WIND ENSEMBLE Andrew Yozviak, Conductor
SUNDAY, NOVEMBER 29, 2020 MADELEINE WING ADLER THEATRE PERFORMING ARTS CENTER 3:00 PM
PROGRAM West Chester University Wind Ensemble Andrew Yozviak, conductor
VIENNA PHILHARMONIC FANFARE ..................................................................Richard Strauss (1864-1949) SYMPHONY NO. 2.................................................................................................... Frank Ticheli (b. 1958) II. Dreams Under a New Moon III. Apollo Unleashed SELECTIONS FROM THE DANSERYE................................................................. Tielman Susato Arranged by Patrick Dunnigan I. La Morisque II. Bergerette VI. Ronde & Salterelle IX. Pavane: La Battaille HOMAGE TO PEROTIN ............................................................................................. Ron Nelson (b. 1929)
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PROGRAM NOTES Vienna Philharmonic Fanfare (1924) Richard Strauss’s reputation as a composer stems prominently from his late nineteenth-century tone poems Don Juan (1888-89), Till Eulenspiegel (1894-95), and Also sprach Zarathustra (1895-96); and from the early twentieth-century operas, Salome (1903-05) and Der Rosenkavalier (1909-10). Strauss formed an indelible relationship with the Vienna Philharmonic as a composer and conductor through performances of his works by the orchestra and by conducting the group frequently from 19061944. This close association with the group and its musicians led him to dedicate a brass fanfare for the inaugural Vienna Philharmonic Ball held to raise money for the musicians’ pension fund on March 4, 1924. This fanfare in E-flat major for six trumpets, eight horns, six trombones, two tubas, and two sets of timpani opens with a striking Maestoso dotted half-note and triplet eighth-note motive in the trumpets. Textural expansion of the initial motive occurs with the entrances of the trombones, horns, and timpani in succession as the motive becomes arpeggiated. With the entrance of the tuba with a chorale-like theme for the low brass, Strauss initiates a development section that adds weight and contrast to the fanfare motive of the beginning and end. Development is continued in the horns with an ascending fortissimo arpeggio that is reminiscent of Strauss’s soaring horns from tone poems such as Don Juan. Ascending motion is countered in the trumpets with a complimentary descending figure sounded in the trumpets, horns, and trombones. The fanfare motive returns in the full ensemble as does the horn arpeggio, now in a soaring three-octaves to punctuate the fanfare’s conclusion. This work has opened every ball in the Golden Hall of the Musikverein held since the 1924 premiere. Note contributed by Ann Hiloski-Fowler Symphony No. 2 (2003) Over the last twenty-five years, Frank Ticheli’s music has had a profound impact on wind bands at all levels. His dedication to providing quality music for musicians has influenced musicians of all ages. His Symphony No. 2 for Wind Ensemble represents an extended work for professional musicians. The symphony's three movements refer to celestial light -- Shooting Stars, the Moon, and the Sun. Ticheli notes: “ The second movement, "Dreams Under a New Moon," depicts a kind of journey of the soul as represented by a series of dreams. A bluesy clarinet melody is answered by a chantlike theme in muted trumpet and piccolo. Many dream episodes follow, ranging from the mysterious, to the dark, to the peaceful and healing. A sense of hope begins to assert itself as rising lines are passed from one instrument to another. Modulation after modulation occurs as the music lifts and searches for resolution. Near the end, the main theme returns in counterpoint with the chant, building to a majestic climax, then falling to a peaceful coda. The final B-flat major chord is colored by a questioning G-flat. The finale, "Apollo Unleashed," is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement's title, but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach's
Chorale BWV 433 (Wer Gott vertraut, hat wohl gebaut). This chorale -- a favorite of the dedicatee, and one he himself arranged for chorus and band -- serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events. The chorale is in ternary form (ABA'). In the first half of the movement, the chorale's A and B sections are stated nobly underneath faster paced music, while the final A section is saved for the climactic ending, sounding against a flurry of 16th-notes. My second symphony is dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University in 2003. It was commissioned by a consortium of Dr. Croft's doctoral students, conducting students and friends as a gesture of thanks for all he has given to the profession.” Selections from The Danserye (1551/2001) Tielman Susato, known mostly for his work as a music publisher in Antwerp, was also a composer and instrumentalist, playing sackbut, trumpet, crumhorn, flute, and recorder in the Antwerp town band until 1549. Many of Susato’s publications were anthologies of vocal and instrumental works from Flemish composers within the Low Countries and active at the Imperial Court. Danseyre (1551) consists of dances based on popular tunes of the era, arranged for four voices, that can be performed on any consort or family of instruments available, which is typical of Renaissance instrumental music. Consorts could consist of instruments from the same family or different families, occupying the necessary ranges found in the four voice parts. Patrick Dunnigan’s 2002 work uses nine dances drawn from Danserye, organized into a suite for wind band. Dunnigan groups the instruments of the band into consorts and alternates this sectionalized texture with tutti passages for the full ensemble. The wind parts are derived directly from Susato but percussion was not included in the original Susato arrangements, as instruments such as percussion were expected to be optional, improvised musical lines during the Renaissance. Dunnigan’s percussion consort interposes a contemporary sound element into the suite. The work was commissioned by the Florida State University Symphonic Band and premiered April 17, 2002. The Dallas Wind Symphony, conducted by Jerry Junkin, presented the work on November 19, 2002. Renaissance dances were typically in binary, two-part forms often with regular, two- to four-bar phrases. One of the most popular dances of the sixteenth century was the stately basse danse, a couples’ dance in duple meter with graceful movements performed low to the floor. The I. La Morisque (The Moor) is a basse danses. Movement II. Bergerette is a rustic, French shepherd-dance featuring graceful woodwinds accented by the piccolo, alternating with robust trombones and trumpets in 6/4 meter. Les quatre Branles is a moderate tempo, duple meter French dance performed in a circle or in lines with side-to-side movements, scored here for alternating consorts comprised of clarinets and saxophones. Movement VI. Ronde & Salterelle highlights clarinets, piccolo, and mallet percussion for the decorous, duple-meter Ronde, followed by the Salterelle (Saltarello) in 6/4 for saxophones and rhythmic percussion. The final movement, Pavane: La Battaille (pavane meaning “from Padua” and battaille meaning “battle”), is a dignified courtly dance in duple, with fanfare motives emphasizing consorts of low and high brass, timpani, and snare drum. Note contributed by Ann Hiloski-Fowler
Homage to Perotin (1983) Leonard Slatkin has said that “Ron Nelson is the quintessential American composer. He has the ability to move between conservative and newer styles with ease. The fact that he’s a little hard to categorize is what makes him interesting.” Ron Nelson’s music is indeed symbolic of his life - born in the Midwest, educated in the east, retired and living in the West, he has personally experienced the vastness of the American Landscape that has shaped his musical career and personal experience. About his Medieval Suite, Ron Nelson notes: “Medieval Suite was written in homage to three great masters of the Middle Ages: Lenonin (middle 12th century), Perotin (c. 1155-1200) and Machaut (c. 1300-1377). These are neither transcriptions of their works nor attempts at emulating their respective styles. Rather, their music served as a sort of launching pad for three pieces which draw on some of the stylistic characteristics of music from that period, e.g., repetition of rhythmic patterns or modes, modules of sound, proportions that produce octaves, fourths and fifths, use of Gregorian chant, syncopation, long pedal points where a sustained tone regulates melodic progression. II. Homage to Perotin springs from his [variation] on the chant Viderunt [omnes] – with its driving rhythmic intensity, repetition and pedal points. The opening section features insistent dissonances in alternation with brass fanfare-like passages. A second theme played by the unison brass is written in the Aeolian mode.” The piece was premiered on March 18, 1983 at the College Band Directors National Association Biannual Conference by the Western Michigan University Symphonic Band, Richard J. Suddendorf, conductor.
West Chester University Wind Ensemble Andrew Yozviak, conductor Flute Erica Hinchcliff Morgan Turner Wiktoria Godawa Erica Westcott Nick Hall Oboe John Johnston John DeBiase Madison Feeser Bassoon Meghan Freer Joe Plavin Dominick Destefano Bass Clarinet Tom Russo
Clarinet Jen Parziale Morgan Kock Laura Sachaczenski Paige ReHill Aria Garling Ben Davan Saxophone Joseph Wolf Skyler Cole Sara Powell Amy Dulaney Horn Matt Hontz Felicia Quinn Katie Fox Casey Jennings Hannah Atlas Frank Stroble Trumpet Chloe Francis Josiah Stetler Zach Walter Maeve Bartra Bonnie Callahan Sam Zatkow
Trombone Kevin Scheetz Hojun Kim Bass Trombone Lucy Ferruzza Euphonium Isaac Sattazahn Will Rachko Natalie Travers Tuba Brandon Mooney Andrew Puleo Gavyn Frankenfield Piano Aaron Hungerford Bass James Devor Percussion Sean McWilliams Luke Thurston Dan Farnum Nate Gittelman Anthony Maldonado Jacob Scheidt
UPCOMING WELLS SCHOOL OF MUSIC EVENTS For full event details visit wcupa.edu/music or call (610) 436-2739
COVID-19 STATEMENT In Person Audiences Are Not Permitted for Fall 2020 Events Tuesday, December 1, 2020, 7:30 PM Symphony Orchestra Concert Joseph Caminiti, director WCU Foundation 202 Carter Drive
Wednesday, December 2, 2020, 8:15 PM Flute Ensemble Concert Kimberly Reighley, director Madeleine Wing Adler Theatre Performing Arts Center
Thursday, December 3, 2020, 11:00 AM WSoM Fall Convocation Recital Ralph Sorrentino & Emily Bullock Ware Family Recital Hall Swope Music Building
Thursday, December 3, 2020, 8:15 PM Statesmen & Jazz Combos Concert Daniel Cherry, director Emilie K. Asplundh Concert Hall Philips Memorial Building
Saturday, December 5, 2020, 3:00 PM 99th Annual Holiday Program Ryan Kelly, director Emilie K. Asplundh Concert Hall Philips Memorial Building
Sunday, December 6, 2020, 7:30 PM Collegium Musicum Mark Rimple, director Ware Family Recital Hall Swope Music Building
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