The Red Balloon Anne McGinty

• 
  Clarinets state melody, low brass in disjunct accompaniment
  

• 
  WW melody, parts split into melody + counterpoint, very
  

• 
  High WW / cornet melody + counterpoint, more dense with
  

• 
  Angular melody introduced in flute over theme from
  

over time

• 
  Stringendo poco a poco, tutti ensemble builds dynamically and
  

• 
  Allegro, high WW play melody with xylophone, sax / low WW /
  

piece dynamically, abrupt ending

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  Molto maestoso, WW / euphonium melody with saxophone /
  

• 
  Flute / oboe / low WW melody, clarinet / euphonium
  

• 
  Clarinets / horns melody, slowly dying away with low WW /
  

horns join to finish melody at end, very light and much use of

silence
Suggested Listenings:

1. 
   West Chester University Wind Ensemble, Rites, Naxos
   
2. 
   Butler University- http://www.youtube.com/watch?v=PnrgGIR8YR4
   
3. 
   Rutgers Wind Ensemble: American Images
   
4. 
   West Chester University Wind Ensemble: Rites
   
5. 
   Illiana Wind Ensemble http://www.youtube.com/watch?v=GQSmgVUFR7w
   

6. 
   http://www.youtube.com/watch?v=oq3tO-M9Gsg
   
7. 
   Daniel Bukvich, The Dream of Abraham
   
8. 
   Ronald Lo Presti, The Masks,http://www.youtube.com/watch?v=sGq_XFDM4Kg
   

Sources/Bibliography:

1. 
   Music Program Notes for Band and Wind Ensemble, http://windband.org/foothill/pgm_note/notes_kl.htm#Lo%20Presti
   
2. 
   Slideshare, Elegy for a Young American, Mr. Sierakowski, http://www.slideshare.net/serak5/elegy-13044679
   
3. 
   http://www.music.uab.edu/Site2/media/musicprograms0607/02-
   

4. 
   http://www.youtube.com/watch?v=PnrgGIR8YR4
   
5. 
   http://www.windrep.org
   
6. 
   “The Foothill College Symphonic Wind Ensemble” Program Notes, Elegy for a
   

7. 
   http://www.windband.org/foothill/dec98.htmElegy%20For%20a%20Young%20American
   
8. 
   "Wind Band Home Page." Wind Band Home Page. www.windband.org
   
9. 
   "Elegy." Wikipedia. Wikimedia Foundation, 03 July 2013. http://en.wikipedia.org/wiki/Elegy
   

11. "NMC Concert band to present â Portraitsâ - Grand Traverse Insider – Morning Star Publishing." Morning Star Publishing - Latest News, Sports, Opinion,

Entertainment, Business, Life. 2/27/13

http://www.morningstarpublishing.com/articles/2013/02/27/

grand_traverse_insider/entertainment/doc512bed2011682425035397.txt

Scenes from “The Louvre”

Norman Dello Joio

Group 2
Biographical Information:
Born in New York City in 1913, Norman Dello Joio entered into a family with a rich tradition of musical excellence. His family had emigrated from Italy and specialized in Italian music. His father was perhaps his biggest musical influence growing up as he worked with singers from the Metropolitan Opera on a regular basis and taught him piano from the age of four. At the young age of fourteen he became a church organist and choir director. Joio studied at the Julliard School of Music and then transferred to Yale where he studied with composer Paul Hindemith. In the late 1940s, he was considered one of America’s greatest composers and received several awards for his work including an Emmy Award for his music in the television special Scenes from the Louvre. He worked as a professor of composition at both Sara Lawrence College and the Mannes College of Music in New York City. In addition, from 1972 until 1979 he was a professor of music and the dean of the Fine and Applied Arts School of Boston University. For close to fifteen years towards the latter part of his life, he directed the Ford Foundation’s Contemporary Music Project. Up until his death in 2008, he continued to compose.  
Composition Information:
Scenes from The Louvre was written in 1966 and was arranged from Dello Joio’s original work “The Louvre,” written in 1964 that was used to accompany the NBC television special on the Louvre gallery. In September 1965, he received an Emmy Award for this piece as being the most outstanding music written for television. This band work was commissioned by Baldwin-Wallace College to be premiered by the Baldwin-Wallace Symphonic Band under the direction of Kenneth Snapp. It was premiered on March 13^th, 1966 at Baldwin-Wallace College and conducted by Norman Dello Joio. This composition is written in five movements and portrays the museum’s development during its construction during the Renaissance. Dello Joio uses themes originally written by composers of that time. Its five movements are based on classical forms such as binary, strophic, theme and variations, chorale and development, and rondo. It does not have a modern-style sound due to its programmatic nature; however the composer adds color from chromaticism occasionally throughout the work.
Historical and Stylistic Information:
    Norman Dello Joio based this music on themes written during the Renaissance by composers relevant during the construction of the Louvre. Now one of the world’s largest and most visited art museums, it was originally built in the late 12^th century under King Phillip II. It opened on August 10, 1793 with an exhibition of 537 paintings; most being royal works and confiscated church property. Since its opening, it has undergone several expansions and renovations.

Each movement of Scenes from the Louvre is meant to depict a different aspect, mood, and color all relating to the Louvre. The first movement, “The Portals,” is an extended fanfare and processional that represents the beginning of the day and the picturesque view of the outside of the museum. The second, “The Children’s Gallery,” follows the form of theme and variations and represents King Phillip’s children playing in the gallery. The third movement, “The Kings of France,” is an extended development of a chorale and canon, and is meant to be an homage to the many kings who built and added on to the Louvre since its initial construction. The fourth movement, “The Nativity Paintings”, is written in a strophic form and depicts the hundreds of works of art in the Louvre that portray Jesus Christ. A good portion of this movement is based upon the hymn “In Dulci Jubilo,” recognized today as a hymn under the name of “Good Christian Men Rejoice.” Lastly, the fifth movement, “Finale,” which follows a rondo form, was written to commemorate King Louis under whom the original Louvre was constructed. When arranging this music for band, Dello Joio incorporated musical representations in this final movement that depict the art being returned to the Louvre after the German occupation of France.

• 
  Grade: 5
  
• 
  The first and fifth movements should be performed in the style of a fanfare and should display all of the characteristics that accompany that style.
  
• 
  The second and fourth movements should be performed in a Classical manner. Notes should be lightly tongued and detached staccato notes to create the light, bouncy characteristic feel of Classical music.
  
• 
  The third movement follows the form of a chorale and canon and should be performed very legato and expressive.
  
• 
  Intonation will be a huge factor throughout this piece as there are a lot of full, moving lines throughout.
  
• 
  There are several tempo changes throughout, sometimes in odd places which could prove to be a challenge with some bands.
  
• 
  This piece is very rhythmically driven, and will require players to have a solid understanding of their own part, as well as knowledge of how their particular part fits into the music as a whole.
  
• 
  There is a lot of rhythmic syncopation and diversity which will challenge most players.
  
• 
  Each movement is written with a different form and style in mind and will require performers to employ different articulations throughout.
  
• 
  Range could potentially be an issue for flutes, percussionists, and trumpets in the first, fourth, and fifth movements depending on the performer’s individual skill.
  
• 
  Known errors in the score:
  

Movement III, m. 10, Trombone 3: dotted half note should be third line ‘D’

1. 
   Keystone Wind Ensemble, Scenes from the Louvre, Citadel records
   
2. 
   America’s Band in Blue: Toccata Festiva CD, conductor: Craig Pare, Naxos
   
3. 
   CCSU Wind Ensemble, Scenes from “The Louvre” https://www.youtube.com/watch?v=g9f6HQgwIWM
   
4. 
   Chabot College Wind Symphony, Scenes from “The Louvre” https://www.youtube.com/watch?v=iMUKsFG1Rfc
   
5. 
   Concord Band: Scenes form the Louvre: http://www.youtube.com/watch?v=SxFS9Sz1qrI
   
6. 
   Camerata Hungarica- Susato Ronde: http://www.youtube.com/watch?v=G4vtY4YYk88
   
7. 
   West Chester University Wind Ensemble, Allmusic
   

Sources/Bibliography:

Chorale and Shaker Dance

John Zdechlik

Group 2
Biographical Information:

• 
  Grade: 4
  
• 
  Range: 1^st & 2^nd cornet are written C# and A above the staff respectively. The first horn is written to a 5^th line F#, and the first trombone is written to the F# above the staff.
  
• 
  There are several different contexts for articulations throughout the piece. In the chorale section, performers must play very legato and expressive while the Quaker hymn sections must use more intense articulations.
  
• 
  Trills are written in several different places in this piece, so that technical faculty must be available.
  
• 
  There are several time and tempo changes. Time signature changes include: 2/2, 3/2, ¾, 4/4, and 5/4.
  
• 
  Because of the expressiveness of the chorale section, focus must be on intonation especially during the chorale sections as intonation will have the tendency to be inconsistent.
  
• 
  There is a lot of challenging rhythmic figures throughout the piece. The “Simple Gifts” motive changes both rhythmic and melodic structure occasionally to create different variations so care must be taken in reading the notes rather than playing by ear.
  
• 
  The percussion parts in this piece are fairly demanding and often times exposed. The best players should be put on snare drum and timpani and these are the most critical and exposed percussion parts.
  

Form:
Formal analysis below.

1. 
   Concordia University Wind Symphony: Who Puts His Trust in God Most Just, Concordia University label
   
2. 
   Music for Winds and Percussion, Vol.1, Northern Illinois University Wind Ensemble: Chorale and Shaker Dance
   
3. 
   Composer’s website- http://kjos.vo.llnwd.net/o28/audio/mp3/b375.mp3
   
4. 
   Yo-Yo Ma: http://www.youtube.com/watch?v=fYi9Vr8bHJY
   

Sources/Bibliography:

subscriber/article/grove/music/A2087827?

q=john+zdechlik&search=quick&pos=1&_start=1#firsthit
www.windband.org

GRADE V

Morten Lauridsen, arr. H. Robert Reynolds

Biographical Information:

Morten Lauridsen was born in 1943, and traveled to the University of Southern California to study composition after spending much of his life isolated as a Forest Service firefighter. While at Southern California, Lauridsen studied with Ingolf Dahl, Halsey Stevens, Robert Linn and Harold Owen. After graduating, he began teaching at Southern California in 1967, and has been there ever since.

Composition Information:

Lauridsen credits the composition of O Magnum Mysterium to a painting by Francisco de Zurbarán, “Still Life With Lemons, Oranges and a Rose”. Zurbarán’s paintings are mostly symbolic offerings to the Virgin Mary, utilizing themes with angels, saints, and the life of Christ. His painting evokes a sense of mystery and quiet power. In 1993, Marshall Rutter commissioned Lauridsen to write a piece in honor of his wife and their second anniversary. Lauridsen put the Latin text to the Christmas Day matins responsory to music, and it was premiered at the Master Chorale’s Christmas concert in 1994.

Historical and Stylistic Information:

O Magnum Mysterium is originally a responsatory chant form the Christmas Day Matins. The words to this chant describe the nativity scene in very florid words. The general mood of the chant itself is wonder and majesty. In this way, Lauridsen relates it to the painting, “Still Life With Lemons, Oranges and a Rose”. The theory behind this painting is that it references the Holy Trinity, as well as including a sense of purity and mysterious divinity. Overall, the inspiration to the Lauridsen’s composition was based on the Holy Trinity and the Virgin Mary. The text is as follows:
O magnum mysterium,

et admirable sacramentum

ut animalia viderent Dominum

natum, jacentum in praesepio!

Beata Virgo, cujus viscera

meruerunt portare

Dominum Christum. Alleluia!

O great mystery,

and wondrous sacrament,

that animals should see the new-

born Lord, lying in their manger!

Blessed is the Virgin whose womb

was worthy to bear the

Lord Jesus Christ. Alleluia!

Technical Information :

-This piece is very flowing and smooth, much like a choral piece for mass. As such, H. Robert Reynolds instructs players not to “gasp” for breath, as it would interrupt the flow of the music. -The only real technical difficulty in this piece would be the lack of spaces to breathe in some of the longer phrases. Suggestions are given and in the score I have breath marks have been written in to help with appropriate breathing moment in regard to phrasing.

-Since most of this piece is very choral in nature, players need to know who to listen for and be in tune with. Grouping can vary from 2 to parts to 4 parts, usually depending on the orchestration of each section, but for the most part each group remains the same.

-Prepare for is entrances and cut-offs. Many of the cut-offs are a result of a held fermata, so you would have to decide what kind of fermata to make that and how to show it most effectively so your ensemble will come in at the same time.

-Dynamics are the next thing to fine tune. Much of the piece is quiet in nature, and should be emphasized from the beginning in order to really be able to build to a majestic forte at the appropriate time.

Form:

-Somewhat of an intro; Statement of the primary motive in Clarinet 2/3, Horn 1 and Alto Sax 1.

-M. 3, continuation of melodic statement in Flute and Clarinet 1

-M. 4, Even more continuation (with suspension on 3^rd beat) by Clarinet 2, Alto 1 and Horn 1. All others hold long notes, fermata on beat 4.

-Start piano, maintain dynamic and ritard in 4^th measure.

-M. 5-8, A tempo, melody trade off between horn 1 and Clarinet/Alto Sax/Flute. Horns and Clarinet 1 lead into next mini-phrase while all others hold.

-M. 9-10, Time signature change (4/4 -> 3/2); Rhythms suggest that you might conduct in 6?. Melody remains in upper woodwinds. Crescendo to Letter B.

M. 11-18

M. 19-28

M. 29-37

M. 38-45

M. 46-55

-M. 50, a tempo again, and a reiteration of the new melody in the same upper woodwind/trumpet voices. Movement is largely homophonic in these next four bars, except for an interesting fanfare in the horn parts, m. 50. Ensemble decrescendo beginning in measure 53.