Centennial Lecture Hall Wednesday March 13, 1968 8:15p.m

Kistner, Kenneth T., Conductor

English

Centennial Lecture HallWednesdayMarch 13, 19688:15 p.m

Kistner, Kenneth T.

ISU ReD: Research and eData

Illinois State University ISU ReD: Research and eData School of Music Programs Music 3-13-1968 University Band Kenneth T. Kistner Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp  Part of the Music Performance Commons Recommended Citation Kistner, Kenneth T. Conductor, "University Band" (1968). School of Music Programs. 3446. https://ir.library.illinoisstate.edu/somp/3446 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. THE ILLINOIS STATE UNIVERSITY UNIVERSITY BAND KENNETH T. KISTNER, CONDUCTOR CENTENNIAL LECTURE HALL 8 :15 P.M. WEDNESDAY, MARCH 13, 1968 THE COLLEGE BAND- " .... a serious and distinctive medium of musical ex-pression .... of vital seTTiice and importance to its members, its institution, and its art." -CBDNA Declaration of Principles « P R O .G ,R OCCASIONAL SUITE. GEORGE F. HANDEL 1. March 2. Aria 3. Chorus Handel's Occasional Oratorio was written to honor the Duke of Cumberland for his victory over the Jacobite re-bels at Culloden. Like many of Handel's works, it struck a responsive patriotic note with the British public. This suite, drawn primarily from the Occasional Ora-torio, was scored for band by Eric Oster ling. .,ILOQUY FRANK ERICKSON A soliloquy is defined as an "act of talking when alone or as if alone." The soliloquy in this composition is stated three times by the soprano clarinets and each time it is developed and distorted by the full band. Yet, the com-poser maintains the feeling of solitude throughout the entire composition. JRT FESTIVAL Intrada Pavan WILLIAM LATHAM Galliard "The Horses" Branle European court festivals and other ceremonies of the late 16th and early 17th centuries utilized instrumental dance music to add gaiety to the occasion. Although writ-ten in the form of this period, all thematic material in this work is original with the exception of "The Horses" Branle which appeared in Arbeau's Orchesographie in 1588. ;TUDY IN LA VEND ER ERIC OSTERLING Many devices have been used to provide a setting for solo trumpet. This versatile instrument lends itself to moods ranging from a brilliant fanfare to a - lyrical ballad. In this composition the fluid harmonies of the dance band style provide a background for the solo trumpet. The trum-pet soloist is Edwin Schupbach. FRED KEPNER By employing unison woodwinds, the composer recre-ates the exotic appeal of a desert oasis. The listener is · then taken on a musical tour of the various moods of a desert night. INTERMI SS ION A M >> FOLKSONGS FOR ·BAND March Waltz ERIK LIEDZEN , Sarabande Humoresque · This suite of folksongs for the wind band explores the national characteristics of four nations and yet retains a unifying color throughout the entire work. The countries are represented by the following songs: England-British Grenadiers and Vicar of Bray; Italy-Santa Lucia; Amer-ica-Down in the Valley, Little Mohee, and Henry Martin; Ireland-Young May Moon and Eveleen's Bower. VIVA MEXICO JOHN J. MORRISSEY The Bells of San Miguel Puebla da Los Angeles Parade These three movements of Morrissey's suite depict three romantic elements of the Mexican society: church, home, and f es ti val. From the smallest village to the largest city, the haunting sounds of church bells penetrate the air. Often the church is the focal point of the town as it is in San Miguel de Allende where the Cathedral rises impos-ingly at the edge of the Central Plaza. Puebla, with its colorful tiles and colonial architecture, is considered by many to be the most characteristically Spanish city in Mexico. In this salute, the composer pays tribute to a land replete with musical inspiration. RICHARD RODGERS RICHARD RODGERS From 1943, when Richard Rodgers and Oscar Ham-merstein II's Oklahoma! opened in New York, their collab-oration produced many of Broadway's most successful musicals. The music of Carousel, Allegro, The King and I, Me and Juliet, Pipe Dr~am, Cinderella (for television), Flower Drum Song, and The Sound of Music, continues to gladden the hearts of people the world over. This arrangement for band, by Frank Erickson, in-cludes There is Nothin' Like a Dame, The Sound of Music, I Whistle a Happy Tune, A Wonderful Guy, and Climb Ev'ry Mountain. .. UNIVERSITY BAND PERSONNEi . PICCOLO TENOR SAXOPHONE Leslie Icenogle Carolyn Christner FLUTE Joseph Morton Mark Schneider Bonnie Gorman Leslie Icenogle BARITONE SAXOPHONE Zenia K witko Elaine Jacobs Pamela Phillips FRENCH HORN Rebecca Quinn Kent Brown Susan Sedlet Joyce Clark Linda Smith Kathleen Edwards Constance Wiemer Marilyn McBride SOPRANO CLARINET CORNET Judy Kunzeman Philip Blazier Jamie Hamilton Joseph Nohl Carol Hannula Edward Schupbach Pamela Hull Jacquelyn Steiner Casandra Simpson Steven Wright TROMBONE OBOE Robert Richardson . Donna Abel Dennis Stremmel Susan Wehrly BARITONE BASSOON Janet Bressner Mary Jean Breed TUBA BASS CLARINET Meridith Longueville Louanne Theobald Pamela Warner PERCUSSION ALTO SAXOPHONE David Hawkins Mary Jane Ebens Linda Mathy Henry Hepner Linda Porter ' 

Ensemble Concerts: University Band, March 13, 1968

Centennial Lecture HallThursdayMay 23, 19688:15 p.m

Illinois State University ISU ReD: Research and eData School of Music Programs Music 5-23-1968 University Band Kenneth T. Kistner Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp  Part of the Music Performance Commons Recommended Citation Kistner, Kenneth T. Conductor, "University Band" (1968). School of Music Programs. 3472. https://ir.library.illinoisstate.edu/somp/3472 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. THE ILLINOIS STATE UNIVERSIEY UNIVERSITY BAND KENNETH T. KISTNER, CONDUCTOR D. BARTH DOWLING, ASSISTANT CENTENNIAL LECTURE HALL 8 :15 P.M. THURSDAY, MAY 23, 1968 THE COLLEGE BAND- " ...• a serious and distinctive medium of musical ex-pression ..•. of vital service and importance to its members, its institution, and its art." -CBDNA Declaration of Principles << p R GO FOR BAND GLENN OSSER The limitations in this selection consist of a rigid rhythmic figure :md a re-occurring melodic line. The composer has utilized the variom, colors of the band to enhance the excitement that comes from a familiar dance form. Mr. Osser has made many fine contributions to band literature, and "Tango for Band" is no exception. :RGLADES OVERTURE PAUL YODER Paul Yoder, who has grown up with the school band movement, is one of the most prolific composers in the band field today. His popularity is due primarily to his ability to write interesting melodies. Mr. Yoder received his degree from the University of North Dakota, holds the degree of Master of Music from Northwestern University, and has done some graduate work at the Vandercook School of Music. ) PIECES IN FOLKSONG STYLE HUGH M. STUART I. Highland Air II. March While these are not folk tunes, they are written with the char-acteristic lightness of a folk tune; the first being a poignant air, the second almost dance-like as opposed to a traditional march. ,YPHONIC SUITE I. Motet II. Chorale CHARLES CARTER III. Madrigal This suite, as the name implies, is polyphonic in texture. This means each voice is an independent melody in itself and should be performed with as much care and expression as any other lyrical melody. T,he motet is composed in the imitative style of the Renais-sance motets, which were religious · vocal compositions based on Latin . texts and sung a capella. The chorale is a simple little piece contrast-ing the colors of the brasses and woodwinds. The madrigal is composed in the style of the Renaissance madrigals, which were secula.r vocal compositions of a much more robust nature than the motets. Conducted by D. Barth Dowling INTERMISSION 0 .G .R A M >> "AUFWAERTS" MARSCH ERNST LUTHOLD The European style of writing for band is quite different from that of American composers. The brilliance of the brasses is utilized to add color to a basic woodwind sound. This march uses widely contrasting dynamics and a mixture of 6/ 8 and 2/ 4 meter throughout to keep the listener in a feeling of unrest. This transcription for American bands is by Paul W. Whear. Dr. Whear is presently chairman of Department of Music at Doane College in Crete, Nebraska. ARIA FOR WINDS JOHN CACA VAS This short selection contains many of the rich harmonic effects that became popular when Musak was first introduced to business and industry on a large scale. The smooth, flowing melody is con-trasted by tonal pyramids, a device Mr. Cacavas uses in many of his compositions. SEA PORTRAIT HOMER La GASSEY As the title implies, this composition depicts the various moods of the sea. The entire work is based on one theme which is tossed back and forth to the various sections of the band much as a person's emotiqns are affected as he experiences the different elements of the se11. Written in 1956, "Sea Portrait" has quickly become a standard piece of band literature. SKETCHES IN MINIATURE I. Landscape II. Northern Lights BELDON LEONARD III. Village in the Highlands Each movement of this suite is a minature tone poem which could be paralleled to an artist's pen and pencil sketches-brief, yet clearly and completely defined. SERENADE FOR BAND, op. 85 VINCENT PERSICHETTI Pastoral Humoreske Nocturne Intermezzo Capriccio Vincent Persichetti has established himself as one of the few contemporary composers who understands the capabilities and poten-tial of the wind band. His works have a fresh and original concept w.hich is exciting for the performer as well as the listener. In 1958 the Ithaca High School Band instigated a project to com-mission a ;major composition each year. "Serenade for Band" was commissioned in 1961 and pi·emiered, with the composer conducting, on the band's spring concert on April 19, 1962. Conducted by Kenneth T. Kistner UNIVERSITY BAND PERSONNEL PICCOLO Leslie Icenogle FLUTE Bonnie Gorman Leslie Icenogle Zenia Kwitko Pamela Phillips Rebecca Quinn Susan Sedlet Linda Smith Constance Wiemer SOPRANO CLARINET Judy Kunzeman Jamie Hamilton Carol Hannula Pamela Hull Casandra Simpson OBOE Susan Wehrly BASSOON Judith Pellegrino* BASS CLARINET Pamela Warner ALTO SAXOPHONE Henry Hepner Joseph Morton TENOR SAXOPHONE Carolyn Christner Mark Schneider BARITONE SAXOPHONE Elaine Jacobs FRENCH HORN Kent Brown Kathleen Edwards Kurt Schutt* CORNET Philip Blazier Joseph Nohl Edward Schupbach Jacquelyn Steiner TROMBONE Robert Richardson Dennis Stremmel Lynn Webb* BARITONE Gregory Anthony* Mary Jo Morrison TUBA Meridith Longueville Leslie Morgan PERCUSSION Robert Gill* David Hawkins Linda Porter *Designates members of the Varsity Band used to complete t.he instrumentation of the University Band. 

Ensemble Concerts: University Band, May 23, 1968

https://ir.library.illinoisstate.edu/cgi/viewcontent.cgi?article=4471&amp;context=somp

University Band

Abstract

Similar works

Full text

Available Versions

ISU ReD: Research and eData

ISU ReD: Research and eData