Howard L. Schrott Center for the Arts Policies Doors: The lobby doors of the Howard L. Schrott Center for the Arts are open at least one hour prior to curtain. Butler University Concessions: Food and beverages with lids purchased at the Schrott Center are allowed in the theatre. Please Jordan College of the Arts notify event staff if you have a spill. School of Music Phone Number During Events: To be reached during a performance, please call (317) 940-ARTS (2787). The one hundred & thirty-sixth program of the Butler School of Music 2018-19 season Please leave your seat location with event staff. Cellular Phones and Texting Devices: The use of audible and visible devices is prohibited. Out of respect for the performers and audience members please silence and dim all electronic devices. Cameras and Video/Audio Recording Devices: According to artist contractual agreements, the use of these devices is prohibited in the theatre. Latecomers: According to artist contractual agreements, patrons who arrive late will be seated at the first ap- propriate opportunity. The Schrott Center makes every attempt to begin each performance on time. Patrons are recommended to arrive no later than 15 minutes prior to the performance start time. Bags: Howard L. Schrott Center for the Arts reserves the right to inspect any bag or package being brought into Butler University this facility. American Sign Language Wind Ensemble Call (317) 940-ARTS (2787) to request this service. (Must be requested 10 Michael Colburn, Director business days prior to an event.) with Braille Programs Call (317) 940-ARTS (2787) to request this service. (Must be requested 10 Anthony Kniffen, tuba business days prior to an event.) Dr. Matthew J. Smith, guest conductor Large-Print Programs Call (317) 940-ARTS (2787) to request this service. (Must be requested 10 business days prior to an event.) Sound Enhancement The Howard L. Schrott Center for the Arts uses the Phonic Ear Sound Enhance ment System to amplify stage dialogue. Patrons may pick up their individual receiver from event staff. Wheelchair Accessibility Ample parking is available in the lot north of the Schrott Center. For accessible seating please call (317) 940-ARTS (2787). Thursday, April 18, 2019 7:30 p.m. Information Schrott Center for the Arts For your convenience, you can contact us at (317) 940-ARTS (2787) to request services or information. No Smoking Wenger Corp., official supplier of The Howard L. Schrott Center for the Arts is a smoke-free venue. performance products at The Schrott Center. Program BUTLER UNIVERSITY WIND ENSEMBLE MICHAEL COLBURN, Director Butler University Wind Ensemble NOAH LEININGER, Graduate Assistant Michael Colburn, Director Noah Leininger, Graduate Assistant PICCOLO HORN Claudia Gruett, Combined Locks, WI Aaron Burns*, Lexington, KY Everything Old Is New Again Audrey Freeman, Russiaville, IN FLUTE Allie Henry, Indianapolis, IN Second Regiment Connecticut National Guard March (1876/2019) David Wallace Reeves Sam Stucky* (Co-principal), Zionsville, IN Charlie Hartman, Noblesville, IN (1838-1900) Cheyenne Johnson* (Co-principal), Indianapolis, IN Edited by Michael Colburn Camille Ringenberg, Dickson, TN TRUMPET/CORNET Madison Coy, Phoenix, AZ Trace Coulter*, Danville, IN Matt Abbey, Pleasanton, CA Carnival Overture, Op. 92 (1891/1922) Antonin Dvorak OBOE/ENGLISH HORN Becky Winger, Lebanon, IN (1841-1904) Jess Conlin*, Carmel, IN Kolin Edrington, Borden, IN Transcribed by Herbert Lincoln Clarke Melissa Johnson, Carmel, IN Tom Pieciak, Sykesville, MD Megan Sheeley (& English horn) Aaron Van Oirschot, Saline, MI “Decoration Day” from Four New England Holidays (1912/1978) Charles Ives BASSOON TROMBONE (1874-1954) Mia Nunokawa*, Greenwood, IN Alec Fenne*, Geneva, IL Transcribed by Jonathan Elkus Ari Badr, Evanston, IL Joe Weddle, Zionsville, IN Grace Higgerson, Belleville, IL CLARINET Tuba Concerto (1985/2013) John Williams Mitchell Bennett*, Crystal Lake, IL EUPHONIUM I. Tempo (b. 1932) Marissa Johnson, Avon, IN Jennifer Casey*, Westmont, IL II. Tempo Transcribed by Paul Lavender Kelsey Zetzl, Hagerstown, IN Emma Derouin, Westfield, IN III. Tempo Brian Sonderegger, Palatine, IL Anthony Kniffen, soloist Fran Hudson, Huntsville, AL TUBA Maya Davis, Highland, IN Danny Knauff*, Carmel, IN Ysabel Tio, Terre Haute, IN Joseph Rodriguez, Lafayette, IN Kelli Dawson, Carmel, IN INTERMISSION PERCUSSION BASS CLARINET Hannah Carlson*, Tallahassee, FL Emma Remley, Carmel, IN Nate Fuerst, Granger, IN Toccata Marziale (1924/2005) Ralph Vaughan Williams Alec Larner, Ft. Collins, CO (1872-1958) ALTO SAXOPHONE John Plate, Wheaton, IL Edited by Frank Battisti Than Higdon*, Carmel, IN Ben Urschel, Indianapolis, IN Dr. Matthew J. Smith, conductor Alex Sparks, Avon, IN Hunter Wheatcraft, Greenwood, IN Noah Leininger, Indianapolis, IN PIANO Two Scarlatti Pieces, Op. 28 (1928) Dmitri Shostakovich TENOR SAXOPHONE Douglas Perez, Melbourne, FL I. Pastorale (1906-1975) Sarah Doran, Granville, OH II. Capriccio DOUBLE BASS BARITONE SAXOPHONE Adriana Ruiz Garcia, Valencia, Spain James Howard, Indianapolis, IN Symphony in B-flat (1951) Paul Hindemith HARP I. Moderately Fast, with Vigor (1895-1965) Melissa Gallant #, Indianapolis, IN II. Andante Grazioso III. Fugue (rather broad) * = section leader # = guest musician DR. MATTHEW J. SMITH ~ Program Notes ~ Dr. Matthew Smith is entering his third year at Butler University as the Director of Ath- Second Regiment Connecticut National Guard March (1876/2019) letic Bands, where he oversees the Butler University Marching Band, Basketball Band, and University Symphonic Band. Previously, he served as Interim Band Director at the Although his name may not be familiar to most modern band musicians, David Wallace Reeves was University of Tennessee at Chattanooga where he directed the UTC "Marching Mocs" and once dubbed the “Father of Band Music in America” by none other than the “March King” himself, John Philip Sousa. Born in Oswego, New York in 1838, Reeves came of age during the American Basketball Pep Band, and conducted the Concert Band and Wind Ensembles. During his brass band movement of the mid-19th century, and his early successes were as a virtuoso on the time at UTC, Dr. Smith was a two time conductor of the UTC Sponsored Tri-State Honor relatively new piston-valve cornet, the principal instrument of the brass band. As a young man, he Band for high school band students. Prior to his appointment at UTC, he was an Assistant moved to New York City in order to perform with the renowned Dodworth Band, but in 1866 was Professor and Director of Bands at Castleton State College in Castleton, Vermont, where recruited to become the leader of the American Band, based in Providence, Rhode Island. Although he was the director of the "Pulse and Power of Vermont" Spartan Marching Band, and the the ensemble was a brass band when Reeves took command, he eventually added woodwinds as the Spirit Band. He also conducted the Wind Ensembles and Spring Musical Ensemble. brass band phenomenon began to fade following the Civil War. In addition to performing and con- ducting, Reeves was active as a composer, primarily in the genre of the march, and is widely credited Dr. Smith received his Doctorate of Musical Arts in Conducting from the University of as one of the key figures in the development of the American march style. Reeves most famous march Connecticut, where he was the Assistant Conductor of the University Wind Ensembles, and is undoubtedly his Second Regiment Connecticut National Guard March, composed in the year of the country’s centennial. Although they were rivals, Sousa had tremendous respect for Reeves, and an Assistant Instructor of the Conducting Courses. During his time at UConn, he premiered once stated that he wished he could claim to be the composer of this march. Its importance as one the 2009 Big East Band Directors Association Consortium Project, "Torn Canvases" by of the most significant American marches of the 19th century is reinforced by its prominent role in Matthew Tommassini, with the University Wind Ensembles. Dr. Smith received his Mas- Charles Ives nostalgic setting “Decoration Day”, the second movement of his work Four New En- ters of Music Performance in Conducting from West Virginia University, where he was the gland Holidays. Graduate Assistant to the Concert and Athletic Band Programs. In addition, Dr. Smith re- ceived his Bachelor of Music Education Degree from the University of Dayton. Following his undergraduate work, he was the Director of Bands at Charlotte Catholic High School (Charlotte, North Carolina) where he directed the 120-member competitive "Marching Carnival Overture, Op. 92 (1891/1922) Cougars" Marching Band, and all other instrumental school ensembles. Of all the 19th century nationalist composers, few were more successful or renowned than Antonin Dvorak. He was born and raised in Nelahozeves, a small town near Prague, which was then part of Dr. Smith spent seven years working with the Fred J. Miller Summer Clinic Programs, the Austrian Empire. Although his father was a butcher by trade, he was also amateur fiddler, and where he focused on curriculum writing, staff training, and administration of the clinic gave his son his first lessons on the violin. From his earliest memories, the young Dvorak was im- program. Through this program, he worked with student leaders at colleges and univer- mersed in the folk music traditions of his culture, so it should come as no surprise that the melodies sities across the Unites States. Dr. Smith is also a sought after arranger for concert and and rhythms of his native Bohemia infuse so much of his music. At the age of thirteen, Dvorak’s marching ensembles. Currently he is writing for several ensembles across the country. As father sent him to live with his uncle in the larger city of Zlonice, where he could learn German and an advocate for new music publications, Dr. Smith has premiered 10 new musical compo- begin a more formal study of music. This move eventually led to his enrollment in the Organ School sitions, including six short operas in three seasons with the Hartford Opera Theater's "New in Prague, from which Dvorak graduated in 1859.