20221116_Wind Orchestra

COLLEGE OF MUSIC

Presents

THE UNIVERSITY WIND ORCHESTRA

Patrick Dunnigan, Conductor Nickolas Doshier, Graduate Conducting Associate

with special guests David Thornton, Conductor Stacy Garrop, Composer featuring Geoffrey Deibel, Saxophone Justin Benavidez, Tuba

Wednesday, November 16, 2022 Seven-thirty in the Evening Ruby Diamond Concert Hall

PROGRAM

Sonoran Desert Holiday (1995) Ron Nelson (b. 1929)

Child Moon (2017) Aaron Perrine (b. 1979)

Danzón No. 2 (1998) Arturo Márquez (b. 1950)

Song (for Band) (2001) William Bolcom (b. 1938) David Thornton, guest conductor

Chariot of Helios (2011) Stacy Garrop (b. 1969) Nickolas Doshier, graduate conducting associate

Alpenglow (2021) Stacy Garrop

I. First Light II. Arc of the Sun III. Radiant Glow

Geoffrey Deibel, alto saxophone Justin Benavidez, tuba

Come Sunday (2018) Omar Thomas

I. Testimony (b. 1984) II. 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. Health Reminder: The Florida Board of Governors and Florida State University expect masks to be worn by all individuals in all FSU facilities. Thank you for your cooperation.

ABOUT THE DIRECTOR

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 Orchestra, 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 a member of the American Bandmasters Association and serves as National Past President of the College Band Directors National Association.

ABOUT OUR SPECIAL GUESTS

David Thornton joined the faculty of the Michigan State University College of Music (MSU) in the fall of 2015 as Assistant Director of Bands. In 2017 he was appointed as the Associate Director of Bands and the Director of the Spartan Marching Band (SMB). In this role, Dr. Thornton is the conductor of the MSU Symphony Band and teaches courses in instrumental conducting, and marching band methods. As the director of the SMB, Dr. Thornton is the principle drill writer and show designer for the 300-member Spartan Marching Band. In addition to his role with the SMB, Dr. Thornton also oversees the Spartan Brass athletic band program that performs at all basketball, volleyball, and hockey events.

Dr. Thornton maintains an active schedule with engagements throughout the United States as a guest conductor, clinician, and adjudicator. He has presented at the Midwest Band and Orchestra Clinic, Michigan Music Conference, and the Florida Music Educators

Association Conference. In addition to clinician and performance engagements, his arrangements and transcriptions have been performed by ensembles at Michigan State as well as at national and international events. During his career as a conductor, Dr. Thornton has worked with a number of notable composers in the preparation, performance, and/ or recording of their works for the wind band medium. Recent artistic collaborations include Omar Thomas, Ricardo Lorenz, John Corigliano, Steven Bryant, and Andrew David Perkins. His leadership with the MSU Symphony Band has also been nationally recognized with their invitation to perform at the 2020 North Central Division CBDNA Conference at DePaul University.

Stacy Garrop is a full-time freelance composer living in the Chicago area. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Her music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.

Garrop has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble.

She was the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program (2018-2020), during which she composed The Transformation of Jane Doe and What Magic Reveals with librettist Jerre Dye. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra (2016-2019), funded by New Music USA and the League of American Orchestras. She previously served as composerin-residence with the Albany Symphony (2009/2010) and Skaneateles Festival (2011), and as well as on faculty of the Fresh Inc Festival (2012-2017).

Justin Benavidez is the professor of tuba and euphonium at the Florida State University College of Music and performs as principal tuba of the Tallahassee Symphony Orchestra. In the summer, he is on faculty at the Round Top Music Festival in Texas.

With his playing noted for its “tremendous virtuosity and stylistic versatility”, Benavidez has performed in venues throughout North America, Europe, and Asia. His debut solo album, Emblems, won Silver Medals in the Classical Album and Solo Instrumentalist categories of the Global Music Awards. The International Tuba Euphonium Association Journal described it as “an impressive and highly entertaining record” on which Benavidez “shreds with enthusiasm, exuberance, and precision”. His second album, Storyteller, also won Silver Medals in the Classical Album and Solo Instrumentalist categories of the Global Music Awards.

As an orchestral musician, Benavidez has appeared as guest tubist with the Charleston Symphony Orchestra, Charlotte Symphony Orchestra, Florida Orchestra, Jacksonville Symphony Orchestra, Rochester Philharmonic Orchestra, Santa Fe Symphony Orchestra, Sarasota Orchestra, and Utah Symphony. He was previously the principal tuba of the Syracuse Symphoria Orchestra and the Syracuse Opera.

Benavidez is a Melton Meinl Weston performing artist and Denis Wick performing artist.

A Washington, D.C. native, Geoffrey Deibel has emerged as an innovative voice for the teaching and performance of the saxophone and contemporary music. His recent solo release, Ex Uno Plures, features the solo saxophone reimagined as a polyphonic instrument in a variety of contexts. Recent concert highlights include performances with the Cortona Collective Trio, the Wet Ink Ensemble (NYC), and teaching at the Singapore Saxophone Summit and Asia Pacific Saxophone Academy in Bangkok. Geoff has been an invited guest lecturer at Die Staatliche Hochschule für Musik und Darstellende Kunst, Stuttgart, at University College Cork, Ireland, and many universities in the US. He has appeared at the Internationale Ferienkurse für Neue Musik, Darmstadt, the International Iannis Xenakis Festival in Athens, Greece, and World Saxophone Congresses in the UK, Europe, and Asia. Geoff has commissioned and premiered new works by composers such as Louis Andriessen, Georges Aperghis, Caleb Burhans, Nathan Davis, Jason Eckardt, Martin Iddon, Robert Lemay, Marc Mellits, Jesse Ronneau, Hans Thomalla, and Eric Wubbels. Geoff is also a seasoned orchestral performer, having performed as principal saxophonist with the Wichita Symphony, and

with the New World Symphony and Grant Park Symphony. Geoff holds degrees in history and music from Northwestern University, and a doctoral degree from Michigan State University. His principal teachers have included Joseph Lulloff, Frederick Hemke, Leo Saguiguit, and Reginald Jackson. He currently serves as Assistant Professor of Saxophone at Florida State University, and as faculty of the Cortona Sessions for New Music and Great Plains Saxophone Workshop. Geoff is a performing artist and clinician for Yamaha, Vandoren, and LefreQue products.

NOTES ON THE PROGRAM

Nelson: Sonoran Desert Holiday

Ron Nelson has led a long career as both a prolific composer and devoted educator. Dr. Nelson earned all of his degrees from the Eastman School of Music and taught at Brown University until his retirement in 1993. And, while he has contributed prominent pieces for many settings, several of his works for wind ensemble have become staples of the wind band repertoire.

About the piece, Nelson writes: Sonoran Desert Holiday is a quasi-programmatic piece, the final in a series of eight overtures which began in 1953 with Savannah River Holiday. Although no specific program is intended, there are gestures and allusions to night, to sunrise, to Native American and Hispanic influences, to wide open Southwestern expanses, and to the remarkable variety of holiday experiences available in this diverse and beautiful part of our country. The form of the overture is ABA with an atmospheric introduction and a short coda.

Perrine: Child Moon

Aaron Perrine studied trombone performance and music education at the University of Minnesota and completed his master’s and doctorate degrees in composition from the University of Iowa. He is currently an assistant professor of music at Cornell College in Iowa. Among the dozens of wind band pieces Perrine has composed, Pale Blue on Deep and Only Light were awarded the esteemed American Bandmaster’s Association’s Sousa/ Ostwald Prize, in 2013 and 2015 respectively.

Child Moon was a joint commission by the University of Dayton Department of Music and Peggy Taulbee in loving memory of Peggy’s daughter Leslie Taulbee. Leslie was a music education major and member of the University of Dayton Symphonic Wind Ensemble. Aaron Perrine writes:

The title and form of the piece are taken from a poem of the same title by Carl Sandberg. The poem is perfect as Peggy [Leslie’s mom] shared a story about how, after Leslie’s passing, her daughters Elise and Emma used to speak to the moon whenever they wanted to speak with her. In their eyes, the moon was most certainly heaven.

This lyrical piece features solo trumpet and flute which Leslie and her mother Peggy played.

Marquez: Danzon No. 2

Arturo Marquez writes: The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the state of Veracruz and in the dance parlors of Mexico City.

The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No. 2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.

Bolcom: Song (for Band)

William Bolcom is a highly decorated composer, talented pianist, and dedicated educator. Bolcom’s awards include the Pulitzer Prize for Music, the American National Medal of Arts, and four Grammys. Before retiring in 2008, he taught composition at the University of Michigan for 35 years. While Bolcom is known for his compositions in a variety of settings, his First Symphony for Band (2008) has already established itself as a core piece of repertoire in the wind band medium. His piece Song (for Band) was written in honor of the retirement of H. Robert Reynolds from the directorship of the University of Michigan Bands.

Garrop: Chariot of Helios

Stacy Garrop writes:

In Greek mythology, Helios was the god of the sun. His head wreathed in light, he daily drove a chariot drawn by four horses (in some tales, the horses are winged; in others, they are made of fire) across the sky. At the end of each day’s journey, he returned to earth and slept in a golden boat that carried him on the Okeanos River back to his sun palace on Mount Olympus, where he mounted his chariot and rode into the sky again.

The cyclic journey of Helios is depicted in this short work. The first half is fastpaced and very energetic, while the second half is slow and serene, representing day and night.

Chariot of Helios was originally commissioned by Gaudete Brass Quintet in 2011. I made the wind ensemble arrangement in 2015 for maestro Stephen Squires and the Chicago College of Performing Arts Wind Ensemble.

Garrop: Alpenglow

Stacy Garrop writes:

The first time I saw an alpenglow, I had no idea what it was. It was the late 1980s, and I was a music camp at the base of the Rocky Mountain National Park in Colorado. A few of us got up in the middle of the night so we could hike to a vantage point at the foot of Longs Peak, to watch the sun rise without any trees obstructing our view. Even though we had a few more minutes to go before the sun breached the horizon, when I looked up at the face of Longs Peak, it was glowing intensely with a most beautiful peach-pink color. This enchanting vision lasted only about ten minutes, after which the color faded as the sun rose. Throughout the next thirty years, whenever I returned to the Rocky Mountain National Park, I would occasionally catch this pre-dawn light show in all its glory.

An alpenglow is an optical phenomenon that is visible on high altitude mountains. It happens twice daily, right before the sun rises and right after it sets. The earth’s atmosphere scatters the sun’s light, allowing particular wavelengths of light through and blanketing the mountains in rich hues of peach, pink, red, and purple.

Alpenglow opens with First Light. This movement begins in the pre-dawn hour. The music starts simply and slowly, then grows increasingly animated as the sky lightens and the horizon shimmers with color. The movement explodes in a massive flurry of activity when the blazing sun pulls itself across the horizon. In Arc of the Sun, we follow the sun as it energetically leaps and surges upwards in the sky. The music moves steadily upwards as it keeps pace with the sun’s progress, then crests as the sun reaches its zenith. As the sun bends back down towards the

earth, the music follows suit, getting lower in range and slower as the sun nears the horizon.

In Radiant Glow, the sun slips under the horizon, giving way to a most radiant alpenglow. As the alpenglow fades and twilight envelops the earth, stars shimmer in the night sky.

Thomas: Come Sunday

Omar Thomas writes:

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 African-American 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!

Piccolo

Brenna Wiinanen

Flute

Samantha Donnell* Kaitlyn Calcagino Ashleigh Wallace Brenna Miller

Oboe Luis Gallo* Jennifer McHenry Eli Barrios

Bassoon Abigail Whitehurst Alex Lee Emmalee Odom, Contra

E-Flat Clarinet Ciara Solby

University Wind Orchestra Personnel

Patrick Dunnigan, Director Nickolas Doshier, Graduate Conducting Associate

B-Flat Clarinet

Connor Croasmun Maggie Watts Marissa Stanfill Jin Yun Jessica Pollack Trey Burke Alex Vaquerizo

Bass Clarinet Renzo DeCarlo

Alto Saxophone Dawson Coleman* Blake Adams

Tenor Saxophone Parker Franklin Baritone Saxophone Collin Bankovic

Trumpet/Cornet Vito Bell* Angela King* Vance Garven Jack Lyons James Popper Sawyer Prichard

Horn Leslie Bell Brianna Nay Tarre Nelson Cory Kirby Trombone Justin Hamann Will Roberts Bass Trombone Carter Wessinger

Euphonium Jonah Zimmerman* Michael Chou

Tuba Ramon Garavito, Jr.* Chris Bloom

Percussion Jacob Dell Connor Willits Christopher Baird Landon Holladay Harp Alexandra Mullins Piano Sihui Liu String Bass Gene Waldron Program Manager Chelsea Blomberg

* Principal /Co-Principal

Florida State University COLLEGE OF MUSIC

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