20221114_Symphonic Band

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THE FLORIDA STATE UNIVERSITY College of Music presents

University Symphonic Band

Steven N. Kelly, Conductor Greg Springer, Guest Conductor Jason Freeman and Jacquelyn Tabone, Graduate Associate Conductors

Monday, November 14, 2022 7:30 p.m. | Opperman Music Hall

Fanfare Aureus

PROGRAM

Kimberly Archer (b. 1973)

In Two Places Haley Woodrow (b. 1984)

Mother Earth David Maslanka (1943–2017)

Jacquelyn Tabone, graduate associate conductor

Across the Divide Larry Tuttle (b. 1955)

Jason Freeman, graduate associate conductor

Florentiner March Julius Fučik (1872–1916)

Greg Springer, guest conductor

Danzas Cubanas

Robert Sheldon (b. 1954)

To Ensure An Enjoyable Concert Experience For All…

Please refrain from talking, entering, or exiting during performances. Food and drink are prohibited in all concert halls. Recording or broadcasting of the concert by any means, including the use of digital cameras, cell phones, or other devices is expressly forbidden. Please deactivate all portable electronic devices including watches, cell phones, pagers, hand-held gaming devices or other electronic equipment that may distract the audience or performers.

Recording Notice: This performance may be recorded. Please note that members of the audience may at times be included in this process. By attending this performance you consent to have your image or likeness appear in any live or recorded video or other transmission or reproduction made in conjunction to the performance.

Health Reminder: The Florida Board of Governors and Florida State University expect masks to be worn by all individuals in all FSU facilities.

Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five working days prior to a musical event to request accommodation for disability or alternative program format.

NOTES ON THE PROGRAM

Archer: Fanfare Aureus

Kimberly K. Archer (b. 1973) received her Music Education degree from Florida State University. After finishing her studies in Tallahassee, she obtained Master’s and Doctoral degrees in composition from Syracuse University and the University of Texas at Austin. Her compositional influences include David Maslanka, David Gillingham, Andrew Waggoner, Donald Grantham, and Charlie Carter.

Fanfare Aureus was commissioned by, and dedicated to, the Florida State University Summer Music Camps in honor of their seventieth anniversary. During high school, Archer spent three summers in Tallahassee participating as a trumpet student in the Summer Music Camps. James Croft, previously Director of Bands at Florida State, gave Archer an impromptu horn lesson during one of her summers in Tallahassee. He referred to the horn as “God’s own instrument.” Fanfare Aureus (Latin for gold) begins with an opening motive by the horn section, quickly answered by the rest of the brass section. The horn section leads the fanfare throughout, periodically coupled with the euphonium. The ending emphatically restates the opening with a new look and sound with bells raised high.

Woodrow: In Two Places

Haley Woodrow (b. 1984) is a composer, educator, trumpeter, and pianist based in North Texas. She prides herself if partnering with musicians and performance ensembles to create music that engages listeners, and fuses genres. Her compositions have received awards from the National Band Association, the Texas Music Educators Association, the MACRO Composition Competition, and several other organizations. Woodrow currently teaches piano at King’s University and composition at Tarrant County College. She holds her Master of Music in Composition from Texas Christian University and a Bachelor of Music from the University of Texas at Arlington.

In Two Places is the composer’s acknowledgment that having contrasting feelings at one time is a valid and a simple part of life. Having the feelings of obligation to one responsibility but the desire to pursue other interests can and will occur. Take note of the two contrasting melodies throughout the piece switching back and forth indecisively as the consistent eighth note rhythm moves the piece along. This ostinato represents the never slowing or stopping of time even as different priorities take over. Haley Woodrow notes:

While I was writing this piece, I was a graduate student at Texas Christian University and felt pulled in opposite directions in my personal life, my professional life, and my social life. I experience conflicting feelings of adulthood vs. adolescence, homogeneity vs. diversity, and the jazz approach vs. the contemporary classical approach. In so many ways, I felt in two places at once.

In Two Places is the winner of the 2019 Women’s Band Composition Contest.

Maslanka: Mother Earth

David Maslanka (1943-2017) is well known for his music for winds. He has written more than 150 works with more than 50 of these being for wind ensemble. This includes eight symphonies, seventeen concertos, a Mass, and many concert pieces. He has written a variety of chamber pieces as well as orchestral and choral works. He attended the Oberlin Conservatory for his undergraduate degree in music and Michigan State for his Masters and Doctor of Philosophy. He has studied at the Mozarteum in Salzburg Austria and with H. Owen Reed.

Written as a fanfare, Mother Earth became a message to treat “Our Mother (Earth)” more kind and is an abrupt call to action. The piece was based off a short poem by medieval friar St. Francis of Assisi: Praised by You, my Lord, for our sister, MOTHER EARTH, Who nourishes us and teaches us, Bringing forth all kinds of fruits and colored flowers and herbs.

- St. Francis of Assisi

The piece begins subtly with the whispers of life stirring in silence. As the piece unfolds it becomes increasingly more intense with dissonance, volume, and texture. The light floaty melodies become heavy and abrasive as if to say we are ruining the beauty around us. The music becomes anxious and urgent as time is running out to save our Mother Earth. The fanfare continues to gain moment until suddenly we are out of music, and out of time.

Tuttle: Across the Divide

Larry Tuttle (b. 1955) writes iconic and optimistic music with a strong sense of story and narrative arc. His music is driven by twenty-first century rhythms and sensibilities, while being rooted with the power of archetypal musical elements. Tuttle trained extensively in double bass and piano from an early age. His youth was saturated with both orchestral music and private instrumental study. He won the Pittsburgh Symphony’s H.J. Heinz Company Audience of the Future Composition Competition with his work Chorale and Fiddle Tune. Tuttle is a composing and performing member of Composers Ensemble of Los Angeles (CELA). CELA is a twelve-member composer’s collective dedicated to developing and promoting new music.

Across the Divide was commissioned by legendary educator, H. Robert Reynolds of the University of Michigan. It is an arrangement of his award-winning orchestral piece, Chorale and Fiddle Tune. The orchestral score includes the opening chorale that was removed from the wind ensemble version, resulting in a lively and bright introduction opposed to dark and dreary. The orchestral chorale is placed in the middle followed by a coda that incorporates the main melody and chorale simultaneously.

Fučík: Florentiner March

Julius Fučík (1872-1917), a European composer from Bohemia, grew up playing violin, bassoon, and studied composition with the Antonín Dvořák. Fučik composed over four-hundred pieces including chamber music, symphonic suites, marches, masses, operettas, and more.

Florentiner March (1907) is believed to be a condensed operetta. The piece begins with a bugle call quickly answered by a light yet piercing piccolo solo. After a restatement of the opening figure the ensemble joins in with a light staccato melody in the upper reeds periodically abruptly interrupted by low winds and brass. The next motive is a unison line presented by the low winds and brass. That section of music is followed by a contrasting smooth and lyrical trio. Fučik concludes the march by returning the melodic line with a challenging, chattering, piccolo part. The edition performed tonight was crafted by conductor Fredrick Fennell.

Sheldon: Danzas Cubana

Robert Sheldon (b. 1954) is an internationally recognized composer, educator, and clinician. He taught instrumental music in Florida and Illinois before he served on the faculty at Florida State University teaching instrumental music education classes, conducting, and directing the Marching Chiefs. He has clinician and conducting experiences in the United States as well as Japan, Canada, Italy, Taiwan, Germany, Australia, and China. Sheldon has authored several music education resources including Sound Innovations for Band, Measures of Success, Sound Innovations for Strings, Sound Sight-Reading for Band, and Music FUNdations. His accolades include being one of the most performed composers of wind band today, a twenty-eight-time recipient of the American Society of Composers, Author’s and Publisher’s Standard Award, having numerous publications in The Instrumentalist, Teaching Music, School Band and Orchestra Magazine, The World Association of Symphonic Bands, and Ensembles World Magazine, and is one of the eleven American wind band composers featured in Volume I of Composers on Composing Music for Band. Sheldon received his Bachelor of Music in Music Education from the University of Miami, Master of Fine Arts in Instrumental Conducting from the University of Florida, and an honorary Doctorate in Music Education from VanderCook College of Music.

Danzas Cubana is a celebration of Afro-Cuban music starting with conga, followed by son-salsa, and closing with a fast-paced mambo. Afro-Cuban music originates from African rituals and rhythms. We can trace this music through the Spanish imported slaves to Cuba throughout the 1800s and became deeply rooted in daily life on the island. Listen for the tradeoff of these rhythms and melodies as if the sections of the band are interacting and calling to each other during section solos, egging the other sections to continue accelerating the pace and liveliness of the party!

University Symphonic Band Personnel

Steven N. Kelly, Conductor Jason Freeman and Jacquelyn Tabone, Graduate Associate Conductors

Piccolo

Renee Roberts

Flute

Mary Moshos* Javier Rivera Raul Parra Taylor Hawkins Oboe Samantha Osborne* Alice Frisch Maddy Jenkins Bassoon Hunter Fisher Hannah Farmer Lalo Ambris

Clarinet

Ethan Burke* Anna Urbine Nicholas Mackley Abby Johnson Halle Mynard Alexei Kovalev Ryan Brabham

Bass Clarinet Evan Jewsbury

Saxophone Kaeden Parks* Pauly Herrera Tyler Welch Jack Blumer Nicholas Lohse Pollyena Perry Marshall Knapp

Trumpet/Cornet Danielle Monahan* Jordyn Myers* Brian Ratledge Joshua Puente Aiden Kingry Sharavan Duvvuri Marin Kelly Horn Isaac Roman* Adam Agonoy* Sarah Meza Abby Odom Allison Kirkpatrick Rita Cesare-DeGroat Trombone

Connor Stross* Sarah Castillo Mateo Buitrago Jane Cohen Hadyn Lopez Romus Edenfield IV Tyler Figenscher Kyle Krogol

Euphonium

Alan Jean-Baptiste* Elizabeth Reese

Tuba Daniel Sullivan* Sophia Farfante Chris Bernhardt Braden Meyer Piano Grace Smith

Percussion

Jonathan Baker* Kenneth Sharkey Andrik Molina Mackenzie Selimi * Principal