~ PROGRAM ~ Mark Davis Scatterday and David Baker, conductors

Mass No. 2 in E minor, WAB 27 (1866/1882) Anton Bruckner I. Kyrie (1824-1896) trans. Scatterday 8’

To Greet a New Day (2019) The Eastman Wind Ensemble (b. 1928) 6’ World Premiere

Oiseaux exotiques (1956) Olivier Messiaen Mark Davis Scatterday (1908-1992) 15’ and David Baker, conductors David Baker, conductor Jonathan Mamora, piano Jonathan Mamora, piano

Hammersmith: Prelude and Scherzo, Op. 52 (1930) Gustav Holst (1874-1934) 14’ Wednesday, March 31, 2021 Hall at 7:30 PM The Lads of Wamphray March (1905) Percy Grainger (1882-1961) 8’ ~ PROGRAM NOTES ~ Even though it was written before the epidemic, I think it is more fi tting for performance now that we are “Greeting a New Day” full Mass No. 2 in E minor of hope for a virus-free future. I believe that music can point the way to a more healthy time and the energy of music can provide joy to a The Mass No. 2 in E minor was written during an era of great creative new day. - Samuel Adler output for Bruckner: he began the work only a few months after completing his Symphony No. 1 in C minor. Having studied counter- point intensely a few years prior, and being an admirer of Wagner, his Oiseaux exotiques second Mass incorporates rich polyphony. Oiseaux exotiques was commissioned by Pierre Boulez for the Do- maine Musical concert series. One of the objectives of the Domaine The work was written in 1866 to commemorate the construction of Musical, an organization established by Boulez, was to provide a the Votive Chapel of the Mariä-Empfängnis-Dom, or the Cathedral platform for modern music. Oiseaux exotiques premiered at the Petit of the Immaculate Conception, in Linz, Austria. As the cathedral Théâtre Marigny on March 10th, 1956, with the composer’s wife, organist for the Old Cathedral in Linz since 1855, Bruckner had also Yvonne Loriod, as the piano soloist. provided music for the ground-breaking ceremony of the Mariä- Empfängnis-Dom, nicknamed the New Cathedral, in 1862. After Scored for 11 winds, piano, and percussion, Oiseaux exotiques depicts delays in construction of the Mariä-Empfängnis-Dom, however, the the song of birds from the Americas, Southeast Asia, and Canary Mass fi nally premiered September 29, 1869, with Bruckner conduct- Islands. Among the chirps and calls, the work additionally includes ing. Given its outdoor premiere, the work does not include organ, as rhythms from Greek music, as well as rhythms from Indian music, is common for a Mass. Instead, the original instrumentation includes including seven deśī-tālas from the Śārngadeva system and four Carnatic 15 winds plus choir. (South Indian) tālas.

Across nearly two decades, Bruckner made several revisions to Hammersmith: Prelude and Scherzo, Op. 52 the work, which resulted in a new edition in 1882, which is most frequently performed. Tonight, ’s arrangement of the Hammersmith was commissioned by the British Broadcasting Com- Kyrie, scored for 13 brass players, will be performed. pany. The work was completed in 1930 and premiered by The Marine Band in 1932. The title references the Ham- mersmith borough of London, which sits along the banks of the To Greet a New Day River Thames. While the work has no specifi c programmatic element, Holst’s daughter, Imogen, offers insight into her father’s connection To Greet a New Day was written during the fi nal months of 2019 in to the neighborhood: honor of the 100th anniversary of the Eastman School of Music and “Hammersmith’s mood is the outcome of [my father’s] long years of dedicated to Mark Scatterday and the Eastman Wind Ensemble. I had familiarity with the changing crowds and the changing river: those the pleasure and the privilege of teaching at Eastman for 30 years Saturday night crowds, who were always good-natured even when from 1966 to 1995. I had many opportunities to work with the Wind they were being pushed off the pavement into the middle of the Ensemble at that time under the direction of . traffi c, and the stallholders in that narrow lane behind the Broadway, I always admired the energy and commitment of the musicians in with their unexpected assortment of goods lit up by brilliant fl ares, the ensemble and was thrilled with every performance I witnessed and the large woman at the fruit shop who always called him ‘dearie’ during those years. When I was commissioned to write a work for the when he bought oranges for his Sunday picnics. As for the river, he Eastman Philharmonia to celebrate the anniversary, I thought right had known it since he was a student, when he paced up and down away of composing a piece for the Wind Ensemble. This short work outside William Morris’ house, discussing Ibsen with earnest young of under 5 minutes is a perpetual motion for seventeen players fi lled socialists. During all the years since then, his favorite London walk with the energy and power of the ensemble. had been along the river-path to Chiswick. In Hammersmith, the river is the background to the crowd; it is a river that goes on its way unnoticed and unconcerned.” City of (Western (Western . He was . He was liates of the fi Septet Recital for Qiuzi with the Eastman Wind Ensemble. , and Robert Morris’, and Robert The Machine Oiseaux Exotiques , Jack Frerer’s Frerer’s , Jack School ofSchool including Chen Qiangbin’s Music, Hemisphere Premiere), and world premieres ofHemisphere Premiere), and world Sato Matsui’s Lights recently a featured artist for the LA Philharmonic Af Desert. series of He has also conducted a week-long master classes ofand concerts at the University the Southern Caribbean in Trinidad He will be featured as a soloist in performance ofand Tobago. Messiaen’s Olivier He often performs as a collaborative pianist for vocalists, He often performs pianist for vocalists, as a collaborative In addition to the piano and and choirs. instrumentalists, ensembles, has also performedorgan, musician this multi-talented as a percus- fortepiano), (harpsichord, historical keyboardist and sionist, vocalist, education as an important also values tool in Jonathan conductor. theory/ear He has previously taught piano and music making. music and is currently serving institutions, training for various as Instructor for Music Theory of Musicianship at the Eastman School and Aural Music. began his piano studies at the ageJonathan of He joined the four. studio of studying eight years later and continued Elvin Rodríguez throughout his undergraduate with Rodríguez studies at La Sierra of his Bachelor where in 2017 he received Music in Piano University, Performance as a member of Honors Program. In the University his Master of2019, he received School, Music in Piano at The Juilliard Chen. He is currentlywhere he studied with Hung-Kuan pursuing his Doctor of Musical Arts in Piano Performance and Literature at the ofEastman School studying with Douglas Humpherys. Music, , . This folk- rst for wind band, fi The Lads of Wamphray , and several other premiere , and several Minstrelsy of the Scottish Border , conceived from the , conceived For were’re I gang, I ride, or e’re For And of lads that I do ken, a’the ~ MEET THE ARTIST ~ ~ MEET THE ARTIST A Wamphray’s lad’s the king of lad’s men. A Wamphray’s the lads of are on my side; Wamphray Piano Concerto No. 1 Piano Concerto No. as a means for service.uence others using music fl poem, which celebrates a bloody skirmish and poem, which the Maxwell between clans that took place at Biddes-burn in 1593, closes with Johnstone verse: the following the composer has wished to express devil-may-care In this march dare-deviltry of English and Scottish the cattle-raiding, swashbuckling “borderers” of the period (roughly 14th, 15th and 16th centuries) so grimly yet thrillingly portrayed in the border ballads collected and Kinloch, Buchan, Johnson, Jamieson, Scott, Motherwell, published by Grainger - Percy Swinburne and others. was composed in 1905 as a birthday gift to Grainger’s mother. No mother. composed in 1905 as a birthday gift to Grainger’s was folk songs or other traditional tunes of any kind are used in the work, Grainger material written by is based on melodies and musical which in his setting (composed 1904) for male chorus or and orchestra pianos oftwo a Scottish Border Ballad text, Scott’s from Sir Walter drawn performances at Lincoln Center, The Juilliard School, and Eastman performances School, The Juilliard at Lincoln Center, The Lads of March Wamphray The Lads of March Wamphray to uplift and positively Mamora strives Pianist and educator Jonathan in ofAn Indonesian-American and a native Southern California, pianist and organist—the has served result of as a church Jonathan his parents for the purpose been enrolled in piano lessons by having of as aims to use music Jonathan musician. becoming a church through service but also in the community not only in the church, and the concert hall. centers, community schools, homes, performances as a soloist and ensemble member have Jonathan’s him throughout North Asia, and South taken America, Europe, America, and he is a prize-winner of regional and in- several including the Internationalternational Institute for competitions, Musicians Piano Competition, the Los Angeles International Young Music Piano Liszt Competition, and the International Russian performances premiere ofCompetition. Recent include the world Ariel Quintana’s ~ PERSONNEL ~ Upcoming Concerts Eastman Wind Ensemble Events are free unless otherwise noted.

Flute Monday, April 5 Trumpet Eastman Chorale Eric Bergeman^+# Patrick Clarke# Music of Monteverdi, Lauridsen, Stravinsky, and Gesualdo Kasumi Leonard# Abby Fuller# William Weinert, conductor Nina Robinson^+# Jess Green^ Kodak Hall at Eastman Theatre • 7:30PM Katie Hillstrom+ Oboe Dan Jones# Tuesday, April 6 Alyssa Pracht+ Logan Pintor^ Saxology Shannon Prescott^# Kodak Hall at Eastman Theatre • 7:30PM Brian Stewart^ Trombone Alex Gulakiw*^# Clarinet Monday, April 26 Megan Hendrix* Eastman School Symphony Orchestra Julianna Darby+# Nolan Hennessey*# Music of Mozart, Haydn, and Ravel Zack Goldstein+# Isabella Lau*^# Neil Varon, conductor Jenna Kent^# Kodak Hall at Eastman Theatre • 7:30PM Mike Miller+# Euphonium Ashrey Shah^+# Jeffrey Davison* Wednesday, April 28 Max Dichter*^ Musica Nova Bassoon Tyler Ricks*# Music of Furrer, Kidane, Paredes, Nemtsov Tatia Slouka^+ Brad Lubman and Georgia Mills, conductors Christopher Witt^# Tuba Kodak Hall at Eastman Theatre • 7:30PM Jordan Oliveira*^# Saxophone Logan Wadley*# Thursday, April 29 Trevor Chu# Eastman Jazz Ensemble & Eastman Jazz Lab Band Will Pyle# Timpani Bill Dobbins and Rich Thompson, director David Dong# Kodak Hall at Eastman Theatre • 7:30PM Horn Joe Alberico*# Percussion Kristin Andlauer+ Miles Kim+# Abby Davidson+ Andrew Lauler^+# Information about upcoming Eastman concerts and events can be found at: Jacob Factor*^ Elise Liu+# www.esm.rochester.edu/calendar Rebecca Salo*^ Will Newton+# Kodak Hall at Eastman Theatre fi re exits are Supporting the Eastman School of Music: Will Sands*# located along the right and left sides, and at the We at the Eastman School of Music are grateful back of the hall on each level. In the event of for the generous contributions made by friends, an emergency, you will be notifi ed by the stage parents, and alumni, as well as local and national manager. If notifi ed, please move in a calm and foundations and corporations. Gifts and grants orderly fashion to the nearest exit. to the School support student scholarships, performance and academic facilities, educational Bruckner* Restrooms are located on each level of Kodak initiatives, and programs open to the greater Adler^ Hall at Eastman Theatre. Our ushers will be happy Rochester community. Every gift, no matter the Messiaen+ to direct you to them. size, is vital to enhancing Eastman’s commitment to excellence. For more information on making Holst/Grainger# Please note: The use of unauthorized photo- a gift, please visit www.esm.rochester.edu/ graphic and recording equipment is not allowed advancement or contact the Advancement Offi ce in this building. We reserve the right to ask anyone by calling (585) 274-1040. disrupting a performance to leave the hall. Thank you!