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Would you like to join us next year?
The University of Arizona
2013-2014
Wind Symphony & Symphonic Band (Campus Band)
Kevin Holzman, conductor
Open to all UA students, faculty and staff
Music majors and non-music majors are welcome!
Audition information will be available this summer on the
UA Bands Facebook page:
The University of Arizona
Wind Symphony
&
Symphonic Band
Kevin Holzman, conductor
www.facebook.com/UA.Bands
Wind Symphony rehearsals:
Tuesdays & Thursdays 4:00-6:00 p.m.
Symphonic Band rehearsals:
Wednesdays 7:30-9:30 p.m.
Once placed into a group, students will register
for the appropriate ensemble in the fall:
Symphonic Band
MUS 200C/400C/500C
Wind Symphony
MUS 200D/400D/500D
Thursday, April 18, 2013
Crowder Hall
7:30 p.m.
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The University of Arizona
Wind Symphony & Symphonic Band
The University of Arizona Symphonic Band
Kevin Holzman, conductor
Thursday, April 18, 2013
Crowder Hall
7:30 p.m.
program
Symphonic Band
Second Suite in F for Military Band....................Gustav Holst (1874-1934)
I.
March
II.
Song Without Words, “I’ll love my love”
III.
Song of the Blacksmith
IV.
Fantasia on the ‘Dargason’
Come, Sweet Death................................ Johann Sebastian Bach (1685-1750)
arr. Alfred Reed (1921-2005)
March to the Scaffold...........................................Hector Berlioz (1803-1869)
from “Symphonie Fantastique”
tr. Erik W. G. Leidzen (1894-1962)
Sleep ........................................................................... Eric Whitacre (b. 1970)
The Washington Post March.........................John Philip Sousa (1854-1932)
ed. Frederick Fennell (1914-2004)
Carmina Burana............................................................. Carl Orff (1895-1982)
arr. John Krance (1935-1989)
3.
Ecce gratum (Behold the spring)
6.
Were diu werlt alle min (Were the world all mine)
13.
Fortuna Imperatrix Mundi (Fortune, Empress of the World)
Intermission
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Horn
Sarah Early
Heidi Gerrish
Meredith George
Gabriela McCrossan
Sydney Warner
Nathan Salazar
Flute
Kim Reed
Alyssa Pfotenhauer
Katelyn Charlton
Kristina Farrell
Alexa Zarbock
Chester Magruder III
Kristina Huff
Carol Gordon
Maurissa Wortham
Lindsey Stager
Marisa Lunde
Caige Dominici
Trumpet
Daniel Horist
Daniel Young
Jule Streety
Joshua Floyd
David Waltz
Cassandra Ayala
Marc Lizcano
Kristina Aprahamian
Oboe
Carrie Dittmer
Clarinet
Samantha Fay
Evan May
Ashlyn Hooten
Shawna Landauer
Jasmine Cheng
Amanda Ehredt
Aria Gaitan-Altuna
Sarah Moore
Melissa Pielow
Regina Laine
John Anderson
Trombone
Victoria Vincent-Fallis
James Greenberg
Ayo Odeneye
Jordan Ingram
Tyler Nienhouse
Meg Smith
Anthony Muñoz, bass
Bass Clarinet
Heather Nunley
Alex Burney
Zia Wacker
Euphonium
John Peterson
Will Clement
Lauren Bernas
Troy Tuscaney
Tyler Fallon
Alto Saxophone
Zachary Brennan
Emmil Lavarias
Christopher Vance
Juldis Trakanthaloengsak
Brandon Brown
Tuba
Michael Cook
Austin Bloom
Dani Garno
Scott Suddarth
Rebecca McGinn
Tenor Saxophone
Michael Shaheen
Marica Whittemore
Percussion
Nick Flanery
Joseph Miller
Hillary Engel
Baritone Saxophone
Spencer Melvin
James Sanchez
Band Librarian
Hillary Engel
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The University of Arizona Wind Symphony
Flute
Patricia Bradley, principal
Paige Norling
Nicole Rochon, piccolo
Meghan Davis
Becky Diamond, alto flute
Jennifer Thornton
Alyssa Pfotenhauer
Joshua Floyd
Nicole Lucas
Sammie Flanzbaum
Erica Cohen
Deanna Robain
Nilaja Gillespie
Daniel Bitter
Daniel Horist
Oboe
Corrie Bain, principal
Javier Ortega
Rebecca Dixon, English horn
Horn
Sarah Early, principal
Kate Canady
Heidi Gerrish
Rachel Spidell
Bassoon
Kyle Edwards, principal
April Delgado
Ross Eckley, contrabassoon
Trombone
Dylan Carpenter, principal
Anthony Muñoz
Victoria Vincent-Fallis
Nicholas Quiroz
Sean Vaeth
Nicholas Cohen, bass
Clarinet
Nicholas Topping, principal
Kendra Liu
Holly Paxton
Lauren Dietrich
Jonathan Dellerman
Thaddeus Lin, E-flat clarinet
Megan Kennedy
Daniela Gonzalez
Haley Beavers
Michael Ryske
Claire Duffy
Clif Weston
Tuba
Brennen Motz, principal
Michael Cook
Raul Bravo-Arizmendi
Ben Johnson
Austin Bloom
Euphonium
John Peterson, principal
Will Lathrop
Bass Clarinet
Luis Gomez
Clif Weston, contrabass clarinet
Wind Symphony
Light Cavalry Overture.................................. Franz von Suppé (1819-1895)
arr. Henry Fillmore (1881-1956)
An American Elegy........................................................ Frank Ticheli (b.1956)
Star Wars Trilogy........................................................ John Williams (b.1932)
arr. Donald Hunsberger (b.1932)
I.
The Imperial March (Darth Vader’s Theme)
II.
Princess Leia’s Theme
III.
Battle in the Forest
IV.
Yoda’s Theme
V.
Star Wars (Main Theme)
There will be a reception in the Green Room
following the performance
sponsored by the
UA Chapters of
Kappa Kappa Psi & Tau Beta Sigma
Please join us!
Piano
Paul Kohler
Harp
Kate Zurcher
Saxophone
Rachel Confrey, principal
Cesar Manjarrez, alto 1
Alex Jones, alto 2
Kenny Grundy, alto 2
Christopher Vasquez, tenor
Virgil Armstrong, tenor
Briana Gomez, baritone
Trumpet
Andrew Stickney, principal
Dahlay Solis
Jule Streety
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String Bass
Joaquin Zamudio
Percussion
Antuon Lopez, principal
Holly Chaput
Andrew Coyle
Bianca Rodriguez
Christopher Billings
Liz Soflin
Cameron Figueroa
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Out of respect for the performers, and to comply with all copyright laws,
no audio, video or photographs are allowed.
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Program Notes
The five excerpts gathered in the trilogy are each capable of
individual contrast, excitement and beauty. The themes for Leia and
Yoda have received recognition, and the Darth Vader Death March and
the Main Title Music are some of the best known film music performed
today. The hidden gem in this set is the third movement, The Battle in the
Forest, from Return of the Jedi, an extremely humorous Prokofiev-esque vivace
which supports the Ewoks in their fight with the huge metallic giants.
Second Suite in F for Military Band – Gustav Holst
The Second Suite consists of four movements, all based on specific
English folk songs. Whereas other composers of the time wrote for
the concert band as they would for an orchestra without strings,
Gustav Holst created a unique sound intended to cast the concert
band as a serious concert medium. Written in 1911 (two years after
the First Suite for Military Band), this Suite opens with a March that
combines a Morris dance with folk songs. The second movement
features a lyrical tune which tells of lovers separated by their parents.
This is followed by the Song of the Blacksmith, complete with a lively
rhythm played on the blacksmith’s anvil. The Suite concludes
with the Dargason country dance and folk song entwined
with the well-known Greensleeves melody.
Come, Sweet Death – Johann Sebastian Bach
From the publisher: Come, Sweet Death (Komm’, Susser Tod) is one of a
group of 69 so-called “Sacred Songs and Airs” attributed to J.S. Bach,
each of which exists only in the form of a single melodic line with
figured bass. These pieces were first published in 1736, some 14 years
before Bach’s death, as the musical settings for a huge collection of 954
sacred songs and hymns assembled by Georg Christian Schemelli and
edited by Bach himself. For all of its apparent simplicity of musical
construction (a small, two-part song form, played through twice), this
music is deeply moving and of great expressiveness, culminating in an
exalted singing line that perhaps signified, for the deeply religious Bach,
the willing embrace of death as the final deliverance from earthly strife,
and entrance into eternal glory. In the present realization for winds
from the original figured bass, Bach’s harmonic intentions have been
faithfully adhered to throughout, and except for specific choices of
voicings and instrumental colors, very little has been added to one
of the most lyrically expressive of all Bach’s many creations.
March to the Scaffold from “Symphonie Fantastique” – Hector Berlioz
In 1828, Paris buzzed with two sensations, Beethoven and Shakespeare.
Beethoven’s music established the Romantic ideal; instead of fitting suitable
music into classical forms, Beethoven reconfigured the symphony and
the personnel of the orchestra to accommodate his emotional expression.
Berlioz couldn’t get enough of it. Shakespeare, as presented by the Irish
actress Harriet Smithson, changed Berlioz’s life forever. From the
moment he saw her, he was obsessed. Symphonie Fantastique is nothing
less than Berlioz’s extravagant attempt to attract Harriet’s attention.
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Kevin Holzman
Kevin Holzman is a conductor, clarinetist,
and instructor at the University of Arizona.
He began clarinet studies at the age of 13,
and has been an active musical performer
since. He has taught clarinet in Scottsdale
and Tucson, Arizona. His clarinet teachers
have included Professor Jerry Kirkbride,
Dr. Karen Wevursky and Mr. Eric
Broomfield. Prior to his undergraduate
degree, Kevin studied conducting with
Dr. Schultz Bennett and Mrs. Michelle
Irvin in Scottsdale, Arizona.
As a National Merit Scholar, he began studies in clarinet performance
and conducting at the University of Arizona in 2006. Kevin graduated
summa cum laude with a degree in clarinet performance in the spring of
2010. After teaching in an inner city high school in West Philadelphia
with Teach For America and studying at the University of Pennsylvania
for a year, he returned to the University of Arizona to pursue a master’s
degree in instrumental conducting.
Kevin’s primary conducting teacher is Professor Gregg I. Hanson,
director of bands at the University of Arizona. He has also studied
conducting with Dr. Thomas Cockrell, director of orchestral activities
at the University of Arizona. In addition to being the instructor of
undergraduate instrumental conducting, he is actively involved in
conducting rehearsals and performances at the university, and studies
piano with Dr. Michael Dauphinais. Kevin plans to earn his Doctor
of Musical Arts degree in instrumental conducting after his master’s
studies, and aims to one day conduct bands and orchestras at the
collegiate and professional level. Kevin was appointed conductor
of the UA Wind Symphony in spring 2013.
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trumpeter is heard, suggesting a celestial voice - a heavenly message.
The full ensemble returns with a final, exalted statement of the
main theme.”
An American Elegy was commissioned by the Columbine Commissioning
Fund, a special project sponsored by the Alpha Iota Chapter of Kappa
Kappa Psi at the University of Colorado on behalf of the Columbine
High School Band. Contributors to the fund included members, chapters,
alumni, and friends of Kappa Kappa Psi and Tau Beta Sigma National
Honorary Band Fraternity and Sorority.
The work received its premiere performance by the Columbine High
School Band, William Biskup, director, Frank Ticheli, guest conductor,
on April 23, 2000. Its premiere served as the centerpiece of a special
commemorative concert given by the Columbine High School Band
in conjunction with the University of Colorado Wind Symphony,
held at Macky Hall in Boulder, Colorado.
The UA Wind Symphony dedicates this performance to the victims
of the December 14, 2012 shooting at Sandy Hook Elementary in
Newtown, Connecticut.
Star Wars Trilogy- John Williams
From the arranger: “The phenomenal success twenty years ago of
Star Wars and its two companion films, Return of the Jedi and The Empire
Strikes Back, renewed interest in movies as huge spectacles. Although
set in futuristic terms for we earthbound travelers, the three films are in
many ways historical in nature. Frequently described as “the morality
plays of film,” the stories in the trilogy share a common theme of the
primary struggle between good and evil and the eventual success
of love conquering all.”
Created originally to be a nine-part series, each film is complete within
itself while remaining open-ended for its eventual position in the nine
tales. The characters obviously grow older and the production technology
develops more and more as each year goes by. The current re-release of
the films in the United States has generated massive interest and
box-office success for the shows.
Of musical interest, the Star Wars project brought to international
prominence the talents of John Williams, one of the most gifted
composers for film and television. Williams worked in a totally different
compositional style for the late 1970s in that he did not write short “cue
music” for individual scenes, but rather composed large free-standing
compositions that accompanied large segments of the film.
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In the fourth movement of the work, The March to the Scaffold, Berlioz
begins to reveal the truly sinister side of his imagination. The original
program notes read: “The Artist, knowing beyond all doubt that his
love is not returned, poisons himself with opium. The narcotic plunges
him into sleep, accompanied by the most horrible visions.” The first of
those visions is the March to the Scaffold. In it, the Artist is executed for
the murder of his beloved. The march echoes the sound of the real life
bands that would accompany the condemned to their execution.
The military band escorts the prisoner to the enthusiastic cheers of
the strings. In the last instant of his life the Artist thinks of his beloved.
Her theme begins but is truncated by the blade of the guillotine.
The Artist’s head bounces down the steps, the drums roll and the
crowds roar.
This transcription, originally transcribed for the world famous
Goldman Band, remains very true to Berlioz’s original composition,
and truly captures the spirit of the march to the scaffold.
Sleep – Eric Whitacre
From the composer: “Sleep began its life as an a cappella choral
setting, with a magnificent original poem by Charles Anthony Silvestri.
The chorale-like nature and warm harmonies seemed to call out for the
simple and plaintive sound of winds, and I thought that it might make
a gorgeous addition to the wind symphony repertoire. Sleep can be
performed as a work for band, or band and mixed chorus.”
An accomplished composer, conductor and clinician, Eric Whitacre
is one of the bright stars in contemporary concert music. Regularly
commissioned and published, Whitacre has received composition
awards from ASCAP, the Barlow International Composition Competition,
the American Choral Directors Association, the American Composers
Forum, and was recently honored with his first Grammy nomination.
The Washington Post March – John Philip Sousa
The Washington Post March was written in 1889 to help promote an
essay contest sponsored by the newspaper of the same name. With
Sousa conducting, it was premiered by the U.S. Marine Band during the
distribution of the essay prizes on the Smithsonian Museum grounds in
Washington, D.C. The 6/8 march happened to be appropriate for a new
dance called the two-step and soon became the most popular tune in
both America and Europe. Although he received only $25 for its
publication, Sousa was quickly inundated with requests for more
marches. Of his 136 marches, The Washington Post and The Stars and
Stripes Forever have been the most widely known.
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Carmina Burana – Carl Orff
Light Cavalry Overture- Franz von Suppé
About thirty miles south of Munich, in the foothills of the Bavarian
Alps, is the abbey of Benediktbeuren. In 1803, a 13th-century codex was
discovered among its holdings that contains some 200 secular poems
which give a vivid, earthy portrait of Medieval life. Many of these
poems, attacking the defects of the Church, satirizing contemporary
manners and morals, criticizing the omnipotence of money, and praising
the sensual joys of food, drink and physical love, were written by an
amorphous band known as “Goliards.” These wandering scholars and
ecclesiastics, who were often esteemed teachers and recipients of courtly
patronage, filled their worldly verses with images of self-indulgence that
were probably as much literary convention as biographical fact. The
language they used was a heady mixture of Latin, old German and old
French. Some paleographic musical notation appended to a few of the
poems indicates that they were sung, but it is today so obscure as to be
indecipherable. This manuscript was published in 1847 by Johann
Andreas Schmeller under the title, Carmina Burana (“Songs of Beuren”),
“carmina” being the plural of the Latin word for song, “carmen.”
From the publishser: “The story of Light Cavalry (1866) takes place in a
Hungarian village where a group of cavalrymen are trying to unite a
young couple in the face of adversity and intrigue. The overture begins
with an introduction, which is based on a trumpet call of the AustroHungarian army. A galloping allegro is then introduced and developed
before it is interrupted by a plaintive episode of Magyar coloration. The
allegro then continues, and the entire ensemble takes up the bugle calls,
brining the work to a rousing and triumphant ending.”
Carl Orff encountered these lyrics for the first time in the 1930s, and
he was immediately struck by their theatrical potential. Like Aaron
Copland and Virgil Thomson in the United States, Orff at that time was
searching for a simpler, more direct musical expression that could
immediately affect listeners. In the words of the composer’s biographer
Andreas Liess, “Orff’s spiritual form is molded by the superimposition
of a high intellect on a primitive creative instinct,” thus establishing a
tension between the rational (intellect) and the irrational (instinct).
An American Elegy – Frank Ticheli
Though Carmina Burana is most frequently heard in the concert hall,
Orff insisted that it was intended to be staged, and that the music was
only one of its constituent parts. “I have never been concerned with
music as such, but rather with music as ‘spiritual discussion,’ “ he wrote.
“Music is the servant of the word, trying not to disturb, but to emphasize
and underline.” He felt that this objective was best achieved in the
theater, but Carmina Burana still has a stunning impact even without
its visual element.
Fillmore’s transcription/arrangement of Light Cavalry was originally
published in 1922 when he was in his second year as director of the
Syrian Temple Shrine Band in Cincinnati. This conducting appointment
was Fillmore’s first important conducting opportunity, and he made
the most of it. Under his leadership, the band rose to higher musical
standards, and became a very elite organization, winning top honors
for their performance in San Francisco.
From the composer: “An American Elegy is, above all, an expression
of hope. It was composed in memory of those who lost their lives at
Columbine High School on April 20, 1999, and to honor the survivors.
It is offered as a tribute to their great strength and courage in the face
of a terrible tragedy. I hope the work can also serve as one reminder
of how fragile and precious life is and how intimately connected
we all are as human beings.
I was moved and honored by this commission invitation, and deeply
inspired by the circumstances surrounding it. Rarely has a work revealed
itself to me with such powerful speed and clarity. The first eight bars of
the main melody came to me fully formed in a dream. Virtually every
element of the work was discovered within the span of about two
weeks. The remainder of my time was spent refining, developing,
and orchestrating.
From the arranger: “In arranging Carmina Burana for concert band
I have attempted to retain the spirit, feeling, and overall character of
the original score, at the same time modifying its length to a duration
suitable for programming purposes. The work begins and ends depicting
the crushing anguish of the victims of Fortune’s ruthless wheel (O Fortuna;
Fortuna Imperatrix Mundi); the remaining sections are devoted to the joys
of spring and nature, the pleasures of the tavern and the gaming table,
the delights of love, the irony of Fate.”
The work begins at the bottom of the ensemble’s register, and ascends
gradually to a heartfelt cry of hope. The main theme that follows, stated
by the horns, reveals a more lyrical, serene side of the piece. A second
theme, based on a simple repeated harmonic pattern, suggests yet
another, more poignant mood. These three moods - hope, serenity, and
sadness - become intertwined throughout the work, defining its complex
expressive character. A four-part canon builds to a climactic quotation
of the Columbine Alma Mater. The music recedes, and an offstage
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