Document Sample
                                    & 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.
       Haenyo (2006)
                                                             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

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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

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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
       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.

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