Symphonic Band

Illinois State University ISU ReD: Research and eData School of Music Programs Music 2-26-1998 Symphonic Band Daniel Farris Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Farris, Daniel Conductor, "Symphonic Band" (1998). School of Music Programs. 1642. https://ir.library.illinoisstate.edu/somp/1642 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 Illinois State University I I 1: SYMPHONIC I BAND I I Conductor 1, Daniel Farris 1- Graduate Assistant I Stephen Jones I I; I Braden Auditorium Thursday Evening I The seventy-ninth program of the 1997-98 season February 26, 1998 8:00 pm PROGRAM Othello (1976) Alfred Reed I I PROGRAM NOTES Prelude (Venice) (born 1921) Aubade (Cyprus) The works of William Shakespeare undoubtedly have inspired more musical compositions than those of any other writer in the English Othello and Desdemona I I language. Incidental music for the plays on stage, in film, and on Entrance of the Court television, as well as concert works for a variety of media, appear every The Death of Desdemona; Epilogue I I year. Reed's first version of Othello was as incidental music for a production by the University of Miami's Ring Theatre and was scored for sixteen brasses and three percussion. The present score utilizes some Water Music, Op. 82 (1964) Malcolm Arnold I I portions of this music in a complete] y recomposed setting and is the Allegro maestoso (born 1921) fourth in the series of commissions extended by Ithaca College in Andantino memory of Walter Beeler. Vivace I I This concert suite is subtitled A Symphonic Portrait for Concert Band/ Wind Ensemble in Five Scenes (after Shakespeare) with each movement characterizing musically the mood generated by a scene from the play. The first mov.ement, Prelude (Venice), establishes at once the tense, Intermission I ti military atmosphere that pervades so much of the play, and reveals itself in Othello's statement to the Duke of Venice In Act I, Scene III: "The I I tyrant custom hath made the flinty and steel couch of war my thrice Symphonic Dance No. 3: Fiesta (1965) Clifton Williams driven bed ... " The second movement, Aubade (Cyprus), is a morning (1923-1976) song, or serenade, played byitinerant musicians under Othello and I I Desdemona's window (Act III, Scene I), titled appropriately, ."Good Stephen Jones, Conductor morning, General." The third, Othello and Desdemona, portrays the deep feeling between them, passionate yet tender, and is prefaced by a quota I I tion from Othello's famous speech to the Venetian Senate in Act I, telling Candide: Suite (1956) Leonard Bernstein of his wooing her: "She loved me for the dangers I had passed, and I loved here that she did pity them." The fourth movement, Entrance of The Best of All Possible Worlds (1918-1990) the Court, is an amalgam of Shakespeare's Act IV, Scene I, and Boito's Westphalia Choralde and Battle Scene arr. Clare Grundman I I handling of essentially the same action in his libretto for Verdi's opera. Auto-da-fe Following the terrible scene in which Othello, driven half mad with rage Glitter and Be Gay and-jealousy, first upbraids, then strikes Desdemona in full view of the Make Our Garden Grow court come to hail him as a hero, Iago mocks, "Behold the Lion of Venice!" The fifth movement, The Death of Desdemona, Epilogue, is a summation of the music and final resolution of the tensions heretofore Folk Dances (1950) Dmitri Shostakovich generated, just as Act V, Scene II, sums up the play and resolves all the (1906-1975) wrenching apart of human nature that has preceded it. The music here ed. H. Robert Reynolds carries as its quotation of Othello's famous last lines, spoken to the dead I body of Desdemona, "I kissed thee ere I killed thee. No way but this ... " I PERSONNEL I I Piccolo Horn Water Music was commissioned by the National Trust for the opening of Beth Nichols, Farmington Matthew Dutton, Chillicothe Sarah Finifrock, Rochelle the Stratford Canal on July 11, 19(54 and is one of Arnold's most signifi Flute Susan Manley, Joliet cant works for wind band. It was premiered by an ensemble under the I (I * Annie D' Amico, Villa Park *Elizabeth Smith, Normal Nicole Fisher, Morton l(jt Weber, Olney direction of Brian Priestman from a barge moored near the Shakespeare Elizabeth Karpf, Gurnee Memorial Theater in Stratford-upon-Avon directly following a perfor Stacey Lusk, Flora Trumpet mance of Henry V. The score was lost for twenty years and was not I fl Tara Lynch, Montgomery David Barnish, Burbank Beth Nichols, Farmington Sonia Bravo, Chenoa performed again until November 3, 1984 at the Third Conference of the Carrie Schmidt, Sherman Emily Canniff, Naperville British Association of Symphonic Bands and Wind Ensembles by the · Fawn Spagat, Buffalo Grove Peggy Canopy, Rome Royal Northern College of Music Wind Ensemble under the direction of I fl Sarah Spengler, Peoria Thaddus Franklin, Normal Tracy Vires, Bartom·ille Ben Linkon, Centralia Clark Rundell. Water Music in is three movements: Allegro maestoso, Becki Jo Mack, Libertyville Andantino, and Vivace. The piece was also later arranged for orchestra Oboe *Melody Mahlman, Rockford by the composer. *l(jrsten Cordery, Springfield Chad Morris, Fairview Heights I I Amanda Reindl, Lake Zurich Melissa Reed, Normal Ed Washburn, Machesney Park Symphonic Dance No. 3: Fiesta depicts the pageantry of Latin American Clarinet Dustin Whitman, East Peoria Amanda Bruce, Wayne City celebrations-street bands, bull fights, bright costumes. It is one of a I I Kelly Cooper, Flossmoor Trombone group of five originally commissioned works for the twenty-fifth anni *Monica Dils, Morton Ben Bredemeier, Aurora versary of the San Antonio Symphony Orchestra. It was first performed Peter Fudace, Tinley Park *Dan Maslowski, Blue Island Carmen Ganser, Normal _ Phyllis Parr, Bloomington by that orchestra in January, 1965. The composer then scored the work I fl Maria Knox, Bloomington Michael Quinn, Chillicothe for band, and it was first performed in March, 1967, by the University of Heather Mikulecky, Plano Melissa Wasson, Springfield Stacie Powell, Danville Miami Band, under the composer's direction. Maura Pytel, Naperville Euphonium I fl *Margaret Howe, Lansing The Candide Suite for concert band is made up of five numbers from the Bass Clarinet Jeff Johnson, Orland Park Susan Rowe, Lockport Kristin Tebelman, Frankfort musical of the same name, which premiered on Broadway in 1956. The Brian Weidner, McHenry satiric novella Candide by Voltaire was the basis for a political and I fl Bassoon musical satire with a libretto by Lillian Hellman and music by Leonard _ Gina Pehlke, Montgomery Tuba Matthew Banks, Alton Bernstein. Candide as a musical has since had many reincarnations, but Alto Saxophone *Corey Beirne, Naperville the sections of this Suite utilize musical numbers that have remained I [I Patrick Maag, DesPlaines Jack Saltzman, Mendota *Beth Ann Martin, Morris Clayton Spires, Eureka virtually unchanged from the Broadway production. Eric Stachelski, Joliet Caprice Vargas, Aurora Composed in Shostakovich's light-hearted styled, Folk Dances is a single Tenor Saxophone Percussion I fl John Dixon, East Moline Abraham Cremeens, Hopedale movement work which is filled with the joy and exuberance of the Rob Faulkner, Woodridge Russian people. The many folk melodies are combined so that musical Baritone Saxophone *lim Noonan, Antioch energy abounds and the spirit of folk dances can easily be imagined. A I ll Robert Rake, Springfield Roger True, Aurora first version of the work was orchestrated for Russian bands by M. Vakhutinsky. *Denotes Principal I I Additional Personnel for Bernstein and Arnold: Deana Rumsey, English Horn I ll Amy Harkess, Bassoon BANDS AT ILLINOIS STATE UNIVERSITY I ILLINOIS STATE UNIVERSITY Wind Symphony and Symphonic Winds are select groups of the finest instrumen COLLEGE OF FINE ARTS talists at Illinois State University, performing outstanding and representative works Alvin Goldfarb, Dean in all styles from "classical" to "avant-garde." In addition to campus programs, I I the Wind Symphony tours annually. The Wind Symphony has been a featured performing ensemble at the American Bandmasters Association Convention, the Illinois Music Educators Association Conference and the College Band Directors I I National Association National Convention. · The Symphonic Band is comprised of approximately 90 outstanding wind and DEPARTMENT OF MUSIC percussion players from across campus. It performs quality band literature and I I Arved Larsen,Chairman presents two concerts each semester. This organization rehearses two times per week. I I The University Band is comprised of non-music major and music majors gaining experience on a secondary instrument. This ensemble provides students the op portunity to continue playing while devoting the major portion of their time to I I WIND AND PERCUSSION DIVISION other academic disciplines. This organization presents one concert at the end of each term on campus. Kimberly Risinger, Flute Joe Neisler, Horn Chamber Winds are numerous quartets and quintets which are coached by mem I I Judith Dicker, Oboe Amy Gilreath, Trumpet bers of the applied music faculty at ISU. The collective ensembles perform a Aris Chavez, Clarinet Steve Parsons, Trombone diverse repertoire and concertize both on and off campus. Michael Dicker, Bassoon David Zerkel, Euphonium & Tuba I I Jim Boitos, Saxophone David Collier, Percussion The ISU Jazz Band is a select group of approximately 20 musicians who make up a fully instrumentated "big band." Emphasis is placed upon the study of diverse jazz styles and literature, ensemble performance and improvisation.

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