Symphonic Winds & Wind Orchestra

PRESENTS

WIND ORCHESTRA & SYMPHONIC WINDS

TUESDAY, APRIL 30TH, 7 PM

TSC PERFORMING ARTS CENTER, BROWNSVILLE

PROGRAM

MISSION HIGH SCHOOL WIND ENSEMBLE

Samuel Hjort, conductor

ENTRY MARCH OF THE BOYARS

JOHN HALVORSEN (1864-1935)

FIRST SUITE IN E-FLAT GUSTAV HOLST (1874-1934)

TRITTICO VACLAV NEHYBEL (1919-1996)

PROGRAM

SYMPHONIC WINDS

Ashley Perez, graduate conductor

PROCESSION OF THE SARDAR MIKHAEL IPPOLITOV-IVANOV (1859-1935)

INSTANT CONCERT HAROLD L. WALTERS (1918-1984)

ENDLESS DAYLIGHT TYLER ARCARI (b 1989)

ELEGY FOR ALBINONI SHELLEY HANSON (b. 1951)

ABRAM’S PURSUIT

DAVID HOLSINGER (b. 1945)

SYMPHONIC WINDS PERSONNEL

F L U T E

J o r g e C h a v a r r i a

A l e x a n d r a J a m e s -

P u r v e y

A s h l e y N e g r e t e

O B O E

C l a u d i a E s m e r a l d a

Q u i n t a n a M e d i n a

C L A R I N E T

K a r e n G a l a n

J u s t i n e P e ń a

P h i l l i p P u r v e y

A L T O

S A X O P H O N E

L e o n a r d o D u e ñ e s

J o r g e G a r c i a

T E N O R

S A X O P H O N E

R o d o l f o R . R o d r i g u e z

B A R I T O N E

S A X O P H O N E

C u l l e n D o u g l a s

F R E N C H H O R N

R a y m o n C o r r e a

J u a n R o m e r a

T R U M P E T

F a b i o l a I . A h u j a

C e s a r P a e z

L u i s P e r e z

T R O M B O N E

B r a n d o n N a v a r r o

L u i s V i v e r o s

V e r o n i c a W i l l i a m s

B A S S T R O M B O N E

N a t h a n i e l R a m o s

I m a n o l R u i z

E U P H O N I U M

D i e g o G r a c i a

T U B A

J e s s e A l v a r e z

P E R C U S S I O N

M e l a n i B l a n c o

J o s e p h E s c a m i l l a

J o s e I i j e r i n d a A n g e l

R a m o s R a m s e y

R a m i r e z E r i c S a l a z a r

P h i l l i p T r u e

PROGRAM NOTES

Procession of the Sardar – Ippolitov-Ivanov

Throughout his compositional career, Mikhail Mikhaylovich IppolitovIvanov (a pupil of Rimsky-Korsakov) was fascinated with things oriental, and often wrote with a folksong-based programmatic nationalism. Calvin Custer has transformed this section of IppolitovIvanov's orchestral suite Caucasian Sketches into a superior work for concert band. The essence of mystery vividly transfers from the orchestral medium to winds and percussion.

- Program Note from publisher

Instant Concert – Harold L. Walters

For this novelty march, Walters used 30 themes from familiar march and concert works and condensed them into an instant concert of three minutes and ten seconds. Most of the melodies are presented consecutively. However, contrapunctal themes are performed simultaneously at times. Listeners are challenged to count familiar melodies.

In 1981, Walters was listening to a warm-up concert by a military band at London's annual Festival of Memory when the announcer suddenly proclaimed the next selection to be Instant Concert "by a composer named Harold Walters, who is in the audience." Halfway through the piece the band stopped playing, an ensemble of herald trumpets played a brilliant fnnfare, and the crowd stood for the arrival of the queen, queen mother, Prince Charles, Lady Diana, and Prime Minister Thatcher. After the ceremony the bandleader apologized to Walters and promised to finish Instant Concert if he would return next year

- Program Note from Program Notes for Band

Endless Daylight – Tyler Arcari

I was approached early 2020 by Tina Gibson about a tragedy that had struck the band community in Louisville Kentucky. She told me of a wonderfully bright young man, a good musician, an admired band director, husband and colleague - Joshua Warren - who was taken too soon Through the curation of memories and anecdotes from friends, family, and colleagues, as well as careful conversations with Tina - I was allowed a brief glimpse into the world of Josh, and his impact on not only his students, but his community.

PROGRAM NOTES

Writing a work commemorating someone's life always feels "less-than" what it should be. How does someone place the impact of another soul into a short musical work? Instead, I feel it important that you leave this piece with at least "one" takeaway. The impact Joshua had on his students, the promise of his talents given to the world, his love of music, family, sci-fi video games al amount to a young man who spent the life he had on this earth in the light. I hope for Josh, and all those who are left behind Endless DaylightUntil we meet again.

-Tyler Arcari

Elegy for Albinoni – Shelley Hanson

Elegy for Albinoni is a memorial piece in honor of the prolific but now rarely performed Baroque-era composer Tomaso Albinoni (16711751). After an opening theme which sets the ultra-romantic tone of this piece, the second theme is based on rhythmically and harmonically altered versions of a few measures of one of Albinoni's violin sonatas The two themes are used in alternation, in fragments, or simultaneously throughout the piece. Albinoni's music was admired by one of the greatest composers of his time, Johann Sebastian Bach. Though Albinoni was 14 years older than Bach, he outlived him, perhaps partially because, as the independently wealthy son of a paper merchant, Albinoni never struggled financially. Bach used the older man's bass lines as examples in his teaching, as well as using some of Albinoni's themes as the basis for some of Bach's own pieces. Albinoni's oboe concerto is one of the standards of the oboe repertoire. However, the most familiar piece associated with Albinoni, the wellknown Adagio, is actually by 20th-century composer Remo Giazotto, who says he based that piece on several measures of one of Albinoni's lost works.

Elegy was originally commissioned for string orchestra in 2008 by Breck School (Minn.) in honor of Claudette Laureano, recipient of the Jean Wigley Award for Outstanding Teaching A full orchestra version was commissioned in 2009 by the Minnesota Youth Symphonies (Claudette and Manny Laureano, Co-Music Directors). This version for winds was commissioned in 2010 by Adam Sroka and the St. MichaelAlbertville (Minn ) High School Wind Ensemble - Program note from score

PROGRAM NOTES

Abram’s Pursuit – David Holsinger

In the fourteenth chapter of Genesis there is a story of a rebellion led by Chedorlaomer, the King of Elam. Chedorlaomer and three other Kings joined together to ravage and conquer everything that lay in their path. They were met in battle at the Valley of Siddim (the Salt Sea) by an army mustered from the forces of the King of Sodom, the King of Gomorrah (pre-destruction days, of course...), the King of Admah, the King of Zebolim, and the King of Bela. Unfortunately this opposition army was not a match for Chedorlaomer, and each of these citykingdoms, including Sodom and Gomorrah, were overrun.

Chedorlaomer's forces, as was the custom, pillaged and fled with all the goods and provisions of the cities. Unfortunately for Chedorlaomer, his men also kidnapped Lot, Abram's brother's son. This, of course, is the same Abram who later became Abraham, Father of the Jewish Nation, and a very close friend of God. (In retrospect, this was probably Chedorlaomer's "not-so-bright" decision of the campaign!)

When Abram heard that Lot was taken captive, his armed three hundred and eighteen trained servants who were born of his house went in pursuit of the invaders. With his small contingent, he divided his forces against the kings, attacked, and routed Chedorlaomer's entire army, recovering Lot and his goods, as well as all the women and people who had been kidnapped during the conquest.

- Program Notes by David Holsinger

PROGRAM

WIND ORCHESTRA RONNIE RIOS, CONDUCTOR

WITH HEART & VOICE DAVID GILLINGHAM (b 1947)

LE CARNAVAL DE VENISE

JEAN BAPTISTE ARBAN

ARR. DONALD HUNSBERGER

Dr Alexander Sanso, trumpet

IRISH TUNE FROM COUNTY DERRY PERCY ALDRIDGE GRAINGER

ARR. R. KENT

RHAPSODY MARK WATTERS (b.1955)

Roman Valenciano, Baritone Saxophone

DANZON NO. 2

ARTURO MARQUEZ

TRANS OLIVER NICKEL

WIND ORCHESTRA PERSONNEL

F L U T E

L a u r a B a r b a *

M a s o n P e r e z

N a d i a V i l l a n u e v a

O B O E

L o r e n a C o r o n a d o *

B A S S O O N

J a q u e l i n e D a v i s

A r a c e l y G a r c i a *

C

L

A R I N E T

J o e l C a r d e n a s

A l e j a n d r o M o r e n o *

B A S S C L A R I N E T

J u l i a n M a r t i n e z *

A

L T O

S A X O P H O N E

L e e M o n r e a l

A b r a h a m S a l d a ñ a *

T

E N O R

S A X O P H O N E

J o n a t h a n G u z m a n

B A R I T O N E

S A X O P H O N E

R o m a n V a l e n c i a n o

T R U M P E T

A l e j a n d r o E s c a m i l l a

V i c t o r F o r t u n a *

S a r a h M a r t i n e z

J a c o b M o r a l e s

D a n i e l V e l a

R y a n M o w e r s *

F R E N C H H O R N

A l o n z o C a v a z o s *

J o h a n E s p i n o z a

A s h l e y N a v a s R o c h a

L y d i a R o d r i g u e z

T E N O R

T R O M B O N E

B e r n a b e M a r t i n e z

A l e j a n d r o S a l i n a s

J e s u a T e j e d a

L u i s V i v e r o s *

BASS TROMBONE

Imanol Ruiz

EUPHONIUM

Jose Castillo*

Noah Jaramillo

TUBA

Victor Cruz*

Samuel De Leon

Azdruball Montemayor

PERCUSSION

Edgar Facundo

Oscar Lozano*

Slaton Meador

Angel Ramos

Robert Adam Reyna

Jose Tijerina

*denotes principal

PROGRAM NOTES

With Heart and Voice, David Gillingham

With Heart and Voice was commissioned by Apple Valley High School Bands, Scott A. Jones, director (Apple Valley, Minnesota), to commemorate the 25th year of existence of this high school. Apple Valley High School's strong commitment to the arts was a major factor in my decision to take on this commission. After visiting the school in December of 2000 and meeting many of the students, faculty, and administrators, I became greatly inspired.

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 25 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.

Although the work is largely celebratory in nature, it begins with a feeling of reticence and apprehension, much like the beginnings of Apple Valley High School. It was at one time only an idea or perhaps a sketch in the mind of the architect. Small fragments of the Alma Mater are heard in the opening moments of the piece. The piece gains momentum, texture and volume in this opening section, culminating in a dramatic statement of the first four notes of the theme. A calmness follows and a lyrical flute solo enters. This new material represents the uniqueness of the "mission" of a new school which will have roots in academic excellence and commitment to the visual and performing arts. The euphonium echoes the flute and soon more instruments join in, and the section culminates with a dramatic fanfare. This is followed by a transitional section with much more dissonance and the rhythmic activity, equated to the challenge of bringing life to this new school. A glorious statement of the Alma Mater follows, signifying the dedication of Apple Valley High School, twenty-five years ago. The ensuing section begins as a fugue with underlying unsettling rhythmic activity in

PROGRAM NOTES

the percussion. The obvious reference of this section is to challenge -maintaining the goals and mission of the high school. The section becomes frantic and desperate, but soon subsides into peacefulness. The peacefulness is stated by the marriage of the Alma Mater theme and the "Mission" theme...after all, for the high school to survive, it must never forget its mission. An extended finale follows, which celebrates both themes in playful, joyful, and dramatic exuberance.

Le Carnaval de Venise, Jean Baptist Arban

The Carnival of Venice is a folk tune popularly associated with the words "My hat, it has three corners". A series of theme and variations has been written for a number of solo instruments, as "show off" pieces that contain virtuoso displays of double and triple tonguing, and fast tempos.

- Program Note from Wikipedia

When Arban wrote this set of variations in the early 1860s, he may have been inspired, as well as challenged, by Niccolo Paganini's twenty variations for violin on the same air. The folklike melody has been attributed to both Paganini and the German opera composer Reinhard Keiser (1674-1739). Arban would probably also be inspired and challenged if he could hear his "Carnival" variations played by contemporary virtuosos of the tuba, euphonium, trombone, and cornet – for example, as recorded by Wynton Marsalis with Don Hunsberger and the Eastman Wind Ensemble.

- Program Note from Program Notes for Band

For Wynton Marsalis.

- Program Note from Score

Arban composed a number of virtuosic solos for cornet Many are written in the theme-and-variation form, as is the case with the Variations sur Le Carnaval de Venise. This piece is based on a popular Italian folk tune whose most familiar lyrics begin with “My hat, it has

PROGRAM NOTES

three corners.” Many composers, including the virtuoso violinist Niccolò Paganini and famed operatic composer Gioacchino Rossini, have written sets of variations based on this tune. In Arban’s piece, the cornet soloist first plays a lyrical introduction before introducing the melody. The variations which follow show off a wide range of cornet techniques from beautiful melodic playing to fast and furious double and triple tonguing.

- Program Note from the United States Marine Band concert program, 18 August 2022

Irish Tune from Country Derry, Percy Aldridge Grainger Irish Tune from County Derry (published 1918) is based on earlier settings that date back as early as October 1902 with an essentially identical setting of this melody for wordless mixed chorus. Later versions for solo piano (1911) and string orchestra with two optional horns (1912) followed The wind band setting is cataloged as British Folk Music Setting Nr. 20, and like all his settings of British folk music is “lovingly dedicated to the memory of Edvard Grieg.” The composer’s brief program note states, “This tune was collected by Miss J. Ross, of New Town, Limavady, Co Derry, Ireland and published in The Petrie Collection of the Ancient Music of Ireland, Dublin, 1855. ”

Rhapsody, Mark Watters

Mark Watters is a six-time Emmy Award-winning composer and conductor whose diverse career spans 400 television episodes, feature films, DVDs and video games. He has served several terms as Music Governor on the Television Academy’s Board of Governors. Mark holds the distinction of serving as music director for two Olympics: the 1996 Centennial Games in Atlanta, and the 2002 Salt Lake City Winter Olympics.

His numerous appearances as guest conductor have included those with the Los Angeles Philharmonic, the Los Angeles Chamber Orchestra, the London Symphony, the Detroit Symphony and numerous others. In 2002, Mark was asked by John Williams to coconduct the Academy Awards. He conducted three tours of “Star Wars In Concert,” including Japan with the Tokyo Philharmonic

PROGRAM NOTES

Danzón No. 2, Arturo Marquez

Originally written for orchestra, Danzón No. 2 has enjoyed significant popularity on performance programs everywhere. The danzón itself was Cuban-born, from a natural synthesis of Spanish, British, and French dance forms, and this work is built on a beautiful, elegant main theme, stated on clarinet, building in intensity before erupting into passionate rhythms later.

- Program Note from publisher

The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the state of Veracruz and in the dance parlors of Mexico City.

The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No. 2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily

ABOUT THE CONDUCTOR

R o n n i e R i o s i s a m u l t i G r a m m y N o m i n a t e d M u s i c E d u c a t o r o r i g i n a l l y f r o m A l i c e , T e x a

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c i

t i

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a r d o f D i r e c t o r s

A t 2 1 , h e b e g a n t e a c h i n g i n t h e K i n g s v i l l e I S D , T X w h e r e h i

e p s t a k e s A w a r d s a n d B e s t i n C l a s s

A w a r d s a t v a r i o u s s t a t e a n d n a t i o n a l f e s t i v a l s H i s J a z z

E n s e m b l e s a l s o r e c e i v e d B e s t i n C l a s s a n d n u m e r o u s

“ O u t s t a n d i n g B a n d o f t h e F e s t i v a l ” A w a r d s H e h a d A l l - S t a t e B a n d a n d J a z z B a n d s t u d e n t s a n d l e d t h e M a r c h i n g B a n d t o

t h e T e x a s S t a t e M a r c h i n g B a n d C h a m p i o n s h i p s i n h i s f i n a l

y e a r .

A s D i r e c t o r o f B a n d s a t H a r l i n g e n H i g h S c h o o l , T X f o r 2 1

y e a r s , a l l S i x C o n c e r t B a n d s r e c e i v e d c o n s i s t e n t U I L

S w e e p s t a k e s A w a r d s , B e s t i n C l a s s , S t a t e a n d N a t i o n a l

A w a r d s a n d A l l - S t a t e B a n d a n d J a z z B a n d s t u d e n t s . T h e

H a r l i n g e n H i g h S c h o o l “ B i g R e d ” C a r d i n a l M a r c h i n g B a n d

m a d e 1 1 c o n s e c u t i v e a p p e a r a n c e s a t t h e T e x a s S t a t e

M a r c h i n g B a n d C h a m p i o n s h i p s , q u a l i f y i n g e v e r y o p p o r t u n i t y

f r o m 1 9 9 8 - 2 0 1 8 T h e g r o u p a l s o e a r n e d p o s i t i o n s i n t h e

f i n a l s o f t h e B a n d s o f A m e r i c a R e g i o n a l C h a m p i o n s h i p s , i n c l u d i n g b e i n g n a m e d a R e g i o n a l C h a m p i o n I n 2 0 1 1 , t h e

H a r l i n g e n H S B a n d w a s n a m e d t h e T e x a s B a n d m a s t e r s

A s s o c i a t i o n “ E x e m p l a r y H i g h S c h o o l B a n d P r o g r a m o f t h e

Y e a r ” i n T e x a s . I n 2 0 2 2 , M r . R i o s a l s o l e d t h e P o r t I s a b e l , T X

T a r p o n M a r c h i n g B a n d t o t h e T e x a s S t a t e M a r c h i n g B a n d

C h a m p i o n s h i p s a n d a B a n d s o f A m e r i c a C l a s s C h a m p i o n

B o t h M a r c h i n g B a n d s h a v e w o n n u m e r o u s 1 s t P l a c e F e s t i v a l

A w a r d s a n d G r a n d C h a m p i o n M a r c h i n g B a n d A w a r d s

t h r o u g h o u t S o u t h a n d C e n t r a l T e x a s . H i s C o n c e r t B a n d s

h a v e a d v a n c e d t o t h e T M E A S t a t e H o n o r B a n d a n d

O u t s t a n d i n g P e r f o r m a n c e S e r i e s S t a t e F i n a l s n u m e r o u s

t i m e s f i n i s h i n g a s h i g h a s 7 t h i n T e x a s .

T

ABOUT THE CONDUCTOR

C a l i f o r n i

, N e w J e r s e y , W a s h i n g t o n D C , I l l i n o i s a n d C e n t r a l

P a r k i n N e w Y o r k C i t y . M r . R i o s h a s b e e n n a m e d t o t h e W h o ’ s

W h o A m o n g A m e r i c a ’ s T e a c h e r s n u m e r o u s t i m e s a n d w a s

a l s o n a m e d T e a c h e r o f t h e Y e a r i n t h e H a r l i n g e n C I S D . H e i s a l s o a p a s t P h i B e t a M u ‘ T e x a s Y o u n g B a n d m a s t e r o f t h e Y e a r ’ r e c i p i e n t a n d w a s r e c e n t l y a w a r d e d t h e p r e s t i g i o u s

T e x a s B a n d m a s t e r s A s s o c i a t i o n " M e r i t o r i o u s A c h i e v e m e n t

A w a r d . "

M r . R i o s c o n t i n u e s t o s e r v e a s t h e A r t i s t i c D i r e c t o r f o r t h e

c o m m u n i t y g r o u p - R i o G r a n d e V a l l e y J a z z O r c h e s t r a i n

H a r l i n g e n , T X T h i s g r o u p h a s a l s o p e r f o r m e d a t t h e M i d w e s t

C l i n i c i n C h i c a g o t w o t i m e s a n d h a s s h a r e d t h e s t a g e w i t h

t h e W o r l d F a m o u s C o u n t B a s i e O r c h e s t r a H e i s a m e m b e r o f

T M E A , T B A , T M A A , a n d P h i B e t a M u . H e i s t h e P a s t

P r e s i d e n t o f I A J E - T e x a s , T J E A , a p a s t T M A A V i c e - P r e s i d e n t a n d s e r v e d a s t h e T M E A T e x a s S t a t e B a n d C h a i r . H e i s

c u r r e n t l y t h e T M E A A r e a G B a n d C h a i r a n d h a s s e r v e d a s a

c l i n i c i a n a n d a d j u d i c a t o r i n T e x a s , A r i z o n a , K e n t u c k y , G e o r g i a , N e v a d a , U t a h , C a l i f o r n i a , N e w M e x i c o a n d I n d i a n a

H e c u r r e n t l y s e r v e s a s a n a c t i v e a d j u d i c a t o r f o r U I L , D C I , a n d B O A .

ABOUT THE

D r A l e x a n d e r S a n s o s e r v e s a s L e c t u r

I o f T r u m p e t a t t h e U n i v e r s i t y o f T e x

R i o G r a n d e V a l l e y H e p r e v i o u s l y h e l d

p o s i t i o n a t B o w l i n g G r e e n S t a t e

U n i v e r s i t y a s A d j u n c t I n s t r u c t o r o f

T r u m p e t , a p o s i t i o n h e h a s h e l d F a l l o

2 0 2 1 t h r o u g h S p r i n g o f 2 0 2 3 A n a t i v

o f M o n r o e , N Y , H e r e c e i v e d h i s

B a c h e l o r o f M u s i c d e g r e e f r o m t h e

S t a t e U n i v e r s i t y o f N e w Y o r k , C o l l e g

a t P o t s d a m ’ s C r a n e S c h o o l o f M u s i c

w h e r e h e d o u b l e m a j o r e d i n m u s i c

e d u c a t i o n a n d p e r f o r m a n c e , a l o n g w i m i n o r i n g i n j a z z s t u d i e s A f t e r a t t e n d

r e c e i v e d h i s M a s t e r o f M u s i c d e g r e e

B o w l i n g G r e e n S t a t e U n i v e r s i t y a n d h

S t a t e U n i v e r s i t y

A l e x a n d e r h a s h a d t h e p l e a s u r e o f s t ( C r a n e S c h o o l o f M u s i c ) , C h a r l e s S a e

U n i v e r s i t y ) , T i m o t h y L e a s u r e ( T h e O h

S t r i p l i n g ( T h e O h i o S t a t e U n i v e r s i t y )

( A s s i s t a n t P r i n c i p a l t r u m p e t , H a r t f o r

p e r f o r m e d w i t h t h e L i m a ( O h i o ) , C o l u ( )

( O h i o ) , W o r t h i n g t o n ( O h i o ) , a n d A d r i a n ( M i c h i g a n ) s y m p h o n y

o r c h e s t r a s . A l o n g s i d e h i s o r c h e s t r a l w o r k , S a n s o a l s o r e g u l a r l y p e r f o r m s a s a p i t m u s i c i a n w i t h t h e C o l u m b u s C h i l d r e n ’ s T h e a t r e

a n d S o u t h E a s t e r n S u m m e r T h e a t e r I n s t i t u t e

H e h a s s e r v e d a s t h i r d t r u m p e t w i t h t h e W e s t e r v i l l e S y m p h o n y

O r c h e s t r a a n d s e c o n d t r u m p e t W o r t h i n g t o n C h a m b e r O r c h e s t r a , a n d c a n b e h e a r d o n t h e B o w l i n g G r e e n S t a t e U n i v e r s i t y W i n d

S y m p h o n y ’ s 2 0 1 8 a l b u m a s a s e c t i o n a n d p r i n c i p a l p l a y e r S a n s o

h a s a l s o p e r f o r m e d w i t h t h e T o w e r B r a s s Q u i n t e t , a T o l e d o b a s e d g r o u p , w i t h o t h e r f a c u l t y m e m b e r s f r o m B o w l i n g G r e e n S t a t e

U n i v e r s i t y , a s w e l l a s t h e U t o p i a B r a s s Q u i n t e t b a s e d i n C o l u m b u s ,

O h i o S a n s o a l s o h a s a d e v e l o p i n g s o l o c a r e e r , p e r f o r m i n g s o l o

r e c i t a l p r o g r a m s a t b o t h B o w l i n g G r e e n S t a t e U n i v e r s i t y a n d O h i o

U n i v e r s i t y .

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f e a t u r e t h e t r u m p e t a s a s o l o i n s t r u m e n t . A d d i t i o n a l l y , h i s

d i s s e r t a t i o n d o c u m e n t , “ A n A n a l y s i s o f T h r e e C o m p o s i t i o n s f o r

T r u m p e t b y F e m a l e C o m p o s e r s , ” c e n t e r s a r o u n d w o r k s f o r t r u m p e t

b y u n d e r r e p r e s e n t e d c o m p o s e r s ( F e m a l e a n d B I P O C ) . A s a s o l o i s t ,

S a n s o p r e m i e r e d C o o p e r W o o d ’ s S o n a t a f o r T r u m p e t a n d P i a n o i n

O c t o b e r o f 2 0 2 0 , a n d h a s j o i n e d c o n s o r t i u m s o f c o m p o s e r s R o b e r t

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t h a t p o i n t , h e k n e w t h a t ’ s

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t h e m i d d l e o f h i s h i g h

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h i g h s c h o o l s , R o m a n

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a w a r d h i s s e n i o r y e a r o f

h i g h s c h o o l . D u r i n g h i s t i m e a t

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c l a r i n e t i n t h e S y m p h o n i c W i n d s . H e a l s o p l a y s i n D r .

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