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NEC WIND ENSEMBLE & SYMPHONIC WINDS , Charles Peltz and William Drury, Ed NEC Wind Ensemble Boyang Yu (DMA ’19) graduate student conductor This organization is supported in part 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. Connect with NEC and our music on Facebook, Twitter, and beyond, and sign up for e-mail news bulletins. Thursday, February 2, 2017 7:30 p.m. NEC’s Jordan Hall necmusic.edu/concerts Upcoming Wind Ensemble Concerts at NEC (all programs subject to change) PROGRAM Visit necmusic.edu for complete and updated concert information ____________________ NEC SYMPHONIC WINDS , William Drury, conductor McLean The Twain Have Met; Françaix Mozart – new look; Antheil Concerto for Chamber Orchestra; Holst First Suite for Military Band; Carter Canonic Suite Tuesday, February 28, 2017, at 7:30 p.m., Jordan Hall Arthur Bird Serenade for Wind Instruments (1856–1923) Allegro moderato NEC WIND ENSEMBLE & SYMPHONIC WINDS , Charles Peltz and William Drury, ed. Gunther Schuller Adagio conductors – Program includes Bach Passacaglia and Fugue in C Minor (arr. Allegro assai Crees); Diesendruck Variant Scenarios ; Child Afterglow Allegro energico Tuesday, April 11, 2017 at 7:30 p.m., Jordan Hall Efstratios Minakakis Skiagrafies III (2016) Other Upcoming Concerts at NEC (b. 1979) for wind ensemble and percussion World premiere ARTHUR BERGER MEMORIAL CONCERT , part of the NEC Composers’ Series, Malcolm Peyton, director Monday, February 6, 2017 at 7:30 p.m., Jordan Hall Michael Colgrass Winds of Nagual (1985) SONATA NIGHT XVIII, Pei-Shan Li, coordinator (b. 1932) A Musical Fable for Wind Ensemble based Sonatas for piano and cello by Beethoven, Strauss, and Chopin on the Writings of Carlos Castaneda Tuesday, February 7, 2017 at 6:30 p.m., Williams Hall The desert: don Juan emerges from the mountains NEC PHILHARMONIA , Joshua Weilerstein, guest conductor Carlos meets don Juan: first conversation Shaw Entr’acte; Beethoven Violin Concerto in D, op. 61; Rachmaninoff Symphony Don Gernaro satirizes Carlos No. 2 in E Minor, op. 27 Carlos stares at the water and becomes a Wednesday, February 8, 2017 at 7:30 p.m., Jordan Hall bubble The gait of power MASSENET : CENDRILLON Asking twilight for calmness and power performed by NEC Opera students and members of NEC Philharmonia, under Juan clowns for Carlos the direction of Joshua Major; Hugh Wolff, conductor Last conversation and farewell: Saturday-Tuesday, February 11-14, 2017; performance times vary; Cutler Carlos leaps into the unknown and Majestic Theatre (Tickets required) explodes into a thousand views of the world NEC CHAMBER ORCHESTRA , coached by Donald Palma Piazzolla Four, for Tango; Finzi Romance in E-flat, op. 11; Walton Sonata for String Orchestra; Mozart Serenade No. 6 in D “Serenata Notturna” Monday, February 13, 2017 at 7:30 p.m., Jordan Hall scenario. His main object for this work is to “capture the mood and atmosphere Bird Serenade for Wind Instruments created by the books and to convey a feeling of the relationship that develops Arthur Bird was born on July 23, 1856 on a farm in Cambridge, Massachusetts. as a man of ancient wisdom tries to cultivate heart in an analytical young man From his youth, Bird studied singing, piano, organ, and cello with his father and of the technological age.” – Boyang Yu uncle, both were professional singing teachers. After Bird graduated from Belmont High School at age nineteen, he went to Berlin to study organ under the renowned organist Carl August Haupt. Bird returned to America in 1876 NEC Wind Ensemble and was appointed as the organist in the St. George Church in Halifax, Nova Boyang Yu, conductor Scotia. In 1881, after deciding to become a composer, Bird went back to Berlin to study composition with Haupt and Heinrich Urban. In 1883, one of Bird’s Flute Bassoon Trumpet Percussion works gained Liszt’s attention, and he was welcomed into Liszt’s Weimar circle. Jiyeon Han Andrea C. Baker Douglas Amos Austin Allen From 1881 to 1900, Bird composed eighty-two works in all musical forms and Sho Kato Eric Tyler Barga Shengduo Chen Luis Herrera genres, which marked his most productive compositional years. Minha Kim Luke Fieweger Elmer Churampi Albertazzi Bird’s Serenade for Wind Instruments was composed in 1898. The instru- Harrison Honor Bo Lee Cheryl Fries Mucha mentation includes pairs of flutes, oboes, clarinets, horns and bassoons. This Andrew Johnson Jisun Oh Jesse Gardner Gianluca Farina work won the Paderewski Prize in 1901 for the best chamber music by an Micah Gharavi Mason Grainger Rainice Lai Mona Sangesland American composer. It was premiered in Boston by Georges Longy and other Hye Won Suh Joshua Kosberg Andrew Heath Darren Lin musicians from the Longy Club on March 31, 1902. The first movement is Michelle Sung Kai Rocke Kevin Natoli Julian Loida composed in a sonata-allegro form that contrasts dancing and lyrical themes, Wooyeon Milk Yoo Cynthia L. Stacy Nathan Stoerzinger Will McVay Yinzi Zhou Sean Van Winkle concluding with a brief, charming coda. The slow movement features an Saxophone Trombone Ye Young Yoon extensive English horn soli that evoke a sense of nostalgia. After the buoyant Oboe Yuh-Boh Feng Michael Cox folkdance-like third movement, the last movement displays Bird’s exceptional Rachael Klavir Harp Nicole Caligiuri Andrew Huynh counterpoint technique. The Serenade is full of rich chromatic harmonies which Bo Liu Blake Manternach Qianqian Chen Mark Debski are often interwoven with folk elements. The sonority not only brings Kyle Kurihara Stephanie A. Ian Maser Liwei Huang audiences into a pastoral atmosphere but also reflects the optimistic mood of Marshal McClure Muñoz Michael Shayte Elise Kolle the American culture of Bird’s time. Mary O’Keefe Morgan Smallwood Jicheng Zhang Alix Raspé Elizabeth O’Neil Chenguang Wang Dana Schneider Bass Trombone Andrew Port Wuxian Wen Hope Wilk Minakakis Skiagrafies III Christopher Bassett Samuel Waring Jinhongmin Zhong Piano Skiagrafies (Greek for shadow etchings) is a cycle of works that looks at color Bryce Gillett through the perspective of shadows. Skiagrafies I , which was premiered at the Clarinet French horn Jingze Sarah Guo Tuba Kimmel Center in June of 2016, was commissioned by the PRISM quartet and Yiqiao Chen Nick Auer Rui Liu Double Bass the Partch Ensemble. Skiagrafies II , scored for flute and piano resonance, was Matthew Griffith Andrew Bass Jacob Kalogerakos David M. Nelson written for flutist Orlando Cela. The present piece, Skiagrafies III , was composed Yousun Hah Hajime Goto Matthew Henson Conrad Shaw for New England Conservatory’s Wind Ensemble and is dedicated to Charles Ye Hu Christian Gutierrez Isaiah Johnson Nicholas A. Miller Graduate Peltz and Boyang Yu. Somin Lee Mackenzie Newell Assistants While each work of the cycle is conceived as an autonomous organism, Brittnee Pool Matt Pennington Holly Hyun Choe they all stem from the same pursuit: exploring the musical dimensions of Stefan Van Sant Megan Shusta Emily Eng shadows. This is done in two primary ways: first, in the exploration of minute Zihao Yang Harris Malasky gradations of sound parameters such as pitch, timbre, and dynamics; second, in the reflections and refractions of the same sound object across the different timbres of the ensemble. A third, perhaps more metaphorical concept of shadows in Skiagrafies is related to the way in which memory is engaged: the piece grows by continuously recalling and recasting distorted copies of studied composition with Darius Milhaud, Lukas Foss, Ben Weber, and previous material, effectively creating a veil of shadows upon shadows of the Wallingford Riegger. In addition, Colgrass studied theatrical techniques at the initial archetypal gesture. Time does not flow linearly, but in concentric circles, Commedia dell’ Arte of the Piccolo Teatro of Milan and physical training for dynamic development giving way to introspective, dream-like contemplation actors at Grotowski’s Polish Theatre Laboratory. Often, Colgrass encourages of minute sonic spaces. composers to absorb rather than reject traditional styles and techniques in Skiagrafies III was inspired by a calligraphy of the late Japanese artist order to develop their own style. Accordingly, one of his mottos states: “if Minoru Taki, whom I met in Takefu, Japan in 2010. The calligraphy depicts a you’re a really a good composer, then you should be able to contact people poem describing the fading memory of a beloved person. The strokes of the who are non-specialists in your art.” brush, each performed in a singular gesture, were meticulously calculated so Winds of Nagual was written at the request of New England Conservatory that each character is only partially drawn. The text is therefore presented half- Wind Ensemble’s Conductor Emeritus Frank Battisti in 1985. The premiere glimpsed, like a shadow, or a dream. A few lines of the Greek poet C.P. Cavafy performance of this piece was a success, winning first prize in the Louis B. come to mind: Sudler Wind Band Competition (1985), the National Band Association Composition Competition (1985), and the Barlow International Composition I brought to Art desires and sensations: Contest (1986). In the composer’s program notes, Colgrass writes: Things half-glimpsed, “Winds of Nagual is based on the writings of Carlos Castaneda about his Faces or lines, certain indistinct memories fourteen-year apprenticeship with don Juan Matis, a Yaqui Indian Of unfulfilled love affairs. sorcerer from Northwestern Mexico. Castaneda met don Juan while researching hallucinogenic plants for his master’s thesis in (from I’ve Brought to Art , Translated by Edmund Keeley and Phillip Sherrard) Anthropology at UCLA.
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