Earplay
P.O Box 192125
San Francisco, CA 94119-2125
earplay@earplay-sf.org

After Messiaen

Monday, December 9, 2002 at 8:00PM

Pre-concert talk at 7:15PM
The Forum, Yerba Buena Center for the Arts
701 Mission Street, San Francisco

Tickets: Call (415) 978-ARTS/978-2787
$18 General
$12 Members and Students (i.d. required)
$36 Three concert season subscription

The Earplayers:

 Mary Chun, conductor
Tod Brody, flute
Peter Josheff, clarinet
Terrie Baune, violin
Ellen Ruth Rose, viola
Thalia Moore, cello
Karen Rosenak, piano

Program

Pierre Boulez, Douze Notations (1945)
for solo piano

Joël François Durand, Trio à cordes (1980-1981)
for violin, viola, and cello

Philippe Schoeller,Madrigal (1994)
for violin, viola, cello, and piano

Pierre Boulez, Incise (1994)
for solo piano
Christophe Bertrand, Treis (2000)
for violin, cello, and piano
(Winner of the 2002 Donald Aird Memorial Composition Competition)

Marc-André Dalbavie, In Advance of the Broken Time (1994)
for flute, clarinet, violin, viola, cello, and piano

Earplay is funded in part by the San Francisco Grants for the Arts/Hotel Tax Fund, the William and Flora Hewlett Foundation, the California Arts Council, a state agency and individual donations.

Cultural Service provided by the Consulate General of France, San Francisco.


About the Composers and their Compositions

Pierre Boulez
Douze Notations
Incise

Douze Notations is Boulez' first published work (1945), considered his Opus 1 consisting of a set of twelve miniatures for solo piano.

Incises, composed nearly forty years after Douze Notations (1994), another brief work for solo piano, is concentrated in its musical thought. Working with only limited material, Boulez focuses on certain idiosyncrasies of the piano, both in terms of its sonic quality and as regards performance practice.

Pierre Boulez was born in 1925 in Montbrison in the Loire region of France. He is a composer, analyst, conductor, pedagogue, and musical statesman and has created a number of important institutions devoted to working towards the solutions of the major issues and problems confronting contemporary music: first and foremost, the problem of the music's dissemination, and the indispensable evolution of its relationship to the public; and no less important, the problem of developing the technological tools essential for the evolution of musical thought and invention.

Joël François Durand
String Trio

In Joël François Durand's String Trio (1982) the viola plays the role of mediator between the violin and the cello, radiating toward their timbre, their materials or the structures they embody. Durand varies, in the triangle of the ensemble, the distance that separates the viola from the other two instruments, by at times exposing direct links between them, at other times imitating one, isolating the other, or provoking their union

Joël François Durand (b. 1954) studied musicology at the Paris Conservatory, His music has been performed throughout Europe, as well as in the United States and South Korea.
Philippe Schoeller
Madrigal

Philippe Schoeller (b. 1957) has devoted himself to musical composition since 1976. His musical studies in piano, harmony, counterpoint and conducting have been informed and enriched by formal studies in musicology and the philosophy of art.

Christophe Bertrand
Treis

Each of the four movements of Treis (lasting from a minute and a half to three minutes and a half each) develops a reduced number of precise compositional aspects, quite simple and easily identifiable, related to common and derived harmonic fields, always clearly recognizable, that assure the unity of the whole.

Christophe Bertrand was born in France in 1981 and studied the piano at the Conservatoire National de Region in Strasbourg, especially with Michele Renoul and Laurent Cabasso. He was awarded the Piano First Prize, and was unanimously awarded the Chamber Music First Prize, after studying with Armand Angster.

Marc-André Dalbavie
In Advance of the Broken Time

In Advance of the Broken Time (1993) is my first piece of chamber music. In addition to the use of certain procedures of interpolation, I felt a need to create a kind of transparent sound texture through a multiplication of techniques of orchestration usually reserved for larger ensembles.

Marc-André Dalbavie (b. 1961) received his musical training at the Paris Conservatory where he studied with Michel Pilippot, Betsy Jolas, Claude Ballif, Guy Reibel and Marius Constant.
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