Upcoming Concerts Events are free unless otherwise noted. Friday, February 23 Eastman Repertory Singers & Women’s Chorus Music of Macha, Casals, Singh, Daley, Mozart, Poulenc, Howells, Gabrieli, Vaughan Williams, Pärt, Kodály, and Hildegard of Bingen Philip Silvey, Connor Doran, and Joe Lerangis, conductors Reformation Lutheran Church • 8PM Monday, February 26 Eastman Philharmonia Music of Copland, Berlioz, and Shostakovich Garrett Wellenstein and William Le Sage, conductors Featuring Laura Sanders, soprano Kodak Hall at Eastman Theatre • 8PM Tuesday, February 27 The Eastman Wind Ensemble Eastman New Jazz Ensemble Dave Rivello, director Kilbourn Hall • 8PM Wednesday, February 28 Eastman School Symphony Orchestra Mark Davis Scatterday, Music of Ravel, Debussy, and Tchaikovsky Neil Varon, conductor conductor Kodak Hall at Eastman Theatre • 8PM Friday, March 2 Eastman Wind Orchestra Music of Welcher, Stephenson, Maslanka, and Ticheli Mark Davis Scatterday and Will Talley, conductors Featuring Tanner Jackson, bass trombone Kodak Hall at Eastman Theatre • 8PM Cameron Leach, percussion Information about upcoming Eastman concerts and events can be found at: www.esm.rochester.edu/calendar Flower City Brass Kodak Hall at Eastman Theatre fi re exits are Supporting the Eastman School of Music: 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, Wednesday, Febraury 21, 2018 performance and academic facilities, educational Restrooms are located on each level of Kodak initiatives, and programs open to the greater Kodak Hall at Eastman Theatre Hall at Eastman Theatre. Our ushers will be happy Rochester community. Every gift, no matter the to direct you to them. size, is vital to enhancing Eastman’s commitment 8:00 PM to excellence. For more information on making Please note: The use of unauthorized photo- a gift, please visit www.esm.rochester.edu/giving graphic and recording equipment is not allowed or contact the Advancement Offi ce by calling in this building. We reserve the right to ask anyone (585) 274-1040. disrupting a performance to leave the hall. Thank you! ~ PROGRAM ~ ~ PERSONNEL ~ Eastman Wind Ensemble Eastman Wind Ensemble Mark Davis Scatterday, conductor Flute Trombone Benton Gordon Nathan Cooper *^ Fanfare Ritmico (1999) Jennifer Higdon Isaiah Obey Ben Dettelback + (b. 1962) Kennedy Wallace Gabe Ramos 7’ Chris Wong *^+ Euphonium Oboe Justyn Loney-Newman *+ Percussion Concerto (2009) Jennifer Higdon Charlotte Collins * Jordan Moore ^ 27’ Jasmin Daquin Cameron Leach, percussion Kaila DeLany + Tuba Lisa Read ^ Grant O’Brien *^+ Oliver Volz Clarinet ~ INTERMISSION ~ Irina Chang + Timpani Nathan Frost *^ Catherine Cole ^ Olivia Galante Hannah Dick * New York Cityscape (2007) Jeff Tyzik Phoebe Kuan Stella Perlic + I. Ragtime Redux (28th & 5th) (b. 1951) Paul Park II. Tango 1932 (103rd & Riverside) 20’ Erica Smith Percussion III. Traffi c Jammin’ (Times Square Day & Night) Hannah Dick IV. African Dance (Wall Street & East River Ca. 1709) Bassoon Noel Holloway V. Tarantella (Mulberry Street) Jake Fowler *^ Miles Kim Debra Loh + Victor LaBozzetta Flower City Brass Philip Milman Josh McClellan *^+ Stella Perlic Steve Felix and Dean Oaks, trumpet Saxophone Sara Petokas, horn Colin Crake *+ String Bass Tyler Simms, trombone Jeremy Howell ^ Samantha Donato Brett Copeland, tuba Chaitanya Natarajan Ye Wang Harp Anna Dunlap Horn Henry Bond ^ Keyboard Elizabeth Easley + Jeremy Vigil Shimon Ohi * Tasha Schapiro Elizabeth Simmons Trumpet Principals Peyton Johnson Fanfare - * Michelle Kraak * Concerto - ^ Jonathan Pitts Tyzik - + Matt Suckling ^ Jared Wallis + Cameron is currently fi nishing his Master of Music in Percussion ~ PROGRAM NOTES ~ Performance and Literature at the Eastman School of Music, where he is a recipient of the John Beck Percussion Scholarship, an inaugural winner of Fanfare Ritmico the Eastman/ArtistShare Partnership, and a candidate for the prestigious Fanfare Ritmico celebrates the rhythm and speed (tempo) of life. Writing Performer’s Certifi cate. He completed his undergraduate studies at Capital this work on the eve of the move into the new Millennium, I found myself University in Bexley, Ohio, graduating summa cum laude with his Bachelor refl ecting on how all things have quickened as time has progressed. Our of Music in Music Education. lives now move at speeds much greater than what I believe anyone would have ever imagined in years past. Everyone follows the beat of their own Find out more at cleachmusic.com drummer, and those drummers are beating faster and faster on many different levels. As we move along day to day, rhythm plays an integral part of our lives, from the individual heartbeat to the lightning speed of Founded in the Fall of 2016, Flower City Brass is a professional brass our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy which permeates every moment of our being in quintet comprising both current and former graduate students of the the new century. Eastman School of Music in Rochester, New York. Flower City Brass continues to be an eclectic outlet for brass chamber music, offering creative The wind ensemble version of Fanfare Ritmico was commissioned by The performances of a highly diverse repertoire spanning from J.S. Bach to Alpha Lambda Chapter of The Phi Mu Alpha Sinfonia Fraternity at Illinois Luciano Berio. In the summer of 2017, FCB was a featured ensemble at the Wesleyan University. Brass in Frankenwald festival, hosted by Rekkenze Brass, where they actively took part in coaching sessions, chamber classes, and public performances This work received its world premiere on April 21, 2002 by The Illinois Wesleyan Wind Ensemble, Steven W. Eggleston, conducting. throughout Lichtenberg, Germany. Flower City Brass performs extensively, - Jennifer Higdon and in a wide variety of settings, including chamber music classes, recitals, educational outreach concerts, and other formal events. Percussion Concerto My “Percussion Concerto ” follows the normal relationship of a dialogue Find out more at scfelix.com/fcb between soloist and orchestra. In this work, however, there is an additional relationship with the soloist interacting extensively with the percussion section. The ability of performers has grown to such an extent that it has become possible to have sections within the orchestra interact at the same level as the soloist. When writing a concerto I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba, to non-pitched smaller instruments (brake drum, wood blocks, Peking Opera gong), and to the drums themselves. Not only does a percussionist have to perfect playing all of these instruments, but he must make hundreds of decisions regarding the use of sticks and mallets, as there is an infi nite variety of possibilities from which to choose. Not to mention the choreography of the movement of the player; where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized. No other instrumentalist has such a large number of variables to challenge and master. This work begins with the sound of the marimba. I wanted the opening to be exquisitely quiet and serene, with the focus on the soloist. Then the percussion section enters, mimicking the gestures of the soloist. Only after this dialogue is established does the orchestra enter. There is signifi cant interplay between the soloist and the orchestra with a fairly beefy ac- companiment in the orchestral part, but at various times the music comes back down to the sound of the soloist and the percussion section playing together, without orchestra. 4. African Dance (Wall Street and East River Ca. 1709) Eventually, the music moves through a slow lyrical section, which requires This address was the site of the slave trade in New York. I was surprised to simultaneous bowing and mallet playing by the soloist, and then a return fi nd it existed in the city. I used African percussion throughout the piece. to the fast section, where a cadenza ensues with both the soloist and the The wind ensemble sings melodic material which is followed by a “call percussion section. A dramatic close to the cadenza leads back to the and response” section between the ensemble and the percussion section. I orchestra’s opening material and the eventual conclusion of the work. limited myself to developing just a few simple ideas in the piece and tried to - Jennifer Higdon create a mood that was both sad and hopeful. New York Cityscape 5. Tarantella (Mulberry Street) “This is a programmatic suite of a variety of musical styles that remind me The Italians are very energetic, passionate, industrious, full of life and yet of sounds I’ve heard as I have walked the streets of Manhattan for the last very relaxed and “cool” at times. These emotions and observations (I’m 40 years. Each movement is also linked to a specifi c place in the city and half Italian myself) are the basis for a fun piece with the rhythmic tarantella some have a historical signifi cance. as it’s base. The entire movement, melodically and harmonically, is based on the opening scale of the fi rst three bars. Mulberry Street is in Little Italy When Mark Scatterday (to whom the piece is dedicated) asked me to of course.” - Jeff Tyzik write a piece for the Eastman Wind Ensemble and the Canadian Brass I was excited to do it (especially having been an alumnus of the ensemble myself).