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RRAconcertos

william kanengiser

martha masters

james smith

I scott tennant

i*o GUrrARsffiS,

ffieTHORNTON EDGE DONALD CROCKETT, CONDUCTOR

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Disc 1

1 En La Tierra (2011)Brian Head. soloist

2 4 Kaleidoscope (2004)

5 A Fanciful Plainte (2011)Scott Tennant, soloist

Disc 2

1a Mystery of Constellation (2009)Heliacal Rising

Scanning the Black DomeAstrolabeJames Smith, soloist

4 Cuento desde la frontera (2009)Martha Masters, soloist

5 Prayers (2005)

Adagio espresslvo Allegro ritmico-MaestosoAdagio misterioso CadenzaAllegro ritmicoWilliam Kanenglser, soloist

Donald Crockett b. 1951

Dusan Bogdanovic b. 1955

Brian Head b. L964

Steven Gates b. 1"976

Simone lannarelli b. 197O

Dusan Bogdanovic

This recording, over five years in the making,was the inspiration of the founder ofDoberman Yppan, Paul Gerrits, and the twomost rcccnt chairs of the USC ThorntonClassical Guitar Program James Smith andBrian Head. Though both Paul and -lim havenow left us, their spirit pervades the project.We are gratefui for their inspiration andachievements. Our deepest thanks also goto Richard Hansen of Delta, Colorado, andthe Augustine Foundation for thelr generousfunding of this project.

The guitar concerto as a genre has onlydozers o' cxarrples in r irrularion, as

compared with the hundreds of concertos forviolin, cello and piano, to name the three bigguns. That said, the 20th century was gracedwith outstanding guitar concertos by VillaLobos, Rodrigo and Castelnuovo-Tedesco,to name a few major frgures.

As the level of guitar playing has advanced-exponentially, really the guitar repertory,inciuding concertos, has expanded rapidlyin the past century or so. This recordingpresents six new concertos from early in thismost recent century, the 21si. Composedbetween 2Oa4 and 201.L, in an age of veryloud music, a I six take into account aninescapable feature of the modern classical

guitar whlle it has a widc expressive range,it remains an instrument with an inhmatedynamic range, even when subtly amplifredas is often the case in modern performancepractice. The orchestra, therefore, is decidedlychamber sized with single woodwinds andlimited (but cruclal) use of brass; the stringcomplement is also reduced to smallorchestra forces. This is a supple andtransparent instrumental ensemble whichcreates a chamber music atmosphere atmany points in the music.

This means that a iarge new music ensemblecan tacklc this repertoire, and the Universityof Southern California new music ensemble.Thornton Edge, has done just that. Withiwenty strings, plus woodwinds, horn,trumpet, percussion and celesta, USCThornton Edge performcd each of theseworks in concert, subsequentlyrecording them.

Beyond dramatically adding to the recordedcatalogue of 21st century guitar concertos,the impetus for this project was theinteraction of USC Thornton faculty guitaristswith Thornton faculty composers andstudent musiclans. In addition to two worksby the celebrated guitarist composer, DusanBogdanovic, and a concerto by the ltalian

William Kanengiser and Brian Head, sololsts

guitarist and composer currently teaching in

Mexico, Simone lannarelli, three new workswere newly composed for this project byThornton faculty composers Brian Headand Donald Crockett, and former Thorntoncomposition student, now a professor atPasadena City College, Steven Gates.

What we have here are six very colorfulworks featuring guitar-highly virtuosic,infimately expressive, both subtle and inyour face -and small orchestra, supple andtransparent. lt is, I feel, a compelling mix.

Donald Crock-.tt

EnLoTierra, Concerto in One Movementfor Guitar and Orchestra, is the third offour in a series of explorations for guitarwhlch I have composed in the past fifteenyears or so. The Falcon's Eye (1999 2OOO),

a set of tweive preludes for guitar solo,and Winter Variatons (2006), an extendedfantasia ln one movement, precede En La

Tierra (201,1). lVost recently, Fanfare Studies(2015) was commissioned as the set piece

for the Guitar Foundation of America's 2015I nternatjonal Concert Artist Competition.The Falcon's Eye and Winter Variations arealso recorded on Doberman-Yppan by BrianHead. the dedicatee of WinterVariohons andthe soloist for En La Tierra. All four of thesepieces explore my relationship io ihe classicalguitar, an lnstrument I studied seriously as

a teenager and played regularly through mytwenties. EnLaTierra ("On Earth"), in a singlemovement of about fourteen minutes. is

in several clearly delineated sectjons. Thesyncopated repeated-note section whichopens the work also closes it, and in betweenyou will hear a lament or two, a gentleallegretlo and a scherzo both playful andaggressive. Throughout the piece the specific,subtle and varied colors of ihe guitar are

luxtaposed with similar and contrastingcolors in the small orchestra of wind sextet,Lwo pe'cussion., elesla and slrings.

En LoTierra was completed in late Octobet2011, which meant at our inihal rehearsalsfor the premiere the excellent ThorntonEdge musicians were reading very wet ink.An epigraph on the title page of the scorels from Pablo Neruda's wonderful book ofpoems, Residencia en la Tierra ("Residence onEarth'): "Well now, what is it made of, thatupsurge of doves that exists between nightand time..."

Donald Crockett

KaleidoscopeSirnilar to the shifl ing patte.ns in a

kaieidoscope, this entire piece restructuresits essential motifs to create dlverse moods.colors and movements. Thus, even thoughits general architecture follows a tripartiteoutline of ihe traditional concerto form. thebuilding blocks oi the whole piece renainthe same. These include idenlical rhythmicand polymetric shapes as well as melodic andharmonic motifs that appear and reappearthroughout the composition. ContemporaryBlues and Jazz are interwoven together withsome of their deep African musical roots, aswell as with Balkan modes. odd-meter andoccasional incursions into polytonality. Muchof what the guitar has to say is expressed lnthe guise of improvisatory elaboration of thematerial or in the form of an announcement

the lyrical beginning of the second movementbeing an example of the latter. Two maineiements are at the core of the Concerto:the pulsafing dance with its insistent andexpansive rhythmic flow on the one hand-the nostalgic, delicately soaring jazz ballad,on the other. The plece is dedicated toWilliam Kanengiser.

Dusan Bogdanovic

AFancifulPlainte is a re-imagining of a sologuitar piece I wrote for Scott Tennant severalyears ago. The original is a lament with a

two note supplication knitted throughoutthe voices. A rather densely layered etude,it welcomes the space afforded by theorchestra to realize its polyphony anddramatjc shape. ln the present work,the original plainte is found as the middlesection of a roughly three-part continuousconversatjon between guitar and orchestra.The outer sections contain commentariesand musings fueled by a peripatetic motivethat reappears throughout. A FancifulPlointe is an homage to the late, great-James Smith, my teacher, colleague andfriend, who encouraged me to expand andorchestrate Plainte.This is my fantasia paraun gentilhombre.

Brian Head

Mystery of Constelloti onMy frrst real experience working with theguitar was in my Madrigals, a set of two songsfor voice and guitar, published by Doberman-Yppan and recorded there on "Night of FourMoons" featuring guitarist, Kevin Cooper,and mezzo soprano, Catherine Cooper. Thatexperience only deepened my admiration oflhe expressive capability of the instrumentand its orchestral array of tone colors, so

the opportunity to write for the guitar againin the form of a concerto was welcomeand thrilllng. Mystery of Constellation ts myexploration of how the guitar and orchestramight converse, blend, and play off eachother in meaningful ways-without relegatingthe orchestra to a subsidiary role. Theorchestra is very much an equal partner here.

The music arose out of my own ruminationson the night sky, or more speciflcally, theemotional reactions it has evoked in humansthroughout time awe, bewilderment, andeven fear. The first movement is built upona quick two-note figure in the orchestra thatwhips up to an agitated climax, followed by a

more contemplative, relaxed middle section.The second movement owes much to JohnTerpstra's evocative poem "Hypotheses]'in which a star's location is determined bythe trajectory of the tips of a gnarled tree

branch it bends and twists its way aboutthe night sky looking for a vacant and suitablelocation to place a new point of light. You willhear the guitar quietly plucking along until,with little warning, it is interrupted by an

ecstatic array of shooting flgures and brightcolors. ln the slow fantasy that concludesthe piece, (tjtled "Astrolabel'after the ancientastronomical measuring device) the guitarand alto flute engage in an intricate dialogueover a soft underpinnlng of low strings beforethe orchestra builds to a climax, followedby a short cadenza. The piece ends with theshimmering filigree of two violins and guitarharmonics that dissolve into the ether. I amgreatly indebted to Jim Smith, Brian Head,and Donald Crockett for their invaluableconsultatjon on all things relating totheir instrument.

Steven Gates

Cuento desde la frontera (Tale from the Border)I once heard a tale from the border, whichin reality had never been narrated, such thateach felt it to be profoundly their own.

At that point in time, the spirit enduredconfusion, submerged in uncertainty, caughtbetween invisible barriers. Precisely from theborder...that imaginary line where there cometogether contrasting emotions which expresslonging and nostalgia, as well as excitementand novelty.

The music keeps you f rom losing your way.it creates a bond between those arriving anddeparhng, which will never again convergeduring Lhe course ol their lives.

I once heard a tale from the border,sure of myself at first,I was lost along the way,but in lhe end I was +ound once again.-Simone lannarelli

Prayers was commissioned by the 2005Jeune ssc musicale international competilonin Belgrade. As Plcasso expressed it in hisdirect, inimitable way: "How can you makereligious art one day and another kind thenext?" there is a schism in the very act oflabeling something "religious art." Withoutcircumscribing a particular space or tjme tobeing sacred, every place and every timebecome sacred provided the right inspirahonis found. Proyers should be conceived thenas a musical intentr'on to mirror and awakcnthis inspirahon.

Dusan Bogdanovic

,N'

IN

ARTISTS USC Thornton Edge (formerly ContemporaryMusic Ensemble), founded in 1976 by RobertWojciak, has been under the directjon ofDonald Crockett since 1984. Comprised ofsome of the finest student musicians in theUSC Thornton School of Music, the ensemblepresents a series of four concerts annually onthe USC campus. Edge has also been part ofthe Los Angeles Philharmonic's Green UmbrellaSeries and New Music LA, and is a recipient ofthe Outstanding Ensemble Award given by LAWeekly in 2006. On tour, Edge has presentedconcerts at the Paris and Lyon Conservatories,the Berlin 750 Jahre Festival, as well asthe2014 Carlsbad Music Festival. and hasappeared as soloist with the Los AngelesChamber Orchestra in Stephen Scott's Concertofor Bowed Piano and Orchestra. ThorntonEdge has worked directly with many leadingcomposers over the years, in addition to USCThornton's own stellar faculty, including JohnHarbison, Steve Mackey, Witold Lutoslawski.Henryk Gorecki, Steven Stucky, Augusta ReadThomas,.loan Tower, Bernard Rands. MichaelDaugherty, ludith Weir, Chinary Ung, DavidLang and Michael Gordon.

Los Angelesbased composerand conductorDonald Crocketthas receivedcommissions froma wide spectrumof organizationsincluding the Los

Angeles ChamberOrchestra(Composer-in'Residence,1,991 97), Kronos Quartet, Los AngelesPhilharmonic, Hilliard Ensemble, PlttsburghNew Music Ensemble, Xtet, the San

Francisco-based chamber chorus, Volti, theCallfornia EAR Unit. the Harvard MusicalAssociation for violist Kate Vincent andFirebird Ensemble, Claremont Trio, and theUniversity of Southern California for its125th anniversary, among many others.Recent projects lnclude commissions fromthe Guitar Foundalion of America, BostonModern Orchestra Project, 21st CenturyConsort, a chamber opera,The Foce, basedon a novella in verse by poet David St.

.lohn. and a consortium commissionfrom twenty-two college and universitywind ensemLrles for his Dance Concertofor Clarinet/Bass Clarinet and WindEnsemble. The recipient in 2013 of an

Arts and Letters Award in Music from theAmerican Academy of Arts and Letters

for outstanding artjstic achievement, as

well as a Guggenhelm Fellowship in 2006,Donald Crockett has also received grants

and prizes from the Barlow Endowment,Bogliasco Foundation, Copland Fund,Copland House, Kennedy Center FriedheimAwards, Meet the Composer, the NatjonalEndowment for the Arts. New Music USAand many others. His music is published byKeiser Classical and Doberman Yppan andrecorded on the Albany, BMOP Sound, CRl,

Doberman Yppan, ECM, lnnova, Laurel,New World, Orion and Pro Arte/Fanfarelabels. A f requent guest conductor withnew music ensembles nationally, DonaldCrockett has been very active over theyears as a composer and conductor withthe venerable and famed Monday EveningConcerts in Los Angeles. As conductorof the USC Thornton Symphony's annualNew Music for Orchestra series DonaldCrockett has premiered over 125 neworchestral works by outstanding Thorntonstudent composers. His recordings as a

conductor can be found on the Albany, CRl,Doberman Yppan, ECM and New Worldlabels. Deeply committed to educalion,Donald Crockett is Professor and Chairof the Composition Program, Director ofThornton Edge new music ensemble andAssistant Dean for Faculty Affairs at theUSC Thornton School of Music. as well as

Senior Composer ln Residence with theBennington Chamber Muslc Conference.

A richly giftedcomposer,improviser andguitarist, DusanBogdanovic has

explored musicallanguages thatare reflected in

his style today a

unique synthesisof classical, jazz

and ethnic music.As a soloist and incollaboration with other artists, Bogdanovichas toured extensively throughout Europe,Asla and the United States. His performingand recording actjvities include workwith chamber groups of diverse stylisticorientations includlng The Falla GuitarIrio and jazz collaborations with JamesNewton, Milcho Levlev, Charlie Haden,Miroslav Tadic, Mark Nauseef, AnthonyCox and others. He has over frfty publishedcompositions ranging from guitar and pianosolo works to chamber and orchestralensembles (Berben, GSP, DobermanYppan et al.), as well as close to twentyrecordings ranging from Bach Trio Sonatasto contemporary works (lntultion, GSP,

Doberman'Yppan, M.A. Recordings et al.).Among his most recenL cornmissions area ballet poeme Croq premlered by thePacifrc Dance Company at the Los AngelesTheater Center; Sevdalinka, wrltten for

the Newman Oltman Guitar Duo with theTurtle lsland Quartet, premiered at MerklnHall, NewYork; Canhcles, composed forthe Gruber- Maklar Duo; a mixed mediapiece To Where Does The One Return, f orslxteen ceramic gongs in collaboration withsculptor Stephen Freedman, premiered in

Hilo, Hawall; Gomes, commissioned by theBluePrint Festival and dedicated to DavidTanenbaum and Nicole Paiement; ByzantineTheme and Variahons, premiered by JamesSmith with the Armadillo String Quartet;as well as works written for pianist FabioLuz and numerous solo gultar compositionswritten forAlvaro Pierri, David Starobln,William Kanengiser, Scott Tennant, Eduardolsaac, Jame: Smith and others.

Bogdanovic was born in Yugoslaviain 1955. He completed his studies ofcomposition and orchestration at theGeneva Conservatory with P Wissmer andA. Ginastera and in gultar performancewith M.L.SAo Marcos. Early in his career, hereceived the only First Prize at the GenevaCompetition and gave a highly acclaimeddebut recital in Carnegie Hall in 1,977. Afterhavlng taught at the Belgrade Academy andSan Francisco Conservatory (1990 2OO7),

he is presently engaged by the GenevaConservatory.

His theoretjcal work for guitar, at BerbenEditions, includes Polyrhythmic and

10

))

Polymetric Studies, as well as a bilingualpublicanon covering Lhree voicecounterpoint and improvisation in theRenaissance style. His latest book Ex Ovo,a collection of essays for composers andimprovisers published by Doberman-Yppan,is soon to be followed by Harmony forGuitar, which is in preparation by thesame publisher.

Brian Headen.ioys a multi-faceted careeras a guitarist,teacher andcomposer,performing andrecording withgroups includingthe Los AngelesPhilharmonic, Los

Angeles Opera,Jacaranda andthe Firebird Ensemble and having appearedas soloist on the stages of the DorothyChandler Pavllion, Disney Hall, and theHollywood Bowl. He has premiered worksby Donald Crockett, Stephen Hartke, JeffreyHolmes, William Kraft, and Steve Reich

among others, and his own compositionshave been recorded on labels includingDelos, Denon, GSP, and now Doberman-Yppan Recordings, and have been

performed on six continents and throughoutthe U.S. in venues including Merkin Hallin New York, the Ambassador Auditoriumin Los Angeles and the Phillips Collectionin Washington, D.C. His homage to JohnMcLaughlin called We KnowYou Know,was part of the Grammy Award winningGuitar Heroes album by the Los AngelesGuitar Quartet, a group whose 2015CD New Renaissance he also produced.His own recordings include The Folcon'sEye-the solo guitar music of DonaldCrockett on Doberman-Yppan Records,as well as performances of William Kraft'ssolo lncantation on Kraft's Albany Recordsoffering, another with renowned clarinetist,Michele Zukofsky, on her Simon Bellisontribute recording, and the debut recordingof Stephen Hartke's Sons of Nooh with Xteton New World Records.

Born in Washington D.C., Brian receiveddegrees in music and mathematics at theUniversity of Maryland and continued hisstudies in guitar with James Smith andcomposition with Stephen Hartke at theUSC Thornton School of Music where hewas chosen as the Outstanding ThorntonSchool Master's Graduate. He now has adual appointment on the Classical Guitarand Composition faculties at the ThorntonSchool where he chairs the Classical GuitarDepartment and is Assistant Dcan forAcademic Programs. He is a frequent 11

adjudicator and masterclass clinician acrossthe U.S. and has been recognized for hisexceptional teaching having received theUSC Gamma Sigma Alpha Professor of theYearAward and the Simon Ramo FacultyAward, the Thornton School's highestfaculty honor. He previously led theclassical guitar program at the University ofCalifornia, Santa Barbara, and is currentlyArtistic Director of the Guitar Foundationof America.

A native ofnorthernCalifornia,Steven Gates is

a composer andeducator whos.^music is informedby varioussources, includingthe naturalworld, mythologyand an affrnityfor the spiritand mechanical innovations of earliergenerations. His music has been widelyperformed and includes orchestral,chamber, and vocal works. Recognitionfor hls muslc includes Austin Peay

State University's "Young Composer'sCompetitjonl'the "Prize for Excellence in

Chamber Music Composition" from the

Tampa Bay Composers' Forum, and theThornton School of Music's "McHughComposition Prize." His music has beenfeatured on the MATA Festival in New York,and Steven was invlted to be a compositionfellow at the Composers' Forum of theEast in Bennington, Vermont. Through their"First Music" program, the New York YouthSymphony commissioned and premieredGates' orchestral work Among )oshua Trees.

Steven holds degrees in composition fromthe University of Denver, Lamont Schoolof Music and the University of SouthernCalifornia, Thornton School of Music,where his primary instructors were DonaldCrockett, James Hopkins, and Frank Ticheli.A commitied teacher, Gates has heldnumeTous teaching positions ln SouthernCalifornia and has directed the theory andcomposition program at Pasadena CityCollege since 2011.

Simone lannarelliwas born inRome in 1970.He studiedclassical guitarwith MassimoDelle Cese andgraduated fromthe Conservatory"A.Casella"in LAquila,receiving his frnaldiploma withhighest honors. During his study in Rome,Mr. lannarelli performed in many masterclasses given by musiclans such as ManuelBarrueco, David Russell, Carlo Domeniconi,Dusan Bogdanovic and Sergio Assad,among others. Afterward, he moved toParis to study with the composer, arrangerand guitarist Roland Dyens for two years,later enrolling at the Conservatoire deLa Courneve (Paris) where he studiedorchestration with Guillaume Cornesson.Mr. lannarelli is highly recognized as a

guitarist and composer by critics andmusicians alike. He has given recitals as a

soloist as well as in duo with soprano andviolin through France, Germany, ltaly, theNetherlands, Switzerland, the Unlted Statesand Mexico. His works are published byLes Productions d'Oz, Editions Sinfonica,Berben, and Carish, and have frequentlybeen performed by internationally

recognized players in Europe, USA, SouthAmerica, Mexico and Asia, and broadcast onBBC, Radio Vaticana and Bayerlsche Radio.ln2OO4, the CD "Rue De La Folie Regnault"was released on the Guitart label, featuringpieces composed and performed by him.Mr. lannarelli is professor of classical guitarat the University of Collma (Mexico).

Recognlzed as

one of America'sfrnest classicalguitarists, WilliamKanengiser wonFirst Prize in the1987 ConcertArtists GuildI nternationalCompetitionas well as

major gultarcompetitions in

Toronto (1981) and Paris (1983). He has

recorded four solo CD's for the GSP label,ranging from classical to jazz to Caribbeanto Near Eastern styles, and he recentlyrecorded two CD's for the Suzuki GuitarAdvanced Repertoire Series. ln 2005 hereleased a live concert DVD, "ClassicalGuitar and Beyond'i for Mel Bay Recordingswhich also features Mr. Kanengiser's talentsas a comedlan/mimic in his infamous "GFAlmltation Show". A member of the guitar 13

faculty at the USC Thornton School otMusic since 1983, he was a recipient ofthe "2011 Dean's Award for Excellencein Teaching'l He has given master classesaround the world and produced twoinstructional videos, "Effortless ClassicalGuitar" and "Classical Guitar Mastery" forHot Licks Video. The 2010 11 season wasmarked by special performances of Shingofujii's Concerto de Los Angeles for solo guitarand guitar orchestra, which was writtenfor Mr. Kanengiser and recorded in Kyotoin 2008. This piece was played with guitarstudents in seven US cities. as well as inOsaka and Shanghai. Featured recitals in201,2 1,3 include Spivey Hall near Atlantaand appearances with the Long lsland,Philadelphia, Sacramento, Calgary andlndianapolis Guitar Societjes.

As a founding member of the Los AngelesGultar Quartet, Mr. Kanengiser has touredextensively throughout Asia, Europe andNorth America and recorded over a dozenCD's. LAGQ was awarded a GRAMMY@for Best Classical Crossover Recordingin 2005. Their newest recording proiect"lnterchange'i features concertos by JoaquinRodrigo and Sergio Assad; it was released inMarch 2010 and recelved a Latin Grammynomination for Best Classical Composltjon.ln addition to three European tours thisseason, they recently completed theirAustralian debut tour, including three sold-

out shows at the Sydney Opera House.ln additjon to the many arrangements andcompositions Mr. Kanengiser has writtenfor LAGQ over the years, Mr. Kanengiserrecently created the stage production fhelngenious Don Quixote: Words and Music fromthe Time of Cervantes, writing a one-hourscript forJohn Cleese (of Monty Python)and arranglng accompanying SpanishRenaissance music for guitar quartet. Thiswork is now being toured wlth comedianPhil Proctor of the Firesign Theater, and wasrecently released as a live DVD on Mel BayRecordings.

Martha Mastersfrrst achievedi nternationa I

recognition in

2000 when shewon frrst prize

in the GuitarFoundationof AmericalnternationalConcert ArtistCompetition. Thatsame year shealso won the Andres Segovla lnternationalCompetition in Linares, Spain, and wasnamed a frnalist in the Alexandre Tansmanlnternational Competition of MusicalPersonalities in Lodz, Poland. Since then,

Ms. Masters has been active as a solorecitalist, chamber musiclan and concertosoloist around the world. Ner 2013-14season includes appearances at festivals andon concert series through the United States,Peru, Mexico, Ecuador, Serbia and Germany.

Masters received both the Bachelorand Master of Music degrees from thePeabody Conservatory, where she studiedwith Manuel Barrueco, and completedthe Doctor of Musical Arts degree at theUniversity of Southern Cali[ornia as a

student of Scott Tennant.

Ms. Masters is currently on the guitarfaculty of Loyola Marymount Universityand Callfornia State University Fullerton,and is president of the Guitar Foundationof America. She has frve recordings on theNaxos and GSP labels, and her third bookwas released in spring of 201,4. For moreinformation, visit www.marthamasters.com.

Guitarist James Smith was professor andchair of the classical guitar program atUSC Thornton, a program regarded as oneof the frnest in the world. His studentsincluded prize-winners in internationalcompetitions, and two ensembles trainedat USC Thornton, the Los Angeles GuitarQuartet (LAGQ) and the Falla Trio, haveenjoyed successful professional careers.

He presentedmasterclasses atthe ManhattanSchool of Music,Eastman, Yale,

and the NewEngland andSan FranclscoConservatories,to name a few.Smith was veryactive as aperformer, playingthroughout the Americas and Asia. As a

dedicated chamber musician he performedwith lhe Bel Arts Trio (David Shostac,flute, John Walz, cello), Canto Claro (Sun

Young Kim, soprano), Windwood (Douglas

Masek, winds), and with guitarist DusanBogdanovic and violinist Endre Balogh.Also a skilled arranger, he had severalof his works recorded by the LAGQ andother ensembles. Recordings with DavidShostac on Excelsior and Douglas Masek onMassax include numerous arrangements bySmith. An ardenL supporter ol new music.he has given the premieres of works byBogdanovic, Reich, Johanson, Musgrave,Leisner and Lesemann, to name a few,and his recordings for Orion and Protonerecords have first recordings of works bySchickele. Crockett and others. Smith's soloplaying was featured in the acclaimedmovie Sleepy Time Gal (1996) starrlng t5

Jacqueline Bisset. James Smith servedas president of the Guitar Foundation ofAmerica, the advisory committee of theFirst American Guitar Congress and as a

board member of ASTA-LA. He judgedmany international guitar competitions,and organized the Celebration of PepeRomero at USC Thornton (2004), the FirstStotsenberg Guitar Competition, and theAndres Segovia Commemorative (1986), thelast two week long tribute to the Maestro.james Smith succumbed to brain cancerin September 2010.

Scott Tennantis consideredto be one ofthe world'spremiere guitarvirtuosos, andis a favoriteguest artist withoTchestras, onmusic seriesand major guitarfestivals aroundthe world. Heis a founding member of the Grammy@

wlnning ensemble L.A. Guitar Quartet, nowin their 30th year. He has made numerousrecordlngs as a soloist on the GHA andDelos labels. and with members of theLAGQ he has recorded for GHA, Delos,

Sony Classical, Windham Hill, DeutscheGrammophon and Telarc labels. Thelr Telarcrelease "LAGQ LAT|N" was nominated fora Grammy@, and it was their Telarc title"LAGQ'S GUITAR HEROES'whlch won a

Grammy@ as the best classical crossoverrecording of 2005.

Mr. Tennant is well known as a teacherand author, currently with eight books tohis name. His first book, Pumping Nylon,is an advanced book on classical guitartechnique and is used by students andteachers alike in most of the world's majorguitar programs. lt has attained a klnd of"cult status'i being hailed as the only bookof its kind. He lives in the Los Angeles area,and is on the faculties of the USC ThorntonSchool of Music. and the PasadenaConservatory of Music.

Thornton Edge Personnel

FluteMichael Matsuno

Oboe/English HornAki Nishiguchi

Clarinet/Bass ClarinetBoSdanovlc. Gates:

Carmen lzzoCrocketr, Head, lannarelli:

Joe MorrisEric Jacobs

BassoonBogdanovlc, Gates:

Krista WodeletCrocket, Head, lannarelli:

Robbie Curl

HornGates:

Steven NewboldCrockeft, Head. annarelll:

JG Miller

TrumpetBogdanovic:

Durango Ruiz

PercussionBogdanovic. Gates:

Ben PhelpsBrian ForemanCrocket, Head, lannarelli):

Lorry BlackCrockeft. Head:

Brice Burton

CelestaCrocket, Head:

Sarah Gibson

Violin I

Joel Pargman, concertmasterBogdanovic, Gates:

..loshua AddisonSergio Gamez OlivaresKelly BunchEsther KangEric WuestCrockeft, Head, lannarellil

Dagenals SmileyTing-Ting GuMarisa KuneyPieter Viljoen

Violin llBogdanovic, Gates:

Sakura Tsai, principalYi ting ChenLeonardo PerezMichelle BlackJack McFadden-TalbotCrocket, Head, lannarelli:

lack McFadden-Talbot, principalJoanna LeeJanet LiangRobin Su

Sophie Tang

ViolaBogdanovic, Gates:

Jack Stulz, principalSophia AchesonSixto Franco ChordaRenata van der VyverCrocket, Head, lannarelll:

Elizabeth Beilman, principalBrett BanducciAlejandro DuqueCecilia Cotero Torrecillas

CelloBogdanovlc. Gates:

Stella Cho, principalAnna ChoXian ZhuoCrockeft, Head, lannare li:

Stella Cho, principalMichael KaufmanAna Kim

BassBogdanovic, Gates:

Maggie Hasspacher, principalDaisuke TakahashiCrockeft, Head. lannarel i:

Mary Reed, principalMaggie Hasspacher

Produced by Kate Vincent, Donald Crockett and Brian HeadEngineered by Scott SedilloAssistant Engineers: Tom Brissette and Milton GutjerrezMastered by Scott Sedillo at Bernie Grundman MasteringGraphic design by Colleen Gates, GATES by design

All titles published by Editions Doberman Yppan

Kaleidoscope, Proyers and Mystery of Constel/ahon recordedin March 2010 at Newman Recital Hall, University ofSouthern California.

En La Tierra, A Fonciful Plointe and Cuento desde la fronterorecorded in November 2011 at Newman Recital Hall,University of Southern California.

We wish to acknowledge Richard Hansen of Delta, Colorado,and the Augustrne Foundation for providing generouscontributions to make this premiere performance andrecording project possible.

Photos: oPaul Viapiano (Brian Head, p.11),oLisa Ritts Photography (Steven Gates, p.12)

www.produchonsdoz.com

DOBERMA]GYPPAN

-I