Ithaca College Symphonic Band

Musgrave, Jonathan

Peterson, Elizabeth B.

English

Ithaca College

Ithaca CollegeDigital Commons @ ICAll Concert & Recital Programs Concert & Recital Programs4-29-2010Concert: Ithaca College Symphonic BandIthaca College Symphonic BandElizabeth B. PetersonJonathan MusgraveFollow this and additional works at: https://digitalcommons.ithaca.edu/music_programsPart of the Music CommonsThis Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted forinclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC.Recommended CitationIthaca College Symphonic Band; Peterson, Elizabeth B.; and Musgrave, Jonathan, "Concert: Ithaca College Symphonic Band" (2010).All Concert & Recital Programs. 4412.https://digitalcommons.ithaca.edu/music_programs/4412         ITHACA COLLEGE SYMPHONIC BAND  Elizabeth B. Peterson, conductor Jonathon Musgrave, graduate conductor        Ford Hall Thursday, April 29, 2010 8:15 p.m.                     “The Great Outdoors ”   Outdoor Overture (1938)         Aaron Copland      (1900-1990)  6’ Jonathon Musgrave, conductor  Bugs (2000)  Roger Cichy           (b. 1956)  15’  1. Prelude 2. Dragonfly 3. Praying Mantis 4. Black Widow Spider 5. Tiger Swallowtail 6. Army Ants  Nil sounkoro aux sources du Nil (2004)   Thierry Muller           (b. 1964)                  5’50 INTERMISSION  Pineapple Poll (1952)  Sir Arthur Sullivan   (1842-1900)  Arr. by Charles Mackerras        10’ I.  Opening Number II.  Jasper’s Dance III.  Poll’s Dance IV.  Finale  Colorado Peaks (2005)  Dana Wilson           (b. 1946)  5’  Lincolnshire Posy (1937)  Percy Aldridge Grainger   (1882-1961)  14’ 1. Lisbon (Sailor’s Song) 2. Horkstow Grange (The Miser and his Man: A local Tragedy) 3. Rufford Park Poachers (Poaching Song) 4. The brisk young Sailor (returned to wed his True Love) 5. Lord Melbourne (War Song) 6. The Lost Lady found (Dance Song)  To receive occasional emails from the School of Music about upcoming concerts,  send an email with your name and address to:   concerts@ithaca.edu  Photographic, video, and sound recording and/or transmitting devices are not permitted in the Whalen Center concert halls.  Please turn off all cell phone ringtones.   Program Notes  Aaron Copland composed "An Outdoor Overture" for an entirely indoor occasion: a concert by the orchestra of the High School of Music and Art in New York City on December 16, 1938. The school's conductor, Alexander Richter, was in the process of launching a campaign to foster the writing of "American music for American youth," and the composer found the invitation to write such a work "irresistible." "An Outdoor Overture" marked a change in style for Copland's music: it was the first work he composed in the"Populist" period, which also included Rodeo, Appalachian Spring, and the Third Symphony, which have remained some of his best-loved and most-performed scores. This band version was made by Copland himself for a commission for Edwin Franko Goldman and the Goldman Band. When asked about the title, Copland responded: "When Mr. Richter first heard me play it from a piano sketch, he pointed out that it had an open-air quality.  Together, we hit on the title: An Outdoor Overture."  The prelude for “Bugs ” is meant to suggest many of the creatures we associate as bugs.   Dragonfly portrays several issues. First, the insect is really considered an aquatic bug spending most of its life under water while emerging only in its adult stage to take to the air. The second issue is reflected in folklore where the dragonfly is responsible for flying around at night and sewing shut the mouths of fibbing boys and girls.   Praying Mantis, as its name infers, provides a perfect topic for a slow, religioso movement. The mantis is often pictured resting with its front legs folded as though in meditation or prayer. The rather bizarre mating tendencies of the praying mantis were purposefully left out of this movement.   Black Widow Spider was a movement Cichy could not resist. Set to a cool blues, the opening statement was written with an eight note pattern (eight legs of the spider) which changes several times in order of notes but contains the same pitches. Within a few repetitions of the pattern, five more notes are added to complete a dodecaphonic (twelve-note) scale. In its entirety, the dodecaphonic scale is played from C to C an octave higher working inward to the center pitch(F#) which represents the spider’s web. The textures begin changing from cool blues to hot as the black widow spider approaches its prey with its deadly venom.   The suite would be incomplete without the most gorgeous of all insects, the butterfly. Cichy chose Tiger Swallowtail for no particular reason other than it is commonly called the “flying flower ”. Set in a lyrical style, this movement tries to musically depict the grace and beauty of such a remarkable insect.  The final movement, Army Ants, provides the perfect subject for a march-style piece. Cichy created a dissonant march portraying the ants as savage predators which are constantly on the move.   ‘Nil sounkoro’, in the language of Burkina-Faso (West African country), can be translated “At the sources of the Nile ”. From a rhythmical section taken from a piece of festive music from Uganda and the ‘head’ of a pentatonic theme drawn from a ritual chant from Burkino Faso, ‘Nil sounkoro’, proposes incantations and dances throughout its development, all coming from the same source and yet never identical. To the bewitching rhythm of the marimba and the xylophone, which reminds us of the African xylophone and the different instruments with stretched skin, symbolizing the path covered in the savannah and the desert, the orchestra, like a group of singers, envelops its prayers and gives full rein to its joys.   Arthur Sullivan was most known for his work in musical theater. Pineapple Poll is meant to be a musical spoof of Gilbert and Sullivan operettas. The movements included in this suite are drawn directly from Gilbert and Sullivan operas where the music is both whimsical and somewhat satirical.   Dana Wilson writes about ‘Colorado Peaks’, “Because this piece was commissioned by an ensemble in Colorado, I wanted the piece to make some reference to the awe-inspiring Colorado Rockies.  The work is not, however, a depiction of their majesty. Instead it suggests a person’s relation to them via a rugged and persistent climb. ”   Grainger wrote, “This bunch of musical wildflowers (hence the title ‘Lincolnshire Posy’) is based on folksongs collected in Lincolnshire, England (one noted by Lucy E. Broadwood; the other five noted by me, mainly in the years 1905-1906, and with the help of the phonograph), and the work is dedicated to the old folksingers who sang so sweetly to me. Indeed, each number is intended to be a kind of musical portrait of the singer who sang its underlying melody —a musical portrait of the singer’s personality no less than of his habits of song – his regular or irregular wonts of rhythm, his preference for gaunt or ornately arabesqued delivery, his contrasts of legato or staccato, his tendency towards breadth or delicacy of tone. ”               ITHACA COLLEGE SYMPHONIC BAND              Elizabeth Peterson, conductor              Piccolo Augusta Bargeron  Flute Jennifer Neske Elizabeth Hamilton Caitlin Phillips Isabel Kaufman Rebecca Grollman  Oboe Amy Kleinsmith Candace Crawford  English Horn Candace Crawford  Bassoon Judith Olson Stanley Howard Marissa D’Ambrosio Alex Levine  Contra Bassoon Judith Olson  Eb Clarinet Sam Underwood  Clarinet Tom Bonomo  Jenny Greenleaf Kelsey Paquin Aileen Razey Kelly Ducham Michelle Breitenbach Samantha Underwood Elizabeth Biglin Brittany Gunther Michael Tate  Bass Clarinet Stephanie Pruden Collin Myers  Alto Saxophone  Jason Juliano Sara Emery Erika St. Denis Chris Miley  Tenor Saxophone Rachel Kininger Andrew Loretz  Baritone Saxophone David DeHority  Bass Saxophone Andrew Loretz  Trumpets Zach Allyn Micaela Connelly James Rose Beverly Stokes  Colin Johnson Max Siegel Kevin Guest Matthew Recio Brendan Keene Danny Venora  Horn Beth Stella Jenna Geracitano Karin Renger Victoria Rossetti Dana Barrett Seval Kanik  Trombone Danielle Fraser Jeff Dunn Josh Zimmer Paul Heiland Alexis Carr Sondra Thorn Riley Goodemote Amanda Werbeck Andrew Tunguz TJ Schaper  Bass Trombone Ian Bertucci Elizabeth Waltman  Euphonium Steven Vaughn Thomas Aroune  Tuba Gary Omar Walker Nicole Kukieza Joe Sastic John Berwick Ryan Hart  Percussion Jonathan Pereira Colleen Harwood Sean Harvey Jason Staniulis Andrew Thomson Heather Hill  Timpani Chris Demetriou  String Bass John Romey     

Concert: Ithaca College Symphonic Band

https://digitalcommons.ithaca.edu/cgi/viewcontent.cgi?article=5195&context=music_programs

Concert: Ithaca College Symphonic Band

Abstract

Similar works

Full text

Available Versions

Ithaca College