The Jersey Bounce…..……………………Plater, Feyne, Bradshaw, and Johnson, arr. Jeff Jarvis
Chronometry
Sturm
Flute
Lilyanna Claice
Eleanor Flinn
Katelyn Jones
Andrew Kandrak
Kayla Perkins*
Oboe
Camille Apineru*
Finn Jones
Bassoon
Madelyn Friesen*$
Clarinet
Mirabelle Barr
Mylee Bemis
Mordekai Howe
Greysen Stevens*
Leah Robarge$
Flute
Anna Carl
Max Keener
Erin O’Connors*
Oboe
Michael Nunez*$
Lily Sobers$
Symphonic Band
Saxophone
Emelia Dukes, alto*
Isabella Flinn, alto
Trumpet
Audrey Armbruster
Owen Beatty
Silas Ewer
Michael Fulton
Samuel Hunt
Kai Jones*
Macy Maio
Logan Murphy
Levi Reever
Horn
Tessa Berthelotte
Carson Coryer*
Trombone
Keene Burnham
Elsa Conley*
Tyler Leu
Carson Rose
Euphonium
Ayslyn Hawk
Magdalyn Kajs
Mallory Rowe*
Viktor Duling
Lauren Johnson*$
Abigail Meggett
Katy Oliger
Cooper Wentworth$
Bass Clarinet
Ella Armstrong*^$
Mackenzie Loew
Saxophone
Brekkan Kelly, bari^!
Blake Stolley, tenor*
Julianna Wainright, alto
Ashley Forsyth&$@
Carter Grizzle
Brian Hawkins
Evan Marsh*^$+
Vaughn Slivka
Horn
Noelle Garcia*
Tuba
Neill Callahan*
Viktor Soucek
Percussion
Elle Ruth Adams*
Brodie Davis
William Everett
Evan Strom
Tanner Vrieze
* principal player
$ All City Honor Band
^ All City Jazz Band
@ All State Band + All State Orchestra ! CU Honor Band & CSU Honor Band
Euphonium
Nathan Bird*$
Trombone
Kelvin Duling*$@
Benjamin Egbert
Grace Kovar, bass
Liam Miske
Tuba
Charles Scott*
Percussion
Alex Chapman*&$+!
Brie Chester$
Zac Smith
Saxophones
Ella Armstrong, alto
Mirabelle Barr, alto
Andrew Kandrak, alto
Rylan Melbardis, alto
Cooper Wentworth, alto
Erin O’Connors, tenor
Abigail Meggett, tenor
Brekkan Kelly, bari
Camille Apineru, bari
Jazz Band
Trombones
Nicholas Berthelotte
Elsa Conley
Grace Kovar, bass
Liam Miske
Guitar
Elle Ruth Adams
Piano
Brianna Chester
Vibes
Alexander Chapman
Trumpets
Ashley Forsyth
Evan Marsh
Jaxson Warman
Bass
Alexander Chapman
Camille Apineru
Drums
Zachary Smith
Vocals
Noelle Garcia
Lewis-Palmer High School Administration
Bridget O’Connor, Principal
Brooke Mendez, Assistant Principal
Troy Sides, Assistant Principal
Nick Baker, Assistant Principal / Athletic Director
Stacy Roshek, Assistant Principal / Activities Director
Lewis-Palmer High School Performing Arts Faculty
Kris Lilley, Theater
Madeline Smith, Choir
Sam Anderson, Band
Symphonic Band Program Notes:
Radetzky March:
The Radetzky March was composed in 1848 and is so named because of its dedication to Field Marshal Radetzky, a senior member of the Austrian army who successfully led an assault in Italy that same year. Nowadays, the piece is rarely heard without incessant clapping over the top; it’s always played to end the famous New Year’s Day concert in Vienna, with the audience encouraged to applaud the arrival of another year.
There’s a bittersweet element to the piece: it was due to be premiered in the autumn of 1849, but Strauss strangely failed to turn up. His publisher later explained, "During the instrumentation of the march, Strauss became ill with scarlet fever and died three days later".
-Program note by Classic FM
High Water Mark: The Third Day:
By the summer of 1863, the American Civil War was already two years old and would continue for nearly another two years. In June of that year Confederate General Robert E. Lee led his Army of Northern Virginia on an invasion of northern territory through Maryland and into Pennsylvania. By winning a victory on northern soil, Lee hoped to kraken the Union’s resolve to continue the war and also to convince European countries to enter the war on the side of the South. His army was being pursued from the south by Union forces under General George G. Meade. Upon learning of his pursuers, Lee had to gather his scattered forces and reverse the direction of his invasion. Both armies would collide in a monumental battle lasting three days near the town of Gettysburg. In one of the War’s strange turnabouts, the Northern forces would approach Gettysburg from the south, while the Southern army would approach from the north. Of the more than 170,00 soldiers involved, more than 50,000 were killed or wounded.
-Program note by composer
Castlebay Overture:
Castlebay Overture was composed in 1983 by James Ployhar, one of the most prolific writers in the field of music education. This specific composition can be used to introduce students to the overture form, a standard in band literature. The piece starts with a slow introduction of melodic elements before escalating into the main theme, or the A section. A brief interlude gives pause, allowing the music to breathe before returning to variations on the main theme all the way to the end of the piece.
-Program note by Sam Anderson
Wind Symphony Program Notes:
Dusk:
This simple, chorale-like work captures the reflective calm of dusk, paradoxically illuminated by the fiery hues of sunset. I'm always struck by the dual nature of this experience, as if witnessing an event of epic proportions silently occurring in slow motion. Dusk is intended as a short, passionate evocation of this moment of dramatic stillness. Dusk is part of a three-work “night cycle,” continuing with The Marbled Midnight Mile and concluding with First Light.
Dusk was commissioned by the Langley High School Wind Symphony, Andrew Gekoskie, conductor, and was premiered in April 2004 at the MENC National Convention by the commissioning ensemble.
- Program Note by composer
An American in Paris:
Gershwin was best known as a writer of music for the entertainment market, but he did make several excursions into the realm of art music. One of these was the result of a brief visit to Paris in 1926 (from which he returned with a French taxicab horn and the sketch of a melody) and a longer stay in 1928. He made use of both the horn and the melody while writing this piece during his second visit. He called the work a "rhapsodic ballet." His description follows:
" I have not endeavored to present any definite scenes in this music. The rhapsody is programmatic in a general impressionistic sort of way, so that the individual listener can read into the music such episodes as his imagination pictures for him. The opening section is followed by a rich 'blues' with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a cafe, has suddenly succumbed to a spasm of homesickness. The blues rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris."
