idle amusements and rude awakenings: music for winds Stanford Symphony Orchestra Winds Paul Phillips music director and conductor
THURSDAY, 3 JUNE 2021 8:00 P.M.
STANFORD UNIVERSITY DEPARTMENT OF MUSIC
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PROGRAM
IDLE AMUSEMENTS AND RUDE AWAKENINGS: MUSIC FOR WINDS
I
Rossiniana: Four Pieces from Sins of Old Age Gioachino Rossini Arranged for woodwind octet by Stephen Michael Gryc (2017) (1792–1868) I. Idle Amusements. Allegretto moderato II. Frenzied Dance (“Tarantella Napoletana”). Allegro con brio III. Graceful Dance (“La Pesarese”). Allegretto moderato IV. Rude Awakening. Allegro vivace
I I
La fille aux cheveux de lin Claude Debussy Arranged for eleven wind instruments by Paul Phillips (2021) (1862–1918)
I I I
Cinquième Symphonie: Dixtour d’Instruments à Vent, Op. 75 Darius Milhaud I. Rude (1892–1974) II. Lent III. Violent
Serenade in D Minor, Op. 44 Antonín Dvořák I. Moderato, quasi marcia (1841–1904) II. Minuetto. Tempo di minuetto – Trio. Presto III. Andante con moto IV. Finale. Allegro molto
The Stanford Symphony Orchestra gratefully acknowledges the Department of Music and Associated Students of Stanford University (ASSU) for their generous support of
Stanford’s orchestral program, the donors who have generously financed the JackTrip kits used by the students in SSO Strings and SSO Winds, and Professor Chris Chafe and his
JackTrip team for their expert guidance in the use of this technology.
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PROGRAM NOTES
Gioacchino Rossini Rossiniana: Four Pieces from Sins of Old Age (Arranged by Stephen Michael Gryc)
The great Italian composer Gioacchino Rossini retired from the life of the theater in 1829 after composing thirty-nine operas in nineteen years. He lived the latter part of his life in Paris where he presided over extravagant musical and culinary soirées for which he composed many songs, piano pieces, and works for small ensembles. Rossini assembled a diverse catalog of his later works into a collection that he titled Sins of Old Age. The four movements of Rossiniana (three piano pieces and one song, the Tarantella Napoletana) are taken from this large collection. Most of Rossini’s later music is light-hearted and humorous, yet it is as fully inventive and virtuosic as his earlier theater music. Woodwind instruments, featured so often in the jolliest melodies of his operas, capture the humor and dash of music that reflects Rossini’s enormous zest for life.
Stephen Michael Gryc, who arranged Rossini’s music for Rossiniana, is an American composer. His expertise in writing for orchestral instruments has brought him commissions from some of the world’s leading soloists including the principal trumpet and trombone players of the New York Philharmonic. Gryc’s music for large ensembles has been performed by groups such as the Minnesota Orchestra and the United States Marine Band. Gryc’s many awards include the Rudolf Nissim Prize for orchestral composition from the ASCAP Foundation. Gryc’s works are published by companies in New York and Paris and are recorded on compact discs from nine different commercial labels.
This arrangement is scored for pairs of flutes, oboes, clarinets, and bassoons, with Flute 2 doubling piccolo. — Stephen Michael Gryc © 2017
claude debussy La fille aux cheveux de lin (Arranged by Paul Phillips)
La fille aux cheveux de lin (“The Girl with the Flaxen Hair”) is Prélude VIII from the first book of twelve preludes for piano by Claude Debussy, composed between December 1909 and February 1910. (Debussy composed his second book of twelve preludes between late 1912 and April 1913.) The title of this prelude is taken from one of the Chansons écossaises (Scottish songs) published in the 1852 collection Poèmes antiques (Ancient Poems) by Leconte de Lisle (1818–1894). The feeling of serenity produced by this short, gentle piano prelude is perfectly described by its tempo marking, Très calme et doucement expressif (very calm and softly expressive).
This arrangement for eleven winds, made on 5 April 2021, preserves the original key of G♭ major and is scored for pairs of flutes, oboes, clarinets, horns, and bassoons plus contrabassoon. — Paul Phillips © 2021
4
daRius Milhaud Cinquième Symphonie: Dixtour d’Instruments à Vent, Op. 75
Darius Milhaud was a French composer, born in Marseille, who established strong ties to California during the latter part of his life. Originally trained as a violinist, he studied composition at the Paris Conservatoire, where he met Arthur Honegger and Germaine Tailleferre, fellow members of the group of Parisian composers that came to be known as Les Six (The Group of Six). From 1917–19, Milhaud lived in Rio de Janeiro, serving as secretary to the poet and dramatist Paul Claudel, France’s ambassador to Brazil at the time. The sound of Brazilian popular music exerted a strong influence on Milhaud, who incorporated Brazilian tunes into Le boeuf sur le toit (The Ox on the Roof), Saudades do Brasil (Yearnings for Brazil), and Scaramouche, three of his most well-known compositions. Milhaud embedded jazz elements into works such as his ballet La création du monde (The Creation of the World), used polytonality extensively, and was influenced by Stravinsky, Schoenberg, and other Modernist composers.
Born into a Provençal Jewish family, Milhaud was forced to flee Europe when the Nazis invaded France in 1940. He secured a professorship that year at Mills College, where he remained on the faculty for the next three decades, teaching at Mills and the Paris Conservatoire in alternate years from 1947–71. Milhaud also taught at the Aspen Music Festival and in 1947 became one of the founders of the Music Academy of the West in Santa Barbara. Milhaud’s students include the popular songwriter Burt Bacharach, the great jazz pianist Dave Brubeck (who named his first son Darius after Milhaud), and the renowned American composer and Stanford alumnus William Bolcom.
Among the most prolific composers of the 20th century, Milhaud composed hundreds of compositions in a wide variety of genres, his list of opus num-bers extending to 443. Many of his compositions are quite short, such as his Cinquième Symphonie, also known as his Chamber Symphony No. 5, composed in 1922. (Milhaud composed six chamber symphonies followed by twelve symphonies for large orchestra.) This brief work, lasting just over six minutes, consists of two fast movements in ⁴/₄ meter (marked “Rude” and “Violent”, respectively) surrounding a slow movement (“Lent”) in ⁶/₈. This dixtour (decet or dectet in English) is scored for ten wind instruments: two flutes (one doubling piccolo), oboe, English horn, clarinet, bass clarinet, two bassoons, and two horns. — Paul Phillips © 2021
Antonín Dvořák Serenade in D Minor, Op. 44 Antonín Dvořák composed, in all, two serenades for a simplified orchestra: in 1875, the Serenade in E Major for string orchestra (Op. 22) and, three years later, the Serenade in D minor for wind instruments, violoncello, and double-bass (Op. 44). (From a planned third Serenade, begun in the following year 1879, there arose a new composition entitled “Czech Suite”.) Both Serenades rank among the most characteristic and also the loveliest expressions of Dvořák’s creative
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STANFORD SYMPHONY ORCHESTRA WINDSPaul PhilliPs, Music Director and Conductor
Cyndia Yu Ph.D. student in Physics, 4th year. Flute, Piccolo East Palo Alto, CA
Melinda Zhu ’23 Major in Computer Science. Flute Santa Monica, CA
Clare Chua ’24 Major — undecided. Oboe, English Horn Saratoga, CA
Amy Miyahara ’23 Major in Psychology. Oboe Diamond Bar, CA
Audrey Shih Ph.D. Student in Chemical Engineering, Clarinet 1st year. Stanford, CA
Zoe Schramm ’24 Plans to major in Music. Clarinet, Bass Clarinet Millcreek, Utah
Robert Matthew Plans to major in Environmental Systems Clarinet Wood ’24 and minor in Music. Stanford, CA
Veronica Pratt ‘23 Major in Physics and Classics. Bassoon Woodside, CA
Cullen Blain CSMA In-School Music Programs Manager. Bassoon Mountain View, CA
Juliet Hamak High School Science Teacher. Contrabassoon San José, CA
Mitchell Garmany ‘22 Major in Music and Political Science. Horn Ladera Ranch, CA
EJ Daniels ’24 Plans to major in Physics. Horn Stanford, CA
Roger W. Romani Professor of Physics/KIPAC. Horn Portola Valley, CA
Erik Roise ’21 Major and co-term in Mechanical Engineering, Violoncello Minor in Music. Menlo Park, CA
Bryant Huang ’21 Major in Architectural Design, Minor in Music, Contrabass MS in Sustainable Design & Construction. Stanford, CA
5
spirit: the instrumentation of the second of them, however, corresponds more to the original character of a composition destined to be performed in the evening somewhere in a garden, or elsewhere, in the open air (originally the so-called “Cassations”). Besides, it is also important as the first in a series of works, with which, at the beginning of 1878, Dvorak was opening a new period in his creative activity.
It was closely before the origin of the three “Slavonic Rhapsodies” Op. 45 and the first series of the “Slavonic Dances” Op. 46, and therefore it is not surprising that also in the Serenade for wind instruments there often resounds a tone characteristic of the cycles just mentioned. This can be felt not only from the characteristic Czech colouring of the second (Scherzo) movement, of which the beginning and the closing section clearly approach the character of the Czech folk dance “sousedska” (Neighbours’ Dance), while the middle part is interwoven with the rhythms of the Furiant, but also from the degree in which this Czech tone permeates all the other movements. With the only exception, formed by the quiet and warmly singing third movement, the prevailing mood is one of an old-world well-disposed and cordial humour.
A special charm of this Wind Serenade lies also in its uniquely beautiful sound achieved by seemingly simple means. This, moreover, is not only a part of the external impression, but the result of the whole inner and external compositional structure. The choice of the themes, its rhythmical and dynamic colouring, its development in various imitations and figurations, all this is in perfect harmony with the sound and expressive character of the respective instruments.
The Wind Serenade, as was with Dvořák customary, originated spontaneously and very quickly. The first movement was written, both in sketch and score, in one single day – on January 4th, 1878. And if the sketch of the other movements does not mention any dates, those indicated in the definite version of the score bear a sufficient testimony to the speed of Dvořák’s work: the second movement was completed on the 8th, the third on the 12th and the final, fourth movement on the 18th of the same month. Thus the sketch and the score of the Serenade took Dvořák not more than a fortnight during which the whole composition was written in the composer’s flat in Prague II, No. 564 (Žitná Street 10).
The work was performed for the first time by the composer himself with the orchestra of the Czech Interim Theatre in Prague, at a concert of his compositions which took place on November 17th, 1878 in Prague. As early as April of the next year the Serenade was published by Simrock’s Berlin publishing house, in score, parts and a piano duet arrangement by Dr Josef Zubatý. The edition was dedicated to the German music critic Louis Ehlert (1825–1884), certainly from gratitude for his enthusiastic review of the Moravian Duets and Slavonic Dances in the Berlin paper “Nationalzeitung”, which helped considerably to a quick popularisation of Dvořák’s music in Germany. Witness to this appears also in Ehlert’s letter to Dvořák, written on November 27th, 1878 in Wiesbaden, in which
8
give talented Stanford students the opportunity to perform as orchestral soloists.
Like its sister organization, Stanford Philharmonia, the Stanford Symphony Orchestra is supported by the Department of Music and the Associated Students of Stanford University (ASSU). Membership is open to all Stanford undergraduate and graduate students, faculty, staff, and members of the community. Anyone interested in auditioning for the Stanford Symphony Orchestra, Stanford Philharmonia, or Stanford Summer Symphony should contact Orchestra Administrator Adriana Ramírez Mirabal at orchestra@ stanford.edu.
For further information, visit orchestra.stanford.edu.
ABOUT JACKTRIP
JAcktrip network Music technology
The JackTrip open source software application enables the live performance of music over the Internet by dramatically reducing the audio latency common in other online collaborations solutions while preserving the original audio quality. It was developed at Stanford University by Professor Chris Chafe and his team and has been in use worldwide since the early 2000s. A large community of advocates and technical contributors continue to make improvements.
JackTrip was published under an MIT open source license in 2007 (copyrighted by Juan-Pablo Cáceres and Chris Chafe at Stanford University).
We are grateful for support from our community. If you are interested in learning more about supporting the Stanford Symphony Orchestra or Stanford Philharmonia, please contact Maude Brezinski, Senior Director of Development for the Arts, at [email protected] or (650) 723-0044.
6
we read: “In Berlin my critique produced a positive ‘run’ on the music shops and, I can say without exaggeration, made you a name overnight. Heaven grant that the high opinion I have of your talent may be fully justified.”
— Otakar Šourek (translated by Dr L. Dorůžka)
ABOUT THE CONDUCTOR
Paul PhilliPs is the Gretchen B. Kimball Director of Orchestral Studies and Associate Professor of Music at Stanford University, where he conducts the Stanford Symphony Orchestra, Stanford Philharmonia, Stanford Summer Symphony, and Stanford University Ragtime Ensemble. He teaches conducting, topics in musicology, and interdisciplinary courses related to music, including an IntroSem titled Harmonic Convergence: Music’s Intersections with Science, Mathematics, History, and Literature. During the pandemic, he designed and taught two new courses — Orchestra Online, featuring distinguished guest speakers from throughout the musical world, and Black Music Revealed, a Cardinal Course that examines the underappreciated contributions of Black composers and performers worldwide from the 18th century to the present — while collaborating with Professor Chris Chafe on the use of JackTrip technol-ogy for orchestral playing, with Stanford Philharmonia, SSO Strings, and SSO Winds rehearsing and presenting livestream performances this year.
Phillips is a renowned conductor, composer, author, and pianist who has conducted over 70 orchestras, opera companies, choirs, and ballet troupes worldwide, including the San Francisco Symphony, Dallas Symphony, Detroit Symphony, Boston Academy of Music, Paul Taylor Dance Company, and Netherlands Radio Chamber Orchestra and Chamber Choir. His five recordings for Naxos include three discs of William Perry’s music — two with the RTÉ National Symphony Orchestra (Ireland) and one with the Slovak Philharmonic Orchestra — plus Manhattan Intermezzo and Anthony Burgess: Orchestral Music with the Brown University Orchestra, recorded during his tenure as Director of Orchestras and Chamber Music at Brown prior to joining the Stanford faculty in 2017. He has also recorded with the Iceland Symphony Orchestra. Phillips has performed with Itzhak Perlman, Dave Brubeck, Dizzy Gillespie, and many other celebrated classical, jazz, and pop stars, and is an accomplished pianist who has performed at the Piccolo Spoleto Festival, Carnegie Recital Hall, Lincoln Center, and Flower Piano in San Francisco. His awards include 1st Prize in the NOS International Conductors Course (Holland) and Wiener Meisterkurse Conductors Course (Vienna), eleven ASCAP Awards for Adventurous Programming of Contemporary Music, and numerous composition prizes and commissions.
After studies at Eastman, Columbia, and the University of Cincinnati College-Conservatory of Music, Phillips was a repetitor and conductor in Germany
7
at the Frankfurt Opera and Stadttheater Lüneburg. Upon his selection for the Exxon/Arts Endowment Conductors Program, he returned to the U.S., where he has held posts with the Greensboro Symphony, Greensboro Opera, Maryland Symphony, Savannah Symphony, Savannah Symphony Chorale, Rhode Island Philharmonic, and Pioneer Valley Symphony Orchestra and Chorus. His conducting teachers include Gunther Schuller, Kurt Masur, Seiji Ozawa, and Leonard Bernstein. Phillips’s book A Clockwork Counterpoint, a groundbreaking examination of composer-novelist Anthony Burgess’s music and its relationship to his writings, has been hailed in the press as “prodigiously researched” and “seamlessly fascinating.” His arrangement of Stravinsky’s Mavra, published by Boosey & Hawkes, has been performed internationally. Phillips is also a noted music theorist whose article “The Enigma of Variations: A Study of Stravinsky’s Final Work for Orchestra” was cited by musicologist Richard Taruskin as “the best exposition in print of Stravinsky’s serial methods.”
For further information, visit www.paulsphillips.com.
ABOUT THE ENSEMBLE
The stanfoRd syMPhony oRchestRa is one of the America’s leading collegiate orchestras, with a distinguished history dating back to 1891, the year that Stanford University was founded. In normal times, the SSO has a membership of approximately 100 musicians and presents about ten concerts annually on campus. Currently, the SSO comprises two ensembles, Strings and Winds, each with about 15 musicians, that rehearse online on Monday and Thursday evenings using JackTrip, an open source software application that enables live performances over the Internet with greatly improved accuracy and fidelity. The resumption of in-person activity for the Stanford Symphony Orchestra is projected to begin in Fall 2021.
The SSO performs repertoire from the Baroque to the present, frequently with outstanding student and faculty soloists as well as renowned visiting artists. Recent SSO concerts have included music by Arensky, Berlioz, Bernstein, Brahms, Corelli, Debussy, Dukas, Fauré, Gounod, Grieg, Holst, Ibert, Jacob, Khachaturian, Korngold, Liszt, Mahler, Mozart, Mussorgsky, Prokofiev, Purcell, Rimsky- Korsakov, Saint-Saëns, Schubert, Shostakovich, Stravinsky, Tchaikovsky, Vaughan Williams, Wagner, and Walton, as well as contemporary works by Lera Auerbach, Adolphus Hailstork, Kaija Saariaho, and SSO music director Paul Phillips. Recent collaborations with Stanford Live have included concerts with Darlene Love, Nitin Sawhney, and Rob Kapilow, and the U.S. premiere of Danny Elfman’s Violin Concerto featuring soloist Sandy Cameron and guest conductor John Mauceri. In addition to the annual Halloween Concert in collaboration with the Stanford Wind Symphony, the SSO presents a joint concert with the Stanford Symphonic Chorus each winter and hosts the annual Concerto Competition to
6
we read: “In Berlin my critique produced a positive ‘run’ on the music shops and, I can say without exaggeration, made you a name overnight. Heaven grant that the high opinion I have of your talent may be fully justified.”
— Otakar Šourek (translated by Dr L. Dorůžka)
ABOUT THE CONDUCTOR
Paul PhilliPs is the Gretchen B. Kimball Director of Orchestral Studies and Associate Professor of Music at Stanford University, where he conducts the Stanford Symphony Orchestra, Stanford Philharmonia, Stanford Summer Symphony, and Stanford University Ragtime Ensemble. He teaches conducting, topics in musicology, and interdisciplinary courses related to music, including an IntroSem titled Harmonic Convergence: Music’s Intersections with Science, Mathematics, History, and Literature. During the pandemic, he designed and taught two new courses — Orchestra Online, featuring distinguished guest speakers from throughout the musical world, and Black Music Revealed, a Cardinal Course that examines the underappreciated contributions of Black composers and performers worldwide from the 18th century to the present — while collaborating with Professor Chris Chafe on the use of JackTrip technol-ogy for orchestral playing, with Stanford Philharmonia, SSO Strings, and SSO Winds rehearsing and presenting livestream performances this year.
Phillips is a renowned conductor, composer, author, and pianist who has conducted over 70 orchestras, opera companies, choirs, and ballet troupes worldwide, including the San Francisco Symphony, Dallas Symphony, Detroit Symphony, Boston Academy of Music, Paul Taylor Dance Company, and Netherlands Radio Chamber Orchestra and Chamber Choir. His five recordings for Naxos include three discs of William Perry’s music — two with the RTÉ National Symphony Orchestra (Ireland) and one with the Slovak Philharmonic Orchestra — plus Manhattan Intermezzo and Anthony Burgess: Orchestral Music with the Brown University Orchestra, recorded during his tenure as Director of Orchestras and Chamber Music at Brown prior to joining the Stanford faculty in 2017. He has also recorded with the Iceland Symphony Orchestra. Phillips has performed with Itzhak Perlman, Dave Brubeck, Dizzy Gillespie, and many other celebrated classical, jazz, and pop stars, and is an accomplished pianist who has performed at the Piccolo Spoleto Festival, Carnegie Recital Hall, Lincoln Center, and Flower Piano in San Francisco. His awards include 1st Prize in the NOS International Conductors Course (Holland) and Wiener Meisterkurse Conductors Course (Vienna), eleven ASCAP Awards for Adventurous Programming of Contemporary Music, and numerous composition prizes and commissions.
After studies at Eastman, Columbia, and the University of Cincinnati College-Conservatory of Music, Phillips was a repetitor and conductor in Germany
7
at the Frankfurt Opera and Stadttheater Lüneburg. Upon his selection for the Exxon/Arts Endowment Conductors Program, he returned to the U.S., where he has held posts with the Greensboro Symphony, Greensboro Opera, Maryland Symphony, Savannah Symphony, Savannah Symphony Chorale, Rhode Island Philharmonic, and Pioneer Valley Symphony Orchestra and Chorus. His conducting teachers include Gunther Schuller, Kurt Masur, Seiji Ozawa, and Leonard Bernstein. Phillips’s book A Clockwork Counterpoint, a groundbreaking examination of composer-novelist Anthony Burgess’s music and its relationship to his writings, has been hailed in the press as “prodigiously researched” and “seamlessly fascinating.” His arrangement of Stravinsky’s Mavra, published by Boosey & Hawkes, has been performed internationally. Phillips is also a noted music theorist whose article “The Enigma of Variations: A Study of Stravinsky’s Final Work for Orchestra” was cited by musicologist Richard Taruskin as “the best exposition in print of Stravinsky’s serial methods.”
For further information, visit www.paulsphillips.com.
ABOUT THE ENSEMBLE
The stanfoRd syMPhony oRchestRa is one of the America’s leading collegiate orchestras, with a distinguished history dating back to 1891, the year that Stanford University was founded. In normal times, the SSO has a membership of approximately 100 musicians and presents about ten concerts annually on campus. Currently, the SSO comprises two ensembles, Strings and Winds, each with about 15 musicians, that rehearse online on Monday and Thursday evenings using JackTrip, an open source software application that enables live performances over the Internet with greatly improved accuracy and fidelity. The resumption of in-person activity for the Stanford Symphony Orchestra is projected to begin in Fall 2021.
The SSO performs repertoire from the Baroque to the present, frequently with outstanding student and faculty soloists as well as renowned visiting artists. Recent SSO concerts have included music by Arensky, Berlioz, Bernstein, Brahms, Corelli, Debussy, Dukas, Fauré, Gounod, Grieg, Holst, Ibert, Jacob, Khachaturian, Korngold, Liszt, Mahler, Mozart, Mussorgsky, Prokofiev, Purcell, Rimsky- Korsakov, Saint-Saëns, Schubert, Shostakovich, Stravinsky, Tchaikovsky, Vaughan Williams, Wagner, and Walton, as well as contemporary works by Lera Auerbach, Adolphus Hailstork, Kaija Saariaho, and SSO music director Paul Phillips. Recent collaborations with Stanford Live have included concerts with Darlene Love, Nitin Sawhney, and Rob Kapilow, and the U.S. premiere of Danny Elfman’s Violin Concerto featuring soloist Sandy Cameron and guest conductor John Mauceri. In addition to the annual Halloween Concert in collaboration with the Stanford Wind Symphony, the SSO presents a joint concert with the Stanford Symphonic Chorus each winter and hosts the annual Concerto Competition to
5
spirit: the instrumentation of the second of them, however, corresponds more to the original character of a composition destined to be performed in the evening somewhere in a garden, or elsewhere, in the open air (originally the so-called “Cassations”). Besides, it is also important as the first in a series of works, with which, at the beginning of 1878, Dvorak was opening a new period in his creative activity.
It was closely before the origin of the three “Slavonic Rhapsodies” Op. 45 and the first series of the “Slavonic Dances” Op. 46, and therefore it is not surprising that also in the Serenade for wind instruments there often resounds a tone characteristic of the cycles just mentioned. This can be felt not only from the characteristic Czech colouring of the second (Scherzo) movement, of which the beginning and the closing section clearly approach the character of the Czech folk dance “sousedska” (Neighbours’ Dance), while the middle part is interwoven with the rhythms of the Furiant, but also from the degree in which this Czech tone permeates all the other movements. With the only exception, formed by the quiet and warmly singing third movement, the prevailing mood is one of an old-world well-disposed and cordial humour.
A special charm of this Wind Serenade lies also in its uniquely beautiful sound achieved by seemingly simple means. This, moreover, is not only a part of the external impression, but the result of the whole inner and external compositional structure. The choice of the themes, its rhythmical and dynamic colouring, its development in various imitations and figurations, all this is in perfect harmony with the sound and expressive character of the respective instruments.
The Wind Serenade, as was with Dvořák customary, originated spontaneously and very quickly. The first movement was written, both in sketch and score, in one single day – on January 4th, 1878. And if the sketch of the other movements does not mention any dates, those indicated in the definite version of the score bear a sufficient testimony to the speed of Dvořák’s work: the second movement was completed on the 8th, the third on the 12th and the final, fourth movement on the 18th of the same month. Thus the sketch and the score of the Serenade took Dvořák not more than a fortnight during which the whole composition was written in the composer’s flat in Prague II, No. 564 (Žitná Street 10).
The work was performed for the first time by the composer himself with the orchestra of the Czech Interim Theatre in Prague, at a concert of his compositions which took place on November 17th, 1878 in Prague. As early as April of the next year the Serenade was published by Simrock’s Berlin publishing house, in score, parts and a piano duet arrangement by Dr Josef Zubatý. The edition was dedicated to the German music critic Louis Ehlert (1825–1884), certainly from gratitude for his enthusiastic review of the Moravian Duets and Slavonic Dances in the Berlin paper “Nationalzeitung”, which helped considerably to a quick popularisation of Dvořák’s music in Germany. Witness to this appears also in Ehlert’s letter to Dvořák, written on November 27th, 1878 in Wiesbaden, in which
8
give talented Stanford students the opportunity to perform as orchestral soloists.
Like its sister organization, Stanford Philharmonia, the Stanford Symphony Orchestra is supported by the Department of Music and the Associated Students of Stanford University (ASSU). Membership is open to all Stanford undergraduate and graduate students, faculty, staff, and members of the community. Anyone interested in auditioning for the Stanford Symphony Orchestra, Stanford Philharmonia, or Stanford Summer Symphony should contact Orchestra Administrator Adriana Ramírez Mirabal at orchestra@ stanford.edu.
For further information, visit orchestra.stanford.edu.
ABOUT JACKTRIP
JAcktrip network Music technology
The JackTrip open source software application enables the live performance of music over the Internet by dramatically reducing the audio latency common in other online collaborations solutions while preserving the original audio quality. It was developed at Stanford University by Professor Chris Chafe and his team and has been in use worldwide since the early 2000s. A large community of advocates and technical contributors continue to make improvements.
JackTrip was published under an MIT open source license in 2007 (copyrighted by Juan-Pablo Cáceres and Chris Chafe at Stanford University).
We are grateful for support from our community. If you are interested in learning more about supporting the Stanford Symphony Orchestra or Stanford Philharmonia, please contact Maude Brezinski, Senior Director of Development for the Arts, at [email protected] or (650) 723-0044.
4
daRius Milhaud Cinquième Symphonie: Dixtour d’Instruments à Vent, Op. 75
Darius Milhaud was a French composer, born in Marseille, who established strong ties to California during the latter part of his life. Originally trained as a violinist, he studied composition at the Paris Conservatoire, where he met Arthur Honegger and Germaine Tailleferre, fellow members of the group of Parisian composers that came to be known as Les Six (The Group of Six). From 1917–19, Milhaud lived in Rio de Janeiro, serving as secretary to the poet and dramatist Paul Claudel, France’s ambassador to Brazil at the time. The sound of Brazilian popular music exerted a strong influence on Milhaud, who incorporated Brazilian tunes into Le boeuf sur le toit (The Ox on the Roof), Saudades do Brasil (Yearnings for Brazil), and Scaramouche, three of his most well-known compositions. Milhaud embedded jazz elements into works such as his ballet La création du monde (The Creation of the World), used polytonality extensively, and was influenced by Stravinsky, Schoenberg, and other Modernist composers.
Born into a Provençal Jewish family, Milhaud was forced to flee Europe when the Nazis invaded France in 1940. He secured a professorship that year at Mills College, where he remained on the faculty for the next three decades, teaching at Mills and the Paris Conservatoire in alternate years from 1947–71. Milhaud also taught at the Aspen Music Festival and in 1947 became one of the founders of the Music Academy of the West in Santa Barbara. Milhaud’s students include the popular songwriter Burt Bacharach, the great jazz pianist Dave Brubeck (who named his first son Darius after Milhaud), and the renowned American composer and Stanford alumnus William Bolcom.
Among the most prolific composers of the 20th century, Milhaud composed hundreds of compositions in a wide variety of genres, his list of opus num-bers extending to 443. Many of his compositions are quite short, such as his Cinquième Symphonie, also known as his Chamber Symphony No. 5, composed in 1922. (Milhaud composed six chamber symphonies followed by twelve symphonies for large orchestra.) This brief work, lasting just over six minutes, consists of two fast movements in ⁴/₄ meter (marked “Rude” and “Violent”, respectively) surrounding a slow movement (“Lent”) in ⁶/₈. This dixtour (decet or dectet in English) is scored for ten wind instruments: two flutes (one doubling piccolo), oboe, English horn, clarinet, bass clarinet, two bassoons, and two horns. — Paul Phillips © 2021
Antonín Dvořák Serenade in D Minor, Op. 44 Antonín Dvořák composed, in all, two serenades for a simplified orchestra: in 1875, the Serenade in E Major for string orchestra (Op. 22) and, three years later, the Serenade in D minor for wind instruments, violoncello, and double-bass (Op. 44). (From a planned third Serenade, begun in the following year 1879, there arose a new composition entitled “Czech Suite”.) Both Serenades rank among the most characteristic and also the loveliest expressions of Dvořák’s creative
9
STANFORD SYMPHONY ORCHESTRA WINDSPaul PhilliPs, Music Director and Conductor
Cyndia Yu Ph.D. student in Physics, 4th year. Flute, Piccolo East Palo Alto, CA
Melinda Zhu ’23 Major in Computer Science. Flute Santa Monica, CA
Clare Chua ’24 Major — undecided. Oboe, English Horn Saratoga, CA
Amy Miyahara ’23 Major in Psychology. Oboe Diamond Bar, CA
Audrey Shih Ph.D. Student in Chemical Engineering, Clarinet 1st year. Stanford, CA
Zoe Schramm ’24 Plans to major in Music. Clarinet, Bass Clarinet Millcreek, Utah
Robert Matthew Plans to major in Environmental Systems Clarinet Wood ’24 and minor in Music. Stanford, CA
Veronica Pratt ‘23 Major in Physics and Classics. Bassoon Woodside, CA
Cullen Blain CSMA In-School Music Programs Manager. Bassoon Mountain View, CA
Juliet Hamak High School Science Teacher. Contrabassoon San José, CA
Mitchell Garmany ‘22 Major in Music and Political Science. Horn Ladera Ranch, CA
EJ Daniels ’24 Plans to major in Physics. Horn Stanford, CA
Roger W. Romani Professor of Physics/KIPAC. Horn Portola Valley, CA
Erik Roise ’21 Major and co-term in Mechanical Engineering, Violoncello Minor in Music. Menlo Park, CA
Bryant Huang ’21 Major in Architectural Design, Minor in Music, Contrabass MS in Sustainable Design & Construction. Stanford, CA
