Program Notes - December 5, 2018
COD Symphonic Band
Fanfare and Allegro
Clifton Williams (1923-1976) was born in Arkansas and attended high school in Little Rock, where he became an accomplished french horn player. He studied composition at Lousiana State University and the Eastman School of Music. He taught composition for 17 years at the University of Texas at Austin before becoming chair of the composition and theory department at the University of Miami in 1966. He held this post until his untimely death. His first compositions were written for orchestra. His career as a wind band composer took off in 1956 when Fanfare and Allegro, his first composition for band, won the inaugural Ostwald Award given by the American Bandmasters’ Association. His Symphonic Suite won him the award again the following year. He went on to write over 3 dozen works for band, many of which are considered essential repertoire.
Fanfare and Allegro proceeds through many moods. It opens with a jubilant fanfare that gives way to a dark woodwind theme accompanied by busy ostinatos. After an interlude of crescendoing chords, the brass introduces the allegro in a joyous fugato that again leads to plaintive woodwind melodies. The tension builds as the rhythms tighten, tempos quicken, and tessituras are tested in every instrument. The piece ends in the midst of a thrilling accelerando.
Program notes taken from http://windliterature.org/2010/12/01/fanfare-and-allegro-by-clifton-williams/
Fanfare and Allegro proceeds through many moods. It opens with a jubilant fanfare that gives way to a dark woodwind theme accompanied by busy ostinatos. After an interlude of crescendoing chords, the brass introduces the allegro in a joyous fugato that again leads to plaintive woodwind melodies. The tension builds as the rhythms tighten, tempos quicken, and tessituras are tested in every instrument. The piece ends in the midst of a thrilling accelerando.
Program notes taken from http://windliterature.org/2010/12/01/fanfare-and-allegro-by-clifton-williams/
O Magnum Mysterium
Composer Morten Lauridsen is most noted for his seven vocal cycles - Les Chansons des Roses, Madrigali, Mid-Winter Songs, Cuatro Canciones, A Winter Come, Nocturnes, and Lux Aeterna - and his series of a cappella motets which are regularly performed by distinguished ensembles and vocal artists throughout the world. His "O Magnum Mysterium" and "Dirat-on" have become two of the most performed and recorded compositions of recent years. The Nocturnes have been recorded by Polyphanu, conducted by Stephen Layton, with the composer at the piano, on "Lauridesn-Nocturnes" (Hyperion). Mr. Lauridsen (b. 1943) is Distinguished Professor of Composition at the University of Southern California Thornton School of Music and served as Composer-in-Residence of the Los Angeles Master Chorale from 1994 to 2001. In 2207, Lauridsen was awarded the National Medal of Arts for his "radiant choral works combining musical power, beauty and spiritual depth that have thrilled audiences worldwide."
Morten Lauridsen's choral setting of "O Magnum Mysterium" ("O Great Mystery") has become one of the world's most performed and recorded compositions since its 1994 premiere by the Los Angeles Master Chorale conducted by Paul Salamunovich. About his setting, Morten Lauridsen writes "For centuries, composers have been inspired by the beautiful O Magnum Mysterium text with its depiction of the birth of the new-born King amongst the lowly animals and shepherds. This affirmation of God's grace to the meek and the adoration of the Blesses Virgin are celebrated in my setting through a quiet song of profound inner joy." H. Robert Reynolds has arranged the symphonic wind version of this popular work with the approval and appreciation of the composer.
Original Latin text:
O magnum mysterium,
et admirabile sacramentum
ut animalia viderent Dominum
natum, jacentum in praesepio!
Beata Virgo, cujus viscera
meruerent portare
Dominum Christum. Alleluia!
English Translation:
O great mystery
and wondrous sacrament,
that animals should see the new-born Lord,
lying in their manger!
Blessed is the Virgin whose womb
was worthy to bear the
Lord Jesus Christ. Alleluia!
Program notes taken from the score
Morten Lauridsen's choral setting of "O Magnum Mysterium" ("O Great Mystery") has become one of the world's most performed and recorded compositions since its 1994 premiere by the Los Angeles Master Chorale conducted by Paul Salamunovich. About his setting, Morten Lauridsen writes "For centuries, composers have been inspired by the beautiful O Magnum Mysterium text with its depiction of the birth of the new-born King amongst the lowly animals and shepherds. This affirmation of God's grace to the meek and the adoration of the Blesses Virgin are celebrated in my setting through a quiet song of profound inner joy." H. Robert Reynolds has arranged the symphonic wind version of this popular work with the approval and appreciation of the composer.
Original Latin text:
O magnum mysterium,
et admirabile sacramentum
ut animalia viderent Dominum
natum, jacentum in praesepio!
Beata Virgo, cujus viscera
meruerent portare
Dominum Christum. Alleluia!
English Translation:
O great mystery
and wondrous sacrament,
that animals should see the new-born Lord,
lying in their manger!
Blessed is the Virgin whose womb
was worthy to bear the
Lord Jesus Christ. Alleluia!
Program notes taken from the score
The March from "1941" from the motion picture "1941"
Steven Spielberg's hilarious comedy 1941 featured the late actor John Belushi brilliantly portraying a character known as Wild Bill Kelso.
Kelso was a crazy, impertinent but lovable Air Force pilot whose antics seemed to require a musical accompaniment that had humor and rhythmic vitality. As a result, I set myself the task of writing a zanily patriotic march that upon hearing, we might be moved to tap or feet to an imaginary parade going by, and have fun doing it.
Program Notes from John Williams
Kelso was a crazy, impertinent but lovable Air Force pilot whose antics seemed to require a musical accompaniment that had humor and rhythmic vitality. As a result, I set myself the task of writing a zanily patriotic march that upon hearing, we might be moved to tap or feet to an imaginary parade going by, and have fun doing it.
Program Notes from John Williams
