edward johnson building faculty of music university of toronto THE UNIVERSITY OF TORONTO WIND SYMPHONY JOINED BY THE BRASS CHOIR STEPHEN CHENETTE, CONDUCTOR ANITA MCALISTER, TRUMPET MACMILLAN THEATRE, sunpAy, octoBer 17, 1982 5 P.M, PROGRAM: EUROPEAN WIND MUSIC Fanfare for Musicweek in Vienna, 1924 the Brass Choir Symphony No. 19, Opus 46 1. Maestoso-Allegro Giocoso 2. Moderato 3. Andante serioso 4. Poco maestoso Vivo INTERMISSION Dionysiaques, Opus 62 Florentiner March, Opus 214 Grand Marcia Italiana Marche Lorraine Thunder and Blazes (entry of the Gladiators) Concerto no. 2 for trumpet 1. Mesto - Concitato 2. Grave 3. Giocoso ANITA MCALISTER, Trumpet RICHARD STRAUSS NIKOLAI MIASKOWSKY FLORENT SCHMITT JULIUS FUCIK LOUIS GANNE JULIUS FUCIK’ ANDRE JOLIVET ANITA MCALISTER is a fourth year student in the Performance course, and studies with Stephen Chenette. RICHARD STRAUSS (1864-1949) composed four works for large symphonic brass ensembles. The Fanfare for Musicweek jn Vienna is very unlike the typical fanfare: it reaches its first fortissimo only nine bars before the end. It is solemm and slow, stately and dignified, ‘with long themes and over-lapping ideas, and requires great control on the part of the performers. NIKOLAI MIASKOWSKY (1881-1950) was a Russian composer whose teachers included Gliere, Rimsky-Korsakoy, and Liadov, and his pupils (during twenty-nine years as professor at the Moscow Conseryatory) included Katchaturjan and Kabelevsky. In all, he wrote twenty-seven symphonies, and No. 19 (his only symphony for band) was composed in 1939. FLORENT SCHMITT (1870-1958) was a French composer influenced by both German Romanticism and French Impressionism. Dionysiaques was composed in 1913 (the same year as Stravinsky's The Rite of Spring), and the title refers to Bacchanalian reyelry. It has been rescored to fit the instrumentation of North American bands by Guy Duker. Marches have long been part of man's expression of motion - and emotion through music. They come in all sizes, shapes, and descrip- tions; some are slow, others are fast; some create an atmosphere of great dignity while others reach with equal effectiveness for the lighter side. The dead who do not hear them have inspired many of man's most noble creations in their honor, while today's gridiron heroes - impatient to wrest the field from the band - casually toss footballs amongst the bandsmen as they parade to the tunes of victory. Their structure, evolving out of music's past, grew to serve the functional needs of early 19th century European military units which sought appropriate music to accommodate troops on parade or in formal regimental review. Here is where the four or eight-bar attention getter that we call an introduction became its traditional beginning. These preliminary measures, frequently a fanfare, let everybody know that lots of things were going to happen on count nine; together with sometimes impressive (if unintelligible)shouting of commands they served to get a regi- mental review under way and proceed to keep it moving at a steady pace. Here, too, is where the steady and heavy boom- boo™boomof the bass drum was employed to keep all left feet persistently following the right. This, too, is why we-do not have marches in pulses of five or seven - or any other "odd" metered cadences, Here 7s where those four-square features of form were established that are rarely altered. On the parade ground it was also decided that whatever music was played would be printed on the smallest possible piece of paper, All of these conditions and more have dictated the rules of the march game for the past century and a half. JULIUS FUCIK (1872-1916) had a short and brilliant career, during which he seryed as bandmaster to the 86th Hungarian Infantry Regiment at Budapest. Three of his marches have become standards (Children of the Regiment is the other), and Thunder and Blazes has become inseparably wed to the circus, Marche Lorraine, by LOUIS GANNE (1862-1923), is one of the great regimental marches of the world and towers among those by French masters of the form. (Comments on the marches are by Frederick Fennell, who, more than anyone else, has been responsible for the current revival of the band as a serious concert organization). ANDRE JOLIVET (1905- ) studied with Edgar Varése and joined with Olivier Messiaen and Daniel Lesur to form a group which director of music at the Comédie-Francaise. The Concerto No. 2 for Trumpet js in the spirit of jazz, but filtered through the sensibilities of a brilliant and witty serious composer. The accompanying ensemble resembles a large jazz band, and all of the parts are soloistic, requiring considerable virtuosity from every player. UNIVERSITY OF TORONTO WIND SYMPHONY PERSONNEL 1982 Flute Bass Clarinet Diane Aitken, Toronto Zack Moss, Toronto Christene Feierabend, Oshawa B Michelle Frensch, Grimsby bassoon. *David Gerry, Hamilton Wendy Rose, Peterborough *Jeanette Hirasawa, Hamilton Alan Stauss, Alexandria, Va. Liza Lorenzino, Swift Current,Carol Ann Turton, Alexandria, Ont. Saskatchewan *Nancy Reicken, W. Vancouyer Contra=bassoon *James Selkirk, Toronto Wendy Rose, Peterborough *also piccolo Alto Saxophone obese Brian Crone, Toronto Scott Duffus, Kenora Jean Ducharme, Beloeil P.Q. Genevieve Graham, Toronto Wendy Rothwell, Toronto Shelley Weaver, Toronto Cee Se Ry English Horn Genevieve Graham, Toronto Mark Tooker, Brockville Peter Voisey, Ottawa Bay ieone Saxophone E flat Clarinet Bernardo Padron, Ottawa Frank Boccitto, Toronto Trumpet Katherine Carleton, Doug Court, Toronto Peterborough Jim Gardiner, Sault St. Marie . Mary Eyered, Rexdale B Alar Chane Jonathan Freeman-Atwood, Surrey, U.K. Martin Arnold, Toronto Mary Jay, Bedford, N.S. Marc Becker, Toronto Keith Mayo, Montréal Katherine Carleton, Craig Penrose, Seattle, Wa, Peterborough Peter Sutherland, Fort Erie Wilf Kauffman, Scarborough Bill Thomas, Toronto Zack Moss, Toronto Geoff Thompson, Stratford Jeff Reilly, Toronto Jens VanVliet, Toronto Don Ross, Edmonton Michael White, Vancouver, B.C, Wayne Toivonen, Thunder Bay Scott Whittington, Midland UNIVERSITY OF TORONTO WIND SYMPHONY PERSONNEL 1982. French Horn Piano Anne Bonnycastle, Toronto June Chow, Hong Kong Susan Freeman, Didsbury, Alta Margaret Howard, Calgary Harp _ Mike Ibsen, London Julie Umbrico, Toronto Tacey Kobayashi, Kitchener av or Geoff Leader, W. Vancouver Percussion Mary Lee, Toronto Michael Bakan, Bella Coola B.C. Alyson McCauley, Scarborough Michael Coté, Guelph Janet Parker, Toronto Tevor Tureski, Regina Jamie Sommerville, Toronto David Bradshaw, Toronto Neil Spaulding, Toronto 44 z : Eleanor Stubley, Mississauga Manager/Librarian Trombone Alyson McCauley Steve Armstrong, Oshawa Tim Cunningham, Toronto Greg Farruggia, toronto ‘Bob Houghton, Thornhi1] Kathryn MacIntosn, Fredericton N.B. Ken Read, Kirkland Lake Kevin Sharp, Toronto John Wilson, Toronto Mt Euphonium Susan Dustan, Bowmanville Kevin Sharp, Toronto John Wilson, Toronto Roman Yasinsky, Toronto Tuba Bruce Alcock, Mt Pearl, NFLD Ian McIntosh, Toronto Paul Sylvester, Toronto String Bass Dan Brennan, Toronto Next event: Jane Coop, piano Tuesday October 19, 8 p.m, Walter Hall Next Wind Symphony Concert Sunday January 23, 3 p.m. McMillan Theatre