Stravinsky and Tchaikovsky

Interlochen, Michigan * COMPOSERS IN CONTEXT FESTIVAL INTERLOCHEN ARTS ACADEMY CHOIR John Bragle, conductor Thursday, April 23, 2015 7:30pm, Corson Auditorium INTERLOCHEN ARTS ACADEMY BAND Matthew Schlomer, conductor INTERLOCHEN ARTS ACADEMY ORCHESTRA Carolyn Watson, conductor Friday, April 24, 2015 7:30pm, Corson Auditorium Interlochen is pleased to present the second annual Composers in Context Festival with the Academy Band, Choir and Orchestra. This festival aims to provide an introduction to exciting repertoire for our larger ensembles, while contextualizing the work of a specific composer. This year, we look closely at one of the last great international composers, Igor Stravinsky. Stravinsky is credited with being one of the most significant composers of the 20th Century, providing modern listeners an amazing and broad range of music that was arguably the greatest influence on contemporary music in the first half of the 20th century. Interlochen presents two programs featuring compositions by Stravinsky – in addition to composers ranging from Glinka, Kozhevnikov and Tchaikovsky – composers that both influenced and were part of the world contributing to Stravinsky's development as one of the 20th century's great artistic voices. Thank you for joining us for this exciting festival with our Academy students. They have worked hard to prepare a diverse program of music ripe for exploration. Interlochen, Michigan 239th Program of the 53rd Year * INTERLOCHEN ARTS ACADEMY CHOIR and CHAMBER SINGERS John Bragle, conductor Steve Larson, piano Thursday, April 23, 2015 7:30pm, Corson Auditorium ACADEMY CHOIR Cherubic Hymn Dmitry Bortniansky (1751-1825) Cherubic Hymn Gavriil Lomakin (1811-1885) Cherubic Hymn Mikhail Glinka (1804-1857) CHAMBER SINGERS Mass Igor Stravinsky Kyrie (1882-1971) Gloria Credo Sanctus Agnus Dei OBOE David Norville, Fort Myers, Fla. Robin Cook, Portland, Ore. ENGLISH HORN Izabella Deeg, oboe, Semmes, Ala. BASSOON Morgan Davison, Denver, Colo. Jensen Bocco, Winter Springs, Fla. TRUMPET Nicholas Gotham, Austin, Texas Miguel Angel Cubero Navarro, San Jose, Costa Rica TROMBONE Brett Kelly, Rison, Ark. Sam Silverman, Newport Beach, Calif. Simon Lohmann, Eau Claire, Wis. ACADEMY CHOIR Symphony of Psalms Igor Stravinsky Psalm 38 (Verses 13 and 14) Psalm 39 (Verses 2, 3, and 4) Psalm 150 Steve Larson, piano J.T. Hassell, piano, Amarillo, Texas * * * TEXTS AND TRANSLATIONS Cherubic Hymn Let us who mystically represent the cherubim,  and who sing the thrice-holy hymn to the life-creating Trinity,  now lay aside all cares for this life, that we may receive the King of All,  who comes invisibly upborne by the angelic host. Alleluia Mass Igor Stravinsky Kyrie Lord, have mercy. Christ, have mercy. Lord, have mercy. Gloria Glory to God in the highest And on earth peace to men of goodwill. We praise You.  We bless You. We give you thanks for Your great glory. Lord God, Heavenly King, Almighty God the Father,  Lord Jesus Christ, only Son of the Father; Lord God, Lamb of God, Son of the Father, You take away the sins of the world; have mercy on us; You take away the sins of the world; receive our prayer You sit at the right hand of the Father; have mercy on us. For you alone are holy, You alone are the Lord, You alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen Credo I believe in one God, the Father, the Almighty, maker of heaven and earth,  Of all that is seen and unseen. I believe in one Lord Jesus Christ, the only Son of God, eternally begotten of the Father. God from God, Light from Light, True God from True God; begotten, not made; of one being with the Father; through him all things were made. For us men, and for our salvation, He came down from heaven; by the power of the Holy Spirit He became incarnate from the Virgin Mary  and was made man. For our sake He was crucified under Pontius Pilate, He suffered death and was buried. On the third day He rose again in accordance with the scriptures; He ascended into heaven, and is seated at the right hand of the Father He shall come again in glory to judge both the living and dead, and His kingdom shall have no end. I believe in the Holy Spirit, the Lord, the giver of life, Who proceeds from the Father and the Son; with the Father and the Son He is worshipped and glorified; He has spoken through the prophets. I believe in one holy, catholic and apostolic Church, I acknowledge one baptism for the forgiveness of sins, and I look for the resurrection of the dead, and the life of the world to come.  Amen Sanctus Holy, holy, holy Lord, God of power and might; Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. Agnus Dei Lamb of God, you take away the sins of the world; have mercy on us. Lamb of God, you take away the sins of the world; grant us peace. Symphony of Psalms Igor Stravinsky Psalm 38 (verses 13 and 14) Hear my prayer, O Lord, and with Thine ears consider my calling; hold not Thy peace at my tears. For I am a stranger with Thee:  and a sojourner, as all my fathers were. O spare me a little that I may recover my strength: before I go hence and be no more seen. Psalms 39 (verses 2, 3, and 4) I waited patiently for the Lord: and he inclined unto me, and heard my calling. He brought me also out of the horrible pit, out of the mire and clay: and set my feet upon the rock, and ordered my goings. And He hath put a new song in my mouth: even a thanksgiving unto our God. Many shall see it and fear: and shall put their trust in the Lord. Psalm 150 Alleluia. O Praise God in His holiness: praise Him in the firmament of His power. Praise Him in His noble acts: praise Him according to His excellent greatness. Praise Him in the sound of the trumpet: praise Him upon the lute and harp. Praise Him upon the strings and pipe. Praise Him upon the well-tuned cymbals. Let everything that hath breath praise the Lord. Alleluia * * * JOHN BRAGLE is the conductor of the Interlochen Arts Academy Choir and Chamber Singers, instructor of voice, and serves on the choral faculty at Interlochen Arts Camp. He is a cum laude graduate of Michigan State University with a bachelor degree in Music Education and a master’s degree in Choral Conducting. Previously, he was director of choirs for Williamston Community Schools, where under his direction the program increased significantly in size and prominence within the state of Michigan. Mr. Bragle has also served as visiting professor of music at Northwest Michigan College, director of the Michigan State University Youth Treble Ensemble, director of the Michigan State University Men’s Glee Club, director of choirs at St. Thomas Church in East Lansing and musical director of the Accafellas; an eight member award-winning ensemble based at Michigan State University. Mr. Bragle maintains an active performing career in concert and recital. His conducting studies have been with Charles Smith, David Rayl and Jonathan Reed, and voice studies with Richard Fracker and Robert Bracey. STEVE LARSON is an accompanist at Interlochen Arts Academy. He has played in recitals and chamber music festivals throughout the Midwest including the Absolutely Amadeus Festival in Milwaukee, the Manitou Music Festival and Chamber Music North. Mr. Larson served as company pianist for the Milwaukee Ballet Company, has played for many other professional dance companies. He has composed music for several dance productions including Elsa, Milkmaid of Tangier (Milwaukee Ballet School), Stages, Camille and Song of Flight (Interlochen Dance Ensemble). In 2010, he was named a semi-finalist in the Dayton Ballet New Music/New Dance competition. In addition to writing music for dancers, he has also composed music for choir, chamber ensembles and orchestra. His original music for use in the ballet studio appear on a number of CDs from Brio Recordings (www.briorecordings.com) and Aquarian Sound. Mr. Larson has appeared on radio broadcasts of “Live from Studio A” and “A Prairie Home Companion.” * * * INTERLOCHEN ARTS ACADEMY CHOIR Lyndsay Hunter, manager Carolyn Anderson, N.Y. * Cheyenne Anderson, Ky. Adriana Arancibia-Tejada, Calif. Kevin Becker, Ill. Christopher Bell, Del. * Erica Bigelow, Mich. Adrian Binkley, Wis. Joshua Birdsong, Mich. Elisabeth Boaz, Mich. * Logan Boyle, Alaska Jillian Brindley, Calif. Brendan Buckley, Cayman Islands Michael Burdick, Fla. * Akili Burton, Ind. Haley Bussell, Mich. Michael Caraher, Calif. * David Carey, N.J. Kurt Clare, Mich. * Sophie Claytor, Texas Andrew Conover, N.J. Andrea Cornejo, Mexico Sierra Creamer, Mich. Marcus Day, Calif. Cristina Dougherty, N.M. Madison Douglas, W.Va. Gillian Fisher, Texas Karli Forte, Ind. Julian Fueyo Gonzalez, Mexico Evan Fulcher, Colo. Nicholas Gotham, Texas Sara Gougeon, Canada Summer Green, Mich. Jessica Gu, Va. Ariela Gutierrez, Calif. Jade Hall, Mich. Jessica Harper, Mo. J.T. Hassell, Texas * Dylan Hoffman, Ohio Somer Joe Hornbuckle, Ore. Zhanglin Hu, China Enzo Iannello, Mich. Kalie Jennings, Texas Luke Jennings, Va. Martin Jones, N.J. Chea Young Kang, South Korea Hyun Joo Kang, South Korea Allie Kessel, Mich. * Sophie Knight, Ill. Dave Joon Lee, South Korea Seong-Hwan Lee, South Korea James Edwin Leech, Pa. Olivia Lerwick, N.C. * Edward Lim, South Korea * Thomas Litchev, Colo. * Jing Liu, Canada Simon Lohmann, Wis. Lizzy Marella, N.H. Erin McFadden, Va. * Fanyi Tony Meng, China Mackenzi Mier, Mich. Abigail Monroe, N.M. Elizabeth Moss, Ind. * Isabela Nanni, Ind. Cassidy Noonen, Ohio * Allison Olmstead, Mich. Ana Paluskievicz, Pa. Piper-Iman Paul-Stubbs, N.Y. Mackenzie Payne, Fla. Alex Poisal, Ind. Eric Polite, Va. Ciel Pope, Wash. Bin Quan, N.Y. John Michael Richards, Calif. Cosetta Righi, Ga. * Cesar Rivera, Mexico Divinna Rosales, Mich. Brittany Sando, Pa. Luke Schwalbach, Ky. Julianna Shamel, Ind. Margaret Shepherd, Ill. Jack Sherrell, Wash. Allison Sidell, Ind. Madeline Silberman, Texas Maria Simaz, Mich. * Olivia Spencer, Calif. Emily Spradling, Calif. BreeOnna Springer, Pa. Alexis Stockdale, Mich. Joshua Straub, W.Va. * Edmund Strominger, Ohio Ava Suppelsa, Ill. E. Hope Tedescucci, Ga. * Maftuna Tolipova, Philippines Paul Trentham, Tenn. * Maria Tsuruta, Japan Ruby Urlocker, Canada Caleb Voisine-Addis, Maine Wen Jia Wei, China John Witherspoon, Mich. Yaqi Zhang, China Zi An Zhou, China Zoey Zou, Calif. * Denotes member of Chamber Singers Interlochen, Michigan 242nd Program of the 53rd Year * INTERLOCHEN ARTS ACADEMY BAND Matthew Schlomer, conductor INTERLOCHEN ARTS ACADEMY ORCHESTRA Carolyn Watson, conductor Friday, April 24, 2015 7:30pm, Corson Auditorium ACADEMY BAND Circus Polka: For a Young Elephant Igor Stravinsky (1882-1971) The Enchanted Lake, Op. 62 Anatoli Liadov (1855-1914) Symphony No. 3 “Slavyanskaya” Boris Kozhevnikov Allegro (1906-1985) Waltz Scherzo Allegro ~ INTERMISSION ~ ACADEMY ORCHESTRA Marche Slave, Op. 31 Piotr Ilyich Tchaikovsky (1840-1893) The Firebird Suite (1919) Igor Stravinsky I. Introduction (1882-1971) II. Dance of the Firebird III. Variation of the Firebird IV. Round Dance of the Princesses V. Infernal Dance of King Kastchei VI. Lullaby (Berceuse) VII. Finale in collaboration with the Academy Dance Department Choreography by Cameron Basden and Nicola Conraths-Lange Costume Design by Candace Hughes Set Design by Rory Baker and Kedrik Merwin Dancers: Laurel Armes, Londonderry, N.H. Erica Brandell, Wisconsin Rapids, Wis. Derek Brockington, Holland, Mich. Oliver Jull, Kerteminde, Denmark By special arrangement by E.F. Kalmus, Edited by Clark McAlister. THE FIREBIRD SYNOPSIS Igor Stravinsky's ballet The Firebird was first choreographed by the Russian dancer Michel Fokine in 1910 and premiered in Paris with the Ballet Russes to great acclaim. The plot, completely rewritten for this occasion, is based on an Old Russian fairytale, depicting the tension between humanity and nature, desire and reality. Prince Ivan, a bit of a dandy, in love with himself, sees the reflection of the firebird as he prepares for his wedding. He suddenly sees reflected the image of the magical Firebird, preening its beautiful plumage in the garden of the sorcerer Kashchei. To get an extra feather in his hat for the wedding celebrations, he decides to enter the forbidden garden. Wandering through the magical gardens he spots the beautiful plumage of the firebird. After a dance of seduction, the encounter morphs into a fight. Prince Ivan captures the firebird, extracts the feather and jumps off the stage.  The creature is left wounded and sad. A jealous woman, Tatiana followed Ivan into the garden and bumps into Kashchei, who is desperately trying to get the key to the garden out of the egg it has gotten trapped into, so he can lock his kingdom again. Tatiana, still concerned about her lover’s wanderings, makes a pact with Kashchei: She will extract the key out of the egg by power of the human kiss if he will promise to lock the garden gate forever. Ivan enters, misinterprets the situation and is distraught. Ivan and Kashchei fight over Tatiana and the egg in a furious confrontation. After Tatiana broke the spell by kissing the egg, the key to the garden is exposed.  In an ingenious turn of events, the firebird steals the key, pushes everyone out of the garden. Sitting high up in a tree, the firebird goes through a dance of renewal, growing back its feather and living a life of contentment while the other three have to deal with reality. After all, the firebird was the only character without ulterior motives. ~ Synopsis by Cameron Basden and Nicola Conraths-Lange * * * PROGRAM NOTES Circus Polka: For a Young Elephant Igor Stravinsky It was early 1942, and George Balanchine had a commission from the Ringling Brothers and Barnum & Bailey Circus for a ballet. Balanchine quickly contacted his friend and fellow Russian expatriate, Igor Stravinsky, and told him he needed a polka. "For whom?" Stravinsky asked. "Elephants," came the answer. "How old?" "Young." "If they are very young, I will do it," Stravinsky declared. Perhaps Stravinsky wanted young elephants because he thought the older ones wouldn’t take kindly to the often unpredictable rhythms and surprising harmonies in his music. After all, he’d made his name 30 years earlier as the shockingly modern composer of ballets such as The Firebird (1910) and The Rite of Spring (1913) for the Ballet Russes, where the Rite’s premiere had nearly caused a riot, and he’d hardly slowed down since then. From jazz to serialism, Stravinsky was always in the forefront of musical experimentation. And now, elephants. Why not? Stravinsky quickly completed a piano version of the polka in February. Robert Russell Bennett was too busy to orchestrate, so at Bennett’s suggestion Stravinsky hired film composer David Raksin (Laura, Forever Amber, The Bad and the Beautiful) to score it for wind band. The Circus Polka premiered at Madison Square Garden in the spring of 1942, performed by the Ringling Circus Band and starring, according to the program, "Fifty Elephants and Fifty Beautiful Girls in an Original Choreographic Tour de Force, Featuring Modoc, premiere ballerina." Modoc, of course, was an elephant, and the New York Times reported that "Modoc the Elephant danced with amazing grace, and in time to the tune, closing in perfect cadence with the crashing finale." Although contemporary accounts claim the other elephants were not quite as adept at following Stravinsky’s rhythmic quirks, the act was a success and ran for 425 performances. ~ Program notes by Barbara Heninger The Enchanted Lake Anatoli Liadov Anatoli Liadov’s legacy is closely intertwined with that of Stravinsky. He was a promising Russian talent who was celebrated by the likes of Mussorgsky and a pupil of Rimsky-Korsakov but his greater fame was sadly in earning and losing the Russian Ballet’s commission for The Firebird, which would launch Stravinsky’s career. In the same year that Stravinsky wrote The Firebird, Liadov finished this modest fantasy for orchestra. Like Stravinsky, Liadov draws upon Russian folklore to inspire his scene. Filled with stillness and magic, the music seems to shimmer and linger with no urgency to develop themes or create formal structures. Liadov’s orchestration skills are masterful and this transcription attempts to capture his use of winds and horns as the main characters of the orchestral original. The strings, which spend most of the piece in tremolo and textural effects, are replaced by various combinations of marimba, alto flute, flugelhorn, low brass and saxophone. Liadov later became a professor at the Moscow Conservatory. While his compositional output was quite sparse in comparison to his colleagues, his works are filled with mastery and stunning beauty. ~ Program notes by Matthew Schlomer Symphony No. 3 “Slavyanskaya” Boris Kozhevnikov Boris Kozhevnikov (1906-1985) was a prolific composer of music for Soviet bands.  He attended the Kharkov Music-Dramatic Institute, where he studied composition and conducting, graduating in 1933. He later attended the Military School of Music in Moscow.  He was the conductor at several theaters and a faculty member of the Moscow Conservatory.  He wrote a handful of orchestral works and over 70 pieces for Soviet military bands, including five numbered symphonies for band.  His music was discovered by the west only after the collapse of the Soviet Union and the Iron Curtain in the 1990s.  He is still much better known in Russia than anywhere else, although his Symphony No. 3, Slavyanskaya, enjoys popularity in the U.S. thanks to an edition that former Marine Band commander John R. Bourgeois created for American bands in 1995. Slavyanskaya is a fairly conventional Russian-sounding symphony in four movements.  The first is at times aggressive and lyrical, opening with a strong F-minor declamation.  The second is a slow waltz with an exuberant episode in its coda.  A spritely piccolo solo opens the 3rd movement, a rondo that whizzes by at lightning speed.  The fourth movement is an exuberant finale.  Throughout the symphony, Kozhevnikov uses folk tunes from his native city of Novgorod as the sources of his melodic material.  Although Kozhevnikov wrote Slavyanskaya in 1950, it did not receive its first performance in the U.S. until the late 1990s. The word “Slavyanskaya” in Russian (Славянская) appears to be nothing more than a proper name.  It’s also applied to a public square in Moscow, a fancy Radisson hotel also in Moscow, and a Russian brand of vodka. ~ Program notes adapted from Andy Pease Marche Slave, Op. 31 Piotr Ilyich Tchaikovsky Pyotr Il'yich Tchaikovsky was born in 1840, in Kamsko-Votkinsk, Russia.  Unlike many of the major composers, art was not Tchaikovsky’s main focus during his childhood.  Although an amateur poet, Tchaikovsky’s artistic development did not really start until his father’s job forced the family to move to Moscow in October 1848.  Once they settled in this new city, his dad purchased a mechanical organ with the hopes of seeing his son develop his music potential.  The composer immediately showed a particular interest in the instrument, and started studying privately. However, music was always more of a diversion than a professional focus.   In 1850, the musician’s family moved to St. Petersburg, where Tchaikovsky started his studies at the School of Jurisprudence.  This school was a supporter of the arts, especially music, sponsoring performances of independent musicians and providing access to opera performances for their students. This is where Tchaikovsky became truly interested in this form of art.  He started taking singing and piano lessons, joined the choir, and became a soloist in the community church. Once he graduated from the School of Jurisprudence in 1859, he worked in the Ministry of Justice for five years.  Then, in the summer of 1862, he applied to the Russian Musical Society music school:  the St. Petersburg Conservatory, where he studied piano, flute, organ, composition, and music theory. After he graduated from the conservatory in late 1865, Tchaikovsky moved to Moscow.  He spent ten years in the Russian capital, and it was during that decade that music became his professional focus.  He performed as a theory teacher and as a composer and, even though his works were not profitable, this period established the basis for his later development in the field. The piece to be performed tonight was composed in 1876, in Moscow.  Marche Slave was written as a tribute to the Serb soldiers who fought in the Russo-Turkish War (1877), with all the profits going to the Slavonic Charitable Society.  The composition was commissioned by the Russian Musical Society, and it was the first symphony concert of this organization.   Given the fact that the work was composed for such a nationalistic cause, it is not a surprise that Tchaikovsky decided to base the piece on traditional Serbian and Russian themes, including a direct quotation from the Imperial Anthem of the Russian Empire God Save the Tsar. The Firebird Suite (1919) Igor Stravinsky Igor Fyodorovich Stravinsky was born in 1882, in Oranienbaum, Russia.  Fyodor Stravinsky, his father, was one of the most influential figures in the Russian opera at the time and made sure his family moved in literary, theatrical, and musical circles.  This artistic environment, combined with piano lessons and music theory classes starting in his early childhood, heavily influenced Stravinsky’s passion for music. However, despite his early involvement with music, Stravinsky did not consider it his career path.  It wasn’t until 1902, while studying philosophy and law at the St. Petersburg University, that he started developing as a composer.  Upon suggestions by many of his classmates, he showed some of his early works to the composer Nikolay Rimsky-Korsakov, who, impressed by the student’s innate talent, agreed to teach him privately.   In 1909, after seven years of study with Rimsky-Korsakov, one of Stravinsky’s compositions was played by an orchestra for the first time.  The premiere of Scherzo Fantastique in St. Petersburg was arguably one of the most influential performances in the composer’s life.  This particular night, the Ballets Russes’ impresario Sergei Diaghilev was sitting in the audience.  Diaghilev was so impressed by the musician’s work that he commissioned him to write the music for his ballet company’s summer performance in Paris.  This piece was The Firebird Ballet. The Firebird marked a turning point in Stravinsky’s career.  The French critic Henri Ghéon referred to the piece as “the most exquisite marvel of equilibrium we have ever imagined between sounds, movements and forms.”   Before its premiere at the Paris Opéra on June 25, 1910, the composer was known only among the circles of the St. Petersburg University; now, he was regarded as “one of the most gifted of the younger generation of composers.”  Stravinsky’s mastery as a storyteller becomes clear not only in the full-length ballet, but also in the suites he composed based on it, for the storyline is strongly present in all of them. The suite to be performed tonight was composed in 1919.  The piece is a perfect reflection of the composer’s supreme talent in the art of narration, for it encompasses the entire story of the ballet in seven basic sections.  In the first movement, Introduction, the muted strings and bass drum show us a mysterious castle made out of stone in the middle of a dark forest.  Prince Ivan then comes, introduced to the audience by the bassoons and clarinets.  Suddenly, he sees a beautiful bird with flickering feathers represented by the strings, which takes us to the second movement.   The Firebird and Her Dance begins with the continuation of Prince Ivan’s vision on the strings.  The beautiful Firebird has entered the scene and it starts singing its theme with the woodwinds.  Prince Ivan, fascinated by her beauty, captures her.  Firebird, however, begs him to set her free.  Prince cannot resist this petition, and sets this heavenly creature free, who submits to Prince Ivan as a sign of gratitude toward the end of the movement. Thirteen princesses come out of the castle, which marks the beginning of the fourth movement Round Dance of the Princesses.  The princesses come out to the forest and start dancing when the strings begin playing one of the sweetest melodies of the suite.  One of the princesses captivates Ivan’s heart, who cannot keep his eyes off her while she and her twelve sisters dance.   When they finish their dance, the princesses go back into the castle, and Prince Ivan follows them in order to ask permission to marry the young dancer who has stolen his heart.  However, he does not find a King Father whom to ask permission to; instead he finds the demon Kastchei.  Despite the threat represented by the monster, Ivan’s love is too deep as to renounce it, and the Prince asks for permission to marry the Dancer.  Kastchei, however, does not approve, and calls to his demon servants to run after Ivan. Firebird, seeing his master in trouble, engages the demons in the fifth movement: Infernal Dance of the King Kastchei.  Firebird makes the demons dance to this energetic and violent music, which gives Ivan time to escape.  By the end of their dance, Firebird plays the Berceuse (Lullaby) in the bassoons, and puts the monsters to sleep, giving Prince Ivan an opportunity to come back and find his Dancer. When Prince Ivan returns, Firebird shows him the way to defeat Kastchei, liberate his prisoners, and find the Dancer.  Ivan, desperate to find his beloved, carries out all the tasks:  Kastchei is killed, the prisoners are set free, and Prince Ivan is now able to marry the Dancer.  The triumphant theme of the Finale starts in with the horns and then moves to the violins and woodwinds as the realization of victory comes upon every character in the ballet, as well as every instrument in the orchestra.  The theme is then transferred to the brass section of the orchestra, representing the absolute victory over Kastchei, closing what is now regarded as one of the most amazing pieces in the orchestra repertoire. ~ Program notes by Montserrat Picado Campos Sources "Igor Stravinsky". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 10 Apr. 2015 <http://www.britannica.com/EBchecked/topic/568550/Igor-Stravinsky>. Stephen Walsh. "Stravinsky, Igor." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 10 Apr. 2015.<http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg3>. "The Firebird". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 10 Apr. 2015 <http://www.britannica.com/EBchecked/topic/207905/The-Firebird>. May, Thomas. "Firebird Suite (1919 Version) | LA Phil." Firebird Suite (1919 Version) | LA Phil. N.p., n.d. Web. 10 Apr. 2015. Khan Academy. "Discovering Stravinsky's Firebird - The Story and the Music." YouTube. YouTube, 10 June 2014. Web. 11 Apr. 2015. * * * Matthew Schlomer is the conductor of the Interlochen Arts Academy Band, teaches conducting and classical saxophone at the Academy, and serves on the faculty at Interlochen Arts Camp. Previous positions have been at the University of Wisconsin-Madison, Luther College, Edgewood College, Kettle Moraine Lutheran High School and Sheboygan High School. He studied wind conducting with Scott Teeple and Allan McMurray, saxophone with Jean-Marie Londeix and Tom Myer, and dance with Kate Corby and Mary Brennan. He holds a doctoral degree in Instrumental Conducting with a minor concentration in Dance from the University of Wisconsin, a bachelor degree in Music Education from the University of Colorado at Boulder, and a gold medal in saxophone from Bordeaux Regional Conservatory in France. While at UW-Madison he twice received the Richard Church Memorial Conducting Award. Dr. Schlomer is an avid collaborator, creating events with artists in music, film, dance, creative writing, theater, and the culinary arts. He is resident conductor of the experimental percussion group Clocks in Motion and the Traverse City Dance Project. He serves internationally as a conductor, clinician and innovator in music education.  Carolyn Watson is the conductor of the Interlochen Arts Academy Orchestra and conductor of the Interlochen Philharmonic at Interlochen Arts Camp. Previously she was conductor-in-residence at the Conservatorium High School in Sydney, Australia. In 2012 she was a major prizewinner at the Emmerich Kálmán International Operetta Conducting Competition in Hungary and served as musical assistant at the Staatsoper Berlin for Infektion!, a festival of modern music. During 2010 she debuted with the North Czech Philharmonic Orchestra and was one of four conductors selected for Interaktion with musicians of the Berlin Philharmonic. In 2009, she assisted on a production of Carmen with the Israeli National Opera. Dr. Watson is the recipient of the Brian Stacey Award for emerging Australian conductors, a 2013-14 Dome Centenary Fellowship, a Churchill Fellowship, the Sir Charles Mackerras Conducting Prize awarded via the Australian Music Foundation in London, Opera Foundation Australia’s Bayreuth Opera Award and New Berlin Opera Award and the Nelly Apt Conducting Scholarship. In 2008 she conducted the World Youth Day Orchestra on the occasion of the Pope's arrival in Australia. She studied with David Zinman as a Fellow of the American Academy of Conducting at the Aspen Music Festival and School. Dr. Watson holds a PhD in Orchestral Conducting from the University of Sydney. Cameron Basden is director of dance at Interlochen Center for the Arts. She is committed to building and promoting the future generation of dancers and individuals through passion, excellence, creativity and skill development. At Interlochen, Ms. Basden has grown the number of dance students to capacity, committed to live music and establishes collaborative projects on a regular basis.  Ms. Basden has taken the dance division to New York, Chicago, Miami, Washington DC, Singapore and Paris. The division works with guests from the professional dance community performing works by Arpino, Balanchine, Fosse, Petipa and Tharpe as well as new commissions. Ms. Basden danced professionally with The Joffrey Ballet before becoming ballet master and co-associate director of that company.  She worked with all major choreographers and was a muse for Gerald Arpino in the creation of his ballets.  She is a board member and repetitieur for the Arpino Foundation and stages Arpino as well as other works.  Ms. Basden conceived and brought to fruition the first Joffrey Summer Intensive leading to the development of a Joffrey Academy in Chicago, worked on the PBS filming for their Dance in America series of The Joffrey’s production of Billboards, and oversaw the filming and staging of the ballets in Save the Last Dance.  In 2003, she portrayed herself in Robert Altman’s movie, The Company. Nicola Conraths-Lange, the director of the Comparative Arts program, has extensive experience in a wide range of artistic collaborations. A dancer by training, Ms. Conraths-Lange is also a choreographer and author. In her cross-disciplinary work she is interested in projects where artists have the opportunity to discover and develop a shared vocabulary, working across art forms to create pieces that are truly collaborative. Ms. Conraths-Lange’s interest in Performing Arts Medicine has led to research and presentations on injury prevention and performance enhancement for dancers and musicians, and has been presented at conferences in the United States, Singapore, Europe and New Zealand. During her recent sabbatical she traveled the globe anti-clockwise and investigated GAGA, Ohad Naharin’s movement language in Tel Aviv, Israel. Candace Hughes, completing her 25th year at Interlochen Center for the Arts, is lead costume designer for the theatre and dance divisions of Interlochen Arts Academy and Interlochen Arts Camp, of which she is an alumna. She is a graduate of Western Michigan University, where she has served as a guest costume designer for the dance department. In the Washington, D.C. area, Ms. Hughes was an award winning costume and scenic designer for community theater and regional opera, a costume shop supervisor for Wolf Trap Opera Company, part-time stitcher at Arena Stage, and a graphic designer/illustrator. * * * INTERLOCHEN ARTS ACADEMY BAND Elizabeth Fedewa, manager PICCOLO Yu-Jin Lee, S.C. Taiga Ultan, N.Y. FLUTE Charlotte Angier, N.J. Indigo Fischer, Ark. Eboni Goar, Ga. Yu-Jin Lee, S.C. Alexandra Ong, Ohio* Taiga Ultan, N.Y. ALTO FLUTE Indigo Fischer, Ark. OBOE Ha Young Cho, South Korea Robin Cook, Ore. Ryoei Leo Kawai, Japan* David Norville, Fla. E-FLAT CLARINET Gabriel Guerra, Fla. CLARINET Gabriel Guerra, Fla. Seung Min Sara Han, South Korea Emily Hinojosa, Mich. Martin Kocev, Macedonia* Katelyn Waffer, Fla. Sirui Lily Wang, China ZiKang Tony Wang, China BASS CLARINET Kevin Becker, Ill. BASSOON Jensen Bocco, Fla. Henry Johnson, Wash. Emily Simpson, Ky. Tamara Snyder, Texas CONTRABASSOON Jensen Bocco, Fla. ALTO SAXOPHONE Brady Cramer, Mich. Donovan Elliott, N.C. Naomi Walerys, Fla. * TENOR SAXOPHONE Caitlin Aylmer, Mich. BARITONE SAXOPHONE Benjamin Janis, Vt. TRUMPET Sean Alexander, Calif. Kyle Braun, Ohio Kaitlyn Compitello, Ohio Miguel Angel Cubero Navarro, Costa Rica Nicholas Gotham, Texas Cedric Merrills, Mich. Abigail Rowland, Hong Kong FLUGELHORN Sean Alexander, Calif. Kyle Braun, Ohio HORN Niza Garcia, Texas James Edwin Leech, Pa. HORN cont. Natalie Myers, Mich. Elisabeth Pesavento, Wash. Jaimee Reynolds, Mich. TROMBONE Christopher Colby, Texas* Simon Lohmann, Wis. Sam Silverman, Calif. BASS TROMBONE Simon Lohmann, Wis. EUPHONIUM Logan Boyle, Alaska Ada Brooks, Mont. * TUBA Cristina Dougherty, N.M.* HaoNan Alan Liao, China James MacKenzie, Ohio HARP Zi Rose Li, China Edward Manuel, Mich.* STRING BASS B. Steven Trinkle, Miss. PERCUSSION Andrew Alford, Calif. Stephen Karukas, Calif. Justin Ochoa, Texas Joshua Pearlmutter, Ariz. Mitchell Vogel, Fla. Meicheng Wang, China* *Denotes Principal INTERLOCHEN ARTS ACADEMY ORCHESTRA Lyndsay Hunter, manager VIOLIN I Dolores Checa Jose, Mexico Monserrat Siles Umana, Costa Rica Nathaniel Heyder, D.C. Alia Gribbon, Minn. Laura Carther, Iowa Ian Sponseller, Ind. Pia Bucci, Mass. Carson Bohner, Tenn. RachaelJanai Pace, Fla. Samuel Zamora, Costa Rica Ximena Calderon Morales, Costa Rica Christopher Polhamus, N.M. VIOLIN II Jillian Johnson, Nev. Deurim Jung, Kyrgyztan Colli Chan, Canada Joseph Gray, Mich. Sarah Hoffman, Md. Clare Wescott, Mich. Stephanie Fang, Md. Thomasina Fizdale, Ill. Karo Arutyunyan, Turkmenistan Tobin Castellano, Wash. Akili Burton, Ind. VIOLA Joseph Skerik, Mich. Claire Satchwell, Calif. Momo Suzuki, N.J. Katherine Jagla, Ind. Isaiah Polk, Ohio Essien Duke, N.Y. Santiago Mendez Vigata Romero, Mexico Anne Eyckeler, Fla. Alexa Eyckeler, Fla. Gabriella Trulli, Fla. CELLO Aliya Ultan, N.Y. Tianlu Jerry Xu, China Harry Wilde Greer, Calif. Annika Krafcik, Calif. Sarah Nail, Ala. Kyle Stachnik, Mich. Sophia Spiegel, Ill. Daniel Agusto, N.Y. Gwenfrewi Burger, Minn. Abigail Monroe, N.M. Emma Goulet, Ill. Timothy Brewer, Mich. DOUBLE BASS Max Mulpagano, Ind. Wenqing Camilla Fu, China Ryan Avila, Mich. Hsuan-Yu Lin, Taiwan Lawrence Hutfles, Mich. B. Steven Trinkle, Miss. Matthew Scott, Md. FLUTE Mei Stone, Texas Kennedy Wallace, Texas Eboni Goar, Ga. Indigo Fischer, Ark. Zoe Stier, Mich. OBOE Izabella Deeg, Ala. Megan Mahoney, Va. Lucian Avalon, N.M. Ha Young Cho, South Korea CLARINET Mason Sangster, Ark. Sydney Lusby, Texas BASSOON Corbin Krebs, Nev. Kelly Haines, Nev. Harrison Short, Neb. TRUMPET Andrew Conover, N.J. Luke Schwalbach, Ky. Madison Lusby, Texas Rachelle Miller, Md. HORN Natalie Myers, Mich. Elisabeth Pesavento, Wash. Jaimee Reynolds, Mich. James Leech, Pa. Niza Garcia, Texas TROMBONE Brett Kelly, Ark. Somer Joe Hornbuckle, Ore. Aaron Albert, S.C. TUBA Edmund Strominger, Ohio HARP Anya Garipoli, N.J. Alyssa Katahara, Va. PIANO/CELESTE Zi An Zhou, China PERCUSSION Kyle Martin, Conn. Adriano Macciocchi, Calif. Miyu Morita, Japan Joshua Pearlmutter, Ariz. Andrew Alford, Calif. Mitchell Vogel, Fla. * * * 50TH ANNIVERSARY PHOTO EXHIBIT IN CORSON In 2014 Interlochen Presents celebrated 50 years of bringing great artists to Northern Michigan. Please take a moment to enjoy the anniversary photo exhibit in the halls featuring some of our most celebrated and favorite guests. * * * UPCOMING HIGHLIGHTS OF THE 2014-15 PERFORMING ARTS SERIES Alexandre Tharaud Thursday, May 7 7:30 p.m., Dendrinos Chapel $32 adult, $29 senior and $10 student Discover one of France's leading pianists.   Stuart Dybek Thursday May 14 7:30 p.m., The Writing House $18 adult, $15 senior and $10 student Discover a master of the American short story. “The King and I” Interlochen Arts Academy Theatre Co. May 15 & 16 Corson Auditorium $25 adult, $22 senior and $10 student Travel to an exotic kingdom with the Interlochen Arts Academy Theatre Co. as they present one of the marvels of the musical stage. For information and tickets, visit tickets.interlochen.org * * * In consideration of the performing artists and other patrons, the use of flash photography is not permitted. Federal copyright and licensing rules prohibit the use of video cameras and other recording equipment. In order to provide a safe and healthy school, Interlochen maintains a smoke-free and alcohol-free campus. Michigan law prohibits any weapons, including concealed weapons, on Interlochen property because we are an educational campus. Thank you for your cooperation. www.interlochen.org