Innova
586
American
Accents David Stock
The
Seattle Symphony
Gerard
Schwarz and David Stock, Conductors
Susan
Gulkis Assadi, viola
2nd
Symphony (1996) (28:12)
1. Inexorable; Light,Dancing 13:30
2. Like the Wind 2:17
3.Ominous 2:13
Gerard Schwarz, Conductor
Viola
Concerto (1997) (22:15)
4. Moving Forward Gently 8:15
5. Cadenza:Slow Waltz
6.Flowing
Susan Gulkis
Assadi, Viola
David
Stock, Conductor
7.American
Accents (1984)
David Stock, Conductor
8:25
Symphony No.
2
Composer/Conductor
David Stock is Professor of Music at Duquesne University, where he conducts the
Duquesne Contemporary Ensemble. He has been Composer-in-Residence of the
Pittsburgh Symphony and the Seattle Symphony, and is Conductor Laureate of the
Pittsburgh New Music Ensemble, which he founded in 1976. Mr. Stock made
the cross-country trek to serve as Composer-in-Residence for the Seattle
Symphony in 1996. His affiliation with that orchestra began in 1993, when he
composed Power Play.
Earlier, however, Maestro Gerard Schwarz, the Seattle Symphony’s Music
Director since 1985, had conducted two of Stock’s works in Los Angeles
and New York.
Stock
retired as Conductor of PNME at the end of the 1998/99 season, after 23 years
of dedication to new music and the living composer. In November 1992, he was
selected by the Pittsburgh Cultural Trust to receive the Creative Achievement
Award for Outstanding Established Artist. Among his many commissions are Kickoff, premiered by the New York Philharmonic
under Kurt Masur during the Orchestra's 150th Anniversary; Violin Concerto,
premiered by Andres Cardenes and the Pittsburgh Symphony under Lorin Maazel for
that Orchestra's 100th Anniversary; and Second Symphony, premiered by the
Seattle Symphony under Gerard Schwarz.
Stock's compositions have been performed throughout
the United States and in Europe, Mexico, Australia, China, and Korea. He has
recorded on CRI,
Northeastern, MMC, Ocean, Albany, Innova and Ambassador. Stock has received a
Guggenheim Fellowship, five Fellowship Grants from the National Endowment for
the Arts, five Fellowships from the Pennsylvania Council on the Arts, and
grants and commissions from the American Academy of Arts and Letters, Ella
Lyman Cabot Trust, the Paderewski Fund for Composers,
the Koussevitzky Music Foundation, the Barlow Endowment, Boston Musica Viva,
the Cincinnati Symphony, the Seattle Symphony, the St. Paul Chamber
Orchestra, Richard Stoltzman, Duquense University, the Erie Philharmonic, and
many others.
As
guest conductor, he has appeared with Australia's Seymour Group, Poland's
Capella Cracoviensis and Silesian Philharmonic, Mexico's Foro Internacional de
Musica Nueva, Eclipse (Beijing), the Pittsburgh Symphony, the Baltimore
Symphony, the Seattle Symphony, the Los Angeles Philharmonic New Music Group,
Monday Evening Concerts, the Syracuse Society for New Music, the Minnesota
Composers Forum, the American Dance Festival, Opera Theatre of Pittsburgh, the
New England Conservatory Contemporary Ensemble, the Chautauqua Symphony, the
American Wind Symphony, and the Cleveland Chamber Symphony.
Mr.
Stock has served as panelist for the National Endowment for the Arts and the
Pennsylvania Council on the Arts, and as a host of Da Capo, a weekly
series on WQED-FM in Pittsburgh. His television credits include the theme
music for the award-winning PBS series Kennedy Center Tonight.
In
his primary role as a composer, a strong melodic sense, well-defined melodies
and economical yet imaginative instrumental textures enliven his music. Nikolai
Lopatnikoff was his primary teacher during his student days at Carnegie-Mellon
University in Pittsburgh. As a graduate student at Brandeis University, he
studied with Arthur Berger, who was part of the American
“Stravinsky” school. He also studied with Alexei Haieff, himself
close to Stravinsky. “Neoclassic ideas were paramount at that
time,” Stock reflected, “and most strongly defined my
background.”
Berger,
Stock recalls, encouraged him to “try my hand at 12-tone composition.
This was the heyday of the Uptown intellectual Princeton/Columbia orbit, and I
wanted to be a good boy and please my teachers, get grants and commissions, and
get my music played. Years later I realized that this kind of thinking really
wasn’t me.
“Several
things happened to bring about the ‘rediscovery of the audience,’
Stock continues. “One was simply that composers were getting tired of
having all 12 pitches circulate all the time…. By 1983, Jacob Druckman
and other composers realized that something was going on: festivals in New York
were being billed as the
‘new Romanticism.’ A lot of us composers went through this
transition in various ways. For instance, I was writing a brass quintet, and
just by logic of voice-leading I got to this very ‘strange’ little
conglomeration of three notes—D-flat, F and A-flat—a pure, naked
triad. I hadn’t written a pure, naked triad in years! ‘This is kind
of neat,’ I thought. If you do it right you can still make it sound
good…. I don’t think it was initially an audience issue, but my own
inner sense of what I was hearing.”
As
others have done, Stock followed the beat of a different drummer—his own,
one might say, in developing his compelling style. His orchestration, vibrant
and bracingly clear, reflects the neo-Classic cleansing methods of his early
teachers. His musical vocabulary is free in its exploration of expressive
dissonance within an expanded, though tonally based, harmonic system, and his
melodies—often upwardly moving and engagingly rhythmic—draw from
sources as varied as Shostakovich to American jazz. Though the composer pays
homage to his neo-Classic mentors, he pays equal respect to the more
emotionally expressive side of his personality.
Symphony No.
2 (1996)
“Why
a symphony?” the composer asked rhetorically before answering his own
question. “At the end of the 20th century does the term still
make sense? …Somehow…I knew that in this new work I wanted a
breadth of expression and a sweep of contrasts that would justify the use of
this noblest of orchestral titles. I only hope that I’ve achieved my
goal.”
In
three movements—two eventful large-scale statements surrounding a brief,
skittish scherzo—Stock
fully justifies his choice of nomenclature. Aside from now pointless issues of
number of movements, the Symphony No. 2 wears its title comfortably. A sense of
serious purpose, forward motion and a fusion of disparate emotional and timbral
elements in one narrative unfolding assure its place in the long and glorious
evolution of the symphony as the most appropriate vehicle for non-programmatic
orchestral discourse.
Stock
composed the Second Symphony throughout 1996. The scherzo, titled “Like the Wind,”
came first, the result of a commission from the Pittsburgh Symphony, with which
the composer has had a long and fruitful relationship. The outer movements were
written in Santa Fe and Seattle, and the entire score was completed on October
19th of the year, on the 33rd anniversary of Stock and
his wife, Celia.
The
opening movement, more or less in ABA’ form, frames a fast part marked
“Light, Dancing” within a slow movement marked
“Inexorable.” Low heartbeat-like rumblings in the percussion set
the pace. An upward two-note motif in lower strings joins in followed by the addition
of more instruments. The overall impression is that of a solemn processional
with a palpable sense of anxiety. The various orchestral sections take turns
making forceful sonic utterances like changing organ registers. The overall
sound world is lean and economical, and filled with stimulating contrasts. The
faster central section, initially lighter in mood, grows out of the slower
introduction and conveys a sense of growing expectancy. Like a caressing
breeze, an English horn, then flute, brings in a swirling pastoral theme. Though
the darker music of the Introduction recalls the searing power of Shostakovich
at his most bleakly sardonic, the lighter music sounds irrepressibly American.
Jazzy percussion riffs impel the music forward, calmed at times by gentler
commentary from the winds.
The
mercurial scherzo
opens nervously with rising scurrying strings and snappy winds/brass retorts
answered by percussion. The movement is skittish, motoric and ends almost as
soon as it begins. The finale, marked “Ominous,” starts off with a
rising motif redolent of the first movement, and in fact, much of the material
does relate to the opening of the Symphony. A battery of percussion pits itself
against shimmering strings; this edgy, anxious music recalls the “night
music” of Bartók, and even to some degree, of Mahler’s eerie
scherzos. Though
“ominous” (the composer’s term), the movement’s strong
rhythmic impulse obviates any sense of despair. This is music of strong profile
and vigor.
Viola
Concerto (1997)
If
Stock proved his mettle as a symphonist in his Second Symphony, he had already
demonstrated skill in the realm of that combative/collaborative form, the
“concerto” in his superb Violin Concerto, premiered by the
Pittsburgh Symphony and its concertmaster, Andres Cardenes in 1996. Shortly after
Stock arrived in Seattle, where he served as Composer in Residence for the
Seattle Symphony from 1996-97, the Orchestra’s music director, Gerard
Schwarz, casually mentioned to him, “It would be great if you could write
a new piece” to commemorate the opening of Benaroya Hall, the new home of
the Seattle Symphony, in 1998. “In April of 1997,” Stock wrote,
“I was driving to the home of Susan Gulkis, Seattle Symphony’s
principal violist, to see her about renting her house for the month of July,
when my wife and I would return to Seattle. Suddenly it hit me—I’d
love to write a viola concerto for Susan! Maestro Schwarz endorsed the plan
enthusiastically.”
David
completed the Concerto in August 1997, in Santa Fe. It is cast in the
traditional three movements, though played without pause. In the first
movement, “Moving Forward Gently,” orchestral strings immediately
establish a regular tread before the soloist enters with an ardently lyrical
rising theme. Winds and percussion provide contrasting sonorities briefly
before return of the main theme played by viola. Harmonies are more astringent
than in the Second Symphony, though they always retain a tonal footing. The
scoring, as is typical of the composer, is lean but varied, a legacy of his
early training in the neo-classical tradition that Stock referred to as the
“Stravinsky/Hindemith mix.” A challenging cadenza for the solo
viola links the first movement to the romantic and evocative second movement,
“Slow Waltz,” a warm lilt with sufficient muscle and mystery to
keep it free from mere nostalgia. The finale begins caressingly with softly
glowing orchestral strings and a sweetly flowing melody spun by the solo viola.
Echoes of Copland—another neo-classicist with Romantic
yearnings—infuse this beguiling movement. Mildly dissonant asides from
the brass contrast and enhance the viola’s lyricism.
American
Accents (1984)
From
its initial chugging beat, redolent of both minimalist memories and
Stock’s penchant for irresistible forward momentum, this aptly named one
movement piece takes off on a steady jaunt across a distinctly American
landscape. Echoes of jazz further the connection in muted brass and jazzy
percussion timbres. The basic unifying theme, leaping upward like an updated
18th century “rocket theme,” adds further impetus. Stock’s
neo-classic background is felt in other ways as well, notably in his crisp,
lean Stravinsky-esque textures and attractively bracing harmonies.
The
composer notes, “American Accents was completed in October 1984 with the assistance of a
Fellowship-Grant from the National Endowment for the Arts, and is dedicated to
Gerard Schwarz. It was given its premiere by the Los Angeles Chamber Orchestra
under Maestro Schwarz, in October 1985. Virgil Thomson wrote many years ago of
the characteristic rhythm of much American music being a steady background of
eighth-notes, punctuated by accents, This rhythmic feel is the basis for American
Accents; there are only
a few triplets for punctuation in the work. I wanted to write an overture-like
piece that would open a concert on a bright, upbeat note.”
© 2002
Steven Lowe
Susan Gulkis
Assadi
Viola
Principal
violist of the Seattle Symphony, Susan Gulkis Assadi enjoys a varied career as
an orchestral player, chamber musician, soloist and teacher. Before joining the
Seattle Symphony during the 1992-1993 season, she spent three seasons as
principal violist of the San Francisco Opera Orchestra.
She
received her Bachelor of Music degree in 1988 from The Curtis Institute of
Music, where she studied with Michael Tree and Karen Tuttle. An active chamber
musician, Ms. Gulkis Assadi is a founding member of the Seattle-based Bridge
Ensemble and has played with numerous chamber orchestras including The
Brandenburg Ensemble, Concerto Soloists of Philadelphia, the European-based New
American Chamber Orchestra, and the New European Strings. She has served on the
faculty of the Waterloo Music Festival and participated in summer festivals at
the Grand Teton Music Festival, the La Jolla Chamber Music Society and the Seattle
International Music Festival. She coaches regularly at several Seattle high
schools and teaches privately.
Founded in 1903
the Seattle Symphony (www.seattlesymphony.org) is one of the oldest and largest
cultural institutions in the Pacific Northwest. Gerard Schwarz has been Music
Director since 1985. In 1998 the Orchestra began performing in the acoustically
superb Benaroya Hall in downtown Seattle. The Symphony is recognized for its
adventurous programming and tradition of performing music by contemporary
composers. Since the 1980s, Maestro Schwarz and the Seattle Symphony have
released more than eighty compact discs for Artek, Delos, EMI, Koch
International, CRI, New World, JVC, Nonesuch, Reference Recordings and RCA.
From September through July, the Orchestra is heard live by more than 300,000
people annually in its main concert series and by over a quarter of a million
in its broadcasts on Classical KING FM 98.1 and at www.king.org.
Gerard Schwarz,
Music Director of Seattle Symphony since 1985 and Music Director of the Royal
Liverpool Philharmonic Orchestra since 2001, is also Conductor Emeritus of New
York’s Mostly Mozart Festival, having served there as Music Director from
1984 to 2001. He stepped down as Music Director of the New York Chamber
Symphony in 2002, taking the orchestra he founded in 1977 through its 25th
anniversary. A graduate of the Juilliard School, Gerard Schwarz began his
conducting career in 1966. Within ten years, he was appointed Music Director of
the Erick Hawkins Dance Company, the Eliot Feld Dance Company, the Waterloo
Festival and the New York Chamber Symphony as well as the Los Angeles Chamber
Orchestra. In 1981 he established the Music Today contemporary music series in
New York City and served as its Music Director through 1989. Gerard Schwarz has
led the Mostly Mozart Festival Orchestra in débuts at the Tanglewood and
Ravinia Festivals, and from 1991 to 1999 he conducted the Mostly Mozart
Festival in Tokyo. From 1994 to 1999, he served as Artistic Advisor to Tokyu
Bunkamura’s Orchard Hall, conducting six programmes annually with the
Tokyo Philharmonic Orchestra. He has guest-conducted major orchestras
throughout North America and Europe. In 1994 Gerard Schwarz was named Conductor
of the Year by Musical America International Directory of the Performing Arts.
He also has received the Ditson Conductor’s Award from Columbia
University, an honorary Doctorate of Music from the Juilliard School, and
honorary doctorates from Fairleigh Dickinson University, University of Puget
Sound and Seattle University. In May 2002, the American Society of Composers,
Authors and Publishers awarded special recognition to Maestro Schwarz for his
efforts in championing the works of American composers and the music of our
time. In April 2003 the Pacific Northwest Branch of the National Arts &
Sciences gave Maestro Schwarz its first “IMPACT” lifetime
achievement award. He was also named an Honorary Fellow at John Moores University,
Liverpool.
ACKNOWLEDGEMENTS
This recording
was made possible by grants from
the Pittsburgh Foundation, the Aaron Copland Fund and the Fishman Family
Foundation
All works
published by Norruth Music, a BMI-affiliated subsidiary of MMB Music, Inc.
Recording Engineer:
Al Swanson
Producer: Adam
Stern
Editing: Dmitry
Lipay
Mastering: Al
Swanson
Symphony
commissioned by the Seattle Symphony with a Fellowship-Grant from the
National Endowment for the Arts; Score dedicated to Judy
and David Friedt, Gracious Hosts, True Friends.
(Like
the Wind commissioned by the Pittsburgh Symphony, dedicated to Mariss Jansons)
Concerto
commissioned by the Seattle Symphony for Susan Gulkis Assadi with a grant from
the Fishman Family Foundation
American
Accents written for the Los Angeles Chamber Orchestra and the Y Chamber
Symphony with a Fellowship-Grant from the National Endowment for
the Arts; Score dedicated to Gerard Schwarz
Symphony
recorded May (??), 2001, December 5, ’01, Benaroya Hall
Viola Concerto
& American Accents recorded May (??), 2000, Nordstrom Recital Hall