with with 7:30 p.m. 7:30 NEC’s Jordan NEC’s Hall Tuesday,8, November 2016 Charles Peltz, conductor Peltz, Charles Frank Epstein, guest conductor guest Frank Epstein, NEC Wind Wind Ensemble NEC

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necmusic.edu/cloud necmusic.edu/cloud necmusic.edu/concerts and sign up for e-mail news bulletins.for e-mail up sign and This organization is supported in part part in supported is organization This and by a grant from the Boston Cultural Council, Council, Cultural agrantfrom by Boston the and by the Massachusetts Cultural Council, a state agency,state a Council, Cultural Massachusetts the by Please switch off cellular phones, pagers, and watch al watch phones,and pagers, offswitch cellular Please or by contacting the Head Usher or House Manager on dutyon orHouseManager Usher Head thecontacting or by a local agency funded by the Massachusetts Cultural Cou MassachusettstheCultural by fundedagency local a Connect with NEC and our music on Facebook, Twitter, ourFacebook, musicon a and NEC with Connect and administrated by the Mayor’stheTouri ofArts, Office by administrated and Unauthorized use of cameras and tape recorders all nottape is and ofcameras use Unauthorized Assistive Listening Devices are available forHall Jordan available are Devices AssistiveListening

Upcoming Wind Ensemble Concerts at NEC –continued PROGRAM NEC SYMPHONIC WINDS , NEC CHAMBER SINGERS , NAVY BAND NORTHEAST , ______William Drury, Erica Washburn, and Lt. Cmdr. Greg Fritz, conductors A Holiday Concert Thursday, December 1, 2016 at 7:30 p.m., Jordan Hall

Giovanni Gabrieli Canzona X NEC SYMPHONIC WINDS , NEC CHAMBER SINGERS , NAVY BAND NORTHEAST , (ca. 1554–ca. 1612) William Drury, Erica Washburn, and Lt. Cmdr. Greg Fritz, conductors ed. Salfelder/Peltz A Holiday Concert, part of the Brown Bag Concert series Wednesday, December 7, 2016 at 12:00 noon, Mechanics Hall, Worcester,

MA (free admission)

Edgard Varèse Ionisation (1929-1931) NEC WIND ENSEMBLE STUDENT CONDUCTORS – Holly Hyun Choe, Emily Eng, and (1883–1965) Harris Malasky – conduct members of the wind ensembles Frank Epstein, guest conductor Thursday, December 15, 2016 at 7:30 p.m., Brown Hall

Carl Reinecke Octet in B-flat, op. 216 (1824–1910) Allegro moderato Other Upcoming Concerts at NEC Scherzo: Vivace Adagio ma non troppo LIEDERABEND XXXI, Cameron Stowe and Tanya Blaich, coordinators Finale: Allegro molto e grazioso An evening of songs featuring student performers from NEC’s voice and collaborative piano departments Wednesday, November 9, 2016 at 6:00 p.m., Williams Hall Intermission “I N THE MIX ”, student jazz ensembles coached by faculty artists Wednesday November 9, 2016 at 7:00 p.m., Pierce Hall Anthony Coleman immaculata (2016) (b. 1955) World Premiere NEC SYMPHONY , Paul Biss, conductor Schubert Overture to “Rosamunde”; Symphony in B Minor, D. 759 (“Unfinished”); Zwilich Prologue and Variations; Rimsky-Korsakov Russian Easter Overture, op. 36

Wednesday, November 9, 2016 at 7:30 p.m., Jordan Hall

Aaron Copland Emblems (1964) SONATA NIGHT XVI, Pei-Shan Li, coordinator (1900–1990) Sonatas by Mozart, Beethoven, and Brahms Thursday, November 10, 2016 at 6:30 p.m., Williams Hall

“I N THE MIX ”, student jazz ensembles coached by faculty artists Thursday November 10, 2016 at 7:00 p.m., Pierce Hall

Gabrieli Canzona X Guest Performers Graduate Student Librarian Jacob Kalogerakos, Assistants Micah Gharavi The year 2012 marked the 400th anniversary of the death of Giovanni Gabrieli. double bass Holly Hyun Choe That may have been little noticed by some, but it should not have passed Jingze Sarah Gao, Emily Eng without celebrating Gabrieli’s indispensible contribution to instrumental piano Harris Malasky music. It was he who pioneered the idea that instrumental music could stand alone, separate from vocal music that instruments usually doubled and supported in slavish unison. Charles Peltz Canzona, a word explicitly meaning “song”, seems an oddly vocal title Director of Wind Ensemble Activities ascribed to a large number of the instrumental works in Gabrieli’s collection Besides his work with the NEC Wind Ensemble, Charles Peltz is music director of Canzone e Sonate of 1612, published in 1615. In fact these works (and the the Glens Falls Symphony, and his guest conducting has included the Syracuse Sonatas as well) were based on the popular French chanson style of Symphony, Buffalo Philharmonic, Merrick Symphony on Long Island, Pacific composition of the time: bursts of notes sung in short polyphonic Symphony in Los Angeles, Hamilton (Canada) Philharmonic, and the New sequences. This rapid conversation between instruments was the perfect Jersey Ballet. device for Gabrieli to have his antiphonal choirs speak to one another across Peltz has recently had regular engagements with the Orquesta Nacional in the spaces at St. Mark’s cathedral in Venice, where he was director of music. Bogota, Colombia, and the Cross Border Orchestra of Ireland. He served for These arrangements have been executed by NEC alum and current DMA seventeen seasons as Music Director and conductor of the orchestra at the composer Kathryn Salfelder and Charles Peltz. Luzerne Summer Music Center. An award winning educator, he received NEC’s Krasner Teaching Excellence Award and the 1992 Milton Plesure Excellence in Varèse Ionisation Teaching Award from SUNY at Buffalo. His sixth CD on the Mode label features "The music of our time is quite a natural continuation of the music of the past; music from his 2000 appearance at the Lincoln Center Festival, where he doubtless there are changes, but no rupture. " – Messiaen conducted the New York-based Ensemble Sospeso as part of the festival’s exploration of electronic music in the twentieth century. While Messiaen was right, and there is really more evolution than revolution in music, one piece of the 20 th century probably caused the most tectonic “change” – one from which Messiaen’s music benefitted greatly. Varèse’s Upcoming Wind Ensemble Concerts at NEC Ionisation of 1929-31 was a breakthrough piece, not exactly the first (all programs subject to change) percussion-only work (smaller pieces and a movement of a Tcherepnin Visit necmusic.edu for complete and updated concert information symphony had already been performed), but there was a sense that here was the first serious piece wherein percussion instruments created not only a NEC SYMPHONIC WINDS , William Drury, conductor; Holly Hyun Choe, graduate timbral environment but carried melody, texture/polyphony and larger student conductor gestures into a total narrative. In eight minutes of music, Varèse would take Pinto-Correia Bonecas de Chuva: Concerto for Guitar; Child Concertino for Violin the “color only” instruments of the percussion section and set them alone to and Winds, Justin DeFilippis, violin; Copland An Outdoor Overture; Bernstein carry the work of the musical whole. Candide Written for twelve players plus piano, one hears Varèse’s internal sonic Tuesday, November 15, 2016 at 7:30 p.m., Jordan Hall vision being realized: a quasi-electronic soundscape, complete with instruments recognizable (snare and bass drums, tam tams) and sounds rarely heard (or heard as serious) in the concert hall (lion’s roar, two sirens). Varèse connects these sounds by motives and textural interweaving – each part, while relatively simple unto itself, creates a clear but complex web of sounds. This web ranges from cosmic sparse to jungle dense all the while never resorting to pitch based melody or harmony which up to this time had defined what was music. NEC Wind Ensemble Edgard Varèse was born into a family with a domineering engineer father Charles Peltz, conductor who rode Edgard to such an extent that he found refuge by living with a much kinder grandfather for much of his developing years. It was here that he found Flute Bassoon Trombone music and pursued it – with an (inherited?) engineer’s clarity - through studies Jiyeon Han Andrea C. Baker Michael Cox in Paris. Immigrating to the United States in 1915, his first public notice was as Sho Kato Eric Tyler Barga Andrew Huynh a conductor. His conducting repertoire expanded over the years, and he Minha Kim Luke Fieweger Blake Manternach Bo Lee embraced music of the Renaissance in particular – the spare, ethereal sounds of Cheryl Fries Ian Maser Jisun Oh which prompted him to hear all music differently. What he heard in his Jesse Gardner Michael Shayte Mona Sangesland composer's mind was music more like the workings of the atomic and electrical Micah Gharavi Jicheng Zhang Hye Won Suh Joshua Kosberg sciences, whose elements move in space somewhat akin to the space in which Michelle Sung Kai Rocke Bass Trombone one hears Renaissance music moving, that were exploding with discoveries Fanya Wyrick-Flax Cynthia L. Stacy Christopher Bassett between the wars. Wooyeon Milk Yoo Bryce Gillett Thus Varèse set about to write music that was, as he emphasized, Yinzi Zhou Saxophone Tuba explained better by analogy than through analysis. Those analogies them- Yuh-Boh Feng Oboe Rui Liu selves were more scientific than musical; “interpenetration”, “sound masses”, Rachael Klavir Nicole Caligiuri Bo Liu David M. Nelson “collisions”, “crystallization” were among his preferred terms for his musical Mark Debski Stephanie A. Muñoz Conrad Shaw phenomena. When electronic music became a reality, the Phillips Company, Kyle Kurihara Morgan Smallwood Percussion then building a futuristic building for the 1958 Brussels World’s Fair, engaged Marshal McClure Chenguang Wang Austin Allen Varèse (at the insistence of its architect Corbusier) to provide an environmental Mary O’Keefe Wuxian Wen Luis Herrera Albertazzi piece of music for the building. This piece on tape, Poème électronique, is, like Elizabeth O’Neil Jinhongmin Zhong Harrison Honor Ionisation, a landmark work of innovation and musical worth, evergreen in Andrew Port Andrew Johnson French horn sound and effect. Samuel Waring Rainice Lai Nick Auer Darren Lin Clarinet Andrew Bass A native of Amsterdam, Holland, percussionist Frank Epstein came to the Julian Loida Matthew Griffith Hajime Goto Will McVay United States in 1952, settling in Hollywood, California. A graduate of the Yousun Hah Christian Gutierrez Sean Van Winkle University of Southern California, New England Conservatory, and the Ye Hu Nicholas A. Miller Ye Young Yoon Tanglewood Music Center, Mr. Epstein joined the Boston Symphony in 1968 Isaiah Johnson Mackenzie Newell and recently retired after forty-three years with the Orchestra. Mr. Epstein has Somin Lee Matt Pennington Harp been a member of the faculty at the Tanglewood Music Center and still teaches Brittnee Pool Megan Shusta Qianqian Chen at New England Conservatory, where he founded and directs the NEC Stefan Van Sant Liwei Huang Trumpet Percussion Ensemble and is Chairman of the Brass and Percussion Depart- Zihao Yang Elise Kolle Douglas Amos Alix Raspé ment. Mr. Epstein has made recordings with the Los Angeles Philharmonic, Shengduo Chen Dana Schneider the Boston Symphony, and the Boston Pops, as well as with Collage New Elmer Churampi Hope Wilk Music. As Founder of Collage, and its Music Director from its inception in 1972 Mucha through 1991, Mr. Epstein has overseen the commissioning and performance Gianluca Farina of over 200 new works written especially for the ensemble as well as the Mason Grainger production of seventeen recordings. Mr. Epstein has been involved with the Andrew Heath Avedis Zildjian Company as a consultant on new product develop-ment Kevin Natoli (including the introduction of the Classic Orchestral Cymbal Selection), and as a Nathan Stoerzinger clinician, conducting workshops and seminars throughout the country and in

“In May, 1963, I received a letter from Keith Wilson, President of the College Band Europe. Mr. Epstein holds a Bachelor of Music degree from the University of Directors National Association, asking me to accept a commission from that Southern California and a Master of Music degree from New England organization to compose a work for band. He wrote: ‘The purpose of this Conservatory. Before joining the Boston Symphony Orchestra, he was a commission is to enrich the band repertory with music that is representative of the member of the San Antonio Symphony. Mr. Epstein was recently awarded a composer’s best work, and not one written with all sorts of technical or practical Presidential Commendation from the New England Conservatory for his work limitations.’ That was the origin of Emblems . I began work on the piece in the with Collage New Music. summer of 1964 and completed it in November of that year. It was first played at the CBDNA National Convention in Tempe, Arizona, on December 18, 1964, by the Reinecke Octet Trojan Band of the University of Southern California, conducted by William The German composer, conductor and performer, Carl Heinrich Carsten Schaefer. Reinecke, was born in Altona (then part of Denmark) the son of a music teacher Keeping Mr. Wilson’s injunction in mind, I wanted to write a work that was with whom he studied from an early age. Precocious, he composed his first challenging to young players without overstraining their technical abilities. The pieces at age seven, and his first public appearance as a pianist was when he work is tripartite in form: slow-fast-slow, with the return of the first part varied. was eleven or twelve. Embedded in the quiet, slow music the listener may hear a brief quotation of a In 1843 he settled in Leipzig, where he pursued his musical studies well-known hymn tune, Amazing Grace , published by William Walker in The associating with Felix Mendelssohn and Robert Schumann. He was soon in the Southern Harmony in 1835. Curiously enough, the accompanying harmonies had pay of Christian VIII of Denmark, and a life filled with court and university been conceived first, without reference to any tune. It was only a chance of perusal appointment followed. Included in these was an auspicious post as conductor of a recent anthology of old Music in America that made me realize a connection of the Gewandhausorchester concerts in Leipzig, and at the same time he existed between my harmonies and the old hymn tune. became professor of composition and piano at the Conservatorium. An emblem stands for something – it is a symbol. I called the work Emblems He remained a teacher for thirty-five years, until 1902. His students because it seemed to me to suggest musical states of being: noble or aspirational included Edvard Grieg, Christian Sinding, Leoš Janáček, Isaac Albéniz, Johan feelings, playful or spirited feelings. The exact nature of these emblematic sounds Svendsen, Richard Franck, Felix Weingartner, Max Bruch among many others. must be determined for himself by each listener.” After his retirement he devoted his time to composition and an output that contains almost three hundred published works in many genres. The Octet, op. 216, written in 1892, harkens back to the harmoniemusik of the classic era in that fact that they share an instrumentation of eight. After that, this work is much of its romantic time. The substitution of the one flute for a second oboe creates a more colorful and whimsical palette for Reinecke. Conjectured to have been written for famed flautist Paul Taffenel’s “Société de musique de chambre pour instruments à vent”, it is clear the romantic wind works of Gounod and Strauss inspired the wind aesthetic for Reinecke. The first movement is a flowing, tonally adventurous musing with multiple themes tied together by tuneful leitmotivs. Gay major sections alternate with attempts at more serious music in the minor, but it seems as if he can’t bring himself to even cadence in the darker mood. Horns establish early that we are in the bold realm of Strauss rather than the more charming restraint of Gounod. The second movement comes and goes in a flash in a sprightly 9/8 meter , the initial music spun out by the saltarello rhythm favored by Beethoven and Mendelssohn in their “dancing” symphonies: the 7 th and 4th “Italian”, respectively. The sense of contrasting scherzo and trio form is clear as he moves both in mood and tonality from the jumping scherzo to the songlike contrasting trio. The third movement is all Straussian reflection and lyricism range of genres and practices including Free Improvisation, Jazz, Jewish music with tectonically paced shifts in mood. The opening clarinet melody gives way (of various types), and Contemporary Chamber Music. to rhapsodic flute writing which serve as the duet material for the greater part At the dawn of the 1980s, after earning a master’s degree in composition of the movement. The fourth movement is sonata form - all skittering flute and from the Yale School of Music, Coleman immersed himself in New York City’s charm (here is where Gounod puts in his musical oar). The long lines of the forward-thinking circle of genre-confounding composers and improvisers that previous movements now give way to hocketing and straight ahead melody would come to be known as the Downtown Scene. The first two records and accompaniment with breathless magpie conversation between flute Coleman played on – Glenn Branca’s Lesson No. 1 and John Zorn’s Archery – are clarinet and oboe. classics of a then-emerging avant garde. Balancing a powerful sense of structural logic and expressionistic color, Coleman immaculata Coleman has had a prolific career as a composer. His works have been Central to NEC is the Contemporary Improvisation Department, a very much commissioned by the Concert Artist Guild, the Jerome Foundation, the living manifestation of the Gunther Schuller-Ran Blake ideal of the deeply Ruhrtriennale, the Festival Banlieues Blues, and the Bang on a Can All-Stars, thoughtful spontaneous creator of music. The department is a place and a time among others. He has received grants from the New York Foundation for the for young musicians to explore limitless musical possibilities. Anthony Arts, New York State Council on the Arts, Meet the Composer, etc. Coleman is a graduate of this department and now teaches in it. He brings to He has presented his own work at the Sarajevo Jazz Festival (Bosnia), North NEC a wealth of his rich and varied musical experiences, experiences which Sea Jazz Festival (Holland), Saalfelden Festival (Austria), and the Krakow and have spanned the geographic and musical globes. We have eagerly Vienna Jewish Culture Festivals. Ensembles led by Coleman have recorded anticipated this music from him and are delighted to present it tonight. extensively for Tzadik and include the trio Sephardic Tinge and Selfhaters Orchestra. He has also toured and recorded with John Zorn, Elliott Sharp, Marc Ribot, Shelley Hirsch, Roy Nathanson, and many others. The search for an image. A central image – a donnée – out of which will come Coleman has recorded fifteen CDs under his own name and has played on an inevitable flow more than 150. His most recent recordings are You (New World) and The End of Summer (Tzadik). His Damaged by Sunlight (2010) was issued on DVD by the Two bass clarinets, mostly playing multiphonics, generating a pitch landscape French label La Huit. that will be mirrored and expanded by the other instruments He has been a member of the faculty of New England Conservatory since 2006, and he has also taught at Bennington College, the Bard MFA program, The shape of Japanese Gagaku music, with its layering and its repetitions, and the Mannes College of Music. without any explicit copying of the sound of that music Copland Emblems A critical, jaundiced eye looking upon the widespread desire to use tropes of What notes need to retell the Copland story? – the Brooklyn Jew who pens the Ritual Musics to create (overly?) personalized rituals “American” classical sound, the serious Boulangerite Parisian who can write attractively for a large public and yet produce engaging twelve-tone works; The place of the bass clarinet in the sound world of the music of my much – the orchestrator par excellence. mourned colleague and friend, Lee Hyla Emblems, his only original piece for wind band (although he arranged several of his other works for the genre) marries the two Coplands. The striking And a free CD for anyone who figures out how I arrived at the title! chromaticism of the opening chords embody the strength of notes pitted one – Anthony Coleman against the other in what was once called dissonance, but here would be more aptly named muscular concordance. This tonal strength underscores an overall Pianist-Composer Anthony Coleman has been one of the key figures of New atmosphere of confidence which embrace tender quotes of meaningful York music for nearly four decades. His work bridges the gap between sentiment. Composition and Improvisation, Uptown and Downtown, and spans a wide The composer, as adept at prose as he is with tones, says it best: