February – Valentine Concert
Love and Music in the Air…
I'm Seventeen Come Sunday
— Percy Aldridge Grainger/Arr. by Larry Daehn
In the search for an English national style, many among the musical avant-garde in the early 1900’s, considered traditional English folksong as something akin to the Holy Grail. Common as a broadside, the “amorous encounter” song was popular fare. I’m Seventeen Come Sunday, originally set for chorus and brass band, was scored by Percy Grainger in 1905, representing some of Grainger’s earliest folksong collecting using the Edison Bell wax cylinder phonograph.
The song tells the story of a “pretty fair maid” who is smitten by a wandering military man. The story ends well, but only after she tells the eager soldier that she will be seventeen come Sunday, and that she must wait so as not to displease her “mummy.” Grainger himself was also very close to his “mum,” who had a hand in his early development and career as a musician. So for his “mum,” and commemorating his passing in February 1961 we give you – “with a rue-rum-ray, fol-the-diddle-day, whack-fol-lare-diddle-I-doh,” – I'm Seventeen Come Sunday.
Ave Maria Para Nossa Mãe
– Gary P. Gilroy
The Ave Maria Para Nossa Mae, was composed in memory of Mrs. Maria Eulalia Avila, the composer’s mother-in-law. The title in Portuguese means, Hail Mary for our Mother.” The piece uses a theme borrowed from a musical clock owned by Mrs. Avila. It wasn’t until the funeral that the composer Gary Gilroy, when he heard those gathered sing the Ave Maria in Portuguese, recognized that it was the same melody. Intended as a memorial for this deeply religious life-loving woman, the theme weaves its way through the composition, resulting in the quiet peace and restfulness of the final tonic chords as they fade away. Representative of a son’s love for his mother, we give you – Ave Maria Para Nossa Mae.
Havendance
– David Rex Holsinger
The overture Havendance, was written by American composer David Rex Holsinger for his daughter, Haven. Holsinger likes to work with a title in mind, so the first of three “children’s dances,” reflects the driving rhythms and energy of an unbridled eight year old. The piece undergoes several variations in style, while evoking the image of a single dancer leaping and twirling wildly about the house. With over 50 band works to his credit, Holsinger’s music is often characterized by unrelenting rhythms, mixed meters, and polylineal textures, while reflecting a sense of sincerity and gratitude, delivered with high emotional impact. So “dance like nobody’s watching” – there’s space in the aisle. A father’s love for his daughter, we give you – Havendance.
Nessun Dorma (from “Turandot”)
– Giacomo Puccini/Arr. by Jay Bocook
Featuring Jason Elliot – Trombone
The beautiful aria Nessun Dorma comes to us from the opera Turandot, by Giacomo Puccini. The character Turandot, is the beautiful cold-hearted femme fatale princess who lures love-struck suitors to their death. Nice!! Anyone who wants to marry her is asked three riddles. If all are answered correctly, she must marry. If not, they are beheaded.
In the first act Calaf, the "Unknown Prince," rings the gong, signifying his declaration as a suitor. In the second act, he correctly answers the three riddles. According to the law, Turandot now has to marry Calaf, even though she doesn't want to. But instead of claiming his prize, Calaf now poses a riddle of his own, saying to her, “Tell me my name before morning, and at dawn I shall die.” Taken literally, this is a dumb move on his part – he's already won!! But he doesn't want her to marry him reluctantly. He intends to defeat her cold-hearted defensiveness hoping that she will actually fall in love with him. This is, in fact, exactly what happens at the end of the opera!! Anyway – Turandot puts out a decree that no one in Peking is allowed to sleep until the name is revealed. At the beginning of Act III, Calaf sings; “No one sleeps, no one sleeps – Even you, O Princess. In your cold room, watch the stars that tremble with love and with hope. But my secret is hidden within me. My name no one shall know. On your mouth I will speak it when the light shines, and my kiss will dissolve the silence that makes you mine.” Risky, but effective, Calaf wins her heart. Featuring Trombone soloist Jason Elliot, we present Nessun Dorma.
Selections from “The Phantom of the Opera”
– Andrew Lloyd Webber/Arr. by Warren Barker
The Phantom of the Opera is a musical by Andrew Lloyd Webber, based on the novel by French novelist Gaston Leroux. The musical focuses on a beautiful singer, Christine Daaé, who becomes the obsession of a mysterious, disfigured musical genius known as "The Phantom of the Opera," who terrorizes the Paris Opera House. He falls in love with an obscure chorus singer named Christine, privately tutoring her to become the lead actor while terrorizing the rest of the opera house. With the Phantoms help, Christine indeed becomes the venue's leading lady, but tragedy awaits as the young soprano has fallen for the charms of handsome noble Viscount Raoul De Chagny. Not realizing that her “Angel of Music” is deeply in love with her, the Phantom becomes insane with jealousy as the object of his affection, and ultimately his obsession, is in the arms of another man. Heartbroken, his despair quickly turns to furious rage, raising the stakes to the ultimate level as Christine must chose between her love for Raoul, and her strange attraction to the Phantom. Dark and brooding, we present this masterpiece of modern musical theater – The Phantom of the Opera.
The Belle of Chicago
– John Philip Sousa/Ed. by Frank Byrne
There is hardly an American, who doesn’t recognize the name John Philip Sousa. Known particularly for dozens of American military marches, he is known widely as "The March King". Born in Washington, D.C., to a Portuguese father and Bavarian mother, Sousa enlisted in the United States Marine Band at the age of 13. John Philip became the leader of the Marine Band from 1880 to 1892. Following his service in the Marine’s, Sousa organized his own band in 1892. The band toured the globe, and in 1900, represented the United States at the Paris Exposition. As radio came into vogue as an entertainment medium, Sousa repeatedly refused to conduct on the radio, fearing a lack of personal contact with the audience. He was finally persuaded to do so in 1929 where he and his music became a smash hit – sort of a rock star in his time.
Sousa completed the band full score of the Belle of Chicago on July 23, 1892, at the time of the creation of the Sousa Band, incidentally based in Chicago. Some have speculated that the title was intended for Ada Blakely, the wife of his new manager. Unfortunately, a press clipping from the time shows that the initial reaction to the piece was not everything Sousa might have hoped. What he intended as a salute to the ladies of Chicago received the following criticism. “Mr. Sousa evidently regarded the Chicago belle, as a powerful creature with the swinging stride of a giant, a voice like a fog horn, and feet like sugar cured hams”. For the ladies of Chicago, we give you The Belle of Chicago.
March – Music in our Schools Month
Music Touches Lives…
O Magum Mysterium
– Morten Lauridsen/Arr. by H. Robert Reynolds
Morten Lauridsen (b. 1943), is a longtime faculty member at the University of Southern California. Lauridsen wrote O Magnum Mysterium for the Los Angeles Master Chorale in 1994. His inspiration was the nativity, and the irony of the new-born King, lying with barn animals. The piece has become one of the composer’s best known and most often performed works. The setting for band by H. Robert Reynolds preserves this “quiet song of profound inner joy.”
Scenes from “The Louvre”
– Norman Dello Joio
A descendent of three generations of Italian organists, Norman Dello Joio (b. 1913), grew up in New York City surrounded my music and musicians. He attended the Julliard School and Yale University, where he was a student of Paul Hindemith. In addition to the Scenes from “The Louvre,” which won an Emmy in 1965, Dello Joio also won the Pulitzer Prize in 1957.
The work is derived from the original score for an NBC television special about the museum that aired in 1964. The five movements are intended to be programmatic, and are intended to reflect the museum’s development during the Renaissance, with each movement based on actual Elizabethan melodies.
Appalachian Overture
– James Barnes
Professor James Barnes, a member of both the History and Theory-Composition faculties at the University of Kansas, teaches orchestration, arranging and composition courses, and wind band history and repertoire courses. His numerous publications for concert band and orchestra are extensively performed at Tanglewood, Boston Symphony Hall, Lincoln Center, Carnegie Hall and the Kennedy Center in Washington, DC.
Commissioned by The Alamance Co., North Carolina Public Schools, the overture features traditional folk melodies, syncopated rhythms, and changing meter. Evocative of American program music, the Appalachian Overture has quickly become part of the standard literature for concert band.
Amazing Grace
– Frank Ticheli
The origins of the now familiar melody known to us as Amazing Grace, is assumed to be seventeenth-century Appalachian in origin. Based on the pentatonic (or five-note scale), the tune was originally published in 1835 as “New Brittain” in William Walker’s shape-note tunebook, The Southern Harmony.
This arrangement for concert band by Frank Ticheli was commissioned by John Whitwell in loving memory of his father. It was first performed on February 10, 1994 by the Michigan State University Wind Symphony, John Whitwell conductor.
Run Boys Run
– Walter Cummings
Originally the third movement of Walter Cumming’s, Appalachian Trilogy, Run Boys Run was commissioned by the Waynesville Middle School Band, Waynesville North Carolina. The work is based on the Appalachian folk song “Bun Boys Run.” Intended as program music, the composer details the following scenario: A group of Boy Scouts hiking along the Appalachian Trail encounters a large black bear. The bear playfully terrorizes the scouts, and chases them at breakneck speed up the trail. Finally, the chase is broken off, and the Scouts march happily (and with great relief) into the sunset.
April – Spring Pops Concert
Oh, the Places You’ll Go!!
Fanfare and Flourishes (for a Festive Occasion)
– James Curnow
Based on Marc-Antoine Charpertier’s “Te Deum” – Fanfare and Flourishes for a Festive Occasion, was commissioned for the 1991 European Brass Band Championships held in Rotterdam, Holland. The premier performance was given by the Black Dyke Mills Brass Band during the gala concert. Arranged for concert band by the composer, we present James Curnow’s – Fanfare and Flourishes.
With Each Sunset (Comes the Promise of a New Day)
– Richard L. Saucedo
Written in memory of Jack Hensley from Cobb County, Georgia, With Each Sunset by Richard Saucedo, commemorates a life lost in the service of another nation. Hensley, “a wonderful husband and father,” was killed in Iraq in 2004. We would like to dedicate this performance to the men and women serving overseas, and offer our most heartfelt thanks for their dedication and sacrifice – in the service of others.
Africa – Ceremony, Song and Ritual
– Robert W. Smith
Africa – Ceremony, Song and Ritual, composed by Robert W. Smith, is based on the primitive folk music of Western Africa. Inspired by the recording research of Mr. Stephen Jay, the work features traditional dance music, as well as dynamic percussive invocations and indigenous songs.
African musicians feel that they bring life to their instruments just as God gives life to them. As a result, individual instruments are believed to possess consciousness, and are treated with the same respect and reverence given to an honored living person. For example, the drum – featured throughout the work, is considered not only instrument, but also sacred object, and is believed to be endowed with mysterious power. As the piece unfolds, the mind is set to experiences a wide range of emotions, including; fear, grief, joy and hope.
Air (Dublinesque)
– Billy Joel/Arr. by Barbara Lambrecht
Set in Long Island in the ‘60’s, the musical Movin’ Out, was conceived by visionary choreographer Twyla Sharp, and set to the music of pop icon, Billy Joel. The score combines 24 songs written by Joel, and features a plot with no dialog – just music and dance to tell the turbulent story of five friends, who over the course of two decades, find their lives would change irreversibly. Set against the backdrop of the Vietnam War, the story chronicles the path of innocence, doubt, hate, loss, redemption, and forgiveness. Ultimately, the friends reunite to discover they have all found their way back home.
Billy Joel has had 33 Top 40 hits, and 23 Grammy nominations since signing his first solo recording contract in 1972. In 1999, he was inducted into the Rock and Roll Hall of Fame. Opus 10, the Air (Dublinesque), appears on the album Fantasies & Delusions (Music for Solo Piano), and was arranged for concert band by Barbara Lambrecht.
Salute to Bob Hope
– Arr. by Warren Barker
Born Leslie Townes Hope, Bob Hope was an English-born Academy Award winning entertainer, who appeared in vaudeville, on Broadway, in radio, television, and movies. He is also known for his work with the United States Armed Forces, through his renowned USO tours, featuring many talented performers and celebrities from Marilyn Monroe to Betty Grable.
Bob Hope, who began is movie career during the Golden Age of Hollywood, became one of Paramount Pictures biggest stars. He was best known for his role in My Favorite Brunette, and the highly profitable “Road” movies in which he starred with Bing Crosby and Dorthy Lamour. In this arrangement by Warren Barker, we feature; “The Road to Morocco,” “Moonlight Becomes You,” “Buttons and Bows,” “Two Sleepy People,” and his ever-present theme song – “Thanks for the Memories.”
La Banda Nascente
– B. Sbraccia
La Banda Nascente (Nah-SHEN-teh), was written in the early 1900’s by the Italian composer B. Sbraccia. The title translates to, ‘the birth of the band.” Little is known about the composer, but sources in Italy indicate that he may have been one of the many Italian composers who came to the United States for several years, to study and write music for Italian-American bands. Italian musicians have made significant contributions to American wind band music, especially in the early part of the twentieth century. Many immigrants started bands in the eastern part of the U.S., which often toured the country. These bands performed transcriptions of opera music, as well as military marches. Several of the musicians then settled in the United States.
The Journey of Yan Si Meng
– Gabriel Musella
The Journey of Yan Si Meng (Yen-Sooa-Mung), was commissioned by Reed Middle School band of Duncanville, Texas. During the spring semester of 2002, their conductor Tammy Fedynich (Fe-day-nich), was blessed by the arrival of Emily Ruth Fedynich, who was born to Chinese parents in the Fujian province of southern China. To celebrate this occasion, Ms. Fedynich requested that Gabriel Musella write an upbeat piece with a decidedly Asian flavor. To this end, the composer has taken three Chinese folk songs, and set them against “westernized” harmonic backgrounds. This “Americanization,” serves as a metaphor for what awaits young Emily in the years ahead. Yan Si Meng is Emily’s Chinese name which means “always dreaming.”
The Voyageurs
– Pierre La Plante
The Voyageurs were the hardy French-Canadian fur traders, who canoed the inland lakes and rivers during the great fur trading era in Canada and the upper mid-west in the mid-eighteenth and early nineteenth centuries.
One of the most common songs was the “paddling” song, sung in time to move the canoes along at a brisk and steady pace. En Roulant (rolling along), was one of the most popular of these songs. The tunes were short and very singable. You will hear the sound of paddles slapping the sides of the canoe, signaling their approach. A La Claire Fontaine (At the clear fountain), has been called French Canada’s unofficial national anthem. It was known by voyageurs everywhere, and could be sung for any occasion. The great rendezvous at Grand Portage in late June and early July, was a much anticipated event in the life of a voyageur. Located on the western shores of Lake Superior, Grand Portage served as a junction point in the vast expanse of waterways that extended from east to west. Winter-Dwellers traveled to Grand Portage with their canoes loaded with furs destined for market in Europe and the eastern United States. Oh, the places you’ll go!! Vive Les Voyageurs!!
Hands Across the Sea
– John Philip Sousa/Ed. by Keith Brion and Loras Schissel
The unprecedented popularity of the Sousa Band came at a time when few American orchestras existed. From the Civil War until about 1920, bands, not orchestras, were the most important aspect of American Concert life. The official premiere of Sousa’s Hands Across the Sea, was performed in his beloved Philadelphia. The occasion was an April 21, 1899 Sousa Band concert at the Academy of Music. The band was obliged to repeat it three times. It has been suggested that Sousa was inspired by an incident in the Spanish-American War, in which Captain Chichester of the British Navy came to the support of Admiral Dewey at Manila Bay. More likely, the march was written simply as an expression of friendship and good feeling toward all those people of foreign lands who regard us so favorably. Edited by Keith Brion and Loras Schissel, we give you Hands Across the Sea.
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