Download Winter Band Program 2005

T H E
Upcoming Music Events
January 6
Wooster High School Music Parents Citrus Sale Begins
January 20
Wooster City Schools Music Faculty Recital
January 22
OMEA Solo & Ensemble Adjudicated Event
Zion Lutheran Church
Springfield High School
February 16
High School/Edgewood Orchestra Concert
February 17
Wooster High School Concert Band Festival
March 1
Wooster High School Commons
Wooster High School Performing Arts Center
Wooster High School Music Parents Association Meeting
presents
Wooster High School B126 & B136
March 3
Wooster High School Choir Concert
Wooster High School Performing Arts Center
March 8
Wooster High School Symphonic Band Concert
Wooster High School Performing Arts Center
March 10
March 11, 12
W O O S T E R H I G H
S C H O O L
M U S I C
D E P A R T M E N T
Wooster High School Freshman Band
Dan Adams, Director
Edgewood Middle School Band Concert
Wooster High School Performing Arts Center
WHS Hosts OMEA District Band/Chorus Adjudicated Event
Wooster High School
N
The Citrus Sale
begins tomorrow!
Wooster High School Concert Band
Doug Bennett, Director
Wooster High School Symphonic Band
Dan Adams, Director
Wednesday, January 5, 2005, 7:30 PM
Have you been to the WHS Music Web Site lately? Check it out!
v www.whsmusic.nvi.net
Wooster High School Performing Arts Center
515 Oldman Road, Wooster
Program
Symphonic Band
Brass & Percussion Ensemble
Inaugural Fanfare (1994)
Dan Adams
for Antiphonal Brass and Percussion
Wooster High School Freshman Band
Silver Jubilee Overture (1984)
John Edmondson
(b. 1933)
Song For Friends (1997)
Larry Daehn
(b. 1939)
West! (1999)
I. Spirit of the Land
II. A Frontier Lawman
III. Cowboy Meditation
IV. Railtown Jubilee
Chuck Elledge
(b. 1961)
~ Brief Pause ~
Wooster High School Concert Band
Blaze Away March (1901)
Abe Holzmann
(1874-1939)
arranged by John Edmondson
Anthem (1996)
John Edmondson
Chant Rituals (1993)
Elliot Del Borgo
(b. 1938)
~ Brief Pause ~
Wooster High School Symphonic Band
Caccia and Chorale (1976)
Clifton Williams
(1923-1976)
Rollo Takes A Walk (1985)
David Maslanka
(b. 1943)
Plainsmen (1975)
Symphonic Suite (1957)
III. March
percussion ensemble
Jack Mouse
Clifton Williams
PICCOLO
Megan Dice
FLUTE
Jeannette Carey
Megan Wilhelm
Megan Ferringer
Amanda Graf
Megan Dice
Kay Bihn
Jennifer Snure
Emily Bartelheim
Joanna Buckwalter
Claire Hall
Katie Poultney
Danielle Lambeth
OBOE
Kristina Steiner
Katie Helmuth
ENGLISH HORN
Kristina Steiner
BASSOON
Skye Gillispie
Ellen Gustafson
CLARINET
Chanda Phelan
Cheryl Long
Allyson Buytendyk
Julia Finer
Katelyn Ferringer
Teresa Hershberger
Eric Browning
Jennifer Parris
Emily Totten
BASS CLARINET
Maria Yoder
Andreea Leabu
EUPHONIUM
David Waggoner
Ted Zech
ALTO SAXOPHONE
Tom Helmuth
Kendra Plant
Andrew Wolf
TUBA
Andrew Heller
Carolyn Johns
Terry Long
Micah Harvey
TENOR SAXOPHONE
Andrew Rudawsky
BARITONE
SAXOPHONE
Mike Pope
TRUMPET
Grant Austin
Andrew FitzGibbon
Nate Shewmon
Joe Boreman
Parry Grewal
Andrew Hessler
Andrea Blaine
FRENCH HORN
Sarah Kovach
Rachel Martin
Jeff Amstutz
Jay Rocha
TROMBONE
Andrew Hershberger
Jack Hall
Leanna Packard
Aimee Thompson
Preston Phelan
PERCUSSION
Cameron Exner
Ted Wilson
Samantha Weaver
Sean Curry
Sean Pattison
Katie Mykrantz
Michael Patton
SYMPHONIC BAND
OFFICERS
President
Andrew Hershberger
Vice-President
Joe Boreman
Secretary
Chanda Phelan
Librarian
Andrew Wolf
Manager
Andrew Heller
Diane & Ben Adams - trumpet on Inaugural Fanfare
Program Notes
Concert Band
FLUTE
Megan Boreman
Elizabeth Welshhans
Carmen Butdorf
KaylaYorko
Maggie Fowler
Amanda Hollinger
Nicole Moore
Lisa Morphew
Andrea Quaint
Cassie Cairnie
ALTO SAXOPHONE
Casey McConnell
Courtney Lambeth
Justin Baisden
Logan Willis
Betsy Johnston
James Gray
Stephanie Brodie
Bill Barrington
Bryce Baxstrom
Nathan Aukerman
TROMBONE
Justin Playl
Katy Patterson
Chris Rothemund
Alex Smith-Byrne
Nathan Chiccola
Gordy Giffin
OBOE
Kaitlin Milligin
Caitlin Petit
TENOR SAXOPHONE
Dusty Davis
TUBA
Andy Mick
Morgan Workman
Andrew Maibach
CLARINET
Ashley Gallagher
Monica Yoder
Danielle Johnston
Kelli Skaggs
Lisa Philippon
Kristy Farren
Julianne Amstutz
Sarah Glenn
Tia Glasgo
BASS CLARINET
Chelsea Nichols
Randee Jankowski
BARITONE
SAXOPHONE
Andy Senn
Bill Braucher
TRUMPET
Andrew Lanham
Adam Shaw
Josh Rocha
Daniel Montelione
B.J. Ott
Mathias Sartor
Dan Ott
EUPHONIUM
Ryan Jackwood
Ian Starr
PERCUSSION
Dan Myers
Brian Belcik
Abby Armbruster
Ryan Cermely
Kevin Rodda
Gabe Nagel
Philip Lockett
Corey McConnell
FRENCH HORN
Lucas Beeman
Erica Palmer
Zach Wier
Greg Spademan
All are invited to a reception in the commons following the performance.
Refreshments are compliments of Wooster High School Music Parents.
Inaugural Fanfare was composed for the dedication of the new Wooster High School
and was premiered as the openning to the Community Recognition and Dedication ceremony in
October 1994. Written for trumpet, horn, trombone, euphonium, tuba, and percussion, the Fanfare utilizes “choirs” of instruments to accentuate the logistical possibilities of the Wooster High
School Performing Arts Center. The design of the hall is ideal for the use of antiphonal techniques.
Instrumentalists are placed in positions throughout the auditorium in much the same fashion as
was done by Gabrieli at the Cathedral of St. Mark in Venice in the late sixteenth century. The
result is a stereophonic effect that surrounds the listener. The piece begins with an extended crescendo symbolizing the long but worthwhile wait for this fabulous new facility.
***
John Edmondson is known throughout the world for his more than 700 publications
in the field of band and educational music. His contributions to the literature are accessible,
enjoyable to perform and exciting to hear. Perhaps most importantly, his music has helped train
the young musicians of today.
Edmondson received his Master of Music in composition from the University of
Kentucky in 1960, where he studied composition with Kenneth Wright and band scoring with R.
Bernard Fitzgerald. He was the first recipient of the graduate degree from the university. He taught
public school music for ten years in the Central Kentucky area, where he wrote extensively for
his own students. During this same time, he free lanced as a writer for various university and high
school marching bands, including seven years as Staff Arranger for the University of Kentucky
Wildcat Marching Band.
Following his teaching career, he was appointed Alfred Reed's successor as
Educational Editor with Hansen Publications in Miami Beach, Florida, and remained in that
position ten years. He was responsible for hundreds of publications, including works for concert
band, marching band, the Fun-Way Band Method (co-authored with Paul Yoder), instrumental
solo books and other instructional materials. From there he went to Wisconsin as Director of
Concert Band Publications for Jenson Publications.
Silver Jubilee Overture was written for the 25th Anniversary of Wingert-Jones Music
and is published by the Missouri publishing house.
***
Born and raised in the farmlands of Wisconsin, Larry Daehn received a Bachelor
of Arts in Music Education from the University of Wisconsin at Oshkosh in 1964 and a Masters
degree from the University of Wisconsin at Platteville. He has been an instrumental music teacher
for over thirty years in Wisconsin. A past president of the Wisconsin chapter of Phi Beta Mu, he
was honored by that organization as an Outstanding Bandmaster.
A Song For Friends was written for young band and is designed to allow the students to
focus on melody, accompaniment, musical phrases, slurs, and dynamics. It is an example of how
the simple beauty of a fine melody can take form in the hands of a skilled arranger.
***
Chuck Elledge began his professional career at age eleven as the drummer and leader
of the Easy Rider Dixieland Band. By his early teens, he was composing and arranging for band.
In 1984, Elledge received his Bachelor of Music degree in Theory and Composition from the
University of Minnesota. Currently, Elledge holds positions as instrumental editor and staff writer
at the Neil A. Kjos Music Company. In addition, he serves as the in-stadium Music Coordinator
for the National Football League's Minnesota Vikings Football Club.
West! is a four movement programmatic composition inspired by the lore of America's
Old West. The composition begins with the movement Spirit of the Land. A 1914 painting by
Charles Russell, “When the Land Belonged to God” served as the inspiration for this movement.
The painting depicts a vast, treeless, carcass-laden expanse ruled by buffalo, fox and the
blessings and ravages of Mother Nature. The composer uses sweeping melodies over rhythmic
accompaniments to musically capture these images.
The second movement, A Frontier Lawman, recalls the exploits of the legendary ideal
lawman Nathaniel Kimball Boswell, better known as “Boz.” In the composition, Boz is musically
depicted by an occasional drum rim shot and foot stomp from the band.
Cowboy Meditation, movement three, is based on a traditional cowboy song. The music
captures the composer's impressions of the emotions a cowboy might have felt. The rustle of wind
chimes and flow of a rainstick begins and ends the movement, capturing the feel of a gentle breeze
on the cowboy's face. As the movement ends, the cowboy falls asleep.
The final movement of West!, Railtown Jubilee, musically chronicles the history of
railtowns across the West. In the music, dissonance paints images of antagonism as a train chugs
through the high plains. To parallel the taming of the west, the music is transformed to that of
celebration, filled with dancing, a parade, and a true sense of friendship, spirit and community that
marks so many towns of the American West today.
Abe Holzmann was a German-American composer who is most famous today for
his march Blaze Away. This brilliant march is still immensely popular in brass band circles. It
commemorates an incident that occurred at Manila Bay during the Spanish-American War in
1898. The story follows that Admiral George Dewey was standing on the deck of his flagship
Olympia when he gave his famous order, “You may fire when ready.” Dewey's Captain George
Gridley in turn relayed the order to his gunship crew, “Well boys, let's blaze away!”
Holzmann used Captain Gridley's famous quote to title his composition and draw upon the
American public's fascination with the incident to popularize and market his march. Blaze Away
quickly became popular with bands such as John Philip Sousa as well as many circus bands.
***
Anthem was written as a tribute to the memory of Frank Erickson, a popular and prolific
composer of music for school bands, who died suddenly in 1996. This heartfelt piece reflects some
of the influences that Erickson had on composer John Edmondson, which include his strong sense
of melody, form, style and instrumental coloring.
***
Born in Port Chester New York, Elliot Del Borgo holds a Bachelor of Science degree
from the State University of New York, a Masters degree in Education from Temple University,
and a Master of Music degree from the Philadelphia Conservatory of Music, where he studied
theory and composition with Vincent Persichetti and trumpet with Gilbert Johnson. In addition
to his music for the 1980 Olympics in Lake Placid, he has published nearly five hundred
compositions for a variety of media. His music reflects the aesthetics of twentieth-century musical
ideals through its eclectic nature and vigorous harmonic and rhythmic style.
Cast in three main sections, Chant Rituals makes use of two contrasting thematic statements
to exploit the timbral and rhythmic resources of the symphonic band. Reminiscent of medieval
plain chant, the principle theme is introduced in the brasses and is coupled with an energetic and
rhythmic accompaniment from the woodwinds and percussion. A highly chromatic and sensual
middle section demonstrates a unique combination of timbral colors. Drawing from a broad pallet
of percussive sounds in concert with the human voice and the flute section, an intriguing mixture
of sounds is achieved . The conclusion of a lyrical alto saxophone solo in the middle section marks
the reprisal of the principle chant theme and a lively and dynamic finale to the piece.
***
Clifton Williams was born in Traskwood, Arkansas, in 1923. Despite the financial
difficulties of the depression of the early 1930's, Williams fared well in school, learning the piano,
mellophone, and french horn. In his senior class of 600, he was voted the most outstanding in
artistry, talent, and versatility. In 1942, he joined the Army Air Corps as a bandsman, serving
as drum major and composing works at every opportunity. After the war, he attended Louisiana
State University and went on to earn his Master of Music degree at the Eastman School of Music
in 1949. He taught at the University of Texas at Austin for seventeen years. In the 10 years
before his death in 1976, he served as chairman of the department of theory and composition at
the University of Miami, where he was influenced by and became close friends with Frederick
Fennell.
Commissioned by the State University of Wisconsin (Stevens Point) Wind Ensemble,
Donald E. Greene, conductor, Caccia and Chorale is one of the final pieces composed by Clifton
Williams prior to his death in 1976. In failing health in the last years of his life, he continued to
compose, most certainly with the suspicion that each new piece would be his last. The composer
writes, “While it remains open to question whether music can convey any message other than
a purely musical one, composers often tend to attempt philosophical, pictorial, or other aspects
within a musical framework.” Such is the case with Caccia and Chorale. The first section, Caccia, means hunt or chase, and is intended to reflect the preoccupation of most people in the world
with a constant pursuit of materialism. The Chorale is, by contrast, an urgent and insistent plea
for greater humanity, a return to religious or ethical concepts. The driving pulse of the opening
hunt finds itself interrupted by a persistent morse-code figure over sustained chords signaling the
futility of the chase as is described by the composer. Incidentally, the morse-code rhythm is taken
from the symbols for D-E-G, the initials of Donald E. Greene. Underpinned by a relentless heartbeat in the bass drum, the Chorale reaches an extreme level of tension before coming to a soft, yet
questionable resolve.
***
Rollo is a fictional character created by Charles Ives and used in his musical writings
to illustrate ultra conservative musical tastes. Rollo may not know anything about music, but he
knows what he likes: usually something banal or too-often-played. Among the kinds of music
Rollo does like are, not surprisingly, Ives' own pieces and modern music in general. In Rollo
Takes A Walk, the composer develops Ives's satirical character, taking Rollo (and us) on a musical
outing in which all the ideas, though original, are commonplace, very familiar-sounding, and even
deliberately banal. The piece is intended as a good-humored, gentle parody of concerts in the park
and of some bands in which the composer has played where the tuning was less than perfect. The
piece is not intended as a put-down of bands but rather as an exploration of the “out-of-tune”
or “microtonal” character that the composer views as a forceful, original element in American
music.
David Maslanka received his musical education at a number of prestigious educational
institutions. As a high school student, he studied at the New England Conservatory. His Bachelor
of Arts degree from Oberlin Conservatory included a year of study at the Hochschule Mozarteum
in Salzburg. He received his Masters and Doctorate in composition from Michigan State University.
His principal teachers in composition were Joseph Wood and H. Owen Reed. Maslanka has included
in Rollo Takes A Walk several ideas which evoke an earlier, more innocent era in America, as well
as providing some fun for the band and audience alike.
***
Symphonic Suite was the winner of the American Bandmaster's Ostwald Award in 1957.
Consisting of five movements, the piece finds its derivation in a simple theme which permiates
all the movements. The third movement, March, is an allegro vivo with flowing melodic lines,
punctuated accents and rhythmic intensity — all characteristics of many of the works by Clifton
Williams. A final accelerando adds intensity to the climax of this movement as do extreme ranges
in the brass and woodwinds.
Freshman Band
FLUTE
Lucy Edwards
Sarah Metze
Jennifer Mills
Jennifer Ratliff
OBOE
Rachel Pittard
Melissa Glick
BASSOON
Sarah Pinkham
CLARINET
Kaitlynn Wilson
Kristen Crum
Heidi Klise
Melissa King-Smith
Kiah Ackerman
Kate Malekoff
Carrie Messenger
Zach Huttinger
Gabrielle Morris
Katie Kirkpatrick
Amberly Buchholz
Katie Chandler
BASS CLARINET
Alison Eby
Sarah Sliffe
FRENCH HORN
Megan Russell
Paloma Robinson
ALTO SAXOPHONE
Jeff West
Paul Huettner
Sam Havens
Ian Sharp
Clint Eriksen
Krys Arteaga
TROMBONE
Nick Massaro
James Williams
Richard Myers
Deven McMorrow
TENOR
SAXOPHONE
Nic Starr
BARITONE
SAXOPHONE
T.J. Ullery
TRUMPET
Tony Ruscitti
Joe O'Brien
Matt Varga
Murphy Sheppard
Bryan Marty
Sam Schleappi
Quara Gant
EUPHONIUM
Darren Johnson
TUBA
Andrew Bogner
Emmy Johnson
PERCUSSION
Cathy Cebul
Colton Hile
Rachel Frantz
Josh Sun
Zack Finkbiner