Friday, June 30
Conducted by Maestro Frank Fetta
Sponsored by: University of Redlands, University of Redlands Town & Gown, Clara Mae Clem’48, Marilyn K. Solter ‘59
An evening in celebration of University of Redlands Bulldogs everywhere!
Our season opening extravaganza features Arban’s Carnival of Venice, The Music Man’s “Seventy-Six Trombones,” and the West Coast premiere of Carl Vine’s “Five Hallucinations,” a work debuted with the Chicago Symphony Orchestra in 2016. The program is presented in special partnership with the 2017 International Trombone Festival, a worldwide gathering of trombone players hosted by the University of Redlands School of Music. The evening’s program features Trombone Festival attendees as its featured soloists.
2017 International Trombone Festival Soloists: Duo Attema-Haring, Ian Bousfield, James Markey, Michael Mulcahy
Eric Ewazen Ballade for bass trombone, harp and strings
Brandt Attema, bass trombone- Netherlands Radio Philharmonic
Astrid Haring, harp
Nino Rota Trombone Concerto
Ian Bousfield, trombone- Vienna Philharmonic (formerly London Symphony Orchestra)
Jean Baptiste Arban Carnival of Venice
James Markey, bass trombone- Boston Symphony Orchestra
Carl Vine Five Hallucinations (2016) for trombone and orchestra (West Coast Premier)
Michael Mulcahy, trombone- Chicago Symphony Orchestra
Eric Crees 76 Trombones
Combined college trombone choirs
Ian Bousfield has been at the top of the profession for over one quarter of a century, excelling in perhaps more facets of the music business than any other trombonist to date. His career has included playing in two of the acknowledged top-four orchestras in the world, one of which is recognized as perhaps the greatest opera orchestra, performing as a soloist to the highest possible level with orchestras, brass bands and on period instruments, recording as a soloist on top labels, playing theme tracks to Hollywood blockbusters and teaching at the Royal Academy in London.
Born in York in 1964, Ian is a product of the famous brass band tradition in the north of England. His earliest teaching came from his father and from Dudley Bright, who in a strange twist, was later to replace Ian in the London Symphony Orchestra. The main spell that Ian enjoyed in the brass band movement was with the Yorkshire Imperial Band between the ages of 14 and 18, during which time he was fortunate to win the the National Championships (1978), the British Open (1981) and the Yorkshire Championships on two occasions (1980, 1981) with the band.
In 1979, at the age of 15, Ian won the Shell London Symphony Orchestra scholarship, at which point his career began to move undeniably in the direction of orchestras. He joined the European Youth Orchestra aged 16 under Claudio Abbado and made a brief stop at the Guildhall School of Music and Drama in London before becoming Principal Trombone in the Halle Orchestra in 1983. During his time in Manchester he performed the UK premiere of Eine Kleine Posaunenmusik by Gunther Schuller, with the composer conducting. After five years with the Halle, Ian replaced one of his life-long mentors, Denis Wick, as Principal Trombone of the London Symphony Orchestra in 1988, where he enjoyed a 12 year career, was featured as a soloist with the orchestra on several occasions and recorded the soundtracks to many films, including Star Wars: Episode I and Braveheart. In 2000, following a successful audition in Vienna, Ian became Principal Trombone of the Vienna Philharmonic/Vienna State Opera – the first, and to date, only British member in the orchestra’s history. This appointment was followed shortly afterwards by his membership of the Vienna Hofkapelle Orchestra.
As a soloist, Ian has, amongst others, performed with the Vienna Philharmonic, London Symphony, London Philharmonic, BBC Philharmonic, Halle Orchestra, Sapporo Symphony, Austin Symphony. He has worked with the following conductors: Riccardo Muti, Michael Tilson Thomas, Sir Neville Marriner, Kent Nagano, Ion Marin and Matthias Bamert, and EMI, Camerata, Chandos and Doyen are amongst the labels for whom Ian has made several solo recordings over the years. Probably the two highlights of Ian’s solo career to date have been performing the Nina Rota Concerto with the Vienna Philharmonic and Riccardo Muti (2008) three times in Vienna, as well as in The Lucerne Festival and in Tokyo, and giving the world premiere of Jonathan Dove’s Stargazer, written for and dedicated to Ian, with the London Symphony Orchestra under Michael Tilson Thomas (2007). He has performed with all of the world’s major brass bands, recording with many of them. He has appeared as a soloist pretty much everywhere in the world, and as a clinician, it’s probably easier to mention the conservatories and festivals at which he has not appeared!
Ian is currently Professor of Trombone at the Hochschule der Künste in Bern, Switzerland, a position he has held since September 2011. Having had a relationship with the Royal Academy of Music in London since 1992, where he has been awarded an Honorary Membership. He will be returning as a member of staff as of September 2012. He is also currently International Fellow of Brass at the Royal Conservatoire of Scotland. His list of former students includes some of our current most successful players in orchestras around the world.
James Markey joined the Boston Symphony Orchestra as bass trombonist in August 2012. Having joined the trombone section of the New York Philharmonic in 1997 as associate principal trombone, he became the Philharmonic’s bass trombonist in 2007. Previously, he was principal trombone of the Pittsburgh Symphony Orchestra and a member of the Sun Valley Summer Symphony. Mr. Markey has had numerous solo appearances with the Pittsburgh Symphony Orchestra, Sun Valley Summer Symphony, United States Army Band, Hora Decima Brass Ensemble, New York Staff Band of the Salvation Army, and the Hanover Wind Symphony.
A sought-after educator, Mr. Markey has been a featured artist at the International Trombone Festival, the Eastern Trombone Workshop and the conferences of the New Jersey Music Educators Association, and the New York State School Music Association. He has also appeared as a guest recitalist and clinician at major educational institutions, including the University of Toronto’s Glenn Gould School, Manhattan School of Music, James Madison University, the University of Calgary and Mount Royal College, Rutgers University, and the Boston Conservatory. He serves on the faculties of the Juilliard School and the Mannes College of Music. He was on the faculty of the Juilliard School’s Pre-College Division from 1998 to 2007, and has served on the faculties of New York University, SUNY-Purchase, Montclair State University, and Sarah Lawrence College.
James Markey has released three solo recordings: Offroad, on tenor trombone, released in 2003; On Base, a solo bass trombone recording, released in 2009; and an education album of orchestral excerpts for bass trombone titled The Bass Trombonists’s Listening Guide: Excerpts from the Opera and the Orchestra, with Denson Paul Pollard. He can also be heard as a soloist on the Hora Decima Brass Ensemble’s recording of Janko Nilović’s Concerto for Two Trombones. Mr. Markey studied with Joseph Alessi at the Juilliard School, where he received his bachelor and master of music degrees in 2005 and 2006.
Internationally recognized Chicago Symphony Trombonist Michael Mulcahy has appeared as a soloist and teacher in the United States, Canada, United Kingdom, Ireland, Germany, Holland, Italy, Sweden, Denmark, Russia, Japan, China, Argentina New Zealand and Australia.
He has appeared as a soloist with the Chicago Symphony Orchestra and Pierre Boulez in music of Elliot Carter, and most recently with Daniel Barenboim in Leopold Mozart’s Concerto for Alto Trombone, which was also broadcast widely on public television. Other solo appearances include the Bavarian Radio Symphony Orchestra, the Hilversum Radio Symphony Orchestra, and on tour with the Melbourne Symphony Orchestra.
Michael is the winner of several international competitions, among them the Australian Broadcasting Corporation Instrumental Competition, the ARD International Music Competition in Munich, the Viotti International Competition in Italy and the International Instrumental Competition in Markneukirchen, in the former East Germany.
Sir Georg Solti appointed Michael Mulcahy to the Chicago Symphony Orchestra in 1989. He is Principal Trombone with Chicago’s Music of the Baroque and the Grand Teton Music Festival. His orchestral career began in 1976 as Principal Trombone of the Tasmanian Symphony. A year later he attained the same chair with the Melbourne Symphony. Michael left Australia in 1981 to pursue his career in Europe where he became Solo Trombone with the Cologne Radio Symphony Orchestra.
He was named Senior Lecturer of the Canberra School of Music at the Australian National University in 1987. In 1999 he was appointed Professor of Music at Northwestern University. He has also been an Artist in Residence at Indiana University, and Wiley Housewright Scholar at Florida State University, and regularly appears at universities worldwide. He has taught and conducted at Daniel Barenboim’s East West Divan workshop for young Arab and Israeli musicians in Seville. Every July Michael leads his Summer Trombone Performance Master Class at Northwestern University.
Michael Mulcahy was born in Sydney, Australia. He began studying the Trombone with his father, Jack Mulcahy and completed his studies with Baden McCarron of the Sydney Symphony Orchestra, and Geoffrey Bailey at the State Conservatorium of New South Wales.
Bass trombonist Brandt Attema has been a member of the Netherlands Radio Philharmonic Orchestra since 1999. He is also a member of the Nederlands Blazers Ensemble and the New Trombone Collective. As a substitute he has played with, amongst others, the Asko|Schoenberg ensemble and many great orchestras such as the Rotterdam Philharmonic Orchestra.
In September 1999 Brandt Attema won the international competition for bass trombone in Guebwiller – France. Since then he has been a soloist and clinician at numerous festivals throughout the world.
Brandt Attema has been professor of bass trombone at the Royal Conservatory in The Hague since September 2007.
In July 2008 Brandt played the debut concert of his duo with harpist Astrid Haring at the World Harp Congress in Amsterdam. Since then they have inspired many composers to write for this unique combination. They have performed concerts all over the world together, for example in Brazil, Singapore, Denmark, Sweden and Germany.
Brandt Attema studied with Ben van Dijk at the conservatory of Rotterdam where he finished his studies with the highest honours. He also studied with such great trombonists and teachers as George Wiegel, Bart van Lier, Michel Becquet, Joe Alessi, Charley Vernon, Michael Mulcahy and Blair Bollinger.
In 2009, harpist Astrid Haring finished her Master studies Summa Cum Laude with Ernestine Stoop at the Royal Conservatory in The Hague. With her final concert she won the “Fock Medal”, a price for the best exam of the year, rewarded by the Conservatory.
With a dedication to multidisciplinarity in the arts, Astrid likes to commit herself to crossover projects. Because of her affection for dance she initiated a collaboration with choreographer David Middendorp in 2008. Together they developed the performance ‘15 minute universe’, in which a swirling mix of harp, dance and animation techniques resulted in performances among others on the Dutch festival Lowlands in 2009 and the Expo 2010 in Shanghai.
Since 2010 Astrid cooperates with Frysian singer Nynke Laverman, with whom she performed on various venues and festivals such as the Oerol Festival 2010 and the Edison Awards 2010. In collaboration with Nynke and arranger and guitarist Ward Veenstra, Astrid has developed a colourful programme in the field of world- and popmusic and Nynke’s own written music.
In 2010 Astrid participated in the musictheatre production ‘Frank en Stein’ in collaboration with director Marcel Sijm, composer Florian Maier and actors Rene Groothof and Oscar Siegelaar. In 2009, Astrid’s cooperation with Operadans resulted in the performance of ‘The Snow Queen’, which featured soprano, harp, dance and narrator.
Since the performance of two world premières on the 10th World Harp Congress in Amsterdam july 2008, Astrid forms a duo with basstrombonist Brandt Attema. From then on they inspired many composers to write for this new and versatile combination of instruments and performed in various countries such as Brazil, Singapore, Denmark and Sweden.
As well Astrid has a duo with soprano Caroline Cartens, with whom she developed a broad repertoire with Opera, French melody and contemporary music.
Besides these projects Astrid regularly plays with various orchestra’s and ensembles. For instance she played with the Hague Philharmonic Orchestra, the Asko|Schönberg Ensemble, the Brabant Orchestra, the Limburg Symphony Orchestra, the Rotterdam Philharmonic Orchestra the Royal Flemish Philharmonic, the Galician Symphony Orchestra, the Ives ensemble and Ensemble Champ d’Action.
In addition to her Master studies, Astrid was selected for the academies of the Hague Philharmonic Orchestra and the Asko|Schönberg Ensemble, which has developed a special coaching programme for Masterstudents with a strong focus on the performance of 20th and 21st century ensemble music.
She followed masterclasses with Edward Witsenburg, Isabelle Moretti, Isabelle Perrin, Daphne Boden, Brigitte Sylvestre, Hugh Webb and Park Stickney.
The debut of this duo was during the 10th World Harp Congress in the Muziekgebouw aan het IJ in Amsterdam. For this festival they made a program with the unique composition “Figur” by Wolfgang Rihms combined with especially for the occasion written pieces by Martijn Padding and Chiel Meijering. The combination of musicians and instruments was so inspiring, that they decided to continue as a duo.
Not only the audience of the harp congress was inspired by this combination, also many composers are. Many well-known Dutch composers have already written for DuoAttemaHaring and there are more pieces to come. Besides these new compositions, Astrid and Brandt adapt existing music from all over the world, to make a balanced and diverse program suitable for each specific situation and audience.
As a duo Astrid and Brandt already played many concerts in countries around the world. They made a tour through Brazil and played concerts in the USA, Germany, Denmark, Sweden and Singapore.
One of the goals of the duo is to inspire composers to write for this special combination of instruments and musicians. They especially enjoy to work closely together with the composers during the process of creating the music. Another goal is to connect with other artists and art forms to create new concepts and inspire each other. In this form they’ve performed a world-music program in the Concertgebouw in Amsterdam, which was received very positively.
Co-commissioned by the Edward F. Schmidt Family Commissioning Fund for the Chicago Symphony Orchestra, and by Kim Williams AM, Geoff Ainsworth & Johanna Featherstone for the Sydney Symphony Orchestra
6.10.2016, Symphony Center, Chicago, IL, USA: Michael Mulcahy/Chicago Symphony Orchestra/James Gaffigan
In his book Hallucinations, the acclaimed British-American neurologist Oliver Sacks chronicles a wide range of hallucinatory conditions reported by his patients throughout his illustrious career. I have chosen five of those cases as the inspiration for this concerto, creating an imaginary musical representation of each mental state. These particular hallucinations were comparatively benign for those who experienced them, and in some cases were positively welcome.
Hallucinations are fascinating phenomena – instantaneous random inventions of our brains overlaid on the sensation of common reality and indistinguishable from it. Many of us will experience them in some way during our lives. When we sleep for example, we are aware that our brain is in free flight and its muddled dream scenarios are not real. On the edges of sleep however, we can confuse random mental impressions with reality, and are hallucinating. A typical example is hearing one’s name spoken by an unknown person; another is when the tail end of a dream impinges on perceived reality.
Sufferers of brain damage or a range of neurological disorders regularly hallucinate. Others without mental illness but under great stress or fatigue can also hallucinate, as of course can those who use psychotropic drugs. It is this bridge between the real world and some of the surprising ways in which our brains interpret the mundane reality around us that I find endlessly fascinating.
Carl Vine, February 2016
i. I smell the unicorn
One of Sacks’ patients frequently hears complete sentences spoken outside herself while drifting off to sleep. The phrases have no special personal meaning, and bear witness to the extraordinary and unexpected creative power of the brain as it freewheels into sleep.
ii. The lemonade speaks
Hearing voices is a hallucination common in schizophrenia, especially as threats or curses. Less threatening versions may be experienced by just about anybody on waking up, either disembodied or from inanimate objects. In this case an effervescent beverage has discovered the power of speech. What it says is not clear.
iii. Mama wants some cookies
Sufferers of Charles Bonnet Syndrome often hallucinate text or other visual material superimposed repeatedly across their entire field of vision. The sentence “Mama wants some cookies” is actually another auditory hallucination like “unicorn” above, but I’ve used some poetic license to imagine that incongruous sentence as text filling one’s entire visible world.
iv. The Doppelgänger
Many people have experienced the sense of being followed when it is clear that it isn’t happening. A special version of this hallucination is the sense of being followed by oneself – a permanent mirror aping one’s every motion, and in extreme cases affording such close identification with the simulacrum that the individual swaps places with the Doppelgänger.
v. Hexagons in pink
Hallucinating repeated visual patterns like arabesques and hexagons is common to many conditions including extreme migraine and the use of psychotropic drugs, and can be detected, for instance, in the repetitive decorations on Persian rugs. Losing control of one’s visible universe to a randomly reinvented geometrical animation can be disturbing, but it can also be pleasurable.
Concerto for Trombone and Orchestra
Nino Rota (1911-1979)
Rota composed this work in 1966. Trombonist Bruno Ferrari, to whom the score is dedicated, played the premiere in Milan, on May 6, 1969.
Nino Rota spent the last four decades of his life as a teacher and administrator at the Bari Conservatory, but beginning in the 1940s, he scored films as well—some 80 in all. He worked primarily with Italian directors, and forged a particularly close relationship with Federico Fellini, scoring 16 of Fellini’s films from the early 1950s through the 1970s. He later worked with American director Francis Ford Coppola on the first two of the Godfather movies. Rota was capable of channeling a tremendous variety of musical styles in the service of the images on screen, and his scores are particularly effective. Though he is known primarily for his film scores, Rota was also a prolific composer of music for the concert hall and stage, writing nearly ballets, orchestral and chamber works, and nearly a dozen operas. Though he was fairly eclectic as a composer, Rota remained a traditionalist at heart, showing little interest in the avant garde.
Rota composed his Trombone Concerto for Bruno Ferrari, who taught at the Milan conservatory, and who was frequently featured on recording of avant garde works in the 1960s and 1970s. Set in the in a compact three-movement form, the concerto begins with a bright, aggressive Allegro giusto in a relatively traditional sonata form. The trombone introduces the main theme in the opening bars, a fanfare accented by the orchestra, and the second theme is slightly more relaxed. Rota develops this music, with a few short digressions for brief lyrical cadenzas, before ending with a crisp coda. The slow movement (Lento, ben ritmato) is much darker, with the trombone playing a serious and rhythmically insistent main theme. There is a flowing middle section before the opening music returns in a dramatic fashion. The concerto ends with a brilliant finale (Allegro moderato). It works with a playful main idea and a more graceful contrasting theme. There is no formal solo cadenza, but near the end of the development section, the trombonebegins to develop a short fanfare motive, expanding this above a serene accompaniment from the strings. The coda reprises a brisk version of the main theme. program notes 2014 by J. Michael Allsen