20231114_Symphonic and Concert Bands

THE FLORIDA STATE UNIVERSITY College of Music presents

University Concert Band

Chandler L. Wilson, Conductor Jason Freeman and Brad Sparks, Graduate Associate Conductors and

University Symphonic Band

David Plack, Conductor Collin Clark and Drew Hardy-Moore, Graduate Associate Conductors

Tuesday, November 14, 2023 7:30 p.m. | Opperman Music Hall

University Concert Band Festivo

Edward Gregson (b. 1945) Jason W. Freeman, graduate associate conductor

Masque

W. Francis McBeth (1933–2012) Brad Sparks, graduate associate conductor

Lincolnshire Posy I. Dublin Bay (Lisbon) II. Horkstow Grange III. Rufford Park Poachers IV. The Brisk Young Sailor V. Lord Melbourne VI. The Lost Lady Found

Percy Aldridge Grainger (1882–1961)

Slava!

Leonard Bernstein (1918–1990) tr. Clare Grundman INTERMISSION University Symphonic Band

Clutch

Andrew David Perkins (b. 1970)

anti-FANFARE

Andrew Blair (b. 1987)

Deciduous

Viet Cuong (b. 1990) Drew Hardy-Moore, graduate associate conductor

With Heart and Voice

David R. Gillingham (b. 1947) Collin Clark, graduate associate conductor

City Trees

Michael Markowski (b. 1986)

Of Endless Miles and Empty Rafts

Michele Fernández (b. 1967)

Solo Una Volta! (Only Once!) March

Yasuhide Ito (b. 1960)

NOTES ON THE PROGRAM Gregson: Festivo Originally from Sunderland, England, Edward Gregson studied at the Royal Academy of Music with Alan Bush.

Although composing for numerous ensembles, Gregson’s contribution to wind and brass repertoire is his greatest accomplishment. His compositions Metamorphoses and Tuba Concerto are performed the most.

Festivo was commissioned for the 10th anniversary of the Bolton Youth Concert. Trustee Savings Bank provided the funds for the composition. The first performance was conducted by Nigel Taylor in Kortrijk, Belgium at the Conference of the World Association of Symphonic Bands and Ensembles in 1985 McBeth: Masque W. Francis McBeth was an incredibly well lauded composer in his time. Among those awards, McBeth was named Composer Laureate of the state of Arkansas, the first of that title granted in the United States. An important scholar and advocate in the field of music education, McBeth wrote numerous books on harmony, composition, and wind band pedagogy. In his book Effective Performance of Band Music: Solutions to Specific Problems of 20th Century Music, McBeth introduced the “pyramid of sound” philosophy of ensemble balance which is still a widely held philosophy in wind bands to this day. This philosophy as discussed in his book however, is far more nuanced and detailed than simply “low voices play louder, high voices play quieter” as it is often presented. In 1962, McBeth conducted the Arkansas All-State band which contained future President Bill Clinton, a relationship that would later earn McBeth an overnight stay in the White House.

As was common at the time, McBeth utilizes dense textures and complex harmonies to experiment with a couple of simple motives in Masque. The first 3-note motive, stated clearly right at the outset of the piece, forms the melodic material for a majority of the piece. The second motive used in the two faster sections consists of a quick, repeated 16th note pattern often used as ostinato to pad the backgrounds of the piece. Written in 1967, Masque was commissioned by the University of Central Arkansas for their new auditorium which opened in 1968.

Grainger: Lincolnshire Posy Born in Australia, Percy Aldridge Grainger left at age 13 to study music and painting in Frankfurt. He lived in London with his mother for much of his young adult life performing as a concert pianist for members of the aristocracy including at one point, the Queen. Still very close with his mother, the two of them moved to the United States at the start of World War One stating that becoming a casualty of war would hamper his ambition to become, “Australia’s first composer of worth.” Much like his Hungarian contemporary, Béla Bartók, Grainger was fascinated with preserving his local folk music tradition. In his 20s, Grainger spent a lot of energy recording and transcribing over 300 folk songs including the ones used in Lincolnshire Posy. As he began to gain acclaim, Grainger decided to commission a museum outside Melbourne to house artifacts to illustrate his career. The Grainger Museum is now part of the University of Melbourne and is open to visitors regularly.

A bouquet of “musical wildflowers,” Grainger dedicates this most famous piece of his to the local singers who gave him their songs. Completed in 1937 for the American Bandmasters Association for their annual convention, Lincolnshire Posy was (mostly) conceived as Grainger collected folk songs in 1905 and 1906 from local singers he found around Lincolnshire, England. The premier at the convention in Milwaukee, Wisconsin was performed by a

primarily amateur ensemble made up of local Milwaukeeans who worked mainly at local Milwaukee breweries. Only the first, second, and fifth movements were performed at the premier due to the sixth being still unfinished and the third and fifth being deemed too difficult for the ensemble. Each of the six movements captures not only the nuance of each performance but attempts to manifest the nature of each singer themself.

Bernstein: Slava!

Leonard Bernstein, New York native, studied piano, composition and conducting at Boston Latin School, Harvard University and Curtis Institute of Music. Symphonic Dances and Candide Suite are two of his greatest works.

During his first season as director of the National Symphony Orchestra, Mstislav Rostropovich invited Bernstein for a program of his works. “Slava” was Rostropovich’s nickname. The “rousing new overture” uses two themes, at times simultaneously, creating an invigorating and exciting composition for future.

Perkins: Clutch I have visceral childhood memories of going to the Belle Isle Indy car races in Detroit with my Dad. The smell of high-octane racing fuel, burning rubber, domestic beer, feeling the scorching hot summer sun bouncing off the asphalt. The pitch-bending sounds of the Formula One cars screaming past us at insane speeds, the roar of the crowd at the checkered flag. Wildly dangerous, every boundary being tested, all for a chance at the winner’s circle. This competitive spirit inspired me to write a fanfare that pushes the boundaries of tempo, range & technical demand, and gives the conductor, performers, and listener a nice adrenaline rush too. I also wanted to push myself to write the most exciting wildly chaotic music I could imagine. Fast. Loud. And a bit reckless.

– Andrew David Perkins Blair: anti-FANFARE Dr. Andrew Blair received the Bachelor of Music Education degree from Western Carolina University. He continued to teach middle school, high school, and collegiate band for 8 years before returning to pursue his graduate education at the University of Georgia. At the University of Georgia, Blair composed for the University of Georgia Redcoat Band. He currently resides at Wando High School in Mount Pleasant, South Carolina as the Assistant Band Director.

Inspired by a conversation during a compositional lesson with Cynthia Johnson Turner, Anti-Fanfare seeks to fill a gap in the repertoire and challenge normal fanfares. The piece opens with a typical fanfare motive, but listeners will notice that the similarities end there. The piece employs the full complement of the woodwind and percussion sections (plus piano) in contrast to centuries of brass/orchestral fanfares. The typical stately cadence has been replaced by a quick ¾ meter, with the language of the piece inspired by the composer’s forays into contemporary jazz fusion and electronica. All of this, while giving the brass a well-deserved break.

Cuong: Deciduous Viet Cuong is a Vietnamese-American composer celebrated for his “irresistible” and “wildly inventive” music. His compositions have been featured in renowned venues, including Carnegie Hall, and have garnered praise from The New York Times and The Washington Post. Cuong’s distinctive approach to music is marked by whimsy and an affinity

for unusual combinations, as evidenced by his works for various ensembles, from percussion quartets using wine glasses and sandpaper to concerti for tuba and dueling oboes. He currently serves as an Assistant Professor of Music Composition and Theory at the University of Nevada, Las Vegas, and holds degrees from Princeton University, the Curtis Institute of Music, and the Peabody Conservatory, studying under the guidance of acclaimed mentors.

Deciduous is a profoundly personal and emotional work that explores the theme of loss and the healing process. The piece reflects the composer’s struggle with creative block and emotional turmoil following his father’s passing, which he likens to feeling like he had “lost his leaves” and had little creative energy left. In the composition, Cuong finds solace and healing by revisiting chord progressions from his childhood, weaving them into contemporary textures that he enjoys. The music takes the listener on a journey through cycles of these chord progressions, ultimately reaching a pivotal moment where it is stripped of everything, symbolizing a moment of vulnerability and renewal.

Deciduous serves as a reminder that healing is not a linear path but a cyclical journey, akin to the changing seasons, where the arrival of a new spring follows every leafless winter.

Gillingham: With Heart and Voice David Gillingham earned both bachelor and master’s degrees in Instrumental Music Education from the University of Wisconsin-Oshkosh and the Ph.D. in Music Theory/Composition from Michigan State University. He currently resides as a professor of music at the University of Central Michigan. Dr. Gillingham has contributed over 70 compositions to wind band literature, many of them being considered standards.

With Heart and Voice was commissioned by Apple Valley High School to commemorate their 25th anniversary. The main theme is based on the Apple Valley alma mater which is also an old Spanish hymn “Come, Christians, Join to Sing.” The opening section begins with apprehension and builds into a celebration. Small fragments of the alma mater are heard in the beginning only to slowly develop into full statements of the theme. The metrically unstable transition section represents the school’s dedication to present challenge and maintain dedication to goals. When the metric instability subsides the piece finds a juxtaposition of the two main themes, the alma mater, and the “mission” theme which conclude in an extended celebratory finale.

Markwoski: City Trees Michael Markowski graduated magna cum laude in Film Practices from Arizona State University in 2010. While not a music major, he learned from notable mentors, including Mark Snow, composer for The X-Files. Since then, he has composed around 25 original works for wind bands, with nine recorded by the Brooklyn Wind Symphony, available on iTunes. His compositions have received acclaim and commissions from various organizations, including CBDNA, The Consortium for the Advancement of Wind Band Literature, and the Phoenix Symphony.

City Trees was the result of Markowski’s challenging move from Arizona to New York City. It symbolizes bravery and perseverance, much like the trees he encountered in the city’s concrete jungle. Just as they thrived, he found his place in this new world, embracing change and diversity. The piece is dedicate to the Lesbian and Gay Band Association, celebrating their enduring courage and growth over the years.

Fernández: Of Endless Miles and Empty Rafts Of Endless Miles and Empty Rafts is a musical journey about the endurance of human spirit, encapsulating the vast and mysterious expanse of the ocean, and conveying the sense of desolation one can experience while taking in its boundless horizons. This composition by Michele Fernández invites the listener to contemplate the resilience and vulnerability of Cuban immigrants who venture out into the ocean in search of safety and security.

Michele Fernández is a published composer, conductor, and performer known for her jazz and symphonic compositions. Her works have been premiered at various prestigious events and are published through reputable platforms like Hal Leonard and Kendor. She has had an illustrious career in teaching and leading ensembles in Miami, gaining international acclaim. Michele is an active member of several music organizations, serving as a guest clinician and conductor for All-State and Regional groups. She is passionate about music education, promoting equality, and connecting with her audience during performances.

Ito: Solo una Volta! (Only Once!) March Born in Shizuoka, Japan in 1960, Yasuhide Ito began his early musical career with piano. He graduated from Tokyo University of Fine Arts and Music with his Bachelor of Music in composition. Ito is now a professor at Senzoku Gakuen College of Music. He has earned international acclaims for his compositional endeavor including more than 1000 works with over 90 compositions for the wind band.

Prior to one of Ito’s concerts, he was considering his program order. He decided it was missing something, so he decided to compose a march for his ensemble. At the time his ensemble had seven oboes, eleven euphoniums, and numerous percussionists. Because of this he divided the oboe and euphonium into three parts and figured it would be the only time this march was played. Thus, the name Solo Una Volta (Only Once), although it has come to be one of Ito’s most performed works for wind band.

University Symphonic Band Personnel David Plack, Conductor Drew Hardy-Moore and Collin Clark, Graduate Associate Conductors Piccolo Mary Moshos

Bass Clarinet Alexei Kovalev

Flute Carissa Kettering Javier Rivera Nicki Howard Willa Gutowski Kendall Smith Raul Parra Ryleigh Templeton Sophie Hyde

Contrabass Clarinet Marie Yonts

Oboe Julia Heard Maddy Jenkins Bassoon Hunter Fisher Ryan Russell Dakota Jeter + Contra B-Flat Clarinet Malik Mullino Anna Urbine Halle Mynard Luke Montgomery Aidan May Jolene Hempfing Ava Raposo Elizabeth Kennedy Eric Olmsted Marie Yonts Regan Gomersall Ryan Tone

Saxophone Casey Caulkins, alto Riley Nauman, alto Luis Angel, alto Parker Button, alto Ashton Stewart, tenor Arwyn Hill, baritone Trumpet/Cornet Jordyn Myers Sharavan Duvvuri Joshua Briley Grason Peterson Jeremiah Gonzalez Rayane Almeida-Santos Marin Kelly John Bradley Horn Ashlie Green Sarah Meza* Abby Odom Senanu Simpson Andrew Whitlach Brandon Bourdeau

Trombone Connor McDonald Jane Cohen Taylor Haworth Samuel Coté Calvin Fein Joshua Stambaugh, bass Tristan Goodrich, bass Euphonium Maggie Schaffer Kris Stottlemire Elizabeth Reese Tuba Christopher Bernhardt Braden Meyer Xavier Gauthier Thomas Ambrose Piano Bryden Reeves String Bass Emma Waidner Harp Ava Crook Percussion Chance Douglas Drew Jungslager Caitlin Magennis Will Mccoy Jessica Weinberg

University Concert Band Personnel Chandler L. Wilson, Conductor Jason Freeman and Brad Sparks, Graduate Associate Conductors Piccolo Anna Todd

Bass Clarinet Katelyn Smith

Flute Kylie Boschen Kayla Crider Celeste Galvez Taylor LaPage Allie Mattice Addison Peltier Lexi Smith Sofia Velez-Santiago Marina Whitsell

Alto Saxophone Jennifer Fuentes Pauly Herrera Josie Liederman Gabriel Ortiz Brody Schiavone Brianne Yates

Oboe Megan Halter Alejandro Lopez Lilly Owens Bassoon Aspen Atwood Lyx Teets B-flat Clarinet Grace Allen Ryan Brabham Victoria Hamilton Claire Huggins Madeline Mondok Shane Smith Abigail Varnadoe

Tenor Saxophone Erin Kane Jamari Spears-Screen Olivia Turke Baritone Saxophone Joshua Spraker B-flat Trumpet Katie Brinkman Edwin Cintron Jean-Luc Cruz Katherine Hatfield Henry Hobbs Collin May Kai Okamoto Miron Tillery Kye Turner

Horn Sophia Fernandez Eliana Gold Dominic Gonzalez Madz Kyncl Anna Leach Christina Park Maya Robertson Braden Tan Trombone Tyler Berman Austin Boudi Connor Casey Ethan Colón Romus Edenfield Landon Ellenberg Tyler Figenscher Micah Hreczkosij Kyle Krogol Greg Lambert Samuel Mercier Colton Shallcross Euphonium Lee Anderson Karina Benton Yasha Foster Marissa Hutchins Ethan Sauvé

Tuba Noah Bryant Alden Cruz Parker Iliff Connor Kelley Nicholas Kozakoff Collier McBride Andrew Mechling Allie Nutting Armand Ortiz Samuel Williams Double Bass Michael Levanti Percussion Landon Holladay Kylan Bigby Jake Fenoff Kenneth Sharkey Jordan Brown Mackenzie Selimi John Baker