Claude T. Smith (1932-1987)
Emperata Overture (1964)
Yukiko Nishimura (b.1967)
Ancient Flower (2013)
Howard Shore (b.1946) arr. Victor Lopez
Symphonic Suite from 'The Lord of the Rings: The Fellowship of the Ring' (2001)
Frank Ticheli (b.1958)
Samuel R. Hazo (b.1996)
Gustav Holst (1874-1934)
First Suite in E-flat for Military Band (1909)
Kristina Hutchinson (b.1998)
World Premiere Performance
Eric Whitacre (b.1970)
Emperata Overture was Claude Smith’s first composition, published in 1964. Over the ensuing years it has become the standard of comparison in wind band literature. It opens with a fanfare-like statement by the brass section accompanied by percussion in the background. The main theme is then stated by the clarinets with a rhythmic brass background in 4/4 meter, but occasionally a 7/8 meter separates phrases. The middle section presents a lyrical statement of a new theme by a flute soloist followed by reiterations of the theme in various sections of the band as well as by the full band. The ending is highlighted by a change of key and a restatement of themes, making a very exciting finish.
© Wingert-Jones Publications
An Asian atmosphere is created by the floating melodies of this exotic piece. In the opening, a long, sensitive and mysterious melodic line emerges, supported by Western-style harmonies. Just as a dainty flower slowly opens, this expressive music blossoms into a work of delicate beauty. Whatever you imagine, the flower will bloom in your way in this piece.
© Yukiko Nishimura
Composer Howard Shore brings J.R.R. Tolkien’s literary imagination to vivid life with his Academy®- and Grammy® Award-winning score to The Lord of the Rings: The Fellowship of the Ring. Shore’s music expresses Peter Jackson’s film as an immense symphonic work—a uniquely developed vision drawn from centuries of stylistic tendencies. The music of The Lord of the Rings is counted among film music’s most complex and comprehensive works. Shore’s score not only captures Fellowship’s sweeping emotion, thrilling vistas and grand journeys, but also echoes the very construction of Tolkien’s Middle-earth. Styles, instruments and performers collected from around the world provide each of Tolkien’s cultures with a unique musical imprint. In operatic fashion, these musical worlds commingle, sometimes combining forces for a culminated power, other times violently clashing…and always bending to the will of the One Ring and its own ominous family of themes.
With energy and excitement, Victor Lopez has scored a dramatic collage of the tunes from Howard Shore’s award-winning film score. The beautiful In Dreams melody is enhanced with a variety of the forceful themes. Relive the passion of the film with this spectacular arrangement.
Prologue – The Black Rider – Concerning Hobbits – Bilbo – The Departure of Boromir – At The Sign Of The Prancing Pony – The Fellowship Theme – In Dreams – Three Is Company
© Doug Adams
Frank Ticheli –
In my setting of Shenandoah I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less concerned with the sound of a rolling river than with its life-affirming energy — its timelessness. Sometimes the accompaniment flows quietly under the melody; other times it breathes alongside it. The work’s mood ranges from quiet reflection, through growing optimism, to profound exaltation.
Ride was written as a gesture of appreciation for all of the kind things Jack Stamp has done for me; ranging from his unwavering friendship to his heartfelt advice on composition and subjects beyond. During the years 2001 & 2002, some wonderful things began to happen with my compositions that were unparalleled to any professional good fortune I had previously experienced. The common thread in all of these things was Jack Stamp. I began to receive calls from all over the country, inquiring about my music, and when I traced back the steps of how someone so far away could know of my (then) unpublished works, all paths led to either reading sessions Jack had conducted, or recommendations he made to band directors about new pieces for wind band. The noblest thing about him was that he never let me reciprocate in any way, not even allowing me to buy him dessert after a concert. All he would ever say is, “just keep sending us music,” which I could only take as the privilege it was, as well as an opportunity to give something back that was truly unique.
In late April of 2002, Jack had invited me to take part in a composer’s forum he had organized for his students at Indiana University of Pennsylvania. I was to present alongside Joseph Wilcox Jenkins, Mark Camphouse, Bruce Yurko and Aldo Forte. This forum was affectionately referred to in my house as “four famous guys and you.” It was such a creatively charged event, that everyone who took part was still talking about it months after it happened. Following the first day of the forum, Jack invited all of the composers to his house, where his wife Lori had prepared an incredible gourmet dinner. Since I didn’t know how to get to Jack’s house (a/k/a Gavorkna House) from the university, he told me to follow him. So he and his passenger, Mark Camphouse, began the fifteen minute drive with me behind them. The combination of such an invigorating day as well as my trying to follow Jack at the top speed a country road can be driven, is what wrote this piece in my head in the time it took to get from the IUP campus to the Stamp residence. Ride was written and titled for that exact moment in my life when Jack Stamp’s generosity and lead foot were as equal in their inspiration as the beautiful Indiana, PA country side blurring past my car window.
© Samuel R. Hazo
The First Suite in E-flat by Gustav Holst is widely regarded as one of the cornerstone masterworks in the wind band repertoire. Written in 1909, it is one of the few band originals that have been transcribed for symphony orchestras. Various instruments repeat the opening theme, the Chaconne incessantly as others weave filigrees about the theme. In the middle of the movement the principal theme is inverted for several repetitions. The Intermezzo is based on a variation of the Chaconne theme, presented first in an agitated style, then in a cantabile mood, the two styles alternating throughout the movement. The two themes of the March, one dynamic and the other lyric, are also taken from the Chaconne theme, the first being something of an inversion, whereas the lyric theme is “right-side up”. Eventually the two are combined in a thrilling counterpoint leading to the ending.
© Palatine Concert Band
Sleep began its life as an acapella choral setting, with a magnificent original poem by Charles Anthony Silvestri. The chorale-like nature and warm harmonies seemed to call out for the simple and plaintive sound of winds, and I thought that it might make a gorgeous addition to the wind symphony repertoire. Sleep can be performed as a work for a band, or band and chorus.
© Eric Whitacre
Whirlwind was composed to experiment with movement of sound. In three sections of the piece, sound moves from the edge of the flutes through the orchestra eventually reaching the edge of the clarinets and then back again. This happens with various sounds and at different speeds. The first time this is heard, it is with breath tones and key clicks. As this process speeds up, the ending result sounds like a whirlwind. Eventually, many instruments play in unison creating a climactic soundscape which slowly disperses into a more melodic section. Later in the piece, this movement of sound happens again with a melodic motif and finally with fast runs. The rest of the piece is based around this concept of the whirlwind, with melodies moving in and out to suit, and a featured main melodic motif that is derived from the previous sounds. As well as relating to sounds of whirlwinds, this piece took the metaphorical compositional approach of considering it to be a jigsaw. Many small motifs and ideas scattered throughout the piece eventually build up and connect in order to create the larger concepts. Written for the Sydney University Wind Orchestra, this piece adds interest through experimentation, while also featuring motifs and melodies that are fun to play.
© Kristina Hutchinson
Thaddeus Kosciuszko was an outstanding military commander and strategist who fought for freedom not only in his native Poland against the Russians in the late 18th Century, but also in his adopted America during the War of Independence. To this day he is considered a Polish national hero and the fondness for which he is held in the United States is evident in Mississippi’s city and Indiana’s county that share his name. In 1840 Paul Strezlecki, the Polish-born explorer who first climbed the Australia Alps named its highest peak, Mount Kosciuszko.
This composition reflects three aspects of the life of Kosciuszko. After some plaintive themes reminiscent of Polish folk tunes, the first section represents Kosciuszko’s battle for freedom in his native homeland against the Russians and Prussians. The music reflects the chaos of war and the clash of tonality helps to represent the mayhem of battle. Kosciuszko led his troops to numerous victories during this campaign and there are moments in the score where uplifting major tonalities represent the joy of victory. Unfortunately for Kosciuszko he was seriously wounded towards the end of the war and was held prisoner by the Russians. His release was conditional on him not returning to his homeland, Poland. The solemn and mournful solo off-stage trumpet call at the end of the first section reflects both the tragedy of war and the circumstances faced by Kosciuszko at the end of this campaign.
The second section of the work represents Kosciuszko’s American experience. The music is open, free and hopeful, representing the ‘New World’. Kosciuszko served with distinction in Washington’s army and was instrumental in the success of many battles including the blockade of Charleston and the victory at Saratoga. As he was in Poland, Kosciuszko was a tireless defender of freedom in America and he used his military knowledge and skills to fight oppression.
The final section of the work is a ‘climb to the summit’ making direct reference to the journey undertaken by thousands of tourists each year when they endeavour to climb Australia’s highest peak. The music gradually intensifies as the journey nears its end and there is an explosion of joy and exhilaration as the summit is reached. While this section refers directly to Australia’s Mount Kosciuszko, the themes of struggle, striving and toil could easily represent the life of Thaddeus Kosciuszko and his endless dedication to the fight for human liberty and freedom.
© Brendan Collins
Sydney University Wind Orchestra
The Sydney University Wind Orchestra is an award winning symphonic wind orchestra that performs a wide repertoire, specialising in modern wind band music from the late 20th and 21st centuries. The band is very active, giving regular concerts, collaborating with other musical ensembles and holding a training camp each year.
SUWO prides itself on its musical excellence, but also on its friendly, social environment. Winner of “Best Small Club” for 5 continuous years from 2006-2010, shortlisted for the Dave Burnett Award for Best Club with 100+ members in 2013 and 2014 and winner of “Best Website” in 2012 and 2013. Our musicians enjoy many fun filled social events, from dinner gatherings, to bowling, Bunnings BBQs fundraising days and musical outings.
President – Lauren Vickery
Vice President – Katrina Wu
Treasurer – Emily Dirckze
Secretary – Emma Koch
Publicity Officer – Sam Cheng
Librarian – Andrew Wu
IT Officer – Georgia Harrington
Equipment Manager – Rebekah Bradshaw
General Executives – Holly Lockhart and Mitchell Togher