Königsmarsch is one of eight marches written by Richard Strauss, a composer more famous for operas and major orchestral works. The grand fanfare that opens this march embodies the rich scoring and harmonic power of the Romantic period. The lyrical trio features the woodwinds and horns until the restatement of the opening theme. The instrumentation changes to brass only for an unusual hymn passage, with the full ensemble concluding with a strong and noble presentation of the opening theme. Originally composed for piano in 1906, the march was premiered at a palace concert in Berlin, Germany, on March 6, 1907, in both orchestral and military arrangements with the composer conducting. At this occasion, King Wilhelm II granted Strauss the citizenship award of the Imperial Order of the Third Class. Strauss’ dedication on the manuscript reads “To His Majesty, The Kaiser, King Wilhelm II in profound respect and honor given by the composer.”

– Program Note from Wisconsin Lutheran College Concert Band concert program, 7 December 2018

Dancing Day, the first movement of the 30-minute symphony, is a joyous work that opens and closes with spirited multi-metered dance music. A fascinating middle section directly quotes a chorale, composed and harmonized by Ludwig Krebs (a student of Johann Sebastian Bach), which floats over angular and disjunct motives, which are developed in the second and third movement of the symphony. The closing section brings back the multi-metered dance music from the opening, this time with the Krebs chorale tune superimposed above, also in a dance style. The entire Symphony won the ABA/Ostwald Award in 1985. – Program Note by Timothy M. Smith for the San Francisco Wind Ensemble concert program, 15 October 2016

Sarabande and Polka are two short movements from Malcolm Arnold’s charming ballet called SOLITAIRE. Originally scored for a small chamber ensemble of orchestral instruments, the pieces are also available for solo piano. These two delightful, contrasting melodies emphasize the gift for tune writing that is Malcolm Arnold’s. The arranger of this piece for band, John Paynter (1928-1996,) was appointed as full time faculty at Northwestern University at the age of 23, teaching courses in conducting, arranging and leading the Northwestern Department of Bands, including the famed “Wildcat” Marching Band. Mr. Payner also championed the Community Band movement internationally, leading the famed Northshore Concert Band to international acclaim.

1. Takeoff
2. Under the Wing
3. Cloudburst
4. Blue Skies

Commissioned by Kimberly Beene and the Arbor Creek Middle School Honors Band, Skyward Spirits is very special to me for a number of reasons. Arbor Creek (along with its dedicatee, the Hebron High School cluster) resides in Carrollton, Texas — my hometown. The theme of “the sky” became immediately clear for this project to honor the mascots of Arbor Creek (eagles) and Hebron (hawks), as well as the insignia of the Carrollton water tower (a bird sculpted from the letter ‘C’).

In a much broader sense, this piece pays homage to all those who watch us from above and fly with us in the thrill of the moment. I’ve been fascinated with flight since I was a little kid, and this work really satisfies my childhood’s soul!

This is also my first symphony ever! Coining the term “micro-symphony” best describes the piece (as opposed to a “sinfonietta” or “suite”) in that each movement is an extremely efficient sonata form while also playing individual roles in one sonata large form (the first movement as the primary theme, the second movement as the secondary theme, the third movement as the development, and the fourth movement as a large-scale recapitulation). I also aimed to broaden the accessibility to audiences and performers of the daunting musical structure of a symphony. In just 6 minutes (approx. 90 seconds per movement), you are taken on an incredible voyage in the following sections:

Movement 1: Takeoff. Vivacity meets the vastness of the sky in this depiction of a bird’s initial ascent. The introductory brass fanfare and interspersed playful woodwind flourishes invite listeners to soar as the music paints pictures of feathers catching the sunlight and the breezes that beckon onward. A bold and lyrical melody emerges in A-flat major as the movement’s primary theme — the serene sketch of a songbird sailing smoothly across the landscape. The music shifts to F major with a soaring secondary theme and an uplifting pulse that feels as instinctual as the flap of wings against the azure expanse. After a short melodic development, the movement recaps with the opening fanfare theme, this time in the new home key of F major.

Movement 2: Under the Wing. An evocative ode to the timeless themes of protection and guardianship, this movement offers listeners a serene refuge moving with deliberate grace. Trombone and euphonium take the lead, unfurling an expansive primary melody that captures the essence of a watchful eye overhead. As the soundscape slowly sweeps into 6/8, every note seems to wrap around the listener, akin to the gentle fold of a wing sheltering us from the world’s tempests. This movement in particular is dedicated to the Hebron High School Hawks in Carrollton.

Movement 3: Cloudburst. The third movement is a scherzo (“joke” in Italian) in D minor that evokes the unpredictable whims of nature. This movement navigates through tumultuous skies with shifting mixed meters, capturing the erratic dance of raindrops and wind gusts. Several sections are featured in this movement: muted trumpets and xylophone sound the distant rumbles of thunder; an emotive oboe solo sings the melancholy lullaby of a storm-worn traveler; a piccolo solo pierces through like streaks of lightning, sharp and electrifying; which is contrasted by the deep resonance of a low brass/ woodwind feature that emulates the roaring storm clouds. This daring exploration of nature’s fury and splendor journeys through sonic tempests that promise to both thrill and enchant. This moves without pause into the final movement.

Movement 4: Blue Skies. The final movement takes the baton from the previous scherzo and immediately launches with a sprightly reel melody. The infectious rhythmic melody gracefully travels from the fife family of flute and oboe, to the single reed family of clarinet and saxophone, and finally to the triumphant trumpet and horn sections — each instrument lending its own vibrant hue to the tapestry. Yet, as the piece progresses, there is a moment of profound reflection: in a masterstroke of musical narrative, we are treated to a recapitulation of each significant theme from the preceding movements, like cherished memories flashing before one’s eyes. The journey culminates with the opening fanfare that began it all, bringing listeners full circle in a resounding celebration of fond remembrance and a jubilant leap into the vast, endless horizon.

– Program note by composer

Although it is labeled as a march, Whip and Spur is more appropriately called a galop, a fast type of music used to accompany circus acts. When such composers as Offenbach and Liszt were writing galops in France during the middle of the 18th century, the tempos were not much faster than the Bohemian polkas. But by the time Allen was composing, the galop was no longer a dance. It was used for circus and vaudeville acts, and the tempo continued to increase. Now, at almost double the standard march tempos, the galop is played for the most exciting circus acts and for the fastest rodeo rides.

Ray Cramer joined the faculty at Indiana University School of Music in the fall of 1969, and served as director of the Indiana University Marching Hundred from 1972 to 1982. In 1982, Cramer was appointed Director of Bands in the School of Music. He was a professor of music history, literature and wind conducting, retiring in 2005. He is the Emeritus Director of Bands at Indiana University. Professor Cramer has guest conducted all over the world during his retirement, including multiple conducting residencies with the famed Mushashino Academy of Music in Tokyo, Japan.

Richard Strauss is best known for his work in two major genres: the tone poem and opera. Strauss ably carried both the Wagnerian opera tradition and the Romantic Lisztian tone poem into the twentieth century.Tod und Verkiarung, Till Eulenspiegels lustige Streiche, Also sprach Zarathustra, Salome and Elektra rank among his most notable compositions and brought Strauss lasting fame during his lifetime and afterward.

Written in 1924, Strauss penned Fanfare für die Wiener Philharmoniker for the Vienna Philharmonic’s first benefit ball, which raised money for the musicians’ pension fund. The piece was originally performed while honored guests arrived at the event, and the work has subsequently been performed every year since at the Philharmonic’s annual ball. This new edition was created by H. Robert Reynolds.

– Program notes by David Balandrin and Ricky Parrell

Martin Luther King, the American pastor and civil-rights activist, was murdered in 1968. His death moved Berio that selfsame year to write a short piece in memorium, its text consisting of King’s name only. (That same year, O King became a movement of [Berio’s] Sinfonia). Berio arranged the movement for the Harvard University Band in 1972.

“Of Our New Day Begun” was written to honor nine beautiful souls who lost their lives to a callous act of hatred and domestic terrorism on the evening of June 17, 2015 while worshipping in their beloved sanctuary, the historic Emanuel African Methodist Episcopal Church (affectionately referred to as “Mother Emanuel”) in Charleston, South Carolina. My greatest challenge in creating this work was walking the line between reverence for the victims and their families, and honoring my strong, bitter feelings towards both the perpetrator and the segments of our society that continue to create people like him. I realized that the most powerful musical expression I could offer incorporated elements from both sides of that line – embracing my pain and anger while being moved by the displays of grace and forgiveness demonstrated by the victims’ families.

Historically, black Americans have, in great number, turned to the church to find refuge and grounding in the most trying of times. Thus, the musical themes and ideas for “Of Our New Day Begun” are rooted in the Black American church tradition. The piece is anchored by James and John Johnson’s time-honored song, “Lift Every Voice and Sing” (known endearingly as the “Negro National Anthem”), and peppered with blues harmonies and melodies. Singing, stomping, and clapping are also prominent features of this work, as they have always been a mainstay of black music traditions, and the inclusion of the tambourine in these sections is a direct nod to black worship services.

“Of Our New Day Begun” begins with a unison statement of a melodic cell from “Lift Every Voice….” before suddenly giving way to ghostly, bluesy chords in the horns and bassoons. This section moves to a dolorous and bitter dirge presentation of the anthem in irregularly shifting 12/8 and 6/8 meter, which grows in intensity as it offers fleeting glimmers of hope and relief answered by cries of blues-inspired licks. A maddening, ostinato-driven section representing a frustration and weariness that words cannot, grows into a group singing of “Lift Every Voice and Sing,” fueled by the stomping and clapping reminiscent of the black church.

In the latter half of the piece the music turns hopeful, settling into 9/8 time and modulating up a step during its ascent to a glorious statement of the final lines of “Lift Every Voice….” in 4/4, honoring the powerful display of humanity set forth by the families of the victims. There is a long and emotional decrescendo that lands on a pensive and cathartic gospel-inspired hymnsong. Returning to 9/8 time, the piece comes to rest on a unison F that grows from a very distant hum to a thunderous roar, driven forward by march-like stomping to represent the ceaseless marching of black Americans towards equality.

– Program Note by composer

Written in memory of my father, Flight reflects his delight in aviation as well as some joyous memories I have of him. The first movement, Sailplane, is reminiscent of a sailplane flight we shared as my very first flight. It was a lovely, soaring experience, and I can still envision the colorful farm fields below and the sound of the wind keeping the plane aloft. The second movement, Joyride, was a local flight “lesson” my siblings and I purchased for my dad upon his retirement from teaching. His laughter and excitement in describing the flight still brings a smile to my face. A slower, hymn-like section is included in this movement as both an expression of the wonder of flying as well as a nod to my father’s habit of whistling hymns as he did chores around the house.

– Program Note by composer

I don’t normally like to begin program notes with dictionary definitions—it feels pretty stuffy to me—but it seemed appropriate for this piece, so here goes…

thunk [thuhngk] noun & verb

1. [n.] an abrupt, flat, hollow sound (example: The book landed on the floor with a thunk.); synonym: thud
   2. [v.] to produce an abrupt, flat, hollow sound
   3. [v.] colloquial past tense and past participle of think.

Melodious Thunk was inspired by the famous jazz pianist Thelonious Monk. Monk’s wife, Nellie Smith, nicknamed him “Melodious Thunk” because of his clunky, awkward, and brilliant(!) piano playing, and his, somewhat scatterbrained and disoriented nature. I really liked the idea of playing around with Monk’s name—first, because I personally really enjoy goofing around with “spoonerisms” (silly, ridiculous, mix-and-match letter games, which often happen by accident: for example, slip of the tongue becomes tip of the slung), and, second, because this nickname actually provided great musical inspiration. Melodious—well, that’s fairly obvious—and thunk (which is a great onomatopoeia!) became the starting points for the piece. Big, fat thunks are interspersed with pointy, clunky, bluesy blips, which are then transformed into a long, smooth, laid-back melody accompanied by a funky bass line. I haven’t consciously borrowed any specific tunes or licks from Monk, although I do use a small fragment of Dizzy Gillespie’s tune Salt Peanuts, but I hope you’ll hear some similarities between this piece and Monk’s iconic musical style and quirky attitude.

– Program Note by composer

King wrote this march for the 32-piece Barnum and Bailey Circus Band in 1913 at the request of its director, the noted minstrel show cornetist, Ned Brill. King was 22 at the time and was preparing to join the band as a euphonium player. The euphonium part in this march (and in most of his other marches) shows his love for that instrument — he liked to hear the countermelody part “romping around.” His use of the word “favorite” in the title was a good choice. In a 1980 international Music survey, Barnum and Bailey’s Favorite ranked fourth in the top 140 marches.

– Program Note from Program Notes for Band