Collegiate Winds and University Band Concert

April 16, 2019 • 8 p.m.

Phillip A. Day, conductor

1866 College Rd  •  Columbus, OH
 

PROGRAM

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UNIVERSITY BAND

Cosmic Expedition

Michael Miller (1986)

One Life Beautiful

Julie Giroux (b. 1961)

Sweet Like That

Christopher Theofanidis (b. 1967)

Brent Levine, guest conductor

Amparito Roca

Jaime Texidor (1884–1957)
arr. Winter (1870–1955)

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COLLEGIATE WINDS

Cenotaph (Fanfare for Band) (1992)

Jack Stamp (b. 1954)

Symphony No. 1 (1993),
In Memoriam Dresden — 1945

Daniel Bukvich (b. 1954)

I.     Prologue
II.    Seeds in the Wind
III.   Ave Maria
IV.   Fire Storm

Salvation is Created (1912)

Pavel Chesnokov (1877–1944)
arr. Bruce Houseknecht

Symphonic Dance No. 3 “Fiesta” (1967)

Clifton Williams (1923–1976)

Carmen Ohio/Across the Field

arr. Roger Cichy (b. 1956)

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NOTES

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University Band

COSMIC EXPEDITION
Michael Miller (1986)

Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. The first, a rather celebratory and triumphant fanfare in Bb Major, begins with a sound-screen created by the upper woodwinds and percussion. Against this, horns and saxophones present the main theme. The mood of the second section is more serious and stern; a new melody in G minor, with woodwinds and mallets dancing above this new melody. The third section introduces another theme, a haunting melody in C minor. This last section is in stark contrast with everything that precedes it. A short recapitulation and coda bring this exciting journey to a resounding conclusion.

Cosmic Expedition has been named to the American Band College — BandWorld — WIBC top 100 new works for 2018.

Mr. Miller holds a Master of Music degree in instrumental conducting from the University of Florida, and a Bachelor of Music Education degree from Syracuse University. As a graduate teaching assistant for the University of Florida bands, Mr. Miller guest conducted the Wind Symphony, Symphonic Band and Concert Band; taught undergraduate conducting lessons; and was a staff member and music designer for the University’s Marching Band.

Mr. Miller is an active music designer for bands in Florida, New York and Massachusetts, including Syracuse University’s “Pride of the Orange” Marching Band, and the "Scarlet Knights" of Rutgers University. Mr. Miller is a member of the Music Educators National Conference, the Florida Music Educators Association, the Florida Bandmasters Association, and is a brother of Phi Mu Alpha Sinfonia.

ONE LIFE BEAUTIFUL
Julie Giroux

Julie Giroux was born in Fairhaven, Massachusetts, and attended Louisiana State University (Baton Rouge) and Boston University. She has studied composition with John Williams, Bill Conti and Jerry Goldsmith. After graduating from school, Giroux moved to Los Angeles, where she began composing, arranging and conducting music for television and films, including an engagement writing the music for the Emmy Award-winning mini-series North and South. Since then, she has also worked on the television series Dynasty and The Colbys, as well as the movies Karate Kid II, White Men Can’t Jump and Broadcast News. Giroux received her first Emmy nomination in 1988 for her work on North and South, Part II: Love and War, and her first win in 1992 for music direction of the 64th Annual Academy Awards, a category in which she was not only youngest recipient, but also the first woman to win the award. She has accumulated more than 100 film and television credits and has arranged for such celebrities as Michael Jackson, Madonna, Celine Dion, Billy Crystal, Paula Abdul and Liza Minnelli, among others.

Giroux wrote the alluring and captivating piece One Life Beautiful as a commission by Ray Cramer, former director of bands at Indiana University. The composition pays tribute to Cramer’s daughter Heather Cramer Rue, whose life was tragically cut short by a car accident in the summer of 2009. The title has a double meaning. One refers to the delightful “one life” beautifully lived by Cramer’s daughter and the strong impact she had on those around her. The other meaning emphasizes that having one life is what makes our existence so sacred and cherished. Giroux demonstrates her experience as an adept composer of eloquent and passionate music for film and television in this moving work.

SWEET LIKE THAT
Christopher Theofanidis

Christopher Theofanidis, born December 18, 1967 in Dallas, Texas, has had performances by many leading orchestras from around the world, including the London Symphony, the Philadelphia Orchestra, the Moscow Soloists, the National, Atlanta, Baltimore, St. Louis, Detroit and California Symphonies. He holds degrees from Yale, the Eastman School of Music, and the University of Houston. He has been the recipient of the International Masterprize, the Rome Prize, a Guggenheim Fellowship, six ASCAP Gould Prizes, a Fulbright Fellowship to France, a Tanglewood Fellowship and the American Academy of Arts and Letters’ Charles Ives Fellowship. Mr. Theofanidis is a former faculty member of the Peabody Conservatory and the Juilliard School. He currently teaches at Yale University.

Sweet Like That, written in 2011, is dedicated to the students at Ross Arts Magnet School. The composer involved students in the composition process; as a result, several elements of the piece are based on student suggestions. The title of the work comes as a response to the students’ love of jazz titles, and references a King Oliver composition of the same name.
Sweet Like That was commissioned by the American Composers Forum.

AMPARITO ROCA
Jaime Texidor, arr. Winter

Jaime Texidor was a composer, conductor and publisher who lived most of his life in Northern Spain. In 1927, he became the conductor of the Baracaldo Municipal band, a position that he retained until 1936. Over this period he composed so much band music that he decided to establish his own publishing company. In addition to his enormous contribution to band music, Texidor wrote many pieces in the Paso Doble style, which are lively march-like dances.

Texidor is credited with the composition of Amparito Roca, which is one of the most well-known Paso Dobles in the band repertoire. There is, however, some mystery attached to the composition of this piece, which was reportedly written by British Bandmaster Reginald Ridewood (1907–1942). Texidor arranged for the publication in Madrid, but the piece had already been performed in England prior to the copyright date. It is assumed that Ridewood wrote the music, but failed to apply for copyright before Texidor rearranged it and had it published as his own. Nevertheless, it is still one of the most well-known Paso Dobles in modern band literature.

Collegiate Winds

CENOTAPH
Jack Stamp

Dr. Jack Stamp is currently adjunct professor of Music at the University of Wisconsin–River Falls where he teaches conducting. Prior to this appointment, Dr. Stamp served as director of Band Studies at Indiana University of Pennsylvania for 25 years. In addition, he served as chairperson of the music department for six years.

He holds a DMA degree in Wind Conducting from Michigan State University where he studied with Eugene Corporon.

He is active as a guest conductor, clinician, adjudicator and composer throughout North America and Great Britain. His compositions have been commissioned and performed by leading military and university bands across the United States. He has won the praise of American composers David Diamond, Norman Dello Joio, Ron Nelson, Michael Torke, Samuel Adler, Robert Ward, Robert Washburn, Fisher Tull, Nancy Galbraith and Bruce Yurko for performances of their works. He is also a contributing author to the "Teaching Music Through Performance in Band" series released by GIA Publications.

About Cenotaph, Dr. Stamp writes:

A cenotaph is a “statue or monument to a person not buried there.”  The Lincoln Memorial and Washington Monument are familiar examples of cenotaphs.  This fanfare connotes a breathtaking structure such as one of these cenotaphs.

After the explosive percussion introduction, the work begins with a five-part fugue.  An accelerando leads to a layering of ostinatos including a 7/8 hemiola in the woodwinds.  The fugue subject returns in augmentation and is harmonized in chorale style.

Cenotaph was commissioned by Mitchell Fennell and the California State University at Fullerton Bands for the 1992 Southern California All-State Band.

SYMPHONY NO. 1, In Memoriam Dresden – 1945
Daniel Bukvich

Daniel Bukvich was born and raised in Montana and has taught at the University of Idaho since 1976. He travels throughout the United States and Canada as a guest composer, conductor and percussionist in concerts with professional, college, high school and grade school bands, orchestras, choirs, honor and all-state groups, and has been known to appear at similar events in Europe and East Asia.

His teachers have been among the leading composers, conductors and educators in the Western United States, and Bukvich has absorbed not only their philosophies on music but also their satisfaction with — if not complete desire for — professional and personal obscurity. In fact, he is infamous for being almost impossible to contact due to an extremely busy teaching and composing schedule and his refusal to communicate by any means more modern than face-to-face conversation.

His musical compositions and arrangements are performed by orchestras, choirs, bands, soloists, chamber groups and jazz groups around the world.

Symphony No. 1 (“In Memoriam Dresden, 1945”) was written as Bukvich’s master’s thesis. The piece was originally conceived to fulfill the requirements of a composition assignment he had dealing with contemporary notation and “using sounds beyond normal instrument sounds. It had to deal with the realization of an entire piece of music from one germ of an idea,” says Bukvich. This work succeeded in launching his career into national prominence.

The idea for the symphony derived from a conversation he once had with the legendary jazz artist Louie Bellson. They were talking about the music of Duke Ellington — and a favorite chord he often used — based on the pitches C, Db, E, G. The harmonic and melodic elements of the piece are based primarily on this chord.

There is a program underlying Symphony No. 1. It is meant to depict the fierce Allied bombing attacks on Dresden, Germany, on February 13–14, 1945, which, according to most recent (2010) estimates, killed between 25,000 and 30,000 people. The four movements, “Prologue,” “Seeds in the Wind,” “Ave Maria” and “Firestorm” are derived from The Destruction of Dresden, an account of the bombings, now considered to be largely false, written by David Irving. Through modern notation, the human voice, and unusual adaptations of traditional wind instruments, Bukvich creates powerful, haunting timbres which evoke many of the emotions surrounding this tragedy.

By both accident and design, Bukvich created a contemporary work for winds and percussion which to this day is considered among his most important contributions to the band repertoire. Bukvich downplays the significance of the piece saying, “I didn’t have any message in the Dresden symphony; I had to complete an assignment on graphic notation.” Although extramusical symbolism and unconventional techniques are used by the composer throughout this programmatic work, Bukvich was not trying to make any revolutionary musical statements. Nevertheless, Symphony No. 1 was a trend-setting piece that would mark the style of music wind conductors would come to expect from Bukvich, and demand from him in numerous, subsequent commissions.

WATCH In Memoriam Dresden — 1945 video on YouTube  (no audio)

SALVATION IS CREATED
Pavel Chesnokov, arr. Bruce Houseknecht

Pavel Chesnokov was arguably the foremost Russian composer of sacred choral works during his time. He wrote nearly 500 choral works, more than 400 of them sacred. Chesnokov was a devout follower of the Russian Orthodox Church and was inspired to write most of his works for worship in that faith. His best-known composition, one of the few works he is remembered for today, is Salvation is Created, a Communion hymn based on a Ukrainian chant melody. During the Soviet era, Chesnokov was better known as a choral conductor than composer. Indeed, he was praised, even by the Soviets, for his skills in choral conducting, though they remained hostile to his sacred music throughout his lifetime. After the Bolshevik Revolution, Chesnokov was forced to abandon composition of sacred music, owing to sanction against such activity by the anti-religious Soviets. He thus embarked on composition in the secular choral realm.

From 1920, Chesnokov headed a choral conducting program at the Moscow Conservatory. In addition,  Chesnokov became the choirmaster at Christ the Savior Cathedral. In 1933, however, on orders from Stalin, the cathedral was demolished to make way for construction of a skyscraper that would never be built. Chesnokov  became so distraught over the cathedral's destruction that he stopped composing altogether. He continued teaching and conducting various choirs in Moscow until his death there on March 14, 1944.

"Salvation is Created" is a choral work composed by Pavel Chesnokov in 1912 as the fifth of his Ten Communion Hymns (opus 25). It was one of the last sacred works he composed before he turned to secular arts when the Soviet government began to suppress Christianity. Although he never heard his own composition performed, his children had the opportunity following his death. "Salvation is Created'" was originally published in 1913 and its popularity drove editors to produce many different versions in both Russian and English. The work is a communion hymn based on a synodal Kievan chant melody and Psalm 74. The original Slavonic text is “Salvation is made in the midst of the earth, O God. Alleluia.”

SYMPHONIC DANCE NO. 3, “FIESTA”
Clifton Williams

Born in Arkansas, James Clifton Williams began playing French horn, piano, and mellophone in the band at Little Rock High School. As a professional horn player he would go on to perform with the San Antonio and New Orleans Symphony Orchestras. Williams also served in the Army Air Corps band as a drum major, composing in his spare time. He attended Louisiana State University (BM, 1947) where he was a pupil of Helen Gunderson, and the Eastman School of Music (MM, 1949) where he studied with Bernard Rogers and Howard Hanson. In 1949, Williams joined the composition department at the University of Texas School of Music. He taught there until he was appointed Chair of the Theory and Composition Department at University of Miami in 1966. Williams retained this position until his death in 1976. His composition students included W. Francis McBeth and John Barnes Chance.

Symphonic Dance No. 3, “Fiesta” is one of five symphonic dances commissioned by the San Antonio Symphony Orchestra to celebrate its 25th anniversary in 1964. Each of the five dances represents the spirit of a different time and place in the history of San Antonio. This dance reflects the excitement and color of the city’s many Mexican celebrations, which Williams called “the pageantry of Latin American celebration — street bands, bull fights, bright costumes, the colorful legacy of a proud people.”

The introductory brass fanfare creates an atmosphere of tense anticipation, while the bells, solo trumpet and woodwinds herald the arrival of an approaching festival. The brass announce the matador’s arrival to the bullring, and the finale evokes a joyous climax to the festivities.

Williams rescored this work for band, and it was first performed in 1967 by the University of Miami Band.

CARMEN OHIO / ACROSS THE FIELD
arr. Roger Cichy

Roger Cichy (b. 1956, Columbus, Ohio) has a diverse background as both a composer/arranger and a music educator. Roger holds Bachelor of Music and Master of Arts in Music Education degrees from The Ohio State University. Although both are in the area of music education, he has studied composition and arranging as a second area of concentration during both degree programs.

As a music educator, Roger was a very successful band director in Mars, Pennsylvania covering grades 5 through 12 in instrumental music. After earning his Master’s degree, Roger served as Associate Director of Bands at the University of Rhode Island, and at Iowa State University where he directed the Marching Band, Concert Band, and Basketball Pep Band and taught various music courses on the undergraduate level. In 1995, he resigned his position at Iowa State University to devote full-time to composing and arranging.

As a freelance composer and arranger, Roger writes for high school and college bands, professional orchestras, and the commercial music industry. He has over 300 compositions and arrangements accredited to his name. His composition mentors include Edward Montgomery, Marshall Barnes, and Joseph Levey.

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ROSTERS

University Band

Alexander Gonzalez, conductor

Spring 2019

FLUTE
Jenna Batchelor
Mitali Dalwalla
Samantha Darr
Palina Hornaya
Claire Mills
Lauren Nemec
Chloe Patrick
Sloan Shingleton
Emily Trauntvein
Lin Ye
Linghui Zhang

CLARINET
Anna Baker
Grant Brooks
Matthew Duel
Osama Khrawesh
Emily Killian
Abby Krummel
Marissa Polito
Julia Sammartino
Courtney Shepler
Kayla Thomas
Lauren Timmins

BASS CLARINET
Jordan Gulley

ALTO SAXOPHONE
Whitney Baxter
Diana Brooks
Lily Conway
Caroline Ferro
Tom Kellett
Gavin McCracken

TENOR SAXOPHONE
Daniel Maibaum
Laurie McIlvenna
Jeremiah Oconer
Kaelyn Willingham
 
BARITONE SAXOPHONE
Gabriella Reyes
Adam Shand

BASSOON
Sarah Khoury

TRUMPET
Megan Barnes
Günther Beall
Mallory Cooper
Noah Cothern
Andrew Duffy
Noah Hollyfield
Sam Howard
Lauren Klenk
Tyler Kotaka
Katlyn Lenduay
Mitch Lyons
Eric McPherson
Alex Merrill
Elizabeth Morris
Jordan Murray
Josh Oconer
Megan Quinlan
Jacob Ryan
Spencer Topper
Jeff Turner
Derek Walker
Scott Weber
Adam Verbsky

HORN
Maren Beall
Kaitey Chervenak
Anessa DeMers
Noah Feingold
Geneviève Gray
Nik Henderson
Jillian Horan
Clark Hou
Maycee Hurd
Erica Justice
Spencer Litzenberger
Hayden Riley

TROMBONE
Chris Beard
Hannah Crosby
Nash Crosby
Andy Hack
Ethan Hardy
Melody Harrell
Thomas Henry
Jeremy Kendle
Matt Kolke
T. Joseph Nash
Johnnie Zappitelli

BASS TROMBONE
Antwan Tate

EUPHONIUM
John Christman
Carmen Greiner

TUBA
Michael Fiorita
Sean McGivern
Jacob Olivera
Dominic Polemeni-McGovern

PERCUSSION
Todd Andersen
Erin Jackson
Josh Mitchell
Ethan Ours

The Ohio State University Collegiate Winds

Phillip A. Day, conductor

Spring 2019
 
PICCOLO
Noah Breitenbecher ^

FLUTE
Liliana Carpenter *
Anu Timple
Noah Breitenbecher ^
Maren Primm
Anna Chen

OBOE
Heidi Bowles *
Lorien Parkinson ^

ENGLISH HORN
Heidi Bowles *

BASSOON
Jonathan Leopold

CLARINET
Lilli Daniels *
Joshua Guesman
Brooke Dixon
Zach Baruch

BASS CLARINET
Sarah Bon

ALTO SAXOPHONE
Kyle DeBry ^ *
Lauren Walker
Megan Matheny
Mollie Hess
Hayley Svensson

TENOR SAXOPHONE
James Pitts

BARITONE SAXOPHONE
Phillip Fishbein

TRUMPET
Chris Becker ^ *
Noah Bungart
Jamie Bossenbroek
Ruth Bonnice
Joey Caley
Sam Nusbaum
Jake Jordan
Shaylin Adams

HORN
Gina Santi *
Kerry Kole
Noah Thomas
David Evert
Lauren Haack
Audrey Watkins
Josh Miller

TROMBONE
Joe Mertz *
Joel Robinson
Jeffrey Horowitz
Colleen Conard
Jason Weber
Brad Myers
Kenzie Christlieb

EUPHONIUM
Carter Bivens *
Andrew Scott

TUBA
Ryan Burdick *
Avery Voress
Ethan Kowalski
Macie Bement
Noah Jockett

PERCUSSION
(in alphabetical order)
Nick Berkebile
Phillip Betts
Sean Demko
Carly Middleton
Casey Rupright *
Kenny So
Sabrina Sowa

* section leader
^ board member

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Band Department Personnel