MIT Wind Ensemble, Frederick Harris, Jr. conductor
1. Peter Child Concertino for Violin and Chamber Winds
(2002)
Young-Nam Kim, violin
2. Brian Robison The Congress of the Insomniacs
(2003)
Gunther Schuller Song and Dance (1990)
for solo violin and large wind ensemble
3. I. Quiet Music
4. II. Fiddle Music
5. Evan Ziporyn
Drill (2002)
for solo bass clarinet and wind ensemble
Evan Ziporyn, bass clarinet
It is a little-known fact that the arts flourish at MIT, the world’s
preeminent science and technology based university. Visual art, theater, and,
in music, the large and small performance ensembles, all thrive, fed equally by
a large and demanding body of talented students and a strong faculty of
professional artists. The performances of the MIT Wind Ensemble on this CD are
fine examples of what the two together can accomplish.
Better known aspects of MIT are its commitment to excellence and its
entrepreneurial spirit. These, too, are evident in this recording. Since
Frederick Harris took over the MIT Wind Ensembles in 1999 he has inaugurated an
innovative and daring series of performances and commissions. The violin
concerto of Gunther Schuller recorded here is surely one of the most
challenging works in the wind ensemble repertory. The three other pieces are
only a sample of the music that Harris has commissioned for the MIT Wind Ensemble
from composers on the MIT faculty and elsewhere.
It is hard to summarize Gunther Schuller’s contributions to music,
but a simple list gives an idea of their scope: master horn player, composer,
conductor, author, administrator, publisher, jazz pioneer and a leader of the
‘third stream’ in music. There is a quality of synthesis in some of
his later works, however, and Song and Dance (1990), a concerto for violin and
large wind ensemble, is a good example. As a conductor and writer Schuller has
championed the diverse musics of Babbitt, Ellington and Mahler. In Song and
Dance the elegantly modulated sonorities of the big band mix with the
sensibilities of high modernism and heartfelt romanticism in an affecting
blend. The tone is dark, not just in the interior, ruminative first movement
but in the frenetic second movement as well. The piece, untypically, is cast in
two movements. They contrast starkly in terms of the extreme introversion of
the first and extroversion of the second, whose manner derives from what
Schuller has called “good old country fiddle music,” but whose tone
has the feel of a frantic danse macabre. The juxtaposition of the lonely violin
against the amassed winds and percussion has a compelling philosophical flavor,
emphasized by the soulful melodic writing for the soloist in the first movement
(‘Quiet Music’). The uncommon instrumentation evokes the individual
versus the mass, and the inner versus the outer, evocations that are, I
believe, intrinsic to the poetry of the piece. So is the element of risk, even
danger, in the difficult balance between soloist and tutti. It takes guts,
conviction and considerable skill to perform Song and Dance. It was
commissioned by the University of Minnesota Wind Ensemble under the late
conductor Frank Bencriscutto, who initiated a consortium with 34 other wind
ensembles. To date, however, only two ensembles have dared take it on,
Minnesota and MIT, both with the intrepid Young-Nam Kim as soloist.
The history of my own Concertino for violin and chamber winds (2002) is
linked to the Schuller work; I wrote it for Young-Nam Kim and the MIT Wind
Ensemble to accompany their second MIT performance of Song and Dance in 2002.
Otherwise, however, the two pieces could scarcely be more different. Against
the enormity of Schuller’s orchestration Concertino juxtaposes a lean
instrumentation of ten players, and against the Romantic fatalism of its tone
Concertino juxtaposes a cheerful, out-of-doors Classicism. It is in three short
movements, fast-slow-fast, compressed into one. The music for the string
soloist is etched in sharp relief from that of the wind ensemble, though
soloists from among the winds frequently step forward as collaborators in the
melodic unfolding.
The concerto principle pervades the remaining works on this CD too. Brian
Robison’s The Congress of
the Insomniacs (2003) is essentially a concerto grosso, replete with
‘ritornello’ (returning theme) associated with the tutti ensemble,
interspersed with episodes presented by eight soloists: flute, two clarinets,
alto and tenor saxophones, trumpet, trombone, and vibraphone. But there the
comparison with its Baroque forefather ends. The ritornello theme, an ascending
stepwise motive, has a funky, irregular rhythm that is at odds with the
common-time meter. The soli episodes vary dramatically in character, evoking
free, improvisatory jazz, pointillistic fragmentation, a sostenuto canon, and a
host of other manners. The octatonic scale (alternating whole steps and half
steps) permeates and unites the whole. There is a quirky, eccentric quality to
much of Robison’s best music, and this piece is no exception.
The title of Evan Ziporyn’s concerto movement for bass clarinet and
wind ensemble Drill (2001)is a puzzle until you realize that it is meant to
characterize the relationship between soloist and ensemble. It is the idea of
the drill sergeant that it evokes, one who leads but always participates in the
maneuvers of the troops.
Clarinets, other woodwinds, and eventually the entire ensemble periodically
shadow the brisk, athletic lines of the soloist in unison, octaves, or strictly
parallel intervals. The texture is fresh, dense, and transparent. Ziporyn’s background is a mixture
of jazz, concert music, clarinet performance, and the gamelan music of Bali.
The influence of Balinese music, in particular, is never far off. In this piece
it is reflected in the cycling modal figures (the pentatonic scale at the
beginning evolves additively into other modes, but it is alluded to throughout)
and in the percussion writing. Loud, autonomous, scintillating, percussion
provides the rhythmic foundation, at once metrical and mercurial, to this
bracing, exuberant work.
-Peter Child April
4, 2004
BIOS
Violinist Young-Nam Kim has appeared widely in the United States and Europe
in summer festivals, recitals and as a soloist with orchestras including the
Minnesota Orchestra and St. Paul Chamber Orchestra, and in such venues as
Carnegie Hall and Kennedy Center.
In addition to the standard repertoire, Mr. Kim has premiered more than
a score of works by important composers of today. He also served on the jury of many competitions including
the Lipizer International Violin Competition in Italy.
Mr. Kim, who soloed with the Seoul Philharmonic while still in his early
teens, moved to the United States in his high school senior year and studied
primarily with Louis Krasner in Syracuse and Boston. His other teachers include Felix Galimir in New York and
Zino Francescatti in Switzerland.
Founder and Artistic Director of the Chamber Music Society of Minnesota,
which is celebrating its 12th season, Mr. Kim appeared in concerts with such
distinguished artists as Leon Fleisher, Gilbert Kalish, Felix Galimir, Robert
Mann, Joseph Silverstein, Samuel Rhodes, David Shifrin Yo-Yo Ma and
others.. His live performances and
recordings are heard frequently on National Public Radio and recently Mr. Kim
recorded Chen Yi’s “Ning” with Yo-Yo Ma and Wu Man. He also was
a long time duo partner with pianist-composer Paul Schoenfield.
For over a decade Mr. Kim was head of chamber music activities at Gunther
Schuller’s Festival at Sandpoint in Idaho and in 2002 he founded the
Northern Lights Chamber Music Institute held annually in August in Ely,
Minnesota. Currently on the
faculty of the University of Minnesota, Mr. Kim was named as a Distinguished
McKnight Scholar in 1999 and received the Presidential Outstanding Community Service
Award in 2000. In December 2001 Mr. Kim received an honorary citation as
“Artist of the Year” by the Minneapolis Star Tribune. Yong-Nam Kim
resides in St.Paul with his violinist wife and three children.
Brian Robison is Assistant Professor of Music at the Massachusetts
Institute of Technology. He completed his doctorate at Cornell University,
where he studied with Steven Stucky, Roberto Sierra, and Karel Husa.
Previously, he studied composition with Burt Fenner at the Pennsylvania State
University, where he graduated with highest distinction in 1986, and with
Tristan Murail and Philippe Manoury at the American Conservatory at
Fontainebleau, where he was awarded the Maurice Ravel Prize in 1991. In July
2000, the American Composers Orchestra named him the winner of the 2000
Whitaker Commission; the new work, In search of the miraculous, received its
world premiere performance by the ACO in Carnegie Hall in March 2003, under the
baton of Steven Sloane. Other recent premieres have included Imagined Corners
(MIT Symphony Orchestra, John Harbison conducting, March 2003) and The Congress
of the Insomniacs (MIT Wind Ensemble, Frederick Harris conducting, May 2003).
He has also received commissions from the Sidney Cox Library of Music and Dance
at Cornell University, the Cayuga Chamber Winds, the Paterson Duo, and the
Empire State Youth Symphony String Ensemble. Current and upcoming projects
include The bonfire of the civil liberties for Boston Musica Viva, A leaf driven for the Chameleon Arts
Ensemble of Boston, Illustrate hedonistic calculus for the Locrian Chamber
Players (New York, NY), and O astucioso caçador for the Boston Horns.
Frederick Harris, Jr. is Director of Wind Ensembles at MIT where he serves
as Music Director of the MIT Wind Ensemble and MIT Festival Jazz Ensemble. He
has also served as an Acting Music Director for the MIT Symphony Orchestra.
Since 2001 he has served as the Assistant Conductor of the Boston University
Tanglewood Institute Young Artists Wind Ensemble.
He earned a Master of Music Degree from New England Conservatory and his
Ph.D. from the University of Minnesota. His teachers included Frank Battisti,
Gunther Schuller, and Craig Kirchhoff. Dr. Harris has guest conducted and
presented lectures at many universities in the New England region. At the
University of Minnesota he conducted the Concerto Grosso Orchestra and was a
guest conductor of the Symphonic Wind Ensemble. He has also served as guest
conductor for the New Hampshire Philharmonic Orchestra and the Chamber Music
Society of Minnesota.Dr. Harris is a strong advocate for the creation and
performance of new music having commissioned 49 pieces since 1992.
In the spring of 2001 Meredith Music Publications released his first book,
Conducting with Feeling. He is currently writing a second book entitled Seeking
the Infinite, the biography of renowned conductor and composer, Stanislaw
Skrowaczewski. In 2004, with Kenneth Amis (Empire Brass) and John McLellan
(Belmont, MA, Public Schools), he created Symbiosis New England, a non-profit
Boston-based professional wind ensemble dedicated to performance, education,
and the advancement of contemporary music.
Peter Child is Professor of Music and MacVicar Faculty Fellow at MIT, where
he chaired the department of Music and Theater Arts from 1996 to 1999. He
joined Reed College in 1973 through an exchange scholarship from Keele
University in England and received his B.A. in music from Reed in 1975. After
studying Karnatic music in Madras for a year through a Thomas J. Watson
Fellowship (1975-76), he entered the graduate program at Brandeis University
and earned his Ph.D. in musical composition in 1981. His composition teachers
include William Albright, Bernard Barrell, Arthur Berger, Jacob Druckman, and
Seymour Shifrin.
Child won the 2004 Levitan Award in the Humanities at MIT for his work on
an analysis text. His music won the 2001 Music of Changes Composition Award,
which culminates in a commission and a concert in Los Angeles devoted to his
music. He was a recipient of a 2000 commission from the Harvard Musical
Association and a 1998 commission from the Fromm Foundation at Harvard
University. In 1994 the Council for the Arts at MIT awarded Peter Child the
Gyorgy Kepes Fellowship Prize. He has been honored by two Com-position
Fellowships from the Massachusetts Artists Foundation in 1986 and 1989, as well
as fellowships to the MacDowell Colony and the Composers' Conference. The
Massachusetts Council on the Arts and Humanities awarded him four 'New Works'
commissions in con-junction with the Boston Musica Viva, the New England
Conservatory Contemporary Ensemble, the MIT Experimental Music Studio, and the
Cantata Singers. His compositions have also been awarded prizes from Tanglewood
(Margaret Grant Memorial Prize, 1978), East and West Artists (First Prize,
1979), WGBH Radio (Recording Prize, 1980), New England Conservatory ('New
Works' Prize, 1983), and League-ISCM, Boston (New England Composers Prize,
1983). Recordings of some of Child's music have been released on New World,
CRI, Neuma, Rivoalto and Centaur compact discs. In addition to his
compositional work, Child has published papers concerning music by Shostakovich
and Bartok in Music Analysis and College Music Symposium.
Peter Child has written music in many different genres, includ-ing music
for orchestra, chorus, computer synthesis, voice, and a wide variety of chamber
groups. Ensembles that have commissioned and/or performed his music include the
Albany Symphony Orchestra, the John Oliver Chorale, the Pro Arte Orchestra, the
Lydian String Quartet, Col-lage, Parnassus, New York New Music, the Pittsburgh
New Music En-semble, Lontano (Great Britain), Interensemble (Italy), Speak
Percussion (Australia), and many others.
Evan Ziporyn (b. 1959) is a composer/clarinetist whose work draws equally
from world and classical music, the avant garde, and jazz. As a member of the
Bang On A Can All-stars, he has performed at international venues across the
globe, collaborated with Don Byron, Meredith Monk, Henry Threadgill, and Cecil
Taylor, and co-produced and arranged Bang’s acclaimed recording of Brian
Eno's "Music for Airports.” He has also recorded and toured with
Paul Simon, Steve Reich, Arnold Dreyblatt, Matthew Shipp and Tan Dun. In Boston, he is founder and director
of the Gamelan Galak Tika, a Balinese music and dance troupe, for whom he has
composed numerous works combining gamelan with western instruments and
electronics, recorded on two volumes for New World Records. His recent genre-defying solo CD,
"This is Not A Clarinet" (Cantaloupe), was featured on “All
Things Considered,” “The World,” and appeared on numerous
2001 Top Ten lists, in both classical and jazz categories. He has also written
for Wu Man, the Kronos Quartet, Ethel, Nederlands Blazers, the Pro Arte Chamber
Orchestra, Orkest de Volharding, Gamelan Sekar Jaya, Sarah Cahill, the Arden
Trio, Basso Bongo, and red fish, blue fish. He has received commissions from
the Rockefeller Foundation, Meet the Composer, and the New England Foundation
for the Arts. His works have been
recorded on Sony Classical, Koch, New World, CRI, and New Tone. Most recently he received the 2004
Goddard Lieberson Fellowship from the American Academy of Arts and
Letters. He received his BA from
Yale University and his MA and PhD from UC Berkeley, where his principle
teachers were Martin Bresnick, Gerard Grisey, and John Blacking. He is Kenan Sahin Distinguished
Professor at MIT, where he is also Head of Music and Theater Arts. His puppet opera,”Shadow Bang,”
a collaboration with Balinese puppeteer I Wayan Wija, was recently released on
Cantaloupe Music. Upcoming
premieres include “War Chant” for the Boston Modern Orchestra
Project, a concerto for p’ipa and gamelan, and music for the American
Repertory Theater’s upcoming production of “Oedipus Rex.”
Born in 1925 on the Day of St. Cecilia, the Patron Saint of music, Gunther
Schuller is now one of the elder statesmen of both post-war jazz musicians and
20th Century American composers. An inaugural member of the American Classical
Music Hall of Fame and winner of the DownBeat Lifetime Achievement Award, his
careers as composer, conductor, educator, historian, and music advocate have
each changed the face of contemporary music as we know it.
Schuller’s musical odyssey began in 1942 with Arturo Toscanini and
the NBC Symphony when he was chosen as an extra French horn player for the
maestro’s American premiere of Shostakovich’s Symphony No. 7. After
six months with the American Ballet Theater Orchestra, under Antal Dorati in
1943, Schuller was named principal French horn of the Cincinnati Symphony. It
was in Cincinnati that Schuller would first meet Duke Ellington and recognize
the compositional potential of jazz. Two years later he joined the prestigious
Metropolitan Opera Orchestra, playing bebop licks during warm ups and
frequenting jazz clubs at night. Soon he was playing on seminal jazz albums
such as The Birth of the Cool and Porgy and Bess with Miles Davis and Gil
Evans, and combining jazz and classical forms in his own compositions. By the
time he retired his French horn to focus on composing in 1963, Schuller had
laid the foundation for the Third Stream movement with collaborators like
Charles Mingus, Ornette Coleman, Eric Dolphy, and John Lewis. Schuller’s
compositions have been premiered by esteemed orchestras, wind, jazz, and
chamber ensembles around the world and recognized with many honors, most
notably the Pulitzer Prize and MacArthur Genius Award.
His work as an educator, at institutions such as the Manhattan School of
Music, Yale University, and the landmark Lenox School of Jazz, culminated in
ten years as President of Boston’s New England Conservatory
(1967-77). He also served nearly
twenty-five years as Artistic Director of the Berkshire Music Center at
Tanglewood. Always an advocate for composers and their music, he ran Margun
Music and GunMar Music for many years, publishing over 1000 works by diverse
artists. Schuller’s GM Recordings, independent label, has produced over
120 jazz and classical recordings including many world premieres, debuts, and
historical performances. He has authored five books including the seminal jazz
histories Early Jazz and The Swing Era, and The Compleat Conductor. Currently
Schuller is writing his autobiography while continuing to fulfill commission
and guest conduct all over the world.
Producer: Frederick Harris, Jr.
Recording, Post-Production, Mastering Engineer: Patrick Keating
Post-Production for Song and Dance: Gunther Schuller & Dave Locke
Concertino for Violin and Chamber Winds & Song and Dance were recorded
on May 4, 2002 at Jordan Hall at New England Conservatory. The Congress of the Insomniacs was
recorded on May 7, 2003 at Kresge Auditorium at Massachusetts Institute of
Technology. Drill was recorded on March 12, 2003 at Jordan Hall at New England
Conservatory.
MITWE photos: Thomas Maxisch
Cover & Back Photos: Rebecca Harris.
Design:Umod007 for Alliedchemical.com
MIT Wind Ensemble
Frederick Harris, Jr. Conductor
Piccolo
Rachel Finck 3
Catherine Matlon 3
Flute
Sarah Bissonnette *, 4
Jessica Chiafair 3
Rachel Finck 3, 4
Erin Foti 3, 4
Tina Heish 3
Allison Horst 1
Adora Lin 3
Catherine Matlon 2, 4
Daniel Stein 3
Alto Flute
Allison Horst 3
Oboe
Diana Lo 2, 4
Jamie Lui 3
Melaine Pohlman 1, 3
Jessica Young 2, 4
English Horn
Jaleen Hall 3
E-flat Clarinet
Wendy Gu 2, 3
Clarinet
Brett Boshco 3
Dexter Chan 2, 4
Emily Cheng 2, 4
Igor Ginzburg 2, 4
Wendy Gu 4
Pey-Hua Hwang 2, 3, 4
Daniel Koster 3
Daniel Kwon 3
Ryan Lang 3
Steve Lee 1
Erik Olsen 3
Jason Pelc *, 4
Daniel Steele *, 4
Jaimie Sylman 3
Terence Ta 2, 4
Diane Yang 2, 3, 4
Colette Wiseman 3
Bass Clarinet
Rick Henrickson 2, 4
Steve Lee 3
Daniel Yu 2, 4
B-flat Contrabass Clarinet
Alex Mekelburg 2, 3
Bassoon
Ariya Darautana 2, 3, 4
Andrew Henrich 2, 4
Jennifer Stokes 3
Contrabassoon
Bradley Balliett 4
Adam Trussell 3
Soprano Saxophone
Jordan Fabyanske 4
Alto Saxophone
Tanya Cruz Garza 4
Jordan Fabyanske *
Michael Mandel 3
Raudel Rodriguez 2, 4
Tenor Saxophone
Tanya Cruz Garza 2
David Greenhouse *, 3, 4
Baritone Saxophone
Arshan Gailus 2, 4
Matthew Willmott 3
French Horn
Peter Broggi 3
Justin Cohen 2, 4
Tom Hsu 2, 4
Allison Lewis 2, 3, 4
Shefra Spiridopoulos 1, 3
Scott Stransky 2, 3, 4
Trumpet
Andy Arizpe 2, 3, 4
Adrian Bischoff 3, 4
Christina Bonebreak 2, 4
Nicholas Bozard 2, 4
Robert Foster 2
Rahul Sarathy 1, *, 3, 4
Tarik Ward 3
Trombone
Daniel Halperin 3
Benjamin Ingram 1, 3
Jonathan Kennell 3
David Newell *, 4
Kenneth Schrock 2, 4
Bass Trombone
Matthew Abrahamson 2, 4
Ethan Fenn 3
James Monaghan 4
Euphonium
Daniel Benhammou 3
James Monaghan 4
Thomas Walker 2, 4
Tuba
Nicholas Cordella 2, 4
Mark Fabulich 3, 4
Andrew Thomas 3
Timpani
Peter Broggi 4
Jeremy Nimmer 1, 3
Percussion
Anna Marie Bohmann 3
Peter Broggi *
Meisha Bynoe 2, 3, 4
Steven Crawford 3
Ryan Dilisi 3
Meiling Gao 2, 4
Jesse Greene 2, 4
Adam Kaczmarek 2, 4
Christopher Wurts 3
Piano & Celeste
Mary Farbood 3
Harp
Sarah Fuller 3
String Bass
Douglas Balliett 4
Thomas Lada 1, 3
1 Concertino for Violin and
Chamber Winds
2 The Congress of the Insomniacs
3 Song and Dance
4
Drill
*
Soloist on The Congress of the Insomniacs
Producer: Frederick Harris,
Jr.
Recording, Post-Production,
Mastering Engineer: Patrick Keating
Post-Production for Song
and Dance: Gunther Schuller &
Dave Locke
Concertino for Violin and
Chamber Winds & Song and Dance were recorded on May 4, 2002 at Jordan Hall at New
England Conservatory. The
Congress of the Insomniacs was
recorded on May 7, 2003 at Kresge Auditorium at Massachusetts Institute of
Technology. Drill was recorded on
March 12, 2003 at Jordan Hall at New England Conservatory.
This recording is dedicated
to the memory of John D. Corley, Jr. who served MIT for 51 years as conductor
of the MIT Concert Band
This recording is made
possible by the generous support of Mr. Richard D. Nordlof
Special Thanks to Richard Nordlof, Patrick Keating,
Matthew Agoglia, MIT Concerts Office, Peter Child, Brian Robison, Gunther
Schuller, Evan Ziporyn, Charles Peltz, William Drury, Kenneth Amis, John
Harbison, Elena Ruehr, Clarise Snyder, Lowell Lindgren, and Rebecca Harris.
The MIT Wind Ensemble is comprised primarily of MIT undergraduate &
graduate students studying a variety of fields including: Electrical
Engineering and Computer Science, Mechanical Engineering, Biology, Mathematics,
Brain and Cognitive Sciences, Civil Engineering, Chemistry, Physics,
Aeronautics and Astronautics, Management, Architecture, and Materials Science
& Engineering. The central
mission of the MIT Wind Ensemble is the enhancement of the musical education
and artistic sensitivity of its members through performance in large and small
ensembles of music of diverse styles from the 16th century to the
present day. A secondary mission is the creation and nurturing of new music for
the wind ensemble medium.
http://web.mit.edu/mitwe/www/