than two-dozen motion pictures, including E.T., Nixon, Pearl Harbor, Twister and Jumanji.
Prof. Katzen concertizes on a customized horn made for him in 1980 by Dan Rauch.
Dr. Bruce Chamberlain is director of the Tucson Symphony Orchestra Chorus, director of choral activities
and assistant director of the University of Arizona School of Music. He brings to these positions 38 years of professional
and collegiate experience. In addition to the standing-room-only performances by the Arizona Choir on campus, just
this year his guest appearances have included the Dvořák Stabat Mater with the Plovdiv Philharmonic in Vienna’s
Musikverein, the City of Prague Philharmonic in The Dvořák Hall in Prague, the Durufle Requiem with the New York
City Chamber Orchestra in Avery Fisher Hall in Lincoln Center, an ACDA Central Division Conference High School
Honor Choir in Cincinnati, Ohio, the International Conducting Institute at Westminster Choir College in Princeton,
New Jersey, the Daegu City Choir in South Korea, adjudicator for Chongshin University International Conducting
Competition, and guest clinician/conductor for the Sarang Presbyterian Church in Seoul, South Korea. Most recently
Chamberlain has accepted invitations to guest conduct the Haydn Creation at the Varna International Conducting
Academy in Bulgaria in June and a return engagement in Carnegie Hall to conduct the New York City Chamber
Orchestra in a performance of Mozart Solemn Vespers. Previously, Chamberlain has appeared with the symphony
orchestras of St. Petersburg (Russia), San Antonio (Texas), Jackson (Tennessee), Imperial Symphony Orchestra
(Florida), Concerto Soloists Chamber Orchestra of Philadelphia, Bohuslav Martinů Philharmonic, Czech Virtuosi
Orchestra (Brno), Budapest Chamber Orchestra, Oregon Bach Festival Orchestra, Tucson Symphony Orchestra,
Tucson Chamber Orchestra, New England Symphonic Ensemble, Festival Orchestra of Iowa and most recently,
the SoliAll Philharmonic and Ryul Chamber Orchestra in Seoul, Korea.
A summa cum laude graduate of the Indiana University Jacobs School of Music with bachelor’s, master’s and
DMus degrees, Chamberlain studied conducting with Julius Herford, Margaret Hillis and John Nelson, piano with
Menachem Pressler, Wallace Hornibrook and Nicholas Zumbro, and has continued choral/orchestral conducting
studies with Helmut Rilling, Andrew Davis, Dale Warland and Robert Page. Bruce and his wife, Peggy have four
children; they enjoy traveling but always look forward to getting back to their home in Tucson.
•••
The University of Arizona offers a unique experience as one of the nation’s top 20 public research institutions.
The School of Music’s nationally and internationally recognized 60-member faculty is dedicated to the development
of the talents of its students. The faculty are equally at home in the classroom, studio, or on the performance stage.
Along with one-on-one teaching and mentoring, our faculty members regularly perform in solo recitals or as guest
artists with major opera companies, symphony orchestras, ensembles, and chamber groups. Over 500 undergraduate
and graduate students are enrolled in a wide variety of degree programs, and each year they perform in hundreds
of solo recitals, large ensemble concerts, opera productions, jazz and band concerts, and marching band shows.
Our students have opportunities to travel and perform as ambassadors of the University of Arizona at prestigious
conferences and venues within the United States and abroad. In 2014 our top choirs performed in Vienna’s legendary
Musikverein and at Dvořák Hall in Prague, and our jazz ensemble enjoyed a second successful tour in China.
From bachelor to doctoral degrees, the University of Arizona School of Music is a passport to a rewarding life
in music.
P.O. Box 210004 – 1017 North Olive Road
Tucson, Arizona 85721-0004
520-621-1655
music.arizona.edu
- 33 -
The University of Arizona - College of Fine Arts - School of Music
1017 North Olive Road, PO Box 210004, Tucson AZ 85721-0004
music.arizona.edu Phone: 520-621-1655
Administration
Rex A. Woods, Director
Bruce Chamberlain, Assistant Director for Academic Student Services
John T. Brobeck, Director of Graduate Studies
Voice
Kristin Dauphinais*
Grayson Hirst
Andrew Stuckey
Honors Program
Janet Sturman
John Milbauer
Strings
Philip Alejo, bass
Carrol McLaughlin, harp
Distinguished Professor
Theodore Buchholz, cello
Tom Patterson, guitar
Sandy Bolton Endowed Chair in Guitar
Lauren Rustad Roth, violin
Matthew Spieker, violin
Hong-Mei Xiao, viola
Composition, Musicology and Theory
Don Traut,* theory
Philip Alejo, theory
Daniel Asia, composition
John T. Brobeck, musicology
Dawn Corso, ethnomusicology, music in general studies
Pamela Decker, theory, composition
Brian Moon, music in general studies, musicology
Matthew Mugmon, musicology
Keith Pawlak, music in general studies, research collections
Boyd Pomeroy, theory
Jennifer Post, ethnomusicology, music in general studies
Jay Rosenblatt, musicology
Janet Sturman, ethnomusicology, music in general studies
Craig Walsh, theory, composition
Ensembles & Conducting
Daniel Asia, contemporary ensemble
Bruce Chamberlain, Director of Choral Activities
Thomas Cockrell, Director of Orchestral Activities
Nelson Riddle Endowed Chair in Music
Brian Hodge, athletic bands
Alli Howard, Interim Director of Athletic Bands
Gregg Hanson, Director of Bands
Margene Pappas, wind bands
Elizabeth Schauer, Associate Director of Choral Activities
Matthew Spieker, orchestra
Gilbert Vélez, mariachi ensembles
David Ward, Artistic Director of Opera Theater
Jazz Studies
Angelo Versace
Keyboard
Tannis Gibson,* piano (area coordinator keyboard & strings)
Michael Dauphinais, piano
Pamela Decker, organ, harpsichord
Suzanne Knosp, dance accompaniment
John Milbauer, piano
Rex Woods, piano
Lisa Zdechlik, piano pedagogy, class piano
Music Education
Shelly Cooper*
1885 Society Distinguished Scholar
Tami Draves
Donald Hamann
Karin Nolan
Matthew Spieker
2014-2015
Wind & Percussion
Brian Luce,* flute
William Dietz, bassoon
Sara Fraker, oboe
Robin Horn, percussion
Daniel Katzen, horn
Michael Keepe, saxophone
Jerry Kirkbride, clarinet
Moisés Paiewonsky, trombone
Edward Reid, trumpet
Distinguished University Outreach Professor
Kelland Thomas, saxophone
Kelly Thomas, tuba, euphonium
Matt Tropman, tuba, euphonium
Chris Wabich, percussion
Norman Weinberg, percussion
Recording Studio
Wiley Ross, Recording Studio Coordinator
Staff
Mindi Acosta, Public Relations Office Assistant
Christopher Allen, Opera Costumer
Shelly Braun, Office Specialist
Eve Dotson, Bands Administrative Assistant
Deon Dourlein, Senior Technical Director
Lyneen Elmore, Graduate Coordinator
John Fahrenwald, Administrative Associate
Richard Hintze, Office Specialist
David McGuiggan, Undergraduate Advisor
Ingvi Kallen, Public Relations & Outreach
Joanne Knoebel, Technical Director
Jacqueline Shrestha, Senior Business Manager
Cassie Van Gelder, Piano Technician
Owen Witzeman, Assistant Technical Director
* area
coordinator
Degrees Offered
Bachelor of Music Degree
B.M. Composition, Jazz Studies, Performance,
Music Education
B.A. Music
Master of Music and Doctoral Degrees
M.M. Composition, Conducting, Musicology,
Music Education, Music Theory, Performance
D.M.A. Composition, Conducting, Performance
Ph.D. Music Education, Music Theory

Event Program - School of Music

Transcription

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