Thornton Winds Friday, September 25th, 7:00pm, Bovard Auditorium The Thornton Winds and Resident Conductor Professor Sharon Lavery perform masterworks of the wind ensemble repertoire as well as Dreams of a Faded Wonder, a new work by Thornton composer Harrison Chiang. The program showcases the groundbreaking American combination of jazz and classical styles in George Gershwin's Rhapsody in Blue, featuring piano soloist and Thornton faculty member Professor Bernadene Blaha. Sharon Lavery, Conductor Bernadene Blaha, Piano Program Morton Gould, American Salute (1913-1996 ) Harrison Chiang, Dreams of a Faded Wonder (b. 2006) I. Years - 1 II. Flourish - 8 III. Confluence - 26 George Gerswhin, Rhapsody in Blue (arr. Hunsberger) (1898-1937) Intermission Igor Stravinsky, Octet (1882-1971) 1. Sinfonia 2. Tema con Variazioni 3. Finale Michael Daugherty, Bells for Stokowski (b. 1954) Program Notes Morton Gould, American Salute 1943 Originally written for orchestra, American Salute has become a favorite of the concert band repertoire. Using the familiar tune When Johnny Comes Marching Home as the sole melodic resource, Morton Gould demonstrates his skill in thematic development, creating a brilliant fantasy on a single tune. Written in 1942 in the early days of World War II, it was composed at the request of a government radio program producer who wanted a “salute to America.” The composer insisted that he had no idea that the work was destined to become a classic: “It was years before I knew it was a classic setting. What amazes me is that critics say it is a minor masterpiece, a gem. To me, it was just a setting. I was doing a million of those things.” A million may be an exaggeration, but not by much. The pace of Gould’s schedule in those days was astounding. By his own account he composed and scored American Salute in less than eight hours, starting at 6 p.m. the evening before it was due (with copyists standing by), and finishing at 2 a.m. Although the ink couldn’t have been dry, the score and parts were on the stand in time for rehearsal the next morning and ready for broadcast that evening. - Program Note from U.S. Marine Band Harrison Chiang, Dreams of a Faded Wonder 2025 Since my grandmother passed in 2020, I’ve realized how easily time can be cut short for anyone, whether in an instant or gradually over the years. There simply wasn’t enough time left. It was my first experience losing a close family member, and I was overcome with grief along with my family. I knew that one day I wanted to write a piece for my grandmother, but at the time I didn’t feel musically or emotionally mature enough to do so. Now it’s 2025, five years after her passing, and I sit here in my second year of college, finishing a work that encompasses a vast array of emotions. I often reminisce about my childhood when I would see my grandparents regularly, spending afternoons in their company and getting to see them every week. Looking back, I realize how much I took those moments for granted. It’s honestly difficult to put into words here. So, I’ll leave it at this: I dedicate this piece, Dreams of a Faded Wonder, to my grandmother, who helped begin my musical journey at a young age, something that has become such an integral part of my life. Thank you for everything. -Note from the composer George Gershwin, Rhapsody in Blue (arr. Hunsberger) 1924 On January 4, 1924, Ira Gershwin brought a brief item in the New York Tribute to the attention of his younger brother George. Its heading read, “Whiteman Judges Named. Committee Will Decide ‘What Is American Music.’” According to the advertisement (purely a media ploy), Paul Whiteman had assembled an impressive group of musicians including Sergei Rachmaninoff and Jascha Heifetz to witness a concert of new American music. This concert was to be presented on the afternoon of February 12, just five weeks away. Included would be “a jazz concerto” on which George Gershwin was currently “at work.” Busy with his show Sweet Little Devil, Gershwin had not begun to compose such a concerto, though he and Whiteman had casually talked about his writing a special piece for the band. Gershwin began to work on Rhapsody in Blue on Monday, January 7. Though a gifted melodist, he was ill-equipped to score the accompaniment. To assist him, Whiteman offered the services of his chief arranger, Ferde Grofé, who completed the score on February 4. The first of five rehearsals was held immediately, during which several modifications were made both to Gershwin’s music and Grofé’s arrangement. Most notable among these is the change in the opening clarinet solo. Gershwin had originally written a seventeen-note slut; however, Ross Gorman (Whiteman’s lead reed player) improvised the signature clarinet “wail.” According to contemporary reviews, the concert was rather dull, but Rhapsody in Blue was received enthusiastically by the audience, which included Jascha Heifetz, Victor Herbert, Fritz Kreisler, Sergei Rachmaninoff, John Philip Sousa, Leopols Stokowski and Igor Stravinsky. There were subsequent performances on March 7 and April 21, and a recording was made for Victor Records on June 10. A second recording was scheduled in 1927 during which Gershwin and Whiteman had strong disagreements. During those three years, Whiteman had made changes in the work with which Gershwin was dissatisfied. Their argument at the session resulted in Whiteman walking off the podium. The recording did take place with Gershwin performing the solo and the Whiteman Band playing the accompaniment, but Nathaniel Shilkret, Victor’s director of light music, served as conductor. In ensuing years, there were a number of versions of Rhapsody in Blue produced to satisfy public demand for as many accessible renditions as possible. As the work’s popularity increased, the desire for a published large ensemble version led to Grofé’s 1926 setting for theater orchestra. This was followed subsequently by an expansion of the theater orchestra score for full symphony orchestra and a version for concert band (1938) both by Grofé as well. Not until 1987 was Grofé’s 1924 arrangement for the Whiteman Band published (in facsimile). Since its availability, this first scoring has been performed regularly. However, in the sixty-three years between its premiere and publication, this version was all but abandoned. Whiteman himself did not adhere to this arrangement. As early as 1926, he began distorting the piece, which had become his signature tune. He kept adding instrumental parts to the first version as the instrumentation of his orchestra changed. More than ninety parts exist for the various instrumental combinations Whiteman had at any given time. While the first score is novel, it cannot be considered the definitive version of the work, anymore than Gershwin’s two-piano manuscript. This manuscript was altered, presumably with the approval of the composer, by Grofé both melodically and harmonically. In fact, Grofé’s 1924 score was never performed as written, even at the premiere. Gershwin most assuredly improvised sections of the piano cadenza, and the written ensemble accompaniment evolved through the five days of rehearsals. Grofé was a gifted arranger (later teaching orchestration at Juilliard) who commonly reduced existing orchestral scores for Whiteman’s unique instrumentation. (In 1927 he adapted Gershwin’s own scoring of Concerto in F for a Whiteman Band recording.) As noted above, Grofé scored Rhapsody in Blue for concert band in 1928; however, this setting was flawed and somewhat unusable without considerable alteration. The primary problem lay in the absence of the solo piano! Grofé distributed the material contained in the solo piano part among various voices of the ensemble. Eventually, an erratum was created and made available with the score indicating cuts and deletions in the band version to adapt for the addition of the original solo piano part. Also, unlike the scoring of the symphony orchestra version in which chord tones were characteristically assigned to specific players or sections, these chord tones were voiced within individual sections, and thus no distinct timbre was afforded each. The shortcomings of this extant concert band version have led to the creation of the current modern edition, which may be performed by either concert band or wind ensemble (most effectively by the latter). The present edition preserves characteristic timbres and transparent qualities of the orchestral setting while texturally capturing– despite the absence of strings– its innate vertical densities. Gershwin’s personal copy of Grofé’s symphony orchestra score (housed in the Library of Congress) has been used as a primary research source. Select string substitutions found in Grofé’s band setting have also been incorporated along with scoring options from the manuscripts of his theater orchestra and Whiteman Band versions (both also in the Library of Congress). -Note from the publisher Igor Stravinskiy, Octet 1923 Stravinsky’s Octuor for Wind Instruments (commonly known simply as the “Octet”) was written at a time in which the composer was beginning to experiment with more formal writing, a practice that would come to be known as Neo-Classicism. Stravinsky himself detested the term, calling it “a much abused expression meaning absolutely nothing.” The essence of neo-classicism is writing that is modern-sounding in its approach to harmony, rhythm, and counterpoint, yet is composed following the basic forms and ideals of the Classical period. Regardless of Stravinsky’s personal opinions on the semantics of the style, it was clear that he was employing a more formal and structured method in his compositions, and like it or not, he was a neo-classicist. Just a decade before he had burst onto the scene with his three nationalistic ballet scores, the last of which -- Rite of Spring -- had caused a near-riot at its premiere. Yet here Stravinsky was already abdicating the style that had brought him to fame, and was plunging into a new style, a style that never seemed to catch the public’s fancy in the way his lush Romantic scores had. The score was begun at Biarritz, France, in late 1922, and was completed in Paris on 20 May 1923. The original version was published by Edition Russe de Musique in 1924; a later revised version (edited by Albert Spalding) is still published by Boosey & Hawkes. The manuscript resides in the Stiftung Rychenberg Winterthur. The premiere performance took place at the “Concerts Koussevitsky” in the Paris Opera House on 18 October 1923, with the composer conducting. Stravinsky decided to conduct the premiere performance partly due to the bad taste in his mouth from his experience with the premiere of Symphonies of Wind Instruments (in which he was unhappy with the way that Serge Koussevitzky interpreted the work), and partly because he did not want to risk another conductor “interpreting” a work for which – according to Stravinsky -- there was no interpretation. Discussing the Octuor shortly after its first performance, Stravinsky said: “Form, in my music, derives from counterpoint. I consider counterpoint as the only means though which the attention of the composer is concentrated on purely musical questions. Its elements also lend themselves perfectly to an architectural construction.” - Program Note by Nikk Pilato Michael Daugherty, Bells for Stowkowski 2002 Bells for Stokowski was commissioned by the Philadelphia Orchestra and musical director Wolfgang Sawallisch in celebration of their centennial. It was commissioned with help from the National Endowment for the Arts and the Philadelphia Music Project (funded by Pew Charitable Trusts). It was given its world premiere by the Philadelphia Orchestra, David Zinman conducting, at the Academy of Music in Philadelphia on 15 November 2001. “Bells” is originally the third movement of Philadelphia Stories, Daugherty’s third symphony. The other two movements are Sundown on South Street and Tell-Tale Harp. Each of the movements can be performed independently. At the behest of a consortium of commissioners which included the University of Michigan (Michael Haithcock), Arizona State University (Gary Hill), Baylor University (Kevin Sedatole), the University of Colorado (Allan McMurray), Ithaca College (Steve Peterson), Louisiana State University (Frank Wickes), Michigan State University (John Whitwell), Riverside Community College (Kevin Mayse), the University of Tennessee (Gary Sousa), the University of Texas (Jerry Junkin), Texas Tech University (J. Cody Birdwell), and the University of Washington (Tim Salzman), Daugherty transcribed the work for symphonic band. Daugherty states: "Bells for Stokowski is a tribute to one of the most influential and controversial conductors of the 20th century. Born in London, Leopold Stokowski (1882-1977) began his career as an organist. Moving to America, Stokowski was fired from his organ post at St. Bartholomew's Church in New York in 1908, after he concluded a service with Stars and Stripes Forever. As maestro of the Philadelphia Orchestra (1912-36) he became known for his brilliant interpretations of classical music, his enthusiasm for new concert music, and for taking risks by constantly pushing the envelope of what was acceptable in the concert hall." In Bells for Stokowski I imagine Stokowski in Philadelphia visiting the Liberty Bell at sunrise, and listening to all the bells of the city resonate. To create various bell effects, I frame the ensemble with two percussionists positioned stereophonically on the stage performing on identical ringing percussion instruments such as tubular bells, crotales, bell trees, and various non-pitched metals. I also echo Stokowski's musical vision and legacy in order to look to the past and the future of American orchestral concert music. To represent the past I've composed an original theme in the style of Bach. Midway in the composition, there is also brief fantasy where we hear a Daugherty orchestral transcription of a portion of Bach's C Major Prelude from The Well Tempered Klavier introduced by two stereophonic harps. To represent the future I take my original theme composed in the style of Bach and process it through my own musical language in a series of tonal and atonal variations. During the variations I employ complex musical canons, polyrhythms, counterpoints, and move at will between various musical idioms, resonating Stokowski's enthusiasm for music of all styles and cultures. In the last chords of Bells for Stokowski we hear the final echoes of a long legacy of great orchestral performances in Philadelphia at the Academy of Music." - Program Note by Nikk Pilato ABOUT BERNADENE BLAHA Bernadene Blaha commands the piano, whether featured as recitalist, concerto soloist or chamber musician, and has been heralded in performances throughout North America, Europe, Australia, Asia and Mexico. Piano and Keyboard magazine reviewed her as “a pianist of integrity, with lovely sonorities and total clarity of line.” Highlights include return engagements at the Piatigorsky International Cello Festival, Newport Music Festival, Los Angeles Philharmonic Chamber Music Series, Worcester Chamber Music Society as well as performances throughout the United States, Canada, France, and Italy. Blaha first came to international attention as a prizewinner in the Montreal Symphony Orchestra Competition; the Young Keyboard Artists International Piano Competition, Grand Rapids, Michigan; the Masterplayers International Competition, Lugano, Switzerland; and the 11th Annual International Piano Competition in New York City. This latter award resulted in two highly acclaimed recital appearances at Carnegie Recital Hall and the Lincoln Center Library. Soon afterward, she was featured in the opening orchestra concert and a solo recital at the XXIX International Chopin Festival in Marianske Lazne, Czechoslovakia, followed by performances at the Concertgebouw in Amsterdam, the National Arts Centre in Ottawa, the Phillips Collection in Washington, D.C., and Disney Hall in Los Angeles. Bernadene Blaha is a founding member of the piano trio Latitude 41, formed in 2009 with violinist Livia Sohn and cellist Luigi Piovano. Their debut CD of Schubert’s monumental “Trio in E flat Major” and “Notturno” was released in 2011 on the Eloquentia label to rave reviews. The group followed this success with a recording of the Saint-Saëns Trios and a CD featuring the Brahms Trios. Her discography also includes recordings for the CBC, Centaur, and Analekta labels. Also in demand as a teacher, adjudicator and clinician, Blaha has received the National Arts Foundation’s Outstanding Teacher Recognition Award. She has been invited to serve on the jury of the Gina Bachauer International Artist Piano Competition, Virginia Waring International Competition, and the 2015 International E-Competition. Originally from Canada and currently residing in Los Angeles, Blaha has been a member of the Keyboard Faculty at the USC Thornton School of Music since 1993 where she is a Professor of Practice. Roster * denotes principal on Gould ^ denotes principal on Chiang + denotes principal on Gershwin ~ denotes principal on Stravinsky “ denotes principal on Daugherty Flute Aarushi Kumar Dennis Papazyan~ Emilie Yoo” Emma Park Hannelle Yang* Kiana Kawahara Kimberly Tsou+ Luke Blancas^ Seungbeom Oh Tony Lin Oboe Jingming Zhao*” Nan Zhang Noel Takaya^+ Clarinet Alexander Erlich-Herzog Andrei Bancos Caroline Weiss Harrison Chiang Jane Pankhurst” Jisoo Yun^~ Joshua Tang Mauricio Castillo Simon Bakos+ Siyuan Lin* Bassoon Callahan Lieungh Chris Lee*^+ Ethan Ault” Jorge Cruz-Hernandez Mio Yamauchi~ Yixuan Kui Saxophone Cameron Matutina* Drake Henry Julianna Townley^+” Micah Rachal Xavier Michel Horn Alan Schlessinger” Amelia Caruk^ Engelberth Mejia-Gonzalez Gavin Kholanian-Gibson* Neven Basener Steven Phan Thomas Wilhelm+ Trumpet Alex Drozd* Cyrus Alva~ Derek Gong EJ Miranda Jerry Mak” Josh Schermerhorn^ Remy Ohara+ Richie Francisco Trombone Alicia Miller* David Nguyen Harrison Chiang Jason Bernhard~ Joseph Chilopoulos^+ Lenzario Johnson Luca Loftus Scott Odou Shijin Chen” Euphonium Jeffrey Gonzalez Logan Westerviller*^” Tuba Jeffrey Gonzalez Rolen De Jesus*^+” Timpani Matthre Tashima*^+” Percussion Bakhari Nokuri Cash Langi Marcos Salgado Sabrina Lai Xavier Zwick*^+~” String Bass Abhi Vinnakota*” Abi Koehler+ Harp Angel Kim^” Daya Asokan Piano/Organ Chloe Gwak+” Banjo/Guitar Doris Cosic+” -- Admission is free and open to the public.