UIC Bands and Percussion Ensemble

UIC

BANDS & PERCUSSION ENSEMBLE

Friday October 15, 2021 7:30pm Christopher Vongvithayamathakul conductor Jordan Kamps conductor Nicholas J. Carlson conductor

UIC Music Department Fall Showcase Student Center East Illinois Room

Land Acknowledgement Statement

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The UIC School of Theatre and Music sits on the traditional homeland of the original peoples of the area: the Three Fires Confederacy (the Potawatomi, Odawa, and Ojibwe Nations) as well as the Menominee and Ho-Chunk who—along with many Indigenous people—were among its first inhabitants.

With respect and gratitude, The School of Theatre and Music honors the many Native Americans who have, do, and will call this land their home.

STM acknowledges that we have benefitted from the repeated attacks on Native Americans that forced tribal representatives to sign the 1816 Treaty of St Louis, relinquishing to the U.S. all claims of the land from Lake Michigan to the Illinois River. This land seizure led to the era of economic development and rapid growth that made Chicago the metropolis that it is today.

We have an obligation to our students and the nearly 65,000 Native Americans now living in Chicago to do no further harm, to amplify Native voices, and to fight for equity and inclusion by engaging in anti-racism policies and practices. For us, this work begins with this statement, and must be followed by actions that immediately affect our work and life on campus. STM therefore commits to the following initiatives: / The creation of an Antiracism Action Plan and Committee / Antiracism training for all STM faculty and staff / Annual Recruitment workshops and on-site special events for Native high-schoolers. / An annual master class or talk with Native musicians and/or theatre artists. / Free tickets to STM performances and concerts, provided through UIC’s Native American Support Program. / Increased representation of BIPOC (Black, Indigenous, People of Color) voices and perspectives in STM pedagogy, classrooms, and performances.

This is only the beginning of our work. We look forward to expanded and sustained STM programming that addresses ignorance, systemic racism, and white dominance.

Developed by STM Theatre Faculty 08.25.2020

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Repertoire

Trumpet Ensemble Dürrenhorn Passage for

Kevin McKee (b. 1980)

6 trumpets (2009) Liliana “Lily” Cruz, Carolina Woźniczka, Trevor Gagnon Sam Weintraub, Luis Ortiz, Louis Quigley

UIC Symphonic Band Amparito Roca (1925)

Jaime Teixidor (1884–1957), arr. James Curnow (b. 1943)

Autumn (2018) Quadrille (1983) In Blue or Green (2020) Kaleidoscopic Dances (2020)

Cait Nishimura (b.1991) Yo Goto (b. 1958) Giovanni Santos (b. 1980) Josh Trentadue (b. 1994)

UIC Percussion Ensemble Nataraja Taxidermy Blur

Tetsuya Takeno (b. 1979) Caroline Shaw (b. 1982) Cesar Gonzalez

Repertoire

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UIC Wind Ensemble Scenes from "The Louvre" (1966)

Norman Dello Joio (1913–2008)

I. The Portals II. Children's Gallery III. Kings of France IV. Nativity Paintings V. Finale Cathedrals (2007) Rest (2010) Folk Song Suite (1924) I. March, Seventeen

Kathryn Salfelder (b. 1987) Frank Ticheli (b. 1958) Ralph Vaughan Williams (1872–1958)

Come Sunday II. Intermezzo, My Bonny Boy III. March, Folk Songs from Somerset A Mother of A Revolution! (2019)

Omar Thomas (1984)

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Personnel Symphonic Band String Bass Flute

Sanna Halsted

Michael Crosby Alexis Griffin

Percussion

Alicia Ramirez Pineda +

Josue Avila

Joanne Yu

Ethan Cruz Anna Elsen

Clarinet

Adrian Knight

Alex Campillanos

Huzaifa Nadeem

Lawrence Hanyzewski

Angelo Sfyris

Kattya Orozco + Denotes member of Saxophone

Kappa Kappa Psi

Derek Perez + Trumpet

Percussion Ensemble

Aubrie DaVall Rodrigo Orozco

Caleb Fetzer

Pranav Shridhar

Hannah Shaikh

Sammy Weintraub

Hayley Balen Anna Elsen

French Horn

Jenny Eng

Julio De La Rosa

Matthew Greenberg

Sally Whitesides

Nikki Minerva Mia Peric

Trombone

Marienne Go

Robert Cornett

Josue Avila

Joshua Montanez

Adrian Knight

Rebecca Nika

Nick Casas

Euphonium Francisco Cruz Cruz Tuba Matthew Kelly + Emmanuel Pizana

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Personnel Wind Emsemble Trumpet Flute

Liliana “Lily” Cruz *

Youjia Wang* (picc)

Trevor Gagnon*

Skyla Kim*

Luis Ortiz

Sophia Lopez (picc)

Jacob Egert

Carolina Woźniczka

Maya Cornejo

Joanne Yu

Louis Quigley Gabby Jones

Oboe

Rachel Perez

Mark Watson* Vivek Ily*

Horn

Isaac Fertel

Kyli Berkley* Lauren Cole

Clarinet

Noemi Morquecho

Andres Ferreira*

Kali Giancana

Simonne Harris

Brett Perzee

Abdo Timejardine-Zomeño

Graeme Classen

Toni Smertene

Daniel McCarrick +

Bella Lavalle Melissa Escobedo

Trombone Tommy Haepp*

Bass Clarinet

Phoebe Stoughton

Chris Izzo

Joshua Gibson Luis Lema +

Saxophone Anthony Galang (alto/soprano)

Euphonium

George Grunditz (alto)

Julia Soulsby*

Sam Winters (tenor)

Eduardo Alonso

Jericho Kadusale (bari)

Personnel Tuba Juan Peinado* Adam Carlson String Bass Jason Soto Piano David Karpinksi Percussion Caleb Fetzer* Marienne Go Hannah Shaikh Matthew Greenberg Japneet Chhabra *Denotes principal or co-principal + Denotes member of Kappa Kappa Psi

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Program Notes

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Kevin McBee - Dürrenhorn Passage notes by composer Dürrenhorn Passage was commissioned by Dr. James Zingara and Troy University trumpet ensemble. The work was premiered at the 2009 ITG Conference in Harrisburg, PA. The piece depicts a heroic journey through wild landscapes, sweeping mountain vistas with soaring mythical beasts overhead.

Jaime Teixidor - Amparito Roca notes by "Program Notes for Band" Although the original score of this paso doble was reportedly written (possibly under a different title) by the British bandmaster Reginald Ridewood (1907-1942), Jaime Texidor undoubtedly copyrighted the work and arranged for its publication by Editorial Musica Moderna in Madrid and, in 1935, by Boosey & Hawkes in London. In April 1936, an ad by Boosey & Hawkes in The Musical Progress and Mail included the title Amparito Roca followed by a translation, “The Sheltered Cliff.” The present conductor of the Baracaldo Municipal Band, Juan Esteve Galán, has stated, however, that Texidor dedicated the paso doble to a girl named Amparito (diminutive of Amparo) Roca, and that she still lives in that area. Regardless of its origin, researchers agree that Amparito Roca is still one of the band world’s most popular paso dobles.

Cait Nishimura - Autumn notes by composer Autumn was originally composed for SATB choir, and was later transcribed for wind band by the composer. The choral version features original text inspired by seasonal scenic imagery. The setting for wind band stays true to the pacing and character of the original, with added instrumental texture and colour.

Program Notes

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Yo Goto - Quadrille notes by composer The original was commissioned by the All Japan Band Association for the All Japan Band Competition in 1983. It was a work from my 20’s, nearly 40 years ago, an important work that started my career as a composer. The song title is the name of a dance performed in France in the 18th century.

I envisioned it as an elegant dance style music, and the name was prefixed with quadri which means “4” because four couples dance in a square and the name is the motive for each part to jump four times. Though I thought it was suitable to initiate this work, there is no particularly deep relation to the stylistic aspect of music.

Giovanni Santos - In Blue or Green notes by composer The original was commissioned by the All Japan Band Association for the All Japan Band Competition in 1983. It was a work from my 20’s, nearly 40 years ago, an important work that started my career as a composer. The song title is the name of a dance performed in France in the 18th century.

I envisioned it as an elegant dance style music, and the name was prefixed with quadri which means “4” because four couples dance in a square and the name is the motive for each part to jump four times. Though I thought it was suitable to initiate this work, there is no particularly deep relation to the stylistic aspect of music.

Program Notes

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Josh Trentadue - Kaleidoscopic Dances notes by composer As I was flying back home from a trip one bright afternoon, I was enamored by a particular phenomenon that made an appearance in the skyline for only a few minutes. As the plane was high above the clouds, the sunlight glared at such an angle and the passenger window reflected the sunlight at such a point that a perfect circle with all of the colors of the rainbow was formed in the clouds. This particular type of cloud iridescence was fascinating to witness, and it led me to imagine a fiery celebration of colors and sounds contained within this phenomenon.

Kaleidoscopic Dances is a light and joyous work in this regard, a fun and youthful celebration of life complemented with a constant sensation of motion. A kaleidoscope of shimmering melodic figures are infused with grooves inspired by heavy metal and progressive rock, creating a sound world both modern in nature and celebratory of some of this planet's most beautiful natural wonders.

Josh Trentadue - Scenes from “The Louvre” notes by Alexander L. Armstead The wind band version of Scenes from “The Louvre” is adapted from the original film score for the 1964 documentary, The Louvre. Winning the Emmy Award for Most Outstand Music for Television, the music reflects the museums construction and development during the Renaissance. Scenes from “The Louvre” was commissioned by Baldwin-Wallace College Symphonic Band by conductor Kenneth Snapp. It was premiered March 13, 1966, conducted by the composer. The composition consists of five movements, the first being an Introduction based on the title music from the film score. The following three movements are based on Renaissance tunes. Movement 2, “Children’s Gallery” is a Theme and Variations based on Tielman Susato’s “Ronde and Saltarello.” Themes by court composers Jean Baptiste Lully and Pietro Antonio Cesti serve as a base for movement 3, “The Kings of France,” a chorale and development. Movement 4, “The Nativity Paintings,” is based on “In dulci jubilo;” the same theme used by Dello Joio in “Variants on a Medieval Tune” and for all thirteen movements of

Program Notes

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“Colonial Variants.” The strophic-rondo final movement, “Finale,” is based on Albrici’s “Cestiliche Sonate.” Primarily written around the keys of C, G, and F Major, the music retains a sense of mystery in movements 1 and 5, often utilizing chromatic alterations and polychordal juxtaposition to keep the listeners engaged. The piece provides technical challenge in the form of rhythmic independence throughout the five-movement composition.

Instrumentalists are asked to play in an independent manner and actively engage with the other sections of the ensemble to achieve a sense of texture and blend. Dello Joio employs open intervals of fourths and fifths to replicate the tonal and harmonic approach common of the Renaissance period.

Kathryn Salfelder - Cathedrals notes by Natalie Farrell Kathryn Salfelder’s Cathedrals depicts a musical dialogue across the stage, across the ensemble, and across time. Both the content of the piece and the way in which it is presented draws inspiration from the Renaissance composer Giovanni Gabrieli’s Canzon Primi Toni from “Sacrae Symphoniae” (1597). Gabrieli is most known for his antiphonal brass works that made use of the balconies in St. Mark’s Cathedral in Venice. In Canzon Primi Toni, two brass choirs (comprised of two trumpets and two trombones apiece) were positioned on opposite balconies, resulting in a stereo effect. Salfelder pays homage to this tradition by placing brass choirs on either side of the ensemble. Especially in the opening section, listen as steady, repeated notes bounces from one side of the ensemble to the other.

In addition to the seating arrangement, Salfelder infuses the sixteenth century into the structure of her work by using a mathematical phenomenon that fascinated Renaissance composers and philosophers: the Golden Ratio (1: 0.618). Like the spiral commonly used to illustrate the ratio, Cathedrals gets increasing dense in both melodic content and instrumentation at the two-thirds point. The intricately intertwined interjections from the percussion and woodwinds overlay a languid brass countermelody, which expands into a final, full-voiced restatement of Gabrieli’s conversation between the brass choirs.

Program Notes

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Frank Ticheli - Rest notes by composer Created in 2010, Rest is a concert band adaptation of my work for SATB chorus, There Will Be Rest, which was commissioned in 1999 by the Pacific Chorale, John Alexander, conductor. In making this version, I preserved almost everything from the original: harmony, dynamics, even the original registration. I also endeavored to preserve carefully the fragile beauty and quiet dignity suggested by Sara Teasdale’s words.

However, with the removal of the text, I felt free to enhance certain aspects of the music, most strikingly with the addition of a sustained climax on the main theme. This extended climax allows the band version to transcend the expressive boundaries of a straight note-for-note setting of the original. Thus, both versions are intimately tied and yet independent of one another, each possessing its own strengths and unique qualities.

Approach common of the Renaissance period.

The original poem reads: There will be rest, and sure stars shining Over the roof-tops crowned with snow, A reign of rest, serene forgetting, The music of stillness holy and low.

I will make this world of my devising Out of a dream in my lonely mind.

I shall find the crystal of peace, – above me Stars I shall find.

Program Notes

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Ralph Vaughan Williams - Folk Song Suite notes by Nikk Pilato Folk Song Suite was commissioned by the band of the Royal Military School of Music. It was premiered on 4 July 1923, at Kneller Hall, H.E. Adkins conducting. In three movements, the suite contains many different folk songs from the Norfolk and Somerset regions of England, including Seventeen Come Sunday, Pretty Caroline, Dives and Lazarus, My Bonny Boy, Green Bushes, Blow Away the Morning Dew, High Germany, and The Tree So High. Historically, the suite is considered (along with Gustav Holst’s two suites for military band) to be a cornerstone work in the literature, and one of the earliest “serious” works for the wind band.

Omar Thomas - A Mother of a Revolution! notes by Nikk Pilato This piece is a celebration of the bravery of trans women, and in particular, Marsha "Pay It No Mind" Johnson. Marsha is credited with being one of the instigators of the famous Stonewall uprising of June 28,1969 – one of the pivotal events of the LGBTQ liberation movement of the 20th century – which is commemorated annually during the worldwide Gay Pride celebrations. Existing as a trans woman, especially a trans woman of color, and daring to live authentically, creating space for oneself in a transphobic world is one of the bravest acts I can imagine. Over 20 trans women were murdered in the United States in 2018 alone. There is no demographic more deserving, and frankly, long overdue for highlighted heroism and bravery. The disco vibe in the latter half of the piece is meant to honor club culture, a sacred space held amongst LGBTQ persons in which to love, live, mourn, heal, strategize, connect, disconnect, and dance in defiance of those outside forces who would seek to do LGBTQ persons harm simply for daring to exist and take up space.

Program Notes

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We pump our fists to honor the life, heroism, activism, and bravery of Marsha P. Johnson, to honor the legacy of the Stonewall revolution, to honor the memory of the trans lives violently ended due to fear and hatred, and in honor of trans women worldwide who continue to exist unapologetically and who demand to be seen.

This piece was commissioned by the Desert Winds Freedom Band, under the direction of Dean McDowell, to commemorate the 50th anniversary of the Stonewall uprising.

Band Program Personnel & Faculty

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Faculty and Staff Nicholas J. Carlson; acting director of bands Christopher Vongvithayamathaku; symphonic band director Ronald Stemley; pep band director Jordan Kamps; percussion Jen Eng; supervising librarian, wind ensemble librarian, percussion assistant Andres Ferreira; logistics, festival assistant Juan Peinado; equipment/locker manager, logistics Julia Soulsby; assistant librarian/symphonic band librarian, logistics, festival assistant Jason Soto; equipment/locker manager, logistics Phoebe Stoughton; assistant librarian/pep band librarian, logistics, festival assistant Kappa Kappa Psi National Band Fraternity Executive Board Natalia Rivera; president Luis Lema; vice president Daniel McCarrick; treasurer Guadalupe Esquinca; historian Applied Faculty Mariana Gariazzo, flute Eugenia Moliner, flute Ricardo Castañeda, oboe John Gaudette, bassoon Nicholas Carlson, clarinet Gene Collerd, clarinet Jordan Lulloff, saxophone David Inmon, trumpet Kelly Langenberg, horn Andy Baker, trombone Scott Tegge, tuba/euphonium John Floeter, string bass Jordan Kamps, percussion Ivana Bukvich, piano

Biographies

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Nicholas Carlson - conductor Nicholas J. Carlson joined the faculty at the University of Illinois Chicago in the fall of 2010 and currently serves as Senior Lecturer, Acting Director of Bands, and Coordinator of Instrumental Music. His responsibilities include conducting the Wind Ensemble, teaching the undergraduate conducting curriculum, teaching clarinet and chamber music, and all administrative aspects of the UIC band program. Prior to his work in Chicago, he was a graduate associate for the University of Wisconsin-Milwaukee (UWM) band department, where he earned a Masters of Music with a dual concentration in instrumental conducting and clarinet performance under the direction of John Climer and Todd Levy, respectively. He served as the graduate conducting associate with the UWM University Band and UWM Youth Wind Ensembles and assisted with the overall administration of the university band program.

Mr. Carlson is an active conductor, clinician, and freelance clarinetist and performs regularly throughout the Midwest. He is the Music Director/ Conductor of the University of Chicago Wind Ensemble and the Music Co-Director/Conductor of the Chicago Public Schools All-City Symphonic Band I. He has given numerous clinics throughout the greater Chicagoland area and has guest conducted honor bands in Wisconsin and Georgia. He is the principal clarinetist of the Chicago Arts Orchestra, Symphony847, and the Lake County Symphony Orchestra (LCSO). Other recent performances include the world premiere and recording of Music for Five by Marc Mellits, the Midwest premiere of Mohammed Fairouz’s clarinet concerto Tahrir, and a featured performance with the concert series New Music Chicago at the Chicago Cultural Center. As a featured soloist of the LCSO, he performed the world premiere of Donald Walker’s Fantasy for Clarinet & Orchestra and

Biographies

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the Artie Shaw Clarinet Concerto. He has also performed with the Milwaukee Skylight Opera, Milwaukee Symphony Orchestra, Elgin Symphony Orchestra, Kenosha Symphony Orchestra, Oshkosh Symphony Orchestra, Wisconsin Wind Orchestra, and the La Crosse Symphony Orchestra.

Mr. Carlson attended the University of Wisconsin-La Crosse where he earned a Bachelor of Science degree in music education with Honors.

Mr. Carlson taught instrumental music in the La Crosse Area School District and maintained a large private lesson studio. His professional affiliations include College Band Directors National Association, National Band Association, Music Educators National Conference, Illinois Music Educators Association, and Kappa Kappa Psi National Music Service Fraternity.

Christopher Vongvithayamathakul Christopher Vongvithayamathakul (Mathakul) joins the University of Illinois at Chicago School of Theatre and Music in the 2021-22 academic year as the Ensemble Programs/Public Engagement Coordinator and director of the Symphonic Band. Currently, Mr. Mathakul is a doctoral candidate in Instrumental Conducting at the University of Washington, studying with Professor Timothy Salzman. As concert bands graduate assistant at Washington, Mr. Mathakul served as the director of the Concert Band and assistant conductor for the Wind Ensemble and Symphonic Band. In the Spring of 2021, Mr. Mathakul and fellow graduate conducting student Daniel Fischer presented a clinic entitled “Creative Learning Experiences for Music Ensembles Using Digital Audio Tools” at multiple state music

Biographies

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education conferences. This presentation was inspired by the virtual composition project entitled "Putting the E in E-nsemble" piloted by the University of Washington Wind Ensemble in collaboration with composer Alex Shapiro in the Spring of 2020.

Mr. Mathakul earned a Master of Music degree in Wind Conducting from the University of New Mexico where he studied conducting with Professor Eric Rombach-Kendall and clarinet with Professor Keith Lemmons. During his time at New Mexico, Mathakul served as graduate assistant for the UNM bands, where his responsibilities included assisting and conducting the concert bands, marching band, and running the “Soundpack” basketball pep band. Mr. Mathakul also served as the music director for the Symphony Orchestra of Albuquerque, a community orchestra.

Prior to his doctoral studies, Mr. Mathakul served for seven years as a high school and middle school band director in schools on the island of O’ahu, Hawai’i, where he was an active member of the O'ahu Band Directors Association and chair of its Beginning Honor Band.

Jordan Kamps Jordan Kamps is a Chicago based percussionist currently teaching Percussion Ensemble, American Popular Music, Jazz History, Fundamentals of Music Theory, and Applied Percussion at the University of Illinois at Chicago. Outside the university, Jordan actively teaches high school marching bands in Wisconsin. He has taught groups in both the WSMA fall circuit and the MACBDA summer circuit. As a performer, Jordan has performed with such varying groups as the Extra

Biographies Crispy Brass Band, Milwaukee Bucks NBA Drumline, Sleeping At Last, and Chicago Arts Orchestra. Recently, Jordan performed as a member of the backing orchestra for parts of the international tours of Evanesence, Celtic Thunder, and Lindsey Stirling. Jordan holds a Bachelors of Music in Percussion Performance from the University of Wisconsin - Whitewater and a Masters of Music in Percussion Performance from the University of Wisconsin - Milwaukee.

Jordan currently performs with Ensemble Prime, a mixed chamber new music ensemble in Chicago; Cream City Percussion, a percussion quartet from Milwaukee, WI; and the Four Star Brass Band, a New Orleans style brass band in Chicago. While being an active performer, Jordan stays connected to new works for percussion. He has been active in several commissions and premiers of new works for both percussion and chamber music. Jordan Kamps plays Marimba One and is proud to support them as a Marimba One Orchestral Artist.

UIC Music Concert Series Fall 2021 Monday, October 18

11am–2pm (during rehearsal times)

Jazz Combo Performance Recital Hall L285

December 1–2

1040 W. Harrison St.

UIC Jazz

7pm

Recital Room L285

Sunday, November 7

Friday, December 3

Honors Band Festival

UIC Percussion Ensemble

UIC Student Center East

UIC Theatre L280

Illinois Room, 750 S. Halsted St.

1040 W. Harrison St.

5pm

7:30pm

Friday, November 19

Saturday, December 4

Chamber Music

UIC Orchestra

Recital Hall L285

UIC Theatre L280

1040 W. Harrison St.

1040 W. Harrison St.

7:30pm

3pm

Monday, November 22

Saturday, December 4

Symphonic Band Concert

UIC Wind Ensemble

UIC Theatre L280

UIC Theatre L280

1044 W. Harrison St.

1040 W. Harrison St.

7:30pm

7:30pm

Tuesday, November 23 Pop Rock Concert Recital Hall L285 1040 W. Harrison St. 7:30pm Nov 29–Dec 3 Campus Caroling with UIC Choirs UIC campus

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Mission The School of Theatre & Music provides innovative, rigorous, and comprehensive academic and performance programs as part of our diverse, urban context. Our programs develop practical knowledge, cultural sensitivity, intellectual resourcefulness, and imaginative daring in emerging artists and scholars. We connect students to Chicago's abundant, vibrant theatre culture and to the city's dynamic jazz and classical music networks.

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