Elmhurst University Music Department Present
Wind Ensemble and Symphonic Band
October 6, 2024 | 2:00pm
Hammerschmidt Chapel - - P R O G R A M - -
Elmhurst University Symphonic Band
James Hile, conductor
Fanfare – The Benefaction from Sky and Mother Earth Satoshi Yagisawa
Rakoczy March from “The Dammantion of Faust Hector Berlioz trans. Leonard B. Smith
A Cinematic Pair
Cadillac of the Skies from “Empire of the Sun”
John Williams Non Nobis Domine from “Henry V” Patrick Doyle trans. James Hile
King ishers Catch Fire
Chorale and Shaker Dance
Elmhurst University Wind Ensemble
Adam Kehl, conductor
A Prelude to a Shining Day (1992)
John Mackey
John Zdechlik
Yo Goto (b. 1958)
Satiric Dances (1975) Norman Dello Joio
I. Allegro pesante (1913-2008)
II. Adagio mesto
III. Allegro spumante
One Life Beautiful (2010) Julie Giroux (b. 1961)
Little Fugue (1707) Johann Sebastian Bach (1685-1750) arr by. Romm / Custer
Blow it Up, Start Again (2012)
Of Our New Day Begun (2015)
Jonathan Newman (b. 1972)
Omar Thomas (b. 1984)
Piccolo
ELMHURST UNIVERSITY SYMPHONIC BAND
Joseph Johnson
Flute
Sarah Collins
Fatima Dabbah
Jennifer Jeffrey
Heather Johnson
Camryn Nowak-Brown *
Victoria Palomino
Aliah Robles
Elaine Schumacher
Olivia Simmons
Ben Steger
Dorothy Stelzik
Cristina Vermeulen
Coral Weikert
Oboe
Claudia Sandine
Sabrina Zeidler- Michaelson
Victoria Zibel *
Bassoon
Nick J. Agliata III *
Clarinet
Gina Carter
Steve Goldman
Caroline Husa
Kim Hempel
Dan Kesselring
Melissa Lehmann
Laura Mensik
Mia Merrell *
Mya Robles
Bass Clarinet
Sean Gaertner
Alto Saxophone
Karabeth Footman *
Cadence Leucht
Asher Newman
Tenor Saxophone
Frank Barrett
Dominic Bouffard
Georgios Panagiotidis
Haris Smajkic
Baritone Saxophone
Emma Leucht
Eric Sanders
Trumpet
Eric Barbier
Eric Beltran
Mackenzie Costa
Justin Czarnowski
Bob Dickinson *
Abigail Komperta
Joe Miceli *
Luke Miller
Glenn Morimoto
Emmie Pawlak
Laurie Pieler-DiCola
Anna Thompson
Horn
Melissa Mescher
Joan Moore *
Sybil Siska
Trombone
Corinne-Nicole Ahyee
Michael Cumberland *
Vanessa Gronke
Ed Hempel
Drew Pekkarinen
Euphonium
Paul Eakley
Zach Hoffman
Tuba
John Kasongo
Edward A. Susmilch
Logan Turney
Percussion
Paola Aguilera
Brandon Cojulun
Shane Dickinson
Mike Paroline
ELMHURST UNIVERSITY WIND ENSEMBLE
Piccolo
Tori Marchi
Flute
Bianca Cima
Anthony Galang
Eliana Kiltz *
Claudia Rejowski
Oboe
Disha Virdi*
Bassoon Tobie Schroeder
Eb Clarinet
Joe Valenti
Clarinet
Nayely Casales
Audrey Dunwoody
Eliza A. Martinez
Faith Negele
Leonardo Rodriguez*
Cristian Zavala
Bass Clarinet
Evan Auriemma (contra)
Zoe Offenbecher
Alto Saxophone
Sophia Frasca
Lissette Hernandez* (soprano)
Christoper Tejeda
Tenor Saxophone
Nina Hoek
Bartione Saxophone
Bryce Leitzinger
Trumpet
Ian Bardes
Tim Gorman
Sebastian Martinez*
Charlie Rossi
Aldre Delos Santos
William Stezowski
Horn
Hannah Hadraba*
Trombone
Nathanial Gibson
Brianna Maciel
Ian Martinez*
Taylor Nygrne
Ashley Rokosz
Euphonium
Randy Beschomer
Milton Nonato
Ethan Soltys*
Tuba
TJ Countryman Jr.
David Johansson*
Patrick Williams
Percussion
Anthony Cox
Henrik Rivadeneira*
Brian Tacastacas
Tyler Wolf
SYMPHONIC BAND – PROGRAM NOTES
Fanfare – The Benefaction from Sky and Mother Earth . . .
. . . . Satoshi Yagisawa
This piece was commissioned by the Oyama City Symphonic Wind Orchestra to commemorate their 30th anniversary. The composer was inspired by Oyama City’s slogan, Water, green and earth, to write this festive fanfare. Following a gentle opening, a fanfare leads to a magni icent chorale. This turns into a quickly moving energetic section with irregular rhythm. This is a short but dramatic piece that makes a brilliant concert opener.
- Program Note from publisher
Rakoczy March from “The Damnation of Faust”
Hector Berlioz
The melodies in this work reportedly date from the time of Ferencz Rakoczy (1676-1735), a Hungarian national hero from whom this march takes one of its names. The march was popularized by Rakoczy's army and sung by the Hungarians since the 18th century. The irst known printing of the original march was made in Vienna in 1820. The work underwent several changes through the years, and Berlioz's arrangement was published by Treichlinger in Pest (later Budapest) in 1846. The composer decided to use the march while he was in Hungary making arrangements for a performance of The Damnation of Faust (which he described as a "dramatic legend" rather than an opera or an oratorio). He appreciated the patriotism of the Hungarians and changed his libretto to suit the situation, taking the "much traveled" Faust to Hungary so that he might see the troops depart for the war -- thus creating an opportunity for the playing of this march. The success of the plan was so overwhelming during the 1846 concert tour that Berlioz later wrote, "The hall was shaken by the wildest cries and stampings. I felt my hair standing on end."
‐ Program Note from Program Notes for Band
A Cinematic Pair:
Cadillac of the Skies from “Empire of the Sun”
Non Nobis Domine from “Henry V”
John Williams
Patrick Doyle
Cadillac of the Skies is taken from the score to the 1987 ilm Empire of the Sun, by John Williams. As Jim, played by a young Christian Bale, watches in amazement as the P-51 aircrafts attack the camp, he is overcome by the majestic spectacle of the aircraft and screams out joyously, "P-51, Cadillac of the Skies!" with the serene and beautiful music of the scene being wonderfully juxtaposed with the surroundings of war.
Non Nobis Domine is heard in the inal scene of Kenneth Branagh's 1989 directorial debut and magnum opus Henry V, in which he tapped his friend Patrick Doyle to score the ilm. The music was Doyle’s irst ilm score, and he brought considerable talent and imagination creating several sequences of ilm wonder, including the sequence of Non Nobis Domine after Henry's troops have defeated the French in the Battle of Agincourt. It is interesting to note that Patrick Doyle is also an actor and, in the ilm, portrays the soldier who sings the opening solo to Non Nobis Domine.
Non nobis Domine
Non nobis Domine
Sed nomine
Sed nomine
Not unto us, O Lord
Not unto us, O Lord
But to Your name
But to Your name
Tu o da gloriam! May all the glory be!
King ishers Catch Fire
John Mackey
Mackey wrote King ishers Catch Fire in 2006-2007 on commission from a consortium of schools in Japan. Says Mackey: “A king isher is a bird with stunning, brilliantly colored feathers that appear in sunlight as if they are on ire. King ishers are extremely shy birds and are rarely seen, but when they are seen, they are undeniably beautiful. King ishers Catch Fire imagines the bird lying out into the sunlight. The work ends with a reference to (and a bit of a pun on) Stravinsky’s Firebird.
‐ Program Note from the composer
Chorale and Shaker Dance
John Zdechlik
Chorale and Shaker Dance, written in 1972, combines a simple chorale theme, introduced by the woodwinds, with variations of the well-known Shaker hymn Simple Gifts. There is a progression of instrumental timbres and chord textures as the themes alternate and comingle. Brief solos for flute, clarinet, saxophone, and trumpet occur at tempo changes. The brass and woodwinds exchange the themes as time signatures cause increases in both tempo and intensity. Sustained brass sections play the chorale with woodwinds performing a fiery obligato based on the Shaker hymn as the development peaks. A demanding tympani part punctuates the dramatic ending.
- Program Note by Santa Clara University (Calif.) Wind Symphony concert program, 21 May 2014
WIND ENSEMBLE – PROGRAM NOTES
Yo Goto was born in Akita, Japan in 1958. He studied music and composition at Yamagata University, the Tokyo College of Music, and the University of North Texas, where he studied composition with Cindy McTee. He has since become a leading composer of wind band music around the world, and is a highly sought after clinician, guest conductor, and presenter at international conferences such as WASBE and the Midwest Clinic.
A Prelude to a Shining Day was written in 1992 to celebrate the 10th anniversary of the Noda Junior High School Concert Band in Kawagoe, Japan. The piece is a fanfare featuring antiphonal brass, and is structured in three clear sections, a fanfare opening, a slower, lyrical middle section, and a final section that unites the two previous themes in a triumphant conclusion.
Norman Dello Joio was born in New York in 1913. He began his musical career at the young age of 14 as an organist and choir director at Star of the Sea Church, after studying with his father, the organist of the famed St. Patrick’s Cathedral in New York City. He would go on to study composition at Julliard with Bernard Wagenaar and Paul Hindemith. Dello Joio became a prolific composer, creating works for choir, band, orchestra, chamber and solo works. His numerous awards include an Emmy and the prestigious Pulitzer Prize. He passed away in New York in 2008.
Satiric Dances was composed in 1975 and has been a maintstay in the wind band repertoire ever since. The piece was originally composed on commission from the Town of Concord Massachusetts to celebrate the Bicentennial of April 19, 1775, the day that launched the American War for Independence. While agreeing to do the commission, Dello Joio stipulated that it would be based on music he had previously composed as the background for a Greek comedy by Aristophanes. The first movement sets a mood of pageantry in a light, yet serious Greek spirit. The second movement has a melancholy nature, and showcases Dello Joio’s compositional prowess, especially his command of instrumental timbre. The third music proceeds from the second without break and is an energetic dance that stands as a great showpiece for winds.
Julie Giroux was born in Massachusetts in 1961, before being raised in Phoenix, Arizona, and Monroe, Louisiana. Following studies at LSU and Boston University, she moved to Los Angeles in 1985 where she quickly established herself as a film and television composer, working on the music for Dynasty and the award-winning mini-series North and South, as well as movies such as Karate Kid II and White Men Can’t Jump. She also found great success as an arranger for artists such as Dolly Parton, Celine Deon, Madonna, Reba McEntire, Little Richard, and Michael Jackson. She has won numerous awards including an Emmy Award, for which she was first woman, and youngest ever, to win in the category. Since her time in LA, her compositional career has moved toward the classical stage, composing works for orchestra, band, choir and other ensembles. She is also in demand as a clinician and conductor for ensembles around the world.
One Life Beautiful was written in 2010 in memory of Heather Cramer Reu after her untimely passing. Commissioned by her family, the work was written to honor her ‘one life beautiful’ and the love and joy shebrought to so many lives. Julie Giroux writes of the piece:
“One Life Beautiful” – the title itself is a double-entendre, which in one sense is referring to the person this work is dedication to as in “one life” that was beautifully lived. The other sense is a direct observation concluding that having only one life is what makes life so
sacred, tragic, and so very precious. This is an impressionistic work musically describing that condition. Shakespeare’s “sweet sorrow,” the frailty and strength of life, the meaning of what it is to truly live One Life Beautiful.
Johann Sebastian Bach’s Little Fugue in G minor is one of the most famous and recognizable melodies in the classical music cannon. It was nicknamed the “little fugue” because it is not coupled with a prelude, as was often the case in the era, and to stand apart from those classified as his “great fugues.” Originally written for organ, tonight’s arrangement for wind band is derived from the famed version performed and recorded by the legendary Canadian Brass since the early 1970s. Even now, over 50 years after the brass quintet version came to life, it remains the Canadian Brass’s most frequently requested piece, proof of the works timeless greatness.
Jonathan Newman was born in 1972 and holds degrees from Boston University and The Julliard School, studying composition with John Corigliano and David Del Tredici. His music is lauded for its rhythmic ingenuity, intricate and sophisticated command of thematic material, timbre, and orchestration, and its imaginative, creative inspiration. Newman’s compositional style draws heavily from his eclectic musical backgrounds and tastes. Growing up as a pianist and trombone player, he performed in ensembles from orchestras to jazz choir and marching band. His unique prospective on music has led to critically acclaimed pieces for a wide range of ensembles, television, and film, and he is routinely commissioned for new works from a vast group of ensembles and performers across the globe.
Blow it Up, Start Again was originally composed for orchestra in 2011 through a commission from the Chicago Youth Symphony Orchestra. Newman crafted the version for wind ensemble shortly after the orchestral premiere. Described by the Chicago Tribune as “riotously funky,” the piece is an explosion of sorts, with shards of chaotic, frenetic, splintered musical shrapnel flying about, while the hard, heavy work of rebuilding begins with inspiration from funk, jazz, and heavy metal rock music. The piece bares a succinct program note from the composer:
“If the system isn’t working anymore, then do what Guy Fawkes tried and go anarchist: Blow It all Up, and Start Again.”
Hailed as “elegant, beautiful, sophisticated, thought provoking, intense, and crystal clear in emotional intent,” Omar Thomas’s music has quickly become recognized as some of the finest in composition today. Born in Brooklyn in 1984, he received a Master of Music in Jazz Composition at the New England Conservatory following an undergraduate degree from James Madison University. He has received awards and critical acclaim for both his classical and jazz composition, including becoming the first Black composer to win the distinguished Reveli Award for composition from the National Band Association. In addition to a busy schedule of composing, he currently serves as an Associate Professor of Music at the University of Texas at Austin, following appointments at the Berklee College of Music and the Peabody Institute.
Thomas writes of the work:
“Of Our New Day Begun” was written to honor nine beautiful souls who lost their lives to a callous act of hatred and domestic terrorism on the evening of June 17, 2015 while worshipping in their beloved sanctuary, the historic Emanuel African Methodist Episcopal Church (affectionately referred to as “Mother Emanuel”) in Charleston, South
Carolina. My greatest challenge in creating this work was walking the line between reverence for the victims and their families, and honoring my strong, bitter feelings towards both the perpetrator and the segments of our society that continue to create people like him. I realized that the most powerful musical expression I could offer incorporated elements from both sides of that line - embracing my pain and anger while being moved by the displays of grace and forgiveness demonstrated by the victims’ families.
Historically, black Americans have, in great number, turned to the church to find refuge and grounding in the most trying of times. Thus, the musical themes and ideas for “Of Our New Day Begun” are rooted in the Black American church tradition. The piece is anchored by James and John Johnson’s time-honored song, “Lift Every Voice and Sing” (known endearingly as the “Negro National Anthem”), and peppered with blues harmonies and melodies. Singing, stomping, and clapping are also prominent features of this work, as they have always been a mainstay of black music traditions, and the inclusion of the tambourine in these sections is a direct nod to black worship services.
“Of Our New Day Begun” begins with a unison statement of a melodic cell from “Lift Every Voice….” before suddenly giving way to ghostly, bluesy chords in the horns and bassoons. This section moves to a dolorous and bitter dirge presentation of the anthem in irregularly shifting 12/8 and 6/8 meter, which grows in intensity as it offers fleeting glimmers of hope and relief answered by cries of blues-inspired licks. A maddening, ostinato-driven section representing a frustration and weariness that words cannot, grows into a group singing of “Lift Every Voice and Sing,” fueled by the stomping and clapping reminiscent of the black church.
In the latter half of the piece the music turns hopeful, settling into 9/8 time and modulating up a step during its ascent to a glorious statement of the final lines of “Lift Every Voice….” in 4/4, honoring the powerful display of humanity set forth by the families of the victims. There is a long and emotional decrescendo that lands on a pensive and cathartic gospel-inspired hymn song. Returning to 9/8 time, the piece comes to rest on a unison F that grows from a very distant hum to a thunderous roar, driven forward by march-like stomping to represent the ceaseless marching of black Americans towards equality. – Omar Thomas
About the Conductors
Dr. Adam Kehl serves as Director of Bands, Associate Professor of Music at Elmhurst University where he conducts the Elmhurst Wind Ensemble, teaches conducting, and provides leadership for all facets the universities band program. Previously, Dr. Kehl served as Associate Director of Bands at the University of Hawai’i at Manoa, and as Director of Bands at Elon University in Elon, NC. Originally from the Paci ic Northwest, Dr. Kehl holds Bachelor of Music degrees in Music Education and Percussion Performance from the University of Oregon, a Master of Music in conducting from the University of New Mexico, and a Doctor of Musical Arts in conducting from the University of South Carolina. He previously served as a high school band director in the public schools of California and is highly active as a clinician, adjudicator, and guest conductor for concert and marching bands around the United States.
Dr. Kehl maintains an active research agenda, primarily focusing on the creation of historically accurate critical editions, for the purpose of modern performance, of wind music from the French Revolution. Four of his editions from composers Gossec, Catel and Hyacinthe Jadin are published and available from Maxime’s Music Publishing, with additional editions scheduled in the coming years. He also frequently presents sessions at conferences on conducting gesture development, score study, and student leadership development. Dr. Kehl has completed three musical tours abroad, including tours in China and Italy, and served as an Associate Producer on the USC Wind Ensemble’s critically acclaimed “Bernstein: The Transcriptions for Wind Band” for Naxos Records.
He is an advocate for new music, media integration, creative programming and inter-arts collaboration, and is actively involved in bringing new works to life through commissioning and conducting premieres, including works by Donald Grantham, Kevin Walczyk, David Clay Mettens, Carter Pann, Adrienne Albert, Todd Coleman, Ted King-Smith, David Kirkland Garner, Nick Omiccioli, Aaron Perrine, and Tyler Ono, and has worked with such guests artists as Dr. David Constantine, Dr. Nave Graham, famed Hawaiian singers Willie K and Henry Kapono, Lynn and John Beck, the Elon Dance Department, and Elon University President Dr. Leo Lambert.
Dr. James Hile currently serves as Chair of the Music Department at Elmhurst University. He most recently served as Director of Bands at Elmhurst University and taught in the public schools at Highland Park High School (IL). He served as Director of Bands at the University of North Carolina at Chapel Hill and began his collegiate teaching career as the Assistant Director of Bands at the University of Illinois.
Hile has gained a national reputation as a band arranger and his arrangements and transcriptions have been performed by numerous high school, college and university bands, the United States Army Band, the United States Army Brass Band, the United States Air Force Band, the Interlochen Music Academy Bands, the Dallas Wind Symphony, and the Israel Philharmonic Winds.
Hile has received numerous awards for teaching excellence at both public school and collegiate levels and is also a recipient of the “Citation of Excellence” by the National Band Association. He has been recognized as a Chicagoland Outstanding Music Educator, Illinois Bandmaster of the Year and was recently recognized in Who’s Who in America. He currently maintains an active schedule as a guest conductor, arranger, clinician and adjudicator.
Elmhurst University Music Department
Chair: Dr. James Hile
Administrative Assistant: Trish Thoren
Elmhurst University Applied Wind and Percussion Faculty
Flute: Professor Marie Bennett
Oboe: Professor Julie Popplewell
Bassoon: Professor Dianne Ryan
Clarinet: Professor Andrea DiOrio
Saxophone: Professor Matthew Beck
Trumpet: Professor Christopher O’Hara
French Horn: Professor Emma Sepmeier
Trombone: Professor Thomas Stark
Euphonium/Tuba: Professor Josh Wirt
Percussion: Professor Bob Rummage
Elmhurst University Concert Band Staff
Director of Bands/Wind Ensemble
Dr. Adam Kehl
Director of Symphonic Band
Dr. James Hile
Director of Varsity Band
Mr. Eric Morong
Band Managers: Claudia Rejowski, Ethan Soltys
Band Staff: Leo Rodriguez, Evan Auriemma, Disha Verdi, Lissette Hernandez, Hannah Hadraba, Charlie Rossi, Karabeth Footman
Program and Poster Design: Sabina Fijor
Recording: Mr. John Towner and Student Recording Service
Upcoming Elmhurst University Bands Events
Halloween Spooktacular – event for all ages, costumes encouraged!
October 27, 2024 – 7:00pm in Hammerschmidt Chapel
Veteran’s Day Concert
November 10, 2024 – 12:00pm in Hammerschmidt Chapel
Holiday Concert
December 8 , 2024 – 7:00pm in Hammerschmidt Chapel
Winter Concert
March 9, 2025 – 2:00pm in Hammerschmidt Chapel
Spring Concert
May 4, 2025 – 2:00pm in Hammerschmidt Chapel
We hope to see you again at an upcoming Elmhurst University Bands Event!
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