CLARICE SMITH PERFORMING ARTS CENTER
& UM SCHOOL OF MUSIC
UM PERCUSSION ENSEMBLE
Dr. Lee Hinkle, Music Director
Natalie Spehar, Cello
Eric Plewinski, Marimba
monday, december 6, 2010 . 8PM
elsie & marvin dekelboum concert hall
CLARICE SMITH PERFORMING ARTS CENTER 5
PROGRAM PROGRAM NOTES
Ku-Ka-Ilimoku for Percussion Ensemble was composed in 1978 by Christopher
UM PERCUSSION ENSEMBLE Rouse (b. 1949) and since that time has become standard repertoire for the
percussion ensemble. The four percussionists for whom it is scored play a large
Dr. Lee Hinkle, Music Director battery of percussion instruments including timpani, claves, log drums, suspended
Natalie Spehar, Cello cymbals, tom-toms, wood blocks, piccolo wood blocks, snare drums, congas,
Eric Plewinski, Marimba cowbell, bongos, temple blocks, Chinese cymbal, wooden plank, timbales, boobams,
Eric Plewinski, Marimba/Percussion tam tam, gongs, slapstick and metal plate.
Rouse provides us with the following program notes in the score:
In Hawaiian mythology, Ku is perhaps the most fundamental and important of
CHRISTOPHER ROUSE (b. 1949) gods, occupying a place similar to that of Zeus in Greek mythology or Odin in
Ku-Ka-Ilimoku for Percussion Ensemble (1978) Norse legend. Ku is manifested in several forms: as Ku-Ka-Ilimoku he represents
the god of war. Thus, this work for percussion ensemble is best viewed as a savage,
DANIEL ADAMS (b. 1956) propulsive war dance.
Concerto for Marimba and Percussion Ensemble (2006)
Eric Plewinski, marimba Concerto for Marimba and Percussion Ensemble (2006) was composed by Daniel
Adams (b. 1956) for the University of South Florida Percussion Ensemble. The six
percussionists play a large battery of instruments including many of the standard
INTERMISSION orchestral percussion instruments: timpani, snare drum, glockenspiel, chimes,
vibraphone, xylophone, bass drums, tom-toms, roto-toms, cymbals, gong, tam tam
and temple blocks. In addition to these standard instruments, the percussionists play
BALJINDER SINGH SEKHON II a few Latin percussion instruments such as guiro, maracas, agogo bells, cowbells
Lou for Solo Cello and Percussion Orchestra (2006) and claves as well as Asian bowl gongs.
Natalie Spehar, cello The piece opens quietly with sustained atmospheric sounds in the percussion and
the marimba. It quickly moves into a more rhythmic groove with mixed meters often
STUART SAUNDERS SMITH (b. 1948) breaking the regular pulse. There are violent tempo shifts throughout the piece, each
Songs I - IX for Actor - Percussionist (1980 - 82) one mathematically corresponding to a rhythm being played previously by different
Eric Plewinski, percussion
members of the ensemble.
The marimba soloist plays virtuosic passages throughout, sometimes in a groove
PAUL RELLER with the percussion and other times in dense polyrhythmic opposition to them.
The solo part becomes denser until it eventually launches into an extended cadenza.
When the ensemble enters after the cadenza there is a flurry of activity for several
measures with each member of the ensemble playing his or her own distinct rhythm.
The piece then closes quietly and atmospherically as it began.
Daniel Adams was born in Miami, Florida, in 1956 and is currently a Professor
of Music at Texas Southern University. Previously, he held teaching positions at the
University of Miami and Miami-Dade Community College. He holds a Doctor of
Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master
of Music (1981) from the University of Miami and a Bachelor of Music (1978) from
Louisiana State University. Adams is the author of several articles and reviews on
twentieth-century percussion music, music pedagogy and the music of Texas and is
6 WWW.CLARICESMITHCENTER.UMD.EDU UM PERCUSSION ENSEMBLE 7
PROGRAM NOTES PROGRAM NOTES
also the author of The Solo Snare Drum: A Critical Analysis of Contemporary more than 200 performances around the world and has been described as “still
Compositional Techniques (2000). and mysterious, animated, haunting and peaceful” by the Epoch Times. In addition
Adams’s music has been performed throughout the United States, Spain, to his projects as a composer, he is also active as a teacher, percussionist and
Germany, Belgium, Sweden, Turkey, Argentina, Canada and South Korea. He concert producer.
currently serves on the Board of Directors for NACUSA and the Houston Composers Sekhon has received numerous commissions, most recently from percussionist
Alliance. He has received awards and honors from ASCAP, the American Symphony Michael Burritt, violist John Graham, the Boehmler Foundation, DoublePlay
Orchestra League, the Percussive Arts Society and the Greater Miami Youth Percussion Duo and Massimo La Rosa (principal trombonist, The Cleveland
Symphony. His music is recorded on Capstone Records and Summit Records. Orchestra). Last year, Sekhon was honored with a commission by the Eastman
School of Music’s Musica Nova ensemble for a new work for Grammy-nominated
Lou for Solo Cello and Percussion Orchestra was composed in 2006 by composer soprano Tony Arnold. The resulting work, Post, was premiered at Eastman in 2009
Baljinder Singh Sekhon II. Sekhon provides us with the following program notes under the direction of Brad Lubman. Also at Eastman, his works have been
in the score: performed by The Eastman Wind Ensemble, Eastman Philharmonia, Composers’
Sinfonietta, OSSIA New Music Ensemble, Eastman Percussion Ensemble and
Lou (2006) was composed for a specific concert and was originally meant to be many soloists and chamber ensembles.
performed in between two very unique pieces by Lou Harrison: Concerto for Songs I - IX for Actor - Percussionist is a vital piece in the solo percussion repertoire
Violin and Percussion Orchestra and Canticle No. 3 for Percussion Orchestra which and was composed over the span of two years (1980-82). The piece is scored for
includes an Ocarina. The circumstances of this concert led me to compose Lou for “actor-percussionist,” and the instrumentation consists of common household items
Solo Cello and Percussion Orchestra. As in the two pieces (and many others) by in addition to a few commonly used percussion instruments. However, the most
Lou Harrison, I employ the use of a number of “found” percussion instruments. utilized instrument in this piece is the human voice.
Although they are not absolutely standard, in the orchestral sense, they are now The text is the most important aspect of this piece and should not be
common at most institutions and very easy to obtain. Among these instruments overshadowed by the percussion accompaniment. The performer must carefully recite
are flower pots, brake drums, coffee cans and metal pipes. In addition to exploring the text in the proper inflection or accent that Smith provides. The percussion sounds
this unique sound world, I am also interested in exploring the timbrel possibilities emphasize certain words and certain sounds of words. Smith notes in the score that
of the cello. Lou requires the cellist to perform several unusual pizzicato and the dynamics are left to the performer's discretion based on how the text is
strumming techniques (while amplified) as the instrument is treated more like interpreted and insists that “the text must always be heard!” It is in this fashion, that
a guitar for much of this piece. This piece is not meant to be in the style of Lou Songs I - IX bridges the gap between theatrical performance and percussion playing.
Harrison’s music, rather it simply explores a similar sound world but in a very Stuart Saunders Smith (b. 1948) is a prolific American composer whose works
different light. Many thanks to Lou Pape and the OSSIA New Music Ensemble often combine music, text, and theater to create a unified “music-text” sense. In his
for making this piece possible. traditionally notated compositions, Smith uses irregular rhythms to imitate the
irregular rhythms and pitch of human speech patterns. In other compositions, Smith
The four percussionists in Lou function as a unit, their composite rhythm making utilizes alternate notation systems created specially for each piece. In these cases
a drum set groove of sorts while the solo cello soars above like an electric rock guitar. Smith's scores often appear more like the script for a straight play than a musical
At its conclusion, the piece launches into a crazy mixed-meter section. The mixed score; complete with stage directions. Dr. Smith earned a DMA in composition at the
meters start with three notes to the measure, then four, then five, etc. It continues in University of Illinois where he studied with Edward Miller, Edward Diemente,
this fashion until reaching nine and then descends by one note each measure down Slavatore Martirano, Herbert Brün and Benjamin Johnston. Dr. Smith is currently a
to three. This mixed-meter effect brings the piece to an exciting conclusion. professor of composition at the University of Maryland, Baltimore County and his
Baljinder Singh Sekhon II is a composer and percussionist who currently resides music is published by Smith Publications.
in Tampa, Florida, where he serves on the faculty at the University of South Florida.
“Clearly knowing the power of sonority” (Philadelphia Inquirer), the music of Haenyo was composed in 2006 by Paul Reller. The word “haenyo” literally means
Baljinder Sekhon demonstrates a wide range of interests and influences. From pieces “sea women.” It refers to the highly skilled female divers who are an integral part of
for large ensemble to solo works to electronic music, Sekhon’s music has received society in the Jeju province of Korea. The haenyo have developed the ability to hold
their breath for more than two minutes and dive to depths up to 20 meters. In an
8 301.405.ARTS (2787) UM PERCUSSION ENSEMBLE 9
PROGRAM NOTES ABOUT THE SOLOISTS
email conversation with Paul Reller, he mentioned “The reason they came to my ERIC PLEWINSKI (marimba) earned a Bachelor of Music degree from the University
attention is that I saw a report on BBC news in 2001 about how the Haenyos’ of South Florida where he was awarded the Outstanding Merit Award in Percussion.
lifestyle was going to disappear because their daughters weren’t interested in learning During his Tampa, Florida, residency Plewinski’s performance highlights included
the difficult art of diving for seafood without an aqualung. They preferred going various theatre productions, as well as with The Florida Orchestra, operatic tenor
to the mall. The Haenyos’ society is matriarchal, which is something I found Michael Amante and the Grammy Award-winning Broadway singer Bernadette
interesting, especially since the piece was premiered at Ewha, the world’s largest Peters. Plewinski can be heard as a member of the McCormick Percussion Group
women’s university.” on Music For Keyboard Percussions, distributed through NAXOS. In addition to
Haenyo is scored for six percussionists: four percussionists play marimba, two these accomplishments, he has been fortunate enough to work personally with
tom-toms and one timpano; two percussionists play glockenspiel, bass drum and notable composers David Del Tredici, David Liptak, Augusta Read Thomas and
cowbell. The piece opens in primarily pounding unison rhythms and throughout the Louis Andriessen.
piece the four marimba players function as one music entity while the glockenspiels Plewinski is pursuing his Master of Music degree at the University of Maryland,
function as a second “competing” music entity. In addition to the unison rhythms, College Park where he studies with F. Anthony Ames, Jauvon Gilliam and Dr. Lee
the piece is characterized by canonic passages, where a musical line is traded rapidly Hinkle. For more information about Eric, please visit www.ericplewinski.com.
around the ensemble. Approximately two-thirds into the piece, the marimba players
join together, softly playing rapid sixteenth notes on the marimbas. The composite A student at the University of Maryland, NATALIE SPEHAR (cello) has studied
effect is that of bubbles in water — perhaps the bubbles under the ocean as the the cello for 14 years and has been a member of several ensembles, including the
haenyo dive for food. Toward the end there is a violent section with all of the players Cleveland Orchestra Youth Orchestra (principal, 2004-2005), the Athenaeum String
pounding out unison rhythms, which spell out the letters “S.O.S.” in Morse code. Quartet (featured artists in a series of pre-concerts of The Cleveland Orchestra,
The piece closes with a soft and lush chord in the marimbas with the glockenspiels 2004), a contemporary Christian folk group, several rock bands and, most recently,
lightly plucking the final notes. the Élan Duo (with Doug O’Connor, saxophone) and the DC-based rock cello
Paul Reller is currently on faculty at the University of South Florida in Tampa, ensemble, Primitivity.
Florida, where he is the coordinator of the composition department and the director Spehar has performed as a soloist with the Canton Symphony Orchestra and
of SYCOM, USF’s suite of electronic music studios. has been awarded several scholarships, including the Canton MacDowell Club
Scholarship and the Howard Hanson Scholarship toward her studies at the Eastman
School of Music. In summer 2009, she was one of five American performers selected
to participate in Northeastern University’s Fusion Arts Exchange, a program and
concert tour funded by the U.S. Department of State that featured young musicians
from six countries. Spehar has also enjoyed several exciting studio recording projects
over the past year, including composing and recording her first film soundtrack.
Spehar holds a Bachelor of Music degree in Cello Performance as well as a
Certificate in Arts Leadership from Eastman School of Music, where she studied
with cellist Alan Harris. An avid supporter of music outreach, she has recently served
as an Arts & Learning Intern for Young Audiences, Inc.; an educator for Music
For Life and a performing member of the MacDowell Music Club — all national
organizations dedicated to encouraging and providing community music education.
Spehar is currently pursuing her Master’s degree at the University of Maryland,
College Park, where she studies with David Teie and Evelyn Elsing.
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ABOUT THE MUSIC DIRECTOR ABOUT THE MUSIC DIRECTOR
DR. LEE HINKLE is a percussionist and classically trained baritone vocalist whose Outside of the world of percussion, Dr. Hinkle is a PADI Scuba Divemaster, a
percussion playing has been called “rock-steady” by the Washington Post and having brown belt in Isshinryu Karate, and a classically trained baritone vocalist. He can be
“a notable sense of flare [sic]” by Potomac Stages. His performance highlights have found singing Sunday mornings at St. Mark Presbyterian Church in Rockville, MD.
included performances with the National Symphony Orchestra, Florida Orchestra, Dr. Hinkle is a proud education artist endorser of REMO drumheads and
Left Bank Concert Society, Congressional Chorus, and the Taipei Philharmonic percussion and Innovative Percussion sticks and mallets.
Orchestra, among others. He has toured with several performers and groups, including
Bebe Neuwirth, Bernadette Peters, and the American Wind Symphony Orchestra.
In addition to these projects, he has been a regular performer at the Tony Award-
winning Signature Theatre in Shirlington, VA. In October 2009, he was a featured UM PERCUSSION ENSEMBLE
concerto soloist for Christopher Rouse’s Der Geretette Alberich with the University of Dr. Lee Hinkle, Music Director
Maryland Symphony Orchestra.
A recording studio musician, Dr. Hinkle has several CDs to his credit, and his Robby Bowen
recordings can be heard on four different record labels, including Capstone Records Joshua Hickman
and the C.F. Peter’s Corporation. On Marimba Concerti with Percussion Orchestra, Natalie Hogg
published by Capstone Records, he is a featured marimba soloist with the Wei-Hsuan Yu
McCormick Percussion Group. Arielle Miller
An active percussion recitalist, Dr. Hinkle has presented solo recitals and Jan Nguyen
masterclasses at universities and festivals across the Eastern U.S., including the Michael O’Neill
University of South Florida; Virginia Commonwealth University; Arts Club of Eric Plewinski
Washington; and the Maryland / Delaware Percussive Arts Society’s Day of Logan Seith
Percussion. Dr. Hinkle performed with the Janis Potter All-Star Mallet Ensemble Daniel Vaughan
at the Percussive Arts Society International Convention in November 2010. Keith Williams
Dr. Hinkle has served as the music director of the University of Maryland
Percussion Ensemble since the fall of 2007. In addition to two concerts per academic
year, the ensemble regularly performs for “Maryland Day,” a university-wide event
that caters to the local community and sees more than 70,000 attendees annually.
The ensemble performs both classical transcriptions and the music of contemporary
composers such as John Cage, Tan Dun, Sven-David Sandström, and George Crumb.
The percussion ensemble regularly features guest soloists, which have included
Evelyn Elsing (cello); Gregory Miller (horn); David Salness (violin); and Sarah
Eckman (flute). Under Dr. Hinkle’s direction, the ensemble performed at the
MD/DE Day of Percussion in 2008, and was featured in the Bang on a Can
Marathon new music concert in March 2009. In January 2009, the ensemble were
guest performers in the Magic Marimba Festival at the University of South Florida
in Tampa, FL.
Dr. Hinkle is currently a lecturer of percussion at the University of Maryland in
College Park, MD, where he has been studio teaching, presenting masterclasses, and
directing the percussion ensemble since 2007. He was invited to join the adjunct
faculty in August 2009.
12 301.405.ARTS (2787) UM PERCUSSION ENSEMBLE 13