ree REUSE Ns WIND Viana a :PROGRAM NOTES PANFARE FOR FULL FATHOM FIVE ~ John Mackey Fanfare for Full Fathom Five takes its title from Shakespeare's "The Tempest,” where Shakespeare's toe refers to a drowning during a storm and shipwreck in water about five fathoms (30 feet) deep: Full fathom five thy father lies, ‘Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that doth fade, ‘But doth suffer a sea-change; Into something rich and strange. William Shakespeare, The Tempest: |.2.396-401 "In The Tempest, this rather foreboding and gloomy text is sung by the tormented spirit Ariel to the young : f Naples, Ferdinand, who has just escaped a shipwreck caused by the eponymous storm and is ‘of whether his father —the King, Alonso — has survived. In reality, Ariel's dire taunt proves to inaccurate, but his song has a place in the English lexicon partly due to two phrases which have entered common usage: “full fathom five,” a nautical reference that indicates a placement under 2 "depth of thirty feet of water but is used metaphorically to imply an impossible and unavoidable doom; "and “sea-change,” which describes an unexpected and profound transformation. Both of these i ‘along with the backdrop of a tumultuous squall, paint the musical language of John Mackey’s Fanfare for Full Fathom Five. ‘Commissioned by Jamie Nix and the CSU Wind Ensemble, the fanfare is scored for an athletic array of bbrass and percussion: six trumpets (deliberately split into two quasi-antiphonal trios), six hors, three tenor trombones, three bass trombones, two tubas, and four percussion, with an ad libitum organ and the possible substitution of contrabass trombone. The orchestration and architecture of the piece is ‘designed to be analogous to Richard Strauss’ Wiener Philharmoniker Fanfare, but where Strauss’ faniare is emotionally straightforward with bounds of unstoppable heroism, Mackey’s is more complex, taking the traditional fanfare rhythms and motifs and blurring them with a whirlwind of dissonance throug ‘chromaticism and murky glissandi that present the whole in a darker and more sinister context. All of the ‘ypical hallmarks of the fanfare genre are present: vibrantly articulated triplets in the trumpets, soaring ‘hom lines, and brash pedal points in the low brass (doubled colorfully by the organ). The harmonic Janguage is one of abrupt shift; the blustery opening seems to clearly establish B-flat major as the home key, but each time it seems to reaffirm this notion, it veers wildly into unexpected territory. The piece ‘ends triumphantly in E-flat, but along the way it also takes detouring ventures through D-tlat, G-flat, and a jieer ee most strangely, E major during the work's contrastingly delicate mid pevtars ee continuously rich and strange, the heroes win the day and, as xs conclusion - program note by Jake Wallace. point, Inthe el, dap , despite 5 in The Ter " Snappy and victoriot PES, al.com, yal €TE AU BAL — Donald Grantham (b. 1947) +: ee au bal isa celebration of some of the popular/olk music styles of Lousiana soe and the brass band tradition of New Orleans. The dance flavor of much of the mise ‘py the title (“I went to the dance”), and two traditional Cajun dance tunes are employed. The ate sae pe beginning and later at the end. “Allons danser, Colinda” (“Let's go dancing. Coline. svernpt to coax Colinda to go dancing, and part of his argument is “i's not everyone who hase en <> dance the two-beat waltzes.” This touching Tittle tune does work better in a syncopated tee nn ‘sully represented in notation as 3+3+2. The second Cajun song is “Les flammes denier” (The janes ‘of hell”), most often performed as a heavily- accented two-step. My version is much faster and lighter, and ‘s introduced by a country-fiddle style tune. The brass band section begins with solo tuba, followee!m. “duet with the euphonium, and culminates in a full brass presentation. in particular Caj _ SHORT RIDE IN A FAST MACHINE — John Adams (b. 1947) a Ride in a Fast Machine is a joyfully exuberant piece, brilliantly scored for a large orchestra for band by Lawrence Odom. The steady marking of a beat is typical of Adams’ music. Show with a marking of quarter notes (woodblock, soon joined by the four trumpets) and eighths ‘synthesizers); the woodblock is fortissimo and the other instruments play forte. Adams sees ie orchestra as running the gauntlet through that rhythmic tunnel, About the title: "You knew nn someone asks you to ride in a terrific sports car, and then you wish you hadnt” Shot ichine features the usual minimalist earmarks: repetition, steady beat, and, pertwps Pe language with an emphasis on consonance unlike anything in Wester artes Roger Zare (b. 1985) "Sea of Tranquility," and is the famous location on the foot on the lunar surface, The musi ar to capture a isolation, All of the musical material is derived ftom ates ay, and the flowing and surging melody het o%8