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Saturday, November 29, 20038 pm. MacMillan TheatreUniversity of TorontoFaculty of MusicPresentsSymphonic BandDenise Grant, conductorPROGRAMMELouis Applebaum(1918-2000)Arts and Letters FanfareRichard Strauss(1864-1949)Feierlicher Einzug der Ritter de JohanniterordensFrancois Joseph Gossec(1734-1829)Classic Overture in CFisher TullSketches on a Tudor Psalm(1934-1994)Richard StraussElizabeth Gould, guest conductorSerenade for Winds, Op. 7Jasmina Vucurovic, guest conductorINTERMISSIONAugusta Reed Thomas(b.1964)MagneticfirefliesVincent Persichetti(1915-1987)Psalm for BandNigel Hess(b.1953)East Coast Pictures1. Shelter Island2. The Catskills3. New YorkThis concert is made possible with the generous support of Yamaha Canada MusicSt. John’s Music is a major supporter of wind performance and music educationat the University of TorontoYAMAHARifsiJohusntusig

Programme NotesArts and Letters FanfareWritten by Toronto composer, LouisApplebaum, in 1992, this short fanfarecelebrates the University of Toronto Artsand Letters Club. It is brief, but energetic,and captures the spirit of the Club, agathering place for Toronto’s artistic andliterary community since 1920.Feierlicher Einzug der Ritter deJohanniterordensThe Feierlicher Einzug was composed in1909 as the festival entry for the Processionof the Knights of the Order of St. John’s. Itis scored for fifteen trumpets (twelve ingroups of three, with three additional soloparts), four horns, four trombones, twotubas and timpani. This is a striking work,beginning with deep calls in the bass,almost Brucknerian in their simplicity andpower. The growth and strength coupledwith the delay in establishing the home keymake this brief piece a remarkable exampleof Strauss’ subtle art.Classic Overture in CThis overture, written in 1794-5, is one ofthe many works of the Classical Periodwritten for wind band. The wind band hadbecome immensely popular in theRevolutionary period of French history andoccupied an important place in the manyfestivals, parades and rallies held by therevolutionaries. The overture shows thewind band at its best. The tripartitestructure is simple and unadorned, withoutlengthy codas or extended developments. Itremains throughout a work of beauty andcharm that is thoroughly idiomatic of thegroup for which it was composed.Sketches on a Tudor PsalmSketches on a Tudor Psalm is based on a16"-century setting of the Second Psalm byThomas Tallis. The original version was inthe Phrygian mode with the melody in thetenor voice. A modern adaptation is stillused today in Anglican services. Itspopularity is evidenced by its employmentby Ralph Vaughan Williams as the basis forhis Fantasia for String Orchestra in 1910.The introduction sets the harmoniccharacter by emphasizing the juxtapositionof major and minor triads. The theme isfirst presented by solo alto saxophone,continued by horns, and followed by a fullyharmonized version from the brass. Thevariation begins to unfold in an Allegrosection with a melody in the clarinets,constructed from the retrograde of thetheme. Subsequently, fragments of thetheme are rhythmically and melodicallytransformed. Finally, the opening harmonicsequence returns in highly punctuatedrhythms to herald the recapitulation of thetheme, beginning in the low woodwindsand culminating in a fully scored setting ofthe climactic measures. A coda continuesthe development as the music builds to atriumphal close on a major chord.Serenade in E-flat, op. 7Richard Strauss began composing at the ageof six and started formal training incomposition at age 11. In 1881, at the ageof 16, Strauss completed the Serenade in Eflat major, op. 7. It is written for 13 windinstruments and was premiered by theDresden Court Orchestra in 1882.Although Strauss called the piece “no morethan the respectable work of a musicstudent,” Hans von Bulow, conductor of theMeiningen Court Orchestra, programmedthe work on the orchestra’s summer toursand requested a similar piece from Strauss.Strauss wrote the Suite in B-flat as a resultof Bulow’s request and went on to make hisconducting debut under Bulow with theMeiningen orchestra.The single movement Serenade is inSonatina form. The short developmentsection makes use of a three-note motiffrom the second of two exposition themes.From the tranquil beginning, the work risesand falls with movements of delicate

subtlety and moments of intense passion,reflecting a maturity beyond the years ofthe young Richard Strauss.Persichetti included the following note inthe score: “Psalm for Band is a piececonstructed from a single germinatingharmonic idea. There are three distinctMagneticfirefliessections: a sustained chordal mood, aAugusta Read Thomas (born in 1964 inNew York) is a Professor on thecomposition faculty at NorthwesternUniversity, and is on the Board of Directorsof the American Music Center. Shepreviously taught at the Eastman School ofMusic, and she is currently Composer-inResidence with the Chicago SymphonyOrchestra. From the composer:forward-moving chorale, and a Paeanculmination of the materials. Extensive useis made of separate choirs of instrumentssupported by thematic rhythms in the tenorand bass drums.”“Composing for wind ensemble and band issomething to which I am naturally attracted,in part because I grew up playing in one. Inthe past, I have composed a few bandworks. My piece, Magneticfireflies, was awonderful experience for me since it wascommissioned by 25 high school bands, allof whom played it in the first year. Thiswork has also been played by collegebands, for which Iam grateful. It is a six-minute zinger! Lots of brass, fluttertonguing and grace-notes.”Psalm for BandVincent Persichetti was one of America’smost respected 20"-century composers. Hiscontributions enriched the entire musicliterature; his influence as a conductor,teacher, scholar, and keyboard virtuoso isuniversally acknowledged. In addition towell-known works for a variety of othermedia, Persichetti composed 16 majorworks for wind band.Psalm for Band was commissioned by theAlpha Chapter of Pi Kappa OmicronNational Band Fraternity at the Universityof Louisville. It was premiered on May 2,1952 by the University of LouisvilleConcert Band, conducted by the composer.East Coast PicturesNigel Hess was born in the UK and studiedmusic at Cambridge University, where hewas Music Director of the famousFootlights Revue Company. He has sinceworked extensively as a composer andconductor in television, theatre and film.He writes, about East Coast Pictures:“The three short pictures which make upthe suite East Coast Pictures was inspiredby several visits to a small parts of theUSA’s east coast, an area which providesgreat extremes in the geography and thepeople. Shelter Island is a small islandsituated almost at the end of Long Island, afew hours drive east of New York. In thesummer it becomes a crowded tourist trap —but in the winter it is gloriously deserted,and bravely faces the onslaught of theturbulent Atlantic Ocean, shrouded in seamists and driving rain. This picture is afond memory of a winter weekend onShelter Island. In upstate New York lie theCatskill Mountains — an extraordinarycombination of tranquility and power, peaceand majesty. Once seen, they call you backagain and again. New York, or moreprecisely, Manhattan - for anyone who isfamiliar with this bizarre and wonderfulcity, the picture needs no explanation. Forthose not yet hooked, here is a small tasteof things to come!”gi

BiographiesDenise Grant conducts the Wind Ensemble,coordinates the graduate wind conductingprogram, and teaches courses in conducting andmusic education at the University of Toronto,where she has earned a reputation for herinnovative programming and sensitiveinterpretation of a wide variety of works. Sheearned her Ph.D. at the University of Minnesotawhere she studied conducting with CraigKirchhoff.Dr. Grant was formerly the director ofbands at the University of Regina and was aninstrumental music teacher with the Halifax(NS) Regional School Board for eight years. Sheis a strong advocate for music education and herprofessional activities attest to her dedication toschool band programs. Dr. Grant maintains anactive schedule nationally as a guest conductorand adjudicator and will be the music director ofthe 2004 National Youth Band of Canada.As a saxophonist, Dr. Grant has performeda wide body of music ranging from chambermusic to jazz. She is a former member of theScotia Winds Saxophone Quartet, performingregularly in the Maritimes and garnering praisefor their interpretations of diverse works.Currently, she performs with the University ofToronto Faculty Saxophone Quartet.Dr. Grant has professional affiliations withthe College Band Directors NationalAssociation, Music Educators NationalConference, Canadian Music EducatorsAssociation, and the Canadian Band Association(CBA). In addition, she serves as the NationalChairperson for Canada to the WorldAssociation of Symphonic Bands andEnsembles. She has had articles published inseveral journals and is the founding editor of thenew national journal for the CBA, CanadianWinds.undergraduate and graduate courses in musiceducation and conducting. Previously, Dr.Gould was Director of Bands at the Universityof Wisconsin-Marshfield/Wood County, whereshe founded and directed the ContemporaryMusic Project: Explorations in Compositionand Performance. In addition to serving asDirector of Bands at Kemmerer Junior/SeniorHigh School in Wyoming, she has taughtbeginning band and elementary general musicon the Crow Reservation in Hardin, Montana,and at Washington Elementary in Green River,Wyoming. Dr. Gould’s administrativeexperience includes serving as Director for theconference Feminist Theory and Music 6:Confluence and Divide, Arts EducationDirector for the Idaho Commission on the Arts,Associate Director of the Michigan StateUniversity Community Music School, andCommunity Outreach Director of the BrooklynConservatory of Music, the oldest continuouscommunity music school in New York City,where she also founded and directed theBrooklyn Conservatory Wind Ensemble. Aconsultant in gender issues in music education,and curriculum design and evaluation, Dr.Gould is actively involved in music educationresearch, the findings of which have beenpublished in The Role of Community Music ina Changing World, Philosophy of MusicEducation Review, College Music Symposium,General Music Today, and Update:Applications of Research in Music Education.Dr. Gould holds a Doctor of Musical Artsdegree in music education and wind ensembleconducting from the University of Oregon.of Music Education and Music Director of theJasmina Vucurovic holds a Master of Musicdegree in piano performance from theUniversity of Belgrade and is currentlyenrolled in the Master’s program ininstrumental conducting at the University ofToronto, studying with Raffi Armenian.Professionally, Jasmina has worked as a vocalcoach and rehearsal pianist for the CanadianOpera Company and Opera Atelier. She is thefounding director of “Kir Stefan Srbin” Choir,which specializes in Slavonic sacred music. Asa pianist and conductor Jasmina has performedBSU All-Campus Band, and teachesin Canada, Serbia, Croatia and Slovenia.As Visiting Associate Professor of MusicEducation, Elizabeth Gould teaches courses inmusic education foundations, philosopy, andpsychology. She is currently on leave from themusic education and conducting faculty ofBoise State University, which she joined in1996. At Boise State, she serves as Coordinator