Azusa Pacific UniversitySchool of Music Presents

SYMPHONIC BAND

“For the People”

withPatricia Edwards, mezzo-sopranoHannah Yi, pianoAlexander Koops, conductor

Tuesday, March 25, 2014Lake Avenue Church7:30 p.m.

- PROGRAM -An American in Paris George Gershwin

(1898-1937)

October Eric Whitacre(b. 1970)

A Game of Chance* Darryl Johnson(b. 1984)

Variations on a Shaker Melody Aaron Copland(1900-1990)

Piano Concerto No. 2 Dimitry ShostakovichII. Andante (1906-1975)III. Allegro Trans. Marco Pontini

Hannah Yi, piano

Prelude in E-Flat Minor Dmitri Shostakovich(1906-1975)

Trans. H.R. Reynolds

Urlicht (from Symphony No. 2) Gustav Mahler(1860-1911)

Arr. Paul Hanna

Patricia Edwards, mezzo-soprano

Finale from Symphony No. 5 Dimitry Shostakovich(1906-1975)

trans. Charles B. Righter

*World premiere

- PROGRAM NOTES -An American in Paris George Gershwin

Born in Brooklyn in 1998 to Russian, Jewish immigrants, George Gershwin was highly influenced by the new sounds of early 20 th Century American popular music. His first job was writing songs to promote sheet music on Tin Pan Alley, New York’s hotspot for the budding jazz. Gershwin went on to write for vaudeville shows and eventually Broadway musicals. Some of his most renowned works are results of his determination to fuse the classical music that he rigorously studied in Europe with the jazz sounds that he grew up with. While some of his greatest works were not well-received by critics, he was hugely successful with audiences and is remembered as one of America’s most beloved composers.

An American in Paris was written after a few unsuccessful attempts at fusing jazz and classical sounds and inspired by a trip to France. The piece opens with a brisk, frantic section that features taxi horns and is reminiscent of the sights and sounds while walking through Paris. Gershwin describes the next section as “a rich blues with a strong rhythmic undercurrent” indicating that “our American…has succumbed to a spasm of homesickness.” The piece ends with a return to the sounds of the Paris streets and fuses the two styles.

The work was premiered by the New York Symphony in 1928 under the direction of Walter Damrosch. Although critics did not hold it in the same esteem as some of the other works featured on the program, audiences were enamored with Gershwin’s writing and the piece has gone on to become a standard of orchestral music.

http://www.laphil.com/philpedia/music/american-paris-george-gershwin

October Eric Whitacre

A graduate of the University of Nevada, Las Vegas and the Julliard School, Eric Whitacre is one of the most successful and celebrated composers of choral and wind ensemble music alive today. He won a Grammy for his first studio album as a composer and conductor entitled Light & Gold. Choirs and bands perform across the country Whatacre’s compositions each year and he has come to be regarded as something of a celebrity in the classical music realm.

The Nebraska Wind Consortium premiered October in 2000 under the direction of Brian Anderson. Whitacre offered the following program note:

“October is my favorite month. Something about the crisp autumn air and the subtle change in light always make me a little sentimental, and as I started to sketch I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English Romantics (Vaughan Williams and Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season. I'm quite happy with the end result, especially because I feel there just isn't enough lush, beautiful music written for winds.”

http://www.windrep.org/October

A Game of Chance Daryl Johnson

A Game of Chance features several darkened variations on the 12-bar blues progression. The piece opens with a thematic lead line that occurs at various points throughout and encapsulates several iterations of the popular progression. The swing-feel and minor key setting of the 12-bar blues contrasts traditional orchestration and dynamic sensibilities engendering a shadowy, dramatic tension borne of both worlds. The title references specific segments within the work that call for improvisation, leaving the result to chance.

A Game of Chance was commissioned by a consortium of Southern California wind bands including:

The Azusa Pacific University Symphonic BandDr. Alexander Koops, Director

The Channel Islands H.S. Symphonic BandLoreto Teruel, Director

The Irvine Valley College Wind SymphonyDr. Stephen Rochford, Director

The Los Alamitos High School Wind SymphonyTom Plunkett, Director

The Mayfair HS Wind EnsembleThomas W. Philips, Director

The Valley Christian High School Crusader BandNathan Board, Director

Variations on a Shaker Melody Aaron Copland

'Tis the gift to be simple, 'tis the gift to be free'Tis the gift to come down where we ought to be,And when we find ourselves in the place just right, 'Twill be in the valley of love and delight.When true simplicity is gained,To bow and to bend we shan't be ashamed,To turn, turn will be our delight, Till by turning, turning we come 'round right

Aaron Copland (1900-1990) is arguably one of the greatest American composers of the twentieth century and although he maybe most famous for his ballet Appalachian Spring, and his brass and percussion feature, Fanfare for the Common Man, he also wrote in many other genres including piano music, chamber music, orchestral music, and band music (Emblems).

Copland began composing Appalachian Spring in 1943 in Hollywood while finishing up a film score. He wrote it specifically for Martha Graham and loved her dancing and choreography, which he knew well. In the score, Copland outlines the story of the ballet as follows:

A pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple is left quiet and strong in their new house.

One of the most memorable moments in the ballet happens when Copland takes the Shaker melody “Tis the Gift to be Simple” and creates five variations all based on the original melody. While you may simply enjoy the creative orchestration and color, or revel in the varying compositional styles such as imitation and counterpoint, you could also imagine the character of the young newly married couple seeing five different variations or experiences in their future life together, and ending with a glorious, triumphant and optimistic finale.

Notes by Alexander Koops

Urlicht (from Symphony No. 2) Gustav Mahler

O Röschen roth!Der Mensch liegt in größter Noth!Der Mensch liegt in größter Pein!Je lieber möcht' ich in Himmel sein!Da kam ich auf einen breiten Weg:Da kam ein Engelein und wollt’ mich abweisen.Ach nein! Ich ließ mich nicht abweisen:Ich bin von Gott und will wieder zu Gott!Der liebe Gott wird mir ein Lichtchen geben,Wird leuchten mir bis in das ewig selig Leben!—DES KNABEN WUNDERHORN

O little red rose!Man lies in greatest need!Man lies in greatest suffering!How much rather would I be in Heaven!I came upon a broad road.There came an angel and wanted to block my way.Ah no! I did not let myself be turned away!I am of God, and to God I shall return.Dear God will grant me a small light,

Will light my way to eternal, blissful life!

—From Des Knaben Wunderhorn

Gustav Mahler was an Austrian composer and conductor of great prominence during the late 19th Century. He was known for his over-the-top compositions that employed enormous orchestras and is regarded as a prime example of Romantic Era composition. Throughout his life, Mahler was known to struggle with faith and he would project those struggles into his compositions.

Urlicht is a Winderhorn Song that introduces the final movement of Mahler’s Resurrection Symphony. The song is about a longing for repose from suffering and seeking after Heaven as an escape from the cruel world of man.

http://www.gustav-mahler.org/english/

Piano Concerto No. 2 Dmitri ShostakovichPrelude in E-Flat MinorSymphony No. 5

Dmitri Shostakovich (1906 - 1975) is considered one of Russia’s and the world’s great composers of the twentieth century, writing symphonies, string quartets, concertos, theater and ballet works, and film music. He was a child prodigy in both piano and composition and entered the Petrograd conservatory at the age of 13 and completed his first symphony (1926) at the age of 19. The symphony gave him a great start to his composition career both in Russia and abroad, where leading orchestras performed it to great acclaim. David Fanning describes the first symphony:

it “covers an extraordinary range of character, from its introduction in which the forlorn search for a stable key and tempo is reminiscent of Petrushka, through to an almost epic sense of resistance to fate at the end of the Finale.” (Grove Music Online, Shostakovich, Dmitry: Section 1 Up to 1926)

Shostakovich wrote his Op. 34 piano preludes in 1932, and Fanning explains that they “follow Chopin’s ordering of major and relative-minor arranged in an ascending circle of fifths, while their style emulates the comparatively restrained manner of Prokofiev’s Visions fugitives” (Fanning, Section 2: 1926–36). The Prelude in E-flat minor, Op. 34, No. 14, is a particularly emotional and dark piano work that seems to capture the dramatic nature of Shostakovich life at this time as well as the sorrow of the Russian people.

In 1934 Shostakovich’s opera Lady Macbeth of the Mtsensk District opened to initial success. Unfortunately for Shostakovich, Stalin attended a performance in 1936 and was displeased with it. The very next day the Russian political newspaper “Pravda” published a very critical article titled “Muddle Instead of Music” accusing Shostakovich of writing formalist works, which basically meant the music was too experimental, and not written for the people. Fanning explains that the word formalism “had become an all-purpose insult to be directed at any artistic production that was deemed either incomprehensible to the ‘People’ or in any way ideologically wrong-headed” (Grove Music Online, Shostakovich, Dmitry: Section 2: 1926-36). The political leaders valued music by past Russian masters like Tchaikovsky, and Shostakovich’s daring and exciting compositions were too much for them.

Shostakovich’s fifth symphony (1937) was subtitled “An artist's creative response to just criticism” and this piece won him back significant favor from both Stalin and the Russian people. Our APU symphonic band concert title “For the people” was inspired by this particular piece and the attempt Shostakovich made here to compose in a way that would find public and political acceptance, yet not give up any of his musical integrity and feelings. In his program notes for the Pacific Symphony, Joseph Horowitz notes:

Thinking partly of Shostakovich’s Fifth Symphony, Aaron Copland in 1941 advised American composers to attend to new listeners. He identified as “the most exciting challenge of our time” finding “a musical style which satisfied both us and them.” One thing is certain, Copland continued. “the new musical audiences will have

to have music that they can comprehend. That is axiomatic. It must therefore be simple and direct . . . above all, it must be fresh in feeling. . . . to write a music that is both simple and direct and is at the same time great music is a goal worthy of the efforts of the best minds in music.” (P. 2)

Copland began writing his ballet Appalachian Spring in 1942, which is right after he made the remarks above, and that piece certainly has become a piece which is recognized as one of the great American works that concert goers as well as musicians love (“us and them”).

Shostakovich wrote in his second piano concerto for his son in 1957, after the death of Stalin. This piece seems to have a lighter character that reflects the relief Shostakovich must have felt with the passing of Stalin. In tonight’s performance we will be performing the second and third movements.

Fanning, David and Fay, Laurel. "Shostakovich, Dmitry." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 12, 2014, http://0-www.oxfordmusiconline.com.patris.apu.edu/subscriber/article/grove/music/52560. (Section 2: 1926–36)

Fanning, David and Fay, Laurel. "Shostakovich, Dmitry." Grove Music Online. Oxford Music Online. Oxford University Press. Grove Music Online, Shostakovich, Dmitry: Section 2: 1926-36).

Horowitz, Joseph, Artistic Advisor. Why Shostakovich? Pacific Symphony Program, January 30, 31, February 1, 2014.

- SYMPHONIC BAND -Flute

Jenna JulienJasenia Ruvalcaba

Ashley LisbinEric Price

PiccoloKirstie Sells

OboeClaire BultemaEmily Wilson

ClarinetSara FloresNick Gomez

Sandy GomezTroy Myren

Annaka Price+Andrew Nelson

Ai Tanaka

Bass ClarinetLisa Acuff

BassoonTina Chang

Yasha Sojwal

SaxophoneAlto: Sammy Hults

Tenor: Dorasae RosarioBaritone: Ellice Ellick

TrumpetCaroline Andrews

Sergio MontesStephen Martin+

French HornJohn Christiansen

Paige GriffinSarah Harkin

Sabrina ThomasSeth Velez

TromboneEthan AnemaTimothy Peck

William Wooten

Bass TromboneDaniel CroissantCynthia Navarro

BaritoneNathanael Becerra

John Villagrana

TubaElizabeth PaizLevi Roldan

PercussionStephanie Chung

Nick GreenCurtis HumphreyJordan RodriguesKimberly Sahagun

BassDaniel Almeida+Vinicius Gomes+

+Guest Artist

- BIOGRAPHY -Darryl Johnson, composer

Darryl Johnson II (b. 1984) is a native of Southern California. An early interest in music led him to study several instruments as well as music theory, composition, and orchestration. A lengthy background in music transcription and arranging has fostered a growing interest in diverse musical styles, yielding a fresh, personal style that comprises a patchwork of music old, new, popular, and traditional.

Today his primary interests involve bringing new music to performing groups that strikes the delicate but crucial balance necessary for music that is constructive and fulfilling for both musicians and listeners. Descriptions of his works have ranged from “fun and catchy,” to “deep and powerful,” to “rich and beautiful.” Consequently, his music has been heard in the concert hall, on the marching band field, and within the vast world of multimedia. As a composer, clinician, and speaker, Darryl Johnson II deals with an array of issues surrounding the field of music and its industry with the primary purpose of communicating the benefit, necessity, and sheer power of meaningful art.

Hannah Yi, piano

Hannah Yi, a Los Angeles native, began her piano studies under Ick-Choo and Hae-Young Moon, and continued her piano education at the Eastman School of Music with Nelita True and Fernando Laires. In, 2001, Hannah moved to Moscow, Russia to study at the Moscow Tchaikovsky Conservatory with Irina Plotnikova. She holds a Bachelor of Arts degree from Azusa Pacific University under Roza Kostrzewska Yoder and a Master of Music degree from DePaul University under Eteri Andjaparidze. Hannah has won competitions at all levels, including the Russian National Piano Competition in San Jose, CA and the Union League Civic and Arts Scholarship Competition in Chicago, IL.

Ms. Yi also has an established portfolio of live performances, including performing live on the classical radio station WFMT Chicago as part of the Amerklavier Concert Series. She has soloed with the SYMF Orchestra, Los Angeles Baroque Orchestra, YMF Debut Orchestra, Los Angeles Youth Orchestra, LACHSA Orchestra, Pasadena POPS Orchestra, Antelope Valley Symphony, and the Azusa Pacific Symphony. As a collaborator, Hannah is a

member of the Belden Piano Quartet. In 2010, the Belden Piano Quartet was Resident Chamber Musicians for the Pine Mountain Music Festival in Michigan. She has also been a staff pianist for the Chautauqua Institute as well as faculty at DePaul University Community Music Division. Currently, Ms. Yi is on faculty at Azusa Pacific University and at Orange County High School for the Arts.

Patricia Edwards, mezzo-soprano

Patricia Edwards, DMA, has been singing professionally for more than 25 years. She began her vocal studies at the Peabody Conservatory in her native Baltimore, Maryland, and continued at the Oberlin Conservatory. For more than 10 years, Edwards toured the United States in full-time music ministry, specializing in the story songs of composer Ken Medema. She has recorded three albums, has appeared on Christian television and radio programs, and her voice can be heard on Christian Family Radio.

In the world of opera, Edwards has sung leading roles in Beethoven's Fidelio, Humperdink's Hansel and Gretel, Menotti's Amahl and the Night Visitors, and Puccini's Tosca. She has also sung First Lady in Mozart's Die Zauberflöte, Angelica in Puccini's Suor Angelica, Lady Billows in Britten's Albert Herring, Magda Sorrel in Menotti's The Consul, and the three Mozart/da Ponte heroines: Donna Anna in Don Giovanni, Fiordiligi in Cosí fan tutte, and Countess Almaviva in Le nozze di Figaro.

In the world of oratorio, Edwards has sung as soloist in Brahms' Requiem, Handel's Messiah, Respighi's Laud to the Nativity, Britten's Rejoice in the Lamb, and others. She has served as soloist at the Glendale First United Methodist Church, the Alhambra Adventist Church, and at Glendale Presbyterian Church.

Edwards has served as Director of Vocal Studies at APU's School of Music, and teaches Applied Voice, Vocal Literature, and Diction for Singers. She completed her doctoral studies in Vocal Arts at USC in the spring of 2010. Edwards specializes in preparing vocal students for graduate studies and professional singing careers. Her versatile experience as a performer complements her academic training.

Dr. Edwards would like to dedicate her performance this evening to the memory of her parents, Alvina and Frank Malinowski and her dear friend, Jenna Erwin.

Alexander Koops, conductor

Alexander Koops was born and raised in Jos, Nigeria. He holds a D.M.A. in Music Education from the University of Southern California, with minors in theory, orchestral conducting, and horn performance. His dissertation materials on introducing composition in middle school have been used by many schools in southern California as well as the American Composer’s Forum. He completed his B.A. degree in Music Education from Calvin College (Grand Rapids, MI) and his M.M. degree in Wind Conducting from the University of Colorado (Boulder), where he studied with Allan McMurray. He has also studied voice and opera conducting with Nicholas Laurienti, former Artistic Director of the Denver Opera Company. Additionally he has a chapter published in the book Composing our Future, published by Oxford University Press in 2012. Koops was awarded a Fulbright grant to teach at the Jazeps Vitols Latvian Academy of Music for the Spring 2012 semester in Riga, Latvia.

Koops joined the music faculty at Azusa Pacific University in August 2001 and is currently Director of Undergraduate Music Education, Associate Director of Bands, and Director of the Azusa Conservatory (a community music school). He frequently conducts the Lake Avenue Chamber Symphony as well as performing regularly on his horn. His wife, Shaelyn, and their two children, Dana and Daniel, live in Azusa, California.

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