Symphonic Wind Ensemble
Kevin Tutt, conductor
Friday, April 22, 2016
7:30 P.M.
Louis Armstrong Theatre
Performing Arts Center
GVSU Allendale Campus
PROGRAM
Crown Imperial (1937/1987)
Third Symphony, Op. 89 (1994)
I. Lento
II. Scherzo
III. Mesto (for Natalie)
IV. Finale
William Walton (1902-1983)
Arr. Duthoit
James Barnes (b. 1949)
PERSONNEL
Piccolo
MacKenzie Ribesky
Bass Clarinet
Trevor Spitzley
Flute
Kaitlyn Huisjen*
Anna VanderBoon
Taylor Hubbard
Hannah Donnelly
Soprano Saxophone
Karsten Wimbush
Oboe
Lauren Glomb*
Desaray Tracy
Kelsey Wilcox
English Horn
Kelsey Wilcox
Bassoon
Kayla Torres*
Benjamin Pummell
Contrabassoon
Jason Kramer
Eb Clarinet
Alex Alcorn
Clarinet
Kaci Seager*
Bryce Kyle
Denise Finnegan
Kati Bayer
Alex Alcorn
Loren Matulis
Nicholas Blagg
Ryan Schmidt
Claire Salinas
Alto Saxophone
Karsten Wimbush*
Lindsay Myers
Darwin McMurray
Tenor Saxophone
Anna Petrenko
Lindsay Myers
Baritone Saxophone
Andrew Peters
Horn
Emily Twa**
Devin Clark**
Kaidyn Guilford
T. Collin Maclean
Tricia Ruffer
Trumpet
Ethan Lonsway*
Ryan Gilbert
Willis Dotson
Denton Grant
Shawn Nichols
Justin Schreier
Flugelhorn
Luke Buckingham
Erin Ray
Trombone
Jared Jarvis*
Elizabeth Miller
Logan Vanderlaan
Bass Trombone
David Archambault
Euphonium
Nikolaus Schroeder*
Julia Bovee
Tuba
Lukas Schroeder*
Casey Zimmerman
Percussion
Wade Selkirk*
Bailey Groendyke
Angela Schmitt
Makenzie Mattis
Timothy Kooy
David Hempstead
Jacob Theisen
Piano/Synthesizer/Celeste
Angela Schmitt
Synthesized Harp
Sheryl Iott
Bass
Drew Mayhew
* principal
** co-principal
PROGRAM NOTES
Crown Imperial (program notes from Manchester, England Symphony Orchestra)
Sir William Walton is a respected composer without a long list of renowned teachers. He was not a child prodigy (although at the age of sixteen he was the youngest
person to graduate from Christ Church College, Oxford University since the time
of Henry VIII). He was encouraged by the Dean of Christ Church, and by the
organist, but he received little, if any formal instruction. He does not even have a
large body of works. In the 1950s, some critics still regarded him as a “fashionable”
composer, and not a little cynical. One of his most popular works was a sort of
musical parody called Façade written to accompany the witty poetry of Edith Sitwell. He became acquainted with the literary family of the Sitwells through Osbert,
whom he had met at Oxford. The literary group with whom he associated had a
slightly superior, world-weary attitude which is now considered dated. Walton was
thought to be a bright young intellectual with an off-hand attitude toward music.
One critic remarked that jokes don’t go well with fine music. We don’t consider A
Musical Joke to be the high point of Mozart’s career.
When Walton’s Viola Concerto appeared, critics began to reevaluate him. His two
symphonies were convincing, and his oratorio Belshazzar’s Feast established him
as a worthy member of the generation which produced Ralph Vaughan Williams,
though critics still remark that much of his music is too “theatrical.” He also produced striking film scores, among which is most notable the score for Sir Lawrence
Olivier’s Henry V.
The Crown Imperial March was written on commission by the BBC for the coronation of Edward the VIII, but before it was finished, Edward abdicated to marry
the American Wallace Simpson, and was replaced by his brother George VI on
December 11, 1936. The premiere of Crown Imperial March was at the coronation
of King George VI on May 12, 1937 and will serve as the crowning march for our
Spring 2016 graduates.
Third Symphony, Op. 89 (program notes from the score)
The United States Air Force Band in Washington, D.C. commissioned James
Barnes to write a major work for wind band. The conductor, Col. Alan Bonner,
said he didn’t care about style, length, difficulty or anything else. Barnes started
working on Third Symphony at a very difficult time in his life, right after his baby
daughter Natalie died. The composer said, “This symphony is the most emotionally draining work that I have ever composed. If it were to be given a nickname, I
believe that ‘Tragic’ would be appropriate.”
The work progresses from the deepest darkness of despair all the way to the
brightness of fulfillment and joy. The Lento (first movement) is a work of muchfrustration, bitterness, despair and despondency - all feelings of the composer losing his daughter. The Scherzo (second movement) has a sarcasm and bittersweetness about it because it deals with the pomposity and conceit of certain people,
busy and cheerful while complaining about minor problems compared to his loss
of Natalie. Exquisite in its simplicity, the hauntingly beautiful third movement is
a fantasia about what the composer felt the world would have been like if Natalie
had lived. It is a farewell to her. The Finale (fourth movement) represents a rebirth
of spirit, reconciliation for us all. The second theme of the last movement is based
on an old Lutheran children’s hymn called “I Am Jesus’ Little Lamb”.
Even now the Shepherds lamb?
And when my short life is ended.
By his angel host attended
He shall fold me to His breast,
There within His arms to rest.
This hymn was sung at Natalie’s funeral. Three days after Barnes completed this
symphony, his son Bill was born. The composer said “if the third movement is for
Natalie, then the Finale is really for Bill, and our joy in being blessed with him after
the tragic death of his sister.”
APPLIED INSTRUMENTAL FACULTY
Christopher Kantner, Flute
Marlen Vavrikova, Oboe
Vincent Karamanov, Bassoon
Arthur Campbell, Clarinet
Dan Graser, Saxophone
Alex Wilson, Trumpet
Richard Britsch, Horn
Mark Williams, Trombone
Paul Carlson, Tuba & Euphonium
Tim Froncek, Percussion
Gregrey Secor, Percussion
Helen Marlais, Piano
Sookkyung Cho, Piano
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UPCOMING EVENTS
Friday, April 22 and Saturday, April 23 at 7:00 p.m. Senior Dance Concert.
Large Dance Studio, 1600 Performing Arts Center. GVSU Allendale Campus.
For updated information on Music and Dance Events, please visit
www.gvsu.edu/music
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