Monday, February 5, 2018 • 8:00 p.m.

Wind Ensemble Cliff Colnot, conductor

DePaul Concert Hall 800 West Belden Avenue • Chicago Monday, February 5, 2018 • 8:00 p.m. DePaul Concert Hall Wind Ensemble Cliff Colnot, conductor

Program

Josef Mysliveček (1737-1781) No. 2 in E Flat Major (ca. 1770) Allegro spiritoso Largo, sotto voce Rondo

Wolfgang Amadeus Mozart (1756-1791) Divertimento No. 8 in F Major, K. 213 (1775) Allegro spiritoso Andante Menuetto Contredanse en Rondeau, Molto Allegro

Unconducted; William Buchman, coach

John Harbison (b. 1938) for Eighteen Winds (1986)

George Frideric Handel (1685-1759) Music for the Royal Fireworks (1749) I. Overture: Adagio, Allegro, Lentement, Allegro Wind Ensemble • February 5, 2018

Program Notes Josef Mysliveček Octet No. 2 in E Flat Major Duration: 10 minutes Czech Josef Mysliveček was born into a household of successful millers in Prague. Following less-than-successful studies in philosophy at Charles-Ferdinand University, Mysliveček left school to pursue the family milling business with his twin brother, Jáchym. After becoming a master miller in 1761, Mysliveček decided to strike out on his own during the early 1760’s to pursue a career in music. Mysliveček eventually studied operatic composition in Italy, and produced his most important work in that genre.

In 1770, Mysliveček met and befriended Leopold and Wolfgang Mozart in Bologna. The younger Mozart was influenced stylistically by the music of Mysliveček, and borrowed materials from his operas as well as his instrumental works.

The Octet No. 2 in E-flat Major is one of three octets that were most likely composed in about 1777-8. The present work has three movements: a lively first movement in -allegro form, a flowing, largo second movement, and a quick rondo at the close. The structure of each movement is clearly articulated, supported by a straightforward, yet technically showy orchestration based primarily on the pairs of similar instruments operating in tandem.

Note by Christopher Jones

Wolfgang Amadeus Mozart Divertimento No. 8 in F Major, K. 213 Duration: 11 minutes Wolfgang Amadeus Mozart composed the Divertimento No. 8 in F major, K 213, in 1775. Mozart was nineteen and was employed as a court musician in Salzburg, which was then ruled by Archbishop Hieronymous Colloredo. While musicians in the Salzburg court were expected to devote themselves to composing primarily church music, by the mid 1770s, Mozart had established his reputation as a composer of instrumental music. He composed many divertimenti during this period.

In this era, a divertimento suggested music for amusement or entertainment. The instrumentation for this divertimento – pairs of oboes, bassoons, and horns – was typical for 18th century harmoniemusik. Wealthy households employed these wind ensembles for a variety of functions. Divertimenti Wind Ensemble • February 5, 2018 Program Notes composed for harmoniemusik were often played for parties, social events, or small private concerts, and a work like this one may have been performed as dinner music for Archbishop Colloredo. The multi-movement divertimento derived from the dance suite, and each movement features a distinct rhythm, tempo, melody, and mood.

Note by Katherine Brucher

John Harbison Music for Eighteen Winds Duration: 13 minutes American composer John Harbison composed Music for Eighteen Winds in 1986 for the MIT Players. Harbison cites his most important influences as Johann Sebastian Bach’s cantatas, , and jazz. He has won many prominent prizes, including a MacArthur Fellowship, Pulitzer Prize, and the Heinz Award in the Arts and Humanities. He has composed over 70 works including premieres with the Chicago Lyric Opera and the Chicago .

Harbison, a longtime faculty member at the Massachusetts Institute of Technology, received a commission from the MIT Arts Council to compose Music for Eighteen Musicians, and he notes that he greatly valued the opportunity to write a piece for his community that “is challenging to play, but not impossible for college and music school students.” Harbison describes this piece as abstract in nature, but he conceived of it in two contrasting sections. He characterizes the first section as “very fast, full ensemble, answers, urban, concrete.”

The work opens with pulsing chords played by the brass before the high woodwinds interject. There is a great deal of movement in the opening minutes of the piece, and one can hear various elements, such as syncopated accents, muted brass, and prominent use of the alto saxophone, that suggest Harbison’s interest in jazz. About four and half minutes into the piece, the music transitions from the frenetic energy of the opening to a calmer, more contemplative mood. The composer characterizes the second section of the piece as “[n]ot as fast, solos, questions, rural, metaphysical.” He writes, “Toward the end of the piece, as the music becomes more and more cursive and self contained, it also becomes warmer and more optimistic, a paradox which is close to this composer’s heart.” The latter part of the piece is marked by lyrical melodies played by subsets of woodwinds or brass within the larger ensemble. The piece ends with long sustained chords.

Note by Katherine Brucher Wind Ensemble • February 5, 2018 Program Notes George Frideric Handel Music for the Royal Fireworks Duration: 9 minutes In 1749, King George II of England commissioned Handel to compose music to accompany a massive firework display in London’s Green Park to celebrate the Treaty of Aix-la-Chappelle and end of the War of Austrian Succession. Handel was at the height of his career in London. He enjoyed great success as the composer of oratorios, including his best-known work, The Messiah, which had premiered in Dublin in the spring of 1742 and been performed in London several times.

Handel composed the Music for Royal Fireworks as an orchestral suite – an overture followed by short movements based on popular courtly dances. Tonight, the DePaul Wind Ensemble performs only the opening overture. While Handel intended to score his piece for woodwinds and strings, King George conveyed that there should be only “martial musick” and “no fidles.” At this time, a military band employed oboes, bassoons, horns, trumpets, and timpani. This instrumentation first gained popularity in French courts during the seventeenth century before spreading throughout Europe and its colonies, and it was considered most appropriate for large-scale spectacles. The massed winds could be heard over great distances in outdoor performances. Handel orchestrated the piece for a band of 24 oboes, 9 horns, 9 trumpets, 12 bassoons, and 3 sets of timpani.

Music for Royal Fireworks was a success before it was even officially premiered. Over 12,000 people attended an open rehearsal in Vauxhall Gardens, and the crowds caused a three-hour traffic jam of carriages on London Bridge. The firework display a few days later drew more tepid reviews. A month later, Handel had the work performed at a charity concert held inside the chapel of the Foundlings Hospital, and for this occasion, he included strings.

Note by Katherine Brucher Wind Ensemble • February 5, 2018

Biography In the past decade Cliff Colnot has emerged as a distinguished conductor and a musician of uncommon range.

One of few musicians to have studied orchestral repertoire with Daniel Barenboim, Colnot has served as assistant conductor for Barenboim’s West- Eastern Divan Workshops for young musicians from Israel, Egypt, Syria, and other Middle Eastern countries. Colnot has also worked extensively with the late Pierre Boulez and served as assistant conductor to Boulez at the Lucerne Festival Academy. He regularly conducts the International Contemporary Ensemble (ICE), with whom he recorded Richard Wernick’s The Name of the Game for Bridge Records, and he collaborates with the internationally acclaimed contemporary music ensemble eighth blackbird. Colnot has been principal conductor of the Chicago Symphony Orchestra’s contemporary MusicNOW ensemble since its inception and was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than twenty-two years. Colnot also conducts Contempo at the University of Chicago, and the DePaul University Symphony Orchestra and Wind Ensemble. He has appeared as a guest conductor with the San Antonio Symphony Orchestra, the American Orchestra, the Saint Paul Chamber Orchestra, the Utah Symphony, and the Chicago Philharmonic.

Colnot is also a master arranger. His orchestration of Shulamit Ran’s Three Fantasy Pieces for Cello and Piano was recorded by the English Chamber Orchestra. For the chamber orchestra of the Jerusalem International Festival, Colnot has arranged the Adagio from Mahler’s Symphony No. 10, Schoenberg’s Pelleas and Melisande (both published by Universal) and Manuel De Falla’s Three Cornered Hat. For ICE, Colnot arranged Olivier Messiaen’s Chants de Terre et de Ciel for chamber orchestra and mezzo- soprano, also published by Universal. For members of the Yellow Barn Music Festival, Colnot arranged Shulamit Ran’s Soliloquy for Violin, Cello, and Piano, to be published by Theodore Presser. Colnot re-orchestrated the Bottesini Concerto No. 2 in B Minor for Double Bass, correcting many errors in existing editions and providing a more viable performance version. He has also been commissioned to write works for the Chicago Symphony Orchestra Percussion Scholarship Group. His orchestration of Duke Ellington’s New World Coming was premiered by the Chicago Symphony Orchestra with Daniel Barenboim as piano soloist in 2000, and Colnot also arranged, conducted, and co-produced the CD Tribute to Ellington featuring Barenboim at the piano. He has also written for rock-and-roll, pop, and jazz artists Richard Marx, Phil Ramone, Hugh Jackman, Leann Rimes, SheDaisy, Patricia Barber, Emerson Drive, and Brian Culbertson. Wind Ensemble • February 5, 2018 biography Colnot graduated with honors from Florida State University and in 1995 received the Ernst von Dohnányi Certificate of Excellence. He has also received the prestigious Alumni Merit Award from Northwestern University, where he earned his doctorate. In 2001 the Chicago Tribune named Cliff Colnot a “Chicagoan of the Year” in music, and in 2005 he received the William Hall Sherwood Award for Outstanding Contributions to the Arts. Most recently, Colnot has been awarded the 2016 Alice M. Ditson Conductor’s Award of Columbia University in recognition for his excellent commitment to the performance of works by American Composers. He has studied with master jazz teacher David Bloom, has taught jazz arranging at DePaul University, film scoring at Columbia College, and advanced orchestration at the University of Chicago. As a bassoonist, he was a member of the Lyric Opera Orchestra of Chicago, Music of the Baroque, and the Contemporary Chamber Players. Wind Ensemble • February 5, 2018 Personnel Josef Mysliveček Wolfgang Amadeus Mozart John Harbison Octet No. 2 in E Flat Major Divertimento No. 8 in F Music for Eighteen Winds Major, K. 213 Oboe Flute Andrew Cooper Oboe Erin Wallace Carl Colvin Carl Colvin Young Soon Yoo Flute/Piccolo Clarinet Armand Assainte Julia Janda Bassoon Ian Marino Cameron Keenan Oboe Jonathan LiVolsi Carl Colvin Bassoon Young Soon Yoo Cameron Keenan Horn Jonathan LiVolsi Momoko Hasselbring Clarinet Fiona Chisholm Michael Tran Horn Jesse Bruer Fiona Chisholm Jacob Nelson Alto Saxophone Richard Brasseale

George Frideric Handel Bassoon Music for the Royal Jonathan LiVolsi Fireworks Bassoon/Contrabassoon Oboe Cameron Keenan Young Soon Yoo Andrew Cooper Horn Carl Colvin Fiona Chisholm Momoko Hasselbring Bassoon Jacob Nelson Cameron Keenan Miles O’Malley Jonathan LiVolsi Trumpet Contrabassoon Sam Veren Nicholas Ritter Claire Hendrickson

Horn Trombone Momoko Hasselbring Lucas Steidinger Miles O’Malley Jacob Nelson Bass Trombone Ben Zisook Trumpet Julia Tsuchiya-Mayhew Sam Veren Librarian Claire Hendrickson Michael Ippolito

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For more information, please contact: Stephanie Carper, Director of Development Office of Advancement, DePaul University 1 East Jackson Boulevard Chicago, IL 60604-2287 (312) 362-7135 • [email protected] Wind Ensemble • February 5, 2018

Upcoming Events

Tuesday, February 6 • 8:00 p.m. Concert Hall DePaul Concert Orchestra

Saturday, February 10 • 8:00 p.m. Concert Hall DePaul Chamber Choir and Concert Choir

Monday, February 19 • 8:00 p.m. Concert Hall Percussion Ensemble

Friday, February 23 • 8:00 p.m. Concert Hall New Music DePaul

Saturday, February 24 • 8:00 p.m. Concert Hall Baroque Chamber Ensemble

Sunday, February 25 • 8:00 p.m. Concert Hall Wind/Mixed Chamber Showcase I

Wednesday, February 28 • 8:00 p.m. Concert Hall Wind/Chamber Showcase II

Thursday, March 1 • 7:00 p.m. Recital Hall Jazz Combos I

Thursday, March 1 • 8:00 p.m. Concert Hall String Chamber Showcase I

Friday, March 2 • 7:00 p.m. Recital Hall Jazz Combos II Wind Ensemble • February 5, 2018 upcoming events

Friday, March 2 • 8:00 p.m. Concert Hall String Chamber Showcase II

Saturday, March 3 • 3:00 p.m. Concert Hall African Drum Ensemble

Saturday, March 3 • 8:00 p.m. Concert Hall DePaul Wind Ensemble

Sunday, March 4 • 3:00 p.m. Concert Hall DePaul Wind Symphony

Sunday, March 4 • 7:00 p.m. Student Center • 2250 North Sheffield Avenue • Chicago Jazz Ensembles

Monday, March 5 • 7:00 p.m. The Jazz Workshop • 806 South Plymouth Court • Chicago Jazz Workshop

Tuesday, March 6 • 7:00 p.m. Concert Hall Cello Studio Recital

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