Thursday, Oct. 8, 2026  •  7:30 p.m.

Weigel Auditorium
Columbus, OH
 

Program

University Band

Brooke Woods, graduate student conductor

Invicta (1981)

James Swearingen (b. 1947)

Invicta (1981) was composed as a tribute to Mark S. Kelly, Director of Bands at Bowling Green State University, Bowling Green, Ohio. Regarding the dedication, James Swearingen expressed the following: "Several times during my eighteen years of public school teaching, Professor Kelly provided me with educational guidance which helped to mold my career as a teacher. Needless to say, I owe many of my successes to this man's valuable advice."

This composition, which utilizes ABA form, is introduced by a bold maestoso fanfare in the key of Bb major. The main theme (allegro con moto) is then passed back and forth between several sections of the ensemble. Having modulated to the key of Ab, a beautiful middle section is masterfully developed before an eventual return to the key of Bb. The recapitulation then allows the composer an opportunity to display his skill at inter-weaving previously introduced themes simultaneously.

— Note by the composer

The Parting Glass (2023)

Robert Sheldon (b. 1954)

Irish folk tunes have always been a genre of music which I have found easy to love, and I doubt I am alone in those feelings. The music is typically quite singable, memorable, and has a way of tugging at our heartstrings. It was for these reasons that I was so pleased to be invited to write a setting of this gorgeous tune for the United States Army's Ceremonial Band to be performed at services at Arlington Cemetery. The drum major of this outstanding musical unit of "Pershing's Own," Master Sergeant Matthew J. Carmichael, is the son of my lifelong friend, Dr. John Carmichael. The world of music is filled with joyous connections to people and music we love!

The setting for the Ceremonial Band had to meet very specific needs and parameters for that ensemble, but the experience of arranging this lovely melody inspired me to write a full arrangement for concert band, something that Matthew suggested. The second half of the piece incorporates some of the original material I used for the Army Band's rendition.

— Note by the composer

Armenian Rhapsody (2016)

Johnnie Vinson (b.1944)

The music of Armenia, with its long history of folk songs (many collected and catalogued by Komitas Vartapet (1869-1935), a prominent Armenian priest and musicologist), has a fascinating uniqueness and distinctive flavor. This appealing setting uses five traditional Armenian melodies in a rhapsodic approach for band. Johnnie Vinson skillfully combines bold statements and driving rhythmic figures, contrasted with beautiful yet simple melodies, in a work that provides both excitement and variety.

— Note from the publisher

Gravitas (2025)

Soon Hee Newbold (b. 1974)

Originally for both string and full orchestra, Gravitas was written in honor of the Columbus Symphony Chamber Strings 40th anniversary. The word “gravitas” comes from Latin, meaning “heaviness” or “weight,” but is mostly used today when referring to the qualities of a person. Descriptions of someone with gravitas include words like dignity, authority, and wisdom; experience and expertise; and someone of note with great respect. In theater, actors are often described as having (or not having) gravitas, which means they have maturity and depth when playing a character. This version for band utilizes expanded voices and colors, compared to previous versions, and relies heavily on low brass and low reeds. The beginning starts with a somber, serious tone followed by a celebratory melodic line that continues throughout the piece. The work was inspired by feelings of nostalgia, power, and accomplishment. 

— Note by the composer

All Things So Wondrous (2022)

William Owens (b. 1963)

Originally for both string and full orchestra, Gravitas was written in honor of the Columbus Symphony Chamber Strings 40th anniversary. The word “gravitas” comes from Latin, meaning “heaviness” or “weight,” but is mostly used today when referring to the qualities of a person. Descriptions of someone with gravitas include words like dignity, authority, and wisdom; experience and expertise; and someone of note with great respect. In theater, actors are often described as having (or not having) gravitas, which means they have maturity and depth when playing a character. This version for band utilizes expanded voices and colors, compared to previous versions, and relies heavily on low brass and low reeds. The beginning starts with a somber, serious tone followed by a celebratory melodic line that continues throughout the piece. The work was inspired by feelings of nostalgia, power, and accomplishment. 

— Note by the composer
 

View University Band roster
 

Collegiate Winds

Phillip Day, conductor

The Star-Spangled Banner (2003)

arr. John Williams (b. 1932)

Born just one month shy of the death of John Philip Sousa in 1932, the son of a jazz drummer, John Williams studied piano and composition at the University of California at Los Angeles and The Juilliard School in New York City. By the time he was in his late twenties, Williams was an active jazz and studio pianist and began composing music for television and films. In 1974 he met an ambitious young director named Steven Spielberg, and the two forged a friendship that would prove to be one of the most successful partnerships in the history of filmmaking. That year, the pair worked together on a film called Sugarland Express starring Goldie Hawn, and a year later teamed up again for Jaws. It wasn’t long before Williams’ music garnered international attention unlike any American composer since Sousa.

In a career that spans six decades, Williams has composed many of the most famous film scores in Hollywood history, including Star Wars, Superman, Home Alone, the first three Harry Potter movies, and all but two of Steven Spielberg's feature films, including the Indiana Jones series, Schindler's List, E.T. the Extra-Terrestrial, Jurassic Park and Jaws. He also composed the soundtrack for the hit 1960s TV series, Lost in Space.

Williams has composed theme music for four Olympic Games, the NBC Nightly News, the inauguration of Barack Obama, and numerous television series and concert pieces. He served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993 and is now the orchestra's laureate conductor.

Williams is a five-time winner of the Academy Award. He has also won four Golden Globe Awards, seven BAFTA Awards and 21 Grammy Awards. With 45 Academy Award nominations, Williams is, together with composer Alfred Newman, the second most-nominated individual after Walt Disney. He was inducted into the Hollywood Bowl Hall of Fame in 2000 and was a recipient of the Kennedy Center Honors in 2004.

John Williams was selected as the Grand Marshall for the 2004 Tournament of Roses Parade. As a part of his appearance, he penned this arrangement of The Star-Spangled Banner to be performed by the combined college marching bands prior to the 2004 Rose Bowl Game. Published shortly thereafter, this arrangement has become a standard in the wind band repertoire. Written in John Williams recognizable compositional style, the arrangement includes an extra bass drum part that mimics the fireworks that are traditionally shot during the playing of the National Anthem at the Rose Bowl.

City Trees (2012)

Michael Markowski (b. 1986)

Michael Markowski (b. 14 November 1986, Mesa, AZ) is fully qualified to watch movies and cartoons. In 2010, he successfully graduated magna cum laude with a Bachelor of Arts degree in Film from Arizona State University.

While Markowski has never studied music at a university, he has studied privately with his mentors Jon Gomez and Dr. Karl Schindler. However, he has continued his education by participating in a number of programs including "the art of orchestration" with television and film orchestrator Steven Scott Smalley, and in 2008, was invited to be a part of the National Band Association's Young Composer and Conductor Mentorship program.

In 2006, his work for concert band, Shadow Rituals, was honored with first prize in the first Frank Ticheli Composition Contest, sponsored by Manhattan Beach Music. The work is now published by Manhattan Beach Music and is on several state lists including the Texas Prescribed Music List. The piece has received a number of prestigious performances since its premiere by the Arizona State University Wind Symphony, some of which include the Midwest Clinic in Chicago by the VanderCook College of Music and by the 4A Honor Band at the 2008 Texas Music Educators Association Conference, Poteet High School.

Other notable performances include The Phoenix Symphony Orchestra, the U.S. Air Force Band of the Golden West, the U.S. Air Force Band of Mid-America, Arizona State University, California State University–Fullerton, Rutgers University, San Jose State University, The University of North Texas, Arrowhead Union High School, The University of Wisconsin–Milwaukee Youth Wind Ensembles, and the Austin Symphonic Band.

Markowski has received commissions for new works from a number of organizations including CBDNA, The Consortium for the Advancement of Wind Band Literature, The Lesbian and Gay Band Association, Arrowhead Union High School, and the University of Wisconsin-Milwaukee Youth Wind Ensembles, Bethel High School, and other consortiums of schools.

A brief insight into Markowski's creative process can be found in a contributing chapter of Composers on Composing for Band, Vol. IV: "Young Emerging Composers," published by GIA Music. His work has also been analyzed in the Teaching Music Through Performance in Band series (Volume 7).

For the last several years, he has arranged, co-composed, and been music director for an original musical celebrating the life of Judy Garland, aptly titled Judy: The Musical. He is a member of ASCAP and currently lives in Astoria, New York.

Regarding City Trees, the composer writes:

"I had just moved from Arizona to New York City when I began sketching the first fragments of City Trees. After being born, growing up, and living in the desert for 25 years of my life, moving to New York so suddenly was and continues to be one of the most challenging things I've ever done. I think it has also been one of the bravest. I left my friends, my family, and my ridiculously cheap rent all without much planning.

Every time I walk down a street in New York, I notice the trees shackled by the sidewalk. Some have little fences around them, many have trash nestled up next to their exposed roots, and others have grown so big and become so strong that they have broken right through the concrete pavement. As I pass beneath them, they all seem to wave their leafy pom-poms in the wind, a thousand leaves applauding, cheering me on as if I had just returned from the moon.

These trees have learned how to brave the concrete jungle, and it gave me solace knowing that they had flourished in such a challenging environment. Over time, the impossibilities of the city have become familiar, and although I continue to learn new lessons every day, I've slowly begun to assimilate, finding my way around, discovering new places, and making friends while still keeping close with those who aren't close by. The music in City Trees began to take on a growing sense of perseverance, embodied by the expansive melodies that sweep over the pensive, rhythmic undercurrent.

For me, City Trees is a reflection of the bravery that it often takes to venture into new worlds, embrace other cultures, and lovingly encourage new ideas. I am deeply honored to dedicate this piece to the Lesbian and Gay Band Association. Although I may never completely understand the unique challenges my friends have faced and had to overcome, I am inspired by the overwhelming courage that has been so firmly planted for 30 years and that continues to grow, perhaps slowly, but always stronger."

Rail Riffs (2024)

Brian Balmages (b. 1975)

Brian Balmages is an active trumpeter composer, conductor, producer, and performer. Balmages received his bachelor's degree in music industry from James Madison University and his master’s in media writing and production from the University of Miami.

Balmages’ compositions have been performed worldwide at conferences including the College Band Directors National and Regional Conferences, the Midwest Clinic, the International Tuba/Euphonium Conference, the International Trombone Festival, and the International Trumpet Guild Conference. His active schedule of commissions and premieres has incorporated groups ranging from elementary schools to professional ensembles, including the Baltimore Symphony Orchestra, the Miami Symphony Orchestra, the University of Miami Wind Ensemble, and the Dominion Brass Ensemble. Among the professional artists that have commissioned him are James Jenkins, Principal Tuba of the Jacksonville Symphony; Lynn Klock, Saxophone Performing Artist for Selmer; Arthur Campbell, Clarinet Performing Artist for Leblanc; and Jerry Peel, professor of horn at the University of Miami. He has also had world premieres in prestigious venues such as Carnegie Hall along with numerous performances abroad.

As a conductor, Balmages enjoys engagements with numerous honor bands, university groups, and professional ensembles throughout the country. Guest conducting appearances have included the Midwest Clinic, College Band Directors National Conference, Mid-Atlantic Wind Conductors Conference, and the Atlantic Classical Orchestra Brass Ensemble.

He served as director of instrumental publications for The FJH Music Company Inc. in Fort Lauderdale, Florida, where he oversaw all aspects of the instrumental program related to works for concert band, jazz ensemble, and orchestra. Balmages joined Alfred Music as director of digital education and MakeMusic Publications in 2022.

He is also a freelance musician and has performed with the Miami Symphony Orchestra, the Florida Chamber Orchestra, Skyline Brass, and the Henry Mancini Institute Orchestra.

About Rail Riffs, the composer writes:

"Welcome to a massive party on the rails! Combining elements of dance, jazz, and Latin grooves, this piece seeks to blend these styles in a work that truly encapsulates the fusion concept. Inspired by words from Milford (MI) High School band director Bob Green, the piece is his way of celebrating the students who have persevered in the face of adversity over the past several years. In his own words, 'I want to say thanks [to the administration and community] for giving me a chance, for keeping music and the kids as the focus, and thank you to the kids for never giving up.'

Milford has an active train track that runs right through downtown. While the town itself is steeped in tradition, history, and community, it has also grown and embraced change. So, while the tradition of the train continues to cut through the town (cutting through the downtown area four different times!), this music also symbolizes the evolution, change, and future that surround those tracks.

As mentioned, the work draws on several styles of music. At times, the piece moves cleanly from one style to the next; however, there are also sections that explore the fusion of these grooves and the themes themselves.

Ensembles have to approach this piece with an 'all-in' attitude. I can envision conductors having sections stand up at points throughout the piece, and even have the entire ensemble up toward the end, moving and grooving to the music. Have fun with this one, because I had a TON of fun writing it!

Many thanks to Bob Green for trusting me with a piece that is so important to him. In the past several years, this idea of merging things together has benefited multiple bands in his district, and it is with this spirit in mind that I explore this fusion of styles in Rail Riffs."

Chorale and Shaker Dance (1972)

John Zdechlik (1937–2020)

John P. Zdechlik was born to a father who emigrated from Poland in 1910, though the surname Zdechlik is Czech in origin. Zdechlik had musical influences growing up — his grandfather was a church organist, his father regularly played recordings of Beethoven and Victor Herbert, and his parents enrolled him in piano lessons at age six. Zdechlik's parents encouraged musical pursuits but did not pressure him. In high school, Zdechlik began playing E-flat alto horn before switching to trumpet. During his high school years he also began to take an interest in jazz and began to compose jazz band arrangements under the tutelage of his trumpet instructor Harry Strobel and local arranger and jazz pianist Herb Pilhofer.

Zdechlik earned his PhD in theory and composition from the University of Minnesota, where he studied with Paul Fetler and Frank Bencriscutto, for whom Zdechlik served as assistant for several years.

Thanks to Bencriscutto, Zdechlik's first major success as a composer came in 1969. Bencriscutto had been commissioned to write an original work for the Concordia College Band in Saint Paul, Minnesota, but was too busy to fulfill the commitment. The commissioner, Leon Titus, agreed to have Zdechlik fill in as the composer, resulting in Zdechlik's first major compositional success, Psalm 46.

In 1970, Zdechlik began his tenure at Lakewood Community College (now Century College) in White Bear Lake, Minnesota, where he served for nearly three decades as conductor, professor, music department chair, and resident composer until his retirement in 1997.

Owing to his early success as a composer for the concert band medium, the vast majority of Zdechlik's future output was also for bands, most of which are commissions from high school or college ensembles. Dozens of his works have been published by Neil A. Kjos Music Company, and Zdechlik has conducted extensively throughout the United States, Japan, and Europe.

Zdechlik was elected to the American Bandmasters Association in 1989.

Chorale and Shaker Dance was commissioned by the Bloomington (Minn.) Jefferson High School Band. However, the community-based Medalist Concert Band, also of Bloomington, premiered the work in March 1972 at the Music Educators National Convention, with the composer conducting. The work combines an original chorale tune and the traditional Shaker song "The Gift to Be Simple." Zdechlik transforms, varies, and juxtaposes both themes throughout the entire composition, incorporating intricate counterpoint and jazz-influenced syncopated rhythms. The Shaker melody does not appear in its entirety until near the end of the piece, when the trumpet section plays the tune over a flurry of activity in the upper woodwinds and a sonorous low-brass accompaniment. A short allegro section follows, and the work draws to a close with several dissonant whole notes that resolve into a brilliant D major chord.

National Emblem (1906/1981)

E. E. Bagley (1857–1922)
ed. Frederick Fennell (1914–2004)

Edwin Eugene Bagley began his music career at age nine as a vocalist and comedian with Leavitt’s Bellringers, a company of entertainers that toured many of the larger cities of the United States. He began playing the cornet, traveling for six years with the Swiss Bellringers.

After his touring days, he joined Blaisdell’s Orchestra of Concord, New Hampshire. In 1880, he came to Boston as a solo cornet player at The Park Theater. For nine years, he traveled with the Bostonians, an opera company. While with this company, he changed from cornet to trombone. He performed with the Germania Band of Boston and the Boston Symphony Orchestra. Edwin Eugene Bagley is best known for composing marches. His most famous march, National Emblem March, is played as a patriotic tune at Independence Day celebrations in the United States and features an excerpt of The Star-Spangled Banner. A theme from this march is popularly sung with the words "and the monkey wrapped his tail around the flagpole." 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.

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 America’s great march composers. 

About National Emblem, Frederick Fennell wrote:

“This marvelous march never fails to lift my spirit to the loftiest heights of inner joy, outer physical exhilaration, and ultimate personal fulfillment. On some occasions I have felt that knowing it, loving it — being able to listen to it any time being played by the band in my head — was my whole reason to be alive. It’s just my march, and I began to teach it to myself by marching my way to high school while whistling or singing it, totally oblivious of what I am sure were quizzical and suspicious glances from people I encountered en route! ... It is a march for marching; sit-down performances of it should continue to march, for that is its heritage — music for the feet, not for the head — and it is unmistakably music for the spirit."

View Collegiate Winds roster
 

Personnel

Musicians are listed in alphabetical order by section in both rosters.

University Band

Flute
Shaina Ang
Claire Cron
Janelle Falk
Maisyn Groves
Nini Harper
Anna King
Isabelle McCulloch
Isabella Melville
Abbi Myers
Elijah Tofte
Angelica Whisnant
Isabella Woods
Winnie Wu

Clarinet
Michelle Boyd
Ethan Campbell
Emily Gardinsky
Anna Irwin
Haley Kramer
Tony Li
Rachel Lou
Audrey Mathes
Tyler Molina
Katarina Payamgis
Andrew Rosal
Thalia Stanton
Matthew Weakley
Julius Wesley

Bass Clarinet
Ryan Chan

Oboe
Nick Armbruster
Serena Ball

Bassoon
Travis Ely
John Gray
Molly Schwartz

Alto Saxophone
Keith Adams
Matthew Chandran
Carter Marshall
Andy Mold
Kenny Ng
Xander Ray
Luka Zuvic

Tenor Saxophone
Caitlin Cunningham
Krithin Rajesh

Baritone Saxophone
Owen Dearborn
James Parsons

Horn
Brenden Boehm
Caitlyn Bowers
Lila Jensen
Isaac Meats
Samantha Zinck

Trumpet
William Chrismer
Riley Deshazo
Bo Famularcano
Ryan Flad
Abe Greenfield
Elijah Hall
Andrew Hsiung
Mac Mendoza
Miley Mulherin
Spencer Talarzyk
Virginia Welch

Trombone
Jack Blouir
Amanda Ekey
Noah Reardon
Christian Reinard
Sophia Riley
Abigail Rutherford
Noah Schrader
Kyle Zigler

Euphonium
Oliver Alban
Christine Baird
Tyler Biblow
Nathan Lamb
Jonathan Nassaux
Louis Polien

Tuba
John Check
Josh Ferda
Chris Harr
Colby Hatcher
Matthew Koehler
Robbie Spence
Marcus Yamamoto

Percussion
Mia Ballam
Cole Basham
Maddie Brickner
Noah Sims
Jaxon Stevens
Rachel Weinstein
Ray Williams
Andy Wisniewski
Lance Woods

Collegiate Winds

Piccolo
Maryssa Hoermle
Kehlin Morgan

Flute
Sarah Cooper
Paige Franklin
Maryssa Hoermle *
Kehlin Morgan
Anna Muehleisen
Olivia Peters
Helaina Taylor

Oboe
Saugat Bastola
Tyler Ulbert *
River Wells

Bassoon
Anna Cruz *
Darcy Geither
Jack Malloy 
Conner Ozatalar

Clarinet
Bella Ake
Owen Dorogi
Leena Futoryansky
Nicole Gountanis
Daniel Kapustin *
Kylie Ligas
Hilda Villa-Wilkins
Thomas Wilford
Elise Zavaglia

Bass Clarinet
Emma Choi *
Rowan Hauer

Alto Saxophone
Ari Bairaktaris
Kai Bell
Abigail Downs
Sam Feldstein *
Grant Higgins
Charlie Peterson
Zach Robinson

Tenor Saxophone
Evan Zamora

Baritone Saxophone
Blake Steele

Trumpet
Cameron Beard
Benjamin Beebe
Hannah Davies
Alexandra Gray
Addison Kelly
Ryan Matthews *
Brianna Nemec
Colin Parker
Katie Williams

Horn
Tyah Campbell
Aria Christensen
Keagan Evans
Benjamin Federico
Eden Piotrowski
MacIntyre Stewart *

Trombone
Graham Bubb
Fernando Flores IV
Jackson Hammond
Raven Luman
Alex New (Bass)
Francis Scardina
Gavyn Schooley *
Kenta Thompson
Autumn Write

Euphonium
Rayhaan Mir *
Ben Pugh
Drew Rosenblum
Daniel Schiel II

Tuba
Beatryx Duncan
Preston Hexamer *
Mara Reichenbach
Luke Winterhoff

Percussion
Luke Ball
Sam Lord-Fry
Ben Richter
Gracie Rodriguez
Isaac Sexton *
Luke Snyder

* principal player
 

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