Partnering with The Arboretum at Penn State, Penn’s Woods Music Festival presents an evening of music performed outdoors in the Garden Rooms and on the Event Lawn of the H.O. Smith Botanic Gardens. Concertgoers are encouraged to arrive early, place your chairs or blankets on the Event Lawn, and then explore the beautiful gardens with musicians tucked throughout the gardens. Before returning to the Event Lawn for the 7:00 p.m. concert, wander through the gardens and enjoy the beautiful offerings planted there. We encourage you to visit the Arboretum’s Visitor Information site to learn about the gardens and the policies that help keep the grounds beautiful and safe.

2024 brings a new ensemble to the festival – The Penn’s Woods Wind Symphony!   Under the baton of conductor Dr. Tonya Mitchell-Spradlin, the ensemble boasts a roster of talented musicians drawn from the finest wind players in the region. From exhilarating symphonic works to stirring marches, from enchanting overtures to vibrant contemporary compositions, the ensemble’s performance is sure to captivate audiences of all ages and musical tastes.

Before the concert, please plan to arrive early, place your chair or blanket on the event lawn, and wonder through and explore the beautiful gardens. From 6:00-7:00 p.m. aspiring musicians will be planted within the gardens to perform for you.

PROGRAM

• American Overture	Joseph Wilcox Jenkins
  American Hymnsong Suite	Dwayne Milburn
  I. O Wondrous Love
  II. Balm in Gillead
  III. Scherzo on Nettleton
  IV. March on Wilson
  Someone to watch over me	George and Ira Gershwin
  On the Mall March	E.F. Goldman
  American Salute	Morton Gould, arr. Lang
  Adoration	Florence Price
  John Williams in Concert	John Williams, arr. Lavender
  First Suite in E-flat	Gustav Holst – Matthews
  I. Chaconne
  II. Intermezzo
  III. March
  Stars and Stripes Forever	John Phillips Sousa

Penn’s Wood Wind Symphony

Program

Nuits d’Afrique (2015) | Judith Wier
Berceuse
Le tam-tam
Crocodile
Le village

Naomi Seidman, flute
Jonathan Dexter, cello
Joanne Yang, piano
Melinda Brou, soprano

Nuits d’Afrique was written as a companion piece to Ravel’s Chansons madécasses and shares its instrumentation; soprano, flute, cello and piano. In response to Ravel’s texts (by Évariste de Parny, who claimed that his ‘Madagascar Songs’ were translations from folk sources, although he had never been there), I searched for poetry by contemporary African women, and found it in Irène Assiba d’Almeida’s French-language anthology A Rain of Words. The three writers represented here, Fatou Ndiaye Sow, Véronique Tadjo and Marie-Léontine Tsibinda come from Senegal, Ivory Coast and Congo-Brazzaville respectively. All were born in the 1950s. The poems evoke local life: a lullaby, the sound of drums, the appearance of a crocodile. The final poem, describing the continuity of village life, closes with a simple invocation which may recall the ending of Ravel’s composition. Nuits d’Afrique is warmly dedicated to Ailish Tynan. My thanks also to Michel Vallat for his advice about French prosody. – J.W

Sonata for Bassoon and Piano (1999) | Andre Previn
With energy
Slowly
Vivace, very rhythmic

Margaret Fay, bassoon
Timothy Shafer, piano

This piece was featured in the 2011 International Double Reed Society Young Artists Competition. Written for Nancy Goeres, who premiered the piece in 1999 with the composer at piano.

Love Let the Wind Cry…How I Adore Thee | Undine Moore Smith
My Man’s Gone Now | DuBose Hayward / George Gershwin
Summertime | DuBose Hayward / George Gershwin

Gabriella Sam, soprano
Maeve Berry, piano

Jazz performances supported by Gordon and Caroline De Jong and the Michael J. and Aimee Rusinko Kakos Endowed Dean’s Chair in the College of Arts and Architecture

Get ready for a night of swinging rhythms and bold brass as the Center Dimensions alumni jazz ensemble reunites for an electrifying concert celebrating the golden era of big band music. The emsemble will be led by legendary School of Music emeritus Professor Dan Yoder, Professor Joshua Davis, and Jeff Kunkel, ’82, ’95g. Step back in time as these seasoned musicians come together once again to reignite the fire of their shared passion for jazz. Join us for an evening of toe-tapping tunes, soulful solos, and swinging rhythms as the ensemble brings the magic of the big band era back to life. Whether you’re a seasoned jazz aficionado or a newcomer to the genre, this concert promises to be a night to remember, filled with the timeless sounds of an era gone by. But this concert is more than just a trip down memory lane; it’s a celebration of camaraderie and the enduring spirit of jazz. As the alumni musicians take the stage once again, their shared history and love for the music shine through, creating an atmosphere of warmth and nostalgia that is sure to resonate with audiences of all ages.

We welcome back to campus alumni of Centre Dimensions, the School of Music’s premiere jazz ensemble. This group represents three decades of graduates of the Penn State School of Music, reuniting for this weekend with their former director, Dan Yoder, former graduate assistants, past and current faculty. We are thrilled to shine a spotlight on these alumni: successful musicians and accomplished professionals all.

Program announced from stage.

SAXOPHONE
Patrick Feher ’17 (alto)
Nick Nutter ’19 (alto)
Tim Powell ’03 (tenor)
Rich Nasto ’99g (tenor)
Matt Donovan (bari)

TRUMPET
Brent Turney ’00
Max English ’18
Larry Detwiler ’89
James Eldreth ’17g, ’24g
Alex Schwind ’15g
Christopher Hutton ’18

TROMBONE
Bruce Tychinski ’92 ’95g
Robert Borger ’02
Dan Weiner ’99 ’01g
Brittany Bidding ’10 ’12g (bass)

Keyboard
Jeff Kunkel ’82, ‘95g

Bass
Kelly Detwiler ’90
Josh Davis**

Drums
Aaron Burkle ’02

Guitar
Mac Himes

Il matrimonio segreto (Overture) | Domenico Cimarosa
The Secret Marriage

In the overture to “Il matrimonio segreto,” Cimarosa invites listeners on a journey of musical delight and theatrical enchantment, setting the stage for the delightful comedy of errors that is about to unfold. With its infectious melodies, lively rhythms, and irrepressible charm, Cimarosa’s overture captures the essence of the opera in miniature, offering a tantalizing taste of the delights that await audiences within. As the music fades into silence, listeners are left with a sense of joyful anticipation, eagerly awaiting the curtain rise on one of the most beloved operatic masterpieces of the classical era.

Sinfonia Concertante, K364 in Eb Major for Violin and Viola | W. A. Mozart
Allegro maestoso
Andante
Presto

In the Sinfonia Concertante, Mozart demonstrates his unparalleled ability to create music of timeless beauty and enduring appeal. Through his masterful craftsmanship and profound emotional expression, Mozart invites listeners on a journey of musical discovery and artistic exploration, leaving an indelible mark on the history of classical music.

Soloist:

Jeffrey Zehngut, violin Gareth Zehngut, viola

Symphony No. 1 in D Major, CG 527   | Charles Gounod
Allegro molto
Allegretto moderato
Scherzo. Non troppo presto
Finale. Adagio – Allegro vivace

In Symphony No. 1 in D Major, Gounod demonstrates his profound reverence for the classical symphonic tradition while also infusing the music with his own distinctive voice and Romantic sensibility. Through his masterful command of orchestration, melodic invention, and classical form, Gounod creates a work of timeless beauty and enduring appeal that continues to captivate audiences around the world.

Program

Trio for Oboe, Violin, and Cello (1935) | Grayžna Bacewicz
Adagio – Molto Allegro
Andante
Vivo

Andreas Oeste, oboe
James Lyon, violin
Stephen Feldman, cello

Le Temps Viendra (1998) | Cecilia McDowell

Robyn Dixon Costa, oboe / English horn
Anthony Costa, clarinet / bass clarinet
Timothy Shafer, piano

In the autumn of 1997, a rare illuminated manuscript came up for sale at one of the London auction houses. It was the Book of the Hours which had once belonged to Henry VIII’s ill-fated second wife, Anne Boleyn. It was discovered that she had made a significant entry on the page of the Day of Judgement. In her neat handwriting were the ominous words, ‘le temps viendra’ (the time will come). Written for oboe, clarinet, and piano, Le Temps Viendra contemplates Anne Boleyn’s premonition of her own death. In the piano accompaniment, the tolling of 13 bells give structure to the piece and the oboe and clarinet’s dark-hued cousins, the English horn and bass clarinet underpin the appearance of the song. The solo instruments fragment the tune in a hocketing style; this was a medieval practice of sharing a single melody between two voices, giving strong rhythmic impulse.

Variations on a Theme by Robert Schumann Op. 20 | Clara Schumann

Maeve Berry, piano

This work is one of the last Clara composed for piano. She presented the piece to Robert Schumann, her husband, for the last birthday he spent with his family. Inspired by this example, Johannes Brahms composed his own Variations on a Theme by Robert Schumann, Op.9 and dedicated them to Clara.

Six Songs | Johannes Brahms arr.Salter/Geringas
In Summer Fields, Op. 86, No. 2
Like Melodies, Op. 105, No. 1
Sapphic Ode, Op. 94, No. 4
Lullaby, Op. 49, No. 4
True Love, Op. 3, No. 1
Lovesong, Op. 71, No. 5

Stephen Feldman, cello
Maeve Berry, piano

Suite for Flute, Oboe, Horn, and Piano | P. Brent Register
Joyous
Romance
Waltz
Hornpipe

Cathy Herrera, flute
Brent Register, oboe
Sarah Schouten, horn
Paula Amrod, piano

Jazz performances supported by Gordon and Caroline De Jong and the Michael J. and Aimee Rusinko Kakos Endowed Dean’s Chair in the College of Arts and Architecture

Join us for an evening of sophistication and soul as we pay homage to the great composers and lyricists who have left an indelible mark on the fabric of American music. The Great American Songbook is the treasure trove of jazz standards that emerged during the 20th century, embodying the essence of American musical ingenuity. From Gershwin to Porter, these timeless compositions epitomize the golden era of jazz, blending elements of swing, blues, and Broadway into unforgettable melodies. Tonight we present these classics – with a twist!

Program will be announced from the stage.

Meet the Musicians:

Armenian born New York City based vocalist composer and pianist Astghik Martirosyan is drawing from a variety of sonic worlds — ranging from classical piano, traditional Armenian folk music, to jazz and contemporary improvisation. Astghik is a recent recipient of Magos Herrera Female Immigrant Musician Award (2022). Speaking of her work jurors noted “She is very thoughtful about bringing together elements of her tradition with her creative and jazz language. There’s a real voice there”. In parallel to pursuing bachelor’s degree in classical piano at Yerevan Komitas State Conservatory, Astghik was already actively performing as a jazz vocalist with various ensembles including Armenian State Jazz Orchestra in Armenia and abroad. Her artistic collaborations lead to moving to the United States, where Astghik recently finished recording her debut album “Distance” that will be released in the Fall of 2023. Astghik recently graduated from New England Conservatory of Music with Master’s Degree in Jazz Performance. At NEC she studied with Dominique Eade and Frank Carlberg.

Vardan Ovsepian is an Armenian-born pianist/composer whose studies include Yerevan State Conservatory, Estonian Music Academy, Helsinki Jazz Conservatory, and Berklee College of Music. From the early years Vardan was fascinated by the blend of western classical music with jazz, and has been in perpetual search for unique ways of incorporating the hybrid formation in his composing and improvising. Consequently a semi-large chamber ensemble (VOCE) was formed in 2005, focusing on the cinematic approach in the musical narrative. Throughout the years Vardan has also developed a remarkable angular geometric world, connected to his background in chess, and his attraction to minimalism and modern architecture, resulting in the publication of 2 books: Mirror Exercises (2011) and Permutation Studies (2020). Presently Vardan resides in Los Angeles, and instructs at CalArts. He has also been an adjunct faculty member and guest artist at the Penn State School of Music.

Sean Rickman is a native of Georgetown, Washington DC. He began playing drums at age one, guitar and bass at seven years old, wrote music and recorded multi-track demos as a teen. The artists that impacted him throughout his early years were  Al Green, Parliament/Funkadelic and a lot of James Brown. Then along came Kiss, The Beatles, Jimi Hendrix, Stevie Wonder, The Isley Brothers, Van Halen, Allan Holdsworth, Tony Williams, Yngwie Malmsteen, Prince, Iron Maiden, Anthrax, Dio, Black Sabbath, Mother’s Finest, Rush, John McLaughlin & Mahavishnu Orchestra, Greg Howe, Vinnie Colaiuta, Yes, Jaco Pastorius, Narada Michael Walden, Weather Report, Miles Davis, John Coltrane, Pat Metheny, Sly and the Family Stone, Larry Graham and Graham Central Station, Chaka Khan & Rufus, and many more artists were amongst his private collection of music. In 1990 Sean traveled to Los Angeles and landed a recording contract with independent label Third Stone Records along with a publishing deal with Warner Chappell Music. In 1991 he landed a production deal with Ardent Studios in Memphis, TN where he also met guitarist Shawn Lane. Rickman has been working professionally as a drummer for a number of years since 1992 touring and recording with guitarist Shawn Lane, guitarist Phil Upchurch (his father), singer Angela Bofill, singer Maxwell, saxophonist Steve Coleman, singer/bassist Meshell Ndegeocello, keyboardist George Duke, Dapp Theory, trumpeter Randy Brecker, Garaj Mahal, Tribute To Miles (featuring bassist Marcus Miller, pianist Herbie Hancock, saxophonist Wayne Shorter and trumpeter Sean Jones), and bassist Matthew Garrison amongst others. “The Rick” is a nickname used by close friends during childhood. He performs and records all vocals, guitars, bass, and drum tracks on every recording. Always pushing the envelope with his style of rock, the future beholds much more to come. One released in 2012 features 14 original songs performed and produced by The Rick. The new release Zoom in 2016 features 11 tracks of new music.

Joshua Davis was appointed as the director of Jazz at Penn State in Fall 2022. Dr. Davis joined the Penn State music faculty in 2018 as a lecturer, teaching classical and jazz double bass and ensembles. He was an awarded leader of curriculum development at Berklee College of Music where, as one of the youngest faculty members, he taught for six years. Internationally-acclaimed performances include concerts at the Kennedy Center, Carnegie Hall, the National Concert Hall in Taiwan, Lincoln Center, Meyerhoff, the Blue Note Jakarta, Bimhuis Amsterdam, and Strathmore Hall. Internationally-recognized performances include televised concerts in Turkey with Randy Brecker, Sean Rickman, and Timucin Sahin, a U.S. Dept. of State-sponsored Armenia concert with Jerry Bergonzi and Vardan Ovsepian, and numerous other concerts with The Ritz, the Baltimore Symphony Orchestra, The Four Freshmen, Tim Miller, Ben Monder, Peter Erskine, Mark Ferber, and many others.

El círculo imaginado | Guillo Espel

“El círculo imaginado” by Guillo Espel is a captivating musical journey that invites listeners into a world of imagination, wonder, and introspection. Composed in the 21st century, this evocative piece showcases Espel’s unique compositional voice and his ability to create music that is both intellectually stimulating and emotionally resonant.

The title, “El círculo imaginado,” translates to “The Imagined Circle,” suggesting a realm where reality and fantasy intertwine, where the boundaries between the tangible and the intangible blur. Indeed, from the opening notes of the piece, Espel transports listeners into a dreamscape of swirling melodies, ethereal harmonies, and otherworldly sounds. “El círculo imaginado” is a testament to the power of music to transport us to new and wondrous worlds, leaving a lasting impression on all who hear it.

Variations on a Rococo Theme, Op.33 | Pytor I. Tchaikovsky
Moderato assai quasi Andante
Thema. Moderato semplice
Var. 1. Tempo della Thema
Var. 2. Tempo della Thema
Var. 3. Andante sostenuto
Var. 4. Andante grazioso
Var. 5. Allegro moderato — Cadenza
Var. 6. Andante
Var. 7 e Coda. Allegro vivo

Soloist:

Kim Cook, cellist

Tchaikovsky’s “Variations on a Rococo Theme,” Op. 33, for cello and orchestra, is a radiant gem in the repertoire, showcasing the composer’s gift for lyrical melody, elegant orchestration, and mastery of form. Composed in 1876, during a period of burgeoning creativity for Tchaikovsky, this work pays homage to the elegance and charm of the Rococo style while infusing it with Tchaikovsky’s unmistakable Russian sensibility and Romantic fervor.

Symphony No. 8 in F Major, Op. 93 | Ludwig van Beethoven 27’
Allegro vivace e con brio
Allegretto scherzando
Tempo di Menuetto
Allegro vivace

Beethoven’s Symphony No. 8 in F Major, Op. 93, stands as a testament to the composer’s mastery of the symphonic form and his innovative spirit. Written in 1812 during a period of great creativity for Beethoven, this symphony defies the expectations of its time with its brevity, wit, and unabashed musical inventiveness. In Symphony No. 8, Beethoven demonstrates his unparalleled ability to marry technical brilliance with profound emotional expression, creating a work that is both intellectually stimulating and deeply moving. From its spirited opening bars to its triumphant finale, Symphony No. 8 stands as a testament to Beethoven’s enduring legacy as one of the greatest composers in the history of Western classical music.