Anna Roach Clarinet

Doctoral Recital

Sunday, November 24, 2013 Talkington Great Hall- The Legacy

Lubbock, Texas 1:00 p.m.

Trio fur Klarinette, Violine, and Klavier (1932) …………………………... Aram Khachaturian I. Andante con dolore (1903-1978) II. Allegro III. Moderato

Michael Graber, violin Susan Wass, piano

The Life of Birds (2008) ……………………………………………………………. Mason Bates I. Moving Parts (b. 1977) II. Parakeet Daydream III. The Caged Bird Sings IV. On A Wire: Mating Dance V. Old World Flycatcher VI. Moving Parts

Sarah Hohstadt, cello Michael Graber, violin

Katie Pakizer, flute Professor Duane Hill, Conductor

Intermission

As It Fell Upon A Day (1923) ……………………………………………………. Aaron Copland (1900-1990)

Words by Richard Barnefield (1527-1627)

Katie Pakizer, flute Kelsei Fortenberry, soprano

Duo Sonata (2003) ……………………………………………………......... Gregory Wanamaker I. Departure (b. 1968) II. Elegy III. Scherzo IV. Arrival (Blues)

Andrew Reinhart, alto saxophone

Symphonic Band

Dr. Eric M. Allen, conductorDuane Hill, Guest Conductor

Gabe Musella, Composer in Residence

Monday, May 5, 2014Hemmle Recital Hall

Lubbock, Texas8:00 p.m.

Program

Wild Nights! (2007) ................................................................ Frank Ticheli (b.1958)

Symphony No. 3 (1958).................................................... Vittorio Giannini I. Allegro Energico (1903-1966)II. AdagioIII. AllegrettoIV. Allegro con Brio

INTERMISSION

Gabriel Musella Series:

Don Hanna (2014)

The Journey of Yan Si Meng (2003)

Duane Hill, guest conductor

Relentless Pursuit (2014)

Elsa’s Procession to the Cathedral (1846-8) ....................Richard Wagner (1813-1883)trans. Caillet

The Symphonic Band wishes to acknowledge the support and contributions of the applied string, wind, brass, and percussion faculty for their support and

assistance in preparation of tonight’s performance.

Lisa Garner Santa, fluteAmy Anderson, oboeDavid Shea, clarinet

David Dees, saxophoneRichard Meek, bassoon

Will Strieder and Andrew Stetson, trumpetChristopher M. Smith, hornJames Decker, trombone

Kevin Wass, euphonium and tubaLisa Rogers and Alan Shinn, percussion

Mark Morton, bass

and special thanks to William Ballenger, director, School of Music

Programs produced by James Hodgins and Publicity Office student assistants.

Hemmle Recital Hall is maintained by Tiffany Holmes and Hemmle Crew student assistants

PersonnelDr. Eric M. Allen, conductor

Manuel A. Arambula and Jacob Faske, graduate assistantsCharles Lovell, percussion graduate assistant

Program Notes

Wild Nights! (2007) .............................................................Frank Ticheli

Wild Nights! is a joyous, colorful seven-minute musical journey inspired by Emily Dickinson’s poem:

Wild nights! Wild nights! Were I with thee,

Wild nights should beOur luxury!

Futile the windsTo a heart in port,

Done with the compass,Done with the chart.

Rowing in Eden!Ah! the sea!

Might I but moorTo-night in thee!

Numerous composers have set the words of Wild Nights! to music (Lee Hoiby’s song setting and John Adams’ Harmonium come immediately to mind). However, to my knowledge, no one has used this wonderfully sensuous poem as the basis for a purely instrumental tone poem. This was my aim, and in so doing I focused most heavily on the lines “Done with the compass,/Done with the chart” and “Rowing in Eden!/Ah! the sea!” These words suggested the sense of freedom and ecstatic joy that I tried to express in my work.

Throughout the piece, even during its darker middle section, the music is mercurial, impetuous, and optimistic. A jazzy syncopated rhythmic motive permeates the journey. Unexpected events come and go, lending spontaneity and a sense of freedom. The work is composed in five distinct sections, but contained within each section are numerous surprises and a devil may-care swagger. Surprises are found at every turn, and continue right through the final cadence.

Wild Nights! was commissioned by the California Band Directors Association in celebration of their 50th anniversary.

-Program Note by Frank Ticheli

FluteKayla CrowleyTeresa Jarinko*Giovanni PerezXavier Strickland Alice Warren

OboeRegan LedbetterMargo Prewitt Christa White*

ClarinetRachel Brown Jennifer BuppAnthony CahillHannah Lilly*Amy SmithMeagan TaylorMia Zamora*

Bass ClarinetIsaac Lee

BassoonElla Lowrance*Austin Scott

SaxophoneMegan DillonTony Guzman*Aaron Lackey, tenorChase MagnessWesley Orr, baritone

TrumpetSheldon EnloeMark GurrolaLucas MeadeAlberto Robledo‐MaderaAdam VadalaChristina Weston*

French HornPatrick AlarconChris BattleBrandon BellAshli BradshawJoshua CarrollAmie Dean*

TromboneNick Grigar–BassAlex HellbergCilaya HollowayDave McCoun*–BassEnrique MendezKurt Zotz

EuphoniumEthan MungerTyler Simon*

TubaAndrew EasonSean Kennedy*Joseph Lynch

PercussionNathan FoxJames PattersonAaron PerezBill Wilkinson*Jacob Yepez

BassEdward Allen

HarpMara Garza

* principal+ Faculty

Symphony No. 3 (1958) ................................................Vittorio Giannini

The Symphony No. 3 was composed on a commission by the Duke University Band and its conductor, Paul Bryan, during the summer of 1958, in Rome Italy, where I was spending my vacation. It is my second work for band; the first, Preludium and Allegro, was commissioned by Richard Franko Goldman.

I can give no other reason for choosing to write a Symphony to fulfill this commission than that I “felt like it,” and the thought of doing it interested me a great deal.

I will not go into the technical details of the work. Basically, the listener is not concerned with them beyond what they can hear for themselves. I follow no ‘isms’ when I compose; I try to project and communicate a feeling, a thought that is in me at the time, using whatever technique is suggested by my mood to achieve this communication.

The form of the movements is this: first movement – sonata allegro; second movement – A B A; third movement – A B A B; fourth movement – sonata allegro. There is no program – only what I heard and felt at the time. I hope it makes music. -Program Notes by the Composer

Don Hanna (2014)

“Be the best you can be...that will be good enough,” was Don Hanna’s frequent challenge to his students. As an infant, Don’s family moved to Raymondville, Texas. His father, Otis, was a farmer and his mother, Clemmie, a homemaker, who was insistent that her children have opportunities in the arts. Don began piano lessons at the age of 10, joined the band in the seventh grade, and as a senior became the first student from Raymondville High School to make the All-State Band. He used his keyboard skills as pianist and later organist at First Baptist Church of Raymondville. In 1959 he entered Hardin-Simmons University on a music scholarship, majoring in piano and clarinet. He was awarded scholarships to play in the Concert & Cowboy Bands, the University Combo and the Abilene Philharmonic Orchestra, where he was second clarinet. He was a charter member of the Theta Lambda chapter of Phi Mu Alpha Sinfonia and served as president his senior year. At Hardin-Simmons he met Shirley Blackwell, a piano major who had graduated as valedictorian of Bell High School in Bedford, Texas. She played flute in the University Concert Band. They were married on July 13, 1963. In 1964, Sweetwater High School Band Director Pat Patterson hired

About the Composer

Gabe Musella, a native of Corpus Christi, Texas, has taught for over twenty - five years in Texas. He is currently in his 9th year as Director of Bands at Spring High School in Spring, Texas. He has previously taught in the Lubbock-Cooper, Canyon, and Lubbock ISD’s. A graduate of Texas Tech University, he holds a B.M. in Composition and M.M. in Conducting. He studied at Tech were the late James Sudduth, Mary Jeane van Appledorn, David Payne, and Keith Bearden. Mr. Musella’s bands have earned UIL Sweepstakes in eight separate varsity and non-varsity categories. They have performed at The Midwest Clinic and the BOA National Concert Band Festival, and been finalists in the TMEA Honor Band competition, UIL State Marching Contest, and BOA Super – Regional in San Antonio. The Spring Band has had four different ensembles perform at Midwest since 2008. The entire program was featured in the November 2010 issue of The Instrumentalist. The Spring Winter Guard won the 2014 WGI Scholastic Open World Championship in Dayton Ohio. A frequent clinician and adjudicator throughout Texas he has judged at the UIL State Marching Contest, TMEA State Honor Band Finals, and presented sessions at Midwest, TBA, TMEA, TCDA, and The South Central Region Music Conference. He has served on the UIL Sight-Reading and Music Advisory Committees. Gabe currently serves as TMEA Region IX President.

Mr. Musella is an active composer published by RBC, C. Alan, Row Loff, Boosey & Hawkes, KJOS, and TRN. He has received commissions from outstanding bands and honor groups including the Texas All State Jazz Ensemble and the ATSSB All State Band. His compositions are found on the Texas PML for band and orchestra, and on similar lists in Louisiana, Ohio, Tennessee, Utah, and Virginia. He has been frequently honored as a Spring ISD Distinguished Educator. Memberships include ASCAP, Phi Beta Mu, TMEA, TBA, TMAA, and Phi Mu Alpha Sinfonia. He is a background vocalist for the “shoo-bop” group JC and The Cruisers. Gabe resides in the Houston suburb of Tomball with his wife Alice, also a Tech alum, and their cats, Ifrit and Sheva. Their son, Alex, is a geology major at Texas A & M – Corpus Christi.

Don to serve as director of the Junior High School band. In 1966, the Hannas moved to Odessa, where Don served as the band director at Ector Junior High and Crockett Junior High. During this time they became the proud parents of Alan Donald Hanna. In 1969, they moved to Fort Stockton where he assumed his duties as director of bands. In 1970, Don and Shirley completed master’s degrees at the University of North Texas. They were also blessed with the birth of their daughter, Kimberley Joy Hanna. He was invited to become a charter member of the Texas Music Adjudicators Association and later was honored with membership in Phi Beta Mu, nominated by his colleague and friend G. T. Gilligan, revered director of the Kermit High School Band. In 1979, he was named director of bands for the Denton ISD, where his son Alan, a trumpet player, and daughter Kimberley, an oboe player, would later be students in his band. While attending West Texas A&M, Alan and Kimberley chose to pursue band directing. During his time in Denton the ACLU filed suit against the school district for performing a band halftime show of Christian music. The band “enjoyed” national media coverage for several weeks, and Friday night halftime shows recorded by Dallas/Fort Worth television stations via helicopter were examined to see if the new flower petal formation Don substituted still looked like a cross! Thanks to the overwhelming support of the community and band parents who encouraged Don to be represented by an attorney from the American Center for Law and Justice, the case was settled: public schools must meet certain guidelines, but it is legally permissible to perform sacred music. In 1992, superintendent of the Amarillo ISD, a former Phi Mu Alpha brother at Hardin-Simmons University, persuaded Don to accept the position of band and orchestra director at Amarillo High School. During the first 30-years of his teaching career, Don’s bands accumulated 28 University Interscholastic League sweepstakes awards, qualified for the state marching contest every year but one, and were in the finals for the state honor band competition four times. His bands traveled to national competitions and were named outstanding in class 13 times. Don retired from the public schools in 1994 to become director of bands and associate professor of music at Hardin-Simmons University, where his bands would average 35 to 40 performances each year. The Cowboy Band made three European tours, was invited to perform at the Gubernatorial Inauguration of Governor George W. Bush and later his Presidential Inauguration. The Concert Band received the first invitation in the University’s history to perform for the Texas Music Educator’s Association Convention. He retired in 2002 from Hardin-Simmons. During his tenure in Fort Stockton, Denton and Abilene he also served as a church organist. One year after retirement, his love for teaching brought him back into the classroom at Pantego Christian Academy in Arlington. He taught band to students in grades five through 12, and during his first year he recruited 38 of the 42 fifth-graders to

culminate in Tristan, The Ring, and Parsifal. Not quite emancipated from the musical speech of his operatic contemporaries, one finds in the Lohengrin score those unmistakable flights into musico-dramatic magnificence transcending all that preceded it in idiom and musical adventure.

In this transcription of Elsa’s Procession for symphony band, Lucien Caillet, with his great talent for instrumentation, has succeeded in building into the instrumental framework of the modern band a true and delicate representation of all that Wagner so eloquently describes with orchestra and chorus. In the present score, the instrumental solo voices of the original score are paralleled, the choral voices deftly absorbed in the rich instrumental texture and all the luxuriant Wagnerian color re-created in terms of the instrumentation for the band.

There is nothing in the actual performing of this score that should prove hazardous for either technique or musicianship. It is advisable, however, to maintain a positive and definite legato at all times, only allowing the music to indicate a definite climax eleven measures before the end, and here the climax should be worked gradually with more and more rhythmic consciousness, avoiding any explosive crescendi and maintaining balance at all times. The pace of the work should never exceed eighty to the quarter notes.

-Program Note from the Score

The Journey of Yan Si Meng has three distinct sections and a coda. Large brass chords open the work immediately leading to the introduction of an energetic rhythmic decisive in the third measure. This motive serves as a unifying element throughout the piece. “The Song of the Yellow River Boatmen” melody is heard first in its original form harmonized in fifths, and then in augmentation decorated with fragments of its own B theme. The recorder explores one of these fragments in a brief cadenza before the music is off and running again to set up a 7/8 “dance” permutation. This section winds down in 3/4 time, briefly recalls earlier motives, and ends with a bang! “The Song of the Crow” supplies the simple melody that is set for solo recorder and flute choir. The second phrase for low brass choir utilizes thick chords to create a lush texture. This gives way to a brief canonic version segueing into two-bar declamatory statements from the recorder, flute choir, and full ensemble. The tenor drum ostinato introduces the final tune “Silver Boat Moon.” Tenor voices boldly sound the melody over a brilliant background of flutes and sleigh bells. The ensuing section utilizes trios of instruments set in stretto. At Letter S, the coda begins with an augmentation of “The Song of the Crow” while fragments of the other two songs flash in and out of the texture. The opening rhythmic motive and the 7/8 version of “The Song of the Yellow River Boatmen” are briefly recalled bringing the work to an optimistic close.

-Program Note from the Score

Relentless Pursuit (2014)

Setting goals is a common and mostly healthy activity undertaken by individuals looking to improve on some aspect of their lives. Charting and embarking on the course to achieve these self-imposed benchmarks requires stamina and a headstrong mindset that continually issues the constant reminder, DON’T GIVE UP! The title is an accurate descriptor of the driving and unyielding forward motion that characterizes the music. The energy culminates in a bang!

Elsa’s Procession to the Cathedral (1846-8) .............. Richard Wagner

Elsa’s Procession to the Cathedral, with its medieval color and pageantry, prefaces her betrothal to Lohengrin, mystic Knight of the Holy Grail, who comes to deliver the people of Brabant (Antwerp) from the Hungarian invaders.

In the operatic presentation, a large double chorus (representing the people of Antwerp) adds its song of solemn praise to that of the orchestra. It is in this music, mystic yet powerful, that we find Wagner striking out with those new and intense musical thoughts that were to

join the band. In 2004, a former student asked him if he would consider teaching beginners in his feeder school. He accepted the position and was hired two years later as the instrumental music specialist for the Fort Worth ISD. In fall of 2013 he began his 50th year as a music educator serving as band specialist for the Fort Worth ISD. He served as vice president of TMAA from 1990-1992, state band chairman for TMEA from 1992-1994, President-Elect, President and Past President of TMEA from 1994-1997. He has been honored in his profession many times, beginning with a seat in the Texas All-State Band in 1958, his induction into Phi Beta Mu in 1973, dedication of the All-School Sing at Hardin-Simmons University, induction into the ABA, and invitations to present clinics at state conventions throughout the country. Don has served as guest conductor for the United States Army Band, National Christian College Educator’s Band and many others, along with countless high school and middle school bands. Associations, fraternities and service organizations include ABA, TBA, TMEA, TODA, CBDNA, ASBDA, NBA, Phi Beta Mu, Pi Kappa Lamda, American Guild of Organists, Phi Mu Alpha and Lions International. His publications include Scales & Rhythmic Figures for Band, Daily Warm Ups for Middle School Band, Daily Warm Ups for Advanced Band and Daily Warm Ups for Symphony Orchestra. In 2005, he was honored with the Bayard H. Friedman Award at a Fort Worth Symphony concert. In 2006, he received the Meritorious Achievement Award from the Texas Bandmasters Association. Don was very proud of his daughter, Kimberley Hanna, and son, Alan Hanna, who are band directors, and his wife, Shirley, for her love and support through many years and beloved “Grandfather,” to Laura Jane and Jack Mitchell.

-Program Note by Alan Hanna

The Journey of Yan Si Meng (2003)The Journey of Yan Si Meng was commissioned by the Reed Middle School Band of Duncanville, Texas and their conductor, Ms. Tammy Fedynich, in commemoration of their selection as the 2003 Texas Class CCC Honor Band. During the spring semester of 2002, Tammy was blessed with the arrival of Emily Ruth Fedynich, who was born to Chinese parents in the Fujian province of southern China. To celebrate this momentous occasion in conjunction with her professional milestone, Ms. Fedynich requested an upbeat piece with a decidedly Asian flavor. To this end, the composer has taken three Chinese folk songs and set them against “westernized” harmonic backgrounds, all the while maintaining the basic melodic elements intact. This “Americanization” serves as a metaphor for what awaits young Emily in the years to come. Yan Si Meng is Emily’s Chinese name; it means “always dreaming.”