Laer wel TEXAS TECH UNIVERSITY College of Visual & Performing Arts Te School of Music” University Bands Sandra Hsin-Yi Lee, conductor Jacob Faske, conductor Karen Norton, conductor Raquel Silva, conductor Monday, March 4, 2013 Hemmle Recital Hall Lubbock, Texas 8:00 p.m. Raider Band Emblem of Unity wud. J. Richards (1878-1956) Choreography...... Robert Sheldon (b. 1954) An Irish Rhapsody ...... ... Clare Grundman (1913-1996) Undertow seseeeeee OWN Mackey (b. 1953) SHORT INTERMISSION Power Band The Gallant Seventh .... John Philip Sousa (1854-1932) A Jubilant Overture . Alfred Reed (1921-2005) Radiant Moonbeams ....David Gillingham (b. 1947) Galop... ...... Dmitri Shostakovich (1906-1975) trans. HunsbergerRaider Band Program Notes Embiem of Unity .. J. J. Richards Joseph John Richards was born in Cwmavon , Wales, in 1878; when he was four years old, his family moved to the United States and settled in Peterson, Kansas. During his lifetime, Richards was popular with band audiences and with other musicians. He wrote over 300 published compositions for school and circus bands, over 50 of which are still published. A member of the American Bandmasters Association since 1936, he was elected president of that group in 1949. On the University of Kansas Band album of his works, conductor Robert Foster summarizes his life as follows: “J. J. Richards was a virtuoso solo cornetist, a respected musician, a noted conductor, an educator, and a prolific composer and arranger.” This brilliant march, Richards’ most popular, was written while he was living in Sterling, Illinois, conducting both the high school and the community bands. A classic and exciting composition, this work is played by hundreds of school and professional bands each year. Some of the composition’s unique features include: the chord changes which precede the snare drum forzando in the introduction, the short lower-brass breaks, and the final Strain, which sounds correct at either a constant, slower, or accelerating tempo Choreography . Robert Sheldon Choreography was commissioned for the 2008 ATSSB All-State Band by the Association of Texas Small School Bands. Written in overture form, the Plece draws its inspiration from dance movements found in contemporary State, ballet and theatrical productions. The piece opens with fast-paced angular gestures accompanied by rapid rhythmical punctuations before yielding toa Contrasting lyrical section with long, flowing lines and many Opportunities for expressive playing. —Robert Sheldon An Irish Rhapsody... ..Clare Grundman Cleveland-born Clare Grundman earned his bachelor’s degree in 1934 from Ohio State University. He taught instrumental music in the Ohio ind Kentucky public schools before returning to Ohio State in 1936 for @ Master's degree and to teach orchestration and woodwinds. At the Berkshire Music Center in New Lenox, Massachusetts, he studied under Paul Hindemith, whom he credited for teaching him the practical techniques for composition.During World War II, Grundman served in the U.S. Coast Guard. He took a special interest in composing for school bands and has over 70 published band compositions to his credit. His arrangements have brought the works of Leonard Bernstein and Aaron Copland to the band world. Grundman has also provided scores and arrangements for radio, television, movies and Broadway musicals. An Irish Rhapsody is a setting for symphonic band containing six songs of Ireland. First is “The Moreen” (also called “The Minstrel Boy”), then the ballad, “I Know Where I'm Going,” followed by the typical jig tune, “Shepherd’s Lamb Reel.” The well-loved “Cockles and Mussels” precedes the spirited “The Rakes ‘of Mallow,” which in turn leads into the love song “Kathleen O’More.” The coda returns to “Cockles and Mussels.” Undertow.. .. John Mackey Though many of his pieces are extremely virtuosic, Undertow is the first of Mackey’s works written specifically for intermediate band. It was commissioned by the Hill Country Middle School Band and premiered by that ensemble with its conductor, Cheryl Floyd, in May 2008. The work is significantly different than much of Mackey’s output in terms of technical difficulty, but many characteristic elements of his writing are nonetheless present, including biting semitone dissonance within a tonal context, frequent use of mixed meter, heavy percussion effects and, perhaps most importantly to this work, a pervasive ostinato, The metric pattern for the piece is an alternation of 7/8 and 4/4 time, which provides an agitated “qut-of-step” pulsation throughout. The energetic opening melody cycles through several repetitions before washing away into a gentle stream of percussive eighth notes. From here, a countermelody emerges that slowly ratchets the energy back up to its original level, where the initial melody returns to round out the explosive conclusion. -Jake WallacePower Band Program Notes The Gallant Seventh .John Philip Sousa The Gallant Seventh was written for the 7th regiment, 107th infantry, of the New York National Guard. Their conductor, Francis Sutherland had been one of Sousa’s cornettists. The march was premiered by members of the 7th Regiment's band and of Sousa’s band at the NY Hippodrome in November 1922. It was his most popular march of the 1920s, in a style he frequently employed from Semper Fidelis onward. Its most salient feature is the excitement generated through piling up sonorities in layer cake fashion, with all counterpoints subject to the harmonic limitations of the five note melody set forth on natural trumpets in B flat. —from programnotes.wikia.com, ed. Sandra Lee John Philip Sousa was born in 1854 in Washington, D.C. and died in 1932. He was an American conductor and composer. According to John Philip Sousa’s website (www.dws.org/sousa): Sousa worked as a theatre musician and conducted the U.S. Marine ; Band before starting his own civilian band in 1892. Sousa toured with his band for 40 years and was indisputably the most famous musical act in the world. He composed 136 marches, 15 operettas, 70 songs and many other pieces. -Sanara Lee A Jubilant Overture .... .»-Alfred Reed A Jubilant Overture was written by Alfred Reed in the spring of 1969. According to the program note of publisher website: Reflecting the joy of Spring and the exuberance of youth, displays Alfred Reed’s remarkable ability to score fresh and absorbing material. : This piece is composed in traditional three-part overture form. It begins with a rousing allegro con brio statement of three related themes in quick succession. A broad, singing middle section derived from one of the opening themes follows. The music then returns to its original tempo and Mood, plunging on to a brilliant coda. Alfred Reed was born in New York City. Acquainted with symphonic and Operatic repertoire from an early age, he played trumpet professionally 7 the Catskills while still in high school. During WWII he was a aaa the Air Force where he composed over 100 works. He studied at ce and became a staff composer and arranger with NBC, and subsequentlyABC. He became conductor of the Baylor Symphony Orchestra and later worked as a music editor at a publishing firm. He taught at the University of Miami for 27 years. After retiring he continued to compose. He made numerous appearances as a guest conductor in many nations, most notably Japan, until his death last year. —mws-boston.org, ed. Sandra Lee Radiant Moonbeams . David Gillingham Radiant Moonbeams was commissioned by Durham Middle School Bands, Lewisville, Texas, in memory of Christy Hoong, a friend and flute player in the band. Considering Christy's Chinese heritage, | chose an old Chinese folk song, Shao Hua Tang Shue (“Gently Flowing Stream”) to be used as the basis for the melodic material in the work. | was struck by this love song’s simple pentatonic beauty and | couldn't help but think that the words could easily transfer to the thoughts of how the band members now visualize their friend, Christy Hoong, in the “moonlight of the heavens,” so to speak. The work begins with a quiet and mysterious introduction based on harmonic clusters comprised of the first four notes of the folk song. Following, the solo flute “sings” the first two phrases of the melody of the folk song (“Radiant moonbeams brighten the heavens tonight, | dream of my sweetheart in the moonlight.”) in pentatonic G-minor accompanied by flowing lines in the flutes, clarinets, bells and vibraphone. Solo trumpet states the middle section of the song (“I see her clear image in the moon’s path. Sweetheart dear, dear,”) and flutes play the final phrase (‘tiny stream flows gently in the forest glen.”). A developmental episode ensues which utilizes material from the folk song. A transition leads to a flowing melody in pentatonic F major that is a sort of metamorphosis of the folk song melody. The melody is intended to represent Christy's cross over into the afterlife. There is then a return to the folk song in D minor which rises to a climax, subsides, and is followed by the tolling of bells, a final phrase by the solo flute and three final bell tolls in D Major. cae Galop .. Shostakovich “Galop” from the Musical Comedy, Moscow, Cheremushky Admirers of Shostakovich’s dramatic symphonies and concertos are likely to be unaware that the composer also wrote a very substantial quantity of lighter music as well, never scorning the possibility of creating a hit song. In his early days he composed incidental music and songs for many plays and even created a full-fledged operetta in the 1930s (it has only just turned up,after being lost for many years, and is not even listed in The New Grove Drctranary of Music). He composed film music throughout his career as wel, for both tragic and comic tales. In 1958 Shostakovich returned to the operetta for a full-scale three-act work, Moskva, Cheryomushki (the title refers to a region in the city of Moscow), which opened on January 24, 1959, to substantial success. Raider Band Personnel Karen Norton and Raquel Silva, conductors FLUTE ALTO SAXOPHONE TROMBONE Xavier Strickland Gabriel Sanchez Scott Jonson Kaitlyn Harry Katy Shepard Charles Ostrovich Kate Schmidt Paul Gonzalez Ashley Nicholson Abby Gibson Kelsey Orsak Timothy Baker Pamela Cano Anna Larson Ryan Bratton Katie Davis Hayden Hamilton Stephanie Wuthnow EUPHONIUM Taylor Williams TENOR SAXOPHONE Drake Sacks Kyle Thomson Jacob Irwin OBOE Devin Teicher Katie Schwartz TRUMPET Adrian Strickland Mariah Jenkins CLARINET Jenna Jernigan TUBA James Moreno Marcus Oliver Austin Kelso Zachary Stubblefield Aaron Rodriguez Travis Stied a Shae Braddock Kelsey Payne ‘Stefano Pangilinan Amanda Gra) Bryan Wygant Jena Hay 7 Michael Hart PERCUSSION Joseph Waugh Adam Schaff Michael Coleman Kelsey Coffern William Durham Benjamin Holmes Sarah Cotton Lauren Taylor Anthony King Deborah Thangam Donald Lazuka Emily Westbrook HORN Dylan Schneider Addison Kirk James Mayo Ashiey Ross Kacie Hoover Hannah Willis BASS CLARINET Regan Ledbetter Ashli Bradshaw Nkama Nkama Joshua GonzalezFLUTE Danielle Brown Tiffany Dorton Nora Glass Grace Hargadine Stephanie Keebaugh Chelsea Lemons Serena Saenz Lauren West Amy Wilhelm OBOE Wesley Orr CLARINET Savannah Arranaga Tyler Dyess Harry Flint Shantrey Glenn Jennifer Howell Jenny Maxwell Katherine Montgomery Mystery Needham Samantha Sneed Justine St. Cyr Stormie Tarver BASSOON Kristin Alt Power Band Personnel Sandra Lee and Jacob Faske, conductors ALTO SAXOPHONE Grant Easdon Christy Hogue Josh Prothro: Katie Scanion Lauren St. Tours TENOR SAXOPHONE Nick Middleton Yaritza San Juan TRUMPET Jennifer Bryant Riley Connaughton Matthew Hawiszczak Marcus Henderson Constantin Huesker Gabby Marshburn Makenzie Reynolds Eva Sanchez Grant Seidenberger Morgan Stone Sam Svetlik HORN Robert Bross Joe Collins Macey Gan Summer Johnson Stephen Kielius Rachel Traxler Supervising Faculty Dr. Eric Allen Professor Duane Hill TROMBONE Tim Drayton John Hayes Isaiah Perez Andrew Thomas EUPHONIUM Keith Bell Conner Davis Michael Owoc Horace Robison Alexander Wolfe TUBA Michael Burwell Caitlyn Butler Jonathan Caudle Rob McMenamy PERCUSSION Michael Coleman Benjamin Hoimes Anthony King Donald Lazuka Dylan SchneiderUpcoming School of Music Events Claude Delangle, saxophone Guest Artist Wednesday, March 6 Hemmle | 8 p.m. | Free Abbie Conant, trombone Guest Artist Wednesday, March 20 The Legacy | 8 p.m. | Free Symphonic Band Tuesday, March 26 Hemmle | 8 p.m. | Free Symphonic Wind Ensemble Thursday, March 28 Hemmle | 8 p.m. | Free Percussion Ensembles/Steel Bands Featuring Liam Teague, the “Paganini of the Steelpan” Tuesday, April 2 Hemmle | 8 p.m. | Free Graduate Brass Quintet Wednesday, April 4 Hemmle | 8 p.m. | Free Kevin Wass, tuba Faculty Recital Sunday, April 14 Choir Hall | 6 p.m. | Free Amy Anderson, oboe Faculty Recital Friday, April 19 Hemmle | 6 p.m. | Free Jazz Festival Concert Friday, April 19 Allen | 8 p.m. | Free Jazz Festival Concert Friday, April 19 Allen | 8 p.m. ITicketed James T. Decker and Brent Phillips (Baylor) Combined Faculty Trombone Recital Wednesday. April 24 Hemme | 8 p.m. | Free In Sterio, flute duo Guest Artists Friday, April 26 Hemmle | 8 p.m. | Free Haley Hoops, horn Guest Artist Tuesday, April 30 Hemmle | 5 p.m. | Free Symphonic Wind Ensemble Tuesday, April 30 Hemmle | 8 p.m. | Free Symphonic Band Thursday, May 2 Hemmle | 8 p.m. | Free Programs Produced by Liza Muse and Publicity Office student assistants. Hermie Recital Hall is maintained by Tiffany Holmes and Hemmle Crew student assistants.TEXAS TECH UNIVERSITY Te College of Visual & Performing Arts A School of Music’ Symphonic Wind Ensemble Dr. Sarah McKoin, conductor Dr. Kevin Wass, guest soloist Karen Norton, graduate conductor Raquel da Silva, graduate conductor Thursday, March 28, 2013 Hemmle Recital Hall Lubbock, Texas 8:00 p.m.Program Carter Pann (b. 1972) When Jesus Wept ...William Schuman (1910-1992) Karen Norton, guest conductor Cityscape Allen Vizzutti |. Uptown (b.1952) I. Midtown (I. Downtown Featuring Dr. Kevin Wass", tuba soloist INTERMISSION Richard Strauss (1864-1949) Serenade for Winds Raquel da Silva, guest conductor Symphony No. 2 .... John Barnes Chance |. Sussurando (1932-1972) i. Elevanto Ill. Slancio Blow It Up, Start Again. .Jonathan Newman (b.1972) Texas Premiere “facultyProgram Notes Slalom (2002) ... Slalom is a taste of the thrill of downhill skiing. The work is performed at a severe tempo throughout showcasing the orchestra's volatility and endurance. The idea for a piece like this came directly out of a wonderful discovery | made several years ago at Steamboat Springs, Colorado when | embarked on the mountain-based gondola with a cassette player and headphones. At the time | 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 | 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’ Alpine Symphony. The similarities end there, however, for SLALOM lasts ten minutes. ..precisely the amount of time | need to get from Storm Peak (the peak of Mt. Werner, Steamboat Springs) to the mountain base. -cP When Jesus Wept (1956) ... .» William Schuman When Jesus wept the falling tear In mercy flowed beyond all bound; When Jesus groaned, a trembling fear Seized all the guilty world around. The setting of the above text is in the form of a round by the American composer William Billings (1746 - 1800) and it is used in its original form. This early composer wrote simple sturdy tunes that were popular with the colonists, reflecting the ruggedness, deep religiosity, and patriotic fervor often associated with the Revolutionary period, This work was transcribed for band by William Schuman from his New England Triptych and forms the central prelude to Chester, interpreted from Billings’ hymn and marching song of the same name. The composition calls forcontrolled, sensitive, legato playing from the ensemble. The solo parts, given to the euphonium and trumpet, are demanding in range, color, and intonation. —-www.windband.org Cityscape (2012)... . Allen Vizzutti “Cityscape for Solo Tuba and Wind Ensemble was a commission by a | consortium of ten universities and tuba soloists: The University of Arkansas Music Department Bowling Green State University Bands Eastern Michigan University Bands Fritz Kaenzig, the University of Michigan The Northern Arizona University School of Music The University of North Carolina Greensboro School of Music dim Self Joseph Skillen, Louisiana State University Thomas Stein, UMKC Conservatory of Music Kevin Wass, Texas Tech University The idea was spearheaded and organized by Dr. Benjamin Pierce, international tuba soloist and professor of tuba and euphonium at the University of Arkansas. After having heard and subsequently performed a composition of mine, Dr. Pierce invited me to write a piece for tuba and wind ensemble, an invitation | happily accepted. As with all of my composing, | write with a concern for several key elements. These characteristics include speaking with my own voice, using melody, creating beauty and writing music that works well on each instrument involved. It is my belief one can write difficult music that is not awkward and simple music that is not shallow. Armed with these thoughts | wrote Cityscape for Solo Tuba and Wind Ensemble. The piece does not musically represent any particular real city. The mood and style of each of the three movements are inspired by my imagination. Picture a city from a super-hero comic book and you will have your own personal version of the idea. 1. ‘Uptown’ is the most contemporary in a compositional sense. The atmosphere is a little dark. The angular melodies are difficult to perform yet are lyrical. The harmonic tension and relief throughout are reminiscent of the mixture of joy and angst often experienced in a metropolis. 2. ‘Midtown’ is very melodic in traditional ways. The tuba soloist has the opportunity to show the beautiful lyrical singing sound and style possible on the instrument—something not familiar to manylisteners. The piece is basically through composed. Rhythmic motif and a strong melody once repeated unify the movement. Imagine a peaceful park or a harbor view during this piece. 3. ‘Downtown’ contains jazz elements, a cadenza and a lot of flash. The soloist performs high melodies and low bass lines. The surging accompaniment supplies the foundation for the soaring solo lines. There seems to be a lot of action in this part of town. Cityscape for Solo Tuba and Wind Ensemble is intended to be a challenging yet accessible piece for solo tuba with wind ensemble or piano. My intention was to compose with some depth and quality without pretense. | hope you enjoy letting your imagination run freely as you listen to it.” ~Allen Vizzutti About the Soloist: Kevin Wass, Associate Professor of Tuba and Euphonium at Texas Tech University, holds the Doctor of Musical Arts degree from the University of Michigan, the Bachelor of Science degree (Summa cum laude) in Music Education from Dana College in Blair, Nebraska, and the Master of Music degree and Performer’s Certificate from Indiana University. He has performed with a wide range of ensembles, including the Disneyland All-American College Band, the Music Academy of the West Festival Orchestra, the Omaha, Lincoln, and Honolulu Symphony Orchestras, Santa Fe Pro Musica and various brass chamber groups. Solo appearances have included competitions in the United States, Canada, and the Czech Republic, and recitals and concerto appearances at colleges, universities, and regional and international tuba-euphonium conferences. His teaching experience is equally varied, with experience as a band and orchestra director at the elementary and high school levels in addition to private studio and classroom teaching at the college level. In addition to his duties at Tech, Dr. Wass has served on the faculty of the Las Vegas Music Festival and currently serves as Principal Tubist of the Lubbock Symphony Orchestra. His principal studies have been with Fritz Kaenzig, Daniel Perantoni, Harvey Phillips, and Craig Fuller. A long-time member of the International Tuba-Euphonium Association (ITEA), Dr. Wass has served on the Board of Directors of the organization as Conferences Coordinator and was Founding Chair of the ITEA Harvey G. Phillips Awards for Excellence in Composition.Serenade for Winds (1881)... Richard Strauss Strauss’ Serenade in E-flat echoes the style of a conventional Classical- era chamber piece. As such, players must be prepared to interpret styles and articulations that may not be notated. Audiences will find this work quite accessible, as the orchestration and melodic structures exhibit regularity and Classical predictability. Harmonic progressions faintly suggest the dissonant, chromatic style of [Strauss’] later works [he wrote the Serenade when he was 17]. While less experienced players may acquire a general understanding of chamber performance techniques from this piece, advanced musicians have multiple opportunities to embrace the nuances and intimate musical relationships of this fine work. —Notes from Great Music for Wind Band Symphony No. 2 (1972).... .... John Barnes Chance The Second Symphony had its origins in a 1962 agreement between John Barnes Chance and composer Clifton Williams, who agreed that each would write a work using the four-note motif C#-D-F-E. When Chance sent a tape of part of his work to Williams, the latter gave up, and Chance turned to other endeavors. At the time he was composer-in- residence with the Ford Foundation's Young Composers Project, living in Greensboro, North Carolina. He subsequently moved to a position as associate professor of composition and theory at the University of Kentucky/Lexington. In 1972, the Northwest Music Center in North Dakota commissioned him to write a work dedicated to the Minot State College Wind Ensemble. He resurrected the earlier work and added to it, creating this symphony. His accidental death soon after precluded his ever hearing it performed. --James Huff 23:34, March 28, 2007 (EDT) (from the the program notes of The Claremont Winds, submitted with permission) —Wind Repertory Project Blow It Up, Start Again (2012) Jonathan Newman If the system isn't working anymore, then do what Guy Fawkes tried and go anarchist: Blow it all up, and start again. This piece was originally commissioned in 2011 by the Chicago Youth Symphony Orchestras under the direction of Allen Tinkham. The premiere performance was held in Chicago, Illinois in May of 2012. itis now under commissioned consortium for wind orchestra, including Texas Tech University Symphonic Wind Ensemble. —jonathannewman.comPersonnel Dr. Sarah McKoin, conductor Jacob Faske, graduate assistant Flute Saxophone Tuba Kirsten Guerra Andrew Reinhart Michael Church Lauren Flynn Zoe Carter Jesse McConnell Kelly Jones Ben Donnell, tenor Trey Hanis Christina Oaks Johnathan Doerr, bass Katie Pakizer Percussion Trumpet Josh Baskin Oboe Mark Belding Joey Bybee Brittany Burks Jacob Faske BJ Holmes Katy Bynum Ben Post David Kennedy Kristina Mayer Daniel Lane Anthony King Andrew Ward Donald Lazuka Clarinet Andrew Pacheco Lee Willis Briana Burns Cailin Flaherty Horn Piano Pablo Gonzalez Derek Akers Wonkyung Kim Robyn Judd Alex Kovling Anna Roach Benito Medrano Harp Ben Cook Jim Price Melissa Berger Jack Sears Max Weaver Jenny Kirk Bass Clarinet Trombone Double Bass Isaac Lee Michael Flanary Nick Miller Dylan Lewis Robert Thomas Zach Heflin Singers Bassoon Alex Theiss Corbin DeSpain Adolfo Mendoza Zach Davis, bass Miriam Nelson Robin Aldana Nathan Ewing, bass Katie Webb Contrabassoon Euphonium Richard Meek* Dustin Tharp Tyler Simon Phillip Cammack *facultyThe Symphonic Wind Ensemble wishes to acknowledge the support and contributions of the applied string, wind, brass, and percussion faculty for their ‘support and assistance in preparation of tonight's performance. Lisa Garner Santa, flute ‘Amy Anderson, oboe David Shea, clarinet David Dees, saxophone Richard Meek, bassoon Will Strieder and Chuck Seipp, trumpet Christopher M. Smith, horn James Decker, trombone Kevin Wass, euphonium and tuba Lisa Rogers and Alan Shinn, percussion Carla Davis Cash, piano Gail Barber, harp Mark Morton, bass iE ok 2s ok Upcoming Events Percussion Ensembles/Steel Bands James T. Decker and Featuring Liam Teague, the “Paganini Brent Phillips (Baylor) of the Steelpan” Combined Faculty Trombone Recital Tuesday, April 2 Wednesday. April 24 Hemmle | 8 p.m. | Free Hemmle | 8 p.m. | Free Graduate Brass Quintet In Sterio, flute duo Wednesday, April 4 Guest artists Hemmle | 8 p.m. | Free Friday, April 26 Hemmie | 8 p.m. | Free Kevin Wass, tuba Faculty Recital Symphonic Wind Ensemble Sunday, April 14 Tuesday, April 30 Choir Hall! 6 p.m. | Free Hemmie | 8 p.m. | Free Jazz Festival Concert Symphonic Band featuring Stephen Jones & Friends Thursday, May 2 Friday, April 19 Hemmle | 8 p.m. | Free Allen 18 p.m.1 Free Jazz Festival Concert featuring Conrad Herwig, trombone Saturday, April 20 Allen | 8 p.m. | Ticketed Programs produced by Liza Muse and Publicity Office student assistants. Hemmie Recital Hall is maintained by Tiftany Holmes and Hemmle Crew student assistants.Leer gerd] texas TECH UNIVERSITY College of Visual & Performing Arts i | School of Music’ Symphonic Band Dr. Eric M. Allen, conductor Raquel Silva, graduate conductor Thursday, May 2, 2013 Hemmle Recital Hall Lubbock, Texas 8:00 p.m.Program Prelude Op. 34, No. 14 (1932-33) 00... Dmitri Shostakovich (1906-1975) arr. Reynolds. (There will be no pause between works) Music for Prague 1968 (1969). Karel Husa |. Introduction and Fanfare (b. 1921) I. Aria Ill. Interlude VI. Toccata and Fugue INTERMISSION Johann Sebastian Bach (1685-1750) trans. Gustav Holst Bach's Fugue a la Gigue (1928) Down a Country Lane (1962) Aaron Copland (1900-1990) arr. Merlin Patterson Raquel Silva, graduate conductor George Washington Bicentennial March (1930). ....John Philip Sousa (1854-1932)Program Notes Prelude Op. 34, No. 14 (1932-33)... ++ Dimitri Shostakovich Dmitri Shostakovich (1906-1975) studied at the Petrograd Conservatory where he wrote his Symphony No. 1 in F Minor which brought him world attention. During the early years following his graduation in 1923 he wrote music to serve the political needs of his country. After receiving strong criticism from the government, he composed his famous Fifth Symphony, which he subtitled “A Soviet Artist’s reply to Just Criticism.” Just prior to World War Il, he taught at the Leningrad Conservatory. In 1948 he again incurred government condemnation, but kept composing a series of serious works, many of which surfaced only after Stalin’s death. The Twenty-Four Preludes for Piano were composed in 1932-33, and the Prelude in E-flat minor, Opus 34, No. 14 was one of this set. Opening with a calm but strong chordal statement, the piece continues to build in a single direction to a grand climax of fff dynamics, after which it quickly returns to the quiet mood and material of the beginning. While only 36 measure long, one senses a much more expansive and lengthy composition than its first few short measures reveal. —Publisher Music for Prague 1968 (1969)... ... Karel Husa Music for Prague 1968 was commissioned by the Ithaca College Concert Band. It was premiered by the commissioning ensemble in Washington, D.C., on 31 January 1969, Dr. Kenneth Snapp, conductor, at a concert for the Music Educators National Conference. Three main ideas bind the composition together. The first and most important is an old Hussite war song from the 15th century, “Ye Warriors of God and His Law,” a symbol of resistance and hope for hundreds of years, whenever fate lay heavy on the Czech nation. It has been utilized by many Czech composers, including Smetana in My Country. The beginning of this religious song is announced very softly in the first movement by the timpani and concludes in a strong unison (Chorale). The song is never used in its entirety. The second idea is the sound of bells throughout; Prague, named also The City of “Hundreds of Towers,” has used its magnificently sounding church bells as calls of distress as well as of victory. The last idea is a motif of three chords first appearing very softly under the piccolo solo at the beginning of the piece, in flutes, clarinets,and horns. Later it reappears at extremely song dynamic levels, for example, in the middle of the Aria. Different techniques of composing as well as orchestrating have been used in Music for Prague 1968 and some new sounds explored, such as the percussion section in the Interlude, the ending of the work, etc. Much symbolism also appears: in addition to the distress calls in the first movement (Fanfares), the unbroken hope of the Hussite song, sound of bells, or the tragedy (Aria), there is also the bird call at the beginning (piccolo solo), symbol of liberty which the City of Prague has | seen only for a few moments during its thousand years of existence. Itis not as beautiful a music as one always would like to hear. But | we cannot always paint flowers, we cannot always speak in poetry about beautiful clouds, there are sometimes we would like to express the fight for freedom. —Karel Husa Bach’s Fugue a la Gigue(1928) .. Johann Sebastian Bach Gustav Holst was commissioned to write ‘Hammersmith’ for the BBC Wireless Military Band in 1928. He felt rather out of practice in orchestrating for the medium. For some years he had 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 (from Preludes, Fugues and Fantasias). 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 which the composer carried forward into ‘Hammersmith’ Fugue a La Gigue was published for Military Band in 1928 by Boosey & Hawkes and shortly afterwards for orchestra, but with only short scores, as was customary at the time. This edition has the full score of Holst’s original orchestration but with optional added parts for full Concert Band. Johann Sebastian Bach (1685-1750) developed a keen interest in music at an early age. He mastered the violin and clavier and devoted himself to the study and mastery of the organ. As court organist in the town of Arnstadt at the age of eighteen, Bach became interested in composition, devoting every leisure moment to improving his skills.A devout Lutheran, Bach, like his fellow baroque composers, felt that everything a man does and believes is religious. They believed that their music and art helped protect people against the advance of doubt bred by Renaissance ideas of scientific, rational inquiry. During his lifetime, Bach was more famous as an organist and court musician than as a composer. The people of his time considered his baroque compositions too elaborate. His works were largely unknown until rediscovered some eighty years after his death. We are fortunate to enjoy them now as his legacy. —Publisher Down a Country Lane (1962) Aaron Copland On June 29, 1962, Life Magazine featured Aaron Copland’s composition Down a Country Lane. The piece was commissioned by Life Magazine in hopes of making quality music available to the common pianist and student. The work was featured along with an article title “Our Bumber Crop of Beginning Piano Players”. The article explains, “Down a Country Lane fills a musical gap: It is among the few modern pieces specially written for young piano students by a major composer.” Copland is quoted in the article of saying “Even third-year students will have to practice before trying it in public.” Copland then explains the title: “The music is descriptive only in an imaginative, not a literal sense. | didn’t think to the title until the piece was finished--Down a Country Lane’ just happened to fit its flowing quality.” Copland is very descriptive in his directions on how the piece should be played. The piece begins with instructions to play “gently flowing in a pastoral mood”; a brief midsection is slightly dissonant and to be played “q trifle faster’; and the ending returns to the previous lyrical mood. Down a Country Lane was orchestrated for inclusion in a Youth Orchestra Series and premiered on November 20, 1965 by the London Junior Orchestra. The band arrangement was completed by Merlin Patterson in 1988. Patterson specialized in Copland transcriptions. Copland himself spoke of Patterson's excellent work upon the completion of Down a Country Lane, saying that he produced “a careful, sensitive, and most satisfying extension of the mood and content of the original.” Patterson graduated Sam Houston State University where his principal teachers were Newton Strandberg, Fisher Tull, and Ralph Mills. He transcribed two other Copland pieces for band: Appalachian Spring and Letter from Home -The Wind Repertory ProjectGeorge Washington Bicentennial March (1930)........ John Philip Sousa To commemorate the two hundredth anniversary of the birth of America’s first president, the Bicentennial Commission held a gala celebration in the nation’s capital on February 22, 1932. John Philip Sousa wrote this march in 1930 at the Commission's request to mark the event. In one of his last public appearances before his death, Sousa conducted the combined bands of the U.S. Army, Navy, and Marine Corps at the celebration. Sousa is a well-known composer as “The March King” was born in Washington D.C. on November 6, 1854 to a Portuguese father, who earlier that year had enlisted in the Marine Band, and a German mother. . John Philip Sousa began formal musical instruction at the age of 6 and appeared as a violin soloist at the age of 11. Two years later, he began his career in the U.S. Marine Band, serving as an apprentice “boy” to receive instruction “in the trade or mystery of a musician.” He became leader of the Marine Band in 1880 and served in that position until 1892, when he resigned to organize a band of his own. Along with his ability to organize and conduct superb musicians, Sousa developed a distinct flair for writing marches. He was a prolific composer who found themes for his compositions in his country’s history, dedication events, military groups, and even newspaper contests. Before his death at the age of 78, Sousa had composed 136 marches, 15 operettas, 70 songs, 11 waltzes, and a wide variety of incidental works. His most famous march, The Stars and Stripes Forever, has been designated as the official march of the United States. —Music Program Notes for Band and Wind Ensemble Music’ Ubttp:/iwww. windband.org/foothill/pem_note htmPersonnel Sandra Hsin-Yi Lee, Raquel Silva, graduate assistants Lee Willis, percussion graduate assistant Flute Saxophone Euphonium *Amanda Montalvo *Andrew Gomez *Karla Romero Teresa Jarinko Megan Dillon Ethan Munger Giovanni Perez Maurice Hernandez -tenor Amanda Vereen Wesley Orr - baritone Tuba Katherine Copland Andrew Reinhart *Trey Hanis lan Young Oboe Trumpet *Regan Ledbetter *Joshua Dolney Percussion Christa White Matthew Garrison *Jon Ortiz Ali Blalog Luke Meade Ben Cordell Jeffrey Thomas Trevor Hall Clarinet Mark Gurrola Marilee Powers *Jennie Sung Mark Belding Stephanie Riley Annie Avary Jacob Faske Bill Wilkinson Katie Fehr Jaykob Emanuel Horn Bass Kaitlyn Gerde *Chelsea Ables Edward Allen Kieran Brown Jen Beck AJ Mathe Chad Hopkins * principal player Jesus Garcia Kendall Newman + section leader Robyn Judd Nick Maxey Josh Carroll Bass Clarinet Katelyn Losos Ashley Allen Dylan Lewis Trombone *Joseph McPherson Bassoon Chelsea Crochet *Matt Schnuriger Alex Hellberg Ryan Heaton Dave McCoun Keith PetersThe ensemble wishes to acknowledge the support and contibutions of the applied string, wind, brass, and percussion faculty for their support and assistance in preparation of this performance. Lisa Garner Santa, flute Amy Anderson, oboe David Shea, clarinet David Dees, saxophone Richard Meek, bassoon Will Strieder, trumpet Chuck Seipp, trumpet Christopher M. Smith, horn James Decker, trombone Kevin Wass, euphonium and tuba Lisa Rogers and Alan Shinn, percussion Mark Morton, double bass And special thanks to William Ballenger, Director, School of Music. Programs produced by Liza Muse and Publicity Office student assistants. Hemmie Recital Hall is maintained by Tiffany Holmes and Hemmie Crew student assistants.