Program Notes Program Notes
Mountain Fanfare Mountain Fanfare ((2022) 2022)
Michael Kahle (b. 1996) Michael Kahle (b. 1996)
Mountain Fanfare Mountain Fanfare is an aggressive, sharp, and fun is an aggressive, sharp, and fun instrumental fanfare first instrumental fanfare first written for brass quintet, written for brass quintet, but was later expanded into this brass ensemble but was later expanded into this brass ensemble version. Featuring an articulate and biting opening, version. Featuring an articulate and biting opening, that gives way to a lyrical interlude, before ending that gives way to a lyrical interlude, before ending with a return to its earlier vigorous material, with a return to its earlier vigorous material, Mountain Fanfare Mountain Fanfare attempts to show the preverbal attempts to show the preverbal peaks and valleys of the ensemble. Thus creating an peaks and valleys of the ensemble. Thus creating an important, but distant, connection to the important, but distant, connection to the mountainous place it was written, Morgantown, WV. mountainous place it was written, Morgantown, WV.
Program Note From the Composer
Program Note From the Composer
Note from the Conductor: Note from the Conductor:
I knew I wanted to start my recital with fanfare from I knew I wanted to start my recital with fanfare from the beginning. I wanted to start off with “ a bold the beginning. I wanted to start off with “ a bold statement” and create a lot of energy. The challenge statement” and create a lot of energy. The challenge for me was trying to find one that fit. I finally for me was trying to find one that fit. I finally reached out to Dr. Dakota Corbliss, the Appalachian reached out to Dr. Dakota Corbliss, the Appalachian State horn professor, and he told me about a fanfare State horn professor, and he told me about a fanfare he was a part of last year. I reached out to the he was a part of last year. I reached out to the composer, Michael Kahle, and thus the journey with composer, Michael Kahle, and thus the journey with Mountain Fanfare Mountain Fanfare began. It has been a really fun piece began. It has been a really fun piece to work on and an awesome experience conducting to work on and an awesome experience conducting my first brass ensemble piece! my first brass ensemble piece!
Trumpets Trumpets
Trombones Trombones
Andrew Cook
Andrew Cook
Luke Judd Luke Judd
Jacob Tolar Jacob Tolar
Horn Horn
Gabe Porter Gabe Porter
Kenneth Schechter Kenneth Schechter
Layla Bouis Layla Bouis
Aidan Treier Aidan Treier
Tuba Tuba
Chayse Howard Chayse Howard
Pavane for 10 Winds Pavane for 10 Winds ((2021) 2021)
Katahj Copley (b. 1998) Katahj Copley (b. 1998)
When writing the Pavane I wanted to take an old
When writing the Pavane I wanted to take an old style of writing and dance and add my own colors. style of writing and dance and add my own colors. The piece is centered on themes and harmonies that The piece is centered on themes and harmonies that are both lovely and dissonant; the colors of the are both lovely and dissonant; the colors of the piece piece display warmth and vivid hues. With the guidelines display warmth and vivid hues. With the guidelines of a basic pavane (duple meter dance) I wanted to of a basic pavane (duple meter dance) I wanted to add a unique twist to an old composition style: a add a unique twist to an old composition style: a unique instrumentation. With this unique unique instrumentation. With this unique instrumentation- which includes a full saxophone instrumentation- which includes a full saxophone quartet- this piece is a gateway to chamber music for quartet- this piece is a gateway to chamber music for instruments and colors that aren't so usual. This instruments and colors that aren't so usual. This piece is an ode to composition styles from the past piece is an ode to composition styles from the past and the colors and instruments of the present. and the colors and instruments of the present.
Program Note From the Composer
Program Note From the Composer
Note from the Conductor: Note from the Conductor:
I initially found this piece because of the “full I initially found this piece because of the “full saxophone quartet” featured in it. Saxophones being saxophone quartet” featured in it. Saxophones being written for like that is something that doesn’t always written for like that is something that doesn’t always happen in chamber music, and I thought that it happen in chamber music, and I thought that it really tied the different sides of me together- the really tied the different sides of me together- the saxophone player and the conductor. I actually got saxophone player and the conductor. I actually got to meet Katahj at the Midwest Clinic (and got him to to meet Katahj at the Midwest Clinic (and got him to sign my score!). He was so nice to talk to! His advice sign my score!). He was so nice to talk to! His advice was to be patient with the piece and take my time was to be patient with the piece and take my time with it, which was a challenge, (if you know me well, with it, which was a challenge, (if you know me well, you know this is very true). I think of this piece a lot you know this is very true). I think of this piece a lot of different conversations. It is a dance, but to me, of different conversations. It is a dance, but to me, there are moments where two groups emulate there are moments where two groups emulate people who are in love. My entire interpretation people who are in love. My entire interpretation came from that idea. came from that idea.
Flute Flute
MJ Olsen MJ Olsen
Clarinet Clarinet
Madelyne Brenseke Madelyne Brenseke
Bass Clarinet Bass Clarinet
Annabel Johnson Annabel Johnson
Soprano Saxophone Soprano Saxophone
Ben Bouressa Ben Bouressa
Alto Saxophone Alto Saxophone
Genavieve Neff Genavieve Neff
Tenor Saxophone Tenor Saxophone
Caden Felts Caden Felts
Baritone Saxophone Baritone Saxophone
Luke Roberts Luke Roberts
Trumpet Trumpet
Andrew Cook Andrew Cook
Horn Horn
Peyton Bewley
Peyton Bewley
Trombone Trombone
Kenneth Schechter Kenneth Schechter
Our Little Secrets Our Little Secrets (2018/ 2020) (2018/ 2020)
Kimberly Osberg (b. 1992)
Kimberly Osberg (b. 1992)
Our Little Secrets Our Little Secrets was originally commissioned by the was originally commissioned by the NEXT Commissioning Consortium, which aimed to NEXT Commissioning Consortium, which aimed to provide flexible instrumentation works at various provide flexible instrumentation works at various difficulty levels. difficulty levels.
In the beginner version, instrument groupings
In the beginner version, instrument groupings explore simple-but-pervasive rhythms and moments explore simple-but-pervasive rhythms and moments of solo playing, providing an excellent introduction of solo playing, providing an excellent introduction to larger chamber ensemble playing. In the to larger chamber ensemble playing. In the advanced version, quirky and whimsical textures advanced version, quirky and whimsical textures abound with jet whistles, growls and flutter tongue, abound with jet whistles, growls and flutter tongue, trills, and head-spinning counterpoint—providing a trills, and head-spinning counterpoint—providing a fun and challenging piece for any wind octet. fun and challenging piece for any wind octet.
Program Note From the Composer/ Publisher
Note from the Conductor: Note from the Conductor:
I went to the Temple University Conducting I went to the Temple University Conducting Symposium in June 2023 and got a chance to work Symposium in June 2023 and got a chance to work with Dr. Patricia Cornett and Dr. Travis J. Cross. At with Dr. Patricia Cornett and Dr. Travis J. Cross. At the time, I was trying to find a piece for my recital the time, I was trying to find a piece for my recital that was a little more upbeat, but I was completely that was a little more upbeat, but I was completely stuck. I asked Dr. Cornett and she recommended this stuck. I asked Dr. Cornett and she recommended this piece. When I listened to it, I was immediately piece. When I listened to it, I was immediately excited because it was completely different from the excited because it was completely different from the other pieces. The title comes from the many other pieces. The title comes from the many interjections within the piece, such as jet whistle in interjections within the piece, such as jet whistle in the flutes, flutter tonguing, and dramatic dynamics. the flutes, flutter tonguing, and dramatic dynamics. The groove is initially started in the bassoons and The groove is initially started in the bassoons and then gets expanded/ spreads throughout. The then gets expanded/ spreads throughout. The challenge with this piece was trying to bring out challenge with this piece was trying to bring out these interjections and keep the groove of the piece these interjections and keep the groove of the piece going. going.
Flutes Flutes
Bella Carter Bella Carter
Tristan Morrow Tristan Morrow
Oboe Oboe
Karishma Vengala Karishma Vengala
Clarinets Clarinets
Benjamin Kipps Benjamin Kipps
Madelyne Brenseke Madelyne Brenseke
Alto Saxophone
Alto Saxophone
Justin Holloway
Justin Holloway
Bassoons Bassoons
Andrew Coram Andrew Coram
Owen Marcellino Owen Marcellino
Snow of an Aynu Village Snow of an Aynu Village ((2008) 2008)
Hirokazu Fukushima (b. 1971) Hirokazu Fukushima (b. 1971)
Snow of an Aynu Village Snow of an Aynu Village “represents people in [an] “represents people in [an]
Aynu village living strongly and worshipping gods in Aynu village living strongly and worshipping gods in snow, ” according to the work’s score. The piece was snow, ” according to the work’s score. The piece was written on a commission from a junior high school written on a commission from a junior high school on Hokkaido, the northernmost of Japan’s main on Hokkaido, the northernmost of Japan’s main islands. The southern part of this island has islands. The southern part of this island has historically been home to the Ainu (or Aynu) people, historically been home to the Ainu (or Aynu) people, a group with its own language (including many a group with its own language (including many dialects) that has recently been recognized as an dialects) that has recently been recognized as an indigenous ethnicity in Japan. The Ainu are now still indigenous ethnicity in Japan. The Ainu are now still concentrated in southern Hokkaido, with some concentrated in southern Hokkaido, with some pockets in the nearby parts of Russia and the Kuril pockets in the nearby parts of Russia and the Kuril Islands, among other places. Islands, among other places.
Program Note From the Composer and Wind Band Literature
Note from the Conductor: Note from the Conductor:
I had the chance to conduct the UNC Symphony I had the chance to conduct the UNC Symphony Band as a part of my conducting class during the Band as a part of my conducting class during the COVID-19 Pandemic and conducted my very first COVID-19 Pandemic and conducted my very first concert in April 2020. I was looking for Flex-Band concert in April 2020. I was looking for Flex-Band pieces and ones I could do with a limited pieces and ones I could do with a limited instrumentation when I found instrumentation when I found Snow of Aynu Village Snow of Aynu Village. I . I decided to move forward with another piece but decided to move forward with another piece but hoped that I would be able to conduct this one hoped that I would be able to conduct this one someday - in its Flex-Band or chamber group form. someday - in its Flex-Band or chamber group form.
When I was planning for my conducting recital, I When I was planning for my conducting recital, I rediscovered it and it became the 2nd piece I rediscovered it and it became the 2nd piece I officially programmed. There are so many different officially programmed. There are so many different colors and timbres in the piece and each is supposed colors and timbres in the piece and each is supposed to shine through. I actually had my first rehearsal to shine through. I actually had my first rehearsal with this piece late in the Spring 2023 semester so it with this piece late in the Spring 2023 semester so it has been something I have worked on with my has been something I have worked on with my players for almost a year now. I am so excited to players for almost a year now. I am so excited to finally perform it! finally perform it!
Flute/ Piccolo Flute/ Piccolo
Bella Carter Bella Carter
Clarinet Clarinet
Gavin Armstrong Gavin Armstrong
Alto Saxophone Alto Saxophone
Ben Bouressa Ben Bouressa
Trumpet Trumpet
Luke Judd Luke Judd
Horn Horn
Anna Butte Anna Butte
Trombone Trombone Layla Bouis Layla Bouis
Tuba Tuba
Emma Shepherd Emma Shepherd
Percussion Percussion
Will Fesmire Will Fesmire
Emma Neely Emma Neely
Serenade in Eb, Serenade in Eb, Op. 7 Op. 7 (1881 / 1985) (1881 / 1985)
Richard Strauss (1864 - 1949) Richard Strauss (1864 - 1949)
arr. Frederick Fennell (1914 - 2004) arr. Frederick Fennell (1914 - 2004)
Richard Strauss had just turned seventeen when he composed his Serenade for 13 wind
Richard Strauss had just turned seventeen when he composed his Serenade for 13 wind instruments in 1881. In true prodigy style, he had already published a string quartet, a instruments in 1881. In true prodigy style, he had already published a string quartet, a piano sonata, some shorter piano pieces, and an orchestral march, and his catalogue of piano sonata, some shorter piano pieces, and an orchestral march, and his catalogue of unpublished compositions included a full-length symphony. unpublished compositions included a full-length symphony
As the teen-aged son of the Munich court orchestra's principal horn player Franz
As the teen-aged son of the Munich court orchestra's principal horn player Franz Strauss, the young Richard already lived in a world saturated with music Franz's Strauss, the young Richard already lived in a world saturated with music. Franz's musical tastes were fairly conservative According to Richard, "His musical trinity was musical tastes were fairly conservative. According to Richard, "His musical trinity was Mozart (above all), Haydn, and Beethoven. To these were added Schubert, as song- Mozart (above all), Haydn, and Beethoven. To these were added Schubert, as songwriter, Weber, and, at some distance, Mendelssohn and Spohr. writer, Weber, and, at some distance, Mendelssohn and Spohr.
Strauss Senior was decidedly unsympathetic when it came to " new " music, and no one Strauss Senior was decidedly unsympathetic when it came to " new " music, and no one was newer in late-19th-century Munich than Wagner. Stories abound about clashes was newer in late-19th-century Munich than Wagner Stories abound about clashes between Franz Strauss and Wagner, with the horn player railing against Wagner's between Franz Strauss and Wagner, with the horn player railing against Wagner's music while playing it with incomparable skill and beauty. Even Wagner was forced to music while playing it with incomparable skill and beauty. Even Wagner was forced to admit of Strauss Senior that "when he plays his horn, one cannot stay cross with him." admit of Strauss Senior that "when he plays his horn, one cannot stay cross with him."
The beauty of Franz Strauss' horn playing certainly influenced his son ' s writing for
The beauty of Franz Strauss' horn playing certainly influenced his son ' s writing for winds in the Serenade, which utilizes four of his father's instrument along with double winds in the Serenade, which utilizes four of his father's instrument along with double woodwinds and contrabassoon (or double bass or tuba, depending on the available woodwinds and contrabassoon (or double bass or tuba, depending on the available resources). Franz's preference for the music of the classical and early Romantic eras resources). Franz's preference for the music of the classical and early Romantic eras also seems to have shaped his son ' s early compositional efforts to a considerable also seems to have shaped his son ' s early compositional efforts to a considerable extent. extent
The Serenade premiered in Dresden on November 27, 1882, conducted by the noted
The Serenade premiered in Dresden on November 27, 1882, conducted by the noted conductor Franz Wüllner. The work is much more than simply a deft imitation of conductor Franz Wüllner. The work is much more than simply a deft imitation of Mozart and Mendelssohn; it represents the young Strauss' filtering and distillation of Mozart and Mendelssohn; it represents the young Strauss' filtering and distillation of these influences into something remarkably original The contour of the melodies these influences into something remarkably original. The contour of the melodies easily identifies the seventeen-year-old as the future composer of works filled with easily identifies the seventeen-year-old as the future composer of works filled with moments of achingly beautiful lyricism like moments of achingly beautiful lyricism like Der Rosenkavalier Der Rosenkavalier and, especially, his late and, especially, his late opera opera Daphne Daphne, with its rich wind scoring. , with its rich wind scoring.
The Serenade is in a single, sonata form (exposition of themes, development of The Serenade is in a single, sonata form (exposition of themes, development of themes, recapitulation of themes) movement. Strauss' use of sonata form, which was themes, recapitulation of themes) movement Strauss' use of sonata form, which was an innovation of the classical era of Mozart and Haydn, reflects his immersion in the an innovation of the classical era of Mozart and Haydn, reflects his immersion in the works of his father's "musical trinity." The music itself is melodic and lyrical, with the works of his father's " trinity." music itself is melodic and lyrical, with the second theme (prefaced by a brief, minor-key transition) reveling in the rich, full second theme (prefaced by a brief, minor-key transition) reveling in the rich, full sound of the 13 wind instruments The development section starts with the oboes over sound of the 13 wind instruments. The development section starts with the oboes over a series of sustained notes played by the horns and the contrabassoon. A rising figure a series of sustained notes played by the horns and the contrabassoon. A rising figure in the lowest instruments creates a sense of anticipation as the development in the lowest instruments creates a sense of anticipation as the development approaches the recapitulation. The recapitulation begins with what is perhaps the most approaches the recapitulation. The recapitulation begins with what is perhaps the most evocatively beautiful moment in the Serenade, as the horns play the first theme with evocatively beautiful moment in the Serenade, as the horns play the first theme with great warmth, which surely must have put a smile on Franz' face. The work ends great warmth, which surely must have put a smile on Franz' face. The work ends gently, with the flutes, a gesture that offers a premonition in miniature of some of gently, with the flutes, a gesture that offers a premonition in miniature of some of Strauss' ravishing writing for the soprano voice in his greatest operas. Strauss' ravishing writing for the soprano voice in his greatest operas.
Program Note compiled/ edited from Dr. John Mangum (the LA Philharmonic’s Program Annotator)
Note from the Conductor: Note from the Conductor:
IMSLP score IMSLP score
Serenade in Eb, Op. 7 Serenade in Eb, Op. 7 Personnel Personnel
Flutes Flutes
Bella Carter Bella Carter MJ Olsen MJ Olsen
Oboes Oboes
Clarinets Clarinets
Gavin Armstrong Gavin Armstrong
Madelyne Brenseke Madelyne Brenseke
Bassoons Bassoons
Horns Horns
Peyton Bewley
Peyton Bewley
Anna Butte
Anna Butte
Gabe Porter Gabe Porter
Matthew Rebadow Matthew Rebadow
Stephanie Goehring
Stephanie Goehring
Alexandra Maclean Alexandra Maclean
Andrew Coram Andrew Coram
Owen Marcellino Owen Marcellino
String Bass
String Bass
Logan Unger Logan Unger
Red Rock Mountain Red Rock Mountain ((2016) 2016)
Rossano Galante (b. 1967) Rossano Galante (b. 1967)
This composition is an episodic work that paints a This composition is an episodic work that paints a musical portrait of a beautiful mountain landscape. musical portrait of a beautiful mountain landscape. Brass fanfares and soaring wind lines begin the Brass fanfares and soaring wind lines begin the piece, transitioning into an emotional section piece, transitioning into an emotional section depicting the mountains at dusk. As the sun rises and depicting the mountains at dusk. As the sun rises and sheds light on its peaks, the music becomes lyrical sheds light on its peaks, the music becomes lyrical and rhythmically incisive. This piece culminates in a and rhythmically incisive. This piece culminates in a heroic brass finale depicting the grandeur of these heroic brass finale depicting the grandeur of these stunning East Coast mountains. stunning East Coast mountains.
Program Note From the Composer/ Publisher
Note from the Conductor: Note from the Conductor:
Very early on I realized that my plan for my recital was pretty unique
Very early on I realized that my plan for my recital was pretty unique and unorthodox in comparison to other and unorthodox in comparison to other master conducting recitals - but master conducting recitals - but I wanted it to be that way. I wanted my finale to make a strong statement I wanted it to be that way. I wanted my finale to make a strong statement and be a combination of everything I have learned. The only thing I and be a combination of everything I have learned. The only thing I could ever think about was combining together all of my recital groups could ever think about was combining together all of my recital groups and adding some more players to be able to perform a full band piece. I and adding some more players to be able to perform a full band piece. I told Dr. Ross about my crazy idea, and he loved it so I immediately told Dr. Ross about my crazy idea, and he loved it so I immediately started brainstorming. He brought one of the programs from his concert started brainstorming. He brought one of the programs from his concert with the Charlotte Pride Band and with the Charlotte Pride Band and Red Rock Mountain Red Rock Mountain was on there. I was on there. I listened to it and basically knew I wanted to do it. I asked 2 of my players listened to it and basically knew I wanted to do it. I asked 2 of my players if they thought it would be cool (Anna Butte and Justin Holloway), and if they thought it would be cool (Anna Butte and Justin Holloway), and they both said it was their favorite piece. I took it as a sign that I needed they both said it was their favorite piece. I took it as a sign that I needed to do it. to do it.
Now you may be thinking, “He had almost 40 people in his conducting Now you may be thinking, “He had almost 40 people in his conducting recital and all of them played in one piece?!?” and the answer is yes, I sure recital and all of them played in one piece?!?” and the answer is yes, I sure did. In true Joe Figliolo fashion, I knew this was the only way to make a did. In true Joe Figliolo fashion, I knew this was the only way to make a dramatic ending statement. The even crazier thing is I would do it all dramatic ending statement. The even crazier thing is I would do it all over again without hesitation. over again without hesitation.
To me, this piece and this experience have meant getting to know more To me, this piece and this experience have meant getting to know more people better and given me the chance to work with so many outstanding people better and given me the chance to work with so many outstanding musicians on a much more personal level. I would not change any musicians on a much more personal level. I would not change any moment for the world. moment for the world.
Flutes Flutes
MJ Olsen MJ Olsen
Tristan Morrow Tristan Morrow
Bella Carter, piccolo Bella Carter, piccolo
Oboes Oboes
Stephanie Goehring Stephanie Goehring
Karishma Vengala Karishma Vengala
Alexandra Maclean Alexandra Maclean
Bassoons Bassoons
Andrew Coram Andrew Coram
Owen Marcellino Owen Marcellino
Clarinets Clarinets
Benjamin Kipps Benjamin Kipps
Madelyne Brenseke Madelyne Brenseke
Gavin Armstrong Gavin Armstrong
Jimmy McKenzie Jimmy McKenzie
Bass Clarinet Bass Clarinet
Annabel Johnson Annabel Johnson
Alto Saxophones Alto Saxophones
Justin Holloway Justin Holloway
Ben Bouressa Ben Bouressa
Genavieve Neff Genavieve Neff
Tenor Saxophone Tenor Saxophone
Caden Felts Caden Felts
Baritone Saxophone Baritone Saxophone
Luke Roberts Luke Roberts
Trumpets Trumpets
Luke Judd Luke Judd
Andrew Cook Andrew Cook
Jacob Tolar Jacob Tolar
Horns Horns
Anna Butte Anna Butte
Gabe Porter Gabe Porter
Peyton Bewley Peyton Bewley
Matthew Rebadow Matthew Rebadow
Trombones Trombones
Kenneth Schechter Kenneth Schechter
Layla Bouis Layla Bouis
Aidan Treier Aidan Treier
Euphonium Euphonium
Owen Brady Owen Brady
Tubas Tubas
Chayse Howard Chayse Howard
Emma Shepherd Emma Shepherd
String Bass String Bass
Logan Unger Logan Unger
Percussion Percussion
Jackson Ayscue Jackson Ayscue
Will Fesmire Will Fesmire
Jordan Harris Jordan Harris
Emma Neely Emma Neely
Laura Packer Laura Packer
Will Sorrell Will Sorrell
Cory Wilkins Cory Wilkins
ALL of my performers: ALL of my performers: Thank you for being amazing Thank you for being amazing musicians and for making me laugh at every step of this musicians and for making me laugh at every step of this journey. You all have changed my life for the better. Thank journey. You all have changed my life for the better. Thank you for everything!! you for everything!!
All of the Applied Faculty, Staff, and Professors at the Hayes
All of the Applied Faculty, Staff, and Professors at the Hayes School of Music for all of their constant support. School of Music for all of their constant support.
Thank you to Dr. James Douthit, our wonderful Dean, for all of Thank you to Dr. James Douthit, our wonderful Dean, for all of his support and guidance. his support and guidance.
Thank you to Mrs. Sally Booker & Mr. Zach Shatley for all of Thank you to Mrs. Sally Booker & Mr. Zach Shatley for all of their help with booking spaces and with all of my building their help with booking spaces and with all of my building needs throughout my time at App State. needs throughout my time at App State.
The Iota Omicron Chapter of Kappa Kappa Psi for their
The Iota Omicron Chapter of Kappa Kappa Psi for their support and for helping with the stage changes at my recital. support and for helping with the stage changes at my recital.
The Rho Tau Chapter of Phi Mu Alpha Sinfonia for their The Rho Tau Chapter of Phi Mu Alpha Sinfonia for their support and for helping with the stage changes at my recital. support and for helping with the stage changes at my recital.
My wonderful UNC Music Department Family and Mentors: My wonderful UNC Music Department Family and Mentors: Mr. Jeff Fuchs, Dr. Evan Feldman, and Dr. Erin Cooper. Thank Mr. Jeff Fuchs, Dr. Evan Feldman, and Dr. Erin Cooper. Thank you for helping me develop who I want to be as an educator, you for helping me develop who I want to be as an educator, musician, conductor, and person. Thank you for continuing to musician, conductor, and person. Thank you for continuing to cheer me on even after graduation. cheer me on even after graduation.
The Mu Eta Chapter of The Mu Eta Chapter of Kappa Kappa Psi for all of their Kappa Kappa Psi for all of their support and for becoming my family. AEA & Go Heels!! support and for becoming my family. AEA & Go Heels!!
Gabriela Duncan and Eric Groves for constantly supporting Gabriela Duncan and Eric Groves for constantly supporting me at every step of my journey and being amazing friends. I me at every step of my journey and being amazing friends. I love you both so much. love you both so much.
wonderful wonderful community at the Hayes School community at the Hayes School of Music, especially the amazing students and grad students of Music, especially the amazing students and grad students that I have met and lucky enough to call my friends. that I have met and lucky enough to call my friends.
Dr. Scott Kalestad - Thank you for letting me be an active Dr. Scott Kalestad - Thank you for letting me be an active member of the Saxophone Studio at App State and for all of member of the Saxophone Studio at App State and for all of your support. It is something that I wasn’t sure would ever your support. It is something that I wasn’t sure would ever happen again after I graduated from undergrad. I am so happen again after I graduated from undergrad. I am so grateful to have been able to play in the Appalachian Bands, be grateful to have been able to play in the Appalachian Bands, be in the Saxophone Choir, and be in my first true saxophone in the Saxophone Choir, and be in my first true saxophone quartet! quartet!
Dr. Alexandra Dee - Thank you for letting a saxophone player Dr. Alexandra Dee - Thank you for letting a saxophone player turned conductor take lessons with you and giving him the turned conductor take lessons with you and giving him the opportunity to conduct an orchestra for the first time. Thank opportunity to conduct an orchestra for the first time. Thank you for all of your wisdom and help in discovering new you for all of your wisdom and help in discovering new perspectives in music. I cannot even begin to tell you how perspectives in music. I cannot even begin to tell you how much amazing it has been to work with you and how impactful much amazing it has been to work with you and how impactful it has been for me. Thank you for being an amazing teacher it has been for me. Thank you for being an amazing teacher and role model. and role model.
Dr. Jason Gardner - Thank you for all of your wisdom and Dr. Jason Gardner - Thank you for all of your wisdom and MANY opportunities to make music, learn, and grow as a MANY opportunities to make music, learn, and grow as a musician. I have thoroughly enjoyed being a part of the musician. I have thoroughly enjoyed being a part of the Marching Mountaineers and getting to write drill for the first Marching Mountaineers and getting to write drill for the first time! Thank you for taking me hiking for the first time in my time! Thank you for taking me hiking for the first time in my life - to my surprise, I really enjoyed it! I have made so many life - to my surprise, I really enjoyed it! I have made so many memories with so many new friends and I thank you for giving memories with so many new friends and I thank you for giving me the opportunity to work with you. me the opportunity to work with you.
Dr. Andrew Patzig - We haven’t known each other for a long Dr. Andrew Patzig - We haven’t known each other for a long time but I greatly appreciate your help and friendship. Thank time but I greatly appreciate your help and friendship. Thank you for all of the laughs, for teaching me about percussion, for you for all of the laughs, for teaching me about percussion, for listening to me after a long day, and for being supportive of listening to me after a long day, and for being supportive of me/ my journey. A huge thanks for also being a part of my first me/ my journey. A huge thanks for also being a part of my first Universal experience and watching me fear for my life on Universal experience and watching me fear for my life on rollercoasters. rollercoasters.
Dr. Ross - I don’t even know where to begin or if saying thank Dr. Ross - I don’t even know where to begin or if saying thank you even covers it. Not many people wanted to take a chance you even covers it. Not many people wanted to take a chance on me when I was starting to look for a program to get my on me when I was starting to look for a program to get my master’s degree. I felt a lot of rejection and it caused me to master’s degree. I felt a lot of rejection and it caused me to really doubt myself. I remember seeing you conducting the really doubt myself. I remember seeing you conducting the Appalachian Wind Ensemble at NCMEA in November 2021 Appalachian Wind Ensemble at NCMEA in November 2021 and the feeling of just knowing I was in the right place at the and the feeling of just knowing I was in the right place at the right time. I went to the HSOM booth and got your contact info right time. I went to the HSOM booth and got your contact info with high hopes of having the chance to at least talk to you with high hopes of having the chance to at least talk to you about the possibility of attending App State. When I sent you about the possibility of attending App State. When I sent you the first email, you did not want to set up a meeting the the first email, you did not want to set up a meeting the following week... you wanted to set it up the next day. I following week... you wanted to set it up the next day. I remember calling and you saying you were definitely remember calling and you saying you were definitely interested in me applying which completely laid the interested in me applying which completely laid the foundation for me coming to App (it is ironic because I was foundation for me coming to App (it is ironic because I was denied from the HSOM when I auditioned for undergrad). I denied from the HSOM when I auditioned for undergrad). I have learned so incredibly much from you and again, I am not have learned so incredibly much from you and again, I am not sure if thank you covers everything. Thank you for all of the sure if thank you covers everything. Thank you for all of the knowledge, opportunities, support, and probably most knowledge, opportunities, support, and probably most importantly, for letting me keep dreaming big. I told you I importantly, for letting me keep dreaming big. I told you I wanted to keep creating opportunities for myself but I had no wanted to keep creating opportunities for myself but I had no idea I would get to do what I have done in just 2 years. I hope I idea I would get to do what I have done in just 2 years. I hope I take what you have taught me and make you proud. Thank you take what you have taught me and make you proud. Thank you for everything. for everything.
Jimmy McKenzie Jimmy McKenzie who has been who has been there for me since day 1 of me being at App State (technically there for me since day 1 of me being at App State (technically before since he made me get on a Zoom call with him before since he made me get on a Zoom call with him beforehand when he was still living in Baltimore). You have beforehand when he was still living in Baltimore). You have made me laugh in times that I have been stressed, helped me made me laugh in times that I have been stressed, helped me each and every day, given me honest feedback about my each and every day, given me honest feedback about my cooking/ baking, and, probably most importantly to me, been cooking/ baking, and, probably most importantly to me, been someone I can talk to about anything and everything in my someone I can talk to about anything and everything in my life. I would not be the person I am today or have been able to life. I would not be the person I am today or have been able to make it in grad school without your friendship. From playing make it in grad school without your friendship. From playing games at my apartment to being with each other almost every games at my apartment to being with each other almost every day while being at App State and going on a road trip to go to day while being at App State and going on a road trip to go to my first Midwest Clinic, we have been through a lot - but I my first Midwest Clinic, we have been through a lot - but I could not ask for a better friend to do it with. Thank You for could not ask for a better friend to do it with. Thank You for helping me balance work and life as well as creating MANY helping me balance work and life as well as creating MANY inside jokes. There is no one I would rather share an office with inside jokes. There is no one I would rather share an office with or go on our many coffee runs with. I truly don’t know if words or go on our many coffee runs with. I truly don’t know if words can cover how grateful I am to have you in my life or if I have can cover how grateful I am to have you in my life or if I have said it enough, but Thank You for everything. said it enough, but Thank You for everything.
Another very special Thank You to
Another very special Thank You to T.j. Anderson T.j. Anderson for being for being there for me through everything - not just grad school. You are there for me through everything - not just grad school. You are someone that I truly believe I met at the perfect time in my life. someone that I truly believe I met at the perfect time in my life. I appreciate all of your friendship, support, advice, and many I appreciate all of your friendship, support, advice, and many many jokes that have made me cry from laughter. Thank You many jokes that have made me cry from laughter. Thank You for checking in on me and listening to what is going on in my for checking in on me and listening to what is going on in my life. I am grateful to have met you and feel lucky that I have life. I am grateful to have met you and feel lucky that I have gotten to become close friends. gotten to become close friends.
Thank You to Thank You to my family and friends my family and friends who have become my who have become my family. I feel lucky to get so much support from so many family. I feel lucky to get so much support from so many different people who have seen me grow up and get to be different people who have seen me grow up and get to be where I am today. Thank you for your continued love and where I am today. Thank you for your continued love and support. I would not be who I am without you. support. I would not be who I am without you.
The absolute biggest Thank You to my parents, Linda and Nick The absolute biggest Thank You to my parents, Linda and Nick Figliolo Figliolo, who have taught me everything that I know, helped , who have taught me everything that I know, helped me become everything I am, and supported me through me become everything I am, and supported me through absolutely everything in my life. I feel lucky to have parents absolutely everything in my life. I feel lucky to have parents who love me for all that I am and support me at every stop in who love me for all that I am and support me at every stop in my life. I could not do what I do or be who I am without you. my life. I could not do what I do or be who I am without you. Thank You for everything. Thank You for everything.
