sign in sign up
<<
Home , After (Elgar), Michael Daugherty, The Dream of Gerontius, Woodwind section

program notes

2020 - 2021 SEASON Celebrating 100 Years

Wilkins Finale June 11 & 12, 2021 at 7:30 p.m. | Holland Performing Arts Center Thomas Wilkins, conductor , alto

MICHAEL DAUGHERTY Lift Up Thine Ears for  World Premiere  (1954) I. Lend me your ears (William Shakespeare; 1599) II. It rings in the ear (Martin Luther King, Jr.; 1963) III. The Spirit is the Conscious Ear (Emily Dickinson; 1899) Commissioned in celebration of the 100th anniversary of the Omaha Symphony

JOHN WILLIAMS Escapades from Catch Me If You Can (1932) I. Closing In II. Reflections III. Joy Ride

Branford Marsalis,

EDWARD ELGAR (Variations on an Original Theme), Op.36 (1857-1934) Enigma: Andante I. “C.A.E.” L’istesso tempo II. “H.D.S.- P.” Allegro III. “R.B.T.” Allegretto IV. “W.M.B.” Allegro di molto V. “R.P.A.” Moderato VI. “Ysobel” Andantino VII. “Troyte” Presto VIII. “W.N.” Allegretto IX. “Nimrod” Moderato X. “Dorabella - Intermezzo” Allegretto XI. “G.R.S.” Allegro di molto XII. “B.G.N.” Andante XIII. “ *** - Romanza” Moderato XIV. “E.D.U.” - Finale

THANK YOU TO OUR SPONSORS Lift Up Thine Ears for Orchestra Michael Daugherty Born: Cedar Rapids, , April 28, 1954

Program Notes by Michael Daugherty

Lift Up Thine Ears (2021) for orchestra was commissioned in celebration of the 100th anniversary of the Omaha Symphony. The theme of my three-movement 20-minute symphony is how the human spirit can be uplifted by learning to listen with new ears.

The first movement recalls Shakespeare’s dramatic words, “Lend me your ears,” from his play Julius Caesar. These four words are echoed in a four-note musical motive that I have composed, which is heard at the beginning of the movement, played by the strings. I then develop the four-note motive through various orchestrations, melodic transpositions and rhythmic transformations.

The title of the second movement comes from Martin Luther King’s 1963 “Letter from Jail,” where he wrote “it rings in the ear” as a lamentation and call for action he was arrested for leading a civil rights protest. I have composed a musical lament introduced by the English horn and harp, developed by the woodwind section, and then leading into the and French horns playing a melody that evokes Dr. King as “a wayfaring stranger traveling this world of woe.”

The third movement turns a phrase from Emily Dickinson’s poem – “The Spirit is the Conscious Ear” – into a celebration of the spirit, energy, and power of music. As they listen to each other, the conductor and the musicians of the orchestra, playing diverse instruments in the woodwind, brass, percussion and string sections, collaborate in pulsating rhythmic counterpoint to create an uplifting experience for all listeners.

It has been my great pleasure to compose this work in honor of Maestro Thomas Wilkins, who has enthusiastically conducted the Omaha Symphony for many years, in his own words, “to explore and celebrate the benefits of listening to each other” and to make “the orchestra a celebration of community through sound.”

Program Notes by Steven Lowe

Escapades from Catch Me if You Can John Williams Born: Floral Park, New York, February 8, 1932

Set in the 1960s, Steven Spielberg directed the biographical film Catch Me if You Can in 2002, based on the life of Frank Abagnale, who, still in his late teens, managed to con countless people and businesses out their money. So adept a forger and poseur was the young criminal that the FBI ended up hiring him to help unearth others of his “profession.”

That true master of film scores, John Williams, crafted a -imbued soundtrack featuring alto saxophone solos partnered by vibraphone, string , orchestral strings, piano and assorted percussion—accompanied initially by vocal “noises.” The score was nominated for an Academy Award for Best Original Score and the Grammy Award for Best Score Soundtrack for Visual Media.

Three contrasting movements provide an almost concerto-like format that works well outside of the movie theater (or home-watched streaming in today’s fraught atmosphere).

The opening number of the excerpted score, “Closing In” limns frenzied sequences—with occasional moments of relative relaxation—of clever sleuthing that keeps the young man a step ahead of the authorities until his undoing.

The central “Reflections” takes the listener into the slower, internal psychological exploration of intra family relationships. The score concludes with “Joy Ride,” a manic and off-beat dreamscape of the protagonist’s flights of fancy. Enigma Variations (Variations on an Original Theme), Op.36 Born: Broadheath, near Worcester, Great Britain, June 2, 1857 Died: Worcester, Great Britain, February 23, 1934

It has long been a curiosity that in England, with its rich—one might even say dominating—literary history, music should suffer in pronounced comparative inferiority. Since the death of Henry Purcell in 1695, England’s greatest musical voices seemed to come from abroad, beginning with Handel, later Haydn, and eventually Mendelssohn. Had not Mozart died so young, even he—with urgings from his friend Stephen Storace—would have crossed the channel to ply his trade in the English capital. (Mozart did visit as a child of 8 and established a life-long cordial and mutually respectful relationship with Johann Christian Bach, youngest son of the great Johann Sebastian.) Not until the closing years of the 19th century did Great Britain renew its native voice in the person of Sir Edward Elgar, the first in a succession of English worthies whose music has regained an international foothold in our own century.

Elgar enjoyed a special niche. Not only did he achieve high status among the cognoscenti for his orchestral and chamber works, but the English laity found immediate (and lasting) favor with his lighter works. He was, in his own ripely romantic way, a throwback to the 18th century, when the line between “popular” and “serious” music was not so firmly maintained by the guardians of culture. By the time he wrote his Introduction and Allegro for Strings in 1905, he had already established himself firmly in the musical public’s consciousness through such major works as the Variations on an Original Theme (aka Enigma Variations, 1899) and the (1900).

Long after Elgar’s passing in 1934 musicians and music lovers have argued or simply scratched their heads trying to figure out the meanings of the 14 variations that comprise the Enigma Variations. Elgar hinted at layers of meaning for the set of variations. His biographer W.H. Reed opines that his subject enjoyed leading his friends and musicologists down a path of intentional detours on the road to solving the mysteries of all of the episodes. “To my friends pictured within” was Elgar’s teasing description of the score. The genesis of the Enigma Variations grew from a theme he noodled while sitting at the piano one evening in 1898. Some commentators have suggested that the theme itself scans to the shapely rhythm of his name, Ed-ward-EL-gar!

In any case here is a terse description of the variations:

I L’istesso tempo: a loving portrait of his wife II Allegro: his pianist friend H.D. Stuart-Powell III Allegretto: Richard Baxter Townshend, an amateur actor IV Allegro di molto: William Baker, an English squire V Moderato: Richard Arnold, a blend of the man’s reputed dreaminess and vigor VI Andantino: Isabel Fitton, an amateur violist VII Presto: Arthur Troyte Griffith, a pugnacious friend VIII Allegretto: Winifred Nobury, an aging but statuesque amateur violinist IX Adagio: the most beautiful of the variations, often played on its own as an elegy X Intermezzo—Allegretto: named after the character Dorabella in Mozart’s Così fan tutte, Elgar’s pet name for Dora Penny, described as speaking with a “fetching hesitation of speech” XI Allegro di molto: Ostensibly organist Dr. George Robinson Sinclair, though more likely his bulldog Dan XII Andante: Elgar’s frequent partner in , cellist Basin Nevinson XIII Romanza—Moderato: Lady Mary Lygon, an acquaintance on an ocean liner heading toward Australia XIV Finale—Allegro—Presto: a self-portrait of sorts, presumably the personal and professional struggles and ideals of the composer.

Adding to the mystery of Elgar’s intention is his comment that there were darker implications of the music. So the guessing game continues more than a century after its composition.

The ongoing popularity of Enigma Variations ultimately rests on the rich musical tapestry of the score: highly varied and appealing orchestration, a tender and yet vigorous manner of exploiting the capabilities of an orchestra, and a gift for variation form (a clue to a much-used characterization of Elgar as “the English Brahms,” the German composer being a consummate of master of the genre). Thomas Wilkins, conductor Thomas Wilkins is celebrating his final season as of the Omaha Symphony, a position he has held since 2005. Additionally, he is principal conductor of the Hollywood Bowl Orchestra, the Boston Symphony’s artistic advisor, education and community engagement, and holds ’s Henry A. Upper Chair of Orchestral established by the late Barbara and David Jacobs as a part of that University’s “Matching the Promise Campaign.” Past positions have included resident conductor of the Detroit Symphony and Florida Orchestra (Tampa Bay), and associate conductor of the Richmond (VA) Symphony. He also has served on the music faculties of North Park University (), the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond. Devoted to promoting a life-long enthusiasm for music, Thomas Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful first season with the Boston Symphony, the Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious “Outstanding Artist” award at the Nebraska Governor’s Arts Awards, for his significant contribution to music in the state while in 2018 Thomas Wilkins received the Lifetime Achievement Award for the Elevation of Music in Society conferred by Boston’s Longy School of Music. And in 2019 the Virginia Symphony bestowed Thomas Wilkins with their annual Dreamer Award. During his conducting career, he has led throughout the , including the , the Chicago Symphony, the Los Angeles Philharmonic, the Cincinnati Symphony and the National Symphony. Additionally, he has guest conducted the Philadelphia and Cleveland Orchestras, the Symphonies of Atlanta, Dallas, Houston, Baltimore, San Diego and Utah, and the Buffalo and Rochester Philharmonics, as well as at the Grant Park Music Festival in Chicago. His commitment to community has been demonstrated by his participation on several boards of directors, including the Greater Omaha Chamber of Commerce, the Charles Drew Health Center (Omaha), the Center Against Spouse Abuse in Tampa Bay, and the Museum of Fine Arts as well as the Academy Preparatory Center both in St. Petersburg, FL. Currently he serves as chairman of the board for the Raymond James Charitable Endowment Fund and as national ambassador for the non-profit World Pediatric Project headquartered in Richmond, VA, which provides children throughout Central America and the Caribbean with critical surgical and diagnostic care. A native of Norfolk, VA, Thomas Wilkins is a graduate of the Shenandoah Conservatory of Music and the New England Conservatory of Music in Boston. He and his wife Sheri-Lee, are the proud parents of twin daughters, Erica and Nicole.

Branford Marsalis, alto saxophone Growing up in the rich environment of New Orleans as the oldest son of pianist and ed- ucator Ellis Marsalis, Branford was drawn to music along with siblings Wynton, Delfeayo and Jason. His first instrument, the , gave way to the alto and then the and soprano when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his first major jobs with legend Clark Terry and alongside Wynton in Art Blakey’s legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quin- tet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and, with a few minor interruptions in the early years, has sustained the unit as his primary means of expression. Known for the telepathic communication among its uncommonly consistent personnel, its deep book of original music replete with expressive melodies and provocative forms, and an unrivaled spirit in both live and recorded performances, the Branford Marsalis Quartet has long been recognized as the standard to which other en- sembles of its kind must be measured. Branford has not confined his music to the quartet context however. inhabits a growing portion of Branford’s musical universe. A frequent soloist with classical ensembles, Branford has become increasingly sought after as a featured soloist with such acclaimed orchestras as the Baton Rouge, Chicago, Cincinnati, Detroit, Düssel- dorf, and North Carolina Symphonies, the New York Philharmonic, the Chamber Orchestra of Philadelphia, the Tokyo Metropolitan Symphony Orchestra, and the Boston Pops, with a growing repertoire that includes compositions by Thomas Wilkins, conductor John Adams, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem, Vaughn Williams, and Villa-Lobos. Broadway has also welcomed Branford’s contributions. His initial effort, original music for a revival of August Wilson’s Fences, garnered a Drama Desk Award for Outstanding Music in a Play and a Tony nomination for Best Original Score Written for the Theater. Branford also provided music for The Mountaintop starring Samuel L. Jackson and Angela Bassett, and served as musical curator for the 2014 revival of A Raisin in the Sun. Branford’s screen credits include the original music for Mo’ Better Blues and acting roles in School Daze and Throw Momma from the Train. As for other public stages, Branford spent a period touring with Sting, collaborated with the Grateful Dead and Bruce Hornsby, served as Musical Director of The Tonight Show Starring Jay Leno and hosted National Public Radio’s widely syndicated JazzSet. Some might gauge Branford Marsalis’s success by his numerous awards, including three Grammys and (together with his father and brothers) his citation as a Jazz Master by the National Endowment for the Arts. To Branford, howev- er, these are only way stations along what continues to be one of the most fascinating and rewarding journeys in the world of music.

Michael Daugherty, composer Multiple Grammy Award-winning composer Michael Daugherty was born in Cedar Rapids, Iowa, in 1954. He is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. Daugherty first came to international attention when the Baltimore Symphony Orchestra, conducted by David Zinman, performed his at in 1994. Since that time, Daugherty’s music has entered the orchestral, band, and chamber music repertory and made him, according to the League of American Orchestras, one of the ten most performed American composers. His orchestral music, recorded by Naxos over the last two decades, has received six Grammy Awards, including Best Contemporary Classical Composition in 2011 for Deus ex Machina for piano and orchestra and in 2017 for for and orchestra. As a young man, Daugherty studied composition with many of the preeminent composers of the 20th century including at IRCAM in Paris and at the Paris Conservatory (1979), , , , and at Yale (1980-82), and György Ligeti in Hamburg (1982-84). Daugherty was also an assistant to jazz arranger in New York from 1980-82. After teaching composition for five years at Oberlin College, Daugherty joined the University of Michigan Branford Marsalis, alto saxophone School of Music, Theatre and Dance in 1991 as Professor of Composition, where he is a mentor to many of today’s most talented young composers. He is also a frequent guest of professional orchestras, festivals, universities, and conservatories around the world. Daugherty and Thomas Wilkins have a long history of collaboration–Lift Up Thine Ears for Orchestra is Daugherty’s second commission for Maestro Wilkins and the Omaha Symphony, and will be performed in celebration of the orchestra’s 100th anniversary. Daugherty’s music is published by Michael Daugherty Music, Peermusic Classical, and Boosey & Hawkes. For more information on Michael Daugherty and his music, see michaeldaugherty.net and his publisher’s websites. Please join us in celebrating four of our orchestra members who have chosen to retire at the end of this season after long and distinguished tenures with the Omaha Symphony.

We are very grateful to these talented artists for gracing our stage for so many memorable seasons. We applaud each of them for their expertise, leadership, and service, and for their many contributions to this orchestra over a combined 145 years of beautiful music-making.

Thomas, Ann, Craig and Mary – Congratulations, best wishes from all of us, and enjoy your retirement!

Thomas Aber Ann Beebe Third Clarinet Associate retiring after 31 years retiring after 34 years in the Omaha Symphony in the Omaha Symphony

Craig Bircher Mary Bircher Associate Principal Trumpet Principal Harp retiring after 40 years retiring after 40 years in the Omaha Symphony in the Omaha Symphony