Ensemble and Faculty Concert:

2010-04-14 -- Symphony Band and Andrew Parker, oboe

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 l

ffi THE UN1VERS11Y OF lowA

;z;;7;;::
presents the

Symphony Band
Richard Mark Heidel, conductor

Ethan W ickman, guest composer

Andrew Parker, oboe

Michael D. Hart and Matthew Wanken,

guest conductors

1
April 14, 2010
Iowa Memorial Union Main Lounge
7:30 p.m.
 Program
Corrida! (2009) Ethan Wickman
(b. 1973)

Passacaglia and Fugue in C Minor (ca. 1708-1717) Johann Sebastian Bach

(1685-1750)
trans. Donald Hunsberger

Symphony for Band, Op. 69 (1956) Vincent Persichetti

I. Adagio-Allegro (1915-1087)
II. Adagio sostenuto
III. Allegretto
IV Vivace
Michael D. Hart, guest conductor

Concertino for Oboe and Winds (ca.1805-1813) Carl Maria von Weber
(1786-1826)
ed. Hermann Dechant
Andrew Parker, oboe

Chorale and Alleluia (19 54) Howard Hanson

(1896-1981)
Matthew ·wanken, guest conductor

Passacaglia and Fugue Rondo (1983) David Kneupper

(b. 1959)

"The Gum Suckers" March (1916) Percy Aldridge Grainger

(1882-1961)
ed. R. Mark Rogers

Tonight's program is No. 2392 in a series 2009-2010

The University of Iowa School of Music
 Program Notes
Corrida! (2009)
Ethan Wickman

While a Fulbright fellow in Madrid, Spain, I spent some time at the Real
Conservatorio Superior de Musica in Madrid studying music by Spanish
composers of the Twentieth century. Although the title of the work evades
my memory, I recall a work I studied by Manuel de Falla that began with brass
and timpani, in a fanfare reminiscent of the kind played at the beginning of
a bullfight, as the impassioned animal bounds into the bullring. That fanfare
is where Com"da! (or "bullfight") begins.

While the work, at least initially, draws upon the music of bullfights, it also
embodies my admiration of the orchestral overtures of Hector Berlioz. Like
his overtures, Corrida! is set in a large ternary form with a middle slow section
surrounded by fast ones. Each section is also comprised of its own modified
ternary--each section respectively featuring its own middle section flanked by
two contrasting outer sections.

Ultimately, the score evokes a severely physical, even violent, athletic contest-
-much like the one fought bravely by the bull. Ebullient and energetic, it also
possesses an introspection that may momentarily call into question the fervor
(or fever!) of its enthusiasm for bloodsport. ( Ethan Wickman)

Passacaglia and Fugue in C Minor (ca.1708-1717)

Johann Sebastian Bach

The Passacaglia and Fugue in C Minor was composed sometime during Bach's
second residence in Weimar, c. 1708-17. Albert Schweitzer writes: "The
Passacaglia and Fugue was written in the first place for cembalo (harpsichord)
with pedal and was later transcribed for organ. "The theme, which is
presented in twenty variations and the fugue, consists of two parts: the first
half which Bach borrowed from a Trio en Passacaille by Andre Raison and the
answer.ing second half which is original material.

Bach was fairly consistent in closing each statement of the theme with an
authentic cadence (C minor: V-1 ); despite these brief attempts at finality there
remains a flow of continuity provided by a frequent rhythmic acceleration
during the closing measures of the variation, anticipating the rhythmic
pattern of the following variation. An additional feeling of continuity is
supplied through the contrapuntal treatment of the inner voices, seldom
allowing these voices to become stagnant.

The Fugue utilizes the first half of the Passacaglia theme as its subject. This
subject is introduced twelve times with a countersubject being introduced
each time along with the subject. (Donald Hunsberger)
Symphony for Band, Op 69 (1956)
Vincent Persichetti

Born in Phildelphia in 1915, Vincent Persichetti began studying piano at the

age of five before learning organ, double bass, and tuba. He completed
his first composition, Serenade no. 1 for Ten Winds at the age of 14. He
earned degrees from Combs College of Music, the Curtis Institute and the
Philadelphia Conservatory where he studied composition with Roy Harris
and conducting with Fritz Reiner. Following his studies, he became head of
the composition department at the Philadelphia Conservatory before joining
the faculty of the Juilliard School of Music. Persichetti's compositions were
instrumental in helping to expand the wind band repertory at a time when
high quality original works were desperately needed.

The Symphony for Band was commissioned by the Washington University

Band for their performance at the 1956 MENC Convention. The work,
structured as a traditional symphony, incorporates 20th century harmonic
language. The first movement is in Sonata form in which the two themes
presented in the slow introduction, are introduced and developed in reverse
order in the Allegro. The second movement is based upon the hymn,
"Round Me Falls the Night," from Perischetti's collection of original hymns,
Hymns and Responses for the Church Year. The third movement serves as
a dance movement. The final movement is a free rondo in which motivic
material from the previous movements is reintroduced before climaxing with
a 12-tone chord. (Iv(ichael D. Hart)

Concertino for Oboe and Winds (ca. 1805-1813)

Carl Maria von \v'eber

A prototypical 19th century musician/ critic, Carl Maria von Weber sought
through his works, words, and efforts as performer and conductor to
promote and shape emerging middle class audiences to its appreciation. His
contributions to song, choral music, and piano music were highly regarded
by his contemporaries. His opera overtures influenced the development of
the concert overture and symphonic poem, and his exploration of novel
timbres and orchestrations enriched the palette of musical sonorities. A
seminal figure of the 19th century, he influenced composers as diverse as
Mendelssohn, Wagner, Berlioz, and Liszt.

In the eighteenth century, harmoniemusik was typically written for pairs

of oboes, clarinets, bassoons, and horns. However, any variety of wind
ensemble could be used. Also, it was common practice at the time for royalty
to commission works for harmonic to be performed in court. It is likely that
the Concertino for Oboe and Winds, attributed to Carl Maria von \Veber, was
composed anywhere from 1805-1813. The Concertina is in two movements
performed without pause. The adagio movement is in "aria" form, which is
a two phrase binary pattern in which neither phrase is repeated. The polacca
is a rondo-sonata in which the "C" section serves as a development section.
(New Grove Dictionary of Music and Musicians, Lauren Baker Murrary)
 Chorale and Alleluia (1954)
Howard Hanson

Howard Hanson was one of the most important figures in the American
musical world. His experience extended as the director of the Eastman
School of Music, a conductor, and a Pulitzer Prize winning composer. After
much prodding from A.A. Harding at the University of Illinois and Frederick
Fennell at Eastman, a commission by Edwin Franko Goldman and the
American Bandmasters Association made Chorale and Alleluia, Hanson's first
band work, a reality. The work begins with a fl.owing chorale that modulates
between the keys of D and A Dorian. The B section of the piece begins with
the ''Alleluia" motive in a quicker tempo, which was previously played in the
, Chorale by the flutes and clarinets. Five measures later the horns, trombones
and euphoniums enter with the ''Alleluia" theme. Both the Alleluia motive
and theme are passed around the band, building excitement and tension
along the way, until they finally resolve with the recapitulation of the Chorale
theme by the brass followed by a Coda that captures the exhilarating spirit
of the piece. (Matthew Wanken)

Passacaglia and Fugue Rondo (1983)

. David Kneupper

Passacag!ia and Fugue Rondo features the contemporary use of three Baroque
musical forms in an exciting, highly rhythmic, single-movement composition.
Despite the use of three unrelated musical forms, Passacaglia is. a tightly
organized piece built around a single theme. The main passacaglia ground is
the source of all musical material in the work, including three separate fugue
subjects, all their respective countersubjects and other accompanying material.
The title, Fugue Rondo, refers to the way in which each of the three fugue
sections are interrupted by a return - rondo style - of the passacaglia theme.
Of particular interest is the second fugue, a non-pitched percussion fugue
utilizing 52 instruments on a subject derived from the rhythmic diminution
of the original passacaglia rhythm. The three "voices" of this fugue are
wooden, metal, and drum instruments respectively, allowing the listener
to follow the exposition and development timbrally as well as motivically.
The work climaxes with a complex triple exposition of three fugue subjects
accompanied by the original passacaglia theme. ( David Kneupper)

"The Gum-Suckers" March (1916)

Percy Aldridge Grainger

The Gum-Suckers 1\tf.arch was composed as the fourth movement of Grainger's

suite for symphony orchestra entitled "In a Nutshell." By the time of
composition of The Gum-Suckers March, Grainger was an expatriate, a British
subject living in America while the British Commonwealth was involved in
the greatest war ever fought until that time. The title, The Gum-Suckers March,
seeks to preserve the composer's connection with his native Australia: the
term "gum-sucker" is a name given to natives of the Australian state of
Victoria, the composer's home state, and refers to the habit of chewing or
sucking on the leaves of the Eucalyptus tree, a process that reduces the l~aves
to a gum-like texh1re. (Richard E. Miles)
 Michael D. Hart

Michael Hart is currently pursuing a Doctor of Musical Arts in Band

Conducting from The University of Iowa where he is a student of Dr.
Richard Mark Heidel and serves as a graduate teaching assistant with
The University of Iowa Bands. He is also a faculty member at Iowa
Wesleyan College where he directs the Southeast Iowa Band.

Michael holds a Bachelor of Music in Music Education from Concordia

College in Moorhead Minnesota and a Master of Music in Conducting
from The University of Iowa. Prior to his study at Iowa, Michael was
a band director in Minnesota teaching at the elementary, junior high
and high school levels where his ensembles and students consistently
received high ratings at local and state contests. As a tubist, he has
performed with the Fargo-Moorhead Symphony and has competed in
several competitions including the 2008 International Tuba Euphonium
Conference Quartet Competition.

Michael has been inducted into several honor soc1et.1es including

Phi Kappa Lambda, Phi Lambda Theta, and the Alpha Society. His
professional affiliations include the National Band Association, Music
Educators National Conference, College Band Directors National
Association, World Association of Symphonic Bands and Ensembles,
and the International Tuba Euphonium Conference.

Matthew Wanken

Matthew Wanken is a second year Masters student in band conducting.

At Iowa, he is part of the graduate staff for the Hawkeye Marching
Band and University of Iowa Pep Band. He received his Bachelor of
Arts in Music Education at St. Olaf College. Prior to coming to Iowa,
he spent three years in Grand Forks, North Dakota teaching Elementary
and Middle School Band, as well as general music on the Grand Forks
Air Force Base. He currently holds membership in the National Band
Association and the Music Educators National Conference.
 Ethan Wickman
Ethan Wickman joined the faculty of the University of Wisconsin-
Eau Claire in the fall of 2006 as .Assistant Professor of Music in the
Department of Music and Theatre Arts where he teaches music theory
and applied composition. He holds a Doctorate in Music Composition
from the University of Cincinnati, College-Conservatory of Music
where his principle teachers were Joel Hoffman, Ricardo Zohn-
Muldoon, and Michael Fiday, with additional degrees in music from
Boston University and Brigham Young University. Dr. Wickman was
formerly Visiting Assistant Professor of Music at Indiana University
South Bend.

Upcoming Events
May3 University Band/Concert Band
Carter Biggers/Kevin Kastens, conductors
7:30 p.m., Iowa Memorial Union Ballroom

June 6-25 Iowa Summer Music Camps

For Iowa Summer Music Camp details call 319-335-1635 or toll-free in Iowa:
1-800-553-IOWA, ext. 1635

This program is being presented by Michael Hart in

partial fullfillment of the requirments for the
Doctor of Musical Arts in band conducting.
 Personnel
Piccolo Contrabass Clarinet Percussion
Nora Epping Matthew Wanken Christine Augspurger
Anna Wimmer .Adam Balfu1g 10
Alto Saxophone Carter Biggers
Flute James Skretta * Scott Jennerjohn 10
Hannah Weiss *# Shawna Pennock Joseph Panganiban 10
Rolando Hernandez 1,2 & 9 David Solomon 10
Anna \Viinmer Tenor Saxophone
Nora Epping Alisha Orth Timpani
Chtm-Hui Lien Oliver Molina*
Alana Jacobs Baritone Saxophone
Cody Maranell 1 Piano
Oboe Daniel Kubus
Hilary Stavros * Trumpet
Alan Morris Spencer Dunlap *# Harp
Anna Pollema Caitlin Elliott Pamela Weest-Carrasco
4
Katheryn Lawson
English Horn Pam Schroeder Librarian
Alan Morris Dan DiMonte Christine Augspurger
Geoff Wood
Bassoon Stage Crew
Jessica Palmer
Rachel Koeth *# Adam Schroeder
Rebecca Coe Nathan Stark
Horn
Ben Zelinsky Dan Spencer *# Graduate Assistants
Nick Waymire 2 & 3 # Carter Biggers
Contrabassoon
Ben Zelinsky Jessica Kizzire ** Rick Chapman
Emily Richards 9 Marc Decker
Eb Soprano Clarinet Leah DeGrazia J\,fichael Hart
Katherine Wilson Oliver Molina
Trombone Curran Prendergast
Clarinet Alex Krawczyk *# Matthew Wanken
Jamie Cox *# Adam Schroeder
Sarah Schwols # Nick Burnham Scholarship Recipients
Lucas Petersen # Austin Peiffer 1 Meredith Willson Scholarship
Katherine Wilson# Brady Schlue
2
Birnie Voxman Scholarship
Liza Nazario 3 Rose & Angelo Garizo
Catherine Neff Bass Trombone Scholarship .
Brian Walsh 1 Laura Westfall 4 Margaret Perry Scholarship

Courtney Sorensen s John Hill Scholarship

Euphonium
Joe Valenti 6 Richard & Fredda Caplan
Blaii1e Cmmii1gham* Scholarship
Karina Ferrera 7 Iowa Center for the Arts
Bass Clarinet
Aaron Kirschner Scholarship
Tuba 8
Jeff Bosacki Howard Robertson Scholarship
Michael Hart * 9
Patrick Bigsby # Annetta Marie Jackson
* Principal Player 10
Thomas L. Davis
** Assistant Principal Ben Anderson
# The Chamber Winds