USF Wind Ensemb le : 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:

Rutenbe rg Fes t i va l : Open Rehea rsa l 1 o f Mende l ssohn Oc te t 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

Rutenbe rg Fes t i va l : Baumer S t r i ng Qua r te t 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.

Rutenbe rg Fes t i va l : Baumer Qua r te t w i th USF Facu l ty & S tuden ts 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

Join The Conversation

Follow us on your favorite social media platform Visit www.arts.usf.edu/socialmusic

USF is an EO/EA institution