2014-326 Arts - Paul M. Neebe for Spring 2014 Arts Grant Agreement $250

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r iii ` J v K. ...t.. /'' Y—, "v�. ..c9 r- iq..�., Z /U F-13- — 1 Richard Cioffari (b. 1943), composer, pianist and educator, holds degrees from The University of Michigan and is Professor Emeritus at Bowling Green State University where he taught for 30 years. A published composer and arranger, his works have been commissioned and performed by artists and ensembles nationally and internationally. They have been presented at the International Double Reed Society, the International Horn Society, the International Trumpet Guild, the National Flute Association, the International Tuba Euphonium Association, the New York Brass, and on NPR's "From the Top." Several of his works are on the Music Educators National Conference state contest lists and two of his works, for unaccompanied bassoon and trumpet ensemble, are generally considered standard repertory for those media. He is a member of the American Society of Composers, Authors and Publishers and is listed in the International Who's Who in Music. He has served as principal keyboardist of the Columbus Symphony Orchestra and as a collaborative pianist and chamber recitalist. An unusually versatile musician, he was principal double bassist of the North Carolina Symphony and has conducted the Ohio Wesleyan University Chamber Orchestra and the Metropolitan Chamber Orchestra of Columbus. Concerto Iberico for Trumpet and Orchestra was commissioned in 2009 by Paul Neebe, who premiered the new work on April 30, 2011 with the Charlottesville Symphony Orchestra. It received its European premiere with Neebe as soloist on September 24, 2013 and the State Philharmonic Orchestra Kogice, under the baton of Steven White. Richard Cioffari was there for both premieres as well as at the CD recording sessions. The composer writes: "It has been quite a journey since Paul and I discussed the idea of my writing a concerto for him. I was immediately and enthusiastically smitten by the concept. We brainstormed and I decided to write a traditional, full-length three-movement concerto for full orchestra that would meet performer and audience expectations for a work that would showcase the trumpet in what it does best within a context of musical substance. Because the trumpet seems to me an instrument particularly adept in conveying the idioms of music traditionally associated with Spain, I adapted such a flavor in this concerto. I also particularly wanted to call for a wide range of expressivity for the soloist, from the bombastic fanfare of the opening to the quiet tenderness in the beginning of the second movement. Above all, I endeavored to treat the trumpet and respect it as an instrument capable, within its idiom, of the degree of subtlety one would expect, for example, from a violin. During the process of bringing the concerto to life