Saskatoon Concert Band (Concert Notes/Programme) page 2

Mannin Veen *Haydn Wood*	Haydn Wood was born in Yorkshire but grew up on the Isle of Man. The seventeenth century writer, Chaloner, said that the Manx people were "much addicted to the music of the violin, so that there is scarce a family on the island that doesn't more or less play upon it, but as they are ill composers, so are they bad players." Wood, however, was a talented fiddler, which led him into the Royal College of Music, where he became a popular composer. "Mannin Veen" is an arrangement of four Manx folk tunes which the composer no doubt learned as a child. They are: "The Good Old Way", an old and typical air, which is introduced by our very talented clarinet section, followed by "The Manx Fiddler", a lively reel, then "Sweet Water in the Common", a lovely and lilting tune, and ending with "Harvest of the Sea", which is a Manx fisherman's evening hymn of thanksgiving for a safe return from the sea. This is Haydn Wood's "Mannin Veen"
Caccia and Chorale *Clifton Williams*	This piece is described by its composer, Clifton Williams, as "philosophical" and "pictorial". The Italian word "Caccia" means hunt or chase. The Caccia is intended to reflect the preoccupation that people have with the world and the constant pursuit of materialistic goals. Near its frenzied end, the caccia is interrupted by a morse code-like figure in the high woodwinds, which is based on the symbols for D - E - G. These are the intials of Donald E. Greene, conductor of the Wisconsin State University Wind Ensemble, which commissioned Clifton Williams to write the piece. This morse code pattern persists over sustained block chords, suggesting the futility of the chase. In contrast to the Caccia, the Chorale section is described by the composer as an "urgent plea for greater humanity and a return to religious or ethical concepts." The piece ends with a somewhat unresolved, restless feeling. Here is Clifton Williams " Caccia and Chorale".
Dona Nobis Pacem, Grant Us Thy Peace *J. S. Bach/Ted Peterson*	"Grant Us Thy Peace" is Ted Peterson's arrangement of the well-known canon "Dona Nobis Pacem" by J. S. Bach. Although Bach probably originally wrote this melody for Christmas, it carries particular significance in the season of Remembrance, as it is a simple plea for peace.
Battle Pavanne *Tielman Susato*	Tielman Susato was a 16th century composer, arranger, and publisher of music. He was also a trumpet player and caligrapher at Antwerp Cathedral. Susato arranged a collection of popular dance tunes, including this Battle Pavanne, which has been arranged for concert band by Bob Margolis. A pavanne is a kind of staide music, for grave dancing, in which each of three strains is palyed or sung twice. One might envision a performance of 16th century dancers dressed as soldiers, or a sort of Renaissance marching band piece for processional use. This arrangement builds form a calm opening to a broad, triumphant climax. Here is Susato's "Battle Pavanne".
In Memoriam: An Elegy For the Fallen *Alfred Reed*	American composer Alfred Reed enlisted in the Air Force during WW II, and was assigned to the 529th Army Air Force Band. During his three years with this organization, Reed became deeply interested in concert band music, and he produced nearly 100 compositions and arrangements for band before leaving the service. Later, he composed "In Memoriam: An Elegy For the Fallen" for the Illinois State University Concert Band.
Rondo Capricci *John Jeshlick*	"Rondo Capriccio", by John Jeshlick, was commisioned in 1979 for the Louisiana State University Symphonic Band. This piece follows the structure of a classical rondo. It is simple and whimsical in character, but not without a good deal of technical display. You will hear a range of textures, from light and melodious to heavy and percussive. This is "Rondo Capriccio" by John Jeshlick. The Symphonic Suite from "Monsignor", by John Williams, has been arranged for concert band by Paul Jennings. The original setting of the opening and closing section was a majestic Gloria for orchestra, organ, and choir. A contrasting middle section called "Seeing Rome" is typical of the light "traveling music" that Williams does so well. Here is Jenning's arrangement of John Williams" Symphonic Suite from "Monsignor".
Tribute to the Count *Count Basie/Sammy Nestico*	Count Basie's contribution to the history of jazz has been monumental. A legend since the early thirties, Basie led his band through five decades, bringing us some of the greatest classics of Big Band music. This Sammy Nestico arrangement offers some of the best of Basie's smooth, slow, nostalgic tunes: April In Paris, L'il Darlin', Shiny Stockings, and One O'Clock Jump. We hope you enjoy our "Tribute to the Count" .
Overture from the opera Martha *Friedrich von Flotow*	We opened with the Overture from the opera Martha, by Friedrich von Flotow, whose reputation as a composer is founded almost exclusively on opera. Born in Germany in 1812, Flotow lived and studied in Paris as well as Vienna, where he wrote Martha in 1847. Of his eighteen operas, only Martha is still performed, although all were popular in their day.
Chorale, King of Glory *Johann Sebastian Bach*	Now we'll travel back in time, over a hundred years, to the music of Johann Sebastian Bach. Bach was an extremely prolific composer, but he was uncompromising and therefore not always easy to get along with. This arrangement is typical of his hymn accompaniments, which were originally composed for organ. According to Bach’s early employer at St. Boniface Church, his accompaniments 'confused the congregation'. Apparently Bach " filled the hymns with curious variations and irrelevant ornaments". Bach took a month's leave from that church and never returned. We hope that you are not confused by this arrangement of the "Chorale, King of Glory".
Suite Concertante *Vaclav Nelhybel*	Vaclav Nelhybel was born in 1919 in Czechoslovakia, where he studied music at the Prague Conservatory as well as the Universities of Prague and Fribourg. He composed and conducted for Radio Prague and the Swiss National Radio before moving to the United States in 1957, where he became an American citizen and worked as a composer, conductor, and lecturer. His "Suite Concertante", like most of his music, is harmonically unconventional and rhythmically exciting. In this suite, you will hear representations of sound and fury, of bells, of a happy goatherd, and of romance. We hope you enjoy Nelhybel's "Suite Concertante".
Fantasy On English Hunting Songs *Clare Grundman*	American composer Clare Grundman is a contemporary of Vaclav Nelhybel. His compositions for band are popular, especially in high school and university band repertoires. His "Fantasy On English Hunting Songs" is based on four old airs, the lyrics of which touch on various aspects of the chase. First, " The Lincolnshire Poacher", is a rollicking drinking song about a poor apprentice who believes he can improve his fortune by poaching game. Second, "The Fox Chase", is a traditional fox hunting song. Third, "A-Hunting We Will Go" is a delightful, popular 18th century tune. Finally, the melody "John Peel" is treated both as a ballad and as a spirited hunting song. The strains of these four melodies are cleverly intertwined throughout this lively Fantasy by Clare Grundman.
Celebration Overture *Paul Creston*	Celebration Overture was composed in 1955 by Paul Creston, who is known to be a completely self-taught American composer. Most of us in this band also had to teach ourselves to appreciate this overture. Our esteemed conductor, George, literally dragged us, kicking and screaming, through the first few rehearsals. Finally, and only in the last couple of weeks, the piece began to make musical sense to some of us, and a few now actually even like it! You will hear three distinct sections: the opening is an exciting bolero, the middle is a slow romantic interlude, and the conclusion is bright and festive. According to the composer, the "intrinsic worth of any musical work depends on the interrelation of musical elements toward a unified whole". We hope this unity is evident in our performance of Paul Creston's "Celebration Overture".
Three Folk Miniatures *Andre Jutras*	Canadian composer Andre Jutras is currently performing, conducting, teaching and composing in Quebec City. His "Three Folk Miniatures" is based on French-Canadian folk songs. The first is a tune that was used by 17th century French sailors, on their way to Canada, as a method for establishing a rhythm by which to hoist the main sail and catch a good tailwind. The second tune is from a sad, haunting song which describes the loneliness of being far away from loved ones. The third is a well-known melody sung by loggers to keep their axes swinging in unison. Here is "Three Folk Miniatures", by Andre Jutras.
Espana Cani *Pascual Marquina*	Now I would like to challenge everyone here to do some research and find out anything at all about our next piece. We know that it is a band arrangement, by Robert Cray, of "Espana Cani", by Pascual Marquina. We know that it is a paso doble, which is a lively Spanish dance, and we know that its melodies are very recognizable, probably because we have heard them in figure skating competitions and in elevators. Other than this, we know very little. My husband and I tried to at least translate the title by searching for information on the net, but even in this search we were frustrated. We narrowed it down to three possibilities: it is either "The Wily Spaniard", "The Spanish Gypsy", or "Spanish Dog". Well, whatever it is, it provides an opportunity to show off our trumpet section. Here is "Espana Cani".
Birdland, Twilight Zone, and The Boy From New York City *Manhattan Transfer hits*	Those of you who can recall the late 70's and early 80's will surely remember a pop vocal group called Manhattan Transfer. Our next arrangement is a Broadway-style synthesis of three of the group's biggest hits: Birdland, Twilight Zone, and The Boy From New York City. It's fun to play and we hope you enjoy listening to these Manhattan Transfer hits, arranged for band in New York Nitelife.
Bugles and Drums *Edwin Franko Goldman*	Edwin Franko Goldman grew up in New York City, where he learned to play the cornet as a child. By 1905, at the age of 17, he was performing with the Metropolitan Opera Orchestra and had established himself as a virtuoso. He began to conduct as well, and in 1911 he founded the New York Military Band, which later became known as the Goldman Band, one of the greatest bands in history. Goldman published several cornet solos and over 100 military marches. We end our concert this evening with one of his marches: "Bugles and Drums".
The Liberty Bell *John Philip Sousa*	We opened with John Philip Sousa's march: "The Liberty Bell". You may recognize it as the theme from Monty Python's Flying Circus. It is also significant in that it was the first of Sousa's marches to be sold on a royalty basis; previous to this, he received a nominal fee for his compositions and then the music publishers made big bucks from the sales, whereas this march netted the composer over $40,000 in less than seven years. It remains among his most popular marches.
The Yeoman of the Guard *Arthur Sullivan*	Our next piece is composed by Arthur Sullivan, the musical theatre genius, who collaborated with William Gilbert on numerous comic operettas, including The Mikado, HMS Pinafore, and Pirates of Penzance. His overture to "The Yeoman of the Guard" is a demanding piece which shows off several of our soloists as well as the ensemble. This is a band arrangement by W.J. Duthoit of Arthur Sullivan's Overture from "The Yeoman of the Guard".
Juarez *Rafael Mendez*	Thank you. The great trumpet virtuoso Rafael Mendez was also a composer and arranger. His arrangement of "Juarez" begins with a traditional Mexican danzon, a folk dance similar to a slow rhumba. The dance is very restrained, performed within the area of one square foot. This arrangement concludes with a popular folk tune named after the author of the Mexican constitution, Juarez.
Caribbean Variation On A Tune *Jacob de Haan*	Thanks. My sources tell me that Jacob de Haan is alive and living in Holland; however, he must be a rather obscure composer, as there is no information to be found about him on the net. This "Caribbean Variation On A Tune" is light and perky and cute and fun and we hope you enjoy listening to it.
Gallito *S. Lope*	Welcome back. We will open our second half with another march. As one of our trumpet players pointed out to me, this is the correct time of year to play a march. You may have noticed that quite a bit of our program today has a Spanish flavour. I have no idea why that is, but I'm sure the trumpets can make a weak joke about it. "Gallito", by S. Lope, is a Spanish march first published in 1913. Here is "Gallito".
Songs from Mary Poppins *Sherman and Sherman/Irwin Kostal*	Thank you. Embraced by millions around the world, MARY POPPINS is one of Disney's most enchanting fantasies. Toting a carpetbag full of magical adventures, Mary and her fun-loving sidekick Bert deliver endless joy and surprises to a troubled family. The special blend of animation and live action, dazzling dances and award-winning songs make this film a timeless classic. MARY POPPINS won five Academy Awards, including Best Song and Best Original Music in 1964. Here is a concert band arrangement by Irwin Kostal of Sherman and Sherman's Songs from Mary Poppins.
THE STING *Marvin Hamlisch*	Winner of seven Academy Awards in 1973, and set in 1936, THE STING introduces us to a pair of Chicago con artists (Paul Newman and Robert Redford) who find themselves in a high-stakes game against the master of all cheating mobsters. Thanks to the flavorful musical score by Marvin Hamlisch, this was also the movie that sparked a nationwide revival of Scott Joplin's ragtime jazz, which is featured prominently in the soundtrack. Ragtime was highly influential in the development of American pop music, and it is a style which will always retain its popular charm. Arranged for band by John Cacavas, these are musical selections from the 1970's classic, THE STING.
Cabaret *John Kander*	The musical "Cabaret" is set in the tumultuous city of Berlin just before Hitler's rise to power. The main action revolves around a cabaret performer and an American writer who takes her in after she is kicked out of the Kit Kat Club where she performs. The chaos of the world around them jeopardizes their developing relationship. "Cabaret" opened in 1966 and ran for over a thousand performances. The 1972 film version featured Liza Minnelli, Joel Grey, and Michael York. The musical score, by John Kander, captures the atmosphere of pre-Nazi Germany in a chillingly effective way. This is a band arrangement by Norman Leyden of selections from the musical, "Cabaret".
The Thin Red Line *Kenneth J. Alford*	"The Thin Red Line" is a march by British bandmaster and composer Kenneth J. Alford. His real name was Fred J. Ricketts, but I’m sure we can all understand why he kept only the middle initial in his professional name. Alford studied music as a child, and by the age of 14 he was playing cornet in the Royal Irish Regiment band. He graduated from Kneller Hall in 1908 and wrote many of his marches, duets, and suites over the following three decades. Alford is as famous in England for his stirring marches as Sousa is in the United States. Here is "The Thin Red Line".
A German Requiem *Johannes Brahms*	Thank you. And now for something completely different. Johannes Brahms, artistic successor of Beethoven, is one of the outstanding German composers of the nineteenth century. He is known particularly for his four symphonies and his great choral work "A German Requiem". This masterpiece was premiered at Bremen Cathedral on Good Friday, 1868. The opening chorus of the requiem, "Blessed Are They That Mourn", has been arranged for band by Barbara Buehlman, a graduate of Northwestern University in Chicago, who has been a music educator and adjudicator in Canada and the U.S. since 1960. Here is the opening chorus of Brahms' "German Requiem".
Preludium and Fugue *Girolamo Frescobaldi*	Girolamo Frescobaldi was the organist at St. Peter's in Rome from 1608 unitl his death in 1643. He composed many five-part madrigals as well as great works for the organ. Frescobaldi also possessed a singularly beautiful voice, and as a young man he enjoyed a reputation as a great singer as well as an organist. Such was his fame that his first performance at the organ at St. Peter's is reported to have attracted an audience of 30,000. In this arrangement for band, Louis Brunelli has used Frescobaldi's Prelude from the Toccata in D Minor as an introduction to the fugue from the composer's Fugue in G Minor. They actually complement each other very well. We invite you now to imagine the organ at St. Peter's in the early 17th century as we perform Frescobaldi's "Preludium and Fugue".
Blue Danube *COMPOSER*	The ability to compose light music of quality is a rare musical gift, one which even serious composers envy. For example, when Brahms was once credited with the "Blue Danube" waltz, he had to admit "I didn't write it." Then he added, "Unfortunately."
Colonial Portrait /Hillbilly/Continental Serenade *Morton Gould*	Morton Gould's musical career took him from Vaudeville to Radio City Music Hall to Disney World. He earned a Grammy and the Pullitzer Prize for his contributions to American culture. His music employs advanced harmonies while emphasizing American themes. The three selections we will play for you tonight are typical of Morton Gould. First, his "Colonial Portrait" presents a graceful, delicate melody arranged in some rather surprising settings. This piece was transcribed for band from Gould's original orchestral score by Paul Yoder. Second, "Hillbilly" gives us the composer's original tunes which are arranged with the characteristic rhythms and harmonies of American hillbilly or "mountain music". This piece was first composed for piano solo and has been arranged for band by David Bennett. Finally, also arranged by David Bennett, is Gould's "Continental Serenade", a humourous treatment of light melodies which is so typical of this composer’s style. We hope you enjoy these three pieces by American composer Morton Gould.
Toccata Marziale *Ralph Vaughan Williams*	Welcome back. The great British composer Ralph Vaughan Williams, along with his friend, Gustav Holst, cut the ties which had bound English music to Italy and Germany; these two young men found their inspiration at home. While Vaughan Williams is most noted for his compositions for orchestra, his works for band demonstrate an unrivalled skill in scoring for this medium. Composed in 1924, the Toccata Marziale opens with a warlike fanfare which juxtaposes the brass and the reeds in a contrapuntal texture. Lyric entrances in the euphonium and then the cornet complement the constant movement of the basic theme which is never completely lost (or, at least, we hope not). Complex and vigorous, the "Toccata" has been described as a piece "unmatched in all band literature". Here is Ralph Vaughan Williams' "Toccata Marziale".
Schwabenland *Kurt Gable*	Schwabenland is an area in the south of Germany. This piece presents three impressions of Schwabenland. The first movement represents Schwabic places of culture and beautiful architecture - imagine a huge basilica flooded with light. In contrast, the second movement represents schwabic people. A literal translation of the German notes on this piece suggests that the people of the area are: "practical, hard stuck to the ground, but also smart like a fox, and not changed by the media". In the third movement, the composer combines people with environment. Typically schwabic melodies are used. The title of this movement, "Lebensfreude", or "The Joy of Life" suggests that such joy is to be found in the appreciation of art and humanity. Kurt Gable is characterizing his country and his people in this piece, but especially he is expressing his love for his Schwabic home.
Jubelklange *Ernst Uebel*	Thank you. We close our concert this evening with a German march by Ernst Uebel. I know absolutely nothing about this particular piece, except that my German friend tells me that the title means a joyful ringing cheer. Here is Jubelklange.
Entry March of the Boyares *Johan Halvorsen/Clifford Barnes*	The composer Johan Halvorsen was born in Norway in 1864. His compositions are strongly ionfluenced by those of Edvard Grieg, whose niece he married. Halvorsen's "Entry March of the Boyares" is among the finest festival marches to be found in the repertoire of any symphony or band. The Boyares were Russian aristocrats from the 10th through the 17th century. Their power and prestige depended almost entirely on landownership. Their right to hold land without giving obligatory military service to the czar was gradually eroded, until in the 17th century the rank and title of boyare was abolished by Peter I. This brilliant march conjures up visions of the nobility of this once privileged Russian class. Our band arrangement, by Clifford Barnes, is based on the original orchestral score. Here is the "Entry March of the Boyares".
Academic Overture *Johannes Brahms*	Johannes Brahms, artistic successor of Beethoven, is not only one of the outstanding composers of the nineteenth century, but he also clearly did not lack a sense of humour. There is an interesting story behind his composition of the "Academic Festival Overture", which came about because the University of Breslau offered Brahms an honorary degree in 1879. The composer was told that a new composition, written especially for the occasion of his recognition, was expected. The main themes in the overture that he wrote must have surprised the university's officials, as they are all traditional, boisterous student drinking songs. Brahms finds surprising nobility in these four melodies, especially the last, Gaudeamus Igitur, which triumphantly proclaims the Overture's climactic conclusion. The Overture is particularly well suited to concert band instrumentation; in fact, Brahms once wrote to his publisher that he would like to have it arranged for military band, saying "I should be tempted to do so myself if I knew more about it." Here is V.F. Safranek's arrangement of Johannes Brahms' "Academic Overture".
Chicago Tribune March *William Paris Chambers*	William Paris Chambers was a self-taught cornet player from Newville, Pennsylvania, who began leading a local band at the age of eighteen. His "Chicago Tribune March" was written for, and dedicated to, the newspaper of the same name, in 1892. This is a challenging march to play, but it is even more challenging to get the melodies out of your head after you have played it! We hope you enjoy Chambers’ Chicago Tribune March.
William Tell *Rossini*	The great composer Rossini is particularly well known for his operas, such as "The Barber of Seville". "William Tell", which was premiered in Paris in 1829, was his last opera. This "Dance for Six" occurs near the end of Act One of "William Tell", when shepherds and villagers are gathering to celebrate the wedding of three couples. Their nuptial dance begins primly and sedately, but gradually develops into a state of wild abandon. This band arrangement of the Pas de Six features our talented clarinet section. We hope you enjoy Eric Hanson's arrangement of Rossini's Ballet Music from "William Tell".
Eugene Onegin *Peter Ilyich Tschaikovsky*	"Eugene Onegin", by Peter Ilyich Tschaikovsky, is an opera in three acts, based on the poem by Alexander Pushkin. This story of love and regret involves two sisters, the quiet Tatiana and the more extroverted Olga, who are visited by Olga's suitor and his worldly friend, Eugene Onegin. Shy Tatiana falls secretly in love, and she writes a letter to Onegin pouring out her feelings. Onegin responds that love and marriage are not for him and, while he is flattered by her attentions, he loves her like a brother and no more. Tatiana is crushed and humiliated. During a ball for Tatiana's birthday, Onegin does dance with Tatiana, but because he is bored by the whole evening, he begins to flirt with her sister Olga, to arouse his friend Lenski's jealousy. The friends quarrel and Lenski challenges Onegin to a duel. At dawn, the two friends regret their earlier rashness but pride prevails, and neither Lenski nor Onegin will make the first move towards reconciliation. The pistols are loaded and Lenski is killed at the first shot. Years later, after spending several years in seclusion to atone for the death of his friend, Onegin attends a magnificent ball. Prince Gremin, the host of the party, arrives with his beautiful wife, and Onegin questions the Prince as to her identity. Gremin tells Onegin of the beauty that his new bride, Tatiana, has brought into his life. Onegin is utterly captivated by her; however, Tatiana recalls their former meeting and the happiness that could have been theirs, but which is now out of reach. Although Onegin declares his love, Tatiana resists temptation and bids him a swift good bye. A distraught Onegin is left behind. This is P.O. Steg's arrangement of the Waltz from Tchaikovsky's opera, "Eugene Onegin".
more Thanks to Margi Corbett (MC Saskatoon Concert Band)

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