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Solo Cello Premieres
February 28
3:00 pm
Philadelphia, Pennsylvania
Irvine Auditorium, Amado Hall
University of Pennsylvania
March 6
2:00 pm
Brooklyn, New York
Linger Café & Lounge
March 9
8:30 pm
Oberlin, Ohio
Cat in the Cream Coffeehouse
Oberlin College
March 12
7:30 pm
Chicago, Illinois
Archer Ballroom
March 13
8:00 pm
Ann Arbor, Michigan
McIntosh Theater
University of Michigan
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Brown, Eliza
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Shin, Hyukjin
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Premo, Evan
(b. 1985)
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Ware, Evan
(b. 1977)
Two Colors for Solo Cello (2010)
I. Dark Blue
II. Black
Elemental for Solo Cello (2006)
Three Pieces for Solo Cello (2010)
I. The Dark Moon Rise
II. Vertigo
III. Elegy
Echo Lake for Solo Cello (2009)
~ Intermission ~
Somewhere in Germany, 1945 for Solo Cello (2010)
If I Have No Witness for Solo Cello and Electronics (2010)
Dooley, Paul eeeW\abO\bS\Q]`SQ][^OcZRegS`
Gradus for Solo Cello (2009)
(b. 1983)
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II.
III.
IV. Interlude
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F–U–C–H–S
Just over a year ago,
Sacher, turned 70 in 1975,( he
invited twelve
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I asked five graduate student
composers to write solo cello works based
composers at the University of
on Sacher’s name, which transliterates into
G
Michigan and one recent alumnus
eS (German for e-flat)-A-C-H (German for
to write me a work for solo"!
cello.
b)-E-Re (solfege for d).
Many of these
Never had I doubted the dedication that
works are now landmarks in solo cello
composition students here bring to their
literature.
work, but neither was I expecting the
The idea of using a name as unifying
unanimously enthusiastic response I
motive appealed to me, and what more
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received. Within a week, one composer
appropriate name could there be than that
showed me a sketch of a set-up in which
of my cello teacher of 11 years. Walther
my own sound would be dispersed through
Fuchs took me in as an 8-year-old in
an octaphonic ensemble of speakers
Munich, and helped me become the !cellist
surrounding the audience at different time
and musician I was when I started college.
intervals, while another started meeting
Starting when I was 12, every year my
with me to develop his own notation
mother had to listen to the lecture about
system for the cello. (One thing to be
the necessity of leaving behind soccer, as
learned from this experience is 10
that not all
well as the benefits of reading Goethe over
compositional ideas come to full fruition,
kicking round objects. Though I continue
for better or worse...)
to play soccer until this day, Herr Fuchs
G
In working with these six diverse
continuously, patiently and fervently
composers, I have learned much from their
guided
me through
!
"# the challenges of
#
many different approaches to composition.
playing the cello and making music.
At the same time, I realized how much
The name Fuchs transliterates into F-Utinfluence I have on the final form of each
Tempo(old
I $ =solfege
52 syllable for c)-C-H-eS, and I am
new composition, as I continually advised
fascinated by the
the composers on technical possibilities
(or
arco
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pizz.
m u l t i t u pizz.
de of
limitations) on my instrument, and
ways these six
demonstrated idiosyncratic elements of my
composers have
own playing.
integrated it into
F
U C H S
#
!
# their works, some
After all of the composers were on board
for this project, I decided that I wanted
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their works to relate to each other on some
forwardly (as above, taken from Shin’s The
level beyond the.common instrumentation
Dark Moon Rise), some in manners so
for solo cello. As I was thinking of a means
complex that it may take the composer
of achieving such overarching integrity – a
several hours to explain.
theme? – for my program, how could I have
I am grateful to each one of these six
not thought of the late Russian cellist
composers as well as their teachers for
Mstislav Rostropovich? When his friend,
their contribution to this collaborative
Swiss composer and conductor Paul
project.
–Paul Dwyer, February 22, 2010
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Paul Dwyer
cello
Cellist Paul Dwyer has become known for
his wide-ranging stylistic versatility. This
season’s performances have ranged from
the seldom heard Cello Concerto No. 2 by
Shostakovich with the University
Symphony Orchestra, to a duo recital on
baroque cello with Edward Parmentier on
harpsichord.! He is frequently invited to
play on faculty recitals, including a
performance of Schubert’s Trout Quintet
with pianist Menahem Pressler last spring.
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Paul enjoyed a rich undergraduate career at
the Oberlin Conservatory, where he studied
cello with Peter Rejto, Hans Jensen and
Amir Eldan, as well as baroque cello with
Catharina Meints.! In his first year at
Oberlin, a blood clot in his right shoulder
threatened to end his cello career.! He
emerged from this experience with one
fewer rib, a stent in his vein – and a new
appreciation for his ability to play the cello.!
He soon became a prize-winner at
numerous competitions, and in 2006 was
awarded the Ernest Hatch Wilkins Award
for Academic Excellence by Oberlin
College and was inducted into the Pi
Kappa Lambda National Honor Society.
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and cafes for
any audiences that come along.
Growing up in Vienna, Austria,
and Munich, Germany, Paul was
involved in a large variety of
ensembles.! In 1998, he founded a cello
quartet devoted to heavy metal music, that
eventually drew crowds of several hundreds
at concerts and festivals in the Munich
area.! After his success at the competition
Jugend musiziert in 2001, Paul was invited to
join the Bundesjugendorchester (National
Youth Orchestra of Germany), touring
through Europe and recording CDs and
television broadcasts with conductors such
as Gerd Albrecht and Gunther Schuller.!
He also presented benefit recitals in the
Munich area with Australian pianist and
composer Dean Wilmington, including the
premiere of Wilmington's Prelude for Cello
and Didgeridoo.
Paul’s dedication to new music is growing
strong, as he has begun commissioning,
performing and recording works by young
composers. He is a member of Contemporary Directions Ensemble at UM, and will
join the Aspen Contemporary Ensemble as
their new cellist this summer.
Paul has been an active participant in
master classes at the Schleswig-Holstein
Now in his third year of graduate studies at
Musikfestival in Lübeck with David
the University of Michigan, Paul studies
Geringas and at the Kronberg Academy
cello with Richard Aaron, and baroque
with Frans Helmerson, and has worked
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with Ralph Kirschbaum, Paul Katz and
Sutherland. Paul is the recipient of a Jacob
Laurence Lesser at the Steans Institute at
K. Javits Fellowship,! issued by the U.S.
the Ravinia Festival. Some of Paul's most
Department of Education. The fellowship,
inspiring chamber music experiences have
annually awarded to two students in the
transpired in San Francisco, Philadelphia
arts nation-wide, provides funding for four
and Brooklyn as part of the Classical
years of work towards a doctoral degree.
Revolution–an organization through which
pdwyer@umich.edu
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Recep Gül
Two Colors
Two Colors gets its
name from the symbolic
meanings of colors in candle
magic (a form of sympathetic
magic), which is almost twenty five
thousand years old. In candle magic,
candles represent people and things,
attributes, emotions and influences. By
lighting candles, what they represent was
manipulated.
Dark blue represents
changeability, depression, impulsiveness
and black represents confusion, discord,
loss.
I would like to thank Paul for his really
hard work. It would not have been possible
for me to write this piece without his help
and support.
Recep Gül is a composer, pianist and singer
currently working on his DMA at the
University of Michigan. His teachers have
included Bright Sheng, Evan Chambers,
Kamran Ince, Paul Schoenfield and Pieter
Snapper. He was born in Samsun, which is
on the Northern coast of Turkey. Recep
started music at a very young age singing in
a local folk music choir. Starting in his
high school years, he studied piano, and
during his university years he studied
singing and composition. After moving to
Istanbul for his university education, he
conducted the Bogazici University Choir,
sang in various choirs and founded an a
capella jazz group which went on to release
the first a capella Jazz album in Turkey.
With his group, Recep performed in
various concerts and festivals including the
Istanbul Jazz Festival. With the help of this
varied background, in his music he tries to
use elements of Jazz, Turkish folk music,
classical and contemporary music.
His music has been performed at various
new music festivals in Turkey and in
concerts at the Istanbul Technical
University, MIAM, where he completed his
Masters in composition. Recep’s recent
piece A Given for 3 mezzo-sopranos and
chamber ensemble was performed at the
Midwest Composer’s Symposium and his
chamber piece Phantasma was premiered
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by the Zero Blue ensemble. His orchestral
piece Wedding of Attis was read by the
Detroit Symphony Orchestra conducted by
Leonard Slatkin and was premiered by the
University of Michigan Symphony
Orchestra.
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Eliza Brown
Elemental
Elemental is composed of and around seven
basic musical building blocks that I
collected prior to writing the piece: a scale,
three gestures, guidelines for melodic
language, and two approaches to ornamentation. These elements permeate the piece
in various guises and combinations,
growing and changing according to the
demands of the musical narrative. Using
this process helped me pursue some
questions about compositional structure;
however, my ultimante goals for Elemental
as a piece are more subjective. Although it
does aptly describe my process, the title
also expresses the focused, visceral affect
that the music, for me, projects.
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Note by the performer:
Though this piece was not part of my
commissioning project, I decided to
incorporate it into my program just a few
months ago. Elemental was brought to my
attention by a good friend in Chicago,
where Eliza now lives. She wrote the piece
while still at Michigan (for her now-fiancé,
cellist Chris Wild). This connection, as well
the fact that I am performing this recital in
Chicago render this work an appropriate
addition to the program. Furthermore, it
supplements the already great variety of the
six commissioned works.
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Composer
Eliza Brown
writes music both for
the concert stage and for
interdisciplinary projects,
collaborating with artists in the
fields of dance, film, architecture,
theater, and visual art. !Eliza’s music,
described as “delicate, haunting, [and]
introspective” by Symphony Magazine, has
been played throughout the US by
performers such as PRISM Saxophone
Quartet, Wet Ink Ensemble, erhu player
Betti Xiang, and string duo Wild &
Wulliman.
Also a cellist, Eliza plays
primarily contemporary music and has
premiered over forty new works by young
composers.
Eliza is currently pursuing a doctorate in
composition at Northwestern University
and holds an undergraduate degree in
composition from University of Michigan.
www.elizabrown.net
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Hyukjin Shin
Three Pieces for Solo Cello
The Three Pieces
for Solo Cello were written in
response to the commission by Paul
Dwyer, who also requested the use of
the name of his teacher, Fuchs, as a part
of the piece's musical elements. I engraved
these letters in order – F C C B Eb – in the
first piece, The Dark Moon Rise, and in its
retrograde in the last piece, Elegy.
The dark moon, also referred to as the new
moon, appeals to me for its mystical and
symbolic character. The brief moment of
this moon phase that is invisible to our
bare eyes seems to possess a certain and
unknown power that has an effect on our
world. I imagined that it draws, for a very
brief moment, our darkest desires that we
normally don’t dare to pursue because they
are strictly prohibited by law or by any
social custom. In The Dark Moon Rise, the
awakening of the ugliest side of our minds
parallels the physical rise of the dark
moon, which, ironically, is also a process of
purification. As this moon phase passes,
the evil mind disappears until the next
cycle.
I described this moment with
evanescence and profundity.
know how to deal with, or mourn for, this
life event. The only way I can describe this
uncomfortable feeling is something of an
awkward indifference. Perhaps it could
have been easier to grieve with other
people at the funeral because grieving can
be learned; after a while, however, I
occasionally encountered a question,
accompanied by a bottomless sorrow: “Did
she really die?” In Elegy, a certain apathetic
attitude interrupts the deep sorrow. There
are only a few brief moments of grieving—
and little guilt—because life goes on.
Hyukjin Shin studied Engineering and
Music at Yonsei University in Seoul, Korea
where he was awarded a certificate in
Metallurgical Engineering (2000) and a
Bachelor of Music degree in composition
(2004). In 2007, he finished a Master of
Philosophy in Music Composition at The
University of Queensland, Australia. He is
currently a DMA candidate in composition
at the University of Michigan.
His recent compositions include Silent,
Beautiful, a song cycle for soprano, cello
and piano, which was premiered in March
2009. In the same year, Surviving Whisper
Vertigo is an interlude with the character of
was premiered by he University of
scherzo. Some motives are repeated over
Michigan Symphony Orchestra. In 2005,
and over in different modes, the process of
Shin received the Percy Brier Prize for his
which creates a tonal illusion like the
Piano Trio No. 2, which was premiered later
spatial disorientation that one might feel
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in August at Customs House, Brisbane. In
from the artificial change in gravity.
addition to composition, Shin is an
Elegy was inspired by a death of my friend
accomplished guitarist and has performed
who passed away at my age from a sudden
with the Big Band at University of
disease.
The experience was at first
Queensland, where he has also been an
shocking, but then left me with mixed
instructor of music technology.
feelings. I felt strange and uncomfortable
rather than merely sad because I did not
www.myspace.com/hyukjinshin
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Evan Premo
Echo Lake
Echo Lake is quietly nestled amongst the
Catskill Mountains in New York State. It is
the headwaters of the Saw Kill and the
location of the last Native American
encampment in the Catskills. In August
2009, I hiked into to the small lake and
spent two nights and one full day
sauntering, exploring, observing, and
resting by its shore to gain inspiration for
the composition of this piece for solo cello.
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Double bassist
and composer Evan
Premo!is an active chamber
musician performing regularly
at Carnegie Hall, Juilliard, and
doing outreach performances around
New York City as a member of Ensemble
ACJW. Evan has performed concerti with
numerous orchestras including the 2009
world premiere of his own double concerto
for violin and double bass with Andrés
Cárdenes and the Pittsburgh Symphony
Chamber Orchestra. Evan has also
collaborated with Yizhak Schotten,
Katherine Collier, the Bergonzi string
quartet and the Formosa String Quartet, in
addition to performing his own
arrangements for piano and double bass at
the Kennedy Center in Washington, DC.
Upon graduation from the University of
Michigan where he earned degrees in
double bass performance and composition,
Evan was awarded the prestigious Albert
A. Stanley Medal.
Evan also won the
school's concerto competition in 2006 and,
that same year, premiered his own
Concertino for Bass Fiddle and Winds with
the University of Michigan's Symphony
Band under Michael Haithcock. Evan's
double bass teachers include virtuosos
Diana Gannett and Gary Karr, and he has
studied composition with Michael
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Marc LeMay
Somewhere In Germany, 1945
Like many men
of his generation, my
grandfather J.T. LeMay (1912-2004)
rarely spoke of his experiences in the
U.S. Army during World War II. The
only records my family has of his life then
are a smattering of half-told stories, a letter
he wrote to my grandmother Bessie, and a
fading photograph of J.T., a young soldier
standing in a field; on the back it says:
!“To Bessie from J.T.
Her Husband & Man. ha.
Marc LeMay composes music for concerts,
clubs, theatre, dance, film, and anything in
between. Recent projects have included
creating and scoring an evening-length
contemporary dance drama in collaboration with choreographer Austin
Selden, an album of orchestral chamber
pop with singer-songwriter Steven
Lamphear, and incidental scores for
productions of Richard II and Orpheus
Descending!at the University of Michigan.
Marc is pursuing his M.A. in Composition
at Michigan, where he has studied with
Bright Sheng and Erik Santos.
Some where in
Germany. 1945”
The thought of my grandfather, a jovial and
kind-hearted man, amidst the horrors of
war, has always disturbed and intrigued
me. When Paul Dwyer asked me and five
other composers to write solo cello pieces
on a motive, “FUCHS,” the name of his first
cello teacher in Germany, I immediately
thought of my grandfather overseas. This
one-movement piece alternates sections,
fast-slow-fast-slow. The fast sections are
derived from the FUCHS motive
(transliterated to the pitches F-C-C-B flat-E
flat), while the slow sections explore the
negative space around the movie, i.e., every
other note except those above.
www.marclemaymusic.com
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This piece is dedicated to the memory of
my grandparents, without whose hard
work, sacrifice, and devotion to their
children and grandchildren I wouldn’t be
where I am today.
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Evan Ware
If I Have No Witness
If I Have No Witness is a work in progress
that addresses solitude in its many forms.
For the! present incarnation of the piece, I
interviewed four graduate students at the
University of Michigan, asking them to
reflect on what solitude means! to them.
Being a doctoral student—and indeed
performance and academic life in general—
can be very isolating and this seems to be
both a struggle and a release for my
interviewees. I constructed a digital collage
from their responses and wrote a cello part
to both lead and accompany the words.
There is much more work to do on this
project as there are many more minutes of
interview I have yet to use. I am also
seeking to expand my scope to include
prisoners and residents in a retirement
home to name but two possible further
directions.
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This project would not have been possible
without the generosity, time, and candor of
Recep, Joelle, Kim, and Paul, my interviewees, the advice and guidance of Evan
Chambers who oversaw the construction of
the interview collage, the help of Paul
Dooley, who showed me many, many things
I did not know in the electronic music
studio, and, of course, Paul Dwyer's hard
work and excellent cello playing.
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Evan Ware
(b. 1977) is a
composer, music theorist,
new music advocate, and teacher.
His music has been played in
Canada and the US by the University
o f M i ch i g a n S y m p h o ny O r ch e s t r a ,
members of the National Arts Centre
Orchestra, the Windsor Symphony
Orchestra, and the Nouvel Ensemble
Moderne, among others. His music has
been featured at the Music 08 Festival in
Cincinnati, the Ottawa International
Chamber Music Festival, The Mad Air
Project in New York City, and has been
played in Canada on CBC Radio 2. He has
studied with composers Bright Sheng, Erik
Santos, Alan Belkin, Michel Longtin, and
Steven Gellman in addition to working
with Steve Reich and Gao Ping. Evan is
currently a Ph.D. pre-candidate in
Composition and Music Theory at the
University of Michigan.
www.evanware.com
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Paul Dooley
Gradus
Gradus (2009)
was commissioned
by the Michigan Music Teachers
Association and written for cellist
Paul Dwyer. It was first performed at
the MMTA State Conference in October
2009.
Gradus was written in honor of Paul
Dwyer’s first cello teacher, Walther Fuchs.
The title comes from the famous treatise on
counterpoint, Gradus ad Parnassum, by
Johann Fux. This title, translated as “Steps
to Parnassum,” represents the establishment of the teaching method; one may
follow the steps and someday reach
enlightenment, or, Parnassum.
The seven movements of Gradus play off
Fux’s teaching of voice leading, dissonance
treatment and contour. Gradus follows one
possible path of the proverbial “student
musician,” composer or performer, through
struggle and reward.
New plateaus are
reached and then forgotten in the endless
pursuit of mastery.
The similarity of “Fuchs” and “Fux,” both
admired teachers, one in cello and one in
composition and counterpoint, seemed
perfect for the collaborative backdrop
between a student cellist, Paul Dwyer, and a
student composer, myself.
Paul Dooley has “clearly learned how to
deal with the orchestra” (composer Steve
R e i ch ) a n d h i s m u s i c “ s h i m m e r e d
beautifully” (Omaha World-Herald).
Born in 1983, Paul is a composer, pianist,
and percussionist currently working on his
Doctor of Musical Arts degree at the
University of Michigan.
His compositions take inspiration from
dance, nature & travel. Paul’s Dani’s Dance
(2007), received a 2008 Morton Gould
Young Composer Award. Encaenia (2008),
commissioned and premiered by the Aspen
Contemporary Ensemble, was featured in a
master class with Yo-Yo Ma and the Silk
Road Ensemble.
His Pomo Canyon Air
(2005), an homage to the Sonoma Coast,
has been performed by the USC Thornton
Symphony, Omaha Symphony, AACA
Orchestra, and the Detroit Symphony
conducted by Leonard Slatkin.
Recent awards include fellowships from
the Aspen Music Festival and University of
Michigan, a nomination from the American
Academy of Arts and Letters, and a
commission from the Michigan Music
Teachers Association.
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The University of Michigan
School of Music, Theater & Dance
The mission of the Department of Strings
is to assist, guide, and encourage students
in achieving the highest artistic and
intellectual standard of which they are
capable. Through individual instruction
with a major artist-teacher, ensemble
coaching, and musicianship classes, the
faculty strives to promote understanding
while simultaneously encouraging original,
creative thought.
By offering a variety of educational
options, the faculty seeks to prepare
students for career possibilities in
traditional and emerging fields.
Faculty
7
;
Diana Gannett (Chair, double bass)
Richard Aaron (cello)
Rebecca Albers (viola)
Yehonatan M. Berick (violin)
Aaron Berofsky (violin)
Anthony D. Elliott (cello)
Joan Raeburn Holland! (harp)
Andrew W. Jennings (violin)
Yizhak Schotten (viola)
Stephen Shipps (violin)
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Associated Faculty
A distinguished
faculty of internationally
known composers provides
students with guidance and
encouragement in the search for
the student's individual voice, without
imposing stylistic regimentation.
Composers in undergraduate and graduate
programs enjoy premiere performances of
their work in the Composers Forum
concert series, through annual participation in the Midwest Composer's Symposium (a forum for student composers from
five schools) and in concerts by University
of Michigan ensembles. Students also have
access to the incredible resources of the
School, including the Audio Studio and the
Electronic Music Studios.
Faculty, students, and alumni of the
Department of Composition continue to
win an extraordinary number of national
and international awards, receiving virtually
every prize and award available to
American composers.
All of these factors combine to make the
University of Michigan School of Music,
Theatre & Dance one of the country's
important centers for the training of young
composers.
Gabriel Bolkosky (violin)
http://www.music.umich.edu/departments/
Caroline Coade (viola)
Robert Culver (viola,gstring
PRpedagogy)
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Stephen Molina (double bass)
Enid Sutherland (baroque cello)
Kathryn Votapek! (violin)
Phoenix Quartet! (resident string quartet)
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http://www.music.umich.edu/departments/
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Solo Cello Premieres
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