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Bol C M E Ezad Y a Ugher Ty Ch Mbers Tich Li Points Of TICH LI CH MBERS AUGHERTY E EZADY MICHAEL HAITHCOCK, CONDUCTOR MICHAEL HAITHCOCK, UNIVERSITY OF MICHIGAN SYMPHONY BAND UNIVERSITY OF MICHIGAN SYMPHONY BOLC M POINTS OF DEPARTURE POINTS Executive Producer Recording Session Production Assistants POINTS OF DEPARTURE Ladder to the Moon Michael Udow Allen Amos Patricia Cornett University of Michigan for solo violin, wind octet, Dustin Barr Sommer Forrester Project Producer Nicholas Cagle Langston Hemenway Symphony Band double bass and percussion (2006) Michael Haithcock Jonathan Caldwell Derek Shapiro Michael Haithcock, conductor Michael Daugherty (b. 1954) Associate Producers Graphic Design Night, New York 10:23 Scott Boerma and John Pasquale Savitski Design, Ann Arbor, Michigan “Machine” from Looking Up 12:51 Editing, Mixing and Mastering Yehonatan Berick, soloist Production and Audio Replication Symphony No. 5 (1989) David Lau, Brookwood Studio, World Class Tapes, Ann Arbor, Michigan William Bolcom (b. 1938) Oboe: Tim Michling, Lauren Halyo Ann Arbor, Michigan Clarinet: Julian Hernandez, Natalie Grata 3:35 Bassoon: Thomas Crespo, Christian Green Concerto for Clarinet (2010) Horn: Adedeji Ogunfolu, Cody Halquist Double Bass: Zoe Kumagai Frank Ticheli (b. 1958) POINTS OF DEPARTURE Percussion: Paul Owen Rhapsody for George 6:57 Song for Aaron 7:49 Points of Departure (2010) All works were recorded at Hill Auditorium Special thanks to David Aderente, Joe Nibley, off-stage trumpet Roshanne Etezady (b. 1973) on the University of Michigan campus: Roger Arnett, Emily Avers, Jason Corey, Riffs for Lenny 6:45 Travel agent 5:29 Etezady—February 5, 2012* and Paul Feeny for their technical and Bolcom—April 2, 2012* logistical support of this project. Daniel Gilbert, soloist Ali Gordon, soloist Ticheli—April 3 and 4, 2012 Irene Wu, disgruntled customer Cover photo: Detail of “Endover” sculpture Outcry and Turning Daugherty—October 29, 2012* Teenage driver 4:54 by UM alum Tony Rosenthal. The sculpture, Chambers—October 30, 2013* (2003, rev. 2012) Alex Akin, soloist affectionately known as “The Cube,” is in *composer in attendance during recording Evan Chambers (b. 1963) Regents Plaza on the UM campus. Aspiring pilot 4:20 10:46 Grace Morgan, soloist 11 Cruise ship entertainer 3:38 Chelsea Wilson, soloist UNIVERSITY OF MICHIGAN SYMPHONY BAND Conor Guzman, ship captain MICHAEL HAITHCOCK, CONDUCTOR Benjamin Kraus, steel pans MACHINE While composing the final movement, “Riffs for Lenny,” I imagined Bernstein perched on a pulpit, WILLIAM BOLCOM or a podium, passionately preaching about music as a powerful and necessary force for humanity. William Bolcom taught composition at the University of Michigan from 1973–2008. In a sense, I pay tribute to his lifelong enthusiasm, unleashed through his conducting, composing, He was Chairman of the Composition Department from 1998 to 2003 and was named performing, teaching, and in countless other ways. Like the opening movement, “Riffs for Lenny” is the somewhat jazzy, but now in a more sultry, gospel-like manner. It swoons, seduces, and then Ross Lee Finney Distinguished University Professor of Composition in the fall of 1994. suddenly takes off in double-time dancing all the way. Additional biographical information can be found at williambolcom.com. “Machine,” by William Bolcom, is the final movement of his Fifth Symphony OUTCRY AND TURNING transcribed for band by Paul Lavender. The work faithfully captures the magic of EVAN CHAMBERS Bolcom’s personal style of composing which reflects what George Gershwin called Evan Chambers is currently Professor of Composition at the University of Michigan and the “thoughts and aspirations” of our time. “Machine” combines buoyant dance serves as chair of the composition department. Following studies with Marilyn Shrude and motifs with the pounding rhythms of modern life. Burton Beerman at Bowling Green State Univeristy, he received his doctoral degree from the University of Michigan, where his composition teachers included William Albright, CONCERTO FOR CLARINET Leslie Bassett, George Wilson, and Nicholas Thorne. FRANK TICHELI Additional biographical information for Evan Chambers can be found at evanchambers.net. Frank Ticheli joined the faculty of the University of Southern California’s Thornton School of Music in 1991, where he is Professor of Composition. A native of Louisiana, Ticheli moved to Dallas, Texas at the age of thirteen. He completed his undergraduate studies at Southern The composer offers the following introduction to Outcry and Turning: Methodist University before receiving his master’s and doctoral degrees in composition Outcry: a wailing or howling against what should not be; a call sent out to touch the unspeakable and to from The University of Michigan where he studied with William Albright, Leslie Bassett, change it by marking that which is unbearably wrong with the sign of our grief and rage. William Bolcom, and George Wilson. Turning: the movement of becoming something else (a turning leaf); similarly, a process of change in the Additional biographical information can be found at frankticheli.com. course of events (the tide is turning); to change direction by shifting momentum away from an obstacle The composer explains the musical tributes heard in his Concerto for Clarinet: or toward a new goal. An act of creation, especially in the case of the making of something extraordinary (as in turning out great work, or a finely turned phrase). A slow and inexorable rotation of heavenly bodies or I had been hoping to compose a clarinet concerto for years, and so I was delighted when a circling dancers around a center. commission offer came my way from Swedish-American clarinetist, Hakan Rosengren. His fiery virtuosity, combined with his poignantly beautiful sound, had a direct influence on my creative In the face of war, disaster, or death, we often feel helpless—it seems that all we can do is to cry out decisions roughout the work. from our weakness and from our sense of injustice. And yet there is a tremendous power in our outcry. A wail breaks from our lips in our grieving, untangling over time a knot of tightly coiled pain. It not The concerto’s three movements are composed as tributes to three twentieth-century American only expresses our loss, but also stands as a form of tangible protest against what cannot or will not musical icons: George Gershwin, Aaron Copland, and Leonard Bernstein. Although the first be reconciled. movement is book-ended by playful allusions of Gershwin’s Rhapsody in Blue, and the finale contains just a whiff of the air found in Bernstein’s West Side Story, there are no direct quotes anywhere, We cry out alone, but we dance together, taking up that fallen sound and turning it into collective and my own personal style dominates all three movements. I composed my concerto as a tribute, motion, transforming space with energy as we move through it. In our turning we gather strength not as an emulation. and send it spiraling up and out through our bodies in the hope of redeeming loss or healing what is broken—in the hope of changing direction and restoring a balance that has been destroyed. The first movement, “Rhapsody for George,” is built largely from chromatic, jazzy, relentless flurries of sixteenth notes, volleyed back and forth between the soloist and ensemble. This high-speed This piece was commissioned in 2003 by the United States Military Academy Band at West Point. game is intensified by a walking bass line, jazzy syncopations, and heavy backbeats that come and The music is a response to the onset of the 2002 war in Afghanistan and the war in Iraq that began go at will. in 2003. I am deeply saddened that, as I update these program notes for the revised The second movement, “Song for Aaron,” evokes the gentle open-aired quality sometimes heard in work in 2012, United States troops are still at war in Afghanistan and daily violence continues in Iraq. Copland’s slow movements. If the listener notices a song-like quality here, it may be because the It is my prayer that humans might someday learn to live in peace with each other on the earth without music was first composed for voice as part of my work, An American Dream, for orchestra and voice continually resorting to killing each other. May all beings be at peace. (movement six). Thus, this movement is an adaption of my earlier work, but altered significantly to suit the lyrical Ticheli photo by Charlie Grosso Charlie by photo Ticheli traits of the clarinet. LADDER TO THE MOON POINTS OF DEPARTURE MICHAEL DAUGHERTY ROSHANNE ETEZADY Grammy® Award-winning composer Michael Daugherty is one of the most frequently Roshanne Etezady holds academic degrees from Northwestern University and commissioned, performed, and recorded composers on the American concert-music scene Yale niversity, and she has worked intensively with numerous composers, including today. Daugherty joined the faculty of the University of Michigan in 1991, where he is William Bolcom, Martin Bresnick, Michael Daugherty, and Ned Rorem. She completed her Professor of Composition. doctorate at the University of Michigan in March 2005. Additional biographical information for Michael Daugherty can be found on his publisher’s Additional biographical information for Roshanne Etezady can be found at roshanne.com. websites and at michaeldaugherty.net. In the preface to this score, the composer advises: The composer reveals his inspiration for Ladder to the Moon below: Points of Departure is a twenty-minute song cycle (movements performed without pause) that Ladder to the Moon for solo violin, wind octet, double bass, and percussion was commissioned by uses the theme of different modes of travel as a unifying factor through the voices of four the Lincoln Center Chamber Music Society. The first performance was given by the Chamber Music different personae. Society of Lincoln Center with Ida Kavafian, solo violin, in New York City on May 5, 2006. The work is The first character we hear from is a travel agent, which seemed fitting in a piece about motion and inspired by the urban landscapes of American artist Georgia O’Keeffe (1887–1968), who lived and transportation.
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