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Concert Band Ensemble Concert: 2012-03-05 -- University Band and Concert Band Audio Playlist Access to audio and video playlists restricted to current faculty, staff, and students. If you have questions, please contact the Rita Benton Music Library at [email protected]. Scroll to see Program PDF l ;;z:?7;;::too THE llNIVERSI1Y OF lowA presents the University Band Ernest Jennings, conductor Carter Biggers, guest conductor 0 liver Molina, guest conductor and Concert Band I<evin I<astens, conductor Marc Decker, guest conductor Steven Riley, guest conductor Oliver Molina, timpani :March 5, 2012 Iowa J\!Iemorial Union Ballroom 7:30 p.m. University Band Program Masque (1967) W Francis McBeth (1933-2012) Dance Variations on a Theme from Rodolynji (1994) James Sudduth (1940-1997) Carter Biggers, gHest cond11ctor In This Moment (2011) Aaron Perrine (b. 1972) Foundry (2011) John Mackey (b. 1973) Oliver Molina, guest conductor Gallant 7th March (1922) John Philip Sousa (1854-1932) ed. Frederick Fennell Tonight's program is No. 4983 in a series 2011 -2012 The University of Iowa School of l'.fosic Concert Band Program Dedication Overture (1964) Vittorio Giannini (1903-1966) Steven Riley, guest conductor Nimrod from Enigma Vatiations (1964) Alfred Reed (1921 -2005) Iowa March (1956) Edwin Franko Goldman (1878-1956) ed. Marc Decker Marc Decker, guest conductor Kaddish (1977) W Francis McBeth (1933-2012) Raise the Roof (2007) 1v1ichael Daugherty (b. 1954) Oliver Molina, timpani Program Notes Masque (1967) W Francis McBeth Masque premiered in February 1968 and was commissioned by the State College of Arkansas for the dedication of their Fine Arts Center. The work is based on the sixteenth and seventeenth century masque dance, which appeared in England. Developed around a masque dance, the genre was a form of dance entertainment that originated from Renaissance festivals that included instrumental music derived from folk tunes, court dances, and vocal music. The dance itself was based on mythological and allegorical themes that included poetry, use of elaborate staging, and disguises. Often performed at rught, the dance festival featured speaking and singing actors with the dance being t1 culminating event. (Patricia J. Ho11 Dance Variations (1994) James Sudduth James Claude Sudduth was born on October 19, 1940, in Crosbyton, Texas. He attended Texas Tech University where he received his bach­ elor' and master degrees in music education. He then taught seven years in the Lubbock Independent School District. In 1970, Sudduth was appointed by Tohn P. Paynter as Assistant Director of Bands in charge of the Wifdcat Marching Band, and Assistant Professor of Music at Northwestern University. In 1974, he was hired as Direc­ tor of Bands and Associate Professor of Music at Southwest Texas State University in San Marcos, Texas, and held that position until 1981 when he was appointed Director of Bands and Professor of Music at Texas Tech University in Lubbock, Texas, a position he held until his untimely death in 1997. Dance Variations was Sudduth's last work for band and the title is somewhat of an inside joke to him and his family. Along with his wife Lynda, tl1.e Sudduth's shared a cabin in Eagle's Nest, New Mexico with two of their closest friends, Ron and Dottie Wells. While many com­ mented that they thought "Rodo!Jf!Ji" must have been some obscure Italian composer that Sudduth admired, it is actually derived from the first letters 111 each of their names, Ron, Dottie, Lynda, and J_im. Mike Wells, Ron and Dottie's son, conducted this work at the memorial cc cert honoring the life of Sudduth after his untimely death in Decetir ber of 1997. Sudduth's wife commented, "Mike was on the porch of the cabin when Tim wrote the first notes on the back of a trash bag. It seemed fitting that he conduct since he was there for the conception." (Carter Biggers) In This Moment (2011) Aaron Perrine In This Moment is actually my first composition for band. The composition, in its original form, was written while I was in college and premiered by the University of Minnesota, Morris Concert Band, under the direction of Dr. Pamela Bustos. Ten years later, Dr. Bustos­ now at the University of Wisconsin, Superior- invited me to campus to serve as a guest composer and conductor for the 2011 UW-Superior Tri-State Honor Band Festival. I had wanted to re-orchestrate In This lvlome11t for years, and the festival provided the per£e ct opportunity. The re-orchestration of the piece was "premiered" by the 2011 UW­ '""'uperior Tri-State Honor band, under the direction of Dr. Pamela rlustos. (Aaron Perrine) Foundry (2011) John Mackey The idea with Foundry was to make a piece that celebrates the fact that percussionists have this ability to make just about anything into an "instrument." Snare drums and bass drums are great, but why not write a whole piece featuring non-traditional percussion - things like salad bowls and mixing bowls and piles of wood? In some cases, I was specific about what instrument to play (timpani, xylophone, etc.). With many of the parts, though, I only described what sound I wanted (play a "clang" - a metal instrument, probably struck with a hammer, that creates a rich "CLANG!" sound), and al­ lowed the percussionist to be creative in finding the best "instrument" to niake the sound I described. It won't be surprising that .Foundry, for concert band with "found per­ cussion," much of it metallic, ends up sounding like a steel fa ctory. The composer thanks the required 10- 12 percussionists for allowing his ridiculous requests to continue. Clang. Gohn Mackey) The Gallant 7th March (1922) John Philip Sousa The Gallant 7th March was composed in 1922 for the 7th Regiment, 107th Infantry of the New York National Guard. The band's conduc­ tor, Major Francis Sutherland, had been a cornetist in Sousa's band be­ fore joining the Army during WWI. The 7th Re~ent Band had been one of the most popular bands in the New York City area. The work premiered in November 1922 by members of the 7th Rezin~ent's band as well as Sousa's band at the New York Hippodrome (later renamed Radio City Music Hall). Qames Huff) Dedication Overture (1964) Vittorio Giannini Vittorio Giannini's compositional output for the band medium began most likely due to the influential efforts of fellow educational colleagues Richard Franko Goldman, Frederick Fennell, and William Revelli. These leaders in the field sought to advance the practice of creating original compositions of the wind band repertoire by enticing current composers of the day to write for wind bands. Though not as widely performed as his third symphony, Giannini's Dedication Overture was one of the composer's final works for wind band. Composed just prior to his death in 1966, the piece was written for the ceremonies marking the conclusion of the maugural year of the North Carolina School of the Arts; a school in which Giannini was extremely influential in founding and would briefly serve as president. (Steven Riley) Nimrod (1964) Alfred Reed The Enigma Van·ations consist of an original theme on which are built 13 variations plus a finale. The "enigma" arose because Elgar had placed on eacli variation a title which was either a cryptic name (such as "Nimrod') or a set of initials. He then let it be known that these represented friends of his. This gave rise to a flood of inquiries, discussions, arguments and some detective work on the part of mr-· people. Today, however, it is well-known exactly which persons ., concerned. The ninth variation, titled Nimrod, is generally agreed to be the emotional high-light of the Enigma Variations. Nimrod, of course, is associated in the English minds with hunting. The German word for hunter is "Jager," and the man whom Elgar described in this variation was his noblest friend, August Jaeger, editor of the "lviusical Times." Jaeger gave Elgar much sound, practical advice and helped place his earlier works for publication. And so, in this beautiful, swe1ling, musical testimonial Elgar has not only created a picture of a noble, upright, generous person, but has produced a piece which has found many uses in English ceremonials of a solemn nature. (Alfred Reed) Iowa March (19 56) Edwin Franko Goldman ..--Jr. Edwin Franko Goldman was a prominent bandmaster and composer who had a significant role in the history of wind bands in America. Dr. Goldman composed about 150 works and is best known for On The Mall (1924) and Tlie Chimes of Liber!J (193 7). He co-founded the American Bandmasters Association and in 1911 founded the New York Nlilitary Band. The function of the New York Military Band was to provide free musical performances in the public parks, malls, and concert halls of New York City. It quickly became quite popular and by 1918 was renamed the "Goldman Band." By the 1950's th.is ensemble had commissioned Walter Piston, Peter Mennin, Vincent Persichetti, Howard Hanson, Paul Creston, Morton Gould, and Robert Russell Bennett to write music for wind band. Furthermore, the group premiered several wind band masterworks including Percy Grainger's Lincolnshire Po.ry (1937), Darius Milhaud's Suite Francaise (1945), and Arnold Schoenberg's Theme and Vatiations, Op. 43a (1946). In 1955, Dr. Frederick C. Ebbs, Director of Bands at the University of Iowa, commissioned Dr. Goldman to compose a march. At the time Dr. Goldman was 77 years old and had a less active role in composition than his youth. He composed some of the melodic material, the large­ scale form, and the basic harmonic functions only to pass these notes to Erik Leidzen, his chief arranger, who completed the work.
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