The Kennedy Center

March

About the Work

Jefferson Friedman Composer: Jefferson Friedman
© Richard Freed

Jefferson Friedman composed his March for the present concerts, as part of the National Symphony Orchestra's new series of Encores, commissioned with the support of the John and June Hechinger Commissioning Fund for New Orchestral Music.

The score calls for 3 flutes and piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, timpani, bass drum, glockenspiel, a timpani kettle played on its side with hard sticks, a bass drum played on its side with hard sticks, piano, celesta, harp, strings, and organ. Approximate duration, 3 minutes.

________________________________________________

Jefferson Friedman's compositions have been performed at Lincoln Center in New York and throughout the United States, as well as at the Schleswig-Holstein Music Festival in Germany and other musical centers abroad. His String Quartet No. 2 brought him the ASCAP Leo Kaplan Award for 2000, and he also received a BMI Student Composer Award in that year. This year his orchestral work Sacred Heart: Explosion earned him an ASCAP Morton Gould Young Composer Award, and he was among the winners of the 2001 Juilliard Orchestra Competition; also this year, he received a master of music degree from the Juilliard School, where he studied with John Corigliano, and he was one of the four finalists chosen to receive Rome Prize Fellowships in Musical Composition at the American Academy in Rome. At Columbia University, where he took his B.A. as the 1996 Music Department Honors Graduate, his teachers were David Rakowski and Jonathan Kramer. He has also spent three summers at the Aspen Music Festival and School, where he studied with George Tsontakis, Christopher Rouse and Mr. Corigliano.

Mr. Friedman has chosen not to say much about his piece, except that, as an encore, it is meant to be a surprise in some way or other, and that he regards it as “both an encore and a commentary on the idea of an encore.” Leonard Slatkin will have no opportunity to give a spoken introduction to the piece, because of the way it begins, but has pointed out that, among its other features, it does contain a direct reference to the work that concludes the formal part of the program.