Presenting the Mannes Orchestra at Lincoln Center’s Alice Tully Hall

Conducted by David Hayes

Featuring:

U.S. Premiere of Adolphus Hailstork’s Ndemara

N.Y.C. Premiere of Marion Bauer's Symphony No. 1

David Diamond's rarely performed Symphony No. 2

For its return to Alice Tully Hall, the Mannes Orchestra presents an evening of pioneering American composers, including the New York City premiere of Marion Bauer’s rarely performed Symphony No. 1, which was composed between 1947 and 1950 but was never performed during the composer’s lifetime; the U.S. premiere of Adolphus Hailstork’s Ndemara; and David Diamond’s Symphony No. 2 – widely praised as a mid-twentieth century masterwork; it was composed in the midst of World War II and premiered by the Boston Symphony Orchestra in 1944. Ndemara is the second work by Hailstork to be performed by the Mannes Orchestra in as many years – the group premiered his lauded work, Survive (Symphony No. 4) in March 2023 at Alice Tully Hall.

“A few years ago we made a commitment that the most high profile performances of the Mannes Orchestra would be curated by prioritizing works that we love, were either a world, U.S. or New York premiere, were written by under-recognized composers, and would benefit from a recorded performance. This Tully Hall program, a distinctly American one, animates this commitment in a beautiful and powerful manner, giving life to a work by Marion Bauer that had been waiting to be heard for almost 75 years, as well as the U.S. premiere of a favorite Mannes composer, Adolphus Hailstork. Rounding out this program is a work by David Diamond that rarely appears on programs anymore. As dean, I am proud of this work and hope lots of people will come to hear it,” said Richard Kessler, Executive Dean of the College of Performing Arts and Dean of Mannes School of Music.

Composed shortly before her death, Marion Bauer’s Symphony No. 1 was originally scheduled to premiere in 1950. However, due to significant issues on the part of the transcribers while working on Bauer’s score, the piece was not completed in time for its originally scheduled premiere date. The work was nearly forgotten until The Women’s Philharmonic Advocacy (WPA) meticulously prepared an edited score, which they presented to conductor Heather Buchman. Symphony No. 1, structured in three movements, finally received its long-awaited world premiere in 2022. “It caught my eye because it had a note attached, ‘has never been performed,’ even though it was composed in 1947-1950,” Buchman said. “Marion Bauer was a significant presence in American classical music in the first half of the 20th century…so the fact that her symphony was never performed seemed an egregious neglect of someone who should be celebrated.”

Adolphus Hailstork’s Ndemara is a single-movement nocturne inspired by the star for which it is named – a prominent star in the summer night sky. Scored for two oboes, two horns, and strings, Ndemara weaves a delicate tapestry of timbres, capturing the serenity of a starlit night and the bittersweet nature of parting. Hailstork says, “In 2016 I was commissioned to write a piece for 2 horns, 2 oboes and strings to be premiered by a French chamber orchestra. The piece was premiered in Paris in 2017 and then, a few weeks later, in Milan. I was commissioned to write a piece that incorporated an idea related to Africa and the cosmos. All lands or nations have their own interpretation of the stars. That led to my choosing one of the stars interpreted by at least three African tribes as a warning to lovers of the need to end a romantic moment. The bright star Fomalhaut lies in a rather star-poor region and is prominent in the summer sky. It is called Ndemara, ‘The Sweetheart Star,’ by the Shona. The visibility of this star was supposed to indicate the time for lovers to part before their parents discovered them.”

David Diamond’s Symphony No. 2 was premiered by the Boston Symphony Orchestra under the baton of Serge Koussevitzky on October 22, 1944. The symphony unfolds over four movements, each rich in emotional depth and musical innovation. The first movement juxtaposes a sense of tragedy with moments of refined elegance, establishing a compelling emotional landscape. The second movement, a brief scherzo, features what Diamond described as, “a rhythmic figure mockingly tossed back and forth between the cellos and a bassoon,” imbuing it with a playful, almost whimsical character. The third movement revisits the emotional tone of the opening, weaving themes of introspection and resonance. The finale surges forward with a triumphant and exhilarating energy, bringing the symphony to a stirring conclusion.

Each of the composers on this program are esteemed in their own right, but they also share bonds across time. Marion Bauer is known as Nadia Boulanger’s first American student. Bauer taught Nadia Boulanger English, and Boulanger gave Bauer lessons in harmony until Bauer returned to the United States in 1907. Bauer composed and published orchestral, chamber, vocal and instrumental music. She was well-regarded as an educator and served on the faculties at New York University and the Juilliard School of Music.

Adolphus Hailstork received his Ph.D. in composition from Michigan State University, where he was a student of H. Owen Reed. He had previously studied at the Manhattan School of Music, under Vittorio Giannini and David Diamond, at the American Institute at Fontainebleau with Nadia Boulanger, and at Howard University with Mark Fax. ​Dr. Hailstork has written numerous works for chorus, solo voice, piano, organ, various chamber ensembles, band, orchestra, and opera. 

Born in 1915 in Rochester, New York, David Diamond earned numerous accolades for his compositions, including three Guggenheim Fellowships, the William Schuman Lifetime Achievement Award in 1986, the Gold Medal of the American Academy of Arts and Letters in 1991, and a GRAMMY® nomination for his String Quartet No. 4 from 1951. Diamond was a versatile, adventurous, and prolific composer, writing a total of 20 orchestral works, 29 chamber works, 14 piano works, five vocal works, two wind ensembles and nine concerto works. Beginning in 1973, Diamond was a professor of composition at The Juilliard School for 25 years.

MANNES ORCHESTRA

Led by maestro David Hayes, the Mannes Orchestra is the premiere large ensemble at The New School College of Performing Arts. The orchestra strives to foster the highest level of musicianship by engaging with a wide range of repertoire in a focused, dynamic, and supportive environment that mirrors the culture and practices of professional orchestras. Known for its bold and adventurous programming, the Mannes Orchestra has been hailed by The New York Times as an orchestra whose quality is “a revelation,” and for its “intensity of focus.” The orchestra performs a multitude of concerts each season at venues including Lincoln Center’s Alice Tully Hall, Carnegie Hall, John L. Tishman Auditorium at The New School, and appearances with the Mannes Opera at the Bank Street Theater and the Martha Graham Dance Company at New York City Center.

More about the Composers:
Renowned composer Adolphus Hailstork has firmly established himself as one of America’s foremost composers, with his works celebrated in performances by prestigious orchestras including the Chicago Symphony Orchestra, the New York Philharmonic, and the Philadelphia Orchestra. His collaborations with distinguished conductors such as James DePreist, Paul Freeman, Daniel Barenboim, and Kurt Masur have further enriched his storied career. Most recently, in March, Thomas Wilkins conducted Hailstork’s An American Port of Call with the Boston Symphony Orchestra. Dr. Hailstork’s prolific body of work spans a diverse range of ensembles, from choral and vocal solo to instrumental chamber, band, orchestral, and operatic compositions. Among his early works are Celebration (1976), Out of the Depths (1977), American Guernica (1983), Consort Piece (1995), and Joshua’s Boots (1999). More recent compositions include Rise for Freedom (2017), Set Me on a Rock (2008), The Gift of the Magi (2009), Zora, We’re Calling You (2011), and Speak of Peace (2013). In addition to his compositional achievements, Dr. Hailstork is highly respected as an educator. His teaching career began with graduate assistantships at Michigan State University (1969-1971), followed by professorships at Youngstown State University in Ohio (1971-1977) and Norfolk State University in Virginia (1977-2000). He currently serves as an Eminent Scholar and Professor of Music at Old Dominion University in Virginia (2000-present), where his contributions continue to inspire the next generation of musicians. 

Marion Eugénie Bauer was an influential American composer, educator, writer, and music critic whose work helped shape American music in the early 20th century. A contemporary of Aaron Copland, Bauer was deeply engaged in defining a distinct American musical identity through both her compositions and advocacy. Bauer composed in many different genres, including works for piano, chamber ensembles, symphonic orchestra, solo voice, and vocal ensembles. Her music reflects a rich harmonic language, characterized by dissonance and extended tertian, quartal, and quintal harmonies, though she generally remained within an extended tonal framework, apart from a brief period experimenting with serialism in the 1940s. Bauer’s works were widely performed during her lifetime, with highlights including the New York Philharmonic’s 1947 premiere of Sun Splendor conducted by Leopold Stokowski and a dedicated 1951 concert at New York’s Town Hall. In addition to her compositional achievements, she was a passionate teacher. Her academic career spanned 25 years on the faculty of New York University, where she taught music history and composition from 1926 to 1951. She was also a guest lecturer at Juilliard from 1940 until her passing in 1955. Bauer was a vigorous supporter of new music beyond her own compositions. She co-founded the American Music Guild, the American Music Center, and the American Composer’s Alliance, where she served as a board member. Additionally, she held leadership roles within the League of Composers and the Society for the Publication of American Music, often as the sole woman in these positions. 

Awarded the American National Medal of the Arts in 1995 and the Juilliard Medal at the Juilliard School’s 100th commencement, David Diamond is celebrated as a leading 20th-century American composer. His prolific contributions began in the 1940s with notable works such as Concerto for Two Solo Pianos (1942), String Quartet No.2 (1943), Symphony No. 3 (1945), and Chaconne for Violin and Piano (1948). Diamond also composed the iconic theme for CBS Radio Network’s Hear It Now (1950-51) and See It Now (1951-58). From 1951 to 1965, Diamond taught in Europe as a Fulbright Professor. Soon after returning to the United States in 1965, the New York Philharmonic performed his Symphony No.5 under Leonard Bernstein and his Piano Concerto, which Diamond himself conducted. Diamond taught at the Manhattan School of Music (1965-67), earning the Rheta Sosland Chamber Music Prize for his String Quartet No. 8. In 1973, he joined The Juilliard School’s faculty, dedicating 25 years to teaching composition. His achievements were further recognized with awards such as the William Schuman Lifetime Achievement Award, the Gold Medal of the American Academy of Arts and Letters, and the Edward MacDowell Gold Medal for Lifetime Achievement. In celebration of its 150th anniversary, the New York Philharmonic performed his Symphony No.11, affirming Diamond’s enduring impact on American music.

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