Belmont University School of Music
THURSDAY, FEBRUARY 6, 2025 7:30 PM MCAFEE CONCERT HALL
Belmont University School of Music presents
A Celebration of Black History Month
Belmont University Symphony Orchestra & String Chamber Orchestra
Dr. Christopher Fashun, conductor in partnership with The HUB and University Ministries
String Chamber Orchestra
Danzas de Panama
William Grant Still Tamborito (1895-1978) Cumbia
Just Friends
John Klenner/Sam M. Lewis from Charlie Parker with Strings arr. Jimmy Carroll edited by Jeffrey Sultanof
April In Paris E.Y. “Yip” Harburg/Vernon Duke from Charlie Parker with Strings arr. Jimmy Carroll
Repetition
Neal Hefti from Charlie Parker with Strings arr. Neal Hefti edited by Jeffrey Sultanof
Dr. Alex Graham**, alto saxophone
Eli Dranow*, piano
Alex Haldane*, bass
Andre Burton*, drums
Afro Blue
Mads Anderson*, violin
George Graefen*, viola Davis Arens*, cello
Genevieve Braden*, cello
Emma Buckner*, violin
*School of Music Student
**School of Music Faculty
15 Minute Intermission
Mongo Santamaria (1917-2003) arr. Christopher Fashun**
Umoja: Anthem of Unity
Symphony Orchestra
Symphony No. 3 in C minor, op. 78
Valerie Coleman (b. 1970)
Camille Saint-Säens
I. Adagio – Allegro moderato – Poco adagio (1835-1921)
II. Allegro moderato – Presto – Maestoso – Allegro
Danzas de Panama
Program Notes
Known as “The Dean of Afro-American composers”, William Grant Still is a historic figure in the world of classical music. He was the first Black American composer to conduct and direct a major American symphony orchestra, conduct a major American network radio orchestra, have an opera produced by a major American opera company, and have an opera televised on a national network (after his death). Integral to his compositional style were characteristics of Black American music: call and response, jazz, the blues, and spirituals. His Black American, Native American, Spanish, Irish, and Scotch also influenced his compositional inspiration with elements of folk and indigenous music cultures.
Danzas de Panama is a collection of four Panamanian dance themes collected by and introduced to William Grant Still by ethnomusicologist Elizabeth Waldo. The themes contain elements AfroPanamanian, indigenous, and Spanish music. The first and last movements (performed at this concert) exhibit the most Afro-Panamanian influences in the rhythmic tapping on the stringed instruments, replicating the percussion instruments brought by the enslaved Africans.
The first movement, Tamborito, is traditionally a “dance performed with percussive instruments and voice, or with strings and percussion. The drum introduction is repeated at the end of the dance.”
The final movement, Cumbia, is the “most sensuous of all the dances, and completely lacking in European elements. When it is danced in the streets, the women hold lighted candles in their upraised hands, while the men dance about them in an abandoned manner. A more refined Cumbia is adopted for other occasions.”
Program notes by Dr. Christopher Fashun, School of Music Faculty
Charlie Parker with Strings
When Billie Holiday signed with Decca Records in 1944, she requested to her producer, Milt Gabler, that she wanted to record with strings. Realizing her talent, he hired six strings players to record her first session and the chart, Lover Man, became one of her biggest hits. This in turn inspired Charlie Parker to do the same when he signed with the legendary manager/producer Norman Granz on the Verve label. The result was one of Parker’s most monumental recordings
and in the eyes of many critics, some of his best playing.
The musicians Granz hired were the very best New York session players from Toscanini’s NBC Radio Symphony Orchestra. As the story goes, Parker “walked out on a few sessions without playing a note (the number has never been authenticated). He later explained that the sound of the strings and the thought of working with such distinguished musicians scared him; he thought they were greater artists than he. What finally took place was sheer magic. The parts of the string players were relatively easy, so they listened and enjoyed Parker’s improvisations. It would appear that all of the released performances came from a single recording date, November 30, 1949.”
“Parker would later say that these recordings were his favorites of his own work, despite jazz critics’ condescending reactions and their claims that he was ‘selling out.’ As it turns out, he was selling ‘in.’ . . . Just Friends is one of Parker’s finest records and his solo is remarkable.”
Program notes by Dr. Christopher Fashun, School of Music Faculty
Afro Blue
Cuban conguero, Mongo Santamaria, learned congas playing rumba in the streets of Havana. He learned other important Cuban genres like Santeria (the Afro-Cuban religion), salsa, and pachanga. In 1950 he moved to New York City and joined Tito Puente’s band as a conguero and then moved on to join Cal Tjader’s band in 1957. He wrote Afro Blue in 1959 and recorded it with Tjader’s band the same year. It is the first jazz standard to use the African 12/8 clave that uses a 3:2 polyrhythm. As a violist and percussionist, I felt it only natural to write an arrangement of this standard. The timbre of the strings and percussion are a common pairing in the popular music of Cuba and other Spanish colonized places in the Caribbean, South and Central America. The prominent influence of percussion in Cuba is unparalleled in these places with the exception of Brazil. The 12/8 clave can be heard throughout the piece, sometimes played by the strings and other time by a percussion instrument. The inspiration and musical material derive from the many recordings by Mongo Santamaria.
Program notes by Dr. Christopher Fashun, School of Music Faculty
Umoja: Anthem of Unity
In its original form, Umoja, the Swahili word for Unity and the first principle of the African Diaspora holiday Kwanzaa, was to compose a simple song for women's choir. It embodied a sense of 'tribal unity', through the feel of a drum circle, the sharing of history through traditional “call and response” form and the repetition of a memorable sing-song melody. It was rearranged into woodwind quintet form during the genesis of Coleman’s chamber music ensemble, Imani Winds, with the intent of providing an anthem that celebrated the diverse heritages of the ensemble itself.
Almost two decades later from the original, the orchestral version brings an expansion and sophistication to the short and sweet melody, beginning with sustained ethereal passages that float and shift from a bowed vibraphone, supporting the introduction of the melody by solo violin. Here the melody is a sweetly singing in its simplest form with an earnest reminiscent of Appalachian style music. From there, the melody dances and weaves throughout the instrument families, interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism and hate that threatens to gain a foothold in the world today. Spiky textures turn into an aggressive exchange between upper woodwinds and percussion, before a return to the melody as a gentle reminder of kindness and humanity. Through the brass led
ensemble tutti, the journey ends with a bold call of unity that harkens back to the original anthem. Umoja has seen the seen the creation of many versions, that are like siblings to one another, similar in many ways, but each with a unique voice that is informed by Coleman’s ever evolving creativity and perspective.
“This version honors the simple melody that ever was, but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.”
Program notes by Valerie Coleman, composer
Symphony No. 3 in C minor,
op.
78
The works of nineteenth century French symphonists that began with Berlioz and was carried on by Franck, Gounod, and then Saint-Säens, were always passed over in favor of the French preference for opera and drama. The French could appreciate the Austro-German classicism of Mozart, Haydn, and Beethoven, but these French composers followed in the footsteps of Liszt and Wagner, although Gounod supposedly nicknamed Saint-Säens the “French Beethoven.” Although Saint-Säens’ music possessed many of the elements of classical style (symmetrical phrasing, use of form, clarity and transparency in texture), the influence of Berlioz and Liszt balanced his more conservative characteristics.
In a century filled with archetypes, one dominant theme throughout was that of “Death and Transfiguration” or “Resurrection”, both in a compositional and personal sense. When the Philharmonic Society of London (the same organization that commissioned Beethoven’s Ninth Symphony) asked Saint-Säens to write a symphony in 1886, he eagerly accepted, and it was premiered the same year with Saint-Säens conducting the premiere.
Written without a programmatic idea or theme, Saint-Säens’ use of thematic transformation (inspired by Liszt) and the implied “Resurrection” theme (the symphony begins in C minor and ends triumphantly in C major) cannot be ignored. Saint-Säens audience would certainly have made the Beethovenian connection to the Fifth Symphony and its design of triumph over struggle. Also embedded into the work is a short motive from the Dies Irae (“day of wrath”), used by many composers to suggest death and judgement. Saint-Säens uses it less literally than other composers and by the fourth movement presents it in a major key, signifying its transformation.
Although Saint-Säens claimed that one could find a traditional four movement symphonic form in the work, it is not how he wrote it. Rather, form is subservient to thematic transformation and cyclical treatment of the theme and his innovative synthesis of combining four movements into two deviate from formal conventions. Even in his use of sonata form in the first movement and scherzo and trio in the written second movement, he deviates from the form at the end of the movement with new material that is used to transition into the next movement. In addition to his innovative form, the creative brilliance of this symphony is also heard in his colorful orchestration and inclusion organ and piano (four hands).
This symphony would be the last symphony Saint-Säens would write. Feeling that he could not supersede this work, years later he wrote, “I have given all that I had to give. What I have done I shall never do again.”
Program notes by Dr. Christopher Fashun, School of Music Faculty
Violin 1
String Chamber Orchestra Personnel
Mads Anderson, principal
Emma Buckner
Ella Markwald
Ana Flinton
Soren Bortnem
Violin 2
Madison Stroth, principal
Bea Arielle Balde
Amina Brugoni
Sophia Thompson
Joseph Garate
Viola
George Graefen, principal
Branton Meyers
Ava Rey
Rebecca Wise
Cello
Davis Arens, principal
Genevieve Braden
Kindle Knight
Winnie Grober
Casey Hale
Bass
Talon Seidel, principal
Claire Walker
Oboe
Lily Chantler
Harp
Audrey Smith
Percussion
Dakota Liam Cline
David McCully Williams
Matthew Love
Symphony Orchestra Personnel
Violin 1
Dani Alexander, concertmaster
Kinsey Overdeer
Rocco Greco
Emma Buckner
Violin 2
Kara Schlenk, principal
Sam Lehe
Hannah Adams
Nadia Foote
Viola
George Graefen, principal
Karissa Szarek
Cello
Grant Brown, principal
Graham DeHaan
Hannah Silverman
EJ Carson
Bass
Cameron Bertolet, principal
Claire Walker
Carter Bohman
Mads Anderson
Heather Sherm
Luke Baxley
Sam Lock
Jade LaGore
Macahila Hinnenkamp
Zachary Hardin
Natalie Piedra
Bella Kinard
Kate Borosky
Madelyn Duncan
Angie Jackson
Ingrid Bakeman
Ari Stoker
Micah Lundberg
Nathaniel Eulentrop
Kay Deitrich
Tessa Dalton
Florence Schumann
Kimmie Rauscher
Ben Greene
Shelby Fuller
Dakota Terhaar
Mackenzie Combs
JéNai O’Connor
Owen Siller
Davis Arens
Will Wirth
Carter Ferris
Piccolo
Hannah Steele
Flute
Brendan Wilson, principal Dillon Wright
Oboe
Lily Chantler, principal
English Horn
Amanda Rebstock**
Clarinet
McKensey Malin, principal
Bass Clarinet
Michelle Babyak
Bassoon
Hannah Steele
Briana Crowder
Tommy Steele
Harrison Sampson, principal Emily Okamura
Contrabassoon
Cayman Hogue
Horn
Jacob Andrews, principal
Caroline Holmes
Trumpet
James Ownby, principal
Trombone
Joshua Walz, principal
Tuba
Hudson Butler, principal
Harp
Audrey Smith
Piano
Andrew Wieler
Organ
Andrew Risinger*
Percussion
Matthew Love, principal
Cole Counihan
Grace Helton
Holden Cessna
Biruke Woldeyohannes
Luke Myers
Aliyah Wenneker
Deacon Angle
Gramm Raedeke
*School of Music Faculty
**School of Music Alumni
Joseph Assiryani
Luke Woody
Brooke Garrett
Miriam Marks
Upcoming Concerts and Events
Guest Theory Presentation: Dr. John Covach Analyzing the Music of the Beatles Friday, February 7, 10:00 a.m. Hitch 130
Faculty Jazz Group
Saturday, February 8, 7:30 p.m.
McAfee Concert Hall
Jazz Small Group I & Jazz String Septet Monday, February 10, 7:30 p.m.
Harton Recital Hall
Composition Honors Recital
Tuesday, February 11, 7:30 p.m.
McAfee Concert Hall
Music City Brass Ensemble
Saturday, February 15, 7:00 p.m.
McAfee Concert Hall
Join Belmont University’s College of Music
Arts for Sounds of Belmont: The 35th Annual President’s Concert & Reception on Saturday, April 12th in the Fisher Center at Belmont University. Experience an evening of stories and songs to support our talented students. The concert will begin at 6:30 p.m. followed by a festive dessert reception for all guests and performers. The purchase of a ticket to this concert and reception will benefit endowed music and theatre scholarship funds for students in the college. Premier works from the College of Music and Performing Arts Fall 2024-Spring 2025 performance season will be showcased. This concert and reception is celebrating its thirty-fifth year (formerly the President’s Concert and Reception).
For more information on upcoming concerts and events, please visit www.belmont.edu/cmpa or “like” Belmont University School of Music on Facebook.
