Tess Remy-Schumacher | Music for Peace II

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Music for Peace II

by Tess Remy-Schumacher

Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
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1. Remember Me for Cello and Organ Reduction
Tess Remy-Schumacher & Andreas Sagstetter
18:08 $0.99
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2. 3 Jüdische Lieder for Guitar and Cello: I. Schir Le'lo Milim
Tess Remy-Schumacher & Stefan Grasse
2:16 $0.99
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3. 3 Jüdische Lieder for Guitar and Cello: II. Papirossen
Tess Remy-Schumacher & Stefan Grasse
2:15 $0.99
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4. 3 Jüdische Lieder for Guitar and Cello: III. Dem Milners Trern
Tess Remy-Schumacher & Stefan Grasse
2:11 $0.99
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5. En Mai for Cello and Guitar
Tess Remy-Schumacher & Stefan Grasse
2:15 $0.99
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6. Memories of Home (2017) for Cello Solo: I. Longing For
Tess Remy-Schumacher
2:07 $0.99
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7. Memories of Home (2017) for Cello Solo: II. an Afternoon with Mom
Tess Remy-Schumacher
1:40 $0.99
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8. Memories of Home (2017) for Cello Solo: III. and Scratches on the Glove Box
Tess Remy-Schumacher
1:11 $0.99
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9. Memories of Home (2017) for Cello Solo: IV. If Memories Were All That Was Left
Tess Remy-Schumacher
1:53 $0.99
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10. Time Play for Cello Ensemble and Electronics
Tess Remy-Schumacher, UCO Cello Ensemble, Daniel Ramones & Kelly Folsom
10:39 $0.99
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11. Etiquette for Cello Solo
Tess Remy-Schumacher
8:27 $0.99
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12. Passacaglia for Organ Solo in C Minor, BWV 582: I. Passacaglia
Andreas Sagstetter
8:28 $0.99
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13. Passacaglia for Organ Solo in C Minor, BWV 582: II. Fugue
Andreas Sagstetter
5:35 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Music for Peace II
Maslanka, Legnani, Wren, Folsom, Prather, Faingold, Bach
Tess Remy-Schumacher, Cello
Stefan Grasse, Guitar
Andreas Sagstetter, Organ
UCO Cello Ensemble:
Yali Xie, Theerit Kanyarong, Jonathan Edwards, Wenting Liu, Chalyn Edson
Conductor: Daniel Ramones
Kerry Folsom, electronic tracks


Back of Booklet and Back of CD:

Track Listing and times

1 David Maslanka (*1943) Remember Me for Cello and Organ reduction (by Andreas Sagstetter, 2016) 18’08”
Roberto Legnani (editor) 3 Jewish Songs for Cello and Guitar
2 Schir le'lo milim 2’15”
3 Papirossen 2’15”
4 Dem milners trern 2’11”

5 Bill Wren (produced and arranged by Frank Ralls)
En Mai for Cello and Guitar 2’15”

Chris Prather (1995) Memories of Home (2017)
6 Longing for 2’07”
7 An afternoon with mom 1’40”
8 And scratches on the glove box 1’11”
9 If memories were all that was left 1’53”

10 Kerry Folsom (1960) Time Play for Cello Ensemble 10’39”
11 Noam Faingold (1984) Etiquette for Cello Solo 8’27”
Johann Sebastian Bach (1685-1750) Passacaglia and Fugue for Organ in c minor, BWV 582
12 Passacaglia 8’28”
13 Fugue 5’35”
Total Playing time: 67’04”
All rights reserved
Copyright Remy-Schumacher
XOLO.DE
Label Code LC 10679
Xolo 1050


Recording sessions:
Tracks 2-9 Kreuzbergkirche, Burg Lengenfeld, Germany,
Tracks 1 and 12, 13 Stiftsbasilika Waldsassen, Germany,
Hermann Heinrich, Recording Engineer and Producer.
Microphones: DPA 4040 (special edition) tube
Preamps custommade from Audio Endt, Holger Senkel
Cello Bow: Lubos Oubrecht
Cello: Goldfuss “Premio”
Organ: Stiftsbasilika Waldsassen
Track 10: Radke Fine Arts Theater, Kerry Folsom, Recording Engineer and Producer.
Cover Drawing: Chalyn Edson
Booklet Design and CD Production: Spectrum Oklahoma City
Thank you:
David and “Ma’chen”
UCO Office for Research and Grants: Dr. Gregory Wilson and Rachel Waldrop
Katholisches Pfarramt Kreuzbergkirche, Burg Lengenfeld, and Dr. Franz Riedhammer
Stiftsbasilika Waldsassen



Booklet Text:

Information about the Compositions:

David Maslanka was born in New Bedford, Massachusetts in 1943. He attended the Oberlin College Conservatory where he studied composition with Joseph Wood. He spent a year at the Mozarteum in Salzburg, Austria, and did masters and doctoral study in composition at Michigan State University where his principal teacher was H. Owen Reed.

Maslanka's music for winds has become especially well known. Among his 40-plus works for wind ensemble and band are Symphonies 2, 3, 4, 5, 7, 8, and 9, 12 concertos, a Mass, and many concert pieces. His wind chamber music includes four wind quintets, two saxophone quartets, and many works for solo instrument and piano. In addition, he has written a variety of orchestral and choral pieces.

David Maslanka's compositions are published by Carl Fischer, Inc., David Maslanka Publications, Kjos Music Company, Marimba Productions, Inc., the North American Saxophone Alliance, OU Percussion Press, and TrevCo Music, and have been recorded on Albany, Reference Recordings, BIS (Sweden), Naxos, Cambria, CRI, Mark, Novisse, AUR, Cafua (Japan), Brain Music (Japan), Barking Dog, and Klavier labels. He has served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough Community College of the City University of New York, and since 1990 had been a freelance composer. David Maslanka was a member of ASCAP. He passed in August 2017.

David Maslanka: Remember Me – program notes
Remember Me is not a concerto in the traditional sense, but a single-movement, free-flowing fantasia.
This composition was inspired by my reading of a “relatively minor” Holocaust event – the extermination of 5,000 Jews in a small town – in William L. Shirer’s Rise and Fall of the Third Reich. An eye-witness description of a Jewish family about to be slaughtered – mother, father, 10-year-old son, grandmother gently bouncing a year-old baby and making it smile – forcefully riveted my mind and heart. This music is for the baby – a single death, through which it is possible to begin to experience the massive horror of the totality.

Bill Wren

Bill Wren’s first album “One day in A life”, released in 2009, went to #1 on FM new age radio stations worldwide, and he was nominated for Best New Artist Of The Year. Later that year, songs from this album were picked up by Sirius XM satellite radio, Dish Network and Direct TV. His second award winning album “Journey around the sun” came out in 2011, becoming the #1 on the Zone Reporter New Age FM charts. The CD was nominated for Best Album Of The Year, Best Contemporary Instrumental Album of the Year and Best Cover Art Of The Year.
Bill Wren is a member of The Grammys, ASCAP, and the Songwriter’s Guild.


Chris Prather
Composer and percussionist Chris Prather is currently completing his Bachelor of Music degree at the University of Central Oklahoma where he studies composition with Dr. Samuel Magrill. He was born 1995 in Lawton, Oklahoma, and eventually moved to Duncan, Oklahoma where he studied as a percussionist in the band program. Since high school, he has been been drawn to the field of music composition, and in his junior year of college, he decided to pursue that field as a career. The spring of 2017 was an auspicious season for Mr. Prather with the premiere of three of his recent works. Solitude (2016-7), written for the UCO Symphony Orchestra and conductor Jose Batty, was programmed by the director of the orchestra, Dr. Ralph Morris. Two Bicycles (2016-7) for string quartet, was selected to be premiered at the National Conference on Undergraduate Research (NCUR) which took place at the University of Memphis. 10 Years (2016-7), a chamber ensemble composition written for string quintet, drum set, two auxiliary percussionists, and two featured percussionists, incorporates classical, rock, and improvisatory elements, and was premiered on his senior percussion recital. Chris is also the recipient of the Theodore Presser Undergraduate Scholar Award and the Dean’s Recognition Award for the 2017-8 academic school year. He wants his music “to communicate emotion, and tell people’s stories.”
Memories of Home Four Bagatelles for Solo Cello The hardest part of being away from my parents is thinking about all the new memories I am missing out on making with them. The first bagatelle is my feeling of regret because of the time lost while I am away pursuing my own dreams. I am able to find comfort in knowing we have shared many great memories together. Memories of Home is a series of four bagatelles written for solo cello. The final three bagatelles are musical representations of different memories I have of my parents. This piece is a way to capture each moment into my memory with music. I consider this work a prelude to the piece Gratitude I am writing in honor of my parents.


Kerry Folsom (b. 1960- ) is a doctoral candidate in music composition at the University of Oklahoma at the Norman Campus. He teaches music history and theory as an adjunct at the University of Central Oklahoma and Oklahoma State University. Kerry also resides on the board of the Oklahoma Composers Association and is the founder of the Oklahoma Guitar and Mandolin Orchestra, the first “plucked instrument “orchestra in the state of Oklahoma. He enjoys writing many different genres and styles of compositions including soundtracks and selected songs for such productions as Julius Caesar, Shakespeare in the Park, summer 2015, and Glass Menagerie, University of Central Oklahoma, fall 2012.
“Without deviation from the norm, progress is not possible.” – Frank Zappa
Time Play (Fall 2015) consists of more than a trite attempt to merge historic styles or compare the music of a given time periods. With the continuous electro-acoustic track, the piece displays the enviable change that promotes all growth in the arts and supersedes the influences of the greatest masterpieces in all the arts: time changed everything.
Time Play manipulates the well-known styles of basic Western music history and combines them with electro-acoustic music. As the work progresses, the performers and listeners gradually accept the changing character and the underlying /unifying electro-acoustic part. As the quartet members execute their individual parts respectively, the sound engineer also performs his part using a prerecorded track processed through a mixing board and speakers. The performance also requires the amplification of each cello using microphones to record the signal and a mixing board to send these signals to speakers. Time Play combines the old and the new styles of Western classical music traditions in unexpected ways at unpredictable times throughout the course of the performance. Time Play transcends the listener into a brief review of some innovations important to Western music history, an impartial comparison of old and new music, and possibly a small glimpse of the future.

Composer Noam Faingold’s music has been described as "...lyrical...", "...exhilarating...", and "...a tour-de-force of Jazz melded with Classical..." by sources as varied as the New York Times, the BBC, Downbeat Magazine, and The Tulsa World among others. His Burning City Orchestra’s debut album was described as "21st century acoustic electric art music” (Rich Fisher, Public Radio Tulsa).
Faingold’s music has been performed around the world by a wide range of musicians including oboist Rob Botti (New York Philharmonic), violinists Dennis Kim (Buffalo Philharmonic concertmaster) and Chris Otto (JACK Quartet), saxophonist Ken Radnofsky, percussionist Peter Ferry (Alarm Will Sound), Jönköping Sinfonietta (Sweden), TRANSIT New Music and Cadillac Moon Ensemble (NYC), Juventas (Boston), the ProQuartet (Paris) and Tampere Philharmonic (Finland) chamber music series, and music festivals like Aspen, Bowdoin, Atlantic, New Music on the Point, Voice of Argentina, OK Mozart, and many others. Commissions include the International Double Reed Society, Jacob Fred Jazz Odyssey, Tulsa Signature Symphony, the Oklahoma Music Teacher’s Association, Sound Energy, record labels Pentatone and Unknown Tone, St. John’s Episcopal Church and Congregation B'nai Emunah's 100th anniversary in Tulsa. Noam has been artistic director of the OK Electric Festival and London’s i = u festival.
As an educator, he created the composition curricula and courses at Tulsa Community College and the Barthelmes Conservatory pre-college at the bART Center for Music in Tulsa, and the musicianship elective curriculum at Boston University Tanglewood Institute, also having taught at The University of Tulsa. Noam received his PhD in music composition from King's College London in March of 2015, funded by a Jack Kent Cooke Graduate Fellowship.

As a composer I am particularly interested in musical stories that share features with non-musical ones. Organized sound can trigger sensations of familiarity and memory, and activate our imaginations. “Etiquette” for solo cello explores elements of a familiar theme: the need for a personal, stylized experience in a world where impersonal rules of conformity encroach on the individual.
When writing the piece, I was thinking about how social expectations of chivalry inform expressions of love. The customs always seemed impersonal to me, and I felt a contradiction between personal feelings and pre-written methods and mannerisms for expressing them as a means of winning over affection. Over time, the musical story in “Etiquette” has grown to reflect a wider array of human experiences for me, representing struggles between the individual and social expectation as we search for meaning; attempting to stay honest while constantly being expected to follow what has come before.
For me, depth of feeling is in direct conflict with rules of etiquette. Impersonal adherence to cultural attitudes or traditions can keep us apart. Rules intended to create community can disconnect us from one another. In imitation of real life, expression in this piece is optimistic. We don’t always succeed in overcoming peer pressure to conform. The trick is to take the impersonal rules and attitudes and use them to make something new and desirable. A simple, spacious melody unfolds, increasingly interrupted, eventually incorporating the interruptions into itself.The melodic line turns the grace note interruptions into a vehicle for expression too, changing from a simple modal theme to an increasingly free, chromatic, expressive melodic one. Thus, for me the musical narrative imitates overcoming the greatest obstacle: impersonal, culturally mandated rituals, gaining expressive quality as the melody increasingly learns how to say something new by using elements of the interruptions.



Performers’ Biographies

Dr. Tess Remy-Schumacher was born in Cologne, Germany, and has studied with Boris Pergamenschikow, Maria Kliegel, Siegfried Palm, Jacqueline du Pre and William Pleeth. As a Fulbright Scholar, she studied with Lynn Harrell in his Piatigorsky class at the University of Southern California and was awarded her MM. As "most outstanding graduate of the year for performance, academic excellence and leadership," she received her DMA under the supervision of Eleonore Schoenfeld.
Dr. Remy-Schumacher has won first prizes in Germany's Jugend musiziert, New York's International Artist Competition (string division) and Rome's Carlo-Zecchi Competition with pianist Dr. Michael Staudt. She has been a concert soloist for many years performing in Asia, Australia, Europe and the U.S., including the Wigmore Hall in London, Jubilee Hall in Singapore and the Carnegie Recital Hall in New York and Bradley Hall in Chicago. In The New York Concert Review, Edith Eisler wrote about her most recent Carnegie Recital Hall performance, “Remy-Schumacher’s technique is disciplined… Her bow control and mastery of the fingerboard are complete; her intonation is excellent.” Dr. Remy also performed at the Brisbane Biennial Festival, the Australian Festival of Chamber Music and the Contempofest (Australia), the Weatherfield Music Festival (U.S.) and the Internationaler Klaviersommer (Germany).
She has recorded for WDR, NDR and MDR (Germany), WNYC New York, K-USC Los Angeles, ABC National, Australia, MBS-FM Melbourne, Australia and Swiss and Italian television. Her CDs include her own transcriptions of Robert Schumann's "Dichterliebe" with Marcus Reissenweber and Christoph von Sicherer, works by "In Sun Cho" for the Contemporary Music Society in Seoul, Korea, Villa Lobos with guitarist Stefan Grasse, the "Ibert Cello Concerto" recorded in 1999 at Radio Hilversum combined with solo cello works by Henze, Lutoslawki, Stahlke, Magrill, and the Rachmaninov Sonata in g-minor with pianist Michael Staudt. She has released 2 CDs of Cello Compositions by Sam Magrill and "Trios" by Brahms, Tchaikovsky, Beethoven and Michael Daugherty, as well as the first volume of the "Suites for Cello Solo" by Johann Sebastian Bach. Recent CD projects have included Beethoven Sonatas with Ben Davis, and David Maslanka’s “Remember Me” and Carter Pann’s “High Songs” for Cello and Wind Ensemble with conductor Dr. Brian Lamb and the UCO Wind Symphony.
Following her appointment at James Cook University from 1992-1998, she is now a professor for cello, chamber music and historical performance practice at UCO. She is the co-founder of the UCO Outreach Music program together with Dr. Chindarat Charoenwongse. She was a Visiting Fellow Performance at Harvard University 2010-2011. For the academic year 2011-2012 she was appointed Visiting Scholar at Harvard University. She also reviews for the national ASTA magazine.
She is cofounder with Dr. Ted Honea, and General Program Coordinator of the Brisch Center for Historical Performance Practice at UCO.
For more information, visit: www.tessremy.com
Stefan Grasse was born in Munich, Germany in 1962 and studied jazz and classical guitar with Peter O’Mara (Munich Jazz School), Kurt Hiesl (Nuernberg Conservatory), Phillip Thorne (Royal Scottish Academy of Music and Drama, Glasgow) and Pepe Romero (International Summer Academy, Salzburg).
He has been awarded Bavarian Radio scholarships, the Royal Scottish Academy’s „Guitar Challenge Prize 1991“, the „Scottish Society of Composers’ Award 1991“, the City of Nuernberg Cultural Award 1996 and the Cultural Award 2004 of the Kulturforum Franken, Germany. Till 2015 Stefan Grasse has given over 2,000 concerts in Europe, Australia, Argentina, Turkey, China and the U.S.A. (including the „Concierto de Aranjuez“).
Since 1993 he has released 15 CDs, ranging from the music of German composers, Steve Reich, Heitor Villa-Lobos, Baden Powell, Isaac Albeniz to Astor Piazzolla and his own compositions.
Amongst many others, mostly commissioned by himself, Stefan Grasse has given first performances of works by Janet Beat, Volker Blumenthaler, Dieter Buwen, Greg Caffrey, John Maxwell Geddes, Heinrich J. Hartl (including a guitar concerto), Nicky Hind, Stefan Hippe, Adriana Hölszky, Samuel Magrill, Edward McGuire, Vivienne Olive, Steve Reich and Thomas B. Wilson.
Stefan Grasse lives as a freelance concert guitarist and producer in Nuremberg, Germany, where he is also artistic director of the "Nuremberg Guitar Nights".


Andreas Sagstetter (geb. 1974) studierte an der Universität für Musik und darstellende Kunst „Mozarteum“ in Salzburg Katholische Kirchenmusik (A-Diplom) und Konzertfach Orgel. Zu seinen prägendsten Lehrern dort zählten u.a. Prof. Elisabeth Ullmann und Prof. Michael Gailit (Orgel), sowie Prof. Albert Anglberger und Prof. Hans-Joachim Rotzsch (Chor- und Orchesterleitung). Im Jahr 2000 wurde Andreas Sagstetter als Kirchenmusiker an die päpstliche Basilika Waldsassen als Kirchenmusiker berufen. Darüber hinaus unterrichtet er noch am Stiftland-Gymnasium in der Nachbarstadt Tirschenreuth im Fach Musik. Seit dem Jahr 2006 ist Sagstetter als Regionalkantor für die Region Nord des Bistums Regensburg eingesetzt. Zahlreiche Konzerte, CD-Einspielungen, sowie Radio- und Fernsehübertragungen dokumentieren das Wirken des Künstlers. Im Jahr 2000 wurde ihm der Kulturförderpreis der Stadt Straubing zuteil. Im Jahr 2013 zeichnete ihn die Stiftung Buecher-Dieckmeyer für sein Engagement in der Kirchenmusik aus. Anfang 2016 bekam Andreas Sagstetter - in Anerkennung seines kirchenmusikalischen Wirkens - von Bischof Dr. Rudolf Voderholzer den
Titel „Bischöflicher Kirchenmusikdirektor'' verliehen.

Yali Xie , born in China, has been the Assistant Cello Principal of the Pearl River Symphony Orchestra, China and adjunct Professor for “string ensemble” at the Southern China Normal University. Currently he is pursuing a Masters in Cello performance with Dr. Tess Remy-Schumacher at the University of Central Oklahoma and was selected as a Graduate Assistant and principal of the UCO Chamber Orchestra.
Theerot Kanyarong, born in Chiang Mai was a member of the Chiangmai Philharmonic Orchestra. Currently he is pursuing a Masters in Cello performance with Dr. Tess Remy-Schumacher at the University of Central Oklahoma and was selected as a Graduate Assistant and principal of the UCO Chamber Orchestra.
Jonathan Edwards is pursuing a Masters in Cello and Baroque Cello performance with Dr. Tess Remy-Schumacher and Composition at the University of Central Oklahoma. He has been a member of the Brisch Center for Historical Performance.
Wenting Liu, born in China, graduated from the Wuhan Conservatory of Music. She has performed extensively. In Fall 2017, she is resuming a Masters of Music degree in Cello Performance at the University of Central Oklahoma with Dr. Tess Remy-Schumacher.
Chalyn Edson pursues a Bachelor of Art Education at the University of Central Oklahoma. She studies Cello with Dr. Tess Remy-Schumacher and is an assistant at Memorial High School with Orchestra Director David Koehn.
Daniel Ramones, born in 1993 in San Juan de los Morros, Guarico, Venezuela, is a graduate of Putnam City High School in Oklahoma City, Oklahoma. He is currently a student at the University of Central Oklahoma majoring in Instrumental Music Education. Daniel is a promising composer and talented instrumentalist specializing in saxophone. He volunteered for this project to gain experience at conducting a chamber group and quickly became a vital, essential component in rehearsing and recording this piece.
Recording engineer Hermann Heinrich, 1965 geboren, studierte bei Claus Reichardt und Sigmund von Hausegger (Nürnberg), sowie bei Edgar Gredler (München). Seit 1997 ist er Musiklehrer und unterrichtet seit 1999 am Stiftlandgymnasium in Tirschenreuth. Darüber hinaus betreibt er ein Tonstudio, wobei das Schwergewicht auf Kammermusikaufnahmen in natürlicher Raumakustik liegt.
Bow maker:
Luboš Oubrecht was born on 22nd October 1975 in Cheb. He graduated from the School for Violin-Makers in Luby in 1993 with honours, having undergone the practical part of his training - the making of bows - with his father. In 2001 Luboš Oubrecht became a member of the Circle of Artists in Violin-Making in the Association of Concert Artists and Scientists. He makes exclusively pernambuco octagonal or round bows, silver mounted with so-called new silver for all kinds of contemporary musical instruments as required by musicians. Apart from ebony, he makes frogs also of tortoise-shell, horn or snakewood. He takes advantage of the visits of outstanding artists to their family workshop for consultations and their experience with and knowledge of bows inform his further work. His bows are popular especially with young talented musicians for their meticulous execution and facility. They are in the possession of Pavel Šporcl, Ladislav Cigler, Lucie Hůlová, Martin Sedlák, Luboš Dudek, Jaroslav Kulhan of Panocha Quartette. His bows are used by musicians from the whole world for example Dr.Tess Remy-Schumacher, School of Music University of Central Oklahoma, Prof. Stephen B. Shipps from USA and other young players from Germany, Austria, Spain, Finland and Australia.






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