Elmhurst University Music Department Present
Wind Ensemble and Symphonic Band
May 4, 2025 | 2:00pm
Hammerschmidt Chapel
- P R O G R A M - -
Elmhurst University Symphonic Band
James Hile, conductor
Fire in the Blood
“Perdono” from The Marriage of Figaro
Gabriel’s Oboe
Julie Popplewell, oboe
“Mambo” from West Side Story
Symphony No. 3 “Tragic”
Paul Lovatt-Cooper
Wolfgang Amadeus Mozart trans. James Hile
Ennio Morricone
Leonard Bernstein trans. Paul Lavender
James Barnes
Splinter (2019)
Elmhurst University Wind Ensemble
Adam Kehl, conductor
“…Somethings Borrowed, Somethings Blue”
Concerto for Timpani and Wind Ensemble (2013)
1. Moderato e Rubato, Allegro Energico
2. Tempo di Blues
3. Allegro a la Afro Cubano
Gunnery Sargeant Dr. David Constantine, timpani
Holly Harrison (b. 1988)
Jeff Tyzik (b. 1957)
Between Glimpses of Blue (2016)
Ted King-Smith for Wind Ensemble and Fixed Media (b. 1988)
Kauyumari (2021)
Gabriela Ortiz (b. 1964)
arr: Michael Brignolo
ELMHURST UNIVERSITY SYMPHONIC BAND
Piccolo
Hannah Wilger
Flute
Sarah Collins
Fatima Dabbah *
Jennifer Jeffrey
Jessica Jeffrey
Heather Johnson
Kristin Miceli
Victoria Palomino
Aliah Robles
Olivia Simmons
Ben Steger
Dorothy Stelzik
Cristina Vermeulen
Oboe
Claudia Sandine
Victoria Zibell
Bassoon
Nick J. Agliata III *
Heather Forster-Jensen
Clarinet
Gina Carter
Yanalis Conchas
Steve Goldman
Caroline Husa
Kim Hempel
Dan Kesselring
Melissa Lehmann
Mia Merrell *
Georgios Panagiotidis
Mya Robles
Lisa Steele
Bass Clarinet
Frank Barrett
Sean Gaertner
Alto Saxophone
Karabeth Footman *
Nathan Klinger
Nathan Levendel
Tenor Saxophone
Dominic Bouffard
Lauren Hauser
Haris Smajkic
Baritone Saxophone
Emma Leucht
Eric Sanders
Trumpet
Eric Barbier
Justin Czarnowski
Bob Dickinson *
Wade Klinger
Abigail Komperta
Joe Miceli *
Glenn Morimoto
John Orkrzesik
Horn
Cheryl Ciammetti
Luke Fahey
Joan Moore *
Amy Mullard
Trombone
Sebastian Cabezas
Michael Cumberland *
Vanessa Gronke
Ed Hempel
Brianna Maciel
Drew Pekkarinen
Euphonium
Josh Benjamin
John Hiltenbrand
Tuba
Luke B. Hollis
John Kasongo *
Edward A. Susmilch
Percussion
Matt Browne
Jeff Maginity
Morgan Martin
Mike Paroline
Diego Rodriguez
* denotes principal
Piccolo
Tori Marchi
Flute
Bianca Cima
Anthony Galang
Eliana Kiltz *
Camryn Nowak-Brown
Oboe
Disha Virdi*
Bassoon
Tobie Schroeder
Eb Clarinet
Joe Valenti
Clarinet
Audrey Dunwoody
Eliza A. Martinez
Faith Negele
Cristian Zavala*
Bass Clarinet
Evan Auriemma (contra)
Zoe Offenbecher
Alto Saxophone
Sophia Frasca
Lissette Hernandez* (soprano)
Cadence Leucht
Tenor Saxophone
Christoper Tejeda
Baritone Saxophone
Bryce Leitzinger
Trumpet
Ian Bardes
Mackenzie Costa
Charlie Rossi*
Aldre Delos Santos
Anna Thompson
Horn
Liz Deitemyer
Hannah Hadraba*
Momoko Hasselbring Seko
Yana Votintseva
Trombone
Nathanial Gibson
Ian Martinez*
Taylor Nygren
Euphonium
Milton Nonato
Ethan Soltys*
Tuba
TJ Countryman Jr.
David Johansson*
Percussion
Anthony Cox*
Henrik Rivadeneira
Ian Stenzel
Brian Tacastacas
Harp
Raquel Coleman
* denotes principal
PROGRAM NOTES
SYMPHONIC BAND
Fire in the Blood
. Paul LovattCooper
Fire in the Blood was commissioned by Dr Stephen Cobb for the 120th anniversary of the International Staff Band of the Salvation Army. The piece was composed for the celebration concert where the ISB were joined by several other staff bands from around the world to perform independently to a sell-out capacity crowd at Britain’s most famous concert hall The Royal Albert Hall. Fire in the Blood received its world premier at the ‘ISB 120’ concert at the Royal Albert Hall on June 4th 2011.
With this piece I wanted to acknowledge music that had an impact on me through my Salvation Army upbringing. When thinking of a title for this piece I had no hesitation than to reflect and re-word the Salvation Army’s motto under their famous crest ‘Blood and Fire’.
When composing Fire in the Blood I wanted to use three songs of worship that have been prevalent in the Salvation Army’s services over a number of years. Opening with Richard Phillips’ setting of Psalm 95, ‘Sing for Joy’, the music is vibrant and full of energy, I wanted to capture the spirit of the well-known words of Scripture. The music then moves into a more reflective section that includes Howard Davies’ emotive song melody ‘Lord, you know that we love you’ and Laurie Klein’s worship song ‘I love you Lord’.
A re-statement of the opening Psalm setting follows and this, in turn, leads into a dramatic and powerful finale that combines two pivotal statements drawn from the slower, reflective section: I love you lord, and I lift my voice to worship you, O my soul rejoice and Lord, you know that we love you with a final flourish from Psalm 95: Come let us sing joy to the Lord!
- Program Note by composer
“Perdono” from The Marriage of Figaro .
Wolfgang Amadeus Mozart
Perhaps one of the most sublime moments in all music occurs in the Fourth Act of The Marriage of Figaro.
Act IV Synopsis – Figaro is overtaken by jealousy when he learns that Susanna has given the Count a note, not realizing that she and the Countess are working together to trap the Count. Susanna and the Countess switch clothes and pretend to be one another. The Count, thinking that he is speaking to Susanna when in reality he is speaking to his wife, confesses his love for Susanna, offering his wife the kindest words he has uttered to her in ages, all because he thinks she is someone else (Susanna). Figaro finally realizes the woman he
thought was the Countess is in reality his fiance, Susanna. Loudly confessing his love for the Countess (who is in fact Susanna), Figaro infuriates the Count who overhears him. All beg the Count to forgive Figaro and the Countess (Susanna), but he defiantly cries, “No!” Finally, the real Countess reveals herself, and the Count is humbled as he comes to understand his mistake, realizing that he confessed love for Susanna to his actual wife, the Countess. The opera ends with the Count, ashamed and remorseful, kneeling and pleading for forgiveness: “Contessa, perdono! Perdono, perdono!” (Countess, forgive me! Forgive me, forgive me!). The Countess forgives her husband and all join in the sense of contentment.
If there is beauty in the world, if there is forgiveness, then surely this is what it sounds like. This is what we have all hoped for - that at the end of all the playfulness and confusion, at the end of all the loves and deceits and jests, there shall be a judgment gentle enough to harm no one. It is the most the human spirit can dream of. It is more than we could ever deserve.
Gabriel’s Oboe
Ennio Morricone
Gabriel’s Oboe was written by Morricone as the main theme of the 1986 motion picture The Mission. Directed by Roland Joffe, the film is set in the imperial era of Spain and Portugal. The story is about a Jesuit missionary who builds a mission in the South American wilderness in hopes of converting the natives there to Christianity. The Mission was nominated for an Academy Award for Best Original Score and won the Golden Globe for Best Original Score.
In the film, the theme is featured prominently when the main character, Father Gabriel, performs on a baroque oboe near an Indian tribe, hoping to befriend them. The natives, transfixed by the sound of the foreign instrument, allow Father Gabriel into the camp.
Vocalist Sarah Brightman begged Morricone to allow her to put lyrics to the theme to create her own song, Ella Fantasia. This beautiful music has since been arranged and performed several times by many other artists.
- Program Note by Amanda Wang and John Uchal
Mambo from “West Side Story”
Bernstein
Leonard Bernstein was an American composer, conductor and pianist who had a long and varied musical career. When he was very young, Bernstein first heard someone playing a piano and he was captivated immediately. He decided he wanted to learn the piano too and started to have lessons on his aunt's old hand-me-down instrument. He went on to have a musical a career spanning over fifty years.
One of his most popular works is a re-imagining of Shakespeare's famous tragedy 'Romeo and Juliet' into a New York gang warfare setting, full of passion and jealous rivalries – a musical you may have heard of: 'West Side Story'. The 'Mambo' comes from this highenergy musical. It's a fast-paced, Cuban-inspired dance that's guaranteed to make you want
to move… which is exactly what Bernstein wanted. For him, music wasn't about writing or reading notes on a page, but instead about how it made you feel physically.
- Program Note by BBC
Symphony No. 3 “Tragic”
James Barnes
The Third Symphony was commissioned by the United States Air Force Band in Washington, D.C. The conductor of the band at the time, Col. Alan Bonner, told me that he wanted a major work for wind band. He said that he didn't care about style, length, difficulty, or anything else; I was given complete freedom to write whatever I wanted to. I began to work on it in earnest at a very difficult time in my life, right after our baby daughter, Natalie, died. This symphony is the most emotionally draining work that I have ever composed. If it were to be given a nickname, I believe that "Tragic" would be appropriate. The work progresses from the deepest darkness of despair all the way to the brightness of fulfillment and joy. The first movement is a work of much frustration, bitterness, despair, and despondency -- all my own personal feelings after losing my daughter. The scherzo (second movement) has a sarcasm and bitter sweetness about it, because it has to do with the pomposity and conceit of certain people in the world. The third movement is a fantasia about what my world would have been like if Natalie had lived. It is a farewell to her. The finale (fourth movement) represents a rebirth of spirit, a reconciliation for us all. The second theme of the last movement is based on an old Lutheran children's hymn called I am Jesus' Little Lamb. This hymn was sung at Natalie's funeral. The last stanza of the song reads: Who so happy as I am Even now the Shepherd's lamb? And when my short life is ended, By His angel host attended, He shall fold me to His breast, There within His arms to rest. Three days after I completed this symphony, on June 25, 1994, our son Billy Barnes was born. If the third movement is for Natalie, then the finale is really for Billy, and our joy in being blessed with him after the tragic death of his sister.
- Program Note by composer
WIND ENSEMBLE
Described as “exploding off the page”, full of “riotous energy, eclectic rhythmic complexity” and “inventive, witty and invested with thrilling dynamism and moments,” the music of Dr. Holly Harrison has been performed by orchestras, bands, and chamber ensembles around the world. Hailing from Sydney, Australia, her music is driven by the nonsense literature of Lewis Carroll, embracing stylistic juxtapositions, the visceral energy of rock, and whimsical humor. Dr. Harrison is the recipient of numerous awards including Western Sydney University’s Chancellor’s Alumni of the Year Award, Performance of the Year at the 2018 APRA AMCOS Art Music Awards, 2018 Nu Deco Ensemble's Nu Works Initiative (USA), the 2017 Sue W Chamber Music Composition Prize (AUS), the 2014 Young Composers Meeting (NL), the 2014 Riot Ensemble Call for Scores (UK), and the 2013 Pyeongchon Arts Hall
International Chamber Music Composition Competition (South Korea). She was also a finalist for the 2024 and 2021 APRA AMCOS Art Music Awards with her chamber work Daredevil and band piece Splinter
Dr. Harrison writes of Splinter: “In this context, the word ‘splinter’ means to break into small, sharp fragments, and refers to the way in which the piece is structured as a type of mosaic or stylistic patchwork. Many sections of the piece feature instrument sounds breaking or distorting in some way – whether this be in the extremes of register, wild glissandos, or crunchy chords. The other meaning of ‘splinter’ is as a foreign object within the body. This acts as a metaphor for my experimentation with some lighter, delicate moments, which are not always part of my musical sound world.”
GRAMMY Award winner Jeff Tyzik is one of America’s most innovative and sought after composers, arrangers, and conductors. His compositions have been recorded by the London Symphony Orchestra, the Cincinnati Pops Orchestra, the Rochester Philharmonic Orchestra, the Vancouver Symphony and Doc Severinsen with the Royal Philharmonic Orchestra in London. He has also produced and composed theme music for many of the major television networks, including ABC, NBC, HBO, and Cinemax, and released six of his own albums on Capitol, Polygram and Amherst Records. Tyzik worked closely with Doc Severinsen on many projects including orchestrating many of the great band leader’s symphony orchestra programs. He produced the GRAMMY Award winning album, The Tonight Show Band with Doc Severinsen, Vol. 1. Tyzik’s subsequent recordings with Severinsen garnered three more GRAMMY nominations. A consummate musician, Tyzik regularly appears as a guest conductor for orchestras around the US. He has also been commissioned to compose original works for orchestra, including a Trombone Concerto, which was funded by a grant from the National Endowment of the Arts and subsequently performed at Carnegie Hall. A native of Hyde Park, New York, Tyzik began his life in music when he first picked up a cornet at age nine. He studied both classical and jazz throughout high school and went on to earn both his bachelor’s and master’s degrees from the Eastman School of Music. While there, he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with Chuck Mangione. Tyzik subsequently toured with Mangione as lead trumpet and worked on five Mangione recordings as a producer and performer from 1976 to 1981.
The Concerto for Timpani and Wind Ensemble was written for Tyzik’s good friend, timpanist Charles “Chip” Ross. The concerto is unique in the repertoire, treating the timpani as both a percussive and melodic instrument, employing the full range of the instrument’s timbral, harmonic, and melodic capabilities. The piece is highly demanding for the performer, requiring an advanced skill set that taxes the players full range of musical, technical, and aural abilities. The piece is organized in three movements that feature a wide variety of styles including contemporary classical, jazz, and Latin idioms.
Ted King-Smith is a composer, educator, and saxophonist based in Milwaukee, Wisconsin. Hailing from the Hudson Valley of New York, Ted began his love of music with the saxophone at age 8. He graduated from the Hartt School of Music in 2010 with a BM in music education. As an educator, Ted has taught music in every level of musical education ranging from pre-kindergarten to university, currently holding faculty positions at the UW-
Milwaukee and Milwaukee Area Technical College. As a composer, his music has been described as “off-beat, jazzy, and convincing,” and is known for synthesizing diverse influences, including classical, contemporary, minimalist, jazz, and electroacoustic elements, as well as EDM and Post Rock genres into engaging works that emphasize variety, virtuosity, and improvisation.
He writes of the piece: “For many years the incredible colors and shapes that the sky and clouds can create have fascinated me. Between Glimpses of Blue is a collage of memories, impressions of the different types of clouds, and moods one might associate with them. For instance, the calm and atmospheric stratus, billowing cumulus, and tremendous and terrifying nimbus cumulus. Three memories of mine also influenced this work considerably: In 2002, flying over the Pacific Ocean at 35,000 feet with the sun chasing our flight, I awoke just before daybreak. Soon after, a two-hour sunrise began with each color of the light spectrum coming into focus and streaming across the sea of clouds below in a rainbow of colors. It was honestly one of the most awe-inspiring experiences I’ve ever witnessed. Second, in 2011 a storm crossed the summer sky over Pullman, Washington, as the sun was setting, creating a fire in a nearby field. Outside the sky was terrifyingly black and red sky to my left, to the right peaceful blue and white, and in the middle was the setting sun. Lastly, while writing this piece in the summer of 2016, my flight into Kansas City at night was detoured around a towering storm. This storm cloud dwarfed our plane considerably, threatening us with ripples of lightning up and down right before our eyes.”
Born to a musical family in Mexico City, Gabriela Ortiz has always felt she didn’t choose music—music chose her. Her parents were founding members of Los Folkloristas, a renowned ensemble dedicated to performing Latin American folk music. While playing charango and guitar with her parents’ group, Ortiz was also learning classical piano. Her formal studies began under esteemed Mexican composers Mario Lavista, Federico Ibarra, and Daniel CataSn. Later, she continued her studies in Europe, earning a master’s degree at Guild Hall School of Music and Drama under the guidance of Robert Saxton, and earning a doctorate in composition and electronic music from London’s City University under the guidance of Simon Emmerson. She is currently composer-in-residence at Carnegie Hall, the Orquesta SinfoSnica de Castilla y LeoSn, and the Curtis Institute of Music. She also teaches composition at Mexico’s National Autonomous University.
Ortiz’s music incorporates seemingly disparate musical worlds, from traditional and popular idioms to avant-garde techniques and multimedia works. This is, perhaps, the most salient characteristic of her oeuvre: an ingenious merging of distinct sonic worlds. While Ortiz continues to draw inspiration from Mexican subjects, she is interested in composing music that speaks to international audiences. Gustavo Dudamel, a longtime champion of Ortiz’s music, stated: “Gabriela is one of the most talented composers in the world—not only in Mexico, not only in our continent—in the world. Her ability to bring colors, to bring rhythm and harmonies that connect with you is something beautiful, something unique.”
She has been commissioned by major ensembles all over the world including the New York Philharmonic, London Philharmonic Orchestra, National Orchestra of Bretagne, BBC Scottish Symphony Orchestra, the Royal Liverpool Philharmonic, SaTo Paulo State Symphony Orchestra; Esa Pekka Salonen, Louis LangreSe, and Carlos Miguel Prieto, among
others. Her scores for dance, film, and theater—including the operas Only the Truth, Ana and herShadow, and Firefly—frequently explore complex contemporary themes, like environmental concerns, racism, sexism, and globalization
Ortiz’s many accolades include the 2022 Bellas Artes Gold Medal, Mexico’s National Prize for Arts and Literature, a Guggenheim Fellowship, a Fulbright-GarcíSa Robles Fellowship, and two Latin GRAMMY nominations. A landmark achievement in her career came in 2025 when her portrait album Revolución diamantina, won three GRAMMY Awards, including Best Contemporary Classical Composition for the title track She is a member of the Academy of the Arts and has been inducted into El Colegio Nacional, Mexico’s most esteemed circle of intellectuals.
Ortiz writes of the piece:
Among the Huichol people of Mexico, "kauyumari" means “blue deer”. The blue deer represents a spiritual guide, one that is transformed through an extended pilgrimage into a hallucinogenic cactus called peyote. It allows the Huichol to communicate with their ancestors, do their bidding, and take on their role as guardians of the planet. Each year, these Native Mexicans embark on a symbolic journey to “hunt” the blue deer, making offerings in gratitude for having been granted access to the invisible world, through which they also are able to heal the wounds of the soul. When I received the commission from the Los Angeles Philharmonic to compose a piece that would reflect on our return to the stage following the pandemic, I immediately thought of the blue deer and its power to enter the world of the intangible as akin to a celebration of the reopening of live music. Specifically, I thought of a Huichol melody sung by the De La Cruz family -dedicated to recording ancestral folklore -- that I used for the final movement of my piece, Altar de Muertos (Altar of the Dead), commissioned by the Kronos String Quartet in 1997.
I used this material within the orchestral context and elaborated on the construction and progressive development of the melody and its accompaniment in such a way that it would symbolize the blue deer. This in turn was transformed into an orchestral texture which gradually evolves into a complex rhythm pattern, to such a degree that the melody itself becomes unrecognizable (the imaginary effect of peyote and our awareness of the invisible realm), giving rise to a choral wind section while maintaining an incisive rhythmic accompaniment as a form of reassurance that the world will naturally follow its course.
While composing this piece, I noted once again how music has the power to grant us access to the intangible, healing our wounds and binding us to what can only be expressed through sound. Although life is filled with interruptions, Kauyumari is a comprehension and celebration of the fact that each of these rifts is also a new beginning.
TONIGHT’S GUEST ARTISTS
Percussionist Gunnery Sergeant David Constantine joined “The President’s Own” United States Marine Band in October 2011. Gunnery Sgt. Constantine began his musical training at age 8. After graduating in 1998 from Aloha High School in Beaverton, Oregon, he attended the University of Oregon in Eugene where he received a Bachelor of Music degree in percussion performance in 2003 and a Master of Music degree in percussion performance in 2005. He earned a Doctoral of Musical Art degree in percussion performance from Indiana University in Bloomington in 2012. His instructors feature some of the greatest in percussion education history including Charles Dowd, Anthony Cirone, John Tafoya, and Steve Houghton.
Prior to joining “The President’s Own,” he performed with the Syracuse Symphony Orchestra in New York and the Oregon Coast Music Festival Orchestra of Coos Bay. He also served as principal timpani with the Columbus Indiana Philharmonic and Terre Haute Symphony of Indiana.
Gunnery Sgt. Constantine performs with the Marine Band and Marine Chamber Orchestra at the White House, in the Washington, D.C., area, and across the country during the band’s annual concert tour. Notable features include his 2018 performance on timpani of Michael Daugherty’s Raise the Roof with the Marine Band, and his 2012 performance of Askell Masson’s KonzertstuWck for snare drum on the Marine Chamber Series.
In addition to his work with the US Marine Band, Dr. Constantine is also prolific as a solo and chamber percussionist. He has been awarded top prizes in both the United States and Europe. As an educator, Dr. Constantine teaches percussion at the College of Southern Maryland, has taught marching percussion at the Emporia State University in Kansas, and works with the Washington Commanders Marching Band of the NFL.
He is endorsed by leading percussion brands including Evans Heads, Sabian Cymbals, and Yamaha percussion.
Julie Popplewell received her Bachelor of Music in Oboe Performance from the University of Illinois at Urbana-Champaign. While at UIUC, she won the Smith Music Competition, earning a full tuition scholarship. Julie has studied with renowned oboists — Dr. Nancy Ambrose King, Daniel Stolper, and Scott Hostetler. Additionally, she has studied with Grover Schiltz, Deb Stevenson, Jelena Dirks, Lora Schaefer, Gordon Hunt, and Richard Killmer. After post-graduate work done at DePaul University, Julie quickly became an active
freelance oboist and teacher in the Chicago area, maintaining an oboe studio consisting of 30+ students in the western suburbs.
Julie’s orchestral experiences include Chicago Modern Orchestra Project, Northbrook Symphony Orchestra, Chicago Chamber Orchestra and the Chicago Camerata among others. She also is an active soloist and chamber ensemble member with Bel Sonore Chamber Ensemble and Duo Voce.
Julie has a unique pedagogical style and prides herself on her reed making skills. Many of her students have earned youth symphony chairs, collegiate scholarships, and have professional careers. Julie currently serves as Professor of Oboe at Elmhurst University.
Elmhurst University Music Department
Chair: Dr. James Hile
Administrative Assistant: Trish Thoren
Administrative Assistant: Heather Meyer
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: Ethan Soltys, Lissette Hernandez
Band Staff: Hannah Hadraba, Charlie Rossi, Karabeth Footman, Eliza Martinez, Chris Tejeda
Program and Poster Design: Sabina Fijor
Recording: Mr. John Towner and Student Recording Service
2025-2026 Elmhurst University Bands Concerts
Saturday, October 4 Homecoming Concert (Wind Ensemble) 12:00pm, Hammerschmidt Chapel
Sunday, October 19 Fall Concert (Wind Ensemble & Symphonic Band) 2:00pm, Hammerschmidt Chapel
Monday, October 27 Halloween Spooktacular (Wind Ensemble) 6:00pm, Hammerschmidt Chapel
Sunday, November 9 Veterans Day Tribute (Wind Ensemble) 12:00pm, Hammerschmidt Chapel
Friday December 5 Lessons and Carols (Wind Ensemble Brass) 4:00pm & 7:00pm, Hammerschmidt Chapel
Sunday, December 7 Holiday Concert (Wind Ensemble & Symphonic Band) 7:00pm, Hammerschmidt Chapel
Sunday, March 15 March Concert (Wind Ensemble & Symphonic Band) 2:00pm, Hammerschmidt Chapel
Sunday, May 3 May Concert (Wind Ensemble & Symphonic Band) 2:00pm, Hammerschmidt Chapel
TO DONATE TO THE ELMHURST UNIVERSITY BANDS SCAN THE FOLLOWING QR CODE YOUR SUPPORT IS GREATLY APPRECIATED!