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FISHER TULL
Fisher Tull was born September 23, 1934, in Waco, Texas, and died August 21, 1994, in Huntsville, Texas. After a brief sojourn with a traveling dance band, he entered the University of North Texas and earned three degrees: B. Mus. in music education (1956), M. Mus. in music theory (1957), and Ph.D. in composition (1965) having studied under Samuel Adler. He joined the music faculty at Sam Houston State University in 1957 and was appointed Chair of the Department in 1965, a position he held for 17 years. He served as president of the Texas Association of Music Schools and was a member of the board of Directors and the commission on Undergraduate Standards of the National Association of Schools of Music.
A catalog of Tull's compositions contains over 80 published works in all categories: orchestra, band, chorus and chamber music. Most of his publications are divided between Boosey & Hawkes (New York) and southern Music Company (San Antonio). Other works are available from Western International Music, Ludwig Publishing Company, TRN and the International Music, Ludwig Publishing Company, TRN and the International Trombone Association Manuscript Press. His style is generally conservative and fairly traditional by contemporary standards, maintaining a clear tonal center spiced by carefully controlled dissonances.
Symphonic Treatise for Orchestra was conceived as a celebration for the 100-year alliance between the City of Waco and Baylor University and the Silver Anniversary of the Waco Symphony Orchestra. It was premiered on October 20, 1986, by the Waco Symphony Orchestra. It was premiered on October 20, 1986, by the Waco Symphony Orchestra conducted by Daniel Sternberg. The work is set in a rather free theme-and-variations structure within a single movement. A rousing and percussive introduction precedes the presentation of the two thematic germ motives which were borrowed from the composer's childhood memories of Waco. the first variation is in a rapid tempo and features an interplay of the motives among all sections of the orchestra. In contrast, the second variation is in the nature of a lament and stresses ambiguity through polytonality in the strings and coloristic dissonance interspersed by the percussions. The final variation, in rondo form, returns to a quick pace and develops the thematic material in imitative textures. The affirmative ending suggests optimism for the ongoing prosperity of the University and the City.
Overture for a Legacy was commissioned by the Houston Symphony and first performed by the Houston Symphony Chamber Orchestra conducted by C. William Harwood on the Stokowski Legacy Series of concerts, April 25, 1981. The style is perhaps best labeled neo-classic due to a strict formal design, conservative harmonies and emotional restraint. The melodies are generally diatonic, often clearly in the Lydian mode, supported by pandiatonic harmonies. Although set in a single movement, the work has four distinct sections: introduction, scherzo, recitative, and finale, all of which are based on variants of the thematic material. Thus the form is a hybrid of overture, suite and variations.
The tripartite introduction reveals a simple setting of the modal theme first by the strings, then continued by the winds. A brief contrasting theme is presented by solo clarinet after which both themes are combined antiphonally. The sprightly scherzo in rondo form is characterized by abrupt changes of meter and tonality. The principal theme is rendered by solo woodwinds, the subordinate theme by pizzicato strings and percussion. In the recitative section, impressionistic textures form the strings and percussion serve as a background for solos by alto flute, horn and off-stage trumpet. Here, the melodies are drawn from the inversion of the theme. The free nature of this section is enhanced by aleatoric notation for the strings. A forceful ostinato by the strings initiates the finale, a rhythmically charged allegro section featuring a gathering of the previous material into a complex interplay over which the solo trumpet recapitulates the original theme.
Capriccio for small orchestra was commissioned by the Houston Chamber Orchestra (comprised of members of the Houston Symphony) and received its premiere under the baton of Charles Rosekrans during their 1966-67 season. The word capriccio means “according to the fancy (caprice) of the performer.” In this case, several motives are freely woven together in a “capricious” fashion and held together by a driving rhythm. The tempo is marked Allegro giocoso throughout with the exception of a short section near the end of the piece. After a reflective and tranquil Lento, the opening motive returns to create an energetic close.
The concerto for Trumpet (No. 1) was composed in 1965 and received its first complete performance by James Austin with the Houston Symphony in April 1973, Lawrence Foster conducting. (A second concerto was composed in 1974 on commission from “Doc” Severinsen.) The work is laid out in the classic mold, three movements of contrasting tempo. Throughout the entire piece the intervals of the second and fourth play a pivotal role both melodically and harmonically. A tight, rhythmic energy is evident from the first measures as the strings introduce a “germ motive” which figures in both the first and last movements. The soloist soon enters with the bravado first theme and the movement unfolds in sonata form. The second movement is in an arch form which opens with pizzicato strings and a recitative-like melody for the trumpet. Subtly shifting harmonies provide a lush background as the soloist overlays long, flowing melody lines. The movement ends, as it began, with pizzicato strings and solo trumpet. The last movement is a modified sonata-rondo featuring imitative contrapuntal textures. It opens with the same “germ” idea from the beginning, with each recurrence of the rondo idea subjected to variations.
WILLIE STRIEDER
The trumpet soloist, Willie Strieder, graduated from the University of Houston and received a Masters degree from Northwestern University. He is Professor of Trumpet at Texas Tech University, as well as first trumpet of the Lubbock Symphony Orchestra and second trumpet of the Houston Ballet Orchestra. He is an active clinician, soloist and chamber musician, having appeared with such groups as the Houston Symphony, Houston Grand Opera, Clear Lake Symphony, Texas Opera Theater, Society for the Performing Arts in Houston, and the Millar Brass Ensemble. He has recorded two works for trumpet with Opus One records.
CHARLES ANTHONY JOHNSON
Charles Anthony Johnson received his M.A. in composition and his Ph.D. in musicology from UCLA. From 1967 to 1978, Dr. Johnson was on the faculty of Sam Houston State University in Huntsville, Texas, where he taught music history and theory and conducted the orchestra. Since 1973 he has pursued a dual career as a conductor and violist. He is presently in his twenty-first season as Music Director of the Clear Lake Symphony and has served as Music Director of the Houston Civic Symphony and the Bryan-College Station Chamber Orchestra. Dr. Johnson has been a guest conductor of the Houston Ballet and has also conducted in Spain, Poland, Bulgaria and the Czech Republic.
Recorded in Nürnberg, Germany, May 4-6, 1995
Recording Engineer: Reinhard Geller
Executive Producer: John Gladney Proffitt
Cover photo: Fisher Tull
© 1997 ALBANY RECORDS
ALBANY RECORDS U.S.
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