_________________________________________ PROGRAM NOTES & PERFORMERS 1, 2 TWO CELEBRATORY FANFARES for six trumpets (1995) Trumpets: John Rommel, Edmund Cord, Thomas Brown, Richard Sandals, Amy Schendel, Robert White David Dzubay, conductor (recorded 6 November 2000) These fanfares were written in January 1995 for the Investiture of Myles Brand as President of Indiana University, held on January 19, 1995. That first performance was by the Indiana University School of Music Herald Trumpets, led by Professor Edmund Cord. 3 CAPRICCIO for violin and piano (1998) Corey Cerovsek, violin; Shigeo Neriki, piano (recorded 18 April 2000) My Capriccio has many of the standard attributes of other capriccios - contrasting textures and moods, unexpected chromatic twists, repeated sections, and just a certain capricious flow. Alternating between three cadenzas and three allegros, Capriccio is built out of a rather simple theme, which is based on pitches derived from the letters in Corey Cerovsek's name. Initially presented in the first cadenza (with some elaboration), the theme permeates all the other sections, thus the work is a loose set of variations. Despite all the chromatic twists and turns, I am going to still claim that Capriccio is in A minor. 4 VISION for 14 instruments (2000) Indiana University New Music Ensemble; David Dzubay, conductor (recorded January 2001) Susan Bozell, flute; Krista Riggs, oboe; Guy Yehuda, clarinet; Pawel Wnuk, bassoon; Amy Schendel, trumpet; Todd Schendel, trombone; John Astaire, percussion; Melanie Beale, harp; Ben Sung, violin 1; Melanie Pikul, violin 2; Yuval Gotlibovitch, viola; Herine Coetzee, cello; Donovan Stokes, bass Commissioned as part of the Albany Symphony Orchestra’s "Tiffany Window" project, Vision is one of three works commissioned for performance in churches in the Albany and Troy area that are well known for their important windows produced by the Tiffany Studios in the early part of the 20th century. My contribution was inspired by the windows in St. Paul's Episcopal Church, in Troy, generally considered to be the only totally integrated Tiffany designed interior in the U.S. Vision relates most specifically to a window portraying the vision of St. John looking up at the Holy City. In Revelation 21:10-13: And in the spirit he [one of the seven angels who held the seven bowls filled with the seven last plagues] carried me away to a great, high mountain and showed me the holy city Jerusalem coming down out of heaven from God. It gleamed with the splendor of god. Its radiance was like that of a precious stone, like jasper, clear as crystal. It has a great high wall with twelve gates, and at the gates twelve angels, and on the gates are inscribed the names of the twelve tribes of the Israelites. There were three gates facing east, thee north, three south, and three west. How perfect if I was a twelve-tone composer! Though I'm not, one can find a pervasive use of the number 12 in the work, from the 12 instrumentalists surrounding the audience - 3 in each direction, plus the (angelic?) Harp/Percussion duo ‚ to a 12-minute work divided into 12 sections. Further, many rhythmic elements on small and large scales are influenced by the use of the first 12 Fibonnaci numbers (1-1-2-3-5-8-13-21-34-55-89-144). The 12 sections fall into 4 parts, with subtitles as follows: PART I: like glowing embers of a scorched earth... PART II: “And in the spirit he carried me away to a great high mountain...” PART III: “radiance...like that of a precious stone...twelve gates...three facing east...north...south...west.” PART IV: gleaming celestial city PART I is essentially an introduction to the narrative of the window found in PARTS II-IV, and represents an earth ravaged by the seven Plagues of the Apocalypse. The integrated design in St. Paul's, where one is surrounded by Tiffany windows and mosaics, suggested the placement of the musicians, particularly since it suits the narrative, with 3 gates in each direction. I've also attempted to make the instruments "glow" in some way perhaps analogous to the glow of light through Tiffany's beautiful windows, with shifting hues as the light source changes and moves. There is also a progression in the work from dark to light, which can be found in a number of Tiffany windows. 5 CHANSONS INNOCENTES for 9 instruments (1988) Indiana University New Music Ensemble; David Dzubay, conductor (recorded 21 February 1997) Meldi Artinstall, flute; Tasha Dzubay, clarinet; Marcus Goddard, trumpet; Kirsten Lies-Warfield, trombone; Robert Paterson, percussion; Sally Todd, piano; Nikki Payne, violin; Omar Henandez-Hidalgo, viola; Paula Kosower, cello Commissioned by Harvey Sollberger and the Indiana University New Music Ensemble This work was inspired by the three E. E. Cummings poems of the same name. Although in one movement, the piece is divided into three primary sections, following the poems. The initial section uses the first poem's general atmosphere of springtime playfulness, "when the world is mud-luscious" and "puddle-wonderful". The capricious textures involving constant interchange around the ensemble are colorful representations of children at play. The second poem is set more programmatically in that the music follows the order of events in the poem, variously depicting tip-toeing "ghostthings", "tingling goblins", "little itchy mousies", and even an old lady with a wart. Also, the players have to verbalize certain lines from the poem. This section begins slowly, and in gradual increments, works its way up to a frantically quick tempo. The strings have a jittery, nervous melody through much of this, reflecting the haunting nature of the poem. As with the first poem, the last poem's mood is set to music in the final section, a serene codetta. This resembles a slowly rotating mobile, with the oscillation of the strings, and repeated gestures of the others combining in a calm, floating state. 6 PROJECTUS for solo trumpet and wind octet (1995) Indiana University New Music Ensemble (recorded 24 October 1997) John Rommel, Solo Trumpet; David Dzubay, conductor Nicole Matlock, oboe 1; Heather Guadagnino, oboe 2; Isami Kawachi, clarinet 1; Nicholas del Grazia, clarinet 2; Kara Webb, bassoon 1; Benjamin Coehlo, bassoon 2; Kerstin Ripa, horn 1; Lisa Bergman, horn 2 Commissioned by the Detroit Chambers Winds The title for this work was suggested by the solo instrument, the trumpet having such an effective projection of sound; however, the idea of projection applies to many facets of the composition. Certainly, the trumpet plays its archetypal role to an extent, most prominently in the opening fanfare, but more important is how the soloist projects musical ideas into the rest of the ensemble. Thus, ideas projected by the trumpet are echoed and imitated by the other instruments. This concept is reflected in the seating arrangement, which emphasizes the musical divisions within the ensemble, with the trumpet set off to the right side, the horns in the middle, and the six woodwinds opposite the trumpet. Projectus falls into four large sections: A, A1, B, and A2, each of which has four internal divisions, reflecting the larger structure (aaba, bbcb, ddcd, abba). Between each of the large sections is an interlude, during which the trumpet gets to rest. A, A1, and A2 are energetic in character, and increasingly so, each one faster and more frantic than the last. The third large section, B, is mostly slow, quiet music, featuring the lyrical side of the trumpet. 7 LABYRINTH for 14 instruments (1994) Indiana University New Music Ensemble; David Dzubay, conductor (recorded 17 April 1995) Deanna Hahn, flute; Monte Bedford, oboe; David Shea, clarinet; Sarah Warner, bassoon; Linda Dempf, horn; Stacy Simpson, trumpet; Nathan Zgonc, trombone; Todd Sheehan, percussion; Tim Best, piano Lina Bahn, violin 1; Ziva Patt, violin 2; Clare Yang, viola; Adam Satinsky, cello; Eric Johnson, bass Commissioned by David Stock and the Pittsburgh New Music Ensemble After composing a series of works with rather generic, abstract titles, Labyrinth marks a return to more programmatic music. Cast in a single movement lasting approximately thirteen minutes, Labyrinth falls into a four-part structure. As the title suggests, someone gets caught in a maze, though I think it's open to interpretation whether that someone is the audience or the performers. In my sketches, I refer to the trapped entity as the “searcher.” The searcher and the labyrinth each have their own pitch material. This is most clear during the first section, where the pulsating and repetitive material of the labyrinth lures the more melodic searcher material into a trap. The second section finds our searcher exploring the labyrinth, looking for an escape with increasing exasperation. From this point on, the respective pitch materials are very much intertwined. The musical labyrinth is comprised of many abrupt changes of texture, meter, and tempo. The third section begins when the searcher reaches a peak of frustration and the whole ensemble bursts into frantic octaves. Gradually, the texture thins out - our searcher calms down and gains a degree of determination with which to start the final section. This begins with material hinted at earlier, which is developed along with variations of other previous material, building to a head, until, with a final flurry, our heroic searcher escapes the evil labyrinth (I think...). 8 HyPER MIX: Sent to Analyze Life-forms for electroacoustic tape (1991, composed with James Aikman) a. They appear boring…should we bother? b. Why not…let’s sample their digital intelligence. c. What do they do and why do they do it??? d. Evaluate data. e. Conclusion/departure. “We have piped for you and ye have not danced.” HyPER MIX is an electroacoustic music collaboration by James Aikman and David Dzubay. The work combines the digital sampling and editing on ‘non-musical’ sound sources, including stationary exercise bicycles, rowing machines, clangorous weights, and a basketball scrimmage, with digitally sampled and edited musical source material (harp, flute, trumpet, the human voice, saxophone, drums and full orchestra). Frequency modulation synthesis, analog synthesis and digital effects processing are also used in this ‘sound-painting,’ which may have been the last actual ‘tape’ piece completed (on tape) prior to the complete renovation of the IU Center for Electronic and Computer Music into a state-of-the-art digital facility in 1991. HyPER MIX refers not only to various activities at the Health, Physical Education and Recreation building at Indiana University (where we carted around a 1980s over-sized sampler), but also to our hectic (all-night / two-man / 4 channels each) stereo mixing procedure. _________________________________________ BIOS: David Dzubay was born in 1964 in Minneapolis, grew up in Portland, Oregon, and earned a D.M. in Composition at Indiana University in 1991. Additional studies included a fellowship in composition at Tanglewood (1990) and two summers as co-principal trumpet of the National Repertory Orchestra (1988, 1989). His principal teachers were Donald Erb, Frederick Fox, Eugene O'Brien, Lukas Foss, Allan Dean and Bernard Adelstein. David Dzubay's music has been performed by orchestras, ensembles and soloists in the U.S., Europe, Canada, Mexico, and Asia. His music is published by Pro Nova Music, Dorn, and Thompson Edition and is recorded on the Sony, Bridge, Centaur, Innova, Crystal, Klavier, Gia, First Edition and Indiana University labels. Recent honors include Guggenheim, MacDowell, Yaddo, Copland House and Djerassi fellowships, a 2011 Arts and Letters Award from the American Academy of Arts and Letters, the 2010 Heckscher Foundation-Ithaca College Composition Prize, 2009 Kuhmo Chamber Music Festival Composition Competition, 2007 Indianapolis Chamber Orchestra Composition Competition, 2005 Utah Arts Festival Commission and the 2004 William Revelli Memorial Prize from the National Band Association. He is currently Professor of Music, Chair of the Composition Department and Director of the New Music Ensemble at the Indiana University Jacobs School of Music in Bloomington. Dzubay has conducted at the Tanglewood, Aspen, and June in Buffalo festivals. He has also conducted the Pittsburgh New Music Ensemble, the Greater Dallas Youth Symphony Orchestra, Music from China, Voices of Change, and an ensemble from the Minnesota Orchestra, the Kentuckiana Brass and Percussion Ensemble and strings from the Louisville Orchestra at the Music at Maple Mount Festival. From 1995 to 1998 he served as Composer-Consultant to the Minnesota Orchestra, helping direct their "Perfect-Pitch" reading sessions, and during 2005-2006 he was Meet The Composer "Music Alive" Composer-in-Residence with the Green Bay Symphony Orchestra. In the summer of 2011, David Dzubay joined the faculty of the Brevard Music Center as composer in residence. James Aikman earned his DM in Composition from IU. He joined the faculty of the University of Michigan in 1996, in which year he was also appointed Composer-in-Residence for Cathedral Arts of Indianapolis. His music has been played by Joshua Bell, Dawn Upshaw, Gilbert Kalish, Alexander Kerr (Concertmaster of the Royal Concertgebouw Orchestra), the New World Symphony, and his chamber/electronic music has been heard at venues including Amsterdam's Gaudeamus International, Aspen, Tanglewood, France's Festivals International de Musique (1988, 92), London's Wigmore Hall and Carnegie Hall. Corey Cerovsek, violin. Born in 1972 in Vancouver, British Columbia, Corey Cerovsek began his violin studies at the age of five. At age 12 he was accepted by Josef Gingold as a student and enrolled at Indiana University, where he completed doctoral coursework in both music and mathematics by the age of eighteen. He has appeared with conductors such as Zubin Mehta, Charles Dutoit, Michael Tilson Thomas, Neeme Jarvi, David Zinman and James DePreist, performing with major orchestras in the United States and around the world. Shigeo Neriki, piano. Professor of Music, Indiana University. Soloist with Chicago, National, Denver and Pittsburgh symphonies, and the Minnesota and Boston Pops Orchestras. Concert tours in the United States, Europe, South America, Asia and Japan with cellist Janos Starker. Winner of the Southwest Pianist Foundation Competition. First prize and special award for commissioned work at the Three Rivers Piano Competition in Pittsburgh. Best accompanist at the Fifth International Tchaikovsky Competition. A recipient of the Suntory Award. He has recorded with Columbia, Toshiba, EMI, Delos, BMG, Apollon, and Meister. John Rommel, trumpet. Professor of Music, Indiana University. Principal trumpet of Louisville Orchestra from 1988 to 1996. Performances throughout the United States, France and Germany. Numerous solo performances including recent performances of the Bach Brandenburg Concerto No. 2 and David Gillingham’s When Speaks the Signal Trumpet Tone. Over thirty compositions recorded with The Louisville Orchestra by many of the leading composers of the twentieth century. Chamber music experience includes performances with Summit Brass, Saint Louis Brass Quintet and the Nashville Contemporary Brass Quintet (1980-1988). _________________________________________ CREDITS & LINKS: Recorded in IU Auer Hall, Bloomington, IN by David Pickett, Wayne Jackson and students of the IU Audio Department: Jake Belser, Brent Courtney, Esther Luna, Jeff Mee, and Kevin Shima Compilation, Final Editing and Premastering: Konrad Strauss Booklet design: David Dzubay Photography: Ric Cradick (cover), Tasha Dzubay (traycard) Production coordination: David Dzubay, Wayne Jackson Producers: David Dzubay, Wayne Jackson, David Pickett, Konrad Strauss My sincere gratitude to all the IU students and faculty who contributed to this recording. David Dzubay IU New Music Ensemble - www.indiana.edu/~nme/ IU Composition Department - http://www.music.indiana.edu/departments/academic/composition/index.shtml IU Jacobs School of Music Marketplace - http://www.iumusicmarketplace.com All works © Pro Nova Music (BMI) - ProNovaMusic.com Patent of recordings: The Trustees of Indiana University, 2003 © of program notes: David Dzubay, 2003