JonathanDawe

ANoise Did Rise: Chamber Works 1993-1999

Innova316

 

 

[1] HornTrio (1993) [9:36]

WilliamPurvis, Horn • Mark Steinberg, Violin • Alan Feinberg, Piano

[2-5] TheSiren (1997)

[2] I FirstFantasie [2:39]

[3] II Ballade[2:41]

[4] III SecondFantasie [1:28]

[5] IV Ground[5:52]

Mark Rimple,Countertenor • James Hogg, Viola • William Anderson, Guitar

[6] FractalFarm For WoodwindQuintet (1999) [19:04]

The PhoenixEnsemble: Tanya Witek, Flute/Piccolo • Robert Ingliss, Oboe

Mark Lieb,Clarinet • Patrick Pridemore, Horn • Jennifer Rhodes, Bassoon

[7-10] Towr’dTrumpets for Guitar (1993)

[7] I Trumpets[1:49]

[8] II FrozenLake [0:41]

[9] IIIDebates [2:13]

[10] IVBattles Rejoined [2:40]

Marc Wolf,Guitar

Total Time[49:09]

 

Horn Trio, a single-movement work, systematicallypresents and re-presents its musical

ideas. In thedrama of this work, new levels of structure are created as older previous

material isreinforced through pitch, and rhythmic instrumental doublings, fashioning the

foundation foroff-shoot melodies. These new filigrees, always derived from the music

‘beneath’them, then, in turn, become the stable platform for still fresher recursions.The

first originalstructures thus becoming deep pillars of design. The beginning material from

which the HornTrio builds its dynamic design comes from a comes from a restructuring

of thetwelve-tone series in Karlheinz Stockhausen’s early work, Sonatine forviolin and

piano (1951) .

 

The Siren draws its initial material from fragmentsfrom La Sirena, ashort Canzonet from

a collection(1595) by the late-Renaissance composer Thomas Morley (1557-1602). These

pre-Baroqueborrowings act as the starting building blocks from which a fanciful outgrowth

of tunes andpolyphony arise, alluding to sounds both ancient and quite modern.

The text isfrom prefatory praises by an admiring poet contained in Morely’s own book, A

Plaine andEasie Introdvction to Practicall Mvsicke (1597). Of further note, the culminating

passages ofthe final movement, Ground, which reveal rhythmic passages of the most

intricatecomplexity, are based quite literally upon metric schemes cited directly from

Morley’s ownmusic examples contained in his book.

 

Based deeplyupon concepts of fractal geometry, Fractal Farm spins musical material

ranging fromlong lyrical lines of simple beauty to intricate rhythmic moments of dazzling

complexity.The work itself is a journey through an elaborate self-similar design; and in

the course ofthis expedition numerous smaller shapes emerge like fantastic fractal creatures

housed in thevery architecture that spawns them. Fractal Farm was commissioned

by AnsoniaMusic Outreach.

 

Towr’dTrumpets for sologuitar, inspired by John Milton’s epic poem Paradise Lost (1667),

extendsimagery suggested in the fantastic scenes of great battle between legions of

angels andrebels. Here, towers of watch, defense, or assault, house multiple trumpets,

protrudingfrom all sides, and of all sizes; from thin clarions heralding high piercingtones

to greattrombas of girth bellowing low rounded rings. This explosive expositionmaterializes

into furtherdepictions: the following section reveals the ‘Burning Lake’ upon which

the fallenLucifer with his army are sunk and stuck, while the next passage witnesses the

grim debate asSatan hold council with his dissatisfied brood. The final section frames

this minitone-poem with a further furious accounting of the clashing mighty battles for

the heavens.

 

JonathanDawe has emerged as anexciting and original composer of the 21st century.

His music,described as “skillful”, “sparkling” (New York Times) and “envelopepushing”

(Boston Globe)embodies a striking mix of modernist nuance and baroque

imagery,spanning grand orchestral forces to delicate chamber music combinations. His

works areenergetic, rich, yet sharp and transparent.

 

Commissionsinclude The Flowering Arts for The Boston Symphony Orchestra with James

Levine, Prometheusan opera in three actopera for Works & Process at The Guggenheim

Museum, PianoConcerto for Robert Tauband The Wharton Center for Performing Arts,

furiousartisans • 101 pondfield rd. w. • bronxville, ny 10708 (914) 290-4134www.furiousartisans.com

 

JonathanDawe was born in Boston, Massachusetts in 1965 and studied at the OberlinConservatory and the Juilliard School, where he has been a member of thegraduate faculty since 1995. In 2004 he was commissioned by James Levine tocompose a new work for the Boston Symphony Orchestra and in 2005 his operaPrometheus was premiered at the Guggenheim Museum.

 

 Composition awards he has receivedinclude a recording grant from The Copland Fund for New Music 2003, aKoussevitzky Music Foundation Commission (Library of Congress) 2001, a NYSCAcommission grant, 2002, a Fromm Foundation Grant (Harvard University) 1997, APresser Award (Presser Foundation) 1994, The Charles Ives Scholarship (AmericanAcademy of Arts and Letters) 1990, The Bearns Prize (Columbia University) 1988,two ASCAP prizes 1993, 1990, two BMI awards 1992, 1987, a commission grant fromthe David Cinnamon Prize, and the Herbert Ellwel Prize (Oberlin College) 1987.

 

 The recipient of commissions from theBrentano String Quartet, Cygnus Ensemble, The New Juilliard Ensemble, The NewYork New Music Ensemble, The Manhattan School of Music, Phoenix Ensemble, andpianist Robert Taub for the Institute for Advanced Study, Dawe’s works havealso been performed by the Washington Square Chamber Players and the ManhattanPercussion Ensemble.

 

 Jonathan Dawe has emerged as one of themost exciting and communicative composers of the 21st century. His music,described as “skillful”, “sparkling”, and “smart,” embodies a striking mix ofmodernist nuance and baroque imagery; spanning grand orchestral forces todelicate chamber music combinations. His works are energetic, rich, yet sharpand transparent. Commissioned by James Levine in 2004 to compose a new work forthe Boston Symphony Orchestra, other current projects include a new work,Secret Knowledge of the Stars, for the Miró String Quartet.

 

 In February 2005, a fully-stagedproduction of Prometheus a chamber opera featuring countertenor Derek Lee Raginand The New York Baroque Dance Company was premiered at the Guggenheim Museum.The work, produced by Mary Sharp Cronson and Works and Process, wascommissioned by Cygnus Ensemble and The New York Council on the Arts.

 

 In 2003 pianist Robert Taub premieredhis Piano Concerto, a four-movement work commissioned by the Wharton Center ofPerforming Arts and based upon Monteverdi’s Vespers of 1610 and fractalgeometry. In 2005, Taub will premiere his Passacaille in New York City, alarge-scale work for piano, commissioned by The Institute for Advanced Study inPrinceton, N.J. which has been described as ‘a hammerklavier of the 21stcentury’.

 

 Composition awards he has receivedinclude a recording grant from The Copland Fund for New Music 2003, aKoussevitzky Music Foundation Commission (Library of Congress) 2001, a NYSCAcommission grant, 2002, a Fromm Foundation Grant (Harvard University) 1997, APresser Award (Presser Foundation) 1994, The Charles Ives Scholarship (AmericanAcademy of Arts and Letters) 1990, The Bearns Prize (Columbia University) 1988,two ASCAP prizes 1993, 1990, two BMI awards 1992, 1987, a commission grant fromthe David Cinnamon Prize, and the Herbert Ellwel Prize (Oberlin College) 1987.

 

 The recipient of commissions from theBrentano String Quartet, Cygnus Ensemble, The New Juilliard Ensemble, The NewYork New Music Ensemble, The Manhattan School of Music, Phoenix Ensemble, andthe Institute for Advanced Study, Dawe’s works have also been performed by theWashington Square Chamber Players and the Manhattan Percussion Ensemble.

 

 In 2005, the Furious Artisans label willrelease the first recording devoted to the music of Jonathan Dawe. Thisproject, funded in part by the Copland Fund for New Music, will include thepremiere recording of The Siren, Horn Trio, and Fractal Farm.

 

MarkRimple is a countertenor, lutenist,and composer who enjoys mixing his dual passions of early and new music. TheWashington Post has praised his "splendid" countertenor singing, andin 2004 a Chicago Tribune reviewer wrote of a performance with the NewberryConsort that "Rimple's technique as a lutenist is fluid and confident,adding a kinetic lift to the ensemble. His considerable assets as acountertenor include a centered, clear tone,” and “effortless upper notescapable of pinpoint agility.” He is a founding member of Trefoil, an ensembledevoted to the performance of late medieval music from mensural notation, andhe can be heard on two recordings with the ensemble: Cristo e Nato: Lauding theNativity in Medieval Italy, and Masters, Mazes and Monsters: Treading theMedieval Labyrinth (both recordings available at www.msrcd.com). He is afrequent guest of the Newberry Consort, and appears on their most recentmedieval recording, Puzzles and Perfect Beauty. He also appears regularly withPiffaro, the Renaissance Band, and The Folger Consort. He is a specialist inthe theory and notation of early music and often teaches this material atworkshops throughout the country. Mark is an accomplished composer, and holds aDMA in Composition from Temple University. His compositions have been performedby the ISCM Chamber Players, Parnassus, and The Network for New Music. He hasalso championed new music for guitar, lute, mandolin, and countertenor withsuch ensembles as the Cygnus ensemble and the Network for New Music. Mark is anAssociate Professor of Music Theory and Composition at West Chester Universityof Pennsylvania.

 

Dr.James Hogg  has earned degrees from the GuildhallSchool of Music and Drama in London, Arizona State University and The JuilliardSchool, and has studied with Samuel Rhodes, William Magers, David Takeno, andwith Siegfried Führlinger in Austria at the Vienna Academy of Music. He is aprevious winner of the MTNA National Collegiate Artist Competition, and hasreceived many other awards and honors. James has performed for an extensivevariety of large and chamber ensembles, composers and performers such as theVienna Philharmonic, the Takács, Borodin and Melós String Quartets, György Kurtág,Anner Bylsma, and Josef Gingold. James recently earned his Doctor of MusicalArts degree from the Juilliard School, where he focused his study on the stringquartets of Milton Babbitt. As a member of the Milton Quartet, he has recordedBabbitt’s Sixth String Quartet on the Tzadik label.

 

TanyaDusevic Witek has been the recipientof many awards in the United States and Canada, including the Sony ES Award forExcellence, a Fulbright Scholarship and several Canada Council grants. She hasperformed as soloist, chamber musician and principal flute throughout the U.S.,Europe and Japan with the New York Symphonic Ensemble, Orpheus and Continuum.Ms. Witek has recorded for EMI, Panasonic and CBC, and has appeared at MarlboroMusic and Lincoln Center’s Mostly Mozart Festival. She graduated from theUniversity of Calgary as a student of Philippa Fullerton and received hermaster and doctoral degrees from Juilliard, studying with Carol Wincenc. Lastfall, she was honored with the McGraw-Hill Company’s Robert Sherman Award forMusic Education and Community Outreach, which is awarded to a distinguishedJuilliard alumnus. Ms. Witek is currently a Teaching Artist for Lincoln CenterInstitute and the New York Philharmonic.

 

JenniferRhodes, a bassoonist based in NewYork City, is a 2005 doctoral candidate at the Juilliard School. She is amember of the esteemed Opera Orchestra of New York with which she performs atCarnegie Hall. She also plays regularly with the Brooklyn Philharmonic,American Composers’ Orchestra, and Westchester Philharmonic. An active chambermusician, Ms. Rhodes has performed with the Chamber Music Society of LincolnCenter, the Jupiter Symphony Chamber Players, and the North Country ChamberPlayers. Jennifer has worked with such well-known conductors as ChristophEschenbach, Kurt Masur, Leonard Slatkin, and Michael Tilson Thomas and can beheard as principal bassoonist on Itzhak Perlman’s 1998 EMI recording"Concertos From My Childhood."

 

Guitarist/composerWilliam Anderson began performingchamber music at Tanglewood at age 19. He now performs in guitar festivals andnew music festivals in Europe, the U.S., Latin America and in Japan. In NewYork Anderson performs regulalry with many ensembles including the CygnusEnsemble, which he founded in 1985. He performs regularly with the TheaterChamber Players in Washington D.C. He has released three recordings: The GuitarMusic of Meyer Kupferman, on Soundspells; Diary of a Seducer, on CRi; andHausmusik, on Furious Artisans labels. He appears on numerous other recordingson various labels including Koch, Bridge Records, and Open Space. Anderson’sessay, Hausmusik dealing with some of the problems of modernism, will appear inthe June 2003 issue of Bejamin Boretz’ Open Space magazine. Anderson’scompositions have been heard on Danish National Radio, Polish National Radio,and at festivals including the Europe/Asia Festival in Kazan, the Weekend ofChamber Music in the Catskills, the Rotenburg Festival in Northern Germany, andvarious music festivals in Spain and Italy. Anderson is now Artistic Directorof the Composers Guild of New Jersey. He teaches guitar at Sarah LawrenceCollege.

 

MarkSteinberg  is first violinist of the Brentano String Quartet, which hasan active career both in the US and abroad since 1992. The quartet has won theNaumburg Chamber Music Award, the first Cleveland Quartet Award, Lincoln Center’sMartin Segal Prize, and the Royal Philharmonic Society Award. The group is alsoquartet-in-residence at Princeton University. With a repertoire that spans fromthe Renaissance to the music of today, the quartet has been involved innumerous commissions and special projects.

 

 Individually active as a soloist andchamber musician as well, Mark Steinberg has been heard in numerous Europeanfestivals, the Marlboro Festival, the El Paso International Chamber MusicFestival, Chamber Music Northwest and with the Chamber Music Society of LincolnCenter. He is a frequent duo partner of pianist Mitsuko Uchida, with whom hepresented the complete cycle of Mozart piano and violin sonatas in Europe inthe Fall of 2001, with additional recitals in numerous other cities. Mr.Steinberg has been soloist with orchestras including the London Philharmonia,Los Angeles Philharmonic, and the Auckland Philharmonia with conductors such asEsa-Pekka Salonen and Kurt Sanderling. Mr. Steinberg holds degrees from IndianaUniversity and The Juilliard School and has studied with Louise Behrend, JosefGingold, and Robert Mann.

 

 An advocate of contemporary music, Mr.Steinberg has worked closely with many composers and has performed with newmusic ensembles including the Guild of Composers, the Da Capo Chamber Players,Speculum Musicae, and Continuum, with which he has recorded and touredextensively in the U.S. and Europe. He has also performed and recorded chambermusic on period instruments with the Helicon Ensemble, the Four NationsEnsemble, and the Smithsonian Institute. He is on the faculty of the MannesCollege of Music and has taught at Princeton University, New York University,and the Pre-College division of the Juilliard School.

MarkLieb  received a Bachelor of Music degree in clarinet performancefrom Northwestern University, studying with Robert Marcellus, and a Master ofMusic degree in clarinet performance from The Juilliard School, studying withDavid Shifrin. He has performed with the Columbus Symphony, New World Symphony,Bronx Arts Ensemble, Essential Music, Vanguard Chamber Players, SpeculumMusicae, and is the founder of the Phoenix Ensemble. With various groups he hastoured extensively throughout the United States, Europe, and Asia, and hasrecorded with New World Records, Mode Records, Newport Classics, Dorian, andBMG Classics labels.

 

PhoenixEnsemble is a New York City basedchamber music group dedicated to the performance and recording of classicalmusic, and to the mission of making the musical arts a more essential andvaluable experience in the lives of the general public. Since 1992, throughperformances, recordings, and residencies in schools and communities, thePhoenix Ensemble has presented hundreds of events designed to inspire a new anddiverse audience for classical music. The group has a special interest inencouraging and giving a voice to composers of contemporary music, and creatingevents where these composers can present their music to a new audience.

 

Members:Tanya Dusevic Witek -flute, Robert Ingliss -oboe, Mark Lieb -clarinet, PatrickPridemore -horn, Jennifer Rhodes –bassoon

 

WilliamPurvis  made his debut as soloist with the Pittsburgh Symphony at theage of 18, performing the Strauss Second Horn Concerto; today he pursues amultifaceted career as French horn soloist, chamber musician, and conductor. Heis a member of the New York Woodwind Quintet, Speculum Musicae, Orpheus ChamberOrchestra, and the Orchestra of St. Luke's, performing frequently as soloistwith both orchestras. Mr. Purvis appears frequently with such organizations asTanglewood, Aston Magna, the Salzburg Festivbal, and the Chamber Music Society ofLincoln Center. A frequent performer on "early horns," he hasperformed and recorded with the original instrument sextet Mozzefgiato and withthe Amadeus Winds. Closely identified with the music of our time, Mr. Purvishas had numerous compositions written for him, and has premiered works by suchcomposers as Lieberson, Silver, Babbitt, Carter, Maxwell Davies andStockhausen. As a conductor Mr. Purvis has recorded works by Carter, Wolpe,Crumb, Hyla, and others. In addition to Stony Brook, Mr. Purvis has taught atColumbia University, the Juilliard School, and the Hochschule für Musik inKarlsruhe, Germany.

AlanFeinberg  has achieved a remarkable reputation as a vanguard pianistand musician who has charted his own unique path in music. His intelligence,integrity and affinity for an unusually wide range of repertoire place himamong those few artists who are able to build a bridge between music of thepast and present. With repertoire that ranges from Bach to Babbitt, Mr.Feinberg's creative approach to programming places contemporary music within abroad framework as part of an ongoing, living tradition.

 

 In October 1998, Mr. Feinberg performedthe world premiere of the recently-discovered "Emerson" PianoConcerto by Charles Ives, with Christoph von Dohnanyi and the ClevelandOrchestra. He performed it again with them on tour in Paris. Recent concertsalso included Amy Beach's Concerto at the Chautauqua Festival, Gershwin'sSecond Rhapsody with the American Symphony in Avery Fisher Hall in New York, OscarLevant's Concerto with the American Composers Orchestra in Carnegie Hall,Messiaen's Oiseaux exotiques with the New World Symphony, and Ravel's G MajorConcerto with the Syracuse Symphony. Other major collaborations have included atour with the Cleveland Orchestra and Christoph von Dohnanyi, performingShulamit Ran's Concert Piece for Piano and Orchestra and Brahms' Concerto No. 2in New York, Boston, Cleveland, San Francisco and other cities. At LincolnCenter, with the American Symphony Orchestra, he performed Leo Ornstein's PianoConcerto, and has also performed the world premiere of Andrew Imbrie's FourthPiano Concerto, and John Cage's Piano Concerto. He appeared with the New YorkPhilharmonic performing Poulenc's Concerto for Two Pianos with Ursula Oppens;with the Los Angeles Philharmonic playing Gershwin's Concerto in F, and withCharles Dutoit and the Montreal Symphony performing Berg's Chamber Concerto. Hewas chosen by John Adams to perform the piano score of Nixon In China featuredon a PBS special of the Opera. Abroad, where he enjoys an outstandingreputation, he has performed with the London Philharmonia, BBC, ScottishSymphony, BBC's Musica Nova Festival, the festivals of Edinburgh, Bath,Cambridge, Geneva, and Berlin, and at Italy's International Festival of Bresciaand Bergamo, and the Budapest Autumn Festival.

 

 In 1997, Alan Feinberg received histhird Grammy Award nomination for his recording of Morton Feldman's Palais diMari and Charles Wuorinen's Capriccio, Bagatelle and Third Sonata. Mr.Feinberg's Decca/Argo series, "Discover America," brings togetherworks by George Gershwin, Louis Moreau Gottschalk, Henry Cowell, ConlonNancarrow, Jelly Roll Morton, James B. Johnson, Percy Grainger, Fats WallerArtis Wodehouse, Scott Joplin, Charles Ives, Charles Wuorinen, Willie "TheLion" Smith, Duke Ellington, and others. Other recordings by Alan Feinbergare the Grammy-nominated Babbitt Piano Concerto (New World Records), MortonFeldman's Piano and Orchestra with Michael Tilson Thomas and the New WorldSymphony, and Amy Beach's Piano Concerto with John Nelson and the New WorldSymphony, Ligeti's Horn Trio (Bridge Records), works by Steve Reich and JohnAdams (EMI/Angel and Nonesuch), and Paul Bowles' Piano Concerto (Catalyst).

 

 Mr. Feinberg has over 200 premieres tohis credit, among them Mel Powell's Pulitzer Prize-winning Duplicates, as wellas works by such composers as John Adams, Milton Babbitt, John Harbison, SteveReich, and Charles Wuorinen. In 1985, he was chosen to premiere Milton Babbitt'sPiano Concerto, which was commissioned to celebrate the American ComposersOrchestra's first season at Carnegie Hall and was written for Mr. Feinberg. Heis also the first pianist to have been invited by the Union of Soviet Composersto represent American contemporary music-an invitation that resulted inperformances in both Moscow and Leningrad. Feinberg's recitals have stirredaudiences form his native New York to Washington (Kennedy Center), Los Angeles,Cleveland, Chicago, Paris, Budapest and London, as well as the Santa Fe ChamberMusic Festival, the Chamber Music Society of Lincoln Center, Gerard Schwarz's"Music Today" and the Schoenberg Institute. Mr. Feinberg is VisitingProfessor at the Juilliard School in New York City.

 

RobertIngliss, principal oboist of theAmerican Symphony Orchestra, Bachworks, Northeastern Pennsylvania Philharmonicand Philharmonia Virtuosi, Robert Ingliss has appeared with almost everyimportant large ensemble in New York City. He has also served as principaloboist with the New Zealand Symphony Orchestra and the Mexico CityPhilharmonic. He tours worldwide with the Orpheus Chamber Orchestra, and was asoloist in the Haydn Sinfonia Concertante during Orpheus' much heralded tour ofSoutheast Asia, during which they were the first American orchestra to play inVietnam since the war. In 2003, Robert participated in a memorial concert inBosnia with the Sarajevo Philharmonic for the victims of the massacre inSrebrenica. As a chamber musician, he is a member of An die Musik - oboe,strings and piano, and served as oboist of the Aspen Wind Quintet for sixyears. A member of Cygnus Ensemble and Ensemble Sospeso, Bob is one of the mostsought-after new music oboists. In one month, for example, he performed NY andworld premieres of chamber works by Babbitt, Dalbavie, Dufort, Harbison andBruno Mantovani. He has played with the Da Capo Chamber Players, League-ISCMChamber Players, New Music Consort, Parnassus, Ensemble XXI and appearsfrequently with Speculum Musicae, and is a founding member of the new ColumbiaSinfonietta. Bob can also be heard on dozens of record labels and on numerousfilm and television soundtracks representing a wide range of styles andrepertoire. Mr. Ingliss has given masterclasses in oboe and chamber music atsuch places as the Juilliard School, the Manhattan School of Music, ColumbiaUniversity and at numerous schools and universities across the USA. RobertIngliss graduated from the Juilliard School, and studied with Robert Bloom andArthur Krilov, as well as with Heinz Holliger in Darmstadt, Germany.

 

PatrickPridemore

 Originally from Evans, Georgia, and nowa resident of New York City, Patrick Pridemore appears with many of thecountry's most prestigious musical organizations, such as the Orpheus ChamberOrchestra, the Philadelphia Orchestra, and the Orchestra of St. Luke's. Anaccomplished and highly sought-after chamber musician, Mr. Pridemore is amember of the Marlboro Music Festival, and has performed with the Chamber MusicSociety of Lincoln Center, the Boston Chamber Music Society, the AmericanChamber Players of Washington, D.C., and is a founding member of the ZéphyrosQuintet. As a soloist, he has performed the Strauss Concerto No. 2 for Hornwith the Prometheus Chamber Orchestra in Merkin Hall. Mr. Pridemore hasperformed under many esteemed conductors, including James Levine, Kurt Masur,Sir Simon Rattle, Wolfgang Sawallisch, Sir André Previn, and David Zinman. Hewas heard as the principal horn of the Juilliard Opera Center production ofHansel und Gretel, which was seen nationally on Public Television's "Livefrom Lincoln Center" series. He has recorded for EMI. Mr. Pridemoreattended The Curtis Institute of Music as a student of Myron Bloom, and TheJuilliard School, where he studied with William Purvis.