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Conducting Recital
ANDREW HOWARD PETTUS, CONDUCTOR
FROM THE
STUDIO OF GARY GREEN
F ROST B RASS C HOIR
F ROST W IND E NSEMBLE
F ROST S YMPHONIC W INDS
Wednesday, April 5 Two Thousand and Six Six-Thirty in the Evening
Maurice Gusman Concert Hall University of Miami Coral Gables, Florida
B RASS C HOIR P ERSONNEL
Program
Two Bagatelles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alfred Reed
Cantando
(1921-2005)
Scherzando
Frost Brass Choir
Concerto for Violoncello and Wind Instruments . . . . . . . . . . . . . . . . . . . . . Jacques Ibert
Pastorale
(1890-1962)
Romance
Gigue
Horn
Casey Maltese
Caitlyn Smith
Scott Davis
Guglielmo Manfredi
Trumpet
Andy Roseborrough
Michael P. Flynn
Brian Hess
Frost Symphonic Winds
Rolling Thunder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Henry Fillmore
(1881-1956)
Edited by Frederick Fennell
Frost Symphonic Winds
Euphonium
Alejandro Guardia
Timpani
Dani Markham
Percussion
Marc Ratner
Jason Klarfeld
Nicholas D’Angiolillo
Tuba
Melissa Vilches
C HAMBER W INDS P ERSONNEL
Violoncello
Claire Courchene
Flute
Lisa Hancock
Amy Pardo
Oboe
Emily Cook
Helen Aberger
Frost Chamber Winds
William Byrd Suite. . . . . . . . . . . . . . . . . . . . . . . . . . . Freely transcribed by Gordon Jacob
The Earle of Oxford’s March
(1895-1984)
Pavana
Jhon come kiss me now
The Bells
Trombone
Dana Salminen
Matthew Rilling
Peter Freudenberger
Bassoon
Stacey Osborn
Tracey Siepser
Clarinet
Katie Palmer
Peter Elliott
Horn
Guglielmo Manfredi
Trumpet
Justin Zanchuk
S YMPHONIC W INDS P ERSONNEL
Flute
Hsiao-Wei Chen
Karen Valastyan
Lauren Bonavitacola
Ashley Miller
Tamara Hartman
Vincente Chavarria
Nicole Atkinson
Meg Jordan
Asuka Barden
Jason Espinosa
Bethany Tallman
Elizabeth Stockton
Anna Melvin
Clarinet
Cristhian Rodriguez
Erika Fernandez
Jenny Denk
Derek Sherron
Laura Kyprie
Anthony Minerva
Diane Lillis
Melissa Fitzgerald
Bass Clarinet
Taiki Azuma
Oboe
Daniel Eguizabal
Nic Pauzuolis
Natalie Llera
Alto Saxophone
Chris Kanicki
Gabriel Carson
Jeff Malen
Jenny Reichheld
Nick Lefkow
Bassoon
Jonathan Sturm
Loriana Blain
Tenor Saxophone
Allison Gifford
Scott Glogovsky
Baritone Saxophone
Ryan Tonkin
Trumpet
Daniel Herdtner
Chris Illá
Eric Zbik
Sarah Kocses
Sara Cowley
Kevin Mazzarella
Jason Lawner
Jared Langenthal
Jackie Medel
Jared Bonaparte
Bass Trombone
Peter Freudenberger
Horn
Kim Gustafson
Sam Whitney
Stacy Schneider
Double Bass
Ben Lindell
Trombone
Dana Salminen
Matthew Nelson
Matthew Rilling
Jonathan Mitchell
Justin Costello
Michael Weiss
Euphonium
Brittany Voss
Emma Cohen-Joppa
Tuba
Michael Guzman
Edward Perry
Milton Grey
Adam Kol
Percussion
Timothy Hamilton
Richard Chwastiak
Justin House
Mark Guerrieri
Gillian Maitland
Ben Bruno
Program Notes
Two Bagatelles
Composer, arranger, conductor, and editor, Alfred Reed’s life was intertwined with music
almost from birth in New York City on January 25th, 1921. His parents loved good music and made
it part of their daily lives; as a result he was well acquainted with most of the standard symphonic
and operatic repertoire while still in elementary school. Beginning formal music training at the age
of ten as a trumpet player, he was already playing professionally while still in high school, and
shortly thereafter began the serious study of harmony and counterpoint as a prelude to composition,
which had come to exercise a stronger hold on his interest and ambition than playing. After three
years at the Radio Workshop in New York, he spent the next three in service during World War II,
where, as a member of an Air Force Band, he became deeply interested in the concert band and its
music. Following his release, he enrolled at the Julliard School of Music to study under Vittorio
Giannini, and from there, in 1948, became a staff composer and arranger with NBC and
subsequently, with ABC, where he wrote and arranged music for radio, television, record albums,
and films.
In 1953, Alfred Reed resumed his academic work (which had been interrupted by his leaving
Julliard for NBC) and became conductor of the Baylor Symphony Orchestra while at Baylor
University in Texas. His Masters thesis was the Rhapsody for Viola and Orchestra, which was to win
the Luria Prize. Two years later, in 1955, he accepted the post of editor in a major music publishing
firm, and for the next 11 years became deeply concerned with the problems of educational music at
all levels of performance. In 1966 he left this position to join the faculty of the School of Music at the
University of Miami, where he developed the first four-year Music Industry program, and in 1980,
following the retirement of his old friend and colleague, Dr. Frederick Fennell, was appointed music
director and conductor of the University of Miami Symphonic Wind Ensemble.
With over 200 published works in all media, many of which have been on required performance
lists for over 25 years, Dr. Reed was one of the nation’s most prolific and frequently performed
composers. The Two Bagatelles, originally written in 1973 for a quartet of trombones for the annual
Eastern Trombone Workshop in Miami, Florida, was expanded to its present form in 1994 at the
invitation of the Kentuckiana Brass and Percussion Ensemble of Murray, Kentucky, and its director,
Ray Conklin. This new version was first performed by this group, under the direction of Mr.
Conklin, at the national convention of the Music Educators National Conference in Cincinnati, Ohio,
on April 9, 1994. The music is in the form of two contrasting movements, “Cantando” and
“Scherzando,” performed without pause.
Concerto for Violoncello and Wind Instruments
The French composer Jacques Ibert is admired for his colorful, technically polished, and often
witty neoclassical style. He wrote for almost every genre. He studied at the Paris Conservatory
under Paul Vidal and in 1919 won the Prix de Rome for his cantata Le Poète et la fée (The Poet and the
Fairy). In Rome he composed his most popular work, the symphonic suite Escales (1922; Ports of
Call). From 1937 until 1960, Ibert was director of the French Academy in Rome. Of his seven operas,
the most successful was Angélique (1926). The brilliantly witty Divertissement (1930) was a popular
orchestral piece.
The Concerto for Violoncello and Wind Instruments is a relatively short work and is laid out in three
movements. The first movement opens with a sicilienne-like rhythm. The style is very French and
one can recall similar movements from Poulenc, Sauguet, Ravel, and others. The Romance in the title
of the second movement is possibly somewhat misleading as a title. The tempo is on the quick side
and melody is a rhetorical theme, that uses harmonics, arpeggios, and a brilliant display of bravura:
in fact the sum total is not at all that of a “romance.” The finale, a Gigue, is a lively dance in which
the cello is deployed against rapid woodwind ornamentation. Formally the work is sparse and the
composer does not waste a single bar. There is no hanging about: the composer seems to have taken
Verlaine at his word: “Take rhetoric and twist its neck.”
William Byrd Suite
William Byrd (1542 or 3 to 1625) was a pupil of Thomas Tallis. He was known for his choral
music, both sacred and secular, and was, in fact, one of the founders of the English Madrigal School.
He was also one of the most active and able of the English keyboard writers. The William Byrd Suite
is based on some of his pieces taken from the Fitzwilliam Virginal Collection. The Tercentenary of
Byrd’s death was celebrated in 1923 and probably led Gordon Jacob to set these excerpts.
“The Earle of Oxford’s Marche” is characterized by extremely florid writing. Jacob’s version is a
very satisfying if considerably truncated transcription of the original. It conjures up in a vivid
picture the noble procession of a man of great dignity and regal bearing. In Jacob’s version, the
“Pavana” is wonderfully beautiful slow music consisting of 29 bars which were selected from the 56
in Byrd’s original. Throughout the piece, there must prevail the most sustained character possible in
the playing. One of Byrd’s most fanciful pieces, “Jhon come kiss me now” was originally written in
G major as a series of 16 phrase variations over 96 bars, all phrases of which were to be repeated.
Jacob chose eight of the phrase variations for this work and scored them with great skill and keen
sympathy, casting Byrd’s characters, so-to-speak, with remarkable insight in their most appropriate
roles. Byrd’s original for “The Bells” was 102 bars of C major. In Jacob’s transposition to Bb it is an
impressive ground bass, an essay of 98 bars based entirely on a harmonic fabric of two chords, Bb
and a quasi-F major, which always has the same voicing and pattern. From the outset, imitative
counterpoint sets the form of the piece, and the most vital harmonic aspect of the contrapuntal
texture is the gathering sonority of ringing, undampened bells – pealing bells running gloriously into
each other’s tones, all the tones of a Bb major scale in one octave.
Rolling Thunder
Henry Fillmore was one of America’s happiest musicians and one of its most successful and
prolific composers. The music he wrote projected a jovial and earthy personality. His marches rank
among the best. Rolling Thunder is a great circus march, as breath-taking in its excitement as action
feats by horsemen riding full tilt around the narrow confines of a sawdust track under canvas. The
track is known in the circus as the Hippodrome and the music played by the band to accompany the
riding is invariably exciting and driving in its manner, and it is always played at an appropriate
breath-taking speed. Fillmore gave the descriptive term for performance of this march as
“FURIOUS.”
Circus musicians dubbed these fast-moving compositions—Screamers, mostly because this is
exactly what they do musically. Screamers are motion in sound; designed to help, they never hinder
the rhythm of the pounding hoofs of four-footed animals. They are not a mere fillip to the
excitement of a steeple-chase, an acrobatic bare-back rider, or the reckless pursuit of cowgirls by
Indians—they are an integral part of the wonderful madness which they help to generate. Their
musical lineage may be found in the fast polkas, gallops, and can-cans of peasant campfires and
public music halls. Rolling Thunder has just two dynamics: forte and fortissimo as the low brass, led
by the trombones, romp through and dominate the music. Henry Fillmore was a trombone player
too, and he knew it would all work—and it does.