December 7, 2022 | 7:00 PM
Conductor
Conductor
CANDIDE
LEONARD BERNSTEIN (1918-1990)
Trans. Claire Grundman
THE HOUNDS OF SPRING
ALFRED REED (1920-2005)
SONG FOR LYNDSAY
ANDREW BOYSEN (b. 1968)
WHIRR WHIRR WHIRR!!!
RALPH HULTGREN (b. 1953)
THE BLACK HORSE TROOP
JOHN PHILIP SOUSA (1855-1932)
BE THOU MY VISION
DAVID GILLINGHAM (b. 1947)
MT. EVEREST
ROSANNO GALANTE (b. 1967)
Donald Miller
conductor
FLUTE |
Trumpet
Trombone |
Kirt Saville
conductor
FLUTE Caryl Klemann* OBOE Emily Adams* BASSOON Andrew Apgood* CLARINET BassClarinet Saxophone Horn |
Trumpet Trombone Euphonium Percussion Piano HARP |
*Section Leader |
|
Candide
Opening on Broadway on December 1, 1956, Candide was perhaps a bit too intellectually weighty for its first audiences and closed after just 73 performances. Bernstein was less concerned over the money lost than the failure of a work he cared about deeply. The critics had rightly noted a marvelous score, and Bernstein and others kept tinkering with the show over the years. With each revival, Candide won bigger audiences. In 1989, the already seriously ill Bernstein spent his last ounces of vital energy recording a new concert version of the work. “There’s more of me in that piece than anything else I’ve done,” he said.
The sparkling overture captures the frenetic activity of the operetta, with its twists and turns, along with Candide’s simple honesty. From the very beginning, though, the overture was a hit and swiftly became one of the most popular of all concert curtain raisers. Brilliantly written and scored, flying at breakneck speed, it pumps up the adrenaline of players and listeners alike.
Program note by San Luis Obispo Wind Orchestra concert program, 12 May 2012
The Hounds of Spring
This exciting, rhythmic overture for band is in the fast-slow-fast format of the early 18th-century Italian opera overtures. The composer's purpose was to capture the twin elements (exuberant, youthful gaiety and the sweetness of tender love) found in the following excerpt from Atlanta in Calydon, written in 1865 by the English poet Algernon Charles Swinburne (1837-1909).
When the hounds of spring are on winter's traces,
The mother of months in meadow or plain
Fills the shadows and windy places
With lisp of leaves and ripple of rain; Where shall we find her, how shall we sing to her,
Fold our hands round her knees and cling?
O that man's heart were as fire and could spring to her,
Fire, or the strength of the streams that spring!
And soft as lips that laugh and hide
The laughing leaves of the trees divide,
And screen from seeing and leave in sight
The god pursuing, the maiden hin.
Program Note from Program Notes for Band
Song for Lyndsay
It is an expansion on a short and unnamed piano piece that Boysen wrote for his wife, Lyndsay, in 2005. The wind piece is larger in length and scope than the source material; in the score, Boysen describes it as “a very personal work ... more than anything else a simple love song dedicated to Lyndsay and what she has meant in my life.”
The piano piece is used as a starting point, and the material in the winds is either based on or a direct quotation of it. Lyrical in nature and just over five minutes long, solo horn and solo flute are prominent throughout; this scoring is deliberately and symbolically used because Boysen plays the horn and his wife plays the flute.
Program Note from publisher
Whirr Whirr Whirr!!!
Can you feel that sensation as you mentally juggle the demands of emotion, profession and family, and each concern barks at you for attention and demands its need be satisfied and you can sense the priority in them all but you know and feel your lack of time and your diminishing grace and patience to deal with them all?!
Can you feel that sensation in your heart and mind when you are led to something that might be on the edge of what you feel comfortable with but you still want to go there and you know that going there will jeopardize your everyday situation but you still want to go there?!!
Can you feel the sensation that wells up in you as you desperately search for the right answer in a situation that has no turning back, no sense of ambiguity can prevail, and no hope of satisfying all the competing emotional interests seems possible?
Your mind spins, duck and dives, leaps and plunges and seems to Whirr, Whirr, Whirr!!
Program Note by composer
The Black Horse Troop
March King John Philip Sousa wrote this march in honour of Troop A, or The Black Horse Troop. This was an independent military organisation which was established in Ohio after The Great Railroad Strike of 1877 amongst fears about the military’s ability to maintain law and order. The Black Horse Troop then became part of the Ohio National Guard Cavalry. The remarkable first performance of The Black Horse Troop in 1925 has been documented by legendary band conductor Frederick Fennell, who attended it at the age of 11. At the conclusion of the concert, just before the march was to be played, the whole of Troop A of the Ohio National Cavalry Guard rode their horses onto the stage and stood to attention behind The Sousa Band as Sousa conducted his musicians in the premiere of this elegant, triumphant march.
Program Note by Suzanne Sherrington and Brendan Champion
Be Thou My Vision
It's not often you come across a composition that offers the high level of musical merit needed to appeal to directors and also offers an emotional depth able to truly move an audience. This is such a piece. Gillingham bases his reverent and powerful work on the hymn tune Be Thou My Vision (also known as the old Irish ballad Slane), with its eternal message of faith and hope.
Mt. Everest
Born in Buffalo, New York, Rossano Galante received his Bachelor of Arts Degree in Trumpet performance from SUY Buffalo in 1992. That same year he was one of nineteen people to be accepted to the university of Southern California's Film Scoring program. He has served as orchestrator for over 50 studio films including, The Mummy, Ben Hur, Fantastic 4, Avengers: Age of Ultron, Gods of Egypt, The Wolverine, Live Free or Die Hard, the Tuxedo.
In soaring brass lines and sweeping woodwinds Rossano paints a sonic picture of the epic grandeur and beauty of Mount Everest, the highest mountain on earth.
Utah Valley University acknowledges that we gather on land sacred to all Indigenous people who came before us in this vast crossroads region. The University is committed to working in partnership—as enacted through education and community activities—with Utah’s Native Nations comprising: the San Juan Southern Paiute, Paiute Indian Tribe of Utah, Uintah & Ouray Reservation of the Northern Ute, Skull Valley Goshute, Confederated Tribes of the Goshute Reservation, Northwestern Band of Shoshone Nation, Hopi Tribe, Navajo Nation, Ute Mountain Ute-White Mesa Community, and urban Indian communities. We recognize these Native Nations and their continued connections with traditional homelands, mountains, rivers, and lakes as well as their sovereign relationships with state and federal governments. We honor their collective memory and continued physical and spiritual presence. We revere their resilience and example in preserving their connections to the Creator and to all their relations, now and in the future.
With this statement comes responsibility and accountability. We resolve to follow up with actionable items to make the School of the Arts at UVU and The Noorda Center for the Performing Arts an inclusive, equitable, and just space for all. There is much work to be done, and we are committed to putting these words into practice.
Department Chair
JEFFREY O'FLYNN
Associate Chair
MELISSA HEATH
Administrative Assistant
CHRIS GINES
Choirs
REED CRIDDLE
CHERILYN WORTHEN
Orchestra/Cello
CHEUNG CHAU
Violin
DONNA FAIRBANKS
Clarinet
JEFFREY O’FLYNN
Trumpet/Music Theory
RYAN NIELSEN
Percussion
SHANE JONES
Piano
HILARY DEMSKE
Jazz/Commercial
DAVID BAKER
Voice
MELISSA HEATH
ISAAC HURTADO
Commercial Music
CHARLIE HAN
TODD SORENSEN
Theory
BRYCE RYTTING
Musicology
ROSS HAGEN
Director of Bands
CHRIS RAMOS