University Bands2012–13 Season Sunday 18 November 2012185th Concert Miller Auditorium

3:00 p.m.

UNIVERSITY CONCERT BANDJohn A. Lychner, ConductorBrad Pulverenti, Graduate Assistant Conductor

John Philip Sousa The Thunderer (1889)1854–1932arr. Keith Brion/Loras Schissel

Richard Strauss Allerseelen (1885)1864–1949 Brad Pulverenti, Conductorarr. Albert O. Davised. Frederick Fennell

Malcolm Arnold Four Scottish Dances (1957)1921–2006 I. Pesantearr. John P. Paynter II. Vivace

III. AllegrettoIV. Con Brio

UNIVERSITY SYMPHONIC BANDRobert L. Spradling, ConductorMatthew Pagel, Graduate Assistant Conductor

with guest artistsWESTERN BRASS QUINTETScott Thornburg, TrumpetStephen Jones, TrumpetLin Foulk, HornDaniel Mattson, TromboneJacob Cameron, Tuba

Clifton Williams Symphonic Dance Number 3 – “Fiesta” (1965)1923–1976 Matthew Pagel, Conductor

Scott Lindroth Passage (2010)b. 1958

Eric Ewazen Shadowcatcher (1996)b. 1954 I. Offering to the Sun

II. Among the AspensIII. The Vanishing RaceIV. Dancing to Restore an Eclipsed Moon

with the Western Brass Quintet

Building emergencies will be indicated by the flashing exit lights and sounding of alarms within the seating area. Please walk, DO NOTRUN, to the nearest exit. Ushers will be located near exits to assist patrons. Please turn off all cell phones and other electronic devicesduring the performance. Because of legal issues, any video or audio recording of this performance is prohibited without prior consentfrom the School of Music. Thank you for your cooperation.

PROGRAM NOTEScompiled by John Lychner and Brad Pulverenti

Sousa, The Thunderer

Known as “The March King,” John Philip Sousa andhis music reflect the idealism, energy, and growth thatwere seen in the United States at the dawning of the20th century. Sousa was a prolific composer and aconsummate showman. He was named the conductorof the United States Marine Band at the age of 26and toured with them for decades. A concert by theMarine Band was a special event at a time when fewAmerican orchestras existed. They were the premiereensemble in the country and Sousa, his music, and hisband were famous, both in the United States andaround the world.

The Thunderer march was dedicated to ColumbiaCommandery No. 2, Knights Templar, ofWashington, D.C. It was composed on the occasionof the Twenty-fourth Triennial Conclave of the GrandEncampment held in October 1889. Sousa had been“knighted” in that organization three years earlier.

Sousa’s daughter, Helen, made it known that TheThunderer was her mother’s favorite march. She alsoindicated that she believed that the “thunderer” mighthave been her father’s salute to The London Times,which was known as “the thunderer,” but it has been

determined that Sousa had no association with thatnewspaper at the time. It was also thought that the“thunderer” might have been one of the Masons incharge of making arrangements for the 1889conclave, possibly Myron M. Parker, who workedtirelessly to make the event a huge success, but no oneis certain.

Regardless of attribution, The Thunderer is awonderful example of Sousa’s work at the height ofhis career. While fairly typical of Sousa’s marchwriting, it does include a notable “quote” of sorts. Inthe second section of the march, Sousa included anadaptation of an earlier piece called Here’s YourHealth, Sir! which he had written for The Trumpet andDrum in 1886.

Strauss, Allerseelen

Richard Strauss was a German conductor andcomposer who is mostly known now for his tonepoems and operatic works. He was born in Munich toa professional horn player and his wife and beganstudying, performing, and composing music at a veryyoung age. These early efforts by Strauss wouldeventually propel him to a professional career as he

bridged the divide between the Romantic andContemporary periods of music history, beinginfluenced by Wagner and providing a model forSchoenberg and Ravel.

Allerseelen was originally written by Strauss as part ofa collection of eight leider titled, Acht Gedichte aus“Letzte Blätter” Opus 10, in 1885 when he was just21 years old. This song cycle was initially intended tobe performed by soprano voice and piano and usesthe poetry of Hermann von Gilm zu Rosenegg(1812–1864) as lyrics for its music. When translatedinto English, Allerseelen, the last song in the set,means “All Souls (Day).” Its text follows:

Since the debut of Acht Gedichte aus “Letzte Blätter”Strauss and a few other composers have scored themovements of the song cycle for full orchestra. AlbertO. Davis then arranged Allerseelen for wind band in1955 and Frederick Fennell later made a revisededition of Davis’s wind band arrangement. In contrastto the original version of Allerseelen that had only two

verses, these newer arrangements include a longerintroduction, three versus that are written in arounded binary (ABA) form with the middle sectionbeing of a developmental nature, and a codetta.

In all of its forms, Allerseelen exhibits intenseRomanticism. Even though its tonal center is E-FlatMajor, the work visits various key signaturesthroughout its length by using transitory modulations.The powerful emotions conveyed through the music ofthe original setting combined with the various solosand sectional timbres of the wind band arrangementmake this work nothing short of stunning!

Arnold, Four Scottish Dances

Malcolm Arnold was born in Northampton, Englandto a musical family. His father was an amateur pianistand his mother was an accomplished keyboardperformer. His mother encouraged his early musicalpursuits and, after trying several instruments, he tookto the trumpet, being fascinated by the playing ofLouis Armstrong. Arnold went on to study at the RoyalCollege of Music in London with Gordon Jacob as hisprincipal teacher. He played in the LondonPhilharmonic for a number of years before moving toItaly to focus on composition for a year. When hereturned to England, he had completed the first ofnine symphonies. Arnold went on to have a successfulcareer as a composer, writing for various kinds ofensembles and for numerous films, including TheBridge Over the River Kwai for which he won anOscar in 1958.

With regard to Four Scottish Dances, Arnold wrotethe following:

These dances were composed early in 1957, and arededicated to the BBC Light Music Festival. They are allbased on original melodies but one, the melody ofwhich was composed by Robert Burns.

The first dance is in the style of a slow strathspey – aslow Scottish dance in 4/4 meter – with many dottednotes, frequently in the inverted arrangement of the“Scotch snap.” The name was derived from the strathvalley of Spey.

The second, a lively reel, begins in the key of E-FlatMajor and rises a semi-tone each time it is playeduntil the bassoon plays it, at a greatly-reduced speed,in the key of G Major. The final statement of the

Allerseelen

Stell auf den Tisch dieduftenden Reseden,Die letzten roten Asterntrag herbei,Und laß uns wieder vonder Liebe reden,Wie einst im Mai.

Gib mir die Hand, daßich sie heimlich drückeUnd wenn man’s sieht,mir ist es einerlei,Gib mir nur einendeiner süßen Blicke,Wie einst im Mai.

Es blüht und funkelt heutauf jedem Grabe,Ein Tag im Jahre ist denToten frei,Komm an mein Herz,daß ich dich wiederhabe,Wie einst im Mai.

All Souls (Day)

Place on the table thefragrant mignonettes,Bring inside the last redasters,And let us speak againof love,as once we did in May.

Give me your hand, sothat I can press itsecretly;and if someone sees us,it’s all the same to me.Just give me your sweetgaze,as once you did in May.

Flowers adorn todayeach grave, sending offtheir fragrances;one day in the year arethe dead free.Come close to my heart,so that I can have you

dance is at the original speed in the home key ofE-Flat Major.

The third dance is in the style of a Hebridean Song,and attempts to give an impression of the sea andmountain scenery on a calm summer’s day in theHebrides.

The last dance is a lively fling, which makes a greatdeal of use of the open-string pitches of the violin(saxophones in the band section).

Originally written for orchestra, John Paynterarranged Four Scottish Dances for band in 1978.Since then, it has become one of the staples of thestandard repertoire for concert band.

PROGRAM NOTEScompiled by Robert Spradling

Williams, Symphonic Dance Number 3 – “Fiesta”

Symphonic Dance Number 3, Fiesta, was one of fivesymphonic dances commissioned from Williams forthe 25th anniversary of the San Antonio SymphonyOrchestra and depicts the pageantry of LatinAmerican celebrations – street bands, bullfights, andbright costumes. Following its premiere in January1965, the composer scored the work for band andconducted the first performance in this setting with theUniversity of Miami (FL) Symphonic Band in March1967. The festive nature of this music has made it afavorite with audiences and performers alike for overforty years.

Lindroth, Passage

In his description of Passage, Scott Lindroth states:“Passage was composed in 2010, but the music looksback at earlier times in my life. A prominent four-notetheme, first heard as the harmonized melody in thewoodwinds, comes from a piece I composed in 1990called Duo for Violins. In the duo, the theme appearsat a climactic moment and is filled with passionateintensity. In Passage, the theme is set with richharmonies that shift with each repetition, and therhythmic character is supple and nuanced. To me, it’slike encountering an old friend who has changed withage, hopefully for the better.”

Passage was commissioned by the AmericanBandmasters Association and received its premiere atthe Midwest Conference on December 15, 2010 in aperformance by the United States Marine Band, (“ThePresident’s Own”) conducted by Captain MichelleRakers.

Ewazen, Shadowcatcher

Eric Ewazen’s Shadowcatcher was commissioned byButler University and premiered with the AmericanBrass Quintet on October 25, 1996. Edward Curtis,the great American photographer who traveledthroughout the American West during the earlydecades of the 20th century, took literally tens ofthousands of photographs of Native Americans. Hechronicled their ancient lifestyle capturing a time andplace destined to disappear in the face of the modernage. His mysterious, beautiful, and powerfulphotographs had a distinctive play of light and dark,and the Indians dubbed him the “Shadowcatcher.”

Four of his photographs are the inspiration for thisconcerto for brass quintet and wind band.

I. Offering to the Sun (Tewa, 1925) – between therock cliffs at San Idelfonso, a Tewa Indian, clutchingfeathers, raises his arms in supplication to the brilliantsunrise.

The opening brass quintet music, with free rhythmsand ornamentation, is influenced by traditional Indianflute music – complex and invitational. A quiet,prayerful chorale leads to music portraying the beautyand excitement of a new day.

II. Among the Aspens (Chippewa, 1926) – portrait ofa teepee in the midst of a thick grove of Aspen treesbordering a stream.

An introduction, consisting of traditional Indiandrumbeats and pentatonic melodies, leads to ascherzo portraying the rushing waters of theinnumerable streams and rivers of the Chippewanation.

III. The Vanishing Race (Navaho, 1904) – onhorseback a group of Indians in silhouette slowly rideinto an uncertain darkness – and uncertain future.

Using motives and rhythms of Indian memorial songscommemorating the dead, the music is alternatelynoble, sad, tragic, angry, and accepting.

IV. Dancing to Restore an Eclipsed Moon (Kwakiutl,1928) – dancers surrounding a smoking fire.

The ancient Kwakiutl of the Pacific Northwest Coasthad a belief that the eclipsed moon was beingswallowed by a creature of the night sky. By lighting abonfire of old clothes and hair, they believed thestench would make the monster sneeze, thusdisgorging the moon. The music is a programmaticportrayal of this legend. A dark, cold night withclouds rolling in front of the moon leads to thegradual lunar eclipse. Using heavy Indian drumbeats,the fire is lit and the frenetic dance begun. The dance

culminates in a brass quintet cadenza – a sneeze –and the quiet return of the moon as feelings of joyand peace bring the work to a close.

Founded in 1966, the WESTERN BRASS QUINTET isone of the most distinguished brass chamber musicensembles still active in the United States today. Theensemble has performed around the world includingconcert tours in Thailand, China, Sweden, andGermany, as well as concerts in prestigious Americanvenues such as the Kennedy Center and CarnegieHall. The Quintet is a resident faculty ensemble in theSchool of Music at Western Michigan University.

Committed to promoting the composition of significantworks for the brass quintet, the ensemble haspremiered numerous works including Landscapes bythe Pulitzer Prize-winning composer Karel Husa,Masques by Ramon Zupko, Nodding Music by ElgarHowarth, Plays and Rimes by Curtis Curtis-Smith, Proand Contra Dances by Ramon Zupko, Vox Naturae(with orchestra) by Ramon Zupko, Dark Matters byMark Schultz, Games for Brass by Curtis Curtis-Smith,Frame of Mind by Richard Adams, and A FlyingCircus by David Colson. Audiences have describedthe Quintet’s performances of the latest in brasschamber music repertoire as “polished, exciting,daring, and musically satisfying.” Additionally, aninterest in performance practices for the music of theRenaissance and Baroque has inspired severalsignificant arrangements of music from these periodsby Western Brass Quintet members. Two full-lengthcompact discs have been recently recorded by theensemble (all premiere recordings) and are availableon the Summit label.

The Quintet is dedicated to presenting this repertoireto younger audiences and has committed part of itsschedule each year to public school and universityperformances and clinics. After a recent WBQ clinic,a band director remarked, “Every faculty memberwas energetic and pulled the high school students toanother level...Interacting with a group of your caliberprovides benchmarks for us to aspire to.”

Members of the WBQ have performed with leadingAmerican classical music ensembles such as OrpheusChamber Orchestra, New York Chamber Soloists,Canadian Brass, American Brass Quintet, BostonBrass, Dallas Brass, and numerous music festivals andsymphony orchestras. Each member is a leader inhis/her field, serving as president of the International

Trumpet Guild for two terms (Jones), inspiring K–12students to participate in music through fun programspresented through a rigorous schedule of clinicsacross the nation, or promoting the performance ofcompositions by female composers (Foulk).

UNIVERSITY CONCERT BANDJohn A. Lychner, ConductorBrad Pulverenti, Graduate Assistant Conductor

Flutej Margaret MacDonald, Midland* Kaitlin Koto, Lincolnshire IL

Rebekah Veit, ClintonFrances Kornacki, DearbornSamantha Springer, Middleton WI

OboeLeah Brown, Co-Principal, MidlandHolly Tracy, Co-Principal, English Horn, HollandBrian Thering, DimondaleMaria Paterno, St. Charles IL

BassoonÎ* Margaret Quinn O’Donnell, Livonia

Samantha Chau, Grand RapidsTroy Robertson III, Portage

ClarinetBrittany Wesner, StevensvilleSusan Johnson, Auburn INDeanna Phillips, Three OaksClaire Miller, Westmont IL

j Bethany Hunt, NorwayAmanda Kline, WhitehallLauren Lawler, TroyKortnie Thomas, SpringfieldNicole Bryniczka, Mount Prospect IL

Bass Clarinetj Chelsea Wagner, Niles* Hannah Spencer, Concord (assisting)

Alto SaxophoneTimothy J. Bond, EdwardsburgByron Coulter, Rochester Hills

Tenor SaxophoneNatalie O’Roark, Vicksburg

Baritone SaxophoneChase Stone, Edwardsburg

TrumpetLaura A. Tribby, Principal, GoblesElloit Bild, Woodridge IL

Ï Jeremy Stevens, Peru IL+ Alexander Floury, Shelby Townshipj Jason Taurins, Wyoming

Jacob Lewkowitz, BridgmanMichael Sulecki, Dearborn

+ Christopher Martin, Walled LakeElaine Juntunen, LansingKathryn Barnes, GoblesMarc Hartman, Waterloo INAlexandra Ferguson, LivoniaThomas Rothermel, NorthvilleAustin Hunt, Byron CenterZachary Hummel, Kalamazoo

HornNathan Haering, Principal, LansingStephen Hepp, CantonThomas King, Spring ArborJohn Forsleff, Flint

TromboneLaura Roth, Brighton

+ Michael Unsworth, PortageChris Hass, Ann ArborMichael Klepp, RochesterJennifer Seeley, Grand Rapids

Euphonium+ James Clark, Clinton Township

Jenna Seib, Shelby TownshipDerrick Geething, Battle Creek

+ Doug Williams, ZeelandAntonio Mitchell, Kalamazoo

TubaZach Bryan, Kalamazoo

+ Kenneth Burris, Principal, VicksburgAndrew Coleman, Berrien Springs

PercussionShannan Baker, Principal, PortageSteven Perry, Osceola INAustin Mortiere, NorthvilleMatthew Smalligan, Byron CenterNicole Atkinson, KalamazooColin Bieszard, HollyAdam Vaughn, Allegan

TimpaniNicholas Conley, Harrison Township

String BassKyle Pitcher (assisting)

Î* Margaret Quinn O’Donnell, LibrarianLaura Roth, Manager

The University Concert Band benefits greatly from and isgrateful for the support of our excellent applied musicfaculty: Jacob Cameron (tuba/euphonium), MarthaCouncell-Vargas (flute), Lin Foulk (horn), StephanieHovnanian (clarinet), Stephen Jones (trumpet), MichaelMiller (oboe), Judy Moonert (percussion), AndrewRathbun (saxophone), Wendy Rose (bassoon), ScottThornburg (trumpet), Steve Wolfinbarger (trombone),and Bradley Wong (clarinet).

Î Stuart and Normal Hall Scholar (Music Ed.)Ï Horace and Mary Adams Trumpet Scholar

+ Member of Phi Mu Alpha Sinfonia music fraternity formen

* Member of Sigma Alpha Iota music fraternity forwomen

j Member of Kappa Kappa Psi honorary bandfraternity

UNIVERSITY SYMPHONIC BANDRobert L. Spradling, ConductorMatthew Pagel, Graduate Assistant Conductor

Flute (Piccolo rotated)Maria Eugenia Vallejo, Principal, Quito ECUADORKathleen Rivard, Owosso

* Jillian Lassen, West BloomfieldÎÏ Kaitlin Black, Augusta+ Keith Kelsey, Belleville

OboeÐÑ Jarred Small, Principal, Fraser

Kayla Pingel, Farmington

English HornMichael Wessels, Wayland

BassoonMarco Juarez, Principal, KalamazooJoseph Swift, Howell

ContrabassoonJoseph Swift, Howell

Clarinet (Parts rotated)Ruth Daley, KalamazooDanny Mui, MucombKristyn Macqueen, RockfordElisabeth Waldburger, Granger IN

* Theresa Huiber, Twin LakeSusan Johnson, Auburn INConor Sprunger, Jackson

j Mary Claire Reynolds, Chicago ILEmily Solomon, Lincoln ParkStephanie Wilcox, Kalamazoo

j Chelsea Wagner, Niles

Bass Clarinetj Joseph Williams, Flint

Alto SaxophoneNeal Endicott, Traverse CityAndrew Strzyzewski, Troy

Tenor SaxophoneMichael Hudson-Casanova, Sterling Heights

Baritone Saxophone+ Brandon Burris, Vicksburg

Horn (Parts rotated)Luke Walton, Principal, Palmyra NYElizabeth Glasser, Kalamazoo

j Anna Marshall, PortageNicole Vanden Bosch, JenisonDerek Pothoff, Norton ShoresChris Monroe, Midland

Trumpet (parts rotated)Paul Hardaker, Principal, Flint

Ò Sean Corbitt, MetamoraNathaniel Patty, Indianapolis INTim Waelde, LapeerJustin Makarewicz, Shelby TownshipDylan Larkins, Ann ArborDaniel Christensen, Grand RapidsSean Hammontree, Traverse City

Trombone IEric Hester, Principal, MuskegonAaron Cluster, Kalamazoo

Trombone IIRebecca Haines, MuskegonKarl Schmidt, Highland

Bass TromboneAaron Buczek, WarrenA.J. Muusse, Grandville

EuphoniumMatt Fountain, Principal, Kalamazoo

Ó Christopher Blair, Cedar SpringsJohn Fonner, Battle Creek

Tuba* Heather Ewer, Principal, Arvada COÒ+ Regis Partee, Portage

Jordan Green, Battle Creek

TimpaniNicholas Chernich, Principal

PercussionSean Keck, Principal, Sterling HeightsJustin Longroy, FlushingNathan Vlcek, Dexter

Î Jennifer Pesch, KalamazooKevin Levandoski, Grand RapidsAnna Martuch, Augusta

StaffElisabeth Waldburger, Librarian

+ Regis Partee, Manager

The University Symphonic Band benefits greatly fromand is grateful for the support of our excellentapplied music faculty: Jacob Cameron(tuba/euphonium), Martha Councell-Vargas (flute),Lin Foulk (horn), Stephanie Hovnanian (clarinet),Stephen Jones (trumpet), Michael Miller (oboe), JudyMoonert (percussion), Andrew Rathbun (saxophone),Wendy Rose (bassoon), Scott Thornburg (trumpet),Steve Wolfinbarger (trombone), and Bradley Wong(clarinet).

Î Michael Listiak ScholarÏ Stuart and Norma Hall Scholar (Music Ed.)Ð Leonard Meretta ScholarÑ Harry L. & Anna Gernant Family College of Fine Arts

Distinguished ScholarÒ Russell Brown ScholarÓ Robert Whaley Scholar

+ Member of Phi Mu Alpha Sinfonia music fraternityfor men

* Member of Sigma Alpha Iota music fraternity forwomen

j Member of Kappa Kappa Psi honorary bandfraternity