Program Notes
Catapult by Jay Kennedy
Catapult was commissioned by the Northwestern University Symphonic Wind Ensemble and its conductor, Dr. Mallory Thompson. Dr. Thompson asked for an energetic, forward-driving, and flashy opener-type that would celebrate the return of large ensembles after the Covid interruption. The title, Catapult, signals the energy in the piece, as well as hinting at the nickname for Northwestern University, which is Wildcats.
Being a graduate of Northwestern sparked the idea to use its alma mater as the impetus for the piece. Northwestern’s alma mater is based on the St. Antoni Chorale a piece historically attributed to Joseph Haydn and popularized in Variations on a Theme by Haydn by Johannes Brahms. In the Brahms opus, and typical of the theme and variations form, the theme is stated at the beginning and followed by variations. The structure for Catapult is the opposite -- variations of alma mater phrases are presented first using an array of melodic approaches, including being compressed, expanded, truncated, and inverted. The alma mater is not clearly evident and heard in its full form until near the end.
Catapult propels forward from its opening fanfare that uses compressed snippets of the alma mater phrases. It settles into a lower intensity transition that sets up the primary theme. That theme takes precedence in the first portion of the piece, as the alma mater appears in a supportive role with hints of its motives acting as responses to the primary theme. It progresses through a series of variations, one of which is driven by the snare drum quoting Northwestern’s marching band field entry cadence. Weaving through a series of variations, the direction in the score is to “Push On.” Catapult’s primary theme gradually gives way and the complete NU alma mater is presented in its entirety as the piece flourishes its way to the finish.
- Program Note by composer
Sheltering Sky by John Mackey
The wind band medium has, in the twenty-first century, a host of disparate styles that dominate its texture. At the core of its contemporary development exists a group of composers who dazzle with scintillating and frightening virtuosity. As such, at first listening one might experience John Mackey’s Sheltering Sky as a striking departure. Its serene and simple presentation is a throwback of sorts –- a nostalgic portrait of time suspended.
The work itself has a folksong-like quality –- intended by the composer –- and through this an immediate sense of familiarity emerges. Certainly the repertoire has a long and proud tradition of weaving folksongs into its identity, from the days of Holst and Vaughan Williams to modern treatments by such figures as Donald Grantham and Frank Ticheli. Whereas these composers incorporated extant melodies into their works, however, Mackey takes a play from Percy Grainger. Grainger’s Colonial Song seemingly sets a beautiful folksong melody in an enchanting way (so enchanting, in fact, that he reworked the tune into two other pieces: Australian Up-Country Tune and The Gum-Suckers March). In reality, however, Grainger’s melody was entirely original –- his own concoction to express how he felt about his native Australia. Likewise, although the melodies of Sheltering Sky have a recognizable quality (hints of the contours and colors of Danny Boy and Shenandoah are perceptible), the tunes themselves are original to the work, imparting a sense of hazy distance as though they were from a half-remembered dream.
The work unfolds in a sweeping arch structure, with cascading phrases that elide effortlessly. The introduction presents softly articulated harmonies stacking through a surrounding placidity. From there emerge statements of each of the two folksong-like melodies –- the call as a sighing descent in solo oboe, and its answer as a hopeful rising line in trumpet. Though the composer’s trademark virtuosity is absent, his harmonic language remains. Mackey avoids traditional triadic sonorities almost exclusively, instead choosing more indistinct chords with diatonic extensions (particularly seventh and ninth chords) that facilitate the hazy sonic world that the piece inhabits. Near cadences, chromatic dissonances fill the narrow spaces in these harmonies, creating an even greater pull toward wistful nostalgia. Each new phrase begins over the resolution of the previous one, creating a sense of motion that never completely stops. The melodies themselves unfold and eventually dissipate until at last the serene introductory material returns –- the opening chords finally coming to rest.
- Program Note by Jake Wallace
Dancing in Air by Yo Goto
This intriguing work for band offers textural and stylistic interest. Transparent layers of sound open the work with an appropriately airy feel, which then gives way to a light dance section. This work has a unique sensibility that is both pleasant and meaty.
- Program Note from publisher
El Capitan by John Philip Sousa
Extracted from the most successful of Sousa’s operettas, the El Capitan March is one of his most often performed even today. Sousa performed this march with the Sousa Band, augmented to more than 100 men at his own expense, as he led Admiral Dewey’s Victory Parade in New York on September 30, 1899.
- Program Note from Heritage Encyclopedia of Band Music
Cuban Overture by George Gershwin
arr. by Mark Rogers
In mid-1932. George Gershwin left New York with several friends to take a vacation in Havana, Cuba. He had just presented a successful show on Broadway – Of Thee I sing –- and the premiere of his Second Rhapsody for Piano and Orchestra. While there, he became fascinated with the native music of Cuba and returned to New York armed with Cuban percussion instruments and musical ideas.
These ideas culminated in a symphonic work entitled Rumba; its first performance was presented in an all-Gershwin concert in Levisohn Stadium on August 16, 1932, conducted by Albert Coates. Later, on November 1 of the same year, it was presented at the Metropolitan Opera under the title Cuban Overture. Gershwin provided these program thoughts:
In my composition I have endeavored to combine the Cuban rhythms with my own thematic material. The result is a symphonic overture, which embodies the essence of the Cuban dance.
It has three main parts. The first part, Moderator e Molto Ritmato, is preceded by a [forte] introduction featuring some of the thematic material. Then comes a three-part contrapunctual episode leading to a second theme. The first part finishes with a recurrence of the first theme combined with fragments of the second.
A solo clarinet cadenza leads to the middle part, which is in a plaintive mood. It is a gradual developing canon in a polytonal manner. This part concludes with a climax based on an ostinato of the theme in the canon, after which a sudden change in tempo brings us back to the rumba dance rhythms.
The final is a development of the preceding material in a stretto-like manner. This leads us back once again to the main theme.
The conclusion of the work is a coda featuring the Cuban instruments of the percussion.
As is the case with Second Rhapsody, Cuban Overture portrays a composer in transition –- trying out new ideas in harmony and counterpoint and streamlining his orchestration. Doubtless a major source of this change –- and historians will argue how much or how little –- was due to Gershwin's studies with Joseph Schillinger, which started in 1932.
Certainly, Gershwin's musical interests were widening at this point since his music library now included Bach's The Art of the Fugue, Schubert, Beethoven, Brahms and the then-avant-garde works of Berg and Schoenberg. For many years he had been an irregular student of music, and now he surprised his friends with this knowledge of the inner workings of the classics. While linear aspects of his music revealed a growing influence, Gershwin's orchestral technique was making even greater strides. It may very well be that this is the area in which Schillinger influenced Gershwin the most. Cuban Overture has the fewest examples of the excessive instrumental doublings that Gershwin overused in his orchestration of the Concerto in F, An American in Paris, and Second Rhapsody. However, Gershwin, remaining true to his own spirit, continued his orchestral palette and sound in addition to his bad habits in orchestration.
Gershwin also highlighted the formal aspects of his music since he was obviously aware that even critics praising his work were not happy with the sometimes awkward construction of some of his orchestral music. This was an aspect of his creative effort that he constantly sought to improve. This, Second Rhapsody and Cuban Overture were opportunities to experiment in form, imitative counterpoint and more effective transitions.
In Cuban Overture, Gershwin was thus able to demonstrate a great leap forward in musical maturity as well as to show how his interest in new and different musical cultures could affect his own creativity.
- Program Note by Mark Rogers
Summer Dances by Brian Balmages
Exciting woodwind flourishes set the stage for the heroic main motive of the piece, stated by the brass. This theme is woven throughout the piece in contrasting settings, styles, and colors. A beautiful, lyric chamber section gives way to a stately dance presented by the full ensemble. A powerful ending caps this dynamic piece.
Summer Dances was written for the Columbia Concert Band.
- Program Note from publisher
Ignition by Todd Stalter
Ignition is a blindingly fast, raucously energetic concert selection that derives its title from the consecutive rising three-note cells that are the building blocks for almost the entire work. However, the energy unleashed in the music and the imagery of the title serve both as a metaphor for the "spark" of creativity, and as a "celebration in sound" for those who find and follow their own true life’s passion and pass it along to others, "igniting" the flame for another generation.
- Program Note from publisher
Congolese by William Owens
The title of this creative work refers to the Congo rain forest of Africa, a place with more than 60 tree species and 10,000 animal species. The music places the listener at the center of a vast and foreboding land filled with mystery, intrigue, and danger; the piece begins briskly yet in a somber mood with soft melodic material in the clarinet accompanied by low brass and winds. The mood gradually changes as additional instruments are added to depict a wild flurry of animal activity at its peak. A full band section follows and builds in intensity before moving to a slow and tranquil contrasting passage, representing the nighttime scenario as the forest becomes mysteriously calm. The brisk tempo returns at daylight to convey a lively mood, introducing a bold and energetic final section that brings the musical safari to a dramatic conclusion.
- Program Note from The Instrumentalist
Armed Forces - The Pride of America!
arr. by Larry Clark & Greg Gilpin
This definitive patriotic armed forces tribute features the official songs of five branches of the Armed Forces, plus The Pledge of Allegiance and The Star-Spangled Banner, with optional audience participation. It even includes parts of Sousa marches as interludes.
- Program Note from publisher
Catapult was commissioned by the Northwestern University Symphonic Wind Ensemble and its conductor, Dr. Mallory Thompson. Dr. Thompson asked for an energetic, forward-driving, and flashy opener-type that would celebrate the return of large ensembles after the Covid interruption. The title, Catapult, signals the energy in the piece, as well as hinting at the nickname for Northwestern University, which is Wildcats.
Being a graduate of Northwestern sparked the idea to use its alma mater as the impetus for the piece. Northwestern’s alma mater is based on the St. Antoni Chorale a piece historically attributed to Joseph Haydn and popularized in Variations on a Theme by Haydn by Johannes Brahms. In the Brahms opus, and typical of the theme and variations form, the theme is stated at the beginning and followed by variations. The structure for Catapult is the opposite -- variations of alma mater phrases are presented first using an array of melodic approaches, including being compressed, expanded, truncated, and inverted. The alma mater is not clearly evident and heard in its full form until near the end.
Catapult propels forward from its opening fanfare that uses compressed snippets of the alma mater phrases. It settles into a lower intensity transition that sets up the primary theme. That theme takes precedence in the first portion of the piece, as the alma mater appears in a supportive role with hints of its motives acting as responses to the primary theme. It progresses through a series of variations, one of which is driven by the snare drum quoting Northwestern’s marching band field entry cadence. Weaving through a series of variations, the direction in the score is to “Push On.” Catapult’s primary theme gradually gives way and the complete NU alma mater is presented in its entirety as the piece flourishes its way to the finish.
- Program Note by composer
Sheltering Sky by John Mackey
The wind band medium has, in the twenty-first century, a host of disparate styles that dominate its texture. At the core of its contemporary development exists a group of composers who dazzle with scintillating and frightening virtuosity. As such, at first listening one might experience John Mackey’s Sheltering Sky as a striking departure. Its serene and simple presentation is a throwback of sorts –- a nostalgic portrait of time suspended.
The work itself has a folksong-like quality –- intended by the composer –- and through this an immediate sense of familiarity emerges. Certainly the repertoire has a long and proud tradition of weaving folksongs into its identity, from the days of Holst and Vaughan Williams to modern treatments by such figures as Donald Grantham and Frank Ticheli. Whereas these composers incorporated extant melodies into their works, however, Mackey takes a play from Percy Grainger. Grainger’s Colonial Song seemingly sets a beautiful folksong melody in an enchanting way (so enchanting, in fact, that he reworked the tune into two other pieces: Australian Up-Country Tune and The Gum-Suckers March). In reality, however, Grainger’s melody was entirely original –- his own concoction to express how he felt about his native Australia. Likewise, although the melodies of Sheltering Sky have a recognizable quality (hints of the contours and colors of Danny Boy and Shenandoah are perceptible), the tunes themselves are original to the work, imparting a sense of hazy distance as though they were from a half-remembered dream.
The work unfolds in a sweeping arch structure, with cascading phrases that elide effortlessly. The introduction presents softly articulated harmonies stacking through a surrounding placidity. From there emerge statements of each of the two folksong-like melodies –- the call as a sighing descent in solo oboe, and its answer as a hopeful rising line in trumpet. Though the composer’s trademark virtuosity is absent, his harmonic language remains. Mackey avoids traditional triadic sonorities almost exclusively, instead choosing more indistinct chords with diatonic extensions (particularly seventh and ninth chords) that facilitate the hazy sonic world that the piece inhabits. Near cadences, chromatic dissonances fill the narrow spaces in these harmonies, creating an even greater pull toward wistful nostalgia. Each new phrase begins over the resolution of the previous one, creating a sense of motion that never completely stops. The melodies themselves unfold and eventually dissipate until at last the serene introductory material returns –- the opening chords finally coming to rest.
- Program Note by Jake Wallace
Dancing in Air by Yo Goto
This intriguing work for band offers textural and stylistic interest. Transparent layers of sound open the work with an appropriately airy feel, which then gives way to a light dance section. This work has a unique sensibility that is both pleasant and meaty.
- Program Note from publisher
El Capitan by John Philip Sousa
Extracted from the most successful of Sousa’s operettas, the El Capitan March is one of his most often performed even today. Sousa performed this march with the Sousa Band, augmented to more than 100 men at his own expense, as he led Admiral Dewey’s Victory Parade in New York on September 30, 1899.
- Program Note from Heritage Encyclopedia of Band Music
Cuban Overture by George Gershwin
arr. by Mark Rogers
In mid-1932. George Gershwin left New York with several friends to take a vacation in Havana, Cuba. He had just presented a successful show on Broadway – Of Thee I sing –- and the premiere of his Second Rhapsody for Piano and Orchestra. While there, he became fascinated with the native music of Cuba and returned to New York armed with Cuban percussion instruments and musical ideas.
These ideas culminated in a symphonic work entitled Rumba; its first performance was presented in an all-Gershwin concert in Levisohn Stadium on August 16, 1932, conducted by Albert Coates. Later, on November 1 of the same year, it was presented at the Metropolitan Opera under the title Cuban Overture. Gershwin provided these program thoughts:
In my composition I have endeavored to combine the Cuban rhythms with my own thematic material. The result is a symphonic overture, which embodies the essence of the Cuban dance.
It has three main parts. The first part, Moderator e Molto Ritmato, is preceded by a [forte] introduction featuring some of the thematic material. Then comes a three-part contrapunctual episode leading to a second theme. The first part finishes with a recurrence of the first theme combined with fragments of the second.
A solo clarinet cadenza leads to the middle part, which is in a plaintive mood. It is a gradual developing canon in a polytonal manner. This part concludes with a climax based on an ostinato of the theme in the canon, after which a sudden change in tempo brings us back to the rumba dance rhythms.
The final is a development of the preceding material in a stretto-like manner. This leads us back once again to the main theme.
The conclusion of the work is a coda featuring the Cuban instruments of the percussion.
As is the case with Second Rhapsody, Cuban Overture portrays a composer in transition –- trying out new ideas in harmony and counterpoint and streamlining his orchestration. Doubtless a major source of this change –- and historians will argue how much or how little –- was due to Gershwin's studies with Joseph Schillinger, which started in 1932.
Certainly, Gershwin's musical interests were widening at this point since his music library now included Bach's The Art of the Fugue, Schubert, Beethoven, Brahms and the then-avant-garde works of Berg and Schoenberg. For many years he had been an irregular student of music, and now he surprised his friends with this knowledge of the inner workings of the classics. While linear aspects of his music revealed a growing influence, Gershwin's orchestral technique was making even greater strides. It may very well be that this is the area in which Schillinger influenced Gershwin the most. Cuban Overture has the fewest examples of the excessive instrumental doublings that Gershwin overused in his orchestration of the Concerto in F, An American in Paris, and Second Rhapsody. However, Gershwin, remaining true to his own spirit, continued his orchestral palette and sound in addition to his bad habits in orchestration.
Gershwin also highlighted the formal aspects of his music since he was obviously aware that even critics praising his work were not happy with the sometimes awkward construction of some of his orchestral music. This was an aspect of his creative effort that he constantly sought to improve. This, Second Rhapsody and Cuban Overture were opportunities to experiment in form, imitative counterpoint and more effective transitions.
In Cuban Overture, Gershwin was thus able to demonstrate a great leap forward in musical maturity as well as to show how his interest in new and different musical cultures could affect his own creativity.
- Program Note by Mark Rogers
Summer Dances by Brian Balmages
Exciting woodwind flourishes set the stage for the heroic main motive of the piece, stated by the brass. This theme is woven throughout the piece in contrasting settings, styles, and colors. A beautiful, lyric chamber section gives way to a stately dance presented by the full ensemble. A powerful ending caps this dynamic piece.
Summer Dances was written for the Columbia Concert Band.
- Program Note from publisher
Ignition by Todd Stalter
Ignition is a blindingly fast, raucously energetic concert selection that derives its title from the consecutive rising three-note cells that are the building blocks for almost the entire work. However, the energy unleashed in the music and the imagery of the title serve both as a metaphor for the "spark" of creativity, and as a "celebration in sound" for those who find and follow their own true life’s passion and pass it along to others, "igniting" the flame for another generation.
- Program Note from publisher
Congolese by William Owens
The title of this creative work refers to the Congo rain forest of Africa, a place with more than 60 tree species and 10,000 animal species. The music places the listener at the center of a vast and foreboding land filled with mystery, intrigue, and danger; the piece begins briskly yet in a somber mood with soft melodic material in the clarinet accompanied by low brass and winds. The mood gradually changes as additional instruments are added to depict a wild flurry of animal activity at its peak. A full band section follows and builds in intensity before moving to a slow and tranquil contrasting passage, representing the nighttime scenario as the forest becomes mysteriously calm. The brisk tempo returns at daylight to convey a lively mood, introducing a bold and energetic final section that brings the musical safari to a dramatic conclusion.
- Program Note from The Instrumentalist
Armed Forces - The Pride of America!
arr. by Larry Clark & Greg Gilpin
This definitive patriotic armed forces tribute features the official songs of five branches of the Armed Forces, plus The Pledge of Allegiance and The Star-Spangled Banner, with optional audience participation. It even includes parts of Sousa marches as interludes.
- Program Note from publisher