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Track List

Excerpts from the opera Andrea Chenier Umberto Giordano (1867–1948), Arr. J.J. Richards
Easter Monday On The White House Lawn John Phillip Sousa (1854–1932), Arr. Mark Rogers
Sandburg Reflections Lewis Buckley (1948–)
Babies Make Good Poems
Fog
Ezra
Jazz Fantasia
Sparkle Shafer Mahoney (1968–)
Street Performers March Hiroki Takahashi (1979–)
Don’t You See Donald Grantham (1947–)
Selections from The Music Man Meredith Willson (1902–1984), Arr. Philip Lang	Listen
The Pasture Randall Thompson (1899–1984)
Stopping By The Woods On A Snowy Evening Randall Thompson (1899–1984)
Lily’s Eyes from The Secret Garden Lucy Simon, Arr. Daniel Raney
Pasquinade Louis Gottschalk (1829–1869), Arr. A. Morelli
Good News From Beijing Arrives At Frontier Village Lu Zheng and Hongye Ma
Boston Commandery T.M. Carter (1841–1934)
Apollo Unleashed from Symphony No.2 Frank Ticheli (1958–)	Listen	Listen	Listen
Who Puts His Trust In God Most Just J. S. Bach, (1685–1750), Arr. James Croft
Stars And Stripes Forever John Phillip Sousa (1854–1932)

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Selected Notes

Excerpts from the opera ANDREA CHENIER

The opera, based on incidents in the life of the French poet, Andrea Chenier, takes place in the year 1789. Chenier had thrown himself with enthusiasm into the French Revolution, but finally alarmed by its excesses, attacked the leaders who denounce him as a traitor and order his execution. The opera closes as Chenier passes through the courtyard of St. Lazare prison on his way to the guillotine.

Easter Monday On The White House Lawn

Rolling colored Easter eggs in ,Washington D.C., has been an American tradition dating back to 1816. In 1880 President Rutherford B. Hayes invited children to take part in this exciting activity on the White House Lawn. President Hayes introduced music for the event in 1889 while Sousa was conductor of the Marine Band. The march was featured in Sousa’s final tour in 1928.

Sandburg Reflections

1. Babies Make Good Poems
2. Fog
3. Ezra
4. Jazz Fantasia

Carl Sandburg is one of America’s most prominent poets. This is a musical setting of four of Carl Sandburg’s poem. Each poem is different in character and offers a very pleasing musical contrast from one to another.

Damara Stanley,

mezzo soprano/dd>

Sparkle

Most sections of Sparkle are lightly scored and focus on a single group of instruments. The first half of the piece alternates between solos for the flutes and the clarinets. Later solos are assigned to the trumpets, horns, and saxophones. A busy percussion ostinato underlies all of these solo passages.

Don’t You See?

The African-American spiritual with its wide-ranging emotional and expressive qualities are ideal material for this particular composition. Three spirituals are used for the basis of the composition: 1) Death Ain’t Nothin But a Robber, 2) I’ve Just Come from the Fountain, and 3) Blow the Trumpet, Gabriel.

Selections from the Music Man

Stopping By The Woods

In 1958 the town of Amherst, Massachusetts organized a celebration for its 200th anniversary. Since Robert Frost had taught for many years at Amherst College, the town commissioned Randall Thompson to compose settings for several of Frost’s poems. These were called Frostiana: Seven Country Songs. The piece was first performed in Amherst on October 18, 1959, with the composer conducting and the poet present. The second and sixth poems in the set were composed for men alone.

Lily’s Eyes from the Secret Garden

Timothy Bruett,

baritone

Tony Wirtz,

tenor

Two men, a husband in love with his wife, Lily, and his brother, who was also In love with Lily, respond to the eyes of Lily’s daughter.

Pasquinade

Gottschalk was born in New Orleans and was a kind of New World Franz Liszt. In the 19th century he toured widely as a concert pianist, mainly in North and South America. Wherever he went, he listened. The chords, the rhythms, and the moods he heard found their way into his own compositions, which in turn laid part of the foundation for what would later become jazz.

Boston Commandery

Boston Commandery was composed in 1892 as one of the many marches written for a variety of Masonic Temples across the United States. At one time John Philip Sousa was given credit for writing Boston Commandery, but he made it clear that his march Nobles of the Mystic Shrine was his contribution to the Masonic order.

Apollo Unleashed Symphony No. 2

Apollo Unleashed is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement’s title, but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach’s Chorale BWV 433.

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