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