Monday, January 27, 2014

Intermezzo Sunday Concert, May 11, 2014 @ 3 p.m.

Dr. Gary Smart, piano & Marilyn Smart, piano
Faculty Artists from The University of North Florida

Under construction - Please check back!

Selections from 10 Pieces for Piano, Op. 75 (1937, arranged from Romeo and Juliet)
   6.        Montagues and Capulets
   10.      Romeo and Juliet’s Farewell

        Gary Smart, piano


Chasons de Bilitis  (1898)      
    I      La flûte de Pan
   II      La Chevelure
   III     Le Tombeau des naïades

        Marilyn Smart, soprano & Gary Smart, piano

L’isle joyeuse (1904)     
        Gary Smart, piano


A Foggy Day (A Damsel in Distress, 1937)
Someone to Watch Over Me  (Oh, Kay!, 1926)
Somebody Loves Me
(George White's Scandals, 1924)
        Marilyn Smart, soprano & Gary Smart, piano

Three Preludes (1926) 
    I        Allegro ben ritmato e deciso
   II      Andante con moto e poco rubato
   III     Agitato

        Gary Smart, piano

Love is here to Stay  (The Goldwyn Follies, 1938 & used in An American in Paris, 1951)
Let’s Call the Whole Thing Off  (Shall We Dance, 1937)

        Marilyn Smart, soprano & Gary Smart, piano


The musical career of Marilyn Smart has been both active and diverse. She has worked with such luminaries as Robert Shaw, Seiji Ozawa, and Dave Brubeck, and has sung in unique venues in Europe, Asia, and the United States. Smart’s singing has delighted audiences not only in public and university concert halls, but also in rural American schools, special cultural outreach venues in Japan, and even Eskimos villages in northern Alaska. Awarded a special citation by the Ford Foundation's Contemporary Music Project, she has long championed the work of contemporary composers and, with her husband, composer-pianist Gary Smart, is recognized for their performances of American art song. A former student of Margaret Harshaw, Josef Metternich, and Phyllis Curtin, Smart has taught at the University of Wyoming, Kobe College, and Osaka University. Since joining the faculty of UNF in 1999, she has performed as soloist with the Jacksonville Symphony Orchestra, for the Friday Musicale, the St. Cecelia Society, and many other local musical organizations. At UNF, Marilyn Smart teaches Applied Voice, French, Italian, and German Diction, as well as Vocal Literature.

Gary Smart is a composer, classical and jazz pianist, and teacher, and may be the only pianist to have studied with Yale scholar/keyboardist Ralph Kirkpatrick, the great Cuban virtuoso Jorge Bolet, and the master jazz pianist Oscar Peterson. Smart’s work has been supported by the Guggenheim Foundation, the Ford Foundation, the Music Educator's National Conference, the Music Teacher's National Association and the National Endowment for the Arts, and has been performed in major venues in the U.S., Europe and Asia. Dr. Smart's compositions are published by Margun Music (G. Schirmer) and his work has been recorded on the Capstone and Albany labels. He spent two residencies in Japan, and taught in Indonesia as "Distinguished Lecturer in Jazz" under the auspices of the Fulbright program. Gary Smart is currently a Presidential Professor of Music at the University of North Florida, where he served as Chairman of the Music Department from 1999-2003.

Program Notes, by Ed Lein (Under Construction - Please check back)

Ukrainian-Soviet composer and pianist Sergei Prokofiev (1891-1953) wrote some of the most-frequently performed and recorded music of the 20th Century, including the delightful Peter and the Wolf and exuberant “Classical” Symphony.  Prokofiev’s ballet Romeo and Juliet, Op. 64,  composed  between 1935-36, originally had a happy ending, with Juliet reviving in time to stop Romeo from killing himself, because, as the composer observed, dead people can’t dance. But Soviet theaters were fearful of incurring the wrath of  Stalin’s regime for corrupting the beloved story, so Prokofiev eventually was persuaded to restore the Bard’s tragic ending.  The complete ballet finally premiered in Czechoslovakia in 1938, but in the meantime Prokofiev was determined to get the music before the public, even without toe-shoes.  He prepared a couple of orchestral suites, and also arranged  selections as Ten Pieces for Piano, Op. 75, which he first performed in 1937.  Montagues and Capulets is the best-known music from the ballet, and its bellicose haughtiness aptly conjures the feuding families. The blustering is interrupted by a chilly minuet depicting the first meeting of the 13-year-old Juliet with Paris, an older suitor to whom she's betrothed.  Romeo at Juliet’s before Parting takes place at dawn, after the star-crossed lovers’ secret wedding the night before. The music develops a theme representing Romeo’s love, but contains a few hints at the tragedy that will soon unfold.

Claude Debussy (1862-1918) was a quintessentially French composer, pianist and music critic whose own revolutionary music ushered in many of the stylistic changes of the 20th Century. Debussy is universally identified as the chief proponent of musical “Impressionism,” but he did not approve of that label and the associations he felt it harbored.  Since his death the term as applied to music has been redefined almost exclusively around the characteristics of some of Debussy's most famous works, such as Prelude to the Afternoon of a Faun and La mer ("The Sea"), so whatever negative connotations "Impressionism" once may have had since have evaporated. 

Debussy's 1898 song cycle Trois chansons de Bilitis offers a prime example of the musical style he pioneered, including using modal scales in addition to, or instead of, the diatonic major and minor scales most characteristic of Western music from the Baroque period forward.  Debussy also emphasizes consecutive "parallel fifths" between musical lines, which in traditional harmony is a big no-no. (According to legend, every time a student of harmony writes a parallel fifth, Bach kills a kitten.)  In addition to creating an exotic sound-scape, these devices were perfect for conjuring the archaic atmosphere of the song texts by Pierre Louÿs (1870-1925), a friend of the composer.  Louÿs presented his original poetry as though it were translations of recently-discovered ancient Greek verses, supposedly authored by the courtesan "Bilitis."  For a time Louÿs fictional character fooled even the most respected scholars!  

Debussy's effervescent L’isle joyeuse was inspired by L’Embarquement pour Cythère ("The Embarkation for Cythera"), by French painter Antoine Watteau (1684-1721).  The painting depicts an amorous boating party visiting the supposed birthplace of Venus, complete with Cupids flitting about.  Writing to his publisher Debussy observed, “This piece seems to embrace every possible manner of treating the piano, combining as it does strength with grace, if I may presume to say so.”  It begins with a glittering haze of whole-tone harmonies and eventually ends in A major,  harmonically bridged with Lydian modal inflections (like a major scale but with a raised fourth).  Debussy's music captures the sensuous excitement depicted in Watteau's excursion, but it's hardly a vacation for the pianist. As Debussy himself observed,  “Lord, but it’s difficult to play!”

George Gershwin (1898-1937) wrote his first song in 1916 and his first Broadway musical in 1919, and remained a fixture of the New York stage for 14 successive years. In 1924 he wrote Rhapsody in Blue, which lead to further successes applying jazz idioms to music for the concert hall.  Until the end of his life he produced larger-scale works alongside songs for stage musicals and films, including Porgy and Bess (1935), the only opera by an American composer firmly established in the repertory.  Like Mozart, Chopin and Mendelssohn, Gershwin did not live to see his 40th birthday, but he nonetheless left a legacy of songs that can fill several chapters in "The Great American Song Book," and among American composers his concert music is rivaled in popularity only by works of Copland, Barber and Bernstein (and probably surpasses each).

No doubt inspired by Chopin's 24 Preludes. Op. 28,  Gershwin apparently toyed with the idea of composing a set of 24 jazz-and-blues-inspired preludes, and actually committed seven to paper. Completed in 1926, two of the seven were rejected (apparently by Gershwin's publisher), two were adapted for violin and piano and published as Short Story, and the remaining became the famous Three Preludes, which the composer himself played in the first public performance in New York City.

Intermezzo Sunday Concert, March 23, 2014 @ 3 p.m.

First Coast Community Music School Faculty Recital

MADELEINE DRING: Trio for Oboe, Flute & Piano [on YouTube]
          Allegro con brio - Andante semplice - Allegro giocoso
Ann Adams (oboe), Laura Dwyer (flute) & Lynne Radcliffe (piano)

DOMENICO GABRIELLI: Ricercar No. 7 [on YouTube]
Shannon Lockwood (Cello)

PAUL RICHARDS: Tomorrow in Australia [on YouTube]
Laura Dwyer (flute)

PHILIPPE GAUBERT: Tarantelle, for Oboe, Flute & Piano [on YouTube]
Ann Adams (oboe), Laura Dwyer (flute) & Lynne Radcliffe (piano)

LEO DELIBES: Flower Duet (from Lakme) [on YouTube]
Laura Dwyer & Angela Muller (Flutes), Lynne Radcliffe (piano)

CHRISTIAN CANNABICH: London Duetto No. 1  [Score at IMSLP]
Laura Dwyer (Flute) & Peter Dutilly (viola)

Plus JAZZ TUNES with Michael Emmert (saxophone) & Ben Adkins (drums)

The First Coast Community Music School is dedicated to providing the highest quality music instruction for children, adults, and families regardless of background, or experience and are available for after-school, evening and Saturday lessons.

Public performances and community outreach programs are a key part of the FCCMS nonprofit mission, including sponsoring ensembles, orchestras and events covering a broad spectrum of musical interests.

The FCCMS is partnered with quality community organizations, including:
  • Florida State College at Jacksonville
  • Jacksonville Symphony Orchestra
  • Jacksonville Symphony Youth Orchestra
  • Duval County Public Schools.

Ann Adams is the Band Director at Lavilla school of the arts, and previously was Professor of Oboe and Music Education at Stetson University in Deland, Florida. She received the DM, MM, and MME degrees from Florida State University where she studied with Dr. Eric Ohlsson, and the BM degree from Western Michigan University where she studied with Dr. Robert Humistson. Dr. Adams is an active recitalist, clinician, and performer, playing oboe, oboe d’amore, and English horn with various orchestras and chamber ensembles throughout central Florida. Dr. Adams is an active member of IDRS, CMS, MENC, FMEA, NBA, and FBA.

Violist and composer Peter Dutilly is currently completing his Master's Degree at Florida State University in Tallahassee.  A graduate of Jacksonville University,  he was a member of JU's Honors String Quartet,  and was the winner of  the 2009 Frederick Delius Award for Composition. Mr. Dutilly has served on the faculties of  FCCMS and the Prelude Chamber Music Camp, and frequently collaborates with faculty performers from Jacksonville University.

Laura Dwyer was Principal Flute of the Sarasota Opera for seven seasons and has been a member of the Santa Fe Symphony since 2000 and The Colorado Music Festival since 2008. She performs regularly with the Jacksonville Symphony, The Palm Beach Opera, the Phoenix Symphony, theCharleston Symphony and the Hilton Head Symphony. Laura teaches flute at Jacksonville University, the University of North Florida and First Coast Community Music School (FCCMS). Laura has been the Executive Director of FCCMS since 2010. A certified Yoga Instructor, Laura has taught Yoga for Flutists at The Anatomy of Sound at the University of Michigan for the last 9 years and appears on the DVD Anatomy of Sound released in 2012. She has taught yoga at the National Flute Association's annual Conventions, and for Trevor Wye and Keith Underwood at their summer courses for flutists. Laura is married to Jacksonville Symphony Orchestra French Hornist, Chris Dwyer.

Currently serving as instructor of cello at Jacksonville University, Shannon Lockwood completed a Doctorate in Musical Arts at the University of Cincinnati, where she studied with Yehuda Hanani. She began playing the cello at age twelve in the Colorado public school system. She later studied with retired, Colorado Symphony cellist Fred Hoeppner. She graduated Summa cum Laude with a Bachelor of Music from the University of Denver. While studying in Denver with Richard Slavich, she won the prestigious Presser Award for academic and musical achievement. She also studied in London with Alice McVeigh and Paul Watkins under a grant from the English Speaking Union and returned in the fall of 2011 to conduct research at the Britten-Pears Library. Her broad spectrum of professional experiences include performing with orchestras such as the Colorado and Jacksonville Symphonies, performing as soloist with the Jacksonville University Orchestra and Wired String Ensemble, performing and coaching chamber music, serving as a graduate assistant to the University of Cincinnati Orchestras, and maintaining a private studio.

Angela Muller, flute, earned her BME at the University of Northern Colorado and MM at the University of Denver, and was an Army musician with the 101st Colorado Army National Guard. Formerly a school band director, her teaching assignments have ranged from elementary level through collegiate, and she continues her role as music educator by serving as guest artist with music departments at several area schools. Ms. Muller maintains a private studio, teaching both flute and piano, and performs with the First Coast Wind Ensemble.

Lynne Radcliffe received her Bachelor of Music in Piano Performance from Memphis State University. Moving to the Jacksonville area in 1983, she has worked in a musical capacity in various arenas, including private piano instruction, accompanying, performance, choral directing, teaching at Episcopal High School (where she served as Fine Arts Department Chair), church musician, and the Jacksonville Symphony Association (Music Education Programs Manager). Lynne is currently the Director of Music at St. Paul's by-the-Sea Episcopal Church in Jacksonville Beach as well as Program Coordinator and teacher at the First Coast Community Music School. She serves on the boards of the Beaches Fine Arts Series and BRASS, Beaches Residents Arising in Support of the Symphony. Having done graduate work in Musicology at the University of Memphis recently, she is a contributor to Encore!, the magazine of the Jacksonville Symphony Orchestra, and serves as host for the radio program WJCT Presents the JSO.

PROGRAM NOTES, by Edward Lein, Music Librarian

English composer Madeleine Dring (1923-1977) entered the Royal College of Music as a violinist when she was 10 years old, and later studied composition with Ralph Vaughan Williams, Herbert Howells, and Gordon Jacob. She was a gifted actress, and her love for the theater is reflected in the incidental music she wrote for stage, radio and television productions.  Ms. Dring was married to Roger Lord, the principal oboist with the London Symphony Orchestra, and much of her chamber music was written for him, including the Trio for Flute, Oboe and Piano, composed in 1968. Her unpretentious compositional style often reflects rhythms and gestures derived from popular music and jazz, and the charming Trio exhibits a definite affinity with the music of Francis Poulenc

In 1919 at age forty, the French flutist, conductor and composer Philippe Gaubert (1879-1941) became one of the most prominent musicians in France by earning three important appointments almost simultaneously: Professor of Flute at the Conservatoire de Paris, and Principal Conductor of both the Paris Opéra and the Orchestre de la Société des Concerts du Conservatoire. Gaubert composed a wide variety of instrumental, orchestral and vocal music, plus two operas, and it is not surprising that many of his most effective compositions feature his own instrument. The Tarantelle for flute, oboe and piano was composed ca. 1903, and is dedicated to Paul Taffanel, the founder of the French Flute School whose techniques dominated 20th-Century flute performance. As the title makes obvious, Gaubert's lively trio is inspired by the Italian tarantella, a folk dance invented as an early form of music therapy to treat tarantula bites--it was thought that dancing the fast-paced music would cause the victim to sweat out any poison from the hairy spider's bite!

Paul Richards (b. 1969) is Professor of Composition at the University of Florida, and previously taught at Baylor University. Among his many honors and awards, Dr. Richards won the Jacksonville Symphony's Fresh Ink Florida Composers' Competition in 2002.  For his Tomorrow in Australia, composed in 2008 for his UF colleague Dr. Kristen Stoner, the composer provides the following note:
The ghostly sound of a solo flute played with airy tones sparked the image of a post-apocalyptic, dusty, windswept and barren field, and a lone musician initiating a ritual of mourning and a fiery expression of loss, tempered by fleeting hints of hope. A flute further fit this conception as it has a lineage that goes back to the earliest musical instruments, and will likely survive in some form as long as we do. Depressing thoughts, I know, but then I got this fortune cookie: Don’t worry about the world coming to an end, it’s already tomorrow in Australia.

Unrelated to the famous "one-L" Gabrieli musicians active in Venice, Italian Baroque composer Domenico Gabrielli (1659?–1690) was a church musician and member of the Accademia Filarmonica of Bologna (in his home town), and also was employed by Duke Francesco II d'Este as a court musician in Modena. Gabrielli wrote a variety of sacred and secular vocal works, including a dozen operas, and among his instrumental works his music for solo trumpet is still performed. But he is probably best-remembered for his Ricercari, canone e sonate per violoncello (1689), which includes seven Ricecari that are said to be the earliest published pieces composed specifically for unaccompanied cello. It just happened that wire-wound cello strings had been invented in Bologna during the first decade of Domenico's short life (i.e., during the 1660s), which helped the instrument come into its own. A famous cello virtuoso himself, Gabrielli became known as Mingéin dal viulunzèl (Bolognese dialect for "Little Domenico of the cello").

French composer Léo Delibes (1836-1891) wrote over two dozen works for the stage (mostly operas and operettas), including the ballets Coppelia and Sylvia. In addition to inspiring his countrymen Saint-Saëns and Debussy, Delibes was greatly admired by Piotr Tchaikovsky, who, upon hearing Sylvia, said he would have been too intimidated to write Swan Lake had he known Delibes' ballet beforehand. Delibes' famous Flower Duet (Sous le dôme épais) is from the opera Lakmé, which premiered in Paris in 1883. The original duet is between two sopranos, Lakmé, the daughter of a Brahmin priest, and her servant Mallika, as they pick flowers by the river. The duet became almost universally recognizable in 1989 when British Airways began using it in their commercials.

Genial Austrian composer (Franz) Joseph Haydn (1732-1809) is the musician most credited with establishing the “Classical” style that his two younger contemporaries Mozart and Beethoven built upon. By the time of his death "Papa" Haydn had become the most widely celebrated composer in Europe.

When Haydn was 8 years old he was accepted as a choirboy at St. Stephen's Cathedral in Vienna, where in addition to vocal training he received instruction in violin and piano. But puberty spoiled all that, and by about 1749 Haydn found himself re-cast as a struggling free-lance musician. His choirboy years had not provided him with any substantial training in music composition, so he began to teach himself the essentials, pretty much on his own. Through the next decade he began to make a name for himself as a composer, and in 1757 Haydn earned a full-time position as the chief musician for the aristocratic Morzin family. This success was short-lived. By 1761 Count Morzin's finances had tanked and Haydn found himself newly-married and unemployed. But as a manor-door was slamming shut behind him, Haydn climbed through a palace-window of opportunity and immediately entered into the employment of the fabulously wealthy Esterházy family, becoming their Kapellmeister in 1766. Both Prince Paul Anton (1711-62) and his successor, Prince Nikolaus (1714-90), were music connoisseurs, and Haydn thrived under their patronage. In 1779, Nikolaus even agreed that Haydn could publish and sell works apart from those composed for (and belonging to) the family, and Haydn's reputation spread throughout Europe.

Unlike his grandfather and father, Nikolaus's son and heir, Prince Anton (1738-94), was no musician, so after Nikolaus died in 1790 the composer was free to travel, most notably to London, and his international reputation as the greatest living composer was sealed. Haydn composed four divertimenti as a gift for the Baron and Baroness of Aston, whom the composer visited in 1794 during one of his London trips. Originally for two flutes and cello, these light-hearted pieces became known as the London Trios.