Thursday, Oct. 5, 2023 • 7:30 p.m.
Weigel Auditorium
Columbus, OH
PROGRAM
University Band
Sarah Baker and Uiliami Fihaki, conductors
Fanfare for World Peace (2017)
Onsby C. Rose (b. 1975)
Sarah Baker, conductor
Onsby Rose (DMA, wind conducting, Ohio State) is an accomplished music educator, trombonist, conductor, composer and arranger. During his 11-year Marine Corps career he served as a trombonist and conductor with bands in Albany, Georgia and New Orleans, Louisiana as well as on staff at the Armed Forces School of Music in Norfolk, Virginia. He also served two years as a baritone bugler with “The Commandant’s Own” United States Marine Drum and Bugle Corps in Washington, DC. Upon his honorable discharge in 2007, he traveled as a freelance trombonist and served as a railroad freight conductor. In 2012, he returned to music education as the director of bands at Hampton High School and Middle School in Carter County, Georgia. Onsby served as a graduate assistant with both Appalachian State University and The Ohio State University. He currently serves as director of instrumental activities and associate professor of music at Dordt University in Iowa, and as principal conductor of the Northwest Iowa Symphony Orchestra.
Rose’s compositions have been performed and premiered by many civilian and military ensembles throughout the world. This energetic fanfare, written for the Fulton County Ohio All-County Band, comes from a place of faith and peace. As Rose attempted to write this work, he began to think of the world in which we live, and all the musicians, visual artists, and others that each day create beauty. This work begins in Bb Major — representing harmony. However, this quickly dissolves into the relative minor as we hear the daily struggle for peace in which we are unsure if it can ever be attained. We then return to Bb Major — representing “the final sounding of the trumpet of God as our world as we know it ends, and the true peace that we long for is found in heaven, where we each have the ability to spend eternity… in peace, forever.” — Onsby Rose
Semper Fidelis (1888)
John Philip Sousa (1854–1932)
Uiliami Fihaki, conductor
John Philip Sousa, byname “The March King,” is responsible for bringing “The President’s Own” United States Marine Band to an unprecedented level of excellence: a standard upheld by every Marine Band Director since. The son of an immigrant Portuguese father and a German mother, Sousa grew up in Washington, DC, where from age six he learned to play the violin and later various band instruments. At age 13, Sousa had gained great proficiency on the violin and was almost persuaded to join a circus band. However, his father intervened and enlisted him as an apprentice musician in the Marine Band. In 1868 he enlisted in the U.S. Marine Corps and began building his formidable reputation as a bandmaster of great precision through his leadership (1880–92) of this group. In 1892 he formed his own band, a carefully selected group capable of equal virtuosity in both military and symphonic music; with this ensemble he toured the United States and Europe (1900–05) and finally a world tour (1910–11).
This exciting march takes its title from the motto of the U.S. Marine Corps, “Semper Fidelis” (“Always Faithful”); Sousa regarded it as his best march, musically speaking. The trio is an extension of an earlier composition, “With Steady Step,” one of eight brief trumpet and drum pieces he wrote for The Trumpet and Drum (1886). In Sousa’s own words: “I wrote ‘Semper Fidelis’ one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico.”
Each Time You Tell Their Story (2003)
Samuel Hazo (b. 1966)
Uiliami Fihaki, conductor
Samuel R. Hazo, an accomplished composer and educator, has been a music teacher at every educational grade level from kindergarten through college. He received his bachelor’s and master’s degrees from Duquesne University, where he served on the Board of Governors and was awarded as Duquesne’s Outstanding Graduate in Music Education. Hazo has received commissions at both the professional and public-school levels in addition to composing original scores for television, radio and the stage. His works have been premiered at the Music Educators National Conference (State and National), Midwest Band and Orchestra Clinic, National Band Association Convention, and Texas Bandmasters Convention. In 2003 Hazo became the first composer in history to be awarded the winner of both composition contests sponsored by the National Band Association.
Each Time You Tell Their Story is a beautiful work based on a poem written by Samuel’s father Dr. Samuel J. Hazo, a poet laureate of Pennsylvania. After a sensitive introduction, the poem is read under a haunting military cadence in the percussion. Further development of the introductory material is presented in a lush and beautiful setting. Chimes, wind chimes and bells conclude the work, which fades to silence.
No soldiers choose to die. It's what they risk being who and where they are. It's what they dare while saving someone else whose life means suddenly as much to them as their own. Or more. To honor them, why speak of duty or the will of governments? Think first of love each time you tell their story. It gives their sacrifice a name and takes from war its glory.
Scarborough Fair (2007)
Movement 3 from Three Folk Song Settings for Band
arr. Andrew Boysen, Jr.
Sarah Baker, conductor
Andrew Boysen, Jr. currently serves on faculty at the University of New Hampshire School of Music, where he conducts the Wind Symphony and teaches conducting and composition. Previously, Boysen taught at Indiana State University and at Cary-Grove High School in Illinois. In addition, he served as the conductor of the Deerfield Community Concert Band and remains an active guest conductor, clinician and composer.
Folk music has served as a powerful vehicle to connect people, share stories, and preserve traditions throughout much of human history. These melodies carry great power and meaning, even as the words may be adapted over time. Three Folk Song Settings for Band presents “Scarborough Fair” as its concluding folk material. This traditional English folk song from the Middle Ages refers to Old Scarborough, Yorkshire — having been comprised of traders, merchants and other vendors. The lyrics speak of unrequited love — made popular by rock and roll greats Paul Simon and Art Garfunkel. However, many versions of this folk tune exist. In Boysen’s arrangement, he places the melody in several different musical contexts and instrumentation, presenting a thrilling rendition of folk music within the wind band medium.
God of Our Fathers (1876/1988/2014)
George William Warren (1828–1902)
arr. Thomas Knox (1937–2004)
Uiliami Fihaki, conductor
The words to "God of Our Fathers" were written in 1976 for the hundredth anniversary of America’s independence by Daniel Crane Roberts, an Episcopal priest and Civil War veteran from Vermont. Roberts, however, originally set the lyrics to the hymn tune Russian Hymn. In 1892, Roberts anonymously sent the lyrics to the General Convention of the Episcopal Church, which created a commission to revise the Episcopal hymnal and to choose a hymn for the United States Constitution’s centennial celebrations. Roberts succeeded in getting his text published in the Episcopal hymnal, and eventually, the pairing of his text and Warren’s hymn tune was named the National Hymn of the United States.
This setting of God of Our Fathers was composed by Master Gunnery Sergeant Thomas Knox for “The President’s Own” United States Marine Band to be performed at President Ronald Reagan’s first inauguration on January 20, 1981. Master Gunnery Sergeant Knox, chief arranger for the Marine Band, was tasked to create a new setting of the well-known hymn for the inaugural ceremony. The ink on the new arrangement was barely dry when the Marine Band performed the dramatic rendition between the oaths taken by the new Vice President and President. Master Gunnery Sergeant Knox’s inventive setting of the moving hymn was so brilliantly crafted that the work soon became a staple in the Marine Band’s repertoire, and has been used for numerous significant national events over the past three decades, including the dedication of the Vietnam Veterans Memorial in 1982 and the Congressional Prayer Vigil held in the U.S. Capitol Rotunda the day after the terrorist attacks of September 11, 2001.
Charm (2012)
Kevin Puts (b. 1972)
Sarah Baker, conductor
Composed in 2012 by Pulitzer Prize-winner Kevin Puts, Charm is a short, joyful piece written in 7/8 meter. Puts writes, “I decided to call it Charm because, for me, the music conjures up magic, good-luck charms and such. I was also thinking of other meanings for the word, that intangible quality possessed by certain people and places that truly can cast a spell.” This work was commissioned by the American Composers Forum as part of their BandQuest series, with the intention to create and promote new, fresh music in wind band repertoire by today’s leading composers. This work will surely have you clapping along as the melody passes through every section in an exciting musical collage!
Collegiate Winds
Phillip Day, conductor
Fanfare Forza (2022)
Brian Balmages (b. 1975)
Brian Balmages is an award-winning composer and conductor. His music has been performed throughout the world with commissions ranging from elementary schools to professional orchestras. He is a recipient of the prestigious A. Austin Harding Award from the American School Band Directors Association; he also won the 2020 NBA William D. Revelli Composition Contest with his work Love and Light.
Fanfare Forza was written to celebrate the opening of a new performing arts center at Brainerd High School in Minnesota. Despite being just three minutes in duration, the music has a clear arc and substantial thematic, rhythmic and harmonic development.
Puszta (1987)
Jan Van der Roost (b. 1956)
I. Andante Moderato
II. Tranquillo
III. Allegro Molto
IV. Marcato
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 have been recorded in over 35 countries. This suite of four gypsy dances was composed 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.
Excerpts from Appalachian Spring (1944/2015)
Aaron Copland (1900–1990)
arr. Robert Longfield (b. 1947)
Aaron Copland (Nov. 14, 1900 Brooklyn, New York–Dec. 2, 1990 Sleepy Hollow, NY) was an American composer, often referred to as "the Dean of American composers."
He studied closely with the legendary pedagogue Nadia Boulanger, and his music achieved a balance between modern music and American folk styles. The open, slowly changing harmonies of many of his works are said to evoke the vast American landscape. Copland incorporated percussive orchestration, changing meter, polyrhythms, polychords and tone rows.
In the 1970s, Copland virtually stopped composing, although he continued to conduct. In addition to composing and conducting, Copland wrote several books, including What to Listen for in Music (1939), Music and Imagination (1952), and Copland on Music (1960).
Copland was awarded the Pulitzer Prize in composition for Appalachian Spring in 1945. His scores for Of Mice and Men (1939), Our Town (1940), and The North Star (1943) all received Academy Award nominations, while The Heiress won Best Music in 1949.
Written in 1943–44 as a ballet for Martha Graham, Appalachian Spring is one of Aaron Copland's most celebrated compositions. In this edition for concert band, Robert Longfield has skillfully adapted the most striking and beautiful sections from the orchestral suite. The work ranges in scope from delicate and soloistic to the overpowering force of the full ensemble, culminating with Copland's signature setting of "Simple Gifts."
Circus Days (1944/1997)
Karl L. King (1891–1974)
arr. Loras Schissel (b. 1964)
Karl King ranks alongside Henry Fillmore and John Philip Sousa as one of the most prolific and popular composers in the history of band music. He composed at least 291 works, including 185 marches, 22 overtures, 13 galops, 29 waltzes, and works in many other styles. Not only did he compose some of the most brilliant and famous marches for experienced bands at the professional and university levels, but he also displayed a remarkable ability to compose first-rate music for younger, less experienced musicians and bands. His music continues to be performed worldwide by bands of all experience levels.
Circus Days is one of 13 galops that Karl King wrote, intended to be played at blazing speeds. As in the case of many circus-type marches, the intent is to provide energy and excitement to the performance and bring a sense of joy and happiness to the listeners.
ROSTERS
University Band
Musicians are listed alphabetically within each section.
Flute
Alyssa Back
Emma Coppola
Naddelynne Ferguson
Katie Freytag
Tharune Kanagasabai
Aspen Lieber
Natalie O’Brien
Haylee Phillips
Saanil Rao
Sabrina Sedlacko *
Jeila Wofford *
Xiangxi Zhang *
* Piccolo and flute
Oboe
Lauren Yoder
Bassoon
William Hughes
Robert Mullen
Clarinet
Sam Baccei
Emily Baker
Leah Bauer
Grace Beebe
Adriana Clagg
Savanna Coyle
Aaron Geise
Connor Gibson
Tamya Halison
Angelina Hejl
Rachel Kams
Rose Kang
Brian Lo
Bass Clarinet
Jacob Claggett
Alyx Mendez
Alto Saxophone
Holly Barger
Jack Burkhart
Aditi Muruganandan
Anthony Petrill
Katie Weaver
Tenor Saxophone
Matthew Chandran
Ian Claggett
Baritone Saxophone
Kaitlyn Daum
French Horn
Paul Bossley
Nik Henderson
Ki Jones
Ethan Moseley
Kama Ramsey
Nathan Savino
Sam Sedlacko
Allison Simon
Jonah Varian
Cameron Welte
Ian Wilcox
Trumpet
Sam Allen
Paolo Atriano
Meredith Bowers
Stephanie Brown
Ethan Cox
Matthew Curie
Ashley Davis
Evan Freeland
Alexander Hartsough
Ellen Hill
Cooper Kellogg
Marlee Lawson
Jud Lewis
Erin Madden
Colleen Pettengill
Jacob Schwartz
Kirsten Shaneyfelt
Joshua Silver
Zach Spence
Tony Stabile
Jess Vanek
Zach Willford
Tenor Trombone
Mark Fanning
Sabrina Fortunak
Harrison Hall
Rudy Hartwig
Emily Leninsky
Abigail Rutherford
Lindsey Shimoda
Nathan Vernon
Bass Trombone
Defang Ndematebem
John Scott
Euphonium
Bri Cochill
Jaylyn Fogle
Logan Gardiner
Patrick Martyn
Louie Polien
Jojo Yu
Tuba
Delaney Ray
Jeremy Timog
Phoebe Underhill-Reed
Percussion
Daniel Allen
Alex Buckley
Hattie Carr
Kyrie Iswandy
Travis Jahna
Dylan Kerniskey
Keira Lamont
Zach Simmons
Charles Sirichoktanasup
Christopher Smallwood
Collegiate Winds
Musicians are listed alphabetically within each section.
Flute
Madison DiCicco
Adrianna Fay
Cooper Greenlees (piccolo)
Rebecca Margolis
Julia Norris
Corrina Pohlman
Allegra Tannoury
Xander Wells *
Hana Winchester
Devin Zdanowicz (piccolo)
Oboe
Kathryn Braverman *
Samir Haurani
Bassoon
Cora Anderson
Conner Ozatalar *
Clarinet
Phillip Ainsworth
Cee Costello
Leena Futoryansky *
Bella Haines
Meghan Jensen
Kady Rasmussen
Bass Clarinet
Rowan Hauer
Swaraj Patnaik
Alto Saxophone
Lance Korte
John Majerus
Willow Mauldin
Nick Paul *
Tenor Saxophone
Zachary Brutko
Baritone Saxophone
Mac Williams
Trumpet
Jude Abuzeide
Luke Buzard
Connor Caviness *
Rebecca Dunn
Gabrielle Hardisky
Connor Milner
Horn
Caleb Anderson
Eric Ji *
Annalise Johnson
Aidan Walsh
Trombone
Nolan Call
Lily Kent
Jonathan Kessler
Andric McNabb (bass)
Kyndal Nowell
Nathan Palmer *
Amara Suchy
Caden Young
Euphonium
Dominic Barnes
Hannah Lyons *
Mikey Woolley
Tuba
Isaac Clemens *
Percussion
Stephen Alexander
Andrew Bourget
Allie Castina
Evelyn Fitzgerald
Peter Kindt
Polly Regan *
Marie Zantopulos
* principal player
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