Wednesday, February 24, 1993 University of Illinois Westville High School Thursday, February 25, 1993 Otterbein College College of Wooster Friday, February 26, 1993 CBDNA National Convention The Ohio State Universit

McCoul, Kimberly M., Flute

Steele, Stephen K., Conductor

English

WednesdayFebruary 24, 1993University of Illinois
Westville High SchoolThursdayFebruary 25, 1993
Otterbein College College of WoosterFridayFebruary 26, 1993
CBDNA National ConventionThe Ohio State Universit

ISU ReD: Research and eData

Illinois State University ISU ReD: Research and eData School of Music Programs Music 2-24-1993 Wind Symphony Stephen K. Steele Conductor Illinois State University Kimberly M. McCoul Flute Follow this and additional works at: https://ir.library.illinoisstate.edu/somp  Part of the Music Performance Commons Recommended Citation Steele, Stephen K. Conductor and McCoul, Kimberly M. Flute, "Wind Symphony" (1993). School of Music Programs. 955. https://ir.library.illinoisstate.edu/somp/955 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact ISUReD@ilstu.edu. I I Music Department Illinois State University I I I I I I I I I .I I I I WIND SYMPHONY Stephen K. Steele, Conductor Kimberly M. McCool, Flute Graduate Assistants Jeffrey Allison John Eustace Amy Johnson Winier Tour Wednesday, February 24 University of Illinois Westville High School Thursday, February 25 Otterbein College College of Wooster Friday, February 26 CBDNA National Convention The Ohio State University Program Celebration (1991) Pmudium for Wmd, Brass, Percussion, Harp and Piano Surprise, Patt.em, illusion (1985) J>niii.fflxic Cave Ceremonies Visual Music for Solo flute, Ordlt.1lra1 Winds and Pert:uasion Laaaux Prelude (Into the cavern) A BUl3l of Painted Animals Troia~ Prelude The Sorcerer Tue D' Audoubert Prelude (the stalagmite crystal chamber) QayBillOD Out into the Nigi. Kimberly M. McCool, Flute Folksongs for Band-Suite No. 3 (1990) Droylsden Waite., Lord Bateman Three Ships and Lisbon James F. Keene, Conductor Sinfonia "Il Fiume" (1984) Lento-Allegrodeciso Adagio Scheno: Allegro scbenando Lento-Allegro vivace F.dward Gregson (bom 1945) Daniel Bukvicb (bom 1954) David Stanhope (bom 1952) Jurriaan Andriessen (bom 1925) Program Notes Celebration was commissioned by the Royal Live,pool Philharmonic Society to mark its 150th anniversary. It was first performed by the Royal Liverpool PbilbarmonicOrcbeslraatPbilbarmonicHall,Llverpoolon21 March 1991. Of the composition, Grefson comments: "I was parUcularly pleased to receive the invitation to write this piece, as it gave me an opportunity to compose a work which would celebrate not just the birthday of a great orchestra, but the skills of a fine group of players, allowing them to demonsttate both their virtuosity and their capacity for sustained sensitive playing. It seemed appropriate to make it a sort of roiniamre Concerto for Orchestra (albeit without the strings), and despite its brevity I have highlighted each department of the ensemble in tum before bringing them together at the end. The piece plays continuously, but sections are clearly distinguishable: 1, brass, timpani, percussion and piano; 2, wind trios, harp and percussion; 3, wind only (cborale); and, 4, full ensemble. It opens with a fanfare (announced by three spatially separated trumpets and tubular bells), essentially exuberant music which plays an important part later on. This leads into the second section, basically scbe.rzo-like but with an expressive central ~sage. Instruments are inb'oduced in the following order: flutes, clarinets, oboes, bassoons. A brief tutti ushers in a simple chorale, marked molto sostenuto. The development follows, often highly charged rhythmi-cally, and using material from the first two sections plus a new idea beard on trumpets. The music rises to a climax which moves directly into a reprise of the chorale, in combination with the opening fanfare, to bring the work to a triumphant conclusion." F.ach of David Stanhope' s folksong suites is based on tunes from Great Britain, and all are dedicated to the memory of Percy Grainger. Like the folk-music settings of that composer, they use original melodies as a means for harmonic and contrapuntal invention in a variation or passacaglia-like fonn . Suite No. 3 consists of three settings: "Droylsden Wakes," a sentimental verse-and-cborus piece (Droylsden is an old village in Lancashire); "Lord Bateman," a vigorous, virtuosic setting with constant metric changes; and "Three Ships and Lisbon," a mixture of two folktunes and a third original melody by the composer. In this last setting, one might imagine the bells of a distant town with the listener and bis party approaching; on entering the town, the visitors are overwhelmed with the majestic "3 Ships" melody, but nevertheless, they attempt to whistle their own tunes over the top. Daniel Bukvich provides the following from The Creative Explosion (an inquiry into the origins of art and religion) by John E. Pfeiffer, Harper and Row, 1982: Prehistory has left no record more spectacular than the art in the main hall or rotunda of the Lascaux Cave in Southern France. The way in leads through a metal door, down a flight of stairs, through another metal door, to the threshold of the ball. It is pitch dark inside (into the cavern), and then the lights are turned on. Without prelude, before the eye has a chance to become intellectual, to look at any single feature, you see it whole, painted in red and black and yellow, a burst of animals, a procession dominated by huge creatures with horns. The animals form two lines converging from left and right. seeming to stream into a funnel-mouth, toward and into a dark hole which marks the way into a deeper gallery. Further into the cave ... along a passage cluttered with fallen rocks, andahalf-slide down a slippery clay slope brings one into a lar~e wide pit, the floor of the chamber. This place is known as the "sanctuary. ' A highly loaded word implying a great deal thal remains to be proved such as a beli~f.in su~ural beings and a system of myth and ritual, a religion or protorclig1on. But m sur-roundings like these, the word can be justified or at least forgiven, because of the use of art and topography to create an enhanced feeling of awe and mystery. This place of hundreds of engravings contains only one printing, probably the mostwidelyreproduced of all Upper Paleolithic works of art Viewed bestfrool a point about halfway down the clay slope, it looms over the sanctuary from a high wall near the top of a deep aevice. A figure drawn in heavy outline. bent over in an almost impossible crouc.bing position, with wide-staring owl-like eyes and the ears and antlers of a stag, with legs and body that look h~ and short forelimbs with paws rather than hands. The figure has a horse s tail and a vaguely beak-shaped~- . Many observers believe it represents a masked man dressed 10 some sort of ceremonial costume, and refer to it as "The Sorcerer" or "Horned God." Others think of it as a mythical composite creature. It dominates the sanctuary, can be seen from certain positions only, and one wonders about its possible relati~nship to another "sorcerer" hidden in a short passage at the back of the pit and apparently playing a bow-shaped music instrument Even more tantalizing is the relationship between the sanctuary and the re-markable chamber at the very end of the Tue cave, only 15 yards away as the mole burrows but isolated by tons of debris that filled in the connection ages ago. Half hidden among the trees, the enttance to Tue is the outlet of a rive! which runs through the hill. The journey through the cave i_s difficult and there IS mu_ch evidence of some sort of pattern along the way to the 10nermostchamber, asenes of features passed in sequence. . . . . . A pile of engraved limestone slabs ... a senes of rearranged fosstl bones of cave bears that lived, hibernated, and died in the Tue Galleries-a smashed skull with teeth removed, a rib aligned parallel to the path as if to serve as a direction marker. Past the rib are more features, all sttange and out of place in their cave settings, all there with a purpose and inviting guesses, and all frustrating as far as true understanding is concerned .. th~ comJ?lete ~keleton of a ~nake . : . three teeth, of a fox, a bison, and an ox-all Juvenile, pierced and pnnted with red ochre, possibly strung together originally. . . . The most enigmatic feature of all, the last 10 the senes before the mnermost space at the cave's end, is a small side chamber. Some sort of activity went on here, and all we can say about it is that it must have been rath_er intem;:e and probably noisy. Impressed on the clay floor are about fifty _heel pnn~ of cbtl~n estimated to have been thirteen to fifteen years old. There is somethmg puzzlmg about these vestiges. They seem to start at a place deeper in the chamber, ~d fan out in half a dozen rows toward the enttance, each row perhaps representing the path of a child. And why were the children walking or running on their heels? Furthermore, the chamber is so low, 5 feet high at the most and 3 feet or less elsewhere, that even children would have to stoop and stoop low. These and other features were part of the build-up, preliminaries to the main attraction. Tue ends in a small circular chamber, a rotunda with nothing on its walls, no printings, no engravings. The entire space has been used to encl?se a pair of sculptures placed on the floor, right in the center of the rotunda, like jewels in a black setting. Two magnificent bison of unbaked clay, each about 2 feet long, are set upright and leaning agains~ a rock fallen from the ceiling, presezved for 10,000 to 15,000 years by some nuracle of topography, tempera-ture, and humidity-Delicate modeling and stroke marks in the clay indicating eyes, nostrils, manes, tails, horns, swelling hl!111ps and haunches. . ... After hours of going deeper and deeper mto a cave, one gathers a kind of psychological forward momentum, absorbed utterly in going on and on, in the sheer mechanics of avoiding projecting rocks and stalagmites and watching one's step. It was that way in Tue. On coming unexpectantly to the rotunda, I turned and saw ahead the figures in the center ... At that moment, and for a moment only, I saw, not two miniature clay bison close at hand but two real-life, full sized bison at a great distance. They were climbing together up a slope, side by side, every line of mane and muscle sharp and in focus as if caught in photoflash, in a motion-picture frame. My perspective, my frame of reference, was ttansfonned. Jurriaan Andriessen attempts to elicit visual imagery in his compositions. For the title of this piece he originally had nothing else in mind than Symphony for Band. When asked to give the piece a title, the Italian word for river was the first idea that came to the composer's mind. ''When I finally began to write, the thought processes could not be stopped," he said. On reflection, Andriessen felt that the title w~ appropriate because the structure.of~ piece is s~ !O the_un~ti~ that occur in the course of a career or lifetime. "Every life 1s like a nver. Andriessen aeated "II Fiume" in the classical four-movement symphonic form. After a slow opening section, the two themes are introduced and deve~ thereafter along different lines. 1be second movement has a two-part melody m which the second part is a retrograde of the first. The third movement is a ~ditional scherzo, complete with trio and coda. The fourth movement has the familiar rondo form, wherein the second episode contains a reference to the introduction of the first movement Kimberly Marie McCool will complete a Master Degree in Music Performance at Illinois State University in the Spring of 1993. During her time at Illinois State she has been a student of Professor Max Schoenfeld. She received a Bachelor of Music Degree from the College of Wooster. While attending the College of Wooster, she held the position of principal flute in the Wooster Symphony and Symphonic Band. She also perfonned in a trio-sonata ensemble and a string ensemble. Kimberly is currently principal flutist in the Illinois State Wind Symphony and Symphony Orchestra. She continues to be involved in many chamber ensembles and perfonned with the Ohio Light Opera during its 1991 season. Ms. McCool has been the featured soloist with the College of Wooster String Ensemble, Symphonic Band and Symphony Orchestra. She also soloed with the Illinois State Symphony Orchestra as the concerto competition winner. Kimberly has performed for several master classes, including Bernard Goldberg, Gary Carr, George Pope, Wissam Boustany and Robert Dick. /SU Wind&: Percussion Faculty Max Schoenfeld, Flute Tim Hurtz, Oboe Aris Chavez, Clarinet Michael Dicker, Bassoon Jim Boitos, Saxoplwne Joe Neisler, Horn Amy Gilreath, Trumpet Charles Stokes, Trombone Ed Livingston, Euplwnium &: Tuba David Collier, Percussion Piccolo Hom Julie Long, Downers Grove •Kent Baker, Anna Marcus Cash, Danville Flute Eric Kaiser, Sugar Grove Valerie Crull, Chillicothe Brandon Sinnock, Quincy Amy Johnson, Omaha, NE I Julie Long, Downers Grove Trumpet *Kimberly McCool, N. Canton, OH Laura Enos, Wheaton Jennifer T<Xbeck, Skokie Jobnoie B. Green, Danville Gary Magallan, Bloomington I Alto Flute *Timotbic!1cCoul, N. Canton, OH Amy Johnson, Omaha, NE Troy Mc y, Richmond, MO Jerry Moblman, Machesney Park Oboe • April Faires, Charleston Trombone I Melissa Gustafson, Monmouth *John Eustace, Gurnee Kathryn Hoff, Naperville English Hom Joanne Stolfi, Olicago Matthew Dethrow, Decatur I Bass Trombone E-Flat Clarinet Matthew Kasta, Batavia Usa Staples, Champaign Euphonium I Clarinet Milagros Cruz, Bayamon, Puerto Rico •Jeffrey Allison, Boston, MA Timothy Gray, Mt. Pleasant, IA Matthew Dethrow, Decatur Mandy C. Fey, Naperville Tuba I Jamian Green, Geneseo Douglas Mattsey, Frankfort Christine E. Hoover, Lisle *Edward A. Risinger III, Evanston Laura Rossi, Elk Grove Lisa Staples, Champaign Harp I Lynn Bower, Quincy Bass Clarinet *Karl Kalis, Elmhurst Piano Christine Hoover, Lisle Paul Borg, Normal Bassoon Percussion I *Robin Roessle, Burr Ridge •Sean Batson, Morton Lynnette Sawyer, Winnebago Michael Coers, Bloomington Karen Cole, Monticello I Contrabassoon Raymond Fineron, Chicago J. Jeffery Womack, Lexington, KY David Jones, Downers Grove Lee Svec, Plainfield Alto Saxophone Kevin Lucas, Lockport • Amy Gates, Belvidere Eric Wellman, Quincy David King, Rock Island Tenor Saxophone Matthew Dethrow, Decatur String Bass David Huber, Round Lake Beach Christopher G. Peterson, Schaumburg Librarians Christine Hoover Baritone Saxophone Matthew Kastor I Geoffrey S. Harrigan, Danville *Principal Manager Douglas Mattsey I 

Ensemble Concerts: Wind Symphony, February 24, 1993

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