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More music by George Frederick McKay available from Naxos AMERICAN CLASSICS GEORGE FREDERICK McKAY Epoch: An American Dance Symphony University of Kentucky Symphony and Women’s Choir John Nardolillo
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C M George Frederick McKay in 1923 Y Photo: McKay Estate K
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George Frederick McKay (1899–1970) EPOCH: An American Dance Symphony
The original staging of George Frederick McKay’s Dance McKay’s Dance Symphony in 1936, Hitler invaded the Symphony Epoch is one of a collegial effort by youthful neutral Rhineland region, spreading fear throughout
faculty members and enthusiastic players and dancers Europe. Photo: Tim Collins comprising the performing groups of orchestra, dance and The critical reception for the premiere of Epoch was voice; together with specialists in stage design and costume very favorable and the scenario seemed to be accepted by at the University of Washington, Seattle, in the early years those in attendance as somewhat of a “slice of the times.” of the 1930s. This one-hour work in four distinct The audience was delighted with the Jazz and Blues symphonic movements is a poignant memento from the satirical vignettes in the fourth movement Machine Age Pacific Coast of America, when the nation was gradually Blues, and an encore was demanded for the final dance emerging from the depths of the Great Depression. segment featuring masked and sequined chorus girls. McKay stated in a radio interview near the premiere Quite a bit was written concerning the modern stage of the Dance Symphony that it was written to express the settings and lighting techniques, and McKay’s music was University of Kentucky Women’s Choir scenario conceived by John Ashby Conway, joining with praised by writers from both daily newspapers. The University of Kentucky Women’s Choir is a select ensemble now composed of approximately a hundred of the the spirit of American history as penned by the poets Edgar The Seattle Times, in a contemporary review of the school’s most talented female voices. These singers, ranging from freshmen to graduate students, represent a variety Allan Poe, Sidney Lanier, Walt Whitman and Carl premiere stated: of musical backgrounds and academic disciplines. The choir’s challenging and diverse repertoire spans a repertoire from Sandburg. The four movements of Epoch do not “A prologue dramatization of Edgar Allan Poe, ranging Gregorian chant to four to six part music of the 21st Century. With an emphasis on music by female composers, the correspond to specific works of poetry, but rather move the musically from the softly lyric to the weirdly fantastic, ensemble performs works of many different languages and compositional forms. Despite their rehearsal schedule of audience through an artistic portrayal of the historic with blond LaVona Muszynska dancing the principal two and a half hours per week, the Women’s Choir has achieved several distinguished honors in recent years. This periods inhabited by the poets, capturing their creative role, opened the production. A fantastic pendulum prestigious group of young women has been invited to perform in such places as the ACDA National Convention essence. The production was conducted by McKay, drama rhythm climaxed by the dance of the masked furies, (Carnegie Hall) in 2003, the MENC Southern Division Convention in 2001, the ACDA Southern Division Convention and staging was by Conway, choreography by Mary Aid won the applause of the enthusiastic first-nighters at in 2000, and the Kentucky Music Educators Convention in 1998. Additionally the choir has toured internationally, DeVries, costumes and masks by Doriece Colle. the end of the scene.” … “the real novel thrill of the including performances at Notre Dame in Paris and St Stephen’s Cathedral in Vienna. In 2008 the choir was featured Significantly, McKay carries musical themes from the evening was couched in the final Machine Age Blues at both the ACDA Southern Division and MENC National Convention in Milwaukee, Wisconsin. beginning movement to the final, much the same as he episode! Here, as the musical transformation of the does in another of his works from the 1930s; Harbor mechanized theme into blatant jazz swept the dancers Narrative (Naxos 8.559052), in which small vignettes are from shadowy robots to satirically masked burlesque Lori R. Hetzel repeated to link various scenes in music depicting a sea dancing girls. Mr. McKay outdid himself in originality Lori Hetzel is the Associate Director of Choral Activities and professor of Choral Music Education voyage. In Epoch the feeling of impending tragedy in the and sardonic effect.” at the University of Kentucky where she conducts the Women’s Choir and the a cappella group Poe movement is apparent again in the frenzied Jazz Age The many frantic moments portrayed in Epoch seemed “Paws and Listen”. She also teaches graduate and undergraduate secondary methods courses, Sandburg section. to have faded away into the dim past, a lost ballet spinning undergraduate conducting, and supervises student teachers. In conjunction with the undergraduate As the first performance of Epoch approached in the in time, as new wonders, challenges, and characters arose choral methods courses, she has pioneered a unique partnership program with a local high school, spring of 1935, world political and social events seemed on the stage of American experience. Now, in 2007 thanks bringing direct experience to music education students at the University. Her accomplishments to be spiraling toward ever more dreadful outcomes with to John Nardolillo and the University of Kentucky include the award of University of Kentucky “Great Teacher of the Year” in 2000. A native of the rise of tyrannical regimes and the threat of terrible new Symphony Orchestra, listeners can enjoy a journey back Wisconsin, Lori R. Hetzel received her B.A. degree in Music Education, Summa cum laude, from the University of wars and diabolical weapons. Labor strife, extremism, and to capture sounds from a remote part of 20th century Wisconsin – Green Bay. She received her M.M degree from the University of Missouri – Kansas City Conservatory, where gangland kidnappings marked the American scene. In the American culture. she studied conducting with Eph Ehly. Her D.M.A. degree is in Choral Conducting from Michigan State University with very week of the second and third performances of Charles K. Smith. An active clinician and guest conductor, she has most recently conducted All-State and Honor choirs in Indiana, Tennessee, Virginia, New York, Georgia, Arkansas, Maryland, Ohio, Montana and Wisconsin.
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John Nardolillo Synopsis Conductor John Nardolillo has appeared with more than twenty of America’s leading An imaginative and symbolic conception based upon four III. The creatures delight as the earth blossoms, the skies orchestras, including the Seattle Symphony, the San Francisco Symphony, the Detroit of America’s greatest poets: Edgar Allen Poe, Sidney shine, breezes blow and birds fly and sing; all is Symphony, the Atlanta Symphony, the Dallas Symphony, the Utah Symphony, the Lanier, Walt Whitman and Carl Sandburg, for symphony peaceful and fruitful. Oregon Symphony, and the Fort Worth Symphony. He has also performed extensively orchestra, women’s chorus and dancers. IV. The ceremonial set-dance welcomes the earth’s throughout Europe, and in Asia, making his international conducting début in 1994 at abundantly flowing rivers and streams.
Photo: Phyllis Berger the Sully Festival in France. More recently he has conducted at Carnegie Hall, the 1. Symbolic Portrait Edgar Allen Poe V. The rivers run relentlessly through the countryside to Kennedy Center and the Kimmel Center in Philadelphia. His concerts have been heard This episode serves us as a prologue, with Poe’s life at the vast seas that await them. on National Public Radio and Minnesota Public Radio and have been broadcast on PBS. once foreshadowing and summing up the events that later VI. As the rivers reach the sea, one final meadowlark Nardolillo joined the faculty of the University of Kentucky in 2004, where he serves inspire other poets. The lyric works of Poe are followed call heralds the arrival and all becomes more as Music Director and Conductor of the University of Kentucky Symphony by the struggle of transition into the macabre phase and end tranquil; peace again prevails. Orchestra. John Nardolillo holds a Bachelors degree in violin from the Cleveland in hysteria and madness. VII. The creatures invoke the set-dance again to end the Institute of Music, and Masters degrees in violin and conducting from the Peabody I. Introduction; the poet anticipates his fate. day. Conservatory in Baltimore. II. Lyric scene; a prolonged intimate reverie (with VIII. The earth is called to rest: sleep and agelessness. University of Kentucky Symphony Orchestra “Annabel Lee”) is broken as the poet is beckoned to go forward to meet his fate. 3. Westward! Walt Whitman The University of Kentucky Symphony Orchestra, formed in 1918, is one of the principal ensembles of the School of III. Fearful farewell; the poet struggles to remain but Whitman, the poet of America’s pioneer expansion, is a Music in the College of Fine Arts at the University of Kentucky in Lexington, Kentucky. The orchestra performs cannot resist knowing his fate. lonely figure, a champion of the common man yet never throughout the academic season at the Singletary Center for the Arts in Lexington, and plays regularly with the IV. Transition to macabre; the poet finds himself alone, accepted by him as a friend. The earlier part of this episode University of Kentucky Opera Theater at the Lexington Opera House. The UKSO has given concerts throughout haunted and terrified, facing an unknown darkness. portrays man as conqueror of nature through the invention Kentucky, has been engaged to play at Carnegie Hall in New York and the Kennedy Center in Washington DC, and V. Crescendo to madness; the quiet, broken by the slow of machinery that will harness power to do man’s work for has collaborated with major soloists, including Gil Shaham and Lynn Harrell. The orchestra recently made the first onset of pulsating sounds – the pendulum – him, while the latter portion shows man’s struggle to recording of Thomas Pasatieri’s opera Hotel Casablanca for Albany Records, Music of the Horse, and In Times Like increasing in intensity, swaying the poet to its beat, conquer the vast prairie and western mountains. These with American folksinger Arlo Guthrie. Each year the orchestra gives more than twenty performances for an forward into complete madness, then silence. I. Introduction; heroic prophecy of conquest – audience of more than 40,000 people and for thousands more on television in Kentucky, Indiana and Ohio. VI. Approach of Ghostly Figures; the fate-chorus nostalgia and loneliness – a passing uncertainty – approaches the dying poet who mirrors their own confidence returns. fate. II. The Workers; city life in the 1800s bustles, VI. Death stream; the figures whirl like leaves in a machinery is merrily relieving man of drudgery, and rhythmless interpretation of meaningless death. a sense of camaraderie prevails. VIII. Retreat of the Ghostly Figures; the figures slowly III. The call to the west; the call symbolizes the urge of recede into the enclosing shadow. the pioneer spirit, and a confident departure. IV. The poet watches them go, a lonely figure, relishing 2. Pastoral Sidney Lanier their joy in challenging the unknown but unable to join The second episode brings a sharp contrast. In it we find them. As he hears their last call, he retreats in sorrow. Photo: Aaron Lee Fineman a development of the lyric vein seen in Poe. It includes all V. The prairie; the looming vastness, loneliness of the that is sane, normal and peaceful in nature done in broad prairie and the inevitable tragedy for many, is horizontal lines, summing up the romance of southern expressed through the lament “O, Bury Me Not on hillsides, streams and bays. the Lone Prairie.” But the pioneers persist in I. Eos calls on the earth and its creatures to waken. following the call to their destiny. II. To an unhurried ceremonial set-dance melody, the VI. Folk dance; despite the impending tragedy they feel, creatures welcome the earth’s stirring. the youthful pioneer spirit exults in confidence and
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joy in the dance, as they prepare to face the reality, IV. Satirical blues dance; the city noise and bustle await listener can appreciate both the sophisticated classical McKay also pursued his interest in folk music, but the lament returns to haunt them. the workers who are again captive to a rhythm – a technique exhibited in McKay’s composing along with a composing Variants on a Texas Tune, and Port Royal, VII. March of the pioneers; the long trek moves forward tired-out blues tune – to start their evening. passion and understanding concerning folklore and 1861, the latter being based on African-American hymns. to the far distant goals. The poet knows there will be V. Dance frenzy; the music grows louder and drives musical history from the American scene. Sinding Also in his repertoire of this time were two new string triumphs but also understands that the greater goal of the worker-dancers to wildly follow the tempos and especially encouraged McKay to throw away his textbooks quartets, a quintet, a trio and many choral works for all universal peace and brotherhood are beyond reach in changes in rhythms. and write in a true melodic sense, related to his knowledge levels of performers’ virtuosity. In general, as America his lifetime. VI. Chorus line; women workers are transformed into a of the American cultural environment. Palmgren offered distanced itself from the glorious “roaring twenties” chorus line and dance to a cheap tune, then all join McKay firm artistic support by nominating his Violin George McKay’s music took on somewhat of an ultra- 4. Machine Age Blues Carl Sandburg in as the dance frenzy returns wilder than ever, with Sonata of 1923 for the Pulitzer Prize. In terms of the Jazz modern aspect, along with his informal mentoring of John Sandburg and the 20th century find machinery fully the rhythm of the machine adding to the havoc. and Blues motifs in Epoch it should be noted that the Cage in Seattle that culminated in a collaboration with developed with man as its slave, not its master. We have VII. Recurrence of the pendulum; as the workers dance, young composer had himself played ragtime piano and Cage in “The Hilarious Dance Concert” of 1939 at the the clatter of everyday existence and people at work and the madness of Poe reappears, and then dominates formed a small popular orchestra and composed his own Cornish School. McKay contributed several short avant- play, but the tune is always called by the machine which the scene; the workers continue dancing insanely – popular songs while in Army boot camp and in garde piano pieces for The Marriage at the Eiffel Tower forms the basic rhythm of jazz. As the forced merriment to their end. undergraduate studies as a student in the rollicking 1920s, which included the teen-age Merce Cunningham in the reaches its climax, we hear again the insanity theme first and even tried on one occasion to introduce Professor dance troupe. This was followed by satirical piano pieces heard in the prologue – coming as a warning to us all Epilogue Sinding to dance band music in 1922, with amusing such as Dance Suite No. 2 (Naxos 8.559143) and the before it is too late. Although this drama is at present a tragedy, it is unfinished results, whereby Sinding’s ears were so seared by the Jazz comical set Walking Portraits, which pictures college I. Introduction; the city hubbub in the 1900s – and lacks a fifth episode. This is now being prepared by riffs of the student band he had to hastily retreat pleading campus characters. At the same time, as can be heard in violence, noise, constant motion, the city never time and must be written and enacted by us all. auditory injury. an award-winning work for organ, he continued his sleeps. (G.F. McKay. 1935) Following the completion of Epoch McKay filled out explorations into more abstract, inner-seeking experiences. II. Rhythm of the machine; the workers and the (Editor’s note: The foregoing synopsis of the drama played the decade of the 1930s with a diverse and growing George Frederick McKay’s music during later decades machine move together – the machines command out in music and dance in EPOCH was constructed from number of works including a modernistic Organ Sonata of composition evolved and spread to eventually include while changing tempo. the original program notes, score subtitles, and dance which won the American Guild of Organists National Prize more than 500 titles covering a extraordinary range of III. Transition to jazz; the original beat of the machine interpretations, written by the composer and his in 1939. In 1936 he composed more music for the stage, genre and performance levels – from works for the young gradually changes and syncopation insinuates itself collaborators for the 1935 premiere.) with incidental music for Bury the Dead, an anti-war play child to the virtuoso – and numerous, varied instrumental and comes to dominate, accelerating until the whistle by Irwin Shaw, who is now famous for his novels and combinations. He was both an educator and a composer, blows to signal the end of the workday. movie scripts, e.g. the film The Young Lions, which starred and desired the best for all musicians with whom he felt a Marlon Brando. In subsequent years McKay was to receive strong brotherhood. He himself was an accomplished many performances of his works from Howard Hanson, violinist, and earned his way through college playing tired George Frederick McKay during the 1930s the new musical director of Eastman while he was studying old classics at cinemas and concert halls. For the rest of there. Of particular significance, Hanson presented a his career, he carried with him the conviction that not only At the time George Frederick McKay was composing Tune with the Seattle Symphony in the 1934-35 season. revised and expanded third movement from Epoch titled should musicians earn fair wages, but that they should also music for Epoch he was enjoying success in various The orchestral version of his Caricature Dance Suite was Symphony Evocation at a Composers’ Festival in have interesting fresh music to play, and he would produce segments of his early years as a professor at the growing performed by Nat Shilket’s orchestra on a nationally Rochester. it. He fulfilled that pledge. new University of Washington in Seattle. He had received broadcast NBC music show in 1929, and he was gaining publication of some of his chamber works in Europe recognition as a rising young American composer from Fred McKay and Harrison McKay (Schott’s and Senart) and his orchestral music was finding the Western region. performances in Philadelphia, Boston, Rochester, and McKay’s career had been much aided by his studies at Seattle, with conductors such as Karl Krueger, Fabien Eastman School of Music in Rochester, New York, where Sevitsky, and Howard Hanson. McKay conducted the he was mentored by the Scandinavian master composers premiere of his own work Fantasy on a Western Folk Christian Sinding and Selim Palmgren. In Epoch the
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joy in the dance, as they prepare to face the reality, IV. Satirical blues dance; the city noise and bustle await listener can appreciate both the sophisticated classical McKay also pursued his interest in folk music, but the lament returns to haunt them. the workers who are again captive to a rhythm – a technique exhibited in McKay’s composing along with a composing Variants on a Texas Tune, and Port Royal, VII. March of the pioneers; the long trek moves forward tired-out blues tune – to start their evening. passion and understanding concerning folklore and 1861, the latter being based on African-American hymns. to the far distant goals. The poet knows there will be V. Dance frenzy; the music grows louder and drives musical history from the American scene. Sinding Also in his repertoire of this time were two new string triumphs but also understands that the greater goal of the worker-dancers to wildly follow the tempos and especially encouraged McKay to throw away his textbooks quartets, a quintet, a trio and many choral works for all universal peace and brotherhood are beyond reach in changes in rhythms. and write in a true melodic sense, related to his knowledge levels of performers’ virtuosity. In general, as America his lifetime. VI. Chorus line; women workers are transformed into a of the American cultural environment. Palmgren offered distanced itself from the glorious “roaring twenties” chorus line and dance to a cheap tune, then all join McKay firm artistic support by nominating his Violin George McKay’s music took on somewhat of an ultra- 4. Machine Age Blues Carl Sandburg in as the dance frenzy returns wilder than ever, with Sonata of 1923 for the Pulitzer Prize. In terms of the Jazz modern aspect, along with his informal mentoring of John Sandburg and the 20th century find machinery fully the rhythm of the machine adding to the havoc. and Blues motifs in Epoch it should be noted that the Cage in Seattle that culminated in a collaboration with developed with man as its slave, not its master. We have VII. Recurrence of the pendulum; as the workers dance, young composer had himself played ragtime piano and Cage in “The Hilarious Dance Concert” of 1939 at the the clatter of everyday existence and people at work and the madness of Poe reappears, and then dominates formed a small popular orchestra and composed his own Cornish School. McKay contributed several short avant- play, but the tune is always called by the machine which the scene; the workers continue dancing insanely – popular songs while in Army boot camp and in garde piano pieces for The Marriage at the Eiffel Tower forms the basic rhythm of jazz. As the forced merriment to their end. undergraduate studies as a student in the rollicking 1920s, which included the teen-age Merce Cunningham in the reaches its climax, we hear again the insanity theme first and even tried on one occasion to introduce Professor dance troupe. This was followed by satirical piano pieces heard in the prologue – coming as a warning to us all Epilogue Sinding to dance band music in 1922, with amusing such as Dance Suite No. 2 (Naxos 8.559143) and the before it is too late. Although this drama is at present a tragedy, it is unfinished results, whereby Sinding’s ears were so seared by the Jazz comical set Walking Portraits, which pictures college I. Introduction; the city hubbub in the 1900s – and lacks a fifth episode. This is now being prepared by riffs of the student band he had to hastily retreat pleading campus characters. At the same time, as can be heard in violence, noise, constant motion, the city never time and must be written and enacted by us all. auditory injury. an award-winning work for organ, he continued his sleeps. (G.F. McKay. 1935) Following the completion of Epoch McKay filled out explorations into more abstract, inner-seeking experiences. II. Rhythm of the machine; the workers and the (Editor’s note: The foregoing synopsis of the drama played the decade of the 1930s with a diverse and growing George Frederick McKay’s music during later decades machine move together – the machines command out in music and dance in EPOCH was constructed from number of works including a modernistic Organ Sonata of composition evolved and spread to eventually include while changing tempo. the original program notes, score subtitles, and dance which won the American Guild of Organists National Prize more than 500 titles covering a extraordinary range of III. Transition to jazz; the original beat of the machine interpretations, written by the composer and his in 1939. In 1936 he composed more music for the stage, genre and performance levels – from works for the young gradually changes and syncopation insinuates itself collaborators for the 1935 premiere.) with incidental music for Bury the Dead, an anti-war play child to the virtuoso – and numerous, varied instrumental and comes to dominate, accelerating until the whistle by Irwin Shaw, who is now famous for his novels and combinations. He was both an educator and a composer, blows to signal the end of the workday. movie scripts, e.g. the film The Young Lions, which starred and desired the best for all musicians with whom he felt a Marlon Brando. In subsequent years McKay was to receive strong brotherhood. He himself was an accomplished many performances of his works from Howard Hanson, violinist, and earned his way through college playing tired George Frederick McKay during the 1930s the new musical director of Eastman while he was studying old classics at cinemas and concert halls. For the rest of there. Of particular significance, Hanson presented a his career, he carried with him the conviction that not only At the time George Frederick McKay was composing Tune with the Seattle Symphony in the 1934-35 season. revised and expanded third movement from Epoch titled should musicians earn fair wages, but that they should also music for Epoch he was enjoying success in various The orchestral version of his Caricature Dance Suite was Symphony Evocation at a Composers’ Festival in have interesting fresh music to play, and he would produce segments of his early years as a professor at the growing performed by Nat Shilket’s orchestra on a nationally Rochester. it. He fulfilled that pledge. new University of Washington in Seattle. He had received broadcast NBC music show in 1929, and he was gaining publication of some of his chamber works in Europe recognition as a rising young American composer from Fred McKay and Harrison McKay (Schott’s and Senart) and his orchestral music was finding the Western region. performances in Philadelphia, Boston, Rochester, and McKay’s career had been much aided by his studies at Seattle, with conductors such as Karl Krueger, Fabien Eastman School of Music in Rochester, New York, where Sevitsky, and Howard Hanson. McKay conducted the he was mentored by the Scandinavian master composers premiere of his own work Fantasy on a Western Folk Christian Sinding and Selim Palmgren. In Epoch the
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John Nardolillo Synopsis Conductor John Nardolillo has appeared with more than twenty of America’s leading An imaginative and symbolic conception based upon four III. The creatures delight as the earth blossoms, the skies orchestras, including the Seattle Symphony, the San Francisco Symphony, the Detroit of America’s greatest poets: Edgar Allen Poe, Sidney shine, breezes blow and birds fly and sing; all is Symphony, the Atlanta Symphony, the Dallas Symphony, the Utah Symphony, the Lanier, Walt Whitman and Carl Sandburg, for symphony peaceful and fruitful. Oregon Symphony, and the Fort Worth Symphony. He has also performed extensively orchestra, women’s chorus and dancers. IV. The ceremonial set-dance welcomes the earth’s throughout Europe, and in Asia, making his international conducting début in 1994 at abundantly flowing rivers and streams.
Photo: Phyllis Berger the Sully Festival in France. More recently he has conducted at Carnegie Hall, the 1. Symbolic Portrait Edgar Allen Poe V. The rivers run relentlessly through the countryside to Kennedy Center and the Kimmel Center in Philadelphia. His concerts have been heard This episode serves us as a prologue, with Poe’s life at the vast seas that await them. on National Public Radio and Minnesota Public Radio and have been broadcast on PBS. once foreshadowing and summing up the events that later VI. As the rivers reach the sea, one final meadowlark Nardolillo joined the faculty of the University of Kentucky in 2004, where he serves inspire other poets. The lyric works of Poe are followed call heralds the arrival and all becomes more as Music Director and Conductor of the University of Kentucky Symphony by the struggle of transition into the macabre phase and end tranquil; peace again prevails. Orchestra. John Nardolillo holds a Bachelors degree in violin from the Cleveland in hysteria and madness. VII. The creatures invoke the set-dance again to end the Institute of Music, and Masters degrees in violin and conducting from the Peabody I. Introduction; the poet anticipates his fate. day. Conservatory in Baltimore. II. Lyric scene; a prolonged intimate reverie (with VIII. The earth is called to rest: sleep and agelessness. University of Kentucky Symphony Orchestra “Annabel Lee”) is broken as the poet is beckoned to go forward to meet his fate. 3. Westward! Walt Whitman The University of Kentucky Symphony Orchestra, formed in 1918, is one of the principal ensembles of the School of III. Fearful farewell; the poet struggles to remain but Whitman, the poet of America’s pioneer expansion, is a Music in the College of Fine Arts at the University of Kentucky in Lexington, Kentucky. The orchestra performs cannot resist knowing his fate. lonely figure, a champion of the common man yet never throughout the academic season at the Singletary Center for the Arts in Lexington, and plays regularly with the IV. Transition to macabre; the poet finds himself alone, accepted by him as a friend. The earlier part of this episode University of Kentucky Opera Theater at the Lexington Opera House. The UKSO has given concerts throughout haunted and terrified, facing an unknown darkness. portrays man as conqueror of nature through the invention Kentucky, has been engaged to play at Carnegie Hall in New York and the Kennedy Center in Washington DC, and V. Crescendo to madness; the quiet, broken by the slow of machinery that will harness power to do man’s work for has collaborated with major soloists, including Gil Shaham and Lynn Harrell. The orchestra recently made the first onset of pulsating sounds – the pendulum – him, while the latter portion shows man’s struggle to recording of Thomas Pasatieri’s opera Hotel Casablanca for Albany Records, Music of the Horse, and In Times Like increasing in intensity, swaying the poet to its beat, conquer the vast prairie and western mountains. These with American folksinger Arlo Guthrie. Each year the orchestra gives more than twenty performances for an forward into complete madness, then silence. I. Introduction; heroic prophecy of conquest – audience of more than 40,000 people and for thousands more on television in Kentucky, Indiana and Ohio. VI. Approach of Ghostly Figures; the fate-chorus nostalgia and loneliness – a passing uncertainty – approaches the dying poet who mirrors their own confidence returns. fate. II. The Workers; city life in the 1800s bustles, VI. Death stream; the figures whirl like leaves in a machinery is merrily relieving man of drudgery, and rhythmless interpretation of meaningless death. a sense of camaraderie prevails. VIII. Retreat of the Ghostly Figures; the figures slowly III. The call to the west; the call symbolizes the urge of recede into the enclosing shadow. the pioneer spirit, and a confident departure. IV. The poet watches them go, a lonely figure, relishing 2. Pastoral Sidney Lanier their joy in challenging the unknown but unable to join The second episode brings a sharp contrast. In it we find them. As he hears their last call, he retreats in sorrow. Photo: Aaron Lee Fineman a development of the lyric vein seen in Poe. It includes all V. The prairie; the looming vastness, loneliness of the that is sane, normal and peaceful in nature done in broad prairie and the inevitable tragedy for many, is horizontal lines, summing up the romance of southern expressed through the lament “O, Bury Me Not on hillsides, streams and bays. the Lone Prairie.” But the pioneers persist in I. Eos calls on the earth and its creatures to waken. following the call to their destiny. II. To an unhurried ceremonial set-dance melody, the VI. Folk dance; despite the impending tragedy they feel, creatures welcome the earth’s stirring. the youthful pioneer spirit exults in confidence and
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George Frederick McKay (1899–1970) EPOCH: An American Dance Symphony
The original staging of George Frederick McKay’s Dance McKay’s Dance Symphony in 1936, Hitler invaded the Symphony Epoch is one of a collegial effort by youthful neutral Rhineland region, spreading fear throughout
faculty members and enthusiastic players and dancers Europe. Photo: Tim Collins comprising the performing groups of orchestra, dance and The critical reception for the premiere of Epoch was voice; together with specialists in stage design and costume very favorable and the scenario seemed to be accepted by at the University of Washington, Seattle, in the early years those in attendance as somewhat of a “slice of the times.” of the 1930s. This one-hour work in four distinct The audience was delighted with the Jazz and Blues symphonic movements is a poignant memento from the satirical vignettes in the fourth movement Machine Age Pacific Coast of America, when the nation was gradually Blues, and an encore was demanded for the final dance emerging from the depths of the Great Depression. segment featuring masked and sequined chorus girls. McKay stated in a radio interview near the premiere Quite a bit was written concerning the modern stage of the Dance Symphony that it was written to express the settings and lighting techniques, and McKay’s music was University of Kentucky Women’s Choir scenario conceived by John Ashby Conway, joining with praised by writers from both daily newspapers. The University of Kentucky Women’s Choir is a select ensemble now composed of approximately a hundred of the the spirit of American history as penned by the poets Edgar The Seattle Times, in a contemporary review of the school’s most talented female voices. These singers, ranging from freshmen to graduate students, represent a variety Allan Poe, Sidney Lanier, Walt Whitman and Carl premiere stated: of musical backgrounds and academic disciplines. The choir’s challenging and diverse repertoire spans a repertoire from Sandburg. The four movements of Epoch do not “A prologue dramatization of Edgar Allan Poe, ranging Gregorian chant to four to six part music of the 21st Century. With an emphasis on music by female composers, the correspond to specific works of poetry, but rather move the musically from the softly lyric to the weirdly fantastic, ensemble performs works of many different languages and compositional forms. Despite their rehearsal schedule of audience through an artistic portrayal of the historic with blond LaVona Muszynska dancing the principal two and a half hours per week, the Women’s Choir has achieved several distinguished honors in recent years. This periods inhabited by the poets, capturing their creative role, opened the production. A fantastic pendulum prestigious group of young women has been invited to perform in such places as the ACDA National Convention essence. The production was conducted by McKay, drama rhythm climaxed by the dance of the masked furies, (Carnegie Hall) in 2003, the MENC Southern Division Convention in 2001, the ACDA Southern Division Convention and staging was by Conway, choreography by Mary Aid won the applause of the enthusiastic first-nighters at in 2000, and the Kentucky Music Educators Convention in 1998. Additionally the choir has toured internationally, DeVries, costumes and masks by Doriece Colle. the end of the scene.” … “the real novel thrill of the including performances at Notre Dame in Paris and St Stephen’s Cathedral in Vienna. In 2008 the choir was featured Significantly, McKay carries musical themes from the evening was couched in the final Machine Age Blues at both the ACDA Southern Division and MENC National Convention in Milwaukee, Wisconsin. beginning movement to the final, much the same as he episode! Here, as the musical transformation of the does in another of his works from the 1930s; Harbor mechanized theme into blatant jazz swept the dancers Narrative (Naxos 8.559052), in which small vignettes are from shadowy robots to satirically masked burlesque Lori R. Hetzel repeated to link various scenes in music depicting a sea dancing girls. Mr. McKay outdid himself in originality Lori Hetzel is the Associate Director of Choral Activities and professor of Choral Music Education voyage. In Epoch the feeling of impending tragedy in the and sardonic effect.” at the University of Kentucky where she conducts the Women’s Choir and the a cappella group Poe movement is apparent again in the frenzied Jazz Age The many frantic moments portrayed in Epoch seemed “Paws and Listen”. She also teaches graduate and undergraduate secondary methods courses, Sandburg section. to have faded away into the dim past, a lost ballet spinning undergraduate conducting, and supervises student teachers. In conjunction with the undergraduate As the first performance of Epoch approached in the in time, as new wonders, challenges, and characters arose choral methods courses, she has pioneered a unique partnership program with a local high school, spring of 1935, world political and social events seemed on the stage of American experience. Now, in 2007 thanks bringing direct experience to music education students at the University. Her accomplishments to be spiraling toward ever more dreadful outcomes with to John Nardolillo and the University of Kentucky include the award of University of Kentucky “Great Teacher of the Year” in 2000. A native of the rise of tyrannical regimes and the threat of terrible new Symphony Orchestra, listeners can enjoy a journey back Wisconsin, Lori R. Hetzel received her B.A. degree in Music Education, Summa cum laude, from the University of wars and diabolical weapons. Labor strife, extremism, and to capture sounds from a remote part of 20th century Wisconsin – Green Bay. She received her M.M degree from the University of Missouri – Kansas City Conservatory, where gangland kidnappings marked the American scene. In the American culture. she studied conducting with Eph Ehly. Her D.M.A. degree is in Choral Conducting from Michigan State University with very week of the second and third performances of Charles K. Smith. An active clinician and guest conductor, she has most recently conducted All-State and Honor choirs in Indiana, Tennessee, Virginia, New York, Georgia, Arkansas, Maryland, Ohio, Montana and Wisconsin.
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More music by George Frederick McKay available from Naxos AMERICAN CLASSICS GEORGE FREDERICK McKAY Epoch: An American Dance Symphony University of Kentucky Symphony and Women’s Choir John Nardolillo
8.559052 8.559225
C M George Frederick McKay in 1923 Y Photo: McKay Estate K
8.559330 8 NAXOS Playing George Frederick Time: McKAY 62:52 (1899–1970) Disc Made in Canada. Printed & Assembled USA. ൿ broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and 8.559330 McKAY:
& AMERICAN CLASSICS Ꭿ EPOCH
2008 Naxos Rights International Ltd. 2008 Naxos Rights International George Frederick McKay composed An American Dance Symphony Epoch, which has lain forgotten for (1935) virtually seventy years, as ‘An American
Dance Symphony’. This new art form Symphony Dance Epoch: An American 1 I. Symbolic Portrait 14:16 was to express in colourful music, costumes and dance scenes, utilizing the 2 II. Pastoral* 15:28 latest techniques in lighting and 3 III. Westward! 18:49 stagecraft, the spirit of four great American poets: Edgar Allan Poe, 4 IV.Machine Age Blues 13:47 Sidney Lanier, Walt Whitman and Carl Sandburg, as well as the flow of history University of Kentucky through romantic, pastoral, pioneering and industrial episodes. Epoch was first Symphony Orchestra performed in 1935 during the Great Depression, with severe social-political *University of Kentucky turmoil brewing on many fronts, and Women’s Choir McKay’s music, like the 1927 silent (Chorusmaster: Lori Hetzel) movie Metropolis, warned of a dawning robotic and polluted modern industrial John Nardolillo society, in contrast to a peaceful, natu- WORLD PREMIÈRE RECORDING ral existence. The lyrical Pastoral Epoch: An American Epoch: Dance Symphony depicts idyllic nurturing hillsides, A full synopsis will be found in the booklet streams and bays, while Machine Age DDD Recorded at the Singletary Center for the Arts Concert Hall, Blues expresses a dark prospective C Lexington, Kentucky, USA, 6–8 February 2007 future, with explosive, sardonic mech- Producer & Engineer: Tim Handley anical fury. Booklet notes: Fred McKay & Harrison McKay M McKAY: Publisher: GFM Publishing Co. 8.559330 8.559330 Cover Image by Misa McKay Moore, inspired by Epoch Y collegial stage production of 1935. American flag, folk artist, 1880s K www.naxos.com NAXOS