Caption: Dedication - Band Building - Band Master's Association
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University Auditorium—Friday, March 7 contrast of the B part to the A part is primarily one of mood, tempo, and tonality. Ail melodic material is thematirally derived from the basic motive quoted above, and the FINALE f r o m t h e S Y M P H O N Y N O . 1 structure throughout is a development and transformation of this three-note motive." BASIL KALINNIKOV GLENN GLIFFE BAINUM,* conducting Kalinnikov's first symphony showed him to be a major creative talent but, frail from youth, he did not live long enough to fulfill all the promise of this work; he died in 1901 before his thirty-fifth birthday. However, this highly melodious and beautifully written symphony has acquired EXCERPTS f r o m t h e PEACOCK V A R I A T I O N S a place of importance in the symphonic repertory and has succeeded in keeping Kalinnikov's name alive. I t is influenced by Russian folk music though it docs not appear that there is any literal use of a folk tune. The transcription of the vigorous finale is by the conductor. ZOLTAN KODALY T h e m e , M o d e r a t e — Con b r i o — V i v o — A n d a n t e , poco rubato — Pinole, A l l e g r o ALBERT AUSTIN HARIpiNG,* c o n d u c t i n g The Peacock Variations were composed for the fiftieth anniversary of the Amsterdam Conccrtgcbouw Orchestra and heard for the first time on November 23, 1939, with Willem Mengelberg conducting. Kodaly himself conducted the first American concert performance with the Philadelphia Orchestra in 1946. The music takes its title from the Hungarian folk tune on which it is based — "Fly, Peacock, Fly," a song whose words would seem to make the peacock ILLINI SAGA ( f i r s t p e r f o r m a n c e ) a symbol of freedom from the political oppression which has been a part of Hungarian life for the greater part of three centuries. The composer exploits the expressive and coloristic potentialities of his theme throughout a series of sixteen variations and a finale. Dr. Harding has transcribed those portions which best lend themselves to performance by the concert band, and a further selection has been made for this program. 'RUSSELL HOWLAND THE COMPOSER, conducting Commissioned especially for this performance, Mint Saga "is dedicated to all those who have contributed to the excellent spirit and quality of the bands at the University of Illinois." The composer's further description follows: "The purpose of the music is to outline the history of the bands from Dr. Harding's early days to the present time. Leading motives derived from the initials of the various directors and chief assistants have been used as the source for thematic material, and these themes appear in the chronological order in which these people have served. Using "Germanic license," H becomes B natural, B becomes B flat, and ES becomes E flat. Thus we find Albert Austin Harding A-A-B, Glenn Gliffe Bainum G-C-B", Raymond F. Dvorak F-D, Mark H. Hindsley B-B, Clarence E. Sawhill C-Eb, and Everett D. Kisinger E-D. Since Dr. Harding's spirit is a permanent influence his theme recurs throughout the piece. "The very nature of the number prevents it from folUNIVERSITY O F ILLINOIS SONGS A N D MARCHES Pride of t h e Illini KARL KING M a r c h o f t h e Illini HARRY ALFORD lowing any conventional form. In a sense, it is throughcomposed except that the whole is unified by A-A-B. After an A-A-B timpani recitative and some development, G-C-B" appears in the horn. These two themes emerge in a short percussion ensemble, and Bainum's migration to Northwestern is indicated. F-D appears, and a lengthy development leads into a fugal treatment. Motives from the counterpoint are used to portray the establishment, during Dvorak's time, of another of our great traditions — Chief Illiniwek. Dvorak's move to Wisconsin is indicated, and B-B immediately appears. After a pastoral interlude, G-Eb enters. World unrest, the Pearl Harbor incident, and then we hear the triumphant return to school of many bandsmen. Sawhill, who acted as chief assistant while Hindsley was in the service, now heads west to California, Appropriately without notice of Dr. Harding's retirement, E joins the staff, and the piece ends with open fifths showing the present regime of Hindsley and Kisinger." Hall to t h e Orange Illinois L o y a l t y HOWARD GREEN and HAROLD HILL THACHER GUILD RAYMOND DVORAK,* conducting Cherished in Illini tradition is the song and march medley familiarly known as the "Three in One." It is particularly identified with footba 11 games, but is frequently used in various other settings. With words to the King march, starting "We are marching for dear old Illini," the Football Band sings and marches to the end of the field, picks up the Indian motifs of the Alford march, breaks out "Chief Illiniwek" to lead it and returns to center field in THE STARS A N D STRIPES FOREVER its famous marching ILLINI formation. The band sings "Hail to the Orange" a cappella, the audience joins in the second time, then the Illiniwek music returns for a frenzied and climactic dance by the Chief. Words to the song of the first march were written by this evening's conductor, who was instrumental in developing the medley and the game J O H N PHILIP SOUSA MARK HINDSLEY,* conducting President, The American Bandmasters Association * A present or former member of the faculty or a graduate of the University of Illinois, and member of The American Bandmasters Association. Other Illini who are ABA members and appear elsewhere in these programs: Harold Mines, Everett Kisinger, Lowell Little, George Reynolds. 13
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