Homage to Benny Goodman
Musicians
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Praised by the New York Times for his “crisp performance” of a “devilish showpiece” by Ukrainian composer Borys Liatoshynsky, Daniel Anastasio is a soloist and chamber musician based in San Antonio, Texas who combines an intellectual curiosity with “technical prowess and emotional sensitivity” (San Antonio Report). As Artistic Director of several organizations including Agarita and the San Antonio Chamber Music Society, his innovative programs have included collaborations with dancers, writers, museums, photographers, glass-blowers, and more. As a performer with a diverse skillset, he has performed Bach’s Goldberg Variations on harpsichord one week, and premiered a multimedia work by Rome Prize-winning contemporary composer Christopher Stark on MIDI keyboard the next. An active proponent of new music, he is the co-founder and pianist of Unheard-of Ensemble, a group that creates engaging interdisciplinary works in direct collaboration with emerging artists and composers across the United States, and tours actively. An Assistant Professor of Music and Director of Keyboard Studies at San Antonio College, Anastasio received his Bachelor of Arts degree in Music and Philosophy from Cornell University under Xak Bjerken, a Master of Music degree from Juilliard under Jerome Lowenthal, and a Doctor of Musical Arts degree from Stony Brook University, where he studied with Gilbert Kalish and Christina Dahl.
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Paul Unger is currently the Assistant Principal Bass of the Fort Worth Symphony Orchestra and Professor of Double Bass at Texas Christian University.
An accomplished bassist and composer, Mr. Unger’s versatile abilities have allowed him to appear as a featured soloist with the Fort Worth/ Dallas Ballet, the Fort Worth Symphony Orchestra and the Mimir and Mount Vernon Chamber Music Festivals. As an accomplished orchestral musician, he has performed with the Minnesota Orchestra, Oregon Symphony, Louisiana Philharmonic and New World Symphony. His diverse abilities have also allowed him to perform and record with such diverse artists as Bob Newhart, Bernadette Peters, Andrea Bocelli, Kevin Eubanks, The Who, Elle King and Weird Al Yankovic, as well as, the touring Broadway productions of Les Miserables, Beautiful and Jeckyll and Hyde. Paul is an integral member of the critically acclaimed jazz group, “Flipside”. A group referred to in Cadence magazine as “contemporary jazz at its best”, “exhilarating and challenging music making that is rarely dull. A band not to be missed”. David Lewis at Cadence said, “not only is Unger a first rate rhythm player, there is no question of his ability to extend his technique well beyond mainstream expectations.” And the Louisville Observer said of Mr. Unger, “the somewhat unexpected gem in Flipside’s “Artificial Joy” is bassist Paul Unger. Like the better known Edgar Meyer, Unger has a strong background in classical music… his smooth bowing style gives an elegiac feel to his own compositions…” In 2016 Mr. Unger was voted “Best Bassist” and “Best Jazz Group” by Fort Worth Weekly Magazine. Paul is a native of Silverton, Oregon and graduated from Indiana University. In addition to his musical work, he wrote and directed the multiple award winning film, “The Last Supper” and the docu-series “Symphonic Shorts” which appeared in over a dozen festivals worldwide. He has also composed music for the feature film “Seventy-Eight”. |
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Nick Sakakeeny joined the FWSO in 2018 as Assistant Principal Timpanist and Percussionist. He enjoys performing in a variety of settings, and has worked with ensembles including the International Contemporary Ensemble, Mark Morris Dance Group, the Dallas and Atlanta Symphonies, and the New York Philharmonic. In 2011 he won first prize in the Atlanta Modern Snare Drum Competition, and in 2015 won third prize in the PAS Solo Percussion Competition. Nick has attended the Round Top Festival Institute, the National Orchestral Institute, and has been a fellow at the Tanglewood Music Center.
Born in Oberlin, OH, Nick attended the Manhattan School of Music for his undergraduate studies before completing his master’s degree at Northwestern University. |
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An "eloquent" clarinetist with "incredible artistry” Russian-born Stas Chernyshev has established a versatile career as an orchestral musician, soloist, chamber musician, and educator (Dallas Morning News, Theater Jones). Principal clarinetist of the Fort Worth Symphony Orchestra, Mr. Chernyshev has performed at such prestigious venues as Carnegie Hall in New York, Kimmel Center in Philadelphia, Kennedy Center in Washington, D.C., as well as in Switzerland, Spain, Germany, Russia, South Korea and Japan. A devoted chamber musician, Mr. Chernyshev has collaborated with Grammy-winning ensembles Eighth Blackbird and Orpheus Chamber Orchestra, commissioned new works for his instrument. He has been featured on WQXR -New York’s classical music station and WHYY’s television program - On Stage at Curtis. He is the founder and artistic director of Fort Worth Performances for Autism, and a co-founder of Opus Nova Chamber Music Series. Mr. Chernyshev holds a Bachelor’s degree from the Curtis Institute of Music, and a Master’s degree from St. Petersburg Conservatory.
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Ann Hung, born in Taipei, Taiwan, began her musical studies at a young age, starting with piano at age five and clarinet at age nine. Dr. Hung is an active performer in the Dallas and Fort Worth area who regularly performs in the realms of both the orchestral and chamber music. She has shared the stage with the Fort Worth Symphony, the Cleveland Orchestra, the members of the Orpheus Chamber Orchestra and the faculty of the Juilliard School. Dr. Hung is always pushing the boundaries of her repertoire and skills, such as collaborating with jazz musicians and commissioning new composers. As a proponent of new music, she has avidlycommissioned new works including a wind quintet with her quintet Opus Now premiering in Symphony Space in NYC. One of the new works that Dr. Hung commissioned is included in a recently released album “Stained Glass Story” by Eldad Tarmu. Dr. Hung is currently teaching in Lewisville ISD, Burleson ISD as private lesson instructor and often plays with the Fort Worth Symphony Orchestra. She is the associate director of the Fort Worth Performances for Autism and co- founder of Opus Nova Chamber Music Series.
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Program Notes
This program is a tribute to Benny Goodman, the legendary “King of Swing,” whose artistry shaped an entire era of American music. Goodman was not only a virtuoso clarinetist, but a cultural force—bringing jazz into the concert hall, commissioning new works, and collaborating with composers across genres. His influence extended far beyond his own performances, inspiring a generation of musicians to explore the intersection of classical music, jazz, and popular song.
American composer and pianist Morton Gould was one of the most versatile musical voices of the 20th century, equally at home in the worlds of classical music, Broadway, and radio. His suite Benny’s Gig, written in tribute to the legendary clarinetist Benny Goodman, captures the spirit and stylistic range that defined Goodman’s career. The movements Calypso Serenade and Jaunty highlight Gould’s flair for rhythm and color, evoking both the suave charm and high-energy brilliance associated with the “King of Swing.”
British songwriter Manning Sherwin is best remembered for his timeless ballad A Nightingale Sang in Berkeley Square. Written in 1939, the song quickly became a standard of the swing era, performed and recorded by many of Goodman’s contemporaries. Its gentle lyricism offers a more intimate glimpse into the musical world that surrounded the big band tradition. Tonight you will hear an arrangement for double bass and piano made by Don Thompson.
Welsh composer Alec Templeton was a talented pianist and composer who came to the United States as a member of Jack Hylton’s band in 1936 at the age of 26. His delightfully jazzy Pocket Size Sonata No. 1 for clarinet and piano is a modest three-movement work that captures a variety of styles. Tonight you will hear two movements--Modal Blues and In Rhythm—which showcase Templeton’s humor and inventiveness, blending blues-inflected harmonies with lively rhythmic interplay in a compact yet expressive framework.
One of the most influential jazz pianists of all time, Bill Evans transformed the language of jazz through his introspective style, refined touch, and harmonic sophistication. Deeply influenced by European classical composers such as Claude Debussy and Maurice Ravel, Evans brought a new sense of color and subtlety to jazz piano. His Peace Piece, recorded in 1958 during the sessions for Everybody Digs Bill Evans, began as a spontaneous improvisation over a simple repeating bass pattern. From this foundation, Evans unfolds a meditative and almost hypnotic musical landscape, marked by delicate phrasing and a sense of suspended time.
Russian pianist and composer Alexander Tsfasman was a pioneering figure in Soviet jazz, instrumental in introducing and developing Western jazz idioms for new audiences. His Intermezzo for Clarinet and Jazz Orchestra, composed in 1944 and dedicated to the legendary Benny Goodman, stands as a remarkable example of this cross-cultural exchange. Tsfasman sent the score directly to Goodman, who embraced the piece and performed it on numerous occasions, bringing it into his repertoire; it is often referred to as Intermezzo (to Benny Goodman). Tonight’s performance features a version for clarinet, piano, bass, and percussion.
American pianist Earl Wild was a virtuoso of the 20th century, called by critic Harold Schonberg a “super-virtuoso in the Horowitz class.” He holds the honor of being the only pianist to play for six consecutive presidents at the White House, from Herbert Hoover to Lyndon B. Johnson. Wild’s interpretations and transcriptions of American music, particularly George Gershwin, are particularly superb, and his 7 Virtuoso Etudes Based on Gershwin Songs are still performed by concert pianists. Embraceable You, originally written in 1928 for an unpublished operetta, was published in 1930 and included in the Broadway musical Girl Crazy. Since then, it has become one of the most famous jazz standards.
Among America’s most important composers, Aaron Copland developed a distinctly American sound characterized by clarity, openness, and a subtle incorporation of jazz and folk elements. His Clarinet Concerto, written in 1947–48 for Benny Goodman, reflects both the lyrical and virtuosic sides of Goodman’s artistry. Structured in two connected movements, the concerto opens with the movement Slowly and Expressively, where the clarinet unfolds an expansive, song-like line over delicate textures, showcasing a quiet, reflective character.
The program also explores the enduring life of melody through a reimagining of Blackbird by John Lennon and Paul McCartney, heard here in a version inspired by the celebrated clarinetist Richard Stoltzman. In his recording, Stoltzman creates a seamless medley that intertwines Blackbird with the jazz standard Bye Bye Blackbird by Ray Henderson, highlighting the unexpected kinship between the two songs. This arrangement, created for Opus Nova by Alexander Timofeev for clarinet, piano, and bass, follows that same imaginative concept, bridging popular song and jazz tradition in a way that reflects the spirit of reinterpretation central to the legacy of Benny Goodman.
Finally, the program returns to the electrifying spirit of Benny Goodman himself, the legendary “King of Swing,” whose artistry and leadership helped bring jazz into the cultural mainstream of 1930s America. As a clarinetist, Goodman was celebrated for his brilliant technique, expressive range, and unmistakable tone; as a bandleader, he set new standards for precision, energy, and musical sophistication. His historic 1938 concert at Carnegie Hall marked a turning point in the recognition of jazz as a serious art form.
Works such as Grand Slam and Flying Home, staples of Goodman’s repertoire, capture the exuberance and rhythmic drive of the swing era, while pieces like Rachel’s Dream highlight a more lyrical and expressive side of his musical world. Pieces like Tattletale further showcase the wit and character of Goodman’s musical personality. Together, these works reflect not only his brilliance as a performer, but also his lasting influence on generations of musicians, bringing this homage to a vibrant and exhilarating close.
American composer and pianist Morton Gould was one of the most versatile musical voices of the 20th century, equally at home in the worlds of classical music, Broadway, and radio. His suite Benny’s Gig, written in tribute to the legendary clarinetist Benny Goodman, captures the spirit and stylistic range that defined Goodman’s career. The movements Calypso Serenade and Jaunty highlight Gould’s flair for rhythm and color, evoking both the suave charm and high-energy brilliance associated with the “King of Swing.”
British songwriter Manning Sherwin is best remembered for his timeless ballad A Nightingale Sang in Berkeley Square. Written in 1939, the song quickly became a standard of the swing era, performed and recorded by many of Goodman’s contemporaries. Its gentle lyricism offers a more intimate glimpse into the musical world that surrounded the big band tradition. Tonight you will hear an arrangement for double bass and piano made by Don Thompson.
Welsh composer Alec Templeton was a talented pianist and composer who came to the United States as a member of Jack Hylton’s band in 1936 at the age of 26. His delightfully jazzy Pocket Size Sonata No. 1 for clarinet and piano is a modest three-movement work that captures a variety of styles. Tonight you will hear two movements--Modal Blues and In Rhythm—which showcase Templeton’s humor and inventiveness, blending blues-inflected harmonies with lively rhythmic interplay in a compact yet expressive framework.
One of the most influential jazz pianists of all time, Bill Evans transformed the language of jazz through his introspective style, refined touch, and harmonic sophistication. Deeply influenced by European classical composers such as Claude Debussy and Maurice Ravel, Evans brought a new sense of color and subtlety to jazz piano. His Peace Piece, recorded in 1958 during the sessions for Everybody Digs Bill Evans, began as a spontaneous improvisation over a simple repeating bass pattern. From this foundation, Evans unfolds a meditative and almost hypnotic musical landscape, marked by delicate phrasing and a sense of suspended time.
Russian pianist and composer Alexander Tsfasman was a pioneering figure in Soviet jazz, instrumental in introducing and developing Western jazz idioms for new audiences. His Intermezzo for Clarinet and Jazz Orchestra, composed in 1944 and dedicated to the legendary Benny Goodman, stands as a remarkable example of this cross-cultural exchange. Tsfasman sent the score directly to Goodman, who embraced the piece and performed it on numerous occasions, bringing it into his repertoire; it is often referred to as Intermezzo (to Benny Goodman). Tonight’s performance features a version for clarinet, piano, bass, and percussion.
American pianist Earl Wild was a virtuoso of the 20th century, called by critic Harold Schonberg a “super-virtuoso in the Horowitz class.” He holds the honor of being the only pianist to play for six consecutive presidents at the White House, from Herbert Hoover to Lyndon B. Johnson. Wild’s interpretations and transcriptions of American music, particularly George Gershwin, are particularly superb, and his 7 Virtuoso Etudes Based on Gershwin Songs are still performed by concert pianists. Embraceable You, originally written in 1928 for an unpublished operetta, was published in 1930 and included in the Broadway musical Girl Crazy. Since then, it has become one of the most famous jazz standards.
Among America’s most important composers, Aaron Copland developed a distinctly American sound characterized by clarity, openness, and a subtle incorporation of jazz and folk elements. His Clarinet Concerto, written in 1947–48 for Benny Goodman, reflects both the lyrical and virtuosic sides of Goodman’s artistry. Structured in two connected movements, the concerto opens with the movement Slowly and Expressively, where the clarinet unfolds an expansive, song-like line over delicate textures, showcasing a quiet, reflective character.
The program also explores the enduring life of melody through a reimagining of Blackbird by John Lennon and Paul McCartney, heard here in a version inspired by the celebrated clarinetist Richard Stoltzman. In his recording, Stoltzman creates a seamless medley that intertwines Blackbird with the jazz standard Bye Bye Blackbird by Ray Henderson, highlighting the unexpected kinship between the two songs. This arrangement, created for Opus Nova by Alexander Timofeev for clarinet, piano, and bass, follows that same imaginative concept, bridging popular song and jazz tradition in a way that reflects the spirit of reinterpretation central to the legacy of Benny Goodman.
Finally, the program returns to the electrifying spirit of Benny Goodman himself, the legendary “King of Swing,” whose artistry and leadership helped bring jazz into the cultural mainstream of 1930s America. As a clarinetist, Goodman was celebrated for his brilliant technique, expressive range, and unmistakable tone; as a bandleader, he set new standards for precision, energy, and musical sophistication. His historic 1938 concert at Carnegie Hall marked a turning point in the recognition of jazz as a serious art form.
Works such as Grand Slam and Flying Home, staples of Goodman’s repertoire, capture the exuberance and rhythmic drive of the swing era, while pieces like Rachel’s Dream highlight a more lyrical and expressive side of his musical world. Pieces like Tattletale further showcase the wit and character of Goodman’s musical personality. Together, these works reflect not only his brilliance as a performer, but also his lasting influence on generations of musicians, bringing this homage to a vibrant and exhilarating close.