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The Concert Band the Wind Ensemble

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The Concert Band the Wind Ensemble J TUBA PERCUSSION John Besner, Snr/Cmptr sci & University of Washington Dax Migita Lily Yeh, Snr,IMusic ed & Electengr THE SCHOOL OF MUSIC Jonathan Zull, JnrlMusic Ed vocal performance Michael McGrath, Jnr/Poli Sci /J 3'l8 James Babcock, Jnr/Poli Sci Sool-Lin Lee, Snr,IMusic Ed T.1. Seiber, SnrlMusic Ed Kimberly Pangilihan, Snr/ presents I~' , Music Ed CONCERTBANO ASSISTANT Ardis Hallanger 1(-30 WIND ENSEMBLE PERSONNEL Timothy Salzman, conductor THE CONCERT BAND FLUTE BASSOON TROMBONE Dane Andersen, Sr., Music; Tracy Bergemann, Grad., Jeff Gans, Sr., English; Seattle conductor Seattle Science; Milwaukee, WI Stephen Nickels, Jr., Raydell C. Bradley, Paula DeMoss, Jr., Music; Changho Lee, Grad., Music; Engineering; Madison, WI Lakebay Teagu, Korea Peter B. Ormsby, Grad., Music; Ayumi Ikeda, Jr., Music; Tacoma Niigata, Japan SAXOPHONE Dan Kretz, Sr., Music; Winlock Sarah Cavassa, Fr., Music; Mimi Kruger, Grad., Music; Colorado Spring, CO Monroe EUPHONIUM Suzie Cavassa, Sr., Music; Nelson Brodeck Bell, Jr., and OBOE Seattle Music; Olympia Beth Antonopulos, Grad., Bradley Fitch, Jr., Music; Adam DeBruler, So., Music; Ft Collins, CO Gardnerville, NV Undeclared; Auburn Ashley Cragun, So., Music; Sara Stephens, Fr., Undeclared; McMinnville, OR TUBA PtAngeles Tyler Benedict, So., Music; Sara Jackson, Fr., Music; PtAngeles Aurora,CO TRUMPET Jonathan Eck, Jr., Chemistry & Tyler Smith, Jr., Music; CLARINET Music; Tacoma Lk Elsinore, CA Tammy Arvin, Grad., Music; Timothy Fowler, Sr., Music; THE WIND ENSEMBLE Steilacoom STRING BASS Seattle Jurica Stelma, Grad., Music; Rudy Dennis, Grad., Music; Joy Lyons, So., Physics & Seattle Auburn Music; Seattle Timothy Salzman, conductor Kristie Fenn, Fr., Undeclared; Nick Roumonada, Jr., Music; PERCUSSION Curtis Issaquah Christian Krehbiel, Sr., Music; Lisa Hagen, Jr., Psychology; Steve Ryals, Grad., Music; Colbert Yakima Seattle Miho Takekawa, Music; Havala Osdoba, So., Comp Lit; Tyson Sterne, Sr., Music; Tokyo, Japan Seattle Stanwood Anne Richards, Jr., Zoology; Rosanne Ritch, So., Music; Kenmore FRENCH HORN Seattle Mike Roling, Sr., Music; Aaron Beck, Sr., Music; Seattle Sherrie Shinjo, So., Erika Bramwell, Jr., Music; Pasadena, CA Psychology; Aiea, HI Conney Lin, Jr., Music; Lewisville, ID Shoreline Erica Drouin, Fr., Undeclared; BASS CLARINET Russ Nyberg, Sr., Music; Mark Oesterle, Music; Pasco Spokane Shauna Hansen, Grad., Enviro Seattle CONTRA BASS CLARINET Engr; Seattle Jason Sims, Fr., Business; PIANO Emily Reppun, Fr., Music; Jacob Winkler, Seattle Spokane Bellingham Jay Sieinbrook:, Sr., Philosophy; 8:00PM Miami,FL November 30, 1999 MEANY THEATER I tw=r 13. '57-9 co '3. S¥O PROGRAM opening fanfare is in the minor mode (d minor is an unusual beginning for a concert march). The piece ends in resplendent form (in F major) using the full force ofthe symphonic band. THE CONCERT BAND FRANZ BIEBL was born September 151 1906 and is one of the most respected fig­ ~D RAYDELL C. BRADLEY, CONDUCTOR ures in German choral music. He was born in the Oberpfalz area of Amberg, I studied under Joseph Hass at the Musikhochschule in Munich, and had com­ mBRlGHTONBEACH .....•• .(~.tQ.J) ....................... William P. Latham (b. 1917) menced as successful teaching career at the Mozarteum in· Salzburg, Austria. l1J A VE MARlA ......... .c~.;J.:t.J .......... ~ .............. Franz BiebllBallenger (b. 1906) World War II intervened, and ended with Biebl interned in Battle Creek, Michi­ 1 gan as a prisoner of war. Herr Biebl suffered a stroke earlier this year and (at jlI t]DERTRAUMDESOENGHUS (r'(JO . the age of93) is making a full recovery (The Dream ofOenghus) .........!....J ....................... RolfRudm.(b. 1961) Biebl is chiefly know in America through his wonderful AVE MARIA written in 1964, but made quite popular by the Chanticleer recording 30 years later. It [1lLITURGICALDANCES ........ t:·r.~.Ij3.} ............. David R. Holsinger (b. 1945) exhibits Biebl's characteristic tenderness, clarity, and simplicity of form. The concert band setting is by William. Ballenger, Chairman of the Music Depart­ ment at Oklahoma State University in Stillwater. The original setting is for two INTERMISSION choirs, one male and one female. The wind setting maintains this separation of musical ideas through the brass and woodwind families. All winds eventually unite to produce the powerful and beautiful climax heard at the end ofthe piece. THE WIND ENSEMBLE TIMOTHY SALZMAN, CONDUCTOR ROLF RUDIN was born in Frankfurt on December 9 1961. He studied music ) education, composition, conducting and theory of music in Wurzberg. He is a ~ESl......... · .. ·· .. .LQ·~..'?:O...................................Michael Daugherty (b. 1954) free lance composer and a lecturer at the Frankfurter Musikhochschule. ( The musical poem THE DREAM OF OENGHUS refers to the Irish legend of the [k) COLONIAL SONG ......... .c..~~b=t.)...................... Percy ~in~er (1882-1961) same name which was edited by Frederik Hetmann in his collection "Irish .~ Ii] SYMPHONY IN It.......(l.<t..•.':t.2..J. .................... Paul Hmdemtth (1895-1963) t Magic Garden Fairy Tales, Legends and Stories from Ireland." In this legend ~ Prince Oenghus has a nightly vision when fast asleep: he sees a girl who plays a "[ WCONCERTINO FOR FOUR PEfCCJ.SSIONfSTS flute and falls in love with her. However, as she keeps disappearing she remains AND WINDENSEMBLE ... J..:.,:r.....:{$)................David Gillingham (b. 1947) unattainable for him for the time being. He consequently sets out to search for her until he finally finds the girl. This piece is no musical retelling of the leg­ end; in a way it rather invites reading the story, as there are only single phases and atmospheres of the legend serving as extra-musical sources of imagination. PROGRAM NOTES (Notes by the composer) WILLIAM LATHAM retired from teaching in 1984 after a long and productive DAVID HOLSINGER offers the following notes concerning LITURGICAL DANCES: career as a professor of composition and theory that spanned five decades. "LITURGICAL DANCES was commissioned by the Beta Mu chapter of Phi Mu Today he resides in Denton, Texas, where he continues to catalog his large out­ Alpha Sinfonia to celebrate 75 years of service to Central Methodist College, in I put of compositions. Upon completion of this task, Latham's entire collection of I Fayette, Missouri. On a personal level, LITURGICAL DANCES sums up the compositions will be housed in the University of North Texas music library. He ~ remembrance of an earlier time when I was a student at Central Methodist and a has composed over one hundred works, about half. of which have been pub­ member of this music fraternity. The composition displays two images; the first, lished; many have been performed throughout the world. His works have been a prelude of reflection on the emotional and spiritual bonds that unite those of performed by many high school and college wind ensembles, and by the Cincin­ j like heart; and secondly, exuberant praise and celebration, not only for the serv­ nati Symphony, the Eastman-Rochester Philharmonic, the Dallas Symphony, ice of people to their vocations, but also to a glorious Lord, who created music and the st. Louis Symphony; his music has been performed by such famous that we would have a wonderful vehicle with which to exhibit his exhilaration conductors as Eugene Goossens, Howard Hanson, Thor Johnson, John Gior­ with life! LITURGICAL DANCES is subtitled, Benedicamus Socii Domine, which dano, and Walter Susskind. The march heard this evening is considered a stan­ translates "let us all as companions, Praise the Lord!" dard in the concert march genre. BRIGHTON BEACH is unusual, considering the J MICHAEL DAUGHERTY's DESI for symphonic winds was premiered at the 1991 dramatically exciting counter wills of their fellow men, as in more thickly College Band Directors National Association Convention in Kansas City. The populated lands) should run largely to that patiently yearning, inactive senti­ composition is a tribute to Desi Amaz, who played the Cuban bandleader Ricky mental wistfulness that we find so touchingly expressed in American art; for Ricardo alongside his wife Lucille Ball in "I Love Lucy," widely regarded as one instance in Mark Twain's Huckleberry Finn, and in Stephen Foster's songs. I ofthe most innovative television comedy shows of the 1950s. have also noticed curious, almost Italian-like, musical tendencies in brass band The opening rhythmic motive is derived from the "Conga Dance" made performances and ways of singing in Australia (such as a preference for richness famous by Amaz when he sang and played bongos in Hollywood film musicals and intensity of tone and soulful breadth of phrasing over more subtly and sen­ in the I 940s. In DESI the bongo soloist and percussion section provide a lively t sitively varied delicacies of expression) which are also reflected here". counterpoint to intricately structured canons and four-note cluster chords, creat­ ing polyrhythmic layers that intensify and build to a sizzling conclusion. DESI t PAUL HINDEMITH began to show interest in music at the age of eleven by play­ evokes a Latin sound punctuated by big band trumpets, trombone glissandi and ing the violin. By the time he was twenty, he was concertmaster of the Frank­ dazzling woodwind runs. furt Opera (1915-23). After making the viola his specialty, he toured Europe DESI has been widely performed by ensembles ranging from the U.S. Marine with the Amar-Hindemith Quartet. In 1927 Hindemith was appointed professor Band to the St. Louis Symphony, and abroad by ensembles including the Tokyo of composition at the Academy of Music in Berlin, and out of this teaching Kosei Wind Orchestra and the Zurich Tonhalle-Orchester. Desi is recorded by experience grew his famous theoretical work, The Craft of Musical Composi­ the Baltimore Symphony Orchestra with David Zinman conducting, on the tion. Published in 1937, it was one of the most comprehensive theories of har­ Argo/Decca CD entitled "Dance Mix". mony ever devised. In 1940, Hindemith was appointed to the Yale University The UW Wind Ensemble last performed this work in April of 1991 shortly School of Music faculty.
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