rn ALBANY - Naxos Music Library

The 2oth century was an amazing time in the
development of repertoire for winds. An astonishing number of pieces were written to support
a variety of wind organizations from community
bands to school bands to serious professional
wind groups. With so many pieces being produced, it has been easy for us to forget about
some of the really valuable music written for us.
It is in the spirit of preserving some of these
works that we offer this recording of sometimes
forgotten, but interesting works.
Conductor and composer, (Ian) Willem van
Otterloo (1907-1978) was born at Winterswijk,
Netherlands and died at Melbourne, Australia.
After studying medicine for a time, he went to
the Amsterdam Conservatorywhere he studied
cello under Orobio da Castro and composition
with Sem Dresden. He was a young cellist with
the Utrecht Municipal Orchestra, when his Suite
No.3 won a composition prize given by the
Concertgebouw Orchestra. The first performance of his Suite resulted in a conducting
debut with the Concertgebouw, and subsequent
conducting positions in Utrecht. He was
engaged as conductor of the Hague Resedentie
Orchestra in 1949, the Sydney Philharmonic
Orchestra in 1972, and as general music director
in Dusseldorf in 1974. In addition to his
Serenade which appears on this recording, he
composed a Symphonietta for sixteen wood-
winds and horns.
The Serenade is loosely based on the wind
serenades of the 1sth and 19thcenturies and
consists of four movements--Marsch, Nocturne,
Scherzo and Hymne. As the titles suggest, this
music is meant to be accessible to the listener
and appropriate for concert as well as occasional
performances. The music, written in 1944, is in a
post romantic style and runs the gamut from
charming to brilliant to reflective.
George Perle (1915-), has been celebrated
as both a composer and theorist of extraordinary
accomplishments. He is a favorite son of the
DePaul School of Music, where he earned his BA
in 1938. His studies included composition with
Wesley La Violette and Ernst Krenek, and a PhD
from New York University in 1956. He has
served on the faculties of the University of
Louisville, the University of California at Davis,
and Queens College in New York, in addition to
serving as visiting professor at several other
schools between 1965 and 1995.As a composer
he won the Pulitzer Prize in music (for Wind
Quintet No.$ the MacArthur Fellowship (1986)
and two Guggenheim Fellowships (1966, 1974).
As a theorist he received the Otto Kinkeldey
Award of the American Musicological Society
and the Deems Taylor Award for his book, The
Operas ofAlban Bog (1980).
Although Perle was among the first American
composers to seriously consider the music and
theoretical ideas of Schoenberg,Berg and
Webern, his music is less concerned with being
12-tone than with reflecting a systematized
approach to dodecaphonic composition. While
his music is certainly of his time, it is nonetheless conservativeand logical, often reminding us
of earlier simpler forms. In addition to the
Concertinofor Piano, Winds, and Timpani
heard here, he has written a Serenadefor Viola
with chamber winds that is very much in the
character of an lath century serenade.
The Concertinofor Piano, Winds, and
Timpani was composed between 24 September
1978 and 20 February 1979 on a commission
from the Fromm Music Foundation. It was premiered in Chicago in April 1979 with Ralph
Shapey conducting and Morey Ritt as the piano
soloist. In addition to the solo piano, the
Concertino calls for two flutes, two oboes (second doubling English horn), two clarinets, two
bassoons, two horns, two trumpets, two trombones, and timpani.
Ned Rorem, (1923.) grew up in Chicago as
a gifted and somewhat unsettled young man
with an avid interest in the music of the early
2oth century. He studied briefly at Northwestern
University and the Curtis Institute, served as secretary and copyist to Virgil Thompson, spent two
summers at Tanglewood, and finally completed
his musical training at Juilliard in 1949. Next he
traveled to Paris to study with Honegger,visited
Morocco and returned to Paris where he gained
acceptance into the literary and musical circle of
Cocteau, Auric and Poulenc. He returned to New
York in 1958 and quickly gained attention both
as a composer and writer, particularly for his
diaries. These popular diaries include his observations on culture, music, his personal lie and
the lives of other people. In addition he completed essays on pop culture and music criticisms that are direct, elegant and insightful.
Rorem won the Pulitzer Prize in 1976 for his
orchestral suite,AirMusic, but it is really for his
more than 400 songs that he is best known.
The Sinfonia was written as the first commission for the American Wind Symphony
Orchestra and its conductor, Robert Boudreau.
It is cast in four brief sections, two of which are
lyrical and reflective, and two of which are full of
energy. The work is short, but possesses both
charm and wit.
Thom Ritter George (1942-) discovered his
great interest in music, particularly composition
and orchestral conducting, as a boy growing up
in Detroit, Michigan. He wrote his first composition when he was ten years old and conducted
his first orchestral concert at the age of 17.
During his high school years, he was a composition student of Harold Laudenslager,a pupil of
Paul Hindemith.
Dr. George earned Bachelor's (1964) and
Master's (1968) degrees from the Eastman
School, followed by an appointment as
Composer/Arranger for the United State Navy
Band in Washington, D.C. After completing his
Doctor of Musical Arts degree at the Catholic
University of America in 1970, he was appointed
Music Director and Conductor of the Quincy
Symphony Orchestra (Quincy, Illinois). He
moved to Idaho in 1983 to become Music
Director of the Idaho State Civic Symphony and
Professor of Music in Idaho State University's
Department of Music, where he continues to
serve.
The Concerto For Flute was written in early
1966 on commission from the music publisher,
P. Litchard Toland. Mr. Toland requested two
special features for the new work. The first was
that the solo part should be written with optional scoring for piccolo in certain passages. Adah
Toland, the publisher's daughter, was a young
player who liked to alternate flute and piccolo.
Mr. Toland's second request was that there
should be three versions of the accompaniment
- orchestra, piano, and wind ensemble. In his
role as Orchestra Librarian for the Eastman
School of Music, he had seen many situations
where accompaniment alternatives were needed. From the composer's viewpoint, it is certainly possible to provide three idiomatic accompaniments provided that desire was known before
composition started.
The Concerto For Flute is in three movements
and follows the classic fast-slow-fast tempo
arrangement. The first movement is a lilting pastorale. The second movement is an introspective
song built on an expressive melody for the solo
flute, and the third movement has a virtuoso
character which brings the score to a brilliant
close .
Hans Werner Henze (1926- ) is a German
composer best known for his operas, ballets and
other stage works. His compositional style has
varied a great deal throughout his life, reflecting
elements of Neo-Romanticism, twelve tone style,
revolutionary commentary, and popular styles.
Influences of Kurt Weill, Hindemith, Stravinsky
and Bartok are all evident in his work.
Ragtimes and Habaneras was originally written for brass band and was rescored for wind
orchestra by his pupil Marcel Wengler. The work
consists of eleven short dance movements reminiscent of ragtime dances like the Charleston
and the Foxtrot, and Latin American dances such
as the Tango, Son and Rumba. The final movement is a kind of cross between a ragtime and a
march. While the harmonic materials are modem and each form a kind of short parody, the
music is full of humor and fun.
'
Mary Stolper is a frequent soloist and chamber performer who regularly makes guest appearances throughout the
United States and
Europe. She toured the
former East Germany
with the Chicago
Chamber Orchestra and
received excellent critical reviews for her performance of the Nielsen Flute Concerto. With the
world-renowned Chicago Symphony Orchestra,
she has made nine European tours under
Maestros Georg Solti and Daniel Barenboim. Ms.
Stolper performed with the Chicago Sinfonietta
Orchestra in Vienna as soloist in Bernstein's
Halil for solo flute and strings. Also with the
Sinfonietta, she performed the U.S. Midwest
premiere of the Concertofor Flute by Joan
Tower. While in Prague soloing with the Czech
National Symphony, she recorded her second
CD entitled "American Flute Concertos." Most
recently she has performed Voicesfor Flautist
and Orchestra by Shulamit Ran.
In addition to her many solo and chamber
engagements, Ms. Stolper serves as Principal
Flutist of the Grant Park Symphony and
Concertanti di Chicago Orchestra. She is also
solo flutist for the Chicago Opera Theater and
the new music ensemble, Fulcrum Point. As an
active studio musician, she has played for hundreds of TV and radio commercials.
Ms. Stolper is dedicated to the performance of
music by women composers and invited two
Chicago Women Composers/Performers to perform with her at her Carnegie Hall debut recital.
She is a frequent guest recitalist and lecturer on
the subject of women composers, has had several compositionswritten for her, and has recorded the flute music of Shulamit Ran.
As a Masters student at Northwestern
University, Ms. Stolper studied with Mr. Walfrid
Kujala. She has also received instruction from
Geoffrey Gilbert,Jean Berkenstock, and Edwin
Putnik. She has participated in masterclasses
with William Bennett and received coaching
from Samuel Baron. Ms. Stolper is currently the
Chair of the Flute Faculty at DePaul University in
Chicago.
Mary Sauer has been
the principal keyboardist
of the Chicago Symphony
Orchestra since 1959,
when she joined at the
invitation of Fritz Reiner.
She has served as the
keyboard coach of the
Civic Orchestra of
Chicago, the training
orchestra of the CSO, and is on the piano faculty
of DePaul University, where she was the coordinator of the keyboard program for 22 years. In
addition to her many professional DePaul graduates, Ms. Sauer's private studio has produced
many concert pianists, conductors, and high
school and university teachers world-wide.
Born in Kenosha, Wisconsin, Ms.Sauer
received both bachelor's and master's
Performance Degrees from the Chicago Musical
College. Her teachers have included her mentor
Rudolph Ganz, William Kapell, Irene
Schneidmann, and Mollie Margolies.
Afrequent soloist with the Chicago Symphony
on piano, celesta, organ, and harpsichord, she
has played concertos under Sir Georg Solti,Jean
Martinon, Carlo Maria Giulini, Claudio Abbado,
Rafael Kubelik, Zubin Mehta, and Margaret Hillis,
among others. She also is featured as soloist on
many of the Orchestra's recordings with Solti,
Giulini, Leopold Stokowski, Leonard Bernstein,
Michael Tilson Thomas, and James Levine, as
well as on discs with the Chamber Players of the
Ravinia Festival. For twenty-one years, she was
accompanist for the Chicago Symphony Chorus.
In addition to her work with the CSO, she is
much in demand as a soloist, recitalist, chamber
musician, lecturer, and for master classes. She
had a long association with the Peninsula Music
Festival in Wisconsin, performing as soloist for
eighteen consecutive seasons.
Having studied under the guidance of
Alexander Schneider,her commitment to the
chamber music repertoire is shown by her long
involvement with the CSO chamber music series,
collaboratingwith several ensembles, including
the Symphony Chamber Soloists of Chicago, the
Chicago Symphony String Quartet, and the
Alistaire Trio.
Ms. Sauer received the Governor's Award of
the Chicago Chapter of the National Academy of
Recording Arts and Sciences for her contributions in education, performance, and recording,
and for her many years as the Orchestra's keyboardist. She also has received the honor of
being appointed to the International Roster of
Steinway Artists.
Dr. Donald DeRoche is the director of bands
and chairman of the Performance Studies
department at DePaul University in Chicago. Dr.
DeRoche earned degrees in music education
and performance at the University of Illinois, and
a Ph.D. in music education at Northwestern
University. For three years he was clarinetist with
the U.S. Army Band in Washington, D.C. and for
two years was principal clarinetist with the
Victoria (Canada) Symphony Orchestra. He
appeared as guest artist at the Alaska Festival of
Music, and soloist with the Czech, Arcturus and
Vancouver quartets. On his return to the U.S. he
spent six years directing
the band program at
Willowbrook High School
in Villa Park, Illinois. He
has conducted the
DePaul Wind Ensemble in
Austria, Russia, Estonia,
Poland, Ireland, and
Hungary, and has been
guest
- conductor with
professional and conservatory wind orchestras
in Estonia.
The DePaul Wind Ensemble, conducted by Dr.
DeRoche, can be heard on several recordings.
French Plus2 on the Toshiba/EMI label was
recorded in 1992 and released in Japan. Chicago
Symphony clarinetist John Bruce Yeh is the featured soloist on the album Eh0n.y Concerto
available world wide on the Reference
Recordings label. Trombonist Charles Vernon
(Chicago Symphony),is the soloist on a recording titled Eight Minutes to the Loop on Wild Ear
Music. Two recordings of 2oth Century "classics"
featuring Chicago Symphony members Larry
Combs and Donald Peck are available on Albany
Records. A third recording for Albany Records,
Friends in Low Places, features tuba player
Floyd Cooley (San Francisco Symphony) and
Charles Vernon performing concertos with wind
accompaniment.
Producer: Julie DeRoche
Engineer: Thomas Miller
Editing: Donald DeRoche, Thomas Miller, Louis
Kholodovsky,Jeffrey Conary
Mastering: Dan Steinman, Thomas Miller,
Donald DeRoche
Recorded in the DePaul University Concert Hall
between June 2000 and June 2002.
Otterloo Serenade published by Donemus.
Perle Concertino published by Boelke-Bomart.
Rorem Sinfonia published by C. F. Peters
George Concertofor Flute published by .Accura
Music
Henze Ragtimes &Habaneraspublished by
Schott
Cover Art: Aaron Birnbaum (1895-1998)
O Copyright Art Resource. Flute Players, 1995.
Acrylic and varnish on plywood, 12 x 16 in.
Private collection.Copyright K.S. Art/Art
Resource, NY
DePaul Wind
Ensemble
Pemomel
Piccdo
Sara Dickman +
Kaitlyn Valovick #
Flute
Caitlyn Valovick + 0 8
Hsin-Hue Huang +
Heidi Hagglund 0
Sarah Kruser #
Sara Dickman b
Oboe
Joseph DeLuccio + 0 R
Melanie Gjellstad + #
Maria DeFiore 0
Shannon Gmkreutz #
Anika Frahm #
English Horn
Shannon Groskreuz + 8
Bassoon
Erin Stodd + 0 13
Theresa Bmwn + 15
Elaine Walters 0
Matthew Evers #
Ryan Coward #
rn
,
Contra Bassoon
Elaine Walters +
Eb Clarinet
Emily Hanzlik + #
Bb Clarinet
Thomas Fonier + 0 # R
B m k s Thon + 0 8
Phillip 0 . Paglialonga 0 #
StephanieWernlie 0
David Malito 0 #
Emily Hanzlik 0
Scott Moore 0
Campbell McDonald 0
Daniel Won 0
Chie Tamaki 0
Bnss Clarinet
Ken Chin + 0
Saxuphone
Nicholas Meyer 0
Shemeka Nash 0 #
Charles Gorwynski #
Brenda Danes #
Ryan Golden #
Matthew Dingeldein #
Trunzpet
David Leon *
Jennifer Marotta * 0 8
Jonathan Weber * 0 R
Anthony Zator *
Brent Turney *
Brandon Craswell#
Brian Reichenbach #
Kim Bmwn #
Fluegel Horn
Christopher Jones #
Anthony Zator #
Horn
Daniel CPldican * + I3
Rebecca Hill * + # 13
Came Kinghorn* 0
Margaret Tung * 0
Alma Vegter * #
MacKinzie Memll
Christopher Chanston
Tmnrbone
Tom Stark * 0 15
Brian Fallon * 0 # 8
Joseph Rodriguez #
Bass Tmnzbone
Craig Moore #
Dandrick Glenn * 0
Euphonium
Matthew McDonald 0 #
Hitomi Takata #
T. Richard Cmn #
Casey Maday #
Tuba
Jerome Stover * 0
Michael Roylance #
Aamn Donny-Clark #
Glenn Dimick #
Tinzpani
Matthew Kallend *
Matthew Bell +
Aaron Sherman 0
Paul Mutzabaugh 13
Percussion
Matthew Bell *
John Hall * +
Rick Urban * + #
Erin Manisz *
Paul Mutzabaugh +
Matthew Kallend + #
Aamn Sherman #
Tmy Banholomew #
Piano
Paul Mutzabaugh *
Celeste
Walter Tambor *
Harp
Ann Iaura Schap *
+=Rorem; #=Heme;
~=Ritter-George;
*=Otterloo; R=Perle
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