Ensemble Concert:

2012-03-05 -- University Band and

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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

: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) (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, , , Paul Creston, Morton Gould, and Robert Russell Bennett to write music for wind band. Furthermore, the group premiered several wind band masterworks including '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. On February 27, 1956, Dr. Goldman passed away and his son, Richard Franko Goldman, traveled to Iowa City to conduct the premiere. In the program of that concert the inscription beneath the march sin1ply states: "Iowa, the last march of the late beloved bandmaster, Dr. Edwin Franko Goldman, was written for this band."

.L'his performance edition was created in 2011 and is based upon the original manuscripts held in the University of Iowa Band Music Library. (Marc Decker) Kaddish (1977) W Francis McBeth

The Kaddish is the Jewish prayer for the dead. It is said by the bereaved each morning and evening for eleven months, then on each anniversary for the death thereafter. The composition was written as a memorial for James Clifton Williams, beloved teacher of the composer of this work. The "heartbeat" that runs throughout the piece in the percussion is a rhythmic quote from a measure in the Chorale of Williams' Caclia and Chorale. The premiere of Kaddish was in March 197 6 with the Richardson High School Band, the composer . (Dr. W Francis McBeth)

Today's performance of Kaddish is dedicated to the late composer Dr. W Francis McBeth who was a prolific band composer, educat conductor, and former Professor of Music at Ouachita University ... Arkadelphia, AK.

Raise the Roof (2007) Michael Daugherty

Raise the Roof is inspired by the construction of irand architectural wonders such as the Notre Dame Cathedral (134~) in Paris and the Empire State Building (1931) in New York City. I create a grand acoustic construction by bringing the timpani into the foreground and giving the timpanist the rare opporturuty to play long expressive melodies, and a tour de force cadenza. I incorporate a wide variety of timpani performance techniques: extensive use of foot pedals for melodic tumng of the drums, placement of a cymbal upside down on the head of the lowest drum to play glissandi rolls, and striking the drums with regular mallets, wire brushes, marAca sticks, and even bare hands.

Raise the Roefis in the form of a double variation. The first theme of the double variation, played initially by the tuba, is presented in various tin~bral and rhythmic guises such as "guaguanco." The second theme of the double variation, first heard in the flutes and then the timpani, is reminiscent of a medieval plainchant. The two themes are passed

1, around in canons and fugues and other permutations throughout the ensemble to create elaborate patterns, as in a gothic cathedral. Rai · the Roof rises towards a crescendo of urban pofyrhythms and dynarr contrasts, allowing the timpani and the symphoruc band to create a grand acoustic construction. (Michael Daugherty) Carter Biggers, guest conductor

Carter Biggers is in his third year as a DMA student in Band Conducting as an Iowa Performance Fell ow. As a Graduate Fell ow with the University of Iowa Bands, he serves as a member of the Graduate Staff of the Hawkeye Marching Band.

Prior to coming to Iowa, Carter taught high school and junior high school band in Texas for seven years, where his students and ensembles consistently received top ratings at local and state contests.

Carter graduated from Texas Tech University with a Bachelor of Music in 2000 and Master of Music in Conducting in 2003 . As an undergraduate, he studied percussion with Dr. Lisa Rogers and Alan Shinn. As a Master's student, he served as a Graduate Teaching Assistant with the University Band program and studied conducting with Dr. John Cody Birdwell, Keith Bearden and Gary Lewis.

His professional affiliations inclu.de the National Band Association, College Band Directors National Association, College Music Society, and Phi Mu Alpha Sinfonia.

Marc Decker, guest conductor

Marc Decker is a third year graduate student in band conducting at The University of Iowa. He currently works with the Hawkeye Marching Band, Iowa Pep Bands, and Concert Bands. Prior to entering graduate school at Iowa, Marc taught in South Haven, MI as director of the high school band for four years. During that time his bands perfonned in the MSBOA music festivals receiving the highest division ratings.

Marc is a graduate of the University of Illinois in Urbana-Champaign ,where he earned a Bachelor of Music Education. He played trumpet in many ofthe university bands and sang bass in the Oratorio Society. Marc had the privilege of being drum major of the Marching Illini in 2001 when the band traveled to London, England to perform in Ernest Jennings, conductor

Ernest Jennings is in his first year as a Doctor of Musical Arts student in Band Conducting and Graduate Teaching Assistant at The University of Iowa. At Iowa, Ernest serves as a member of the Graduate Staff with the Hawkeye Marching Band and works with the University oflowa Bands. Prior to his acceptance into the DMA program and conducting studio of Dr. Mark Heidel, Ernest served as the Associate Director of Bands for the College of Music at Mahidol University in Bangkok, Thailand.

A strong advocate of music education, Ernest possesses teaching experience as a music educator at the university and public scho · levels. He has served as Assistant Director of Bands in the School 01 Music at the University of Wisconsin-Madison and as a high school band director in the Des Moines Public Schools directing concert, marching, and jazz bands. Additionally, he has served as a guest conductor at regional and international band festivals/conferences on three continents including Australia, Asia, and North America.

Ernest holds the Master's of Arts degree in Percussion Performance from The University of Iowa, Bachelor of Music Education from Drake University, Bachelor of Arts from Limestone College, and is a graduate of the United States Navy School of Music.

His professional affiliations include the College Band Directors National Association, the National Band Association, the World Association for Symphonic Bands and Ensembles, Percussive Arts Society, and Phi Mu Alpha Sinfonia. Oliver Molina, guest conductor and timpani

Oliver Molina is an active percussion performer, educator, ananger, adjudicator and clinician. He is a versatile percussionist with experience in many areas of percussion, from orchestral to marching to jazz and many others. He has performed at various state Day of Percussion events, PASIC and other music education conferences and has adjudicated many marching contests and state solo and ensemble festivals.

Oliver is a doctoral candidate in Percussion Performance and Pedagogy at the University oflowa under Dr. Dan Moore. At Iowa, ~ he is a band teaching assistant for the Hawkeye Marching Band ~ · and instructor/arranger for the Hawkeye Drumline. Oliver earned a master in music from the University of Arkansas, where he also arranged and instructed for the percussion section of the Razorback Marching Band. He earned a bachelor of music education from the University of Central Florida. Oliver's percussion teachers include Dr. Dan Moore, Jim Dreier, Chalon Ragsdale, Jeff Moore, Kirk Gay, Jim Yakas and Daniel Neimeyer and Dr. Richard Mark Heidel for conducting.

Oliver is an education endorser of Pro-Mark Sticks and Mallets, Remo Drum Heads and Sabian Cymbals. His professional af-filiations include the Percussive Arts Society, College Music Society and the Pi Kappa Lambda Music Honor Society. Steven Riley, guest conductor

Steven Riley is in his first year as a graduate student majoring in band conducting at The University oflowa. Prior to attending Iowa, Ste­ ven was Director of Bands at Johnsburg High School in Johnsburg, Illinois. During his time in Johnsburg his ensembles performed in various music festivals across the state, performed with guest artists, and toured internationally in the Bahamas.

Steven is a graduate of the University of Illinois at Urbana-Cham­ paign where he earned a Bachelor of Music Education. As an un­ dergraduate, Steven studied clarinet with Professor J. David Harri~ and performed with the Marching Illini, Symphonic Band I, and tl. Wind Symphony. Steven was selected as drum major of the March­ ing Illini from 2005-2007 and performed in the 2008 Rose Bowl.

Steven's professional affiliations include honorary membership in the National Band Association, Illinois Music Educators Associa­ tion, and Phi Mu Alpha Sinfonia.

University Bands

Richard Mark Heidel, Director of Bands Kevin Kastens, Associate Director of Bands Myron Welch, Director of Bands Emeritus Rita Schmidt, Administrative Coordinator, Bands Carter Biggers, graduate assistant Marc Decker, graduate assistant Ernest Jennings, graduate assistant Oliver Molina, graduate assistant percussion Steven Riley, graduate assistant University Band Personnel

Piccolo Alto Saxophone Euphonium Lisa Golden .Andy Kukec* Aaron Wilson* Katie Loerch Kelsie Stafford Logan 'X1eyandt Katie Lazzara Matt Schutz Flute Jennifer Brooke Spencer Carlson Jana Hanson Ben Schauer* Grant Munday Melanie Saunders Tuba Josh Weintraub Erin Clark Drew Davis* Emily McGovern Eric Larson Tenor Saxophone Melissa Odendahl Sergio Loubriel Chesley Osborn .Andi Hemauer* Howard Chen Elly Huston Sam Mueting Sean Hernandez Manny Rodriguez Percussion Ka tie Loerch Dustin Davis Casey Mattes* Lisa Golden Laura Seegmiller Teressa Karkosh ~' .Anna 1Jurphy Jacqueline Dunning Jordan Ripley Bari Saxophone Courtney Long Matasha Chapman Derek Laughlin* Melissa Kern Molly Hammer Strom Miller Kayla DeHart Trumpet Jackie Steiff Chenzhe Zhu Brendan Smolen* Diya Wang Joe Cannastra Librarian r\.lyssa Van Genderen Paige Schneweis Rebecca Maher Maggie Alberts .Ashley Byrd Samantha Niles Kyle Taylor Stage Crew .Anna Hoppe .Andrew Graham Caitlyn Burke Kyle Pape Nlike Sroka Taylor Matuszecki Nick Becker Paul Upmeyer Oboe Laura Bowen* Horn Graduate Assistants Rebecca .Anderson Ben Mitchell* Carter Biggers Joe .Ambrose Marc Decker Laura Kerr Jake Varn Sarah Blackwell Ernest Jennings Jordan rvfattis Oliver Molina Clarinet Steven Riley }Cristina Kempton* Trombone · Samantha Humpal Scholarship Recipients Ike .Anyanetu* Etl1.an LeBeau 1 Meredith Willson Mark Binder Jacki Even Kalli Ramos Chase Lampe Scholarship Kathryn Hiolski 2 Himie Voxman Scholarship Samantha Bartlett Steven Neilssen

Bass Clarinet y Sarah Henry* Hayley Thulaine Concert Band Personnel Piccolo Bass Clarinet Tuba 1 Timothy Maguire Shannon O'Rourke Devin Jacobsen Tiffani Fulton Alea E rickson Alto Saxophone Jayna Andersen Megan Carney Calvin Wong Katie Schabilion Case Yoo Percussion Flute Dennis Kwok Brian Boron Timothy Maguire Tenor Saxophone Ashley Collins Alea Erickson Stephen Collera Calyanne Crouch * Katie Jepson Tyler Klenske Bari Saxophone Megan Carney Rebecca Maher Victoria Symmonds Katie Schabilion Patrick Potts Heidi H ansen Trumpet Connor Wade Lia Parrillo Chris Thompson Clarice Nliller Josiah Spindler Piano Meagan Conley Jessica Runyon Heidi Hansen D anielle Zwiefelhofer :Mike Matthews String Bass Sabrina Strella Eric \-X!ozniak Blake Shaw Annelise Kreger 2 Oboe Jacob Stanbro rvfatt Shipp Horn Librarian .Anna Pollema ..Al yssa Carlson Becky Maher Amanda Eldred Chase Eichhorst Jessica Palmer Mackenzie Leonard JoelD'Camp Naomi Nothdurft Stage Crew Stephen Simusa English Horn Kyle Pape Taylor 1fatuszecki .1\manda Eldred Trombone Paul Upmeyer Bassoon · Steven Boswell Lauren DiGiorgio Justin Gingerich Graduate Assistants Evelin Rodrigues Nathan Pettorini Carter Biggers Gabrielle Vanek Megan Cassady Marc Decker Ernest Jennings Contra Bassoon Bass Trombone Oliver Molina Gabrielle Vanek Luke VonFosson Steven Riley Jack Frank Clarinet Tori Nickols 1 Euphonium Scholarship Recipients Sophia Chen 1 Robert Scheffel 1 University Bands Sarah Hadley Quentin Marquez 2 Himie Voxman Scholarship Meg Davis 1 Ellen Rozek Justin Rollefson Alizabeth Davis 1 Gil E pinoza Tim Smith Upcoming Events

April 10 Symphony Band 7 :30 p.m., IMU Ballroom Richard Mark Heidel, conductor Nicole Esposito, flute

April 25 Chamber Winds 6:00 p.m., Riverside Recital Hall

April 30 University Band and Concert Band 7 :30 p.m., IMU Ballroom Steven Riley and Kevin Kastens, conductors

Iowa Summer Music Camp

Band & - June 10-15 Percussion & Piano - June 17-22 Jazz- June 24-29

For Iowa Swnmer Music Camp details call 319-335-1635 or toll-free in Iowa: 1-800-553-IOWA, ext. 1635, or visit our website: http:/ /www.uiowa.edu/-bands/ISMC/Welcome.html This program is being presented by Steven Riley in partial fullfillment of the requirements for the Master of Musical Arts in band conducting. Ernest Jennings and Marc Decker as partial fulfillment of the requirements for the Doctor of Musical Arts degree in conducting, Mr. Riley, :Mr. Jennings and 1v1r. Decker are students of Dr. Richard Mark Heidel.