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About
David Uber (Trombonist, Composer, Educator) About
Larry Delinger (Composer) Mr.
Delinger was honored by the University of Tennessee,
Knoxville in 2014 with a seven week DelingerFest where many
of his works were performed including his opera, Medea. As
part of the DelingerFest the Marble City Opera company
premiered his new operas, Talk To Me Like The Rain and
Amelia Lost. Mr.
Delinger has received many commissions for new works from
the California Brass Quintet , University of Northern
Colorado, Coastal Access Music Alliance, Varian, San Jose
Chamber Orchestra , Denver Municipal Band, and Knaben
Kantrei in Basel, Switzerland. Mr. Delinger has composed
incidental music for over one hundred productions for
theatres in the United States and Europe, including the Old
Globe Theatre, Mark Taper Forum, Berkeley Repertory Theatre,
Oregon Shakespeare Festival, American Conservatory Theatre,
Denver Center Theatre, Cleveland Play House, National Actors
Theatre, and the Oslo Nye Theater in Norway. His score for
Julius Caesar was presented at the 2003 Prague
Quadrennial. Mr.
Delinger has received eleven Drama-Logue Critics Awards for
Outstanding Theatre Music and the Distinguished Service
Award from Chadron State College. About
Shinji Eshima (Composer, Double-Bassist) About
Robert Denham (Composer) About
Paul Brody (Composer, Trumpeter) About
Erik Jekabson (Composer, Trumpeter) About
T. Paul Rosas (Organist, Pianist, Composer) From
the preface to Twelve Fantasias for Unaccompanied
Trumpet
Additional information about the music
offered by Pasquina
Dr. Uber is a
leading American composer whose works are played extensively
around the world. His colorful career in music ranges from
award-winning composer to world-class trombonist and college
professor to band director. Dr. Uber was recently awarded
the title of Emeritus Professor of Music from The College of
New Jersey. He also taught at Princeton University for many
years where he was the director of the Symphonic Band.
As a performing
artist, Dr. Uber played first chair with the New York City
Ballet, The New York City Opera and the NBC Symphony. He
also was with the NBC Television Opera, the Columbia
Recording Symphony, the New York Brass Quintet and the
Contemporary Brass Quintet. His artistry may be heard on
many recordings under such eminent conductors as Arturo
Toscanini, Igor Stravinsky, Bruno Walter, Leonard Bernstein,
Aaron Copland and many more.
As one of
America's most prolific composers, Dr. Uber has had
commissions from numerous schools, foundations, performing
ensembles and international soloists. His Processional for
World Peace was commissioned by the Nobel Peace Prize Forum
and premiered in 1992.
Among his many
awards are the 20th and 21st Century Awards for achievement
from the International Biographical Centre of Cambridge,
England. He has also been honored in the recent book,
Outstanding People of the 20th Century. In May 1999, he was
awarded an honorary doctorate of music by Carthage College
for performances of his musical compositions throughout the
world.
Larry Delinger is one of the premier composers of
contemporary music in the United States. His compositions
cover a wide range of styles, from his King Lear Sonata for
Trumpet and Organ to his intimate solo piano pieces Open
Endgames. His more abstract works include Orange and Lemon
for marimba and soprano and Studies in Light for soprano and
chamber orchestra. He has composed three operas, Medea, Talk
To Me Like The Rain and Let Me Listen and Amelia Lost. Among
his many published compositions are Elegy for John Lennon,
Brass Rings, King Lear Sonata, Paradox, Nightwalls, The
Philosopher and the Sunrise, Lachrymae and Passages for
Brass Trio.
Mr. Eshima has
written for a variety of venues including theater,
documentary films, chamber music, opera and even Buddhist
hymns. His music has been performed and recorded around the
world. A CD recording of his August 6th for string orchestra
will be released by ERM Media in September 2008.
The esteemed
conductor Donald Runnicles wrote of Mr. Eshima, "While I am
well acquainted with the talents of Shinji Eshima as an
extraordinary double-bass player, I would like to sing his
praises as a quite exceptional composer."
A graduate of
Stanford University and Juilliard, Mr. Eshima is a
double-bassist in the San Francisco Opera and San Francisco
Ballet Orchestras. He is on the faculty at San Francisco
State University and the San Francisco Conservatory of
Music.
http://www.biola.edu/academics/undergrad/music/news/mnews048.htm
http://paulbrody.net
http://erikjekabson.com
T. Paul Rosas is a
graduate of the University of the Pacific and completed
advanced studies at the Royal Conservatory of Church Music
in Croydon England. He is organist, pianist and composer at
Valley Presbyterian Church in Portola Valley, California and
staff accompanist for the Portola Valley Theater
Conservatory, the Baroque Choral Guild in Palo Alto and the
Santa Clara Chorale in San Jose.
His compositions
include My Soul is Longing for You, The Alaska Water Suite,
Give Us Your Guidance, O God, a collection of Taize' Style
worship songs and a CD Journey of the Heart -- a meditative
CD for use in hospice work. The CD is available from
Amazon.com. Contact Mr. Rosas at:
tpaulrosas@mindspring.com
From the preface to Job Suite
The Job Suite was
composed for trumpeter, Jay Rizzetto and organist T. Paul
Rosas. It was first performed with narrator in 1998 at
Valley Presbyterian Church in Portola Valley, California.
Two years later it was performed with dancers also at Valley
Presbyterian Church.
The composition
was in part inspired by the tragic death of a perfect
stranger in the church where Mr. Rosas plays. Deeply moved
by the circumstances of the person's death and the story of
that individual's life, Mr. Rosas began his reflection on
the biblical story of Job. What developed from the merging
of the story of Job, the circumstances of the deceased
person's life and Mr. Rosas' own personal insights, is The
Job Suite.
During his
lifetime, Georg Philip Telemann (1681-1767) was regarded as
Germany's leading composer. Among his many works consisting
of over forty operas, six hundred overtures, numerous
masses, oratorios, concertos, and vocal pieces are
compositions for chamber music without thoroughbass. The
concept of thoroughbass or "sopra basso cantar o sonar",
performing over the bass line, was a fundamental principle
of the baroque era and compositions without this element are
unusual. Even more unusual are pieces written without
accompaniment. Most notable among the few composers who
wrote in this style are G.P. Telemann and J.S. Bach. Among
Telemann's works in this vein are sets of fantasies for
flute (1732-33), and violin (1735) from his Musikalische
Werke, Vol. 6. Although we know that the most accomplished
players of the time held these works in high regard it is
believed that Telemann wrote them primarily for
amateurs.
Twelve Fantasias
for Unaccompanied Trumpet has been transcribed from
Zwölf Fantasien für Querflöte ohne Baß
(Twelve Fantasies for Transverse Flute Without Bass) This
edition is not intended to be a primer in original baroque
performance practice but rather it provides an opportunity
for the modern trumpet player to discover the music's
expressiveness. One should keep in mind that indicating
every musical nuance, as in today's music, was unheard of in
the 18th-century. Francesco Galeazzi in Elementi
teorico-pratici di musica (Rome, 1791-96) sums up the 18th
century view of performance: "ornamentation should aid the
expression of the principal sentiment, not spoil it; hence
the most skilled performer is one who knows how to enter the
mind of the composer, be fully conscious of the character of
the composition that he is to perform, increasing its
energy, uniting his own sentiments with that of its author,
so that a perfect whole may result, as if they are of the
same mind."
The baroque
performer was often expected to make decisions concerning
tempo, articulations, ornamentation and phrasing. As a guide
to the modern trumpeter, key changes have been made to put
the pieces in a reasonable trumpet range. Added to the
original tempo indications are metronome speeds, which are
intended only as suggestions. Articulation markings and some
ornamentation have been added. The slow tempos should be
played with a flexible and expressive sense of time. The
pieces are not intended as technical exercises, thus the
performer is encouraged to make interpretive decisions and
to play with a sense of freedom.
Jay Rizzetto
California State University at Hayward