CLC Music Presents

WIND ENSEMBLE CONCERT

Sunday, March 5, 2023
4 p.m.

JLC Mainstage

Passion.  Innovation.  Exploration.  Connection.  Excellence.

These are some of the hallmarks of the artistic enterprise -- they are also central to the mission of the College of Lake County in providing,"equitable, high-quality education, cultural enrichment and partnerships to advance the diverse communities [we] serve." Indeed, the Communication Arts division is committed to providing transformative learning experiences all Lake County residents. We believe the arts are fundamental to this transformation.

We're proud to offer a diverse range of artistic, intellectual and cultural experiences -- including music, dance, theatre, gallery exhibitions, film series, literary readings and a host of scholarly and cultural presentation.

We also invite you to explore our many outstanding courses in literature, creative writing, film studies, digital media and design and the visual and performing arts that enable students to experience personal exploration and growth. Please visit www.clcillinois.edu/campus-life/arts for information on these educational offerings and the exciting events planned for the 2022-23 season.

Again, it is my pleasure to welcome you to the college ...
and we hope you enjoy the show!

Dr. Sheldon Walcher
Dean

EXALTATIONS!
Composed by William Owens

VARIATIONS ON A KOREAN FOLK SONG
Composed by John Barnes Chance

WHEN ANGELS WEEP
Composed by George Farmer

PAGEANT
Composed by Vincent Persichetti

ARMENIAN DANCES (PART I)
Composed by Alfred Reed

PRELUDE AND FUGUE IN F MINOR
Composed by Houston Bright

ON THE MALL
Composed by Edwin Franko Goldman

EXALTATIONS!
Composed by William Owens

This intrepid concert fanfare for advanced bands exudes feelings of exhilaration and resilience from beginning to end! The work opens with sparkling melody lines and brilliant technical passages before settling into the rhythmic dance section. Hereafter, the music once again asserts itself with the powerful statements from the beginning before coming to the dramatic close.

(Source: Conductor’s score)

VARIATIONS ON A KOREAN FOLK SONG
Composed by John Barnes Chance

As a member of, and musical arranger for the Eighth U.S. Army Band, John Barnes Chance served in Seoul, South Korea, during the Korean War. It was during this time that he became familiar with a traditional Korean folk song called Arirang. Chance explains, “The tune is not as simple as it sounds, and my fascination with it during the intervening years led to its eventual use as the theme for this set of variations”.

Arirang is a tune based on the pentatonic scale, and it can be dated back to the 18th century as a song of love and heartbreak. It was utilized in the 20th century as a resistance anthem during the Japanese occupation of Korea, when the singing of patriotic songs, including the national anthem, was criminalized. Chance’s set of variations, written for concert band in 1965, begins by presenting the Arirang theme, and proceeds to develop it through five variations. The piece alternates between fast and slow variations, with the final variation being marked “Con Islancio” (“with impetuousness”), and it uses a variety of time signatures and rhythmic motives to alter the theme. Chance maintains the Eastern influence of the original tune through his use of the pentatonic scale, as well as prominent use of distinct percussion instruments, such as temple blocks, cymbals, and a gong.

The piece was awarded the Ostwald Award in 1966 by the American Bandmasters Association.

(Source: Adapted from Baylor University Symphonic Band concert program, 15 September 2022)

WHEN ANGELS WEEP
Composed by George Farmer

When Angels Weep was written for Tom and Angie Fisher in memory of their sons, Grant and Ethan. It was composed following the events of September 11, 2001.

(Source: Composer’s score)

PAGEANT
Composed by Vincent Persichetti

Pageant, op. 59 (1953) is the composer’s third work for band, commissioned by Edwin Franko Goldman for performance at the nineteenth annual convention of the American Bandmasters Association. The premiere was on March 7, 1953, by the University of Miami Band with Persichetti conducting.

The composer’s manuscript sketches show that Persichetti had originally intended to title the work Morning Music for Band -- the opening horn motive and the first theme in the clarinet choir have a serene, pastoral quality that evokes thoughts of sunrise. The opening horn call provides the motivic basis for the rest of the work, germinating long phrases supported by chordal harmonies. The phrases are passed around amongst various small choirs of instruments, exploiting the plethora of timbral and textural combinations possible in an ensemble of wind and percussion instruments. The tonal centers shift as often as the instrumentation, landing on a B-flat major chord that transitions into the second part of the work, the “parade.” In the Allegro second section, the snare drum provides a rhythmic version of the melodic material to follow. This section utilizes polytonality with multiple key centers existing in the music at the same time.

(Source: University of North Carolina Charlotte Wind Ensemble concert program, 20 October 2021)

ARMENIAN DANCES (PART I)
Composed by Alfred Reed

Part I of the Armenian Dances was completed in the summer of 1972 and first performed by Dr. Harry Begian, (to whom the work is dedicated), and the University of Illinois Symphonic Band, on January 10, 1973, at the C.B.D.N.A. Convention in Urbana, Illinois.

Gomidas Vartabed (1869-1935), the founder of Armenian classical music, is credited with collecting well over four thousand Armenian folk songs. Born Soghomon Soghomonian in Keotahya, a small town in Anatolia, Turkey, he would later be given the name Gomidas. His exceptional lyric voice led the prelate of the region to select the orphan Soghomon, at the age of eleven, to study at the Kevorkian Seminary in Etchmiadzin, Armenia. He was ordained an Apegha (monk) in 1895, at which time he assumed the name Gomidas, after the Armenian architect-musician Catholicos Gomidas. His desire for further musical training led him first to studies with Magar Yekmalian in Tiflis, Georgia, and from 1896-1899 to Berlin, where he studied at the Richard Schmidt Conservatory, as well as Frederic Wilhelm University, under eminent musicians of the time. In 1899 he graduated from both the Conservatory and the University, receiving his Ph.D. in musicology; his dissertation topic was Kurdish Music.

Gomidas was a founding member of the International Music Society (1899-1912), for which he read important papers on Armenian neumatic notation, the structure of Armenian sacred melodies and folk melodies. At the age of forty-six, at the apex of his career, Gomidas was exiled, together with other Armenian intellectuals, by the Turks, in April, 1915, at which time the genocide of one and a half million Armenians took place. He was released within a short time, but the sufferings and atrocities which he had witnessed resulted in a complete mental and physical breakdown from which he never recovered. He died in Paris in 1935. His legacy to the Armenian people, and to the world's ethnic music, is invaluable, and his major contribution lies in preserving so many centuries-old melodies from obscurity, or oblivion.

Part I of the Armenian Dances is built upon five Armenian folk songs which were first notated, purified, researched, and later arranged by Gomidas for solo voice with piano accompaniment, or unaccompanied chorus. In order of their appearance in the score, they are : Tzirani Tzar (The Apricot Tree); Gakavi Yerk (Partridge's Song); Hoy, Nazan Eem (Hoy, My Nazan); Alagyaz and Gna, Gna (Go, Go).

The Apricot Tree consists of three organically connected songs which were transcribed in 1904. Its declamatory beginning, rhythmic vitality and ornamentation make this a highly expressive song.

The Partridge's Song is an original song by Gomidas; it was published in 1908 in Tiflis, Georgia. He originally arranged it for solo voice and children's choir, and later for solo voice with piano accompaniment. It has a simple, delicate melody which might, perhaps, be thought of as depicting the tiny steps of the partridge.

Hoy, Nazan Eem was published in 1908, in a choral version arranged by Gomidas. This lively, lyric love song depicts a young man singing the praises of his beloved Nazan (a girl's name). The song has dance rhythms and ornamentation which make it an impressive, catchy tune.

Alagyaz (name of a mountain in Armenia), was first written by Gomidas for solo voice with piano accompaniment, and in a choral arrangement. It is a beloved Armenian folk song, and its long-breathed melody is as majestic as the mountain itself.

Go, Go is a humorous, light-textured tune. In performance, Gomidas coupled it with a contrasting slower song, The Jug. Its repeated note pattern musically depicts the expression of laughter. This song also is in recitative style.

(Source: Violet Vagramian, Florida International University)

PRELUDE AND FUGUE IN F MINOR
Composed by Houston Bright

In May 1975, Houston Bright's Prelude and Fugue in F minor was among works named by the National Association for Music Education's Bicentennial Commission for inclusion on a Selective List of American Music for the Bicentennial Celebration. Compositions so honored were chosen by the College Band Directors National Association and the National Association of College Wind and Percussion Instructors, with assistance from Bicentennial Commission members Professor George H. Kyme and Dr. Frank Anthony Bencriscutto.

In this work Bright made effective use of contemporary dissonances while staying within the traditional prelude and fugue form. The slow prelude is almost harsh in its dissonances, while the fugue has more traditional harmonies. Thus, the tension of the opening is relieved by the movement and relative consonance of the finale.

(Source: Program Notes for Band by Norman E. Smith)

ON THE MALL
Composed by Edwin Franko Goldman

This sing-along/whistle-along march was written in 1923 for the dedication of the Elkan Naumberg Bandshell in Central Park. The title derives from the park's spacious mall, where the bandstand is located and where New Yorkers enjoy gathering to listen to concerts. The march was composed and arranged in collaboration with Mayhew Lake in 1923 and rearranged by Erik Leidzén in 1937. Richard Franko Goldman (a well-known composer is his own right) stated in a letter that his father "did not think much of the march at the time and was astonished that it became the most popular of all of his compositions." In January 1956, Goldman conducted this march as an encore at the Nels Vogel Clinic in Moorhead, Minnesota. It was the last piece he would ever conduct.

Like many of Goldman's other marches, On the Mall has explicit expression marks, including staccato quarter notes and accented half notes. In his book Band Betterment he was rather insistent on another point: he wanted his marches played at a tempo between 120 and 128 beats per minute.

(Source: Program Notes for Band by Norman E. Smith)

Words to On The Mall:

On a peaceful summer evening when the sun has set,
And the cares of the day linger yet,

Don’t be sad and don’t be tired, there’s a place to go
Where there’s rest brought by sweet music’s flow;

‘Neath the trees with shadows dark the starry sky above,
There is calm, there is peace, there is love,

There, forgetting work and trouble, all may claim a share
Of Joy, Hope, and Courage rare.

(Words by Adelaide Maibrunn, also known as Mrs. Edwin Franko Goldman.)

The College of Lake County Wind Ensemble is composed of volunteer musicians who combine their talents and services to provide performances of artistic merit for the benefit of CLC students, audiences, and Lake County residents. The band performs an average of four concerts per academic year, focusing on playing quality repertoire by established as well as up-and-coming composers/arrangers. The wind ensemble rehearses on Thursday evenings from 7:30-9:00 P.M. and is open to all by audition. Guest soloists with the band have included Armando Ghitalla, trumpet; Gail Williams, french horn; Brian Bowman, euphonium; Harvey Phillips, tuba; Allen Vizzutti, trumpet; and John Allred, trombone/euphonium, among others.  In June of 2005 the CLC wind and jazz ensembles performed for and were guests of the city of Besana Brianza in Italy, at the 12th edition of the Santa Cecilia International Band Festival near Milan.  

WIND ENSEMBLE
Michael Flack – Conductor

PICCOLO   
Elizabeth Rehm  

FLUTE  
Laura Houston  
Tracey Letten    
Karla Boucek   

CLARINET   
Debbie Durham  
Angelo Anello   
Steve Schmidt  
Steve Loerch   

BASS CLARINET   
Jay Seifried 

BASSOON   
Alexander Blessing  

ALTO SAXOPHONE  
Tami Pilot-Matias   

TENOR SAXOPHONE  
Chris Markgraf 

BARITONE SAXOPHONE  
Marty Sviatko 

TRUMPET   
Tom Forkenbrock   
Jeff Bronstein  
Nathan Stalter  
Adam Keno 
Michael Purcell

HORN
Alejandro Guzman  
Steve Chamberlin

TROMBONE  
Brian Mabus  
Jeff Rosendahl  
Jeff Gahgan  

EUPHONIUM  
Joe Kuzmanoff   
Ken Frizane  

TUBA  
Barb Gangware   
Paul Schmidt   

BASS 
Richard Zeiger 

PERCUSSION  
Evan Hill   
Peter Meyer 
Bob Miller  
Dan Prowse   
Mallory Rasky  
Jon Steeber   

JLC Mainstage

46th Annual Art of Jazz Concert Series CLC Music
Guest Artist Steve Wiest
Sunday, March 12 @ 4 p.m.

Switchback
Sunday, March 19 @ 4 p.m.

The Squirrels
Friday & Saturday, April 7 & 8 @ 7:30 p.m.
Sunday, November 13 @ 2 p.m.

Gospel Choir Concert
Saturday, April 8 @ 4 p.m.

The Squirrels
Friday & Saturday, April 14 & 15 @ 7:30 p.m.
Sunday, April 16 @ 2 p.m.

2023 Fear No Art Festival
Friday April 21 @ 7:30 p.m.
Saturday April 22 @ 2 p.m.
Saturday, April 22 @ 7:30 p.m.

Chicago Dance Crash
Sunday, April 23 @ 4 p.m.

BUY TICKETS:
Online:  https://www.jlcenter.clcillinois.edu/
Phone:  (847) 543-2300, Option 5

We hope to see you at a future event!

Email for questions: clcboxoffice@clcillinois.edu

Box Office Hours: Monday-Friday, 10 a.m. to 4 p.m.

College of Lake County
Board of Trustees

Amanda D. Howland, J.D., Chair 
Julie B. Shroka, M.A., Vice Chair 
Torrie Mark Newsome, J.D., Secretary  
Gerri Songer, M.A. 
Matthew J. Stanton, J.D. 
Robert J. Tomei, Jr., J.D. 
Paul G. Virgilio, B.S., S.E., P.E. 
German Juárez, Student Trustee
Lori Suddick, Ed.D., President 

Trustees Emeriti  

Richard A. Anderson, J.D. 
William M. Griffin, Ed.D. 
Patricia Jones, M.Ed. 
Barbara D. Oilschlager, M.Ed.   

James Lumber Center Staff

Alisa Baum
Executive Director

J. J. Avers
Office Manager

Leslie Baraboo
Marketing & Communications Analyst

Kim Dizzonne
Accounting Associate

Jeremy Eiden
Technical Coordinator

Peter Hansen
Technical Production Assistant

Judie Katz
Marketing & Communications Coordinator

Matt McNabb
Patron Services Coordinator

Jianni Newsome
Box Office Assistant

We respectfully acknowledge that the College of Lake County is on the ancestral homelands of the Kickapoo, Peoria, Potawatomi and other native peoples. We recognize the longstanding significance of these lands for indigenous peoples past, present and future. Historical awareness of indigenous exclusion and erasure is critically important to preventing further atrocities. The College of Lake County pledges to acknowledge the grave injustices of the past and pledges to create awareness and advance education that invites truth.