PDF of the prgram - Moravian College

The Moravian College Department of Music
The Wind Ensemble
FRIDAY the THIRTEENTH Concert
Featuring
Caitlin Worrich ’12, guest conductor
7:30 p.m. Foy Concert Hall
Priscilla Payne Hurd Campus, Moravian College
The Honored Dead (1886) (new to the MCWE)....................................................................John Philip Sousa (1854-­‐1932)
Hopak Raskolniki (1980) (new to the MCWE) ...........................................................................David R. Holsinger (b. 1945)
Wachet auf (1731)...........................................................................................................Johann Sebastian Bach (1685-­‐1750)
Arr. Al Chiaffarelli
A Night On Bald Mountain (1867) .......................................................Modeste Petrovich Moussorgsky (1839-­‐1881)
Trans. (1886) Nicolai Rimsky Korsakov
Arr. Maurice Gardner
Wild Nights (2007) (new to the MCWE)...................................................................................................Frank Ticheli (b. 1945)
INTERMISSION
Overture to Colas Breugnon (1936/38).........................................................................Dmitri Kabalevsky (1904-­‐1987)
Arr. Donald Hunsberger
Upstream/About Two Miles (1996) ..........................................................................................................................Paul Salerni
Pirates of the Caribbean – Symphonic Suite (2003) (new to the MCWE)................................... Klaus Badelt (b. 1967)
Arr. John Wasson
PRESENTATIONS
Stars and Stripes Forever (1896)............................................................................................................................................ Sousa
Caitlin Worrich, ’12, conductor
Please do not use flash photography.
This performance is being live-­‐streamed over the Internet.

The Music
The repertoire for this performance was made possible in part by a gift from attorney Ruth Moyer, class of 2005.
A PDF of the concert program and instructions on accessing live-­‐streaming may be found at:
http://home.moravian.edu/public/music/instrumental/windEnsemble/index.htm. For those
accessing online resources while at the performance, please silence all playback and electronic
devices
There is some disagreement about the origins of the superstition surrounding Friday the 13 th.
Should the date be dreaded; should we hide until the 14 th; or should be extra careful when interacting with
others? Perhaps you would like to ignore the Consumer Price Index for March 2012 announcement due out
this morning. Well, if you are a supervisory employee at the Pennsylvania higher Education Assistance
Agency, you should expect a 2% bump in salary today (the flip side to this is, until last October, those folks
lived with a 3.5 year pay freeze…).
Here are a couple of starting off points for more information on “Friggatriskaidekaphobia.”
http://www.timeanddate.com/date/friday-­‐13.html
http://en.wikipedia.org/wiki/Friday_the_13th
There is also some disagreement over the composition date for John Philip Sousa’s Funeral March
– The Honored Dead. Although band music reference books often list the date as 1876, other books suggest
that the march was written for Ulysses S. Grant’s funeral in 1885.
The Dallas Wind Symphony website on Sousa: http://www.dws.org/sousa/works
Six Marches (edited by Patrick Warfield):
http://books.google.com/books?id=bs9NT559O68C&pg=PR16&lpg=PR16&dq=sousa+honored+dead+gran
t&source=bl&ots=nlcPFr0cHK&sig=nYw3BUiTqQzkzS8CFehOSY1QIkE&hl=en&sa=X&ei=AGeHT5DYCJOD0
QGanOj4Bw&ved=0CCAQ6AEwAA#v=onepage&q=sousa%20honored%20dead%20grant&f=false
David Holsinger’s dance for the Old Believers, Hopak Raskolniki, is a mad, continuously moving
example of band music with eastern-­‐European influences. The Old Believers were Russian Orthodox church
members who continued to practice the liturgy from before the seventeenth century reforms. The music
begins fairly regular meter. But even in the “calmer” moments, the piece introduces disjointed meters –
defying those wishing to tap their feet to a common beat. The piece progresses into a frenzied section with
part of the ensemble subdividing beats into three partials, while other instrumental sections divide the beat
into duples. The fracturing of the beats continues as the piece rushes to conclusion with a final, emphatic
note that isn’t even on a regular beat!
For more on David Holsinger and his music, please visit: http://www.davidrholsinger.com/
The two portions from Bach’s Wachet auf, ruft uns die Stimme (Sleepers awake, the voice is
calling us) from Cantata BWV 140, as arranged by Chiaffarelli, is one of the standard examples of band
repertoire taken from the eighteenth century. The lyricism, counterpoint, and dynamic contrast are
balanced by the wonderful examples of antecedent/consequence phrasing. The mostly woodwind first
chorus is followed by a brass version of the cantata’s chorale, Gloria sei dir gesungen (May Gloria be sung to
you). What is the connection to Friday the 13 th? Perhaps it’s just that beauty can be enjoyed even on days
with not so nice connotations.
Moussorgsky’s (also Mussorgsky’s) A Night On a Bald Mountain is one of those pieces most
associated with Halloween (and perhaps a Disney movie). And since the Wind Ensemble is a spring-­‐term
ensemble, what better time to celebrate Halloween, than on a Friday the 13 th in April? And what better
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piece to end the first half of the concert than Ticheli’s Wild Nights? This piece is truly unrestrained and
highly emotional – a perfect musical expression of Emily Dickinson’s 1861 poem (publ. 1891):
Wild Night! Wild Nights!
Were I with thee,
Wild Nights should be
Our luxury!
Rowing in Eden!
Ah! the sea!
Might I but moor
To-­‐night in Thee!
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Futile the winds
To a heart in port, -­‐
Done with the compass,
Done with the chart.
You are encouraged to learn more about this poem at:
http://academic.brooklyn.cuny.edu/english/melani/cs6/wild.html
http://savannah-­‐schroll-­‐guz.suite101.com/understanding-­‐emily-­‐dickinsons-­‐wild-­‐nights-­‐a99747
Demitri Kabalevsky’s opera Colas Breugnon is set in 16 th century France. Colas, a sculptor,
experiences unrequited love, is a victim of falsehoods, lives during a plague that takes his wife, and endures
the destruction of his work on order of his Duke. (That should be enough bad luck for today’s Friday the
13 th!) Of course, in the end, Colas manages to take some comfort by creating a befittingly embarrassing
sculpture of the Duke. This stand-­‐alone overture is famous among musicians, as at least three-­‐quarters of
the measures fly by in 1 beat per measure!
For more on this opera, visit the Boosey & Hawkes website at:
http://www.boosey.com/pages/opera/moreDetails.asp?musicID=46910
Dr. Paul Salerni’s Upstream/About Two Miles has been a favorite of those fortunate to play the
piece. The work combines jazz elements in homage to the late jazz trumpeter, Miles Davis – one of the two
“Miles.” The other Miles refers to Dr. Salerni’s son of the same name! This is a boisterous piece that uses
elements of minimalism and jazz rhythms and instruments.
For more on Dr. Salerni, the NEH Distinguished Chair in the Humanities and Professor of Music at
Lehigh University, please visit his website at:
http://www.paulsalerni.com/site/index.html
Klaus Badelt’s music for Pirates of the Caribbean (Symphonic Suite) is a wonderful depiction of
the characters of the blockbuster action films. A typical film plot technique is to present conundrums from
which a hero must escape. This music elicits such a positive emotional response, you might even expect
some “Huzzahs!” from the audience at the end!
http://www.urbandictionary.com/define.php?term=huzzah
John Philip Sousa’s Stars and Stripes Forever is our country’s national march. And what an upbeat
and positive way to end all worries associated with a Friday the 13 th! And what a pleasure to have senior
music education major, Caitlin Worrich, conduct this final exciting and exhilarating work!
* * * * *

Piccolo
Cailin Fogerty
Flute
Kristi Nappi
Oboe
Adam Dart
Matthew Stover
Bb clarinet
Elizabeth Brodt
Melissa Zirkel
Julie Montes De Oca
Jennifer Leedom
Mary Ann Swiatek
Bb bass clarinet
Eric Weiss
Bb Soprano saxophone
Matthew Truscott
Eb alto saxophone
Ian Murphy
James Werner
Alexander DiPasquale
Veronica Mantilla
The Performers
Moravian College Wind Ensemble
Bb tenor saxophone
Nicole Baldelli
David Yerger
Patrick Titus
Eb bari saxophone
Ian Vogler
Daniel Aquilino
French horn
Nancy Mecstroth
Johanna Reisteter
Trumpet
Anne Hoffman
Michael Battipaglia
Timothy Jackson
Peter Harper
Christopher Klump
Trombone
Caitlin Worrich
Kevin Miller
Kristal Dering
Joe Mattera
Euphonium
Alicia Roeder
Samuel Morneweck
Tuba
Sarah Seifert
Stephanie Christ
String/electric bass
Kevin Weaver
Percussion (alphabetically)
Adam Benefield
Jason Bocutti
David Fahim
Jacob Krug
Zachary Martin
Synth guitar
Dr. Martha Schrempel
Participation in the Moravian College Wind Ensemble is by audition and is open to music majors and
majors of all other disciplines, as well as members of the College and greater community. Repertoire selection
represents a variety of original compositions and arrangements of wind and percussion literature spanning 300 years
of music literature and performance styles. Over the course of four years, members may expect substantial experience
with the recognized standards in wind band literature, contemporary band literature, and, often times, esoteric pieces
from “left field.” Over the past twenty years, the Wind Ensemble has toured locally, the Caribbean, England and
Scotland, and Germany. The Instrumental Concerto Competition for Orchestra and Wind Ensemble was first held in
spring of 2007 for performances in 2007-­‐08. The past Wind Ensemble concerto competition winners were Kyle
Hummel ‘08, alto saxophone, in 2008; Helen Smith ‘09, clarinet, in 2009; Cynthia Dretel ‘10, marimba, in 2010; and
Caitlin Worrich ’12, trombone, in 2011.
Caitlin Worrich, trombone, is currently a senior pursuing a Bachelor of Music degree in
music education. A native of Bethlehem, Pennsylvania, she graduated from Liberty High
School in 2008 where she was member of the Grenadier Band, Orchestra, Wind Ensemble,
and Fanfare Team. At Moravian, she has been a member of the Greyhound Marching Band
(for which she serves as trombone section leader), Wind Ensemble, Moravian College
Community Orchestra, Brass Ensemble, Trombone Ensemble, BIG Band, and Choir. She is
currently serving her second term as president of the Gamma Pi chapter of the international
music honors fraternity, Delta Omicron. In August of 2010, Caitlin travelled to Ottawa,
Ontario with current and alumni members of the Liberty High School fanfare team to perform
with the Canadian Ceremonial Guard. She also participated in a production of Stravinsky's
L'Histoire du Soldat in December of 2010 with members of the Moravian music department, and, as a winner of the
2010 Instrumental Concerto Competition at Moravian, performed Arthur Pryor's Thoughts of Love with the Moravian
College Wind Ensemble in February of 2011. She was a substitute pit orchestra musician for the Pennsylvania
Shakespeare Festival's production of South Pacific this past summer as well. Caitlin has studied trombone with Jon
Conrad and Ralph Brodt, piano with Dave Roth and Dr. Martha Schrempel, and guitar with John Arnold. Upon
graduating, Caitlin hopes to teach music and pursue performance opportunities.
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Mr. James E. Barnes is Director of Instrumental Music at Moravian College. For fifteen years Barnes was a
member of the George Seuffert Band, a Sousa-­‐styled concert band based in Queens, NYC, with roots dating back to
1898. For eighteen years Barnes was the cimbalom soloist for major orchestras and chamber ensembles in the eastern
United States and Canada. Recordings of his cimbalom performances may be found on iTunes. He previously taught at
(then) Keene State College (NH), Mercy College/Westchester Conservatory (NY), The New School of Music
(Philadelphia), and Temple University. He earned music degrees from SUNY Albany and The Juilliard School, a degree
in educational technology from Lehigh University, and studied classical and jazz music at UMASS in Amherst and
L’Institutes des Hautes Études Musicale (Switzerland). Mr. Barnes adjudicates bands and orchestras throughout the
United Sates. This is his twenty-­‐second year at Moravian College.
UPCOMING MUSIC @ MORAVIAN
Moravian College Composers Concert
Dr. Larry Lipkis, director
Saturday, April 14, 2012 ~ 7:30 PM
Peter Hall ~ Hurd Campus
$5 general admission / free with Moravian ID
Delta Omicron Spring Musicale
Sunday, April 15, 2012 ~ 3:00 PM
Peter Hall ~ Hurd Campus
$5 general admission
Moravian College-­‐Community Orchestra
Featuring, Leon Bates, piano ~ Donald Spieth, conductor
Rachmaninoff’s Concerto No. 2 in C minor, Op. 18
Tchaikovsky’s Romeo and Juliet Overture-­‐Fantasy
Arnold’s Four Scottish Dances, Op. 59
Sunday, April 15, 2012 ~ 7:00 PM
Foy Concert Hall ~ Hurd Campus
$10 general admission / $5 seniors & students / free with Moravian ID
Improv Ensemble, aka: “The Awkward Orchestra”
Dan DeChellis, director
Wednesday, April 18, 2012 ~ 9:00 PM
Peter Hall ~ Hurd Campus
$5 general admission / free with Moravian ID
Moravian College BIG Band: Treasures from he Vault
Dr. Neil Wetzel, director
Friday, April 20, 2012 ~ 7:30 PM
Foy Concert Hall ~ Hurd Campus
$10 general admission / $5 seniors & students / free with Moravian ID
Moravian College Choir: Elijah
Dr. Paula Zerkle, director
Saturday, April 21, 2012 ~ 7:30 PM
Foy Concert Hall ~ Hurd Campus
$10 general admission / $5 seniors & students / free with Moravian ID
~ ~ ~ ~
~ For information & tickets: 610-­‐861-­‐1650 or music@moravian.edu ~
Be sure to visit www.moravian.edu/music for updates on our department concerts.
The Department of Music is a member of the National Association of Schools of Music.
Audience members requesting accessibility accommodations should contact an usher.
Moravian College encourages persons with disabilities to participate in its programs and activities. If you anticipate needing any
type of accommodation or have questions about the physical access provided, please contact Department of Music at
music@moravian.edu, or call 610-861-1650 at least one week prior to the event.
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