UMD WIND ORCHESTRA

UMD School of Music presents UMD WIND ORCHESTRA ARE YOU EXPERIENCED? Michael Votta Jr., music director Craig Potter, soloist Anthony Rivera, narrator

Friday, November 6, 2015 . 8PM Elsie & Marvin Dekelboum Concert Hall 6 PROGRAM

DAVID LANG Are You Experienced? (1988) I. On Being Hit on the Head II. Dance III. On Being Hit on the Head (reprise) IV. On Hearing the Voice of God V. Drop VI. On Hearing the Siren’s Song Craig Potter, tuba Anthony Rivera, narrator

ARTHUR MEULEMANS Symphony No. 4 (1935) I. Poco agitato II. Allegretto scherzando III. Adagio IV. Fanfare e Rondo: Allegro ma non troppo

INTERMISSION

KAREL HUSA Apotheosis of this Earth (1970) i. Apotheosis ii. Tragedy of Destruction iii. Postscript

J.S. BACH Mein Jesu! Was Für Seelenweh, BWV 487 (1736)

This performance will last approximately 100 minutes, including a15-minute intermission.

7 UMD WIND ORCHESTRA: ABOUT THE ARTISTS

Michael Votta Jr. has been hailed by critics as “a Karel Husa, Olly Wilson, Barbara Kolb and Warren conductor with the drive and ability to fully relay Benson have praised his performances of their artistic thoughts” and praised for his “interpretations works. of definition, precision and most importantly, unmitigated joy.” Ensembles under his direction He is the author of numerous articles on wind have received critical acclaim in the United States, literature and conducting. His arrangements and Europe and Asia for their “exceptional spirit, editions for winds have been performed and verve and precision,” their “sterling examples of recorded by university and professional wind innovative programming” and “the kind of artistry ensembles in the U.S., Europe and Japan. He that is often thought to be the exclusive purview of is currently the president-elect of the Eastern top symphonic ensembles.” Division of the College Band Directors National Association, and has served as editor of the CBDNA He currently serves as Director of Bands at the Journal, as a member of the Executive Board of the University of Maryland where he holds the rank International Society for the Investigation of Wind of professor. Under his leadership, the UMD Wind Music (IGEB) and on the board of the Conductors Orchestra has been invited to perform at the Guild. Before his appointment at Maryland, Votta international conference of the World Association held conducting positions at the University of of Symphonic Bands and Ensembles as well as North Carolina-Chapel Hill, Duke University, national and regional conferences of the College Ithaca College, the University of South Florida, Band Directors National Association. UMWO Miami University (Ohio) and Hope College. has also performed with major artists such as the Baltimore Symphony Orchestra, the Orpheus Votta holds a Doctor of Musical Arts in Conducting Chamber Orchestra, eighth blackbird and the degree from the Eastman School of Music where he Imani Winds. UMWO has commissioned and served as Assistant Conductor of the Eastman Wind premiered numerous works by composers such as Ensemble and studied with Donald Hunsberger. A Daniel Bernard Roumain, André Previn, Baljinder native of Michigan, Votta received his undergraduate Sekhon, Robert Gibson, Alvin Singleton and James training and Master of Music degrees from the Syler. University of Michigan, where he studied with H. Robert Reynolds. Votta has taught conducting seminars in the U.S. and Israel, and has guest conducted and As a clarinetist, Votta has performed as a soloist lectured throughout the world with organizations throughout the U.S. and Europe. His solo and including the Beijing Wind Orchestra, the Prague chamber music recordings are available on the Conservatory, the Eastman School of Music, the Partridge and Albany labels. Cincinnati College-Conservatory of Music, the Craig G. Potter is a Maryland area tuba player National Arts Camp at Interlochen, the Midwest and conductor. He is currently a candidate for the Clinic and the Conductors Guild. Doctor of Musical Arts degree in tuba performance His performances have been heard in broadcasts at the University of Maryland. At the University of throughout the U.S., on Austrian National Radio Maryland, he serves as the Interim Assistant Director (ÖRF) and Southwest German Television, and have of Bands. Potter has appeared as a soloist and clinician been released internationally on the Primavera label. across the United States. His most recent solo Numerous major composers including George appearance was with the University of Maryland Crumb, Christopher Rouse, Louis Andriessen, Wind Orchestra at their 2015 World Association 8 for Symphonic Bands and Ensembles performance. piece was Constant Lambert’s Mr. Bear Squash He has also performed in music conventions and You All Flat. Rivera received a Bachelor of Music festivals around the world including the United Education from the University of Central Florida States Army Tuba-Euphonium Workshop and the and Master of Music in Wind Conducting from the Jungfrau Music Festival. Peabody Institute of the Johns Hopkins University, having studied with Harlan Parker. At the University He is a member of Phi Mu Alpha Sinfonia, Kappa of Maryland he studies conducting with Michael Kappa Psi and is an honorary member of Tau Votta and James Ross. Beta Sigma. Potter holds a Bachelor of Music in Music Education from the University of Kentucky and a Master of Music in Wind Conducting from PROGRAM NOTES the University of Louisville. His primary teachers include David Fedderly, Dr. Skip Gray, Stephen Are You Experienced? Dumaine, Clinton McCanless and Tony Granados. DAVID LANG Originally from Raleigh, North Carolina, Potter Born January 8, 1957 in Los Angeles, California lives in Laurel with his wife Mallory and three cats. Instrumentation: Narrator, Electric Tuba and 13 Players Anthony Rivera is a doctoral candidate in Duration: 27 minutes conducting at the University of Maryland School Composed: April 11, 1988 of Music and serves as Assistant Conductor to the “Are You Experienced?” is the title of a Jimi University of Maryland Wind Orchestra and Wind Hendrix song that became one of the anthems of Ensemble, and Co-Director of the University of the 1960s’ counterculture. It became the title, as well, Maryland Repertoire Orchestra. of the late guitarist’s first album, a strikingly original Rivera taught instrumental music for the Baltimore work of its time and now a pop classic. Described as County Public Schools at Eastern Technical High a “psychedelic symphony,” the recording combines School. During his tenure, the band and orchestra backward and forward recorded guitars and drums, performed for the Maryland Music Educators and in the lyrics, Hendrix invites the listener to go Conference and commissioned new music from on a journey: composer David Faleris. He was named the Essex “If you can just get your mind together Chamber of Commerce Teacher of the Year and Then come on across to me received citations for teaching excellence from the We'll hold hands and then we’ll watch the sunrise Maryland Senate and House of Representatives. From the bottom of the sea An active guest conductor and clinician, Rivera has But first, are you experienced? served as the guest conductor for the Providence Have you ever been experienced? College Honor Band, guest lecturer for the Well, I have … Maryland Music Educators Association and was selected as a chamber music conductor for the I know, I know you probably scream and cry Temple University Conducting Symposium. He That your little world won’t let you go was a member of the Handel Choir of Baltimore But who in your measly little world and served on the artistic committee and as Are you trying to prove that conducting fellow under Dr. Melinda O’Neal. You’re made out of gold and can’t be sold? Developing an unusual talent for narrating, this is So, are you experienced? Rivera’s second narration performance with the Have you ever been experienced? University of Maryland Wind Orchestra; the first Well, I have. 9 UMD WIND ORCHESTRA: PROGRAM NOTES (cont�d)

Let me prove it to you ... darker sides of Hendrix’s hedonistic “experience” with sex and drugs. Hendrix’s song is about losing Trumpets and violins I can hear in the distance your mind to pleasure; Lang’s is about, well, just I think they’re calling our names losing your mind. Maybe now you can’t hear them, but you will If you just take hold of my hand Comprising six sections (On Being Hit on the Head, Dance, On Being Hit on the Head Oh, but are you experienced? (reprise), On Hearing the Voice of God, Drop, Have you ever been experienced? On Hearing the Siren’s Song), the narrator’s text, Not necessarily stoned, but beautiful ...” a fantasy on images from Hendrix’s song, goes from Are You Experienced? is also the title of the work what first seems a Three Stooges skit following a by David Lang that we hear tonight. As titles for knock on the head (“Am I dressed right? I’ve Lang pieces go, this is relatively tame: he has oth- never been unconscious before”), to disturbing er works called Eating Living Monkeys, International mystical delusions, to scary returns to childhood Business Machine and Aliens Kidnapped Me and Stole (here “drop” is the command school children in the My Blood. 1950s practiced in case of nuclear attack), to utter confusion and death. There is surely an element of whimsy in these titles, but more importantly the titles, like the works Musically, Lang’s score depicts this downward spiral themselves, question modern experience in a way with dissolution of order. The jarring hit on the that is new — even for “new music.” Lang’s work is head (groups of repeated notes alternating on and deeply invested in our immediate world and feelings, off the beat) leads to a raucous, rocking dance of and the music that results has both formal integrity fast, repeated 16th-notes in rapid short crescendos and stylish hip-ness. There is no name yet for this culminating in a riotous electric tuba solo encased in kind of music — a style that blends the discipline trademark Hendrix feedback. Following the reprise of modernism and the relevance of postmodernism. of the first section, where it becomes apparent the hit on the head was serious, not funny (though we Born in 1957 in Los Angeles, Lang “experienced” dare you not to giggle), the music becomes more music education at leading institutions and with rhythmically fragmented, and long notes dominate. central figures in musical modernism, Jacob The tuba wails and breaths heavily, while drums Druckman and Hans Werner Henze. He has received beat in the fourth section; the fifth ends in a nuclear the recognition of the musical establishment, most explosion that leaves the scattered music of the importantly, the 2008 Pulitzer Prize for Music. ending in its wake. He is also a co-founder of Bang On A Can, the imaginative annual New York new music festival. Lang’s restlessness and his vast scope can be heard in Symphony No. 4 Are You Experienced? The piece begins humorously, ARTHUR MEULEMANS then provides a parody of Hendrix’s psychedelically Born May 19, 1884 in Aarschot Died June 29, 1966 in Etterbeek fluid electric guitar through its absurd antithesis, Instrumentation: Wind Instruments and the electric tuba. Lang’s dramatic score for narrator, Percussion solo tuba and ensemble is a reaction to, rather than Duration: 25 minutes a version of, the original song, and it explores the Composed: 1935 10 sound of woodwinds, brass and percussion, fusing Among the 15 symphonies composed by Arthur these timbres into a balanced and yet light sonority at Meulemans, the fourth symphony is the only one once sustaining symphonic re­verberations. Adding he didn’t intend for full symphonic strength. His first to this he wonderfully succeeded in avoiding any three symphonies were written for the Symphonic frictions or gaps, realizing everywhere a transparent Orchestra of the National Radio Institute (NIR), clarity of line both sinuously fragmentary and the radio orchestra he conducted since 1931. This lyrically vast. Concurrently the composer manages fourth symphony might have been intended for to create a fluent and varied life in the four short the Big Symphonic Wind Band of the Belgian and well-structured parts. The first part captivates us Guides, the excellent military band led by Arthur as a colorful mosaic; the allegro scherzando we call Prevost since 1918. In 1923 this symphonic wind a gem; in the third movement the brass instruments band had performed Igor Stravinsky’s Symphonies sing intimately yet broadly and the fourth, in our d’instruments a vent in the Paris Salle Gaveau and on opinion the most characteristic one, is a simple but January 5, 1924 the Belgian premiere in the Brussels finely sparkling rondo, bright and virtuoso in the Alhambra Theatre. Prevost was an advocate of the use of instruments. Grand-sounding fanfares open new music, presenting with his symphonic wind and conclude.” band an interesting repertoire of contemporary composers. Typical is the concert he performed Only many years after the creation did the with his orchestra on September 1, 1930 in Liege Symphonic Wind Band of the Guides at last include during the eighth Festival of the International the symphony in its repertoire. As such, this band Society for Contemporary Music: the program under the baton of Yvon Ducene performed the combined compositions of Belgian composers such work a few days before Meulemans’ death. Four as Raymond Moulaert, Joseph Jongen, Jules Strens years later, on January 15 and 16, 1970, Ducene and Maurice Schoemaker with work by Ernst and the Guides recorded the work on an LP Toch, Paul Hindemith, Florent Schmitt and again produced by the Arthur Meulemans Society. The Stravinsky. After the performance, the journalist recording ends with a few explanatory remarks by of The Musical Times praised: “Captain Prevost the composer saying that with this symphony he has a splendid band.” It is our educated guess that had wanted to contribute to the emancipation of Meulemans, who maintained good relations with the symphonic wind band, as well as pointing out Prevost, had in mind the Symphonic Wind Band of some similarities with the Trio for trumpet, horn the Guides while composing his fourth symphony and trombone composed in 1933. for wind instruments and full percussion, although this band didn’t create the work. An expert on Meulemans, Jan Van Mechelen, provided the following explanation with the record: To be sure, Meulemans started his fourth symphony “A sonorous opening of the brass — a sensitive in 1934 and finished the orchestration on March unison phrase of the horns. Presently the musical idea 17, 1935. The work then remained for some years of this composition is clearly indicated: a dynamic in the cartons until the Big Symphony Orchestra and melodious element. Immediately taken over by of the NIR created it under the baton of its the woodwinds it develops into a rich and varied chief conductor Franz Andre on December 15, play full of coloration and rhythm, each instrument 1939. After the creation the musicologist Marcel playing a solo part and weaving the many threads Boereboom wrote in De Standaard: “In the of the orchestral loom into a wonderful pattern. symphony for wind instruments and percussion The second part conjures gay movements out of Meulemans ventured to tackle a difficult technical the same theme. Quite timidly the dance opens, problem, viz. to preserve in their individuality the the castanets babble, the bells of the tambourine 11 UMD WIND ORCHESTRA: PROGRAM NOTES (cont�d)

jingle into an amusing habanera; soon the whole In reflecting on the first sketches of the new work, orchestra joins the dance in a waltz tempo sweeping he recalled the pictures of baby seals being killed the old trombone into a bella sonorita. Then from for their furs, and the desperation created by the the growing Adagio and from the melodious motif nuclear arms race. One of his former students at a sweet and intimate song develops broadly sung Cornell, Dr. Roger Payne, was actively involved out by trumpets and the trombones accompanied in the scientific study of whales and invited Husa by the deep warmth of the bass tuba. Just one to listen to recorded sounds of whales. He was so moment the horns are given their turn in tender moved by the recordings and the fact that whales and delicate chromatics. At first the woods have were still being hunted without restrictions that he been religiously attentive, but they can sing like decided to imitate those sounds in his new score. In everything that has breath, and together with the addition, the view of earth from the moon, as seen brass they carry the theme in a grandiose song and for the first time on television in 1969, influenced counter-song to an intense height. The fourth part the point of departure for Apotheosis of this Earth. is dominated by imposing fanfares with percussion ending the composition. Meanwhile, however, right Husa wrote the following note for the premiere in the middle of this finale one hears, like a precious performance (given by the University of Michigan jewel, a brilliant Rondo, the theme of which is Band in 1971): clearly recognizable, betraying the workmanship of a virtuoso of orchestration. This composition “The composition of Apotheosis of this Earth dates from the first years in Brussels, just before the was motivated by the present desperate stage of great mass-plays: Credo (Brussels 1936) and Sanguis mankind and its immense problems with everyday Christi (Bruges 1938), which owe much of their killings, war, hunger, extermination of fauna, huge technicality to it.” forest fires, and critical contamination of the whole — Jan Dewilde (translation: Jo Sneppe) environment.

Apotheosis of this Earth “Man’s brutal possession and misuse of nature’s KAREL HUSA beauty — if continued at today’s reckless speed — Born August 7, 1921 in Prague, Czech Republic can only lead to catastrophe. The composer hopes Instrumentation: Concert Band that the destruction of this beautiful earth can Duration: 25 minutes Composed: October 1970 be stopped, so that the tragedy of destruction — musically portrayed in the second movement — In the late 1960s, Husa became increasingly and the desolation of the aftermath (the “postscript” concerned about the deterioration of the earth’s of the third movement) can exist only as fantasy, environment. He recalls impressions from the never to become reality. summer of 1970: “I saw an incredible number of dead fish floating on Lake Cayuga near [my summer] “In the first movement,A potheosis, the earth first cottage. The new power plant was producing appears as a point of light in the universe. Our hot water that caused thermal pollution, which memory and imagination approach it in perhaps in turn killed all those fish. In addition, I noticed the same way as it appeared to the astronauts more beer cans in the water and algae in greater returning from the moon. The earth grows larger quantities. I thought, ‘we are wasting this planet.’ and larger, and we can even remember some of its It was then that I got my first idea for Apotheosis.” tragic moments (as struck by the xylophone near the end of the movement). 12 “The second movement, Tragedy of Destruction, ABOUT THE deals with the actual brutalities of man against UMD WIND ORCHESTRA nature, leading to the destruction of our planet, perhaps by radioactive explosion. The earth dies as a savagely, mortally wounded creature. The University of Maryland Wind Orchestra was founded in 2008 to give advanced “The last movement is a Postscript, full of the undergraduate, MM and DMA performance realization that so little is left to be said: the earth students the opportunity to participate in a has been pulverized into the universe, the voices professional caliber ensemble with the intent scattered into space. Toward the end, these voices of furthering their preparation as professional — at first computer-like and mechanical — unite orchestral and chamber music performers. into the words “this beautiful earth,” simply said, UMWO is committed to the idea that chamber warm and filled with regret ... and one of so many music is central to all ensemble performance, and it questions comes to our minds: ‘Why have we let embraces the ethos of chamber music even in large this happen?’” ensemble contexts. When Husa was asked to identify his best work, he UMWO regularly incorporates string, keyboard responded that it would be like choosing a favorite and vocal performers. In addition to expanding child. When he was urged to choose, he named repertoire possibilities, UMWO seeks to create a Apotheosis of this Earth. The work remains chillingly “next-generation” of string, keyboard and vocal relevant today. performers who embrace the wind ensemble as a vital and integral part of their musical world. Mein Jesu! Was Für Seelenweh (My Jesus! Oh What Anguish), BWV 487 During its seven-year history, UMWO has J.S. BACH performed in side-by-side collaborations with Born March 31, 1685 in Eisenach, Germany major professional ensembles such as the Baltimore Died July 28, 1750 in Leipzig, Germany Symphony Orchestra, the Orpheus Chamber Instrumentation: Sacred Song transcribed for Orchestra, eighth blackbird and the Imani Winds, Wind Ensemble by Alfred Reed has been invited to perform at international, Duration: 5 minutes national and regional conferences, and has been Composed: 1736 active in commissioning and premiering new works for winds. The original version of this work was composed in 1736 as one of a set of sacred songs — the melody All wind, brass and percussion players rotate has been definitely established as being by Bach, the between the UMD Wind Orchestra and the UMD setting is of uncertain origin. Its original form is Symphony Orchestra by concert period, placing simply a two-section melody with basso continuo. constantly shifting demands on our musicians every Alfred Reed produced this “free arrangement” for four weeks and inspiring the development of skills wind band, orchestrating it in a lush, romantic style. that serve them best in a variety of musical situations.

13 UMD WIND ORCHESTRA Michael Votta Jr., Music Director Anthony Rivera, Assistant Conductor Brian Coffill, Graduate Assistant FLUTE SAXOPHONE TUBA Annemarie Dickerson Anthony Rivera Andrew Dougherty Lilian Honeczy Katie Sabol David Rea Emily Murdock Hansu Sung Grace Wang David Wannlund PIANO/CELESTE Alex Chan OBOE HORN Stacia Cutler Brian Coffill PERCUSSION Elizabeth Eber David Locke Brad Davis Santiago Vivas-Gonzales Avery Pettigrew Laurin Friedland Al Rise Christopher Herman CLARINET Kaitlyn Schmitt Jessica Kincaid FREE Joseph Beverly Clinton Soisson Anthony Konstant Gabe Ferreira Mario Perez Yoonshik Hong TRUMPET Aaron Logan Bonni Lee Beebe VIOLA Bethany Lueers Alexis Kalivretenos Karl Mitzie STUDENT Dan Page Samantha Laulis Caitlin Rowden Tim Moran STRING BASS Michele Von Haugg Alex Ridgell Adam Celli Yu Wang Christopher Royal Frank Stroup BASSOON Samuel Fraser TROMBONE Ronn Hall Nick Hogg Rich Matties CONTRABASSOON Nathan Reynolds Nicholas Cohen BASS TROMBONE Matthew Myers

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