Dinos Constantinides, Ph.D.
LSU Boyd Professor of Music
Director of Louisiana Sinfonietta
INTERNATIONAL MINI FESTIVAL OF ART AND MUSIC
OCTOBER 4-24, 2006 - BATON ROUGE, LOUISIANA, U. S. A.
The Louisiana Sinfonietta and the Baton Rouge Gallery presented an International Mini Festival of Art and Music October 4-24, 2006. The program was made possible in part by a Project Assistance Grant from the ARTS COUNCIL OF GREATER BATON ROUGE, funded by the city of Baton Rouge and the Parish of East Baton Rouge, the Louisiana State Arts Council through the Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism, and the National Endownment for the Arts. The Festival was directed by Dr. Dinos Constantinides, Music Director of the Louisiana Sinfonietta and Boyd Professor of Composition at Louisiana State University.
The project was a combination of art, featuring the work of distinguished artist from the Czech Republic Vaclav Vaculovic, director of the famed Forfest Festival of his country, and music presented by two guest performers: violinist Zdenka Vaculovicova, Artistic Director of the Forfest Festival and saxophonist Theofilos Sotiriades, from Greece, Professor of Saxophone at the State Conservatory of Thessaloniki, Greece.
The Louisiana Sinfonietta presented numerous concerts, under the direction of Dinos Constantinides. This festival followed a concert on April 22 2006, by the Sinfonietta, which also was inspired by the excellent and internationally known "Forfest Festival" of Czech Republic which the Director Constantinides visited in 2005. In this October series, the art work of Vaclav Vaculovic was on display in the Gallery for the month of October 2006 and music was presented in six related concerts.
The exciting art work of Vaclav Vaculovic was one of the main factors in the oustanding success of the Festival, creating the mood for the music performed on the various programs. The two excellent soloists; violinist Vaculovicova and saxophonist Sotiriades, along with the two Sinfonietta flutists, Hristina Blagoeva and Whitney York, and the Louisiana Sinfonietta, presented performances of the highest level of beauty, including fascinating works by LSU faculty and students , and Czech composers Bohuslav Martinu, Anton Dvorak, Peter Graham, Karel Husa and Leos Janacek. Also performed were American works by Theodore Wiprud (inspired by the paintings of Vaclav Vaculovic)), Dinos Constantinides, Alejandro Argüello, Dominic Bazile, Aaron Johnson, Marilyn Shrude, Nick Hwang which rounded out the programs.
Virtuoso violinist Vaculovica presented three concerts of first class contemporary Czech composers: Karel Simandl, Petr Pokorny, Ilsa Zeljenka, Zdenka Vaculovicova, Frantisek Emmert, Rudolf Ruzika, Jan Vrkoc, Petr Samlik, Daliboir Spilka and Jan Hanus. She attracted a great deal of applause and very complimentary comments.
Both Vaclav and Zdenka were excellent cultural ambassadors for their country. I would like to quote a few comments from the reviews of the university's composition students such as:
" The Louisiana Sinfonietta presented six beautiful and intriguing pieces composed by artists from the Czech Republic and the United States. The events also featured the intense and moving artwork of guest artist Vaclav Vaculovic...Peter Graham’s Brittle Relations was performed featuring solo violinist Zdenka Vaculovicova. The juxtaposition of the solo violin against the string orchestra was beautifully performed and Graham’s skill in building and relieving tension between the two was exhibited in this piece. The solo violin added exquisite harmony and dissonance to the underlying movement of the string orchestra.
Continuing the concert was Theodore Wiprud’s Grail: after the painting of Vaclav Vaculovic. A piece of depth and pulse, Wiprud’s Grail is powerful and moody. Wiprud’s brooding melody is exquisitely echoed throughout the voices of the string orchestra giving his audience a sense of intensity and movement. This piece effectively embodied the depth and energy of the art created by Vaclav Vaculovic displayed in the Baton Rouge Gallery during the concert.
Karel Husa’s Four Little Pieces for String Orchestra is a varied collection of lively, gentle, soothing, and powerful pieces. Unifying the four pieces are imitation, repetition, and a common melodic theme. Husa’s simple, yet rich, energetic, and entertaining pieces were performed beautifully by the Louisiana Sinfonietta...In summary, the Louisiana Sinfonietta’s performance on October 12, 2006, was a beautiful and unique blend of modern and traditional pieces of music for string orchestra." MARY LOFTUS
" In comparison to the bright white space of the Baton Rouge Gallery, Vaculovic’s paintings were dark and fascinating, evoking images of mankind’s journey through life and into the afterlife. Each one depicted curiosity, struggle or fascination with the unknown, some moods accented with bright reds and greens and others expressed with muted browns, yellows. Members of the Louisiana Sinfonietta under Dr. Dinos Constantinides performed Thursday evening with equal conviction...Brittle Relations of Peter Graham contains beautiful colors and sonorities that create a solid foundation to highlight the soloist’s talents. The acoustics in the gallery created a very exposed sound that was actually quite appropriate for this piece, and Vaculicova took that opportunity to seize the audience’s attention with her performance.
Third on the program came Grail: After the painting of Vaclav Vaculovic for String Orchestra from American composer Theodore Wiprud. Wiprud’s piece was stunning as played by the Sinfonietta musicians, sometimes filled with complex textures and tortured undercurrents, other times pensive and lyrical. The piece was a perfect complement to Vaculovic’s paintings, which expressed the same undulations and fascination with the unknown... Overall, the concert was very well-balanced and filled with variety. The soloists were standouts and were highlights of the evening. The program was complimentary to the artwork, even, as it explored many facets of music from the melancholy (like the approach to death) to the flowing (search for the afterlife) and onward to a reflection and then joy (much like the final two pieces), which rose above and uplifted the spirits of those listening. The Baton Rouge gallery was the perfect setting for such an intimate and memorable performance, as it allowed the audience to experience both the visual and aural aspects simultaneously. Bravo!"
GISSELLE EASTMAN
" Theodore Wiprud’s Grail: after the painting by Vaclav Vaculovic for String Orchestra, very cleverly conjures up images of a search for the Cup of Christ. His use of different modal sonorities, polyphonic texture, and a very effective rhythmic ostinato beginning in the violin and violas, call to mind the quest of the Knights Templar... The last piece performed before intermission was Karel Husa’s Four Little Pieces for String Orchestra (1995). “Variazioni,” the title of the first little piece, began with a beautiful melody in the first violin. The second violins, violas, cellos and basses enter in a fugue like fashion developing the beautiful subject...During intermission, the members of the audience were encouraged to walk around the performing space and observe the many paintings by guest artist Vaclav Vaculovic that were on display...The final piece of the evening was Idyll, by the great Czech composer Leos Janacek. This four movement work is very typical of early Janacek and employed several folk melodies in a modal style. It was a perfect ending to wonderful night of music and art with the Louisiana Sinfonietta and the Baton Rouge Gallery." CHRISTOPHER PROSSER
A letter from the composer Theodore Wiprud expressed his ideas from his point of view:
"Dinos,
Just received and immediately listened to the recording of Grail. It’s wonderful! You really got it, and the players did marvelously. I’m grateful to you for inspiring the piece to begin with, and to all of you for bringing it to life – twice, even. Then getting me the recording so quickly. You’re truly a friend to composers. And no wonder, being a fine one yourself. Just a lovely sax and strings piece; bucolic, as its title suggests. Congratulations on that too.
Warm regards -
THEODORE WIPRUD"
A letter from the Baton Rouge Gallery Director is as follows:
"Baton Rouge Gallery was very pleased to collaborate in the International Mini Festival of Art in Music held in collaboration with the Louisiana Sinfonietta. We are especially pleased to be able to have hosted the exhibit of art work by the Czech artist Vaclav Vaculovic. His work brought a perspective of universal themes of spirituality and what it means to be human to our walls. The music and renowned talent of the Louisiana Sinfonietta, led by Dinos Constantinides, always transforms our gallery space into a not just a visual space, but that of live and beautiful chamber sound. The added additions of guest solo violinist Zdenka Vaculovicova from the Czech Republic and Theofilos Sotiriades, guest saxophonist, from Greece, brought the added international elements to make the festival complete. Our viewers and patrons were extremely enthusiastic about viewing the work, listening to the performances, and learning about the artists themselves. The festival brought to Baton Rouge a connection with another part of the world and for that, we are grateful. We would be honored to participate in future collaborations with this group of artists."
Amelia Cox
Executive Director
Baton Rouge Gallery
center for contemporary art
Several reports of university's students will follow my present report.
The audiences have had the opportunity through this festival to hear first class music from the Czech Republic, and our two Czechian guests artist Vaclav Vaculovic and musician Zdenka Vaculovica, were the inspiring focus of these wonderful cultural events. We wish and hope that this is not going to be our only collaboration.
Dinos Constantinides, Ph. D.
Boyd Professor of Composition Louisiana State University
Music Director Louisiana Sinfonietta
Giselle Eastman
Date of event:
10/12/06
Baton Rouge Gallery: Louisiana Sinfonietta
On the evening of October 12th was an event featuring the artwork of Vaclav Vaculovic and musicianship of violinist Zdenka Vaculicova and saxophonist Theofilos Sotiriades.
In comparison to the bright white space of the Baton Rouge Gallery, Vaculovic’s paintings were dark and fascinating, evoking images of mankind’s journey through life and into the afterlife. Each one depicted curiosity, struggle or fascination with the unknown, some moods accented with bright reds and greens and others expressed with muted browns, yellows.
Members of the Louisiana Sinfonietta under Dr. Dinos Constantinides performed Thursday evening with equal conviction. The program began with Anton Dvorak’s Notturno for String Orchestra, op. 40, a piece that ebbs and flows from the melancholy to the proud and joyous. The ensemble presented the piece with grace and passion.
Next was Brittle Relations, a piece composed by Peter Graham and featuring Zdenka Vaculicova on violin. Vaculicova’s tone quality is raw and passionate, a sound that cuts through the room and straight to your soul. Brittle Relations contains beautiful colors and sonorities that create a solid foundation to highlight the soloist’s talents. The acoustics in the gallery created a very exposed sound that was actually quite appropriate for this piece, and Vaculicova took that opportunity to seize the audience’s attention with her performance.
Third on the program came Grail: After the painting of Vaclav Vaculovic for String Orchestra from American composer Theodore Wiprud. Wiprud’s piece was stunning as played by the Sinfonietta musicians, sometimes filled with complex textures and tortured undercurrents, other times pensive and lyrical. The piece was a perfect complement to Vaculovic’s paintings, which expressed the same undulations and fascination with the unknown.
Last in the first half of the program was Karel Husa’s Four Little Pieces for String Orchestra. This piece, though not as technically demanding as some, contains much contrast and variety in both musicianship and technique. The orchestra used this as an opportunity to showcase their expressive abilities, perhaps one the most of the evening! The fast pieces were free and lighthearted and the slow were most solemn, leaving the audience breathless. Four Little Pieces ended boldly and densely, ending the first half of the program with confidence and anticipation for the second half.
After a brief intermission, the orchestra reassembled with Theofilos Sotiriades on soprano saxophone for the world premiere of Dinos Constantinides’ Landscape III for soprano saxophone and string orchestra. Sotiriades, a Greek musician and teacher who originally entered the world of music performing on guitar, introduced this work by Dr. Constantinides with grace and flare. The piece was filled with exposed parts as well as a building conversation between the orchestra and the unique timbre of the soprano saxophone. The first few minutes of the piece rose and fell like the sea, rushing forward and pulling back until finally allowing the saxophone to stand alone in a breathtaking solo. Sotiriades and the orchestra communicated well together, which is difficult with an instrument as dominating as the soprano saxophone.
The final piece of the evening was one of Czech composer Leos Janacek, Idyll for String Orchestra. Unlike the first piece in the program, Idyll was faster paced and finished out the evening in high spirits. The orchestra performed the piece playfully as it was quite dance-like in nature. The contrasting movements of the piece were colorful and accessible. The opening movement, especially, was filled with conversation between the sections and glorious textures and resonant lines and rhythms. The following movements pushed forward into the final section, which regally marched through the various motives with confidence and ended on a strong unison note.
Overall, the concert was very well-balanced and filled with variety. The soloists were standouts and were highlights of the evening. The program was complimentary to the artwork, even, as it explored many facets of music from the melancholy (like the approach to death) to the flowing (search for the afterlife) and onward to a reflection and then joy (much like the final two pieces, which rose above and uplifted the spirits of those listening). The Baton Rouge gallery was the perfect setting for such an intimate and memorable performance, as it allowed the audience to experience both the visual and aural aspects simultaneously. Bravo!
Giselle Eastman
Date of event:
10/13/06
Theofilos Sotiriades Recital
The LSU Recital Hall hosted Theofilos Sotiriades on Friday, October 13th, 2006 for a solo saxophone recital.
Sotiriades opened the evening with a piece written for him by Dinos Constantinides, Recollections for Theofilos. Filled with creative and extended techniques such as stomping and flutter tonguing, Recollections was an entertaining opener. The piece began thoughtfully and built momentum until it reached an exciting and fast moving middle section. Sotiriades was very expressive and created a lot of interest in the solo piece with his performance abilities, which is vital to the success of the piece’s portrayal. Again, the piece became reflective and then finished out with a bang, leaving a smile on the faces of the audience.
Second on the program was Vivace by Dominic D. Bazile. This piece was more straightforward with its techniques which required the performer to keep the audiences interest by shaping the work with expressiveness, exaggerated dynamics and direction through tempo changes. The recital consisted entirely of solo pieces for alto saxophone, so without any accompaniment or additional performers, Sotiriades held the sole responsibility on his shoulders of maintaining the audiences attention.
In contrast to Vivace, Sotiriades then played a piece by Aaron Johnson entitled Between the Arborescent Claw and a Blue Place. The smooth lines and jazz-like writing highlighted the round sound that the saxophone is capable of making in its most popular genre. One interesting aspect of this piece was the use of key clicks, which give a playful feel to an otherwise smooth and mysterious piece. Also, the piece was made interesting through smooth, legato sections followed by spurts of ideas that are delightfully choppy and playful in comparison.
Next was Visions in Metaphor, a work written by Marilyn Shrude. Visions was premiered in 1996 by John Sampen. Sotiriades brings his own flavor to the piece, which was filled with constant movement and some jazzy runs. The piece employs some extended techniques which give it variety, like using different fingerings on a single note (alternating back and forth) to give the effect of hearing two different sound qualities back to back.
After the intermission, Theofilos brought the audience back down with his interpretation of Vassilis Kitsos’ Proimion. Kitsos’ piece was very stark next to the previous piece by Shrude. In comparison, it made much use of empty space, which can be very effective if done properly. Within the space were heavily or flutter tongued notes, often jumping forward and then pulling back almost timidly. The success of a piece like this depends solely on the performer and likely gives a different message with each performer. The piece ends, unlike the previous, in quiet reflection. Sotiriades brought to the piece a sense of calm.
Next up was a piece by Alejandro Argüello, Landscape No. 2 “a la Española.” Argüello’s piece is entrancing and mysterious to open, leading to a fast paced contrasting section that moves between short staccato passages and flowing arpeggios. The piece subsides into another reflective section at the second half and then back into quick, modulating runs, building momentum into the final section, which first recalls the bouncy motif presented in the second section and then falls back into a reflective state, which extends to the end of the piece. Sotiriades performed this with great expressiveness and lightheartedness at just the right moments and hushed the audience for a few seconds at the end after the last note died out. The piece had discernable form but also an air of unpredictability, instrumental/dynamic range and contrast between sections that kept the interest level up for the entire duration of the piece.
Second to last was Freer by Nick Hwang. Freer opens with a dark, slow passage in the middle range of the saxophone. A melancholy piece to start, it builds tension until it can finally be released toward the final third of the piece. Nearing the end, Theofilos pushes and pulls notes out with a sort of voracity, reaching down to the depths of the instrument to grab low notes and then flying to the higher ranges of the instrument with control, but abandon. Toward the end of the piece, as if finally allowed to escape the middle range and explore the range of the instrument, the piece portrays a sense of release and freedom. The last victorious notes are triumphant, then humble.
Last on the evening’s program was another solo piece by Dinos Constantinides entitled Fantasia. This piece was fantastic as a closer to the evening with its playful nature and intricate writing. The fast sections modulated quickly and excitingly and then moved back into small ideas presented one after the other, accented by quickly-tongued lines. The way the piece was written almost makes it sound like a conversation between two saxophones but presented only by one. This was achieved by quickly jumping from one dynamic level to another without warning and was a very interesting effect for an unaccompanied solo. Sotiriades presented the piece very playfully but also with maturity and expression, leaving the audience in high spirits.
Mary Loftus
October 23, 2006
International Mini Festival of Art and Music
Baton Rouge Gallery
Thursday, October 12, 2006, 6:00 PM
Music from Czech Republic and America with the Louisiana Sinfonietta and Soloists
On October 12, 2006 the Louisiana Sinfonietta performed in the Baton Rouge Gallery accompanied by guest musicians Zdenka Vaculicova and Theofilos Sotiriades. The small, confined hall in which the orchestra performed gave the performance a more personal atmosphere for the audience and added greatly to the experience. The Louisiana Sinfonietta presented six beautiful and intriguing pieces composed by artists from the Czech Republic and the United States. The event also featured the intense and moving artwork of guest artist Vaclav Vaculovic.
Opening the concert was Anton Dvorak’s Notturno for String Orchestra, Op. 40. This light, gentle piece provided an excellent beginning to the concert. Opening with a restful melody that was both soothing and intriguing, the piece exuded the atmosphere of a moonlit evening. As the piece continued, it gracefully transitioned into an elegant dance-like movement that had a charming, upbeat melody. Concluding with a return to the peaceful feel of its opening measures, Dvorak’s Notturno for String Orchestra, Op. 40 ended smoothly and began an exceptional concert.
Next, Peter Graham’s Brittle Relations was performed featuring solo violinist Zdenka Vaculovicova. The juxtaposition of the solo violin against the string orchestra was beautifully performed and Graham’s skill in building and relieving tension between the two was exhibited in this piece. The solo violin added exquisite harmony and dissonance to the underlying movement of the string orchestra.
Continuing the concert was Theodore Wiprud’s Grail: after the painting of Vaclav Vaculovic. A piece of depth and pulse, Wiprud’s Grail is powerful and moody. Wiprud’s brooding melody is exquisitely echoed throughout the voices of the string orchestra giving his audience a sense of intensity and movement. This piece effectively embodied the depth and energy of the art created by Vaclav Vaculovic displayed in the Baton Rouge Gallery during the concert.
Karel Husa’s Four Little Pieces for String Orchestra is a varied collection of lively, gentle, soothing, and powerful pieces. Unifying the four pieces are imitation, repetition, and a common melodic theme. Husa’s simple, yet rich, energetic, and entertaining pieces were performed beautifully by the Louisiana Sinfonietta.
Following the performance of Four Little Pieces for String Orchestra was a brief intermission in which guests were given the opportunity to view the artwork of Vaclac Vaculovic. In stark contrast with the white walls of the Baton Rouge Gallery, Vaculovic’s dark, richly textured pieces were striking. Vivid and ominous, his works illustrated the turmoil and conflict of life and the human condition. With a color palette consisting of brown, black, red and occasionally green, the paintings displayed were earthy and somber. Half-hidden figures and sinister undertones lend Vaculovic’s work an unsettling and fascinating beauty. Exquisite, yet disturbing, Vaculovic’s paintings provided a strong and stunning background for the performance.
The premiere of Dinos Constantinides’ Landscape III began the second half of the concert. The excellent solo saxophone performance of guest musician Theofilos Sotiriades added variety and intensity to the performance of the string orchestra. In Landscape III, Constantinides uses the string orchestra to paint a strong, picturesque landscape and employs the saxophone to convey the emotions of a lonely traveler upon seeing such a place and also the challenge and wonder of his journey through it. Beautifully played, Landscape III premiered to an appreciative audience.
Idyll for String Orchestra by Leos Janacek was the last piece of the concert. Idyll for String Orchestra begins beautifully and elegantly with an almost dance-like feel. It is energetic and light. A pleasant, uplifting piece, Janacek’s Idyll for String Orchestra ended the concert with energy and vitality, bringing the event to its close.
In summary, the Louisiana Sinfonietta’s performance on October 12, 2006, was a beautiful and unique blend of modern and traditional pieces of music for string orchestra. Highlighted by the performances of guest soloists Zdenka Vaculovicova and Theofilos Sotiriades, the Louisiana Sinfonietta presented remarkable works including the world premiere of Dinos Constantinides’ Landscape III. Also presented were the dramatic and powerful paintings of artist Vaclav Vaculovic.
Mary Loftus
October 23, 2006
Theofilos Sotiriades, Saxophone
Louisiana State University
Composers’ Forum
Friday, October 13, 2006, 8:00 PM
On Friday, October 13, 2006, guest saxophonist Theofilos Sotiriades performed a concert in the Louisiana State University School of Music Recital Hall. Invited by Dinos Constantinides, Director of the Louisiana Sinfonietta and LSU Boyd Professor, Sotiriades has traveled to Louisiana from Greece to participate in the International Mini Festival of Art and Music sponsored by the Louisiana Sinfonietta and the Baton Rouge Gallery.
The concert began with Recollections for Theofilos composed by Dinos Constantinides. A rhythmically and dynamically interesting piece, Recollections for Theofilos keeps the audience engaged and attentive throughout its duration. Beginning slowly and richly, it develops into a faster, more stimulating piece, culminating in a quick, jig-like movement. An exciting piece for solo saxophone, Constantinides’ Recollections for Theofilos is immensely entertaining.
The second piece of Sotiriades’ concert was Vivace, composed by Dominic D. Bazile. A lively piece, Vivace conveys energy and movement through tempo and melody. With segments of playful movement and racing arpeggios, Vivace maintains interest and vivacity. An enjoyable piece, the melody moves quickly and effortlessly.
Aaron Johnson’s Between the Arborescent Claw and a Blue Place is a piece that conveys a conflict between blues music and an echoing lower motive that reigns the blues tones back to a more subdued place. A complex, soulful piece, Johnson’s Between the Arborescent Claw and a Blue Place is an energetic and expressive piece of music.
Following Johnson’s piece was Marilyn Shrude’s Visions in Metaphor. Shrude’s Visions in Metaphor creates a sense of two voices although it is played by a solo instrument. Through repetition and imitation in varied pitches, Shrude generates complexity and interest. Faster, rollicking notes and trills give energy and movement to Shrude’s piece. Visions in Metaphor is an elaborate, demanding, and engaging composition.
After a brief intermission, the program continued with Vassilis Kitsos’ Proimion. A colorful piece with strong bent notes that seem to stop short and repeated notes that seem to prevent the melody from climbing and developing, Proimion gives a sense of struggle and hindrance and leaves a lasting impression on the audience. Beautifully performed Proimion is provocative and intense.
Next was Alejandro Arguello’s Landscape No. 2 “a la Espanola.” An entertaining and lightly moving piece, Landscape No. 2 employed the rhythm and tonality of Spanish dance to convey a Spanish atmosphere or “Landscape”. Staccato notes imitate the sound of a guitar or string instrument in a dance sequence that is echoed throughout the piece. Beautifully played by Sotiriades, the saxophone soars and dances over Arguello’s Landscape.
Nick Hwang’s Freer, a reflective and moving piece followed Arguello’s Landscape No. 2 “a la Espanola.” Mournful and strong, the higher notes of the melody seem to wish to escape the echoing repeated notes of the saxophone’s lower ranges. A beautiful piece, Hwang’s Freer conveys struggle and oppression while giving the audience hope that a “freer” state is attainable.
The final piece of the night was Dinos Constantinides “Fantasia.” A lively piece, Fantasia moves swiftly and energetically. Shifting quickly from higher to lower notes of the saxophone’s range, Constantinides gives the audience a sense of conversation between two voices. This conversation transitions into a fast-paced, entertaining dance-like movement that is quickly transitioned back into more conversation between the voices of the saxophone. Repeated notes reverberate throughout the piece, giving it unity.
An event of beautiful and engaging music, Theofilos Sotiriades’ solo saxophone presentation was an outstanding composer’s forum. His skill as a saxophonist and inspirational performance of eight contemporary pieces were much appreciated by all in attendance.
Christopher Prosser
Concert Review 2
MUS 3151
10/23/06
Theofilos Sotiriades Saxophone Recital
On October 13, 2006 the International Mini Festival of Art and Music together with the LSU Composer’s Forum held its sixth and final concert at the LSU School of Music Recital Hall. This unique concert event, in which every piece featured was for solo saxophone, showcased the supreme talents of guest saxophone soloist Theofilos Sotiriades. The composers featured on the concert were Constantinides, Bazile, Johnson, Shrude, Kitsos, Arguello, and Hwang.
The first piece of the concert was Dinos Constantinides’ Recollections for Theofilos. This piece, which was obviously dedicated to the performer, is a small masterpiece for alto saxophone. It begins with a sad melody that is repeated and embellished with small figurations. Towards the middle of the piece, the performer stomps his feet as he is playing. This added rhythmic idea is quite unexpected but very effective and made a lasting impact on the listening audience. The sad melody returns before a mighty crescendo high up in the instruments register combined with another series of feet stomping brings the piece to an abrupt end. This piece was the highlight of the concert and possibly should have been programmed last.
Dominic D. Bazile’s Vivace, for alto saxophone, is very much influenced by jazz harmonies and rhythms. The opening thematic material is reminiscent of jazz improvisation and quickly conjures up images of a French Quartet street band grooving till the early hour of the morning. As the piece progresses, a contrasting middle section emerges and a waltz-like rhythm replaces the free flowing improvisation. This change of mood is very effective and adds a welcome contrast to the opening material, which is eventually revisited as the piece comes to an end.
Aaron Johnson’s evocatively titled, Between the Arborescent Claw and a Blue Place, for alto saxophone, initially attempts to convey an empty, stark, unemotional landscape of sound which very effectively represents the otherworldly idea of an arborescent claw. Eventually, a more recognizable harmonic scheme materializes and the piece remotely takes on aspects of traditional twelve bar rhythm and blues with the “blue” notes being an obvious nod to the “blue place” mentioned in the title.
Visions in Metaphor, by Marilyn Shrude, is a very pretty piece that presents a wistful dreamlike atmosphere. It is characterized by a slow lilting tempo and long notes that introduce brief flashes of rhythmic figurations appear at just the right moments. These rhythmic figurations are crucial to the success of the piece and were performed flawlessly by Mr. Sotiriades. Initially, the concert was scheduled to have no intermission, but at the request of Mr. Sotiriades, a brief ten minute intermission followed the performance of Marilyn Shrude’s piece.
The next piece following intermission was Vassilis Kitsos’ Proimion, for alto saxophone. The piece consisted of two contrasting sections, the first being characterized by back and forth sweeping dynamic shifts from pianissimo to fortissimo. The second section presented a very lyrical melody in the modal style that was repeated with different figurative variations. It also made very effective use of the glissando effect which was very skillfully executed by Mr. Sotiriades.
LSU composer Alejandro Arguello’s Landscape No. 2 “a la Espanola,” for alto saxophone, attempts to depict a certain terrain area of his native Costa Rica, and does so quite successfully. A modal melody, possibly Phrygian or Aeolian, dominates the piece and is constantly repeated with slight variations throughout. Arguello’s piece was by far the longest of the concert and made good use of the saxophone’s range by exploring the instruments high and low registers.
Freer, for alto saxophone, by Nick Hwang, another LSU composer is an atonal composition. It begins at a moderate tempo and introduces snippets of dissonant melodic material. The piece seems to slowly accelerando from the very beginning till its last measure while always introducing bits and pieces of new highly dissonant melodic ideas. Finally, as the piece nears its end, the melodic fragments are restated as one melody. This concept is reminiscent of the cumulative setting form used by Charles Ives in his compositions in which he would state fragments of traditional American folk tunes throughout the course of a piece saving the final complete statement for the end.
The final piece of the evening, Fantasia, for alto saxophone, by Dinos Constantinides, was characterized by a combination of repeated notes, multiple groups of rhythmic figurations, and wide dissonant leaps of register. These three components were coupled together with the ever popular slap tongue effect to provide a definite sense of fantasy to the appreciative audience members. Each piece on the concert was masterfully performed by the soloist, which proved to be an interesting but fitting end to a very successful festival.
Christopher Prosser
Concert Review 1
MUS 3151
10/23/06
International Mini Festival of Art and Music
The Baton Rouge Gallery was the setting for the fourth concert of the International Mini Festival of Art and Music presented by the Louisiana Sinfonietta under the direction of Dr. Dinos Constantinides. The concert took place on October 12, 2006 at 7:30 pm, and displayed a combination of visual and performing artists featuring the musical talents of guest soloists Zdenka Vaculovicova on violin, and Theofilos Sotiriades on soprano saxophone. Displayed along the walls of the gallery performance space were the paintings of guest artist Vaclav Vaculovic. Composers featured on the program were Dvorak, Graham, Wiprud, Husa, Constantinides, and Janacek. With the string orchestra tuned for performance, Dr. Constantinides made his entrance to warm applause and briefly recognized and thanked the guest artists for their participation in the mini festival.
The first piece of the evening was Anton Dvorak’s Notturno for String Orchestra, Op. 40, and does a very convincing job of conveying images of a soft sweet night. The opening cello melody is typical Dvorak with its arc-like shape and regular phrasing. The piece presents a slow and inviting tempo that is characterized by a homophonic texture, slight calming swells in dynamics, and gentle pizzicato accompaniment from the double bass. There is a brief contrasting middle section that establishes a more serious mood with increased rhythmic motion, a more polyphonic texture, and a greater contrast in range that eventually relinquishes back to the original tranquility of the opening. The piece was beautifully performed by the Sinfonietta and was very pleasing to the ear.
Theodore Wiprud’s Grail: after the painting by Vaclav Vaculovic for String Orchestra, very cleverly conjures up images of a search for the Cup of Christ. His use of different modal sonorities, polyphonic texture, and a very effective rhythmic ostinato beginning in the violin and violas, call to mind the quest of the Knights Templar. There is a contrasting middle section with dense chords followed by brief pauses that lead to a multitude of mysterious trills that invoke a sense of sullen searching. The beginning returns following a brief solo from the first violin. The result of the search for the Grail is absolutely left up to the audience’s interpretation as the piece ends very ambiguously with back and forth play between the cellos and first violins.
The last piece performed before intermission was Karel Husa’s Four Little Pieces for String Orchestra (1995). “Variazioni,” the title of the first little piece, began with a beautiful melody in the first violin. The second violins, violas, cellos and basses enter in a fugue like fashion developing the beautiful subject. A slower middle section followed with pizzicato in the basses and cellos that lead to a tremolo at the tip of the bow in the first and second violins while the cellos and bassed bowed ponticello. A dance melody commences with a drone-like accompaniment that lead to a recap of the beginning. The second little piece, Notturno, is more solemn and subdued than the first piece, while the third little piece, Furiant, began with a lively triplet motive that leads to a slower section incorporating pizzicato in the string basses. Finally, the fourth little piece, Coda, presents a rich beautiful chord progression in a dense full texture throughout the movement. Each movement is a little masterpiece and were all performed brilliantly by the Sinfonietta.
During intermission, the members of the audience were encouraged to walk around the performing space and observe the many paintings by guest artist Vaclav Vaculovic that were on display. Landscape III for solo saxophone and string orchestra, by Dinos Constantinides was the only world premiere of the evening and featured the second guest soloist, Theofilos Sotiriades on soprano saxophone. The piece began with a sax solo and the strings accompanied with full homophonic texture. Constantinides makes good use of the range of the saxophone exploring the very highest and lowest regions of the instrument. The saxophone solo, which was brilliantly played by Sotiriades, is very virtuosic with extremely fast runs and several cadenza-like moments. Eventually, the string accompaniment thins out and the piece ends rather ambiguously with an unfinished sentiment that is surprisingly very attractive.
The final piece of the evening was Idyll, by the great Czech composer Leos Janacek. This four movement work is very typical of early Janacek and employed several folk melodies in a modal style. It was a perfect ending to wonderful night of music and art with the Louisiana Sinfonietta and the Baton Rouge Gallery.
Reid Willis
Concert Review 10/13
Theofilos Sotiriades – Saxophone
The concert I attended on Friday, October 13, was a solo saxophone performance by Theofilos Sotiriades. Although some people might think it is boring to listen to one solitary instrument perform for over an hour, the talents of Sotiriades and the great compositions thoroughly grasped the audience’s attention during its span.
The first piece performed was composed by Dinos Constantinides and was titled Recollections for Theofilos. The composition consists of three smaller movements in an ABA form, with each movement contrasting the other in style and pace. The first movement begins with a slow, lilting melody that gradually faded in. The melody is sharp and clear, while retaining a soft texture. The movement has a beautifully sad aura throughout. It ends with a few lingering notes that cut through the air like a sharp knife. The second movement, or B section, totally contrasts the first section, with its fast arpeggios and cheerful quality. The beginning is light, bouncy and fluttery. As the piece progresses, it becomes more tense and chaotic with fast trills, rapid repeated notes, and strange techniques, which even include stomping the ground. The third movement brings back the melancholic melody of the first section, giving the entire piece a circular effect. Then suddenly, the piece picks up pace and brings back the fluttery, bouncy characteristics of the second movement. The entire piece ends with the same stomping and blowing techniques of the second movement.
The second piece was titled Vivace and was composed by Dominic D. Bazile. This piece begins with a segmented melody, with a start/stop sound. The piece develops into small chromatic runs and trills, which made me picture a bee in flight. The piece progresses into a less sprightly and more rhythmic section. Towards the end of the piece the melody actually starts to sound like laughter. I feel that this piece is very narrative and tells story, even though I have no idea what that story is.
The next piece was composed by Aaron Johnson called Between the Arborescent Claw and a Blue Place. This was the first piece in the program to have borrowed a little jazz influence. Like Bazile’s piece, the main theme is very scattered, as if it was cut up into pieces then tossed back out one by one. The piece then contrasts itself by throwing in smooth, melodic segments. I enjoyed this piece, because I am fond of jazz, but I found it altogether a little unfocused.
The fourth piece, Visions in Metaphor, was composed by Marilyn Shrude. It began by laying out a dense, uneasy atmosphere. The mischievous melody cuts its way through the fog, without being rhythmic or melodic. The piece seems based more on mood than melodies or motives, which makes sense from the title of the piece. The piece then reveals a different personality, chaotic and alarming, and somehow sounding like a sinister jester.
Landscape No. 2, by Alejandro Arguello, consists of two movements. The first is a lonely and melancholic piece. It consists of a liquid-smooth melody full of yearning that morphs itself into different personalities. It begins slow and sad, but develops into a bouncy and somewhat sporadic tune. There is a section that is more rhythm based, consisting mainly of rapid staccato notes. I really enjoyed the complexities of the rhythm and melody. This section, rich with movement, eventually dies away to reveal the returns of the sad and lyrical section. The second movement returns to a quicker tempo, while the saxophone explores the range of the instrument. This movement is based more on harmony, which I believe has some minimalist influence. The piece becomes very rhythmic for a small while before falling back into the initial slow, desolate section. This piece was one of the most complete compositions in the program, with a wide range of sound and style.
The second to last piece was by Nick Hwang, called Freer. The entire piece has a wispy, airy quality. The melody flows freely with little direction, like it is being blown about by the wind. Although the melody is light, it still maintains a sinister quality. The dynamics gradually increase throughout the piece, although the music itself remains basically the same. I think that although the airy, somewhat directionless quality was probably the basis of the piece, it also kept the piece from really blossoming.
The final piece was another piece by Dinos Constantinides, called Fantasia. The entire piece was a fast paced, swirling mass of melody with a dizzying effect. The melody was somewhat chaotic, made more exciting by abrupt dynamic changes. Other nice techniques were rapid arpeggios and the bouncing ball effect. The rhythm becomes more prominent and the melody even more playful. The whirlwind of sound dances its way to the end of the piece and closes the concert on a high note.
Alejandro Argüello
Concert Reports Fall 2006
Dr. Dinos Constantinides
Music from Czech Republic and America
The Concert on October 12 at the Baton Rouge Gallery featuring the Louisiana Sinfonietta was full or variety. Composers from Czech Republic and America were put together in a very especial program, as part of the first Mini Festival of Art and Music done here in Baton Rouge, created by the Louisiana Sinfonietta. Three guests artists where invited: Vaclav Vaculovic, famous Czech artist; his wife Zdenka Vaculovicova, great violinist and teacher; and Theofilos Sotiriades, international Greek saxophone soloist.
The concert started with Notturno for String Orchestra, Op. 40 by the Czech composer Anton Dvorak. This was my first occasion listening to this piece and I think it is a masterpiece. Dvorak showed me once more why he is the greatest and most famous Czech composer in the world. The attention to the detail is amazing, the conducting of the musical phrases is done with extreme care, and the texture throughout the composition is very rich in color, even though the orchestra is only strings. One thing is wonderful about Dvorak, it is his talent to create his own orchestration style in a totally tonal language. I could recognize the same atmosphere of the second movement of the New World Symphony in this piece, even though the two of them have no relationship whatsoever.
Brittle Relations, next in the program, evoked a very spiritual and mystic ambiance in the concert. In a very slow tempo, the music unfolded slowly in order to create a very unified whole throughout. The soloist of this piece, Zdenka Vaculovicova, showed us a very professional performance, full of expression, feelings and colors. Being this my second time of listening to this piece I valued a lot more its musical content. Profound music takes time to develop in our mind because of its deep content. All I have to say I enjoyed a lot more the piece this time, and I could understand a lot better its unity and its colorful palette of sounds.
Grail: after the painting of Vaclav Vaculovic by the American composer Theodore Wiprud evoked also a very spiritual meaning to me. It is also my second time as listener of this wonderful work, and also during the first time I had a difficult time grasping the general content of the piece. Now my understanding of the piece is better also because I had direct contact with the art of Mr. Vaculovic at the Baton Rouge Gallery, understanding both art and music in a better way.
Vaclav Vaculovic is a very powerful contemporary artist. His language is full of an abstractionism produced by the combination of the mystical and the earthly. One can see in his paintings the combination of the early tradition of ancient generations and the great technique of a modern master. Theodore Widprud captured the essence of Vaculovic’s art in a very eloquent way. The piece alternated the influences of Vaculovic’s art during the whole composition, creating a very fluent and solid piece of music.
The first part of the concert closed with Four Little Pieces for String Orchestra by the Pulitzer Award winner Karel Husa. The piece was originally conceived as a tool for youth orchestras to get in touch with different techniques from the twentieth-century such as bitonality and twelve-tone.
The first movement is a set of variations. The movement’s lay out is done in a pretty standard way of the presentation of the theme and the subsequent variations of it done in different techniques such as ornamentation, thematic transformation. The second movement, Notturno, reminds me of the calm environment of Chopin’s Nocturnes for piano. Throughout this movement the composers works with thin and clear sonorities bringing a peaceful atmosphere full of crystal colors. Furiant follows the Notturno, creating an immediate contrast between the peaceful slow part and the scherzo-like character of this movement. Lots of strength and character are showed in this third part, which finishes in very powerful way. Finally, the Coda serves more the purpose of closing the suite rather than standing by itself. The mainly purpose of this fourth movement is only conclusive in order to finish the piece.
After the intermission the concert continued with Landscape III for soprano saxophone and string orchestra by Dinos Constantinides and Theofilos Sotiriades was the soloist of the work. The Sinfonietta gave a really good performance of the work, and the soloist captured the essence of the music also. It was a great feeling to see and listen the musical result of the whole, and it was also really enjoyable because of the warm environment of the Gallery. In my opinion the Baton Rouge Gallery was involved very closely in this piece, since the colorful harmonies of the music made a unique whole with the art.
Last but not least, the Czech composer Leos Janácek closed the program with his work Idyll for String Orchestra. The piece, full of Romantic and Czech-folk influences was the right end for a wonderful night of the music and art. The work proved to be very sober in its balance and form, and it showed Janácek’s supreme composer qualities.
