UNIVERSITY BAND &
SYMPHONIC BAND

Sunday, October 1, 2023

3:00 P.M. Kobacker Hall
Moore Musical Arts Center

Program

University Band
Jonathan Waters, conductor

Overture for Winds (1959) | Charles Carter

Shenandoah (1999) | Frank Ticheli
    William Lommel, conductor

Different Voices (2001) | Rick Kirby
          I. The Spoken-Dialogues
         II. Whispers
        III. The voices of Song


Symphonic Band
Kenneth Thompson, conductor

Variations on America (1891) | Charles Ives (1874-1954), trans. Schuman/Rhodes

Ships Passing (2022) | Jamie Sampson (b. 1984)                         
    *consortium premiere

Symphony In Blue and Gold (2023) | Erika Svanoe (b.1976)                                             
    *consortium premiere
          I. Blues and Fugues
         II. In Gold
        III. Waltz
        IV. Finale

FLUTE
Hannah Baran
Sarah Beckstedt
Lillianna Boots
Ash Drinkert
Kayla Fruth
Ellie Hedges
Holly Kadar
Madi Kennedy
Lindsey Kintop
Ash Murray
Evelyn Taylor
Jessica Twardesky
Hana Walchli
Rhiannon Wallace
Ella Willard

OBOE
Emily Nash

BASSOON
Kamryn Moore
Jaksyn Trimbach

CLARINET
Reagan Brothers
Lillian Fiedler
Jessica Galliers
Katy Greene
Nat Kainec
Krislynn King
Cameron Laker
Kayla Reinhart

BASS CLARINET
Elliot Kindt
Joe Boyle

ALTO SAXOPHONE
Ethan Adams
Blake Johnson
Eli Konoff
William Mason
Anna McRay
Kalee Moore
Noah Salmon
Lily Sharp
Brittney Vonalt

TENOR SAXOPHONE
Philip Alberts
Steidl Caleb
Valerie Hendon

BARITONE SAXOPHONE
Brendan Stein
Dakota Thibault

TRUMPET
Nick Adams
Matthew Emberg
Hallie Knorr
Adrienne Post
Kyle Willcox
Emma Zadzilka

FRENCH HORN
Brayden Adamisin
Matthew Bechtol
Josie Campbell
Brendan Hobe
Nicolas Payne
Jesse Wilson

TROMBONE
Eric Chico
Matthew Kane
Sam Poe
Nolan Shaffer
Gabe Switzer

EUPHONIUM
Hannah Crowe
Meg Gierula
Autumn Jackson
Kristen McClure
Zephyr McQuade

TUBA
Will Biggane
Jamie Chester
Mason Combs
Jaden Loo
Braeden Scheirer
Sierra Wood

PERCUSSION
Zion Bateman
Logan Hernandez
Sarah Hertenstein
Alex Huss
Addison Kirchenbauer-Roney
Jessica Kozik
Alex Might
Jacob Sultzman
Eleanor Wisniewski

Flute
Kaitlyn Brown, principal
Kiersten Swihart+
Amanda Reed
Ashley Busch
Eve Gross
Kylee Helmick
Elijah Ondrish

Oboe
Kathryn Swanson
Emily Brwonlee^

Bassoon
Sam Berlekamp
Alex Vickers - contra
Isabel Gracon - contra

Eb Clarinet
Drew Squire

Bb Clarinet
MacKenzie Zdrojewski*
Grace Moore
Davonte Sauer
Aubrey Zolciak
Willis McClure
Mollie Barrett
Coburn James Marino
Wyatt Deringer
Elizabeth Warner

Bass Clarinet
Jenna Ranalli
Alexia Redmond

Saxophone
Matt Reed A1
Mary Borus A2
Hannah Huddle A3
Ava Boedicker A4
Liz Laird T
Liz Sanchez B

Trumpet
Nick Forlow, oo-principal
Luke Brewster, co-principal
Sydney Nitschke
Jacob Zonner
Christian Amaya
Gabriella Stone
Elijah Hash
Jack Mantonya
Eliana Peron
Atlas Sprouse

Horn
Ellie Stover co-principal
Ash Behn co-principal
Josh Astle
Charlie Ditchman
Mitchell Hemme
Nathan McMahon
Mikinzi Pigman
Rowen Raynes

Trombone
David Franklin
Luke Bontrager
Caleb Bennett
Ruth Wodzinski
Noah Elliott
Connor Kirkner

Euphonium
Zai Johnson
Benjamin Bates
Brady Fortman

Tuba
Jonah Gilbert
Xavier Bucher
Noah White

Percussion
Elijah Kuszmaul, section leader
Jayden Hall
Mason Marquette
Anthony Douglas
Alex Minniear
Matthew Graves
Kathryn Mahoney

Piano
Hao Wu

Harp
Julie Buzzelli^


+Hansen
*Kelly
^faculty/guest artist

Overture for Winds was given its title by the publishers. This three-part overture has remained Carter’s most popular composition for band. The opening section has a theme which is robust and rhythmic in character. The second theme, slightly slower and expressive, is a free form based on the original idea. The last section is a repetition of the opening thematic ideas, building to a final climax.

-Note from Wind Band Repertory Project

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The Shenandoah Valley and the Shenandoah River are located in Virginia. The origin of the name for this river and valley is obscure. The origins of the folk song are equally obscure, but all date to the 19th century. Many variants on the melody and text have been handed down through the years with the most popular telling the story of an early settler’s love for a Native American woman. The composer writes:

In my setting of Shenandoah I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less concerned with the sound of a rolling river than with its life-affirming energy -- its timelessness. Sometimes the accompaniment flows quietly under the melody; other times it breathes alongside it. The work's mood ranges from quiet reflection, through growing optimism, to profound exaltation.

- Program Note by Frank Ticheli

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Different Voices:  Within this work, the three movements each represent several of the ways by which the human voice communicates through the actual production of sound.  Sound production becomes a vehicle of communication and thus Rick Kirby's title "Different Voices." The first and third movements do not attempt to simulate the actual sound of the human voice, but rather demonstrates the spirit by which the sound is produced.  The second movement, however, does use whispering as an actual sound made by the human voice.

Variations on "America" was originally a composition for organ. Composed in 1891 when Ives was seventeen, it is an arrangement of a traditional tune, known as My Country, 'Tis of Thee, and was at the time the de facto anthem of the United States. The tune is also widely recognized in Thomas Arne's orchestration as the British National Anthem, God Save the Queen, and in the former anthems of Russia, Switzerland, and Germany, as well as being the current national anthem of Liechtenstein and royal anthem of Norway.

The variations are a witty, irreverent piece for organ, probably typical of a “silly” teenage phenom like Ives. According to his biographers, the piece was played by Ives in organ recitals in Danbury and Brewster, New York, during the same year. At the Brewster concert, his father would not let him play the pages which included canons in two or three keys at once, because they were “unsuitable for church performance – They upset the elderly ladies and made the little boys laugh and get noisy!”

This work was transcribed for orchestra in 1964 by William Schuman and for band in 1968 by William Rhodes.

Program Note by William Rhodes

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BGSU Bands is a member of the consortium project for Jamie Leigh Sampson’s Ships Passing in celebration of the Centenary of BGSU Bands. 

When you stand next to the water on the St. Lawrence River, or on one of the five Great Lakes, you can feel an approaching ship long before you can see it. What begins as a low rumble grows to a mechanical, metallic, repetitive drone that interacts and dances with the natural sounds of the waterways. 

On rare occurrences two ships will pass each other in front of you, and when that happens at night it’s an incredibly memorable and musical experience. The container ships that make their way along the Northeast shipping routes of the United States have come from all over the world. They may interact with the natural surroundings on the waterways, but they are separate communities from those on the shore. 

These floating cities have passed me for my entire life. I frequently traveled to the St. Lawrence River as a child; I was married there while a ship passed, and I know that when I see one in Toledo, Detroit, or Chicago that it had to have passed a place I call home to get there.

Program Note by composer

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Symphony in Blue & Gold by Erica Svanoe is a symphonic jazz suite, commissioned by a group of institutions led by the University of Wisconsin–Eau Claire in honor of the 100th anniversary of the band program at the university. BGSU Bands is a member of the consortium project for this work in celebration of the Centenary of BGSU Bands.

Thanks for attending this performance. If you have enjoyed your experience, please consider donating to the College of Musical Arts in support of our students and programming. Donate online at bgsu.edu/givecma, or call Sara Zulch- Smith at 419-372-7309.

To our guests with disabilities, please indicate if you need special services, assistance or appropriate modifications to fully participate in our events by contacting Accessibility Services, access@bgsu.edu, 419-372-8495. Please notify us prior to the event.

Audience members are reminded to silence alarm watches, pagers and cellular phones before the performance. As a matter of courtesy and copyright law, no recording or unauthorized photographing is allowed. BGSU is a nonsmoking campus.

Updated: 09/18/2024 03:19PM