25 March 2006 Atlanta
Supported by Japan Foundation

European Roots and International Flowerings
Fantasia No.21 “Udite Ecco le Trombe” 1603
J'ay Pris Amours and La La Hö Hö undated
Ich Stuend an einem Morgen 1534
Canzone Francese Seconda, del Nono Tuono Naturale 1641
Fantasia No.7 Z742 1680
Choral “Red Shoes of May” 1989
Batalha de 5˚ Tom 1695?
O Man, thy Grievous Sin Bemoan BWV622 1714
Prelude No.1 from The Well- Tempered Clavier I BWV846 1722

A. Banchieri (1568-1634)
H. Isaac (c.1450-1517)
L. Senfl (c.1486-1542/3)
G. Salvatore (early17c-1688)
H. Purcell (1659-1695)
Tsutomu Mizuno (b.1949)
D. da Conceição (fl.1695)
J.S. Bach (1685-1750)

SideStep 2004 US premiere
As she Sings 2004 US premiere
Variations on “Drmes” A Croatian Dance 1999
Suite for Noble Cats 1990–––– Prelude-Fuga/ Arietta/ Scherzo Mysterioso/ Gavotte/ Gigue

Steave Everett (b.1953)
John Anthony Lennon (b.1950)
Martha Bishop (fl.2006)
Ryouhei Hirose (b.1930)

All programs are subject to change.

NOTES
Udite Ecco le Trombe“Listen to the Sound of the Trumpets” is by the Italian organist-composer Banchieri. It is filled with the joyand cheer of the Italian sunshine.
J’ay Pris Amours and La La Hö HöIsaac was born in Flanders and was mainly active in Florence. He was welltreated by Maximilian I. Helearned various styles of music while traveling in different cities. “J’ay Pris Amours” expresses the beauty andsorrow of love, and sighs with the anxiety that one might lose it. As a complete change, “La La Hö Hö” has a jaunty
rhythm and a theme which emerges like a hawker’s cry.
Ich Stuend an einem MorgenSenfl was a Swiss composer active in Germany. In the sixteenth century his polyphonic songs were very
popular in Germany. Their main melody was usually in the tenor part. In this piece the tenor viol expresses asong with grief placed between the canonic parts of the melody “Ich Stuend an einem Morgen”.
YKVC recorded it in the CD “Buffet” YKVC 0201.
Canzone Francese Seconda
Salvatore’s canzone was an early Italian Baroque instrumental piece, consisting of several parts in the mannerof a toccata. The first section is entitled “Nono Tuono Naturale” and the following section has the suggestion“Concerto di viole” (consort of viols). The usages of chromaticism and sharp dissonances express the open Latin
passion.
Fantasia No.7
The four-part Purcell “Fantasia No.7” was composed on August 19, 1680, when the 21-year old Purcell hadalready been appointed organist at Westminster Abbey. This was among his last works in an already outmoded
style. In them one can view with admiration his genius for imitation, inversion of melodies, and chromaticism. It
was Purcell’s music which first attracted modern audiences of the last century to the sounds of viols and to earlymusic.
YKVC recorded it in the CD “Buffet” YKVC 0201.
The Red Shoes of May“The Red Shoes of May” was composed as a gift to amateur viol players of the American Society. It begins
with a calm choral melody, and then the famous Japanese song melody “Red Shoes” appears, but is hidden in
divided middle voices. After a lively section a repeat of the choral melody brings the work to a close.
Tsutomu Mizuno

Tsutomu Mizuno graduated from the Tokyo National University of Fine Arts and Music. He is currently a lecturerat Junshin Women’s College. He has composed many works for viols, some of them published by the Viola da Gamba
Society of Japan and YKV CM series.

YKVC recorded them in the CD “Buffet” YKVC 0201 and CD “Foglia d’olivo” YKVC 0302.
Batalha de 5° Tom
Fr. Diego da Conceição was Portuguese composer about whom we know almost nothing. His “Batalha” on
the 5th Tone is from “Fr. Roque da Conceicao Livro de Obras de Orgao”, Portugaliae Musica XI, Lisbon, 1967. ThePortuguese Missionary Ayres Sanches brought several viols to Japan in 1561 to assist in singing masses, instead ofusing an organ, which arrived in 1579 or 1580.* From this circumstance we got the idea to play more organ music
to expand possibilities of expression of the viol consort and to extend our repertoire.
At that time, battles were frequent. This piece begins with political negotiations, their breakdown, a skirmish,signals of trumpets and drums, commencement of the battle proper, hard fighting and the end. Then you see apastoral scene. After all that they are eating and drinking! Since the piece has no sections in minor, we think it
must have been victorious battle.
Wishing for world peace for the twenty-first century…
*Y. Kambe, “Viols in Japan in the Sixteenth and Early Seventeenth Centuries” Journal of VdGSA 37 (2000):
31-66
YKVC recorded it in the CD “Buffet” YKVC 0201.
O Man, thy Grievous Sin Bemoan
Bach composed this prelude for organ in 1714 at the Weissenfels Palace in Weimar, where he had learned
about the rich Italian style of ornamentation from music which Duke Johann Ernst had brought from theNetherlands. Thus the soprano choral part has rich ornamentation, expressing the depth of redemption. We
sympathize with Bach's words from a letter sent to his student J.G. Ziegler in 1746: “Performance should conform to
the meaning of the chorale verse.” Historically viols had been used by many composers to symbolize passion or theimage of heaven. When Bach uses viols, he often does so in slow tempi, so we find viols very suitable for a piecemarked ‘Adagio assai’.
YKVC recorded it in the CD “Ja, doch BACH” YKVC 0503.
Prelude No.1
“The Well-Tempered Clavier I” based partly on the “Little Clavier Book”, consists of twenty four preludes andfugues in all major and minor keys, an event crucial to music history. These were originally performed by twohands on a keyboard. However for us the true nature of the works become much clearer when played by four orfive viols. “No.1” became very famous as an accompaniment added to Gounod's “Ave Maria”. It appears as fivevoices to us, therefore each plays either one or two voices with viol pizzicati.
YKVC recorded it in the CD ”Ja, doch BACH” YKVC 0503.
SideStepThe idea of “taking steps” is a common metaphor describing an act of decision-making. “Giant steps” areseldom. More often they are small and inconsequential. Occasionally taking a “sidestep” is a desirable course, bothin life and in music design. The musical material for this work for viol quartet was organized in six sections withtransitions exploring these three types of “steps”. Of course in Japan, the notion of steps (dan) is common in themusical organization of traditional forms, such as noh, nagauta, and gidayu-bushi. A work organized in six sections

brings to mind the traditional koto melody of Kengyo Yatsuhashi, Rokudan no shirabe, which is briefly quoted in thesecond section of SideStep. In addition, this work for viol quartet utilizes three types of musical textures, 1) melody
with accompaniment, 2) polyphonic with each instrument independent, and 3) a blended texture in which each
instrument dissolves into a unified timbre.
Steve Everett
Steve Everett teaches composition, computer music, Javanese gamelan, and directs the Music/Audio ResearchCenter at Emory University (M/ARCE) in Atlanta, USA. In addition he has recently been a visiting professor ofcomposition at Princeton University, the Conservatoire National Supérieur de Musique de Paris, and the Conservatoire deMusique de Genève.
Many of his recent compositions involve performers with computer-controlled electronics and have been performed
throughout Europe, Asia, and North America, including recently at IRCAM in Paris, International Computer Music
Conferences in Singapore and Sweden, Korea Computer Music Festival, Royal Northern College of Music in England, andLincoln Center in New York. Composition awards have been received from the Rockefeller Foundation, Asian CulturalCouncil, Chamber Music America, American Composers Forum, International Trumpet Guild, and Bogliasco Foundation.
He is recorded on SCI, Crystal, Mark, Frog Peak and A CA Digital Records. In Japan his Quiver Songs for shakuhachi andguitar was performed in Kyoto in 1999 by shakuhachi master, Kurahashi Yoshio and this past year he was a guest lecturer
on computer music at Tokyo Denki University.

As she SingsAs She Sings
When life brings us into this world
She takes us through joy and tragedy
And she shall sing on
When we return on to our silenceThis music is an accompaniment for her As She Sings.

JALJohn Anthony Lennon has been commissioned by the John F. Kennedy Theatre Chamber Players, the Library ofCongress, the Boston Symphony Chamber Players, the National Endowment for the Arts Orchestral Consortium, theFromm Foundation , the Kronos Quartet and many others. In addition to the Rome Prize, Guggenheim, Friedheim,
DAA D, and Charles Ives Prize from the American Academy and Institute of Arts and Letters, Lennon has been the recipientof numerous awards, and has held fellowships at Tanglewood, Yaddo, McDowell, the Bogliasco Foundation and theRockefeller Center at Bellagio. A professor of composition at Emory University, Lennon resides in Atlanta.
Reared in Mill Valley, California, Lennon earned a liberal arts degree at the University of San Francisco, and holds amaster's degree and doctorate from the University of Michigan where he studied with Leslie Bassett and William Albrightand William Bolcom. Lennon is published by E.C. Schirmer, C.F. Peters, Dorn, Mel Bay, Frederick Harris, Columbia
University and Ox ford University Presses. Recordings are with CRI, Bridge Records, Capstone, Open Loop, MMC.

Variations on “Drmes” A Croatian Dance“Drmes” was commissioned by the American Recorder Society and is based on a Croatian dance melody.

Martha Bishop is a cellist and viola da gamba performer and teacher in Atlanta, Georgia. She is Music Director of theViola da Gamba Society of America and teaches cello and composition at Agnes Scott College.

Suite for Noble Cats
Though the titles of the different parts are taken from old music, I intended to realize modern expression. For
example: I sought cheerful activity in Prelude, loveliness in the Aria, wildness and mystery in the Scherzo, esprit andwit in the Gavotte, and rapid mobility in the Gigue. In fact, all of these qualities are attributes of cats!
Ryouhei Hirose

Ryouhei Hirose graduated from the Tokyo University of Music and Arts. He has concentrated lately on writing forwestern instruments, although he also composes for orchestra, early instruments, and traditional Japanese instruments.
He seeks “reaffirmation of human values through music”, and also attaches much importance to communication between
performers and audiences. He directed the Research Centre for Japanese Traditional Music and Kyoto City University ofArts. He is currently president of the Kyoto Concert Hall.

YKVC recorded it in the CD “Buffet” YKVC 0201.

Yukimi Kambe Viol Consort
Yukimi Kambe Eriko Ozawa

Maki Noguchi

Kaori Hashizume