About the Wesley Series It is our 21st Anniversary! The Wesley Series began in 1995 with a piano recital, and has expanded to include events as diverse as voice and organ recitals, string quartet concerts, jazz and bluegrass performances, art exhibits, and the occasional lecture by a theologian or politician.

The performance space is the beautiful sanctuary, featuring a concert grand Steinway piano and our 30-rank Casavant Frères/Temple pipe organ. It is the third-largest pipe organ in Northwest Arkansas.

For more information, please visit us on the Web at WesleySeries.com

Upcoming Events at First United Methodist Church of Bella Vista

Wesley Series Concerts Sunday, October 23, 3:00pm Benjamin Kolodziej, organist

Saturday, November 12, 7:00pm Helena Aung, Piano, Young Artist from University of Arkansas

Other Events Wednesday evenings 5:30pm - 7:30pm Midweek Manna Supper and Classes for all ages

Tuesday, October 4 and every 1st & 3rd Tuesday, 10:00am Caregivers Support gatherings Friday, October 7, 11:30am-1:00pm Lifeline Fashion Show & Luncheon fundraiser

Wednesday, October 26 Promise Night for Families

Saturday, October 29, 5:30pm - 8:30pm FUMCBV 40th Anniversary Celebration

Sunday, October 30 ~ all services 40th Anniversary Recognition of past pastors in each service All-Saints Sunday

Monday, October 31, 5:30pm-7:30pm Trunk-or-Treat

Tuesday, November 8, 7:30am-7:30pm VOTE

here

Wednesday, November 9, 6:30pm

First United Methodist Church of Bella Vista 20 Boyce Drive, Bella Vista, AR 72715

(479)855-1158 fax (479)855-0850 fumcbv@lovelearnlead.com

www.lovelearnlead.com facebook.com/fumcbv

Saar TrioSaar Trio

Performing Performing

the Music of:the Music of:

PiazzollaPiazzolla

MuellerMueller

PrevinPrevin

LallietLalliet

PoulencPoulenc

3:00 p.m.3:00 p.m.

October 2, 2016October 2, 2016

First United Methodist Church First United Methodist Church

20 Boyce Drive, Bella Vista, Arkansas20 Boyce Drive, Bella Vista, Arkansas

Wesley Series Concerts Wesley Series Concerts ofof

First United Methodist ChurchFirst United Methodist Church

of Bella Vistaof Bella Vista

presentspresents

for information on future concerts: www.lovelearnlead.com (Wesley Series) (or) WesleySeries.org

Originally from Cali, Colombia, she earned her Bachelor’s degree in Bassoon Performance from Universidad Nacional de Colombia in Bogotá as a student of Mr. Sigfried Miklin. While in Colombia, she played with the Orquesta Filarmonica de Bogota, Orquesta Sinfonica de Colombia, Orquesta de la Opera de Colombia, and Orquesta Sinfonica del Valle, and also taught bassoon at the Javeriana University. After graduation, Dr. Uribe Southern attended the Banff Centre for the Arts in Alberta, Canada, for a fall and winter residency. Lia Southern earned her Master of Music degree from the University of Arkansas in Fayetteville under the tutelage of Dr. Richard Ramey, and her Doctorate of Musical Arts at the University of Kansas with Dr. Eric Stomberg. An advocate of new music, Dr. Uribe Southern has premiered and commissioned new works for the bassoon, including pieces by Jorge Humberto Pinzon, Johann Hasler, and Robert Mueller. ANDREW CAMPBELL has established himself as one of the most versatile collaborative pianists in the United States with a performing career that has taken him to four continents. He has performed in duo recitals with such artists as violinist Chee-Yun, flutist Thomas Robertello, composer Bright Sheng, and tenor Anthony Dean Griffey, with whom he has also collaborated on several operatic productions. He has served as opera rehearsal pianist for such distinguished conductors as André Previn and Plácido Domingo, and has worked closely with the composer Carlisle Floyd on several productions of his operas. Chamber music performances have taken him to distinguished venues including Weill Recital Hall at Carnegie Hall, where The Strad and Strings magazines both hailed his performance as "excellent”. His partnership with violinist Katherine McLin in the McLin/Campbell Duo and McLin and clarinetist Robert Spring in Trio del Sol has led to performances on numerous recital series throughout the United States and Europe. He has recorded several CDs on the Summit and Centaur labels, and his performance of the Rachmaninoff cello sonata with bassist Catalin Rotaru was cited for special praise by Bass World and XBass, two leading international journals. As an orchestral pianist, he has performed with many ensembles including the Phoenix Symphony, the Columbus Pro Musica Chamber Orchestra, and the San Diego Symphony, working with notable conductors including Keith Lockhart, David Effron, and Michael Christie. He has appeared as collaborative pianist at numerous international conferences, including the International Double Reed Society, National Flute Association Convention, MTNA and the Society for American Music. Dr. Campbell graduated Phi Beta Kappa and Pi Kappa Lambda in History and Piano from Oberlin College and Conservatory and earned his MM in Piano Performance from Indiana University. He received the Doctorate in Piano Chamber Music and Accompanying from the University of Michigan where he studied with the renowned collaborative artist Martin Katz. While at Michigan he served as Opera Coach/Continuo performer for the Opera Theater. Dr. Campbell spent several summers at the Aspen Music Festival as a fellowship pianist for the Vocal Concert Studies program and staff pianist for the violin studio of Paul Kantor. He was a national prizewinner in the MTNA Wurlitzer Collegiate Artists solo piano competition. Dr. Campbell is currently Director of the Collaborative Piano Program at the Arizona State University School of Music and is an occasional member of the music staff for the San Diego Opera. During the summer season, he serves on the Artist Faculty of the Taos Opera Institute. Previous positions include Director of the Collaborative Piano Program at the Brevard Music Center in North Carolina, music staff for the Washington National Opera, and Music Director and Pianist for the San Diego Opera Ensemble.

The Saar Trio was founded at the

Saarburger Serenaden Music

festival (Germany) in 2014 and

performs mixed chamber music

for oboe, bassoon and piano.

Oboist Theresa Delaplain and

bassoonist Lia Uribe join

collaborative pianist Andrew

Campbell, with a diverse

repertoire ranging from the

colorful trios of Poulenc and

Previn, to the tangos of Piazzola,

to the romanticism of Lalliet, and

more. The trio has performed in

Ger m any , Ar i zon a , and

Arkansas, and will be performing

in the 4th edition of the

International Bassoon Festival

“Siegfried Miklin” in Bogota,

Colombia, in October 2016.

The Saar Trio

Theresa Delaplain, oboe

Lia Uribe, bassoon Andrew Campbell, piano

PROGRAM

Oblivion Astor Piazzolla 1921-1992 arr. José Bragato Masques Robert Mueller b. 1958

Trio for Piano, Oboe and Bassoon Andre Previn

Lively b. 1929

Slow Jaunty

INTERMISSION

Terzetto, op. 22 Theophilé Lalliet Intrduzione: Moderato 1837-1892

Andante Maestoso Rondo: Allegretto Moderato Trio for Oboe, Bassoon, and Piano Francis Poulenc Presto 1899-1963 Andante edited. Caldini

Rondo

Biographies

THERESA DELAPLAIN has had a notable career as an oboist and pedagogue. She performs regularly as a soloist, chamber musician, and orchestral musician. Dr. Delaplain is the oboist for the Lyrique Quintette, and has toured frequently with the quintet, including tours to Thailand, Germany, Canada, and across the United States. The quintet has been a long-time member of the Arkansas Arts Council, and has given numerous formal concerts, school concerts, master classes, clinics, and workshops. The quintet has also produced a CD entitled Something Old,Something N e w , S o m e t h i n g B o r r o w e d , S o m e t h i n g B l u e . As an orchestral musician, Dr. Delaplain is Principal Oboist of the Fort Smith Symphony, the Symphony of Northwest Arkansas, and the Arkansas Philharmonic, and she has also played with the Tulsa Symphony, the Oklahoma City Symphony, the Springfield (OH) Symphony, and the Cincinnati Chamber Orchestra. She has performed concerti with the Fort Smith Symphony, the Thai National Orchestra, the Arkansas Philharmonic, the North Arkansas Symphony, the St. Croix Valley (WI) Symphony, and the University of Arkansas Symphony, Chamber Orchestra, Wind Ensemble, and New Music Ensemble. Dr. Delaplain has appeared at 10 International Double Reed Society conventions, and was a guest recitalist at the Southwest Contemporary Music Festival, in addition to performing at the College Music Society National and Regional Conventions and the National Flute Society Convention. Dr. Delaplain has commissioned and premiered several new works involving oboe, and has produced Time Labyrinths, a CD of oboe chamber music by Robert Mueller. She has been on the faculty at the Interlochen Center for the Arts Summer Arts Camp and the Saarburg International Music Festival in Germany. Dr. Delaplain teaches oboe and music theory at the University of Arkansas. She has won several grants for projects and concerts at the University of Arkansas, and has regularly brought in guest artists to work with the studio. She has been active as an adjudicator and clinician, including appearances at the Mid-South Double Reed Society Convention, Valdosta State University Double Reed Day, East Carolina Oboe D a y , a n d t h e A r k a n s a s A l l - S t a t e M u s i c C o n v e n t i o n . Dr. Delaplain earned her doctorate from the Cincinnati College-Conservatory of Music, where she studied with Sara Lambert Bloom and had regular master classes with Robert Bloom. She also earned degrees from Bowling Green State University and the University of Michigan, and she also studied with Richard Killmer, Arno Mariotti, John Bentley, Rachel Brudnoy, and Donald Nitz.

LIA URIBE, Mossmann artist, is the Assistant Professor of Bassoon at the University of Arkansas, Principal Bassoonist of SoNA (Symphony Orchestra of Northwest Arkansas) and SDCO (Springfield-Drury Civic Orchestra), and Assistant Principal Bassoonist of Ft. Smith Symphony. Dr. Uribe Southern maintains an active career as a chamber musician, orchestral player and artist-teacher. Her international work includes venues and festivals in Colombia, Canada, Costa Rica, Finland, Germany, Puerto Rico and Ecuador, and multiple venues in the United States, including most recently the Eutiner Festspiele, International Bassoon Festival in Bogota, and the International Double Reed Society 2011 and 2012 conferences. She performs on regular basis with the Lyrique Quintette and Ensemble 21.

Program Notes

Astor Piazzolla's Oblivion was composed in the year 1982 as a

chamber ensemble. This beautiful music piece was one of Astor

Piazzolla's most famous Tangos, and it became mostly popular

when it was released on the soundtrack of Marco Bellochio's film

Henry IV, the Mad King. Oblivion has been recorded in many

different versions, including being rewritten for the klezmer

clarinet, saxophone quartet, oboe, and orchestra. It starts out with violins and cellos, and is a beautiful, haunting

piece that speaks of tragedy and love. It's one of the most

famous Tango work ever done by Astor Piazzolla, and remains

one of his best. The string section enters instantly, with a subtle,

arpeggiated accompaniment, and the melody is extremely

melancholic and almost depressing. With long notes and

beautiful, alternating notes and elegant figures, Oblivion is a song

that spins a sad tale of love and woe. It is a beautiful piece, very

elegant in structure, and sounds like a sad song.

Half way through the song, the melodies change a little, with a

contrasting theme, not as intense as the previous notes and

melodies though. Astor Piazzolla's Oblivion is one of the tangos

that he wrote with almost no jazz or rock influence, like most

other of his pieces from that time. It is a piece that is very true to

the original Tango, and Piazzolla keeps it at its roots. It has a bit of harmonic sophistication and elegance, and it sings a beautiful

song of Tango and emotion.

From among Previn's original catalog, his Trio for Piano, Oboe

and Bassoon is a delightful tour de force, rich with diverse

influences. Scored in 1994, the work was commissioned by the

Orchestra of St. Luke's, with additional support from the Mary

Flagler Cary Charitable Trust and the National Endowment for the Arts. Panache on the wing might be a fair subtitle for the first

movement - offering pizzazz and flare right from the downbeat.

The Lively energy alternates to-and-fro with lyrical interludes, all

set under 20th century harmonies and a smattering of mixed

meters. For contrast, Previn provides a plaintive and Slow

centerpiece, with modern but aria-like narrations from the oboe

and bassoon, set over beautifully applied harmonies in the

manner of a jazz reverie. Titled Jaunty, the Finale flies out of the

gate with frenetic rhythms in the oboe and bassoon. Perhaps a

wink at Leonard Bernstein conjures a few sassy motifs à la New

York. But again, for a change of pace, a momentary intermezzo

or two blends a few tender changes within some real 'down home' studio jazz. For good measure, lots of accented, mixed meter

motifs keep us guessing clear to a punchy close in B-flat.

The Op.22 Trio for Oboe, Bassoon and Piano is one of Lalliet’s

few original compositions. It was designed to show off how

suitable a work for oboe and bassoon could be. The result was a

lyrical work, romantic in character with many appealing melodies

which features all three instruments in a fine light. The opening movement, a Moderato, begins with a dramatic piano introduction

before the oboe introduces the slinky opening theme. When the

bassoon takes it up a little while later it becomes a little lighter.

Then all three join together in presenting the sunny second

theme. In the middle movement, Andante maestoso, the bassoon

leads the way in presenting the lovely, singing and long-lined

theme with a lengthy solo. A duet played by both instruments

shows just how just what a beautiful combination they make. The finale, Allegro moderato, is a playful rondo, a buoyant, light-

hearted romp.

Despite his many associations with other artists, Poulenc’s

compositional style remained firmly independent throughout his

long career. His delight in writing for the human voice, fuelled

partly by the sacred works composed after his religious re-

awakening in 1936, is already present in this early Trio for Oboe, Bassoon, and Piano (1926). Dedicated to Manuel de Falla, this

sparkling piece opens with a presto movement, featuring the

oboe and the bassoon as the story-tellers. A largely homophonic

piano provides plenty of opportunities for the two wind

instruments to alternate cadenzas. Poulenc uses long and

contrasting lines, shifting between the harmonies of A major and

A minor, to create narrative tension.

The second movement is a lyrical pastorale, described by Poulenc himself as “sweet and melancholic.” The finale, a brisk

rondo, continues the pastorale-feel of the preceding section,

presenting miniature horn-calls, and concluding with a joyful

fanfare.