The Oak Lawn Band is pleased to conclude our 2025-2026 season with the versatile and exciting theme of dance, which is part of almost every culture on every continent. The universal desire to move plus the enjoyment people get out of movement and listening to music intended for dance is a common thread that spans centuries. While the band has built a concert around a dance theme before, this concert includes dances that bring to light cultural traditions in a more challenging manner.

“Passo a sei (The Dance of Six)” is an excerpt from the opera “William Tell” (1829), one of 39 operas by the Italian composer Gioachino Rossini (1792-1868). Based on the famous legend of William Tell, the opera’s libretto is in French, although it is based on a German play. This transcription of the dance number from the opera was arranged for band by Patrick Dunnigan. Performed at a moderate allegretto tempo in duple meter, it is not a fast dance but a rather elegant composition. Enjoy the symmetrical phrase structure and the trading of melodies among the various sections of the ensemble.

Argentine composer Astor Piazzolla (1921-1992) is known primarily for his tangos and his ability to perform on the bandoneon (an instrument that resembles the accordion). His 1982 work “Oblivion” exists in numerous versions. It became well-known when it was used in an Italian film, “Henry IV”, and when it was recorded by an Italian singer, Milva, with French lyrics. This arrangement for band by Robert Longfield has a flexible solo part which is suitable to the soprano saxophone and its vocal qualities. The Oak Lawn Band is fortunate to have Tucker Daniel as a soloist today.

American composer, educator, and saxophonist Katahj Copley (b.1998) holds degrees from University of West Georgia, University of Texas at Austin, and Michigan State University. With over 25 wind band pieces to his credit, Dr. Copley has also composed for jazz ensemble, brass ensemble, saxophone ensembles, and choral ensembles. One of his more recent compositions, “SITRUHS” was written in 2024 for one of Florida’s all-state ensembles (and yes, the title is a reference to the taste of citrus fruits). Influenced by African and Latin grooves, as well as funky pop styles, the composer says that the piece is “zesty, sweet, occasionally bittersweet, and above all, vibrant and colorful.”

Fusing diverse cultural traditions is “Arabesque” by American composer Samuel Hazo (b.1966). This work was commissioned by the Indiana Bandmasters Association for its All-State Honor Band in 2008. The Oak Lawn Band has previously performed some of Hazo’s easier works, but this piece is more substantial and draws from Hazo’s Middle Eastern background. Based on modal scales, the melodic materials are enhanced by a variety of percussion that mixes Eastern and Western musical elements. A virtuosic flute solo sets up the mood, but every instrument plays an important role in building the intensity of this powerful work.

Contemporary American composer John Mackey (b.1973) holds degrees from the Cleveland Institute of Music and the Juilliard School. He studied composition with John Corigliano and Donald Erb. Mackey is particularly interested in music for dance, and “Strange Humors” is one of his most outstanding examples. Originally written for string quartet and the West African drum called the djembe (which is played with the performer’s bare hands), this version of the work followed later. Mackey’s well-chosen instrumental colors and special effects make the piece fun for players and listeners alike. The infectious rhythms create excitement in every version of the piece including a rendition for saxophone quartet and an arrangement for clarinet quartet, all of which retain the djembe.

The music for “Chicago” was written by a team consisting of composer John Kander (b.1927) and lyricist Fred Ebb (1928-2004) who also wrote “Cabaret.” “Chicago” is based on a 1926 play by Maurine Dallas Watkins; a satire that mocks corruption. “Chicago” first opened on Broadway in 1975 and has had several successful revivals, including the popular 2002 film. This medley for band was arranged by Ted Ricketts. Tunes include “All That Jazz,” “Cell Block Tango,” “Roxie,” and “We Both Reached for the Gun.” Most of the music is composed in styles drawn from the vaudeville era.

Composer, vocalist and trumpeter Louis Prima (1910-1978) was based in New Orleans. An active musician from the 1920s to the 1950s, his music reflects the progression of styles through those decades. Among his many successful tunes, “Sing, Sing, Sing” was written and recorded in 1936. The song eventually became a hit for clarinetist Benny Goodman. While the tune is most often played by a jazz band, this particular arrangement is even richer because of the additional colors included in the symphonic band instrumentation. While various sections of the band are featured, the most notable individual solos will be played by Kason Bakouris on clarinet and Aidan Fitzgerald on trumpet.

Program notes written/compiled by Ellen Kaner