Center for the Performing Arts October 22, 2017 Sunday Afternoon 3:00p.m

Knuteson,, John, Guest Lecturer

Marinello, III,, Anthony C., Conductor

English

Center for the Performing ArtsOctober 22, 2017Sunday Afternoon3:00 p.m

Marinello, Anthony C., Conductor

Knuteson, John, Guest Lecturer

ISU ReD: Research and eData

Illinois State University ISU ReD: Research and eData School of Music Programs Music Fall 10-22-2017 Wind Symphony Anthony C. Marinello, III Conductor Illinois State University John Knuteson Guest Lecturer Follow this and additional works at: https://ir.library.illinoisstate.edu/somp  Part of the Music Performance Commons Recommended Citation Marinello, III, Anthony C. Conductor and Knuteson, John Guest Lecturer, "Wind Symphony" (2017). School of Music Programs. 3926. https://ir.library.illinoisstate.edu/somp/3926 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. Illinois State University College of Fine Arts Jean M. Miller, Dean, College of Fine Arts Laurie Thompson-Merriman, Associate Dean of Creative Scholarship and Planning Janet Tulley, Assistant Dean of Academic Programs and Student Affairs Steve Parsons, Director, School of Music Janet Wilson, Director, School of Theatre and Dance l\lichacl Wille, Director, School of Art Aaron Paolucci, Program Director, Arts Technology Nick Benson, Center for Performing Arts Manager Illinois State University School of Music A. Oforiwaa Aduonum, E1bnom11si,vlogy Allison Alcorn, M11sirology Anthony Marinello, Dirrclor of Bands Thomas Marko, Dirrclorof]a'i:i.Studi,s Debra Austin, Voict Mark Babbitt, Trombon, Rose Marshack, M,,,;.- B11sinm and Arts Technology Joseph Matson, M11si<vlogy • Emily Bcinborn, M11sfr Tb,,-aP.y Glenn Block, Onlmlnl and Cond11clin_g Polly Middleton, Ass/. Dirrclor of Bands/ Dirrclor of BRiWM Paul Nolen, Saxophone Shela Bondurant Kochler, A/mi. Ed11calion Karyl K. Carlson, Dirrc/or of Choral A c1iti1i,s Renee Chernick, Gro11p Piano David Collier, P,mwio11 and Asso<ial, Dirrc/or Andrea Crimmins, M11sfr Tb,rapy Peggy Dehaven, OJ!ii, S11ppor1 Sp,,ialisl Anne Detvin, Clann,1 and G,n,n,/ Ed11a1/Jon G ina Dew, Mmfr Ed11calion Ad1isor Judith Dicker, Oba, Michael Dicker, Bassoon Geoffrey Duce, Piano Ellen Elrick, M11sfr Ed11calion Tom Fau."'<, E1hnom11sfralogy Angelo Favis, Grr1d11a1, Coordinator and G11ilar Tim Fredstrom, Chon,/ M11sic Ed11ralio11 Sarah Gentry, Violin Amy Gilreath, T n,mp,1 Denrus Gotkowski, Vat<• David Gresham, Clarin,1 Mark Grizzard, Th,o,y and Chon,/ M11sfr Christine Hansen, Lrad A,.,,d,mir Ad,•isor Kevin Hart, ]a'i:i. Piano and Th,o,y Phillip Hash, M11si< Ed11<alton Martha Horst, Th,a,y and Composilion Mona Hubbard, Office Mana_g,r Lauren Hunt, Hom John l'vlichael Koch, Vocal Aris Coordinalor William Kochler, Siring Bass and Music Ed11rafion Marie Labonville, M11sirology Katherine J. Le,vis, Vtola Roy D. IV!agnuson, Theory and Composilion Lauren Palmer, Adminislralivt Clerk Stephen B. Parsons, Dirrclor Adriana Ransom, Cr/lo/ Sirin!. Proj,cl/ CSA Kim Risinger, F/111, Cindy Ropp, M11sir Th,rapy Andy Rummel, E11phoni11m/T11ba Tim Schachtschneidcr, Fa<ilili,s Mana_g,r Carl Schimmel, Th,o,y and Composilion Daniel Peter Schuetz, Voia Lydia Sheehan, Bands Adminis/rr,ti,~ C/,rk Sun Young Shin, Violin • Anne Shelley, Miln,r Ubrorian Debra Smith, Mmir Ed11calion l\fatthew Smith, Arts Technology David Snyder, Music Ed11,.,,1ion Ben Stiers, Pm:,mion/ Ass/. Dirrclor of Alhl,li<- Bands Tuyen Tonnu, Piano Rick Valentin, Aris T,cbnology Justin Vickers, Voia and Mmicology l\lichelle Vought, Voict Roger Zare, Tmo,y and Composilion l'vlichael Zielinsk-y, T rombon, Band Grud11a1, Teaching AsJ1Slanls: Jordan Harvey, l\laryKate Kuhne, Sean Breast.Joyce Choi, Adriana Sosa, and Clinton Linkmcycr O azz Band) • i Illinois State University College of Fine Arts School of Music • Wind Sympliony • • Anthony C. Marinello, III, cond11ctor John Knuteson, guest lecturer Center for the Performing Ans October 22, 2017 Sunday Afternoon 3:00p.m. This is the twenty-seventh program of the 2017-2018 season. Program Please silence all electronic devices for the duration of the concert. Thank you. First Suite in E-flat (1909) I. Chaconne II. Intermezzo III. March The Golden Gray (2009) Colonial Song (1919) Shepherd's Hey (1918) -Intermission-Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943) I. Allegro II. Turandot, Scherzo III. Andantino IV. March Gustav Holst (1874-19. edited by Matthe Roy Magnuson (born 1983) Percy Grainger (1882-1961) edited by Rogers • Paul Hindemith (1895-1965) transcribed by Wilson • Program Notes Thank you for joining us for today's ISU Wind Symphony performance. We hope that you will enjoy our concert, and that you might consider joining us again for future performances here at the !SU School of Music. Please visit bands.illinoisstate.edu for more information. Thank you for your •pport! ustav Holst was one of England's most prominent composers, a professional trombonist, and teacher of composition and organ. Holst was born to Adolf and Clara von Holst in Cheltenham, England in 1874 and descended from several generations of musicians with German, Scandinavian, Latvian, and Russian ancestry. He was named Gustavus Theodore von Holst but dropped the "von" at the beginning of the war with Germany in 1914. Holst's music includes operas, choral works, orchestral works, band works, chamber and instrumental pieces, and songs. His music reflects his wide-ranging interests, from folk music to Sanskrit to astrology. During the First World War, he was placed in command of all English Army Bands, organizing music among the troops under the Y l\I.C.A Army and Education program. He continued his teaching as musical director at the St. Paul's Girls School in the Hammersmith borough of London. Written in 1909, the First Suite in E-Dat was given its first known public performance by the Royal l'vlilitary School of Music Band, conducted by D.W. Jones, at Kneller Hall in 1920. The theme of the "Chaconne" is repeated by various instruments as others weave varied filigrees about the ground theme. In the middle of the first movement the theme is inverted for several repetitions. The second movement, "lntermezzo," is based on a variation of the "Chaconne" theme, presented first in an agitated style, then in a cantabile mood, with the two styles alternating throughout the movement. The two themes of the "March," one dynamic and the other lyric, arc also taken from the "Chaconne" theme. The first theme is played in a marcato style by the brasses; the second, a more flowing rendition of the theme, is played by the woodwinds and horns. Eventually the two arc combined in a thrilling counterpoint leading to the coda . A.. a preface to the bte Imogen Holst's biography of her father, Ralph Vaughan Williams refers to ~ iustav Holst as "a great composer, a great teacher, and a great friend." He describes his music as "uncompromisingly direct .. . (it) reaches into the unknown but never loses touch with humanity." Although Imogen (a gifted musician and author), was critical of some of his compositions, she writes that "the whole suite is superbly written for band .. .It must have been a startling change from the usual operatic selections ... In spite of its original approach, the Suite never breaks away from the essential traditions of the band, and the 'March' is the sort of music that is beloved of bombardons (basses) and euphoniums." ... The "inevitable meno mosso," was written "with the assurance of an experienced bandsman who knows exactly what the other players arc going to enjoy." Program notes compiled by MaryKatherync Kuhne Roy Magnuson (born 1983) has composed music for orchestra, wind ensemble, concert band, chamber ensembles, vocalists, electroacoustic ensembles and films. His works have been performed throughout the United States at venues such as the Red Note Music Festival, the New Music Cafe, Illinois State University, Ithaca College, University of Nebraska-Lincoln, University of Arkansas-Fort Smith, University of Texas-Arlington, University of Alabama-Tuscaloosa, and by the Elan String Quartet, the Quasari Quartet, the Quad City Wind Ensemble and the Air Force Band of Mid-America. Roy received his B.l\I. Theory/Composition' from Illinois State University in Normal, Illinois, his •M.1\1. Composition from Ithaca College in Ithaca, New York, and his D.M.A from the University of Illinois. Private studies include Don Davis, David Maslanka, George Tsantakis, Jennifer Higdon, Steven Stucky, Karel Husa and Joan Tower. Due to the success of his wind writing, in 2008 Roy was asked to contribute a chapter to the GIA Publication Composers 011 Composi11g for Ba11d, Vo/11me IV which is currently available via GIA Publications. Roy is currently an Assistant Professor at Illinois State University where he teaches freshman and sophomore theory and coordinates the freshman theory curriculum. Roy is a member of ASCAP and his music is recorded on Albany Records. The composer provides the following note: "I have a memory of an early morning storm, slowly moving over a field of harvest ready corn. The morning sun, srill visible to the east, shone down across the field making the yellow and brown crops shine bright gold. The contrast between the dark, purple storm and vibrant, shimmering field was staggering. Separate, the two elements arc iconic, powerful. But together, they arc a beautiful balance of bitter and sweet, dark and light, life and dent. The Golden Gray is an exploration of this balance and ultimately, a celebration of black an white, sweet and sour, beginnings and endings." Percy Aldridge Grainger was born at Brighton in Melbourne, Australia. In 1900, he began his career as a concert pianist with sensational successes in England, Australia, and South Africa. Grainger had a close personal relationship with Norwegian composer Edvard Grieg; Grainger's rendition of Grieg's concerto established him as one of the piece's great interpreters. Grieg's fascination with folk music inspired Grainger to look closely at English folk music, a habit that had a tremendous influence on Grainger's compositions. With the aid of a phonograph, Grainger collected songs from folksingers and made many arrangements of this music. In 1914, Grainger moved to the United States, where he became an American dozen and resided for the remainder of his life. Grainger used no traditional tunes in Colonial Song, which was written for and about the people in his native Australia. He expressed the wish to "voice a certain kind of emotion that seems to me not untypical of native-born colonials in general." Concerning colonials, he wrote the following: "Perhaps it is not unnatural that people living more or less alone in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramatically exciting counter-wills of their fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twain's Hu,kl,b,rry Finn, and Stephen Foster's songs. I have also noticed curious, • almost Italian-like, musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadtl1 of phrasing over more subtly and sensitively varied delicacies of expression) which arc also reflected here." Percy Grainger's ,vind band setting of Shepherd's Hey1s based on his earlier orchestral setting of the British tune. This tune is from a setting of folk melodics by Cecil J. Sharp. Typically, this piece is played following another major work by Grainger, Irish Tun,, because they were published as a set; it's not clear whether Grainger would have wanted them played together or if it was a publisher's decision. Today the Wind Symphony plays this merry tune following Colonial Sot(g, providing a new perspective and experience of both pieces. Paul Hindemith was born in Hanau, Germany on November 16, 1895, and studied at the Hock Conservatory in Frankfurt. At the age of 13, while at the conservatory, he supported himself by playing in dance bands, theaters, and cinemas. From 1915 to 1923, he was concertmaster and then conductor of the Frankfurt Opera Orchestra. During the 1920s, Hindcmitl1 gained recognition as an important composer, was named professor of musical composition at the Berlin Hochschule fur Musik, and developed his famous theoretical work, Th, Croft of Musical Composition. In 1934, despite his accomplishments, Hitler's government banned Hindemith's work because of its extreme modernism. Hindemith moved to the United SL1tes and taught at Yale University from 1940 until 1953. Soon after Paul Hindemith arrived in America he met the ballet choreographer Leonid Massine A whom he agreed to write a ballet based on the music of Weber. Before this project came to fruiti!f' however, the two co!L1borators had a falling out. Hindemith later decided to salvage his sketches for use in an orchestral work, which was eventually to become Symphonic Metamorphosis of Themes by Carl Maria von Weber, completed in August 1943. The original work is for large orchestra and based on four themes borrowed from some of Weber's lesser-known works. Hindemith's alteration and elaboration on these borrowed themes creates a work that elevates the materials to masterwork levels. The work is structured in four complementary movements, resembling a short symphony. J J Symphonic Metamorphosis was first performed by the New York Philharmonic conducted by Artur Rodzinski on 20 January 1944 and has since become one of Hindemith's more popular works. The suite is in four movements: I. Allegro - A confident and aggressive march with East European flavor. This movement is based on Weber's Hui! Piec,s pour 1, pia11ofort, a 4 mains, Op. 60, No. 4, composed in 1818. .I. Turandot, Scherzo - A whimsical and delicate movement with a distinct Eastern flavor. The theme is based on the overture to Weber's Turandot (which is itself based on an original Chinese song). The middle section features the brass, woodwind, and percussion sections in tum. III. Andantino - This slow movement is based on Weber's Si.:.: Pitcts pour 1, pianoforte a qua/rt mains, Op. 10, No. 2, composed in 1809. The movement closes with an elaborate bit of counterpoint for the flute, which has been said to resemble bird song. IV. March - The best-known movement, it opens ,vith a set of fanfares. Like the first movement, this one is also based on Hui/ Piim pour I, pianofort, a 4 mains, this rime focusing on No. 7. The original theme was meant to be a funeral march; Hindemith doubles tl1e tempo to give the previously morbid tune a jaunty, catchy feel. The transcription for wind band/ensemble was completed at Hindemith's request by his Yale University colleague, Keith Wilson. Program notes compiled by MaryKatheryne Kuhne • ILLINOIS SYMPHONY ORCHESTRA KEN LAM, MUSIC DIRECTOR • The Illinois Symphony Orchestra is celebrating 25 years of LIVE music and to celebrate we are offering a special single ticket offer ... Anthony C. Marinello, III serves as Director of Bands at Illinois State University where he is the conductor and music director of the Illinois State University Wind Symphony and Symphonic Winds. In addition to his conducting responsibilities, he leads the graduate wind conducting program and teaches courses in instrumental conducting. He joins the faculty at Illinois State University from The University of Texas at Austin, where he is currently completing the Doctor of Musical Arts degree in wind conducting. Before pursuing his graduate studies at The University of Texas, he served on the faculty of in Butler School of Music as Assistant Director of the Longhorn Band, Director of the • Longhorn Pep Band, and Assistant to the Director of Bands. Prior to his appointment at The University of Texas, Marinello served on the faculty of Virginia Tech as Assistant Director of Athletic Bands. Marinello has previously taught in the public schools of Louisiana, Ohio, and Texas. Marinello received invitations to the National Band Association's 2006 Young Conductor Mentor Project and 2008 International Conductors Symposium in Rome, Italy where he conducted La Banda dell'Esercito (Italian Army Band). In 2011, he received an invitation to tl1e West Point Conducting Workshop where he conducted the West Point Band. Marinello holds tl1e Bachelor o f Music Education degree from Louisiana State University and the Master of Music Degree from the University of Cincinnati College-Conservatory of Music. John Knuteson Special Guest Lecturer on the topic of l'vlusic and Architecture GREC Architects (Clucago, IL) ,\s part of the Wind Symphony's performance,John will guide the audience through certain pieces on the concert. He will discuss the unique intersection of music and architecrure and highlight some of these phenomenon in the pieces performed by the Wind Symphony. Born and raised in Hampton Roads, Virginia,John Knuteson holds a Bachelor of r\rclutecrurc degree from Virginia Tech, with a semester in tl1e Chicago Studio program and internship at GREC. John graduated in 2014 and moved to Chicago to join the GREC team. • John's undergraduate tl1esis work focused on the role of dmwing in the manifestation of architecture, and he has a strong interest in the intersection of art and architecture. He has been actively involved with the Institute for Creativity, Arts, and Teclu10logy at Virginia Tech's Center for the Arts. Outside of his architecture studies at Virginia Tech, he was also a clarinet player and drum major for the Marching Virginians, Tech's collegiate marching band. Upcoming Band Events Jazz Ensemble I and II concert Friday, November 3rd 8:00pm CPA ISU Percussion Ensemble Concert Sunday, November 5th 7:00pm Kemp Big Band Dance Friday, November 10th 7:00 pm Big Band Dance will take pince at New Lafayette Club 1602 S. Main Street Bloomington, IL. Wind Symphony Concert Wednesday, November 29th 8:00 pm CPA Symphonic Winds, Symphonic Band and University Band Concert Thursday, November 30th • 8:00 pm CPA For additional information contact Dr. Tom Marko (309)438-2541 • • • Illinois State University Wind Symphony Anthony C. Marinello, III, cond11ctor ~ Elizabeth Briney Alexandra Clay* Brianne Steif Benjamin Wyland Oboe/English Hom Alyssa Dees John D'Andria Kevin Rnhtjen* ~ Matthew Cornwall Tyler De Vault Samuel Frosch Lisa Frustaci TaeyeongJung* Peyton Kerley Marykate Kuhne Thomas Shermulis Brian Zielinski Bassoon/Contrabassoon Katy Reed Bradley Sarmiento Adriana Sosa* Saxophone Devin Cano Riley Carter Charles Kilmer Brett Thole* Rachel Wolz H2m Hannah Deitsch Jack Gordon J ordyn Shultz Tom Wade Emily Wolski"' Trumpet Eric Caldwell Clinton Linkmeyer* Amber Hozey Brendan Korak l'vfike Roberts Trombone Chris Gumban Jordan Harvey AJ Nemsick Samantha Phipps* Euphonium Bryce Bowlin* Sean Breast Greg Watson Tulza Sam Tedeschi Derck Zimmerman* Percussion Lauren Bobarsky Miles Bohlman Matt James* Katie Klipstein Michael Suau Kyle Waselcwski Stringllm Regan Bcrkshier Piano Hae Ra Jang *denotes Section Leader 

Wind Symphony, October 22, 2017

https://ir.library.illinoisstate.edu/cgi/viewcontent.cgi?article=4925&context=somp

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