Monday, Sept. 30, 2024 • 7:30 p.m.
Weigel Auditorium
Columbus, OH
OHIO STATE SYMPHONIC BAND
John Climer, conductor
Uiliami Fihaki, guest conductor
PROGRAM
Canzona (1951)
Peter Mennin (1923–1983)
Uiliami Fihaki, guest conductor
“…Untraditional, and remarkably effective in its scoring, the musical ideas in Canzona [for Band] are salient, and the work, up to date in its idiom; has a vigor, which is buoyant , not mechanical.” — The New York Herald Tribune
Canzona is a short, brisk work, which opens with a declamatory idea expressed in massed sonorities. Next, a broad melodic line is introduced and supported by powerful rhythmic figurations. This is followed by a cantabile section. These materials are developed and expanded, and the piece closes with the opening statements brought back in a more dramatic presentation. Canzona was commissioned by Edwin Franko Goldman through The League of Composers, and was premiered by the Eastman Wind Ensemble, Frederick Fennell conducting, in New York on 15 June 1951.
— Note by the composer
October (2000)
Eric Whitacre (b. 1970)
In the preface to the score, the composer writes:
“October is my favorite month. Something about the crisp autumn air and the subtle change in light always makes me a little sentimental, and as I started to sketch, I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English Romantics (Vaughan Williams, Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season. I’m quite happy with the end result, especially because I feel there just isn’t enough lush, beautiful music written for winds. October was premiered on May 14th, 2000, and is dedicated to Brian Anderson, the man who brought it all together.”
— Note by the composer
Sketches on a Tudor Psalm (1971)
Fisher Tull (1934–1994)
Sketches on a Tudor Psalm, composed in 1971, is based on a sixteenth-century setting of the Second Psalm by Thomas Tallis. The original version was in the Phrygian mode with the melody in the tenor voice. A modern adaptation is still used today in Anglican services. Its popularity is evidenced by its employment by Ralph Vaughan Williams for the basis of his Fantasia for String Orchestra in 1910.
The introduction sets the harmonic character by emphasizing the juxtaposition of major and minor triads. The theme is first presented by solo alto saxophone, continued by horns, and followed by a fully harmonized version from the brass. The variations begin to unfold in an Allegro section with a melody in the clarinets which was constructed from the retrograde of the theme. Subsequently, fragments of the theme are selected for rhythmic and melodic transformation. Finally, the opening harmonic sequence returns in highly punctuated rhythms to herald the recapitulation of the theme beginning in the low woodwinds and culminating in a fully scored setting of the climactic measures. A coda continues the development as the music builds to a triumphal close on a major chord.
— Note by the composer
BRIEF INTERMISSION
El Camino Real — A Latin Fantasy (1985)
Alfred Reed (1921–2005)
El Camino Real (literally "The Royal Road" or "The King's Highway") was commissioned by, and is dedicated to, the 581st Air Force Band (AFRES) and its commander, Lt. Col. Ray E. Toler. Composed during the latter half of 1984 and completed in early '85, it bears the subtitle "A Latin Fantasy."
The music is based on a series of chord progressions common to countless generations of Spanish flamenco (and other) guitarists, whose fiery style and brilliant playing have captivated millions of music lovers throughout the world. These progressions and the resulting key relationships have become practically synonymous with what we feel to be the true Spanish idiom. Together with the folk melodies they have underscored, in part derived by a procedure known to musicians as the "melodizing of harmony," they have created a vast body of what most people would consider authentic Spanish music.
The first section of the music is based upon the dance form known as the Jota, while the second, contrasting section is derived from the Fandango, but here altered considerably in both time and tempo from its usual form. Overall, the music follows a tradition three-part pattern: fast–slow–fast.
The first public performance of El Camino Real took place on April 15, 1985, in Sarasota, Florida, with the 581st Air Force Band under the direction of Lt. Col. Ray E. Toler.
— Note by the composer
"Three Ring Set"
The Circus Band (1874 / 1953)
Charles Ives (1874–1954)
trans. Elkus
Composed as a march possibly as early as 1894 but worked over several times in the next 40 years, Ives' verses to this thoroughbred quickstep's printing in his 114 Songs are at once witty and wistful:
All summer long, we boys dreamed 'bout big circus joys!
Down Main Street, comes the band, Oh! "Ain't it a grand and a glorious noise!"[Repeat]
Horses are prancing, Knights advancing, Helmet's gleaming, Pennants streaming,
Cleopatra's on her throne! That Golden hair is all her own [Repeat] [Trio]
Where is the lady all in pink? Last year she waved to me I think,
Can she have died? Can! that! rot! She is passing but she sees me not. [Last time patchwork-overlay of college songs from Version 3]
Riding down from Bangor on the midnight train,
Rip, slam, bang we go, Sir, right in thro' the rain,
I had a horse we'd called Napoleon,
All on account of his "Bony parts."
When in after years we take our children on our knee,
We'll teach them that the alphabet begins with D.K.E.
— Note by Jonathan Elkus
Bravura (1918)
Charles E. Duble (1884–1960)
ed. Rhea
Bravura is the most famous of Charles Edward Duble’s thirty-one marches. As the title announces, it declares the show of daring, exceptional ability, and technical skill that is displayed by circus performers and musicians. Written in 1918 while Duble was playing trombone with the Sells-Floto Circus, it is a much-enjoyed circus “screamer” that was suitable for the opening parade of performers, a wild animal act, or for aerialists swinging under the great white tents. Listen for the important passages that he wrote for the brass section.
— From www.windrep.org
The Circus Bee (1908)
Henry Fillmore (1881–1956)
Loved by musicians and audiences alike, The Circus Bee is Henry Fillmore’s greatest contribution to the band repertoire (both circus and concert) and it stands at the very top of the venerable march idiom. Long a favorite of Merle Evens (the “Toscanini of the Big-Top”), The Circus Bee is probably a humorous salute to the nonexistent circus newspaper. It could also be Fillmore poking fun at his great friend John Klohr’s wildly popular Billboard March. The music is both 100% pure circus and 100% pure Fillmore. That heady combination makes for great band music!
— Note by Loras John Schissel
Symphonic Band Personnel
John Climer, conductor
Uiliami Fihaki, guest conductor
Musicians are listed alphabetically by section.
Piccolo
Katelyn Cheng
Grace Reven *
Flute
Melanie Ahn ^
Karis Brennan
Katelyn Cheng
Nic Digena
Sunny Jiang
Laurinda Lan ^
Danica Lipp
Grace Reven *
Haley Svec
Oboe
Claire Rottman
Briele Vollmuth *
Maddie Wittman
English Horn
Maddie Wittman
Bassoon
Bobby Schwartz *
Lucas Swiderski
E-flat Clarinet
Jacob Behrend
Clarinet
Jacob Behrend
Sonny Day
Landon Gedeon
Zach Grant ^
Adam Lee
Aoi Nishiyama
Noah Reilly *
Nicholas Ritchey
Logan Sturgeon
Lily Tropple
Joseph Young
Bass Clarinet
Leah Henning
Quinn Jensen *
Matthew Watson
Contrabass Clarinet
Quinn Jensen
Alto Saxophone
Alyssa Hartman *
Tito Leong
Willow Mauldin
Sammy Smith ^
Tenor Saxophone
Katia de Jong ^
Baritone Saxophone
Kyle Buchwalter
Trumpet
Jude Abuzeide *
Graham Bentley
Connor Caviness
Ben Dickson
Ava Diederich
Gaby Hardisky ^
John Heino
Connor Milner
Allison Morris
Horn
Caleb Anderson
Nicholas Blum
Margaret Carter
Theresa Deevers *
Jared Giovannone
Katherine Indyk
Mirai Nawa
Allie Polzin
Benjamin Wainwright
Trombone
Nolan Call
Lucia Cherok * ^
Jackson Fortner
Ashleigh Mastilak
Jacob Myers
Bass Trombone
Jacey Gleason
Jonathan Kessler
Euphonium
Sayaka Iimura *
Clayton Messinger
Hannah Lyons
Tuba
Adam Johnson
Lucas Snouffer
Zane Tekaucic *
Percussion
Logan Crawford
Wesley Giles ^
Josh Green
Peter Kindt
Mary Paydock * ^
Hayden Techter
Harp
Abigail Bachelor (faculty)
Double Bass
Dallas Carpenter (faculty)
Assisting Musician
Nathan Smith, percussion
* principal player
^ board member
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