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The Canterbury Chorale Jan Van der Roost The Canterbury Chorale was composed in 1991 by Belgian composer Jan Van der Roost (b. 1956) for Robert Leveugle and the Brass Band Midden Brabant (Belgium). Inspired by the beautiful cathedral in the English city of Canterbury, Van der Roost rescored the work for symphonic wind band in an effort to emulate the grandeur of an organ. In describing the work, the composer exclaimed, “Besides solo phrases for several instruments, there are some massive tutti passages making the wind orchestra sound like a majestic organ.” Van der Roost treats the wind band as a chorus, developing a simple, sing-able melody into a lovely, instrumental chorale. ~Adam K. Hilkert The Witch and the Saint Steven Reineke American composer Steven Reineke (b. 1970) composed The Witch and the Saint in 2004 for the Youth Brass Orchestra of Ellwangen, Germany. A programmatic tone poem, the work musically depicts the German story by Ulrike Scheikert of two twin sisters born in 1588. During the medieval period, the birth of twins was considered a bad omen, and both developed the sense of second sight, or the ability to predict future events. The sisters were separated. One sister, Helena, was sent to a convent and became revered as a saint, while the other, Sibylla, was regarded as a witch. Listen as the work follows the life journey of the sisters: their birth, separation, reunion, and demise. ~Adam K. Hilkert Rest Frank Ticheli Frank Ticheli’s Rest is an arrangement of his 1999 choral piece There Will Be Rest. The former was commissioned in memory of Elling Mikkelson, and the latter by the Pacific Chorale in memory of their conductor, John Alexander. Ticheli found inspiration for these occasions in the beautiful words of poet Sarah Teasdale (1884-1933): There will be rest, and sure stars shining Over the roof-tops crowned with snow, A reign of rest, serene forgetting, The music of stillness, holy and low. I will make this world of my devising Out of a dream in my lonely mind, I shall find the crystal of peace; and above me, Stars I shall find. Teasdale endured poor health for the majority of her life and tragically ended it by committing suicide. However, she did experience some happiness; in 1918, she won the Pulitzer Prize for Poetry and the Poetry Society of America prize. Perhaps this poem describes a place that Teasdale visited in her imagination in search of the comforts she lacked in reality. According to Ticheli, the biggest challenge Rest poses to the wind band is to convey the same meaning that a choir would with There Will Be Rest. Of course, the instrumentalists cannot literally sing the words of the poem. However, attentive audience members will notice that the music’s rhythmic cadence is very much like that of natural speech. Therefore, it is as if the text is present, just below the surface. With this, Ticheli creates the opportunity for the ensemble to give the music even more meaning. As so many composers have discovered, the wind band has almost infinite expressive potential due to the sheer number of different instruments. Ticheli masterfully combines and manipulates the many distinct voices to change the music’s character over the course of the piece. Rest is organized A A’ B A” coda. Ticheli demonstrates his mastery of word-painting throughout the piece, because the contour, volume, instrumentation, and movement of the music truly illustrate Teasdale’s text. Each time the principal theme returns, the voicing changes so that one feels a definite sense of progress. The B section is characterized by trepidation and the words “I will make this world
of my devising,” as if uncertain whether it is possible. However, by the A” section hope is restored and the melody soars with the word “above.” Finally, the coda section wordlessly sings “stars I shall find” as the notes peacefully fade away. Ticheli urges those who encounter his piece not to shy away from emotion. Music is very personal to all of us, therefore each of us on stage and in the audience will interpret and appreciate Rest in a unique way. We perform this in the hope that Rest’s tenderness and wish for serenity is universal. ~Lisette Armstrong Chorale and Shaker Dance John Zdechlik Since its premiere at the Music Educators National Conference in 1972, John Zdechlik’s Chorale and Shaker Dance has earned a place among the standard works of wind literature. The piece is respected and enjoyed not only for its use as a teaching tool for maturing ensembles, but for its creative handling of a familiar melody. Zdechlik began composing the work of his own accord, but after local high school and community band director Earl Benson heard it in its early stages, he commissioned the piece. When asked about his compositional technique, Zdechlik shared with me that he first wrote a chorale and later decided that it would work well in conjunction with the “Simple Gifts” melody. Then, he used the challenge of interweaving the two melodies as his compositional process. He applied countless musical inspirations to his piece, such as the work and techniques of Beethoven, William Schuman, Vincent Persichetti, and his old jazz favorites. Zdechlik divides the work into four main sections, beginning with an original chorale stated in juxtaposing woodwind and brass voices. The second section introduces the “Simple Gifts” melody in slight variations and fragments alternating with echoes of the chorale. Subsequently, the andante third section wanders farther away from the work’s point of origin. At times it is difficult to remember how this lyrical yet uncertain music developed out of the percussive section that preceded it. The final section starts as an altered reprise of the second section, then builds the chorale and “Simple Gifts” melodies to an exciting conclusion. Although this multifaceted work has many valuable traits, the singular aspect that draws me to the piece is the use of the “Simple Gifts” melody. Notwithstanding the fact that Zdechlik chose the melody strictly for compositional reasons, one cannot remove “Simple Gifts” from its historical and social context. Elder Joseph Brackett composed the “Simple Gifts” music and lyrics in 1848: ’Tis the gift to be simple, ’tis the gift to be free, ’Tis the gift to come down where we ought to be, And when we find ourselves in the place just right, ’Twill be in the valley of love and delight. When true simplicity is gain’d, To bow and to bend we shan’t be asham’d, To turn, turn will be our delight, Till by turning, turning we come out right. As American musicians, we are quite familiar with this tune in its many forms, among them the final section of Aaron Copland’s Appalachian Spring. Therefore, in performing and hearing Zdechlik’s very unique composition, one is constantly reminded of the music’s greater scope. Whether familiar with or a stranger to “Simple Gifts,” Chorale and Shaker Dance is a delightful and sincere example of creative expression and music’s place in our society. ~Lisette Armstrong Do Not Go Gentle Into That Good Night Elliot Del Borgo The Dylan Thomas poem Do Not Go Gentle Into That Good Night was the motivation for this musical composition. While not a programmatic depiction of the poem, the work attempts to recreate the essence of the poem in sound.
Page 1 and 2: GEORGE MASON UNIVERSITY COLLEGE OF
Page 3: Piccolo Yvonne LeFrancois Flute Cai
Page 7 and 8: Camphouse began composing at an ear
Page 9 and 10: Wind Conducting from Indiana Univer
Page 11 and 12: Administrative Staff Crystal Brooma
Page 13 and 14: Dr. Maurice and Sandy Scherrens Mr.
Page 15 and 16: Bandmaster ($1000 +) The Beck Found
Page 17 and 18: The College of Visual and Performin
Page 19 and 20: Dr. Linda L. Varner and Mr. Bill Va
Page 21 and 22: Fred and Sylvia Bergert Ms. Linda B
Page 23 and 24: Ms. Joan C. Reilly Dr. Elaine J. Re

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