On Wednesday, March 6 at 7:30 p.m., the Eastman Philharmonia, under the direction of doctoral conducting student Austin Chanu ‘21E (MM), will take the stage in Kodak Hall for their second performance of the semester. This concert is a final capstone for Chanu’s collective five years of study at Eastman and features music by William Grant Still and Jean Sibelius. Fellow conducting student and ESM Communications student employee Mason St. Pierre sat down with Chanu to discuss this program and reflect on his years at Eastman.
Tell us about your upcoming program with the Eastman Philharmonia. There’s an interesting connection between William Grant Still and Jean Sibelius! What interests or excites you about this pairing?
William Grant Still and Jean Sibelius, aside from being two of my favorite composers, have a similarity in style from a nationalist context. One of Still’s goals was to create music that emulated the American spirit as well as bring them together to hear his music. Still and Sibelius wrote in similar Neo-Romantic styles and both showcased their culture in their music. Sibelius utilized Finnish folk music while Still utilized Black folk music and the Blues. On top of this, both composers had an affinity for each other’s music. Sibelius, who was notorious for being a harsh critic, was taken by Still’s music, in particular the Afro-American Symphony. After hearing a performance of Still’s symphony, Sibelius was quoted as saying, “He has something to say.” Which coming from Sibelius is high praise!
This concert is particularly exciting because on top of incredible music, this is also my DMA Lecture Recital and the last concert I will be conducting as a student at Eastman, so it is very special and close to my heart.
Could you tell us more about Still’s “Threnody” Fourth Symphony? What are some things that listeners should tune in to?
Still’s Threnody: In Memory of Jean Sibelius was commissioned in 1965 for the centenary of Sibelius’ birth. Sibelius had passed away 8 years earlier in 1957. Still, at that time of the commission, was still affected by Sibelius’ death, so he decided to compose a threnody in his honor. You’ll hear that this piece harkens back to an earlier style of Still’s with lush and lyrical string writing. Still, in my opinion, really captures the lyricism of Sibelius while incorporating a harmonic palette of his own that utilizes the essence of blues harmony and a beautiful pandiatonicism . In Still’s entire catalog you can hear his use of the blues, both subtly or overtly, as a vehicle for an emotional release.
Symphony no. 4: Autochthonous was composed in 1947 and is the culmination of Still’s compositional style and language. In Still’s notes, he wrote that the symphony is meant to represent the spirit of the American people and each movement reflects a different trait. The first movement represents the spirit of optimism and energy, while the second movement is meant to represent the soft-heartedness, benevolence, and generosity of the American people. The third movement is meant to be humorous and unmistakably American in its rhythm and melody, and the final movement represents the warm and spiritual side of the American people.
You’ve earned your Master of Music degree here and are about to complete your Doctorate of Musical Arts, almost five years of study! What have been some highlights of your time here? What are the biggest lessons you will take away from Eastman?
I can’t believe it’s been five years! The opportunities and friendships have been so meaningful and I think the best part of Eastman. It’s hard to think of specific highlights but some special moments would have to be:
- Composing and performing my own composition for the Eastman School Symphony Orchestra as part of the Eastman Centennial Celebration. The orchestra put so much heart and soul into performing the work, it was quite amazing!
- Philharmonia’s performance of Ein Heldenleben in the spring of 2022 was such a special performance. It was amazing to watch all my friends and colleagues create such an exciting interpretation of that work!
One of the biggest lessons I’ll take away from my time at Eastman is that the act of making music should be one of joy and connection. This is a really special community, with amazing musicians, and every time I’ve felt stressed or discouraged during my studies, the camaraderie of making music with friends and colleagues has reminded me of why I wanted to study music in the first place.
You’re also the Assistant Conductor for the Philadelphia Orchestra, a huge accomplishment! What have been some of your projects with them? Could you tell us more about that role and what it’s like studying and working at the same time?
I’ve been with The Philadelphia Orchestra now for two seasons and it has truly been such an incredible opportunity. As the Assistant Conductor, I cover and assist Music Director Yannick Nézet-Séguin as well as any guest conductors each week. I’m there as a second set of ears for the conductor as well as act as a backup conductor in emergency situations. So I am preparing all the repertoire for each week’s program. I had to actually step in, at the last minute, for Yannick, when he became ill, and conduct two performances of The Rite of Spring with the orchestra last April. It was exhilarating and one of the most memorable musical experiences of my life.
I’m currently helping lead a project, spearheaded by The Philadelphia Orchestra’s brilliant Principal Librarian Nicole Jordan, in helping restore, elevate, and perform works by William Grant Still. The orchestra received a grant from The Pew Center for Arts and Heritage and with this grant I was able to travel down to Still’s archives in Fayetteville, Arkansas where I found manuscripts, sketches, diary entries, and more. From this trip, we were able to create a new edition of Still’s Symphony no. 4 that adheres to his manuscripts and corrects the mistakes in the handwritten parts. This new edition is also computerized making the parts and score much easier to read. Because of this project I wanted to bring this work to Eastman Philharmonia.
It hasn’t been easy juggling the DMA program at Eastman while also working in Philly. Trying to balance classes and homework assignments while preparing scores and conducting concerts has been stressful. But it has only been possible because of the amazing faculty and staff at Eastman who have been so incredibly flexible and have all done everything that can to help me succeed. I’m lucky to be able to finish my DMA while working with one of the most amazing orchestras in the world!
Wednesday, March 6 at 7:30 p.m.
Kodak Hall at Eastman Theatre
Austin Chanu, conductor
Grant Still: A Threnody (In Memory of Jean Sibelius)
Grant Still: Symphony No. 4 (Autochthonous”)
Sibelius: Symphony No. 2
Photography Credit: R R Jones