INSTRUMENTATION

WOODWINDS: Piccolo, 4 Flutes, 2 Oboes, English Horn, 2 Bassoons, Contrabassoon, Eb Clarinet (tacet Mvt. II), 4 Bb Clarinets, 2 Bb Bass Clarinets, Bb Contrabass Clarinet
SAXOPHONES: Soprano, Alto, Tenor, Bari
BRASS: 4 Bb Trumpets, 4 Horns, 3 Trombones, Bass Trombone, Euphoniums (2+players), Tubas (2+ players)
STRINGS: Double Bass, Harp (optional)
KEYBOARDS: Piano
PERCUSSION: Timpani (dbls. Wooden Patio Chimes), 6 Percussion (one player per part)

PERCUSSION LIST

Marimba, Large & Small Suspended Cymbals, Hand Bells (optional), Vibraphone, Snare Drum, Xylophone, Tom-toms (4), Glockenspiel, Small & Medium Triangles, Egg Shaker, Hi-Hat,
Tam-tam, Chimes, Metal Patio Chimes, Kick Drum, Bass Drum, China Cymbal

COMMISSIONED BY: Dr. Matthew Arau & the Lawrence University Symphonic Band as part of a consortium
WORLD PREMIERE: March 8, 2025 | Lawrence University Symphonic Band (Dr. Matthew Arau, conductor) | Lawrence Memorial Chapel, Appleton, WI
World Premiere Performance as part of the 150th Anniversary of the Lawrence University Conservatory School of Music

CONSORTIUM MEMBERS

Saint Paul Central High School Wind Ensemble (Matthew Oyen, director)
Edina High School Band Program (Paul Kile, director)

ARRANGER’S NOTES

I first met Isaac Mayhew shortly after the Millennium Composers Initiative was formed. Since then, I consider Isaac to be a good friend and colleague, whose artistic accomplishments and vision in bringing together community I've admired for years. I was very grateful to have been asked by Isaac to transform his first symphony (originally a chamber work) into this full-fledged version for wind ensemble.

For this arrangement, the skeletal structure of the original version created the foundational groundwork for realizing the symphony for a much larger ensemble. I was granted the opportunity to expand upon Isaac's material in a way which not only built upon his initial ideas, but also provided my own musical interpretations in the process. The symphony, in a sense, therefore provides musical snapshots, as if listening to a concept album or EP. "the significant" grooves and flows with a grungy attitude, while "the trivial" is ethereal, meditative, and ambient. "the profound" joyously celebrates life amidst various concerns and anxieties, while the prelude and scherzo comprising "the fatuous" reveals the inevitable dangers hidden behind the inherent meaning of the word.

I am so grateful to Isaac for entrusting me with this arrangement. My sincerest gratitude goes to Matthew Arau, the Lawrence University Symphonic Band, and the consortium supporting the creation of this arrangement for the opportunity to collaborate with some of the finest musicians in our community for the 150th anniversary of the Lawrence University Conservatory of Music.

--notes by Josh Trentadue

PROGRAM NOTES (excerpts)

My first symphony was first conceived of as a chamber work for violin, bass clarinet, and piano—I composed it in 2019 for the then-New York City-based Oasi Trio, who were planning to premiere it sometime in late Spring/early Summer 2020. The inspiration for this work—and the titles of each of the four movements—comes from a quote from William Manchester's book "A World Lit Only by Fire"…

When we look back across five centuries, the implications of the Renaissance appear to be obvious. It seems astonishing that no one saw where it was leading, anticipating what lay round the next bend in the road and then over the horizon. But they lacked our perspective; they could not hold a mirror up to the future. Like all people at all times, they were confronted each day by the present...with the significant, the trivial, the profound, and the fatuous all tangled together.

…In composing this symphony, my goal is not to suggest that we should not take into consideration the future implications of our actions, but rather remind all of us that the lives that are right in front of us, today, are gifts that should be cherished.

Movement I - “the significant”
significant (adjective): sufficiently great or important to be worthy of attention; noteworthy.

The primary focus of this first movement is to lay the groundwork for what is to come. From the first downbeat and throughout the movement, motifs and themes are established that will evolve into the building blocks of the entire symphony. The irony is that the material in Movement I is also intended to feel random in the moment—a series of figures and colors sometimes dashing across the ensemble, running into each other, and exiting quickly.

Movement II - “the trivial”
trivial (adjective): of little value or importance.

The second movement pulls back and invites audiences into a sonic space that is much more reflective, almost meditative. As in Movement I, there are still a lot of ideas present, each layered in on top of one another, but this portion of the piece sorts through these materials to present through lines and other points of connection. As the tempo picks up, these slow, broad melodies in the low winds and brass become obscured while arpeggiating figures in the woodwinds and sharp interjections from the percussion add additional layers of material.

Movement III - “the profound”
profound (adjective): (of a state, quality, or emotion) very great or intense.

Movement III is a celebration! Upbeat, energetic, and fun, this movement is defined by the bouncing melodic figure that begins in the bassoons and bass clarinets and is eventually passed to nearly every section of the ensemble. At first glance, this musical approach may feel at odds with the weighty title “the profound,” but what I sought to capture in the third movement is how truly important it is to not overlook those moments in life when we feel good—either about ourselves, the world around us, or both. Happiness can be fleeting, so it is important to appreciate it when it’s here.

Movement IV - “the fatuous”
fatuous (adjective): silly and pointless.

Movement IV is a culmination of everything that has come before—both with regard to the musical material established and developed in the preceding three movements, but also in that it takes a 10,000-foot view of the ideas explored therein. It weaves together the various motifs and themes introduced earlier, but from a perspective that might seem nonsensical or even absurd. This final movement explores the idea that, when viewed from a distance, many of our struggles and triumphs can appear insignificant or comical. It serves as a reminder of the folly in taking ourselves too seriously, encouraging a sense of humility and a recognition of the broader, often chaotic, tapestry of life.

Ultimately, my first symphony "The Eternal Present" is a reflection on how we interpret our place in the world amidst uncertainty and change. It suggests that while we may not always see the bigger picture or understand what lies ahead, there is value in embracing the present moment in all its complexity. Through its four movements, the symphony aims to capture the human experience, with all its significance, triviality, profundity, and absurdity, reminding us to find meaning and joy in the unpredictable flow of life.

--program notes by Isaac Mayhew