Our 2024 Spring Chamber Music Series will explore some of the most beautiful repertoire in the intimate sanctuary of Greeley's First United Methodist Church.
We are excited to welcome an array of local artists and UNC Faculty to perform an exciting program of chamber works. This concert will include the World Premiere by Colorado composers Jim Klein and Ian Jamison.
Sunday, April 7, 2024 | 2:00 PM | First United Methodist Church Greeley
Ian Jamison & Jim Klein
Vignettes of the San Luis Valley (2023/2024)
Jason Olson, classical guitar
Jubal Fulks, violin
Sally Murphy, cello
Jane Vignery (1913–1974)
Sonata for Horn and Piano in B-flat, op. 7 (1943)
Grace Whalen, horn
Reggie Winters, piano
Ludwig van Beethoven (1770–1827)
String Trio No. 3 in D Major, op. 9 no. 2 (1798)
Jubal Fulks, violin
Russell Guyver, viola
Sally Murphy, cello
Frank Bridge (1879–1941)
Phantasy Piano Quartet, KH. 94 (1910)
Jubal Fulks, violin
Russell Guyver, viola
Sally Murphy, cello
Jeremy Gould, piano
Ian Jamison & Jim Klein
Sonata No. 1 for Alto Saxophone and Piano
Andrew Dahlke, alto saxophone
Juhyun Lee, piano
Since his appointment at the University of Northern Colorado in 2013, Associate Professor of Violin Jubal Fulks has become one of the most successful and sought-after violin teachers in Colorado. His students include competition winners at the state, regional, and national levels, many of whom have gone on to lead professional careers as music educators, orchestral musicians, and attend prestigious music festivals and graduate programs throughout the United States and abroad.
An acclaimed performer, Dr. Fulks maintains and active and multi-faceted performance schedule. Along with his UNC School of Music colleagues Adam Zukiewicz and Gal Faganel he formed the Colorado Piano, which performs concerts, outreach, and recruiting activities across the region and nationally.
Recent performances include Weill Recital Hall at Carnegie Hall and a feature on Colorado Public Radio’s “Colorado Spotlight,” and the trio looks forward to beginning a Greeley-based concert series to bring high-quality chamber music to northern Colorado. Dr. Fulks also serves as a leader and founding member of Sinfonia Spirituosa, a baroque chamber orchestra based in Sacramento, California. Sinfonia Spirituosa is dedicated to presenting bold, historically-informed performances on period instruments, and to bringing to life the broad spectrum of color, affect and rhetoric inherent in the music of the Baroque era.
A native of Colorado, guitarist Jason Olson has been teaching and performing since 1989. Expanding upon a background in Rock and Jazz, Jason graduated from the University of Northern Colorado with a Bachelor of Music (BM) in Classical guitar in 2000, and a Master of Music (MM) in 2005.
At UNC, Jason studied with Stephen Waechter and Jonathan Leathwood. He also performed in master classes with artists such as Evangelos and Liza, Antigoni Goni, Fábio Zanon, Judicaël Perroy, Jason Vieaux, Nikita Koshkin, and Denis Azabagić. Jason continues to be a “student of the guitar” as a member of the Guitar Foundation of America, and through various other professional activities including participation in guitar festivals and competition judging.
Jason’s teaching experience spans over 35 years and he is currently the Classical Guitar Instructor at the University of Northern Colorado in Greeley. In addition, Jason teaches a private studio of over 50 students a week in Longmont, Colorado and has taught music at Imagine Charter School, Firestone. His other teaching activities have included numerous public school presentations and a variety of other community classes, music camps, and clinics.
Jason is also an active performer with musicians and groups of various styles along the Front Range and Northern Colorado. As a classical guitarist, Jason performs both solo and in various ensembles. In addition, he often works as a “guitarist for hire” for a variety of classical and contemporary projects.
Sally Murphy enjoys an active and versatile career as a cellist, teacher, and chamber musician. As a performer, Sally engages with a dynamic range of repertoire as both a soloist and chamber musician. She has been featured in the Lewisville Lake Symphony’s International Chamber Series (TX), the Garden Music Series (CO), the Ad Astra Music Festival (KS), the Open Space New Music Festival (UNC), and solo appearances with orchestra, including the Littleton Symphony and the Greeley Chamber Orchestra. At the University of North Texas, Sally performed regularly with the Bancroft String Quartet and the Center Piano Trio. During the summer, she has been on the faculty at the University of North Texas’ International Summer Music Institute and served as the director of the cello ensemble at the International Summer School in Pirovac, Croatia. She has held several orchestral positions, including the Greeley Philharmonic, the Cheyenne Symphony, the Owensboro Symphony, and the Paducah Symphony.
Sally is the cello professor at the University of Northern Colorado, where she teaches cello, chamber music, and other related courses. Previously, she served as the Instructor of Cello and Bass at Murray State University and as an Associate Instructor at Indiana University. Sally completed her doctoral studies in cello performance at Indiana University. She received a Master of Music degree from the University of North Texas and a Bachelor of Music degree from the University of Northern Colorado. Her primary mentors have included Barbara Thiem, Gal Faganel, Nikola Ružević, and Peter Stumpf.
Russell Guyver is originally from London, England. He has followed a varied career as conductor, violist, composer and educator.
As a violist he has played in many orchestras including the Scottish Chamber Orchestra, English National Opera, Oxford Philharmonic. Royal Ballet and the Orquesta Sinfónica de Venezuela. He has appeared as conductor, soloist and chamber musician on four continents and has been a guest artist at several annual music festivals in the United States and in Brazil.
In 1984 Russell Guyver co-founded the String Orchestra of the Rockies, now a flourishing professional chamber orchestra based in Missoula, Montana.
Also active as a composer, he received an Emmy for his score of a PBS docudrama, Laurence of Alaska, in 1991 and in 2010 premiered his one-act electric opera Opera[tion] World Peace, co-written with Brian Luedloff. Guyver recently retired from his position of Director of Orchestras and Professor of Strings at the University of Northern Colorado.
Andrew Dahlke has been a guest artist and performer across the United States and East Asia, joining the Philadelphia Orchestra, the Capitol Saxophone Quartet, the Gangnam Symphony in Seoul, South Korea, and the Aspen Music Festival.
In the Capitol Quartet, Andrew participated in the commission and recording of Carter Pann’s Mechanics, Six from the Shop Floor, one of the three finalists for the 2016 Pulitzer Prize in music.
Andrew’s performances, recordings, and music editions of J. S. Bach’s Solo Cello Suites have received international recognition. His concert: Bach, Poetry, and the Greater American Experience was commissioned and live streamed on 17 May 2022 by the Aspen Music Festival.
Andrew recently performed Cake for jazz drummer Gerald Cleaver’s electronic music project 22/23 on Positive Elevation from 577 Records. This past Fall Andrew recorded nine of his own compositions with jazz luminaries pianist Craig Taborn, bassist Michael Formanek, and drummer Gerald Cleaver at The Bunker Studio in Brooklyn, NY. Andrew is currently Professor of Saxophone at the University of Northern Colorado School of Music.
A native of South Korea, collaborative pianist, and Chamber musician, Dr. Juhyun Lee actively performs nationwide, including in New York, Los Angeles, Washington D.C, Boston, Utah, Arizona, Nebraska, Montana, and Colorado.
Dr. Lee has performed in a large number of recitals, concerts, and new music festivals, including a world premiere performance of Charles Strouse’s Sonata for Horn and Piano and Armand Qualliotine’s Duo for Piano and Alto Saxophone.
She joined a premier Sonata recording project for Saxophone and Piano by Jim Klein and Ian Jamison with Dr. Andy Dahlke and released an album in July 2023.
As an orchestral pianist, she served in the Arizona State University Symphony and has joined the Fort Collins Symphony and Greeley Philharmonic. She performed in Jordan Hall as a guest keyboardist in the Boston Modern Orchestra Project in 2014.
Dr. Lee joined the Bowdoin International Festival 2013 and SongFest 2016 as a performance associate and fellow. She performed at the 47th National Flute Convention in Salt Lake City, Utah, in 2019 and the Mid-Atlantic Flute Convention in Washington, D.C., in 2020. She was the guest artist at MCC’s Summer Flute Project in Mesa, Arizona, and performed in faculty recitals and chamber music concerts in 2020.
In 2023, she was appointed a collaborative piano faculty member at the Luzerne Music Center summer program in New York.
Dr. Lee has joined Colorado State University as an instructor of collaborative piano since 2018. Previously, she served as a staff pianist at Longy School of Music from 2013 to 2015. During that time, she was also a primary pianist for Kenneth Radnofsky's saxophone studios at the New England Conservatory, Boston University, and Boston Conservatory.
She served as a judge penal in concerto competition finals for the University of Northern Colorado Southard Music Competition and the University of Wyoming Jacoby Competition in 2023.
Dr. Lee received her MM from Longy School of Music and her D.M.A from Arizona State University. She published A New Piano Reduction of the Nielsen Flute Concerto in December 2019.
Reginald (“Reggie”) Winters is an active pianist, educator, and arts administrator based out of Greeley, Colorado. As a performer, Reggie has become a highly sought after collaborator. He currently serves as a Collaborative Piano Teaching Assistant at the University of Northern Colorado where he assists with courses in the Voice Area. He additionally serves as the basso continuo in the URSA Early Music Ensemble. He has previously served as an orchestral pianist for the Texas Tech University Symphony Orchestra and for the chamber orchestra Ensemble Bravura.
Reggie completed the Bachelor of Music degree in Piano Performance at Texas Tech University where he was a recipient of the Undergraduate Collaborative Piano scholarship. He is currently completing the Master of Music degree in Piano Performance at the University of Northern Colorado. His principal teachers include Drs. Tatiana Roitman Mann and Lei Weng.
Kaija Saariaho (1952–2023)
Piano Trio “Light and Matter” (2014)
I have written many trios for different combinations, but have been hesitant to compose for a traditional piano trio, maybe because of its long and weighty tradition.
When I finally decided to approach this instrumentation, my first musical ideas were of light and rapid nature, and I started to imagine a one movement perpetual motion piece. During the composition, I developed the form into three continuous sections, including more varied tempi and textures.
The starting point for the music is light kinetic energy, which is then developed into more dramatic gestures and rapid exchanges among the three instruments.
The piece advances in spinning motion, moving from the original luminous fabric into more thematic patterns or towards the inertia of slow choral textures, before returning into the original weightlessness and starting a new flickering spin.
As a result, we hear three musical elements - kinetic texture, thematic motives and slowly moving choral material - in constantly changing combinations and orchestrations.
I wrote this piece in New York, while watching from my window the changing light and colors of Morningside Park. Besides providing me with the name for the piece, perhaps that continuous transformation of light on the glinting leaves and the immobile trunks of the solid trees became the inspiration for the musical materials in this piece.
Light and Matter was commissioned by the Aeolian Chamber Players, the Library of Congress, Britten Sinfonia and Norrbotten NEO.
Kaija Saariaho is a prominent member of a group of Finnish composers and performers who are now, in mid-career, making a worldwide impact. She studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her studies and research at IRCAM have had a major influence on her music and her characteristically luxuriant and mysterious textures are often created by combining live music and electronics.
(Program notes and biography sourced from the composer's official website and related articles.）
Rebecca Clarke (1886-1979)
Piano Trio (1921)
Rebecca Clarke, a British-born musician and composer, is widely acclaimed as one of the most prominent female figures of her era. She entered the Royal Academy of Music in 1903 as a violinist but withdrew two years later when her harmony teacher proposed marriage; then joined the Royal College of Music began taking composition classes, where her talent earned her the distinction of becoming Sir Charles Villiers Stanford’s first female pupil. Encouraged by Stanford, she transitioned from violin to viola, studying under the esteemed British violist Lionel Tertis, a pivotal figure in establishing the viola as a solo instrument. However, the good times were short-lived, as Clarke’s studies were once again interrupted. This time, her father banished her from the family home during a dispute, cutting off her means of livelihood.
To support herself, Clarke embarked on a career as a performing violist, freelancing in London. In 1912, she made history as one of the first women selected for membership in the Queen’s Hall Orchestra under Sir Henry Wood. Praised by both professionals and the public, one review commended her viola playing, stating, “We have seldom heard a more beautiful tone and phrasing from a viola player.” Her teacher, Lionel Tertis, remarked after a performance, “Rebecca, you’ve saved the viola!”
Beyond her prowess as a performer, Clarke gained recognition as a composer in the late 1910s and 1920s. Aware of the gender bias in the music industry that limited opportunities for women, she wrote two remarkable works under the pseudonym “Anthony Trent” – the Viola Sonata (1919) and the Piano Trio (1921) – both of which won second places at the Berkshire Chamber Music Festival’s competition sponsored by American patron Elizabeth Sprague Coolidge. Some Judges even mistakenly identified the Viola Sonata as the work of Ravel. Clark’s compositional repertoire encompasses chamber music, choral pieces, and solo songs, amounting to approximately 100 works, although only 20 were published in her lifetime. Her music echoes the themes of both waves of the feminist movement, providing a profound reflection of their ideals. Primarily composed during the first wave of feminism in England, her works experienced a resurgence in recognition and appreciation during the second wave of feminism in the United States.
The Piano Trio, comprising three movements, exhibits a style that navigates the musical space between late Romanticism and early atonality. Infused with the influences of French music, particularly Ravel and Debussy, the piece is adorned with an impressionistic vocabulary and exotic elements like pentatonic and whole tone scales that weave in and out of the composition. In the first movement, a momentous announcement emanates as the piano initiates with the deepest bass C, followed by a succession of sixteenth-note dissonances. Notably, the subtlety of its arrangement transcends its role as merely the theme of the first movement; it resurfaces as a recurring motif throughout all three movements, each time presented in distinct variations. The slow movement introduces a softer and more soothing ambiance compared to the first. Strings mournfully hover over the shimmering piano part. The Finale introduces modernist irony, punctuated by heartrending outbursts. Much like many compositions from the 1920s, this piece is considered a reaction to the panic that ensued after the First World War. The immense physical devastation and mental anguish caused by this unprecedented conflict in human history are echoed in the profound tones and complex emotions embedded in the music.
Augusta Read Thomas (b. 1964)
Moon Jig (2005)
Traditionally, a Jig (or Gigue) has been a lively dance with leaping movements, comprised of two sections each repeated. Somewhat of a cross between "Jazz" (Monk, Coltrain, Tatum, Miles, etc.) and "Classical" (Bartok, Brahms, Stravinsky, etc.) MOON JIG can be heard as a series of outgrowths and variations, which are organic and, at every level, concerned with transformations and connections. The piano serves as the protagonist as well as fulcrum point on and around which all musical force-fields rotate, bloom and proliferate.
The piano part starts with (and returns four times with) a low register jig, which is an earthy, punchy, rhythmic, asymmetrical walking bass. The second, contrasting section (which is also repeated 4 times) is always led by the strings who play long animated, expressive lines.
This very short work alternates 5 times total between these two sections: PIANO JIG — TUTTI — PIANO JIG — TUTTI — PIANO JIG, and so forth, yet as the repetitions proceed, the two musics eventually blend together. One clear-cut example is when the string pizzicatos blend into the low-register, jazzy piano rhythms. A multifaceted merging process finally results in one long sweep of music rushing to the end in the highest registers of the trio, as if the Jig leaped skyward and moonward.
Moon Jig, commissioned by the Music Institute of Chicago, was premiered by The Lincoln Trio on May 5, 2005 at the Four Seasons Hotel in Chicago at a private party and is most often performed with its companion trio ...a circle around the sun...
Augusta Read Thomas, born in 1964 in Glen Cove, New York, was the Mead Composer-in-Residence for Pierre Boulez and Daniel Barenboim at the Chicago Symphony Orchestra from 1997 through 2006. In 2007, her Astral Canticle was one of the two finalists for the Pulitzer Prize in Music. The “Colors of Love” CD by Chanticleer, which features two of Thomas' compositions, won a Grammy award. Currently, she holds the position of a University Professor of Composition in Music and the College at The University of Chicago.
(Program notes and composer’s biography retrieved from the composer’s website.)
Clara Schuman (1819–1896)
Scherzo from Piano Trio, op. 17 (1846)
The well-known Clara Schumann, whose image was once printed on the 100 Deutsche Mark, is an idealized figure in the public eye. As a pianist, she reached the pinnacle of her time, setting performance standards that continue to this day, including playing recitals and concertos from memory. As a wife, she not only took care of her husband but also, with her exceptional playing ability, greatly spread Schumann’s musical ideals and piano works. As the mother of eight children and the primary breadwinner for the family, she did not give up on her own music pursuit, touring and giving concerts virtually her entire life, proving that even in that era, she could overcome various difficulties while balancing career and family. Of course, the hardships involved are self-evident.
However, as a female composer, Clara had long harbored many self-doubts about this identity. In her diary, she often expressed such self-doubts, stating, “I once believed that I had creative talent, but I have given up this idea; a woman must not wish to compose—there never was one able to do it… May Robert always create; that must always make me happy.” Thankfully, Schumann was always very supportive of Clara’s composing career. The two as the term coined by themselves, “creative partnership”, were not only like-minded musicians, mutually relying on each other physically and emotionally, but also complemented each other in music and creativity. Clara’s works exhibit learned and innovative compositional techniques demonstrating both her understanding of past masters and of the new romantic sound, although, some may think “the marriage, all but disrupted the uniquely creative relationship between Clara and Robert.”
The Piano Trio, Op. 17, was composed in 1846 when Clara was 27 years old. Unable to travel due to Robert’s health and her duties as a mother, the musician had to cancel her concert tour and she composed this piece amidst household chores and Robert’s assisting jobs. In the preceding years, she had immersed herself in practicing and studying works by composers such as Bach, Mendelssohn, and Beethoven, alongside her husband, providing Clara with an expansive knowledge of symphonic and chamber music unlike any other concert pianist of the time. This Piano Trio, as a result of studies in fugues and daily exercises in counterpoint and also can show how Clara’s musical models influence on her music. Historians highly praise this trio, considering it her greatest compositional achievement. The famous nineteenth-century violinist Joseph Joachim wrote to Clara: “I would rather have heard your trio. I recollect a fugato in the last movement and remember that Mendelssohn once had a big laugh because I would not believe that a woman could have composed something so sound and serious.”
Serving as the Trio's second movement, the “Scherzo” adheres to the stylistic framework set by other chamber works of the early nineteenth century, manifesting itself in the guise of a minuet and trio. The minuet is a rustic and spirited dance, defined by the violin's playful dotted rhythms. Meanwhile, the interjected trio exhibits a more lyrical nature, not devoid of metrical intricacies across the bar that lend a stretchier quality to the music.