Celebrations! 05•18•2025
Program
Music shapes our emotions, lifts our spirits, and creates moments of beauty and exhilaration. This afternoon’s concert takes us on a journey through the many facets of celebrations—from jubilance to reflection, from communal festivity to personal joy. Through each piece, we explore how music enhances life’s great occasions and gives voice to our most heartfelt emotions.
Celebrations, by John Zdechlik (1937–2020)
Our concert opens with Celebrations, a work that honors a milestone and a lifelong friendship. In 1988, the Medalist Concert Band commissioned this piece to mark its 20th anniversary under founding director Earl C. Benson. Composer John Zdechlik responded with a piece full of rhythmic energy and lyrical style. Today, as Medalist approaches its 60th anniversary, Celebrations continues to serve as a musical tribute to the band’s legacy.
The roots of this music go deeper than a single commission. Zdechlik and Benson first met as freshmen at the University of Minnesota. Both were trumpet players and music majors, although Benson focused on music education and Zdechlik on composition. Both were members of Phi Mu Alpha Sinfonia, where Benson was president and Zdechlik served—humorously—as the “Voice of Doubt.” Their lifelong friendship sparked over a shared love of music and resulted in many collaborations over the years. Celebrations captures the essence of a significant occasion, whether a festival, a new chapter, or the
joy of collaboration between old friends.
St. Florian Chorale, by Thomas Doss (b. 1966)
St. Florian Chorale, by Austrian composer Thomas Doss, is named for the patron saint of firefighters and protector against disasters. The St. Florian Monastery has long been a spiritual and cultural landmark in Austria—and was home to composer Anton Bruckner, who lived, worked, and is buried there. Dedicated in memoriam to Bruckner, this piece reflects the sacred character and emotional depth that marked his work.
A graduate of the University of Music and Performing Arts Vienna, Doss blends classical roots with contemporary flair. From its opening measures, the music invites us into a space of quiet strength. St. Florian Chorale rises gradually, like a cathedral built in sound—celebrating the musical and spiritual legacy of the monastery that shaped Bruckner’s life and inspired Doss’s tribute.
Chorale and Alleluia, by Howard Hanson (1896–1981)
One of the leading American composers of the 20th century, Hanson was deeply influenced by the lyrical styles of Romantic music. This influence is evident in Chorale and Alleluia, where rich harmonies and expansive phrases create an emotional depth that speaks to both sacred tradition and joyful celebration. Composed in 1954, the piece is one of Hanson’s rare works for the wind band, yet it carries the same expressive intensity found in his symphonic compositions.
Chorale and Alleluia begins with a stately chorale that feels almost meditative, a moment of quiet strength and contemplation. Soon, a transformation takes place—the music bursts forth in a jubilant “Alleluia,” soaring with energy. The interplay between the chorale and the joyful “Alleluia” shows how music can uplift through contrast—balancing inward calm with outward joy.
Tuba Concerto | Movement I: Allegro deciso, by Edward Gregson (b. 1945)
This afternoon we celebrate not only music but emerging talent. Ryan Vecchio, a junior at Edina High School and winner of the 2025 Earl C. Benson Concerto Competition, takes the stage in Edward Gregson’s Tuba Concerto.
Composed in 1976, Tuba Concerto helped redefine the tuba as a powerful and expressive solo instrument. Edward Gregson, a British composer known for his contributions to the concert and film worlds, has written extensively for orchestra, chamber ensembles, and especially brass and wind bands.
The first movement, Allegro deciso, opens with confidence and drive, challenging the soloist with quick leaps, shifting moods, and moments of lyrical beauty. Gregson’s skillful writing allows the tuba to sing, dance, and lead—far from its traditional role in the background.
Seldom heard in concert, this concerto marks a milestone for the tuba and a thrilling showcase for any performer. We celebrate Ryan not only for taking on such a demanding piece but for bringing his own artistry to the stage. This performance is a celebration of talent, growth, and the joy of letting a new voice shine.
Ryan Vecchio, Tuba Soloist
2025 Winner of the Earl C. Benson Concerto Competition
Intermission
Fiesta, by Philip Sparke (b. 1951)
Fiesta is an energetic composition by British composer Philip Sparke, written as a showpiece for wind band. Commissioned for the 50th anniversary of the United States Army Field Band, the piece was inspired by the spirit of Latin American festivals. With its strong rhythms and alternating intensity, Fiesta captures the feeling of a public celebration—busy, colorful, and full of movement.
Sparke is internationally known for his contributions to wind, brass, and concert band music. A graduate of the Royal College of Music in London, he is recognized for writing music that combines rhythmic drive with clear melodic ideas.
In Fiesta, Sparke uses bold brass, lively woodwinds, and active percussion to create a sense of energy and momentum. Short sections of calm offer a contrast, like a pause in the middle of a parade, before the music builds again. The piece moves quickly and confidently, ending with a strong finish that showcases the power and precision of the band.
With Heart and Voice, by David Gillingham (b. 1947)
Like Celebrations, Gillingham’s With Heart and Voice was born from a milestone commission—the 25th anniversary of Apple Valley High School in Minnesota. David Gillingham, a former Army band percussionist and Vietnam veteran, draws on the school’s Alma Mater, based on Come, Christians, Join to Sing, crafting a work filled with energetic percussion and intricate rhythms.
Known for his expressive and technically sophisticated works for wind band, Gillingham’s With Heart and Voice moves from quiet devotion to energetic counterpoint and a triumphant hymn setting. It echoes the journey of any growing community, shaped by perseverance, memory, and the steady layering of effort over time.
Andrew Richter, Guest Conductor
Prelude and Fugue in G Minor, by Johann Sebastian Bach (1685–1750) (trans. R. L. Moehlmann)
The Prelude and Fugue in G Minor was written nearly 300 years ago, one of over 250 works Johann Sebastian Bach composed over his lifetime for the organ. As a church musician for most of his life, he played, maintained, and even evaluated organs across Germany.
Even if you don’t know it, you’ve probably heard something by Bach. His music shows up everywhere: in movies, commercials, weddings, and in lessons for beginning musicians. Bach’s deep understanding of the organ helped shape his genius for writing music that seems simple but is rich with complexity—each line crafted with clarity, intention, and emotional depth. These qualities have allowed his music to thrive across centuries and ensembles. This transcription by R. L. Moehlmann adapts the piece for concert band, capturing the grandeur of the organ while adding new color and texture through winds and brass.
While much of today’s program focuses on modern expressions of celebration, this piece reminds us that great music is timeless. Bach wasn’t writing for a parade or a ceremony—he was simply pursuing musical truth. In doing so, he created something that still inspires, centuries later, and speaks to the enduring joy of artistic mastery.
Galop, by Dmitri Shostakovich (1906–1975) (arr. Donald Hunsberger)
Our concert concludes with Galop, a whirlwind of exuberance and excitement. Originally composed by Dmitri Shostakovich as part of his operetta Moscow, Cheryomushki, this piece captures the composer’s signature wit and playful charm.
A galop, named for its resemblance to a horse’s gallop, charges ahead at breakneck speed. Donald Hunsberger’s arrangement preserves Shostakovich’s mischievous energy while showcasing the brilliance of the modern wind ensemble. With blaring brass, driving percussion, and rapid-fire woodwind runs, this piece builds momentum like a musical rollercoaster. True to its dance origins, the Galop sends us off at full speed—a fitting finale for an evening that celebrates the full range of human emotion, from introspective to exuberant. Hold on and enjoy the ride!
Program notes by Sue Hinton
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