Jeff Denson Contrabass Concert - Intranet

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a dramatic sense of urgency and impact, with an almost unrelenting onslaught of atonal sixteenth notes. Nearing the end of the piece you encounter a lyrical oasis; however you quickly find that it was merely a mirage as you are thrown back into a whirlwind catapulting you to the piece’s austere finale. George Perle (b. Bayonne, N.J., 6 May 1915) Composer, theorist, and educator, Perle received his Ph.D. from New York University in 1956 as well as having studied privately with composer, Ernst Krenek in the early 1940’s. He has a profound interest in the music of the Second Viennese School (composers Arnold Schoenberg, Alban Berg, and Anton Webern), which have served as the foundation for his own musical language in which he calls Twelve Tone Tonality. This theory of twelve tone composition is described in his book Twelve Tone Tonality (Berkley 1977). Monody II for Solo Double Bass was written for (the former UCSD Professor of Double Bass) Bert Turetzky in 1962. This piece is a testament to the enormous lexicon of tone color and sonic possibilities available with the double bass. Perle explores a host of some of the various extended techniques available, both arco and pizzicato, on the instrument through his close collaboration with Mr. Turetzky, and pushes the entire register and dynamic ranges to their limits. Rhythmically, the piece is written on a free plane, by dispensing with the use of bar lines the “meter” is dictated by each phrase independently. The use of temporal and implied temporal changes exclusively throughout this piece gives it a constant feeling of unrest. By use of repetition and sudden changes in metrical grouping (i.e. triplets, sixteenth notes, quintuplets, etc.), the illusion of a tempo change is presented. This feeling of almost constant fluctuating tempi, coupled with equally as frequent timbral and dynamic changes make for an engaging work. Harmonically, the work is representative of Perle’s own personal take on the twelve tone system, while every phrase presents all twelve of the chromatic tones, they are not presented in the strict non-repeating fashion of dodecaphonic music. From violent to darkly lyrical and
from whimsical to mysteriously whispered, this piece communicates its message through some of the many possible characters that can emerge from this massive instrument. Antonio Bibalo (b. 1922 Trieste, Italy) Bibalo began studying piano at an early age and later received his degree in piano performance from the Conservatoire in Trieste in 1946. He was well on his way of establishing his name as a concert pianist in Europe when he decided drop his career as a performer and move to London in 1953 to study composition with Elizabeth Lutyens, one of England’s pioneers of twelve tone music. In 1968 Bibalo became a Norwegian citizen and since that time has been honored with various awards, including being made a Knight of St. Olave (1st Class) in 1992, and in the same year was awarded the Lindeman Prize. Reise med bat uten bat for Soprano og Contrabas (Boat Journey without a Boat for Soprano and Double Bass) was composed in 1988 and premiered at the Bergen International Festival in 1989; it was based on a series of four short poems by the Norwegian poet and playwright, Cecilie Loveid. (Poems Translated from Norwegian) Spartan Piece with Garbage-piles and Leftovers her sport is swimming while she looks at the world around her she performs a bath the only thing she’s a master in she’s tackling her nerves comfortably water breathes pores gurgles her accomplished swimming her quack quack her boat her longing for Egypt beyond decay come quickening when all she knows is water
Page 1 and 2: Jeff Denson Contrabass Concert ucsd
Page 3: Jeff Denson DMA Double Bass Recital
Page 7 and 8: Cecilie Loveid had this to say abou
Page 9 and 10: Serenade (which was originally writ

Jeff Denson Contrabass Concert - Intranet

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