May Band Concert Program

Inspired by the wonder and adventure of outer space, Legends of the Galaxy: A Cosmic Fanfare by Chandler L. Wilson (b. 1984) transports listeners on an exciting interstellar journey. Brilliant brass fanfares, sweeping melodies, and cinematic percussion combine to create a heroic and imaginative musical landscape. Legends of the Galaxy was ranked in the top 100 band compositions in the American Band College/Band World Magazine/Western International Band Clinic Literature List for 2016. Chandler L. Wilson is a composer, conductor, and educator from Miami, Florida. His music has been performed by honor bands and festivals across the country, and he has led nationally recognized school band programs whose students have appeared on national television and in the McDonald’s Thanksgiving Day Parade. Wilson continues to be active as both a conductor and advocate for music education.

Karl King's (1891-1971) The Trombone King was published in 1945 and dedicated to Charlie Toops, a trombonist and bandmaster from Wilmington, Ohio. As might be expected, the trombone part rarely calms down during this march, or, for that matter, during any King march. Karl King spent much of his life playing in, directing, and composing for circus bands, which often performed music at a high level of difficulty. He is best known for his 1913 march Barnum and Bailey's Favorite. He quickly became, and remains, one of America’s great march composers alongside John Philip Sousa and Henry Fillmore.

Few artists have shaped popular music as profoundly as Stevie Wonder, whose timeless songs blend soul, funk, jazz, and pop into an unmistakable sound. Arranger Paul Murtha captures the energy and spirit of Wonder’s music in this exciting concert medley, featuring several of his greatest hits. Filled with infectious grooves, memorable melodies, and driving rhythms, Stevie Wonder in Concert celebrates the enduring legacy of one of music’s most influential performers.

Since 1995 the creative team at Pixar Studios has given us heartwarming stories and unforgettable characters that appeal to audiences of all ages. In addition, the music created for these films is an integral part of their charm and popularity. PIXAR Movie Magic features music from several of Pixar’s most recognizable films including You've Got a Friend in Me ("Toy Story"), The Spirit of Adventure ("Up"), The Glory Days ("The Incredibles"), The Big Race ("Cars") and the main theme from Ratatouille. The medley highlights the variety of musical styles heard throughout Pixar’s films, from jazz-inspired themes and orchestral action music to lyrical ballads. 

Arrange Michael Brown (b. 1962) has served as staff arranger for the United States Army Band ("Pershing's Own") in Washington, D.C., and previously as chief arranger for the United States Military Academy Band at West Point, N.Y. His arranging credits include: the Tonight Show with Jay Leno, the opening ceremonies of the 2002 Olympic Winter Games in Salt Lake City, Utah, the National Symphony Orchestra, and the Kennedy Center Honors in Washington, D.C.

The Shenandoah Valley and the Shenandoah River are located in the state of Virginia. The origin of the name for this river and valley is obscure. The origins of the folk song are equally obscure, but all date to the 19th century. Many variants on the melody and text have been handed down through the years with the most popular telling the story of an early settler’s love for a Native American woman. The composer writes:

In my setting of Shenandoah I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less concerned with the sound of a rolling river than with its life-affirming energy -- its timelessness. Sometimes the accompaniment flows quietly under the melody; other times it breathes alongside it. The work's mood ranges from quiet reflection, through growing optimism, to profound exaltation.

Frank Ticheli (b. 1958) is one of America’s most celebrated contemporary composers for concert band. Known for music that is both expressive and accessible, his works have become standard repertoire for ensembles worldwide. A longtime professor at the University of Southern California and frequent guest conductor, Ticheli has received numerous national awards for his contributions to music and music education.

Hoe-Down is the energetic finale from Rodeo, a ballet composed by Aaron Copland in 1942 and choreographed by Agnes de Mille. The ballet tells the story of a cowgirl trying to find her place in the rugged world of the American West, and Copland’s music captures that setting with sweeping melodies, lively rhythms, and unmistakably American character.

Much of the music in Rodeo was inspired by traditional American folk tunes, and Hoe-Down in particular is built around the fiddle tune Bonaparte’s Retreat, which Copland adapted after hearing a recording collected by folklorist Alan Lomax. Rather than heavily transforming these melodies, Copland kept their character largely intact, helping create the open, familiar sound that has become one of his trademarks.

The premiere of Rodeo was an immediate success. Choreographer Agnes de Mille danced the lead role herself, and the audience response was so enthusiastic that the performance reportedly received 22 curtain calls, an extraordinary number even by theatrical standards. Since then, Hoe-Down has taken on a life of its own beyond the ballet stage and remains one of the most recognizable pieces in American music, appearing in popular culture and concert halls alike.

Aaron Copland (1900-1990) is considered one of America’s greatest composers and helped shape the sound of American concert music. Known for his expansive, folk-inspired style, his works, including Rodeo, Appalachian Spring, and Fanfare for the Common Man, remain among the most recognizable pieces in American classical music.

PROGRAM NOTE FROM THE COMPOSER

Tales have always captivated me. As a composer it only seemed obvious that someday I would attempt to retell a few of these treasured stories through music. Extremely dynamic, rich in color, and instantly accessible, they seemed to have an inherent musical quality to them. Originally conceived as entertainment or outrageous campfire stories, there's nothing remotely subtle about them. Exaggeration was key in chronicling the extraordinary events of some of American folklore's most beloved and timeless individuals. I thought that the best way to capture these larger than life characters musically would be to take the same route: splashes of color, exaggerated nuance markings, complete with tunes and audience could walk away whistling.

I recalled a character from a tall tale I'd read and researched as a child. Pecos Bill, the ultimate cowboy, is the embodiment of superlative: strongest, meanest toughest, greatest. I attempted to capture the spirit of Pecos Bill during the great American expansion into the Southwest - his days on the wild frontier, his encounter with his love interest Slue-foot Sue, and of course his legendary ability to lasso, ride and tame tornadoes. I thought a rip roarin' account of some of these adventures could be a lot of fun for both the musicians and the audience and would be the perfect way to inaugurate a larger multi-movement work.

TBW

PROGRAM NOTE FROM THE COMPOSER

October is my favorite month. Something about the crisp autumn air and the subtle change in light always make me a little sentimental, and as I started to sketch I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English Romantics (Vaughn Williams, Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season. I'm quite happy with the end result, especially because I feel there just isn't enough lush, beautiful music written for winds. October was premiered on May 14th, 2000, and is dedicated to Brian Anderson, the man who brought it all together.

ABOUT THE COMPOSER

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 this spring was honored with his first Grammy nomination (contemporary classical crossover).

PROGRAM NOTE FROM THE COMPOSER

With Heart and Voice was commissioned by Apple Valley High School Bands, Scott A. Jones, director (Apple Valley, Minnesota), to commemorate the 25th year of existence of this high school. Apple Valley High School’s strong commitment to the arts was a major factor in my decision to take on this commission. After visiting the school in December of 2000 and meeting many of the students, faculty, and administrators, I became greatly inspired.

Thematically, the work is based on the Apple Valley High School Alma Mater, an old Spanish hymn which has made its way into most church hymnals under the name of “Come, Christians, Join to Sing”.

It is perhaps fate that this hymn, a particular favorite of mine, happens to be the tune used for the Alma Mater. Christian Henry Bateman wrote the words for the hymn in 1843 and the first verse contains the line, “Let all, with heart and voice, before his throne rejoice”. Hence, the title, With Heart and Voice. What better way to celebrate 25 years of this great high school than with our “hearts” and “voices.” The “voice” in this case is the music and the “heart” is the emotion that the music renders in celebration.

Although the work is largely celebratory in nature, it begins with a feeling of reticence and apprehension, much like the beginning of Apple Valley High School. It was at one time only an idea or perhaps only a sketch in the mind of the architect. Small fragments of the Alma Mater are heard in the opening moments of the piece. The piece gains momentum, texture, and volume in this opening section, culminating in a dramatic statement of the first four notes of the theme. A calmness follows and a lyrical flute solo enters. This new material represents the uniqueness of the “mission” of a new school which will have roots in academic excellence and commitment to the visual and performing arts. The euphonium echoes the flute and soon more instruments join in, and the section culminates with a dramatic fanfare. This is followed by a transitional section with much dissonance and rhythmic activity, equated to the challenge—maintaining the goals and mission of the high school. A glorious statement of the Alma Mater follows, signifying the dedication of Apple Valley High School twenty-five years ago. The ensuing section begins as a fugue with underlying unsettling rhythmic activity in the percussion. The obvious reference of this section is to challenge—maintaining the goals and mission of the high school. The section becomes frantic and desperate, but soon subsides into peacefulness. The peacefulness is stated by the marriage of the “Alma Mater” theme and the “Mission” theme…after all, for the High School to survive, it must never forget its mission. An extended finale follows which celebrates both themes in playful, joyful, and dramatic exuberance.

"I pini della via Appia" ("The Pines of the Appian Way") is the dramatic final movement from Ottorino Respighi’s 1924 tone poem Pines of Rome. Rather than telling a traditional story, Respighi paints a vivid musical scene inspired by one of ancient Rome’s most famous roads, the Appian Way.

Respighi imagined a distant Roman army marching at dawn. The movement begins almost imperceptibly, with low, quiet sounds that suggest something approaching from far away. Over time, the music steadily grows in volume and intensity as more instruments join in, creating the feeling of thousands of soldiers gradually appearing over the horizon. By the end, the full ensemble reaches a powerful and triumphant climax intended to evoke the overwhelming sight and sound of the Roman legions entering the city.

One of the most remarkable aspects of this piece is how patiently Respighi builds anticipation. For several minutes, the music resists reaching its destination, allowing the audience to experience the growing sense of scale and inevitability. When the final arrival comes, the effect is meant to feel monumental.

More than 100 years after its premiere, The Pines of the Appian Way remains one of the most celebrated musical depictions of ancient Rome and one of the most thrilling finales in orchestral literature.

Ottorino Respighi (1879-1936) was an Italian composer best known for creating richly colorful orchestral music that paints vivid scenes and places. His music established him as one of the leading composers of the early 20th century. Respighi was also fascinated by earlier music and often drew inspiration from Italy’s Renaissance and Baroque traditions while combining them with bold, cinematic orchestral sounds.

You Can’t Stop the Beat is the finale from the Broadway musical Hairspray, which premiered in 2002 and was later adapted into a successful film. Set in 1960s Baltimore, Hairspray follows Tracy Turnblad, a teenager who dreams of dancing on a local TV show and ultimately helps challenge social barriers and promote integration. As the show’s closing number, You Can’t Stop the Beat celebrates Tracy and her friends’ success in integrating the television program and serves as a joyful conclusion to the musical’s themes of progress, acceptance, and positive change.