Sounds of the Season 12•21•2025
Program
A Christmas Festival | Leroy Anderson (1908–1975)
In 1950, Leroy Anderson was asked to write a new holiday piece for the Boston Pops. The result was
A Christmas Festival, a fast-moving medley that weaves together carols such as “Joy to the World,” “Deck the Halls,” and “Silent Night.” Anderson, best known for works like Sleigh Ride and The Typewriter, had a knack for writing orchestral miniatures that were both clever and accessible. A Harvard graduate and Army captain during World War II, he composed music that bridged the worlds of classical concert music and American popular culture.
Sleepers, Awake! | Johann Sebastian Bach (1685–1750); arr. Alfred Reed (1921–2005)
Bach composed Sleepers, Awake! in 1731 as part of a church cantata based on a Lutheran hymn. The piece was designed for the end of the church year, a time of spiritual reflection. Alfred Reed, one of America’s most prolific band arrangers, adapted the piece for concert band in the 20th century. Reed, who served in an Army Air Corps band during World War II, spent much of his career expanding the band repertoire by arranging classical and sacred works like this one.
Patapan | Traditional; arr. Shelley Hanson (b. 1951)
In the early 1700s, in the Burgundy region of France, a local poet named Bernard de La Monnoye penned a Christmas carol in the Burgundian dialect called Guillo, Pran Ton Tamborin—known today as Patapan. The song imagines shepherds celebrating the birth of Christ by playing the flute and drum. Centuries later, Twin Cities composer and conductor Shelley Hanson paired Patapan with the English carol God Rest Ye Merry, Gentlemen, creating a new musical dialogue between two traditions separated by time and geography.
The First Noel | Traditional; arr. Julie Giroux (b. 1961)
Believed to date back to 16th-century France, The First Noel became part of English holiday traditions after crossing the Channel. In this arrangement, Julie Giroux brings a cinematic sensibility shaped by her early career orchestrating for television and film. One of the first women to win an Emmy for music composition, Giroux has become one of today’s most performed concert band composers. Her setting gives new shape to a melody that has traveled across centuries and cultures.
A Fireside Christmas | arr. Sammy Nestico (1924–2021)
Sammy Nestico began his career as an arranger for the U.S. Air Force Band, the Glenn Miller Army
Air Corps dance band (later known as the Airmen of Note), and the U.S. Marine Band. He later arranged music for the Count Basie orchestra as well as other jazz and pop musicians. A Fireside Christmas is one of the hundreds of arrangements Nestico wrote for concert and jazz band. This medley features five holiday favorites: “Rudolph the Red-Nosed Reindeer,” “I’ll Be Home for Christmas,” “Frosty the Snow Man,” “Winter Wonderland,” and “The Christmas Song.”
“Rest” from Minnesota Portraits | Samuel R. Hazo (b. 1966)
Commissioned in 2008 by William Webb and the Edina High School Concert Band, the second movement of Samuel Hazo’s Minnesota Portraits grew out of an unexpected moment of quiet beauty.
From Hazo’s program notes: “Back in the late 1990s, I surprised my wife with a trip to Minnesota’s Mall of America. When we arrived at the mall we were completely overwhelmed, not just by the mall’s immensity but by my stupidity in scheduling this trip right before Christmas. We were there with fifty thousand of our closest friends.
“In complete contrast to our harried visit to the mall was the unique Minnesota holiday atmosphere, especially at night: beautiful lights, the smell of fireplaces, tasteful decorations, etc. Between the “Minnesota-nice” charm of the people and the reflective time of year, it was an experience I can never forget.
“‘Rest’ is simply a microtitle for God Rest Ye Merry, Gentlemen. I always hoped I could write a piece about this experience, and fortunately I had this opportunity.”
“Garboldisham Jig” from Four Norfolk Dances | Philip Sparke (b. 1951)
While “Garboldisham Jig” isn’t a traditional holiday tune, its lively spirit fits right in with the festive mood of the season. Four Norfolk Dances is a suite inspired by villages in the Norfolk region of England, each with its own musical character. A “jig” is a style of dance music with quick steps and a cheerful bounce—exactly the kind of rhythm that gets people on their feet.
Composer Philip Sparke is known for his ability to blend folk elements with the color and power of the concert band. “Garboldisham Jig” brings the kind of musical cheer that feels right at home in a seasonal celebration.
– Intermission –
The Polar Express | Alan Silvestri (b. 1950) and Glen Ballard (b. 1953); arr. Jerry Brubaker (b. 1946)
When director Robert Zemeckis set out to adapt The Polar Express in 2004, he turned to composer Alan Silvestri—his longtime collaborator on films such as Back to the Future and Forrest Gump. To help create the musical world of a magical train ride to the North Pole, Silvestri teamed up with songwriter Glen Ballard. The result was a score filled with original songs such as “Believe,” which earned the Grammy for Best Song Written for a Motion Picture, Television, or Other Visual Media in 2006. This arrangement by Jerry Brubaker, former chief arranger for the U.S. Navy Band, brings the energy of the film to the concert stage, complete with the sound of a train pulling out of the station and a musical landscape that shifts with every twist and turn of the ride.
Christmas Time Is Here | Vince Guaraldi (1928–1976); arr. Stan Bann
When CBS aired A Charlie Brown Christmas in 1965, producers turned to West Coast jazz pianist Vince Guaraldi for the score. Working quickly, he wrote the now-iconic themes in just a few weeks, including “Christmas Time Is Here.” The song became one of Guaraldi’s most recognizable works. This version was arranged by Medalist trombonist Stan Bann, a versatile musician whose arrangements and performances have been featured by jazz bands, orchestras, and commercial ensembles across the Twin Cities. His thoughtful reimagining preserves the warmth of the original while bringing a fresh voice to a beloved classic.
How the Grinch Stole Christmas | Dr. Seuss, Albert Hague, and Eugene Poddany; arr. Larry Clark (b. 1963)
The Grinch made his musical debut in 1966, nearly a decade after Dr. Seuss (Theodor Geisel) published the original book. The TV special brought together an unlikely creative team: Dr. Seuss, who had never written song lyrics before; Albert Hague, a German-born Broadway composer who fled the Nazis as a child; and actor Boris Karloff, best known for playing Frankenstein’s monster, who served as both narrator and the voice of the Grinch. Hague wrote “You’re a Mean One, Mr. Grinch” as his audition—earning him the job of composer with just one song. This arrangement by Larry Clark includes both that famous tune and the Whos’ joyous “Welcome Christmas,” bringing the story’s mischief and redemption to the concert stage.
Minor Alterations: Christmas Through the Looking Glass | David Lovrien (b. 1963)
Published in 2007, Minor Alterations takes more than a dozen familiar holiday tunes and turns them on their heads. Composer and saxophonist David Lovrien reworks classics such as Jingle Bells and Deck the Halls and selections from The Nutcracker by shifting them into minor keys, layering melodies, and bending rhythms and styles. The result feels like what might happen if your favorite carols took a detour through a darker, curiouser world—something straight out of Alice in Wonderland.
Carol of the Bells | Traditional; arr. Chip Davis (b. 1947), band arr. Robert Longfield (b. 1947)
Carol of the Bells started not as a Christmas song but as a New Year’s chant from Ukraine. First arranged in the early 20th century, the original melody was built on a hypnotic four-note ostinato—a short musical pattern that repeats throughout a piece. This simple figure gave the music its distinctive, bell-like character and ultimately inspired the carol’s English title.
In the 1930s, new English lyrics transformed the melody into a Christmas song. In 1988, the group Mannheim Steamroller, led by composer and producer Chip Davis, gave it a fresh twist. Their version blended electronic instruments with orchestral textures in a bold, rhythmic style that introduced the piece to new audiences. Robert Longfield’s adaptation for concert band draws directly from that version, preserving its energy, momentum, and dramatic reimagining of a now-classic holiday tune.
Have Yourself a Merry Little Christmas | Hugh Martin (1914–2011) and Ralph Blane (1914–1995); arr. Douglas E. Wagner
Hugh Martin and Ralph Blane, longtime songwriting partners on Broadway, wrote this song for the 1944 film Meet Me in St. Louis, in which it was introduced by Judy Garland. Martin originally penned more somber lyrics, but after concern from Garland and the film’s producers, he revised the lines to strike a more hopeful tone. The updated version resonated strongly with audiences during World War II, and Garland’s recording became especially meaningful to U.S. troops stationed overseas.
The song was later popularized again by Frank Sinatra, who requested even more uplifting changes for his 1957 album A Jolly Christmas. Martin agreed, rewriting the line “Until then we’ll have to muddle through somehow” as “Hang a shining star upon the highest bough.” Today, both versions are widely performed.
Sleigh Ride | Leroy Anderson (1908–1975)
Leroy Anderson started composing Sleigh Ride during a July heat wave in 1947 while staying at a lake cabin in Woodbury, Connecticut. He didn’t finish it until the following winter, but when he did, he had created what would become one of the most performed American light orchestral works of all time. First recorded in 1949 by Arthur Fiedler and the Boston Pops, the piece was an instant hit, even without any lyrics or direct mention of the holidays.
The now-famous whip cracks, horse hooves, and trumpet “neigh” were all written into the original score. Lyrics by Mitchell Parish were added a few years later, but Anderson’s instrumental version remains the most widely performed. Whether played by orchestra, band, or jazz ensemble, Sleigh Ride continues to capture the feeling of a brisk winter outing.
Program notes by Sue Hinton
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