Thoughts on the 2/27/2011 QCWE Concert...
Many may be well aware that I am a conductor (see the horrible photo to the left). The beard was one of those mid-life crisis attempts to look distinguished: a kind of Kurt Masur thing. While I've since discovered that some people whose opinion I respect actually liked it, I thought it only succeeded in aging me at least 10 years. So it's gone now, but I don't seem to have taken anything sans beard since, so what you see isn't what you get!
I meant to actually begin this blog on Sunday evening, February 27, following the most recent concert of the Quad-City Wind Ensemble, one of the several groups that I work with. But it proved to be such a physically and emotionally draining experience that I didn't have it in me to begin. It is probably better anyway that I was able to pen the introduction as well as (at least the beginning) of my Credo.
There are undoubtedly questions (maybe). What did you play? How did it go? Etc., etc. Some musings on the program and its reception appear below:
My initial response to the players, via Facebook: "
A native of Binghamton, New York, ROBERT JAGER (b. 1939) is a graduate of the University of Michigan. After serving as Staff Arranger/Composer at the Armed Forces School of Music, he spent 30 years on the faculty of Tennessee Tech University. He has over 140 published works in a variety of media and is the only three-time winner of the American Bandmaster’s Association Ostwald Award. His biography is also included in the prestigious Grove Dictionary of Music and Musicians. ESPRIT DES CORPS was composed in 1984 on a commission by the United States Marine Band, whose official tune Jager uses as a jumping off point for much of this exciting work’s musical material. Mr. Jager’s own published program notes of what he calls a “fantasy-march” state “full of energy and drama, the composition has its solemn moments and its lighter moments. The composer intends that this work should display the fervor and virtuosity of the Marine Band and the musical spirit and integrity of their conductor (now retired), Colonel John R. Bourgeois.”
The maestro says: WOW, What a tremendous way to start a concert, but I was already sweating under the heat of the lights and the morning coat. How am I going to make it through the rest of the program? Time will tell...
The composer says: (after my note admonishing him for writing such difficult woodwind parts): What a pleasant surprise it was to receive your email about your upcoming performance of my "Esprit de Corps". I certainly do appreciate your ensemble performing my music, and very happy to hear that they are enjoying the music. About the woodwinds - I grew up in the days of orchestral transcriptions where the ww's were usually given the string parts, so I love to hear them move about. Best wishes for a wonderful performance, and thanks again for letting me know about it, and the very kind comments.
A MOVEMENT FOR ROSA is from the pen of talented and prolific composer MARK CAMPHOUSE (b. 1954 in Oak Park, Illinois). The rich cultural life of the Chicago area would greatly influence the young musician, who claims his musical training from Northwestern University (in fact, this ensemble has performed Camphouse’s Whatsoever Things, written in memory of his teacher and mentor John Paynter. James Huff of the Claremont Winds notes that Camphouse wrote “A Movement for Rosa in 1992 to honor civil rights heroine Rosa Parks. This tone poem contains three contrasting sections. The first evokes Rosa's early years, from her 1913 birth in Tuskegee, Alabama, through her marriage in 1932 to Raymond Parks. Section II portrays the years of racial strife in Montgomery and the quest for social equality. The final section is one of quiet strength and serenity, yet its final dissonant measures serve as an ominous reminder of racism's lingering presence in modern American society. Camphouse sat with her at one of the work's performances, which he calls "the most memorable experience that I've had – as a musician and as an American." A native of Chicago and with music degrees from Northwestern University, he is professor of music and director of bands at George Mason University in Virginia.” The work is based upon a very familiar civil rights anthem, which appears as a six-note motive throughout the piece (maestro's note--not in the program--the tune is "We Shall Overcome"). Only in the gentle closing section is the mystery revealed and the previously unknown tune is presented in its entirety.
From Mr. Camphouse: Dear ____, Many thanks for your recent email. I greatly appreciate your kind words. And what a lovely tribute from Myron! Sounds like the Quad-City Wind Ensemble is really flourishing under your leadership. Great! Just conducted Rosa this past Saturday for a special Black History Month Celebration in our new concert hall in nearby Prince William County. Wonderful hall ... my first time conducting there. Your upcoming concert sounds very exciting. Great rep!....Again, my thanks for writing. I hope our paths can cross in the future. Cordially, Mark
From Mr. Camphouse: Dear ____, Many thanks for your recent email. I greatly appreciate your kind words. And what a lovely tribute from Myron! Sounds like the Quad-City Wind Ensemble is really flourishing under your leadership. Great! Just conducted Rosa this past Saturday for a special Black History Month Celebration in our new concert hall in nearby Prince William County. Wonderful hall ... my first time conducting there. Your upcoming concert sounds very exciting. Great rep!....Again, my thanks for writing. I hope our paths can cross in the future. Cordially, Mark
Maestro says: This is one of the most expressive and moving pieces in the entire repertoire. It takes a lot of emotional stamina and concentration to pull it off. Fortunately, I think we did...
Our guest conductor, Dr. Richard Scott Cohen (second conductor of the QCWE) led the next work: SIR MALCOLM ARNOLD (1921-2006) was one of the towering figures of the 20th century, with a large amount of composed works, including symphonies, ballets, concertos for a variety of instruments and over 132 film scores, including the memorable score to Bridge on the River Kwai. One of the finest trumpet players of his generation (he would become Principal Trumpet of the London Philharmonic), he completely abandoned his performing career in the 1940s to concentrate solely on composition. His music has—and continued to be—performed and recorded extensively by leading ensembles both in Britain and abroad. Originally composed in 1963 as Little Suite for Brass, Op. 80, the work was transcribed for concert band in 1979 and re-titled PRELUDE, SICILIANO AND RONDO by John Paynter, whose efforts have served to only augment the popularity of the work. The score itself notes that “all three movements are written in short, clear five-part song froms: the ABACA design will be instantly apparent to the listener while giving the imaginative melodies of Malcolm Arnold a natural, almost folk-like setting. The “Prelude” begins bombastically in fanfare style, but reaches a middle climax, and winds down to a quiet return of the opening measures that fades to silence. The liltingly expressive “Siciliano” is both slower and more expressive, affording solo instruments and smaller choirs of sound to be heard. It, too, ends quietly. The rollicking five-part “Rondo” provides a romping finale in which the technical brilliance of the modern wind band is set forth in boastful brilliance.”
Maestro's note: My goodness! The horns tried their best to take the entire ensemble in a different direction at the opening, but--thanks to a brave trumpet soloist--the "Siciliano" was basically saved from disaster. I wasn't on the podium (of course, but had one of those WTF head jerk reactions!)
Of course, the name of JOHN WILLIAMS is known worldwide for his nearly eighty film scores. His music for such films as Jaws, E.T.: The Extra-Terrestrial, Schindler's List, as well as the Indiana Jones series, have won him multiple awards and produced best-selling recordings, and his scores for the original Star Wars trilogy transformed the landscape of Hollywood film music and became icons of American culture. He is also the winner of five Oscars, 17 Grammys, three Golden Globes and two Emmys. As a conductor, Williams led the Boston Pops from 1980-1993. He has led orchestras throughout the world, including the London Symphony, the Cleveland Orchestra, the Philadelphia Orchestra, the Chicago Symphony, the Pittsburgh Symphony, the Dallas Symphony, the San Francisco Symphony and the Los Angeles Philharmonic. For the STAR WARS MEDLEY, arranger James H. Burden has chosen representative portions of both the main and end titles.
Maestro says: Last piece before the intermission and honestly? We had the audience in the palm of our hand...
Two works by our guest conductor started the second half of the program:
A native of Chicago, with degrees from the University of Illinois and Northwestern University, SCOTT COHEN (former conductor of the Quad-City Wind Ensemble) is currently Director of Instrumental Ensembles at Ferris State University in Big Rapids, Michigan. FANFARE 125 was composed for the recent 125th anniversary of that institution. A Pasodoble is based on music played at bullfights during the bullfighters' entrance (paseo) or during the passes (faena) just before the kill. The leader of this dance plays the part of the matador. The follower generally plays the part of the matador's cape, but can also represent the shadow of the matador, as well as the bull or a flamenco dancer in some figures. Its origin arguably dates back to a French military march with the name “Paso Redoble.” This was a fast paced march, which is why this is a fast-paced Latin American dance modeled after the Spanish bullfight. Bull fighting was well known around this time. Dr. Cohen’s AZCARRAGA is certainly indicative of its style and excitement.
Born in 1894 to a very musical family in Kansas City, Missouri, ROBERT RUSSELL BENNETT (June 15, 1894 – August 18, 1981) was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, and Richard Rodgers. In 1957 and 2008, Bennett received Tony Awards recognizing his orchestrations for Broadway shows. Bennett is also well known for his contributions to wind band music, of which the SYMPHONIC SONGS FOR BAND (1957) has become a modern day classic. As Bennett wrote in his own annotation of the piece, “Symphonic Songs are as much as suite of dances or scenes as songs, deriving their name from the tendency of the principal parts to sing out a fairly diatonic tune against whatever rhythm develops in the middle instruments. The “Serenade” has the feeling of strumming, from which the title is obtained, otherwise it bears little resemblance to the serenades of Mozart. The “Spiritual” may possibly strike the listener as being unsophisticated enough to justify its title, but in performance this movement sounds far simpler than it really is. The “Celebration” recalls an old-time country fair; with cheering throngs (in the woodwinds), a circus act or two, and the inevitable mule race.”
Maestro says: A musically-knowledgeable member of the audience corralled me to tell me what a joy it was to hear this wonderful old gem again. That makes a body feel good.
The son of a Baptist minister, FRANCIS McBETH was born in 1933 in Ropesville, Texas. Taking up the trumpet in the second grade(!), he would go on to study at Hardin-Simmons University and the University of Texas. He is a prolific and highly respected composer of wind band literature who claims Clifton Williams, Bernard Rogers and Howard Hanson as his primary musical influences. McBeth spent his entire 39-year career (1957-1996) on the faculty of Ouachita Baptist University in Arkadelphia, Arkansas and was named Composer Laureate of Arkansas in 1975, the first Composer Laureate named in the entire nation. MASQUE was commissioned by the University of Central Arkansas (State College of Arkansas, at the time) for the opening of their new fine arts auditorium in 1968. David Goza (Director of Orchestral Activities at the University of Arkansas) states that “The title refers to a type of courtly entertainment much favored in sixteenth- and seventeenth- century England, involving acting, singing, ballet, acrobatics, and elaborate costumes and sets. The McBeth work aims to capture the spirit of those diversions without any specific reference.” Goza goes on to note that the work is “in rounded three-part form, with the middle section differentiated from the flanking sections by its slower tempo and the absence of the persistent ostinato prevalent in the remainder of the piece. That middle section shares primary thematic material with the outer sections; in fact, the entire composition, except for a chorale-like subsidiary theme which is severely truncated in the reprise, is a more-or-less continuous development of a three-note motive sounded in the work’s opening measure.
A note from Mrs. McBeth:
Dear Mr. ____, Thanks for your e-mail. It was so thoughtful of you to write. Francis had a stroke a little over a year ago. He is at home now after several months of rehab. He still can't walk, but he seems content and is in no pain. I always print his e-mails and let him read them and he really appreciates hearing from old friends, and it is especially nice to know people are playing his music. He wrote MASQUE when he was in his early 30s and next week he will be 78. Thanks again, Mary McBeth
Maestro says: I only wished I had received this one or two days earlier so that I could have shared it with the players....Francis McBeth is one of those fine Southern gentleman and a monumental contributor to our art.
The concert closed, after fairly extensive remarks, during which I discussed the joys of music making, the real-life communion that musicians share. I thanked the players, and I made particular note of some of my own mentors because one of the most important of those (and the man who introduced me to the closing piece) was present in the audience. It is sometimes awe-striking to sit down and consider the people who have contributed to making us who we are, but I have now made it my own charge to make sure that I let them know that, while they are still with us.
ALFRED REED (1921-2005) was one of America's most prolific and frequently performed composers, with more than 200 published works for concert band, wind ensemble, orchestra, chorus, and chamber ensemble to his name. He also travelled extensively as a guest conductor, performing in North America, Latin America, Europe and Asia. Born in New York he served in the 529th Army Air Force Band and consequently attended the Julliard School. 1953 he became the conductor of the Baylor Symphony Orchestra at Baylor University—two years before his graduation! He was professor of music at the University of Miami, creating the very first college-level music business curriculum in 1966. Insisting that "I am the second most published composer next to J.S. Bach,” at the time of his death, he had composition commissions that would have taken him to the age of 115! ALLELUIA!, LAUDAMUS TE, commissioned by Malone College, Canton, Ohio, on the occasion of its Third Annual Band Festival. The work is actually a canticle of praise without words; the concert band is treated largely both as a single massive choir and, at times, broken down into individual sections. Based on three themes: a massive brass chorale, a flowing line in the woodwinds and horns, and concluding with a version of the opening fanfare eventually spreading throughout the rest of the band. This brings the music back to the first theme, which is capped by a short coda of almost overwhelming power and sonority, to round off the work in joyous triumph.
Maestro says: This is one of those pieces that seems to express exactly what we as musicians are all about. I've never led a more moving expression of this magnificent hymn of praise. One of the ensemble members scorned (in a nice way) for my introductory remarks, because she said it had her crying throughout the entire piece.
This was truly--for me and for many a musical mountaintop experience. Some comments follow:
From Julie in the percussion section:
"It was a great concert! thanks for all your hard work 'driving our ship'"."What a nice, heart felt note. It was indeed a wonderful afternoon- YOU are hugely responsible for that. The QCWE has had some not so stellar seasons under other batons. I, and many others appreciate your varied programing, your coming prepared to rehearse, and insisting on "playing it right" (not just going through the motions). I too have had many Sunday nights when I've been less than enthusiastic about going to rehearsal, but I'm always glad I did, afterward."
You lift us up....I hope you realize how enjoyable you make every rehearsal and concert. I have hugely enjoyed working with you--with your talents, your stories, your knowledge of music and music history and your wonderful dry sense of humor. I'm glad we can in some small way return the favor...friends supporting each other, holding each other up and then celebrating the good things together, like we do as things continue to turn around for you. I'm so glad to know you and am proud and happy to continue on sharing our Sunday nights."
It was a wonderful concert, wasn’t it? I appreciate your sharing the darkness you have been through. I don’t know if it is a close connection to music that puts us in closer touch with our souls, or it is a close connection to our souls that connects us to music, but there is without doubt a connection. That connection can be uplifting to the point of elation and jubilation, but it also has a dark side. Souls capable of great feeling are also capable of feeling great pain. That pain can at times seem overwhelming...The wind ensemble has been a great source of inspiration, a sanctuary if you will, for me as well. I sometimes think it would be much easier to stay home than to make the (short for me, a mere 20 miles) journey to rehearsal. I have never left rehearsal, though, regretting my decision to go. It is an uplifting group. The music makes a connection which is, of course, beyond words. Thank you for your time, commitment, and leadership. The group, as with any group worth belonging to, is greater than the sum of its parts. But no group can function without their leader. Thank you.
I include these remarks from the players to remind myself--even in the darkest of times (and there have been many) that there are times of joy and we do make a difference in the lives of those around us.
I need to close with a few thoughts from others about this wonderful thing we know as music:
Reba McIntyre: "For me, singing sad songs often has a way of healing a situation. It gets the hurt out in the open into the light, out of the darkness."
Ray Charles: "I was born with music inside me. Music was one of my parts. Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me-like food or water."
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