WEST TEXAS WINDS
Peter Schickele “A Year in the Catskills”
Saturday, October 19, 2024 | 5:00PM
Rea-Greathouse Recital Hall @ Wagner Noël PAC
Concerto No. 2 After Vivaldi, BWV 593
Johann Sebastian Bach (1685-1750)
Arr. Mordechai Rechtman
Allegro Moderato
Adagio
Allegro
Johann Sebastian Bach (1685-1750) is a composer who needs no introduction, and there is no end to his legacy throughout all time and all musical genres. His contributions are marked by defying the rules of musical composition by using melodic and harmonic intervals that were not allowed, and even seen as demonic at the time. The boldness to use these intervals in the 17th and 18th century was the catalyst for more exotic counterpoint and harmonic progression in western music.
The original piece from which the programmed work is derived, Concerto for Two Violins in A Minor, RV522, was written by another prolific composer of the Baroque Era, Antonio Vivaldi. Bach used the same musical material and rewrote the piece as an organ concerto – Concerto in A Minor, BWV 593 – with some melodic additions and amendments. Mordecai Rechtman then transcribed the organ concerto for woodwind quintet. This evolution of musical works and publications is the reason why the title is complicated compared to other works for solo and chamber woodwinds.
Mordecai Rechtman (1926-2023) was primarily known as an Israeli bassoonist and conductor. He held a 45-year tenure with the Israel Philharmonic Orchestra as Principal Bassoon, and founded the Israel Woodwind Quintet in 1963. He was also an academic educator and arranger, conducting many notable orchestral and wind ensembles in Israel, North America, Australia, and Europe. His other arrangements and transcriptions include works for solo wind instruments and large wind ensembles.
Rechtman’s arrangement of Concerto No. 2 After Vivaldi by J.S. Bach is indeed more similar to Bach’s imitation than the original Concerto for Two Violins. The biggest difference is that the third movement has a few added flurries of sixteenth notes in the transition to developmental music, while the original concerto simply includes chords from the accompaniment on strong beats, usually 1 and 3. Otherwise, each of the three movements includes the quintessential progression through any three-movement work by Vivaldi: an overture-like first movement in four that can easily slip into a floating cut-time feel; a slow second movement with repeated, hypnotic accompanying rhythms underneath a somber, stoic melody; and a busy, busy dance in three for the final movement, which caffeinates the listener for their next obligation of the day. One feature in the first movement that is more common in Bach’s music than in Vivaldi’s is the use of melodies that begin or end in the middle of the measure and therefore do not span a whole number of measures. An example would be a melody that lasts three and a half measures instead of an even three or four. Common among both these composers and the Baroque era as a whole are the elisions that occur in the first movement; that is, the next melody begins immediately on the cadence (ending) of the current melody. This combination of elisions and melodies that don't last through a full measure are what make it so convenient to begin a new melody in the middle of a measure. This arrangement for winds is a fitting variant of Bach’s version for organ—which is itself a wind instrument of sorts—while also recalling Vivaldi’s various concerti.
Woodwind Quintet, Op. 28
Heinrich Kaspar Schmid (1874-1953)
I. Allegro
II. Grazioso amabile
III. Moderato
Heinrich Kaspar Schmid (1874-1953) was a German composer of the late Romantic period, who also composed innovatively in the 20th century contemporary style. Schmid developed his musical talents early on by singing in the boys’ choir at the Regensburg Cathedral for several years. As a boy, he studied music with his father, a schoolteacher and choral conductor. Schmid later attended the Munich Akademie der Tonkunst (Academy of Musical Arts), where he studied composition under Ludwig Thuille. In 1905, he was appointed as a teacher at the Munich Academy and became a full professor in 1919. In 1921, Schmid took on the role of director at the Karlsruhe Conservatory, director of the Augsburg School in 1924, and retired in 1932.
Predominantly influenced by the composers of the late Romantic period, Schmid’s Woodwind Quintet, Op. 28 is a notable chamber work that showcases the unique colors and timbres of each instrument. The music presents rich harmonic language with moments of clever interplay between solo lines. With each movement contrasting in tempo and character, the work exemplifies Schmid’s ability to blend more traditional Romantic elements with modern compositional techniques, making it a significant contribution to the woodwind quintet repertoire. In addition to this quintet, Schmid’s works include colorful and expressive chamber music for flute, clarinet, viola and piano. The Woodwind Quintet, Op. 28 is dedicated to Adolf Martini, a close friend of the composer.
A Year in the Catskills
Peter Schickele (1935-2024)
I. Spring: Fantasy
II. Summer: Imitations
III. Fall: Variations
IV. Winter: Lament
V. Finale
Contemporary composer Peter Schickele (1935-2024) wrote music for orchestra, wind-band, chorus, chamber ensembles, musicals, film, and television. His musical style is similar to much of western classical art-music, yet with a clear American flavor. Also known for composing under the alias P.D.Q. Bach, Schickele entertained audiences for decades with musical parodies and comedic performances. In the early 1990s, he was awarded the Grammy award for Best Comedic Album for four consecutive years.
A Year in the Catskills is a five-movement woodwind quintet inspired by the moods of the four seasons in New York State’s lush central region. The first movement, “Spring: Fantasy,” centers around a pastoral theme, cheerful and flowing- yet in an irregular meter. This is interrupted twice: first by the horn with an impassioned, dramatic solo accompanied by an ostinato figure, and later by the oboe introducing a swirling gigue-theme which the other voices join. This dissipates into a free-floating cantabile theme over repeated sixteenth-notes, reminiscent of David Maslanka's quintet writing, before the comfort and ease of the opening pastorale return.
“Summer: Imitations” paints a clean slate for the listener, with a faintly melancholy theme in close-set canons, surrounding a clarinet solo with sparse accompaniment in the middle. Palate cleansed, we move on to autumn.
Schickele gives us a minuet-scherzo in “Fall: Variations,” lending the piece a classical symphonic feel by its inclusion as the third movement. An easygoing, lilting theme is treated in several continuous variations- and though the meter and the placement of a scherzo within the larger work are quite traditional, the shifting styles of the variations are inventive and never predictable.
Stillness, peace, and quiet return for “Winter: Lament.” The movement features a quietly expressive theme over softly pulsing, sustained chords. The clarinet steps in with a short solo melody consisting of broad leaps, yet still written to fit within Schickele's chosen aesthetic for the movement. The other instruments rejoin, and the quiet stasis of the opening material returns to close out the piece.
The “Finale” movement opens with a driving and boisterous solo for the horn that suddenly explodes into a flurry of activity for the upper woodwinds. The style is reminiscent of hoe-down fiddling, Irish reels, and whirling jazz improvisation all at once. Indeed this gives way to extroverted, rhapsodic solos for the upper woodwinds, very like improvised jazz solo work, but carefully composed and notated for the performers. This becomes clear when the solo material returns to be played simultaneously for a joyous, rollicking finish.
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Caryn Crutchfield
Caryn Crutchfield, oboe, is beginning her twenty-ninth season with the West Texas Symphony.
She earned both her Bachelor and Master of Music degrees in Oboe Performance from West Texas A&M University in Canyon, TX, where she studied under Robert Krause. Caryn had the honor of serving as the guest soloist with the West Texas Symphony in 2012 and 2021. She has performed three times at the Texas Music Educators’ Association Convention and twice with the WTAMU Director’s Band at the Texas Bandmasters’ Association Convention. Additionally she serves on the Alumni Board for WTAMU and the WTAMU Band Alumni Board. In addition to her symphonic work, she regularly plays as a member of the West Texas Winds woodwind quintet.
In August 2024, Caryn assumed the position of the Fine Arts Coordinator for Midland ISD. She also teaches at The University of Texas at Permian Basin and the West Texas A&M Band Camp. Caryn offers private lessons to students across the Permian Basin and runs a successful reed-making business. She is married to Kevin and has three children.
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Chris Chance
Chris Chance enjoys a varied performing career as an orchestral clarinetist, chamber musician, and concert soloist.
He is currently Principal Clarinet of the West Texas Symphony, Principal Clarinet of the Missouri Symphony Orchestra, clarinetist of the West Texas Winds woodwind quintet, and performs often with the New Mexico Philharmonic. Chris has
performed with other orchestras across North America, including Arizona Opera, Ohio Light Opera, Columbus Indiana Philharmonic, Lubbock Symphony, and the Orquesta Sinfónica UANL of Monterrey, Mexico. In addition to live performance, he has also worked as a recording studio musician for the Hal Leonard Corporation.
Chris received a Bachelor of Music degree, a Performer Diploma, and the Performer's Certificate from the Indiana University Jacobs School of Music. -
Philip Hill
Philip Hill is Principal Bassoon of the West Texas Symphony and Bassoonist of West Texas Winds woodwind quintet. He earned his Master’s degree in Music Performance at the University of Arizona. During his time at UArizona, he studied with William Dietz, and he was bassoonist in the Fred Fox Graduate Wind Quintet and the Opera and Theater program. He earned his Bachelor’s degree in Music Education at East Carolina University. There he studied the bassoon under Christopher Ulffers. He performed at times with the ECU Opera, which is known for performing a wide variety of works from the standards of Mozart to world premieres. As part of the North Carolina New Music Initiative, Philip participated in many premieres and new music projects. Most notable is his performance in the world premiere and recording of Travis Alford’s Loose Strands for chamber wind ensemble. He also made an appearance with the North Carolina Symphony. Philip toured Europe in 2010 as part of the Virginia Ambassadors of Music, then returned to Europe in 2017 as a member of the Prague Summer Nights Festival Orchestra. Philip has also performed with the Bay View Chamber Music Festival and Opera in The Ozarks Orchestra. He was a featured soloist with the West Texas Symphony in 2023, performing Weber's Bassoon Concerto in F Major, Op. 75.
Along with his performance history, Philip has been an active educator. He holds a small private teaching studio in the Permian Basin and was a resident artist at the University of Idaho, Youth Orchestras of Lubbock, and Midland Montessori School. He was an adjunct faculty member at the University of Texas Permian Basin, teaching bassoon and chamber music. His Instagram and YouTube pages, @Bassoonatlarge, include tutorials on reed making and music for TMEA auditions. Finally, he has been a frequent clinician for auditions, rehearsals, and masterclasses, and has hosted masterclasses for TMEA audition preparation with the help of his great colleagues in the West Texas Symphony, Cassatt in the Basin, and other guest artists across the country.
Philip spends his free time cooking, playing frisbee, and doing anything related to soccer. He is a Financial Services Certified Professional® and helps businesses and families with insurance, investments, and succession.
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Lyndsay Eiben
Dr. Lyndsay Eiben, flute, is the principal flute with the West Texas Symphony.
As a native of Odessa, Lyndsay has performed as a substitute flutist with the WTS for many years with her first appointment being while she was in high school.
Lyndsay studied music at West Texas A&M University where she received a Bachelor of Music Performance in 2008 and a Master of Music Performance in 2010. During her tenure at WTAMU, Lyndsay was Associate Principal of the Amarillo Symphony, Amarillo Opera and performed with the Amarillo Little Theatre. She also worked as a private flute instructor for the Canyon and Randall County Independent School Districts. In 2010, Lyndsay was accepted into the University of Cincinnati College-Conservatory of Music to pursue a doctorate in music. While in Ohio, Lyndsay performed with many professional groups such as Cincinnati Landmark
Productions, the Showboat Majestic Theater, and the Covedale Center for
Performing Arts. Lyndsay has also been a finalist for national flute competitions such as Myrna Brown and the National Flute Association Young Artist competition.
Lyndsay moved back to Odessa in August of 2013 to pursue a career in teaching band. She spent ten years teaching in ECISD at both Nimitz Middle School and Permian High School. Lyndsay’s students have earned admission into the 6A TMEA All-State Bands and have earned superior ratings at solo and ensemble competitions. Lyndsay serves as Associate Director of Bands and Adjunct Professor of Flute at the University of Texas Permian Basin. She holds professional memberships in the Texas Music Educators Association, Texas Bandmasters Association, and the National Flute Association. -
Sonja K. Millichamp
Sonja K. Millichamp earned her Bachelor’s degree in horn performance from the Cleveland Institute of Music and her Master’s degree in music from the University of Illinois at Urbana-Champaign. During the summers she studied at the National Orchestral Institute in College Park, Maryland, and at the Pacific Music Festival in
Sapporo, Japan. Prior to moving to West Texas, Sonja spent six years as the horn professor at Millikin University in Decatur, Illinois, where she also performed with the faculty woodwind quintet and served as principal horn of the Millikin-Decatur Symphony Orchestra. She was also third horn of the Champaign-Urbana Symphony, a member of the Prairie Ensemble, and spent several summers playing principal horn for Opera in the Ozarks. Other ensembles with which she has performed include the Abilene Philharmonic, the Amarillo, Arkansas, Illinois, and Peoria Symphonies, and the Glimmerglass Festival.
Sonja is currently co-principal horn of the West Texas Symphony, hornist of its wind quintet, the West Texas Winds, and second horn of the Missouri Symphony's Firefly Music Festival. She is also Co-Director of Music at the Unitarian-Universalist Church of Midland, where she enjoys performing as a vocalist. Sonja is married
to co-principal hornist Scott Millichamp; together they enjoy working on their
xeriscape garden and spending time in nature. -
Scott Millichamp
Scott Millichamp is Co-Principal Horn of the West Texas Symphony, hornist with the WTS Lone Star Brass quintet, Fourth Horn with Abilene Philharmonic, Fourth Horn with Lubbock Symphony, Principal Horn with the summertime Missouri Symphony Orchestra, and Co-Music Director at the Unitarian-Universalist Church of Midland. Scott also devotes time to composing music.
A native of Detroit, Scott graduated from Interlochen Arts Academy with a Fine Arts Award in Horn and received his Bachelor and Master degrees in Horn Performance from Indiana University. Following his time at IU, he served concurrently as a Graduate Teaching Assistant in Composition at the University of Hawaii in Manoa, a substitute hornist with the Honolulu Symphony Orchestra, pianist for Honolulu Waldorf School eurythmics classes, and Choir Accompanist for First Unitarian-Universalist Church of Honolulu. Prior to his WTS appointment in 2009, he served as Fourth Horn of the Arkansas Symphony Orchestra; he has also performed with Arkansas’s Opera in the Ozarks festival and the Lyrique-en-Mer opera festival on Belle-Ile, France. In 2015 he performed Richard Strauss’s Horn Concerto No. 1 with the West Texas Symphony.
For more information visit www.scottmillichamp.com.
PROUDLY SPONSORED BY:
Ann Parish & Betty Ann Prentice
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William Christopher Brown
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Ann Parish
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