Hodgson Wind Ensemble

The composer has written: “Dragon Rhyme The Hodgson Wind Ensemble Program Notes for symphonic band is cast in two move- ments. You will hear that the thematic mate- rial found in each movement is related and Chen Yi (Born 1953) consists of the basic intervals found in Bei- Thursday Dragon Rhyme (2010) jing opera music. The instrumental textures October 12 2017 • 8:00 p.m. within this piece range from transparent and As a Distinguished Professor at the Univer- delicate, to angular and strong. This variety is sity of Missouri-Kansas City Conservatory meant to spark the image of a dragon, which conductor Cynthia Johnston Turner of Music and Dance, a prolific composer, is auspicious, fresh, and vivid, and results in and recipient of the prestigious Charles Ives music that is layered and multidimensional – graduate conductor Bradley J. Esau Living Award from the American Academy similar to the eastern culture.” guest composer Catherine Likhuta of Arts and Letters, Chen Yi blends Chinese and Western traditions, transcending cul- guest artists UGA Hodgson Singers tural and musical boundaries. As a result, (Born 1947) she serves as an ambassador to the arts and PROGRAM creates music that reaches a wide range of Lollapalooza (1995/2006) audiences throughout the world. She holds Composer, conductor, and creative thinker, Chen Yi Dragon Rhyme (2010) both the B.A. and M.A. degrees in music John Adams occupies a unique position in composition from the Central Conservato- I. Mysteriously - Harmoniously the world of American music. His works, ry of Music in , and she received her II. Energetically both operatic and symphonic, stand out D.M.A. from where among contemporary classical composi- she studied composition with Wu Zuqiang, John Adams Lollapalooza (1995/2006) tions for their depth of expression, brilliance Chou Wen-chung, and . of sound, and the profoundly humanist na- Bradley J. Esau, Graduate Conductor She was elected to the American Academy ture of their themes. Over the past 30 years, of Arts and Sciences in 2005. Steven Stucky Funeral Music for Queen Mary (after Purcell) (1992) Adams’ music has played a decisive role in turning the tide of contemporary musical aesthetics away from academic modernism INTERMISSION and toward a more expansive, expressive language, entirely characteristic of his New Catherine Likhuta Scraps from a Madman’s Diary (2016) World surroundings. United States Premiere Born and raised in New England, Adams

I. Scene 1: Friday, 18th of July learned the clarinet from his father and

II. Scene 2: Saturday, 19th of July played in marching bands and community

orchestras during his formative years. Af- III. Scene 3: Monday, 21st of July ter earning two degrees from Harvard, he IV. Scene 4: Wednesday, 31st of July moved to Northern California in 1971 and V. Scene 5: Thursday, 32nd of July has since lived in the San Francisco Bay area.

VI. Scene 6: Friday, 33rd of July Adams taught at the San Francisco Conser-

VII. Scene 7: Monday, 34th of August vatory of Music for ten years before becom-

VIII. Scene 8: Saturday, 49th of Octoburary ing composer-in-residence of the San Fran-

IX. Scene 9: cisco (1982-1985), and creator of

the orchestra’s highly successful and contro- X. Scene 10: versial New and Unusual Music Series. In XI. Scene 11: 1985, Adams began a collaboration with the XII. Scene 12: poet Alice Goodman and stage director Pe- XIII. Scene 13: ter Sellars that resulted in two groundbreak-

ing operas, Nixon in (1987) and The

Death of Klinghoffer (1991). HODGSON CONCERT HALL 48 Performance UGA September October 2017 49 Hodgson Wind Ensemble

Both Harvard and Yale Universities have Steven Stucky (1949-2016) Catherine Likhuta (Born 1981) conferred honorary doctorates on Adams, as have Northwestern University, The Juil- Funeral Music for Queen Mary Scraps from a Madman’s liard School, and Cambridge University in (after Purcell) (1992) Diary (2016) England. Governor Arnold Schwarzeneg- United States Premiere ger of California honored him with the Recipient of the Pulitzer Prize in Music for his Second for Orchestra in 2005 Governor’s Award for his distinguished ser- About Scraps from a Madman’s Diary, Cath- and the Guggenheim Fellowship in 1986, vice to the arts in his adopted home state. erine Likhuta, the composer, writes: His won the 1993 Grawe- Steven Stucky was one of America’s most meyer Award, and On the Transmigration highly regarded composers. Stucky stud- One evening in 2006, I read a short of Souls, commissioned by the New York ied with some of the leading composition story by Ukrainian author Nikolai Philharmonic to commemorate the first an- teachers, including . Gogol entitled “Diary of a Mad- niversary of 9/11, received the 2003 Pulitzer man.” Born and raised in Ukraine, I Throughout his career, he composed mu- Prize in Music. was well familiar with Gogol’s most sic in all genres and was an admired music popular works, but less so with this educator. Stucky taught at Cornell Univer- The composer writes: one. I did not expect much of it. Ten sity, where he chaired the Music Depart- pages later, I was in a state of shock, Lollapalooza was written as a forti- ment from 1992 to 1997 and served as amazed by how Gogol was able to eth birthday present for Simon Rat- Given Foundation Professor of Composi- pack such an intense drama into Gogol spent several pages in his tle, conductor of the Berlin Phil- tion. He also served as Visiting Professor such a short story. That same night, story having his Madman investigate harmonic, who has been a friend of Composition at the Eastman School of I decided that one day I would write imaginary correspondence between and collaborator for many years. Music and was the Ernest Bloch Professor an oratorio based on this work. In two dogs. He was quite elaborate with The term “lollapalooza” has an at the University of California, Berkeley. He 2015, after nine years of keeping the description of the dogs and their uncertain etymology, and just that was appointed to the faculty of The Juilliard this idea in a special corner of my letters, which seemed funny and silly vagueness may account for its pop- School shortly before his untimely death heart and mind, I commenced work at first. Shortly after, however, that ularity as an archetypical American from brain cancer. on Scraps from a Madman’s Diary. same idea didn’t seem entertaining at word. It suggests something large, About Funeral Music for Queen Mary (after all anymore – quite the opposite. It outlandish, oversized, not unduly Since it had been nearly a decade Purcell), the composer writes: accentuated the darkness and the refined. H. L. Mencken suggests it from when I first read Gogol’s sto- tragedy of the new reality into which may have originally meant a knock- It was at the suggestion of Esa-Pekka ry, I hardly remembered any details his Madman was falling. I decided to out punch in a boxing match. I was from it. I did, however, remember incorporate the dogs in my oratorio attracted to it because of its inter- Salonen that I transcribed this music of Purcell for the Los Angeles Phil- all the emotions that Gogol evoked as well, though briefly. They become nal rhythm: da-da-da-DAAH-da. in me, as if it happened yesterday. one of the attributes of my Madman’s Hence, in my piece, the word is harmonic Orchestra. I used three of the pieces heard at the funeral I decided not to re-read the origi- imaginary world. spelled out in the trombones and nal story while writing the oratorio, tubas, C-C-C-Eb-C (emphasis on of Mary II of England, who died of smallpox on 28 December 1694: a as I was afraid that I might find it The Madman lives in two worlds the Eb) as a kind of ideé fixe – an underwhelming the second time in the first eight scenes: the real- idea or desire that dominates the solemn march, the anthem In the Midst of Life We Are in Death, and around. Instead, I decided to come ity, shared with others (Scenes 1, 2, mind, which can be represented by up with my own plot and use Go- 4, and 6) and his own imagination a musical motive. The “lollapaloo- a canzona in imitative polyphonic style. In working on the project, I gol’s work as the source of inspira- (Scenes 3, 5, and 7). In Scene 8, the za” motive is only one of a profu- tion and point of reference. One of two worlds approach each other with sion of other motives, all appearing did not try to achieve a pure, musi- cological reconstruction, but on the the things I remembered about “Di- catastrophic speed and eventually col- and evolving in a repetitive chain of ary of a Madman” was the format of lide. This results in the Madman’s re- events that moves this dancing be- contrary, to regard Purcell's music, which I love deeply, through the lens a personal diary used throughout alization of his mental illness culmi- hemoth along until it ends in a final the story, each chapter represent- nating in a nervous breakdown. The shout by the horns and trombones of three hundred intervening years. Thus, although most of this version is ing a diary entry. I decided to use remaining five scenes have no date and a terminal “thwack” on timpani a similar format for the main part entries and are dedicated to the de- and bass drum. straightforward orchestration of the Purcell originals, there are moments of the oratorio: It consists of 13 piction of his new brutal reality and when Purcell drifts out of focus. scenes, and the first eight represent the escalating conflict between him- diary entries. self and the voices in his head.

50 Performance UGA September October 2017 51 Hodgson Wind Ensemble

One of the messages I see in Gogol’s Scene 2: Saturday, 19th of July place due to possibly getting out at a Scene 10 work is that society’s view of men- The 13th anniversary of the death of wrong bus stop – though he does re- The choir splits into pairs, each pair tal illness is often limited to the sick the Madman’s mother. member coming to work by car… representing a person and his/her person’s odd behavior, failing to see Scene 7: Monday, 34th of August mirror. The persons are perform- beyond the funny and the silly, and Scene 3: Monday, 21st of July ing certain actions in front of their therefore failing to comprehend the Part 1. This time, the Madman does mirrors, in the hope they might still immense tragedies of the affected in- The Madman receives an imaginary letter from his boss, where the boss notice the wrong date and makes it a be “normal.” But the mirrors repeat dividuals. I hope that my piece con- significant event. After giving it some their actions in a disobedient, mu- veys this message as well. When cre- apologizes for all the recent criticism and asks for a favor. He requests that thought, he comes to the conclusion tated way. This terrifies the persons ating the libretto, as well as the music that he had created a new date, and is and forces them to push their mir- for Scraps from a Madman’s Diary, the Madman entertain his two puppy dogs. The Madman decides that, per- very pleased with himself. rors away. Still in denial, though los- my goal was to take the audience on ing hope by the minute, some of the a journey into the secret world (a haps, he could best entertain the dogs Part 2. Failing to accept losing his job by writing them funny emails. voices sing “I am not insane” several very dark, scary, and lonely world) and in hopes of getting it back, the times. However, the rest of the voices of a person suffering from mental ill- Scene 4: Wednesday, 31st of July Madman writes an inspired article for echo them, only using the word “in- ness. Gogol was able to achieve this by his boss on global economy. When sane,” as if teasing. looking inward, as he himself suffered The Madman doesn’t go to work done writing, he reads it and cannot from a severe psychiatric disorder for and stays in bed all day instead. He believe how beautiful and ground Scene 11 a substantial part of his adulthood. doesn’t notify anyone, and he himself breaking this article is! He decides to cannot understand why he is doing go to bed and read the article again in A fight between the voices in the Although mental illness has not this. He is in a state of trance, as if the morning, before submitting it. head, at the end of which the Mad- touched my family or friends, my sleep walking. man separates himself from all of mother (who is very close and dear Scene 8: Saturday, 49th of Octobruary them, laughing in their faces with the Scene 5: Thursday, 32nd of July sense of superiority. to me) has been suffering from a seri- The final date announcement. The ous neurological disease for the past (The date of this diary entry is slightly Madman is shocked by this diary Scene 12 thirteen years. Her spinal cord has wrong; the Madman doesn’t notice.) entry date and is scared to read the shrunk by nearly fifty percent, and The argument between the Madman entry itself. Voices in his head start The voices in the head are cautious the nerve connectivity in her brain is and his boss. The boss claims that the their own conversations, which of the Madman at first, but then as at constant decline. While mentally Madman didn’t show up for work he cannot control. Trying not to they gain confidence, they begin to she is completely healthy, I feel as yesterday. The Madman, however, panic, he decides to read the global look fierce and somewhat aggressive though the change of her body paral- has no memory of that and is very economy article he wrote yester- towards him. After trying to evade lels the mutation of the once-healthy confident that he had been at work day. Some of the voices in his head their attention and failing, the ter- mind depicted in the piece. and spent all day sitting at his boss’s assist in reading the article. Soon rified Madman runs off to a corner desk and exchanging emails with his enough, the Madman realizes that and sits on the floor in a state of Synopsis: Scraps from a Madman’s Diary two puppy dogs. He becomes more it is not an article at all but instead trance. The voices begin to search and more unreasonable, as he be- a Ukrainian-English dictionary en- through the torn up diary on the The entire choir represents the Madman. lieves the truth is on his side. At the try for the word “божевільний” floor, and after finding some seem- end of the scene, in the heat of an ar- ingly meaningful scraps, they reach Scene 1: Friday, 18th of July (“bozhevil’nyi”, Ukrainian word for gument, he quits his job. “insane”). Confused and angry at out to him. The Madman is very emotional and the voices in his head, he commands Scene 13 upset over the situation at work. His Scene 6: Friday, 33rd of July them to stop, but they do not obey boss is increasingly critical of his per- (Again, the date is slightly wrong; the him. The scene ends with the diary As the voices in the head keep pull- formance, and his colleagues are no- Madman doesn’t notice.) Not recalling being torn into scraps. ing at the terrified Madman, his fear ticing major changes in his behavior what happened yesterday, the Mad- turns to relief as he realizes they are (calling him “clumsy” and “forget- man goes to work in the morning. But Scene 9 actually reaching out to comfort him. ful”), as they witness the onset of his the security guard does not let him in- The Madman and all the voices in his The Madman and the voices submit illness. The Madman is unaware of side, claiming he was fired. He is great- head have an imaginary conversation to their new reality and read through these changes, and the criticism and ly confused by this fact and thinks that with his mother, asking her what she the seemingly meaningful scraps of bullying at work make him angry at he must have shown up at the wrong had done to his diary. the diary together. first, then sad and lonely.

52 Performance UGA September October 2017 53 Hodgson Wind Ensemble

leading and emerging composers. Under her Turner has served as a board member with work at a number of institutions, including About the Artists direction, the Cornell Wind Ensemble was WASBE, and is an active member of CDB- Queensland Conservatorium, Cornell Uni- invited to perform at the College Band Di- NA, Conductor’s Guild, College Music Soci- versity, Ithaca College, Arizona State Univer- Cynthia Johnston Turner rectors National Association’s Eastern Divi- ety, Humanities Education and Research As- sity, Syracuse University, Butler University, sion Conference in 2007 and 2012, and the sociation, the National Association for Music and Bowling Green State University. Cynthia Johnston Turner is Director of Hodgson Wind Ensemble will perform at Education, and National Band Association. Bands, Professor of Music, Area Chair of CBDNA National in Kansas City in 2017. Bradley J. Esau Conducting, and Artistic Director of Rote In 2008, the Merrill Presidential Scholars at Catherine Likhuta Hund Muzik at the Hodgson School of Mu- Cornell recognized Cynthia as an outstand- Bradley J. Esau, a native of Central Islip, New sic. Turner conducts the Hodgson Wind ing educator, and in 2009, she was awarded Catherine Likhuta is an Australian-based York, is currently in his second year of study Ensemble, leads the M.M. and D.M.A. pro- the Kaplan Family Distinguished Faculty composer, pianist and recording artist. Her at the University of Georgia in pursuit of the grams in conducting, and oversees the entire Fellowship. Her performances have been music exhibits high emotional charge, pro- Masters of Music degree in Conducting. Es- band program including the 430-member praised by such composers as Steven Stucky, grammatic nature, and rhythmic complexity. au’s duties involve all aspects of the band and Redcoat Marching Band. William Kraft, Steven Bryant, Marc Mellits, Her works have been played throughout the wind ensemble program including organiza- Nancy Galbraith, Peter Lane, Eddie Mora United States, Europe, Australia, Canada, tion, logistics, and instruction. Prior to her appointment at the University of Mexico, and Brazil by many prominent so- Bermudez, Dana Wilson, , Esau taught for five years in Florida, most Georgia, Turner was Director of Wind En- and Karel Husa. loists, chamber ensembles, and large ensem- sembles at . Earlier in her bles, including The Australian Voices, Cor- recently as the Assistant Director of Bands career she was a high school music educator, From January, 2006, Turner led the Cornell nell University Wind Ensemble and Wind of Electa Lee Magnet Middle School in taught middle school beginning instrumen- Wind Ensemble on biennial performing and Symphony, Queensland Conservatorium Bradenton. Esau led and assisted with the tal music in Toronto, and choral music in service tours to Costa Rica that included Wind Orchestra, and the Orchestra of the instruction of the 300-member program, Switzerland. performances across the country, conduct- National Radio of Ukraine. which included three concert bands and ing master classes with Costa Rican teachers, three jazz bands, as well as the orchestra A Canadian, Turner completed her Bach- instrument master classes for Costa Rican Likhuta’s works have been played at several and several chamber ensembles. Esau was elor of Music and Bachelor of Education de- musicians, and the donation of more than international events, including three Inter- also the director of Forest Grove Middle grees at Queens University and her Master 250 instruments to music schools across national Horn Symposiums and the World School in Fort Pierce, FL for three years. of Music in music education and conducting the country. She led the Hodgson Wind En- Saxophone Congress. In recent years, she During this time, he won the Outstand- at the University of Victoria. Touring with semble to Panama in January, 2016, to teach, was the winner of the International Horn ing First Year Teacher Award and the Dis- her ensembles inspired her master’s thesis perform, and donate instruments. Society Composition Contest (virtuoso di- tinguished Minority Educator Award, and on the musical and personal transforma- vision) and the recipient of several awards, helped lead the program to its first Superior tions that occur on tours, and her D.M.A. Among other recent engagements, Cynthia including two grants from the Australia rating in four years. The ensembles under thesis at the Eastman School of Music cen- has guest conducted the National Youth Council for the Arts. A pianist, she was the Esau’s supervision have earned either Ex- tered on the music of William Kraft, one Wind Ensemble of Great Britain, the Syra- soloist on the premiere of Out Loud, her cellent or Superior ratings at Florida Band- of this generation’s leading composers. At cuse Symphony (“Symphoria”), the National piano concerto commissioned by the Cor- masters’ Association District Music Perfor- Eastman, she was the recipient of the pres- Youth Band of Canada, Concordia Santa Fe, nell University Wind Ensemble, and the pi- mance Assessments. tigious teaching award in conducting. She the Ithaca College Wind Ensemble, the East- anist on Adam Unsworth’s CD, Snapshots. received the National Leadership in Educa- man Wind Ensemble, the Latin American On a recent joint tour with Unsworth, she Esau earned a Bachelor of Music Education tion Award (Canada), the Excellence in Edu- Honor Band, the National Band of Costa gave recitals at Eastman School of Music, degree from the University of South Flori- cation Award (Ontario Secondary School Rica, the National Orchestra of Heredia, Northwestern University, the University da, where he studied under the direction of Teachers Federation), and the Marion Dry- and numerous state honor bands. She has of Michigan, and Temple University. Her John Carmichael and Matthew McCutchen. sdale Leadership Award (also from OSSTF). been invited to present her research with music can be heard on Cala, Albany, and Esau is also an accomplished saxophonist. She is also the recipient of the Donald A. teaching and technology, innovative re- Equilibrium Records. He has recorded and arranged music on Reick Memorial Award for research with hearsal techniques, and service-learning several studio jazz albums in the Tampa wearable technologies and music pedagogy, and music performance at numerous con- Likhuta holds a Bachelor’s degree in jazz area. He is also in demand as a saxophone and the American Prize for innovative pro- ferences nationally and internationally. piano from Kiev Glière Music College and a instructor and clinician. gramming with wind bands. five-year post-graduate degree in composi- She is published in such journals as Mu- Esau’s professional affiliations include the sic Educators Journal, Interdisciplinary Hu- tion from the Tchaikovsky National Music Turner has commissioned numerous new Academy of Ukraine (Kiev Conservatory). Collegiate Band Directors’ National Asso- manities, International Journal of the Hu- ciation, the National Association for Music works for wind band, contemporary music manities, Journal of the World Association She is currently pursuing a Ph.D. in com- ensembles, and orchestra, and she continues position at the University of Queensland. Education, the Florida Bandmasters’ Asso- of Bands and Ensembles, Fanfare Magazine, ciation, and Phi Mu Alpha Sinfonia. to actively promote commissions by today’s and Canadian Winds. She has delivered presentations on her

54 Performance UGA September October 2017 55 UGA Hodgson Singers Daniel Bara The Hodgson Wind Ensemble The international award-winning UGA Daniel Bara is the John D. Boyd UGA Foun- Hodgson Singers serves as the premiere dation Professor of Choral Music and the director Cynthia Johnston Turner ambassadorial choral ensemble of the Hugh Director of Choral Activities at the Hugh Hodgson School of Music. The choir has Hodgson School of Music. He oversees sev- Flute Alto Saxophone BASS Trombone performed by invitation in recent years for en university choral ensembles as well as the Rachel Anders Megan Elks Jordan Stone the American Choral Directors Associa- graduate choral conducting program. His Shana Stone Erik Elmgren* tion Southern Division Convention, Geor- choirs have performed by juried invitation Emily Zirlin* Alex Smith Euphonium gia Music Educators Association, and in for state, regional, and national conventions Eric Dluzniewski* concert with Kathleen Battle, The Knights of ACDA, MENC, and IMC, and his former Oboe Tenor Saxophone Nathan Galerstein Chamber Orchestra, and The Kings Singers, conducting students hold appointments at with whom it has co-commissioned a new leading collegiate, school, and church mu- Cassidy Brown Harrison Clarke choral work by Nico Muhly. In 2014, it was sic programs throughout the country. Bara Remy Kepler Tuba the Grand Prix winner at The International holds the D.M.A. degree in conducting from Amelia Merriman* Baritone Saxophone Nick Beltchev* Choral Competition Ave Verum in Baden, the Eastman School of Music, organ and Marah Stefanisko Emily Franklin Elvis Yang Austria. The choir released its first interna- conducting degrees from the University of tionally distributed recording, Grace Immac- Michigan, and is a graduate of Interlochen Clarinet Trumpet String Bass ulate: Prayers and Love Songs, on the Gothic Arts Academy. Pedro Alliprandini* Shaun Branam* Diogo Lima Records label in June of 2017. Andrew Barber Deborah Caldwell Mateus Falkenbach Shengduo Cheng Percussion Caleb Rucker Chandler Dickerson Trevor Barroero** The University of Georgia Hodgson Singers Kelly Riordan Joel Garcia Scott Davis** Jake Senter Joe Reid Emily Johnson director Daniel Bara Maggie Watts Taylor Lents French Horn Nick Martinez Bass Clarinet Nic Aquila Kamran Mian SOPRANO Emily Carey Christopher Mason Berek Ha Nick Fratto Ashley Adams Naomi Goldstein Mitchell Powers Jesse Norton Andrew Sehmann* PIANO Sevda Arjomand Keyera Grant Austin Shively Sarah Willoughby Heejin Park Tarryn Ballard Megan Hooper Marshall Williams BASSOON Stefan William Allison Collier Holly Huggins Jennifer Grubbs Lauren Dempsey Tori Langham BASS Harp Joy Hoffman Trombone Victoria Brianna Floyd Sidney Mulkey Henry Adams Ellen Foster Nib McKinney Joel Clevenger* Kaitlyn Gilmore Amanda Rockenbach Justin Bowen Hank Morris* Erik Prince Campbell Harden-Allen Kimberly Simpson Robert Fridlender * denotes principal player Andrew Tayler Abigail Jones Shreya Visvanathan Eric Jasso ** denotes co-principal player Laikin Morris Leslie Wasendorf David Johnson All players rotate in their sections. Myah Paden Jake Mappes Jordan Richey TENOR Luke Morgan Emma Robertson Grant Allen Sebastian Nazaire Deborah Stephens Nikolos Bacote Harrison Stenson Nick Byrd Nathan Trivers ALTO Huston Collings Lee Wright Sam Barnes Eric Dowler Kathryn Buchanan Thomas Folger

56 Performance UGA September October 2017 57