PE - 3/24/10 - Butler North

Youngstown State University Percussion Ensemble
Dr. Glenn Schaft - Director and Tetsuya Takeno - Assistant Director
Butler North
Tetsuya Takeno, Kanagawa-Ken, Japan
David Blon, North Huntington, PA

Kevin Rabold, Pittsburgh, PA

Joshua Colson, Transfer, PA
Dan Danch, New Wilmington, PA
Matthew Hayes, Coshocton, OH
Robert Young, Austintown, OH
Eric Zalenski, Bloomingdale, OH

Dustin May, Westerville, OH
Gary White, Warren, OH

Keith Born, Bethel Park, PA
Dylan Kollat, North Jackson, OH
Kelvin Newell - Warren, OH
Moriah Placer, Warren, OH
About the Director
GLENN SCHAFT is Professor and Director of Percussion Studies at Youngstown State University. He is the advisor/co-founder of the Youngstown Percussion Collective and an artist with Avedis Zildjian Co., Innovative Percussion Inc., Remo Inc., and a member of the Black Swamp Percussion Educators Network. Glenn earned the DMA from the University of Illinois at Urbana-Champaign, the MA from Eastern Illinois University, and the BM from Baldwin Wallace University. He pursued post doctoral studies in contemporary music and orchestral percussion at Cleveland State University, Afro-Cuban music in Havana, Cuba and world percussion at the Berklee School of Music World Percussion Festival. Glenn’s teachers include John Hollenbeck, John Riley, Tom Freer, Jay Burnham, Lewis Nash, Ted Piltzecker, Tom Siwe, Johnny Lee Lane, George Kiteley, Harold Damas, Linda Pimentel, and Ruben Alvarez. A member of the Percussive Arts Society, Glenn serves on the Drumset Committee and has appeared as performer, lecturer, and panelist at PAS international conventions.

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.
About the YSU Percussion Ensemble

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. 

Ionisation (1931)
Edgard Varese (1883-1965)

            Ionization was completed in Paris in 1931 and was one of the first pieces ever written, in Western culture, primarily for percussion instruments. Varase described music as "organized sound" and he perceived musical organization (form) as the "result of a process" similar to the formation of crystals in science. He viewed rhythm as "the generator of form, or as "a succession of alternate and opposite or correlative states." Ionization requires thirteen percussionists who play forty instruments that are grouped to create different musical structures, each with a recognizable texture.

            Sidney Finkelstein wrote about the work: Ionisation "is built on a most sensitive handling and contrast of different kinds of percussive sounds. There are those indefinite in pitch, like the bass drum, snare drum, wood blocks, and cymbals; those of relatively definite musical pitch, such as the piano and chimes; those of continually moving pitch, like the sirens and 'lion's roar.' It is an example of 'spatial construction,' building up to a great complexity of interlocking 'planes' of rhythm and timbre, and then relaxing the tension with the slowing of rhythm, the entrance of the chimes, and the enlargement of the 'silences' between sounds. There are suggestions of the characteristic sounds of modern city life."

Implosion (1982)
Mantle Hood (1918-2005)

The basic principles of composition are derived from practices in the island of Bali, Indonesia. The vibraphone plays the principal melody, which is continually elaborated by the interlocking parts of the marimba and two xylophones.

First Construction (in metal) (1939)
John Cage (1912-1992)

First Construction is part of a profound body of percussion chamber works that Cage created from 1939-1943. Interestingly, Cage was profoundly influenced by Varese's Ionization, which he heard in 1933 in Los Angeles, and thereafter occupied himself with developing the single common denominator existing between the components of music, sound and silence, in other words: duration. In 1939, Cage developed a method for organizing duration whereby both the macro and micro structural levels of the piece are related to his "square-root theory," in which components of various relationships within a piece reflect the numeric proportions of the square root. Cage extends this elaborate proportionate writing by his use of polyrhythmic relationships among the individual parts. In First Construction, the rhythmic structure is 4-3-2-3-4- (16x16) with a 9-measure coda (2-3-4), an exposition, (1-1-1-1) followed by development (3-2-3-4) and extension (2-3-4).

Marimba Spiritual (1983-84)
Minoru Miki (b. 1930)
Tetsuya Takeno - soloist

Marimba Spritual was composed from 1983 to the beginning of 1984, keeping in mind the acute period of starvation and famine in Africa, which was occurring at that time. The piece is composed in an organic fashion, with the first half serving as a static requiem and the second part a lively resurrection, while the title is an expression of the total process. The rhythm patterns for the second part are taken from the festival drumming of the Chichibu area northwest of Tokyo. Marimba Spiritual was premiered by Keiko Abe (soloist) and the Nieuwe Slagwek Groep Amsterdam, in 1984, in Amsterdam.

Normandy Beach – 1944 (1994)
David Gillingham (b. 1947)

On June 6, 1944, at dawn, British and American forces landed on the beaches of Normandy in an elaborate amphibious operation. A total of 425,000 American, British, and German men lost their lives in the ensuing conflict. Normandy Beach - 1944 was composed in commemoration of the 50th Anniversary of this important, yet tragic day that changed the course of World War II. The work is cast in three sections. The first is dark and mysterious characterizing the preparation and eve of D-Day. The bowed marimbas allude to distant bugle calls. Gathering momentum, the second section depicts the tragic conflict on D-Day including references to the "Star Spangled Banner" and "America, the Beautiful". All motion ceases and the final section or epilogue suggests the aftermath of this tragic day.

            Normandy Beach was commissioned by James Coviak and the North Farmington Hills High School Percussion Ensemble and was premiered at the 1994 Midwest International Band and Orchestra Clinic in Chicago, 1994. Notes by David Gillingham

Omphallo Centric Lecture (1985)
Nigel Westlake (b. 1958)

This marimba quartet was composed in 1985 for the Synergy percussion group of Australia. It makes extensive use of polymeter - that is, several rhythmic time structures occurring simultaneously. That device, coupled with complex but accessible melodic activity and strong rhythmic “grooves”, propel the piece.

Special thanks to Avedis Zildijian, Remo, ProMark. Dynasty, and Black Swamp Percussion for their product and artist support.