Belmont University
Concert Band and Wind Ensemble
Concert Band
Greg Snyder, conductor
Fanfare for the Ozarks
John Cheetham (b. 1939)
Safely Rest Nicole Piunno (b. 1985)
Porro Victoriano Valencia (b. 1970)
Featuring members of United Sound
Beyond the Horizon Rossano Galante (b. 1967)
Wind Ensemble
George Shannon II, conductor
Fanfare pour précéder "La Péri"
Paul Dukas (1865-1935) without pause
(anti-)FANFARE
Andrew Blair (b. 1987)
Sweet Chariot Carlos Simon (b. 1986)
Overture to La forza del Destino Giuseppe Verdi (1813-1901) arr. Lake/Kent
Flute
Maya Burney
ReAnna Davenport
Michelle Jacks
Concert Band
Journalism
Music Business | Accounting
Branson, MO
Lebanon, TN
Music Business Knoxville, TN
Mattie Zehrt* Nursing Brentwood, TN
Oboe
Briana Crowder*
Clarinet
Braydon Bavoso
Ana-Laura Galindo*
Sean Pettis
Audio Engineering Technology
Glasgow, KY
Computer Science | New Cannan, CT
Audio Engineering Technology
Creative & Entertainment Industries | Mount Olive, NJ Hospitality & Tourism Management
Creative and Entertainment Industries
Glens Falls, NY
Moe Phares Nursing Franklin, TN
Bass Clarinet
Logan Jalil
Alto Saxophone
Colin Anderson
Nicholas Domschke*
Mason Gudorf
Malia Matthews
Political Science | Asian Studies Peachtree City, GA
Data Science
Thompson’s Station, TN
Music Education Bartlett, IL
Classical Performance Cincinnati, OH
Creative and Entertainment Industries Ventura, CA
Sarabeth Nienaber English Nashville, TN
Tenor Saxophone
Ryan Thurgaland
Allison Zimmermann
Baritone Saxophone
Micah Parkinson*
Ava Peluso
Trumpet
Derys Coreas-Escobar
Jason Hulse
Zoey Kloewer
Christopher Smith*
Cadence Thomas
Horn
Holden Cessna
Janelle Lockney*
Raelyn Ott
Julie Porter
Rylie Treat
Trombone
Kathleen Funk
Johney Green*
Classical Music Performance
Ocklawaha FL
Elementary Education Mountainside, NJ
Composition Jackson, MS
Music Education Montgomery, PA
Audio Engineering Technology La Vergne, TN
Music Technology Atlanta, GA
Music Business/Accounting Johnston, IA
Music Education
Danbury, CT
Music Therapy Alma, GA
Music with an Outside Minor
Music Therapy
Cleaville, PA
Pickerington, OH
Mathematics Florence, SC
Creative and Entertainment Industries Bellevue, WA
Music Business
Laconia, NH
Elementary Education Irvine, CA
Commercial Music Knoxville, TN
Euphonium
Justin Sherman*
Megan Gretz
Tuba
Abigail English*
Percussion
Sam Austin
Praxina Guerra
Jared Leuthaeuser
Miriam Marks
Matthew Oliver
Megan Wheeler
Music Business Stockton, CA
Music Education Weddington, NC
Music with an Outside Minor Tullahoma, TN
Music Performance
Dallas, TX
Music Therapy San Antonio, TX
Audio Engineering Technology Brecksville, OH
Music Composition Rosemount, MN
Music Composition Auburn, AL
Music Composition Treasure Island, FL
*Principal
United Sound: Kaylynne Davenport, Chris Taylor, Rhett Stephens
Wind Ensemble
Flute
Mimi Anderson
Music Education Nashville, TN
Sadie Nayman Economics Hinckley, OH
Christine Subratie*
Oboe
Patrick Lewis*
Gracie Ault
Bassoon
Emily Okamura*
Harrison Sampson
Clarinet
Cross Brandon
Rainni Crutchfield*
Jillian DeBrito
Owen Fader
Sara Megown
McKensey Malin**
Seth Tramel
Bass Clarinet
Hannah Schwartz
Alto Saxophone
Ryan Contreras*
Jacob Yim
Music Education Angel Fire, NM
Music Education
Simi Valley CA
Music Therapy Valparaiso, IN
Music Therapy Dallas, TX
Classical Music Performance Newport, TN
Multiple Woodwinds Little Rock, AR
Music Theory |
Classical Music Performance Marion, VA
Music Therapy Wall, NJ
Commercial Music Performance Orlando, FL
Audio Engineering Brevard, NC
Neuroscience Nashville, TN
Music Education
Music Business
Johnson City, TN
Olathe, KS
Classical Music Performance | Pedagogy Early, TX
Commercial Music Performance Marietta, GA
Tenor Saxophone
Rebecca Ekberg
Baritone Saxophone
Music Therapy Liberty Township, OH
Bojer Gibson Music Education Spring Hill, TN
Trumpet
Duncan Blackstock
Jacob Boyer
Jackson Floyd
Music Education
Commercial Music Performance
Oxford, FL
Washington, IL
Commercial Music Performance Gig Harbor, WA
Judson Gay Music with an Outside Minor
Freddy Maresca* Music Pedagogy
Horn
Jacob Andrews
Hannah Edwards
Antonina Forzese
Cassie Shearer
Emma Wells*
Trombone
Brian Kling
Michael Luttrull*
Shelby McDonald
Euphonium
Patrick Kounlavouth
Caleb Wilkerson*
Tuba
Abigail English
Classical Music Performance
Nashville, TN
Princeton, NJ
Winston-Salem, NC
Classical Music Performance Wallburg, NC
Classical Music Performance
Music Therapy
Alpharetta, GA
Dayton, OH
Creative & Entertainment Industries | Cypress, IL
Music with an Outside Minor
Music Business
Classical Music Performance
Houston, TX
Hendersonville, TN
BA in Music w/Musical Theatre Emphasis Ball Ground, GA
Music Theory
Audio Engineering Technology
Music with an Outside Minor
Brasher Miller* Music Education
String Bass
Carrie Simmons
Percussion
Matthew Love*
Madelynn Miller
Jacob Sallee
Commercial Music
Classical Music Performance
Music Therapy
Murfreesboro, TN
Ocean Springs, MS
Tullahoma, TN
Montgomery, AL
Murfreesboro, TN
Nashville, TN
Oswego, IL
Music Education Pace, FL
Cameron Terry Classical Music Performance Columbia, TN
Hadley Thomas Music Therapy
Samuel Weaver
Piano
Allie Heard
Harp
Aliyah Wenneker
Classical Music Performance
Music Composition
Canyon Lake, TX
Nashville, TN
Lakewood, CA
Family Christian Academy Old Hickory, TN
*Principal
**Guest Musician
Program Notes
Concert Band
Fanfare for the Ozarks (2001)
Commissioned by the University of Missouri-Columbia Symphonic Band. John Cheetham is professor emeritus at the University of Missouri where he was longtime Professor of Music Theory and Composition. His works have been widely performed in the United States and around the world. An exciting Fanfare to start any concert!
Program notes by Greg Snyder
Safely Rest (2020)
Safely Rest combines the melodies of Amazing Grace and Taps. These melodies are woven together so they can be perceived as a single unit.
Program notes by the composer
Porro (2013)
Enjoy the sound of the Pelayera band on a fandango night with candles or in an elegant prolonged ballroom/salon in the Savannas of the Colombian Coast. This "Porro'' presents characteristic designs of the traditional regional musical including segments for the improvisation of different instrumental soloists.
Program notes by the composer
Beyond the Horizon (2009)
Beyond the Horizon is a dynamic composition encompassing the majestic brass fanfares and sweeping melodic lines. The piece is composed of two themes that musically paint a picture of the Earth’s breathtakingly beautiful horizon.
Program notes by the composer
Fanfare pour précéder "La Péri"
The ballet La Péri, written in 1912, depicts a young Persian prince who travels to the ends of the Earth in a quest to find the lotus flower of immortality, coming across its guardian, the Péri (fairy). Because the opening of the ballet score is very quiet, the composer added a brief "Fanfare pour précéder La Peri" which gave the typically noisy audiences of the day time to settle in their seats before the work proper began. Paul Dukas (1865-1935) was a French composer, critic, scholar and teacher. His best known surviving work is the orchestral piece “The Sorcerer's Apprentice,” which was notably used in Disney’s 1940 animated film Fantasia.
Program notes by Dr. Frederick Lowe, Palatine Concert Band
(anti-)FANFARE (2019)
The inspiration for (anti-)FANFARE came during a lesson with Cynthia Johnston Turner where we were studying works for winds and percussion with atypical
instrumentation. At the end of the lesson, we concluded that there was a gap in the repertoire for a short, exciting concert opener for woodwinds and percussion. I was particularly inspired by her “commission” that day: “You should write one, you know, an anti-fanfare.” (anti-)Fanfare 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. The piece was premiered by the University of Georgia Hodgson Wind Ensemble in January 2020, with the composer conducting.
Program notes by the composer
Sweet Chariot (2019)
Swing Low, Sweet Chariot is perhaps one of the most well known African American spirituals. As beautiful and rapturing as its melody is, it should be. However, its beauty and popularity is often overlooked by the song’s true meaning about death. I have taken fragments of the melody and combined it with the Gregorian chant from the Latin mass for the dead, In Paradisum. Its text is as follows: "May the angels lead you into paradise; may the martyrs receive you at your arrival and lead you to the holy city Jerusalem. May choirs of angels receive you and with Lazarus, once (a) poor (man), may you have eternal rest.”
Program notes by the composer
Overture to La forza del Destino (rev. 1869)
Giuseppe Verdi was to Italian opera what Beethoven was to the symphony. He was considered a national treasure, serving as the successor to the great Italian opera composers Donizetti, Rossini, and Bellini. Verdi became the most influential opera composer of the 19th century, and during his lifetime also became the most monetarily successful, thanks to the newly adopted implementation of royalty payments.
He was considered a nationalist composer, but unlike the nationalism found in the music of Dvorak or Mussorgsky, Verdi’s use of nationalism is found in the use of nationalist plots in many of his operas, especially those written during the quest for Italian unification. In doing so, he was able to popularize Italian opera by placing it firmly at the center of national culture. “Viva Verdi” became a phrase associated both with Verdi’s music and the political climate of the time. Verdi’ s name was an acronym for Victor Emmanuel King of Italy (Vittorio Emmanuele Re d’Italia).
The libretto for La forza del destino (The Force of Destiny) was written by Verdi’ s frequent collaborator, Francesco Maria Piave. Piave based his four-act libretto on the 1835 Spanish play, Don Alvaro, o La fuerza del sino, by Angel di Saavedra (1791–1865), who was influenced by Victor Hugo. Into this, Verdi inserted a scene from Friedrich Schiller’ s (1759–1805) Wallenstein’s Camp, as translated by Andrea Maffei, which the composer had long wished to set.
By November 1861, La forza del destino was complete except for the orchestration, which Verdi usually finished after experiencing the acoustics in the proposed theater. The final product is Verdi’s most sprawling, dramatically intricate opera.
The premiere was planned for the first part of the 1861–1862 season, but the prima donna became ill and the production was postponed. The premiere, on November 10, 1862, was not as successful as Verdi had wished, and the next year he began altering the score. On February 27, 1869, a revised version with additions by Antonio Ghislanzoni, was first performed at the Teatro alla Scala in Milan.
Verdi and Piave create a tangled tale in which the characters come together through coincidence. Melitone and Preziosilla provide asides and comic elements, as the three main characters Donna Leonora, Don Carlo, and Don Alvaro play out their tragic parts. The chorus, appearing in nearly every scene, is of greater importance than in any other of Verdi’s operas and has some of the most famous numbers in the opera, including, “Compagni, sostiamo” (new for 1869) and “Rataplan, rataplan,” both found in Act III.
One of the major differences between the 1862 and 1869 versions is the overture. In the first version, we find a concise prelude. Verdi expanded this in 1869 to a lengthy assemblage of melodies from the opera, stressing a three-note motive that is often called the “fate” motive, and a rising, four-note scale associated with Leonora. Verdi was not concerned with overall structure in this potpourri of tunes.
The finale of the last act underwent the greatest changes between versions. In the original, Alvaro kills Carlo in a duel, Leonora enters to be reunited with Alvaro only to be stabbed by the dying Carlo, and Alvaro throws himself from a mountaintop (this was not the lighthearted Italian opera the St. Petersburg audience expected). In the revised version (more likely to be staged today), the duel occurs offstage, as does Carlo’s stabbing of Leonora, who returns to the stage for the trio, “Non imprecare, umiliati.” Alvaro prays over the dying Leonora and as the mode shifts from minor to major, he does not commit suicide, but rather exclaims that he has been redeemed Program notes by Lori Newman, New Mexico Philharmonic
Upcoming Concerts and Events
Percussion Ensemble and World Percussion
Monday, April 17, 7:30 pm
McAfee Concert Hall
President's Concert & Reception
Saturday April 22, 6:30 pm
Fisher Center for the Performing Arts Tickets are required for this event.
Belmont Camerata
Monday April 24, 7:30 pm
McAfee Concert Hall
New Music Ensemble
Tuesday April 25, 7:30 pm
Massey Concert Hall