_
Fernand Gillet L _
ng Artist Performance
Competition, Semifinal Audition
17, 9:oo
University of Nevada, Las Vegas
Artemus W. Ham Concert Hall
1987 Semifinalists
Dan D’Andrea, Itasca, Illinois
Bernard Kolle, Eaubonne, France
Magnus Nilsson, Kungalv, Sweden
Roger A. Nye, Fennville, Michigan
Mark W. Rogers, DeKalb, Illinois
Preliminary Audition Judges
Mark Apfelstadt, University of North Carolina at Greensboro
Alan Hawkins, University of Kansas
Wendal Jones, Eastern Washington University
Semifinal and Final Audition Judges
Alan Goodman, Los Angeles Philharmonic, USA
Yoshiyuki Nakanishi, Nagoya Philharmonic, Japan
Rufus Olivier Jr., San Francisco Opera, USA
Alexandre Ouzounoff, Ecole Nationale de Musique d’Evreux,
Christopher Weait, Ohio State University, USA
France
Final Audition Accompanist: Elissa Stutz
Competition Chairman: William Davis
Semifinal Audition Required Work: Vincent Persichetti, Parable for Solo Bassoon
Final Audition Required Work: Gordon Jacob, Concerto for Bassoon and Strings, second and third movements
Final Audition: Wednesday, August 19, 9:00 a.m.
Artemus W. Ham Concert Hall
6
The Music for
Bassoon and Strings of
Francois Rene Gebauer
Monday, August 17, 10:10
University of Nevada, Las Vegas
Judy Bayley Theatre
Lecture Demonstration
Danny Keith Phipps, Bassoon
The USAF Band and Symphony Orchestra
Danny Keith Phipps, bassoon
Technical Sergeant Dan
Phipps, bassoonist, is a
graduate of the Curtis Institute of Music in
Philadelphia, where he was
a student of Sol Schoenbach. He has also studied
with Marcel Moyse, George
Goslee, John deLancie, and
Mark Popkin. Sergeant
Phipps holds both his
Master of Arts degree (in
musicology) and his Doctor
of Musical Arts degree from
the Catholic University of
America in Washington, D.C.
In 1979, Dr. Phipps joined
the faculty of the Baylor
University School of Music
where he taught bassoon
and music theory, and was
the bassoonist with the
Baylor University Woodwind
Quintet, touring throughout
the southwestern United
States and Mexico. In 1983,
Sergeant Phipps joined the
United States Air Force
Band and Symphony Orchestra as principal bassoonist. He also tours with
the USAF Woodwind
Quintet. This fall, Dr. Phipps
will join the faculty of the
Shenandoah Conservatory
of Music as an adjunct professor of bassoon while continuing his performance
duties with the USAF Band.
7
A .M .
Ruth Ann Truncale, violin
Paul Swantek, viola
Jan Kobialka, cello
Quartet, Op. 40, No. 2, in a minor
I. Allegro moderato
Quartet, Op. 40, No. 3, in C major
I. Allegro fieramento
Trio, Op. 33, No. 3, in B-flat major
I. Allegro fieramento
Quartet, Op. 40, No. 1, in B-flat major
I. Allegro
II. Andantino
III. Rondo: Polonaise
nel Discussion
Monday, August 17, 1O:10
A.M.
University of Nevada, Las Vegas
Hendrix Auditorium
Ideas and Trends in Recent Oboe Manufacture
Master of Ceremonies
Nora Post, Ph.D.
Panelists
Paul Covey, Director
Paul Covey, Inc.
Anne de Gourdon, Coowner
F. Loree Paris
Alan Fox, Director
Fox Products, Inc
Alan Hollander, Director
Gordet Oboes
John Pullen, Nigel Clark, Codirectors
Howarth Co., Ltd., London
Yzes Rilba, Director
Strasser-Marigaux, Paris
Philip Rigoutat, Director
Rigoutat et Fils s.a., Paris
8
The King’s Trumpetts
and Shalmes
Monday, August 17, 11:10 A.M.
University of Nevada, Las Vegas
Artemus W. Ham Concert Hall
Robert Cronin-shawm, recorder, crumhorn; Chris Lanz-sackbut, recorder, crumhorn; Bill Godbout-shawm, recorder, crumhorn;
Alan Paul-shawm, recorder, crumhorn; David Hogan Smith-shawm, recorder, crumhorn, sackbut
The shawm band was the most
highly regarded instrumental
ensemble during the fifteenth century. It performed for dancing outdoors or in large halls, garden entertainment, processions, banquets,
weddings, and other festive occasions. Shawm bands were
employed by municipalities as well
as courts, and these town bands
were expected to perform a daily
concert from the watch tower or at
The King’s Trumpetts and
Shalmes is a five member ensemble which performs music of the
Renaissance for shawm band. Its
repertoire extends from the late fourteenth century to the mid-seventeenth century, utilizing early wind
instruments such as shawms,
sackbuts,
recorders,
and
crumhorns. The King’s Trumpetts
and Shalmes performs regularly
throughout the San Francisco Bay
area.
the city hall. In fact, the one place
the shawm band was not usually
heard was in church.
Members of the fifteenth century
shawm band were expected to double on other instruments, including
consorts of crumhorns and
recorders. This provided a “rest”
from the demands of double reed
playing , during a performance, as
well as a change in tone color. Soft
instruments were also more ap-
propriate for occasions where less
volume was needed.
The composition of the band included one or more sizes of shawm
and either a slide trumpet or a
sackbut. This combination of reeds
and brass had its origins in the Middle East and was adapted to suit the
needs of Western European musical
style. The shawm was a double reed
instrument with a conical bore and
a sharply flared bell. In the fifteenth
century, soprano and alto shawms
were the most common sizes, while
the tenor and bass instruments were
developed during the sixteenth century as musical styles changed. The
slide trumpet was the direct
predecessor of the sackbut. Shaped
like a trumpet, it had a single slide
attached to the mouthpiece; to
change pitch, the entire instrument
was moved along the slide. The
sackbut was similar to the modern
tenor trombone, but with a smaller
bell and a somewhat narrower bore
Such a seemingly unlikely combination of instruments existed as an
ensemble for over two and a half
centuries.
IV.
Anthony Holborne
(15651602)
Ludwig Senfl
(c.1486~c.1543)
Ludwig Senfl
The night watch
Fortuna desperata-lch stund an
einem Morgen
Fortuna desperata-Es taget vor
dem Walde
Courtly Masquing Ayre #21
Thomas Stoltzer
(c.1480-1526)
Josquin des Prez
(c 1450-1521)
Tandernack
Ludwig
Francesco
Ich schwing mein horn
Wohlauff, gut G’sell, von hinnen
La, la, la, je ne I’ose dire
Corteccia
(1502-1571)
Ludwig Senfl
Anon. 16th c.
Pierre Certon
(1510-1572)
crumhorns
III.
Heth sold ein meisken garn om win
Camour de moy
So drincken wir alle
The widowes myte
shawms and sackbut
V.
Claudin
de Sermisy
(c.1490-1562)
Claudin de Sermisy
Tant que vivrai
II.
bacco
Vion viette
Dal lecto me levava
Michele Pesenti
(c.1475--c.1521)
Thomas Stoltzer
0 admirabile commercium
crumhorns
VI.
Stephan
Ein feste Burg
Anon. 16th c.
Anon. 16th c.
Arnold von Bruck
(c.1490-1554)
Anthony Holborne
Senfl
recorders
John Adson
(d. 1640)
shawms and sackbut
Bacco,
Melodia octavi toni toni
quinque vocibus
Douleur me bat
Melodia quarti toni
quinque vocibus
Brunette
Greiner, zancker, schnopffitzer
shawms and sackbut
Mahu
(c.1480-c.1541)
Thomas StoltzerJohannes Stokem
(c.1440-1500)
Heinrlch Finck
(c.1445-1527)
Alexandre Ouzounoff,
Bassoon
France
Born in Paris in 1955,
Ouzounoff began studying
piano and flute at the age of
six. In 1972 he discovered the bassoon while
working with Maurice Allard, and decided to dedicate his life to that
instrument.
In 1978, Alexandre
Ouzounoff founded the
“Trio d’anches OZI,"
which was later awarded
the Prize of the Contours International in
Martigny
(Switzerland).
Mr. Ouzounoff continues
to perform with this
group.
In 1980, Alexandre
Ouzounoff began researching new bassoon
techniques, resulting in
the publication of his
treatise ‘Actuellement le
bassoon,” Salabert Edition, 1986.
Mr. Ouzounoff has performed at
numerous festivals, such as IRCAM,
Festival Estival, Festival
d’Automne,
Metz, Angers,
Monday, August 17, 2:00
P.M.
University of Nevada, Las Vegas
Artemus W. Ham Concert Hall
Nice, La Rochelle, Strasbourg,
Bourges, Varsovia, Roma,
Bremen, Torino, and more.
Program
L’automne est mort (1986)
Enrico Correggia
(b. 1933)
Paral-lel (1984-85)
(U.S. Premiere)
Philippe Fenelon
(b. 1948)
Hopi (1986)
(U.S. Premiere)
Philippe Hersant
(b. 1948)
Other Waters (1986-87)
(World Premiere)
Lydia Ayers
Surimpression VII (1986)
(U.S. Premiere)
Daniel Tosi
(b. 1953)
Bloc V (1982)
(U.S. Premiere)
Since 1982, Mr. Ouzounoff has
taught at the Ecole Nationale
de Musique d’Evreux.
10
Patrice Mestral
(b. 1945)
Advanced Reed Design
and Testing Procedure
for Bassoon
Lecture Demonstration
Mark Eubanks, Bassoon
Monday, August 17, 3:lO
P.M.
University of Nevada, Las Vegas
Artemus W. Ham Concert Hall
Distant Winds
Monday, August 17, 4:10
P.M.
University of Nevada, Las Vegas
Artemus W. Ham Concert Hall
Alan Leech, bassoon
Montana State University
Karen Leech, flute
Marc Fink, oboe
University of Wisconsin-Madison
Todd Welbourne, piano
Mimmi Fulmer, soprano
Joyce Songs (1986)
Joel Naumann
(b.1941)
Love came to us
Sleep now
Gentle Lady
Sonate for Oboe and Piano
Suite (1980, rev. 1987)
Henry Campbell
(b.1926)
Gaily-Waltz-Gaily
With a Bounce-Smoothly-With a Bounce
Jauntily
Lightly-Lyrically-Lightly
Ranch-On Danzon (1986)
“musiCollage”
Henri Dutilleux
(b.1916)
Aria: Grave
Scherzo: Vif
Final: Assez allan
Alan Leech
(b. 1944)
Henry Campbell’s Suite (1980, rev. 1987) is well written and
characteristic for the bassoon. It is very expressive as well
as virtuosic.
Ranch-On Danzon, a short duet, utilizes a South American
feel with an odd meter and recurrent rhythm.
Joyce Songs, a song cycle set to five poems of James Joyce,
was composed for Mimmi Fulmer and Marc Fink by Joel
Naumann in 1986. Three of the five songs are being performed today. As the composer states: “Their overall effect
is decidedly triadic in origin (even tonal!) but I accept this
decadence since that is exactly what I was hearing for these
texts they should sound simply lovely. The texts and the settings are all in the same mood the‘remembrance of love that
is past. While not joyous they are also not sad just accepting and serene.”
Joel Naumann, Professor of Composition at the University
of Wisconsin-Madison, has recently published a book entitled Analog Electronic Music Techniques.
12
Alexandra Pohran, oboe
University of Victoria
Chris Weait, bassoon
Carol Urban; piano, harpsichord
Sonata in G for Oboe and
Continuo
Allegretto
Andante
Allegro
6me Solo de Concours,
Sequenza VIII (1969)
Op. 46
Giuseppe Sammartini
(16951750)
Charles Colin
(1832-1881)
Luciano Berio
(b.1925)
Monday, August 17, 8:00
Arthur Grossman,
Bassoon
Arthur Grossman, born in
New York City, made his professional debut at the age of thirteen with the Oklahoma City
Symphony Orchestra. After
three additional seasons with
that orchestra and one season
as contra-bassoonist with the
P.M.
University of Nevada, Las Vegas
Artemus W. Ham Concert Hall
He has been principal bassoonist with
the Indianapolis, Cincinnati, and Israel
Philharmonic Orchestras, and has performed with the Marlboro, Casals, and
Grand Teton Music Festivals. As a
member of the Soni Ventorum Wind
Quintet he has been resident artist and
professor at the Conservatory of Music
of Puerto Rico and the University of
Washington. He has toured widely both
as a soloist and with Soni Ventorum, including concerts in South and Central
America, Europe, Asia, and most of the
United States. His recordings include
more than twenty albums with Soni Ventorum, approximately ten solo albums,
plus recordings with the Israel
Philharmonic.
Antonio
San
Symphony Orchestra, he was
enrolled in the
Curtis Institute of
Music where he
studied bassoon
with Sol Schoenbach and chamber music with
Marcel Tabuteau.
Arthur Grossman, bassoon
Carol Urban, piano
Ludwig (Louis) Spohr
(1784-1859)
Adagio
Larghetto
Friedrich Berr
(1794-1838)
Ma Celine
Introduction,
Air
and
Variations
Sonata
Allegretto ben moderate
Allegro
Recitative - Fantasia (ben moderate)
Allegretto poco mosso
Cesar Frank
(1822-1890)
Mark Eubanks, Bassoon
Monday, August 17, 9:OO P.M.
University of Nevada, Las Vegas
Judy Bayley Theatre
From Mozart to Mingus,
Mark Eubanks covers a wide
range of music on his versatile
bassoon. His first professional
musical experiences occurred
in his mid-teens as
he played with a
rhythm and blues
band as well as with
the Tacoma Symphony. While attending the University
of Washington he
joined the Seattle
Symphony and performed with it from
1968 to 1978. He has
also performed as
principal bassoonist
with the Seattle
Opera. His years in
Seattle included performing and writing
for the electric jazz
ensemble, “Matrix,”
and for the Seattle
Composers and Improvisors Orchestra.
In 1978, Mr. Eubanks became the principal bassoonist
with the Oregon Symphony.
He has been a frequent soloist
with the Symphony and the
West Coast Chamber Orchestra. He has also performed with the Grand Teton and
I
Mark Eubanks, bassoon
Eddie Wied, trio
Leave it to Beaver/l Got Rhythm/Flintstones
(medley)
Funeral March of a Marionette
Andante (from Weber’s Andante and
Hungarian Rondo)
Up From The Skies
Carl Maria Weber
(1786-1826)
Jimi (James Marshall) Hendrix
(1942-1970)
Dragoons Entr’acte (from Carmen)
Georges Bizet
(1838-1875)
Additional works to be announced
Sunriver Music Festivals and
Chamber Music Northwest.
He also performs in “pit orchestras” for musical shows
14
on flute, oboe, clarinet, sax
and bassoon. While residing
in Depoe Bay, Oregon, he jammed with Betty Hall Jones,
who encouraged him to pursue solo work in jazz. His
debut in 1981 at the Jazz
Quarry with the Eddie Wied
Trio was enthusiastically
received and led to concert
work around the Portland
area. In 1982 he began a solo
bassoon album that was
thwarted as the recording
studio burned down before the
project was completed. After a
nearly three year respite, Mark
has returned to the jazz scene.