Concerts and Programs

Winter 2024

Join us for our Winter Concert featuring a mix of holiday and traditional favorites.

Spring 2024

Program

Fanfare Fortza, by Brian Balmages

This contemporary fanfare, written in 2022 by American composer Brian Balmages, ushers in a sense of excitement and anticipation as the music unfolds in dramatic fashion. Bold, rhythmic motives combine with powerful lyrical lines spanning a wide gamut of emotions. The music is intended to convey a feeling of constantly driving forward with unity and purpose.

First Suite in Eb Major by Gustav Holst

From WindLiterature.org: “Gustav Holst (1874-1934) was a British composer and teacher. After studying composition at London’s Royal College of Music, he spent the early part of his career playing trombone in an opera orchestra. It was not until the early 1900s that his career as a composer began to take off. His music was influenced by his interest in English folk songs and Hindu mysticism, late-Romantic era composers like Strauss and Delius, and avante-garde composers of his time like Stravinsky and Schoenberg. He is perhaps best known for composing The Planets, a massive orchestral suite that depicts the astrological character of each known planet. His works for wind band (two suites and a tone poem, Hammersmith) are foundational to the modern wind literature.

The First Suite is particularly important to the later development of artistic music for wind band. Holst wrote it in 1909 for an ensemble that came to define the instrumentation that bands would use for at least the next century and beyond. Oddly, it was not performed until 1920, and published a year later. Since then, the First Suite has left an indelible mark on band musicians and audiences around the world. Its appeal is in its simplicity and its artistry. While there are difficult passages and exposed solo work in many instruments, it places few extreme demands on the players, and it uses a straightforward and easily-identifiable theme throughout its 3 movements. Yet this theme is turned and pulled into many different forms, and put on an emotional roller-coaster of doubts, sweet reveries, ecstatic joy, and triumph. Truly, the impact that the First Suite still makes on those who hear it is impossible to put into words. It is a classic piece of art music that has helped to define the development of a century of wind band music.”

Sahuaro by Nubia Jaime Donjuan

From the composer: “Ever since I was a child, I have been very interested in traditional Mexican music. It has always captured my attention. I used to really get excited to hear a danzón or a son jarocho, and, fortunately, that interest has become a fundamental part of my artistic work. Most of my works contain a national, and often regional, root. As is well known, Mexican music has many branches, ranging from danzón to mariachi.

When [approached for a commission to compose a work for Dartmouth College] I was immediately overcome by the urge to compose a suite for symphonic band inspired by popular Mexican genres. Almost naturally, the themes for each movement began to appear, and in a short time I had developed them all. It was clear to me that each should be different. I did not want to repeat any genre. Music chooses the composer and takes its own course, and as expected, these movements were connecting with each other, one appearing in another as reminiscences of the past, as light brushstrokes, on occasions hidden and at times very exposed.”

Sahuaro is movement 3 of the suite. Again, from the composer: “Sahuaro: The cactus. Very tall and full of water, with thorns and of unparalleled green. A forest of sahuaros lies midway between my city and the nearby bay and, since I was little, they have captured my attention. Without any doubt, this movement had to be a “danzón,” my favorite genre of all time.”

Shenandoah by Omar Thomas

From the composer: “Shenandoah is one of the most well-known and beloved Americana folk songs. Originally a river song detailing the lives and journeys of fur traders canoeing down the Missouri River, the symbolism of this culturally-significant melody has been expanded to include its geographic namesake – an area of the eastern United States that encompasses West Virginia and a good portion of the western part of Virginia – and various parks, rivers, counties, and academic institutions found within.

Back in May of 2018, after hearing a really lovely duo arrangement of Shenandoah while adjudicating a music competition in Minneapolis, I asked myself, after hearing so many versions of this iconic and historic song, how would I set it differently? I thought about it and thought about it and thought about it, and before I realized it, I had composed and assembled just about all of this arrangement in my head by assigning bass notes to the melody and filling in the harmony in my head afterwards. I would intermittently check myself on the piano to make sure what I was imagining worked, and ended up changing almost nothing at all from what I’d heard in my mind’s ear.

This arrangement recalls the beauty of Shenandoah Valley, not bathed in golden sunlight, but blanketed by low-hanging clouds and experiencing intermittent periods of heavy rainfall (created with a combination of percussion textures, generated both on instruments and from the body). There are a few musical moments where the sun attempts to pierce through the clouds, but ultimately the rains win out. This arrangement of Shenandoah is at times mysterious, somewhat ominous, constantly introspective, and deeply soulful.”

Volver a la Montaña by Shelley Hanson

From the publisher, Boosey & Hawkes: “Volver a la Montaña (Return to the Mountain) is the second movement of the four-movement suite and is based on several folk tunes of the Quechua ("Inca") people of Ecuador, Peru, and Bolivia. Near the end of the movement, the folk song Separación (Separation) is quoted briefly. The words are "My mother told me not to cry, though I'm leaving the mountains forever." Over the past century, many of the Quechua people have had to leave their villages forever because of the economic difficulty of trying to maintain their traditional mountain lifestyle.

The movement opens with a stately processional, followed by a fast dance that uses the characteristic Latin American alternation or simultaneous appearance of two- and three-beat patterns. In the return to the processional theme near the end of the movement, muted trumpets echo the flutes, as sound would echo in the mountains.”

Hounds of Spring by Alfred Reed

From Wikipedia: “The Hounds of Spring is a concert overture for concert band, written by the American composer, Alfred Reed in 1980. Reed was inspired by the poem Atalanta in Calydon (1865), by Victorian era English poet, Algernon Charles Swinburne, a recreation in modern English verse of an ancient Greek tragedy. According to Reed himself, the poem's magical picture of young love in springtime, forms the basis for his musical setting in traditional three-part overture form. It was Reed's desire to capture the dual elements of the poem - high-spirited youthful jauntiness and the innocence of tender love.

The Hounds of Spring was commissioned by, and dedicated to, the John L. Forster Secondary School Concert Band of Windsor, Ontario, Canada, and its director, Gerald Brown.[4] The world premiere was in Windsor on May 8, 1980, conducted by the composer, and has remained a staple of the wind band literature since.”

Winter 2023

Program

• Celtic Carol, arranged by Robert W. Smith

• Holiday Mash-Up, arranged by Patrick Roszell

• Chanukah Collage, by Andrew Yozviak

• A Winter’s Carol, arranged by Mark Williams

• Let it Snow!, arranged by Jack Bullock

• Fantasia on a Christmas Carole, arranged by Erik Morales

• A Solitary Wish, by Brian Balmages

• Minor Alterations: Christmas Through the Looking Glass, by David Lovrien

• Jingle Bells Forever, arranged by Robert W. Smith

Spring 2023

Hobbits, Cowboys, Barbarians, and More!

This Spring the Southwest Portland Community Band celebrates the music of the movies — and the joy of popcorn, courtesy of Rad Pop PDX.

Rad Pop PDX will be setting up shop in the courtyard, popping fresh, small batch, non-GMO, kettle-popped corn.

As always, there’ll be brews! Plus pizza by the slice! Please bring cash or be ready with your Venmo.

Program

Also Sprach Zarathustra, by Richard Strauss, arranged by Robert Longfield

This famous fanfare was used in Stanley Kubrick’s masterpiece film “2001, A Space Odyssey.” After uncovering a mysterious artifact buried beneath the Lunar surface, a spacecraft manned by two men and the supercomputer H.A.L. 9000 is sent to find its origins. The screenplay was written by the famous science fiction author Arthur C. Clarke.

Lawrence of Arabia, by Maurice Jarre, arranged by Alfred Reed

Winner of an Academy Award for Best Original Score, “Lawrence of Arabia” tells the story of T.E. Lawrence, the English officer who successfully united and led the diverse, often warring, Arab tribes during World War I in their fight against the Turks.  This arrangement consists of two main themes: the Arabian motif, with its blazing color and almost barbaric effects; and the Lawrence theme, a haunting, poignant melody that reflects both his love of the desert and his internal psychological conflicts.

Selections from West Side Story, by Leonard Berstein, arranged by W.J. Duthoit

West Side Story, winner of 10 Academy Awards, is the retelling of Shakespeare’s classic romantic tragedy "Romeo and Juliet.” Set in 1950s New York with an iconic score by the legendary Leonard Bernstein, it is considered among the greatest American musicals of all time.

Symphonic Suite from Lord of the Rings, by Howard Shore, arranged by Victor Lopez

The Fellowship of the Ring is the first of three volumes of the epic fantasy “The Lord of the Rings,” written by the English author J. R. R. Tolkien. The story, developed into an equally epic film series directed by Peter Jackson, takes place in the mythical land of Middle Earth. The movie features a score with a multitude of musical styles, earning composer Howard Shore three Oscars, three Grammys, and two Golden Globes.

Conan the Barbarian: Prologue—The Anvil of Crom, by Basil Poledouris, arranged by Bob Barton

Beyond the mists of time, having witnessed the brutal death of his father and the massacre of the entire village, a young boy is condemned to a life of slavery. Chained to the perpetual Wheel of Pain, the helpless child grows into a man. After years of training as a fierce gladiator, Conan is now an unstoppable mountain of muscle. He regains his freedom and embarks on a perilous journey to seek revenge. This powerful arrangement features thundering percussion, pulsating rhythms, and a dramatically soaring melody.

Music for a Darkened Theater, by Danny Elfman, arranged by Michael Brown

With an unmistakable and distinct style, the music of Danny Elfman is found in many classic offbeat and spooky movies.  Selections include the music from: “Tales from the Crypt,” a TV series based on the gruesome E.C. comic books of the 1950s; “The Nightmare Before Christmas,” the tale of Jack Skellington, king of Halloween Town and his discovery of Christmas; “Edward Scissorhands,” the story of the solitary life of an artificial man who was incompletely constructed and has scissors for hands; “Beetlejuice,” a malicious spirit who is hired by the ghosts a deceased couple to drive out a family that has moved into their home; and “Spider-Man,” based on the Marvel comic books story of a boy bitten by a genetically-modified spider who develops spider-like abilities that he uses to fight injustice.

Moment for Morricone, by Ennio Morricone, arranged by John De Meij

Superbly arranged as a tribute to the great Ennio Morricone, who wrote the music for the classic “Spaghetti Westerns” directed by Sergio Leone. This medley includes three different themes from “Once Upon a Time in the West,” and two from “The Good, the Bad and the Ugly,” which starred Clint Eastwood.

Fall 2022

Join us for our Fall Concert on Sunday, December 11th.

Doors open at 6:15. Food and beverage available for purchase. Featuring brews by Hammer & Stitch Brewery. The West Hills Saxophone Quartet will join us for music to dine by before the band performance begins.

As always, proceeds from our concerts benefit the band program at Ida B. Wells High School (formerly Wilson High). Our current fundraising project is to replace worn out music stands and percussion instruments.

The Multnomah Arts Center is located at 7688 SW Capitol Hwy, Portland, OR.

Program

New Forest March, by Johnnie Vinson

The New Forest is a region in southern England established as a royal hunting preserve around the year 1079, and has remained largely unchanged since ancient times. Following the Norman Conquest, King William I, commonly known as William the Conqueror, designated the land as a royal forest, reserved for the private use of the King and invited aristocracy. The opening strains of New Forest March are folk-like in nature with underlying modal harmonies, meant to evoke the heritage of the region, where the ancient rights of common allowed local inhabitants to graze horses and cattle in the forest’s common pasture. The march’s stately trio is reminiscent of the processional style of Elgar and other British composers. (Web sources: J.W. Pepper, and Britain and Britishness)

O Come, O Come Emmanuel, arranged by Charles Mekealian

Arising over 1200 years ago from monastic plainchant sung at Vespers in the days leading to Christmas, O Come, O Come Emmanuel, was set to hymnsong in 1851 by Anglican priest John Mason Neale. While the text has been set to many melodies over the years, the most popular version is from a melody that is now referred to as the “Veni Emmanuel tune,” which originated in France and was first notated in the 15th century.

The hymn has its roots in the Latin “O, Antiphons” where each verse begins with an “O.” The word Emmanuel originally referred to the Old Testament Hebrew “Immanuel,” a term used as a sign of God’s protection. In the New Testament, it evolved as a term representing Jesus Christ. This arrangement, by California band composer Charles Mekealian, is a uniquely beautiful variation on this enduring holiday classic. (Web sources: Wikepedia, ClassicsFM, J.W. Pepper)

Kyiv, 2022: A Sequel to Moscow 1941 by Brian Balmages

From J.W. Pepper: “Written as a powerful sequel to Moscow, 1941, this work changes the narrative, where the theme from Moscow now becomes the aggressor, and the heroic people of Ukraine are represented by the Ukrainian National Anthem and the powerful song "Prayer for Ukraine." All net proceeds of the initial release are going to relief organizations on the ground in Ukraine.” The Southwest Portland Community Band is proud to contribute to this effort.

Chanukah Collage, by Andrew Yozviak

From Wikipedia: “The word "Hanukkah" derives from the Hebrew verb "חנך", meaning "to dedicate". On Hanukkah, the Maccabean Jews regained control of Jerusalem and rededicated the Temple….The story of Hanukkah is preserved in the books of the First and Second Maccabees, which describe in detail the rededication of the Temple of Jerusalem and the lighting of the menorah…The miracle of the one-day supply of oil miraculously lasting eight days is described in the Talmud, committed to writing about 600 years after the events described in the books of Maccabees.”

This work, composed for concert band, is a collection of traditional Jewish folksongs including the popular holiday song S’Vivon ,and the rousing Shalom Aleichem.

The Joyful Rose of Winter, arranged by Randall D. Stainbridge

This arrangement blends two popular German melodies, Lo How a Rose E'er Blooming , a Christmas Carol and Marian hymn, and Jesu, Joy of Man's Desiring by J.S. Bach. The “rose” hymn, also known as “Behold a Rose of Judah,” makes reference to the Old Testament prophecies of Isaiah, which in Christian interpretation foretell the coming of Christ. “Jesu” is derived from the choral setting of a cantata composed by Bach in 1723 and has become an enduring classic. The simple and moving beauty of the hymns complement each other as motifs are traded back and forth before arriving at a triumphant climax. (Web sources: Wikipedia and J.W. Pepper)

Amparito Roca, by Jaime Texidor

Amparito Roca is paso doble (literal Spanish translation: double-step), a “march-like” musical and dance style performed by a couple. The playing of a paso doble has become a feature of Spanish bullfights, evoking images of the double-step between the matador and the bull, and is closely identified with the arenas of Spain. Texidor composed his paso doble in 1925 and named it after one of his piano students, then 12-year-old Amparito Roca (1905–1977). Now the composer’s most famous work, Amparito Roca has become a perennial favorite of concert bands worldwide for its fiery tempo and the bravura of its melody. (Web sources: Wind Literature and Texas Band Masters)

Spring 2022: Down in the River

Celtic Voyage by Melanie Donahue

Inspired by the many hardships of the Irish immigrants, this piece brings hope of a new world, a new lease on life and a second chance. The piece begins with the sound of the ocean in the background (played by the ocean drum) while a solo flute plays the main theme. As the piece develops the theme represents several scenes: first, the knowledge that life needs to change due to the famine and hardships of the time; second, the immigrants begin their move to America; third, the arrival in America and seeing the statue of Liberty, which is the climactic moment of the piece; and finally, ending with the same idea in the beginning of the piece but now as memory and longing for Ireland. (Source: Wind Repertory Project)

Down in the River by Jay Bocock

The African-American spiritual Down in the River to Pray forms the basis for this creative and dramatic work for mature ensembles. Opening with a tender chorale-like statement, the piece evolves throughout with variations in mood and intensity, ultimately building to a majestic and powerful conclusion.

Down in the River was commissioned to the memory of deceased members of Phi Beta Mu, Zeta Chapter, Georgia, by the members of the Zeta Chapter, Georgia. It is based on an African American spiritual in the mid-19th century. The exact roots are unknown, but the melody has been featured in countless hymnals, spiritual collections and movie soundtracks. Slaves often sang this spiritual as a prayer for guidance as they navigated their escape through the Underground Railroad. They would travel in the river, because the water masked their scent from slave masters’ dogs attempting to track them down.

Opening with a tender chorale-like statement, the piece evolves throughout with variations in mood, tempo, and intensity, ultimately building to a majestic and powerful conclusion. The allegro section is not a part of the original melody but music composed by Jay Bocook in order to create contrasting thematic material to the melody. The Georgia Wind Symphony, an adult community band, conducted by Dr. David Gregory performed the premiere of this work, at the GMEA Convention on January 27, 2017. (Source: Wind Repertory Project)

On a Hymning of Philip Bliss by David R. Holsinger

On A Hymnsong Of Philip Bliss is…a restful, gentle, and reflective composition based on the 1876 Philip Bliss-Horatio Spafford hymn, It Is Well with My Soul. Written to honor the retiring principal of Shady Grove Christian Academy, On A Hymnsong Of Philip Blis' was presented as a gift from the SGCA Concert Band to Rev. Steve Edel in May of 1989.

Horatio G. Spafford, a Chicago Presbyterian layman and successful businessman, planned a European trip for his family in 1873. In November of that year, due to unexpected last minute business developments, he had to remain in Chicago; but he sent his wife and four daughters on ahead as scheduled aboard the S.S. Ville du Havre. He expected to follow in a few days. On November 22, the ship was struck by the Lochearn, an English vessel, and sank in twelve minutes. Several days later the survivors were finally landed in Cardiff, Wales, and Mrs. Spafford cabled her husband, “Saved alone.” Shortly afterward, Spafford left by ship to join his bereaved wife.

It is speculated that on the sea near the area where it was thought his four daughters had drowned, Spafford penned this text with words so significantly describing his own personal grief, “When sorrows like sea billows roll...” It is noteworthy, however, that Spafford does not dwell on the theme of life’s sorrows and trials, but focuses attention in the third stanza on the redemptive work of Christ. Humanly speaking, it is amazing that one could experience such personal tragedy and sorrow as did Horatio Spafford and still be able to say with such convincing clarity, “It is well with my soul...”

Hymnwriter Philip Bliss was so impressed with the experience and expression of Spafford’s text that he shortly wrote the music for it, first published in 1876. Bliss was a prolific writer of gospel songs throughout his brief lifetime, and in most cases he wrote both the words and the music. This hymn is one of the few exceptions.

There is speculation that this was perhaps the last gospel song written by Bliss. Bliss and his wife, Lucy, were killed in a train wreck in Ashtabula, Ohio, on December 29, 1876. Most sources mention that Bliss actually escaped from the flames first, but was then killed when he went back into the train to try to rescue is wife. Neither body was ever found.

As a postscript, Bliss’s trunk was salvaged from the wreckage, and in it, evangelist D. W. Whittle found an unfinished hymn, which began, “I know not what awaits me, God kindly veils my eyes...” (Source: Wind Repertory Project)

March of Mogul Emperors by Edward Elgar, arranged by Robert Longfield

Transcribed for band from the orchestral masque The Crown of India. Staged in 1912, the masque (an elaborate theatrical presentation) was composed to celebrate the visit the preceding December of King George V and Queen Mary to Delhi for their coronation as Emperor and Empress of India. For this masque, the English composer Sir Edward Elgar wrote the music as his Op. 66, with a libretto by Henry Hamilton. The masque consisted of two tableaux: "The Cities of Ind" and "Ave Imperator!". (Source: Wikipedia)

Drums of the Saamis (the merger of the First Nations and modern Albertan cultures) by Samuel Hazo

Drums of the Saamis was commissioned by the Medicine Hat Concert Band Society of Medicine Hat, Alberta, Canada. The piece chronicles the merger of the First Nation (first natives) and modern Albertan cultures.

The opening tribal drums followed by the haunting melody simulating the traditional wooden flute comprise two themes that are the foundation for the entire piece. Both elements are developed, varied and enhanced throughout as the listener senses the increasing influence of modern-day Alberta through the use of modern sounding chords and rhythms. By the end, the marriage of the old and the new is complete. This powerful work closes as it began; a restatement of themes representing the musical and historical foundation of the region. (Source: Wind Repertory Project)

Moorside March by Gustav Holst, arranged by Gordon Jacob

Moorside Suite, from which this march is taken, was commissioned as the test piece for the British National Brass Band Championship at the Crystal Palace, London, in 1928. Holst set the pattern for other composers of international repute who also wrote for the brass band in subsequent years. He left an incomplete version for military band, containing all of the first movement and 38 bars of the second, to be completed later. It is not known whether the brass or the military band score (now in the British Museum) was begun first.

Gordon Jacob arranged the suite for orchestra in 1952 and for wind band in 1960. According to Imogen Holst, her father "liked writing for brass better than for military band: it was mellower and more flexible. His affection for the trombone was lasting, and he knew the texture of the band instinctively and could get the best out of every instrument." At the Crystal Palace he listened to the piece 15 times and was deeply impressed by players who "combined the enthusiasm of amateurs with the skill of professionals. It was not only their technical proficiency that he admired so much: it was their sense of phrasing ad their real musicianship."

The march begins with a rising, four-note motif which leads into a vigorous theme, noteworthy because of its six-bar phrases. A second theme, employing more normal eight-bar phrases, is introduced by the saxophone. The trio is reminiscent of the ceremonial marches of Elgar and Walton in its pomp and dignity. After a brief modulatory section based on the opening motif, the first two themes are restated, and the march concludes with a coda containing material from the trio. (Source: Wind Repertory Project)

WINTER 2020
FOLK SONGS: THE MUSIC AND FOOD OF ARGENTINA, ISRAEL AND MORE
Sunday, January 12 at 6:30 PM
Multnomah Arts Center
Brews by VON EBERT BREWING

Patapan, Shelley Hanson
From Wikipedia: "Patapan" (or "Pat-a-pan") is a French Christmas carol in Burgundian dialect, later adapted into English. It was written by Bernard de La Monnoye (1641–1728) and first published in Noël bourguignons in 1720.[1] Its original title is "Guillô, Pran Ton Tamborin" ("Willie, Bring Your Little Drum" or "Willie, Take Your Little Drum"). The carol revolves around the birth of Jesus Christ, and is told from the perspective of shepherds playing simple instruments—flutes and drums—the onomatopoeic sound of which gives the song its name; "patapan" is meant to mimic the sound of the drum, and an accompanying lyric, "tu-re-lu-re-lu," the flute. This is similar conceptually to the carol "The Little Drummer Boy", with its chorus of "pa-rum-pa-pum-pum." 

Nordanvind, Carl Strommen
From JW Pepper: A symphonic tour de force, this rhapsody is built on three Scandinavian folk songs. Viking-influenced melodies are weaved into a seamless setting that brings out all the rich flavor and history of the Scandinavian people. At times bold and aggressive, at other times lush and beautiful, it employs all the instrumental colors of the modern concert band to create a stunning work for more advanced ensembles.

Arabian Dances, Brian Balmages
From JW Pepper: Explore Middle Eastern sounds with this work that combines authentic traditional melodies and rhythms with original music. After a haunting opening, authentic Middle Eastern percussion instruments create the groove that accompanies the folk song Ala Dal'ona. As the orchestration builds, original themes are intertwined before the percussion ensemble becomes the focus of the third section. The final melody, Tafta Hindi, develops until it morphs into an ostinato over a magnificent presentation of the original theme that is found throughout the work. A riveting ending brings this thrilling work to a dynamic close!

Shenandoah, Frank Ticheli
From The Wind Repertory Project: The Shenandoah Valley and the Shenandoah River are located in Virginia. There is disagreement among historians concerning the origins of their names. Some claim that the river and valley were named in the 1750’s by the Cherokee as a friendly tribute to a visiting Iroquois Chief named Skenandoah. Others suggest that the region was named not by the Cherokee, but by the Senedo Indians of the Virginia Valley. In the Senedo tradition, Shenandoah means “daughter of the moon”, and bears no relation to the Iroquois Chief Skenandoah. The origins of the folk song are equally obscure, but all date to the 19th century. It has been attributed variously to a coal miner in Pennsylvania, a young protégé of Stephen Foster, and to a housewife in Lexington, Kentucky. Many variants on the melody and text have been handed down through the years, the most popular telling the story of an early settler’s love for a Native American woman.

Rikudim: Four Israeli Folk Dances for Band, Jan Van Der Roost
From The Wind Repertory Project: “Rikud” means “dance” in Hebrew. The plural ending “-im” tells us that the title means “Dances.” Thus Rikudim is a suite in four movements based on Jewish dances, bearing in mind that these are not arrangements of existing folk music, but originally composed dances “in the style of” folk music. Through the use of oriental style tonal intervals, irregular tempi, and a typical woodwind instrumentation, the composer succeeds both in adding a touch of melancholy and a characteristically Jewish flavor to the music. The clearly marked themes and the sometimes surprising (but, on the other hand, very natural harmonies) make these “stylized folk dances” into music with a direct and gripping appeal.

El Choclo, A.G. Villoldo, arranged by Robert Longfield
A popular Argentinian tango that supposedly draws its title from the nickname of a local nightclub owner. The instrumental piece was released in Buenos Aires in 1903, and was premiered in the elegant El Americano restaurant on the 966 Cangallo Street by the Jose Luis Roncallo orchestra. The tango was planned as a potboiler, but with its catchy melody and the performance at an exquisite location Villoldo promised a better existence and filled "pucheros" (pots) with enough corn.

SPRING 2019
BLUES BREWS & BBQ  
Sunday, June 2 at 6:30 PM
Multnomah Arts Center
Brews by VON EBERT BREWING

Peter Gunn, by Henry Mancini
From Wikipedia: Peter Gunn is the theme music composed by Henry Mancini for the television show of the same name. The song was the opening track on the original soundtrack album, The Music from Peter Gunn, released in 1959. Mancini won an Emmy Award and two Grammys for Album of the Year and Best Arrangement. Aretha Franklin and The Blues Brothers released a version of the song as a medley with Think in 1980 which reached number 39 on the dance chart.

Beale Street Blues, by W.C. Handy
From Wikipedia: Beale Street Blues is a song by American composer and lyricist W.C. Handy. It was named after Beale Street, a center of African-American music in Memphis, Tennessee, and was published in 1917. It juxtaposes the 12-bar blues form with an 8-bar counter-theme. Like many of Handy's songs, it is a hybrid of the blues style with the popular ballad style of the day; the opening lyrics follow a line pattern typical of Tin Pan Alley songs and the later stanzas give way to the traditional three-line pattern characteristic of the blues.

Blue Tango, by Leroy Anderson
From Wind Literature: “Blue Tango was Leroy Anderson’s breakout hit. Written in 1951 and released the following year (with Belle of the Ball as its B-side), it was a number 1 Billboard hit that spent 38 weeks on the chart, including 6 months in the top ten. It was also the first instrumental to sell 1 million copies.” “[Anderson] went to college at Harvard University, where he earned bachelor’s and master’s degrees in music…In addition to his early musical interests, he also was a prolific language learner…and he eventually became fluent in 9 languages. This unique talent led to his service as a translator and interpreter for the US military during World War II and the Korean War.”

Blues Brothers Revue: I Can't Turn You Loose, Soul Man, Soul Finger, and Everybody Needs Somebody To Love, arranged by Jay Bocock
From Wikipedia: The Blues Brothers is a 1980 American musical comedy film directed by John Landis. It stars John Belushi and Dan Aykroyd as "Joliet" Jake and Elwood Blues, characters developed from "The Blues Brothers" recurring musical sketch on the NBC variety series Saturday Night Live. The film's screenplay was written by Aykroyd and Landis. It features musical numbers by rhythm and blues (R&B), soul, and blues singers James Brown, Cab Calloway, Aretha Franklin, Ray Charles, and John Lee Hooker. The film is set in and around Chicago, Illinois, where it was filmed. It features non-musical supporting performances by Carrie Fisher, Henry Gibson, Charles Napier and John Candy.

Overture on Themes from Porgy and Bess, by George Gershwin and arranged by James Barnett
From Gershwin.com: Porgy and Bess is probably the most famous and most successful American opera from the twentieth century and at times has been the most controversial. Based on DuBose Heyward’s novel, PORGY, and the play that was adapted from it by Heyward and his wife Dorothy, it has long been considered the crowning achievement in the stellar careers of all of the authors. Since its debut in 1935, the story of the crippled beggar transformed by his unexpected and improbable love for Bess, has been performed all over the world by theatre and opera companies. The landmark 1953 Broadway revival toured for years as a goodwill ambassador on behalf of the U.S. State Department, and in 1959 the opera was filmed by Samuel Goldwyn. In 1993 Trevor Nunn’s lauded staging for Glyndebourne Opera and the Royal Opera at Covent Garden was televised.

Hit the Road Jack, by Percy Mayfield
From Wikipedia: Hit the Road Jack was first recorded in 1960. It became famous after it was recorded by the singer-songwriter-pianist Ray Charles with The Raelettes vocalist Margie Hendrix. Charles's recording hit number one for two weeks on the Billboard Hot 100, beginning on Monday, October 9, 1961. "Hit the Road Jack" won a Grammy award for Best Rhythm and Blues Recording. The song was number one on the R&B Sides chart for five weeks, thereby becoming Charles's sixth number-one on that chart. The song is ranked number 387 on Rolling Stone magazine's list of "The 500 Greatest Songs of All Time." 

WINTER 2019

WINTER 2019
PIZZA, PASTA, AND PILSNER POTLUCK
Sunday, January 27 at 6:30 PM
Fulton Park Community Center
Beer by Laurelwood Brewing
Desserts by New Seasons Market

Flourish for Wind Band, by Ralph Vaughn Williams 

From allmusic.com: "...a rather obscure composition, not usually listed in musical reference works and even in books on the composer's music. Lasting about a minute-and-a-half, Flourish for wind band was intended as an overture for a pageant, and in the decade following its premiere was lost. In 1971 the score surfaced and was finally published. Moreover, it attracted the attention of composer/arranger Roy Douglas, who fashioned versions of the piece for orchestra and a different one for wind band. 

The original by Vaughan Williams opens with a lively fanfare based on a four-note motive. Marked Maestoso, the music blazes in gaudy, brassy colors but then settles down midway through with the introduction of a serene, stately melody related to the opening motif and reminiscent of the alternate theme in the first movement of the composer's Fifth Symphony, a composition he was then working on. In the end, this cannot be considered a major rediscovery, but neither can the piece be judged a failure. It is a delicious morsel, thematically and instrumentally recognizable in an instant as the work of Vaughan Williams."

The Children's March, by Percy Grainger

From windliterature.org: "In Children’s March Grainger displays his quality skills for scoring in this light and carefree work. Scored for band in 1919, Children’s March had roots within a piano solo which Grainger had composed between 1916 and 1918. At the time it was rescored, Grainger was a member of the U.S. Coast Guard Artillery Band and, thus, the march reflects an orchestration to take advantage of that group’s instrumentation. In composition, Grainger was of the opinion that it is in the lower octaves of the band (and from the larger members of the reed families) that the greatest expressivity is to be looked for. Consequently we find in his Children’s March a more liberal and highly specialized use of such instruments as the bassoons, English horn, bass clarinet and the lower saxophones than is usual in writing for military band. The march was first performed by the renowned Goldman Band in 1919 and was also recorded in its original form by the same band with the composer conducting. It was dedicated to “my playmate beyond the hills,” believed to be Karen Holton, a Scandinavian beauty with whom the composer corresponded for eight years but would not marry because of his possessive mother’s jealousy."

Spanish Dance, by Andrew Wainwright

Based on the ancient Spanish carol Riu Riu Chiu, this exhilarating foot-tapping item has proved popular with bands around the world and will be an exciting addition to your concert program. "Spanish Dance winds up to a whirlwind climax with a respectful nod in the direction of Morley Calvert's Canadian Folk Song Suite - very clever." - Paul Hindmarsh, British Bandsman magazine.

"Spanish Dance winds up to a whirlwind climax with a respectful nod in the direction of Morley Calvert's 'Canadian Folk Song Suite' - very clever." Paul Hindmarsh, British Bandsman magazine"

Tower of Power Greatest Hits, arr. by Victor López

From jwpepper.com: "Known for driving grooves, a soaring horn section, soulful vocals, and an extremely tight rhythm section, Tower of Power continues to find success and remains on the touring circuit. This arrangement includes What Is Hip?; You’re Still a Young Man and Down to the Nightclub."

Brazilian Bell Carol, arr. by Robert W. Smith

From windrep.org: "Featuring the entire percussion section, Brazilian Bell Carol is an exciting arrangement of the traditional Ukranian Bell Carol. Beginning with percussion grooves and solo fragments, the arrangement quickly transforms into the traditional bell carol in a very untraditional setting. The bell carol is a Brazilian street parade accompanied by a complete samba school. Feel free to chap, cheer and scream as the band presents this South American holiday celebration."

Hands Across the Sea, March, by John Philip Sousa

From marineband.marines.mil: "When played for the first time by Sousa’s Band in Philadelphia’s Academy of Music on April 21, 1899, “many feet were beating a tattoo.” The band was obliged to repeat it three times. “Hands Across the Sea” was off to a good start, and it has since remained a standard in band literature. 

The march was addressed to no particular nation, but to all of America’s friends abroad. It has been suggested that Sousa was inspired by an incident in the Spanish-American War, in which Captain Chichester of the British Navy came to the support of Admiral Dewey at Manila Bay. A second (and more likely) source is a line by Frere, which was printed on the front cover of the sheet music: “A sudden thought strikes me—let us swear an eternal friendship.” 

The line by Frere apparently appeared in a play which Sousa read. In answering questions sent to him while serving in the navy, he gave this account in the Great Lakes Recruit of March, 1918: After the Spanish war there was some feeling in Europe anent our republic regarding this war. Some of the nations...thought we were not justified while others gave us credit for the honesty of our purpose. One night I was reading an old play and I came across this line, “A sudden thought strikes me,—let us swear an eternal friendship.” That almost immediately suggested the title “Hands Across the Sea” for that composition and within a few weeks that now famous march became a living fact."

SPRING 2018 
TACO & BEER FEST
Sunday, May 20 at 4:00 PM
Fulton Park Community Center
Tacos by Koi Fusion
Beer by Laurelwood Brewing

Simple Gifts, Four Shaker Songs for Concert Band, by Frank Ticheli

I. In Yonder Valley  •  II. Dance  •  III. Here Take This Lovely Flower  •  IV. Simple Gifts

Simple Gifts is founded on Shaker songs. The first, "In Yonder Valley," is widely held to be the oldest surviving Shaker song with text. It is a simple hymn praising nature; listen for the birdcall sounds at the beginning. The second movement, "Dance," uses an 1830 Shaker tune which was probably sung in church by a small group while the rest of the congregation danced. The third movement, based on a Shaker lullaby, "Here Take This Lovely Flower," is a "gift song." These are songs that were received from spirits by Shaker mediums while in a trance. The piece ends with the most famous Shaker song, "Simple Gifts." - James Huff

The Vanished Army (They Never Die), Poetic March, by Kenneth J. Alford, edited by Frederick Fennel

Kenneth J. Alford (1881-1945) was 6 years into his first Bandmastership when Great Britain declared was on Germany. Alford's response to the one hundred thousand annihilated forces was this Poetic March in their honor and memory. -East Coast Music

The Universal Judgment, Symphonic Poem, by Camille De Nardis

The Universal Judgment is based on a religious concept of a journey of purification consisting of hardships with glimpses of hope and joy for those who are awaiting the universal judgment before receiving final blessedness.  The music follows this progression with alternating sections of hardships (heavy brass parts), hope (high woodwinds frequently representing angels), and joy (also woodwinds and including lyrical brass parts), and with a triumphant conclusion representing final blessedness. See http://en.wikipedia.org/wiki/History_of_Purgatory  for more information. There is a giant fresco (16th century) painted by Ferraù Faenzone (a work commissioned by Cardinal Angelo Cesi) depicting the Universal Judgment on the rear wall of the Cathedral (11th century) of Todi, Italy. -Kenneth Kuhn

Danny Boy, Traditional Irish Folk Melody, Arranged by Samuel R. Hazo

"There are various suggestions as to the true meaning of "Danny Boy." Some have interpreted the song to be a message from a parent to a son going off to a war or uprising (as suggested by the reference to "pipes calling glen to glen") or leaving as part of the Irish diaspora." -Wikipedia

Highlights from La La Land, by Justin Hurwitz, Arranged by Michael Brown

• Another Day in the Sun  • Mia and Sebastian’s Theme  • City of Stars  • Audition (The Fools Who Dream). A medley of tunes from the hit movie. For more information see Wikipedia.

Amparito Roca, Spanish March, by Jaime Texidor, Arranged by Aubrey Winter

Amparito Roca is a paso doble, a dance that emulates a bull fight. According to Wikipedia the song is of uncertain origin.