Ensemble Concert:

2012-12-03 -- University Band and Concert Band

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fm THE UNIVERSITI OF lOWA COLLEGE OF LIBERAL ARTS & SCIENCES

s£d'/Mfi,5w presents the

University Band Steven Riley, conductor

Eric Bush, guest conductor

I(evin I(essler, guest conductor

and

Concert Band I(evin I(astens, conductor

Eric Bush, guest conductor

Ernest Jennings, guest conductor

December 3, 2012

Iowa Memorial Union Ballroom

7:30 p.m.

University Band Program

Symphonic Overture (1963)

Voodoo (1984)

Charles Carter (1926-1999)

Daniel Bukvich (b. 1954)

Eric Bush, guest conductor

Chico De Chiapas (2007) Lal· )' arr . .l\!Ioore

Emi!J Roane, Alex Joh11son, Darron Carr, Jodi Connol!J, i\1.ia lvtelm, Sau!)ler Small

Coached by Andrew Veit

A Tribute to Grainger (1996) 1. Country Gardens 2. Mo Nighean Dubh 3. The Gypsy's Wedding Day

Percy Aldridge Grainger (1882-1961)

arr. Chalon L. Ragsdale

Kevin Kessler, gttest conductor

The Old Grumbly Bear (1907)

Kate Wohlman, t11ba

Julius Fucfk (1872-1916)

arr. Andrew Glover

The Fairest of the Fair (1908) Tohn Philip Sousd

Tonight's program is No. 5194 in a series 2012-2013 (1854-1 932) The University of Iowa School of Music

Concert Band Program

Festive Overture, Opus 96 (1954) Dmitri Shostakovich (1906-197 5)

trans. Donald Hunsberger

Symphony on Themes of John Philip Sousa (1991) II. after "The Thunderer"

Eric B11Sh, guest cond11ctor

An Original Suite (1928) I. March II. Intermezzo III. Finale

Ernest Jennings, guest cond11ctor

The Wind and the Lion (197 5)

Ira Hearshen (b. 1948)

Gordon Jacob (1895-1984)

Jerry Goldsmith (1929-2004)

arr. Michael Davis

This program is being presented by Steven Riley, in partial fullfillment of the requirements

_) for the Master of ?vlusical Arts in band conducting. l\fr. Riley is a student of Dr. :Mark Heidel.

Program Notes

Symphonic Overture (1963) Charles Carter

Symphonic Overture is a contemporary-sounding overture of medium difficulty so scored that it can be performed with equal success by large and small groups alike. Employing the familiar three­part form (A-B-A), the opening section has a theme which is robust in character and with considerable rhythmic interest. The second theme, slow and expressive in character, is a free form based on an opening idea introduced by the first flute. At the return of the first section, the first theme is treated as a fugue subject building to great heights as all four entrances are achieved. As the "exposition" concludes, the contrapuntal texture gives way to a homophonic quality which dos(' the piece. The coda, as is characteristic, utilizes material from the fin,_ theme. (Charles Carter)

Voodoo (1984) Daniel Bukvich

Voodoo was a commission for the Idaho All-State Band in 1984. The piece was written specifically for the setting it would be premiered in- a gymnasium. Mel Shelton, a professor of conducting and com­position at Boise State University, conducted [the premiere] and was instrumental in [carrying out] the first successful performance of the piece. The educational purpose of the piece was to challenge the per­formers to listen to each other. "To accomplish this, it occurred to me to turn the lights off." It is as much a theatrical event as a piece of music, calling for the use of flashlights, arm waving, chanting, singing, blowing into brass mutes, surrounding the audience, and playing on parts of wind instruments, such as mouthpieces, trombone slides, and trumpets with tuning slides removed.

[The work] is in no way related to the practice of religion. The name of the piece is derived from a conversation Bukvich had with his friend who was a missionary nun living in Guatemala. "She told me that the sounds of the jungle, at night time, reminded her of 'those old Voodo_o movies' they used to watch," he said. Many of these "sounds of tl jungle" are imitated in Voodoo, the band piece. The primary melodic material is loosely based on a favorite Gregorian chant; he simply finds the melody appealing. It is also a smooth, flowing, conjunct melodic line, which works well while singing the word "voodoo."

Games P McCrane)

Chico De Chiapas (2007) Lalo

Chico D e Chiapas was written by NYC based vibist and composer Lalo. The piece was inspired on a trip to Chiapas, Mexico where the composer saw a family marimba band. More specifically a small boy who played with his family was too small to reach the keys, so he stood on a wood box. This piece depicts a playful day in the life of the Chico De Chiapas, and was released on Lalo's CD Urban Myth.

A Tribute to Grainger (1996)

f halon L. Ragsdale

(Andrew Veit)

A great deal of Percy Aldridge Grainger's compositional output are settings of English folksongs. The three selections that comprise A Tribute to Grainger are no exception.

Country Gardens was music to accompany Morris dance, a traditional English folk dance. Grainger originally set the work for "a few whistlers and a few instruments" in 1908. He wrote a piano arrangement of tl1e piece on the occasion of his mother Rose's birthday in 1918. For years this \Vas his best-selling work. This troubled Grainger deeply, as he felt it obscured his more significant efforts.

Grainger discovered Mo Nighean D11bh (My Dark-haired Maid) in a collection entitled Songs of the North, a set of songs and choruses with piano accompaniment. In 1900, Grainger set this tune with his own harmonization, again as a birthday present for his beloved mother. In this nostalgic song, a man reflects with his maiden on their time on Knockgowan's Height, where they fell in love, but can never again stand. Yet, no matter where "fortune's blasts of wintry weather" should take them, as long as they are together, they will have no fear.

The Gyp.ry's W'edding Dery was a folksong collected by Grainger himself on one of his trips to Lincolnshire; he would later set it for SATB chorus.

, he song tells the story of a handsome man \.vho asks a young gypsy --'girl to tell him his fortune. The girl tells him that "all those pretty

lassies you must lay aside, for it is the little gypsy girl that's going to be your bride." Of course, the prophecy comes true, and the girl's wandering days come to an end as she marries the squire.

(Kevin Kessler)

The Old Grumbly Bear (1907) Julius Fucik

Julius Fucik was born in Prague, Czechoslovakia, on July 18, 1872. He studied music at the Prague Conservatory, for a time under the tutelage of Antonin Dvorak. A violinist and bassoonist, Fucik performed with theater orchestras, symphony orchestras, and military bands. For a time he was bassoonist in the band of the 94th Lower Austrian Infan­try Regiment, under the baton of Josef Franz Wagner, composer of the famous Under the Double Eagle March. In 1897, Fucik commenced a long and successful career as a military band leader, and during this period he was busiest with composing music. His compositions num­bered well into the hundreds; in addition to military marches, he was beloved as a composer of light symphonic music, including concert overtures, waltzes, and many marches, the most famous of which i Entry of the Gladiators.

The Old Grumbly Bear was originally composed for solo bassoon and symphony orchestra. This charming and humourous music de­picts the lumbering antics of a slow moving, grumbly old bear - until the ending, when the beat gathers some momentum!

The Fairest of the Fair (1908) John Philip Sousa

(Andrew Glover)

The Boston Food Fair was an annual exposition and music jubilee held by the Boston Retail Grocers' Association ... In fairs before 1908, Sousa had been impressed by the beauty and charm of one particular young lady who was the center of attention of the displays in which she was employed. He made a metal note that he would some day transfer his impressions of her into music. When the invitation came for the Sousa Band to play a twenty-day engagement in 1908, he wrote this march. Remembering the comely girl, he entitled the new march The Fairest of the Fair. (Paul E . Bierley)

Festive Overture, Opus 96 (1954) Dmitri Shostakovich

Festive Overture was composed in 1954, in the period between Symphony No. 10 and the Violin Concerto. Its American premiere was given by Maurice Abravanel and the Utah Symphony Orchestra on November 16, 1955. In 1956, the New York Philharmonic under Dmitri Mitropoulos presented the overture in Carnegie Hall.

A Russian band version of the overture was released in 1958 and utilized the standard instrumentation of the Russian military band, i.e., a complete orchestral wind, brass and percussion s<:'.ction plus a full family of saxhorns, ranging from the Bb soprano down through the Bb contrabass saxhorn. This edition was scored for the instrumentation of the American symphonic band.

'., he Festive Overture is an excellent curtain raiser and contains one of / Shostakovich's greatest attributes -- the ability write a long sustained

melodic line combined with a pulsating rhythmic drive. In addition to the fl.owing melodic passages, there are also examples of staccato rhythmic sections which set off the flowing line and the variant fanfares. It is truly a "festive overture." (Donald Hunsberger)

Symphony on Themes of John Philip Sousa (1991) Ira Hearshen

Stirred and fascinated by the music of John Philip Sousa since childhood, I still get a chill upon hearing the piccolo obbligato in the trio of The Stars and Stripes Forever. While the thought of transforming popular march music mto a legitimate piece for concert stage had a lot of intellectual appeal, I figured that any attempt I made to P?l-Y homage to Sousa would be misunderstood. But artistic challenge won out and I started working on what was to become the second movement of the symphony in the winter of 1990-1991.

I began this piece by taking the "trio" theme of the march, The Thunderer, slowing it down to a tempo of 48 beats per minute and casting it in the style of the Finale of Mahler's Third Symphony.

,...From the audience reaction to the first performance of (after) The ( • •• 1 hunderer, I knew I was involved with something unusual in the ~ realm of band music. The weight of the piece and 1ts 8 minute time

performance meant that the idea of a light concert suite of four to six movements as originally commissioned was out of the question. It was at this time, I realized that I had the beginning of a full-scale symphony in both length and depth. (Ira Hearshen)

An Originial Suite (1928) Gordon Jacob

Gordon Jacob composed An Original Suite as a student attending the Royal Academy of Music in 1924. Previously, Jacob transcribed Ralph Vaughan Williams' English Folk Song Suite from wind band to orchestra and developed an interest in writing for military band. By Jacob's description, the title was given to the work by Boosey & Hawkes, a decision he later regretted as described in the following passage:

At the time ve-ry little original music 1vas being 1vtitten for u1bat JJJas then 'militmy bancl 'so the title was a 1vqy of distinguishing that it JJJas an original work rather than mt arrangement - not that the m11Sic 1vas onginal in itse!f. It 1vas an tttifortunate title, I knoJJJ.

The Wind and the Lion (1975) Jerry Goldsmitl1

(Christopher P. Heidenreich)

Set in Morocco near the turn of the 20th century, John 1-1ilius' 1975 historical drama The Wind and the Lion is truly one of those rare "cinemagic" combinations of romantic beauty and epic symbolism. Sean Connery, Candice Bergen, Brian Keith, and John Huston starred in the film. Jerry Goldsmith received an Academy Award nomination, Best Original Score, for ilie soundtrack (though he lost to fellow composer John Williams' score to Jaws) . Goldsmiili's powerful score was a brilliant compliment to the spectacular screen action with its expansive imagery and energetic authentic rhythms. It is often regarded as one of his best scores of his career. Goldsmiili composed scores for such noteworthy films as The Sand Pebbles, Plamt of the Apes, Patton, Chinatown, The OJJ;1en1 The Bqysfrom Brazil, Night Crossing, Alien, Poltergeist, The Secret of NIMH, Gremhns, Hoosiers, Total Recall, Basic Instinct, Rt1cfy1 Air Force One, LA. Confidential, Mulan, The Mitmmy, three Ra1JJbo films, and five Star Trek films. During his career he was nominated for six Grammy Awards, nine Golden Globes, and seventeen Academy Awards. In 1977 Goldsmith was awarded an Oscar for The Omen.

The suite opens with the }vlain Title. Used in the film to accompany the opening credits, the music here is broad and majestic; suggesting the vast Moroccan landscape as well as the savage nobility of Mulai Raisuli, Lord of the Riff. The next section, The Tme Sy111bo/, underscores President Theodore Roosevelt's interview with reporters in Yellowstone National Park. He recalls a grizzly bear he once killed and then draws the analogy between the bear ("the true symbol of America," he called it) protecting its territory and the insurgent Moroccan tribesmen protecting theirs. The balance of the work, Raisttli Attacks, depicts the tribal horsemen galloping across the plains, swords drawn, following Mulai Raisuli into combat. After a brief interlude of the love theme, I Remembe,~ the suite closes with the final battle-Raisuli's last bid for freedom.

This suite was transcribed by :Michael Davis, staff arranger for The !Jnited States Air Force Band in Washington, D.C., and dedicated to

the band's conductor at the time, Colonel Arnald D. Gabriel. It was taken from Goldsmith's own suite for orchestra and arranged into a single movement work for symphonic band.

(Michael Davis and Jerry Goldsmith)

Kate Wohlman, tuba

Kate Wahlman is a third year Doctor of Musical Arts student and recipient of the Iowa Performance Fellowship. She studies tuba with John Manning, trombone with David Gier, and is a brass area Gradu­ate Teaching Assistant. Kate earned Masters degrees in Tuba Per­formance and Music Theory from Penn State University, a Bachelor of Music (with Honours) degree from the University of Manchester (UK.), along with a Graduate Diploma from the Royal Northern Col­lege of Music (UK.). Her previous teachers include Velvet Brown, Ewan Easton and James Gourlay. Kate is currently Musical Director of the Eastern Iowa Brass Band.

Kevin Kastens, conductor

Kevin Kastens is Associate Director of Bands and Director of the Hawkeye Marching Band. As a professor in the School of Music he teaches marching band techniques, band arranging and conducts the Concert Band.

Prior to his appointment at Iowa in July 1998, Kastens served for five years as the Associate Director of Bands at the University of Missouri-Columbia and for six years as Assistant Director of Bands at Indiana University, Bloomington, Indiana.

A native of Illinois, he received his Bachelor of Science in Music Education and Master of Science in Music Education degrees at the University of Illinois at Champaign-Urbana. Before his appointment at Indiana, Kastens was Director of Bands at Wheeling High Schoc from 1980-1987 in northwest suburban Chicago. His concert, marching and jazz bands at Wheeling received numerous honors and awards, including performances at the Mid-East Instrumental Music clinic in Pittsburgh, PA; the Music Educators National Conference in Anaheim, CA; and in Dublin, Limerick and Galway, Ireland.

While he was a faculty member at the University of Missouri, Kastens was awarded the Certificate of Merit for Excellence in Education by the office of the Vice-Chancellor for Student Affairs. In 1996 the members of the Missouri marching band elected him to the Marching :Mizzou Hall of Fame (the first director to be so honored). The Nlissouri student organization Mizzou Spirit elected Kastens "Faculty Member of the Year" in 1998.

Mr. Kastens' professional affiliations include the Iowa Bandmasters Association, CBDNA, MENC, NBA, Phi Beta Mu, Pi Kappa Lambda and Phi Mu Alpha Sinfonia. He is active as a clinician, adjudicator and guest conductor throughout the United States and Canada. Mr. Kastens has had numerous articles published on various topics of instrumental music education. He has served as a conductor/ clinician for the Bands of America Summer National Workshops, the Smith­Walbridge Drum Major Clinics, and is a leader in the field of computer­assisted marching band drill design.

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Steven Riley, conductor

Steven Riley is in his second year as a graduate student majoring in band conducting at The University of Iowa. During his first year at Iowa, Steven was named a top 10 finalist in the National Band Associ­ation's Young Conductor Mentor Project. Additionally, he conducted for the Office of the President of the United States during an official visit to Iowa City.

Prior to attending Iowa, Steven was Director of Bands at Johnsburg High School in Johnsburg, Illinois. During his time in Johnsburg his ensembles performed in various music festivals across the state, per­formed with guest artists, and toured internationally in the Bahamas.

, Steven is a graduate of the University of Illinois at Urbana-Cham-~~ aign where he earned a Bachelor of Music Education. As an under­

graduate, Steven studied clarinet with Professor J. David Harris and performed with the Marching Illini, Symphonic Band I, and the Wind Symphony. Steven was selected as drum major of the Marching Illini froin 2005-2007 and performed in the 2008 Rose Bowl.

Steven's professional affiliations include honorary membership in the National Band Association and Phi Mu Alpha Sinfonia.

Kevin Kessler, guest conductor

Kevin Kessler is in his first year as a DMA-Wind Band Conducting student and Graduate Teaching Assistant at the University of Iowa. Prior to this appointment, Kevin taught for 14 years in the Bran­don Valley, SD, band program. Most recently, he served as Director of Bands, overseeing the instrumental activities of over 500 students in grades 5-12. The Brandon Valley High School Symphonic Band earned consistent Superior ratings at the annual Large Group Contest and placed numerous students in the South Dakota All-State Band. The Brandon Valley Marching Lynx was considered among the finest marching bands in tl1e region.

Kevin holds a Bachelor of Music Education Degree from South Da­', kota State University, where he studied conducting and trumpet from t· ohn Colson. He holds a Master of Music in Conducting from South­

ern Oregon University. His professional affiliations include the Na-tional Association for Music Education, Phi Beta Mu, and the South Dakota Bandmasters Association.

Eric Bush, guest conductor

Eric Bush serves as Graduate Teaching Assistant at The University of Iowa where he is a candidate for the D.M.A. in Wind Band Con­ducting degree. His duties include serving as guest conductor of the concert ensembles and as a member of the graduate staff of the Hawkeye Marching Band and Iowa Pep Band.

Prior to his appointment at the University of Iowa, Mr. Bush served as Director of Bands and Assistant Professor of Music at Suffolk County Community College from 2008-2012. In addition to his guid­ance of the band program, he conducted the S.C.C.C. Symphonic Band and Jazz Ensemble and taught applied trumpet lessons. In the fall of 2009, he founded the S.C.C.C. Symphonic Wind Ensemble, an elite ensemble that performed for the inauguration ceremony c N Suffolk's sixth president and premiered the work L!tminiferom Ether by faculty composer, Alexander Nohai-Seaman. In addition to his conducting and trumpet duties, he taught various non-major courses in music theory and music history.

Mr. Bush remains a very active conductor and trumpet player in the music community. He guest conducts regularly, performs often in jazz and classical settings, and teaches many students privately. Since 2010, he has served as the Assistant Chair for Community Colleges on the Small College & Community College Committee of the Col­lege Band Directors National Association (CBDNA). Mr. Bush's other professional memberships include the Collegiate Music Soci­ety (CMS), National Association for Music Education (MENC), and International Tnunpet Guild (ITG) . He is also an alumnus of the national music fraternity, Phi Mu Alpha Sinfonia. Mr. Bush holds degrees from The University of Montana and Central Michigan Uni­versity.

Ernest Jennings, guest conductor

Ernest Jennings is in his second year as a Doctor of Musical Arts student in Band Conducting and Graduate Teaching Assistant at The University of Iowa. At Iowa, Ernest serves as a member of the Graduate Staff with the Hawkeye Marching Band and works with the Univesity of Iowa Bands. Prior to his acceptance into the Di\1A program and conducting studio of Dr. Mark Heidel, Ernest served as the Associate Director of Bands in the College of Music at Mahidol University in Bangkok, Thailand from 2009-2011.

A strong advocate of music education, Ernest possesses teaching experience as a music educator at the university and public school levels. He has served as Assistant Director of Bands in the School of

)~ fosic at the University of Wisconsin-Madison and as a high school -, band director in the Des Moines Public Schools where he directed

concert, marching, and jazz bands. Additionally, he has served as a guest conductor at regional and international band festivals/ conferences on three continents including Australia, Asia, and North America.

Ernest holds the Master of Arts degree in Percussion Performance from The University of Iowa, Bachelor of Music Education from Drake University, Bachelor of Arts from Limestone College, and is a graduate of the United States Navy School of Music. His professional affiliations include the College Band Directors National Association, World Association for Symphonic Bands and Ensembles, Percussive Arts Society, and The College Music Society.

University Band Personnel Piccolo

Lisa Golden

Flute

Melanie Saunders* Catherine Clark Hyesin Han Ellie Drezen Melissa Odendahl Erin Clark Lauren Ossian Elly Huston Danielle Zwiefelhofer Emily i\tliller Kenzie Teno Keer Chen Emily Jepson Emma Husar Virginia Davis Danielle Rice Emily Archer Shennan Ballo Elizabeth Snyder Natasha Champman Cooper Odegard Samantha Niles Michelle Busa l\faggie Alberts Emily Miksch

Oboe

Joseph Ambrose* Rebecca Anderson

Clarinet

Xin Huang* Sophia Chen Maggie Martin Mark Binder Hannah Thomsen Kelsey Jurczak Sarah Goettler Emily Guevara Michaela Sanders Claire Kopetsky Allie Kleespies Jacob Richards

Bass Clarinet Kaitlin Lockhart Sarah Henry

Alto Saxophone Jacklyn Even* Alicia Errthum Randal Cooper Kelsie Stafford Thomas Rigg Bailey Krstic Joshua Weintraub Faith Binder

Tenor Saxophone

Justin Stites Zachary Miller

Bari Saxophone

Kaitlin Schlotfelt

Trumpet Brendan Smolen* Lucas Sperfslage Katie Greenstein Joseph Cannistra Enuna Smith Andrew Graham Kyle Taylor Ashley Byrd Heidi Schleuder Paige Schneweis i\tlichael Sroka Cody Meidinger Issac Beck Brunk Jacob Ohrt

Horn

Nicolle Hall-Pasternak* Hannah Seberg Justin Carrico Marisa Trautsch

Trombone

Ilke Anyanetu* Hyunbi Han Colin Meirovitz Chase Lampe Nicholas Jones

Euphonium Matthew Bancroft-Smithe ArTesia McCoy

Tuba

Ben Reid* Eric Larson Howard Chen Kyleigh Kriener

Percussion

Emily Roane* Alex Johnson Darron Carr Jodi Connolly i\tlia Kuehn Sawyer Small Madeline Chinn Luke Stroth Ryan Mclnnie Dana Lehmann

Librarian

Jessica Runyon

Stage Crew

Steven Boswell Jack Frank Kyle Pape

Graduate Assistants

Eric Bush Ernest Jennings Kevin Kessler Steven Riley Andrew Veit

Concert Band Personnel

Flute Megan Carney Martin Paulin Sabrina Strella Katie Schabilion Ben Schauer Lia Parrillo

Oboe Amanda Eldred Shuan-Tsai Chou Anna Poliema Alyson Gloria

English Horn Anna Pollema

·r'.Bassoon

Evelin Rodrigues Meredith Marturello Gabrielle Vanek Tony Dratnol

Clarinet Kristina Kempton Tori Nickols 1

.Michael Hanson 1

Ethan LeBeau Rachel Steffen Alana Phillips 1

Whitney De Bey

Bass Clarinet Shannon O'Rourke 1

Alto Saxophone Calvin Wong Case Yoo

Tenor Saxophone j\,fichael Davis

Bari Saxophone Denn.is Kwok

J.

Trumpet Josiah Spindler MattMcCan Taylor ]'vfatuszeski Jessica Runyon 1vlike l\fatthews Adam Houk Benji Goldsmith Bailey Miller Stephen Banigan

Horn Alyssa Carlson Chase Eichhorst John Filippone Amanda Stout JoelD'Camp Allison Vandecar 1 aomi Nothdurft

Trombone Steven. Boswell Duncan Sinclair Dominick Shults Megan Cassady

Bass Trombone Will Tollefson Jack Frank

Euphonium Will Emrich Daniel Davies

Tuba Tiffani Fulton Maruicio Origel 1

Harp Pamela \Veest-Carrasco

Percussion Ashley Collins Tyler Klenske Corutney Long Rebecca Maher Casey Mattes Patrick Potts Kelvin Tran

Librarian Rebecca Maher

Stage Crew Steven Boswell Jack Frank Kyle Pape

Graduate Assistants Eric Bush Ernest Jennings Kevin Kessler Steven Riley Andrew Veit

Scholarship Recipients 1 University Bands

Dec. 6

Feb. 16

Mar. 11

April 11

May6

May9

June 19-28

Upcoming Events

Chamber Winds Eric Bush, Ernest Jennings/

Kevin Kessler/Steven Riley, conductors 7:00 p.m., Riverside Rectial Hall

Symphony Band/Iowa Honor Band Richard Mark Heidel, conductor

Maurita Mead, clarinet 7:00 p.m., Iowa Memorial Union Ballroom

University Band and Concert Band Kevin Kessler and Kevin Kastens, conductors

7:30 p.m., Iowa Memorial Union Ballroom

Symphony Band Richard Mark Heidel, conductor

7:30 p.m., Iowa Memorial Union Ballroom

University Band and Concert Band Eric Bush and Kevin Kastens, conductors

7:30 p.m., Iowa Memorial Union Ballroom

Chamber Winds 7:00 p.m., Riverside Recital Hall

Iowa Summer Music Camp

For Iowa Summer Music Camp details call 319-335-1635 or toll-free in Iowa: 1-800-553- J IOWA, ext. 1635, or visit our website: http:/ h.1:wvwiowa.edu/- bands/ISMC/