Clasen, Kevin, (Guest Conductor)

Daye, Yvonne, (Graduate Conductor)

Frances, Catherine, (Graduate Conductor)

Old Dominion University Wind Ensemble

Payne, Jamie, (Guest Conductor)

Zeisler, Dennis J., (Director)

English

Old Dominion University

Old Dominion University University Theater Sunday, November 6, 2016          3:00 PM OLD DOMINION UNIVERSITY Department of Music          Presents Old Dominion University Wind Ensemble Dennis J. Zeisler, Director  Kevin Clasen—Guest Conductor Yvonne Daye—Graduate Conductor Catherine Frances—Graduate Conductor Jamie Payne—Guest Conductor “Hail Britannia” Eagle Squadron March Program  Kenneth Alford An Original Suite Gordon Jacob 1. March 2. Intermezzo 3. Finale Catherine Francis—Graduate Conductor The Courtly Dances Benjamin Britten Arr. Jan Bach 1. March 2. Coranto 3. Pavane 4. Morris Dance 5. Galliard 6. Lavolta Handel in the Stand Percy Grainger Arr. Richard Franko Goldman Fiesta! Philip Sparke Yvonne Daye—Graduate Conductor First Suite in Eb for Military Band Gustav Holst 1. Chaconne 2. Intermezzo 3. March Kevin Clasen—Graduate Conductor English Folk Song Suite Ralph Vaughan Williams 1. March “Seventeen Come Sunday” 2. Intermezzo “My Bonnie Boy” 3. March “Folk Songs from Somerset” Jamie Payne—Guest Conductor Dennis Zeisler has been on the faculty of Old Dominion University in Norfolk, Virginia for 38 years serving as Director of Bands, Professor of Clarinet and Saxophone and Chair of the Music Department. Mr. Zeisler is a graduate of the University of Michigan where he was solo clarinetist of the Symphony band under the direction of Dr. William D.Revelli. He was solo clarinetist of the Detroit Concert Band under the direction of Dr.Leonard Smith and clarinet soloist with the United States Military Academy Band at West Point. Mr. Zeisler is a past recipient the Virginia Music Educator of the Year Award and is a member of the American Bandmasters Association. He is the founder and    conductor of the Virginia Wind Symphony.  He is on the Board of Directors of the Na-tional Band Association, The John Philip Sousa Foundation, The Midwest Clinic and is the 77th President of the American Bandmasters Association. Eagle Squadron March Alford, who has been called the British March King, wrote this march in 1942 to honor the World War II Eagle Squadron, a group of American pilots who joined the British RAF in 1940, before the U.S. entered the war. He held a number of musical posts during his distinguished career in the British Army and the Royal Marines. His best-known march is Colonel Bogey, which was used in the film Bridge on the River Kwai. Original Suite An Original Suite is considered standard wind repertoire.  Its very title shows its signifi-cance: when it was first published (by Boosey), the publisher added “Original” to the title, presumably to distinguish it from the many popular music and orchestral arrangements that dominated the wind band repertoire at the time.  The suite does indeed use original material throughout, making it a close cousin to Holst’s  First Suite in E-flat, though one that arrived nearly 20 years later. The Courtly Dances In 1952, a year away from the coronation of Queen Elizabeth II, Benjamin Britten was given royal approval to create a national opera to be called “Gloriana.” The opera was based on Lytton Strachey’s book Elizabeth and Essex and tells the story of Elizabeth I and her relationship with Lord Essex. The opera did not win favor with the audiences nor with Queen Elizabeth II, who did not appreciate the amorous nature of the story. The Courtly Dances, which appear in Act II in a ball given by the Queen, have remained popu-lar reflections of Elizabethan times. The March introduces this composition, providing the basic repetitive rhythm for a parade of dancers around the great hall. Rapid embel-lishments to the military march add elegance to the simple beat. The Coranto is danced by traversing and running with rising and leaping. The tempo slows with the graceful and flowing Galliard set in 3/4 time. The pace quickens with the vigorous Lavolta, in which the ladies are tossed into the air by their partners. The energy is so intense that the Queen in “Gloriana” commands afterwards: ‘Ladies, go change thy linen!’ Britten’s music concludes with a reprise of the March theme.   Handel in the Strand Handel in the Strand is one of Grainger’s early light orchestral pieces, written in 1911, before he enlisted in the US Army during World War I.  Grainger had no trouble allow-ing other musicians to arrange his music to suit their needs, so Handel in the Strand has existed in several different versions.  After its original massed piano and string orchestra setting came versions for full orchesra, piano (solo and 4 hands), organ, trombone choir, and two different settings for band (Goldman and Sousa).  Grainger gives an amusing anecdote on its origin: My title was originally “Clog Dance”. But my dear friend William Gair Rathbone (to whom the piece is dedicated) suggested the title “Handel in the Strand,” because the music seemed to reflect both Handel and English musical comedy [the “Strand” — a street in London — is the home of London musical comedy] — as if jovial old Handel were careering down the Strand to the strains of modern English popu-lar music. First Suite in Eb The First Suite is particularly important to the later development of artistic music for wind band.  Holst wrote it in 1909 for an ensemble that came to define the instrumenta-tion that bands would use for at least the next century and beyond. Oddly, it was not performed until 1920, and published a year later.  Since then, the First Suite has left an indelible mark on band musicians and audiences around the world.  Its appeal is in its simplicity and its artistry.  While there are difficult passages and exposed solo work in many instruments, it places few extreme demands on the players, and it uses a straightfor-ward and easily-identifiable theme throughout its 3 movements.  Yet this theme is turned and pulled into many different forms, and put on an emotional roller-coaster of doubts, sweet reveries, ecstatic joy, and triumph.  Truly, the impact that the First Suite still makes on those who hear it is impossible to put into words.  It is a classic piece of art music that has helped to define the development of a century of wind band music. English Folk Song Suite The English Folk Song Suite is one of those foundational works. It was written in 1923 and premiered at Kneller Hall, home of Britain’s finest military music academy.  It uses as its source material several English folks songs.  It is cast in 3 movements: a “March” subti-tled “Seventeen Come Sunday”; an “Intermezzo” on “My Bonny Boy”; and another “March” subtitled “Folk Songs from Somerset”, which incorporates several different tunes.  A good summary of the movements and the folk songs involved in each is availa-ble at Wikipedia.  The original composition also included a fourth movement, Sea Songs, which Vaughan Williams later decided to publish separately.  While the English Folk Song Suite is a cornerstone of the wind band repertoire, it is not fully demonstrative of Vaughan Williams’s compositional powers.  Only the “Intermezzo” approaches the har-monic daring and lyricism that mark the rest of his work.  The remainder of the piece is a fairly straightforward, faithful setting of the folk songs.  Fiesta! Fiesta was commissioned by the United States Army Field Band to celebrate their 50th anniversary. It was first performed by them in October 1996, conducted by their Com-mander/Conductor Colonel Jack Grogan. As the title suggests, it is a celebratory piece which opens with a broad, confident theme played by the horns and saxes. The rest of the brass join in, adding themes of their own until the woodwinds take center stage with a delicate second subject. A short bridge passage leads to a legato theme, again played by the woodwinds. A second bridge passage leads to an expressive Andante section but it’s not long before the opening material reappears. The legato theme is this time taken up by the whole band until a short coda brings the piece to a close.  Personnel Horn IV Davis Main  Trombone I Jacob Himmelman Justin Burgin  Trombone II Jonathan Mezzenga Christian Carr  Trombone III Phillip Lane  Euphonium Chris Miller Foster Grubbs Alexander Federico  Tuba Barron Maskew Eric Levallis Hunter Williams Ryann Davis  Percussion Jonathan Wudijono Michael Vazquez Daniel Stazer Christian Mitchell Kimberly Adams Benjamin Naranjo            Jashkal Germelus Piccolo Jena Henkle    Flute I Tristan Morris-Mann Alicia Bryan Hyorim Kim  Flute II Elizabeth Croucher Mary Sensabough Jolene Oman  Oboes Andrew Leoboldt Laura Fish  Bassoons Yvonne Daye Seth Foster Francisco Alderete  Clarinet I Tim Martin Kevin Clasen Sarah Bass  Clarinet II Amanda Howell Marshall Rigby Emalee Alexander  Clarinet III Jack Matthews Randy Smith Courtney Deberry Roderick Gaines Bass Clarinet Robert Rigby Emily Sharp  Contrabass Clarinet Vikram Sharma  Alto Saxophones Robert Paul Tyler Harney  Tenor Saxophone Danny Santos  Baritone Saxophone Lauren Sommers  Trumpet I Jimmy Whittemore Austin Kopp  Trumpet II Christian VanDeven Joshua Williams  Trumpet III Evan Turner Charles Winstead  Horn I Dennis Dimaggio Justin Durham  Horn II JelanieHill  Horn III Kristin Lapins  Upcoming Events:  11/6/2016 – Dr.  James Kosnik & Dr. Mike Hall  Recital – 7:30 PM Larchmont Methodist Church, Norfolk VA  11/7/2016 – Diehn Concert Series:  Brasil Guitar Duo  – 8:00 PM $10 for student, $15 for general admission Diehn Center for the Performing Arts, Chandler Recital Hall  11/8/2016 – Master Class: Brasil Guitar Duo– 12:30 PM Diehn Center for the Performing Arts, Chandler Recital Hall  11/13/2016 – Concert Choir and Diehn Chorale Concert– 4:00 PM Blessed Sacrament Catholic Church  11/15/2016 – Percussion Ensemble Concert– 7:30 PM Diehn Center for the Performing Arts, Chandler Recital Hall  12/2/2016 & 12/3/2016 – Madrigal Banquet ($)– 6:30 PM Diehn Center for the Performing Arts, Atrium  Ticket Box Office: (757) 683-5305 http://www.oduartstix.com Ticket Box Of 

Old Dominion University Wind Ensemble: \u3ci\u3e“Hail Britannia”\u3c/i\u3e

https://digitalcommons.odu.edu/cgi/viewcontent.cgi?article=1057&amp;context=musicperformance_ensembles

Old Dominion University Wind Ensemble: \u3ci\u3e“Hail Britannia”\u3c/i\u3e

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