THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents the
21ST BIENNIAL FESTIVAL OF NEW MUSIC: CLOSING CONCERT with THE UNIVERSITY SYMPHONY ORCHESTRA Alexander Jiménez, Music Director and Conductor Guilherme Rodrigues, Graduate Associate Conductor and THE UNIVERSITY WIND ORCHESTRA Rodney Dorsey, Conductor
Saturday, February 3, 2024 Seven-thirty in the Evening Ruby Diamond Concert Hall
ng i t r o p p u S e Arts th
850-894-8700
www.beethovenandcompany.com 719 North Calhoun Street, Suite E Tallahassee, Florida 32303
Tom Buchanan, owner
PROGRAM NEOWISE (2021)
Roger Zare (b. 1985)
Moon: Disfigured and Looped (2023)
Anak Baiharn
Guilherme Rodrigues, Graduate Associate Conductor Hundred Heads (2014)
Du Yun (b. 1977) University Symphony Orchestra Alexander Jiménez, conductor INTERMISSION
Like an Altar with 9,000 Robot Attendants (2016)
Ryan Lindveit (b. 1994)
Prismata (2022)
Edward Jacobs (b. 1961)
Dàzhài (2023)
David Mailman (b. 2002) University Wind Orchestra Rodney Dorsey, Conductor
Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.
NOTES ON THE PROGRAM Zare: NEOWISE Roger Zare has been praised for his “enviable grasp of orchestration” (New York Times) and for writing music with “formal clarity and an alluringly mercurial surface.” Zare serves as assistant professor of music at Appalachian State University. Often inspired by science, nature, and mythology, his works have been performed across the United States and on six continents by such musicians and ensembles as the American Composers Orchestra, the Minnesota Orchestra, Boston Musica Viva, the Sinta Quartet, violinist Cho-Liang Lin, and clarinetists Alexander Fiterstein and Andy Hudson. An award-winning composer, Zare has received recognition from ASCAP, BMI, the American Academy of Arts and Letters, Copland House, and many others. Zare holds degrees from the University of Michigan, the Peabody Conservatory, and the University of Southern California. His teachers include Bright Sheng, Michael Daugherty, Kristin Kuster, Paul Schoenfield, Christopher Theofanidis, and Derek Bermel.
During the summer of 2020, a rare sight emerged in the night sky. Comet NEOWISE rounded the sun and spent weeks visible to the naked eye during July. Only discovered months earlier, NEOWISE became the most impressive comet to fly by our planet in decades. The year 2020 was marred by the global Covid-19 pandemic. Many countries, including the United States, locked down to slow down the spread of this extremely contagious disease, disrupting the lives of countless people around the world. While humanity was unable to do so many things that had been taken for granted, nature put on a show, and this comet provided a needed diversion from the constant stream of bad news. This piece portrays the journey of comet NEOWISE through the inner solar system from our viewpoint on Earth, with ethereal vast soundscapes and energetic sweeping gestures. NEOWISE was commissioned by the Trinity Symphony Orchestra, with generous support from the Stieren Arts Enrichment Grant.
Baiharn: Moon: Disfigured and Looped Anak Baiharn is a Thai composer. His primary interest lies in multi-disciplinary art, electronic music, sound art, spectralism, and traditional Thai music. He has participated in many contemporary music festivals and competitions and worked with various ensembles both in Thailand and internationally, such as the Thailand Philharmonic Orchestra, Borneo Ensemble, Wind Band Association of Singapore Composition Contest, Manila Composers Lab, New Opera Singapore Composition Open Call, Silk Road Youth Commissioned Composition (Central Conservatory of Music, Beijing), Princess Galyani Vadhana Institute of Music International Symposium, Thailand New Music and Art Symposium, and Thailand International Composition Festival.
Moon: Disfigured and Looped is based on motifs that were used in the piece “Clair de Lune” by Debussy. I operated on the mentioned motifs with minimalistic and postminimalistic approaches, a drastically different practice from the source material. Another aspect that was derived from Debussy’s piece is pitches. I translated the
pitches in the original motifs into several pitch-class sets, and then PC set operations were performed. Apart from the motifs and the sets of pitches that were influenced by the original, the other parallel between my piece and Debussy’s is the use of extended harmony; However, there is a difference between his approach and mine. Many consider his way of using extended harmony as a painter using a color palette. But mine is more adjacent to a sound mass technique, in this case, clusters of sound that are created by the superimposition of extended chords. Yun: Hundred Heads Du Yun, born and raised in Shanghai, China, and currently based in New York City, works at the intersection of opera, orchestral, theatre, cabaret, musical, oral tradition, public performances, electronics, visual arts, and noise. Her body of work is championed by some of today’s finest performing groups and organizations around the world. Known for her “relentless originality and unflinching social conscience” (The New Yorker), Du Yun’s second opera, Angel’s Bone (libretto by Royce Vavrek), won the 2017 Pulitzer Prize in Music. She was nominated for a Grammy Award in the Best Classical Composition category for her work Air Glow. Her collaborative opera Sweet Land with Raven Chacon (for opera company The Industry) was the 2021 Best New Opera by the North America Critics Association. Four of her feature studio albums were named The New Yorker’s Notable Recordings of the Year, in 2018, 2019, 2020, and 2021, respectively. Her latest monodrama opera In Our Daughter’s Eyes was a notable performance of the year in 2022 by The New Yorker. A community champion, Du Yun was a founding member of the International Contemporary Ensemble; served as the Artistic Director of MATA Festival (2014-2018); conceived the Pan Asia Sounding Festival (National Sawdust); and founded FutureTradition, a global initiative that illuminates the provenance lineages of folk art and uses these structures to build crossregional collaborations from the ground up. Du Yun was named one of 38 Great Immigrants by the Carnegie Foundation (2018), “Artist of the Year” by the Beijing Music Festival (2019). In 2022, she was granted a Creative Capital Award for an AR inter-generational Kun-opera project. Asia Society Hong Kong has honored her for her continued contribution in the performing arts field. Other notable awards include Guggenheim, American Academy Berlin Prize, Fromm Foundation, Foundation for Contemporary Arts. The Carnegie Foundation and the Vilcek Prize in Music have honored her as an immigrant who have made lasting contributions to the American society. In 2023 Harvard University honored her as centennial medalist, the highest recognition for its alumni. As an avid performer and bandleader (Ok Miss), her onstage persona has been described by the New York Times as “an indie pop diva with an avant-garde edge.” Du Yun is Professor of Composition at the Peabody Institute, and Distinguished Visiting Professor at the Shanghai Conservatory of Music. Her concert music is published worldwide by G. Schirmer.
When I was asked by the Seattle Symphony to choose an artist who was a part of the local cultural map as my inspiration for a new piece, very quickly, I chose Ray Charles. I’m captivated by this creature. In a way, I think Ray Charles has his own incarnations,
his breaks, his many before-lifes. He wouldn’t not take the enlightenment once the monster dies with him. The Hundred-Heads is a fish created out of a few words’ karma by posthumous repercussions down through time. In a previous incarnation, Kapila had been a Brahmin who had become a monk, and surpassed all men in his knowledge of the sacred texts. Sometimes his companions would make mistakes, at which Kapila would call them “monkey-head,” “ dog-head,” etc. When he died, the karma of that accumulated invective made him come back to life as a sea monster, floundering under the weight of all the heads he had wished upon his companions. To me, Ray Charles is the echo of that spirit. In my piece, traces of Ray’s most-known tune “Georgia” is faintly suggested, so was his “Hard Times (No One Knows Better Than I).” Traces of his trademark brass rhythm is only hinted, often in breaks. I often wonder our own musical language. What constitutes others, when does such becomes our own. When an assimilation evolves to an assault. When the boundary of the divide stops. To Ray’s spirit. Lindveit: Like an Altar with 9,000 Robot Attendants Ryan Lindveit (1994) is an American composer who currently serves on the faculty of the College of Music at the University of Tennessee, Knoxville as Lecturer of Music Theory and Composition. He draws his inspiration from literature, art, science technology, and personal experiences. Lindveit has commissioned works for many ensembles and organizations including the Minnesota Orchestra, Alarm Will Sound, and “The President’s Own” United States Marine Band among many more.
Like an Altar with 9,000 Robot Attendants was inspired by Ray Bradbury’s short story “There Will Come Soft Rains” (1950). The futuristic story describes a computercontrolled house, in which robots do everything from cooking breakfast to cleaning house. The house even reads poetry aloud. In Bradbury’s future, all humans have been destroyed, but this house remains steadfast to its tasks in service of its absent denizens. The author describes it: “And inside, the house was like an altar with nine thousand robot attendants, big and small, servicing, attending, singing in choirs, even though the gods had gone away and the ritual was meaningless.” All humans have been annihilated, and yet Bradbury’s futurist prose remains characteristically exuberant in describing these household robots—a tension which stimulated me to write the music in this piece. I also felt that the orchestra—an ensemble associated with myriad rituals—was the perfect medium through which to explore ideas of robotic ritual.
Mailman: Dàzhài David Huang Mailman composes music inspired by his Chinese heritage and current studies of Chinese culture. He has dedicated himself to writing accessible arrangements of Chinese classical music to Western Band repertoire. Mailman was the collegiate winner of the National Association for Music Education’s Student Composers Competition in 2021 and Dàzhài was a finalist in the 2023 “The President’s Own” Marine Band Call for Scores. He is currently a student at Vanderbilt University studying Chinese history, twentieth-century Chinese music, and the interaction of politics and musical composition.
Dàzhài (2022-2023) was inspired by the composer’s Chinese heritage and the lessons of Chinese history passed down to him by his mother and grandparents. The realworld Dàzhài was a village celebrated for its agricultural success on land thought unfit for farming. Despite the challenges of nature, the village tamed the land and yielded bountiful harvests. The Dàzhài village was a shining example of what a better future could be and became the focal point of Mao-era and Cultural Revolution-era policies and campaigns. Despite the originally hopeful ideals, these eras brought forth chaos and violence across Chinese society and are referred to often as the “ten-year catastrophe,” “ten years of chaos,” or “ten-year great disaster.” The composer writes “ …taming all things natural and bending them to the human will was not always desirable. Sometimes, it is best to let things be. Nature always has a reason, after all.” Jacobs: Prismata Edward Jacobs (1961) currently writes music for large and small ensembles, solo instruments, and instruments with electronic music. Jacobs is on faculty at the East Carolina University School of Music, and the Founding Director of NC NewMusic Initiative. Through his NewMusic Initiative program, he has created a Commissioning Program that introduces children to “the fun of creating music together. He is an active composer with works being recognized with a Guggenheim Fellowship and the Charles Ives Fellowship of the American Academy of Arts & Letters.
Prismata (2022) was inspired by the composer’s focus on exploring the many colors, or timbres, of the wind ensemble. Jacobs plays with several musical ideas, spinning them by presenting each differently across the ensemble and within augmented textures in the music. The audience may notice a rhythm played clearly on a drum at one moment and return later woven into a melody played by another instrument. Prismata concludes with a chorale of the harmonies that have been heard throughout the overlapping melodic statements.
University Symphony Orchestra Personnel Alexander Jiménez, Music Director and Conductor Guilherme Rodrigues, Graduate Associate Conductor Violin I Masayoshi Arakawa** Tommaso Bruno MaryKatherine Whiteley Catherine Yara Angel Andres Barbara Santiago Stacey Sharpe Jean-Luc Cataquet Thomas Roggio Keat Zhen Cheong Rosalee Walsh Gabriela da Silva Fogo Darrian Lee Violin II Maria Mendez* Hope Welsh Nicole Vega Harshul Mulpuru Gabriel Salinas-Guzman Anna Kirkland Madelyne Garnot Alyssa Donall Michael Mesa Joan Prokopowicz Viola Hunter Sanchez* Luiz Barrionuevo Marina Akamatsu Margot Elder Joshua Singletary Abigail Felde Ahdi Horton Keara Henre Caroline Bruns Jeremy Hill Cello Thu Vo* Angelese Pepper Mitchell George Katie Jo Gelasco Marina Burguete-Diago Luke Ponko Emma Hoster Liam Sabo
Bass Alex Lunday* Kent Rivera Christian Maldonado Megan Hipp Maximilian Levesque Alejandro Bermudez Flute Emma Cranford* Lindsey Kovach* Cameron McGill Kaitlyn Calcagino Piccolo Allison Acevedo Oboe Luis Gallo* Nic Kanipe* Andrew Swift Elijah Barrios English Horn Nic Kanipe Clarinet Anne Glerum* Travis Irizarry* Brad Pilcher* Andrew Prawat
Horn Tarre Nelson* Brianna Nay* Leslie Bell Tommy Langston Trumpet Benjamin Dubbert* Vance Garven* Schelvin Robinson* Vito Bell Trombone Justin Hamann* Justus Smith Bass Trombone Grant Keel Tuba Chris Bloom* Timpani and Percussion Landon Holladay* Kylan Bigby Jackson Kowalczyk Darci Wright Piano Mikayla Rogers
Bass Clarinet Audrey Rancourt
Orchestra Manager Heather Simpson
Bassoon Carson Long* Cailin McGarry* Josie Whiteis* Ryder Kaya
Orchestra Stage Manager Alejandro Bermudez
Contrabassoon Ryder Kaya Cailin McGarry
Orchestra Librarians Will Whitehead Guilherme Rodrigues Administrative Assistant Marina Akamatsu
Wind Orchestra Personnel Rodney Dorsey, Conductor Jackie Tabone, Graduate Associate Conductor Piccolo Isabelle Rodriguez
Bass Clarinet Audrey Rancourt
Flute Pamela Bereuter* Steven Fireman Adeline Belova Rachael Lawson
Contrabass Clarinet Jariel Santiago
Oboe Abby Kothera Elijah Barrios Andy Swift English Horn Andy Swift Bassoon Cailin McGarry Ryder Kaya Contrabassoon Carson Long E-Flat Clarinet Brad Pilcher B-Flat Clarinet Anne Glerum* Connor Croasmun Travis Irizarry Andrew Prawat Jalen Smalls Jariel Santiago
Saxophone Jason Shimer Daniel Sgattoni Micah Cheng Ethan Horn Trumpet/Cornet Madison Barton* Vito Bell Vance Garven Bob Kerr Thana Rangsiyawaranon Thum Rangsiyawaranon Horn Tommy Langston * Ac Caruthers Abby Odom Clare Ottesen Luis Oquendo Trombone Grant Keel Sarah Castillo Justin Hamann
Euphonium Jonah Zimmerman* Luke Heinrich Tuba Mike Anderson* Charlie Nelson Sebastian Bravo String Bass Max Levesque Piano Jackie Yong Harp Lauren Barfield Percussion Ryan Boehme* Jake Fenoff Miranda Hughes Austin Pelella Darci Wright Kylan Bigby Jackson Kowalczyk
HOUSEWRIGHT VIRTUOSO SERIES
NEW DIRECTIONS IN BRAZILIAN MUSIC OPPERMAN MUSIC HALL FEBRUARY 9, 2024 | 7:30PM FSU Musicology professor and composer Panayotis (Paddy) League presents a program of works inspired by decades of research and performance in Brazil. The suite of pieces, “Sereias do Mar Mineiro” (Mermaids of the Mountain Sea), pays homage to the popular music traditions of the states of Minas Gerais and Paraíba and features an ensemble of FSU and FAMU faculty and students on accordion, harp, strings, brass, woodwinds, and Afro-Brazilian percussion.
For tickets and additional information, visit: tickets.music.fsu.edu
2023–2024 CONCERT SEASON FALL November 19, 2023 Elijah Felix Mendelssohn
UNITY 17 January 28, 2024 Sounds of Cinema Celebrating Tallahassee’s Bicentennial
SPRING April 28, 2024 Lord Nelson Mass Joseph Haydn
TICKETS: TCCHORUS.ORG OR 850-597-0603 All performances in Ruby Diamond Concert Hall, Florida State University Funded in part by
UNIVERSITY MUSICAL ASSOCIATES 2023-2024 Dean’s Circle Les and Ruth Ruggles Akers Richard Dusenbury and Kathi Jaschke CarolAline Flaumenhaft
Jim and Betty Ann Rodgers Tate and Jo Todd
Gold Circle Drs. Charles and Sharon Aronovitch Margaret and Russ Dancy Louie and Avon Doll Patrick and Kathy Dunnigan Kevin and Suzanne Fenton * Emory and Dorothy Johnson Albert and Darlene Oosterhof
Bob Parker Todd and Kelin Queen Karen and Francis C. Skilling * Paula and Bill Smith David and Jane Watson Bret Whissel Sustainer
Stan Barnes Marty Beech Kathryn M. Beggs Greg and Karen Boebinger Beverley Booth * Karen Bradley Scott A. Brock Donna Callaway Brian Causseaux and W. David Young Pete and Bonnie Chamlis James Clendinen Jody and Nancy Coogle Jim and Sandy Dafoe Patrice Dawson Floyd Deterding and Kelley Lang Diane Dowling and Jack Dowling Segundo J. Fernandez Susan and Jack Fiorito Joy and James Frank William Fredrickson and Suzanne Rita Byrnes William J. Gladwin, Jr. Mario Gonzalez and Pierce Withers Myron and Judy Hayden
* Marc J. and Kathryn S. Hebda Katherine Henricks Dottie and John Hinkle Todd S. Hinkle Holly Hohmeister Karolyn and Ed Holmes Alexander and Dawn Jiménez Dr. Gregory and Dr. Margo Jones William and DeLaura Jones Martin Kavka and Tip Tomberlin Howard Kessler and Anne Van Meter Michael Killoren and Randy Nolan Dennis G. King, Esq. Robert and Karen Large Dr. Annelise Leysieffer Nancy and Jeff Lickson Linda and Bob Lovins Victoria Martinez Kay and Ken Mayo Robert and Patty McDonald Duane and Marge Meeter Dewitt Miller, III Walter and Marian Moore Ann W. Parramore
Sustainer cont’d Robert and Caryl Pierce * David and Joanne Rasmussen Stephen and Elizabeth Richardson * Ken and J.R. Saginario Jonathan Jackson and Greg Springer Nell and Marshall Stranburg
William and Ma’Su Sweeney Margaret Van Every and Joe Lama * Alison R. Voorhees John and Jeanie Wood Kathy D. Wright
Patron Joyce Andrews Mary S. Bert Malcolm Craig Rochelle M. Davis William H. Davis Eunice Filar Judith Flanigan John S. and Linda Fleming L. Kathryn Funchess Debbie Gibson Ruth Godfrey-Sigler Bryan and Nancy Goff Harvey and Judy Goldman Michael Hanawalt * William and Julie Hatfield Albert Henry Jerry and Bobbi Hill Madeleine Hirsiger-Carr Jane A. Hudson Richard and Linda Hyson Barbara James Emily Jamieson Sally and Dr. Link Jarrett Ms. Judith H. Jolly Mr. and Mrs. William A. Kaempfer Dr. Alan R. Kagan Arline Kern
* Jonathan Klepper and Jimmy Cole Frances Kratt John and Silky Labie Donna Legare Mari-Jo Lewis-Wilkinson Ann and Don Morrow Dr. William C. Murray Sandra Palmer Ann E. Parker Marjorie J. Portnoi Karalee Poschman David Reed Edward Reid Mark E. Renwick John and Carol Ryor Jill Sandler Paula S. Saunders Scott Scearce Jeanette Sickel Alice C. Spirakis George Sweat Marjorie Turnbull Ed Valla Paul van der Mark Sylvia B. Walford Geoffrey and Simone Watts Jeff Wright
Associate Jayme Agee Patricia C. Applegate Michael Buchler and Nancy Rogers Mary and David Coburn Adele Cunningham Pamala J. Doffek Clifford Dudley The Fennema Family Gene and Deborah Glotzbach Barbara Hamby and David Kirby Donna H. Heald Carla Connors and Timothy Hoekman Nicole and Kael Johnson Steve Kelly Dean Kindley
Pell and Angela Kornegay Joseph Kraus Susan S. Lampman Debora Lee Jane LeGette Chantal Littleton Kathleen and Lealand McCharen Moncrief Flom Family In Memory of Mrs. Dorothy S. Roberts Dr. Luis R. Rosas Sperandio Sanford A. Safron Kelley Stam Mr. and Mrs. Charles Tuten Karen Wensing Teresa White
Lifetime Members Willa Almlof Florence Helen Ashby Mrs. Reubin Askew * Tom and Cathy Bishop Nancy Bivins Ramona D. Bowman André and Eleanor Connan Janis and Russell Courson * J.W. Richard and Tina Davis Ginny Densmore Nancy Smith Fichter and Robert W. Fichter Carole D. Fiore Patricia J. Flowers Jane E. Hughes Hilda Hunter Julio Jiménez Kirby W. and Margaret-Ray Kemper
Patsy Kickliter Anthony M. and Mallen E. Komlyn Fred Kreimer Beverly Locke-Ewald Cliff and Mary Madsen Ralph and Sue Mancuso Meredith and Elsa L. McKinney Ermine M. Owenby Mike and Judy Pate Jane Quinton Laura and Sam Rogers, Jr. Dr. Louis St. Petery Sharon Stone Donna Cay Tharpe Brig. Gen. and Mrs. William B. Webb Rick and Joan West John L. and Linda M. Williams
Corporate Sponsors Beethoven & Company
MusicMasters Business Sponsors
WFSU Public Broadcast Center *University Musical Associates Executive Committee
The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 850-644-4744.
The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at 850-644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.