Fernand Gillet L _ _ng Artist Performance

17, 9:ooUniversity of Nevada, Las Vegas

Artemus W. Ham Concert Hall

Competition, Semifinal Audition1987 Semifinalists

Dan D’Andrea, Itasca, IllinoisBernard Kolle, Eaubonne, France

Magnus Nilsson, Kungalv, SwedenRoger A. Nye, Fennville, MichiganMark W. Rogers, DeKalb, Illinois

Preliminary Audition JudgesMark Apfelstadt, University of North Carolina at Greensboro

Alan Hawkins, University of KansasWendal Jones, Eastern Washington University

Semifinal and Final Audition JudgesAlan Goodman, Los Angeles Philharmonic, USA

Yoshiyuki Nakanishi, Nagoya Philharmonic, JapanRufus Olivier Jr., San Francisco Opera, USA

Alexandre Ouzounoff, Ecole Nationale de Musique d’Evreux, FranceChristopher Weait, Ohio State University, USA

Final Audition Accompanist: Elissa StutzCompetition Chairman: William Davis

Semifinal Audition Required Work: Vincent Persichetti, Parable for Solo BassoonFinal 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 Monday, August 17, 10:10 A.M.

Bassoon and Strings ofFrancois Rene Gebauer

Lecture DemonstrationDanny Keith Phipps, Bassoon

The USAF Band and Symphony Orchestra

Technical Sergeant DanPhipps, bassoonist, is a

graduate of the Curtis In-stitute of Music in

Philadelphia, where he wasa student of Sol Schoen-

bach. He has also studiedwith Marcel Moyse, George

Goslee, John deLancie, andMark Popkin. SergeantPhipps holds both his

Master of Arts degree (inmusicology) and his Doctor

of Musical Arts degree fromthe Catholic University of

America in Washington, D.C.In 1979, Dr. Phipps joined

the faculty of the BaylorUniversity School of Musicwhere he taught bassoon

and music theory, and wasthe bassoonist with the

Baylor University WoodwindQuintet, touring throughout

the southwestern UnitedStates and Mexico. In 1983,Sergeant Phipps joined the

United States Air ForceBand and Symphony Or-chestra as principal bas-

soonist. He also tours withthe USAF Woodwind

Quintet. This fall, Dr. Phippswill join the faculty of the

Shenandoah Conservatoryof Music as an adjunct pro-

fessor of bassoon while con-tinuing his performance

duties with the USAF Band.

University of Nevada, Las VegasJudy Bayley Theatre

Danny Keith Phipps, bassoonRuth Ann Truncale, violin

Paul Swantek, violaJan Kobialka, cel lo

Quartet, Op. 40, No. 2, in a minorI. Allegro moderato

Quartet, Op. 40, No. 3, in C majorI. Allegro fieramento

Trio, Op. 33, No. 3, in B-flat majorI. Allegro fieramento

Quartet, Op. 40, No. 1, in B-flat majorI. Allegro

II. AndantinoII I . Rondo: Polonaise

7

nel Discussion Monday, August 17, 1O:10 A.M.

University of Nevada, Las VegasHendrix Auditorium

Ideas and Trends in Recent Oboe Manufacture

Master of CeremoniesNora Post, Ph.D.

Panelists

Paul Covey, DirectorPaul Covey, Inc.

Anne de Gourdon, CoownerF. Loree Paris

Alan Fox, DirectorFox Products, Inc

Alan Hollander, DirectorGordet Oboes

John Pullen, Nigel Clark, CodirectorsHowarth Co., Ltd., London

Yzes Rilba, DirectorStrasser-Marigaux, Paris

Philip Rigoutat, DirectorRigoutat et Fils s.a., Paris

8

The King’s Trumpettsand Shalmes

Monday, August 17, 11:10 A.M.

University of Nevada, Las VegasArtemus W. Ham Concert Hall

Robert Cronin-shawm, recorder, crumhorn; Chris Lanz-sackbut, recorder, crumhorn; Bil l Godbout-shawm, recorder, crumhorn;Alan Paul-shawm, recorder, crumhorn; David Hogan Smith-shawm, recorder, crumhorn, sackbut

The shawm band was the most the city hall. In fact, the one place propriate for occasions where less century, soprano and alto shawms tenor trombone, but with a smallerhighly regarded instrumental the shawm band was not usually volume was needed. were the most common sizes, while bell and a somewhat narrower boreensemble during the fifteenth cen- heard was in church. The composition of the band in- the tenor and bass instruments were Such a seemingly unlikely combina-tury. It performed for dancing out- Members of the fifteenth century cluded one or more sizes of shawm developed during the sixteenth cen- tion of instruments existed as andoors or in large halls, garden enter- shawm band were expected to dou- and either a slide trumpet or a tury as musical styles changed. The ensemble for over two and a halfta inment, processions, banquets, ble on other instruments, including sackbut. This combination of reeds slide trumpet was the direct centuries.weddings, and other festive occa- consorts of crumhorns and and brass had its origins in the Mid- predecessor of the sackbut. Shapedsions. Shawm bands were recorders. This provided a “rest” dle East and was adapted to suit the like a trumpet, it had a single slideemployed by municipalities as well from the demands of double reed needs of Western European musical attached to the mouthpiece; toas courts, and these town bands playing , during a performance, as style. The shawm was a double reed change pitch, the entire instrumentwere expected to perform a daily well as a change in tone color. Soft instrument with a conical bore and was moved along the slide. Theconcert from the watch tower or at instruments were also more ap- a sharply flared bell. In the fifteenth sackbut was similar to the modern

The King’s Trumpetts andShalmes is a five member ensem-ble which performs music of theRenaissance for shawm band. Itsrepertoire extends from the late four-teenth century to the mid-seven-teenth century, utilizing early windinstruments such as shawms,sackbuts, recorders, a n dcrumhorns. The King’s Trumpettsand Shalmes performs regularlythroughout the San Francisco Bayarea.

The night watch

Fortuna desperata-lch stund aneinem Morgen

Fortuna desperata-Es taget vordem Walde

Courtly Masquing Ayre #21

shawms and sackbut

II.Bacco, bacco

Ich schwing mein hornWohlauff, gut G’sell, von hinnenLa, la, la, je ne I’ose dire

crumhorns

III.Heth sold ein meisken garn om winCamour de moySo drincken wir alle

The widowes myteshawms and sackbut

Anthony Holborne(15651602)

Ludwig Senfl(c.1486~c.1543)

Ludwig Senfl

John Adson(d. 1640)

Francesco Corteccia(1502-1571)

Ludwig SenflAnon. 16th c.Pierre Certon

(1510-1572)

Anon. 16th c.Anon. 16th c.

Arnold von Bruck(c.1490-1554)

Anthony Holborne

Melodia octavi toni toniquinque vocibus

Douleur me bat

Tandernack

IV.Thomas Sto l tzer

(c.1480-1526)Josquin des Prez

(c 1450-1521)Ludwig Senfl

recorders

Tant que vivrai

Vion vietteDal lecto me levava

0 admirabile commercium

V.Claudin de Sermisy

(c.1490-1562)Claudin de Sermisy

Michele Pesenti(c.1475--c.1521)

Thomas Stoltzer

crumhorns

VI.Ein feste Burg

Melodia quarti toniquinque vocibus

Stephan Mahu(c.1480-c.1541)

Thomas Stol tzer-Brunette Johannes Stokem

(c.1440-1500)Greiner, zancker, schnopffitzer

shawms and sackbut

Heinrlch Finck(c. 1445-1527)

Alexandre Ouzounoff,BassoonFrance

Born in Paris in 1955, Nice, La Rochelle, Strasbourg,Ouzounoff began studying Bourges, Varsovia, Roma,piano and flute at the age of Bremen, Torino, and more.six. In 1972 he discov-ered the bassoon whileworking with Maurice Al-lard, and decided to ded-icate his life to thatinstrument.

In 1978, AlexandreOuzounoff founded the“Trio d’anches OZI,"which was later awardedthe Prize of the Con-tours International inMartigny (Switzerland).Mr. Ouzounoff continuesto perform with thisgroup.

In 1980, AlexandreOuzounoff began re-searching new bassoontechniques, resulting inthe publication of histreatise ‘Actuellement lebassoon,” Salabert Edi-tion, 1986.

Mr. Ouzounoff has per-formed at numer-ous festivals, such as IRCAM, Since 1982, Mr. Ouzounoff hasFestival Estival, Festival taught at the Ecole Nationaled’Automne, Metz, Angers, de Musique d’Evreux.

Monday, August 17, 2:00 P.M.

University of Nevada, Las VegasArtemus W. Ham Concert Hall

Program

L’automne est mort (1986)

Paral-lel (1984-85) Philippe Fenelon(U.S. Premiere) (b. 1948)

Hopi (1986)(U.S. Premiere)

Other Waters (1986-87)(World Premiere)

Enrico Correggia(b. 1933)

Philippe Hersant(b. 1948)

Lydia Ayers

Surimpression VII (1986)(U.S. Premiere)

Bloc V (1982)(U.S. Premiere)

Daniel Tosi(b. 1953)

Patrice Mestral(b. 1945)

10

Advanced Reed Designand Testing Procedurefor Bassoon

Monday, August 17, 3:lO P.M.

University of Nevada, Las VegasArtemus W. Ham Concert Hall

Lecture Demonstration

Mark Eubanks, Bassoon

Distant Winds Monday, August 17, 4:10 P.M.

Marc Fink, oboeUniversity of Wisconsin-Madison

Todd Welbourne, pianoMimmi Fulmer, soprano

Joyce Songs (1986)

Love came to usSleep nowGentle Lady

Joel Naumann(b.1941)

Sonate for Oboe and Piano

Aria: GraveScherzo: VifFinal: Assez allan

Henri Dutilleux(b.1916)

Joyce Songs, a song cycle set to five poems of James Joyce,was composed for Mimmi Fulmer and Marc Fink by JoelNaumann in 1986. Three of the five songs are being per-formed today. As the composer states: “Their overall effectis decidedly triadic in origin (even tonal!) but I accept thisdecadence since that is exactly what I was hearing for thesetexts they should sound simply lovely. The texts and the set-tings are all in the same mood the‘remembrance of love thatis past. While not joyous they are also not sad just accep-ting and serene.”

Joel Naumann, Professor of Composition at the Universityof Wisconsin-Madison, has recently published a book en-titled Analog Electronic Music Techniques.

University of Nevada, Las VegasArtemus W. Ham Concert Hall

Alan Leech, bassoonMontana State University

Karen Leech, flute

Suite (1980, rev. 1987)

Gaily-Waltz-Gaily

Henry Campbell(b.1926)

With a Bounce-Smoothly-With a BounceJauntilyLightly-Lyrically-Lightly

Ranch-On Danzon (1986) Alan Leech“musiCollage” (b. 1944)

Henry Campbell’s Suite (1980, rev. 1987) is well written andcharacteristic for the bassoon. It is very expressive as wellas virtuosic.

Ranch-On Danzon, a short duet, utilizes a South Americanfeel with an odd meter and recurrent rhythm.

Alexandra Pohran, oboeUniversity of VictoriaChris Weait, bassoon

Carol Urban; piano, harpsichord

Sonata in G for Oboe andContinuo

AllegrettoAndanteAllegro

Giuseppe Sammartini(16951750)

6me Solo de Concours, Op. 46 Charles Colin(1832-1881)

Sequenza VIII (1969) Luciano Berio(b.1925)

12

Arthur Grossman,Bassoon

Monday, August 17, 8:00 P.M.

University of Nevada, Las VegasArtemus W. Ham Concert Hall

Arthur Grossman, born inNew York City, made his profes-sional debut at the age of thir-teen with the Oklahoma CitySymphony Orchestra. Afterthree additional seasons withthat orchestra and one seasonas contra-bassoonist with the

San AntonioSymphony Or-chestra, he wasenrolled in theCurtis Institute ofMusic where hestudied bassoonwith Sol Schoen-bach and cham-ber music withMarcel Tabuteau.

He has been principal bassoonist withthe Indianapolis, Cincinnati, and IsraelPhilharmonic Orchestras, and has per-formed with the Marlboro, Casals, andGrand Teton Music Festivals. As amember of the Soni Ventorum WindQuintet he has been resident artist andprofessor at the Conservatory of Musicof Puerto Rico and the University ofWashington. He has toured widely bothas a soloist and with Soni Ventorum, in-cluding concerts in South and CentralAmerica, Europe, Asia, and most of theUnited States. His recordings includemore than twenty albums with Soni Ven-torum, approximately ten solo albums,plus recordings with the IsraelPhilharmonic.

Arthur Grossman, bassoonCarol Urban, piano

Adagio

Larghetto

Ma Celine

Introduction, Air and Variations

Ludwig (Louis) Spohr(1784-1859)

Friedrich Berr(1794-1838)

Sonata

Allegretto ben moderateAllegroRecitative - 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, He has been a frequent soloistMark Eubanks covers a wide with the Symphony and therange of music on his versatile West Coast Chamber Or-bassoon. His first professional chestra. He has also perform-musical experiences occurred ed with the Grand Teton andin his mid-teens ashe played with arhythm and bluesband as well as withthe Tacoma Sym-phony. While atten-ding the Universityof Washington hejoined the SeattleSymphony and per-formed with it from1968 to 1978. He hasalso performed asprincipal bassoonistwith the SeattleOpera. His years inSeattle included per-forming and writingfor the electric jazzensemble, “Matrix,”and for the SeattleComposers and Im-provisors Orchestra. Sunriver Music Festivals and

In 1978, Mr. Eubanks be- Chamber Music Northwest.came the principal bassoonist He also performs in “pit or-with the Oregon Symphony. chestras” for musical shows

IMark Eubanks, bassoon

Eddie Wied, trio

Leave it to Beaver/l Got Rhythm/Flintstones(medley)

Funeral March of a Marionette

Andante (from Weber’s Andante andHungarian Rondo) Carl Maria Weber

(1786-1826)

Up From The Skies Jimi (James Marshall) Hendrix(1942-1970)

Dragoons Entr’acte (from Carmen) Georges Bizet(1838-1875)

Additional works to be announced

on flute, oboe, clarinet, sax received and led to concertand bassoon. While residing work around the Portlandin Depoe Bay, Oregon, he jam- area. In 1982 he began a solomed with Betty Hall Jones, bassoon album that waswho encouraged him to pur- thwarted as the recordingsue solo work in jazz. His studio burned down before thedebut in 1981 at the Jazz project was completed. After aQuarry with the Eddie Wied nearly three year respite, MarkTrio was enthusiastically has returned to the jazz scene.

14