Free Day of Music
Saturday, October 27, 2018, 12:45pm, Schermerhorn Symphony Center
Brian Sadler: Unveiling (2015)
Anthony DiLorenzo: Luminosity (2013)
David Uber: Skylines (1992)
Brian Entwistle, bass trombone
Timothy Marko: Four Miniatures for Brass (2014)
1. Fanfare, Prelude and Something Extra
2. A Quiet(er) Moment
4. Colonel Bob’s July 17th Parade
Alfred Reed: Symphony for Brass and Percussion (1952)
III. Con moto
Unveiling is one of the winners of the 2015 Dallas Winds Fanfare Competition. One winning entry was played in the lobby of the Morton H. Meyerson Symphony Center before each of the Dallas Winds' seven subscription season concerts. Unveiling was written in a cinematic style, similar to the many studio logos displayed at the beginning of a film. The piece has also been arranged for British brass band and full wind ensemble.
"The Messiah College Brass Choir commissioned me to compose a work for the grand opening of The Calvin and Janet High Center for Worship and the Performing Arts. The music is meant to be vibrant and energetic as it mimics a distant Pulsar emitting bursts of light and energy. The star can illuminate the most wondrous display of beauty and color showing off its magnificent power and nobility." -Anthony DiLorenzo
“David Uber is well known to trombonists as the composer of dozens of works for alto, tenor and bass trombones with a catalog of over 200 opus numbers. He is one of the most prolific composers for the trombone. I first met him in 1978 when I was playing a concert at New York's Lincoln Center in the Mostly Mozart Festival Orchestra. David was playing principal trombone and I was playing bass. After that single meeting we had no further personal contact although I enjoyed working out of many of his etude books and kept in touch with him periodically via mail.
It came, then, as a complete surprise when, in 1991, David called me and said he was writing a piece for me for bass trombone and brass ensemble. It was to be, he said, a musical representation of three cities that figured prominently in my professional development: Manhattan (New York City), where I moved after completing my undergraduate degree and began my freelance career; Chicago, the city where I studied with Edward Kleinhammer while a student a Wheaton College; and Boston, where I play today. David asked me if I would accept the dedication of the piece and if I would perform it with his Trenton State College brass ensemble at the New York Brass Conference. Through a remarkable series of events, it turned out that the Conference was being held during a week that the Boston Symphony was on tour in New York (January 1992), so the premiere was a happy event.” -Douglas Yeo
Four Miniatures for Brass was written for an expanded brass choir somewhat in the mold of the traditional brass band, but with the intent of multiple players on each of the parts as well as some non-traditional choir voices. Each of the four movements highlight different strengths of the ensemble and give the listener a chance to experience the magnificence of the brass sound. The opening fanfare is followed by a haunting prelude built on a three note motif which is layered to the final tone cluster and then a fast “something else” to finish. It creates a subset of miniatures within the first movement. The beauty of the brass sound is on display in the second movement with a simple chorale that allows the low brass an opportunity to sing, especially the trombones while they explore the beautiful upper register of the instrument. The third movement, “Conspiracy,” creates an interplay of intense rhythmic lines interspersed with smooth melodies. The final movement celebrates the town band, and the simple joys of a march performed in the city park gazebo.
The Symphony for Brass and Percussion, originally completed in 1952, received its first performance in December of that year at the College Band Directors National Association convention in Chicago by members of the Oberlin Symphonic Band under the direction of Donald I. Moore, to whom the work is dedicated. It is the composer’s second major work for this type of ensemble and represents an attempt at exploring the possibilities for utilizing brass and percussion sonorities in an extended piece.
The music is in three movements. The first opens with a broad introduction in which most of the thematic material of the movement is exposed. The allegro section takes the form of an intensive hard-driven march, but it is in triple rather than the usual duple time. The basic theme, already presented in the introduction, is treated with alternate quartal and tertial harmonies, although it is built mainly in fourths throughout. A quiet, almost chorale-like middle section follows the dying away of this first part, after which the original march-like theme returns and brings the first movement to an ending of great sonority.
The second movement, by contrast, is in three-part song form, beginning with a long, lyrical line in baritone, horn and tuba colorings, which is later taken up by the trumpets and trombones. The second part begins as a six-part fugato developing over a long pedal point in the timpani. This reaches a high climax which dies away in preparation for the return of the original theme. This is now heard in tuned percussion colors, finally to be taken up again by the original baritone, horn and tuba grouping, bringing the movement to a quiet close.
The third movement is a rondo built on Latin American rhythms, with the percussion section augmented by three tom-toms, tuned to low, middle and high pitches. It begins with an undulating rhythmic background over which the tubas state a motive which rises higher and higher in register until it is caught up by full trumpets and trombones. This is developed with rhythmic alterations, then dies away, yielding to the second part, which consists of a long lyrical line in canon between the trumpets, set over an inner pedal point figure in the horns. A basso ostinato is sounded by baritone and tuba in octaves. The horns, first in two and then in four parts, take over this theme in turn, followed by trumpets and trombones returning to the first section and its hard-driving rhythms. A short, broadened version of the first theme forms the coda, bringing the movement, as well as the entire symphony, to a powerful conclusion.
Program notes submitted by Chrysa Kovach except where noted.