The University Circle Wind Ensemble, under the direction of Dr. Gary M. Ciepluch, will perform on the first portion of the concert. They will feature two soloists. Oboist Kelly Mozeik will perform a setting of Eric Ewazen’s Down a River of Time, in a setting for wind band by Daniel Alt. Bassoonist Anthony Slusser will be the soloist on Jurriaan Andriessen’s Concertino for Bassoon and Wind Ensemble.

The Cleveland Winds’ concert repertoire will include CSU composer Andrew Rindfleisch’s Mr. Atlas and Eric Ewazen’s Visions of Light: A Concerto for Tenor Trombone and Wind Ensemble. The soloist will be Cleveland Orchestra Assistant Principal Trombone Shachar Israel.

Program Notes

About Mr. Atlas, composer Andrew Rindfleisch writes:

Mr. Atlas, scored for concert band, finds its inspiration in the old Charles Atlas body building advertisements I would often find in the popular magazines and comic books available to me in childhood. In the most popular of these ads, a bully confronts a slight weakling at a beach and kicks sand in his face. Using the Atlas method, the weakling then transforms himself into a muscle bound hero of sorts. Mr. Atlas, then, is a kind of work of musical transformation–from the meek to the triumphant. After an austere introduction giving a hint of what’s to come, the solo clarinet presents a lonely, principal theme. Like a muscular exercise, each musical section that follows grows in density and volume, along with the theme, arriving finally at the work’s climactic moment–an Americana-like hymn, slowly unfolding into a triumphant conclusion. Mr. Atlas was commissioned by the College Band Director’s National Association for a consortium of fifteen collegiate wind ensembles, and was premiered by the Georgia State University wind ensemble, Robert Ambrose, conductor.

About Visions of Light, composer Eric Ewazen writes:

I had the pleasure of working with Joe Alessi when he recorded my Trombone Sonata in 1995. As one of the premiere trombonists of our time, his beautiful, lyric and colorful playing has served as an inspiration for my 2nd large work for tenor trombone.I took as another source of inspiration, the powerful and dramatic photographs of Ansel Adams. The concerto, while not really programmatic, reflects my feelings when seeing these amazing images. The 1st movement shows the sheer rock face of Yosemite’s famous Half Dome mountain peak set against a brilliant sky. The music is angular, energetic, sometimes soft–reflecting the curves of Half Dome, sometimes very dramatic–reflecting the awesomeness of the sight and the bold contrast between sky and mountain. The 2nd movement depicts the mystery of a moonrise over a landscape of stark buildings and the brightly moonlit crosses of a cemetery. The music is alternately gentle and enigmatic, lyrical and intense. The final movement, depicting huge, billowing thunderclouds, is filled with rhythmic agitation, strong and dramatic gestures, and ultimately a heroic finale. Sweeping motives are quickly tossed between soloist and wind ensemble with force and energy. Throughout the work, the trombone is front and center with its singing, colorful and powerful voice describing Ansel Adams’ scenes, while the wind ensemble provides a buoyant and resonant accompaniment, commentary and dialogue.

My thanks to the amazing trombone soloist, Shachar Israel, whom I had the pleasure of getting to know and hearing many times at Juilliard, and the outstanding Cleveland Winds, conducted by Birch Browning, for introducing my 2nd trombone concerto, Visions of Light, to you this evening.

Visions of Light was commissioned by Indiana University and the Midwest Clinic for Joseph Alessi and the Indiana University Wind Ensemble, conducted by Ray Cramer. My sincere thanks to Joseph Alessi and Ray Cramer for their artistry in bringing my music to life. Thanks also to Ray and to Jon Whitaker who helped pave the way for the very commission of the piece from Indiana University and Midwest.

Featured Guest

Eric Ewazen’s music has been performed by distinguished soloists, chamber ensembles, vocalists, wind ensembles and orchestras around the world. His music can be heard on some 70 commercially released CDs, by some of the greatest recording artists of the 20th/21st centuries, including performers from the NY Philharmonic, Chicago Symphony, Philadelphia Orchestra, Boston Symphony and the Cleveland Orchestra. His compositions for brass, percussion and increasingly woodwinds and wind ensembles have become staples of the repertoire. He has been a guest at over 150 colleges and universities worldwide, including 30 different countries and 47 states of the 50 United States. In recent seasons, since 2009, he has been a guest at the Central Conservatory of Beijing, and the TianJin Conservatory in China and worked with the composers of the Chinese Army Band of the PLA. He was also a guest at the Conservatories in Rio de Janeiro, Joao Pessoa and Salvador da Bahia in Brazil, Mahidol University in Bangkok, the Saratov Conservatory in Russia, the Paris Conservatoire in France, the Birmingham Conservatory in England, the University of Lisbon, Portugal, and the Conservatory of Matera in italy. He has also been a guest at conservatories and music departments at Universities throughout the United States including Indiana University, the Curtis Institute, the Peabody Conservatory, UCLA, U. of Michigan and the Eastman School of Music.

In 2010, Evelyn Glennie premiered his Percussion Concerto with the Buffalo Philharmonic, and gave the European premiere with the Royal Scottish Symphony Orchestra in Glasgow and Edinburgh. During the current season (2011-2012) his orchestral music is being performed by the Fort Wayne, Virginia, Bismark and Colorado Symphonies, and in November, 2012, his Triple Concerto for 3 trombones and orchestra will be premiered by the Buffalo Philharmonic.

His first Symphony has been commissioned by the ShenZhen Symphony in China and will be receiving its premiere in 2013. The Thailand Philharmonic will be making its first commercially released CD in December of 2012, and it will be an all-Ewazen CD. The orchestral version of his 2nd Oboe Concerto, “Hold Fast Your Dreams”, will be receiving it’s premiere in Seoul, Korea in 2013.

He has been Vice-President with the League of Composers-International Society of Contemporary Music, and has been a faculty member of The Juilliard School since 1980. He received his Bachelors of Music Degree from the Eastman School of Music in 1976, and the Masters Degree and Doctorate Degrees from Juilliard in 1978 and 1980.

Our Soloist

Cited by the New York Times as “a gifted young trombonist”, Shachar Israel serves as Assistant Principal Trombone of the Cleveland Orchestra. Prior to joining the Cleveland Orchestra in the 2009-10 season, Mr. Israel served as Principal Trombone of the Hartford (CT) and the Haddonfield (NJ) Symphonies. He has performed with major orchestras such as the Philadelphia Orchestra, the New York Philharmonic and the Montreal Symphony.

A soloist and chamber musician, Mr. Israel performed Berio’s ‘Sequenza V’ for solo trombone at New York’s Lincoln Center for the New York Philharmonic’s “Day of Berio”. He has been a soloist with the Jupiter Symphony Players in New York City and has performed on several occasions with Canadian Brass, including at the Blossom Festival. Also with this prestigious ensemble, he recorded 4 commercial CD’s. The trombonist was the winner of the Lewis Van Haney Philharmonic Prize Competition at the 2008 International Trombone Festival. An avid teacher, Mr. Israel is adjunct faculty at Cleveland State University. He is the founder and director of the Cleveland Trombone Seminar (CTS).

Born in Nahariya, Israel, Mr. Israel received a Bachelors of Music from The Curtis Institute of Music in Philadelphia, where he studied with Nitzan Haroz, Principal Trombonist of the Philadelphia Orchestra. His primary teachers also include Joseph Alessi, Mark Lawrence, Mitchell Ross, Micha Davis and Joseph Nashkes. He has been a member of the Verbier Festival Orchestra, the Spoleto Festival Orchestra and attended 2 summers at the Music Academy of the West. Mr. Israel is a graduate of the Thelma Yellin High School in Givatyim, Israel. His studies while in Israel were made possible by the generosity of the America Israel Cultural Foundation through its scholarship program, the Keren Sharet Competitions.

Mr. Israel’s trombone was optimized by Gary Greenhoe. He performs on a Greg Black mouthpiece.

Directions and Tickets

The concert will be in Waetjen Auditorium on the campus of Cleveland State University. Directions to campus can be found here. Patrons will be able to park in the main garage, now called Central Garage, that is accessible from East 21st Street via Chester Avenue. Parking is free provided that you mention to the attendant that you will be attending the concert.This concert is free and open to the public, but donations to the Cleveland Winds will be gratefully accepted.

Audition materials and scheduling your audition

You should prepare to excerpts for your audition, one demonstrating technical prowess and the other your lyrical phrasing abilities. Standard etudes, such as Rose etudes on clarinet or Arban’s etudes for brass players, are not only accepted but encouraged. If you have any questions, please do not hesitate to contact us.

To schedule an audition, use this link: http://clevelandwinds.org/contact-us/. Please indicate if you have a preferred time. An exact audition time will be emailed several days prior to the audition.

Read a preview of the concert at ClevelandClassical.com.

Program Notes

Celebration was commissioned by the Royal Liverpool philharmonic Society to mark its 150th anniversary. Edward Gregson writes:

I was particularly pleased to receive the invitation to write this piece, as it gave me an opportunity to compose a work which would celebrate not just the birthday of a great orchestra, but the skills of a fine group of players, allow them to demonstrate both their virtuosity and their capacity for sustained, sensitive playing. It seemed appropriate to make it a sort of miniature Concerto for Orchestra (albeit with the strings), and desipte its brevity I have highlighted each departmet of the ensemble in turn before bringing them together at the end.

It opens with a fanfare (announced by three spatially separated trumpets and tubular bells), essentially exuberant music which plays an important part later on. This leads into the second section, basically scherzo-like but with an expressive central passage. Instruments are introduced in the order: flutes, clarinets, oboes, bassoons. A brief tutti ushers in a simple chorale, marked molto sostenuto. The development follows, often highly charged rhythmically, and using material from the first two sections plus a new idea heard on trumpets. The music rises to a climax which moves directly into a reprise of the chorale, in combination with the opening fanfare, to bring the work to a trimphant conclusion.

Russian-born Victor Babin is best known in the United States as a duo-pianist with wife Vitya Vronsky, and as Director of the Cleveland Institute of Music from 1961 – 1972. The Hillandale Waltzes for clarinet and piano was composed towards the end of World War II. The piece was arranged and edited by Dennis Nygren in the summer and fall of 1990, and premiered on December 4, 1990 by the Kent State University Wind Ensemble conducted by Wayne Gorder, with the  arranger as soloist. Prof. Nygren has served as the professor of clarinet at KSU since 1983.

Walter Hartley (b.1927) wrote his Concerto for Twenty-three Winds in 1957 for the Eastman Wind Ensemble. He sent the following comments to conductor Frederick Fennell:

The work is in four movements roughly corresponding to those of the classical symphony or sonata in form, but it is textually more related to the style of the Baroque concert, being essentially a large chamber work in which different soloists and groups of soloists play in contrast with each other and with the group as a whole. The color contrasts between instruments and choirs of instruments are sometimes simultaneous, sometimes antiphonal; both homophony and polyphony are freely used…The first and last movements make the most use of the full ensemble; the second, a Scherzo, features the brass instruments, the slow third movement, the woodwinds. The harmonic style is freely tonal throughout. There is a certain three-note motif (ascending G-A-D) which is heard harmonically at the beginning and dominates the melodic material of the last three movements.

Our Soloist

Robert Davis, Clarinet, from Shaker Heights, Ohio, received his Master’s of Music in Voice at Cleveland State University as a student of Professor Elizabeth Unis Chesko. Robert received his BM from the Cleveland Institute of Music as a student of Linnea Nereim, Bass Clarinet, The Cleveland Orchestra, and his Artist Diploma as a student of Ronald deKant, from the University of Cincinnati-College Conservatory of Music. He also had additional studies with Franklin Cohen, Principal Clarinet, The Cleveland Orchestra. By the age of 19, Robert was performing as an extra musician with The Cleveland Orchestra. He has also performed with the Canton, Akron, and Youngstown Symphonies and in past summers has been a member of the Ashlawn Opera Orchestra (Virginia). He was also the former Principal Clarinet of the Opera in the Ozarks Orchestra (Arkansas). Robert is currently performing with the Lakeside Symphony (Ohio) in the summer. Robert has attended the Interlochen Center for the Arts and the Sarasota Music Festival. He performs with the Gateway Chamber Players in Clarksville, TN. With the Gateway Chamber Players, he recorded Mozart’s Gran Partita for Summit Records (release date- March 2010). He has received awards from the International Conference of Symphony and Opera Musicians (ICSOM) and the American Symphony Orchestra League (ASOL). After returning from graduate school in late 2003, Robert began studying voice. He has sung in master classes for Robert Page and Garnett Bruce (director) has performed at Alice Tulley Hall in New York City as a member of the Duffy Liturgical Singers. He was a member of the Cleveland Opera Chorus and performed in the opera, Turandot. He made his solo opera debut as the Sailor in Purcell’s Dido and Aeneus. He continued with the world premiere of Mozart/El-Dabh, King of Egypt, as Gastone in Verdi‘s La Traviata, and Borsa in Verdi’s Rigoletto, all with Opera Circle. Robert is currently Director of Bands at The Cleveland School of the Arts.

Directions and Tickets

The concert will be in Waetjen Auditorium on the campus of Cleveland State University. Directions to campus can be found here. Patrons will be able to park in the main garage, now called Central Garage, that is accessible from East 21st Street via Chester Avenue. Parking is free provided that you mention to the attendant that you will be attending the CSU Wind Ensemble concert. This concert is free and open to the public, but donations to the Cleveland Winds will be gladly accepted.

The repertoire for the rest of the Cleveland Winds’ portion of the concert will feature Aaron Copland’s Emblems, led by Music Director Birch Browning.

Program Notes

Sinfonietta – Ingolf Dahl

The form of this Sinfonietta is akin to an arh or to the span of a large bridge: the sections of the first movement correspond, in reverse order and even in some details, to the sections of the last. For example, the opening fanfares of the back-stage trumpets are balanced by those at the close of the work; the thematic material that ends the first movement opens the last, although in altered form. The middle movement is itself shaped like an arch: it begins with an unaccompanied line in the clarinets and ens with a corresponding solo in the alto clarinet. The center of the middle movement which is the center of the whole work–a gavotte-like section, and the lightest music of the entire Sinfonietta–is the “key-stone” of the arch.

The tonal idiom of the work grows out of the acoustical properties of the symphonic band: a wealth of overtones. Thus I feel that bands call for music with more open and consonant intervals than would be a string ensemble or a piano. The Sinfonietta is tonal, and centered aournd A-flat major. At the same time, however, its corner movements are based on a series of six tones (A-flat, E-flat, C, G, D, A) which, through various manipulations, provide most of the work’s harmonic and melodic ingredients and patterns. The six tones were chosen to permit all kinds of triadic formations. Furthermore, their inversion at the interval of the major sixth yields a second six-tone set which comprises the remaining six tones of a complete twelve-tone row.

The six-tone set is introduced tone by tone by the opening back-stage trumpets, and as it reappears in its original form and in transpositions, it constitutes the entire tonal content of this fanfare.

Throughout the two corner movements, the set appears in various guises, from the blunt unison statement which opens the last movement to the almost unrecognizable metamorphoses elsewhere. It also provides melodic as well as harmonic frameworks. Thus in the first movement, it serves as focal point in the march tune which opens the principal rondo section; it also motivates the succession of tonalities in the cadenza-like modulatory episode for the clarinet section, which goes from A-flat via E-flat and C major, and so forth, to A major, i.e., to the key farthest removed from the initial A-flat. (When the cadenza reaches the A, the rondo section returns.)

The First Movement, “Introduction and Rondo,” proceeds by simple alternation between march-like refrains and rhythmically looser episodes. A culmination is reached at the point at which the entire clarinet section, punctuated by the brass and percussion, breaks into the brilliant cadenza mentioned above. The movement closes in full tutti and with a drum pattern which traditionally would stand at the beginning of a march, but which here ends it.

The Second Movement, “Notturno Pastorale,” consists of alternations and superimpositions of several musical forms in a single movement. These forms are: a fugue, a waltz, and a gavotte. The fugue subject first hides in a lyrical saxophone solo. It derives from the tetrachord E-flat, F, G-flat, A-flat, but through octave displacements and rhythmic shifts, etc., each of its appearances is slightly different from all others, as if it were refracted by different lenses at each entry.

Superimposed upon the fugue is the waltz which alternately recedes into the distance and returns to the foreground. By contrast, the middle section–Gavotte–is of a much simpler fabric: a lightly accompanied oboe tune.

It will be noted that the second movement, unlike the first, avoids most of the “conventional” band sounds. There is no tutti, and the texture is often densely polyphonic or, as in the Gavotte, uncommonly thin and airy.

The tonality of D-flat–the classical sub-dominant key-relative to the first movement. Throughout, there is a gravitational temptation toward further sub-dominants: to G-flat, then to C-flat, and so on.

The Third Movement, “Dance Variations,” begins with the most straightforward presentation of the six-tone set. Thereupon the set, serving as the basso ostinato of this passacaglia-like movement, undergoes countless set-derived transformations. (The term “variations” here refers to the ostinato.) Appearing above these bass variations we hear a multitude of different little tunes in shifting colors. And all this proceees along a key-scheme that goes through most of the circle of fifths, beginning several time over on the key level of A-flat. A lyrical middle section provides contrast. Toward the end, after a rhythmic tutti, the instrument, in commedia dell’arte fashion, bow out one by one.

- Ingolf Dahl

Emblems – Aaron Copland

In May, 1963, I received aletter from Keith Wilson, President of the COLLEGE BAND DIRECTORS NATIONAL ASSOCIATION, asking me to accept a commission from that organization to compose a work for band. He wrote: “The purpose of this commission is to enrich the band repertory with music that is representative of the composer’s best work, and not one written with all sorts of technical or practical limitations.” That was the origin of “EMBLEMS”.

I began work on the piece in the summer of 1964 an completed it in November of that year. It was first played at the CBDNA National Convention in Tempe, Arizona, on December 18, 1964, by the Trojan Band of the univeristy of Southern California, conducted by William Schaefer.

Keeping Mr. Wilson’s injunction in mind, I wanted to write a work that was challenging to young players without overstraining their technical abilities. the work is tripartite in form: slow-fast-slow, with the return of the first part varied. Embedded in the quiet, slow music the listener may hear a brief quotation of a well known hymn tune, “Amazing Grace”, published by William Walker in The Southern Harmony in 1835. Curiously enough, the accompanying harmonies had been conceived first, without reference to any tune. It was only a chance perusal of a recent anthology of old `Music in America’ that made me realize a connection existed between my harmonies and the old hymn tune.

An emblem stands for something — it is a symbol. I called the work EMBLEMS because it seemed to me to suggest musical states of being: noble or aspirational feelings, playful or spirited feelings. The exact nature of these emblematic sound must be determined for himself by each listener.

- Aaron Copland

The repertoire for the rest of the concert will feature a transcription of Ravel’s La Valse by Joe Kreines and John Corigliano’s Gazebo Dances for Band.

Program Notes

La Valse – Ravel/arr. Kreines

In a letter written in 1906, Ravel spoke of plans to compose a waltz that would pay tribute to Johan Strauss and be “an apotheosis of the Viennese waltz.” He titled his rough sketch Wien: Poème Symphonique (Vienna: Symphonic Poem). By 1920, the work had evolved to its finished form and its final title:. This is no typical waltz; it is a surreal parody, an apocalyptic view of wartime Vienna, familiar to Ravel through his service as an ambulance driver during World War I.

In Ravel’s version we are meant to see, as through a mist, an imperial palace of the mid-19th century, a grand ballroom filled with dancers, a scene alive with light and colour, an “impression of a fantastic and fatal whirling.” It is a waltz with one foot planted solidly in classical waltz traditions, with the other balanced uncertainly on the shaky ground of the new, the avant-garde, the modern. Rarely performed as a ballet, it is often programmed as a concert work, the absence of visual “busyness” helping to free the palette of the mind’s eye to imagine the surrealism of Ravel’s vision. Ravel dedicated his waltz to his long-time friend Misia Sert, a woman who was held in high esteem by many influential personalities of the day. It was in her home that Ravel first performed a piano reduction of the work for Sergei Diaghilev, Igor Stravinsky, and Francis Poulenc.

– Nikk Pilato, windrep.org

Seven Dances from “The Misfortunes of Sophie - Françiax

The ballet, Les malheurs de Sophie (‘The Misfortunes of Sophie’) is loosely based on the book of the same title written by Sophie, Comtesse de Ségur. Born Sophie Rostopchine (1799-1874), her story, which is based on her own early life, depicts the misadventures of the three-year-old Sophie and her five-year-old cousin, Paul. Françiax’s ballet setting, his third following Scuola di Ballo and Beach, is divided into three tableaux, from which the composer set seven dances for double woodwind quintet. The various movements describe escapades such as the death of her new wax doll, which expires after being left carelessly in the sun, the funeral for the doll, the cooking and eating of her mother’s pet fish, and various joyous dances, the last of which includes butterfly nets.

Vientos y Tangos – Gandolfi

Vientos y Tangos (Winds and Tangos) was commissioned by The Frank Battisti 70th Birthday Commission Project and is dedicated to Grank Battisti in recognition of his immense contributions to the advancement of concert wind literature. It was Mr. Battisti’s specific request that I write a tango for wind ensemble. In preparation for the piece, I devoted several months to the study and transcription of tangos from the early style of Juan D’arienzo and the ‘Tango Neuvo’ style of Astor Piazzolla to the current trend of ‘Disco/Techno Tango,’ among others. After immersing myself in this listening experience, I simply allowed the most salient features of these various tangos to inform the direction of my work. The dynamic contour and the various instrumental combinations that I employ in the piece are all inspired by the traditional sounds of the bandoneon, violin, piano and contrabass.

– Michael Gandolfi

Michael Gandolfi was born in 1956 in Melrose, Massachusetts. He received the B.M. and M.M. degrees in composition from the New England Conservatory of Music, as well as fellowships for study at the Yale Summer School of Music and Art, the Composers Conference, and the Tanglewood Music Center. Mr. Gandolfi is the recipient of numerous awards, including grants from the Fromm Foundation, the Koussevitzky Music Foundation, the John Simon Guggenheim Foundation, and the American Academy of Arts and Letters. His music has been performed by leading ensembles including the Boston Symphony Orchestra, the BBC Symphony Orchestra, and The President’s Own United States Marine Band. He is a faculty member of the New England Conservatory of Music and the Tanglewood Music Center.

Gazebo Dances – Corigliano

John Corigliano first conceived Gazebo Dances for piano, four hands. It did not receive its title, however, until he had arranged the piece for both orchestra and concert band in 1973. Each movement has a separate dedication: I. Overture, to Rose Corigliano and Etta Feinberg (both pianists); II. Waltz, to John Ardoin (a music critic); III. Adagio, to Heida Hermanns; IV. Tarantella, to Jack Romann and Christian Steiner.

Corigliano’s title, Gazebo Dances, is derived from the dance music played by bands in New England country towns. These groups usually play in pavilions, or gazebos, while the public listens and dances. Three of the four movements refer to traditional types of pieces both in title and in style.

– John Palmer, Rovi

The American John Corigliano continues to add to one of the richest, most unusual, and most widely celebrated bodies of work any composer has created over the last forty years. Corigliano’s numerous scores—including three symphonies and eight concerti among over one hundred chamber, vocal, choral, and orchestral works—have been performed and recorded by many of the most prominent orchestras, soloists, and chamber musicians in the world. Recent scores include Conjurer (2008), for percussion and string orchestra, commissioned for and introduced by Dame Evelyn Glennie; Concerto for Violin and Orchestra: The Red Violin (2005), developed from the themes of the score to the François Girard’s film of the same name, which won Corigliano the Oscar in 1999; Mr. Tambourine Man: Seven Poems of Bob Dylan (2000) for orchestra and amplified soprano, the recording of which was nominated for the Grammy for Best Contemporary Composition in 2008; Symphony No. 3: Circus Maximus (2004), scored simultaneously for wind orchestra and a multitude of wind ensembles; and Symphony No. 2 (2001: Pulitzer Prize in Music.) Other important scores include String Quartet (1995: Grammy Award, Best Contemporary Composition); Symphony No. 1 (1991: Grawemeyer Award); the opera The Ghosts of Versailles (Metropolitan Opera commission, 1991); and the Clarinet Concerto (1977.) One of the few living composers to have a string quartet named for him, Corigliano serves on the composition faculty at the Juilliard School of Music and holds the position of Distinguished Professor of Music at Lehman College, City University of New York, which has established a scholarship in his name; for the past fourteen years he and his partner, the composer-librettist Mark Adamo, have divided their time between Manhattan and Kent Cliffs, New York.

– From johncorigliano.com

Tickets

Tickets are $5 for adults and $2 for students.

Directions

The concert will be in Waetjen Auditorium on the campus of Cleveland State University. Directions to campus can be found here. Patrons will be able to park in the main garage, now called Central Garage, that is accessible from East 21st Street via Chester Avenue.