Wind EnsEmblE

Wednesday, April 26, 2017 • 8:00 p.m.

DePaul Concert Hall800 West Belden Avenue • Chicago

Cliff Colnot, conductorStephen Balderston, cello

Wednesday, April 26, 2017 • 8:00 p.m.DePaul Concert Hall

Wind EnsEmblE Cliff Colnot, conductor Stephen Balderston, cello

Program

Edgard Varèse (1883-1965)Octandre (1923) Assez Lent Très vif et nerveux Grave – Animé et Jubilatoire

Franz Joseph Haydn (1732-1809); arr. Cliff ColnotCello Concerto in C Major, VIIb/1 (ca. 1761–5; arr. 2017)(World Premiere) Moderato Adagio Finale: Allegro Molto

Stephen Balderston, cello

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Edgard Varèse (1883-1965) Octandre (1923) Duration: 8 minutesThroughout his career, Edgard Varèse displayed a keen interest in the potential impact of new ideas and technologies on music. Composed in 1923, Varèse’s Octandre was premiered in 1924 on a concert organized by the International Composers’ Guild in New York. Octandre is one of a handful of influential pieces composed by Varèse during the 1920’s and 1930’s. This concise piece provides a crystalline example of many of his innovative aesthetic and technical concerns during this time. The distinctive instrumentation and timbral palette of this piece reflects Varèse’s unique concept of sound, focused on an extremely direct approach to tone production that is particularly well suited to the bright, dry timbres of the winds and brass. Varèse further defines the distinctive colors of the piece through a variety of techniques such as percussive flutter-tonguing, use of brassy (cuivré) tone color in the horn, mutes in all of the brass, and use of extreme high and low registers in all of the instruments.

Structured in three brief movements, this piece clearly illustrates Varèse’s innovative approach to form. The overall scheme of the movements is a slow/fast/slow-fast pattern that eschews the traditional fast-slow-fast scheme typical of classically oriented three-movement works. The boundaries among the three movements are also obscured by the high degree to which they share closely related materials.

At the outset of the first movement, a line played by the solo oboe illustrates an economy of means that is characteristic of Varèse’s style. This opening line initiates a principle idea that is used throughout the work, based largely upon a four-note pitch cell. The repetitive, yet subtly varied presentation of this cell is typical of the relatively static approach to material that Varèse uses throughout the work. Movement I is structured in

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three major sections. Beginning with the distinctive oboe solo, Varèse rapidly fills out the entire chromatic pitch-space of the piece and introduces all of the instruments in the ensemble. A brief transition played by the bassoon descends into a lower register and initiates a second section that forms the torso of the movement. This section is based largely upon a second important motive, repetitive blocks of sound that are juxtaposed and subjected to rhythmic variations. These blocks are typical of Varèse’s concept of ‘sound mass,’ musical ideas consisting of multiple similar elements that are characterized by a particular gesture, dynamic, color, etc. The movement closes with a return of the solo oboe, this time playing in a higher register.

As in the first movement, the very brief second movement opens with another solo, this time the piccolo playing in its distinctive lower register. Presented together with punctual gestures in the rest of the ensemble, this solo provides a backbone for the first part of this section. Following a brief grand pause, the movement once again focuses on block-like ‘sound-masses,’ characterized by wide leaps and repeated notes. The leaps, in particular, provide a strong link between this material and the linear idea presented in the opening oboe solo at the beginning of the piece. Rather than relying on a more traditional notion of a linear unfolding of form, Varèse uses non-linear juxtapositions of these ‘sound-masses’ as a fundamental approach to building form.

The third movement provides a summation of the two principle materials used in the first and second movements. Beginning once again with solo lines, this time played by the bassoon and bass, this linear strand plays a greater role in this movement than in the first and second. As it continues, it is layered with ‘sound-mass’ blocks, creating a synthesis of the two principle ideas used in the first two movements. Connections between the movements are further underscored by the return of the solos in the oboe and piccolo, each presenting variants of the

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material they played earlier in the piece, this time combined with other instruments, such as the E-flat clarinet and bassoon, among others. The movement culminates with an extended presentation of the opening melodic material in the upper register of the trumpet combined with repetitive ‘sound-masses’ played by all of the other instruments. The relative stasis and clarity of this moment gives way to a brilliant final presentation of ornamented leaping material in the piccolo, E-flat clarinet and brass instruments that combines elements of both of the original motivic ideas, and brings the piece to a climactic close.

Notes by Christopher Wendell Jones.

Franz Joseph Haydn (1732-1809); arr. Cliff Colnot Cello Concerto No. 1 in C Major, Hob. VIIb/1, (ca. 1761–5) Duration: 25 minutesFranz Joseph Haydn composed the Cello Concerto No. 1 in C Major Hob. VIIb/1 sometime during his first four years of work for the Esterházy family. This wealthy royal family maintained an orchestra, and Haydn was expected to conduct and compose new works for the musicians. Haydn listed the concerto in a catalogue of his works that he created during his lifetime, but the music was lost for two hundred years. An archivist found it in the collection of the Czech National Library in Prague in 1961. Since its discovery, it’s become an important part of Classical era repertory for solo cello. The form of this concerto more closely resembles Baroque concerti than later Classical era concerti such as those by Mozart.

Haydn originally composed this concerto for Joseph Franz Weigl, the principal cellist of the Esterházy orchestra. Haydn and Weigl were likely good friends. Haydn was godfather to Weigl’s son, Joseph, who went on to become a composer in his own right. Haydn’s virtuosic writing for cello in both his early symphonies and this concerto suggests that he respected Weigl’s abilities as a performer. In this concerto, Haydn writes passages in the cello’s

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high range that abruptly jump to the instrument’s lower ranges. In the slower movements, he composed singing melodies that contrast with more florid sections of rapid notes. The faster third movement has highly technical passages that make virtuosic demands on the cellist. Two cadenzas that come at the end of the first and second movements offered an opportunity for the solo cellist to improvise an ornamental passage that demonstrates the range of their virtuosity.

Haydn composed the accompaniment for a small orchestra of strings with a pair of oboes and a pair of horns. Cliff Colnot has arranged the orchestral parts for a woodwind ensemble. Transcribing and arranging orchestral works for wind band has a long tradition in European art music. During Haydn’s lifetime, conductors arranged popular orchestral and operatic works for harmoniemusik – small wind bands – that were typically employed by wealthy households to provide entertainment. Maestro Colnot reimagines the orchestral accompaniment using instrumentation that was not available to Haydn. He uses, for example, contemporary instruments like alto flute and bass clarinets to achieve subtle tone colors. His orchestration retains the pair of oboes, but English horn and bassoon fill in for the two horns. Flute and clarinets replace violins, and the alto flute plays lines that Haydn composed for violas. The bass clarinets play the cello and bass parts.

Notes by Katherine Brucher.

Wind EnsEmblE • April 26, 2017

In the past decade Cliff Colnot has emerged as a distinguished conductor and a musician of uncommon range.

One of few musicians to have studied orchestral repertoire with Daniel Barenboim, Colnot has served as assistant conductor for Barenboim’s West-Eastern Divan Workshops for young musicians from Israel, Egypt, Syria, and other Middle Eastern countries. Colnot has also worked extensively with the late Pierre Boulez and served as assistant conductor to Boulez at the Lucerne Festival Academy. He regularly conducts the International Contemporary Ensemble (ICE), with whom he recorded Richard Wernick’s The Name of the Game for Bridge Records, and he collaborates with the internationally acclaimed contemporary music ensemble eighth blackbird. Colnot has been principal conductor of the Chicago Symphony Orchestra’s contemporary MusicNOW ensemble since its inception. Colnot was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than twenty-two years and was principal conductor of the University of Chicago’s Contempo Ensemble for over fifteen years. Currently, Colnot conducts the DePaul University Symphony Orchestra and Wind Ensemble. He has appeared as a guest conductor with the San Antonio Symphony Orchestra, the American Composers Orchestra, the Saint Paul Chamber Orchestra, the Utah Symphony, and the Chicago Philharmonic.

Colnot is also a master arranger. His orchestration of Shulamit Ran’s Three Fantasy Pieces for Cello and Piano was recorded by the English Chamber Orchestra. For the chamber orchestra of the Jerusalem International Chamber Music Festival, Colnot has arranged the Adagio from Mahler’s Symphony No. 10, Schoenberg’s Pelleas and Melisande (both published by Universal) and Manuel De Falla’s Three Cornered Hat. For ICE, Colnot arranged Olivier Messiaen’s Chants de Terre et de Ciel for chamber orchestra and mezzo-soprano, also published by Universal. For members of the Yellow Barn Music Festival, Colnot arranged Shulamit Ran’s Soliloquy for Violin, Cello, and Piano, to be published by Theodore Presser. Colnot re-orchestrated the Bottesini Concerto No. 2 in B Minor for Double Bass, correcting many errors in existing editions and providing a more viable performance version. He has also been commissioned to write works for the Chicago

biograPhiEs

Wind EnsEmblE • April 26, 2017biogrAphiEs

Symphony Orchestra Percussion Scholarship Group. His orchestration of Duke Ellington’s New World Coming was premiered by the Chicago Symphony Orchestra with Daniel Barenboim as piano soloist in 2000, and Colnot also arranged, conducted, and co-produced the CD Tribute to Ellington featuring Barenboim at the piano. He has also written for rock-and-roll, pop, and jazz artists Richard Marx, Phil Ramone, Hugh Jackman, Leann Rimes, SheDaisy, Patricia Barber, Emerson Drive, and Brian Culbertson.

Colnot graduated with honors from Florida State University and in 1995 received the Ernst von Dohnányi Certificate of Excellence. He has also received the prestigious Alumni Merit Award from Northwestern University, where he earned his doctorate. In 2001 the Chicago Tribune named Cliff Colnot a “Chicagoan of the Year” in music, and in 2005 he received the William Hall Sherwood Award for Outstanding Contributions to the Arts. Most recently, Colnot has been awarded the 2016 Alice M. Ditson Conductor’s Award in recognition for his excellent commitment to the performance of works by American Composers. He has studied with master jazz teacher David Bloom, has taught jazz arranging at DePaul University, film scoring at Columbia College, and advanced orchestration at the University of Chicago. As a bassoonist, he was a member of the Lyric Opera Orchestra of Chicago, Music of the Baroque, and the Contemporary Chamber Players.

Cellist Stephen Balderston is known internationally as a soloist, orchestral and chamber musician and coach of the highest caliber. Professor of cello at DePaul University School of Music, Mr. Balderston continues a demanding performance schedule in a variety of venues, and presents master classes around the United States. In recent years, he has performed solo works and chamber music with Daniel Barenboim, Pierre Boulez, Christoph Eschenbach, Lynn Harrell, Yo-Yo Ma, Menahem Pressler, Gil Shaham, Joseph Silverstein and Pinchas Zukerman.

Mr. Balderston was the cello coach for Daniel Barenboim’s West-Eastern Divan workshops in 1999 and 2000 in Weimar, Germany; the 2001 workshop in Chicago; and the 2004 workshop in Seville, Spain. In 2002 he accompanied a group of colleagues to China for Shanghai’s

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International Music Festival. Since then, Mr. Balderston has been a participant, coach and soloist at a number of prestigious summer venues, including the Grand Teton Music Festival, Marrowstone Music Festival, the International Festival – Institute at Round Top, the Park City International Chamber Music Festival, the ARIA International Festival, and the Northwestern University High School Institute. He has appeared as a featured artist at the Ravinia Festival, the American String Project, Bargemusic, OK Mozart International Festival, Santa Barbara Chamber Music Festival as well as the Affinis Music Festival in Japan. In August of 2004, Balderston was featured as lecturer, soloist and coach at the International String Music Festival in Taipei, Taiwan. He has served as a chamber music coach for the Chicago Youth Symphony Orchestras. Mr. Balderston is a member of the American Chamber Players and the Evanston Chamber Ensemble.

Mr. Balderston was assistant principal cello with the Chicago Symphony Orchestra for 10 years, and a member of the Saint Louis Symphony Orchestra for 10 years. He performed as soloist with both orchestras and was an artist-in-residence at Washington University in St. Louis, Missouri. Mr. Balderston began his studies on the cello with Gabor Rejto in his native southern California, and earned both Bachelor and Master of Music degrees from The Juilliard School, where he studied with Lynn Harrell.

Wind EnsEmblE • April 26, 2017

PErsonnElVarèse (1883-1965)Octandre

FlutE & PiccoloEmily Graham

oboEMika Allison

clarinEtJulia Larson

bassoonNicholas Ritter

HornBrad Granville

trumPEtAdam Shohet

trombonECaleb Shemwell

doublE bassTeddy Gabrielides

Haydn (1732-1809)Cello Concerto in C Major,Hob. VIIb/1, (ca. 1761–5)

FlutERachael Dobosz

alto FlutETyler Martin

oboE Mika AllisonCarl Colvin

EnglisH HornJacob Shapiro

clarinEtJulia LarsonAlessandro Tenorio-Bucci

bass clarinEtLouis KimJulia Janda

bassoonNicholas Ritter

librarianJill DeGroot

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Wind EnsEmblE • April 26, 2017donors

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Wind EnsEmblE • April 26, 2017donors

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UPcoming EvEnts

Wind EnsEmblE • April 26, 2017

Thursday, April 27 • 6:00 p.m.Recital HallMasterclass: Alexander Kerr, violin

Friday, April 28 • 8:00 p.m.Concert HallDePaul Concert Orchestra and Ensemble 20+

Saturday, April 29 • 8:00 p.m.Concert HallDePaul Chamber Choir & Concert Choir

Sunday, April 30 • 8:00 p.m.Concert HallOlga Kaler Studio Recital

Thursday, May 4 • 6:30 p.m.Recital HallCareer Workshop: Making the Band with Lowdown Brass For more information, visit https://makingthebandldb.eventbrite.com

Friday, May 5 • 8:00 p.m.Concert HallNew Music DePaul

Saturday, May 6 • 8:00 p.m.Concert HallDePaul Wind Symphony

Sunday, May 7 • 3:00 p.m.Concert HallJanet Sung and Friends

Tuesday, May 9 • 8:00 p.m.Concert HallTuba Studio Recital

Wednesday, May 10 • 1:45 p.m.Recital HallMasterclass: Tony Devroye, violin

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Wind EnsEmblE • April 26, 2017

Saturday, May 13 • 8:00 p.m.Concert HallHindustani Music Concert

Friday, May 19 • 7:30 p.m.Sunday, May 21 • 2:00 p.m.Concert HallDePaul Opera Theatre presents Monteverdi’s L’Incoronazione di Poppea

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Monday, May 22 • 8:00 p.m.Concert HallComposers Forum