Rough and Tumble (Donald Freund, 1996)
Two Dances for Clarinet, Trumpet, and Piano (Walter Hartley, 1984) (4:42)
2 2:42 Rag Tango
3 2:05 Slow Drag
Quatuor de Ballet (Nico Schuyt, 1962) (32:11)
4 1:19 Intrada
5 4:51 Introduzione e marcia capricciosa
6 4:27 Incontro
7 7:32 Rondo burlesco
8 7:39 Intrigo
9 7:03 Sonata trionfale
Double Concerto for Clarinet and Trumpet (Gordon Jacob, 1976) (11:05)
10 4:53 Allegro
11 3:12 Largo
12 3:40 Allegro vivace
Music for a Farce (Paul Bowles, 1938) (11:41)
13 1:13 Allegro rigoroso
14 2:01 Presto (tempo di Tarantella)
15 0:52 Allegretto (tempo di Quickstep)
16 1:58 Allegro
17 2:10 Lento (tempo di Valse)
18 1:40 Allegro
19 0:52 Presto
20 2:15 Allegretto
Terry Mahady, percussion
Fred Sahlmann, piano
Jan Fillmore Scott, clarinet
David Scott, trumpet
Founded in 1995 Pastiche is a mixed ensemble of clarinet, trumpet, piano, and percussion, featuring music for unusual instrumental combinations as well as standard works. Actively involved in expanding the repertoire through their transcriptions and commissioning of new works, the ensemble tours in the Louisiana region for concerts and educational events.
JAN FILLMORE SCOTT
Jan Fillmore Scott teaches clarinet, oboe, and bassoon at McNeese State University in Lake Charles, Louisiana. She is also in charge of woodwind pedagogy and chamber music. Jan holds degrees from the University of North Texas, the University of Louisville, and has doctorate work in progress at Louisiana State University. She has studied with Lee Gibson, Jim Livingston, James Gillespie, John Scott, and Steve Cohen. Jan has been on the teaching faculties of McMurry University, Abilene Christian University, University of Louisville, Indiana University - Purdue University at Fort Wayne, and the Sewanee Summer Music Center. She is currently principal clarinet with the Lake Charles Symphony and the Rapides Symphony Orchestra in Alexandria, Louisiana, and has performed with the Louisville Orchestra, the Louisville Ballet, the Indiana Chamber Orchestra, the Fort Wayne Philharmonic, and the Midland - Odessa Symphony. She is an active soloist and adjudicator throughout the South.
Terry Mahady, a New Orleans native, studied piano from age four and violin from age eight. He was active in the city’s public school orchestra programs until the age of sixteen, when after hearing jazz drummers Ed Blackwell and Paul Ferrerra, he switched to drums. He graduated from Southeastern University of Louisiana and completed a Master’s and Doctorate in Music Performance at Ball State University, while studying with Chicago Symphony tympanist Ed Metzenger. In 1975 he joined the faculty at McNeese State University in Lake Charles, Louisiana, where he is Professor of Percussion, while periodically touring Europe and Central America with Louisiana Jazz Five.
David Scott teaches trumpet at McNeese State University and has held the Alexander Endowed Professorship in Music. He has studied with Leon Rapier, Raymond Crisara, Robert Grocock, and Roger Voisin, and is a graduate of the University of Louisville and DePauw University. Scott has served on the faculties of the University of Idaho, Kentucky State University, and the Sewanee Summer Music Center. He has performed as a recitalist throughout the United States and with numerous orchestras, including the Louisville Orchestra, Kentucky Bach Society, Spokane Symphony, Palm Beach Opera, Lake Charles Symphony, Rapides Symphony, and the Midland - Odessa Symphony Orchestra. Scott is the founding director of the annual Louisiana Trumpet Competition and has performed with Susan Slaughter, Dave Bilger, Joyce Davis, and Vince Dimartino, to name a few. He is an active International Trumpet Guild member and is the 1998 ITG Solo Competition Chair, a position he also held in 1994. Scott has performed at several ITG conventions, served as a judge for the 1997 ITG Composition Contest, as well as being co-president of the Southwest Louisiana ITG Chapter.
Fred Sahlmann is on the faculty of McNeese State University in Lake Charles, Louisiana, where he is Professor of Piano, Organ, and Theory. He has appeared regularly in solo and chamber music recitals and has soloed with a number of area orchestras in Louisiana and Texas. He is active in church music, currently holding the post of organist - choirmaster at the Episcopal Church of the Good Shepherd in Lake Charles. He has two undergraduate degrees from Elon College in North Carolina, with majors in piano and organ. He received a Master of Music degree from Teacher’s College, Columbia University, and the Doctor of Musical Arts degree with Performer’s Certificate from the Eastman School of Music. At Eastman he was a student of Jose Echaniz. On a Fulbright Grant, he studied for a year at the Academy of Music in Vienna, Austria, before beginning his teaching career at his alma mater, Elon College.
DON FREUND (b. 1947) is a pianist, conductor, lecturer, teacher, and composer with over eighty performed works to his credit. His training derives largely from the Eastman School of Music. He is currently on the faculty of Indiana University. In the composer’s words, “The title Rough and Tumble not only conveys the character and attitude of this piece for mixed quartet, but also describes the micro-form of the opening gesture and the overall form of the piece. The first half of the work is a stringing together of several rough-hewn subjects; these yield to a ‘Slow Tumble’, a lyric passage entwining first the clarinet and trumpet, then the piano and marimba; this spills into a ‘Fast Tumble’ which scurries to a final reprise. The first two-measure kick-off phrase is also Rough and Tumble: rough stuttering block chords punctuated by a drumset yield to a single line which tumbles to a cadence.” Rough and Tumble was commissioned by Pastiche in 1996.
WALTER HARTLEY (b. 1927) studied composition with Bernard Rogers and Howard Hanson. He was Professor of Music at State University of New York College at Fredonia, as well as being an active pianist. In his Two Dances Hartley has clothed the rag in a more up-to-date harmonic language. In their original scoring Rag Tango and Slow Drag have no percussion part. When asked by Pastiche if he would add one for the group, Mr. Hartley declined but invited us to add our own, suggesting only that castanets be used in the Rag Tango. The result, we think, makes this delightful music even more attractive.
NICO SCHUYT (1922 - 1992) studied composition with Jacob van Domselaer and Bertus van Lier. From 1972 - 1975 he was chairman of the Society of Dutch Composers. Schuyt wrote music for orchestra, choir, and amateur ensembles, as well as chamber music. The Quatuor De Ballet was commissioned by the City of Amsterdam in 1962. Although this is an imaginary ballet, the music conveys, through its quick changes of character and abrupt shifts of rhythm, the very essence of the dance.
The march-like Intrada is a kind of curtain-raiser announcing the entrance of dancers onto an imaginary stage. The trumpet’s opening motive will reappear in each of the five movements, acting as a unifying device.
I. Introduzione E Marcia Capricciosa A majestic opening leads to a series of marches which gather momentum through ever-quickening tempos. The Intrada motive makes its triumphant appearance first in trumpet, then in the clarinet, as the music rushes to a frenzied climax. A final flurry from the clarinet closes the movement.
II. Incontro A soulful clarinet melody alternating with flurries in the piano against the trumpet’s Intrada motive serve to usher in the lyrical waltz-like pas de duex. A more vigorous section in jagged mixed meter offers a change of mood before the return of the pas de deux melody, now given in a quicker tempo.
III. Rondo Burlesco Odd rhythmic groupings, catchy folk melodies, and an introverted somber tune are but a prelude to the wildly uninhibited dance featuring virtuoso clarinet playing. The Intrada motive makes its appearance and returns, rondo-fashion, throughout the piece.
IV. Intrigo A collage of new and old themes make up the fourth movement of Quatuor De Ballet. Prominent throughout is the motive (double-dotted eighth, thirty-second, quarter notes) appearing in various guises, including the spacious open theme, a bluesy tune, and a funeral dirge. A closing section titled Intermezzo alternates a relentless, driving idea with a tender reminiscence of the pas de deux from Incontro.
V. Sonata Trionfale This is music on a grand scale. It is in true sonata form, complete with somber introduction, clearly differentiated first and second theme groups, development section, recapitulation, and coda. The mood is joyous and triumphant, bringing the piece to a joyous climax.
GORDON JACOB (1895 - 1984) taught at London’s Royal College of Music from 1922 - 1966; among his notable students were Imogene Holst and Malcom Arnold. Jacob produced a significant output of instrumental music, and also published several important books. He is best known for his colorful use of orchestration techniques and composition definition. In the Double Concerto for Clarinet and Trumpet (1976), a three movement form of fast-slow-fast, Jacob showcases the solo instruments singularly as well as together. Particularly exemplary of his melodic genius is the beautiful second movement, Largo, and the double cadenza in the last movement.
PAUL BOWLES (b. 1910) Music for a Farce was composed in 1938 just prior to World War II. Bowles studied composition with Aaron Copland, Virgil Thompson, and Nadia Boulanger. His travels took him to Europe and northern Africa, where his music became a potpourri of styles and idioms (including American jazz, Latin American dance, and Moroccan rhythms). After returning to the New York area he collaborated with playwrights including Orson Welles and Tennessee Williams. Bowles provided incidental music for Orson Welles’s production of William Gillette’s Too Much Johnson, which was eventually dropped before it reached the stage. Music for a Farce is a suite that was arranged from the stage music and given its premiere in 1939 at a League of Composers concert. The music is a pastiche of styles and harmonies which continually shift in timbre. Bowles later turned his energies towards writing (his first novel was The Sheltering Sky), and currently lives in Morocco.
Cover art: Kathryn Nobbe, “Witnessed Illusion II (Arcade),” 1992
© American Composers Forum, 1998.
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File under: 20th Century Classical, Chamber