Symphonic Band
"Legends and Landscapes: Music from the British Isles"
Program Notes compiled from www.windrep.org
Variations on "Scarborough Fair"
About the piece
First published in 1989, this work from the late Calvin Custer epitomizes his command of orchestration and understanding of musical pacing. The familiar folk melody is stated first by a solo flute, then followed by a remarkable series of variations starting with a brass choir accompanied by woodwind flourishes. An Andante variation features the woodwind choir accompanying solos by baritone and oboe, and this leads to a striking fugue variation and bold finish.
About the composer
Calvin H. Custer (15 July 1939 - 21 April 1998) was an American composer and arranger.
He attended Carnegie Mellon University and Syracuse University where his composition teachers included Nikolai Lopatnikoff, Ernst Bacon, and Earl George. He also studied conducting with Karl Kritz, first music director of the Syracuse Symphony.
Custer was associated with the Syracuse Symphony Orchestra during the majority of his musical career serving in the keyboard, horn and string bass sections; holding various conducting positions; and serving as staff arranger. He helped to implement the orchestra's chamber music program which continues to perform in local schools and libraries to this day. Calvin was a member of the both the rock and percussion ensembles in which he played numerous instruments including keyboard and guitar. Custer was prolific in his creations of arrangements for orchestra, many of which were performed by orchestras across the country including the Boston Pops Orchestra. In 2006, the Syracuse Symphony released a CD of Custer's arrangements on the disc Big Band Bash. His many arrangements for band include Adagio from "Adagio for Strings" (Barber), Ashokan Farewell (Ungar), Rolling Thunder March (Fillmore), and Star Wars® Main Theme (Williams).
Themes from "Green Bushes"
About the piece
In setting such dance-folk songs (indeed, in setting all dance music) I feel that the unbroken and somewhat monotonous keeping-on-ness of the original should be preserved above all else.
The greater part of my passacaglia is many-voiced and free-voiced. Against the folk tune I have spun free counter-melodies of my own -- top tunes, middle tunes, bass tunes . . . The key-free harmonic neutrality of the folk song’s mixolydian mode opens the door to a wondrously free fellowship between the folk tune and these grafted-on tunes of mine.
My Green Bushes setting is thus seen to be a strict passacaglia throughout well-nigh its full length. Yet it became a passacaglia unintentionally. In taking the view that the Green Bushes tune is a dance-folk song... I was naturally led to keep it running like an unbroken thread through my setting, and in feeling prompted to graft upon it modern musical elements expressive of the swish and swirl of dance movements the many-voiced treatment came of itself.
The work is in no sense program music -- in no way does it musically reflect the story told in the verses of the Green Bushes song text. It is conceived, and should be listened to, as dance music (It could serve as ballet music.) ... as an expression of those athletic and ecstatic intoxications that inspire, are inspired by, the dance -- my newtime harmonies, voice-weavings and form-shapes being lovingly woven around the sterling old-time tune to in some part replace the long-gone but still fondly mind-pictured festive-mooded country-side dancers, their robust looks, body actions and heart-stirs.”
About the composer
George Percy Grainger (8 July 1882, Brighton, Victoria, Australia – 20 February 1961, White Plains, N.Y.) was an Australian-born composer, pianist and champion of the saxophone and the concert band, who worked under the stage name of Percy Aldridge Grainger.
Grainger was an innovative musician who anticipated many forms of twentieth century music well before they became established by other composers. As early as 1899 he was working with "beatless music", using metric successions (including such sequences as 2/4, 2½/4, 3/4, 2½/4).
In December 1929, Grainger developed a style of orchestration that he called "Elastic Scoring". He outlined this concept in an essay that he called, "To Conductors, and those forming, or in charge of, Amateur Orchestras, High School, College and Music School Orchestras and Chamber-Music Bodies".
In 1932, he became Dean of Music at New York University, and underscored his reputation as an experimenter by putting jazz on the syllabus and inviting Duke Ellington as a guest lecturer. Twice he was offered honorary doctorates of music, but turned them down, explaining, "I feel that my music must be regarded as a product of non-education."
About the arranger
Larry D. Daehn (b. 10 May 1939, Rosendale, Wisc.) is an American composer, arranger and educator.
Mr. Daehn grew up on the farms of Wisconsin. He received a B.A. in musical education from the University of Wisconsin at Oshkosh in 1964 and his master's degree in 1976 from the University of Wisconsin at Platteville. He was a teacher of music for 33 years, the last 27 of them at the New Glarus (Wisc.) High School. A past president of the Wisconsin chapter of Phi Beta Mu, he was honored by that organization as Outstanding Bandmaster.
Daehn has composed With Quiet Courage, in memory of his mother, and As Summer Was Just Beginning. An avid admirer of Percy Aldridge Grainger, he has written several arrangements of that composer's melodies and an article on the Grainger Museum. He was the owner of Daehn Publications until his retirement.
A Longford Legend
A Collection of Irish Street Ballades
About the piece
A Longford Legend op. 58 was commissioned by the Normal Community West High School Band, Normal, Illinois, Lisa Preston, director. The piece was written in 1996 and premiered in April of that year with the composer conducting. It is based on the composer's impressions of three poems found in a collection of 18-century Irish ballades, and is written as a tribute to the wonderful music of Grainger, Holst and Vaughan Williams.
I. A Longford Legend
Oh! 'Tis of a bold Major tale I relate,
Who possessed a fine house and a charming estate,
Who, when possible, always his pleasure would take
From morning till night in a boat on his lake.
So a steam-launch he bought from a neighbouring peer,
And learnt how to start her, to stoke, and to steer;
But part of the craft he omitted to learn—
How to ease her, and to stop her, and back her astern.
Well, one lovely spring morn from their moorings they cast,
The furnace alight and the steam in full blast.
As they cruised through the lake, oh! what pleasure was theirs!
What congratulations! what swagger! what airs!
"Evening's come," says the Major; "let's home for the night.
Pick up the mooring and make her all right;
Whilst you, my gay stoker, your wages to earn,
Just ease her, and stop her, and back her astern."
"Do what?" asked the stoker. "Why, stop her, of course!"
"Faith! it's aisier stopping a runaway horse!
Just try it yourself!" The field officer swore!
But that was no use - they were nearly on shore!
He swore at himself, at the boat, and the crew;
He cursed at the funnel, the boiler, and screw,— But in vain!
He was forced from his mooring to turn, Shouting,
"Ease her, and stop her, and back her astern!"
It was clear that on shore they that night would not dine,
So they drank up the brandy, the whisky and wine;
They finished the stew and demolished the cake
As they steamed at full speed all the night round the lake.
Weeks passed; and with terror and famine oppressed,
One by one of that ill-fated crew sank to rest;
And grim death seized the Major before he could learn
How to ease her, and stop her, and back her astern.
And still round the lake there wild course they pursue,
While the ghost of the Major still swears at the crew,
And the ghosts of the crew still reply in this mode,
"Just ease her, and stop her yourself-and be blowed!"
Here's the moral: Imprimis, whene'er you're afloat,
Don't use haughty words to your crew on your boat;
And ere starting, oh! make this your deepest concern-
Learn to ease her, and stop her, and back her astern.
II. Young Molly Bawn
Come, all you young gallants that follow the gun.
Beware of late shooting at the setting sum,
For it's little you know of what happened off late
To young Molly Asthoreen, whose beauty was great.
It happened one evening in a shower of hail.
This maid in a bower herself did conceal:
Her love being a-shooting, took her for a fawn;
He leveled his gun and he shot Molly Bawn.
And when he came to her and found it was she,
His limbs they grew feeble and his eyes could not see:
His heart it was broken with sorrow and grief;
And with eyes up to heaven he implored for relief.
He ran to his uncle with the gun in his hand,
Saying, Uncle, dear uncle, I'm not able to stand;
I shot my own true lover—alas! I'm undone
While she was in the shade by the setting off the sun.
He rubbed her fair temples and found she was dead,
And a fountain of tears for my darling I shed;
And now I'll be forced by the laws of the land
For the killing of my darling my trial to stand."
III. Killyburn Brae
There was an ould man down by Killyburn brae,
Right fol, right fol, titty fol lay.
There was an ould man down by Killyburn brae,
Had a scolding ould wife for the most of his day,
With a right fol da dol, titty fol lol,
Fol da-da dol, da dol da-da day.
One day as this man he walk'd out in the glen
Sure he met with the divil, says "How are you then?"
Says he, me ould man I have come for yer wife,
For I hear she's the plague an' torment of yer life,
So the divil he hoisted her up on his back,
An' hot-fut for hell with her then he did pack,
An' when at the finish they got to hell's gate,
Sure he threw her right down with a thump on her pate,
There were two little divils there playing at ball,
Whilst the one he was wee sure the other was small,
There were two other divils there tied up in chains,
An' she lifted her stick an' she scattered their brains,
So the divil he hoisted her up on his back,
They were seven years goin'-nine days comin' back,
Says he, me ould man here's yer wife safe an' well,
For the likes of herself we would not have in hell,
Now l've been a divil the most of me life,
But I ne'er was in hell till I met with yer wife,
So it's true that the women is worse than the men,
Right fol, right fol, titty fol lay.
So it's true that the women is worse than the men,
When they go down to hell they are thrown out again.
With a right fol da dol, titty fol lol,
Fol da-da dol, da dol da-da day.
About the composer
Robert Sheldon (b. 3 February 1954, Chester, Penn.) is an American composer, arranger, conductor and educator.
Sheldon has taught instrumental music in the Florida and Illinois public schools, and has served on the faculty at Florida State University where he taught conducting and instrumental music education classes, and directed the university bands. As Concert Band Editor for the Alfred Publishing Company, he maintains an active composition and conducting schedule, and regularly accepts commissions for new works. Sheldon received the Bachelor of Music in Music Education from the University of Miami and the Master of Fine Arts in Instrumental Conducting from the University of Florida.
An internationally recognized clinician, Sheldon has conducted numerous Regional and All-State Honor Bands throughout the United States and abroad, is Conductor of the Prairie Wind Ensemble in residence at Illinois Central College, and teaches Composition at Bradley University. He holds membership in several organizations that promote music and music education. The American School Band Directors Association has honored him with the Volkwein Award for composition and the Stanbury Award for teaching. He has also been a twenty-one-time recipient of the American Society of Composers, Authors and Publisher's Standard Award for his compositions in the concert band repertoire. His compositions have been recorded and released on compact discs including, Images: The Music of Robert Sheldon, and Infinite Horizons: The Music of Robert Sheldon, as well as numerous other recordings. Mr. Sheldon has been the topic of articles published in The Instrumentalist, Teaching Music and School Band and Orchestra Magazine, and is one of eleven American wind band composers featured in Volume I of Composers on Composing Music for Band. He was honored by the International Assembly of Phi Beta Mu in 1990 as being the International Outstanding Bandmaster of the year.
Symphonic Winds
"Give Us This Day"
Psalm 46
About the piece
Psalm 46 is based upon the chorale melody from A Mighty Fortress Is Our God, the best known Martin Luther hymn which was composed sometime between 1527 and 1529. The hymn’s words paraphrase Psalm 46. Zdechlik’s setting is divided into four major sections with a wide variety of styles and meters that draw to a powerful heroic conclusion.
The work, originally published in 1971, is dedicated to Mr. Leon Titus and the Concordia College Band, St. Paul, Minnesota.
About the composer
John P. Zdechlik (2 May 1937, Minneapolis, Minn. – 21 May 2020, White Bear Lake, Minn.) was an American composer, conductor, performer and clinician.
He was born to a father who emigrated from Poland in 1910, though the surname Zdechlik is Czech in origin. Zdechlik had musical influences growing up - his grandfather was a church organist, his father regularly played recordings of Beethoven and Victor Herbert, and his parents enrolled him in piano lessons at age six. Zdechlik's parents encouraged musical pursuits but did not pressure him. In high school, Zdechlik began playing E-flat alto horn before switching to trumpet. During his high school years he also began to take an interest in jazz, and began to compose jazz band arrangements under the tutelage of his trumpet instructor Harry Strobel and local arranger and jazz pianist Herb Pilhofer.
Dr. Zdechlik earned his Ph.D. in theory and composition from the University of Minnesota, where he studied with Paul Fetler and Frank Bencriscutto for whom Zdechlik served as assistant for several years.
Thanks to Bencriscutto, Zdechlik's first major success as a composer came in 1969. Bencriscutto had been commissioned to write an original work for the Concordia College Band in Saint Paul, Minnesota, but was too busy to fulfill the commitment. The commissioner, Leon Titus, agreed to have Zdechlik fill in as the composer, resulting in Zdechlik's first major compositional success, Psalm 46.
In 1970, Zdechlik began his tenure at Lakewood Community College (now Century College) in White Bear Lake, Minnesota, where he served for nearly three decades as conductor, professor, music department chair, and resident composer until his retirement in 1997.
Soon thereafter, a commission from Bloomington Jefferson High School in Bloomington, Minnesota resulted in Zdechlik's most famous work, Chorale and Shaker Dance, which premiered at the Music Educators National Conference in 1972. Zdechlik claims to have guest conducted the piece over 500 times in his career.
Owing to his early success as a composer for the concert band medium, the vast majority of Zdechlik's future output was also for bands, most of which are commissions from high school or college ensembles. Dozens of his works have been published by Neil A. Kjos Music Company, and Zdechlik has conducted extensively throughout the United States, Japan, and Europe.
Zdechlik was elected to the American Bandmasters Association in 1989.
Let Us Break Bread Together
About the piece
Let Us Break Bread Together is an adaptation of a familiar folk hymn tune. Root has surrounded this beautiful old hymn tune with chordal sonorities and a beautiful trumpet solo.
About the composer
Thomas Root (22 February 1947, Redwood Falls, Minn. - 4 August 2023, Ogden, Utah) was an American composer and music educator.
After completing his bachelor's and master's degrees at the University of Minnesota, Dr. Root received a doctorate in music composition from Michigan State University. The winner of nine Utah Composers' Guild Awards, he was voted president-elect of the College Band Directors National Association, Western Division. Dr. Root presently serves as director of bands and chairman of the music theory department at Weber State University until his retirement after 31 years in 2015. Under his direction, the WSU Wind Ensemble performed as a guest of the City of Chia Yi, Taiwan, in their 1998 International Wind Orchestra Festival, in 2000 served as the guest performance ensemble for the Chosen Gems clinics of the 2000 Regional CBDNA convention, at Carnegie Hall in spring of 2009.
Active nationally as a guest conductor and adjudicator, Thomas Root is also well-known as a composer. The winner of eleven Utah Composers' Guild Awards, he has written numerous commissioned pieces, including works for the University of Nevada-Reno Wind Ensemble premiered at the Western Division College Band Directors National Association meetings, two chamber works funded by Utah State Arts Council grants, and chamber works for other professional associations including the Utah chapter of Music Teachers National Association. Dr. Root also completed commissions for bands and orchestras in Minnesota, Texas, Utah, Nevada, New Mexico, and Colorado. In addition, he has composed major works for choral ensemble, including his highly acclaimed African Carols for choir and band.
Root's 1999 publication for band, Chorale Prelude on ‘Sleepers Awake,' placed first nationally and was "Best of Utah" in that year's Utah Composers Guild competition. Another familiar band publication by Thomas Root, Polly Oliver, was recently selected as one of the ten most important works for young band by the American Band College and is featured continuously in clinics, reading bands, graduate music education seminars and conducting classrooms throughout the world.
Give Us This Day
I. Moderately Slow
II. Very Fast
About the Piece
Give us This Day was commissioned by Eric Weirather, Director of Bands at Rancho Buena Vista High School in Oceanside, Calif., which is in the greater San Diego area. Eric put together a consortium to support the commission. The score was finished in October of 2005, and the premiere performance was done at Eric's school in the spring of 2006. Since then, with publication of the piece, and a lot of word of mouth, Give Us This Day has literally taken off. It continues to be performed all over the U.S., and many places around the world.
The words "give us this day" are, of course, from the Lord's Prayer, but the inspiration for this music is Buddhist. I have recently read a book by the Vietnamese Buddhist monk Thich Nhat Hanh (pronounced "Tick Not Hahn") entitled For a Future to be Possible. His premise is that a future for the planet is only possible if individuals become deeply mindful of themselves, deeply connected to who they really are. While this is not a new idea, and something that is an ongoing struggle for everyone, in my estimation it is the issue for world peace. For me, writing music, and working with people to perform music, are two of those points of deep mindfulness.
Music makes the connection to reality, and by reality I mean a true awakeness and awareness. "Give Us This Day" gives us this very moment of awakeness and aware aliveness so that we can build a future in the face of a most dangerous and difficult time.
I chose the subtitle "Short Symphony for Wind Ensemble" because the music really isn't programmatic in nature. It has a full-blown symphonic character, even though there are only two movements. The music of the slower first movement is deeply searching, while that of the highly energized second movement is at times both joyful and sternly sober. The piece ends with a modal setting of the chorale melody Vater Unser in Himmelreich ("Our Father in Heaven"), #110 from the 371 Four-Part Chorales by J.S. Bach.
About the Composer
David Maslanka (30 August 1943, New Bedford, Mass. – 6 August 2017, Missoula, Mont.) was an American composer.
Dr. Maslanka attended the Oberlin College Conservatory where he studied composition with Joseph Wood, and spent a year at the Mozarteum in Salzburg, Austria. He also did graduate work in composition at Michigan State University with H. Owen Reed.
David Maslanka served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough College of the City University of New York. He was a member of ASCAP.
Over the past four decades, David Maslanka has become one of America’s most original and celebrated musical voices. He has published dozens of works for wind ensemble, orchestra, choir, percussion ensembles, chamber ensembles, solo instrument, and solo voice. However, he is especially well-known for his wind ensemble works. Of his nine symphonies, seven are written for wind ensemble, and an additional forty-one works include among them the profound “short symphony” Give Us This Day, and the amusing Rollo Takes a Walk. Year after year, Maslanka’s music is programmed by professional, collegiate, and secondary school wind ensembles around the world.
When Maslanka wrote A Child’s Garden of Dreams, he was living in New York City and teaching music composition at Sarah Lawrence College and New York University. He was rapidly becoming interested in psychology, psychotherapy, and meditation, and was particularly captivated by the writings of Swiss psychiatrist Carl Jung. Maslanka began to incorporate self-hypnosis and lucid dreaming into his meditative exercises, which heavily influenced his musical thought. He began to notice specific symbols in his “mental landscape” that he translated into music. Today, Maslanka’s unique compositional technique is known for its emphasis on meditation, psychoanalysis, self-discovery, and the accession of one’s own subconscious energies. His search for spiritual and metaphysical discovery ultimately spurred him to leave New York City in 1990, and move to Missoula, Montana, where he lived and worked until his death.
Maslanka's works for winds and percussion have become especially well known. They include among others, A Child's Garden of Dreams for Symphonic Wind Ensemble, Concerto for Piano, Winds, and Percussion, the 2nd, 3rd, and 4th symphonies, Mass for soloists, chorus, boys chorus, wind orchestra and organ, and the two wind quintets. Percussion works include Variations of 'Lost Love' and My Lady White for solo marimba, and three ensemble works: Arcadia II: Concerto for Marimba and Percussion Ensemble, Crown of Thorns, and Montana Music: Chorale Variations. In addition, he has written a wide variety of chamber, orchestral, and choral pieces.
Stephen Peterson (Fort Collins, CO) Stephen Peterson has enjoyed a 43-year career teaching and conducting throughout the United States and around the world. Most recently, he served as Director of Bands at the University of Illinois, where he served from 2015 until his retirement in 2022. At Illinois, he conducted the Illinois Wind Symphony, led the graduate wind conducting program, taught courses in wind literature, and guided all aspects of one of the nation’s oldest, largest, and most storied band programs.
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