Caption: Dedication - Band Building - Band Master's Association
This is a reduced-resolution page image for fast online browsing.
EXTRACTED TEXT FROM PAGE:
DEDICATION and SIXTY-EIGHTH ANNIVERSARY CONCERT THI CONCERT BAND THE NATIONAL ANTHIM ,-_.. ILLINOIS EDWIN FRANKO GOLDMAN , HERBERT JOHNSTON, conducting as Vice-President, The American Bandmasters Association Dr. Goldman's one-hundred-first march was dedicated to torium on January 8, 1953, the composer conducting, the University of Illinois and first performed in this audiTOCCATA AND FUGUE IN D MINOR JOHANN SEBASTIAN BACH MARK HINDSLEY ,* conducting Some of Bach's grandest creative works are to be found in his organ compositions. The Toccata and Fugue in D Minor consists of a brilliant introduction, alternating slow and fast, followed by the fugue, with a short subject in sixteenth notes. The title Toccata and Fugue may be interpreted as describing the fact that the fugue theme and subsidiary material constitute a toccata, not that the fugue is preceded by a toccata which, in the modern sense, we understand as a brilliant composition for technical display. The breadth and magnificence of this music has brought about its transcription from the organ score for both the symphony orchestra and concert band. The present band transcription is by the conductor. ANDANTE from the SYMPHONY NO. 2 , ROMANTIC GEORGE WILSON,* conducting HOWARD HANSON Howard Hanson has long been one of the most important figures in the American musical world, exerting widespread influence as a composer, conductor, and educator. Since returning from the American Academy in Rome in 1924 he has been Director of the Eastman School DANCE of Music. One of the principal themes of his second symphony has become identified with the National Music Camp, which uses it as a signature in concerts and broadcasts. The band transcription is by Norman Goldberg, alumnus of the University of Illinois and of the Concert Band. QU1NCY PORTER KEITH WILSON,* conducting Dance was written in 1932 for the Cleveland Summer Orchestra. The composer is a distinguished member of the music faculty of Yale University, a Pulitzer Prize winner in 1954 for his concerto for two pianos and orchestra. The band transcription was made by this evening's conductor, with both the permission and the encouragement of the composer. THE WALK TO THE PARADISE GARDEN from "A Village Romeo and Juliet" CLARENCE SAWHILL,* conducting FREDERICK DELIUS Born in England of German parents, Frederick Dcliusj left home as a young man to escape a life in business, became a planter in Florida, then returned to Europe to devote his life to music. He was influenced by Scandi-, navian, British, and Negro folk song, by the orchestral idioms of Wagner and Debussy, but evolved one of the most SYMPHONIC SUITE Introda — Chorale — March Antique Dance — Jubilee unique and individual styles in all music. The enchantment of his best music has been compared "only to the poetry of Wordsworth and the prose of Proust in a serenity and sensitivity unmatched in the tonal repertories of any age." The band transcription is by Albert Austin Harding. CLIFTON WILLIAMS BRUCE JONES,* conducting MILBURN CAREY,* conducting A member of the faculty of the University of Texas, in Santa Fe. His stature was further enhanced when a year Clifton Williams entered the national band spotlight two later his Symphonic Suite won the same award and was years ago when his Fanfare and Allegro received the Ost- performed in Pittsburgh. A graduate of Louisiana State wald award through the American Bandmasters Association University, the composer inscribed the suite to his former and was performed at the annual convention of the ABA band director, L. Bruce Jones. INTERMISSION RENASCENCE (first performance) THE COMPOSER, conducting OWEN REED Dr. Reed writes as follows concerning his work: "Renascence, commissioned by the University of Illinois for the dedication of the new Band Building, is philosophically representative of the poem Renascence by Edna St. Vincent Millay. Symbolically the structure of this composition is controlled by the number five: (a) the work is predominantly written in a measure signature of five-four; (b) the main motive, which is presented by the brass in the opening measure, is framed by the melodic interval of the perfect fifth (perfcct fourth plus the major second) j (c) this motive is divided further into the equivalent of two equal divisions of five eighth-notes; (d) the phrases are often five bars in length; and (e) the perfect fifth assumes importance as the structural unit for the vertical sonorities. "In formal design, the composition deviates from the quintic relationship. The form is ternary; however, the 12
| 
