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7Thirtythursdays 7ThirtyThursdays Harp Ensemble Cathy Clayton, director Utah Composers Collective Thursday, June 10, 2021 Virtual Venue - https://music.utah.edu/libby-live/index.php 7:30 p.m. Program Harp Ensemble Sign of the Times Harry Styles (b. 1994) arr. Megan Sowby When I’m Sixty-Four John Lennon (1940-1980) Paul McCartney (b. 1942) arr. Misty Williams While My Guitar Gently Weeps John Lennon George Harrison (1943-2001) arr. Chloe Barry Harpists Chloe Barry Annabelle Buchanan Maryruth Culver Katie Damon Lillian Dukes Saylee Johnson Addison Line Marienna Smith Megan Sowby Filming and editing by Maryruth Culver and Chloe Barry Utah Composers Collective Corrections Christopher Newman Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Saylee Johnson, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Croquis de France, Movement VII Jacob Whitchurch Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Saylee Johnson, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Soundlence Dallas Herndon Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Procrastination Natalie Van Horn Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Lakeshore Zheng Zhou Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Cinema Suite Garret Jay Christian Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Kaytie Kerr, harp Yu-Feng Huang, conductor Dreams Like Snow Young Jo Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Kaytie Kerr, harp Young Jo, piano Yu-Feng Huang, conductor Adagio and Allegro for Woodwind Trio Joshua Goodell Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon This event is supported in part by Fine Arts Fees. Program Notes Corrections, Christopher Newman Corrections, for woodwind trio, harp, and percussion, takes a handful of motivic ideas and constantly shifts them around in search of a correct fit. Croquis de France, Jacob Whitchurch J.M. Whitchurch (Jacob) has an associate degree equivalent from Brigham Young University and a BMU in Music Composition from the University of Utah. He got his start in music by playing trumpet in the American Fork band program, and has continued studying trumpet performance with many talented directors and teachers. As a composer, Jacob has also been extremely privileged to work with talented musicians, directors, and composers in having his pieces performed live. In High School he premiered 2 of his compositions at the 2012 and 2013 Spring Concerts, and also scored the music for 2 award-winning short films. During his undergrad he had many of his pieces performed and recorded with live groups, including Wind Ensemble works, chamber pieces, Trumpet Ensemble competition pieces, and several instrumental solos. Jacob aspires to be a film and video game composer, and hopes for his music to uplift, inspire, and heal. In his free time, Jacob enjoys working on massive Lego creations, finding (and folding) new and difficult Origami diagrams, and spending time with family and friends. Arabesques, le Métro was originally written while I was studying in Paris, France for Fall semester of 2016, and was designed to capture how I felt while living abroad. Although I didn’t arrange the entirety of the original orchestral piece, I selected 2 portions to arrange for this group of instruments—the first section is a depiction of the Middle-Eastern influence that France is increasingly seeing; and the second is a depiction of the always-busy Métro public transit system in Paris. My hope for this piece was not just an accurate depiction, but to portray the hope of finding harmony between different cultures, even if they are considered strange and foreign to each other. Soundlence, Dallas Herndon Soundlence is an experimental work that explores the relationships of sound and silence in music, and how our perception of these enti- ties may change depending on the surrounding material or situation. Three distinct layers exist, with one underlying/hidden layer. Two of the layers are sound-based, while the third layer is silence-based. Layer 1 includes sounds that one might describe as "traditional," containing notes based on pitch. Layer 2 includes sound that might be described as non-intentional, or environmental, in that they con- sist of sounds that mostly do not involve traditional notation. Layer 3 includes a layer of silence that might be described as visual silenc- es, in that they do not consist of any sound-based material but still contain a form of visual material that comprises the "energy" of the piece. Procrastination, Natalie Van Horn In Procrastination, the three movements reprents the three stages of procrastinaton. The frst stage is the the initial worry and stress. This is represented in the initial theme. I wanted it to feel as disorganized as possible so I put as much variety of rythms in the initial theme. The theme starts with the quarter and eighth notes, then the shifts sixteenth notes, then the quintuplets followed by the quintuplet and sixteenth combination and ending with a mirroring of the original quarter and eighth notes. The second movement represent the delaying of an important activity. This is represented in a slower "peaceful" tempo. However, the stress and worry is always in the background. The last movement represents the fnal stage of procrastination where so much time has passed. Then panic sets in and things are done in a rush. The last movement is rushed and much of the content of the orginal movement is abbreviated. Lakeshore, Zheng Zhou Lakeshore is a piece for flute, clarinet, bassoon, harp, and percussion. The inspiration for this composition came from a trip to Antelope Island, not far from Salt Lake City. Overlooking the panorama of the Great Salt Lake from Antelope Island, I was deeply attracted by the shape of the Wasatch Front and its reflection on the lake. After taking a picture of this gorgeous scenery, I spent a long time gazing at the picture. The landscape in the picture seemed to come alive with movement in my imagination. As a composer, I translated those movements into sounds. I then interpreted visual images — from the mountains to the lakeshore, from the sunset to the reflection on the lake, from the shape of clouds to the water waves — into pitch selection, rhythmic patterns, and instrumentation. Lakeshore contains two movements. The first movement, “Water Wave,” begins with a quiet wind trio that has a leisurely and meditative feeling, which musically illustrates the natural beauty around the Great Salt Lake. The percussion instruments are only occasionally used in the first movement. Instead, the harp is utilized to imitate the sound of gongs through extended techniques. In addition to the traditional acoustic instruments, a water bowl and two small river stones are used as percussion instruments. The second movement, “Water Flow,” provides a contrast to the first. Instead of establishing a relaxing environment with a static tonality, the second movement starts with a dramatically-accelerated rhythmic pattern in an ambiguous tonal sense. The pitch selection for this piece is characterized by the use of the pentatonic scale in different tonal areas and highlights ambiguity between each tonal area. Cinema Suite, Garrett Jay Christian Cinema Suite is comprised of four selections from a film score in the style of later twentieth century scores from classically narrative films- with one central conceit-neither the film nor the full score exist. This was an exercise in how far musical representation can be taken (within cultural conventions), so the selections are titled generically, e.g. 'Opening titles,' 'The Plot Thickens,' in order to conjure the listener's closest association: a sonic Rohrschach test, if one will. Bonus points to those who can pick out the stylistic influencers. Dreams Like Snow, Young Jo Dreams Like Snow is a work written for piano, harp, and woodwind trio. The piece takes the listener through a dream as the dream enters its different stages. This performance was recorded at Libby Gardner Concert Hall. Adagio and Allegro for Woodwind Trio, Joshua Goodell For most of the pieces I have written for, the instrumentation has been primarily piano or strings. I then realized how foolish that is since chamber music with woodwinds is such a beautiful medium. I also realized that most of my music in a more post tonal style heavily features diminished chords. Those two realizations inspired me to write something for: a woodwind trio and in a post tonal style that didn’t heavily revolve around diminished chords. The main theme of this piece is giving an augmented chord many different characteristics. The primary characteristics I used were: foreboding, playful, and mysterious..
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