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EARPLAY 23:

Central Valley Tour

 

Thursday-Friday, August 30-31, 2007

Merced Arts Center, College of the Sequoias,
Fresno State University

The Earplay Ensemble
Mary Chun, conductor
Tod Brody, flutes  •  Peter Josheff, clarinets  •  Karen Rosenak, piano
Terrie Baune, violin  •  Ellen Ruth Rose, viola  •  Thalia Moore, cello

Guest Artists
Guillermo Galindo, maiz • Stacey Pelinka, flute  • Lisa Weiss, violin • Emily Onderdonk, viola • Dan Reiter, cello  •  Michael Orland, piano • Chris Froh, percussion

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Merced Arts Center
Thursday, August 30
4:30 p.m. School Concert
7:30 p.m. Public Concert
Info: LINK

Daniel Reiter

Reiter’s Raga

Peter Josheff, Emily Onderdonk, Dan Reiter

 

Cindy Cox

3 pieces for solo piano
from Hierosgamos: Seven Studies in Harmony and Resonance

Michael Seth Orland

IV. Meditative, Still
V. Playful, but driven
VI. Fleeting

 

Intermission

Mirtru Escalona-Mijares

Cinco Transfiguraciones Llanas (2004)
Stacey Pelinka


I. …Conticinio…
II. Danza
III. Aroma de Mujer y Flor
IV. Lejanía
V. …Por el Camino…

Wolfgang Amadeus Mozart
Sonata K303 (1778)

Lisa Weiss and Michael Seth Orland

I. Adagio and Molto Allegro

Guillermo Galindo
Post-colonial Discontinuum
Mary Chun, Guillermo Galindo, Stacey Pelinka, Peter Josheff, Lisa Weiss, Emily Onderdonk, Dan Reiter, Michael Seth Orland and Chris Froh

Program Notes

 

Dan Reiter

Dan Reiter
Reiter’s Raga (2006)
Peter Josheff, Emily Onderdonk, Daniel Reiter


Reiter's Raga, is a trio , originally Conceived for 2 cellos and Bass, revised for Clarinet, cello and Bass, revised again for Violin, Viola and cello, and finally for Clarinet, Viola and Cello. ....The piece exploits three note shapes in place of chords as a basis for variations. After a short introduction the main body of material is introduced. Sections are then stretched or reduced or otherwise altered fancifully. As variations progress, cadenzas are introduced,culminating into extended solos for the cello over a 25 beat section in a classical Indian musical style. The piece closes with the opening introduction. D.R. 2007

 

Daniel Reiter (b. 1951) is principal cellist with the Oakland East Bay Symphony (OEBS), Festival Opera Orchestra, Diablo Ballet Orchestra and Fremont Symphony.   His solo work has included Leonard Bernstein's Three Meditations (OEBS, 2000) and Robert Schumann's Cello Concerto (Fremont Symphony, 2002). Dan is also a former Earplay member (1989-90).

As a composer, Dan has written varied chamber works.  In 1999 he won an Izzy Award for is composition Raga Bach B Minor featuring dancer Robert Moses. He has had the privilege of working with India's master musician Ali Akbar Khan and has recorded two CDs (Garden of Dreams and Legacy) with Khansahib. In addition, Dan produced Cello and Harp, a CD of his own compositions for cello and harp with his wife, Natalie Cox.

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Cindy Cox

Cindy Cox
3 pieces for solo piano (2003)
from Hierosgamos: Seven Studies in Harmony and Resonance

 

IV. Meditative, Still
V. Playful, but driven
VI. Fleeting

The hierosgamos is an ancient principle which reveals the ultimate wholeness concealed among pairs of apparent opposites.  Literally “sacred marriage”, this mysterious union involves a simultaneous moment of creation and dissolution between the self and the other, a co-terminus spiritualization of matter and a materialization of spirit.  In the language of alchemy, Carl Jung spoke of a “chemical wedding”, where the “yang and yin” of things is purified back into an original unity. 

In this large work for piano, I attempt to show how opposing characteristics and materials ultimately derive from a single source. Two seemingly contradictory properties of the piano are very important to me: first, the piano is a huge (horizontal) harp, with its strings under many tons of pressure and capable of incredibly powerful resonance.  Second, the piano is essentially a percussion instrument, and not a sustaining instrument, as many eighteenth and nineteenth century composers tried to make it.  Reconciling these two aspects led me to use the harmonic series and a predominately motoric and continuous percussive texture.

These seven etudes principally address the study of harmony and harmonic resonance.  The overtone series (up to the sixteenth partial) and its inverse provide the pitch material, while I use the piano itself as the basis for the choice of fundamentals: the lowest note, A0, the highest note, C8, and the exact middle, E4. The architecture of the piece is derived from this construction, with the first and last movements based upon the lowest and highest pitches respectively, and the middle fourth movement on the middle E4. I further divide the piano’s eighty-eight keys into zones of eleven half-steps, and use these areas as secondary relationships throughout the work.  Movements two, three, five, and six form sharp apparent contrasts with the beginning, end and middle, even though, as with the hierosgamos, they are all created from the same originating material.

Cindy Cox (b. 1961) has held fellowships at the Tanglewood Music Center, the Aspen Music Festival, the MacDowell Colony, and the Civitella Ranieri Foundation in Italy.  She has received awards from the American Academy of Arts and Letters, the National Endowment for the Arts, the Fromm Foundation, ASCAP Grants to Young Composers, and the International Competition for Women Composers. Her newly released compact disc on the CRI label features Geode, commissioned and recorded by EARPLAY.

Cindy Cox is presently an Associate Professor at UC Berkeley and is considered one of the leading composers of her generation. Her music is widely respected for its intelligence, complexity, fluency, and for the numinous sensibility it emanates.


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Mirtru Escalona-Mijares

Mirtru Escalona-Mijares


Cinco Transfiguraciones Llana (2004) flute solo

The five pieces are inspired by popular Venezuelan songs written at the end of the nineteenth century and beginning of the twentieth. These songs were selected because of their sentimental value to me and my first encounters with music.
Two of the pieces have a particular value, I. - Conticinio and IV. - Lejania.

I.-Conticinio
Written by composer Laudelino Mejias to whom I owe my second name (“Mirtru Laudelino”) as my father was a big admirer of him. My parents told me that that was the song that accompanied my first entrance into our house, after my mother and I left the hospital where I was born. Obviously I do not remember anything.
The poetic material of Conticinio is drawn from its name, which is in Spanish means the moment when the silence of the night falls. That’s why the weight and the importance of the final silence with the attaca for the second piece.

II.- Danza
This is inspired by Barlovento, a song with Afro Venezuelan Rhythm.
III.- De aroma de Mujer y Flor

This is inspired by a piece, which talks about the beauty and charm of women.

IV.- Lejania
The fourth piece is inspired by my mother’s favorite song. It’s homage to her memory. The intimate character of the piece comes from its name and its significance. Lejania means remoteness in English.

V.- ...por el camino...

Inspired by a piece based on the national Venezuelan dance, “Joropo”.
Cinco Transfiguraciones Llana was premiered in the XXIX Aspect Festival, Salzburg, 2005 by Linda Wetherill. - M.E.M.

Mirtru Escalona-Mijares (b. 1976) com-pleted his initial studies in
Venezuela with Rafael Saaverdra and Gerado Gerulewiez. In 2000 he moved to Paris and continued in electroacoustic music with Christine Groult at the “Ecole Nationale de Musique de Pantin” where he obtained the “Diplome des estudes musicales” (DEM) with distinction, in 2003 and the prize of the completion of studies by the SACEM. Afterward he received a Diplome de Composition fro the Conservatoire Nation, Strasbourg with Ivan Fedele. He is currently attending the specialization class of Philippe Leroux at the Ecole Nationale de Musique de Blanc-Mesnil. Mirtru Escalona-Mijares has collaborated with various ensembles and institutions such as the National Council of Culture of Venezuela, the International meeting of composition – Syntono, Hochshule für Musik Franz Lisz Weimar, Centre de Création Musicale Iannis Xenakis (CCMIX), and Cité Internationale Universitaire de Paris.

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mozart

Wolfgang Amadeus Mozart

Sonata K303  (1778)
violin and piano

 

Wolfgang Amadeus Mozart (1756-1791), one of history's most popular and prolific European classical composers needs little introduction. As child prodigies, he and his sister Nannerl performed all over Europe in concerts for royalty arranged by their father, Leopold, himself a prominent music teacher and composer. Wolfgang Mozart composed his first piece of music at the age of 5 and by the time of his early death at age of 35, he had written over 600 compositions, many of which continue to be performed in today's standard repertoire of concert, opera and chamber music.

In Mozart's youth, the most popular of all chamber music forms was the "unaccompanied sonata", the sonata for piano with accompaniment for violin. The implicit understanding at that time was for the keyboard part to be played by a lady and a gentleman to "accompany" her on the violin. The form represented an apt musical analogy to the social custom of the day.

The first movement of the Sonata in C Major, K.303, composed in 1778, follows a unique formal model which begins with slow music (a short Adagio), then changing keys into the dominant, G major, breaks into a lively Allegro. The Adagio returns in an elaborated form and with a twist stays in the home key of C major. When the point is reached where the Allegro restarts, it is now in the home key of C major and serves as an orthodox recapitulation. So in a single movement there exists normal sonata form but also incorporates slow music within the integrated whole. [from DG recording 410 896-1]

 

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Guillermo Galindo
Post-colonial Discontinuum (2006)
maiz, flute, clarinet, violin, viola, cello, piano and percussion

In search of a hybrid 21st-century post-Mexican art form that reconciles contradictory concepts such as primal instincts, animism, and mythology with contemporary science and technology, I decided to create an integrated art form that works as a conduit that truthfully reflects my hybrid reality as a contemporary artist, a human being, and a post-Mexican composer living in the US.

Maiz, my first “cyber-totemic” object, was built using a set of found recombinant objects that have a personal meaning and close relationship to my life. Pre-Colombian cultures believed that the sound of physical objects is linked to their existence and therefore to their spirit. In pre-Colombian times, instruments were built from well-chosen physical sources such as a sacred tree or the hair of a sacred animal. The sorcerer had a close relation to these objects. The sound that the objects produced was not separated from the object; therefore the object could not be separated from its deeper meaning.

Maiz , a cyber-totemic device controlled through a computer, produces mechanical sounds from the object itself. The challenge of writing a piece that combines a hybrid electro-mechanical cyber-totemic object with a chamber ensemble is an attempt to establish a dialogue of reconciliation between order and chaos, music and noise, the primitive and the civilized, science and religion, the real and the unreal, North and South, the Dark Ages and the Enlightenment.

Guillermo Galindo’s (b. 1960) artistic work spans a wide spectrum of artistic expression from symphonic composition to the domains of music-computer interaction, electro-acoustic music, opera, film music, instrument building, and multimedia installation and soundscape instrument building, and multimedia installation and soundscape design. His music has been performed and shown at major festivals and art exhibits throughout the United States, Latin America, Europe, and Asia. Guillermo Galindo’s piece Haiku II (for flute and recorded ambience), with text by Michael McClure, opened the first series of Latin American experimental music in the US at the The Roy and Edna Disney/CalArts Redcat Walt Disney Concert Hall in Los Angeles. Between 2000-2001, Guillermo Galindo wrote two of his major works in the field of opera; Califas 2000 with text and performance art by MacArthur Grant recipient Guillermo Gomez Peña and Decreation/Fight Cherries with text by MacArthur Grant recipient Anne Carson.

His awards and commissions include: Oakland East Bay Symphony Orchestral Commission “Words and Music Project”; Creative Work Fund Media Arts Grant; California Arts Council Composers Fellowship; American Composers Forum Continental Harmony Grant; Residency for Composition at the Banff Center for the Arts; the ASCAP Special Awards; the Jovenes Creadores Grant from the Fondo Nacional para la Cultura y las Arles, Mexico City; and Meet the Composer (1997 and 2004). Mr.Galindo’s formal studies include composition degrees from Escuela Nacional de Música (Mexico City), Berklee College of Music (Boston), Mills College (Oakland) with additional studies at CNMAT (UC-Berkeley), and the Ali Akbar College of Music (San Rafael). His teachers include Julio Estrada, Federico Ibarraa, Robert Kyr, Alvin Curran, and Andrew Imbrie.

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