Festivo Edward Gregson(b. 1945)

Jonathan Poquette, guest conductor

Chant Funéraire Gabriel Fauré (1845-1924)

arr. Moss

Chester William Schuman(1910-1992)

Brett Bawcum, guest conductor

-intermission-

Symphony No. 6 for Band Vincent Persichetti I. Adagio (1915-1987) II. Adagio sostenuto III. Allegretto IV. Vivace

National Emblem E.E. Bagley(1857-1922)arr. Fennell

Hugh Hodgson School of Musicpresents the

UGA Wind Symphony

Brett Bawcum, guest conductor Jaclyn Hartenberger, conductor

Jonathan Poquette, guest conductor

Tuesday, November 8, 2016 8:00pm, Hodgson Concert Hall

Festivo (1985)Edward Gregson (b. 1945)

Edward Gregson was born in Sunderland, England and studied composition at the Royal Academy of Music with Alan Bush. He has written important repertoire for orchestra, chamber ensembles, wind band, and chorus. In addition, he contributed to music for theatre, film and television while most recently completed commissions for the Royal Liverpool Philharmonic, the Bournemouth Symphony, and the BBC Philharmonic orchestras. Gregson had an impressive career as an academic, from his time in the music department at the University of London (1976-96), to his tenure as Principal of the Royal Northern College of Music (RNCM) in Manchester (1996-2008). He retired from academe in 2008 in order to concentrate on composing. He holds honorary degrees and fellowships from a dozen English universities and conservatoires, and is a Companion and Emeritus Professor of the RNCM.

Festivo was commissioned in 1985 for the 10th Anniversary of the Bolton Youth Concert Band. It received its first performance from the Bolton Youth Concert Band, conducted by Nigel Taylor, at the Conference of the World Association of Symphonic Bands and Wind Ensembles in Kortrijk, Belgium, in July 1985. As the title suggests, it is a festive piece, exuberant in style, and cast in rondo form. An introduction announces, in fragmented form, some of the melodic and rhythmic ideas. The main theme, which is light-hearted and exuberant, is announced by the clarinets. This theme is immediately transferred throughout the ensemble. The first episode is lyrical with a variation of earlier material passed from one soloist to another. Contrastingly, the second episode starts quietly Gregson gradually adds layers of repeated ostinatos. By utilizing solo, chamber-like, and full band textures, creates contrast that builds the piece to the final statement of the rondo tune. Festivo is considered a standard in the wind band repertoire and is one of the composer’s most popular works.

Chant Funéraire (1921)Gabriel Fauré (1845-1924)Arr. Myron Moss

Gabriel Fauré was an influential French composer and head of the Paris Conservatory for 15 years, in the early 20th century. Although he is known for his lyricism, Fauré is thought have been a transitional composer between the Romantic era that dominated the musical circles of his youth and the modernism movement of his later years. He was revered by the French people and fellow composers, even to the end of his life; given that his last years came after tumultuous changes in the music world, which left many more conservative composers out of favor, Fauré’s ability to maintain a well-regarded status amongst his contemporaries was very remarkable.

Fauré wrote Chant Funéraire (Funeral Song) in 1921 on a commission from the French government to commemorate the 100th anniversary of Napoleon‘s death. He wrote the piece when he was 75 years old, after having retired from the Paris Conservatory. During this time, Fauré was very ill and as a result, Fauré did not orchestrate the Chant Funeraire. Guillaume Balay originally orchestrated Chant Funéraire for band and it was he who conducted the premiere performance with the Gardé Republicaine Band (arguably the best wind band of its time). Then, in 2003, Myron “Mike” Moss created a new orchestration, in which he writes:

Balay’s orchestration offers the power and grandeur called for by the Gardé Republicaine, but it is weighed down by the band music conventions of its time. The scoring is thick throughout (a phenomenon found nowhere in Fauré’s own orchestrations), the score’s quiet moments are especially over-instrumented, and Fauré’s clean and sonorous voice leading is often obscured through inconsistent octave doublings. The present orchestration emulates the transparent and clear scoring of Fauré’s own style.

Chester, Overture for Band (1957)William Schuman (1910-1992)

William Schuman earned a B.S. in music education (1935) from the Teachers College of Columbia University. In the fall of 1935, Schuman settled into his first teaching position, at Sarah Lawrence College, Bronxville, N.Y., where he remained on the faculty for a decade. In 1937, he earned an MA degree from Columbia University and in 1944, G. Schirmer Publishing Company appointed Schuman Director of Publications. A year later he moved to his next post, the presidency of The Juilliard School where he remained until 1961. Schuman received his first of many honorary doctorates and was awarded the first Pulitzer Prize ever given in the field of musical composition for Cantata No. 2 A Free Song in 1945.

In 1957, Schuman composed Chester as the third movement of his trilogy New England Triptych for orchestra, where he interpreted William Billings’ hymn and marching song “Chester.” He later developed and extended the work to become an overture for band. The tune, on which this composition is based, was born during the time of the American Revolution, appearing in 1778 in a book of tunes and anthems composed by Billings called The Singing Master’s Assistant. Chester was so popular that it was sung throughout the colonies from Vermont to South Carolina and it became the song of the American Revolution representing a desire for freedom.

Let tyrants shake their iron rod,And Slav’ry clank her galling chains,We fear them not, we trust in God,New England’s God forever reigns.

The Foe comes on with haughty Stride;Our troops advance with martial noise,Their Vet’rans flee before our Youth,And Gen’rals yield to beardless Boys.

What grateful Off’ring shall we bring?What shall we render to the Lord?Loud Halleluiahs let us Sing,And praise his name on ev’ry Chord.

Symphony for Band No. 6 (1956)Vincent Persichetti (1915-1987)

Vincent Persichetti was an American composer and educator. Persichetti began his musical life at a young age, first studying the piano, then the organ, double bass, tuba, theory, and composition. Persichetti was a student in the Philadelphia public schools and received his musical education at the Combs College of Music, where he earned his bachelor’s degree in 1935. He then received his graduate degrees and Diploma in Conducting from the Curtis Institute, where he studied with Fritz Reiner. In 1947, he joined the faculty of the Juilliard School of Music, and became the chairman of the Composition Department in 1963.

Persichetti composed for nearly every musical medium, with more than 120 published works. His works for winds rank as some of the most original and well-crafted compositions in the medium, and his Symphony for Band No. 6 is rightly considered one of the “cornerstones” of the repertoire. Symphony for Band was commissioned and premiered by Clark Mitze and the Washington University Band at the Music Educator’s National Conference Convention in St. Louis on April 16, 1956. This piece, at the time, was a departure from traditional treatment of the band because Persichetti uses the ensemble to create a variety of textures and timbre combinations. The most significant deviation from standard writing process for the band was his use of percussion instruments, within the symphony. Until this time (1956), most composers used the percussion section as battery instruments solely to keep a beat steady. Persichetti treated the percussion instruments as melodic instruments and thus wrote specifically for the variety of timbres.

National Emblem (1905)Edwin Bagley (1857-1922)Arr. Fredrick Fennel

National Emblem was composed by American composer Edwin Eugene Bagley in 1905. National Emblem takes its name from our national emblem, the American flag. As a matter of fact, portions of the Star Spangled Banner are heard in the first strain and trio of the march. Played in manuscript in 1905 by the Keene Band, it was first published by the Walter Jacobs Company of Boston in 1906. Since then, more than 17 other band arrangements of National Emblem have been issued.

-continued-

Arranger, Frederick Fennell described this march as, “[a] march never fails to lift my spirit to the loftiest heights of inner joy, outer physical exhilaration, and ultimate personal fulfillment. On some occasions, I have felt that knowing it and loving it was my whole reason to be alive.” He then discusses why this march is significant to him. “It’s just my march, and I began to teach it to myself by marching my way to high school while whistling or singing it, totally oblivious of what I am sure were quizzical and suspicious glances from people I encountered en route!... It is a march for marching; sit-down performances of it should continue to march, for that is its heritage — music for the feet, not for the head — and it is unmistakably music for the spirit. “-Program notes compiled by Jonathan Poquette

Jaclyn Hartenberger

Jaclyn Hartenberger serves as the Associate Director of Bands and Assistant Professor of Music at the University of Georgia where she conducts the Wind Symphony and teaches conducting. Dr. Hartenberger received her Mas-ter of Music and Doctor of Musical Arts in Conducting from The University of Texas at Austin, where she studied with Jerry F. Junkin. She received her Bachelor of Music Education degree from the University of North Texas, where she performed and recorded with the prestigious UNT Wind Symphony. Dr. Hartenberger’s public school teaching experiences include developing award winning band programs as the Associate Director of Bands at both Forestwood Middle School in Flower Mound, TX and Centennial High School in Frisco, TX. Jaclyn Hartenberger has served as a visiting conductor for the Santa Fe Concordia Wind Ensemble in Santa Fe, NM; the West Point Band in New York; the University of Missouri Wind Ensemble in St. Louis; and the Festival International de Inverno da USFM in Brazil.

Brett Bawcum

Brett Bawcum is Assistant Director of Bands and Associate Director of Athletic Bands at the University of Georgia. He shares responsibility for design, instruction, and administration of the Redcoat Marching Band and serves as one of its primary drill-writers. He also directs the Basketball and Volleyball Pep Bands, guest-conducts concert bands, supervises student teachers, and teaches courses in a variety of areas including Instrumentation/Arranging and Marching Band Techniques. He is an active arranger for marching bands throughout the U.S. He has also served as producer, associate producer, and editor for wind band recordings on the Mark, Summitt, and Naxos labels.

Jonathan Poquette

Jonathan Poquette is a first year doctoral conducting student at the University of Georgia. After earning his Bache-lor of Music Degree in Music Education from Southern Illinois University, Jonathan taught instrumental music at the middle and high school levels in Illinois and Wisconsin for four years. He has taught concert band, jazz band, marching band, chamber ensembles, and private lessons.

Jonathan attended the University of Central Missouri earning his Master of Arts degree in conducting with Scott Lubaroff. His conducting responsibilities included guest conducting the UCM Wind Ensemble, UCM Chamber Winds, UCM Symphonic Band, and UCM Symphony Orchestra.

FluteMindy Griffith

Alexis Letourneau Haley Sue Long

Vicki Lu Hannah Peterson

Shana Stone

OboeKenny Bader

Nicholas KanipeAnna Wood

Clarinet

Jason Abraham Yujin Chang

Katherine Grace Dukes Amanda Johnson

Laura Smith Sable Thompson

Maggie Watts

Bass ClarinetElissa Harris

Bassoon Jennifer Grubbs

Taylor Poole Carlee Woodring

SaxophoneMegan Elks

Alex Hedden Miller May

Miguel Tuberquia

HornJake Blaydes

Chase Cooper Lizzie Digiovanni

Nathan Dial Jaron Lehman Jimi Morton

Jacob Weinstein Galit Shemesh

TrumpetEthan Craft

Chandler Dickerson Zach Griffin

Sydney Hasler Tyler Jesko Josh Klein

Brandon Waugh

TromboneEirk Prince Luke Riddle

Callan Russell

Bass TromboneBrad Gwynn

Assata Bellegarde

Euphonium Nate Galerstein

Max Grand

Tuba Evan Arrington-Tsao

Kyle Grabigel Trevor Kiefer

Double Bass Quentin Smith

PercussionBrad Hagin

Bonnie Houpt Carson Lee

Grayson Mullis James Wilson

Wind Symphony PersonnelJaclyn Hartenberger, conductor

Jonathon Poquette, graduate assistant conductor

All players are listed alphabetically and serve as principal for their part.

Out of respect for the performers, please turn off all electronics devices for the duration of the performance. Thank you for your cooperation.

FluteMindy Griffith

Alexis Letourneau Haley Sue Long

Vicki Lu Hannah Peterson

Shana Stone

OboeKenny Bader

Nicholas KanipeAnna Wood

Clarinet

Jason Abraham Yujin Chang

Katherine Grace Dukes Amanda Johnson

Laura Smith Sable Thompson

Maggie Watts

Bass ClarinetElissa Harris

Bassoon Jennifer Grubbs

Taylor Poole Carlee Woodring

SaxophoneMegan Elks

Alex Hedden Miller May

Miguel Tuberquia

HornJake Blaydes

Chase Cooper Lizzie Digiovanni

Nathan Dial Jaron Lehman Jimi Morton

Jacob Weinstein Galit Shemesh

TrumpetEthan Craft

Chandler Dickerson Zach Griffin

Sydney Hasler Tyler Jesko Josh Klein

Brandon Waugh

TromboneEirk Prince Luke Riddle

Callan Russell

Bass TromboneBrad Gwynn

Assata Bellegarde

Euphonium Nate Galerstein

Max Grand

Tuba Evan Arrington-Tsao

Kyle Grabigel Trevor Kiefer

Double Bass Quentin Smith

PercussionBrad Hagin

Bonnie Houpt Carson Lee

Grayson Mullis James Wilson

Wind Symphony PersonnelJaclyn Hartenberger, conductor

Jonathon Poquette, graduate assistant conductor

All players are listed alphabetically and serve as principal for their part.

Out of respect for the performers, please turn off all electronics devices for the duration of the performance. Thank you for your cooperation.