University of the Pacific's Concert Bands 2.19.20

UNIVERSITY CONCERT BAND AND SYMPHONIC WIND ENSEMBLE Wednesday I February 19, 2020 I 7:30 pm Faye Spanos Concert Hall

UNIVERSITY CONCERT BAND Nico Peruzzi | graduate assistant conductor Brad Hart | guest conductor SYMPHONIC WIND ENSEMBLE Eric Dudley | guest conductor

82nd Performance I 2019–20 Academic Year I Conservatory of Music I University of the Pacific

CONCERT PROGRAM I FEBRUARY 19, 2020 I 7:30 PM University Concert Band Lights Out

Alex Shapiro (b. 1962) Brad Hart, conductor

Handel in the Strand

Percy Grainger (1882-1961) Nico Peruzzi, conductor

Suite from Symphonie Fantastique I. A Ball II. March to the Scaffold III. Dream of a Witches’ Sabbath Brad Hart, conductor And Yet the Sun Rises

Hector Berlioz/Story (1803-1869)

Brett Abigaña (b. 1980) Brad Hart, conductor

Cajun Folk Song Suite

Frank Ticheli (b. 1958) Nico Peruzzi, conductor

Intermission

CONCERT PROGRAM I FEBRUARY 19, 2020 I 7:30 PM Symphonic Wind Ensemble Eric Dudley, guest conductor

Bop (2004)

Jennifer Higdon (b. 1962) Zachary Grenig, soprano saxophone Arturo Garcia, alto saxophone Michael De Lashmutt, tenor saxophone Matthew Loya, baritone saxophone

Overture to Candide (1956)

Leonard Bernstein/Grundman (1916-1990)

O, Magnum Mysterium (2012)

Morton Lauridsen/Reynolds (b. 1943)

March from Symphonic Metamorphosis (1943) Serenade, Op. 7 (1882)

Paul Hindemith/Wilson (1895-1963) Richard Strauss (1864-1949)

Four Dances from West Side Story (1957) Scherzo Mambo Cha-Cha Cool (Fugue)

Bernstein/Polster

PACIFIC BANDS Whether serving academic and professional training, supporting Tiger athletics, or entertaining at University functions, Pacific Bands have always played an integral role at University of the Pacific. Over 130 students representing 12 states, 16 academic majors, and six schools or colleges within the University, participate in the Pacific Bands. The program’s rich history and vibrant future are dedicated to continued growth, service, and a uniquely powerful “esprit de corps” that reflect the University’s commitment to topflight, student-centered education.

PACIFIC BANDS

UNIVERSITY CONCERT BAND

Literature for the University Concert Band comes from contemporary, transcription, and standard band repertory. Performances include music from light classics to show tunes. The band performs on-campus each semester and also hosts concerts shared with local high schools. Membership is open to all Pacific students.

Flute Miranda Morse Kassandra Diaz Alicia Correia Autumn Hill Logan Feece Marcus Loya Jessica Benach Kristy Tran Ashley Bonfoey Oboe Raquel Johnson Clarinet Rachel Dolan Ravyn Stanford Emily McGann Dereck Vicevich Gerardo Lopez Bassoon Cruz Gonzalez Cassandra Parker-Swenson

Saxophone Theresa Huynh Ryan Porter Trevor Trinity-Rees Krystle Kong Kiko Yago Michael Solis James Scott Zachary Grenig Trumpet Curtiss Wright Kevin Hee Brenna Myers Caleb Bonilla Michael Dubie Julia Murillo Peter Altamura French Horn Immauri Patterson

Trombone Charles Tuttle Josh Lopez Euphonium Keon MacKay Josh Du Tuba Stephen Lambert Dominic Jimenez Double Bass Peter Altamura Percussion Craig Robinson Sean Mitchell Emily Winsatt Ian Higa Jeyrik Paduga Ben Nguyen

PACIFIC BANDS SYMPHONIC WIND ENSEMBLE The Symphonic Wind Ensemble is comprised of accomplished wind, brass and percussion students at Pacific. Repertoire is drawn from the standards for concert band, transcriptions, and the great wealth of classic and contemporary music for wind ensemble. Participation in the ensemble is open to all Pacific students by audition.

The Symphonic Wind Ensemble plays on campus and travels extensively performing recently at Stanford, Carnegie Hall, the California All State Music Education Conference and the Western International Band Clinic in Seattle. In March 2019, SWE performed at Stanford, CA, and New York City’s Carnegie Hall. The ensemble recorded their second album at the famed Skywalker Ranch Studios in 2013.

Flute Monica Mendoza, Principal Diana Ayala Lexi Obregon Kaylea Bringas Alicia Correia Oboe Arturo Garcia, Principal Raquel Johnson Clarinet Byron Ayala, Principal Alice Park Edgard Gonzales Richard Shin Ashlynn Sima Marcus Romero, bass Bassoon Ella Hebrard, Principal Dorian Jones Saxophone Bryan Mah, Co-Principal Zachary Grenig, Co-Principal Kyle Lesh Michael De LAshmutt, tenor Matthew Loya, baritone Cornet/Trumpet Cristina O’Brien, Principal Andrew Marcopulos

Cornet/Trumpet cont.

Jach Chivers Noah Granard Ryan Abdelmalek Daniel Roh Horn Braydon Ross, Principal Reese Romero Emily Corgiat Olivia Gideon Euphonia Brooke Farrar Trombone Nico Peruzzi, Co-Principal Rebecca Growcott, Co-Principal Andy McKimmy Tuba Robert Huntington, Principal Andrew Davis String Bass Trinitie Wood Percussion Kyle Bossert, Co-Principal Lok Man Lei (Vincent), Co-Principal Jonathan Hebers Samantha Sanchez Ravyn Stafford

CONDUCTORS Brad Hart is currently the Instrumental Music Teacher at Johansen High School in Modesto, CA. He also serves as the Visual and Performing Arts Department Chair, the Modesto City Schools High School Music Chairperson, President of the Stanislaus County Music Educators Association, and President of the New Hammer Concert Band. Mr. Hart has led his ensembles through various commissions and special projects. The program at Johansen has established itself as active members of their community by organizing multiple events that both bring the music to their neighborhood and provide support to local organizations.

Hart has also spent time serving as a guest lecturer for the Modesto Symphony and taught at CSU Stanislaus. Aside from teaching music, he is a published composer with World Projects. His most recent works are Symphony No. 1, Slamming Open the Door.

Nico Peruzzi is a graduate student at University of the Pacific’s Conservatory of Music. In summer of 2018, he received a bachelor’s degree in Music Education from Pacific and he currently serves as a graduate assistant for the Pacific Bands. In addition to his work with University Concert Band, he plays euphonium in Pacific’s Symphonic Wind Ensemble and directs the orchestra for Pacific Heavy Ensemble.

Outside of his studies, he teaches private lessons and works as a visual instructor for the marching band and indoor drumline at Dublin High School. After completing his master’s studies, he hopes to teach band in the Northern California area.

Born in Toronto and raised in Connecticut, Eric Dudley leads a multi-faceted career as a conductor, composer, vocalist and pianist deeply engaged in the performance and creation of contemporary music. Since its founding in 2009, Eric has been a member of the genre-defying vocal octet Roomful of Teeth, touring worldwide and recording a wide array of newly commissioned works with this Grammy Award-winning ensemble.

He moved to the Bay Area in 2016 to lead the orchestra program at the San Francisco Conservatory of Music for two years, and is now the newly-appointed Artistic Director for the San Francisco Contemporary Music Players, with whom he leads a full series of concerts in the 2018/2019 season.

CONDUCTORS While living in New York, he conducted and performed with organizations as diverse as Ekmeles and Tenet vocal ensembles, the Choir of Trinity Wall Street, Talea Ensemble, American Symphony Orchestra, Ensemble Signal and the New York Philharmonic. He was an assistant conductor for the Cincinnati Symphony Orchestra under Paavo Järvi and the Princeton Symphony Orchestra under Rossen Milanov for several seasons, and some of his recent guest engagements include the Ojai Festival in California, International Contemporary Ensemble (ICE) in New York and Finland, Adelaide Symphony, and the National Symphony Orchestra at the Kennedy Center. He served on the faculty of The New School and Mannes College of Music in New York, where he directed the Mannes Prep Philharmonic and The New School Chorus, and currently teaches conducting at the San Francisco Conservatory of Music.

As a pianist and chamber musician, he has performed with members of Novus New York and the Cincinnati and Princeton symphony orchestras, and his own music has been premiered and recorded by the Hartford Symphony Orchestra, Quey Percussion Duo, and by Roomful of Teeth.

Eric holds a bachelor’s degree in composition from the Eastman School of Music, and both a master’s and doctorate degree in orchestral conducting from Yale, where he was the recipient of the Dean’s Prize. He lives in Walnut Creek with his wife Melanie and their infant son Ethan.

PROGRAM NOTES Lights Out “I suppose you could call LIGHTS OUT an “opto-physico-electro-acoustic” work for wind band, because it was conceived from the onset as a visual media piece.

While it can be performed in any normal concert setting, it’s most compelling when presented in the dark, slightly disorienting the audience and dazzling them with the beautiful colored aura from glowsticks, smart phones, and small LEDs placed inside the instruments and on the musicians’ mallets and fingers.

Mesmerizing!”

- Alex Shapiro Handel in the Strand “My title was originally Clog Dance. But my dear friend William Gair Rathbone (to whom the piece is dedicated) suggested the title Handel in the Strand, because the music seemed to reflect both Handel and English musical comedy [the “Strand” — a street in London — is the home of London musical comedy] — as if jovial old Handel were careering down the Strand to the strains of modern English popular music.”

- Percy Grainger Suite from Symphonie Fantastique Premiered in 1830, Symphonie Fantastique is one of the earliest significant examples of programmatic music, meaning that it was written to convey a specific narrative story. This suite is a setting of the second fourth and fifth movements for wind band. Below are the program notes from those three movements that were included in the 1855 edition of the original piece (translated by Michel Austin).

- Nico Peruzzi II. A Ball The artist finds himself in the most diverse situations in life, in the tumult of a festive party, in the peaceful contemplation of the beautiful sights of nature, yet everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion IV. March to the Scaffold Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved,

PROGRAM NOTES that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow.

V. Dream of a Witches’ Sabbath He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath … Roar of delight at her arrival … She joins the diabolical orgy … The funeral knell tolls, burlesque parody of the Dies irae, the dance of the witches. The dance of the witches combined with the Dies irae.

And Yet, the Sun Rises “The title of And Yet, the Sun Rises has several meanings. When I spoke to Matt Howe about the piece he wanted for this concert, he immediately suggested a kind of hymn of thanks. Among other things, the piece offers thanks for health, love, happiness, and peace, in a world so often lacking in all four. There is also an unseen pun in the title, as the word “sun” could easily be replaced by “son.” As such, the title also refers to the fact that whatever older generations do, undo, or, increasingly, DON’T do, the younger generation will rise to take its place, thereby righting some of the wrongs they see in the world. In a society paralyzed by fear, hatred, and inaction, I’m given hope by what my own students and indeed their entire generation have and will continue to accomplish for the betterment of the world, despite the obstacles placed in their way. May they continue to rise and use their voice to find the glory which has proven so elusive to those that came before.”

- Brett Abigana Cajun Folk Song Suite “Although a rich Cajun folksong tradition exists, the music has become increasingly commercialized and Americanized throughout the twentieth century, obscuring its original simplicity and directness. In response to this trend, Alan and John Continued on next page

PROGRAM NOTES Lomax traveled to South Louisiana in 1934 to collect and record numerous Cajun folksongs in the field for the Archive of Folk Music in the Library of Congress. By doing so, they helped to preserve Cajun music in its original form as a pure and powerful expression of Louisiana French Society.”

La Belle et le Capitaine and Belle can both be heard in their original versions on the Lomax recordings (Swallow LP-8003-2, Swallow Records Co., Ville Platte, Louisiana). La Belle et le Capitaine tells the story of a young girl who feigns death to avoid being seduced by a captain. Its Dorian melody is remarkably free, shifting back and forth between duple and triple meters. In this arrangement the melody is stated three times. The third time an original countermelody is added in flutes, oboe, clarinet, and trumpet.

Belle is about a man who goes away to Texas only to receive word of his sweetheart’s illness, forcing him to return to Louisiana. Finding her unconscious upon his return, he pawns his horse to try to save her, to no avail. The folk melody is sometimes varied rhythmically, texturally, and coloristically, and an original melody (see mm. 12-21) is added for variety.”

- Frank Ticheli

UPCOMING CONSERVATORY EVENTS Feb. 24 I 7:30 pm Conservatory Honors Recital Recital Hall Feb. 26 I 7:30 pm Pacific Jazz Ensemble Faye Spanos Concert Hall Feb. 29 I 7:30 pm University Symphony Orchestra Faye Spanos Concert Hall

Mar. 2 I 7:30 pm Patricia Shands, clarinet Igor Veligan, violin Natsuki Fukasawa, piano Recital Hall Mar. 26-28 I 7:30 pm Mar. 29 I 2:30 pm The New Mikado

A retelling of the classic operetta in a new version by Lamplighters Music Theatre

Faye Spanos Concert Hall

go.Pacific.edu/MusicEvents

SUPPORT OUR STUDENTS Every gift to the Conservatory from an alumnus, parent, or friend makes an impact on our students. Our students rely on your generosity to enable them to experience a superior education.

The Hammer Family Memorial Scholarship honors the Hammer family’s long history with University of the Pacific and it provides scholarship support to students to continue this legacy in the field of music education.

Eric Hammer Memorial Band Fund provides annual support to the Conservatory of Music’s band program.

To make a gift, please, contact Briana Bacon, Assistant Dean for Development, at bbacon@pacific.edu or 209.946.7441. You may also send a check payable to University of the Pacific at 3601 Pacific Ave., Stockton, CA 95211.

Pacific.edu/Conservatory