Ronald Caltabiano, DMA, Dean

Tuesday, February 4, 2020 • 8:00 PM

DePaul Wind Ensemble Dr. Cliff Colnot, conductor

Mary Patricia Gannon Concert Hall 2330 North Halsted Street • Chicago Tuesday, February 4, 2020 • 8:00 PM Gannon Concert Hall DePaul Wind Ensemble Dr. Cliff Colnot, conductor

Program

Ludwig van Beethoven (1770-1827) Rondino in Eb major, WoO 25 (1793)

Franz Krommer (1759-1831) Partita in Bb major, Op. 67 (1808) I. Allegro vivace II. Adagio III. Menuetto: Allegretto - Trio IV: Allegro

Igor Stravinsky (1882-1971) Octet for Wind Instruments (1923) I. Sinfonia II. Tema con Variazioni III. Finale DePaul Wind Ensemble • February 4, 2020

Biographies 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 and served as assistant conductor to Boulez at the 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 ’s contemporary MusicNOW ensemble since its inception. Colnot was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than twenty-two years and was principal conductor of the University of Chicago’s Contempo Ensemble for over fifteen years. Currently, Colnot conducts the DePaul University Symphony Orchestra and Wind Ensemble. He has appeared as a guest conductor with the San Antonio Symphony Orchestra, the American Composers 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 Chamber Music 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 DePaul Wind Ensemble • February 4, 2020 Biographies 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.

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 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. DePaul Wind Ensemble • February 4, 2020

Program Notes Ludwig van Beethoven (1770-1827) Rondino in Eb major, WoO 25 (1793) Duration: 7 minutes Ludwig van Beethoven likely composed this Rondino (WoO 25) around 1793 for Elector Maximilian Franz, the Elector of Cologne and Archbishop of Münster, in Bonn, Germany. Musicologists believe that the Rondino was intended to be the finale to the Octet in E-flat, Op. 103, because it was in the same key and scored for identical instrumentation. An octet of pairs of oboes, clarinets, horns, and bassoons was a common type of wind ensemble in central European courts during the late eighteenth and early nineteenth centuries.

The Elector Maximilian Franz employed many musicians and often had new music composed for performance at court occasions. This composition was likely one such piece, but shortly after Beethoven completed it, he left for Vienna to study with Franz Josef Haydn. The Elector of Cologne granted Beethoven leave and continued paying his salary. During this period, Bonn was occupied by French troops, and the Elector disbanded his orchestra. After arriving in Vienna and beginning his studies with Haydn, Beethoven revised the Rondino considerably, and it was published posthumously in 1830.

The Rondino shows Beethoven’s transition from the relatively immature style of the compositions that he produced in Bonn to the style of composition that characterizes his mid-career works. Rondino is simply the diminutive of Rondo, a musical form with a recurring theme. Of special note is Beethoven’s writing for the pair of horns. Their opening melody becomes the refrain to which the piece returns, each time ornamented by the other pairs of the instruments. In the coda, the horns alternate muted and unmuted passages as the piece gracefully concludes.

Notes by Katherine Brucher DePaul Wind Ensemble • February 4, 2020 Program Notes Franz Krommer (1759-1831) Partita in Bb major, Op. 67 (1808) Duration: 20 minutes Born in Moravia, Czech composer Franz Krommer had a very successful career in Vienna, eventually rising to the posts of director of chamber music and court composer for Emperor Franz I. His over 300 published compositions included nine symphonies, solo concertos, string quintets, and seventy string quartets. His chamber music was especially well regarded – he was even considered (at that time) to be an equal of Haydn in the composition of quartets.

Krommer also was well-known for his wind band compositions, including the thirteen works that were first titledHarmonie (Harmnoniemusic was a term used for wind band music) and eventually retitled (by publishers) as Octet-Partitas. Op. 57 was the first of these, composed in 1806, and nine others were published from 1808 – 1810. The works are miniature symphonies, echoing the four-movement sequence and structure of the Classical period. A notable difference between the symphonic model (allegro – slow movement – minuet or scherzo - finale) and Krommer’s Partitas is that the positions of the minuet and slow movements are exchanged, with the slow movement following the minuet.

All the movements of Op. 67 are in the tonic key of B-flat major with the exception of the second. The opening Allegro vivace is in sonata form with a brief introduction and coda. The second movement, Adagio, is unusual: an opening c minor section soon leads to a principal section in the relative key of E-flat major; there is a brief development that leads to a final section in E-flat, with the opening tonality of c minor never returning. The third movement is the expected Menuetto, complete with a Trio and a Da Capo but with a tempo and rhythmic emphasis that resembles a Beethoven scherzo. The final movement is an energetic Allegro that mirrors the sonata form of the first movement.

DePaul Wind Ensemble • February 4, 2020 Program Notes Each movement has clearly stated thematic ideas, most with a strong rhythmic identity and emphasis that bring Beethoven to mind. The first movement even has rhythmic figures that suggest the famous opening motive of Beethoven’s Fifth Symphony. The second movement focuses on dotted rhythms, the third on groups of three quarter notes, and the final movement emphasizes a figure of three eighth notes: short, short, long. Transition and development sections of the work have well-conceived contrapuntal (imitative) sections with an engaging use of chromaticism. Krommer writes idiomatically for his wind band and the four instrumental groups are treated as equals, each taking their turn as theme or accompaniment.

Notes by Kurt Westerberg

Igor Stravinsky (1882-1971) Octet for Wind Instruments (1923) Duration: 16 minutes Igor Stravinsky composed the Octet for Wind Instruments in 1922–3 while living in France. The octet marks Stravinsky’s move from a more nationalist Russian composition style heard in his ballets The Rite of Spring and Firebird to neo-classicism. In the Octet, Stravinsky embraces musical forms from the Classical era such as fugue, theme-and-variation, and sonata. The first performance of the Octet for Wind Instruments in Paris was also the first time that Stravinsky conducted the premiere of one his compositions.

A few months later, Stravinsky published a short essay in the journal The Arts, “Some Ideas About My Octuor” (January 1924), that brought his neo-classical intentions to the attention of the public. Stravinsky outlines several key compositional features and emphasizes his view that the Octet should be understood as a “musical object.” He repeatedly emphasizes the importance of form over emotion. Neoclassical forms are the point of this composition, rather than a means to convey an emotion or a story. Stravinsky also argues that form resists interpretations that might distort the composer’s intentions or the piece’s meaning.

DePaul Wind Ensemble • February 4, 2020 Program Notes Stravinsky wrote that he chose the instrumentation of the ensemble (flute, clarinet, bassoons, trumpets, trombones): “First because this ensemble forms a complete sonorous scale and consequently furnishes me with a sufficiently rich register; second because the difference of the volume of these instruments renders more evident the musical architecture.” The choice of wind octet also reflects Stravinsky’s interest in Classical era models. Although the instrumentation of this particular wind octet is uncommon, wind octets are closely linked to 18th century harmoniemusik compositions.

According to Stravinsky, musical interest in the Octet derives from “heterogeneous play of movements and volumes.” Stravinsky avoids what he called “nuances,” and he emphasizes the dynamic contrast between very quiet piano sections and loud fortes. Each movement of the octet draws on Classical era forms. The first movement, the Sinfonia, is a rare example of Stravinsky’s use of sonata form, the most common form for opening movements in the Classical era. The second movement blends two familiar Classical era forms, theme- and-variation and rondo. In a rondo, one theme recurs between new material. Stravinsky uses one variation as the repeating theme, but he develops new variations that include a march, a waltz, a can-can, and a fugue. The third movement follows Rondo form, although Stravinsky presents clever alterations to the main theme. He uses a recurring rhythmic motive, a three-note syncopated rhythm based on Russian circle dance called khorovod, which is also heard in Rite of Spring and Firebird. Although Stravinsky embraces neo-classism in his Octet, he still retains stylistic elements that link this composition to earlier works.

Notes by Katherine Brucher

DePaul Wind Ensemble • February 4, 2020

Personnel

FLUTE Dominic Dagostino

OBOE Meghan Andreachi Jungmin Kim Jacob Shapiro

CLARINET Erick Alvarez Melissa Frisch Sachina Hobo Seok Hee Jang Elizabeth Kapitaniuk

BASSOON Alex Brake Liam Jackson

HORN Andrea Kennard Kyleen Villines

TRUMPET Aidan Leininger Katie Raney

TROMBONE Brian Entwistle

BASS TROMBONE Terrell Boykin DePaul Wind Ensemble • February 4, 2020

Tickets and Patron Services

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HPC Box Office Information 2330 North Halsted Street | Monday–Friday | 10 AM–3 PM* *Seasonal hours apply, but we are always open 90 minutes prior to concert start times.

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Website: For information about HPC, the DePaul University School of Music and its upcoming concerts or events, please visit go.depaul.edu/musicevents. DePaul University School of Music Advisory Board

Rich Daniels, Chair Mark Mroz, Co-Chair EXECUTIVE COUNCIL Allan Bulley Shelley Farley Mary Patricia Gannon Sasha Gerritson Colleen Mayes

MEMBERS Craig Anderson Janai Brugger Samantha Cohen Robert D’Addario Orbert Davis Donald DeRoche Graham Fuguitt David Harpest Geoffrey Hirt Cary Jacobs John Kohlmeier Carlotta Lucchesi Mary Marshall James Shaddle Elizabeth Ware Cathy Williams GALA COMMITTEE ALUMNI ENGAGEMENT COMMITTEE Carlotta Lucchesi, Co-Chair David Harpest, Co-Chair Mark Mroz, Co-Chair Cary Jacobs, Co-Chair Samantha Cohen Janai Brugger Robert D’Addario Mary Marshall Graham Fuguitt Elizabeth Ware Geoffrey Hirt Mary Arendt, Staff Liaison Aubrie Willaert, Staff Liaison

DePaul University School of Music Emeritus Board

Russell Bach Jacqueline Krump James Quinn Patricia Ewers Samuel Magad Edward Ward Victor Faraci Florence Miller Mimi Wish Scott Golinkin Anthony Peluso William Young Sid Kleinman Nancy Petrillo The DePaul University School of Music is proud to recognize the following annual donors BENEFACTOR CIRCLE ($25,000+) Anonymous Kay and Fred Krehbiel Liz Stiffel Bulley* & Andrews Patrick G. and Shirley W. Ryan Dr. Marylou Witz Larry Johnson Foundation

UNDERWRITER CIRCLE ($15,000+) Antunovich Associates Geoffrey* and Linda Hirt John Wirtz Estate

LEADERSHIP CIRCLE ($10,000+) Samantha* and Joel Cohen Mary Patricia Gannon* Florence Miller* Renée and Lester Crown Sasha Gerritson±* and Eugene Jarvis Rosemary Schnell Graham* and Margaret Fuguitt Howard L. Gottlieb Foundation

PARTNER CIRCLE ($5,000+) Anonymous Jack+ and Donna Greenberg Peter and Mimi O’Brien Arizona Community Foundation Cary* and Amy Jacobs George+ and Tanya Ruff Cheryl and Sunil Cutinho Samuel* and Miriam Magad Jessica and Steve Sarowitz Robert* and Gina D’Addario Laura and Christopher Mlynarczyk James Shaddle* Duane Morris LLP Susan and Robert Morrison Elizabeth Ware* and Wally Shah Abby and Donald Funk Elaine and Allan Muchin Cathy* and Justin Williams

PATRON CIRCLE ($2,500+) Craig* and Kathryn Anderson Erika and Dietrich Gross Dr. Edward S. Orzac Dr. Ronald Caltabiano Carlotta* and Ronald Lucchesi Foundation Daniel Corrigan Mary Marshall* The Honorable John Simon+ Julie and Raymond Daly Colleen* and Edward Mayes and Millie Rosenbloom Stephanie and John Flynn Irene McDunn Kathy and James Zartman

MEMBERSHIP CIRCLE ($1,000+) Frances Anderson David Harpest* Dr. Linda O’Bannon Anonymous Kathy and Young Im Charles Price Christina and Thomas Berry Sid Kleinman* Tom Raponi Valerie Chang and Ian Jacobs Dr. Jacqueline Krump* Father Rybolt Dolores Curns Eun Jin Lee Rebecca and Jeff Schewe Patricia and Bartley Danielsen Kay and James Mabie Maureen and Robert Schuberth Josephine and Gabriel Esteban John Markese and Marilyn Kelly Dr. Margaret Smollen Victor* and Barbara Faraci Francois Millard Elizabeth Soete and Raymond Barbara Giambalvo Mark Mroz* Narducy Judith and William Greffin Annemarie Neumeier Jeanette and Chester Wilczak Jean and Mark Halm Raymond Niwa

±DePaul University Trustee +DePaul University Life Trustee *School of Music Advisory Board or Emeritus Board Member As of September 30, 2019 DePaul Wind Ensemble • February 4, 2020

Annual Spring Gala

PLEASE SAVE THE DATE FOR THE DePaul University School of Music Annual Spring Gala

THE EVENING OF Saturday, May 16, 2020 A Celebration of Ireland

FEATURING Anthony Kearns of The Irish Tenors DePaul Symphony Orchestra with Maestro Cliff Colnot

AND THE PRESENTATION OF THE 2020 DePaul Pro Musica Award to Mary Patricia Gannon

Join us for this festive evening—the School’s only fundraiser— celebrating the arts and culture of Ireland and our 2020 Pro Musica Awardee. We look forward to welcoming you to this celebratory evening with all proceeds benefitting the students of DePaul School of Music.

For more information about the evening, please contact: Director of Development Aubrie Willaert at 312.362.8585 or [email protected] You can make a difference by providing critical scholarship funding and other opportunities to the next generation of musicians. Make a gift of any size in order to guarantee exceptional art experiences for years to come.

Visit give.depaul.edu/music today.

For more information, please contact: Aubrie Willaert, Director of Development DePaul University School of Music [email protected] (312) 362-8585 DePaul Wind Ensemble • February 4, 2020

Upcoming Events

Ensembles In Residence HPC Chamber Series

April 5 • 3:00 p.m. April 26 • 2:00 p.m. Allen Recital Hall Gannon Concert Hall Chamber Music Chicago American Brass Quintet

April 15 • 8:00 p.m. Gannon Concert Hall Ensemble Dal Niente

May 31 • 7:00 p.m. Gannon Concert Hall Oistrakh Symphony

School of Music Faculty Artist Series

February 5 • 8:00 p.m. February 12 • 7:00 p.m. Gannon Concert Hall Allen Recital Hall DePaul Wind Symphony Jeffrey Kowalkowski, composer

February 6 • 7:00 p.m. February 23 • 2:00 p.m. Dempsey Corboy Jazz Hall Gannon Concert Hall DePaul Jazz Orchestra Typhanie Coller, jazz voice

February 7 • 8:00 p.m. February 24 & 25 • 8:00 p.m. Gannon Concert Hall Gannon Concert Hall DePaul Concert Orchestra Stephen Balderston, cello & George Vatchnadze, piano

For ticketing information and a complete list of concerts visit: go.depaul.edu/musicevents. DePaul University School of Music • Holtschneider Performance Center 2330 North Halsted Street • Chicago Gannon Concert Hall • Allen Recital Hall • Brennan Recital Hall • HPC First Floor Dempsey Corboy Jazz Hall • HPC Second Floor music.depaul.edu • 773.325.5200 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu

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