University of Connecticut

Symphonic Band

All That Glitters is Gould

Dr. David Mills, conductor

Andrew Janes, assistant conductor

Robert Barney, assistant conductor

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Fanfare for Freedom

Morton Gould
(1913-1996)
Robert Barney, assistant conductor

Ballad for Band Morton

Gould

Andrew Janes, assistant conductor

Santa Fe Saga
Morton Gould

Dr. David Mills, conductor

Intermission

Symphony No. IV: Bookmarks from Japan

Julie Giroux
V. Evening Snow at Kambara Light is the Touch
(b.1961)

Satiric Dances Norman Dello

Joio
 I. Allegro pesante
(1913-2008)
II. Adagio mesto
III. Allegro spumante

Fanfare for Freedom

Morton Gould

Born in Richmond Hill, New York, Morton Gould was recognized

early on as a child prodigy with the ability to improvise and compose.
During the Depression and while a young teenager, Gould found work
in New York's vaudeville and movie theaters. When New York Citys
Radio City Music Hall opened, the young Gould was its staff pianist,
and by the age of 21, he was conducting and arranging a series of
orchestral programs for WOR Mutual Radio. He attained national
prominence through his work in radio, as he appealed to a wide-
ranging audience with his combination of classical and popular
programming. During the 1940s, Goulds appearances reached millions
of listeners.
Goulds music transcended and crossed the set lines that
separated serious from pop, orchestral from band, ballet from
chorus, and Broadway from television, doing so when it was not only
rare but also not always deemed acceptable. He integrated jazz,
blues, gospel, country-and-western, and folk elements into
compositions which bear his unequaled mastery of orchestration and
imaginative formal structures. His music was commissioned by
symphony orchestras throughout the United States, and as a
conductor, Gould led all the major American orchestras as well as
those of Canada, Mexico, Europe, Japan, and Australia.
Among his numerous honors, Gould received a Grammy Award (1966),
was elected to the American Academy and Institute of Arts and Letters
(1986), received the American Symphony Orchestra League Gold Baton
(1983), was a Kennedy Center honoree (1994), won the Pulitzer Prize in
Music (1995), and after his death, was honored with a Grammy
Lifetime Achievement Award (2005).
During the war years, from 1942-1943, Eugene Goosens,
conductor of the Cincinnati Symphony Orchestra, commissioned 19
composers to write fanfares celebrating diverse groups of people
collaborating in the war effort. Goosens even suggested titles for the
fanfares:
"A Fanfare for Soldiers, or A Fanfare for Airmen, or A Fanfare
for Sailors, or some such heading . . . I am asking you this favor in a
spirit of friendly comradeship, and I ask you to do it for the cause we
all have at heart.
The most famous of the resulting works is probably Coplands Fanfare
for the Common Man. Morton Goulds contribution was Fanfare for
Freedom.

Ballad for Band Morton

Gould

As an active composer in the 1930s, Gould had not written any

works for band. In fact, few American composers had taken the
medium seriously enough to devote any attention to producing original
works for band; however, after having heard the University of Michigan
Band under William Revelli premiere his Cowboy Rhapsody, Gould
"realized what a great music-making machine we had."
Ballad for Band, composed in 1946, was commissioned by the
Goldman Band and was premiered by the ensemble on June 21 of the
same year. Based on the style and elements of the spiritual, Ballad
does not contain any direct quotes from existing melodies. It is,
instead, an original expression of the effect spirituals had upon him as
a composer:
As Gould comments further on this wind band work:

I have always been sensitive to and stimulated by the

sounds that I would call our American vernacularjazz,
ragtime, gospel, spirituals, hillbilly. The spirituals have always
been the essence, in many ways, of our musical art, our musical
spirit. The spiritual is an emotional, rhythmic expression. The
spiritual has a universal feeling; it comes from the soul, from the
gut. People all over the world react to them I am not aware of
the first time I heard them. It was undoubtedly a sound I heard
as a child; maybe at a revival.
Ballad is cast in a broad ABA form, with each slow A section
unfolding at a leisurely, unhurried pace. The central B section is
lively and rhythmic, but seems only like a brief episode
interrupting the reverie of the outer sections.
Ballad for Band is basically an introverted piece that starts
slowly, is linear, and has a quiet lyricism; it is not big band in the
sense that there is little razzle-dazzle. A discerning listener who
is programmed to appreciate the nuances and subtlety of a
contemporary piece would respond favorably to this, but others
merely find it from relatively pleasant to slightly boring. Only
certain listeners respond to what this piece represents musically.
Santa Fe Saga
Morton Gould

Kennedy Center Honoree Morton Gould was a child prodigy,

learning to play piano by ear at age four and publishing his first piece
at age six. Gould came of age during the Depression; he supported his
family playing piano on the vaudeville circuit and for radio broadcasts,
even turning down a scholarship to study at the Curtis Institute of
Music in Philadelphia. Gould composed for Broadway and film as well
as symphony orchestras all over the United States. He is renowned for
his ability to combine modern musical genres within a formal Classical
structure.
In 1956, the American Bandmasters Association (ABA), an
organization of professional and school band directors, asked Gould to
write a piece to be premired at their convention in Sante Fe, New
Mexico. Goulds response, the Santa Fe Saga, reflects the confluence of
Spanish, Mexican, and Western American cultures unique to that area
of the Southwest. The four sections are performed without pause: Rio
Grande is a pastoral representation of the river that is the lifeblood of
the region; Roundup depicts rowdy cowboy life; the evocative
Wagon Train includes the whips and the jingling reins of horses
pulling their occupants across the rugged terrain; and the work
concludes with a brilliant and rousing Fiesta.

Symphony No. IV: Bookmarks from Japan

Julie Giroux
V. Evening Snow at Kambara Light is the Touch
(b.1961)

Hiroshige Ando (1797-1858) traveled the Tokaido from Edo to

Kyoto in 1832. The official party he was traveling with were
transporting horses which were gifts to be offered to the Imperial court.
The journey greatly inspired Hiroshige for he sketched many of its
scenes during his journey's round trip. In all, Hiroshige produced 55
prints for the series The Fifty-Three Stations of the Tokaido. Fifty-three
of the prints represent the 53 post stations along the way. The
additional 2 prints are of the starting and ending points. The post
stations offered food, lodging and stables for travelers of the Tokaido
Highway. "Evening Snow at Kambara" was the 15th station Hiroshige
visited.
The subtitle "Light is the Touch" refers to snow softly falling on
the skin.
In this piece, the falling snow symbolizes spiritual healing. The piece
starts with solo piano, harp and alto flute. The melody is simple yet
haunting and grows with the slow addition of players. The piece ends
with the same 3 soloists it began with. It is a song in structure, a song
representing the soft touch of healing.

Satiric Dances Norman

dello Joio
(1913-
2008)

Satiric Dances was commissioned by the Concord Band of

Concord, Massachusetts, to commemorate the Bicentennial of April 19,
1775: the day that launched the American War for Independence. At
the North Bridge, in what is now Minute Man National Historical Park,
the first ordered firing upon British Regulars by Colonial militiamen
resulted in ``the shot heard `round the world.'' Dello Joio, then Dean of
Boston University's School for the Arts, agreed to do the commission,
but stipulated it would be based on a piece he had used as background
music for a comedy by Aristophanes. The most famous comic
dramatist of ancient Greece, Aristophanes was born an Athenian
citizen about 445 BC. His plays commented on the political and social
issues of fifth century Athens and frequently employed satire.
The first dance movement is annotated as allegro pesante. The
brass entry signifies the importance of the work, but the brisk tempo
keeps the simplicity of peasantry from being ponderous. Taking a
much slower adagio mesto tempo, the second dance begins with a
melancholy tune from the flutes and low brass. The movement has
light and delicate features that are quite exposed. Its central theme
might evoke thoughts of a dance in a meadow that eventually reverts
into a more solemn theme. Without a break in the music, the final
movement is introduced by rolls from the snare drum. The tempo is
indicated as allegro spumante and is the fastest of the composition.
The quick turns and dynamics evoke images of the objects that were
the titles of Aristophanes' plays: Clouds, Wasps, and Birds.

David Mills, Professor of Music, is the University of

Connecticuts Director
of Bands. Since 1990 he has directed the UConn Marching Band,
Symphonic Band and Pep Bands. Dr. Mills recently received the School
of
Fine Arts Outstanding Faculty Award, the UConn Alumni Associations
Faculty Excellence in Teaching Award and was inducted into the
University
of Miamis Band of the Hour Hall of Fame. Dr. Mills is a frequent guest
conductor and clinician and served nationally as member and chairman
of
the national Marching Band Committee of CBDNA. Before UConn, he
directed outstanding band programs at Valdosta State University in
Valdosta, GA and Blacksburg High School in Blacksburg, VA. He earned
his PhD from the University of Miami and his Masters and B. S. in
Music
Education from Western Carolina University.

Andrew Janes, assistant conductor, is in his second year of

study towards a Masters in Instrumental Conducting at UConn, having
received a Masters degree in Trombone Performance from UConn in
May of 2015. As a graduate assistant, Andrew works with UConns
athletic bands, the universitys conducting labs, as well as conducting
the Symphonic and Concert Bands.
Originally from Nashville, Tennessee, Andrew received his B.M.
from Middle Tennessee State University, where he studied trombone
with Dr. David Loucky and conducting with Dr. Reed Thomas. While at
MTSU, Andrew participated in several summer music festivals,
including the Symphony Orchestra Academy of the Pacific, (Powell
River, British Columbia, CA), the Eastern Music Festival (Greensboro,
NC), and the Collegium Musicum Program (Pommersfelden, Germany).
As an educator, Andrew has worked as a jazz assistant at the Blue Lake
International Fine Arts Camp, (Muskegon, Michigan), and taught at the
Community School for the Arts, in Mansfield, Connecticut and the
Community Music School in Centerbrook, Connecticut.

Robert Barney, assistant conductor, returns to the University of

Connecticut after spending two years in Boise, Idaho working with the
Boise State University Blue Thunder Marching Band and studying
trombone performance. He currently serves as Graduate Assistant
with the marching band at UConn, assisting with rehearsals, games
and events, and arranging music for the marching and pep bands.
Robert is sharing conducting time with the Symphonic Band at UConn,
an ensemble in which he was a member of the trombone section from
2009 to 2011. Robert held a similar position at Boise State University,
and still continues to write music for and help the band program from
the other side of the country. He also currently serves as the Minister
of Music at Faith Lutheran Church in Middletown, CT, where he directs
the church choir, directs the Sunday School students in musical
activities, and provides all music during the services.
 Robert is currently pursuing a Masters of Music in Instrumental
Conducting at the UConn, and is studying conducting with Dr. Jeffery
Renshaw and Dr. David Mills. He also remains active as a composer
and arranger, with his works being performed by university and high
school ensembles around the country. Robert currently holds a Masters
of Music in trombone performance from Boise State University and a
Bachelor of Music in trombone performance from the University of
Connecticut. Robert is a member of Kappa Kappa Psi National
Honorary Band Fraternity.
Symphonic Band Personnel
Piccolo Trumpet
Kayla Blackburn Micah Donley
Justin Daly
Flute Jeremy Cruz
Courtney Plantier Austin Frandino
Emily Long Braden Frandino
Kayla Pardue Kameryn Larkins
Katherine Roque Conor Leland
Alexis Warnick
Kimberly Liang* Horn
Angela Yin * Lucille Littlefield
Elizabeth Ward
Bassoon Sydney Fogarty
Kevin Brady Annie Robbins
Brianna Nelson Tricia Wong
Bridget Grenier Emily Karr

Clarinet Trombone
Helena Sun Colby Buehler
Brandon Halberg Meghan Canastar
Jennifer Ponzio Dean Zeichner
Saurabh Kumar Evan Hurst
Amanda Blazka
Rebecca Vanderleest Euphonium
Emelia Cooper Jeremy Baouche
Katie Amara Brett Simms

Bass Clarinet Tuba

Dimitrius Raphael Aaron Embacher
Paige Kingsley Priyank Shelat
Kathryn Francis
Percussion
Alto Saxophone Tristan Pool
Barry Yan Justin Clapis
Carolina Quinones Claire Pawlewitz
Russell Andrew Jia Cai
Malavika Suresh Tom Catricala*

Tenor Saxophone Piano/Synthesi

Olivia Logios zer
Alexis Warnick
Baritone Tricia Wong
Saxophone
Kevin Duffy*