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UGA SYMPHONIC BAND AND

UGA WIND SYMPHONY

Monday, February 18, 2019

Hugh Hodgson Concert Hall │ 7:30 p.m.

Mike Robinson Brett Bawcum

Jaclyn Hartenberger Conductors

Anatoly Sheludyakov Guest Soloist

UNIVERSITY OF GEORGIA BANDS Brian Chaplow 250 River Road │ Athens, Georgia 30602 │ 706.542.1505 Emily Mariko Eng [email protected] │ www.bands.uga.edu Jonathan Poquette Graduate Conductors

Upcoming UGA Band Concerts

Please join us for other great ensemble performances this season! UGA Symphonic Band March 4 University and Concert Bands 7:30 p.m. Michael Robinson and Brett Bawcum, conductors March 23 UGA Wind Symphony 10:00 a.m. and March 28 Hodgson Wind Ensemble 7:30 p.m. UGA Wind Symphony April 1 UGA Jazz Band (Ramsay Hall) 5:30 p.m. Jaclyn Hartenberger, conductor April 3 7:30 p.m. April 5 UGA Symphonic Band 7:30 p.m. February 18, 2019 7:30 p.m., Hodgson Hall April 15 UGA Wind Symphony 7:30 p.m. April 19 University and Concert Bands 7:30 p.m. SYMPHONIC BAND PROGRAM April 23 Hodgson Wind Ensemble 7:30 p.m.

Norwegian March “Valdres” Johannes Hanssen (1874-1967) arr. Glenn C. Bainum Brett Bawcum, conductor

For information on upcoming concerts, please visit our website: Pageant Vincent Persichetti www.music.uga.edu (1915-1987)

Join our mailing list to receive information on all concerts and recitals: Jonathan Poquette, graduate conductor www.music.uga.edu/enewsletter Hymn of St. James Reber Clark Please direct specific inquiries about wind ensembles and concert bands to: (b. 1955) [email protected] Michael Robinson, conductor

Alleluia! Laudamus Te Alfred Reed (1921-2005)

INTERMISSION

WIND SYMPHONY PROGRAM

Procession of the Nobles Nikolai Rimsky-Korsakov (1557-1612)

trans. Erik Leidzén Brian Chaplow, graduate conductor

C ONCERT E TIQUETTE Roger Zare Mare Tranquillitatis Thank you for helping to create a positive performance environment for our students and patrons. (b. 1985) Please silence all electronic devices. We respectfully request that you refrain from flash Emily Mariko Eng, graduate conductor photography, talking, texting, or moving during the performance. Please enter and exit only during moments of applause. (program continues on next page)

(program continued)

Konzertstück Jeffrey Kaufman (b. 1947) Blake Hattaway, Warner Robins, GA Lino-Raye Saenz, Waycross, GA Anatoly Sheludyakov, piano Liz Wong, Johns Creek, GA Sam Riddle, Cleveland, TN

Lizy Hoepfinger, Woodstock, GA Seth Cope, Rossville, GA March, Op. 99 Sergei Prokofiev (1891-1953) Ruby Yoo, Suwanee, GA Noah Prince, Savannah, GA

trans. Paul Yoder Maggi Reese-Hines, Carrollton, GA Zach Griffin, Kennesaw, GA Maggie Williams, Fairview, NC

Ann Grace Brown, Cumming, GA Horn Carolyn Mundy, Alpharetta, GA Alex Merritt, Flowery Branch, GA Rylee Carfer, Austin, TX Hannah Gould, Lake City, GA PROGRAM NOTES Jennifer Grubbs, Marietta, GA Caitlin Santos, Duluth, GA Carlie Moore, Savannah, GA Varun Patel, Fayetteville, GA Campbell Cona, Athens, GA Laura Anne Beacham, McDonough, GA Norwegian March “Valdres” (1904/1963) 3’ Johannes Hanssen (1874-1967) Clarinet arr. Glenn C. Bainum (1888-1974) Elissa Harris, Marietta, GA Erik Prince, Dearing, GA

Johannes Hanssen was one of Norway's most active and influential , composers, and Harriet Mycroft, Decatur, GA Davis Clark, Watkinsville, GA teachers during the first part of the 20th century. As a double bassist, he performed with notable Brianna Duncan, Dallas, GA Will Panter, Blue Ridge, GA ensembles such as the National Theatre and the Norwegian Radio . Hannah Hankins, Charleston, SC Brandon Shook, Clarkesville, GA Jessica Lipinski, Cumming, GA The title of Hanssen’s march, Valdres, has multiple meanings. Musically, the opening tune is a Katherine Dukes, Habersham, GA bugle call from the Valdres Battalion, but geographically, Valdres is also a beautiful region in Mikala Brown, Savannah, GA Riley Bahin, Missoula, MT Norway between Oslo (Hanssen’s home region) and Bergen. Combining the bugle call with other traditional Norwegian folk music, this march became an instant favorite and remains an important Grace Cantele, Richmond Hill, GA Michael Van Wagenen, Suwanee, GA march in the wind band repertoire. Miaka Kemp, Warner Robins, GA McKenzie Turner, Winder, GA Ben Vasco, El Paso, TX Pageant (1953) 8’ Will Halloran, Roswell, GA Vincent Persichetti (1915-1987) Megan Elks, Lumberton, NC Trevor Kiefer, Marietta, GA

Vincent Persichetti was a piano and organ prodigy as young musician. A lifelong Philadelphia Emily Franklin, Chapin, SC Kolyo Vanchev, Suwanee, GA resident, he took full advantage of the city’s music institutions. At age twenty, he was simultaneously the head of the music department at Combs College, a major with Fritz Percussion Reiner at the Curtis Institute, and a piano and composition student at the Philadelphia Nick Winkles, Newnan, GA Brad Hagin, Winder, GA Conservatory. His distinctly original compositions earned international recognition before he was Lena Allen, Dallas, GA thirty. Persichetti’s skyrocketing reputation led to his appointment at the Juilliard School, where he became the chair of the composition department in 1962. He died in 1987, leaving behind a Brendan Williams, Seneca, SC unique body of work in almost every musical medium, including a number of masterpieces for the Paul DiCicco, Canton, GA William Kan, Cleveland, OH wind band. Tobias Haymes, Marietta, GA WIND SYMPHONY PERSONNEL SYMPHONIC BAND PERSONNEL

Flute Piccolo Trumpet Tuba Vicki Lu, Norcross,GA Joel Garcia, Buford, GA Caleb Colburn Amy Guzman-Reyes Bishop Bryant Nate Galerstein Sam Berman Jonathan Fuller Bassoon Myles Jones Derrick Wright, II Hymn of St. James (1984) 6’ Shannon O’Donnell Chloe Bragg Henry Browne Carrie Hazard Reber Clark (b. 1955)

Caleb Colburn John Weidner Justin Smith Reber Clark is a native of Des Moines, Iowa. He earned a Bachelor of Arts in Music Education Rebecca Smith Alto Saxophone Jared Gilstrap Todd Perry from Arkansas Tech University. After ATU, Clark taught public schools for several years before Sarah Allen Andrew Kilpatrick Nick Borkovich Mark Wang pursuing a career as a freelance composer, arranger, and performer. Hymn of St. James is based on Corrine Skinner Karena Washington Emily Culpepper the hymn, “Let All Mortal Flesh Keep Silence.” Growing up, this was Clark’s favorite hymn. The text is taken from the liturgy of St. James but the melody is a seventeenth-century French carol. Millie Kraft Henry Vencill Rachel Anderson Percussion Structurally, this piece consists of four sections, just as there are four stanzas to the hymn, and Abigail Wolfe Sarah Sewell Hannah Shaffer Nic Wiles each section uses contemporary harmonies and nontraditional performance techniques to bring the Danielle Moeller John Mark Hatfield Tyrone Griffin Chandler Mann text to life. Jennifer Xonthe Carson Adams Tony Perrotto Tobias Haymes Amberley Harris Timothy Ngo Riley Maness Let all mortal flesh keep silence Rank on rank the host of heaven, Rena Clowers Tenor Saxophone Matthew Gebara And with fear and trembling stand; Spread its vanguard on the way, Kara Borgelt Kate Tabeling Trombone Ponder nothing earthly minded, As the Light of light descendeth Robyn Anzulis Ivan Baquerizo Piano For with blessing in his hand, From the realms of endless day, Baritone Saxophone Mackenzie Britt Chandler Mann Christ our God to earth descendeth, That the powers of hell may vanish, Oboe Nick Beech Grace Pulliam Our full homage to demand. As the Darkness clears away.

Daniel Geisler Grace Hohnadel Quinn Hasty Horn Marley Gilbert King of Kings, year born of Mary, At his feet, the six-winged seraph, Alison Goddard Emma Dickinson Noah Shaw As of old on earth he stood, Cherubim, with sleepless eye, Luke Iddings Dillon Shelton Lord of lords, in human vesture, Veil their faces to the presence Bb Clarinet Colin Baillie Grantland Dickson In the body and the blood; As with ceaseless voice they cry; Jaylen Thompkins Rebecca Brigdon He will give to all the faithful Alleluia, Alleluia Hannah Shuman Shannon Graham Euphonium His own self for heavenly food. Alleluia, Lord Most High! Britt Brock Carine Cerny Matthew Brown James Watkins1 Carissa Pangilinan Josh Barron Alleluia! Laudamus Te (1973) 6’ Lauren Schermerhorn Zach Kalet JP Miller Alfred Reed (1921-2005) Kate Edwards Justin Defalco Ismar Miniel Sarah Kate Brewer Isaac Parham Andy Nguyen Born in New York, Alfred Reed began his formal music training as a trumpet player and later his Carmen Smith Zarek Plante Stephanie Cannon interests shifted from performing to arranging and composing. In 1938, he became New York City’s Radio Workshop staff composer/arranger and assistant conductor. However, with the onset Addie Sparks of World War II, he enlisted and was assigned to the 529th Army Air Corps Band. During his Hannah Wetzel three and a half years of service, he produced nearly 100 compositions and arrangements for band. Alexis Cheffen After his discharge, Reed enrolled at the Juilliard School of Music, where he studied composition Adna Torlo with Vittorio Giannini. Eventually, Reed became a professor of music at the University of Miami, where he served until his retirement in 1993. Pageant, Persichetti’s third work for band, was commissioned by the American 's Association and was completed in January 1953. The slow A-section begins with a fundamental Alleluia! Laudamus Te is a song of praise without words. In this setting, the ensemble is treated motive, stated by the , that is developed and manipulated throughout the piece. both as a single massive choir and small chamber choirs. The music is based on three main themes The reflective chordal section is succeeded by a lively "parade" section. In this fast section, two which are used to loosely cast this piece in arch form (ABCBA). The first theme is a chorale stated principal themes are developed and woven together to create a dramatic ending. in the , the second is a long flowing line heard in the horns and woodwinds, and the program, Poquette attended the University of Central Missouri, where he earned his Master of third is a fanfare-like figure which is first heard in the that is later developed by other Arts degree in wind conducting studying with Scott Lubaroff. His conducting responsibilities sections. These three themes build to the final section which is full of triumphal excitement. included guest conducting the UCM Wind Ensemble, UCM Chamber Winds, UCM Symphonic Band, and UCM Symphony Orchestra.

Procession of the Nobles (1889) 5’ Professionally, Poquette is a member of College Band Directors National Association (CBDNA), Nikolai Rimsky-Korsakov (1844-1908) National Association for Music Education (NAfME), and Pi Kappa Lambda, Music Honor trans. Erik Leidzén (1894-1962) Society.

Born in Tikhvin, Russia into an aristocratic family, Nikolai Rimsky-Korsakov was noted for a predilection of folk and fairy-tale subjects, and for his skills in orchestration. In 1869, the director of the Imperial Theater of St. Petersburg envisioned an elaborate opera-ballet based on a subject from Slavonic mythology. He commissioned a work from the Russian School of Composition, a group of Russian composers with nationalist tendencies, but the vision never materialized. Twenty years later, Rimsky-Korsakov wrote his own opera-ballet, Mlada, based upon the same subject material and sometime later, he arranged a five-movement suite from the opera-ballet’s music. Procession of the Nobles was the last movement of the suite. Full of fanfare and flourish, Erik W. G. Leidzen arranged this exciting work for the Edwin Franko Goldman Band in 1938.

Mare Tranquillitatis (2012) 6’30” Roger Zare (b. 1985)

Mare Tranquillitatis translates to "Sea of Tranquility," and is the famous location on the moon where Apollo 11 landed and the first man set foot on the lunar surface. The music seeks to capture a dichotomy of emotions - tranquil beauty and restless isolation. All of the musical material is derived from only two ideas - the descending fourth heard in the opening bar, and the flowing and surging melody heard not long after. These two ideas trade back and forth within a contrapuntal texture, swelling and flowing as they interact with each other. The music recedes into a quieter realm and a quartet of soloists emerges, juxtaposing the lush full textures with a delicate and intimate passage.

After many peaks and dips, the emotional arc of the piece culminates in the long-awaited return of the second theme. It grows and transforms into a sweeping gesture, bringing closure to the pent- up tension from before. What follows is an epilogue, and the piece ends with one final tender moment with the oboe solo.

JONATHAN POQUETTE is a third-year doctoral student at the University of Georgia studying conducting with Cynthia Johnston Turner. His responsibilities include leading various ensembles on campus, serving as a teaching assistant within the conducting classes, and helping to organize After successful tours in New Orleans, Louisiana; Naples, Italy; and Pearl Harbor, Hawaii, he was logistics within the entire band program. commissioned a Limited Duty Officer Bandmaster in 2010 and was promoted to the rank of Ensign. His first assignment as an officer was as Director, Navy Band Fleet Support and Training After earning his Bachelor of Music Degree in Music Education from Southern Illinois University, where he was a Presser Scholar, Poquette taught instrumental music at the middle and high school Support Officer at the Naval School of Music in Virginia Beach, Virginia. Lt. Chaplow’s levels in Illinois and Wisconsin for four years. Prior to his acceptance into the UGA music following assignment was as Director, Navy Band New Orleans in January 2013 where he led the band through challenging force shaping initiatives. From February 2014 through July 2018 he assumed the responsibilities as Fleet Bandmaster, U.S. SEVENTH Fleet embarked on USS Blue From the composer: Ridge (LCC 19) in Yokosuka, Japan. Court and Jester was the original title to the rather austere Statements for Piano and 23 Winds. It Throughout his twenty-two-year career, Lt. Chaplow has deployed on the USS La Salle (AFG 3), was only many weeks after finishing the work that I recognized its programmatic aspects. How USS Mt. Whitney (LCC 20), USNS Mercy (T-AH19), USNS Richard E. Byrd (T-AKE 4), USS could I’ve not heard the obvious: the opening noble magisterial entrance followed by the piano’s Blue Ridge (LCC 19), and has supported numerous humanitarian and diplomatic operations jesting theme, and where did that strange circus band come from? The trickster takes a bravura throughout Europe, Africa, the Mediterranean, the Black Sea, and the Indo-Asia-Pacific Region. solo before the court only to reveal his romantic heart. The court and jester bantering back and Lt. Chaplow has been a regular guest conductor of the Yokosuka Symphony Orchestra, the Japan forth with the work then coming to its big dramatic happy ending. Statements for Piano and 23 Ground Self Defense Force Central Band, and the Republic of Korea Navy Band. Winds or Court and Jester: what’s in a name? As Igor Stravinsky had so famously stated “music can express nothing but itself.” So, is there a court and a jester here? I surely can’t say; YOU’LL HAVE TO BE THE JUDGE.” A native of New Hampshire, EMILY MARIKO ENG is a first-year doctoral student at UGA's Hugh Hodgson School of Music, studying conducting with Dr. Cynthia Johnston Turner. Prior to coming to UGA, she earned a Master of Music in Conducting with honors from New England March, Op. 99 (1914/1943) 2’30” Conservatory (NEC), studying with Charles Peltz. Prior to that, she graduated summa cum laude Sergei Prokofiev (1891-1953) from Brandeis University with a Bachelor of Science in Biochemistry and Music Composition, trans. Paul Yoder (1908-1990) where she was a composition student of David Rakowski. Prokofiev wrote the March, Op. 99 in 1943-44 for a Soviet military band. It received its premiere As a conductor, Emily’s experience ranges from wind ensemble to orchestra, opera to musical in the form of a radio broadcast from Moscow on April 30, 1944. While the details of the impetus theater. She has worked with the New England Conservatory Wind Ensemble, NEC Symphonic for its composition are unclear, it is possible that it was written for May Day, an important Soviet Winds, the North End Music and Performing Arts Center’s Opera Project (MA), the Waltham holiday. The march made its way to the West in part thanks to Paul Yoder, who arranged it for Philharmonic Orchestra (MA), Needham Community Theater (MA), and Brandeis University Western instrumentation shortly after its Russian premiere. It was first heard in the United States Undergraduate Theater Collective. For two years, she has been engaged to conduct readings of on May 31, 1945 with Serge Koussevitzky conducting the Combat Infantry Band. Prokofiev new works by current New England Conservatory composition students. Recent conducting reused substantial section of the march in the last opera he would complete, Story of a Real Man, highlights include the world premiere of Michael Gandolfi’s Polymath, a fanfare written to in 1947-48. commemorate NEC’s 150th Anniversary year. The promotion of new music by living composers is a pillar of Emily’s artistic philosophy.

As a composer, she was selected to participate in the highSCORE Composition Festival in Pavia, Italy where she studied with Christopher Theofanidis, Amy Beth Kirsten, Dmitri Tymoczko, and Martin Bresnick. A winner of the Reiner Prize in Composition at Brandeis University, Emily’s wind ensemble piece, Lumen, was premiered by the Waltham Philharmonic Orchestra Winds at the 2015 Leonard Bernstein Festival of the Arts. BIOGRAPHIES

Emily is a member of College Band Directors National Association (CBDNA) and Pi Kappa Lambda, Music Honor Society. MICHAEL C. ROBINSON serves as Professor of Music and Director of The Sudler Trophy Award-winning Redcoat Marching Band at the University of Georgia. His duties include teaching courses in music education and conducting as well as conducting the Symphonic Band and directing the 440-member Redcoat Marching Band. A native of Florida, Robinson received the Konzertstück (2016) 15’ B.M. and M.M. degrees in Music Education and the D.M.A. degree in Instrumental Conducting Jeffrey Kaufman (b. 1947) from the University of Miami. Prior to this appointment, he served as Associate Director of Bands at the University of South Florida in Tampa and Director of Bands at Fort Hays State University in Jeffrey Kaufman is an award winning has over a span of 50 years been active as a record producer, Kansas. Robinson also taught eleven years in the public schools of Florida, most notably as radio producer (one of NPR's first music producers), concert producer (including Absolut Director of Bands at Seminole High School in Pinellas County Florida. During his teaching career, Concerto, a six-year series for which he commissioned works of John Adams, Christopher Rouse, Robinson has received numerous honors and awards including; Pinellas County Teacher of the Aaron Jay Kernis, Michael Torke, Morton Gould and others) and theatrical producer (An Year, City of Seminole Educator of the Year, USF College of Visual and Performing Arts American in Paris). He attended The Manhattan School of Music and The Juilliard School. Outstanding Service Award, The Orpheus Award from Phi Mu Alpha, and The Friend of the Arts award from Sigma Alpha Iota, among others. Robinson is active as a guest conductor, clinician and adjudicator throughout the United States. He also has extensive experience in the marching Sheludyakov was winner of the 1977 Russian National Piano Competition and, in 1999, was arts having served in a variety of capacities with top DCI Drum and Bugle corps such as the awarded the name "Honored Artist of the Russian Federation." He has performed solo concerts Boston Crusaders, The Cadets, Carolina Crown, Iowa Colts, Madison Scouts, and Suncoast with , solo recitals, and in the most prestigious concert halls in Moscow, Sound. St. Petersburg, and other major cities throughout Russia, Germany, France, Italy, China, Czechoslovakia, Yugoslavia, Australia and the USA. He has recorded twenty-five CDs of piano solo and chamber music and has performed on Russian Television and Radio. His repertoire includes the major works for piano, piano and orchestra, and piano chamber music of the Baroque, BRETT BAWCUM is assistant director of bands and associate director of athletic bands at the Classical, Romantic, and Contemporary periods. University of Georgia. He shares responsibility for design, instruction, and administration of the

Redcoat Marching Band, directs other athletic bands, and teaches courses in a variety of areas Prior to his UGA appointment, Sheludyakov was assistant professor of piano at the Gnesin including instrumentation and arranging, marching band techniques, and songwriting. Dr. Institute of Moscow and maintained a private piano studio. A vocalist as well as a pianist, Bawcum is an active arranger for marching bands throughout the U.S. He has also served as Sheludyakov was active as a church musician, and performed authentic folk music as a soloist producer, associate producer, or editor for wind band recordings on the Mark, Summit, and Naxos with the Pokrovsky Ensemble. labels.

LIEUTENANT BRIAN CHAPLOW is currently in his first year of study at the University of JACLYN HARTENBERGER’s reputation bespeaks a rising regional, national, and Georgia pursuing a Master of Music degree in conducting. He is an active duty Naval Officer international presence. She is a highly sought performer, with artistry that has attracted significant (Bandmaster) who was selected for the Naval Postgraduate School program in cooperation with invitations throughout the world. Under her leadership, ensembles consistently perform at a high the Hugh Hodgson School of Music. His responsibilities include working with student ensembles level, and her programs are enthusiastically received. Their performances have been described as and helping with the coordination logistical needs of the band programs. Lt. Chaplow auditioned “superb,” “praiseworthy,” “terrific,” “impressive,” and displaying “artistry.” and was accepted in the United States Navy music program as a tuba instrumentalist in November

1996 after pursuing a Bachelors of Music Education degree from James Madison University. Jaclyn Hartenberger serves as the Associate Director of Bands and Associate Professor of Music at the University of Georgia. In addition to serving as the conductor for the Wind Symphony, she teaches undergraduate and graduate conducting. She received a Master of Music and Doctor of Musical Arts in Conducting from The University of Texas at Austin. Her Bachelor of Music Education degree is from the University of North Texas, where she performed and recorded with the prestigious UNT Wind Symphony.

An advocate for new music, Jaclyn spearheaded and recently completed a commissioning of a major symphony by composer Dan Welcher. The Symphony, Symphony No. 6 – Three Places in the East, captures the essence of the Everglades, Smoky Mountains, and Acadia. She led the UGA Wind Symphony in an acclaimed premiere of the work in September of 2017. In addition to her appearances with the UGA Wind Symphony, she has collaborated with UGA’s faculty for performances of Milhaud's La Creation du Monde, Stravinsky's Concerto for Piano and Winds, and a variety of new pieces by UGA composers. Jaclyn has appeared with other professional ensembles including the West Point Band in New York, the Concordia Santa Fe Wind Ensemble in New Mexico, the Festival International de Inverno da USFM in Brazil, the Bohuslav Martinu Philharmonic in the Czech Republic, and the Salta Symphony Orchestra in Argentina.

A native of Moscow, ANATOLY SHELUDYAKOV graduated from the Gnesin's Musical Academy and completed doctoral studies there under professor Anatoly Vedernikov. He also graduated from the Moscow Conservatory in the composition class of Tikhon Khrennikov. His compositions include Variations for Orchestra, Ostinato for Orchestra, Suite for Oboe and Piano, Suite for and Piano, the cantata Brotherhood Songs, Trombone Quartet, six vocal suites, and many other compositions.