upcoming fine arts events
Student Recital: Nate Myers Sunday, October 30
2:00 p.m.
Campbell Student Union Auditorium (CSU)
Student Recital: Lexy Klawonn & Bailey Schneyr Monday, October 31
7:30 p.m. H. F. Johnson Recital Hall
Student Recital: Ally Kline Thursday, November 3 H. F. Johnson Recital Hall
New Play Initiative: Memento Mori Friday, November 4 and Saturday, November 5
7:30 p.m.
Wartburg Theatre in the David A. Straz Center for the Natural and Social Sciences
*Tickets Required
Fall Philharmonic Concert Sunday, November 6
1:00 pm
A.F. Siebert Chapel
New Play Initiative: Memento Mori Sunday, November 6
3:00 p.m.
Wartburg Theatre in the David A. Straz Center for the Natural and Social Sciences
*Tickets Required
Fine Arts at Carthage acknowledges that the land on which our building stands is part of the traditional Potawatomi, Sioux, Peoria, Kickapoo, and Miami peoples past, present and future. These homelands reside along the southwest shores of Michigami, North America’s largest system of freshwater lakes. We honor with gratitude the land itself, and the people who have stewarded it throughout the generations. Many Indigenous peoples thrive in this place––alive and strong, and this calls us to commit to continuing to learn how to be better stewards of the land we inhabit as well.
connect with us tickets required carthage.edu/finearts Get tickets 24/7 at carthage.edu/ 262-551-5859 tickets facebook.com/carthagefinearts 262-551-6661 instagram.com/carthagefinearts noon to 5p.m. Tuesday – Friday
carthage music department presents
19th Lakeside Band Festival
Stories to Scare, Surprise and Soothe
featuring the music of Andrew Boysen, Jr.
James Ripley, festival director and conductor
Andrew Boysen, Jr., guest conductor Sophie Shulman, guitar soloist
Saturday, Oct. 29, 2022 | 7:00 p.m. A. F. Siebert Chapel
program
Ma Mére L’Oye (Mother Goose Suite)
Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty)
Petit Poucet (Little Tom Thumb)
Laideronnette, impératrice des pagodes (Little Ugly Girl, Empress of the Pagodas)
Les entretiens de la belle et de la béte (Conversation of Beauty and the Beast)
Le jardin féerique (The Fairy Garden)
AMATI James Ripley, conductor
Maurine Ravel (1875–1937)
trans. Richard Frey
Persephone Overture
Andrew Boysen, Jr. (b. 1968)
Star Crossed Andrew Boysen, Jr.
Tarantula
Sophie Shulman, guitar
Wind Orchestra
Andrew Boysen, Jr.
Graphic Visuals by Erik Evensen (b. 1979)
James Ripley, conductor Andrew Boysen, Jr., guest conductor
The Legend of Sleepy Hollow
Lakeside Festival Band
Andrew Boysen, Jr., conductor
Andrew Boysen, Jr.
Simple Song
Unraveling
carthage wind orchestra
The Carthage College Wind Orchestra, established in 1873, is one of the oldest college bands in the United States. From its humble beginnings as a six-piece brass ensemble, the group has grown in size and stature to assume a leadership role for wind music on an international level. The band has a long and honored history of service to Carthage College and the artistic life of the communities of Kenosha, Wisconsin and Carthage, Illinois. On October 21, the Wind Orchestra returned to Carthage, Illinois to perform a concert celebrating the 500th anniversary of the Lutheran Church with a concert in the old college auditorium, recently refurbished and now known as “The Legacy Theater”. The 140th Anniversary was celebrated with many events, beginning with an outdoor performance of music drawn from the 1873-1874 programs and concluding with the May Anniversary Concert that featured the premiere of Liquid Compass by Alex Shapiro.
The Wind Orchestra made their sixth visit to Japan in January 2020 as part of an ongoing exchange program with Kurashiki Sakuyo University School of Music. Carthage continues to be active in the areas of commissioning new works, engaging world-class guests to perform and conduct the ensemble, and touring throughout the US and Japan. Recent commissions include Stacy Garrop’s Quicksilver and Mythology Suite, Andre Previn’s Music for Wind Orchestra, Dana Wilson’s Concerto for Trombone and Tuba Concerto, Soliloquy for Solferino by Martin Ellerby, a chamber ensemble work by Daniel Bukvich (conductor of the Lakeside Band Festival in 2005), and a work for chorus and wind orchestra by Christopher Theofanidis.
The Carthage Wind Orchestra is not only an exceptional performance ensemble, but a live, interactive “learning laboratory” for music education students as well. Those students in the music education program have opportunities to conduct and rehearse the band, and receive guidance and feedback from the conductor and ensemble members. Rehearsals are structured to lend insight into how to make music, along with how to teach music.
Lakeside Festival Band
Andrew Boysen, Jr., conductor
Andrew Boysen, Jr.
Andrew Boysen, Jr.
Why a wind orchestra? The ability to change the sound of the ensemble based on the composer’s intent and musical style period is at the heart of the wind orchestra philosophy. The wind orchestra layers the timbres of each instrument, rather than mixing them for a more colorful effect. Maybe most importantly, the wind orchestra places optimal value on the expressive contribution of each member.
past guest conductors and soloists
Larry Combs, principal clarinet – Chicago Symphony Orchestra
Woodrow Hodges, bassoon – Carthage College
Dr. Jay Gilbert – Doane College (guest conductor)
Dr. Andrew Boysen, Jr. – University of New Hampshire (guest conductor)
Daniel Bukvich – University of Idaho (guest composer)
Gregory Flint, horn – University of Wisconsin-Milwaukee
James Barnes – University of Kansas (guest conductor)
Susan Cook, alto saxophone – DePaul University & Carthage College
Timothy Mahr – St. Olaf College (guest conductor)
Scott Tegge, tuba – Carthage College
Jonathan Newman – New York City, BCM International (guest conductor)
Frank Ticheli – University of Southern California (guest conductor)
Dana Wilson – Ithaca College (guest conductor)
Melissa Snoza, flute – Carthage College
Alvin Lowrey, trumpet – Edmonton Symphony Orchestra
Johan de Meij – Amstel Music (guest conductor)
Paul von Hoff, trombone – Carthage College
Laura Rexroth – University of Wisconsin-Parkside (guest conductor)
Kaitlyn VandeVen, piano – Carthage College
Ralph Hultgren – Queensland Conservatorium, Griffith University (guest con ductor)
Libby Larsen – American Composers Forum
Erica Anderson, oboe – Carthage College
James Stephenson – Stephenson Music
Evan Feldman – University of North Carolina-Chapel Hill (guest conductor)
Bill Connor – Macaenas Music
New Century Saxophone Quartet
andrew boysen, jr.–guest conductor
Andrew Boysen Jr. is a professor in the music department at the University of New Hampshire where he conducts the Wind Symphony and teaches conducting. Previously, Boysen served as an assistant professor and acting associate director of bands at Indiana State University, where he directed the Marching Sycamores, conducted the symphonic band, and taught in the music education department. Prior to that appointment, he was the director of bands at Cary-Grove (IL) High School and was the music director and conductor of the Deerfield Community Concert Band.
He remains active as a guest conductor and clinician, appearing with high school, university, and festival ensembles across the United States and Great Britain. Boysen earned his Doctor of Musical Arts degree in wind conducting at the Eastman School of Music, where he served as conductor of the Eastman Wind Orchestra and assistant conductor of the Eastman Wind Ensemble. He received his Master of Music degree in wind conducting from Northwestern University in 1993 and his Bachelor of Music degree in music education and music composition from the University of Iowa in 1991. He maintains an active schedule as a composer, receiving commissions from the Herbert Hoover Presidential Library, the Iowa All-State Band, the Rhode Island All-State Band, the Massachusetts Instrumental and Choral Conductors Association, the Nebraska State Bandmasters Association, and many university and high school concert bands across the United States.
Boysen won the International Horn Society Composition Contest in 2000, the University of Iowa Honors Composition Prize in 1991 and has twice won the Claude T. Smith Memorial Band Composition Contest, in 1991 for “I Am” and in 1994 for “Ovations.” Boysen has several published works with the Neil A. Kjos Music Company, Wingert-Jones Music, C. Alan Publications, and Alfred Music, including pieces for band, orchestra, clarinet and piano, and brass choir. Recordings of his music appear on the Sony, R-Kal, Mark, St. Olaf, and Elf labels.
program notes
Mother Goose Suite
Ravel originally wrote Ma mère l’Oye as a piano duet for the Godebski children, Mimi and Jean, ages 6 and 7. Ravel dedicated this work to the children (just as he had dedicated an earlier work, Sonatine, to their parents). The composer later recast the suite of five vignettes for chamber orchestra as part of a ballet, coupled with additional music for transitional purposes.
Sleeping Beauty and Little Tom Thumb are based on the tales of Charles Per rault, while Little Ugly Girl, Empress of the Pagodas is inspired by a tale (The Green Serpent) by Perrault’s “rival” Madame d’Aulnoy. Beauty and the Beast is based upon the version by Jeanne-Marie Le Prince de Beaumont. The origin of The Fairy Garden is not entirely known, although the ballet version interprets this as Sleeping Beauty being awakened in the garden by her prince.
For several movements Ravel included quotes to indicate clearly what he is trying to invoke.
Tom Thumb
Il croyait trouver aisément son chemin par le moyen de son pain qu’il avait semé partout où il avait passé; mais il fut bien surpris lorsqu’il ne put retrouver une seule miette: les oiseaux étaient venus qui avaient tout mangé.
He believed he’d easily find his way because of the bread that he’d strewn all along his path; but he was very surprised to find not a single crumb: the birds had come and eaten everything.
Laideronette
Elle se deshabilla et se mit dans le bain. Aussitot pagodes et pagodines se mirent a chanter et a jouer des instruments: tels avaient des theorbes faits d’une coquil de noix; tels avaient des violes faites d’une coquille d’amande; car il fallait bien proportionner les instrument a leur taille.
She disrobed and got into her bath. Right way, mandarin men and women began to sing and play their instruments: Some had theorbos made from a walnut shell; others had violins made from an almond shell; because it was important that they play instruments proportioned to their size.
Beauty and the Beast
Quand je pense a votre bon coeur, vous ne me paraissez pas si laid. - Oh! Dame oui! j’ai le coeur bon, mais je suis un monstre. - Il y a bien des hommes qui sont plus monstres que vous. - Si j’avais de l’esprit je vous ferais un grand compliment pour vous remercier, mais je ne suis qu’une bete. - La Belle, voulez-vous etre ma femme? - Non, la Bete!... - Je meurs content puisque j’ai le plaisir de vous revoir encore une fois. - Non, ma chere Bete, vous ne mourrez pas: vous vivrez pour devenir mon epoux! La Bete avait disparu et elle ne vit plus a ses pieds qu’un prince plus beau que l’Amour qui la remerciait d’avoir fini son enchantement.
Piccolo
Megan Morschauser Oak Creek
Flute
Marisa Heinzen Tremper Addison Kelnhofer Indian Trail Ronit Rahman Niles West Karly Techmesser Two Rivers Dajanay Greenwood Indian Trail Bryanna Bustamente Tremper Maricela Valle-Vazques Oak Creek
Oboe
Laurel Brown Tremper Marcos Torrez Zion-Benton Lauren Manning Indian Trail Alexie Schubring Zion-Benton
Bassoon Violet Biggs Libertyville
Clarinet
Nadia Ziyadeh-Flores Zion-Benton Charlee Rohrer Two Rivers Fabian Guzman Zion-Benton Lily Balge Waterford Ellenore Kroschner Two Rivers Alexander Ponce-Bucio Zion-Benton Ava Gilbert Two Rivers
Bass Clarinet Julia Fudge Zion-Benton
Alto Saxophone
Tanner Goggins Slinger Isaac Blomberg Two Rivers Sophia Chairez Zion-Benton
festival band
Tenor Saxophone
Junique James Zion-Benton Kissiany Melecio Zion-Benton
Bari Sax
Max Blooming Oak Creek Bryan Villwock Two Rivers Horn
Caleb Endres Oak Creek Lanie Klawonn Tremper Elyse Upthagrove Waterford
Evan Arnold Tremper
Emma Meadows Indian Trail Fatima Trujillo Oak Creek
Trumpet Neil Clyne Indian Trail Elijah Sta Maria Zion-Benton Chris Bird Waterford Susanna Ehle Two Rivers Aidan Peterson Niles West Jordy Munoz-Maldonado Zion-Benton Olivia Boldt Waterford
Trombone
Abigail Bahena Zion-Benton Josh Cramer Oak Creek
Euphonium Brianna Flock Waterford Madeleine Hill Waterford
Tuba
Tarun Movva Libertyville Brandon Kantola Tremper
Percussion
Moises Garcia Zion-Benton
wind orchestra personnel
Flute
Neva Bergemann
Gabrielle Booth
Emma Eckes+
Lillian Geuder
Emma Lesko Bailey Schneyr+
Clarinet
Natalie Cambone
Lexy Klawonn+ Jack Massari Grace Miller
Katiann Nelson+ Jana Paulsen Maile Reidel+ Zach Ward+ Bass Clarinet Madison Bazlewicz Olivia Rodgers Sophie Shulman+
Alto Saxophone
John Cargille Teresa Carpentier MacKienna Heuer Sophia Larsen
Julia Owens+ Kassia Schrafnagel Bryan Tamayo
Tenor Saxophone Kelsi Gennrich
Baritone Saxophone
Karlee De Jesus Luke Eidsor+
Bassoon Emma Murphy
notes
Horn Aubrey Brown Christian Cecala Grace Chapa+ Sophie Figura+ Annaliese Ruhs
Trumpet Colin Conway Vinny David Bailey Dobbratz Kaeleen Smith
Trombone Sam Hoopingarner Jonathan Ledanski Taylor Zorn
Euphonium Michael Flesher Lucus Schneider Tuba Michael Flesher Oliver Juarez Wunderlin John Lew Matthew Malyszek Zhong Zheng
Percussion
Amy Gonzalez Jack Kelley+ Emma Libecki+ Christian Plonski Amelia Price Noah Wilson+ Piano
Yevelahina But +
+ indicates AMATI member
When I think of your beautiful heart, you don’t seem so ugly. - Oh yes madam! I have a good heart, but I’m a monster. - There are certainly men who are more monstrous than you. - If I dared, I would offer you a great compliment to thank you, but I’m only a beast. - Beauty, would you be my wife? - No Beast! - I die content that I had the pleasure to see you one last time. - No my dear Beast, you won’t die: You will live to become my husband! The Beast had disappeared, and she suddenly saw a prince more handsome than love itself who thanked her for having broken his spell.
Persephone Overture
Persephone Overture was commissioned by the bands of Glenbard, Illinois, District 87, in celebration of the district’s 100th anniversary, and was premiered by their district honor band on March 22, 2016. The premiere, just after the first day of spring, led me to consider that aspect in shaping the form of the piece. The work is something of an homage to the overtures of the Classical and early Romantic periods.
Persephone Overture starts with the traditional double-dotted rhythms that would have opened a Classical period overture, followed by the emergence of a solo for English horn (played here on clarinet) with a melody that becomes the basis for the rest of the piece. Then the fun begins, as the solo transforms into a torrent of swirling sixteenth-note passages in G minor (winter). After the presentation of a second theme that is really just an augmentation of the original theme, a transition moves the work from G minor to B flat major and the emergence of spring. All of the same material is presented again, now in major, and gradually building to a climactic chorale and final cascade of sixteenth-notes…hopefully communicating the excitement and energy justified
Tarantala
Tarantula was commissioned by the South Carolina Band Directors Association for the 2020 South Carolina All-State Band. The idea for Tarantula grew out of my desire to try writing a tarantella, a traditional Italian dance that is normally characterized by a fast tempo, 6/8 meter, and the use of tambourines and guitar or mandolin. The form has appeared in the works of composers throughout the history of Western art music, but supposedly originated in the frantic and feverish dances of victims of the bite of the Lycosa tarantula spider. The resultant dance would apparently last for extraordinarily long periods of time until the dancer would collapse from exhaustion.
program
program notes program notes
My piece begins with an optional (but highly preferred) classical guitar solo that introduces the two main themes for the work at a slow tempo and in reverse order, gradually building to the climactic moment of the spider’s bite. Immediately, the tempo increases substantially as the victim begins to dance the tarantella. Although the basic structure of the piece is a traditional sonata form, there is a constant sense of increasing intensity and anxiety throughout the work, until the coda finally accelerates to a frenzied conclusion.
Star Crossed
Star Crossed is the second collaboration between the composer and the graphic artist, Erik Evensen. It tells the story of a superheroine and a supervillain who fall in love and have to make things work. Star Crossed was commissioned by a consortium of universities and high schools led by the Minnesota Music Educators Association (MMEA) and CBDNA and premiered on February 16, 2013 at the MMEA Midwinter Clinics in Minneapolis, MN.
Unraveling
In June of 2003, my good friend Randy Atkinson asked if I might be willing to conduct and compose a piece for the 2005 All-Iowa Middle School Honor Band. Randy and I have known each other for many years, and the opportunity to write a piece for him and also return to the state of Iowa was too tempting to bypass.
I wanted to write a piece that would be exciting and challenging for the students, but attainable in the limited rehearsal time of only three and a half hours, so my concept was to use a rather difficult melody, but repeat the melody throughout the work so that I only had to teach it once to the whole ensemble. The melodic line is based on the octatonic scale and the piece uses other techniques such as singing and buzzing on mouthpieces. The work is intended to become progressively faster, with a sense of increasing momentum and intensity. In a sense, the piece “unravels” in front of the listener. The title has a dual meaning, though, as the concept of a repeating melodic line that gradually grows in intensity owes a great deal to Maurice Ravel’s famous orchestral work Bolero (hence un-”Ravel”-ing).
The Legend of Sleepy Hollow
Based on the famous story by Washington Irving, The Legend of Sleepy Hollow was written for the 2003 South Central Iowa Bandmasters Association Honor Band. The work attempts to portray specific events in the story, essentially “telling” the tale from the point at which Ichabod Crane leaves the party at the Van Tassel’s until the headless horseman throws his head at Ichabod. The pitch material is taken from the hymn tune, How Firm a Foundation, which dates from the period of Irving’s lifetime. The tune is used most prominently when Ichabod whistles at one point in the story (piccolo solo) and sings at another (woodwind choirs), attempting to combat his fears through song, and near the end when Ichabod sees the church in the distance.
Simple Song
Simple Song was commissioned by the Cedar Rapids Community School District of Cedar Rapids, Iowa, in commemoration of Iowa’s Sesquicentennial. It received its premiere on February 29, 1996 at the Five Seasons Center in Cedar Rapids, Iowa. Participating schools were: Jefferson High School, Kennedy High School, and Washington High School.
Simple Song is a quiet, simple, and lyrical piece that features the use of a woodwind quintet of soloists (flute, oboe, clarinet, bassoon and horn) and also prominent parts for flugelhorn.
Unraveling was commissioned by the Iowa Bandmasters Association for the 2005 All-Iowa Middle School Honor Band and premiered by that ensemble with the composer conducting on May 12, 2005.
participating schools and directors
Indian Trail High School and Academy
Jeremy Kriedeman Kenosha, WI
Libertyville High School
Adam Gohr
Libertyville, IL
Maine West High School
Justin Johnson Des Plaines, IL
Oak Creek High School
Amy Fuchs
Oak Creek, WI
Slinger High School
Graham Westley Slinger, WI
George N. Tremper High School
Kathryn Ripley Kenosha, WI
Twin Rivers High School
Mariah Honeck
Two Rivers, WI
Waterford High School
Michael Nelson Waterford, WI
Zion-Benton High School
Shan Kazmi Zion, IL
