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Border Crossings

Border Crossings

  • Door Pacific Serenades
  • Release 1-9-2009
  • Media-indeling CD
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Prijs: € 13,88

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Border Crossings Performed by members of Pacific Serenades Mark Carlson, flute Gary Gray, clarinet Clayton Haslop, violin (Concierto barroco) Connie Kupka, violin (2nd, Three Folksongs & Pacific Serenade) Miwako Watanabe, violin (1st, Pacific Serenade) Roger Wilkie, violin (1st, Three Folksongs) Roland Kato, viola (Three Folksongs) Simon Oswell, viola (Pacific Serenade) David Speltz, cello Patricia Mabee, harpsichord Joanne Pearce Martin, piano The Music All of these works were commissioned and premiered by Pacific Serenades. Concierto barroco for flute, violin, cello, and harpsichord (2002) Commissioned by Jack & Florence Irving for Pacific Serenades. A few years ago I had the opportunity to read the novel Concierto barroco, written in 1974 by the brilliant Cuban writer Alejo Carpentier (1904-1980). The novel mentions a chance encounter in the city of Venice at the beginning of the 18th Century between three great musicians of the time: Domenico Scarlatti (1685-1757), George Frideric Handel (1685-1759), and Antonio Vivaldi (1678-1741). In an amusing passage, it tells how they get together and play their favorite instruments, Scarlatti at the harpsichord, Handel at the organ, and Vivaldi at the violin, and perform an exceptional jam session. I did borrow the novel's title for my quartet but, in spite of my great admiration for the music of Scarlatti, Handel, and Vivaldi, my intention in Concierto barroco was not to imitate these or other great composers of the 18th century, but rather, to create an original baroque musical style of my own. My objective was not unlike that of the Mexican composer Manuel M. Ponce (1882-1948) in his baroque compositions for guitar, or the Brazilian Heitor Villa-Lobos (1887-1959) in his Bachianas Brasileiras cycle. The compositional process that I undertook involved combining traditional forms of the baroque period, of the Spanish baroque, and modern Latin American dances. -Enrique González-Medina Three Folksongs for clarinet and string quartet (1992) Commissioned by Elizabeth H. Henderson for Pacific Serenades Three Folksongs was composed in 1992, a commission from Mark Carlson and Pacific Serenades. Each of the three movements is centered on a vernacular-styled melody, which is placed in a traditional Western classical form. In the first movement, a Scotch/Irish ballad is contained by sonata form; the second is a theme and variations on an African-American-styled spiritual; the third movement is a Brazilian samba, realized as a rondo. At the time, I was interested to see whether these different 'ethnic' themes could co-exist in a piece without it sounding like a hodgepodge. But if Bach used French, Italian, and German styles incorporated into the distinct movements of a suite, then, I thought, I should be able to do so with Irish, African, and Brazilian music! In the years since composing this piece, my interest in incorporating the vernacular with the classical styles has only deepened and continues to grow. It is how I hear music. My thanks to Mark Carlson for his terrific support and for the unique work that he does in bringing new work into the world. Thanks also to the performers for their artistry and for their passion. -Robert Livingston Aldridge Sonata for cello and piano (1998) Commissioned by Virgil & Lynn Roth for Pacific Serenades As is almost always true with my music, this piece is rather eclectic, various styles being blended and juxtaposed, reflecting my varied musical roots and interests. The opening and closing movements are both rather busy, the first one often agitated and the last an upbeat dance. The middle movement begins and ends in relative calm, though in it's middle section a high singing melody in the cello evolves into a sort of subdued anguish. The third movement deserves special note here, as it is based on a kind of dance and song peculiar to Venezuela, the merengue, which is in 5/8 time. My fascination with this kind of music stems from three trips to Venezuela, during which I began to explore the folk and popular music of this uniquely multi-cultural country. My piece here is not meant to be a replica of the merengue so much as a kind of synthesis of it's rhythms and overall form and my own language. I guess I am sort of a stylistic sponge: music that I hear and am attracted to often gets absorbed into my personal vocabulary. This movement is a further manifestation of my long-standing attraction to South American popular music, and I have a hunch that it will be one of a number of pieces influenced by Venezuelan music. I wrote the piece especially for David Speltz and Joanne Pearce Martin, and they premiered it on a Pacific Serenades concert in 1998. -Mark Carlson Pacific Serenade for clarinet and string quartet (1998) Commissioned by Dr. Eberhardt & Deedee Rechtin for Pacific Serenades Written in 1998, Pacific Serenade is a "peaceful serenade"-a serenade as in: romantic, quasi-improvised music which should be sung at night under the stars. The main "singer" here is the clarinet. In general, the music is extremely quiet, delicate, sensuous, and sentimental. The sensuousness is created by Latin song elements, especially the nostalgic Brazilian folk song, which is at times combined with blues-style melody and harmony. The string quartet has a technically and expressively challenging part, which is not merely the accompaniment to the clarinet, but rather it is responsible for setting the mood in which the clarinet sings. This is my opus 59, and it was commissioned and premiered by Pacific Serenades in Los Angeles in 1998. Of course, the ensemble's name inspired the name of this work, as well as it's mood, since Gary Gray is the clarinetist. In an age of boom boxes, media bombardment of information, and pop culture becoming increasingly aggressive, boisterous, and violent, I felt the need to write just the opposite, to show once more that less is more. Pacific Serenade is published by Peermusic/Theodore Presser. Later, I wrote versions for optional saxophone and piano. -Miguel del Aguila The Composers Composer Robert Aldridge's music, for orchestra, opera, music-theater, dance, solo and chamber ensembles, has been performed throughout the United States, Europe, and Japan. He has received fellowships and awards from the Guggenheim Foundation, the American Academy of Arts and Letters, the National Endowment for the Arts, the New York Foundation for the Arts, the Lila Wallace Reader's Digest Fund, Meet the Composer, and the American Symphony Orchestra League. He was commissioned by Orpheus Chamber Orchestra and the Los Angeles Chamber Orchestra for a clarinet concerto, which was premiered in 2005. His tone poem, Leda and the Swan, a four-orchestra consortium commission, was premiered in 2003. His opera, Elmer Gantry, was given it's full stage world premiere by Nashville Opera in 2007. He holds a Doctorate in Composition from the Yale School of Music, and is Director of the John J. Cali School of Music at Montclair State University, where he is also an Associate Professor of Music Composition/Theory. Composer Mark Carlson's lyrical, emotionally powerful, and stylistically unique music has earned him the admiration of audiences and musicians throughout the United States, Canada, Mexico, and Europe. A versatile composer, his works include art songs, chamber music, choral music, concertos and other large ensemble works, and songs for musical theater. He has been commissioned by the National Shrine in Washington, DC, and the New West Symphony, among other organizations, as well as by many individual performers. One of his CDs, The Hall of Mirrors, was a winner of the Chamber Music America/WQXR Records Awards for 2001. He has taught music theory and composition at both UCLA and Santa Monica College for many years. The Founder and Artistic Director of Pacific Serenades, he is also active as a flutist. Carlson attended the University of Redlands, graduated from CSU Fresno, and received MA and PhD degrees in composition from UCLA. His principal teachers were Alden Ashforth and Paul Reale (composition) and Roger Stevens (flute). Born in Montevideo, Uruguay, American composer Miguel del Aguila graduated from the San Francisco Conservatory of Music before moving to Vienna to further his studies. Returning to California in 1992, he was named 'resident music man of the year" by Los Angeles Times critics in 1994. He received a Kennedy Center Friedheim Award in 1995 and several California Arts Council Fellowships and Residencies, as well as support from Meet the Composer's Music Alive program, the Aaron Copland Fund, and the Argosy Foundation for Contemporary Music. Aguila's catalog includes opera, orchestral, choral, solo, and chamber works, as well as incidental music for theater and film. International premieres of his works have been broadcast worldwide on radio and TV. Many of his works have been recorded, and several are published through Peermusic. Aguila was conductor and music director of the Ojai Camerata from 1996 to 2000. From 2000 to 2004 he was resident composer at the Chautauqua Institution Summer Festival. He is currently composer-in-residence with the New Mexico Symphony Orchestra in Albuquerque. Originally from Tijuana, Baja California (Mexico), Enrique González-Medina has presented new works with musicians from Mexico, the United States, Colombia, and Italy. He has recently completed his first piano concerto, commissioned by the Baja California Orchestra. In 2006 he premiered The Baja California Songbook, twenty-five song settings of poems by five Baja California poets. His children's opera, How Nanita Learned to Make Flan, commissioned by Cincinnati Opera, has had over 150 performances in the United States. His quartet, Concierto barroco, was commissioned by Pacific Serenades. Guitarist Felix Bullock premiered his Medellin Concerto in Colombia, and the Mexican duo of soprano Claudia Montiel and guitarist Carlos Bernal recorded his song cycle The Teacher's Verses for their CD, La Cuerda del Tiempo. Enrique González-Medina studied composition at the National Autonomous University of Mexico, and graduated from the Mannes College of Music and CSLA. He is a member of the piano faculty of the Pasadena Conservatory of Music. The Performers Mark Carlson, flute (see composer bio) Clarinetist Gary Gray enjoys a versatile career as a concert artist, studio musician, and professor of clarinet and chamber music at UCLA. He received his BM and MM degrees from Indiana University, where he studied clarinet with Henry Gulick and Robert McGinnis and chamber music with Janos Starker. He is Principal Clarinetist of the Los Angeles Chamber Orchestra (LACO), and has been a member of the St. Louis Symphony, as well as soloist with the San Francisco Symphony, the Indianapolis Symphony, and LACO. One of his numerous recordings, his concerto CD with the Royal Philharmonic Orchestra, was nominated for a Grammy Award. He has collaborated with Aaron Copland, Pierre Boulez, and Igor Stravinsky, and recorded film scores with John Williams, Jerry Goldsmith, Henry Mancini, Thomas Newman, Bruce Broughton, Don Davis, and others. (1987)* Roland Kato, internationally acclaimed viola recitalist and soloist, has been a member of LACO since 1976 and was appointed Principal Violist by Iona Brown in 1987. As a guest artist, he has played with the Chamber Music Society of Lincoln Center and has appeared with the New York New Music Ensemble. He was honored to perform chamber music with Yo-Yo Ma in a concert benefiting cancer research. A commissioned arranger of music, Kato has had his pieces played throughout the US and Europe. He produced the premiere recording of Telemann's Quatrieme Livre de Quatours, on the Koch Classics International label. Mr. Kato has appeared as soloist/recitalist on both viola and viola d'amore with LACO, Festival Casals in Puerto Rico, Grand Canyon Chamber Music Festival, Oregon Bach Festival, and many others. (1990)* Violinist Clayton Haslop joined the professional world of music as a teenager when he was invited by Sir Neville Marriner to join the 1st violin section of LACO. He has traveled internationally both as a soloist and as a member of the Los Angeles Piano Quartet, the New Hollywood String Quartet, and the Haslop/Sanders Duo. He also performed as soloist under Marriner and has served as Concertmaster of LACO, Los Angeles Music Center Opera, Dallas Opera, ?Santa Barbara Symphony, and several festival orchestras. He has performed on over 1,000 motion picture soundtracks and currently serves as Concertmaster for James Horner, Don Davis, Michael Giacchino, and several other composers. As a student he coached extensively with Nathan Milstein; his other teachers include Eudice Shapiro, George Kast, Guido Mansuino, and Sybil Maxwell. (1996)* Connie Kupka, violinist, was a member of the Arriaga Quartet, which won First Prize in the Coleman competition in Pasadena and had it's New York debut at Town Hall. Ms. Kupka has participated in the Santa Fe, Oregon Bach, Mainly Mozart, and Ojai Music festivals. She has served as Principal Violinist for LACO, the Pasadena Symphony, and the Colorado Music Festival, and appeared as soloist with the South Bay Symphony and Colorado Chamber Orchestras. She is a member of LACO, performs with the South Bay Chamber Music series and Monday Evening Concerts, and with motion picture studio orchestras. (1991)* Harpsichordist Patricia Mabee has been hailed for her virtuosity, flawless technique and outstanding performances. She has been a soloist with LACO, of which she has been Principal Keyboardist since 1976, and has appeared as guest soloist with Christopher Hogwood, Helmuth Rilling, Nicholas McGegan, and Iona Brown. She has performed regularly with the Casals Festival, Oregon Bach Festival, Chamber Music Northwest, and Ojai Festival. Ms. Mabee received a master's degree from California Institute of the Arts, where she is currently a faculty member. A master of early music styles, she also incorporates jazz, blues, bluegrass, and contemporary music to bring the harpsichord into the 21st century. (2002)* Joanne Pearce Martin is Principal Keyboardist of the Los Angeles Philharmonic. A graduate of the Curtis Institute of Music, she has performed as soloist with LACO and the Philadelphia Orchestra, and has given joint recitals with Joshua Bell, Lynn Harrell, Iona Brown, and Joseph Silverstein. She has performed at the Aspen and Sarasota festivals, and in Southern California with the LA Philharmonic's Green Umbrella and Chamber Music Series, Camerata Pacifica, Ojai, and Mainly Mozart Festivals. Martin has performed multiple-piano works with Emmanuel Ax, Yefim Bronfman, Helene Grimaud, and Jeffrey Kahane, and has recorded commercially for various labels. (1993)* Violist Simon Oswell has performed as a soloist and chamber musician around the world, including in a long tenure as Principal Violist of the Carmel Bach Festival. Oswell divides his time between chamber music, solo work, and studio music. He has recorded for many films, including the Academy Award-winning scores of John Williams and James Horner. Oswell is Principal Violist of the Hollywood Bowl Orchestra, and has toured Japan, Australia, and Europe as guest Principal Violist/Soloist of the Australian Chamber Orchestra. He currently makes his home in Australia. (1998)* David Speltz, cellist, studied with Eleanore Schoenfeld and was later invited to join the Piatigorsky masterclass at USC. He helped form the Arriaga String Quartet, which won first prize in the Coleman competition in Pasadena. He has participated in the Santa Fe, the Grand Canyon, and Oregon Bach Festivals, has performed at the Library of Congress and at Lincoln Center, and recorded on the Nonesuch label. Speltz was a member of LACO during Sir Neville Marriner's tenure, and was invited by Helmuth Rilling to serve as Principal Cellist of the Bachakademie in Stuttgart, Germany. (1990)* Miwako Watanabe, violinist, is a graduate of the Toho Conservatory of Music in Tokyo, and also studied with Ivan Galamian. She was a member of and frequent soloist with the Munich Bach Orchestra under Karl Richter, and LACO under Neville Marriner. She was a founding member of the Sequoia Quartet, a winner of the 1976 Walter Naumburg Chamber Music Award, and of the New Francesco Trio. She has performed at the Gardner Museum in Boston and Kennedy Center in Washington, DC. Ms. Watanabe has also been active in Japan as a member of the Mito Chamber Orchestra and the Saito Kinen Orchestra, and in the US she appears regularly as the Concertmaster of the Chamber Orchestra of the South Bay. (1992)* Violinist Roger Wilkie is Concertmaster of the Long Beach Symphony and has served in that capacity with LACO, the Los Angeles Music Center Opera Orchestra, and the Real Filharmonia de Galicia (Spain) under Helmuth Rilling. He has appeared as soloist with the Long Beach Symphony, LACO, and the Carmel Bach Festival Orchestra. He has participated in the Santa Fe, La Jolla, and Mainly Mozart festivals and has also served as the Principal Violinist of the Camerata Pacifica of Santa Barbara. He toured throughout North America as a founding member of the Angeles String Quartet. (1989)* * Year in which artist first performed with Pacific Serenades Pacific Serenades Mark Carlson, Artistic Director The mission of Pacific Serenades is to generate new chamber music by commissioning works and presenting them alongside standard repertoire in intimate concert settings, emphasizing the wonderful talents of Southern California musicians. Pacific Serenades has twice been awarded the prestigious Chamber Music America/ASCAP Award for Adventurous Programming, and it's first CD, The Hall of Mirrors, was a winner of the 2001 CMA/WQXR Records Awards. Founded in 1982 by Artistic Director Mark Carlson, the self-presenting ensemble has since become one of the premier chamber music ensembles in Southern California and one of the longest-performing on the West Coast. It exists so that music lovers-listeners, performers, and composers alike-might experience chamber music as a living art-and to experience it in the intimate setting for which it is intended. The performers are among the best musicians of the Los Angeles area-indeed, of anywhere. Each of four programs per year presents the premiere of a new work commissioned by Pacific Serenades along with standard repertoire. As of it's 22nd season in 2008, Pacific Serenades has presented the premieres of 90 new works-more than any other group of it's kind in the country. Representing 49 different composers, most of them from the Los Angeles area, many of these works have gone on to further performances by other ensembles throughout this country and in Europe and Canada, and many of them have already been recorded. In order to make it's commissioned works more available to other ensembles, Pacific Serenades is now the publisher of the majority of these works. Border Crossings is the second of an ongoing series of recordings by Pacific Serenades. Cover painting: Dalton Nuñez Recorded at Citrus College Studios in Glendora, CA, February-April, 2006 Engineer: Steve Barker Editing and Mastering: Jonathan Marcus Session Producers: Mark Carlson, Tony Spano, Jr., Enrique González-Medina Graphic Design: Makiko Kanzaki Piano provided by Mason & Hamlin & Paul Van Ness Producer: Mark Carlson This recording project is being supported by grants from: The Argosy Foundation Contemporary Music Fund The Aaron Copland Fund for Music Recording And by generous contributions from: Ursula Krummel and many individual donors.

Details

Titel: Border Crossings
Releasedatum: 1-9-2009
Label: CD Baby
Media-indeling: CD
UPC: 807207055228
Objectnummer: CDBYS55228
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