PAUL BE DZSA, C arinet vvith

Ka en au·nton, piano Frank olden, actor

D·anne Pritchett, mezzo-soprano

THE AEOL A . QU TET Grace Dunsmore, fl te, picco o

Valerie Holden, oboe Paul Bendzsa, clarinet

Fra cesca Davenport, bassoon _William Costin, horn

M.U.N. Little Theatre Friday, 16 March 1984

at 8:00 p.m.

PAUL BEr DZSA.~ Clarinet

3 Miniatures (1959)

Funf Miniaturen (1971)

Meditazione (1967)

Vier Stucke, Opus 5 (1913)

Wizard Oil & Indian Sagwa (1982)

INTERMISSION

Minnelieder (1956)

Kleine Kammermusik, Opus 24, No. 2 (1922)

I . Lustig II . Wal zer

III. Ruhig und einfach IV. Schnelle Vier-tel

V. Sehr lebha ~t

Krzsztof Penderecki (b. 1933)

Berto l d Hurrrne l (b. 1925)

Karo1yi Pal

Alban Berg ( 1885-1935)

R. Murray Schafer (b. 1933)

R. Murray Schafer

Paul Hindemith (1895-1963)

PROGRA E OTES

. t four works of this programme form a set whose common musical characte ri s tics are The f l rsand compression. This is? distinctly twentiet~- century practice in chamber ~u~ic, eoono~Ylly in the first half of th1s century when r e act1ons to the excesses of Romant1c1sm espec1a .

f irst man1 tested. were tof Penderecki is a Polish composer who achieve d sudden prominence in 1959 when three of

:zsz r ks won first prizes in national competition. Hi s most notable compositions include hl S ~~ Luke passion {1963-5) and Threnody for Vi.c-tims o Beroshima (1960). Their most ~e .k i ~ features are the use of advanced vocal and instrumental effects. Three ~nnia-tures H~~g ) fs an early work with strong chromatic counterpoint and driving rhythmic force .

Bertold Hummel, in his ~f ~nia~ren (1971 ), employs the twelve-tone principle of composi ­t. n The rows {of pitches) are arranged in a sparse yet highly contrasting manner of wide d10~; cs and range. One notable feature seems to be the concentration on exposition and re­c~itulation of material without development.

Ka roly i Pal is one of. a group of Hunga r~a~ composers hose vwrk cam~ to prominence in the 196o 's. Meditazione 1nvolves the expos1t1on and development of mus1cal gestures rather than ronti nuous melody. _Colour ~lays an important part as well through the use of extended piano technique and the h1gh clar1net range.

There may be no better example of compression and craftsmanship than the Vier S~cke by Al ban Be rg. The four pieces were written in the suJl111er of 1913 for the 'Society for Private Performances in Vienna'. They are dedicated to Berg's only teacher, Arnold Schoenberg, and are deliberately modeled on the miniatures produced by Schoenberg and Webern in 1908 and 1912. His aim was the realization of a new telescoped sonata form. It is a dense , "tonal istic" wor k; t hat is, one oriented towards tone centres as opposed to key centres.

R. urray Schafer is one of Canada's foremost composers. His work, however, is not easy to catego rize as it displays a tremendous diversity of interest and concern. For example, his canzoni for Prisoners reflects the constant violation of human rights and dignity, 'v'hile FA (1983 ) and Gi-ta (1967) show his continuing interest in Eastern culture and philosophy. Schafer 's writing for youth resulted in Train (1976) and ThrenodY (1967). His preoccupations during the 1970's were with the orld Soundscape Project (the sonic environment and man's relationship to it). His book, The Tuni.ng of -the World , is the definitive statement of his work i n this field.

~zard ~~l & Indian Sag.wa (1982) is a mus ical - theatre piece in which words and music combine w form a cohesive presentation by two turn-of- the - century characters: Johnny ailloux and Chief Sam Padoopi .

The ~nnelieder were written in 1956 while the composer was studying German in Vienna. The texts are in middle-high German by ' innesinger' from the 11 t h , 12th and 13th centuries. They speak mostly of passionate by unfulfilled love (minne : love).

1 . SU1llll1er

No thing seems so good to me or praiseworthy As the palest rose and the truelove of my an . You, little forest bird Singing in the wood, carry off my heart. If my l o ver fails, these summer joys will

al l depart.

2. Longing

I stood late at night in a tower; There I heard a knight sing swec~ly .

He sang the Klirenberg sonq abo·,.· the ronq ; He must leave this place or prove his love .

3. r n the Linden Bough

on t he linden bough above s ings a little bird. Clea r throughout the forest, reminding my heart Of a p lace where I once lived. I saw the rose

i n b loom, An d al l my thoughts fled to a woman.

5. \<J"o man and the Falcon

Woma n and the falcon have much in common , They will follow anyone who attracts them. A noble knight courts a good woman . As I t h ink about this, the comparison

s eems perfect.

7 . Confusion

Ah , mistress, will you not save me? Have a little pity. I c an no longer stand it. Must I forgo your love? I am p ure ; my h eart is broken, Mis tre ss, you h ave caused this You r e yes and your red mouth.

Ah mis tress, the labour of love is heavy, I am s inking beneath it. On e word you speak against me: Change it, o precious woman~ No! Yes~ etc .

9 . Alone

N:hen I stand alone, in deshabille And think of you noble knight, I blush like the rose among thorns, And my h eart is filled with sadness.

11. The Falcon

A woman stood alone hTai t ing on the heath, Wa i t i ng for her love to return; She s aw a falcon flying: " Oh f alcon, how fortunate you are, Yo u fly wherever you please, Yo u may choose in the forest Any tre e you wish . Thus did I also, I c h oose myself a man , The most handsome of all The envy of all other 'NOmen. ~as, why won ' t they let me have him? I never stole anything from them . "

4. Warning

I entreat and admonish the love Which has completely overpowered me, I beg it to bring my beloved And multiply my joys. Even though it fares me as the swan, Who sings only before his death, Losing everything thereby .

6 . The Joys of Woman

All my joys in woman belong to one Tb her I send my messages of love . I would gladly court her openly if it

were not so dangerous. I kno w not if she loves me; I have never

loved so d e eply.

8. Found

As soon as I heard you praised I wanted to know you.

For the sake of your virtue I remained pure until I met you.

Now that I have seen you, I find all this p raise to be true

Esteemed lady, in whose face one finds favour,

You are one of the greatest, I must confess; Extolled are your eyes, tVh i ch c an look o n one with such goodness.

10 . Heart ' s Key

Thou art mine, I am thine, You surely know that. You are locked Within my h eart, I have lost the little key , You must forever stay there.

12. Enduring Love

I would sooner suffer Seven miserable years than Sing a single word against her. She perceives that very well, And wants me to go on lamenting . This love is just as it has always been .

The Poet • s Epitaph

ne seen my mistress ga s a>'"'lY0

I have seen her AS d. g in the window? Stall Ul she whose beauty Dispels all sorro":' ike the sun glow1ng at dawn. ~en her beauty was concealed ,

HOW sad I felt; NOW this is past.

Carve delicately On the stone Guarding my grave How I loved her, And she deceived me. wnoever then passes by, Will read this trag ic story, In my epitaph. How without reason, She betrayed her friend -

The string is broken~

ul Hindemith, composer, theorist, teacher, violist and conductor , was p~bably_the foremost Pa n composer of his generation. While he composed for almost every med1um, h1s cham?er Genna the most widely performed today. The Kleine Kammermusik is an earl y ~ark of w1t and music is optimism during a period of eclectic writing. It has Hindemith's characteristic reiterated mythmi c patterns and vi tality, and a highly developed contrapuntal style.

Pianist Karen Quin ton, a native of St. John's, has given concerts in ten countr ies wh ere she has received warm and critical acclaim for her solo and chamber music performa nce s . Ms. Qui nton is a former wi nner of the 'Prix d'Europe' and was t he first person in Canada t o study in Moscow under a new government exchange agreement .

Frank Holden is an actor, singer and writer whose theatre experiences include drama, mus icals and a one -man show in such productions as Crock o Gold~ Juno and the P~dcock~ and South Pacific . Mr. Holden is a native of St . John's and received his formal education at MUN and at Vancouver City Co 11 ege.

Di anne Pritchett, mezzo-soprano, is a fourth year music student at MU where s he studies voice with carolyn Hart. She has been a soloist with the MUr Chamber Choir, t he Nfld. Symphony Orchestra (Mozart's Requiem~ Handel's Jessiah~ Bornstein's Sandberg ~ong ) and wi l l be performing her graduation recital next month with pianist Andreas Barban.

The AEOLI AN QUINTET was formed in 1983. It is comprised of the following professional mus ician-teachers.

Grac e Dunsmore, flautist and teacher, is a graduate of the University of Regina, where she t aught in the school system and played in the Regina Symphony . Among her teachers ~ere Robert Aitken and Robert Cram at the Shawinigan Summer School, and t he Saskatche\·Jan Schoo l of t he Arts. She is currently a member of the fl d . Symphony Orchestra, and on faculty of Memorial University Music Camp.

Va le rie Holden, oboist, received her education at the University of estern On tario and at orthwes tern University where she studied with Ray Still. She has been a member of the ational Youth Orchestra, and the Canadian Chamber Orchestra. She is currently the principal

oboi s t of the Nfld. Symphony Orchestra, member of faculty, ationa1 Music Camp, and co­conductor and woodwind coach of the Junior Youth Orchestra.

Paul Bendzsa, clarinetis t , is a faculty member of Memorial Univers ity's Depa rtment of Music where he is prin ci pal teacher of woodwinds~ conducting, Jazz Ensemble and Canadi an Music Studies . He received his musi c education at the Uni versities of Michigan, Ohio and Iowa. He is a frequent chamber musi cian and pri ncipal clarineti s t with the Nfld. Symphony Orchestr Paul Bendzsa is also an enthusiastic contributor to the development of new music i n Newfoun~· land through FUsion and the 'Sonic Arts Series'.

Francesca Davenport, bassoonist, graduated from UN with a performance degree in 1982. She is currently principal bassoon with the Nfid. Symphony Orchestra and continues to study with Toronto Symphony bassoonist Christopher Weait . Ms. Davenport also plays recorders and crumhorn in the Baroque music ensemble TIRATA.

~illiam Cost in received his mus ic education at Mount Alli son University in New Brunswick and i n West Germany at the Staatliche Hochschule fur Musik Ruhr. His teachers incl ude Eugene Ritti ch , Gra eme Page and Hermann Baumann. He has been a member of the ational Youth Orchestra, the Canadi an Chamber Orchestra, and the Tibor Varga Chamber Orches t r a. Mr. Costin is principal horn with the Nfld. Symphony Orchestra and is an instrumental music specialist with the R.C . School Board of St. John 's, and a part-time instructor at the Department of Music .

M.U. USIC:

8:00p.m., Saturday, arch 17

3:00p.m., Sunday, arch 18

8:00 p.m. , ednesday, arch 21

8:00 p.m., Friday, arch 23 and Saturday, arch 24

3:00 p.m. , Sunday, arch 25

8:00 p.m., Tuesday, arch 27

8:00 p.m., Thursday, March 29

8:00 p.m., Saturday, arch 31

3:00 p.m., Sunday, April 1

8:00p .m., Sunday, April 8

8:00p.m., Thursday, Apri 12

3:00p.m., Sunday, April 15

Coming Events

SO IC ARTS FEST! AL

COLLEGIU USICU Kenneth Greene, conductor at the U Art Gallery, Arts & Culture Centre

ISELER SI GERS

FEST! AL CHOIR and EWFOU DLA D SY PHO Y ORCHESTRA

BEETHO E •s SY PHO Y 0. 9

U CO CERT B D Dr. G.B. Olson, cond ctor

DE IS CAl ES, Baritone MARK BO ELL, Clarinet

KARE BARBOUR, Soprano DAVID I SOR, Tenor

LISA SELLS, Piano Graduation Recital

MU CHAMBER ORCHESTRA Kenneth Greene, cond ctor at the MU Art Gallery, Arts & Culture Centre

U FESTIVAL CHOIR D.F. Coo , conductor at the Arts & Culture Centre

U CHA BER ORCHESTRA Kenneth Greene, conductor

U CHAMBER CHOIR Doug as Dunsmore, conductor

Please check wi,-th -the Deparbnen-t of Musi,c~ phone 737- 7487~ -to ensure -tha-t each concer-t UYill go ahead as scheduled.

All concer-ts -take pLace i,n -the • U.. . LITTLE THEATRE ( Al05) i,n -the Ar-ts/ Admini,s-tra-ti,on Bui, ldi.ng ~ unless o-therurise speci, fi,ed .