Friday, Feb. 3, 2023 • 9:30–10:30 a.m.
Ohio Music Education Association (OMEA)
Professional Development Conference
Union Station Ballroom
Columbus Convention Center
Scott A. Jones, conductor
The Early Interval, guest artists
La Processión Del Rocío, Op. 9 (1912/1962)
Joaquín Turina (1882–1949), arr. Alfred Reed
I. Triana en Fête
II. La Procession
Spanish composer Joaquín Turina was instrumental in propelling the national character of Spanish music in the early 20th century. Following initial musical studies in Seville and Madrid, Turina spent nearly a decade in Paris where he was immersed in the French style of musical composition. While in Paris, Turina was also deeply inspired by the music of fellow Spaniard Isaac Albéniz. He returned to Spain in 1914 where he furthered his compositional output and lived out the remainder of his life.
“Joaquín Turina wrote La Processión Del Rocío in 1913 to depict the annual procession known as ‘La Hermandad de La Virgen del Rocío de Triana’ from Seville 80 miles south to the holy site of El Rocío. Members of the ‘Hermandad,’ a type of brotherhood that includes some of the best families in Seville, participate in this annual ritual. At the head of the procession is a golden cart drawn by oxen which carries the Sinpecado, an image of ‘The Virgin of El Rocío.’ As the procession makes its way out of the city, it stops at several church doorsteps. While people dance the Seguidilla and the Soloare, a bystander sets off firecrackers adding a bit of unplanned excitement to the celebration. At the sound of melismas by high pitched vertical cedar flutes and drums, the procession resumes. The music to the ‘Salve of Rocío de Triana’ breaks forth, mingling with the pealing of the church bells, and the strains of the royal march. As the procession makes its way out of the city, its sounds fade away.”
— Note by Sixto F. Montesinos
David Maslanka (1943–2017)
David Maslanka was born in New Bedford, Massachusetts in 1943. He attended the Oberlin College Conservatory where he studied composition with Joseph Wood. He spent a year at the Mozarteum in Salzburg, Austria, and completed master's and doctoral studies in composition at Michigan State University, where his principal teacher was H. Owen Reed.
Maslanka’s music for winds has become especially celebrated. Among his catalog of over 150 compositions are more than 50 works for wind ensemble, including eight symphonies, seventeen concertos, a Mass and numerous concert pieces. His chamber music includes four wind quintets, five saxophone quartets and a number of works for solo instrument and piano.
Of this composition, composer David Maslanka wrote:
A Requiem is a Mass for the dead. This relatively brief instrumental piece with the title "Requiem" is not a Mass but serves a parallel function — the need to lay to rest old things in order to turn the mind and heart toward the new.
I have an abiding interest in why humans go to war. I have recently read much about World War II and was confronted once again with the awful fact of fifty million needless deaths. Shostakovich thought of every one of his compositions as a tombstone and wished that he could have written a separate memorial piece for every person who died in war.
I do believe that we are in a major transitional time, and that this transition happens first in each of us. My Requiem is both for the unnamed dead of all wars, and for each person making their own inner step, saying goodbye in order to say hello.
The Ohio State University School of Music hosted Maslanka for a residency in the spring of 2016 — just a year before his passing — during which he coached, lectured and inspired our students and faculty through his music and deeply spiritual presence.
Big Four on the River (2014)
James M. David (b. 1978)
James David currently serves as professor of composition and music theory at Colorado State University. He holds degrees from both the University of Georgia and Florida State University. His works have been performed around the world by some of the most celebrated ensembles, including the United States Army and Air Force Bands. As a native of southern Georgia, David began his musical training under his father Joe A. David III, a renowned high school band director and professor of music education in the region. This lineage can be heard in his music through the strong influence of jazz and other Southern traditional music mixed with contemporary idioms.
Of this composition, the composer writes:
"Big Four on the River" is a short work for wind ensemble inspired by the historic riverfront cities of my native Southeastern United States. Cities like Savannah, Charleston and New Orleans share a rich cultural heritage that reflects the diversity and conflict found within the region. Of course, jazz played a strong role in these towns and is on full display in this piece. The ‘big four’ refers to the emphasis on the fourth beat of each bar in traditional jazz (particularly in second line drumming). The work moves through time beginning with a strong Dixieland flavor, moving to the swing era, followed by 70’s fusion, and finally a touch of indie grunge.
Selections from The Danserye (1551/2002)
Tielman Susato (ca. 1510–1570)
arr. Patrick Dunnigan
I. La Morisque
III. Les quatre Branles
V. Den hoboecken dans
VI. Ronde and Salterelle
VII. Basse danse: Mon desir
VIII. La Morisque Reprise
The Early Interval
James Bates, hurdy-gurdy, crumhorn and viola da gamba
Sean Ferguson, guitar
David Stefano, recorders
Alexandra Vargo, violin
Rebecca Turk, costume consultant
Claudia Wier, movement and staging
Tielman Susato (ca. 1510–1570) began his career as a practicing trumpeter but he is best remembered as a music publisher and entrepreneur. Possessing a longtime interest in calligraphy and typesetting, Susato was credited for raising the standards for published music in the 16th century. His numerous publications consisted primarily of anthologies of various vocal works and his own collections of chansons.
Patrick Dunnigan is the current director of bands at Florida State University. Dunnigan arranged this work in 2002 and it was premiered by the Florida State University Symphonic Band the same year.
The Danserye is a set of instrumental dances based on popular tunes of the time excerpted from Susato’s 1551 publication of over 50 dances in a variety of forms. Selections from The Danserye consists of nine dances fashioned into an extended “symphonic suite.” This arrangement utilizes the full resources of the modern wind band featuring various consorts of instruments in alteration with powerful tutti passages. While the wind parts remain faithful to the original material, the dances are energized with a healthy dose of contemporary percussion effects. This blend of sound generates a “new, but familiar” element thus making something very modern out of something that is over 450 years old.
— Note by Patrick Dunnigan
The Ohio State Symphonic Band is a vibrant community of musicians dedicated to both exceptional artistry and exploration of the human condition. While the majority of the 65 ensemble musicians major in music, 10–12% major in other disciplines at the university. A Registered Student Organization, the ensemble is led by a Student Board elected from the membership of the ensemble.
Collaboration and partnership are central to the mission of the Ohio State Symphonic Band. In addition to the partnership with The Early Interval for this program, recent collaborations have included the Ohio State Department of Dance, the Ohio State Office of Diversity and Inclusion, and the Ohio State Institute for Japanese Studies.
The ensemble has earned praise following performances for the College Band Directors National Association, the Ohio Music Education Association, the Midwest International Band and Orchestra Clinic, the Ohio State Contemporary Music Festival, on tour, and through its recordings.
Since 1976, The Early Interval has explored and celebrated the rich history of medieval, Renaissance and Baroque music, inviting their audiences to experience a millennium of exciting sound worlds. The ensemble sings and performs on replica instruments unique to each period, including recorders, viols, violin, lutes, percussion and many more. The group often collaborates with actors, dancers, vocal ensembles, narrators, composers and guest musicians to create and present engaging thematic programs that transport the listener to an earlier time and place.
Musicians are listed alphabetically by section.
Ray Johnson +§
Danica Lipp ∆
Kayla Olson ∆+
Bobby Schwartz ∆+
Joseph DeCillis ∆+§
Favius Pena-Amaya §
Meghan Jensen ∆
Colin Fogerty ∆
Zach Langbein +
Katia de Jong
Zach Heffner ∆
Gavin Newton +
Shawnta Hunter +
Nora Lemmon ∆
Nik Henderson ∆+
Jacob Carlson +
Andrew Eynon ∆
Jared Brandt ∆+
Erin Rybinski ∆+
∆ principal player
+ section leader
§ board member
School of Music performances are free, unless indicated otherwise. Many performances are livestreamed for later viewing.
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