The TCNJ Concert Band is an ensemble that meets twice a week to rehearse and perform music for woodwinds, brass and percussion. Participants include both non-music majors and music majors. Standard and contemporary wind symphony/concert band repertoire is studied and performed, emphasizing improving skills to better each student’s individual level of musicianship.
MUS 145 (Non-Majors: MUS 185)
019 Music (Large Instrumental Rehearsal Room)
Contact: Adam Warshafsky
All students interested in performing with the concert band must complete a short seating audition.
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TCNJ College Choir and Concert Band Concert, Thursday May 3, 2018 at 8pm, Kendall Main Stage Theatre
For this semester’s concert, the College Choir and Concert Band shared a performance to celebrate in a culmination of the Spring Semester.
The Concert Band’s program features works celebrating “firsts,” celebrating the graduating students who will soon be starting a new chapter in their lives. The performance consisted of the following:
Richard Saucedo – Into the Clouds (2007)
Saucedo was an extremely successful band director at Carmel High School in Indiana, and continues to be a prolific composer of educational works for band. He wrote Into the Clouds at a time when he was on the verge of successfully achieving his long-time dream of earning his pilot’s license. This composition’s energy reflects the anticipation of finally being free to fly “into the clouds.”
Howard Hanson – Chorale and Alleluia (1954)
Hanson was a composer and notably the director of the Eastman School of Music for four decades. Under his leadership, the school attained international status as a school for performers and music educators. The Eastman Wind Ensemble (EWE), the nation’s first standing “one person to a part” band, was founded in 1952 as part of the school’s growth. This model eventually proliferated universities, colleges, conservatories, and public schools throughout the United States and beyond. Hanson composed Chorale and Alleluia for the U.S. Marine Band, but with subsequent EWE performances under the leadership of Frederick Fennell, it became a standard work in the canon.
Roshanne Etezady – Milestone (2008)
This piece was commissioned by the Plymouth (MN) Concert Band in celebration of its first ten years as an ensemble. Etezady’s compositional voice is distinguished by its lyrical melodic contour and accessible tonal harmonic content. Within Milestone’s harmonies, the composer has added “wrong notes” to infuse the harmony with texture. Her idiomatic and creative orchestration offers a wide variety of color to the listener while providing opportunities for the various sections of the band to be featured.
Morten Lauridsen – O Magnum Mysterium (1994)
This piece boasts the highest sale count, ever, in the Theodore Presser catalogue, the oldest music publisher in the United States still in existence. O Magnum Mysterium was the first work the composer produced for the Los Angeles Master Chorale, and during the ensuing years, the partnership Lauridsen developed with the ensemble and their director Paul Salamunovich yielded great success for the ensemble in the concert hall and the record racks. This is a setting of very old sacred text, and was set for band by H. Robert Reynolds, the conductor of the University of Southern California Wind Ensemble.
Robert Sheldon – Reflections on a New Tomorrow (2011)
This piece was composed in honor of the first graduating class of seniors at Plainfield East High School in Illinois. Reflections on a New Tomorrow’s solemn introduction gives way to an exciting allegro, meant to portray the optimism shared by graduates as they leave home to begin the next phase of life.
Ralph Vaughan Williams – Tocatta Marziale (1924)
Vaughn Williams played an important role in establishing a 20th-century British musical identity. Along with Gustav Holst, he was also one of the first composers to have written for the modern concert band. Tocatta Marziale was composed in 1924 on the heels of his very first work for band, English Folk Song Suite, which the Concert Band performed last year. This five-minute masterpiece is notable for its economic use of melodic material and its extensive use of counterpoint.
Johann Strauss – Radetzky March, Op. 282 (1848)
We end the performance with a rendition of this piece, which was commissioned as a tribute to Field Marshal Joseph Radetzky von Radetz following his victory at the Battle of Custoza, fought during the First Italian War of Independence. Radetzky March has the distinction of being featured annually at the end of the Vienna Philharmonic’s New Year’s concert. The orchestra – one of the world’s finest – always invites audiences to clap along as they celebrate on the first of January, and Director Joshua Roach invited the audience to do the same when the Concert Band performed it.