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Program Archives is a resource listing the Lone Star Wind Orchestra's concert programs and program notes along with displaying each concert poster design. Each concert will have its own webpage. Pages are under construction. Check back soon as more concert pages are created.
FANFARES AND FLOURISHES • October 7, 2012 A HOLIDAY JUBILEE (Youth Winds) • December 9, 2012 ONCE UPON A TIME • January 27, 2013 RADIANT JOY (Youth Winds) • March 3, 2013 NOTES FROM JAPAN • April 28, 2013 ANGELS AND BOUQUETS (Youth Winds) • May 12, 2013
RHAPSODY IN BLUE: A GERSHWIN TRIBUTE • September 25, 2011 SOUND THE BELLS! (Youth Winds) • December 4, 2011 FROM DALLAS TO VALENCIA • January 29, 2012 AN AMERICAN PORTRAIT (Youth Winds) • March 4, 2012 AS THE WORLD DANCES • April 22, 2012 OUT OF THIS WORLD (Youth Winds) • May 13, 2012
WEST SIDE STORY: A BERNSTEIN TRIBUTE • September 26, 2010 DIA DE LOS MUERTOS • October 22 & 23, 2010 MCTEE'S DOUBLE PLAY • November 21, 2010 CONVERGING CULTURES • January 30, 2011 THE PIPES ARE CALLIN' (Youth Winds) • March 6, 2011 PASSIONS: ICONS OF AN ERA • April 17, 2011 WIND DANCES (Youth Winds) • May 8, 2011
CITYSCAPES • October 18, 2009 DANZAS DE VIENTO! • January 24, 2010 SUITE SERENADES • February 28, 2010 ANGELS OF LIGHT • April 25, 2010 RISING STARS (Youth Winds) • May 23, 2010 TBA 2010 • July 26, 2010
AN AMERICAN SALUTE • November 9, 2008 HOME FOR THE HOLIDAYS • December 14, 2008 I HAVE A DREAM • January 25, 2009 ALL THAT JAZZ! • March 22, 2009
BLUES, GLORY, AND GRANDUER • October 9, 2007 CHRISTMAS TIDINGS • December 16, 2007 CELTIC PERSPECTIVES • March 2, 2008 THE SPIRIT OF TEXAS • May 20, 2008 GLORY AND GRANDUER, TBA 2008 • July 28, 2008
FIESTA! • September 27, 2006 SHOSTAKOVICH 100 • November 7, 2006 SEASON OF CELEBRATION • December 19, 2006 A TASTE OF AMERICANA • March 6, 2007 PICTURES AT AN EXHIBITION • May 8, 2007
Angels and Bouquets – Concert Program May 12, 2013 at 2:30 P.M. Abby Hawthorne* PROGRAM
ANGELS AND BOUQUETS – Program Notes Mother Earth: A Fanfare (2003) Mother Earth: A Fanfare was commissioned by and is dedicated to Brian Silvey and the South Dearborn High School Band of Aurora, Indiana. The composer writes, “The inspiration for the fanfare comes from a quote from St. Francis of Assisi.” Praised by You, my Lord, for our sister, MOTHER EARTH, Danish Bouquet (2006) Lora John Schissel wrote in 2007, “Frederick Fennell and I enjoyed ‘what if ’ concerts. Dream pieces. Our usual: What if Richard Strauss had written a major tone poem for band…the Ravel band piece promised to Edwin Franko Goldman but never delivered, stolen from us by the composer’s illness…and our recurring discussion of our dream Percy Grainger work: ‘the one that got away.’ I have always been interested in Grainger’s collection (on paper and cylinder) of Danish folk songs. Grainger had never been able to do as much with them as he had with the British folk music. We have Lincolnshire Posy but no Danish suite for wind band that is comparable. I asked Frederick one evening in Chicago who he thought could create such a suite now. His reply was succinct: ‘Ira.’ Frederick didn’t live to see and hear his dream ‘Grainger’ piece, but I collated the Grainger collection of folk songs in the Library of Congress and sent them to Ira with the promise that a full-fledged commission would follow. Within weeks, Ira sent his take on Grainger’s Danish “wildflowers.” The music is here before you, ready to come alive…with a tip of the hat to two of the greatest friends of wind band music – Percy Aldridge Grainger and Frederick Putnam Fennell – through the masterful artistry of Ira Hearshen.” Country Gardens (1953) In a letter to Frederick Fennell, responding to Fennell’s request for information for the liner notes of his Mercury recording of Country Gardens, Grainger wrote as follows: “The Morris Dance tunes ‘Country Gardens’ and ‘Shepherd’s Hey’ are instrumental versions of songs long popular in the English country-side under the titles ‘The Vicar of Bray’ and ‘Keel Row.’ When Cecil Sharp discovered the Morris Dance versions around 1908, he sent them to me with the remark: ‘I’ll think you will find them effective to arrange.’ But I did not arrange ‘Country Gardens’ until I was a bandsmen in the U.S. Army. Our band would take part in Liberty Loan drives and I would be asked to improvise at the piano without much response from the audience. But I thought of ‘Country Gardens’ as a likeable and lively little tune that might please. So I tried it and sure enough, it was popular at once. So I wrote it down in the barracks.” Grainger’s piano arrangement of the tune was published in 1919 by Schirmer. This delectable little melody, emerging like a happy breath of fresh air into the tense and heavy atmosphere of World War I, became a wild success with the public. It sold more copies than anything Schirmer or their European counterpart, Schott, had ever published and helped support Grainger throughout the rest of his years. In 1953, Grainger rescored the arrangement for band. Variations on a Theme of Glinka (1878) Variations on a Theme of Glinka is a unique piece to both the wind ensemble and oboe repertoire. Being both lyrical and virtuosic, the concerto begins with an elegant and graceful Gypsy-like solo line that becomes the theme for a set of variations and cadenzas. The work is organized into an introduction, theme, twelve variations and a finale. There are two substantial cadenzas laced within the piece that allows the soloist to show off virtuosic playing. Angels in the Architecture (2008) Angels in the Architecture was commissioned by Kingway International and premiered at the Sydney Opera House on July 6, 2008, featuring a large ensemble of students from Australia and the United States. According to Ticheli, the piece conveys the dramatic conflict between the two extremes of divine and evil. He was inspired by at least three specific sources for the piece. The Sydney Opera House itself was a source with its halo-shaped acoustical ornaments hanging directly above the performance stage. The title of the piece can be found in the lyrics of Ticheli’s favorite songwriter, Paul Simon. In the song “You Can Call Me Al”, the lyrics state: “He sees angels in the architecture/Spinning in infinity/He says Amen! and Hallelujah!” The third source is the following quote by Thomas Merton, a twentieth-century Catholic mystic and writer: “The peculiar grace of a Shaker chair is due to the fact that it was built by someone capable of believing that an angel might come and sit on it.” Angels in the Architecture begins with a single voice singing a nineteenth-century Shaker song, “Angel of Light.” Ticheli says of the work: “This ‘angel’ (represented by the singer) frames the work, surrounding it with a protective wall of light and establishing the divine. Other representations of light - played by instruments rather than sung – include an ancient Hebrew song of peace (‘Hevenu Shalom Aleichem’), and the well-known 16th-century Genevan Psalter, ‘Old Hundredth.’ These three borrowed songs, despite their differing religious origins, are meant to transcend any one religion, representing the more universal human ideals of peace, hope, and love. An original chorale, appearing twice in the work, represents my own personal expression of these aspirations. In opposition, turbulent, fast-paced music appears as a symbol of darkness, death, and spiritual doubt. Twice during the musical drama, these shadows sneak in almost unnoticeably, slowly obscuring, and eventually obliterating the light altogether. The darkness prevails for long stretches of time, but the light eventually returns, inextinguishable, more powerful than before. The alternation of these opposing forces creates, in effect, a kind of five-part rondo form (light-darkness-light-darkness-light). Just as Charles Ives did more than a century ago, Angels in the Architecture poses the unanswered question of existence. It ends as it began: the angel reappears with the same comforting works. But deep below, a final shadow reappears — distantly, ominously.” Chorale and Shaker Dance (1971) Chorale and Shaker Dance combines a simple chorale theme, introduced by the woodwinds, with variations of the well-known Shaker Hymn “Simple Gifts.” There is a progression of instrumental timbres and chord textures as the themes alternate and commingle. Brief solos for flute, clarinet, saxophone, and trumpet occur at tempo changes. The brass and woodwinds exchange the themes as time signatures cause an increase in both tempo and intensity. Sustained brass sections play the chorale with woodwinds performing a fiery obligato based on the Shaker hymn as the development peaks. A demanding timpani part punctuates the dramatic ending.
Notes from Japan – Concert Program April 28, 2013 at 2:30 P.M. LSWO Clarinet Choir* PROGRAM
NOTES FROM JAPAN – Program Notes Funa-Uta for Band (1993) Funa-Uta for Band is a kind of Barcarole and is based on two folk songs from the Setonaikai (the Inland Sea) area in the western part of Japan. The melodic material is contemporary treatment of two Japanese folk songs: Kompira Fune-fune from the Kagawa Prefecture and Ondo no Funa-uta from the Hiroshima Prefecture. Set in a three part form (A-B-A) the piece opens in the style of John Adams while the folk with the folk material being fully developed. Beautifully orchestrated Funa-Uta combines characteristic elements of Japanese and contemporary Western musical elements in such a way that performers and audiences alike can relate to the ancient sound world. Ito successfully treats both musical traditions with respect without sounding trite. Songs (2010) Songs is a lyric, through composed work in which he provides an opportunity for individual performers to explore their own expression through the provided compositional framework. Songs was commissioned by the Hamamatsu Cultural Foundation that commissions new works for wind ensemble from Japanese composers who especially work in the field of orchestra, chorus, jazz, television, and film. This like a number of his other compositions explores the concept of “musical simultaneity” in order to liberate audiences from the restrictions of linear time. Featuring numerous soloists, they are instructed to play simple songs and song fragments at their own tempo. Although each song in the piece is different, they are all derived from a single melody performed by the clarinet at the beginning of the piece. Songs was the recipient of the 2011 American Bandmasters Association Sousa/Ostwald award. Figuration for Shakuhachi and Band (1994) Figuration is concerto-like work for Shakuhachi and Band that combines ancient Japanese folk material into an exciting one movement work. The Shakuhachi is a traditional bamboo flute which is played by blowing into the end. It has been popularized in the West through film and TV music and is used here in one of the few works for band to feature this instrument. Kushida seeks to incorporate traditional Japanese music in a westernized manner, appealing to international audiences. He offers the following thoughts on composing: “I think there is something special about the Japanese conceptionalization of how traditional Japanese music and western forms may be combined. Consider, for example, the sound of the wind, the cries of the birds, and the calls of insects, all of which have been viewed as similar to music since ancient times in Japan. This is within all the arts, and comes out in literature, in the ukiyoe art works, and particularly in the monogatari (tales). Beautiful sounds are considered to be music, therefore the perception of what is defined as music may be different in Japan. I think this unusual sense has also had implications for wind band music. It is great to express this sensibility through Japanese instruments such as koto and shakuhachi, but I thought that composing in this way for wind ensemble would also be worthwhile, as this is the more global medium. Still, I wondered if people from other nations would understand such a Japanese approach. Recently even in Japan there are those who do not grasp this traditional Japanese aesthetic sensibility, but I thought through this way even young people and those outside Japan could understand it. For me it is important to express the true heart of Japan, which is my objective in composition.” (From Wind Bands and Cultural Identity in Japanese Schools by David G. Hebert) Ode to R.S. (2012) Ode to R.S., dedicated to Robert Schumann’s 200th birth year, was composed in 2010. Set as a theme and variations, the theme is a chorale in C-major originally composed by 16th-century French composer, Louis Bourgeois. Most well-known by the title Freu dich sehr, o meine Seele, Johann Sebastian Bach used this chorale in the cantatas Es erhub sich ein Streit, BWV 19 and Wachet! betet! betet! wachet!, BWV 70. Known as one of the major composers responsible for the revival of Bach’s music in the nineteenth century, Schumann harmonized the chorale in his Op. 69, No. 4. Pater Noster (2006) Pater Noster means “Our Father” in Latin. Not composed from a specifically religious point of view, the intent is to instill a feeling of awe and reverence toward the magnificent power of nature, expressed with a type of ethnical prayer. The work was commissioned by the Takanawadai High School Wind Orchestra’s clarinet section and premiered at the 29th All Japan Ensemble Contest. Three Notes from Japan (2001) Three Notes from Japan was composed for the Tokyo Kosei Wind Orchestra. This three movement suite captures visions of Japanese environment and life. While Eastern in its motivation, the work is resoundingly modern in style. Each movement depicts scenes familiar to native Japanese. The first movement, “La danse des grues” (Tancho cranes’ mating dance) depicts the unique mating ritual of the red crowned crane. This indigenous bird has come to be a representative symbol of luck, longevity, and fidelity. The pair move together rhythmically, eventually throwing their heads back and fluting in unison. Movement two, “La riviere enneigee” (Snowy River) musically portrays a serene, snow covered river. Under the otherwise quiet outdoor scene, the sense of flowing water is ever-present musically. The final movement “Le fete du feu” (Nebuta festival) musically represents the famous summer festival which takes place in Aamori Prefecture. The festival revolves around a float of a brave warrior figure carried through the streets being accompanied by dancers dressed in a special costume called a “heneto” chanting a “ressera.”
Radiant Joy – Concert Program March 4, 2013 at 2:30 P.M. Joey Resendez, Alto Saxophone* PROGRAM
RADIANT JOY – Program Notes Rocky Point Holiday (1966) This 1969 composition was Ron Nelson’s first major work for band. It was commissioned for the University of Minnesota Band’s Russia tour. Rocky Point Holiday was written in Rocky Point, Rhode Island while the composer was on vacation. The composition begins with forceful octave writing for the upper winds, and almost immediately turns with an obligato pattern in the clarinets and alto saxophone (made up of two sixteenths and an eighth note). Legato lines begin to emerge in the flutes and first clarinets, as the obligato continues, until at number 2 the syncopated main theme is introduced in the brass section. The middle of the composition has a “Gershwinesque” feel to it, somewhat reminiscent of An American in Paris, with its legato horns and punctuated, muted trumpets. A beautiful impressionistic section ensues, and provides a magical atmosphere, with swirls of notes in the high woodwinds, and sustained pedal effects beneath ala Ravel or Respighi. The theme is tossed around from section to section as the work generates enormous energy and excitement as it approaches the end with strength and clarity. The main theme is stretched and written in augmentation as the composer unfolds the exciting ending. Hymn to a Blue Hour (2010) Jack Wallace writes, “The blue hour is an oft-poeticized moment of the day – a lingering twilight that halos the sky after sundown but before complete darkness sets in. It is a time of day known for its romantic, spiritual, and ethereal connotations, and this magical moment has frequently inspired artists to attempt to capture its remarkable essence. This is the same essence that inhabits the sonic world of John Mackey’s Hymn to a Blue Hour. The piece is composed largely from three recurring motives-first, a cascade of falling thirds; second, a stepwise descent that provides a musical sigh; and third, the descent’s reverse: an ascent that imbues hopeful optimism. From the basic framework of these motives stated at the outset of the work, a beautiful duet emerges between horn and euphonium-creating a texture spun together into a pillowy blanket of sound, reminiscent of similar constructions elicited by great American melodists of the 20th century, such as Samuel Barber. This melody superimposes a sensation of joy over the otherwise “blue” emotive context-a melodic line that over a long period of time spins the work to a point of catharsis. In this climactic moment, the colors are at their brightest, enveloping their surroundings with an angelic glow. Alas, as is the case with the magical blue hour, the moment cannot last for long, succumbing at the work’s conclusion with a sense of peaceful repose.” Concert Suite for Alto Sax (1998) Concert Suite for Alto Sax and Band was commissioned by the University of Michigan Band Alumni Association and has been performed and recorded by several leading saxophonists and wind ensembles. The opening movement, Lively, contrasts several fanfare gestures between soloist and ensemble with a playful melody appearing first in the saxophone. The ascending and descending chromatic scale first established in this movement is an important melodic and harmonic tool throughout the work. The second movement is a simple, lush folksong-like melody original to the composer. The movement features the solo saxophone with a euphonium and tuba duet underneath, climaxing in a powerful statement of the tune. The final movement begins with a slow, jazzy introduction and culminates in a fast and rather aggressive dance, or Jump. Radiant Joy (2006) The composer writes, “Radiant Joy was my first new work for winds after two and a half years away, and one that I hope is equal to its title in character and purity of intent. It comes after a difficult period in my personal life, and thus its character was something of a surprise to me. This work began life as a strict, 12-tone, serialized creature modeled on Webern - I wanted something sparse and tightly constructed (in harmonic and intervallic terms), while still retaining a vital rhythmic pulse. After several sketches that ended in anger and frustration, I realized I was metaphorically banging my head against the creative wall, and perhaps I should stop forcing this music into existence with a prescriptive process, and simply listen inwardly to what I actually wanted to hear. The result is simultaneously the opposite of what I was originally trying to create, and also its direct realization - the vital rhythmic pulse is still prominent, but the harmonic materials veered toward the language of 70s/80s funk/jazz/fusion (at least, that’s what I’ve been told). Regardless, the piece is intended to emanate joy and ‘good vibes’ (literally - the vibraphone is critical to the piece!), for the performers, the audience, and the composer!” Sleep, My Child (2013) The composer writes, “Sleep, My Child is a piece from my work for music theater Paradise Lost: Shadows and Wings. In the show it appears midway through Act II and is performed by three angels—two sopranos and a mezzo. For years, the American choir Chanticleer and I have been looking for something on which we could collaborate, and an arrangement of Sleep, My Child was the project we finally settled upon. Chanticleer is an all-male group (12 men), but they insisted that I write it ‘pure SATB.’ The purity of tone that the ensemble (and especially those legendary male sopranos) brought to the music matched perfectly with the delicate, ethereal sounds I had in my head.” Adapted for band in 2012 at the request of the composer, this arrangement of Sleep, My Child is the latest title in a growing catalog of compositions (October, Sleep, Lux Aurumque, and The Seal Lullaby) that illustrate Whitacre’s sincere commitment to creating more “lush, beautiful music for winds.” Finale from Sixth Symphony (2008) In 2005, James Barnes received a commission from Roy Holder to compose a work for his excellent Lake Braddock High School Band. As the composer began working on the piece during the summer of 2007, it evolved from a large, one-movement work into a three-movement symphony, one with smaller proportions than those of his earlier efforts in the medium and a piece that was not as technically demanding for the players as the earlier symphonies. The result was his Sixth Symphony, opus 130. It was premiered by the Lake Braddock High School Band in Burke, Virginia on June 4, 2008.
Once Upon a Time – Concert Program January 27, 2013 at 7:30 P.M. LSWO Horn Quartet* PROGRAM
ONCE UPON A TIME – Program Notes Lift Off! (2005) Lift-Off!, a quick and energetic piece, was written when NASA was returning the Space Shuttle to flight in 2005 and is a celebration of human space exploration. The work has highly pointed rhythmic sections that give way to richly harmonized melodic sections, with an almost constant rush of sixteenth notes throughout the entire piece. Lift-Off! was commissioned by Andrew Lane and the Sarasota Orchestra Symphony Association. The wind version by the composer was premiered by H. Robert Reynolds and the USC Thornton Wind Ensemble on October 21, 2007. Rumpelstilzchen (2010) Rumpelstilzchen is composed in three continuous movements, each depicting a different part of the folk tale. The first movement, “Spinning Straw into Gold,” paints a portrait of Rumpelstilzchen clattering away at his spinning wheel. You can hear the wooden clicking and rattling of the spinning wheel, Rumpelstilzchen laughing to himself, as well as ominous undertones of his plan to steal the poor maiden’s firstborn son. After gradually working himself up into a frenzy, Rumpelstilzchen manages to compose himself enough to complete his task before vanishing into thin air. The second movement, “Night (The Maiden’s Lament),” is a picture of the maiden’s grief upon realizing that she must give up her firstborn son to Rumpelstilzchen in exchange for his spinning services. A long, plaintive melodic line is passed among various solo instruments, gradually culminating in a mournful chorale as the grief-stricken maiden sings her sorrow into the night. The third movement, “Rumpelstilzchen’s Furiant (Moto Perpetuo),” portrays Rumpelstilzchen’s dance of fury after his plot is foiled when the maiden successfully guesses his name. This final movement is a technical tour de force for the entire ensemble as it paints the picture of Rumpelstilzchen dancing and whirling faster and faster until he flies out of the maiden’s house on a cooking ladle, never to be seen again. Red Cape Tango (2000) Red Cape Tango is the fifth movement of Daugherty’s Metropolis Symphony inspired by the Superman comic strip of the 1950’s and 60’s. This movement was composed after Superman’s fight to the death with Doomsday. The principal melody, first heard in the bassoon, is derived from the medieval Latin death chant Dies irae. This dance of death is conceived as a tango, presented at times like a concertino comprising string quintet, brass trio, bassoon, chimes, and castanets. The tango rhythm, introduced by the castanets and heard later in the finger cymbals, undergoes a gradual timbral transformation, concluding dramatically with crash cymbals, brake drum, and timpani. The orchestra alternates between legato and staccato sections to suggest a musical bullfight. The Cowboys Overture (1972/2003) Taken from the 1972 motion picture “The Cowboys” starring John Wayne and Roscoe Lee Browne, the music complements the story of a 60 year old Montana cattleman who enlists (and ultimately mentors) ten schoolboys as cowboys after the regular ranch hands have left with Gold Rush fever. Through music, we are transported to the Old West and experience the joys and hardships of cowboy life. The 400-mile cattle drive provides the boys with a different and harsher schooling as they learn the rigors of the job and have to deal with rustlers. The music conveys the high spirit of wild horses and their taming. Jollity around the campfire is contrasted against the loneliness of the open range. The plains have a beauty, though, which is reflected in the song of a lark. The hard work of the cattle drive, including the fording of the wide, muddy river and dealing with many fears and threats, succeeds in maturing the boys into men. This suite is a typical example of John Williams’ capacity to enrich a film story with an almost narrative musical score. The premiere of this overture for concert band took place July 12, 2003 as part of the 205th anniversary concert of the United States Marine Band. Hogwarts Forever (2001) “Harry Potter and the Sorcerer’s Stone” is the first film in the Harry Potter series based on the novels by J.K. Rowling. It is the tale of Harry Potter, an ordinary 11-year-old boy serving as a sort of slave for his aunt and uncle who learns that he is actually a wizard and has been invited to attend the Hogwarts School for Witchcraft and Wizardry. “Hogwarts Forever” for horn quartet is an exact extraction from the film’s soundtrack composed by John Williams. Star Wars Trilogy (1977-1983) Music from the original epic trilogy “Star Wars” would not only win John Williams both an Academy and a Grammy Award, but it would also propel into the cultural consciousness a universal music, uniting fans everywhere and inspiring them alike. A prosperous professional relationship with director, Stephen Spielberg, would eventually lead Williams to George Lucas, creator and director of “Star Wars.” The score he created was selected in 2005 by the American Film Institute as the greatest American movie score of all time. Like Bernard Herrmann before him, Williams employs the Wagnerian concept of leitmotiv: each character is given his or her own thematic music, a technique that allows the listener to recognize film’s characters and predict their interactions. This arrangement was conceived by Donald Hunsberger.
A Holiday Jubilee – Concert Program December 9, 2012 at 2:30 P.M. Dr. Andrew Tucker, Guest Conductor* PROGRAM
A HOLIDAY JUBILEE – Program Notes Lauds (1991) Lauds is described by the composer as “... an exhuberant, colorful work intended to express feelings of praise and glorification.” Lauds is one of the seven canonical hours that were selected by St. Benedict as the times the monks would observe the daily offices. Three (terce, sext, and none) were the times of the changing of the Roman guards and four (matins, lauds, vespers, and compline) were tied to nature. Lauds, subtitled Praise High Day, honors the sunrise; it is filled with the glory and excitement of a new day. The work received its premiere by the U.S. Air Force Band on January 24, 1992. Fervent is My Longing (1708) The melody used in Fervent is My Longing, a chorale prelude, is of unknown ancient origin, but is known to have been used at least as early as the sixteenth century by Hans Leo Hassler, who arranged it in choral settings. The best known examples which survive today are found in the music of J.S. Bach, who included this melody in various chorales and in the St. Matthew Passion to the text “O Haupt voll Blut und Wunden” (O “Fervent is My Longing”). Composed around 1710, this version is the source for this sensitive setting for band. Riff Raff (2012) Riff Raff was born out of a recently renewed interest in post-war jazz and big-band. The works of composers and arrangers like Kenton, Riddle, Graettinger, Ellington, and even the jazz-inspired sounds in some of Bernstein’s symphonic music conjure up images (in my mind anyway) of the “urban rebel” found within mid-century American pop culture. This idea of the brooding lone figure who forges through life on their own terms can be found in some of the fictional film characters played by James Dean and Marlon Brando or in the hard-boiled detectives and heroes within pulp novels and film noir. "What I find interesting about these character’s is the double-persona that they usually possess. On one hand they exude an über-cool toughness and an “I don’t care what the world thinks” bravado. Yet internally there is often a conflicted and troubled soul in need of redemption." Russian Christmas Music (1944) Russian Christmas Music uses the ancient Russian Christmas Carol, “Carol of the Little Russian Children”, together with the composer’s original material and some motivic elements derived from the liturgical music of the Eastern Orthodox Church. The piece is a musical impression of Old Russia during the jubilant Christmas season. Although cast in the form of a single, continuous movement, four distinct sections can be recognized, which the composer originally sub-titled: Children’s Carol, Antiphonal Chant, Village Song, and the closing Cathedral Chorus. Peter Patapan (2011) A combination of Tchaikovsky’s “Arabian Dance” from The Nutcracker Suite and the traditional “Patapan,” Peter Patapan starts fairly tamely and ends in a festive Russian dance style. “Patapan” (or “Pat-a-pan”) is a French Christmas carol composed by Bernard de La Monnoye and was first published in 1720. Revolving around the birth of Jesus Christ, the carol’s lyrics are from the perspective of shepherds playing simple flutes and drums. The composer writes, “An interesting fact is that while writing this arrangement I had no music in front of me and had never seen the lyrics. I only had the tune in my head and knew I wanted to use it. I scored the opening with a single drum and recorder. Only while putting together the program notes for the piece did I see the actual lyrics – quite a coincidence.” A Christmas Festival (1950/1952) A Christmas Festival was written in 1950 and is still one of Anderson’s most popular works. Old favorites include “Joy to the World”, “Deck the Halls”, “God Rest Ye Merry Gentlemen”, “Good King Wenceslas”, “Hark! The Herald Angels Sing”, “Silent Night”, “Jingle Bells”, and “Adeste Fidelis.” Sleigh Ride (1948) Sleigh Ride is a popular light orchestral piece composed by Leroy Anderson. The composer had the original idea for the piece during a heat wave in July 1946 and finished the work in February 1948. Lyrics, about a person who would like to ride in a sleigh on a winter’s day with another person, were written by Mitchell Parish in 1950. This popular piece is often performed on holiday programs, even though the lyrics never mention any holiday-related activities. Still, since the Boston Pops, conducted by Arthur Fielder first recorded the piece in 1949, it has become a holiday concert staple.
Fanfares and Flourishes – Concert Program October 7, 2012 at 2:30 P.M. LSWO Brass Ensemble* PROGRAM
FANFARES AND FLOURISHES – Program Notes Fanfare for the Common Man (1942) Fanfare for the Common Man was written for Eugene Goosens and the Cincinnati Symphony Orchestra, premiering on March 14, 1943. With the United States heavily involved in WWII, Goosens sought American composers to submit patriotic fanfares which would be performed during the 1942-1943 concert season. Copland’s fanfare was one of ten commissioned for the collection, which also included works by Henry Cowell, Paul Creston, Virgil Thompson, Howard Hanson, and Walter Piston. Given the task of bolstering patriotic sentiment, Copland sought to capture a “certain nobility of tone, which suggested slow rather than fast music.” The title of the work took its inspiration from Copland’s reaction to Walter Piston’s Fanfare for the Fighting French. Copland commented: “It seemed to me that if the fighting French got a fanfare, so should the common man, since, after all, it is he who was doing the dirty work in the war.” Feeling the material could be further developed, he used the fanfare material in the finale of his Third Symphony. Flourishes and Meditations on a Renaissance Theme (2010) Flourishes and Meditations on a Renaissance Theme was commissioned by the President’s Own United States Marine Band and is dedicated to them and their director, Colonel Michael J. Colburn. The work is a set of seven variations on an anonymous Renaissance melody that is simply titled Spagnoletta; derived from a then popular melody titled Españoleta or “Little Spanish Tune.” Gandolfi first encountered this melody quoted by Joachin Rodrigo in his Fantasia para un Gentilhombre for guitar and orchestra. He was motivated to probe this elegant tune which he had been acquainted with for four decades. Variations for Wind Band (1957) Variations for Wind Band were originally composed for the brass band, brought about by an encounter with the International Staff Band of the Salvation Army. This short, rarely heard piece is a set of eleven variations on an original theme and was written for the British National Brass Band Championships. Vaughan Williams’s theme, fourteen bars long, begins with a modal hymn-like phrase for unison saxhorns in two octaves. Brighter sounds, marked no vibrato, respond, again in unison. The theme is then completed with a harmonized phrase which could have come from no other pen, similar to the technique used in his Fifth Symphony. The variations are brief with all eleven happening within ten minutes. They make no concession to the showpiece element of the band-contest; here all is discipline – music heard through the brass band rather than notes written to demonstrate it or to entertain with it. In 1988, it was scored for large wind ensemble by Donald Hunsberger, conductor of the Eastman Wind Ensemble. Following the introduction (andante maestoso) the variations flow without pause. The style and tempo changes are easily discernible, particularly in the canon, waltz, fugue, and chorale. Fanfare for the Uncommon Woman No. 1 (1986) Fanfare for the Uncommon Woman No. 1 was inspired by Copland’s Fanfare for the Common Man. Using the same instrumentation as Copland’s fanfare, the original theme also resembles the first theme in the Copland. It is dedicated to women who take risks and who are adventurous. Written under the Fanfare Project and commissioned by the Houston Symphony, the premiere performance took place on January 10, 1987, Hans Vonk, conductor. The work is dedicated to conductor and friend Marin Alsop. Sanctuary (2005) Sanctuary was commissioned by the Michigan School Band and Orchestra Association in honor of H. Robert Reynolds. Written as a single movement, Ticheli takes the listener on a musical journey exploring diverse musical textures. It is no coincidence that he chose the horn to be the primary messenger of musical material. Mr. Reynolds played the horn in his early years. The opening pitches of the prologue also spell his first name, Harrah; an idea Ticheli also used in Postcard, which was written in honor of Mr. Reynolds mother. Providing inspiration for the work were memories Ticheli has of Reynolds conducting Percy Grainger’s Hill Song No. 2 and Colonial Song. He writes of Sanctuary that these other works “were also in the back of my mind, as the sounds that I created in some ways echo the lyrical mood of these works.” The word sanctuary conjures an array of images, potentially implying a place of solitude, comfort, rest, prayer, and protection. A place that is both strong and imposing, yet small and private. All of these images are suggested musically during the work. Pines of Rome (1924) Pines of Rome (Pini di Roma) opened with boos and hisses from the audience at the end of the first movement. Respighi anticipated this due to its “discordant trumpet writing.” The rest of the piece was well received and Pines of Rome soon established itself as a popular modern classic. The work is in four sections: The Pine Trees of the Villa Borghese - a musical representation of children at play in the pine groves of the Villa, Pine Trees near a Catacomb - portraying deep shadows at the entrance to the catacombs with an haunting echo like chant, The Pine Trees of the Janiculum - in the dark the moon reveals the outline of the pines of Giancolos Hill, and The Pines of the Appian Way - depicting the sun rising along the majestic road leading to the Roman capital.
Out of this World – Concert Program May 13, 2012 at 2:30 P.M. Charlie Valliant, 2012 LSWO Youth Winds Concerto Competition Winner* PROGRAM
OUT OF THIS WORLD – Program Notes Flight (2004) Flight was written to commemorate the second flight of the first private manned spacecraft to exceed an altitude of 62 miles (328,000 feet). On October 4, 2004, SpaceShipOne won the 10 million dollar Ansari X-Prize. This piece is written both in the style of “minimalism” and acts as a fanfare. Three main sections (launch to space, reaching the apogee, and return to the atmosphere) bring this historic flight to life.. Salvation is Created (1912) Salvation is Created was one of the very last sacred works composed by Russian composer Pavel Tschesnokoff before the oppressive Soviet regime forced him to turn to secular arts. In 1917, the peasants of Russia started a revolution and overthrew the reign of the tsars. The new form of government that took over established communism. Among the many changes that resulted was the shutting down of the Russian Orthodox Church. The government held a great deal of control over the type of music composers could write, and music for the church was discouraged. Composers wrote sacred music at the risk of being killed or having their families taken. Tschesnokoff opted to save his family and himself and never wrote another piece of sacred music. Years after his death communism fell, the Berlin Wall came down and the Russian Orthodox Church opened its doors again. Salvation is Created became the unofficial anthem of the church. Tschesnokoff never heard the piece performed, but his children were finally able to hear it years later. This piece was originally written as vocal music. The English translation is: “Salvation is created, in the midst of the earth, O God, O our God. Alleluia.” Apollo Unleashed from Symphony No. 2 (2003) Frank Ticheli, a Richardson native, writes, “The finale, Apollo Unleashed, is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement’s title, but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach’s Chorale BWV 433 (Wer Gott vertraut, hat wohl gebaut). This chorale -- a favorite of the dedicatee, and one he himself arranged for chorus and band -- serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events. The chorale is in ternary form (ABA’). In the first half of the movement, the chorale’s A and B sections are stated nobly underneath faster paced music, while the final A section is saved for the climactic ending, sounding against a flurry of 16th-notes.” Morceau de Concert (1880) Translating to “concert piece,” Morceau de Concert is an impressive horn solo written in 1880. Camille Saint-Saëns’ composition was dedicated to the horn virtuoso Chaussier, who won the Premier Prix (a famous concerto competition held at the Paris Conservatoire) in 1880. Mission STS: Ecceda Terra (2012) Mission STS: Ecceda Terra was composed as a tribute to NASA’s Space Shuttle Program and its 30-year mission of discovery. Five minutes in duration, the piece travels through five stages of space flight – prelaunch, countdown, launch, space and re-entry. The composer writes, “The title was derived two-fold, combining the scientific with the poetic. “Mission STS” marks the official name of the Space Shuttle program, Space Transportation System. And “Ecceda Terra” finds its roots in the Italian and Latin languages. Roughly translated “Ecceda Terra” means “To Exceed the Earth.” It is also important to note that “ecceda” also represents the first letters of the six Space Shuttles – Endeavour, Challenger, Columbia, Enterprise, Discovery and Atlantis. Mission STS: Ecceda Terra makes use of air sounds including the flutes using a technique called “the jet whistle,” a quote from Richard Strauss’ Also Sprach Zarathustra, and the utilization of Morse code. can be heard starting in the low winds and brass, moving on to the trumpet and alto saxophones. During the first transition in this section, Morse code is introduced as a means to pay homage to the astronauts in the Space Shuttle disasters of Challenger during its launch and Columbia during re-entry. Presented by the flutes, oboe and xylophone, the Morse code motive spells out “Remember” on pitch C (for Challenger and Columbia).” Actual launch sounds from the final Mission STS-135 Atlantis were provided with permission from NASA to be utilized before the piece begins and during the countdown and launch sections of the piece. Jupiter from "The Planets" (1914) Jupiter is a movement from one of Gustav Holst’s most popular and monumental works. He wrote The Planets between 1914 and 1916, beginning with Mars (but before the outbreak of war that August), continuing with Venus and Jupiter that fall, writing Saturn, Uranus, and Neptune in 1915, and finishing with Mercury in 1916. The first performance of the complete suite took place under the direction of Albert Coates on November 15, 1920, in London. The first performance in the United States was given by Frederick Stock and the Chicago Symphony Orchestra on December 31, 1920. Holst provided this note, “These pieces were suggested by the astrological significance of the planets; there is no programme music, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in the broad sense. For instance, Jupiter brings jollity in the ordinary sense, and also the more ceremonial type of rejoicing associated with religions or national festivities. Saturn brings not only physical decay, but also a vision of fulfillment. Mercury is the symbol of mind. Jupiter, the Bringer of Jollity is named for the light bringer, the rain god, the god of thunderbolts, of the grape and the tasting of the new wine, of oaths, treaties, and contracts, and from whom we take the word “jovial.””
As the World Dances – Concert Program April 22, 2012 at 2:30 P.M. Caitlin Whitehouse, Violin* PROGRAM
AS THE WORLD DANCES – Program Notes New World Dances (1998) New World Dances was originally written for the National Youth Brass Band of Great Britain for their American Tour during the summer of 1996. The concert band version was commissioned by the Royal Northern College of Music and their conductor, Timothy Reynish. It was premiered by that ensemble on April 6, 1998, in Bridgewater Hall in Manchester, England, as part of the seventeenth annual British Association of Symphonic Bands and Ensembles conference. New World Dances is comprised of three short movements that are meant to “recreate the pioneering spirit of the journey across America.” Ellerby states that the movement subtitles, “Earth,” “Moon” and “Sun” were meant to allude to a “stretching” or “searching” quality that he associated with the original discovery and pioneering aspect of America. Richard and Renée (2009) Richard and Renée is a gift to two friends of the composers, Renée Kershaw and Richard “Dick” Floyd. About the work, the composer writes the following: "Contrary to possible assumption, these friends of mine are not a married couple nor do they even live in the same state. I met Renée a few years back when she was a clarinet student at the University of Colorado (and subsequently a student in one of my instrumentation classes). My great friend Erik Johnson introduced us about two years before they became engaged. I was fortunate to witness their engagement firsthand in Positano, Italy, during their visit to spend time with me in the summer of 2009. The first movement, “Renée’s Reply” is a musical portrait of our time together during their two weeks with me in Italy. The music strives for a poignancy inspired by this new event in their relationship accompanied by a backdrop so beautiful it defies words. A writer/composer (anyone, for that matter) cannot live on the Amalfi Coast and remain unchanged, unmarked. The second movement, “Floyd’s Fantastic Five-Alarm Foxy Frolic” is a ridiculous title. The generosity Dick Floyd has shown by shepherding me through a couple last-minute commissions makes him a hero of mine. My respect for Dick and all he has achieved in this profession is insurmountable. This joyous ragtime two-step has a lot of fun driving to the final bars… the last moment in the piece is over the top!" Upriver (2010) Upriver was commissioned by a consortium of college band directors, led by Timothy A. Paul of the University of Oregon. The piece is an homage to the expedition led by Lewis and Clark across the Western United States during the first decade of the Nineteenth Century. Welcher writes about his work: "I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure." Welcher quotes a number of American folksongs throughout Upriver, to include: “Shenendoah,” “V'la Bon Vent,” “Soldier's Joy,” “Johnny Has Gone For A Soldier,” “Come Ye Sinners, Poor And Needy” (a hymn sung to the tune "Beech Spring") and “Fisher's Hornpipe.” The piece, though largely segmented, is complete as one continuous movement. Slalom (2001) Slalom, originally scored for orchestra, was first performed at the 2001 Masterprize Finals by the London Symphony under Daniel Harding and has since been widely performed by orchestras throughout Europe and the United States. The wind version was commissioned by the University of Kansas Wind Ensemble, John Lynch, conductor, and premiered in 2003. Pann describes the work by writing: "Slalom is a taste of the thrill of downhill skiing. The work is performed at a severe tempo throughout, showcasing the ensemble’s volatility and endurance. The idea for a piece like this came directly out of a wonderful discovery I made several years ago at Steamboat Springs, Colorado, when I embarked on the mountain-base gondola with a cassette player and headphones. At the time I was treating myself to large doses of Shostakovich’s Tenth Symphony and Rachmaninoff’s Symphonic Dances. The exhilaration of barreling down the Rockies with such music pumping into my ears was overwhelming. After a few years of skiing with some of the greatest repertoire it occurred to me that I could customize the experience. The work is presented as a collection of scenes and events one might come by on the slopes. The score is peppered with phrase-headings for the different sections such as “First Run,” “Open Meadow, Champagne Powder,” “Straight Down, Tuck,” and “On One Ski, Gyrating” among others. In this way Slalom shares its programmatic feature with that of Richard Strauss’s Alpine Symphony. The similarities end there, however, for Slalom lasts ten minutes…precisely the amount of time I need to get from Storm Peak (the peak of Mt. Werner, Steamboat Springs) to the mountain base." "Molto Ritmico" from Dance Movements (1996) Dance Movements was commissioned by the United States Air Force Band and was first performed at the Florida Music Educators Association Convention in January 1996. The piece is set in four movements, each dance-inspired (although no specific dance rhythms are used). About “Molto ritmico” the composer writes: "The final movement bursts into life with a passage featuring the percussion section. The whole band then joins in until a driving bass ostinato establishes itself. Melodic snatches are thrown around the band until the gradual crescendo leads to a unison passage for the entire band. A robust theme appears on horns and saxophones but eventually the earlier sinister music returns. After a short pause a plaintive tune on the woodwinds leads to a more rhythmic one on the brass but it is not long before the percussion remind us of the opening of the movement and the ostinato reappears. The robust horn tune is this time played by the full band but the moment of triumph is short and a running passage appears which starts in the bottom of the band but works its way to the upper woodwinds. Eventually the brass play a noble fanfare which dispels the darker mood and ends the movement in a blaze of colour." “Molto ritmico” is inspired by the music of Leonard Bernstein and is modeled after the dance music in West Side Story.
An American Portrait – Concert Program March 4, 2012 at 4:30 P.M. Dr. Bradley Kent, Conductor PROGRAM
From Dallas to Valencia – Concert Program January 29, 2012 at 7:30 P.M. Andrés Díaz, Cello* PROGRAM
FROM DALLAS TO VALENCIA – Program Notes Yakka (2007) Yakka is a pasodoble for band commissioned by the “Asociación de Amigos de la Música” from Yecla for their participation at the 2007 International Certamen of Valencia. Yakka is a classical pasodoble, combining more modern colors and harmonies. The alto saxophone solo in the first theme is an homage to the conductor of the band, Ángel Hernández Azorín, a saxophonist. Per la flor del lliri blau (1984) Per la flor del lliri blau (For the Flower of the Blue Lily) is one of Rodrigo’s most significant works. Composed for substantial orchestral forces, this symphonic poem is based on a medieval Valencian legend: the three sons of a dying king go on a quest for the flower of the blue lily, whose magic powers will save their father. Musically, the poem is constructed around two principal motifs, one lyrical, the other epic in nature, one of the earliest examples of this kind of noble, courtly music to appear in the composer’s production. The work was first performed in Valencia on 26 July 1934 by the Orquesta Sinfónica de Valencia under the baton of José Manuel Izquierdo. Tramonto: Romanza for Cello and Winds (2008) Tramanto: Romanza for Cello and Winds was composed as an homage to famous local painter Joseph Morea by the Cultural Association of Chiva la Tertulis. The piece, therefore, is based on one of Morea’s paintings: one that evokes a melancholy evening in Italy. This piece was originally written for cello and piano. Five years after its composition, the composer prepared this edition for cello with winds and percussion. Llegendes (1999) Llegendes is a symphonic poem for band. The composer notes about the work: “The story of this work is no different to that of any tale or legend: characters confront each other within the setting of a distant and paradaisical place. Dawn. The verdant valley is calm. A young man comes along a path, the hero who moves happily, dreaming: looking for fame and love. The morning advances. The splendor of the midday hovers over the valley; but the sun soon starts to decline. When the sun sets, the monster awakes. The young man has profaned its domains: the confrontation is inevitable. The battle between the hero and the monster begins. The furious combat is finished by the young man with eight blows from his sword. The monster, beaten, howls in agony. Final dance. The young hero celebrates victory with a party, where he meets a charming girl who he falls in love with. She in turn, falls in love with him, making his dream become reality: he finds fame and love.” Llegendes was selected in 2000 as a “test piece” in the Valencia International Music Bands Contest. The work was dedicated to Antonio Daniel Huguet, a close friend of the composer. Sabas (2003) Sabas is a pasodoble premiered by the Municipal Band of Bilbao in December 2003. The piece contains two characteristics worthy of note: an introduction in the style of Chueca and references to bullfighting (dedicated D. José Luis Sabas, creator of the “BilbaoMusika” agency). Sabas was completed with musical assistance from Rafael Sanz-Espert, conductor of the Municipal Band of Bilbao. La Concepcíon 1910 (2006) La Concepción 1910 was commissioned by the Instituto Valenciano de la Música for a band contest held in the Cheste municipality of the Valencian Community. The piece concerns a farmhouse built in 1910 in the San Antonio village of Requena in Valencia, hometown of the composer. The house was built in the Art Nouveau style common to the time, which has been preserved through several renovations of the house. The structure and attached wine yards and winery are considered symbolic of the village and its people and together serve as the inspiration for this composition.
Sound the Bells – Concert Program December 4, 2011 at 4:30 P.M. Members of the LSWO PROGRAM
SOUND THE BELLS! – Program Notes Sound the Bells! (1993) Sound the Bells! was written in 1993 for the Boston Pops Orchestra and their tour of Japan. The wedding of Crown Prince Naruhito and Masako Owada occurred near the date of these performances and was a center point of celebration. Huge Japanese temple bells were an inspiration for the piece and the reason for the heavy use of percussion in this piece. John Williams is known mostly for his film music written for Star Wars, Jaws, Superman, Indiana Jones, E.T. and Jurassic Park (to name a few). O Magnum Mysterium (1994/2003) Originally written for a capella chorus, O Magnum Mysterium (Oh Great Mystery) has become increasingly popular in this setting for wind band. Morten Lauridsen is a faculty member at the University of Southern California’s Thornton School of Music, where he founded the advanced studies program in scoring for motion pictures and television. Lauridsen writes: “For centuries, composers have been inspired by the beautiful ‘O Magnum Mysterium’ text with its depiction of the birth of the newborn King among the lowly animals and shepherds. This affirmation of God’s grace to the meek and the adoration of the Blessed Virgin are celebrated in my setting through a quiet song of profound inner joy.” Give Us This Day (2007) David Henry Maslanka’s works are often spiritual, enlightening and sometimes mysterious. Give Us This Day is an appropriate piece for a holiday concert not only because of it’s obvious reference to the Lord’s Prayer, but because of its reference to hymns often used in the church. Maslanka writes: “Music makes the connection to reality, and by reality I mean a true awakeness and awareness. Give Us This Day gives us this very moment of awakeness and aware aliveness so that we can build a future in the face of a most dangerous and difficult time. “I chose the subtitle “Short Symphony for Wind Ensemble” because the music isn’t programmatic in nature. It has a full-blown symphonic character, even though there are only two movements. The music of the slower first movement is deeply searching, while that of the highly energized second movement is at times both joyful and sternly sober. The piece ends with a modal setting of the choral melody Vater Unser im Himmelreich (Our Father in Heaven), no. 110 from the 371 four-part chorales of Johann Sebastian Bach.” Sleigh Ride (1948) Sleigh Ride is a popular light orchestral piece composed by Leroy Anderson. The composer had the original idea for the piece during a heat wave in July 1946 and finished the work in February 1948. Lyrics, about a person who would like to ride in a sleigh on a winter’s day with another person, were written by Mitchell Parish in 1950. This popular piece is often performed on holiday programs, even though the lyrics never mention any holiday-related activities. Still, since the Boston Pops, conducted by Arthur Fielder first recorded the piece in 1949, it has become a holiday concert staple.
Rhapsody in Blue – Concert Program September 25, 2011 at 2:00 P.M. Jennifer Ciobanu, Soprano* PROGRAM
RHAPSODY IN BLUE – Program Notes Cuban Overture (1932) Cuban Overture is an overture in the typical A-B-A form with rhythms unmistakably those of Cuban dance, with a forte introduction that segues to the development of two themes that are connected by a “three-part contrapuntal episode.” A solo clarinet introduces the slower middle section, which is accompanied by claves and bongo. The lush writing reminds one of Gershwin’s earlier work, An American in Paris, but the harmonic complexities bear evidence of the more advanced compositional techniques that Gershwin had recently begun studying with teacher Joseph Schillinger. This section builds to a march-like climax before breaking once again into dance. “The finale,” Gershwin wrote, “is a development of the preceding material in a stretto-like manner ...[concluding with] a coda featuring the Cuban instruments of percussion.” The brass section gets a chance to shine in brilliant rhythmic figures as the work comes to an exuberant finish. Rhapsody in Blue (1924) In November 1923, the band leader Paul Whiteman asked George Gershwin to compose a concerto-like piece for an all-jazz concert titled An Experiment in Modern Music he would give in Aeolian Hall on February 12, 1924. Gershwin sketched a few possible themes, but was engrossed in his Broadway commitments. However, after his brother read an article entitled “What is American Music?” about the Whiteman concert in the January 4th edition of the New York Tribune which claimed that he was at work on a jazz-concerto, Gershwin quickly put his focus into this new work. He was inspired by the rhythm and rattle of the Boston train, later telling his first biographer that while on the train, “I suddenly hear[d], and even saw on paper – the complete construction of the Rhapsody, from beginning to end…I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness.” The piece was completed in less than a few weeks and was given to Ferde Grofé to orchestrate because of the time constraints. From the opening clarinet glissando, to Gershwin soloing on the piano, to the blues and jazzy riffs, the premiere of the piece was a success. Rhapsody in Blue has become a musical portrait of New York City. It has been used in Woody Allen’s film Manhattan, the Disney film Fantasia 2000, and even as the background music of the commercials of United Airlines. Donald Hunsberger has scored this wind accompaniment version from the 1924 and 1926 Ferde Grofé orchestrations. An American in Paris (1928) An American in Paris is described by Gershwin as the impressions of an American visitor in Paris “as he strolls about the city, listens to various street noises, and absorbs the French atmosphere.” Gershwin’s first concert piece written without a commission, An American in Paris premiered in Carnegie Hall on December 13, 1928. In addition to the standard instruments of the symphony orchestra, the score features period automobile horns—in fact, Gershwin brought back some Parisian taxi-cab horns for the first New York performances. Today many associate the title An American in Paris with the Gene Kelly movie that swept the Academy Awards for 1951 rather than with a purely orchestral work by one of America’s most treasured composers. Catfish Row: Symphonic Suite from "Porgy and Bess" (1932) Catfish Row is a symphonic suite of music from Gershwin’s opera Porgy and Bess, largely based on the novel Porgy by DuBose Heyward. Gershwin had been given the novel by friends the preceding year and grew increasingly interested in its story of a crippled black beggar in Charleston, South Carolina, and his life in the poor, rundown section of the city. Gershwin began composing Porgy and Bess in 1932, in collaboration with Heyward and with his brother Ira Gershwin, who actually cast the text into a form George could set to music. A Boston preview of the completed work was enthusiastically received, with Serge Koussevitsky calling it “a great advance in American opera.” However, a New York run did not fare well, and a decision was made to create a company tour to help control production costs. As a means of introducing the opera to local audiences in Philadelphia—prior to the actual production opening there—Gershwin assembled an orchestral suite from his opera score. In preparing the suite, he extracted five sections and bridged them skillfully into a compendium of the opera’s music, including many instrumental passages that had been jettisoned in Boston. The result is a well-balanced piece—more than just a collage of the opera’s most popular songs—as he placed the music almost identically in the order that it appears in the opera. Thus, musical interest and development does not depend on any knowledge of the plot. The suite was performed numerous times, with Gershwin conducting, prior to his death. It then lay unnoticed until Ira reintroduced it in the 1950s with the title Catfish Row, a move to separate and identify it from the Symphonic Suite, published in 1941 by Robert Russell Bennett. In this edition for wind ensemble, by Donald Hunsberger, the original voice assignments have been restored.
WIND DANCES – Concert Program May 8, 2011 at 2:30 P.M. Members of the LSWO^ PROGRAM
WIND DANCES – Program Notes Fugue a la Gigue (1928) Fugue a la Gigue was born out of an exercise by Gustav Holst in order to prepare himself to write a commission for the BBC Wireless Military Band. That commission turned out to be Hammersmith. Holst felt out of practice in orchestrating for the medium. For some years, he had the idea of arranging some Bach fugues for brass and military band. So, he set himself the task of scoring the Organ Fugue in G Major, BWV 577. He, rather than Bach, called it “Fugue a la Gigue”. The piece made an ideal exercise and Holst’s brilliant dovetailing of the counterpoint between different instruments shows his mastery. The piece is technically demanding and the characteristic unison clarinet writing suggests the orchestral conception of a large wind ensemble rather than a band. It was this conception that the composer carried forward into Hammersmith. Polacca from “Clarinet Concerto No. 2” (1811) Carl Maria von Weber’s Clarinet Concerto No. 2 coincidentally fits in with our theme of dance music in that Mr. Stewart will be performing the third movement titled Polacca. A polacca, or polonaise, is a slow dance of Polish origin in 3/4. Also traditionally present is the polonaise rhythm of a certain arrangement of eighth note followed by two sixteenth notes. Greek Folk Song Suite (2002) Greek Folk Song Suite is a work in three movements, which have been elaborated from the most ancient Greek tradition. The first, “O Charalambis,” is in 7/8 time, which is typical of a popular folk dance called Kalamatianos. Originally, the song “O Charalambis” was sung to “tease” during weddings, since the text of the song refers to a young man who refuses to marry. The central part of the piece includes another folk song called “I Voskopula.” The second movement, “Stu Psiloriti,” refers to an ancient song from the Island of Crete. The Psiloritis is the highest peak of the Ida Mountains. The third movement of the suite is based on the song “Vasilikos tha jino,” which is a very old song of the Ipeiros region. Some characteristics of this movement are a reminder of the sirtake—the most popular Greek dance abroad. Danse Bacchanale (1877) Dance Bacchanale, from the opera Samson and Delilah, portrays the final dance before the fatal end of the opera. Samson receives a parting gift of strength and brings the temple down upon the Philistines. A “Bacchanale” is a dramatic musical composition associated with drunken revelry and the Roman holiday celebrating Bacchus. Saint-Saëns incorporated foreign scales and percussion into the fabric of this piece to truly capture what he imagined was an authentic biblical sound. Four Scottish Dances (2006) Included in Malcolm Arnold’s compositions are symphonies, concertos, chamber music for ensemble and solo instruments, and a variety of film scores including “1984”, “The Inn of the Sixth Happiness”, and “The Bridge on the River Kwai.” On Four Scottish Dances, Arnold supplied his own program notes: “These dances were composed early in 1957, and are dedicated to the BBC Light Music Festival. They are all based on original melodies but one, the melody of which was composed by Robert Burns. The first dance is in the style of a slow strathspey – a slow Scottish dance in 4/4 meter – with many dotted notes, frequently in the inverted arrangement of the ‘scotch snap’. The name was derived from the strath valley of Spey. The second, a lively reel, begins in the key of E-flat and rises a semi-tone each time it is played until the bassoon plays it, at a greatly-reduced speed, in the key of G. The final statement of the dance is at the original speed in the home key of E-flat. The third dance is in the style of a Hebridean Song, and attempts to give an impression of the sea and mountain scenery on a calm summer’s day in the Hebrides. The last dance is a lively fling, which makes a great deal of use of the open-string pitches of the violin (saxophones in the band edition).” Dance of the Jesters (1880/1997) Dance of the Jesters was composed as incidental music for the ballet The Snow Maidens. The ballet is not based on the Hans Christian Andersen story, but on a contemporary Russian fantasy-play Snegourochka. The Snow Maiden, daughter of Father Frost, falls in love with a human, Misgir, and plans to marry him. However, Misgir is already betrothed to Coupava. The Snow Maiden follows him southward to interrupt his wedding, but she falls victim to the warmth of the sun and melts. The Dance is an incredibly lively affair that has stood out from the songs, dances, and choruses of the ballet. It captures the color and zest of Russian folk dance.
PASSIONS: ICONS OF AN ERA – Concert Program April 17, 2011 at 2:30 P.M. Dr. Brian Bowman, Euphonium^ PROGRAM
PASSIONS: ICONS OF AN ERA – Webcast Videos
PASSIONS: ICONS OF AN ERA – Program Notes Traveler (2003) Traveler was commissioned by the Band Alumni Association, Delta Sigma chapter of Kappa Kappa Psi, and Gamma Nu chapter of Tau Beta Sigma in honor of the retirement of University of Texas at Arlington Director of Bands, Ray C. Lichtenwalter. The composer states: “The idea for Traveler came from the feeling of a big life movement as I contemplated my friend’s retirement. Traveler begins with an assertive statement of the chorale melody “Nicht so traurig, nicht so sehr” (Not so sad, not so much). The chorale was not chosen for its title, although in retrospect it seems quite appropriate. The last part of a life need not be sad. It is the accumulation of all that has gone before, and a powerful projection into the future—the potential for a tremendous gift of life and joy. And so the music begins with energy and movement, depicting an engaged life in full stride. At the halfway point, a meditative quiet settles in. Life’s battles are largely done; the soul is preparing for its next big step. In our hearts, our minds, our souls we travel from life to life to life in time and eternity.” Eviler Elves (2008) Eviler Elves is a concert band adaptation of a trombone choir piece Evil Elves written in April 2008 for the Oklahoma State University Trombone Ensemble and its director, Paul Compton. The piece was written for and premiered at the ensembles feature concert performance at the 2008 International Trombone Festival. Joseph Missal, Director of Bands at OSU, after hearing the piece, contacted the composer about expanding it and adapting it for concert band. Kazik writes: “Sometimes when I write new music, I use buzzwords or other esoteric elements to come up with ideas for colors. In the case of Eviler Elves, the words conjured images of snarky sounds through the use of mutes and other 20th century techniques, and octatonic tonalities. It is a set of sounds that fairly easily translated to the large concert band with its own vast array of coloristic possibilities.” Fanatasia di Concerto “Sounds of the Riviera” (1906) Fantasia di Concerto has been performed by euphonium, cornet, and clarinet soloists for almost the entire twentieth century. It was originally dedicated to John J. Perfetto, the euphonium soloist from the Sousa Band in 1904, which was also the same year that Boccalari arrived in the United States. The solo alternates between a fantastic display of technical facility and the expressive theme anticipated from the subtitle “Sounds of the Riviera.” Second Suite in F (1911) Second Suite in F, Op. 28 No. 2, like the First Suite in Eb of 1909, had more than a decade between its writing and its premiere. Second Suite did not receive a public performance until June 30, 1922, when the band of the Royal Military School of Music played it at Royal Albert Hall in London. The program note for the performance stated that the piece had been “put aside and forgotten” after 1911. Second Suite is based entirely on material from folk songs and Morris dances. The opening march utilizes three tunes: a lively Morris dance, the lyrical melody of “Swansea Town,” and the lilting style of “Claudy Banks.” The second movement is a slow, tender setting of an English love song, “I’ll Love My Love,” a story of two lovers separated by their parents and the deep love they will always have for each other. “Song of the Blacksmith,” the third movement, demonstrates Holst’s inventive scoring with a lively rhythm imitating the sound of a blacksmith’s anvil. The final movement, “Fantasia on the ‘Dargason’,” is based on an English country-dance and folk song dating from the Sixteenth Century. Nebula (2006) Nebula was commissioned by the University of Las Vegas Wind Orchestra and premiered by the ensemble on February 23, 2006, with Thomas Leslie conducting. About the work the composer writes: “In astronomy, “Nebula” is a cloud of gas or dust in outer space, visible in the night sky as an indistinct bright patch or a dark silhouette against other luminous matter. This stellar formation inspired me to convey what I call “inner nebula”, a sense of darkness and void within our hearts that is shrouded from view other than to ourselves. This solitary anguish that dampens our soul is oblivious to those around us for they only see our seemingly bright and uncomplicated surface. We keep our secrets and desires hidden but yearn for deliverance from this torment. As nebula in space is only visible by contrast to its radiant surroundings, we long to be “seen” by others in such a sense.” Carnival of Venice (1912) The Carnival of Venice is perhaps the most popular piece for brass soloist of all times. Of the several arrangements of this Italian melody, the Clarke version remains the most often performed. Armenian Dances, Part One (2006) Armenian Dances, Part One is an extended symphonic rhapsody built upon five authentic Armenian folk songs from the extensive collection of musicologist Gomidas Vartabed. Considered the founder of Armenian classical music, Vartabed is credited with collecting and preserving well over four thousand Armenian folk songs. The opening song, “The Apricot Tree,” consists of three organically connected songs. Its declamatory beginning, rhythmic vitality, and ornamentation make it a highly expressive and sentimental song. “Partridge’s Song” was written by Vartabed and originally arranged for solo voice and children’s choir. It has a simple, delicate melody, depicting the tiny steps of the partridge. “Hoy, My Nazan,” is a lyric love song in which a young man sings the praises of his beloved Nazan. “Alagyaz,” named after a mountain in Armenia, is a well-known Armenian folk song, sounding as majestic as the mountain it portrays. The final song used in the piece is “Go, Go.” It is a humorous, light-textured tune with a repeated note pattern that depicts the expression of laughter. Armenian Dances, Part One was first performed by the University of Illinois Symphonic Band on January 10, 1973, and is dedicated to the director of the ensemble, Dr. Harry Begian.
THE PIPES ARE CALLIN' – Concert Program March 6, 2011 at 2:30 P.M. Dr. Bradley Kent, Conductor PROGRAM
THE PIPES ARE CALLIN' – Program Notes Fanfare from Festmusik der Stadt Wien (1943/2005) Festmusik Der Stadt Wein, or Festival Music for the City of Vienna, was originally written for the Vienna Trumpet Corps. It was scored for ten trumpets, seven trombones (two alto, three tenor, and two bass), two tubas, and timpani. Strauss himself conducted the work’s premiere in the Festival Hall of the Vienna Rathaus in 1943. The version we present today was transcribed for band by Brian Beck. Scenes from "The Lourve" (1966) Scenes from “The Louvre” is a work for band which Norman Dello Joio extracted from his musical score to the 1964 made-for-television documentary of the Louvre museum in Paris, France. Each of its first four movements portrays a different section of the museum. The film covers the Louvre’s development during the Renaissance time period, and, in keeping with that, Dello Joio based each movement on themes from Renaissance composers. Irish Tune from County Derry (1918/1993) Irish Tune from County Derry is a composition for military band based on the Irish folk song “Londonderry Air”. Well-known as the song “Oh Danny Boy”, Grainger dedicated his setting to the memory of Edvard Grieg. One should note that the title of our program today, “The Pipes are Callin’”, comes from a line of text from the lyrics of “Oh Danny Boy”. Oh Danny boy, the pipes, the pipes are callin’ Cathedrals (2007) Cathedrals is a fantasy on Gabrieli’s Canzon Primi Toni from the Sacrae Symphoniae, which dates from 1597. Written for St. Mark’s Cathedral in Venice, the canzon is scored for two brass choirs, each comprised of two trumpets and two trombones. The choirs were stationed in opposite balconies of the church according to the antiphonal principal of cori spezzati (It. ‘broken choirs’), which forms the basis of much of Gabrieli’s writing. Cathedrals is an adventure in ‘neo-renaissance’ music, in its seating arrangement, antiphonal qualities, 16th century counterpoint, and canonic textures. Its form is structured on the golden ratio (1: .618), which is commonly found not only in nature and art, but also in the motets and masses of Renaissance composers such as Palestrina and Lassus. The areas surrounding the golden section and its series of extrapolated subdivisions have audible characteristics, often evidenced by cadences, changes in texture, or juxtaposition of ideas. The work is a synthesis of the old and the new, evoking the mystery and allure of Gabrieli’s spatial music, intertwined with the rich color palette, modal harmonies, and textures of woodwinds and percussion. Elsa's Procession to the Cathedral (1850) Elsa’s Procession to the Cathedral comes from Wagner’s 1850 opera Lohengrin. One of the most well-known musical themes in the world is the wedding march, also known as “Here comes the Bride.” This wedding march was written by Richard Wagner for this very opera. One of the characters in the opera, Elsa, is getting married. Strangely enough, she’s marrying a knight who rides a swan, and she doesn’t even know his name. Wagner wrote this tune to depict the regal procession leading up to her marriage. The tune begins with a lovely pastoral theme and develops through the entire procession and comes to climax with Elsa’s dynamic arrival at the cathedral.
CONVERGING CULTURES – Concert Program January 30, 2011 at 7:30 P.M. David D. Robinson, Guest Conductor* PROGRAM
CONVERGING CULTURES – Program Notes Tumbao from Sinfonia No. 3 "La Salsa" (2005/2009) Tumbao from Sinfonia No. 3, subtitled “La Salsa” is a collective name for dance music deriving from the Aro-Cuban popular tradition. In Sinfonia No. 3, Sierra has embraced the rhythms and characteristic sonorities of Caribbean salsa. The first movement, Tumbao contains many rhythmic and melodic events, each with its own specific character. Textural long, lyric melodies bind together the rhythmic and melodic events, creating an overall popular and folk-like idiom. Summerland (1936) Summerland is one of Still’s most well-known compositions. The work is taken from the second movement of his piano suite Three Visions, whose title refers to the composer’s vision of life after death. Still composed Summerland for his dear friend Louis Kaufman, a violinist deeply interested in the performance of serious art music. Summerland is an example of Still’s strong emphasis on blues elements in his composition. His modal inflections, irregular phrase lengths and descending melodic turns make this work one of his finest achievements. Korean Dances (2002) Korean Dances is a three-movement work that begins quietly with a tuba solo. Each following statement of the melody in the first movement is varied and gradually thickens in texture. “Preludio” ends as quietly as it started as the theme passes to several solo instruments. “Passacaglia,” the second movement, opens with the melody in the flute, which then passes through the ensemble in continuous variations. The final movement, “Rondo – Finale,” combines new melodic material and the same melody from the second movement with rhythms based upon a Korean traditional music entitled “Chirche Chandan.” Yiddish Dances (1998) Yiddish Dances was written for the sixtieth birthday of Timothy Reynish, the conductor of the Royal Northern College of Music Wind Orchestra. It brings together two contrasting musical ideas: the Symphonic Wind Orchestra and Klezmar—the folk music of the Yiddish-speaking people. The first movement “Khosidl,” or scissor dance, has a medium tempo in half-time 2/4 meter that moves freely between satire, sentimentality, and pathos. The second movement, “Terkishe,” is an up-tempo Jewish tango. The third movement, “Doina,” is a free recitative in which various instruments have an opportunity to shine. The fourth movement, “Hora,” is a slow movement with a characteristic rocking rhythm. The work closes with the “Freylachs” in a very fast 2/4 meter recalling the themes from the previous movements. Funiculi, Funicula Rhapsody (2001) Funiculi, Funicula Rhapsody is a set of variations based on the famous melody written by Luigi Denza. This rollicking dance-song in tarantella rhythm was written to be played at the opening of the new tourist attraction in Naples, the funicular railroad or incline railroad that takes travelers to the top of Mount Vesuvius. Although the song was composed in only a few hours, it has remained popular for more than a century. Even Richard Strauss included the tune in the fourth movement of his Aus Italien (1886), believing it to be a popular Neapolitan folk tune.
MCTEE'S DOUBLE PLAY – Concert Program November 21, 2010 at 2:30 P.M. LSWO Youth Winds & Dr. Bradley Kent* PROGRAM
MCTEE'S DOUBLE PLAY – Program Notes Canzona Bergamasca (1621/1997) A canzona is a contrapuntal work exemplary of the complex instrumental music of the late Renaissance and early Baroque, epitomized by the Gabrieli’s in Venice and by Scheidt and others in northern Europe. The bergamasca is an Italian dance of the 16th and 17th centuries, originating from Bergamo in northern Italy. Spangled Heavens (2010) Spangled Heavens is another in a series of the composer’s works based on shape note music. In three movements, the first movement is based on “Holy Manna,” and features three contrasting presentations of the tune. The second movement is based on “Restoration.” It begins with a freely-composed melody - in its original and a transposed version - used as a passacaglia accompaniment for the shape note melody. Movement three employs two contrasting but complementary songs: “Sweet Canaan” and “Saints Bound for Heaven.” Clocking (2007) Clocking is influenced strongly by dance and movement, though its two movements, seemingly disparate, incorporate the idea of motion in entirely different ways. The title is intentionally vague leaving much of the interpretation to the listener. Nevertheless, the abstract concept of time moving constantly – whether slowly and with flux or insistently with purpose – is a unifying motive of the work. Circuits (1990) Circuits was originally written in 1990 for the Denton Chamber Orchestra of Denton, Texas. Scarecrow Overture (2004) Scarecrow Overture is from Turrin’s two-act chamber opera The Scarecrow. The opera is based on a short story by Nathaniel Hawthorne about a lonely old witch who creates a scarecrow, brings him to life, teaches him to act human, sends him into town and watches what mishap he may cause on his journey. The original opera and overture are scored for a small wind ensemble of nineteen instruments. At the insistence of Joan de Albuquerque, Turrin expanded the overture for full concert band which was premiered at the 2010 College Band Directors National Association Regional Conference by the California State Long Beach Symphonic Band, Joan de Albuquerque, conductor. Firefly (2008) Firefly is an ABA overture work with several distinct sections. The piece was written and premiered by the James Bowie High School Band at the 2009 American Bandmasters Association Convention in College Station, Texas. The idea for Firefly was born one night as the composer watched his four-year-old daughter become mesmerized by a firefly that had wandered into the front yard. When asked what she thought of the firefly, she reportedly remarked “Dad, that is not a firefly…that’s Tinkerbell, and she’s come to take me with her on an adventure!” The composer writes about the piece, Double Play (2010) Originally commissioned by the Detroit Symphony Orchestra and Leonard Slatkin in honor of Elaine Lebenbom, Double Play consists of two continuous movements, each of which can be performed separately. The wind symphony version was commissioned at the request of Eugene Corporon with funding from a consortium of ensembles including the Lone Star Wind Orchestra, Ohio University, Rutgers University and the University of North Texas. Generous support for this project was also provided by the Institute for Advancement of the Arts at the University of North Texas.
DIA DE LOS MUERTOS – Concert Program October 22 & 23, 2010 at 7:30 P.M. Anita N. Martinez Ballet Folklorico PROGRAM
DIA DE LOS MUERTOS – Program Notes Requiem for a Magical America: El Dia de los Muertos (2006) The composer writes, “As one of the most important holidays in Latin America, El Dia de los Muertos is a yearly celebration of the dead beginning during the last days of October and continuing into the beginning of November. Coinciding with All Souls’ Day, this festival is an example of “folk Catholicism”, a blending of post-Conquest and pre-Conquest religious beliefs. As a folk requiem, this work in ten movements for large wind ensemble and dancers traces one village’s celebration of their own deceased. The scenes are:
WEST SIDE STORY: A Bernstein Tribute – Concert Program September 26, 2010 at 2:30 P.M. Jennifer Ciobanu, Soprano* PROGRAM
WEST SIDE STORY – Program Notes Fanfare for the Inauguration of J.F.K. (1961) Fanfare for the Inauguration of John F. Kennedy was composed for inclusion in one of the inaugural galas held for President John F. Kennedy. Bernstein himself conducted the premiere on January 19, 1961. According to author Elise K. Kirk, he was delayed in arriving at the event due to a snowstorm and had to conduct in a shirt several sizes too large. This very brief composition is scored for a somewhat unusual combination of instruments: piccolo, flute, 2 oboes, 2 clarinets, 4 horns, 4 trumpets, 4 trombones and percussion. Symphonic Dances from "West Side Story" (1961/2007) Symphonic Dances from "West Side Story" was first performed by the New York Philharmonic on an all-Bernstein concert in 1961, four years after the opening of West Side Story on Broadway. The songs of the musical had immediately become popular standards, while at the same time, the dance music had been sophisticated enough to find its way into the concert hall, similar to music of a ballet. Most composers for Broadway were songwriters who did not write their own dance music, but Bernstein, a fully trained composer who had already written two formal ballets, crafted these remarkable dances himself. Overture to "Candide" (1956/1986) Overture to Candide is the opening to Leonard Bernstein’s operetta based on Voltaire’s satirical novella of the same name. It was Bernstein’s third Broadway show, following On the Town (1944) and Wonderful Town (1950), both of which had been substantial hits. Candide, on the other hand, was regarded as a failure when it closed after only seventy-three performances. It was not until the show was completely restaged by Harold Prince with a rewritten libretto that it became a popular success, nearly two decades after its initial run. Through all these editions of Candide, the overture has remained the same. A fanfare opens the overture and is subsequently repeated three more times. Each occurrence of the fanfare is followed by a motive from “The Best of All Possible Worlds”. Themes from two other songs, “The Battle Music” and “Oh, Happy We”, are alternately heard, followed by music from “Glitter and Be Gay.” The overture ends by recapitulating all four major themes. Suite from "Candide" (1956/1993) Suite from "Candide" comprises of selections from the musical Candide. The sections of this suite utilize music that has remained virtually unchanged from the original Broadway production. Clare Grundman, who adapted the work for wind band, provided the following synopses regarding each movement: Symphonic Suite from "On the Waterfront" (1955/2010) On The Waterfront is an adaptation of the film’s music to Bernstein’s own vision—a continuous 20-minute suite of symphonic music. The resulting On the Waterfront suite consists of six continuously flowing movements. It opens with a hauntingly eloquent horn theme that might be regarded as a musical evocation of a misty melancholy dawn over a grey New York skyline and dockyards. The music grows in emotional depth as more instruments are added to the texture. Alas, the tranquility is brusquely shattered by the ‘rumble’ music, marked “presto barbaro”, which is strangely reminiscent of the distinctive West Side Story gang dances. In the film, this rumble music occurs during an early murder scene where an angry mob brutally throws an informer from a tenement rooftop. The prominent percussion in this section stab out motoric rhythms that express the dockworkers’ feelings of dehumanization. "The BSO Forever" March from "Divertimento" (1980/1984) “The BSO Forever” March from Divertimento was commissioned by the Boston Symphony Orchestra for their centennial celebration. The thematic material of the eight movements is centered around the pitches “B” for Boston, and “C” for Centennial. The boisterous music of the first movement returns to bring back the march, “The BSO Forever.” The Sousa-like march contains two trio sections and ends with all three themes being played simultaneously. The last chord is a final declaration of the “B” and “C” motive. Danzon from "Fancy Free" (1944) Danzon is a dance from the ballet Fancy Free, written by Bernstein in collaboration with choreographer Jerome Robbins. The ballet was commissioned by the American Ballet Theatre and later premiered by that organization in 1944 in the New York Metropolitan Opera House. Fancy Free follows the adventures of three United States Navy sailors pursuing girls while on leave in wartime Manhattan. The sailors perform three solo dances to “show off” to the girls. Danzon is the third sailor’s dance in the ballet, and it is characterized by intensity and emotion combined with a passionate Latin flavor. Slava! (1977) Slava! is an overture written in honor of Bernstein’s friend, Mistislav “Slava” Rostropovich, on his appointment as conductor of the National Symphony. The first theme of Slava! is a vaudevillian razz-ma-tazz tune filled with quick modulations and glissandos. The second is a canonic tune in 7/8 time. A quasi-development section follows, after which the two themes recur in reverse order. Near the end, they are combined with a quotation (proclaimed by the ubiquitous trombones) from the ‘Coronation Scene’ of Moussorgsky’s Boris Goudonov, where the chorus sings the Russian word “slava!”, ironically meaning “glory!”
ANGELS OF LIGHT – Concert Program April 25, 2010 at 2:30 P.M. LSWO Brass Quintet* PROGRAM
ANGELS OF LIGHT – Program Notes Suite from “Mass” (1971/2007) Suite from “Mass” is an arrangement for symphonic winds and brass quintet of Bernstein’s Mass, a theatrical work written for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. on September 8, 1971. The original 90-minute composition, subtitled “A Theater Piece for Singers, Players, and Dancers,” reflects an interest Bernstein (though Jewish) had developed with the Roman Catholic faith. Bernstein’s Mass mixes the text of the Liturgy of the Roman Mass with other texts by Bernstein and librettist Stephen Schwarz. Its original instrumentation calls for a cast of nearly two-hundred performers, to include two orchestras, two choruses, boys choir, ballet company and cast, a marching band, and rock combo. Viewed by some as blasphemous and by others as politically subversive, Mass uses an eclectic mix of musical styles to reflect the turmoil of the era. This setting by Michael Sweeney, commissioned by the Canadian Brass and the Eastman Wind Ensemble, focuses on a select number of movements, often using the brass quintet to represent the vocal lines found in the original. Chaos Theory (2000) Chaos Theory is a concerto for electric guitar and wind orchestra, commissioned by the University of Nevada Las Vegas Wind Orchestra and premiered May 30, 2000, Thomas G. Leslie conducting. This three-movement piece includes numerous improvisational sections, which afford the soloist a great deal of freedom for interpretation (herein lies the “Chaos”). Bonney says of his work: Aurora Awakes (2009) Aurora – the Roman goddess of the dawn – is a mythological figure frequently associated with beauty and light. Also known as Eos (her Greek analogue), Aurora would rise each morning and stream across the sky, heralding the coming of her brother Sol, the sun. Though she is herself among the lesser deities of Roman and Greek mythologies, her cultural influence has persevered, most notably in the naming of the vibrant flashes of light that occur in Arctic and Antarctic regions– the Aurora Borealis and Aurora Australis. Aurora Awakes is, thus, a piece about the heralding of the coming of light. Built in two substantial sections, the piece moves over the course of eleven minutes from a place of remarkable stillness to an unbridled explosion of energy – from darkness to light, placid grey to startling rainbows of color. Aurora Awakes was awarded the 2009 American Bandmasters Association/Ostwald Award as well as the National Bandmasters Association William D. Revelli Award. Nitro (2006) Nitro is one of three fanfares commissioned specifically for the 50th anniversary season of the Northshore Concert Band (Evanston, Illinois). Described by Ticheli as an “energy-charged three-minute whirlwind,” Nitro received its premiere performance by the Northshore Concert Band, Mallory Thompson, music director, on April 9, 2006. Ticheli offers: Ave Maria (1964) Franz Biebl was organist, choirmaster and teacher near Munich, Germany. It was common for companies, factories, police and fire departments to sponsor an employees’ choir, which often would participate in choral competitions and festivals with other similar choirs. One particular fireman who had sung for Biebl, asked him to compose something for his fireman’s choir for such an occasion. The result was the Ave Maria originally written for double male choir. Each verse is intoned by a solo chant line that tells the story of the annunciation. The source of the text is the Angelus liturgy recited every morning, noon and evening in the Catholic Church (except during Paschal time, when the Regina Coeli is substituted). It is cued by the ringing of the “Angelus” bell, sometimes referred to as the “Peace Bell.” This arrangement was made by Robert Cameron. Angels in the Architecture (2008) Angels in the Architecture was commissioned by Kingway International and premiered at the Sydney Opera House on July 6, 2008, featuring a large ensemble of students from Australia and the United States. According to Ticheli, the piece conveys the dramatic conflict between the two extremes of divine and evil. He was inspired by at least three specific sources for the piece. The Sydney Opera House itself was a source with its halo-shaped acoustical ornaments hanging directly above the performance stage. The title of the piece can be found in the lyrics of Ticheli’s favorite songwriter, Paul Simon. In the song “You Can Call Me Al”, the lyrics state: “He sees angels in the architecture/Spinning in infinity/He says Amen! and Hallelujah!” The third source is the following quote by Thomas Merton, a twentieth-century Catholic mystic and writer: “The peculiar grace of a Shaker chair is due to the fact that it was built by someone capable of believing that an angel might come and sit on it.” Angels in the Architecture begins with a single voice singing a nineteenth-century Shaker song, “Angel of Light.” Ticheli says of the work: Amen! (2009) Amen! takes on an upbeat, somewhat bluesy gospel style, suggesting an impassioned preacher sharing some bit of good news. After an introductory “call to order,” our preacher (depicted by the clarinet section) gives us the main tune over a series of simple, bopping quarter-note chords. Later, the full ensemble bursts out in a fit of joy — the choir and congregation have joined in, dancing and shouting in full agreement. The good news is driven home in the concluding coda over a series of plagal (“Amen’) chord progressions, and one final joyful shout. Ticheli offers the following: |
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