Lest We Forget

7:30pm, Tuesday 11 November 2025

The Church of St Andrew, Forrest

PROGRAM

This is our final performance. And our tenth observation of Remembrance Day in St Andrews. Our first was 2015 when we performed as Canberra Wind Symphony.

Over the past decade, we have performed almost 100 premieres of new music, commissioned many new works, worked closely with composers, established the ANU composition competition, performed in the Canberra International Music Festival, collaborated with wonderful soloists and other ensembles, released 4 albums, been featured internationally, and provided high-level opportunities for Canberra’s wind instrumentalists.

Thank you for joining us as we wrap up the decade with a stellar program.

Aurora Australis

Martyn Hancock

Composed in 2018

Martyn Hancock is an Australian composer specialising in music for wind ensembles. A tuba, string bass and bass guitar player, he served 17 years with the British Royal Marines before moving to Australia in 2007.

Aurora Australis is a descriptive work that portrays the spectacle of the southern lights visible at night from high southern latitudes in Australia and New Zealand, South America and Antarctica. This year, they were unusually visible from Weereewa/Lake George and throughout our region.

The work grows from nothing and builds to a depiction of this wonderful glowing phenomenon. Using the colours of the wind symphony to represent the colours and shapes in the night sky, it builds into an energetic geomagnetic storm before fading away as morning comes.

It won first prize in the Australian Wind Symphony Composition Competition in 2016, which was sponsored by the Australian Band Orchestra Directors Association NSW and World Projects South Pacific.

We performed its Capital Region premiere in 2018 and again in May 2021.

REFLECTIVE READING 1

Captain Phillipa Hay CSC and bar, RAN (Royal Australian Navy)

Prayers for a troubled nation

Jack Stamp (1954–  )

Composed in 2016

​Commissioned by the University of Minnesota School of Music celebrating the inaugural season of Dr Emily Threinen as Director of Bands

This is its Capital Region premiere.

The composer’s own program note says:

‘When I was approached by Dr. Threinen about the possibility of composing a work, the country was in a state of turmoil. As you might remember early in the fall of 2016, there were several citizen shootings by police and the shooting of police in what seemed like a rise in incivility. I couldn’t believe that America could be so uncivil; it was turning into the “Wild West” again. So, I decided to write Prayers for a Troubled Nation as my answer to the senseless violence that occurred in the fall of 2016.’

Jack Stamp was employed in the music department at the Indiana University of Pennsylvania for 25 years – which was where he received his Bachelor of Science in Music Education. He had also pursued Masters studies in percussion performance at East Carolina University and then a Doctorate in conducting at Michigan State University. He is now adjunct Professor of Music at the University of Wisconsin at River Falls where he teaches conducting.

From 2019 to 2023, he has been the International Composer in association with the renowned Grimethorpe Colliery Brass Band in the UK. In 1988 and 1989, he was conductor of the Duke University Wind Symphony.

We played his Fanfare for a New Era in 2021.

REFLECTIVE READING 2

by Air Vice-Marshal Wendy Blyth AM (Royal Australian Air Force)

Chorus Angelorum

Samuel Robert Hazo (1966–  )

Composed in 2003

This is a poignant and moving work that tells the tale of a chorus of angels as they accompany two souls to the next world. Composed as a memorial piece, the music evolves from the initial ‘angels’ song’, their journey to heaven, and their return to comfort those who mourn.

There is an ethereal quality to this wonderful work. Some lovely work by our percussionists creates a warm and atmospheric soundscape where you may even find yourself wondering where that otherworldly sound is coming from …

Samuel R. Hazo received his Bachelor and Master degrees from Duquesne University and has taught music at every educational grade level from kindergarten through college. He has been awarded Teacher of Distinction twice by the Pennsylvania Teacher’s Excellence Foundation.

He started composing when he turned 30. He has since written original scores for television, radio and the stage, as well as numerous works for wind symphony. Two of his compositions were performed at the London Olympics in 2012.

We performed this at the Canberra International Music Festival in 2018 and released that recording. We also performed his Exultate at the High Court in 2018, and Ride at Belconnen Arts Centre in 2023.

REFLECTIVE READING 3

Colonel Joh Papalitsas, CSC and bar (Australian Army)

For the Fallen

Laurence Binyon (1869–1943)

Written in 1914

British poet Laurence Binyon was described as having a ‘sober’ response to the outbreak of the First World War, despite many who were euphoric.

His elegy ‘For the fallen’ was written to honour the casualties of the British Expeditionary Force after their retreat from defeat at the Battle of Mons in France. The poem was published in The Times on 21 September 1914, just seven weeks after the beginning of the war.

It has been used in commemoration services in Australia since 1921. The fourth stanza is now recognised internationally as a tribute to all casualties of war, regardless of state, and is called the ‘Ode of Remembrance’:

They shall grow not old, as we that are left grow old: 

Age shall not weary them, nor the years condemn.

At the going down of the sun and in the morning

We will remember them.

It is fitting that it is quoted on the walls of St Andrews’ Warriors Chapel.

Eventide (Abide With Me)

William H Monk (1823–1889)

Composed in 1861

arranged in 2005 by Jay Dawson

Composer William Monk was an English organist, church musician and music editor who composed popular hymn tunes, including this one, his most famous, ‘Eventide’. It became known as the hymn ‘Abide with me’. In 1847, Monk became the choirmaster at Kings College London.

The arranger of the version you hear tonight is Jay Dawson from Nashville, Tennessee, USA. His teaching experience includes public high schools and college level. For ten years he played French horn in the Nashville Symphony Orchestra before becoming assistant conductor in 1977 for three years, as well as conductor of the Nashville Youth Symphony. He is widely known as an arranger of works for wind bands and wind symphony and is president of the Arrangers Publishing Company. He is founder and conductor of the Tennessee Winds, a professional concert band.

The words of the hymn ‘Abide with me’ were written by Scottish clergyman Henry Francis Lyte (1793–1847) in 1847, while he was dying of tuberculosis (and he died three weeks after completing it).

It is most often sung to the tune ‘Eventide’ which was written in 1861, and appeared that year in Monk’s mammoth work Hymns ancient and modern, a collection of 273 hymns which, over 5 further editions and supplements published up until 1916, became one of the most best-selling hymn books ever produced. As the musical editor for the first edition, Monk wrote several original hymn tunes.

The beautiful moving arrangement by Jay Dawson that you hear tonight masterfully incorporates ‘The last post’ played on solo trumpet from the Warrior’s Chapel.

‘The last post’ is a bugle call that dates from the 16th century and is primarily used by British and Australian infantry regiments. It is used at Commonwealth military funerals and to remember those who have been killed in war. On Anzac Day, it normally precedes silence to commemorate the fallen.

As Canberra Wind Symphony we played this arrangement each year on Remembrance Day and our 2015 YouTube clip of it has had 97,000 views. The full version from 2019 has over 36,913 views on the Australian Wind Symphony YouTube channel, with the trumpet solo played by Louisa Walton who is playing it again tonight. 

Irene de Villiers said of our performance, ‘This hymn never fails to bring me to tears.’

Tonight is our eleventh Remembrance observation, as we managed an online Remembrance event during covid lockdowns.

Elegy 

Aakash Patel

Composed in 2022

Composed for the River Ridge High School Band in Woodstock, Georgia, USA

This is its Australian premiere.

Written in memory of two young clarinet players, Elegy is meant to communicate the feelings associated with terminal illness, and how it affects those that suffer from it.

The central journey of this piece through dread and grief is to a place of acceptance. It includes a ‘Dies Irae’ followed by a ‘Hymn’ section, featuring the popular hymn tune ‘Be Thou my vision’.

Be Thou my vision is a traditional hymn of Irish origin, and since 1919 sung to an Irish folk tune known as ‘Slane’ after the village in Ireland where it was originally collected. The original Irish words are so old there is no manuscript source, and it is believed to have been written as early as the tenth century. The words were translated into English in 1905 by Mary Elizabeth Byrne but not published until 1912 when it was written into verse by Eleanor Hull. It has become one of the most loved hymns.

Aakash Patel has performed with ensembles including the University of Georgia Symphonic Band and Wind Symphony, as well the University of Georgia Redcoat Marching Band.

He is an active arranger and composer and has written for the University of Georgia Redcoat Marching Band, as well as the UGA Horn Choir, the UGA Freshman-Sophomore Horn Ensemble, and the UGA Horn Quintet.

As he finishes his degree in Music Education at the University of Georgia, he is excited to continue to serve the River Ridge Bands Community!

INTERVAL

Doctrina Vim Promovet (Learning promotes Strength)

Geoff Grey: 2010

‘Doctrina Vim Promovet’ was composed in 2010 as the official fanfare for the 2011 centenary of the Royal Military College of Australia. It was conducted and recorded live in the Great Hall of Parliament House by the composer, utilising the original instrumentation of heraldic trumpets and a corps of drums, and released as the opening to the 44-track double album ‘Music from a Century of Leadership 1911-2011’.

Representative of the letters ‘RMC’, a simple intrada of three notes leads us to the opening which alludes to traditional bugle calls and the Australian National Anthem. The motif of the College’s Regimental Slow March ‘General Bridges’ is then introduced. ‘General Bridges’ was composed in 1967 by the then Director of Music of the Australian Army, Lieutenant Colonel Reg Newman, and is named after the first Commandant of the College. Designed for use during ceremonial ‘March Pasts’ by the Corps of Staff Cadets, it is still utilised for that purpose today, acknowledging the origins of Army Officer Training at Duntroon; borne of the requirement to develop the leaders of our nations’ warriors.

This element is then peppered by all manner of movement, by all players, indicating the non-stop and varietal pace of the training program experienced by Staff Cadets. Throughout the fanfare the ongoing snare drum rhythms are in support, melding simple and complex times to further underscore the constant movement of College life.

The regal cascading segment immediately following is indicative of the pause in military operational training necessary to perform ceremonial activities such as Troop the Sovereign’s Colour, Beat the Retreat, and ultimately, Graduation. The ‘General Bridges’ signature is then reintroduced, and in approaching the climax there is yet one further note movement to remind all that graduation from the Royal Military College of Australia marks just the first step in the new junior leader’s career and responsibilities to their nation.

This version was re-orchestrated for the wind ensemble in late 2025 by the composer and a long-term colleague, Lucy Bermingham, in dedication to the final performance of the Australian Wind Symphony. The world-premiere is under the baton of the composer and Chief Conductor, Lieutenant Colonel Dr Geoff Grey CSM, appropriately on the 11^th of November 2025, Remembrance Day.

La Terre Sacree

Carol Brittin Chambers

Composed in 2021

Commissioned by the Keller High School Wind Ensemble in Texas for the 2021 Midwest Clinic, Mark McGahey, Director

This is an Australian premiere.

Translating as ‘Sacred Earth’, La Terre Sacree starts wistfully incorporating quirky quotes from various hymns. In the middle you might hear raindrops in a stormy landscape. Ultimately a hopeful final flourish acknowledges the earth’s wonders.

Composer Carol Brittin Chambers lives in San Antonio, Texas, where she teaches at Texas Lutheran University. She studied trumpet performance at Northwestern University and then music education. She is commissioned each year to write original works and arrangements for wind symphony, marching band, orchestra and other ensembles.

In 2019, she was the winner of the Women Band Directors International Composition Competition. She is the composer and owner of Aspenwood Music.

Her own program note says:

‘Anyone who really knows me knows how very much I love nature …

In the most basic sense, this piece is about my love for the earth. I chose to begin right away with bird-like sounds … and then incorporate 3 other original themes throughout the piece, which I named Purity, Joy, and Renewal. Purity is first heard in an intimate, acoustic setting with the delicate flute choir and guitar sound; later it is heard with the oboe and log drum in a more raw, primal state. Joy is an upbeat, sprightly theme first heard in the clarinets, then passed around to different sections. Renewal appears later, after the storm, in the soulful, hopeful horns.

I was compelled to also use two other important melodies that come from hymns I grew up with in my youth. “For the Beauty of the Earth” first appears right at the beginning, with a little nod from the bassoons. Like all of the themes, it is used throughout the piece in different ways, but its most important role is at the very end as a final uplifting anthem. The other hymn I subtly weave throughout is “All Creatures of Our God and King”, with the 4-note “Alleluia, Alleluia” appearing purposefully. …

My hope is that we will try to remember to be good stewards of the earth … to protect these beautiful and important resources … to not upset the balance. We only have one earth, so let us cherish her.’

Serenade for winds

Derek Bourgeois (1941–2017), Op22c

Composed in 1965 for organ but arranged in 1980 for winds

Derek Bourgeois was a British composer, arranger, conductor and educator. He graduated from Cambridge with first-class honours in music and later a doctorate. He also studied composition with Herbert Howells and conducting with Sir Adrian Boult at the Royal College of Music. He composed 116 symphonies, 17 concertos, 7 major works for chorus and orchestra, 2 operas and a musical.

Serenade is one of his shortest works. It is a cheeky work with its playful compound time using an 11/8 time signature, mostly in this 3+3+2+3 pattern. Except in the middle where it goes to 13/8! It finishes with a cute flourish.

It was originally composed in 1965 for organ, to be played as guests left the ceremony at the composer’s own wedding. But it has become more popular in its 1980 wind arrangement which is played regularly around the world.

We played it in 2021.

Undertow

John Mackey (1973–  )

Composed in 2008

Commissioned by the Hill Country Middle School Band and premiered by that ensemble in May 2008

This is a Capital Region premiere.

Undertow is driven by the bass line and percussion with an insistent uneven rhythm, which when it skips, seems to drive the music forever forward. Syncopated tunes and lively orchestration punctuate the solid base.

It is described as a ‘musical flash of lightning that will exhilarate listeners’!

An American composer of works for wind symphony and orchestra, including music for modern dance and ballet, Mackey was born in Ohio and, while he didn’t formally study any instrument, his grandfather taught him to read music and introduced him to computer music notation. John started composing his own music and graduated from Cleveland Institute of Music in 1995, later graduating with a Masters from Juilliard in 1997.

He has been commissioned by numerous organisations, including the Parsons Dance Company, the Alvin Ailey Dance Company, New York City Ballet and – my personal favourite – the US Olympic Synchronised Swim Team who won Bronze in the 2004 Athens Olympics performing to Mackey’s work, Damn!

His first work for wind symphony was a 2004 arrangement of Redline tango, one of his orchestral works, which became more popular in its wind symphonic form and received the American Bandmasters Association Ostwald Award, making him the youngest composer to receive it.

He has since lived and worked in New York, Los Angeles, Austin (Texas), Cambridge (Massachusetts) and currently resides in San Francisco.

Apparently, to entertain himself while procrastinating on commissions, John is a photography enthusiast!

We played his wonderful Hymn to a Blue Hour in both 2015 and 2021, as well as his Asphalt cocktail.

Requiem

David Maslanka (1943–2017)

Composed in 2013

Commissioned by a consortium led by the Brooklyn Wind Symphony, Jeff W Ball, Artistic Director

David Maslanka studied composition with Joseph Wood at Oberlin College Conservatory in the USA and then spent a year at the Mozarteum in Salzburg in Austria. He later did masters and doctoral study in composition at Michigan State University. 

His music for winds has become especially well-known. But he also wrote chamber music and works for solo instruments and piano. He has also written choral and orchestral works.

From the age of 14, his son Matthew Maslanka was skilled enough to handle the preparation of his father’s music and proceeded to engrave every work from that point, no doubt, including this one!

Requiem was commissioned by a consortium led by Brooklyn Wind Symphony and its artistic director Jeff W. Ball.

David Maslanka’s own program notes say:

‘Requiem is a single-movement fantasia written in response to an event of the Holocaust in World War II. It is not possible truly to grasp the deaths of millions of people, but the death of one, in this case a year-old baby – brought me face-to-face with the horror and revulsion of the whole. We think that history is past, and nothing can change it. But the effects of such things as the Holocaust are still immediately with us; the open wound has not been healed. It is my feeling that music can bring closure, and it is my hope that Requiem will serve in this capacity.

A Requiem is a Mass for the dead. This relatively brief instrumental piece with the title Requiem is not a Mass, but serves a parallel function – the need to lay to rest old things in order to turn the mind and heart toward the new.

I have an abiding interest in why humans go to war. I have recently read much about World War II, and was confronted once again with the awful fact of fifty million needless deaths. Shostakovich thought of every one of his compositions as a tombstone, and wished that he could have written a separate memorial piece for every person who died in war.

I do believe that we are in a major transitional time, and that this transition happens first in each of us. My Requiem is both for the unnamed dead of all wars, and for each person making their own inner step, saying goodbye in order to say hello.’

We performed the Capital Region premiere of this work in 2018 and have also played his works Liberation and Angel of Mercy. 

Hoedown

The third movement from Symphonic dances for wind ensemble

Yosuke Fukuda (1975–  )

Composed in 2006

With its clarinet wail at the beginning, a jazzy nod to George Gershwin’s Rhapsody in Blue, this quirky work soon settles into the quintessential sound of the American Wild West. A bit like a silent movie soundtrack, you might feel you are at a county fair and then at the rodeo ring with this swinging Western hoedown. Yee har!

Yosuke Fukuda was born in Tokyo and started composing at age 11, largely self-taught. Because he played a synthesiser, his first compositions and arrangements also employed the multimedia capabilities of his computer. But at junior high school, he became familiar with the different wind instruments. He also plays oboe, conducts and lectures.

At the end of high school he was employed in a music business and also composed for the theatre, opera, dance and TV. His music has since diversified even further to music and surround sound, earning him a reputation for his ability to compose multidimensional music, as used in theme parks. His styles vary from dynamic symphonic music to catchy simple tunes.

Symphonic dances for wind ensemble was commissioned by the Central Band of the Japan Air Self Defense Force. The suite’s 5 movements present dances of the world. If you’ve been to our concerts before, you will already have heard the capital region premieres of some other dances from this suite, including the Tango, Renaissance Dances and Belly Dance.

We performed the Capital Region premiere of this work in 2016.

We hope you are moved by our performance this evening.

Lest we forget.

Program notes by David Whitbread