PROGRAM Strongsville High School Wind Ensemble Personnel (* Denotes Section Leader)

Strongsville High School Wind Ensemble Brian King, director Flutes Horn Trombone Jubilant Overture Alfred Reed *Hannah Fuller *Mackenzie Cone *Alex Scott (1921-2005) Aubrey Powell Henry Joniak Ethan Meyer Victoria Palmer Michael Trepke Adrianna Williams

Danielle Woldford On a Hymnsong of Philip Bliss David R. Holsinger Elena David Alto Saxophone Euphonium (b. 1945) Rachel Charron *Giorgio Dunshaw *Kevin Whitbred Daniel Park Joseph Wilson Oboe Jaclyn Karpinsky His Excellency Henry Filmore *Jaydin Zurowski Taylor Witherspoon Tuba (1881-1956) Bryan Hickman Clarinet Tenor Saxophone Ryan Blados

*Zoe Zylstra *Victoria Rasnick Irene Chan Jacob Cook Percussion

Megan Uline *Matt Fragapane Kayla Reinhart Baritone Saxophone Bobby Foley Symphonic Wind Ensemble Brendan Caldwell, conductor David Greaves *Ethan Blazetic Max Kalinowski Aurora Wakes John Mackey Viktoria Kovalenko Brendan Reinhart (b. 1973) Trumpet Ryan Boos Bass Clarinet *Dylan Hyun *Dylan Eshbaugh Ethan Hartman Charles Williams IV Bassoon David Wyler Carnival of Venice Jean-Baptiste Arban *Ellie Zaucha Vince Vesei (1825-1889) Aleah Hedinger

Diane Castner Martin Cochran, euphonium soloist

Symphonic Metamorphosis Paul Hindemith On Themes of Carl Maria von Weber (1895-1963) I. Allegro II. Scherzo (Turandot) III. Andantino IV. March

Symphonic Wind Ensemble Personnel (Listed alphabetically) The Strongsville High School Wind Ensemble is the top auditioned concert band out of three at the high school. Students receive honors credit for their Flute Alto Saxophone Tuba participation in this ensemble. Recent performances of note include The Ohio Olivia Caraccio Justin Ohler Kyle Burr Band Directors Conference, The University of Akron Band Clinic, a Gwenaelle Chevillard Steven Zeleznik Ryan Vaughn performance at the Northeast Ohio Band Invitational at Severance Hall, and Emily Forester the Madison Avenue Atrium in Manhattan, , The bands Evan Fraser Tenor Saxophone Bass consistently earn superior ratings at OMEA State competitions. The Marching Angela Knick Michael Atkinson Grace Cooper Mustangs have a long tradition of being one of the most visible bands in Genevieve Kramer Noah Steele Northeast Ohio. The band has performed at numerous professional sporting Katie Sharp Barintone Saxophone events including collaborations with the Cavs, Indians, and Browns. The band Quinten Harkness Timpani has also performed in the Macy’s Day Parade, Hollywood Christmas Parade, Oboe Nicholas Urbanic and numerous Bowl Games around the country including The Citrus Bowl, The Zoë Sarganis Horn Orange Bowl, and has the distinction of being one of the few bands in Ohio to Archie Sickels Payton Cole Percussion appear in The Rose Bowl two times. Katie Winkler Justin McMullen Steven Chauvette David Peita Alexander Drews English Horn Blaine Schultice Nancy Guzman Dr. Martin Cochran enjoys an active career as a soloist, teacher, clinician, and Archie Sickels Trisha Hardner adjudicator. He has appeared as a soloist with the Army Trumpet Emily Kulinowski Orchestra, the University of Wisconsin-Stevens Point Symphonic Band, the Clarinet Leonardo Capone University of Alabama Wind Ensemble, and the Georgia Brass Band. He has Abby Bilson Matthew Maloney Piano presented recitals and masterclasses at the International Tuba-Euphonium Andrew Buckley Katie Malquest Daixuan Ai Conference, the International Euphonium-Tuba Festival, the U.S. Army Band Christopher Chang Kyle Perisutti Tuba-Euphonium Conference, and numerous regional ITEA conferences. Emily Ewing Adrian Scoccia Administrative Personel Hunter Duseau Dr. Cochran has been successful in competitions both as a soloist and Justin O'Toole Trombone Assistant to Dr. Caldwell chamber musician. He is a former winner of the prestigious Leonard Falcone Peter Varga Tess Clayton Blaine Schultice International Euphonium Competition. He is also a former winner of the Christopher Nadar International Tuba-Euphonium Conference Solo Competition, Mock Service Bass Clarinet Brian Pattison Librarian Band Competition, and Tuba Quartet Competition as a member of the Abby Bilson Michael Peebles Brendan Loeb University of Alabama Tuba Quartet. Dr. Cochran served as principal euphonium with the Georgia Brass Band and has toured with the Sotto Voce Contrabass Clarinet Bass Trombone Stage Crew Quartet and as a member of the UAB Faculty Brass Quintet. He has also Hunter Duseau Brendan Loeb Brian Pattison, manager performed on tenor tuba with the Alabama Symphony Orchestra, the Abby Bilson Tuscaloosa Symphony Orchestra, and the Mobile Symphony Orchestra. As a Bassoon Euphonium Leonardo Capone conductor, Dr. Cochran has also served as Director of the University of Katie Kovacs Tyler Kowal Quinten Harkness Montevallo Wind Ensemble, Assistant Conductor of the University of Alabama Rachel Hagemeier '19 Luke Warkall Katie Malquest Wind Ensemble and the University of Wisconsin-Milwaukee Symphony Band Sarah Strarsinger '19 and Youth Wind Ensemble Program. Promotional Poster Art Ashley Platt Dr. Cochran has served on the faculties at Columbus State University, the University of Alabama-Birmingham, Kennesaw State University, Alabama State University, the University of Montevallo, and the University of West BIOGRAPHIES Georgia. He holds a DMA in performance from the University of Alabama, a MM in conducting from the University of Wisconsin-Milwaukee, and a BME Caldwell is in wide demand as a speaker. His talks have included keynote from Louisiana State University. His primary teachers include Mike Dunn, addresses at university-wide symposia on teaching and learning, national and Alan Baer, and Larry Campbell, and conducting with Thomas Dvorak and international conferences on education in the arts, spiritual gatherings with a Gerald Welker. Dr. Cochran is an artist/clinician for Adams Musical wide variety of faith-based groups and countless forums on music education. Instruments. His speeches help the audience to awaken from the illusion of separateness through the healing power of perception.

Brian King is beginning his fourteenth year teaching and has been the Director Caldwell annually runs two experiential seminars titled "The Buddha and of Bands at Strongsville City Schools since 2014. Mr. King teaches the high Bruce Springsteen," a seminar designed for a general audience, and "The schools three concert bands, two jazz bands, pep band, marching band, Conscious Conductor," a seminar designed for musicians. If interested, please adaptive music, music theory, and music appreciation. Mr. King holds a contact him directly for more details. Master of Music Degree in Music Performance and a Bachelor of Music Education Degree from The University of Akron. Mr. King has been an active Before arriving in Cleveland, Caldwell served as director of bands at the bassist/tubist performer for many years has been a member of the Walt University of Wisconsin – Stevens Point (UWSP) from 2006 until 2014. In this Disney College All-Star Bands in Florida, and Euro-Disney in , , and role, he oversaw the band area and conducted the UWSP wind ensemble and was an employee of Royal Caribbean Cruise Lines for several years as a concert band. He also taught classes in conducting, music education and bassist/tubist. He has performed with many well-known musical groups directed the instrumental UWSP apprentice conducting program. Caldwell including The Akron Symphony, The Cleveland Jazz Orchestra, The Drifters, was also the founder and administrator of The Perception Project and the The Coasters, and Broadway Tours including , and The Drowsy UWSP Courtyard Connections Forum, a lecture series modeled after the TED Chaperone at Playhouse Square. Talks in which audiences gathered once a semester to "awaken from the illusion of separateness" through presentations which discussed various areas of passion and scholarship. Through exploring seemingly disparate topics in a Dr. Brendan Caldwell is associate professor of conducting and director of profound manner, audiences were encouraged to seek connections with their wind ensembles at the Baldwin Wallace Conservatory of Music. In this role, own discipline, personal life and each other. he conducts the symphonic wind ensemble and the symphonic band. In addition, Caldwell teaches courses on conducting and a seminar titled "The Caldwell also taught at the University of Dayton from 2002 to 2004. From Buddha and Bruce Springsteen." 1996–2000, he was the director of bands at Robert E. Lee High School in Baton Rouge, Louisiana. Through a vision for artistic process deeply rooted in collaboration, Caldwell regularly forms unique partnerships with the ensemble, soloist, composer and Caldwell's degrees are from Louisiana State University, the University of audience members with the shared goal of seeking to reimagine the concert- Colorado and the University of Minnesota. going experience. Past collaborations have included Dame Evelyn Glennie, George Crumb, Frank Ticheli, Bud Beyer, Marianne Ploger, Charles Rochester Young, Gro Sandvik, Velvet Brown, Graham Breedlove, Wesley Anderson and Nancy Ambrose King.

Caldwell's research and scholarship explore personal and musical transformation through the spiritual practice of mindful listening. His vision for performance and listening is deeply rooted in communal mindfulness. In 2013, he released a CD on mindful listening titled "Gypsy Radio and the Rock PROGRAM NOTES and Roll Consecration." As an accompanying document, Caldwell also wrote a book titled "The Buddha and Bruce Springsteen." A Jubilant Overture was dedicated to Fred Baetge and the Sam Rayburn High School Band of Pasadena, Texas. Written in the spring of 1969, the work has no program or descriptive basis of any kind except, possibly, the natural As a postscript, Bliss’ trunk was salvaged from the wreckage, and in it, ebullience of young spirits in springtime, the loveliest time of the year. evangelist D.W. Whittle found an unfinished hymn, which began, “I know not what awaits me, God kindly veils my eyes….” The music is cast in the traditional three-part overture form, beginning with the rousing Allegro con brio statement of three related themes in quick succession (from which the entire work is constructed). A broad, singing His Excellency middle section (also derived from one of the opening themes) follows, and Henry Fillmore’s family owned The Fillmore Bros. Co., a music publishing firm the music then returns to its original tempo and mood, plunging on to a in Cincinnati, Ohio, which published religious music. The outgoing, brilliant coda in which the tonalities of D major and B flat major are juxtaposed adventuresome Henry was more interested in the trombone than in religious and combined before a triumphal ending in the key of B flat major. music, and three different times he ran away from home, joining the circus and playing his trombone. After Henry got married and returned home to write music and work at the publishing firm, it was several years before his On a Hymnsong of Philip Bliss father actually allowed him to write and publish secular music with his own Horatio G. Spafford, a Chicago Presbyterian layman, and successful name as the composer. businessman planned a European trip for his family in 1873. In November of that year, due to unexpected last-minute business developments, he had to In 1907, Henry celebrated his new musical and professional freedom by remain in Chicago; but he sent his wife and four daughters on ahead as writing one of the greatest circus marches The Circus Bee. In 1908, he scheduled aboard the S.S. Ville du Havre. He expected to follow in a few days. published the first of his famous trombone “smears” Miss Trombone, and in On November 22, the ship was struck by the Lochearn, an English vessel, and 1909 he published a march, which he always considered to be one of his best. sank in twelve minutes. Several days later the survivors were finally landed at It was His Excellency, and it remains a great example of a solid, traditional , , and Mrs. Spafford cabled her husband, “Saved Alone.” Shortly American march to this day. afterward Spafford left by ship to join his bereaved wife. Following this era, Fillmore’s career and reputation flourished, and he gained It is speculated that on the sea near the area where it was thought his four fame as one of the most prolific and successful composers of marches in the daughters had drowned, Spafford penned this text with words so significantly world. Born in Cincinnati, Ohio in 1881, he died in Miami, Florida in 1956. describing his own personal grief, “When sorrows like sea billows roll….” It is noteworthy, however, that Spafford does not dwell on the theme of life’s sorrows and trials but focuses attention in the third stanza on the redemptive Aurora Awakens work of Christ. Humanly speaking, it is amazing that one could experience Aurora now had left her saffron bed, such personal tragedy and sorry as did and still be able to And beams of early light the heav'ns o'erspread, say with such convincing clarity, “it is well with my soul…”. When, from a tow'r, the queen, with wakeful eyes, Saw day point upward from the rosy skies. Hymnwriter Philip Paul Bliss was so impressed with the experience and - Virgil, The Aeneid, Book IV, Lines 584-587 expression of Spafford’s text that he shortly wrote the music for it, first published in 1876. Bliss was a prolific writer of gospel songs throughout his Aurora – the Roman goddess of the dawn – is a mythological figure frequently brief lifetime and in most cases, he wrote both the words and the music. This associated with beauty and light. Also known as Eos (her Greek analogue), hymn is one of the few exceptions. Aurora would rise each morning and stream across the sky, heralding the coming of her brother Sol, the sun. Though she is herself among the lesser There is speculation that this was the last gospel song written by Bliss. Bliss deities of Roman and Greek mythologies, her cultural influence has and his wife, Lucy, were killed in a train wreck in Ashtabula, Ohio, on persevered, most notably in the naming of the vibrant flashes of light that December 29, 1876. Most sources mention that Bliss actually escaped from occur in Arctic and Antarctic regions – the Aurora Borealis and Aurora the flames at first but was then killed when he went back into the train to try Australis. and rescue his wife. Neither body was ever found.

John Mackey’s Aurora Awakes is, thus, a piece about the heralding of the three corners.” When Arban wrote this set of variations in the early 1860s, he coming of light. Built in two substantial sections, the piece moves over the may have been inspired, as well as challenged, by Niccolo Paganini's twenty course of eleven minutes from a place of remarkable stillness to an unbridled variations for violin on the same air. The folklike melody has been attributed explosion of energy – from darkness to light, placid grey to startling rainbows to both Paganini and the German opera composer Reinhard Keiser (1674- of color. The work is almost entirely in the key of E-flat major (a choice made 1739). Arban would probably also be inspired and challenged if he could hear to create a unique effect at the work’s conclusion, as mentioned below), his "Carnival" variations played by contemporary virtuosos of the tuba, although it journeys through G-flat and F as the work progresses. Despite the euphonium, trombone, and cornet – for example, as recorded by Wynton harmonic shifts, however, the piece always maintains a – pun intended – Marsalis with Don Hunsberger and the Eastman Wind Ensemble. Tonight, it bright optimism. will be performed by soloist, Martin Cochran.

Though Mackey is known to use stylistic imitation, it is less common for him to utilize outright quotation. As such, the presence of two more-or-less direct Symphonic Metamorphosis on Themes of Carl Maria von Weber began life quotations of other musical compositions is particularly noteworthy in Aurora in early 1940, when Hindemith first took up residence in the United States Awakes. The first, which appears at the beginning of the second section, is an after several years of public and private jousting with the Nazi government of ostinato based on the familiar guitar introduction to U2’s Where The Streets his native Germany. The Nazis officially decried his music as “degenerate,” Have No Name. Though the strains of The Edge’s guitar have been though they may also have been responding to his private, but hardly secret, metamorphosed into the insistent repetitions of keyboard percussion, the expressions of revulsion regarding their policies. aesthetic is similar – a distant proclamation that grows steadily in fervor. The difference between U2’s presentation and Mackey’s, however, is that the Hindemith sketched a series of movements based on themes by Weber, to be guitar riff disappears for the majority of the song, while in Aurora Awakes, the used in a ballet for a dance company run by Léonide Massine, who had already motive persists for nearly the entirety of the remainder of the piece: collaborated with Hindemith on the ballet Nobilissima visione. The project “When I heard that song on the radio last winter, I thought it was kind of a died when Hindemith and Massine suffered one too many artistic differences, shame that he only uses that little motive almost as a throwaway bookend. provoking Hindemith to reconstruct the music into the Symphonic That's my favorite part of the song, so why not try to write an entire piece Metamorphosis on Themes of Carl Maria von Weber. The process produced a that uses that little hint of minimalism as its basis?” splashy, colorful orchestral piece of the kind that American audiences in particular seemed to like. The new piece was an immediate success when it The other quotation is a sly reference to Gustav Holst’s First Suite in E-flat for was premiered by Artur Rodzinski and the New York Philharmonic in January Military Band. The brilliant E-flat chord that closes the Chaconne of that work 1944. Symphonic Metamorphosis on Themes of Carl Maria von Weber has is orchestrated (nearly) identically as the final sonority of Aurora Awakes – remained perhaps Hindemith’s most popular work. producing an unmistakably vibrant timbre that won’t be missed by aficionados of the repertoire. This same effect was, somewhat ironically, The themes Hindemith used are from some of Weber’s most obscure works suggested by Mackey for the ending of composer Jonathan Newman’s My and came to Hindemith’s attention because they could all be found in one Hands Are a City. Mackey adds an even brighter element, however, by volume of piano duets that he owned. Hindemith not only retained all but one including instruments not in Holst’s original. of the themes almost exactly as Weber wrote them but also preserved much of the formal structure of the pieces as well, so that it is possible to follow the “That has always been one of my favorite chords because it's just so damn general outlines of Hindemith’s score while listening to Weber’s music, or vice bright. In a piece that's about the awaking of the goddess of dawn, you need versa, and have a pretty good idea of what’s going on. Hindemith alters nearly a damn bright ending -- and there was no topping Holst. Well... except to add everything else, making radical changes to the harmony and adding to the crotales.” music both vertically (with different harmonies and new countermelodies) and horizontally (extending phrases or entire sections).

Carnival of Venice has been a popular song for centuries; celebrating the long time Venecian festival, which occurs the two weeks prior to Ash Wednesday. The associated tune is sometimes tied to the lyrics that begin “My hat, it has