Mark Maxwell, director

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1 Monday, March 5, :00 p.m. Guitar Ensemble Mark Maxwell, director DePaul Concert Hall 800 West Belden Avenue Chicago

2 Monday, March 5, :00 p.m. DePaul Concert Hall Guitar Ensemble DePaul University Guitar Ensemble and Students from the Studio of Mark Maxwell Program Heinrich Albert ( ) Drei Sonatinen für 3 Primgitarren, No. 2 in A Minor (1916) Allegro Menuett (Adagio con espressivo) Rondo (Allegretto) Bridget Steibris Mark Maxwell Johann Sebastian Bach ( ) Suite, BWV 997 (ca ) Praeludio Fuga Manuel Maria Ponce ( ) Sonata III (1927) Allegro Manuel Maria Ponce Sonatina Meridional (1939) Campo (allegretto)

3 program Intermission Astor Piazzolla ( ) L Evasion (1975) arr. for three guitars by Gianluca Tremendo Maximo Diego Pujol (B. 1957) Suite Buenos Aires (1995) Pompeya Palermo Diana Ortiz, violin, guitar Joaquin Rodrigo ( ) Fandango del Ventorillo (1965) arr. for Two Guitars by Emilio Pujol Joaquin Rodrigo Estudiantina, Pasacalle y Coplilla (1962) Bridget Steibris Mark Maxwell

4 program Depaul University Guitar Ensemble Mark Maxwell, director Diana Ortiz, guest artist Bridget Steibris Program Notes Heinrich Albert ( ) Drei Sonatinen für 3 Primgitarren, No. 2 in A Minor (1916) Duration: 6 minutes Heinrich Albert is considered to be the most important German guitarist of his time. Trained in symphonic instruments and performing experience, Albert was motivated to take up the guitar in 1895 when he heard the playing of Luigi Mozzani. In 1900 he began teaching mandolin and guitar in Munich. Among his many students was Luise Walker, who became a renowned virtuoso in her own right. In 1910 he founded perhaps the first professional guitar quartet, the Munich-based Heinrich Albert Quartet. The members performed on unique guitars of various sizes; 10-string, lyre-shaped, terz (tuned a third higher than a normal guitar), and bass-ranged guitars. in 1920 he left the quartet to pursue a solo career and was replaced by none other than Herman Hauser, who would become one of the most famous guitar builders in the twentieth century. Albert was a teacher and prolific composer and wrote many etudes, solo works and chamber music involving the guitar and guitar with other instruments. He arranged 11 volumes of Hausmusik for flute, violin, viola, piano and guitar, 23 volumes of chamber music with guitar, 5 volumes of songs with guitar accompaniment, and a 5 volume guitar method. The trio on tonight s program is the second of a group of three trios for three Primgitarren or normal, e-pitched guitars, distinguishing between e-pitched and terz or guitars pitched a third higher. They were written in consecutive years: No. 1 in 1915, No. 2 in 1916 and No. 3 in The level of difficulty indicates they were intended for intermediate students. However, the themes and their developments are quite inventive and certainly concertworthy. Heinrich Albert s musical style was very conservative, formally and tonally. One could place these works in the early nineteenth century instead of the early twentieth.

5 program notes Johann Sebastian Bach ( ) Suite, BWV 997 (ca ) Duration: 11 minutes The manuscript for the Suite, BWV 997 no longer survives, but there are no less than 15 sources, in whole and in part, dating from around as early as 1738 to the late 18th century that are based on MS in whole or in part. A comparison of these sources reveals various features that allow for an authentic reconstruction of the suite. Although originally written for an instrument called a lute-harpsichord (Bach owned two Lautenwerk at the time of his death), there is a lute-tablature MS by Bach contemporary, J.C. Weyrauch, for baroque lute. The lute-harpsichord had gut treble strings and octave-strung basses designed to imitate the sound of the lute. In adapting this suite as well as the other lute works for modern guitar, the arranger had to limit the texture to a playable idiom without compromising the musical thread. This usually means altering the contrabass range to an octave higher bass line and finding textures that speak easily on the guitar while adhering to baroque performance practice. Slurs are most useful in creating the affect of appoggiature. Manuel Maria Ponce ( ) Sonata III (1927) Duration: 8 minutes Mexican composer Manuel Ponce met guitarist Andres Segovia in 1923 in Mexico City. Ponce had written a very complimentary review in El Universal of Segovia s concert there. Segovia decided to meet him. From that meeting one of the most prolific composer-performer relationships began. Ponce wrote nearly 100 works for guitar, mostly for Segovia. Some of note are five sonatas: Sonata Mexicana (1925), Sonata Clasica (1928), Sonata Romantica (1929), Sonata III (1927), and Sonatina Meridional (1939). There are also two sets of variations, Theme, Variations and Finale (1926), and the masterful Theme, Variations and Fugue on Folias de España. (1929). There are 24 Preludes (1928) in every key as well as a Suite in A minor ((1929). He also composed the Concierto del Sur for guitar and orchestra. Sonata III was composed during Ponce s French period, when he lived in Paris and studied in the composition class of Paul Dukas. Although Ponce wrote tonal music, his harmonic language was very chromatic. He was a neoclassicist in his use of traditional forms such as the sonata-allegro with its strict adherence to thematic development. Interestingly, Segovia changed the key of the return of the second theme in this first movement, post publication, from its traditional transposition to the tonic (d minor) from its first appearance in the dominant tonality to that of a third-related key of f# minor. This was due to his dissatisfaction with the high tessitura created by

6 program notes the location of the theme on the guitar in the normal key. We have tried an alternative solution to keep the key in d minor. Manuel Maria Ponce Sonatina Meridional (1939) Duration: 5 minutes The Sonatina Meridional was Manuel M. Ponce s last major work for solo guitar. The meridional or southern aspect of the title refers to southern Spain, or Andalusia. The title of the first movement, Campo, refers to the countryside. The andalusian influence can be found in the first theme s Phrygian mode progressions in D and rhythmic patterns and syncopations within the 3/8 meter. The second theme is based on a flamenco melody. Ponce claimed he thought of the Spanish half of his own Mexican culture when composing for Segovia. Astor Piazzolla ( ) L Evasion (1975) Duration: 6 minutes Astor Piazzolla was born in 1921 in Argentina. He lived most of his childhood in New york where he was exposed to a variety of musical styles, from jazz to classical. Piazzolla began to play the bandoneon at a young age and so became interested in tango music. Upon returning to Argentina in 1937, he studied with Alberto Ginastera and became familiar with modern compositional practices. In 1953 Piazzolla s symphony won a contest and he received a grant to study in Paris with Nadia Boulanger. Although he composed many works in various European styles, Boulanger convinced Piazzolla that his destiny lay in writing tango. These tangos were written for a variety of tango ensembles over the years which were made up of bandoneon, guitar, violin, piano, percussion. Many of his works have been arranged for guitar solo or ensembles of guitars. His only works directly composed for guitar was Cinco Piezas (1980) for guitar solo and the Tango Suite written in 1984 for the Assad brothers guitar duo. L Evasion was originally written for tango ensemble. This arrangement for three guitars is by Gianluca Tremendo. Like the works written for guitar by Piazzolla himself, this arrangement creates rich blends of sounds only found in guitar ensembles. In the fast, rhythmic outer section thematic elements are traded from one guitar to another while each instrument contributes to a dense, three-part melodic counterpoint. Alternatively in the slow middle section, guitar three accompanies the languorous melody by playing strummed chords on the downbeats followed by light, percussive raps on the strings by the bridge

7 program notes called tambura. The textures created give the impression that more than even three guitars are at work. Notes by Mark Maxwell Maximo Diego Pujol (b. 1957) Suite Buenos Aires (1995) Duration: 8 minutes Maximo Diego Pujol was born in Buenos Aires, Argentina in He graduated from Juan Jose Castro Conservatory with a degree in guitar and composition. He studied under many teachers, such as Leo Brouwer, and Leónidas Arnedo. Currently Pujol is the professor of guitar at the Buenos Aires Conservatory of Music. This particular work is one of his many chamber compositions for guitar and other instruments. Suite Buenos Aires showcases the range of color and technicalities of both instruments. Written originally for flute and guitar, this evening s performance will be with the violin. The first movement, titled Pompeya, refers to a southern portion of the city of Buenos Aires. Pompeya has deep traditions as the birthplace of the Tango. The slow second movement, Palermo, is named for another neighborhood, on the north side and the largest in Buenos Aires. The beginning features a lyrical melodic line and chordal textures on the guitar. The violin enters with a statement of the melody, while the guitar changes into varying accompaniment. Many composers, who are not also guitarists, find it difficult to write for the instrument. As both guitarist and composer, Pujol understands the technical and cultural idiom of the instrument. This homage to his home city resonates both instrumentally and emotionally. Note by Joaquin Rodrigo ( ) Fandango del Ventorillo (1965); arr. for Two Guitars by Emilio Pujol Duration: 3 minutes In this short work for solo piano, arranger Emilio Pujol has taken advantage of the two-voiced imitative texture of the original to realize a true caccia or chase for two guitars. This fandango is in 3/8 meter but typically employs hemiola with accents shifting to 3/4. The flamenco narrative which is present throughout Rodrigo s work is manifest in his own peculiar use of accacciature crunch chords. These dissonant tones come from the flamenco phrygian mode and its cross-relations of minor tetrachord modes with major background harmonies. Of course there is also the composer s desire for the ironic twist.

8 Joaquin Rodrigo Estudiantina, Pasacalle y Coplilla(1962) Duration: 5 minutes Written for a Rondalla, a band of street musicians, this lively piece evokes the scene of a busy Spanish market place, with the music heard over the jostling crowd. Composed by Joaquin Rodrigo in 1962, Estudiantina (Pasacalle Y Coplilla) is orchestrated for Bandurrias 1 and 2 (a bandurria is a Spanish instrument of the cittern type with six double-coursed steel strings played with a plectrum), Laudes (a larger, alto version of the bandurria) and Guitars, and can be played by four to six solo players or a larger ensemble. Tonight all the parts will be played on guitars. Notes by Mark Maxwell Guitar Ensemble March 5, 2018 program notes

9 Upcoming Events Tuesday, March 6 7:00 p.m. Concert Hall Cello Studio Recital Wednesday, March 7 7:00 p.m. Recital Hall Jazz Combos III Thursday, March 8 8:00 p.m. Concert Hall Ensemble 20+ Friday, March 9 7:30 p.m. Sunday, March 11 2:00 p.m. Merle Reskin 60 East Balbo Drive Chicago DePaul Opera Theatre: The Merry Widow Saturday, March 10 8:00 p.m. Concert Hall DePaul Concert Orchestra Sunday, March 11 3:00 p.m. Student Center 2250 North Sheffield Avenue Chicago Jazz Ensembles Monday, March 12 7:00 p.m. Recital Hall Jazz Combos IV As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Sign up for DePaul E-Notes! Receive monthly updates in your inbox on performances taking place at the School of Music, as well as special offers and discounts to ticketed events! You can choose to unsubscribe from the list at any time. We have a strict privacy policy and will never sell or trade your address. You can sign up for E-Notes by visiting music.depaul.edu and clicking on Concerts and Events. DePaul University School of Music Concert Hall 800 West Belden Avenue Chicago Recital Hall 804 West Belden Avenue Chicago music.depaul.edu

Arts Education Guitar II Curriculum. Guitar II Curriculum. Arlington Public Schools Arts Education

Arts Education Guitar II Curriculum. Guitar II Curriculum. Arlington Public Schools Arts Education Arlington Public Schools Arts Education 1 This curriculum was written by Matt Rinker, Guitar Teacher, Gunston Middle School Kristin Snyder, Guitar Teacher, Yorktown High School Carol Erion, Arts Education