Jamestown Concert Association
Presents - The 2014-2015 Season
Turn UP the Music
Our Next Concert – Friday, March 20th
Prism Saxophone Quartet
Friday, March 20, 2015
8:00 p.m. St. Luke’s Episcopal Church
Timothy McAllister, soprano saxophone; Zachary Shemon, alto saxophone
Matthew Levy, tenor saxophone; Taimur Sullivan, baritone saxophone
In 1984, Prism Saxophone Quartet decided to stop playing traditional French music and embarked on a new journey for the then limited instrument. Fast forward to the now two-time winners of the Chamber Music America/ASCAP Award for Adventurous Programming and you’ll hear the difference. They blend influences from classical, jazz, traditional Chinese instruments, percussion ensembles, and electronic for their most current sound that is nothing short of original. Champions of new music, PRISM has commissioned over 150 works, many by internationally celebrated composers including Pulitzer Prize-winners, Guggenheim Fellows, a MacArthur “Genius” Award recipient, and jazz masters.
Intriguing programs of great beauty and breadth have distinguished the PRISM Quartet as one of America’s foremost chamber ensembles. Two-time winners of the Chamber Music America/ASCAP Award for Adventurous Programming, PRISM has performed in Carnegie Hall on the Making Music Series, in Alice Tully Hall with the Chamber Music Society of Lincoln Center, and throughout Latin America and China under the auspices of the United States Information Agency and USArtists International, respectively. PRISM has also been presented to critical acclaim as soloists with the Detroit Symphony and Cleveland Orchestra, and conducted residencies at the nation’s leading conservatories, including the Curtis Institute of Music and the Oberlin Conservatory.
Champions of new music, PRISM has commissioned over 200 works, many by internationally celebrated composers, including Pulitzer Prize-winners William Bolcom, Jennifer Higdon, Zhou Long, and Bernard Rands; Guggenheim Fellows William Albright, Martin Bresnick, Chen Yi, Lee Hyla, and Steven Mackey; MacArthur “Genius” Award recipients Bright Sheng and Miguel Zenón; and jazz masters Greg Osby, Rudresh Mahanthappa, Steve Lehman, and Dave Liebman. In 1997, PRISM initiated its own concert series in Philadelphia and New York City, presenting the newest compositions created for their ensemble by composers from around the world. The series has featured an eclectic range of guest artists, including Ethel, Talujon Percussion, Music From China, Miro Dance Theatre, Cantori New York, and top jazz artists, including guitarist Ben Monder, saxophonist Rick Margitza, and drummers Gerald Cleaver, Mark Ferber, and John Riley. PRISM has also joined forces with the New York Consort of Viols, Opera Colorado, and the Chilean rock band Inti-Illimani in touring engagements.
PRISM’s discography is extensive, documenting more than sixty works commissioned by the Quartet on Albany, innova, Koch, Naxos, New Dynamic, and New Focus. PRISM 2014 CD, People’s Emergency Center, features guest artists Jason Moran, Tim Ries, Bill Stewart, and Jay Anderson performing music by Quartet member Matthew Levy. PRISM may also be heard on the soundtrack of the film Two Plus One, by Emmy nominee Eugene Martin, also scored by Levy, and has been featured in the theme music to the weekly PBS news magazine “NOW.”
PRISM performs exclusively on Selmer saxophones and mouthpieces.
Jamestown Concert Association
Friday, March 20, 2015 @ 8:00 p.m.
St. Luke’s Episcopal Church
410 N Main St, Jamestown, NY 14701
Pagine – elaborazioni da concerto per 4 saxofoni (1998) Salvatore Sciarrino (b. 1947)
J.S. Bach (1685-1750)
Kyrie “Gott Vater in Ewigkeit”
Fughetta “Dies sind die heil’ gen zehn Gebot”
George Gershwin (1898-1937)
Domenico Scarlatti (1685-1757)
Allegrissimo L. 215 (Kirk. 120)
KEEN (2004) Roshanne
Etezady (b. 1973)
Her August Touch Matthew Levy (b. 1963)
I. Pueblito Viejo Jose Alejandro Morales
II. Paqueta Sergio Sarmiento
- Intermission -
Josquin Microludes* (2012) David Ludwig (b. 1974)
Milles regretz de vous abandonner...
et d’eslonger vostre fache amoureuse...
jay si grand dueil et paine doloureuse...
quon me verra brief mes jours definer...
mes jours definer...
Short Stories (1996) Jennifer Higdon (b. 1962)
Stomp & Dance
Salvatore Sciarrino: Pagine – elaborazioni da concerto per 4 saxofoni
The Pagine contains works originating from a variety of periods and genres. Tonight’s performance will include pieces by Bach, Gershwin, and Scarlatti adapted for saxophone quartet.
Salvatore Sciarrino (Palermo, 1947) likes to boast that he was born free and not in a school of music. Self-taught, he began to compose when he was twelve. His first public concert was given in 1962. However, Sciarrino considers what he wrote before 1966 to be immature works of apprenticeship, for it is then that his personal style came to the fore. After forty years, his huge catalogue of compositions is still in a phase of astonishing creative development. After completing his schooling and a few years of university in his hometown, he moved first to Rome in 1969 and then to Milan in 1977. Since 1983 he has been living in Umbria. He published for Ricordi from 1969 to 2004. Exclusive rights then passed to Rai Trade. His discography is particularly large: around 80 CDs, issued by the major international labels, have been acclaimed and often awarded prizes. As well as the librettos of his own works of musical theater, Sciarrino has written many articles, essays and texts of various kinds; some have been chosen and collected in Carte da suono (Cidim – Novecento, 2001). Also important is his interdisciplinary book on musical form: Le figure della musica, da Beethoven a oggi (Ricordi, 1998). Sciarrino has taught at the conservatories of Milan (1974-83), Perugia (1983-87) and Florence (1987-96). Between 1978 and 1980 he was artistic director of the Teatro Comunale of Bologna. An Academician of Santa Cecilia (Rome), Academician of the Fine Arts of Bavaria and Academician of the Arts (Berlin), he has won numerous prizes, the most recent ones being the Prince Pierre de Monaco (2003) and the prestigious Premio Internazionale Feltrinelli (2003). He is also the first winner of the new Musikpreis Salzburg (2006).
Roshanne Etezady: KEEN
The word “keen” has several different meanings: as an adjective, it can mean “ardent” or “intense.” Once upon a time, “keen” had a colloquial meaning that suggested something pleasant or exceptional. Used as a noun, however, the word “keen” signifies a wailing lamentation for the dead. It is this latter meaning that I particularly was mindful of when I wrote Keen. I wanted to write a piece that took advantage not only of the homogenous nature of the saxophone quartet, with its evenness of timbre across the four voices, but also allowed the instruments to display the subtleties and nuances that make saxophone one of the most versatile instruments in existence. Keen is “bookended” by two sections that call to mind a vaguely Middle Eastern-sounding lament. The use of the drone at the beginning and the end of the piece evokes a sense of solemnity and perhaps spirituality. The body of the piece is characterized by episodic sections of varying moods and colors that culminate with all four instruments in their highest registers.
Roshanne Etezady’s (b. 1973) works have been commissioned by the Albany Symphony, Dartmouth Symphony, eighth blackbird, Music at the Anthology, and other groups. She has been a fellow at the Aspen Music Festival, the Norfolk Chamber Music Festival and at the Atlantic Center for the Arts. Performers and ensembles including Rêlache, Amadinda Percussion Ensemble, Ensemble De Ereprijs, and the Dogs of Desire have performed Etezady’s music throughout the United States and Europe. Etezady’s music has earned recognition from the American Academy of Arts and Letters, the Korean Society of 21st Century Music, the Jacob K. Javits Foundation, Meet the Composer, and ASCAP. As one of the founding members of the Minimum Security Composers Collective, Etezady has helped expand the audience for new music.
Levy: Her August Touch
This rhapsodic work celebrates of the mellifluous qualities of the saxophone. The two altos and baritone form a supportive accompaniment to an extended tenor solo. The work seeks to exploit the sonorous qualities of the quartet through the combination of rich textural, harmonic and rhythmic elements found in jazz, all within a through-composed form.
Saxophonist, composer, curator, producer/engineer, arts consultant, and educator Matthew Levy has made an enduring contribution to contemporary music as co-founder and director of the PRISM Quartet, and as a collaborator with other artists and ensembles for the past 25 years. Praised by the Saxophone Journal as “a complete virtuoso of the tenor saxophone” and by Classical Magazine for “gorgeous and ethereal” compositions, his creative work has been supported by fellowships from the Independence Foundation and the Pennsylvania Council on the Arts, and grants from the National Endowment for the Arts, the Aaron Copland Fund, the American Composers Forum (Philadelphia Chapter), the Musical Fund Society of Philadelphia, and the Presser Foundation.
Morales, Sarmiento: Colombian Songs
In the summer of 1995, the PRISM Quartet traveled throughout Latin America as musical ambassadors of the United States. Performing contemporary American repertoire under the auspices of the State
Department, PRISM was presented throughout Brazil, Chile, Ecuador, Columbia, and Guatemala. We were excited to return with an array of new repertoire, including tangos, Latin jazz, folk songs, and classical works, all reflecting the rich musical diversity of our neighbors. Sergio Sarmiento and Jose Alejandro Morales are two Colombian composers PRISM met in the remote villages surrounding Bucaramanga, Colombia. The short compositions are representative of the unique folk/jazz music from Columbia and are original works for saxophone quartet.
PRISM’s 20th Anniversary Dedications:
Jennifer Higdon: Bop
Bop is full of…well…bops! Here’s to bopping along to another 20 wonderful years for the PRISM Quartet!
Jennifer Higdon (b. 1962) is the most performed living American composer working today. She is the recipient of awards, including a Pew Fellowship, a Guggenheim Fellowship, and two awards from the American Academy of Arts & Letters. The Telarc release of Higdon: Concerto for Orchestra /City Scape won a Grammy award in 2005. Her work blue cathedral is one of the most-performed orchestral works by a living composer (150 orchestras have performed the work since its 2000 premiere). A solo disc of her chamber music was recently released by Naxos. She is on the composition faculty at the Curtis Institute of Music in Philadelphia, where she holds the Milton L. Rock Chair in Compositional Studies.
Tim Ries: Lu
Lu was written in October 2004 after a conversation with the Brazilian vocalist and composer Luciana Souza, or Lu. This piece attempts to reconcile Luciana’s voice and the beautiful vocal quality in PRISM’s saxophone playing.
A versatile and thoughtful saxophonist and composer, Tim Ries (b. 1959) has collaborated with such jazz artists as Phil Woods, Tom Harrell, Al Foster, John Patitucci, Dave Liebman, Danilo Perez, Maynard Ferguson, Red Garland, Badal Roy, Maria Schneider and Donald Byrd. A Verve release with The Joe Henderson Big Band won a Grammy Award. Having just returned from a second world tour with the Rolling Stones playing saxophone, keyboard and organ, his other recording and performance credits include work with such diverse talents as Donald Fagen, Paul Simon, Sheryl Crow, Lyle Lovett, Stevie Wonder, Incognito, Blood Sweat & Tears, Bob Belden and David Lee Roth.
Frank J. Oteri: Fair and Balanced?
“Fair and Balanced” is the slogan of the conservative-leaning FOX News Network, but unlike them I took these words literally. Fair and Balanced? treats the ensemble equally (mostly—hence the question mark) and presents material in which all 24 quartertones carry equal weight. The final movement, “Incremental Change” exploits a riff that slowly ascends by transposition up a quartertone. Here the baritone saxophone takes center stage, implying that change must start from the bottom before it can reach the top. - Oteri
ASCAP Award-winning composer and music journalist Frank J. Oteri’s (b. 1964) compositions include MACHUNAS, a “performance oratorio in four colors” created in collaboration with Lucio Pozzi and inspired by the life of Fluxus-founder George Maciunas, which received its world premiere in Vilnius, Lithuania. Oteri is also the Composer Advocate at the American Music Center and the Founding Editor of its web magazine, NewMusicBox.William Bolcom: Scherzino
Matthew Levy: Song without Words
Song Without Words is the third of Three Miniatures, saxophone quartet adaptations of music originally composed for Diary of a City Priest, a film by Emmy nominee Eugene Martin. The film examines the life of Father MacNamee, a Philadelphia priest (played by David Morse) that serves in one of Philadelphia’s toughest neighborhoods. Faced with gangs, poverty, drugs, and an often pervasive feeling of hopelessness, the film conveys Father Mac’s weary yet resolute faith, creating a moving, inspiring portrait of a spiritual man who struggles with translating his faith into action every day.
Gregory Wanamaker: speed metal organum blues
The imaginary term “speed metal organum” refers to the fast paced succession of open 5th power chords found in heavy metal music—and the strange notion that this music may have actually evolved from 13th century organum. Stuck in the middle of this idea is a single stand-alone 12-bar blues statement.
Gregory Wanamaker’s (b. 1968) music explores and extends unique timbral qualities of instruments and voices while maintaining lyric and dramatic characteristics commonly associated with works of earlier eras and contemporary popular music. In demand as a composer of solo and chamber music, Wanamaker has several recorded works on the Albany, innova, Summit, Mark Custom and KCM labels. Wanamaker is currently Associate Professor of Composition and Theory at the Crane School of Music at SUNY Potsdam.
David Ludwig: Josquin Microludes
I am often inspired by great music of the past, and much of my composing these days involves taking the clay from an older piece and reworking it into my own new sculpture. To that end, this piece is a set of miniatures that incorporate Josquin's "Mille Regretz" into its musical language. Each miniature features Josquin's famous chanson framed by some variation or transmutation of it. The piece is played continuously, as if channel surfing between ancient music and more recent sounds. I thought the medium of the saxophone quartet would be fitting for this project based on a choral work, as it is its own choir of voices, sustained by breath and line. The Josquin Microludes was written for the PRSIM Quartet with warmth and admiration.
David Ludwig is on the composition faculty of the Curtis Institute where he serves as Artistic Chair of Performance and as Director of the Curtis 20/21 Contemporary Music Ensemble. His music has been commissioned and premiered by soloists including Jennifer Koh, Jonathan Biss, and Jeremy Denk, orchestras including the Philadelphia and Minnesota Orchestra, and ensembles like eighth blackbird, the Trio Cavatina, The PRISM Quartet and many others. A recipient of numerous awards and honors, including a fellowship from the Independence Foundation, Ludwig’s work has been heard on PBS and NPR’s Weekend Edition and has received critical acclaim across the globe. In 2011 he was voted one of the world's top 100 composers under 40 by National Public Radio.
Jennifer Higdon: Short Stories
"Short Stories" is a collection of 6 movements for saxophone quartet, which are flexible in both the order and number in which they can be performed. The piece was written with the idea that a group could tailor their performance according to their venue and the duration they might like to fill on a concert. While being composer-in-residence with the PRISM Quartet, I had the chance to see how the demands for repertoire change greatly from concert to concert: through school programs with young students, to college-age classical musicians, to formal recitals. So, when I sat down to write a work for the Ancia, Black Swamp, Resounding Winds, and Sax 4th Avenue quartets, I wanted a work with as much diversity in the characters of the movements as possible and I wanted the groups to have freedom in their choices of movements. As a result, there are 6 movements, 3 of which are slow and 3 of which are fast, each telling a different story.
Martin Bresnick: Every Thing Must Go
Martin Bresnick divides his work Every Thing Must Go (2007) in three sections: Andante, G.L. In Memoriam, and Pensoso, con sobrio espressione. The composition was both commissioned by and dedicated to PRISM with support from the Rockefeller Philanathropy and New York State Music Fund. Regarding the title, Bresnick notes only, “And it does, as in these three movements—now going or already gone.”
Martin Bresnick was born in New York City in 1946. He was educated at the High School of Music and Art, the University of Hartford (B.A. ‘67), Stanford University (M.A. ‘68, D.M.A. ‘72), and the Akademie für Musik, Vienna (‘69-’70). His principal teachers of composition include György Ligeti, John Chowning, and Gottfried von Einem. He has taught internationally and is presently Professor of Composition and Coordinator of the Composition Department at the Yale School of Music. Bresnick’s compositions cover a wide range of instrumentation, from chamber music to symphonic compositions and computer music. His orchestral music has been performed by the National Symphony, Chicago Symphony, American Composers Orchestra, San Francisco Symphony, and many international groups. His chamber music has been performed in concert by The Chamber Music Society of Lincoln Center, Sonor, Da Capo Chamber Players, Speculum Musicae, Bang on A Can All Stars, Nash Ensemble, MusicWorks!, Zeitgeist, Left Coast Ensemble, and Musical Elements. He has received commissions from many institutions, including
the National Endowment for the Arts, the Fromm Foundation, Lincoln Center Chamber Players, Meet-the-Composer, and Chamber Music America. In addition to numerous other prestigious awards, he received a Guggenheim Fellowship in 2003. Bresnick has written music for films, two of which, Arthur & Lillie (1975) and The Day after Trinity (1981), were nominated for Academy Awards in the documentary category, (both with Jon Else, director). Mr. Bresnick’s music has been recorded by Cantaloupe Records, Composers Recordings Incorporated, Centaur, New World Records, Artifact Music and Albany Records and is published by Carl Fischer Music (NY), Bote and Bock, Berlin and CommonMuse Music Publishers, New Haven.
Hailed as “a master of his instrument” (Audiophile Audition) known for “evocative and bravura playing” (The Classical Review), Timothy McAllister serves as Associate Professor of Saxophone and Co-Director of the Institute for New Music at the Northwestern University Bienen School of Music. Additionally, he spends his summers as distinguished artist faculty of the Interlochen Arts Camp (MI), and regularly performs at the Cabrillo Festival for Contemporary Music in Santa Cruz, CA each August. He has recently been featured with the Los Angeles Philharmonic, Toronto Symphony, Tokyo Wind Symphony, Dallas Wind Symphony, and United States Navy Band, among others. He holds degrees and honors from The University of Michigan, including the Doctor of Musical Arts and the Albert A. Stanley Medal. McAllister’s work can be heard on the Deutsche Grammophone, Naxos, OMM, Stradivarius, Centaur, AUR, Albany, New Dynamic, Equilibrium, New Focus and innova record labels.
Taimur Sullivan enjoys a prolific career as a soloist, chamber musician, and educator. His performances have taken him from the stages of Carnegie Hall and Lincoln Center to engagements in Russia, Germany, and throughout Latin America. The New York Times praised him as “outstanding…his melodies phrased as if this were an old and cherished classic, his virtuosity supreme.” The Milwaukee Journal-Sentinel wrote that Taimur is “talented, fearless and sensitive…the sounds he made were fully and deliciously drawn.” He appears on over twenty-five recordings for the New World, Mode, Albany, innova, Capstone, Mastersound, Bonk and Zuma labels, and has most recently recorded James Aikman’s Concerto for Alto Saxophone with Russia’s St. Petersburg Symphony. In honor of his distinguished record of promoting and presenting new works for the saxophone, including over 150 premieres, Meet The Composer named him one of eight “Soloist Champions” in the U.S. Mr. Sullivan is the Artist/Professor of Saxophone at the University of North Carolina School of the Arts.
Matthew Levy has been hailed by the Saxophone Journal as “a complete virtuoso of the tenor saxophone” and by the New York Times for his “energetic and enlivening” performances. A recipient of composition fellowships from the Independence Foundation and the Pennsylvania Council on the Arts, he has scored four motion pictures, including PBS’s Diary of a City Priest, featured at the Sundance Film Festival. His music is highlighted on four PRISM recordings on Koch and innova; he has also recorded for Deutsche Grammophon, Tzadik, and Grammavision; collaborated with a host of choreographers/dance companies, among them Peter Sparling and Scrap; and appeared as a guest artist with the Detroit Symphony, Dolce Suono Ensemble, and counter)induction. He holds three degrees from the University of Michigan, where he was a recipient of the Lawrence Teal Award, and has served on the faculties of the Universities of Michigan, Redlands, and Toledo. From 2000-2011, he served as Director of the Philadelphia Music Project at The Pew Center for Arts & Heritage.
Zachary Shemon is Assistant Professor of Saxophone at the University of Missouri – Kansas City Conservatory of Music and Dance. Additionally, he serves on the music faculties at the Interlochen Arts Camp and Interlochen Saxophone Summer Institute. He holds degrees from the University of Michigan (BM, BSE, MM) and Indiana University (Performer Diploma). He also studied at the Université Européenne de Saxophone in Gap, France and the Aspen Music Festival and School, where he held the saxophone fellowship. His primary teachers are Donald Sinta and Otis Murphy. As a soloist, Shemon was awarded 1st prize at the inaugural International Saxophone Symposium and Competition in Columbus, GA and was the winner of the Indiana University Concerto Competition. He has appeared as a concerto soloist with the Indiana University Philharmonic and Michigan Philharmonic orchestras, as well as with the University of Michigan Concert and Symphony Bands. Shemon is a D’Addario performing artist, performing on Reserve Classic reeds and aiding in product research and design.
Western New York Chamber Orchestra
Friday, April 17, 2015
8:00 p.m. St. Luke’s Episcopal Church
Glen Cortese, Artistic Director & Conductor and Dmitri Novgorodsky, pianist
W.A. Mozart – Piano Concerto in A Major, K. 414
John Musto – New orchestral work (unnamed as yet)
F. Schubert – Symphony No. 5 in B flat Major, D. 485
Western New York has a wealth of arts and music and our Chamber Orchestra plays an integral part in that. This professional Ensemble-in-Residence at the SUNY Fredonia School of Music celebrates its 30th anniversary this year and continues to demonstrate the lasting power of classics. Internationally famed conductor and composer, Glen Cortese, leads the Chamber Orchestra for a tenth season while Ukrainian-born Dmitri Novgorodsky shares his piano playing gift. The Orchestra is also focused on encouraging music in our community through education. WNYCO is active with many school districts in the region, as well as offering unique professional level opportunities for student performers from the Fredonia School of Music.
Borealis Wind Quintet
Borealis Wind Quintet
Friday, May 15, 2015
8:00 p.m. St. Luke’s Episcopal Church
Katherine Fink, flute; Tamar Beach Wells, oboe; Kathryn Taylor, clarinet;
Daniel Culpepper, french horn; Wayne Hileman, bassoon
Joining the traditional sounds of five classic wind instruments, the Grammy nominated Borealis Wind Quintet is an outstanding chamber ensemble. Their love of performing is reflected in a successful 30-year career with praise from critics and audiences alike. What truly sets them apart is their love of music, friendship and goal to make the best music possible. With reviews such as this one from the Philadelphia Inquirer stating “The group demonstrated the sort of rapport that characterizes the very best chamber playing,” it’s clear they’ve achieved what they set out to do.
***The Symphor!a concert at the Reg Lenna Center for the Arts begins at 7:30 PM***
All other concerts are at St. Luke’s Episcopal Church and begin at 8:00 PM
Admission by Season Membership Pass (click to download form)
Individual concert tickets are available at the door the evening of the concert
or in advance at Reg Lenna Center for the Arts Box Office,
Chautauqua Music, Trinity Guitars, Germaine & Pappalardo,
or call 484-7070 or 487-1522.
Group rates available. Kids free w/ paid adult.
We hope to hear from YOU!!!
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All Warren concerts are held at the Struthers
Library Theatre in Warren, PA
and begin at 7:30 PM
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