Wednesday, Feb. 11, 2026  •  7:30 p.m.

Weigel Auditorium
Columbus, OH

Wind Symphony
Russel C. Mikkelson, conductor 
Shawn Davern, guest conductor
Paul Bissler, guest conductor

and

The Ohio State University Chorale
Robert J. Ward, conductor 
Casey L. Cook, collaborative pianist

All program notes written by the students of the European Musical Traditions course, led by Prof. Katie Graber.

Program

Fugue à la Gigue

J. S. Bach (1685–1750)
trans. Gustav Holst

Shawn Davern, guest conductor

Johann Sebastian Bach was a German composer and organist from the Baroque period who wrote works for a large variety of instruments and ensembles. With over 1,100 recognized compositions, J. S. Bach has been widely regarded as one of the greatest composers in the history of Western music, and a quintessential figure in the Baroque era.

Gustav Holst, arranger of this piece, was an early proponent of the wind band as a legitimate medium for concert music. In addition to arranging, Holst was a prolific composer, often inspired by art or literature pieces and most notably known for his symphonic work The Planets. Holst arranged Fugue à la Gigue in 1928, transcribing Bach’s organ piece as an exercise to refamiliarize himself with writing for band before composing his Hammersmith, a commission from the BBC.

Bach’s original title for the piece was Organ Fugue in G Major (BWV 577), and it showcases Bach's techniques in counterpoint to form an intricate work. Evoking the feeling of flight by showcasing this exciting and frivolous melody, it embodies the Latin origin of the word “fugue" (“flight”). The ensemble begins to enter a flow of constant triplets with overlapping instruments, getting louder and creating a state of animation and enjoyment. Fugue à la Gigue is a lively, dance-inspired fugue that combines strict contrapuntal writing with the energetic character of a gigue. Listeners will hear a consistent dance-like pulse throughout the work that slowly builds in texture as more instruments are added throughout. The main melody is present in the woodwinds while a triumphant counterline is played throughout by the brass section.

First Suite in E-Flat, Op. 28, No. 1

Gustav Holst (1874–1934)
ed. Colin Mathews

1. Chaconne
2. Intermezzo
3. March

Paul Bissler, guest conductor

Gustav Holst was an English composer born on September 21, 1874 in Gloucestershire, U.K. As a child he had a nerve condition which made it hard for him to play various instruments, such as piano. Due to his condition, he transitioned to playing trombone, studying at the Royal College of Music in London. Holst went on in his career to compose many notable works including The Planets. Holst’s compositions for wind bands have become staples for wind band repertoire. Colin Mathews, editor for this piece, is an English composer of contemporary classical music. He is known for his large-scale orchestral compositions, as well as serving as an important figure in the preservation and scholarly curation of the Holst Foundation where he collaborates with Holst’s daughter Imogen Holst.

Written in 1909, the First Suite in Eb marked the dawn of a new age of musical works written specifically for wind band, as opposed to arrangements of orchestral pieces. It premiered in 1920, performed by the Royal Military School of Music Band. This piece is bursting at the seams with energy, and capitalizing on this, Holst proceeded to compose the piece as a collection of themes and variations. At the time he composed First Suite, there was no standard instrumentation for any military band. Holst scored the piece so that it could be played by, at the very least, 19 musicians — with 16 optional parts that could be added at the band director’s discretion. The first movement of the work, “Chaconne,” is a traditional Baroque form — a set of variations of a theme played over a bass line. A motive is established that is present in the other two movements, allowing for further variation and ornamentation. “Intermezzo” follows the grandiose first movement with a brisk, frantic burst of energy. It keeps this energetic tempo even at lower volumes, subverting expectations. “March” ends the suite with a loud bang of a movement, releasing all the pent-up energy from the previous movements. This piece evokes a triumphant, proud, and dynamic feeling within the audience as the themes are passed around the ensemble with varying instrumentation, leading to a powerful final moment.
 

—Brief Interval—

A Silence Haunts Me (2018 Choir / 2025 Band)

Jake Runestad (b. 1986)

In 1802, Ludwig van Beethoven wrote the Heiligenstadt Testament, an unsent letter to his brothers despairing over his growing deafness and revealing his contemplation of death. By the end of this emotional letter, Beethoven had reaffirmed his commitment to making music despite the challenges he was facing. The document, written 25 years before the famed composer’s eventual passing, inspired Jake Runestad to consider the tragedy, irony, and resilience of a musician losing their ability to hear. Runestad enlisted his collaborator, poet Todd Boss, to adapt Beethoven’s letter into a libretto that could then be set to music. 

A Silence Haunts Me is elegantly crafted to dramatize Beethoven’s experience of becoming deaf while referencing some of the late composer’s most impactful pieces, including Moonlight Sonata, his ballet Creatures of Prometheus, and his third (“Eroica”), sixth (“Pastoral”), and ninth (“Ode to Joy”) symphonies. In this version for choir, piano, and wind ensemble, listeners will hear the intimate and emotional contemplation of Beethoven as he considers his role in the world as a man, musician, and composer. The textures of voice, piano, and wind ensemble blend together to provide rich timbral elements. As the end of the piece nears, the growing silence represents the process of losing one’s hearing and suggests realization, acceptance, and persistence.

Jake Runestad is a Grammy-nominated and Emmy-winning composer based in Minneapolis, Minnesota. While he has composed for opera, wind ensemble, and orchestra, he is best known for his large choral works. His pieces are socially conscious, often exploring authentic human emotions and experiences. Runestad received the coveted Raymond W. Brock Commission from the American Choral Directors Association for premiere in 2019, which led him to composing A Silence Haunts Me.

—Brief Interval—

Star Wars Trilogy

John Williams (b. 1932)
trans. Donald Hunsberger

1. The Imperial March
2. Princess Leia’s Theme
3. The Battle in the Forest
4. Yoda’s Theme (attacca)
5. Star Wars Main Theme

John Williams, born in 1932 in the borough of Queens, New York, is a composer and conductor whose works need nearly no introduction. He is widely regarded as one of the most famous and influential film score composers in the history of modern film. Williams has had a career spanning seven decades, starting with his first film score for Daddy-O in 1958 and continuing with his most recent score for Indiana Jones and the Dial of Destiny in 2023. During this time, Williams has won 4 Golden Globes, 5 Academy Awards, and 26 Grammys.

Donald Hunsberger, transcriber of this piece, was also born in 1932. He was a composer, arranger, and veteran of the United States Marines, serving 4 years in the United States Marine Band. While in the United States Marine Band, he arranged a composition of The Marines’ Hymn, which is a staple of the Marine Band even today. After his time in the Marine Band, Hunsberger served as conductor of the famed Eastman Wind Ensemble from 1962 to 2002. Hunsberger, a core figure in the evolution and conception of modern wind band repertoire, passed away in November of 2023 at the age of 91.

The Star Wars Trilogy takes the audience on an amazing journey, with each movement having its own unique sounds. This piece involves classic themes from the movies such as the intense “The Imperial March” known as Darth Vader’s theme in movement one transitioning into the elegant Princess Leia’s theme in movement two. “The Battle in The Forest” effectively contrasts the almost comedic theme of the small Ewoks with powerful musical motifs associated with the imposing Imperial forces, highlighting the surprising conflict dynamic. “Yoda’s Theme” features a haunting melody characterized by woodwinds to create an ethereal sound which reflects Master Yoda’s wisdom and mystique. The Star Wars Main Theme was the last part John Williams composed. He struggled to create a grand, heroic theme that could work as an immediate fanfare. He described working it out “in desperation,” using the infamous leap of a fifth up to a high note that he felt created a direct, strong, and clear heroic sound from the orchestra.