Overture from Dancer in the Dark (2000) Björk Goumundóttir (b. 1965) arr. Vince Mendoza Jonathan Poquette, guest conductor

presents

The UGA Wind Symphony Antifragility (2016) Cody Brookshire & (b. 1985) [MOD]ular Ensemble [MOD]ular Ensemble Heather Bynum, clarinet Connie Frigo, saxophone Josh Bynum, trombone Serena Scibelli, violin Luca Lombardi, double bass Greg Hankins, piano Keller Steinson, percussion

Jaclyn Hartenberger, conductor Bradley Esau, guest conductor Jonathan Poquette, guest conductor Cuidades (2011) Guillermo Lago II. Sarajevo (Bosnia & Herzegovina) (b. 1960) Matthew Sadowski, guest conductor

String Quartet No. 3 “Mishima” (1985) Phillip Glass VI. Mishima/Closing (b. 1937) Fresca Saxophone Quartet Megan Elks, soprano saxophone Michael Jarrell, alto saxophone Allison Chenard, tenor saxophone Miller May, baritone saxophone

Athens Concerto (2017) John Hennecken Wednesday, March 22, 2017 *World Premiere (b. 1987) 8:00pm [MOD]ular Ensemble Hugh Hodgson Concert Hall Heather Bynum, clarinet Connie Frigo, saxophone Josh Bynum, trombone Greg Hankins, piano Tim Adams, percussion

-intermission- Astrarium (2015) Peter Lane Program Notes for this evening’s performance . . . (b. 1985)

Bradley J. Esau, guest conductor Overture to Dancer in the Dark (2000) Björk Guðmundsdóttir (b. 1965)

Born in 1965 and a native of Iceland, Björk Guðmundsdóttir (known as Björk) became popular as she fronted the band “The Sugarcubes” in the 1980’s. After her tenure with “The Sugarcubes”, she established a solo career in the early 1990’s that explored a wide Nonet for Winds, Percussion, and Piano (1985) Fisher Tull range of styles, genres, and mediums. Because of her eclectic approach to music making, (1934-1994) she is considered one of the most important pop artists in the last 25 years.

Matthew Sadowski, guest conductor Winner of Cannes Film Festival’s Palm d’Or in 2000, Dancer in the Dark is a genre- defying cinematic creation, incorporating elements of melodrama, documentary, musical, and experimental film, shot in the manner of cinema vérité. The audience is made to feel as though they are a participant, rather than an observer, in tumultuous and descending trajectory of the main character, Selma.

The Overture from Dancer in the Dark begins by rising from the stasis of the opening pedal. /ping/ (2016) Peter Lane As the music develops, layers of the brass chorale establish a haunting, shimmering, (b.1985) melancholic mood upon which a main theme emerges. This motif, indicative of Selma, is restated and elaborated, each time becoming simultaneously more urgent and inexorably [MOD]ular Ensemble entwined in the darkening complexity of the work’s underlying harmonic web. As quickly Heather Bynum, clarinet as the work crests, it dissolves back to a more stable form of the stasis from which it Connie Frigo, saxophone grew. Josh Bynum, trombone Greg Hankins, piano Tim Adams, percussion Antifragility (2016) Cody Brookshire (b. 1985)

The composer writes: The term “antifragile” was coined by Nassim Nicholas Taleb, a researcher in Country Band March (1903) Charles Ives philosophical, mathematical and (mostly) practical problems with probability. In the (1874-1954) prologue of his book, Antifragile, Taleb introduces the concept: “Some things benefit from shocks; they thrive and grow when exposed to volatility, randomness, disorder, and stressors, and love adventure, risk, and uncertainty. Yet, in spite of the ubiquity of the phenomenon, there is no word for the exact opposite of fragile. Let us call it antifragile. Antifragility is beyond resilience or robustness. The resilient resists shocks and stays the same; the antifragile gets better.”

I found Taleb’s book and his exploration of this concept fascinating, and saw it as a good challenge to work with this notion musically. Antifragility is cast in three main sections Out of respect for the performers, please turn off all electronics devices for the duration of the performance. as an evolution of musical material through the concepts of fragility, to robustness, to Thank you for your cooperation. antifragility. Early on in the piece, unexpected interruptions cause problems in delicate and vague moments, but as the piece progresses, the interruptions seem to cause less turmoil to the main music as it clarifies and solidifies. In the last section of the piece those same volatile shocks are absorbed into the main musical material and have become an essential part of a highly rhythmic groove, growing stronger as the piece draws to a close.

For information on upcoming concerts, please see our website: www.music.uga.edu Join our mailing list to receive information on all concerts and recitals, http://www.music.uga.edu/enewsletter Cuidades (2011) Astrarium (2015) Guillermo Lago (b. 1960) Peter Lane (b.1985)

‘Sarajevo’ (Bosnia and Herzegovina) is dedicated to Lago’s many friends in the capital of Peter Van Zandt Lane (b. 1985) is an American composer of instrumental and Bosnia and Herzegovina. In the nineties of the last century, the town was hit by a cruel electroacoustic music. His music has been hailed was a New York Times Critic’s Pick, civil war. In the beginning of this millennium Lago was invited to help re-establishing a praised as “refreshingly relevant.” (The New York Times). Peter has received fellowships saxophone class at the Sarajevo Academy of Music and together with ‘Musicians Without from Composers Now, Yaddo, MacDowell Colony, and the Virginia Center for the Borders’ and his friend Adnan Cico he founded the ‘Winds of Change’; Bosnia and Creative Arts, and has received commissions from the Barlow Endowment, Sydney Herzegovina’s first wind ensemble. A group of young musicians, each of them affected by Conservatorium Wind Symphony, Emory Wind Ensemble, the Wellesley Composers the country’s recent history. Conference, and Dinosaur Annex, among others. His music has been played by top-tier ensembles such as the Cleveland Orchestra, International Contemporary Ensemble, the New York Virtuoso Singers, and the Lydian String Quartet. Peter holds degrees from Brandeis University and the University of Miami, and is currently Assistant Professor of Composition and Director of the Dancz Center for New Music at the University of Georgia. String Quartet No. 3 ‘Mishima’ (1985) Philip Glass (b. 1937) The composer writes: “Astrarium was composed for the Emory University Wind Ensemble, at the request Philip Glass composed the score for Mishima: A Life in Four Chapters, a Japanese film of my friend and former teacher, Nikk Pilato. I think of this piece as a fantasy, with released in 1985. The movie follows the life of one of Japan’s most acclaimed writers a very short, heroic brass fanfare wedged in the center of a larger, more ornamented from a sickly childhood through a successful career. Glass’s String Quartet No. 3 can be musical frame. The piece commissioned as a concert opener for the premiere of heard at the finale of the movie as the author ultimately commits seppuku, a form of Joseph Schwantner’s Concerto for Wind Orchestra. I began sketches for Astrarium in Japanese ritual suicide. June 2014 while on a residency at MacDowell Colony, an arts colony in Peterborough, New Hampshire. In the studios at MacDowell, it has become customary for artists to sign their names on planks of wood, keeping a log of each studio’s history of visiting artists. Coincidentally, I came across Joseph Schwantner’s name in my studio, dated Athens Concerto (2016) 1978, and discovered that he had composed a song cycle in the same room more than John Hennecken (b. 1987) 35 years earlier. I couldn’t help but use a small quote from his piece in mine; thus, the opening vocal phrase of Schwantner’s cycle, Wild Angels of the Open Hills, makes a subtle appearance as an oboe solo in Astrarium, and is later used as a subject for a fugue The Athens Concerto was written to feature the performers of the [MOD]ular Ensemble section just after the fanfare. The title, Astrarium, refers to a complex astronomical clock with the University of Georgia Wind Symphony in a concerto grosso. The [MOD]ular invented by Giovanni de’ Diondi in the 14th century, one of the earliest contraptions ensemble has a unique instrumentation, and I crafted each part with a distinct character. resembling mechanisms of modern clocks. The more I thought about connecting my own From the clarinet comes both a piercing soprano voice and a warm lyricism, while the musical ideas to an earlier time and place - perhaps to Schwantner in my three and a half saxophone delivers an impassioned cantabile and sets the ensemble ablaze with its decades ago, or to myself playing bassoon in Nikk’s wind ensemble as a freshman in high virtuosic technique. The trombone often brings a powerful pesante and shatters the school - the more the sonic imagery of clockwork became central to the piece.” tonality through its pitch-bending glissandi. I focused the percussion part on the timpani and marimba, the latter of which provides both a mysterious sustained accompaniment and a scintillating solo at break-neck speed. I showcase the piano through thunderous Nonet for Winds, Percussion and Piano (1985) chords, continuous driving accompanimental figures, and pensive adagio moments. The Fisher Tull (1934-1994) wind symphony is spotlighted through sonorous ritornellos and also provides a resonant accompaniment for the soloists. There are two main themes in this sonata-form work. Fisher Tull was born in Waco, Texas in 1934. he received his musical training at North The first is an angular and syncopated melody, which is, after the overture, stated Texas State University. When Dr. Tull originally went to NTSU he was assistant to John emphatically by the soloists in unison. The second theme is characterized by melodic Hayne as a trumpet teacher and as a staff arranger for the renowned NTSU Lab Bands. lines that descend further and further after returning to an initial high point, and is first After he graduated in 1957 he went to Sam Houston State University as instructor of heard in the solo clarinet over rolling marimba harmony. The interplay and variation of trumpet, theory and jazz ensembles. He returned to NTSU in 1962 to study with Samuel these themes generates the form of the piece. Alder for his doctorate in composition. In 1964 he was honored by Pi Kappa Lambda As the outstanding doctoral candidate at the School of Music. After he was awarded the Ph. D. Fisher Tull returned to Sam Houston State University as Chairman of the Department of Music, and since then has been twice named in “Outstanding Educators of America.” He served for two years as President of Texas Association of Music Schools and has served the National Association of Schools of Music as a member of the Board of Directors and the Commission on Undergraduate Studies

Nonet is scored for a non-traditional ensemble of four woodwind and three brass instruments plus percussion and piano. A variety of combinations of te instruments is featured throughout the work to exploit the entire tonal palette of this ensemble. In addition, each instrument is allotted at least one solo role. The work is set in a tri-partite form (slow-fast-slow) and is based on a twelve tone series. A three chord harmonic setting of the row, often heard from the piano, serves as a unifying factor throughout the three sections. /ping/ (2016) The UGA Wind Symphony Peter Lane (b. 1985) Jaclyn Hartenberger, conductor The composer writes: Members are listed alphabetically, and serve as principal players on thier parts The word “ping” can be used to describe the impulse used in active sonar to navigate, communicate, or detect objects under water. It may also refer to a software utility used Flute French Horn to test the reachability of a host on an IP network. Or, onomatopoeically, a ping is Mindy Griffith Brooke Cable simply a sound. All of these associations of “ping” are at play in my piece. Electronic sounds bounce chords rapidly back and forth between percussion and piano. Pings signal Alexis Letourneau Anna Carter incoming short virtuosic outbursts from soloists. Much of the piece is about sounds that Hannah Peterson Chase Cooper are very short, yet have a series of consequences. Throughout /ping/, the players run Taffy Su Maddie Dorrill frantically through confused and rapidly changing modes, until at last arriving together Tobias Guzman –or syncing up– in a peaceful, unified place. Ping was composed for [MOD]ular ensemble Oboe Jaron Lehman at the University of Georgia. Nicholas Kanipe Galit Shemesh Marah Stefanisko Anna Wood, English Horn Trumpet Charles Ives (1874-1954) Ethan Craft Country Band March (1903) Bassoon Chandler Dickerson Alex Moore Sydney Hasler Widely considered an innovator, Charles Ives was the son of U.S. Army Bandleader George Carlie Moore Joshua Klein Ives. At a young age, Ives studied organ and went on to Yale to study composition with Taylor Poole Brandon Waugh Horatio Parker. Believing that he could not earn a living writing the music that he wanted to write, he formed a successful insurance business and composed in the evenings. Much Kwanza Williams of his music was ignored during his own lifetime, and many of his compositions were not Clarinet published until decades after he had written them. His compositional style was largely Jason Abraham experimental, but also incorporated American folk tunes and hymn songs to paint a Shauni Derington Trombone unique tonal portrait. In 1947 he received a Pulitzer Prize for his Third Symphony (1911), Katherine Dukes Nick Evans after its debut only a year earlier in 1946. He died in New York City in 1954, leaving Elissa Harris Erik Prince a legacy that predated most of the twentieth century innovations such as atonality, Jesse Norton Luke Riddle aleatoricism, polytonality, microtones, multiple cross-rhythms, and tone clusters. Laura Smith Assata Bellegrade, bass Country Band March was composed around 1903, four years after Ives’ graduation from Sable Thompson Yale and five years prior to his lucrative insurance partnership with Julian Myrick. Ives Euphonium had just resigned as organist at Central Presbyterian Church, New York, thus ending Bass Clarinet Nathan Galerstein thirteen and one-half years as organist of various churches. He was, according to Henry Amanda Johnson Blake Hyman Cowell, “exasperated...by the routine harmony for hymns.” During this period Ives finished his “Second Symphony” (1902), composed three organ pieces that were later Saxophones Tuba incorporated into his Third Symphony (1904), composed the Overture and March “1776” Megan Elks, alto Trevor Keifer and various songs and chamber pieces. Apparently, the Country Band March received no Miller May, alto Elvis Yang performances and only a pencil score-sketch is in evidence today. Later, Ives seemed very interested in this music, since he incorporated nearly all of it, in one form or another, Miguel Tuberquia, tenor Patrick Young into the “Hawthorne” movement of Sonata No. 2 (Concord),” The Celestial Railroad,’’ Michael Jarrell, baritone the Fourth Symphony (second movement) and especially “Putnam’s Camp” from Three Places in New England.” Percussion Bradley Hagin From the “out of tune” introduction to the pandemonium which reigns at the close, Grayson Mullis the Country Band March is a marvelous parody of the realities of performance by a Dylan Nixon country band. While the main march theme is probably Ives’ own, the march features an James Wilson impressive list of quotations that includes Arkansas Traveler, Battle Cry of Freedom, British Grenadiers, The Girl I Left Behind Me, London Bridge, Marching Through Georgia, Massa’s in de Cold, Cold Ground, My Old Kentucky Home, Violets, Yankee Doodle, May Day Waltz, and Semper Fidelis. There is rarely anything straight-forward about the use of this material; the tunes are subjected to Ives’s famous techniques of “poly-everything.” Of particular interest is Ives’s use of “ragtime” elements to enliven this already spirited march.