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Concert Band and Campus Orchestra Concert Band Matthew Dockendorf, Conductor Dylan Koester, Guest Conductor

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Concert Band and Campus Orchestra Concert Band Matthew Dockendorf, Conductor Dylan Koester, Guest Conductor Concert Band and Campus Orchestra Concert Band Matthew Dockendorf, conductor Dylan Koester, guest conductor Campus Orchestra Silas Huff and John McKeever, conductors 7:30 p.m., Monday, Dec. 10, 2018 Grusin Music Hall Imig Music Building Program The Jig is Up (2004) Daniel Kallman (b. 1956) Dum Spiro Spero (2010) Chris Pilsner (b. 1986) El Camino Real (1985) Alfred Reed (1925-2005) Intermission Capriol Suite Peter Warlock I. Basse-Danse (1894-1930) II. Pavane III. Tordion IV. Bransles V. Pieds-en-l’air VI. Mattachins Overture to La Clemenza di Tito Wolfgang Amadeus Mozart (1756-1791) Karelia Suite Jean Sibelius I. Intermezzo (1865-1957) II. Ballade III. Alla marcia Symphony No. 8 Antonín Dvořák IV. Allegro ma non troppo (1841-1904) Program Notes the musical treatment of Irish folk music these days Concert Band (the main "jig" theme, while an original melody, has The Jig is Up the sound and feel of an Irish folk tune), other ethnic Commissioned by a consortium of 10 Minnesota elements found their way into the work, particularly in colleges, this work has proven to be very popular the percussion "jam" that underscores a large portion of with high school, community, college and professional the middle and end of the composition. A chorale-like bands. My original intent in composing The Jig is Up segment comes out of the first jam and then transitions was to create a playful, lighthearted tune and dance as back to the 6/8 jig tune. With a return to the percussion an homage to composer Percy Grainger, whose music tutti, the winds build to a unison flourish to conclude for winds I have always admired and whose biography the piece. —Daniel Kallman I had recently read. However, as is often the case with Dum Spiro Spero on Fredrick Delius, his musical mentor. All of his music Dum Spiro Spero takes its title from a Latin phrase was published under the name Peter Warlock, a name meaning “While I breathe, I hope.” When I read that he likely chose based on his obsession with the occult. phrase for the first time, I was taken back by the Warlock wrote the Capriol Suite for string orchestra in incredible amount of power it held and immediately 1926; there is a version of the Suite for two pianos and knew it would be the basis for a new piece. When I for full orchestra, but the Suite for string orchestra is started writing, my goal was to write something as the most popular. The Suite is a set of six dances in the deeply emotional and human as the title. The result renaissance style. The dances are based on tunes from was a series of simple melodies supported by some of a manual of Renaissance dances by the French priest the most colorful orchestration and harmonies I’ve ever Jehan Tabourot. Each movement represents a different written. From the lush opening, the gentle singing and dance: ultimately the triumphal climax, the human quality to the I. Basse-Danse, a "low dance" where the dancers glide music is what I think gives Dum Spiro Spero a powerful across the floor without leaping. sense of grace and splendor. It is dedicated to Casey II. Pavane, a traditionally slow, processional, dance, that Cropp, the man who has served as a mentor and friend here is presented faster than normal. for much of my musical career. Dum Spiro Spero was III. Tordion, a fast dance from the French word, tordre, commissioned by director Casey Cropp and the Rocky which means "twist." Mountain High School Winds Ensemble in 2009. The IV. Bransles, a common dance from the Renaissance, piece premiered on January 28, 2010 at the Colorado it means "brawl" and describes the side-to-side and Music Educator’s Association Conference in Colorado back-to-front movements of the couples who dance it. Springs, with the composer conducting. —Chris Pilsner V. Pieds-en-l'air, a dance characterized by a very light step, just short of leaping. VI. Mattachins, a dance that is meant to simulate a El Camino Real mock swordfight. —John McKeever El Camino Real (literally “The Royal Road” or “The King’s Highway”) was commissioned by, and is dedicated to, the 581st Air Force Band (AFRES) and its Commander, Overture to La Clemenza di Tito Lt. Col. Ray E. Toler. Composed during the latter half of Wolfgang Amadeus Mozart was born in Salzburg on 1984 and completed in early ‘85, it bears the subtitle: January 27, 1756, and died in Vienna on December 5, “A Latin Fantasy.” The music is based on a series of 1791. He composed his opera La Clemenza di Tito in a chord progressions common to countless generations hurried period of productivity in 1791, and it premiered of Spanish flamenco (and other) guitarists, whose fiery in Prague on September 6, 1791, with the composer style and brilliant playing have captivated millions of conducting, having just finished the overture the night music lovers throughout the world. These progressions, before … The brief Overture to La Clemenza di Tito and the resulting key relationships, have become opens with a solemn intonation reminiscent of the practically synonymous with what we feel to be the true stately chords prefacing The Magic Flute. The vigorous Spanish idiom. Together with the folk melodies they have main subject is followed by a delicate duet melody for underscored, in part derived by a procedure known to the flute and oboe, which serves as the second theme. musicians as the “melodizing of harmony,” they have The development section has many proto-romantic created a vast body of what most people would consider harmonic shadings coloring its contrapuntal passages. authentic Spanish music. The first section of the music The recapitulation begins not with the main theme, but is based upon the dance form known as the Jota, while with the more delicate second theme, which serves as the second, contrasting section is derived from the a foil to the surprisingly stormy nature of much of the Fandango, but here altered considerably in both time development. The music proceeds through repetitions and tempo from its usual form. Overall, the music follows of the opening intonation and the main theme before a traditional three-part pattern: fast-slow-fast. The first drawing to its abrupt conclusion. —Richard E. Rodda performance of El Camino Real took place on April 15, 1985, in Sarasota, Florida, with the 581st Air Force Band under direction of Lt. Col. Ray E. Toler. Karelia Suite Early in 1893, Jean Sibelius, then 27 years old, received a commission from the student association in Viipuri for music … [to] accompany a series of tableaux Campus Orchestra depicting important moments in Karelia’s history … Capriol Suite Sibelius worked on this music over the summer of Peter Warlock is the pen name of the English composer 1893, composing an overture and eight individual and author Philip Arnold Haseltine. As Haseltine, he movements. He … subsequently drew out several of published many books and articles, including a book these movements to make an orchestral suite. Those movements varied, and the Karelia Suite did not reach Symphony No. 8, Movement 4 the form we know today until 1899 … The Karelia Following an opening fanfare, the dance-like Allegro Suite, consisting of three brief movements, was among ma non troppo unrolls as a delightful set of variations Sibelius’ first successes as a composer, and it has (though interrupted by a minor-mode episode) on a remained one of his most popular scores. The opening theme of inherent breadth and dignity. In his 1984 Intermezzo accompanys a tableau that depicted a biography Dvořák, Hans-Hubert Schönzeler offers moment during the winter of 1333, when the Lithuanian some insights to the finale in his discussion of the duke Narimont collected tax tributes in the Käkisalmi Symphony No. 8, which he considers overall “the most district …The Ballade accompanys a scene that took intimate and original within the whole canon of Dvořák’s place in the Viipuri castle in 1446, when the nobleman nine:” “[Dvořák] himself has said that he wanted to Karl Knutsson Bonde was entertained by a court singer. write a work different from the other symphonies, with In the original incidental music, a baritone soloist sang individual force worked out in a new way, and in this he a ballad to the words of the old Swedish folksong The certainly succeeded, even though perhaps in the finale Dance in the Flowering Grove, but for the orchestral his Bohemian temperament got the better of him ... The suite Sibelius transferred his vocal line to English horn whole work breathes the spirit of Vysoká, and when [NOTE: it will be performed by French horn tonight] … one walks in those forests surrounding Dvořák’s country The Alla marcia depicted the conquest of Käkisalmi by home on a sunny summer’s day, with the birds singing the Swedish general Pontus De la Gardie in 1580 … and the leaves of trees rustling in a gentle breeze, one Sibelius adapted the second half of the movement, a can virtually hear the music ... [The] last movement march, for the orchestral suite. That march gets off to just blossoms out, and I shall never forget [the Czech a comfortable start, full of dotted rhythms, then builds conductor] Rafael Kubelík in a rehearsal when it came steadily to the grand, heroic conclusion.­­­­­­­­ to the opening trumpet fanfare, say to the orchestra: —Eric Bromberger ‘Gentlemen, in Bohemia the trumpets never call to battle—they always call to the dance!’” —James M. Keller Biographies a Bachelor of Music Education from the University of Matthew Dockendorf Minnesota where he studied and performed under Craig Matthew Dockendorf is Assistant Director of Bands Kirchhoff, Jerry Luckhardt and Timothy Diem.
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