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Home , Bok Tower Gardens, Carillon (Elgar), Colors of the Wind

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A N N I V E R S A R Y

CELEBRATION

FEATURING PERFORMANCES BY GEERT D’HOLLANDER JOEY BRINK AMY JOHANSEN MICHAEL SOLOTKE KOEN VAN ASSCHE

TWENTY FOURTH INTERNATIONAL FESTIVAL MARCHFeaturing 20-24, daily carillon 2019 concerts by carillonneurs from Belgium, Poland, The Netherlands and the of America. SPONSORED IN PART BY 1 SPONSORED IN PART BY Thank you for joining us in celebrating one of the WELCOME TO THE world’s greatest , Bok Tower Gardens’ TWENTY FOURTH Singing Tower. With performances by world-renowned carillonneurs, enjoy a renaissance of this unique musical INTERNATIONAL instrument through debut performances of new CARILLON FESTIVAL compositions and music performed throughout the 500-year history of the carillon.

WHAT IS A CARILLON? HOW IS CARILLON MUSIC A carillon is a musical instrument consisting of at WRITTEN AND PLAYED? least 23 cast bronze bells that are precisely tuned and Although carillon music looks like piano music, the arranged in chromatic progression so that music in any treble clef is usually played by the hands and the bass key can be played. Unlike other types of bells, carillon clef by the feet. The carillon’s action is mechanical, bells are fixed in a frame—the bells do not move. which allows the performer to control the dynamics Instead, the clappers inside strike the bells to produce (loud and soft) by the force of the strike. There is a considerable range of sounds up to five or six octaves. no mechanism to dampen the sound a bell is Because of its weight and size, the carillon is the largest struck. Because carillon bells are rich in overtones, the bell instrument. A carillon is played from a keyboard consonant and dissonant combinations are sometimes on which the keys are depressed by the player’s closed reversed in carillon music to account for the presence hands and feet. The keys are connected to the clappers of a minor-third overtone in each bell. by vertical and horizontal wires. HOW ARE THE BELLS TUNED? ABOUT OUR CARILLON Carillon bells are tuned just after they are cast and The carillon at Bok Tower Gardens has 60 bells before they are installed. A bell is placed on a lathe and ranging in weight from 16 pounds to nearly 12 tons. metal is carefully removed from the various heights of The instrument was designed and built in 1928 by the inside wall of the bell. Bells only have to be re-tuned John Taylor Bellfoundry, Ltd. of Loughborough, approximately once every 300 years. England which still makes bells today. There are three carillons in , approximately 200 in North America and 600 throughout the world. 1 MEET GEERT D’HOLLANDER RESIDENT CARILLONNEUR AT BOK TOWER GARDENS PHOTO CREDIT:: MICHAEL POTTHAST

Belgian-American He has made numerous carillon arrangements composer and and composed more than 50 works for carillon, carillonneur Geert published world-wide. He was first prize winner D’hollander was in more than 30 international competitions named Bok Tower for carillon or composition; was awarded the Gardens’ fourth University of California Berkeley Medal for full-time carillonneur “Distinguished Service to the Carillon”, and the in October 2012. prestigious Dutch “ANV-Visser Neerlandia Prize” He has studied, with his carillon composition “Ciacona”. He performed, taught, frequently gives Master Classes in Europe and the arranged and USA and performs all over the world. composed carillon music for more than 35 years.

He has held permanent and guest teaching positions of carillon performance and composition BECOME A MEMBER at the Royal Carillon School in Mechelen, THERE’S SOMETHING NEW TO Belgium, the Dutch Carillon School in Amersfoort DISCOVER IN EVERY SEASON and at the University College Roosevelt in AT BOK TOWER GARDENS. Middelburg, both in The Netherlands. From 1997- YOU CAN APPLY BY VISITING THE 1999, Geert was the Carillonneur and Professor of INFORMATION DESK Carillon at the University of California at Berkeley, IN THE VISITOR CENTER. succeeding Ronald Barnes. 2 ABOUT THE CARILLONNEURS

AMY JOHANSEN – AUSTRALIA Amy Johansen is University Organist and Carillonist at the University of Sydney, Australia. Her duties include performing on the von Beckerath organ in the Great Hall and on the War Memorial Carillon for graduation ceremonies, recitals, and special events. She also leads a team of 8 honorary carillonists, as well as overseeing and performing in the organ and carillon recital series. Born and educated in the United States, Amy Johansen completed degrees in Organ Performance at the University of Florida and Cincinnati College-Conservatory of Music. Postgraduate studies followed with Thomas JOEY BRINK – USA Trotter in London, and Naji Hakim in Paris. Joey Brink is the sixth University In 1997, Amy began carillon studies at the Carillonneur at the University of Chicago, University of Sydney with Dr Jill Forrest, and where he performs twice daily on the 72- passed her Advancement Recital for the Guild bell Rockefeller Memorial Carillon and of Carillonneurs in North America (GCNA) directs the University of Chicago Guild in 2006 at Yale. She has been a recitalist at of Carillonneurs. He serves on the board congresses of the GCNA, the World Carillon of the Guild of Carillonneurs in North Federation (WCF) and the Springfield America, co-chairing the Johan Franco Carillon Festival, and has played recital tours composition committee. Brink began across the USA, Canada, England, Belgium his carillon studies with Ellen Dickinson and France. in 2007, as an undergraduate at Yale University; graduated from the Royal Carillon School “Jef Denyn” in Mechelen, Belgium in 2012; and studied further with Geert D'hollander at Bok Tower Gardens in 2015. In 2014, he became the first American to receive first prize at the International Queen Fabiola Carillon Competition, in Mechelen, Belgium.

3 ABOUT THE CARILLONNEURS

MICHAEL SOLOTKE – USA Michael Solotke is a Connecticut-based carillonneur who has performed across North America and Europe. He began playing carillon as a member of the Yale Guild of Carillonneurs in 2010, where his instructor was Ellen Dickinson. In 2012, he participated in an intensive summer study program at the Royal Carillon School ‘Jef Denyn” KOEN VAN ASSCHE – BELGIUM in Mechelen, Belgium, where he studied Koen Van Assche is carillonist of the with Geert D’hollander, Eddy Marien, and Belgian cities of Antwerp, Lier, Turnhout Koen Cosaert. At the June 2013 congress and Herentals. of the Guild of Carillonneurs in North He first studied music and flute in America, Michael passed his carillonneur Antwerp, and at the age of 14 he started exam advancement recital and became a his carillon studies at the Royal Carillon Carillonneur Member of the GCNA. In 2016, School “Jef Denyn” in Mechelen, where he Michael completed a one-month carillon graduated in 1986. He won performance residency at Bok Tower Gardens in Lake prizes at several international carillon Wales, Florida. competitions, and has given recitals in Michael holds a B.S. in Molecular Biophysics Europe, the USA, and Australia. & Biochemistry from Yale, and is currently He is president of the Flemish Carillon a medical student at the Yale School of Guild and of the World Carillon Medicine. His interests outside of carillon and Federation. He authored a book on playing medicine include the outdoors, playing the method for the carillon and he teaches piano and trombone, distance running, and carillon at the Royal Carillon School “Jef Belgian beer. Denyn” in Mechelen and at the Academies of Music in Puurs and Lier. He is also known for his performances combining carillon with other instruments, especially with the mobile carillon “Bronzen Piano” (www.bronzenpiano.com), which is a collaboration with Anna Maria Reverté. They have played several concerts together in Barcelona, with symphonic band in The Auditori at the famous Sagrada Familia.

4 SCHEDULE OF EVENTS

MARCH 20 | 1 P.M. MARCH 20 | 3 P.M. GEERT D’HOLLANDER JOEY BRINK OPENING CONCERT

TWO SONGS FOLK SETTING What a Wonderful World Let All Things Now Living Bob Thiele (1922-1996) (Ash Grove, 2010, for carillon) Geert D’hollander (b. 1965) Variations on an Appalachian Folk Song* Geert D’hollander (b. 1965) CLOUD WATCHING Theme Reverie (2015, for carillon) Cantabile Joey Brink (b. 1988) Adagio Colors of the Wind (from ) Andante (b. 1949) Animato Le Brouillard HONORING MILFORD MYHRE (The Fog, 2016, for carillon) Three Designs Stefano Colletti (b. 1973) Milford Myhre TRANSCRIPTION Stars & Stripes Forever* Chaconne in F John Philip Sousa Johann Fischer (1646–1716) arr. Milford Myrhe arr. Bernard Winsemius

* Performed as duet with Alex Johnson FROM THE AMERICAN SONGBOOK

Alex Johnson, Bok Tower Garden’s “2019 Blanchard Carillon Every Time We Say Goodbye Fellow” grew up in a suburb of Dallas, Texas where he began Cole Porter (1891–1964) his musical training with piano at the age of eight. Orchestral and marching percussion became his primary musical interest by age 10, with which he flourished in his high school band and In celebration of the 50th Anniversary of the carillon at Kirk in the Hills, Michigan in 2010, percussion program. Kirk carillonneur Dennis Curry commissioned Geert D’hollander to write Hymn Preludes for While studying physics at the University of Rochester, New the Kirk, a set of six works for carillon. D’hollander’s setting of Let All Things Now Living (The York, Alex was introduced to the carillon and almost instantly Ash Grove) is an absolute favorite of mine. became attached to the instrument. After exploring a variety of Reverie gives the feeling of drifting off into a peaceful dream while sitting in a meadow career options with physics and linguistics research, he’s now of wildflowers as the sound of birds and rustling leaves play out in the wind. The piece is passionate about pursuing professionally what he has always commissioned and published by Yale University. loved: musical performance, teaching, and composition. I confess that Disney songs are my favorite songs to play on the carillon, and I can’t resist working one into each concert with an ambiguous section title like “Cloud Watching”. Alan Menken wrote Colors of the Wind for the 1995 film Pocahontas, and won the Grammy that year for best original song. Brouillard (Fog) is a beautiful piece of imagery. The composition is one of 50 pieces commissioned for the 50th anniversary of the Yale Memorial Carillon. I had the honor to premiere the piece at the 2016 GCNA congress at Yale University. Johann Fischer was a German violinist, keyboardist, and composer of the baroque era. Bernard Winsemius, considered the master of baroque music on the carillon, has arranged and transcribed an uncountable number of works from this time period. Every Time We Say Goodbye is one of my absolute favorite standards. The lyrics of the song match the harmonic progression: “…how strange the change, from major to minor…“ The song has been recorded countless times since it was first introduced in the 1944 musical Seven Lively Arts.

5 MARCH 20 | 7:30 P.M. AMY JOHANSEN BOK AFTER DARK

ZEN SUNSET Music to soothe your soul as the daylight fades, including well-known favorites and modern carillon originals. What better setting could there be for this than Gymnopédie I Bok’s beautiful gardens? Terry Vaughan, a New Zealander by birth, spent most of his life in Australia Erik Satie (1866-1925) as a composer, professor, and entertainer. Although he did not play the arr. Karel Borghuis carillon, his three pieces for the instrument are exquisite in their simplicity and beauty. They were written for the dedication of the Canberra carillon, and Lake Music evoke the peacefulness of its location on Aspen Island in Lake Burley Griffin, in Australia’s national capital. Terry Vaughan (1915-1996) Frank DellaPenna has created a set of hypnotic, Zen-state-inducing variations over a calmly pulsating recurring bass pattern to capture the magic of . Laura Joey Brink’s Invocation opens with a dreamy introduction followed by a romantic, gently rocking first theme. The rhythmic “invocation” section then David Raksin (1912-2004) begins quietly and gradually grows to a peak of intensity, until it gently fades to finish as peacefully as it began. arr. Sally Slade Warner FANFARES FOR AMY receives its world premiere this evening. Composed especially for this recital by Willis Bodine (Amy’s former organ professor at the Stargazing (from Music for Twilight) University of Florida), it is a musical souvenir of her student days. EVENING MEDITATION is based on an early American hymn tune Frank DellaPenna (b. 1951) Restoration from The Southern Harmony, 1835. Geert D’hollander’s title perfectly describes the music. As Time Goes By (from Casablanca) Herman Hupfeld (1894-1951) arr. Joey Brink

Invocation Joey Brink (b. 1988)

La fille aux cheveux de lin Claude Debussy (1862-1918) arr. Jef Rottiers

Fanfares for Amy (world premiere) Willis Bodine (b. 1935) Misty Erroll Garner (1923-1977) arr. Jos Lerinck

Evening Meditation (from Southern Triptych) Geert D’hollander (b. 1965)

Nocturne, Op 9 No 2 Frédéric Chopin (1810-1849) arr. Joey Brink

Moon River (from Breakfast at Tiffany’s) (1924-1994) arr. Richard Giszczak

6 SCHEDULE OF EVENTS

MARCH 21 | 11 A.M. MARCH 21 | 1 P.M. MARCH 21 | 3 P.M. KOEN VAN ASSCHE MICHAEL SOLOTKE AMY JOHANSEN

MOZART IN BRONZE A BRIEF TOUR HAPPY BIRTHDAY Romanza ACROSS THE GLOBE TO BACH AND BOK (from Piano Concerto no. 20, THE LOW COUNTRIES Minuets I and II KV 466, 1785) (from Partita in B-flat, Menuet BWV 825) Wolfgang Amadeus Mozart (from the de Gruijtters 1746 (1756-1791) Carillon Book) Johann Sebastian Bach arr. Gideon Bodden (b. 21 March 1685 -1750) Johannes de Gruijtters arr. Ira Schroeder Adagio (1709-1772) (from Clarinet Concerto, Bist du bei mir (BWV 508) Sonatina I (1975, for carillon) KV 622, 1791) Johann Sebastian Bach Flor Peeters (1903-1986) Wolfgang Amadeus Mozart arr. Ronald Barnes arr. Bernard Winsemius Allegro Prelude Tempo di Minuetto Introitus: Requiem aeternam (from Cello Suite 1, BWV 1007) Rondo Giocoso & Kyrie Eleison Johann Sebastian Bach Sequentia: Lacrimosa arr. John Knox JAPAN (from Requiem, KV 626, 1791) Ancient Japanese Melody Air in D Wolfgang Amadeus Mozart (from Orchestral Suite 3, BWV 1068) arr. Koen Van Assche arr. Adrian Tien Johann Sebastian Bach

In the course of music history, many well- ESTONIA arr. Frances Newell known composers have made arrangements of compositions that were originally written Meil Aia-aarne Tanavas Remembrances of Johann Sebastian Bach for other instruments, both from their own Estonian Folk Song Willem Créman (1895-1970) work and from that of other composers. This is certainly the case for Wolfgang Amadeus arr. Astrid Bowler Mozart. He, for example, arranged several Jesu, Joy of Man’s Desiring (BWV 147) compositions by Georg Friedrich Händel as NORTH AMERICA Johann Sebastian Bach well as his own oboe concerto. Mozart was familiar with the automatically Chartres arr. Albert Gerken playing chimes, and although he visited the carillon of Ghent (Belgium), he did not write (from Carillon Book for the Homage to Bach: Toccata for the carillon. Liturgical Year) (from Hemony Suite) It goes without saying that classical music sounds great on the instrument for which it is Roy Hamlin Johnson (b. 1929) Albert de Klerk (1917-1998) written, but carillon bells can give a special color to this very famous music. How The Light Gets In* The high and powerful voice of a soprano Today we celebrate the (northern) Spring Equinox, voice, as in Mozarts’ Requiem, is of course Joey Brink (b. 1988) Australia’s Harmony Day (celebrating cultural diversity not comparable to a small bell. However, the and equality), and the 334th birthday of one of the warm sounds of Bok Tower’s carillon will try Stars & Stripes Forever* greatest composers in history, Johann Sebastian Bach. to sing along. And of course, we continue our celebrations of Bok Tower (1896, National March Gardens’ 90th anniversary! of the US) John Philip Sousa (1854-1932) arr. Milford Myrhe *Performed as duet with Joey Brink

7 MARCH 22 | 11 A.M. JOEY BRINK

HONORING MILFORD MYHRE Honoring Milford Myhre When I was performing as the carillon fellow at Bok Tower Gardens in 2015, Milford would take Prelude on “The King’s Majesty” detailed notes on every performance I gave, and share his notes with me after the concert over ice (1968, for carillon) cream at the cafe. An honest and critical listener, Milford would leave nothing out, and I thank him dearly for his unfiltered opinions that improved my playing, and his enduring friendship. Milford’s Milford Myhre (b. 1931) Prelude on “The King’s Majesty” begins with a dreamy motif that sets the mood for a broad and majestic melody in the bass bells. Poor Wayfaring Stranger Speaking of bass bells, Milford also places the melody of Poor Wayfaring Stranger in the bass bells. Milford loves the bass bells. All carillonneurs do, but Milford does especially. This arrangement was (American Folk Song) the third song I ever learned to play on the carillon, back in 2008. And it’s the only song from my early arr. Milford Myhre years of playing that I still play – it’s my favorite Milford arrangement. Jazz Milford isn’t too fond of jazz on the carillon, so of course I thought it fitting to follow with two jazz JAZZ selections. When Milford first heard me play The Girl from Ipanema in Minnesota in 2013, he told me after that we needed to have a discussion about what kind of music is suitable on bells, in his friendly The Girl From Ipanema but serious way. I’ve learned a thing or two from Milford though, and he might like my arrangement of Georgia on my Mind a bit better. (I put the melody in the bass bells). Antonio Carlos Jobim (1927–1994) Poetry Kaoutzani and Jiang are both composition Ph.D. students at the University of Chicago. Their pieces were each written for the New Music Festival in Chicago in May of last year, and each is Georgia on my Mind inspired by a poem: (1899–1981) Faro The sky a black sphere, the sea a black disk. POETRY The lighthouse opens its solar fan on the coast. Faro Spinning endlessly at night, (Lighthouse, 2018, for carillon) who is it searching for, when the mortal heart Maria Kaoutzani (b. 1993) looks for me in the chest? Look at the black rock Pluie where it is nailed down. (Rain, 2018, for carillon) A crow digs endlessly but no longer bleeds. Alison Yun-Fei Jiang (b. 1992) Faro en la noche (Lighthouse in the night), by Alfonsina Storni

Pluie FROM THE AMERICAN SONGBOOK …Mothers continue to peel peas under gravestones Desperado I will hear the bells in the center of the world While the native houses collapse in the rain… The Eagles (1971–present) Pan de Ayer (Yesterday’s Bread), by Juan Carlos Mestre

From the American Songbook My good friend Dave Johnson, carillonneur at House of Hope in St. Paul, MN asked me to arrange Desperado for him last year, in exchange for a few beers. Dave hasn’t bought me a beer yet (to be fair we haven’t seen each other yet), but I’ve always loved this song and would have arranged it for free anyway

8 SCHEDULE OF EVENTS

MARCH 22 | 1 P.M. MARCH 22 | 3 P.M. AMY JOHANSEN KOEN VAN ASSCHE

4 HANDS, 4 FEET: ROMANTIC BELLS AMY AND GEERT TOWER MUSIC IN Summer Serenade (2012, for carillon) VARIOUS ROMANTIC STYLES Geert D’hollander (b. 1965) Adagio (Nimrod) Promenade (from the ) Siciliana (for Julianne Vanden Wyngaard) (1857-1934) Burlesque (for Tom) arr. Jo Coenen Melancholic Waltz Pizzicato Le Brouillard (written in fond remembrance of (The Fog, 2016, for carillon) John Courter, 1941-2010) Stefano Colletti (b. 1973) Mazurka, Op 17 No. 4 Frédéric Chopin (1810-1849) arr. Jaap van der Ende

Fascination (Valse tzigane) Fidenco D. Marchetti (1876-1940) arr. Arie Abbenes

Libertango Astor Piazzolla (1921-1992) arr. Koen Van Assche

Canzona (2018, for carillon) Geert D’hollander (b. 1965)

This program provides a variety of musical styles where the melodic lines carry the music. It opens in the late-romantic period with the most famous orchestral work by Edward Elgar. The program also contains the soul’s profound empathy with the music of Chopin. With a romantic waltz and an intriguing tango, two different ways of expression in the carillon are showcased. The tenuto in the waltz, tends to extend the first note of the measure, perfectly suited for the long-ringing bells. But the carillon can also produce tango’s accentuated rhythmic patterns. The two carillon compositions in this concert are from carillonneurs Colletti and D’hollander. Colletti’s Le Brouillard is a musical portrait of the mist over the fields. D’hollander’s Canzona for carillon has an extremely spicy casing for the middle section, where the origin of the Canzona is heard, a slow song of the troubadours from the middle ages; “Very fast, but singing” – that is the composer’s indication on this score.

9 MARCH 23 | 11 A.M. MARCH 23 | 1 P.M. AMY JOHANSEN KOEN VAN ASSCHE

MEMORIES OF FLORIDA AND AUSTRALIA “FANTASY FOR BELLS” Way down upon the Swanee River HONORING EMERITUS CARILLONNEUR Stephen Foster (1826-1864) MILFORD MYHRE arr. Milford Myhre Fantasy on “King’s Weston” A TRIBUTE TO (1964, for carillon) THE UNIVERSITY OF FLORIDA Milford Myhre (b. 1931)

Florida, our Alma Mater Sorrowing & Dreaming Milton Yeats (1898-1977) (from Ludus Modalis, 2012, for carillon) arr. Willis Bodine Geert D’hollander (b. 1965) Toccatina Festiva (on Florida, our Alma Mater, from “Jubilee!) Fandango (1993, for carillon) Geert D ‘hollander (b. 1965) Ronald Barnes (1927-1997)

AUSTRALIA! Coppélia-Fantasy* Australiana (1980, for carillon) (2005, for carillon duet) Milford Myhre (b. 1931) D’hollander (b. 1965) Anzac Echoes (2015, for carillon) *Performed as duet with a special guest Geert D’hollander (b. 1965) Although the Fandango of Ronald Barnes is a free I still call Australia home interpretation of the original dance, as performed and played in Spain from the 18th century, his composition balances the (1944-1992) spirit of the dance and the dynamic range of the carillon with arr. Joan Chia the accents like castanets of the Fandango. The Ludus Modalis was commissioned by the Royal Carillon School “Jef Denyn” in Mechelen, Belgium. It contains several A Little Fantasy and Fugue pieces of different styles: Sorrowing has a very specific 5/8 (for the University of Sydney carillon) measure, while Dreaming evokes the compositional style of Ravel. Sir Hamilton Harty (1879-1941) In the finale of this program, a carillon composition for four hands by Geert D’hollander will be performed (the first one in his oeuvre), a fantasy based on the famous waltzes of Delibes, I’ve chosen music from places that have been special in my life, having spent much of my youth in and dedicated to the carillon duo Anna Maria Reverté Florida and later making my home in Australia. Both the University of Florida and the University of (carillonneur of Barcelona) and Koen Van Assche. Sydney are significant places for me, as reflected in some of the pieces.

Florida carillonists’ arrangements are featured: Milford Myhre’s setting of Florida’s official song (Swanee River) and his Australiana, based on folk songs: Andy’s Gone with Cattle, The Wild Colonial Boy and of course, Waltzing Matilda. Two settings of the University of Florida’s Alma Mater; the first by Emeritus University Organist and Carillonist Willis Bodine, who was responsible for the installation of the Century Tower Carillon in 1979, and the second by Geert D’hollander for the carillon’s 30th anniversary in 2009. Anzac Echoes (dedicated to Amy Johansen) was commissioned by the University of Sydney in 2015, commemorating both the centenary of ANZAC Day and the War Memorial Carillon’s 87th anniversary on 25th April. It honors the fallen soldiers from the University who served in World War I. The piece is built around the subtle themes of The Last Post, Advance Australia Fair and Waltzing Matilda. A Little Fantasy and Fugue for Carillon was written for the University of Sydney War Memorial Carillon in 1934 by Sir Hamilton Harty (conductor of the London Symphony Orchestra), after visiting the carillon during his tour to Australia.

10 SCHEDULE OF EVENTS

MARCH 23 | 3 P.M. MARCH 23 | 7:30 P.M. MICHAEL SOLOTKE JOEY BRINK BOK AFTER DARK

AN EVENING AT THE NIGHT MUSIC CONCERT HALL AND AT THE MOVIES Nocturne, Op. 9 No. 2 (1830, for piano) Frederic Chopin (1810–49) AT THE CONCERT HALL Memorial Chimes Op.86 DAYDREAMS & NIGHTMARES (1923, for carillon) Dreaming (2012, for carillon) Sir Edward Elgar (1857-1934) Geert D’hollander (b. 1965)

Flower Song In Dreams (2001, from “The Lord of the Rings”) (1875, from the Opera Carmen) (b. 1946) Georges Bizet (b.1955) arr. Wendell Westcott Fantasy (1962, for carillon) Roy Hamlin Johnson (b. 1929) Adagio Op.11 (1936, for ) YOU & ME Samuel Barber (1910-1981) Can’t Take My Eyes Off Of You (1967, pop song) Prelude on “Joyful, Joyful” Frankie Vallie (b. 1934) (from Beethoven’s Symphony No. 9, 1824) Les chemins de l’amour (1940, from “Léocadia“) Laura Hewitt Whipple (1920-2005) Francis Poulenc (1899–1963) arr. Julie Zhu AT THE MOVIES I Won’t Say I’m in Love (1997, from “”) Married Life * (2009, from Pixar’s Up) Alan Menken (b. 1949) Michael Giacchino (b.1967) MOON & STARS The Rainbow Connection Moonflower Faeries (2016, for carillon) (1979, from The Muppet Movie) Joey Brink (b. 1988) Jerry Bock (1928-2010) arr. Sally Slade Warner (2016, from “La La Land”) (b. 1985) Phantom of the Opera * (1986, from the musical) NIGHT MUSIC (b.1948) Notturno (1903, for piano) Ottorino Respighi (1879–1936) * Performed as duet with Joey Brink arr. Brian Tang

11 MARCH 24 | 11A.M. MARCH 24 | 1 P.M. MICHAEL SOLOTKE JOEY BRINK

MUSICAL ASTRONOMY DANCES * Ripple Effects (2018, for carillon) MOON Augusta Read Thomas (b. 1964) Prelude Romantique (1991, for carillon) We’d Better Not Boogie (2015, for carillon) Frank Steijns (b.1970) Joey Brink (b. 1988) Daniel’s Lullaby (2011, for carillon) FROGS & BEASTS & BUTTERFLIES Marcel Siebers (b.1955) The Frog Galliard (for Harpsichord) John Dowland (1563-1626) Asteroids (1991, for carillon) arr. Jeff Davis Gary White (b.1937) Prelude & Belle (from “Beauty and the Beast”) Fairytale Alan Menken (b. 1949) (1998, for carillon) Kristiaan Van Ingelgem (b.1944) Butterfly Chaos (2018, for carillon) Paul K. Takahashi (b. 1967) SUN Blow Away the Morning Dew CLOCKTOWERS British Traditional (18th Century) If Stones Fell Like Leaves (2018, for carillon) arr. Ronal Barnes Joey Brink (b. 1988)

Sunrise, Sunset Clocks (2003, rock song) (1964, from Fiddler on the Roof) Coldplay (1996-present) Jerry Bock (1928-2010) arr. Astrid Bowler * Performed as duet with Michael Solotke Preludium Quasi Una Fantasia (1927, for carillon) Dances Commissioned for the New Music Festival at the University of Chicago last May, Grammy-award winning composer Augusta Read Thomas composed Ripple Effects for twelve carillonneurs. Gathering all twelve Jef Van Hoof (1886-1959) players around the keyboard was as much a musical challenge for musicians that normally play solo, as it was a feat of choreography. The version you hear today is edited for two players. We’d Better Not Boogie is a mix of jazz, blues, and boogie, beginning with a straight syncopated feel and transitioning into a fast swing. The piece is commissioned by Yale University. Frogs & Beasts & Butterflies English Renaissance composer John Dowland’s music has undergone a major revival in recent decades, and serves as a continuing source of repertoire for lutenists, classical guitarists, and carillonneurs. Alan Menken’s music for Beauty and the Beast is heavily influenced by French, classical and traditional Broadway music. Menken was initially skeptical of the opening number Belle, worried that the song had the potential to end his career at Disney if not received well. To his surprise, the creative team loved the song. Butterfly Chaos is probably my favorite title to any piece I’ve ever played. Takashi wrote the piece to be improvisational and modular, with patterns and sections that are meant to be combined in different ways. Clocktowers If Stones Fell Like Leaves is a short piece of imagery. I imagine the stones of the tower falling down, but rather than crash to the ground, the stones float down like leaves. Both this piece and Ripple Effects, at the beginning of the program, are written for Elizabeth Davenport, who stepped down as Dean of Rockefeller Chapel at the University of Chicago last December. Coldplay’s Clocks appears on their second album, A Rush of Blood to the Head, which received the Grammy for “Record of the Year” in 2004. The title reflects on the world’s obsession with time, and encourages us to “make the best of it when we’re here, present and alive.”

12 SCHEDULE OF EVENTS

MARCH 24 | 3 P.M. GEERT D’HOLLANDER

A CARILLON COMPOSITION BY THE PERFORMER

A Jazzy Triptych for Harkness * (2018, commissioned by Yale University) Playful Prelude Wistful Waltz And a Tuneful Two-Step

THREE ARRANGEMENTS BY MILFORD MYHRE Listen to the Mocking Bird (1855, popular African-American song) Richard Milburn (ca. 1814-?)

To a Wild Rose (1896, from “Ten Woodland Sketches”, Op.51, for piano) Edward MacDowell (1860-1908) MILFORD MYHRE DAY MARCH 24 Stars & Stripes Forever* (1896, National March of the US) This year, the festival is a tribute John Philip Sousa (1854-1932) to the living legacy of the Gardens’ second carillonneur, Milford Myhre The Yeehaw Junction “Jam” Session ** (2012, for carillon) who retired in 2004 after 36 years of Geert D’hollander service. March 24 is “Milford Myhre * Performed as duet with Alex Johnson Day” with a special appreciation ** For three to play! Performed with Joey Brink and Michael Solotke ceremony, concerts featuring his music and a question and answer session with A Jazzy Triptych for Harkness was written for the carillon of the Harkness Tower at Yale University. It is based on 3 popular Yale Songs: the Whiffenpoof Song, Bright College Years Myhre at 2pm. and Yale Boola, all arranged in a light, jazzy way. Milford Myhre arranged dozens of scores for the carillon. Almost all of his transcriptions are transparent, one could say “less is more”: not too many notes, straight to the point, often with the melody in the lower register of the instrument. Image is an oil portrait

Although I’ve known Milford since I was eight years old, as he is good friends with my of Milford Myhre by Bok Tower parents, I didn’t hear him perform until I came to Bok Tower Gardens when I was just 17 Gardens’ Blanchard Carillon Fellow, years old. That’s when playing the carillon changed for me. Listening to Milford, I heard something that I had never heard before: colors, layers, and a truly singing bell timbre. I was Julie Zhu. always focused on the technique and energy of my music. He told me to listen to the music, forget about the score in front of me, listen to what I was doing. Listening to my music allows me to make what is intricate and complex, sound seamless and beautiful. I transformed my performances. Since that time, Milford has been my lifelong mentor and carillon inspiration. Still today, he is an inspiration to me and many other carillonneurs.

13 Singing Bronze

A JOURNEY FROM METAL TO MUSIC

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14 FLORIDA’S FIRST CARILLON

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