Program for Concert #2 – Thursday, July 13, 2017
Heartland Marimba Festival Academy – University of Wisconsin-Stevens Point – Michelsen hall, noel fine arts center
• The Artists •
Anthony Gilleland is currently pursuing his Bachelor’s Degree in Percussion Performance at CSU Fullerton under the instruction of Kenneth McGrath. He is currently a percussion instructor and arranger for multiple high schools around the Orange County area, and also teaches private lessons to both high school and middle school students.
Hampton Douglas will be a senior at Diamond Bar High School in Diamond Bar, California, where he is a member of the Performing Arts Academy. Studying with Kenneth McGrath, he has been selected a member of the All Southern Wind Symphony and All State Wind Symphony, and will begin his third year as a member of Pacific Symphony’s Youth Orchestra.
Scott Eiklenborg (See program for HMAcademy Concert #1.)
Johnathan Erickson is a student at the University of Wisconsin-Superior, where he studies music education and percussion performance. Outside of school, he is in avid performer and educator, teaching students privately in the Twin Ports.
Will Kemperman is a freelance percussionist and educator from Minneapolis, Minnesota. In addition to the marimba, he regularly performs on drum set, concert percussion, and hand drums.
David Pickar is a percussionist at D.C. Everest High School in Schofield, Wisconsin. His recent accomplishments include being named a winner of the 2016 Central Wisconsin Youth Symphony Orchestra Concerto Competition, as well as a semi-finals placement at the 2016 Milwaukee Symphony Orchestra Concerto Competition.
Joe Millea (See program for HMAcademy Concert #1.)
Abby Fisher (See program for HMAcademy Concert #1.)
Brian Baldauff is Assistant Professor of Percussion at the University of Wisconsin - Stevens Point and serving as host for the 2017 HMFA. Prior to this appointment, he held a similar position at West Liberty University, and was a graduate assistant at The Florida State University where he is completing the Doctor of Music degree. A member of the John Psathas Percussion Project, Brian can be heard on a forthcoming album release with this group, as well as an upcoming solo album featuring music from American composers.
Matthew Coley (See program for HMAcademy Concert #1.)
Michael J. Jones (See program for HMAcademy Concert #1.)
• THe music •
Bourrée from Violin Partita No. 1 in B minor (1720) – J.S. Bach (1685-1750)
Performed by Hampton Douglas, solo marimba.
Two Mexican Dances; I. (1998) – Gordon Stout (b. 1952)
Performed by Scott Eiklenborg, solo marimba.
Prelude from Cello Suite No. 1 in G major (1726) – J.S. Bach
Performed by Johnathan Erickson, solo marimba.
Concerto for Marimba and Orchestra; IV. (arranged for marimba alone) – Ney Rosauro
Perform by David Pickar, solo marimba.
In the Fire of Conflict (2008) – Christos Hatzis (b. 1953)
Performed by Anthony Gilleland, solo marimba w/fixed media.
Hey Jude (1968) – The Beatles, arr. Patrick Roulet
Performed by Will Kemperman, solo marimba.
The blackbird at evening (2013) – Tawnie Olson (b. 1979) (A New York Women Composers, Inc., Artist)
Performed by Joe Millea, solo marimba w/ fixed media.
Meadowlark, Mvt. I. All nature neglects (2016) – Tawnie Olson
Performed by Abby Fisher, solo marimba w/ fixed media.
(Cycles) America (2009) – Kojiro Umezaki (b. 1968)
Performed by Brian Baldauff, solo vibraphone w/ fixed media.
Célèbre Tarantelle (1858-1864) – Louis Moreau Gottschalk (1829-1869)/arr. Matthew Coley
Célèbre (Grande) Tarantelle, Op. 67, is a tarantella written by American composer Louis Moreau Gottschalk from 1858-64. Subtitled Célèbre Tarentelle (Famous Tarantella), it was first performed at the Academy of music in Philadelphia in 1864. The composer transcribed the piece for many different combinations, including solo piano, piano trio, violin and piano, and two violins and piano. In addition, others have arranged the piece for many additional combinations, including a transcription by the composer's friend Nicolás Ruiz Espadero for two pianos. Perhaps the most well known version is the reconstruction of the piece for piano and orchestra by Hershy Kay, which was later used for a ballet by George Balanchine. More recently, Gottschalk's original orchestration has been found and recorded.
About the composer: Louis Moreau Gottschalk was born in New Orleans to a Jewish businessman from London and a Creole mother. He was exposed to a variety of musical traditions, and played the piano from an early age. He was soon recognized as a prodigy by the New Orleans bourgeois establishment, making his informal public debut in 1840 at the new St. Charles Hotel. At the age of 13, Gottschalk left the United States and sailed to Europe, as he and his father realized a classical training was required to fulfill his musical ambitions. The Paris Conservatoire, however, rejected his application without hearing him, on the grounds of his nationality; Pierre Zimmermann, head of the piano faculty, commented, "America is a country of steam engines.” Gottschalk eventually gained access to the musical establishment through family friends. After Gottschalk returned to the United States in 1853, he traveled extensively; a sojourn in Cuba during 1854 was the beginning of a series of trips to Central and South America. At the conclusion of that tour, he rested in New Jersey then returned to New York City. By the 1860s, Gottschalk had established himself as the best-known pianist in the New World. In May 1865, he was mentioned in a San Francisco newspaper as having "travelled 95,000 miles by rail and given 1,000 concerts.” However, he was forced to leave the United States later that year because of a scandalous affair with a student at the Oakland Female Seminary in Oakland, California. He never returned to the United States. Gottschalk chose to travel to South America, where he continued to give frequent concerts. During one of these concerts, in Rio de Janeiro, Brazil, on November 24, 1869, he collapsed from having contracted yellow fever. Just before his collapse, he had finished playing his romantic piece Morte! (translated from Brazilian Portuguese as "Death"). Three weeks later, on December 18, 1869, at the age of 40, he passed away at his hotel in Tijuca, Rio de Janeiro.