Canadian Brass ... Friday, September 30, 1988
Abstract
"Times have changed! It was not so very long ago that musicians in the fine-art tradition preferred to concern themselves almost exclusively with the music of European masters. Because American culture was the unruly step-child of Mother Europe, its musical establishment felt obligated to maintain the closest contact with the source and to hold up the European model as the ideal. For generations the leading figures in the musical life of the nation were either European-born or European-trained, and the carefully cultivated bias of these individuals was responsible for the tunnel-vision that conditioned concert programming for decades. "American music" that was not conspicuously fashioned after European compositions was not considered "worthy" as concert fare. Unfortunately, in spite of the often lofty idealism of those Americans whose ears were pointed only towards Europe, few compositions of native origin reflecting this point of view have endured as viable. Imitation may be the highest form of flattery, but it is not the wisest means of creating great art!"--Program Notes.
Table of Contents
Music from The Fitzwilliam Virginal Book -- The Woods So Wilde -- Pavana -- The Earle of Oxfords Marche -- Carzona No. 2 -- Selections from Due Kunst der Fuge* -- Contrapunctus I -- Contrapunctus IX -- Contrapunctus VII -- The Music of Gershwin** -- The Rhythm Series (Medley) -- Clap Yo' Hands - Fidgety Feet - Fascinating Rhythm - I Got Rhythm -- Someone to Watch over Me -- Strike Up the Band -- Selection from Basin Street*** -- Beale Street Blues -- Intermission -- Adagio (for Strings) -- Hornsmoke (A Horse-Opera in One Act) -- More Selections from Basin Street*** -- Amazing Grace -- Sweet Georgia Brown