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Additional information about the music offered by Pasquina
  

About David Uber (Trombonist, Composer, Educator)
       Dr. Uber is a leading American composer whose works are played extensively around the world. His colorful career in music ranges from award-winning composer to world-class trombonist and college professor to band director. Dr. Uber was recently awarded the title of Emeritus Professor of Music from The College of New Jersey. He also taught at Princeton University for many years where he was the director of the Symphonic Band.
       As a performing artist, Dr. Uber played first chair with the New York City Ballet, The New York City Opera and the NBC Symphony. He also was with the NBC Television Opera, the Columbia Recording Symphony, the New York Brass Quintet and the Contemporary Brass Quintet. His artistry may be heard on many recordings under such eminent conductors as Arturo Toscanini, Igor Stravinsky, Bruno Walter, Leonard Bernstein, Aaron Copland and many more.
       As one of America's most prolific composers, Dr. Uber has had commissions from numerous schools, foundations, performing ensembles and international soloists. His Processional for World Peace was commissioned by the Nobel Peace Prize Forum and premiered in 1992.
       Among his many awards are the 20th and 21st Century Awards for achievement from the International Biographical Centre of Cambridge, England. He has also been honored in the recent book, Outstanding People of the 20th Century. In May 1999, he was awarded an honorary doctorate of music by Carthage College for performances of his musical compositions throughout the world.

About Larry Delinger (Composer)
Larry Delinger is one of the premier composers of contemporary music in the United States. His compositions cover a wide range of styles, from his King Lear Sonata for Trumpet and Organ to his intimate solo piano pieces Open Endgames. His more abstract works include Orange and Lemon for marimba and soprano and Studies in Light for soprano and chamber orchestra. He has composed three operas, Medea, Talk To Me Like The Rain and Let Me Listen and Amelia Lost. Among his many published compositions are Elegy for John Lennon, Brass Rings, King Lear Sonata, Paradox, Nightwalls, The Philosopher and the Sunrise, Lachrymae and Passages for Brass Trio.

Mr. Delinger was honored by the University of Tennessee, Knoxville in 2014 with a seven week DelingerFest where many of his works were performed including his opera, Medea. As part of the DelingerFest the Marble City Opera company premiered his new operas, Talk To Me Like The Rain and Amelia Lost.

Mr. Delinger has received many commissions for new works from the California Brass Quintet , University of Northern Colorado, Coastal Access Music Alliance, Varian, San Jose Chamber Orchestra , Denver Municipal Band, and Knaben Kantrei in Basel, Switzerland. Mr. Delinger has composed incidental music for over one hundred productions for theatres in the United States and Europe, including the Old Globe Theatre, Mark Taper Forum, Berkeley Repertory Theatre, Oregon Shakespeare Festival, American Conservatory Theatre, Denver Center Theatre, Cleveland Play House, National Actors Theatre, and the Oslo Nye Theater in Norway. His score for Julius Caesar was presented at the 2003 Prague Quadrennial.

Mr. Delinger has received eleven Drama-Logue Critics Awards for Outstanding Theatre Music and the Distinguished Service Award from Chadron State College.

About Shinji Eshima (Composer, Double-Bassist)
       Mr. Eshima has written for a variety of venues including theater, documentary films, chamber music, opera and even Buddhist hymns. His music has been performed and recorded around the world. A CD recording of his August 6th for string orchestra will be released by ERM Media in September 2008.
       The esteemed conductor Donald Runnicles wrote of Mr. Eshima, "While I am well acquainted with the talents of Shinji Eshima as an extraordinary double-bass player, I would like to sing his praises as a quite exceptional composer."
       A graduate of Stanford University and Juilliard, Mr. Eshima is a double-bassist in the San Francisco Opera and San Francisco Ballet Orchestras. He is on the faculty at San Francisco State University and the San Francisco Conservatory of Music.

About Robert Denham (Composer)
http://www.biola.edu/academics/undergrad/music/news/mnews048.htm

About Paul Brody (Composer, Trumpeter)
http://paulbrody.net

About Erik Jekabson (Composer, Trumpeter)
http://erikjekabson.com

About T. Paul Rosas (Organist, Pianist, Composer)
       T. Paul Rosas is a graduate of the University of the Pacific and completed advanced studies at the Royal Conservatory of Church Music in Croydon England. He is organist, pianist and composer at Valley Presbyterian Church in Portola Valley, California and staff accompanist for the Portola Valley Theater Conservatory, the Baroque Choral Guild in Palo Alto and the Santa Clara Chorale in San Jose.
       His compositions include My Soul is Longing for You, The Alaska Water Suite, Give Us Your Guidance, O God, a collection of Taize' Style worship songs and a CD Journey of the Heart -- a meditative CD for use in hospice work. The CD is available from Amazon.com. Contact Mr. Rosas at: tpaulrosas@mindspring.com
  
From the preface to Job Suite
       The Job Suite was composed for trumpeter, Jay Rizzetto and organist T. Paul Rosas. It was first performed with narrator in 1998 at Valley Presbyterian Church in Portola Valley, California. Two years later it was performed with dancers also at Valley Presbyterian Church.
       The composition was in part inspired by the tragic death of a perfect stranger in the church where Mr. Rosas plays. Deeply moved by the circumstances of the person's death and the story of that individual's life, Mr. Rosas began his reflection on the biblical story of Job. What developed from the merging of the story of Job, the circumstances of the deceased person's life and Mr. Rosas' own personal insights, is The Job Suite.

From the preface to Twelve Fantasias for Unaccompanied Trumpet
       During his lifetime, Georg Philip Telemann (1681-1767) was regarded as Germany's leading composer. Among his many works consisting of over forty operas, six hundred overtures, numerous masses, oratorios, concertos, and vocal pieces are compositions for chamber music without thoroughbass. The concept of thoroughbass or "sopra basso cantar o sonar", performing over the bass line, was a fundamental principle of the baroque era and compositions without this element are unusual. Even more unusual are pieces written without accompaniment. Most notable among the few composers who wrote in this style are G.P. Telemann and J.S. Bach. Among Telemann's works in this vein are sets of fantasies for flute (1732-33), and violin (1735) from his Musikalische Werke, Vol. 6. Although we know that the most accomplished players of the time held these works in high regard it is believed that Telemann wrote them primarily for amateurs.
       Twelve Fantasias for Unaccompanied Trumpet has been transcribed from Zwölf Fantasien für Querflöte ohne Baß (Twelve Fantasies for Transverse Flute Without Bass) This edition is not intended to be a primer in original baroque performance practice but rather it provides an opportunity for the modern trumpet player to discover the music's expressiveness. One should keep in mind that indicating every musical nuance, as in today's music, was unheard of in the 18th-century. Francesco Galeazzi in Elementi teorico-pratici di musica (Rome, 1791-96) sums up the 18th century view of performance: "ornamentation should aid the expression of the principal sentiment, not spoil it; hence the most skilled performer is one who knows how to enter the mind of the composer, be fully conscious of the character of the composition that he is to perform, increasing its energy, uniting his own sentiments with that of its author, so that a perfect whole may result, as if they are of the same mind."
       The baroque performer was often expected to make decisions concerning tempo, articulations, ornamentation and phrasing. As a guide to the modern trumpeter, key changes have been made to put the pieces in a reasonable trumpet range. Added to the original tempo indications are metronome speeds, which are intended only as suggestions. Articulation markings and some ornamentation have been added. The slow tempos should be played with a flexible and expressive sense of time. The pieces are not intended as technical exercises, thus the performer is encouraged to make interpretive decisions and to play with a sense of freedom.
  
Jay Rizzetto
California State University at Hayward

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