THE FLORIDA STATE UNIVERSITY College of Music presents
University Wind Orchestra
Patrick Dunnigan, Music Director and Conductor
Jacquelyn Tabone, Graduate Associate Conductor with special guests
Karen Large, Flute
Rodney Dorsey, Guest Conductor
Thursday, March 2, 2023
7:30 p.m. | Ruby Diamond Concert Hall
Emblems (1964)
Colonial Song (1911)
Passo a sei (1829)
Flute Concerto (2018)
PROGRAM
Rodney Dorsey, guest conductor
Aaron Copland (1900–1990)
Percy Grainger (1882–1961)
Gioachino Rossini (1792–1868) arr. Patrick Dunnigan
Peter Senchuk
I. Prologue and Dance (b. 1974)
II. Canticle
III. Postlude
Karen Large, flute
INTERMISSION
Three Beethoven Marches (1809-1810)
WoO 18 March in F Major
Ludwig Van Beethoven
WoO 20 March in C Major (1770–1827)
WoO 19 March in F Major arr. Dunnigan
Konzertmusik für Blasorchester, Op. 41 (1926)
Paul Hindemith
I. Konzertante Overtüre (1895–1963)
II. Sechs Variationen über dal Lied “Prinz Eugen, der edle Ritter”
III. Marsch
Petals of Fire (2017)
To Ensure An Enjoyable Concert Experience For All…
Zhou Tian (b. 1981)
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.
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.
Rodney Dorsey is professor of music in bands and chair of the Department of Bands at the Indiana University Jacobs School of Music, a position he has held since fall 2018.
He is the conductor of the internationally recognized Indiana Wind Ensemble and guides all aspects of the graduate wind-conducting program.
Dorsey’s positions have included director of bands at the University of Oregon, associate director of Bands at the University of Michigan, associate professor of music at DePaul University, and director of Athletic Bands at Northwestern University’s Bienen School of Music. He also taught public school for eight years in Florida and Georgia.
Ensembles under Dorsey’s direction have performed at state and national events including the College Band Directors National Conference North/Northwest Regional Conference and the Music for All National Festival. He is an active guest conductor, having led intercollegiate, all-state, and regional honors bands around the country. International engagements include Hungary, Canada, and Bulgaria.
An active advocate for the composition of new wind repertoire, Dorsey has been involved in a number of commissioning projects, including with composers Andrea Reinkemeyer, Steven Mackey, D. J. Sparr, Anthony Barfield, Stacy Garrop, Andrew Rindfleisch, and John Mackey.
Dorsey has presented clinic sessions at national and state conferences, including the College Band Directors National Association, National Association for Music Education, College Music Society, and the Midwest Clinic. He has also presented at numerous state music conferences around the country.
Dorsey’s professional memberships include the College Band Directors National Association, National Association for Music Education, Indiana Bandmasters Association, Kappa Kappa Psi, Tau Beta Sigma (honorary), Phi Mu Alpha Sinfonia, and Alpha Phi Alpha Fraternity Incorporated.
His commitment to the music community has been demonstrated by his participation on boards of directors for the Midwest Clinic and Music for All. He is an elected member of the prestigious American Bandmasters Association. His lifelong commitment to teaching saw him recognized as a Yamaha Master Educator.
A native of Gainesville, Florida, Dorsey is a graduate of Florida State University and Northwestern University in Evanston. He studied conducting with James Croft, John Paynter, and Mallory Thompson, and clarinet with Fred Ormand and Frank Kowalsky.
Assistant Professor of Flute Karen McLaughlin Large teaches flute lessons, flute ensemble, low flutes, Baroque flute, and Wind and Percussion Pedagogy at the FSU College of Music. Dr. Large is passionate about helping students navigate their unique paths in the music world. She does this in her lessons and classes through activities in areas such as music entrepreneurship, audition and competition preparation, community outreach, and grant-writing. Dr. Large previously served as Associate Professor of Flute and Music Theory at Kansas State University.
Dr. Large enjoys performing in concerto, solo, chamber, and large ensemble settings. She plays regularly with Traverso Colore: Baroque Flute Ensemble, Tornado Alley Flutes, and the Florida Flute Orchestra. She also previously performed with the Konza Wind Quintet, Topeka Symphony Orchestra, Tallahassee Symphony Orchestra, Northwest Florida Symphony Orchestra, and Pensacola Symphony Orchestra. As a guest artist, she has enjoyed performing and teaching at universities in Kansas, Oklahoma, Missouri, Nebraska, Tennessee, and Florida.
Dr. Large’s research interests include flute transcriptions of Romantic music, creation of the world’s first Virtual Flute Choirs, Baroque flute performance practice, and the intersection of music theory and flute performance. In Spring 2018 she released her first solo CD which featured her original transcriptions, entitled String to Silver: Flute Transcriptions of Works in the Romantic Tradition. Dr. Large regularly performs and presents her research at national and international conferences.
She earned her DM, MM, and BM degrees at Florida State University studying with Eva Amsler, Stephanie Jutt, and Joshua Carter.
NOTES ON THE PROGRAM
Copland: Emblems
Aaron Copland (1900-1990) was an American composer who is well known for his percussive orchestration, changing meter, and rich textures both rhythmically and harmonically. He was a student of Nadia Boulanger, a French composer, conductor, and teacher. Copland’s style is known for being modern while incorporating American folk style into his works. In addition to composing, Copland authored several books, including What to Listen for in Music (1939), Music and Imagination (1952), and Copland on Music (1939). Copland was also awarded the Pulitzer Prize in composition for Appalachian Spring (1944); Academy Award nominations for Of Mice and Men (1939), Our Town (1940), North Star (1943), and won Best Music in 1949 for The Heiress (1948).
Emblems was commissioned for the 1964 College Band Directors National Association (CBDNA) conference by Keith Wilson. The commission was intended to enrich band repertory with music that was authentic to Copland’s best work. The premiere was performed by the University of Southern California. The title, Emblems, suggests that the music is a symbol for many feelings. Copland intended for listeners to determine what this music represented for themselves. The familiar hymn song “Amazing Grace” can be heard in the slow sections at the beginning and end of the piece. This is Copland’s only work explicitly written for the wind band.
Grainger: Colonial Song
Percy Aldridge Grainger (1882-1961) was an Australian-born composer, pianist, and conductor known for his collecting and arranging of folk music. He began touring in London on piano and collecting English folk tunes. He found himself in the United States performing with an Army band for about 8 years. After the death of his mother, he went back to Australia and toured as a pianist there until 1932. After his tenure as the head of the music department at New York University, he returned to Australia to continue touring. He later founded the Grainger Museum at Melbourne which has preserved Australian music and his own artifacts. His most well-known pieces include Country Gardens, Molly on the Shore, Shepherd’s Hey, and Mock Morris.
Colonial Song was written as an ode to the Australian countryside. The flowing and warm melodies scored for bassoon, low clarinets, saxophones, and baritone are marked to be played ‘very feelingly’ and meant to be soothing to listen to. While harmonically simple, the layering of melody and counter melodies give the piece its depth and create more complex textures. At the climax of the work, the brass builds in a restatement of these melodies. Grainger is widely known for using American, British, and Danish melodies in his works, but Colonial Song is composed of original material, not based on existing folk song material.
Rossini: Passo a sei
Gioachino Antonio Rossini (1792-1868) was an Italian composer who wrote 39 operas, along with many songs, some chamber and piano music. Growing up, his father taught him to play French horn, and took vocal lessons. When the family moved to Bologna, Rossini sang, studied cello, voice, piano, and counterpoint at Liceo Musicale. After leaving Bologna, Rossini traveled professionally to Venice, Milan, and London before settling in Paris as the director of the Theatre-Italien. While in Paris, he continued to build his career, marry, and eventually retired. Rossini was revered as having an extensive knowledge of wind, string, and percussion instruments which was helpful in arranging quickly and contributed to his wide range of works and retirement at age 30. His other popular works include L’Italiana in Algeri (The Italian Girl in Algiers), and II Barbiere di Siviglia (The Barber of Seville).
Passo a sei translates to the ‘dance of the six’ from Italian, and is found within the first act of Gioacchino Rossini’s opera, Guillaume Tell (William Tell). This opera is well known to Americans for the final three minutes served as the theme music to the Lone Ranger movies, radio, and television series. In the first act, Passo a sei, sets the stage for the wedding of three couples. The celebration is welcomed by the villagers despite living miserably under the Habsburg occupation. The wedding is interrupted by the entrance of Leuthold who killed an Austrian soldier who tried to abduct his daughter and leads to a chase across Lake Lucerne. The transcription performed tonight was created by Patrick Dunnigan in 1999.
Senchuk: Flute Concerto
Peter Senchuk (1974) is originally from Windsor, Ontario, Canada and began studying music at the age of five. Throughout his musical career he continued studying both classical and jazz performance which is evident in the uniqueness of the use of rhythms, harmony, and melodic lines. Senchuk toured Europe as principal trombone with the U.S. Collegiate Wind Ensemble and has earned his Bachelor of Music Degree and studied jazz performance and composition at Wayne State University in Detroit, MI.
Flute Concerto has recently been named a semi-finalist in the American Prize Ernst Bacon Memorial Award for the Performance of American Music. The performance by the Kansas Wesleyan University Wind Ensemble was chosen for this recognition. This piece was commissioned in 2018 by the Texas Women’s University as a gift for Pam Youngblood to honor her twenty-five years of teaching at Texas Women’s University. Senchuk draws his inspiration from jazz and modal harmonies, and rhythmic syncopation to create elements of playfulness throughout this threemovement work.
Beethoven: Three Beethoven Marches
Ludwig van Beethoven (1770-1827) was a German composer and pianist. He composed during and through the transition of Western music between the Classical and Romantic and is one of the most famous and influential of all composers. He moved to Vienna to study piano with Joseph Haydn, vocal composition with Antonio Salieri, and counterpoint with Johann Albrechtsberger. He first built his reputation as a piano performer and in March 1795 performed his first piano concerto in C major and published a series of piano trios shortly thereafter. While he is widely known as a successful composer, his works for military band and marches are not as well known. There are a total of eight known arrangements written for military band including five marches, a polonaise (Polish processional dance), and two écossaises (country line dance). These eight pieces are titled with “WoO” (Werk Ohne Opuszahl or “work without opus number”) and were later assigned numbers.
Three Beethoven Marches starts with March in F (WoO 18), or Marsch des York’schen Korps, was originally composed in 1809 for the Archduke Franz Anton, the Grand Master of the Teutonic Order. However, Beethoven changed this dedication to the Bohemian Home Militia. The title of York’schen Korps was adopted after its frequent us of the beginning by the York Corps. In 1810, Beethoven offered both the March in F (WoO 18) and the March in F (WoO 19) to Archduke Rudolph for use at a carousel in Laxenburg near Vienna (as mentioned in the dedication in later editions). For the Bohemian Militia and carousel editions, Beethoven added triangle, cymbals, and additional woodwind instruments. The March in C (WoO 20) was originally written to include oboes rather than flutes to the military band. He also adds cymbals and triangles to this march. This edition performed tonight was created by Patrick Dunnigan and incorporates modern instrumentation including bass clarinet, trombone, euphonium, and tuba.
Hindemith: Konzertmusik, Op. 41
Paul Hindemith (1895-1963) was a German composer and educator. He studied conducting, composing, and violin with Arnold Mendelssohn and Bernhard Sekles at the Hoch Conservatory. He actively played in dance bands, musical-comedy troupes, was concert master of the Frankfurt Opera Orchestra, and founded the Amar Quartet, playing viola. He also was key to the organization of the Donaueschingen Music Festival which happened every October. The festival is the oldest festival with a focus on performing new works for winds. Hindemith emigrated to the United States from Germany in 1940 and taught at both Harvard and Yale University. He became an American citizen in 1946. After World War II Hindemith relocated to Europe was faculty at the University of Zurich.
Konzertmusik für Blasorchester, Op. 41 was written for the 1926 Donaueschingen Music Festival, performed by the Infantry Regiment No. 14 student military band conducted by Herman Scheren, to whom this piece is dedicated. Konzertmusik für Blasorchester was originally composed for a German military band which uses fewer woodwinds and different brass instruments. The flugelhorn and tenor horn, as originally scored for, are played by the saxophone section. This music highlights Hindemith’s fondness of the use of counterpoint, and augmentation of scale structure.
Tian: Petals of Fire
Zhou Tian (1981) is a Grammy-nominated Chinese American composer that prides himself in fusing music from different cultures into striking combinations for performers and audiences. The Wall Street Journal describes his music as “accomplish two important things: They remind us of how we got from there to here, and they refine that history by paying belated tribute to contributors who might otherwise be forgotten.” Tian studied at the Curtis Institute (B.M.), the Juilliard School (M.M.), and the University of Southern California (D.M.A.). Currently, he is associate professor of composition at Michigan State University.
Petals of Fire (2017) was commissioned for the Michigan State University Wind Symphony by Kevin Sedatole, Director of Bands. The premiere was at the 2017 College Band Directors Association (CBDNA) National Convention in Kansas City, Missouri. The inspiration for Petals of Fire was drawn from Cy Twombly’s 1989 painting also titled Petals of Fire. Tian says he has been fascinated with the techniques used to blend different styles in art to create new looks and uses a movement from his Concerto for Orchestra and new material to compose Petals of Fire to create a fusion of music styles, harmony, and timbre.
University Wind Orchestra Personnel
Patrick Dunnigan, Music Director and Conductor
Jacquelyn Tabone, Graduate Associate Conductor
Piccolo
Allison Acevedo
Flute
Crisha Joyner*
Raegan O’rourke
Emily Peterson
Brenna Miller
Oboe
Nicholas Kanipe*
Jennifer Mchenry
Elijah Barios
Bassoon
Abigail Whitehurst
Emmalee Odom
Contrabassoon
Josephine Whiteis
E-Flat Clarinet
Trey Burke
B-Flat Clarinet
Connor Croasmun*
Ciara Solby
Carly Davis
Mark Stevens
Leah Price
Jesse Rigsby
Alto Clarinet
Ashley Deane
Bass Clarinet
Morgan Magnoni
Saxophone
Blake Adams
Parker Franklin
Jason Shimer
Evan Blitzer
Trumpet/Cornet
Vito Bell*
Vance Garven
Jack Lyons
Sawyer Prichard
Thana Rangsiyawaranon
Thum Rangsiyawaranon
Horn
Leslie Bell*
Cory Kirby
Brianna Nay
Tarre Nelson
Trombone
Jennae Williams
Carter Wessinger
Josh Stambaugh
Connor McDonald
Euphonium
Jonah Zimmerman*
Michael Chou
Tuba
Chris Bloom
Ken Luke Harp
Lauren Barfield
String Bass
Megan Baker
Piano
Sihui Liu
Percussion
Zach Harris*
Jackson Kowalczyk
Connor Willits
Austin Pellela
Chris Baird
Landon Holladay