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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.
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  • Home
  • FAQ
  • Past concerts
    • 2009–2010 >
      • October 11, 2009 >
        • December 13, 2009
        • February 14, 2010
        • April 18, 2010
    • 2010–2011 >
      • October 10, 2010
      • December 12, 2010
      • February 13, 2011
      • April 17, 2011
    • 2011–2012 >
      • October 16, 2011
      • December 4, 2011
      • February 12, 2012
      • April 16, 2012
      • June 6 & 9, 2012
      • July 3, 2012
    • 2012–2013 >
      • October 14, 2012
      • December 9, 2012
      • February 10, 2013
      • April 14, 2013
      • July 3, 2013
    • 2013–2014 >
      • October 6, 2013
      • November 10, 2013
      • February 9, 2014
      • April 13, 2014
      • July 3, 2014
    • 2014–2015 >
      • October 19, 2014
      • December 14, 2014
      • February 15, 2015
      • April 19, 2015
      • July 3, 2015
    • 2015–2016 >
      • October 18, 2015
      • December 13, 2015
      • February 7, 2016
      • April 17, 2016
      • June 3 & 4, 2016
      • July 5, 2016
    • 2016–2017 >
      • October 16, 2016
      • December 11, 2016
      • February 12, 2017
      • April 9, 2017
      • July 4, 2017
    • 2017–2018 >
      • October 15, 2017
      • December 17, 2017
      • February 11, 2018
      • April 15, 2018
    • 2018–2019 >
      • October 13, 2018
      • December 15, 2018
      • February 16, 2019
      • April 13, 2019
    • 2019–2020 >
      • October 12, 2019
      • December 4, 2019
      • February 15, 2020
    • 2021–2022
  • Musical examples
  • Friends and members
    • Friends of the MCB
    • This page is password protected
  • Contact us
  • Resources
    • How To Play Faster By Practicing Slower, In Less Time Than You Think
    • Rules for Ensemble Playing
    • Five Steps to Being a Better Band Member
    • Performance Anxiety
    • Learning to Play the Saxophone at Age 82
    • Mark Your Parts!
    • Playing for Fun
    • Tuning
    • Twelve Major Scales
    • Uneven Technique?
    • Fennell's Points for Performance
    • Article in Madison Magazine