Program for February 12, 2012 Madison Central High School Auditorium
A Jubilant Overture (1970), Alfred Reed (1921–2005)
The composer has indicated that the three-part work is reminiscent of the mood brought about by the coming of Spring. It employs the classic fast-slow-fast overture form.
Ave Maria (1825), Franz Schubert (1797–1828)
arr. (2004) Frank Ticheli
Ave Maria was an art song by the man usually recognized as the best writer of songs in the history of Western art music. Its Latin text may be translated as follows:
Hail Mary, full of grace
The Lord is with thee.
Blessed art thou amongst women.
And blessed is the fruit of your womb,
Jesus.
Holy Mary,
Mother of God,
Pray for us sinners
now and at the hour of our death.
Amen.
Colonial Airs and Dances (1988), Robert Jager (1939)
I. The Contented Farmer
II. The Thirsty Topper
III. The Debtor’s Welcome
IV. The King and the Miller
V. Good Advice
This five-movement work uses seventeenth-century American colonial songs as its source material. The tuba represents the contented farmer in his field, and the woodwinds represent the birds around him. A “topper” is someone who always caps other peoples’ stories with a better one. Even debtors are welcome in a colonial pub if they demonstrate a good heart and wear a smile. The king (horn) and the miller (muted horn) did not know each other, but they co-existed in time, and the miller wondered about the king’s life. As Ben Franklin would advise, “live well, be healthy, and do things for others.”
Intermission
Featuring Lexington Vintage Dance
Dancers:
Tim Lamm
Paula Harrison
Kelly Sikorski
Ellen Hume
Paul Trageser
Jane Goode
BJ Lee
Katie Anderson
Tim Lamm, Dance Director
Washington Post (two-step), John Philip Sousa (1854–1932)
Choreography: Merrell Fuson
John Philip Sousa was born in Washington, D.C., where his father was a trombonist in the U.S. Marine Band. He became a violinist with the band, made a living in music of the theater, returned to Washington to conduct the U.S. Marine Band, and later directed a civilian touring band that brought him to world-wide prominence. Named to promote an essay contest sponsored by the famous newspaper for which it is named, this 1889 work by “The March King” became strongly identified in its day as an accompaniment to the new social dance, the “two-step.” A two-step consists of two steps in approximately the same direction onto the same foot, separated by a closing step with the other foot.
Pass the Pickles (one-step), Grace LeBoy (1890–1983)
ed. Meri Schoof
Choreography: Tim Lamm
This 1913 piano tune (incorrectly labeled a tango) was conspicuous in its day due to its being from a woman’s pen. LeBoy married songwriter Gus Hahn in 1916, and the two of them became the subject of a 1951 Danny Thomas/Doris Day film, “I’ll See You in My Dreams.” The “one-step,” or “walking step,” involves using one foot after the other—brisk walking to the beat.
Nights of Gladness (hesitation waltz), Charles Ancliffe (1880–1952)
arr. Carl F. Williams
Choreography: Tim Lamm
This 1912 composition was British army bandmaster Ancliffe’s best-known effort. It became the theme of a British radio program of the same name, and it was programmed into mechanical band organs used on carousels. Waltzes, of course, contain three beats per bar, but when performing a hesitation waltz, dancers take one step on the first beat of the bar then pause, awaiting the first beat of the next bar.
Alexander’s Ragtime Band (fox trot), Irving Berlin (1888–1989)
arr. Mayhew Lake
Choreography: Tim Lamm
Written in 1911, this song was Irvin Berlin’s first hit. “Ragtime” means in an uneven meter, or “ragged time.” This work is not actually a ragtime piece—it merely contains some syncopation. The song is an enduring American standard, suitable to accompany the flowing foxtrot due to its slower beat and elegance.
The composer has indicated that the three-part work is reminiscent of the mood brought about by the coming of Spring. It employs the classic fast-slow-fast overture form.
Ave Maria (1825), Franz Schubert (1797–1828)
arr. (2004) Frank Ticheli
Ave Maria was an art song by the man usually recognized as the best writer of songs in the history of Western art music. Its Latin text may be translated as follows:
Hail Mary, full of grace
The Lord is with thee.
Blessed art thou amongst women.
And blessed is the fruit of your womb,
Jesus.
Holy Mary,
Mother of God,
Pray for us sinners
now and at the hour of our death.
Amen.
Colonial Airs and Dances (1988), Robert Jager (1939)
I. The Contented Farmer
II. The Thirsty Topper
III. The Debtor’s Welcome
IV. The King and the Miller
V. Good Advice
This five-movement work uses seventeenth-century American colonial songs as its source material. The tuba represents the contented farmer in his field, and the woodwinds represent the birds around him. A “topper” is someone who always caps other peoples’ stories with a better one. Even debtors are welcome in a colonial pub if they demonstrate a good heart and wear a smile. The king (horn) and the miller (muted horn) did not know each other, but they co-existed in time, and the miller wondered about the king’s life. As Ben Franklin would advise, “live well, be healthy, and do things for others.”
Intermission
Featuring Lexington Vintage Dance
Dancers:
Tim Lamm
Paula Harrison
Kelly Sikorski
Ellen Hume
Paul Trageser
Jane Goode
BJ Lee
Katie Anderson
Tim Lamm, Dance Director
Washington Post (two-step), John Philip Sousa (1854–1932)
Choreography: Merrell Fuson
John Philip Sousa was born in Washington, D.C., where his father was a trombonist in the U.S. Marine Band. He became a violinist with the band, made a living in music of the theater, returned to Washington to conduct the U.S. Marine Band, and later directed a civilian touring band that brought him to world-wide prominence. Named to promote an essay contest sponsored by the famous newspaper for which it is named, this 1889 work by “The March King” became strongly identified in its day as an accompaniment to the new social dance, the “two-step.” A two-step consists of two steps in approximately the same direction onto the same foot, separated by a closing step with the other foot.
Pass the Pickles (one-step), Grace LeBoy (1890–1983)
ed. Meri Schoof
Choreography: Tim Lamm
This 1913 piano tune (incorrectly labeled a tango) was conspicuous in its day due to its being from a woman’s pen. LeBoy married songwriter Gus Hahn in 1916, and the two of them became the subject of a 1951 Danny Thomas/Doris Day film, “I’ll See You in My Dreams.” The “one-step,” or “walking step,” involves using one foot after the other—brisk walking to the beat.
Nights of Gladness (hesitation waltz), Charles Ancliffe (1880–1952)
arr. Carl F. Williams
Choreography: Tim Lamm
This 1912 composition was British army bandmaster Ancliffe’s best-known effort. It became the theme of a British radio program of the same name, and it was programmed into mechanical band organs used on carousels. Waltzes, of course, contain three beats per bar, but when performing a hesitation waltz, dancers take one step on the first beat of the bar then pause, awaiting the first beat of the next bar.
Alexander’s Ragtime Band (fox trot), Irving Berlin (1888–1989)
arr. Mayhew Lake
Choreography: Tim Lamm
Written in 1911, this song was Irvin Berlin’s first hit. “Ragtime” means in an uneven meter, or “ragged time.” This work is not actually a ragtime piece—it merely contains some syncopation. The song is an enduring American standard, suitable to accompany the flowing foxtrot due to its slower beat and elegance.
