Notes al programa

Impulse Engine is based on simple, motoric, fanfare-like motives that are tossed about the ensemble. This high-energy piece is based on another of Bremer’s compositions "Throw Caution to the Wind" (for brass and percussion) which was commissioned for the Monarch Brass Ensemble by the Oklahoma Summer Wind Festival.

Carolyn Bremer () was an American composer and educator. Bremer studied at the Eastman School of Music and CalArts, and received the Ph.D. in composition from the University of California Santa Barbara. She was chair of composition at the University of Oklahoma from 1991 to 2000 where she held the Sandra and Brian O'Brien Presidential Professorship. At the time of her death, Bremer was chair of the Bob Cole Conservatory of Music at the California State University, Long Beach.
FShe had been dubbed a composer "driven by hobgoblins of post-modernist cant." Her catalogue contains works based on feminist symbolism (Athene), baseball (Early Light), and post- modern theory (Adventures in Hyperreality).
Bremer had performances of her works at Carnegie Hall; in Germany, Norway, and Sweden; and for the gala 150th anniver- sary concert at West Point. Her consortium-commissions include Symphony for Wind Band, premiered by Ray Cramer at Indiana University, and Returns of the Day, premiered by Thomas Dvorak at University of Wisconsin-Milwaukee. Bremer was guest com- poser for the Technology Initiative Conference at Collin County College in Dallas, Texas; the Women Band Directors International Conference in San Diego; and composer-in-residence at Mans- field University

The zarzuela El Baile de Luis Alonsotells the adventures of Luis Alonso, a gypsy dance teacher, and his wife Mª Jesús. The action takes place in the city of Cádiz, around 1850. The author takes advantage of the theme of the work to resort to popular Hispanic themes.
tells the adventures of Luis Alonso, a gypsy dance teacher, and his wife Mª Jesús. The action takes place in the city of Cádiz, around 1850. The author takes advantage of the theme of the work to resort to popular Hispanic themes.

Gerónimo Giménez Bellido (1854-1923) was born in Seville and he studied music in Cádiz furthering his studies at the Paris Conservatory. Upon his return, he settled in Madrid where he was appointed director of the orchestra of the Teatro Apolo and, shortly after, of the Teatro de la Zarzuela. His first successful zar- zuela was Trafalgar, premiered in Barcelona (1890). Later, many others followed, of which we could highlight the famous twin works, El Baile de Luis Alonso (1896) y La Boda de Luis Alonso (1897), whose symphonic pages recall his ability in this field, superior to that usual in composers of the Spanish lyrical genre, and somewhat influenced by Italian music. The last years of his career were sad and the composer lived in poverty, despite some occasional successes.

With Heart & Voice was commissioned by Apple Valley High School Bands to commemorate the 25th anniversary.
Thematically, the work is based on the Apple Valley High School Alma Mater, an old Spanish hymn: "Come, Christians, Join to Sing", the opening line of which reads: "Let all, with heart and voice, before his throne rejoice". Hence, the title, With Heart and Voice: the "voice" in this case is the music and the "heart" is the emotion that the music renders in celebration.
The work begins with a feeling of reticence and apprehen- sion, listening to fragments of the Alma Mater that are gaining momentum, texture and volume culminating in a dramatic affirmation of the first four notes of the theme, followed by calm and a flute solo. The euphonium echoes the flute and soon more instruments join in and the section culminates with a dramatic fanfare. This is followed by a transitional section with much dis- sonance and rhythmic activity, followed by a glorious statement of the Alma Mater.
The next section begins as a fugue with underlying unsett- ling rhythmic activity in the percussion, becoming frantic and desperate, but soon subsides into peacefulness stated by the marriage of the Alma Mater theme and the "Mission" theme. An extended finale follows which celebrates both themes in playful, joyful, and dramatic exuberance.

David R. Gillingham (1947) earned Bachelor and Master De- grees in Instrumental Music Education from the University of Wisconsin-Oshkosh and the Ph.D. in Music Theory/Composition from Michigan State University.
His numerous awards include the DeMoulin Award and the International Barlow Competition (Brigham Young University).
Currently Dr. Gillingham is a professor of music at Central Michigan University and the recipient of an Excellence in Tea- ching Award (1990), a Summer Fellowship (1991), a Research Professorship (1995), and most recently, the President’s Research Investment Fund grant for his co-authorship of a proposal to establish an International Center for New Music at Central Michigan University. He is a member of ASCAP and has been receiving the ASCAP Standard Award for Composers of Concert Music since 1996.

The ballet Sorolla was commissioned and premiered by the Ba- llet Nacional de España in June 2013. The work is based on the fourteen murals that the painter painted about a century ago and which are on display at the Hispanic Society in New York.
Originally written for a symphony orchestra, each number co- rresponds to one of the murals and represents different scenes from Spanish folklore and traditions. Specifically, this adaptation for band is La Jota (Aragón).
One of the particularities of this Jota is that, due to the specific needs of the production, it was decided not to include the sung part of the jota, where the music normally relaxes a bit, thus the whole number is of a great dynamism and brilliance.

Juan J. Colomer estudió en (Juan José Revueltas Colomer) was born in Al- zira in 1966. He studied at the Sociedad Musical de Alzira, at the Conservatorio Superior de Música de Valencia and at Berklee College of Music (Boston) where he specialized in Film Scoring.
Shortly after he moved to Los Angeles where he continued to compose soundtracks for films that won, among others, a First Prize in Montecarlo, an Ariel nomination in Mexico and another at the Shockerfest Festival in California.
He has worked as an orchestrator for Plácido Domingo, José Carreras, Diana Ross, Dionne Warwick, Alejandro Fernández, The Three Tenors, etc
He has received commissions from the Orquesta Nacional de España, International Horn Symposium, Philip Jones Internatio- nal Competition (France), Centro para la Difusión de la Música Contemporánea, Spanish Brass, SBALZ Festival, Fundación Au- tor, Orquesta de la Comunidad de Madrid, Centro Nacional de Difusión Musical, Instituto Valenciano de la Música , etc.
His ballet Sorolla, commissioned by the Ballet Nacional de España, based on the murals by the Valencian painter exhibited at the Hispanic Society in New York, was premiered in June 2013 at the Naves del Matadero in Madrid.
His ballet Sorolla, commissioned by the Ballet Nacional de España, based on the murals by the Valencian painter exhibited at the Hispanic Society in New York, was premiered in June 2013 at the Naves del Matadero in Madrid.

Symphony for Winds is cast in three movements exploiting the wide range of colours and dynamics available within the con- temporary wind ensemble.

• I. Tribute: Two highly contrasting moods, one rhythmic and aggressive, the other calm and relaxed; yet both in the same tempo, compete with each other to dominate the opening movement. The first subject is always in search of a theme, realised at the conclusion, whereas the second always has one, but extends and develops i ton each reappearance.
• II. Chorale: A series of chorales in a simple, direct idiom pro- vides an aura of calm between the outer, more aggressive movements. Instrumental colour, soft dynamics and much use of tuned percussion and celesta are paramount.
• III. Display: The finale is a highly charged, dynamic scherzo contrasting tutti with more subtle combinations of solo instruments. Based on the principles of scales and arpeg- gios, though adapted, melody is always endeavouring to be part of the chase. This is tather like a miniature “concerto for orchestra”.

Martin Ellerbywas born in Worksop, England in 1957. After graduating from the London College of Music he studied com- position with Joseph Horovitz and counterpoint with W. S. Lloyd Webber at the Royal College of Music, and with Wilfred Josephs.
Amongst his awards and citations are the W. S. Lloyd Webber Director’s Prize, the Westminster Prize, the Arts Council of Great Britain Dio Fund Award, an Allcard Award, the George Butterwor- th and Norman Sykes Memorial Fund Awards, the Freedom of the City of London, the Royal Military School of Music 2008 Dr. Martin Ellerby Class, the 2012 BUMA International Brass Award (Holland), and, in his 60th birthday year (2017), the John Henry Iles Medal of the Worshipful Company of Musicians.
He holds a Doctor of Musical Arts Degree (DMA) from the University of Salford, an Honorary Doctor of Letters Degree (Hon DLitt) from the University of West London and five fellowships. He is the Artistic Director for Studio Music Company (London), External Examiner to the Royal Air Force Music Services (RAF Northolt) and Honorary Principal of the Victoria College of Music Examinations Board.

Putting music to the pictorial work of the Valencian painter means entering a world of light, color, harmony, chromaticism, poetic impression, aesthetic and dynamic proportions, etc. This is precisely what the music intends, which, based on four rele- vant paintings, and under the adjective "symphonic", suggests a Palleter with his enormous personality, his famous cry, his push, and intimate reflection. The musical work aims to convey the inspiring message in all, and how many details come together in this painting.
The vigor of this first scene contrasts with that of Pescado- ras valencianas, where music and localness come together in a smooth, soft, calm way... The English Horn outlines the theme with subsequent re-exposure by the entire group.
The painting Sol de la tarde presents us, through music, the very impression of the painting in its sound beginning and, later, with a present movement of the main theme that recalls the leisurely rhythm of oxen and fishermen in the sea.
The painting Sol de la tarde presents us, through music, the very impression of the painting in its sound beginning and, later, with a present movement of the main theme that recalls the leisurely rhythm of oxen and fishermen in the sea.

Bernardo Adam Ferrerobegan his musical training in the Algemesí band and at the Conservatorio Superior de Mú sica de Valencia. He received the extraordinary award for solfeggio, counterpoint and fugue and piano; he also studied harmony, composition and orchestra conducting. He continued his pre- paration at the conservatories of Madrid and the Accademia Musicale Chigiana in Siena, and the Accademia Nazionale di Santa Cecilia in Rome. In Paris he studied orchestration and conducting at the He was the principal director of the Banda “Santa Cecilia” de Enguera, Societat Artístico Musical de Beni- faió, Ateneo Musical de Cullera, Banda Primitiva de Lliria and the orchestra of the Unió Musical de Llíria.
In 1963 he joined the Cuerpo Nacional de Directores de Banda de Música Civiles and, in 1975, he entered the Cuerpo de Directo- res Músicos del Ejército , conducting the band of the División de Infantería Motorizada “Maestrazgo” No. 3 of Valencia, the Música del Gobierno Militar de San Sebastián and the Banda Sinfónica de Infantería de Marina de Madrid.
He has been technical director of the International Music Band Contest “City of Valencia”, director of the Semana Internacional de Mú sica Religiosa de Plasencia and of the Semana Internacio- nal de Música Religiosa de Valencia . Likewise, he has directed two congresses for composers at the Palau de la Música in Va- lencia and the International Wind Music Congress in Castellón.
He has been honorary president of the M. I. Academia de la Música Valenciana and corresponding academician of the Real Academia de Bellas Artes de San Fernando (Madrid).