Tuesday, Feb. 18, 2025 | 7:30 p.m.
Weigel Auditorium
Columbus, OH
Program
University Band
Shawn W. Davern and Paul Bissler, conductors
Sharp Nine
Omar Thomas (b. 1984)
Shawn Davern, conductor
TBA, alto saxophone soloist
Favius Pena-Amaya, trombone
Sharp Nine is a grooving, stomping 12-bar blues in Bb, written in a straight-eighths New Orleans ragtime-style march, which pays homage to jazz cornetist and early jazz pioneer Charles Joseph "Buddy" Bolden. It is a first and significant step in my writing towards bridging the gap between the worlds of traditional wind ensemble and improvisation in a jazz context. Sharp Nine serves a vehicle to introduce young musicians to the rich sounds of natural and altered tensions on dominant chords, and to give them the opportunity to take choruses of improvisation using the blues scale. I’ve included a blues improvisation beginner’s guide so that anyone and everyone can give it a shot!
— Note by the composer
National Emblem March
Edwin Eugene Bagley (1857–1922)
ed. Fredrick Fennell
Shawn Davern, conductor
One of the most famous of American marches, National Emblem became so highly thought of that many people have assumed that it written by John Philip Sousa. In fact, members of Sousa’s own family were under the mistaken impression that Sousa composed it.
National Emblem was written by American composer Edwin Eugene Bagley in 1905. National Emblem takes its name from our national emblem, the American flag. As a matter of fact, portions of The Star-Spangled Banner are heard in the first strain and trio of the march. Played in manuscript in 1905 by the Keene Band, it was first published by the Walter Jacobs Company of Boston in 1906. Since then more than 17 other band arrangements of National Emblem have been issued.
Long thought to be a one-march composer, Bagley’s other music has been forgotten for many decades. But, on the strength of National Emblem alone, E.E. Bagley deserves a place as one of America’s great march composers. Frederick Fennell has described National Emblem as a march that is “as perfect as a march can be.”
— Note from Heritage Encyclopedia of Band Music
The Grace in Being
Julie Giroux (b. 1961)
Paul Bissler, conductor
Everybody deserves to be what they are meant to be. To be exactly how God made them.
This music was composed for all those who struggle with the oppression of this world, a world the has yet to embrace the differences inherent in each of us. Race, religion, sexual orientation: these things and others should never be oppressed.
It is sad to think that so many in this world live with this oppression. We should stop dreaming of the day when this oppression is lifted and instead work each day to make it so. We each deserve the "Grace to Be."
— Note by the composer
Puszta
Jan Van der Roost (b. 1956)
Movement I — Andante Moderato
Movement II — Tranquillo
Movement III — Allegro Molto
Paul Bissler, conductor
A versatile composer and arranger, Van der Roost is represented by works for wind band, brass quintet, orchestra, choir, chamber ensemble, piano, and guitar. His compositions have been performed on radio and television, and recorded in over 35 countries. This suite of four gypsy dances was written in 1987. While having the definitive sound of authentic folk dances, the themes and melodies are all original. The dances alternate from bright and colorful to tranquil and melancholic, moods typical of gypsy music. Lying to the south and east of the Danube, the Puszta is the great Hungarian plain or prairie country that was home to nomadic shepherds and fierce horsemen. The region is noted as the original home of the celebrated Lipizzaner stallions.
— Note by Marcie Phelan for the Ridgewood (NJ) Concert Band
Collegiate Winds
Phillip Day, conductor
Flashing Winds (1989)
Jan Van der Roost (b. 1956)
A versatile composer and arranger, Jan Van der Roost is represented by works for wind band, brass quintet, orchestra, choir, chamber ensemble, piano, and guitar. His compositions have been performed on radio and television and recorded in over 35 countries. Flashing Winds is a wonderful example of some of the colorful pieces that have emerged from a generation of European composers who see the wind band as a serious and distinctive medium of musical expression. Flashing Winds was written for the Arlequino Youth Band of Belgium. After a brief majestic introduction, it speeds towards its finale without any tempo change. The block chords which characterize the introduction unite this virtuoso piece by reappearing at the end.
Sure on This Shining Night (1938/2004)
Samuel Barber (1910–1981)
arr. Richard Saucedo
Samuel Barber was a prolific and versatile composer who wrote in multiple genres such as opera, ballet, orchestral, chamber music, organ, choral, and much more. Hailing from West Chester, Pennsylvania, Barber began composing at age 7 and had written his first opera at age 10. Barber was the recipient of numerous prizes such as the American Prix de Rome, two Pulitzers, and an election to the American Academy of Arts and Letters. "Sure on This Shining Night" was originally written for mixed chorus and piano in 1938 and is considered one of Barber’s most famous contributions to the genre. The text for the piece was based on James Agee’s first collection of poems, Permit Me Voyage, published in 1934.
Sure on this shining night
Of starmade shadows round,
Kindness must watch for me
This side the ground.
The late year lies down the north.
All is healed, all is health.
High summer holds the earth.
Hearts all whole.
Sure on this shining night
I weep for wonder
Wandering far alone
Of shadows on the stars.
A Slavic Farewell (1912/1995)
Vasilij Agapkin (1884-1964)
ed. Col. John R. Bourgeois
Vasilij Agapkin was a Russian composer and conductor/band leader. Orphaned at an early age, Agapkin was unofficially adopted by a military band leader who placed the 10-year old in his ensemble, beginning his love affair with music. He later studied at the Tambov School, after which he joined the army. The loss of his parents obviously still lingered, as in 1928 Agapkin organized a brass band consisting of homeless children, many of whom later became professional musicians.
This classic Slavic March was originally entitled “Farewell to the Slavonic Woman,” and since its premier during World War I, it has become the best known, best loved march in Russia and in the surrounding independent states of the former Soviet Union.
According to the legend, the inspiration for this march came from Agapkin having seen newsreels of the Balken War. During this conflict, Russian and Slavic forces fought together, and reportedly the newsreels contained poignant footage of Slavic soldiers parting with their wives and families, many never to return.
Of Sailors and Whales (Five Scenes from Melville) (1989)
W. Francis McBeth (1933–2012)
I. Ishmael
II. Queequeg
III. Father Mapple
IV. Ahab
V. The White Whale
William Francis McBeth was an American composer with influences such as Clifton Williams, Bernard Rogers, and Howard Hanson. Although McBeth was widely known for his wind band works, he also had a conducting career that took him to forty-eight states as well as multiple countries. He was principal conductor of the Arkansas Symphony Orchestra in Little Rock, Arkansas for many years.
Of Sailors and Whales (Five Scenes from Melville) is a five-movement work based on scenes from Herman Melville's Moby Dick. It was commissioned by and is dedicated to the California Band Directors Association, Inc., and was premiered in February 1990 by the California All-State Band, conducted by the composer. The work is sub-dedicated to Robert Lanon White, Commander USN (Ret.), who went to sea as a simple sailor.
The composer provided these notes for each movement:
I. Ishmael — "I go to sea as a simple sailor."
II. Queequeg — "It was quite plain that he must be some abominable savage, but Queequeg was a creature in the transitory state — neither caterpillar nor butterfly."
III. Father Mapple — "This ended, in prolonged solemn tones, like the continual tolling of a bell in a ship that is foundering at sea in a fog — in such tones he commenced reading the following hymn; but changing his manner towards the concluding stanzas, burst forth with a pealing exultation and joy."
The ribs and terrors in the whale arched over me a dismal gloom
While all God's sunlit waves rolled by, and lift me lower down to doom.
In black distress I called my God when I could scarce believe Him mine,
He bowed His ear to my complaint, no more the whale did me confine.
My songs forever shall record that terrible, that joyful hour,
I give the glory to my God, His all the mercy and the power.
IV. Ahab — "So powerfully did the whole grim aspect of Ahab affect me that for the first few moments I hardly noted the barbaric white leg upon which he partly stood."
V. The White Whale — "Moby Dick seemed combinedly possessed by all the angels that fell from heaven. The birds! — the birds! They mark the spot ... The whale, the whale! Up helm, up helm! Oh, all ye sweet powers of air, now hug me close ... He turns to meet us ... My God, stand by me now!”
Personnel
University Band
Musicians are listed alphabetically within each section.
Flutes
Macy Adams
Ananya Chada
Addi Ganshow
Zach Grant
Ella Johnson
Cecllia Le
Zoe Weston
Oboe
Connor Croley
Clarinets
Emily Baker
Abby Baldwin
Grace Beebe
Savannah Coyle
Hannah Eggenschweiler
Kaitlyn Fields
Aaron Geiese
Lauren Hailey
Haley Kramer
Jack Pfeifer
Ryder Robins
Isen Zhang
Bass Clarinet
Jacob Claggett
Alto Saxophone
Stephen Connair
Ryan Martinez
Jenna Moyer
Jacob Oberdier
Nick Paul
Nicole Susko
Mary Vaughn
Tenor Saxophone
Ian Claggett
Ayden Olic
Baritone Saxophone
Kaitlyn Daum
Kayla Schmidt
Trumpet
Paolo Atriano
Grace Everett
Amanda Hann
Noah Jones
Samuel Lanier
Annie Liedtke
Erin Madden
Grace Monfort
Finnian Paul
Levi Rickenbach
Austin Smith
Jess Vanek
French Horn
Shelby Kenley
Trevor Paul
Trombone
Jade Blevins
Emily Leninsky
Lindsey Shimoda
Abigail Rutherford
Cameron Mills
Nathan Vernon
Favius Pena-Amaya
Matthew Wheeler
Jake Meyer
Euphonium
Jade Blevins
Elliot Luman
Angel Luong
Louie Polien
Amelia Wells
Erik Zhang
Tuba
Michael Bacasa
Marco Cagliuso
Brandon Crouch
Jonathan Kessler
Percussion
Daniel Allen
Ellie Burkholder
Will Fisher
Dylan Kerniskey
Keira Lamont
Orion Stufflebeam
Collegiate Winds
Musicians are listed alphabetically within each section.
Piccolo
Rebecca Margolis
Kehlin Morgan
Flute
Abby Birr *
Rebecca Margolis
Kehlin Morgan
Allegra Tannoury
Hana Winchester
Oboe
Sarah Burdick
Jaleea Gamble *
Natalie Kittle
Bassoon
Jack Householder-Wise
Gunnar Pellissier *
Clarinet
Phillip Ainsworth
Isabella Ake
Sam Baccei *
Eris Dale
Leena Futoryansky
Connor Gibson
Evan Milam
Ellis Neuman
Montana Runser
Max Webster
Elise Zavaglia
Bass Clarinet
Swaraj Patnaik
Tori Steinbrecher
Matthew Watson *
Alto Saxophone
Holly Barger
Clara Carrocce
Samantha Goldsmith
Blake Steele *
Andrew Vannorsdall
Luke Willis
Tenor Saxophone
Zachary Brutko
Conner Ozatalar *
Baritone Saxophone
Charlie Peterson
Trumpet
Luke Duane-Tessier
Nevaeh Keiper
Marlee Lawson
Ryan Matthews *
Andrew Novotny
Colin Parker
Olivia Truocchio
Horn
Aria Christensen
Leila Culp
Adeline Hannig
Annalise Johnson
Sami Steinhauser
Aravind Upadrasta
Lydia VanVleet *
Randall Wiles
Trombone
Veronica Ball
Luke Brown
Fernando Flores IV
Jackson Hammond
Reese Hiller Freund, bass
Abigail Miller
Gavyn Schooley
Amara Suchy
Kenta Thompson *
Nicholas Zahniser
Euphonium
Dominic Barnes
Corina Clagg
Brendan Elliott *
Tori Klinger
Tuba
Joseph Orr *
Ryan Schoeff
Matthew Sliwinski
Percussion
AJ Berman
Andrew Bourget
Alexander Garza
Colin Spears *
Hayden Techter
Marie Zantopulos
* principal player
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