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16-1108 Program NEC Wind Ensemble Charles Peltz, conductor with This organization is supported in part Frank Epstein, guest conductor by the Massachusetts Cultural Council, a state agency, and by a grant from the Boston Cultural Council, a local agency funded by the Massachusetts Cultural Council and administrated by the Mayor’s Office of Arts, Tourism, and Special Events. Unauthorized use of cameras and tape recorders is not allowed in Jordan Hall. Please switch off cellular phones, pagers, and watch alarms. Assistive Listening Devices are available for Jordan Hall concerts at the coatroom, or by contacting the Head Usher or House Manager on duty. necmusic.edu/cloud Connect with NEC and our music on Facebook, Twitter, and beyond, and sign up for e-mail news bulletins. Tuesday, November 8, 2016 7:30 p.m. NEC’s Jordan Hall necmusic.edu/concerts 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 Micah Gharavi Jicheng Zhang composer's mind was music more like the workings of the atomic and electrical Hye Won Suh Joshua Kosberg sciences, whose elements move in space somewhat akin to the space in which Bass Trombone Michelle Sung Kai Rocke Christopher Bassett one hears Renaissance music moving, that were exploding with discoveries Fanya Wyrick-Flax Cynthia L. Stacy between the wars. Wooyeon Milk Yoo Bryce Gillett Saxophone Thus Varèse set about to write music that was, as he emphasized, Yinzi Zhou Tuba explained better by analogy than through analysis. Those analogies them- Yuh-Boh Feng Oboe Rachael Klavir Rui Liu selves were more scientific than musical; “interpenetration”, “sound masses”, 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 Julian Loida A native of Amsterdam, Holland, percussionist Frank Epstein came to the 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.
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