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Max Lifchitz's Yellow Ribbons No. 22 for viola and piano belongs to a series of works written as an hornmage to the former American hostages in Iran. These compositions are a personal way of celebrating the artistic and political freedom so often taken for granted in the West. The composition is in three contrasting movements performed without pause. The melodic and harmonic material for the entire composition is derived from a series of expanding and contracting intervals. Several rhythmic motives serve as unifying elements throughout the piece. The climax of the entire work occurs towards the conclusion of the second movement when each instrumental part is treated with the utmost degree of independence as each instrument moves at a different tempo. Yellow Ribbons No. 22 was completed in the Spring of 1984 on a commission from the Organization of American States in Washington, DC. Marshall Bialosky, galloping rapidly toward his 80h year, served as president of the National Association of Composers/USA (NACUSA) from 1977 until 2002. Along the way, he also served as the national chair of the Society of Composers, Inc. from 1974 to 1977 and twice as co-chair of this organization's Region W (the western states). He is now an Emeritus Professor of Music at the California State University, Dorninguez Hills where he was the Founding Chairman of both the Music and Art Departments in 1964. He continues to teach in the External Degree program for the M.A. in Humanities. His song-cycle, The Far Theatricals of Day won the first prize in the 2001 Division II Class A in the Mu Phi Epsilon Original Composition Competition. He was a student of Lionel Nowak, Luigi Dallapiccola, and Ernst Bacon, and is a graduate of Syracuse and Northwestem Universities. The composer kindly provided the following program note for his work: "My interest in American Indian Life emerged during the 1970's. I became friends with many Indians and even spent some considerable time in their homes and villages. This led to reading about their history in America, and a sad tale it is, continuing to this day to be fraught with illegal mischief and grossly unfair government treatment, often depriving them of legitimate royalties for the use of their lands, non-payment of grazing fees and the like, and letting their unspeakable poverty continue on to the present while we waste millions on missile sites and armaments. I like to think of this work as my contribution to protest music following the lead of one of my teachers, Luigi Dallapiccola, whose Songs of Imprisonment made such a strong statement against Fascism in Italy. The song cycle itself composed in 1989, whatever its ultimate merit or demerit may be, is a highly organized work. Elements of 'the Prologue appear in the first song as well. At an important point in the second song, elements of the first song re-appear, and in the third song, elements of the Prologue and the first song are heard again. The problem of writing music about the Indians without resorting to movie music cliches is a difficult one. Native Indian music has nothing to do with atonality or other modem devices. What I have tried to do here is to give the vocal part twelve-tone-like inflections of a very diatonic nature contrasted with an accompaniment using drones and pedal points somewhat in the Indian manner. For the instrumentation, I have chosen to incorporate the idea that flute playing is quite natural to them and, indeed, in recent times many virtuoso Indian flute players have become extensively recorded. Of course, the Indian association with drums is well known. The need to find some instruments capable of low notes led to the inclusion of the two bassoons, employed here to evoke some of the dry landscape one finds on the Hopi mesas in Arizona and on other Indian lands."
I I Enna T Ked Cloud I I will we let ourselves be destrdyed in dur turn without a struggle, give up our homes, our Tecumseh of the Shawnees Wovoka, The Paiute Messiah i Song I11 I did not know then how much was ended. When I look back now from this high hill of my old age, I can still see the butchered women and children lying heaped and scattered all along the crooked gulch as plain as when I saw them with eyes still young. And I can see that center any longer, and the sacred tree is dead. Black Elk (on the Sand Creek massacre) Piano Courtesy of YAMAHA PIANOS I u . , 2 ~lease'turn-ofl your-cell phone, watch alarm ind any other noise-producing device before the program I starts. Make sure :to know where the auditorium exits are. PLEASE REFRAIN FROM :SMOKING andlor EATING WHILE IN AUDITORIUM. I I I u a > I
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Orchestral Training Association Orc
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. , The Fourth Vianne Webb Memorial
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MARK ALBURGER is an eclectic Americ
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t BRUCE HAMILL has a Bachelor of Mu
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I I PROGRAM NOTES -- Compiled an Ed
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1 ' Gordon W. Bowie resides in Wash
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. . Angel Songs'(1994) ............
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ABOUT THE COMPOSERS THE MUSIC DEPAR
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lNCERT lRFORMIANCE ENSEMBLE oon tur
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You are invited to stay after the c
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About the Music ... Program Fanfare
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THE COMPOSERS PROGRAM. 1. Leonard K
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C) C. C rr: (Dcrwrt 3 D-UQ 6' am E.
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Notes about ttte Artists The Mid-So
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P h P ~ C v ~ q I 7 I. of two voim
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Four 11. Freely (1999) Suite from M
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Meet the Performers Flutist Patti M
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A founding officer of New York Wome
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actual performance is improvised. N
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Program Pangram Dawn K. Williams Ch
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Sonata for Viola and Piano (1 990)
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Sonata Paul Stouffer Concert Bon Ec
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(a~,a~ aJaqM s,l!~de pue) auo JaaMs
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I " 1. Baerenhonigliebe. I Was es d
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Program Evocations (2000) John M. C
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Program Notes Evocations is set in
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FOR TAPE ALONE JONATHAN PETERS Nu B
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WAVES (2000) IS AN EIGHT MINUTE TWO
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MARK ALBURGER (b. 1957, Upper Darby
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5. Sleep, Gmndmoher Sleep, grandmot
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Notes about the Artist Program Math
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Notes about the Music Program _ Pau
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This QUARTET was begun in February,
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GEOFFREY KIDDE
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Larry Thomas Bell, a composer who i
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During the early 1990s Nanes was gi
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PROGRAM NOTES - Compiled aLd edited
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. I . ;' , I _' , I ' . * fromThe N
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LSU COLLEGE OF MUSIC & DRMTIC ARTS
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1" I EL CAMINO COMMUNITY COLLEGE DI
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'CELEBRATION: Miriam Sang i Deborah
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I VARIOUS, Depending on schedule St
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LSU COLLEGE OF MUSIC & DRAMATIC ART
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The Hardwick Chamber Ensemble is a
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Meet Todav's Artists Desiree Halac,
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"Trio for Clarinet, Violin and Piar
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En el centro de Dios jHabrd una inm
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June 2001 14 Thursday 8:00 pm Hot S
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July 200 1 12 Thursday 8:00 pm Hot
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~alifoinia State University, Fuller
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Sketches of Maine was composed for
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Young Composers Awards, grants from
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, Klondike Steadman has been awarde
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Angelic Piano Pieces Deon Nielsen P
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JZ~IT~ FF~K~~K is an orchestral bnd
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NACUSA CONCERTS At thk 'Palo, Alto
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-Composers & Performers- Floyd Carl
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November 200 1 7 Wednesday 4:00 PM
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Herb Gellis Program Christopher Bal
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i NANCY BLOOMER DEUSSEN is well kno
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Creators of the "Music Niqhts Serie
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Creators of the "Music Nicrhts Seri
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Meet the Artists Metropolitan Opera
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Hayg Boyadjian was born in Paris to
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Notes About he Music . . . Program
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UNNERSITY OF CALIFORNIA. RIVERSIDE
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Green D.H. Lawrence TEXTS Heaven-Ha
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NACUSA CONCERT Joanne Carey, Radio
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Joanne Carey - TWO SONGS "I Am The
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The KPO- Percussion 0-uartet Doran
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Program Sans Tihe II br solo saxoph
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JOHN BEEMAN studied composition wit
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g* RAZZMATAZZ . b : 6 - a . .; A- S
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NACUSA PRESENTS THE DEBUSSY TRIO SP
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A selection of his most recent conc
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MEET THE PERFORMERS Composer-conduc
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Daniel Adams (b. 1956, Miami, FL) i
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Mr. David graduated with honors fro
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