SCHOOL OF MUSIC

WIND SYMPHONY Russel C. Mikkelson, conductor Scott A. Jones, guest conductor Jonathan Waters, guest conductor Michael Sachs, trumpet soloist CBDNA North Central Divisional Conference Ball State University Sursa Performance Hall Muncie, Indiana Saturday, March 1, 2014 • 8:00 pm WELCOME from the College of Arts and Sciences at The Ohio State University

Welcome to the arts at Ohio State, where more than 1,600 undergraduate and 500 graduate students are pursuing degrees in the visual and performing arts within one of the nation’s largest comprehensive colleges of arts and sciences. Our students major and minor in areas such as arts management; studio art; composition; jazz studies; visual communication design; art history; theatre; scenic and costume design; dance; music, media and enterprise; and many more.

Home to some of the nation’s top 10 programs, all of which are nationally accredited, Ohio State is complementing its international reputation with major renovations to every arts facility on campus and laying plans to make the arts Ohio State’s “front door.” With the creation of a new Arts District on the campus site of 15th Avenue and High Street, we will vastly change the School of Music facilities, with the goal of a new recital hall and expanded rehearsal spaces for our music students and scholars. The projected additions to the School of Music through the new Arts District build on recent improvements of our arts facilities, most notably the multi-million dollar revitalization of Sullivant Hall that transformed the historic, century-old building and Hopkins Hall, which was renovated inside-out.

We are expanding opportunities for our students and faculty to perform and engage with companies and arts organizations around the world. This year our students from the School of Music performed with Opera Columbus in “Madama Butterfly” and are touring with the opera company in another production this spring, while students from our jazz studies program and dance program tour China to perform in Beijing and Shanghai in 2014. Students from our theatre and English programs are working with actors and directors from the United Kingdom’s Royal Shakespeare Company (RSC) through residencies and performances at Stratford-Upon-Avon and in Columbus during a six-year agreement between Ohio State and RSC. Our students and faculty participate in additional partnerships throughout the state of Ohio with BalletMet, Columbus Symphony Orchestra, CAPA (Columbus Association for the Performing Arts), and CATCO (Contemporary American Theatre Company).

Tonight, we’re pleased to share with you a performance by our talented student musicians of The Ohio State Wind Symphony directed by Russel C. Mikkelson. Enjoy!

Warmly,

Mark Shanda, MFA Dean, Arts and Humanities, College of Arts and Sciences Professor of Theatre WELCOME from the School of Music

I am proud to welcome you to this beautiful performance space and to this concert by our Wind Symphony, under the direction of Dr. Russel C. Mikkelson, Director of Bands and Area Head for Conducting and Ensembles.

Under Mikkelson’s leadership, the Ohio State University Bands have garnered national recognition and distinction among university wind band programs. The program serves approximately 650 students from across the campus. The concert bands serve some 275 students in four ensembles: Wind Symphony, Symphonic Band, Collegiate Winds and University Band. These ensembles perform approximately thirty- five concerts, on and off-campus, annually. Graduates of the Wind Symphony hold positions as professional orchestral musicians, soloists, conductors, members of U.S. military bands, university professors, and are some of the world's leading school music educators.

Since 1998, the Wind Symphony has premiered dozens of new works, performed for conferences at national and state levels, toured extensively, and recorded five compact discs. REST, their latest release, features the music of J. S. Bach, Michael Gilbertson, John Mackey, and Frank Ticheli, including a composition by the latter - a piece Russ and his family commissioned in memory of his father, which provides the CD’s title. The Wind Symphony has commissioned music from internationally-known composers David Maslanka, Frank Ticheli, Eric Stokes, Dan Welcher, David Gillingham, Steven Bryant, John Stevens, Donald Crockett, Daniel Godfrey, Michael Gilbertson, Charles Rochester Young, and William Bolcom. In addition, it is especially gratifying to witness the premiere of a Voice, a Messenger by Aaron Jay Kernis, and featuring world-renowned trumpeter Michael Sachs.

Today’s performance will showcase what is best about our School of Music: a passion for music-making and a commitment to excellence by talented student musicians and a world-class faculty.

Best Regards for a Wonderful Conference!

Richard L. Blatti Professor and Director The Ohio State University School of Music Wind Symphony Russel C. Mikkelson, conductor Scott A. Jones, guest conductor Jonathan Waters, guest conductor Michael Sachs, trumpet

CBDNA North Central Divisional Conference Ball State University Sursa Performance Hall Muncie, Indiana

Saturday, March 1, 2014 • 8:00 p.m.

PROGRAM

Parthia in Dis (1790) • Ignace Joseph Pleyel (1757-1831) • critical edition by John Oelrich 1. Allegro a Voice, a Messenger (2010-2012, rev. 2013) • Aaron Jay Kernis (b. 1960) I. Morning Prayer II. Timbrel Psalm III. Night Prayer IV. Monument – Tekiah, Teruah Michael Sachs, soloist • principal trumpet, The Cleveland Orchestra CBDNA premiere performance

INTERMISSION

Tunbridge Fair (1950) • Walter Piston (1894-1976) Jonathan Waters, guest conductor

Colonial Song (1911/1918) • Percy Aldridge Grainger (1882-1961) • ed. Mark Rogers Scott A. Jones, guest conductor

The Frozen Cathedral (2012) • John Mackey (b. 1973) PROGRAM NOTES

Parthia in Dis • Ignace Joseph Pleyel, ed. John Oelrich The Parthia in Dis was originally written as a Symphonie Concertante in Eb, Ben 111 for solo violin, viola, cello, and oboe, the first of five works in the genre. It was first performed in Strasbourg on the Pleyel-Schönfeld series on December 8, 1786. Pleyel’s Concertante was immensely popular, having been published 10 times in its original setting and 79 times in arrangements for various idioms. While some of these are for the contiguous work, many were extractions of one or more movements. Thirty-nine copies of the work also exist in manuscript form, none of which are the autograph.

The present edition was prepared from a set of manuscript parts for harmonie, a court and/or civic wind band of the late 18th to early 19th centuries whose nucleus contained pairs of oboes or clarinets (or both), horns and bassoons, and is a contiguous arrangement of the original symphonie concertante. Two separate sets of wind parts exist for the arrangement for harmonie. The present is based on a set, shelf mark Don.Mus.Ms. 1571 originally housed in the Fürstlich Fürstenbergische Ho!ibliothek, Donaueschingen, Germany but is now owned by the Badische Landesbibliothek in Karlsruhe, Germany. The popularity of Pleyel during his life, which was almost equal to that of Haydn, together with the popularity of the piece, merited this critical edition. Representing a significant portion of the editor’s DMA document at The Ohio State University, this edition is being published by Fountayne Editions in London. a Voice, a Messenger • Aaron Jay Kernis When Philip Smith asked me to write a concerto, he suggested as sources the appearance of trumpets and its relatives in Scripture – shofar (ram’s horn), cornet, horns, etc. I developed impressions for the work while attending Rosh Hashanah services, hearing the shofar in person, and rereading passages from the Torah that place these instruments in a spiritual context. … there was thunder and lightning and a dense cloud over the mountain; there was a loud Shofar blast, and all the people in the camp trembled. - Exodus He manifested himself with the sound of the Shofar, the Lord amidst the sound of the Shofar. - Psalm 47 Morning Prayer, terse and, like most of the concerto, pensive, chromatic and conflicted, calms only at its end, when a chorale-like series of essential three-note chords intervene.

The timbrel is the Biblical forbear of the tambourine, and the title Timbrel Psalm is a play on words. Timbre (or timbral) is commonly used by musicians to refer to the “color” of instrumental sound. This dance-like movement is made of short phrases in a variety of timbres, much of it lightly scored and vigorous. Praise him with the blast of the Shofar; praise him with psaltery and harp. Praise him with timbrel and dance; praise him with stringed instruments and reed. Praise him with resounding cymbals; praise him with clanging cymbals. - Psalm 150

The expansive Evening Prayer features flugelhorn solo. It alternates lyrical, pensive lines with ongoing development and dramatic clashes between soloist and ensemble, ending as unsettled as it began.

The music of the final movement, Monument - Tekiah, Teruah does not directly imitate the sound of a shofar but suggests the urgency of its call, and much of it is built on fanfare-like passages. The most dramatic of the four movements, it is made of stark contrasts, bitter harmonies and dense textures. The chorale from the opening returns at the very end, just after the work’s most lyrical moments, and culminates in the flanking of the soloist with two other trumpets. This suggests references in antiquity to the shofar being paired on either side by two silver trumpets in New Year’s Day services in the second Temple in Jerusalem, before its destruction. Thou hast heard the sound of the Shofar, and the alarm of war; destruction follows upon destruction. - Jeremiah “a Voice, a Messenger” was composed in 2010 and edited in December 2012. It lasts about 25 minutes. I am grateful to the generosity of the Big Ten Band Directors Association, Philip Smith and the New York Philharmonic in making its creation possible. Tonight marks the second performance, and the premiere of the 2013 revised version. Its dedication reads: Written for Philip Smith, in celebration of his three decades with the New York Philharmonic; and in recognition of the generous and ongoing commitment to the creation of music of our time by that great orchestra and the distinguished Big Ten Band Association. in memory of Michael Kernis (1955-2009) “a Voice, a Messenger” was co-commissioned by the Big Ten Band Directors Association, and by the New York Philharmonic, made possible with a generous gift from Marie-Josée Kravis, and with major support provided by the Francis Goelet Fund.

Tunbridge Fair • Walter Piston Tunbridge Fair, a jazz-influenced contrapuntal tour de force, was commissioned by the League of Composers at the suggestion of Edwin Franko Goldman and premiered by the Goldman Band, Piston conducting, on June 16, 1950. This work, subtitled “Intermezzo for Band,” is markedly American and depicts one of Vermont’s oldest and most cherished events, the annual country fair at Tunbridge. The ragtime-like first theme captures the interaction of the crowd while the lyrical second theme depicts the evening dancing at the fair. A description of the day’s activity follows: People from all walks of life are jostled together in the gay riotous turmoil that is Tunbridge Fair – the back-country folk of the soil mingle with people from the metropolitan districts; world travelers eat hot dogs at the same booth with native Vermonters; schoolteachers from Iowa, lumbermen, truck drivers, state officials, country storekeepers, college boys, school girls, bankers, and laborers are caught alike in the hilarious whirl. Music is furnished throughout the day and into the night for the firelight and candlelight dancing by Romeo’s Orchestra, composed of harp and violin assisted by melodeon. Colonial Song • Percy Aldridge Grainger Originally composed for 2 voices (soprano and tenor), harp and full orchestra. Composed as Yule gift for mother, 1911. Scored as Yule gift for mother, 1912. Rescored, early 1914. Scored for military band, fall 1918. No traditional tunes of any kind are made use of in this piece, in which I have wished to express feelings aroused by thoughts of the scenery and people of my native land (Australia), and also to voice a certain kind of emotion that seems to me not untypical of native-born Colonials in general.

Perhaps it is not unnatural that people living more or less lonelily [sic] in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramatically exciting counter wills of their fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twain's Huckleberry Finn, and in Stephen C. Foster's adorable songs My Old Kentucky Home, Old Folks at Home, etc.

I have also noticed curious, almost Italian-like, musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression), which are also reflected here. – Percy Grainger

The Frozen Cathedral • John Mackey The Koyukon call it “Denali,” meaning “the great one,” and it is great. It stands at more than twenty thousand feet above sea level, a towering mass over the Alaskan wilderness. Measured from its base to its peak, it is the tallest mountain on land in the world—a full two thousand feet taller than Mount Everest. It is Mount McKinley, and it is an awesome spectacle. And it is the inspiration behind John Mackey’s The Frozen Cathedral.

The piece was born of the collaboration between Mackey and John Locke, director of bands at the University of North Carolina at Greensboro. Locke asked Mackey if he would dedicate the piece to the memory of his late son, J. P., who had a particular fascination with Alaska and the scenery of Denali National Park. Mackey agreed—and immediately found himself grappling with two problems: How does one write a concert closer, making it joyous and exciting and celebratory, while also acknowledging, at least to myself, that this piece is rooted in unimaginable loss: the death of a child? The other challenge was connecting the piece to Alaska - a place I'd never seen in person. I kept thinking about all of this in literal terms, and I just wasn’t getting anywhere. My wife, who titles all of my pieces, said I should focus on what it is that draws people to these places. People go to the mountains—these monumental, remote, ethereal and awesome parts of the world—as a kind of pilgrimage. It’s a search for the sublime, for transcendence. A great mountain is like a church. “Call it ‘The Frozen Cathedral’,” she said…I clearly married up. The most immediately distinct aural feature of the work is the quality (and geographic location) of intriguing instrumental colors. The stark, glacial opening is colored almost exclusively by a crystalline twinkling of metallic percussion that surrounds the audience. Although the percussion orchestration carries a number of traditional sounds, there are a host of unconventional timbres as well, such as crystal glasses, crotales on timpani, tam-tam resonated with superball mallets, and the waterphone, an instrument used by Mackey to great effect on his earlier work Turning. The initial sonic environment is an icy and alien one, a cold and distant landscape whose mystery is only heightened by a longing, modal solo for bass flute— made dissonant by a contrasting key, and more insistent by the eventual addition of alto flute, English horn and bassoon. This collection expands to encompass more of the winds, slowly and surely, with their chorale building in intensity and rage. Just as it seems their wailing despair can drive no further, however, it shatters like glass, dissipating once again into the timbres of the introductory percussion.

The second half of the piece begins in a manner that sounds remarkably similar to the first. In reality, it has been transposed into a new key and this time, when the bass flute takes up the long solo again, it resonates with far more compatible consonance. The only momentary clash is a Lydian influence in the melody, which brings a brightness to the tune that will remain until the end. Now, instead of anger and bitter conflict, the melody projects an aura of warmth, nostalgia, and even joy. This bright spirit pervades the ensemble, and the twinkling colors of the metallic percussion inspire a similar percolation through the upper woodwinds as the remaining winds and brass present various fragmented motives based on the bass flute’s melody. This new chorale, led in particular by the trombones, is a statement of catharsis, at once banishing the earlier darkness in a moment of spiritual transcendence and celebrating the grandeur of the surroundings. A triumphant conclusion in E-flat major is made all the more jubilant by the ecstatic clattering of the antiphonal percussion, which ring into the silence like voices across the ice. – Program note by Jake Wallace BIOGRAPHIES

Michael Sachs Michael Sachs joined The Cleveland Orchestra as principal trumpet in 1988. Praised by critics for his “spectacular chops” and “radiant tone,” he is recognized internationally as a leading soloist, recitalist, chamber musician, teacher, author and clinician. Michael Sachs is frequently featured as soloist with The Cleveland Orchestra. Highlights include the 1996 world premiere of John Williams’ Concerto for Trumpet, commissioned by The Cleveland Orchestra for Mr. Sachs, with music director Christoph von Dohnanyi conducting; the United States and New York premieres of Hans Werner Henze's Requiem in 2000, also with Mr. Dohnanyi conducting; the March 2012 world premiere of Michael Hersch’s Night Pieces for Trumpet and Orchestra, commissioned by The Cleveland Orchestra for Mr. Sachs, with Giancarlo Guerrero conducting; and the August 2012 world premiere of Matthias Pintscher’s Chute d’Etoiles (Concerto for Two Trumpets), commissioned by The Cleveland Orchestra for Mr. Sachs and Jack Sutte, with music director Franz Welser-Moest conducting at the Lucerne Festival, with a subsequent performance at the Salzburg Festival. Mr. Sachs has also appeared as guest soloist with numerous orchestras and chamber groups, including the Houston Symphony Orchestra, the Louisiana Philharmonic Orchestra, the Auckland (New Zealand) Philharmonia, The Janacek Philharmonic Orchestra (Czech Republic), San Diego’s Mainly Mozart Festival, and the Chamber Music Society of Lincoln Center. Mr. Sachs can be heard on over 150 recorded works with The Cleveland Orchestra, including featured performances of Stravinsky's Histoire du Soldat, recorded for Deutsche Grammophon with Pierre Boulez, and Ives' The Unanswered Question, recorded for London/Decca with Christoph von Dohnanyi. In 2005, Mr. Sachs performed a recital of music for trumpet and organ with Todd Wilson as part of Severance Hall’s Organ Recital Series. The recital was recorded and was released on CD by the Musical Arts Association (parent organization of The Cleveland Orchestra).

Russel C. Mikkelson Dr. Russel C. Mikkelson serves as director of University Bands, professor of music (conducting) and area head of Conducting and Ensembles at The Ohio State University, where he conducts the Wind Symphony, chairs the graduate conducting program, and oversees all aspects of the university's band program. Under his direction, the Ohio State Wind Symphony has performed at the 2003 College Band Directors National Association Convention, the 2001, 2004, 2006, 2008, 2011 and 2013 Ohio Music Educators Association Conventions, and has recorded five CDs: Rest (Naxos, 2012), Southern Harmony (Naxos, 2009), Winds of Nagual (Naxos, 2007), Jubilare! (Mark Records, 2003) and Sounds, Shapes and Symbols (Mark Records, 2000). In a 2010 review of the Southern Harmony recording, Fanfare magazine proclaims, "The Ohio State musicians play their collective hearts out and conductor Mikkelson shapes the music with a loving hand, wringing every last drop of emotion out of the music. If this does not give you goose-bumps, nothing will."

Director of The Ohio State University Contemporary Music Festival and a staunch advocate for the creation of new works, Mikkelson also serves on the American Bandmasters Association Commissioning Committee and has instituted a program of regular commissioning projects for the Ohio State bands. He has received praise from composers Leslie Bassett, John Corigliano, Michael Colgrass, Jennifer Higdon, Krzysztof Penderecki, Joseph Schwantner, Gunther Schuller, Lukas Foss, Augusta Read Thomas, Frank Ticheli and Michael Daugherty, among others, for his musical realization of their compositions. Corigliano wrote, "Russel Mikkelson is a conductor who really understands my music, and that's rare." Mikkelson is past president of the Big Ten Band Directors Association, a member of the College Band Directors National Association, NAfME, Phi Mu Alpha Sinfonia, Phi Beta Mu, and is an elected member of the American Bandmasters Association. An enthusiastic advocate of public school music education, Dr. Mikkelson has conducted All-State Bands, Festivals, and Honor Bands across the United States and internationally. Additionally, he serves as music director and conductor of the Heisey Wind Ensemble, a highly skilled community band based in Newark, Ohio. He was the recipient of the 2005 Ohio State University School of Music Distinguished Scholar Award and has published articles in The Instrumentalist and The Journal of the Conductor's Guild. As a composer/arranger, he is published through C. Alan and Daehn Publications.

Scott A. Jones Scott A. Jones is associate professor of music and associate director of bands in the School of Music at The Ohio State University in Columbus. In addition to conducting the Ohio State Symphonic Band, he also leads the undergraduate conducting curriculum. Prior to joining the faculty at Ohio State, Jones served as director of bands at Concordia College in Moorhead, Minnesota. He also garnered 15 years of teaching experience in the public schools of Apple Valley, Minnesota and Ashville, Ohio.

An ardent supporter of the “composers of today,” Jones has commissioned more than 30 new compositions for wind band and chamber winds in the past decade. Commissioned composers include David R. Gillingham, Augusta Read Thomas, Libby Larsen, Clark McAlister, Michael Weinstein, Adam Gorb, Daniel Kallman, Scott McAllister, Timothy Mahr, Rolf Rudin, Lowell Liebermann, Elliott Schwartz, Shelley Hanson, Johan de Meij, Brian Balmages, and Martin Ellerby.

A firm believer in creating opportunities for students to interact with great artists of our time, musicians under Jones’ leadership have collaborated with artists Frederick Fennell, Eiji Oue, Aaron Jay Kernis, Frank Battisti, Seiji Ozawa, David R. Gillingham, Augusta Read Thomas, Eddie Daniels, Frank Ticheli, Mark Camphouse, The Empire Brass Quintet, The American Brass Quintet and a host of other distinguished musical figures.

A native of Fairfax, Virginia, Jones received his undergraduate degree in music education from The Ohio State University, a master’s degree in music education from the VanderCook College of Music (Chicago), and a PhD in music from the University of Minnesota (Minneapolis). Jones was named “Music Educator of the Year” by the Minnesota Music Educators Association, and was one of three school band conductors from the United States selected to participate in the National Band Association International Conducting Symposium in Rome, Italy. His guest engagements regularly include All-State Bands and Honor Bands, as well as international engagements throughout Asia.

His professional affiliations include the National Association for Music Education, Ohio Music Education Association, Wisconsin Music Educators Association, World Association for Symphonic Bands and Ensembles, Iowa Bandmasters Association, College Band Directors National Association, National Band Association, and Phi Beta Mu. Jonathan Waters Jonathan N. Waters proudly serves as director of The Ohio State University Marching and Athletic Bands, a position he has held since 2012. Prior to attaining the position of director, Waters was the assistant director of Marching and Athletic Bands from 2002-2011. He received his bachelor’s degree in music education from The Ohio State University in 1999. Serving as graduate assistant director for the Marching Band, he earned two master’s degrees - one in music education and another in wind band conducting - from The Ohio State University in 2001. Waters’ duties include conducting and the administration of The Ohio State University Marching Band and the Athletic Bands. Also, currently within the School of Music, Waters teaches Marching Band Techniques and serves as guest conductor for concert bands. Waters has also served as conductor for the University Band and has taught Undergraduate Instrumental Conducting and Brass Methods. Additionally, Waters has served as co- director of the Ohio State University Marching Band Alumni. An ardent advocate for music education, Waters is active as a clinician and guest conductor for middle school, high school, and collegiate bands and band festivals in Ohio and nationally. He also is a speaker for The Ohio State University Alumni Association, giving lectures and presentations to alumni groups throughout the nation. Waters is happily married to Molly, and together they have three children, Aaron, Jacob, and Adelyn.

Aaron Jay Kernis Winner of the coveted 2002 Grawemeyer Award for Music Composition and the 1998 Pulitzer Prize, Aaron Jay Kernis is among the most esteemed musical figures of his generation. With his "fearless originality [and] powerful voice" (The New York Times), Kernis is one of today's most frequently performed composers. His music, full of variety and dynamic energy, is rich in lyric beauty, poetic imagery, and brilliant instrumental color.

Kernis' works appear prominently on orchestral, chamber, and recital programs world-wide and he has been commissioned by many of America's foremost performers and institutions including soprano Renee Fleming; violinists Joshua Bell, Nadja Salerno-Sonnenberg and James Ehnes (for the BBC Proms); pianist Christopher O'Riley; guitarist Sharon Isbin; the New York Philharmonic; Philadelphia and Minnesota Orchestras; San Francisco and Seattle Symphonies; Orpheus Chamber Orchestra, Walt Disney Company, Rose Center for Earth and Space, and the Ravinia Festival. Recent and upcoming commissions include works for the Santa Fe Chamber Music Festival (for David Shifrin and the Orion String Quartet), eighth blackbird, a cello concerto for rising star Joshua Roman, and his 3rd string quartet for the Jasper Quartet.

One of America's most honored composers, Kernis was recently inducted into the American Academy of Arts and Letters and has received countless awards and prizes throughout his career, including the 2011 Nemmers Award from Northwestern University. For ten years, he was New Music Advisor to the Minnesota Orchestra and served as artistic director of the orchestra's Composer Institute for 15 years. He currently teaches composition at Yale School of Music, a position he has held since 2003. Kernis' works have been recorded on numerous labels including Nonesuch, New Albion, Koch, Naxos, Argo, Dorian, Virgin Classics and Cedille. 2014 brings an upcoming Naxos disc, featuring pianist Andrew Russo, violinist James Ehnes and the Albany Symphony led by David Alan Miller. WIND SYMPHONY Dr. Russel C. Mikkelson, Conductor

Piccolo Alto Saxophone Percussion Rachel Haug, Winona, MN Aaron Dvorak, Westlake, OH *Mario Marini, Warren, OH Katie Kuvin, Loveland, OH Trevion Henderson, Houston, TX Naomi Marcus, Williston Park, NY Ben Haimann, Lombard, IL Flute Tenor Saxophone Nick Dillion, London, OH *Rachel Haug, Winona, MN Bryan Glover, Worthington, OH Layne Mauldin, Rock Hill, SC Katie Kuvin, Loveland, OH Ashley Williams, Canton, OH Diane Couzens, Elmhurst, IL Baritone Saxophone Lane Summerlin, Greensboro, NC Luke Shultz, Perrysburg, OH *Andrew Lawrence, Wilkes-Barre, David Counterman, Wellsville, NY Erica Kodramaz, Mentor, OH PA Kevie Bovaird, Pleasanton, CA Yusuke Tanaka, Hilliard, OH Nicholas Enz, Newton, KS Horn Oboe Josh Michal, Dayton, OH Double Bass *Kelli Given, Palisade, CO *A. Joshua Robinson, Dublin, OH *Steve Patterson, Westerville, OH Louise Vranesevic, Pittsburgh, PA Brad Granville, Gahanna, OH Aidan Terry, Columbus, OH Leland Greene, Columbia, SC Devin Gossett, Hillsboro, OH Alan Mason, Olathe, KS Bianca Kumar, Niles, MI William Kovaleski, Rushville, OH Faith Tessmer, Lebanon, OH Piano English Horn Quinton Jones, Columbus, OH Louise Vranesevic, Pittsburgh, PA Trumpet *Todd Fessler, Grove City, OH Harp Bassoon Ben Joy, Pickerington, OH Jeanne Norton, Columbus, OH *Nan-Yu Wu, Taipei, Taiwan Brogan Reilly, Medina, OH Abigail Bachelor, Hilliard, OH Evan Copeland, Copley, OH John Vanderhoff, Pickerington, Ashley Rohm, Brecksville, OH OH * denotes principal Morgan Gende, Cypress, TX Jennifer Grimmer, League City, TX Matt Urbanek, Fairfax, VA Contrabassoon Ashley Rohm, Brecksville, OH Trombone *Paul Christodoulou, Albuquerque, Eb Clarinet NM Zachary Dierickx, Hudson, WI Phil Day, Milford, OH Dan Stevens, Dublin, OH Clarinet Sean DeLong, Bay Village, OH * Dylan Lloyd, Louisville, KY Evan Lynch, Tucson, AZ Bass Trombone Annika Baake, Glenwood, IA Mitch Filipiak, Gurnee, IL David Robinson, Austin, TX Katrina Veno, Madbury, NH Euphonium Laura Turkal, Wilmington, NC *Adam Bailey, Dublin, OH Courtney Wales, Decatur, AL Cam Chandler, Cincinnati, OH Tanya Mewongukote, Bangkok, Andrew Desmond, Charlotte, NC Thailand Tuba Bass Clarinet *James Green, Cedar Hill, TX Rachel Tookolo, Carmel, IN Nick Ater, Clarksburg, OH Laura Turkal, Wilmington, NC Hayden Biedenharn, Hilliard, OH

Contrabass Clarinet Courtney Wales, Decatur, AL COLLEGE OF ARTS AND SCIENCES ▪ SCHOOL OF MUSIC

College of Arts and Sciences David C. Manderscheid, executive dean and vice provost Mark Shanda, divisional dean, arts and humanities

School of Music Richard L. Blatti, director Timothy Leasure, associate director and chair of undergraduate studies C. Patrick Woliver, associate director and chair of graduate studies Peter J. Tender, assistant director of operations

School of Music – Wind and Percussion Faculty Katherine Borst Jones, flute Robert Sorton, oboe Karen Pierson, bassoon Caroline Hartig, clarinet James Hill, saxophone Timothy Leasure, trumpet Bruce Henniss, horn Joseph Duchi, trombone James Akins, euphonium/tuba Susan Powell, percussion Joseph Krygier, percussion

Band Department Personnel Russel C. Mikkelson, director of bands Scott A. Jones, associate director of bands Jonathan Waters, associate director of bands, director of marching and athletic bands Christopher Hoch, assistant director of bands, associate director of marching and athletic bands Michael Smith, assistant director of marching and athletic bands Nicholas Enz, doctoral conducting associate Andrew Lawrence, master’s conducting associate Phil Day, master’s conducting associate Evan Lynch, doctoral teaching associate John Brennan, master’s teaching associate Tom Cook, administrative assistant for bands James Broadhurst, instrument room manager

Program Design • Joseph Krygier Cover Photo Credit • Nick Fancher THE OHIO STATE UNIVERSITY WIND SYMPHONY Conducted by Dr. Russel C. Mikkelson, The Ohio State University Wind Symphony is widely recognized as one of the country’s elite wind bands. Building on the proud tradition and accomplishments of the Ohio State Concert Band, the Wind Symphony is populated by the most accomplished brass, woodwind and percussion musicians in the School of Music. Committed to the creation of new music for winds, this ensemble has commissioned music by composers including Frank Ticheli, William Bolcom, Aaron Jay Kernis, David Maslanka, Eric Stokes, John Mackey, Steven Bryant, Carter Pann, Michael Gilbertson, Johan DeMeij, Dan Welcher, David Gillingham, John Stevens, Donald Crockett, Daniel Godfrey, Charles Rochester Young and many others.

One of the goals of the Wind Symphony is to provide students opportunity to interact with some of the leading composers and musical minds of our time. Visitors have included such notable musicians as John Corigliano, Lukas Foss, Krzysztof Penderecki, Gunther Schuller, Joseph Schwantner, Jennifer Higdon, Frank Ticheli, Augusta Read Thomas, John Mackey, John Stevens, Steven Bryant, David Gillingham, and Percy Grainger biographer John Bird. Graduates of the Wind Symphony hold positions as professional orchestral musicians, soloists, conductors, members of the Washington-based military bands, university professors, and some of the world's leading music educators.

Since 2000 the Wind Symphony has recorded five compact discs including Sounds, Shapes and Symbols (Mark Records, 2001), Jubilare! (Mark Records, 2003), Winds of Nagual (Naxos, 2007), Southern Harmony (Naxos, 2009) and Rest (Naxos, 2012). The Wind Symphony has performed at the 2003 College Band Directors National Association Convention, the Ohio Music Educators Association Conference six times (2000, 2004, 2006, 2008, 2011, 2013), with BalletMet Columbus (2003, 2011), and presents numerous performances both on and off campus.

THE OHIO STATE UNIVERSITY • SCHOOL OF MUSIC As one of the largest universities in the world, The Ohio State University offers a wealth of resources on its beautiful campus. In the midst of this educational community, the School of Music is part of the College of Arts and Sciences, the academic heart of the university. The school is a unit large enough to take advantage of the endless possibilities provided by a world-class university, yet small enough to attend to the individual needs of its students. Its faculty of more than sixty professors – including nationally and internationally recognized performing artists, composers, scholars, and master teachers - serves a student body of approximately 400 undergraduate and 200 graduate music majors, as well as serving the needs of as many non-music majors. The school recognizes the relationship that binds music to other academic and artistic disciplines and provides students with a comprehensive education, preparing them for professional careers in composition, performance, scholarship, and teaching. Faculty and students present over 300 performances annually that enrich not only the academic environment but also the culture of the surrounding community. In keeping with the university’s broader mission, the school is committed to nurturing the best of Ohio’s students, while maintaining excellence and diversity by recruiting nationally and internationally. JOIN US...

!e School of Music welcomes you to campus for hundreds of student ensemble, faculty and guest artist performances throughout the year.

Spring Semester Highlights 37th Annual Jazz Festival Thursday–Sunday, March 27–30 Weigel Auditorium

Drums Downtown X OSU Percussion Ensemble and Department of Dance Friday and Saturday, April 4-5 • 8 pm Capitol Theatre • Riffe Center

Lyric Opera presents Britten's The Rape of Lucretia Thursday, April 17 and Saturday, April 19 Bowen Theatre • Drake Performance Center

Youth Summer Music Programs 2014 Flute Workshop • June 15-19 Jazz Camp • June 15-19 Morning String Student Workshop • June 16-July 2 Clarinet Academy • June 22-26 Details and registration at music.osu.edu School of Music 110 Weigel Hall 1866 College Road Columbus, Ohio 43210