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Fortado Vincent Mm 4.Pdf (499.3Kb) Personnel FLUTE BASSOON TROMBONE *Kelly Jones Drew West *David Burris Rachel Luegering Adolfo Mendoza Zev Friedman Christina Oaks Leia Barrett Michael Flanary Chris Herrada Dustin Ludden Allison Kincaid SAXOPHONE Bass – Ro Sanchez *Shane Kealy Bass – Zach Davis OBOE Ky Scott *Carrie Dillard Nachel Konemann EUPHONIUM Sean Havrilla Ryan Arvo *Bradley Caliva Amanda Fonner Brett Blackstone Symphonic Wind Ensemble HORN Karla Romero Eb CLARINET *Alex Kovling Amanda Cox Max Weaver TUBA “SWE Goes to the Opera!” Melina Turnbow *Bill Waterman CLARINET Austin Swack Daniel King *Vincent Fortado Stephanie Wientjes Ben Hood Anna Gross Laura Gold Lindsay Abbott PERCUSSION Dr. Sarah McKoin, conductor Brianna Burns TRUMPET *James McDonald Paul Gonzales *Keith Morales Corey Dolter Tyler Webster Hannah Conant BJ Holmes Darwin Risser Daniel Lane Zach Houston Vincent Fortado, graduate assistant conductor Elizabeth Becker Brian Drake Jason Pace Edsel Rivera –Rios Lee Willis BASS CLARINET Kellie Hill Dylan Lewis *principal gh The 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 Tuesday, March 8, 2011 David Shea, clarinet Hemmle Recital Hall David Dees, saxophone Richard Meek, bassoon Lubbock, Texas Will Strieder, trumpet 8:00 p.m. Max Matzen, 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 And special thanks to William Ballenger, Director, School of Music. Program Lament follows, snidely subtitled “Mrs. Turandot,” followed by an aria and Puckett’s own “Nessun dorma” translated into English as “No One sleeps.” The final section reflects the opera’s finale and, so as not to spoil the ending of Puccini, ends brashly leaving the audience wondering whether the prince’s story ends happily or in tragedy. Overture to The Marriage of Figaro (1786) . .Wolfgang Amadeus Mozart –Jake Wallace (1756-1791) Vincent Fortado, graduate assistant conductor Four Dances from West Side Story (1957) . Leonard Bernstein Leonard Bernstein was one of the most formidable musical talents of the twenti- eth century. He is best known for being the long-time conductor and music Wedding Dances from the Opera Bandanna (1998) . .Daron Hagen director of the New York Philharmonic. He conducted many of the world’s top (b. 1961) orchestras, creating numerous audio and video recordings. Bernstein wrote numerous works for many mediums including symphonies, West Side Story, Candide, and Chichester Psalms. Having been in such popular demand as a guest conductor, some believe that if it were not for his constant conducting Elsa’s Procession to the Cathedral (1850) . .Richard Wagner engagements that he would have been a much more prolific composer. At the (1813-1883) same time, his works are hallmarks of American music and are one of the first true testaments of the American musical talent. INTERMISSION The Broadway musical West Side Story first came into being in 1957 as a col- Ping, Pang, Pong (2004) . .Joel Puckett laboration between Bernstein (as composer), choreographer Jerome Robbins, (b. 1977) writer Arthur Laurents, and lyricist Stephen Sondheim. Its story is based on William Shakespeare’s Romeo and Juliet. Set in the 1950s on Manhattan’s West Side, it tells the tragic tale of Tony and Maria, whose rival gangs doom their young love. The musical became a film in 1961, winning 10 Academy Four Dances from West Side Story (1957) . .Leonard Bernstein Awards including Best Picture. Bernstein’s music was often a character itself, I. Scherzo (1918-1990) giving the film psychological direction in many long dance sequences. II. Mambo Originally written in English, West Side Story is currently being revived on III. Cha-Cha Broadway in a bilingual version, with the Puerto Rican Sharks speaking and IV. Cool (fugue) singing mostly in Spanish while the white Jets retain their English. Four Dances from West Side Story features some of the highlights of these dance sequences transcribed for band. The “Scherzo” is a light-hearted, care- free movement that aptly opens the suite. The “Mambo” comes from the gym scene where the Jets and the Sharks meet and dance while trying to suppress their hostility towards each other. The “Mambo” fades into the “Cha-Cha” as Tony and Maria notice each other for the first time and dance together, trans- fixed. The anxiety-ridden “Fugue” is based on material from the song “Cool”, in which the Jets are convincing each other to bottle up their overwhelming emo- tions. The fugue's subject is a 12-tone row, lending a worrisome and tense feel- ing to the movement. Each new statement of the theme adds more layers until the texture explodes into a percussion-heavy statement of the main theme from "Cool". This arrangement was scored for concert band by Ian Polster. –Andy Pease Ushers are provided through the courtesy of Kappa Kappa Psi and Tau Beta Sigma. Hemmle Recital Hall is maintained by Phi Mu Alpha Sinfonia, Music Fraternity. Programs are produced by Liza Muse and Publicity Office student assistants. gle her with it, shoot Jake, and ultimately, himself. The curtain falls on this deso- Program Notes late scene. Commissioned by the College Band Directors’ National Association, Bandanna was first performed on March 25-29, 1999 by the University of Texas Overture to The Marriage of Figaro (1786) . Wolfgang Amadeus Mozart Austin Opera Theater, Robert DeSimone, stage director, Michael Haithcock, The Marriage of Figaro was the first of Wolfgang Amadeus Mozart’s three col- conductor. This arrangement was scored for concert band by Mark Spede. laborations with Lorenzo da Ponte. The Italian poet crafted his superb libretto from a French play that was considered subversive by the Viennese monarchy. Elsa’s Procession to the Cathedral (1850). Richard Wagner In order to secure approval from the imperial censors, da Ponte had to down- Richard Wagner is one of the most influential and controversial musicians of the play the drama’s political aspect and capitalize on its inherent comedy. In his past 200 years. Wagner made his living as an extremely successful conductor music, Mozart matched and surpassed da Ponte’s admirable achievement. and composer. He is best known for his operas, epic sagas depicting mythologi- Mozart’s overture is remarkable for several reasons. It includes no actual cal figures engaged in incredible journeys and struggles. These operas were themes from the opera, yet it captures the work’s comic, effervescent atmos- what Wagner called “gesamtkunstwerk” or “total work of art” – a synthesis of all phere with exquisite skill. Always a master of formal structure, Mozart wrote a art forms: poetic, visual, musical, and dramatic. Wagner was a master orches- tightly unified sonata form movement without an ounce of pedantry. To the con- trator, creating sounds never before heard from the orchestra, and leaving an trary, his overture is filled with joy and enthusiasm, sounding as spontaneous as aural stamp on music that can be easily recognized today. if it were jotted down on the spur of the moment. Harmonimusik (music for small wind band) enjoyed a great vogue in Europe in the last quarter of the eighteenth Wagner’s opera Lohengrin tells the epic story of the mysterious knight and first quarter of the nineteenth century. J.C Bach, Haydn, Mozart, Lohengrin who magically appears in Brabant at the request of the king’s daugh- Beethoven, Krommer and various other composers of varying stature composed ter Elsa, his task to rid the country of Hungarian invaders. In the middle of the music for the medium. This particular ensemble (comprised of 2 Oboes, 2 drama, Elsa and Lohengrin fall in love and marry – Elsa’s Procession is played Clarinets, 2 Horns, and 2 Bassoons) consisted of the finest wind musicians while Elsa is making her way to the cathedral to marry the valorous knight available and performed repertoire of that era that was in high demand, such as whose name Elsa does not even know. The music accompanying her proces- transcriptions of popular operas. This particular Harmoniemusik transcription of sion is the epitome of the pomp and grandeur that Wagner is famous for. It is no Mozart’s famous overture was set the Bohemian Johann Neopmuk Wendt. stretch for the listener to imagine the beautiful Elsa promenading to a magnifi- cent cathedral to marry her valorous suitor – an epic image fit for a fairy tale. Wedding Dances from the Opera Bandanna (1998). Daron Hagen This arrangement was scored for band by Lucien Cailliet. Along with four symphonies, twelve concerti, over 150 art songs and song –Brian Drake cycles, and forty chamber works, Daron Hagen is the composer of five highly- acclaimed, frequently-performed full-length operas: Shining Brow, Bandanna, Ping, Pang, Pong (2004). Joel Puckett New York Stories, and Amelia and two one-act operas: Vera of Las Vegas and Born on the south side of Atlanta, Puckett is the son of a Dixie land jazz musi- The Antient Concert. Hagen’s music is widely performed and recorded. In 2009, cian and a classical tubist. He spent his childhood improvising with his father Naxos released Shining Brow (Buffalo Philharmonic / Falletta) and the complete and learning the fundamentals of both concert and popular music. He has held Hagen Piano Trios (Finisterra Trio). Bandanna was released on Albany under fellowships at the Aspen Music Festival and at the University of Michigan where his baton in 2007; Vera of Las Vegas on the CRI label. Nearly all of Hagen’s Puckett received a D.M.A. in composition studying with Pulitzer-Prize Winner, vocal music is recorded and available commercially. Hagen is a graduate of William Bolcom; Michael Daugherty; and MacArthur Foundation “Genius Grant” Curtis and Juilliard.
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