Symposium of Contemporary Music, 1999

eJ/,/,inois C)1Jes/'e1;lan OIAnive'lsit1;l p'lesents SYMPOSIUM

OF

Music and Culture at the M lIennium

Director

:;2Javif) %1;10 Guest Composer

@John crJo'li{jtian0 Sponsors: School of Music Phi Mu Alpha Sinfonia Delta Omicron Sigma Alpha Iota

ILLINOIS WESLEYAN UNIVERSITY

February 8 & 9, 1999

Westbrook Auditorium

John Corigliano {born 1938} is internationally celebrated as one of the leading composers of his generation. His exceptionally wide range of creative work- in orchestral, chamber, vocal, choral, opera, and film music- is a testament to his versa­ tile and far-ranging musical mind. He has won global acclaim for his highly expres­ sive compositions as well as his kaleidoscopic, ever-expanding technique.

Corigliano's violinist father {now deceased} was for many years the concertmaster of the New York Philharmonic, and his mother is an accomplished pianist. Their son showed strong musical talent from an early age, and went on to study composi­ tion at Columbia University and the Manhattan School of Music. His breakthrough composition was the Sonata for Violin and Piano of 1963, which won the Spoleto Festival Competition for the Creative Arts the following year {among the violinists who performed it was his father}. Since then Corigliano has enjoyed ever-expanding fame and admiration.

A sampling of Corigliano's best-known works shows the breadth of his musical and humane vision. Symphony # 1 perhaps the most important socially-themed piece ,

of concert musiC since Benjamin Britten's War Requiem, is a passionate threnody to victims of the AIDS epidemic. The Ghosts of Versailles, commissioned by the Metro­ politan Opera for its centenary, was a watershed in the remarkable flowering of new American opera during the last quarter of this century. The phantasmagorical soundtrack to the Ken Russell film Altered States was one of the most important film scores of the 1980's. Pied Piper Fantasy, a solo vehicle for Irish flautist James Galway, is an unusual musical hybrid, a concerto which follows a dramatic plot line.

Corigliano's String Quartet was composed for the recent farewell tour of one of the United States' most revered chamber ensembles, the Cleveland Quartet, and has already made its mark as one of the late twentieth century's most important contri­ butions to the chamber music repertoire.

Corigliano has been the recipient of some of the most prestigious awards in the field of musical composition. In 1991 he was awarded the Grawemeyer Prize, until recently the largest monetary award.available to a composer. In the same year he was elected to the American Academy of Arts and Letters. Corigliano's works have received four Grammy awards, and he was the first Composer of the Year ever named by the influential magazine Musical America. From 1987 to 1990 he was the Chicago Symphony Orchestra's first composer-in-residence. Among the many insti­ tutions which have commissioned works from him are the Chicago, Boston and St. Louis symphonies, the Chamber Music Society of Lincoln Center, and the Van Cliburn Foundation. Corigliano's compositions are performed frequently around the world, and most are available on commercial recordings. He travels widely, and is admired for his verbal as well as his musical eloquence. John Corigliano is on the faculty of the Juilliard School and is Distinguished Professor of Music at Lehman College of the City University of New York.

� note6rom the 01;jmposium �irector Many of the quandaries which have been stirred up by recent social, technologi­ cal and aesthetic changes reflect an uneasy relationship between the past and the future. How can we honor both faces of Janus, so that we neither stifle creativity by mindless adherence to tradition nor succumb to an addiction to novelty at the expense of our profound connections to those who have come before us? The prob­ lem will not go away, and it acquires a particular poignancy as we approach the mil­ lennium, with its twin tuggings toward past and future.

In the realm of the arts, I cannot think of a better model than John Corigliano for how we might find a way for tradition and innovation to nurture each other. Firmly rooted in a lyrical and deeply humane stream of American concert music (exempli­ fied by such composers as Aaron Copland, Samuel Barber and past Symposium of Contemporary Music guest David Diamond), Corigliano has also embraced contem­ porary musical resources and innovated some of his own. The past and future coexist in his music in all sorts of ways, from spirited argument to loving embrace, a micro­ cosm of how we might relate to one another and how the past and future might be brought together in our lives in productive ways.

-David Vayo

�on()a"ll' 0f7ebruar"ll 8 7:30

P.M.

Panel Discussion

@4merican @4rts an() crgutture at the �ittennium Mr. Corigliano Jared Brown Director, School of Theatre Arts

Mona Gardner Associate Dean of the Faculty

Mario Pelusi Director, School of Music

James Plath Associate Professor of English

Nancy Sultan Associate Professor of Humanities and Classical Studies

David Vayo Associate Professor of Composition and Theory, moderator

�

olloWing the concert, the audience is cordially invited

to a reception in the Presser Hall reception room, courtesy of Delta Omicron.

7:30

P.M.

�u.sic ot @John crJot:it;Jtiano Comments by Mr. Corigliano

Prelude: An die Musik by Franz Schubert Prof. Carren Moham, soprano Benjamin Blozan, piano To Music (1985)

Illinois Wesleyan Civic Orchestra Prof. Steven W. Eggleston, Conductor Soliloquy for Clarinet and String Quartet (1995)

Prof. Roger Garrett, clarinet Prof. Vadim Mazo, violin Karen Collier, violin Prof. John Borg, viola Sara Garrett, violoncello A Black November Turkey (1972)

Jennifer Cowgill, Lauren Sopocy, soprano Deborah Miller, Sarah Schlinder, alto Chamber Singers Prof. J. Scott Ferguson, Director L'invitation au Voyage (1971)

Jennifer Cowgill, Heather Kennel, soprano Nikki Carnevale, Deborah Miller, alto Jared Johnson, Gregory A. Tittle, tenor Michael Cavalieri, Brian Christopher Williams, baritone Collegiate Choir Prof. J. Scott Ferguson, Director Gazebo Dances (1973)

Overture Waltz Adagio Tarantella Wind Ensemble Prof. Steven W. Eggleston, Director

ďż˝

olloWing the concert, the audience is cordially invited

to a reception in the Presser Hall reception room, courtesy of Phi Mu Alpha and Sigma Alpha Iota.

�'invitation au �ol;/atJe My child, my sister,

dream How sweet all things would seem Were we in that kind land to live together, And there love slow and long, There love and die among Those scenes that image you, that sumptuous weather.

Drowned suns that glimmer there Through cloud disheveled air Move me with such a mystery as appears Within those other skies Of your treacherous eyes W hen I behold them shining through their tears.

There, there is nothing else but grace and measure, Richness, quietness, and pleasure.

Furniture that wears The lustre of the years Softly would glow within our glowing chamber, Flowers of rarest bloom Proffering their perfume Mixed with the vague fragrances of amber; Gold ceilings would there be, Mirrors deep as the sea, The walls all in Eastern splendor hung­ Nothing but should address The soul's loneliness, Speaking her sweet and secret native tongue.

There, there is nothing else but grace and measure, Richness, quietness, and pleasure.

See, sheltered from the swells There in the still canals Those drowsy ships that dream of sailing forth; It is to satisfy Your least desire, they ply Hither through all the waters of the earth.

The sun at close of day Clothes the fields of hay, Then the canals, at last the town entire In hyacinth and gold; Slowly the land is rolled Sleepward under a sea of gentle fire.

There, there is nothing else but grace and measure, Richness, quietness, and pleasure.

-Charles Baudelaire, translated by Richard Wilbur

� (§9Jtack �o])em6et C{;;utkey Nine white chickens come With haunchy walk and heads Jabbing among the chips, the chaff, the stones And the cornhusk-shreds, And bit by bit infringe A pond of dusty light, Spectral in shadow until they bobbingly one By one ignite.

Neither pale nor bright, The turkey-cock parades Through radiant squalors, darkly auspicious as the ace of spades, Himself his own cortege, And puffed with the pomp of death, Rehearsing over and over with strangled rale His latest breath.

The vast black body floats Above the crossing knees As a cloud over thrashed branches, a calm ship Over choppy seas, Shuddering its fan and feathers In fine soft clashes With the cold sound that the wind makes, fondling Paper-ashes.

The pale-blue bony head Set on its shepherd's-crook Like a saint's death-mask, turns a vague, superb And timeless look Upon these clocking hens And the cocks that one by one, Dawn after mortal dawn, with vulgar joy Acclaim the sun.

-Richard Wilbur

e)iiinois OOesieyan cr3ivic (Sh:cnestra Steven W. Eggleston, Director

Violin I

FlutelPiccolo

Nicole Frey, concertmaster

Jamie Schwendinger*

Sharon Chung

Lynne Krayer

Luke Herman

Christine Favia piccolo -

Julie Pusch Laura Lulusa

OboelEnglish Hom

Heidi Spring

Allison Baker*

Kathryn Diana

Rebecca Kirk

Faye Bowren

Bassoon Violin II

Ryan Caldwell*

Pamela Parisi *

Diana Hammer

Marta Siaba Corinn Brooks

Clarinet

Diane Tasic

Matt Newhouse*

Betsy Garver

Rachel Throckmorton

Janna Rose Fred Moore

Hom

Sue Kohl

Laura Wsol*

Paul Schillinger

Emily Fink April Johnson

Viola

Alexis Webb

Erica Schambach* Ben Johnson

Trumpet

Jen Krowka

Olivia Malin*

Madeleine Bray

Brian Niebuhr

Ruthie Albee

Peter Weber

Kyle Sessions

Trombone Cello

Guy Kelpin*

Karl Knapp*

Mark Thomson

Beth,my Von Behren Christine Mah

Tuba

Megan Lynch

Chad Maxwell*

Vanessa Rogers June Dixon

Percussion

Bethany Bilobran

Dan Solovitz*

String Bass

Jillian Holler

Dan Witte Andrew Giller* Jeremy Nicholas Graham Czach Erwin Vreeman

* Denotes Principal

J. Scott Ferguson, Director

Soprano

Tenor

Jessica Bicknell

Nathan W. Brown

Jennifer Cowgill

Jeremie M. Davis

Jamie-Rose Guarrine

Alfred Alan Hannon

Elizabeth Kensek

Jared Johnson

Melissa Keysor

T. J. McLaughlin

Sarah E. Klusak

Brent Smith

Heather Kennel

Gregory A. Tittle

Christina Kingen Victoria Moss

Bass

Megan Richards

Landon Alvey

Jennifer Robb

Rodney Arnett, Jr.

Shelby Sours

Nathan Bramstedt

Erin Tchoukaleff

Michael Cavalieri Charles Clayton

Alto

Jeremy Coffman

Megan Blodgett

Christopher Grant Cotner

Jenny Boehm

Gregory Dvorak

Nikki Ann Carnevale

Richard Kaminski

Elizabeth Dierbeck

Matthew M. Lorz

Laura Engelhardt

Matthew Schneider

Erin Howe

Brian Christopher Williams

Kate Lawson Deborah Miller Carol Priniski Christine Printz Suzanne A. Shields Sarah Sipll

J. Scott Ferguson, Director

Soprano

Tenor

Jennifer Cowgill

Alfred Alan Hannon

Marie Fifelski

Jared Johnson

Jamie-Rose Guarrine

T. J. McLaughlin

Christina Kingen

Gregory A. Tittle

Lauren Sopocy Erin Tchoukaleff

Bass Charles Clayton

Alto

Richard Kaminski

Jenny Boehm

Matthew M. Lorz

Nikki Ann Carnevale

Matthew Schneider

Elizabeth Dierbeck

Brian Williams

Deborah Miller Sarah Schlinder Suzanne A. Shields

OOin() @nsembte Steven W. Eggleston, Director

FlutelPiccolo

Horn

Jamie Schwendinger*

Laura W sol*

Lynne Krayer

Emily Fink

Sarah Sipll-piccolo

April Johnson

Nicole Pfeiffer

Betsy Frick

Kate Weber

Trumpet OboelEnglish Hom

Olivia Malin*

Allison Baker*

Brian Niebuhr

Rebecca Kirk

Peter Weber

Liza Hicken English horn

Amy McCabe

-

Stephen Thomson

Bassoon Trombone

Ryan Caldwell* Sean Wise

Guy Kelpin* Mark Thomson

Clarinet

Jennifer Tuttle

Matt Newhouse*

Kevin Van Prooyen- bass

Rachel Throckmorton Melissa Cuff

Euphonium

Lianne Carr

Sean Parsons*

Erin O'Neil

Tuba

Karin McDowell

Justin Boller*

Bass Clarinet

Chad Maxwell

Maury Beelman

String Bass Saxophone

Jeremy Nicholas*

Andy Ritger* -alto Andrew Stott-alto

Percussion

Andrew Eckert tenor

Dan Solovitz*

-

Kim Buikema-baritone

Holly Gray Nikki Carnevale Jillian Holler Dan Witte

* Denotes Principal

0ymposium 06 crJontemporary �usic Guest Composers • Performers 1954 .. 1998

•

Scholars

1954: 1955: 1956: 1957: 1958: 1959: 1960: 1962: 1963: 1964:

Normand Lockwood, Robert Palmer Wallingford Riegger, Peter Mennin

1966: 1967: 1968: 1969: 1970: 1971: 1972: 1973: 1974: 1975: 1976: 1977: 1978: 1979: 1981: 1982: 1983: 1984: 1985: 1986: 1987: 1988: 1989: 1990: 1991: 1993: 1993:

Louis Coyner, Edwin Harkins, Philip Winsor, Edwin London

Hunter Johnson, Ulysses Kay Ernst Krenek, William Bergsma Aaron Copland Paul Pisk, George Rochberg Roy Harris Robert Erickson, George Rochberg, Glenn Glasow Robert Wykes, Alabama String Quartet Robert Wykes, E. J. Ulrich, Salvatore Martirano, Herbert BrGn, Ben Johnston

1995: 1996: 1997: 1998: 1999:

Frederick Tillis, George Crumb lain Hamilton The Loop Group, DePaul University Halim El-Dabh, Oily Wilson Edward J. Miller Stravinsky Memorial Concert Courtney Cox, Phil Wilson Scott Huston David Ward-Steinman Donald Erb Lou Harrison, Ezra Sims M. William Karlins Leonard B. Meyer Walter S. Hartley David Ward-Steinman George Crumb Concert Robert Bankert, Abram M. Plum, R. Bedford Watkins Michael Schelle Jean Eichelberger Ivey Jan Bach John Beall Hale Smith Karel Husa Alice Parker (Spring) Alexander Aslamazov (Fall) Leslie Bassett, John Crawford (Society of Composers, Inc. Region 5 Conference) David Diamond Morton Gould Memorial Concert Joseph Schwantner Arvo Part John Corigliano