CAMPUS “MAIZE” BAND
CAMPUS “BLUE” BAND
Andrea Brown, Conductor
Eric Laprade, Graduate Student Conductor
UNIVERSITY BAND
John Pasquale, Conductor
Nicholas Cagle, Graduate Student Conductor
Sunday, April 6, 2014
Hill Auditorim
3:00 PM
Campus “Blue” Band
STUART, THREE AYRES FROM GLOUCESTER
Hugh M. Stuart was born in Harrisburg, Pennsylvania. He received his music training from the Oberlin
Conservatory of Music, Columbia Teachers College, Rutgers University, Newark State College, and the
University of Michigan. He taught instrumental music in the schools of Maryland and New Jersey for 33
years. Stuart wrote more than 100 compositions, arrangements, method books, band and orchestral
collections, solos, and ensembles in the educational field.
Three Ayres from Gloucester was completed in 1969. About the work, the composer states:
Three Ayres from Gloucester came into being as a result of my fascination with an old
10th Century couplet: “There’s no one quite so comely as the Jolly Earl of Cholmondeley”. The
resulting three movements, The Jolly Earl of Cholmondeley, Ayre for Eventide and The Fiefs of
Wembley, are in early English folk song style and are designed to capture the mood of the
peasants and their life on the fiefs of Wembley castle.
BOURGEOIS, SERENADE FOR WIND BAND
British composer Derek Bourgeois is credited with writing thirty-five symphonies, seventeen concertos,
several other extended orchestral works, seven major works for chorus and orchestra, two operas and a
musical. He has also composed twelve extended works for brass band, six symphonies for symphonic
wind ensemble and music for television productions. He studied at Cambridge University and the Royal
College of Music and served on the faculty of Bristol University. He is also a well-known conductor,
serving as the Music Director of the National Youth Orchestra of Great Britain and the Bristol
Philharmonic Orchestra.
Bourgeois wrote the Serenade for his own wedding, to be played by the organist as the guests left the
ceremony. Not wishing to allow them the luxury of proceeding in an orderly 2/4, the composer wrote the
work in 11/8. The work, originally written for organ, has been released in a number of different
orchestrations including this version for the modern wind band.
TICHELI, SIMPLE GIFTS: FOUR SHAKER SONGS
Frank Ticheli is an internationally recognized composer. He earned his bachelor’s degree from Southern
Methodist University in 1980 and his M.M. and D.M.A. from the University of Michigan, where he
studied with William Albright, Leslie Bassett, William Bolcom, and George Wilson. His compositions
and efforts to promote the creation of high-quality literature for band have garnered numerous awards,
including the Charles Ives and Goddard Lieberson Awards (both granted by the American Academy of
Arts and Letters), the Walter Beeler Memorial Prize, the 2006 NBA/William D. Revelli Memorial Band
Composition Contest, and the 2009 A. Austin Harding Award from the American School Band Directors
Association.
The Shakers were known for their architecture, crafts, furniture, and perhaps most notably, their songs.
Shaker songs were traditionally sung in unison without instrumental accompaniment. Singing and
dancing were vital components of Shaker worship and everyday life. Simple Gifts: Four Shaker Songs is
built on four Shaker melodies. The first movement is based on the tune, “In Yonder Valley”, which is
considered to be the oldest surviving shaker song with text. The second movement, called “Dance”, uses
a Shaker dance tune from the 1830s. Tunes such as this were often sung by a small group of singers while
the rest of the congregation danced. The third movement is based on the Shaker lullaby “Here Take This
Lovely Flower,” which is a gift song – music received from the spirits by the Shakers. The fourth
movement is based on perhaps the most well known gift song, “Simple Gifts.”
BACH, JESU JOY OF MAN’S DESIRING
In his final job as Cantor of the Thomaskirche in Leipzig, Johann Sebastian Bach had the unenviable task
of composing, rehearsing, directing, and performing nearly 60 sacred cantatas a year. Over his lifetime he
would write some 400 of these, though sadly nearly half are lost. The Cantata No. 147 (Herz und Mund
und Tat und Leben) was first performed on 2 July 1723. The final chorale is Jesus, des Menschen Freude
(Jesu Joy of Man’s Desiring). The work is in the form of a cantus firmus chorale prelude, where the
melody appears in long notes within an inner voice, which is orchestrated below a more elaborate triplet
melody woven contrapuntally around it.
Note by Nikk Pilato
KARRICK, J.S. JIG
Brant Karrick is an active guest conductor, adjudicator, clinician composer and music arranger. His band
compositions have been performed throughout the US, Europe and Australia. Karrick serves on the
faculty of Northern Kentucky University, where he serves as Director of Bands. Prior to his time at
Northern Kentucky University, Karrick taught at the University of Toledo and in the public schools of
Kentucky. He holds a Ph.D. in Music Education from Louisiana State University.
Written in October of 2006, J.S. Jig is a dance that fuses themes of J.S. Bach into a lilting 6/8 Irish jig.
The first sketch consists of the main theme, initially as a fugue, and includes a short quote of Bach’s
much-loved “Jesu Joy of Man’s Desiring.” As the composer continued to play with the theme,
experimenting with harmonies, colors and orchestration, he began to imagine old Johann himself along
with some good-humored Irish musicians looking over his shoulder. He wanted them to all be pleased
and like the music! To further pay homage to Bach, he decided to include the Bach chorale “Was Gott tut,
das ist Wohlgetan,” a chorale which the composer’s father had transcribed and had become a favorite of
the composer.
Maize and Blue Combined Band
BRYANT, WHIRLWIND
Steven Bryant is an active composer and conductor with a varied catalog, including works for wind
ensemble, orchestra, electronic and electro-acoustic creations, chamber music, and music for the web.
Notable commissions include cellist Caroline Stinson, pianist Mia Paul, the Japanese Wind Ensemble
Conductors Conference, the Calgary Stampede Band and the University of Texas-Austin Wind Ensemble.
He is a three-time winner of the National Band Association’s William D. Revelli Composition Award and
he is founding member of the composer-consortium: BCM International. Bryant studied composition with
John Corigliano at The Juilliard School, Cindy McTee at the University of North Texas, and Francis
McBeth at Ouachita University.
Whirlwind is a brief, caffeinated work for winds and percussion. Developed entirely from the opening
scalar gesture, the music perpetually swirls around and through the ensemble, unfurling into a bombastic
climax, and then abruptly dissipating into thin air.
Campus “Maize” Band
FILLMORE AMERICANS WE
Henry Fillmore was an American composer and publisher credited with writing over 250 tunes and
arranging hundreds more. Fillmore enrolled in the Cincinnati Conservatory of Music in 1901 and
published his first march, Higham, at the age of 18. In 1927, Fillmore created his own professional band,
one of the last in a long line of professional bands in America. Fillmore and his band toured the country
and became known for their showmanship, entertaining style and prevalent use of the trombone smear.
Noting the exuberance in this march, American composer Paul Yoder reminisced that Fillmore had once
told him that he wrote music “to make people happy.”
Fillmore had problems deciding on a title for his Americans We march. His band was giving a series of
concerts at the local zoo so he would introduce the new work as The Cincinnati Zoo one day and Pure
Food and Health the next. Finally, realizing it was probably his finest march, he published it in 1929 as
Americans We and dedicated it to: “all of us”.
KONAGAYA, JAPANESE TUNE
Soichi Konagaya, a native of Kamakura, Japan, is a well-known composer, percussionist and conductor.
After graduating in 1973 from Tokyo National University of Fine Arts and Music, he became an arranger
for CBS Sony. He has written several works for the Tokyo Ballet Company and in 1989 he was
commissioned to write a piece for the All Japan Band Competition. He serves as an advisor to the Japan
Band Clinic, a board member for “KYO EN 21st Century Wind Music” and conductor of Wind Ageo
Citizens’ Wind Band.
Japanese Tune was commissioned by the Zushi Kaisei High School Band and published in 1987. The
piece is in four sections and includes three traditional Japanese folk tunes: The Genroki Flower Festival
Danse, Cherry Blossoms and Yagi Bushi. Each of the folk tunes is presented in a different character
highlighting the unique colors, sounds and ornamentation of traditional eastern music.
GRAINGER, IRISH TUNE FROM COUNTY DERRY
Percy Aldridge Grainger was born in Brighton, Victoria, Australia on July 8, 1882. His musical precocity
was recognized early, and his mother soon took him to study piano and composition in Germany. By
1904, the pair was living in London and remained there through 1914 when Percy moved to the United
States at the onset of World War I. His relocation opened the door to the world of American bands. His
original compositions and settings for wind band are noted for his masterful scoring and have become
cornerstones of the wind band repertoire.
“Irish Tune from County Derry” was collected by Miss J. Ross of New Town, Limavady, County Derry,
Ireland, and first published in the collection of Irish music previously referenced. Grainger’s setting for
band is the final of four orchestrations of virtually the same music between 1902 and 1918. The composer
was emphatic that his settings were designed to enrich the melody and not to paint the text of this famous
tune, more popularly known as “Danny Boy.”
BEETHOVEN, ALLEGRO MODERATO FROM TWO GERMAN DANCES
The Two German Dances were selected from a set of 12 minuets and 12 German dances that Ludwig van
Beethoven composed for orchestra in 1795, at which point he already lived in Vienna. The minuets and
dances were composed for the Ball der Gesellschaft der bildenden Kuenstler, an important social event
that took place in Vienna every year and helped lay the foundation for the development and popularity of
the Viennese Waltz. Howard Kilbert provides the transcription for wind band.
REED, EL CAMINO REAL
Alfred Reed grew up as Alfred Freedman in Manhattan as a first-generation American. In 1938, he started
working in the Radio Workshop in New York as a staff composer/arranger and assistant conductor. With
the onset of World War II, he enlisted and was assigned to the 529th Army Air Corps Band. During his
three and a half years of service, he produced nearly 100 compositions and arrangements for band. After
his discharge, Reed enrolled at the Juilliard School of Music and studied composition with Vittorio
Giannini. He later became a professor of music at the University of Miami, where he served until his
retirement in 1993.
El Camino Real: A Latin Fantasy was commissioned by the 581st Air Force Band and its commander, Lt.
Col. Ray E. Toler. The fantasy is based on a series of Spanish folk melodies and underscored by chord
progressions used by generations of flamenco guitarists, whose fiery style and brilliant playing have
created a vast body of what many consider authentic Spanish music. The music follows a traditional fastslow-fast pattern, with a first section that is based on the dance form known as the jota, and second
contrasting section derived from the fandango.
University Band
FUČIK, FLORENTINER MARCH
Although most audiences remember Julius Fučik for his Entry of the Gladiators March, a recent
international popularity poll indicates a preference for his Florentiner March. The length and content of
this march lead the listener to suspect that, like Sousa with his Free Lance March, Fučik must have
attempted to condense the most important material for an operetta into a march.
The work opens with a short bugle fanfare and proceeds directly into a strain of repeated notes which
seem to picture a flighty Florentine signorina chattering to her gentleman friend from Berlin who is given
only enough time to answer a (two-note) "ja-wohl!" occasionally. The work continues with another
fanfare; a light and beautiful trio melody; an interlude; and a triumphant repeat with a challenging piccolo
part.
In the November 1969 issue of The Instrumentalist, Uno Andersson notes that this march was originally
titled La Rosa de Toscana, but that political reasons forced the composer to change his salute from the
entire region of Tuscany to its capital, Florence.
Program Note by Norman Smith
SUSATO, SELECTIONS FROM THE DANSERYE
Tielman Susato, born circa 1510, was a music publisher, composer, and instrumentalist active in the
southern Netherlands. A player of sackbut, trumpet, crumhorn, flute, and recorder, Susato frequently
performed for the evening service of the Confraternity of Our Lady and as a member of Antwerp’s
municipal band. The first documentation of Susato as a publisher dates to 1529, when he served as a
calligrapher. By 1541, he was the most prominent music publisher in the region. Most of Susato’s
publications were anthologies of works by Flemish composers active in the Low Countries and at the
Imperial Court, including important collections of the music of Josquin des Prez and Orlando di Lasso.
Many of his other publications were compilations of folk and popular music of the era, mainly dances
written for lute, keyboard, or instrumental ensembles.
The Danserye (Het derde musyck boexken . . . allerhande danserye) was published in 1551 as an
extensive collection of short and varied dance music. Dancing was a regular part of social interaction
among the upper class and proficiency in dancing was a primary requisite of any young noble’s
upbringing. The music used to accompany courtly dances was generally divided into distinct formal
sections with clearly defined rhythmic patterns. The Danserye was published without a prescribed
instrumentation but included the suggestion, “pleasing and appropriate to be played on musical
instruments of all kinds.” In 1551, a noble court’s instrumental forces may have varied widely based
upon the wealth of the particular court and the ease of acquiring instruments or performers. Writing
music for flexible instrumentation allowed Susato to maximize his base of consumers. During this
period, instruments were generally used in homogeneous groups, or “consorts.” Variety of sound would
have been achieved either by alternating between different consorts, or by mixing members of consorts.
This particular arrangement, prepared by Patrick Dunnigan, capitalizes on the various consorts contained
within the modern wind band.
Note by Dustin Barr
PROKOFIEV, MARCH IN B-FLAT FROM A SUMMER’S DAY SUITE
In 1935, Sergei Prokofiev was receiving pressure from the Soviet government to produce music that was
accessible to children. His response to these directives was the creation of a twelve movement
pedagogical piano piece entitled “Music for Children.” The positive public reaction to the work
compelled the composer to create an orchestral suite using seven of the original movements; which he
completed in 1941 and titled Summer Day Suite. This arrangement for concert band is based on the fifth
movement of the orchestral suite. It is a march in title and style but is also contains a touch of the satirical
tone found in many of Prokofiev’s works.
BRYANT, IDYLL
Steven Bryant’s musical interests span a variety of genres, and his catalog includes numerous works for
wind ensemble, orchestra, electronic and electro-acoustic creations, chamber music, and music for the
web. In addition to his works for professional performers, his strong belief in the importance of music
education has led him to create a number of works that are accessible to young musicians. He studied
composition with John Corigliano at The Juilliard School, Cindy McTee at the University of North Texas,
and Francis McBeth at Ouachita University.
Idyll is a simple, pastoral work, meant to showcase the intimate side of the wind ensemble. The music is
tranquil, featuring small groups of instruments in varying combinations, never rising above mezzo- forte
in volume.
Idyll was commissioned by the Kappa Kappa Psi North Central District; of which the Lambda chapter,
located at the University of Michigan, is a part.
Note by the composer
MACKEY, STRANGE HUMORS
John Mackey holds a Master of Music degree from The Juilliard School and a Bachelor of Fine Arts
degree from the Cleveland Institute of Music, where he studied with John Corigliano and Donald Erb,
respectively. Mr. Mackey particularly enjoys writing music for dance and for symphonic winds, and he
has focused on those mediums for the past few years.
Strange Humors represents another of Mackey's works (after "Redline Tango") that has been transcribed
for wind ensemble. The first version of "Strange Humors" was a student piece for string quartet and
djembe that Mackey wrote while pursuing his graduate degree at The Juilliard School. It was later
adapted for use by the Parsons Dance Company, with choreography by Robert Battle. Its transcription
came at the behest of Richard Floyd on behalf of the American Bandmasters Association. The piece
represents a merging of musical cultures -- the modal melodies and syncopated rhythms of middle Eastern
music with the percussive accompaniment of African drumming.
At the heart of the work lies the pulse of the djembe, which remains from the original version. The
djembe, an hourglass-shaped drum played with bare hands, is a major part of the customs of west African
countries such as Mali and Guinea, where djembe ensembles accompany many functional celebrations of
society.
The piece opens with a sultry English horn solo, a line laced with Phrygian influence representing the
"typical" melodies of the most northeastern parts of the African continent -- most notably Egypt, but also
parts of the Arabian peninsula. Later, the saxophones emulate the snaking lines of the English horn. The
addition of brass and auxiliary percussion to the original orchestration makes for particular impact during
the shout sections of the piece, and the groove of the djembe combined with the quirky rhythms
throughout leave an impression that lingers in the listener's mind long after its conclusion.
Note by Jake Wallace
ARNOLD, FOUR SCOTTISH DANCES
Born on October 21, 1921 at Northampton, England, Malcolm Arnold was educated at the Royal College
of Music in London, where he majored in composition with Gordon Jacob. He performed professionally
as a trumpet player in the BBC Symphony and the London Philharmonic, and starting in 1948, he devoted
his talents almost exclusively to composition. During his lifetime he was highly sought-after as a
composer, writing primarily tonal works.
The composer offers the following remarks regarding the work:
“These dances were composed early in 1957, and are dedicated to the BBC Light Music Festival. They
are all based on original melodies but one, the melody of which is composed by Robert Burns.
The first dance is in the style of a slow strathspey-a slow Scottish dance in 4/4 meter-with many dotted
notes, frequently in the inverted arrangement of the "Scottish snap." The name was derived from the
strath valley of Spey. The second, a lively reel, begins in the key of E-flat and rises a semi-tone each
time it is played until the bassoon plays it, at a greatly-reduced speed, in the key of G. The final
statement of the dance is at the original speed in the home key of E-flat.
The third dance is in the style of a Hebridean Song, and attempts to give an impression of the sea and
mountain scenery on a calm summer's day in the Hebrides. The last dance is a lively fling, which
makes a great deal of use of the open string pitches of the violin (saxophones in the band edition).”