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for flexible instrumentation and singing audience
premiered September 25, 2001
a cast of hundreds, including:
Conductors: Donna DiGrazia' Graydon Beeks. Eric Lindholm Audience leaders: Andrew Miller, Amar Shah, Emily Petrick, Jamie Pommersheim, Lynn Sarf, Rich Watkins, Valerie Dawley, Gwendolyn Lytle Instrumentalists: Alma Zook, oboe; Alfred Cramer,violin; Johannes Rittershausen, trumpet; Nikhil Gheewala, trumpet; Whitney Frisch,violin; Katherine Hagedorn, synth; Genevieve Lee, piano; Stewart Uyeda, soprano saxophone; Karl Kohn, piano; John Seery, alto sax; Mark Wolfmeyer, piano; Cynthia Fogg, viola; Caitlin Olsen, viola;p Ezra Buchla, viola; Ami Radunskaya, cello; Elizabeth Verner, cello; Ethan Bodnaruk, euphonium; Jennifer Allan, bass clarinet; Tom Flaherty, cello; Roger Lebow, cello; David Erickson,euphonium; Bill Peterson, organ; Daniel Tankersley, electric bass; Margaret Kohn, piano; Jeff Lewis, contra alto clarinet; Paige Weinheimer, piano Singers: the audience |
| Millennium Bridges is a piece for eleven instrumental parts and singing audience. Written in celebration of the reopening of Bridges Hall of Music after a year of renovations, the work was one of the first few pieces to be publicly performed in the hall in the new millennium, at least by some calendaric interpretations. In this celebratory concert it seemed appropriate (or at least fun) to have everyone in the room participate in the piece; therefore faculty, students, and audience all had roles to play. The eleven different instrumental parts and the two choral parts for the audience were directed by our three faculty conductors. Written in a quasi-minimalist style, the piece is based on the first four and last four notes of the alma mater, "Hail, Pomona, Hail." One of the motivations in renovating Bridges was to provide an ideal acoustical home for a new organ made by C. B. Fisk. Although the organ was installed last summer, the final voicing of its 3500 pipes would not be completed until the next year. For Millenium Bridges' premiere the builders gave organist William Peterson permission to use three notes These servde as cues for our audience singers and provided a tantalizing preview of the organ’s formal debut the following fall. |