Elmhurst University Music Department - Fall Concert

Elmhurst University Music Department

FALL CONCERT Symphonic Band and Wind Ensemble --PROGRAM-Symphonic Band Amparito Roca . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . Jaime Texidor Afterlife . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rossano Galante Light Cavalry Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz von Suppe trans. Henry Fillmore Symphony No. 1 “Lord of the Rings” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johan de Meij 1. Gandalf Ecstatic Fanfare . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven Bryant

Wind Ensemble Festmusik der Stadt Wien . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Strauss Overture to “Beatrice and Benedict” . . . . . . . . . . . . . . . . . . . . . . . . . . . Hector Berlioz trans. Franz Henning Magnolia Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven Danyew When Stone Becomes Forest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Josh Rodriguez Cartoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Hart Fire in the Blood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Lovatt-Cooper

ELMHURST UNIVERSITY SYMPHONIC BAND Piccolo Joseph Johnson Flute Tara Cappelletti Sarah Collins Fatima Dabbah Anthony Galang Kim Jahns Jennifer Jeffrey Jessica Jeffrey Heather Johnson Ellen Kircher Kristin Miceli Victoria Palomino Ceara Price Aliah Robles Elaine Schumacher Gayle Smith Dorothy Stelzik Michelle Vazquez Christina Vermeulen Coral Wiekert Oboe April Drost Sabrina ZeidlerMichaelson Victoria Zibel

Clarinet Gina Carter Kenny Cook Emma Germann Steve Goldman Kim Hempel Caroline Husa Dan Kesselring Jennifer Kobos Melissa Lehmann Mia Merrell Lisa Steele Susan Tarson Bass Clarinet Sean Gaertner Beesam Tawil Alto Saxophone Karabeth Footman Jameson Flynn Nicolas Haddock Xavier Martinez Nathan Para Jeni Perry Samuel Shulman

Tenor Saxophone Dominic Bouffard Lauren Hauser Baritone Saxophone Eric Sanders Trumpet Lud Andreson Eric Barbier Eric Beltran Justin Czarnowski Bob Dickinson Carol Dickenson Abigail Komperda Joseph Miceli Luke Miller Glenn T. Morimoto Emmie Pawlak Laurie Pieler-DiCola Anjali Raichura Anna Thompson Horn Kevin Canelo Joan Elson Moore Brad Rathe

Trombone Sebastian Cabezas Rick Clark Mike Cumberland Melissa Drost Ed Hempel Jeremy Sison Euphonium Adrian Canelo Zach Hoffman Tuba Michael Chipchak Luke Houis John Kasongoom Edward Susmilch Michael Vaschur Percussion Johnathan Campbell Shane Dickinson Morgan Dudlicek Mike Paroline Alexa Pinto Brian Tacastacas Piano Karen Anderson

ELMHURST UNIVERSITY WIND ENSEMBLE Piccolo Hannah Wilger Flute Eliana Kiltz Ali Martin Tori Marchi Camryn Nowak-Brown Claudia Rejowski* Oboe Disha Virdi Bassoon Tobie Schroeder

Clarinet Evan Auriemma Nayely Casales Eliza Martinez Ian Murphy Leonardo Rodriguez* Joe Valenti Cristian Zavala Bass Clarinet Joe Consoli Matt Wozniak Alto Saxophone Crystal Adaya Lissette Hernandez* Chris Tejeda Tenor Saxophone Nina Hoek Baritone Saxophone Bryce Leitzinger

Trumpet Ian Bardes Mackenzie Costa Tim Gorman Sebastian Martinez Charlie Rossi* William Stezowski Horn Kailie Gilmore Hannah Hadraba* Alyssa Ladewski Julie Perez Trombone Matt Garcia * Michael GrifUin Brianna Maciel Ian Martinez

Euphonium Paul Eakley Milton Nonato Ethan Soltys* Tuba Tyler Jozwiak Aidan Pelletier* Logan Turney George Patrick Williams Percussion Kristin Crisostomo Grace Heisen* Levi Korvach Henrik Ravadeneira Piano Ethan Soltys

Symphonic Band Program Notes Amparito Roca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jaime Texidor Although the original score of this pasodoble was reportedly written (possibly under a different title) by the British bandmaster Reginald Ridewood (1907-1942), Jaime Texidor undoubtedly copyrighted the work and arranged for its publication by Editorial Musica Moderna in Madrid and, in 1935, by Boosey & Hawkes in London. In April 1936, an ad by Boosey & Hawkes in The Musical Progress and Mail included the title Amparito Roca followed by a translation, “The Sheltered Cliff.” The present conductor of the Baracaldo Municipal Band, Juan Esteve Galán, has stated, however, that Texidor dedicated the pasodoble to a girl named Amparito (diminutive of Amparo) Roca, and that she still lives in that area. Regardless of its origin, researchers agree that Amparito Roca is still one of the band world’s most popular pasodobles.

- Program Note from Program Notes for Band

Afterlife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rossano Galante The inspiration for this beautiful commissioned work is best explained in the words of the composer: "Since the beginning of time, man has pondered what happens when our physical body dies.

Some believe we go to Heaven. Others doubt its existence entirely ... For me, I have always hoped that when we pass it will be a very peaceful experience."

A slow, soft, and delicate opening section that begins with upper woodwinds represents peacefulness returning to the soul. The approach to a new consciousness is conveyed as the piece builds to a slightly faster Grandioso section with glorious fanfare passages in the trumpets and horns and dramatic flourishes in the woodwinds. The remainder of the work represents a notion of becoming familiar with the new surroundings. A solemn closing section brings the composition to a soft, peaceful conclusion.

- Program Note from The Instrumentalist

Light Cavalry Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Franz von Suppe Light Cavalry Overture is an energetic and lively overture from the Leichte Kavallerie, an operetta by Franz von Suppé (1819 — 1895). Suppé composed many operettas and comedies, most of which have now become obsolete. However, his overtures continue to be played in many orchestras, as well as being found in movies, cartoons and advertisements.

Light Cavalry debuted in 1866 in Vienna. The Overture starts off with a brilliant fanfare played by the trumpets and brass, like a military reveille preparing soldiers for battle. Then at the Allegro, the upper woodwinds play a theme including quick triplets, as the enemy soldiers stealthily approach the battlefield. At the Allegretto Brillante, the brass plays a galloping theme as the cavalry rides to battle, and not long after, the rest of the ensemble joins in. Then, the music changes into a minor key as the battle starts and the cavalry charges.

At the end of the first battle, soldiers and their general die, and the clarinet mourns their

deaths in its cadenza. A solemn Hungarian melody starts at the Andantino con moto, as the people of the country mourn its lost soldiers. The Allegretto Brillante returns as the cavalry regroups for another charge, defeating the enemy and ending the overture in a triumphant victory.

- Program Note from the Coppell North Honor Winds concert program, 12 February 2016

“Gandalf” from Symphony No. 1 “The Lord of the Rings” . . . . . . . . . . . . . . . . . . Johan de Meij The first movement is a musical portrait of the wizard Gandalf, one of the principal characters of the trilogy. His wise and noble personality is expressed by a stately motif which is used in a different form in movements IV and V. The sudden opening of the Allegro vivace is indicative of the unpredictability of the grey wizard, followed by a wild ride on his beautiful horse, Shadowfax.

- Program Note by composer

Ecstatic Fanfare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven Bryant Ecstatic Fanfare is based on music from movement I of my Ecstatic Waters. One day in May 2012, I mentioned to my wife that it might be fun to take the soaring, heroic tutti music from the earlier work and turn it into a short fanfare someday. She goaded me into doing it “immediately,” and so in a panicked three-day composing frenzy, I created this new work, which was premiered by Johann Mösenbichler with the Polizeiorchester Bayern just three short weeks later, followed immediately by my wife, Verena, conducting it with the World Youth Wind Orchestra Project in July 2012. This has to be a record time for conception-topremiere for a large ensemble work.

The work unfolds with a flurry that can best be described as aggressive jubilation that winds down into a quiet, pure, pastoral melody marked by descending fourths in the clarinets. The use of open harmonies and descending fourths provide a sense of innocence and simplicity to this music, giving the listener something familiar to connect with, reminiscent of the music of Aaron Copland. This quiet music is eventually transformed into a powerful statement by the horns, marked “aggressive and celebratory.” This moment of celebration explodes into elation and the work rallies toward an energetic, powerful conclusion.

- Program note by composer

Wind Ensemble Program Notes Festmusik der Stadt Wien. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Strauss German composer Richard Georg Strauss finished the score of the Festmusik der Stadt Wien --

Festival Music for the City of Vienna -- on January 14, 1943, at his Viennese home. The score is dedicated to the Vienna City Council, ofiicially in gratitude for having been awarded its Beethoven Prize the previous year. Written for the Vienna Trumpet Corps, the piece was originally scored for ten trumpets, seven trombones (two alto, three tenor, and two bass), two tubas, and timpani. Strauss himself conducted the work's premiere in the Festival Hall of the Vienna Rathaus on April 9, 1943. Ten days later he made a much shorter version of the work known simply as "Vienna Fanfare." The piece we are playing today was arranged for military band by Eric Banks.

- Program Note by James Huff (UTC) (from the program notes of The Claremont Winds, submitted with permission) Overture to “Beatrice and Benedict”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hector Berlioz The Gospel saying that “No prophet is accepted in his own country” was certainly true of Hector Berlioz. Though his unique and innovative music was championed in Germany, France never fully recognized him in his own lifetime. Béatrice et Bénédict, his final completed work, would be premiered not in Paris, but in Baden. Composed between 1860 and 1862, this comic opera dates from a difficult period in the composer’s life, but despite his disappointments and increasing ill-health, the work is one of his lightest, most delightful creations.

The opera’s plot is a simplified version of Much Ado about Nothing by Shakespeare, one of Berlioz’ chief sources of inspiration. Beatrice and Benedict cannot stand each other, so on a lark their friends and families decide to get them together through a series of deceptions (the basic outline of the romantic comedy has changed little in 400 years).

The overture brims with life and comedic touches. It begins with music taken from the opera’s ending in which Beatrice and Benedict get married, singing “Love is a torch…Love is a flame… […] today the truce is signed; we will become enemies again tomorrow!” The fast triplets of the opening theme illustrate these flames of love: Just as the overture seems to get going, it stops; the music slows and it becomes clear that the opening was merely the introduction to the introduction. After a yearning string melody, the fiery music resumes as the main body of the overture begins in earnest. Brassy fanfares lead to a more lyrical theme as the “flames of love” recede into the background of the orchestral texture. Like many opera overtures, this one eschews an extended development and moves directly into a reprise of the main themes (although Berlioz does introduce some daring harmonies into the transition between them). The overture ends with orchestral laughter, preparing the way for the Shakespearean comedy that follows.

- Program Note by Calvin Dotsey, Houston Symphony Orchestra

Magnolia Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven Danyew When I was playing saxophone in my middle school jazz band, we started every rehearsal the same way –- with an improvisation exercise that our director created. It was a simple yet brilliant exercise for teaching beginning improvisation and allowing everyone in the band a chance to “solo.” As a warm-up at the opening of each rehearsal, the whole band played the blues scale ascending, resting for one measure, descending, and resting for another measure.

During the measures of rest, each member of the band took turns improvising a solo. Looking back, this exercise not only got the band swinging together from the start of rehearsal, but it made improvisation, a daunting musical task to many, seem within everyone’s abilities.

This experience was my introduction to the blues scale, and I have long wanted to write a piece inspired by this group of pitches. In Magnolia Star, I explore various ways to use these pitches in harmonies, melodies, and timbres, creating a diverse set of ideas that will go beyond sounds that we typically associate with the blues scale. I didn’t want to create a “blues” piece, but rather a piece in my own musical voice that uses and pays homage to the blues scale. Nearly all of the pitches used in Magnolia Star fit into the concert C blues scale.

It is interesting to note that embedded within the C blues scale are both a C minor triad, an E-flat minor triad, and an E-flat major triad. I explore the alternation of these tonal areas right from the start of the piece, and continue to employ them in different ways throughout the entire work.

Another influence was trains and the American railroad. The railroad not only provides some intriguing sonic ideas, with driving rhythms and train-like sonorities, but it was also an integral part of the growth of jazz and blues in America. In the late 19th century, the Illinois Central Railroad constructed rail lines that stretched from New Orleans and the “Delta South” all the way north to Chicago. Many Southern musicians traveled north via the railroad, bringing “delta blues” and other idioms to northern parts of the country. The railroad was also the inspiration for countless blues songs by a wide variety of artists. Simply put, the railroad was crucial to the dissemination of jazz and blues in the early 20th century. Magnolia Star was an Illinois Central train that ran from New Orleans to Chicago with the famous Panama Limited in the mid-20th century.

- Program Note by composer When Stone Becomes Forest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Josh Rodriguez The title for this work comes from a modified phrase in C. S. Lewis’s science fiction novel Out of the Silent Planet. In the story, an English academic travels to another planet, and at one point, notes the striking landscape which he describes as a ”forest that had become stone.”

This phrase stayed with me as an apt description for the devastation of nature through air pollution, mass deforestation, and the poisoning of our oceans through discarded single-use plastics. I had every intention of writing a lamentation, and the music begins on an introspective funereal tone. However, as I composed (in 2021), the music surged toward a more hopeful conclusion; sometimes creativity flows in a different direction than initially intended, and the work of the composer is simply to listen. Instead of a dirge, the musical drama comes from the terse twisting tension of new life bursting forth. In this sense, When Stone Becomes Forest is a celebration of resurrection, a musical sonnet to the coming of

Spring which thaws Winter’s death – a musical symbol of new life that may be possible when we care for the earth and make the needed changes to preserve our planet.

- Program Note by composer Cartoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Hart It's all here! The big opening credits, the cat and mouse tease and chase, the strutting stagger, and of course the BIG FINALE! Best of all, it can all happen in the imagination of the audience, not on the film screen.

- Program Note from score Fire in the Blood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Lovatt-Cooper Fire in the Blood was commissioned by Dr Stephen Cobb for the 120th anniversary of the International Staff Band of the Salvation Army. The piece was composed for the celebration concert where the ISB were joined by several other staff bands from around the world to perform independently to a sell-out capacity crowd at Britain’s most famous concert hall The Royal Albert Hall. Fire in the Blood received its world premier at the ‘ISB 120’ concert at the Royal Albert Hall on June 4th 2011.

With this piece I wanted to acknowledge music that had an impact on me through my Salvation Army upbringing. When thinking of a title for this piece I had no hesitation than to reflect and re-word the Salvation Army’s motto under their famous crest ‘Blood and Fire’.

When composing Fire in the Blood I wanted to use three songs of worship that have been prevalent in the Salvation Army’s services over a number of years. Opening with Richard Phillips’ setting of Psalm 95, ‘Sing for Joy’, the music is vibrant and full of energy, I wanted to capture the spirit of the well-known words of Scripture. The music then moves into a more reflective section that includes Howard Davies’ emotive song melody ‘Lord, you know that we love you’ and Laurie Klein’s worship song ‘I love you Lord’.

A re-statement of the opening Psalm setting follows and this, in turn, leads into a dramatic and powerful finale that combines two pivotal statements drawn from the slower, reflective section: I love you lord, and I lift my voice to worship you, O my soul rejoice and Lord, you know that we love you with a final flourish from Psalm 95: Come let us sing joy to the Lord!

- Program Note by composer

Elmhurst University Composer Josh Rodriguez Known for his energetic rhythms, rich harmonic language, and striking colors, Colombian-American composer Josh Rodríguez (b. 1982) continues to gain recognition as an emerging composer and collaborator on a national and international scale. Born in Argentina and raised in Guatemala, Mexico, and the United States, Rodríguez's musical imagination has been formed by this bilingual multicultural heritage.

Rodríguez collaborates regularly with theatre and film directors and has received notable concert commissions in a wide range of musical genres: works include Dos Palabras, which won the Inaugural Springfield Chamber Chorus Composition Competition (2022) and is available on Spotify/iTunes, When Stone Becomes Forest (Winner of THE AMERICAN PRIZE - Professional Band Division 2022), Partita Picosa (a 5-movement piece for solo piano), Contra Spem Spero (violin chamber concerto), and That Crazed Girl Improvising (piano trio), all which were finalists for the AMERICAN PRIZE (TIKAL, for concert band received Honorable Mention, 2021).

He's written numerous choral works, music for jazz trio and big band, original scores for Courtyard Shakespeare Festival's productions of Hamlet (2019), Much Ado About Nothing (2022), Richard III (2022), and Rosencrantz and Guildenstern are Dead (2019), and CBU Theatre's productions of Love's Labour's Lost (2020) and She Stoops to Conquer (2021). In addition to concert and theatre music, Rodríguez has scored numerous film projects (currently THE TEMPEST by Rebel Run Studios), several of which have appeared in international film festivals and received special awards.

Rodríguez (ASCAP) is composer-in-residence of the Corona Symphony Orchestra, and currently serves as Associate Professor of Music Theory and Composition at the Elmhurst University. He regularly contributes to various arts & culture blogs and is on the Leadership Team of Deus-Ex-Musica an initiative that brings musicians, clergy, and non-musicians together for concerts and conversations about the intersection of faith and new music.

Rodríguez earned his MM at the Cleveland Institute of Music and upon winning the Eugene V. Cota-Robles Fellowship moved west to study a doctorate at the University of California, Los Angeles. His research at UCLA culminated with his dissertation on Argentine composer Alberto Ginastera.

Elmhurst University Music Department Chair: Dr. James Hile Administrative Assistants: Trish Thoren and Kate Reeter

Elmhurst University Applied Wind and Percussion Faculty Flute: Professor Marie Bennett Oboe: Professor Julie Popplewell Bassoon: Professor Dianne Ryan Clarinet: Professor Andrea DiOrio Saxophone: Professor Matthew Beck Trumpet: Professor Christopher O’Hara French Horn: Professor Anna Mayne Trombone: Professor Thomas Stark Euphonium/Tuba: Professor Josh Wirt Percussion: Professor Bob Rummage

Elmhurst University Concert Band Staff Director of Bands/Wind Ensemble Dr. James Hile Director of Symphonic Band Mr. Bryan Miller Director of Varsity Band Mr. Eric Morong Band Manager: Claudia Rejowski Band Staff: Leo Rodriguez, Evan Auriemma, Cristan Zavala, Eliza Martinez, Crystal Adaya, Charlie Rossi, Tim Gorman Work Study: Karabeth Footman, Anthony Galang, Lissette Hernandez, Tyler Jozwiak, Sean Marotta, Ian Martinez, Sebastian Martinez, Aliah Robles, Christopher Tejeda Program and Poster Design: Evan Auriemma Reference Recordings: Mr. Randy Beschorner Recording: Mr. John Towner and Student Recording Service

About the Conductors Dr. James Hile is the Director of Concert Bands at Elmhurst University where his responsibilities include conducting the Elmhurst University Wind Ensemble and teaching courses in conducting and band arranging. Hile most recently served as the Assistant Director of Bands at Eastern Illinois University, and previously as Director of Bands at Highland Park High School (IL), Director of Bands at the University of North Carolina at Chapel Hill, Assistant Director of Bands at the University of Illinois, and Director of Bands at Santa Monica High School (CA).

Hile has done numerous arrangements for university, high school, and professional bands across the United States, including performances by the United States Army Band, United States Army Brass Band, the United States Air Force Band, the Interlochen Music Academy Bands, the Dallas Wind Symphony, and the Israel Philharmonic Winds. Hile has received numerous awards for teaching excellence at both public school and collegiate levels and is also a recipient of the Citation of Excellence by the National Band Association, the Outstanding Bandmaster Award by the Illinois Chapter of Phi Beta Mu, the International Bandmasters Fraternity, and the Chicagoland Outstanding Music Educator Award. Hile has recently recognized in the Marquis Who’s Who in America.

Mr. Bryan Miller. For nearly a quarter century, Lieutenant Colonel Bryan Miller has been honored to serve our nation as Commander and Conductor of the Air National Guard Band of the Midwest, the 566th Air Force Band, a National Medal of Arts recipient organization.

Mission highlights include leading teams for two Southwest Asia and Africa deployments, Mount Rushmore’s Independence Day Celebration, Rockefeller Center Plaza’s Centennial of Flight Exposition, the Liberty Medal Ceremony at Independence Hall, performances honoring the Tuskegee Airmen, Gold Star Families, the Warrior Games, funeral memorial honors for President Ronald Reagan, and serving as a Liaison Officer for the Illinois National Guard’s COVID-19 Military Vaccination Augmentation Team mission.

A career music educator, he is the Founder and Artistic Director of the Chicagoland Educators Orchestra. He has served as chair for the national award winning Leyden High School music department since 1994, and has held concurrent music education and conducting positions with Elmhurst University, VanderCook College, and North Central College. Guest conducting appearances have included the United States Air Force Band, the Wheaton Municipal Band, the Chicago Youth Symphony Orchestra, ILMEA, ISYM, and numerous university and community bands. A CYSO alumnus, he has served on its Board of Directors since 2002. He regularly serves as a presenter, conductor, or performer for NAfME, The Midwest Clinic, ILMEA, and was also appointed to serve on NAfME’s National Council of Music Program Leaders.

An active trumpet artist, he performed under Maestro Daniel Barenboim with the Chicago Symphony Orchestra and Lyric Opera brass sections for the Arnold Jacobs memorial tribute concert at Symphony Center. His brass quintet was a semi-finalist in the Fischoff National Chamber Music Competition. He is an alumnus of the NIU Jazz Ensemble, former principal trumpet of the Wheaton Municipal Band, and founding member of Chicagoland’s renown Pete Ellman Big Band.