The Magic of the Flute
Song for Flute by Jennifer Higdon
Quartet for flute, violin, viola and cello in D Major by W.A. Mozart: second and third movements
Serenade in D Major Opus 141a by Max Reger: first movement
Assobio a Jato (Jet Whistle) for flute and cello by H. Villa Lobos: first movement
Impresiones de la Puna by A. Ginastera for string quartet and flute
String Quartet Op. 76 #4 “Sonnenaufgang” (Sunrise) by F.J. Haydn: first movement
Rising for flute and string quartet by Joan Tower
with the Northwest Boychoir
Mozart Missa Brevis: Gloria
Mendelssohn: Laudate Pueri
(Other works TBA)
Ives SQ #1 with hymn tunes
Britten Ceremony of Carols (excerpts)
Bernstein Chichester Psalms (complete)
Collaboration with Spectrum Dance
Copland two pieces for String Quartet
V. Persichetti String Quartet no. 2
Don Krishnaswami Trumpet quintet (for trumpet and string quartet) – WORLD PREMIERE
G. Gershwin Lullaby
J. Zorn: Kol Nidrei for string quartet
C. Wuorinen: String Quartet #2
Cello Divas II
The sound of the solo cello is as compelling and eloquent as the human voice, with a chameleon’s ability to embody any role. “An expressive maximalist, Haimovitz calls forth a dazzling spectrum of sounds from the depths of his instrument” -The New Yorker. He electrifies listeners from a few feet away in an intimate club to the last rows of a concert hall.
Solo Cello Works (Matt Haimovitz):
A. Gabrielli Ricercar
J.S. Bach Prelude of third suite in C Major
Lisa Dielawa “Why did you lie to me”
Phillip Glass’ “Dance Movement for Solo Cello.”
David Sanford “Seventh Ave Kaddish”
Beatles Helter Skelter
Apocalyptica – Path
Pieces for 4 cellos (except as noted):
Billy Strayhorn “Bloodcount”
B. Martinů: Arabesques no. 5.& 6
Bartok Roumanian Dances for 4 cellos
Putz Tango 4 cellos
Liza by George Gershwin for 4 cellos
Piano trio in C Major W.A. Mozart
Sonata for violin No. 1 in G Major J.S. Bach
Sonata for solo cello, Opus 25 No. 3 Paul Hindemith
Sonata for violin and cello Maurice Ravel
Contrasts Bela Bartok
I. Verbunkos (Recruiting Dance)
Piano trio No. 1 in D minor Opus 32 Anton Arensky
III. Elegie – Adagio
Piano Trio in B-flat major, Op. 97 Ludwig van Beethoven
I. Allegro moderato
II. Scherzo (Allegro)
III. Andante cantabile ma però con moto – Poco piu adagio
IV. Allegro moderato – Presto
Previous Concert Programs
He It Is from Tryptich for High Soprano and String Quartet Arthur Shepherd
Suite for Voice and Violin Heitor Villa-Lobos
I. A Menina e a Cançâo
If Music be the Food of Love; Sonnet 128 Lee Hoiby
Light, my Light from Tryptich for High Soprano and Str. Quartet Arthur Shepherd
Death and the Maiden Franz Schubert
String Quartet No. 14 in D Minor “Death and the Maiden” Franz Schubert
II. Andante con moto
III. Scherzo Allegro molto
Pacific Rims Percussion Quartet
Gunnar Folsom, Paul Hansen, Matthew Kocmieroski, and Robert Tucker
In a concert of percussion music from the Pacific Rim and beyond
Spring fromThe Four Seasons (1723) – Antonio Vivaldi (1678-1741)
Gentle Latitudes (1982/1985) – Jeff Morris (b. 1957)
Audience engagement using music by Ligeti, Reich and others demonstrating rhythmic forms, devises, and games such as palindrome, hocket, phasing,
Third Construction1941 – John Cage (1912-1992)
I N T E R M I S S I O N
selections fromCoyote Builds North America (1989) - John Luther Adams (b. 1953)
Across the canyon, you, Coyote.
Across the canyon, you Coyote.
What are you doing?
When I call you, come.
III. Giving Birth To Thunder
Coyote, my power, come
Through the wind I call you,
Through the rain, in the storm,
I, a young man, am calling you.
Answer what’s in my heart.
IV. Playing With Fire
I am old, twisted, dry. I am cold.
Build the fire.Heh!
Heeh-heh . . . he-he-he . . . feel good.
Let the chief call the dancers.
Marimba Spiritual (1983-1984) Minoru Miki (b. 1930)
Gentle Latitudes, Parts I, II, and III was originally written for solo marimba in 1982 and was premiered by Matthew Kocmieroski who has since performed it numerous times.The four part version was written in 1985 at the request of a Bay Area ensemble but unfortunately was never performed.Since Matthew has taken such an enthusiastic interest in the original solo it seems appropriate and I am very pleased that his group will premiere the quartet version tonight.It was well worth the wait.(note by Seattle composer Jeff Morris for the 1997 premiere of the quartet version)
John Cage came to Seattle’s Cornish School as an accompanist for the Dance Department in the fall of 1938.Finding a large collection of percussion instruments left by a previous accompanist, he began adding from Exotic, Folk, Asian, Latin American, and Vaudeville sources and ‘found’ instruments such as metal cans and auto brake drums.He found sympathetic ears and minds in Cornish’s and the community’s Dancer’s, Eurhythmics teachers, and Visual Artists.Thus John formed the Cage Percussion Players, who gave three concerts at Cornish in 1938 and 1939 and also toured Colleges and Universities in Washington, Montana, Idaho, and Oregon early in 1940.This spearheaded a brief but notable movement of percussion ensembles and compositions up and down the Pacific Coast which was coined “Drums Along the Pacific” by Composer Henry Cowell in a 1940 article in the publication Modern Music.
John’s early works were largely short chromatic ones resulting from his study with Arnold Schoenberg.With the Constructions he found a new form capable of housing his percussive ideas and harkening back to his earlier studies with Henry Cowell.The pieces, all in 4/4 time, use rhythmic structures as formative devises, in what I term square root formula.The First Construction (in metal) and the Second Construction were written in Seattle in 1939 and 1940 respectively, and are both built of sixteen 16 bar phrases.The Third Construction, written in San Francisco for his and Xenia’s anniversary, he described as follows
“Third Construction(percussion quartet, 1941) has a rhythmic structure of 24 times 24.This is differently expressed in each part.An attempt was made to compose rhythmic “cadences.”The instruments used are rattles, drums, tin cans, claves, cowbells, lion’s roar, cymbal, ratchet, teponaxtle, quijadas, cricket caller and conch shell.”
John was never one to stand still; his two years in Seattle and at Cornish represent an astonishing amount of creative activity and had a formative lifelong influence on his work and the work of many other musicians, artists, dancers, and writers.Besides the percussion ensemble, he developed the prepared piano to accompany dancer Syvilla Fort’s recital, and with his interest in Cornish’s radio school, composed in 1939 what could be described as one the first pieces of electronic music, his Imaginary Landscape No.1. At Cornish John met a young dancer from Centralia, Merce Cunningham, who played in the ensemble, with whom John would later form a lifelong creative partnership.He was introduced to Buddhism through his friendship with Mark Toby and bought his first copy of James Joyce’s Finnegan’s Wake in Seattle.John also began what would become his other (some would argue most) significant creative endeavor, that as a writer and philosopher.He wrote and gave numerous talks and lectures to many Seattle arts groups, such as his The Future of Music: Credo, which opens his first book, Silence, and Listening to Music.
The five percussion quartets from Coyote Builds North America by Alaskan composer John Luther Adams are drawn from a full length theater work based on Native American coyote stories adapted by Barry Lopez, author of Arctic Dreams and Of Wolves and Men.I had the honor of being part of the original production that toured Alaska in the late fall of 1987, along with three other musicians, including the composer, two dancers and a Native American story teller.This current version is from an expanded production that was done a few years later.The composer told me that the music draws from three major influences, traditional Native American drumming and dancing, the ‘Drums Along The Pacifc” movement of the late 1930’s and early 1940’s here in Seattle and elsewhere, and rock and roll.The poems are from “Coyote Bones” and “Indian Tales”, by Jaime de Angulo and are used by permission of Gui de Angulo.
Marimba Spiritual by Japanese composer Minoru Miki is a prime example of the wonderful music for marimba that composers there have taken the lead in writing over the last 50 years.The instrumentation of the percussion parts is broadly defined and left to the players for final selection.Miki has also been in the forefront of the revival of traditional Japanese instruments and music.The composer says of Marimba Spiritual “This piece was composed from 1983 to the beginning of 1984, keeping in mind the acute period of starvation and famine in Africa which was occurring at that time.The piece is composed in an organic fashion, with the first half of the piece as a static requiem and the last part a lively resurrection.The title is an expression of the total process.The rhythm patterns for the second part are taken from the festival drummingof the Chichibu area Northwest of Tokyo.”
Notes by Matthew Kocmieroski
PREVIOUS SEASONS PROGRAM INFORMATION
2011-2012 Concert Season
For its final concert of the season, Simple Measures is joined by the Seattle Girls’ Choir top choir, Prime Voci, and SGC’s Artistic Director, Jacob Winkler. The beautiful, clear sound of the choir will be interspersed with and sometimes accompanied by Simple Measures musicians – Arthur Girsky and Michael Jinsoo Lim, violins; Arie Schachter, viola; and Rajan Krishnaswami, cello with SGC’s Ruth Draper on piano. The first half will include lighthearted American music (Gershwin, Copland, Randall Thompson), some of Dvorak’s “American” string quartet and Barber’s Adadio for Strings. The second half will feature movements from Stabat Mater by Italian Baroque composer G.B. Pergolesi.
Seattle Girls’ Choir, Jacob Winkler, Artistic Director
Natasha Bazhanov, Michael Jinsoo Lim, violins
Arie Schachter, viola
Rajan Krishnaswami, cello
Dvorak American Quartet (fourth movement)
Nada te Turbe by Joan Szymko for chorus and solo cello
Choose Something Like a Star (Robert Frost) by Randall Thompson
Copland Old American Folk Songs: At the River, Long Time Ago, Zion’s Walls
True Colors by Billy Steinberg and Tom Kelly
Barber Adagio for Strings (second movement)
Pergolesi Stabat Mater (strings and continuo)
A Simple Measures Benefit Concert
The Krishnaswami-Salman duo will present a concert celebrating their 20th Anniversary of sublime music making. Come hear this experienced duo as they present a recital of great pieces from the repertoire for cello and piano. Featured will be Cesar Franck’s beautiful Sonata in A Major, which was the main piece on their first recital 20 years ago. The depth of artistry of these two long time collaborators is not to be missed!Champagne reception to follow for those who purchase sponsor tickets.
Mark Salman, piano
Rajan Krishnaswami, cello
Requiebros by Gaspar Cassado
Pequena Suite by Heitor Villa-Lobos
Habañera by Maurice Ravel
Sonata for Cello and Piano by Samuel Zyman
(Commissioned in 1992 by Rajan Krishnaswami)
Sonata for violin and piano in A Major (arr.)
Introduction and Polonaise Brilliante by Chopin
In the only concert this season that is unsung, we present one of our favorite unstrung heroes, clarinetist Sean Osborn.Luxuriate to the strains of Brahms as we bring you his lush, beautiful Clarinet Quintet as well as a wide variety of other music for clarinet and strings including a piece that Sean himself composed inspired by the Beatles!
Sean Osborn, Clarinet
Jennifer Caine, Cordula Merks, violins
Arie Schachter, viola
Rajan Krishnaswami, cello
Clarinet Quartet in D Major by Bernhard Crusell (1775-1838)
Clarinet Quartet by Kryzstof Penderecki (1933- )
I. Notturno. Adagio
Allegro for Clarinet and Viola by Rebecca Clarke (1886-1979)
Quintet for Clarinet and Strings by Sean Osborn (1966- )
IV. (Inspired by the Beatles)
Quintet for Clarinet and Strings by Jean Françaix (1912-1977)
I. Adagio – Allegro
Quintet for Clarinet and Strings by Johannes Brahms (1833-1897)
IV. Con moto
You KNOW you love cello!! Here’s your chance to be surrounded by the dulcet tones of a choir of cellos as we explore what perhaps is the western world’s most loved instrument.Hear works by Bach, Fauré, and some cool surprises! The culminating work will be the beautiful Bachianas Brasileiras #5 by Brazilian composer Heitor Villa-Lobos, scored for EIGHT cellos and soprano and featuring Seattle Opera regular Terri Richter.Incomparable!(We won’t be too high strung. Promise.)
1A. Friday, October 7 at 7:30 PM, Town Hall (Downstairs)
1B. Sunday, October 9 at 2 PM, Mt. Baker Community Club
Terri Richter, soprano
Cellos:Rajan Krishnaswami, Terri Benshoof, Roberta Downey, Virginia Dziekonski,
Eric Gaenslen, Chuck Jacot, Page Smith, Brian Wharton
- Villa-Lobos Bachianas Brasileras #1, Second Movement
- Villa-Lobos Bachianas Brasileras #5, Complete
- Vivaldi concerto for 2 Cellos in G Minor, First Movement.
- Faure Pavane (arranged for 8 cellos)