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The Saint Louis Brass Quintet Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-11-1999 The Saint Louis Brass Quintet Allan Dean Trumpet Illinois State University Ray Sasaki Trumpet Thomas Bacon Horn Melvyn Jernigan Trombone Daniel Perantoni Tuba Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Dean, Allan Trumpet; Sasaki, Ray Trumpet; Bacon, Thomas Horn; Jernigan, Melvyn Trombone; and Perantoni, Daniel Tuba, "The Saint Louis Brass Quintet" (1999). School of Music Programs. 1862. https://ir.library.illinoisstate.edu/somp/1862 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Music Department i Illinois State University I I The Saint Louis Brass Quintet Allan Dean, Trumpet I Ray Sasaki, Trumpet Thomas Bacon, Horn I Melvyn Jernigan, Trombone I Daniel Perantoni, Tuba I I We would like to thank the following: I Illinois Arts Council College Of Fine Arts I Department of Music The Music Shoppe I' Selmer Corporation I Kemp Recital Hall I Sunday Evening April 11 , 1999 I The one-hundred thirty-ni nth program of the 1998~99 season. 7:00 p.m. Program I I from Terpsichore ( 1612) Michael Praetori us Sallarel lo * Anonymous - arr. Allan Dean Volta (1571 - 162 1) arr. Allan Dean I I Selections from Spanish Folksongs * Manuel de Falla (1876 - 1946) Music from 16th Century Spain * arr. Allan Dean I I arr. Allan Dean Canci6n de la Virgen (Anon.) Torre de la Nina (Ponce) Diferencia Segunda (Narbaez) "The Good Old Days" from Japanese Songs Kazunori Maruyama Tres Villancicos (Anon.) I I Divertimento for Neglected ('?) Musical ('?)Instruments(?) Wayne Scott Four Sketches for Brass Quintet • ( 1989/1991) Anthony Plog I I Allegro (born 1947) Vivace Dixieland Medley Adagio South Rampart Street Parade Allegro I I St. Loui s Blues Five Foot Two Do you know what it means lo mi ss New Orleans Animal Ditties No. 8 for Brass Quintet * ( 1989) Anthony Plog I ' I When the Saints Go Marchin' In (Poems of Ogden Nash) The Duck The Wasp The Cuckoo I I The Cow The Rhinoceros The Camel I I Four Seasons Medley * arr. Joey Sellers April in Paris ·1 I Summertime Autumn Leaves Autumn in New York Winter Wonderland I I Intermission I t Recorded on "Baroque Brass" - DCD 120, CD and Cassette l'l Recorded 011 "Pops" - DCD 140, CD I Recorded on "Colors for Brass" - DCD 116 CD & Cassette Recoided 011 "Fascinating Rhythms" - DCD 195 , CD I ·1 Recordings are on sale in the lohby or by calling Summit Records: 1-800-543-5156 Program Notes popular tune starts out with a lone trumpeter (Allan) wandering onto the stage, almost troubadour style, thoughtfully playing the tune all by himself. He is Michael Praetorius ( 1571 - 1621 ), the son of strict Lutherans, began hi s musical I I answered in turn by th e other trumpet, the horn , and finally the trombone. A career as a church organist in Frankfurt when he was just sixteen years old. He drone is th en set up by the trombone and tuba, and the melody is picked up went on to become one of Germany's most prolific composers. As a musica l again by the other three instruments and taken to a whirling conclusion. theorist, his publications still serve as models of the musical styles and practices I I of the Renaissance period. Tonight's Volta is a lively dance taken from the In th e I 920's the Spanish co mposer Manuel de Falla became enamored with the composer's landmark collection of instrumental dances, Terpsichore ( 161 2). folk music of Catalonia, in eas tern Spain. He wrote and arranged seven tradi ­ tional Catalonian folk songs for soprano and piano. Seventy years later, Spanish composers in the 16th Century produced a wonderful wllection of both I I trumpeter Allan Dean arranged so me of those songs for the St. Louis Brass instrumental and vocal music . The opening Ca11ci6n de la Virge11 has pairs of Quintet. instruments answering back and forth. The lively Torre de la Nit1a, played by the two trumpets, is balanced with the mournful Difere11cia Segu11da for horn , The Good Old Days was written for the St. Louis Brass Quintet's tour of Japan trombone and tuba. The final Tres Vi!lancicos are three brisk and syncopated I I in June, 1997. It is taken from traditional Japanese folk songs. Two songs were "call and response" songs, where the opening melody of each is stated by one arranged for the 1997 tour and subsequently the composer contributed two more. instrument (tuba, trombone and trumpet, respectively) then answered by the rest of the ensemble. I I Divertimento for Neglected ( ?) Musical ( ?) [11 stn1111 e11ts ( ?) by Wayne Scoll takes us on an irreve rent , though (fairly) accurate tour of the history of brass Anthony Plog's Four Sketches was written for the St. Louis Brass Quintel when in struments. It co ntain s music from : Vesta la Giubba (Pagliacci), Leoncavallo, the composer (also a trumpet player) was a member of the group. The piece was {I 1892; Happy Birthday, Mildred and Patty Hill (tune 1893 , words 1935); 011 th e premiered in 1989, but Plog was unhappy with the work, and it was never I Trail (Grand Canyon Suite), F Grorc, 1931; Take Me Out to th e Ball Ga111e, A. performed again. In 1991 he rewrote three movements - all except the Adagio - Von Ti lze r, 1908; 01'er the Rui11boll', Harold Arlen, 1939; The Whistler.and His and the Quintet recorded it (Summit Record: "Colors for Brass" - DCD 116) . Dog, Arthur Pryor, I 905; Mu setta 's Walt;'. , (La Boheme), Puccini, 1896; 01 •er The revised Four Sketches has now become standard repertoire for brass I I There , George M. Cohan, 1917; Oh 1 How I Hate to Get Up i11 th e Morning , quintets everywhere. Irving Berlin, 191 8; Tige r Rag, La Rocca, 1912; N(ltio11al E111ble111 March, E. Bagley, 1906 (pai-ocly title: "And the Monkey Wrapped its Tail Around the Anthony Plog writing about the Animal Ditties said : Flagpole"); Quartet rrom Rigolelto , G. Verdi, 1851 ; The Mari11e's Hy11111 , melody ... "it is one of a series of pieces based on the willy poetry of Ogden I -1 of Offenbach, 1868 ; For He's u Jolly Good Fellow (or The Beur Went Over th e Nash about various animals. My intent in writing the pieces was to Mo1111tai11) , tract , ca. 1905. The piece closes with a raucous, and gratefully short give each animal a musically descriptive feeling or mood which related portion of the Co/011el Boger M{lrch , K. Alford, 1914. to the text. In this version, the different movements arc actually wrillen I I for brass quartet, since each member of the quintet takes his turn as The Dixieland Medley was th e first jazz arrangement clonc.lo r the Saint Louis narrator." Brass Quii1tet by Joey Sellers. At the time it was clone, Joey was a student of Dan Pcrantoni at Arizona State University and was in a Dixieland jazz group In his Four Seasons Medley, Joey Sellers takes us on a trek through the seasons I I that went on to national honors leading to a contract engagement for his group al with American popular song. Using themes from Vivaldi's The Four Seasons Di sneyland. The St. Louis Brass Quintet has commissioned Joey for numerous (Le Quattro Stagioni) to tie it all together, Vivaldi's Spring soon turns to April in other jaa arrangements including "The Seasons." Paris, followed by the Gershwin classic, Su111111ertime. Autumn Leaves and 'I fl Autumn in New York, then lead us into winter with the cold weather favorites Sa ini Louis Brass Quintet Touring is managed by: Carol of the Bells, and Winter Wo11derla11d, intertwined with Vivaldi's L'/111•er110. Primo Concerts To avoid ending on a chilly note though, the medley closes with a rather I\ 7 Elm Place Hollywoodesque return lo Vivaldi's original "Spring" motive. I St. Loui s, MO 63119 Saltarello, by an unknown 16th Century Italian composer was a very popular (314)968-9027 dance tune of the early Renaissance. Its monophonic style (a single melodic line I 'I (314)961 - 7842 fax without countermelodies or hannonic accompaniment) made it easily playable Melkaty @aol.com by all kinds of ensembles from a lone troubadour to a Renaissance dance band of recorders, viols, cornettos and sackbuts. Allan Dean's arrangement of this I I Brief History of the SLBQ: Thomas Bacon, Horn -- Professor of Music, Arizona State University. Tom has held. principal horn posi tions with the Syracuse Symphony, Detroit Members of the Saint Louis Symphony formed the Saint Louis Brass Quintet I Symphony, Houston Symphony and the Berlin Radio Symphony, and has (SLBQ) in 1964. Today, thirty-five (35) years and more than 2,500 engage­ performed in "guest" principal positions with the Berlin Philharmonic, Pitts­ ments later, the SLBQ is entertaining audiences nation wide. The quintet began burgh Symphony, Milwaukee Symphony, Chicago Symphony, Fort Worth by playing children's concerts around the St. Louis area. Due to their increased I Symphony, and many other orchestras. He has performed in Europe, Africa, popularity, the quintets' annual concerts currently includes three, ten-day tours Asia, North and South America, and has been featured soloist on international throughout the United States, plus international touring.
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