Colorado State University / University Symphony Orchestra / CMEA 2023

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UNIVERSITY SYMPHONY ORCHESTRA

CONDUCTED BY WES KENNEY

FRIDAY, JANUARY 27, 2023

COLORADO MUSIC EDUCATORS ASSOCIATION

BROADMOOR HOTEL

OF MUSIC, THEATRE, AND DANCE
SCHOOL

Welcome to the Colorado State Univeristy Symphony Orchestra concert at CMEA. I am pleased to have the orchestra represent our department and program at this years conference as we celebrate Maestro Wes Kenney. This program is a culmination of a luminous career at CSU as an educator, conductor, and inspiring musician, and is another fitting way to acknowledge his years of service and pedagogy to the profession. We have had the distinct pleasure of having Professor Kenney work with our students for 20 years on epic symphonic works such as the Rite of Spring, all of the Brahms Symphonies, Gershwin, Florence Price, and Silvestre Revueltas. I can’t think of a more fitting way of celebrating Maestro Kenney’s upcoming retirement than a performance for you all.

Additionally, I want to thank everyone in attendance for the work you have done to keep the music playing through these last few years. You and your programs have helped our student musicians in more ways than just creating art. You kept community alive and you did that through culture and music. Because of your work, programs like ours at Colorado State University have also blossomed through the dark days, and we continue to be ready to welcome your students on their own musical journey.

COLORADO STATE UNIVERSITY UNIVERSITY SYMPHONY ORCHESTRA CONDUCTED BY WES KENNEY

COLORADO MUSIC EDUCATORS ASSOCIATION

FRIDAY, JANUARY 27, 2023, 2-2:45 PM

James

1978)

(1887-1953)

V.

IV.

DIRECTOR’S NOTE:

After two decades of taking the University Symphony Orchestra on a tour of amazing repertoire, it is time for me to step down as director of orchestras at our fair school. Stravinsky’s Rite of Spring, Ravel’s Daphnis and Chloe Suite No. 2, Mahler’s Symphonies 1,5, and 7, and this this May’s additions of Bartok’s Concerto for Orchestra and Rachmaninoff’s Rhapsody on a Theme by Paganini, are just a few of the first-ever performances on our campus. Perhaps even more significant is the opportunity for our students to perform music by Florence Price, Coleridge Taylor Perkinson, Silvestre Revueltas, and Gabriella Lena Frank – names that certainly have created great music but perhaps have been underserved by those with programming responsibility. It is my hope that the path established with both parameters continues to be a substantial part of the diet of music the CSU Symphony performs. Many thanks to Dr. Dan Goble, director of the School of Music, Theatre, and Dance, and Dr. Michelle Stanley, department chair, and all of the CSU Music faculty who continue to raise the abilities of their students so they can tackle the great and broad repertoire that is available to all of us.

David Sun Dagger (2022) (b. Florence Price Symphony No. 3 in C minor, 1940 I. Andante—Allegro III. Juba Gustav Holst The Planets: Suite for Large Orchestra, Op. 32 (2018) (1874-1834) VI. Uranus, the Magician Saturn, the Bringer of Old Age Jupiter, the Bringer of Jollity

PROGRAM NOTES

Sun Dagger

Ancient cultures throughout the world have sought to connect the earth and the sky by marking the movement of celestial bodies. During the first millennium AD, the Ancestral Puebloan people flourished in Chaco Canyon just south of Colorado’s current border. Among the hundreds of unique buildings and petroglyphs is the so-called “Sun Dagger,” a spiral carving behind massive stone pillars. These pillars created two “daggers” of sunlight that frame the spiral on each winter solstice, lasting for only a few minutes a year. A single sun dagger that perfectly bisected the spiral occurred each summer solstice. These precisely aligned pillars created such dramatic light displays for centuries until being shifted by erosion in the 1980’s.

My symphonic poem for orchestra imagines the winter solstice of Chaco, circa 1000 AD. The high desert plains at night are depicted through slowly evolving harmonies from strings, harp, and metallic percussion. This serenity is interrupted by dancing Ursid meteors in their brilliant annual splendor with darting woodwinds, pizzicati, and muted brass. Finally, the stars fade to reveal the splendor of the winter sun’s light reflecting off the snow-covered buttes and revealing the Sun Daggers for a few brief moments. Massive brass harmonies and ringing bells slowly subside into the hushed tones of the desert to bring the work to a restful conclusion.

— Notes by the composer

Symphony No. 3 in C minor

Florence Price (1887-1953)

The influences in Florence Price’s life can be heard throughout the four movements of her Symphony No. 3 in c minor. Born in Little Rock, Arkansas, she graduated with honors from the New England Conservatory in 1906 then returned to her birth home to educate African American students before racial strife forced the family to relocate to Chicago. In that city’s classical music arena, Price thrived as both a performer and composer. Her first five years yielded three major works: Symphony No. 1 in E minor, Ethiopia’s Shadow in America, and the Piano Concerto in One Movement. Frederick Stock, the Music Director of the Chicago Symphony took notice of the award winning First Symphony and programmed it for that ensemble in 1935.

There were three more symphonies to follow. Unfortunately, the 2nd symphony manuscript has been lost, but Nos. 3 and 4 have survived and with new editions of the parts have piqued the interest of contemporary conductors.

Price wrote in a letter prior to the 3rd Symphony’s premiere: “It is intended to be Negroid in character and expression, [but] no attempt has been made to project Negro music solely in the purely traditional manner.” Thus, in listening to the just over half hour score, one can

hear the inspiration of spirituals and other melodies, but not direct quotes. As mentioned earlier, her life’s experiences can help an understanding of her compositional approach. The first and fourth movements are in a Sonata Allegro procedure, but with many interesting variations. Could it be that during her time in Boston at the Conservatory that she was exposed to composers who were changing the way this so-called form was used? Certainly by 1940 her exposure would include the Soviet composers as well as Sibelius and Mahler. But Price’s struggle to be heard during her career can be heard as well--that stormy key of c minor as well as her liberal use of almost “Debussyesque” ninth chords lending a dissonance and edge to the sound of her music. In fact, the slow opening of the first movement is the most dissonant of the entire work. It is interesting to note that she returns to that darkness to close the final movement scherzo. If pain can be a musical experience, Price is making the listener feel hers. The first movement begins with a slow introduction before launching into the first main time announced first in the low strings. An eventual modulation into the major mode hearkens to the tune “Deep River” but sung by a trombone. Notice in this movement and throughout the work the use of the various orchestra choirs as separate entities.

The “Juba” of the third movement is drawn from a 19th century southern dance with stomping and body slapping. It is highly syncopated and gives the impression of a very sophisticated “ragtime” style. There are too slow sections offering a slithering type blues. Listen for the surprise solo instrument in the second slow section! It should be noted the three-note opening of the tune corresponds to the main theme of the opening movement.

The Planets

Gustav Holst (1874–1934)

The Planets, written by Gustav Holst throughout the First World War, was completed in 1917 and first premiered in 1920. The composition quickly became Holst’s most famous work, and stands as a bucket list piece for many orchestral musicians. The composer disliked the immense attention received by The Planets, as he felt that its popularity overshadowed most of his other works, which he considered to be of higher quality. The piece is a sevenmovement orchestral suite, with movements named after all of the planets in our solar system, excepting Earth and Pluto. The explanation for this is simple. The composition is not based on astronomy, but astrology, in which Earth plays no significant role, and Pluto was discovered in 1930, well after the piece was published. Holst died in 1934, but never amended the suite to include the now-designated dwarf planet, even though it took on astrological significance after its discovery. Holst uses his titles as a sort of guide to the music:

“Jupiter, the Bringer of Jollity” conjures images of grand celebrations and hearty festivals. Flamboyant brass and excitedly moving lines litter the whole movement. Listen for the horns as they introduce the major themes in joyous unison, only to be repeated throughout the movement as every instrument gets its turn to shout in joy. Like “Mars,” this piece is frequently performed on its own.

“Saturn, the Bringer of Old Age” produces slow moving lines, like a wise elder, never in a hurry. Another movement that seems to exist only as a stark contrast to its predecessor, “Saturn” is everything that “Jupiter” is not—slow, quiet and methodical. Listen for its melodies and hear how much simpler they are in comparison, as they allow rich harmonies and textures to shine through.

“Uranus, the Magician,” features a lot of bouncy and light melodic material, sounding whimsical and playful. The introduction is nothing like that though, for it stands as a loud and epic statement of the main theme of the movement. Four long notes are played several times throughout. Immediately afterward, the bassoons play a playful little tune that sets the tone for the rest of the movement with much buoyancy.

COLORADO STATE UNIVERSITY MUSIC APPLIED FACULTY

Violin

Ron Francois

Leslie Stewart

Viola

Margaret Miller

Cello

Alice Yoo

Bass

Forest Greenough

Guitar

Jeff Laquatra

Flute

Michelle Stanley

Megan Lanz

Oboe

Pablo Hernandez

Clarinet

Wesley Ferreira

Saxophone

Peter Sommer

Dan Goble

Bassoon

Cayla Bellamy

Trumpet

Stanley Curtis

Horn

John Mcguire

Deaunn Davis

Trombone

Drew Leslie

Tuba/Euphonium

Stephen Dombrowski

Percussion

Eric Hollenbeck

Shilo Stroman

Harp

Kathryn Harms

Piano

Bryan Wallick

Organ

Joel Bacon

Voice

Nicole Asel

Tiffany Blake

Violin I

COLORADO STATE UNIVERSITY ORCHESTRA

WES KENNEY, Conductor ROBERT STAHLY, Graduate Teaching Assistant

Jessica Rosado, Universidad Veracruzana, Ollin Yolliztli concertmaster

Landon Fennell, Denver School of the Arts asst. concertmaster

Matthew Dinsmore+ University of North Carolina at Charlotte

Mary Fox Denver School of the Arts

Elizabeth Furuiye+ ColoradoState University, Patrick Hyatte+

Lola Kern+ University of Iowa

Madison Kubala Liberty Common High School

Ben Thomason+ Whitman College, CSU Northridge

Isabella Ulate Osbourn Park High School, VirginiaTech

Violin II

Annie Smith** Los Alamos High School, Brigham Young University Idaho

Kathryn Carlos Discovery Canyon Campus

Rhea Chan* Chaparral High School

Jean Denney+ Colorado State University

Robert Kreutz+ Colorado State University, University of Denver

Devon Mayes Cherokee Trail High School

Tim Patawaran Rocky Mountain High School

Emily Spear+ Colorado State University, University of Minnesota

Leslie Stewart + Interlochen Arts Academy, University of Southern California

Bennett Stucky+ University of Northern Colorado, Colorado State University

Viola

Ethan Buell** Johns Hopkins University

Percy Slovut* Arapahoe High School

Angel Bustillos Longmont High School

Shawn Murphy Fairview High School

Madelyn Reynolds Lakewood High School

Emily Rowe Rock Canyon High School

Julia Vance Liberal Arts and Science Academy

Cello

Avery Smith** Thomas Worthington High School, Baldwin Wallace University

Robert Stahly* Rampart High School, Colorado State University

Laurel Ave Mountain View High School

Cameron Edwardo Teton High School

Kylie Erickson Loveland High School

Ashleigh Haliw Dakota Ridge High School

Alex Koster Windsor High School

Jimmy Olson Roseville High School

Grace Stuewe Lyons Township

Kristin Weninger Caledonia

Bass

Cristian Mazo** High School, University of Antioquia

Zachary Niswender** Loveland High School

Hunter Allen Niwot High School

Thomas Hasler

Max Johnson Millard South High School

Annie Scott iUniversity

Flute

Eden Ainscough Lakewood High School

Merritt Jones Sam Houston High School, McNeese State University

Fran Lujan Palisade High School

Jenna Moore Longmont High School, Colorado State University

Oboe

Sarah Veldhuizen** Webster Groves High School

Pablo Hernadez+

Jacquelyn Olivera Stone Bridge High School

Kyle Sneeden+

Jessica Warner+

Clarinet

Rachel Bowyer Liberty High School

Bradley Irwin Billings Central High School

Alfredo Ramirez East Bakersfield High School

Andrew Rutten** Kindred High School

Bassoon

Charlie Beauregard Clayton A. Bouton High School

Michael Coffey Glenda Dawson High School

James Scott Lebanon High School

Shane Underwood Fort Collins High School

Horn

Ayo Derbyshire Cherry Creek High School, Colorado State University

Leah Dunphey Palmer Ridge High School

Sophia Marino Fossil Ridge High School

Rachel Nieves The Classical Academy

Rachel Richardson Grandview RII High School, Southeast Missouri State University

Erin Wilson Fort Collins High School

Trumpet

John Pirillo** Lake Gibson High School, Florida Southern College

Enzo Barrett Centaurus High School

Gideon Matchey Glenda Dawson High School

Kris Usrey Rocky Mountain High School

Trombone

Christian Heck Antelope High School, Boise State University

Bryce Medlyn Windsor High School

Shae Mitchell Alexander Central High School, Appalachian State University

Joseph Raby* Round Rock High School, Texas State University

Tuba

Zach Hollingsworth* Bayfield High School

Jake Archibeque

Percussion

Colin Ferry Silver Creek High School

Ben Kitchen

Thomas Landewee Jackson Senior High School, Southeast Missouria State University

Jarred Premo Ponderosa High School

Maya Reno Overland High School

Harp

Kathryn Harms+

Jenna Hunt+

Celesta and Piano

Jialin Wu Changzhou Fifth High School

** Principal * Assistant Principal + Guest Performer

SCHOOL OF MUSIC, THEATRE, AND DANCE

At Colorado State University, work alongside dedicated faculty and students to develop the knowledge and skills for excelling in a variety of fields. The world-class University Center for the Arts is located in Fort Collins, consistently ranked as one of America’s top cities with a collaborative and thriving arts community.

WE ELEVATE ARTS EDUCATION.

UNDERGRADUATE & GRADUATE DEGREE AREAS

EDUCATION l CONDUCTING l THERAPY l PERFORMANCE l COMPOSITION l JAZZ STUDIES

FULL-TIME MUSIC EDUCATION MASTERS DEGREES

M.M., Music Education l M.M., Music Education with Licensure l M.M. Music Education, Composition

INNOVATIVE ONLINE DEGREES with SHORT-TERM SUMMER RESIDENCIES

M.M., Music Education, Kodály l M.M., Music Education, Conducting l M.M., Music Therapy

SPECIALIZED GRADUATE PROGRAMS

Colorado Kodály Institute l Dalcroze-based Eurythmics Course l Graduate String Quartet Program

Opera Fort Collins Apprentice Artists l Arts Management Degree l Ph.D. in Music Therapy

ANNUAL ALL-STATE INSTRUCTIONAL VIDEOS

Videos help high school instrumental students prepare for upcoming auditions. Available each fall

SPRING 2023 AUDITION DATES: FEB. 11, and 18

Registration required for auditions. Undergraduate scholarships and graduate assistantships available.

music.colostate.edu #csumusic
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