Health Careers High School Symphonic Band
Flute / Piccolo Trumpet
Isabella Brown Antonio Infante
Ayleen Cano Holly Whitten Leila Elble
Helen Lan Trombone Kaitlyn McClellan Zachary Lopez Oliviana Wright
Euphonium Oboe Anali Martinez
Lauren Tappmeyer
Tuba
Bassoon Caleb Grant Kishan Patel Hevan Mancillas Xander Zamora Clarinet
Lelandra Ayala Percussion Anish Kalva Charzel Gallegos Noah Rodriguez Vivek Gowdhaman Annabelle Ross Cassandra Marrufo Sophia Rosser Emily Mora Katya Sanchez Lola Urquiza
Alto Saxophone
Gabriella Lara Jordan Leonard Syriana Martinez Eric Oh
Tenor Saxophone Krishna Gurung Joshua Mason Diego Villalobos
French Horn James Gonzales
Susivarshini Karthigayan Paige Wright
Personnel roster is listed alphabetically to emphasize the important contribution made by each musician
University of Texas at San Antonio Symphonic Band
Flute / Piccolo
Hannah Benitez
Hayley Garcia Reagan Lujan
Josephine Medina
Abigail Valadez
Oboe
August Naranjo
Clarinet
Connor Boyson Kali Crist Sarah Hamm
Zayah Hough
Kenedy Lerma Madilynne Mohr Alto Saxophone
Joaquin Robles Daniel Soria Nicholas Zars
Tenor Saxophone Joseph Cerros
Baritone Saxophone Noel Llanes Horn
Gavin Campos Macy Harmison
Laura Navarrette Kaleb Warren
Trumpet
Alissa Esper Juan Ramirez Philip Scheidt Mary Shaw
Trombone
Brandin Castillo Caroline Foster Andrew Garcia Micah Rosenstein Bass Trombone William Regalis Euphonium Jordan Davis Michael Hernandez Tuba Jake Jones Zach Mascorro Kenyon McCrary
Percussion
Margaret Burns Yahir Hernandez Adam Jackson Nicolas Morales Rafael Muñoz Cervantes Ivan Ventura
Assisting Musicians
Daniel Aguilar, oboe/English horn
Carlos Cody Mata, bassoon Jared Worman, bassoon
Darion Campbell, bass clarinet Heriberto Ayma, string bass Valeria Hernandez, percussion
Band Staff
Alissa Esper, manager
Caroline Foster, manager
Hayley Garcia, manager Michael Hernandez, manager Kenyon McCrary, manager
Darion Campbell, music librarian Gregory Valean Jadee Dovalina, music librarian Daniel Vazquez Jaime Viejo, music librarian
Myles Thornton
Personnel roster is listed alphabetically to emphasize the important contribution made by each musician
Guest Soloist
Gary Poffenbarger joined the faculty at The University of Texas at San Antonio School of Music in the Fall of 2017. He teaches tuba and euphonium lessons to music majors, leads weekly masterclasses, and directs the UTSA Tuba/Euphonium Ensemble, better known as “¡El Boom Squad!.”
Mr. Poffenbarger holds a M.M. from Boston University, and a B.M.Ed. from Arkansas State University. His principal teachers include: Sam Pilafian, William Holmes, Wesley Branstein, Warren Deck, Gary Ofenloch, Ronald Romm, Roger Voisin, Timothy Morrison, David Ohanian, William Pfund, Allan Dean and Arnold Jacobs.
He is former member of The Boston Brass, Epic Brass and The Boston Tuba Quartet. He was the principal tubist with The United States Air Force Academy Band and group leader/music director of The Stellar Brass which has performed at The Midwest Clinic, Texas Music Educators Convention, Texas Bandmaster Association Convention, Arkansas Bandmasters Association Convention, Colorado Music Educators Association Convention, International Trumpet Guild Conference, International Tuba Euphonium Association Convention, The United States Army Band Tuba Euphonium Workshop and The American Bandmasters Association Convention.
While at the Academy he was a member of the arranging staff creating over 150 arrangements and taught Finale for the Air Force. Later he was named Chief of the Band Support Division for The Air Force Public Affairs Association and led a team that created music compositions/arrangements, managed music licensing and social media for all Air Force Bands and Public Affairs.
He has been featured on over 32 video and audio recording projects and performed live for over 50 million people worldwide. He has performed more than 40 times on TV including PBS, Fox and Friends and The Armed Forces Network.
He was previously the instructor of Tuba and Euphonium at Colorado State University Pueblo, was a member of the faculty at The Rafael Mendez Brass Institute and was Director of Bands at Louise ISD.
Mr. Poffenbarger is an artist/clinician for the Eastman Music Company.
Conductors
Cathryn Fowler graduated from UTSA in 2013 with a degree in Music Education and a performance certificate. Mrs. Fowler started teaching in SAISD at multiple campuses at the middle and high school level. She continued her education at the American Band College in Ashland, Oregon and received a Masters Degree in Music Education. Mrs. Fowler takes special joy in her job at Health Careers High School. In her fourth year, she is Director of Bands, including 3 concert bands and 1 jazz ensemble.
Mrs. Fowler has continued performing in multiple ensembles, including Prickly Pear Clarinet Ensemble, San Antonio WInd Symphony, and has also performed for multiple shows at the San Pedro Playhouse and Woodlawn Theatre.
Mrs. Fowler married Burton Fowler, a bassoonist with the Air Force Band of the West, and they have a beautiful baby boy, Bradford Fowler, who is 8 months old! She spends her free time with her wonderful family, and loves the outdoors.
John Zarco is Director of Instrumental Ensembles and Associate Professor of Music at the University of Texas at San Antonio. His responsibilities include conducting the UTSA Symphonic Band and University Band, in addition to teaching graduate and undergraduate courses in conducting, wind literature, and music education.
Prior to his appointment at UTSA, Dr. Zarco served as Director of Bands at Millersville University in Pennsylvania and as a public school instrumental music teacher at Saratoga High School, in Saratoga, California. He received a D.M.A. in conducting from the University of Minnesota as well as B.M. (music education) and M.M. (conducting) degrees from California State University, Sacramento. Dr. Zarco has honorary memberships in the national organizations of Pi Kappa Lambda, Sigma Alpha Iota, Kappa Kappa Psi, Tau Beta Sigma, and Phi Mu Alpha Sinfonia.
In addition to his work at the university level, Dr. Zarco conducted the Youth Orchestras of San Antonio (YOSA) Symphonic Winds during their inaugural 2014 15 season. He was on the Executive Board of the Texas Music Educators Conference and recently completed a term as TMEA Region 29 College Division Chair. His book, Rehearsing the Band, Volume 3 is published by Meredith Music Publications and is distributed by Hal Leonard.
Special thanks to the following for their ongoing support and dedication to the UTSA Bands:
Dr. Tracy Cowden, Director, School of Music Dr. Stacey Davis, Acting Director, School of Music Dr. Kasandra Keeling, Associate Director, School of Music Naomy Ybarra, Administrative Services Officer 1 Steven Hill, Administrative Associate Wesley Penix, Senior Events Manager Rolando Ramon, Marketing Coordinator
Mr. Donald Marchand, Music Program Specialist, UTSA Bands Hector Garcia and Jayland Brown, UTSA Bands Graduate Assistants
Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Faculty Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators
Prof. Troy Peters, Director of Orchestras
Dr. Yoojin Muhn, Director of Choral Activities
UTSA School of Music Faculty
Jadee Dovalina, Jaime Viejo, and Darion Campbell, School of Music Librarians UTSA Bands Managers
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Program Notes
Jaime Texidor Dalmau was a prolific composer of music for band. He wrote pasodobles (reportedly more than 100), descriptive poems, potpourris, waltzes, schottisches, sardanas, tangos, folk dances, polkas, jotas, and a number of processional, funeral, and concert marches. Texidor’s most popular publications include the descriptive poem Una Jornada Militar; the rhapsody Sabor de España; and the pasodobles Amparito Roca, Carrascosa, De Andalucia a Aragon, Sangre de Artista, Gloria al Trabajo, and Chacarte (which was dedicated to a bullfighter of Baracaldo).
Although the original score of Amparito Roca was reportedly written (possibly under a different title) by the British bandmaster Reginald Ridewood, Jaime Texidor undoubtedly copyrighted the work and arranged for its publication by Editorial Musica Moderna in Madrid and, in 1935, by Boosey & Hawkes in London. In April 1936, an ad by Boosey & Hawkes in The Musical Progress and Mail included the title Amparito Roca followed by a translation, “The Sheltered Cliff.” The present conductor of the Baracaldo Municipal Band, Juan Esteve Galán, has stated, however, that Texidor dedicated the paso doble to a girl named Amparito Roca, and that she still lives in that area. Regardless of its origin, researchers agree that Amparito Roca is still one of the band world’s most popular paso dobles.
The son of an immigrant Portuguese father and a German mother, John Philip Sousa grew up in Washington, D.C., where from the age of six he learned to play the violin and later various band instruments. In 1867, he began to follow the career of his father as a trombonist, but he eventually took engagements as an orchestral violinist and served as a conductor. He also began composing.
In 1868, he enlisted in the United States Marine Corps as an apprentice in the Marine Band. He began building his formidable reputation as a bandmaster of great precision through his leadership (1880 92) of this group, which he raised to the highest standard of performance. In 1892, he formed his own band, a carefully selected group capable of equal virtuosity in both military and symphonic music; with it, he toured the United States and Europe and even did a world tour. Sousa composed 136 military marches, remarkable for their rhythmic and instrumental effects.
Sousa consistently stated that this march was divinely inspired and was born of homesickness. In his autobiography, Marching Along, he provides the details of its creation after he had received a cablegram in Italy that his manager, David Blakely, had died:
Compiled and Edited by John Zarco
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“Aboard the Teutonic, as it steamed out of the harbor on my return from Europe in 1896, came one of the most vivid incidents of my career. As I paced the deck, absorbed in thought, suddenly I began to sense the rhythmic beat of a band playing within my brain. It kept on ceaselessly, playing, playing, playing. Throughout the whole tense voyage, that imaginary band continued to unfold the same themes, echoing and reechoing the most distinct melody. I did not transfer a note of that music to paper while I was on the steamer, but when we reached the shore, I set down the measures that my brain band had been playing for me, and not a note of it has ever changed. The composition is known the world over as The Stars and Stripes Forever and is probably my most popular march.” (By permission of John Philip Sousa, Inc., New York City)
Paul Bierley states that The Stars and Stripes Forever is “by far the most popular march ever written, and its popularity is by no means limited to the United States.” The universal appeal of Sousa’s march is illustrated by an article in The New York Times by Harold Schonberg which tells of a tour to China by Eugene Ormandy and the Philadelphia Orchestra in 1973. After sitting politely but stonily through a program which ranged from Beethoven to Copland, the orchestra struck up The Stars and Stripes. “All of a sudden electricity permeated the hall. Faces broke into smiles; feet began tapping; there was a general air of understanding and happiness. Maybe... (it) really is the greatest piece of music ever written by an American. In any case, it has made more friends for America than any other piece of music…”
note from windrep.org]
A graduate of Texas Tech University, Gabe Musella holds a B.M. in composition and M.M. in conducting. He has taught for over twenty years in the Texas public school system Mr. Musella’s bands have earned UIL Sweepstakes, performed at The Midwest Clinic, BOA National Concert Band Festival, and have been finalists in the TMEA Honor Band competition, UIL State Marching Contest, and BOA Super Regional in San Antonio. A frequent clinician and adjudicator throughout Texas, Mr. Musella has presented sessions at TBA, TMEA, The Southern Regional Music Conference, and Midwest. He has also served on the UIL Sight Reading and Music Advisory Committees.
Don Ricardo is a paso doble written in the Spanish tradition. It is dedicated to Richard Crain, former director of music of the Spring Independent School District in Texas, long time Texas high school band director, and Midwest board vice president. The explosive and powerful introduction of this piece seamlessly drops off to reveal its genuine Latin spirit. The enchanting melodies and driving rhythms transport the listener to a distant time and place, where Latin inspired harmonies, rhythmic patterns and instrumentation bring to life a vibrant musical story line.
[Program note from windrep.org]
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Herbert Clarke was a dedicated composer, author, conductor, cornetist, and teacher He has been declared by some to be the greatest cornetist of all time. Clarke believed that cornet playing should be pleasure rather than a chore. It is estimated that Clarke played over 15,000 solos during his long and active career. He traveled over 90,000 miles with the bands of Gilmore, Sousa, Innes, Herbert, and others. He made 34 tours of the United States and Canada, four European tours, and one tour around the world.
Described as a “Rondo Caprice,” From the Shores of the Mighty Pacific has remained an important part of the standard solo literature for band. Clarke even recorded the piece with the Sousa band.
note from windrep.org]
With over 250 published works for concert band, wind ensemble, orchestra, chorus, and various smaller chamber music groups, Alfred Reed was one of the nation’s most prolific and frequently performed composers. His work as a guest conductor and clinician took him to 49 states, Europe, Canada, Mexico, Japan, Australia, and South America For many years, at least eight of his works have been on the required list of music for all concert bands in Japan, where he was the most frequently performed foreign composer.
Armenian Dances, Part I, is part of a four movement suite for concert band/wind ensemble based on authentic Armenian folk songs from the collected works of Gomidas Vartabed, the founder of Armenian classical music. The piece was completed in the summer of 1972 and first performed by Dr. Harry Begian, (to whom the work is dedicated), and the University of Illinois Symphonic Band, on January 10, 1973, at the C.B.D.N.A. Convention in Urbana, Illinois.
The music is built upon five Armenian folk songs which were first notated, purified, researched, and later arranged by Gomidas for solo voice with piano accompaniment, or unaccompanied chorus. In order of their appearance in the score, they are: Tzirani Tzar (The Apricot Tree); Gakavi Yerk (Partridge's Song); Hoy, Nazan Eem (Hoy, My Nazan); Alagyaz and Gna, Gna (Go, Go).
note from windrep.org]
James Barnes studied composition and music theory at the University of Kansas, earning a Bachelor of Music degree in 1974, and Master of Music degree in 1975. Prof. Barnes is now emeritus faculty at the University of Kansas, after having taught orchestration, composition, ensembles, and wind band history and repertoire at KU for over 25 years. His numerous publications for concert band and orchestra are extensively performed at Tanglewood, Boston Symphony Hall, Lincoln Center, Carnegie Hall and the Kennedy
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Center in Washington, DC. Prof. Barnes has received the coveted American Bandmasters Association Ostwald Award for outstanding contemporary wind band music twice. He has been the recipient of numerous ASCAP Awards, the Kappa Kappa Psi Distinguished Service to Music Medal, and numerous other honors and grants. Prof. Barnes has traveled extensively as a guest composer, conductor, and lecturer throughout the United States, Europe, Australia, Japan and Taiwan.
Composed in the summer of 1984, James Barnes’ Yorkshire Ballad was premiered at the Kansas Bandmasters Association Convention in Hutchinson, Kansas, by the late Claude T Smith, who was serving as the guest conductor for the Kansas Intercollegiate Band. Since being published in 1985, it has become one of the composer’s most popular works. It has been arranged for full orchestra and string orchestra by the composer, for marimba and piano by Linda Maxey, for flute choir by Arthur Ephross, and for trombone or tuba/euphonium ensemble by John Bohls.
note from windrep.org]
Robert Sheldon serves as Concert Band Editor for the Alfred Publishing Company. He maintains an active composition schedule, regularly accepting commissions for new works. Mr. Sheldon taught instrumental music in the Florida and Illinois public schools, and has served on the faculty at Florida State University He received the Bachelor of Music in Music Education from the University of Miami and the Master of Fine Arts in Instrumental Conducting from the University of Florida. An internationally recognized clinician, Mr. Sheldon has conducted numerous Regional and All State Honor Bands throughout the United States and abroad, is conductor of the Prairie Wind Ensemble in residence at Illinois Central College, and teaches Composition at Bradley University. He was honored by the International Assembly of Phi Beta Mu in 1990 as being the International Outstanding Bandmaster of the year.
Choreography was commissioned by the 2008 ATSSB All State Band by the Association of Texas Small School Bands. Written in overture form, the piece draws its inspiration from dance movements found in contemporary stage, ballet and theatrical productions. The piece opens with fast paced angular gestures accompanied by rapid rhythmical punctuations before yielding to a contrasting lyrical section with long, flowing lines and many opportunities for expressive playing. The infectious beat patterns and memorable melodic content combine to make this an excellent concert opener.
[Program note from windrep.org]
For More Information:
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