College of Fine Arts
School of Music
Graduate Conducting Recital
University of Florida Wind Symphony
Dr. David Waybright, Musical Director
Megan K. Hermann and Michael J. Miller
Monday December 7, 2009
Old Wine In New Bottles Gordon Jacob
mI. Begone, Dull Care
IV. Early One Morning
I. Le jeu de la poup6e
II. Flin6railles de la poup6e
VII. Danse des filets A papillons
Leonard Bernstein / Clare Grundman
Charles Camille Saint-Sadns / Arthur Frackenpohl
Old Wine in New Bottles
Gordon Jacob was one of Britain's most well known composers and a revered professor at the Royal
College of Music for forty years, where his students included Malcolm Arnold and Imogene Holst. An
active composer all of his life, at the time of his death in 1984 at the age of 89, he had composed over
700 pieces of music, and authored several texts. The Old Wine includes four old English folk tunes; the
New Bottles is Jacob's inventive arrangements and orchestration for twelve wind instruments. The tunes
are: "The Wraggle Taggle Gypsies", "The Three Ravens", "Begone, Dull Care" and "Early One Morn-
Jean Frangaix was born in 1912 in Mans, the French city famous for its 24-hour automobile race. His
parents were musicians who exposed him to their craft. At the age of 12, he could play the works of
composers ranging from Dominico Scarlatti, which he adored, to Maurice Ravel.
Overture to "Candide"
The Solitary Dancer
George Washington Bridge
Santa Fe Saga
He was awarded the First Prize for Piano at the Academy of Paris at the age of 18. Nadia Boulanger
became his instructor in composition at the Paris Conservatoire. His more than 200 compositions are
both inventive and elegant and range from concertinos to full symphonic works, solo vocal to choral
settings, and includes the music for ten films. He remained active as a composer and pianist until his
death, in Paris, in 1997.
Composed for conducotr-Klaus Sch6ll, ,,Sept Danses" is composer Jean Francaix's adaptation of
seven dances from the ballet "Les malheurs de Sophie", an adaptation of the French children's book
by la Comtesse de S6gur.
Overture to "Candide"
The son of a Russian immigrant, Leonard Bernstein (1918 1990), began life in Lawrence, Massa-
chusetts. He studied composition at Harvard, where he first met Aaron Copland. Their friendship was
cemented in the early 1940's in the workshops at Tanglewood. Bernstein achieved instant conducting
fame when, at the age .of twenty-five, with sixteen hours notice, he conducted a broadcast of the New
York Philharmonic Symphony after the scheduled guest conductor, Bruno Walter, became suddenly
ill. It was his fate to be far more than routinely successful. His vast talents, charming personality, and
mastery of semantics succeeded where many have failed in communicating to others his own intense
enthusiasm for and love of music. Bernstein wrote symphonies, ballets, an opera, a film score, works
for violin and chorus with orchestra, four Broadway musicals, and several smaller works for solo and
chamber music groups. He divided his affections between traditional classical music and the jazz and
Tin Pan Alley sound of popular America. Bernstein incorporated the element of jazz in many of his
compositions, including his Mass and the score to West Side Story. Other notable works are Candide,
Fancy Free, and Chichester Psalms. William Schuman said of Bernstein: "He is an authentic Ameri-
can hero, a new breed of hero, an arts hero, showing that America does honor her artists." In 1990,
the musical world lost both Bernstein and his teacher and friend, Aaron Copland.
Candide was Leonard Bernstein's third Broadway musical, following On the Town and Wonderful
Town. It opened in New York in 1956, but, unlike its predecessors, was not a commercial success.
Adapted by Lillian Hellman from Voltaire's 18th-century satire on blind optimism, the story concerns
a young man, Candide, who has been led by his tutor, Dr. Pangloss, to believe that everything is for
the best "in this best of all possible worlds." Taking with him his sweetheart, Conegonde, and Pan-
gloss, Candide journeys to Lisbon, Paris, Buenos Aires, and even the legendary El Dorado, only to
discover reality in the forms of crime, atrocity, and suffering. He returns to Venice with Conegonde,
stripped of his idealism. His ultimate emotional maturation concludes in the finale with "And let us
try before we die/To make some sense of life./We're neither pure nor wise nor good;/We'll do the best
we know." The sparkling overture captures the frenetic activity of the operetta, with its twists and
turns, along with Candide's simple honesty.
The Solitary Dancer
The Solitary Dancer evolved from the ballet Bailando, a collaboration between Warren Benson and
Interlochen Arts Academy choreographer Bill Hugg. During this experience, Benson noted the danc-
ers' attention to the music before rehearsal began. Benson writes a note in the score, "The Solitary
Dancer deals with quiet, poised energy that one may observe in a dancer in repose, alone with her
The composition is a through-composed work in d phrygian. The two themes prevalent throughout the
piece are presented in the first two measures. The first theme is a melodic four note motive presented by
the soprano saxophone (which is a predominant voice throughout the composition). The second theme
is a two note rhythmic motive presented by the piccolo. The melodic language that follows is developed
from inversions, augmentations, and combinations of these two motives. Much of the work is depend-
ent on quiet soloistic playing over a percussion ostinato.
George Washington Bridge
George Washington Bridge, subtitled "An Impression for Band," was composed by William Howard
Schuman in 1951. Schuman is one of America's leading composers. A past President of Julliard School
of Music and the Lincoln Center in New York, Schuman began to acquire national prominence when, in
1939, his American Festival Overture was performed by Koussevitsky and the Boston Symphony Or-
chestra. A listing of his works includes an opera, nine symphonies, concertos, choral works, chamber
music, and several major bands works. George Washington Bridge depicts Schuman's impression of
this great bridge as he passed it on his way to work as he drove along the Henry Hudson Parkway on
then New York Shore. This work is considered on of the major classics of the symphonic band reper-
Santa Fe Saga
Morton Gould, born in Richmond Hill, New York on December 10, 1913, began playing piano and
composing when four years old, and won a scholarship to the Institute of Musical Art at the age of
eight. Most of his musical studies were with Abby Whiteside and Dr. Vincent Jones. At the age of
twenty-one, he conducted and arranged weekly series of orchestral radio programs. He has composed
for musical comedy, television, and motion pictures; his ballet scores include those for Jerome Robbins,
George Blanchine and Agnes de Mille: His other compositions for band include American Salute, Bal-
lad for Band, and his Symphony for Band-West Point Symphony.
Santa Fe Saga was commissioned by the famous bandmaster and march composer Edwin Franko Gold-
man for performance at the 1956 convention of the American Bandmasters Association, held in Santa
F6, New Mexico. Gould himself conducted the premiere there on March 9 of that same year. "Because
the meeting was held in Santa Fe," he recalls, "and, Santa F6 having charisma, climate and character, it
seemed appropriate to compose a piece evoking that area and its history. The work is in four brief
interlinked sections; they are not separate movements, but do bear individual titles: "Rio Grande,"
"Round-up," Wagon Train,'" and "Fiesta." All represent what Gould describes as a general Spanish-
Mexican-Western influence on our music.
Frank Ticheli was born in 1958 in Monroe, Louisiana. He received his Bachelor of Music in Composi-
tion from Southern Methodist University and Masters Degree in Composition and Doctorate of Musical
Arts from the University of Michigan. He is Associate Professorof Music at the University of Southern
California and is the Composer-in-Residence of the Pacific Symphony Orchestra. He has composed
works for bands, wind ensemble, orchestra, chamber ensembles, and the theatre. His music has gar-
nered many prestigious awards including the Goddard Lieberson fellowship and Charles Ives Scholar-
ship from the American Academy and Institute of Arts and Letters; the 1989 Walter Beeler memorial
Composition Prize; the Ross Lee Finney Award; and first prize in the 11th annual Symposium for
New Band Music in Virginia. The New York Times has described his music as "lean and muscular
and above all, active, in motion."
This composition reflects Frank Ticheli's love for the traditional jazz music that he heard so often
while growing up near new Orleans. Blue Shades was his opportunity to express his own musical
style in this medium. He provides the following description of the work:
As its title suggests, the work alludes to the Blues, and a jazz feeling is prevalent however, it is in
not literally a Blues piece. There is not a single 12-bar blues progression to be found, and except for a
few isolated sections, the eighth-note is not swung.
The work, however, is heavily influenced by the Blues: "Blue notes" flattedd 3rds, 5ths, and 7ths) are
used constantly; Blues harmonies, rhythms, and melodic idioms pervade the work; and many "shades
of blue" are depicted, from bright blue, to dark, to dirty, to hot blue.
At times, Blue Shades burlesques some of the cliches from the Big Band era, not as a mockery of
those conventions, but as a tribute. A slow and quiet middle section recalls the atmosphere of a dark,
smoky blues haunt. An extended clarinet solo played near the end recalls Benny Goodman's hot play-
ing style, and ushers in a series of "wailing" brass chords recalling the train whistle effects commonly
used during that era.
Pas Redouble (Double Quick Step)
This quickstep concert march (Opus 86) is reminiscent of the gallops by Offenbach and other 19th
century composers. Originally written for four-hand piano in 1887 and published in 1890, this tran-
scription was made by Arthur Frackenpohl in 1972 and dedicated to Harry Phillips and the Crane
Wind Ensemble at the State University in Potsdam, New York, where Frackenpohl became a member
of the music faculty in 1949. The tempo of a pas redouble varies with the proficiency of the per-
former(s) as well as the wishes of the composer and the customs of that period. Saint-Saens defended
technical virtuosity, because it was for him, at least partially, a gift. During the mid-19th century,
military units in some nations were marching to a cadence of about 90 steps per minute for the slow
march (pas ordinaire), 120 for the quick march (pas redouble), and 160 to 180 for the double-quick
march (pas de charge). Frackenpohl suggest a tempo of 144 for this march.
Paris-born Charles Camille Saint-Saens was a child prodigy, composing his first piece for piano at
the age of three. He studied with Stamaty and Bodly before entering the Paris Conservatory in 1848.
He was a private student of Gounod. Saint-Saens had total recall; any book he read or tune he heard
was forever committed to his memory. He held the coveted post of organist at the Madeleine from
1857 to 1875. He was also an accomplished pianist, conductor, score reader, and astronomer. As a
composer, he wrote in many genres, including opera, symphonies, concertos, sacred and secular cho-
ral music, concertos, and chamber music. His highly popular works, including Danse macabre (1875)
and Samson and Delilah were written during a short and tragic marriage that included the loss of his
two young sons within a period of six weeks. The Carnival of the Animals is a favorite of children of
all ages, but it had only two performances while Saint-Saens was alive, possibly because he had writ-
ten it as a parody of some of the popular music of the time.
Wind Symphony Personnel
Charles Russell Roberts
school of music
To ensure an enjoyable concert experience for all, please refrain from talking,
entering, or exiting while musicians are performing.
Food and drink are prohibited in all concert halls.
Please turn off cell phones and other electronic devices.
Thankyou for your cooperation.
F College of Fine Arts
School of Music
UNIVERSITY of FLORIDA
Program number Forty-six in the
School of Music Events Series of the 2009 2010 academic year.
The College of Fine Arts School of Music at the University of Florida is an internationally recognized
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please visit www.arts.ufl.edu/music/