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.