LU Concert Program - April 26, 2021

PRESENTS

Symphonic Band Wind Ensemble April 26, 2021 Monday at 6:30 p.m.

Julie Rogers Theatre

PRO G R AM

L A M AR UNIVER SIT Y SYMPHONIC BAND ERIC SHANNON, CONDUCTOR Kirkpatrick Fanfare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Boysen, Jr. (b. 1968) One Life Beautiful . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julie Giroux (b. 1961) Defiantly Sculpting the Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean Kelley (b. 1979) Red Rock Mountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rossano Galante (b. 1967)

~ INT ER MISSION ~

L A M AR UNIVER SIT Y WIND ENSEMBLE ANDREW MCMAHAN, CONDUCTOR anti-FANFARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Blair (b. 1987) American Song-Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Kreines (b. 1936)

I. Red River Valley

II. Polly Wolly Doodle Suite of Old American Dances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Russell Bennett (1894–1981)

I. Cakewalk A Passing Fantasy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fisher Tull (1934–1994) Satiric Dances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Norman Dello Joio (1913–2008)

I. Allegro pesante

II. Adagio mesto

III. Allegro spumante Shine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julie Giroux (b. 1961)

PROGR A M NOTE S K IRK PATRICK FANFARE Kirkpatrick Fanfare was commissioned by Central Missouri State University for the dedication of the James C. Kirkpatrick Library. The premiere took place at the dedication ceremony held on March 24, 1999, conducted by Patrick F. Casey. It was an event of considerable pride for CMSU: the keynote speaker was Missouri’s then-Governor Mel Carnahan. Kirkpatrick had been Missouri’s secretary of state for 20 years. Casey described Kirkpatrick as “famously ‘Irish’ with his humor and attire.” Boysen had been made aware that Kirkpatrick was very proud of his Irish heritage, hence the resulting Irish flavor of the music.

ONE LIFE BE AUTIFUL One Life Beautiful was written in memory of Heather Cramer Reu for her “one life beautiful” that brought so much love and joy to our lives. The piece was commissioned by Ray and Molly Cramer, husband Phillip Reu and children, and brother Jeremy, his wife, Michelle, and children.

The title (One Life Beautiful) is a double-entendre which in one sense is referring to the person this work is dedicated to as in “one life” that was beautifully lived.

The other sense is a direct observation concluding that having only one life is what makes life so sacred, tragic and so very precious. This is an impressionistic work musically describing that condition. Shakespeare’s “sweet sorrow,” the frailty and strength of life, the meaning of what it is to truly live One Life Beautiful.

DEFIANTLY SCULPTING THE SKY The composer, Sean Kelley, writes: As a young child living in a hamlet in downstate Illinois in the 1980s, my parents would take my brother and I to Chicago every chance they had. Perhaps more than any other state, the stark difference between the vast majority of Illinois, which almost exclusively comprises endless farmland speckled with silos and quintessential Norman Rockwell small towns, and Chicagoland, a gigantic metropolitan region that sprawls for from its urban epicenter (The Loop) for miles and miles in every direction, is unique, but also grounds the truly world city with Midwestern kindness and sensibility, despite its size, wealth, and struggles.

Chicago is renowned for its architecture and is the birthplace of the skyscraper; it is a city where architectural boldness and audacity has always been embraced, resulting in a skyline of dizzyingly tall and groundbreakingly designed monuments to human ingenuity (I’ve often believed that if Howard Roark, the protagonist in Ayn Rand’s “The Fountainhead” had simply packed up and headed to Chicago, he would have had a much less tortured existence, but I digress…).

As a child, I didn’t understand how different Chicago was from every other American city—I simply hadn’t seen and experienced enough to make a thoughtful comparison. Now that I’ve returned to Illinois and Chicagoland, I have developed a deep reverence and respect for this city’s history, accomplishments, contributions, and people.

This work is an homage to the city and its makers—the “Windy City;” the “City of Broad Shoulders.” Every I time I emerge from Union Station and peer at the mesmerizing city, as tall as it is wide, a sense of wonder and awe always overtakes me. The wind off the lake whips through you and between the skyscrapers, and the view of the city from any of its myriad observation decks is both inspiring and a bit terrifying. Within this piece are elements of jazz (while not the birthplace, Chicago was a very important incubator of this uniquely American genre), evocations of rivet guns and the clanging of steel rebar, the sense of fear that the builders of Chicago’s superstructures must have struggled to overcome every day as they ascended higher and higher, all culminating into a triumphant, defiant, emphatic, and relentless hymn to progress.

RED ROCK MOUNTAIN Born and raised in Buffalo, New York, Rossano Galante studied trumpet at State University of New York at Buffalo. Upon completing his undergraduate degree in 1992, he was accepted to the University of Southern California’s Film Scoring Program. He studied with the Jerry Goldsmith, well known for his work on The Omen, Star Trek: The Motion Picture and Alien. Galante settled in California and built a career scoring and orchestration for motion pictures. His credits include The Prince of Venice, Logan, and Avengers: The Age of Ultron. His works for wind band tend to reflect this background, as his style conveys a sense of wide, cinematic canvas upon which dramatic events are depicted.

Galante’s Red Rock Mountain refers to a geologic feature in Ricketts Glen State Park in Luzerne, Pennsylvania. Streams with occasional waterfalls frame the park’s trails. A hiker reaching the summit of Red Rock Mountain is rewarded with vistas that include the undulating ridge of the Alleghany Front and Pocono Formation.

ANTI-FANFARE anti-FANFARE opens with a typical fanfare motive, but listeners will notice that the similarities end there. The piece employs the full complement of the woodwind and percussion sections (plus piano) in contrast to centuries of brass/orchestral fanfares. The typical stately cadence has been replaced by a quick triple meter, with the language of the piece inspired by the composer’s forays into contemporary jazz fusion and electronica. All of this, while giving the brass a well-deserved break.

SUITE OF OLD A MERIC AN DANCE S: “CAKEWAL K ” Robert Russell Bennett was born in 1894 and enjoyed a brilliant career in musical arranging. He orchestrated over 200 Broadway shows and studied composition with Carl Busch and Nadia Boulanger. Bennett attended a concert honoring the seventieth birthday of Edwin Franko Goldman on January 3, 1948, where he became aware of “all the beautiful sounds the American concert band could make that it hadn’t yet made”. This suite is an original composition in which the composer seeks to set the mood of a Saturday night barn dance. The piece recalls several of the characteristic dances remembered from his childhood. He wrote the suite and showed it to Goldman under the original name of “Electric Park”, referring to Electric Park in Kansas City, which was “a place of magic to us kids”. The five movements of the suite reflect popular dances of the day, hence the name the publisher later supplied. The dances Bennett chose to set to music were as follows: CAKEWALK The cakewalk dance originated on the southern plantations, where slaves often imitated their plantation owners. The dance or “strut” was danced to joglike banjo/fiddle music, usually done by couples who, with a backyard sway, strutted in a medium high step or low kicking fashion. Plantation owners would encourage their workers by presenting prizes for best couples. The prize was often a cake, usually shared with the other participants. The men would often dress in long coats with high collars and the women in frilly gowns, to mimic their white owners.

A PASSING FANTASY A Passing Fantasy was inspired by the book Life After Life by Dr. Raymond A. Moody Jr. The music depicts some of the experiences reported by persons who were involved in “near death” experiences and who reported these phenomena upon recovery. This work was sponsored by Francis Marciniak on May 2, 1992 in Providence, RI. Set in a single movement, the music opens with expressions of pain and anxiety. This confused state eventually erupts into a consonant release of tension signifying the out-of-body sensation of freedom from constraints. As the person is swept away through a runnel, reflections of life are depicted by a child-like melody introduced in the piccolo. As the bright light at the end of the tunnel appears, the confident phrases of Kom Süsser Tod (Come Sweet Death) gradually emerge from the confusion as a gesture of triumph over death. The work closes in a tranquil state of suspension and peace.

SATIRIC DANCE S Satiric Dances was commissioned by the Concord Band, Concord, Massachusetts, to commemorate the Bicentennial of April 19, 1775, the day that launched the American War for Independence. Dello Joio, then Dean of Boston University’s School for the Arts, agreed to do the commission, but stipulated it would be based on a piece he had used as background music for a comedy by Aristophanes. The most famous comic dramatist of ancient Greece, Aristophanes was born an Athenian citizen about 445 BC. His plays commented on the political and social issues of fifth century Athens and frequently employed satire.

The first dance movement is annotated as allegro pesante. The brass entry signifies the importance of the work, but the brisk tempo keeps the simplicity of “peasantry’’ from being ponderous. Taking a much slower adagio mesto tempo, the second dance begins with a melancholy tune from the flutes and low brass.

The movement has light and delicate features that are quite exposed. Its central theme might evoke thoughts of a dance in a meadow that eventually reverts into a more solemn theme. Without a break in the music, the final movement is introduced by rolls from the snare drum. The tempo is indicated as allegro spumante and is the fastest of the composition. The quick turns and dynamics evoke images of the objects that were the titles of Aristophanes’ plays: Clouds, Wasps, and Birds.

SHINE The composer, Julie Giroux, writes: Shine is a programmatic work that centers around the Prohibition era. Backwood stills and liquor-running jalopies are a part of our American heritage. Many a legitimate distillery has a history in bootlegging, and NASCAR of course was born out of moonshine running souped-up cars. America is a country of immigrants, and every immigrant who comes here brings their music and instruments with them. What we call bluegrass music today represents that Irish and Scottish folk music “sound.” The folk music of the American hill people, the Appalachians, Smoky Mountains stretching from the south to the north, gave birth to not only our bluegrass but to several instruments as well. Banjos, fiddles, dulcimers, autoharps, jaw or jews harp, the jug, mandolins, guitars, and several other instruments became our folk instruments; some instruments that existed before, some we invented. There is only one problem ... none of those instruments are normal instrumentation for symphonic bands.

I wanted to capture the imagination of an audience with as much bluegrass flavor as I could without having to score for the actual instruments. Double reeds, muted brass, combinations of low winds with other instruments all captured a lot of that visceral essence. Using washboards and special mallets in the percussion helped too. The sixteenth notes followed by dotted-eighth rhythms and vice versa so prevalent in Scottish and Irish music is also the backbone of bluegrass music.

Moonshine is a big part of our country’s past and many today still earn a living making and selling legal and illegal white lightning. I will admit I sampled many different types and flavors of moonshine while I was composing this work. Some I bought in a store, some, well, not exactly. My opinion of moonshine has not changed. I still don’t care for it. When I close my eyes and listen to Shine I can see those stills far back in the woods, hear those tires spinning out in gravel as they tear down country roads, and I can feel the burn of moonshine not just down my throat but in my soul. I hope as you listen to this back road American heartbeat, you can see it, live it too.

SYMPHONIC BAND FLUTE/PICCOLO

Isaiah Waller Jasmin Reyes Sammantha Boudreaux Emmanuel Rodriguez Alexis Burnette Cheyenne Ard Jenna Garrison Katelyn Gilley

TRUMPET

Music Education (Pasadena) Biology/Pre-Med (Port Arthur) Music Education (Groves) Music Education (Houston) Education (Corpus Christi) Vidor (Vidor) Music Education (Orange) Education (Vidor)

Music Education (Crosby) Music Education (Cleveland) Psychology (Dayton)

CLARINET

Haylon Haynes Kohner Trahan Thomas Armstrong Johnathan Gomabong Dylan Osborne Sean Heald

Nursing (Beaumont)

Music Education (Beaumont) Music Education (Texas City) Music Education (Humble) Liberal Arts (Lake Travis) Communication (Lumberton)

BASS CLARINET

Briana Ortiz Brandon Jamie

Social Work (Brenham) Music Education (Groves)

ALTO SAXOPHONE

Jonathan Mar Zachary Patterson Cameron Montgomery Owen Traylor Elena Reyes

Music Education (Houston) Music Education (Baytown) Music Education (Beaumont) Music Education (Beaumont) Music Education (Nederland)

TENOR SAXOPHONE

Nolan Abalos

Accounting (Port Neches)

BARITONE SAXOPHONE

William Barclay

Music Education (Port Neches)

Hunter Wood ΦΜΑ/ ΚΚΨ Jay Fields Alexandra Duhon Byron Moore Patrick Sonnier

Music Performance (Silsbee) Music Education (Houston) Music Education (Baytown) Music Education (Beaumont) Music Education (Port Neches)

BASS TROMBONE

Damon Butler Kevin Espinoza Kevin Nickson

Music Performance (Crosby) Music Education (Houston) Music Education (Beaumont)

EUPHONIUM

Darrell Marsh Fernando Ramos ΤΒΣ

Music Education (Groves) Psychology (Cameron)

TUBA

Gerson Reyes Luke Allen

Music Performance (Dickinson) Music Education (Silsbee)

Carlos Garza Ruby Woody Angelle Beggs David Ortiz Angel Trejo Jacob Murphy Olajuwon Taylor Evan LeBouef

Music Education (Roma) Psychology (Baytown) Entrepreneurship (Port Neches) General Studies (Dayton) Music Education (South Houston) Accounting (Kountze) Music Education (Buna) Music Education [MM] (Groves)

PERCUSSION

PIANO

HORN

Alex Pinti Colby Key Rebekah Schilberg Karlye Ramos Demi Richings

Music Education (Vidor) Music Education (Mont Belvieu) Music Education (Mont Belvieu) Music Education (Lufkin) Music Education (Beaumont) Music Education (Beaumont) Music Education (Vidor) Music Education (Beaumont)

TROMBONE

OBOE

Arlene Case Rebeca Casanova Kristal Deville

Austin Dykes ΦΜΑ/ ΚΚΨ Gregg Ballard ΦΜΑ/ ΚΚΨ Jaydon Murrell ΦΜΑ/ ΚΚΨ Karissa Holden Max Jackson Ricardo Rodriguez ΦΜΑ /ΤΒΣ Jacob McWherter Kael Kibodeaux

Music Performance (Houston) Music Education (Lumberton) Aerospace Engineering (Beaumont) Theatre (Beaumont) Music Education (West Orange)

Todd Senters, Jr.

Music Performance (Beaumont)

HARP

Rachel Clark

Music Performance (Lumberton)

WIND ENSEMBLE PICCOLO

TRUMPET

Kamryn Knafelz

ΤΒΣ

American Sign Language (Highland Village)

FLUTE

Ana Plake ΤΒΣ Emmanuel Rodriguez Stephen Matherne Catarina Tran ΚΚΨ

Music Performance (Vidor) Music Education (Houston) Music Education (Sour Lake) Music Education (Nederland)

OBOE

Rebeca Casanova Arlene Case

Music Education (Cleveland) Music Education (Crosby)

Ty Bodin ΦΜΑ/ ΚΚΨ Dennis Doiron ΦΜΑ Carson Archer ΦΜΑ Karissa Holden Gregg Ballard ΦΜΑ/ ΚΚΨ

Music Education (Bridge City) Music Performance (Beaumont) Management (Mont Belvieu) Music Education (Lufkin) Music Education (Mont Belvieu)

TROMBONE

De’Vionne Jones Austin Munoz ΚΚΨ Jake Farmer ΦΜΑ Micah Elms

Music Performance (Houston) Music Performance (Mont Belvieu) Music Education (Nederland) Music Education (Nederland)

BASS TROMBONE

CLARINET

Paola Brinkley Olivia Gerald ΚΚΨ Kohner Trahan Zachary Davis Brianna Smith ΤΒΣ Haylon Haynes

ΤΒΣ

English (Nome) Music Education (Groves) Music Performance (Beaumont) Music Perf/Comp (Hammond, LA) Music Education (Port Neches) Nursing (Beaumont)

Music Performance [MM] (Vidor) Music Education (Orange)

EUPHONIUM

Joshua Rigsby Ishmael Marte

Music Education (Lumberton) Music Education (Katy)

TUBA

BASS CLARINET

Rebecca McGarity

Haley Morris Christopher Garber

ΤΒΣ

Music Education (Kountze)

ALTO SAXOPHONE

Gavin Lopez Kace Smith Joseph Landrum Christopher Graves ΦΜΑ

Music Education (Nederland) Music Education (Orange) Music Education (Nederland) Music Education (Dayton)

TENOR SAXOPHONE

Devyn Drake

Music Performance (Orange)

BARITONE SAXOPHONE

Trace Shannon

Music Education (Orange)

HORN

Adriana Avalos Kevin Wallin ΤΒΣ/ΦΜΑ Margaret Weems Alex Pinti Colby Key

Logan Sells Nathan Trinkle

Music Education (White Oak) Music Performance (Vidor)

Alex Braud Erick Benavides, Jr. ΤΒΣ Antonio Estrada Shelby Balsano Olajuwon Taylor Aaron Hughes Carlos Garza Ruby Woody

Music Performance [MM] (Kansas City, MO)

PERCUSSION

PIANO

Rachel Clark Music Education (Vidor) Music Education (Sugar Land) Business (Baytown) Music Performance (Houston) Music Education (Lumberton)

Music Performance (La Marque) Music Education (Pearland) General Studies (Groves) Music Education (Buna) Music Education (Baytown) Music Education (Roma) Psychology (Baytown)

Music Performance (Lumberton)

BASS

Evan LeBouef

Music Education [MM] (Groves)

M ARY MORGAN MOORE DEPARTMENT OF MUSIC BRIAN SHO OK , CHAIR

UNIVERSIT Y BANDS

Andrew McMahan, director of bands Eric Shannon, director of athletic bands Rick Condit, director of jazz studies Francisco Perez, drumline instructor Alicia Stewart, color guard instructor Evan LeBouef, graduate assistant Alex Braud, graduate assistant Olivia Gerald, student assistant INSTRUMENTAL FACULT Y & STAFF

Stanley Chyi, oboe Jacob Clark, piano Rick Condit, saxophone Timothy M. Dueppen, trombone Brielle Frost, flute Victor Gomez, tuba & euphonium Kris Hammond, trumpet Jennifer Iles, clarinet Katherine McBain, horn Francisco Perez, percussion Sarah Raiford, administrative coordinator

Mary Morgan Moore Department of Music College of Fine Arts and Communication Derina Holtzhausen, Dean

James M. “Jimmy” Simmons Music Building P.O. Box 10044 Beaumont, TX 77710 Phone

Main Office: 409-880-8144 Band Office: 409-880-8148

Web

Music Department lamar.edu/music

University Bands lamar.edu/bands

Social Media

Music Department facebook.com/lamarUmusic

University Bands facebook.com/lamaruniversitybands