2025 Program Guide | Cabrillo Festival of Contemporary Music

54 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 2025 RISING PROGRAM NOTES Saxophone Concerto (2024) for alto saxophone and string orchestra Adolphus Hailstork (b. 1941) [West Coast Premiere] Commissioned by Gail Haefner Straith and University of Michigan School of Music, Theatre, and Dance for Timothy McAllister and the University of Michigan Symphony Orchestra, Kenneth Kiesler, Music Director. The world premiere of Adolphus Hailstork’s Saxophone Concerto was the 5th of the MORE (Michigan Orchestra Repertoire for Equity) project, a ten-year commissioning initiative, which was founded by Kenneth Kiesler in 2020. Written for saxophone and strings, the concerto unfolds over three movements in a fast-slow- fast format. The first move- ment, in ABA form, bursts with rhythmic energy and draws some of its inspiration from American folk traditions, particularly fiddling and folk dances. The second move- ment shifts to a lyrical and reflective tone, where the saxophone takes on a vocal, expressive quality. The final movement, a lively Rondo (ABACAB Coda), brings the piece to an exciting and joyful close. Hailstork’s music is known for blending classical structures with American influ- ences, spirituals and gospel traditions, and this concerto is no exception. It brings out the saxophone’s versatility and dual na- ture, with moments of virtuosity, lyricism, and playfulness. —Note by Francisco Fernandez Morales Cold Mountain Suite (2022) Jennifer Higdon (b. 1962) While creating this suite, it was a wonderful challenge to determine which music to feature in order to create a dynamic and engaging orchestral work. Because Cold Mountain is about love, war, and death (imagine that in an opera!) there was a lot of dramatic music from which to pick. I chose various arias, duets, and quintets, with the idea that they would be arranged not in story order, but in a manner to create the greatest contrast for the listener. The beginning and end of the suite come from the opening of Act 2 and the closing of Act 1—purely for its style of ramping up. It then quickly moves into the “Storm Music;” followed by the quintet, “I Should Be Crying;” the duet, “Orion;” (which I calculated would need two weeks to write, but in an amazing fit of inspiration, came to me in one day—the very thing creative types dream about); the fiddling duet, Bless You Ruby ; Ada’s contemplative aria, “I Feel Sorry For You;” then music from the scene where Inman and Ada finally get together after four years of his being away at war; and finally to the music that ends Act 1 to close out the suite. After taking 28 months to write this opera, and having lived with the characters so deeply in my heart and soul, it is truly a privilege to share this music with you. Thank you for joining us on this journey through Cold Mountain. —Jennifer Higdon Based on Charles Frazier’s National Book Award-wining novel, the opera, Cold Mountain, was commissioned by Santa Fe Opera, Opera Philadelphia, North Carolina Opera, and Minnesota Opera. Its performances have consistently sold out. It garnered 2 Grammy nominations and won the International Opera Award for Best New Opera Premiere. The suite was commissioned by New Music for America, and co-commissioned by 36 regional orchestras. As Juniper Storms (2025) Tyson Gholston Davis (b. 2000) [World Premiere | Festival Commission] Commissioned as the winner of the Cabrillo Festival Emerging Black Composers Prize with generous support from Michèle & Larry Corash. As Juniper Storms (2025) is a work that draws inspiration from American abstract expressionist Helen Frankenthaler. Frankenthaler’s painting, fittingly titled “Overture,” is a lush, forest green abstraction that dramatically dances across its canvas. The composition, like the artwork, is full of kinetic energy and dramatic gestures. I was drawn to these qualities in Frankenthaler’s painting as well as the painting’s earthy green colors, which reminded me of blooming trees that begin to overtake regions in late spring. Additionally, during this time of year, storms are frequent where I live in the Eastern U.S. Therefore, one often sees these vibrant green trees being hurled around in the wind as the storms rage. Frankenthaler’s canvas, with its sweeping waves of green, captures this aspect of the late spring climate, a period when juniper green storms. As Juniper Storms was commissioned by the Cabrillo Festival of Contemporary Music and premieres with the Festival Orchestra conducted by Music Director Cristian Macelaru in August 2025. The work is dedicated to my composition mentor, Melinda Wagner, with admiration and gratitude. —Tyson Gholston Davis Good Morning, Beauty (2025) Jake Heggie (b. 1961) [Festival Co-commission] Co-commissioned by the Cabrillo Festival of Contemporary Music, the Los Angeles Philharmonic, and London Classical Pride, with the generous support of Joe & Bette Hirsh, Liza Culick & Geri Migielicz, and Deborah & Jeffrey Pierce. Good Morning, Beauty is a cycle of four romantic and humorous songs that explores the emotions and realities of being queer in a long-term relationship. The project started late in 2023, when Classical Pride London approached me about composing a single song for its 2024 Festival at Barbican Hall. In need of a new text, I started dreaming of a collaboration with the great Taylor Mac. A mutual friend connected us, and he said yes! Not long after, he sent the glowing, inspired lyric for the song “Good Morning, Beauty.” The emotion and words felt so true and clear to me that the song practically set itself. It received its premiere in July 2024, featuring soprano Pumeza Matshikiza with the London Symphony Orchestra led by conductor Oliver Zeffman. That collaboration went so well that a consortium of three companies (Los