Concert Venue and Date

Chamber Music 2016 Concert
November 6, 2016      3:00PM
Zion Lutheran Church
Clinton, Iowa

Margaret Lowe
Dawn Carol

Grace Notes Flute Quartet
Crystal Duffee • Cheryl Jordan
Karen McClintock • Sue Wiley

Adolphe Wouters
Adagio and Scherzo, Op 77
Nocturne - adagio

Grace Notes Flute Quartet
Crystal Duffee • Cheryl Jordan
Karen McClintock • Sue Wiley

Alan Guss
Cicada Gossip

A Trio for Horn, Bassoon, and Flute

Crystal Duffee, flute • Alan Guss, horn
Thomas Wood, bassoon

Wolfgang Amadeus Mozart
Trio in E-flat major, KV498
(Kegelstatt Trio)
Rondo: Allegretto

Nadia Wirchnianski, piano
David Bean, clarinet • David Spaulding, violoncello

Chamber Music 2016 Concert

Margaret Lowe - Dawn Carol

Dawn Carol, composed for Carol Kniebusch Noe and the James Madison University Flute Choir for Christmas in 1996, is a fanfare intended to be played by as many players as are available. The players should be scattered around the hall and among the audience.

Each individual player should enter canonically according to a pre‐arranged but random order, the second and subsequent players starting as the previous player reaches the asterisk.

While the rhythms are reasonably accurately notated, the piece should be played with a degree of flexibility, freedom, and individuality, dependingto some extent on the acoustics of the hall. The phrases are not intended to coincide, but should overlap, with the length of the pauses left to the individual player. The result should be a continual sound, but with the players dropping out in turn at the end of the first section. The second sections started in a similar fashion after a short break. Dynamics are intended as a guide only; players may substitute their own. Margaret Lowe's  Dawn Carol (1996) suggests birdsong ringing through and around the space in an increasingly dense canon, evoking an awakening forest at dawn.

Adolphe Wouters – Adagio and Scherzo, Op 77

Adolphe Wouters, Belgian organist and composer, studied at the Brussels Conservatory and subsequently taught there. He composed church music, technical studies and transcriptions for piano. The Adagio and Scherzo, Op 77 is a charming piece beginning with a nocturne - adagio followed by a spritely but rousing finale.

Alan Guss - Cicada Gossip

Cicada Gossip is scored for Flute, Bassoon and Horn. The piece was initially written and performed in 1984 (or s). The first performance was at the University of Iowa as part of a Masters program performance. It is very lighthearted and challenging for the players.

The work is programmatic. The front movement was inspired by the imaginary gossip of Cicadas - all that noise, you see. There is a jazz influence in the first movement Gossip which should be a bit obvious in content and presentation, but not necessarily harmonically. The second movement Debate depicts a debate stage with three contenders. They interrupt each other, they sometimes find agreement with one of the others, and one is quite boastful, one quite analytical, and one is just a good Joe who often goes along with the others!

My next hope is to get a three movement string orchestra piece performed. That work (An Erinology for Strings) is a serious work featuring a Waltz, a funk style 2nd movement and a driving 11/4 final movement. I have a friend realizing a trumpet sextet in a multi-track recording. I have arranged and composed for the Quad City Brass Quintet, of which I am a member.

I served with the Air Force Band Program in support of the Space Program at Patrick AFB, Florida, attended Wisconsin Conservatory of Music (BM) and the University of Iowa (MA). I have conducted musical theatre for years, directed the Dubuque Youth Symphony for two years and was a Middle School band director for twenty-four years.

I created and directed the Quad Cities Brass & Percussion Ensemble, All City Junior Jazz Band and summer camp, and ELIL, an early music consort and recorder quartet.

Notes for Cicada Gossip provided by Alan Guss

Wolfgang Amadeus Mozart - Trio in E-flat Major, K. 498 (Kegelstatt Trio)

Kegel or Kegeln (skittles) is a German bowling game in which a player rolls a wooden ball along a smooth, hard indoor lane (German: Kegelbahn, bowling alley). The object of the game is to knock down the nine kegels at the other end of the lane. Kegel is based on the traditional German game of nine-pin bowling and is, therefore, closely related to both skittles and ten-pin bowling. Wolfgang Amadeus Mozart (1756-1791) was a frequenter of a bowling alley in Vienna where he could relax with friends and make contact with potential patrons.

The Mozart Family
Mikhail Glinka

Mozart finished the Trio in E-flat major, KV498 in Vienna on August 5, 1786. Earlier that year he had completed his opera Le nozze di Figaro, two piano concertos (No. 23 in A major and No. 24 in C minor), and numerous other works, among them the Twelve Duos for Two Wind Instruments, KV487. At the top of the original manuscript for the Twelve Duos, KV487, Mozart scrawled, “Vienna, the 27th of July 1786, while bowling.” No such heading appears on the score of the Trio for Clarinet, Viola, and Piano, written only nine days later, even though it is known as the Kegelstatt (bowling alley) Trio. Was the piece actually written amid the din of wooden balls striking solid wood pins? One writer speculates, "It is entirely possible, of course, that Mozart did write the Trio in the bowling alley, though some writers have suggested that he just thought about the work while relaxing during the game."

Mozart's Kegelstatt Trio, for clarinet, viola and piano, was completed on August 5,1786, its nick-name derived from the suggestion that Mozart composed the work during the course of a game of skittles. The Trio was written especially for the Jacquin family and in particular for one of Mozart's favorite pupils Franziska Jacquin, who presumably played it with Anton Stadler, clarinet, and with the composer himself playing the viola. When the work was published by Artaria in 1788, the company wisely offered the piece as a trio for piano, violin, and viola, since the clarinet was not widely practiced at the time. The clarinet won only gradual acceptance as an orchestral instrument, notably in Vienna with the brothers Johann and Anton Stadler, engaged in the Imperial wind band from 1773 and from 1787 in the court orchestra. Anton Stadler, specialising in the lower register, experimented with a form of the instrument with a still lower range, now generally known as the basset clarinet, for which Mozart wrote his Clarinet Quintet and Clarinet Concerto, both constructed for Anton Stadler.

The Trio opens with an Andante in which the piano, initially together with the viola, announces the theme, then capped by the clarinet, which is later entrusted with the second subject, given to the viola in its re-appearance in the recapitulation. The second movement is a Minuet, in the key of B flat, with a contrasting G minor Trio section that puts the viola through its paces. The final Rondeaux opens with the principal theme played by the clarinet. The movement includes a dramatic excursion into C minor for the viola and further brief opportunities for virtuosity in music of subtle refinement and moments of poignant beauty in music written at the height of Mozart's career.

Mozart arranged the Trio for other instrumental combinations with the piano. The version on our program is one with the violoncello replacing the viola.

Program notes on Trio in E-flat major, Op 498 written by William H. Driver for Clinton Symphony Association