Orchestra Concert

Winter 2018 Music Department Calendar of Events March 11, 8:00 pm Steven Busby, percussion recital* Central Washington University March 20, 7:00 pm Ensemble Proton Bern Concert+ Department of Music presents: Orchestra Concert Nikolas Caoile, director * Recital Hall + Concert Hall $ Ticketed Parking is free every weekday after 4:30 p.m. and all day on weekends, unless otherwise stated. *********************************************************** The Calendar of Events changes frequently. For the most up-to-date calendar, visit our website at www.cwu.edu/music or call (509) 963-1216 *********************************************************** Please turn off your cell phone and refrain from the use of any electronic devices through the duration of your visit to our facility. Thank you. *********************************************************** Central Washington University Music Department continues to excel because of generous contributions from alumni, parents, and friends. While there are many ways to offer support that will best meet your philanthropy goals, we invite you to join us in celebrating the 125th anniversary of our beloved CWU by giving a $125 to support our students. This support will allow us to continue to provide top-tier teaching and training for our students. For more information on how to achieve your giving goals, visit us at www.cwu.edu/give. Thank you for all that you do to advance Central’s commitment to excellence and connecting our world through music. Follow us on: Jerilyn S. McIntyre Music Building Concert Hall CwuMusic-department Sunday, March 11, 2018 @CWUMusicDept 4:00 PM Personnel Program Violin I Bass Trombone Sarah Lee* Eva Stoumbos* Zane Boothby* blue cathedral (1999) Jennifer Higdon Maria Crum* Domi Edson Jonathan House (b. 1962) Levi Golan Carl Hennings Nicholas Han Brea Pierce Bass Trombone Matthew Cancio Nathan Sharp Seth McAlister Joey Pomeroy Chris Wallitner Ana Dewitt Austin Clark Tuba Marissabel Rivero Double Concerto in A minor, Op. 102 Johannes Brahms Violin II Flute I. Allegro (1833-1897) Mackenzie Vigil* Amanda Felipe* Piano/Celeste Connor Rilling Megumi Taylor* Caleb Montgomery II. Andante Gracie Camp Jack Pritchard III. Vivace non troppo Gregory Eggleston Harp Matthew Akre Oboe Adrienne Shields Carrie Rehkopf, violin & John Michel, cello Sierra Young Sam Ellibee* Allison Blankenship Haley Monk Percussion Cecilia Lakin Steven Busby* English Horn Andrew Samuelson Viola Rebecca Nederhiser+ Bobby Odle Pictures at an Exhibition Modest Mussorgsky arr. Ravel Adam Weiss* Allyssa Haigh+ Promenade I (1839-1881) Josh Terry Clarinet Josiah Jones Martin Obrero* 1. Gnomus Noelle Hsia Riley Rosser * denotes principal Promenade II Maren Kilmer + graduate student 2. Il Vecchio Castello (The Old Castle) Jillian Baxter Bass Clarinet Promenade III Elise Yi Winston Hallock 3. Tuileries (Dispute d’enfants après jeux) Cello Bassoon 4. Bydło Nolan Welch* Janna Haskin* Promenade IV Shannon Davies Kirsten Kennedy 5. Ballet of the Unhatched Chicks Kassidy Dent Danny Ramirez (CB) 6. “Samuel” Goldenberg und “Schmuÿle” Katelyn Henke Thomas Effinger Alto Saxophone Promenade V Tomás Estigarribia Chloe Pierce 7. Limoges, le marché (The Market) Jessica Lewis 8. Catacombæ (Sepulcrum romanum) Noëlle Roberts Horn Cum mortuis in lingua mortua Joe Sawyer Sam Spicer* 9. The Hut on Fowl’s Legs (Baba-Yagá) Logan Vosburg Evan Hagen Timothy Eberl Solveig Dahl 10. The Great Gate of Kiev Ingrid Pontén Joseph Bagdovitz Michael Hedman Trumpet Geoff McKay*+ Tim Goei Chandler Little.

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Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair blue cathedral Jennifer Higdon orn in Brooklyn, Jennifer Higdon grew my for her Percussion Concerto; and, in 2018, Bup in Atlanta and in rural Tennessee in the Nemmers Prize of Northwestern University. a counterculture family — both parents were Although she has written a number of visual artists — for whom art happenings choral and solo vocal pieces, not to mention and experimental film festivals were the the 2015 opera Cold Mountain, Higdon is norm. She thought she might become a writ- principally an instrumental composer, hav- er and didn’t have any involvement with mu- ing produced an impressive body of works sic until she started teaching herself to play for orchestra and for various chamber for- the flute at the age of 15. In the course of her mulations. Her teacher George Crumb has education at Bowling Green State University acknowledged specific qualities that go to (Ohio), the Curtis Institute of Music, and the the heart of her music: its “rhythmic vitality, University of Pennsylvania she developed interesting coloration, and sensitivity to nu- her exceptional talent as a composer. ance and timbre.” These are indeed her musi- Today her dance card for commissions is very cal fingerprints, but beyond what are essen- full, and at least one of her orchestral works, blue tially technical matters one also hears in her cathedral, seems destined to become a classic, scores an immediacy of contact, a genial and having already been performed more than 600 sincere desire to connect with the listener.
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Musical Stories-Reviewers Copy
Musical Stories: Gesture and Texture in Jennifer Higdon’s Music 1998-2003 Deborah Rifkin! My music is known for being audience-friendly. You don’t have to know anything about classical music to enjoy it. You don’t need to have any kind of basic knowledge. It seems to appeal to a wide variety of individuals, even the older crowd, which is sometimes a tricky crowd to please…”1 —Jennifer Higdon According to the League of American Orchestras, Jennifer Higdon (b. 1962) is one of the most frequently performed American composers of contemporary orchestral music. Higdon enjoys more than two hundred performances of her works a year, and she has won many awards, including a Pulitzer Prize for her Violin Concerto (2009), and a Grammy for Best Contemporary Classical Composition for her Percussion Concerto (2010). In addition, her orchestral work, blue cathedral, is one of the most performed contemporary orchestral works in the United States, having been performed by more than 200 orchestras since its premiere in 2000.2 This essay explores Higdon’s musical style in the years surrounding her break-out composition of blue cathedral. When I first heard blue cathedral, I was struck by its vivid sound colors, contrasting imagistic gestures, and visceral and immediate appeal. I also was struck by how ill suited these initial reactions were for building an interpretation based on traditional tools of analysis. Whereas my reactions focused on timbre, texture, and ephemeral gestures, traditional analysis typically subordinates these events to a grander, overarching system of sustained coherence based upon pitch and form.
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Bienvenue Stéphane Mahler's Resurrection Rachmaninoff's Third
's 8 5 6 7 CONCERTS CONCERTS CONCERTS CONCERTS FRIDAY FRIDAY SATURDAY SUNDAY Coffee A B A B C D A B SEP Bienvenue Stéphane Stéphane Denève, conductor PUTS Virelai (World Premiere) Jean-Yves Thibaudet, piano* HIGDON Blue Cathedral SEP SEP DEBUSSY La Mer 21 22 CONNESSON The Shining One RAVEL Piano Concerto in G GERSHWIN An American in Paris Mahler’s Resurrection Stéphane Denève, conductor MAHLER Symphony No. 2, “Resurrection” Joélle Harvey, soprano SEP SEP Kelley O’Connor, alto St. Louis Symphony Chorus 27 28 Amy Kaiser, director OCT Rachmaninoff’s Third Piano Concerto Edo de Waart, conductor Joyce Yang, piano OCT OCT RACHMANINOFF Piano Concerto No. 3 4 5 ELGAR Symphony No. 1 A Hero’s Life Leonard Slatkin, conductor VARIOUS Yet Another Set of Variations (on a Theme of Paganini) Jelena Dirks, oboe OCT OCT MOZART Oboe Concerto, K. 314 12 13 R. STRAUSS Ein Heldenleben (A Hero’s Life) Symphonic Dances Stéphane Denève, conductor POULENC Les biches Suite Karen Gomyo, violin OCT OCT OCT PROKOFIEV Violin Concerto No. 1 18 19 20 RACHMANINOFF Symphonic Dances NOV Saint-Saëns’ Organ Symphony Stéphane Denève, conductor BARBER Adagio for Strings James Ehnes, violin NOV NOV J. WILLIAMS Violin Concerto 2 3 SAINT-SAËNS Symphony No. 3, “Organ” Mozart’s Great Mass Masaaki Suzuki, conductor HAYDN Symphony No. 48, “Maria Theresia” Mojca Erdmann, soprano MOZART Mass in C Minor, K. 427 Joanne Lunn, soprano Zachary Wilder, tenor NOV NOV Dashon Burton, bass-baritone 9 10 St. Louis Symphony Chorus Amy Kaiser, director Brahms’ Fourth Symphony Stéphane Denève, conductor KERNIS New Work (World Premiere) Gil Shaham, violin NOV NOV BARTÓK Violin Concerto No.
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The Magic Flute), K
Firebird! – May 14, 2017 Overture to Wolfgang Amadeus Mozart Die Zauberflöte (The Magic Flute), K. 620 1756-1791 Public taste is fickle. By the late 1780s, Mozart’s star in Vienna was dimming rapidly. The change in popular musical taste, general economic decline and his own inability to manage his finances combined to make him emotionally frantic and scrambling for commissions. Since there was no more demand for Mozart’s Akademien (self-promoting subscription concerts), and his most successful librettist, Lorenzo da Ponte, had left Vienna, he turned for a joint operatic venture to one of the most colorful (and successful) dramatists and theater directors of the era, Emanuel Schikaneder. Mozart and Schikaneder knew each other both professionally and as fellow Freemasons. Schikaneder’s libretto contains many elements of the Freemason philosophy and ritual in its emphasis on human enlightenment. It promotes its high-minded ideology through a fairytale plot and characters, in addition to moments of incredible silliness. The Magic Flute is a dramatization of the battle between the forces of good (light) and evil (darkness), symbolized by the high priest of Isis, Sarastro, and the Queen of the Night. In order to win the hand of the Queen’s daughter, Pamina, whom Sarastro has abducted and detained “for her own good,” Prince Tamino must undergo trials by fire and water. He succeeds with the aid of a magic flute, while his companion, the comic bird-catcher Papageno, bungles through lower level trials to win himself a wife, Papagena. Most operatic overtures of this period contain no themes from the operas themselves.
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Program Notes
Program Notes for kids Blue Cathedral Saturday, March 17, 2018 8:00 p.m. Michigan Theater Higdon Blue Cathedral Beethoven Piano Concerto No. 1 Intermission Schumann Symphony No. 1, “Spring” Blue Cathedral Fun Facts Higdon uses two non-traditional by Jennifer Higdon percussion instruments in Blue Ca- thedral: Chinese Refl ex Bells and About the Music Tuned Glasses. What kind of piece is this? Blue Cathedral is a tone poem. A tone poem (also often called a symphonic poem) is typically a single-movement piece of music that is inspired by a non-musical idea or story. Blue Cathedral was also created as a commission from the Curtis Institute of Music, where Jennifer Higdon Listen for... teaches. A commission is when a person or group of people pay a composer to write a brand new piece of music. Often, Watch for the back row of brass that piece is written for a specifi c event or to honor a per- players to set down their instru- son or place. In the case of Blue Cathedral, this composi- ments and pick up water glasses. tion does both. The Curtis Institute asked Higdon to write How are they playing these glasses? a piece for a celebration of the Institute’s 75th anniversary. She chose to write about the inspirational story of her and What sounds are the glasses mak- her brother’s journey through life. ing? What is it about? Do all of the glasses sound the same? This piece was written after the death of Jennifer’s brother, Andrew Blue. The solo fl ute & clarinet voices are used to represent Jennifer and her brother.
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Boston University Symphony Orchestra
BOSTON UNIVERSITY SYMPHONY ORCHESTRA Wednesday, November 20, 2019 Tsai Performance Center BOSTON UNIVERSITY Founded in 1839, Boston University is an internationally recognized institution of higher education and research. With more than 33,000 students, it is the fourth-largest independent university in the United States. BU consists of 16 schools and colleges, along with a number of multi-disciplinary centers and institutes integral to the University’s research and teaching mission. In 2012, BU joined the Association of American Universities (AAU), a consortium of 62 leading research universities in the United States and Canada. BOSTON UNIVERSITY COLLEGE OF FINE ARTS Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholar-artists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in Music, Theatre, and Visual Arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, think broadly, and master relevant 21st century skills. CFA offers a wide array of undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/ cfa. BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF MUSIC Founded in 1872, Boston University College of Fine Arts School of Music combines the intimacy and intensity of traditional conservatory-style training with a broad liberal arts education at the undergraduate level, and elective coursework at the graduate level. The school offers degrees in performance, conducting, composition and theory, musicology, music education, and historical performance, as well as artist and performance diplomas and a certificate program in its Opera Institute.
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Madison Symphony Orchestra Program Notes September 28-29-30, 2018 Subscription Concert No.1 Michael Allsen
Madison Symphony Orchestra Program Notes September 28-29-30, 2018 Subscription Concert No.1 Michael Allsen This program begins our 93rd season, a season that celebrates Maestro John DeMain’s 25th year as our music director. In keeping with this celebratory tone, we open the program with a brisk, upbeat, and rhythmically intense overture by Jennifer Higdon. We continue a set of dramatic selections from Prokofiev’s ballet Romeo and Juliet. Our soloist for this program is the amazing Emanuel Ax, performing the monumental second piano concerto of Brahms. (This is his fourth program with the Madison Symphony Orchestra: he performed the same Brahms concerto in 2005, and has played both concertos by Chopin, No.1 in 1979 and No.2 in 2008.) Jennifer Higdon (b. 1962) Fanfare Ritmico Higdon composed Fanfare Ritmico in 1999, and it was premiered by The Women’s Philharmonic in San Francisco in March 2000. This is our first performance of the piece. Duration 6:00. Jennifer Higdon is among America’s most successful contemporary composers. Born in Brooklyn, she studied flute at Bowling Green State University and composition at both the University of Pennsylvania and the Curtis Institute, where she now teaches. In 2010 she won the Pulitzer Prize for her Violin Concerto, one of many honors she has garnered in the past several years. In just the last few years, her first opera, Cold Mountain, won the prestigious International Opera Award for Best World Premiere in 2016—the first American opera to do so in the award’s history. Within the past year, Higdon has had successful premieres of her Low Brass Concerto with the Chicago Symphony and Philadelphia Orchestra, her Tuba Concerto with the Pittsburgh Symphony and Royal Scottish National Orchestra, and her Harp Concerto with the Rochester Philharmonic and Harrisburg Symphony.
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Works Composed in the Past 25 Years – All Groups
PERFORMANCES OF WORKS COMPOSED IN THE PAST 25 YEARS 2012-2013 SEASON ALL GROUPS Composer Work Total Perfs. First Perf Conductor Orchestra Soloist(s) Perfs Adams, John ON THE TRANSMIGRATION OF SOULS 2 Sep. 21, 2012 Edo De Waart Milwaukee Symphony Orchestra Milwaukee Children's Choir 2 [2002-2002] Milwaukee Children's Choir Milwaukee Symphony Chorus Adams, John CITY NOIR [2009] 5 May 30, 2013 John Adams National Symphony Orchestra 3 Feb. 15, 2013 David Robertson Saint Louis Symphony Orchestra Timothy McAllister, alto 2 saxophone Adès, Thomas IN SEVEN DAYS, PIANO AND 2 Nov. 30, 2012 David Robertson Saint Louis Symphony Orchestra Kirill Gerstein, piano 2 ORCHESTRA [2008] Bell, Allan Gordon SPIRIT TRAIL [1994] 2 Apr. 12, 2013 Jose Luis Gomez Edmonton Symphony Orchestra Benjamin Grosvenor, piano 2 Bernstein, Leonard CANDIDE SUITE (ARRANGED BY 3 Feb. 14, 2013 Thomas Wilkins The Naples Philharmonic 3 HARMON/RAMIN) [1956-98] Bolcom, William PROMETHEUS [2010] 1 Oct. 27, 2012 John Nardolilo University of Kentucky Orchestra 1 Chapela, Enrico INGUSEU [2003] 1 Oct. 6, 2012 Jason Love The Columbia Orchestra 1 Danielpour, Richard WOMAN'S LIFE [2007] 2 Feb. 23, 2013 Michael Butterman Boulder Philharmonic Orchestra Angela Brown, soprano 2 Daugherty, Michael ROUTE 66 [1999] 1 Oct. 20, 2012 Daniel Meyer Erie Philharmonic Orchestra 1 Daugherty, Michael TROYJAM [2008] 2 Nov. 9, 2012 Neal Gittleman Dayton Philharmonic Orchestra 2 Dutilleux, Henri SHADOWS OF TIME [1995-1997] 3 Jan. 24, 2013 Ludovic Morlot Los Angeles Philharmonic 3 Estacio, John A FARMER'S SYMPHONY [1993] 1 Mar. 3, 2013 William Eddins Edmonton Symphony Orchestra 1 Estacio, John BOOTLEGGER’S TARANTELLA [2003] 2 Jan.
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Enigma Lawrence Symphony Orchestra Mark Dupere, Conductor
Enigma Lawrence Symphony Orchestra Mark Dupere, conductor Ned Martenis, flute Co-winner, LSO Concerto Competition Friday, May 31, 2019 8:00 p.m. Lawrence Memorial Chapel City Scape Jennifer Higdon III. Peachtree Street (b. 1962) Concerto for Flute and Chamber Orchestra Christian Lindberg “The World of Montuagretta” (b. 1958) I. Isola: Adagio - Mandarena: Allegro vivo II. Cadenza, “Horry the Lorry”: Rubato ironico III. Dreams of Arkandia: Lento IV. Cadenza Impala: Adagio - Rubato imposante V. Moriatto Bianco: Vivace - Chorale - Vivace Ned Martenis, flute Co-winner, LSO Concerto Competition ▪ INTERMISSION ▪ Variations on an Original Theme for Orchestra, op. 36 (“Enigma”) Edward Elgar Theme (1857-1934) I. (C.A.E.) II. (H.D.S-P.) III. (R.B.T.) IV. (W.M.B.) V. (R.P.A.) VI. (Ysobel) VII. (Troyte) VIII. (W.N.) IX. (Nimrod) X. Intermezzo (Dorabella) XI. (G.R.S.) XII. (B.G.N.) XIII. Romanza (***) XIV. Finale (E.D.U.) Please join us for a reception in SH163 following the performance. In 2018 all lighting in Memorial Chapel was updated to LED. Spray foam insulation with an R- value of R40 was added to the attic. The savings associated with these projects are estimated to be more than 105,000 kilowatt hours and $10,000 per year. Project funded in part by the LUCC Environmental Sustainability Fund. Composer’s Note for “Peachtree Street” “Peachtree Street” from City Scape The final movement, “Peachtree Street,” is a representation of all those roadways and main arteries that flow through cities (Peachtree Street is the main street that runs through downtown Atlanta, the city of my childhood).
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Percussion Concerto”--Colin Currie, Performer; Jennifer Higdon, Composer (2008) Added to the National Registry: 2019 Essay by Christina Reitz (Guest Post)*
“Percussion Concerto”--Colin Currie, performer; Jennifer Higdon, composer (2008) Added to the National Registry: 2019 Essay by Christina Reitz (guest post)* Jennifer Higdon Jennifer Higdon (b. 1962), one of the most distinguished of American contemporary composers, has received numerous accolades and awards, including the Pulitzer Prize and three Grammy Awards for Best Classical Composition, the first occurring in 2009 for the “Percussion Concerto.” The “Percussion Concerto” dates from 2005 and was commissioned by the Philadelphia Orchestra, the Indianapolis Symphony Orchestra, and the Dallas Symphony Orchestra. The Philadelphia Orchestra, under the baton of Christoph Eschenbach, hosted the composition’s world premiere on November 25, 2005. Percussionist Colin Currie performed as the soloist at each of these concerts and is the work’s dedicatee. Currie is also the soloist on this 2008 recording with the London Philharmonic Orchestra led by Maestra Marin Alsop, a longtime friend and champion of Higdon’s works. Although Higdon’s primary instrument is the flute, she is experienced with percussion since her initial exposure to music occurred as a percussionist in Tennessee with the Heritage High School Marching Band. As such, one of the defining elements of her works remains rhythmic intensity. Higdon is probably most known for her orchestral works, but her numerous chamber compositions include those scored for percussion exclusively, including “The Grace of Presence” (vibraphone solo), “Like Clockwork” (percussion ensemble), “Splendid Wood” (marimba ensemble), and “ZONES” (percussion quartet or quintet and CD). The City of Brotherly Love is the composer’s current home and her adopted city since completing her Ph.D. at the University of Pennsylvania under the tutelage of George Crumb.
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Knoxville Symphony Orchestra Announces 2021-2022 Season
For more information: Trianne Newbrey Director of Communications Direct: 865-521-2317 Cell: 615-498-2759 [email protected] PRESS RELEASE FOR IMMEDIATE RELEASE KNOXVILLE SYMPHONY ORCHESTRA ANNOUNCES 2021-2022 SEASON KNOXVILLE, TN – April 19, 2021 – The Knoxville Symphony Orchestra has announced the lineup of its 2021-2022 season, including a variety of classical and pops concerts featuring guest artists like Bernadette Peters, Weiyin Chen, and the Knoxville-based drum ensemble Indigenous Vibes. The KSO’s 86th season kicks off in September. Individual concert tickets go on sale in August 2021. Subscriptions are on sale now and can be purchased by visiting the KSO website or calling the Knoxville Symphony Orchestra box office Monday-Friday, 9 a.m.- 5 p.m. at (865) 291-3310. Renewing subscribers can retain their seats by renewing their subscription by June 4, 2021. Subscribers also receive a 20% discount to the KSO Clayton Holiday Concerts. “Our 21/22 season is all about music we love and people we love.” said Music Director Aram Demirjian. “The music was selected, programs crafted, and partnerships forged to emphasize joy, beauty, and a sense of community and togetherness that have been at a remove for so long. I cannot wait to share it with Knoxville.” MOXLEY CARMICHAEL MASTERWORKS SERIES INCLUDES: Led by Music Director Aram Demirjian, the Moxley Carmichael Masterworks Series consists of eight concerts on Thursday and Friday evenings at 7:30 p.m. at the Tennessee Theatre. Each concert includes a 30-minute pre-concert chat at 6:30 p.m. with conductor and guest artist, allowing an up-close Q&A session, insights and background to the music.
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Notes on the Program by Erik Shinn, Concert Operations & Personnel Manager
Notes on the Program by Erik Shinn, Concert Operations & Personnel Manager Swan Lake: Suite, Op. 20a [1954 version] Pyotr Tchaikovsky Tchaikovsky’s first iconic ballet began as By the Numbers a miniaturized version of itself that the composer had written to entertain his Born: May 7, 1840, in Votkinsky, Vyatka sister’s children while they were on Province, Russia holiday in the summer of 1871. When a commission for a full ballet from the Died: November 6, 1893, in St. Imperial Theatre came four years later, he Petersburg, Russia did what many composers had before and Work composed: ballet 1875-76; recycled fragments of already-written commissioned by the Russian Imperial works to create something new. In this Theatre; dedicated to Vladimir (“Bob”) case combining music from his juvenile Lvovich Davidov, the composer’s ballet to fragments of Undine and nephew; six-movement suite extracted Voyevoda, operas he had previously posthumously by the publisher in 1900; written but ultimately disowned. second expanded-version in 1954; third While Swan Lake stands today as one of version, expanded again, published in Tchaikovsky’s greatest scores, it did not 2006 achieve widespread acclaim during his World premiere: complete ballet, March lifetime. By all accounts the premiere was 4, 1877, at Moscow’s Bolshoi Theatre, riddled with issues including poor Stephan Ryabov conductor choreography, sets, costumes, and execution. Musicians in the orchestra York Symphony Orchestra premiere: complained that several numbers were complete ballet, October 30, 1956 with too difficult to play, and some were cut. Ballet Danielian, Robert Mandell Later performances saw additional cuts, conductor further diminishing Tchaikovsky’s score.
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