Tuesday, February 7, 2023
8:00 pm
Kopleff Recital Hall
Reckoning (2014)
Kellen King (b. 1990)
Composed in Ithaca, NY, Reckoning was written with the purpose of expanding the electroacoustic snare drum repertoire. Influenced by rudimental drumming and film scoring, Reckoning is a three-movement solo for snare drum and digital audio with an interconnected dialogue between the two voices.
–Dr. Kellen King
Quocíente : Laços (2012)
Jeremy Muller (b. 1982)
Quocíente : Laços is a work about mathematics. Intervallic frequencies beating against each other produce the rhythmic content of this music. As time moves, the rhythms precede their representative interval: linear first and then the vertical result.
I did not intentionally use the music of Capoeira to create Quocíente. Although, you may find a few subtle references to Capoeira hidden within this work. I used the pitched and non-pitched qualities of the berimbau to create rhythmic and harmonic content as an ambiguity.
–Jeremy Muller
Atalanta (2020)
John Psathas (b. 1966)
Coming from Greek mythology, the literally meaning of the word Atalanta translates to “equal in weight.” Atalanta is also the name of a Greek heroine, a swift-footed virgin who eschewed men and devoted herself to huntress Artemis. She agreed to marry only if a suitor could outrun her in a footrace, which she knew was impossible. If the suitor was unsuccessful, he would be killed. Many suitors died in the attempt until Hippomenes prayed to the goddess Aphrodite for assistance and received three irresistible golden apples. During the race Atalanta, was diverted off the path as Hippomenes tossed an apple for her to retrieve; each time Atalanta caught up with Hippomenes, he would toss another apple, ultimately winning the race and Atalanta herself.
- John Psathas
Originally written for piano, vibraphone, and digital audio, the composer John Psathas, one of New Zealand’s most internationally acclaimed composers, created a solo version of Atalanta with the piano integrated into the digital audio.
–Dr. Kellen King
How Sweet the Thought of You as Infinite (2019)
Emma O’Halloran (b. 1985)
This year has been one of incredible change. At points in my life where everything seems in flux, I find myself trying to freeze moments in time so I don’t lose them. This piece is about the longing we have for certain moments to last forever. In a way, it’s a love letter to the special people in our lives.
How Sweet the Thought of You as Infinite was commissioned by Adam Groh and a consortium of thirty percussionists, including: David Abraham, Alex Alfaro, Thad Anderson, Megan Arns, Justin Bunting, Aaron Michael Butler, Omar Carmenates, CHannel2 Percussion Duo, James W. Doyle, Timothy Feerst, Matthew Halligan, Cory High, Dagfinn Theodor Ingebrigtsen Holte, Ji Hye Jung, Chris Lizak, Terry Longshore, Tony Lucas IV, Tessla Michael, Andy Miller, Michael Minarcek, William Moersch, Oliver Molina, Danielle Moreau, Daniel Myers, Michael Ptacin, Louis Raymond-Kolker, Chris Sies, Adam Sliwinski, Jeff Stern, and Annie Stevens.
–Emma O’Halloran
Snare Drum for Camus (1982)
Joseph Celli (b. 1944)
Snare Drum for Camus utilizes a simple repeating seven-note pattern to explore the various timbres and dynamic capabilities of the snare drum. No physical score exists for this piece. Instead, it has been handed down from generation to generation by rote. It’s named for Celli’s son, Camus.
–Stuart Gerber
Artist Bios
Stuart Gerber
Lauded as having “consummate virtuosity” by The New York Times, percussionist Stuart Gerber has worked with many important composers including George Lewis, Karlheinz Stockhausen, Kaija Saariaho, and Reich, and has recorded for Innova and Mode records, among others. Recent appearances include: KLEX Fest (Kuala Lumpur), the Montreal New Music Festival, Electronic Music Malta, the Cervantino Festival (Guanajuato, Mexico), the Now Festival (Tallinn, Estonia), he Spoleto Festival (Charleston), and the Savannah Music Festival. Stuart is Professor of Percussion at Georgia State University and is the Co-Artistic Director of the contemporary ensemble Bent Frequency.
Kellen King
Dr. Kellen King is currently an Artist Affiliate at Georgia State University where he instructs the percussion studio with Dr. Stuart Gerber and Dr. Jeremy Muller. Prior to his appointment at GSU, he was Assistant Professor of Music and Director of Percussion Studies at Western Oregon University. Kellen has been published in Percussive Notes and has presented at OMEA in 2021 and 2022 in addition to performing at PASIC, TMEA, and MMC. He is currently a member of the Percussive Arts Society Music Technology Committee and has previously served as the Oregon PAS Chapter Secretary, winning the PAS Outstanding Chapter Award during his service. Kellen is an avid educator, researcher, and well-versed performer in classical and contemporary percussion, having spent most of career focusing on solo, chamber, and electroacoustic music. As an educator, Kellen has previously instructed at Western Oregon University, Mercer University, The University of Texas at Austin, Ithaca College, and Cornell University.
Kellen has performed a number of solo, chamber, and large ensemble concerts throughout his career, in addition to being a featured guest artist at institutions across the country. During his education, Kellen studied with Dr. Thomas Burritt, Gordon Stout, Judy Moonert, Tony Edwards, Conrad Alexander, and Greg Evans.
Kellen earned his degrees from Western Michigan University (B.M. Music Education and Music Performance), Ithaca College (M.M. Percussion Performance), and The University of Texas at Austin (D.M.A. Percussion Performance).
Kellen is an artist and clinician for Innovative Percussion, Black Swamp Percussion, Zildjian Cymbals, and Remo Inc.
Jeremy Muller
Jeremy Muller is active as a percussionist, composer, and multimedia artist. He’s been described as “highly creative” by Take Effect and has performed as a featured soloist at many venues throughout the United States, Canada, and Australia including International Computer Music Conference, The Banff Centre for the Arts (Canada), Transplanted Roots (Australia), MoxSonic, NYC Electroacoustic Music Festival, ZeroSpace (University of Virginia), Northern Illinois University, Southwest Electroacoustic Festival, Jacksonville Electroacoustic Music Festival, UNC Pembroke, Balance-Unbalance International Conference, the Musical Instrument Museum, Phoenix Art Museum, and PASIC. He has given world premieres of works by many composers including Matthew Burtner, Alexandre Lunsqui, Cristyn Magnus, and an evening-length tour de force solo work by Stuart Saunders Smith.
As a composer, his music has been performed by Arcomusical, Heartland Marimba Quartet, Arizona Contemporary Music Ensemble, Crossing 32nd Street, Manuel Rangel, clarinetist Robert Spring, Sam Houston State University, Glendale Community College Percussion Ensemble, and many other universities across the U.S. Jeremy recently released his debut solo percussion album on Albany records which includes several recording premieres, and his music can also be heard on Arcomusical’s third album “Emigre & Exile.” Some of his research & publications can be found through Bachovich Music Publications & Percussive Notes. Jeremy is currently a Lecturer at Georgia Institute of Technology and an Artist Affiliate at Georgia State University. Jeremy received a Doctor of Musical Arts from Arizona State University, a Master of Music from the Cincinnati College-Conservatory of Music, and a Bachelor of Music degree from Appalachian State University.
Credits:
Created with images by AON - "The man is playing snare drum" • alice emor-kan/EyeEm - "High Angle View Of Marimba" • Tryfonov - "Blackboard inscribed with scientific formulas and calculations in physics and mathematics." • the7dew - "Abstract Light Effect Element Design on Black Background" • bizoo_n - "Drum stick and cymbal detail"