Patricia Halbeck playing the Noble and Sentimental Waltzes by Maurice Ravel

The first set featured Maurice Ravel’s Noble and Sentimental Waltzes, which were a look back at a France that could no longer exist after that city passed through the maelstrom of the first world war.

Patricia Halbeck takes her seat and The piano starts to play a series of almost harsh and somewhat discordant notes with an upbeat refrain hinting at that innocence that was lost never to be found again.

Stanley Yates playing the Twelve Études for Guitar by Heitor Villa-Lobos

She was followed by Stanley Yates who played a selection from Brazilian composer Heitor Villa-Lobos, his Twelve Études for Guitar which was written in 1928. In his playing You could hear the intertwining of European and Latin sounds and rhythms.

“To some degree, his guitar works also pay homage to Chopin, whose piano etudes were clearly the model for Villa-Lobos’s Estudos for Guitar. These are true concert Études for the guitar and, like the Chopin works, are meant for the stage; they are not limited to the status of mere pedagogical tools. Villa-Lobos’s Estudos also represent an attempt, consciously or subconsciously, to legitimatize the guitar as a concert instrument and raise it to the level of the piano…”

- Choro: a social history by Tamara Elena Livingston-Isenhour and Thomas George Caracas Garcia

Emily Hanna Crane and Jeffery Wood play The Sonata for Violin and Piano by Maurice Ravel

A duet by Emily Hanna Crane on the Violin, and Jeffery Wood on the Piano followed. They returned to Maurice Revel’s works and performed his Sonata for Violin and Piano.

“The Sonata for Violin and Piano was a rather late composition in Ravel’s life. The work progressed slowly as a result of ill health and took four years (1923-1927) to complete.”

Emily Crane has a magnificent ability to pluck emotion with the same ease as she could pluck her strings. Jeffery Wood’s ability on the piano meshed nicely resulting in a seamless flow to the melody.

Lisa Vanarsdel playing Flute Players op. 27 by Albert Roussel, with Jeffery Wood accompanying her on the Piano

For the next set Jeffery Wood remained on the piano, where he was joined by Lisa Vanarsdel playing flute. Together they gave the audience a peek at Albert Roussel’s Flute Players, Op. 27. While playing together their instruments almost leaped through the musical notes, cavorting together with a pure joy.

The final set featured the complete Gateway Chamber Ensemble, which is based around Austin Peay State University’s outstanding faculty, and includes many of the area’s leading professional musicians. They will be featured in the Community Concert Series  on Feburary 22nd, and I am looking forward to seeing them there! The 13 member group is conducted by Gregory Wolynec.

The Gateway Chamber Ensemble's conductor Gregory Wolynec

He had this to say about last night’s program:

“Essentially what we had, was this hotbed of activity going that on in Paris between the wars, especially in the 20’s. We had this combination of Europeans; French but also Germans, Swiss, & Americans; from all disciplines whether it’s music, visual arts, or dance, sorta intermingling and creating just a really amazing numbers of possibilities. So we heard a little bit of Jazz, which was sorta the new thing coming from the US. Which was great,  because it’s the only truly American musical form. We combine that with people like Ravel, who were just getting back to the careers they had (before the war). That makes this just a really exciting program.”

Last night they enabled the audience to experience the Creation of the World, op 8ia (1922-23) by Darius Milhaud. The melody is as Chaotic and jumbled as the creation of the world really must have been, if only we had been there to witness it. Slowly the Gateway Chamber Ensemble managed to pull order from the chaos, and through them the true beauty of Milhaud’s magnificent creation shone through.

The Gateway Chamber Ensemble

The next concert scheduled at the Center for Excellence for the Creative Arts is part of the Community Concert Series on October 8th. Featuring the exceptional Gabriela Montero, whose visionary interpretations and unique improvisational gifts have won her a quickly expanding audience and a devoted following around the world. Born in Caracas Venezuela, Gabriela gave her first public performance at the age of five. She performed at the inauguration for President Obama. In both recital and after performing a concerto, Gabriela often invites her audience to participate in asking for a melody for improvisations. They ask for themes from a Mozart Symphony to Star Wars. Gabriela says, “Because improvisation is such a huge part of who I am, it is the most natural and spontaneous way I can express myself. I have been improvising since my hands first touched the keyboard, but for many years I kept this aspect of my playing secret.”

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The great figures of all artistic genres came and worked in the city. But what inspired them? Maybe it was the music, created by other artists seeking the inspiration provided by Paris.

That eclectic blend of music will be the focus of the next Dimensions New Music Series Concert, “Paris Between the Wars: 1919 – 1939.” The free concert, which begins at 7:30 p.m. on Sept. 14 in the APSU Concert Hall, will feature works by a wide range of musicians swept up by the city’s creativity.

The APSU Concert Hall

Jeffrey Wood, APSU professor of music

“Paris rebounded from World War I with frenetic jubilation and a burst of artistic creativity,” Jeffrey Wood, APSU professor of music, said. “Young composers like Darius Milhaud, as well as more established names such as Maurice Ravel, were heavily influenced by the rise of American jazz.

“Other composers were experimenting with new harmonies and melodies in their music, and the juxtaposition of French composers with composers from the United States and as far away as Brazil made for a tremendously exciting and lively musical environment.”

The evening’s program will include music by Albert Roussel and Heitor Villa-Lobos, as well as major, jazz-inspired works by Ravel and Milhaud.

“The concert will feature APSU professors Emily Hanna Crane, violin, Lisa Vanarsdel, flute, Stanley Yates, guitar, pianists Patricia Halbeck and Jeffrey Wood, and the Gateway Chamber Ensemble performing Milhaud’s ground breaking jazz ballet score ‘The Creation of the World’ under the direction of Gregory Wolynec,” Wood said.

The Gateway Chamber Ensemble

The concert is free and open to the public. The Dimensions New Music Series, sponsored by the APSU Center of Excellence for the Creative Arts, has brought free performances of contemporary and world music to the Clarksville area since 1980.

For information on the concert, contact Wood at 931-221-7819 or .

The guest artist of the evening was acoustic guitar specialist, Paul Carrol Binkley, a renown musician in his own right, and president of Grand Vista Music. He has served as music director for the Tennessee Repertory Theatre, the Nashville Shakespeare Festival, the Mockingbird Theatre, the Nashville Children’s Theatre and Coterie Theatre in Kansas City.   His artistry was delightfully blended with the talents of the  music faculty, resulting  in a simply sublime holiday music  showcase.

The concert opened with a solo composition of Binkley’s own creation, “With Today in My Eyes,” that was soft, plaintive, almost pensive. The strumming was gentle yet resounding.  This was followed with the first of six vocal selections of the program. “O Holy Night” was performed by Gail Robinson-Oturu, soprano, filling the hall with notes of wondrous clarity that gave new sparkle to this Christmas classic. Next came, “Little Drummer Boy,” with Paul Binkley -guitar, Jenaette Zyko – Oboe, Richard Steffen – trumpet and Matt De Vore-drums. De Vore opens the tune with a brisk drum intro and Binkley creates the story on acoustic guitar with vibrant strumming and is joined by the trumpet and oboe. As the piece concludes, De Vore’s drum reprise gives way as Dr. Steinquest  picks up an African drum and  gives a soft close to this well known season classic in this new arrangement.

Mezzo-soprano Sharon Mabry performed Some Children See Him,” in  an evocative and compellingly enchanting voice that had the audience yearning for every note. Piano accompaniment was by Anne Glass. This song is elegantly simple in presentation yet powerful in its scope. Ms Mabry breathed vitality , understatement and revelation, cloaked in vulnerability, in her rendition.

“Silent Night” followed next, featuring violinist, Emily Hanna Crane. Ms Crane delivered the story voice on her violin  carrying the audience into the tune’s eloquent depths. The soft jazz-like accompaniment of guitar, bass and snare drum opened the song to new revelations in tone. The use of a violin bow on the vibraphon’s keys was an added twist to the playing that captivated the audience.

Tenor Thomas King then performed “I wonder as I wander.” Voice and song seemed perfectly mated as the subtlety and openness of this performance breathed new life with this song. “Bring a Torch,” followed. Performed in a traditional style , this  insturmental arrangement of flute, violin, oboe and harpsichord was airy, breezy and lite. This segued into Paul Binkley’s guitar solo performance of “Away in a Manger.” His guitar mastery again shown forth as he caressed this tune in soft strumming that played out into the music hall as gentle but eloquent recitation.

Johann Sebastian Bach’s “Jesus, Joy of Man’s desiring,” was the brass wind instruments showcase of the evening. Trumpets, tuba, horn and euphonium filled the chamber with full-throated sounds, giving Bach’s classic devotional exciting breath and scope.

Mezzo-soprano Sharon Mabry returned to perform “Lo, How a Rose E’er Blooming.” With lifting voice, this classic was made intimate with the audience. Ms Mabry’s soft traditional opening was rejoined by Paul Binkley’s guitar touches and the bass/drum accompanyment lent melodic undertones to the song’s story. This segued back to Ms Mabry and Paul reprising their intro with an understated ending to the piece.

A unique combination then followed as “The Wassail Song” was combined with “O Come, O Come Emmanuuel” The crisp blending of two seemingly dissimilar classic Christmas tunes criss-crossed easily into one another, giving vitality to one another  and enveloping this new arrangement in a lively presentation.

The APSU Percussion Ensemble next delighted the audience with their presentation of “Carol of the Bells.” The rising peal of the chorus of the tubular bells filled the very rafters of the music hall to the jubilant delight of the audience.

Soprano Gail Robinson-Oturu gave the final solo of the concert with her performance of “Ave Maria.” Those familiar with piece will appreciate the vocal range required by this Johann Sebastian Bach composition. Ms Robinson-Oturu met the challenge with ease and finesse. The arrangement gave her full command of the composition and she carried the audience along in her regal treatment of this subtle and yet exhilarating vocal delight.

The concert ended with a traditional arrangement of  “Auld Lang Syne” that made complete the musical tour that was the holiday music festival of 2008. Mournful and yet optimistic, this tune looks to the weariness of the past and yet dares to anticipate the possibilities of tomorrow. The acoustic guitar proved a well suited voice for expressing these tones and carried the audience to a heartfelt warm closing of the concert. All of the evening’s offerings were given new skins, as it were, to give the audience a new way to perceive and appreciate these holiday classics.

The audience gave an extended round of hearty applause at the conclusion of this splendid presentation of holiday music given new vibrancy and life. As Dr. Steinquest acknowledged the music faculty and students who were part of this concert, a warm thank you was given to all for attending and best wishes for a joyous holiday season.

Greetings of the Season, to one and all!

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The recital will feature the violin and oboe with accompaniment provided by pianist Anne Glass. The group will perform works by Bach, Schubert and Massenet.

Crane is assistant professor of violin and viola and coordinator of orchestral strings at APSU. She has performed several solo, chamber and orchestral concerts across North America, Taiwan and Europe. Her orchestral experience includes the Valley, Texas, Jacksonville, Fla., and Columbus, Ga., Symphony Orchestras.

Zyko is assistant professor of double reeds. For the past five years, Zyko was principal oboe of Tactus Contemporary Ensemble. Her accomplishments include working with Pierre Boulez, playing with ensembles such as Orpheus Chamber Orchestra, Orchestra of St. Luke and the Indianapolis Symphony Orchestra. Zyko apprenticed as a teaching artist with the New York Philharmonic Orchestra.

For more information, contact the APSU music department, (931) 221-7818.

The annual APSU Percussion Ensemble Halloween Concert lived up to its reputation as a lively music entertainment value for young and not-so young. From drums and human percussion to oboes and xylophones and tambourines, to wooden blocks and ceramic bowls, sounds were produced by means both wondrous and extraordinary.

As the director took to the stage, a startled child’s cry permeated the music hall and set the perfect tone for the event. The opening piece was an African Welcome which featured the thunderous proclamations of drums calling forth. The University Choir lent their voices to this dramatic piece demonstrating the magic within this most common element of daily sound. Everyone settled in for a rousing, good show. Indeed, it was.

Next stop on the tour was the ‘Valley of Nepal’ and the melodic magic of xylophones and cymbals. This was quickly followed by a stop in Brazil for ‘Samba Macabre’ with violin accompaniment by Emily Hanna Crane. Brisk and lively tempo, the music hall filled to the rafters with overflowing rhythms of violin, xylophone and chimes.

Then came the ‘Allegro barbaro,’ a human percussion piece that showcased human feet, hands and chests as musical instruments of high impact and engrossing sentiment. And true to being back in the wilds of the jungle, ‘Me Tarzan’ featured two ape-like performers playing “Stomp”-like trash can drums to thunderous effect and applause. Audience participation in a ‘call-and-response’ segment was a special touch in this piece.

In an acknowledgment to other-worldly creatures and softer tones, Romania was the next stop for ‘Casper’s Lulllaby’ with accompaniment by the University Choir settling any rattled nerves. The choir’s soothing and melodic voices truly invoked a tranquil demeanor to the setting. It was the perfect launching point for the hop over to China and talk of dragons of old, ‘Pulse’ evoked these fire-breathing terrors of yesteryear and their fearful onslaught. As always in those old tales, a valiant hero vanquishes the beast and saves the village. The musical equivalent was a vibrant thrashing event.

Next, it was off to Egypt and talk of mummies. ‘Walk like an Egyptian’ was the natural selection. Jeanette Zyko accompanied on oboe, as the rock piece quicken the pace and the belly dancer’s coin belt wraps tingled in the air. Then there was talk of fear of giant killer bees in Turkey. Here ‘Flight to Turkey’ served up an expanded ‘Flight of the Bumble Bee’-like excursion into flight which had heads bobbing.

Finally, we venture to Middle Earth and ‘The Lord of the Rings,’ a land of turmoil and warfare, but the musical selection may be more familiar to some from the 1981 classic, ‘Excalibur.’ I speak of the fanfare, ‘O Fortuna’ from Carmina Burana. With the University Choir accompanying, the percussion ensemble took up the challenge and gave an absolutely stirring presentation of this majestic choral piece. Thrashing drums, cymbals dashing and xylpohones rolling across vast expanses of land, the images filled the music hall as many audience members assisted the director in conducting the ensemble. So caught up were they in the music. I must confess, I was one such participant. The standing ovation and applause at its completion was testimony to audience appreciation. Merlin himself would have been impressed.

Every Halloween, the music department makes this gift of its talent to the community. If you have not yet availed yourself of it, do make plans now for next year’s show. It is well worth what ever chill might be in the night’s air. Your spirit will be warm and soaring. Look to see you there. For now, I bid you, “Good E-e-evening!”

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