Carthage Wind Orchestra Spring Tour 2022 James Ripley, conductor William Dowell, violoncello Music of the Lenten season by Bach, Brahms, Bruckner, Vaughan Williams and others Featuring Martin Ellerby’s “Via Crucis”
For more information, contact the Carthage Music Department (262) 551-5854 or email: finearts@carthage.edu
Program Old Testament Cyrus the Great
Karl King (1891-1971)
They Hung Their Harps in the Willows
Organ Prelude No. 4, WAB 128
W. Francis McBeth (1933-2012)
Chorale Preludes Anton Bruckner (1824-1896)
transcribed by Timothy Broege O Sacred Head Now Wounded, from “Hosannas”
David Maslanka (1943-2017)
O Sacred Head Now Wounded, from “Three Chorale Preludes”
William Latham (1917-2004)
Organ Prelude No. 7, “O God, Thou Faithful God”, Op. 122
Johannes Brahms (1833-1897)
transcribed by John Boyd Rhosymedre, from “Three Preludes on Welsh Hymn Tunes” Ralph Vaughan Williams (1872-1958) transcribed by Walter Beeler
New Testament Were You There?
Eurydice Oesterman (b.1950)
Via Crucis
Martin Ellerby (b.1957)
On a Hymnsong of Philp Bliss
Jesu, Joy of Man's Desiring, from Cantata BWV 147 transcribed by Erik Leidzen
David Holsinger (b.1945) Johann Sebastian Bach (1685-1750)
Program Notes Our program begins with two selections drawn from the time of the Israelite captivity in Babylon, and the Biblical texts often read during the Lenten season, as they focus on the promises made by God to His people in their suffering.
As written in the Book of Ezra 1:1-4 Now in the first year of Cyrus king of Persia, that the word of the Lord by the mouth of Jeremiah might be fulfilled, the Lord stirred up the spirit of Cyrus king of Persia, that he made a proclamation throughout all his kingdom, and put it also in writing, saying, “Thus saith Cyrus king of Persia, The Lord God of heaven hath given me all the kingdoms of the earth; and he hath charged me to build him an house at Jerusalem, which is in Judah. Who is there among you of all his people? his God be with him, and let him go up to Jerusalem, which is in Judah, and build the house of the LORD God of Israel, (he is the GOD), which is in Jerusalem.” Karl King’s Cyrus the Great march is described by the composer as a “Persian March”, utilizing idiomatic percussion effects of the “Mehter Bands” of the Ottoman Empire, as well as setting the music in the minor mode. They Hung Their Harps in the Willows is based on Psalm 137- a song of lament- as the Israelites in exile remember God's promises for deliverance while under the duress of their captors. W. Francis McBeth composed this work as an elegy for his friend, the composer Claude T. Smith, and expresses a profound sense of loss through the main motive of a perfect fifth interval that is “pulled” in gradually ascending steps. Only when this motive reaches beyond the octave does the music become more hopeful and transcendent.
Psalm 137: 1-4 Thus By the rivers of Babylon, There we sat down, yea, we wept When we remembered Zion We hung out harps Upon the willows in the midst of it. For there those who carried us away captive asked us a song, And those who plundered us requested mirth, Saying, “Sing us one of the songs of Zion!” How shall we sing the Lord’s song In a foreign land?
The Chorale Prelude is very much an innovation of the Lutheran church, dating back to the time of its formation under Martin Luther in 1517, that presents a musical introduction on the organ to the hymn to be sung by the assembly. Chorale Preludes are typically polyphonic settings, in which the hymn tune, plainly audible and often ornamented, is used as its basis. Accompanying motifs are usually derived from contrapuntal manipulations of the chorale melody. The Chorale Preludes in our program include those written over several centuries, including the most recent. Known during his lifetime for his improvisatory skill on the organ, Anton Bruckner’s four preludes are instead very simple settings of transcendent power, reflecting the composer's devout spiritual nature. David Maslanka included a harmonization of the hymn “O Sacred Head Now Wounded” in one of his final compositions, Hosannas set exclusively for the clarinet section of the band.
Program Notes The ensuing Chorale Prelude on “O Sacred Head Now Wounded” by William Latham situates the tune a darkly chromatic harmonization with the melody interspersed throughout the movement. Similar procedures are found in the final two preludes, by Johannes Brahms on “O God, Thou Faithful God” and Ralph Vaughan Williams’ “Rhosymedre”.
HERZLICH TUT MICH VERLANGEN O sacred Head, now wounded, with grief and shame weighed down, now scournfully surrounded with thorns, thine only crown! O sacred Head, what glory, what bliss till now was thine! Yet, though despised and gory, I joy to call thee mine.
What languages shall I borrow to thank thee, dearest Friend, for this, thy dying sorrow, thy pity without end? Oh, make me thine forever, and should I fainting be, Lord, let me never, never outlive my love to thee.
O GOTT, DU FROMMER GOTT
RHOSYMEDRE
O God, my faithful God, O Fountain ever flowing, who good and perfect gifts in mercy are bestowing give me a healthy frame, and may I have within a conscience free from blame, a soul unhurt by sin.
My song is love unknown, my Savior’s love to me, love to the loveless shown, might lovely be. Oh, who am I, that for my sake my Lord should take frail flesh and die?
Lord, let me win my foes with kindly words and actions, and let me find good friends for counsel and correction. Help me, as you have taught, to love both great and small and by your Spirit's might to live in peace with all.
Sometimes they crowd His way and his sweet praises sing, resounding all the day hosannas to their Kings. Then “Crucify!” is all their breath, and for his death they thirst and cry. Here might I stay and sing; no story so divine, never was love, dear King, never was grief like thine. This is my friend, in whose sweet praise I all my days could gladly spend!
Program Notes The composer writes: Via Crucis describes the journey of Christ carrying the Cross, divided into fourteen stages or “stations”. Most Catholic churches have pictures or statuettes of these scenes along the walls of the nave, generally seven on either side. The devotion consists of meditations of each scene, usually in the form of prayers or singing in the form of a Passion, and is particularly associated with Lent. Today it is common to add a fifteenth in order to conclude with the Resurrection rather than with the tomb. In my setting, I have further elaborated on the form, leading to a total of seventeen sections. The composition was inspired by a work of Franz Liszt of the same framework, formulated as a memorial to the victims of the September 11, 2001 attacks in New York, Washington D.C. and Pennsylvania, and dedicated to all those “with unknown names and faced that suffered equally and have no memorial, story or legacy to account for their presence on this fragile planet”.
A solo violoncello plays a pivotal role within the work, providing moments of musical commentary, respite and reflection. A: 1: 2: 3: 4: 5: 6: 7: 8: 9: B: 10: 11: 12: 13: 14: C:
Prelude Jesus is condemned to death Jesus takes up the Cross Jesus falls the first time Jesus meets his blessed Mother Simon of Cyrene helps Jesus carry the Cross Saint Veronica wipes the face of Jesus Jesus falls for the second time The women of Jerusalem weep for Jesus Jesus falls the third time Interlude - Golgotha (the place of a skull) Jesus is stripped of his clothes Jesus is nailed to the Cross Jesus dies on the Cross Jesus is taken down from the Cross Jesus is laid in the tomb Postlude – The Resurrection (The Lord’s Prayer)
Personnel Flute Neva Bergemann Emma Eckes Lillian Geuder Bailey Schneyr
Oboe
Alto Saxophone
Trumpet
Sophia Larsen Julia Owens Bryan Tamayo
Colin Conway Vinnie David Kaeleen Smith Guillermo Trujillo
Tenor Saxophone
Euphonium
Hannah Wong Amber Ward
Kelsi Gennrich Wayne Jackson
Lucus Schneider
Clarinet
Baritone Saxophone
Michael Flesher John Lew
Natalie Cambone Rosie Ehle Emma Hardwick Lexy Klawonn Jack Massari Maile Riedel Zach Ward
Bass Clarinet Sophie Shulman
Luke Eidsor
Horn Hannah Caflisch Grace Chapa Audrey Marshall Lena Welch
Tuba
Percussion Henry Meyer Jack Meyers Christian Plonski Noah Wilson
Violoncello William Dowell
about the wind orchestra
The Carthage Wind Orchestra, established in 1873, is one of the oldest college bands in the United States. From its humble beginnings as a six-piece brass ensemble, the group has grown in size and stature to assume a leadership role for wind music on an international level. The band has a long and honored history of service to Carthage College and the artistic life of the communities of Kenosha, Wisconsin, and Carthage, Illinois. On October 21, 2017 the Wind Orchestra returned to Carthage, Illinois to perform a concert celebrating the 500th anniversary of the lutheran Church with a concert in the old college auditorium, recently refurbished and now known as “The Legacy Theatre”. Other tours of the Wind Orchestra have extended to the Southeast, Mideast and Midwest United States. Over the past 20 years the Wind Orchestra has also traveled to tour Japan on six occasions and plans to return in January 2024. As part of the college's celebration of “150 Years of Carthage Women”, the Wind Orchestra commissioned three works by women composers of national and international reputation. “Rise Up” by Jude Bozone was premiered during the 2019 Homecoming Concert, “Shieldmaiden” by Jocelyn Hagen was part of the 2020 Japan Tour program, and in May 2020 the chamber ensemble AMATI premiered Sydney Kjerstad's “Talitha Cumi” as a virtual Facebook Live event. The Carthage Wind Orchestra is not only an exceptional performance ensemble, but a live, interactive “learning laboratory” for music education students as well. Those students in the music education program have the opportunities to conduct and rehearse the band, and receive guidance and feedback from the conductor and ensemble members. Rehearsals are structured to lend insight into how to make music, along with how to teach music. Why a wind orchestra? The ability to change the sound of the ensemble based on the composer's intent and musical style period is at the heart of the wind orchestre philosophy. The wind orchestra layers the timbres of each instrument, rather than mixing them for a more colorful effect. Maybe most importantly, the wind orchestra places optimal value on the expressive contribution of each member.
about carthage college
Carthage College, a four-year, private liberal arts college with roots in the Lutheran tradition, combines an environment of reflection and self-discovery with a culture of high expectation so our students uncover and ignite their true potential. Founded in 1847 in Hillsboro, Illinois, the College soon moved to Springfield before settling in Carthage in 1870. Enrollment reached nearly 300 students by 1927, but it dwindled to 131 in 1943. In 1962, Carthage established its campus in Kenosha, Wisconsin, midway between Chicago and Milwaukee on the shore of Lake Michigan. It has grown to serve 2,600 full-time and 400 part-time students. Historical icons such as Kissing Rock and the Old Main Bell preserve the College’s link to its former Illinois home, and alumni of that campus are welcomed back to Carthage each year for special events.
about the conductor James C. Ripley is Professor of Music, and Director of Instrumental Music Activities at Carthage College. He also serves as Music Consultant for the Sakuyo Wind Philharmony at Sakuyo University in Kurashiki, Japan, where he was music Director from 2001-2011. At Carthage, Dr. Ripley conducts the Wind Orchestra, Concert Band, and the chamber winds group AMATI. He also teaches classes in conducting, teaching methods, history of the wind band, and psychoacoustics. Prior to his appointment at Carthage, Dr. Ripley served as Assistant Professor of Conducting and Ensembles at the Eastman School of Music, as Associate Director of Bands at Northern Arizona University in Flagstaff, and as a clinical faculty member at Luther College. In addition, Dr. Ripley has taught for eleven years in the public schools of Minnesota and Iowa. In 2012, Dr. Ripley received the Carlo A. Sperati Award from Luther College for outstanding service in the field of instrumental music. He currently serves as President of the World Association for Symphonic Bands and Ensemble (WASBE), and as Music Director of the Waukesha Area Symphonic Band (WASB)
about the soloist William Dowell is a cellist, educator, and writer who spends his time in both North Carolina and Wisconsin. An avid chamber musician, William has performed with the Carthage President’s String Quartet and the Lewise Trio. As an orchestral musician, William has served as the principal cellist in the Carthage Philharmonic Orchestra and has performed as a part of the pit orchestra in the Kenosha Opera Festival’s production of La fille du régiment. William maintains a private studio and is a cello instructor in the Carthage Community Lessons Program. William has also taught as a Carthage Arts Academy cello instructor, an instructor for Carthage Young Artists Chamber Music Program, and as a strings coach for the Lakeshore Youth Orchestra. Outside of performing and teaching, William works as a marketing writer and content creator and has created promotional materials for the Carthage Office of Performing and Visual Arts and the Kenosha Opera Festival. He is also a freelance entertainment writer with bylines at SyFy and Unwinnable. William is currently completing a bachelor’s degree in music performance at Carthage College. He has studied under Peter Thomas, Marie Sinco-Warren, and Michele Venturella.
music at carthage The Carthage tradition of excellence in music and music education is recognized throughout the United States and internationally. One of the first small liberal arts colleges in America to offer an undergraduate major in music, Carthage serves students campus-wide through its comprehensive offerings of music ensembles and for more than 140 music majors and minors. The 11 full-time faculty members and 28 adjunct faculty members hold advanced degrees from some of the world’s best conservatories and universities. Carthage’s picturesque lakeshore campus hosts an eclectic program of musical performances throughout the year and provides easy access to the rich cultural offerings of the nearby metropolitan areas. Students have enjoyed front-row seats at recent Carthage performances by world-class artists such as the Manhattan Brass, the American Boychoir, Chanticleer, the King Singers, the Juilliard String Quartet, and the Waverly Consort. Performances by Carthage’s student ensembles are in demand, with several regularly touring midwestern, national, and international venues. It is Carthage’s hope that all students, regardless of major, might come both to understand and enjoy music more fully. For students pursuing a career in music, the Music Department provides professional training of the highest caliber. Carthage music graduates long have enjoyed substantial success in professional careers and graduate work. Music students may select a basic core major or specialize in music education, music performance, piano pedagogy, or music theatre.
wind orchestra tour 2022 schedule Wed., March 16 • 4:30 p.m. American Lutheran Church – Sun City, AZ Thurs., March 17 • 12:30 p.m. Dobson High School – Mesa, AZ Fri., March 18 • 7 p.m. Victory Lutheran Church – Mesa, AZ Sat., March 19 • 7:30 p.m. Ascension Lutheran Church – Paradise Valley, AZ Sun., March 20 • 10 a.m. Ascension Lutheran Church – Paradise Valley, AZ Sun., March 27 • 2 p.m. A. F. Siebert Chapel – Kenosha, WI
2001 Alford Park Drive Kenosha, WI 53140
carthage.edu