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Sunday, October 16, 2022 - 4:00 p.m.
Milton High School Auditorium
13025 Birmingham Hwy., Milton, GA 30004

David Kehler, Music Director and Conductor

Husaria Cavalry Overture by Julie Giroux
Giroux is an extremely well-rounded composer, writing works for symphony orchestra (including chorus), chamber ensembles, wind ensembles, soloists, brass and woodwind quintets, and many other serious and commercial formats. Much of her early work was composing and orchestrating for film and television. Her writing credits include soundtrack score for White Men Can't Jump and the 1985 miniseries North and South. She has also arranged music for Reba McIntyre, Madonna, and Michael Jackson. Giroux is a three-time Emmy Award nominee and in 1992 won an Emmy Award in the category of Outstanding Individual Achievement in Music Direction.

The Husaria Cavalry, often referred to as "The Winged Cavalry," was the pride and glory of the Polish Military from 1550 to 1683. They were an elite fighting force, earning one-third more salary than that of the other enlisted men. They were offered political offices, titles, many privileges, and even land after six years of service. Many of the sons of the highest-born nobility were enlisted in the Husaria as well. Only those who demonstrated great fighting and equestrian skill were accepted.

Husaria Cavalry Overture is a tribute to these gallant men and their horses!

Here We Rest by Anthony Barfield
Anthony Barfield holds degrees in trombone performance from the Juilliard School and Manhattan School of Music. His primary trombone instructors include Joseph Alessi, Dr. Per Brevig, Jay Evans, and Dan Drill. As a composer and also known for his lyrical writing style, Barfield's compositions have been performed throughout the U.S. and Europe. He has received commissions from groups such as the University of Kentucky Wind Ensemble and Joseph Alessi of the New York Philharmonic. He made his Carnegie Hall debut at the 2012 New York Wind Band Festival where his work Here We Rest was performed. Barfield currently resides in New York City and works as an audio engineer at The Juilliard School.

Adapted by the composer from his work for trombone choir, Here We Rest was dedicated to the state of Alabama in tribute to the victims of its April 2011 tornado outbreak. The title was the Alabama state motto during the Reconstruction Era.

The opening of the piece presents a series of three modally-mixed chords in F that form the basis of the accompaniment of the primary theme, which is introduced by horn, bassoon, and tenor saxophone. A related melody, reminiscent of Copland, appears later in the woodwinds and trumpets. A second theme is presented by solos from horn and flute, accompanied by woodwinds on otherwise static A-flat major harmony and a descending chromatic line – a gesture that suggests a “lament” or, in popular music, a “line cliché” (similar to the opening of Stairway to Heaven).

A tutti restatement of the second theme ends without resolution in a developmental area. Here, earlier ideas are presented in unfamiliar harmonic settings; previous themes appear in unexpected keys and modes, and the opening chord series passes through ascending keys, skipping only the original F. The development concludes with a series of descending suspensions and resolutions before the opening themes return, first in the dorian mode a tritone away from the original (low brass), then elevated to A major (tutti). Clarinets and vibraphone mark the return of the opening chord series, now centered a half-step higher in F-sharp, and the piece ends without resolution, symbolizing the loss of the tornadoes’ 238 victims and the anguish of many more survivors.

The Sinfonians by Clifton Williams
Clifton Williams began playing French horn, piano, and mellophone in the band at Little Rock (Arkansas) High School. As a professional horn player, he would go on to perform with the San Antonio and New Orleans Symphony Orchestras. Williams also served in the Army Air Corps band as a drum major, composing in his spare time. He received the prestigious Ostwald Award in 1956 for his first composition for band, Fanfare and Allegro. He repeated his success in 1957 when he won again with his Symphonic Suite. In addition to his many other honors, those most recently listed include election to membership in the American Bandmasters Association, Phi Mu Alpha Sinfonia National Music Fraternity of America, and the honorary degree of Doctor of Music conferred by the National Conservatory of Music at Lima, Peru.

This work was commissioned by the Phi Mu Alpha Sinfonia Fraternity of America. It was the first in a series of instrumental pieces to be commissioned by the Sinfonians and was dedicated to Archie N. Jones, former president of the fraternity and later director of that organization's foundation. Williams conducted the first performance of The Sinfonians at the fraternity's national convention in Cincinnati, Ohio, in July 1960.

The march opens with an extended fanfare introduction before the horns state the familiar Sinfonian theme: "Hail Sinfonia! Come, brothers, hail!" The melody is then completed, embellished, and extended in the style of the composer. In a 1982 international survey, The Sinfonians received more votes than any of Williams' other works.

Symphony in B flat by Paul Hindemith
Paul Hindemith studied conducting, composing, and violin with Arnold Mendelssohn and Bernhard Sekles at the Hoch Conservatory, supporting himself by playing in dance bands and musical-comedy troupes. From 1915 until 1923 he was the concertmaster of the Frankfurt Opera Orchestra, and in 1929 he founded the Amar Quartet, playing viola. Hindemith emigrated to the United States from Germany in 1940 and held teaching positions at Harvard and Yale Universities, becoming an American citizen in 1946. After World War II Hindemith relocated to Europe, taking a position at the University of Zurich.

Hindemith’s Symphony in B-flat for Band was composed during his time in the United States, at the request of Lt. Col. Hugh Curry, leader of the United States Army Band, and was premiered by “Pershing’s Own” on April 5, 1951, with Hindemith conducting. Featuring strong melodies, great contrapuntal writing, and complex rhythmic organization, variation, and texture, the Symphony is another true pillar of the repertoire. This masterwork elevated the scope of content available to the concert band, opening the doors for future composers and offering free license to explore the genre, cementing the validity of the wind and percussion ensemble as a medium for serious music.

The National Game by John Philip Sousa
John Philip Sousa was born the third of ten children of John Antonio Sousa (born in Spain of Portuguese parents) and Maria Elisabeth Trinkhaus (born in Bavaria). John Philip's father played trombone in the U.S. Marine Band, so young John grew up around military band music. Sousa started his music education playing the violin as a pupil of John Esputa and G. F. Benkert for harmony and musical composition at the age of six. He was found to have absolute pitch. When Sousa reached the age of thirteen, his father, a trombonist in the Marine Band, enlisted his son in the United States Marine Corps as an apprentice. Sousa served his apprenticeship for seven years until 1875 and apparently learned to play all the wind instruments while also continuing with the violin.

Several years later, Sousa left his apprenticeship to join a theatrical (pit) orchestra where he learned to conduct. He returned to the U.S. Marine Band as its head in 1880 and remained as its conductor until 1892. He organized his own band the year he left the Marine Band. The Sousa Band toured 1892-1931, performing 15,623 concerts. In 1900 his band represented the United States at the Paris Exposition before touring Europe. In Paris the Sousa Band marched through the streets including the Champs-Élysées to the Arc de Triomphe – one of only eight parades the band marched in over its forty years.

Sousa wrote 136 marches. He also wrote school songs for several American Universities, including Kansas State University, Marquette University, the University of Michigan, and the University of Minnesota. Sousa died at the age of 77 on March 6, 1932, after conducting a rehearsal of the Ringgold Band in Reading, Pennsylvania. The last piece he conducted was The Stars and Stripes Forever.

Judge Kenesaw Mountain Landis, baseball's first Commissioner, asked Sousa to compose The National Game march on the occasion of the National League's fiftieth anniversary. Earlier the two had met in Havana. No doubt Sousa told him of his enthusiasm for the game and of the Sousa Band's own team.

Atlanta Wind Symphony     P.O. Box 768672     Roswell, GA 30076