Music Program - Berea College

Music Program - Berea College


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Music Program {






JAZZ ENSEMBLE Matthew D. Talbert, Conductor 7:30 p.m. Tuesday, April 15, 2014 Gray Auditorium • Presser Music Building


Eugéne Gigout (1844-1925)

Eugene Gigout held the post of organist for most of his career at the church of St. Augustin; he was also professor of organ at the Paris Conservatory. He counted among his friends Fauré and Saint-Saëns; the latter was also Gigout’s teacher. Grand Choer Dialogué (Grand Chorus in Dialogue) was originally scored to exploit separate divisions of a solo organ. The arrangement heard here makes use of the two “choirs” of brass quintet and organ; in the recapitulation, we are treated to the delightful addition of the Flentrop’s own reed stops.


Andrew Boysen, Jr. (b. 1968)

Commissioned by Central Missouri State University for the dedication of the James C. Kirkpatrick Library in March 1999, this work has a definite Irish flavor, including a strain of Danny Boy. The “Fanfare” features driving rhythms and exciting brass figures, making this dramatic work sure to please both performers and audiences alike.


Aaron Copland (1900-1990) Transcribed for Band by Merlin Patterson

On June 29, 1962, Life Magazine featured Aaron Copland’s composition Down a Country Lane. Life Magazine commissioned the piece in hopes of making quality music available to the common pianist and student. The article explains, “Down a Country Lane fills a musical gap: It is among the few modern pieces specially written for young piano students by a major composer.” Copland is quoted in the article of saying “Even third-year students will have to practice before trying it in public.” Copland then explains the title: “The music is descriptive only in an imaginative, not a literal sense. I didn’t think to the title until the piece was finished—Down a Country Lane’ just happened to fit its flowing quality.” Copland is very descriptive in his directions on how the piece should be played. The piece begins with instructions to play “gently flowing in a pastoral mood”; a brief midsection is slightly dissonant and to be played “a trifle faster”; and the ending returns to the previous lyrical mood. Down a Country Lane was orchestrated for inclusion in a Youth Orchestra Series and premiered on November 20, 1965 by the London Junior Orchestra. The band arrangement was completed by Merlin Patterson in 1988. Patterson specialized in Copland transcriptions. Copland himself spoke of Patterson’s excellent work upon the completion of Down a Country Lane, saying that he produced “a careful, sensitive, and most satisfying extension of the mood and content of the original.”

FANTASTIC POLKA Dr. Joseph A. Brown, trombone

Arthur Pryor (1870-1942) Arr. Andrew Glover

Arthur Pryor wrote over 300 compositions in a variety of forms. Although Pryor wrote some piano music and songs, most of his music is for band and trombone. Many of Pryor’s compositions were improvisational - he simply made them up as he performed, and it was left to others to write them down, either from his performances or from early recordings. He had a special fondness for dance forms, as heard in tonight’s performance of Fantastic Polka.


Eric Whitacre (b. 1970) D. Mark Deiter, piano

“It took me seven years to get my bachelor’s degree from the University of Nevada, Las Vegas. By the time I graduated I was ready to eat Las Vegas. “Tom Leslie asked me to write another piece for the group as I was leaving, and I thought it would be a blast to do something completely ridiculous. The players are called upon to scream in terror, dress like Elvises (Elvi), and play in about 30 different styles from mambo to cheesy lounge music. The audience follows a ‘script’ that I wrote simulating a campy, over the top Godzilla movie (is there any other kind?). “I wrote the bulk of the piece while in my first year at Juilliard, and no kidding, I used to act out the script every morning devouring animal crackers, wreaking havoc all over the breakfast table. The ‘script’ was originally twice as long, and had an entire subplot devoted to a young scientist and his love interest. As I started to finish the piece, however, it didn’t seem that funny and that story (along with an extended Elvis tribute) ended up on the cutting room floor. “The idea that this piece is being played all over the world in such serious concert venues is the single funniest thing I have ever heard. It has been played on the steps of the Capitol by the United States Marine Band, by the Scottish National Wind Symphony (they play in kilts, so help me God), and I have a video of a Japanese audience visibly confused and shaken by the whole experience. Can you imagine? I’m laughing my head off even as I write this!” —Eric Whitacre Godzilla Eats Las Vegas! was commissioned by the University of Nevada Las Vegas, Thomas G. Leslie, conductor, and received its premiere November 28th, 1996. Godzilla Eats Las Vegas! is presented as a soundtrack for a hypothetical script (printed on the following two pages, so you can follow along with the music) that pits the “Big Guy” against the city of Las Vegas—a geographically unlikely locale, given this reptile’s amphibious origins. In this treatment, Godzilla’s character returns to his most malevolent. His most prominent victims are known for their music and are representative pillars of Las Vegas society. In the end, however, it is a hero long thought gone from this earth who saves the day and does battle with the vicious beast. —California Poly San Luis Obispo Wind Orchestra

GODZILLA EATS LAS VE * * * P A R T O N E ** * FADE UP It is a Bright and Sunny day as the sequined curtain rises on tinsel town, and the excitement of a new day filled with the possibility of The Big Payoff is practically palpable. The band kicks off the show in high gear and all is well as we suddenly hear: CUT TO DESERT A lone shakuhachi flute ushers the arrival of something really VERY bad. CUT BACK TO BAND A relaxed rumba, showgirls blissfully jiggle. CUT TO MILITARY COMMAND CENTER (stock footage) Morse code signals the confirmation of approaching doom. CUT BACK TO BAND The players finish off their third set and head for the bar; outside we hear: SLOW ZOOM Oh no, oh no, oh no, it’s: CLOSE UP Godzilla! Glorious Godzilla! VARIOUS QUICK CUTS (stock footage) Godzilla destroys cars, screaming tourists, etc. CUT BACK TO BAND The band, quasi Greek Chorus, calls for Godzilla Mambo. GODZILLA FULL FRAME Godzilla mambos, casually crushing hysterical Vegans without missing a step. EXTREME CLOSE UP A tiny terrier barking bravely, then: CUT BACK TO GODZILLA Demolishing everything in his path… not even the doggie escapes! WIDE PAN As Godzilla heads down the strip, searching relentlessly for: CLOSE UP (stock footage) Frank Sinatra (Stomped!) CLOSE UP (stock footage) Wayne Newton (Stamped!) CLOSE UP (stock footage) Liberace (Stepped upon!) VARIOUS CUTS The Village Gods destroyed, Godzilla continues his carnage until The City of Sin is leveled!

EGAS! Advance Copy Script ***PART TWO*** FADE UP A fearless army of Elvises (Elvi) appear in the distance, formation marching through the littered streets. VARIOUS CLOSE UPS The Elvi attack, using bombers, missiles, etc. EXTREME CLOSE UP One wicked laugh from Godzilla and the Elvi scatter like mice! QUICK CUT (stock footage) The Sphinx sits outside The Luxor, looking seductive in a Mae West sort of way. CLOSE UP Godzilla takes one look and his eyes pop out of his head. QUICK CUTS The Sphinx (Sphinxtress?) seduces the Reptile, who instantly falls in love and begins to: WIDE SHOT Tango with her. SPLIT SCREEN As they dance, the Elvi slowly regroup and head for the: QUICK CUT (stock footage) Pirate ships at Treasure Island. ACTION SEQUENCE (MONTAGE) The Elvi approach the dancing monster and launch a ferocious volley of cannonballs directly at him. QUICK CLOSE UPS The cannonballs find their mark, and Godzilla: WIDE SHOT Falls to the ground, annihilated. The Elvi are triumphant! CROSSFADE The lounge is open again, and the city of Los Vegas toasts the victory. The scene climaxes with: VARIOUS CUTS (stock footage) People happy, tearful, etc. Stock footage, stock music SLOW FADE OUT AND FADE UP A dark, ominous, and VERY familiar sound… SLOW ZOOM Godzilla lives! Godzilla lives! Complete terror (possible sequel) WIDE SHOT The show is over. The End FADE TO BLACK



oseph Brown is a native of Lowell, NC. He is an adjunct faculty member at Western Illinois University where he teaches courses in American Popular Music, adjunct faculty at Monmouth College where he conducts the Monmouth College Concert Band, and is an active freelance trombonist including a position as bass trombonist of the Quincy (Illinois) Symphony Orchestra. Joe received his Doctor of Musical Arts in Trombone Performance (2012) at the University of Texas-Austin (UT), studying with Dr. Nathaniel Brickens. At UT, Joe performed as principal trombonist with the Wind Ensemble, Symphony Orchestra, New Music Ensemble, Trombone Choir, and as part of the graduate brass quintet, City Limits Brass, studying chamber music with Charles Villarrubia, and tubist of Rhythm and Brass. He was also a finalist in the 2009-10 UT Concerto Competition. Joe was part of the Fellow class at the 2013 Alessi Seminar held in Tuscaloosa, AL. His orchestral experience includes Bass Trombone: Symphony of the Mountains and Second Trombone: Victoria Bach Festival Orchestra, as well as various substitute positions. Joe received his BM in Music Education (2001) and Master’s Degrees in Trombone Performance/Music Education (2004) from Appalachian State University (ASU), studying with Dr. Harold McKinney. He was the winner of the ASU Concerto competition in 2003, and was featured as a soloist with the ASU Wind Ensemble performing Derek Bourgeois’ Trombone Concerto. Joe was on adjunct faculty of Appalachian State from 2007-2009, teaching trombone, euphonium, and brass methods. He has also served as the trombone instructor for ASU’s Cannon Music Camp, a summer music camp for high school students. He also enjoyed four years serving as band director of W.P. Grier Middle School in Gastonia, North Carolina (2003-2007), leading a program with approximately 300 students in symphonic band and jazz band courses. He was also a North Carolina Teaching Fellow. He is a member of the International Trombone Association and an honorary member of Phi Mu Alpha Sinfonia, Rho Tau Chapter. Joe lives in Macomb, Illinois with his wife Laura, Assistant Professor of Music Therapy at Western Illinois University, and their daughter Morgan, born in September 2013.



avier Clavere is one of those musicians that successfully crosses over from academic endeavors to performance. As a pianist he has performed in concert series across the United States and South America, performing with orchestras, in solo recitals and chamber music. He has served as artist-inresidence of the Utah Arts Council in the Performing Arts Tour. He has appeared in solo recitals in prestigious series such as Palm Beach Invitational International Piano Competition, Broward Performing Arts Center, Rutgers University Nicholas Music Center, DiCapo Opera Theater (New York City), Temple Square Concert Series Salt Lake City, and the famed Xavier University Piano Series in Cincinnati. Javier was named the official representative of Argentina by the office of the president in the fifth Franz Liszt International Competition in Utrech, the Netherlands.

He was a professional organist for 15 years, and presented recitals in venues across the United States, most notably was a performance with the world-renowned Empire Brass. As a scholar Javier’s research focus is Music Theory, the study of Semiotics, and Logic. He has presented papers at Music Theory Midwest, Music Theory South East, and at four national conferences of the Semiotics Society of America. Topics of papers range from existential irony in music, referentiality and meaning in music, music and meaning in worship, and trans-contextualization in film and music. Javier, born in Rosario, Argentina, attended Brigham Young University and the College Conservatory of Music of the University of Cincinnati, where he was awarded a doctorate. His teachers included Roberto Caamano, Paul Pollei, Seymour Bernstein, Eugene and Elisabeth Pridonoff, and James Tocco. Dr. Clavere joined the music faculty at Berea College in 2010 as Assistant Professor of Music Theory and Applied Piano, while also serving as College Organist and Carillonneur.

JAZZ ENSEMBLE AFTER THE RAIN Berea College Saxophone Quartet, Dr. Angela Hammond, Director Kierston White, vocalist

Pamela Baskin Watson Arr. Robert Watson


Johnny Smith Arr. Quincy Jones


Jesse Harris Arr. Paul Murtha


Chuck Mangione Arr. Victor López

Paul Francis Webster, Johnny Mandel Dr. Joseph A. Brown, trombone Sammy Nestico Joe Zawinul Arr. Victor López

WIND ENSEMBLE PERSONNEL Alto Saxophone Logan Elliott Angela Hammond Shawn Hardin Abby Palmer

Horn Elizabeth DiSavino Barbara Hollstein Elizabeth Mynhier Mark Ross

Oboe Wendy Danniels

Tenor Saxophone Tori Bowman Rachel Riffe

Bassoon Devin Gunkler

Baritone Saxophone Kiersten White

Trombone Joseph A. Brown Tori Dassinger Dylan Imbus Andrew McKinney Dana Palmer

Clarinet Emma Crump Francisco Figueroa Emily Franklin Adria Sutherland Kristol Whitt Amanda Williams

Trumpet Nathan Brands Rachel Burnside Michael Cafferty Haley Denney James Mullins Kate Sniadowski

Bass Clarinet Margaret Elmore

Euphonium Coralie Terry

Flute Nora Burrows Rosa Shaw CJ Stewart Amy Strickland Ginger Watkins

Tuba Shane Mellon Elijah Spraul Percussion Dante Clavere Jacob Hamrick Tracy Prater Michael Thomas Thomas Usher

JAZZ ENSEMBLE PERSONNEL Reeds Tori Bowman Noah Broomfield Logan Elliott Shawn Hardin Abby Palmer Lincoln Satterwhite Destinee Tyson Ginger Watkins

Trumpets Nathan Brands Haley Denney Abner Krouse James Mullins Kate Sniadowski Earlene Stewart Coralie Terry

Trombones Joseph A. Brown Tori Dassinger Andrew McKinney Rhythm Myél Byrd Dylan Buser Michael Thomas Colin Weckman Tyler Wichus

Personnel are listed in alphabetical order to emphasize the importance of every musician.