Program Notes
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HUGH HODGSON SCHOOL OF MUSIC PROGRAM NOTES “Selections from “The Danserye” is a more recent (sic) setting for wind band Thursday Scholarship Series consisting of nine dances fashioned CINDY MCTEE (b. 1953) into an extended symphonic suite. The Thursday, October 24, 2019 Fanfare from Soundings (1995) arrangement utilizes the full resources of the modern wind band, featuring vari- 7:30 p.m. (2’ 35”) ous sections (or consorts of instruments) Hodgson Concert Hall Soundings is a four-movement work in alteration with powerful tutti passag- for wind symphony commissioned in es. While the wind parts remain faithful HHSOM Hodgson Wind Ensemble 1995 by Band Directors of the Big Eight to the original material, the dances are energized with contemporary percus- Cynthia Johnston Turner, conductor Conference. "Fanfare" employs famil- iar musical materials such as quartal sion effects and a significant part for Brian Chaplow, graduate conductor harmony (harmony based on the interval acoustic guitar. This blend of sound of a fourth) and imitative counterpoint generates a new but familiar element, PROGRAM but departs from traditional fanfares in thus making something very modern out its use of woodwind as well as brass of music that is more than 450 years “Toot Suites!” instruments. old.” (Patrick Dunnigan) It’s interesting to note here that what Cindy McTee ( b. 1953) Cindy McTee is an American composer was considered “pop” music in the Fanfare from “Soundings” whose award-winning works have been performed by orchestras and bands 16th century is now considered “seri- Brian Chaplow, graduate conductor around the world. She spent the majority ous, ‘art’ music” today, suggesting that of her career at the University of North perhaps the classification of genres in music isn’t necessarily helpful or even Tielman Susato ( 1510 -15 70 ) Texas, where she was on the faculty from valid. In the words of Miles Davis, arr. Patrick Dunnigan 1984 until her retirement as Regents Professor Emerita in 2011. “Good music is good no matter what Selections from “Danserye” kind of music it is.” (cjt) TIELMAN Susato ( c.1510 -1570 ) Oliver Waespi ( b. 1971) arr. Patrick Dunnigan OLIVER WAESPI ( b. 1971) Suite No. 1 Selections from “Danserye” Suite No. 1 (1995) (17’ 00”) (1551/2002) (20’ 30”) INTERMISSION Oliver Waespi completed his studies Danserye is a set of instrumental dances in composition at the Musikhochschule based on popular tunes of the sixteenth Zürich under the tutelage of Gerald Jules Massenet ( b. 1979) Bennett and Andreas Nick, and also trans. Verne Reynolds century arranged by Susato and pub- lished in 1551 as Het derde musyck attended the Royal Academy of Music in Ballet Music from “Le Cid” boexken…alderhande danserye. With London. Performers of his music include more than 50 individual dances in a world-renowned symphony orchestras variety of forms, the collection is notable and chamber ensembles, soloists, choirs for its simple structures and textures. Spe- and many illustrious wind ensembles. cific instrumentation is not indicated sug- Waespi maintains a wide and diversi- gesting that the tunes were performed by fied interest in music, which brings him whatever combination of winds, brass, into contact with both young, amateur voices and/or strings was available. musicians and internationally recognized professional artists and orchestras. 60 Central to his interest is the investigation 61 Hodgson Wind Ensemble of various, apparently contradictory Jules Émile Frédéric Massenet was a aesthetic possibilities in order to illumi- French composer of the Romantic era Cynthia Johnston Turner, conductor nate certain musical ideas from differing best known for his operas, of which he sides. So-called “art” music and folk wrote more than thirty. While still a FLUTE ALTO SAXOPHONE BASS TROMBONE music combine harmoniously. schoolboy, Massenet was admitted to Molly Blair, Lincolnton, NC Melvin Robinson, Duncan, NC Assata Bellegarde, Rochester, NY France's principal music college, the Blake Hattaway, Warner Robins, GA Joseph Himmelberg, Fairport, NY Suite No. 1 has three parts. The intro- Paris Conservatoire. After winning the Olivia Silva*, Peachtree City, GA EUPHONIUM ductory Symphonic Movement is based country's top musical prize, the Prix de Megan Stolzfuss, Lancaster, PA TENOR SAXOPHONE Riley Bahin, Missoula, MT Scott Brown, Matt Gordon, HHSOM on two opposite musical ideas. The first Rome, in 1863, he composed prolifically Peachtree Corners, GA Mt. Prospect, IL OBOE Nick Winkles, Newnan, GA TUBA is chromatic, whereas the second is in many genres, but quickly became best Kenny Bader, Liburn, GA Joseph Guimaraes*, Boca Raton, FL diatonic. Both themes are subsequently known for his operas. Like many prom- developed and even combined. A very Dan Ellis*, Platteville, WI BARITONE SAXOPHONE Will Halloran, Roswell, GA inent French composers of the period, Nicholas Kanipe, Leighannah Turner, important element is the often freely Greenville, SC Travelers Rest, SC Massenet became a professor at the Eleanor Rasmussen, Fort Mill, SC ACOUSTIC GUITAR used counterpoint which makes the work Conservatoire where he taught composi- TRUMPET Kirk Redman, Grand Ledge, MI dynamic and gives it a transparent and tion from 1878 until 1896. CLARINET Shengduo Chen*, Beijing, China rather merry character. Andrew Barber, Snellville, GA Cameron Gwynn, Liburn, GA STRING BASS Le Cid is an opera in four acts and ten Connor Croasmun*, Savannah, GA Regan O’Connor, Dallas, TX Diogo Baggio Lima, Santa Maria, The Nocturne or second part contrasts tableaux to a French libretto by Louis Katherine Dukes, Clarkesville, GA Joseph Reid, Lenior, NC RS, Brazil the preceding part and is written in a Gallet, Édouard Blau and Adolphe d'En- Aaron Guthrie, Monroe, GA Banta Sesay, Cartersville, GA minor key. This part is, both as homage nery. It is based on the play of the same Berek Ha, Evans, GA Chenguang Wang, Shanghai, China PERCUSSION and by conviction, quite indebted to the name by Pierre Corneille. It was first Kayla Hutcherson, Rome, GA Lena Allan, Dallas, GA Romantic musical language and could performed by a star-studded cast at the Roberto Ortiz, Dalton, GA HORN Noah Baker, Wellsville, PA be considered as a kind of musical nar- Paris Opéra on 30 November 1885. Daniel Park, Lawrenceville, GA Jordan Chase, Simpsonville, SC Trevor Barroero*, Tuscon, AZ ration. The theme is initially presented in Maggie Watts, Lincolnton, NC Tyler Gillespie, Greenville, SC Andrew Blair, Charlotte, NC a rather plaintive way and subsequently The opera had been seen 150 times by Varun Patel, Fayetteville, GA Bradford Hagin, Winder, GA developed by several instruments in 1919 but faded from the repertory and BASS CLARINET Wesley Rains, Covington, GA Dylan Nixon, Roswell, GA broad melodic lines. It is, however, was not performed again in Paris until Hannah Hankins, Mt. Pleasant, SC Andrew Sehmann*, Richmond, KY Denis Petrunin, Moscow, Russia interrupted by a short passage written in the 2015 revival at the Palais Garnier. Anna Zurawski, Suwanee, GA the major key. While the opera itself is not in the stan- BASSOON Samantha Wells, Young Dawgs PIANO dard operatic repertory, the ballet suite Felisha Jones, Center Point, IA Program, Watkinsville, GA Sangwon Moon, Seoul, South Korea The quiet atmosphere at the end of the is a popular concert and recording piece Nib McKinney*, Ft. Payne, AL Nocturne is abruptly interrupted by the which includes dances from different Miguel Posadas, Austin, TX TROMBONE *principal Toccata. This part, a vivace leading to a regions of Spain. Calvin Morris, Atlanta, GA presto at the end, has a wild, passionate Crews Owen, Norcross, GA character. The continuous movement of The transcription for winds was prepared Andrew Taylor*, Kennesaw, GA the motifs, certainly toward the end of by Verne Reynolds, former professor of this piece, reminds us here of a “perpetu- Horn at the Eastman School of Music, um mobile.” and an internationally respected compos- Thursday Scholarship Series – program note derived from original notes er. Reynolds scored the music sparingly by the composer for an intimate ensemble of winds and The Thursday Scholarship Series began in 1980 and continues percussion, thereby matching the clarity the tradition of “Music Appreciation Programs” started in the and delicacy inherent in Massenet’s 1930s by Hugh Hodgson, UGA’s first music professor and JULES MASSENET ( b. 1979) original orchestral setting. trans. Verne Reynolds first chairman of the Department of Music. Proceeds from Ballet Music from Le Cid these concerts are the primary source of funds for School of Music scholarships. (1885) (18’ 00”) 62 63.