A Musical Celebration of Diversity Northwest Symphony Orchestra Dr. Robert Pippin – Conductor With Special Guest Artist Violinist Extraordinaire – Richmond Punch
A Concert Celebrating Black History Month Presented by Northwest Missouri State University College of Arts and Sciences Department of Fine and Performing Arts, and The Office of Diversity, Equity, and Inclusion Tuesday, February 12, 2019 – 7:30 p.m. Mary Linn Auditorium Ron Houston Center for the Performing Arts
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Program Fanfare for the Uncommon Woman (1987) The Symphony Brass and Percussion Finlandia (1899) Tone Poem for Orchestra, Op. 26
Joan Tower (b. 1938)
Jean Sibelius (1865-1957)
Featured Guest Artist – Richmond Punch, violin Special Guest – Charles Williams, piano Trip
Ella Mai
Voyage
Richmond Punch
Back That Violin Up
Richmond Punch
Unforgettable (1951)
Irving Gordon (1915-1996) arr. J. S’Bach Richmond Punch – violin; Northwest Symphony Strings
Afro-American Symphony (1930) William Grant Still (1895-1978) I. Longing IV. Aspiration Slide show courtesy of Dr. Michael Faris A special thanks to the office of Diversity, Equity, and Inclusion for providing funding for Richmond Punch to perform at this event, as well as providing the rental fees for the Still symphony and the Tower fanfare. Additionally, a thank you to Dr. Michael Steiner for finding funding for the reception after the concert in the lobby, and for promotional materials. Additional thanks to Alison Bagley, who assists the orchestra and helps with whatever Dr. Pippin asks, sometimes on unfairly short notice. Thank you! Connor McNair is the new librarian for the Northwest Symphony. He has done a fantastic job making sure all the sheet music needs are taken care of for the orchestra, and we could not do our job making music without him. Thank you, Connor!
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Program Notes Fanfare for the Uncommon Woman Joan Tower is an American composer who has been regarded by The New Yorker as “one of the most successful woman composers of all time.” In a September 2018 interview by Abby White about the inspiration for this fanfare, Tower said “This was after the ‘60s and ‘70s when the consciousness-raising was happening and all these feminists were lashing out about women not having enough power or income, and I was reading a lot of the feminist books. I was really on board with that. And then the Houston Symphony came along and said, ‘We’d like you to write a fanfare.’ And I said, ‘OK, a fanfare, what the hell is a fanfare? Oh yeah, it has a lot of brass, I think.’ [Laughs.] So then I started thinking about [Aaron] Copland and the only fanfare I knew, Fanfare for the Common Man, and the title really bothered me. For the ‘common man?’ What the hell is that? It’s kind of elitist. So, I had to turn that one around. An ‘uncommon woman’ means a woman who takes risks, who is adventurous.” (White, Abby. “An Uncommon Woman: Composer Joan Tower Reflects Upon Six Decades in Classical Music.” BMI, Broadcast Music Inc., 19, September 2018) Fanfare for the Uncommon Woman shares the same instrumentation as the Copland, with additional percussion. This fanfare was dedicated to the conductor Marin Alsop, who is currently Music Director and conductor of the Baltimore Symphony, and Director of Graduate Conducting at the Peabody Institute. The success of Fanfare for the Uncommon Woman generated commissions for five additional fanfares for the ‘Uncommon Woman,’ including versions for full symphony orchestra, trumpet ensemble, and even for teenaged pianists. Finlandia A tone poem is typically a single-movement, programmatic form of music intended to depict a narrative of some sort, either abstractly or more literally. This form was popular in the late 19th and early 20th centuries, utilized most notably by composer Richard Strauss in ten different tone poems, representing what is often considered to be the pinnacle of programme music for the time. In February, 1899, the Emperor of Russian, Nicholas II issued his “February Manifesto,” censoring the autonomy of the Grand Duchy of Finland, which was the predecessor state of what is now Finland. The opposition to this censorship led to artists creating works in political protest, and Sibelius’ contribution to this effort eventually became Finlandia. It was written as the finale of six tableaux depicting historical scenes of Finland, written for the Finnish “Days of the Press” celebrations. The fifth tableaux was titled “The Great Hate”, referring to the tactics of the Russian Army during their invasion in 1714, which featured some extremely dark and cutting music. The finale, titled “Finland Awakens” was intended to portray Finland’s fighting spirit. Sibelius reorchestrated this version after taking the piece on a European tour in the following months, and titled it “Finlandia.” According to the composer, the lyrical, hymn-like section of the piece was not originally intended to be sung, however it became so popular, people began singing existing songs such as “Be Still My Soul” to the melody. Several texts were proposed to Sibelius, with the composer finally approving a version written by Veikko Antero Koskenniemi in 1940.
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Finlandia (English translation by Keith Bosley in Skating on the Sea – Poetry from Finland ISBN: 1 85224 388 0)
“Finland, behold, thy daylight now is dawning, the threat of night has now been driven away. The skylark calls across the light of morning, the blue of heaven lets it have its way, and now the day the powers of night is scorning: thy daylight dawns, O Finland of ours! “Finland, arise, and raise towards the highest thy head now crowned with mighty memory. Finland, arise, for to the world thou criest that thou has thrown off thy slavery, beneath oppression’s yoke thou never liest. Thy morning’s come, O Finland of ours!” Unforgettable Written by Irving Gordon was made famous by Nat King Cole in 1951 and featured on the album Unforgettable. The song has been covered over 30 times in various vocal and instrumental versions, including a “virtual duet” in 1991 by Cole’s daughter, Natalie Cole, which brought the song back into popular favor forty years after the original recording. Nat King Cole’s original version of this song was entered into the Grammy Hall of Fame in 2000. Afro-American Symphony “With humble thanks to God, the source of inspiration.” – William Grant Still William Grant Still was born May 11, 1895 in Woodville, Mississippi. Growing up in Arkansas, Still began studying violin formally as a teenager, and taught himself how to play multiple orchestral wind and string instruments. After graduating as valedictorian, he first pursued a career in medicine, but ultimately dropped out of college to pursue music full time. He studied music at Oberlin College in 1917, but had to leave to serve in the Navy from 1918-1919. Soon after his service, he relocated to New York City, becoming involved in the African American music scene of the Harlem renaissance. He worked with W.C. Handy as a band member, arranger and tour manager, as well as performing and arranging in many other music endeavors in NYC. Still studied composition with George Chadwick and Edgard Varése. He composed symphonies, orchestral suites, ballets, and operas. Afro-American Symphony brought Still a great deal of acclaim, and represented a turning point in his career. This was the first symphony by an African American composer performed in its entirety by a major American symphony orchestra. Still was the first African American to conduct a major symphony orchestra, the first to conduct a major American orchestra in the deep south, and the first to have an opera performed by a major American opera company. The Afro American Symphony employs blues themes and harmonies, and incorporates elements of spirituals and jazz. This piece is the hallmark work by Still, and continues to be in the standard canon of works performed by symphony orchestras worldwide. 4
Poetry included in the 1935 version of the score to accompany each movement, by Paul Laurence Dunbar~ I.
Moderator Assai – “Longing”
II.
“All my life long twell de night has pas’ Let de wo’k come ez it will, So dat I fin’ you, my honey, at last’, Soewhaih des ovah de hill.”
III.
Animato – “Humor”
“It’s moughty tiahasome layin’ ‘roun’ Dis sorrer-laden earfly grouin’, An’ oftentimes I thinks, thinks I ‘Twould be a sweet t’ing des to die An’ go ‘long home.” IV.
“An’ we’ll shout ouah halleluyahs, On dat mighty reck’nin’ day.”
Adagio – “Sorrow”
Lento, con risoluzione – “Aspiration”
“Be proud, my Race, in mind and soul. Thy name is writ on Glory’s scroll In characters of fire. High mid the clouds of Fame’s bright sky Thy banner’s blazoned folds now fly, And truth shall lift them higher.”
All program notes by Robert Pippin, unless indicated otherwise Richmond Punch is a violin virtuoso who delivers a riveting, dynamic, explosive, and powerful performance! Dallas’s own, he graduated from Booker T. Washington High School and the Julliard School of Music earning a Masters Degree. His business specializes in live violin music for all events including special events, corporate events, concerts, festivals, weddings and worship. Mr. Punch plays everything from classical music to jazz, hip hop and gospel. He auditioned for America’s Got Talent and has auditioned for Showtime at the Apollo. Mr. Punch, who has recently performed at SXSW in 2018 is Austin, Cancun, Los Angeles and Cabo San Lucas has delighted and dazzled audiences from Atlanta to anchorage, Las Vegas to New York, and everywhere in between. Richmond is a Disney Cruise Line Entertainer, continuing to bring global violin entertainment to the world. He recently performed the opening act for Idina Menzel from Disney’s Frozen at a Gala, and has entertained such celebrities as Viola Davis, Danny Glover, Steven Forbes, Daymond “Sharktank” Jon, Omari Hardwick, Letova Luckett, Morris Chestnut, Jewel, Bishop T. D. Jakes, Ross Perot, Kirk Franklin, Kirk Whalum, Nolan Ryan, and Emmit Smith. Mr. Punch especially enjoys traveling the country, entertaining National Greek Organizations, National conferences for senators, Representatives, and U.S. Congress, the Jewish Community Center, and various houses of worship. He has also played backup for Kenny G and Diana Ross. He has been a dedicated volunteer in both performing & speaking with many non-profits, mentoring programs which include Big Brothers Big Sisters. His music has been heard on WBAI 99.5 in NYC.
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Northwest Symphony Orchestra Personnel Flute William Licop, BME – Platte City, MO * Reba Bowen, BME – Excelsior Springs, MO Marissa Glidewell BME – St. Joseph, MO? Bassoon Jared Carlton, BME – De Soto, KS * Melody Willemsen, BS – Kansas City, MO Bass Clarinet Megan Watkins, BS – Kearney, MO Trumpet Kaila Stigler, BS / BA, Kansas City, MO * Brandon Sconce, BME – Kansas City, MO Delaney Lynam, BS – Omaha NE Percussion Kaleb Hascall, BME – Kansas City, MO * Aidan Ervin, BME – St. Joseph, MO Jeremiah Price, BME – Bethany, MO Michael Sears, BA – Platte City, MO Harp Jim Palmer – Maryville, MO #
Oboe Madi De Boer, BS – O’Fallon, IL * Rylee Norman, BSED – Lee’s Summit, MO English Horn Joseph Tomasso – Northwest Faculty Clarinet Hannah Richter, BS, BA – Atlantic, IA* Ali Snyder, BME – Hendersonville, TN Alexi Fournier, BME, Ankeny, IA+ Horn Kyle Fitzgerald, BA – Kansas City, MO * Scott Martin, BME – Kansas City, MO Grace Roby, BME – Plattsmouth, NE Riley Butterfield BS – Papillion, NE Trombone Chris Frisby, BA – Platte City, MO * Coby Brogan, BME – Gallatin, MO Bass Trombone Colton Butcher, BME – Platte City, MO Tuba Christian Hockman, BA – Gladstone, MO
Violin I Concert Master Josiah Akers, BA – Gentry, MO Associate Concert Master Amber Schrader-Matthies, BA – Smithville, MO Angel Trinh, BS – Lincoln, NE Stephanie Jorandby – Northwest Faculty Viola Megan Clasen, BS – Chesterfield, MO * Taylor Dodson, BA/BS – Lee’s Summit, MO Daniel Harris BS – Kansas City, MO Alyssa Bell – Northwest Faculty Double Bass Josh Miller, BA – Kansas City, MO * Andrew Holmes, BS – York, NE Daniel Bates, Clarinda, IA # Matthew McGrory – Northwest Faculty
Violin II Kelly Nowack, BS – Dubuque, IA * Korbin Heater, BME – St. Joseph, MO Tara Hunt, BS – Kansas City, MO Dominique Brooks, BS – Shawnee, KS Angelik Rodriguez – BME – Omaha, NE Samuel Haung – Hong Kong # Cello Mary Evelyn Aguilera, BME – Blue Springs, MO* Abbey Braak, BS – Omaha, NE Dakota Hild, BA – Kansas City, MO David Schmitt, Lee’s Summit, MO #
* Principal + Assistant Principal # Guest Artist 6
Northwest Music Faculty Alyssa Bell – Violin, Viola John Bell – Director of Bands, Music Education Dr. Debra Brown – Music Education Dr. Jiwon Choi – Collaborative Pianist Dr. Rebecca Dunnell – Flute, Musicology Andrea Stanton – Horn Dr. Ernest Kramer – Piano, Harpsichord, Music Theory, Composition Dr. Brian Lanier – Madraliers, Celebration Show Choir, Univ. Chorale, Music Education Matthew McGrory – Cello, Double Bass Andrew Morales – Percussion Dr. Anthony Olson – Piano, Organ Dr. Sheila Phillips – Applied Voice Dr. Robert Pippin – Director of Orchestra, Low Brass, Music Education Dr. William Richardson – Trumpet, Jazz Studies Dr. Pamela Shannon – Applied Voice Dr. Kathryn Strickland – Director of Athletic Bands, Percussion, Music Education Joseph Tomasso – Reed Woodwinds, Composition, Foundations of Theory Dr. Stephen Town – Tower Choir, Applied Voice, Music Theory
Northwest Administration Dr. John Jasinski – President Dr. Jamie Hooyman – Provost Dr. Michael Steiner – Associate Provost of Undergraduate Studies; Dean, College of Arts & Sciences Dr. Kathryn Strickland – Chair, Fine and Performing Arts Dr. William Richardson – Dennis C. Dau Endowed Professor of Music / Assistant Chair Northwest Summer Music Camp June 9 – 14, 2019 https://www.nwmissouri.edu/camps/music/index.htm https://www.facebook.com/nwmusiccamp/
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February Events Wednesday, February 13, 3:00 p.m. Faculty Recital: “Music of France and Japan” Joseph Tomasso and Dr. Jiwon Choi Olive DeLuce Fine Arts Building Friday, February 15, 7:30 p.m. Jazz Ensembles Concert Olive DeLuce Fine Arts Building Saturday, February 16, 6:00 – 8:00 p.m. Soul Food Dinner J.W. Jones Student Union Ballroom Tickets - $10 adults; $7 students and children 6 and under Tuesday, February 19, 7:30 p.m. Wind Symphony / Symphonic Band Concert Ron Houston Center for the Performing Arts Friday, February 22, 5:00 p.m. Northwest Jazz Festival Awards Concert Ron Houston Center for the Performing Arts
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