PROGRAM NOTES Elements That Gradually Merge: Simple Melodies in the Brass Begin the Work, Tuesday, September 10, 2019 Against a Repeated Rhythmic Pattern in 7:30 P.M
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HUGH HODGSON SCHOOL OF MUSIC PROGRAM NOTES elements that gradually merge: simple melodies in the brass begin the work, Tuesday, September 10, 2019 against a repeated rhythmic pattern in 7:30 p.m. MARCO PÜTZ (b. 1958) the other instruments. The two groups Hodgson Concert Hall Trigger (2017) (4’ 30”) do clash, but eventually the brass take over aspects of the rhythmic pattern, Hodgson Wind Ensemble Bold brass fanfares, heroic melodies, and while others imitate the melody. A new cascading woodwind passages char- unity of sound brings the piece to its Cynthia Johnston Turner, conductor acterize Trigger, a cinematic overture conclusion. Originally written for the HHSOM David Stanley, graduate conductor whose climax seems just out of reach. Dutch ensemble De Ereprijs, Dancing to Emily Eng, graduate conductor Each anticipated resolution reveals in- an Orange Drummer was later tran- scribed by the composer for the Boston Brian Chaplow, graduate conductor stead continual progressions, new doors of development persistently opening. Pops Orchestra in 2015. PROGRAM Rhythmic motives sequence upward throughout, intensifying anticipation. One Vanessa Lann has been a compos- “Let’s Dance!” may wonder if a pulled “trigger” begins er and pianist since the age of five the piece, or if the entire work is an and has studied composition, theory, Marco Pütz (b. 1958) expectation of the starting line. musicology, piano performance, and Trigger conducting with artists such as Ruth A native of Luxembourg, Marco Pütz is Schonthal, Earl Kim, Leon Kirchner, well-known for his concert band works, and Peter Lieberson. She has produced Vanessa Lann (b. 1968) many of which have become standards and announced radio feature programs Dancing to an Orange Drummer of the wind band repertoire throughout (WHRB, Cambridge) and worked as David Stanley, graduate conductor the world. In addition to award-winning music director for productions at the compositions, Pütz devotes his time to American Repertory Theatre. In addi- tion to her music courses, Lann studied Donald Grantham (b. 1947) music education, serving on the faculty film theory and physics. She graduat- J’ai Été au Bal of the Conservatory of Luxembourg, and recently serving on the board of the ed summa cum laude from the music World Association for Symphonic Bands department of Harvard university, and Victor Agudelo (b. 1979) and Ensembles (WASBE). in 1990 was awarded the Harvard Uni- Canicas versity 'John Knowles Paine Travelling Fellowship,' which brought her to The VANESSA LANN (b. 1968) INTERMISSION Netherlands for further study in music Dancing to an Orange Drummer composition. She received her Diploma with highest honors in 1993 from the Scott McAllister (b. 1969) (1993) (5’ 35”) Royal Conservatory of The Hague, Krump The title Dancing to an Orange where her teachers included Theo Lo- Drummer comes from the expression evendie, Gilius van Bergeijk and Louis Rob Smith (b. 1968) "moving to the beat of a different drum- Andriessen. At present Lann lives and Dance Mix mer." The piece was inspired by the works as a composer and pianist in The challenge of moving to a new country Emily Eng, graduate conductor Netherlands. She is also a Professor of (in this case, The Netherlands), and Music at Webster University in Leiden, for the composer this meant feeling, where she enjoys combining musicologi- Carol Brittin Chambers (b. 1970) and enjoying, the very different beat cal studies with other related fields. The Rusty Bucket and energy of new people, places, and customs. Lann uses two contrasting 48 Brian Chaplow, graduate conductor 49 DONALD GRANTHAM (b. 1947) begins with solo tuba, followed by a SCOTT MCALLISTER (b. 1969) Institute Summer Festivals. Currently, Scott J’ai Été au Bal (1999) (10’ 00”) duet with the euphonium, and culminat- Krump (2007) (16:00) McAllister is Professor of Composition at ing in a full brass presentation. Baylor University. Donald Grantham is a highly respected – Program notes by composer Much like breakdancing was a bench- and influential composer of wind band mark of inner-city culture in the ‘80s, ROB SMITH (b. 1968) music who is currently the Frank C. a dance movement called krumping Erwin Centennial Professor in Music at VICTOR AGUDELO (b. 1979) created its own subculture among teens Dance Mix (2000) (9’ 15”) the University of Texas at Austin School Canicas (2014) (5’ 00”) in Los Angeles neighborhoods such as “Bridging modernism and American HHSOM of Music, where he teaches compo- Compton, South Central and Watts in jazz and pop idioms” (San Antonio sition. He holds degrees from the Victor Agudelo is a Colombian compos- the late 2000's. Informed equally by Express-News), the innovative and highly University of Oklahoma and the Univer- er who blends his traditional musical hip-hop, African tribal rituals, pantomime energetic music of Rob Smith is frequent- sity of Southern California. Grantham roots with contemporary sounds and and martial arts, krumping is a frenetic, ly performed throughout the United States also went on to study at the American styles. As a student at the Universidad hyper fast-paced dancing style. Dancers and abroad. His compositions have Conservatory in France with Nadia EAFIT he composed Las Cuatro Chalupas gather in school grounds, parking lots, received numerous awards, including Boulanger. A recipient of numerous (The Four Boats), a work that showed his and yards to perform and “battle dance” those from ASCAP, the National Band awards and prizes in composition, his promise as a composer in his country each other; participants are typically Association, the National Association of music has been praised for its “ele- and gained him international regard. vocal opponents of violence, thus making Composers in the USA, the Luigi Russolo gance, sensitivity, lucidity of thought, He continued his masters and doctorate the krumping scene an alternative to International Electronic Music Compe- clarity of expression and fine lyricism” studies at the University of Memphis, the gang wars that plague the areas tition, and the Society of Composers. by the American Academy and Institute incorporating musical sounds and aes- where krumping is popular. Theatrical In 1997, as the recipient of a Fulbright of Arts and Letters. thetics from a diverse array of cultures, face paint is also worn by the dancers, Grant to Australia, he collaborated with and composed Continental Prism, a which gives krumping its other moniker, many different Australian ensembles J’ai Été au Bal is a celebration of some work that received the Morton Gould “clowning.” and musicians, which led to a teaching of the popular/folk music styles of Young Composer Award. He has since position at the University of Woolongong Louisiana—in particular Cajun music returned to Colombia and continues to Krump is an acronym for Kingdom Rad- in 1998. He holds a Bachelor of Music and the brass band tradition of New compose award winning works, as well ically Uplifted Mighty Praise. Krumping Degree from Potsdam College and both Orleans. The dance flavor of much of as teaching as an associate professor is an aggressive and spiritual form of the Master of Music and Doctor of Mu- the music is suggested by the title (“I at the Universidad EAFIT in Medellín, dance with Christian roots. There are sup- sical Arts Degrees in music composition went to the dance”), and two traditional Colombia. posedly three levels to krumping: Krump, Cajun dance tunes are employed. The Buckness and Ampness. This work is from The University of Texas at Austin. first appears near the beginning and The soundscape of symphonic bands in inspired by krumping. Fast and fiery Currently, he teaches at the University later at the end. “Allons danser, Colin- Colombia is greatly influenced by the music is juxtaposed with free, hymn-like, of Houston’s Moores School of Music da” (“Let’s go dancing, Colinda”) is a use of traditional rhythms from different ethereal slow sections, while instrumental where he is Assistant Professor of Music boy’s attempt to coax Colinda into go- regions of the country. This has given groups and soloists in the ensemble get a Composition and director of the AURA ing dancing, and part of his argument rise to works with a unique rhythmic lan- chance to “krump,” emulating the energy Contemporary Ensemble. is “it’s not everyone who knows how guage that is both vibrant and exciting. and passion of this dance. Dance Mix was commissioned by the So- to dance the two-beat waltzes.” This – Program notes by composer ciety for New Music (Syracuse, NY.) and touching little tune does work better in a Canicas (Marbles), is part of a suite the American Composer Forum's Conti- syncopated two but is usually represent- inspired by the names of five traditional Scott McAllister completed his doctorate nental Harmony Project. It was premiered ed in notation as 3+3+2. The second Colombian games: Marbles, Yo-Yo, in composition at the Shepherd School at an outdoor concert on Cazenovia Cajun song is “Les flammes d’enfer” Pirinola, Catapiz, and Trompo, with of Music at Rice University. McAllister Lake in Upstate New York in the summer (“The flames of hell”), most often per- each movement composed on a rhythm has received numerous commissions, of 2000. The instrumentation is similar formed as a heavily-accented two-step. traditional of a particular region of Co- performances, and awards throughout to that of a jazz ensemble and the work My version is much faster and lighter lombia and using harmonic and melodic the United States, Europe, and Asia and contains traits of jazz and pop music, and is introduced by a country-fiddle language taken from the academic music has also been featured at the Aspen, which the composer thought appropriate style tune. The brass band section of the 20th and 21st centuries.