1. Chamber Music Series
Artistic Director, Ray Daniels
Sunday, March 17, 2012
3:00
Bentley University
Koumantzelis Auditorium
Koumantzelis Auditorium is located on the top floor of Bentley University’s Lindsay Hall
located behind and to the left of the Bentley Library, when approached from the main
(Forest Street) entrance.
175 Forest St., Waltham, MA, 02452
www.3rdsundays.org
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2. The new music series, Bring The Noise!, was created to showcase some of the best
works by living composers performed by some of the area’s top musicians. We’ve
invited composers from all walks of life and from all over the world to submit to our call,
and we are excited to present them to you!
Program
Cycles for violin and cello, Travis Alford
Violin, Annie Hsu
Cello, Sara Wilkins
Cycles for violin and violoncello was written in the spring of 2012 for New Music on
the Point in Leicester, VT. The title alludes to the form of the piece – loosely related
to ritornello form – which continuously “cycles” through the main thematic material,
altering the timbral and stylistic characteristics each time. The material itself,
especially in the beginning, is also somewhat cyclic (or at least repetitive),
consisting of repeated, ascending whole-tone gestures in both instruments, which
slowly slip “out of phase” with one another, allowing independent lines to emerge
and develop. Credit must be given to both Ravel and Bartok, whose music I was
listening to a good bit during the composing of this work, and to my wife, Lauren,
who came up with the title.
Stompbox Reflection for String Quartet, Andrew Sigler
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3. Violin, TBD
Viola, TBD
Cello, Christopher Homick
My first few years of guitar involved lots of bad playing on a crappy Eddie Van
Halen knock-off channeled through an equally crappy Peavey guitar amp.
Savagely dry tone accompanied by my meager technique made for an initially sad
experience, one which could only be altered by the magical potential locked in
amazing stompbox built by DOD, BOSS, MXR, and other manufactueres. Phaser,
Flanger, Reverb, and Delay were among the delights avaiable; elements that could
finnally make me sound like the metal gods which licks I so wanted to copy.
Stompbox Refelection in influenced by that time in my life, and by those amazing
little boxes, most notably the delay/echo pedal.
in shadows, in silence for Chamber Ensemble, Gregg Wramage
Flute/Picc/Alt, Deirdre Viau
Clarinet/Eb/bass, Yhasmin Valenzuela
Percussion, Ana Lorenzo
Piano, Christopher Matthew Orzech
Violin, Annie Hsu
Violist, Eve Boltax
Cello, Christopher Homick
The music of “in shadows, in silence” was inspired by certain ideas I’ve developed
recently regarding memory and the past. In the months before I began work on the
piece, I realized that my memories of earlier periods of my life were most strongly
stimulated by shadows and silences. As I started to sketch the work, shadows and
silences acted as portals through which I would pass from the world of the present
into the world of the past. In one sense, the two contrasting musics found in this
work are representative of the emotional and expressive qualities I have come to
associate with each of these two distinct spiritual worlds.
Concertante No.4 in F Minor for Octet, Hansani Archibald (world premier)
Flute/Picc/Alt, Deirdre Viau
Clarinet/Eb/bass, Yhasmin Valenzuela
Congas, Masako Kunimoto
Maracas, Ana Lorenzo
Piano, Christopher Matthew Orzech
Violin, Annie Hsu
Cello, Christopher Homick
The works belonging to the body of “Concertantes” began as a series of duets for
solo instrument and piano. The objective behind each concertante is the
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4. rhythmic cycle and a melodic motif. Therefore, harmonic progression is given over
to a freer from of occurrence. It is clear that the Caribbean is at the root of the story
behind this particular concertante. Yet, one does not have to search too far to
observe that additional inspiration for “Concertante No.4” was gleaned from the
Bach Brandenburg Concerti. The overall form and development of the “Concertante
No.4” is a conversation between the participating members/instruments as the “cell”
idea is explored, emotionally expressed and enjoyed. Therefore, after presentation
or exposition of the “cell” idea all material occurring thereafter (more specifically
rhythmic material) owes its existence to being either an augmentation, diminution,
condensation or dispersion of the “cell” material helping to create a sense of
ostinato throughout.
Meet Our Musicians
Please visit 3rd Sundays @ 3 to view the full profiles of our Musicians and composers.
There are more photos and videos of composers and musicians on facebook.
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