Hodgson Wind Ensemble

has served on the Board of the ICE (Inter- Program Notes national Contemporary Ensemble), the The Hodgson Board of Trustees of The American Society (Born 1964) for the Royal Academy of Music, and the Wind Ensemble Eastman School of Music’s National Coun- Magneticfireflies (2002) cil. Thomas is currently a member of the Advisory Committee of the Alice M. Dit- From 1997 through 2007, Augusta Read son Fund and the Conseil Musical de la Tuesday Thomas was the longest-serving Mead Foundation Prince Pierre de Monaco. Composer-in-Residence with the Chicago April 4 2017 • 8:00 p.m. Symphony . This residency cul- Thomas describes Magneticfireflies as a minated in the premiere of Astral Canticle, piece that is “very rhapsodic, lyrical, rich, one of two finalists for the 2007 Pulit- and majestic, but also quite playful.” In the zer Prize in Music. During her residency, score, she writes, “One of the main inten- Thomas not only premiered nine com- tions of this music is the juxtaposition be- Cynthia Johnston Turner missioned orchestral works, but was also tween stark, bold, individual colors, such conductor central in establishing the thriving Music- as a loud solo , Mahler-style, with a guest conductorJaclyn L. Hartenberger NOW series, through which she commis- completely blended timbre, Debussy-style.” sioned and programmed the work of many – Program Note by Jonathan Poquette trumpetBrandon Craswell living composers. Matthew Sadowski Thomas studied composition with Oli- Peter van Zandt Lane (Born 1985) graduate conductor ver Knussen at Tanglewood (1986, 1987, 1989); Jacob Druckman at Yale Univer- Beacons (2017) sity (1988); Alan Stout and Bill Karlins at PROGRAM Northwestern University (1983-1987); and Peter Van Zandt Lane’s music has been at the Royal Academy of Music in Lon- praised by critics for its “depth, character, Thomas Magneticfireflies (2002) don (1989). She was a Junior Fellow in the and pleasing complexity” (Boston Musical Matthew Sadowski, Graduate Conductor Society of Fellows at Harvard University Intelligencer), and has been recognized for (1991-1994) and a Bunting Fellow at Rad- its “appeal to musicians and audiences, no matter their personal musical aesthetic” Lane Beacons ( 2017 ) cliffe College (1990-1991). She is Universi- ty Professor (one of six University Profes- (Asymmetry Music Magazine). He com- Daybeacon sors) at The University of Chicago. Thomas poses for chamber ensembles, band, and Relays Orbital Lights Polaris Honeycomb Instructions for Audience When prompted to, follow the instructions below: Titlebaum And It Happened . . . (2014) Brandon Craswell, Trumpet 1. If your data connection on your web-enabled device (smartphone, tablet, laptop, etc.) is strong, please disable Wi-Fi and use your data connection. (Note: this will only use about 5MB of mobile data). If your data connection is weak or seems inconsistent, Brookshire Honeycomb (2016) enable Wi-Fi and use an available Wi-Fi network. The use of a data connection is Jaclyn L. Hartenberger, Guest Conductor preferred if possible. 2. Enable volume on your device, then disable Auto-Lock. (1993) Nelson Passacaglia (Homage on B-A-C-H) 3. In your internet browser: (1) go to synkrotakt.com/live (2) in order: select your row, then seat number, and then device type from each drop down menu, then press “Submit” (3) when the new page loads, press “Ready.” After the concert, please visit synkrotakt.com/survey to help us improve this experience. HODGSON CONCERT HALL 4 Performance UGA April 2017 5 Hodgson Wind Ensemble orchestra, and he often integrates live elec- in the piece, to the professionals imi- ‘Polaris’ seeks to capture the radiance where he earned a B.M. in Saxophone Per- tronics into his concert music. Tapping into tating the students later in the piece. of the North Star in a dark sky, freely formance, and the Performer’s Certificate a visceral sense of rhythm and momentum, This decision to empower the young- pulling together moments from each in 1991. He also completed graduate stud- Lane’s works traverse the space between er players was very much rooted in of the first three movements. ies at Eastman, receiving his M.M. in Jazz the organic and the mechanical, combin- my own creative development at the and Contemporary Media/Writing Skills in ing an eclectic range of both classical and time: I was reconnecting with much Beacons was composed for Cyn- 1992, and did additional study in composi- vernacular influences with a polyamorous of the wind ensemble music that in- thia Johnston Turner (to whom the tion at the Oregon Bach Festival Composi- harmonic language. His recent full-length spired me to take up composition as a piece is dedicated) and the Hodgson tion Symposium, the Aspen Music School, ballet, HackPolitik, explores the unique top- teenager and trying to connect it with Wind Ensemble at the University of and the BMI Jazz Composers Workshop. ic of cyber-dissidence through live music, what I felt was becoming my own id- Georgia, for the College Band Direc- dance, and electronics. Bringing contempo- iosyncratic compositional voice. Af- tors National Association (CBDNA) The composer writes the following: rary music and dance into the cross-section ter the premiere in 2011, I had hoped 2017 National Conference in Kansas of art, technology, and politics, HackPolitik I might someday be able to use the City, Missouri, hosted by the UMKC The title And It Happened . . . is a was featured on BBC Radio, Boston Maga- material in a piece for wind ensemble, Conservatory. shortened version of the line “. . . and it happened to me,” the final line zine, and Forbes (among other press outlets but it sat unfinished on my desk for – Program Note by Jonathan Poquette that rarely touch contemporary music), and five years. When Cynthia Johnston of It Could Happen to You, a classic was hailed by critics as “angular, jarring, Turner asked for a new work, I decid- standard from the Great American Songbook. This song provides the and sophisticated . . . very compelling . . . ed it would be a perfect opportunity Mike Titlebaum (Born 1968) Ballet needs live music, and this one offered to expand the piece and connect it to harmonic framework on which the it at the highest level.” (Boston Musical Intel- the medium that inspired much of it. And It Happened . . . (2014) piece is based. ligencer). The New York premiere ofHack - The first three movements, ‘Daybea- It is divided into six sections, each Politik was The New York Times Critic’s Pick, con,’ ‘Relays,’ and ‘Orbital Lights,’ were During daytime hours, Mike Titlebaum di- rects the jazz studies program at the Ithaca of which is dedicated to a legend- praised as “refreshingly relevant.” each reimagined to take advantage ary trumpet soloist. ‘Louis’ is writ- of the range of sound offered by the College School of Music in the Finger Lakes Lane holds composition degrees from region of central New York State. He teaches ten to honor New Orleans-born larger ensemble. I composed ‘Polaris’ Louis Armstrong, who was world- Brandeis University and the University of to be an extra movement (not in the jazz saxophone, arranging, improvisation, Miami Frost School of Music, where he theory, and directs the hard-swinging Itha- renowned for his gravelly singing as original version) at the recommenda- well as his virtuosic trumpet play- studied composition with Melinda Wag- tion of several friends and mentors ca College Jazz Ensemble, a position he has ner, Eric Chasalow, , and held since 2008. ing. The soprano saxophone serves who said the piece was in dire need as a secondary soloist in this section, Lansing McLoskey. He teaches composi- of a finale. tion, electronic music, and counterpoint Prior to teaching at Ithaca College, Title- in honor of Sidney Bechet, another at the University of Georgia Hugh Hodg- While the piece is not narratively baum lived in the greater New York City New Orleans-based jazz musician son School of Music, where he is Assistant programmatic, each movement was area where he played at musical venues who ‘battled’ Louis Armstrong in Professor of Composition and Director of inspired by images I associate with such as the Blue Note, Smalls, Augies, Fez/ performances and recording sessions the Roger and Phyllis Dancz Center for different types of beacons. ‘Daybea- Time Café, and the legendary CBGB, as on several occasions. well as the pit orchestra of the Broadway New Music. con’ imagines choppy waters, as we The compositionIn a Mist, written hear the main theme submerged and musical Cats. His interest in educating mu- Regarding Beacons, the composer writes: sicians of all ages has brought Titlebaum to by Iowa-born cornetist Bix Beider- shifting. ‘Relays’ is associated with becke, inspired the second section relay beacons, passing rhythms and schools and universities across the country Beacons began as a re-working and ex- where he has done numerous lectures, clin- of the piece. Even though alcohol- phrase fragments in paths around the ism brought his life to an early end, pansion of a piece composed in 2011 ensemble. ‘Orbital Lights’ is inspired ics, and performances, as well as directed for Dinosaur Annex Music Ensemble honors jazz ensembles. He has been on the a tragic story that has been repeated by an imaginary lighthouse scenario: by many subsequent jazz musicians, (a contemporary chamber ensemble a beam of light, slowly revolving faculty of Florida A&M University in Tal- based in Boston), premiered as a lahassee and the Eastman School of Mu- thousands of later jazz musicians chord progression (led by the piano, were inspired by his cool, emotion- side-by-side performance between harp, and guitars), one-by-one il- sic, created the jazz track at the American professional players and advanced Festival for the Arts in Houston, and has ally detached approach to playing luminate faint, shimmering textures cornet. On several of his recordings, high school students. In its original underneath a placid surface. These taught a wide variety of musical topics at chamber form, I was interested in multiple schools in the New York City area. the joyous bass saxophone playing of textures become more or less clear Adrian Rollini can be heard, which is using imitation to gradually shift the upon each rotation, but softly disap- Titlebaum grew up in Rochester, NY, and why bass saxophone is also featured ‘who is following whom’ from the stu- pear as the projected light passes by. dents imitating the professionals early attended the Eastman School of Music in this part of the piece.

6 Performance UGA April 2017 7 Hodgson Wind Ensemble

John Birks ‘Dizzy’ Gillespie was one Cody Brookshire (Born 1985) such a piece converged with my ap- Ron Nelson (Born 1929) of the most appealing figures in the preciation for the industry of music history of American popular mu- Honeycomb (2016) schools, ensemble dynamics, and Passacaglia (Homage on B-A-C-H) (1993) sic. His fiery playing (along with his Cody Brookshire’s music has been per- shared experiences, as I was given the puffed-out cheeks and upward-slant- formed at events and venues including the opportunity to compose a new work ing trumpet bell) was immediately for performance at the Hugh Hodg- After earning all three music degrees from New York City Electroacoustic Music Fes- the Eastman School of music by the age of recognizable to the American public; tival, SEAMUS National Conferences, the son School of Music’s Fall 2016 Open- he even made a guest star appear- ing Convocation. Cynthia Johns- twenty-eight, Ron Nelson joined the fac- Ammerman Center for Arts and Technol- ulty of Brown University in 1956, served ance on The Muppet Show. Bebop, ogy Symposium in Connecticut, the Oh, ton Turner conducted the premiere the strand of jazz he created with alto of the chamber version of Honey- as Chairman of the Department of Music My Ears! Marathon Concert in Arizona, the from 1963 to 1973, and was named Pro- saxophonist Charlie Parker, provides Institut D’Estudis Nord-Americans in Bar- comb for chamber orchestra and the melodic and rhythmic fireworks electronics, while some of my dearest fessor Emeritus in 1993. Throughout his celona, the Audiograft Festival of Contem- compositional career, Nelson has contrib- for this third section. porary Experimental Music and Sound Art friends and the school’s best musi- cians performed. After the premiere, uted greatly to the wind band repertoire ‘Miles’ refers to the enigmatic trum- in Oxford, the Guangzhou Grand Theater with works such as Rocky Point Holiday in China, and the Freedom on My Doorstep Turner commissioned a new version peter/bandleader Miles Davis. His of Honeycomb for the University of (1969), Resonances I (1990), and Courtly album Birth of the Cool has inspired installation project at the Wiltshire Heritage Airs and Dances (1995). Museum in England. He has composed for Georgia’s Hodgson Wind Ensemble several generations of jazz writers to be performed at the 2017 CBDNA and worked with groups such as So Percus- Nelson was commissioned to write Passa- and players. The smooth sound of National Conference in Kansas City, sion, Great Noise Ensemble, the Athens caglia (Homage on B-A-C-H) by the United Gerry Mulligan’s baritone saxophone Missouri, under the baton of Jaclyn Guitar Duo, Chamber Cartel, Terminus States Air Force Band, Eta-Omicron Chap- is featured prominently throughout Hartenberger. the record, and is also heard playing Ensemble, MOD[ular] Ensemble, Lin- ter of Phi Mu Alpha Sinfonia, and the Uni- solos in this fourth movement. eage Percussion, the University of Georgia In Honeycomb, pointillistic textures versity of Cincinnati College-Conservatory Saxophone Studio, the University of North from live instruments align with au- of Music Wind Studies Department to cel- Clifford Brown is a favorite role model Georgia Patriot Choir, and the University of dio from audience members’ smart- ebrate the one-hundred-and-twenty-fifth of many modern trumpet players. He North Georgia String Orchestra. phones, tablets, or laptops, creating anniversary of The University of Cincinnati was universally admired in jazz for College-Conservatory of Music in 1993. About Honeycomb, the composer writes: an immersive aural environment as being a sweet and kind person, traits the many devices throughout the The piece is a set of continuous variations in moderately-slow triple meter built on an which came through clearly in his glo- As my time at the University of Geor- crowd play different segments of eight-measure melody (basso ostinato) that rious trumpet playing. He recorded gia’s Hugh Hodgson School of Mu- staccato-laden music. At times, the is repeated, in various registers, twenty-sev- several albums with tenor saxophonist sic draws to a close, I have thought sound of the hall is, quite literally, en times. It is a seamless series of tableaux Sonny Rollins, which is why the trum- much about and appreciated the honeycombed with separate parts which move from darkness to light. pet soloist interacts nimbly with the sense of industry in music schools, of a moto perpetuo sixteenth-note tenor saxophone in this movement. ostinato that are spread variably the dynamics of ensembles in gen- Written in homage to J. S. Bach, it utiliz- throughout the crowd. At some eral, and shared experiences among es the melodic motive represented by his ‘Frank,’ the final section of the piece, points, music hockets from the live a large group of people. At the same name in German nomenclature: B-flat, is written for professor Frank Cam- instruments on stage to the audi- time, myself along with a few other A, C, and B-natural. Bach introduced his pos, the person for whom the entire ence devices and back for antipho- tech-savvy musicians created a new motive in his unfinished Art of Fugue, the work is composed. Frank is uniquely nal call-and-response effects, while audio streaming technology called textures of which are paraphrased (in an suited to perform a piece like this, at other times webs of glissandi in- SynkroTakt, which synchronizes eight-tone scale) in the third, fourth, and which asks him to channel these teract with glissandi from the stage. the playback of different audio tracks fifth variations. The famous melody from classic trumpet voices from the past With this work, I wanted to make across multiple web-enabled de- Bach’s Passacaglia in C Minor appears once into a contemporary piece. There- each musician’s part, as well as the vices. Having written two chamber (also altered) in variation twenty-two. In fore, in this final movement, Frank music coming out of each audience pieces utilizing this technology with 1993, the piece made history by being the gets to show off his own beautiful, member’s phone, just one unit of the devices of audience members as first work to win all three major wind band distinctive voice on the instrument. something bigger and greater when part of the performance, I was eager composition awards: the National Asso- [Tonight, we are privileged to hear all the separate components come to share this technology and aural ciation Prize, the American Bandmasters ‘Brandon.’] together. experience with a larger crowd by Association Ostwald Prize, and the Sudler And it happened . . . to us! writing an electroacoustic piece for a – Program Note by Bradley J. Esau International Prize. bigger ensemble. My desire to write – Program Note by Matthew Sadowski – Program Note by Jonathan Poquette

8 Performance UGA April 2017 9 Hodgson Wind Ensemble

from the University of North Texas (B.S. Matthew Sadowski is a second-year doc- About the Artists in Music Education) and The University of toral conducting student at the University Texas at Austin (M.M. and D.M.A. in con- of Georgia. As a teaching assistant in the Cynthia Johnston Turner ducting). Her career began as a middle and band department, he works closely with , Director of high school band director in the Dallas/ faculty and students in the university con- Bands and Professor of Music at the Hodg- Fort Worth Metroplex area. Her profes- cert ensembles, athletic bands, and con- son School of Music, has appeared as a con- sional affiliations include the College Band ducting courses. Sadowski holds a Master ductor, conducting and ensemble clinician, Directors National Association, the Geor- of Music degree in wind conducting from and speaker in the United States, Canada, gia Music Educators Association, and the Ithaca College (2015), where he also was Australia, Latin America, and Europe. Pri- National Association for Music Education. a teaching assistant, and studied with or to her appointment at the University Stephen Peterson and Jeffery Meyer. In of Georgia, she was Director of Wind En- Brandon Craswell 2007, Sadowski received the Bachelor of sembles at Cornell University. Earlier in holds undergraduate and numerous state honor bands. Turner and graduate degrees in trumpet perfor- Music degree in music education from her career, Turner was a high school music serves as a board member of the World As- Michigan State University. educator, taught middle school beginning mance from Indiana University, and a Doc- sociation for Symphonic Bands and Ensem- tor of Musical Arts degree from the Univer- instrumental music in Toronto, and choral bles (WASBE) and is an active member of Between 2008 and 2013, Sadowski directed music in Switzerland. sity of Kentucky. Currently, he is Associate College Band Directors National Associa- Professor of Trumpet at University of Geor- high school band programs in Newport and Beaverton, OR, and Federal Way, WA. A Canadian, Turner completed her Bach- tion (CBDNA), Conductors Guild, College gia, in Athens, GA, where he teaches and Music Society, Humanities Education and maintains an active performance schedule. During this time, he increased the size and elor of Music and Bachelor of Education strength of the band programs, taught AP degrees at Queens University, her Master Research Association, the National Asso- ciation for Music Education, and National In demand as an orchestral musician, he Music Theory, and was a founding mem- of Music in music education and conduct- ber of the Beaverton Friends of Music. He ing at the University of Victoria, and her Band Association. has played with the Atlanta, Charleston, Indianapolis, Jacksonville, and Honolulu performed on euphonium for three seasons D.M.A. at the Eastman School of Music. As Director of Bands and Professor of Mu- with the Southwest Washington Wind Sym- At Eastman, she was the recipient of the symphonies, including a performance at sic at the Hodgson School of Music, Turner Carnegie Hall with the Atlanta Sympho- phony in Camas, WA. prestigious teaching award in conducting. conducts the Hodgson Wind Ensemble, She received the National Leadership in ny Orchestra. In the summer of 2010, he teaches conducting, leads the M.M. and played principal trumpet with the Santiago, For the past three summers, Sadowski has Education Award (Canada), the Excellence D.M.A. programs in conducting, and over- taught conducting and music theory at the in Education Award (Ontario Second- Chile Philharmonic. He was also a member sees the entire UGA band program. of the Civic Orchestra of Chicago for two Ithaca College Summer Music Academy. ary School Teachers Federation), and the He was a Resident Advisor for two years, Marion Drysdale Leadership Award (also seasons, working with Adolph Herseth, for- Jaclyn Hartenberger is the Conductor mer principal trumpet of the Chicago Sym- and most recently served as the Wind Divi- from OSSTF). She is also the recipient of sion Program Coordinator. He was invited the Donald A. Reick Memorial Award for for the UGA Wind Symphony, Associate phony Orchestra for over fifty years. Director of Bands, and Assistant Profes- to conduct at the 2015 Frederick Fennell research with wearable technologies and Adept at both classical and jazz, Craswell Memorial Conducting Masterclass at the music pedagogy. sor of Music at the University of Geor- gia’s Hugh Hodgson School of Music spent a year playing trumpet on the North Eastman School of Music, and appeared as (HHSOM). She also conducts for UGA’s American tour of the Broadway musi- a guest conductor with the Auburn Cham- Turner has commissioned numerous new ber Orchestra in Auburn, NY. works for wind band and orchestra, and MOD[ular] ensemble, which is comprised cal 42nd Street. An International Trumpet Guild prize winner, Craswell has been a she continues to promote commissions by of faculty from the HHSOM, and teaches In addition to music, Sadowski enjoys be- today’s leading and emerging composers undergraduate and graduate conducting. featured soloist at numerous international festivals, including the Aspen Music Festi- ing outdoors, staying active, and traveling. around the world. Her national conducting activities include Recent trips include Santa Barbara, CA; Vir- appearances with the West Point Band, the val, the International Trumpet Guild Con- ference, and the International Romantic ginia Beach, VA; and Copper Mountain, CO. Among other recent engagements, Turner Concordia Santa Fe Winds, and various He also traveled with the Hodgson Wind has guest conducted the National Youth regional and district honor bands. Her in- Trumpet Festival in St. Petersburg, Russia. He has also shared the stage with pianist Ensemble to Panama in January 2016 for Wind Ensemble of Great Britain, the Syra- ternational conducting appearances span their service-learning tour. He is a member cuse Symphony (“Symphoria”), the National the Czech Republic, Brazil, and Italy. In Olga Kern and the National Gallery of Art Chamber Orchestra. Aside from perform- of the College Band Directors National As- Youth Band of Canada, Concordia Santa Fe, 2014, Hartenberger created UGA’s annual sociation (CBDNA), the World Association the Ithaca College Wind Ensemble, the East- Study Abroad Program for undergradu- ing throughout the United States, Craswell has performed and taught in Argentina, of Symphonic Bands and Ensembles (WAS- man Wind Ensemble, the Latin American ate conductors. In 2015, she was chosen BE), the National Association for Music Honor Band, the National Band of Costa to be a distinguished Lilly Teaching Fel- Austria, Brazil, Chile, Germany, Italy, Ke- nya, and Russia. Education (NAfME), and Pi Kappa Lambda Rica, the National Orchestra of Heredia, low at UGA. Hartenberger holds degrees National Music Honor Society (PKL).

10 Performance UGA April 2017 11 The Hodgson Wind Ensemble directorCynthia Johnston Turner graduate assistantBradley Esau graduate assistantJonathan Poquette graduate assistantMatthew Sadowski

Flute Saxophone Clare Nunley Rick Firestone Duncan Lord Lindy Thompson Caroline Halleck Paul Nelson Emily Zirlin Joe Lyons Callan Russell Shawna Pennock Andrew Taylor Charles Young Cassidy Brown Euphonium William Jones Horn Eric Dluzniewski Rémy Kepler Nathan Dial Timothy Morris Chris Miertschin Murphy Pulliam Pedro Alliprandini Peter Riggs Nick Beltchev Connor Croasmun Andrew Sehmann Kyle Grabigel Berek Ha Jacob Weinstein Sarah Willoughby Ivan Hernandez Percussion Dylan Horne Levi Cull Maggie Watts Trumpet Emily Johnson Yanbin Chen Taylor Lents Tyler Jesko Nick Martinez Mia Cellino Tyler Jones Wesley Sumpter Kristen Cooke Michael Meo Nathan Tingler Carlee Woodring Joseph Reid Lillie Smith PIANO Yuxin Ni

All players rotate in their sections.

12 Performance UGA April 2017 13