042721 University Wind Orchestra

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents

THE UNIVERSITY WIND ORCHESTRA Richard Clary, Music Director and Conductor Matthew Boswell and Stephanie DeLuca, Associate Conductors

Tuesday, April 27, 2021 7:30 p.m.

Ruby Diamond Concert Hall Broadcast: video.wfsu.org/show/wfsu-music

PROGRAM Fanfare Politeia

Kimberly Archer (b. 1973)

Prélude, Fugue et Variation, Op. 18

César Franck (1882–1890) tr. Rusty Koenig

Mare Tranquilitatis

Roma

Matthew Boswell, conductor

Stephanie DeLuca, conductor

Concerto for 23 Winds I. Andante–Allegro non troppo II. Vivace IV. Allegro molto

Roger Zare (b. 1985)

Valerie Coleman (b. 1970)

Walter S. Hartley (1927–2016)

Matthew Boswell, conductor Light

Mam-blu

Menlo Park, 1879

Stephanie DeLuca, conductor

Christopher Marshall (b. 1956)

James Syler (b. 1961) James M. David (b. 1978)

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

Thank you for your cooperation.

MUSIC DIRECTOR AND CONDUCTOR Richard Clary is Professor of Conducting, Senior Band Conductor, and Director of Wind Ensemble Studies at FSU. He serves as Music Director/Conductor for the internationally renowned University Wind Orchestra and Chamber Winds, teaches graduate-level conducting and wind literature courses, and guides Conducting Majors in both the Music Education Ph.D. and the Master of Music in Wind Band Conducting degree programs.

Prior to his 2003 appointment at FSU, Professor Clary served ten years as Director of Bands at the University of Kentucky. His combined tenures in Lexington and Tallahassee have seen him conduct highly-acclaimed performances for the 1997, 2003, 2007 and 2015 National Conferences of the College Band Directors National Association, as well as the 2013 National Convention of the American Bandmasters Association.

Professional memberships include the National Association for Music Education, Florida Music Educators Association, Florida Bandmasters Association, College Band Directors National Association (CBDNA), the World Association of Symphonic Bands and Ensembles, and the prestigious American Bandmasters Association (ABA).

In March, 2017 he assumed two-year terms as both Member of the ABA Executive Board, and as CBDNA National Executive Board President.

Professor Clary holds Bachelor and Master of Music diplomas in Music Education from the Arizona State University School of Music, and has completed all course work and exams for the Doctor of Musical Arts degree in Instrumental Conducting at the University of Washington in Seattle. His principal conducting teachers have been Richard Strange, Tim Salzman, and Peter Erös.

NOTES ON THE PROGRAM Archer: Fanfare Politeia “The President’s Own” United States Marine Band commissioned Kimberly Archer to compose Fanfare Politeia (2021) for the 59th Presidential Inauguration ceremony and they premiered the work before the American public on January 20, 2021. Archer provides the following note: Fanfare Politeia is an homage to the origins of our democracy, and to the ancient sources that Madison, Hamilton, Jefferson, and Adams drew from while conceiving and writing our Constitution. “Politeia” is a Greek word derived from “polis” (city). Aristotle used the term to represent concepts such as citizens’ rights and constitutional government, while Plato’s treatise on justice—a work which we now think of as “The Republic,” in English—was actually titled Politeia in the original Greek.

Franck: Prélude, Fugue et Variation, Op. 18 Cavaillé-Coll was one of the most distinguished and respected French organ builders of the nineteenth century. By bringing a whole host of technical innovations into the art of organ building, he developed a new aesthetic, and ultimately would build nearly 500 pipe organs. The three-manual symphonic Great Organ of Basilique Ste-Clotilde in Paris, is considered one of Cavaillé-Coll’s masterpieces. Ste-Clotilde church organist/composer César Franck showed great interest in exploring the innovations of the new instrument, and was eventually inspired to compose his Six Pièces pour Grand Orgue for the 1859 inauguration of the great instrument.

Published in 1868 as no. 3 of the Six Pièces pour Grand Orgue, Prélude, Fugue et Variation exploited the power and colours of the new organ to the fullest, thus contributing to the establishment of the distinctive French School of symphonic organ music. The work enjoyed a great deal of popularity, and Franck later transcribed it for two pianos, and also for harmonium and piano. He even performed the version on harmonium with pianist/composer/colleague Vincent d’Indy in 1874. Pianist Harold Bauer would later transcribe the work for solo piano in 1910.

The high originality of these Six Pièces did not prevent Franck from writing in “older” styles. The Op. 18 is dedicated to Camille Saint-Saëns. The dedication does not imply any portrait, but the balance and clarity of Op. 18 suggests SaintSaëns’ Classical orientation. In addition, the substantial fugue of this piece is clearly influenced by Franck’s thorough study of J.S. Bach’s music. It is amazing to see how Op. 18 displays the aesthetic of the Romantic organ, while adapting the work’s classical forms to suit the instrument, and also the canonic - as well as the fugal - languages of the music.

The haunting oboe melody of the pastoral Prélude is a typical “Franckian” theme mostly stepwise and with an emphasis on specific notes of the scale. A brief bridge passage introduces the next movement, a solemn fugue. The vocal character and clear textures make the Fugue relatively easy to follow for listeners. After the stretti, the music moves to the Variation without pause. The oboe cantilena from the Prélude now returns, but this time, it is accompanied by rippling semiquavers.

The work quietly ends in B major.

Zare: Mare Tranquillitatis Mare Tranquillitatis translates to “Sea of Tranquility,” and is the famous location on the moon where Apollo 11 landed and the first man set foot on the lunar surface. The music seeks to capture a dichotomy of emotions – tranquil beauty and restless isolation. All of the musical material is derived from only two ideas – the descending fourth heard in the opening bar, and the flowing and surging melody heard not long after. These two ideas trade back and forth within a contrapuntal texture, swelling and flowing as they interact with each other. The music recedes into a quieter realm and a quartet of soloists emerges, juxtaposing the lush full textures with a delicate and intimate passage.

After many peaks and dips, the emotional arc of the piece culminates in the longawaited return of the second theme. It grows and transforms into a sweeping gesture, bringing closure to the pent-up tension from before. What follows is an epilogue, and the piece ends with one final tender moment with the solo quartet.

Mare Tranquillitatis was originally commissioned by Jeffrey Bishop and the Shawnee Mission Northwest High School Orchestra. This version, for chamber winds, was written for Nomad Session.

Coleman: Roma Valerie Coleman (b. 1970) is an American composer and flutist. She began her music studies at the age of eleven, and by the age of fourteen, she had written three symphonies and won several local and state competitions. She has a double bachelor’s degree in theory/composition and flute performance from Boston University and a master’s degree in flute performance from the Mannes College of Music. She studied flute with Julius Baker, Alan Weiss, and Mark Sparks, and composition with Martin Amlin and Randall Woolf. Ms. Coleman has served on the faculty of The Juilliard School’s Music Advancement Program and Interschool Orchestras of New York. She is currently serving on the advisory panel of the National Flute Association and is an Assistant Professor in the University of Miami’s Frost School of Music.

Roma (2011) was commissioned by the College Band Director’s National Association to promote and highlight the accomplishments of ethnicities usually underrepresented in the classical music world. “A nation without a country” is the best way to describe the nomadic tribes known as gypsies, or properly called, the Romani. Their traditions, their language (Roma), legends, and music stretch all over the globe, from the Middle East, Mediterranean region, and the Iberian peninsulas, across the ocean to the Americas. Roma is a tribute to that culture, in five descriptive themes, as told through the eyes and hearts of Romani women everywhere: Romani Women, Mystic, Youth, Trickster, and History. The melodies and rhythms are a fusion of styles and cultures: malagueña of Spain, Argentine tango, Arabic music, Turkish folk songs, 3/2 Latin claves, and jazz.

Hartley: Concerto for 23 Winds Composed in 1957, the Concerto for 23 Winds was one of Walter S. Hartley’s fist works for the wind band medium. Hartley’s doctoral studies at the Eastman School of Music coincided with Fredrick Fennell’s creation of the Eastman Wind Ensemble in 1952. Fennell’s ideas of flexible instrumentation and textural clarity, essential in his new ensemble, were clearly reflected in this work’s 23 soloistic lines using most band instruments (but without saxophones, euphonium, or percussion). The Eastman Wind Ensemble premiered the work in 1958 and Fennell further exposed the work at the National MENC conference of 1959 as well as in his famous recordings with the EWE on the Mercury label. Hartley did not provide a program note for the composition, but he did provide the following short note for the works first performance:

It is four movements roughly corresponding to those of the classical symphony or sonata in form, but is textually more related to the style of the Baroque concerto, being essentially a large chamber work in which different soloists are groups of soloists play in contrast with each other and with the group as a whole. The color contrasts between instruments and choirs of instruments are sometimes simultaneous, sometimes antiphonal; both homophony and polyphony are freely used, and the music interest is distributed widely among these components of the wind section of a symphony orchestra. The first and last movements make the most use of the full ensemble; the second, a scherzo, features the brass instruments; and the slow third movement, the woodwinds. The harmonic style us freely tonal throughout.

There is a certain three-note motif (ascending G-A-D) which is heard harmonically at the beginning and dominates the melodic material of the last three movements.

Marshall: Light The University of Massachusetts Wind Ensemble - James Patrick Miller, conductor, commissioned this music in 2010 at the instigation of Brian Messier who directed the premiere. It is scored for all 13 wind instruments commonly found in the wind ensemble.

The title makes reference to what as I see as the spirit of the music: Light as in the absence of dark Light as in the absence of heaviness Light as in the absence of seriousness Structurally Light is in a kind of arch form. The material of the slow prologue is brought back in the epilogue. Then two lively sections enclose a slower, more lyrical section. The melodic material of the prologue and epilogue is based on the interval of the 4th.

The lively sections are built on an ostinato, 5 quarter notes in duration. This ostinato comprises a rising arpeggio-like figure built on three minor chords a major third apart: D, B-flat and F-sharp. The only time this pattern varies is where the arpeggio figure points downwards and uses the chords B minor, G minor and E-flat minor. Over these patterns various melodies, usually in triple or duple meters weave their way between all the instruments of the ensemble.

In the middle section, a lyrical, somewhat languorous melody, initially in the clarinet, is supported by a rolling arpeggio figure (in bass clarinet) built on chords of superimposed 5ths. This section ends with a reflective solo on the clarinet, making reference to the rising 4th motif of the prologue and leading to a modified restatement of the ostinato section.

The epilogue closes with a fleeting reference to the gentle arpeggiated texture of the middle section.

– Christopher Marshall Syler: Mam-Blu Mam-Blu is a fusion of mambo and the blues. The montunos and syncopations of Latin-American music are combined with the form and harmonic structure of the North American 12-bar blues. The result is a hybrid music symbolic of the collision of both worlds. This version for flexible instrumentation was originally the first movement of my American Dances for string orchestra (2006).

– James Syler David: Menlo Park, 1879 On the evening of December 31, 1879, Thomas Edison unveiled the first practical electric light bulb to the public at his laboratory in Menlo Park, New Jersey. A train was commissioned to bring the New York press and others from the city to Edison’s tiny outpost. Upon arriving, the passengers walked up a small snowcovered hill that was lit by twenty electric lamp posts leading to his laboratory filled with the warm glow of incandescent bulbs. My piece is a tone poem inspired by this special moment in history. The work opens with the gloomy night train, slowly bringing up speed and chattering with the passengers’ anticipation for what is to come. This is followed by a lyrical adagio based on a sarabande progression that represents the ascent to the illuminated building on the hilltop. The work concludes with the return journey that describes the excitement and hope for a new electrical age. Ultimately, I hope that this composition will inspire listeners to remember that even in the darkest of times we can always look towards the future.

– James M. David –Program notes compiled by Matthew Boswell, Stephanie DeLuca, Nick Doshier, and Giovanni Santos

University Wind Orchestra Personnel

Richard Clary, Music Director and Conductor Matthew Boswell and Stephanie DeLuca, Associate Conductors Flute Freddie Powell Julia Sills Jennifer Williams Oboe Sara Hammelef Megan Wright Bassoon Alexandra Johnson Michael Coby Clarinet Dana Alward Giselle Caycho Christina Trombly Joe Angles Autumn Smith Rachel Gebeloff Marques Rudd Jamie Dunn

Bass Clarinet Ash Soto Saxophone Dawson Coleman, alto/soprano Jordan Phillips, alto Parker Franklin, tenor Zachary McAlpin, baritone Trumpet Julia Gill Anthony Salabarria Sawyer Prichard Horn Sam Gowen Ian Belloise Laura Floyd Delayna Wahlberg

Euphonium Jonah Zimmerman Matthew Fix Tuba Harrison Brown String Bass Peter Casseday Piano Matthew Boswell Percussion Alyssa Zimpleman* Blake Sorenson Zach Harris Jacob Dell Gus Barreda

Trombone Peter Karda Brian Junttila Cole Dekle, Bass

* Principal

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*University Musical Associates Executive Committee

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