ASU School of Music presents The ASI.J Concert Band The ASLJ \7ind Ensemble March 28,2000 Gammage Auditorium 7:30 P.M. Brian Cardany Conductor German Gonzalez Conductor Barry Kraus Conductor H3IFineArts rtv Aruzoxa SrarE UNrvE Rs rogram ASU Concert Band Hugo Montenegro (b. 1925) Fanfare G. Mancho Gonzalez, Conductor Vincent Persichetti Pageant (19t5-1987) Barry Kraus, Conductor Timothy Mahr (b. le56) Daydream G. Mancho Gonzalez, Conductor John Zdechlik Cborale and Sbaber Dance (b. te37) Barry Kraus, Conductor David Delle Cese L'Inglesina (l 856- 1938) G. Mancho Gonzalez, Conductor Intermission ASUWind Ensemble Incantation and Dance John Barnes Chance (1932-r972) Brian Cardany, Conductor Epinicion John Paulson (b. 1e48) G. Mancho Gonzalez, Conductor Marche des Paracbutistes Belges Pierre Leemans (1 897- 1 980) Brian Cardany, Conductor Psalmfor Band Vincent Persichetti (t9r5-1987) G. Mancho Gonzalez, Conductor Leonard Bernstein (1918-1990) Slaua! Brian Cardany, Conductor 11 rogram otes Tonightt program consists of two separate performances that compliment each other in an interesting way. Each composition that the Concert Band performs in has \find Ensemble portion, creating an overall sense of balance for the entire concert. Both groups will perform a jazz-inlllenced piece, a march, a dance-related work with a slow introduction, a piece that utilizes aleatoric a related counterpart the techniques and a composition by the renowned wind band composet Vincent Persichetti. We hope this concert of matching musical pairs will double your enjoyment. Fanfure Hugo Montenegro Slaaa! Leonard Bernstein Hugo Montenegro's Fanfare and Leonard Bernsteint SLAVA! each exhibits a strong jazzinflrence. In its original "big band" form, Fanfare was once recorded by the Los Angeles Neophonic Orchestra under the direction of Stan Kenton. Listen closely to the opening figures in the brass, for these rhythmic motives form a foundation for the entire piece. SLAVA!, originallywritten for the National Symphony Orchestra as a tribute to Mstislav "Slava' Rostropovich, hearkens back to the early days of vaudeville, complete with 'wa-wa' solos for trumpet and trombone. These"jazz" sections are balanced against an uplifting melody in718, connected throughout with material derived from the flamboyant opening. The rhythmically energized tatwe of Fanfare and SLAVAlprovides an entertaining way to begin and end tonightt concert. Pageant Vincent Persichetti Psalmfor Band A prolific compose! conductor and performer of the twentieth century Vincent Persichetti wrote many worla for various mediums throughout his active career. He held a particular interest in the wind band as an artistic medium for his compositional efforts. Concerning the wind band, he said: "I know that composers are often frightened away by the sound of the word 'band,' because of certain qualities long associated with this medium rusty trumpets, consumptive flutes, wheezy oboes, disintegrated clarinets, fumbling yet amiable baton wavers, and gum-coated park benchesl If you couple these conditions with transfigurations and disfigurations of works originally conceived for orchestra, you create a sound experience thatt as nearly excruciating as a sick string quartet playing a dilettantet arrangement of a nineteenth-century piano sonata. However, when composers think of the band as a huge, supple ensemble of winds and percussion, the obnoxious fat will drain ofi and creative ideas will flourish." This philosophy resulted in the creation of fourteen original works for band including his well-known Symphony no. 6, Psalm for Band, and Pageant. 111 rogram otes Pageantwas completed in 1953 following a commission from Edwin Franko Goldman for the American Bandmaster's Association. The work opens in a slow tempo with a three-note motive in the horn that is used throughout both secrions of the composition. This solemn chordal section is succeeded by a vivacious parade, introduced first by the snare drum. In the final portion of the piece, the two principal subjects are developed simultaneously to an inspired climax. was commissioned by the Alpha Chapter of Pi Kappa Omicron National Band Fraternity at the University of Louisville. About Psalm for Band, Persichetri wrote rhe Following: Psalm for Bantl Band is a piece constructed from a single germinating harmonic idea. There are three distinct sections a sustained chordal mood, a forwardmoving chorale, followed by a Paean culmination of the materials. Extensive use is made of separate choirs of instruments supported by thematic rhythms " Psaltru for in the tenor and bass drums." It was first performed in 1952 by the University of Louisville Concert Band with the composer conducting. Timothv Daydream N4ahr The compositional techniques of the twentieth century have expanded the performing capabilities of both ensembles and performers. \7ith the advent of the rwelve-tone system, serialism, minimalism, atonaliry aleatoric music and electronic music, among others, the composer has a new vocabulary of sounds and colors that may be incorporated into contemporary compositions. It is only within recent decades that the band world has enjoyed this expanded array ofsonorities and hues, but the number of works that utilize such techniques is continuing to grow These nontraditional usages of instruments and performers add a special dimension to programmatic works, providing the composer with an everexpanding array of descriptive devices. Daytlream in the words of Timothy Mahr, is intended to "elicit mood changes and shifting images, while conjuring up in the listener the sense one perceives when he or she'pulls out' of a daydream, returning to reality after a transient mental trip to places offlight and Epinicion fancy." John Paulson Epinicion, byJohn Paulson, is based upon the epinicion, an ancient song of victory sung by Greek warriors as they walked through their battlefield sorting the wounded from the dead. The piece attempt to balance a free expression of simple melody with aleatoric sounds (e.g., blowing air through instruments, repeating IV motivic patterns.) The result is a dramatic contrast of states-of-being, capturing in effect the feeling of spirit of battle sounds and idioms. From the opening plaintive textures in the trumpets, the music continues to assemble itself through motivic fragments until the aleatoric sections become fully enlarged. Although rather explosive at times, the piece contains many softer, transparent sounds, and concludes in a tranquil manner. L'Inglesina Marcbe des Paracbutistes Belges David Delle Cese Pierre Leemans Selecting a march is not unlike choosing ice cream at a parlor that offers 1,000 flavors. Marches come in a wide variety of sryles, Iengths and difficulry levels from many diverse cultures. The Spanish, French, Italians, Russians, British and Americans all have different march traditions. Although many Sousa marches are the most familiar to concert audiences, there is also a wide array of symphonic marches. These marches tend to have a more extended form and contrasting sections; some are almosr miniature overtures. Italian bandmaster David Delle Cese composed 404 pieces including marches, a ballet, some intermezzi and lyric pieces. Among these compositions, L'Inglesinais the piece for which he is most famous. Originally published h 1897, this Italian march has been a musical highlight of band concerts throughout the world. It features great contrast, style and musicaliry and is a joy for student and audience members. As the title, Marche des Parachutisres Belges, (March of the Belgian Paratroopers) indicates, the listener expects to hear this symphonic march with a European flavor. Pierre Leemans wrote this work in 1945 after a dinner with a group of Belgian paratroopers. As their commander, Major Timmerman, drove him home that night, the march melody came to mind and he finished the other parts after reaching his home. As Leemans explained, "Like all successful music, this tune came from my pen as water out of a fountain." The thin scoring (for example rwo piccolos and two oboes on the introduction and bass clarinet and bassoon on the first melody) and the folk song idiom of the first strain so confirm the European origin. At the trio the same tune reappears as a counter-melody to a smoothflowing melody. After hearing the recording of the March, Charles \X/iley, the Lamar Universiry Band Director, procured a copy of the march through the American Embassy in Belgium. He rearranged the march to fit American (and Texas!) band instrumentation. -\6665 from Cardany, Gonzalez and Kraus, 2000 V oncert Piccolo AIto Saxophone Robin Dodder Molly Ashby Chris Rainerx Melissa Debnar Marisa Calderon Jacque Hering Michael Malerich Flute Robin Dodderx Molly Ashby Tanya Baxley Teresa Michael Sarah Sheppard ersonne Vilsaint Michael Lloyd Makoto Taniai Tiombone Chris Kottermanx lnga Hamilton Steve Boomer Lea Curtis Justin Handy P. J. Bass Tiombone Darrell Kinderx Dan Wilkerson Elissa Ackert Jill Nelson Tenor Saxophone Jason Surguine* Pat McDonald Heather Heiland Brandy Connis Todd Geist Euphonium Oboe Danielle Pattonx Bethany Reid Josh Gaines Megan Evans* Dave Zajdzinski Marc Couture Jason Marsh Bassoon Baritone Saxophone Michael Malin Jeralee Anderson Adam Jew William Hilton Clarinet Sarah Laidlaw* Tlumpet Tirba Kenneth Hepner* Eric Best Carrie Farina Chad Buhr Heather Rose Valerie Meola Karen Lamb Robert W. Ortiz Wayne Story-McRae Kadie Coggins Mickey Papillon Michael Hall* Michelle Novak Jaime Ali Joeri Alleweireldt Chris Martin Andrea Alleweireldt Jennie Huish Michelle Holguin Tina Barbaria Becky Smith Sarah Smallwood Angela Copolillo Contrabass Clarinet Dimitri Ntatsos V1 an Horn Witucky* Michelle Kearney Tawnya Milligan James O'Halloran T. J. Percussion Sam Everettx Eric Gewirtz Dan Eaton Adrian Vender Matt Winjum Jessica Stone Stephanie Laubmeier 1n nsem e ersonne Piccolo Bass Jessica Allen Dimitri Ntatsos* Katie Faber Carrie Farina FIute Bb Contrabass Clarinet Jessica Allenx Dimitri Ntatsos Euphonium Tracie Borden Katie Faber Alto Saxophone Cassie Samplesx Leslie Van Zee Julian Petersonx Trevor Roach Tuba Tenor Saxophone Bradley Neumanx Nathan Johnston Clarinet Thombone Mike Yanezx Mario Villalobos Chad McCoy Amanda Waterman Alto Flute Katie Faber Danielle Magellan Oboe Percussion Kimi Foreex Kendra Wittreich Baritone Saxophone lan Templin* Chris Rainer Jason Covert Bassoon Cornet David Bouchard Craig Winter Ryan Maples* James Stekelberg* Julie Trent Chad Buhr Jeralee Anderson Clarinet Kristin Garnaat* Nicholas Long Mike Hancock Stephanie Laubmeier *denotes principal Tiumpet Kenneth Hepner Natalie Pascale Jessie Coyle Rachel Gray June Wagner Horn Gary Moss* Melanie Woodward Kristi Myers T. J. Witucky Yll Biograp 1C t ES Brian Cardany is a teaching assistant with Dr. Robert Fleming for Marching Band, \7ind Ensemble, Concert Band and the Basketball Pep Bands. After earning his Bachelor's Degree in Music Education from James Madison Universiry Cardany spent five years teaching music in Page Counry Virginia, and Montgomery Counry Maryland. Currently pursuing a Master's in Music Education at ASU, Brian also conducts the ASU Brass Choir. G. "Mancho" Gonzalez is a first-year graduate student here at ASU and is working on a Doctor of Musical Arts Degree in Music Education (cognate in Conducting). Along with his studies he is a graduate conducting associate and comanager for the ASU Bands and a graduate teaching assistant for the Instrumental Practicum class. A native Californian, he has been a music educator in the Sacramento area since 1979. He received his BA degree from the State Universiry of California, San Jose, in 1975 and his MM in'{/ind Conducting at California State Universiqz, Sacramento, in 1995 with Robert Halseth, director of wind studies. For the past t\,vo years he has served as Director of Bands at Cosumnes River College. His teaching career also includes band director in elementary, junior high and high school, and elementary classroom music. fu graduate conducting associate at CSU, Sacramento (1993tg95), he served as concert band co-director and pep band/ assistant marching band director. As a trumpeter, he has played with numerous community bands and chamber music ensembles. He is currently a member of the Tempe \find Ensemble and played with the Tempe Symphony Orchestra last month. He has also studied wind band conducting in summer courses with Allan McMurry University of Colorado, Boulder; Jack Stamp, Indiana Universiry of Pennsylvania; Eugene Corporon, Universiry of Northern Texas; Frederick Fennell, Conductor Laureate, Tokyo Kosei \7ind Orchestra; Gary Hill, ASU; and John Whirwell, Michigan State University. Mr. Gonzalez has been the music director/conductor of the River City Concert Band, a community band in Fair Oaks. He has been guest conductor and clinician for honor bands (elementary to high school), as well as community bands in northern California. Barry Kraus is a graduate assistant with the Sun Devil Marching Band. He is currently in the first year of the Doctor of Musical Arts Degree in Music Education at Arizona State Universiry. He serves as an associate conductor of the \7ind Symphony, Chamber Winds and the Concert Band. Mr. Kraus holds a Bachelort Degree in Music Education from Oklahoma State University and a Master's Degree in Instrumental Conducting from Baylor University. From 1994 tol997, Mr. Kraus was an assistant band director at \traco High School (\7aco, Texas), where he conducted the Symphonic Band and directed theJazz Ensemble. Pursuing professional interests in music education and conducting, Mr. Kraus holds membership in several organizations, including the College Band Directort National Association, Pi Kappa Lambda National Music Honor Sociery and Phi Mu Alpha Sinfonia. vl11