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University Symphonic Band 2012–13 Season Sunday 21 October 2012 83Rd Concert Miller Auditorium 3:00 P.M

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University Symphonic Band 2012–13 Season Sunday 21 October 2012 83Rd Concert Miller Auditorium 3:00 P.M University Symphonic Band 2012–13 Season Sunday 21 October 2012 83rd Concert Miller Auditorium 3:00 p.m. ROBERT SPRADLING, Conductor Matthew Pagel, Graduate Assistant Conductor Ryan George Firefly (2008) b. 1978 Percy Aldridge Grainger Colonial Song (1911) 1882–1961 Václav Nelhýbel Symphonic Movement (1966) 1919–1996 Matthew Pagel, Conductor Christopher Biggs Object Metamorphosis II (2011) b. 1979 Michael Gandolfi Flourishes and Meditations on a Renaissance Theme (2010) b. 1956 Theme Variation I. (A Cubist Kaleidoscope) Variation II. (Cantus in augumentation: speed demon) Variation III. (Carnival) Variation IV. (Tune’s in the round) Variation V. (Spike) Variation VI. (Rewind/fast forward) Variation VII. (Echoes: a surreal reprise) Building emergencies will be indicated by the flashing exit lights and sounding of alarms within the seating area. Please walk, DO NOT RUN, to the nearest exit. Ushers will be located near exits to assist patrons. Please turn off all cell phones and other electronic devices during the performance. Because of legal issues, any video or audio recording of this performance is prohibited without prior consent from the School of Music. Thank you for your cooperation. PROGRAM NOTES compiled by Robert Spradling and Matthew Pagel George, Firefly the composer’s notes, to be the first in a series of “Sentimentals,” the piece stems from 1905 when Ryan George resides in Austin, Texas and is gaining Grainger was working in London and actively notoriety as a composer and arranger throughout the arranging English folksongs. Between 1913–1928 he United States as well as in Europe and Asia. In produced no fewer than six different arrangements: describing Firefly, George wrote, “I’m amazed at how three for two optional voices with various instrumental children use their imaginations to transform the ensembles; one for piano solo (1921); one for military ordinary into the extraordinary and fantastic. Just band (1921); and one for theater orchestra (1928). about anything they come across can be used to spark The original 1911 version was given to his mother as their fantasies and usher their minds into unseen a yule gift and carried the inscription, “In this worlds. A stick on the ground becomes a wand with composition the composer has wished to express magical powers or a sword to fight off bad guys. A feelings aroused by the scenery of his native country, collection of rocks turns into buried treasure and a Australia.” blanket stretched over two chairs becomes a cave to hide in. And things found in nature; birds, waterfalls, flowers, and even insects take on mythic identities Nelhýbel, Symphonic Movement when viewed through the eyes of a child. Václav Nelhýbel, a native of Czechoslovakia, studied “The idea for Firefly was born one night as I watched musicology at the University of Prague as well as my four-year old become mesmerized by a firefly that organ, conducting, and composition at the Prague had wandered into our front yard. When I asked her Conservatory of Music. In 1957, Nelhýbel immigrated what she thought of the firefly she looked at me with a to America as a sought after composer, conductor, puzzled look and said with a corrective tone, ‘Dad, and teacher. He lived his professional life in many that is not a firefly…that’s Tinkerbell, and she’s come musical spheres, conducting and composing for wind to take me with her on an adventure!’ Firefly is band, orchestra, as well as for chamber and vocal dedicated to my daughters Sophia and Nyla, who ensembles. To date, more than 400 of Nelhýbel’s ignite my imagination and bring awe and wonder into works have been published, with hundreds more my life everyday.” currently unpublished. His opera, Legend, earned him first prize from the Ravitch Foundation in New York in 1954, while his music for winds was recognized by Grainger, Colonial Song the Academy of Wind and Percussion Arts in 1978. Percy Aldridge Grainger was an Australian born In 1966, John Paynter, Director of Bands at American citizen and concert pianist in addition to Northwestern University, contacted Nelhýbel and being a well-known early twentieth century composer. asked that he write an original piece for his symphonic His mother took him to Europe to develop his musical band. Five days later, Symphonic Movement arrived in talents, and young Grainger met many of the notables the mail! The work is constructed in a symmetrical of European music and developed a love of folk music “arch form” made up of five through composed through his contact with much of it during his travels. sections: I. Adagio, II. Allegro, III. Poco meno mosso, He is well known for the many settings of traditional IV. Allegro, and V. Adagio. This form led the folk tunes he did throughout his life, and once composer to regard it as his first work for band that commented that he greatly admired American folk was truly symphonic in nature. composer Stephen Foster and wished he could write music reflective of his native Australia as Foster had for Symphonic Movement is a monothematic composition America. Colonial Song was arguably his best effort at based on a single eight note series that is played for fulfilling that desire. the listener as the work begins. These eight pitches go through many transformations as the composer Colonial Song is a marvelous example of Grainger’s invokes an almost organ-like quality from the flexibility and artfulness in transplanting folk-like ensemble. This is achieved through the use of dense, material to a cultivated context. Intended, according to overlapping textures that are contrasted with pointed, accented passages. The work’s dissonance, rhythmic that are placed in the score: drive, and powerful dynamics make it a prime example of Nelhýbel’s compositional style. (Theme) Variation I. (A Cubist Kaleidoscope) Variation II. (Cantus in augmentation: speed demon) Biggs, Object Metamorphosis II Variation III. (Carnival) Variation IV. (Tune’s in the round) Object Metamorphosis II is a composition for wind Variation V. (Spike) ensemble and digital audio commissioned by the Variation VI. (Rewind/Fast forward) Macro Analysis Creative Research Organization Variation VII. (Echoes: a surreal reprise) (MACRO) and Truman State University. The work was inspired by humankind’s investigations into the nature While composing this piece, I experienced a wealth of of light. The materials of the work are initially very rich emotions, among which were great joy and deep unfocused, then they become clearer and clearer; satisfaction in writing for The President’s Own United however, the underlying processes involved that create States Marine Band, the quintessential concert band of the foreground materials are always obscured. our time. I cannot overstate the significance of being called upon by this magnificent assembly of dedicated The basic harmonic structure of the work is based on and supremely skilled musicians. It was profoundly circle-of-fifths motion and the large-scale resolution of moving to connect, over several centuries, to the altered dominant triads. The foreground melodies, composer of Spagnoletto; a kindred spirit in the love of rhythms, and textures do not initially present music making. themselves in their simplest form and then develop; rather, these materials develop non-linearly, often – Michael Gandolfi being introduced as fragments that form cohesive sections later in the work. – Christopher Biggs Gandolfi, Flourishes and Meditations on a Renaissance Theme Flourishes and Meditations on a Renaissance Theme is a set of seven variations on an anonymous Renaissance melody that is simply titled Spagnoletta. It is derived from a popular melody titled Espanoleta or ‘Little Spanish Tune.’ I first knew this melody as quoted by Joachin Rodrigo in his Fantasia para un gentilhombre for guitar and orchestra. I also found this tune in the 1970s in a collection of Renaissance songs for classical guitar, and I have played it in that form countless times over the years. I was motivated to probe this elegant tune with which I have been acquainted for four decades, with the expectation that it would prompt a wealth of ideas as unique to such a longstanding relationship. The beauty and elegance of the original tune resides in its simplicity, so I chose to present it at the outset of the piece in a clear and streamlined orchestration. The basic nature or character of each variation is revealed in the labels UNIVERSITY SYMPHONIC BAND Robert Spradling, Conductor Flute I (piccolo rotated) Trombone I Maria Eugenia Vallejo, Principal, Quito ECUADOR Eric Hester, Principal, Muskegon Kathleen Rivard, Owosso Aaron Cluster, Kalamazoo * Jillian Lassen, West Bloomfield ÎÏ Kaitlin Black, Augusta Trombone II + Keith Kelsey, Belleville Becky Haines, Muskegon Karl Schmidt, Highland Oboe ÐÑ Jarred Small, Principal, Fraser Bass Trombone Kayla Pingel, Farmington Aaron Buczek, Warren A.J. Muusse, Grandville English Horn Michael Wessels, Wayland Euphonium Matt Fountain, Principal, Kalamazoo Bassoon Ó Christopher Blair, Cedar Springs Marco Juarez, Principal, Kalamazoo John Fonner, Battle Creek Joseph Swift, Howell Whitney Miller, Dumfries VA (assisting) Tuba * Heather Ewer, Principal, Arvada CO Contrabassoon Ò+ Regis Partee, Portage Joseph Swift, Howell Jordan Green, Battle Creek Clarinet (parts rotated) Timpani Ruth Daley, Kalamazoo Nicholas Chernich, Principal Danny Mui, Mucomb Kristyn Macqueen, Rockford Percussion Elisabeth Waldburger, Granger IN Sean Keck, Principal, Sterling Heights * Theresa Huiber, Twin Lake Justin Longroy,
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