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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 2
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! 3 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! * * * * *
Page 1: The Moravian College Department of
Page 5: Mr. James E. Barnes is Director of

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