Wind Ensemble Program 2021

Department of
Music

DEPARTMENT OF MUSIC

SANTA CLARA UNIVERSITY

WIND ENSEMBLE

Anthony Rivera, music director and conductor
Katharine May, student conductor

Wednesday, June 9, 2021 | 7:00 p.m.
Virtual Performance

PROGRAM

Susato Dances Tielman Susato
arr. Masahiro Shiraiwa


La Mourisque

Gaillarde

Rondeau

Basse Dance

Presto from String Quartet Op. 18, No. 3 Ludwig van Beethoven
arr. Larry Teal


Saxophone Quartet

Echo Cui
Ezek’el Saw the Wheel Spiritual

Brass Quartet

Loch Lomond Frank Ticheli
arr. Robert J. Ambrose


Katharine May, conductor Michael Markowski
Drawing Mars

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PROGRAM NOTES

Susato Dances is comprised of four songs from volume 3 of the Dance Collection pub-
lished by Tielman Susato (c. 1500-1562) in 1551.

The Finale is a brilliant Presto. Like the first movement, it starts in one voice delicately,
without fanfare; but unlike the first movement, there is no sweetness intended here. It
is all energy, fun and games. Beethoven shows off his contrapuntal agility brilliantly,
and invites the players to show off their digital agility as best they can. Although the
music starts reasonably — quick passages that move smoothly along scales and small
leaps — the figures soon grow more disjunct and demanding, so that the instrumental
lines often have to galumph awkwardly over leaps as large as an octave, making for
goofy and humorous effects. Between its virtuosity and its scope, this last movement
becomes a culmination of sorts for the piece, seeming to outweigh the more delicate
opening movement in a reversal of roles. However this may be, Beethoven subverts
expectations one final time at the end, as the quartet closes with a teasing, quiet whis-
per.
- Misha Amory

Ticheli’s setting of the famous folksong is simple yet charming, preserving faithfully
the melody and adding interesting harmonic vocabulary. Loch Lomond tells the tale of
two Scottish soldiers who were imprisoned at Carlisle Castle in England, following the
Battle of Culloden Moor. One of the soldiers was to be executed, while the other was
to be set free. According to Celtic legend, those who died in foreign lands had their
spirits travel to their homelands through the “low road,” the route for the souls of the
departed. The song is from the point of view of the soldier to be executed, who tells
his friend “ye’ll tak’ the high road and I’ll tak’ the low road,” in effect saying that the
freed soldier will return alive, while he himself would return in spirit. He remembers his
past and the “bonnie lass” (pretty girl) he will never see again, and sadly accepts death.
- Nikk Pilato

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In 6th grade, my entire class participated in a “wax museum” history project — a
“night at the museum” at Crismon Elementary School in Mesa, Arizona. We all stood
along the perimeter in the library, in front of bookcases, with a small construction pa-
per circle on the floor in front of us. This was the “button” that, when stepped on, acti-
vated the speeches we had memorized, narrated in the voices of the historic figures we
had chosen to embody. One of us dressed as Sacajawea, another as Abraham Lincoln,
Martin Luther King, Jr., etc. My costume was a simple turtleneck sweater. Long before
Steve Jobs made turtlenecks trendy, there was Carl Sagan, and for one night, I became
him.
Before I discovered my love for music, I loved space. In my bedroom, in the
many craters of my popcorn ceiling, I stuck what must have been hundreds of tiny
glow-in-dark stars. On hot, summer nights, a swirling galaxy would appear as I also
peppered these stickers on the blades of my ceiling fan. On my desk next was a large
plastic globe of the moon and, for a short-lived time in our living room, I had even
constructed a homemade planetarium taped together from triangular pieces of heavy,
black garbage bags and inflated by a table fan. Inside, equipped with a flashlight and
a laser pointer, I talked to an imaginary audience about my favorite constellations and
the planets of our solar system as they, too, glowed on the inside ceiling of this giant,
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dark plastic bubble. In the evenings, I spent hours looking at the surface of the moon, at Mars,
at the rings of Saturn, at the moons orbiting Jupiter, at the Andromeda galaxy, at that fuzzy
little nebula near Orion’s belt, all through an 8” diameter telescope in my backyard. I even
remember trying to read a couple of Carl Sagan’s books, although in retrospect I was proba-
bly too young to really understand them. But after finding a few episodes of his show Cosmos,
a TV program that made the wonders of the universe easily digestible, I was hooked. For a 7th
grade English project, I even made a short film called Their First Encounter — my first attempt
at writing and directing science-fiction, complete with fog, strobe lights, and tin foil costumes.

Actual frame from ‘Their First Encounter’ ca. 1999.
As my obsession grew, I eventually asked my mom to drive me two hours north to
Flagstaff, Arizona where Lowell Observatory has stood at the top of Mars Hill Road for the last
100 years. Percival Lowell was born into a rich family in the mid 1800s, studied math at Har-
vard, travelled the world, but soon realized that the universe was calling to him. Out of his own
pocket, he funded his own observatory.
Lowell was obsessed with the planet Mars. His colleague in Italy, a guy by the name of
Giovanni Schiaparellli, had discovered strange lines all across the planet — lines that, in Ital-
ian, he called ‘canali’ (not to be confused with cannoli). In Italian, canali roughly translates to
‘channellike landscapes’— like a riverbed — something naturally made — no big deal. But when
Lowell translated the word, he called them ‘canals,’ which have a very different connotation.
When we think of canals, as Lowell did, we probably think of something man-made, something
that has been constructed with purpose and intention.
Lowell wanted to study these canals for himself, so night after night, he would look
through his telescope up at Mars, then down at a piece of paper and draw the surface of the
planet as he saw it. He did this for months and eventually developed a theory: he believed that
Mars was a dying planet — that it was drying up — and in order to save their civilization, some
kind of intelligent beings had constructed this incredible system of canals — some 30 miles
wide — in an attempt to siphon melting water from the polar ice caps and funnel them down to

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the major metropolitan areas, the darker areas on the planet which he called oases.
The crazy thing about all this is that people believed him! Actually, there was really no
reason to doubt him. He was well-educated, he had the best technology available for the times
and one of the biggest telescopes in the world. He wrote three really convincing books argu-
ing this theory, and in 1905, even The New York Times ran a full page article under the headline
“THERE IS LIFE ON THE PLANET MARS: Prof. Percival Lowell, recognized as the greatest au-
thority on the subject, declares there can be no doubt that living beings inhabit our neighbor
world.” In fact, it would take another 50 years for scientists to get close enough to Mars to see
in better detail that oh... there aren’t actually any Martian-made canals after all. Although we
now know that the canals that Lowell saw were largely psychological tricks, his observations
captured the imagination of the world and has even appeared to inspire early 20th century
science-fiction like H.G. Welles’ War of the Worlds and Edgar Rice Bourroughs’s many Mars-in-
spired books.
I don’t think the music in Drawing Mars tells a story about aliens invading Earth or of
“first contact” or anything like that, but I do think it tries to get inside Lowell’s head as he looks
through his telescope, night after night, in the dark, all alone, as his mind maybe starts to wan-
der... and wonder... woah, what if I’m right? What if there is life on Mars?
Of course, we now know that Lowell’s imagination maybe got the best of him, but
as Einstein said, “imagination is more important than knowledge. For knowledge is limited,
whereas imagination embraces the entire world, stimulating progress, giving birth to evolu-
tion.”

- Michael Markowski
6 Drawings of “Martian Canals” by Percival Lowell.

SANTA CLARA UNIVERSITY
WIND ENSEMBLE AND PEP BAND

FLUTE
Miguel Menchaca

OBOE
Eugénie Bramley

CLARINET
Sergio Camacho

Sarah Chue
Anna Fischer
BASS CLARINET
Ryan Masli
BASSOON
Sam Troxell
ALTO SAXOPHONE
Mireille Martinez
TENOR SAXOPHONE
Johnny Hsieh
BARITONE SAXOPHONE

Alex Quan
TRUMPET
Katharine May
Jared Shimada
TROMBONE
Gabe Rodkey

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DEPARTMENT OF MUSIC

Department Chair SCLOrk (Laptop Orchestra): Vocal Studies
Bruno Ruviaro Bruno Ruviaro Leroy Kromm, Bass-Baritone
Music Theory Scot Hanna-Weir, Baritone
John Kennedy Music Theatre Workshop: Debra Lambert, Mezzo-Soprano
Nancy Wait-Kromm Jenny Matteucci, Soprano
Teresa McCollough Aimée Puentes, Soprano
Anthony Rivera Wind Ensemble: Michele Rivard, Mezzo-Soprano
Bruno Ruviaro Anthony Rivera Nancy Wait-Kromm, Soprano
Musicianship
William Stevens World Music Ensemble: Strings
Composition Ray Furuta Motoko Toba, Violin
Vivian Fung Alexandra Leem, Viola
John Kennedy Conducting Frederic Rosselet, Cello
Bruno Ruviaro Scot Hanna-Weir Karen Thielen, Harp
Music History
Scot Hanna-Weir John Kennedy Jazz Studies
John Kennedy Anthony Rivera Kristin Strom, Saxophone
Anthony Rivera Carl Schultz, Saxophone
Woodwinds Richard Roper, Trumpet
Nancy Wait-Kromm Ray Furuta, Flute
Ethnomusicology Adrienne Malley, Oboe Jon Dryden, Piano
Ginger Kroft, Clarinet William Stevens, Piano
Ray Furuta Shawn Jones, Bassoon
Christina Zanfagna Anthony Rivera, Saxophone Bill Cefalu, Guitar
Performing Ensembles Jim Witzel, Guitar
Chamber Singers and Brass Daniel Robbins, Jazz Bass
Richard Roper, Trumpet Recording Engineering
Concert Choir: Leslie Hart, French Horn
Scot Hanna-Weir Jeff Hanson
Jazz Ensemble and Tony Clements, Robin Whitehouse
Euphonium and Tuba Staff Accompanist
Jazz Combos: Dan Cromeenes
Carl Schultz Percussion
Orchestra and John Kennedy Nicolas Dold
New Music Ensemble: Daniel Lockert
John Kennedy Frank Wyant Elizabeth Neff
Piano Department Manager
Katie Williams
Hans Boepple
Nicholas Dold
Teresa McCollough

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DEPARTMENT OF MUSIC DONORS

PRESIDENT’S CIRCLE ASSOCIATE DONOR
THE ARGOSY FOUNDATION BRENT IZUTSU GIOVANNI CASTILLO
JANET MURPHY
DR. LEE & FRIEND
MRS. KAY GREENWALD SPONSOR CHRISTINA ANDRADE
MRS. BEA KUTEMAN HARRIS IVY DEPNER RAVISHANKAR BHASKARAN
MR. AND MRS THOMAS E. LANCTOT NORMAN DITTMANN
HAUNANI NAKABARA MARY AND JOHN DOYLE DOLORES BRAVO
SUSAN KOMETANI GREGORY HECATHORN
BENEFACTOR ROBERT LOWERY
BRYN AND HANS BOEPPLE PAMELA ALLSTON MADDEN TRESE NINO
KATHY MATTINGLY DOUG PICKERING
ANTHONY RAYMOND
DOROTHY SHOUP

SCU•PRESENTS DONORS 2020-2021

PRESIDENT’S CIRCLE LAUREN JOHN JUDY BOCCIGNONE JOEY KIPP
MELANIE BRACE JANET KLEINHOFER ALINA BORCHARDT DAVE LAND
SPONSOR BETTE LINDERMAN LAURA LENZA
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JENN PORET OCTAVIO DE LEON CARL MIYA
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ANN KRYS ANNA RUTTER JACK DUBIN LAN NGUYEN
JOHN LEWIS ANTHONY SAMPSON ERIC EKLUND RONALD OGI
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CRAIG NAIRN LESLIE STOBBE GREGORY GALATI WILLIAM SANTOS
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