University of Georgia Wind Symphony October 29th, 2025
WEDNESDAY, OCTOBER 29, 2025 at 7:30 p.m.
HODGSON CONCERT HALL
Wednesday, October 29, 2025 at 7:30 p.m.
Hodgson Concert Hall
UGA Performing Arts Center
University of Georgia Wind Symphony
Jack A. Eaddy Jr., Conductor
Jordan M. Fansler, Doctoral Conducting Associate
Tracy Videon, Guest Conductor / Visiting Research Scholar
PROGRAM
Flying Jewels
O Magnum Mysterium
Pageant
Haunted Hills (Part 1)
Deciduous
Blue Shades
Ralph Vaughan Williams
Wayne Lu, arr. Jacob Evarts
Jordan Fansler, Doctoral Conducting Associate
Eric Whitacre
Margaret Sutherland, arr. John Ivor Holland
Tracy Videon, Guest Conductor / Visiting Research Scholar
Viet Cuong
Frank Ticheli
In memory of Dr. Dwight Satterwhite and in celebration of the UGA Wind Symphony’s premiere performance of Blue Shades
Flying Jewels (2021)
(10’35”)
PROGRAM NOTES
James M. David (b. 1978)
Flying Jewels is a symphonic poem for wind ensemble that attempts to capture the joyous and hopeful spirit of a famous essay Joyas Voladoras by the late author Brian Doyle (1956-2017). The essay asserts the connection that all people and creatures share; we all have one heart that carries us through life’s struggles, victories, and simple pleasures. My composition deals with the themes of Doyle’s essay by depicting the heart rhythms of different creatures through various metric/ tempo modulations and relationships.
First is the hummingbird, flitting about with bright flourishes from woodwinds and metallic percussion at superhuman speeds. A reptile’s three-chambered heart is heard next with nods to the triple-meter dances of the Caribbean. At the center of the work is the human heart, which is a simple tune that slowly builds to a cadence at the heart rate of a blue whale: four giant chords that resound under the ocean depths. Finally, the work recapitulates each idea while gaining speed to combine all of the tempi in an exuberant and ecstatic finale.
This work was commissioned by the United States Air Force Band, Washington, D.C., Col. Don Schofield, commander and conductor.
Program Note by the Composer
James M. David is an American composer and professor of music theory and composition at Colorado State University. As a native of southern Georgia, David began his musical training under his father Joe A. David, III, a renowned high school band director and professor of music education in the region. This lineage can be heard in his music through the strong influence of jazz and other Southern traditional music mixed with contemporary idioms. David received degrees in music education and music composition from the University of Georgia and the Florida State University College of Music. He studied composition with Guggenheim recipient Ladislav Kubik and Pulitzer recipient Ellen Taaffe Zwilich as well as jazz composition and arranging with Sammy Nestico.
O Magnum Mysterium (1994) (5’30”)
Morten Lauridsen (b. 1943)
O Magnum Mysterium, commissioned by Marshall Rutter in honor of his wife, Terry Knowles, has had several thousand performances throughout the world and dozens of recordings since its 1994 premiere by the Los Angeles Master Chorale. I have also arranged the work for solo voice and piano or organ (recorded on Northwest Journey by Jane Thorngren accompanied by the composer), men’s chorus and brass ensemble; H. Robert Reynolds’s stunning adaptation for symphonic winds was recently premiered in Minneapolis by the Thornton Wind Symphony.
For centuries, composers have been inspired by the beautiful O Magnum Mysterium text depicting the birth of the new-born King amongst the lowly animals and shepherds. This affirmation of God’s grace to the meek and the adoration of the Blessed Virgin are celebrated in my setting through a quiet song of profound inner joy.
Program Note by the Composer
Morten Lauridsen is an American composer of Danish ancestry. He grew up in Portland, Oregon, and attended Whitman College and the University of Southern California, where he studied advanced composition. Among his early teachers were Ingolf Dahl, Halsey Stevens, Robert Linn, and Harold
Owen. Lauridsen is most noted for his six vocal cycles — Les Chansons des Roses, Madrigali, MidWinter Songs, Cuatro Canciones, A Winter Come, and Lux Aeterna — and his series of a cappella motets, which are regularly performed by distinguished ensembles and vocal artists throughout the world. A compact disc of his compositions, entitled Lauridsen - Lux Aeterna (which includes a recording of O Magnum Mysterium by the Los Angeles Master Choral conducted by Paul Salamunovich) was nominated for a Grammy award in 1998. His Dirait-on and O Magnum Mysterium are the all-time best selling choral octavos distributed by Theodore Presser Company, which has been in business since 1783.
Pageant (1953) (7’45”)
Vincent Persichetti (1915-1987)
Pageant, op. 59 (1953) is the composer’s third work for band, commissioned by Edwin Franko Goldman for performance at the nineteenth annual convention of the American Bandmasters Association. The premiere was on March 7, 1953, by the University of Miami Band with Persichetti conducting.
The composer’s manuscript sketches show that Persichetti had originally intended to title the work Morning Music for Band -- the opening horn motive and the first theme in the clarinet choir have a serene, pastoral quality that evokes thoughts of sunrise. The opening horn call provides the motivic basis for the rest of the work, germinating long phrases supported by chordal harmonies. The phrases are passed around amongst various small choirs of instruments, exploiting the plethora of timbral and textural combinations possible in an ensemble of wind and percussion instruments. The tonal centers shift as often as the instrumentation, landing on a B-flat major chord that transitions into the second part of the work, the “parade.” In the Allegro second section, the snare drum provides a rhythmic version of the melodic material to follow. This section utilizes polytonality with multiple key centers existing in the music at the same time.
There have been few more universally admired twentieth-century American composers than Vincent Persichetti. His contributions have enriched the entire musical literature, and his influence as performer and teacher is immeasurable. Born in Philadelphia in 1915, Persichetti began his musical life at age five, first studying piano, then organ, double bass, tuba, theory, and composition. By the age of eleven, he was paying for his own musical education by performing professionally as an accompanist, radio staff pianist, orchestra member, and church organist. By the age of twenty, he was simultaneously head of the Theory and Composition departments at Combs College, a conducting major with Fritz Reiner at the Curtis Institute, and piano major with Olga Samaroff at the Philadelphia Conservatory, all while continuing his studies as a student at Combs College. He joined the faculty at the Juilliard School in 1947 where he remained until his death in 1978. Though he remained a lifelong resident of Philadelphia, he commuted to New York City every day with an easel on his steering wheel, so he could compose while stuck in traffic.
Haunted Hills (Part 1) (1950) (6’45”)
Margaret Sutherland (b. 1897-1984)
Margaret Sutherland was inspired by the establishment of state orchestras around Australia to return to composing symphonic works, preferring the ‘symphonic poem’ format of Haunted Hills to actual symphonies. The “haunted hills” of the title are the Dandenong Ranges, lying on the eastern outskirts of Melbourne. The intention was to create “a sound picture written in contemplation of the first people who roamed the hills, their bewilderment and their betrayal.” Mountains were considered to be the home of ancient spirits by the traditional owners of the area, the Wurundjeri–Woi Wurrung and Bunurong people of the Kulin Nation; however, white settlement and clearance of the fertile lands at the foot of the mountains forced them to seek sanctuary in the more densely forested slopes.
Margaret Sutherland is regarded as one of Australia’s most significant twentieth-century composers and a pioneer of modernist style. After early studies in Melbourne, she trained in England with Gustav Holst and Ralph Vaughan Williams before returning to Australia where her career was interrupted by marriage and family life. Resuming her work in the late 1940s, she produced a substantial body of orchestral, chamber, and vocal music. Beyond composition, Sutherland was a tireless advocate for Australian music and central to the creation of Melbourne’s Southbank arts precinct, now home to many of the city’s leading cultural institutions.
Deciduous (2022) (8’05”)
Viet Cuong (b. 1990)
For a long time after my father passed away, I felt like I had “lost my leaves.” In the way that leaves harness light to create energy for trees and plants, I felt like I had so little left to harness creatively. Many days I feared those leaves would never grow back. After struggling for months to write, I finally found some healing while creating Deciduous. This involved revisiting chord progressions that brought me solace as a child and activating them in textures that I have enjoyed exploring as an adult. The piece cycles through these chord progressions, building to a moment where it’s stripped of everything and must find a way to renew itself. While I continue to struggle with this loss, I have come to understand that healing is not as much of a linear process as it is a cyclical journey, where, without fail, every leafless winter is followed by a spring.
Thank you to the Florida Bandmasters Association for commissioning Deciduous in 2023.
Program Note by the Composer
Viet Cuong holds the Curtis Institute of Music’s Daniel W. Dietrich II Composition Fellowship as an Artist Diploma student of David Ludwig and Jennifer Higdon. Viet received his MFA from Princeton University as a Naumburg and Roger Sessions Fellow, and he finished his Ph.D. there in 2021. At Princeton he studied with Steven Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and Louis Andriessen. Viet holds Bachelor and Master of Music degrees from the Peabody Conservatory of the Johns Hopkins University, where he studied with Pulitzer Prizewinner Kevin Puts and Oscar Bettison. While at Peabody, Viet received the Peabody Alumni Award (the Valedictorian honor) and the Gustav Klemm Award for excellence in composition. Viet is a member of BMI, the American Composers Forum, and the Blue Dot Collective, a group of composers who focus on writing adventurous new music for wind band. In 2020-2021, he was composer-inresidence at Kennesaw State University, Georgia. In 2024, he became one of the youngest members ever to be elected to the prestigious American Bandmasters Association.
PROGRAM NOTES
Blue Shades (1997) (10’30”)
Frank Ticheli (b. 1958)
In 1992 I composed a concerto for traditional jazz band and orchestra, Playing with Fire, for the Jim Cullum Jazz Band and the San Antonio Symphony. I experienced tremendous joy during the creation of Playing with Fire, and my love for early jazz is expressed in every bar of the concerto. However, after completing it, I knew that the traditional jazz influences dominated the work, leaving little room for my own musical voice to come through. I felt a strong need to compose another work, one that would combine my love of early jazz with my own musical style.
Four years, and several compositions later, I finally took the opportunity to realize that need by composing Blue Shades. As its title suggests, the work alludes to the blues, and a jazz feeling is prevalent -- however, it is not literally a blues piece. There is not a single 12-bar blues progression to be found, and except for a few isolated sections, the eighth-note is not swung.
The work, however, is heavily influenced by the blues: “Blue notes” (flatted 3rds, 5ths, and 7ths) are used constantly; blues harmonies, rhythms, and melodic idioms pervade the work; and many “shades of blue” are depicted, from bright blue, to dark, to dirty, to hot blue.
At times, Blue Shades burlesques some of the clichés from the Big Band era, not as a mockery of those conventions, but as a tribute. A slow and quiet middle section recalls the atmosphere of a dark, smoky blues haunt. An extended clarinet solo played near the end recalls Benny Goodman’s hot playing style, and ushers in a series of “wailing” brass chords recalling the train whistle effects commonly used during that era.
Blue Shades was commissioned by a consortium of thirty university, community, and high school concert bands under the auspices of the Worldwide Concurrent Premieres and Commissioning Fund.
Program Note by the Composer
Frank Ticheli joined the faculty of the University of Southern California’s Thornton School of Music in 1991, where he served as Professor of Composition until 2023. From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony, and he still enjoys a close working relationship with that orchestra and their music director, Carl St. Clair. Ticheli is well known for his works for concert band, many of which have become standards in the repertoire. In addition to composing, he has appeared as guest conductor of his music at Carnegie Hall, at many American universities and music festivals, and in cities throughout the world, including Schladming, Austria, at the Mid-Europe Music Festival; London and Manchester, England, with the Meadows Wind Ensemble; Singapore, with the Singapore Armed Forces Central Band; and numerous cities in Japan, with the Bands of America National Honor Band.
UNIVERSITY OF GEORGIA WIND SYMPHONY
Jack A. Eaddy Jr., Conductor
Jordan M. Fansler, Doctoral Conducting Associate
Flute/ Piccolo
Lyla Bingaman
Jenifer Dunn
Rose Fitzgerald
Olivia Simpson
Zoe Stewart
Oboe/ English Horn
Chloe Chun
Aidan Furman
Ele Louis
Carter Reed
Emma Walters
Clarinet
Annalee Garland
Emma Hu
William Kaplan
Morgan Loper
Maggie Quesenberry
Sophie Ray
Kelsey Roselli
Bass Clarinet
Ethan Campbell
Bassoon
Nathan Bine
Jordan Johnson
Drew Kruzsynski
Skylar Ward
Saxophone
Ashley Emerton
John Casey Matheson
Mason Pounds
Alexander Sales
Trumpet
Justin Arnold
Luke Barrett
Cameran Butryn
Teddy Cone
Colin Kennedy
Hayes Thomas
Nathan Vazquez
Matthew Young
French Horn
London Brooks
Ava DeFillipo
Riley Kuhlken
Chance Salter
Makenzie Shields
Anleah Walker
Trombone
Connor Fenneran
Ian Harding
Sean Helms
Alaina King
Juwan Murphy
Euphonium
Ava Rogers
Kara Thaxton
Tuba
Moses Bannister
Charlie Pratt
String Bass
Wueliton Dal Pont
Percussion
Miles Bell
David MacPherson
Jack Sweeney
Jacien Thorne
Austin Waters
Mary Webb
Haley Weldin
Piano
Ryan Swingler
Morgan Loper
*Members of the University of Georgia Concert Ensembles are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
Jack A. Eaddy, Jr., a native of Orangeburg, SC, is the Associate Director of Bands at the University of Georgia (UGA), where he conducts the Wind Symphony and teaches undergraduate and graduate conducting in the Hugh Hodgson School of Music. Prior to his appointment at UGA, Eaddy served as Director of Athletic Bands at Western Carolina University, Assistant Director of Bands at McNeese State University and the University of South Carolina, where he assisted with athletic bands, including the award-winning, Pride of the Mountains Marching Band, Pride of McNeese Marching Band and the Carolina Band, as well as taught music education courses.
Eaddy has presented at state and national music conferences, including the Midwest Clinic and CBDNA National and Athletic Band Conferences. As a conductor, some of his honors include winning the 2025 American Prize in Conducting—band/wind ensemble (college/university division), and being a selected participant in the U.S. Pershing’s Own Army Band’s conducting workshop. He has contributed to the Teaching Music Through Performance in Band series, published by GIA Music. Eaddy is an active drill writer, arranger, adjudicator, and clinician; and was a clinician at the inaugural National HBCU National Band Directors’ Conducting Symposium. Eaddy has earned a national reputation mentoring music directors and convenes two professional development seminars: Listen Up!!! score study sessions, and the Conductors’ reToolbox which focuses on strengthening music educators to have a life-long impact on students.
Before transitioning to higher education, Eaddy served as Director of Bands at Oak Ridge High School, where he developed a flourishing program that was recognized throughout the state of Florida for maintaining the highest standards in spite of the challenges that many of its students experienced. Eaddy received the Florida Music Educators Association Tom Bishop Award that recognizes a director in the state of Florida who has turned a program around, making a positive difference in a short amount of time.
Eaddy earned the Doctor of Musical Arts in Wind Conducting from the University of North Texas. He holds a Master of Music in Wind Conducting from the University of Georgia, and a Bachelor of Music Education degree from Florida State University. His professional affiliations include the National Association for Music Education, the College Band Directors National Association, Kappa Kappa Psi, Phi Beta Sigma, Phi Mu Alpha, and Pi Kappa Lambda, Music Honor Society. Eaddy is a 2022 GRAMMY Music Educator of the Year finalist. Eaddy is a Conn-Selmer clinician.
Eaddy and his lovely wife LaShonda L. Eaddy, a public relations and crisis communications professor, have two beautiful daughters, Jillian and Jordyn.
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 regular guest conducting 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.
Jordan M. Fansler, Doctoral Conducting Associate
R. Scott Mullen, Doctoral Conducting Associate
Derik Wright, Doctoral Conducting Associate
Joseph Johnson, Graduate Assistant
Michelle Moeller, Graduate Assistant
David MacPherson, Graduate Assistant
UNIVERSITY OF GEORGIA BANDS GRADUATE STAFF
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
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Daniel Bara
Colin Mann
Daniel Shafer
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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
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*Ellyn Evans
Sally Ann Nichols
Jenny Stull
MUSICOLOGY & ETHNOMUSICOLOGY
Karen Bergmann
Naomi Graber
*David Haas
Jared Holton
Jean Kidula
Sarah Pickett
Rumya Putcha
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Daniel Ellis
Andrew Voelker
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Mark Cedel
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Eric Dluzniewski
Paul Griffith
*Area Chair
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ImaginePossibilities the
MUSIC
TUES 9/9
THURS 10/30
7:30 p.m.
7:30 p.m.
Ramsey Concert Hall
FREE CONCERT
RSVP ENCOURAGED BUT NOT REQUIRED
FACULTY ARTIST SERIES: Sing and Rejoice!
A Musical Celebration of Jewish Joy ANNE SLOVIN, soprano ANDREW VOELKER, piano
Anne Slovin, soprano, joined the UGA Hugh Hodgson School of Music voice faculty this fall as assistant professor of voice. Andrew Voelker also joined the School of Music this fall as opera coach. Both received their doctorates from Indiana University’s Jacobs School of Music.
This event includes a reception with the artist immediately following.
TUES 11/4
7:30 p.m.
Ramsey Concert Hall FREE CONCERT
UNIVERISTY OF GEORGIA LATIN AMERICAN MUSIC ENSEMBLE
This performance group explores the diverse musical styles of Latin America. The ensemble focuses on both traditional and contemporary Latin American music, including Afro-Brazilian percussive forms.
TUES 9/9
WED 11/5
7:30 p.m.
7:30 p.m.
Ramsey Concert Hall
FREE CONCERT
RSVP ENCOURAGED BUT NOT REQUIRED
FACULTY ARTIST SERIES: DAMON DENTON, piano
Damon Denton was born in Charleston, S.C., and grew up in Severna Park, Maryland. He is a graduate of the Peabody Institute of the Johns Hopkins University and The Juilliard School where he received a Master of Music degree studying under Russian pianist, Oxana Yablonskaya. He has been a faculty accompanist at the University of Georgia since 2010. During his career, Denton has performed concerts in England, Ireland, Mexico, Germany, South Africa, and throughout the United States. Venue highlights have included: Lincoln Center’s Alice Tully Hall, Carnegie Hall’s Weill Recital Hall, The University of South Africa, and The State Theater of Pretoria among others. This event includes a reception with the artist immediately following.
WED 11/5
5:30 p.m.
Ramsey Concert Hall FREE CONCERT
UNIVERISTY OF GEORGIA PERCUSSION STUDIO RECITAL
This performance will feature current UGA percussion students. The Universtiy of Georgia Percussion Studio is under the driection of Kimberly Toscano Adams and Timothy K. Adams, Jr.
