USF Faculty/Student Recital: The Music of Francis Schwartz November 18, 2012 – 2:00 p.m. USF Concert Hall

USF School of Music Tampa, FL

Program Don Quixote Dreams of Marta (2004) Jay Hunsberger, tuba Kinda’ Cage-y (2007) Leymis Bolaños-Wilmott, choreographer-dancer; Francis Schwartz, piano Romeo Ascending & Juliet’s Toccata (2012) Calvin Falwell, bass clarinet; Johnathan Torsak, tenor saxophone On The State Of Children (2004) Off with Their Hands! Sexual Ditty The Children from Auschwitz The Hate Lesson Honor the Children

Jay Hunsberger, tuba; Andrew Karr, horn - Intermission The Headless Glory Of Andre Chenier (1989) Francis Schwartz, piano Let’s Do It! (2012) The USF Tuba-Euphonium Ensemble; Jay Hunsberger, conductor Euphoniums: Aaron Campell, Zachary Dardis, Bruce Herrmann, Michael Lebrias, Logan Sorey Tubas: Philip Beatty, Tim Beringer, Kelly Bravard, Daniel Bresson, John Hadden, Adam Norton, Haley Powell, Adam Preston, Drew Prichard, Stephen Senseman, David Suarez, Joel Wine Wolfgang’s Frolics (2007) Jay Coble and Aric Brian, trumpets; Andrew Karr, horn; Tom Brantley, trombone; Jay Hunsberger, tuba Question & answer period at the end of the concert

Program Notes Don Quixote Dreams of Marta: a work for the composer's wife Marta, on the occasion of her 40th birthday. Originally, the piece was to be for cello solo but both the composer and Madame Schwartz heard Henri Bok , the distinguished Dutch bass clarinetist, during a Festival in Miami, Florida. The couple was so impressed with Maestro Bok’s artistry that the musical birthday gift became “Don Quixote Dreams of Marta” for bass clarinet. Cervantes, one of the world’s greatest writers, has always been part of Francis Schwartz’s life. As a boy, Schwartz’s father, a polyglot physician dedicated to the world of letters, would read and explain “Don Quixote” to him. Subsequently, Schwartz was to spend much time in Spain with his wife Marta, absorbing much of the Cervantean realities and nourishing his musical art with these experiences. In 2010, the composer expanded the musical content of this work in a special adaptation for the tuba. He received the excellent counsel of tubist Jay Hunsberger. Schwartz expanded the content of “Don Quixote” which now involves substantial expertise in the execution of dance steps on the part of the performer. “Don Quixote Dreams of Marta,” utilizes the well know music theater strategies of Schwartz, that allow the performer to use his or her body in the execution of gestures or vocal sounds that are intimately woven into the dramatic fabric of the musical composition. Kinda' Cage-y for prepared piano and dancer was created in 2007 by composer Francis Schwartz and dancer-choreographer Leymis Bolaños-Wilmott and premiered at the Players Theater of Sarasota Contempo Festival. Schwartz’s cordial relationship with Cage over the years had a profound influence on the younger composer. As an homage to Cage and his enormous contribution to modern artistic thinking, “Kinda’ Cage-y” utilizes a ‘prepared’ piano with pieces of wood and metal inserted between strings to transform the traditional instrumental sound into sonic entities that are reminiscent of the Caribbean or the Pacific regions. The use of spaciousness between sounds reflects certain Asian influences. Dancer-choreographer Bolaños-Wilmott creates a choreography based on the free use of traditional space and even includes utilizing the body of the pianist as a tool for creativity. The interaction between the pianist and the dancer is an essential element of this work. Francis Schwartz's new compositions bring him once again into the wondrous world of Shakespeare. The works, "Romeo Ascending" and “Juliet's Toccata" utilize varied contemporary techniques to explore the love, pinings and ultimate tragedy of the star-crossed lovers. The two compositions are meant to be performed together. The physicality of the players illustrates the trials and moments of splendor of amorous youth. These works received their world premiere by the Duo Hevans ( Henri Bok and Ann Evans) in July, 2012 at the International Saxophone Congress in Saint Andrews, Scotland. On the State of Children continues composer Francis Schwartz’s decades-old struggle with important socio-historical realities. Beginning with his multi-sensorial, polyartistic “Auschwitz” (1968) in which the composer locked an audience inside the concert hall while burning hair, rancid meat, elevating the room temperature while narrating a terrifying text on genocide; to his “Malebolge Eternal” (2003) which condemns governmental and corporate corruption; Schwartz has often

used his art in a denunciatory fashion. He attempts to awaken the conscience of his audience and makes a call to positive action that will counteract the forces of hate, injustice and corruption. “On the State of Children” explores some of the horrible aspects of child abuse. This crime is still prevalent throughout the world and the five musical sections dedicated to an exposition of various types of abuse: ethnic, sexual, religious, racial, homophobic among others, also offer a possible positive path in the eradication of such human debasement. Having seen an exhibition of the German –born American painter Fritz Hirschberger at the St. Petersburg Holocaust Museum, Schwartz was particularly struck by the paintings’ revelation of the horror and simultaneous banality under the Third Reich. Journalistic interviews and other media coverage of child abuse inspired the entire work. Commissioned by the French horn virtuosi Thomas Bacon and James Graber , “On the State of Children,” utilizes both tonal and atonal vocabularies, popular references and even an occasional esoteric gesture of ecclesiastic nature. The version for French horn and tuba was prepared by the composer for today’s concert. It is dedicated to all the martyred children throughout History. The Headless Glory of Andre Chenier: “Neither in love nor politics do you want to lose your head.” This remark was attributed to the revolutionary poet André Chenier, who unfortunately did...in both instances. Premiered in Caracas, Venezuela under the auspices of the French Embassy, “The Headless Glory of André Chenier” celebrated the 200th anniversary of the French Revolution. Since the people took to the streets in 1789, you too, noble public, may do the same if the content of this concert offends or displeases you. After all, it’s your democratic right. The European first performance took place at the Sorbonne in Paris. The audience was volubly divided regarding the message of “André Chenier”. There were protests in the hall. Subsequently, when the composer Francis Schwartz performed this work at the Reina Sofía Museum concert hall in 1996. The musical discourse was interrupted in the middle of the performance when the pianist decried governmental corruption. The audience began to stomp their feet and applaud in a boisterous condemnation of the then existing Spanish government. Thus, esteemed members of the audience, feel free to exercise you First Amendment rights When the distinguished tuba soloist and teacher Jay Hunsberger approached Francis Schwartz to ascertain whether it would be possible to have an ‘unusual’ new composition for the University of South Florida Tuba and Euphonium Ensemble, the composer reacted with considerable enthusiasm. This would be an opportunity within a university setting to create a didactic work filled with Schwartz’s ‘unusual’ instrumental and histrionic elements. Let’s Do It! features traditional music patterns of melodic and harmonic nature. Yet enmeshed in this composition are techniques using the spoken voice, heavy breathing and multilingual references that break down the usual mucial discourse. Both the familiar and the unfamiliar rub against each other producing a dynamic friction. “Let’s Do It!”is a short composition for musicians seeking new paths to performance. It is an introduction to New Possibilities. Wolfgang's Frolics for brass quintet was commissioned in 2007 by the renowned Saint Louis Brass Quintet and premiered the same year. The work is inspired by the

countless hours that composer Francis Schwartz has spent performing and teaching the music of the great Wolfgang Amadeus Mozart. One will find snippets of Mozart’s creations throughout “Wolfgang’s Frolics” often accompanied by the histrionic strategies that Francis Schwartz has developed during the past 5 decades. With a firm belief that the attending public also has an active role to play in the concert experience, the performers will at times invite the audience to vocally collaborate. Schwartz writes: “I suppose that Mozart is the composer that I feel the greatest affinity with since we both share (he is still alive to me) a passion for the humorous, the jocose, the irreverent, the Cosmic Wink. Please enjoy yourselves during “Wolfgang’s Frolics and be assured that it reflects a profound reverence for that wonderful composer and his creations.”

Biographies Francis Schwartz was born in the United States in 1940 and grew up in Texas where he studied with the eminent pianist Patricio Gutierrez. He received both B.S. and M.S degrees from Juilliard School in New York City and subsequently was awarded a Ph.D. with highest honors from the University of Paris. Dr. Schwartz was Dean of Humanities of the University of Puerto Rico where he also held major academic and administrative positions during his 33 year career at the prestigious Caribbean institution. He was decorated by the French government and awarded the Chevalier de l’Ordre des Arts et Lettres. His music is regularly performed around the world and he is particularly noted for his innovative music theater works that frequently incorporate the attending public as active participants in the performance. His polyartistic creation “Mon Oeuf”, a miniature theater-sculpture with electronic sounds, aromas, temperature manipulations and tactile stimulations was premiered in 1979 at the Pompidou Center and later installed at the Museum of Modern Art in Paris. “Mon Oeuf” has been hailed as a daring achievement in contemporary art. His chamber opera “DALI and GALA” was premiered in 2004 at the Salvador Dali Museum in St. Petersburg, Florida. Schwartz has written works for some of the world’s outstanding artists and ensembles such as Andres Segovia, Gary Karr, Pierre-Yves Artaud, Thomas Bacon, Henri Bok, Continuum, Jay Hunsberger,The New Juilliard Ensemble, Arioso Trio, 2E2M of Paris, LIM de Madrid, Casals Festival, Saint Louis Brass Quintet, Brooklyn Philharmonic, Sybarite5 among many others. He currently pursues an international career while residing in Sarasota, Florida. In 2011 premiered his “Antigone’s Dream” in Paris with the French Flute Orchestra and PierreYves Artaud as soloist. In the same year, Schwartz presented 12 of his compositions in the CLAEM Festival in Buenos Aires at the Jorge Luis Borges Cultural Center. During 2012, Schwartz premiered “Cooking at the Crossroads with Pauline & John” an homage to Pauline Oliveros and John Cage. His new work for the Sybarite5 ensemble, “Caliban’s Dance,” was recently premiered at New York’s Carnegie Hall. Tom Brantley, Associate Professor or Trombone, grew up in a musical South Louisiana household, listening to classical, jazz, Latin, soul, pop/rock, country, bluegrass, and Cajun. A third-generation trombonist, Yamaha soloist, clinician, and recording artist, Brantley performs with the USF Faculty Brass Quintet, Faculty Chamber Players, Jazz Faculty Ensemble, the Jack Wilkins Jazz Group, and Chuck Owen's Jazz SURGE. Brantley was awarded a USF

Research Grant to fund a trombone/trumpet CD recording project with colleague Jay Coble featuring a new work, Confluences, by Chuck Owen. His most recent recording is a solo project, Obsessed with Treasure, and in the summer of 2007 he performed with and directed the USF Jazz Enemble at the Umbria Tuscany and Antibes Jazz Festivals in Italy and France. Trombonist for the chamber group Rhythm & Brass, he has performed in every state in the continental U.S., as well as Japan, Thailand, Saudi Arabia, Canada, and the Caribbean. The group has produced two recordings, a chamber music textbook series, and was featured as the opening concert in the 2002 International Trombone Festival. Brantley has led master classes and performances at music conferences: the International Trumpet Guild, the International Trombone Festival, the Florida Music Educators Association, and the International Association of Jazz Educators. He serves as the news editor for both the International Trombone Associate Journal and Website. He is a founding member of the Central Florida Trombone Society, a local affiliate of the ITA. Brantley holds degrees in trombone performance/jazz studies from the University of Southern Mississippi and the University of North Texas. Aric Brian is an adjunct faculty member at USF, where he teaches an online section of Issues in Music. Aric is also on the faculty of The University of Tampa, St. Petersburg College, Southeastern University, and the Patel Conservatory for the Arts. He maintains a private trumpet studio in Tampa, and is active in many genres as a freelance trumpet player. Aric received his Master's Degree in Trumpet Performance from the University of South Florida, and a Bachelor's Degree in Music Education from the University of Wisconsin-Eau Claire. Jay Coble, Associate Professor of Trumpet, serves as a clinician in both classical and jazz genres. He has recorded for television shows and commercials and performed with Natalie Cole, Mel Torme, Nancy Wilson, and a many professional symphony orchestras. He toured internationally with Buddy Rich and Tom Jones, recorded CDs with his trumpet, trombone and piano trio "Confluences," jazz professor Chuck Owen's Jazz SURGE, and with jazz professor Jack Wilkins, and has been a member of Tampa Bay groups SHIM and Bogus Pomp. Dr. Coble has traveled to China to teach and perform at the Central Conservatory of Music in Beijing, the Conservatory of Music in XiAn, the Shanghai Conservatory of Music, and the Shenyang Conservatory of Music. He taught at the International Music Camp for years and has been an instructor at the Yellowstone Music Camp since 1991. As guest trumpet artist at the eighth annual Wyoming Festival of Trumpets at Northwest College in 2007, Coble led a master class for aspiring trumpeters through breathing and tonguing techniques. He emphasized focus and the mental image of the sounds, followed by the physical action to form it. He melded the philosophies of his teachers-William Adam, Boyde Hood, Joe Phelps, and Roy Poper- highlighting how differing pedagogical approaches can be complementary. A Yamaha performing artist, Coble has premiered works for the Tampa Bay Composers Symposium and at several Bonk Festivals for new music. Coble received his undergraduate degree from Appalachian State University, his master's degree from Indiana University, and his doctorate from the University of Southern California. Calvin Falwell, Instructor of Clarinet & Bass Clarinet at the University of South Florida School of Music, enjoys a varied career as an orchestral musician, soloist and educator. In

2012, Calvin was appointed as Second Clarinetist of the Sarasota Opera Orchestra in Sarasota, FL. During the summer months he can be found performing with the Ash Lawn Opera Festival in Charlottesville, VA. Prior to his current appointments, Calvin held positions with the Florida Grand Opera, Miami City Ballet and the Orlando Philharmonic Orchestra. Calvin has also appeared with the Louisville Orchestra, Florida Orchestra, Lexington Philharmonic, Sarasota Orchestra, Opera Tampa, Opera Naples, Palm Beach Symphony, Pittsburgh Opera Theater and Symphony in C (formerly Haddonfield Symphony). Additionally, Calvin has toured internationally with the Hollywood Concert Orchestra. Calvin has also served on the faculties of Holy Family University, Wilmington University, Hartwick College Music Festival, Blue Lake Fine Arts Camp and AMEROPA Chamber Music Festival. In addition to his orchestral positions, Calvin has enjoyed performing as a soloist in both recital and orchestral settings. Hailed as "a performer of skill and virtuosity" (World Clarinet Alliance), Calvin has had the privilege of premiering two bass clarinet concertos by Todd Goodman and Joseph Hallman. In November 2012 Calvin will give the premiere of “Fine Tune” for Bass Clarinet and Percussion Ensemble by composer David Thomas. Solo appearances have included recitals in South America, China, Europe and the US. His principal teachers and mentors include Paul Demers (Philadelphia Orchestra), Ron Samuels (Pittsburgh Symphony Orchestra), Tim Zavadil (Minnesota Orchestra), Dallas Tidwell (Louisville Orchestra), Daniel Lochrie (Nashville Symphony) and Scott Locke (Murray State University). Both Calvin's BM and MM are in Clarinet Performance and are from the University of Louisville and Duquesne University respectively. Calvin is both a Selmer Paris and Rico Performing Artist, performing on Selmer Clarinets and Rico Reeds exclusively. Calvin lives in Tampa, FL with his wife Kerry Falwell and their two cats Ronald & Callie. Tuba legend Harvey Phillips wrote “Jay Hunsberger is one of America’s premiere orchestral tubists, an experienced soloist and sensitive chamber music performer.” Mr. Hunsberger is the principal tubist with the Sarasota Orchestra and Professor of Tuba and Euphonium at the University of South Florida in Tampa. A hallmark of Mr. Hunsberger’s career has been the substantial number of new works which have been written for him. In 2003 he premiered Jan Bach's Concerto for Tuba prompting one critic to write: “He is a virtuoso on an instrument that is too often misunderstood and underestimated. Hunsberger brings the tuba into the spotlight with elegance and dynamism and this is the perfect vehicle for his talents”. His latest premiere is Gwyneth Walker's Beloved Bass (2012). In the fall of 2006 he premiered Jan Bach’s Oompah Suite. In November 2011 he premiered William Brusick's Concerto No. 2 for tuba. Mr. Hunsberger received both BM and MM degrees in tuba performance from the Indiana University School of Music. His teachers have included Dan Perantoni, Harvey Phillips, Roger Bobo, and Sam Pilafian. Jay's first CD (a collaboration with James Wilson, horn) was released in February, 2011. He has toured as a member of the St. Louis Brass and spent the summer of 2011 performing and teaching throughout China. Andrew Karr is a member of the Florida Orchestra and the USF Faculty Brass Quintet. He was appointed co-principal horn of the Sarasota Orchestra in October 2007, after performing as second horn in that orchestra since 2004. Prior to that, he was principal horn of the Shanghai Philharmonic Orchestra and the Shanghai Broadcasting Symphony Orchestra, the only non-Chinese musician in these orchestras for most of his tenure. Karr started playing piano at the age of five, adding horn when he was nine. He was notable on both

instruments at an early age. He earned numerous awards including top prize in the New World Symphony concerto competition, finalist in the Philadelphia Orchestra's Greenfield Competition, a Harvard Music Society scholarship grant, and special recognition for performances and classes he taught in the Republic of Moldova. When he joined the New World Symphony, a professional training orchestra in Miami, Florida, her studied conducting privately with San Francisco Symphony music director Michael Tilson Thomas. He has performed as a soloist or principal horn in over twenty different countries on four continents, with orchestras in some of the most well-respected venues in the world, including the Berlin Philharmonie and the Amsterdam Concergebouw. Locally, Karr has performed with the Southwest Florida Symphony, the Orlando Philharmonic, and Opera Tampa. He plays regularly with the Colorado Music Festival and the Colorado Chamber Orchestra, studies a variety of languages, practices kung fu, and sings in amateur choruses. Karr attended the Curtis Institute of Music in Philadelphia. Leymis Bolaños Wilmottis is the Artistic Director/Co-Founder/Choreographer/Community Outreach Coordinator of Fuzión Dance Artists. She was a recipient of the 2008 Arts Leadership Award for Artistic Achievement from the Sarasota Arts Council, the Sarasota Artist Fellowship, and was nominated by Sarasota Magazine as best choreographer in a musical for Miss Saigon presented at the Players Theatre. Wilmott received the esteemed Dance Magazine award for Southeast Best Choreographer. Her work has been performed nationally at the John F. Kennedy Center, Ailey City Group Theatre in NYC, Colony Theater and Jackie Gleason in Miami, as well as other numerous theaters and festivals throughout the country. Locally, she has choreographed for the Asolo Repertory Theatre, Westcoast Black Theater Troupe, Kaleidoscope, St. Petersburg College and Booker High School among others. Her collaboration with Francis Schwartz on Kinda' Cage-y has been seen all over the world and forms part of the John Cage Trust. Ms. Wilmott is the first to receive a certificate in Dance and Healing from the University of Florida and has a Master of Fine Arts in Performance/Choreography from The Florida State University. Her deep love for dance and community building came to fruition in 2006 when she and Rachel Inman founded Fuzión Dance Artists – Sarasota 1st Contemporary Dance Company. She continues to advocate as a Teaching Artist with the Arts and Cultural Alliance of Sarasota (EdExplore), Van Wezel Performing Arts, and Manatee Arts Council. She is also an Adjunct Professor of Dance at New College of Florida and certified Pilates Instructor at The Pilates Body. She is proud wife to a supportive husband Kavin Wilmott and mother to three year old Charles Edward. She is the Vice President of the Florida Dance Association and currently on the Advisory Board for Sarasota-Manatee Dance Alliance and Carreño Dance Festival. She is blessed to work with talented human beings -- her Fuzión Family -- and is extremely grateful to them for being part of this journey.

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