Spring 2012 - CB:VB - WordPress.com is no surprise that Holst’s contemporaries saw in Mars, the Bringer of War, a parallel to the recent horrors of World War I.

THE OSHKOSH WEST HIGH SCHOOL

DEPARTMENT OF MUSIC PROUDLY PRESENTS

CONCERT BANDk

JAZZ ENSEMBLEk

VARSITY BAND

Alberta Kimball AuditoriumMay 10, 20128:00 P.M.

DANIEL J. SINGERDirector of Bands

BRIAN K. WILSONAssociate Director of Bands

DEB

USS

Y ■

HO

LSIN

GER

■ H

OLS

T ■

MA

NC

INI ■

PRO

KOFI

EV ■

VA

N D

ER R

OO

ST ■

WH

ITA

CRE

PRO

GRA

M CONCERT BANDMars, Bringer of War .................................................................... Gustav Holst

arranged by Andrew Balent

Lyric Essay ............................................................................... Donald Coakley

Athletic Festival March .......................................................... Serge Prokofievarranged by Richard Franko Goldman

Havendance ............................................................................. David Holsinger

JAZZ ENSEMBLETake the “A” Train .................................................................... Billy Strayhorn

arranged by David Berger

Peter Gunn ................................................................................. Henry Mancini

Such Sweet Thunder ............................... Duke Ellington and Billy Strayhornarranged by David Berger

VARSITY BANDThe Engulfed Cathedral ........................................................ Claude Debussy

edited by Frederick Fennell

Rikudim, Four Israeli Folk Dances for Band .................. Jan Van der Roost

Lux Arumque .............................................................................. Eric Whitacre

Jupiter, Bringer of Jollity .............................................................. Gustav Holsttranscribed by James Curnow

Please join us in the “O” Room for refreshments following the concert.

MARS .......................................................................... GUSTAV HOLSTThe son of a successful pianist and organist, young Gustav suffered from asthma and neuritis and did not have the stamina to become a concert pianist himself. So he studied composition at the Royal College of Music, writing pieces first influenced by Grieg, Dvořâk, and most notably Wagner, whose works the young Holst never missed when performed at Covent Garden. It was there that Holst made the acquaintance of fellow student Ralph Vaughan Williams, with whom he forged a lifelong friendship. When Vaughan Williams began collecting English folk songs in 1903, Holst took them up as well, finding a source of inspiration that transformed his music into a more “English” style, and that led him to discover his own straightforward idiom.

It is no surprise that Holst’s contemporaries saw in Mars, the Bringer of War, a parallel to the recent horrors of World War I. The movement begins forcefully with full winds and percussion sounding a rhythmic sequence in 5/4, forming an ostinato that gives the section its pulsing, relentless pace. Unresolved harmonies and unrelated chords are superimposed, creating a clashing dissonance that aptly depicts conflict. The final measures repeat the patterns of triplets, quarter-notes, and eighths that dominated the ostinato, but they now pound in short pulses separated by silence, in no apparent regular meter, bringing the movement to its emphatic close. This piece is approximately three minutes in duration. — Barbara Heninger

LYRIC ESSAY .............................................................. DONALD COAKLEYComposer Donald Coakley is an important contributor to the genre of original Canadian works for wind band. His long career in education included posts as Assistant Professor at the Esther Boyer College of Music, Adjunct Professor at York University, Director of Bands at Cardinal Dougherty High School, and Assistant Coordinator of Music for the Scarborough Board of Education in Metropolitan Toronto. Coakley’s main composition teacher was Vincent Persichetti, an association that is evident in the quality of his writing for winds.

Composed in 1975, Lyric Essay has been performed in Canada almost as often as the works of prolific band composer Percy Grainger. It is a gentle, reflective work in a Neo-Romantic style that offers the concert band much opportunity for musical expression. This piece is approximately three minutes in duration. — Katie Tesarowski and Christopher Ward

ATHLETIC FESTIVAL MARCH ........................................... SERGE PROKOFIEVBorn in 1891 in Russia, Sergei Prokofiev exhibited exceptional musical talent as a child. Tutored at the piano by his mother, he wrote a number of piano pieces, including six marches, when he was five. At nine, he wrote the piano score to the opera Giant. He entered the St. Petersburg Conservatory at the age of 13, where he studied with Rimsky-Korsakov, Liadov and Tcherepnin. His travels after graduation took him to the United States, but he found the political and cultural climate of Paris in 1920 to be more sympathetic to his compositions. He retained his Russian citizenship and returned there in 1936, where he lived until his death in Moscow. His death was overshadowed by that of Joseph Stalin, who died the same day. Prokofiev’s works include symphonies, band works, concertos, piano sonatas and chamber music. His better known works include the opera The Love of Three Oranges, the ballet Romeo and Juliet and the symphonic suites Lieutenant Kije and Peter and the Wolf.

Prokofiev began composing marches for wind band in the mid-1930s, following his return to the Soviet Union. His first was Athletic Festival March (or March for the Spartakiad ) from 1935, in which he imagined a festival march for millions of young Soviet athletes. The composer had been interested in athletics from his youth. In this work, he not only wrote in the triumphant, positive vein for the glory of Soviet Russia, but also in the festive tradition of much 19th-century Russian music by composers such as Rimsky-Korsakov and Tchaikovsky. Prokofiev interspersed a basic march theme with more tuneful Russian melodies and kept dissonance to a minimum. In keeping with Prokofiev’s style, the form is clear cut, using rondo and reprise elements. This piece is approximately four minutes in duration. — Karen Berry

PRO

GRA

M N

OTES

PRO

GRA

M N

OTE

S HAVENDANCE ........................................................... DAVID HOLSINGERDavid Holsinger holds degrees from Central Methodist College, Fayette, Missouri, and Central Missouri State University in Warrensburg. Holsinger has completed course work for a DMA at the University of Kansas. The composer was recently honored by Gustavus Adolphus College with the awarding of a Doctor of Humane Letters Degree for lifetime achievement in composition and the Gustavus Fine Arts Medallion, the division’s highest honor, designed and sculpted by renowned artist, Paul Granlund. Holsinger, as the fourth composer honored with this medal, joins a distinguished roster which includes Gunther Schuller, Jan Bender, and Csada Deak. Holsinger is the Conductor of the Wind Ensemble at Lee University, in Cleveland, Tennessee.

David Holsinger’s first child, his daughter Haven, was the inspiration for this 1983 composition. Its driving rhythms represent the energy of an eight year old, who was constantly dancing and twirling around the house, dreaming of being a ballerina. The composition undergoes several variations in style, but it is always filled with energy. Some passages evoke the image of a single dancer, with solo pirouettes and leaps; these light efforts grow to draw in the full dance company with an unrelenting, underlying rhythm. Havendance is the first of three dance songs honoring the composer’s children; Nilesdance and Graysondance reflect the diverse personalities of his two sons. This piece is approximately six minutes in duration. — Windband.org

TAKE THE “A” TRAIN .................................................... BILLY STRAYHORNBilly Strayhorn was born in Dayton, Ohio, and received classical musical training in Pittsburgh. By the time he joined Duke Ellington’s band in 1939, he had already written the classic Lush Life. He rapidly became a vital part of this legendary ensemble, playing, arranging, and collaborating with Ellington on many songs. He was a close friend of Dr. Martin Luther King, Jr. and active in many civil rights battles of his day.

It is said that when Duke Ellington asked his new writer for the name of his latest tune, Strayhorn responded with the first thing he could think of: the directions he had been given to a meeting. Take the “A” Train quickly became one of the most recognizable tunes in all of jazz. This piece is approximately three minutes in duration. — Coastal Concerts

PETER GUNN ............................................................... HENRY MANCINIHenry Mancini was born in Cleveland, the son of Italian immigrants. His father, as steelworker, played the flute to relax after work and forced the young Henry to study music. As a youth, it was the music of Cecil B. DeMille’s epic movies that impressed him most and, despite his father’s wishes that Henry become a teacher, he decided to write music for the movies. He attended the Carnegie Institute of Technology and the Julliard School of Music, but his studies were cut short when he was drafted to fight in World War II. During the war, he got to know some of the musicians in Glenn Miller’s band, leading to a job with the band after the war. Eventually, he began writing for radio shows and the movies. He worked quickly and his output was prodigious. He won 20 Grammy Awards and Academy Awards for the scores for Breakfast at Tiffany’s and Victor/Victoria. He was a pioneer in moving film scores from heavy symphonic treatments to simpler arrangements employing jazz motifs. This piece is approximately two and a half minutes in duration. — WindBand.org

SUCH SWEET THUNDER .................. DUKE ELLINGTON AND BILLY STRAYHORNDuke Ellington is best known for the thousands of big band jazz tunes he penned during the 1930s. His greatest gift as a composer, however, may have been his ability to turn the unique sound qualities of each individual in his band into a coherent and ingenious whole.  Ellington was an exquisite pianist, but his most important instrument was his orchestra.  He taught himself orchestration by experimenting with the band, coming up with tonal effects and unusual voicings of chords to create a highly distinctive soundscape. 

Widely regarded as the most important composer in jazz history, he was also one of the first jazz composers to concern himself with writing down compositions and utilizing recognizable musical forms in jazz.  Around 1940, as big band and swing music dwindled in public favor, Ellington began to devote more time to composing extended, multi-movement concert suites.  In these longer works, his goal was to marry the spontaneity and characteristic rhythms of jazz with the lush instrumentation and extended classical forms of traditional symphonic music.  This piece is approximately three and a half minutes in duration. — Beth Fleming

THE ENGULFED CATHEDRAL ........................................... CLAUDE DEBUSSYClaude Debussy is the earliest composer to be described as “impressionist,” even though a large number of others were beginning to move in the same direction at the time.  He enrolled at the Paris Conservatory, hoping for a virtuoso career as a pianist, but found that his true interests – and talents – lay in composing rather than performing.   At graduation he won the coveted Prix de Rome, but the two-year stay was a disaster, producing no compositions in what would evolve into his mature style. 

The Engulfed Cathedral was originally written as one of a set of Piano Preludes, part of his first collection for the keyboard.  It is a late work, with the composer in absolute command of his abilities.  The dozen or so preludes published in these two books represent an incredible variety of musical impressions.  The title La Cathedrale Engloutie translates literally as The Engulfed Cathedral, but might better be considered as “the enshrouded cathedral”.  The original piano work contains performance markings which indicate the visual impressions he wanted: “in a gently harmonious haze,” “gentle and fluid,” and “emerging from the haze gradually.”  Although this transcription presents its images through a different set of sounds, it preserves the mystery of Debussy’s piano setting.

The subject of this impressionist gem is the legend of the cathedral of a mighty city: the legendary city of Ys, from which Paris – which might be translated “equal to Ys” – perhaps derived its name.  The inhabitants of the city had built a mighty and remarkable cathedral to honor their new Christian god. However, they continued to pay homage to their previous pagan deities, and gradually ignored Him for whom they had built the beautiful edifice, bringing upon themselves a natural catastrophe that submerged the entire city beneath the sea.  (The legend of Atlantis?)  However, the true God took pity upon his few virtuous subjects who had continued to believe in him and decreed that once every century, on the anniversary of the city’s destruction, the cathedral would emerge from the sea for one day, then return to its watery shroud. This piece is approximately six minutes in duration. — C. Michael Kelly

RIKUDIM .............................................................. JAN VAN DER ROOSTJan Van der Roost was born in Duffel, Belgium, in 1956. At a very young age, he was introduced to the prominent names in the wind, fanfare and brass band repertoire and very soon Van der Roost felt the urge to put something on paper himself. At the Lemmens Institute, he received a thorough musical education and he received a triple laureate diploma for trombone, music history and music education. In 1979 he continued his studies at the Royal Conservatoires of Ghent and Antwerp, culminating in a diploma for composition. At the present he teaches at the Lemmens Institute and conducts the wind band at this college. Besides being an arranger and composer, he conducts a mixed choir and the Midden Brabant brass band and is in high demand as an adjudicator.

“Rikud” is the Jewish word for “dance,” and through the plural addition of “-im,” this title simply means “Dances.” Rikudim is a suite in four movements, inspired by Jewish dances. These are not, however, arrangements of existing folk songs, but originally composed works, in the Israeli dance style.

By making use of eastern-style intervals, colored instrumentation (woodwinds!) and irregular meters, the composer has succeeded in creating a feeling of melancholy and in giving the music a specifically Jewish flavor. The clearly outlined themes and the sometimes surprising but naturally arrived harmonization, make these ‘styled folk dances’ easily accessible to the public. This piece is approximately ten minutes in duration. — Jan Van der Roost

PRO

GRA

M N

OTES

PRO

GRA

M N

OTE

S LUX ARUMQUE ............................................................... ERIC WHITACREAn accomplished composer, conductor and lecturer, Eric Whitacre has quickly become one of the most popular and performed composers of his generation. Many of Whitacre’s works have entered the standard choral and symphonic repertories and have become the subject of several recent scholarly works and doctoral dissertations. His works Water Night, Cloudburst, Sleep, Lux Aurumque and A Boy and a Girl are among the most popular choral works of the last decade, and his Ghost Train, Godzilla Eats Las Vegas, and October have achieved equal success in the symphonic wind community. To date, Whitacre’s published works have received thousands of performances and have sold well over 750,000 copies worldwide.

Lux Aurumque began its life as an a cappella choral work that I wrote in the fall of 2000.  When the Texas Music Educators Association and a consortium of bands commissioned me to adapt it for symphonic winds, I rewrote the climax and included the grand “Bliss” theme from my my opera Paradise Lost.

Lux Aurumque received its premiere at the 2005 conference of the Texas Music Educators Association, and is dedicated with deep admiration for my dear friend Gary Green. Below is the text of the original composition. This piece is approximately six minutes in duration. — Eric Whitacre

JUPITER ......................................................................... GUSTAV HOLSTPerhaps the best-known of the movements in Holst’s The Planets suite, Jupiter, Bringer of Jollity, evokes both a sense of fun and, according to Holst, “the more ceremonial type of rejoicing associated with religious or national festivities.” Beginning with a vigorous tune against rapidly moving strings and woodwinds, the movement quickly brings forth several celebratory themes. The central section segues into a stately, ceremonial melody reminiscent of Elgar – in fact, Holst also set this melody as a separate hymn, I Vow to Thee My Country. The hymn ends on an unresolved chord that is immediately met by the joyous motifs of the first section, drawing to a brilliant finish. This piece is approximately nine minutes in duration. — Barbara Heninger

WHY MUSIC MATTERSMusic is being eliminated from school programs around the country, and that may have tragic consequences for many kids. Children who study music boast better SAT scores than those who don’t — as much as 63 points higher in verbal and 44 higher in math. Indeed, music helps to improve overall academic performance, especially in math, where many U.S. test scores lag. Now, a grassroots movement called SupportMusic is fighting to keep music in our schools. Among its most passionate supporters are Kevin Bacon and his brother Michael, who have their own band. “Music is the stuff that keeps us alive,” the actor told us. “It has the power the heal us, move us, and stimulate our minds and bodies. Kids need the education fundamentals.” Michael Bacon added that music “build skills and discipline.” You can find out more at www.SupportMusic.com. — Intelligence Report______________________

As our society becomes more diversified, we recognize the importance of integrating many cultural traditions within our curriculum. We want our students to become familiar with many kinds of celebrations, but not at the expense of others’ beliefs. Our program is a blend of carefully chosen literature supporting several traditions and celebrations.

Lux,

calida gravisque pura velut aurum

et canunt angeli molliter

modo natum.

Light,

warm and heavy as pure gold

and the angels sing softly

to the new-born baby.

WELC

OM

E!A NOTE FROM THE DIRECTORS...Welcome to the 2012 Spring Band Concert! The students of the OWHS Bands have put in many hours of individual practice, small group sectionals, and full group rehearsals to prepare this performance for you. Through the course of the year, each of these young musicians has made tremendous progress in their ability as band musicians. It is always a thrill to see their progress through the year, especially the seniors, who I (Mr. Singer) have watched grow musically over the last 4 years. We are very proud of all of our band students and wish the graduating seniors the best of luck with their future endeavors. A special “Thank You!” goes to all of the parents and family members in the audience for supporting our program and for giving us such wonderful kids to work with each day. Without your support, we would not have the success we have each year. Thanks again for attending this performance. Enjoy! — Dan Singer and Brian Wilson

OSHKOSH SCHOOL BAND HISTORYMusic has been a strong part of the curriculum in Oshkosh schools in the 1920s. Recently, we have been researching our proud past at the high school level. Efforts to make the information accessible to the public are underway and information is being added almost daily to the history portion of www.OshkoshWestBands.com. Please take a few minutes to check it out!

UPC

OM

ING

EV

ENTS

DATE TIME EVENT WHERE WHO May 10, 2012 8:00 PM Spring Band Concert Kimball Auditorium Concert/Jazz/VarsityMay 28, 2012 9:00 AM Memorial Day Procession Downtown Oshkosh ALL OWHS BandsMay 29, 2012 7:00 PM Music Awards Night “O” Room at OWHS All Music Dept. AwardeesJune 3, 2012 3:00 PM Jazz in the Park Leach Amphitheater Jazz Ens./Vocal Jazz Ens.June 8, 2012 4:30 PM Graduation Ceremony Kolf Sports Center 2012-13 Wind EnsembleJune 12, 2012 5:00 PM Model A Restorers Conv. EAA Grounds Jazz Ensemble

SPRING 2013 BAND TRIPThe band trip tentatively scheduled for April of 2012 has been postponed to April 2013 due to a lack of interested students. A similar trip to Philadelphia, Washington, D.C. and New York is in the works!

To help students prepare for funding the trip, we began trip fundraisers in late January. In addition to the Vande Walle candy bars, we will also be selling discount cards good for popular area businesses in the fall.

We hope that because of the advanced planning and funding, a larger percentage of students will be able to enjoy the trip next year. As always, if you have questions or would like to help, please contact Mr. Singer or Mr. Wilson!

NEW BAND EQUIPMENT TRAILERThis summer, the band will be purchasing a new equipment trailer to carry our instruments to and from performances off the West campus. Currently, we use a district food service truck that does not fit our equipment properly, resulting in undue damage. Our new 40’ trailer will be equipped to store each instrument properly, ensuring that school- and student-owned instruments are safely carried to each destination.

The total cost of the trailer to the band program will be approximately $11,500. While the school is very supportive of our students and program, due to state-wide budget cuts, the administration is unable to provide funds for this project. We are seeking donations from local businesses and organizations to make this trailer a reality for our students. Donors will be given the option of being recognized on the back door of the trailer.

If you know of a business that would be willing to assist the band program in the purchase, please let Mr. Wilson or Mr. Singer know. Also, we will need help during the summer to customize the inside. Thank you for helping to make this a reality for our students!

BUFFALO WILD WINDS FUNDRAISER NIGHT!Enjoy a few wings while you raise money for the band! A portion of the profits from the night will be donated back to the West Bands. Simply show the provided flyer to your server. More information and flyers to come from your student!

MONDAY, MAY 21, 20124 TO 10 P.M.

500 SOUTH KOELLER STREET

OSHKOSH AREA SCHOOL DISTRICT ADMINISTRATIONDr. Donald Viegut, Superintendent of SchoolsDr. David Gundlach, Deputy SuperintendentMr. Larry Lewis, Substitute Director of Human ResourcesMr. Bob Tess, Executive Director of Business ServicesMrs. Shelly Muza, Director of Curriculum and InstructionMs. Holly Rottier, Director os Assessment and School ImprovementDr. Bob Geigle, Director of Special Education and Pupil ServicesMrs. Kim Brown, Assistant Director of Special Education and Early Learning

OSHKOSH AREA SCHOOL DISTRICT BOARD OF EDUCATIONMr. Steve Dedow Mr. Karl LoewensteinMr. Steve Eliasen Mr. Ben Schneider IIMrs. Allison Garner Mr. Matthew WiedenhoftMr. John Lemberger

OSHKOSH AREA SCHOOL DISTRICT BAND DEPARTMENT..........................................................................Charles Bauer Merrill Middle School

......................................................................Emily Bauer South Park Middle School....................................................................Ryan Branta Perry Tipler Middle School

...........................................................James Dorschner Oshkosh North High School........................................................David Hamilton Webster Stanley Middle School

.................................................................Karen Kriege Carl Traeger Middle School...................................................................Daniel Singer Oshkosh West High School....................................................................Brian Wilson Oshkosh West High School

OSHKOSH WEST HIGH SCHOOL ADMINISTRATIONDr. Ann Schultz, Principal Mr. Kevin Wachholz, Dean of StudentsMrs. Lexi Ballweg, Assistant Principal Mr. Brad Jodarski, Activities DirectorMr. Timothy Doleysh, Assistant Principal

OSHKOSH WEST HIGH SCHOOL BAND OFFICERSDaniel Ballman, Wildcat Band Will Poppen, Jazz EnsembleBenjamin Binner, Wind Ensemble Zachary Porior, Band WebsiteLucas Gutiérrez, Wind Ensemble Alexander Rabe, Jazz EnsembleDavid Mathers, Wildcat Band Daphne Thompson, Concert BandBradley Phillips, Concert Band Jared Wiedmeyer, Varsity BandHunter Pinkerton, Wildcat Band Taylor Woulf, Varsity Band

SPECIAL THANKSO.W.H.S. Administration Mr. James EdgertonO.W.H.S. Custodial Staff Mr. Scott ElfordO.W.H.S. Guidance Department Ms. Yukiko GrineO.W.H.S. Secretarial Staff Mr. Tom HansonO.W.H.S. Band Parent Organization Mr. Larry KlauschMrs. Lisa Anderson Mr. Patrick LawrenceMr. Herb Berendsen Dr. Charles Rochester YoungMrs. Christina Conn Parents of Musicians

OSH

KOSH

AREA

SC

HO

OL D

ISTRICT P

ERSON

NEL

CO

NC

ERT ETIQ

UETTE

Good Evening!

Your students have worked hard to develop a great performance for you tonight. Please observe the following rules to make it enjoyable for all.

■ Refrain from talking. While the person next to you may be happy to know that your new llama’s name is Engelbert or that you really enjoy underwater basket weaving, please inform them after the concert — not during.

■ Please turn off ALL electronic devices. There is nothing like the sound of a phone ringing during the height of a piece of music. If the composer intended to include a sound clip of “Tears of a Clown” in his piece, he would have written it into one of the students’ parts.

■ Don’t wave at your student during the concert. Your student knows you are attending tonight. In fact, you probably brought him or her here.

■ Please refrain from taking flash photography. Camera flashes can be distracting and have the possibility of adding a few “extras” to the music that the composer didn’t originally envision. Besides, you don’t want your student to walk off the edge of the stage from flash blindness, do you?

■ Remain in your seat for the duration of the concert. Each seat in the auditorium has a great view of the stage and your student. Your camera or video camera works very well from where you are seated. Please do not sit or stand in the aisle for this.

■ Please stay to enjoy the entire concert. The students have worked very hard to provide you with an enjoyable evening. Out of respect for all students, do not leave until after all bands have completed their programs. Besides, you might miss an encore (wink, wink!).

■ Applaud at appropriate times. Students appreciate your applause after a piece you enjoyed. Be aware that some pieces have multiple movements, and applause is only appropriate after the finale of the last. Can you imagine how long the concert would be if we left more time for clapping?

■ Do not leave the auditorium during a piece of music. It is disrespectful to cause this distraction for the performers and other audience members. Approved exceptions include removing a screaming child from the auditorium (please do!) or if you are on fire.

■ Enjoy the music! Why else would you be here?

Failure to observe these rules may result your being required to go on stage and PLAY THE BASSOON.

—Brian Wilson and Dan Singer