Lumen Guthrie, bassoon
ABOUT THE ARTISTS
Lumen Guthrie is a bassoonist, composer, and clinician from Rockville, Maryland. Guthrie is currently residing in West Chester, PA, studying for their Masters in Music Education, with a concentration in Bassoon Performance.
Guthrie received a B.S. in Music from Towson University in 2022. There, they graduated on the Dean's List with many specialties and certificates in digital marketing, language studies, and music education methods. During their studies at Towson University, Guthrie was heavily involved in several musical commitments. Guthrie performed in wind ensemble, symphony orchestra, chamber winds, marching band, pep band, opera orchestra, and even a semester of steel pan ensemble. They regularly cycled through performances on bassoon, trumpet, mellophone, trombone, bass guitar, and drum kit. They were lucky to serve in several student leadership positions, including principal bassoonist, visual coordinator for the marching band. Guthrie is a member of Phi Mu Alpha Sinfonia and is a membership candidate for Tau Beta Sigma.
This summer, Guthrie will participate in University of Michigan’s 2024 NewBassoon Institute, “Shocks and Aftershocks,” a one-week contemporary bassoon workshop which culminates in a performance of Brad Balliett’s “Arboretum” for multiple bassoons at Nichols Arboretum located Ann Arbor, MI. In addition to this institute, Guthrie has participated in the Bocal Majority summer camp, Appalachia Wind Symphony, Wells School of Music’s Conducting Symposium. As a freelance bassoonist, Guthrie occasionally returns to Towson University to perform for their symphony orchestra and has also performed with the Pennsylvania Chamber Winds for the New Jersey Music Educators Association conference in 2023. In the marching world, Guthrie performed with Pacific Crest, and has been on membership, staff, and admin with the Raider Drum and Bugle Corps.
Guthrie is an avid supporter of non-traditional elements of music performance. For example, tonight’s performance employs theatrical elements, video projections, and audience interaction. Guthrie firmly believes in the exposure of music through different mediums, which has led to an interest in arranging music for different ensembles. Only recently has Guthrie begun to create multimedia compositions under the pen-name Selena La Deau, which are written in collaboration with Josephine Stahl. Guthrie’s hopes are to continue the creative and pedagogical endeavors after obtaining a doctorate in bassoon performance or pedagogy. Guthrie sees themselves teaching collegiately, in a classroom and with a bassoon studio.
Outside of music, Guthrie enjoys voice acting, video editing, and etymology. Guthrie is an avid fan of iced coffee and has been working at Crumbl Cookies for 14 months. One day, Guthrie hopes to open a cafe with intimate live music and create a safe space for minorities and youth.
On and Ever Upward, For Greater Bands, I vii I vi V, One More Time
SonatainAminorRV44, AntonioVivaldi(1678-1741)
I. Largo
II. Vivace
To call the life of Antonio Vivaldi (born 1678 in Venice, Italy) as a composer prolific would be a dangerous understatement. As a child, Vivaldi was taught music by his own father, a violinist of Venice’s San Marco Basilica. The composer lived a life of luxury, having studied at the Venetian school as a musician; This was a privilege that was new for Vivaldi's time, as many students of music were “servant-musicians” to the elite. Of Vivaldi’s countless compositions, the style he was most known for was the concerto. This was a piece of music that, at the time, was a chamber orchestral performance that balanced melodic responsibilities between the ensemble and a featured soloist. Vivaldi’s most famous concertos were undoubtedly the Four Seasons, a collection of four violin concerti that are all named after the seasons and seek to showcase them acoustically.
Vivaldi’s Sonata in A minor, RV 44 is originally a cello sonata. The original manuscript, however, contains little to no instances of musical notation that can strictly be performed only on cello. In translation, it is a set of melodies that are sounded monophonically, meaning only one note is produced at once. String instruments can conventionally produce up to one note per string at a time, meaning a cello can play four notes. Because there is only one instance of two notes being performed at a time, this piece is practical to be performed by most bass clef instruments, including the bassoon. A bassoon and harp performance of this piece was uploaded to YouTube in 2013 by Roman Reznik, bassoonist and conductor/founder of Sweden’s Camerata Ostrogothia Chamber Orchestra.
This piece’s first movement has a melancholic presentation of its theme in both the first and second movement, containing common compositional techniques of the Baroque Era including sequencing through the circle of fourths, terraced dynamics, and figured bass. Additionally, the Baroque Era standard of performing involved ornamentation, or the shifting of melodic integrity injecting certain phrasing and inflections. In today’s performances of baroque music, performers are often found planning ornamentation as little as adding an articulation between two notes, all the way to completely rewriting entire measures to introduce variety. In the baroque era, however, performers typically improvised their ornamentation during each performance. In fact, many differences exist between the performance standards over 400 years. Another considerable difference is etiquette; Today’s performances are done in dimly lit rooms with full unbroken attention to the performers, whereas wealthy baroque era aristocrats would hire musicians to perform pieces like Sonata in A minor while milling about at parties.
AndanteandHungarianRondo,CarlM.V.Weber(1786-1826)
Carl aria Friedrich Ernst von Weber (born 1786 in Eutin, Germany) was a renowned German composer of the midto-late classical era. Music was incredibly important to his extended family, as his uncles and cousins were pianists, vocalists, and prima donnas–His first cousin Constanze married Mozart, and Weber himself married an opera singer, Caroline Brandt. His music was adored by audiences and like-minded composers in his time, and led to the inspiration of romantic era composers, including Berlioz, Liszt, Mendelssohn, and Wagner. Strongly opposing his successful career as a writer, performer, and critic, he experienced a slew of setbacks from a young age, including political disparities, health problems, insecurities and anxieties, and the death of his mother. Despite these setbacks, his first opera, Das Waldmadchen, premiered in 1800 when he was only fourteen years old (Though Carl's father often lied about his age for the sake of impressing others).
Weber's Andante and Hungarian Rondo is often considered to be among the highest demanded standardized works performed on the bassoon. This information strongly combats its origins as a piece written for the viola, as it was written to be performed by Weber's brother, Fridolin, a viola player. The piece was adapted for bassoon in 1813, to be premiered by Georg Friedrich Brandt. The piece follows a slow theme and 3 variations in the “Andante” section, based off the pastoral and slow-moving style of a Sicilienne theme, which is characterized by the dotted-eighth,
sixteenth, eighth note rhythm heard in the first section (). Then, a faster rondo form follows, which highlights recurring melody in a much more jaunty and light-hearted mood. Both sections state themes of melodic nuance, followed by variations and themes that display great virtuosity and This could be compared to the second and third movements of a concerto, which at the time, would feature a performer in front of an orchestral group through three movements; A fast, slow, and fast movements, involving a blend of meters, harmonies, inflections, and orchestrations.
The biggest question surfaces each time this piece is performed: “What makes this piece Hungarian?” This question surfaces, namely because Weber was a German composer who not only implies a “Hungarian” style but goes so far as to put “Hungarian” in the name. In short, many musical characteristics performed in this piece are borrowed from Hungarian dance tunes. These combined music and dance rituals to the Magyar culture was referred to as verbunkos, which contained many melodic and rhythmic gestures heard in Andante and Hungarian Rondo, including the Hungarian Anapest, Spondee, Alla Zoppa, and Bokázó .
This piece, with reflection, is an early contender of 19th and 20th century exoticism (The act of making art through the lens of another culture), which was one of the many “-isms” that existed in these eras. Other examples of “isms” include impressionism (Prelude to the Afternoon of a Faun by Claude Debussy), primitivism (Rite of Spring by Igor Stravinsky), and minimalism (4’33” by John Cage).
Virescens:TheGreenHeron,MalaikaParalkar(b. 2001)
Malaika Paralkar (b. 2001) is a composer from Downingtown, Pennsylvania. Her work focuses on creating shifting atmospheres through the exploration of harmony and timbre, often featuring extended techniques and aleatoric passages. Many of her works also have environmental themes, drawing inspiration from the effects of people on the environment. She is currently a student at NYU and is working on her M.M. in Music Theory and Concert Composition as a student of Dr. Jerica Oblak and Dr. Robert Honstein.
In 2022, her piece, “Rafters” was selected to be premiered by the West Chester University Wind Symphony as the winner for the 2021 Call for Scores competition. She has been a frequent collaborator of SAGA Chamber Music, has written for the Singularity Saxophone Quartet, and had her work performed by the New Thread Quartet. Malaika has also attended the 2022 Nief Norf Summer Festival, the 2022 Del Mar International Composer Symposium, and the 2023 Akropolis Chamber Music Institute. Her primary instrument is the flute, and she additionally studies bansuri (a type of flute used in Hindustani classical music).
Virescens: The Green Heron is an original composition, with its premiere performance to be at Lumen Guthrie's graduate recital. The piece was proposed to Paralkar as an opportunity to showcase the talents of West Chester's composers. In collaboration, Paralkar and Guthrie discussed themes and motivations for the piece, having been particularly inspired by the colors theme of the recital. Discussion on themes evolved into creating a split aleatoric/melodic piece for bassoon with a non-standard accompaniment, with percussionist Jacob Scheidt in mind as a collaborator on marimba. The piece was commissioned in hopes to advance music from the West Chester area, and to promote Paralkar’s compositional style.
“Virescens is a term found in the Latin names of several green bird species, including some water birds such as the Green Heron. This piece, written for bassoon and marimba, opens with a soundscape depicting the chatter and squawks of birds in the rustling trees and reeds by the water, and eventually follows one bird as it takes flight and swoops over a rippling green lake. Virescens features a variety of extended techniques including reed alone sounds and bowed marimba, combining unusual sounds from both instruments to create a tranquil sound world.”
-From the Composer
Akito Matsuda (b. 1982) is a Japanese composer who has primarily found success writing soundtrack music for anime films and television. Matsuda is best known for his continuous involvement in composing music in the “Sound! Euphonium” television series but is also know for the music of other highly rated anime shows, including “Non Non Biyori Repeat,” and “Baka and Test,” and to the show “Unnamed Memory,” a series which is set to premiere on April 9th, 2024.
Liz and the Blue Bird comes from the “Sound! Euphonium” narrative universe, which is a television show that follows Japanese students and their involvement with the Kitauji High School wind band. The show depicts characters of all personalities as they all experience their own coming-of-age, realizing their potential as a member of the ensemble as well as their own values and identities. From this universe spawned Liz and the Blue Bird, a canonical film that follows the band’s preparation of a piece with the same name, written about a fairy tale with the same name, written for the movie, with the same name. The movie, piece, and fairy tale are all named Liz and the Blue Bird, blending musical and narrative elements as they weave together a powerful story about friendship and loyalty to your ideals.
“Frequent Days” is the first movement from a symphony for wind ensemble, scaled up from the version performed in the movie. It depicts the life of Liz, a woman who lives an ordinary and rather lonely life, and Blue Bird, a magical girl who was washed away into Liz’s life by a storm. The youthful girl and the adult woman are represented musically by the timbre of flute and oboe, played by characters Mizore and Nozomi (From Sound! Euphonium). The music is quite narrative, in the sense that melody, form, style, and timbre all play key roles in depicting the development of the two and their relationship over time. Ultimately, the piece ends with a beautiful ballad depicting Liz’s difficult decision to free the Blue Bird from the “cage” she’s been placed and allowing her to explore the world to her true potential; This heavily alludes to Mizore and Nozomi’s long-standing relationship as the two approach graduation and the real world.
On March 24th, 2024, the WCU Wind Ensemble performed “Crescent Moon Dance,” a wind band piece also written by Matsuda. Guthrie performed the bassoon solo in this performance. This arrangement of “Frequent Days” has been arranged for 7 players: Wind quintet with alto saxophone and percussion.
Quartet,DominickDeStefano(b. 2001)
I. ???
II. Waltz
III. Ricercar
A current student at West Chester University, Dominick DeStefano (b. 2001) studies composition in both classical music and music production. DeStefano studied at Central Dauphin Senior High School before traveling to West Chester from Harrisburg, PA. DeStefano’s non-classical music is best characterized as “experimental electronic music, pushing the boundaries of traditional sound.” As a composer, his work has influences from classical standard repertoire and heavy influences from the minimalist perspective. His portfolio includes chamber groups & large ensembles and showcasing musical and visual creations with live synthesis of sound and computer/algorithmic generation of visual effects. DeStefano is a brother of Phi Mu Alpha Sinfonia and has served as WCU’S chapter of Rho Sigma as their Secretary for two years.
Quartet is a piece that, like Paralkar’s piece, was powered by the desire to add presence in the West Chester area composer presence. When discussion of this piece first began between DeStefano and Guthrie, there was a timidness to program a piece with brash emotional ties, as it would sit heavy with the other pieces programmed on the recital. Instead, Guthrie looked for inspiration in the direction of Peter Schickele (1935-2024), who wrote comedic performative music under the name P.D.Q. Bach. The goals of P.D.Q. Bach involve the programming of parodic, satirical, and playful elements that range from breaking the “fourth wall” to casting performers as athletes “competing” to perform Beethoven symphonies.
Quartet is an inaptly named trio for three bassoons in three movements. The first movement, ???, is written to feature a pianist in addition to the three performers, employing simple technical elements that allows for accompanying musicians to be able to perform with little preparation. The second movement, Waltz, takes a classic waltz theme and develops it with the feature of percussion to establish the percussive elements of orchestral waltzes. The third movement, Ricercar, is a combination of themes voted on by the audience during the piece's performance.
TrueColors,SelenaLaDeau(b. ????)
(This piece contains flashing lights, sudden noises and unsettling themes)
Selena La Deau is the penname of Lumen Guthrie and Josie Stahl. A native of Rockville Maryland, Guthrie obtained a Bachelor of Science degree in music, conferring the requirements of the musical field while establishing exposure to the crafts of education, performance, technology, and composition. Guthrie’s penmanship under this name is meant to explore contemporary techniques in composition, including fusion of various musical genres, multimedia effects, artistic depiction of sheet music, and theatrics/performative elements. The objective of La Deau’s works is to challenge the standards of the classical music world and to tread uncharted pathways of relationships, emotions, and the human mind as it changes through formative experiences. La Deau is a collaborative project between Guthrie and Stahl, with Stahl’s contributions being in the form of program writing and narrative contributions to the music’s compositional process. Stahl is a soon-to-graduate student of Towson University, studying English and involved with TU’s marching band, pep band, and symphony orchestra.
True Colors is a multimedia piece centered around a narrative depicted only through sounds and colors. The deeper meaning behind these colors paired with sounds through the piece are undescribed, but the piece contains moods of all kinds, including tranquility and chaos. The piece is described in the program notes as a “collage of feelings, using only colors”. Despite the lack of observable and describable images that appear in the movie, the accompanying track and sheet music incorporates traditional themes “Kingsfold” and “Captain O’Kane”, and sparsely alludes to the theme “Stitcher’s Sorrow” from the video game Sea of Thieves.
In addition to the traditional themes, the piece also contains a diverse inclusion of sound clips from people speaking. These sound clips are collected from original recordings and from movies, video games, and social media. Individually, the clips may confuse the audience on their relevance, but with their chronology and pacing paired with the music performed, it develops into a story. The use of traditional themes with contemporary media is an intentional, yet loosely interpreted, blend of audio meant to create a sonic experience unique to the audience of this piece. The best interpretations of this piece are ones that establish elements of limitless expression, agonizing regret, and melancholic growth.
Guthrie sincerely wishes the best listening experience for all audience members open to new and explorative art. Their decisions to include difficult themes are compositional styles are consciously elective and came from a wellintentioned and stable headspace. If you, or someone you know, suffers from long-term regret, trauma, or PTSD-like symptoms, please consider utilizing the following resources that are available for all regardless of background: Post-Traumatic Stress Disorder Information
https://www.nimh.nih.gov/health/topics/post-traumatic-stress-disorder-ptsd National Center for PTSD
https://www.ptsd.va.gov/
Commonwealth of Pennsylvania’s Mental Health Resources
https://www.pa.gov/guides/mental-health/
PinkYesterday,LeoPellegrino(b. ????) Arr. L. Guthrie
Pittsburgh born and New York City based, Leo Pellegrino (a.k.a. “Leo P”) is a baritone saxophonist and composer focusing on “brass house” elements. His performances within the last ten years have gained traction on social media from his virtuosic playing and electric dance moves. His current musical projects involve the trio named “Too Many Zooz,” in addition to a duo with Bostonian alto saxophonist Grace Kelly, appropriately named “2SAXY”. From 2014 to 2016, Leo P was involved with the music group “Lucky Chops,” having gone viral online for their covers of “Hello” by Adele, “FunkyTown” by Lipps Inc., and “Danza Kuduro” by Lucenzo. Leo P, and all his affiliated groups, developed identities as “busking” bands, which perform music in public settings (A tradition popular in New York City Subways).
Pink Yesterday was a song released by Too Many Zooz in late early 2021 as a single. More importantly, the music video for Pink Yesterday was released in late 2020, as a live performance in Domino Park, Brooklyn NY. Part of the music video’s experience is the live performance of the tune in front of onlooking New York citizens who are going about their days watching the music group perform. The music video, issued the challenge of filming performers while social distancing during the Coronavirus Pandemic, employs a technique of amateur filmmaking that has been dubbed “Video song”. This technique has two essential concepts: 1) What you see is what you hear, and 2) If you hear it, at some point you see it.