UIC Wind Ensemble 12/4/21

WIND UIC ENSEMBLE UIC Theatre 1040 W Harrison St Chicago, IL Saturday December 4, 2021 7:30pm Nicholas J. Carlson director

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

Repertoire

Danza Final (Malambo) from Estancia (1943) Elsa’s Procession to

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Alberto Ginastera (1916–1983) arr. Riojas Richard Wagner (1813–1883)

the Cathedral (1846-48/1938) Moth (2013) Ash (2018) Popcopy (2007) I. More Cowbell II. One Time at Band Camp III. Serenity Now

Viet Cuong (b. 1990) Jennifer Jolly (b. 1971) Scott McAllister (b. 1969)

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Personnel Flute

Trumpet

Youjia Wang* (picc)

Liliana “Lily” Cruz*

Skyla Kim

Trevor Gagnon*

Sophia Lopez

Luis Ortiz

Carolina Woźniczka

Jacob Egert

Joanne Yu (picc)

Maya Cornejo

Amy Lian (picc)

Louis Quigley Gabby Jones

Oboe

Rachel Perez

Mark Watson* Vivek Ily*

French Horn

Isaac Fertel

Kyli Berkley* Lauren Cole

Clarinet

Noemi Morquecho

Simonne Harris*

Kali Giancana

Abdo Timejardine-Zomeño

Huseina Dhankot

Toni Smertene

Brett Perzee

Bella Lavalle

Graeme Classen

Melissa Escobedo

Daniel McCarrick+

Darby Chamness Trombone Bass Clarinet

Tommy Haepp*

Chris Izzo

Phoebe Stoughton Joshua Gibson

Contrabass Clarinet Julian Santesteban

Euphonium Julia Soulsby*

Bassoon

Eduardo Alonso

Natalia Rivera + Tuba Saxophone

Juan Peinado*

Anthony Galang (alto/soprano)

Adam Carlson

George Grunditz (alto) Sam Winters (tenor)

String Bass

Jericho Kadusale (bari)

Jason Soto

Personnel (cont.)

Percussion Caleb Fetzer* Marienne Go Hannah Shaikh Matthew Greenberg Japneet Chhabra Jen Eng Piano David Karpinksi *Denotes principal + Denotes member of Kappa Kappa Psi

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Program Notes

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Alberto Ginastera - Danza Final (Malambo) from Estancia Notes by Natalie Farrell “Danza Final” is the final movement of Argentinian composer Alberto Ginastera’s four-movement orchestral suite, Estancia. In this piece, Ginastera calls attention to Argentina’s folk dance heritage. Estancia was initially commissioned as a ballet in 1941 by the American Ballet Caravan to be choreographed by George Balanchine. It was to follow the story of a city boy who fell in love with a rancher’s daughter. At first, the girl finds the boy to pale in comparison to the hyper-masculine gauchos that surrounded her, but after the boy beats one of the gauchos in a dance competition, he wins her heart. Unfortunately, the American Ballet Caravan dissolved a year after they commissioned Estancia, and the ballet would not be premiered until 1952. Ginastera continued to work on the music and extracted four dances from his original score to form a four-movement orchestral suite: “Los trabajadores agricolas” (“The Land Workers”), “Danza del trigo” (“Wheat Dance”), “Los peones de hacienda” (“The Cattlemen”), and “Danza final (Malambo).” The movement follows a malambo form, which is an Argentinian dance dating back to the 1600s. Only males are allowed to perform the malambo, and it is often used by gauchos (cowboys) to assert their manliness. Hand-clapping and foot-tapping are key stylistic trademarks.

Richard Wagner - Elsa's Procession to the Cathedral Notes by the Vista Ridge High School Wind Ensemble Lucien Cailliet’s transcription of Elsa’s Procession to the Cathedral has been a treasured icon in the wind band repertoire since its introduction in 1938. It is a wedding procession from Richard Wagner’s tragic opera Lohengin, where Elsa, Duchess of Brabant, is about to marry her knight in shining armor, Lohengrin, Keeper of the Holy Grail, who has appeared in a boat, magically drawn by a swan. However, keeping Lohengrin’s identity a secret -- to Elsa and to everyone in the country -- has been a condition upon which the marriage was contingent. Shortly after the marriage, Elsa succumbs to her curiosity, sown by the antagonist duo: Ortrud, a sorceress who put a spell on Elsa’s brother Gottfried, but accused Elsa of his murder;

Program Notes

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and Teiramund, the knight defeated by Lohengrin who has accused him of sorcery. Lohengrin reveals his identity to all, kills his accuser, and then bids eternal farewell to Elsa. As Lohengrin disappears, his swan magically turns into Lohengrin’s friend and Elsa’s brother, Gottfried. Elsa, falls, lifelessly into Gottfried’s arms.

Viet Cuong - Moth Notes by composer The “moth to the flame” narrative is a familiar one. We have all seen moths in the glow of flames or stadium lights. Scientists call this phenomenon “phototaxis,” but I prefer to think of this attraction in much more romantic terms.

The dusty moth, though destined to live in shadow, has an insatiable craving for the brightness of day. Drab, but elegant; nervous, but swift; his taste for the glow of the flame or the filament is dire. Perhaps he dances in the light because it holds the promise that he might be as beautiful as his favored kin, the butterfly. For only there, in its ecstatic warmth, may he spend the last of his fleeting life, and believe himself to be.

Moth seeks inspiration from the dualities between light and dark, beautiful and grotesque, reality and fantasy, and the ultimate decision to sacrifice sensibility for grace.

Jennifer Jolly - Ash Notes by composer I never saw snowfall as a child growing up in Southern California; it was more a phenomenon that I saw in cartoons or read in children’s books.

I did, however, witness my first ash-fall when I was in elementary school.

I looked up into the clouded sky and saw specks of ash falling from it. Excited but puzzled, I looked to my elementary school teacher during recess and held out my hand. “Oh, that’s ash from the wildfires,” she said. At that time, I couldn’t comprehend how an enormous forest fire could create a small flurry of ash-flakes.

Now I have the ominous understanding that something so magical and beautiful comes from something so powerful and destructive.

Program Notes

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Scott McAllister - Popcopy Notes by compser Popcopy is a work in three movements that is inspired by famous popular culture catchphrases. The first movement, More Cowbell!, is based on a popular Saturday Night Live skit. In this movement, four cowbell parts surround the band to emulate the struggle of balance between the band and the cowbells, but the cowbells also help keep the band together during complex rhythmic sections.

The second movement, One Time at Band Camp, is a catchphrase from the movie American Pie. The character Michelle Flaherty is an eccentric nerd who tells many annoying stories about her experience at band camp.

The character plays the flute, so the flute soloist and flute section of the band are featured. This movement portrays reminiscences of summer love found and lost.

Serenity Now is inspired by an episode from the final season of Seinfeld. George's father, Frank Costanza, is advised to say "serenity now" aloud every time his blood pressure is in danger. Instead of calming saying the phrase, Frank yells it each time. The character Kramer also uses the catchphrase, but when he finally has a mental breakdown, he discovered that saying the phrase only makes things worse. Like the episode itself, the music deals with the line between sanity and insanity with at least four other story lines going on at the same time. There are multiple band quotes (shrouded tributes to Holst, Hindemith, and Sousa), aleatoric and nonmetered sections, and a schizophrenic form to this final movement.

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

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Biographies

Nicholas J. Carlson 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 the Artie Shaw Clarinet Concerto. He has also performed with the

Biographies (cont.)

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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.

UIC Music Concert Series Fall 2021 Our student concerts are free and open to the public. Dates are subject to change. Visit us at theatreandmusic.uic.edu for a full listing of events.

Please RSVP your attendance registration link coming soon.

For accessibility and accommodations contact our box office at (312) 996-2939 or email nealmac@uic.edu

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Mission

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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.

Thank you for being a dedicated member of our community!

When you make a gift of any size to the School of Theatre & Music, you invest in the future of our students and encourage them to discover and nurture their passions and talents. The School has funds that support a wide range of areas and programs: Theatre & Music Scholarship Fund Theatre & Music Annual Fund Music Ensembles (jazz, wind bands, orchestra, choir, etc.)

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