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November 18, 2018 @ 3:00 pmFree - No Cost
Trio Fortutio is:
- Christine Erlander Beard, flute/piccolo
- Rodrigo Alquati, cello (Brazil)
- Catarina Dominici, piano (Brazil).
This concert will speak to the themes of environmental issues and social justice and will showcase compositions that were written in the last fifty years.
“The Human Factor” Concert Repertoire:
- George Crumb: Vox Balaenae (Voice of the Whale) for 3 masked players for electric flute, electric cello and amplified piano (listen on YouTube)
- Robert G. Patterson: Oceanic Prelude for piccolo, cello, crotales and piano (Listen to the mp3 here)
- Wissam Boustany: Broken Child for flute and piano
- Amanda Harberg: Court Dances for flute and piano
- Hillary Tann: Lief for flute and cello (listen on YouTube)
Christine Erlander Beard Biography
Described by the Canadian journal Flute Focus as “having shattered any notions that the piccolo might be lacking in deep, expressive powers,” flutist Christine Erlander Beard enjoys an international career as a soloist, chamber artist and teacher. A passionate performer noted for her “warm lyricism” (BFS journal, Pan 2014), she has performed extensively across North America, South America and Europe, including fourteen conventions of the National Flute Association and three British Flute Society International Conventions, as well as flute events in Canada, Argentina, Brazil, Costa Rica, Ecuador, Guatemala, Mexico, Peru, Belgium, France, Latvia, Slovenia, Spain and The Netherlands. She can be heard alongside the French piccolo legend Jean-Louis Beaumadier on his CD, Postcards: World Piccolo, Vol. 2 (SKARBO label), and with Newberry’s Victorian Cornet Band on their inaugural CD, Victorian Era Music for Brass Band by Thomas Coates (MSR Classics label).
Beard’s engagements in 2017-2018 include a solo performance with the professional flute ensemble Flute Street in Toronto, Canada; and festival appearances in Ecuador, Honduras, Canada, Italy and France. Her debut solo CD, “To the Nth Degree” featuring music for piccolo by Matt Smith, David Loeb, Herman Beeftink, Derek Charke, Dana Wilson and Christopher Caliendo will be released in 2018. Christine regularly performs as a member of the Beard-Wolff Duo comprised of Beard and Brazilian guitarist-composer Daniel Wolff. The duo has given performances in the USA, Peru and Brazil, as well as a featured performance at the Adams International Flute Festival in The Netherlands (April 2016), a full concert featuring Daniel’s music for flute at the 44th National Flute Association Convention (August 2016), and performances on the Noite dos Museu concert series in Porto Alegre, Brazil (May 2017). The duo will serve as resident guest artists at the 3rd Toronto Latin American Flute Festival in April 2018.
Passionate about collaborating with composers, Christine has commissioned and/or premiered dozens of new works from composers across the globe, most recently “Haven” for piccolo and piano by Nebraska-based composer Daniel Baldwin, and “California Card” for 2 flutes, cello and guitar by Daniel Wolff, both of which she premiered at the 44th NFA Convention to enthusiastic reviews. In October 2016, she premiered a new trio entitled “Birds” for piccolo, flute and cello by
American composer Herman Beeftink with Canadian flutist Christopher Lee and Brazilian cellist Rodrigo Alquati; and in August 2017 Beard gave the NFA premieres of two new works for piccolo at the 45th NFA Convention in Minneapolis: “Whispers from Another Time” by Dana Wilson, and “Ramas de Plata” by Jay Vosk. Her most recent commissioning projects include joining consortiums for new music for flute by Amanda Harberg and new piccolo compositions by Jim Stephenson, and Daniel Wolff.
In 2007, Beard founded the International Piccolo Symposium (www.piccolosymposium.com), an intense 4-day workshop held at the University of Nebraska at Omaha. The goal of IPS is to bring piccolo players and enthusiasts together from all over the world to learn about and discuss solo, chamber and orchestral music featuring the piccolo, and pedagogical issues specific to the piccolo, led by some of the world’s leading piccolo players. A member of the NFA’s piccolo committee and a contributing editor for the NFA’s The Flutist Quarterly, Christie’s pedagogical articles and columns have been published in Flute Talk, The Flutist Quarterly, Flutewise, and The Instrumentalist.
Beard earned her MM and DMA in flute performance from The University of Texas at Austin where she was a student of Karl F. Kraber. She joined the faculty at the University of Nebraska at Omaha in 2002 where she was named UNO’s Outstanding Graduate Mentor in 2011, and was awarded the Regents-Foundation Professorship in 2013 for outstanding creative activity and research. At UNO, Christine teaches flute, woodwind pedagogy, chamber music, contemporary music literature, and heads UNO’s music entrepreneurship program. Christine performs on a 5k Sankyo flute with an 18k headjoint (also by Sankyo). Her piccolo is a Roy Seaman Ltd, on which she uses headjoints by Julio Hernandez (Argentina). She was named to the Sankyo Flutes international artist roster in July 2016, and also became a piccolo artist for Hernandez Flutes in 2017.
Christine Erlander Beard in the press
“Her performance [of Charke’s Lachrymose] shatters any notions that the piccolo might be lacking in deep, expressive powers.” — Nancy Nourse, Flute Focus (Review of my performance of Charke’s “Lachrymose” at the 2011 European Piccolo Festival in Slovenia; Apr 28, 2012)
“…evocative.” — Michael Barnes, The Austin-American Statesman (Austin, TX; 2001)
Christine Erlander Beard online
- Listen to “Lamento” by Christopher Caliendo; Christine Beard, piccolo; Richard Shaw, piano on YouTube.
- Listen to Matt Smith: To the Nth Degree. Christine Beard, piccolo; Christi Zuniga, piano on YouTube.
Catarina Dominici Biography
Brazilian pianist Catarina Domenici has an active career as a soloist, chamber musician, teacher and researcher. She holds a MM and a DMA degree from the Eastman School of Music, where she was also awarded the prestigious Performer’s Certificate and the Lizie Teege Mason Prize. She was a post-doctoral fellow at the University at Buffalo where she researched composer-performer interactions in contemporary music. A champion of Brazilian contemporary music, Domenici has commissioned, premiered and recorded several works for piano solo and chamber ensembles. Her solo CD Porto 60 features eight newly commissioned works for piano, of which Brazilian music critic Juarez Foncesa wrote: “Before Catarina, we did not know that there were many composers forming a young generation with such solid attributes in Brazilian contemporary music. Her CD Porto 60 is more than a record: it is a reference.”
Domenici has also collaborated with composers James Corrêa and Eduardo Miranda in the CD Plural, Flavio Oliveira in Tudo Muda (Açorianos Prize for Best Classical CD in 2002), and Luciano Zanatta in Volume 2. Her extensive experience as a chamber musician includes the recording of the CDs Brazil! New Music, vol. 1 (Best Experimental Music recording prize awarded by the São Paulo Art Critics Association) with Ensemble Novo Horizonte and II Prêmio Eldorado de Música and Compositores da Bahia with the São Paulo State University Percussion Ensemble, with whom she toured Brazil and the US. A founding member of Duo Uno, Domenici represented the Eastman School of Music in a series of concerts in Central America performing works for piano and percussion by North American and Brazilian composers. Other collaborations include the CD Kinematic with Musitrio, which received the Açorianos Prize for Best Chamber Music Group in 2002. As a member of Quinteto Scarlatti, she was awarded the First Prize and the Special Prize for the performance of a Brazilian work at the National Chamber Music Competition in São Paulo. She also received the Best Chamber Musician Prize at the VII Prêmio Eldorado de Música, which culminated in a CD of 20th century works for violin and piano released on the Eldorado label. In the US, she was a member of the Slee Sinfonietta at the Center for 21st Century Music at the University at Buffalo. Her collaborations with contemporary composers and performers are showcased in the CDs Confini, the first recording of the title track of Italian composer Paolo Cavallone (Tactus, 2011), Jacek Muzyk: Horn Constellation (Summit Records, 2011), A música para piano de Camargo Guarnieri: 8 Sonatinas e Sonata (PPGMUS, 2012), Baqte Ensemble (PROAC, 2012), Canção do Porto (FUMPROARTE, 2012), Cameratas & Consorts (PPGMUS, 2013), Leonardo Winter: Música para Flauta de Compositores Gaúchos (PPGMUS, 2016).
Domenici has appeared with several orchestras in Brazil, and has recorded live broadcasts for public radio and television in Brazil and the US. She is a frequent presence at contemporary music festivals in her native country, and is frequently invited to give master classes, lecture-recitals and presentations. In the US, she performed at the Chautauqua Music Festival, June in Buffalo, Orpheus Concert Series, Heidelberg New Music Festival, among others, and served as faculty at the Chautauqua Festival, the Eastman Community Music School, Nazareth College, Finger Lakes Community College, and the University at Buffalo. She holds a professorship at the Federal University of Rio Grande do Sul at Porto Alegre, where she teaches at the graduate and undergraduate levels. As a researcher, she is actively involved in artistic research, having published several articles in international and national periodicals, and presented papers at national and international music congresses and symposiums, such as PERFORMA in Portugal (2011, 2013, 2015, 2017), The Performer’s Voice in Singapore (2009, 2012), European Platform for Artistic Research in Music in Rome (2012), The CMPCP Conference in Cambridge, UK (2013, 2014). Domenici is a founding member and was the first president of the Brazilian Association for Music Performance (ABRAPEM).
Catarina Dominici online
You can find Catarina Dominici on her YouTube channel!
Rodrigo Alquati Biography
Musician and cellist Rodrigo Alquati has an intense participation in the musical scene of Rio Grande do Sul. In 2002 he was twice awarded the “Açorianos” Prize; one for being elected the best scholar instrumentalist of 2002 (the year of release of his CD with Brahms Sonatas) and another as best scholarly group by the CD “Kinematic” by Musitrio in 2003.
His activities encompass a wide spectrum, including live performances, recordings, participation in radio programs, chamber music recitals and the dissemination of Brazilian music composed for the cello, with the execution of works composed and dedicated to him.
In Brazil, more regularly in Rio Grande do Sul, Rodrigo contributes much to the dissemination of Brazilian music, having in his repertoire a selection of songs by Brazilian composers of different periods and styles. He performs recitals of contemporary works composed for cello solo by gaucho composers working in the Rio Grande do Sul region.
Feature Article about Trio Fortutio
November 17, 2018
A trio of musicians on the flute, cello and piano, yet evoking whales, seagulls, the sitar and Jethro Tull will play for Vesper Concerts on Nov. 18 at 3 p.m.
Trio Fortutio will perform a program of contemporary music, mostly from the ‘90s and 2000s, said flutist Christie Beard. The oldest composition they will perform is their closing piece, George Crumb’s 1971 “Voice of the Whale”, or “Vox Balaenae” in the original Latin title.
Crumb got his inspiration for the piece by listening to recordings of humpback whales singing, Beard said. The musicians use their instruments in unusual ways to make the sounds of seagulls calling and whales singing.
Cellist Rodrigo Alquati will change his cello’s tuning and use harmonics to make strikingly lifelike seagull calls, he said.
To imitate whalesong, Domenici will play from inside her piano, scraping the wires with various tools, Beard said. She will also imitate Indian drone music, while Alquati will imitate a sitar by plucking on the strings of his cello.
Crumb, an American composer, was in search of new sounds and ways to play instruments, yet make sure they are interesting and accessible to the audience, Beard said.
“At the height of his career he was basically trying to bridge the gap between all of the really experimental music from the 1950s and ‘60s which really ended up leaving audiences feeling somewhat isolated and not understanding contemporary music, and was trying to draw them back in with these interesting sounds, but also painting stories with the music he’s putting together,” she said.
In addition to Alquati’s sitar and Domenici’s drone, Beard will also sing into her flute to make an “electric” sound, she said.
“Like Jethro Tull,” Alquati said.
Trio Fortutio will open the concert with Robert Patterson’s “Oceanic Prelude”, which was written to be a companion piece to Crumb’s “Voice of the Whale”, Beard said. The piece uses the same instruments as Crumb’s, except for the flute, which the piccolo replaces.
The trio will also play “Llef” by Hilary Tann, Beard said. The name of the piece is the Welsh word for “cry”. It depicts the old, rain-soaked stone walls scattered around the countryside of Wales.
The piece was written for cello and shakuhachi, a Japanese bamboo flute. Though Beard plays a traditional flute, she imitates shakuhachi techniques in her rendition, she said.
Beyond established work, Alquati and Domenici will play the premiere of a work composed by Domenici’s husband, James Correa. The piece is called “Earth Canticles”.
“Earth Canticles” was inspired by the four classical elements: earth, air, water and fire, Domenici said. Correa recorded each of these, ran the sounds through a computer program to extract the pitch and then modeled his composition based on the pitch profile of each element.
Part of the composition, “Water” revolves around slow, eerie sounds on the cello and quick plucking on the piano wires to make the listener feel as if they were underwater.
Trio Fortutio will also play “Court Dances” by Amanda Harberg. Though the piece is about tennis, the composer’s favorite pastime, the composition was inspired by the Paris terrorist attacks in 2015.
“So that was the impetus for the commission, and the composer was told just to write a piece that was in response to the terrorism and hate and the ugliness that’s in the world,” Beard said. “And she chose to write a piece about tennis because that’s one of her favorite pastimes.
“Just kind of a reminder that we need to not allow all of the awful things that are happening in the world to get in the way of living,” she said.