Athletic Festival March by Sergei Prokofiev, arr. R.F. Goldman
- Program Note by Richard Franko Goldman
During one of Sergei Prokofiev’s visits to the United States, my father and I had occasion to chat with him about band music and to inquire whether he himself had written anything for band. His reply was that he had not, but that he was very much interested in the idea. Neither my father nor myself heard further on the subject until one day, a year or so afterwards, my father received a small package from Russia containing an inscribed pocket score of this march, Prokofiev’s first work for band, dated 1937.
The title, March for the Spartakiade, meant very little to me until I was informed that the Spartakiade was (or is) a sort of inclusive athletic competition or festival. We therefore decided to program the piece as Athletic Festival March, feeling that this title would be more understandable and appropriate. The first performance in America took place at a Goldman Band concert during the summer season of 1938. It scored a great and immediate hit, and has remained in the Goldman Band repertory ever since.
Prokofiev’s original scoring was of course for the typical military band of Russia, using no saxophones, alto or bass clarinets, 3rd cornet, etc. Oboe, bassoon and third and fourth horns were marked as optional; cues were liberally provided. It would indeed have been presumptuous on my part had I attempted to rescore this brilliant sounding little work; my editing therefore did not exceed the bounds of adding parts for those instruments which American bandmasters consider essential. The Athletic Festival March differs in form and spirit from the military march or quickstep of American or European pattern. It is actually in an expanded A-B-A form, each section being in turn composed of a smaller a-b-a form. The original tempo indication is given as skoro, meaning fast. It is clear that the gaiety and humor of the march are best revealed when a briskly vivacious tempo is maintained throughout, and when the dynamic contrasts are sharply and carefully emphasized.
A Midwestern Suite
A Midwestern Suite by Tom Davoren was commissioned in 2020 by a consortium of 16 universities and high schools from the Midwestern states of the USA and provinces of Canada. In three separate movements, Prairie, Storm and Sunset, the suite seeks to represent in music aspects of the Midwest noted for their respective grandeur and beauty. The thematic material of each movement is based on the classic western folk song Home on the Range, and a number of popular midwestern tunes are hidden through the work in an incidental manner.
A Midwestern Suite was awarded the National Band Association Merrill Jones Composition Prize in 2020.
Sponsored by the TCB Tuba section in memory of Richard Stephen, longtime TCB tubist
To Protect and Serve
To Protect and Serve is a musical tribute from master composer Robert W. Smith to all of the everyday heroes that dedicate their lives to the care and protection of us all. The third movement from "Suite for the Heroes Among Us" is dedicated to the law enforcement professionals that serve our communities each and every day. Dr. Brett Keating will conduct this selection.
Sponsored by Mike Gill
Fiesta en Madrid by Terry Crummel, former TCB trumpeter
Paso Doble (Spanish double step) is a fast-paced Spanish military march used by infantry troops. Its speed allowed troops to give 120 steps per minute (double the average of a regular unit) hence its name. This military march gave rise recently to a modern Spanish dance, a musical genre including both voice and instruments, and a genre of instrumental music often played during bullfights.
In the introduction you will hear the low-voiced instruments represent the charging bull, followed by the trumpets playing a brief statement as the matador makes his first pass. The first and second strain is a lovely melodic melody followed by a dogfight(bullfight) featuring the powerful brass section, and the tutti section will bring the piece to a grand conclusion.
And With This New Day by William Owens (Colorado Premiere)
Eleanor Roosevelt is rightfully recognized as one of America’s most formidable and influential First Ladies. Widely regarded as the benchmark for those to follow, Roosevelt mightily used the platform to make better the lives of those less fortunate than herself. From helping immigrants adjust to American life, to championing rights for women and African Americans to lending hands-on support to the American war effort, ER endures as a true beacon of justice and equality for all Americans. “With the new day comes new strength and new thoughts.” Eleanor Roosevelt The music is inspired by this simple yet powerful thought, which encourages us to be open to positive change and recognize that no matter how difficult previous times were, the new day always brings a fresh start. The introspective opening statement aptly illustrates the day anew, as we contemplate the good things to come. Beginning quite serenely with clarinet solo and a gentle harmonic compliment, the music gradually blossoms into a lush “pastorale” section. The energetic and brisk statement that follows is a true celebration of life, as the mood becomes lively and jovial. Throughout this sprightly section, an array of colors and textures are heard with strong melodic concentration and a driving rhythmic pulse at its core. The final statement calls us to reflect on the day’s end, as the music concludes serenely and peacefully. And With This New Day…comes through the generosity and creativity of the IDEA (Inclusion, Diversity, Equality, Access) Commissioning Project, proudly sponsored by the American Bandmasters Association.
Variations on "America"
Variations on "America" was originally a composition for organ. Composed in 1891 when Charles Ives was seventeen, it is an arrangement of a traditional tune, known as My Country, 'Tis of Thee, and was at the time the de facto anthem of the United States. The tune is also widely recognized in Thomas Arne's orchestration as the British National Anthem, God Save the Queen, and in the former anthems of Russia, Switzerland, and Germany, as well as being the current national anthem of Liechtenstein and royal anthem of Norway.
The variations are a witty, irreverent piece for organ, probably typical of a “silly” teenage phenom like Ives. According to his biographers, the piece was played by Ives in organ recitals in Danbury and Brewster, New York, during the same year. At the Brewster concert, his father would not let him play the pages which included canons in two or three keys at once, because they were “unsuitable for church performance – They upset the elderly ladies and made the little boys laugh and get noisy!”
This work was transcribed for orchestra in 1964 by William Schuman and for band in 1968 by William Rhodes. This selection will be conducted by Dr. Jennifer Grice
Sponsored by Casey O’Donnell in honor of grandparents: Azel and Louise Dorsey who played in many community bands
The National Game
The National Game. Judge Kenesaw Mountain Landis, baseball's high commissioner, asked Sousa to compose this march on the occasion of the National League's fiftieth anniversary. Earlier the two had met in Havana. No doubt Sousa told him of his enthusiasm for the game and of the Sousa Band's Own team.
Featuring our TCB Step-Up high school recipients
Variations on a Korean Folk Song
Variations on a Korean Folk Song. 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.
This selection will be conducted by Robert Yost.
Sponsored by the Garcia Family
Irving Berlin Showstoppers
Irving Berlin Showstoppers. America's most beloved songwriter is showcased in this outstanding medley for symphonic band. John Higgins has selected some of Berlin's greatest melodies and given each a refreshing touch in his own skillful style. Includes: Puttin' On The Ritz, Cheek To Cheek, Shaking The Blues Away, Steppin' Out With My Baby, and There's No Business Like Show Business.
Ben-Hur
Ben-Hur is a 1959 American epic religious drama film, directed by William Wyler, produced by Sam Zimbalist for Metro-Goldwyn-Mayer and starring Charlton Heston as the title character. A remake of the 1925 silent film with the same title, Ben-Hur was adapted from Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ. The score by Miklós Rózsa was arranged by Stephen Melillo.
In AD 26, Judah Ben-Hur is a wealthy prince and merchant in Jerusalem, who lives with his mother, Miriam, his sister, Tirzah, their loyal slave, Simonides, and Simonides' daughter, Esther. Judah's childhood friend, the Roman citizen Messala, is now a tribune. After several years away from Jerusalem, Messala returns as the new commander of the Roman garrison. Messala believes in the glory of Rome and its imperial power, while Judah is devoted to his faith and the freedom of the Jewish people. This difference causes tension between the friends, and results in their split after Messala issues an ultimatum demanding that Judah deliver potential rebels amongst the populace to the Roman authorities.