DEC Wind Symphony

 

UVU Music Presents

Wind Symphony & University Band

Concert Hall

December 7, 2022 | 7:00 PM

 
 

Program

 

UNIVERSITY BAND

DONALD MILLER

Conductor

 

 
Cenotaph: Fanfare for Band (1992)
Jack Stamp
 
 
Toccata for Band (1957)
Frank Erickson
 
 
Fantasia on Brother James' Air (2022)
James Syler
 World Premiere
 
 
October (2000)
Eric Whitacre
 
 
The Liberty Bell (1893, ed. 2016)
John Philip Sousa
 

WIND SYMPHONY

KIRT SAVILLE

Conductor

 

CANDIDE 

LEONARD BERNSTEIN (1918-1990)

Trans. Claire Grundman

 

 

THE HOUNDS OF SPRING 

ALFRED REED (1920-2005)

 

 

SONG FOR LYNDSAY 

ANDREW BOYSEN (b. 1968)

 

 

WHIRR WHIRR WHIRR!!! 

RALPH HULTGREN (b. 1953)

 

 

THE BLACK HORSE TROOP

JOHN PHILIP SOUSA (1855-1932)

 

 

BE THOU MY VISION

DAVID GILLINGHAM (b. 1947)

 

 

MT. EVEREST

ROSANNO GALANTE (b. 1967)

 
 

PERSONNEL

 

UNIVERSITY BAND

Donald Miller

conductor

 

FLUTE
Michelle Barron
Madelyn Daynes
Aubrey O’Barr
Rebekah Olschewski
Majorie Silva
Camille Sundahl
Josie Wakefield

OBOE
Mallory Miner
Emmilee Osborn

Bassoon
Cameron Wakefield

CLARINET
Emily Ashcraft
Conner Berbert
Emma Olsen
Robyn Ward

Alto Saxophone
Darin Oar

Baritone Saxophone       
Chantal Lundgreen

HORN
Robert Elzinga
Cade Singleton
Kayla Staley
McKay Wakefield 

Trumpet
Jacob Barney
Jerica Chadwick
Blake Hawkins
Robby Peterson
Addison Stott

 

Trombone
Tyler Brown
Cooper Christiansen
Jonathon Howlett
Amanda Steele

BASS TROMBONE
Tyler West

EUPHONIUM
Seth Baantjer
Ethan Miller

TUBA
Michael Anderson

PERCUSSION
Felix Gonzales
Rachel Felk
Jenny Kitchel
Jessica Rees
Christian Sumnerhalder
Pollyanna Tullis

 

WIND SYMPHONY

Kirt Saville

conductor

 

FLUTE

Caryl Klemann*
Ashtyn Keith
Mickayla Hunter
Jenifer Swanson
Mitchell Woodruff

OBOE

Emily Adams*

BASSOON

Andrew Apgood*
Savannah West

CLARINET
Bob Gabbitas*
Charlie Kaczmarek
Dr. Jeffrey O'Flynn

BassClarinet
Connor Duersch 

Saxophone
David Kland,* alto
Logan Stanford, alto
Madelyn Hunsaker, alto
Kyler Wilcox, Tenor
Ben Cragun, Bari

Horn
Rachel Colton*
Violette Mori

Trumpet
 Kate Gabbitas*
Bradly Olson
Sam Jesse
Ethan Jacobsen
Callie Stay

Trombone
Adam Bean*
Declan Cottle
Moss Beacom (bass trb)

Euphonium
Chris Desio*
Emilio Schouten
 
Tuba
Shandon Lewis

Percussion
Preston Schollenberger*
Taggart Bradbury II
Ricky Wade
James Hatch
Abram Quist
Sofi Child
Jared Barnum

Piano
Jiayi Lin

HARP
Mischael Staples

*Section Leader

 

 

Program Notes

Candide

Opening on Broadway on December 1, 1956, Candide was perhaps a bit too intellectually weighty for its first audiences and closed after just 73 performances. Bernstein was less concerned over the money lost than the failure of a work he cared about deeply. The critics had rightly noted a marvelous score, and Bernstein and others kept tinkering with the show over the years. With each revival, Candide won bigger audiences. In 1989, the already seriously ill Bernstein spent his last ounces of vital energy recording a new concert version of the work. “There’s more of me in that piece than anything else I’ve done,” he said.

The sparkling overture captures the frenetic activity of the operetta, with its twists and turns, along with Candide’s simple honesty. From the very beginning, though, the overture was a hit and swiftly became one of the most popular of all concert curtain raisers. Brilliantly written and scored, flying at breakneck speed, it pumps up the adrenaline of players and listeners alike.

Program note by San Luis Obispo Wind Orchestra concert program, 12 May 2012


The Hounds of Spring

This exciting, rhythmic overture for band is in the fast-slow-fast format of the early 18th-century Italian opera overtures. The composer's purpose was to capture the twin elements (exuberant, youthful gaiety and the sweetness of tender love) found in the following excerpt from Atlanta in Calydon, written in 1865 by the English poet Algernon Charles Swinburne (1837-1909).

When the hounds of spring are on winter's traces,
The mother of months in meadow or plain
Fills the shadows and windy places
With lisp of leaves and ripple of rain;
 Where shall we find her, how shall we sing to her,
Fold our hands round her knees and cling?
O that man's heart were as fire and could spring to her,
Fire, or the strength of the streams that spring!
And soft as lips that laugh and hide
The laughing leaves of the trees divide,
And screen from seeing and leave in sight
The god pursuing, the maiden hin.

Program Note from Program Notes for Band

 

Song for Lyndsay 

It is an expansion on a short and unnamed piano piece that Boysen wrote for his wife, Lyndsay, in 2005. The wind piece is larger in length and scope than the source material; in the score, Boysen describes it as “a very personal work ... more than anything else a simple love song dedicated to Lyndsay and what she has meant in my life.”

The piano piece is used as a starting point, and the material in the winds is either based on or a direct quotation of it. Lyrical in nature and just over five minutes long, solo horn and solo flute are prominent throughout; this scoring is deliberately and symbolically used because Boysen plays the horn and his wife plays the flute.

Program Note from publisher

 

Whirr Whirr Whirr!!!

Can you feel that sensation as you mentally juggle the demands of emotion, profession and family, and each concern barks at you for attention and demands its need be satisfied and you can sense the priority in them all but you know and feel your lack of time and your diminishing grace and patience to deal with them all?!

Can you feel that sensation in your heart and mind when you are led to something that might be on the edge of what you feel comfortable with but you still want to go there and you know that going there will jeopardize your everyday situation but you still want to go there?!!

Can you feel the sensation that wells up in you as you desperately search for the right answer in a situation that has no turning back, no sense of ambiguity can prevail, and no hope of satisfying all the competing emotional interests seems possible?

Your mind spins, duck and dives, leaps and plunges and seems to Whirr, Whirr, Whirr!!

Program Note by composer

 

The Black Horse Troop

March King John Philip Sousa wrote this march in honour of Troop A, or The Black Horse Troop. This was an independent military organisation which was established in Ohio after The Great Railroad Strike of 1877 amongst fears about the military’s ability to maintain law and order. The Black Horse Troop then became part of the Ohio National Guard Cavalry. The remarkable first performance of The Black Horse Troop in 1925 has been documented by legendary band conductor Frederick Fennell, who attended it at the age of 11. At the conclusion of the concert, just before the march was to be played, the whole of Troop A of the Ohio National Cavalry Guard rode their horses onto the stage and stood to attention behind The Sousa Band as Sousa conducted his musicians in the premiere of this elegant, triumphant march. 

Program Note by Suzanne Sherrington and Brendan Champion

 

Be Thou My Vision

It's not often you come across a composition that offers the high level of musical merit needed to appeal to directors and also offers an emotional depth able to truly move an audience. This is such a piece. Gillingham bases his reverent and powerful work on the hymn tune Be Thou My Vision (also known as the old Irish ballad Slane), with its eternal message of faith and hope.

 

Mt. Everest

Born in Buffalo, New York, Rossano Galante received his Bachelor of Arts Degree in Trumpet performance from SUY Buffalo in 1992.  That same year he was one of nineteen people to be accepted to the university of Southern California's Film Scoring program.  He has served as orchestrator for over 50 studio films including, The Mummy, Ben Hur, Fantastic 4, Avengers: Age of Ultron, Gods of Egypt, The Wolverine, Live Free or Die Hard, the Tuxedo.

 

In soaring brass lines and sweeping woodwinds Rossano paints a sonic picture of the epic grandeur and beauty of Mount Everest, the highest mountain on earth.

 

Coming Soon
The Noorda

School of the Arts
Events

 

Land Acknowledgment

Utah Valley University acknowledges that we gather on land sacred to all Indigenous people who came before us in this vast crossroads region. The University is committed to working in partnership—as enacted through education and community activities—with Utah’s Native Nations comprising: the San Juan Southern Paiute, Paiute Indian Tribe of Utah, Uintah & Ouray Reservation of the Northern Ute, Skull Valley Goshute, Confederated Tribes of the Goshute Reservation, Northwestern Band of Shoshone Nation, Hopi Tribe, Navajo Nation, Ute Mountain Ute-White Mesa Community, and urban Indian communities. We recognize these Native Nations and their continued connections with traditional homelands, mountains, rivers, and lakes as well as their sovereign relationships with state and federal governments. We honor their collective memory and continued physical and spiritual presence. We revere their resilience and example in preserving their connections to the Creator and to all their relations, now and in the future.

With this statement comes responsibility and accountability. We resolve to follow up with actionable items to make the School of the Arts at UVU and The Noorda Center for the Performing Arts an inclusive, equitable, and just space for all. There is much work to be done, and we are committed to putting these words into practice.

THE DEPARTMENT OF MUSIC

Department Chair
JEFFREY O'FLYNN

Associate Chair
MELISSA HEATH

Administrative Assistant
CHRIS GINES

 

Choirs
REED CRIDDLE
CHERILYN WORTHEN

Orchestra/Cello
CHEUNG CHAU

Violin
DONNA FAIRBANKS

Clarinet
JEFFREY O’FLYNN

Trumpet/Music Theory
RYAN NIELSEN

Percussion
SHANE JONES

Piano
HILARY DEMSKE

Jazz/Commercial
DAVID BAKER

Voice
MELISSA HEATH
ISAAC HURTADO

Commercial Music
CHARLIE HAN
TODD SORENSEN

Theory
BRYCE RYTTING

Musicology
ROSS HAGEN

Director of Bands
CHRIS RAMOS