MAY 2, 2015
UNIVERSITY OF HARTFORD’S
THE HARTT SCHOOL
MUSIC • DANCE • THEATRE
WIND
ENSEMBLE/
SYMPHONY
BAND
Program
T. Clark Saunders, Acting Dean
presents
Gavorkna Fanfare (1.5’)
Jack Stamp
(b. 1954)
Aurora Awakes (12’)
The Hartt Wind Ensemble
and Symphony Band
John Mackey
(b. 1973)
Symphonies of Wind Instruments (10’)
Intermission
Richard Clary, Guest Conductor
Sanctuary (12’)
First Symphony for Band (15’)
I. Ô tempora ô mores
II. Scherzo tenebroso
III. Andantino pastorale
IV. Marches funéraires et dansantes
Saturday, May 2, 2015
7:30 p.m.
Lincoln Theater
Igor Stravinsky
(1882-1971)
Frank Ticheli
(b. 1958)
William Bolcom
(b. 1938)
Program Notes
Gavorkna Fanfare
The work exploits the idea of a fanfare for full wind band, rather than
the traditional brass and percussion instrumentation. The opening
pyramids lead to the melodic minor third cluster heard in original
and inversion simultaneously. A polychordal transition based on the
upcoming “fugato” subject leads to a minimalist accompaniment to
the four-part counterpoint. The opening idea returns with a coda
based on the melodic minor third.
Gavorkna Fanfare was composed for and dedicated to Eugene
Corporon and the University of Cincinnati College—Conservatory of
Music Wind Symphony.
—Program note from score
Aurora Awakes
Aurora now had left her saffron bed,
And beams of early light the heav’ns o’er spread,
When, from a tow’r, the queen, with wakeful eyes,
Saw day point upward from the rosy skies.
—Virgil, The Aeneid, Book IV, Lines 584-587
Aurora—the Roman goddess of the dawn—is a mythological figure
frequently associated with beauty and light. Also known as Eos (her
Greek analogue), Aurora would rise each morning and stream across
the sky, heralding the coming of her brother Sol, the sun. Though
she is herself among the lesser deities of Roman and Greek
mythologies, her cultural influence has persevered, most notably
in the naming of the binary flashes of light that occur in Arctic and
Antarctic regions—the Aurora Borealis and Aurora Australis.
John Mackey’s Aurora Awakes is, thus, a piece about the heralding
of the coming of light. Built in two substantial sections, the piece
moves over the course of 11 minutes from a place of remarkable
stillness to an unbridled explosion of energy—from darkness to
light, placid grey to startling rainbows of color. The work is almost
entirely in the key of E-flat major (a choice made to create a unique
effect at the work’s conclusion, as mentioned below), although it
journeys through G-flat and F as the work progresses. Despite the
harmonic shifts, however, the piece always maintains a—pun
intended—bright optimism.
Though Mackey is known to use stylistic imitation, it is less common
for him to utilize outright quotation. As such, the presence of two
more-or-less direct quotations of other musical compositions is
particularly noteworthy in Aurora Awakes. The first, which appears
at the beginning of the second section, is an ostinato based on the
familiar guitar introduction to U2’s “Where The Streets Have No
Name.” Though the strains of The Edge’s guitar have been metamorphosed into the insistent repetitions of keyboard percussion, the
aesthetic is similar—a distant proclamation that grows steadily in
fervor. The difference between U2’s presentation and Mackey’s,
however, is that the guitar riff disappears for the majority of the
song, while in Aurora Awakes, the motive persists for nearly the
entirety of the remainder of the piece:
“When I heard that song on the radio last winter, I thought it was
kind of a shame that he only uses that little movie almost as a
throwaway bookend. That’s my favorite part of the song, so why not
try to write an entire piece that uses that little hint of minimalism at
its basis?”
The other quotation is a sly reference to Gustav Holst’s First Suite
in E-flat for Military Band. The brilliant E-flat chord that closes the
Chaconne of that work is orchestrated (nearly) identically as the
final sonority of Aurora Awakes—producing an unmistakably vibrant timbre that won’t be missed by aficionados of the repertoire.
This same effect was, somewhat ironically, suggested by Mackey for
the ending of composer Jonathan Neman’s “My Hands Are a City.”
Mackey adds an even brighter element, however, by including
instruments not in Holst’s original:
“That has always been one of my favorite chords because it’s just so
damn bright. In a piece that’s about the awaking of the goddess of
dawn, you need a damn bright ending—and there was no topping
Holst. Well . . . except to add crotales.”
—Jake Wallace
Symphonies of Wind Instruments
In 1920, Igor Stravinsky wrote Symphonies of Wind Instruments in
dedication to Claude Debussy. Stravinsky held Debussy in highest
regard and wanted to properly honor his life. Today the word
‘symphony’ is understood “as an elaborate musical composition for
full orchestra” (Webster). However, the Greek origin, symphōnia,
meaning “sounding together” is what Stravinsky had in mind while
writing Symphonies of Wind Instruments. The piece consists of three
flutes, two oboes, English horn, clarinet, three bassoons,
contrabassoon, three trumpets, three trombones, and tuba. The
piece moves through four “sections,” much like a symphony would
do. The first section passes a catchy tune amongst the ensemble
building around traditional Russian folk songs. The second section
has a relaxed pastoral nature as the instruments work together to
create an elegant sound. The harsh rhythms and character, in the
third section, is reminiscent of Stravinsky’s ballet, Rite of Spring. The
forth section, is a graceful choral that revolves around the theme
from a piano piece written in for Debussy. In Symphonies of Wind
Instruments, Stravinsky is able to capture the grandiose brilliance of
a symphony in a single symphonic-like movement.
—Caty Dalton
Sanctuary
Sanctuary was composed for conductor H. Robert Reynolds as a
symbol of our enduring friendship. The work was commissioned in
his honor, and received its premiere performance by the band he
conducted for 26 years. As a personal tribute to Reynolds, who
was a horn player in his earlier days, I chose the solo horn to be
the work’s main musical messenger. The opening prologue grows
out of a set of pitches that were derived from the letters of his first
name (Harrah), an idea I first used f15 years ago in Postcard
(commissioned by Reynolds in memory of his mother.) Vivid college
memories of Reynolds conducting Grainger’s “Hill Song no. 2” and
“Colonial Song”—both well known favorites of his—were also in the
back of my mind, as the sounds that I created in some ways echo
the lyrical mood of these works.
The word, ‘sanctuary’, conjures a rich array of images. It can be
simply a place of solitude, comfort, rest, prayer, protection. It can
suggest a place that is strong and imposing or one that is very small
and private. I believe all of these images are suggested at one point
or another in the music. The opening bell sounds suggest peace
and joyful reverence. The main horn melody is at once reflective and
reassuring. There is also an underlying hint of nostalgia—a wistfulness, perhaps suggested by the simple three-chord progression that
threads the entire work. But there is also an expression of strength
and power in the work’s dark and imposing climax.
After the climax recedes, the main melody disappears for a period
of time, replaced by flute and clarinet solo episodes that create
repose, space, and distance. But in the end, the three-chord harmony
returns and serves as a doorway for the final appearance of the
main horn theme. The work ends with a quiet echo of the opening
bells.
Sanctuary was commissioned by the Michigan School Band and
Orchestra Association in honor of H. Robert Reynolds. The premiere
performance was given by the University of Michigan Symphony
Band, Michael Haithcock, conductor, at Hill Auditorium on October
22, 2005.
—Frank Ticheli
First Symphony for Band (2008)
Commissioned by the Big Ten Band Directors Association and
premièred by the University of Michigan Symphony Band, conducted
by Michael Haithcock, on February 6, 2009, my First Symphony for
Band (2008) was originally planned to be my Ninth Symphony; I
had decided to follow my friend John Corigliano’s example of
calling his magnificent Circus Maximus for band Symphony No. 3.
On reflection I realized that, since (Ludwig van) Beethoven and
(Gustav) Mahler, ninth symphonies have been thought of as a
composer’s last will and testament—a third symphony doesn’t have
that stigma—and I’m not really ready for that final word yet.
Thus, this is a First Symphony for Band, and band is different from
orchestra in more than just the absence of stings and the greater
number of winds. There is a “culture of the orchestra” that goes
back several centuries, one that shapes new pieces for it in subtle
ways even a composer may not be fully aware of. The band culture
is younger and historically more oriented to outdoors events and
occasions. Band players seem now to be mostly of college age;
there are very few professional non-university bands today, nothing
analogous to the Sousa and Goldman outfits of my youth. The
resonance of a long history like that of the orchestra is largely
lacking. Against this—and I think this is why more and more
composers of art music are turning to the band—is the fact that
band people work hard and long on a new piece. They will spend
weeks in rehearsal perfecting and internalizing it. And there is
something infectious about the youthful enthusiasm a good college
band will put into a performance.
The First Symphony is by far the most ambitious piece in my very
small catalogue for band. In form it relates most closely to my Fifth
and Sixth Symphonies for orchestra; as with them, it begins with a
tight sonata movement followed by a scherzo, a slow movement,
and a sort of rondo-finale. “Ô tempora ô mores,” a tragic and forceful
protest, laments our dark time. “Scherzo tenebroso” is a cousin to
the scherzi in my Third, Fifth, and Sixth Symphonies, especially in
the sardonic use of popular material in their trios; in this trio, as we
hear the cornet playing a waltz, I envision a clown dancing. “Andantino
pastorale” belies a seemingly simple tunefulness with its dark undercurrent. The image of a New Orleans funeral procession, followed by
a joyous dancelike march back from the graveyard, gives the form
of “Marches fundraiser et dans antes,” and leaves us at long last with
an atmosphere of exuberance and of hope.
—William Bolcom
Biographies
Richard Clary, professor of music, was appointed senior band
conductor and director of wind ensemble studies at Florida State
University in 2003. His primary duties include serving as music
director and conductor for the University Wind Orchestra and
Chamber Winds, teaching graduate-level conducting and wind
literature courses, and guiding of the Master of Music degree
program in wind band conducting and the wind band conducting
major emphasis in the PhD program in music education.
Ensembles under his direction have earned national reputations for
excellence through highly acclaimed performances for prestigious
musical events, including the 1997 and 2003 National Conferences
of the College Band Directors National Association. He most recently
conducted the renowned Florida State University Wind Orchestra in
a widely praised finale concert for the 2007 CBDNA National
Conference in Ann Arbor, Mich.
An active guest conductor, clinician, and adjudicator, Professor
Clary has served in these capacities throughout the United States,
Canada, and in seven countries of Western Europe. He holds active
memberships in the Music Educators National Conference (MENC),
the Florida Music Educators Association (FMEA), the Florida Bandmasters Association (FBA), the CBDNA, the World Association of
Symphonic Bands and Ensembles (WASBE), and in 2000 he was
elected to the prestigious American Bandmasters Association.
Clary holds Bachelor and Master of Music degrees in music education
from the Arizona State University, and has completed coursework
for the Doctor of Musical Arts degree in instrumental conducting
at the University of Washington in Seattle. His principal conducting
teachers have been Richard Strange, Tim Salzman, and Peter Erös.
James E. Jackson III, director of The Hartt School Symphony Band
at the University of Hartford, is a native of Lexington, Ky. He has
completed coursework toward the Doctor of Musical Arts degree
in euphonium performance with an emphasis in instrumental
conducting at the University of Kentucky. He received a Master of
Music Degree in euphonium performance in 1995 from George
Mason University (Roger Behrend) and a Bachelor of Music degree
in music education from the University of Kentucky (Skip Gray).
In addition to being principal euphonium of the U. S. Coast Guard
Band, Jackson is professor of euphonium at The Hartt School,
professor of euphonium at the University of Connecticut, and music
director and conductor of the Thames Valley Youth Symphony
Orchestra. He is a founding member of the tuba and euphonium
quartet, Alchemy, which annually performs recitals, teaches master
classes, and conducts ensembles as artist in residence at the
Horn-Tuba workshop in Jever, Germany. Jackson can be heard with
Alchemy on their first CD release Village Dance,s and on their
newest CD, Prelude and Groove, released in February 2012.
The Hartt Symphony Band
The Hartt Wind Ensemble
James E. Jackson III, Director
Caitlin Yovino, Manager
James E. Jackson III, Director
Caitlin Yovino, Manager
Flute
Anna Ambrogi (piccolo)
Michelle Zarco
Mary Young
Brianna Munch
Jennifer Potamianos
Rachel Menhart
Raelynn Giuffre
Shondra Texeira
Julie Mundy
Jake Parise
Oboe
Meg Markwith
Jonathan Acampora
Michael Venti
Trumpet
Chelsea Perryman
Mitch McCray
Tom Cammisa
Matthew Bernocco
Alex Powell
Chris Dunn
Clarinet
Caitlin Yovino
Hope Aubrey
Emily DiMuro
Francesca Gray
Emma Gould
Trombone
Lisa Romeo
Rob Earhart
Chris Corda
Keith Sisterhemn
Rebecca Bernardo (Bass)
Bass Clarinet
Nancy Conforti
Euphonium
Ethan Bourdeau
Audrey Garcia
Brian Smith
Sean Rahusen
Bassoon
Virginia Demske
Sara Gambacorta
Philip McNaughton
(contrabassoon)
Saxophone
Sean Tanguay
Taryn O’Keefe
Maggie Weisensel
James Pecsok
Andrew Fiddler
Horn
Ben Ramey
Billy Bivona
Katelyn Siebel
Gala Flagello
Tuba
Allison Lazur
Tom Gallagher
Percussion
David Counterman
(graduate teaching assistant)
Yudong Wang
Jesey Meche
Adam Dipersio
Ben Yuscavage
Kevin Good
Scotty Rubin
Libby Cohen
Flute
Chase McClung (piccolo)
Kate Davison
Dennis Li
Sierra Schmeltzer
Brianna Wilson
Allison Hughes
Clarinet
Diego Vasquez
Kristen Lauria
Caitlin Yovino (English horn)
Noel Liakos
Bass Clarinet
Diego Vasquez
Oboe
Amy Mitchum
Ling-Chun Yeh
Jonathan Acampora
Bassoon
Kristen Powell
Mason Adams
Kayleigh Bagley
Virginia Demske
Saxophone
Philip Plott
Elyse Vest
Harry Kliewe
Mike Raposo
Corey Killian
Horn
Marina Krol
Emily Crompton
Cathryn Cumming
Laura Weiss
Trumpet
Seth Bailey
Grant Davis
Emily Tourgeman
Peter DelMonaco
Trombone
Brian Johnston
Michael Papa
Evan Rzodkiewicz
Rebecca Bernardo
Carter Jackson (Bass)
Euphonium
Matthew Nunes
Tyler Miller
Tuba
Kevin LaRose
Kayla Davis
Percussion
Mike Jones
Jean Carlo Urena Gonzalez
Tamika Gorski
Cassandra Thielen
David Feng
(graduate teaching assistant)
Marcus Kreiger
Piano
Zixiang Zhao
Harp
Annelise Ellars