Northwest Symphony Orchestra Veteran's Day Program 2018

A Veteran’s Day Celebration Northwest Symphony Orchestra Dr. Robert Pippin – Conductor Kim Shriver – Guest Conductor

Presented by Northwest Missouri State University College of Arts and Sciences Department of Fine and Performing Arts Sunday, November 11, 2018 3:00 p.m.

Olive DeLuce Fine Arts Building Charles Johnson Theatre

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Program The Star Spangled Banner (2018)

Music by John Stafford Smith (1750-1836) Words by Francis Scott Key (1779-1843) arr. Robert Pippin (b. 1974) Kim Shriver – Guest Conductor

Fanfare for the Common Man (1942) Aaron Copland (1900-1990) The Symphony Brass and Percussion Suite Française (1993) I. Pastorale II. Valse

Guy Woolfenden (1937-2016)

The Symphony Woodwinds Symphony No. 2 in C Major (1757/61) Allegro Andante Presto

Franz Joseph Haydn (1732-1809)

Armed Forces Salute (1990) Official songs of: U.S. Army, Coast Guard, Marines, Air Force, and Navy Curtain In The Sky (2017) Marche Hongroise (Hungarian March) (1846) from The Damnation of Faust, Op. 24

arr. Bob Lowden (b. 1920)

Robert Langenfeld (b. 1990) Hector Berlioz (1803-1869)

A special thanks to Dr. William Richardson for rehearsing the brass on the Copland, and for announcing during the Armed Forces Salute; and to Mr. Joseph Tomasso for rehearsing the woodwinds on the Woolfenden. Both of these gentlemen represent the best of what it means to be a colleague and a friend.

Additional thanks to Alison Bagley, who assists the orchestra and helps with whatever Dr. Pippin asks, sometimes on unfairly short notice. Thank you!

Ali Snyder is the librarian for the Northwest Symphony. We simply could not function without the work she does for us. Her dedication and professionalism is beyond measure, and we all appreciate everything she does for us. Thank you, Ali! 2

Program Notes The Star Spangled Banner The writing of our National Anthem was a direct result of the Battle of Baltimore in 1814, during the War of 1812 with Great Britain. After defeating Napoleon earlier in 1814, the British focused their military attention on the continuing war with the United States. Having been victorious in battle at Washington, and the subsequent “Burning of Washington”, the British set their sights on attaining a quick victory in Baltimore, and thus striking a demoralizing blow to the U.S. forces.

British ground troops marched from Washington to Baltimore, but met more resistance than anticipated, so focus turned to the naval bombardment of Fort McHenry. At the same time, Francis Scott Key, a lawyer from Frederick, Maryland had embarked on a mission approved by President James Madison to negotiate a prisoner exchange with the British Navy. Having overheard the British battle plans, Key was detained on the ship for the duration of the naval attack in the Baltimore Harbor. The British ships anchored just beyond the range of the U.S. cannons, and bombarded Fort McHenry throughout the night of September 13th. On the morning of the 14th, the tattered storm flag above Fort McHenry was lowered, and the oversized 30 ft. by 42 ft. flag was raised, showing the U.S. forces had survived the attack. The sight of the gigantic flag of 15 stars and 15 stripes that would come to be known as the Star Spangled Banner inspired Key to begin jotting down a poem on a letter he was carrying in his pocket. This poem, titled The Defence of Fort M’Henry, would eventually become the National Anthem. The British were defeated at the Battle of Baltimore, and Key was released on September 16.

The poem was quickly published in several formats, including a printing of music, pairing the poem with the popular tune of The Anacreontic Song, the official song of the Anacreontic Society in London, composed by John Stafford Smith. The first printed versions were created just days after the battle on September 17, 1814, with more official publication occurring on September 20.

Although a well-known British melody, at that time it was common to set new words to existing tunes, and in this case, The Star Spangled Banner quickly became a popular patriotic American song.

In 1916, President Woodrow Wilson ordered the song be played for military and other appropriate events, and on March 4, 1931, Congress passed a bill that was signed by President Herbert Hoover making The Star Spangled Banner the official National Anthem of the United States of America.

Fanfare for the Common Man Commissioned in 1942 by the Cincinnati Symphony Orchestra, Aaron Copland’s response to the entry of the U.S. into WWII is anything but common. Eugen Goossens was the conductor of the Cincinnati Symphony, and decided to begin each concert of the 1942-43 season with a fanfare, each by an American composer, to bolster patriotism and support of the war effort. Of the eighteen fanfares commissioned that season, Fanfare for the Common Man is the only one to continue to be performed regularly as standard repertoire. Copland was inspired by a speech given by Vice President Henry A. Wallace in 1942. Wallace proclaimed “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland later stated that “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.” The Fanfare was premiered on March 12, 1943, specifically programmed at tax time. When Goossens declared the piece was quality enough that it needed a special occasion for its first performance, Copland replied “I [am] all for honoring the common man at income tax time.”

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Fanfare, continued…

Copland’s Third Symphony, composed between 1944 – 1946, is often considered to be the greatest American symphony and uses the Fanfare as the main theme in the final movement – first as a subtle and quiet statement in the woodwinds, then a full-volume statement in the brass and percussion, ultimately being developed throughout the entire orchestra in Copland’s unique harmonic, melodic, and rhythmic style, arriving at a grandiose final statement in one of the most impressive codas in all of the orchestral repertoire.

Suite Française “The unmistakable Gallic slant to the melodic material and the general feeling of ‘joie de vivre’ betrays the suite’s origins in music I arranged and composed for two different productions of Love’s Labours Lost for the Royal Shakespeare Company. The Pastorale, invokes a misty impressionistic landscape and is followed by a Valse, the main melody of which is based on N’aï pas iéu de mîo, one of the lesser known songs of the Auvergne [region of France].

“The first performance took place at Rugby Youth Music Festival on 22nd May 1991 and the work is affectionately dedicated to Val Brodie, former director of Rugby Music Centre.” ~ notes from the composer Symphony No. 2 in C Major The full-length, multi-movement “symphony” as most people recognize it today would not come into its large, somewhat standardized form until the early 19th century, due in no small part to the enlargement of the instrumentation and duration of the form by Ludwig van Beethoven. In the mid-18th century, when Haydn wrote his second symphony, the musical form had a different intention and purpose. Composers and musicians in Europe at this time relied on employment from one of the many courts of wealthy families. Haydn’s most prolific output of instrumental composition took place after 1761, while he was employed by the Esterházy family, but this lesserknown work predates that time. In 1757, Haydn took a job as Kapellmeister, or music director for Count Mozin, which he held until 1761, when financial problems forced Morzin to dismiss him. It was the small orchestra employed by Morzin that this symphony was composed for. Written for a small sting section with pairs of horns, oboes, and optional bassoons, the texture is simpler and showcases a lighter and more nimble style of a chamber ensemble. These early symphonies of Joseph Haydn establish the stylistic groundwork that would be present throughout his impressive output of 106 (arguably more) symphonies.

Armed Forces Salute The Bob Lowden arrangement of the American military service songs has become somewhat of an “industry standard” for performance at patriotic events by bands and orchestras due to the fidelity to the original versions, quality orchestration, and creative transitions between the different songs.

We are proud to present this piece to honor our veterans and active military women and men – as we perform each service song in Armed Forces Salute, please rise, as you are able, when the song from your military branch is performed, so our audience can applaud your service to our country.

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Curtain in the Sky Composer Robert Langenfeld is a graduate of Northwest Missouri State University, earning bachelor degrees in Computer Science and Music in 2013. In recent years, Robert has gained national recognition as composer, writing and publishing a wide variety of music for various ensembles, and winning the 2016 Claude T. Smith Memorial Composition Contest with Spark! for concert band.

From the composer ~ “Written in 2016, ‘Curtain In The Sky’ is a piece written based on poetry I wrote for another song: As you begin upon your journey, to a far and distant land, I think on what you told me, to help me understand.

The journey will be long, but not without an end, You will find your inner peace, and all your worries will transcend.

At day's end, when the sun is gone, I know it's not goodbye, Because I know you are just beyond, that curtain in the sky The poem describes a loved one going on a journey. Sometimes we can take that journey with them, and there are other times when they must take that journey alone. Regardless of the journey, they are never far away. The piece reflects this and uses moments of silence and slow melodic lines to describe this journey and convey the meaning of the poem in a way that only music can.

The piece is written in loving memory of Jacob Nance.”

Marche Hongroise Hector Berlioz was a young French composer who became completely obsessed with Johann Wolfgang von Goethe’s dramatic poem Faust, Part One in 1828. Having a fascination with Goethe put Berlioz in good company with many composers, such as Franz Schubert – who revolutionized German lieder style, and ultimately the entire Romantic music movement, with setting lines from Faust in Gretchen am Spinnrade (Gretchen at the spinning wheel) in 1814. Berlioz composed a suite based on the poem in 1829 which was not well received, and the composer withdrew all the copies of the composition he could locate. It would be 1845 before he would again tackle Faust, this time with his own version of the text, and in the form of a grand opera (although he referred to it as a “dramatic legend”) of such scope that it was nearly impossible to stage. In fact, the opera only survived two performances in Paris, and received poor reviews. Of the three instrumental selections from the “dramatic legend” that have been extracted and performed by orchestras on the concert stage, the Marche Hongroise (Hungarian March) is by far the most performed in comparison to Ballet des sylphs, and Menuet de follets.

In the orchestral score, Berlioz prints: “The theme of this march, which I have set for orchestra and developed, is celebrated in Hungary and known by the name of the Rákóczi March; it is of ancient origin, and the composer is unknown. It is the Hungarian War-song.” In the dramatic setting of this march, the stage direction states “The army passes by; Faust leaves the scene.”

All program notes by Robert Pippin, unless indicated otherwise

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Northwest Symphony Orchestra Personnel Flute William Licop, BME – Platte City, MO * Elisa Turner, BME – Smithville, MO ^ Reba Bowen, BME – Excelsior Springs, MO Bassoon Jared Carlton, BME – De Soto, KS * Melody Willemsen, BS – Kansas City, MO Bass Clarinet Megan Watkins, BS – Kearney, MO Trumpet Kaila Stigler, BS / BA, Kansas City, MO * Brandon Sconce, BME – Kansas City, MO Delaney Lynam, BS – Omaha NE

Percussion Jake Jennings, BME – Kansas City, MO *^ Kaleb Hascall, BME – Kansas City, MO Aidan Ervin, BME – St. Joseph, MO Jeremiah Price, BME – Bethany, MO

Oboe Madi De Boer, BS – O’Fallon, IL * Rylee Norman, BSED – Lee’s Summit, MO Clarinet Ali Snyder, BME – Hendersonville, TN *^ Hannah Richter, BS, BA – Atlantic, IA Alexi Fournier, BME, Ankeny, IA+ Horn Kyle Fitzgerald, BA – Kansas City, MO * Scott Martin, BME – Kansas City, MO Hope Ammons, BSED – Blue Springs, MO Grace Roby, BME – Plattsmouth, NE Trombone James Cookinham, BME –Weatherby Lake, MO *^ Coby Brogan, BME – Gallatin, MO Bass Trombone Colton Butcher, BME – Platte City, MO Tuba Jordan Hargis, BME – Harrisonville, MO ^

Violin I Concert Master Josiah Akers, BA – Gentry, MO Associate Concert Master Amber Schrader-Matthies, BA – Smithville, MO Angel Trinh, BS – Lincoln, NE Stephanie Jorandby – Northwest Faculty Viola Megan Clasen, BS – Chesterfield, MO * Taylor Dodson, BA/BS – Lee’s Summit, MO Karen Grenawalt – Kansas City, MO # Double Bass Josh Miller, BA – Kansas City, MO * Andrew Holmes, BS – York, NE Daniel Bates, Clarinda, IA # Matthew McGrory – Northwest Faculty

Violin II Kelly Nowack, BS – Dubuque, IA * Korbin Heater, BME – St. Joseph, MO Tara Hunt, BS – Kansas City, MO Dominique Brooks, BS – Shawnee, KS Angelik Rodriguez – BME – Omaha, NE Dr. Mary Shepherd – Northwest Faculty Cello Mary Evelyn Aguilera, BME – Blue Springs, MO* Abbey Braak, BS – Omaha, NE Dakota Hild, BA – Kansas City, MO David Schmitt, Lee’s Summit, MO # * Principal + Assistant Principal # Guest Artist ^ Graduating or student teaching next trimester

Find Music at Northwest online!

https://www.nwmissouri.edu/finearts/music/index.htm 6

Northwest Music Faculty Alyssa Bell – Violin, Viola John Bell – Director of Bands, Music Education Dr. Debra Brown – Music Education Dr. Jiwon Choi – Collaborative Pianist Dr. Rebecca Dunnell – Flute, Musicology Andrea Stanton – Horn Dr. Ernest Kramer – Piano, Harpsichord, Music Theory, Composition Dr. Brian Lanier – Madraliers, Celebration Show Choir, Univ. Chorale, Music Education Matthew McGrory – Cello, Double Bass Andrew Morales – Percussion Dr. Anthony Olson – Piano, Organ Dr. Sheila Phillips – Applied Voice Dr. Robert Pippin – Director of Orchestra, Low Brass, Music Education Dr. William Richardson – Trumpet, Jazz Studies Dr. Pamela Shannon – Applied Voice Dr. Kathryn Strickland – Director of Athletic Bands, Percussion, Music Education Joseph Tomasso – Reed Woodwinds, Composition, Foundations of Theory Dr. Stephen Town – Tower Choir, Applied Voice, Music Theory

Northwest Administration Dr. John Jasinski – President Dr. Jamie Hooyman – Provost Dr. Michael Steiner – Associate Provost of Undergraduate Studies; Dean, College of Arts & Sciences Dr. Kathryn Strickland – Chair, Fine and Performing Arts Dr. William Richardson – Dennis C. Dau Endowed Professor of Music / Assistant Chair Northwest Summer Music Camp June 9 – 14, 2019 https://www.nwmissouri.edu/camps/music/index.htm https://www.facebook.com/nwmusiccamp/

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Fall Music Events Friday, November 16, 7:30 p.m.

Northwest Jazz Ensembles Concert Olive DeLuce Fine Arts Building Sunday, November 18, 3:00 p.m.

Tower Choir and University Chorale Concert Ron Houston Center for the Performing Arts Monday, November 19, 7:30 p.m.

Faculty Recital: Dr. Anthony Olson, Piano / Katherine Bilbo, Actress Olive Deluce Fine Arts Building Tuesday, December 4, 7:30 p.m.

Wind Symphony / Northwest Jazz Ensemble Concert Ron Houston Center for the Performing Arts Friday, December 7; and Saturday, December 8, 6:30 p.m.

45th Annual Yuletide Feaste J.W. Jones Student Union Ballroom https://www.nwmissouri.edu/finearts/music/yuletide.htm

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