Giampietro, Philip

Ithaca College Campus Band

Miller, Heidi

English

Ithaca College

Ithaca CollegeDigital Commons @ ICAll Concert & Recital Programs Concert & Recital Programs4-22-2006Concert: Ithaca College Campus BandIthaca College Campus BandHeidi MillerPhilip GiampietroFollow 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 Campus Band; Miller, Heidi; and Giampietro, Philip, "Concert: Ithaca College Campus Band" (2006). All Concert &Recital Programs. 4967.https://digitalcommons.ithaca.edu/music_programs/4967ITHACA COLLEGE CAMPUS BAND , Heidi Johanna Miller, con<Juctor Philip Giampietro, undergraduate conductor Ford Hall Saturday, April 22, 2006 12:00 p�m. ITI-IACA " PROGRAM Procession of Nobles (c. 1892) Blessed Are They (1867) Havendance (1983) Nikolai Rimsky-Korsakov (1844-1908) arr. Erik W. G. Leidzen Johannes Brahms (1833-1897) tr. Barbara Buehlman David Holsinger (b. 1945) Philip Giampietro, undergraduate conductor Cajun Folk Songs (1991) Mvt. I - La Belle et le Capitaine Mvt. II - Belle INTERMISSION Slavonic Dance No. 7, Op. 72 (1886) Daydream (1989) The Jig is Up (2003) The Gallant Seventh (1922) Frank Ticheli (b. 1958) Antonin Dvorak -(1841-1904) arr. Kenneth Amis Timothy Mahr (b. 1956) Daniel Kallman (b. 1956) John Philip Sousa (1854-1932) ( PROGRAM NOTES On March 18, 1844 Nicolai Rimsky-Korsakov was born in St. Petersburg. His family qelonged to the high aristocracy, and therefore he was expected to enter a profession that suited his station. He displayed extraordinary compositional talent at an early age, however, and so he was allowed to study piano an.d cello while enrolled at the Naval · College of St. Petersburg. His naval career did not keep him from music, and when he retired from the navy in 1873, he devoted the rest of his time to composition. He is perhaps best known as a member of the "Mighty Handful," .a group of five Russian na.tionalist composers that also included Mussorgsky, Cui, Glinka, and Balakirev. The opera-ballet Mlada was originally intended as a joint compositional venture between Cui, Borodin, Mussorgsky, all leading representatives of the new Russian school. This project fell through, but twenty years later Rimsky-Korsakov decided to resurrect the idea and make it his own. The opera was completed in 1892 and produced for the first time in 1893, with limited success - partially due to the extensive space needed to accommodate its performance. Rimsky-Korsakov later arranged a suite of five numbers from Mlada's music, the last of which is the Procession of Nobles. · Erik W.G. Leidzen, born in Stockholm, Sweden in 1894, moved to the United States in J 915. He became active in New York City as a teacher, conductor, arranger, and composer, and developed a strong relationship with Dr. Edwin,Franko Goldman. Through this association he became interested in band music and provided the Goldman Band with many excellent transcriptions and arrangements, including the brilliant Procession of Nobles. Johannes Brahms is certainly one of the greatest composers in the history.of Western art music. He had great success in many genres of classical music; his output includes art songs, piano and organ music, choral works, concerti, orchestral aml chamber music. His four symphonies are monumental in scope, but his cautious nature did not allow him to enter that compositional arena until 1877, at the age of 44. His German Requiem, completed in 1868, came before all four of his' symphonies- but demonstrates just as much musical maturity. · ( Brahms conceived of this piece dffferently than the traditional Latin Requiem, which is a plea for the peace of the souls of the dead. He instead chose his own texts, in his vernacular German tongue, with the aim of providing consolation for those left behind. He once said he could happily omit the word "German" from the title and instead use "Human." The text from the first movement, entitled "Blessed Are They That Mourn," speaks directly to the.bereaved; Brahms set the text with warm, dark instrumental colors and l;'!xcluded the violins entirely from the movement. . . Barbara Buehlman, the arranger, taught in the public scbools in Illinois until 1983, when she left to become the Executive Administrator of the MidwestClinic. She held bachelor's and master:s degrees from Northwestern University, where she was a student of John Paynter. She played principal horn in the Northshore Concert Band for over thirty years, and was one of the first female members of the band. She became the business man~ger of the e~semble and continued to assist.with conducting and running the group untilh·er deatn m 1997. Her arrangement of this movement from Brahms' Requiem makes this sublime music available to students playing in wind groups, and her · orchestration truly does the piece justice. The form is not present in its entirety; some repeated material has been taken out, but the essence of the music remains. The text is as follows: , Blessed are they that mourn, for they shall be comforted. · They that sow in tears shall reap in joy. · They that go forth and weep, bearing precious seed, shall doubtless come again with rejoicing, bringing their sheaves with them. . -HJM ( )avid Holsinger has written a "dance piece" for each of bis three children: Haven, Grayson, and Niles. Havendance was the first of these pieces to be composed, written to capture the carefree, rambunctious nature of his then-eight-year-old daughter. Holsinger writes: I was teaching at the time of its composition in Chillicothe, Missouri. . .I · [was] asked to write pieces for an anniversary concert of a North Central Missouri honor band. Haven was eight and constantly leaping and dancing - about the house and she seemed the perfect subject for a "dance" piece. From semi-jazz rhythm and accents to sudden changes in volume and style, Havendance bristles with the unpredictability of a young child. Although the punctuated texture relaxes occasionally, the pulse is relentless and never slows, depicting Haven's endless energy. · - PG Cajuns are the descendents of exiles from the French colony of Acadia, which is present-dayNova Scotia. This province was settled by French colonists in the early 18'h century, but soon became a British possession. When the British authorities insisted in 1755 that ( the Acadians renounce their Roman Cathol.ic faith and swear allegiance to the crown, they refused; mass exile followed. Many of these people ended up in the predominantely French territory of Lousiana,,where they settled down along the swamps and bayous and made their living by fishing, trapping, and farming. The word "Cajun" derives from their o~iginal title of "Acadian." · . I1:} l 934, ethnomusicologists John and Alan Lomax traveled to south Louisiana to record Cajun folk music for the Archive of Music in the Library of Congress. Frank Ticheli chose two contrasting songs from this collection to set in his Cajun Folk Songs. "La Belle et le Capitaine" tells the story of a young girl who feigns death to avoid being seduced by a captain. The movement begins with a solo alto saxophone singing its plaintive melody, which then passes through the ensemble; during the last statement of the melody, Ticheli adds his own countermelody which complements the original beautifully. "Belle" tells of a man who goes away to Texas only to receive word of his sweetheart's illness, forcing him, to return to Louisiana. Finding her unconscious when he returns, he pawns his horse to try to save her - but to no avail. Despite the melancholy of the story, this movement is bright and full of rhythmic vitality. . . Frank Ticheli was born in Monroe, Louisiana, and grew up in Texas. He holds degrees from Southern Methodist University and the University of Michigan, and has received many honors including a Charles Ives Scholarship, a Goddard Lieberson Fellowship, the Ross Lee Finney Award, the Walter Beeler Prize, and a residency at the MacDowell Colony. From 1991 - 1998 he was composer-in-residence with the Pacific Symphony Orchestra, and he is currently Professor of Composition at the University of Southern ( California. He is collaborating with his publisher, Manhattan Beach Music, on a project to raise money for the people affected by Hurricane Katrina - many of which are living in the same area from which these folk songs originated. Antonin Dvorak is regarded as one of the great nationalist Czech composers of the·19•h century. His Slavonic Dances were part of what brought the world's attention to him, and much of that thanks is due to Johannes Brahms. Brahms recommended Dvorak to the publisher Simrock in 1877, who commissione_d Dvorak to write .a set of eight Slavonic Dances for piano duet. This set (opus 46) became so popular and widely performed that Simrock requested another set. These Dvora\{ completed in 1886 as opus 72. Dvorak's melodies are his own; he relied on the spirit and style of different Slavic dance forms rather than actual folk melodies. Slavonic Dance No. 7, opus 72 is based on a Serbian chain-dance called a Kolo. Kenneth Amis was born a"nd raised in Bermuda. He played the piano.from an early age, and took up the tuba upon entering high school. He developed an-interested in performing and writing music, and enrolled at Boston University to major in composition 1\t the age of sixtee_n. He went on to earn a master's degree in composition from the New England Conservatory. Amis has received commissions from numerous organizations, including the University of Scranton, the New England Conservatory Wind Ensemble, and the College Band Directors National Association. This transcription was commissioned by the Belmont High School Band under the direction of Frederick Harris, Jr. Timothy Mahr says the following about his composition Daydream: "It is intended to ( be a musical daydream, with introspective sound eliciting mood changes and shifting images. I hope to conjure up in the listener the sense one perceives when he or she "pulls out" of a daydream, returning to reality after a transient mental trip to places of . flight and fancy." The piece is largely an introspective work, with only one moment halfway through the work where the ensemble plays homophonically. This is the climax of the piece, which quickly pulls back to the otherworldly music contained in the rest of the composition. Tfie use of the mE'fodic tritone in the beginning, the ethereal writing for percussion and piano, and the repeated non-directional motives in the wind writingcombine to create a watercolor wash of sound-indeed, a musical daydream. Mahr is highly acclaimed as a composer, conductor and cltnician throughout the UnitedStates, Canada, and Norway. He is currently Professor of Music at St. Olaf College in Northfield, Minnesota, where he conducts the St. Olaf Band and teaches classes in conducting, composition, and music education. He also serves as conductor of the Minnesota Sympfionic Winds, and was President of the North Central Division of the ) College Band Directors National Association from 1999 - 2001. Mahr began his careerteaching instrumental music at Milaca High School (MN), and went on to become Director of Bands at the University of Minnesota - Duluth, where he remained for ten years before joining the faculty _at St. Olaf. Mahr holds degrees from the University ofIowa and St. Olaf College. Minnesota-born composer Daniel Kallman writes music'for a variety of genres,including orchestra, winds, chorus, and chamber ensembles. His music has been performed by the National Symphony Orchestra,, the Minnesota Orchestra, and thePlymouth (MN) Music Series, and he has received support from the McKnight and Jerome Foundations and the American Composers Forum. He has collaborated with Philip Brunelle and Garrison Keillor and received commissions from events such as the International Special Olympics and the Pax Christi Award Ceremony. His setting of the liturgy, "Light of Christ," is featured in th,e Lutheran hymnal With One Voice. Kal man· attended Luther College in Decorah, Iowa, and continued on to the University of Minnesota, where he studied composition with Paul Fetler and Dominick Argento. He lives in Northfield, Minnesota, where he has served on the faculty of St. Olaf College andbeen active as a church musician, but is now composing and arranging full-time.Kallman original y intended The Jig is Up as an homage to Percy Grainger, whose musiche has always admired. He planned for the piece to be a lighthearted tune and dance, which indeed it is for a majority of the work - although he admits that in spite of the original Irish folk idea, " ... other ethnic elements found their way into the work, particularly in the percussion "jam" the underscores a large portion of the middle and )end of the composition." The main "jig" theme has a distinctly Irish flavor, and it buildsto quite a frenzy when combined with the percussion section and hand-clapping, lap­slapping, and foot-stomying from the rest of the ensemble. A beautiful brass chorale emerges in the middle o the piece and provides a temporary relaxa!ion from the dance- but not for long! The jig comes back and builds all the way to the end, and the piece concludes with.a flourish. John Philip Sousa stands as orie of the most prominent American composers ever to have lived, and while he had success in many genres of music, he will always be known asthe M,arch King - for it is his marches that live on in the repertoire and have stood the test of time. The high poip.t of Sousa's career occurred when the spirit of the United States was bright and optimistic, and his marches are inseparably linked with that dynamic. The Sousa Band had an enormous influence on this country; they took not ·only band music but also transcriptions of orchestral repertoire through cities and towns that otherwise would not have heard this music at all. Since he was able to enlist some of the finest symphony orchestra musicians to join his band, the ensemble was on par with the top orchestras in the country. Sousa's output includes 136 marches - a number which does not take into accountmarch melodies found in his.suites and operettas or some of his songs that he transformed into marches without adding new material. Of these, 'fhe GallantSeventh, written in 1922, is considered one of his finest. The march is titled after the 7th Regiment, 107th Infantry of the New York National Guard, which traces its history back to the Civ l War. The conductor of the 7th Regiment band was Major Francis Sutherland,who formerly played cornet in the Sousa band but left to enlist in the army. He became . 61 bandmaster in the U.S. Field Artillery, and at the war's end accepted the position as "---' andmaster for the 7 th Regiment - who then requested a march from Sousa. At the firstperformance, both bands played together onstage iri the New York Hippodrome. It is amazing after hearing the vitality in this march to know that Sousa wrote it while recovering from a broken neck- a fact that did not keep the march from success. Sousa was named the honorary bandmaster of the regiment, and Sutherland later became a founder of the Sousa Band Fraternal Society. -HJM) ITHACA COLLEGE CAMPUS BAND Heidi Johanna Miller, conductor Piccolo Dorreen Brune Flute Shanna Andrews Betty Bauman Dorreen Brune Christa Calkins Laura Catapano Sarah Degen Chelsea Dobson Allison Gainza Corey Hill Tracy Kirschner Julie Many Caitlin McCarthy Kelly McCarthy Katherine Nolan Kristen Sabat Ryan Salisbury Heather Schuck Oboe Carol Cogliano Sarah Ganzhorn Clarinet Megan Armenio Melanie Bayes Amy Cohen Diane Duby Elizabeth Espada Kariaru Fukushima Rebecca Goodling , OmarNajmi Pamela Ronco Bass Clarinet Kelly Bochynski Bassoon Grant Hedin Lauren-Rae Romero Benjamin Tietz Soprano Saxophone Jennifer Henion Alto Saxophone Shawn Bean· Sarah Brylins\y Christopher Davidson Beth Emnett Gregory Frank, Rebecca Frost Sarah Grunberg Jennifer Henion Elisabeth Komito Ed Pietzak . Jilred Smith Max Steinmetz Tenor Saxophone Rachel Barker Jessica Braun Kimmery Geane Baritone Saxophone Paulos Ashebir Timothy Burke Trumpet April Baird Ashley Bookheimer Gavin Cummings Angela Haas Mark Harty Megan Henry Ellen Juskewitch Brian Kaiser Evan Lovely Steve McDonald Matthew Merenda Matthew Monkan Daniel Swartout Katherine Ulicky Brian Waldron Chase ·weyer Horn Aqam Bartow Robert Beswick Katherine Ellingsen Christopher Fink , , Carrie Hall Sarah MacArthur Emily Mitchell Trombone Dan Clemens II , Philip Giampietro Rebecca Guion Christine Harris /\ Lisa Markowitz \ Matthew Shea Kate Tomlinson Euphonium Brandon Coon Chelsey Hamm Kevin Madden Tuba Philip Byers Erica Hendry Matthew Willis String Bass Maggie Fisk Piano Kevin Kirner Percussion Kevin Buntaine Mel Chayette Lauren Jones Kevin Kirner Stephanie Lyons Caitlin Marcotte Vishal Pallasena Erika Spaet David Syracuse ( ,, " .. . ~. + F' .. .. C 

Concert: Ithaca College Campus Band

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Concert: Ithaca College Campus Band

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