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Austin Symphonic Band Community In Concert Friday, February 25, 2011 Grace Covenant Church, Austin Richard Floyd, Musical Director Old New Blue Borrowed

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Page 1: Community In Concert AustinSymphonic Band · Austin Symphonic Band 7900 Centre Park ... “In Italy composers of marches and other small pieces were never ... front page of the conductor

AustinSymphonicBand

Community In Concert

Friday, February 25, 2011Grace Covenant Church, Austin

Richard Floyd, Musical Director

OldNew

BlueBorrowed

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ASB Board of Directors and Officers

Musical Director & Conductor: Richard FloydPresident: Steve Neinast

Past President: Eddie JenningsPresident Elect: Karen Kneten

Board Members At Large:Thomas Edwards

Kevin JedeleRon Boerger

Carl VidosSecretary: Marilyn Good

Treasurer: Sharon KojzarekLibrarian: Karen VanHooser

Assistant Director: Bill HaehnelConcert Coordinator: Kevin Jedele

Transportation Manager: Chuck EllisWebmaster: David Jones

Business Manager: Dan L Wood

Thanks to our Austin hosts: Matt Atkinson, Connally High School Director of Bands

Rehearsal Space/Equipment Use

Austin Symphonic Band7900 Centre Park Drive Ste A

Austin, Texas 78754(512) 345-7420

Web site: [email protected]

The Austin concert is funded and supported in part by the City of Austin through the Cultural Arts Division

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Richard L Floyd, Musical Director

Next ASB Concerts

April 15 - Concert, Bethany Lutheran Church 8:00 pmMay 8 - Mother's Day - Zilker HIllside Theater 7:00 pmJune 19 - Father's Day - Zilker HIllside Theater 7:30 pm

July 2 - Bastrop Patriotic FestivalJuly 4 - Round Rock Independence Day Festival

In 1983 Richard Floyd was appointed State Director of Music Activities for the University Interscholastic League at the University of Texas at Austin where he coordinates all facets of secondary school music competition for some 3500 performing organizations throughout the state of Texas. He has served as Musical Director and Conductor of the Austin Symphonic Band since 1986. Prior to his appointment at the University of Texas, he served on the faculty at the University of South Florida as Professor of Conducting, and at Baylor University in Texas where he

held the position of Director of Bands for nine years.

Performing ensembles under his direction have performed for the College Band Directors National Association, Music Educators National Conference, American Bandmasters Associa-tion, and the Mid-West International Band and Orchestra Clinic, as well as numerous state and regional conferences. Mr Floyd has toured extensively throughout the United States, Canada, Australia, and Europe as a clinician, adjudicator, and conductor including appearances in 41 states and 9 foreign countries.

During his professional career, Mr Floyd has held positions of leadership on many state and national committees for music education and wind music performance. At present he is a member of the John Philip Sousa Foundation Board of Directors, Chairman of the Ameri-can Bandmasters Association Educational Projects Committee, and has served as National Secretary/Treasurer of the CBDNA since 1979. He also is co-author of the resource guide, "Best Music For Beginning Band". In 2002 he was named recipient of the American School Band Directors Association A A Harding Award for significant and lasting contributions to school bands in North America. In 2006 he was named "Texas Bandmaster of the Year" by the Texas Bandmasters Association. Later in 2011 Mr Floyd will be inducted into the Bands of America Hall of Fame.

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Program

Symphonic Concert March . . . . . . . . . . . . . . . G Bonelli arr Nicholas D Falcone

Hymn to a Blue Hour . . . . . . . . . . . . . . . . John Mackey

Carmina Burana . . . . . . . . . . . . . . . . . . . . . . . . . .Carl Orff arr John Krance

Molly on the Shore . . . . . . . . . . . . . . . . Percy Grainger ed Mark R Rogers

Intermission

Encore in Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vic FirthPercussion Ensemble Feature

Strike Up the Band . . . . . . . George and Ira Gershwin arr Warren Barker

Latin American Dances 2 . . . . Clifton Jameson Jones

Washington Greys . . . . . . . . . . . . . . . . Claudio Grafulla arr Loras J Schissel

San Antonio Dances . . . . . . . . . . . . . . . . . .Frank Ticheli

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Program Notes

Symphonic Concert MarchG Bonelli, arr Nicholas D Falcone

ASB opens today’s concert with “Something Old,” an operatic concert march written in Italian style. It features flowing melodies, contrapuntal technique, and contrasting rhythms with vocally modeled soloistic melodies, and dynamic contrasts. The composer uses the technique of leitmotifs, phrases which reappear throughout the work. Listen for the dramatic return of the opening grandioso melody at the end.

G Bonelli Unfortunately there is little concrete information about the person to whom this work is attributed, Italian composer, G Bonelli. This arrangement is by Nicholas Falcone, an Italian immigrant who became director of the University of Michigan Band in 1927. Concerning the composer, Mr Falcone wrote, “In Italy composers of marches and other small pieces were never given biographical infor-mation nor program notes concerning their music. My brother Nicholas and I played the Bonelli march with our hometown band in Italy about 60 years ago [around 1915]. I remember seeing the front page of the conductor score (in manuscript) and the only thing written on it was BONNELLI.”

Hymn to a Blue HourJohn Mackey

The following comments were extracted from John Mackey’s blog. “It’s not like I’ve completely avoided slow music – but it’s not the norm, and what I didn’t have was a standalone, non-concerto work that’s simple, slow, and (hopefully) beautiful. So I gave it a shot …The 'hymn' part of the title immediately made sense, as the melody is so simple that it does literally sound like a hymn. The 'blue hour' is the period of twilight where there’s neither full daylight nor complete darkness … The piece sounds like vespers (the evening mass) at a simple Shaker church. Thus, Hymn to a Blue Hour. "

This work was commissioned by Mesa State College who premiered the piece on December 3, 2010 at their Best of the West 2010 festival. It is dedicated to Stephen Boelter, who, with his wife Karen Combs, established the Best of the West festival.

John Mackey was born in New Philadelphia, Ohio, and grew up in Westerville, Ohio, where he attended Westerville South High School. He earned a Bachelor of Fine Arts degree in 1995 from the Cleveland Institute of Music, where he studied with Donald Erb, and a Master of Music degree from Juilliard in 1997, where he studied with John Corigliano. His bicoastal career took him from New York City (1995-2005), where he collaborated frequently with choreographers such as David Parsons, Robert Battle, and Igal Perry, to Los Angeles in 2005. Drawn to the creative culture, he recently relocated to the Austin area.

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Carmina BuranaCarl Orff

The “Saturday Night Live” of the Middle Ages was produced by traveling students and young clerics who wandered from town to town to study under various mentors, earning their bread by singing songs, typically satirical and often bawdy. Carmina Burana (Songs of Benediktbeuern) dates to about AD 1230 and included lyric poetry that was highly sensual in content. The topics revolve around timeless topics of young men, celebrating springtime, love, gambling, and drinking. They also reflect the philosophy of the time, that man hangs suspended on the Wheel of Fortune, his fate determined by chance spins over which he had no control. This work has been transcribed for every type of musical organization extant, but lends itself particularly well to the sonority and exuberant power of the concert band. Tonight ASB performs nine movements:

O Fortuna, velut Luna (O Fortune, variable as the moon) – A quick introductionFortune Plango vulnera (I lament Fortune’s blows) Ecce gratum (Behold the spring)Tanz-Uf dem anger (Dance – On the lawn)Were diu werlt alle min (Were the world all mine)In taberna quando sumus (When we are in the tavern)Ave formosissima (Hail to thee, most beautiful)And a final salute to the vageries of lifeFortuna Imeratrix Mundi (Fortune, Empress of the World)

Carl Orff (1895-1982), scholar, educator, and composer, lived most of his life in Munich, Bavaria. Many of his major original works are steeped in Bavarian folklore. Although he had an established career as a specialist in music from the late Renaissance and early Baroque, Carmina Burana was his first major public success (1937). Following its introduction he wrote to his publisher, “Every-thing I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin.”

Orff also became internationally known as a music pedagogue and creator of a music instruc-tion method for children that is widely used in the US today. Orff emphasized the basic elements of music: mainly rhythm and tune in a progress of complication. Children clapped, sang, and graduated to especially-designed instruments that required more musicality than technique. Orff defined the ideal music for children as “never alone, but connected with movement, dance, and speech—not to be listened to, meaningful only in active participation.”

Molly on the ShorePercy Grainger

Molly on the Shore is an arrangement of two reel tunes, Temple Hill and Molly on the Shore. Grainger composed the arrangement in 1907 for string quartet and dedicated it to his

Program Notes

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mother on her birthday. In a letter to Frederick Fennell, Grainger wrote: “ . . . in setting Molly on the Shore, I strove to imbue the accompanying parts that made up the harmonic texture with a melodic character not too unlike that of the underlying reel tune. Melody seems to me to provide music with initiative, whereas rhythm appears to me to exert an enslaving influence. For that reason I have tried to avoid regular rhythmic domination in my music – always excepting irregular rhythms, such as those of Gregorian Chant, which seem to me to make for freedom. Equally with melody, I prize discordant harmony, because of the emotional and compassionate sway it exerts.”

The Australian Percy Aldridge Grainger (1882-1961) was a musician of unusual breadth of vision, a composer of a broad spectrum of works from the highly experimental to the overtly popular, a musical innovator, a virtuoso pianist, a perceptive collector of folksongs (the first major collector in Britain to use recording techniques), an arranger of other people’s music from Mediaeval times to the 20th century and a pioneer in what he termed “free music.” He was born in Brighton, near Melbourne, Australia. In 1914, at the outbreak of World War I, Grainger and his mother moved to the United States, and in 1917, he enlisted in a US Army Band. He had a long career as a soloist and composer and performed at the White House at the invitation of President Roosevelt. During his last years Grainger built a studio in his White Plains, New York home to experiment with what he called “free music.” His concept was that music could be free of any fixed pitch frequency and rhythmic meter. Grainger died at his home in 1961.

Encore in JazzVic FirthPercussion Ensemble

Drums are found in nearly every culture in the world and have existed since before 6000 BC. They have had ceremonial, sacred, and symbolic associations. Long accepted as part of the symphony or-chestra and integral to the marching band, percussion as a stand-alone ensemble began to emerge in the 1930s. During the late 1940s and early ‘50s in the United States, percussion ensembles came into acceptance as a legitimate part of the academic music world. Vic Firth, timpanist with the Boston Symphony, contributed this piece featuring an early ’60s swinging style. The ensemble in-strumentation consists of timpani, snare drums, military drum, vibraphone, Indian drum, marimba, cowbell, bongos, conga drum, and drum set.

Everett “Vic” Firth (1930-) is a timpanist, educator, entrepreneur and composer. He was born in Win-chester, Massachusetts, and raised in Maine. The son of a successful trumpet and cornet player, Firth preferred percussion and by the age of 16 was actively pursuing a career as the leader of his own 18-piece big band, playing vibes and drum set throughout the New England area. He attended the New England Conservatory of Music and at age 21, having not yet even completed his studies at the Conservatory, Firth became the youngest member of the Boston Symphony Orchestra and the Boston Pops Orchestra, a position he was to hold for over 50 years. Unsatisfied with the sticks avail-able during his early years, Firth, like many percussionists, began making his own. As his students began using his sticks and dealers began asking for them, he made the decision to expand the

Program Notes

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manufacturing process. What began in 1960 as a basement operation became a major producer of percussion equipment. Firth has proven to be an astute entrepreneur and recently expanded his interests into producing gourmet hardwood kitchen equipment.

Strike Up the BandGeorge and Ira Gershwin

Strike Up the Band was written for the 1927 musical of the same name, where it formed part of a satire on war and militaristic music. Although the musical was not successful, the instrumental version of the song became quite popular. The musical ran on Broadway in 1930 after the original book by George S Kaufman was revised. The piece was given to the University of California, Los Angeles by the Gershwins in 1936 and has become one of their school songs.

George Gershwin excelled in the fields of concert music and popular song alike. The son of Jewish immigrants from Russia, he was born Jacob Gershwin in Brooklyn on September 26, 1898. His father ran a great variety of small businesses, and George, in the words of the New Grove Dic-tionary of Music, “excelled at street sports.” He also studied the piano and was introduced to the European classics by his teacher, Charles Hambitzer. He was influenced by ragtime and stride piano music, and as a songwriter enjoyed his first hit in 1920 with Swanee, recorded by the leading vo-calist of the time, Al Jolson. Gershwin and his brother Ira became one of the great creative teams in the history of music. Gershwin also wrote works for the concert hall including Rhapsody in Blue (1924); Piano Concerto in F of 1925; and 1928’s An American in Paris. Probably Gershwin’s most famous work was the uncategorizable Porgy and Bess.

Latin American Dances 2Clifton Jameson Jones

Latin American Dances 2 is an additional suite of three dances for symphonic band which use dance rhythms from Latin America. The first movement is "Salsa" – a fast, lively dance that has its origins in Puerto Rico and Cuba. The "Bossa Nova’"from the beaches of Brazil is much more relaxed and gentle, and the Cuban "Rumba" picks up the pace to close the suite. The three dances in this set each use a repeating 2-measure claves pattern of 2+3 or 3+2, which is often used in contem-porary Latin music. Also, each movement begins with the same 5-note motif, beginning on the 5th scale degree of the key (5-6-5-4-5) and then spinning out and developing melodic material within the movement. Latin American Dances 2 is dedicated to the Austin Symphonic Band, and its director Richard Floyd. Clifton Jones currently teaches band and jazz ensemble in College Station ISD in College Station, Texas. A native of Houston, he grew up in Sugar Land, Texas. His early music influences were from playing clarinet and saxophone in the band programs of the Ft Bend ISD schools in Sugar Land. He studied music theory and composition with Dr William Thornton at Trinity University in San Antonio; Dr Michael Horvit at the University of Houston, and Shelly Berg at San Jacinto Jr College. Mr Jones is a member of the Austin Symphonic Band in Austin, Texas, for which he has had many

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valuable opportunities to write and arrange (several works are dedicated to the band and its direc-tor, Richard Floyd). In addition, he is a member of the TMEA, TBA and ASCAP. Mr Jones has several arrangements, transcriptions and original works for band and string orchestra published by TRN Music Publisher, Daehn Music, Grand Mesa Music, and RBC Music. He also works on the railroad as a volunteer with the Austin Steam Train Association.

Washington GreysClaudio S Grafulla

Washington Greys is an American march composed in 1861 by Claudio S Grafulla for the 8th Regiment, New York State Militia based at the Kingsbridge Armory in the Bronx. The “greys” in the title refers to the color of the regimental uniforms. Showing the stylistic influence of both German and Italian marches, the march has a marvelous balance of technique and melody in a continuous flow of musical ideas. It dared to break the old formulas, however, because it has no introduction, no break strain, and no stinger.

Claudio S Grafulla (1810–1880) was a composer in the United States during the 19th Century, most noted for martial music for regimental bands during the early days of the American Civil War. He was born on Minorca, an island off the coast of Spain that was occupied by the British after the Napoleonic. At the age of 28, he emigrated to the US, where he became a French horn player in Napier Lothian’s New York Brass Band in New York City.

San Antonio DancesFrank Ticheli

San Antonio Dances is Frank Ticheli’s tribute to the city where he worked and lived for many years. The introductory “Alamo Gardens” recalls the beauty and haunting history of the famed historical site. “Tex-Mex on the Riverwalk’s” festive mood uses the myriad melodies and rhythms of the mariachi style to invoke the atmosphere of a summer night on San Antonio’s most iconic waterway. ASB and Frank Ticheli have a long history including a performance as the demonstration band for a Ticheli seminar at Midwest in Chicago.

Frank Ticheli (1958-) is an American composer of orchestral, choral, chamber, and concert band works. He was born in Louisiana, but has roots in Texas, graduating from L V Berkner High School in Richardson, earning his Bachelor of Music in Composition from Southern Methodist University, and teaching for a time at Trinity University in San Antonio. There, he served on the board of directors of the Texas Composers Forum and was a member of the advisory committee for the San Antonio Symphony’s “Music of the Americas” project. He now lives in Los Angeles, California, where he is a Professor of Composition at the University of Southern California.

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ASB Players

Saxophone TenorEddie Jennings Saxophone BaritoneSteve Neinast

BassoonAndrea CamachoBrian Provost

Bass ClarinetSharon Kojarek *Ruth LimLynn McLarty

TrumpetEric Bittner David CrossWesley EllingerGeorge GreeneKevin JedeleDavid JonesJohn KingErin KnightKaren PennDan SchererJesus TorresBruce Wagner*

French HornLeslie Boerger Ron Boerger Brittany BrownChuck Ellis *Marilyn Good Michael GoodJerry HayesJo Oliver Carl Vidos

TromboneJohn BodnarJim Crandell Dale Lininger Scott Mawdsley Donald McDanielKyle SchwamkrugDerek Woods

EuphoniumAllan Adelman *Tim DeFries Richard Klingner Jon McPhailJerry Schwab

TubaKeith ChenowethScott Hastings *Robert HeardAl Martin

String BassThomas Edwards

PercussionAlan Cline Tamara Milliken GalbiBill Haehnel Grant HackathornJim Hubbard * Adam KempRob Ward

PianoDeb McLarty

* Section Leader

FluteBeth BehningWade ChilesKyndra Cullen*Nan EllisCheryl FloydByron GiffordSally GrantLinda LiningerBeverly LowakSara ManningKaren VanHooserKristi Wilson

ClarinetLibby Cardenas*Sally CharboneauMichael DrapkinHank FrankenbergAnthony FrascoRamona HeardClifton JonesKaren KnetenRegina MabryNancy MurphyNancy NorthClary RocchiWayne RogersRay SchroederFaith Weaver

OboeFred Behning Kristen Mason

Saxophone AltoSusan AbbottBob Miller Brenagh Tucker Larry Woods *

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Austin Symphonic Band is pleased to acknowledge the support of the businesses, agencies, and individuals listed below. Note that we take an extended view: an organization which hires the band for an event helps the band as much as a donor — and it give us a chance to do what we

love doing! For information about becoming a sponsor of the band contact Dan L Wood,ASB Business Manager, at (512) 345-7420.

Our Sponsors

Platinum Sponsors ($1,000+)The City of Bastrop

The City of Round RockCA Technologies Matching Gifts

Beth & Fred BehningEddie Jennings

Gold Sponsors ($500-$999)

IBM Matching GrantsByron GiffordLynn McLarty

Silver Sponsors ($100-$499)Leslie & Ron Boerger

Broughton FamilyWade Chiles

Hank FrankenbergMarilyn Good

Sally GrantPenny GriffyJohn King

Karen KnetenLinda Lininger

Al MartinDonald McDaniel

Steve NeinastCarl Vidos

Kristi Wilson

Bronze Sponsors ($50-$99) Richard Klingner

Kyndra CullenWesley Ellinger

Tamara Milliken Galbi

Clifton JonesDerek Woods

Copper Sponsors ($10-$49) Cindy Burleson

Sally CharboneauGeorge GreeneSharon KojzarekKristen Mason

Wayne McDildaClary Rocchi

Wayne RogersCindy Story

Brenagh TuckerThomas TurpinBruce WagnerFaith Weaver

Friends of ASBFriends of ASB is a newly-formed

ASB support group. If you are interested in joining visit austinsymphonicband.org

for information.

Katherine EdwardsMisael Govea

Ken KoockMary McCarthyCamille PhillipsAngie Provost

Leslie SalasRichard Salas

Add your name to our mailing list for coming events! Give this form to any band member, or mail it to

ASB, 7900 A Centre Park Dr, Austin TX 78754 (and use Randall’s Group #721)

Name ____________________________________________________________

Address___________________________________________________________

City/State/ZIP_______________________________________________________

Phone_______________________ Email_________________________________

❑ Please contact me about a donation or a performance!

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Austin Symphonic Band7900 Centre Park Drive, Suite A • Austin TX 78754 • 512/345-7420

[email protected] • www.austinsymphonicband.org

Long Center Concert Supporters

Underwriting for this event provided by grants from Catalyst 8 Boost Program

H-E-B Tournament of Champions IBM Community Grants

We thank the following sponsors for their contributions

to this concert and for sponsoring the attendance of Austin ISD music students.

Gold Sponsor ($2500+) Clark, Thomas & Winters- A Professional Corporation

Silver Sponsors ($1000+) Graves, Dougherty, Hearon & Moody Thomas Edwards

Naji S. Norder and Marcia Gillespie-Norder

Anonymous Individual Student Sponsors ($10+)

Family of Ronda von Sehrwald The Recording Academy,

Texas Chapter Kathy Petheram

Frank and Ronda von Sehrwald

The Retreat – Day-hab for the Mentally Challenged

Russell and Linda Lombardo Ching Fleissner

We also thank the AISD Fine Arts Department for their partnership in the music student attendance program.

This project is funded and supported in part by the City of Austin through the Cultural Arts Division.

The Austin Symphonic Band is grateful for these fine companies and individuals who helped provide financial support for our recent joint

performance with Austin Civic Orchestra in the Long Center.