Saturday, March 3, :00 p.m. Cliff Colnot, conductor. DePaul Concert Hall 800 West Belden Avenue Chicago

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1 Saturday, March 3, :00 p.m. Wind Ensemble Cliff Colnot, conductor DePaul 800 West Belden Avenue Chicago

2 Saturday, March 3, :00 p.m. DePaul Wind Ensemble Cliff Colnot, conductor Program Jean René Désiré Françaix ( ) Huit Danses Exotiques (1957) I. Pambiche II. Baiao III. Nube gris IV. Merengue V. Mambo VI. Samba lento VII. Malambeando VIII. Rock n Roll Silvestre Revueltas ( ) Homenaje a Federico García Lorca (1936) I. Baile II. Duelo III. Son František Krommer ( ) Partita in E-flat major, Op. 45 (1806) I. Allegro II. Adagio III. Allegro

3 Program Notes Jean René Désiré Françaix ( ) Huit Danses Exotiques (1957) Duration: 11 minutes The DePaul Wind Ensemble opens this evening s concert with Jean Françaix s Danses Exotiques, a suite that draws its influence not from European courtly dances, but instead from popular dances of the Americas. Françaix ( ) first composed Danses Exotiques as a piano duet in 1957, but he later reimagined it as a five-movement suite for piano and solo saxophone (1961) and then twenty years later, he transcribed it for the Bläser Ensemble Mainz (Mainz Wind Ensemble). This arrangement, heard tonight, is for eleven wind instruments and percussion. Françaix came from a musical family. His father was the director of the Le Mans Conservatoire in France, and his mother was a singer and vocal teacher. His family background was no doubt an advantage. At age 10, when he showed promise as a composer, his parents sought the advice of Maurice Ravel. Françaix eventually was sent to study with Nadia Boulanger, who taught many prominent composers of the 20th century. He was also an accomplished pianist. Françaix emphasized precise forms and tonal writing in his compositions, and he eschewed the more emotional style of earlier Romantic era composers. Each of the eight movements of Danses Exotiques represents a different dance. Françaix draws on distinctive rhythms often a short ostinato or vamp to convey the feel of each dance, but the melodies and harmonies are the composer s invention. The composition opens with a pambiche, a slower variant of the Dominican Republic s merengue jaleo. Françaix evokes the bandas de pífanos (fife and drum bands) of northeast Brazil in the baiao that follows. The third movement, Nube gris, is an Afro-Peruvian vals criollo. Unlike most waltzes, Françaix wrote Nube gris in duple time (4/4), but the xylophone emphasizes a triple meter (3/4) waltz feel. The next two movements draw on Afro-Caribbean dances. Movement four is inspired by a Dominican merengue, which is followed by a Cuban mambo. Françaix calls the sixth movement Samba lente, or slow samba. Although he composed the movement in 5/8 (most sambas are felt in duple time like a march), the maraca part imitates the distinct swing feel of samba. The maleambo that serves as the basis for the seventh movement has its origins in a competitive dance from Argentina. The final movement, Rock n Roll, may seem less exotic for North American listeners who came of age after the 1950s. Francaix imagines the sound of an early rock band with boogie woogie rhythms and a honking saxophone solo.

4 Program Notes Silvestre Revueltas ( ) Homenaje a Federico García Lorca (1936) Duration: 10 minutes Silvestre Revueltas ( ) composed Homenaje a Federico Garcia Lorca in response to news that the Spanish poet Federico Garcia Lorca had been murdered by fascist forces during Spain s Civil War. Although Revueltas had never met Garcia Lorca, he admired him and aligned himself with Spain s Republican cause. Garcia Lorca was murdered on August 19, Revueltas conducted the premiere of Homenaje a Federico Garcia Lorca on November 14, 1936 at the Palacio de Belas Artes in Mexico City. Revueltas was born in the State of Durango in Mexico in He studied violin and composition at the National Conservatory in Mexico City and pursued further study at St. Edward s College in Austin, Texas and then the Chicago College of Music (now part of the Chicago College of the Performing Arts at Roosevelt University). Revueltas held the post of assistant conductor of the National Symphony of Mexico ( ), and he worked closely with composer Carlos Chávez to promote contemporary Mexican music. Revueltas composed the three-movement piece for a chamber ensemble of piccolo, E-flat clarinet, two trumpets, a trombone, piano, two violins, a double bass, and a tam-tam. Revueltas uses this unusual instrumentation to conjure a range of ensembles from street band to orchestra to mariachi. The first movement, Baile, opens with a slow lament played by the trumpet, which quickly segues into up-tempo dance. The trumpet lament returns at the conclusion of the movement and introduces the second movement titled, Duelo, which signifies sorrow or grief. The title of the third movement, Son, can be translated as Sound, as indicated in the score, but it also refers to son mexicano, the widespread style of folk dance that is an antecedent to contemporary mariachi. Revueltas draws on the rhythms and sounds of mariachi strings and trumpets in a rousing final movement. František Krommer ( ) Partita in E-flat major, Op. 45 (1806) Duration: 20 minutes This final work on tonight s program, Franz Krommer s, Partita in E-flat with Two Horns, draws on the eighteenth century tradition of harmoniemusik. These bands usually consisted of pairs of oboes, clarinets, horns, and bassoons. In Central Europe, during the eighteenth and early nineteenth centuries, it was customary for aristocrats to employ harmoniemusik to provide music for a wide range of social occasions. The Partita in E-flat is somewhat unusual. It is as a concerto for two horns accompanied by pairs

5 of oboes, clarinets, and bassoons and a double bass. Wind Ensemble March 3, 2018 Program Notes Krommer was born in 1759 in Kamenice, a town in Bohemia, now the Czech Republic, but he worked for much of his career in Vienna, where he died in Listeners familiar with Haydn and Mozart will recognize in Krommer s work stylistic similarities common to the Classical era. Little is known about the circumstances of the composition of this partita. However, the horn parts would have been incredibly demanding on the natural horns used in the 18th century because the partita was almost certainly composed before the invention of the valve horn in Krommer must have known or been asked to compose for virtuosic musicians. During the 1790s, Krommer worked as kappellmeister and composer for Prince Antal Grassalkovich de Gyarak, an aristocrat in Bratislava, who employed excellent musicians in his household. During the 18th century, partita indicated a multi-movement instrumental work. This piece opens with a lively Allegro. The Adagio that follows provides a more stately contrast. The final movement is a bright Allegro: Rondo. The two horn players are featured throughout the work. Notes by Katherine Brucher

6 Biography 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 and was principal conductor of the Civic Orchestra of Chicago, an orchestra he conducted for more than twenty-two years. Colnot also conducts Contempo at the University of Chicago, and 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 mezzosoprano, 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 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.

7 biography 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 of Columbia University 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.

8 Personnel Jean René Désiré Françaix Huit Danses Exotiques Silvestre Revueltas Homenaje a Federico García Lorca František Krommer Partita in E-flat major, Op. 45 Piccolo Armand Assainte Flute Erin Wallace Oboe Andrew Cooper Carl Colvin Clarinet Michael Tran Ian Marino Alto Saxophone Richard Brasseale Bassoon Jonathan Livolsi Cameron Keenan Horn Jacob Nelson Momoko Hasselbring Percussion Carley Yanuck Piccolo Erin Wallace Clarinet Julia Janda Trumpet Julia Tsuchiya-Mayhew Sam Veren Trombone Lucas Steidinger Tuba Riley Lindsay Percussion Carley Yanuck Jason Yoder Piano Ryan Senger Violin Konrad Kowal Luis Salazar Bass Teddy Gabrielides Oboe Young Sun Yoo Carl Colvin Clarinet Julia Janda Jesse Bruer Bassoon Jonathan LiVolsi Cameron Keenan Horn Fiona Chisholm Momoko Hasselbring Bass Teddy Gabrielides Libriarian Michael Ippolito

Gifts of every amount make an important impact on the next generation of musicians and support the mission of the School of Music. Make your gift today by visiting alumni.depaul.

9 Gifts of every amount make an important impact on the next generation of musicians and support the mission of the School of Music. Make your gift today by visiting alumni.depaul.edu/givetomusic For more information, please contact: Stephanie Carper, Director of Development Office of Advancement, DePaul University 1 East Jackson Boulevard Chicago, IL (312) scarper@depaul.edu

10 Upcoming Events Sunday, March 4 3:00 p.m. DePaul Wind Symphony Sunday, March 4 7:00 p.m. Student Center 2250 North Sheffield Avenue Chicago Jazz Ensembles Monday, March 5 7:00 p.m. The Jazz Workshop 806 South Plymouth Court Chicago Jazz Workshop Tuesday, March 6 7:00 p.m. Cello Studio Recital Wednesday, March 7 7:00 p.m. Recital Hall Jazz Combos III Thursday, March 8 8:00 p.m. Ensemble 20+ Friday, March 9 7:30 p.m. Sunday, March 11 2:00 p.m. Merle Reskin 60 East Balbo Drive Chicago DePaul Opera Theatre: The Merry Widow Saturday, March 10 8:00 p.m. DePaul Concert Orchestra Sunday, March 11 3:00 p.m. Student Center 2250 North Sheffield Avenue Chicago Jazz Ensembles Monday, March 12 7:00 p.m. Recital Hall Jazz Combos IV

11 Monday, March 12 8:00 p.m. Composers Forum Wind Ensemble March 3, 2018 upcoming events Sunday, March 16 11:00 a.m. Masterclass: Boris Slutsky, piano Sunday, March 18 3:00 p.m. DePaul Community Chorus Concert Tuesday, March 27 8:00 p.m. Faculty Artist Series: Nicole Cabell & Christopher Magiera Thursday, March 29 8:00 p.m. Brass Ensemble Concert Friday, April 6 8:00 p.m. Ilya Kaler and Friends Saturday, April 4 7:00 p.m. Recital Hall Janet Sung Studio Recital As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Sign up for DePaul E-Notes! Receive monthly updates in your inbox on performances taking place at the School of Music, as well as special offers and discounts to ticketed events! You can choose to unsubscribe from the list at any time. We have a strict privacy policy and will never sell or trade your address. You can sign up for E-Notes by visiting music.depaul.edu and clicking on Concerts & Events. DePaul University School of Music 800 West Belden Avenue Chicago Recital Hall 804 West Belden Avenue Chicago music.depaul.edu

Friday, October 6, :00 p.m. Cliff Colnot, conductor. DePaul Concert Hall 800 West Belden Avenue Chicago

Friday, October 6, :00 p.m. Cliff Colnot, conductor. DePaul Concert Hall 800 West Belden Avenue Chicago Friday, October 6, 2017 8:00 p.m. Wind Ensemble Cliff Colnot, conductor DePaul 800 West Belden Avenue Chicago Friday, October 6, 2017 8:00 p.m. DePaul Wind Ensemble Cliff Colnot, conductor Program Franz