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

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� I Composition, History and Theory, and later served as coordinator of composition. Dr. Bass has composed for a variety of media, including orchestra, wind ensemble, chorus, vocal soloists and chamber ensembles. His music has been performed throughout the United States and in Canada, Britain, Russia and the Far East. He won first prize in the 1989 composition contest of the International Trombone Association for his Pas de Quotre for Trombone Quartet. Dr. Bass's compositions are published by Seesaw (New York), the BVD Press (Connecticut) and Warwick (England). A performer as well as a composer, Dr. Bass was principal trumpet of the Greensboro Symphony from 1968 to 1985. Until 2000 he was a member of the Market Street Brass, the UNCG faculty quintet. He has published articles on the music of Claude Debussy, Hector Berlioz and Gustav Mahler. In addition to his musical accomplishments, Dr. Bass keeps fit as a competitive half-marathoner and cyclist. Suite Coneertante was commissioned by Paul Neebe in 2004 and premiered in 2005 with the Chapel Hill Philharmonia, under the baton of Don Oehler. John Lambert of Classical Voice of North Carolina said about the performance, "Neebe is a spectacular player whose work this writer has long admired, and if he were an organist, one would be tempted to say he pulled out all the stops." Eddie Bass writes: "The Suite Concertante features concerto-like writing for the solo trumpet, but within a "suite" concept rather than a traditional "concerto" concept. Each movement has a distinct character, as suggested b its title; and the role of the solo trumpet in relation to that of the orchestra varies from movement to movement as well. In Alborada, or "morning song," the soloist begins with a pensive soliloquy, to which the orchestra responds. The middle section, with its Spanish flavor, is a deliberate tribute to Maurice Ravel, whose Alborada der' Grazioso was an inspiration for the movement. The March begins aggressively, with the soloist and orchestra alternating as protagonists. Lyric episodes follow, in which the solo trumpet shares the leading melodic role with sections of the orchestra. Nocturne suggests an evening in a smoky jazz club. A walking bass underpins a passacaglia, at the beginning of which the soloist seems to be standing at the bar listening. The passacaglia is twice interrupted by rhythmically free sections in which the soloist seems to comment on the goings-on, somewhat in the mood of the Alborada.