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Unknown: Good afternoon, everyone. I'm Marin Alsop. And it's my pleasure to welcome you here this afternoon. Our program this afternoon features the

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outstanding musicians of the Cumbria Festival Orchestra. And we have 12345 of the composers that we've featured here this week represented on the program. And I'm very pleased to say that three of them are with us today. And I've managed to put all

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their arms or something else into speaking a little bit before each of their pieces. I also wanted to announce that in Richard Daniel for his urban dances on Nikki Roosevelt will be playing porn today.

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So please help me welcome Joe tower, just a few words about the person work on our program. Afternoon. It's such an exciting thing to see so many people turn out or us composers

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who are still above ground. And I've certainly enjoyed being here very much this week working with the orchestra and Marin and the players. And I've been having a ball here. This piece, I used to be a pianist, and I had my own group. And we

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celebrated our 10th anniversary in 1980. Seems so long ago. Anyways, this piece was written for the that occasion to celebrate that anniversary. And one of the big influences on me with Stravinsky, and I particularly like his Patricia,

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and particularly the first movement of his Patricia and this is a kind of an homage to him as well as a pair escaping from the Olympics, which I was always fascinated with it's in this piece, I was trying to make a seamless kind of a piece and

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one thing about skating is there are no seams in skating Unless Unless you stop. And this piece is along the line of a few pieces of trying to create seams and they're also appears in the flutes and the string and flute and clarinet and the strings

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here which are embedded in a rather lively texture. So it's sort of like a carnival on ice. It gets pretty loud and I'm sure it's gonna get pretty loud here. And it's but but it only lasts five minutes. I'd like to thank I'd like to thank these

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wonderful players. They have been such a joy to work with. Sir, we're gonna try it one more time. The other members of the group asked me to let you know that

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the program listens for dances for this piece, we in fact will be performing just three of them. The third movement shadow dances will be omitted as the program says it's about Deaf die and desolation in New York, and it's such a cheery afternoon. We

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thought maybe we get that I realized in New York that's considered Easy Listening but it's a little brick Good afternoon, I'm Steve Heitzig. And before I talk about endangered, I just

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wanted to personally thank Marin sincerely for programming my work. So I feel very honored to be here. And I also want to thank the just exceptional musicians. And this is like one of the most unmatched audiences for their enthusiasm for new

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music and living music. So thank you. endangered is a work that I wrote in 1990 as a program notes, state and I'll try and talk quickly so you don't get mormor the piece begins and closes with high harmonics of the pitches Ed AG, which our

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musical reference to the title itself endangered. And it's a nine sections and non stop. And I'll just briefly mention each from the high harmonics, we then go into a section that is just the turtles and tortoises in the beauty live section without

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human altercation and destruction. Then we go into a violent section very frenetic, in which the senseless destruction by humans begins. Out of that, we will hear the 28 beats, in honor of the 20 species of turtles that are on

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the endangered species list, which itself is endangered and soon to be extinct. And the paradox of that I won't go into and out of that, we then have the lyrical lament for the earth. And then from that is in tortoise time, which is a

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pizzicato sections, sort of an image of the green turtles when they're just coming out of the sand and scurrying toward their home the ocean. And then we make the descent to the ocean with the ghost of the galapagus the the lowest Sonic portion of the

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piece. Actually, for me, the cello is very similar to a Galapagos tortoise. So a David, I hope will confer with that. And then out of that comes the Hopi emerging truth and during section in which the arm of the cellist is doing a lot of cross

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strings to look like waves. And then at the very close, we will again have the higher harmonics, the initial theme stated, and this time, David will sing along, it's the our ancestors and our voices become one. So my whole mission as a composer, is

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to work for peaceful coexistence among all species. I feel that nature's Music Music is nature. Humans are not the only species who create music. So that is my goal in this piece. And I'm feel very privileged to have David perform here. So thank you,

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David. Thank you.