Camille Saint-Saëns third symphony is a profound work written after a long hiatus of symphonic creations. Symphony number three was his last symphony written, and with it left an impact on England where it was premiered. Saint-Saëns created a lush masterpiece featuring organ, giving the piece its iconic nickname, “The Organ Symphony.” Adagio is a part of the first movement and the section we are presenting starts with a beautiful tone played by the organ in the orchestral version. The primary melodic line seems to find its way climbing higher and higher until finally at the end of the phrase it can relax and settle, only to be reignited to climb again with more voices joining underneath the melody. This short excerpt is a testimony of Saint-Saëns brilliant work.

Other than the fact that Sousa’s “thunderer” was undoubtedly a Mason, this identity has never been revealed. The Thunderer march was dedicate to Columbia Commandery No. 2, Knights Templar, of Washington, D.C., and it was composed on the occasion of the Twenty-fourth Triennia; Conclave of the Grand Encampment. The conclave was held in October 1889, and was sponsored by Columbia Commandery No. 2. Sousa had been “knighted” in that organization three years earlier.

The Thunderer was Mrs. John Phillip Sousa’s favorite march. Their daughter Helen revealed this, who had surmised that The Thunderer might have been her father’s salute to the London Times, which was known as the “thunderer.” It was since then determined that Sousa probably had no association with the newspaper at that time, however. The “thunderer” might have been one of the ones in charge of making arrangements for the 1889 conclave — in particular Myron M. Parker, who worked tirelessly to make the event the spectacular success that it was.

In the second section of the march, Sousa included an adaptation of earlier trumpet and drum piece, Here’s to Your Health, Sir!

– Program note from John Philip Sousa: A Descriptive Catalog of His Works

One of the stronger tendencies of twentieth century music has been a return to certain aspects of music of the Baroque and Classical periods. Compositions falling into this category are referred to as “neo classic.” Air for Band is such a piece. The form (binary) was quite common in the Baroque period and the melody and harmonies were strongly influenced by the works of Bach.

– Program note from score

Several generations of band members have developed their ability to play a sustained line, to listen for the moving part, and to improve their intonation while playing this work since it was first published in 1956. While not difficult to play technically, Air for Band takes careful rehearsing to get the results the piece deserves. The composition begins softly and in a minor key, and by gradually adding instruments and increasing the dynamics and range, the climactic section is reached approximately halfway through. Erickson then uses the opening melody to create interesting rhythms and dialogues between sections on the way to a modulation to a major key and another crescendo leading to a maestoso ending.

– Program note from Program Notes for Band

V. HOBBITS The fifth movement expresses the carefree and optimistic character of the Hobbits in a happy folk dance; the hymn that follows emanates the determination and noblesse of the hobbit folk. The symphony does not end on an exuberant note, but is concluded peacefully and resigned, in keeping with the symbolic mood of the last chapter, The Grey Havens, in which Frodo and Gandalf sail away in a white ship and disappear slowly beyond the horizon.

– Program note by Johan de Meij

The Place Where the Reeds Were Destroyed was commissioned by the Nebraska State Bandmasters Association for the 1994 State Convention, Lincoln Nebraska, Brian Anderson, President. It was also the 1994 winner of The Competition for an Original Band Work, a competition established in an effort to promote the composition of quality works for the concert band by the Alberta Band Association, Alberta, Canada.

The composition, The Place Where the Reeds Were Destroyed is a multi-movement programmatic work based upon the legend of Acapulco. The region which is known today as Acapulco, Mexico was once inhabited by a tribe called teh Nahaos. Acatl was the name given to the oldest son of the chief of this brave Nahao tribe whose name is also the basis for the name of the city of Acapulco. Acatl (which means reeds), fell in love with Quiahuitl (which means rain), the princess of the chief of a nearby tribe. Quiahuitl’s father, however, did not approve of their love and forbade their marriage.

The young warrior was so disappointed, that one hot day, he wept so much that his tears melted his body converting him into a muddy pool of water. From this muddy pool germinated tiny reeds, which grew to a yellowish green color with a reddish blend. These were called the sons of Acatl. The God Quetzalcoatl also punished Quiahuitl converting her into a lonely cloud to travel the sky forever. One quiet afternoon, she happened upon the sons of Acatl (the reeds). Distraught, she dissolved into water and fell like a waterspout into the muddy pool, destroying the reeds and uniting herself forever with Acatl.

The first movement, “The Warrior” should be played in a majestic style to portray a strong and proud warrior. The second movement, “Love Song” should be played in a legato style with much expression. The third movement, “The Reeds” should portray sadness and must be played In a solemn manner. The fourth movement, “The Lonely Cloud” should be played very legato and should portray an empty feeling. The last movement, “Forever United” should be played in a joyous and excited manner.

– Program note from score

Jonathon Kurecki is a Music Education Major (Fall ’24), with emphasis in percussion and active educator, adjudicator, and arranger in the Chicago-land area. Jonathon grew up in Plainfield, Illinois and then attended Utah State University. After taking some time away from school, Jonathon transferred to Northern Illinois University in the Fall of 2021 to complete his degree and coursework. Jonathon is the current Percussion-Battery Coordinator for the Lincoln-Way Community High School(s) Marching Band and Indoor Drumline, a position he has held since 2018. Besides playing solo percussion, Jonathon loves Wind Band and Chamber Choir literature and is a classically trained vocalist. Jonathon is an alumnus of the Boston Crusaders Drum and Bugle Corps where he was a member of the Front Ensemble. Away from music Jonathon is an avid hiker, golfer, and very amateur chef. He lives in Lisle, Illinois with his partner Lauren and their dog, Marty.

Leif Albertson is the current graduate assistant for the NIU Huskie Bands and studies wind band conducting with Thomas Bough. Leif grew up in Cedar Rapids, Iowa, and holds a Bachelor’s Degree in Music Education from Iowa State University. Leif has attended conducting symposiums at the University of Minnesota at Minneapolis, the University of Kansas City, Missouri, and Northern Illinois University. Leif taught 6th-8th grade middle school band in Elkhorn, Nebraska, for two years before coming to NIU to pursue a master’s degree.