EUGENE MIGLIARO CORPORON, conductor IRVING CHORALE, guest ensemble HARRY WOOTEN, IC artistic director EUN SEO PARK, violin SETH WOLLAM, guest conductor Program Lincolnshire Posy, Percy Grainger Molly on the Shore, Percy Grainger
EUGENE MIGLIARO CORPORON, conductor
IRVING CHORALE, guest ensemble
HARRY WOOTEN, IC artistic director
EUN SEO PARK, violin
SETH WOLLAM, guest conductor
Lincolnshire Posy, Percy Grainger
Molly on the Shore, Percy Grainger
Irish Tune from County Derry, Percy Grainger
Scotch Strathspey and Reel, Percy Grainger
Children’s March: Over the Hills and Far Away, Percy Grainger
Australian Up-Country Tune, Percy Grainger
Marching Song of Democracy, Percy Grainger
Percy Grainger is the Lone Star Wind Orchestra’s focus at the Eisemann Center on Sunday, April 27, 2014 at 2:30pm. Grainger is one of the most influential composer-pianists of the 20th century, and under the direction of Music Director Eugene Corporon, the Lone Star Wind Orchestra celebrates the composer’s contributions to the wind band.
The LSWO is thrilled to have the Irving Chorale under Artistic Director Harry Wooten performing a number of works for choir and wind band including Grainger’s Marching Song of Democracy, Irish Tune from County Derry, Australian Up-Country Tune, and Children’s March: Over the Hills and Far Away. The program features the masterwork Lincolnshire Posy along with the composer’s Molly on the Shore.
Additional Concert Notes
This concert presents a rare opportunity to hear many of Percy Grainger’s works for choir and wind band, including a combined performance of the final movement of Lincolnshire Posy, “The Lost Lady Found,” and the original folksongs sung before each movement.
With the Lone Star Wind Orchestra and the Irving Chorale, this program features two TACA grant award recipients.
Guest Artist Bios
The Irving Chorale presents a full season of subscription concerts and supports choral music through performance in local schools, churches and civic organizations. The Chorale serves the community by helping to establish the City of Irving as a vital center for a wide variety of cultural experiences. The Chorale performs a variety of traditional and contemporary music, ranging from anthems and festival compositions to Broadway classics, spirituals, and folk music. The community chorus of more than 70 voices from Irving and the surrounding Dallas/Fort Worth Metroplex draws members from all professions and backgrounds.
Harry Wooten is Minister of Music & Worship at Royal Lane Baptist Church in Dallas, Texas, along with Conductor and Artistic Director of the Irving Chorale.
A native of Arkansas, Harry Wooten holds degrees from William Jewell College, Vienna International Music Conservatory, and Southwestern Baptist Theological Seminary. He has served churches in Tennessee and Alabama as Minister of Music, and appeared as guest soloist, conductor, and presenter for numerous workshops and music events. He is currently the Repertoire and Standards chair of Sacred Music for the Southwest Division of the American Choral Directors Association. In recent years, he has served as a pre-UIL guest clinician for junior high and high schools in the area. He has served on the boards for both the Dallas Chapter of Choristers Guild and the Greater Dallas Handbell Association. The Faith and Arts Foundation at Royal Lane Baptist Church, begun by Mr. Wooten, provides rehearsal and performance space at no charge to six musical groups in the Dallas area including; The Turtle Creek Chorale, Dallas Bach Society and Dallas Brass.
Harry Wooten is the recipient of the “Award of Distinction” by the National Religious Music Week Alliance, 2004. His choirs have participated in the International Church Music Festival (Coventry Cathedral 1994 and 2000 and Bern, Switzerland 1997) and the Manhattan Festival of Sacred Music. He has lead the Irving Chorale on concert tours through Italy, Ireland and Switzerland, and most recently to Barcelona, Spain to sing under the direction of celebrated conductor Craig Hella-Johnson in La Sagrada Famillia Cathedral.
Eun Seo Park, originally from South Korea, started violin at the age of seven. She served as concertmistress for many youth orchestras in places such as Arizona, Colorado, and San Diego, California. She started her Bachelor of Music in violin performance at San Diego State University with Felix Olschofka; later moved to North Texas to continue her study with Dr. Olschofka at the University of North Texas. She was a winner of ASTA-San Diego (American String Teachers Association) and winner of the San Diego Musical Merit Competition, along with awards from NPSS – second place in the solo division and grand prize in the chamber division. Eun Seo is currently pursuing her Master’s degree in violin performance and conducting at UNT.
Written and compiled by Seth Wollam
“Lads of Wamphray” March (1905/1941)
The “Lads of Wamphray” March, like its companion piece Children’s March, was ahead of its time in its demands of balance, blend, technique, and particularly tonal strength in the low reeds. Completed in 1905, it was Grainger’s earliest work for full band, but was not published until 1941. A note in the published score includes the following information: “No folksongs or other traditional tunes of any kind are used in the work, which is based on melodies and musical material written by Grainger in his setting for male chorus and orchestra or two pianos.” In this march, Grainger wished to express the devil-may-care dare-deviltry of the cattle raiding, swashbuckling English and Scottish ‘borderers’ through the thirteenth-sixteenth centuries; which was so grimly yet thrillingly portrayed in the border ballads collected and published by Scott, Motherwell, Jamieson, Johnson, Buchan, Kinloch, Swinburne, and others.
Molly on the Shore (1907/1920)
Ed. by Mark Rogers
Molly on the Shore, originally composed for strings, was a birthday gift for Grainger’s mother. He had a very close relationship with his mother, and she had the greatest influence on her son’s life. Grainger offers the following about this short dance:
“In setting Molly on the Shore, I strove to imbue the accompanying parts that made up the harmonic texture with a melodic character not too unlike that of the underlying reel tune. Melody seems to me to provide music with an initiative, whereas rhythm appears to me to exert an enslaving influence. For that reason I have tried to avoid rhythmic domination in my music — always excepting irregular rhythms, such as those of Gregorian Chant, which seem to me to make for freedom. Equally with melody I prize discordant harmony, because of the emotional and compassionate sway it exerts.”
Lincolnshire Posy (1937)
Ed. by Frederick Fennell
Lincolnshire Posy is one of the most important original works for wind band ever composed. Commissioned by the American Bandmasters Association for their 1937 national convention, the work is comprised of six movements capturing the essence of live folk recordings Grainger recorded on wax cylinder. Grainger said the following about composing Lincolnshire Posy:
“This bunch of ‘musical wildflowers’ (hence the title Lincolnshire Posy) is based on folksongs collected in Lincolnshire, England (one noted by Miss Lucy E. Broadwood; the other five noted by me, mainly in the years 1905-1906, and with the help of the phonograph), and the work is dedicated to the old folksingers who sang so sweetly to me. Indeed, each number is intended to be a kind of musical portrait of the singer who sang its underlying melody — a musical portrait of the singer’s personality no less than of his habits of song — his regular or irregular wont’s of rhythm, his preference for gaunt or ornately arabesqued delivery, his contrasts of legato and staccato, his tendency towards breadth or delicacy of tone. For these folksingers were kings and queens of song! No concert singer I have ever heard approached these rural warblers in variety of tone-quality, range of dynamics, rhythmic resourcefulness and individuality of style.”
Scotch Strathspey and Reel (1924)
Arr. by Leroy Osmon
With Scotch Strathspey and Reel, it is interesting to note how many Celtic dance tunes there are that are so alike in their harmonic schemes (however diverse they may be rhythmically and melodically) that any number of them can be played together at the same time and mingle harmoniously. Occasionally a sea-chanty will fit in perfectly with such a group of Celtic tunes. The underlying tune in the strathspey is Marquis of Huntley and in the reel The Reel of Tulloch (Thulichan). Of the other tunes employed in the strathspey a Scotch tune was quoted to Grainger by the painter Hugo Rumbold, and the Irish tunes are Nr. 983 and Nr. 319 in The Complete Petrie Collection of Irish Music, edited by Charles Villiers. The sea-chanty, entitled What Shall We Do with a Drunken Sailor?, is a top-sail halyards chanty from Mr. Charles Rosher’s fine collection, and used by his kind permission. Its text is as follows:
1st man: What shall we do with a drunken sailor? (twice)
2nd man: Put ‘im in the long-boat and let ‘im lay there,
Early in the morning.
Chorus: Way oh! and up she rises, (thrice)
Early in the morning.
Irish Tune from County Derry (1916)
Ed. by Mark Rogers
Irish Tune from County Derry is perhaps Grainger’s most well-known work for wind band. The tune was collected by Miss Jane Ross of New Town, Limavady Co. Derry (Ireland) and printed in The Petrie Collection of the Ancient Music of Ireland (1855). The following remark, by George Petrie, appears before the tune:
“For the following beautiful air I have to express my very grateful acknowledgement to Miss J. Ross, of New Town, Limavady, in the County of Londonderry–a lady who has made a large collection of the popular unpublished melodies of the county, which she has very kindly placed at my disposal, and which has added very considerably to the stock of tunes which I had previously acquired from that still very Irish county. I say still very Irish, for though it has been planted for more than two centuries by English and Scottish settlers, the old Irish race still forms the great majority of its peasant inhabitants; and there are few, if any counties in which, with less foreign admixture, the ancient melodies of the country have been so extensively preserved. The name of the tune unfortunately was not ascertained by Miss Ross, who sent it to me with the simple remark that it was ‘very old’, in the correctness of which statement I have no hesitation in expressing my perfect concurrence.”
Children’s March: Over the Hills and Far Away (1917)
Ed. by Mark Rogers
Children’s March: Over the Hills and Far Away demonstrates the influence of Grainger’s service in the U.S. Army during the First World War, where he served as a bandsman in the Coast Artillery Band. A brilliant and extravagant example of his compositional and orchestrational ability is embodied in the Children’s March: “especially written to use all the forces of the Coast Artillery Band which I was serving in 1918.” This is one of his earliest wind compositions which required a piano as an integral part of the ensemble. Even though its tunes may sound like folksongs, this is an original work for band, and some claim it bears a resemblance to Smetana’s The Moldau. This fascinating study in sonority calls for a bass oboe (a heckelphone is used for the Michigan State University Symphonic Band recording), low brass, tam-tam, tambourine, castanets, snare drum and piano string struck by a percussion mallet. Its form is so greatly extended that nothing like it is to be found in the march repertoire.
Australian Up-Country Tune (1928)
Australian Up-Country Tune is based on a tune Grainger wrote in 1905, called Up-country Song. His intent was to voice the Australian up-country feeling just as Stephen Foster had voiced American country-side feelings in his songs. Grainger offers the following description:
“This choral version was first sung at my wedding to Ella Viola Ström at the Hollywood Bowl (California), August 9, 1928, by the exquisite Smallman a Cappella Choir. In writing for voices without words, as I have done since about 1899, I have been swayed by such considerations as the following:
1. That music carries its own special message to the soul–a message that is weakened if words (with their inevitably concrete thoughts, so different from the vague, cosmic suggestions of absolute music) are set to music. Therefore, poems set to music should form only a part (though admittedly a very delightful part) of the totality of music, if music is to exert its full spiritualizing influence.
2. That it is a natural musical instinct (observable in children, living composers, native music, medieval European music, folk music, etc.) to sing on vowels, or to meaningless syllables. This habit is vocal in the extreme and it is misleading to describe such singing as ‘using the voice like an instrument.’ It should be remembered that all melodious playing on instruments (such as the opening phrase of Wagner’s Parsifal Prelude) is merely an offshoot of vocal music.
3. That experience proves that choirs develop a purer, richer and more voluminous sonority and a wider range of tonal contrasts when singing without words.”
Grainger used this same melody in his Colonial Song and The “Gum-suckers” March.
Marching Song of Democracy (1915)
Marching Song of Democracy, also a birthday gift for Grainger’s mother, was begun in 1901, but not completed until 1915. In its original form for chorus, orchestra and organ, Marching Song of Democracy had considerable success in the decade following its first performance. In 1948, however, apparently as a result of some successful performances of several of his works by the Goldman Band, Grainger decided to score the work for wind band. Several performances ensued, and G. Schirmer indicated their intention to publish it. However, publication was not forthcoming and the work remained in manuscript, virtually unknown until 1982 when the first modernized edition appeared. Grainger offered the following about the piece:
“My original plan was to write my Marching Song of Democracy for voices and whistlers only (no instruments), and have it performed by a chorus of men, women, and children singing and whistling to the rhythmic accompaniment of their tramping feet as they marched along in the open air; but a later realization of the need for instrumental color inherent in the character of the music from the first ultimately led me to score it for the concert-hall. An athletic out-of-door spirit must, however, be understood to be behind the piece from start to finish.”
(Sunday) 2:30 pm
Eisemann Center for the Performing Arts
2351 Performance Drive, Richardson, TX 75082
Lone Star Wind Orchestra