One Giant Leap: A Tribute to ApolloJul 27, 2019 - 7:00pm
The Scott Center for Performing Arts - 5625 Holy Trinity Drive Melbourne, FL 32940
WINTORY Fermi’s Paradox (*SOUTHEAST US PREMIERE)
WINTORY Epic! (*SOUTHEAST US PREMIERE)
WILT The Phoenix (*SOUTHEAST US PREMIERE)
HORNER Music from Apollo 13
GIACCHINO Voyage (*SOUTHEAST US PREMIERE)
DAUGHERTY To the New World (*EASTERN US PREMIERE)
HURWITZ The Landing from “First Man” (*US PREMIERE)
VARIOUS Star Trek Through the Years
SHOSTAKOVICH Festive Overture
WILLIAMS Summon the Heroes
Mary Anne Kruger, soprano
Kristin Naigus, theremin
Austin Wintory, guest conductor
Kevin Wilt, guest composer
Where were you on July 20, 1969, when Neil Armstrong and Buzz Aldrin took mankind’s first steps on the lunar surface? In a program for the ages, your Space Coast Symphony Orchestra will present One Giant Leap: A Tribute to Apollo, a space-themed concert commemorating the 50th Anniversary of the moon landing. This celebration will feature the Southeast US premiere of composer Michael Daugherty’s To the New World, a three-movement work celebrating the 50th anniversary of the Moon landing. Also on the program is Voyage, a new work from Star Trek composer, Michael Giacchino, a musical depiction of what goes through an astronaut’s mind on the morning of a launch. The SCSO will also perform two exciting works from Austin Wintory, Epic! and Fermi’s Paradox. Two film scores will also be presented on the program, James Horner’s Apollo 13 and Justin Hurwitz’s Golden Globe winning score to First Man. The rest of the program includes selections from Kevin Wilt, John Williams, and Dmitri Shostakovich. The music will be enhanced by footage of the Apollo missions and other NASA programs, projected on a large screen above the orchestra.
Following the concert, join us outside for a Star Party in partnership with the Brevard Astronomical Society. There are a lot of incredible sights in the sky right now, including Jupiter, Saturn, binary and multiple star systems, as well as some open star clusters. Telescopes will be provided by the Brevard Astronomical Society including 4" refractors and up to a 16" reflecting telescope.Symphony for Everyone
American soprano Mary Anne Kruger studied voice with Margaret Harshaw and first went to Germany in 1992 when she completed a Master of Music degree at Indiana University. Since then she has lived in Europe building a repertoire of over 40 major roles and concerts. From 1994-2005 she was a member of the opera ensemble at the Hessische Staatstheater Darmstadt, and she has also guested in over 20 European theaters including the Bayerische Staatsoper- Nationaltheater in Munich, Staatstheater Stuttgart, the Latvian National Opera and Theater Basel.
Her prizes include a nomination in the category “Best Singer” in the 1997 Opernwelt Jahrbuch for her portrayal of Alcina. She was awarded the role of Donna Elvira in the 1996 Don Giovanni production at the Athens Concert Hall directed by Ruggiero Raimondi and conducted by Gustav Kühn. The “Sonderpreis der Wiener Staats-und Volksoper” at the 1993 Belvedere Competition secured for her a performance as Hanna Glawari (Die Lustige Witwe) at the the Wiener Volksoper. She was also awarded a DAAD scholarship (Deutscher Akademischer Austauschdient) to study at the Hochschule für Musik in Munich 1992-93.
In addition to her debut as Salome, Ms. Kruger’s 2008 engagements also included the role of Tatyana in Eugene Onegin with the Stadttheater Pforzheim to great audience and critical acclaim. That same month she also sang Donna Anna in Don Giovanni with the Stadttheater Geissen. In April and May of 2008 she sang the role of Cio-Cio-San with Theater Freiburg and Theater der Stadt Trier. In August she joined the Berliner Symphoniker orchestra in a concert aptly entitled “Solo Verdi”, and in October she joined the orchestra again in the opening concert of the Musica Mallorca festival which was billed as a tribute to Maria Callas and featured bel canto repertoire.
The soprano is often praised for her warmth of timbre, the brilliance of her high register, and her great versatility, both musically and theatrically. Of her Tatyana, Orpheus International wrote: “Among the singers one first must name Mary Anne Kruger... who was a Tatjana of the very highest calibre. The singer is not only good-looking, but she has at her disposal a darkly colored, distinctive and precisely focused soprano voice, which in the last act was also capable of beautiful pianissimi. It was right that she received the most applause.”
Of her Madama Butterfly, the Frankfurter Allgemeine Zeitung wrote: “Mary Anne Kruger in the title role established herself once again as a category sui generis. With an expressive repertory that extends from bright soprano purity to the shadowy depths of the low registers, Krugercommanded (the scene) as an extraordinary actor with great musical and technical substance.”
Austin Wintory has built his career on exploring and curiosity. He began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue.
After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score.
The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” five G.A.N.G. Awards and host of others. The score features the Macedonia Radio Symphonic Orchestra and a lineup of top soloists (Audio excerpts available here). Orchestral excerpts, and the stand alone mini-concerto “Woven Variations” have been consistently scheduled for concert performances all over the world since its release.
Beginning humbly as a Kickstarter campaign, Austin’s next major game effort was Stoic Studio’s The Banner Saga, a unique and mature turn-based strategy / RPG hybrid with a dazzling art direction. The score featured the Dallas Wind Symphony, America’s premiere wind ensemble, and an all-star trio of YouTube musicians: Malukah, Peter Hollens and Taylor Davis. The game and soundtrack were released in early 2014 to critical and commercial success; the score earned Austin over a dozen awards and nominations, including his 4th and 5th British Academy Award nominations, and won the first-ever peer-voted ASCAP Composer’s Choice Award for “Best Video Game Score of the Year.” He is currently working with Stoic on The Banner Saga 2, which was announced live, on-stage at The Game Awards in December 2014 to an audience of nearly 2 million people.
Most recently (released August 2016), Austin scored the debut title for Giant Squid Studios, ABZÛ. The score was an ambitious blend of orchestra, choir and large harp ensemble recorded in both the US and the UK. The game and score were both immensely well-received, earning a number of publications’ “Best Of” lists for top soundtrack of the year, in addition to Austin’s second D.I.C.E. Award nomination, a Hollywood Music in Media nomination, and others.
In 2015, Austin wrote and produced the score for Ubisoft’s latest blockbuster: Assassin’s Creed Syndicate. The music is at its heart a chamber score deeply rooted in 19th century traditions, featuring virtuoso musicians Sandy Cameron and Tina Guo, and an all-star ensemble recorded at the legendary Abbey Road Studios in London. The score earned Austin his 6th British Academy Award nomination, and second ASCAP Composer’s Choice Award win, and has been lauded as among the top game scores for 2015 by major industry organizations like GameTrailers, IGN, Movie Music UK, the International Film Music Critics Association and the Hollywood Music in Media Awards.
Austin has also scored nearly 50 feature films, and his first major film score, for the Sundance Film Festival-winning film Captain Abu Raed, was shortlisted for the 2009 Academy Awards for Best Original Score by the LA Times. His next major film, Grace, was also a hit at the Sundance Film Festival. Austin’s score (which featured a wild array of custom-recorded sounds such as babies crying and horse flies, in addition to a large ensemble of clarinets at London’s famed Abbey Road Studios), was also highly lauded, earning a notorious Fangoria Chainsaw Award nomination and being cited by “Visions in Sound” (a popular film scoring radio program) as among the Top 10 Scores for 2010. His most recent films are writer/director Adam Alleca’s Standoff, starring Thomas Jane and Laurence Fishburne, and Amin Matalqa’s The Rendezvous, starring Stana Katic.
Outside of games, Austin also maintains a busy concert composing schedule, with regular appearances throughout the world. Most recently he premiered the commissioned work “This Gaming Life” with the Melbourne Symphony Orchestra, a theatrical work created in collaboration with the legendary comedians called “Tripod.” Announced in 2016 was also the unveiling of his partnership with the Chicago-based chamber group Fifth House Ensemble, with whom he will tour in a production of “Journey LIVE,” a recreation of the hit PlayStation title, performed interactively live. His chamber music show “Mythos,” combining his own music with other contemporary works, is also touring throughout 2015 and beyond following a successful world premiere in Manhattan at New York Comic Con in 2014. Forthcoming he will also have premieres with the West Michigan Symphony, Colorado Symphony and others.
Passionate about education, Austin is a regular public speaker at schools and events around the world, in addition to pre-concert talks and workshops. He also serves on the Board of Directors for the non-profit Education Through Music – Los Angeles, as well as the Board of Directors for the Society of Composers and Lyricists.
Kevin Wilt (b. 1984) composes music for a variety of ensembles that balances sophistication with accessibility, and experimentation with solid craftsmanship. Composer John Corigliano praised his expert orchestration and beautiful writing, while the Bloomington Herald wrote, “[his music] has a keen sense of mood and tonal balance.” Kevin recently composed Running on Rooftops for Michael Francis and The Florida Orchestra in honor of their 50th anniversary season. He won the Fresh Squeezed Opera Call for Scores with his chamber opera, Prix Fixe, and the Musical Chairs Chamber Ensemble Composer Search. He was awarded a grant by the Atlantic Coast Conference Band Directors Association to create Urban Impressions, a multimovement work for large wind ensemble. He was a finalist for the ASCAP/CBDNA Frederick Fennel Prize, the Symphony Number One Call for Scores III, the Hartford Opera Theater Call for Scores, and the American Prize in both the band and chamber music categories.
Recent performances include those by the Sydney Contemporary Orchestra, the Boston New Music Initiative, Fifth House Ensemble, the h2 Quartet, Project Fusion, the Apollo Fund, SHUFFLE Concert, the Mexico City Woodwind Quintet, ensembles at the Indiana University Jacobs School of Music, the University of Texas at Austin, Florida State University, the University of Kansas, the University of Oklahoma, Michigan State University, Kennesaw State University, as well as a reading by the Detroit Symphony Orchestra under Maestro Leonard Slatkin.
Kevin is equally at home composing for film and television, earning him a Michigan Emmy® Award Nomination for Best Musical Composition. Other film projects include The Inevitable, The Happy Couple, a string quartet for the short film Renegade, and The Wars of Other Men.
He holds a Doctorate of Musical Arts in Composition from Michigan State University, where he studied with Ricardo Lorenz. He completed his Masters Degree in Music Composition at MSU, working with Jere Hutcheson and Charles Ruggiero, and his Bachelors Degree in Music Composition and Theory from Wayne State University in Detroit, Michigan, where he studied with James Hartway. He is an Assistant Professor of Music and Composer-in-Residence at Florida Atlantic University in Boca Raton. His works are published by Whistling Vine Music.
Michael Daugherty is one of the most commissioned, performed and recorded composers on the American concert music scene today. His music is rich with cultural allusions and bears the stamp of classic modernism, with colliding tonalities and blocks of sound; at the same time, his melodies can be eloquent and stirring. Daugherty has been hailed by The Times (London) as “a master icon maker” with a “maverick imagination, fearless structural sense, and meticulous ear.”
Daugherty first came to international attention when the Baltimore Symphony Orchestra, conducted by David Zinman, performed his Metropolis Symphony at Carnegie Hall in 1994. Since that time, Daugherty’s music has entered the orchestral, band and chamber music repertory and made him, according to the League of American Orchestras, one of the ten most performed living American composers.
In 2011 the Nashville Symphony’s Naxos recording of Daugherty’s Metropolis Symphony for orchestra and Deus ex Machina for piano and orchestra was honored with three GRAMMY® Awards, including Best Classical Contemporary Composition. In 2017 the Nashville Symphony’s Naxos recording of Daugherty’s Tales of Hemingway for cello and orchestra was honored with three GRAMMY® Awards, including Best Classical Contemporary Composition.
Born in 1954 in Cedar Rapids, Iowa, Daugherty is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. He studied music composition at the University of North Texas (1972-76), the Manhattan School of Music (1976-78), and computer music at Pierre Boulez’s IRCAM in Paris (1979-80). Daugherty received his doctorate from Yale University in 1986 where his teachers included Jacob Druckman, Earle Brown, Roger Reynolds, and Bernard Rands (1980-82). During this time, he also collaborated with jazz arranger Gil Evans in New York and pursued further studies with composer György Ligeti in Hamburg, Germany (1982-84). After teaching music composition from 1986-90 at the Oberlin Conservatory of Music, Daugherty joined the School of Music, Theatre & Dance at the University of Michigan in 1991, where he is Professor of Composition.
Daugherty has been Composer-in-Residence numerous orchestra over the years including the Louisville Symphony Orchestra (2000), Detroit Symphony Orchestra (1999-2003), Colorado Symphony Orchestra (2001-02), Cabrillo Festival of Contemporary Music (2001-04, 2006-08, 2011 and 2014), Westshore Symphony Orchestra (2005-06), Eugene Symphony (2006), the Henry Mancini Summer Institute (2006), the Music from Angel Fire Chamber Music Festival (2006), the Pacific Symphony (2010), Chattanooga Symphony Orchestra (2012), New Century Orchestra (2014), Albany Symphony (2015), National Repertory Orchestra (2018) and the Winnipeg New Music Festival (2020).
Daugherty’s orchestral music has been commissioned and premiered by, among others, the Albany Symphony Orchestra, American Composers Orchestra, Ann Arbor Symphony Orchestra, Baltimore Symphony Orchestra, Bournemouth Symphony Orchestra (United Kingdom), Cabrillo Festival Orchestra, Charlotte Symphony Orchestra, Detroit Symphony Orchestra, New Century Chamber Orchestra, New Jersey Symphony Orchestra, Phiharmonia Orchestra (London), RAI Symphony Orchestra (Italy), Nashville Symphony Orchestra, National Symphony Orchestra, Pacific Symphony Orchestra, Pittsburgh Symphony, Philadelphia Orchestra, Phoenix Symphony, Rochester Symphony Orchestra, San Antonio Symphony, San Francisco Symphony, Spokane Symphony, St. Paul Chamber Orchestra and Syracuse Symphony.
Daugherty’s band and wind ensemble music has been commissioned and premiered by, among others, the University of Michigan, University of Miami (Coral Gables), Michigan State University, San Diego State University and University of Texas (Austin) and Texas A&M University-Commerce.
Conductors who have directed world premieres of Daugherty’s orchestral music include Marin Alsop, Neal Gittleman, Giancarlo Guerrero, David Kawaka, Mariss Jansons, Neeme Järvi, David Alan Miller, Leonard Slatkin, Carl St.Clair, Markus Stenz, Michael Tilson Thomas, Hugh Wolff and David Zinman.
Conductors who have directed world premieres of Daugherty’s band and wind ensemble music include Phillip Clements, Gary Green, Jerry Junkin, Shannon Kitelinger, Michael Haithcock, H. Robert Reynolds, Emily Threinen and John Whitwell.
Performing artists and ensembles who have given world premieres of Daugherty’s music include Zuill Bailey (cello), Bash Ensemble (percussion), Chamber Music Society of Lincoln Center, Paul Crossley (piano), Dogs of Desire, Manuel Barrueco (classical guitar), Ethos Percussion Ensemble, Greg Fulkerson (violin), Dame Evelyn Glennie (percussion), Thomas Hampson (baritone), Paul Jacobs (organ), Carol Jantsch (tuba), Kronos Quartet, Ida Kavafian (violin), Anne Akiko Meyers (violin), Hila Plitmann (soprano), Amy Porter (flute), Present Music (Milwaukee), Mike Rowe (narrator), London Sinfonietta, DJ Sparr (electric guitar), Nadja Salerno-Sonnenberg (violin), Michael Wayne (clarinet), Terrence Wilson (piano) and Chuck Ullery (bassoon).
At the University of Michigan, Daugherty has organized residencies over the years by renowned guest composers such as Louis Andriessen, Michael Colgrass, Henryk Górecki, Betsy Jolas, David Lang, Tania Leone, György Ligeti, Michael Torke and Joan Tower.
In 2010, Daugherty organized a historic three-day festival and conference called ONCE. MORE. Held November 2-4 at Rackham Auditorium on the University of Michigan campus, the event featured composers Robert Ashley, Gordon Mumma, Roger Reynolds and Donald Scarvada, who returned to Ann Arbor 50 years after hosting the original ONCE festival in Ann Arbor from 1961-66. ONCE. MORE. featured concerts of their recent works, as well as their innovative compositions from the original ONCE festival.
Since 1991, Daugherty has been a mentor to many of today’s most talented young composers at the University of Michigan School of Music, Theater and Dance. Former students of Michael Daugherty include Richard Adams, Clarice Assad, Alexis Bacon, Kevin Beavers, Marcin Bela, Derek Bermel, John Berners, David Biedenbender, Andrew Bishop, Bret Bohman, Julia Bozone, Matt Browne, Daniel Thomas Davis, Ian Dicke, Christopher Dietz, Paul Dooley, Roshanne Etezady, Gala Flagelo, Gabriela Lena Frank, Tucker Fuller, Rodney Grisanti, Iman Habibi, Patrick Harlin, Carolina Heredia, Deniz Ince, Donia Jarrar, Elizabeth Kelly, Kristin Kuster, James Lee III, Shuying Li, David T. Little, Pei Lu, John Maki, Kevin March, Theresa Martin, Jeff Myers, Stephen Newby, Carter Pann, Jules Pegram, Joshua Penman, Tanner Porter, Joel Puckett, Andrea Reinkemeyer, Manly Romero, Daniel Bernard Roumain, Felicia Sandler, Michael Schachter, David Schober, Nina Shekhar, Arlene Sierra, Carlos Simon, D.J. Sparr, Matthew Tommasini, Kirsten Volness, Aleksandra Vrebalov, Daniel Worley, Roger Zare, Daniel Zlatkin, and Bill Zuckerman.
Organizations such as the American Composers Orchestra, Minnesota Composers Orchestra, Cabrillo Festival of Contemporary Music, Omaha Symphony, and the Young Composers Institute in Apeldoorn (Netherlands) have invited Daugherty to be advisor and mentor for reading sessions and performances of music by promising young composers. Daugherty has also served as a final judge for the BMI Student Composer Awards in 2010 and 2018.
Daugherty is a frequent guest composer at universities and colleges in the United States. Past residencies include, among others, the University of Texas at Austin, University of Colorado at Boulder, Rice University, Northwestern University, Syracuse University, Indiana University, University of Iowa, University of North Texas, Vanderbilt University, Louisiana State University, Appalachian State University, University of Southern California, Eastman School of Music, The Hartt School, Juilliard School of Music, Shenandoah University Conservatory of Music and Yale University.
Daugherty is also a frequent guest at the Midwest Clinic in Chicago, where his wind ensemble music is performed by high school, college, and professional wind ensembles. In 2001, the United States Air Force Band performed a concert of Daugherty’s music at the Midwest Clinic’s “Midnight Special.”
Daugherty also collaborates with youth wind ensembles and orchestras throughout America: In 2004, the Ravinia Festival Community Outreach program invited Daugherty to work with student ensembles in the Chicago public middle and high schools; in 2002, Daugherty composed Alligator Alleyfor the Slauson Middle School Band (Ann Arbor); in 2014, Daugherty composed Vulcan for the Pioneer, Huron, and Skyline High School Bands in celebration of the 100th anniversary of the founding of the Ann Arbor High School Bands.
Daugherty has received numerous awards, distinctions and fellowships for his music, including: a Fulbright Fellowship (1977), the Kennedy Center Friedheim Award (1989), the Goddard Lieberson Fellowship from the American Academy of Arts and Letters (1991), fellowships from the National Endowment for the Arts (1992) and the Guggenheim Foundation (1996), and the Stoeger Prize from the Chamber Music Society of Lincoln Center (2000). In 2005, Daugherty received the Lancaster Symphony Orchestra Composer’s Award, and in 2007, the Delaware Symphony Orchestra selected Daugherty as the recipient of the A.I. DuPont Award. Also in 2007, he received the American Bandmasters Association Ostwald Award for his composition Raise the Roof for timpani and symphonic band. Daugherty has been named “Outstanding Classical Composer” at the Detroit Music Awards in 2007, 2009 and 2010.
His GRAMMY® Award-winning recordings can be heard on, among others, the Albany, Argo, Delos, Equilibrium, Klavier, Naxos, and Nonesuch labels. Daugherty’s music is published by Michael Daugherty Music, Peermusic Classical and Boosey & Hawkes. For more information on Michael Daugherty and his music, see michaeldaughertycomposer.com and his publisher’s websites.
Composer Justin Hurwitz became best known for his work with college friend and film director Damien Chazelle, most notably for the La La Land score. Raised in California, Hurwitz came from an artistic family; his sister played the violin and both his parents worked in the arts -- his mother was a ballerina and his father a writer. He began playing the piano at the age of six. By the time he was ten, he was composing his own music. In the eighth grade, he and his family moved to Fox Point, Wisconsin, where he attended Nicolet High School. While there, the budding composer also studied at the Wisconsin Conservatory of Music in Milwaukee with pianist Stefanie Jacob. After graduating in 2003, he continued his education at Harvard University.
While his early years were primarily spent studying classical music -- he had an appreciation for John Williams' scores -- when he was a teenager, his Uncle Ron introduced him to jazz by giving him an Oscar Peterson record. This early taste of jazz music would be the foundation of his impending friendship and collaborations with Damien Chazelle, whom he met at Harvard. The two became fast friends, playing together around Boston in the Brit-pop-inspired band Chester French (with Chazelle on drums and Hurwitz on electric piano), and later they became roommates. Their friendship and shared passion for music led to a number of collaborations. The first was Chazelle's debut feature, the jazz musical Guy and Madeline on a Park Bench, for which Hurwitz composed the music.
Alongside his burgeoning career as a composer, he was also creating a sideline in writing for shows like The Simpsons and The League. In 2014, the film Whiplash was released. The movie, again directed by Chazelle, was about an ambitious jazz student, and Hurwitz's score earned him a Grammy Nomination for Best Score Soundtrack for Visual Media. The duo's next collaboration was the romantic musical comedy-drama La La Land. Released in late 2016, it was the pair's biggest hit to date and garnered a host of awards, including Academy Awards for Hurwitz's score and Best Original Song for "City of Stars." In 2018, he composed the score for Chazelle's film First Man, a biopic about astronaut Neil Armstrong.