Please Turn ON Your Cellphones

Yale Concert Band Thomas C. Duffy, Music Director

“Please Turn ON Your Cell Phones” Woolsey Hall, Yale University

Friday, October 6, 2017, at 7:30 pm

KAREL HUSA PERCY ALDRIDGE GRAINGER ed. R. Mark Rogers CODY BROOKSHIRE LEONARD BERNSTEIN arr. Donald Hunsburger ed. Clare Grundman arr. Clare Grundman

Smetana Fanfare Children’s March: “Over the Hills and Far Away”

Honeycomb Triptych: Almighty Father Chorale from “Mass” Candide Suite: mvt V “Make Our Garden Grow” Slava!

~ INTERMISSION ~

PAUL HINDEMITH

PYOTR I. TCHAIKOVSKY trans. Ray E. Cramer

Symphony in B-flat

I. Moderately fast, with vigor

II. Andantino grazioso

III. Fugue, rather broad Dance of the Jesters

About Tonight’s Music Smetana Fanfare (1984) KAREL HUSA Karel Husa’s Smetana Fanfare was commissioned by the San Diego State University for the 1984 Festival of Music honoring the Czech composer Bedrich Smetana. It was first performed on April 3, 1984, on the occasion of the centennial commemoration of Smetana’s death. This short work uses two excerpts from Smetana’s symphonic poem, Wallenstein’s Camp, completed in 1850 in Goteberg, Sweden, during his exile from Prague.

Composer Karel Husa, also a native of Czechoslovakia, is also known for his musical manifestos, Music for Prague 1968, Apotheosis of this Earth, and his 1969 Pulitzer Prize in Music for his String Quartet No. 3.

Children’s March: “Over the Hills and Far Away” (1916) PERCY ALDRIDGE GRAINGER (ed. R. Mark Rogers) Percy Aldridge Grainger wrote Children’s March: “Over the Hills and Far Away” for solo piano while he was in the Coast Artillery Band in the U. S. Army (Musician, 2nd class, 1917-1919). Although its tunes sound like British folk music, it is an original work. Grainger reported that the piece was “especially written to use all the forces of the Coast Artillery Band in which I was serving.” The music is dedicated to “my playmate beyond the hills.” The playmate was believed to be a Scandinavian beauty with whom the composer had corresponded for eight years (but did not marry because of his mother’s jealousy!).

Grainger was one of the 20th-century pioneering composers who both wrote for the wind band as a unique medium (as opposed to providing transcriptions of orchestral pieces) and embraced innovative scoring. In this piece, Grainger asks the men in the band to sing as part of the soundscape, and has the pianist playing the piano strings with a percussion mallet. Grainger scores the opening melody for the bass oboe. The bass oboe part will be performed on the heckelphone, a rare instrument that was acquired by the Yale Bands in a 1950s purchase of instruments from the historical New Haven Armory Band.

Honeycomb (2017) CODY BROOKSHIRE Cody Brookshire said of his work Honeycomb, “pointillistic textures from live instruments align with audio from audience members’ smartphones, tablets, or laptops, creating an immersive aural environment as the many devices throughout the crowd play different segments of staccato-laden music. At times, the sound of the hall is, quite literally, honeycombed with separate parts of a moto perpetuo 16th-note ostinato that are spread variably throughout the crowd. At some points, music hockets from the live instruments on stage to the audience devices and back for antiphonal call and response effects, while at other times webs of glissandi interact with glissandi from the stage.

“Honeycomb is an aural experience unlike any other, bringing together the live ensemble in challenging ways, while connecting the audience to the stage musicians and to each other. With this work, I wanted to make each musician’s part, as well as the music coming out of each audience member’s phone, just one unit of something bigger and greater when all the separate components come together.”

YALE CONCERT BAND

Audience Cell Phone Instructions for Honeycomb Honeycomb utilizes new audio streaming technology, SynkroTakt, to stream different audio tracks in synchronicity over the internet to audience members’ web-enabled devices.

Follow these directions in this order when instructed to do so: 1. Check Device Settings: [1] Enable and turn up volume [2] Disable Auto-Lock type setting (this makes sure your screen won’t lock or turn off, which is necessary for the piece).

[3] If data connection is medium to strong, please disable Wi-Fi and use mobile data. This will use only 5MB of mobile data 2. In Browser App: [1] Go to www.SynkroTakt.com/live or scan the QR code below:

[2] Choose your perfomance (Yale University) [3] Choose device type, then row, then seat number, and press “Submit" [4] tap "Ready” That’s all. Once ready, don’t leave the web browser app. If your device goes to sleep mode or you leave the app, refresh the page to resynchronize before Honeycomb begins. There will be an announcement from the stage to remind you.

Take your device out of your purse or pocket so it can be heard.

Almighty Father Chorale From “Mass” (1971) LEONARD BERNSTEIN (arr. Donald Hunsberger) Leonard Bernstein’s Mass was written for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. on September 8, 1971. Subtitled, “A Theater Piece for Singers, Players, and Dancers,” the 90-minute work is based on the Liturgy of the Roman Catholic Mass with additional texts by Stephen Schwartz and Bernstein. It called for a large pit orchestra, two choruses, boys choir, ballet company and cast plus a marching band and rock combo.

Mass uses an eclectic mix of musical styles and reflects the turmoil of the era, being viewed by some as blasphemous and by others as politically subversive. However, in his program notes at the premiere, Bernstein states his intent “to communicate as directly and universally as I can a reaffirmation of faith.”

Over the years it has become recognized as one of his greatest compositional achievements, as well as one of his most controversial.

Candide Suite: “Make Our Garden Grow” (1956) LEONARD BERNSTEIN (ed. Clare Grundman) This suite for concert band is made up of five numbers from the musical Candide, which premiered on Broadway in 1956. The satiric novella Candide by Voltaire was the basis for a political and musical satire with a libretto by Lillian Hellman and music by Leonard Bernstein. Candide as a musical has since had many reincarnations, but the sections of this suite utilize musical numbers that have remained virtually unchanged from the original Broadway production.

In the fifth and final movement, “Make Our Garden Grow”, Candide realizes that the only purpose of living is to cultivate the earth, and to create a garden. He enjoins the others to assist him in bringing things to life.

Optimism is transformed into practical necessity, and the entire cast of characters joins in a hymn full of hope.

Slava! (1977) LEONARD BERNSTEIN (trans. Clare Grundman) When Mstislav Rostropovich (“Slava” to his friends) invited Leonard Bernstein to help him launch his inaugural concerts as Music Director of the National Symphony Orchestra, he also asked him to write a rousing new opening piece for the festivities. This Overture is the result, and the world premiere took place on October 11, 1977, with Rostropovich conducting his orchestra at the Kennedy Center for the Performing Arts in Washington, D. C. The first theme of Slava! is a vaudevillian razz-ma-tazz tune filled with side-slipping modulations and sliding trombones. Theme two is a canonic tune in 7/8 time. A very brief kind of development section follows, after which the two themes recur in reverse order. Near the end they are combined with a quotation (proclaimed by the ubiquitous trombones) from the ‘Coronation Scene’ of Moussorgsky’s Boris Goudonov, where the chorus sings the Russian word “slava!” meaning “glory!” In this way, of course, Bernstein is paying an extra four-bar homage to his friend Slava Rostrovopovich, to whom this overture is fondly dedicated.

YALE CONCERT BAND Symphony in B-flat (1951) PAUL HINDEMITH Paul Hindemith’s Symphony in B-flat heralded a turning point for the genre of the wind band.

In the 1950s, the wind band was on the cusp of a transition from the realm of ‘popular’ music, seen in the Sousa-style marches popularized by military bands for the first half of the twentieth century, to the tradition of art music. By composing a work well in the vein of contemporaneous artistic composition, Hindemith, a widely-respected and well-established German composer, established the seriousness of the concert band as an artistic genre. The work earned high Paul Hindemith on the steps of Yale’s Sprague Memorial Hall, 1941. critical acclaim within the band world and also among the general public.

Hindemith’s symphony embodies a variety of musical forms. Although a classical symphony, Hindemith’s counterpoint is more characteristic of the Baroque, with intricate musical lines playing against each other in complicated ways. At the same time, the entire piece is set in a beautiful twentieth-century tonal language that defines it very much as a modern work of music. The work has thus firmly ensconced itself as a stalwart of band literature.

Hindemith taught at Yale University from 1940 to 1953.

Dance of the Jesters (1868) PYOTR I. TCHAIKOVSKY (trans. Ray E. Cramer) Upon meeting Nikolai Rimsky-Korsakov in 1868, Tchaikovsky renewed his keen sense of musical nationalism. Inspired by the master composer, Tchaikovsky’s compositional style would forever capture the color and zest of Russian folk dance and music. The flurry, energetic drive and playful melodies associated with his ballet scores are all heard in this rare and invigorating music. This edition comes from arrangement from the ballet, “The Snow Maidens,” that was originally transcribed for a Russian military band.

Upcoming Yale Bands Performances • Monday October 16, 2017: Yale Jazz Ensemble Fall Concert. Thomas C. Duffy, Music Director.

Music of Duke Ellington, Charles Mingus, Maria Schneider, Phil Woods. 7:30 pm. Morse Recital Hall in Sprague Memorial Hall. Free.

• Saturday, November 4, 2017: Yale Family Weekend Gala Concert. Yale Glee Club, Jeffrey Douma, Music Director; Yale Concert Band, Thomas C. Duffy, Music Director; Yale Symphony Orchestra, Toshiyuki Shimada, Music Director. 7:30 pm, Woolsey Hall. Free.

• Sunday, November 12, 2017: Yale Concert Band Matinee. Thomas C. Duffy, Music Director. Intrada 1631 (After Juan Perez Bocanegra) (Stephen Montague), Give Us This Day (David Maslanka), Three Japanese Dances (Bernard Rogers), Funeral Music for Queen Mary (Henry Purcell) 2:00 pm, Woolsey Hall. Free.

• 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 Tchaivkovsky’s Nutcracker Suite. 2:00 pm. Morse Recital Hall in Sprague Memorial Hall. Free.

• 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 [part of 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

YALE CONCERT BAND

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 Principal Monica Barbosa DC 19 Jeremy Goldwasser SM 21 Neyén Romano BK 18 Catherine Lacey BR 18 Julia Cai BR 20 Rona Ji MC 18 Melissa Leone SY 21 Joan Gomez-Aguilar BK 20 Seungjung Sohn ES 19 Oboe Lauren Williams MUS 18 Principal Michelle Nguyen MUS 18 English Horn Michelle Nguyen 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 Principal Bradford Case SM 20 Jorge Nunez MC 20

Trombone William Burns MC 20 Principal Robert Howard GH 21 Luke Benz SM 19 Matthew Kegley PC 19

Heckelphone Bradford Case SM 20

Euphonium Ryan Lindveit MUS 19 Principal Mark Barnett GH 21

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

Tuba Josef Lawrence TC 20 Principal Alison Ross GH 20

Tenor Saxophone Daniel Morgan TC 18

String Bass Kohei Yamaguchi MUS 18

Baritone Saxophone Sara Harris SY 19

Piano Julia Weiner BK 19

Bass Saxophone Antonio Medina MY 19 Cornet/Trumpet (rotating) Eli Baum JE 19 Principal 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 Michael McNamara TD 20 Principal Sida Tang SY 19 Allison Hammer BF 20 Derek Boyer BR 18 Juliet Yates TC 21

Timpani Rebecca Leibowitz TC 18 Percussion David Zuckerman DC 20 Principal Ryan Haygood BF 21 Nasser Odetallah BR 20 Jonathan Roig 2ES 18

**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.

YALE CONCERT BAND OFFICERS

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

Personnel Manager: Jonathan Roig Publicity Chair: Beatrice Brown