4/14/2022 Emory Wind Ensemble by Schwartz Center for Performing Arts

2021–2022

MUSIC@ EMORY

This concert is presented by the Schwartz Center for Performing Arts. 404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu

Audience Information Please turn off all electronic devices. Proof of vaccination or a negative COVID-19 test result is required for all patrons attending this event. Full details are available at schwartz.emory.edu/FAQ The concert hall capacity has been reduced in order to allow distance between seated parties. Please be mindful of distancing.

Photographs and Recordings

Digital capture or recording of this concert is not permitted.

Ushers

The Schwartz Center welcomes a volunteer usher corps of approximately 60 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities.

Accessibility

The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu.

Design and Photography Credits

Cover and Program Design: Lisa Baron | Cover Photo: Mark Teague

Acknowledgment

The Schwartz Center gratefully acknowledges the generous ongoing support of Donna and Marvin Schwartz.

2021–2022

MUSIC@ EMORY Sharp Edges Emory Wind Ensemble Tyler Ehrlich, conductor Gary Paulo, saxophone Thursday, April 14, 2022, 8:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

Program David Maslanka (1943–2017)

Mountain Roads I. Overture Emory Chamber Winds

JoAnn Harris (b. 1984)

Dawn Chorus Emory Chamber Winds

Solomon Kim (b. 2001)

Octet Premiere Emory Chamber Winds Octet for Wind Instruments I. Sinfonia III. Finale

Igor Stravinsky (1882–1971)

Emory Chamber Winds In the Open Air, In the Silent Lines (2018)

Feathers of Burgundy and Gold (2022)

Aaron Perrine (b. 1979) Eli Parrish (b. 2001)

Premiere Gary Paulo, saxophone Meditation (2005/2010)

Dwayne Milburn (b. 1963)

Nitro (2005/2010)

Frank Ticheli (b. 1958)

Program Notes Dawn Chorus (2019) JoAnne Harris is an American composer, arranger, conductor, and educator based in New York City. She credits “her father’s very diverse record collection” for giving her the broad musical tastes that are now reflected in her career. She has written and orchestrated music for film, television, theater, and the concert stage. Harris wrote Dawn Chorus in 2019 as a companion piece to Igor Stravinsky’s Octet for Winds. About the work, she writes: The title Dawn Chorus comes from a work by Scottish poet Sasha Dugdale. “ . . . I have woken to the dawn chorus And even before it sounded, I dreamed of it Loud, unbelievably loud, shameless, raucous” My favorite time to compose is on “borrowed time;” very early in the morning. I like to take the day’s first coffee break on my roof in Jersey City, watching the sunrise over the Hudson. This summer, I’ve added a new procrasti—errr—hobby to this routine: bird watching! I’d been somewhat patiently ignoring their dawn-breaking announcements until one day the cacophony from the tree on my corner became irrepressible. Annoyed, I got up from my desk to close the window but stopped; captivated by the sound of one wren delivering earnest triplets against the short, cloying barks of her tree mates. This piece took shape from that moment, with intent to honor Stravinsky’s octet, its own chattering declarations so convivial you can’t help but stop what you’re doing and listen.

Octet (2022) Through his chamber music, choral music, and arts leadership, Korean American composer and cellist Solomon Kim explores theatricality, interdisciplinary synthesis, and composer/performer collaborations. His music has been performed in Japan and the United States, with premieres by the American School in Japan choirs, students at the Heifetz International Music Institute, and the Department of Music at Emory University. Currently, Solomon is a sophomore studying composition with Katherine Young. He is president of the Emory Composers’ Society—a club promoting new music on campus. Octet engages the idea of neoclassical music—a 20th-century aesthetic trend incorporating new sounds into the Classical period’s clear musical structures and harmonic language. Through this piece, the old and the new are put into dialogue. Bold gestures and formal structures reminiscent of the classical idiom are juxtaposed against both tonal and post-tonal vocabulary, chaotic, flowing textures, and mysterious timbres. This piece belongs fully to the contemporary—but intentionally acknowledges and draws from musical ideas from across the Western classical tradition.

Octet for Wind Instrument (1924/1952) Igor Stravinsky’s Octet for Wind Instruments (commonly known simply as the “Octet”) was written at a time in which the composer was beginning to experiment with more formal writing, a practice that would come to be known as neo-Classicism. Stravinsky himself detested the term, calling it “a much abused expression meaning absolutely nothing.” The essence of neo-Classicism is writing that is modern-sounding in its approach to harmony, rhythm, and counterpoint, yet is composed following the basic forms and ideals of the Classical period. Regardless of Stravinsky’s personal opinions on the semantics of the style, it was clear that he was employing a more formal and structured method in his compositions, and like it or not, he was a neo-Classicist. Just a decade before he had burst onto the scene with his three nationalistic ballet scores, the last of which—Rite of Spring—had caused a near-riot at its premiere. Yet here Stravinsky was, already abdicating the style that had brought him to fame, and plunging into a new style: a style that never seemed to catch the public’s fancy in the way his lush Romantic scores had. 6

The score was begun at Biarritz, France, in late 1922, and was completed in Paris on May 20, 1923. The original was published by Edition Russe de Musique in 1924; a later revised version (edited by Albert Spalding) is still published by Boosey and Hawkes. The manuscript resides in the Stiftung Rychenberg Winterthur. The premiere performance took place at the “Concerts Koussevitsky” in the Paris Opera House on October 18, 1923, with the composer conducting. Stravinsky decided to conduct the premiere performance partly due to the bad taste in his mouth from his experience with the premiere of Symphonies of Wind Instruments (in which he was unhappy with the way that Serge Koussevitzky interpreted the work), and partly because he did not want to risk another conductor “interpreting” a work for which—according to Stravinsky—there was no interpretation. Discussing the Octet shortly after its first performance, Stravinsky said: Form, in my music, derives from counterpoint. I consider counterpoint as the only means though which the attention of the composer is concentrated on purely musical questions. Its elements also lend themselves perfectly to an architectural construction. —Program note by Nikk Pilato

In the Open Air, In the Silent Lines (2018) With works in a variety of genres, Aaron Perrine’s music has been performed by some of the leading ensembles and soloists across the United States and beyond. He is a two-time winner of the American Bandmasters Association Sousa/Ostwald Award for his compositions: Only Light in 2015 and Pale Blue on Deep in 2013. Only Light, commissioned by the University of Iowa Symphony Band (Richard Mark Heidel, conductor ), was included on the latest University of Kansas Wind Ensemble recording (Of Shadow and Light, Klavier). Another one of his compositions, Temperance, recently won the 2017 CBDNA Young Band Composition Contest. His music for winds has also been featured at the 2017 CBDNA National Conference, multiple regional CBDNA Conferences, the Midwest Clinic, the Western International Band Clinic, and at numerous all-state, state conference, and honor band concerts. In the Open Air, In the Silent Lines was inspired by a portion of the preface to Walt Whitman’s Leaves of Grass.

“I am moved by the directness of Whitman’s words: an elegant, idealistic call to action. Given our country’s political climate, the text feels particularly fitting. I was first drawn to the phrase, ‘and your very flesh shall be a great poem, and have the richest fluency, not only in its words, but in the silent lines of its lips and face, and between the lashes of your eyes, and in every motion and joint of your body.’ For me, this illustrates the great beauty and potential found in all of us. My hope is that we listen, reflect, and find new and creative ways to make meaningful and positive change.” —Program note by Aaron Perrine

Feathers of Burgundy and Gold (2022) Eli Parrish began his compositional career with a niche for wind instruments and wind ensembles. As a Georgia native, Parrish has had his works performed at Emory University, Bremen High School (his alma mater), and Mill Town Music Hall. His works for chamber groups, solo instruments, and large ensembles explore the intersection of storytelling, environmentalism, and sound-to-color. Parrish’s approach to orchestration and use of dissonance, folk material, and texture stem from his background of studying and performing wind ensemble and symphonic band repertoire. As a clarinetist, Parrish currently studies with the principal of the Atlanta Symphony Orchestra, Laura Ardan. His passions for performance, conducting, and musical leadership provide inspiration for his compositions. He is a clarinetist in the Emory University Symphony Orchestra, Emory Wind Ensemble, commissioned clarinet trio, and various chamber groups. Parrish also serves on Emory’s Music Advisory Board and holds the position of artistic vice president of Emory Composers’ Society. Feathers of Burgundy and Gold features the vibrancy of a solo alto saxophone with the diverse range of characters in the symphonic band. As the title suggests, this piece illustrates the red and yellow tones of the mythical phoenix—a symbol of rebirth. The burgundy flames of the lamentful beginning lift the phoenix out of its smoldering ashes as an upbeat ostinato with call and response sounds between mallet percussion, saxophone, and band. With unexpected transitions and bright flashes of sound, the musical narrative details glimpses of the phoenix’s gold feathers as it takes flight once again. As an exploration of color, Parrish utilizes both classical and experimental performance 8

techniques from the soloist and band. Growling, air trills, and glissandi decorate the saxophone’s voice as the symphonic band juxtaposes instrumental choirs and colorful harmonies. This premiere features esteemed Emory saxophone artist Gary Paulo, as the soloist. A regular with the Atlanta Symphony Orchestra and other orchestras in the southeastern United States, Paulo has toured, performed, and taught a wide range of music genres nationwide.

Meditation (2005/2010) Major Dwayne S. Milburn is an American composer, conductor, and military officer. In 1986, Milburn graduated from UCLA with a BFA in music and received a master’s of music degree in orchestral conducting from the Cleveland Institute of Music in 1992. He received a PhD in music from UCLA in 2009. During his undergraduate career, Milburn was an arranger for the UCLA band and choral programs, as well as the Special Projects Division of ABC-TV. Upon graduation, he became the director of cadet music for the United States Military Academy, West Point, New York, serving as the conductor for the internationally renowned West Point Glee Club. During graduate studies in Cleveland, he contributed several arrangements to the Cleveland Orchestra. Prior to his doctoral studies, Milburn served as one of 24 commissioned officer conductors in the United States Army Band Program. His assignments included duties as the associate bandmaster for the United States Continental Army Band, Fort Monroe, Virginia; the United States Army Band “Pershing’s Own,” Washington, DC; and the United States Army Europe Band and Chorus, Heidelberg, Germany. He also commanded the Army Ground Forces Band in Atlanta. Upon completing his doctoral studies, he resumed his military service and currently serves as the commander and conductor of the United States Army Europe Band and Chorus in Heidelberg. Among his military honors are the President Benjamin Harrison Award, the Meritorious Service Medal, Army Commendation Medal, and the NATO Medal. Milburn is active as a composer, conductor, and adjudicator. He has received commissions from the instrumental programs at UCLA, the University of North Texas, Indiana University of Pennsylvania, and the University of Wisconsin-Milwaukee. His choral and wind ensemble works are published by the Alfred, Kjos and Ludwig Masters Music companies. “In early 2004, I was contacted by Jeff Looman, director of instrumental music for the Calvin Christian Schools in Michigan. Looman entrusted me to create a special composition in memory of a former student, Nick 9

Stegeman, who had lost his life several years earlier. Meditation combines two tunes, the Lutheran hymn If Thou But Suffer God to Guide Thee and the American folk song Poor Wayfarin’ Stranger. It is actually the second of three movements that comprise a suite entitled Music for Bright Youth. The title refers not only to Nick, but all the young musicians with whom it has been my pleasure to work over the years as well. In February 2005, the combined bands of the Calvin Christian Schools, under the direction of Looman, premiered the entire suite as a part of their annual winter concert.” —Program note by Dwayne Milburn

Nitro (2005/2010) Frank Ticheli’s music has been described as being “optimistic and thoughtful” (Los Angeles Times), “lean and muscular” (New York Times), “brilliantly effective” (Miami Herald) and “powerful, deeply felt crafted with impressive flair and an ear for striking instrumental colors” (South Florida Sun-Sentinel). Ticheli joined the faculty of the University of Southern California’s Thornton School of Music in 1991, where he is professor of composition. From 1991 to 1998, Ticheli was composer in residence of the Pacific Symphony, and he still enjoys a close working relationship with that orchestra and their music director, Carl St. Clair. Ticheli is well-known for his works for concert band, many of which have become standards in the repertoire. In addition, he has appeared as guest conductor of his music at Carnegie Hall, at many American universities and music festivals, and in cities throughout the world. Nitro, an energy-charged three-minute fanfare for band, was commissioned by the Northshore Concert Band, Mallory Thompson, music director, in celebration of their 50th anniversary season, and received its premiere performance by them on April 9, 2006. Nitrogen is the most abundant component of the Earth’s atmosphere (78 per cent by volume), and is present in the tissues of every living thing. It is the fifth most abundant element in the universe, created by the fusion deep within stars; it has recently been detected in interstellar space. The sheer prevalence of nitrogen in all of nature, and the infinite range of compounds it is part of—life-giving, energizing, healing, cleansing, explosive—all appealed to me, and served as the inspiration for my music. The main musical idea for Nitro is a powerful, angular theme, first announced by the trombones and horns, and then imitated in the trumpets. Trumpet fanfare calls and a busy and relentless chattering in the woodwinds enhance the bright, festive mood. The middle section is 10

based on a woodwind theme that is partly fanfare-like, partly dance-like. This contrasting theme is built from intervals occurring in the natural overtone series (octave and twelfth), giving it an expansive, open-air quality. The main theme reappears, growing in power and density all the while, building to a thunderous conclusion. —Program note by Frank Ticheli

Emory Wind Ensemble The Emory Wind Ensemble (EWE) is dedicated to performing wind band and chamber literature of the highest caliber while nurturing individual artistic excellence within an ensemble setting. Concert programming comprises a wide variety of styles, forms, and genres from several centuries of compositional practice, designed to provide a comprehensive exposure to the masterpieces for winds and percussion from the Renaissance period through the modern era. The EWE performs two concerts each semester, regularly participates in world premieres of new music, tours the United States and abroad, and is a national leader in the commissioning of new music, including works by Warren Benson, Bruce Broughton, Jennifer Higdon, Libby Larsen, John Mackey, Jonathan Newman, Joseph Schwantner, and many others. The EWE’s recent collaborations include performances with the Emory University Chorus; the Emory Dance Company; Emory’s Mary Emerson Professor of Piano William Ransom; Chris Martin, principal trumpet of the Chicago Symphony Orchestra; Stuart Stephenson, principal trumpet of the Atlanta Symphony Orchestra; Joe Alessi, principal trombone of the New York Philharmonic; Adam Frey, international euphonium solo artist; and Grammy Award–winning solo clarinetist Richard Stoltzman, among many others. The EWE has performed concert tours of Munich, Salzburg, Innsbruck, Lucerne, Graz, Prague, Vienna, and Greece. Additionally, the EWE has performed at the Georgia Music Educators Association (GMEA) State Convention in Savannah, Georgia; the Southern Division College Band Directors National Association Conference (CBDNA); and for various events on the Emory campus, including the inauguration of James Wagner as president of Emory University. The EWE was recognized in 2017 as a “Top 10” program among its peers by CBDNA and featured at the 2017 CBDNA National Conference “Small Band Showcase.” The EWE is recorded on the NAXOS music label.

Tyler Ehrlich, conductor Tyler Ehrlich (he/him) is an educator, musician, and conductor based in Atlanta, Georgia. Ehrlich serves as director of bands at Decatur High School, where he conducts three concert bands, directs the marching band, and teaches an International Baccalaureate music course. In addition to teaching at the secondary level, Ehrlich conducts the Emory University Wind Ensemble and serves as associate conductor of the Atlanta Wind Symphony. Prior to joining the faculty at Decatur High School, Ehrlich taught band and music technology, and served as the fine arts department chair at Centennial High School (Georgia). While teaching at Centennial, all three concert bands received superior ratings for the first time in the school’s 20year history. Additionally, the program received its first national performance invitation as a guest ensemble for the 2020 Music For All National Chamber Music Festival. Ehrlich has received the National Band Association Citation of Excellence for his work with the Atlanta Wind Symphony. He has conducted the group at its performance at the 75th annual Midwest Clinic in 2021, and the 2020 Georgia Music Educators InService Conference. Ehrlich has presented on music technology and pedagogy at the Midwest Clinic, the World Association of Symphonic Bands and Ensembles International Conference, the College Band Directors National Association National Conference, and the Georgia Music Educators In-Service Conference. He has served as a guest conductor, clinician, and adjudicator throughout the state of Georgia. Ehrlich has a master of music degree from the University of Georgia, and a bachelor of arts degree summa cum laude from Cornell University. His undergraduate thesis involved developing music software for Google Glass, the now defunct wearable technology. Ehrlich lives with his partner, Brent Allman, a PhD student at Emory University, and their dog, Milo.

Gary Paulo, saxophone Gary Paulo is a graduate of Indiana University where he received a BM in classical saxophone performance while studying with legendary saxophonist Eugene Rousseau. When Paulo returned home in 2001 he was in high demand as a teacher and performer in the Atlanta area. He has conducted clinics and master classes for many wonderful high school and middle school band programs in metro-Atlanta preparing stduents for performances at the GMEA state in-service and the prestigious Midwest Band and Orchestra Clinic. He was the adjunct saxophone instructor at the University of Alabama-Birmingham during the 2004–2005 school term before pursuing a master’s degree in 2006. In 2010 he joined the faculty at Emory University as artist affiliate for saxophone. Paulo has performed with national touring acts, spanning several genres of music. His performance credits include soloist with the Berry College Wind Ensemble, St. Cloud State University Wind Ensemble, and the Emory Wind Ensemble. He also performs regularly with the Atlanta Symphony Orchestra and has performed with the Alabama Symphony Orchestra; Augusta Symphony Orchestra; Albany Symphony Orchestra; the Temptations; and the Temptations Review featuring Dennis Edwards, the Zac Brown Band, and Natasha Bedingfield. In addition, he has toured internationally with the AJ Ghent Band and performed at the Hollywood Bowl, BB Kings in Times Square and Memphis, and the Hard Rock in the Dominican Republic, and recorded a live album Live at Terminal West at Terminal West in Atlanta in 2015. Paulo is also a member of the horn band of Atlanta—Bumpin’ the Mango and was a contributing writer for its selftitled release in 2018, the Atlanta Saxophone Quartet, and the Cobb Wind Symphony. In 2008 he completed a master of music degree at Georgia State University and in 2010 he studied with renowned contemporary music composer Christian Lauba and saxophonist Richard Ducros in Estoril, Portugal, at the Estoril Music Festival. Paulo is a D’Addario Woodwinds Reserve Clinician and a member of the American Federation of Musicians.

Emory Wind Ensemble Flute Sarah Abraham * Palm Beach Gardens, FL Hannah Huang Johns Creek, GA Tabitha Watson Birmingham, AL Ava Lewandowski Little Rock, AR Miyuka Yoshida Tokyo, Japan

Biology/Chemistry Biology Engineering Sciences/ German Studies Chemistry/Philosophy Biology/Music

Oboe Sophia Seo Eric Xu Zachary Kant

Aldie, VA Short Hills, NJ Kings Park, NY

Business Applied Math/Chemistry Undecided

Cambridge, MA Saratoga, CA

Mathematics NBB/Human Health

Bassoon Nathan Muz * Trisha Sengupta *

Clarinet Henry Mangalapalli Chicago, IL Eli Parrish * Bremen, GA Isabelle Myers South Beloit, IL Aaron Wei Johns Creek, GA Deston Lian Johns Creek, GA Andrew Mijacika New York City, NY Sophia Rice Fairfax, VA Rodrigo Salinas Lakeland, FL

Biology/African American Studies Music Composition/ Environmental Sciences History/Art History Chemistry/Biology Human Health Biology Biology Chemistry

Saxophone Rohan Ramdeholl * Rishie Srivastava * Alec Haulotte * Dan Dan Wenhui Lu *

Suwanee, GA Cary, NC Austin, TX Los Angeles, CA Shanghai, China

NBB Computer Science/Linguistics Environmental Sciences Business and QSS NBB

Decatur, GA Decatur, GA Griffin, GA

Decatur High School Student Decatur High School Student Professional Musician

Horn Sophie Phillips Ava DeFilippo Taylor Helms

Emory Wind Ensemble Trumpet Austin Watkinson * Joseph Rosenbaum * Nolan Baxendell Andrew Mahoney

Great Valls, VA Los Angeles, CA Norfolk, VA Collegeville, PA

Music/Political Science/Business Political Science/Music Undecided Graduate Student

Maryville, TN Cary, NC Brooklyn, NY South Bend, IN Redmond, VA

Business QSS/Music QSS/Philosophy Physics/Computer Science Business/Music

Trombone Graham Crain * Max Inman * Beili Chou Josh Peacock Shiven Sinha

Euphonium Christopher Labaza Cary, NC Kerry Zhu Omaha, NE

Creative Writing Computer Science

Tuba Kendall Hauerwas Tyler Johnson

North Attleboro, MA Decatur, GA

Economics/Math/History Decatur High School Student

Atlanta, GA

Undecided

Barrington, IL Ooltewah, TN Highland Park, IL Shanghai,China

NBB/Ethics Biology Biology/Environmental Sciences Psychology/Computer Science

Princeton Junction, NJ

History

Harp Kamea Alleyne

Percussion Alexa Mohsenzadeh Peter Rubin Zoe Zimmerman Emmy Shi

String Bass Hannah Perron

* indicates member of Emory Chamber Winds

Music at Emory Music at Emory brings together students, faculty, and world-class artists to create an exciting and innovative season of performances, lectures, workshops, and master classes. With more than 150 events each year across multiple Emory venues, audiences experience a wide variety of musical offerings. As you explore Music at Emory, we hope you enjoy this variety by sampling an assortment of work from our student ensembles, community youth ensembles, artists in residence, professional faculty, up-and-coming prodigies, and virtuosos from around the world.

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