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Robert Linn: Concerto Grosso, featuring Robby Moser (YSM '14), trumpet; Zach Quortrop (YSM '14), french horn; and Kevin Dombrowski (YSM '14) trombone Mozart: Suite: Gran Partita K. 361 Frank Ticheli: Angels in the Architecture John Mackey: Frozen Cathedral Thomas C. Duffy: Butterflies and Bees! For more details, please visit: www.yale.edu/yaleband/ycb/schedule.html Free Admission

Transcript of Yale Concert Band

  • Yale ConCert BandThomas C. Duffy, Music Director

    Woolsey Hall, Yale UniversityFriday, November 15, at 7:30 pm



    thomAs c. Duffy

    W. A. mozARt

    fRANk tIchELI

    Framework (2013) [world premiere]

    Concerto Grosso for Trumpet, Horn, Trombone and Band (1961) Robby Moser YSM 14, trumpet Zachary Quortrup YSM 14, horn Kevin Dombrowski YSM 14, trombone

    I Sit Alone in Martins Church (1998)

    Suite: Gran Partita, K. 361 (1781) I. Largo: Molto allegro III. Adagio VII. Finale: Rondo

    Angels in the Architecture (2008) Caroline Diehl TD 15, soprano,

    ~ INTeRMISSIoN ~

  • About Tonights MusicFramework (2013)Daniel RigbeRg Framework is an impressionistic work based on the painting The Scream,

    by Richard Lindner. In this painting, myriad colors and forms clutter the can-vas, and despite the presence of a realistic tiger and some rather confusing curves, the eye is constantly drawn back to the focal point: two small, unas-suming trapezoids. This piece details my attempt to see the image as a whole and to perceive the focal point both in isolation and in the context of the sur-rounding shapes. Daniel Rigberg

    Daniel Rigberg is a 20-year-old composer from Hershey, Pennsylvania. A junior music major in Yale College, Daniel has had his works performed by several Yale ensembles, including Coup de Brass and the Krolik Saxophone Quartet. In his spare time, Daniel enjoys playing the French horn, singing with the Yale Spizzwinks(?), and dancing with the Yale Ballroom Dance Team.

    Concerto Grosso for Trumpet, Horn, Trombone, and Band (1961)RobeRT linn In the standard concerto, the ensemble accompanies a solo instrument. The concerto grosso (the German word gross means big) pits the ensemble against a group of solo instruments, called the concer-tino. Robert Linns Concerto Grosso is a one-movement tour de force for the concertino: trumpet, French horn and trombone. Linn was a student of some of the greatest composers of the time Darius Milhaud, Halsey Stevens, Roger Sessions, and Ingolf Dahl and includes among his students Morten Lauridsen.

    I Sit Alone in Martins Church (1998)Thomas C. Duffy The question is: Who is Martin? The immediate candidates are Martin Luther and Martin Luther King, Jr. Both represent religious heritages born from the energies of protest and oppression. Yet, even as the church of Martin Luther King, Jr., reflects the syncracy of the African slaves experiences in this foreign land and the Christian ethics of the slave-owners, it cannot be entirely detached from the rituals of early Christianity and its Protestant evolution. In 1517, Martin Luther (1483-1546) nailed his 95 Theses to the cathedral door in Wittenberg, initiating what was to become the Protestant Reformation. An important part of his reform was Luthers desire to make the congregation an active and informed participant in the liturgy. This was achieved partly by incorporating the vernacular into the Latin mass and partly by the inclusion of German hymns (chorales). Luther viewed the congregational singing of chorales as important both because chorales were the instructive and edifying. The chorale thus becomes the central point of the new church. In creating a body of chorales to be sung throughout the liturgical year, Luther and his colleagues drew from many musical and textual traditions. Latin hymns and sequences were translated and the music modified to fit the new text; vernacular devotional songs called Leisen were pressed into service;

  • secular melodies drawn from German folk song and French or Netherlandish art song were provided with new religious texts and melodies composed. The chorale Nun komm, der Heiden Heiland is Luthers translation and adaptation of the Latin hymn Veni Redemptor Gentium, attributed to St. Ambrose (340?-397), the famous bishop of Milan. Both the hymn and chorale are for the Advent season. Martin Luther King Jr.s tradition is represented by sounds from voices of the slave world, chains, rhythmic grunts that represent the cadences of the hollers and field songs of slaves, chants that embody the bluesy alterations of the diatonic scale (as happened when the African pentatonic scale was imposed over the diatonic scales of Western music), and the overall sounds of the plagal Amen cadence (IV-I). All of these concepts support the program of the composition: Someone sits alone in Martins church (piccolo). The echoes of past services float around, the light that glistens off and through stained glass reflects and flashes through the space, and the fundamental sounds of both traditions float from foreground to background. In its ultimate evolution, the sounds of Martin Luther King Jr.s tradition become distinctly jazzy, a relentless walking bass line supporting the antiphonal five-part setting by Jo-hann Walter (1496-1570) of Martin Luthers Nun komm, der Heiden Heiland. Solitude, reflection, hope, oppression, sadness, melancholy, and the incredible weight of history and tradition all become embodied in sounds and echo through Martins church. The initially melancholy/bluesy and ultimately ebullient sounds of the African-American spiri-tual tradition are fashioned after the painting of Chicago artist, Melvin King, entitled Revival. King uses his life experiences and observations to artistically depict ethnicity, spirituality, and hope for the African-American community.

    Suite: Gran Partita, K. 361 (1781)Wolfgang amaDeus mozaRT Gran Partita, K. 361, was written around 1781 by Wolfgang Amadeus Mozart. The three move-ments in tonights performance incorporate a kind of mini-symphony (without scherzo) overture, Ada-gio, and the finale, Rondo. The third movement was highlighted in the movie, Amadeus, when Salieri recounts his first hearing of the Adagio, which begins with low winds, cranking like a persistent, rusty squeezebox, and then a single oboe, hovering there high above the rest oh this was a music I had never heard before I knew then that we were to be enemies! The standard 18th-century woodwind harmoniemusik octet is augmented by two French horns, two bassett horns (a member of the clarinet family) and a contrabass.

    Angels in the Architecture (2008)fRank TiCheli Angels in the Architecture premiered at the Sydney opera House on July 6, 2008 by a band of musicians from Australia and the United States. The title is inspired by the Sydney opera House itself, with its halo-shaped acoustical ornaments hanging directly above the stage. The work unfolds as a dra-matic conflict between the two extremes of human existence one divine, the other evil. The piece be-gins with a single voice singing a 19th-century Shaker song:

    yALE coNcERt BAND

  • I am an angel of LightI have soared from above

    I am clothd with Mothers love.I have come, I have come, To protect my chosen band

    And lead them to the promised land.

    Tonights singer, Caroline Diehl, represents this angel, who frames the work, surrounding it with a protective wall of light and establishing the divine. other representations of light played by instruments rather than sung include a traditional Hebrew song of peace, Hevenu Shalom Aleichem and the 16th century Genevan Psalter, Old Hundredth. These three borrowed songs represent the universal human ideals of peace, hope, and love. An original chorale, appearing twice in the work, represents Frank Tichelis own personal expression of these aspirations. In opposition, turbulent, fast-paced music appears as a symbol of darkness, death, and spiritual doubt. Twice during the musical drama, these shadows sneak in unnoticeably, slowly obscuring, and eventually obliterating the light altogether. The darkness prevails for long stretches of time, but the light always returns, more powerful than before. The alteration of these opposing forces creates a kind of five-part rondo form. Angels in the Architecture poses the unanswered question of existence. It ends as it began: the angel reappears singing the same comforting words. But deep below, a final shadow reappears dis-tantly, ominously.

    Upcoming Yale Bands Performances

    Friday, February 7, 2014: Yale Jazz Ensemble Winter Concert, feat. PaulLieberman 78, saxophone. 7:30 pm, Morse Recital Hall in Sprague Memorial Hall. Free. Friday, February 14, 2014: Yale Concert Band Winter Concert Three Dance Episodes from On the Town (Bernstein); Solitary Dancer (Benson); Gabrieli Infusion (Cohen). 7:30 pm, Woolsey Hall. Free. Sunday, April 6, 2014: Yale Jazz Ensemble 7th Annual Stan Wheeler Memorial Jazz Concert. With the Reunion Jazz Ensemble. 2:00 pm, Levinson Auditorium, Yale Law School, 127 Wall Street. Free. Friday, April 11, 2014: Yale Concert Band Spring Concert. Lincolnshire Posy (Grainger); Three Merry Marches (Krenek) [Toshiyuki Shimada, guest conductor]; Corpus Callosum (Duffy); Ghost Train (Whitacre); Country Band March (Ives); Spiel fur Blsorchestr (Toch); Dionysiaques (Schmidt). 7:30 pm, Woolsey Hall. Free.

    For further information please contact: Yale University Bands

    P.o. Box 209048, New Haven, CT 065209048 ph: (203) 4324113; fax: (203) 4327213

    stephanie.hubbard@yale.edu; www.yale.edu/yaleband

  • About Tonights Guest Performers

    caroline Diehl is a junior psychology major at Yale concentrating in neuroscience. She is the current musical director of The New Blue, Yales oldest all-female a cap-pella group, and in the past has served as a tour manager for the Yale Glee Club. She is excited to perform for the first time with the Yale Concert Band and grateful to Mr. Duffy and the band for this opportunity to collaborate.

    the East coast Brass trio is made up of three Yale School of Music students who perform extensively in the New Ha-ven area: Robert Moser, trumpet (Cincinnati Conservatory o