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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.