Professional Documents
Culture Documents
The Indian Prairie School District music program thanks the Indian Prairie Educational
Foundation for their continual, generous support of the arts.
Chamber Strings
&
Symphony Orchestra
Daryl Silberman, Director
Varsity Chamber
Wind Ensemble
MISSION STATEMENT
Music is universal, cultural, and individual. It is with this understanding that
the Music Department of Waubonsie Valley High School provides every student with the
opportunity to receive a high-quality musical training in school, regardless of grade level,
performance level, or background. The goal of this musical training is to help participants
achieve a personal level of understanding, appreciation, and passion for music.
It is undeniable that music has always been an integral part of human existence.
Every culture throughout history carries its own musical traditions. In our culturally
diverse society, music is one of the few common threads that links peoples and ideas
together. Music education uses the artistic medium of musical sound to give insight into
the universal human experience.
Departmental Goals:
Family
Arturo & Yolanda Acevedo
Ajmera Family
Nily Anlar
Randy & Cindy Becker
James & Lisa Beier
Chris & Mary BenVau
The Benziger Family
Tushar & Jaya Bhawtankar
Ray & Carol Bishop Family
Mark & Sue Boozell
The Born Family
The Brunelle Family
John & Lorena Burns
Carey Family
The Cassidy Family
The Chappell Family
Chari
Anjani Chintalapudi
Calvin Chu & Family
Cordes Family
Mary & Alexandra Coutee
The Diefenderfer Family
The Ditzel Family
Ken & Raynah DSouza
The Ehlert Family
Brian & Theresa Feeney
Dan & Ellen Filipek
Flori Family
The Fowler Family
The Fox Family
The Gervais Family
The Gorshe Family
The Guerrieri Family
Anonymous (2014)
Anonymous (2018)
Mabel Pagay (2017)
Leo & Dorette Rich (2018)
Monica A. Toth
Chris & Jacquie Williams
Jennifer Vickers (2014)
Alumni
Nicholas Brunelle (2014)
Karthik Devarakonda
Oksana Kochergin
Coda:
Our most noble goals are set in the context of awakening all children to the gift of
music and equipping them to use it for a lifetime.
Marie McCarthy
MUSIC PATRONS
PROGRAM
VARSITY CHAMBER
Mark Myers, Director
Warrior
The Bentson Family
John & Adina Bishop
Larry & Peggy Boik
The Bonaguro Family
BP Fabric of America Fund
Gary & Kelly Breuer
Jasendu & Soma Chakraborty
Rob & Robin Church
Dave & Barb Crane
Kurt & Jeanne Daill
Panuganti Family
Kim & Patricia Reed
Hans & Claudia Schmidt
The Schmitt Family
Robb & Kim Powell
The Truckenbrod Family
George & Nancy Vickers
Anonymous
SYMPHONY ORCHESTRA
Daryl Silberman, Director
Prelude to Act III of Lohengrin
Gold
Mark & Michal Baker
Anshuman & Priya Balekai
Balentine Family
Jesse & Carlota Bautista
Bender Family
The Born Family
The Braver Bunch
Cabrera Family
The Chimniak Family
Sharron Church
The Cole Family
The Conrath Family
Ganiyu Ademola Dada
& Bolanle Dada
Mike & Amy Dantzer
Liz Dieter
Fernandez Family
Dr. & Mrs. Paul Goldberg
The Gruman Family
The Haber Family
CHAMBER STRINGS
Daryl Silberman, Director
Rounds for String Orchestra
I. Allegro, molto vivace
II. Adagio
III. Allegro, vigoroso
David Diamond
WIND ENSEMBLE
Mark Duker, Director
Fanfare for a New Era
Lincoln Portrait
Green
Ahuja Family
Sandy Balan
The Biswas Family
Chovancak Family
Kerry & Thomas Crumpton
Damore Family
Reena Devadas
Peter & Karen Dix Family
The Elenbaas Family
Esch Family
The Forman Family
The Gravel Family
Gusse Family
Diana & Dave Houck
Richard Wagner
Jack Stamp
Aaron Copland, trans. Beeler
William Jastrow, narrator
Ira Hearshen
John Philip Sousa
Upcoming Events
PROGRAM NOTES
Kyrie from Petite Messe Solenelle
Gioachino Rossini
The Kyrie is the first movement of Gioachino Rossinis Petite Messe Solenelle. Rossini
composed the Mass in 1863 and dedicated it to Countess Louise Pillet-Will. The constant
extreme dynamic and harmonic shifts throughout are very representative of the Romantic
era in music.
Kyrie eleison
Christe eleison
Kyrie eleison
Earth Song
Frank Ticheli
Earth Song is one of only a few works that I have composed without a commission. Instead,
it sprang out of a personal need during a time when so many in this country, include myself,
were growing disillusioned with the war in Iraq. I felt a strong impulse to create something
that would express my own personal longing for peace.
It was this longing which engendered the poems creation. Normally, I would spend
countless hours, weeks, perhaps months, searching for the perfect poem to set. But in
this case, I knew I had to write the poem myself, partly because it is not just a poem, but
a prayer, a plea, a wisha bid to find inner peace in a world that seems eternally bent on
war and hatred.
But also, the poem is a steadfast declaration of the power of music to heal. In the end, the
speaker in the poem discovers that, through music, he is the embodiment of hope, peace,
the song within the Song. Perhaps music has the power not only to nurture inner peace,
but also to open hearts and ears in a world that desperately needs love and listening.
-Frank Ticheli, composer and lyricist
Peze Kaf
Traditional Haitian, arr. Sten Kllman
Creole is a mixture of French, Spanish, English, and West African languages. There are
many variations worldwide wholly different languages in different countries still
referred to as Creole. Haitian Creole has a strong French influence that stems from Haitis
French colonial history. Haitian coffee is serious, and so is the rich culture surrounding it.
Embodying this culture is Peze Kaf, a popular folk-song known by all, even children.
The song tells the story of a child sent to weigh, or buy, coffee for his family. On his
return home, he gets arrested. As they carry him and his coffee away, he wails What
am I going to do? What will I tell my mother about the coffee? He is more concerned
about the coffee than the arrest. This simple traditional folk song is set here by Swedish
composer Sten Kllman, who focuses on arrangements of music from Scandinavia, Haiti,
and the Middle East.
Manman m voye m peze kaf o
An arivan mwen sou potay
men youn jandam arte m
Woy sa ma di lakay
l m arrive mezanmi
MANY THANKS
to
Dr. Ramona Wis & Ken Hannah
North Central College
WVHS Music Patrons & Auditorium Staff
VARSITY CHAMBER
Sarah Anas ^
Adam Boik
Patrick Bolger
Joel Braver ^
James Bright ^
Ethan Burck ^
Vincent Cornelius
Samuel Courtney ^
Julia Ehlert ^
Rhealee Fernandez
Ronnalee Fernandez ^
Julia Gusse
Shelby Herr
Mihika Iyer
Ramya Jaishankar ^
Nitin Jaison ^
Lauren Lee
Joshua Mikaili
Madeline Mitchell
Austin Nelson
Ian Nolan
Asura Osborne
Kendall Parchman
Kelley Powell
Kara Sims
Katelyn Stack
Brandon Stalling
Varsha Subrahmanyam ^
Hannah Thompson ^
Macie Trosien
Serena Upadhyay ^
CHAMBER STRINGS
VIOLIN
Calvin Chu
Kirsten Deguzman
Katie Gruman
Kevin Huang
Deepika Khanna
Sarah Lu ^
Anjeli Manam
Josie Moy
Anjana Narasimhan ^
Sherin Pradeep
Andrew Reed ^
Rajath Salegame ^
VIOLIN cont.
Mary Sliva ^
YeJun Kim
VIOLA
Crystal Acevedo
Raajesh Arunachalam
Nicolet Chovancak
Ochi Samarakoon ^
Jose Santillan
Sabrina Tiangco
CELLO
Ben Gruman ^
Jessica Kim ^
Maddie Mitchell
Elliott Myong
BASS
Cedrick Chan
Zach Houck
Richie Puls
WIND ENSEMBLE
FLUTE
Becky Breuer (piccolo) #
Kellie Crumpton #
Kelley Powell #
Namita Shenoy
SAXOPHONE
Nate Jones (baritone)
Sean Keys (tenor)
Rushil Shukla (alto)
Ashwath Srinivas (alto)
OBOE
Julianna Dantzer #
Grace Leafblad #
TRUMPET
Sagar Biswas ^#
Tyler Born #
Sohum Buch
Adam Krusic #
Riley Miller
BASSOON
Jill Elkins #
Ethan Roberts #
CLARINET
Altun Anlar #
Stephanie DSouza
Lauren Goldberg
Anvita Hariharan #
Michael Johnson ^#
Megan Meyer
Jaina Siemienkowicz
Sarah Van Howe
Leah Williams (bass)
FRENCH HORN
Ethan Burck #
Asha Koritala #
Jack McCammon #
Chris Vitro #
TROMBONE
Michael Baker ^#
Matt Koberstine #
Jake Truckenbrod #
EUPHONIUM
Kyle Balentine
Sthitadhi Chakraborty
TUBA
Jonathan Bonaguro #
Brian Smith
PERCUSSION
Michael Crane #
Matthew DeMaso #
Adam Dix
Anna Holbrook #
Christian Smith
Shalom!
Traditional Jewish Folksongs, arr. Elio Bucky
Shalom! is a contemporary setting of two traditional Jewish folksongs (Shalom Chaverim
and Hevenu Shalom Aleichem) by Elio Bucky. It was one of only two winning
compositions in the 2014 Chanticleer Student Composer Competition, and Varsity Chamber
will be performing it again at the end of March as a part of the Chanticleer National Youth
Choral Festival at Davies Symphony Hall in San Francisco.
Shalom chaverim
Hevenu shalom aleichem
Peace friends
We brought peace unto you
^ - ILMEA All-State
# - Symphony Orchestra
The work derives its framework from the opening trumpet motif. The motif is expanded
and developed through a variety of musical techniques including chorale, fugue, augmentation, polychordal techniques, and minimalism.
Lincoln Portrait
Aaron Copland
Aaron Copland was the quintessential American composer of the 20th century. Beloved
by both critics and audiences alike, his music envokes nationalistic imagery and pride
like no other. It is not surprising that in 1942 he was one of three composers commissioned by New York Philharmonic conductor Andre Kostelanetz to write three pieces that
would have a correlated idea in that they are to represent a musical portrait gallery of
great Americans. Initial suggestions included George Washington, Paul Revere, Walt
Whitman, Robert Fulton, Henry Ford, and Babe Ruth. Copland eventually turned to
Abraham Lincoln as his subject.
Writing for the program book of the Boston Symphony Orchestra in 1943, Mr. Copland
explained his procedure:
I began this piece by taking the trio theme from the march, The Thunderer, slowing
it down to a tempo of 48 beats per minute and casting it in the style of the Finale of
Mahlers Third Symphony.
The letters and speeches of Lincoln supplied the text. It was comparatively a simple matter to choose a few excerpts that seemed particularly apposite (related) to our own situation today. I avoided the temptation to use only well-known passages, permitting myself
the luxury of quoting only once from a world-famous speech ...
From the audience reaction to the first performance of (after) The Thunderer, I knew I
was involved with something unusual in the realm of band music. The weight of the
piece and its 8-minute performance time meant that the idea of a light concert suite of 4
to 6 movements as originally commissioned was out of the question. It was at this time I
realized that I had the beginning of a full-scale symphony in both length and depth.
I worked with musical materials of my own, with the exception of two songs of the period: the famous Camptown Races and a ballad that was first published in 1840 under
the title The Pesky Serpent but is better known today as Springfield Mountain. In
neither case is the treatment a literal one. The tunes are used freely, in the manner of my
use of cowboy songs in Billy the Kid.
The composition is roughly divided into three sections. In the opening section I wanted
to suggest something of the mysterious sense of fatality that surrounds Lincolns personality. Also, near the end of that section, something of his gentleness and simplicity of
spirit. The quick middle section briefly sketches in the background of the times he lived
in. This merges into the concluding section where my sole purpose was to draw a simple
but impressive frame about the words of Lincoln himself.
Sousas melodies are all strong and of a wide variety of architectural styles. They range
from complex (Hands Across the Sea), to simple (Washington Post), and all are stirring,
intense, and above all, really fun to listen to. This is what makes Sousas music classic.
I hope listeners have as much of an adventure listening to this as I did putting it together.
For more than half a century, Coplands musical setting of Lincolns words have been an
important part of musical and American history. He was somehow able to capture the
gravity and triumph of the events that eventually led to the passage of the 13th Amendment to the U.S. Constitution, which abolished slavery.
The Thunderer
John Philip Sousa
The Thunderer was Mrs. John Philip Sousas favorite march. This was revealed by their
daughter Helen, who also surmised that the Thunderer might have been her fathers
salute to the London Times, which was known as the thunderer. It has since been
determined that Sousa probably had no association with the newspaper at that time, however. The thunderer might have been one of the men in charge of making arrangements
for the 1889 conclave - in particular, Myron M. Parker, who worked tirelessly to make
the event the spectacular success that it was. In the second edition of the march, Sousa
included an adaptation of an earlier trumpet and drum piece, Heres Your Health, Sir!
which has now become an iconic trumpet call from this march.
The WVHS Wind Ensemble is pleased to have Mr. William Jastrow, Indian Prairie Coordinator for Music Education, as our narrator this evening.
-Ira Hearshen