7:30 p.m. 7:30 NEC’s Jordan NEC’s Hall Boyang Yu (DMA ’19) (DMA Yu Boyang Thursday, February Thursday, 2,2017 graduate student conductor conductor student graduate NEC Wind Wind Ensemble NEC

. . ncil ncil arms. arms. nd beyond, beyond, nd owed in Jordan Hall. Hall. Jordan in owed sm, and Special Events. Special and sm, concerts at the coatroom, coatroom,concerts the at

necmusic.edu/concerts and sign up for e-mail news bulletins.for e-mail up sign and This organization is supported in part part in supported is organization This and by a grant from the Boston Cultural Council, Council, Cultural agrantfrom by Boston the and by the Massachusetts Cultural Council, a state agency,state a Council, Cultural Massachusetts the by Please switch off cellular phones, pagers, and watch al watch phones,and pagers, offswitch cellular Please or by contacting the Head Usher or House Manager on dutyon orHouseManager Usher Head thecontacting or by a local agency funded by the Massachusetts Cultural Cou MassachusettstheCultural by fundedagency local a Connect with NEC and our music on Facebook, Twitter, ourFacebook, musicon a and NEC with Connect and administrated by the Mayor’stheTouri ofArts, Office by administrated and Unauthorized use of cameras and tape recorders all nottape is and ofcameras use Unauthorized Assistive Listening Devices are available forHall Jordan available are Devices AssistiveListening

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- Bo Lee Cheryl Fries Mucha Harrison Honor mentation includes pairs of flutes, oboes, clarinets, horns and bassoons. This Jisun Oh Jesse Gardner Gianluca Farina Andrew Johnson work won the Paderewski Prize in 1901 for the best chamber music by an Rainice Lai Mona Sangesland Micah Gharavi Mason Grainger 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 Harp Nicole Caligiuri Rachael Klavir Andrew Huynh counterpoint technique. The Serenade is full of rich chromatic harmonies which Bo Liu Qianqian Chen Mark Debski Blake Manternach 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 Jinhongmin Zhong Christopher Bassett Skiagrafies (Greek for shadow etchings) is a cycle of works that looks at color Samuel Waring Piano 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 David M. Nelson Jacob Kalogerakos Yousun Hah Hajime Goto written for flutist Orlando Cela. The present piece, Skiagrafies III , was composed Conrad Shaw Matthew Henson for New England Conservatory’s Wind Ensemble and is dedicated to Charles Ye Hu Christian Gutierrez Peltz and Boyang Yu. Isaiah Johnson Nicholas A. Miller Graduate While each work of the cycle is conceived as an autonomous organism, Somin Lee Mackenzie Newell Assistants 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. Juan became Castaneda’s mentor and trained – Stratis Minakakis him in pre-Colombian techniques of sorcery, the overall purpose of which is to find the creative self-what Juan calls the Nagual . Stratis Minakakis is a composer and conductor whose creative work engages Each of the characters has a musical theme: Juan’s is dark and issues of memory, cultural identity, and art as social testimony; it also explores ominous, yet gentle and kind; Carlos is open, direct and naïve. We hear the rich possibilities engendered by the interaction between arts and sciences. Carlos’ theme throughout the piece from constantly changing A recipient of numerous artistic and academic distinctions, he has perspectives, as Juan submits him to long desert marches, encounters collaborated with leading performers and ensembles, such as The Crossing with terrifying powers and altered states of reality. A comic aspect is choir, the PRISM and Stockholm saxophone quartets, the Partch ensemble, the added to the piece by don Genero, a sorcerer friend of Juan’s, who Arditti String Quartet, Ensemble Counter)induction, Noh actress Ryoko Ayoki, frightens Carlos with fantastic tricks like disappearing and reappearing recorder virtuoso Tosiya Suzuki, flutist Orlando Cela, and conductors Donald at will.” Nally and Rüdiger Bonn. Deeply committed to music pedagogy, he was recently awarded the prestigious Louis Krasner Award for Teaching at the New The instrumentation of this piece is as unique as its program. The piece England Conservatory, where he is a member of the Composition and Music calls for six flutes (also doubling piccolos), six B-flat clarinets, six horns, six Theory Faculties. trumpets, six trombones, and pairs of euphoniums, tubas and double basses. In addition, this piece explores special timbres heard from the instruments, such Colgrass Winds of Nagual as the alto flute, the E-flat clarinet, contra-alto and contra-bass clarinets, Pulitzer Prize-winning composer Michael Colgrass was born in Chicago on April soprano and alto saxophones, cornets and flugel horn, harp and celesta. Since 22, 1932. As a teenager, he was a self-taught drummer with a strong interest in Colgrass is a percussionist, his writing for Parsifal bells, crotales, chimes, jazz. After graduating from the University of Illinois in 1956, Colgrass moved to bongos, timbales, and many other percussion instruments adds another layer New York City where he worked as a free-lance percussionist. He performed of rich timbre to the piece. with a variety of groups including the New York Philharmonic, Broadway’s West According to Colgrass, listeners do not need to read Castaneda’s novels in Side Story , and the Modern Jazz Quartet. Besides his performance activities, he order to enjoy the work, and he does not expect anyone to follow any exact