Greater Hartford Youth Wind Ensemble
Congratulations to the Class of 2015! T. Clark Saunders, Acting Dean Hartt Community Division Noah Blocker-Glynn, Director Presents Greater Hartford Youth Wind Ensemble Glen Adsit, Director John T. Hart Jr., Manager and Assistant Conductor Tamika Gorski, Percussion Advisor Sunday, May 3, 2015 7:30 p.m. Chester Lincoln Theater William Schuman John Hart, conductor Bali Michael Colgrass Kentucky Harmony I. Rockbridge/Lenox II. Hiding Place III. Enfield/Dublin Glen Adsit, conductor Carmina Burana 1. O, Fortune, variable as the moon 2. I lament Fortune’s blows 3. Behold the Spring 4. Dance—On the lawn 6. Were the world all mine 7. The God of Love flies everywhere 8. I am the Abbot 9. When we are in the tavern 10. I am suspended between love and chastity 13. O, Fortune! Like the Moon ever changing, rising first then declining Donald Grantham Student Cole Adams Grant Abelson Jeremy Baouche Future Plans Brown University University of Connecticut University of Connecticut Major English Undecided Engineering Chemical Kyle Brooks Pepperdine University Engineering Professional Golf William Burns Coastal Carolina University Management Computer Science Evan Cohen University of Connecticut and Engineering Chemistry, Economics, and Taylor Coursey Undecided Nutritional Sciences Justin Drisdelle Undecided Music Jacob Greenwald University of Connecticut Pre-pharmacy Christopher Grossack Carnegie Mellon Physics and Math Matthew Guevara University of Hartford Benjamin Harlee Carl Orff arr. John Krance Eleanor Johnson Emily Kopacz Tiffany Liu Patricia Maciolek Jackie McDougall Courtney Mollo Brittany Nelson Hannah Parrott John Hart, conductor Danzón No. 2 Arturo Márquez arr. Oliver Nickel Glen Adsit, conductor Caleb Ryor Dana Zareski Temple University or University of Chicago University of Miami Saint Michael’s College Undecided Trumpet Performance and Neuroscience Horn Performance Undecided Science Elementary and Syracuse University Special Education University of Massachusetts Biology International Affairs Northeastern University and English Materials Science University of Connecticut and Engineering Linguistics and International Carleton College Relations Siena College Computer Science Bassoon Performance and Boston University Mathematics Glen Adsit is the director of bands at The Hartt School where he conducts the Wind Ensemble and the Foot in the Door ensemble and guides all aspects of the graduate wind conducting degrees. Adsit was appointed the director of bands at The Hartt School in the fall of 2000 and was awarded the 2014 Larsen Prize for outstanding teaching at the University of Hartford. Ensembles under his direction have performed at Hill Auditorium (Ann Arbor, Michigan), the Musikverein (Vienna, Austria), Benroya Ilsley Hall (Seattle, Washington), Carnegie Hall’s Stern Hall (New York, New York), and the Central Conservatory (Beijing, China), among others. Adsit’s performances have won praise from such notable composers as John Corigliano, Joseph Schwanter, Bright Sheng, Susan Botti, Joan Tower, Michael Colgrass, and William Bolcom. The Hartt Wind Ensemble has recorded two compact discs for the NAXOS label: Passaggi and Dragon Rhyme. In reviews, Gramophone magazine describes The Hartt Wind Ensemble as “stellar” and Fanfare magazine wrote “and on the evidence of his two Naxos CDs, Adsit is simply one of the finest conductors leading a wind ensemble today.” John T. Hart Jr. is a doctoral student of music education at The Hartt School. He studies conducting with Glen Adsit and Edward Cumming. This is his second year as the associate conductor and manager of the Greater Hartford Youth Wind Ensemble. Prior to studying at the Ph.D. level, John brought his talents for teaching and conducting to public education. He was the director of bands at Mansfield Middle School in Storrs, Connecticut from 2009 to 2013. John has worked with community and professional musical organizations alike, from the Windham Concert Band to the Hartford Symphony Orchestra. John has also been the interim choir director at Westminster Presbyterian Church in West Hartford, Connecticut, where he also directs the Handbell Choir. John holds a master of music education degree from The Hartt School of Music and a BA in music from Gettysburg College, where he studied euphonium with Dr. Jack Ryan and conducting with Dr. Robert Natter and Dr. Lewes Peddell. The Hartt School Community Division (HCD) of the University of Hartford is a comprehensive community arts school that annually provides performing arts instruction to more than 2,700 students. HCD offers a variety of lessons, classes, and performance opportunities in music and dance for students of all ages, experience levels, and abilities. For more information on The Hartt School Community Division, visit www.hcd.hartford.edu. Greater Hartford Youth Wind Ensemble Glen Adsit, Director John T. Hart Jr., Manager Tamika Gorski, Percussion Advisor Flute Christopher Grossack Cathrina Kothman Tiffany Liu Jenna Creighton Molly Desrochers Sheryl Wang Samantha Griswold Emily Kopacz Katie Gagnon Elinor Cohen Oboe Taylor Coursey Nicole Souza Ashley Lam Mandaline Lu Clarinet Kate Jessen Cole Adams Kara Friedman Hannah Chua-Reyes Courtney Mollo Xinyu Zhang Jason Wang Emily Bernstein Logan Kissane Saxophone Lauren Bagshaw Nathan Suh Annie Hetherington-Coy Rahul Rajkumar Brittany Nelson Kyle Brooks Benjamin Harlee Peter Kelley Bass Clarinet Hannah Parrott Caleb Ryor Bassoon Leila Ben-Mamoun Dana Zareski Jacob Greenwald Patricia Maciolek Trumpet Sarah Jessen Justin Drisdelle Robert Ciaffaglione Nathan Hellmuth Colin Hiscox Sophia Pratto Jeremy Baouche Talia Michaud Matthew Guevara Sam Houle Horn Eleanor Johnson Josiah Blackwell-Lipkind Grant Abelson Daniela Zach Noah Hawks-Ladds Shannon Williams Samuel Porcello Makayla Gelinas Trombone Rachel Core Matthew Vatteroni Christopher Hauptfeld David Sattler Hannah Desrochers Grace Amell Marc O’Gorman Euphonium Tristan Watson Tuba Jackie McDougall Alexander Geoffrey Russell Alec Rich Percussion William Burns Evan Cohen Keith Sales Eric Wang Cameron Graves Concert Etiquette: Thank you for attending today’s performance. Out of respect for the performers and other audience members, please turn off cell phones and refrain from talking during the performance. Applause is customarily given at the conclusion of complete compositions, but not after individual movements. Also, please remember to enter the auditorium only during applause and to leave only at the conclusion of the concert, except in the case of an emergency. Enjoy the concert! Chester “The tune on which this composition is based was born during the very time of the American Revolution, appearing in 1778 in a book of tunes and anthems composed by William Billings called The Singing Master's Assistant. This book became known as "Billings' Best" following as it did his first book called "The New England Psalm Singer," published in 1770. Chester was so popular that it was sung throughout the colonies from Vermont to South Carolina. It became the song of the American Revolution, sung around the campfires of the Continental Army and played by fifers on the march. The music and words, both composed by Billings, expressed perfectly the burning desire for freedom which sustained the colonists through the difficult years of the Revolution, Let tyrants shake their iron rod, And Slav'ry clank her galling chains, We fear them not, we trust in God, New England's God forever reigns. The Foe comes on with haughty Stride; Our troops advance with martial noise, Their Vet'rans flee before our Youth, And Gen'rals yield to beardless Boys. What grateful Off'ring shall we bring? What shall we render to the Lord? Loud Halleluiahs let us Sing, And praise his name on ev'ry Chord.” ~Program Note by William Schuman Bali On the island of Bali the most prominent indigenous music is played by the gamelan orchestra, an instrumental group which includes mallet instruments, drums, and gongs. This music features the use of a five note scale whereas some gamelan music uses a seven note scale. In this work Colgrass uses dance rhythms in the two outer sections while having a lament for the dead in the middle section. He was inspired to compose the piece while living in Bali and reflecting on the spirit of Balinese people. His piece features the use of nontraditional instruments in the percussion section including clay pots, ceramic and aluminum bowls as well as bobby pins placed on the piano strings. ~Program Note from www.windrep.org Kentucky Harmony Donald Grantham serves on the composition faculty at the University of Texas - Austin. He is a very prolific composer for wind ensemble, having won several prizes for his compositions, most notable being the National Band Association’s Composition Contest. “Kentucky Harmony” utilizes five tunes from Ananias Davisson’s Kentucky Harmony, which first appeared as vocal shape note tunes in 1816. Davisson’s songs, in the prefacing notes to the score, were “one of the earliest sources of what came to be known as ‘Southern folk hymnody,’ and exerted considerable influence on the many similar collections that followed it, such as ‘The Sacred Harp’ and ‘Missouri Harmony.’” In “Kentucky Harmony,” Grantham utilizes five tunes in three movements. At various points the tunes are presented in their original four-part harmonization. The composer adds his own unique musical treatment to these tunes, all designed to highlight the most striking aspects of each tune. The music is at once free, uplifting, humorous, and complementary to the vast sound resources of the wind ensemble. Carmina Burana Orff derived the inspiration and texts for his score from a 13th-century anthology of songs and poems written in medieval Latin, German and French by the “goliards” – the vagrant scholars, vagabond poets and wandering monks of seven hundred years ago. The original manuscript collection was rediscovered in the old monastery, Benediktbeuern, in the Bavarian Alps, by Johan Andreas Schmeller who published it in 1847 under the name Carmina Burana (Songs of Beuern). Containing approximately two hundred songs and poems – both sacred and secular – the manuscript ranged in style and content from earthly simplicity to sophisticated symbolism and mysticism, from devotional religious contemplation to unabashed, almost cynical worldliness. In arranging Carmina Burana for concert band, I have attempted to retain the spirit, feeling and overall character of the original score, at the same time modifying its length to a duration suitable for programming purposes. The work begins and ends depicting the crushing anguish of the victims of fortune’s ruthless wheel (O Fortuna; Fortuna Imperatrix Mundi); the remaining sections are devoted to the joys of spring and nature, the pleasures of the tavern and the gaming table, the delights of love, the irony of Fate. ~Program Note by John Krance Danzón No. 2 “The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the state of Veracruz and in the dance parlors of Mexico City.” -Program Note by the composer
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