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Home , Alan Hovhaness, Appalachian Spring, Blue cathedral, Low Brass Concerto, Nashville Symphony

CLASSICAL�SERIES APPALACHIAN SPRING

FRIDAY & SATURDAY, MARCH 6 & 7, AT 8 PM NASHVILLE , conductor CLASSICAL SERIES RADIO PARTNER PAUL JENKINS, DEREK HAWKES, trombone STEVEN BROWN, bass trombone GILBERT LONG, CLASSICAL SERIES ALAN HOVHANESS MEDIA PARTNER Symphony No. 2, “Mysterious Mountain” – 16 minutes I. Andante con moto II. Double Fugue: Moderato maestoso – Allegro vivo III. Andante espressivo: Con moto This concert will last one hour and 50 minutes, including a 20-minute intermission. HEITOR VILLA-LOBOS Bachianas brasileiras No. 2 – 21 minutes This concert will be recorded live for future Preludio (O canto do capadocio) release and future broadcast. Please keep Aria (O canto da nossa terra) noise to a minimum to ensure the Dansa (Lembrança do Sertão) highest-quality recording. Toccata (O trenzinho do caipira)

– INTERMISSION –

JENNIFER HIGDON Low Brass – LIVE RECORDING 18 minutes Paul Jenkins, trombone Derek Hawkes, trombone Steven Brown, bass trombone Gilbert Long, tuba

AARON Suite from Appalachian Spring – 24 minutes

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ABOUT THE PROGRAM returns to the Nashville Symphony with one of her latest . The notes that she aimed to reflect “the qualities of majesty, grace and power” of which low brass are capable. Higdon continues to adapt the tradition of American orchestral music to a contemporary sensibility. During the years of the Great Depression and World War II, similarly sought to speak to audiences of his time. Copland’s contemporary Alan Hovhaness took a different path toward the same goal, making his breakthrough with his stirring Mysterious Mountain. All of these contributed facets to “the American sound” that is still being reshaped today. In Latin America, Heitor Villa-Lobos fused the music of the past with the rhythms, melodies and timbres of his native Brazil.

ALAN HOVHANESS Symphony No. 2, “Mysterious Mountain”

Born on March 8, 1911, in Somerville, Massachusetts First performance: October 31, 1955, with conducting Died on June 21, 2000, the in , Washington

First Nashville Symphony Estimated performance: Composed: length: January 12 & 13, 1959, with 1955 16 minutes music director Guy Taylor

eferences to mountains abound in at the newly established Tanglewood Center, R the titles Alan Hovhaness gave to his summer home of the Boston Symphony, in astoundingly prolifi c output of . 1942. Aaron Copland and , Along with Mysterious Mountain, his best who were both taking part in the composer known piece, they include Three Journeys seminar he joined, were unimpressed by his to a Holy Mountain, and music. Th eir disparaging attitudes left a scar, more. And, as those names suggest, both and Hovhaness burned a vast amount of his nature and spiritual refl ection were ongoing early scores. He was persuaded to explore preoccupations for this composer. “Mountains his Armenian heritage and also absorbed are symbols, like pyramids of man’s attempt infl uences from throughout Asia. to know God,” he once observed. Despite his negative experience at Tanglewood, Born in New England to an American Hovhaness found encouragement from fi gures mother and an Armenian father who was like the choreographer and dancer Martha an immigrant from , Hovhaness later Graham, who would soon create Appalachian dropped the family name (Chakmakjian) Spring with Copland. Later, Hovhaness wrote and in its place used his middle name — the several ballet scores for Graham’s company. Armenian equivalent of “John.” He was a One of his most powerful champions prodigy who became fascinated with both was the conductor Leopold Stokowski, to music and astronomy and started to compose whom Hovhaness was introduced by the at age 4. Armenian-American writer William Saroyan. Hovhaness obtained a scholarship to study In 1942, Stokowski gave the American premiere

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of the composer’s Symphony No. 1 "Exile," music blend together in this work. Many which commemorates the Armenian genocide. listeners are reminded of the gently “English In the following decade, Stokowski pastoral” style of Ralph Vaughan Williams. commissioned a new work, which would A slow movement opens the work with music become Mysterious Mountain, and premiered of hymn-like serenity. Th e tightly woven string it during his fi rst appearance with the Houston fabric opens to new vistas of woodwinds and Symphony. Th anks to Stokowski’s advocacy, brass, with the celesta contributing its special along with multiple performances by other tint. Hovhaness’ early-music interests are most and Fritz Reiner’s recording with evident in the sophisticated counterpoint of the Chicago Symphony, Mysterious Mountain the second movement, which unfolds as a became Hovhaness’ breakthrough. Hovhaness double fugue based on a stepwise, speeded- did not even designate it a “symphony” until up chorale, followed by a more animated and much later — listing it as No. 2 of a family restless theme. Hovhaness then interlaces the that grew to include 67 numbered symphonies two themes with great skill, building their (among more than 400 extant works). He combined energy into a noble climax. remained intensely creative until near the Th e fi nal movement starts off in a mysterious end of his long life, fi nding new inspiration mood, suggesting distant landscapes in a in the landscapes of the Pacifi c Northwest. manner reminiscent of Sibelius. He again alludes to the celestial atmosphere of the WHAT TO LISTEN FOR opening movement, and, after reflective passages for the woodwinds, the work builds tokowski encouraged Hovhaness to give to its conclusion on a majestic chorale. the three-movement symphony a name. S Mysterious Mountain is scored for 3 , Mysterious Mountain is thus an aft erthought 2 , English horn, 2 , bass , and not an indication of programmatic content. 2 , contrabassoon, 5 horns, 3 , Th e composer’s background in Renaissance 3 , tuba, , celesta, harp and music, Baroque counterpoint and liturgical strings.

HEITOR VILLA-LOBOS Bachianas brasileiras No. 2

Born on March 5, 1887, First performance: in Rio de Janeiro, Brazil June 3 or September 3, 1934 (according to contradictory sources), Died on November 17, 1959, at the Venice International Festival in Rio de Janeiro

Estimated First Nashville Symphony Composed: performance: length: 1930 April 8, 1952, with music director 21 minutes Guy Taylor

he great Brazilian composer Heitor Janerio. Rejecting formal schooling, he found TVilla-Lobos came of age during an era a sympathetic milieu among the city’s street of revolutionary change in his native Rio de musicians, playing guitar and later supporting

20 MARCH 2020 CLASSICAL himself as a cellist with gigs in the theater and landscape and the back-country character types cinema orchestras, as well as at local hotels. the composer witnessed during his youthful Starting in 1905, Villa-Lobos began a series years of travel across remote areas. of excursions into the Amazon and other rural states of Brazil, collecting musical ideas WHAT TO LISTEN FOR for future inspiration. He later grew fond of embellishing the details of his adventures with he Bachianas brasileiras translate some outrageous claims. Tof the musical precedents found in Bach — Villa-Lobos also liked to play up his image many of which are based on dance types — into as an essentially self-taught composer and a Brazilian context. No. 2 is a four-movement enfant terrible. He became a key figure in suite that begins with Prelúdio, to which Villa- the development of an authentically Brazilian Lobos adds the Brazilian parallel title O canto musical language, which assimilated influences do capadócio (“Slacker’s Song”). The longest from European Modernism while at the same of the four movements, this Prelude unfolds time rejecting older European conventions. as a longing, even languid, Adagio melody, This quest led Villa-Lobos to design a system with a more animated dance emerging in the of music education that has had a profound middle. Aria, also titled O canto da nossa terra impact on Brazil’s cultural life. He found ways (“Song of Our Land”), is also in song form, to incorporate indigenous Brazilian elements its melancholy main melody surrounding across his productive career, earning the status an upbeat -and--dominated of Brazil’s leading classical composer. central section. Despite criticism for his dubious connections Dansa, whose twin title is Lembrança do to the right-wing regime of the dictator Getúlio Sertão (“Memento of the Sertão” — referring Vargas, Villa-Lobos gained major international to the outback of northeastern Brazil), presents recognition through his visits to the United a vivid landscape of dynamic rhythms that States, where such conductors as Leopold propel the trombone’s suave melody. The most Stokowski championed his work. When his famous part of Bachianas brasileiras No. 2 is musical/folk operetta Magdalena opened the final movement, which gives the entire on Broadway in 1948, it became the most suite its name: O trenzinho do caipira (“Little expensive show to have been produced there. Train of the Caipira” — i.e., of the outback). Villa-Lobos also maintained connections Villa-Lobos associates this metaphorical train to Europe — as both an exporter of Brazilian journey with the idea of the Toccata, referring idioms and an importer of such masters as J.S. to the Baroque tradition of fun, flashy music Bach, a lifelong idol. The Bachianas brasileiras meant to show off technique. Here, he calls epitomize the composer’s preoccupation with on his expanded percussion section (full of his Baroque predecessor, whom he called “a local color) to depict the steam locomotive’s kind of universal folkloric source, rich and painstaking yet somehow assured propulsion. profound…[a source] linking all peoples.” Over this track of brightly accented rhythms is This series of nine suites spans the period laid an attractively songful melody. The melody from 1930 to his time in New York in 1945. guides the train along to its destination. The word “suite” is particularly appropriate here, for in each work Villa-Lobos bridges the Bachianas brasilieras No. 2 is scored for (doubling piccolo), , clarinet, tenor model of Bach’s Baroque instrumental suites saxophone (doubling baritone saxophone), with references to Brazilian musical forms , contrabassoon, 2 horns, trombone, and culture. Bachianas brasileiras No. 2 in timpani, percussion (including a variety of native particular offers snapshots of the Brazilian Brazilian rattles), celesta, piano and strings.

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Born on December 31, 1962 First performance: in Brooklyn, New York February 1, 2018, with Riccardo Muti conducting the Chicago Symphony Currently resides in Philadelphia

First Nashville Symphony performance: Estimated Composed: These are the ’s fi rst length: 2017 performances and will be recorded live 18 minutes for a forthcoming release on Naxos.

ennifer Higdon is one of America’s most acclaimed Concerto for Orchestra, a bluegrass- Jacclaimed figures in classical music, styled concerto for string trio, and concertos receiving the 2010 Pulitzer Prize in Music for oboe, piano, harp, , , string trio, and multiple GRAMMY® Awards. soprano sax and percussion. Th e Concerto for She enjoys several hundred performances a Low Brass was commissioned by the Chicago year of her works, and is one of Symphony Orchestra, with the Philadelphia today’s most performed contemporary works. Orchestra and the Baltimore Symphony Her works have been released on more than 60 Orchestra serving as co-commissioners. One recordings. Higdon’s fi rst opera, Cold Mountain shared element that makes these compositions (2015) won the International Opera Award so consistently compelling is Higdon’s knack for Best World Premiere; Santa Fe Opera’s for telling a musical story through instruments recording was nominated for two GRAMMY® alone — stories in which the solo instruments Awards. Higdon holds the Rock Chair in become protagonists as they interact with their Composition at the Curtis Institute of Music in peers in the orchestra. Philadelphia. Her music is published exclusively by Lawdon Press. IN THE COMPOSER’S WORDS Born in Brooklyn, Higdon grew up in Atlanta Jennifer Higdon has supplied the following and East Tennessee, with much exposure comments on the Concerto for Low Brass: to country and rock. At age 15, she decided to teach herself flute and later became a “ ormally, when people think of brass they performance major at Bowling Green State Nthink of power, which is not an inaccurate University. assessment. Brass players are quick to tell you Th e idea of composing emerged almost by that they also can play beautiful melodies, chance, when her fl ute teacher asked her to and do so quietly and with exquisite control. write a short piece. “I found arranging sounds So early on in the planning process for this to be fascinating,” says Higdon. Soon the desire concerto, I decided to think about the music to compose became unavoidable, taking over as refl ections of the qualities of majesty, grace her life. Now, with commissions pouring in and power. and her music in high demand, Higdon is “Writing this concerto was a tremendous frequently on the road yet still composes challenge, primarily because there is normally several hours every day. one person standing at the front of the stage, Th e concerto format fi gures prominently and this work requires four. Fortunately, I’ve in Higdon’s catalogue. Examples include an had the opportunity on several occasions to

22 MARCH 2020 CLASSICAL write a concerto for multiple soloists. My first a composer to do: compose a melody or opportunity was with my bluegrass/classical chorale, with no special effects or colors, just hybrid concerto for Time for Three, Concerto focusing on the moving line. This is a work 4-3, and the second time was writing On a in one movement, with alternating slow and Wire [for the ensemble eighth blackbird]. fast sections. There are solos for each player, “ When I accept a commission and start the as well as a few duets, and some chorales. This process of deciding what kind of music to write is a musical portrait of four extraordinary in a piece, I think a lot about the personalities players, each working individually and as a of the players. I have, after decades of writing group, bringing to the front of the stage all music, learned that the low brass players of their majesty, grace and power.” are always fun to work with. They bring an In addition to the solo parts for 2 tenor infectious joy to everything they play, which trombones, bass trombone and tuba, the in itself is inspiring. Concerto for Low Brass is scored for 2 flutes, “With all of this in mind, I decided to write a 2 oboes, clarinet, , bassoon, traditional work that highlights these qualities, contrabassoon, 4 horns, 3 trumpets, timpani, in straightforward lines and melodies. It is 2 percussionists and strings. sometimes the most challenging thing for ABOUT THE SOLOISTS PAUL JENKINS School with Mark Lawrence. He was an active trombone freelance musician in Chicago during his time there, including performances with the native of Plano, Chicago Symphony Orchestra under Riccardo A Texas, Paul Jenkins Muti and Kurt Masur. Jenkins has been in has served as Principal recital as a soloist at the Kennedy Center in Trombone of the Nashville Symphony since Washington, D.C., and locally in chamber 2014. Prior to joining the Nashville Symphony, performances with the Nashville Trombone he served one year as Acting Associate Principal Quartet. He is also an active session musician of the St. Louis Symphony Orchestra. He in Nashville, having recorded numerous film, studied trombone at Northwestern University television and video game soundtracks. with Michael Mulcahy and at The Colburn

DEREK HAWKES beginning in 2015. He was also a multiple- trombone year substitute on trombone, euphonium and bass with the Dallas Symphony orn in West Chester, Orchestra. He is in his third season as the B Pennsylvania, to a Assistant Principal/Second Trombone of the musical family, Derek W. Nashville Symphony. Hawkes began piano instruction at age 5 and Hawkes graduated magna cum laude with trombone at age 10. He studied primarily with a Bachelor of Music Degree in Trombone John Kitzman; H. Dennis Smith; and, most Performance at Southern Methodist University recently, Toby Oft. Hawkes was Principal in 2014. He also pursued studies as a graduate Trombone of the Bangor Symphony Orchestra diploma student at the New England in Maine, and he spent two seasons as Second Conservatory of Music in Boston. Trombone of the Jacksonville Symphony

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STEVEN BROWN also a substitute member of the Cincinnati bass trombone Symphony, the Baltimore Symphony, the Dayton Philharmonic and the Columbus native of Hays, Symphony. He holds a Bachelor’s Degree A Kansas, Steven in Music Education from the University of Brown joined the Nashville Illinois and a Master’s Degree in Trombone Symphony in 1998. Previously, he was a Performance from the Peabody Conservatory. member of the Richmond (Indiana) Symphony; His primary teachers include Elliot Chasanov, the AIMS Opera Festival Orchestra in Gratz, Randy Campora and Tony Chipurn. Austria; and the Ohio Light Opera. He was

GILBERT LONG tuba instructor at Blair School of Music, where tuba he plays in the Faculty Brass Quintet. He has also been involved in Sewanee Music Festival, ilbert Long Peninsula Music Festival, New Hampshire Gjoined the Nashville Music Festival and the Tennessee Governor’s Symphony in 1978. He School for the Arts. holds a Bachelor’s Degree in tuba from the Long is also the founding member of Tri Star University of Louisville and completed work Brass, an ensemble consisting of faculty brass toward a Master’s Degree at Austin Peay State quintets from MTSU, Belmont University and University. Blair School of Music. As a studio musician, In addition to his position with the he has recorded with , Michael W. Nashville Symphony, Long is part-owner of Smith, Matchbox 20, Yusuf Islam/Cat Stevens Aardworks Publishing Company, a member and Garth Brooks. of the Jack Daniel’s Silver Cornet Band, and a

AARON COPLAND Suite from Appalachian Spring

First performance: Born on November 14, 1900, October 30, 1944, at the Library of in Brooklyn, New York Congress in Washington, D.C., with a chamber ensemble conducted by Louis Died on December 2, 1990, Horst (complete ballet); in North Tarrytown, New York October 4, 1945, in New York, with Arthur Rodzinski conducting the New York Philharmonic (orchestral suite) Estimated Composed: length: First Nashville Symphony 1943-44 performance: 24 minutes April 28, 1953, with music director Guy Taylor

ppalachian Spring has become the byword Copland’s musical language to “pieces of A for its composer’s “brand” of homespun Shaker furniture, simple to the point of being sincerity. Composer likens humble, but sturdy and eff ective.

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Copland’s path toward honing this style offer the couple moral support. By the end, was not a simple or straightforward one. despite their fears, the young couple enter Having come of age into their new home in in Brooklyn as the the wilderness, “quiet son of Russian-Jewish and strong.” The immigrants, he first biographer Howard studied theory from a Pollack interprets the correspondence course characters as “symbolic before finding private archetypes…the mentorship. He went Pioneer Woman as the on to study with Nadia noble American dream, Boulanger in Paris and the Revivalist and during the 1920s and became interested in his Followers as an ascetic, resolute puritanism.” the experiments with “symphonic jazz” that were creating a buzz at the time. WHAT TO LISTEN FOR The Great Depression sharpened Copland’s desire to communicate with a wider audience. n idyllic, dreamy opening establishes the Numerous ballet, theater and film projects Apastoral scene. Copland expands on a in the 1930s gave Copland the contexts he simple three-note idea and introduces each needed to evolve a style of greater simplicity character. The music layers into bright, warm and directness while also conveying a distinctly chords, like a dawn mist slowly evaporating. American aura. With , his “folk- A sudden jolt of energy signals the start of ballet” from 1938, for example, Copland found the action. Copland writes that “a sentiment a way to use widely spaced harmonies that both elated and religious gives the keynote to vividly conjure a sense of “the open prairie.” this scene.” Then comes a gentle duo dance In 1943, the eminent arts patron Elizabeth for the Bride and her groom. The tempo then Sprague Coolidge commissioned Martha quickens — with “suggestions of square dances Graham to create a ballet on American themes. and country fiddlers” — for the scene with the Graham herself first danced the role of the Preacher and his flock. unnamed Bride. A brief transition recalls the introductory Copland’s working title was Ballet for Martha, music. Then we hear the ballet’s best-known which later became the subtitle. After he had sequence: a set of five variations on a Shaker already composed the score, Graham chose melody that had been published in a mid-19th- the now familiar title from a section of the century collection under the title . American poet Hart Crane’s epic The Bridge. First heard on solo clarinet, with decorative “Spring” here refers to water rather than the comments from the woodwinds, this is the season. Also interesting to note: Copland only preexisting folk melody Copland used imagined the music for the ballet’s unspoiled, in Appalachian Spring. The suite concludes folk-like Americana while living in both with a coda of muted strings. Hollywood and Mexico. Appalachian Spring tells the story of a young, Appalachian Spring is scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 19th-century pioneer couple simply called 2 horns, 2 trumpets, 2 trombones, timpani, the Bride and her Husbandman. They are percussion, piano, harp and strings. simultaneously joyful and anxious as they contemplate what their married life will be — Thomas May is the Nashville Symphony’s like. A revivalist Preacher and a Pioneer Woman program annotator.

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