Salida High School Band
|André Wilkins, Director of Bands|
|A Sailors Odyssey||David Bobrowitz (b. 1945)|
|Two Grainger Melodies||Percy Grainger (1882-1961)|
|Transcribed by Joseph Kreines|
|Kentucky 1800||Clare Grundman (1913-1996)|
WSCU Symphony Band
|John Wacker, conductor|
|Trevelyan Suite||Malcolm Arnold (1921-2006)|
|Transcribed by John Wacker|
|Concert Piece for Trumpet and Band||Timothy Broege (b. 1947)|
|John Wacker, trumpet|
|Heather Roberson, guest conductor|
|Suite from Carmina Burana||Carl Orff (1895-1982)|
|Arranged by Fredrick K. Weekes|
|Transcribed by John Wacker|
|I. Fortune plango vulnera|
|II. In trutina|
|IV. Amor volat undique|
|V. In taberna|
WSCU Symphony Band and Salida High School Band
|Linden Lea||Ralph Vaughan Williams (1872-1958)|
|Arranged by John W. Stout|
|André Wilkins, conductor|
|Toccata for Band||Frank Erickson (1923-1996)|
|John Wacker, conductor|
Students in the Symphony Band have helped produce these program notes – we hope you enjoy their perspectives on the works we will be playing.
Trevelyan Suite Malcom Arnold, 1921-2006
Malcom Arnold is chiefly known for his film scores such as Bridge on the River Kwai. He also composed many more traditional pieces such as The Trevelyan Suite which was written for the opening of Trevelyan College at the University of Durham (UK) on March 12th, 1968. The whole piece is viewed by some musicians as an academic work, but there are some lovely musical elements.
The opening movement of the Trevelyan suite is Palindrome, which means a word or phrase that is the same read backwards or forwards. For example "Racecar" when the letters are reversed is still "Racecar". This movement is written in this style: if played from bottom to top it would be the same as played top to bottom. It opens with an accentuated pattern between the high and low voices, giving way to a lyrical second theme. A short unison passage marks the point in which it reverses then we play the same passages except reversed to create the true palindrome effect. Listen for the woodblock to mark the spot where the music starts going back to the beginning. Kevin McCall, baritone sax.
The second movement is entitled Nocturne, which is a musical style that embodies the night. Whereas most night music is pastoral or gloomy (think of the Chopin piano nocturnes), this particular movement is more… spooky. It’s the sort of night music where you’re walking alone in the pitch darkness with only the thin light of the stars to see by. The opening theme was written originally for bassoon, but here is played by bass clarinet. Elizabeth Finegan, bass clarinet.
Apotheosis in music refers to the appearance of a theme in grand or exalted form. In this case it sounds like a fanfare representing a person of high importance such as a king. I would like to believe that in this movement that king is the tuba player who has a stately descending line which holds everything together while the other instruments pay tribute. Nathaniel Ley, tuba.
Concert Piece for Trumpet and Band Timothy Broege
Concert Piece for Trumpet and Band was composed and first performed in 1975. Following the premiere the work was thought to be lost or misplaced and was forgotten by even the composer. It was not until 1992 that the score and parts were rediscovered in the band library of Oconomowoc Middle School in Wisconsin. It was then performed at the 1992 convention of the American School Band Directors Association under the direction of Tonya Broyles-Brouillard with guest soloist Jack Sutte.
Concert Piece for Trumpet and Band is written in a single movement with a recurring fanfare theme that appears at important places; beginning, middle and end. The fanfare theme provides the unity that brings together the lyrical and secondary themes. After the opening fanfare, the trumpet is given a slow lyrical melody which leads into a brief cadenza. The fanfare figure provides a transition to the second section of the piece, a brief scherzo with a western themed melody. The fanfare appears briefly one last time as the work ends in quickly in a joyous and triumphant mood.
Carmina Burana Carl Orff
Carmina Burana was composed by Carl Orff (1895 – 1982) in 1935 & 1936, and is based on poems written in the 11th and 12th century by students and clergy. These poems describe the fickleness of fortune and wealth, the ephemeral nature of life, the joy of the return of Spring, and the pleasures and perils of drinking, gluttony, gambling and lust. There are 24 movements in the original composition; here we will perform transcriptions of five of them. This arrangement replaces vocal solos with instrumental ones, showcasing the talents of our musicians.
Our first selection, Fortune plango vulnera, laments the wounds fortune deals. In the first stanza, Opportunity is described as having hair only on the front of her head - she can be seized as she approaches, but once she has passed, a person grabs futilely at the back of her head. In the second and third stanzas reference is made to the Wheel of Fortune, a common motif in the Middle Ages and often represented in art, where it was conceived as a primitive Ferris wheel accommodating four - one up, one down, one about to achieve prosperity, one about to be plunged into misery. MJ Dau, clarinet.
Our second selection, In Trutina, marks the moment of decision for a young woman – should she remain chaste or submit to sensuality and lust?
Unlike the other movements in Carmina Burana, the Tanz does not have any Latin lyrics. Tanz in German means dance. Throughout the movement, an eighth note pulse is always constant. However, the movement’s meter changes from 4/4 to 3/8 which constantly alters where the down beat of the eighth notes goes. In order to keep the eight notes going, the band sometimes has to ignore what the conductor is doing. It is better for the band to listen to each other than watch the conductor, because watching the conductor gets confusing after a while. In the middle of the movement, all of the wild dancing stops for a flute and timpani solo. The flute plays the melody and the timpani keeps the eight note pulse going. After the solo is over, the dancing music returns. The movement ends with a loud chord and a motivic sixteenth run. I hope you enjoy listening to this fun movement of Carmina Burana. Stephanie Grote, flute.
In Amor Volat Undiu, an atmosphere of tender love and longing is conveyed through a dialogue among the instruments.
In Taberna gives the rushing, bustling atmosphere of a bar. Several conversations seem to be going on all at once. One gets the sense of tension building during the first section. Then the drunken trombones walk in and the whole atmosphere changes. The bass clarinet sings a song in praise of drink and eventually all join in for a raucous finale. Ian Weber, clarinet
Linden Lea Ralph Vaughan Williams
Linden Lea was the first song published by Vaughan Williams (1872 – 1958). Vaughan Williams worked tirelessly to discover and preserve English folks music that was rapidly disappearing due to the influence of recorded music. This song should resonate with Gunnison residents – it tells of forgoing city life for the freedom and natural beauty of the countryside.
Toccata for Band Frank Erickson
Frank Erickson (1923 – 1996) was a prolific composer of band music. The Toccata is deservedly one of his most frequently performed compositions. Erickson had a gift for writing music that makes the most of a band’s sound. Enjoy!