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COLLEGE OF VISUAL AND PERFORMING ARTS Department of Music ————————————————————— PERCUSSION ENSEMBLE George Mason Music Dept. For more information and a complete listing of concerts and recitals, visit the website at: www.gmu.edu/departments/music ————————————————————— CONCERT Monday, March 27, 2006 7:30 p.m. Harris Theatre MEET THE DIRECTOR PERCUSSION ENSEMBLE CONCERT Percussionist John Kilkenny appears regularly with such prestigious ensembles as the National Sym‐ phony, Washington National Opera, Washington Ballet, Washington Concert Opera, Cathedral Choral PROGRAM Society, Washington Chorus, The Choral Arts Society of Washington, the Master Choral, National Philhar‐ monic, and virtually every other Washington area performing arts organization He has worked with some of the most eminent conductors of our time, Three Arachnids, Mvt. III ...................................... Thomas Takaro including James Levine, Leonard Slatkin, Sir Colin Davis, David Zinman, Robert Spano, David Robert‐ son, Gerald Schwartz, Jai Jai Ling, Marin Alsop, Alan Sonata for solo violincello ....................................... George Crumb Gilbert, and Lawrence Foster. Daniel Heagney, Soloist In addition to orchestral appearances, John is active as both a chamber musician and soloist. He has performed or recorded with a wide variety of ensembles, including The Washington Symphonic Brass, Prism Brass Quintet, FOCUS! Fes‐ tival of Contemporary Music, Summer Garden Concert Series at MoMA, Pic‐ Omphalo Centric Lecture ....................................... Nigel Westlake colo Spoleto Festival Spotlight of Contemporary Music and the 21st Century Ensemble. Coupled with these ensembles, he is currently collaborating with saxophonist Noah Getz to commission and premiere over a dozen new works for percussion and saxophone duo with several recitals scheduled in 2006 and ʺSpiral 2ʺ from Three Spirals ...................................... Eric Sammut 2007. Furthermore, plans are underway for duo recitals with flutist Karen Matthew Levine, Soloist Johnson throughout the Washington DC area, including their April debut as part of the Encore Recital Series with the Levine School of Music. A committed music educator, John is currently, he is associate professor of music Ogoun Badagris ................................................. Christopher Rouse at George Mason University and director of percussion studies at Westfield and Langley High Schools (2001 and 2004, respectfully). Since arriving at Westfield in 2001, their percussion ensemble has performed at the Virginia Music Educators Conference, the Wolf trap Center for the Performing Arts, The Clarice Smith Per‐ forming Arts Center at the University of Maryland, The Center for the Arts at George Mason University, and the prestigious Bands of America National Percus‐ sion Festival. The percussion ensemble from Langley high School has also ap‐ peared at the Bands of America National Percussion Festival. GMU PERCUSSION ENSEMBLE In June 2003, John was the percussion section coach and symphonic clinician for the John Philip Sousa Foundation National High School Honor Band (under the Kate Frear direction of Col. John R Bourgeois); he returned in the same capacity for the Dan Heagney 2005 honor band. Many of his students have gone on to study at the country’s most prominent arts institutions, including The Juilliard School, The Cleveland Matthew Levine Institute, and The Eastman School of Music. Vincent Oppido John is Co – Chair and coordinator of the University of Maryland Summer Per‐ Dannie Snyder cussion Workshop. Begun with John Tafoya in the summer of 2005, this annual weeklong percussion festival/workshop serves over 45 students from across the country. John conducts the resident percussion ensemble, and performs both as a soloist and in concert performances with other faculty. For more l informa‐ tion about the workshop visit www.music.emd.edu/Faculty/tafoya/summer. He is endorsed by Vic Firth Mallets. John received his bachelors degree from the Juilliard School (BM 1999), and his The GMU Percussion Ensemble is coached by John Kilkenny. masters from Temple University. His Principal instructors include Jonathan Haas, Gregory Zuber and Alan Abel. P ROGRAM N OTES Arts Society International Convention in 2005, dedicating it to Monoko Kamiya. The first section of the piece con‐ tains a rhythmic tango‐like theme, which repeats three Three Arachnids, Mvt. III ‐ Thomas Takaro times after being modulated up a minor third each time. (No program notes written for this piece) This tango‐like theme leads into a contrasting lyrical theme in the key of C major. The melodic and harmonic Sonata for solo violincello ‐ George Crumb content of the original theme then returns, but it is in a Written in 1955, during the time Crumb was a graduate 9/16 time signature, which climaxes into a coda abundant student of Boris Blucher in Berlin, the three‐movement with chromatically descending third and sevenths. The Sonata also owes a certain amount to Bartok. An opening solo concludes with the same chord of E b major with Fantasia, is based upon the interval of a descending mi‐ which it begins. nor third, is followed by a Tema pastorale con variazioni, in which a highly chromatic theme is put through its Ogoun Badagris ‐ Christopher Rouse paces in three variations and a coda. The final movement Ogoun Badagris derives its inspiration from Haitian is a Toccata, which, after a short slow introduction, Drumming Patterns, particularly those of the Juba dance. makes much use of dynamic and timbral contrasts. Hence, it seems logical to tie in the work with various as‐ pects of Voodoo Ritual. Ogoun Badagris is one of the best Omphalo Centric Lecture ‐ Nigel Westlake terrible and violent of all the Voodoo Loas (deities) and he The title comes from a painting by Paul Klee ‐ the direct can be appeased only by human blood sacrifice. This & centered simplicity of which was an inspiration to me work thus may be interpreted as a dance of appeasement. during the writing of this piece. The piece also owes The four conga drums often act as a focal point if the much to African Balofon (or xylophone) music, with its work and can be compared to the four most basic drums persistent ostinati, cross ‐ rhythms & variations on simple of the Voodoo religion the be‐be, the seconde, the maman, melodic fragments. Like African music, it seeks to cele‐ and the asator. The metal plates and sleigh bells are to a brate life through rhythm, energy, & movement. It was certain extent parallels of the Haitian Ogan. The work originally composed for the Sydney based percussion begins with a brief action de grace, a ceremonial call to ac‐ quartet ʺSynergy.” tion in which the high priest shakes a giant rattle know as the asson, here replaced my the cabasa. Then the principal ʺSpiral 2ʺ from Three Spirals ‐ Eric Sammut dance begins, a grouillere: this is a highly erotic and even ʺSpiral 2ʺ is the second solo in a collection of three spirals brutally sexual ceremonial dance, which in turn is suc‐ for solo marimba. It was written by French composer ceeded by the dance Vaudou, at this point demonic pos‐ Eric Sammut, who is also a successful orchestral timpa‐ session occurs. The word Reler, which the performers nist and marimba soloist. Sammut completed the solo in much shriek at the end of the work is the Voodoo equiva‐ August of 2003, and he premiered it at the Percussive lent of the Judaeo‐Christian amen.
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