YCB 11-12-2017

Yale Concert Band Thomas C. Duffy, Music Director

“A Sunday Matinee” Sunday, November 12, 2017, at 2:00 pm

Woolsey Hall, Yale University

STEPHEN MONTAGUE BERNARD ROGERS

THOMAS C. DUFFY

Intrada 1631 (After Juan Pérez Bocanegra) Three Japanese Dances I. Dance With Pennons II. Mourning Dance

Jack Lindberg PC 19, contralto III. Dance With Swords

Century Shouts: An Urban March

~ Intermission ~

HENRY PURCELL trans./elab. Steven Stucky

JOHN PHILIP SOUSA DAVID MASLANKA

Funeral Music for Queen Mary

Hands Across the Sea Give Us This Day

About Tonight’s Music Intrada 1631 (after Juan Pérez Bocanegra) (2003) STEPHEN MONTAGUE Intrada 1631 was inspired by a concert of early South American liturgical music directed by Jeffrey Skidmore at the 2001 Dartington International Summer Music School (UK). One of the most moving and memorable works in the program was a Hanacpachap cussicuinin, a 17th century Catholic liturgical chant written in Quechua, the native language of the Incas.

The music was composed by a Franciscan missionary priest called Juan Pérez Bocanegra who lived and worked in Cuzco, a small village east of Lima (Peru) in the Jauja Valley during the early 17th century. Intrada 1631 uses Bocanegra’s 20-bar hymn as the basis for an expanded processional scored for the modern forces of a symphonic brass choir with field drums.

The first complete performance of Intrada 1631 was in Bath Abbey, England, June 1, 2003. It was the opening processional for the late night multimedia event called Abbey Mode: a Sonic/Light Event commissioned for the finale of the 2003 Bath International Music Festival. The long shadows of the darkened Abbey were illuminated by special lighting effects (James Loudon) on the giant arches while multiple video projections (Kathy Hinde) on the high ribbed vaulting gave the illusion of a roof open to the night sky with flying creatures overhead. The 120 performers were masked and in special costume.

We thank this evening’s auxiliary musicians from the Yale Symphony Orchestra, the Greater New Haven Youth Orchestra, and the Yale Precision Marching Band.

Three Japanese Dances (1955) BERNARD ROGERS Although originally written for orchestra in 1933, Three Japanese Dances was transcribed for wind symphony in 1955 by its original composer, Bernard Rogers. Rogers was eager to bring this piece into the band repertoire, and used his unusual mastery of instrumentation to make the piece both highly interesting and unique to the repertoire of the time.

Rogers claims inspiration for the piece from Japanese wood block print artists. In Dances, he strove to capture “the ‘flatness’ and clear, cool colorings, the aloof figures and frozen attitudes” of the art. Although there are no actual pictorial models, each movement has a distinct visual theme: Dance with Pennons portrays a group of young girls performing a weaving dance with ribbons streaming; Mourning Dance is the dance of a lone woman clad in white (the color of mourning); and Dance with Swords is full of the violent, rhythmic themes of percussion. Mourning Dance also incorporates solo voice (sung tonight by Jack Lindberg): Sometimes in wintr’y springs, Frost on a midnight breath, Comes to the cherry flowers

YALE CONCERT BAND

And blasts their prime; So I, with all my power unused On men or things, Go down the wind to death, And know no fruiting time.

Century Shouts: An Urban March (2012) THOMAS C. DUFFY The composer writes: “Century Shouts was commissioned by the Neighborhood Music School of New Haven, CT, on the ooccasion of its centennial, for the NHMS Wind Ensemble, Mark Gahm, music director. It is music ‘of the city,’ an urban march. Its backbeats reflect a dash of Latin rhythms.

Its melodies are accompanied by the clangs of metal and wood. Progress through the piece resembles progress through the neighborhoods of the city—some highly congested areas alternate with areas of space and lightness. Rather than celebrate the centennial with a regal fanfare or martial overture, this tribute shouts out praise with raw energy, as with a revival meeting in which participants are overcome with rapture! Hear the metal; hear the neighborhoods. Hear the concrete; hear the city. Hear the rhythm. Hear the people—all dancing through the day.”

Funeral Music for Queen Mary (1694/1992) HENRY PURCELL (trans./elab. Steven Stucky) Henry Purcell lived from 1659 to 1695. When Queen Mary died of smallpox late in 1694, Purcell wrote a series of pieces for her funeral, held in Westminster Abby. The complete Funeral Music for Queen Mary comprises an anthem, two elegies, and four pieces for trumpets and trombones—the basis for this evening’s piece. Shortly after the Queen’s services, Purcell also died. His music for the Queen’s funeral was played at his own, and he too was laid to rest at Westminster Abbey.

Composer Steven Stucky (1949-2016) was awarded the 2005 Pulitzer Prize in Music for his Second Concerto for Orchestra. He has written commissioned works for many of the major American orchestras, including Baltimore, Chicago Cincinnati, Los Angeles, Minnesota, Philadelphia, and St. Louis, as well as for Chanticleer, the Boston Musica Viva, the Camerata Bern, the Raschér Quartet, and the Koussevitzky Foundation. His music has also been performed by the American Youth Symphony, Boston Symphony, Cleveland Orchestra, Copenhagen Philharmonic, Dallas Symphony, Handel and Haydn Society, Irish National Orchestra, and many other ensembles.

Mr. Stucky composed this piece for conductor Esa-Pekka Salonen and the Los Angeles Philharmonic in 1992. He has adopted the melodies and harmonies of Purcell’s “March,” “Anthem,” and “Canzona” in a virtually unaltered state. As the piece unfolds, shimmering, sustained sonorities and

rhythmically displaced melodic content blur and geometrically alter the focus of the original Renaissance composition. The audience experiences the work looking back in time, but their view passes through a “kaleidoscope of sounds.” The changes in colors and patterns create wonderful new soundscapes while maintaining a strong connection to the past.

In memoriam Steven Stucky (1949-2016) Hands Across the Sea (1899) JOHN PHILIP SOUSA Hands Across the Sea was composed in 1899 and premiered the same year at the Philadelphia Academy of Music. Although a number of ideas have been suggested as to the origin of the title, Sousa scholar Paul Bierley believes that Sousa was inspired by a line credited to John Hookham Frere: “A sudden though strikes me—let us swear an eternal friendship.” In the Great Lakes Recruit of March 1918, Sousa discussed the justification of the Spanish-American War, quoted Frere’s line, and added, “That almost immediately suggested the title Hands Across the Sea.” This march has been the musical anthem for many an overseas endeavor, in situations where the United States has extended aid to neighbors across the sea.

Give Us This Day: Short Symphony for Wind Ensemble (2007) DAVID MASLANKA The composer writes: “The words ‘Give us this day’ are, of course, from the Lord’s Prayer, but the inspiration for this music is Buddhist. I have recently read a book by the Vietnamese Buddhist monk Thich Nhat Hanh entitled For a Future to be Possible. His premise is that a future for the planet is only possible if individuals become deeply mindful of themselves, deeply connected to who they really are. While this is not a new idea, and something that is an ongoing struggle for everyone, in my estimation it is the issue for world peace. For me, writing music, and working with people to perform music, are two of those points of deep mindfulness.

“Music makes the connection to reality, and by reality I mean a true awakeness and awareness.

Give Us This Day gives us this very moment of awakeness and aware aliveness so that we can build a future in the face of a most dangerous and difficult time.

“I chose the subtitle ‘Short Symphony for Wind Ensemble’ because the music isn’t programmatic in nature. It has a full-blown symphonic character, even though there are only two movements. The music of the slower first movement is deeply searching, while that of the highly energized second movement is at times both joyful and sternly sober. The piece ends with a modal setting of the choral melody Vater Unser in Himmelreich (Our Father in Heaven), no. 110 from the 371 Four-part chorales by Johann Sebastian Bach.”

In memoriam David Maslanka (1943-2017)

YALE CONCERT BAND

Upcoming Yale Bands Performances • Saturday, December 2, 2017: “Side by Side: The Nutcracker Swings!” Yale Concert Band and Yale Jazz Ensemble, Thomas C. Duffy, Music Director, present the classic wind orchestra version and Duke Ellington/Billy Strayhorn’s big band arrangement of Tchaikovsky’s Nutcracker Suite.

2:00 pm. Woolsey Hall. Free will donations will be collected to support IRIS (Integrated Refugee & Immigrant Services).

• Friday, February 16, 2018: Yale Concert Band Winter Concert. Thomas C. Duffy, Music Director. Wine-Dark Sea (John Mackey), Dragon Rhyme (Chen Yi), Three Places in New Haven (Thomas C. Duffy), 7:30 pm, Woolsey Hall. Free.

• Monday February 26, 2018: Yale Jazz Ensemble Spring Concert. Thomas C. Duffy, Music Director. Program TBA. 7:30 pm. Morse Recital Hall in Sprague Memorial Hall. Free.

• Thursday, March 8, 2018: Yale Concert Band, Thomas C. Duffy, Music Director. Feat. Ask the Sky and the Earth (Tony Fok), with Chinese choir [in association with the College Band Directors National Association Eastern Division Conference]. 7:30 pm, Woolsey Hall. Free.

• Friday, April 13, 2018: Yale Concert Band Spring Concert. Thomas C. Duffy, Music Director.

Program TBA. 7:30 pm, Woolsey Hall. Free.

• Sunday, April 15, 2018: Stan Wheeler Memorial Jazz Concert. Yale Jazz Ensemble, Thomas C. Duffy, Music Director, and the Reunion Jazz Ensemble. 2:00 pm, Levinson Auditorium, Yale Law School, 127 Wall Street. Free.

• Sunday, May 20, 2018: Yale Concert Band Annual Twilight Concert. Ceremonial music on the eve of Yale’s Commencement. 7:00 pm, outside on the Old Campus. Free.

Yale University Bands P.O. Box 209048, New Haven, CT 06520–9048 ph: (203) 432–4111; fax: (203) 432–7213 stephanie.hubbard@yale.edu; www.yale.edu/yaleband

About the Music Director Thomas C. Duffy (b. 1955) is Professor (Adjunct) of Music and Director of University Bands at Yale University, where he has worked since 1982. He has established himself as a composer, a conductor, a teacher, an administrator, and a leader. His interests and research range from nontonal analysis to jazz, from wind band history to creativity and the brain.

Under his direction, the Yale Bands have performed at conferences of the College Band Directors National Association and New England College Band Association; for club audiences at NYC’s Village Vanguard and Iridium, Ronnie Scotts’s (London), and the Belmont (Bermuda); performed as part of the inaugural ceremonies for President George H.W. Bush; and concertized in nineteen countries in the course of sixteen international tours.

Duffy produced a two-year lecture/performance series, Music and the Brain, with the Yale School of Medicine; and, with the Yale School of Nursing, developed a musical intervention to train nursing students to better hear and identify body sounds with the stethoscope. He combined his interests in music and science to create a genre of music for the bilateral conductor - in which a “split-brained conductor” must conduct a different meter in each hand, sharing downbeats. His compositions have introduced a generation of school musicians to aleatory, the integration of spoken/sung words and “body rhythms” with instrumental performance, and the pairing of music with political, social, historical and scientific themes. He has been awarded the Yale Tercentennial Medal for Composition, the Elm/ Ivy Award, the Yale School of Music Cultural Leadership Citation and certificates of appreciation by the United States Attorney’s Office for his Yale 4/Peace: Rap for Justice concerts – music programs designed for social impact by using the power of music to deliver a message of peace and justice to impressionable middle and high school students.

From 1996 to 2006, he served as associate, deputy and acting dean of the Yale School of Music. He has served as a member of the Fulbright National Selection Committee, the Tanglewood II Symposium planning committee, and the Grammy Foundation Music Educators Award Screening Committee, and completed the MLE program at the Harvard University Institute for Management and Leadership in Education. He has served as: president of the Connecticut Composers Inc., the New England College Band Directors Association and the College Band Directors National Association (CBDNA); editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles; and chair of the Connecticut Music Educators Association’s Professional Affairs and Government Relations committees. For nine years, he represented music education in Yale’s Teacher Preparation Program. He is a member of American Bandmasters Association, American Composers Alliance, the Connecticut Academy of Arts and Sciences, Connecticut Composers Incorporated, the Social Science Club, and BMI. Duffy has conducted ensembles all over the world and was selected to conduct the NAFME National Honor Band in the Kennedy Center, Washington, D.C.

YALE CONCERT BAND 2017-2018 THOMAS C. DUFFY, Music Director STEPHANIE HUBBARD, Business Manager

Piccolo Ben Tillinger MY 21 Flute Beatrice Brown PC 19* Monica Barbosa DC 19 Jeremy Goldwasser SM 21 Neyén Romano BK 18 Catherine Lacy BR 18 Julia Cai BR 20 Rona Ji MC 18 Melissa Leone SY 21 Joan Gomez-Aguilar BK 20 Seungjung Sohn ES 19 Oboe Michelle Nguyen MUS 18* Lauren Williams MUS 18 English Horn Lauren Williams MUS 18 Eb Clarinet Alex Brod BK 19 Clarinet Christopher Zhou PC 19 Keith L. Wilson Principal Clarinet Chair** Alexander Ringlein BR 18 Eric Wang PC 21 Jessica Oki TC 20 Christian Fernandez BF 20 Madeline Bender TD 20 Heather McClure MY 20 Betsy Li MY 18 Bass Clarinet Eleanor Handler ES 18

Bassoon Maddy Tung TD 21* Bradford Case SM 20 Jorge Nunez MC 20

Tuba Josef Lawrence TD 20* Alison Ross GH 20 String Bass Jodan Calixto MUS 18

Alto Saxophone Jacob Hillman MC 19* Nick DeWalt SY 21 Flynn Chen TC 20 Antonio Medina MY 19

Harp Michelle Tong MY 21 Celeste James Brandfonbrener MC 21

Tenor Saxophone Daniel Morgan TC 18

Organ Matthew Daley ISM 19

Baritone Saxophone Sara Harris SY 19 Cornet/Trumpet (rotating) Eli Baum JE 19* James Brandfonbrener MC 21 Christoph Funke ES 19 Noah Montgomery GH 19 Holt Sakai BR 18 Adam Tucker MC 21 Jacob Zavatone-Veth MY 19 French Horn (rotating) Michael McNamara TD 20* Sida Tang SY 19 Allison Hammer BF 20 Derek Boyer BR 18 Juliet Yates TC 21 Trombone William Burns MC 20* Robert Howard GH 21 Luke Benz SM 19 Matthew Kegley PC 19

Timpani Rebecca Leibowitz TC 18 Percussion David Zuckerman DC 20* Melina Delgado MY 19 Ryan Haygood BF 21 Nasser Odetallah BR 20 Jonathan Roig BF 18 Music Librarian Derek Boyer BR 18 *=principal

**Friends of Keith L. Wilson (Director of Yale Bands from 1946–1973) honored him by endowing the principal clarinet chair in the Yale Concert Band in his name. If you would like information about naming a Yale Concert Band chair, please contact the Yale Bands office.

Euphonium Ryan Lindveit MUS 19

YALE CONCERT BAND OFFICERS

President: Antonio Medina General Managers: Christopher Zhou, David Zuckerman Social Chairs: Melina Delgado, Christian Fernandez

Piano Julia Weiner BK 19

Personnel Manager: Jonathan Roig Publicity Chair: Beatrice Brown

Side by Side: The Nutcracker Swings!

Yale Concert Band and

Yale Jazz Ensemble Thomas. C. Duffy, Music Director

present the classic wind orchestra version and the Duke Ellington/Billy Strayhorn “big band” arrangement of Tchaikovsky’s Nutcracker Suite, and Sleigh Ride (Leroy Anderson)

Saturday, December 2, 2017 2:00 p.m.

Woolsey Hall

Free will donations will be collected to support IRIS (Integrated Refugee & Immigrant Services) Info: 203-432-4111 / yale.edu/yaleband