the pleasure of musical company

Sundays with ColemanSundays with Coleman113th Season 2016-2017

Presented in cooperation with the Caltech Committee on Institute Programs

IMANI WINDSIMANI WINDS

with with Fabio Bidini, Fabio Bidini, PianoNovember 13, 2016

COLEMAN CHAMBER MUSIC ASSOCIATIONSunday, November 13, 2016

When Alice Coleman began presenting concerts here in 1904, she became part of the fl owering of creativity in early 20th-century Pasadena best known for the work of designers Charles and Henry Greene and tilemaker Ernest Batchelder. Alice and Ernest married in 1912, and his life was ever after fi lled with music. This afternoon you are enjoying Alice’s legacy; you can explore Ernest’s legacy at the Pasadena Museum of History at an exhibition of his work through February 12, 2017. For information call 626-577-1660 or go to www.pasadenahistory.org.

Sunday, November 13, 2016 3:30 pmBeckman Auditorium, Caltech

Imani WindsImani Winds

with guest artist Fabio Bidini, piano

Jeff Scott Startin’ Sumthin’ Startin’ Sumthin’ (b. 1967)

Elliott Carter Woodwind Quintet(1908-2012) Allegretto Allegro giocoso

Valerie Coleman Rubispheres No. 1Rubispheres No. 1(b. 1971) DROM Lullaby and Prayer Revival

I N T E R M I S S I O N

Anders Hillborg Six Pieces for Wind Quintet (b. 1957) eighth note = 152 quarter note = 152 Idyll with fury very calm dotted quarter = 76

Wolfgang Amadeus Mozart Quintet in E-fl at Major for Piano (1756-1791) and Winds, K. 452 Largo-Allegro moderato Larghetto Rondo. Allegretto

Traditional Klezmer Dancesarr. Gene Kavadlo Khosidl Freylekh

Mr. Bidini is an offi cial Steinway Artist Arts Management Group, Inc. 130 West 57th Street, Suite 6A New York, NY 10019

Valerie Coleman, fl uteToyin Spellman-Diaz, oboeMark Dover, clarinet

Jeff Scott, hornMonica Ellis, bassoon

Program NotesProgram Notes

Startin’ Sumthin’ Jeff Scott (b. 1967)

Startin’ Sumthin’ is a modern take on Ragtime, with an emphasis on ragged! The defi ning characteristic of Ragtime music is a specifi c type of syncopation in which melodic accents occur between metrical beats. This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat. The eff ect on the listener is actually to accentuate the beat, thereby inducing the listener to move to the music. Scott Joplin, the “King of Ragtime,” called the eff ect “weird and intoxicating.”

- Jeff Scott

Woodwind Quintet (1948)Elliott Carter (1908-2012)

The late 1940s were a period of crucial change for Elliott Carter. Although his early career had been dominated by choral compositions, Carter abandoned the genre completely after the completion of Emblems in 1947. The Sonata for Violoncello and Piano from 1948 demonstrated

Carter’s striking new ideas about rhythmic fl ow, textural organization, and idiomatic color, and pointed in a direction quite diff erent from the cagey neoclassicism that had characterized earlier works. Standing in stark contrast to these developments, however, is the Woodwind Quintet, the careful formulation and expressive sheen of which seem to suggest a nostalgia based on embellished memories - recollections of an “earlier style” in which Carter never actually composed.

The fi rst of the Quintet’s two movements is a colorful allegretto with a lively textural landscape. Though the gestures taken up by the different members of the ensemble are all coordinated, their actual materials off er a wide range of contrasts. Above an initial drone in the bassoon and horn, the fl ute engages in repeated syncopations, while the clarinet comments with fl orid scalar fi gures and the oboe plugs away with steady staccatos. As the movement progresses, these various shapes wind their way through the ensemble.

The second movement, marked Allegro giocoso, is infused with jazz motives and syncopated energy. It is built upon a series of convergences and divergences, with emphatic moments of unison, heterophony, or homophony separated by episodes of solo lines and imitative handoff s. The lighthearted intent of this movement is sealed in

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the last measures, as all the winds release their fi nal note except for a sheepishly straggling clarinet.

- Jeremy Grimshaw

Rubispheres No. 1 Rubispheres No. 1 Valerie Coleman (b. 1971)

Rubispheres No. 1 is a series of trios depicting urban life and landscapes in the world. The fi rst three Rubispheres of the series feature a set of exciting hip, rhythmic, and virtuosic outer movements dedicated to the Lower East Side of Manhattan, and soulful song for Washington Heights at night.

- Valerie Coleman

Six Pieces for Wind QuintetAnders Hillborg (b. 1957)

The opening of my Six Pieces is written in a quasi-tonal style, remotely reminiscent of Stravinsky; it starts out with an eruptive gesture of upward scales, followed by soft, long-spun melodic lines accompanied by a gentle walking bass in the Bassoon. This scheme is repeated once, but when the opening gesture appears a third time, instead of continuing as before, the music blazes into the 2nd Movement, a ferocious fl ow where the instruments imitate

and echo each other in a furious tempo.

This is followed by a calm movement where the Bassoon again provides a steady walking bass through an idyllic landscape featuring the Flute. The 4th piece, in contrast, is a wild and heavy orgy with strong focus on pulse and aggressive syncopations, mainly based on octotonic scales (= regular alternation of major and minor seconds).

The 5th piece also uses octotonic scales as basic material, but contrasts to all the other ones in being extremely calm and slow in character. The last piece starts with wide, sustained chords suggesting vast, open landscapes, and ends with a crazed funky race on the verge of the playable.

Six Pieces for Wind Quintet was written for and commissioned by The Royal Stockholm Opera Wind Soloists in 2007.

- Anders Hillborg

Quintet for Winds and Piano, K. 452Wolfgang Amadeus Mozart (1756-1791)

By 1784, Mozart’s career and indeed his life were in full bloom and he was as happy and wealthy as he would ever be. In the midst of a period emphasizing piano and horn concertos, he crafted this quintet

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and upon performing in it himself on April Fool’s Day, he pronounced it “the best thing I have so far written in my life” in a letter to Leopold. In three movements and lasting only 25 minutes, it would seem an unlikely candidate for such an appellation. An unexpected but powerful vote of confi dence for it came in during 1797 when another well-known resident of Vienna produced a similar work which aped it in key signature, instrumentation, and general design. The younger man was Beethoven and his quintet, Op. 16, is high tribute indeed.

Opening with an extended largo, the fi rst movement in particular is concerto-like with the piano either in charge or very near the surface virtually throughout. The writing is open and insistent rather than forceful, and charm prevails. The second movement is a gentle and lightly textured larghetto in which the wind instruments at last emerge with passages of their own and the balance of the piece is here more chamber-like. The fi ve-minute allegretto fi nale once again appears to be a sort of miniature piano concerto although cadenza-like passages for the various wind instruments appear at several points. The work ends with a fl ourish from the piano and tonic chords in the winds.

- Michael Morrison

Klezmer DancesTraditional; arr. Gene Kavadlo

Klezmer music has frequently been associated with jazz and has even been dubbed as “Jewish Jazz.” But instead of the chords and harmonies used in jazz, Klezmer is more about ornamenting a prescribed melody in a tasteful, artistic manner. In that sense Klezmer is more like Baroque music than jazz, however with vastly diff erent styles of ornamentation!

Clarinet is the Klezmer instrument of choice because of the many ‘tricks’ it’s capable of. These arrangements stay true to the tradition of using whichever instruments are available, here the wind quintet, to perform what is essentially music for dancing in a round.

Freylekh literally translates to “happy” and is a lively circle dance played in a bright tempo. Khosidl is a slower dance in duple meter, in which the melody moves slowly enough to invite ornamentation.

- Gene Kavadlo

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Concert fl ower arrangement

is provided through the generosity of

JACOB MAARSE FLORIST

AND THE FRIENDS OF COLEMAN

Imani WindsImani Winds

Extolled by the Washington Post as “exuding a sultry sophistication during performances,” Imani Winds has established itself as one of the most successful chamber music ensembles in the United States. Since 1997, the Grammy nominated quintet has taken a unique path, carving out a distinct presence in the classical music world with its dynamic playing, adventurous collaborations, and inspirational outreach programs.

The group continues its Legacy Commissioning Project, in which the ensemble commissions, premieres, and tours new works for woodwind quintet written by established and emerging composers of diverse musical backgrounds. The Legacy Project kicked off in 2008 with world premieres by Alvin Singleton and Roberto Sierra. Since then, projects have included works by Jason Moran, Stefon Harris, Danilo Perez, Simon Shaheen, and Mohammed Fairouz. The group’s fi fth album on E1 Music - entitled Terra Incognita after Wayne Shorter’s piece written for the group - is a celebration of the Legacy project with new works written for Imani Winds by Mr. Shorter, Jason Moran, and Paquito D’Rivera.

The wide range of programs off ered by Imani Winds demonstrates their

mission to expand the repertoire and diversify new music sources. From Mendelssohn, Jean Françaix, György Ligeti, and Luciano Berio to Astor Piazzolla, Elliott Carter, and John Harbison, Imani Winds actively seek to engage new music and new voices into the modern classical idiom. Imani members Valerie Coleman and Jeff Scott both regularly contribute compositions and arrangements to the ensemble’s expanding repertoire, bringing new sounds and textures to the traditional instrumentation. This past year they premiered a concert-length new work by Mr. Scott written for Imani Winds, jazz trio, and string quartet entitled The Passion, which musically explores the idea of a fi ctitious meeting between J.S. Bach and John Coltrane.

Through commissions and performance the quintet regularly collaborates with artists ranging from Yo-Yo Ma to Wayne Shorter. On Shorter’s acclaimed 2013 release on Blue Note, Without a Net, Imani Winds are featured prominently. The group’s Chamber Music Society of Lincoln Center residency culminated in a recital in New York’s Alice Tully Hall with renowned clarinetist/saxophonist/composer Paquito D’Rivera. The ensemble has also worked with luminaries such as bandoneonist Daniel Binelli, the

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SPECIAL NEEDS

Beckman Auditorium is wheelchair accessible, and large-type programs are available. Seating is available in the orchestra for persons using wheelchairs who prefer to remain in their wheelchairs; aisle seating is available for those who can transfer from their wheelchairs or have other reasons for requiring an aisle seat.

Beckman Auditorium is equipped with high-quality infrared assistive listening devices (ALD systems) to amplify the sound on stage -- spoken word or music -- and transmit the sound to individual headsets worn by patrons.

Other accommodations can be arranged, as needed.Please call 626.395,4652 or e-mail ada@caltech.edufor more information and assistance.

Brubeck brothers, the Fisk Jubilee Singers, clarinetist David Shifrin, and pianists Gilbert Kalish and Shai Wosner. Their ambitious project, “Josephine Baker: A Life of Le Jazz Hot!” brought chanteuse René Marie with them to New York, San Francisco, Los Angeles, and St. Louis.

Their excellence and influences have been recognized with numerous awards including the 2007 ASCAP Award, 2002 CMA/ASCAP Award for Adventurous Programming, as well as the CMA/WQXR Award for their debut and self-released recording Umoja. At the 2001 Concert Artists Guild International Competition, Imani Winds was selected as the first-ever Educational Residency Ensemble, in recognition of their tremendous musical abilities and innovative programming.

Imani Winds’ commitment to education runs deep. The group participates in residencies throughout the U.S. In the summer of 2010, the ensemble launched its annual Chamber Music Festival, which brings

together young instrumentalists from across North America and beyond for an intense week of music exploration.

Imani Winds have fi ve releases on E1 Music, including their 2006 Grammy Award nominated recording, The Classical Underground. They have also recorded for Naxos and Blue Note, and The Rite of Spring on Warner Classics was on iTunes’ Best of 2013 list.

Fabio Bidini, piano, is in demand as a soloist with leading orchestras and as a chamber musician. Born in Arezzo, in Tuscany, Italy, he began playing a keyboard at the age of four. He was a prizewinner twice at the Ferrucio Busoni International Piano Competition, in 1988 and 1992, and in 1993 he was a fi nalist at the Van Cliburn International Piano Competition. In 2015 he joined the faculty of the Colburn Conservatory of Music as the inaugural Carol Grigor Piano Chair. Some of his students at the Hochschule für Musik Hanns Eisler in Berlin followed him to Colburn.

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Coleman’s HistorySome of today’s repertoire have been performed previously in the Coleman series: Carter Woodwind Quintet April 1989 Chicago Pro Musica February 1997 Berlin Philharmonic Woodward Quintet Mozart Quintet in E-flat Major for Piano and Winds, K. 452 December 1929 de Busscher Woodwind Ensemble with Winifred Hooke February 1931 de Busscher Woodwind Ensemble with Alice Coleman Batchelder March 1953 Fine Arts Winds with Leona Lurie January 1958 New York Woodwind Quintet with Rosina Lhévinne May 1982 Boston Symphony Chamber Players November 1986 Dorian Wind Quintet with Minoru Nojima April 1997 Chamber Music Society of Lincoln Center November 2012 Imani Winds with Anne-Marie McDermott

Coleman Premiere Scott Startin’ Sumthin’Startin’ Sumthin’ Coleman Rubispheres No. 1Rubispheres No. 1 Hillborg Six Pieces for Wind Quintet Traditional Klezmer Dances (arr. Gene Kavadlo)

Fine Arts CircleFine Arts Circle($10,000 and above)

Warren & Katharine Schlinger Foundation

Coleman CircleColeman Circle($5,000 to $9,999)

Hector & Carolee Campbell Elizondo

SustainersSustainers($1,000 to $4,999)

Olin BarrettGermaine & John BurkeAnne & David CovellMeg & Don GertmenianSusan & David GretherDr. & Mrs. Jerome A. HamburgerPhyllis A. HudsonGloria V. & Roger MullendoreMargery NicolsonDr. & Mrs. Eugene RobertsDaniel Temianka, MDDr. James Vaskov

BenefactorsBenefactors($500 to $999)

Franci & Jim BolenMrs. Thomas Caughey for Thomas K. CaugheyDavid G. ElliottDr. & Mrs. J. M. FusterBeth GertmenianRichard GreenbergMr. & Mrs. John V. HallstromJean & Jim KeatleyJane & Daniel LevyRamona Merrifi eldGretl & Arnold Mulder Suzanne Palmer & Daniele FacchiniMarta Smith

SponsorsSponsors($200 to $499)

Robert C. AndersonSusan DasheKaren & Patrick Dempsey

Lu & Barry GordonDrs. Roberta D. Green & Fred VaquerDr. & Mrs. Julius GrollmanRonald R. GustafsonLois Ward HarrisonKarin Nelson & Eugene B. Hibbs, Jr.Sanda & Dan MandutianuLinda & Michael ParksDiane Sands & Jeff LapidesRichard D. SeibelCarol & Al SilsKathryn Sinkovich & Dana SuttonJanet & Robert TranquadaArvid E. UndermanMr. & Mrs. Max E. Van DorenDrs. Beverly & Lawrence WoodAnonymous

PatronsPatrons($100 to $199)

Art Deco Entertainment Vincent & KarenAnn & Jim BreckinridgeDavid Ives BrownMargaret Leong & Michael P. CheccaBarbara & William ChristopherNatalie & Don CohenBarbara Flaherty CraneDr. Burton W. FinkFoothills Music TogetherLaura & Jerry FriefeldNancy GellerAlan GershmanJohn D. GoldenbergDr. & Mrs. Harold GoldwhiteDrs. Yvonne & Howard HansenStephen C. IglehartLinda KleigerGlenn LittenbergMary Anne LowerKaren & Jack MargolisMerle Stern, MD & James H. NicholsStephanie PriskKim & Vincent ReherPeggy Tutor & Bill RobertsonIsi J Russ, MD

The Coleman Chamber Music AssociationThe Coleman Chamber Music AssociationContributors:Contributors: July 2016 - June 2017

We are especially grateful for the support of the following:

Laura-Jean SlykhuisSuzanne & Marc SteinMr. & Mrs. Jorge A. UribeMrs. Lawrence WilsonDr. Roger K. WoodsDebra & Darrell Yost

ContributorsContributors($50 to $99)

Karen Brunschwig & Margaret BruellGaelen BurgessChristina DemaryStefanie Z. DobrinMarie FishElaine HuldermanMinheng Ku & Jia WengDrs. Karen & Walter MayaBarbara McNeeseThomas PinneyMichelle Hunevan & James R. PotterStephen ReillyTerri SolaJoan Zukoski

Concert Sponsor

CCMA Contributors (continued)CCMA Contributors (continued)

WE ALSO THANK THOSE WHOSE CONTRIBUTIONS WERE RECEIVED AFTER THE TIME OF PRINTING,

AS WELL AS THOSE WHO HAVE GIVEN ANONYMOUSLY.

Joe BirmaPhilip BourdillonCarol L. BresslerMrs. Daniel P. BryantMr. & Mrs. Frank L. BurkeAnne & David CovellMr. & Mrs. Serge T. DemetriadesMr. & Mrs. Clyde B. Eaton, Jr.Dr. & Mrs. Thomas E. EverhartGerald McC. FranklinFriends of ColemanDr. & Mrs. Frank E. Goddard, Jr.

Phyllis A. HudsonStephen A. Kanter, MDDr. Peter V. Lee & Belinda FischerMrs. Robert M. NewhouseJohn P. Nicholas, Jr., MDJohn D. RobertsWarren & Katharine Schlinger FoundationTerri SolaMr. & Mrs. Julian C. StrassleMr. & Mrs. Anthonie M. VoogdDr. Robert W. Winter

Memorial GiftsMemorial Gifts($1,000 and above)

Anonymous for J. Harold WaylandMr. & Mrs. Joseph C. Boltinghouse for Lois E. WilliamsAnne & David Covell for Ora Lee MarbleCharles Cozzo for Jane CozzoAnna & Sterge T. Demetriades for Dr. George S. Argyropoulos

Clara De La Calle Gomez Professor Ricardo Gomez Patricia E. Marble Spyros, Demetris, and Monica (children of Katia & George S. Argyropoulos, Caltech PhD class of ’65, for their untimely deaths aboard TWA 841 on September 8, 1974)

Mr. & Mrs. Clyde B. Eaton, Jr. for Mabel C. Eaton Helga L. Soske

Friends, colleagues, and associates for Dr. Thomas K. Caughey Leonard Kattan

Phyllis A. Hudson for Donald E. HudsonStephen A. Kanter, MD, for James W. Robeson, MDMary Susan Kyropoulos for Betty M. & Peter R.

KyropoulosMrs. Kenneth Kurtz for Kenneth KurtzMr. & Mrs. Stephen M. Lans for Marie Wellensiek de

TrujilloDr. & Mrs. Frank Marble for Irene V. HollerLura Gard Newhouse for Dr. Robert M. NewhouseJohn D. Roberts for Edith RobertsRalph G. Skillen, VMD and Mary Andrews for Mary Olive

O’DanielsMrs. Harry J. Van de Kamp for Harry J. Van de KampMr. & Mrs. Anthonie M. Voogd for Dorothy Sackett Heff ner

We invite you to make a contribution to the Coleman Chamber Music Association. Ticket sales account for only a portion of the cost of presenting the concerts, so that our series, as well as the Competition must be funded by contributions. For more information, please call the Coleman office at 626.793.4191 or mail your tax deductible contribution to: Coleman Chamber Music Association, 225 South Lake Avenue, Suite 300, Pasadena, CA 91101.

Life Members Life Members

113th Season 2016 - 2017 Coleman Chamber music concerts

October 30, 2016 October 30, 2016 ACADEMY OF ST MARTIN IN THEACADEMY OF ST MARTIN IN THE

FIELDS CHAMBER ENSEMBLE FIELDS CHAMBER ENSEMBLE

November 13, 2016 November 13, 2016 IMANI WINDS WITH IMANI WINDS WITH FABIO BIDINI, PIANO FABIO BIDINI, PIANO

January 22, 2017 January 22, 2017 ZODIAC TRIOZODIAC TRIO

February 26, 2017 February 26, 2017 PACIFICA QUARTETPACIFICA QUARTET

April 2, 2017 April 2, 2017 PAVEL HAAS QUARTETPAVEL HAAS QUARTET

April 23, 2017 April 23, 2017 DOVER QUARTETDOVER QUARTET

COLEMAN CHAMBER MUSIC ASSOCIATION

Alice Coleman Batchelder (1873-1948), Founder

225 South Lake Avenue, Suite 300Pasadena, California 91101

Telephone: 626.793.4191E-mail: krfccma@aol.comWebsite: www.colemanchambermusic.org

For tickets to the Coleman performances, please call the Caltech Ticket Office at 626.395.4652.