TCU Music Center Grand Opening Concert

dedication of the V an C liburn C oncert H all at TCU and grand opening of the TCU M usic C enter

THURSDAY, APRIL 7, 2022

Photo: Rodger Mallison

T able of C ontents

Concert & Dedication..............................................................................................2 About Van Cliburn......................................................................................................4 Donors..............................................................................................................................5 Featured Artists..........................................................................................................6 Program Notes............................................................................................................9 Ensemble Personnel..............................................................................................1. 2 TCU Music Center Floorplan.............................................................................1. 4 Consultants & Contractor...................................................................................1. 6

Concert

The Three-Cornered Hat, Suite No. 2

Manuel de Falla

& Dedication GRAND

I I I. Danza final

TCU Symphony Orchestra Germán Gutiérrez, conductor

i thank You God for this most amazing day

Christopher Aspaas

World Premiere TCU Concert Chorale Christopher Aspaas, conductor Cecilia Lo-Chien Kao, piano

Opening

Ellen Taaffe Zwilich

World Premiere Commissioned by the TCU School of Music in celebration of the Grand Opening of the TCU Music Center and the Van Cliburn Concert Hall at TCU Dedicated to the TCU School of Music Brass and in memory of Van Cliburn

Donor Response

David M. Porter

Carmina Burana

Carl Orff

TCU School of Music Brass Bobby R. Francis, conductor Special Video Presentation: the Van Cliburn Concert Hall at TCU

X.

Were diu werlt alle min In taberna quando sumus Veni, veni, venias

XIV. XX.

XXV. O Fortuna

TCU Symphony Orchestra and Concert Chorale Germán Gutiérrez, conductor

Welcome

Mark L. Johnson Chairman, TCU Board of Trustees

Rhapsody for Concert Band and Jazz Ensemble

Patrick Williams Sammy Nestico

TCU Wind Symphony and Jazz Ensemble Joe Eckert, conductor

Symphony no. 2, “Voices”

James M. Stephenson

III. Of One

TCU Wind Symphony Bobby R. Francis, conductor Twyla Robinson, mezzo soprano

Remarks and Introduction of Donors

Victor J. Boschini, Jr. Chancellor

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Photo: Rodger Mallison

“

I’m very excited about the new Van Cliburn Concert Hall at TCU because we can really play with the

Marsha and John Kleinheinz Anonymous The Burnett Foundation Linda Faye Ferguson Marcia French Ann and Ron Koonsman Dana and David Porter Nancy Tartaglino Richards and Family The Brown Foundation, Inc. Mitzi and Bill Davis The Fondren Foundation Ann and Richard Gipson

Dr. Donald M. and Judith S. Cohen Sylvia and R.E. Dodson Carol and Ronnie Goldman Web Maddox Charitable Trust – JPMorgan Chase, Trustee Priscilla and Joe Martin Shirley Davanay Phillips Family Ann L. Rhodes and Carol Greene Rhodes Charitable Trust – Bank of America, Trustee Meredith and Ray Rothrock Ed Schollmaier Andrea and J.W. Wilson

acoustics, so we can make sure that every section is heard. It will be interesting to see how we, as musicians, are able to interact with the audience in that way.

”

—Kailyn Bradley ’22 Music Education Major | Orchestra

Donors

Ralph and Lavonne Guenther Endowed Scholarship for the School of Music

Texas Christian University gratefully acknowledges these donors to the construction of the TCU Music Center.

About Van Cliburn Van Cliburn was an American hero and international icon for over five decades. He was heralded by U.S. presidents, world leaders, the international press and a vast, adoring public as one of the most persuasive ambassadors of American culture, as well as one of the greatest pianists in the history of music. He was beloved not only for his momentous gift as a brilliant musician, but also for his transcendent spirit as a great humanitarian.

TCU Music Center and Van Cliburn Concert Hall at TCU AWorld-Class Performance, Rehearsal and Learning Space for Horned Frogs

Meet our Namesake

An online experience to see and hear Van Cliburn’s lasting legacy vcch-at.tcu.edu

Explore More

The TCU Music Center and Van Cliburn Concert Hall at TCU, a world-class performance, rehearsal and learning space for Horned Frogs

Photo: Rodger Mallison

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Joe Eckert Joe Eckert is the first full-time Professor of Saxophone at TCU. In 2011, he assumed additional duties as Director of Jazz Studies. From 1987-2007, he served as Professor of Saxophone at Shenandoah University in Winchester, Virginia and

Verdi, Claude Vivier’s “Lonely Child” with the Orchestre Philharmonique de Radio France, Shostakovich’s Symphony No. 14 with I Musici de Montreal Chamber Orchestra and created the role of Becky Felderman in the world premiere of Ricky Ian Gordon’s “Morning Star.” She is delighted to resume teaching in Perugia this summer after a 2-year pandemic hiatus. Other orchestral highlights include Mahler’s Symphony No. 8 “Symphony of a Thousand” with Jiri Belohlavek at the BBC Proms. She has performed Mahler’s 8th with Houston Symphony, Toronto Symphony, Münchner Philharmoniker, Orchestre Philharmonique de Radio France, Essen Philharmonie and Berlin Staatskapelle, which was recorded with Deutsche Grammophon, Pierre Boulez conducting. Her collaborations have also included conductors such as Robert Spano, Gustavo Dudamel, Edo de Waart, Yuri Temirkanov, Louis Langrée, Hans Graf, Franz Welser-Möst, Bernard Haitink, Rafael Kubelik, Neeme Järvi, Christoph Eschenbach, Alan Gilbert, Michael Tilson Thomas, Yannick Nézet-Séguin, Semyon Bychkov, Vladimir Jurowski and Jaap van Zweden. In addition to Deutsche Grammophon, her recordings include the labels of London Symphony Orchestra Live, Telarc, EMI and Decca. biennial Latin American Music Festival since 1996. Since 2000, Gutiérrez has also served as Music Director of the Fort Worth Youth Orchestra (FWYO). Gutiérrez is a frequent guest conductor of professional orchestras in the Americas, Europe, Middle East, Asia, Africa and Oceania. He recently recorded a CD, released in January 2021, with the Hong Kong Chamber Orchestra with Daniel Binelli and Polly Ferman as soloists. Recent invitations include the Shanghai Conservatory Symphony, Alcalá de Henares Symphony Orchestra, in Spain, the Lebanon National Philharmonic, the Orquesta Filarmónica of Bogotá, Colombia, the Perú National Symphony, the Hu Bei State Symphony of China and the Free State Symphony Orchestra of South Africa. In 2011, the TCU Symphony Orchestra was awarded the Carlos Gardel Musical Prize for its CD “Cantar Latinoamericano” with Opus Cuatro as Germán Gutiérrez Professor Germán Augusto Gutiérrez has served as Director of Orchestras and Professor of Orchestral Studies at TCU as well as Director of TCU’s Latin American Music Center and

Featured Artists

Director of Jazz Studies from 2004-07. He retired in 2004 from a 20-year career as lead alto saxophonist/woodwind specialist and director for the USAF Band’s Airmen of Note in Washington, D.C. Eckert received his bachelor’s degree in saxophone performance from Baldwin-Wallace College and went on to complete graduate and postgraduate studies at the University of North Texas, where he was a member of the famous One O’Clock Band, Wind Ensemble and soloist with the Symphony Orchestra. He has also held teaching positions at Southern Methodist University (1980-81) and West Virginia University (1981-84). Comfortable in both jazz and classical idioms, he was the only member of the faculty at Shenandoah to have been a guest soloist with the Symphony Orchestra, Wind Ensemble, Jazz Ensemble and Brass Quintet and has performed with the TCU Symphony Orchestra, Wind Symphony and Jazz Ensemble. He continues to remain active as a performer, playing regularly with the Fort Worth Symphony and as a jazz soloist and recitalist nationally. He has served as an adjudicator and clinician at music festivals, high schools and colleges nationally and internationally. Eckert’s professional affiliations include The American Federation of Musicians, Music Educators National Conference and the North American Saxophone Alliance. Eckert is a Yamaha-Performing Artist/Clinician and a Legere Performing Artist. For more information, please refer to his website www.joeeckert.com. Twyla Robinson

Ellen Taaffe Zwilich At a time when the musical offerings of the world are more varied than ever before, few composers have emerged with the unique personality of Ellen Taaffe Zwilich. Her music is widely known because it is performed, recorded, broadcast and—above all—

Composer’s Chair in the history of Carnegie Hall, and she was designated the “Musical America” Composer of the Year for 1999. Zwilich, who holds a doctorate from The Juilliard School, currently holds the Krafft Distinguished Professorship at Florida State University. www.zwilich.com. Bobby R. Francis

Bobby R. Francis is a Professor and Director of Bands at TCU. Francis serves as conductor of the TCU Wind Symphony, teaches graduate and undergraduate conducting, and is responsible for the supervision of all aspects of the TCU Band and Wind

listened to and liked by all sorts of audiences the world over. “Baker’s Biographical Dictionary of Musicians” states: “There are not many composers in the modern world who possess the lucky combination of writing music of substance and at the same time exercising an immediate appeal to mixed audiences. Zwilich offers this happy combination of purely technical excellence and a distinct power of communication.” A prolific composer in virtually all media, Zwilich’s works have been performed by most of the leading American orchestras and by major ensembles abroad. Her works include five symphonies and a string of concertos commissioned and performed over the past two decades by the nation’s top orchestras. Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer Prize in Music (the first woman ever to receive this coveted award), the Elizabeth Sprague Coolidge Chamber Music Prize, the Arturo Toscanini Music Critics Award, the Ernst von Dohnányi Citation, an Academy Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, four Grammy nominations, the Alfred I. Dupont Award, Miami Performing Arts Center Award, the Medaglia d’oro in the G.B. Viotti Competition, and the NPR and WNYC Gotham Award for her contributions to the musical life of New York City. Among other distinctions, Zwilich has been elected to the American Classical Music Hall of Fame, the Florida Artists Hall of Fame, the American Academy of Arts and Sciences, and the American Academy of Arts and Letters. In 1995, she was named to the first

Conducting programs. Francis is an elected member of the American Bandmasters Association (ABA). He served on the prestigious Sousa-ABA-Ostwald Award Selection Committee that selects the outstanding new composition for Wind Band each year. He served as host for the 84th Annual Convention of the American Bandmasters Association in 2018 and served on the ABA Board of Directors. He was recently elected as Vice President of the ABA and will serve as President in 2025. He is a Past- President of the CBDNA Southwest Region and the Big 12 Band Directors Association. He is an elected member of the Alpha Chapter of Phi Beta Mu honorary band fraternity. Guest conducting appearances include the “President’s Own” U.S. Marine Band, “The Pershing’s Own” U.S. Army Band, the Frost School of Music – University of Miami Wind Symphony, The U.S. Coast Guard Band and the Lone Star Youth Wind Orchestra among others. Francis’ ensembles have been invited to perform at many national, regional and state conferences. The TCU Wind Symphony has performed with guest artists including Jens Lindemann, Demondrae Thurman, American Brass Quintet, Sam Palafian, Patrick Sheridan, Brian Bowman, Allen Vizzutti, Jon Lewis, Joe Eckert, Gary Whitman, Jesús Castro-Balbi, Brian West, Shauna Thompson, Markus Theinert and Boston Brass.

Twyla Robinson teaches at TCU as an Assistant Professor of Professional Practice. She combines her teaching with an ongoing performing career. In recent seasons, she performed the title role in Richard Strauss’ “Ariadne auf Naxos” with Cincinnati Opera

and served as a master teacher with MusicFest Perugia in Perugia, Italy. She was also heard in Mahler’s Symphony No. 4 with the Orchestra Sinfonica di Milano Giuseppe

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soloists. This award led to the invitation for the orchestra to perform in May 2013 in Buenos Aires and Rosario. For 12 consecutive years Gutiérrez served as guest conductor of the Dallas Symphony’s Hispanic Festival. In 2006, he was invited to conduct the Czech National Symphony in historic Smetana Hall as part of the 110th anniversary of Carl Orff’s birth, where he led the orchestra in a performance of “Carmina Burana.” Gutiérrez has also appeared with the symphony orchestras of Shanghai (China), Xalapa and San Luis Potosí in Mexico, the Fort Worth Symphony, Auckland Philharmonic (New Zealand), Argentina, Colombia, Puerto Rico and Cuba National Symphonies, Sinfónica del Teatro Municipal de Rio de Janeiro and Porto Alegre Symphony Orchestra (Brazil), among others. Gutiérrez holds Músico Bachiller and Maestro en Música degrees from the Tolima Conservatory in Colombia. He also received a master’s degree from Illinois State University and a doctoral degree from the University of Northern Colorado. For his involvement and dedication to TCU, Gutiérrez received the Dean’s Teaching Award, the Dean’s Award for Research and Creative Activity, and the 2003 Chancellor’s Award for Distinguished Research and Creative Activity, the highest award that the university bestows. Christopher Aspaas Christopher Aspaas serves as Director Michigan State University in East Lansing and his bachelor’s degree in voice performance from St. Olaf. Aspaas has served on the faculties of St. Olaf College in Northfield, Minnesota, Central Washington University in Ellensburg, Washington, and Mount Holyoke College in South Hadley, Massachusetts. At TCU, Aspaas leads the Concert Chorale, TCU’s flagship mixed ensemble as well as the Frog Corps, TCU’s premier male vocal ensemble. He also teaches coursework in basic conducting, choral conducting, choral literature, advanced choral conducting and oversees the graduate choral conducting program. In 2020, the Concert Chorale traveled to Little Rock, Arkansas, to perform as an invited choir for the Southwestern American Choral Directors Association Conference (SWACDA) and recently represented TCU at the 2022 National Collegiate Choral Organization’s Biannual of Choral Activities and Associate Professor of Music at TCU. Aspaas received his doctoral degree in choral music education at The Florida State University in Tallahassee, his master’s degree in choral conducting from

chamber music artist at the Amelia Island Chamber Music Festival in Florida. Kao holds a doctoral degree in collaborative piano from the University of Colorado Boulder and a master’s degree in collaborative piano from the University of Texas at Austin, where she studied with the pioneer pedagogue, Anne Epperson. She also received fellowships for both the Aspen School of Music and the Music Academy of the West. She is a Yamaha Performing Artist. Program Notes Opening When I was approached about writing a work for brass to be played at the opening of the Van Cliburn Concert Hall at TCU, I had an immediate happy reaction. While the violin was the only instrument I played professionally, I also played the trumpet in high school and college, and I still feel a closeness to the family of brass instruments. Most important, I had the good fortune to know Van Cliburn in the later years of his life. Van was not only an outstanding musician, he was a warm and generous person and fun to be with. (I even have a picture of Van and me enjoying a ride on a boat in Biscayne Bay in Miami!) It has been an honor to write a piece to celebrate Van’s generous spirit and his place in history. - Ellen Taaffe Zwilich (April 2022) Rhapsody for Concert Band and Jazz Ensemble “Rhapsody for Concert Band and Jazz Ensemble” was written for the United States Air Force concert band, Colonel Arnald D. Gabriel, conductor and the Airmen of Note. It was premiered in 1974 at Constitution Hall in Washington, D.C. The piece is in a single movement form and has a concerto-style form with the concert band and jazz ensemble alternating. The band edition was created by jazz composer/arranger extraordinaire, Sammy Nestico.

Having composed well over 200 scores for theatrical features and television films, as well as records and concert works, Patrick Williams is an artist of diverse talents. He has received 22 Emmy Award nominations and 15 Grammy Award nominations. He has also been nominated for an Academy Award and the Pulitzer Prize in music. He has received four Emmys, two Grammys and a Cable Ace Award. In addition, he is a recipient of the prestigious Richard Kirk Award from BMI. In 2002, he received the Golden Score Award from the American Society of Music Arrangers and Composers. Williams has been actively involved in the field of music education holding posts as visiting professor and composer-in-residence at the University of Utah and the University of Colorado, which awarded him an honorary doctoral degree. He has performed and/or lectured at many colleges and universities including Berklee College of Music, Duke University, Indiana University, TCU (1993 Green Honors Professor), UCLA, USC and Yale University. In May 2001, he was awarded an honorary Doctorate of Fine Arts from Duke University. He served as Artistic Director of The James Stephenson’s relationship with the U.S. Marine Band began in 2011 when the ensemble premiered his multi-oboe concerto “Duels and Dances” at the American Bandmasters Association (ABA) convention with soloist Alex Klein of the Chicago Symphony. Since that time, the Marine Band has performed five of Stephenson’s works in as many years and presented the world premiere of one of his most substantial contributions to the wind band repertoire to date—his Symphony No. 2—in December 2016. The inspiration for the new symphony for wind ensemble is detailed by the composer: On April 23, 2016, my mother, Shirley S. Stephenson, passed away, at the age of 74. It was the first time anyone that close to me had died, and I honestly didn’t know how to respond. As this new piece—the symphony—was the next major work on my plate, I thought the music would come pouring forth, as one would imagine in the movies or in a novel. However, the opposite happened, and I was stuck, not knowing how to cope and not knowing what to write. Eventually, after a month or so, I sat at the piano and pounded a low Eb octave, followed by an anguished chord answer. I did this three times, with three new response- chords, essentially recreating how I felt. This became the Henry Mancini Institute from 2001 to 2006. Symphony no. 2, “Voices” – III. Of One

Conference with a video performance filmed during the pandemic of Aspaas’ new setting of Psalm 46. Aspaas’ travels as a guest conductor, clinician, adjudicator and lecturer have taken him to Alabama, Alaska, Alberta, British Columbia, California, Colorado, Florida, Iowa, Illinois, Kentucky, Massachusetts, Minnesota, Missouri, Nebraska, New York, North Carolina, North Dakota, Ontario, South Carolina, South Dakota, Texas, Virginia, Washington, Wisconsin, Wyoming and three times to the Sultanate of Oman. He has conducted all-state choruses in Alabama, Colorado, Florida, Kentucky, Montana, Minnesota, Mississippi, North Carolina, North Dakota, Oregon, South Carolina, South Dakota, Virginia and Wisconsin as well as the British Columbia and Manitoba All-Province Honour Choirs. Additionally, he led the All-Northwest Mixed Choir in 2015 and ACDA Southern Division Men’s Honor Choir in 2016. He recently led the 2018 AMIS Men’s Honor Choir in Berlin, Germany, and the 2019 APAC Honor Choir in Shanghai, P.R.C. Aspaas has produced more than 40 arrangements and compositions for mixed, tenor-bass and treble choirs. His works are published by Augsburg Fortress, earthsongs, Hal Leonard and Aspen Hill Music, a publishing house he co-founded with his wife, Nancy, in 2013. His works are frequently performed by all-state choruses and honor choirs, and have been featured at TMEA, SWACDA and the National Conference of the American Choral Directors Association. Cecilia Lo-Chien Kao Taiwanese Pianist Cecilia Lo-Chien Westport, New York, and has been a collaborative pianist at Columbus State University and the Robert McDuffie Center for Strings at Mercer University in Georgia. She has appeared at Carnegie Weill Hall and can be heard with cellist Bion Tsang on his CD “The Blue Rock Sessions.” She has collaborated with many distinguished artists including Lynn Harrell, Stefan Jackiw, Robert McDuffie, Bion Tsang, Gerardo Riberio, David Coucheron, Jennifer Stumm, and many members of the Atlanta Symphony Orchestra, St. Louis Symphony Orchestra and the Colorado Symphony Orchestra. She also was a Kao is an Assistant Professor of Professional Practice and Collaborative Piano Artist at TCU. She has also served as the collaborative piano coordinator at the prestigious Meadowmount School of Music in

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opening of the symphony, with emphasis on the bass trombone, who gets the loudest low Eb. I vowed I wouldn’t return to Eb (major) until the end of the piece, thus setting forth a compositional and emotional goal all at once: an Eb to Eb sustaining of long-term tension, technically speaking, and the final arrival at Eb major (letter I, third movement) being a cathartic and powerful personal moment, when I finally would come to terms with the loss of my mother. The voice in the piece is that of my mother, an untrained alto, which is why I ask for it without vibrato. In the end, she finally sings once last time, conveying to me that “all will be ok.” I think it is the most difficult times we endure that force us, inspire us, to dig deeper than we could ever imagine. On the one hand, I am, of course, deeply saddened by the loss of my mother; but on the other, I will always have this piece—which is the most personal to me—to in essence keep her alive in my heart. I always tear up at letter I. Always. But they are tears of joy and treasured memories of 74 years with my mother. - Jim Stephenson (October 2018) The Three-Cornered Hat, Suite no. 2 – III. Danza final Spanish composer Manuel de Falla, born in 1876, experienced little success in his early years. He embraced popular styles like the zarzuela and Gypsy cante jondo. His biggest success, “La vida breve,” won a Spanish opera- writing contest but was never authorized for performance by any Spanish theater. It would eventually be given its premiere in Nice, France eight years later. This frustration led to Falla leaving for Paris in 1907, where he would reside for the next seven years. There he was exposed to the music of Debussy, Ravel, Stravinsky and Dukas. Falla absorbed their more complex styles of musical construction, and many of his subsequent works combine this complexity with popular musical styles of Spain. The outbreak of World War I would eventually drive him back to Madrid. In 1916, Sergei Diaghilev and his Ballet Russes arrived in Madrid at the invitation of King Alfonso XIII. As a thank-you to his patron and inspired by his surroundings, Diaghilev decided to create a new ballet around a Spanish theme. He turned to Falla, and together they decided to adapt the composer’s unfinished pantomime score “El Corregidor y la molinera” (The Magistrate and the Miller’s Wife). The two worked together to extend the plot and rework the music to better accompany ballet. They eventually returned to the name of the original novel the story was adapted from. The renamed “El sombrero de tres picos” (The Three-Cornered

Hat) would finally premiere in London in 1919 after several delays. The premiere was ecstatically received in London, with choreography by Léonide Massine and sets and costumes by Pablo Picasso, but Falla was not able to enjoy the festivities. He learned of his mother’s grave illness mere hours before the premiere and immediately left for home. The ballet was a great success internationally, but had mixed reviews at home from critics not fond of the French influence on Spanish composers. Tonight, the orchestra will be playing the final movement, which is also the final dance of the ballet. Upon arriving in London, Falla was shown the new finale, which was grander and more powerful than the original ending of the pantomime. The music provided by Falla was a colossal “Jota,” a Spanish dance in brisk triple time that often features a prominent castanet part. Falla starts with a nine-bar whole-tone passage, played at fortissimo and harmonically static. The brash sound here is intended to emulate a town band, and incorporates horn calls, castanets and a harmonic pattern that never strays far from the tonic or dominant. This exciting movement is a thrilling way to celebrate our new concert hall’s opening. - Carrie Moffett (April 2022) i thank You God for this most amazing day

Forrest, making this a rather monumental task. The text explores spiritual rebirth, the joy of a new day and the many everyday things we may not normally observe in addition to pondering the infinite. This new composition begins with a four-note pattern in the piano to which the choir responds with a more extended and lyric melody intended to capture the simplicity of awakening. The choir then begins exchanging musical ideas associated with the text and then builds to the work’s first major arrival on the text, “which is yes.” We then move into a closely- related key area and begin an introspective section of the text that ponders rebirth and renewal we can find in each new day. The opening musical themes then return and lead us into a section of the text that impels us to use all of our senses (and more) to experience the world and God’s creation. The music expands to a more grand and declamatory texture as we declare, “i am alive again today.” The work comes to an end with a repetition of the opening line, “i thank You God for this most amazing day,” with extended harmonies that express our intense appreciation for this amazing day and for the opportunity to make music together. - Christopher Aspaas (April 2022) Carmina Burana Carl Orff’s (1895-1982) “Carmina Burana” is instantly recognizable, whether as an accessible blend of forces attractive to mixed vocal-instrumental groups, or as a sonic frequent flyer for the visual entertainment industry. Originally composed in 1936 as an opera, it premiered in a stage production on June 8, 1937 in Frankfurt. At least one German critic shredded the piece as linguistically incomprehensible and too jazzy, although it was very

An established German educator and composer, Orff rejected the complicated sounds and musical academics of the late 19th and early 20th centuries in favor of a return to artistic basics. He was fascinated with antiquity and classic languages, and his use of Latin and medieval German songs in “Carmina Burana” provides a lens into his exploration of his new compositional style. Considered the first of these “mature works,” it is based on movement and rhythm with the establishment and repetition of straightforward musical ideas such as underlying ostinato and drone, as well as major/minor harmonies where the images projected by the text take center stage, accompanied by percussive accents and short lyrical turns. The texts for “Carmina Burana,” translated as “Songs of Beuren,” comes from a medieval manuscript collection discovered in the Bavarian Alps, believed to be from the Benediktbeuren monastery, and published in 1847. Recent scholarship suggests that the manuscript was actually from Seckau Abbey in Austria, but the name “Burana” stands. Orff broke 23 of the allegorical poems into three overarching sections of Springtime, The Tavern, and The Court of Love. These are bookended with the famous “O Fortuna” chorus extolling the relationship between humans, fate and changing fortunes. A few of the original manuscript melodies survive, but what we hear in “Carmina Burana” is all Orff. The four movements chosen for this evening are bombastic and brilliant with quick-changing rhythmic, metrical and dynamic breadth, showcasing the talents of the chorus and orchestra and the acoustics of this beautiful new hall. In the words of Maestro Gutiérrez, “They are fun to

i thank You God for this most amazing day:for the leaping greenly spirits of trees and a blue true dream of sky;and for everything which is natural which is infinite which is yes (i who have died am alive again today, and this is the sun’s birthday;this is the birth day of life and love and wings:and of the gay great happening illimitably earth) how should tasting touching hearing seeing breathing any-lifted from the no of all nothing-human merely being doubt unimaginable You? (now the ears of my ears awake and now the eyes of my eyes are opened) - e.e. cummings

perform and fun to listen to.” - Cari Alexander (April 2022)

popular with audiences. Orff recognized the work as a turning point in his career and told his publisher, “Everything I have written to date and which you have, unfortunately, printed, can be destroyed. With ‘Carmina Burana,’ my collected works begin.” Two decades later, he combined “Carmina Burana,” “Catulli Carmina” (1943) and “Trionfo de Afrodite” (1953) into a concert-long triptych entitled “Trionfi.”

I composed “i thank You God for most this amazing day” for this evening’s performance by the TCU Concert Chorale to open the Van Cliburn Concert Hall at TCU. The poem by e.e. cummings has many iconic settings for choir by prolific composers like Eric Whitacre and Dan

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TCUJazz Ensemble I Saxophone Jeff Kean

Violin II Samuel Rolim, concertmaster

Oboe Sam Ely

Harp Isabelle Walsh TCU Concert Chorale Isaiah Allen Anna Borges Amber Bowen Landon Bradley Kayden Burns Emma Cave Alicia Cruz Catherine DiGrazia Victor Doan Morgan Drummond John Dubois Coleton Evans Olivia Garza G. G. Nathan Gepanaga Madilynn Gomez Eduardo Guerrero Janson Guillén Joshua Haupert

Ensemble

Lev Ryadchenko* Ching-An Hsueh Joao Perez Henry Haas Karah Cruse Allie Siegwald Gloria Viera

Emma Piyakhun Lauren Hanifan Clarinet Diego A. Torres Reyes

Jakab Macias Aleck Olmedo Anna Rutherford Dylan Stepherson Trumpet Manny Arellano Sebastian Marin Eithan Moreno Hayden Simms Brandon Slate Trombone Austin Andrade Jessica Rowe Lukas King Hunter Kuhlman Brandon Carrasco Piano Alfredo Ortiz Bass Tommy Pusateri Drums Gabe Sanchez

Personnel

Lucas Lynn Erin Reigh* Tania Betancourt Bassoon Dorian Holley Matt Assis* Robert Rudolph, contrabassoon Horn Jesus Garcia Palacios Aidan Lewis*

Alexis Lizama Felipe Ramirez Viola Noah Bowles Preston Gilpatrick Jacob Burk Christian Hilario Ruelas

TCU School of Music Brass Trumpet Manny Arellano Hannah Baer** Karson Beer Emily Dear** Ford Harris** Jonathan Hunda Trey Isenberg Sebastian Marin Lucas Maynard** Eithan Moreno Nathan Musso Hayden Nicholson** Hayden Simms Brandon Slate Michael Strobel** Andrew Taylor Horn James Brandt Michelle Diaz Jesus Garcias Palacios Joe Harris

Clarinet Tania Betancourt* Demitri Halasa Aidan Kane Christian Lackey Lindsey Lemay Lucas Lynn Erin Reigh Caroline Running Bass Clarinet Evan Pallanes Madelyn Peterson* Bassoon Coby Gratzer Dorian Holley* Robert Rudolph Saxophone

Troy Harkcom** Lucas King Hunter Kuhlman Trey Mulkey Sean Muller Jessica Rowe Bennett Sibille Bass Trombone Jonathon Deichman Brendan Roth Euphonium Garrett Alford Kevin Corpus Brayden Loosier Tuba TCU Wind Symphony Flute Nicole Cowan Nikkie Galindo Lyn Hoang Shawn Manley* Bekah Walker Mallory Wood Oboe Kameryn Arsenault Logan Boyd Sam Ely* Lauren Hanifan JJ Elerick Tyler Fries Tyler Moseley

Nathan Musso Hayden Simms* Brandon Slate Trombone

Austin Andrade Axel Bevensee Alexander Byrd David Clary* Hunter Kuhlman Trey Mulkey Bass Trombone Jonathon Deichman* Euphonium Joshua Crossman* Andrew Pesina Tuba Tyler Moseley* Jose Perez Percussion Isaac Chiang Anthony Chmielewski Josh Foust Luke Hammond

Elissa Hengst Kailyn Bradley Hope Ward Tabby Pyle Holly Lemoine Julie Johnson Cello Max Healy Nathalie Joy*

James Brandt David Hellrung Brooke Saltar Emily Holland Trumpet Emanuel Arellano Hannah Baer Michael Strobel Jonathan Hunda* Trey Isenberg

Rachel Heiser Jack Johnson Alyssa Lewis Peyton Macha Isaak McGuire Anna Morgan Tristan Olvedo Courtney Parnitke Alyssa Perrin Emily Platon Hayden Ponder Johanna Quigley Jordan Riek Ryan Sawicki Katie Schulte Carson Scott Tristen Smith Andy Stellar Annika Stucky Sam Taylor Wesley Vaughn Andrew Walters Macie Wright

Giuliano Bucheli Natalie Benefield Emily Torkelson Alexander J. Jaime Riley A. Kee Alejandra Ramirez Double Bass Tommy Pusateri Peidong Li Sam Okawa Justino Perez Zhenyuan Lu Chengjin Tian Blaine Bryan Jack Montesinos Flute Mallory Wood Shawn Manley Nikkie Galindo Gladis Henriquez

Trombone David Clary Xander Byrd Lucas King*

Molly Leonard Jakab Macias* Coleman Kading** Ken Nguyen** Dylan Stepherson Luka Sweeney Horn Jesus Garcias Palacios Joe Harris*

TCU Symphony Orchestra Violin I Manuel Ordóñez Sierra J.W. and Andrea Wilson Concertmaster Alexia Wixom Preston Robertson Rima Abram Jared Austin Eva Shvartcer Ada Icduygu Crystal Hernandez Josué Esquivel Mondragón Amanda Ochranek Santiago Ariza-Rodriguez

Trey Mulkey, bass trombone Brendan Roth, bass trombone Timpani & Percussion Alex Rodzewich

David Hellrung Emily Holland Emily Koch Aidan Lewis Nathaniel Nease Brooke Saltar Trombone

Jacob Cauley Hayden Gish Ethan Hight Katie Jobe Johnny Naw Ivan Mendoza Piano

Marshall Lane Andrea Phillips Austin Probst Gabe Sanchez* Piano Syuzanna Kaszo

David Hellrung Emily Holland Brooke Saltar Trumpet Manny Arellano Karson Beer Sebastian Marin Eithan Moreno

Austin Andrade Axel Bevensee Alexander Byrd Brandon Carrasco Balinnas David Clary

Aleksei Vyzhanov Matthew Lovelace Celeste Aleksei Vyzhanov

String Bass Blaine Bryan

* principal ** performing on Rhapsody for Concert Band and Jazz Ensemble

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Second Floor Key

Goldman Orchestra Director’s Studio The Fondren Foundation Student Lounge Sylvia and R.E. Dodson Practice Room Phillips Family Practice Room Van Cliburn Life & Legacy Observation Area

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First Floor Key

Keith & Linda Reimers Mixson Lobby Richards Family Box Office Van Cliburn Concert Hall at TCU Charles R. Hoffman Band Director’s Office & Studio

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Stairs and Elevators Offices/Meeting Rooms

Teaching Studios Practice Rooms Rehearsal Rooms

BE A PART OF TCU FOREVER Name a seat in the Van Cliburn Concert Hall at TCU, and leave your mark on this shining jewel in Fort Worth’s cultural crown. You’ll receive an engraved plate on the arm of a chair with your name or the name of someone special you wish to honor.

Dr. Donald M. & Judith S. Cohen Suite The Brown Foundation Green Room Band Rehearsal Hall

Your gift will support TCU’s investment in world-class talent, and your name will forever be a part of TCU’s legacy. Make a Gift Questions? Call 817-257-4397

Richard C. Gipson Percussion Rehearsal Hall Ann Koonsman Orchestra Rehearsal Hall Steinway & Sons Grand Piano, on loan from Dana and Dee Kelly, as gifted to them by Van Cliburn Van Cliburn , sculpted by Michael O’Keefe and given by the family of Martha Rowan Hyder

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Consultants

& Contractor

BORA Architect Hahnfeld Hoffer Stanford Architect AECOM Hunt Contracto r Acoustic Distinctions Acoustician

The Shalleck Collaborative Theater and AV Consultant Collaborative Engineering Group Mechanical, Electrical and Plumbing Engineer Walter P Moore Structural Engineer OJB Landscape Architect

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Photo: Rodger Mallison