Alleluia! Laudamus Te–Alfred Reed (1921-2005)
Alleluia! Laudamus Te is a hymn of praise without words, with the band serving as a single massive choir and, at times, broken down into individual sections, each performing as a separate choir. The music is based on three main themes, the first being a massive chorale in the brass, the second a long flowing line in the horns and woodwinds, and the third a quasi-fanfare figure first heard in the trumpets and then spreading throughout the other sections of the orchestra as it is developed.
Toboggan Ride–Stan Applebaum (1922-2019)
A piercing dissonance - created by trumpets wildly trilling clarinets and splashing, rolling cymbals - launches our toboggan on its fun-filled ride. Speeding into its first turn, the toboggan theme is stated by low clarinets in unison. Seconds later, the theme is restated by all woodwinds, spread across two octaves. An oboe solo, supported by the horns and saxes, accompanies the toboggan as it glides through a clearing between trees. All woodwinds pick up the oboe’s message and complete the motif in a colorfully-orchestrated section. The low clarinets are reintroduced to close off the first theme. Orchestrating the opening dissonance a fourth higher, our toboggan races down a second slope and into the second theme. Constant shifting of orchestra timbres helps conjure up images of a happy, carefree winter setting. The development of our second theme places the toboggan atop another hill. Recalling the opening dissonance and original key, the toboggan theme follows once again in the low clarinets. Sixteen measures later, the opening section is restated but newly orchestrated. An abrupt eighth-note figure played by a full ensemble brings our toboggan face-to-face with a snowbank, and the end of the ride.
Gaudete–Traditional arr. Brian Beck (b. 1976)
“Gaudete” is a traditional 16th century Christmas carol that was commonly sung throughout the monasteries of Europe during the Advent season - especially on the 3rd Sunday of the season, referred to as “Gaudete Sunday”. Meaning “rejoice” in Latin, this arrangement of the Baroque traditional Gaudete carol contrasts the intense passion of praise with the contemplative reflection of piety.
Winterscape–Gavin Lendt (b. 1975)
Combining several beloved Christmas carols, “Winterscape” is a dynamic holiday piece that aims to capture the magic of a winter journey. Painting scenes of crisp snow-covered landscapes and horse-drawn sleighs gliding across icy trails, the chill of the winter air is nearly palpable as you enjoy this charming winter medley!
Hodie Christus Natus Est–Giovanni Gabrieli (c. 1554/57-1612) arr. E. Chasanov
The composer was born in Venice and instructed in music by his uncle, Andrea Gabrieli, an organist at St. Mark’s Cathedral (where Gabrieli would eventually be the organist as well), As a composer, he was considered the greatest of the “Venetian Masters” through his use of counterpoint, harmony, and unique instrumentation. Hodie Christus natus est (Today Christ is Born) is a motet originally written for choir featuring a mixture of duple and triple rhythms, the text being an antiphon for Magnificat at Vespers, Feast of the Nativity of our Lord. This arrangement reimagines the motet in the same antiphonal brass style of Gabrieli which emphasizes his mastery of rhythmic counterpoint.
Cathedrals–Kathryn Salfelder (b. 1987)
Cathedrals is a fantasy on Gabrieli’s Canzon Primi Toni from the Sacrae Symphoniae, which dates from 1597. Written for St. Mark’s Cathedral in Venice, the canzon is scored for two brass choirs, each comprised of two trumpets and two trombones. The choirs were stationed in opposite balconies of the church according to the antiphonal principal of cori spezzati (broken choirs), which forms the basis of much of Gabrieli’s writing. Cathedrals is an adventure in "neo-renaissance" music, in its seating arrangement, antiphonal qualities, 16th century counterpoint, and canonic textures. Its form is structured on the golden ratio (1:0.618), which is commonly found not only in nature and art, but also in the motets and masses of Renaissance composers such as Palestrina and Lassus. The areas surrounding the golden section and its series of extrapolated subdivisions have audible characteristics, often evidenced by cadences, changes in texture, or juxtaposition of ideas. This work is a synthesis of the old and the new, evoking the mystery and allure of Gabrieli’s spatial music, intertwined with the rich color palette, modal harmonies, and textures of woodwinds and percussion.
The Joyful Rose of Winter–J.S. Bach (1685-1750) & Praetorius (1571-1621) arr. R. Standridge
Lo How a Rose E’er Blooming and Jesu, Joy of Man’s Desiring are blended together in this lyric work for concert band. The simple and moving beauty of each hymn complements the other as motifs are traded back and forth before arriving at a triumphant climax making a memorable experience from this lush ballad.
Here Comes Santa Claus–Oakley Haldeman (1909-1986) arr. Paul Murtha
Here Comes Santa Claus ("Right Down Santa Claus Lane") is a Christmas song originally written and performed by Gene Autry, with music composed by Oakley Haldeman. Autry's original recording was a top-10 hit on the pop and country charts the song would go on to be covered many times in the subsequent decades. Autry got the idea for the song after riding his horse in the 1946 Santa Claus Lane Parade (now the Hollywood Christmas Parade) in Los Angeles, during which crowds of spectators chanted, "Here comes Santa Claus". This inspired him to write a song that Haldeman set to music. Autry's lyrics combined two veins of the Christmas tradition, the mythology of Santa Claus and the Christian origin of the holiday.
A Christmas Festival–Leroy Anderson (1908-1975)
A Christmas Festival includes excerpts from Joy to the World, Deck the Halls, God Rest Ye Merry Gentlemen, Good King Wenceslas, Hark the Herald Angels Sing, Silent Night, Jingle Bells, O Little Town of Bethlehem, and Adeste Fidelis. Listen for the clever ways that Anderson weaves these themes together and his unconventional treatments of one or two of the traditional carols: O Little Town of Bethlehem sounds almost like a military march.
