WWindind OOrchestrarchestra wwindind eensemblensemble AANDREWNDREW MMCMAHANCMAHAN AANDND CCHRISTOPHERHRISTOPHER J. WWOODRUFFOODRUFF, CCONDUCTORSONDUCTORS WWITHITH SSPECIALPECIAL GGUESTUEST TTROMBONISTROMBONIST KKo-ichiroo-ichiro YYamamotoamamoto The Santa Monica High School (SAMOHI) Band was established in 1915 under the direc on of Arnold Wagner. The band program is one of the oldest high school band programs in California, and has a rich heritage due to outstanding music instruc on that is required of all 3rd-5th grade students district-wide, a PPLUSLUS: long history of community support, and its close proximity to the entertainment industry. Alumni of the SAMOHI band program have DDOUGOUG GGALLATINALLATIN, FFLUTELUTE SSOLOISTOLOIST gone on to study at pres gious conservatories, universi es, and schools of music. The band SSANTAANTA MMONICAONICA HHIGHIGH SSCHOOLCHOOL WWINDIND SSYMPHONYYMPHONY fl ourished in the 1950s under the direc on of Dick Wagnon, and con nues to grow under the direc on of Kevin McKeown and Terry KKEVINEVIN MMCKEOWNCKEOWN, GGUESTUEST CCONDUCTORONDUCTOR Sakow. Currently the program consists of four concert bands, two jazz bands, and the Samohi “Viking” Marching Band. The 2014-15 school year marks the centennial of this historic band program. MMaarrchch 99,, 22014014 SSundayunday aatt 3 pp.m..m. PPERFORMINGERFORMING ARTSARTS CCENTERENTER Sponsored by Cal Poly’s College of Liberal Arts, Music Department & IRA Program. Program Program notes WWindind eensemblensemble FFirstirst SSuiteuite iinn EE--fl aatt fforor MMilitaryilitary BBandand Piccolo Horn Key SSantaanta MMonicaonica HHighigh SSchoolchool WWindind SSymphonyymphony Written over 100 years ago, the First Suite in E-fl at by Gustav Holst Emily O’Hanlon, San Ramon, LAES Andrew Arensman, Castaic, MU ◆ Guest is now considered one of the masterworks and cornerstones of Steven Warnert, Clovis, ME • Principal/Sec on Leader band literature. Although completed in 1909, the suite did not Flute Marlaine McKean, Cedar Falls, IA, ASCI + Percussion Manager El Camino Real: A La n Fantasy. Alfred Reed (1921-2005) receive its offi cial premiere until 11 years later on June 23, 1920, Kelsey Beisecker, Santa Barbara, ECON Stuart Slavin, Sacramento, PHYS ΚΚΨ Kappa Kappa Psi Member by an ensemble of 165 musicians at the Royal Military School of Shawna Sherwood, Tacoma, WA, AERO Lawrence Downs, Granite Bay, ENVE Music at Kneller Hall. However, the work was originally conceived Emily O’Hanlon, San Ramon, LAES Key to Majors to be performed by ensembles signifi cantly smaller than the one at Hope Megerdichian, Fresno, BIO Trumpet AERO Aerospace Engineering WWindind OOrchestrarchestra Kneller Hall. During this time period there was no standardized Araceli Yepez-Acosta, Ventura, BIO Dylan Weddle, Turlock, MU ARCE Architectural Engineering instrumentation among the hundreds of British military bands of Andy Adams, Poway, CPE Anthony Pultz, Scripps Ranch, MU ARCH Architecture the day, and as a result no signifi cant literature had been previously ΚΚΨ Nicole Cooper, Danville, ME ΚΚΨ Kaylinn Roseman, Long Beach, CE ART Art First Suite in E-fl at for Military Band . Gustav Holst (1874-1934) written for the band medium; most British bands up to then Allison Nai, Walnut Creek, BIO ΚΚΨ Liliana Moore, Davis, PSY ASCI Animal Science I. Chaconne performed arrangements of popular orchestral pieces. Th erefore, Kenneth Schmutz, Atascadero, EE BIO Biology II. Intermezzo in order to ensure the suite would be accessible to as many bands Oboe Ka e Love, Los Altos, BIO BMED Biomedical Engineering as possible, Holst ingeniously scored the work so that it could be Kelsey Morton, Ventura, PSY Garre Gudgel, Lemoore, ME BUS Business III. March played by a minimum of 19 musicians, with 16 additional parts that Allison Wagner, Davis, BIO Andreas Apitz, Yorba Linda, EE CD Child Development could be added or removed without compromising the integrity of Laura Borovilos, Grand Junc on, FDSC CE Civil Engineering Voodoo. Daniel Bukvich (b. 1954) the work. Trombone CHEM Chemistry Th ere are three movements in the suite: Chaconne, Intermezzo, Bassoon ΚΚΨ Alex Jacobius, Santa Monica, CRP/MU CM Construc on Management and March. Th e Chaconne begins with a ground bass reminiscent Eric Belfi eld, Irvine, AERO Paul Gilles, Menlo Park, AERO COMS Communica on Studies Ghost Train Triptych . Eric Whitacre (b. 1970) of those written by Henry Purcell or William Byrd. It is performed Emelia Banninger, Santa Clarita, MU Eric Magill, Harwinton, CT, BMED CPE Computer Engineering I. Ghost Train: The Ride by tuba, euphonium and string bass and is repeated throughout the ΚΚΨ Patrick Fedigan, Benicia, SE CRP City & Regional Planning ensemble sixteen full times as varying instrumental textures and Clarinet Christy Jardetzky, Los Gatos, ASCI CSC Computer Science II. At the Sta on variations of the theme are layered within it. Following a delicately Jason Lu, Mountain View, LAES ECON Economics III. Mo ve Revolu on scored chamber setting of the theme, the music steadily builds to a Troy Kawahara, Corona, CE Bass Trombone EE Electrical Engineering brilliant E-fl at major chord that concludes the movement. ΚΚΨ Karissa Finn, Pleasanton, IE ΚΚΨ Rose Doylemason, Pleasanton, MU ENGL English Th e Intermezzo is light and brisk and features soloistic passages Jimmy Winne, Roseville, ME ENVE Environmental Engineering for the cornet, oboe and clarinet. Holst prominently displays the Taylor Bateman, Bakersfi eld, ME Euphonium FDSC Food Science — I — agility and sensitivity of the wind band through transparent textures Hannah Giorgi, Santa Barbara, GRC Ryan Walker, Clovis, CM FNR Forestry & Natural Resources and passages where the melody and accompaniment are woven into Kendyl Cohn, Upland, GENE Max Bendick, Orange, CPE GENE General Engineering a variety of instrumental settings. Andrew Sorensen, San Diego, CPE Emma Gracyk, Granite Bay, ARCH GRC Graphic Communica on Th e March begins suddenly. It consists of two themes, the fi rst Elizabeth Reed, South San Francisco, IE Industrial Engineering WWindind EEnsemblensemble of which, performed by brass choir and percussion, is a march light CRP Tuba KINE Kineseology in character. Th e second theme is dominated by the woodwinds Rachel Smith, Danville, BMED Leah Anderson, Chula Vista, MU LAES Liberal Arts & Engineering Studies and is composed of a long, lyrical line reminiscent of the original Amy Poehlitz, Sherwood, ARCE ΚΚΨ Aaron Gragg, San Diego, CPE LS Liberal Studies La Mezquita de Córdoba . Julie Giroux (b. 1961) ΚΚΨ Chaconne melody. Th e movement concludes with both themes Shelby Orland, West Hills, ASCI Aaron Jacobs, Escondido, CSC MATE Materials Engineering intertwining as the band crescendos to a climax. MATH Math The Shadow of Sirius. .Joel Pucke (b. 1977) Bass Clarinet String Bass ME Mechanical Engineering Jus n Satnick, San Diego, ME Daniel Stone, Irvine, ARCE MU Music III. Into the Clouds VVoodoooodoo ◆ John Osumi, San Luis Obispo PHYS Physics Voodoo is a programmatic piece that attempts to conjure dark and Percussion POLS Poli cal Science Doug GallaƟ n, fl ute sinister images in a jungle inhabited by pagan natives. Bukvich Alto Saxophone Ryan Waczek, San Diego, MU PSY Psychology creates many extraordinary sound aff ects which are derived from ΚΚΨ Daniel Henry, Goleta, AERO +Garre Klunk, Virginia Beach, VA, AERO SE So ware Engineering within the instrumentation of the traditional concert band. ΚΚΨ Chloe Cruz, Daly City, POLS +ΚΚΨLuis Manjarrez, Santa Barbara, EE WVIT Wine and Vi culture Concerto for Trombone . .Launy Grøndahl (1886-1960) Allen Scozzari, Clovis, EE Taylor Hutchinson, Rosemount, MN, CPE I. Moderato assai ma molto maestoso Arr. Paul Ivan Møller Daniel Diaz, Oxnard, MU GGhosthost TTrainrain TTriptychriptych Tenor Saxophone Baheej Saoud, West Hills, AERO Instrumental Faculty II. Quasi una leggenda (In the manner of a tall tale): Andante grave Th e composer, Eric Whitacre, writes: ΚΚΨ Nikole Knak, Redding, GRC Suzanne Duff y, Flute III. Finale: Maestoso - Rondo Th e Ghost Train Triptych deals with the legend of the ghost train: a Piano Gabrielle Castrio a, Oboe supernatural machine that roars out of the night through forgotten Baritone Saxophone Alessandra Shanus, Burlingame, MU Lisa Nauful, Bassoon towns and empty canyons. It is deeply rooted in American folklore, ΚΚΨ Michael Czabaranek, Pleasant Hill, ME Keith Waibel, Clarinet Ko-Ichiro Yamamoto, trombone and it was the spirit that I worked to capture. Th e compositional Laura Kramer, Saxophone challenge came in creating a larger three-movement work from Aaron Wolf, Jazz Saxophone the 1st movement that was originally conceived and performed Christopher Woodruff , Trumpet FINALE from Symphony No. 2 . Charles Ives (1874-1954) as a single event. I felt that the use of trains as a source of sounds Wind Ensemble/Wind Orchestra Board of Offi cers Jennifer Dodson, Horn Arr. Jonathan Elkus and inspirations was virtually inexhaustible, but wanted to save Kaylinn Roseman, Chief Execu ve Offi cer Luis Manjarrez, Percussion Manager Sonny Galvan, Low Brass the integrity of the original while using it as the architectural Aaron Gragg, Equipment Manager Kate Vanderslice, Facili es Coordinator Ken Hustad, String Bass foundation. I eventually decided to use Ghost Train: Th e Ride (which Emily O’Hanlon, Librarian Dennis Wong, Facili es Coordinator John Astaire, Percussion was originally released as a single movement piece, mentioned Nina Levine, Librarian Karissa Finn, Band Offi ce Manager Jennifer Sayre, Harp previously) as the fi rst movement and