Dr. Glenn Schaft & Tetsuya Takeno
Directors
30 October 2008
Butler North
8 p.m.
Ostinato
Pianissimo (1934)
Henry Cowell (1897-1965)
Bob Young –
xylophone
The work is
based on an ostinato (repeated) phrase that varies in length for each performer
and these are juxtaposed in various ways. Only at the very end do the
performers come together in unison rhythms. Early percussion music including Ostinato Pianissimo was frequently
played by non-percussionists since percussion ensembles largely did not exist
at this time. Cowell states in his score that the only “professional”
percussionist required for this piece be the xylophonist. Notes by Glenn Schaft
Variations
on a Ghanaian Theme (1981) Daniel Levitan (b.1953)
Variations on a Ghanaian Theme uses rhythmic patterns from the folkloric music of Ghana, Africa.
He manipulates these patterns and varies them using different musical
techniques such as permutation and counterpoint. Notes by Daniel Levitan.
Fox Grove
(2004) Jeffrey Alan Matter (b. 1978)
Fox Grove is
written in memory of my friend Amanda who was taken from this earth by an act
of violence. The title is based on the subdivision in which we would take long
walks and discuss the important social issues of high school and life in general.
The opening motive represents the tears of everyone who has lost a loved one
through a violent act. Notes by Jeff Matter
Music for
Five Pieces of Wood (1973) Steve Reich (b. 1936)
Music for Pieces of Wood is scored for five sets of tuned claves and consists of three
sections each systematically decreasing in length. Reich’s compositional technique
involves a gradual-process whereby each player successively adds to the
original rhythm. The three sections consist of progressively shorter rhythmic
cycles – section one 12 notes, section two 8 notes, and section three 6 notes.
Each player begins with a one-note pattern and adds notes, one at a time, until
a complete pattern results. This process is then repeated with successive
players. The music allows the listeners to perceive various tempi and rhythmic
patterns. Notes by Joshua Haggerty
Three Argentinian Tangos (1996) Charlo, arr. Werner Thomas-Mifune
Mifune’s
arrangements are published for string quartet and are transcribed here for
marimba quartet. The Tango is an Argentine urban song/dance form that remained
popular throughout the 20th century but which originated in the poor
neighborhoods of Buenos Aires in the late 19th century. The dance, for couples
in a tight embrace, is characterized by sensual movement, the music is
frequently in a minor mode, and includes dramatic rhythmic and dynamic
contracts. Notes by Glenn Schaft
Intermission
Piru Bole (1986) John Bergamo (b.1940)
Although Piru Bole is based on East Indian
drumming concepts, it is not traditional but rather more in line with some of
the experiments happening with non-traditional percussion ensemble throughout
India. The chant-vocalizations utilize some of the syllables, or vocal chant
language called Konocol of South India. Notes by John Bergamo and Glenn Schaft
Piano Phase
(1980) Steve
Reich (b. 1936)
Cory Doran & Tetsuya Takeno - marimba
Piano Phase may
be performed by two pianists or two marimbists. This work explores the concept
of music as gradual process. This process determines the note-to-note details
and the overall form simultaneously. The process is audible because it is
happening gradually. One cannot improvise in a musical process as the concepts
are mutually exclusive. The piece consists of three large sections (composed of
various repeated melodies) each of which undergoes a rhythmic phasing process.
For example, the first section is comprised of a twelve-note pattern that is
constantly repeated, joined (in unison) by the second player, and then the
second player begins to embark on a series of twelve phasing episodes. During
each phasing the second player gradually accelerates his pattern (against the
fixed tempo pattern of player one) until he advances to the second note of the
pattern, then the third, etc. This process continues until player two arrives
back at the original unison pattern. Then the second section, an eight-note
pattern, undergoes the exact same process. And finally, the third section is
based on a four-note pattern. Notes by Glenn Schaft
Conga Trio World Premiere (2008) D. Anshutz, C. Doran, T. Takeno
Dean Anshutz, Cory Doran, Tetsuya Takeno
Square Dance (1996) Yoshioka Takeyoshi
Four
marimbas are placed so that two players face the audience and the other two do
not. The consideration how to show the faces of the latter two generated the
concept of this piece; to change positions. When I envisioned four players
moving around the instruments, it seemed as if they were dancing around a
square frame and the title “Square Dance” emerged. Notes by Yoshioka and Glenn
Schaft
Sharpened Stick (1999) Brett Dietz (b.1972)
The Sharpened Stick is a Native American war song
and dance that is in the "fish-step" style. It is said that the
popular 1920's dance craze the "Charleston" was derived from this
dance. At certain points of the composition, the performers shout
"Yo-Ho"- In Native American music, this is sounded by the 'head
singer' and signifies a change of direction in the music as well as a change in
the direction of the dance. Notes by Brett Dietz
Personnel:
Graduate Assistant:
Tetsuya
Takeno Kanagawa-Ken, Japan
Senior:
Mario
Butera, Pittsburgh, PA
Cory
Doran, Columbus, OH
Zachary
Taylor, Bloomingdale, OH
Junior:
Kevin
Rabold, Pittsburgh, PA
Sophomore:
Joshua
Colson, Transfer, PA
Robert
Young, Austintown, OH
Eric
Zalenski, Bloomingdale, OH
Freshmen:
Mike
Farinelli, Cranberry Twsp., PA
Thomas
Goldthwait, Youngstown, OH
Matthew
Hayes, Coshocton, OH
Dustin
May, Westerville, OH
Gino
West, Poland OH
Gary
White, Warren, OH
Special thanks to
Avedis Zildijian Co., Remo Inc., ProMark Inc. , Dynasty USA, and Black Swamp
Percussion for their product and artist support.