Performance History

Harmoniemusik Recital
College of Mount St. Joseph Recital Hall: 8/27/98

Program Notes: 8/27/98
"Old Wine in New Bottles" Lyrics: 8/27/98

St. Casimir Lenten Recital
Holy Trinity Church - Norwood, Ohio: 3/4/99

"Roman Holiday" Chamber Music Recital
Public Library of Cincinnati and Hamilton County: 5/16/99

50th Anniversary Celebration Liturgy
All Saints Church - Montgomery, Ohio: 9/16/99

Feast of Christ Our King
St. Joseph Roman Catholic Church - Cincinnati, Ohio: 10/21/99

"Cafe Beethoven" Concert
Public Library of Cincinnati and Hamilton County:2/27/00



Wolfgang Amadeus Mozart Serenade in C minor, No. 12 K.388 (1782)

This wind serenade was written during the month of August in 1782 while Mozart was livingat the inn Roten Sabel in Vienna. As with most wind serenades of the time it's purpose was likely linked to the need to provide entertaining music for a dinner party or social gathering hosted by the nobility. In this instance it was at the request of Prince Liechtenstein who requested such a piece; of such immediate need that the entire serenade was composed within 48 hours.

The Serenade in C minor is the third and most striking of the three great wind serenades written by Mozart. In form it is more compact and concentrated; possibly due to the emotional disposition of being requested to compose on such a short notice. The serenade in C minor is four movements long compared to the Serenade in Eflat (K.375) with five movements and the Serenade for thirteen instruments in Bflat "Gran Partita" (K.361) with seven movements.

This work also includes moments of an entirely “un-serenade” like emotional texture that may have surprised the audience at it’s first performance and endured it’s inclusion into the core repertoire of the chamber wind ensemble. Mozart eventually returned to the serenade in 1787 by arranging a version for string quintet (K.406/516b) to complete a set of three chamber pieces for strings. Unlike the Jacob Old Wine in New Bottles, this work has been recorded extensively. One recommended recording is by the Netherlands Wind Ensemble (Chandos - CHAN 9284) which also includes the Serenade in Eflat major (K.375).

Gordan Jacob Old Wine in New Bottles - Four English Tunes (1960)

The English composer and pedagogue Gordan Jacob studied at Dulwich College with additional courses in composition and theory at the Royal College of Music in London. He later taught at the Royal College of Music from 1926 to 1966 as well as earning a doctorate degree from that institution in 1935. Some of his more notable students inclded Malcolm Arnold, Imogen Holst, Elizabeth Maconchy and Bernard Stevens. In 1968 he was awarded with the title of the Commander of the Order of the British Empire.

In the spirit of the great folk song inspired English instrumental composers such as Gustav Holst and Vaughan Williams, Jacob’s Old Wine in New Bottles is based entirely on vocal folk songs.

His talent as an instrumental composer contrasts with the standard wind chamber ensemble with expanded instrumentation to create new tonal textures and a complex compositional language in the scoring and arranging of these instrumental resources.

Jacob departs from the traditional Harmoniemusik with the addition of two flutes (one doubling on piccolo), two trumpets and contrabassoon (performed this afternoon on double bass). His scoring technique uses all elements economically in complex stretto and fugal passages in almost every movement. The instrumentation could also be interpreted as a return to an earlier masterpiece of the chamber wind repertiore by another gifted composer: the Serenade in Bflat for thirteen instruments K.361 “Gran Partita”.

Program notes by Glen A. Tuomaala, Conductor.


I. The Wraggle Taggle Gipsies
This song describes the departure of a new wife, the journey of the husband to find her, and the wife's preference to live and play with the gipsies. The following text is based upon the folk song sung by Shepherd Haden (83 years old) in Bampton in the Bush on August 21, 1909.

I. The Wraggle Taggle Gipsies
There was three gipsies came to the door And they sang brisk and bonny O And they sang high and they sang low And downstairs ran the lady O

then she pulled off her new silk gown And round her shoulders a blanket thrown And round her shoulders a blanket thrown For to toddle with the draggle tail gipsies O.

When the old Lord he came home Enquiring for his lady O The housemaid made him his reply She's gone with the draggle tail gipsies O

Bridle me my milk white steed And saddle him so bonny O That I may ride and seek for my dear Who is gone with the draggle tail gipsies O

Then he road all that night long And part of the next morning O And there he saw his own true love A setting with the draggle tail gipsies O

How could you leave your house & land? How could you leave your money O? How could you leave your new wedded lord To toddle with the draggle tail gipsies O?

What care I for house or land? What care I for money O I don't care a fig for my new wedded lord I'll toddle with the draggle tail gipsies O

Last night I lied on a warm feathered bed And my new wedded lord by my side O And to night I'll lie in the cold open field along with the draggle tail gipsies O!

II. The Three Ravens
This folk song has the greatest number of documented variations both in the text and the melodic content. Such wide spread transformation may be attributed to the song being passed on from generation to generation. The earliest rendition is from 1611 attributed to an ancient Scottish melody.

II. The Three Ravens
There were three rauens sat on a tree, Downe a downe, hay down, hay downe
There were three rauens sat on a tree, They were as blacke as they might be. With downe derrie, derrie, derrie, downe, downe

The one of them said to his mate,
'Where shall we our breakfast take?'

'Downe in yonder greene field,
There lies a knight slain vnder his shield.

'His hounds they lie downe at his feete,
So well they can their master keepe.

'His haukes they flie so eagerly,
There's no fowle dare him come nie

Downe there comes a fallow doe,
As great with yong as she might goe

She lift vp his bloudy hed,
And kist his wounds that were so red.

She got him vp vpon her backe,
And carried him to earthen lake.

She buried him before the prime,
She was dead herselfe ere euen-song time

God send euery gentleman,
Such haukes, such hounds, and such a leman

III. Begone, dull care
Begone Dull Care may have been derived from The Queen's Jigg which is contained in the text The Dancing Master which was written around 1701 and was later reprinted in the National English Airs. This folk song was also revived and gained popularity from a pantomine ballet production in 1793 and a drama called The Loyalists.

III. Begone Dull Care
Be-gone dull care! I prithee be-gone from me! Be-gone dull care! You and I shall never agree. Long time thou hast been tarrying here, And fain thou woulds't me kill, But I faith, dull care! Thou never shalt have thy will...

Too much care will make a young man turn grey, And too much care will turn an old man to clay. My wife shall dance and I will sing, so merrily pass the day, For I hold it one of the wisest things to drive dull care away.

IV. Early one morning
Clearly the most popular folk song of all of these movement, Early one Morning tells a story of a damsel’s sadness towards the loss of her love.

IV. Early One Morning
Early one morning, just as the sun was rising, I heard a maid sing in the valley be low Oh, don't deceive me, Oh, never leave me, How could you use a poor maiden so!

Oh! Gay is the garland, and fresh are the roses I've culled from the garden to bind on thy brow; Oh, don't deceive me, Oh, never leave me, How could you use a poor maiden so!

Remember the vows that you made to your Mary, Remember the bow'r where you vow'd to be true; Oh, don't deceive me, Oh, never leave me, How could you use a poor maiden so!

Thus sung the poor maiden, her sorrows bewailing, Thus sung the poor maid in the valley below Oh, don't deceive me, Oh, never leave me, How could you use a poor maiden so!



"Roman Holiday" Chamber Music Recital


Chamber Arts Ensemble
Sunday, March 16th at 2p.m.
Public Library of Cincinnati and Hamilton County

Overture to "An Italian in Algiers" Gioachino Rossini / arr. Sedlak

Parthia in D
Antonio Rosetti
I. Adagio - Allegro molto
II. Andante
III. Rondo

Sinfonia fur Blaser Gaetano Donizetti

Overture to "The Barber of Seville" Gioachino Rossini / arr. Sedlak

Special thanks to:
The Alfred Valerio Family Trust Fund
Amy Banister and the Public Library of Cincinnati and Hamilton County
James Taylor, Photographer
Robert Boliske, Recording Engineer
Bruce Knapp, Director of Bands - College of Mount St. Joseph


All Saints Church 50th Anniversary Celebration Liturgy
October 16th, 1999

Premier of a new work by composer/conductor Paul Stanbery for strings, brass quartet, piano, organ, handbells and chorus.


Feast of Christ Our King

St. Joseph Roman Catholic Church
Sunday, November 21st

Haydn Divertimento in C: First Movement
Haydn Divertimento in D: Fourth Movement
"Coventry Acclamations" arranged for wind sextet
"Prayer of Being" arranged for wind sextet


“Cafe Beethoven”

Sunday, February 27th at 2p.m.
Public Library of Cincinnati and Hamilton County

Cincinnati Chamber Arts Ensemble - Glen A. Tuomaala, Conductor
with special guest artists Philip Amalong and Barb Amalong Sink
“Overture to Fidelio” (1805) arr. Sedlak
Rondino for Winds (1793)
Sonata in Bflat for Flute and Piano (1790-92)
I. Allegro
II. Polonaise
III. Largo
IV. Theme and Variations: Allegretto
Polonaise, Opus 89 for piano (1814)
Octet in Eflat Major, Opus 103 (1792)
I. Allegro
II. Andante
III. Menuetto and Trio
IV. Finale - Presto

Chamber Arts Ensemble

Mary Cicconetti, oboe
Kunio Hara, clarinet
Meaghan Walker, oboe
Heather Klenon, clarinet
Anthony Carlson, bassoon
Micah Ewing, horn
Evan Lewis, bassoon
Allene Hackleman, horn
Adam Sanregret, string bass

Founded in 1998, the Chamber Arts Ensemble is Cincinnati’s chamber wind ensemble performing masterworks written for three to thirteen players. The model of the Chamber Arts Ensemble is the traditional European “Harmoniemusik” of two oboes, two clarinets, two bassoons and two horns performing a variety of repertoire from Beethoven and Haydn to Strauss and Stravinsky. The Chamber Arts Ensemble is available for school, community, church and business performances. For performance, membership or sponsorship information please contact:

Glen A. Tuomaala, Conductor
(513) 588-6711 or CincyCAE@aol.com
www.oocities.com/CincyCAE

In Appreciation

Alfred Valerio Family Trust Fund
Amy Banister - Public Library of Cincinnati and Hamilton County
James Taylor - Photographer
Mark Watkins - Media Bridges Cincinnati
Brian Ranes - School for the Creative and Performing Arts
Jeff Perholz - Tri-State Productions Recording Services
Queen City Sound Drum & Bugle Corps - www.oocities.com/QCSound

Barbara Amalong Sink earned both a Bachelors in Flute Performance and Music Education and a Masters in Flute Performance from the Cincinnati College-Conservatory of Music. She is a former student of Brad Garner, Nadine Asin, Valarie Potter and Kyril Magg. While a student at CCM she toured Japan with the CCM Wind Symphony and was the winner of the 1992 CCM Concerto Competition. Since then she has recorded a solo compact disk with local composer Rick Sowash and is currently the Music Director at St. Margaret of Cortona. She has the unique reputation of having performed our National Anthem at a Philadelphia Phillies Baseball Game.

Philip Amalong began learning piano at the age of five with his mother and continued his studies at the Philadelphia Academy of Music, the New School of Music and the Curtis Institute. Mr. Amalong earned a Master’s degree in Collaborative Piano from the Cincinnati College-Conservatory of Music where he studied with Sandra Rivers, Frank Weinstock and Richard Morris. In 1980 he was a first prize winner in the Van Cliburn Competition held at CCM. Other awards include first prize in the McElroy Competition and Fourth Prize in the duo-piano division of the IBLA Grand Prize International Piano Compeition in Sicily. Collaborative performances include recitals with Mark Gould (Principal Trumpet, Metropolitan Opera Orchestra), William Ver Muelen (Principal Horn, Houston Symphony), and Richard Hawley (Principal Clarinet, Cincinnati Symphony). He has also performed with the Cincinnati Symphony and Pops, the Fort Wayne Symphony and the Dayton Philharmonic.

Mr. Amalong is a composer of both of concert music and commercial scores for television and film productions. Current recording projects include a CD of twentieth-century flute and piano music and works of Cincinnati composer Rick Sowash. He continues to perform over 100 different programs each year in addition to his teaching duties at Xavier University and the College of Mount St. Joseph. Mr. Amalong lives with his dog Mona and is an amateur mountain bike racer and outdoor enthusiast.

Glen Tuomaala earned Bachelors degrees in Music Education and French Horn Performance from Bowling Green State University where he studied with Herb Spencer. He is the former Music Director at Purcell Marian High School where he received the 1997 “Outstanding New Teacher of the Year Award” and national recognition in 1999 from the Mr. Holland’s Opus Foundation Melody Grant Award. Last summer he studied with Kenneth Kiesler at the Conductors Retreat at Medomak, Dr. Glenn Block at the Illinios State Orchestral Workshop and a special workshop with Dr. Alan McMurray and the United States Air Force Heartland of America Concert Band in Omaha, Nebraska. In addition to his graduate studies in Music Education at the Cincinnati College-Conservatory of Music he is an adjunct faculty member at the College of Mount St. Joseph and french horn teacher at the Cincinnati School for the Creative and Performing Arts and the Campbell County School District.


“Opera in the Afternoon” Sunday, April 9th at 2p.m. Public Library of Cincinnati and Hamilton County

Vocal and instrumental gems from the stage come to life as the Chamber Arts Ensemble performs the best of Italian opera classics. This is a free concert sponsored by the Alfred Valerio Family Trust Fund. For more information please call (513) 588-6711 or 369-6959.


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