UPCOMING EVENTS

GVSU Commencement Saturday, December 9, 2017 10:00 AM Van Andel Arena Fall Senior Dance Concert Saturday, December 9, 2017 7:00pm Haas Center for Performing Arts, Dance Studio Theatre - 1600 GVSU Varsity Men’s Glee Club Concert Saturday, December 9, 2017 7:30 PM Cook - DeWitt Center Fall Senior Dance Concert Sunday, December 10, 2017 2:00pm Haas Center for Performing Arts, Dance Studio Theatre - 1600 Faculty Recital - Dan Graser: The Solo Saxophone Sunday, December 10, 2017 7:30 PM Haas Center for Performing Arts, 1325 - Sherman Van Solkema Hall

Find us on social media! Facebook, Twitter , Instagram, Snapchat

@gvsumtd

Learn more about GVSU Music, Theatre, and Dance at www.gvsu.edu/mtd

The use of cameras, video cameras, or recording devices is strictly

Prohibited.

Please remember to turn off your cell phone.

Symphonic Wind Ensemble

Kevin Tutt, conductor

Friday, December 8

7:30 PM Louis Armstrong Theatre

Thomas J. and Marcia J. Haas Center for the Performing Arts

Morning Star (1997) David Maslanka (1943-2017) Songs Without Words (2000) Dan Welcher (b. 1948)

I. Manic II. Reflective III. Giddy IV. Stunned V. Confident

Profanation from “Symphony No. 1 – Jeremiah” (1942/1995) Leonard Bernstein (1918-1990) trans. by Frank Bencriscutto

Intermission Variants on a Medieval Tune (1963) Norman Dello Joio (1913-2008)

Introduction, Andante moderato Tema: “In dulci jublio” semplice Variation I, Allegro deciso Variation II, Lento, pesante Variation III, Allegro spumante Variation IV, Andante Variation V, Allegro gioioso

O Magnum Mysterium (1994) Morten Lauridsen (b. 1943)

Liminal (2016) John Mackey (b. 1975)

PROGRAM

O Magnum Mysterium Morten Lauridsen is most noted for his six vocal cycles Les Chansons des Roses (Rilke), Mid-Winter Songs (Graves), Cuatro Canciones (Lorca), A Winter Come (Moss), Madrigali: Six "Firesongs" on Italian Renaissance Poems, and Lux Aeterna as well as various individual songs and choral works, including O Magnum Mysterium and “Dirait-on” from Les Chansons des Roses. A long time faculty member and chair of the Department of Composition at USC, he was the composer in Residence of the Los Angeles Master Chorale from 1994-2001.

Lauridsen writes the following about his setting of O Magnum Mysterium, “For centuries, composers have been inspired by the beautiful O Magnum Mysterium text with its depiction of the birth of the newborn King amongst the lowly animals and shepherds. This affirmation of God’s grace to the meek and the adoration of the Blessed Virgin are celebrated in my setting through a quiet song of profound inner joy.” H. Robert Reynolds has arranged the symphonic wind version of this work with the approval and appreciation of the composer.

Liminal – notes from Ostimusic "Liminal" is, first and foremost, a homage to John Mackey's love of progressive metal bands such as Tool. A rhythmic tour de force, focused on the percussion section (including a part for six tom-toms), the work is concerned primarily with groove and pulse, with moments of as many as three time signatures happening simultaneously.

Liminality is the quality of ambiguity or disorientation that occurs in the middle stage of rituals, when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the ritual is complete. During a ritual's liminal stage, participants "stand at the threshold" between their previous way of structuring their identity, time, or community, and a new way, which the ritual establishes.

Liminal was commissioned by the United States Air Force Band for their 75th Anniversary.

The world premiere was June 11, 2016.

Profanation – note by Andy Pease

Leonard Bernstein (1918-1990) was an erudite, passionate musician whose exceptional talents and expressive gifts earned him a special place in the hearts of New Yorkers. He rose to instant national fame in 1943, at age 25, when he filled in for the suddenly ill Bruno Walter as conductor of a nationally televised New York Philharmonic performance. He went on to become the Philharmonic’s music director until 1969, and remained a frequent guest conductor there until his death. With the Philharmonic, he presented a series of 53 educational Young People’s Concerts which were broadcast on CBS, making him a familiar face around the nation. He also composed music, crossing from academic classical music into Broadway musicals, including West Side Story, On the Town, and Candide.

Profanation is the second movement of Bernstein’s Symphony No. 1 - Jeremiah. The Symphony is based on the biblical story of Jeremiah, a prophet who warned his people of the coming destruction of Jerusalem, was mocked by them for it, and famously lamented when it came to pass. Bernstein wrote the Symphony in 1942 in order to enter it in a competition at the New England Conservatory. He did not win, but the piece went on to bring him great success, earning him the New York Music Critics’ Circle award for best classical composition in 1944 and helping him reconcile with his father, to whom he later dedicated the score. Profanation is the Symphony’s scherzo. It dramatizes the savage mockery that Jeremiah experiences from the priests of the Temple of Solomon when he warns them that their corrupt ways will bring about its destruction. It opens with a distorted version of a liturgical melody, which multiplies into a chaotic pagan celebration. Jeremiah’s warning from the first movement (Prophecy) returns later, only to be drowned out by the chaos.

Piccolo Hannah Petersen Flute Candice Rohn* Anna Vander Boon Hannah Petersen Abbey Trach Mitchell Schaekel Melissa Machusko Oboe Lauren Glomb* Olivia Martin Emily Walker English Horn Olivia Martin Bassoon Benjamin Pummell* Isabella Purosky Eb Clarinet Jacob Bleeker Clarinet Bryce Kyle* Amy Zuidema Jacob Bleeker Alex Alcorn Katie VanOort Ryan Schmidt Jennifer Soles Courtney Allen Alexa Villaron Bass Clarinet Claire Salinas Ryan Schmidt Amy Zuidema

Alto Saxophone Andrew Peters* Darwin McMurray Michael Jasman John Breitenbach Tenor Saxophone Anna Petrenko Baritone Saxophone Derek Storey Trumpet Erin Ray* Ethan Lonsway Justin Schreier Shawn Nichols Skye Hayes Amy David Horn Reed Fitzpatrick* Timothy Lester Eric Pasma Erica Lumsden Julius Beller Trombone Elizabeth Miller* Johnathan Tesner Caleb Marshall Bass Trombone Zachary Stout Euphonium Rick Maycroft* Nicholas Hudgins

Tuba Matt Langlois* Drew Moles Guerry Love II Percussion Jacob Theisen* David Hempstead Liam Martin Andrew Witter Jaden McCallum James Cortright Bass Weston Bernath Press Officer Amy Zuidema Applied Instrumental Faculty Richard Britsch, Horn Arthur Campbell, Clarinet Paul Carlson, Tuba & Euphonium Sookkyung Cho, Piano Tim Froncek, Percussion Dan Graser, Saxophone Christopher Kantner, Flute Helen Marlais, Piano Victoria Olson, Bassoon Gregrey Secor, Percussion Marlen Vavrikova, Oboe Mark Williams, Trombone Alex Wilson, Trumpet * principal

PERSONNEL

PROGRAM NOTES

Morning Star – note by David Maslanka

Morning Star was commissioned by the Grand Ledge (Michigan) High School Wind Symphony, Michael Kaufman, conductor, and premiered by them in May of 1997. Mike asked me to write a piece for the inauguration of the new concert hall being built at Grand Ledge High. Well, the hall wasn’t finished, and the piece was premiered in the old gym ­– the gymnauseum as it was called – and we had a good time anyway.

Morning Star was a surprise to me. In planning for the piece I came up with a great many ideas – enough for three or four pieces. When it came time to compose the piece I suddenly discarded all of that material and went with a little tune that came to mind. The result is a happy piece, a concept which does not usually attach itself to my music.

Morning Star is about beginnings: the dawning of a new day, the opening of a new hall, the beginning of adult life for the young people who premiered the piece, and for those who are playing it now.

Songs Without Words – note by Dan Welcher

Since the very nature of a piece entitled Songs Without Words would be destroyed by too many words about the piece, it seems best to let the movement titles speak for themselves. Mendelssohn’s celebrated set of piano pieces in this genre establishes a precedent for short, mood-oriented works with simple titles attached. I began this composition by imagining five moods that could be portrayed in wind, brass, and percussion colors – then expanded on the idea by linking the separate motives together in the fifth “song”. The effect would be one of looking at separate elements of a personality, then looking at the whole person.

“ Manic” was originally titled Almost Too Happy (like Schumann’s Almost Too Serious in Kinderszenen.) It is very short and over the top in terms of energy. The trumpets’ opening motive is marked “barking, like vulgar laughter,” which is answered by the trombones’ flutter-tongue growls and snarls. It’s over before it has a chance to burn itself out.

“Reflective” was inspired by a series of days in which it never stopped raining. The motion-driven craziness of the previous movement is complete taken over by an introspective mood, and the music follows an unchanging metric pattern of 5/8, 2/4, and 3/4 bars in specific order. The effect is somewhat like sitting in a Zen garden, listening to the tiny waterfall.

“Giddy” is pure silliness and good humor. A rollicking 6/8 tune appears in low reeds and euphonium, accompanied by swinging 16th notes in the upper woodwinds. A trio section in the center allows the brass and timpani to indulge in some vaudevillian high jinks. But as the music gallops to what feels like a happy climax, it is suddenly interrupted …

“Stunned” is what happens in life when we aren’t looking. The carefree mood is shattered, almost like running into a brick wall. And the music plunges into tragic Eb minor, moving “with glacial slowness” in held notes. At length, a melody in the solo saxophone mourns some unspoken loss.

The final is “Confident,” but it doesn’t start quite that way. Emerging from the unsettled final chord of “Stunned,” a repeated chord begins tapping at our consciousness, almost as if trying to pull us out of our despair. A trumpet intones a hopeful tune in C major as the music becomes faster, and more and more assured. When it has hit full speed, the music breaks … and we hear the opening bars of “Manic” again. This time, though, it doesn’t stay there …”Reflective” is heard briefly, and then “Giddy.” The personality is reassembling itself after the tragedy. When the main theme of “Confident” returns again we sense a wholeness and a healthy spirit. The piece ends in a buoyant cloud of optimism.

PROGRAM NOTES

Morning Star – note by David Maslanka

Morning Star was commissioned by the Grand Ledge (Michigan) High School Wind Symphony, Michael Kaufman, conductor, and premiered by them in May of 1997. Mike asked me to write a piece for the inauguration of the new concert hall being built at Grand Ledge High. Well, the hall wasn’t finished, and the piece was premiered in the old gym ­– the gymnauseum as it was called – and we had a good time anyway.

Morning Star was a surprise to me. In planning for the piece I came up with a great many ideas – enough for three or four pieces. When it came time to compose the piece I suddenly discarded all of that material and went with a little tune that came to mind. The result is a happy piece, a concept which does not usually attach itself to my music.

Morning Star is about beginnings: the dawning of a new day, the opening of a new hall, the beginning of adult life for the young people who premiered the piece, and for those who are playing it now.

Songs Without Words – note by Dan Welcher

Since the very nature of a piece entitled Songs Without Words would be destroyed by too many words about the piece, it seems best to let the movement titles speak for themselves. Mendelssohn’s celebrated set of piano pieces in this genre establishes a precedent for short, mood-oriented works with simple titles attached. I began this composition by imagining five moods that could be portrayed in wind, brass, and percussion colors – then expanded on the idea by linking the separate motives together in the fifth “song”. The effect would be one of looking at separate elements of a personality, then looking at the whole person.

“ Manic” was originally titled Almost Too Happy (like Schumann’s Almost Too Serious in Kinderszenen.) It is very short and over the top in terms of energy. The trumpets’ opening motive is marked “barking, like vulgar laughter,” which is answered by the trombones’ flutter-tongue growls and snarls. It’s over before it has a chance to burn itself out.

“Reflective” was inspired by a series of days in which it never stopped raining. The motion-driven craziness of the previous movement is complete taken over by an introspective mood, and the music follows an unchanging metric pattern of 5/8, 2/4, and 3/4 bars in specific order. The effect is somewhat like sitting in a Zen garden, listening to the tiny waterfall.

“Giddy” is pure silliness and good humor. A rollicking 6/8 tune appears in low reeds and euphonium, accompanied by swinging 16th notes in the upper woodwinds. A trio section in the center allows the brass and timpani to indulge in some vaudevillian high jinks. But as the music gallops to what feels like a happy climax, it is suddenly interrupted …

“Stunned” is what happens in life when we aren’t looking. The carefree mood is shattered, almost like running into a brick wall. And the music plunges into tragic Eb minor, moving “with glacial slowness” in held notes. At length, a melody in the solo saxophone mourns some unspoken loss.

The final is “Confident,” but it doesn’t start quite that way. Emerging from the unsettled final chord of “Stunned,” a repeated chord begins tapping at our consciousness, almost as if trying to pull us out of our despair. A trumpet intones a hopeful tune in C major as the music becomes faster, and more and more assured. When it has hit full speed, the music breaks … and we hear the opening bars of “Manic” again. This time, though, it doesn’t stay there …”Reflective” is heard briefly, and then “Giddy.” The personality is reassembling itself after the tragedy. When the main theme of “Confident” returns again we sense a wholeness and a healthy spirit. The piece ends in a buoyant cloud of optimism.

Profanation – note by Andy Pease

Leonard Bernstein (1918-1990) was an erudite, passionate musician whose exceptional talents and expressive gifts earned him a special place in the hearts of New Yorkers. He rose to instant national fame in 1943, at age 25, when he filled in for the suddenly ill Bruno Walter as conductor of a nationally televised New York Philharmonic performance. He went on to become the Philharmonic’s music director until 1969, and remained a frequent guest conductor there until his death. With the Philharmonic, he presented a series of 53 educational Young People’s Concerts which were broadcast on CBS, making him a familiar face around the nation. He also composed music, crossing from academic classical music into Broadway musicals, including West Side Story, On the Town, and Candide.

Profanation is the second movement of Bernstein’s Symphony No. 1 - Jeremiah. The Symphony is based on the biblical story of Jeremiah, a prophet who warned his people of the coming destruction of Jerusalem, was mocked by them for it, and famously lamented when it came to pass. Bernstein wrote the Symphony in 1942 in order to enter it in a competition at the New England Conservatory. He did not win, but the piece went on to bring him great success, earning him the New York Music Critics’ Circle award for best classical composition in 1944 and helping him reconcile with his father, to whom he later dedicated the score. Profanation is the Symphony’s scherzo. It dramatizes the savage mockery that Jeremiah experiences from the priests of the Temple of Solomon when he warns them that their corrupt ways will bring about its destruction. It opens with a distorted version of a liturgical melody, which multiplies into a chaotic pagan celebration. Jeremiah’s warning from the first movement (Prophecy) returns later, only to be drowned out by the chaos.

Piccolo Hannah Petersen Flute Candice Rohn* Anna Vander Boon Hannah Petersen Abbey Trach Mitchell Schaekel Melissa Machusko Oboe Lauren Glomb* Olivia Martin Emily Walker English Horn Olivia Martin Bassoon Benjamin Pummell* Isabella Purosky Eb Clarinet Jacob Bleeker Clarinet Bryce Kyle* Amy Zuidema Jacob Bleeker Alex Alcorn Katie VanOort Ryan Schmidt Jennifer Soles Courtney Allen Alexa Villaron Bass Clarinet Claire Salinas Ryan Schmidt Amy Zuidema

Alto Saxophone Andrew Peters* Darwin McMurray Michael Jasman John Breitenbach Tenor Saxophone Anna Petrenko Baritone Saxophone Derek Storey Trumpet Erin Ray* Ethan Lonsway Justin Schreier Shawn Nichols Skye Hayes Amy David Horn Reed Fitzpatrick* Timothy Lester Eric Pasma Erica Lumsden Julius Beller Trombone Elizabeth Miller* Johnathan Tesner Caleb Marshall Bass Trombone Zachary Stout Euphonium Rick Maycroft* Nicholas Hudgins

Tuba Matt Langlois* Drew Moles Guerry Love II Percussion Jacob Theisen* David Hempstead Liam Martin Andrew Witter Jaden McCallum James Cortright Bass Weston Bernath Press Officer Amy Zuidema Applied Instrumental Faculty Richard Britsch, Horn Arthur Campbell, Clarinet Paul Carlson, Tuba & Euphonium Sookkyung Cho, Piano Tim Froncek, Percussion Dan Graser, Saxophone Christopher Kantner, Flute Helen Marlais, Piano Victoria Olson, Bassoon Gregrey Secor, Percussion Marlen Vavrikova, Oboe Mark Williams, Trombone Alex Wilson, Trumpet * principal

PERSONNEL

Morning Star (1997) David Maslanka (1943-2017) Songs Without Words (2000) Dan Welcher (b. 1948)

I. Manic II. Reflective III. Giddy IV. Stunned V. Confident

Profanation from “Symphony No. 1 – Jeremiah” (1942/1995) Leonard Bernstein (1918-1990) trans. by Frank Bencriscutto

Intermission Variants on a Medieval Tune (1963) Norman Dello Joio (1913-2008)

Introduction, Andante moderato Tema: “In dulci jublio” semplice Variation I, Allegro deciso Variation II, Lento, pesante Variation III, Allegro spumante Variation IV, Andante Variation V, Allegro gioioso

O Magnum Mysterium (1994) Morten Lauridsen (b. 1943)

Liminal (2016) John Mackey (b. 1975)

PROGRAM

O Magnum Mysterium Morten Lauridsen is most noted for his six vocal cycles Les Chansons des Roses (Rilke), Mid-Winter Songs (Graves), Cuatro Canciones (Lorca), A Winter Come (Moss), Madrigali: Six "Firesongs" on Italian Renaissance Poems, and Lux Aeterna as well as various individual songs and choral works, including O Magnum Mysterium and “Dirait-on” from Les Chansons des Roses. A long time faculty member and chair of the Department of Composition at USC, he was the composer in Residence of the Los Angeles Master Chorale from 1994-2001.

Lauridsen writes the following about his setting of O Magnum Mysterium, “For centuries, composers have been inspired by the beautiful O Magnum Mysterium text with its depiction of the birth of the newborn King amongst the lowly animals and shepherds. This affirmation of God’s grace to the meek and the adoration of the Blessed Virgin are celebrated in my setting through a quiet song of profound inner joy.” H. Robert Reynolds has arranged the symphonic wind version of this work with the approval and appreciation of the composer.

Liminal – notes from Ostimusic "Liminal" is, first and foremost, a homage to John Mackey's love of progressive metal bands such as Tool. A rhythmic tour de force, focused on the percussion section (including a part for six tom-toms), the work is concerned primarily with groove and pulse, with moments of as many as three time signatures happening simultaneously.

Liminality is the quality of ambiguity or disorientation that occurs in the middle stage of rituals, when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the ritual is complete. During a ritual's liminal stage, participants "stand at the threshold" between their previous way of structuring their identity, time, or community, and a new way, which the ritual establishes.

Liminal was commissioned by the United States Air Force Band for their 75th Anniversary.

The world premiere was June 11, 2016.

UPCOMING EVENTS

GVSU Commencement Saturday, December 9, 2017 10:00 AM Van Andel Arena Fall Senior Dance Concert Saturday, December 9, 2017 7:00pm Haas Center for Performing Arts, Dance Studio Theatre - 1600 GVSU Varsity Men’s Glee Club Concert Saturday, December 9, 2017 7:30 PM Cook - DeWitt Center Fall Senior Dance Concert Sunday, December 10, 2017 2:00pm Haas Center for Performing Arts, Dance Studio Theatre - 1600 Faculty Recital - Dan Graser: The Solo Saxophone Sunday, December 10, 2017 7:30 PM Haas Center for Performing Arts, 1325 - Sherman Van Solkema Hall

Find us on social media! Facebook, Twitter , Instagram, Snapchat

@gvsumtd

Learn more about GVSU Music, Theatre, and Dance at www.gvsu.edu/mtd

The use of cameras, video cameras, or recording devices is strictly

Prohibited.

Please remember to turn off your cell phone.

Symphonic Wind Ensemble

Kevin Tutt, conductor

Friday, December 8

7:30 PM Louis Armstrong Theatre

Thomas J. and Marcia J. Haas Center for the Performing Arts