In 1976, seventeen years after the premiere of the original Old Wine in New Bottles (1959) and now at the age of eighty-one, Gordon Jacob began composing More Old Wine in New Bottles. June Emerson, the owner of a music publishing company of the same name and friend of Jacob, requested the composition. Jacob initially referred to the piece as “Son of Old Wine” in a letter dated June 1976. By August of that year, he wrote to Emerson that he was “about to get to work” on “Old Wine – Set 2.” In September 1976, June Emerson replied and suggested the piece be renamed “More Old Wine in New Bottles.” Jacob replied, “Thank you for your thoughtful reaction to ‘More Old Wine …’ I agree with the title, in fact I nearly called it that myself – don’t know why I didn’t.”
More Old Wine in New Bottles is based upon four British folk songs set in theme and variations form. The recognizable melodies, clear formal structures, and more traditional tertian harmonies allow contrasting styles coupled with unique instrumental combinations to jump to the forefront of the sound. More Old Wine in New Bottles has a playful quality that subtly celebrates the beauty of wind instruments and their ability to captivate an audience through orchestration and instrumental colors.
Program Note by Marc Decker
Gordon Jacob was one of the most prolific of English composers, spanning many fields from “serious” to “light”. Born in London and educated at Dulwich College, he was of the generation that was inevitably caught up in the 1914-18 Great War, in which he was wounded and taken prisoner. Rehabilitation eventually came when a grant enabled him to study at the Royal College of Music in London with Stanford, Howells and Boult as his teachers. As a teacher he soon established himself. He was on the staff of the Royal College of Music for forty years from 1926, teaching composition and orchestration.
James Webb’s Pillars (From a Starry Night) (2024) (10’)
Pete Meechan (b.1980)
At the heart of Neil deGrasse Tyson’s words about Vincent van Gogh’s painting “The Starry Night” is the very essence of what I believe the arts to be when at their most powerful: something intangible, brought to life by a beautiful mind and with wonderful craft, that exists and inspires way beyond the scope of the artist’s imagination.
Written at a time where the creative arts are being threatened by the advent of Artificial Intelligence (Ai) technology, James Webb’s Pillars takes its inspiration from the juxtaposition of the van Gogh painting and this image of the Pillars of Creation – my favourite image captured by the James Webb Space Telescope (JWST) – and how technology played a role in the existence of both.
The invention of the camera, and its rise to prominence in the mid-1800’s, made a significant impact on art and artists. Vincent van Gogh’s dislike for portrait photography is well documented, believing that the resulting picture lacked life and expression of the subject’s character. The new camera technology also led to many artists, whose principal income was generated from painting portraits of wealthy subjects, moving their careers away from painting and into photography in order to continue earning a living.
For the artists who didn’t turn to photography and continued to paint (often in poverty), the resultant lack of portrait work sparked a new sense of freedom that would become the creative catalyst for works of great imagination and invention. Perhaps the most famous example of this is Van Gogh’s work “The Starry Night” – a painting full of incredible life, energy, and movement.
Whilst many forms of technology continue to be an enemy of the arts and artists, technology has also been at the heart of the most incredible innovation and has the power to inspire imaginations. The JWST, launched in December 2021, now beams data back to earth that produces the most stunning images of the stars and galaxies that formed the universe following the Big Bang.
The Pillars of Creation image – taken of a region within the Eagle Nebula, which lies 6500 lightyears away – and The Starry Night are both full of the life and energy that van Gogh desired – the lines and movement in his own masterwork, and the JWST image capturing stars being born, dust forming vast pillars reaching out into space, and young stars shining bright as older stars wane.
James Webb’s Pillars draws on many aspects of the life contained within the JWST image; the joy and beauty of the stars, the silence that the stars and dust exist in, and the new life and violent collisions that create the beauty of the photograph.
James Webb’s Pillars is dedicated to my friend, Luke Johnson.
Program Note by the Composer
Peter Meechan is a British composer who resides in Canada. Dr. Meechan began his composition studies at the North Warwickshire College, under Simon Hall and Ben Markland. In 1998, he accepted a place at the Royal Northern College of Music, studying composition with Anthony Gilbert, Elena Firsova, David Horne and Adam Gorb. Following his undergraduate studies at the RNCM Peter was appointed as the first ever “Young Composer in Association” with the prestigious Black Dyke Band, and later served as “Composer in Residence” between 2006-2007.
Esquisses Champetres (1913/2023) (13’)
Vladimir Dyck (1882-1943)
The manuscript score and parts of Esquisses Champêtres, (“country sketches”) appear to be in the hand of the composer, Champetres, and are stamped with the name Georges Barrère. Barrère was an important French flutist, who in 1905 was recruited by Walter Damrosch to come to New York City as principal flutist of the New York Symphony and to teach at the Institute of Musical Art (an institution that would eventually become the Juilliard School.)
In 1895, Barrère founded the Société modern d’instruments à vent, a Paris ensemble that continued for at least 20 years after Barrère’s departure. While documentation has yet to be found, it is very likely that Esquisses champêtres was composed for and premiered by the Société. In New York, Barrère founded The Barrère Ensemble, modeled after the Société. These two wind chamber groups exchanged music, so it is likely that this is how Esquisses came to New York.
Program Note by Daryl Durran
Vladimir Dyck was a Ukrainian composer who showed his strong musical aptitude from an early age. In 1899, at the age of 17, he moved to Paris to study at the Paris Conservatory. It is reported that this move was made on the advice of Nikolai Rimsky-Korsakov. Dyck was admitted to the Conservatory in 1900 where he studied with Antonie Taudou (harmony), Paul Vidal (piano accompaniment) and
PROGRAM NOTES
Charles-Widor (composition). Dyck acquired French citizenship in 1910, allowing him to compete in the composition competition of the Institut de France. In 1911, he was awarded the “duexieme Second Second Grand Prix de Rome” for his cantata Yanitza
Following his studies, Dyck was active as a piano teacher and composer, writing in a range of styles including patriotic songs, lyrical comedy, instrumental music, and film scores, the latter written under the pseudonym Dri Mival, an anagram of his surname. His later compositions reflect his Jewish heritage. On June 10, 1943, Dyck, his wife and daughter were arrested by the Gestapo at his Parisian home. The family was deported to the Auschwitz concentration camp on July 3 and killed on August 5 of that year.
Abinu Malkenu (1971) (10’)
Mirrie Hill (1889-1986)
Abinu Malkenu is based on an ancient Ashkenazic melody, and was composed as an exploration of the composer’s Jewish heritage, being a prayer of repentance and supplication which is central to the observance of High Holy Days. The ensemble for which this setting was composed was loosely described as a chamber orchestra, but the instrumentation was somewhat unusual. It featured a violin soloist, accompanied by oboe, Cor Anglais, clarinet, bass clarinet and a small string orchestra - one of many compositions demonstrating that Hill’s interest lay more in experimenting with different instrumental combinations than writing for conventional ensembles. The arrangement you will hear tonight features a double wind quintet, with one of the clarinets taking the solo part. Program Note by Tracy Videon
Mirrie Hill was born and lived her whole life in Sydney. She began composing at a young age and pursued her study of music throughout her school years. Unlike most of her Australian colleagues, she never studied overseas, as World War One made this impossible. Instead, she became a scholarship student at the Sydney Conservatorium of Music, which opened in 1915. Upon completing her degree, she was appointed to the teaching staff as assistant professor of harmony, counterpoint, composition and aural training. One of the most prolific Australian composers of her time, Hill had almost half of her 550+ works published. These ranged from short educational piano solos to choral and orchestral works, as well as film music. Composing music for a documentary on the culture of Australia’s First Nations peoples led her to make a close study of their culture and music which ignited her interest and inspired several of her later works. She also wrote music textbooks and was an examiner for the Australian Music Examinations Board. Yet, being a shy and modest person, her career was often overshadowed by that of her much older husband and former teacher, composer Alfred Hill. After his death in 1960, her work received greater recognition.
Nicholas Enrico Williams, conductor
Flute
Blair Carrier
Emily Elmore
Jadyn Hairston
Alexia Toma
Oboe
Triston Fielding
Marcus Lewis
Michelle Moeller
Amanda Withrow
Clarinet
Tim Fitzgerald
Ryan Hanling
Riley Hartman^
Eleanor Love
Jonathan Mack
Yash Mahadkar
Avery Pate^
Ruwien Su
Caleb Weber
Bassoon
Jazmyn Barajas-Trujillo
Tarryn Goldner
Caleb Jackson
Drew Kruzynski
Saxophone
Manya Das
Aidan Eclavea
Bridget Sheridan
Yun Qu Tan
Jon Erik Tripp
Horn
Daniel Alford
Peter Dixon
Jonah Hammett
Patrick Malone
Ian Welch
Josh Wood
Trumpet
Will Cuneo
Palmer Hartley
Tim Jackson
Toby Johnson
Jack Rozza
Antonio Urias
James Vaughn^
Trombone
Nichole Botsoe
Thomas Pajares
Jose Vasquez
Ian Wolff
Bass Trombone
Victor Guevara
Jonah Madaris
Euphonium
Jared Barry
Andrew Haynes
Tuba
Jack Gordon
Jack Neja
String Bass
Bianca Wilson
Piano
Danmeng Zhang
Percussion
Henry Campbell
Thomas Huff
Carrington Lauck
Jorjana Marin
Grayson Pruitt
Angelina Vasquez
Angelica Wright
^ indicates final performance in a UGA ensemble
*Members of the University of Georgia Wind Ensemble are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
Nicholas Enrico Williams is a Professor of Music and serves as the Director of Bands at the University of Georgia, where he coordinates one of the country’s largest and most comprehensive university band programs, conducts the University of Georgia Wind Ensemble, and oversees the graduate wind band conducting area. Prior to his time in Athens, he was the Director of Wind Bands at the University of Melbourne Conservatorium of Music (Melbourne, Australia). Before venturing to Australia, Williams flourished for sixteen years as the Assistant Director of Wind Studies, the Conductor of the Wind Ensemble, Brass Band, and Concert Band, as well as the Director of Athletic Bands at the University of North Texas. For a decade, he was the Conductor of the Greater Dallas Youth Orchestra Wind Symphony and continues to be a frequent guest conductor of the Dallas Winds (formerly Dallas Wind Symphony), one of America’s few professional civic wind bands. Professor Williams earned the Bachelor of Music (music education), MM (performance-conducting), and DMA (conducting) degrees from the University of North Texas.
Professor Williams has been a guest conductor with the Opole (Poland) Philharmonic Orchestra; the United States Army Band “Pershing’s Own”; United States Navy Band; United States Army Field Band; United States Air Force Band; Royal Australian Defence Force Bands; World Youth Wind Symphony at the Interlochen Arts Camp; Dallas Winds; Lone Star Wind Orchestra; at the annual Midwest International Band and Orchestra Clinic in Chicago, Illinois; the College Band Directors National Association national and regional conferences; the Texas Bandmasters Association Convention; and the Texas Music Educators Association Annual Clinic/Convention in San Antonio, Texas.
Williams is active in Australia, Canada, Europe, Southeast Asia, and the United States as a conductor, clinician, adjudicator, consultant, and arranger; his arrangements and transcriptions for wind band, percussion ensembles, drum corps, and school pageantry ensembles are performed by outstanding organizations throughout the world. A member of the Recording Academy (GRAMMYs), he is a sought-after recording session producer, associate producer, editor, and conductor, having been involved with numerous CDs and DVDs on the Klavier, Mark Records, and GIA labels, as well as UNT and UGA projects, including the 2024 release of “Never a Reason to Stop” by the University of Georgia Wind Ensemble, and the 2019 release of “FIESTAS” by the University of North Texas Wind Ensemble. In addition to his work in the recording arts, he has written several conductor study guides published in the multivolume series of Teaching Music Through Performance in Band. He was a primary consultant of the book Women of Influence in Contemporary Music and is an honorary member of Sigma Alpha Iota International Music Fraternity for women. His professional affiliations include the Georgia Music Educators Association, Australian Band and Orchestra Directors Association, Texas Music Educators Association, Texas Bandmasters Association, College Band Directors National Association, Phi Mu Alpha Sinfonia, and Phi Beta Mu, an international bandmasters fraternity.
Tracy Videon shares her passion for conducting and wind band repertoire as a teacher/Concert Band Coordinator at McKinnon Secondary College, and as a PhD researcher at the Melbourne Conservatorium of Music, University of Melbourne, under the academic supervision of Nicholas Enrico Williams. Tracy directs ensembles of all levels, including as a regular guest conductor with the University of Melbourne Wind Symphony and Concert Band. During a forty-year career as a music educator, Tracy has taught instrumental music and directed ensembles in schools across Melbourne
(Victoria) and in the Riverina district of New South Wales. She also served as a musician in the Australian Army Reserve for twenty-four years, performing as a euphonium and tuba player and a vocalist, and has been an enthusiastic practitioner and supporter of community music-making. Currently, she sings with the Melbourne Symphony Orchestra Chorus. A former state president in the Australian Band and Orchestra Directors’ Association and editor of the journal Interlude, Tracy was recently recognized with ABODA Victoria’s Certificate of Excellence for outstanding achievement and contribution to music education. In 2022, she received Melbourne University’s State Music Camp scholarship for excellence in orchestral conducting.
Tracy returned to part-time postgraduate study in 2020, and she expects to complete her PhD in Music Performance (Conducting) in 2028. Her PhD project reveals the musical legacy of Australian heritage women composers through the wind band medium, advocating for neglected works through performance. She is thrilled to have the opportunity to attend the University of Georgia as an International Visiting Researcher Scholar to enrich her experience and complete a portion of her PhD project. Tracy’s research in the USA is supported by the Macgeorge Bequest.
Jordan M. Fansler is a conductor and music educator, pursuing a Doctor of Musical Arts at the University of Georgia. Fansler is a Doctoral Conducting Associate for UGA Bands, serving duties with the Wind Ensemble, Wind Symphony, Symphonic Band, and the Redcoat Marching Band. He is a recipient of the University of Georgia Presidential Graduate Fellowship.
Prior to UGA, Jordan was a Graduate Assistant at Oklahoma State University in Stillwater, Oklahoma. He was previously Director of Bands at Harold L. Richards High School in Oak Lawn, Illinois. Fansler earned his B.M.E. from the University of Illinois at Urbana-Champaign, and holds a M.M. in Wind Conducting from Oklahoma State University.
He considers his main musical influences Nicholas Enrico Williams, Bradley Genevro, Mike Fansler, Jack A. Eaddy Jr., Michael C. Robinson, Steve Peterson, Beth Peterson, and Professor Barry Houser. His professional affiliations include the National Association for Music Education, Phi Mu Alpha Sinfonia, and Kappa Kappa Psi National Honorary Band Fraternity.
Marcus Morris serves as Assistant Director of Athletic Bands at the University of Georgia, where he is actively involved in the instruction and administration of all athletic bands while also teaching conducting and concert band.
Prior to joining UGA, Morris distinguished himself as Assistant Director of Bands at Dorman High School in South Carolina, where he co-directed the Wind Ensemble and the nationally acclaimed Marching Cavaliers. He also conducted the Symphonic Band and contributed to the instructional staff for the Scholastic World Class Dorman Indoor Percussion ensemble.
A native of Spartanburg, South Carolina, Morris earned his Bachelor of Music Education and Master of Music Education (K-12) from Winthrop University. He continued his scholarly pursuits at Converse University, where he completed an Ed.S in Administration and Supervision and a Doctorate in Professional Leadership with an emphasis in Music Education. During his doctoral studies, he served as the inaugural President of the Graduate Student Association. He is currently working on his DMA in Conducting at the University of Georgia.
Morris maintains an active profile as an adjudicator, presenter, performer, and Conn Selmer Educational clinician. His expertise has been featured at prestigious venues including the National Association for Music Educators Conference in Orlando (2019) and the renowned Midwest Conference in Chicago (2022). He regularly presents clinics and keynote addresses at music conferences, state-level arts conferences, and school district professional development sessions nationwide.
His collaborative work spans multiple collegiate institutions, including the University of South Carolina, Clemson, Western Carolina, Southern University, Converse, and McNeese State. As a guest conductor, he has led honor bands across North Carolina, South Carolina, and Georgia.
Morris has received multiple citations of excellence and leadership awards, including recognition as a Grammy Music Educator of the Year Semi-Finalist. His professional standing is further evidenced by his artist educator endorsements from industry leaders Vic Firth Percussion, Remo Drum Heads, and Zildjian Cymbals.
His professional affiliations include the National Association for Music Education, Georgia Music Educators Association, Percussive Arts Society, and Kappa Kappa Psi National Honorary Band Fraternity.
Derik J. Wright is a conductor, arranger/composer and music educator, pursuing a Doctor of Musical Arts at the University of Georgia. Derik is a Doctoral Conducting Associate for UGA Bands, serving duties with the Wind Ensemble, Wind Symphony, Symphonic Band, and the Redcoat Marching Band.
Prior to UGA, Derik was a Graduate Assistant at George Mason University in Fairfax, Virginia where he earned the Master of Music in Wind Conducting. Derik serves as an arranger for the “Spartan Legion” Marching Band at Norfolk State University in Norfolk, Virginia where he also earned a Master of Music in composition & theory and a bachelor’s degree in music media. Derik was previously the band director at I.C. Norcom High School in Portsmouth, Virginia and has maintained activities as an educator and clinician with band programs in Virginia and Maryland.
Derik’s musical career can be attributed to his influential mentors such as Nicholas E. Williams, Jack A. Eaddy Jr., William L. Lake Jr., Anne Neikirk, Prof. William H. Beathea, Prof. Stephanie K. Sanders, Prof. Paul I. Adams, and Mr. Walter Harley. His professional affiliations include the National Association for Music Education, the Virginia Band and Orchestra Directors Association, the Society of Composers, Kappa Kappa Psi National Honorary Band Fraternity, and Phi Mu Alpha Sinfonia.
UNIVERSITY OF GEORGIA BANDS GRADUATE STAFF
Jordan M. Fansler, Doctoral Conducting Associate
R. Scott Mullen, Doctoral Conducting Associate
Derik J. Wright, Doctoral Conducting Associate
Joseph Johnson, Graduate Assistant
Michelle Moeller, Graduate Assistant
David MacPherson, Graduate Assistant
HUGH HODGSON SCHOOL OF MUSIC FACULTY
Daniel Bara, Interim Director
Brandon Craswell, Associate Director, Director of Undergraduate Studies
Emily Gertsch, Associate Director, Director of Graduate Studies
Amy Pollard, Associate Director, Director of Performance Activities
percussion percussion voice voice voice voice voice voice organ piano piano piano piano piano piano piano
piano
violin violin guitar
harp
violin cello
Suziki
double bass
viola
BANDS
Mia Athanas
Brett Bawcum
Jack A. Eaddy, Jr.
*Nicholas Enrico Williams
CHORAL
Daniel Bara
Colin Mann
Daniel Shafer
COMMUNITY MUSIC SCHOOL
SUMMER CAMPS
Stephen Fischer
COMPOSITION & THEORY
Tyler Beckett
Adrian Childs
Emily Gertsch
Daniel Karcher
*Emily Koh
Peter Lane
Dickie Lee
Jared Tubbs
Trinity Vélez-Justo
JAZZ STUDIES
David D’Angelo
Gregory Satterthwaite
James Weidman
MUSIC EDUCATION
*Rebecca Atkins
Alison Farley
Tyler Goehring
Roy Legette
Kristen Lynch
Michael Robinson
Johanna Royo
Brian Wesolowski
Edith Hollander, Administrative Assistant to the Director
Director of Public Relations
Development Associate Music Library Manager
Undergraduate Academic Advisor
Piano Technician
Senior Piano Technician
Marcus Morris
Kathleen Powell
Rocky Raffle
James Sewell
Jared Tubbs
Marshall Williams
MUSIC THERAPY
*Ellyn Evans
Sally Ann Nichols
Jenny Stull
MUSICOLOGY & ETHNOMUSICOLOGY
Karen Bergmann
Naomi Graber
*David Haas
Jared Holton
Jean Kidula
Sarah Pickett
Rumya Putcha
Joanna Smolko
OPERA
Daniel Ellis
Andrew Voelker
ORCHESTRA
Mark Cedel
RECORDING & STREAMING
Eric Dluzniewski
Paul Griffith
*Area Chair
Assistant Director of Athletic Bands
Graduate Program Administrator
Administrative Associate in Bands
Production & Events Manager
Sectioning Officer
Director of Admissions
HUGH HODGSON SCHOOL OF MUSIC STAFF
SUPPORT THE SCHOOL OF MUSIC
HOW TO GIVE
Under each of the available funds below is a QR code where you can scan and donate directly to that fund. However, if you would like to learn more about alternative ways to donate, scan the QR code now to visit our “How to Give” page with additional details and options.
Scholarships and Graduate assistantships funded by donations to the Thursday Scholarship Fund make it possible for students to learn and pursue their passions at the Hugh Hodgson School of Music. Please consider a taxdeductible gift to the Thursday Scholarship Fund so we may continue to support our students and make their education possible. Scan the QR code now or reach out to Melissa Roberts at roberts@uga.edu or 706-254-2111.
AREAS OF THE SCHOOL OF MUSIC
In addition to our primary Support and Scholarship Funds, many specialized areas of interest, including our orchestra and choral programs, have support and scholarship funds you can contribute to directly. You can now learn more about all the ways and areas you can support the Hugh Hodgson School of Music. Scan the QR code or visit music.uga.edu/giving-and-alumni to the support the Hugh Hodgson School of Music area of your choice.
JOIN THE DIRECTOR’S CIRCLE
Gifts of all amounts are greatly appreciated. However, annual giving at the $1,500 level and higher provides membership in the Director’s Circle, our Hugh Hodgson School of Music Honor Roll. Director’s Circle members are invited to exclusive events and performances throughout the academic year.
For large gifts, please contact Melissa Roberts at roberts@uga.edu or 706-254-2111.
THANK YOU FOR YOUR CONTINUED SUPPORT OF THE UNIVERSITY OF GEORGIA HUGH HODGSON SCHOOL OF MUSIC.
+
WED 11/12
6:30 p.m. - Reception
7:30 p.m. - Performance
Ramsey Concert Hall
ImaginePossibilities the
GUEST ARTIST: FRANCESCO ATTESTI, piano
TUES 9/9
FREE CONCERT
THURS 11/13
5:30 p.m.
Ramsey Concert Hall
FREE CONCERT
TUES 9/9
Cortona Culture and Tourism Councilor and renowned interpreter of Romantic and early Twentieth Century piano works.
CONTEMPORARY CHAMBER ENSEMBLE
Featuring “Façade: An Entertainment” by William Walton with Special Guest Mark Mobley as the narrator.
TUES 9/9
THURS 11/13
7:30 p.m.
7:30 p.m.
$22, Adult
$5, Student
Additional fees for online purchases apply. Hodgson Concert Hall
PODGAITS “THE JOURNEY” ARCO CHAMBER ORCHESTRA
This exquisite evening includes The Journey, suite for violin, viola and chamber orchestra by contemporary Russian composer Efrem Podgaits, dedicated to Levon Ambartsumian. It will also feature the cello concerto by contemporary Armenian composer Karen Khanagov with Oliver Yatsugafu, UGA alum as a guest conductor and UGA faculty James Kim, cello, as the soloist.
TUES 9/9
THURS 11/20 FRI 11/21
7:30 p.m.
$27, Adult
$12, Student
Additional fees for online purchases apply. Both performances will be held at 7:30 p.m. in Hodgson Concert Hall
THURSDAY SCHOLARSHIP SERIES ANNUAL HOLIDAY CONCERT
A concert to be thankful for! Once again, Thanksgiving falls so late in the academic calendar that our Annual Holiday Concert will be the week before Thanksgiving. Featuring the Symphony Orchestra, Hodgson Singers and other choirs, Jazz Combos, and more. Forget the Macy’s Parade, join the Hugh Hodgson School of Music for this favorite annual holiday tradition and start the season off right!
