Special Thanks

Upcoming Music Department events: Bridgewater State University

Department of Music Faculty Recital – Jon Amon, Saxophone Friday November 7th 8:00 pm, Horace Mann Auditorium Wind Ensemble

Voice Studio Recital, Heather Holland Sunday, November 16nd 5:00 pm, Horace Mann Auditorium

Faculty Recital – Deborah Nemko, Piano Monday, November 17th, 8:00 pm, Horace Mann Auditorium

Student Recital Christopher Bosch, guitar Tuesday, November 18th 8:00 pm, Horace Mann Auditorium

Winter Holiday Concert Friday, December 12th, 7:30 pm, RCC Auditorium

Friends of Music

In order to assist talented students in the pursuit of their musical studies and professional goals, the Department of Music has established the Music Scholarship Fund. We welcome donations of any amount for this important undertaking! th Please make checks payable to BSU Foundation with a November 6 , 2014 note in the memo ‘Friends of Music.’ 8:00 pm Rondileau Campus Center Auditorium Mailing Address: Bridgewater State University Foundation PO Box 42 Bridgewater, MA 02325

Program Piccolo Trumpet ^*Jennifer Drake ^Lindsay Cook Prelude music performed by Joanna Richards Flute Choir Flute James Sheehan Andreanna Hughes ~Brian Strange Ian Maguire Ling Po Tsui Horn March from Symphonic Metamorphosis of Paul Hindemith (1895-1963) Vincent Vascimini Rachael Daly Themes by Carl Maria von Weber trans. Keith Wilson Sarah Walsh Sheri Fernandes ^Sarah Hackett Oboe Caitlin Rocker Three Preludes George Gershwin (1898-1937) Emily Douglas Tegan Sutherland Trombone Andante con moto e poco rubato “Blue Lullaby” arr. David Smith Jr. Sarah Emanuel Allegro ben ritmato e deciso “Spanish” English Horn Daniel Hatchfield David Smith Jr., conductor Emily Douglas ^Cody O’Toole

Clarinet Euphonium The Promise of Living from Aaron Copland (1900-1990) Marti Canham Nicholas Grisolia The Tender Land trans. Kenneth Singleton Arianna Chaves Torben Hanson Tuba Symphonic ONDO for Band Bin Kaneda (1935-2002) Nicholas Maribett Joselyn Morritt ^Amanda Shaughnessy Nicholas Schaper

Bass Clarinet Percussion Intermission Joseph Seggio Terrence Coronella Gianna Crowley Alto Saxophone ^Nicole Desmarais Edward Motlin Allison Fey Michael Scott Malcolm Keefe ^Carolyn Traux David Smith

The Divine Comedy Robert W. Smith (b. 1958) Tenor Saxophone ^ Section Leader Inferno Czarr Freeman * Frieda Rand Scholarship Award ~ LaFrance Scholarship Award Purgatorio Baritone Saxophone Ascension Monica Bezanson Donnelly Paradisio Bassoon ^Natalee Brucks

"The Ascension" begins with Dante on the Mountain of Purgatory. Having March from Symphonic Metamorphosis of Themes by Carl Maria von been instructed and purified in Purgatory, he is prepared for his journey to Weber Paradise. Beatrice, his guide, lifts her eyes toward the sun. Following her example, Dante looks to the sun and is at that moment transformed ("trans- Hindemith collaborated with choreographer Leonid Massine on a ballet human-ized") in preparation for his great adventure. He is surprised to utilizing music of Carl Maria von Weber. The project was eventually discover wonderful music, the music of the spheres, surrounding them. scrapped due to artistic differences between the parties. Hindemith felt he Swifter than thought, their flight of incredible speed begins. Dante and was just being used as an arranger, while Massine found the music too Beatrice, accompanied by sounds of wondrous beauty and intensity, ascend complex to for dancing. The musical ideas were salvaged, three years later, to the Sphere of Fire. when Hindemith completed his Symphonic Metamorphosis (1943). The work was originally written for orchestra, but the composer believed that it should be available for band, also. Hindemith asked his Yale colleague, In "Paradiso," Dante has ascended at great speed from the top of the Keith Wilson, to do the transcription, which was completed in 1961. The Mountain of Purgatory to the first sphere of the heavens. He is enamored March is the fourth and final movement of the composition and is based on with the sight of light, growing brighter and more intense with each sphere a piano duet by Weber. The two-bar opening statement by the brass is heard of his journey. The composer has called upon the mallet percussion to in several forms throughout the movement. The woodwinds underscore the represent those beams of light. Beginning with a single tone (beam), the sonorous melodies of the brass with a driving rhythm and articulation that intensity grows with each entrance until we are surrounded by lights of carries the movement to its finale. multiple color and complexities. As the light engulfs the listener, we are presented with the sounds of joy, peace, love, and hope…growing ever brighter as the journey through the spheres progresses. The Promise of Living from The Tender Land

As the listener arrives at the Empyrean (the region of pure light), the “Music of the Spheres” first introduced in “the Ascension” is restated in Aaron Copland’s only full-length opera (the 90-minute Second Hurricane of brilliant fashion by the brass section. The light continues to intensify as the 1937 was written for student performance), The Tender Land was begun in woodwind colors swirl around the brass figures. The sights and sounds 1952 and completed in 1954, with a libretto by Erik Johns (using the pen grow even brighter as Dante sees a river of light which is transformed into a name Horace Everett). Although containing some of Copland’s most lyrical great rose as whose center is the wonderful source of these lights. Upon the and heart-felt music, the opera took time to establish its place in the petals are seated the saints, clad in the whitest of robes. Angels fly, like repertoire. In 1958 Copland extracted a three-movement orchestral suite, swarms of bees, up from the heart of the rose to its petals, their faces of using music from the introduction to Act II and the love duet, the square living flame, their wings clad in gold, their bodies white as the purest snow. dance from Act II, and the vocal quintet from the end of Act I. The Dante looks to the highest tier, where Mary sits enthroned, surrounded by a composer conducted the first performance of the suite in April, 1959 with thousand joyful angels. Mary is surrounded by heroines of the Old the Boston Symphony Orchestra and he later recalled: “the reviews were far Testament; Eve, Rachel, Sarah, Rebecca, Judith, and Ruth. On Mary’s better than they had been for the opera.” opposite side are the male figures of the Christian era; John the Baptist, St. Francis, St. Benedict, and St. Augustine, as well as Adam, Peter, Moses and The final movement of the suite, The Promise of Living, is based largely on John the Apostle. The lower tiers of the rose are filled with thousands of the folk song “Zion’s Walls” (the first full appearance is after letter G – in infants, purified in glorious innocence. 9/8 time) and epitomizes Copland at his most lyrical and direct. The entire movement is cast in F major, with no chromatically altered pitches. With a gracious smile from the Virgin Mary, Dante is permitted the Beatific Vision. He lifts his eyes toward the heart of the rose. With one blinding Three Preludes are short piano pieces by George Gershwin which were first light, he recognized three separate lights in the form of interlocking circles performed by the composer at the Roosevelt Hotel in New York in 1926. (a symbol of the trinity). Within one circle he perceived the dim image of a Each prelude is a well-known example of early-20th-century American human face, a reminder that God, through Christ, lived – and still lives – as classical music, as influenced by jazz. man on earth. Gershwin originally planned to compose 24 preludes for this group of As Dante finishes his relatively short journey through the sections of "The works. The number was reduced to seven in manuscript form, and then Inferno," he is confronted with the Wall of Dis (the gate into Hell). The next reduced to five in public performance, and further decreased to three when section is structured around the sins of "violence" with its incredibly intense first published in 1926. Two of the remaining preludes not published were storms and fiery sands. The crimes of "ordinary fraud" follow the violent rearranged for solo violin and piano and published as Short Story. The sinners. The composer used the sin of hypocrisy as visual imagery in the other two, the Prelude in G had been eliminated by the publisher Wyatt formation of this section of the musical work. Dante describes the because somewhat similar music had already appeared in Gershwin's hypocrites as they file endlessly in a circle, clothed in coats of lead, which Concerto in F. The other was excluded for unknown reasons. Gershwin represent the weight of the hypocrisy on earth. dedicated his Preludes to friend and musical advisor, Bill Daly. The final section of "The Inferno" features the sins of "treacherous fraud." Ondo (for Symphonic Band) As Dante enters this circle of Hell, he hears the dreadful blast of a bugle. "Not even Roland's horn, which followed on the sad defeat when Bin Kaneda (1935 - ) earned his B.A. degree in composition from the Charlemagne had lost his holy army, was as dread as this." Dante and Virgil University of Tokyo in 1958. In 1956 and 1957, he won first prize at the are lowered into the last section of Hell by giants who are constantly pelted Mainichi Newspaper composition contest with his chamber and orchestral with bolts of thunder [lightning]. As their journey nears the end, they are music works. He was commissioned to write the required compositions for confronted with the sight of Dis (Lucifer), whose three mouths are eternally the All Japan Band Contests in 1964, 1967, and 1972. Since 1971, Kaneda rending Judas, Brutus, Cassius. Dante and Virgil climb down the flanks of has been an associate professor in the music department at Gifu University. Lucifer, exiting to the other hemisphere and leaving the fiery world of "The Inferno" behind. The Ondo introduces and builds on three basic themes. These very rhythmic themes begin softly amongst the sections of the band, building in a long In "The Purgatorio" Dante is brought by Virgil to the shores of the island crescendo to the strong finale, where all three themes appear mountain Purgatory in the midst of the southern ocean. The mountain is simultaneously. The percussion section is featured in this work. comprised of seven terraces, each representing one of the “seven deadly sins.” In each terrace, sinners are given an appropriate penance which is symbolically tied to their transgressions on earth. The sufferings endured

are accepted voluntarily by the spirits in atonement of their sins. The The Divine Comedy composer has woven together musical elements which depict each of the sins of the seven terraces. For example, the sin of the first terrace is The Divine Comedy is a four movement work based on Dante Alighieri’s “pride.” The souls plod slowly around the mountain, bowed double by literary classic of the same name. The story of Dante’s trilogy is basic: huge rocks on their backs. As the composition develops, the sounds of One day Dante finds himself lost in a dark wood. Virgil, a character based lamenting souls, dragging their heavy loads, can be heard against the on the revered Roman poet, appears and rescues him. Virgil guides Dante to a contemplation of Hell and Purgatory. Dante, having confessed his haunting melodic line. faults, and with Beatrice as his guide, is led into Paradise and attains a The souls of Purgatory are often musical beings; they express their glimpse of the face of God. sensations in songs, hymns, and psalms. Purgatory is the realm of hope, where the proud, envious, wrathful, slothful, prodigal (avaricious), "The Inferno" is the first of four movements in The Divine Comedy. gluttonous, and lustful atone for their sins on earth. As Dante and Virgil Dante's vision of hell consists of nine concentric circles divided into four continue up the mountain, they feel a violent quaking at which all the spirits categories of sin. The principal theme behind the literary work is the proclaim “Gloria in excelsis Deo!” (Glory to God in the highest). Dante concept of symbolic retribution. In other words, man's eternal damnation in learns that the quaking signals the completion of one soul’s penance, for Hell is directly correlated to the character and weight of his sin on earth. which all other souls give thanks. The completion of the penance allows the soul to ascend to “Paradiso” (heaven), taking his or her rightful position Like Dante's Inferno, the movement is divided into four sections. The in relation to God. opening melodic statement in the oboe represents the sins of "incontinence." Gershwin originally planned to compose 24 preludes for this group of As Dante finishes his relatively short journey through the sections of "The works. The number was reduced to seven in manuscript form, and then Inferno," he is confronted with the Wall of Dis (the gate into Hell). The next reduced to five in public performance, and further decreased to three when section is structured around the sins of "violence" with its incredibly intense first published in 1926. Two of the remaining preludes not published were storms and fiery sands. The crimes of "ordinary fraud" follow the violent rearranged for solo violin and piano and published as Short Story. The sinners. The composer used the sin of hypocrisy as visual imagery in the other two, the Prelude in G had been eliminated by the publisher Wyatt formation of this section of the musical work. Dante describes the because somewhat similar music had already appeared in Gershwin's hypocrites as they file endlessly in a circle, clothed in coats of lead, which Concerto in F. The other was excluded for unknown reasons. Gershwin represent the weight of the hypocrisy on earth. dedicated his Preludes to friend and musical advisor, Bill Daly. The final section of "The Inferno" features the sins of "treacherous fraud." Ondo (for Symphonic Band) As Dante enters this circle of Hell, he hears the dreadful blast of a bugle. "Not even Roland's horn, which followed on the sad defeat when Bin Kaneda (1935 - ) earned his B.A. degree in composition from the Charlemagne had lost his holy army, was as dread as this." Dante and Virgil University of Tokyo in 1958. In 1956 and 1957, he won first prize at the are lowered into the last section of Hell by giants who are constantly pelted Mainichi Newspaper composition contest with his chamber and orchestral with bolts of thunder [lightning]. As their journey nears the end, they are music works. He was commissioned to write the required compositions for confronted with the sight of Dis (Lucifer), whose three mouths are eternally the All Japan Band Contests in 1964, 1967, and 1972. Since 1971, Kaneda rending Judas, Brutus, Cassius. Dante and Virgil climb down the flanks of has been an associate professor in the music department at Gifu University. Lucifer, exiting to the other hemisphere and leaving the fiery world of "The Inferno" behind. The Ondo introduces and builds on three basic themes. These very rhythmic themes begin softly amongst the sections of the band, building in a long In "The Purgatorio" Dante is brought by Virgil to the shores of the island crescendo to the strong finale, where all three themes appear mountain Purgatory in the midst of the southern ocean. The mountain is simultaneously. The percussion section is featured in this work. comprised of seven terraces, each representing one of the “seven deadly sins.” In each terrace, sinners are given an appropriate penance which is symbolically tied to their transgressions on earth. The sufferings endured

In "Paradiso," Dante has ascended at great speed from the top of the Mountain of Purgatory to the first sphere of the heavens. He is enamored with the sight of light, growing brighter and more intense with each sphere of his journey. The composer has called upon the mallet percussion to represent those beams of light. Beginning with a single tone (beam), the intensity grows with each entrance until we are surrounded by lights of multiple color and complexities. As the light engulfs the listener, we are presented with the sounds of joy, peace, love, and hope…growing ever brighter as the journey through the spheres progresses.

As the listener arrives at the Empyrean (the region of pure light), the “Music of the Spheres” first introduced in “the Ascension” is restated in brilliant fashion by the brass section. The light continues to intensify as the woodwind colors swirl around the brass figures. The sights and sounds grow even brighter as Dante sees a river of light which is transformed into a great rose as whose center is the wonderful source of these lights. Upon the petals are seated the saints, clad in the whitest of robes. Angels fly, like swarms of bees, up from the heart of the rose to its petals, their faces of living flame, their wings clad of gold, their bodies white as the purest snow. Dante looks to the highest tier, where Mary sits enthroned, surrounded by a thousand joyful angels. Mary is surrounded by heroines of the Old Testament; Eve, Rachel, Sarah, Rebecca, Judith, and Ruth. On Mary’s opposite side are the male figures of the Christian era; John the Baptist, St. Francis, St. Benedict, and St. Augustine, as well as Adam, Peter, Moses and John the Apostle. The lower tiers of the rose are filled with thousands of infants, purified in glorious innocence.

With a gracious smile from the Virgin Mary, Dante is permitted the Beatific Vision. He lifts his eyes toward the heart of the rose. With one blinding light, he recognized three separate lights in the form of interlocking circles (a symbol of the trinity). Within one circle he perceived the dim image of a human face, a reminder that God, through Christ, lived – and still lives – as man on earth. Program Piccolo Trumpet ^*Jennifer Drake ^Lindsay Cook Prelude music performed by Joanna Richards Flute Choir Flute James Sheehan Andreanna Hughes ~Brian Strange Ian Maguire Ling Po Tsui Horn March from Symphonic Metamorphosis of Paul Hindemith (1895-1963) Vincent Vascimini Rachael Daly Themes by Carl Maria von Weber trans. Keith Wilson Sarah Walsh Sheri Fernandes ^Sarah Hackett Oboe Caitlin Rocker Three Preludes George Gershwin (1898-1937) Emily Douglas Tegan Sutherland Trombone Andante con moto e poco rubato “Blue Lullaby” arr. David Smith Jr. Sarah Emanuel Allegro ben ritmato e deciso “Spanish” English Horn Daniel Hatchfield David Smith Jr., conductor Emily Douglas ^Cody O’Toole