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“Voices of the People” The UCLA Herb Alpert School of Music 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 * * * 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 Tau Beta Sigma and the Psi chapter of Kappa Kappa Psi, 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 California, Los Angeles, where he conducts the Wind Ensemble and Symphonic Band and directs the graduate program in wind conducting. 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 Carnegie Hall 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 bachelor of music 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 Minnesota. 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 United States 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 Composers 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, composer, 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, Pennsylvania, 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 Columbia University, studied composition with Nadia Boulanger and Wallingford Riegger, and served on the faculties of The Juilliard School and Princeton University 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 New Hampshire, 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
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