CHO Al

ASS E E Bla CE T

FESTIVAL

OF

ARTS

OF

THIS

CENTURY,

1970

July 15, 1970

Orvis Auditorium

CHORAL-BRASS

E SEMBLE CONCERT

CHAMBER SINGERS:

Phillip D. Crabtree, conductor

Mae Zenke Orvis Auditorium

Wednesday, July 15, 1970 - 8:00 P.M.

Sopranos

Anne HormannEthel IwasakiNorma ParadoAnne Van EttenBarbara Wong

BRASS ENSE BlE

Altos

Ann AmersonEvelyn CrabtreePhillis JardineLinda Masui

Tenors

Randy CastelloEugene JunkerJohn LohRichard Lum

Basses

Lemuel AweauLeo FishmanRay RothgebFon Tish

John R. Shoemaker, conductor

Trumpets

Eugene GotoBon iface LeongBarbara FreemanVictor Apostle

Assisted by:

Gary Dunn, glockenspielWayne Yabiku, vibraphone

Program

French Horns

Pokala FernandezMike GaberBen KurayaCharles Mason

Trombones

Richard RobleeFloyd HondaWayne DeMelloGerald Nichols

Gwen Kawamoto, ipuRuth Pfeiffer, organ

PETER CABUS

CARL RUGGLES

Openings fanfare (1968)(For two trumpets, two French horns, two trombones)

First Performance in Hawaii

Angels for Muted Brass (1938)(For four trumpets, three trombones)

First Performance in Hawaii

NEIL MCKAY Legends of Maui (1970)(A Folk Cantata for chorus,vibraphone, glockenspiel, ipu)

FishermanFinder of fireEnsnarer of the sun

World Premiere

Hina (Maui's mother),Barbara Wong, soprano

Alae-iki (little mud-hen),Linda Masui, mezzo soprano

Maui, Lemuel Aweau, baritone

RICHARD ARNELL

ROBERT WYKES

DANIEL PINKHAM

Program oles

Ceremonial and Flourish (1948)(For three trumpets, four French horns, three trombones)

First Performance in Hawaii

Excerpendum (1970)(For chorus, four trumpets, four French horns, four trombones)

World Premiere

Gloria in Excelsis Deo (1957)from Christmas Cantata(Sinfonia Sacra)(For chorus, two trumpets, two trombones, organ)

First Performance in Hawaii

Vlen and Angels, a symphonic suite for six trumpets, was originally written in 1921 and, as such, was oneof the first serious works for brass instruments by an American composer. It was revised and renamed bythe composer in 1938 for the instrumentation used th is evening. It is short, serene, built on tone clusters,and muted throughout. ... J.P.S.

Legends of Maui was commissioned for the 1970 Festival by Honolulu HOUSE OF MUSIC, LTD. The manylegends of the demi-god Maui are common to all the islands of Polynesia and are of great antiquity. Variousversions of the same story are remarkably similar and vary mainly in location. Although Maui could some­times be mischievous he performed his greatest deeds for the benefit of mankind. Three of the best knownlegends were chosen and arranged in an order that would seem logical. Musically, various aspects of West­ern, Oriental and ancient Hawaiian musics were drawn upon to tell stories of a very engaging mythologicalhero.... N.McK.

House of Music, Ltd., in continuing the celebration of its twentieth anniversary of service to the Honolulucommunity, has presented a second commission grant to the Festival of the Arts of This Century. This granthas permitted the Festival Committee to offer commissions to two composers for musical works which arebeing given world premiere presentations in the 1970 Festival. The composers who have been selectedare Joji Yuasa from Japan, and Neil McKay, Professor of Music in the University of Hawaii Departmentof Music.

Excerpendum, composed for the Festival of the Arts of This Century, is a Latin gerund meaning the act of"selecting from" or "extracting out of". Thus, from the possible pitches and the possible spaces, the pieceis made by constant selecting. The intention is very clear to me - quiet, sustained, no edge-sound, mov­ing about in a space.... R.W.

Gloria in Excelsis Ceo is the concluding movement of Pinkham's Christmas Cantata, subtitled Sinfonia Sacra.The movement is characterized by the repetition of a refrain which appears between successive verses oftext and ends with a final jubilant alleluia in the form of a coda.... P.D.C.

Abo t The Artists

PETER CABUS was born in Belgium in 1923. He studied at the Conservatory of Brussels where he wonthe First Prize in composition for Fugue, Piano, and Chamber Music. He was director of the Conservatory ofMusic in Mechelen, Belgium, and has composed many works for brass instruments.

CARL RUGGLES, American composer, was born in 1876. He was the organizer and conductor of the WinonaSymphony Orchestra in Minneapolis, and instructor of modern composition at the University of Miami inFlorida. His works are dissonant and display atonal melodic patterns.

NEIL McKAY was born in British Columbia, Canada, in 1924. After two years of service as clarinetist withthe Canadian Navy Band, he worked in Canadian rad io as arranger and conductor. He was educated at theUniversity of Western Ontario (B.A.) and the Eastman School of Music (M.M.,Ph.D.) He has been teachingin the United States for thirteen years, for the past five years as teacher of theory, orchestration, and com­position at the University of Hawaii. McKay's compos itions have been heard in the United States, Canada,Europe, and South America. They include orchestral and band works, chamber music, choral and pianomusic, and comic opera. Several works have been pu blished and recorded.

RICHARD ARNELL, an English composer, was born in 1911. He studied with John Ireland at the Royal Col­lege of Music where he won the Farrer Prize for com position. After spending eight years in New York Cityas a composer and music consultant, he returned to London to teach at Trinity College of Music (1948) andthe Royal Ballet School.

ROBERT WYKES, was born in Aliquippa, Pennsylvani a, in 1926. He studied at the Eastman School of Music(M.M. 1950) and the University of Illinois (D.M.A. 1955). He has been on the FaCUlty at Washington Univer­sity in S1. Louis since 1955 where he teaches composition, theory and music history. His awards and com­missions include the Paderewski Prize, six ASCAP Standard Division Awards, a composers grant from theNational Foundation on the Arts, two Guggenheim commissions and many others. His most recent docu­mentary film score was for ROBERT KENNEDY REMEMBERED, 1968.

DANIEL PINKHAM was born in New England in 1923. He was educated at Harvard University, where hestudied composition with Walter Piston and earned an M.A. degree in 1944. Subsequently he received aFulbright Fellowship and has studied with such figures as Nadio Boulanger, Arthur Honegger, AaronCopland and Samuel Barber. He is widely recognized in both Europe and America as composer, per­former, lecturer, and conductor.

Acknowledgment

Program Committee:Phillip CrabtreeJohn ShoemakerDaryl Loo )Kennydyne Wong )

co-chairmen

student representatives

This program is made possible through a grant from the Music Performance Trust Funds of the RecordingIndustry with the cooperation of the Musicians' Association of Hawaii, Local 677.

LEGENDS OF MAUl

PART I: FISHERMAN

These are the legends of Maui, fourth son of Hina and Akalana,Maui of the malo,* fisherman, finder of fire, snarer of the sun.

Hina, speak to your fourth son, Maui of the malo, Maui the fisherman.

Hina: Maui, Maui my son, go with your brothers in the canoe;Tie your magic hook to a strong olona* lineAnd let it sink deep, deep, deep.

Far out to sea they went 'til no land was in view.The hook sanK deep and caught!Maui and his brothers pulled and pulled, and an island chain with

skirts of snow white surf appeared:

They were the islands of Hawaii.

PART II: FINDER OF FIRE

Hina, speak to your fourth son, Maui of the malo, finder of fire.

Hina: Maui, Maui my son, we need fire to cook our food.The secret lies with the A1ae;*See if you can find it.

Maui was strong and also swift, and he followed the birds from placeto place, but whenever he appeared they scratched out their fire.

Then one day he caught the Alae-iki.*

Maui: Alae-iki, tell me the secret of how to make fire orI will twist your neck.

Alae-iki: Maui, swiftest son of Hina, rub two bananas together.

No fire!

Maui: Alae-iki, tell me the secret of how to'rnake fire orI will twist your neck harder!

Alae-iki: Maui, swiftest son of Hina, rub two green sticks together.

No fire!

Maui: Alae-iki, tell me the secret of how to make fire orI will twist your neck until you are dead!

Alae-iki: Maui, swiftest son of Hina, rub two sticks ofsandalwood together.

And there was fire!

PART III: ENSNARER OF THE SUN

Hina, speak to your fourth son, Maui of the malo, Maui ensnarerof the sun.

Hina: Maui, Maui my son, the sun moves too quickly throughthe sky. Food cannot be cooked in one day. Tapa clothwill not dry. Make the sun move slowly.

Maui made ropes of coconut fiber and ascended Haleakala,* house ofthe sun. He made six snares along the path of the sun and hiduntil the rising sun appeared in the form of a man.

The first snare caught his feet.The second one slipped around his knees.The third snare caught his hips.The fourth one fastened around his waist.The fifth slipped under his arms.Then Maui threw the last rope and caught the neck of the sun.

The sun struggled and struggled and then gave up and promised Mauithat he would go'as slowly as man desired.

These are the legends of Maui ••.

*Hawaiian words used in text: MALO - a wrap-around cloth (a redmalo worn by Hina before Maui'sbirth was a gift of the gods;hence Maui's supernatural powers)

OLONA - a strong vineALAE - mud-henALAE-IKI - little mud-henILI-AHI - sandalwood (literally bark-fire)HALEAKALA - house of the sun (extinct

crater on the island of Maui)