EMORY WIND ENSEMBLE

WITH STUART STEPHENSON, TRUMPET

AND EMILY BREBACH, OBOE

PAUL BHASIN, CONDUCTOR

SUNDAY, OCTOBER 21, 2018, 4:00 P.M.

EMERSON CONCERT HALL SCHWARTZ CENTER FOR PERFORMING ARTS

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PROGRAM

Variations on “America” (1923) Charles Ives (1874–1954) Trans. Rhoads

Passacaglia and Fugue in C minor, BWV 582 Johann Sebastian Bach (1685–1750) Trans. Hunsberger

Concerto No. 2 for Trumpet (1954) André Jolivet (1905–1974)

I. Mesto-Concitato II. Grave III. Giocoso

Stuart Stephenson, trumpet

Concertino for Oboe (1811) Carl Maria Von Weber (1786–1826)

I. Adagio II. Polacca

Emily Brebach, oboe

Out of Africa (1985) John Barry (1933–2011) Trans. De Meij

Cuban Overture (1932) George Gershwin (1898–1937) Trans. Hunsberger

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PROGRAM NOTES

Variations on “America” (1923)Charles Ives wrote Variations on “America” at age 17 when he was the organist for a local church. Despite its early origin, it still contains many characteristics of the Ives sound: unapologetic bitonality, themes of patriotism, some sense of playfulness and optimism. American composer and Lincoln Center president William Schuman transcribed the original organ work for orchestra in 1962, after which it was transcribed for band in short order by William Rhoads.

–note by Andy Pease

Passacaglia and Fugue in C minor, BWV 582In the Passacaglia and Fugue in C minor, BWV 582, Bach joins together elements from distinct nations and traditions in ways that may be heard very close to the musical surface. The eight-bar ground bass upon which the Passacaglia is based (and also the Fugue, which is actually not marked by Bach as a distinct and separate piece, but rather as just another use of the passacaglia ground bass, “Thema fugatum”) seems to have been extracted from a sacred work by an obscure contemporary French composer named Andre Raison. There are, leading up to the fugue portion, 21 statements of the ground bass in all, starting with the unharmonized bass solo at the very opening and growing ever more active until at last a full-blown frenzy of imitative 16th notes in the upper voices leads the way to the fugue; during a few of the middle variations, the ground bass moves up into the soprano and then into the alto voice. The fugue makes use only of the first four bars of the French ground bass, transforming it into a subject upon which Bach can, over the course of 124 bars, exercise the full glory of his wholly Northern-learned contrapuntal genius. Since the fugue is not really separate in the manner of, for example, Bach’s preludes and fugues, the work is sometimes known simply as the Passacaglia.

–note by Blair Johnson

Concerto No. 2 for Trumpet (1954)The jazz influence, which is one of several important elements of André Jolivet’s music, comes to the fore in the Trumpet Concerto No. 2 of 1954, which the composer described as one of “my ballets for trumpet” (the other being the Concertino for Trumpet, Strings and Piano of 1948). Jolivet’s scoring here is quite unusual and hints at the jazz inspiration: two flutes, clarinet, English horn, two saxophones, piano, double bass, and no fewer than 14 different percussion instruments. The concerto opens quietly with a subgroup of those percussion instruments, joined by the trumpet soloist playing with a mute. That

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music alternates with livelier dance-like material in the first movement. The bluesy second movement, Grave, once again features muted trumpet. A simple tune works against a harsher, percussion-laden accompaniment in the final movement, marked Giocoso. There is even a passage for just the percussion in the middle of the movement, which is heavily syncopated and makes for a lively conclusion.

—note by Christopher Morrison

Concertino for Oboe (1811)Some controversy surrounds the Concertino for Oboe and Wind. It was discovered in the early 1970s in a stack of manuscripts in the library of Prince Carl von Lowenstein-Wertheim, a friend and supporter of Carl Maria von Weber. A manuscript of the piece was first published in 1980 by Musica Rara. Although all of the music in the stack surrounding the piece was written and signed by C. M. von Weber, this piece only had his name written on it, in a hand other than Weber’s. It is thought by some that the piece is too simplistic in its writing to be Weber, yet the orchestration of the accompaniment for one flute, two clarinets in C, two clarinets in B flat, two bassoons, two horns, a trumpet, a trombone, and a double bass, directly reflects the instrumentation Weber was using for a number of Harmoniemusik groups, a favorite of the prince. Prince Carl was an amateur oboist, and the piece could very likely have been written for him to perform with the wind players employed at his court in about 1805. There is also a reference in Weber’s diary, “November 10, 1811: This evening I orchestrated an adagio for Flad.” Anton Flad was the principal oboist in the Munich Orchestra at that time. It could be he was reworking the very piece he wrote for Prince Carl, or perhaps there is still another work by Weber for oboe to be discovered. Weber’s Oboe Concertino is in two movements, played continuously but for a brief Eingänge (short non-modulating cadenza) that leads from movement one, an aria-like Adagio, to movement two, a light, upbeat Polacca.

—note by Lauren Murray

Out of Africa (1985)Sydney Pollack’s film Out Of Africa features title music composed by John Barry. The atmospheric theme illustrates the beautiful nature images of the impressive African landscape. Barry is well-known for his work as a film music composer, responsible for music for several James Bond films: Goldfinger, Octopussy, Diamonds Are Forever, Moonraker, and From Russia with Love.

—note by Johan de Meij

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Cuban Overture (1932)Inspired by the music he heard on a 1932 vacation to Havana (“two hysterical week . . . where no sleep was had”), George Gershwin created a short, impressionistic piece to provide a taste of Cuban rhythms for American audiences who had never been to the island nation. In an effort to provide authenticity, he brought a set of Cuban musical instruments with him when he returned to New York, and upon completion of the work, originally titled RUMBA, sketched them on the title page of his manuscript, indicating where the instrumentalists should be placed on the stage: “right in front of the conductor’s stand.”

—note by Albert Coates

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 Wind Ensemble 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 Emory Wind Ensemble’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 Emory Wind Ensemble has performed concert tours of Munich, Salzburg, Innsbruck, Lucerne, Graz, Prague, Vienna, and Greece. Additionally, the Wind Ensemble 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.

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Paul Bhasin, conductorPaul Bhasin serves on the faculty of Emory University as director of wind studies and interim director of orchestral studies. In this capacity, he conducts the Emory University Symphony Orchestra, Emory Youth Symphony Orchestra, and Emory Wind Ensemble, and he teaches conducting.

Praised for his “crisp, clear” conducting and “highly expressive” interpretations, Bhasin has led a variety of university, youth, and professional ensembles throughout North America and abroad including recent

performances at the Kennedy Center in Washington, D.C. and throughout the People’s Republic of China. Bhasin’s most recent guest engagements include appearances with the Virginia Symphony Orchestra (including live radio broadcasts of subscription concerts), American Youth Philharmonic, Williamsburg Symphony, New Jersey Youth Symphony, and at Interlochen Arts Academy. He has also led performances as a guest conductor with members of the Richmond Symphony, National Symphony, Baltimore Symphony, and Kennedy Center Opera Orchestra. Ensembles under his direction have collaborated with soloists from the San Francisco Symphony, Atlanta Symphony, and Richmond Symphony. He has led honor orchestras and served as a guest orchestral clinician throughout the United States, and he presented at national conferences including the Midwest Orchestra Clinic and the National Music Teachers Association Conference.

Bhasin is an accomplished orchestral trumpeter, having performed and recorded with the Virginia Symphony and Opera, Columbus (Ohio) Symphony, New World Symphony, and the Civic Orchestra of Chicago, and at the music festivals of Aspen, Tanglewood, and Ravinia. With these institutions he has performed under the batons of Michael Tilson Thomas, James Conlon, James DePriest, Leonard Slatkin, Andreas Delfs, and Gustav Meier and participated in the conductor training program at Aspen under David Zinman and Murry Sidlin. A committed trumpet teacher, his students have attended prestigious conservatories and music schools and have won first prize at major competitions including the National Trumpet Competition. He has been featured as a soloist on National Public Radio, Detroit PBS-TV, the International Computer Music Conference, at the Chautauqua Music Festival, and the International Dvořák Festival (Prague, Czech Republic). Bhasin has recorded as trumpeter and conductor for both the Centaur and Interscope record labels, and his 2015 Centaur Records release features the music of Brian Hulse and is performed by principal soloists from the Richmond and Virginia Symphonies. A forthcoming CD project with Centaur will feature Atlanta Symphony Orchestra principals as concert soloists with Emory ensembles.

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Bhasin’s transcriptions and arrangements are published by Balquhidder Music and have been performed and commissioned in the US and abroad by the St. Louis Opera Theater, Grand Tetons Festival Orchestra, La Unió Musical l’Horta de Sant Marcel·lí (Valencia, Spain), and the Washington Symphonic Brass (Washington, D.C.). In 2015, Bhasin composed and conducted the orchestral score to 9:23 Films’ motion picture, Hogtown (award winner at the Berlin, Los Angeles, and Nashville International Black Film Festivals, and Cannes Festival Marché du Film). Michael Phillips of the Chicago Sun-Times writes that the film was “. . . scored beautifully by composer Paul Bhasin . . . better than the entirety of the last few features I’ve seen, period.” In 2016, reviewer Ben Kenigsberg of the New York Times named the film a “Critic’s Pick” and one of the “Top 10 Films of 2016.”

Bhasin’s previous appointments include positions at the University of Wisconsin–Green Bay, Triton College, and the College of William and Mary. He received his musical education from the University of Wisconsin–Madison, Northwestern University, and the University of Michigan.

Stuart StephensonVirginia native and New York City/Chicago trained classical trumpeter Stuart Stephenson began playing trumpet at age 10, after starting piano at age six. He spent his childhood in Northern Virginia, where he studied with members of the United States military bands and the National Symphony. From there he went to New York City and completed his undergraduate degree at the Juilliard School.

During his time at Juilliard, Stephenson was a member of the Vandalay Brass Quintet, which performed at the Bachauer Scholarship event for two years in a row live

on New York’s 96.3 WQXR-FM. The quintet was an active participant in the Young People’s Concert Series, sponsored by the Juilliard Office of Educational Outreach. His quintet played throughout New York City, including philanthropic events at hospitals, hospices, and rehabilitation centers, and even the United Nations Building. The quintet members studied privately with musicians of the New York Philharmonic, Metropolitan Opera, American Brass Quintet, and New York City Ballet, with frequent chamber coachings by members of the American Brass Quintet. Stephenson performed regularly with the Juilliard Orchestra in New York City at Carnegie Hall, Avery Fischer Hall, and the Peter Jay Sharp Theater.

Stephenson then went on to study at Northwestern University with Barbara Butler, Charlie Geyer, and Chicago Symphony principal trumpet Chris Martin, where he earned a master's degree in music.

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His instructors in the Washington, D.C., area included Adel Sanchez (NSO), Tom Cupples (NSO), and Jim Bittner (USAF Band).

Stephenson has spent summers at the Aspen Music Festival in Aspen, Colorado; the Schleswig-Holstein Musik Festival in Germany; and the Tanglewood Music Center in Lenox, Massachussetts; and he was invited most recently to play with the Grand Tetons Music Festival in Jackson, Wyoming.

Stephenson joined the Atlanta Symphony in spring 2013, immediately following his graduation from Northwestern University.

Emily Brebach

Emily Brebach joined the Atlanta Symphony Orchestra (ASO) as English horn and oboe in fall 2012.

Brebach, a Philadelphia native, has performed with several orchestras throughout the United States, including the Boston Symphony Orchestra, the Minnesota Orchestra, the Kansas City Symphony, and the Houston Symphony. In past summers, she has performed at the Grand Teton Music Fesival, the Des Moines Metro Opera, Strings Music Festival (Steamboat Springs, CO), Festival Mozaic (San Luis Obispo, CA), Tanglewood Music Center, and the

Aspen Music Festival. Prior to joining the ASO, Brebach held the position of english horn and oboe with the Sarasota Orchestra.

Brebach holds degrees from Oberlin Conservatory and Rice University’s Shepherd School of Music, and she studied with Louis Rosenblatt, James Caldwell, Robert Atherholt, and Robert Walters. She has performed in recitals at Merkin Hall in New York; Reinberger Hall in Cleveland, Ohio; and at the Kennedy Center in Washington, D.C., where she represented Oberlin Conservatory as part of the Conservatory Project. Locally, she regularly performs with the Riverside Chamber Players in Roswell, Georgia.

Brebach is a faculty member of the Atlanta Symphony’s Talent Development program and maintains an active private studio in her home. She has also given masterclasses and reedmaking seminars at the University of Cincinnati College–Conservatory of Music, Florida State University, the University of Minnesota, and the North Carolina School for the Arts. Her students have gone on to study at a variety of institutions including the Curtis Institute of Music, the University of Texas at Austin, and Baylor University. Brebach’s students have achieved success after college as well, with recent student accomplishments including a Fulbright Scholars award and a one-year position in the Colorado Symphony. She spends her summers in residence at the Brevard Music Center in Brevard, North Carolina, as English horn and oboe as well as artist faculty.

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EMORY WIND ENSEMBLE

FLUTE AND PICCOLO

Irena Kuan Marietta, GA NBB

Claire Mahon •∞ Norcross, GA BusinessDavid Shainberg Asheville, NC BusinessClaudia Wahoski • Fayetteville, GA Music/BiologySarah Morrissey Fairview, NC BusinessOlivia Stam Cumberland Foreside, ME Music/Psychology

OBOE

Sophia Seo Aldie, VA Applied Mathematics/QSSKevin Qui Cranbury, NJ UndecidedJane Farrell Worthington, OH Undecided

BASSOON

Mehvish Kahn Lakewood, NY International Studies/Economics

Allison Rose •∞ Marietta, GA Music/QSS

Sohil Shah Edison, NJ Music/Political Science

Caitlin MacDonald Scotland, UK Emory Bobby Jones Scholar

Haley Matthews • Jasper, GA Music/Biology 18C

CLARINET

Elise Kulers Decatur, GA Environmental Studies/Anthropology

Tylor Lee Johns Creek, GA Economics

Kelsey Newman •∞ Martinsville, VA Music/BusinessEster Ro • Sugar Hill, GA Music/PsychologyNicole Pierce Savannah, GA Psychology/SociologyLydia Yang Cedar Rapids, IA Human HealthLucy MangalapallI ∞ Chicago, IL Biology/SociologyBrian Nguyen Moore, OK Music/Art HistoryJoyce Li Cedar Rapids, IA NBB

BASS CLARINET

Josh Pynn • Duluth, GA Music/Economics

SAXOPHONE

Kiran Sundar Bridgewater, NJ Music/BusinessZigeng (Chris) Zhu Beijing, China Applied Mathematics/Computer ScienceChristopher Liu Staten Island, NY Applied MathematicsTito Tomei Dacula, GA Music/Environmental StudiesJack Douglas Huntington, NY Political ScienceJemma Kim Chicago, IL Human Health/Spanish and Portuguese

TRUMPET

Jacob Germany •∞ Alpharetta, GA Music/ChemistryTony Kasper Huntington, NY Music/Environmental StudiesAndrew Mahoney Atlanta, GA Chemistry, PhD student

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EMORY WIND ENSEMBLEHORN

Qifan Pei Zhejiang, China Music/Biology

Samuel Edwards ∞ Jupiter, FL Music/PhilosophyJack Tellerday Clinton Comers, NY BiologyJang Soo Lee Bryan, TX Music/ChemistryOwain Thorogood Havertown, PA BusinessNicholas Lee Cupertino, CA NBB

TROMBONE

Anna Bing • Atlanta, GA LACS/Music

Max Inman ∞ Cary, NC Music/ChemistryGraham Crain Maryville, TN UndecidedEthen Feldman Minneapolis, MN Political Science

EUPHONIUM

Gabe Hart + Austin, TX Music/Business

Christopher Labaza Cary, NC Music/Creative Writing

TUBA

Sean Delaney ∞ Winchester, MA Music/Business

Graham Wells Norcross, GA 07C

HARP

Amanda Melton • Kennesaw, GA Music 18C

STRING BASS

Max Heeden Atlanta, GA

PERCUSSION

Chris Prugh Swarthmore, PA Film Studies/BiologyJason Goodman Granada Hills, CA Music/Political ScienceK’mani Blyden Acworth, GA Music/ChemistryDana Kahn Evergreen Park, IL Music/Engineering SciencesZoe Zimmerman Ooltewah, TN BiologyMorissa Wisdom Douglasville, HS Political Science/Interdisciplinary Studies

PIANO

Elena Cholokova, Piano Faculty, Department of Music

LIBRARIAN

Tito Tomei

OPERATIONSJosh PynnJacob Germany

QSS: Quantitative SciencesNBB: Neuroscience and Behavioral Biology

LACS: Latin American and Caribbean Studies• Emory Youth Symphony Orchestra Alumni

∞ Woodruff / Music Woodruff Scholar+ Emory Scholar

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EMORY STRING, WIND,AND PERCUSSION FACULTY

Laura Ardan, clarinet * Scott Pollard, percussion Emily Brebach, oboe * Elisabeth Remy-Johnson, harp *Marc Boehm, trombone Jessica Sherer, fluteJason Eklund, horn Christina Smith, flute * Adam Frey, euphonium Stuart Stephenson, trumpet *Anthony Georgeson, bassoon * Amy Trotz, horn ** Michael Moore, tuba * Shelly Unger, bassoon Ed Nicholson, trombone † Mark Yancich, percussion *Gary Paulo, saxophone Jim Zellers, flute †

*Atlanta Symphony Orchestra † Atlanta Opera Orchestra

** Atlanta Ballet Orchestra

DEPARTMENT OF MUSIC ADMINISTRATION

Kevin Karnes, ChairKristin Wendland, Director of Undergraduate StudiesLynn Bertrand, Director of Graduate Studies Martha Shockey, Senior SecretaryKathy Summers, Academic Department AdministratorSasha Shatalov, Program CoordinatorJulie Hudgins, Academic Services Coordinator

MUSIC AT EMORYThe department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, our undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in our department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, our faculty and ensembles also welcome the participation of non-major students from across the Emory campus.

Become a part of Music at Emory by giving to the Friends of Music. Your gift provides crucial support to all of our activities. To learn more, visit music.emory.edu or call 404.727.1401.

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UPCOMING MUSIC EVENTSGo to music.emory.edu to view the complete list of upcoming music events. Ticket prices are listed in the following order: Full price/Emory student price (unless otherwise noted as the price for all students). For more information contact the Arts at Emory Box Office at 404.727.5050, or visit arts.emory.edu.

Friday, October 26, 8:00 p.m., Sudden Light, Emory Choirs Concert, Schwartz Center, Emerson Concert Hall, free

Saturday, October 27, 8:00 p.m., Best of Beethoven, Concertgebouw Preview, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free

Wednesday, October 31, 8:00 p.m., Daniel Hope and Friends: AIR–A Baroque Journey, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $50/$5

Sunday, November 4, 7:00 p.m., Emory’s Annual Concerto and Aria Competition, Schwartz Center, Emerson Concert Hall, free

Friday, November 9, noon, Emory’s Young Artists, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free

Saturday, November 10, 8:00 p.m., Bradley Howard, tenor, faculty recital, Lee Thompson, piano, Schwartz Center, Emerson Concert Hall, free

Sunday, November 11, 4:00 p.m., Emory Collaborative Piano Concert, Schwartz Center, Emerson Concert Hall, free

Sunday, November 11, 7:00 p.m., Emory Chamber Ensembles, Schwartz Center, Emerson Concert Hall, free

Wednesday, November 14, 6:00 p.m., and Thursday, November 15, 4:00 p.m., Schubert Lieder Symposium, Performing Arts Studio, 1804 N. Decatur Road, free

Wednesday, November 14, 8:00 p.m., Emory Youth Symphony Orchestras, Schwartz Center, Emerson Concert Hall, free

Saturday, November 17, 8:00 p.m., Lise de la Salle, piano, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $45/$5

Saturday, December 1, 8:00 p.m., Emory University Symphony Orchestra and Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free

Tuesday, December 4, 8:00 p.m., Emory Jazz Ensembles, Schwartz Center, free

Wednesday, December 5, 8:00 p.m., Tango, Performing Arts Studio, 1804 N. Decatur Road, free

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Friday, December 7, noon, Vega String Quartet, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free

Friday, December 7, 8:00 p.m. & Saturday, December 8, 4:00 p.m. & 8:00 p.m., A Festival of Nine Lessons and Carols, Glenn Auditorium, 1652 N. Decatur Road, $20/$5

Saturday, December 15, 8:00 p.m. & Sunday, December 16, 4:00 p.m., Christmas with Atlanta Master Chorale, Emerson Concet Hall, $35/$10

Sunday, December 16, 4:00 p.m., Santa’s Favorite Chamber Music, ECMSA: Family Series, Michael C. Carlos Museum, free

Arts at Emory Box Office/Audience Information404.727.5050 • arts.emory.edu

IN CONSIDERATION Please turn off all electronic devices.

PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission.

COUGH DROPS Available in the lobby.

USHERS Members of Music at Emory Volunteers and Alpha Phi Omega, a national service and social fraternity. Call 404.727.6640 for ushering opportunities.

EVENT AND PROGRAM INFORMATION Available online at arts.emory.edu.

ACCESSIBILITY The Schwartz Center for Performing Arts is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Arts at Emory Box Office at 404-727-5050 or by email at boxoffice@emory.edu. For seating accommodations, please contact us at least 24 hours in advance of the event.

COVER PHOTO © Trevor Chun Photography. TREE LIGHTS AND EXTERIOR ARCHITECTURAL BUILDING LIGHTS Made possible by a generous gift from Donna and Marvin Schwartz.