Issuu

THE UNIVERSITY OF TEXAS AT SAN ANTONIO

COLLEGE OF LIBERAL AND FINE ARTS

SCHOOL OF MUSIC PRESENTS:

U T S A S y m p h o n i c B a n d

Garcia

“Soundscapes”

Australian Fantasia (2002)

David Stanhope

I. Sydney Harbour b. 1952

Symphony for Band (1956)

Vincent Persichetti

I. Adagio - Allegro (1915 – 1987)

II. Adagio sostenuto

III. Allegretto

IV. Vivace

Sinfonia No. V: Symphonia Sacra et Profana

Timothy Broege b. 1947

The World is Waiting for the Sunrise (1919/1934) Lockhart/Seitz Arr. Harry Alford (1879-1939)

Person n el

THE UNIVERSITY OF TEXAS AT SAN ANTONIO COLLEGE OF LIBERAL AND FINE ARTS SCHOOL OF MUSIC

(Personnel roster is listed alphabetically to emphasize the important contribution made by each musician)

F l u t e

Charlie Hofheins

Marissa Knopf, Piccolo

Ellie MacLean

Kylie Nix

Abigail Valadez, Piccolo

O b o e

Makayla Aguilar

Hannah Pais

B a s s o o n

Jared Worman

C l a r i n e t

Ethan Aguilar

Cianna Escamilla

Jaden Hernandez

DeShona Jernigan

Ethan Mendiola

Angela Tavira

Jose Gomez, bass clarinet

S a x o p h o n e

Nicholas Zars, alto sax

Ethan Williams, alto sax

Quinn Tidwell, tenor sax

Rachel Blakeney, bari sax

T r u m p e t

Kenedy Cardenas

Xavier Contreras

Madeline Garcia

Connor Harper

Jerry Ibarra

Caleb Perry

Samuel Spencer

Delaney Cook

Francis Maille

Eloisa Payne

Marissa Torres

Caroline Foster

Nathaniel Duarte, bass trombone

Todd Lewis

Ethan Messina

Jakarri Norsworthy

E u p h o n i u m

Finley Farrar

Michael Hernandez

Manuel Reyes

T u b a

Joshua Sprinkle

Jayson Sumner

P e r c u s s i o n

Aleena Bermudez

Tori Bravo

Nathan Gallegos

Adam Jackson

Lio Palacios

Antonio Rios

Daniel Walker

P i a n o

Ethan Aguilar

Jared Worman, Music Librarian

Eva Ayala, Music Librarian

Conductor

H e c t o r G a r c i a , a native of San Antonio, Texas, is currently Assistant Director of Athletic Bands at UTSA and is the conductor of the UTSA University Band as well as the director of the UTSA Athletic Pep Band. In the fall semester, he assists directing the UTSA Spirit of San Antonio Marching Band.

Hector graduated with a master's degree in instrumental conducting from University of Texas at San Antonio in 2023 under the mentorship of Dr. John Zarco and Ron Ellis. While a graduate student at UTSA, Hector performed with the UTSA Wind Symphony and was a teaching assistant for several undergraduate courses including Conducting I & II, Marching Band Techniques, Wind Symphony, Symphonic Band, and University Band.

Prior to attending UTSA, Hector taught brass/woodwind beginning band classes, marching band, concert band, and jazz band at the high school and middle school levels for three years. He received a bachelor's degree in music studies from Texas State University in 2017. Hector’s primary instrument is trumpet and actively performs in local community bands. Hector’s professional affiliations include Texas Music Educators Association and Kappa Kappa Psi. Some of his hobbies include photography, traveling, and doing card tricks for those around him. Fun fact: his favorite food is sushi!

Program Notes

Compiled and Edited by Hector Garcia

David Stanhope’s A u s t r a l i a n F a n t a s i a is a vibrant and expressive work that weaves together some of Australia’s most beloved folk melodies. Written in four movements, the piece pays homage to the country’s rich musical heritage and diverse landscapes.

The first movement, Sydney Harbour, opens with a bold and majestic brass fanfare, evoking the grandeur of one of the world’s most famous harbors. Following this commanding introduction, the mood shifts as the ensemble presents a lively rendition of Waltzing Matilda, Australia’s unofficial national song. The well-known folk tune, full of buoyant energy and charm, dances through the ensemble, capturing the spirit of adventure and storytelling deeply rooted in Australian culture. Stanhope’s skillful orchestration enhances the melody’s character, painting a musical portrait of Sydney’s bustling waterfront and iconic scenery.

Through its dynamic contrasts and engaging melodies, Sydney Harbour offers a stirring and celebratory tribute to Australia’s musical and cultural identity.

[Program note by Hector Garcia]

Composed in 1956, Vincent Persichetti’s S y m p h o n y f o r B a n d stands as a cornerstone of the wind ensemble repertoire. Written during a period when conductors sought serious, original works to elevate the artistic stature of wind bands, this symphony helped define the genre’s symphonic potential. Over half a century later, it remains a masterwork, frequently performed and studied for its intricate craftsmanship and expressive depth.

Structured in four movements, S y m p h o n y f o r B a n d reflects the traditional form of a classical symphony while embracing the unique sonorities of the wind ensemble. Persichetti builds the work around compact, rhythmic motives that undergo constant transformation, creating a sense of fluid motion and development. His distinctive orchestration preserves the unique colors of each instrumental family, allowing the brass, woodwinds, and percussion to function as independent yet interwoven voices. The work's technical demands and musical sophistication make it a rewarding challenge for collegiate and advanced high school ensembles, reinforcing its lasting significance in the wind band canon.

[Program note from Windrep.org)

S i n f o n i a V : S y m p h o n i a S a c r a e t P r o f a n a was composed in the summer of 1973 at Brielle, New Jersey, on commission from the University City High School Wind Ensemble of University City, Missouri; it was premiered by that group in 1974. Subsequently the work was taken up by such distinguished conductors as Eugene Corporon, Thomas Dvorak, Craig Kirchoff and H Robert Reynolds, receiving numerous performances in the United States, Canada, and England. Since its publication by Manhattan Beach Music in September of 1989 it has also traveled to Japan and Australia, and has become standard repertoire for high school as well as college bands and wind ensembles.

S i n f o n i a V is both a musical diary and a musical collage. I incorporated several musics that were much on my mind the time the work was written, including ragtime, which I had been studying intently for several years, as well as the plainchant hymn Divinum Mysterium, which the choir of First Presbyterian Church, Belmar, New Jersey (where I was, and still am, organist and director of music) had used as a processional at Christmas time. If one imagines dialing across the FM radio band in a large city such as New York, the resulting collage (or to be more accurate, montage, as in film editing) might include a bit of early music (the Pavanne, and the chorales by Samuel Scheidt), some ragtime or jazz, some contemporary music, some voices, some instruments, et cetera.

At the same time, S i n f o n i a V contrasts secular musics such as the Pavanne and the ragtime fragments with sacred musics such as the Scheidt chorales and the plainchant hymn. There is no attempt to reconcile these two musical traditions, and the work ends in ambiguity.

Some listeners have found humor in it. I am not so sure. Here are some of the musics I was working with in the summer of 1973, assembled in what I hope is a convincing musical structure no padding, no transitions, no note-spinning. The piece aims to be concise and kaleidoscopic, profound as well as entertaining, sacred and profane.

[Program note by Timothy Broege ]

Originally composed as a ballad in 1919, T h e W o r l d I s W a i t i n g f o r t h e S u n r i s e features music by Canadian concert pianist Ernest Seitz and lyrics by Gene Lockhart. Seitz, who first conceived the refrain at the age of 12, initially published the song under the pseudonym "Raymond Roberts," reluctant to be associated with popular music.

In 1934, A.A. Harding, director of the University of Illinois Bands, commissioned arranger Harry Alford to transform the ballad into a halftime selection for the university’s marching band. Alford reimagined the lyrical melody within the framework of a traditional American march, complete with energetic rhythms, bold brass flourishes, and a lively, forward-driving momentum. His arrangement highlights the euphonium, allowing the instrument’s warm and expressive tone to shine above the ensemble. Through its blend of expressive lyricism and rousing march-style bravado, this setting of The World Is Waiting for the Sunrise captures both the nostalgic charm of the original and the spirited energy of the American wind band tradition.

[Program note from Windrep.org]

U T S A B a n d s

UTSA Students, there’s a band for you!

U T S A " S p i r i t o f S a n A n t o n i o " M a r c h i n g B a n d

The 350-member "Spirit of San Antonio" Marching Band is open to all UTSA students, regardless of major. Like all college bands, the group is comprised of students of various performance backgrounds. The "Spirit of San Antonio" will perform a standard pre-game show, 4-5 different halftime shows, stand tunes, and maintain UTSA traditions, while at the same time promoting a positive learning and social environment for its members. College bands strive towards being fun and spirited organizations while still achieving a quality of performance representative of the image of the university.

U T S A W i n d E n s e m b l e

The UTSA Wind Ensemble is comprised of UTSA Students who have achieved an extreme high level of musicianship and who perform some of the most challenging music composed for wind band. Membership in this ensemble is open to all UTSA Students, regardless of major, who audition at the beginning of each semester. The UTSA Wind Ensemble maintains a vigorous performance schedule of three demanding concerts each semester as well as an ensemble tour when schedule and budget permits.

U T S A S y m p h o n i c B a n d

The UTSA Symphonic Band is made up of 45-55 outstanding wind players who perform a repertoire chosen from a variety of historical periods and for ensembles of various sizes. While the group occasionally presents pieces composed for smaller groups, much of its time is spent in the study and performance of works from the standard symphonic band repertoire. Membership is open to all students at the university who audition at the beginning of each semester.

U T S A U n i v e r s i t y B a n d

The UTSA University Band performs a wide variety of works from different composers and arrangers, in addition to maintaining an active three-concert schedule each semester. There is no formal audition required to participate; students must be able to read music and play a concert band instrument. Membership in the ensemble includes students from almost every discipline on campus. We invite all students interested in performing in this ensemble to come out and join us at the beginning of each semester!