Crossroads of Traditions 

Crossroads of Traditions Concert

Equinox Musing, Op. 65 I. Moderato ma con moto. Attacca: II. Cadenza-Adagio, legatissimo e ben misurato; Poco pio'andando-Cadenza III. Come All'inizio, ma piu movimientato	Paul Pellay (born 1965)
Five Movements for Oboe and Piano	John Elmquist (born 1960)
Lustrations for the Millenium Introit: Ritualistic and Dramatic Incantation: Call to Assembly Second call Final Call Rune I: Supplication Rune II: Renunciation Ascension Rune IV: Sightings Rune V: Rapture	Robert Patterson (born 1957)
Presented by The Latin American Music Center with the support of the School of Music and the Office of Creative Arts Exchange Program of the United States Information Agency.
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	Auer Hall Sunday Afternoon June 30 Eight O'clock

Program Notes

Equinox Musings, Opus 65

Paul Pellay

I. Moderato ma con moto. Attacca:

II Cadenza
Adagio, legatissimo e ben misurato
Poco piu' andando - Cadenza

III Come alli'inizio, ma piu' movimentato

Equinox Musings is the most recent result of my long-standing collaboration with Memphis oboist Shelly Sublett. In consequence it is affectionately dedicated to her.

I like to think that a title such as Equinox Musings can be open to more than one interpretation. In the light of this, the present program note should be taken as a possible interpretation rather than a definitive one. Simply put, this work reflects my fascination with the idea of seasonal turning points, known as equinoxes. Musically, the two cadenzas which frame the slow central part could be said to undertake such a role. As a result of these turning points, the thematic material, common to all three parts, undergoes substantial transformations and many unexpected changes of direction.

In narrative terms, the first part, in spite of a bold, forceful start, never achieves the breakthrough to fulfillment, undergoes vicissitudes of almost schizoid extremes and finally slows to a standstill in frustration. After the first Cadenza, the second part attempts a more lyrically constructive way forward. Some way forward is indeed achieved, but not enough, in spite of two passionate climaxes along the way. Like the first part, it finally winds down into immobility, at a loss as to where to go. It takes a second Cadenza, shorter and more cumulative than the earlier one, to bring about the third and final part. This inhabits the same environment as the first part, but the temperament is more fiery and sustained, and with the final, and I think, clearest transformation of the material, the music powers its way a furiously exultant close.

Notes by the composer

Five Movements for Oboe and Piano

John Elmquist

This piece was written as part of commissioning project put together by Shelly Sublett. The piece is in six movements and is approximately 23 minutes in length. The piece is also intended to be performed on soprano saxophone.

Each of the six movements has a separate intention. Numbers one and three set up phrases of rhythmic contrast that are then inverted at the end of the movements. Number two attempts to unify the sounds of the two instruments. Number four is a rondo of sorts comprised of a short refrain with episodes of progressively increasing length segueing into the fifth movement which assumes a dance-like posture.

Notes by the composer

Lustrations for the Millennium

Robert Patterson

I really can't think of anything I want to say about Lustrations in the form of program notes. I would rather the audience members take away whatever they wish from it.

Notes by the composer

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Please email sugestions or comments to Erick Carballo: carballo@indiana.edu