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DTSTART;TZID=America/New_York:20260227T193000
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SUMMARY:Wind Ensemble
DESCRIPTION:https://youtube.com/live/KhTlxcXD6PE\n\n\n\n\n\nRobert Young\n\n\n\nJohn R. Locke\n\n\n\nSarah McKoin\n\n\n\nWilliam L. Lake\, Jr.\n\n\n\n\nCarolina Band Festival and Conductors Conference\n\n\n\nJonathan Caldwell\, conductorRobert Young\, saxophoneJohn R. Locke\, guest conductorSarah McKoin\, guest conductorWilliam L. Lake\, Jr.\, guest conductor \n\n\n\nProgram\n\n\n\nJOHN PHILIP SOUSASesquicentennial Exposition March (1926) \n\n\n\nCAROLYN BREMEREarly Light (1999) \n\n\n\nINGOLF DAHLConcerto for Saxophone and Wind Orchestra (1949/1953) \n\n\n\n   Recitative    Adagio   Rondo alla Marcia: Allegro brioso \n\n\n\nMORTON GOULDYankee Doodle (1945) \n\n\n\nLEONARD BERNSTEIN Symphonic Dances from West Side Story (1960)transcribed by Paul Lavender \n\n\n\n\nAbout the Program\nSesquicentennial Exposition March \n\n\n\nJohn Philip Sousa (1854–1932)\, America’s most celebrated band composer of his era\, is widely known as the “March King.” Through his military band marches\, he helped define the sound and identity of American band music at the turn of the twentieth century. \n\n\n\nBorn in Washington\, DC\, to a trombonist in the US Marine Band\, Sousa was immersed in music from childhood. He trained as a violinist\, studied composition\, and at thirteen enlisted in the Marine Corps as an apprentice musician. After years as a theater conductor and performer\, he returned in 1880 to lead the US Marine Band\, a post he held until 1892. He then formed the Sousa Band\, which toured internationally for nearly four decades\, presenting more than 15\,000 concerts. \n\n\n\nSousa composed 136 marches\, along with operettas\, dances\, and songs\, admired for their energy\, craftsmanship\, and expressive range. His most famous work\, The Stars and Stripes Forever\, later designated the national march of the United States\, was the final piece he conducted before his death in 1932. \n\n\n\nCommissioned in honor of the 150th anniversary of American independence\, Sesquicentennial Exposition March was designated the official march of the Philadelphia Sesquicentennial Exposition. Dedicated to Philadelphia mayor W. Freeland Kendrick\, the march received its premiere on the opening concert of the Sousa Band’s thirty-fourth annual tour in Hershey\, Pennsylvania\, on July 4\, 1926\, alongside premieres of Pride of the Wolverines and The Gridiron Club. The work captures the spirit of the struggle for American independence: its opening strain evokes the fiery resolve of revolutionary-era debate\, with woodwinds and brass set in opposition to suggest conflicting viewpoints throughout\, before converging in a unified\, triumphant conclusion. \n\n\n\nEarly Light\n\n\n\nCarolyn Bremer forged a path as a composer after extensive training as a double bass player. She studied at the Eastman School of Music in Rochester\, New York\, the California Institute of Arts in Santa Clarita\, and the University of California\, Santa Barbara\, and later in her career served as associate director of the Bob Cole Conservatory of Music at California State University\, Long Beach. She composed Early Light for the Oklahoma City Philharmonic\, which premiered the work in 1995. Its musical material is derived primarily from “The Star-Spangled Banner.” In this bright and uplifting piece\, Bremer—a passionate baseball fan since childhood—frames her excitement at hearing the national anthem before ball games. The percussive slapheard near the end echoes the crack of the bat on a long home run. \n\n\n\nConcerto for Saxophone and Wind Orchestra\n\n\n\nIngolf Dahl conceived of his Concerto for Saxophone and Wind Orchestra in 1948 after receiving a letter from saxophone virtuoso Sigurd Rascher expressing interest in a large-scale work for saxophone.  Rascher proposed the idea that the accompaniment should be scored so it could be performed with either band or orchestra\, but Dahl quickly abandoned the idea of the orchestra\, scoring it solely for band. Excited by the challenge of writing a new work for band\, Dahl remarked\, “Somebody has to write the big pieces\, the symphonic works\, if the medium is to be elevated.” The concerto\, initially titled Fantasy\, was conceived as a one-movement piece in three sections: recitative\, arioso\, and allegro. Later\, Dahl transformed the work into a multi-movement piece.  \n\n\n\nConcerto for Alto Saxophone and Wind Orchestra was finished and premiered in May of 1949 by Rascher and the University of Illinois Concert Band. Dahl soon realized that Rascher was the only saxophonist in the world able to play the concerto due to its utilization of the very high “altissimo” register. This led to the concerto’s first revision in 1953\, in which the third movement was substantially rewritten to give the soloist an alternative to the altissimo passages. A third revision was made in 1959\, which included the removal of several sections\, shortening the piece to about three quarters of its original length. As for the differences between the original and published versions\, saxophone historian Paul Cohen writes: “When listening to the revised version of the concerto in comparison to the original\, it is clear that Dahl was operating from a different compositional perspective.” This evening\, we will perform the 1959 version.  \n\n\n\nHenry Cowell told Dahl that his concerto was “one of the most important and well-written band pieces he had ever seen.” One of Dahl’s closest contemporaries\, Igor Stravinsky\, was so moved by the piece that it brought him to tears. Within a decade of Dahl’s completion\, the Concerto for Alto Saxophone and Wind Orchestra was performed by an extensive list of collegiate and professional ensembles\, including the Los Angeles Philharmonic and the Boston Symphony Orchestra. Concerto for Alto Saxophone and Wind Orchestra remains one of Dahl’s most frequently performed works.  \n\n\n\nYankee Doodle\n\n\n\nIn 1945\, the final year of World War II\, Morton Gould created a joyful setting of a tune that can be traced back to the very founding of our country and beyond\, the iconic “Yankee Doodle.” Although there is incontrovertible evidence that the tune was in use at the time of the Revolution\, its origins remain shrouded in mystery. Countries including England\, France\, Holland\, and the United States have laid claim to it\, and a definitive answer as to the source of the melody itself may never be known. The lyrics\, however\, can be traced back to the French and Indian War (1754–63). Although the British were fighting alongside colonial soldiers in this conflict\, they had nothing but contempt for the unprofessional appearance and undisciplined bearing of their American cousins. Dr. Richard Schuckburgh\, a British Army surgeon assigned to duty with the colonials in Albany\, New York\, found their shabby appearance so amusing that he penned the lyrics most associated with the melody today. Although his words were designed to insult the Yankees (“Doodle” is a Low German word meaning “fool”)\, by the time of the Revolutionary War Americans had come to embrace the song as their own. According to Moore’s Encyclopedia of Music\, “When the battle of Concord and Lexington began the war\, the English\, when advancing in triumph\, played along the road “God Save the King\,” but\, on their disastrous retreat\, the Americans struck up “Yankee Doodle.” \n\n\n\nSymphonic Dances from West Side Story\n\n\n\nA child of the Jazz Age\, Leonard Bernstein grafted George Gershwin’s Russian immigrant roots onto Cole Porter’s Ivy League education (Harvard\, for Bernstein). His protean career developed very quickly: his famous debut conducting the New York Philharmonic on short notice in a nationally broadcast concert in November 1943 was followed the next year by the premieres of his First Symphony (“Jeremiah”) with the Pittsburgh Symphony; his ballet Fancy Free\, choreographed by Jerome Robbins\, at the Metropolitan Opera; and his Broadway musical On the Town. \n\n\n\nIn 1955-57\, Bernstein wrote the musical West Side Story\, the work that would ensure his fame as a composer. Then—after a New York run of almost two years (772 performances) and a national tour—in the opening weeks of 1960\, Bernstein revisited his score for West Side Story and extracted nine sections to assemble into the Symphonic Dances. They premiered at a “Valentine for Leonard Bernstein” gala concert by the New York Philharmonic (a fundraiser for the orchestra’s pension fund) under Lukas Foss’ direction\, on February 13\, 1961. \n\n\n\nThe stylistic diversity within the Symphonic Dances is partially created by the juxtaposition of classical techniques (fugue\, etc.) with dance rhythms and jazz syncopations. However\, the essence of the entire score is that most prominent opening melodic figure of “Maria” (C-F sharp-G)\, with its characteristic tritone interval. The suite ends\, like the musical itself\, on edge\, with an evocative chord containing the same interval. \n\n\n\nThe crucial role of dance in West Side Story added to the challenge of adapting the music for the concert platform. The orchestrations call for vibrant instrumental combinations and a huge percussion section (not to mention the vocal talents of the orchestra members!) to enhance the kinetic quality of the rhythms. More deeply\, they tilt the narrative weight from a love story to gang conflict. We hear first the rivalry between the Jets and the Sharks\, then the utopian opposite; their juxtaposition creates a dramatic tension that shapes the entire work. The printed score includes the following descriptions: \n\n\n\nPrologue (Allegro moderato)—The growing rivalry between two teenage street gangs\, the Jets and Sharks. \n\n\n\n“Somewhere” (Adagio)—In a visionary dance sequence\, the two gangs are united in friendship. \n\n\n\nScherzo (Vivace e leggiero)—In the same dream\, they break through the city walls and suddenly find themselves in a world of space\, air\, and sun. \n\n\n\nMambo (Meno presto)—Reality again; competitive dance between the gangs. \n\n\n\nCha-cha (Andantino con grazia)—The star-crossed lovers [Tony and Maria] see each other for the first time and dance together. \n\n\n\nMeeting Scene (Meno mosso)—Music accompanies their first spoken words. \n\n\n\nCool Fugue (Allegretto)—An elaborate dance sequence in which the Jets practice controlling their hostility. \n\n\n\nRumble (Molto allegro)—Climactic gang battle during which the two gang leaders are killed. \n\n\n\nFinale (Adagio)—Love music developing into a procession\, which recalls\, in tragic reality\, the vision of “Somewhere.” \n\n\n\n\nAbout the Soloist\nRobert Young\n\n\n\n\n\n\n\nFueled by a deep desire to create an enthusiasm surrounding the classical saxophone\, Robert Young connects with audiences with his musicianship\, virtuosity\, and authenticity. Praised for his “effortless expression and facile technique” (The Saxophonist Magazine)\, Robert maintains an active career as a soloist\, chamber musician\, and educator. His artistry has afforded him opportunities to appear with ensembles and musicians from across the globe including the PRISM Quartet\, The Crossing\, Chris Potter\, Ravi Coltrane\, Uri Caine\, Charlotte Symphony\, Detroit Chamber Winds and Strings\, and the Charleston (SC) Symphony Orchestra.  \n\n\n\nAs a chamber musician\, Robert collaborated with The Crossing and performed alongside the PRISM Quartet on the GRAMMY Award-winning album Gavin Bryars: The Fifth Century (available on ECM Recordings). The New York Times praised the collective performance on this album as “superb”and “eloquent.” Young has appeared with the PRISM Quartet on numerous concerts including residencies at the Curtis Institute\, Shepherd School of Music (Rice University)\, and the University of North Carolina School of the Arts. He can be heard on several albums with this notable ensemble including The Curtis Project\, Heritage/Evolution\, Volume 2\, and The Book of Days.  \n\n\n\nAppearing with the Berkeley Symphony Orchestra as soloist in the 2023-24 season\, he was hailed as “uncommonly expressive…and technically prodigious” (San Francisco Classical Voice) for his performance of Guillaume Connesson’s acrobatic concerto\, A Kind of Trane. He has also been a soloist with the United States Navy Band\, performing Quicksilver by Chicago-based composer Stacy Garrop\, and has been featured as a soloist with the Rock Hill Symphony Orchestra\, Piedmont Wind Symphony\, UNCSA Symphony\, and Zagreb Soloists (Croatia). \n\n\n\nRobert holds a teaching position at the University of North Carolina at Greensboro as Assistant Professor of Saxophone. Young’s students have received honors at several local\, regional and national competitions and have been featured at several clinics and conferences throughout the country. He previously has served on the faculties of the UNC School of the Arts\, The Crane School of Music – SUNY Potsdam\, and Wichita State University. Young is often invited to give guest lectures and classes throughout the country. In Fall 2022\, Robert was invited as be a guest teacher for the renowned University of Michigan saxophone studio as a sabbatical replacement for the award-winning saxophonist Timothy McAllister. \n\n\n\nRobert earned his Doctor of Musical Arts (2011) and Master of Music (2008) degrees in saxophone performance from the University of Michigan where he studied with Professor Donald Sinta. At the University of Michigan\, he studied jazz saxophone with Dr. Andrew Bishop and was a recipient of the Lawrence Teal Fellowship. Young received a bachelor’s degree from the University of South Carolina (2006) in saxophone performance where he studied with Dr. Clifford Leaman.  \n\n\n\nAs a Conn-Selmer Artist\, Robert Young plays exclusively on Selmer saxophones. He also serves as a D’Addario artist/clinician and endorses Key Leaves products. \n\n\n\n\nAbout the Wind Ensemble\n\n\n\n\nThe UNCG Wind Ensemble is the premier wind band of the UNCG School of Music\, uniting fifty outstanding musicians from across the United States and around the world. Its members—ranging from first‑year undergraduates to master’s and doctoral students in performance and music education—are selected through a highly competitive audition process. Ensemble musicians regularly earn top solo and chamber awards\, competitive scholarships and fellowships\, and professional positions in orchestras\, military bands\, teaching\, and arts leadership. Current students represent seventeen states\, Slovenia\, and Hong Kong. \n\n\n\nFor decades\, the ensemble has built a distinguished record of artistic excellence\, with acclaimed performances at the John F. Kennedy Center for the Performing Arts\, Lincoln Center\, and leading venues throughout the eastern United States. Its catalog of more than twenty commercial recordings has received national recognition and helped position UNCG as a leader in wind band performance\, commissioning\, and recording. \n\n\n\nThe Wind Ensemble has been featured at major national and regional conferences of the College Band Directors National Association (CBDNA)\, National Band Association (NBA)\, American Bandmasters Association (ABA)\, and Music Educators National Conference (MENC). The ensemble has also collaborated with prominent composers and performers\, including Pulitzer Prize–winning composer Karel Husa and other influential figures in the field. \n\n\n\nRecent highlights include performances at the Music Center at Strathmore; a joint concert with the United States Army Band “Pershing’s Own”; a twelve‑day international tour through the Czech Republic\, Austria\, and Italy\, culminating in a featured performance at Prague’s renowned Dvořák Hall; and a tour of the Southern United States that concluded with an appearance at the national conference of the College Band Directors National Association. \n\n\n\n\nUNCG Bands\nThe UNCG Bands are devoted to the performance\, study\, and advancement of wind band music at the highest artistic level. Recognized as one of the nation’s premier collegiate band programs\, the UNCG Bands maintain an active and distinguished record of excellence through performances\, recordings\, tours\, and appearances at major conventions. \n\n\n\nThrough exemplary organization\, training\, and presentation\, the UNCG Bands offer exceptional musical experiences for our members and share outstanding performances throughout the year. Together\, we enrich the cultural life\, spirit\, and character of UNCG. \n\n\n\nThe UNCG Bands also proudly support music education across North Carolina and throughout the region by providing leadership\, mentorship\, and sponsorship to secondary school band programs and other musical organizations. \n\n\n\n\nUNCG Bands\n\n\n\n\n\n\n\n\n\nEvent Details\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe importance of philanthropy has never been greater. Please consider a gift to the School of Music to support our mission and ensure the future of music at UNCG. \n\n\n\n\nJoin Our Mailing List\n\n\n\n\n\n\n\nflute\, music\, student recital\, studio recital\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/wind-ensemble-14/
LOCATION:UNCG Auditorium\, 408 Tate Street\, Greensboro\, NC\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
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