Evening Concert Series
Helen H. Hosmer Concert Hall
2023 – 2024 Season
Thursday, October 5th at 7:30 PM
Crane Symphonic Band
Crane Concert Band
Crane Symphonic Band
Brian K. Doyle, conductor
Antithigram (1978/88)
Jack Stamp (b. 1954)
ATallis Prelude (1989) DouglasAkey (b. 1957)
Greensleeves (1993/2011)
Dances for the Muse, Terpsichore (2022)
Branle de Champagne
Regina
Clara
Galliarde de la Guerre
Alfred Reed (1921–2005)
Carol Brittin Chambers (b. 1954)
Stomp (2008) David Biedenbender (b. 1984)
Crane Concert Band
Jill Roberts, conductor
English Folk Song Suite (1923)
1. March “Seventeen Come Sunday”
2. Intermezzo “My Bonny Boy”
3. March “Folk Songs from Somerset”
Ralph Vaughn Williams (1872–1958)
Milestone (2008) Roshanne Etezady (b. 1973)
Chorale in D minor (1736/1997)
Puszta (1988)
I. Andante Moderato
II. Tranquillo
III. Allegro Molto
IV. Marcato
Amparito Roca (1925/1935)
Johann Sebastian Bach (1685–1750)
trans. Timothy Topolewski
Jan Van der Roost (b. 1956)
Jaime Texidor (1884–1957)
arr.Aubrey Winter
Piccolo
Rosalind Hoffman
Flute
Margo Neth *
Megan Todack
Sofia Perez
Hanna Goldstein
Zoey Steele
Catharine Chapman
Oboe
Amara Leitner
Mariana Morales
Bassoon
Melissa Mitchell
Matthew Ekrich
E-flat Clarinet
Katie Pullaro
Clarinet
Ashley Colucci *
Jessica Schaller
Katie Pullaro
Brianna Nickson
Tommy Rock
Matthew Lannigan
Natalie Navis
Charli Deixler
Shannon Frank
Sarah Jones
Bass Clarinets
Jessica LaRocca
Diamond Rosario
PERSONNEL
Crane Symphonic Band
Alto Saxophone
Bethany Pursifull *
Kevin Malone
Megan Henry
Ryan Dunia
Daijah Velez
Tenor Saxophone
Emily Wehrle
Baritone Saxophone
Tommy Castellon
Trumpet
Virginia Bednarski *
Brian McNamara *
Daniel Maldonado
Lila Wieclaw
Gianna Voskinarian
Jacob Hathaway
Jay-Era Johnson
JuliaAvdoulos
Simon Lindmark
Adam Shiefer
Carter Sterner
IsaacAviles
Taylor Finch
Joshua Rivera
Horn
Kwamell Kelly
Haley Sullivan
Moriah Clendenin
Noah Garland
Natalie Hartmann
Trombone
Brandon Campbell *
Wyatt Moore
Bass Trombone
Samir Ghalayini
Euphonium
Zachary Phipps *
Aiden Timko
Austin Pelissier
Tuba
Seth Clancey *
Mason Wiedeman
Skylar Wood
Gia Boolukos
Percussion
Vatressa Teamoh *
Jared Emmerson
Brandon Phelps
Matthew Puhlman
Sasha Truax
Wyatt Calcote
Piano
Luke Jandreau
Librarians
Ashley Colucci
Kayla Outman
Piccolo
Julia Taylor
Flute
Emma Scionti *
Morgan Lorey
Liz Combs
Catherine Keach
Kayla Sumberg
Paige Bourgeois
Oboe
Molly Murphy *
Amara Leitner *
English Horn
Amara Leitner
Eb Clarinet
Paige Krebs
Clarinet
Gianna Magrino *
Ainsley Hipp
Paige Krebs
Emily Oldfield
Connor Martin
Elliott Brock
McKenna Hickey
Lance Frayler
Sam McManus
Bass Clarinet
Ethan Feuer
Julia Saxby
SavanaAngulo
Crane Concert Band
Alto Saxophone
Nora Gehlhoff *
Kevin Hyppolite
Kennedy Royal
Jack Burley
Madison Valenti
Crystal Machuca
Robinson Correa
Tenor Saxophone
Chris Kolowski
Baritone Saxophone
Jack Orrange
Trumpet
CaseyAsaro *
Nick Bedell *
Ethan Cobey
Sophie Mejia
Caiden Cook
Zoe Fragapane
Zach Rulison
Michael Panella
Michael Morra
Johnny Smith
DonnyAnderson
Joshua Buessem
Jaydon Ceron Santana
Stephanie Lamb
Horn
Haley Sullivan *
Grace Zimlinghaus
Anthony Bruno
Will Kirk
Hannah Shufelt
Trombone
Elliott Borden *
Julien Herschkowitz
Bass Trombone
Ian Bailey
Euphonium
Josh Coldren *
Casey DeJesus-Webb
Tuba
Zach Barstow *
Noah Somers
Matt Smith
Matthew Deutscher
Isabella Santoli
String Bass
Jorge Hernandez
Percussion
Drew Spina *
Luke-Coyne Connolly *
Angel Ren
Tyler Schmitt
Elijah Sutton
Librarians
Ashley Colucci
Kayla Outman
PROGRAM NOTES
Crane Symphonic Band
Antithigram Jack
Stamp
Antithigram is coined from the words antithesis and program. The work is bi-thematic, with the first theme comprised of eleven notes, the second more like a chorale in structure. A four-note tone cluster (B flat, C, F sharp, B natural) appears in the first measure, and subsequently appears as an arpeggiated ostinato (B flat, C, and F sharp, in orchestra bells and vibraphone) that underpins and adheres subsequent sections. After the themes are treated in a number of traditional ways (two-voice counterpoint, canon, chorale, and diminution) they are joined later on in a polychordal statement.
Antithigram was composed in the summer of 1977 and premiered by the East Carolina University Symphonic Band in April of 1978 with the composer conducting.
Program Note by Jack Stamp
ATallis Prelude DouglasAkey
A Tallis Prelude is based on the same theme used by Ralph Vaughan William in his Fantasia on a Theme by Thomas Tallis. The theme in Akey’s work is presented in itsoriginalmode,Phrygian.WhenAkey writesmaterialdeveloped fromtheoriginal melody or when he contrasts the theme with original music, he generally uses a major tonality. Tallis’theme is introduced in a hymn-like manner by the low voices. During the slow introduction to the piece, the rest of the band gradually hints at the more lively music to follow.
As withAkey’s other works based on Renaissance themes, A Susato Prelude and A Praetorius Prelude, we find in A Tallis Prelude the playful juxtaposition of 16th century sounds with modern harmonies and rhythms. We hear major next to Phrygian, polyrhythms and hemiola next to standard meters, somber and cheerful melodies side by side. The result is a light-hearted, engaging work appropriate for all ensembles and audiences.
Program Note by Douglas Akey
Greensleeves
Alfred ReedIt is generally agreed that the melody we know as Greensleeves is probably the second oldest piece of secular music in our Western culture, its origins having been traced back to about 1360. While we are not certain this was the original title, it is known that in the latter 14th century, English ladies wore gowns with great billowingsleeves,andthelyricsthat havecomedowntousspeakofalover'slament over his lady's cruel treatment of him by a lady clad in a dress of green sleeves.
By the time of William Shakespeare, this song had already become a classic and he madeuseofit in two of his plays, most notably in the Merry Wives of Windsor. Over 300 years later, the English composer Ralph Vaughan Williams used this melody as an intermezzo between two acts of his opera Sir John in Love, which was based on the same play. Since then the tune has been adapted as the basis for at least one Christmas carol (What Child Is This?), several popular songs, and even by the Swingle Singers on one of their albums. In addition, it has been performed instrumentally by groups of all sizes and styles from full symphony orchestra to small jazz and rock groups.
This arrangement is a symphonic development of this 600-year-old classic melody adapted for the full resources of the modern wind orchestra or concert band.
Program Note by Alfred ReedDances for the Muse, Terpsichore
Carol Brittin ChambersDances for the Muse, Terpsichore is a collection of various Renaissance dances written formodern-day concert band.Themusical Renaissanceeraroughly covered the 15th and 16th centuries and saw an increase in not only the volume of music created and distributed to people (partly due to the invention of the printing press) but also a general increase in freedom and variety of rhythms, harmonies, and range compared to the previous Medieval period.
In addition to vocal and sacred music, many dances existed, which were extremely varied in nature. They ranged from stately, processional dances (bassadance, pavane) to fast, lively dances (galliard, courante.) This music was often played by consorts, or families, of instruments (precursors to the modern-day lute, violin, guitar, keyboard, bassoon, and trombone.)
While researching the history of this dance music, I discovered many composers of the time period. One prominent German composer was Michael Praetorius, who published a compendium of over 300 dances. He titled his collection Terpsichore, the name of one of the nine Muses in Greek mythology, the goddess of dance. With my particular work, I decided to include dances from not only Praetorius, but other composers such as Claude Gervaise and Erasmus Widmann. And like Praetorius, I also decided to pay tribute to the Muse of dance, Terpsichore, by including her name in the title.
Program Note by Carol Brittin Chambers
The title, Stomp, refers to a heavy, syncopated dance with some serious attitude. Picture a Saturday night jam session –in a barn – featuring a crazed country fiddle band and Jelly Roll Morton’s Red Hot Peppers.
Program Note by David Biedenbender
English Folk Song Suite Ralph Vaughan Williams
The English Folk Song Suite is celebrating 100 years as a cornerstone piece of wind band literature. Composed in 1923, the work contains three movements that feature multiple folk songs from the Norfolk and Somerset regions of England. This significant work is widely recognized as one of the first serious works for wind band.
Thefirst movement is set as an English march containing three folk songs including Seventeen Come Sunday, Pretty Caroline and Dives and Lazarus. The second movement, Intermezzo, contains My Bonny Boy and Green Bushes scored in F dorian creating a dramatic and somewhat melancholy feel. The third movement includes four different folk songs from Somerset. Blow Away the Morning Dew, High Germany, The Trees They Do Grow High and John Barleycorn are all brilliantly scored containing lively duple and triple meter sections. The suite originally contained a fourth movement, Sea Songs, which is now published separately.
Program Note by Jill A. Roberts
Stomp David Biedenbender Crane Concert BandMilestone Roshanne Etezady
I wanted this piece to be connected to this group specifically, so I took an informal poll of the ensemble members -- adult-aged, amateur performers, many of whom had been with the ensemble since its creation -- about some of their favorite things the Plymouth Concert Band could do. For example, the flute section liked playing in the low register, so I wanted to feature that in the opening of the piece. I wanted to give them a piece that showed off many musical skills and characteristics, so Milestone features changes in mood, tempo, and timbre throughout the piece. The overall exuberant nature of the work is due to its origins as a celebratory work. Milestone was commissioned in 2008 by the Plymouth (Minn.) Concert Band for the organization's ten-year anniversary.
Program Note by Roshanne Etezady
Chorale in D minor Johann Sebastian Bach trans. Timothy Topolewski
J.S. Bach is one of the greatest composers in music history. His prime medium of composition was the organ. His gift to music is the intensity of his expression, harmonic language, clarity of form, and melodic perfection. By giving each line its own beauty through the interaction of melody, harmony and rhythm, he transforms a simple chorale into a majestif sonority of great passion and imagery.
The range and sonority of the modern symphonic band and wind ensemble are similar to that of the great Baroque organs. The power of their sound and the subtlety of their nuance make these ensembles uniquely suited to performing Baroque organ music in transposition.
Chorale in D minor appears as one of the 69 chorale melodies titled Mein Jesu which was published in 1736 and attributed to J.S. Bach. These pieces were published as musical settings of a collection of 954 sacred songs and hymns assembled by Georg Christian Schemelli.
This transcription is dedicated to Harry Begian, friend, colleague and mentor and to the memory of Jason Topolewski.
Program Note by Timothy Topolewski
Puszta (1988) Jan Van der Roost
Puszta is a suite of original dances, written in four movements. The work is titled after the Puszta, a great Hungarian plain or prairie that was home to nomadic shepherds and historically fierce horsemen. The varied dance melodies are all original compositions for this robust work but have been compared to other notable Hungarian and Slavic dances by Brahms, Liszt and Dvorak. Each has been written in a colorful style with varying tempi, wild flourishes, rich emotion and vibrant energy throughout.
Program Note by Jill A. Roberts
Amparito Roca
Jaime Texidor arr.Aubrey WinterThis Spanish pasodoble march was written by Spanish bandleader and composer Jaime Texidor. The introduction and first strain are indicative of a bullfighter’s music, whereas the gentle, lighthearted trio section takes on the character of a couples dance, evoking the other essential element of the pasodoble. The powerful brass in the dogfight (bullfight), and the tutti texture of the maestoso section bring this piece to a grand conclusion.
Program Note by Aubrey Winter
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