Publishing Info: Stark Augenblick–Sommerso Publishing (ASCAP) Gallagher Exorcism–Ryan Gallagher Music (ASCAP) Wadsworth A of Glances–ZRW Publishing (ASCAP) Likhuta Out Loud–available direct from the composer Itoh Daydreams–Takuma Itoh Music (ASCAP) Jones Through the Veil–Strident Music Publishers (ASCAP)

Engineered, Mixed, and Mastered by Christopher Stark Likhuta Out Loud–Mixed and Mastered by Eric Feinstein Stark Augenglick, Gallagher Exorcism, Likhuta Out Loud–additional engineering and consulting by Kevin Ernste

Itoh: recorded at Bailey Hall, , 05/24/2011 Jones: recorded live at Bailey Hall, Cornell University, 04/30/2011 Wadsworth: recorded at Lincoln Hall, Cornell University, 05/25/2010 Likhuta, Gallagher, Stark: recorded at Lincoln Hall, Cornell University, 12/5-6/2008 Cornell University Wind Ensemble Cynthia Johnston Turner conductor

Christopher Stark Ryan Gallagher www.albanyrecords.com TROY1344 albany records u.s. Zachary Wadsworth Catherine Likhuta 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. Takuma Itoh Jesse Jones box 137, kendal, cumbria la8 0xd tel: 01539 824008 © 2012 Albany Records made in the usa DDD warning: copyright subsists in all recordings issued under this label. Cynthia Johnston Turner is in demand as a conductor, adjudicator, Cornell University is the federal land-grant institution of New York State, a privately endowed university, clinician, and speaker in Latin America, Europe, Canada, and the United a member of the Ivy League/Ancient Eight, and a partner of the State University of New York. It has been States. Before joining the Cornell faculty, she taught at the University of described as the first truly American university because of its founders’ revolutionarly egalitarian and Rochester, where she directed the Wind Symphony. She serves as a faculty practical vision of higher education, and is dedicated to its land-grant mission of outreach and public member with the summer Performing Arts Institute at Pennsylvania’s service. (www.cornell.edu) Wyoming Seminary and as a guest conductor with the Syracuse Society of The Cornell University Wind Ensemble is made up of undergraduate and graduate students who New Music, Orquesta Heredia in Costa Rica, and the Austrian Festival Orchestra in Salzburg. represent a variety of majors and most of the colleges on the Ithaca campus, including Engineering, Agriculture A Canadian, Cynthia completed her Bachelor of Music and Bachelor of Education degrees at Queens and Life Sciences, Arts and Sciences, Human Ecology, Veterinary Medicine, Hotel Administration, Law, and University and her Master of Music in music education and conducting at the University of . She Industrial and Labor Relations. The majority of CU Winds (Wind Ensemble, Wind Symphony, and Chamber received her D.M.A. at the Eastman School of Music. At Eastman Cynthia was the recipient of the Eastman Winds) are non-music majors. These students bring a special dedication, intelligence, and joy to their music- Graduate Teaching Award in conducting, where she studied with Donald Hunsberger, Brad Lubman, Mark making that I have found inspiring. Scatterday, and Neil Varon. She has received the National Leadership in Education Award (Readers Digest The Wind Ensemble is one of the premiere ensembles on campus regularly performing for annual com- Foundation), the Excellence in Education Award (Ontario Secondary School Teachers Federation), and the mencement ceremonies (with an audience of more than 40,000), as well as performing several concerts Marion Drysdale Leadership Among Women Teachers Award (also from OSSTF), and two Kaplan Foundation on and off campus each semester, and undertaking biennial performing and service-learning tours to Costa Awards for her work with music leadership and service-learning. Rica. While members of CU Winds rehearse and perform traditional and contemporary wind music as well as While at Cornell, Ms. Turner has commissioned numerous new works for wind band, many of which transcriptions of other musical genres, we are very interested in experimentation, forging new paths in wind incorporate other artistic media, and she continues to actively promote commissions by today’s leading literature, and maintaining Cornell’s dedication to innovation and outreach. composers around the world. In 2008, the Merrill Presidential Scholars at Cornell recognized Cynthia as an Since my arrival at Cornell in 2004, we have commissioned and premiered music from nationally and outstanding educator. internationally renowned composers. In addition to these commissions, we have asked our talented D.M.A. candidates in composition (who study with Roberto Sierra, Steven Stucky and Kevin Ernste) to compose music Christopher Stark Augenblick that “pushes boundaries.” These exceptional young composers, six of whom are represented on this recording Christopher Stark is a composer of contemporary classical music deeply rooted in the American West. Having have produced significant contributions to the wind band repertoire. spent his formative years in rural western Montana, his music is always seeking to capture the expansive Thank you for listening. energy of this quintessential American landscape. Described as “fetching and colorful,” (New York Times) —Cynthia Johnston Turner Stark’s music has been performed in concert venues around the world from the Neue Synagoge Berlin to Carnegie Hall. A recipient of the coveted Underwood Commission from the American Composers Orchestra, and winner of the 2011 Utah Arts Festival Orchestra Commission, his music has been featured on NPR’s Performance Today. His music has been performed by such ensembles as the Sacramento Philharmonic, Brave New Works, the American Composers Orchestra, the Buffalo Philharmonic, Dinosaur Annex, the Foundation Morton Gould Young Composers Awards, the 2011 Robbins Family Prize in Music Composition University of Texas Wind Ensemble, the CCM Wind Symphony, the Israeli Chamber Project, Juventas!, from Cornell University, the 2007 Arthur Friedman Prize for outstanding orchestral composition at Juilliard, the trio, the Momenta Quartet, and members of eighth blackbird. 2006 New York Federation of Music Club’s Brian Israel Prize, and the 2003 Natalie and Murray S. Katz Young In 2010, Stark was awarded an ASCAP Morton Gould Young Composer Award, and in 2007, he was winner Composers Competition. of the Cincinnati Conservatory Orchestral Composition Competition. He is completing his DMA at Cornell A native of Wooster, Ohio, he was born in 1984, grew up in a musical household, and studied composition University where he studies with professors Roberto Sierra and Steven Stucky. Stark has previously studied at with his father during high school. He received a bachelor’s degree from The in 2007, where the Freie Universität Berlin, the Cincinnati Conservatory, and the University of Montana. At these institutions his principal teacher was Christopher Rouse, and attended graduate school at Cornell University, where his and abroad in Vienna, he studied with notable composers Samuel Adler, Michael Fiday, David Maslanka, and teachers included Steven Stucky, Roberto Sierra and Kevin Ernste. Charles Nichols. Stark was a visiting professor of composition and music technology at the University of Montana, and in 2012 he will be a resident artist at the Civitella Ranieri Foundation in Umbertide, Italy. Scored for wind ensemble and drum set soloist, Exorcism was completed in 2008 and lasts approximately four minutes. It was commissioned and premiered by Cynthia Johnston Turner and the Cornell Augenblick, for wind ensemble and electronics, is a study on the idea of the ‘instant.’ I have always liked University Wind Ensemble, and written specifically for Derek Roddy as soloist, to whom it is also dedicated. the German word for instant (or moment), Augenblick, which literally translates to, “the glimpse of an eye.” For many years, I considered writing a piece in which I could combine my love of heavy metal drumming with The piece originated in the summer of 2008 while I was studying music composition and the German language my own compositional vocabulary. A short musical excerpt I wrote in the spring of 2008 for a workshop with in Berlin, Germany. Augenblick progresses through different concepts of the ‘instant’ as it unfolds. The opening the CUWE provided a perfect opportunity for me to bring this long germinating idea into existence, and the derives from two dually-developing types of music—ambient and brutal—and instantaneously shifts between experience also led to the commissioning of this piece. Exorcism is based primarily on a heavy metal drum the two sound worlds. The middle section of the work plays on the idea of a captured ‘instant’ by using pattern commonly referred to as a “blast beat,” a technique requiring the drummer to play alternating snare pre-recorded phrases from the work. In this section the pre-recorded segments play back in reverse in a and kick drum rhythms with accenting cymbal articulations as fast and loud as possible. sort of quasi canon with the live ensemble. The piece concludes with the idea of the ‘instant’ as repetition, An exorcism is the ritual of driving out evil spiritual entities from a person or place believed to be possessed. both in the electronics and the ensemble. While this meaning evokes religious connotations, my composition is not necessarily meant to depict an —Christopher Stark exorcism in that sense, but rather it is more of a ferocious musical purging of vile emotions and influences. I have long had a fondness for writing music that is physically exhausting for performers. Exorcism is no Ryan Gallagher Exorcism exception, demanding that the musicians play at a consistently breakneck tempo for the duration of the piece, Composer Ryan Gallagher’s music has been performed by the Cleveland Chamber Symphony, American all the while exploiting the extreme registers of instrument ranges, focusing on loud dynamics, and combining Composers Orchestra, Juilliard Orchestra, eighth blackbird, Ensemble ACJW, New York Youth Symphony, New these technical aspects with a sensation of relentless rage. It is my hope that the resulting work creates a Juilliard Ensemble, , Metropolis Ensemble, Collage New Music Ensemble, and others. short thrill ride for the listener, not unlike a horror movie—over-the-top and terrifying, but also unsettlingly Honors and awards he has received include a 2009 Charles Ives Scholarship from the American Academy close to laughter. of Arts and Letters, a First Music commission from the New York Youth Symphony in 2008, five ASCAP —Ryan Gallagher

Zachary Wadsworth Down the Long Desolate Streets of Stars from A Symphony of Glances shows. Entering the Tchaikovsky Academy in 2000, Ms. Likhuta decided to concentrate on concert music. She Zachary Wadsworth is a prizewinning young composer whose works have been hailed as “astonishingly con- has continued her studies in the U.S. under the guidance of Dana Wilson and Steven Stucky. Catherine’s works fident” and “mesmerizing” (News & Observer). His song cycle Pictures of the Floating World was premiered have been performed in multiple venues in Ukraine, the United States, and Canada by soloists and ensembles at Lincoln Center in New York, and his opera and Adonis has been staged five times. His works have such as Adam Unsworth, Ronald Caravan, Isabelle Yu-Tzu Huang, Ricochet, In Extensio, Americas Trio, Cornell been published by Novello, E.C. Schirmer, and Alliance Music, recorded on Gothic Records, and broadcast on University Wind Ensemble, Orchestra of the National Radio of Ukraine, and others. Catherine has presented NPR’s Performance Today and BBC Radio’s The Choir. A winner of the 2011 King James Bible Composition her work at composition seminars and forums at Ithaca College, Syracuse University, Cornell University, Awards, Zachary’s Out of the South Cometh the Whirlwind was performed by the choir of Westminster Abbey Arizona State University, Bowling Green State University, and the Union of Composers of Ukraine. in a special service attended by the Queen. He has received composition prizes from the American Academy of Arts and Letters, ASCAP, and the Lotte Lehmann Foundation. It always seemed to me that the character of wind instruments complemented my style of writing. As a pianist, I’m amazed by the drastic, almost instantaneous volume and mood change that any wind instrument A Symphony of Glances (2010) is a symphony about symphonies; glances of older symphonic works are can produce while holding the same note, something that the piano is not capable of doing. Out Loud (2008) woven throughout the piece’s movements. The work is not, however, a pastiche; these fragmentary references came about as a combination of my three favorite musical elements: the piano as an ambitious soloist, the wind to older works are integrated into the musical structure, which is organized around four poetic fragments by ensemble as a solid compositional instrument with tremendous versatility, and finally, a musical conversation, the English writer T. E. Hulme (1883-1917). Hulme was a well-known poet and critic in his day, and he was or rather an argument, between the two. When I first heard the wind ensemble as a medium by itself it stimulated heavily influential on literary modernism. When he was killed by an exploding shell in the first World War, these a flood of ideas in my mind. I was completely consumed by this piece for months, striving to write out all of the poetic fragments were doomed to remain forever unfinished in his sketchbook. They are beautiful both in their ideas I had. Additional excitement and inspiration came from composing specifically for Cornell University Wind incompleteness and in their profound simplicity. Ensemble because this was a great way for me to express my appreciation for Cornell University and all the The second movement, marked Andante molto sostenuto, evokes Hulme’s image of moving “down the long nice people I knew there. As a consequence, I feel that every measure of Out Loud is very sincere and honest. desolate streets of stars.” Dissonant climbing sonorities (reminiscent of Sibelius’ Swan of Tuonela) punctuate lyri- —Catherine Likhuta cal and lengthy solos in the euphonium and tenor saxophone. After a meditative, Bruckner-like arrival in the low brass, the dissonant climbing sonority returns, finally melting away into the shimmering stars of the movement’s title. Takuma Itoh Daydreams This Symphony is dedicated to Cynthia Johnston Turner and the Cornell Wind Ensemble, who performed Takuma Itoh (b. 1984) spent his early childhood in Japan before moving to Northern California where he its premiere. grew up. Currently a student at Cornell University, he has attended the University of Michigan (M.M.) and Rice —Zachary Wadsworth University (B.M.), and has studied with such composers as Steven Stucky, Roberto Sierra, , , and Pierre Jalbert. His music has been performed by the Albany Symphony, New York Youth Catherine Likhuta Out Loud Symphony, Shanghai Quartet, St. Lawrence Quartet, Haddonfield Symphony (now Symphony in C), Stanford Catherine Likhuta, born May 28, 1981 in Kyiv, Ukraine, received her Bachelor’s degree in jazz piano from Glière Philharmonia Orchestra, H2 Saxophone Quartet, Pioneer Valley Symphony, and violinist Joseph Lin of the Musical College in Kyiv. She then continued her studies in composition at the Ukrainian National Tchaikovsky Juilliard Quartet, among others. He is the recipient of four ASCAP Morton Gould Young Composer Awards, and Academy. Her jazz tunes written in late 1990’s enjoyed many performances and appeared on jazz television has been a fellow at the Pacific Music Festival and the Aspen Music Festival, Chamber Music Conference and well as piano with Xak Bjerken. Mr. Jones earned his Master’s degree in composition from the University Composers Forum of the East, and an associate artist at the Atlantic Center for the Arts. For more information, of Oregon, under teachers David Crumb and Robert Kyr, and his Bachelor’s degree from Eastern Oregon please visit www.takumaitoh.com. University, under John McKinnon and Leandro Espinosa.

In Daydreams (2010), I wanted to create an atmosphere of going in and out of a timeless suspension. To The idea of the soul is a common thread among many of the world’s religions. Some call it energy, the create this feeling, I used indeterminate (ad libitum) notation alongside a more conventional, metered notation: spirit or the psyche; some call it the subconscious, Chi, or Atman. Regardless of philosophical or ecclesiastical at times, the indeterminate figures create a suspended atmosphere (such as in the opening moments of the origin, the soul usually represents the ‘real’ self, something that transcends this earthly sphere and dwells in piece), while in other moments, propel the music forward with a rapid flurry of notes. The piece gradually the eternities, the afterlife, nirvana, etc. In literature, the passage of the soul from one state/realm to another builds until the climactic moment when a group of musicians who were on stage at the beginning of the piece is often symbolized as a journey through a veil of forgetfulness. This is the image I chose to focus on here, move to the balconies, engulfing the listeners with a reverberant, “surround-sound” experience. titling the work Through the Veil. —Takuma Itoh While writing this piece, I imagined the soul’s progression from some pre-mortal existence, through a veil of forgetfulness, into an increasingly chaotic, temporal existence (life on earth). A gently ebbing figure in the Jesse Jones Through the Veil clarinets, heard from the start, is my way of sonically describing the gossamer veil, and massive fortissimo Composer, conductor, and mandolinist Jesse Jones (b. 1978) is an American artist of wide-ranging tastes chords represent the plunge into this life. However, beyond the literal depiction of programmatic events, my and influences. His music has been performed across North America, Europe, and Asia, and Mr. Jones main objective was to evoke a sense of trepidation or hesitancy, as if the passage into this life was as ominous has received numerous accolades as both a composer and performer. He has been honored with a Barlow and fear inspiring as the passage out (at death). Commission, the Susan and Ford Schumann Fellowship from the Aspen Music Festival and School, and the The music in the center of the piece gains momentum until culminating in shrieking screams of death. For Charles Ives Scholarship from the American Academy of Arts and Letters. He has also been awarded the this moment, I electronically analyzed a real, human scream, mapping its frequencies and scoring it for three Peter Tommaney and Mary Greves Fellowships from the Tanglewood Music Center, the Heckscher Prize in piccolos, triangle, glockenspiel, and squealing reeds. In this way, at the pivotal moment of death (when the Composition from Ithaca College, and the Sage Fellowship from Cornell University. soul is about to pass through another veil into a post-mortal sphere) the musical material stems directly from The American Composers Orchestra, the Cornell Symphony and Chamber Orchestras, the Oregon the sinew of real human expression. Composers Orchestra, the New Frontiers Chamber Orchestra, the Grande Ronde Symphony Orchestra and After these piercing screams have faded into nothingness, there comes a gradual ascent, as if up a staircase, others have presented Mr. Jones’ orchestral works. Others of his works have been programmed by the Argento toward ‘the light.’ This ascent begins in obscurity, with only dim flickerings in the distance. With each step, the light Chamber Ensemble, the Momenta and iO String Quartets, the New Fromm Players, the Aspen Contemporary gets brighter and brighter, closer and closer, until finally it consumes everything. Musically, this is achieved by Ensemble, the Israeli Chamber Project, Ossia, So Percussion, FIREWORKS, the Eugene Contemporary Chamber means of a repeating figure that gradually expands in its harmonic spectrum until fully saturated. At the end, via Ensemble, Cantori, and the Cornell Contemporary Chamber Players. Mr. Jones is currently a doctoral candidate the same ebbing clarinet figure that opened the piece, the soul passes again through the veil, and drifts into infinity. at Cornell University, where he studies composition with Steven Stucky, Roberto Sierra, and Kevin Ernst, as Through the Veil was commissioned by the Barlow Endowment for Music Composition at Brigham Young University. —Jesse Jones Cornell University Wind Ensemble t roy1344

Cynthia Johnston Turner Cornell University Wind Ensemble wa 6 5 4 3 2 1 r ning: c TROY1344 Jesse Jones(b.1978) Takuma Itoh(b.1984) Catherine Likhuta,piano Catherine Likhuta(b.1981) A SymphonyofGlances Zachary Wadsworth(b.1983) Derek Roddy,drumset Ryan Gallagher(b.1984) Christopher Stark(b.1980) Through theVeil(2011) Daydreams (2010) Out Loud(2008) of stars(2010) II. Downthelongdesolatestreets Exorcism (2008) Augenblick (2008) o p yr igh t subsis © tel: 01539824008 box 137,kendal,cumbria la8 0xd albany recordsu.k. tel: 518.436.8814 fax:518.436.0643 915 broadway,albany,ny12207 albany recordsu.s. www.albanyrecords.com

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