Professor Michael Salzman has been the Tuba and Euphonium instructor at Hofstra
University since 1994. In addition, he has held the position of Coordinator of Fine
and Performing Arts for the Syosset Central School District since 2004. He holds
a Bachelor of Music degree from Indiana University where he studied with Harvey
Phillips, and a Master of Music from the Mannes College of Music where he was a
student of Warren Deck, former Principal Tubist of the New York Philharmonic. Other
important teachers have been Sam Pilafian, Bill Barber, Michael Lind and Paul Krywicki.
He also holds degrees in music education and educational administration from Queens
College and Hofstra University respectively.
A well known and respected tubist and teacher in the New York metropolitan area,
Professor Salzman is a former Principal Tubist of the Long Island Philharmonic and
a founding member of the Cosmopolitan Brass Quintet. He also has performed with
such groups as The Concert Pops of L.I., the Bridgeport Symphony, the Goldman Band
and Max Morath's 92nd Street Y Ragtime Band. Extremely active in the field of music
education, he has served as the President of the Nassau Music Educators Association
(NMEA) and as All State Band Chair for the New York State School Music Association
(NYSSMA). He has also served NYSSMA as a member of their Finance, Government Relations,
and Advocacy Committees. In addition to his work at Hofstra and in Syosset, he remains
active as a freelance tubist and as a guest conductor.
Samuel Barber (1910-1981) was already an accomplished composer
and a professor of composition when World War II began to impact the United States.
In September 1942, he began military duty in the Army. After basic training, his
evening guard details dwindled and he had a few hours a day to devote to music.
His main role was writing music for the Army, but he’d received requests from Serge
Koussevitzky, an old friend and conductor of the Boston Symphony Orchestra, to write
music in support of the war effort. Commando March is highly
regarded as one of the cornerstone marches in the wind band literature.
Program notes compiled by Marcie Phelan.
Adam Gorb (b. 1958) is certainly no stranger to people involved
in wind band music, as this affable composer from England became extremely popular
in America after his first work in the medium, Metropolis, won the Walter Beeler
Composition Contest. He is currently Head of Composition at the Royal Northern College
of Music in Manchester, England, and has provided the following note in the score:
"For most composers, the prospect for writing their first symphony is a daunting
one. The thought of conceiving a large-scale work offers a challenge that many put
off indefinitely and others never attempt. In writing my first symphony I have ignored
this colossal weight of expectancy and written a party piece. The mood is light
and effervescent as befits an accompaniment to champagne and strawberries on a summer
evening. It brings together two of my abiding passions, the Symphonic Wind Orchestra
and Klezmer, the folk music of the Yiddish-speaking people. The five movements of
the work are all based on set Klezmer dances."
Norman Dello Joio (1913-2008) was born in New York
City to Italian immigrants and began his musical career at a young age as an organist
and choir director. His father was an organist, pianist, and vocal coach who nurtured
his son’s musical path. Dello Joio was a prolific composer in a variety of genres,
but is best known for his choral music. Perhaps Dello Joio’s most famous work in
the wind ensemble category is his Fantasies on a Theme by Haydn, which was composed
for the Michigan State University Wind Ensemble in 1968 and has since been performed
thousands of times across the world. This work for band is based on a theme from
a composition for piano by Franz Joseph Haydn. The work is set in three movements
that provide a varied examination of Haydn’s basic musical idea. Dello Joio has
brought the genius of "Papa Haydn" into a genre that keeps a classical giant contemporary.
Program notes compiled by Beth Seavers.
Peter Ilyich Tchaikovsky (1840-1893) wrote the music for a ballet entitled The Nutcracker in 1891 and arranged several numbers
from the ballet in the form of a suite for concert use. He did not, however, live
to see what a success The Nutcracker would become.
It was the last of the three ballets he composed as he died the year after it was
first performed. The first full-length American production in San Francisco in 1944
was well received, and in the 1950’s the renowned Russian choreographer George Balanchine
recognized that the story would have great appeal to children and thus began staging
regular holiday performances in New York City. Since then Tchaikovsky’s Nutcracker
has become an indispensable part of the holiday tradition.
Tom Davis (b. 1959) recently retired as K-12 Music Curriculum
Area Lead Teacher and Director of Bands in the Canandaigua City School District,
N.Y. after a 33 year career. An active composer and conductor, commissioned by schools
throughout the United States, Mr. Davis has published over 150 jazz, concert band,
orchestra and chamber works. His composition for solo tuba presented here was written
specifically for Michael Salzman, our guest soloist. Mr. Davis states, "This composition
is more about the performer than any programmatic idea. Furthermore, it is about
sharing among musical forces and the magical gifts that music can generate. The
tuba is a great instrument and the listener should be forewarned that it is the
Superhero of this musical endeavor. At times this powerful force is beseeching…
signaling a call to action. At other times it sets the stage for a joyous celebration."
Finale, Symphony No. 3 – Camille Saint-Saens (1835-1921)
is generally referred to as the "Organ Symphony" and the last major effort by the
composer in symphonic form. The piece was dedicated to his friend and fellow composer
Franz Liszt upon his death. Although the symphony is still performed in the symphonic
world, the Finale is the most memorable movement and has been transcribed for wind
symphony. The sustained organ chord announcing the Finale is testimony to the grandeur
of the piece and the movement contains considerable artistic variety. It includes
a massive climax with a show of musical alliance between the winds and the organ.
The final sustained organ chord is reflected with the winds that will leave the
listener breathless in the dramatic conclusion.
Taps - Eternal Father – Daniel Butterfield (1831-1901) and
John B. Dykes (1823-1806) Arranged by Capt. Kenneth R. Force, USMS. The
familiar melody of Taps is credited to Union General Daniel Butterfield during the
Civil War. The melody was made the official Army bugle call after the war, but was
not given the name "Taps" until 1874. The first time "Taps" was played at a military
funeral may have been in Virginia, soon after Butterfield composed it. This has
become a tradition that continues at military funerals in the present day. Eternal
Father Strong to Save is known to United States Navy men and women as the “Navy
Hymn”. It is a musical benediction that has had a long and special appeal to seafaring
men and women. This arrangement of these two moving melodies places a lone bugler
away from the band. The two echo each other back and forth, finally fading away
into the night, just as Taps does each evening at sundown. This reverent music is
an emotional ride.
The Stars and Stripes Forever – John Philip Sousa (1854-1932)
is considered the finest march ever written, and one of the most patriotic ever
conceived. The march was not so well received at first, yet its popularity grew
as Sousa used it during the Spanish-American War as a concert closer. Audiences
would rise from their chairs when the march was played. Sousa added to the entertainment
value of the march by having the piccolo up in front of the band for the final trio,
and then added the brass section to join on the final repeat of the strain. The
march was performed on almost all of Sousa's concerts and always drew an emotional
response from the audience. In 1987 President Ronald Reagan signed a bill into law
that designated the Stars and Stripes as the official march of the United States
of America. This march continues in the present day to stir patriotic emotion from
audiences both home and abroad.