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UGA WIND SYMPHONY

SYMPHONIC BAND

WEDNESDAY, SEPTEMBER 25, 2024 at 7:30 p.m.

HODGSON CONCERT HALL

MICHAEL C. ROBINSON, conductor

JACK EADDY, JR., conductor

WIND SYMPHONY

&

SYMPHONIC

BAND

Wednesday, September 25, 2024 at 7:30 p.m.

Hodgson Concert Hall

UGA Performing Arts Center

University of Georgia Symphonic Band

Michael Robinson, Conductor

Caroline Wright Pfisterer, Doctoral Conducting Associate

James Naigus, Horn Soloist

University of Georgia Wind Symphony

Jack A. Eaddy Jr., Conductor

Gilbert Villagrana, Doctoral Conducting Associate

March, Op. 99

Cajun Folk Songs

UNIVERSITY OF GEORGIA SYMPHONIC BAND

I. La Belle et le Capitaine II. Belle

Caroline Wright Pfisterer, Doctoral Conducting Associate

Sergei Prokofiev arr. Paul Yoder

Frank Ticheli

Harvest Light

James Naigus arr. Jacob Evarts

With Heart and Voice

James Naigus, horn

INTERMISSION

David R. Gillingham

UNIVERSITY OF GEORGIA WIND SYMPHONY

Fanfare for Full Fathom Five

Variations on “America”

One Life Beautiful

American Salute

John Mackey

Charles Ives (orch. William Schuman; trans. William E. Rhoads)

Gilbert Villagrana, Doctoral Conducting Associate

Julie Giroux

Morton Gould trans. Philip J. Lang

The Presidential Fanfare and President March O’Neill Sanford

Starry Crown Donald Grantham

March, Op. 99 (1944 / 1946) (3’12”)

Sergei Prokofiev (1891-1953), arr. Paul Yoder (1908-1990)

March, Op. 99 was written when many Russian composers turned to the march genre as a show of support for their country during World War II. According to Harlow Robinson, Prokofiev’s biographer, the piece was a political composition written in honor of May Day, also known as International Workers’ Day. May 1 is perhaps the most critical political holiday in the Soviet calendar, second only to the October Revolution. The March was broadcast over government radio during the 1944 May Day celebration. Prokofiev also included the March in his opera The Story of a Real Man (1947).

Program note by the Wind Repertory Project

Sergei Prokofiev was a Russian composer, pianist and conductor who mastered numerous musical genres and is regarded as one of the major composers of the 20thcentury. A graduate of the St. Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument and his first two piano concertos. Prokofiev’s first major success breaking out of the composer-pianist mold was with his purely orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes; Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d’acier and The Prodigal Son – which at the time of their original production were all highly successful. Prokofiev’s greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev’s one relative success in that genre during his lifetime was The Love for Three Oranges, composed for Chicago and subsequently performed over the following decade in Europe and Russia.

Cajun Folk Songs (1990) (6’25”)

Frank Ticheli (b. 1958)

Cajun Folk Songs is composed as a tribute to the people of the old Cajun folk song culture with hopes that their contributions will not be forgotten. The work is dedicated to the Murchison Middle School Band, Austin, Texas, Cheryl Floyd, director, who commissioned the work and gave its premiere on May 22, 1990.

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 is added for variety.

Program note by the composer

Frank Ticheli is an American composer and conductor. 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.

Harvest Light (2017/2023) (6’00”)

James Naigus (b. 1987) | arr. Jacob Evarts (b. 2003)

Harvest Light is a piece for solo horn and horn choir that was arranged for horn and wind ensemble in 2023 by Jacob Evarts. The title comes from the subtle yet beautiful shift in the evening sky during the autumn season. There is a certain warm glow that is cast upon the land, signaling a time of cooler weather and changing colors. The warm and rich sonorities of horn choir plus solo horn, in my mind, is the perfect vessel to musically embody this fall landscape.

Program note by the composer

James Naigus is an American hornist, music educator, and composer. With over sixty works, Naigus’s compositions have been performed throughout the United States and beyond. In 2013 he was the composer-in-residence at the Southeast Horn Workshop in Richmond, Virginia. In 2009 he was awarded an honorable mention in the International Horn Society Composition Contest. He has written commercial compositions for clients such as Google, University of Michigan, University of Florida, and University of Iowa.

With Heart and Voice (2001) (8’25”)

David R. Gillingham (b. 1947)

Thematically, the work is based on the Apple Valley High School Alma Mater, an old Spanish hymn which has made its way into most church hymnals under the name of Come, Christians, Join to Sing. It is perhaps fate that this hymn, a particular favorite of mine, happens to be the tune used for the Alma Mater. Christian Henry Bateman wrote the words for the hymn in 1843, and the first verse contains the line, “Let all, with heart and voice, before the throne rejoice.” Hence, the title, With Heart and Voice. What better way to celebrate twenty five years of this great high school than with our “hearts” and “voices?” The “voice” in this case is the music, and the “heart” is the emotion that the music renders in celebration.

Program note by the composer

David R. Gillingham is an American composer. His works are regularly performed by nationally recognized ensembles including the Prague Radio Orchestra, Cincinnati Conservatory of Music Wind Ensemble, the University of Georgia Bands, North Texas Wind Symphony, and many others. Currently Dr. Gillingham was a professor of music at Central Michigan University and the recipient of an Excellence in Teaching Award (1990), a Summer Fellowship (1991), a Research Professorship (1995), and most recently, the President’s Research Investment Fund grant for his co-authorship of a proposal to establish an International Center for New Music at Central Michigan University.

Fanfare for Full Fathom Five (2015) (3’10”)

John Mackey (b. 1973)

John Mackey’s Fanfare for Full Fathom Five draws inspiration from Shakespeare’s The Tempest, particularly the ominous lines sung by Ariel, the spirit, which reference a shipwreck and drowning in thirty feet of water.

Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange.

- William Shakespeare, The Tempest: I.2.396-401.

PROGRAM NOTES

These themes of transformation and depth resonate through Mackey’s composition. The orchestration and structure of the piece are inspired by Richard Strauss’ Wiener Philharmoniker Fanfare, but while Strauss’ work is straightforwardly heroic, Mackey’s fanfare introduces complexity through dissonance and chromaticism. Mackey’s fanfare features vibrant trumpet triplets, soaring horn lines, and bold low brass pedal points, with colorful organ support. Despite these unexpected turns, the piece culminates triumphantly in E-flat, reflecting the resolution and victory found in The Tempest. This dynamic journey through rich and varied musical landscapes ultimately leads to a triumphant and celebratory conclusion.

John Mackey is a renowned American composer, celebrated for his work in dance and symphonic winds. He holds a Master of Music degree from The Juilliard School and a Bachelor of Fine Arts degree from the Cleveland Institute of Music, where he studied under John Corigliano and Donald Erb. Mackey’s compositions have been performed at prestigious venues such as Carnegie Hall, the Kennedy Center, and the Sydney Opera House. He has received numerous commissions from organizations like the Parsons Dance Company, the Cleveland Orchestra Youth Orchestra, and the Dallas Wind Symphony. His collaborations include work with Doug Varone and the U.S. Olympic Synchronized Swim Team, which performed to his score “Damn” at the 2004 Athens Olympics. Notable accolades include the ASCAP Concert Music Awards, the ABA/ Ostwald Award, and the NBA William D. Revelli Composition Contest. Mackey has served as Composer-In-Residence at various festivals and institutions, and he was music director of the Parsons Dance Company from 1999-2003. In his spare time, he enjoys photography.

Variations on “America” (1891/1968) (6’45”)

Charles Ives (1874 - 1954), orch. William Schuman; trans. William E. Rhoads

Variations on “America” was originally a composition for organ. Composed in 1891 when Ives was seventeen, it is an arrangement of a traditional tune, known as My Country, ‘Tis of Thee, and was at the time the de facto anthem of the United States. The tune is also widely recognized in Thomas Arne’s orchestration as the British National Anthem, God Save the Queen, and in the former anthems of Russia, Switzerland, and Germany, as well as being the current national anthem of Liechtenstein and royal anthem of Norway. The variations are a witty, irreverent piece for organ, probably typical of a “silly” teenage phenom like Ives. According to his biographers, the piece was played by Ives in organ recitals in Danbury, Connecticut, and Brewster, New York, during the same year. At the Brewster concert, his father would not let him play the pages which included canons in

two or three keys at once, because they were “unsuitable for church performance –they upset the elderly ladies and made the little boys laugh and get noisy!”

Program note by the composer

Charles Ives was an American composer known for his pioneering and experimental approach to music. The son of U.S. Army bandleader George Ives, Charles studied organ from a young age and later pursued composition at Yale under Horatio Parker. Ives balanced his passion for music with a successful career in insurance, composing in his spare time. Much of his work went unrecognized during his lifetime, with many compositions published only years later. His innovative style blended American folk tunes and hymns with experimental techniques such as atonality, polytonality, and tone clusters, predating many 20th-century musical developments. In 1947, Ives was awarded the Pulitzer Prize for his Third Symphony, composed in 1911 but performed publicly for the first time in 1946. He passed away in New York City, leaving behind a legacy as one of America’s most forward-thinking composers.

One Life Beautiful (2010) (5’40”)

Julie

Giroux (b. 1961)

One Life Beautiful, The title itself is a double-entendre which in one sense is referring to the person this work is dedicated to as in “one life” that was beautifully lived. The other sense is a direct observation concluding that having only one life is what makes life so sacred, tragic and so very precious. This is an impressionistic work musically describing that condition. Shakespeare’s “sweet sorrow,” the frailty and strength of life, the meaning of what it is to truly live One Life Beautiful.

Program note by the Publisher

Julie Giroux is a distinguished American composer known for her wide-ranging works in orchestral, choral, chamber, and concert band music. Educated at Louisiana State University and Boston University, Giroux studied composition with John Williams, Bill Conti, and Jerry Goldsmith. She began her career composing and orchestrating for film and television, with credits including White Men Can’t Jump and the miniseries North and South. Giroux has also arranged music for artists like Reba McEntire, Madonna, and Michael Jackson, earning three Emmy nominations and winning in 1992. In 1997, Giroux left Los Angeles to focus on concert band and wind ensemble compositions, publishing extensively with Musica Propria. Her work includes pieces like Cordoba for Solo Piano

and Concert Band and Arcus IX. She has also contributed to international projects like “Call for Green China,” recorded and performed in China. Giroux is a member of the American Bandmasters Association (ABA), ASCAP, and an honorary brother of Kappa Kappa Psi at West Virginia University.

American Salute (1943/1971) (4’20”)

Morton Gould (1913-1996)

Originally written for orchestra, American Salute has become a favorite of the concert band repertoire. Using the familiar tune, When Johnny Comes Marching Home, as the sole melodic resource, Morton Gould demonstrates his skill in thematic development, creating a brilliant fantasy on a single tune. Written in 1942 in the early days of World War II, it was composed at the request of a government radio program producer who wanted a “salute to America.” The composer insisted that he had no idea that the work was destined to become a classic: “It was years before I knew it was a classic setting. What amazes me is that critics say it is a minor masterpiece, a gem. To me, it was just a setting. I was doing a million of those things.” A million may be an exaggeration, but not by much. The pace of Gould’s schedule in those days was astounding. By his own account he composed and scored American Salute in less than eight hours, starting at 6 p.m. the evening before it was due (with copyists standing by), and finishing at 2 a.m.

Although the ink couldn’t have been dry, the score and parts were on the stand in time for rehearsal the next morning and ready for broadcast that evening.

Program note from “The President’s Own” United States Marine Band

Morton Gould was an American pianist, composer, conductor, and arranger. A child prodigy, he published his first composition at age six and later studied at the Institute of Musical Art. During the Depression, Gould worked as a pianist in New York City, eventually becoming the staff pianist at Radio City Music Hall. By 1935, he was conducting and arranging orchestral programs for WOR radio, reaching a national audience. Gould conducted major orchestras across the U.S. and internationally, earning a Grammy Award in 1966 for his recording of Charles Ives’ First Symphony. He served as president of ASCAP from 1986 to 1994 and was honored with the Kennedy Center Honor in 1994 and the Pulitzer Prize in 1995 for his composition Stringmusic. Gould was posthumously awarded the Grammy Lifetime Achievement Award in 2005.

The Presidential Fanfare and President March (1991) (3’30”)

O’Neill Sandord (b. 1943)

The Presidential Fanfare and President March was commissioned by Lieutenant George Thompson, conductor of the United States Navy Band and the first and only African American bandmaster in U.S. Navy history. When I was director of bands at University Of Pittsburgh, [Lt. Thompson and I] met at a national black music caucus conference approximately one year prior to the premiere performance of the composition. President Ronald Reagan was in attendance at the concert, and the audience acknowledged the composition with a rousing standing ovation.

Program note by the composer

O’Neill Sanford is an American conductor, educator, and composer. He earned degrees in music education from Southern University and Vandercook College of Music and studied jazz composition with Thad Jones in Copenhagen. Since 1965, Sanford has held key positions as director of bands at institutions including Mississippi Valley State, Virginia State, the University of Minnesota, the University of Pittsburgh, and Norfolk State University. His compositions, such as Lift Every Voice and The President’s March, are performed widely in the U.S. and Europe. Sanford served as president of the HBCU National Band Directors’ Consortium, founder of the HBCU “Battle Fest” Battle of the Bands, and served as a visiting assistant professor of music and director of bands at Jackson State University.

Starry Crown (2007) (14’30”)

Donald Grantham (b. 1947)

Starry Crown is based on gospel music of the 1920s and 1930s from the Deep South -- a style sometimes referred to as ‘gutbucket’ gospel because of its raw, earthy and primitive character. Three authentic tunes are used in this work: Some of These Days, Oh Rocks, Don’t Fall on Me!, and When I Went Down in the Valley. The title of this work was derived from a textual reference in the latter song:

When I went down to the valley to pray, Studyin’ about that good ol’ way And who will wear that starry crown Good Lord, show me the way

These songs are used at the beginning and end of the piece. The middle of the work recreates the atmosphere of the call-and-response sermons typical of this period. The preacher (represented by three trombones, then the rest of the brass section) makes declamatory statements that the rest of the congregation (represented by the rest of the ensemble) responds to. The exchanges become quicker and quicker until finally all join together in a very fast and exuberant chorus.

Program note adapted from Wind Repertory Project

Donald Grantham is an American composer and educator. He holds degrees from the University of Oklahoma and the University of Southern California and studied under Nadia Boulanger at the American Conservatory in France. Grantham is a highly influential composer for winds, recognized with numerous awards, including the Prix Lili Boulanger, the Nissim/ASCAP Orchestral Composition Prize, and several first prizes in the NBA/William Revelli and ABA/Ostwald Competitions. His music is celebrated for its elegance, clarity, and lyricism, and has been performed by major orchestras such as those in Cleveland, Dallas, and Atlanta. In addition to composing, Grantham coauthored The Technique of Orchestration with Kent Kennan. He currently serves as the Frank C. Erwin Centennial Professor in Music at the University of Texas at Austin, where he teaches composition.

Michael Robinson, Conductor

Caroline Wright Pfisterer, Doctoral Conducting Associate

Flute

Mazzy Beyer

Ana Buchan

Mary Burke

Rose Fitzgerald

Anish Garikapati

Keira Inks

Katherine Piroumian

Priya Storey

Oboe

Ella Blakeborough

Sydney Brockway

Emma Castleberry

Aidan Furman

Eleazar Louis

Carter Reed

Jennifer Tran

Bassoon

Yamilet Anariba

Nathan Bine

Skylar Ward

Clarinet

Emma Hu

Bailey Hutchins

Blue Jackson

Shree Kanji

Tyler Nichols

Sophie Ray

Maggie Quesenberry

Claire Telfor

Bass Clarinet

Ethan Campbell

Alto Saxophone

Antonio Aguilar

Erin Brown

Nicholas Goldfarb

Madelynn Rayner

Bridget Sheridan

Bella Turco

Margaret Watson

Tenor Saxophone

Emily Johnson

Tucker Rollins

Baritone Saxophone

Sadie Landon

Horn

Nathan Brown

Della Frazier

Jacob Guerreso

Sophia Phillips

Trumpet

Jacob Alford

Justing Arnold

Teddy Cone

Noah Hicks

Timothy Jackson

Zachery Lerman

Emma Peters

Nathan Vazquez

Ethan Young

Trombone

Noah Adkinson

Nichole Botsoe

Jacob Duda

Major Ellis

William Emde

Connor Fenneran

Euphonium

TarevaChine Lightfoot

Ava Rogers

Maria Suggs

Jacob Torbert

Tuba

Riley Maloney

Peyton Mayhew

Percussion

Nicolas Alvarez

Kai Brown

Jack Maguire

Jorjana Marin

Jacien Thorne

Mary Webb

Alec Yeung

Nikhil Young

*Members of the University of Georgia Symphonic Band are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.

Jack A. Eaddy Jr., Conductor

Gilbert Villagrana, Doctoral Conducting Associate

Flute

Lyla Bingaman

Bella Cabrel-Watson

Jadyn Hairston

Heesoo Jeong

Madeline Shell

Elisabeth Surdilovic

Lauren Wiggins

Oboe

Nora Avery

Triston Fielding

Anisa Herbert

Xander Herman

Kristi Kiene

Ashlyn Long

Clarinet

Cecelia Berenguer

William Kaplan

Katie Martin

Avery Pate

John Peach

Rebeca Reyes

Ashley Vinson

Bassoon

Kaleb Colwell

Lily Hurn

Ethan Johnson

Jordan Johnson

Saxophone

Ashley Emerton

Brennan Sweet

Jackson Tadlock

Jon Erik Tripp

Trumpet

Luke Barret

Emily Beiter

Cameran Butryn

Palmer Hartley

Hayes Thomas

Trey Walsh

Matthew Young

Horn

London Brooks

Peter Dixon

Gibson Krolikowski

Patrick Malone

Chance Salter

Trombone

Eli Boudreaux

Tyler Carver

Jonah Madaris

Thomas Pajares

Matthew Quach

Euphonium

Steven Lubitz

Skylar Smith

Kara Thaxon

Tuba

Moses Bannister

Jack Gordon

String Bass

Leonardo Lopes

Percussion

Kelly Harbin

David MacPherson

Euan Maley

Aaron Phillip

Mackenzie Roquemore

Angelina Vasquez

Austin Waters

Organ

Caroline Wright Pfisterer

David MacPherson

*Members of the University of Georgia Wind Symphony are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.

UNIVERSITY

Nicholas Enrico Williams

Jack A. Eaddy, Jr.

Brett Bawcum

Michael C. Robinson

Mia Athanas

Marcus Morris

R. Scott Mullen

Gilbert Villagrana

Caroline Wright Pfisterer

Justin White

David McPherson

Rocky Raffle

Michelle Moeller

Joseph Johnson

Director of Bands

Associate Director of Bands

Associate Director of Bands/Director of Athletic Bands

Professor/Conductor of Symphonic Band

Assistant Director of Athletic Bands

Assistant Director of Athletic Bands/Band Festivals Director

Doctoral Conducting Associate

Athletic Bands Graduate Assistant

Large Ensemble Office Manager

Graduate Assistant

Follow UGA Bands on Social Media: @ugabands

INSTRUMENTAL FACULTY

Angela Jones-Reus

Reid Messich

Amy Pollard

D. Ray McClellan

Brandon Quarles

Phil Smith

Brandon Craswell

Jean Martin-Williams

Daniel Bara

Emily Gertsch

Brandon Craswell

Amy Pollard

Edith Hollander

James Sewell

Shaun Baer

Paul Griffith

Eric Dluzniewski

Scott Higgins

Tony Graves

Jared Tubbs

Flute Oboe Bassoon Clarinet

James Naigus

Joshua Bynum

Matthew Shipes

Timothy K. Adams, Jr.

Kimberly Toscano Adams

Milton Masciadri

Monica Hargrave

Liza Stepanova

Euphonium/Tuba

Percussion

Double Bass

Harp

Piano

Saxophone Trumpet Trumpet Horn Horn Trombone

Interim Director

Associate Director for Graduate Studies

Associate Director for Undergraduate Studies

Associate Director for Performance

Assistant to the Director

Production and Events Manager Director of Public Relations

Academic Professional, Sound Recording

Lead Piano Technician

Piano Technician Sectioning Officer

HUGH HODGSON SCHOOL OF MUSIC

SUPPORT INDIVIDUAL AREAS OF THE SCHOOL OF MUSIC SUPPORT THE THURSDAY SCHOLARSHIP FUND

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THANK YOU FOR YOUR CONTINUED SUPPORT OF THE UNIVERSITY OF GEORGIA HUGH HODGSON SCHOOL OF MUSIC.

7:30 p.m.

Ramsey Concert Hall FREE CONCERT

THURS 10/3

7:30 p.m.

Hodgson Concert Hall

TUES 10/8 WED 10/2

7:30 p.m.

Hodgson Concert Hall FREE CONCERT

WED 10/9

6 p.m.

Edge Recital Hall FREE CONCERT

WED 10/9

7:30 p.m.

Ramsey Concert Hall

GUEST ARTIST LECTURE RECITAL EVREN KUTLAY

Piano performance, ethnomusicology, and post-colonial studies.

UNIVERSITY OF GEORGIA SYMPHONY ORCHESTRA

THE POWER OF TRANSFORMATION: HINDEMITH, WAGNER, AND MENDELSSOHN

Includes Hindemith’s “Symphonic Metamorphosis on Themes of Carl Maria von Weber”and more.

UNIVERSITY OF GEORGIA

MEN’S AND WOMEN’S GLEE CLUBS

This concert features a series of composers celebrating American voices.

GUEST ARTIST RECITAL BETH WEISE, TUBA

Edge is located in the Hugh Hodgson School of Music, 250 River Road, Athens GA

FACULTY ARTIST SERIES

Amici dei Fiati (Friends of Winds)

ANGELA JONES-REUS, flute THIS EVENT IS FREE MEET & GREET RECEPTION TO FOLLOW Reservations are encouraged but not required Featuring: D. Ray McClellan, clarinet, Erica McClellan, piano & Gabriella McClellan, cello

THURS 10/10

7:30 p.m.

Hodgson Concert Hall

UNIVERSITY OF GEORGIA HODGSON SINGERS AND UNIVERSITY CHOIR

Join these two of our choirs as they sing about the joys and the journeys we experience as we follow our dreams. Introducing Daniel Shafer, interim associate director of choral activities.