Caption: Dedication - Band Building - Band Master's Association
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ABA and SIXTY-EIGHTH ANNIVERSARY CONCERT THE CONCERT BAND THE N A T I O N A L A N T H E M ILLINOIS E D W I N FRANKO G O L D M A N MARK HINDSLEY, conducting as President, The American Bandmasters Association Dr. Goldman's one-hundred-first march was dedicated to the University of Illinois and first performed in this CELEBRATION OVERTURE Wtl.I.IAM REVELLI auditorium on January 8, 1953, the composer conducting, PAUL CRESTON conducting Paul Creston is a native New Yorker of Italian parentage. In addition to composing and teaching he has been active at various periods as lecturer, pianist, organist, and musical director of several radio programs. Since 1934 he has been organist of St. Malachy's church in New York. Celebration is Mr. Crcston's third major work for band. It DEATH VALLEY SUITE Funeral M o u n t a i n s 1 8 4 9 Emigrant T r a i n was commissioned by Edwin Franko Goldman for the American Bandmasters Association and was given its premiere at the annual convention of the ABA in Elkhart, Indiana, on February 19, 1955, with the composer conducting. Its title and musical content arc particularly appropriate for the present occasion. FERDE GROFE FRANK SIMON, conducting Desert W a t e r Hole Sand Storm THE COMPOSER conducting beds, their oxen scenting the desert spring, their thanks, praise, and celebration. Emerging from the sand storm, the surviving settlers are stronger for all their ordeals, and build a new civilization in the wilderness. Commissioned by the Death Valley Association to commemorate the one-hundredth anniversary of the discovery of this bleak and beautiful area, the suite was originally composed for orchestra, and recently transcribed for band by David Bennett. In Death Valley Suite, the stark enchantment of this arid land is vividly portrayed; the struggles of the early settlers, and their small triumphs, can be followed in the mood and tempo of the music; woodwind, brass, and percussion are the voices that speak of the eternal threat of desolation from wind, sand, and sun. The music paints the first glow of sunrise in the mountains, then the merciless rays of high noon, the purple shades of night. It tells the story of the emigrants, lost and dying of thirst, attacked by Indians, stumbling through the blinding glare of the salt FOUR R U S S I A N FOLK f O N G S Christmas Song Round Dance T h e L e g e n d o f t h e Birds C h o r a l Dance ANATOL LIADOV RICHARD FRANKO GOLDMAN, conducting Anatol Liadov was one of the many pupils of RimskyKorsakov and was considered by that inspired teacher to be among the greatest talents he had ever known. Like many of the members of the St. Petersburg school of composers, Liadov excelled in orchestration and gave much of his music a national character. His suite of Russian folk songs A D M A J O R E M G L O R I A M , Unlvorsltatl* Itllnorum is perhaps the most popular of his orchestral works. It is distinguished by its gem-like clarity of workmanship, its lack of pretension, and its melodic and harmonic charm. The simple melodies are presented with great brilliance and subtle color. The band transcription is by the conductor. (first p e r f o r m a n c e ) ROY HARRIS THE COMPOSER, conducting "When Mark Hindslcy asked me to write a symphonic work to honor the occasion of the Ulini's new band building, 1 began to think about how the American people have built this great institution of the prairies where our own forefathers foraged with rifle and ax. Whenever I have the occasion to visit this university — from whatever direction or whatever time, I am impressed by the power of the earth upon which it was built and the span of the skies under which its people live. "By night there is a brooding silence and an endless waiting. By day there seems to be an urgent energy, not only of the youth but alio from the prairie itself. It is these two moods which I have hoped to capture in this symphonic work for Mark Hindslcy and his young musicians. This was my inspiration: the prairies of Illinois and the people on them." — Roy Harris. INTERMISSION 14
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