USF Wind Ensemble

 USF Wind Ensemble:
The Many Moods of Wind Band
October 4, 2012 – 7:30 p.m.
USF Concert Hall
Conducted by
Dr. John C. Carmichael
Director of Bands
Peter Belk
Assistant Director of Athletic Bands
USF School of Music
Tampa, FL
Program
D. R. III’s Honnörmarsj (1952) .......... Erling Mostad/Ola Kajanus
(1913-1966)
In Wartime (2003) ............................................. David Del Tredici
(b. 1937)
Who Puts His Trust in God Most Just (1985) ..... J. S. Bach/James Croft
(1929-2012)
March Ecossaise (1891) ...... Claude Debussy/William Schaefer
(1862-1918)
Peter Belk, conductor
Stewball (Four Variations (1942) ................................. Gail Kubik
1. Moderately fast
(1914-1984)
2. Fast, with spirit
3. Slowly, very smoothly (attacca)
4. Fast, briskly
Vientos y Tangos (2004) ................................. Michael Gandolfi
(b.1956)
Santa Fe Saga (1956) ............................................ Morton Gould
(1913-1996)
The USF School of Music is honored to acknowledge the financial
support of the USF Women’s Club for helping make this concert
possible.
Wind Ensemble Personnel
Flute:
Ashley David
Nick Demasky
Braulia Gil
Stacia Henderson, Picc.
Miguel Hijar, Prin.
Julia Matthews
Oboe:
Tom Manteiga, Prin.
Rebecca Troyer
Joy Fuller
English horn:
Joy Fuller
Bassoon:
Valerie Bove
Susanna Hancock, Prin.
John Hanson
Clarinet:
Katie Ammons
Brooke Dansberger
Brunette Joseph
Dana Poppell, Eb
Daniel Rubiano
Marvin Valarezo, Prin.
Adam Weinstein
Bass clarinet:
Natalie Reyes, Prin.
Caitlin Autrey
Contrabass clarinet:
Caitlin Autry
Saxophone:
Nathan Batts, Alto
Rafael Couret, Tenor
Stephen Padgett, Alto
Riley Sulick , Baritone
Johnathan Torsak, Prin
Horn:
Austin Moss
Samantha Snow, Prin.
Horn continued:
Alex Stening
Emily Taylor
Trumpet:
Derek Blankenship*, Co Prin.
Andrew Claypool
James Dawson
Philip Hennosy
Robert Johnson
Michael Mower*, Co-Prin.
Trombone:
Elias Gilbert
Ryan Hiers, Prin.
Brian Jones
John Littlepage*, Bass
Euphonium:
Aaron Campbell, Prin.
Mike Lebrias
Tuba:
Phil Beatty
Danny Bresson
Adam Norton, Prin.
Contrabass:
Unfilled
Percussion:
Armando Ayala
Mike Carp
Dan Dau
Amanda De Zee
Paul Gavin, Prin.
David Kverek
Alex Murphy
Piano/Celeste:
Peter Belk
Harp: Shaun Stimson
* = Graduate Student
+ = Professional
Program Notes
Tonight’s concert, is entitled “The Many Moods of Wind Band.” Such a clever title
was the result of a creative reaction to the request for a concert title before the
exact repertoire was determined. That revealed, it should be apparent that we
have achieved the prophetic artistic intentions. The opening march celebrates the
exploits of a particular military unit in Europe. It seems they are quite proud,
probably because they can survive the Norwegian winters. In contrast, In Wartime,
by Del Tredici, explores many angles of the current conflict occurring in the Middle
East. During his work, you will here a request for God’s presence, the nationalism of
Iran as he quotes their national anthem, and a juxtaposition of love of country with
death represented by a quote from Wagner’s famous “Liebestod.”
Our third selection is being presented in the memory of and to honor Dr. James E.
Croft, a former director of bands at USF. During his tenure, the band was
considered to be one of the finest in the South, and he did a great deal to put this
school of music on the radar screens of Florida Band Students. His setting of the
Bach chorale, “Who Puts His Trust in God Most Just,” is a beautiful statement of the
very nature of his life and his relationships with other humans. He was my teacher.
Marche Ecossaise is a non-march march that effectively conveys aspects of
Scotland and its bagpipes. The music may even compel you to contemplate your
ability to roll “r’s” your compulsive thriftiness or your appetite for haggis. Whichever
the case, it is a rare chance to hear Debussy in a wind band setting. It is followed
by Stewball, Four Variations. This is not your usual set of theme and variations in a
single movement. Instead, each movement represents a different view of the
original theme, thus evoking perhaps four different moods. Hopefully, one of those
moods will be pleasant and thoughtful.
There are multiple moods expressed in Gandolfi’s Tango. From something coy and
delicate to the stereotypical slam dance, he covers many bases of the human
emotional spectrum. In order to bring the concert to an impactful conclusion, we
will play Santa Fe Saga by Morton Gould. Written after his monumental West Point
Symphony, this composition may cause you to recollect cowboy songs and will
certainly provide you a rip-snorting finale. It is our hope that you will leave the
concert hall tonight in a better mood than when you arrived. Thank you for sharing
this music with us.
John Carmichael, Conductor
D. R. III’s Honnörmarsj.............................................. Erling Mostad/Ola Kajanus
This 1952 march was named after the Third Dragoon Regiment at Rinnleiret,
Norway. It was dedicated to Col. Kolbjörn Spilhaug, commander of a squadron
that served with distinction in the defense of Norway in 1940. D. R.III’s Honnörmarsj
combines folk tunes with folk-like melodies and cavalry signals. It was little known
outside of Norway until it was performed at the July 1981 WASBE Conference in
Manchester, England. The arrangement was made by Ola Kajanus, a member of
the band performing at WASBE and formerly a trombonist in the army band
conducted by Mostad. Mostad later became school music director and was still
active in 1962. The march follows a European formal design and contains several
creative harmonic twists.
In Wartime ................................................................................. David Del Tredici
In Wartime, my first piece for wind symphony, was begun on November 16, 2002,
and completed on March 16 (my birthday), 2003 — as momentous a four-month
period in U.S. history as I have experienced. November's dramatic congressional
mandate for war had become, by March, the shocking international reality of war.
With my TV blaring, I composed throughout this period, feeling both irresistibly
drawn to the developing news and more than a little guilty to be unable to turn the
tube off. Composing music at such a time may have seemed an irrelevant pursuit,
but it nevertheless served to keep me sane, stable and sanguine, despite the
world's spiraling maelstrom.
In Wartime is comprised of two connected movements — Hymn and Battlemarch.
The first, Hymn, has the character of a chorale prelude, with fragments of Abide
With Me embedded beneath a welter of contrasting and contrapuntal musical
material. After a climax, the well-known hymn tune is presented in its unadorned
form. As the stately phrases progress, all the bustling earlier music gradually returns
and is superimposed atop the hymn; the surprising combination — in musicological
terms, a quodlibet — suggests not only an expanding musical universe, but also a
coalescence of forces in prayer before battle.
Heralded by a long, ominous roll on the snare drum and a steady, measured tread,
Battlemarch announces the start of war. In a wave-like series of pulsing four-bar
phrases, the musical energy repeatedly pushes forward, then recedes. Like the
incoming tide, the waves" encroach inexorably on new harmonic ground; like a
gathering storm, the waveforms grow in enormity and frenzy, until their fateful
confrontation with Salamati, Shah! (the national song of Persia), laced as well with
quotes from the opening of Wagner's Tristan und Isolde. With East battling West in
musical terms, this trio section of the march builds to the movement's climax. As the
overwhelming wash of sound subsides, the opening march-theme returns, now
battle-weary but growing nevertheless to a full-throttled recapitulation and finale —
marked, inevitably, by a wail of pain.
In Wartime is dedicated to a comrade in musical arms — my good friend and
fellow composer, Stephen Burke. (Program note by composer)
Who Puts His Trust in God Most Just .......................... J. S. Bach/James E. Croft
In loving memory of Dr. James Croft
Who puts his trust
In God most just
Hath built His house securely;
He who relies
On Jesus Christ,
Heaven shall be his most surely:
Then fixed on Thee
My trust shall be
For Thy truth cannot alter;
While mine Thou art,
Not death’s worst smart
Shall make my courage falter.
(unperformed verse included for friends and family)
I rest me here
Without a fear—
By Thee shall all be given
That I can need,
O Friend indeed,
For this life or for heaven.
O make me true,
My heart renew,
My soul and flesh deliver!
Lord, hear my prayer,
And in Thy care
Keep me in peace for ever.
March Ecossaise ......................................... Claude Debussy/William Schaefer
“Marche écossaise sur un thème populaire” was originally written for piano, four
hands and orchestrated by the composer. It was commissioned by General
Meredith Reid, who wanted a fantasy march on his Scottish clan’s ancient battle
call. He proposed the title of March of the ancient Earls of Ross, to be dedicated to
their descendant General Meredith Read, holder of the grand cross of the royal
order of the Redeemer. After a brief introduction the theme is stated and then
transformed through the fantastical grounds of Debussy’s imagination. William
Schaefer was the director of bands at the University of Southern California. He has
been a prolific transcriber of important music for the wind band medium.
Stewball: Four Variations ..................................................................... Gail Kubik
Stewball: Four Variations on an American Folk Tune was written in 1942 at the
request of the distinguished American editor and musicologist, Car Engel. The
Variations represent one answer to the challenge which the modern large-size
band has presented during the last decade of so to the American composer. That
is to say, here is a piece direct, so the composer hopes, in its utterance, and using
those techniques of contemporary composition which can stand up to the
sometimes less-than-reverential treatment which any piece intended for
performance by several bands is apt to receive. Stewball (the name of a racehorse
so famous that a Southern folk tune celebrates his triumphs of the turf) will not “fall
apart” if the flugelhorns or the 2nd bassoon, or the Eb clarinet are absent. No
instrument is indispensable. This music “functions” indoors or outdoors with 50
players or 200! (Gail Kubik)
The name “Stewball” is a mutation of the original name, Skewbald, which was
descriptive of the markings on a horse . . . white patches on a non-black base coat.
The American interpretation upon which this version is based was a chain-gang
song with an African American 'call and response' style. The original music and
lyrics from England were “thoroughly overhauled” by slaves in the Southern United
States and as a result, the location of the famous race was changed to California
or various other sites in the United States.
There's a big race (uh-huh), down in Dallas (uh-huh)
Don't you wish you (...) were there? (...)
you would bet your ( ) bottom dollar ( )
On that iron ( ) grey mare ( )
Bet on Stewball & you might win, win, win
Bet on Stewball & you might win!
Way out / in California / when old Stewball / was born
All the jockeys / in the nation / said he blew there / in a storm
Now the value / of his harness / has never / been told
His sadlle / pure silver / & his bridle / solid gold
Old Stewball / was a racehorse / Old Molly / was too
Old Molly / she stumbled / Old Stewball / he flew
Vientos y Tangos...................................................................... Michael Gandolfi
Vientos y Tangos (Winds and Tangos) was commissioned by The Frank L. Battisti 70th
Birthday Commission Project and is dedicated to Frank Battisti in recognition of his
immense contributions to the advancement of concert wind literature. It was Mr.
Battisti’s specific request that I write a tango for wind ensemble. In preparation for
this piece, I devoted several months to the study and transcription of tangos from
the early style of Juan D’arienzo and the “Tango Nievo” style of Astor Piazzolla to
the current rend of “Disco/Techno Tango,” among others. After immersing myself in
this listening experience, I simply allowed the most salient features of these various
tango to inform the direction of my work. The dynamic contour and the various
instrumental combinations that I employ in the piece are all inspired by the
traditional sounds of the bandoneon, violin, piano, and contrabass.
Santa Fe Saga ................................................................................ Morton Gould
Since this school term corresponds with the 100th anniversary of Morton Gould’s
birthday, many bands in America are revisiting his works for winds and percussion.
Santa Fe Saga was composed in 1956 as part of a collaboration with ballet
choreographer Elliot Feld. It draws on the sounds of folk life in Santa Fe, New
Mexico, painting a vivid picture of the city and its people.
Santa Fe Saga is not among Gould's most performed compositions. As a result,
there are no videos of it on YouTube. There are three extant recordings: one by the
United States Air Force Heritage of America Band, another by the United States Air
Force Heritage of America Band of the West, and one by the Dallas Wind
Symphony. (program note written by Andy Pease and John Carmichael)
Upcoming School of Music Events:
Rutenberg Festival: Open Rehearsal 1 of Mendelssohn Octet
Friday, Oct. 5, 2012 10:00 am, Barness Recital Hall
Free Event
Open Rehearsals are free and open to the public, providing a unique,
informal look at the dynamics of Festival performances and artists. Join the
festival performers for a fascinating behind-the-scenes glimpse of artists
working together. Brief, informal Q&A ends each rehearsal. Free of charge
and open to the public, open rehearsals are a wonderful introduction to
chamber music for listeners of all ages (supervised children ages 7 and up
are welcome). For the full schedule of 2012 Rutenberg Chamber Music
Festival events, go to music.arts.usf.edu/rutenberg
Rutenberg Festival: Baumer String Quartet
Friday, Oct. 5, 2012 7:30 pm, USF Concert Hall
Advance Tickets: $8 Students/Seniors, $12 Adults
Day of Performance: $10 Students/Seniors, $15 Adults
Works by Britten, Haydn, and Brahms. USF welcomes the Baumer String
Quartet to celebrate the return of the Joan and Daniel Rutenberg Chamber
Music Festival this fall! This year's festival will include public masterclasses, open
rehearsals, q & a sessions, a guest artist recital, and a collaborative concert
featuring the Baumer String Quartet with our own USF resident artists and
chamber music students.
Rutenberg Festival: Baumer Quartet with USF Faculty & Students
Saturday, Oct. 6, 2012 7:30 pm, USF Concert Hall
Advance Tickets: $8 Students/Seniors, $12 Adults
Day of Performance: $10 Students/Seniors, $15 Adults
The concert will feature works by Piazzolla, Schubert, Britten, Mendelssohn,
and many more! The Rutenberg Festival presents a Chamber Music Recital
featuring Baumer String Quartet with USF resident artists and USF chamber
music students.
For additional information and to purchase tickets, visit music.arts.usf.edu
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