Program - Krannert Center for the Performing Arts

Writing Another Future: Science Fiction the Arts and HumanitiesIllinois Wind SymphonyLinda R. Moorhouse, conductorBrenda Harris, sopranoKrannert Center for the Performing ArtsFoellinger Great HallThursday, September 26, 20137:30 PMPERRY GOLDSTEIN(b.1952)words by Robert Falcon Scott,arranged by Richard PowersShould This Be Found: Six Songs on Scott's LastExpedition (2005)Song I. The Voyage OutSong II. Land at LastSong III. PenguinsSong IV. Impressions on the MarchSong V. In Winter QuartersSong VI. Summit, the Pole and BeyondBrenda Harris, soprano soloistINTERMISSIONSTEPHEN A. TAYLOR(b.1965)MASON BATES(b.1977)Shattering Suns (1997, rev. 1998)V. ViriditasMothership (2011)

PROGRAM NOTESShould This Be Found: Six Songs on Scott's Last Expedition (2005)In 1910, Robert Falcon Scott made his second expedition to Antarctica, determined to be the firstman to reach the South Pole. A successful journey required an 800-mile trek to the Pole (includingclimbing a glacier) in temperatures sometimes approaching 50 degrees below zero Fahrenheit, thenthe arduous return. The five men who made the trek faced blizzards, fell in crevasses, experienceddehydration, starvation, frostbite, sun-blindness, and scurvy. For much of the expedition, theyhauled 200-pound sleds of equipment, sometimes restricted by ground and weather conditions to sixor seven miles a day of hard “manhauling.” When they arrived at the Pole on January 17, 1912,their hope of being first were dashed upon discovering that Roald Amundsen and his Norwegianteam had preceded them by thirty-three days. Disappointed, they turned back. Petty Officer EdgarEvans “died quietly,” according to Scott, on February 17, presumably of a brain injury incurred byfalls into several crevasses. A month later, Captain Lawrence Oates (who had taken care of theponies on the expedition), frostbitten and holding the men back, sacrificed himself by walking into ablizzard with the parting words “I am just going out and may be some time.” Captain Scott, Dr.Edward Wilson, and Lieutenant Henry “Bertie” Bowers trudged onward. One-hundred eighty-sixmiles from the base camp, and eleven miles from one of the depots that would have supplied foodand oil, they succumbed in their tent and were discovered eight months later. Why they couldn’t goon remains a mystery. Scott reports that they were kept from pushing forward by a blizzard thatraged for several days, although recent meteorological evidence suggests that there could have beenno blizzard in that region lasting so long. Susan Solomon theorizes that the plan for Bowers andWilson to travel to the depot and return to Scott with food and oil seemed impractical, given Scott’sseverely frost-bitten condition, and that his two companions simply chose to die with their captainrather than continue their trek.Discovered with the bodies was Scott’s journal, on which he wrote, “Send this diary to my wife.”The word “wife” is crossed out and replaced with the word “widow.” Scott’s journals makefascinating, harrowing, and deeply touching reading. The panoply of emotions he experienced isvividly represented by his excellent prose, and we find him by turns excited, defensive, insecure, andproud. He was insightful and sensitive, and his final letters to his wife and the families of the menwho died with him are heartrending. Whatever his skill as an explorer (and there has been muchcriticism of the miscalculations that may have doomed the expedition), there is no denying hisremarkable courage or that of his men, nor the spirit of affection and sacrifice that characterizedtheir relationships. One can barely imagine what they must have suffered; that they remained“unendingly cheerful” even as they faced certain death compels our admiration.Scott’s description of his expedition runs to nearly five-hundred pages. For the difficult task ofdistilling these thousands of words into six song texts, I turned to one of our country’s most admiredand virtuoso novelists, Richard Powers. What a masterful job he has done! A composer could not

have better material with which to work and by which to be inspired. The texts evoke theexcitement of the undertaking, the beauty of the Antarctic landscape, the humor of the penguins, thearduousness of the journey, the disappointment of dashed hopes, and the final days and hours oftranscendent courage. Humor, warmth, loyalty, patriotism, inventiveness, affection, andperseverance are commingled.On the structural level, the first five songs involve a recapitulation of opening or prominent material.Only the sixth is through-composed without recapitulation; the party does not return “home,” norcan the music. The first three songs are gesturally straightforward, each section having its ownunambiguous character. As conditions become harsher and the men march toward their doom, themusic takes on greater ambiguity and dissonance. “Impressions on the March” introduces bitonality(music in two keys at once), while “In Winter Quarters” presents music in contradictorytempos. “Summit, the Pole and Beyond” intensifies these impressions of bi-tonality and conflictingtempi, while furthering the sense of dislocation by juxtaposing bits of music from all but one previoussong.“The Voyage Out” depicts the giddy excitement of the Terra Nova pushing off from the dock aftermonths of preparation, the energy of the work on board, and the mass of people gaily wavinggoodbye. The cycle’s most blatantly programmatic music depicts the near shipwreck in stormyweather and the death of some of the ponies and dogs. The welcome appearance of the sun and thesighting of “some steep-walled berg, some patch of bluest sea” is rendered in luminous, undulatingmusical strokes, and the final stanza, lauding the crew and expressing hopeful expectations of asuccessful expedition, returns to the nautical, masculine strains of the song’s opening section.By contrast, “Land at Least” is a peaceful barcarole, depicting the gentle rocking of the boat, thebeauty of Antarctica, the unloading of the cargo (including the ponies, so long confined, for whomScott has so much sympathy: “After the sledges came the ponies,” he writes. “Poor brutes, how gladthey must be to scratch themselves!”) The last stanza glows with Scott’s description of the comfortof the hut they’ve built, where “peace, quiet, and comfort reign supreme.”“Penguins” is a light-hearted intermezzo before the inexorable tragedy that binds the last three songsof the cycle. The men were charmed by the little Adelie penguins, who were compelled by curiosityto run up to the men when they sang to them but were so bashful that they would run away whenthe men stopped. Scott misquotes a popular song from 1908 sung by the men to the penguins,“She’s Got Rings on Her Fingers,” which appears explicitly in the song. So does a brass rendition of“God Save the King,” which Cecil Meares would sing to the penguins in so off-pitch a manner that itnever failed to send them fleeing back to the water. In the last stanza, the penguins walk pasthowling dogs, straining at their tethers to tear them apart. The sinister music that begins and endsthe song represents the penguins’ last laugh. “‘Hello,’ [the penguins] seem to say, ‘here’s a game—

what do all you ridiculous things want? Oh that’s the sort of animal you are; well, you’ve come tothe wrong place.’”“Impressions on the March” is a Mahlerian funeral march, with major/minor mode mixture and bitonality.Scott’s sympathy for the animals surfaces again, as it does throughout his writings and inthese songs. “The dogs are…tired to-night. Pathetic to see the ponies floundering” is set in laboredrhythms. The tempo increases slightly as Scott records his observations about the sights and soundson the march, before describing “the eternal silence of the great white desert.”“In Winter Quarters” finds Scott learning of Roald Amundsen’s attempts to precede him to the Pole,and here, and throughout these songs, his fears are quickly replaced by a strong sense of duty. Acontrasting “B” section sets Scott’s description of his fearless men in heroic terms, the brass anddrum music providing an exuberant respite from the increasingly dark circumstances of the doomedexpedition. Despite this moment of optimism, the hymns of the Morning Service, depicted in anoriginal chorale, “are not quite successful,” as Scott reflects on the fragility and insignificance of manin the cosmos. To describe the increasing contrast between their aspirations and increasinglydifficult circumstances, the score’s opening pages contain music in different tempos simultaneously:bassoons and marimba travel faster than the more lugubrious oboe when it enters with its solo.“Summit, the Pole and Beyond” is the final song and carries the cycle’s greatest burden of storytelling.Scott, always so sensitive to his animals, is forced to kill the ponies for food, discoversAmundsen’s tent at the Pole, describes the death of two of his companions and muses on his wifeand son during his last moments. The various musical anomalies and uncomfortable key and tempojuxtapositions that characterize the fourth and fifth songs are intensified in the sixth, as musicalreminiscences from all but one of the songs are heard. The last pages of the score aspire to a steelyand unsentimental beauty, with a simple repeated chord and a tolling of bells. It represents the wayI imagine Scott in his last hours, courageous to the last, accepting his fate. A calm settles over him,and he does not regret the fearful journey. “We took risks,” he writes in his “Message to the Public”in those last hours, “we knew we took them; things have come out against us, and therefore we haveno cause for complaint, but bow to the will of Providence, determined still to do our best to the last.”The composition of Should This Be Found took seven months and was completed on 29 December,2004. The parts were completed on January 17, 2005, 93 years to the day after Robert Falcon Scottand his men reached the South Pole. The work is dedicated to Sergeant First Class MaryKayMessenger, soprano, Colonel Thomas Rotondi, Jr., conductor, and the United States MilitaryAcademy Band at West Point.I am also pleased that this performance at the University of Illinois is a “homecoming” of sorts forme and for the arranger of the text, Richard Powers. For me, because I received my bachelor’s and

master’s degree from Illinois in the 1970’s; for Rick, because he was on the Illinois faculty, holdingthe Swanlund chair in English until his recent retirement. We met as students at Illinois, and aredelighted to return here many decades later for this performance of the piece.- note by Perry GoldsteinShattering Suns (1997, rev. 1998)Viriditas, a word coined by the Medieval abbess Hildegard von Bingen and more recently used bythe writer Kim Stanley Robinson, describes the greening power of life expanding into the Universe.The final movement is a dance of life: a rhythmic outburst acting as a pendant to the chaoticexplosion of a dying star in the first movement. Mixed meters and fast, ascending scales combine toproduce a feeling of rushing forward, joyfully, to meet the unknown.- note by Stephen TaylorMothership (2011)This energetic work imagines the orchestra as a mothership that is ‘docked’ by several visitingsoloists, who offer brief but virtuosic riffs on the work’s thematic material over action-packed electroacousticorchestral figuration. The piece follows the form of a scherzo with double trio (as found in,for example, the Schumann Symphony No. 2). Symphonic scherzos historically play with dancerhythms in a high-energy and appealing manner, with the ‘trio’ sections temporarily exploring newrhythmic areas. Mothership shares a formal connection with the symphonic scherzo but is broughtto life by thrilling sounds of the 21st Century — the rhythms of modern-day techno in place of waltzrhythms, for example. Commissioned and premiered by the YouTube Symphony at the SydneyOpera House, the piece showcases top individual players in its brief solo passages.- note by Mason Bates

SONG TEXT forShould This Be Found: Six Songs on Scott's Last ExpeditionShould This Be FoundTexts from the diaries of Robert Falcon ScottArranged by Richard PowersSong 1: The Voyage OutThe ship came out of dock,a scene of great industry.Men were building horse stalls,caulking the decks, resecuring the deckhouses.Not a single spot but had its band of workers.The [ship] pushed off fromthe jetty. A great mass of people,bright sunshine--very gay scene. Pennellswung the ship for compass adjustment, then away.A day of great disaster,Plunging, taking much water,a great piece of bulwark carried clean away.The scene on deck was devastating.A dog was drowned last night. One pony dead,and two others probably will go.The sun has appeared through breaksin the cloudy heavens, brilliantly illuminatingsome field of pack, some steep-walled berg,some patch of bluest sea. So sunlightand shadow have chased each other across our scene.The spirit of [our] enterprise is as bright as ever. Not a wordof complaint or anger has been heard on board.There is a rush to be first when work is done,desire to sacrifice [selfishness] tothe success of the expedition. Fortune would be hardindeed if it allowed such knowledge, experience,ability, and enthusiasm to achieve nothing.

Song 2: Land at LastAfter many frowns, fortune has treated usto the kindest smile: A solid wharfon which to land our stores; the golden lighton this scene of mountain and ice....The landing: A week's work. After the sledgescame the ponies. Poor brutes,how glad they must be to scratch themselves!A message came from the ship to saythat all [the] stores had been landed. Nothing remainsbut mutton, books, pictures, and the pianola.The hut is becoming the most comfortabledwelling-place imaginable. We have made unto ourselvesa truly seductive home, within the walls of whichpeace, quiet, and comfort reign supreme.Song 3: PenguinsWilson went over the floeto capture some penguins.We saw the birds run up to him,then rush away again.He says: "most comical and interesting;they will always come up at a trot whenwe sing to them.Explorers singing at the top of their voices to admiring penguins:'[Well] she's got bells on her fingers and rings on her toes,elephants to ride upon wherever she goes.[So come to your nabob and next Patrick’s Day.Be Mister Mumbo Jumbo Jijiboo J.Sure I’ve got rings on my fingers and bells on my toes,elephants to ride upon my little Irish Rose.So come to your nabob and and next Patrick’s Day.Be Mister Mumbo Jumbo Jijiboo J.’]

Meares is the greatest attraction: a full voicewhich is musical but always very flat.He declares that 'God save the King'will always send them [back] to the water."They waddle forward, poking their headsto and fro, in their odd way,in spite of a string of howling dogsstraining to get at them.‘[Hello],’ they seem to say, 'here's a game--what do all you ridiculous things want?Oh, that's the sort of animal you are;well, you've come to the wrong place.'(The first two lines of stanza three are from Wilson’s account of the explorers singing “She’s GotRings on Her Fingers,” a popular song by Maurice Scott, R.P. Weston, and F.J. Barnes published in1908. He misremembers the exact lyrics. I have added the chorus and another verse of the song,using the correct lyrics.)Song 4: Impressions on the MarchThe hardening process must be goodfor animals though not for men.String of ponies progressing over the ice,following in each other's tracks.The dogs are…tired to-night.Pathetic to see the ponies floundering.The small green tent and the great white road.The whine of a dog and the neigh of our steeds.The driving cloud of powdered snow.The crunch of footsteps which break the surface crust.The gentle flutter of our canvas shelter.Its deep booming under the full force of a blizzard.The eternal silence of the great white desert.The vast silence broken only bythe mellow sounds of the marching column.

Song 5: In Winter QuartersHere the outward show is nothing,it is the inward purpose that counts.Every incident palesbefore the startling contents ofthe mail: Amundsenestablished in the Bay of Whales.One thing only fixes in my mind:To go forward and do our bestfor the honour of the countrywithout fear or panic.Wilson, withal ready and willing.Evans, with a clear-minded zeal.Bowers is the hardest travellerthat ever undertook a Polar journey.Oates' whole heart is in the ponies.Boys, all of them, but such goodnaturedones. No friction at all.I do not think that harder men or bettertravellers ever took the trail.Held the usual Morning Service.Hymns not quite successful to-day.'Who is man and what his place,In the recklessness of space,What has he, this atom creature,In the infinitude of nature?' (Palgrave)Song 6: Summit, the Pole and BeyondWe kill another pony to-morrow night. We have all takento horse meat. Sufficient for the day is the evil thereof.Our case is growing desperate. Yet, after all, one can go on striving.What castles one builds now hopefully…the Pole is ours.Oh! for a few fine days!

The worst has happened. A flag near the remainsof a camp: The Norwegians are first at the Pole.Great God! this is an awful place. Well, we have turnedour back on ambition and must face 800 miles of solid dragging.Evans shows signs of being played out; his woundssuppurate, broken down in brain, frostbitten,a wild look in his eyes. He died quietly.Beautiful day--too beautiful. We talk of little but food;Amongst ourselves we are unendingly cheerful, butwhat each man feels in his heart I can only guess.Oates lame this morning. We cannot help each other,can only say 'God help us!' and plod on our weary way.Should this be found I want these facts recorded.Oates proposed we leave him. That we could not do.He said, 'I am just going outside and may be some time.'Every day we have been ready tostart for our depot 11 miles away,but outside the tent it remainsa scene of whirling drift.My thoughts are for my wife and boy.Had we lived, I should have had a taleto tell of the hardihood, endurance,and courage of my companionswhich would have stirred the heart....I do not think I can write more.For God's sake look after our people.Send this diary to my wife.Send this diary to my widow.What lots I could tell you of this journey.

THE COMPOSERSPerry Goldstein (born 1952 in New York City, New York) studied at the University of Illinois,UCLA, and Columbia University, from which he received a doctorate in music composition in 1986.His principal composition teachers at Illinois were Herbert Brün, Ben Johnston, and Paul Zonn; atColumbia, Chou Wen-Chung and Mario Davidovsky.A composer of vivid, high-intensity music, Goldstein’s various works have been called “an I-dareyou-contraption”(Total Absorption by Fanfare Magazine), “kinetic, percussive [and] pummeling” (OfPoints Fixed and Fluid by The New York Times), “a raw-boned tour-de-force” (Blow! by the BuffaloNews), and demonstrating “consummate structural artistry” (Motherless Child Variations by MusicVision CD Spotlight).He has written works for such notable performers as Juilliard Quartet cellist Joel Krosnick andpianist Gilbert Kalish, Emerson String Quartet violinist Phillip Setzer, pianist Eliza Garth, theAurelia, Prism, and Capitol Saxophone Quartets, bass clarinetist Michael Lowenstern, saxophonistsCory Barnfield, Arno Bornkamp, Joseph Lulloff, and Kenneth Tse, the Escher String Quartet, and theUnited States Military Academy Band. His works appear on 17 compact discs, on the Albany,Bridge, Centaur, Challenge, Crystal, Innova, Mark Masters, New Dynamic, New World, UnitedStates Military, and Vanguard labels. He is published by Reed Music and Global Music FacilitiesPublications.Since 1992, he has been a member of the music faculty of the Stony Brook where he was theinaugural Director of the College of Arts, Culture, and Humanities and serves as Chairman of theDepartment of Music. He teaches music theory, analysis, musicianship, and composition.Stephen Andrew Taylor is currently Associate Professor of Composition at the University of Illinois.His music often explores boundaries between art and science. His first orchestra commission,Unapproachable Light, inspired by images from the Hubble Space Telescope and the New Testament,was premiered by the American Composers Orchestra in 1996 in Carnegie Hall. Other worksinclude the chamber quartet Quark Shadows, commissioned by the Chicago Symphony andpremiered in 2001; and Seven Memorials, a 32-minute cycle for piano inspired by the work of MayaLin and premiered by Gloria Cheng in Los Angeles, 2004; she also performed the work atTanglewood in 2006. The Machine Awakes, a CD of his orchestra, chamber and electronic music wasreleased in 2010 on Albany Records; and Paradises Lost, a new opera based on a novella by Ursula K.Le Guin, was premiered in Portland, Oregon and at the University of Illinois in 2012.Besides composing for traditional instruments, Taylor also works with live electronics in pieces suchas Agoraphobia for flute, harp and electronics, premiered by Jonathan Keeble and Ann Yeung inMontreal in 2009. He is also active as a conductor with the Illinois Modern Ensemble, and as a

theorist, writing and lecturing on György Ligeti, Björk, and Radiohead. He also collaborates with theband Pink Martini and rock singer Storm Large.Born in 1965, he grew up in Illinois and studied at Northwestern and Cornell Universities, and theCalifornia Institute of the Arts; his teachers include Steven Stucky, Karel Husa, Mel Powell, BillKarlins and Alan Stout. His music has won awards from Northwestern, Cornell, the ConservatoireAméricain de Fontainebleau, the American Academy of Arts and Letters, Composers, Inc., theDebussy Trio, the Howard Foundation, the College Band Directors National Association, the NewYork State Federation of Music Clubs, the Illinois Arts Council, the American Music Center, andASCAP. Among his commissions are works for Northwestern University, University of Illinois, theSyracuse Society for New Music, Pink Martini and the Oregon Symphony, the Quad CitySymphony, the Chicago Symphony, Quartet New Generation and the New Philharmonic, PianoSpheres, and the American Composers Orchestra.Mason Bates was raised in Virginia where he studied piano with Hope Armstrong Erb andcomposition with Dika Newlin, Bates enrolled in the Columbia-Juilliard program in New York City.Earning degrees in music composition and English literature, he studied primarily with JohnCorigliano and also with David Del Tredici and Samuel Adler. He worked with Edmund Campionat the University of California, Berkeley, where the Center for New Music and Audio Technologiesbecame an important influence on his approach to electro-acoustic composition. Awards include theHeinz Award, the Rome and Berlin Prizes, a Charles Ives scholarship and fellowship from theAmerican Academy of Arts and Letters, the Jacob Druckman Memorial Prize from Aspen MusicFestival, ASCAP and BMI awards, and fellowships from Tanglewood, Creative Capital and theGuggenheim Foundation.Bates was appointed by Music Director Riccardo Muti, along with Anna Clyne, as one of ChicagoSymphony Orchestra's Mead Composers-in-Residence and took up the post in the 2010/11 seasonfor a term of two years. Maestro Muti extended both Bates's and Clyne's terms through the 2013/14season, which enables them to develop further the collaborations he has commenced with variouspartners in Chicago as well as new relationships.Bates has become a visible advocate for bringing new music to new spaces, whether throughinstitutional partnerships or through his classical/DJ project Mercury Soul, which has transformedspaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybridmusical events drawing over a thousand people. Other collaborations include works toured by LevyDance. As a DJ, he often appears with upright bassist David Arend in spaces from San Francisco toBerlin, including Mezzanine, Temple, Volksbühne, John Colins and SFMOMA. (www.cso.org)

THE CONDUCTORDr. Linda R. Moorhouse joined the Illinois faculty in the fall of 2010 and currently serves as InterimDirector of Bands and Associate Professor of Music. Within the School of Music, she serves asconductor of the Illinois Wind Symphony and teaches courses in graduate and undergraduateconducting and graduate wind literature. Prior to her Illinois appointment, she served on the facultyat Louisiana State University for over 20 years, where she conducted the LSU Symphonic Winds,served as the primary instructor and drill designer of the award-winning Tiger Marching Band,taught instrumental conducting, and administered the LSU Summer Music Camps. She is also arecipient of numerous teaching awards, including the LSU Tiger Athletic Foundation’s “President’sAward” and “Undergraduate Teaching Award,” campus-wide awards for teaching excellence, inaddition to the LSU School of Music “Excellence in Teaching Award.”She has been honored by the John Philip Sousa Foundation with the Sudler “Order of Merit,” and byPhi Beta Mu with the “Outstanding Bandmaster” award for Louisiana. A distinguished MemberLaureate of Sigma Alpha Iota, international fraternity for women in music, Dr. Moorhouse hasreceived the “Citation of Excellence” from the National Band Association on numerous occasionsand the “Silver Baton” and “International Golden Rose” awards from the Women Band DirectorsInternational.Dr. Moorhouse maintains an active schedule having appeared as an adjudicator and guestconductor both nationally and internationally. An elected member of the prestigious AmericanBandmasters Association, she is a Past-President and currently Executive Secretary-Treasurer of theNational Band Association, the world’s largest band organization. Dr. Moorhouse also serves as acontributing author for eight volumes of the Teaching Music Through Performance in Band series (GIAPublications), in addition to two volumes of A Composer’s Insight––Thoughts, Analysis andCommentary on Contemporary Masterpieces for Wind Band (Volumes 2 and 3, Meredith Music), andThe Music Director’s Cookbook (Meredith Music). She also serves as Editor of the NBA Journal.Dr. Moorhouse received a Bachelor of Music Education with Honors from the University of Florida,a Master of Music Education from LSU, and a Doctor of Musical Arts in Instrumental Conductingfrom the University of Washington. In September 2010, she was inducted into the University ofFlorida Bands Hall of Fame, and her biography appears in the New Grove Dictionary of Music andMusicians.

THE SOLOISTSoprano Brenda Harris appears in leading roles with many of the world’s most prominent operacompanies and orchestras. Recent stellar reviews have said that “Not only did she sing her highflyingarias with steely verve, she clearly communicated the character’s vulnerability and courage inequal measure,” (The Salt Lake Tribune) and “Pitch perfect, Harris exhibits a flawless legato with anaturalism that perfectly exemplifies the Bel Canto form.” (The Examiner) Recent engagements havetaken her to the stages of The Metropolitan Opera, to Teatro Massimo in Palermo, Italy, WashingtonNational Opera at the Kennedy Center, New York City Opera, Opera du Rhin in Strasbourg,Michigan Opera Theatre, the Canadian Opera Company, Edmonton Opera and Opera Theatre of St.Louis, among others.During the 2012 - 13 season, the soprano joins the Minnesota Opera as Abigaille in Nabucco, theSarasota Opera as the title role in Turandot, and the Washington Concert Opera as Elisabetta inMaria Stuarda, whom she joined the previous season for Odabella in Verdi’s Attila. Additionalengagements during the 2011- 12 season included Leonora in Fidelio with Utah Opera, LadyMacbeth in Macbeth with the Anchorage Opera, and Donna Elvira in Don Giovanni with Des MoinesMetro Opera.Ms. Harris began the 2010-11 season singing the title role of Norma with Lyric Opera of Kansas City,prompting KC Metropolis to to write: “Norma exists as a vehicle for its singers and what aspectacular vehicle it is. Brenda Harris, in the title role, treated the audience on Saturday’s openingnight to a master class of vocal elegance and beauty.” Additional performances during the seasonincluded Elizabeth in Maria Stuarda with Minnesota Opera, and Madame Lidoine in Dialogue of theCarmelites with Des Moines Metro Opera. Reviews for her performance as the title role of Normawith Tulsa Opera included “Her performance was filled with moments that just about took thebreath away.” (Tulsa World)During the previous season, she portrayed Lady Macbeth in Macbeth with Utah Opera, Opera LyraOttawa, and Des Moines Metro Opera, and Donna Anna in Don Giovanni with Lyric Opera ofKansas City where she “sang with remarkable emotional range, expressive power and raw beauty.”(Kansas City Star) Her Elisabetta in Roberto Devereux with Minnesota Opera received rave reviewsincluding “In soprano Brenda Harris the company has an Elizabeth of surpassing gifts, wholly equalto the rigors of the role,” (Star Tribune) and “Harris executed the golden and silver filigree the belcantosinging style demands with a thrilling control infused with the passionate discontent of aqueen wronged.” (Minn Post)During the 2008-2009 season, she portrayed Agathe in Der Freischutz with the Des Moines MetroOpera, The Governess in Turn of the Screw with the Portland Opera, and Anna Maurrant in StreetScene with the Chautauqua Opera where she “simply steals the show with her satinwood voice and

assured acting.” (The Chautauquan Daily) During the prior season she sang the title role in Toscawith Opera Cleveland, and then joined the Austin Lyric Opera singing Wagner and Verdi selectionsin a Gala concert to mark the opening of their season. She sang Strauss’s Four Last Songs with theAustin Symphony and a program of Verdi selections with the Jacksonville Symphony.In the 2006-2007 season, Ms. Harris sang leading roles with opera companies across the continent,including the title role of Ariadne auf Naxos in a new production with the Utah Opera, and the titlerole of Norma with the Portland Opera, of which The Oregonian said “her 'Casta diva' had stillnessand poise, and she negotiated the subsequent coloratura with splendid fury.” Additionally, she sangLady MacBeth in Macbeth with both the Arizona Opera and Edmonton Opera, and Alice Ford inFalstaff with the Fort Worth Opera. On the concert stage she sang Daron Hagen’s Shining Brow withthe Buffalo Symphony, Strauss’s Four Last Songs with the New Haven Symphony, Schubert’s MassNo. 6 in E-flat with the Music of the Baroque with Jane Glover, and participated in a Gala Concertwith the Stichting Veerhavenconcert in Rotterdam with Joel Levy. She was also featured in recital atBrenau University in Atlanta.During the 2005 – 2006 season, Ms. Harris sang the title role of Vanessa with both the TeatroMassimo in Palermo, Italy and the Chautauqua Opera, the title role in Mercadante's Orazi e Curiaziwith Minnesota Opera, the title role of Norma with Michigan Opera Theatre, Katerina in LadyMacbeth of Mtsensk with Austin Lyric Opera, and Violetta in La Traviata with Fort Worth Opera.With Maestro Keith Lockhart at the podium, Ms. Harris was a soloist for Vaughan Williams's A SeaSymphony with the Utah Symphony.Notable highlights of previous seasons include portraying Vitellia in La Clemenza di Tito with theMetropolitan Opera, the title role of Agrippina, Donna Anna in Don Giovanni and Arminda in LaFinta Giardiniera all with the New York City Opera, Chrysothemis in Strauss' Elektra with AustinLyric Opera, both the title role in Agrippina and Donna Anna in Don Giovanni at the WashingtonNational Opera at the Kennedy Center, and the title role in Norma with the Minnesota Opera,Portland Opera and Michigan Opera Theatre. With the Atlanta Opera she was the Countess in LeNozze di Figaro, Donna Elvira and Donna Anna in Don Giovanni, Desdemona in Otello, Violetta in LaTraviata,and Fiordiligi in Così fan tutte. She has appeared with the Canadian Opera Company asAminta in Il Re Pastore, the Montreal Opera as Donna Anna, the Edmonton Opera as both DonnaAnna and the Countess in Le Nozze di Figaro, the Vancouver Opera as Rosalinda, and the title role ofNorma with the Opera de Quebec.In Europe, Ms. Harris has appeared in Spoleto, Italy as Eva in Die Meistersinger, with Opera du Rhinin Strasbourg as both Vitellia in La Clemenza di Tito and as the title role of Barber's Vanessa. On theconcert stage, she has performed as a soloist with the St. Louis Symphony, the Orchestra of St.Luke's, Chicago's Music of the Baroque, Honolulu Symphony, Buffalo Philharmonic, and Boston

Baroque, and has offered numerous concerts at Carnegie Hall with the Oratorio Society of NewYork.Ms. Harris has made a habit of varying her career choices by successfully alternating 20th Centuryand contemporary music (Schoenberg's Moses und Aron, Strauss's Elektra, Kurt Weill's Street Scene,Barber's Vanessa, Hagen's Shining Brow, and Shostakovich's Lady MacBeth of Mtsensk) with the greatstandards (the title characters of Norma, Ariadne and Tosca, Alice Ford in Falstaff and LadyMacBeth in MacBeth, et al.) as well as the occasional Baroque masterpieces (Handel's Agrippina,Tolemeo, and Deidamia). In addition to these, she has excelled in the dramatic bel canto roles ofDonizetti (Roberto Devereux, Maria Stuarda, Anna Bolena, Maria Padilla) and Rossini (Semiramide,Ermione, Armida).Brenda Harris has recorded leading roles for Newport Classic, including Scarlatti's Ishmael, Handel'sDeidamia, and Haydn's La Cantarina and The Creation, and on the Vox label, Handel's Tolomeo. Naxosreleased a recording of Shining Brow in the fall of 2008.

Illinois Wind Symphonyflute / piccoloAlexis Evers**Erin HappenyRocio LimaMora NoveyKathleen Winters*oboeLynn BurkheadSuzanne Segredo** (eng. horn)Johnny Smith**bassoonKatherine Aydelott* (contra)Elliot Cobb**Axel SwisslerRachel RoothclarinetAlexander AthitakisDanielle Berger (contrabass)Jessica ClarkKaitlyn CurtisCharlotte DorseyMegan DuffyZandrea HafenrichterCarolyn Liao*Mitchell Lutz (bass)Samuel RomoCarrie WhitesaxophoneErik Elmgren** (alto)Robert Palermo** (alto)Nicki Roman** (alto)Pin-Hua Chen (tenor)Hyungryoul Kim (baritone)trumpetBenjamin Clemons**Donny de la RosaBen HarrisonChloe HolmesKeven Lewis*Robert PittmanhornCarly CharlesJennifer Kempe*Ali NizamaniBob O’SullivanTaylor SpontaktromboneDave Day**Adam Kosberg** (bass)Steven WolfAddison YoungbloodeuphoniumDoug BarrSpencer Hile*tubaKyle BaltzerMatthew Wilshire*Kelly NyquistpercussionDan BensonNik EricksonYi-Hsuan LinAlec LuedersCara MitchellTrent Shuey*pianoMiyeon ChoiharpChanah AmbuterbassHenry Chen* = principal** = co-principal

University of Illinois Bands StaffLinda R. Moorhouse, interim director of bandsBarry L. Houser, assistant director of athletic bandsJ. Ashley Jarrell, visiting assistant director of bandsElaine Li, bands performance collection librarianDaniel Michelsen, bands managerTerri Daniels, bands administrative coordinatorLana Custer, business associateBrian Coffill, graduate assistantChristopher Gass, graduate assistantPhilip Meyer, graduate assistantAkira Robles, graduate assistantBrad Wallace, graduate assistantUniversity of Illinois Bands Selected EventsSeptember 29, 2013, 3:00pm Illinois Wind Orchestra with Parkland Wind Ensemble, KCPAOctober 10, 2013, 7:30pm Hindsley Symphonic Band and University Concert Band, KCPAOctober 29, 2013, 7:30pm Illinois Wind Symphony, KCPAVisit the University of Illinois Bands at www.bands.illinois.eduBands at the University of IllinoisThe University of Illinois Band program is considered one of the most historic and significant collegeband programs in the world. The Band Division offers students several musical experiences throughour multiple concert bands, the popular 350-member Marching Illini, our basketball bands, theOrange & Blues Pep Band, and Summer Band, which begins its 104th season this next June. At theforefront of band music education for over a century, the University of Illinois produced the firstcollege band program, setting standards for concert performance and marching band drill design,and producing prominent performers and music educators throughout the world.