PE - 10/26/16 Butler
Edward Butcher, Salem, OH
Jesse DeLorenzo, Wampum, PA
Anthony Gill, Vienna, OH
Joel Gillespie, East Liverpool, OH
Brandon Maffitt, Warren, OH
Evan McCreary, Poland, OH
Elexis Moore, Warren, OH
Nathan Negro, Wooster, OH
Marino November, McDonald, OH
Tracy Rusk, Brookfield, OH
Tommy Starr, Pittsburgh, PA
Anthony Tresky, Pittsburgh, PA
Nathan Weingart, Canfield, OH
Glenn’s career spans idioms such as classical, new music, world music, jazz, blues, rock, reggae, funk, Brazilian, West African, and Afro-Cuban. Glenn has recorded and served as executive producer with the Youngstown Percussion Collective, Dave Morgan, Ron Coulter, John Hollenbeck, Cleveland Chamber Symphony, Scott Wyatt, Amanda Powell, Air Force Band of Mid-America, Youngstown State University Wind Ensemble, and myriad jingles.
His credits include conductors Giora Bernstein, Jeffery Siegel, Anton Coppola, Edwin London, Gunther Schuller, Paul Martin Zonn, Peter Schickele, aka P.D.Q. Bach ensembles such as Colorado Music Festival, Skaneateles (NY) Chamber Music Festival, "Artist In Residence" at Baldwin-Wallace University with BATTU contemporary/world percussion group, Cleveland Chamber Symphony, Cleveland Ballet, Ohio Chamber Orchestra, Cleveland Opera, Robert Page Singers, Akron Symphony, Richmond Symphony, Springfield (IL) Symphony, Youngstown Symphony, Duluth-Superior Symphony, Champaign-Urbana Symphony, Lake Superior Chamber Orchestra, Dance Theater of Harlem, Cleveland Dance Collective, and artists such as Paul Sperry, Julie Newell, Robert Weirich, Robert Van Sice, Peter Erskine, and Ben Toth.
Glenn drumset and world music credits include Ruben Alvarez, American Jazz Orchestra, Chuck Berry, Nick Brignola, Freddie Bryant, Ndugu Chancellor, Sarah Jane Cion, Stewart Copeland, Anthony Cox, 1940's Radio Hour Show-US Tour, Todd Coolman, Harold Danko, Paquito D’Rivera, Larry Elgart, Raul Esparza, John Fedchock, Five By Design, Reynaldo Gonzales, Taku Hirano, Laurence Hobgood, Engelbert Humperdink, Randy Johnston, Sean Jones, Mike Kocour, Alison Krauss, Victor Krauss, Ralph Lalama, Tony Leonardi, Robert Lockwood Jr., Bryan Lynch, Jim McNeely, Hank Marr, Phil Palombi, Ken Peplowski, Chita Rivera, Trichy Sankaran, Michael Spiro, Marvin Stamm, Chip Stephens, The Texas Tenors, Alan Vizzutti, Dan Wall, James Weidman, Michael Weiss, Mike Wofford, Women of the Phantom, Andrea Zonn, and Youngstown State University Faculty Jazz Group.
Notable performances include the 2018 Percussive Arts Society International Convention in Indianapolis, Percussive Arts Society Ohio Chapter Days of Percussion at Capital University, Ohio Northern University, Youngstown State University, and Ohio Music Education Association Conferences in Cleveland, Columbus, and Cincinnati. A central part of our mission involves collaborations with composers in the commissioning, premiering, and critically acclaimed recording of their works. Our 2005 release "Dark Wood" includes six premiere recordings and commissions. Our commission project with New York City-based percussionist/composer John Hollenbeck on his "Ziggurat" for five percussionists and four saxophonists, was premiered at the Whitney Museum of Contemporary Art in New York City, and is available on his 2008 release "Rainbow Jimmies." The Youngstown Percussion Collective's 2012 release "Forms Of Things Unknown" is a concert-length suite by YSU professor of jazz studies, bass, and composition, Dr. Dave Morgan. Our 2012 recording of Ron Coulter's "Cajon Trio" will appear on an upcoming 2019 Coulter CD release.
Amadinda is an African xylophone, found in Uganda and surrounding areas, consisting of wooden logs and gourd resonators that sit on the gourd. Distinct musical parts are played by two players who sits across the instrument from each other and play fast interlocking parts where one players notes occur exactly between the other player's notes. Ron Coulter is a Hermitage, PA native and alum of the Dana School of Music, 2002 Bachelor of Music and 2004 Master of Music. He presently serves as assistant professor of percussion at Casper College in Casper, Wyoming and previously served for ten years at Southern Illinois University. Ron holds artist endorsements with Black Swamp Percussion, ProMark Inc., and Pearl/Adams Inc. Ron is an active performer/composer/lecturer who has returned to Youngstown State University as a recitalist, clinician, and to coach the Youngstown Percussion Collective in their recording of his 2008 cajon trio, Jam Box. Notes by Glenn Schaft
This piece was conceived after reading the following quote: Schopenhauer believed that art, in particular music, had - has - the power to cause the will, the irrational, striving will, to somehow turn back onto and into itself and cease to strive. He considered this a religious experience, although temporary. Somehow art, somehow music especially, has the power to transform man from an irrational thing into some rational entity that is not driven by biological impulses, impulses that cannot by definition ever be satisfied. - Philip K. Dick, "The Transmigration of Timothy Archer" Transmigration is meant to exemplify the reflective nature of music, and its ability to (at least temporarily) transform us into rational beings. Notes by the composer.
The two inventions on this program are part of Levitan's collection of Eight Two-Part Inventions scores for two percussionists, each playing a battery of four unspecified instruments. One of the instruments in each battery has a relatively long sustain; the other three are arranged in relative order of pitch.
Premiere performances were presented by Battery Four percussion, January 2003 at Delaware Symphony Chamber Music. "Quick Blood" is mostly for mallet instruments (marimbas, vibraphones, xylophone) often in the "four hands" method of having two people simultaneously share an instrument. Melodies are passed note-by-note back and forth from one marimba to the other. The music is "tonal," meaning that it uses the sorts of diatonic harmonies that are common to much older classical music. It is rhythmically very vigorous, with a feeling of perpetual motion. There is also a very dramatic use of the large orchestral bass drum. The title "Quick Blood" comes from Silverman's orchestra piece Her Quick Blood Runs Dancing, of which this percussion quartet is a slightly expanded and embellished re-orchestration of the middle movement. The original, longer title is itself taken from a poem written in 1640 by Thomas Carew, a contemporary of Shakespeare. It's a love-poem sung by chorus in the orchestral work, that Silverman chose to continue a series of works that address historical conflicts between religion and science. Notes by Ted Wilks (2002) for the Delaware Symphony
La Llorona (The Weeping Woman) and Comitan are beautiful tunes from the rich folkloric marimba tradition of southern Mexico.