KENTUCKY HARMONY

by Donald Grantham

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I. Rockbridge/Lenox

II. Hiding Place

III. Enfield/Dublin

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Ananias Davisson’s Kentucky Harmony first appeared in 1816 and contained 143 shape note tunes in four-part settings. It is one of the earliest sources of what came to be known as “Southern folk hymnody,” and exerted considerable influence on the many similar collections that followed it such as The Sacred Harp and Missouri Harmony.  Composer Donald Grantham has long been attracted to the spare, rugged qualities of this music, and in a previous work for wind ensemble, Southern Harmony, employed five shape note tunes in a manner that preserved much of their original flavor.  Likewise, in his Kentucky Harmony, five tunes are employed in three movements, and at some point, in each movement using this material in a variety of ways, all of which are designed to highlight the most striking aspects of each setting.  The intention is to present a free fantasy on the original vocal models that fully utilizes the capabilities of the modern wind ensemble.  Kentucky Harmony was commissioned in honor of Paula Crider on her retirement from the University of Texas by her former students at Austin’s Crockett High School, the Austin ISD, and friends.

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LA PROCESSION DU ROCIO

by Joaquin Turina, Op 9

Arranged by Alfred Reed

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I. Triana en Féte

II. La Procession

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Every year in Seville, during the month of June, a festival called the Procession of the Dew occurs in the section of the city known as Triana.  Joaquin Turina’s La Procession du Rocio depicts the events of that festival.  It is traditionally led by the best families of the city, who arrive in their coaches accompanied by music, dances and general merrymaking.  The sound of the flutes and drums announce the procession at which time all dancing ceases.  A religious theme is heard, mingled with the pealing of church bells and the strains of the Royal March.  The festivities resume as the procession passes and recedes, but eventually fade away.

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MY JESUS! OH, WHAT ANGUISH

by Alfred Reed

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My Jesus! Oh What Anguish is one of a group of 69 so-called “Sacred Songs and Airs” attributed to J.S. Bach, each of which exists only in the form of a single melodic line with figured bass. These pieces were first published in 1736 as the musical settings for a huge collection of 954 sacred songs and hymns. For all of its apparent simplicity of musical construction (a small two-part form, with each part repeated once), this music is deeply moving and of great expressiveness. The current setting by Alfred Reed faithfully adheres to Bach’s harmonic intentions throughout and adds virtually nothing to one of the most haunting and poignant expressions of sorrow and compassion to be found in all of Western music.

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BENNET'S TRIUMPHAL MARCH

by M.H. Ribble

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Melvin H. Ribble (1870-1964) was a professional cornet player in his youth in Lincoln, Nebraska, but also became known as an arranger when he moved to Chicago to write for Harry Alford.  He returned to Lincoln in 1931, where he opened his own arranging office.  Written in 1925, Bennet’s Triumphal was written in honor of Dr. John P. Bennet; while both the dedicatee and the march have nearly slipped into obscurity, the march is one with several unique characteristics, including an unusual fireworks strain that almost slips into a final strain—but not quite.

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CULLODEN 

by Julie Giroux

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I. Heilan Lochs, Bairns & Heather

II. I Hae Grat Tho' I Kend

III. We Toomed our Stops for the Gaudy Dodgers

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The Battle of Cullodin in 1746 (also referred to as “Bloody Cullodin”) was spawned by the efforts of the Scottish “Bonnie Prince Charlie” to gain the throne. The resulting battle was brief—only thirty minutes in length—but the price paid was nearly 1,500 Scots dead on the field compared to English losses of 300. It is one of the darker days of Scottish/British history. One of the extraordinary side effects of this event was a great deal of music that swirled around the traditions that were a part of this period. When she was considering how to approach this event musically, Julie Giroux decided to focus on the folk songs, jigs and reels that were present during this time. The resulting work, Cullodin, is a large-scale, three-movement work that pays tribute to the Scottish tradition of folk song. The work is a gigantic succession of folk songs from beginning to end with very little original material throughout.

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MIDWAY MARCH

by John Williams

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The battle of Midway in World War II remains one of great battles in military history and represents one of the major turning points of the war.  When Hollywood decided to make a movie of the event, John Williams was asked to write the soundtrack.  In addition to the soundtrack music, Williams composed the Midway March to play as the end credits rolled and may well be the best music of the entire motion picture!  This new version for band as orchestrated by Paul Lavender retains the spirit (and all of the notes) of the original.

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