The UCLA Herb Alpert School of Department of Music Presents

UCLA Symphonic Band Travis J. Cross Conductor Ian Richard Graduate Assistant Conductor

UCLA Wind Ensemble Travis J. Cross Conductor

“Voices of the People”

Wednesday, May 27, 2015 8:00 p.m. Schoenberg Hall

— PROGRAM —

The Foundation ...... Richard Franko Goldman

Symphony No. 4 for Winds and Percussion ...... Andrew Boysen, Jr. Fast Smooth and Flowing Scherzo and Trio Fast

Salvation Is Created ...... Pavel Chesnokov arranged by Bruce Houseknecht

Fortress ...... Frank Ticheli

Undertow ...... John Mackey

— INTERMISSION —

Momentum ...... Stephen Spies world premiere performance

Vox Populi ...... Richard Danielpour transcribed by Jack Stamp

Carmina Burana ...... Carl Orff transcribed by John Krance O Fortuna, velut Luna Fortune plango vulnera Ecce gratum Tanz—Uf dem anger Floret silva Were diu werlt alle min Amor volat undique Ego sum abbas In taberna quando sumus In trutina Dulcissime Ave formosissima Fortuna Imperatrix Mundi

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Please join the members of the UCLA Wind Ensemble for a reception in the Schoenberg Hall lobby immediately following the concert.

The reception is sponsored by UCLA’s Epsilon Kappa chapter of and the Psi chapter of , national honorary band sorority and fraternity. ABOUT THE ARTISTS

TRAVIS J. CROSS serves as associate professor of music and department vice chair in the Herb Alpert School of Music of the University of , Los Angeles, where he conducts the Wind Ensemble and Symphonic Band and directs the graduate program in wind . As wind ensemble conductor for five years at Virginia Tech in Blacksburg, Va., Cross led students in performances at the Virginia Music Educators Association conference, Kennedy Center, and and developed the Virginia Tech Band Directors Institute into a major summer conducting workshop.

Cross earned doctor and master of music degrees in conducting from Northwestern University in Evanston, Ill., and the degree cum laude in vocal and instrumental music education from St. Olaf College in Northfield, Minn. His principal teachers were Mallory Thompson and Timothy Mahr. Prior to graduate study, he taught for four years at Edina (Minn.) High School, where he conducted two concert bands and oversaw the marching band program.

In 2004, Cross participated in the inaugural Young Conductor/Mentor Project spon- sored by the National Band Association. The same year, he received the Distinguished Young Band Director Award from the American School Band Directors Association of . From 2001–2003, Cross served a two-year term as the recent graduate on the St. Olaf College Board of Regents. In 2006, he was named a Jacob K. Javits Fellow by the Department of Education. He currently serves as national vice president for professional relations for Kappa Kappa Psi, the national honorary band fraternity.

Cross contributed a chapter to volume four of on Composing for Band, available from GIA Publications. His original works and arrangements for band, choir, and orchestra are published by Boosey & Hawkes, Daehn Publications, and Theodore Music. He has appeared as a guest conductor, , and clinician in several states, internationally, and at the Midwest Clinic and leads honor bands and other ensembles in Arizona, California, Illinois, Indiana, Kansas, Minnesota, , Virginia, Can- ada, Korea, and Thailand during the 2014–2015 season.

IAN RICHARD is pursuing a master of music degree in conducting at the University of California, Los Angeles. He previously taught for four years at Harrisonburg and Rappahannock County high schools in Virginia. Richard earned a bachelor of music degree in music education from James Madison University in Harrisonburg, Virginia, where he played tuba in the wind symphony, symphony orchestra, and brass band and served as drum major of the Marching Royal Dukes. He lives in Los Angeles with his wife, Lauren.

NOTES

Richard Franko Goldman: The Foundation Richard Franko Goldman graduated from , studied composition with and , and served on the faculties of The and before becoming director and president of the Peabody Institute. However, he is best known as the son of legendary band director Edwin Franko Goldman, who founded both the famous Goldman Band and the Ameri- can Bandmasters Association. Parallel to his academic career, Richard Franko Goldman served as associate conductor of the Goldman Band under his father for almost 20 years before taking over the band from 1956 until failing health led him to dissolve the en- semble in 1979.

Although most of his early compositions were modern, Richard Franko Goldman later wrote several marches in the tradition of his father and John Philip Sousa, including The Foundation, which he completed in 1958 and premiered with the Goldman Band the next summer. The march is dedicated to the “officers and directors of the Daniel and Florence Guggenheim Foundation,” the charitable organization that sponsored the Goldman Band.

Andrew Boysen, Jr.: Symphony No. 4 for Winds and Percussion Andrew Boysen, Jr., is professor of music at the University of , where he conducts the Wind Symphony and teaches conducting, composition, and orchestra- tion. He holds degrees from the University of Iowa, Northwestern University, and the Eastman School of Music. A two-time winner of the Claude T. Smith Memorial Band Composition Contest, Boysen is a highly prolific composer for bands of all levels, with works published by the Neil A. Kjos Music Company, Wingert-Jones Music, C. Alan Publications, and Alfred Music.

Symphony No. 4 for Winds and Percussion was commissioned by Chip De Stefano and the McCracken Middle School Symphonic Band. The work follows the traditional con- ventions of four-movement symphony form, but each movement is cast as a miniature, and the entire symphony lasts about 14 minutes. Boysen provides the following notes:

The melodic and harmonic material for the entire work is based on the octatonic scale, an alternation of half steps and whole steps. The set in- cludes both great dissonance (each pair of notes creates a minor second) and great consonance (C Major, E-flat Major, G-flat Major, and A Major chords all exist in the scale). There are essentially only two melodic ideas used in the entire piece, and they are presented as the first and second themes of the first movement.

The first movement is in sonata form, the customary opening movement form. Most of the material centers on a subset of the octatonic scale that is presented melodically in the opening two measures. Second movements tend to have the least rigorous form of any movement. This one follows the form of a chaconne through its accompanying chordal pattern, an eight -measure section that is repeated six times over the course of the move- ment, while an extended melody based on the second theme is presented. The chord progression is simply two alternating tetrachords (a collection of four pitches). The first is the subset of the octatonic scale presented at the beginning of the first movement, and the second represents the other four notes of the octatonic scale. The third movement follows customary scherzo and trio form, but with a return of the opening scherzo material before motion to the trio (ABACABA). This movement also takes advan- tage of two of the major chords that are available in the octatonic set, C Major and G-flat Major, and juxtaposes them during each A section. The fourth movement has taken many forms throughout the history of the sym- phony. One of the most common is to return to sonata form for the final movement, which is exactly what occurs here. In this case, though, the first and second themes from the first movement are used again, but in reverse order. This reversal of material allows a return to the opening movement’s first theme at the climactic second theme section of the reca- pitulation.

Pavel Chesnokov: Salvation Is Created Pavel Chesnokov was born in 1877 in Voskresensk, near Moscow. One of ten children of a church musician, Chesnokov attended the Moscow Synodal School of Church Mu- sic starting around age seven; he joined the faculty upon his graduation in 1895. While establishing a reputation as a published choral composer, he also studied composition with Mikhail Ippolitov-Ivanov and Sergei Vailenko, later entering the Moscow Conser- vatory. Chesnokov became professor of choral music at the Moscow Conservatory in 1920 and remained there until his death in 1944. Although he wrote hundreds of Rus- sian Orthodox anthems during his early career, Chesnokov was forced by Soviet au- thorities to cease public religious activity, and he spent much of his life composing and performing only secular choral music.

Chesnokov scored Salvation Is Created for six- or eight-part chorus in 1912. Because of its religious text, Chesnokov never heard the work performed during his lifetime. Still, the two-part strophic anthem has become one of the best-loved examples of Russian Orthodox choral music of the early twentieth century; it is particularly popular around Christmastime. Bruce Houseknecht, legendary director of bands at Joliet Township High School in Illinois, arranged the work for band in 1957.

Frank Ticheli: Fortress Frank Ticheli has established himself as a leading American composer, with several choral and instrumental works to his credit. He served as composer-in-residence for the Pacific Symphony Orchestra from 1991– 98, and major ensembles around the world have performed his orchestral music. Ticheli has written for wind ensembles at all lev- els from beginners to professionals, and many of his compositions have become stan- dards of the repertoire. A graduate of Southern Methodist University, Ticheli earned graduate degrees in composition from the University of Michigan, where his teachers included William Albright and Pulitzer Prize winners Leslie Bassett and William Bol- com. Currently professor of composition, he has served on the faculty of the University of Southern California Thornton School of Music since 1991.

Although Ticheli wrote Fortress after his Concertino for Trombone and Band (1984) and Music for Winds and Percussion (1987), the work remains his first composition for full band without soloist. Premiered by Donald Schleicher and the Batawagama Youth Camp Band, Iron County, Mich., on June 25, 1988, the piece bears a dedication to Robert Floyd and the L.V. Berkner High School Band in Richardson, Texas, where Ticheli graduated. The main theme was originally composed as incidental piano music for a production of Moliere’s Don Juan. In the play, the theme accompanies the stage entrance of Don Alonso, a character Ticheli describes as “chivalrous and ruthless.” He writes:

Although this theme is the only music borrowed from my incidental music, the dark, foreboding character of Don Alonso was carried over into the entire composition of Fortress and is reflected in the work’s melodic and harmonic structure. The military march feeling is darkened by the use of the melodic and harmonic tritone. In short, Fortress could be described as a “concert march with an attitude.”

John Mackey: Undertow John Mackey is one of the most performed composers of his generation. He earned degrees from the Cleveland Institute of Music and The Juilliard School, where he stud- ied composition with Donald Erb and John Corigliano, respectively. Significant dance collaborations include the Alvin Ailey Dance Company, Ailey 2, Peridance Ensemble, Jeanne Ruddy Dance, and Parsons Dance Company, which he also served as music director from 1999–2003. The U.S. Olympic synchronized swimming team won a bronze medal in the 2004 Athens Olympics performing to his chamber work Damn for clarinet and four percussionists. Mackey has gained great acclaim as a composer of works for wind ensemble, becoming the youngest recipient of the American Bandmas- ters Association/Ostwald Award in 2005 for Redline Tango and winning both the ABA/ Ostwald and National Band Association William D. Revelli awards in 2009 for Aurora Awakes. He recently completed his first symphony for band, Wine-Dark Sea.

Undertow belongs to a series of important works commissioned by Cheryl Floyd and the Hill Country Middle School Band in Austin, Texas. Mackey’s first composition for intermediate band, it has received countless performances since its May 2008 premiere. Jacob Wallace, director of bands at Southeastern Oklahoma State University and fre- quent program annotator for John Mackey, provides the following notes:

The work is significantly different than much of Mackey's output in terms of technical difficulty, but many characteristic elements of his writing are nonetheless present, including biting semitone dissonance within a tonal context, frequent use of mixed meter, heavy percussion effects, and, per- haps most importantly to this work, a pervasive ostinato. The metric pat- tern for the piece is an alternation of 7/8 and 4/4 time, which provides an agitated “out-of-step” pulsation throughout. The energetic opening melody cycles through several repetitions before washing away into a gentle stream of percussive eighth notes. From here, a countermelody emerges that slowly ratchets the energy back up to its original level, where the initial melody returns to round out the explosive conclusion.

Stephen Spies: Momentum Stephen Spies began playing violin at age five and started composing at the Crowden School, a music middle school on Berkeley, Calif. While in high school, he won the Adorno ScoreXchange Composers Competition and the Orlando Philharmonic Young Composers Challenge, resulting in performances by the Adorno Ensemble and Orlando Philharmonic, respectively. As a composition major at UCLA, Spies has scored several student films and recently participated in the European American Musical Alliance program at the Schola Cantorum in Paris. His teachers include Mark Carlson, Sean Friar, and Adam Schoenberg.

Momentum is the winning entry in the inaugural D. Thomas Lee Student Composition Competition, open to UCLA student composers. Spies provides the following notes about his work, which receives its world premiere tonight:

Momentum is a piece of music I wrote while studying abroad in Ireland. I was deeply inspired by the Irish “sessioning” culture. In every city I trav- eled to, I found a number of pubs where I could walk in with my violin and join a session—or a group of people playing a common repertoire of tradi- tional Irish folk tunes. Momentum is heavily inspired by the session format. It contains a whirlwind of fast sections in changing meters that keep a com- mon beat as the jigs and reels in an Irish set will. There’s a short slow sec- tion in the middle mirroring the break musicians would take in a session for a traditional Gaelic song or a slow aire on the bagpipes. The piece ends with the pulse and drive of a session as it rises to an energetic end.

Richard Danielpour: Vox Populi Richard Danielpour is one of the leading American composers of the twenty first cen- tury. A native of City, he earned degrees from Oberlin College, New Eng- land Conservatory, and The Juilliard School, where he studied with and . Danielpour currently serves on the faculties of the Curtis Institute of Music, Manhattan School of Music; he is also a lecturer in composition at UCLA. Danielpour has received commissions from renowned solo artists, chamber musicians, and orchestras, including Yo-Yo Ma, Jessye Norman, Dawn Upshaw, Emanuel Ax, , , , , Kalichstein-Laredo- Robinson Trio, Guarneri and Emerson string quartets, Chamber Music Society of Lin- coln Center, Ballet, Orchestra, and New York Philhar- monic. Danielpour collaborated with Nobel Prize winner on the opera Margaret Garner, which premiered in 2005 and opened the New York City Opera sea- son in 2007. His many honors include the American Academy of Arts and Letters Charles Ives Fellowship, Guggenheim Award, Bearns Prize from Columbia University, and grants and residencies from the MacDowell Colony, Yaddo, Copland House, and the American academies in Berlin and Rome.

In its original version, Vox Populi was commissioned by the Evansville (Ind.) Philhar- monic, which had previously performed two other Danielpour works with music direc- tor Alfred Savia, in honor of the opening of the Victory Theatre on September 26, 1998. The publisher includes the following note:

The Latin title Vox Populi (voice of the people) reflects the fact that Danielpour began the piece in Italy in June, at a villa in Tuscany where he has composed for several years. There he set down the first draft in four days at intensive work. He then returned to the United States to begin a residency at the Marlboro Music Festival, where he began working on the orchestration during the first 10 days of July. At the end of that month he finished the piece at Yaddo, an artists’ community in Saratoga Springs, N.Y.

The title is also an allusion to the fact that Evansville is a place where the “voice of the people” means something, where people from all walks of life join together to make things happen, such as rescuing a historic theater and returning it to artistic usefulness.

Vox Populi is developed using traditional “classical” music techniques, but it is flavored with ideas and sounds and rhythms that are rooted in Ameri- can popular music and jazz, which been the people’s musical voice. And the definition of popular music is elastic enough here to include a large chronological sweep. There is even a “certain wink” in places, particularly in the brass writing, at the popular music of the 1920s, appropriate for a hall originally built in 1919.

The music itself is also traditional in the sense that, although it moves forward in time, it retains a certain internal nostalgia, remembering where it has been and alluding to its past. The form of the work can be character- ized as an “arch,” in the center of which the music turns back on itself, discards the accretions of its previous progress, and returns to its begin- nings. In its musical structure Vox Populi is a veritable metaphor for the structure in which it is being premiered, the restored Victory Theatre.

The work was transcribed for in 2004 by Jack Stamp, himself a noted composer and longtime director of bands at Indiana University of Pennsylvania.

Carl Orff: Carmina Burana Born in Munich in 1895, Carl Orff lived and worked under four different twentieth- century German regimes, beginning with the German Empire and continuing through the Weimar Republic, Nazi Third Reich, and West German Bundesrepublik. As a com- poser, he is best known for large-scale theatrical works for voices and instrumentalists, including several operas and, most notably, the cantata Carmina Burana. He also co- founded a school for gymnastics, music, and dance, where he taught from 1925 until the end of his life and developed theories and methods of music education, published in a 1930 manual called Schulwerk (school work), that remain in use today.

Translated as “Songs from Beuern,” Carmina Burana refers first to a collection of more than 250 poems and dramatic texts discovered in 1803 in a monastery in Benediktbeuern, a village in southern Bavaria. The majority of the manuscript was re- corded in 1230 and appears to have been written by members of the Goliards, predomi- nantly university-educated vagabond clergy who satirized what they saw as contradic- tions in the medieval church. The poems cover a wide range of topics, including moral- ism, cycles of life and fortune, and hedonistic pleasures like food, drink, and lust.

In 1935 and 1936, Orff set 24 of the Carmina Burana poems into a 25-movement music theater work of the same name, with the subtitle Cantiones profanæ cantoribus et cho- ris cantandæ comitantibus instrumentis atque imaginibus magicis (secular songs for singers and choruses to be sung together with instruments and magic images). The work calls for soprano, tenor, and baritone soloists; mixed and boys’ choirs; and large orches- tra and received its first staged performance by the Frankfurt Opera on June 8, 1937. The premiere was a great success, leading Orff to write his publisher: “Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin.” Indeed, Carmina Burana has be- come one of the most renowned works in the classical music repertory, used in count- less films and television programs, and programmed frequently by choruses and orches- tras around the world. The popular band transcription by John Krance contains 13 of the original 25 movements.

— Program notes compiled by Travis J. Cross. THE UCLA BAND PROGRAM

Gordon Henderson Director of Bands Director of the Bruin Marching Band

Travis J. Cross Wind Ensemble Conductor

Kelly Flickinger Assistant Director of the Bruin Marching Band

Kelsey Chesnut Assistant to the Director of Bands

Luis Cárdenas Casillas Marching Band Teaching Assistant

Rachel O’Connor, Seth Shaffer, and Ian Richard Wind Ensemble Teaching Assistants

* * * * * * *

The UCLA Wind Ensemble would like to extend a special thank you to Michele Eckart and her staff.

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FUTURE CONCERTS

May 28 Debussy Trio to Perform Compositions of UCLA Faculty

June 3 UCLA Symphony Rosalind Wong, piano

June 4-6 Three One-Act Operas

June 4 UCLA Philharmonia

June 6 UCLA Choral Union

June 7 Contempo Flux

UCLA Symphonic Band Travis Cross, conductor Ian Richard, graduate assistant conductor Piccolo Adam Landeros, Fresno Ariana Forohar, Saint James, NY Victoria Lorah, Temecula Frankie Masi, San Diego Flute Alec Mendoza, Rialto Annie Cheng, Fremont Bailee Murphy, Wrightwood Tiffany Cheng, Taipei, Taiwan Amy Neideffer, Loomis David Dang, San Francisco Matthew Nisson, Bakersfield Allison Daniel, Visalia Laurel Scott, Eagan, MN Carly Hines, San Diego Justin Yee, Poway Sojeong Jun, Huntington Beach Julia Karstens, San Diego Tenor Saxophone Nayeung Lee, Santa Ana Gabriel Esmailian, Los Angeles Emily Li, Hsinchu, Taiwan Nathan Wong, Hawthorne Tracy Lin, China Hills Emeizni Mandagi, Banning Horn Hyunah Nam, Los Angeles Patrick Chesnut, San Diego Erin Nishimura, Sunnyvale Sam Hsu, Ann Arbor, MI Jazlyn Marie Ocasio, New Haven, CT Bernice Lin, Woodland Hills Grace Reynolds, Visalia Charles Lusher, North Hollywood Jose Santibañez, Los Angeles Christina Martin, Plano, TX Grant Schulte, Hillsborough Mandavi Oberoi, Ventura Valerie Sommer, Livermore Katie Takahashi, Walnut Trumpet Abigail Waters, Ripon Jenna Carroll, Pleasant Hill Yvonne (Yu-Hsin) Yen, Taipei, Taiwan Robert Docter, Granada Hills Alex Gotz, Tiburon Oboe Adam Hall, Palos Verdes Chloe Adler, San Carlos Christine Hirata, Irvine Emma Goodwin, Vacaville Connor Jennison, Scottsdale, AZ Stephanie Lee, Burlingame Dhiren Lad, San Jose Jessica Luce, San Diego Mark Lee, Los Altos Eric Vanderhelm, Visalia Kim Liang, Arcadia Dillon Zhi, Irvine Thomas Lindblom, Yorba Linda Tim Marcum, San Diego Clarinet Jason Moore, Chico Jeff Borreta, Oxnard Kimia Nouri, San Diego Brittany Cobb, San Jose Tony Rescigno, Los Angeles Jordan Coe, Pleasant Hill Till Uberruck, Aachen, Germany Nicholas Duff, Morristown, NJ Matthew Visk, Rancho Cucamonga Monica Ho, Kailua, HI Calvin Jay, Daly City Trombone Ji-Hun Lee, Yorba Linda Thomas Burkhead, Hampshire, IL Farhan Mithani, Houston, TX Alexis Korb, Irvine Sanjana Nidugondi, Hyderabad, India Jennifer Mallipudi, Anaheim Christopher O'Connor, Healdsburg Andrea Vancura, Las Vegas, NV Jasmine Ylen Paraiso, Delano Marco Pares, Mission Viejo Euphonium Jerry Qi, Santa Monica Zachary Docter, San Fernando Valley Tommy Reyes, Santa Monica Nicole Jewell, Lake Arrowhead Aya Strauss, Los Angeles Vivian Liao, Saratoga Jessica Svoboda, Concord Daniel Ontiveros, La Peunte Jazareth Valencia, Ceres Annie Zeng, Torrance Tuba Maddie Myall, San Francisco Bass Clarinet Christopher Torres, Los Angeles Alexander Issa, San Diego Willa Kang, Irvine Percussion David Watson, San Diego Tanya Alam, Lancaster Randy Chow, Fremont Bassoon Ethan Ely, Martinez Adam Gilberti, Walnut Creek † Erik Hodges, Claremont Zachary Freeman, South Pasadena Justin Lee, Stockton Ellice Lin, El Monte Alto Saxophone Jin Myeux, Yorba Linda Adam Ellis, Agoura HIlls Rafael Perez, Pittsburg, CA Grant Foster, Temecula Jareni Polanco, Bell Katie Kershaw, Las Vegas, NV Aya Strauss, Los Angeles UCLA Wind Ensemble Travis J. Cross, conductor Ian Richard, graduate assistant conductor Rachel O’Connor and Seth Shaffer, teaching assistants

Flute Trombone Rie Aoyama, Agoura Hills Rebecca Buringrud, Porterville Irwin Hui, Santa Clara Matt Koutney, Sacramento Amaris Hurtado, Moreno Valley May Zeng, Sunnyvale Emily Tsai, Baldwin Park William Yeh, Sunnyvale Bass Trombone Cameron Rahmani, San Diego Oboe / English Horn Amina Soliman, Irvine Euphonium Zachary Thoennes, Bakersfield Sal Hernandez, Whittier Briana Vigil, San Diego Josiah Morales, Valencia *

Clarinet Tuba Stephan Ahn, San Diego Seth Shaffer, Southlake, TX * Nicholas Alexander, San Jose Luke Storm, Eugene, OR * Nicole Galisatus, Redwood City Tyler Hsieh, Irvine Double Bass Nick Lie, Saratoga Ramin Abrams, New York, NY Sarah Min, Sylmar Ziyuan (Eric) Qu, Orlando, FL Keyboard Nicholas Carlozzi, San Mateo Bass Clarinet Ian Richard, Purcellville, VA * Joshua Garcia, San Diego

Maya Nag, Saratoga Percussion

Meenah Alam, Lancaster Contrabass Clarinet Adam Gilberti, Walnut Creek † Noel Medrano, Van Nuys Mika Nakamura, Simi Valley Bassoon David Riccobono, Huntington Beach Mack Dimler, Danville Jessie So, Irvine Zachary Freeman, South Pasadena Kevin Tran, Hanford Austin Zwickel, Simi Valley Saxophone Rachael Klavir, Thousand Oaks Christina Kosters, Edina, MN * Graduate Student Edgar Melendez, West Covina * † Faculty/Staff Tyler Onodera, Union City

Horn Brian Chen, Diamond Bar Rachel O’Connor, Toronto, ON Andrew Pickett, Tulare * Yasmeen Richards, North Hollywood

Trumpet Luis Cárdenas Casillas, Sioux Falls, SD Alex Darouie, San Marcos Tristan Hurd, Chehalis, WA * Justin Klotzle, Simi Valley Jackson Levin, Elk Grove Robin Seitz, Portland, OR Aaron Woolley, San Diego

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