2017 FOCUS Festival on Contemporary Music FRANK TICHELI

Saturday, October 7 7:00 p.m.

Baldwin Wallace Symphonic Wind Ensemble

Blue Shades (1997)

Columbine High School Alma Mater

without pause

An American Elegy (2000)

Symphony No. 2 (2004) i. Shooting Stars ii. Dreams Under a New Moon iii. Apollo Unleashed

Baldwin Wallace Symphonic Wind Ensemble Frank Ticheli, guest conductor Brendan Caldwell, conductor

PROGRAM NOTES (Program Notes have been supplied by the composer, with additional information provided by Destinee Siebe ‘19.)

Symphonic Wind Ensemble Saturday, October 7 7:00 p.m.

Blue Shades

“In 1992 I composed a concerto for traditional jazz band and orchestra, Playing with Fire, for the Jim Cullum Jazz Band and the San Antonio Symphony. That work was composed as a celebration of the traditional jazz music I heard so often while growing up near New Orleans.

I experienced tremendous joy during the creation of Playing with Fire, and my love for early jazz is expressed in every bar of the concerto. However, after completing it I knew that the traditional jazz influences dominated the work, leaving little room for my own musical voice to come through. I felt a strong need to compose another work, one that would combine my love of early jazz with my own musical style.

Four years, and several compositions later, I finally took the opportunity to realize that need by composing Blue Shades. As its title suggests, the work alludes to the Blues, and a jazz feeling is prevalent—however, it is not literally a Blues piece. There is not a single 12-bar blues progression to be found, and except for a few isolated sections, the eighth note is note swung.

The work, however, is heavily influenced by the Blues. “Blue notes” (flatted 3rds, 5ths, and 7ths) are used constantly. Blue harmonies, rhythms, and melodic idioms pervade the work; and many “shades of blue” are depicted, from bright blue, to dark, to dirty, to hot blue.

At times, Blue Shades burlesques some of the clichés from the Big Band era, not as a mockery of those conventions, but as a tribute. A slow and quiet middle section recalls the atmosphere of a dark, smoky blues haunt. An extended clarinet solo played near the end recalls Benny Goodman’s hot playing style, and ushers in a series of “wailing” brass chords recalling the train whistle effects commonly used during that era.”

Columbine High School Alma Mater An American Elegy

Before tonight’s performance of An American Elegy, the entire personnel of the Symphonic Wind Ensemble will perform the alma mater of Columbine High School, for whom An American Elegy was written in response to the infamous Columbine shooting in April 1999. The alma mater—written by Ticheli himself upon the discovery that the fledgling high school did not have one—is in four-part SATB harmony, with text which reads as follows:

2 Mountains rising to the sun, Towering o’er the plains. Heads held high we stand as one, And proudly we proclaim: We are Columbine, we all are Columbine! Let the world be told, blue and silver we uphold. Forever.

“An American Elegy is, above all, an expression of hope. It was composed in memory of those who lost their lives at Columbine High School on April 20, 1999, and to honor the survivors. It is offered as a tribute to their great strength and courage in the face of a terrible tragedy. I hope the work can also serve as one reminder of how fragile and precious life is and how intimately connected we all are as human beings.

I was moved and honored by this commission invitation, and deeply inspired by the circumstances surrounding it. Rarely has a work revealed itself to me with such powerful speed and clarity. The first eight bars of the main melody came to me fully formed in a dream. Virtually every element of the work was discovered within the span of about two weeks. The remainder of my time was spent refining, developing, and orchestrating.

The work begins at the bottom of the ensemble’s register, and ascends gradually to a heartfelt cry of hope. The main theme that follows, stated by the horns, reveals a more lyrical, serene side of the piece. A second theme, based on a simple repeated harmonic pattern, suggests yet another, more poignant mood. These three moods—hope, serenity, and sadness—become intertwined throughout the work, defining its complex expressive character. A four-part canon builds to a climactic quotation of the Columbine Alma Mater. The music recedes, and an offstage trumpeter is heard, suggesting a celestial voice—a heavenly message. The full ensemble returns with a final, exalted statement of the main theme.”

Symphony No. 3

“The symphony’s three movements refer to celestial light—Shooting Stars, the Moon, and the Sun. Although the title for the first movement, “Shooting Stars,” came after its completion, I was imaging such quick flashes of color throughout the creative process. White-note clusters are sprinkled everywhere, like streaks of bright light. High above, the Eb clarinet shouts out the main theme, while underneath, the low brasses punch out staccatissimo chords that intensify the dance-like energy. Fleeting events of many kinds are cut and pasted at unexpected moments, keeping the ear on its toes. The movement burns quickly, and ends explosively, scarcely leaving a trail.

The second movement, “Dreams Under a New Moon,” depicts a kind of journey of the soul as represented by a series of dreams. A bluesy clarinet melody is answered by a chant-like theme in muted trumpet and piccolo. Many dream episodes follow, ranging from the mysterious, to the dark, to the peaceful and healing. A sense of hope begins to assert itself as rising lines are passed from one instrument to another. Modulation after modulation occurs as the music lifts and searches for resolution. Near the end, the main theme returns in counterpoint with the chant, building to a majestic climax, then falling to a peaceful coda. The final B-flat major chord is colored by a questioning G-flat.

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The finale, “Apollo Unleashed,” is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement’s title, but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach’s Chorale BWV 433 (Wer Gott vertraut, hat wohl gehaut). The chorale—a favorite of the dedicatee, and one he himself arranged for chorus and band—serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events. The chorale is in ternary form (ABA’). In the first half of the movement, the chorale’s A and B sections are stated nobly underneath faster paced music, while the final A section is saved for the climactic ending, sounding against a flurry of 16th notes.

My second symphony is dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University in 2003. It was commissioned by a consortium of Dr. Croft’s doctoral students, conducting students and friends as a gesture of thanks for all he has given to the profession”.

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FRANK TICHELI

Frank Ticheli's music has been described as being "optimistic and thoughtful" (Los Angeles Times), "lean and muscular" (New York Times), "brilliantly effective" (Miami Herald) and "powerful, deeply felt crafted with impressive flair and an ear for striking instrumental colors" (South Florida Sun- Sentinel). Ticheli (b. 1958) joined the faculty of the University of Southern California's Thornton School of Music in 1991, where he is Professor of Composition. From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony.

Frank Ticheli's orchestral works have received considerable recognition in the U.S. and Europe. Orchestral performances have come from the Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony, Dallas Symphony, American Composers Orchestra, the radio orchestras of Stuttgart, Frankfurt, Saarbruecken, and Austria, and the orchestras of Austin, Bridgeport, Charlotte, Colorado, Haddonfield, Harrisburg, Hong Kong, Jacksonville, Lansing, Long Island, Louisville, Lubbock, Memphis, Nashville, Omaha, Phoenix, Portland, Richmond, San Antonio, San Jose, Wichita Falls, and others.

5 Ticheli is well known for his works for concert band, many of which have become standards in the repertoire. In addition to composing, he has appeared as guest conductor of his music at Carnegie Hall, at many American universities and music festivals, and in cities throughout the world, including Schladming (Austria), Beijing and Shanghai, London and Manchester, Singapore, Rome, Sydney, and numerous cities in Japan.

Frank Ticheli is the recipient of a 2012 "Arts and Letters Award" from the American Academy of Arts and Letters, his third award from that prestigious organization. His Symphony No. 2 was named winner of the 2006 NBA/William D. Revelli Memorial Band Composition Contest. Other awards include the Walter Beeler Memorial Prize and First Prize awards in the Texas Sesquicentennial Orchestral Composition Competition, Britten-on-the-Bay Choral Composition Contest, and Virginia CBDNA Symposium for New Band Music.

Ticheli was awarded national honorary membership to Phi Mu Alpha Sinfonia, "bestowed to individuals who have significantly contributed to the cause of music in America," and the A. Austin Harding Award by the American School Band Directors Association, "given to individuals who have made exceptional contributions to the school band movement in America." At USC, he has received the Virginia Ramo Award for excellence in teaching, and the Dean's Award for Professional Achievement.

Frank Ticheli received his doctoral and masters degrees in composition from The University of Michigan. His works are published by Manhattan Beach, Southern, Hinshaw, and Encore Music, and are recorded on the labels of Albany, Chandos, Clarion, Equilibrium, Klavier, Koch International, Mark, Naxos, and Reference.

6 SYMPHONIC WIND ENSEMBLE Dr. Brendan Caldwell, conductor (all sections listed alphabetically)

Piccolo Alto Saxophone Euphonium Krista Cole Thomas Cognetti Vincent Longo A. Jonah Vicente Brendon Phillips Luke Warkall, Katelyn Sciolino, Section Leader Flute Section Leader Tuba Amanda Ross, Emma Anderson ellTuba Godfrey Krista Cole Tenor Saxophone Owen Baker Evan Fraser Steven Zeleznik Max Godfrey, Brandon Landry Co-Section Leader A. Jonah Vicente, Baritone PercussionCreighton Jensen, Section Leader Nabil Abad Co-Section Leader S Saxophone Timpa Liana Westerman Horn Timpani Oboe Nicholas Giralico, Alexander Morrow Fallon Hammer Co-Section Leader Zoe Sarganis Klara Farren Percussion Camilla Yoder, David Peita Steve Chauvette Section Leader Brianna Volkmann, Michael Ciniglia, Co-Section Leader Section Leader Eb Clarinet Nancy Guzman Jon Harrity Trumpet Emily Kulinowski Justin-Michael O’Toole Sean Burnham Gabriel MacWilliams Leonardo Capone Bb Clarinet Riley Conley, Justin Frankeny Section Leader Sarah iagetti Jon Harrity, Garrett Folger SaWilliamAdministrative Horner Section Leader Benjamin Guegold AssistantDestinee Siebe Justin-Michael O’Toole Ty Hansen Sarah Porter Kyle Perisutti Librarian Casidy Reed Casidy Reed Bass Clarinet Emma Selmon Trombone Stage Managers ,Jack Buddenhagen, Thomas Cognetti Contrabass Clarinet Section Leader Ty Hansen Andrew Buckley Adam Hamrick Brianna Volkmann, Caleb Slabaugh Lead Stage Manager Bassoon Rachel Hagemeier Bass Trombone EliseB Morton Adam Hamrick Destinee Siebe, Section Leader Sarah Strasinger

7 CONDUCTORS

Prior to this appointment, DIRK GARNER served as director of choral studies at Oklahoma State University where he conducted the concert chorale and chamber choir and led the graduate program in choral conducting. Garner also served as the director of choral activities at Southeastern Louisiana University and on the faculties of High Point University and Albertson College of Idaho. Popular as a clinician and adjudicator, Garner has conducted festivals in twenty-one states; his choirs have been heard across the country and in regional and state conventions of American Choral Director's Association (ACDA) and the National Association for Music Education. In January 2008 he conducted Mozart's "Requiem" at Carnegie Hall for Mid-America Productions. During the summers he serves as master teacher and coordinator of research and editions for the Westminster Choir College summer workshop in Florence, Italy. He has judged competitions for the National Association of Teachers of Singing and ACDA and has served as state chair of repertoire and standards for colleges and universities in Louisiana. His principal research concerns the golden mean in the Sacred Cantatas of Johann Sebastian Bach, a topic he discussed during a two-hour interview on National Public Radio's "Bach Sunday." In 2014, Garner was appointed artistic director of the BW Bach Festival, the nation's oldest collegiate Bach festival. Garner holds a Master of Music from the University of Cincinnati College-Conservatory of Music and a Doctor of Musical Arts in choral conducting and pedagogy from the University of Iowa.

BRENDAN CALDWELL is associate professor of conducting and director of wind ensembles at the Baldwin Wallace Conservatory of Music. In this role, he conducts the symphonic wind ensemble and the symphonic band. In addition, Caldwell teaches courses in conducting and a seminar entitled "The Buddha and Bruce Springsteen."

Through a vision for artistic process deeply rooted in collaboration, Caldwell regularly forms unique partnerships with the ensemble, soloist, composer and audience members with the shared goal of seeking to reimagine the concert-going experience. Past collaborations have included Dame Evelyn Glennie, George Crumb, Frank Ticheli, Bud Beyer, Marianne Ploger, Charles Rochester Young, Gro Sandvik, Velvet Brown, Graham Breedlove, Wesley Anderson and Nancy Ambrose King.

Caldwell’s research and scholarship explore personal and musical transformation through the spiritual practice of mindful listening. Caldwell's vision for performance and listening is deeply rooted in communal mindfulness. In 2013, Caldwell released a CD on mindful listening entitled "Gypsy Radio and the Rock and Roll Consecration." As an accompanying document, Caldwell also wrote a book entitled, "The Buddha and Bruce Springsteen." Caldwell is in wide demand as a speaker. His talks have included keynote addresses at university-wide symposia on teaching and learning, national and international conferences on education in the arts, spiritual gatherings with a wide variety of faith-based groups and countless forums on music education. Caldwell’s speeches help the audience to awaken from the illusion of separateness through the healing power of perception.

Caldwell annually runs two experiential seminars entitled, “The Buddha and Bruce Springsteen,” (a seminar designed for a general audience), and “The Conscious Conductor,” (a seminar designed for musicians). If interested, please contact him directly for more details.

Before arriving in Cleveland, Caldwell served as director of bands at the University of Wisconsin – Stevens Point from 2006 until 2014. In this role, he oversaw the band area and conducted the UWSP wind ensemble and concert band. He also taught classes in conducting, music education and directed the instrumental UWSP

8 apprentice conducting program. Caldwell was also the founder and administrator of The Perception Project and the UWSP Courtyard Connections Forum, a lecture series modeled after the TED Talks in which audiences gathered once a semester to “awaken from the illusion of separateness” through presentations which discussed various areas of passion and scholarship. Through exploring seemingly disparate topics in a profound manner, audiences were encouraged to seek connections with their own discipline, personal life and each other.

Caldwell also taught at the University of Dayton from 2002 to 2004. From 1996 – 2000, Caldwell was the director of bands at Robert E. Lee High School in Baton Rouge, Louisiana. Caldwell's degrees are from Louisiana State University, the University of Colorado and the University of Minnesota.

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