Program Notes
This page contains additional program notes for select LSU College of Music & Dramatic Arts events. These notes may include biographies, information about the works performed, or thematic context about a performance.
Click here to view the programs themselves.
LSU Symphony Orchestra
April 26, 2024 // 7:30 p.m. // Union Theater
Joseph Haydn - Trumpet Concerto in E-flat major, Hob. VIIe:1
Joseph Haydn composed a total of 29 concertos, with the Trumpet Concerto being a favorite among classical music enthusiasts. The concerto was a well received innovation written to help establish a new valve system technology thanks to the experimentation of Anton Weidinger, trumpeter in Vienna's Imperial Court Orchestra. These new features increased the trumpet's capabilities by enabling the production of previously impractical chromatic tones.
The third movement played this evening combines elements of sonata and rondo, with a recurring main and secondary theme, a development section exploring different tonalities, a recapitulation, and a victorious coda. The virtuosity of the solo trumpet part is showcased with quick trills, complex melodic leaps, and chromatic passages that were previously thought impractical for the trumpet.
The orchestra starts this energetic allegro movement with an introduction presenting the memorable first and second themes. Then the solo trumpet takes the forefront, restating the bright exposition. At the development stage, these melodies will undergo harmonic shifts to Ab major and F minor, demonstrating the innovative valve system's versatility while taking the listener on a journey through different tonal centers. Both the primary and secondary themes return in the tonic key of E flat, with subtle modifications added to each, such as legato passages in the strings or light woodwind textures. In this final coda, we see an organized abundance of compositional techniques, including trumpet trills combined with smooth dove-tailing strings, fortissimo to pianissimo contrasts and a dramatic pause of two measures, all followed by a victorious cadential fanfare with the soloist and orchestra meeting for this heroic ending in tonic E flat.
- Program notes by Carlos Eduardo Orta
Édouard Lalo - Cello Concerto in D minor
Édouard Lalo, a native of France, is renowned for his Symphonie Espagnole, a five-movement concerto for violin and orchestra. One year later, he composed his Cello Concerto in D minor, another great concerto in the cello repertoire.
The finale of the cello concerto begins with the tutti cello and bass establishing a backdrop harmony within the key of B-flat minor. The cello solo enters with a cadenza-like passage, flowing in its timeless expressivity. As the lower strings develop a harmonic direction, the music’s pulse becomes more settled, leading into the Allegro Vivace section with a tutti ensemble.
The fast section commences in F major and later modulates to D minor. This movement showcases Lalo’s skillful blending of sonata, rondo, and concerto forms. The primary theme emerges upon the cello solo’s return, firmly rooted in D major. With the tarantella-style rhythm as the predominant motif, the movement highlights the soloist’s virtuosity. Through the interplay between the solo cello and the tutti orchestra, themes are reprised in various orchestrations, highlighting the rondo form. The piece concludes by featuring the soloist and brass section, culminating in an exciting tutti conclusion.
- Program notes by Francis Ku
Jean Sibelius - Symphony No. 2 in D Major, Op. 43
Jean Sibelius is widely regarded as the greatest composer of Finland, renowned for his works such as Finlandia, Karelia Suite, Valse Triste, Violin Concerto, and the seven symphonies. Sibelius’s Symphony No. 2 in D major was composed in 1901, about a year after the success of Finlandia. This period was notable as Finland was in the process of becoming independent from Russia, and the composer was suffering from personal tragedy as he lost his youngest daughter. Following this difficult time, Sibelius embarked on a two-month journey to Italy with his family and began sketching this symphony.
Sibelius’ works offered distinct soundscapes. His masterful use of instrumentation within the framework of the sonata form showcased his ability to weave thematic ideas into melodies that narrate the musical throughline. The second symphony opens with Allegro in 6/4 time, repeated notes in unison at the strings section, creating a pastoral atmosphere. A melodic tune is then introduced by the oboe and clarinet, later joined by the horn chorus. This captivating opening highlights Sibelius’s distinct use of strings, woodwinds, and brass throughout the work, painting vivid scenes of nature, both sunny and icy.
The second movement, Andante, begins with timpani, followed by pizzicato passages by the double bass then cello, leading to the entrance of duo bassoons. Sibelius infuses the movement with a sense of uncertainty through sweeping gestures, hemiolas, and powerful brass passages punctuated by moments of silence.
The third movement embodies Sibelius’s scherzo style, demanding virtuosity from the strings in Vivacissimo tempo. It is followed by a slow section, led by the oboe and accompanied by the rest of the woodwinds. The movement is constructed with a repeated fast-slow section. In the second slow section, it incrementally builds momentum, setting the stage for the grandeur arrival of the fourth movement.
Continuing seamlessly from the third movement, the finale begins distinctly in D major, employing full instrumentation to present a variation of the three-note theme from Movement I. This is followed by repeating eighth notes in the violas and celli, providing the foundation for the dark secondary theme in F-sharp minor. The theme reprises, initially by the woodwinds, and gradually intensifies with dynamics, instrumentation, and texture. The symphony closes with a grand climax to the work, indicating an epic conclusion to the musical journey.
- Program Note by Program notes by Francis Ku
Really, Really New Music Marathon
April 29, 2024 // All Day
Puis qu’en oubli
Guillaume Machaut (c. 1300-1377), arr. David Walters, electronics: Kerem Ergener
In its original form, Machaut’s Puis qu’en oubli R18 is a straightforward ars nova rondeau scored for three voices. The uppermost voice carries the melody while the other two [added by Machaut sometime later] sustain the harmony. Presently, the harmony and counterpoint have been expanded to four voices and the melody fragmented, traveling throughout the texture. As the architecture broadens to accommodate subsequent divisi and the tessitura rises, various melodic lines are abandoned or overtaken by increasingly desperate waves of melancholy. Furthermore, this arrangement takes on a whole new meaning with the addition of electronics. During the performance, the electronic sounds are created live on stage from the recorded sounds of the choir. The swelling tones and glitchy texture are layered with the voices to create a unique sound not often heard in choral concerts. This innovative conflagration of modern technology, contemporary choral techniques, and ars nova style poignantly captures what it means to be forgotten by someone to whom you imagined you were unforgettable.
- David Walters and Kerem Ergener
fleeting feeling
Taylor Stoddard
I reworked this piece with a vague sonata form in mind, with a glitchy and moody developing section that contrasts with a dreamy, melancholic chorus. I was also messing with random radio frequencies and felt that the contrasting topics they talked about fit into the unease of the piece. What it all makes you feel is up to you.
Space Between Us
Andrew Valentine
Just some good sounds!
Avian Tooth
Joseph Brooks
Avian Tooth is a study in the self-modulation of recorded sound. As the piece progresses, sampled birdsong is sliced, rearranged, and processed with comb filtering, thereby slowly morphing an everyday sonic occurrence into a metallic, mechanical growl. This growl is then modulated by the original audio sample itself, adding an additional level of complexity and movement as parameters like feedback, delay, and gain are slowly and nonlinearly shifted. Controlled improvisation adds additional narrative structure, allowing each performer to imbue the piece with their own narrative.
Airs After Purcell (12')
1: "O, Solitude"
2: "They That Go Down to the Sea in Ships"
Devin Bureau
The first two movements of art song cycle paying homage to English Baroque composers Henry Purcell. The cycle sets texts previously set by Purcell reminiscent of the Baroque style while still being clearly 21st century.
Beatriz
Filipe de Matos Rocha
Beatriz was composed in Brazil in 2021. In early 2024, while in the United States, I made minor adjustments and decided to name it in honor of my daughter, also born in 2021. Initially conceived for violin and piano, I chose to finalize it to be performed with cello and piano after meeting Professor Dennis Parker.
I remember that, during the preparations for my daughter's arrival, I was immersed in studying the various heptachords, exploring their characteristics from a modal perspective. Because of this, I chose the heptachord 0125689, referred to by Vincent Persichetti in his book Harmony: Creative Aspects and Practice (1961, p. 44) as Hungarian Minor, for this piece.
Ian Ring (2009), in his exhaustive research on the properties of musical scales, assigns names to the other six modes of this heptachord, such as Ultraphrygian, Asian, Double Harmonic, Double Harmonic Minor, Ionian Augmented Sharp 2, and Lydian Sharp 2 Sharp 6. For this piece, I chose the Asian (014569A) as the main scale, and Double Harmonic (014578B) and the Hungarian Minor (0125689) as secondary in its harmonic structure. Additionally, the rhythmic form Jongo, a Brazilian genre known as the “father of samba,” is a distinctive feature.
yet to come
Elena Cook
A melodic electronic composition
Wind On Fur
Mary Moore
This piece is about my experience at Yellowstone National Park in Wyoming, where I saw a white wolf. It is meant to evoke the beauty and serenity of nature. The parts flow freely amongst themselves, but the overall sound is still consonant and organized. It represents how nature is untamed and wild, which is the source of its beauty.
Serenation
Ethan Barker
This piece demonstrates a wide variety of preparation around the vibraphone, using two snare drums and the vibraphone's motor to create atmospheric “white-noise.” The pitched pipes are also cradled with aluminum foil to emulate an acoustic “8-bit crush” timbre.
Waltz of the Unsound Mind
Ethan Strunc
A duet written for bassoon and piano that is inspired by the concept of a mind's descent into madness
Floral and Radial (Primordial Lilacs and Prismatic Pi)
Justin Youngblood
This is a fixed media piece made for oscilloscope. It was rendered in Blender and then ported into OsciStudio. The piece uses geometric shapes to create flower-like patterns in a rhythmic and harmonic meditation that is a journey for ears and eyes alike.
No Sad Good-Byes
Dakota Kennedy
Based on the hymn Beulah Land, this piece explores themes of loss and acceptance. Featuring text by poet Rebecca Morgan Frank and dedicated to my late sister Jana Kennedy Denning.
3 Afro-Baroque Dances - 1
Kenny Schafer
In my 3 Afro-Baroque Dances for solo cello, I attempt to integrate African melodic and rhythmic characteristics into Baroque dance forms. The first piece of the set is in D minor and contains two trios.
Break
Chance Fillastre
Just a small thing
Dirge for Two Veterans
Jacob Fontenot
Text by Walt Whitman:
The last sunbeam
Lightly falls from the finished Sabbath,
On the pavement here, and there beyond it is looking,
Down a new-made double grave.
Lo, the moon ascending,
Up from the east the silvery round moon,
Beautiful over the house-tops, ghastly, phantom moon,
Immense and silent moon.
I see a sad procession,
And I hear the sound of coming full-keyed bugles,
All the channels of the city streets they're flooding,
As with voices and with tears.
I hear the great drums pounding,
And the small drums steady whirring,
And every blow of the great convulsive drums,
Strikes me through and through.
For the son is brought with the father,
(In the foremost ranks of the fierce assault they fell,
Two veterans son and father dropped together,
And the double grave awaits them.)
Now nearer blow the bugles,
And the drums strike more convulsive,
And the daylight o'er the pavement quite has faded,
And the strong dead-march enwraps me.
In the eastern sky up-buoying,
The sorrowful vast phantom moves illumined,
('Tis some mother's large transparent face,
In heaven brighter growing.)
O strong dead-march you please me!
O moon immense with your silvery face you soothe me!
O my soldiers twain! O my veterans passing to burial!
What I have I also give you.
The moon gives you light,
And the bugles and the drums give you music,
And my heart, O my soldiers, my veterans,
My heart gives you love.
SHAPES - PART 1
TK MAC
I have been working on some interactive performance devices. This piece is a combination of messaging, audio, and code set to a combination of electroacoustic elements and triggering DMX, visuals, and sonic elements within the composition.
face
Treya Nash
Visit face.treyanash.com and use your cellphone to “sing” with your fellow audience members. Please turn up your cell phone volume. If you use an iphone, you may need to turn off silent mode
Erin Demastes and Dylan Burchett Perform “Golden Melons of the Sun” by Milton Subotsky
Dylan Burchett & Erin Demastes
According to Subotsky, other possible titles for Golden Melons of the Sun include:
Shining Gourds of the Star, Glistening Canteens of the Capital, Gleaming Beakers of
the Municipality, Bright Chalices of the Community, Blazing Cups of the Association,
Fiery Bowls of the Club, Combustible Basins of the Society, and Incendiary Lagoons
of the World.
Seer for Solo Bassoon
Mason Cox
By definition, a seer is a person who can see what the future holds through supernatural insight. Seer for solo bassoon is a narrative, "choose your own adventure" piece in ABA form. The A sections are fixed music, and the B section is a mobile where performers get to choose not only the material they perform, but also the order in which they are played. The beginning depicts falling into a trance state where the performer hones their intuition and sacred power so that they can see into their future. The B section represents the fragments of one's future that performers must interpret and piece together to tell their own story. The last section of the piece depicts the performer falling out of their trance state: the fragments of the future become more fragmented as technical passages build up and awaken the performer from their trance. The future is often blurry. We get fragments at most throughout life and there is no one correct path. Performers are encouraged to reflect on their life experiences and create their own path through the music to tell the story they want to tell.
text-to-glitch
Carlos G. Román
As an AI text model, I'm unable to directly generate sound or music files. However, I can certainly describe how one might create a sound piece using failed generative music tools as inspiration. First, gather various failed attempts or outputs from generative music tools. Use audio editing software to cut and manipulate these glitchy elements. Experiment with layering these manipulated elements on top of each other to build complexity. Arrange them in a way that creates an evolving soundscape, with moments of chaos interspersed with periods of relative calm. Finally, consider the concept behind the piece and give it a fitting name that reflects its glitchy nature. When presenting the piece, consider how you want to showcase it – whether as a standalone audio file, part of a larger project, or in a live performance setting.
The Becoming
Olivia Lunsford
This piece is the first in a series that sets the stage for the overarching narrative of “The Last Beginning,” a production by LSU Theatre that explores the plight of humanity's last survivors as they embark on a journey to inhabit Proxima B, a distant exoplanet. This piece introduces key themes such as hope, resilience, and the looming unknown. It also establishes the futuristic setting and the challenges that the characters will confront throughout the story. Overall, it serves as an entry point that captivates the audience's imagination and sets the tone for the epic tale that is about to unfold on stage.
1/5
Kerem Ergener and Kasey Ball
I only get five words? Shoot, that was five. Four more there. That’s three… two...
Embryonic
Carlos G. Román
A collaborative cellphone performance presented via a 360° video, enabling the audience to immerse themselves in both visual and auditory representations of fish embryo development at the microscopic scale. The audiovisual material focuses on bio-signals from killifish embryos, a fish species indigenous to the Louisiana region. The real-time exploration of visualizations and sound signals within the virtual environment from every member of the audience, creates an ever-changing drone-like piece.
Terra Fusion
Dominick Licciardi
Immerse yourself in the ethereal soundscape of Terra Fusion, an experimental ambient musical piece that seamlessly blends the elemental forces of water and earth. Through intricate layers of echoing drips, flowing currents, and earthy textures, this composition transports listeners to a realm where the gentle caress of water meets the grounded stability of earth. Harmonious melodies ebb and flow like tides, while deep, resonant tones evoke the ancient depths of the earth's core. Terra Fusion invites you to surrender to the symbiotic dance of these elemental forces, inviting introspection, tranquility, and a profound connection to the natural world.
Chewkeeper
Scott Nelson
Autonomous Sensory Meridian Response (ASMR) is a bio-sensory phenomenon where brain and spine “tingles” can be triggered in some people through visual, auditory, or imaginary stimuli. There is a wealth of social media content that targets ASMR, specifically. One of the most popular sub-genres is something called Mukbang—where people record the subtle sounds of eating and chewing food with very sensitive microphones.
Chewkeeper is zoo-animal mukbang.
You...Don't Remember?
Mason Cox
In my first wind quintet, I give a musical depiction of my great grandmother’s experience
living with dementia based on my own memories of her as well as what my family remembers
of her experience.
A mother of 8, great grandma Soledad Cardoza was a Mexican immigrant who displayed
some of the greatest feats of courage and compassion I think a human being ever could.
She moved to the United States with her husband to give themselves and their kids
a better life. She worked at the local hospital for an impressive 25 years, only spoke
Spanish until later in life, advocated for her kids’ education, had the best recipes,
loved to dance, had a green thumb, got her driver’s license at 50 while learning to
read and write English, and was extremely detail oriented. An avid sewer and an unrecognized
fashion designer, she made her family’s clothes and always made homemade meals with
fresh ingredients. She valued her family and often wrote back to her relatives in
Mexico. She took pride in how she presented herself and is remembered as being a “fashionista”
as she got older. In 2005, she was diagnosed with dementia and through the care and
love of the family she raised, she lived until 2018. The words the members of the
quintet speak during the performance are based off her experience, difficulties, and
actions from 2005 until 2018.
When one door closes, another...
Omar Ramirez
N/A
Crow's Bow
Jalia Payne
“Crow’s Bow” is a piece for alto flute and piano. It recounts the journey of a crow that possesses the talent to mimic and copy its environment, known as “Freeing the Tongue.” The piece is the sixth installment in a song cycle named Can You See Nature? that raises questions on how much we, as humans, pay attention to our surroundings and how nature interacts with itself.
Diptych - envisioned through performance by...
Rodrigo Camargo
Diptych is a piano piece divided into two contrasting movements. The composition triggered the imagination of Ericka and Irina, who channeled this inspiration through a dialogue between music and dance, creating embodied images that unfold into a depiction of existential contradictions.
90°, for solo viola
Roberto Mochetti
I was inspired when I watched a video of Garth Knox performing his fourth Miniature for Viola D'Amore, Passarelle, an improvised piece that is played in what he calls a “sarangi position”. This unusual position allows the player to press the string with the nail of their left thumb, creating a different timbre. After incorporating this position into my comprovisatory projects, I started to find new sounds and colors that are either unachievable or hard to make when playing in a regular position. 90° was born out of my attempts to standardize, practice and find a notation for these sounds. The piece is dedicated to Garth Knox.
Automaton
Victor Gischler
Automaton is written to explore relationships between guitar effects and string instrument techniques. As the piece progresses the texture of the ensemble slowly thickens. The metronome sound is set at 60 bpm, meant to imitate a clock hand.
Rise Again (Omen)
Henry Kiley
While much of my work over the last few years has been primarily inspired by the electronic music that sparked my interest in production and music in general, I also have a strong connection to rock music, specifically metal and punk. This song is the result of me attempting to fuse the dramatic saw-wave chords and buildups of future bass with the ragged edges and flat-wound snarl of a band like Motörhead or Metallica. This piece also marks the first time I've ever played bass guitar (an instrument I began learning last year) on one of my own recordings. The lyrics are also my way of replicating the raw, bleeding honesty of those other bands' own lyrics; much of the inspiration for them was taken from some major mental and physical health struggles I lived through in 2022 and early 2023. Thankfully, those days are behind me now, but I decided to keep writing this song in the hopes that someone going through the same hardships will hear it and feel heard themselves.
Nocturne
Jalia Payne
“Nocturne” is a piece for baritone and piano based on Madison Julius Cawein's poem of the same name. The poem celebrates the beauty and tranquility of nature at dusk while also conveying a sense of longing or anticipation for companionship amidst the serene setting. “Nocturne” is the final installment in a song cycle called Can You See Nature? that raises questions about how much we humans pay attention to our surroundings and how nature interacts with itself.
Ouija
Drew Farrar
Ouija is inspired by ouija boards. The performers are asked to place their instruments on a table and use glass slides to play them, turning the instruments themselves into ouija boards. As the piece progresses the electronics become increasingly disembodied from the performers.
Coming Soon!