La Crosse New Music Festival 2024

MINIMALISM

Concert 1: Origin

Arbos by Arvo Pärt
Members of the UWL Wind Ensemble and Orchestra
Martin Gaines, director

In C by Terry Riley
Members of the UWL Wind Ensemble and Orchestra
Martin Gaines, director

About tonight’s pieces

Arbos by Arvo Pärt

"Arbos" by Arvo Pärt is a striking work composed in 1977, later revised in the 1980s, that exemplifies his unique "tintinnabuli" style. Written for a brass ensemble and percussion, the piece’s title, Arbos, is Latin for "tree," symbolizing growth, stability, and interconnectedness—qualities that are reflected in the structure and sound of the composition. "Arbos" is one of Pärt's early explorations of the tintinnabuli technique, where simplicity, clarity, and spirituality are at the forefront.

Overview of the Work

"Arbos" is an energetic yet meditative work, featuring tightly interwoven melodic lines and rhythmic pulses. The piece has a timeless, chant-like quality, achieved through the interplay of brass instruments and percussion that bring depth and resonance to the sound. The brass ensemble’s voices are arranged to emphasize harmonic overtones, creating a richly textured atmosphere that feels both ancient and modern.

The music is often described as sacred in spirit, though it is not overtly religious. It reflects Pärt’s deep engagement with spirituality and his study of medieval and Renaissance choral music. "Arbos" is a piece that reaches for transcendence through simplicity and purity of sound, inviting listeners to reflect and experience music as a contemplative, almost mystical act.

Structure and Form

The composition uses Pärt’s tintinnabuli technique, in which two musical lines interact: one follows a stepwise melody, while the other centers on a triadic harmony. These two voices remain in close, harmonic relationship throughout, creating a serene but intense musical space. In "Arbos," the brass instruments take on both roles, layering contrasting timbres that resonate with clarity and strength.

The percussion, primarily bells and other resonant instruments, adds a pulse and accentuates certain harmonic points, giving the piece an almost liturgical, ritualistic feel. The structure is repetitive yet gradually evolving, allowing listeners to become immersed in the music’s timelessness and subtle shifts.

Inspirations and Themes

The title, "Arbos" (Tree), can be seen as a metaphor for growth and organic development. In nature, a tree grows through consistent patterns over time, creating a sense of strength and beauty. Similarly, "Arbos" grows through its repetition and slight shifts, evoking a sense of rootedness and expansiveness.

Pärt’s tintinnabuli style, which he describes as music “to which all things return,” was inspired by Gregorian chant, early polyphony, and Orthodox spiritual traditions. In "Arbos," Pärt uses this style to create a soundscape that feels both ancient and eternal, a musical "tree" with deep roots that invites introspection and stillness.

Performance and Reception

Performing "Arbos" requires precision and sensitivity from the musicians, as the balance between harmony and dissonance, stasis and motion, is delicate. The brass players must blend their tones seamlessly to create a unified, resonant sound, while the percussionist must maintain a careful balance between silence and resonance, allowing each sound to unfold fully before the next begins.

Since its debut, "Arbos" has been celebrated for its contemplative beauty and its ability to transport listeners into a meditative state. Pärt’s music has a timeless quality that transcends cultural boundaries, resonating deeply with audiences around the world. "Arbos" remains a powerful example of how Pärt's minimalist approach, rooted in spiritual and ancient musical traditions, can create an emotionally profound experience through simplicity and purity of sound.

This piece continues to be cherished as a modern classic, appreciated for its capacity to evoke reflection, stillness, and a sense of wonder through its richly layered yet transparent textures. "Arbos" stands as a testament to Pärt’s vision of music as a path to spiritual awakening and inner peace.

In C by Terry Riley

"In C" by Terry Riley, composed in 1964, is one of the seminal works of minimalist music and is often credited with launching the minimalist movement in Western classical music. The piece is unique in its form, structure, and open-ended approach, inviting musicians to explore collective improvisation within a defined framework. It has become a landmark work that continues to inspire and influence musicians across genres.

Overview of the Work

"In C" is written for any number and type of instruments, typically performed by an ensemble of between 10 and 30 musicians. The score consists of 53 short musical phrases, each typically lasting only a few beats and ranging from a single note to a simple melodic figure. Musicians are instructed to play each phrase several times before moving to the next, creating a complex web of overlapping patterns as each player progresses at their own pace. This leads to a constantly shifting, kaleidoscopic soundscape that varies with every performance.

Structure and Form

The piece begins with a steady pulse—often provided by a single instrument playing repeated high C notes—which serves as a rhythmic anchor throughout the performance. Musicians choose when to start each phrase and how long to repeat it, creating a flexible, collective approach to time and rhythm. While the piece can last anywhere from 20 minutes to over an hour, depending on the performers, the effect is a gradual accumulation of sound that ebbs and flows in density and complexity.

This innovative approach allows "In C" to feel both structured and free, combining strict, repetitive patterns with the spontaneous interactions of an ensemble. The result is a shimmering, evolving tapestry of sound that has been compared to both African and Balinese music, as well as to jazz improvisation, due to its rhythmic intensity and communal approach.

Inspirations and Themes

Riley was influenced by a variety of musical traditions, including jazz, Indian classical music, and non-Western rhythmic structures, which are reflected in "In C's" repetitive patterns and modal harmonies. The minimalist approach, focusing on gradual transformation rather than dramatic shifts, was radical for its time and departed from the highly complex structures of modernist Western classical music. Riley aimed to create a piece that could bring musicians and audiences into a meditative, almost trance-like state, exploring the richness of simplicity and repetition.

The communal, open-ended structure of "In C" also reflects the countercultural spirit of the 1960s, promoting freedom, collaboration, and inclusivity. This inclusivity extends to its instrumentation: "In C" can be performed by virtually any combination of instruments, making it accessible to a wide range of performers and adaptable to different performance contexts.

Performance and Reception

Performing "In C" requires musicians to balance individual expression with close listening and ensemble awareness. Each player is free to interpret the length and repetition of phrases, but must also be sensitive to the ensemble’s collective flow, creating a shared experience that is both personal and communal. This flexibility means that no two performances of "In C" are alike, allowing musicians and audiences alike to experience the work anew each time.

Since its premiere, "In C" has been celebrated for its innovative approach and wide appeal. It has been performed around the world in countless variations, from classical concert halls to experimental music festivals. Riley’s work has had a lasting influence on composers and performers, and "In C" continues to be an icon of minimalist music, admired for its groundbreaking form, adaptability, and enduring capacity to create a sense of unity and wonder through sound.

"In C" remains a powerful example of how simple musical elements can yield complex, beautiful results, inviting listeners and performers alike to explore the possibilities within a single musical idea. It stands as a testament to the power of minimalism to foster connection, meditative listening, and the joy of shared musical experience.

Special Thanks

The UWL School of Visual & Performing Arts (Pete Rydberg, Antonio Jasiczek, and Kelsey Cervantes); VPA donors and patrons; Stephen Mann, David Bashaw and the UWL Music Department; Doug Wilkins, Hayley Harnden and University Centers; UWL "top brass" including Chancellor James Beeby,  Provost Betsy Morgan, and Dean of CASSH Karl Kunkel; the CASSH Dean's office including Marie Moeller, Britta Osborne, Antoni Walker, and Tommy Knoche; our amazing facilities team including Scott Schumacher, Tom Venner and Scott Brown; Parking Services (Troy Richter); the Lowe Center housekeeping staff (Kao Lee, Mai Thao, Kia Vue, Mai Kao Xiong); University Communications including Maren Walz, Jake Speer, Nhouchee Yang, and David Piro, and last but not least Taylor Wilmoth & the UWL Friends & Alumni Foundation.

New Music Festival Biographies

Prof. Martin I. Gaines (Conductor) proudly serves as the conductor of the UWL Wind Ensemble, Symphony Orchestra, and Concert Band as well as teaching courses in Conducting, Repertoire, and Music Education. Prior to this posting he served as the Director of Instrumental Studies at Morningside University and the Associate Director of Bands at McNeese State University.  He is currently pursuing the Doctor of Musical Arts degree (ABD 2023) specializing in conducting at the University of Arizona and holds degrees in conducting and music education from Middle Tennessee State University (MM) and the historic VanderCook College of Music (BMEd). 

As an active conductor, clinician, and music producer, Gaines’ most recent recording project David Maslanka: Music for Wind Ensemble was released in January 2021 on the Toccata Classics Label. He has also served as producer for an album featuring the wind orchestra music of Nigel Clarke. Prior to his academic appointments, he also served as the principal conductor for the Arts Express Orchestra in Tucson, Arizona and as the founding conductor of the UArizona chamber ensemble Solar Winds.

Prior to pursuing graduate studies, Gaines taught middle and high school bands and orchestras for fifteen years in Illinois, Alabama, Georgia, and most recently in Florida. His bands have consistently received top marks from adjudicators and were often featured in clinic performance, e.g. the Southeastern Band Clinic at Troy University (2010) and the University of North Florida Invitational Festival (2010, 2014). He was also named Teacher of the Year in 2015 for Oakleaf High School (FL). Gaines holds professional memberships in CBDNA, College Music Society, College Orchestra Directors Association, International Conductor’s Guild, NAfME, National Band Association, Tau Beta Sigma, WASBE, and is a Life Member of Kappa Kappa Psi.

Dr. David Dies (Producing Director) is a composer and music theorist. As a composer, his most recent major work was an oboe concerto for Adam de Sorgo and ensemblenewSRQ in 2018 which was the ensemble's first commission. He current and immediate future projects include a set of four songs on poetry by the Colombian poet Lucía Estrada, a one-hour song cycle on El Diván del Tamarit by Federico García Lorca for the tenor James Kryshak, and an extended work for mezzo and string quartet for the mezzosoprano Clara Osowksi. His music has been described as having a "sensitivity to subtle shades of timbre, exploitation of spare textures...and predilection for a certain ceremonial austerity that evokes ancient, remote, or hieratic ritual” (American Record Guide on Dies' 2011 Albany records CD, agevolmente). His music has also been described as “sometimes dissonant, sometimes lyrical, and always hugely inventive” (Wisconsin State Journal on Sketches for String Orchestra). Dr. Dies's chapter "Defining 'Spiritual Minimalism'" appears in The Ashgate Research Companion to Minimalist and Postminimalist Music and has been cited extensively since publication.

Dr. Pete Rydberg (Producer) is Director of UWL’s School of Visual & Performing Arts. He is thrilled to have a hand in another year of the La Crosse New Music Festival working alongside Dr. David Dies in bringing these one-of-a-kind concerts to the Coulee Region. Rydberg received his B.A. from St. Olaf College, and M.A. and Ph.D. from the University of Wisconsin – Madison. He hopes everyone will take a few minutes to explore the UWL Art Gallery and “MUSIC & …” the interactive, multimedia, multisensory installation by composer / artist Mary Ellen Childs, showing through November 17.