Phenomenon of Threes:

CHAMBER TRIOS for FLUTE, CLARINET and PIANO

Innova 710

 

 

 

Keith Underwood, flute

Esther Lamneck, clarinet

Martha Locker, piano

 

 

Suite for Flute Clarinet and Piano                                                       Lawrence Moss

[1] Flowing 1:48

[2] Blurring 1:13

[3] Songs 2:25

[4] Mirrors 2:15

[5] Gigabyes 1:50

 

Breezes of Yesteryear                                                                  Dinu Ghezzo

[6] 12:41

 

Circular Motions                                                                                   Richard Brooks

[7] Maelstrom 3:04

[8] In the Eye of the Storm 1:41

[9] Whirlwind 2:24

 

Isomorphic Plenum                                                                      Harold Oliver

[10] 13:24

 

A Time ToÉ for trio and tape                                                  Ron Mazurek

[11] 7:44

 

 

 

 

Dedicated to the memory of Ron Mazurek

 

 

Recorded at Town Hall and the NYU Frederick Loewe Theater 2006-2007

Engineers: the late David Smith and Paul Geluso

 

CHAMBER TRIOS FOR FLUTE, CLARINET AND PIANO

 

The compositions on this CD make an exciting and significant contribution to the repertoire for flute, clarinet and piano. Every composition is different in style and places unique technical demands on each of the instruments. Keith Underwood and Esther Lamneck have taught flutists and clarinetists for many years and along with pianist Martha Locker they offer workshops in flute and piano repertoire and clarinet and piano repertoire at New York University's Steinhardt School, Music and Performing Arts. A natural outgrowth of their work has been the research of repertoire for the flute, clarinet and piano Trio. Most of the compositions below have been composed and dedicated to this Trio and have been performed by both the faculty and the student woodwind Trios at New York University.

 

SUITE FOR FLUTE, CLARINET AND PIANO by LAWRENCE MOSS  (2002)

The first movement, ÒFlowing,Ó is in three parts.  The first section emphasizes legato ascending scales in the winds, lightly punctuated by the piano.  The light-hearted middle section, ÒPlayfully,Ó contrasts these with staccato articulations.  A brief return concludes with a speeded-up version of the opening. In ÒBlurringÓ, the second movement, the sound is a murmurando (murmuring) tremolo in all the instruments.  These grow into arpeggiated patterns in contrary motion and finally into  ÒWildlyÓ – a quasi-improvised section which reaches a climax, and then fades away to almost nothing.  The middle movement, ÒSongsÓ, opens with my version of an Asian tune played shakuhachi style by the flute.  The six-measure tune is repeated with new accompaniment in the clarinet, leading to coordinated figures in the winds versus the piano. ÒMirrorsÓ is just that: flute and clarinet are mirror images of each other, as are the left and right hands of the pianist.  The tempo is lively: Vivace. The title of the finale, ÒGigabyteÓ, came before the music.  It is a pun that shows some knowledge of Italian and even less of computers –The model is still Bach, and my Giga obeys at least one of the conventions of his rollicking final Suite movements - the repeated first section. The Suite is published by Northeastern Music Publications.

   Lawrence Moss was born in Los Angeles.  After receiving a Ph. D. in Composition at the University of Southern California, he taught at Mills College, Yale University and the University of Maryland, where he has been Professor of Composition since 1969. Moss has been the recipient of numerous fellowships, including two Guggenheim awards, a Fulbright scholarship and four grants from the National Endowment for the Arts.  His works range from symphonic scores and operas to music for solo instruments, and works for tape and multimedia.  These have been performed throughout the Americas, Europe and Asia and recorded on the CRI, Orion, Desto, Opus One, AmCam, Spectrum, Capstone Recordings (CPS 8619) and EMF-the Electronic Music Foundation label. He has received commissions from, the Fromm Foundation, the New Haven Symphony, the University of Chicago Symphony, the Chamber Music Society of Baltimore, the National Endowment for the Arts, and the Kindler Foundation. He is listed in Who's Who, Baker's Biographical Dictionary, Dutton Dictionary of 20th Century Music, American Composers, a Biographical Dictionary, David Ewen, ed., and The New Grove's Dictionary of Music (Moss' works are published by Theo. Presser, Association for the Promotion of New Music (A.P.N.M.), McGinnis & Marx, Alfred Publishing Co., Roncorp Inc., Northeastern Music Publications and Seesaw Music Corp.

 

BREEZES OF YESTERYEAR by DINU GHEZZO (revised in 2000)
Breezes of Yesteryear by Dinu Ghezzo, was written in 1980 and revised in 2000, as a commission from Editions Salabert in Paris (France). This is a one-movement composition of ca. 12 minutes, shaped as a free arch form, linking elements and motives of several earlier works. The language is pan-tonal, at times modal, with an increasingly clear diatonic triad activity towards the end of the piece. There is process of "filtration", a trend existent in other later works of this composer, as an attempt to create stylistic bridges.  The three players (a flutist, on Alto, Piccolo and Flute in C, a clarinetist, and a pianist) create many atmospheric vignettes, through special techniques and effects, as a breeze into the past. Breezes of Yesteryear is published by Editions Salabert in Paris, France

   Dinu Ghezzo received his education in theory, composition, and conducting, at the Romanian Conservatory in Bucharest, where later he became an assistant professor in Theory and Composition.  In 1969 he emigrated to the United States and subsequently earned a Ph.D. in composition at the University of California, Los Angeles.  A musician with extensive experience as a composer, conductor, lecturer, as well as a performer and administrator, Dr. Ghezzo is Professor of Composition at New York University and also served as director of that program.  He is published by Editions Salabert, Editions Billaudot, Subito Music, Calabrese Brothers and Seesaw Music in New York.  His works have been performed extensively in Germany, Holland, Belgium, France, Italy, Switzerland, Hungary, Romania, Poland, Japan, Korea, Australia, and in the US to include Carnegie Hall, Zankel Hall, Alice Tully Hall, Weill Hall, Merkin, Symphony Space, and Miller Theater.  His works have been recorded by Grenadilla, Orion, Capstone and INNOVA.

 

CIRCULAR MOTIONS by RICHARD BROOKS (2004-2005)

Maelstrom (2004) for flute, B-flat clarinet, and piano was composed in response to a suggestion from Esther Lamneck.  We were caught in a blizzard at the Rochester airport in December 2003.  She asked me if I'd ever written anything for this particular combination.  She was performing with such an ensemble but was having trouble finding pieces.  I decided to write this "surprise" for her. "Maelstrom" is defined by Webster as a "strong often violent whirlpool."  I'm not sure why I picked this title as it doesn't necessarily reflect the musical content.  It may be that I was still remembering the blizzard conditions in Rochester.  Musically, the work plays around with an interestingly symmetrical tone row and a small portion of the Fibonnaci series. After the first performance of Maelstrom in June 2005 I was persuaded that it was really the first movement in a larger work.  So I added two more movements in the summer of 2005.  I decided to continue the swirling metaphor. In the Eye of the Storm is focused around a short Fibonacci series: 1 2 3 5 and its reverse.  Since the combined total of the series adds to eleven I use the meter 11/8 for large sections.

Whirlwind is pretty self-explanatory and provides an exhilarating finale. Circular Motions is published by the American Composers Alliance. More of Richard BrookÕs music can be heard at www.richardbrooksmusic.com.

   Richard Brooks holds a BS degree in Music Education from the Crane School of Music, Potsdam College, an MA in Composition from Binghamton University and a PhD in Composition from New York University.  In December 2004 he retired from Nassau Community College where he taught for 30 years; for the last 22 years he served as Music Department Chairperson. From 1977 to 1982 he was Chairman of the Executive Committee of the American Society of University Composers (now the Society of Composers, Inc.). In 1981 he was elected to the Board of Governors of the American Composers Alliance.  After serving two terms as Secretary and three terms as Vice-President he was elected President and served from 1993-2002. He is an active composer with over eighty works to his credit, including two full-length operas.  His children's opera, Rapunzel, was produced by the Cincinnati Opera giving 65 performances.  He recently completed a concerto for trumpet and orchestra commissioned by the Kent Philharmonic. He was selected by the New Music Connoisseur as New Music Champion for 2006-2007.  He is also Composer-in-Residence with The Lark Ascending.

 

ISOMORPHIC PLENUM by HAROLD OLIVER (2003-2004)

Isomorphic Plenum was commissioned by Esther Lamneck.  She was interested in a work for flute clarinet and piano as there seem to be few works for this combination. This grouping and these instruments provide an appealing opportunity for a composer. This composition, inspired by the works of Anton Webern and Milton Babbitt, employs contrapuntal lines that combine to create harmonic progressions over the span of the work as a whole. These lines and harmonies are in turn embellished with a plethora of fast moving rhythmic and pitch constellations. Isomorphic Plenum is available through SibeliusMusic.com Internet Publishing or the composer, oliver@rowan.edu

   Harold Oliver has composed in many performance mediums including chamber operas, cantatas, orchestral compositions, concertos, choral compositions, woodwind quintets, string quartets, works for percussion ensemble, and numerous other chamber and vocal works. He is Professor of Composition at Rowan University and the recipient of grants and awards from the Berkshire Music Center, the Vermont Composer's Conference, the National Endowment for the Arts, the National Endowment for the Humanities, the American Music Center, Arts Councils in New York and New Jersey and Meet The Composer, and the League/ISCM. His music is published by Margum Music, Inc. (BMI), Carl Fischer Facsimile Editions (ASCAP), the Edwin A. Fleisher Collection of the Free Library of Philadelphia, and the Association for the Promotion of New Music (APNM-BMI).  More recent compositions are available on Sibelius.com.

 

 

 

A TIME TOÉ by RON MAZUREK (2004)

A time toÉ was commissioned by and dedicated to Esther Lamneck for the NYU Flute, Clarinet and Piano Trio. The various sections within the work represent the seasons in oneÕs life. It does so by a series of contrasting sections within the trio and electronic sounds. Each of the seven sections focuses upon a segment from the book of Ecclesiastes covering several significant events in lifeÕs journey. A Time to Mourn, A Time to Dance, A Time to Love, A Time to Rend, A Time to Sow, A Time to Break Down, A Time to Speak. A time toÉ  is published by Calabrese Brothers Music, LLC;  www.calabresebrothersmusic.com

   Composer Ron Mazurek was a professor at Bergen Community College in New Jersey and also served as a member of the adjunct composition faculty at New York University for many years. A prolific composer of instrumental and electro-acoustic works, his compositions have been performed throughout the USA, South America, Japan, Korea, and Europe. His compositions have been published by Subito Music, N.J., Edition Pro Nova, Germany and Calabrese Brothers Music, N.J. Ron Mazurek was the recipient of numerous awards and grants including a Fulbright Senior Specialists award and a Fellowship in Composition from the New Jersey State Council on the Arts. He was a founding member of both the International New Music Consortium and the New Jersey Guild of Composers. Dr. Mazurek was also an accomplished performer on electronic keyboards having performed at Weill Recital Hall, Merkin Hall and major new music festivals both in the U.S.A. and Europe. His works have been recorded on compact disk by North/South Records, Jersey Sessions recordings, Pro Viva Records, Romeo Records, and Capstone Records.

 

 

ARTISTS

 

The NY Times calls clarinetist Esther Lamneck Òan astonishing virtuoso.Ó Winner of the prestigious Pro Musicis Award, she has appeared as a soloist with major orchestras and conductors, and in chamber music concerts with renowned artists throughout the world. A versatile performer and an advocate of contemporary music, she is known for her work with electronic media including interactive arts, movement, dance and improvisation. Her collaborations with composers have led to new compositions in many genres for the clarinet and the t‡rogat—. Esther Lamneck is one of few performers who plays the Hungarian T‡rogat—, a single reed woodwind instrument with a hauntingly beautiful sound. She maintains an active career performing and presenting Master Classes in Universities and Conservatories throughout the United Sates and Europe. Her frequent solo appearances at new music and electro acoustic music festivals have received wide critical acclaim.

   Awarded the Naumburg Scholarship, Ms. Lamneck received her B.M., M.M. and Doctoral degrees from the Juilliard School of Music and currently serves as the Director of Woodwind Studies and the Graduate Music and Dance Program in Italy for New York University.  Artistic director of the NYU New Music Ensemble, the group maintains its residence at the University during the season and in Italy during the summers. She has recorded for companies including Amirani Records, Centaur, EMF, INNOVA, Music and Arts, CRI, Opus One, SEAMUS, Capstone and Romeo/Qualiton

 

Pianist Martha Locker has won numerous competitions and performs as a soloist and chamber artist throughout the US and Europe. She is an active performer of repertoire from the traditional to the contemporary avant-garde. From 1997 to 2001 she was a member of the New Juilliard Ensemble.  With the ensemble, she was a featured soloist in Chinary UngÕs Triple Concerto, and performed in the United States premiere of Sur Incises, by Pierre Boulez.   She was also selected to tour with members of the ensemble to Leipzig in 2001.  She was awarded JuilliardÕs Orchestral Piano Fellowship in 2000 and 2001.  Miss Locker has been a fellow of the Tanglewood Music Center.  She has also attended the Sarasota Music Festival, the Chautauqua Institute, and the Eastern Music Festival, and the 2002 Kyoto International Music Festival. 

   Miss Locker holds both MasterÕs and BachelorÕs degrees from the Juilliard School, where she studied with Peter Serkin, Jacob Lateiner and Jerome Lowenthal.  She has also studied piano with Natalie Phillips, of the University of Pittsburgh, and composition with Marilyn Thomas, of Carnegie Mellon University.  She is currently a student in the PhD program at New York University, where she studies with Miyoko Lotto.

 

Keith Underwood has had a diverse career as a flutist and teacher. His principal teachers were Salvatore Amato and Thomas Nyfenger with whom he studied at the Yale School of Music.  He is solo flutist for Parnassus and Ufonia, and has performed with most of the major musical organizations in the New York area, including the New York Philharmonic, the American Composer's Orchestra, and the Orpheus Ensemble. He has recorded extensively for such labels as New World, CRI, Columbia, and Musical Heritage, and has done a great deal of recording for motion pictures and television in NY and Los Angeles. He has appeared as a soloist and recorded with such diverse artists as Bejamin Verdery, Anthony Newman, Milton Nascimento, Bobby McFerrin, Rod Stewart, Kathleen Battle, the Four Tops, and Celine Dion.

   Keith Underwood is well known as a flute teacher and a teacher of general techniques for wind players and singers. He is on the flute faculty at the Mannes College of Music and New York University, the Aaron Copland School of Music, and CUNY graduate center and has taught many masterclasses and seminars in the United States and abroad, including Brazil (where he taught on a Fulbright Lectureship Grant in 1986), Japan, Italy, and Mexico at such well-known institutions as the Eastman School, the Juilliard School, Rice University, New England Conservatory, North Texas State, the University of Iowa, the University of New Mexico, the University of Minnesota and the Berklee School of Music. Each summer Keith gives masterclasses all over the world, most recently in Ravello, Italy, Abiquiu, New Mexico, Carmel Valley, Maui, California, and Mushashino Academy in Tokyo.