“Journeys”
Urbandale High School Wind Symphony
Mr. Myron Peterson, conductor
Genesis *Peter Schumacher
Hymn of St. James Reber Clark
Variations on a Korean Folk Song John Barnes Chance
First Suite in E-flat Gustav Holst (March 13 concert only)
*Urbandale student
PROGRAM NOTES:
Peter Schumacher: Genesis (world premier)
(Ca. 3 minutes)
Urbandale junior, Peter Schumacher, composed this piece for the Wind Symphony, curating each part for the specific musicians in this group. With driving rhythms and excellent use of the full power of a wind symphony instrumentation, we think you’ll find Schumacher’sGenesiswill be a great way to welcome you to the Wind Symphony’s performance.
Reber Clark: A Hymn of St. James
(Ca. 6 minutes)
Des Moines, Iowa native, Reber Clark, composed A Hymn of St. Jamesbased the Episcopal hymn Let All Mortal Flesh Keep Silence (text on reverse side).
Clark writes:
“The setting depicts the words of each verse of the hymn. The melody is played in its entirety four times and is descriptive of the hymn’s four verses . . . The first time the melody is played it is descriptive of the hymn’s first verse. The strong . . . first statement is confindent and straight forward as the first verse is strong and firm in its faith. The tonal ambiguity of the second statement suggested the paradoxical, mysterious poetry of the second verse; King of kings, yet born of Mary, Lord of lords in human vesture, etc. The militaristic style of the third statement describes the host of heaven and [where] the cluster fades into an A -major chord coincides with the lyric: as the darkness clears away. The fourth, and last, statement’s attempt at a celestial quality coincides with the fourth verse’s celestial descriptions.”
Let All Mortal Flesh Keep Silence
Let all mortal flesh keep silence, and with fear and trembling stand; ponder nothing earthly-minded for with blessing in his hand Christ our God to earth descendeth, our full homage to demand.
King of kings, yet born of Mary, as of old on earth He stood, Lord of lords in human vesture, in the body and the blood he will give to all the faithful his own self for heavenly food.
Rank on rank the host of heaven spreads its vanguard on the way, as the Light of light descendeth from the realms of endless day, that the powers of hell may vanish as the darkness clears away.
At his feet the six-winged seraph; cherubim with the sleepless eye, veil their faces to the Presence as the ceaseless voice they cry, Alleluia. Alleluia. Alleluia, Lord most high.
John Barnes Chance: Variations on a Korean Folk Song
(Ca. 7 minutes)
Based on arguably the most well-known Korean folk song, Arirang, this work takes the form of a theme and variations. Although the folk song is of eastern heritage, Chance primarily uses traditional western compositional techniques of the melody throughout the five variations. The folk song itself is speculated to be anywhere from 600-1000 years old and speaks literally of a couple in love, but on opposite shores of a river, prevented from being together by the raging waters. Metaphorically, it is said this song represents the Korean feeling of “Han” which is a feeling of oppression and isolation in the face of overwhelming odds. In the opening statement of the theme, one might feel this sentiment is conveyed, while each subsequent variation covers a range of moods and feelings.