Tim Feeney, percussion * Osiris J. Molina, clarinet * Wendy Richman, viola
On the program:
Sessionography (bass clarinet) – Lori Ardovino
Liberal Hands and Spirits Free (clarinet and fixed media) – Monroe Golden
Glacial Erratics (viola, percussion, and live electronics) – Holland Hopson
Last Year’s Valentine (clarinet, viola, and marimba) – Joseph Landers
Dialogo de 3 (clarinet, viola, and marimba) – Adriana Perera
Sojourn (clarinet) – William Price
Variations (non-pitched multiple percussion) – William Price
Time-Lapse (clarinet, viola, and marimba) – Ron Wray
The Birmingham Art Music Alliance and University of Alabama School of Music present a rare program for sundry combinations of clarinet, viola, percussion, and electronics – performed by percussionist Tim Feeney, clarinetist Osiris J. Molina, and violist Wendy Richman. The concert is free and open to the public, and will take place on Wednesday, January 21, 2015, 7:30PM, in the Moody Music Building Recital Hall.
Tim Feeney, Assistant Professor of Percussion at the University of Alabama, is an accomplished interpreter of contemporary compositions, an improvisor who explores the timbral possibilities inherent in everyday found and built objects, and a world music specialist (steel drums, Ewe dance-drumming, and Balinese gamelan). Dr. Osiris J. Molina, who the Tuscaloosa News proclaims, “stands out as an undeniable master of his instrument,” is Associate Professor of Clarinet at The University of Alabama. He has considerable experience as a soloist, chamber and orchestral musician. Violist Wendy Richman has been hailed by The New York Times and The Washington Post for her “absorbing,” “fresh and idiomatic” performances with “a brawny vitality.” She is a founding member of the International Contemporary Ensemble, described as “the new gold standard for new music” by The New Yorker.
The trio will present three works for clarinet, viola, and marimba. “Last Year’s Valentine” by Joseph Landers is – as the title suggests – pithy, ephemeral, brightly colored, and somewhat sentimental. Adriana Perera’s “Dialogo de 3” was conceived as a conversation between 3 characters: a man, a woman, and a telephone. Ron Wray’s “Time-Lapse” was inspired by a slow motion video of a growing mushroom.
Holland Hopson’s “Glacial Erratics” (rocks carried by glacial ice and dropped along the path of the glacier flow) connects viola and percussion with a computer interface that responds to subtle variations in sounds produced by the performers.
Lori Neprud-Ardovino’s “Sessionography” for solo bass clarinet describes, in three discrete movements/sessions, styles of Charlie Parker, Anthony Braxton, and Miles Davis. “Liberal Hands and Spirits Free” by Monroe Golden (clarinet and fixed media) appropriates the Alabama state song as point of departure for tangential variations in extended Just Intonation. William Price’s “Sojourn” for solo clarinet reflects upon how fleeting and precious is our time on Earth; his “Variations” for non-pitched multiple percussion explores rhythmic motives associated with rock, jazz, Latin, and contemporary classical idioms.