The CBDNA National Conference is here! This year, we’re at Arizona State University in Tempe, AZ. With temperatures in the mid 50s, it feels like paradise compared to the 9 degrees we experienced overnight in upstate NY. (I’m told this is nothing compared to parts of Canada). It’s also great for me to be back in town: I finished my DMA at Arizona State, and this is my first time back in almost 3 years. As if to emphasize that time has indeed passed, there is new construction EVERYWHERE.
Today was all about concerts, starting with an outstanding show by the University of Southern Mississippi Wind Ensemble, directed by Catherine Rand. Their program looked like this:
Sun in C from Symphony no. 5 “Elements” – Julie Giroux
A Solemn Place – Wayne Oquin
Turandot, Scherzo from Symphonic Metamorphosis – Paul Hindemith (trans. Keith Wilson)
Concerto for Hope: Trumpet Concerto no. 3 – James Stephenson, featuring Jens Lindeman on trumpet
I SAW the FIGURE 5 in GOLD – James David
This group played with amazing clarity and transparency, giving their entire performance a chamber music feeling. They were both precise and expressive in their playing, clearly influenced by Rand’s impeccable conducting. While all of the sections were outstanding, the saxophones and double reeds in particular stood out for their daring and committed musicianship on their many solo and soli passages. Of the repertoire, the Stevens was the clear highlight. The composer spoke and gave a sketch of the piece’s very personal story. Both he and Jens Lindeman, the outstanding (and last minute? That was a little unclear) trumpet soloist, share a strong connection with trumpeter Ryan Anthony, whose cancer diagnosis inspired the piece. That connection was obvious in the music and especially in Lindeman’s performance.
The Wind Symphony from Texas Christian University, led by Bobby Francis, came next:
Smetana Fanfare – Karel Husa
Hemispheres – Joseph Turrin
Symphony no. 7 (mvts. 3 and 4) – David Maslanka
Concerto for Euphonium and Wind Ensemble (mvt 1) – Kevin Day, with soloist Demondrae Thurmon
Manifestos – Paul Dooley (world premiere)
This band had a brighter, brassier sound than USM, although this mellowed somewhat as the concert progressed. The Maslanka was full of profundity as usual, and was saved from comedy by a quick-thinking percussionist. The performance was full of exciting moments, but ended in quiet repose after some very nice euphonium work by Demondrae Thurmon. It seemed fitting to follow this with a more up-tempo euphonium concerto, especially since one of the euphonium section players seemed to be trained on Thurmon’s every move. I was surprised to see that player rise from his seat to hug Thurmon at the end of the concerto, but then I realized that he was Kevin Day, the composer, who is still a senior at TCU. Congratulations, Kevin, on some truly marvelous writing. Paul Dooley’s brand new Manifestos was also wonderful to hear, particularly the lyrical and dance-like second movement.
Tonight’s headliner was the Lousiana State University Wind Ensemble under the direction of Damon Talley. Their program:
Masquerade – Anne Clyne (trans. Llinás)
Wondrous Love from Southern Harmony – Donald Grantham
Concerto no. 2 for Trumpet – André Jolivet, with soloist Brian Shaw
Songs from a Silent Land – Michael Daugherty, sung by Hila Plitmann
Feste Romane – Ottorino Respighi (trans. Kimura)
This group showed they were capable of making great music in all sorts of settings, from full band to chamber size to accompanying a soloist. The Grantham turned out to be a tribute to Frank Wickes, the former LSU band director who (we learned tonight) is set to receive an honorary doctorate from the school. It was played with patience and sensitivity. The Jolivet felt like an odd choice to me: while Shaw’s and the ensemble’s playing was indeed inspiring, the composition erred too far on the side of quirky and atonal for my tastes. The Daugherty featured Hila Plitmann in a truly mesmerizing performance. She took immediate command of the stage, executing all manner of vocal acrobatics with flair and conviction. The third movement raised some questions, as it is based on the same text as Steve Danyew’s Into the Silent Land, a moving piece that deals with the process of grieving the loss of young children. Did Daugherty know of the Danyew when writing it? Stylistically, it was dark and lyrical, obviously indebted to Latin dance bands of the 50s and 60s, and thus very recognizable as a Daugherty piece. The Respighi was very impressive indeed, and a great way to end the night (not counting the post concert reception, of course.)
I haven’t even mentioned all of the friends, new and old, that I’ve run into today. I look forward to more of that, and so much more, on Day 2 tomorrow.