WS-CBDNA Program 2014
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SCHOOL OF MUSIC WIND SYMPHONY Russel C. Mikkelson, conductor Scott A. Jones, guest conductor Jonathan Waters, guest conductor Michael Sachs, trumpet soloist CBDNA North Central Divisional Conference Ball State University Sursa Performance Hall Muncie, Indiana Saturday, March 1, 2014 • 8:00 pm WELCOME from the College of Arts and Sciences at The Ohio State University Welcome to the arts at Ohio State, where more than 1,600 undergraduate and 500 graduate students are pursuing degrees in the visual and performing arts within one of the nation’s largest comprehensive colleges of arts and sciences. Our students major and minor in areas such as arts management; studio art; composition; jazz studies; visual communication design; art history; theatre; scenic and costume design; dance; music, media and enterprise; and many more. Home to some of the nation’s top 10 programs, all of which are nationally accredited, Ohio State is complementing its international reputation with major renovations to every arts facility on campus and laying plans to make the arts Ohio State’s “front door.” With the creation of a new Arts District on the campus site of 15th Avenue and High Street, we will vastly change the School of Music facilities, with the goal of a new recital hall and expanded rehearsal spaces for our music students and scholars. The projected additions to the School of Music through the new Arts District build on recent improvements of our arts facilities, most notably the multi-million dollar revitalization of Sullivant Hall that transformed the historic, century-old building and Hopkins Hall, which was renovated inside-out. We are expanding opportunities for our students and faculty to perform and engage with companies and arts organizations around the world. This year our students from the School of Music performed with Opera Columbus in “Madama Butterfly” and are touring with the opera company in another production this spring, while students from our jazz studies program and dance program tour China to perform in Beijing and Shanghai in 2014. Students from our theatre and English programs are working with actors and directors from the United Kingdom’s Royal Shakespeare Company (RSC) through residencies and performances at Stratford-Upon-Avon and in Columbus during a six-year agreement between Ohio State and RSC. Our students and faculty participate in additional partnerships throughout the state of Ohio with BalletMet, Columbus Symphony Orchestra, CAPA (Columbus Association for the Performing Arts), and CATCO (Contemporary American Theatre Company). Tonight, we’re pleased to share with you a performance by our talented student musicians of The Ohio State Wind Symphony directed by Russel C. Mikkelson. Enjoy! Warmly, Mark Shanda, MFA Dean, Arts and Humanities, College of Arts and Sciences Professor of Theatre WELCOME from the School of Music I am proud to welcome you to this beautiful performance space and to this concert by our Wind Symphony, under the direction of Dr. Russel C. Mikkelson, Director of Bands and Area Head for Conducting and Ensembles. Under Mikkelson’s leadership, the Ohio State University Bands have garnered national recognition and distinction among university wind band programs. The program serves approximately 650 students from across the campus. The concert bands serve some 275 students in four ensembles: Wind Symphony, Symphonic Band, Collegiate Winds and University Band. These ensembles perform approximately thirty- five concerts, on and off-campus, annually. Graduates of the Wind Symphony hold positions as professional orchestral musicians, soloists, conductors, members of U.S. military bands, university professors, and are some of the world's leading school music educators. Since 1998, the Wind Symphony has premiered dozens of new works, performed for conferences at national and state levels, toured extensively, and recorded five compact discs. REST, their latest release, features the music of J. S. Bach, Michael Gilbertson, John Mackey, and Frank Ticheli, including a composition by the latter - a piece Russ and his family commissioned in memory of his father, which provides the CD’s title. The Wind Symphony has commissioned music from internationally-known composers David Maslanka, Frank Ticheli, Eric Stokes, Dan Welcher, David Gillingham, Steven Bryant, John Stevens, Donald Crockett, Daniel Godfrey, Michael Gilbertson, Charles Rochester Young, and William Bolcom. In addition, it is especially gratifying to witness the premiere of a Voice, a Messenger by Aaron Jay Kernis, and featuring world-renowned trumpeter Michael Sachs. Today’s performance will showcase what is best about our School of Music: a passion for music-making and a commitment to excellence by talented student musicians and a world-class faculty. Best Regards for a Wonderful Conference! Richard L. Blatti Professor and Director The Ohio State University School of Music Wind Symphony Russel C. Mikkelson, conductor Scott A. Jones, guest conductor Jonathan Waters, guest conductor Michael Sachs, trumpet CBDNA North Central Divisional Conference Ball State University Sursa Performance Hall Muncie, Indiana Saturday, March 1, 2014 • 8:00 p.m. PROGRAM Parthia in Dis (1790) • Ignace Joseph Pleyel (1757-1831) • critical edition by John Oelrich 1. Allegro a Voice, a Messenger (2010-2012, rev. 2013) • Aaron Jay Kernis (b. 1960) I. Morning Prayer II. Timbrel Psalm III. Night Prayer IV. Monument – Tekiah, Teruah Michael Sachs, soloist • principal trumpet, The Cleveland Orchestra CBDNA premiere performance INTERMISSION Tunbridge Fair (1950) • Walter Piston (1894-1976) Jonathan Waters, guest conductor Colonial Song (1911/1918) • Percy Aldridge Grainger (1882-1961) • ed. Mark Rogers Scott A. Jones, guest conductor The Frozen Cathedral (2012) • John Mackey (b. 1973) PROGRAM NOTES Parthia in Dis • Ignace Joseph Pleyel, ed. John Oelrich The Parthia in Dis was originally written as a Symphonie Concertante in Eb, Ben 111 for solo violin, viola, cello, and oboe, the first of five works in the genre. It was first performed in Strasbourg on the Pleyel-Schönfeld series on December 8, 1786. Pleyel’s Concertante was immensely popular, having been published 10 times in its original setting and 79 times in arrangements for various idioms. While some of these are for the contiguous work, many were extractions of one or more movements. Thirty-nine copies of the work also exist in manuscript form, none of which are the autograph. The present edition was prepared from a set of manuscript parts for harmonie, a court and/or civic wind band of the late 18th to early 19th centuries whose nucleus contained pairs of oboes or clarinets (or both), horns and bassoons, and is a contiguous arrangement of the original symphonie concertante. Two separate sets of wind parts exist for the arrangement for harmonie. The present is based on a set, shelf mark Don.Mus.Ms. 1571 originally housed in the Fürstlich Fürstenbergische Ho!ibliothek, Donaueschingen, Germany but is now owned by the Badische Landesbibliothek in Karlsruhe, Germany. The popularity of Pleyel during his life, which was almost equal to that of Haydn, together with the popularity of the piece, merited this critical edition. Representing a significant portion of the editor’s DMA document at The Ohio State University, this edition is being published by Fountayne Editions in London. a Voice, a Messenger • Aaron Jay Kernis When Philip Smith asked me to write a concerto, he suggested as sources the appearance of trumpets and its relatives in Scripture – shofar (ram’s horn), cornet, horns, etc. I developed impressions for the work while attending Rosh Hashanah services, hearing the shofar in person, and rereading passages from the Torah that place these instruments in a spiritual context. … there was thunder and lightning and a dense cloud over the mountain; there was a loud Shofar blast, and all the people in the camp trembled. - Exodus He manifested himself with the sound of the Shofar, the Lord amidst the sound of the Shofar. - Psalm 47 Morning Prayer, terse and, like most of the concerto, pensive, chromatic and conflicted, calms only at its end, when a chorale-like series of essential three-note chords intervene. The timbrel is the Biblical forbear of the tambourine, and the title Timbrel Psalm is a play on words. Timbre (or timbral) is commonly used by musicians to refer to the “color” of instrumental sound. This dance-like movement is made of short phrases in a variety of timbres, much of it lightly scored and vigorous. Praise him with the blast of the Shofar; praise him with psaltery and harp. Praise him with timbrel and dance; praise him with stringed instruments and reed. Praise him with resounding cymbals; praise him with clanging cymbals. - Psalm 150 The expansive Evening Prayer features flugelhorn solo. It alternates lyrical, pensive lines with ongoing development and dramatic clashes between soloist and ensemble, ending as unsettled as it began. The music of the final movement, Monument - Tekiah, Teruah does not directly imitate the sound of a shofar but suggests the urgency of its call, and much of it is built on fanfare-like passages. The most dramatic of the four movements, it is made of stark contrasts, bitter harmonies and dense textures. The chorale from the opening returns at the very end, just after the work’s most lyrical moments, and culminates in the flanking of the soloist with two other trumpets. This suggests references in antiquity to the shofar being paired on either side by two silver trumpets in New Year’s Day services in the second Temple in Jerusalem, before its destruction. Thou hast heard the sound of the Shofar, and the alarm of war; destruction follows upon destruction. - Jeremiah “a Voice, a Messenger” was composed in 2010 and edited in December 2012. It lasts about 25 minutes. I am grateful to the generosity of the Big Ten Band Directors Association, Philip Smith and the New York Philharmonic in making its creation possible. Tonight marks the second performance, and the premiere of the 2013 revised version.