041321 University Wind Ensemble

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents

THE UNIVERSITY WIND ENSEMBLE Patrick Dunnigan, Music Director and Conductor Faith Hall, Leslie Kupetz and Brandon Meeks, Graduate Conducting Associates

Tuesday, April 13, 2021 Seven-thirty in the Evening Ruby Diamond Concert Hall Live: wfsu.org/fsumusic

PROGRAM Wiener Philharmoniker Fanfare, TrV 248

Leslie Kupetz, graduate conducting associate Blue Dances

Faith Hall, graduate conducting associate

Ash

Passo a sei

Richard Strauss (1864–1949) arr. Dunnigan

Giovanni Santos (b. 1980)

Jennifer Jolley (b. 1981) arr. Dunnigan Gioachino Rossini (1792–1868) arr. Dunnigan

Ouverture for Harmoniemusik Felix Mendelssohn

(1809–1847) Brandon Meeks, graduate conducting associate Hymn to a Blue Hour

Come Sunday Testimony

John Mackey (b. 1973) Omar Thomas (b. 1984)

Shout

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

Thank you for your cooperation.

MUSIC DIRECTOR AND CONDUCTOR Patrick Dunnigan, Professor of Music and Director of Bands, teaches courses in conducting, wind band literature, and music education. He is the Music Director and Conductor of the University Wind Ensemble, one of five University concert bands under his supervision. Dr. Dunnigan is active as a guest conductor, adjudicator and clinician, and is widely sought after as an arranger for bands across the county.

Dr. Dunnigan’s numerous band arrangements and transcriptions are performed by top high school and college ensembles around the world. He has written articles on music education and conducting for the Music Educators Journal, The Instrumentalist, and other publications. Under his direction, various FSU ensembles have performed for the Florida Music Educators Association and the College Band Directors National Association.

Prior to his appointment at FSU, Dr. Dunnigan taught in the public schools of Kentucky for seven years, and was a member of the faculty at Western Michigan University from 1987 to 1991. He holds the Bachelor of Music Education degree from the University of Kentucky, the Master of Music in Conducting from Northwestern University, and the Ph.D. in Music Education from the University of Texas. He is author of Marching Band Techniques, published by The Instrumentalist Publishing Company. Dr. Dunnigan is member of the American Bandmasters Association and serves as National Past President of the College Band Directors National Association.

NOTES ON THE PROGRAM Strauss: Wiener Philharmoniker Fanfare Richard Strauss (1864-1949) was a German composer, conductor, pianist, and violinist who lived during the late Romantic/early modern era. He was considered a leading composer of his time and has been described as a successor of Richard Wagner and Franz Liszt. Although best known for popularizing and refining the form of the tone poem, he also had a long career as a conductor, leading the Berlin Royal Opera, the Berlin Philharmonic, the Vienna State Opera, and the Vienna Philharmonic.

Wiener Philharmoniker Fanfare (1924) was written for the Vienna Philharmonic’s first fundraising ball benefiting their musician’s pension fund. The ball took place during the German celebration of Fasching, also known as Carnivale or Mardi Gras in other countries. The piece was played to welcome the honored guests to the event and was dedicated to the “wonderful members’’ of the Vienna Philharmonic. The original work is scored for a large brass ensemble including 6 E-flat trumpets, 8 E-flat horns, 6 trombones, 2 tubas, and 2 sets of timpani. This rescored edition for expanded brass choir is designed to be more accessible for the contemporary concert band. For even greater ease of playing, the trumpet and horn parts are transposed for modern instruments. This fanfare is still played every year at the Philharmonic’s annual ball.

Santos: Blue Dances Giovanni Santos (b. 1980) serves as Assistant professor of Music and Director of Wind and Percussion Studies at La Sierra University, where he directs the University Wind Ensemble, Chamber Winds, Big Band, and teaches courses in instrumental music education, popular music and conducting. As a composer, Santos has premiered his works across the United States and Europe, including a premiere with the United States Naval Academy Band Brass Ensemble at the John F. Kennedy Center for the Performing Arts in Washington D.C. under his baton.

In addition to teaching, conducting, and composing, Santos is pursuing a Ph.D. in Music Education at Florida State University.

Blue Dances (2018) is a work for wind ensemble dedicated to the beautiful people and island of Puerto Rico. After the devastating hurricane (Maria), I felt a need to give back in some way. My connection to Puerto Rico is deep. I had the privilege of living there for over nine years as a young boy. When the island suffers, I suffer. When the island celebrates, I celebrate. Composing Blue Dances was an act of love.

The piece starts with sounds of the ocean, and a delicate trio between the flute, oboe, and flugelhorn. The Latin melodies throughout the piece represent a positive outlook towards the future of this island. The people of Puerto Rico are resilient, strong, positive, and always loving. These beautiful sentiments are what I hope I was able to have Blue Dances represent.

-Program note by composer Jolley: Ash Jennifer Jolley (b. 1981) is a composer and sound artist influenced by urban environments and nostalgia. Originally from Los Angeles, Jolley was an assistant professor of music at Ohio Wesleyan University. She earned both the D.M.A. and M.M. from the University of Cincinnati’s College-Conservatory of Music and the B.M. from the University of Southern California Thornton School of Music.

Jolley’s work draws toward subjects that are political and even provocative. Jolley joined the composition faculty of the Texas Tech School of Music in 2018 and has been a member of the composition faculty at Interlochen Arts Camp since 2015. She teaches various music composition courses including computer music programming and sound art.

Of Ash (2018/2020), the composer writes: I never saw snowfall as a child growing up in Southern California; it was more a phenomenon that I saw in cartoons or read in children’s books. I did, however, witness my first ash-fall when I was in elementary school. I looked up into the clouded sky and saw specks of ash falling from it. Excited but puzzled, I looked to my elementary school teacher during recess and held out my hand. “Oh, that’s ash from the wildfires,” she said. At that time, I couldn’t comprehend how an enormous forest fire could create a small flurry of ash-flakes. Now I have the ominous understanding that something so magical and beautiful comes from something so powerful and destructive.

Rossini: Passo a sei Gioachino Rossini (1792–1868) was the greatest Italian composer of his time. In the first half of his life he was astonishingly prolific, and composed nearly forty operas by the age of 38. Of those many are key to the repertories of modern opera companies around the world.

Passo a sei, or “Dance of the Sixes,” is from the first act of Rossini’s famous opera, William Tell. William Tell is a French-language opera in four acts by Italian composer Gioachino Rossini to a libretto by Victor-Joseph Étienne de Jouy and L. F. Bis, based on Friedrich Schiller’s play William Tell, which, in turn, drew on the William Tell legend. The opera was Rossini’s last, although he lived for nearly 40 more years. Fabio Luisi said that Rossini planned for William Tell to be his last opera even as he composed it. The often-performed overture in four sections features a depiction of a storm and a vivacious finale, the “March of the Swiss Soldiers.”

Mendelssohn: Ouverture for Winds Felix Mendelssohn (1809-1847) was born in Germany into a cultured 19th century family. He was home schooled and his parents kept him on a very strict routine. His studies included music, history, Greek, Latin, science, literature, and drawing. Mendelssohn made his debut as a pianist at age nine and his first work was performed by the Berlin Singakadamie in 1819. His father was a wealthy banker who was very proper and wanted to provide his family with the best education possible. Mendelssohn’s music education emphasized correctness, propriety, and formal clarity. These same characteristics can be found in his works and may be one of the reasons why he is regarded as a prolific composer.

Ouverture for Winds (1824) was composed when Mendelssohn was 15 years old and it illustrates his maturing compositional voice. During the summer of 1824, Mendelssohn vacationed with his father in northern Germany. It was there he was exposed to Harmonie ensembles and he composed music for the 11 present instruments- pairs of oboes, clarinets, horns, and bassoons, plus additional parts for flute, trumpet, and English basshorn. In 1838, he rescored the work for a large German wind band and sought to have the piece published in three formats: the original, the expanded version and a setting for piano four-hands. The works were published in 1852, five years after Mendelssohn’s death. The ouverture is in sonata form with a slow introduction. The Allegro section is full of short motives, a second theme, and a crafty development that explores his use of classical counterpoint and polyphonic imitation.

Mackey: Hymn to a Blue Hour John Mackey (b. 1973) has written for orchestras (Brooklyn Philharmonic, New York Youth Symphony), theater (Dallas Theater Center), and extensively for dance (Alvin Ailey American Dance Theater, Parsons Dance Company, New York City Ballet), but the majority of his work for the past decade has been for wind ensembles (the fancy name for concert bands), and his band catalog now receives annual performances numbering in the thousands. Recent commissions include works for the BBC Singers, the Dallas Wind Symphony, military, high school, middle school, and university bands across America and Japan, and concertos for Joseph Alessi (principal trombone, New York Philharmonic) and Christopher Martin (principal trumpet, New York Philharmonic). In 2014, he became the youngest composer ever inducted into the American Bandmasters Association.

In 2018, he received the Wladimir & Rhoda Lakond Award from the American Academy of Arts and Letters. He resides in San Francisco, California, with his spouse, a philosopher who works on the ethics of technology, and also titles all of his pieces; and their cats, Noodle and Bloop.

The blue hour is an oft-poeticized moment of the day -- a lingering twilight that halos the sky after sundown but before complete darkness sets in. It is a time of day known for its romantic, spiritual, and ethereal connotations, and this magical moment has frequently inspired artists to capture its remarkable essence. This is the same essence that inhabits the sonic world of John Mackey’s Hymn to a Blue Hour.

- Jake Wallace, arranger Thomas: Come Sunday Omar Thomas (b. 1984) is an American composer, arranger, and educator. Born to Guyanese parents, Omar moved to Boston in 2006 to pursue a Master of Music degree in jazz composition at the New England Conservatory of Music. He is the protégé of Ken Schaphorst and Frank Carlberg, and has studied under Maria Schneider. Omar’s music has been performed in concert halls across the country.

He has been commissioned to create works in both jazz and classical styles.

His work has been performed by such diverse groups as the Eastman New Jazz Ensemble, the San Francisco and Boston Gay Mens’ Choruses, and the Colorado Symphony Orchestra. Mr. Thomas accepted a position in the composition area at the University of Texas in Austin in the fall of 2020. Previously, he was a member of both the Harmony and Music Education departments at Berklee, where he taught all four levels of harmony offered, in addition to taking charge of the “Introduction to Music Education” course. Omar was an active member

of the Berklee community, serving on the Diversity and Inclusion Council, the Comprehensive Enrollment Strategy Workshop, and acting as co-chair of the LGBT Allies. Omar was nominated for the Distinguished Faculty Award after only three years at the college, and has thrice been awarded the Certificate of Distinction in Teaching from Harvard University, where he served as a teaching fellow.

I played trombone in wind ensembles from the 4th grade through college. This experience has contributed significantly to the life I lead now. I had the pleasure of being exposed to sounds, colors, moods, rhythms, and melodies from all over the world. Curiously absent, however, was music told authentically from the AfricanAmerican experience. In particular, I couldn’t understand how it was that no composer ever thought to tell the story of a black worship experience through the lens of a wind ensemble. I realize now that a big part of this was an issue of representation. One of the joys and honors of writing music for wind ensemble is that I get to write music that I wish had existed when I was playing in these groups -- music that told the story of the black experience via black composers. I am so grateful to Dr. Tony Marinello and the Illinois State University Wind Symphony for leading an incredible consortium that brought this piece to life. I can’t tell you how much I’m looking forward to hanging with Tony and the group for a week in about a month’s time!

Come Sunday is a two-movement tribute to the Hammond organ’s central role in black worship services. The first movement, Testimony, follows the Hammond organ as it readies the congregation’s hearts, minds, and spirits to receive The Word via a magical union of Bach, blues, jazz, and R&B. The second movement, Shout!, is a virtuosic celebration -- the frenzied and joyous climactic moment(s) when The Spirit has taken over the service. The title is a direct nod to Duke Ellington, who held an inspired love for classical music and allowed it to influence his own work in a multitude of ways. To all the black musicians in wind ensemble who were given opportunity after opportunity to celebrate everyone else’s music but our own -- I see you and I am you. This one’s for the culture!

- Program note by composer Notes on the program compiled by Faith Hall, Leslie Kupetz, and Brandon Meeks

University Wind Orchestra Personnel

Patrick Dunnigan, Music Director and Conductor Faith Hall, Leslie Kupetz and Brandon Meeks, Graduate Conducting Associates Flute Ashleigh Wallace* Allison Cort Emily Peterson Alyssia Price Adeline Belova, piccolo Oboe Gennavieve Wrobel Alex Rushe Bassoon Harrison Cody* Morgan Meese B-Flat Clarinet Charlotte McDonald* Melanie Millo Carly Davis Maia Ruiz Tasha Rivera Jamie Key Kiltie Morton

Bass Clarinet Connor Werner Saxophone Daniel Sgattoni, soprano/alto Osciel Urbina, alto Jason Shimer, alto Jenny Hesoun, tenor Payton Kennemore, baritone Andrew Becker, baritone Trumpet Jack Lyons* Vance Garven* Thum Rangsiyawaranon Kiki Tomei Horn Andrew Canella Jordan Fraze Celine Lavarias Rita Cesare-DeGroat

Euphonium Shane O’Leary* Marcus Adkison Tuba Daniel Mentzer Sousaphone Belton Morgan Percussion Danial Kukuk Abby McNulty Connor Willits Dell Mitchell String Bass Allen Cadet-Civil Piano Matt Boswell

Trombone Will Roberts Jodie Cheung Sara Feingold Dominick Delgado, bass

* Principal

UNIVERSITY MUSICAL ASSOCIATES 2019-2021 Drs. Charles and Sharon Aronovitch * Tom Denmark Avon and Louie Doll Patrick and Kathy Dunnigan Maximilian and Gale Etschmaier Kevin and Suzanne Fenton Fred and Linda Hester Glenn Hosken

Gold Circle Jelks Family Foundation * Emory and Dorothy Johnson * Bob Parker Jerry and Ann Price * Charles and Persis Rockwood Jim and Betty Ann Rodgers Francis and Karen Skilling Bret Whissel

Benefactors * Tom and Cathy Bishop Michael and Judy Sheridan Karen Bradley Dr. James C. and Elizabeth Smith * Jimmie and Donna Callaway Michael and Jennifer Thrasher DeLos F. DeTar Bill and Sally Wendt Richard Dusenbury and Kathi Jaschke * Teresa Beazley Widmer John and Mary Geringer Marilynn Wills COL Reid Jaffe and Ms. Susan Z. Cornwell Kathy D. Wright Claire Kelly Lifetime Members Les and Ruth Ruggles Akers Sally and Fred Kreimer John and Willa Almlof Beverly Locke-Ewald Florence Helen Ashby Ralph and Sue Mancuso Mrs. Reubin Askew Meredith and Elsa L. McKinney Nancy Bivins Ermine M. Owenby Ramona D. Bowman Mike and Judy Pate André and Eleanor Connan Jane Quinton Russell and Janis Courson David D. Redfield * Ginny Densmore Laura and Sam Rogers, Jr. Nancy Smith Fichter and Robert W. Fichter Connie Sauer-Adams and Len Adams Stan and Carole Fiore Jean T. Souter Patricia J. Flowers Drs. Louis and Julia St. Petery Jane E. Hughes Sharon Stone Hilda Hunter Elaine Swain Julio Jiménez Catherine Tharpe Kirby W. and Margaret-Ray Kemper Brig. Gen. and Mrs. William B. Webb Patsy Kickliter Rick and Joan West Anthony M. and Mallen E. Komlyn John L. and Linda M. Williams

Corporate Sponsors Beethoven & Company Peter Boulware Toyota

Business Sponsors WFSU Public Broadcast Center

Sustainers Kathryn M. Beggs * Marc and Kathryn Hebda James and Rochelle Davis Greg and Margo Jones Floyd Deterding and Kelley Lang Annelise Leysieffer Diane and Jack Dowling * Lisa and John Rutledge Grady Enlow and June Dollar Dr. Gayle and Dr. Douglass Seaton William Fredrickson and Suzanne Rita Byrnes Denise Von Glahn and Michael Broyles Larry Gerber

Sponsors Joyce Andrews Tom and Christine Ballinger Patricia and Buddy Barker Marty Beech Greg and Karen Boebinger John and Eileen Boutelle Kathryn Karrh Cashin Pete and Bonnie Chamlis Causseaux-Young Robert and Linda Clickner Malcolm Craig Jim and Sandy Dafoe Margaret and Russ Dancy Joy and James Frank Bryan and Nancy Goff John and Pat Goldinger Marylee and Tina Haddon Louis V. and Kathryn T. Hajos Ocie and JoElla Harris Myron and Judy Hayden Dottie and Jon Hinkle Todd Hinkle Jonathan Jackson and Greg Springer

Alexander and Dawn Jiménez Alan R. Kagan, MD Howard Kessler and Anne Van Meter Dennis G. King, Esq. Jeff and Nancy Lickson Linda and Bob Lovins William and Gayle Manley Helen and Tom Martineau Robert and Patricia McDonald Frank and Francesca Melichar Walter and Marian Moore Ann W. Parramore Robert and Caryl Pierce JoAnne and David Rasmussen Stephen and Elizabeth Richardson Dottie Roberts and Doug Bruce Ken and JR Saginario Annelise Sapp Bill and Ma’Su Sweeney Susan and Stephen Turner David and Jane Watson Michael and Patricia Wilhoit Candy and Barbara Williams

Don Beeckler Norma T. Benton Mary S. Bert Carl and Marcia Bjerregaard Paul and Alice Blackhall Kip and Joan Carpenter Adele Cunningham Mrs. Joseph C. D’Annunzio Pamala J. Doffek John S. and Linda H. Fleming Nicole Folkert Dr. Fred Frank L. Kathryn Funchess Bruce and Luisa Gillander Ruth Godfrey-Sigler Julie Griffith Jerry and Bobbi Hill Anne R. Hodges Sally and Lincoln Jarrett Judith H. Jolly J.F. and Barbara Jones Frances Kratt / Judith Flanigan John and Marty Larson Donna Legare and Jody Walthall Joan Macmillan Alan and Marilyn Marshall Emoryette McDonald Michael and Joanne Mendez Mike and Pat Meredith

Patrons Ann and Don Morrow Drs. William C. Murray and Toni Kirkwood-Tucker Albert and Darlene Oosterhof Mr. and Mrs. Clyde Palmer Chris and Cyndi Panzarino Ann E. Parker Karalee Poschman and Jana Sterling Gloria Priest Penny Ralston and Chester Davis Amy Recht Edward Reid Nancy Stone Ross John and Carol Ryor Paula S. Saunders Jeanette Sickel Carey Smith Pat St. Angelo Richard Stevens Lee and Ramona Stewart Judy and Mike Stone James Streem George and Jackie Sweat Marjorie Turnbull Dr. Ralph V. Turner Paul Van Der Mark Sylvia B. Walford Geoffrey and Simone Watts Art Wiedinger

Associates Sam and Norma Adams Jayme Agee Victoria Alberton Patricia Applegate Jim and Kitty Ball Karl and Melissa Barton Hillman and Lin Brannon Harriet R. Chase Margaret A. Chase David and Mary Coburn Carla Connors and Timothy Hoekman Joan and Dave Custis Dr. Bob Cutlip * J. W. Richard Davis David Dickel John Dozier and Martha Paradeis Sena and Jody Finklea Betty Foltz Gigi Foster and Betty Serow Dr. Nancy Fowler Mildred L. Fryman and W. V. McConnell Jean Fuller Debbie Gibson Laura L. Glenn Deborah W. Glotzbach Harvey and Judy Goldman Sue Graham Margarita H. Grant Mary Anne Gray and Marcia Humphress Brenda Grindstaff and Steven Ferst Miriam R. Gurniak Mary Stuart Hartmann Donna H. Heald Madeleine Hirsiger-Carr Karolyn Holmes O. Dean Kindley Joseph Kraus Sylvia and John Labie Charles and Dian LaTour

Ellen Lauricella William and Debora Lee John D. Lucasse Daniel and Arlene MacDonald Jerry and Terri Mast Jerry V. McBee Lealand and Kathleen McCharen Mr. and Mrs. Joe McGlothlin Leo L. Minasian, Jr. Marjorie M. Morgan Deborah Morningstar and Max Thompson The National Orchestral Association Karen Randolph Robert Reardon / Janet Lenz David Reed Mark and Cynthia Repasky George Riordan and Karen Clarke Sanford Safron Drs. David and Winnie Schmeling Gerry Shubrick Sudarat Songsiridej and Mary Schaad Alice Spirakis Ted and Andréa Stanley Rick and Carole Stewart Joyce and Joe Toman Park and Linda Trammell C. Richard and Phrieda L. Tuten Steve Urse Vic and Mary Helen Venos Stephan von Molnár Scott and LaDonna Wagers Tom and Janie Weis Karen Wensing Erin Werner Adelaide Whitaker Barbara Wood Jeff Wright Doug Wussler

*University Musical Associates Executive Committee

The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 644-4744.

The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.