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Season University of Toronto Wind Ensemble Gillian Mackay, Conductor WIND AND BRASS University of Toronto Wind Ensemble Gillian MacKay, conductor Saturday, February 27, 2010 7:30 p.m. MacMillan Theatre Edward Johnson Building 09|10 SEASON University of Toronto Wind Ensemble Gillian MacKay, conductor PROGRAM Adrenaline City Adam Gorb (b. 1958) Three Japanese Dances Bernard Rogers Dance with Pennons (1893-1968) Mourning Dance Dance with Swords Jeffrey Reynolds, guest conductor Michelle Siemens, soprano - INTERMISSION - Suite in B Flat, op. 4 Richard Strauss Praeludium (1864-1949) Romanze-Andante Gavotte Introduction und Fugue Souffle de lumière Norbert Palej (b. 1977) Ecstatic Waters Steven Bryant Ceremony of Innocence (b. 1972) Augurs The Generous Wrath of Simple Men The Loving Machinery of Justice Spiritus Mundi (epilogue) Sponsors of Wind Symphony and Wind Ensemble Concerts The photographing, sound recording, or videotaping of this performance without the written permission of the Faculty of Music is strictly prohibited. We kindly request that you switch off your cellular phones, pagers, watch beepers, and any other electronic devices that could emit a potentially unwelcomed sound. Program Notes ADAM GORB The incorporation of voice, which was present in Adrenaline City the original, is relatively unusual in wind music. - GM Contemporary Welsh composer Adam Gorb was educated at Cambridge and at the Royal RICHARD STRAUSS Academy of Music. His compositions span Suite in B Flat, op. 4 all musical media, but he has had particular success with his music for wind ensembles. His Along with his many tone poems and operas, pieces Metropolis, Awayday and Yiddish Dances Strauss wrote a small but significant group of have been significant in helping to create a new pieces for chamber winds. The most famous British voice in wind composition. Adrenaline City of these is likely the Serenade, Op. 7, for 13 was commissioned by a consortium of American winds. There are also two major sonatinas for military bands, and premiered in 2006. The 16 players. His least-known work for chamber work is a driving, rhythmic explosion of sound winds is the Suite in B Flat, Op. 4 for 13 winds. which continues relentlessly for eight minutes. This instrumentation expands the traditional The primary metres are 10/8 and 5/4, and this classical wind octet with the addition of flutes, a asymmetry combines with the fast tempo to second pair of horns, and a contrabassoon. This create the feeling of an adrenaline rush. The is a significant and sumptuous piece, and gives work is in a traditional sonata form, with a short each member of the ensemble an opportunity development section that introduces a third, for real musical expression. It is written in four Spanish-sounding theme. movements, complete with a extensive fugue - Gillian MacKay in the last movement. The sound is undeniably Strauss: dramatic and lyrical, with explosions of BERNARD ROGERS colour and long, sweeping lines. At the same Three Japanese Dances time, the clarity of the orchestration allows the sound to stay relatively light, and enables Rogers was born in 1893 in New York state, the listener to better hear the interesting and and spent most of his career teaching at the complex counterpoint which is also typical of Eastman School of Music (1929-1967). Prior to Strauss’ writing. his appointment at Eastman, Rogers studied with - GM Ernst Bloch, and, on a Guggenheim Fellowship, with Nadia Boulanger and Frank Bridge. He NORBERT PALEJ wrote five symphonies and other large orchestral Souffle de lumière works, as well as several operas and large choral works. Among his orchestral pieces was Two years ago, my father Vladimir created a pair Three Japanese Dances, written in 1933. Rogers of works – an oil painting and a poem – both had a fondness for Japanese art, and it is said sharing the same title: Breath of Light. I decided that his love for Japanese prints can be heard that my first piece completed in Canada would in the clarity and transparency of his scoring. draw part of its inspiration from that source. An Three Japanese Dances was rescored by excerpt from the poem reads: Rogers at the request of Frederick Fennell in the early 1950s, when Fennell was developing the As when the dark waves shatter on pale rocks, Eastman Wind Ensemble. Fennell’s goal was to Above them cloudy convoys streaming to create an ensemble with flexible instrumentation the lands, and one-on-a-part seating, and it is clear that Though far in the distance a light cuts Rogers understood the concept completely. This the horizons piece is well ahead of its time in terms of its On heaving water’s curls gaming with transparency of scoring and flexibility of texture. shadows’ flocks. The dying thunders ignite the air beyond sight, Toronto Children’s Chorus. His music has been By trembling leaves’ voices whispering to heard in Canada, the USA, Poland, Germany, the ocean’s gloom, Austria, Hungary, Great Britain, and Costa Rica. Though already now a soft breath of light Norbert Palej is currently composer-in-residence flows from afar, with the Univox Choir of Toronto, and his music In its translucent arms a warm breeze that has recently been published by Maecenas Music, praises earth divine. based in Great Britain. He is a recipient of the Toru Takemitsu Award During my first trip to Ottawa, I visited the from the Japan Society in Boston, the ASCAP National Gallery of Canada, where the work Morton Gould Young Composer Award, the Robbins of Lawren Harris – a member of the Group Family Prize in Music Composition, the Benjamin of Seven – made a strong impression on Britten Memorial Fellowship, and the Susan and me. When composing Breath of Light, I tried Ford Schumann Fellowship. He participated in to incorporate aspects of Harris’s stunning the Minnesota Orchestra Composers Institute, the landscapes into my music: a sense of clarity, American Composers Orchestra Underwood New transparency, directness, brightness and Music Readings, the Academy for New Music expressive simplicity. In addition, Breath and Audio-Art in Tyrol, Austria, the International of Light contains subtle allusions to the Workshops for Contemporary Music Krakow/ music and Christian mysticism of Olivier Stuttgart, as well as the Tanglewood, Aspen, Messiaen, a composer I greatly admire. Caramoor, and Budapest music festivals. Like many of Messiaen’s works, my piece attempts to convey feelings of joy, playfulness STEVEN BRYANT and spiritual elation. Breath of Light was Ecstatic Waters commissioned and premiered by maestro Paolo Bellomia and L’Orchestre 21ème Steven Bryant is one of a small group of young Siècle, as part of the music festival Automne American composers (along with Eric Whitacre Messiaen à Montréal 2008. and John Mackey) whose work is having a - Norbert Palej strong influence on the developing sound of the contemporary North American wind ensemble. Originally from Cracow, Poland, Norbert Palej has The piece was commissioned by a consortium been increasingly recognized for his “first-rate and of 15 American universities, and it began to take genuinely original work” (American Composers the wind world by storm in late 2008 as these Orchestra), and a musical language that generates groups began to perform it. Ecstatic Waters is “visceral excitement” (The Boston Globe). one of relatively few works which incorporate Norbert Palej has been Assistant Professor of electronic sounds with winds. The sounds were Composition at the University of Toronto since created by Bryant and are being run through a 2008. He also serves as the director of the computer to the speakers on the stage. Specific University of Toronto gamUT chamber orchestra, cues for the entrance of the electronic sounds and as coordinator of the annual New Music are marked in the score, and these are being Festival. He holds composition degrees from controlled tonight by Charlie Henderson and Cornell University (D.M.A.), The Juilliard School Leah McGray Manning. You will also hear a solo (M.M.), and the New England Conservatory clarinet sound (played by Kishan Chouhan) which (B.M.). He studied conducting at the Academy is altered by electronic effects. The piece was of Music in Cracow (Poland) and at The Juilliard inspired in part by the poetry of W.B. Yeats. In his School in New York. Palej is also an active own notes, Bryant describes it as “...a narrative concert pianist. that touches upon naiveté, divination, fanaticism, Recent commissions include a percussion post-human possibilities, anarchy, order, and the concerto for Dame Evelyn Glennie, and a choral Jungian collective unconscious. Or: W. B. Yeats work for Soundstreams, featuring the Elmer meets Ray Kurzweil in The Matrix.” Iseler Singers, the Polish Chamber Choir, and the - GM Biographies Gillian MacKay is Jeffrey Reynolds the Associate Dean for is Coordinator of Graduate Education Performance at the at the Faculty of Faculty of Music, Music, University of University of Toronto and Toronto, where she conductor of the Wind also conducts wind Symphony as well as ensembles, and teaches instructor of trumpet and conducting, trumpet, and music education. conducting. As a trumpeter he has performed An award-winning teacher, Gillian MacKay and recorded with the Calgary Philharmonic, has an active career as an adjudicator, Hamilton Philharmonic, the Orchestra of the conductor, and clinician throughout Canada Royal Winnipeg Ballet, the Hannaford Street and the United States. As a trumpeter, she Silver Band and the Stratford Festival Ensemble is busy as a recitalist, orchestral player, and among others, as well as playing many theatre chamber musician. Gillian holds degrees and and commercial engagements. He regularly diplomas from the University of Lethbridge, conducts student, community and professional McGill University, the University of Calgary, ensembles, including the York Region Honour and Northwestern University. She has held Band, and the Durham Schools Honour Band, as previous faculty positions at the University of well as the Southampton Festival Winds and the Windsor and Medicine Hat College.
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