10/23/2022, Emory Wind Ensemble

2022–2023

MUSIC AT EMORY

This concert is presented by the Schwartz Center for Performing Arts.

404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu

Audience Information Please turn off all electronic devices.

Health and Safety

The Schwartz Center follows the Emory University Visitor Policy with additional protocols outlined at schwartz.emory.edu/faq.

Photographs and Recordings

Digital capture or recording of this concert is not permitted.

Ushers

The Schwartz Center welcomes a volunteer usher corps of approximately 60 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities.

Accessibility

The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu.

Design and Photography Credits

Cover and Program Design: Lisa Baron | Cover Photo: Mark Teague

Acknowledgment

This season, the Schwartz Center is celebrating 20 years of world-class performances and wishes to gratefully acknowledge the generous ongoing support of Donna and Marvin Schwartz.

2022–2023

MUSIC AT EMORY

Something Old, Something New Emory Wind Ensemble Brianna Slone, conductor Sunday, October 23, 2022, 4:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

Program Giovanni Gabrieli (1557–1612)

Canzon duodecimi toni Emory Wind Ensemble Brass Six trios for three flutes I. Allegro con gusto

François Devienne (1759–1803)

Emory Wind Ensemble Flutes Wolfgang Amadeus Mozart (1756–1791) arr. Barbara Buehlman

Ave Verum Corpus

L’Arlésienne Suite de Concert No. 2 IV. Farandole

Georges Bizet (1838–1875)

Second Suite in F I. March II. Song Without Words III. Song of the Blacksmith IV. Fantasia on the ‘Dargason’

Gustav Holst (1874–1934)

Danzón No. 2

Arturo Márquez (b. 1950) trans. Oliver Nickel

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Program notes: Canzon duodecimi toni (1597) Giovanni Gabrieli was an Italian composer and organist, one of the most influential musicians of his time. His works represent the style of the Venetian School and the shift from the Renaissance to the Baroque era. Canzon duodecimi toni is taken from Gabrieli’s Sacrae Symphoniae, a collection of 45 motets written for different chamber ensembles. This work established Gabrieli’s position as a premier European composer.

After writing this piece in 1597, musicians flocked to Venice to study Gabrieli’s Venetian polychoral style of writing.

Gabrieli served as the organist at the Basilica San Marco in Venice, Italy, from 1584 until his death in 1612. He wrote for many church ensembles including organ, choir, and brass ensembles. The Basilica, itself an architectural wonder, contains a main floor flanked by a balcony high above on either side. Gabrieli would often take advantage of this space by placing instrumental choirs in both balconies, performing his music antiphonally just as you will hear this afternoon.

Six trios for three flutes (1790) François Devienne was a French composer and professor of flute at the Paris Conservatory. During his time he was known as the “Mozart of the Flute.”

Devienne composed more than 300 works with a heavy focus on wind instruments. His compositions for flute were revived in the 1960s by famous flutist Jean-Pierre Rampal. Allegro con gusto is the first movement of one of his Six trios for three flutes. This movement demands technical facility in all three flute parts and showcases the upper and lower range of the flute.

Ave Verum Corpus (1791) Ave Verum Corpus is a short Eucharistic chant that dates back to the 13th century. During the Middle Ages, it was sung during mass and frequently used during Benediction of the Blessed Sacrament. The prayer speaks of the redemptive meaning of suffering in the life of all believers. Mozart’s setting was composed in 1791 for his friend Anton Stoll—a church music coordinator in Vienna. The motet was premiered at the feast of Corpus Christi and was originally scored for S–A–T–B choir, string instruments, and organ. The motet was composed less than six months before Mozart’s death. He integrates backward looking stylistic elements to express the Eucharistic thoughts through simple means.

—Notes by Brianna Slone

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L’Arlésienne Suite de Concert No. 2 (1872) Georges Bizet composed L’Arlésienne as incidental music to Alphonse Daudet’s play of the same name, usually translated as The Girl from Arles.

It was first performed on October 1, 1872, at the Théâtre du Vaudeville in Paris. Bizet’s music consists of 27 numbers (some only a few bars) for voice, chorus, and small orchestra, ranging from short solos to longer entr’actes. Bizet himself played the harmonium backstage at the premiere performance. The Farandole (Danse de Chivau-Frus), which begins quietly and builds to a climax, sees Frédéri respond with fury to Mitifio who has come to tell Balthazar that he will run off with the girl from Arles.

—Note from musical score

Second Suite in F (1911) Gustav Holst composed the Second Suite in 1911, but he was so preoccupied (and later fatigued) by the details of supervising a performance by Morley College students of Purcell’s Fairy Queen (the first since the 17th century) that he forgot about the work until asked to compose another suite for military band in 1921. He changed his original tune Young Reilly in the opening of the march to the Morris dance Glorishears and made some slight changes in the instrumentation to comply with the instrumentation adopted by the Kneller Hall Conference of December 1921. The suite was premiered on June 30, 1922, at Royal Albert Hall, London, by the Military School of Music Band conducted by Lt. Hector E. Adkins.

The march movement uses three tunes, set in the pattern A–B–C–A–B. After the opening Morris dance, a broad and lyrical folk song, Swansea Town, features the euphonium and is followed by Claudy Banks, which has a lilting, swinging feeling derived from its compound duple meter.

In describing the entire suite, Richard Franko Goldman comments that “no more delightful contribution has ever been made by a prominent composer to the band repertory.”

—Note from Program Notes for Band

Danzón No. 2 (2009) The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form, and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music.

Danzón No. 2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter, Lily.

—Note by composer 6

About the Emory Wind Ensemble The Emory Wind Ensemble (EWE) is dedicated to performing wind band and chamber literature of the highest caliber while nurturing individual artistic excellence within an ensemble setting.

Concert programming comprises a wide variety of styles, forms, and genres from several centuries of compositional practice, designed to provide a comprehensive exposure to the masterpieces for winds and percussion from the Renaissance period through the modern era.

The EWE performs two concerts each semester, regularly participates in world premieres of new music, tours the United States and abroad, and is a national leader in the commissioning of new music, including works

by Warren Benson, Bruce Broughton, Jennifer Higdon, Libby Larsen, John Mackey, Jonathan Newman, Joseph Schwantner, and many others.

The EWE’s recent collaborations include performances with the Emory University Chorus; the Emory Dance Company; Emory’s Mary Emerson Professor of Piano William Ransom; Chris Martin, principal trumpet of the Chicago Symphony Orchestra; Stuart Stephenson, principal trumpet of the Atlanta Symphony Orchestra; Joe Alessi, principal trombone of the New York Philharmonic; Adam Frey, international euphonium solo artist; and Grammy Award–winning solo clarinetist Richard Stoltzman, among many others.

The EWE has performed concert tours of Munich, Salzburg, Innsbruck, Lucerne, Graz, Prague, Vienna, and Greece. Additionally, the EWE has performed at the Georgia Music Educators Association (GMEA) State Convention in Savannah, Georgia; the Southern Division College Band Directors National Association Conference (CBDNA); and for various events on the Emory campus, including the inauguration of James Wagner as president of Emory University. The EWE was recognized in 2017 as a Top 10 program among its peers by CBDNA and featured at the 2017 CBDNA National Conference Small Band Showcase. The EWE is recorded on the NAXOS music label.

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Emory Wind Ensemble Flute/Piccolo

Alto Saxophone

Hannah Huang* Emily Cui Dorian Huang

Paulark Yan* Rishie Srivastava Katherine Wang

Oboe/English Horn

Tenor Saxophone

Eric Xu* Zachary Kant Sophia Kim

Dan Dan

Bassoon Brandon Yao

Clarinet Eli Parrish* Chunjin Park Joe Van Duyn Deston Lian Karthik Valeveti Nicole Bring Michelle Lee Sophia Rice

Trombone/ Bass Trombone Shiven Sinha* Timothy Brewer

Euphonium Allen Zhang

Baritone Saxophone Wenhui Lu

Tuba Michael Amsel

Horn Amelia Young Kayla Beck Daniel Kim

Trumpet Joey Chen* Natalie Park* Austin Watkinson Andrew Mahoney Joseph Rosenbaum Jeffrey Zheng

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Percussion Alexa Mohsenzadeh* Emmy Shi James Grant Kaylor Garamella Peter Rubin

Keyboard Dorian Huang *Denotes principal player

Brianna Slone, conductor Brianna Slone (she/her) currently serves as the conductor of the Emory Wind Ensemble and upper school faculty at the Westminster Schools. Previously, she was the assistant band director at Hillgrove High School in Cobb County, Georgia, and a music library assistant with the Atlanta Symphony Orchestra.

Slone is a sought-after guest conductor, clinician, woodwind specialist, and freelance flutist in the Atlanta area. She was recently appointed as a Music for All Band Clinician and in this capacity was selected as an instructor for the 2022 Music for All Tournament of Roses Honor Band. She has attended flute master classes with Marianne Gedigian, Ransom Wilson, Nicole Esposito, Michael Hasel, and Emmanuel Pahud.

Slone has a bachelor of music education degree from the University of Georgia and a master of music degree in wind band conducting from Georgia State University.

Music at Emory The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in the department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, the faculty and ensembles also welcome the participation of nonmajor students.

Become a part of Music at Emory by giving to the Friends of Music. A gift provides crucial support to all of the activities. To learn more, visit music.emory.edu or call 404.727.1401.

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Emory Wind and Percussion Faculty Laura Ardan, clarinet • Emily Brebach, oboe • Jason Eklund, horn n Adam Frey, euphonium Anthony Georgeson, bassoon • Marci Gurnow, clarinet • Michael Kurth, bass • Michael Moore, tuba • Ed Nicholson, trombone n Gary Paulo, saxophone Scott Pollard, percussion Jaclyn Rainey, horn • Sasha Shatalova Prior, oboe Christina Smith, flute • Stuart Stephenson, trumpet • Amy Trotz, horn u Shelly Unger, bassoon Mark Yancich, percussion • Jim Zellers, flute n Nathan Zgonc, trombone • • Atlanta Symphony Orchestra n Atlanta Opera Orchestra u Atlanta Ballet Orchestra

Department of Music Administration Stephen Crist, Chair Bradley Howard, Director of Undergraduate Studies Paul Bhasin, Director of Undergraduate Research Martha Shockey, Senior Secretary Kathy Summers, Academic Department Administrator Julia Hudgins, Academic Services Coordinator

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Upcoming Emory Music Concerts Many fall music events at Emory are free to attend. Visit music.emory. edu or schwartz.emory.edu to view descriptions and information for upcoming music events. If an event requires a ticket for attendance, prices are indicated in the listings below in the following order: Full price/Emory student price (unless otherwise noted as the price for all students).

Thursday, October 27, 8:00 p.m., Hélène Grimaud, piano, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $80/$10, tickets required Saturday, October 29, 8:00 p.m., Emory University Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free Friday, November 4, noon, David Deveau, piano, ECMSA: Cooke Noontime Concert, Schwartz Center, Emerson Concert Hall, free Saturday, November 5, 8:00 p.m., T.S. Eliot: Four Quartets, Part I, ECMSA: Emerson Series: Fentress Waits Concert, Cannon Chapel, free Saturday, November 12, 8:00 p.m., Soovin Kim, violin and Gloria Chien, piano, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free Sunday, November 13, 4:00 p.m., Emory Chamber Ensembles, Schwartz Center, Emerson Concert Hall, free Sunday, November 13, 7:00 p.m., Emory Collaborative Piano, Schwartz Center, Emerson Concert Hall, free Wednesday, November 16, 8:00 p.m., Emory Youth Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free Thursday, November 17, 8:00 p.m., Maria Schneider Orchestra, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $70/$10, tickets required Saturday, November 19, 8:00 p.m., Emory University Symphony Orchestra and Emory Wind Ensemble, featuring Concerto and Aria Competition Winner, Schwartz Center, Emerson Concert Hall, free Tuesday, November 29, 8:00 p.m., Emory Jazz Ensembles, Schwartz Center, Emerson Concert Hall, free 11

Music at Emory Music at Emory brings together students, faculty, and world-class artists to create an exciting and innovative season of performances, lectures, workshops, and master classes. With more than 150 events each year across multiple Emory venues, audiences experience a wide variety of musical offerings.

We hope you enjoy sampling an assortment of work from our student ensembles, community youth ensembles, artists in residence, professional faculty, up-and-coming prodigies, and virtuosos from around the world.

404.727.5050 music.emory.edu