THE FLORIDA STATE UNIVERSITY College of Music presents the
University Concert Band
Devan Moore, Director
Collin Clark, Graduate Associate Conductor
Drew Hardy-Moore, Graduate Associate Conductor and
University Symphonic Band
David Plack, Director
Andy Dubbert , Graduate Associate Conductor
Aaron Ovsiew, Graduate Associate Conductor
Monday, October 14, 2024
7:30 p.m. | Ruby Diamond Concert Hall
University Concert Band
Burst (2023)
Chester Overture for Band (1778/1956)
Collin Clark, graduate associate conductor
Beauty Broken (2023)
Free Running (2013)
On Parade (1914)
Light Cavalry (1866/2000)
Drew Hardy-Moore, graduate associate conductor
Sean O’Loughlin (b. 1972)
William Schuman (1910–1992)
Nicole Piunno (b. 1985)
Robert Buckley (b. 1946)
Amanda Aldridge (1866–1956) arr. James O. Hume
Franz von Suppé (1819–1895) arr. H. Filmore ed. Robert Foster
INTERMISSION
University Symphonic Band
American Overture for Band (1956)
Aaron Ovsiew, graduate associate conductor
One Life Beautiful (2010)
The Sword and the Crown (1991)
Andy Dubbert, graduate associate conductor
Joseph Wilcox Jenkins (1928–2014)
Julie Giroux (b. 1961)
Edward Gregson
I. Henry the V, Too Famous to Live Long! (b. 1945)
II. And She will Sing the Song that Pleaseth You
III. Sound All the Lofty Instruments of War!
Haunted Objects (2024)
John Mackey
I. (b. 1973)
II.
O’Loughlin: Burst
Sean O’Loughlin (b. 1972) is the Principal Pops Conductor of the Victoria Symphony and the Syracuse Orchestra. His compositions are known for their vibrant rhythms, passionate melodies, and colorful scoring as a composer and arranger. He has been commissioned by major ensembles like the Boston Pops, Los Angeles Philharmonic, and Hollywood Bowl Orchestra, and has conducted performances with renowned orchestras including the Chicago Symphony, San Francisco Symphony, and Seattle Symphony. O’Loughlin has also led international tours with artists such as Josh Groban and Sarah McLachlan, and collaborated with notable musicians like Adele, Pentatonix, and Steven Tyler. His works are published by Excelcia Music, Hal Leonard, and Carl Fischer, and he is a frequent guest conductor for professional orchestras and honor bands nationwide. He holds composition degrees from New England Conservatory and Syracuse University.
Burst is a spirited piece for wind band that was commissioned by the Allegro Youth Wind Ensemble and the G. Ray Bodley High School Bands in Syracuse, New York, under the direction of Terrance Caviness and John Coggiola. The piece opens with a bold brass statement, immediately setting the stage for the exhilarating journey ahead. A simple four-note motif soon evolves into a full, sweeping melody, while the interplay of triplet and eighth-note rhythms drives the momentum throughout. Dissonant harmonies are woven in to heighten tension, creating moments of suspense and release. In the final moments, the four-note idea returns at the fermata, bringing the work to a powerful and triumphant conclusion.
Schuman: Chester
William Schuman began his composition career early in a New York high school where he formed his own jazz band. He pursued his compositional interest with a bachelor’s and master’s degree from Columbia University before studying privately with Roy Harris at Julliard. Throughout Schuman’s career, he was recognized for his many successes in writing for orchestra, chorus, and wind ensembles. Most notably, Schuman was awarded the Pulitzer Prize in 1943 for his composition Cantata No. 2. A Free Song. Moreover, you may be familiar with some of his well-known wind ensemble compositions including the New England Triptych or George Washington Bridge.
Chester is one of three pieces, including Be Glad Then America, and When Jesus Wept, which create Schuman’s New England Triptych. Chester is the third and final movement of the triptych. Each movement of the triptych is based on a choral work by William Billings (1746-1800) who was known for his contributions to American music during the Revolutionary War.
The original song, Chester, was frequently heard in the camps of the Continental Army. The text incites a burning desire for freedom which Schumann translates into his composition. Beginning with a presentation of the main theme in the chorale, Schuman continues with a stark contrast of fast paced segments and inversions of the original melody. As the piece develops, so do the multiple variations of the main theme which concludes in a triumphant fanfare.
Piunno: Beauty Broken
Nicole Piunno’s (b. 1985) music explores and reflects upon life’s complexities. Her works often embody the paradoxes of existence, weaving together opposites such as light and dark, past and present, beauty and brokenness, and chaos and order. Piunno holds a Doctor of Musical Arts in composition and a Master of Music in theory pedagogy from Michigan State University, where she studied with Ricardo Lorenz, and a Master of Music in composition from Central Michigan University under David Gillingham. Her music has been performed by prestigious ensembles such as “The President’s Own” United States Marine Band and the United States Coast Guard Band, and has been featured at prominent events like regional CBDNA conferences and the Midwest Clinic.
Beauty Broken was inspired by Piunno’s experience with Ori Gersht’s “Blow Up #1” during a visit to the Columbus Museum of Art. In this work, Gersht used high-speed photography to capture the explosion of a flower arrangement, revealing a profound truth about the human condition. At first glance, the image appeared beautiful and captivating, but closer inspection revealed a portrayal of beauty in fragmentation, symbolizing the tension between beauty and violence, life and death. This duality struck Piunno, as she was initially drawn to the beauty but later confronted by the violence, ultimately coming to accept both as integral parts of the piece’s essence. This realization led her to reflect on the paradox of these realities, evoking a sense of hope and longing for beauty to be restored. This realization led her to reflect on the paradox of these realities, evoking a sense of hope and longing for beauty to be restored.
Buckley: Free Running
Robert Buckley, originally born in Brighton England, is a prolific Canadian composer, arranger, producer, and recording artist. Buckley began his musical career as a pianist at the age of nine, shortly followed by interests in the saxophone, flute, guitar, banjo, and composition. His musical interests continued to spread to Jazz, electronic music, rock music, producing, and scoring for media. Buckley developed these diverse interests and skill sets from and early age, resulting in a diverse career. He has created multiple albums with CBS and A&M in addition to earning a gold record for his number one single Letting Go. Additionally, he has arranged for major artists including Michael Bublé, Celine Dion, and Aerosmith. Buckley has also scored for musicals, dance, television, movies, major orchestras, wind ensembles, and the Vancouver Olympics.
Free Running was originally composed for the 2011 Alabama Music Educators Convention, performed by the Troy University Symphony Band. Featuring a consistent pulse of short eight notes, Buckley portrays the image of disconnected pixels which create a grand picture that shimmers with brilliance. This artistic idea intersects with the popular concept of parkour, also known as free running, a form of athleticism which features aerobatic stunts and climbing in the urban city environment. This intersection of ideas results in exciting rhythmic motifs and melodies which wander the urban environment performing their own aerobatic stunts in this energetic piece which embodies a free mind and body.
Aldridge: On Parade
Amanda Christina Elizabeth Aldridge, also known by her pseudonym Montague Ring, was a British opera singer, teacher, and composer (March 10, 1866 - March 9, 1956). The third child of African American Shakespearian actor Ira Frederick Aldridge and Swedish Amanda Brandt, Aldridge studied voice with Jenny Lind and Sir George Henschel at the Royal College of Music in London, alongside harmony and counterpoint with Frederick Bridge and Francis Edward Gladstone. After her concert career was cut short by a throat condition, Aldridge focused on teaching and composition, publishing around thirty romantic parlor songs and instrumental pieces between 1907 and 1925 under the name Montague Ring. Her music, recognized for its blend of popular styles and genres, included love songs, suites, sambas, and light orchestral works. Among her distinguished students were Roland Hayes, Lawrence Benjamin Brown, Marian Anderson, and Paul Robeson. At age 88, Aldridge made her television debut on the British show Music For You, where Muriel Smith performed her Little Southern Love Song
On Parade is an English “quick step” march featuring a typical first and second strain, trio, and an unusual secondary trio (a trio-within-a-trio!) that modulates the piece to a third tonal area. The 2020 edition resolves several practical and stylistic issues with the available 1914 Boosey & Hawkes score-less parts that can be found through the US Library of Congress or IMSLP. Instrument parts have been struck or added to modernize the instrumentation. Stylistically, the dynamic range has been expanded and several courtesy slurs and articulation markings have been added to facilitate cleanliness of lines and phrases. Rehearsal letters, measure numbers, and a tempo marking have been added for convenience and errata has been fixed.
Suppé: Light Calvary
Franz von Suppé was born in Vienna, Austria to a family which did not encourage his musical talents. In his youth, he pursued studies of the flute and composition on his own. His first Mass was premiered at a church in 1832 while he was only 13 years old. At the age of 16 he was sent to a school to study law, although he continued to pursue music on his own. After receiving an invitation to study with Franz Pokorny in a Vienna theater, Franz von Suppé leaned into his composition for Opera and Theater. During his career he wrote for over 100 theatrical productions as well as four dozen Operettas.
Franz von Suppé’s theatrical influence can be heard in his dramatic opening and overture Light Calvary. Originally premiered in 1866, this Overture became one of his most popular compositions. Originally written for orchestra, this piece has been arranged by many masterful musicians. This particular arrangement by Henry Fillmore with edits by Robert Foster elegantly preserves Franz von Suppé’s depiction of the horse mounted troops journey, which was the story the original Operetta was based on. Beginning with an introduction and a militant sounding of brass the piece develops into a galloping allegro. This allegro develops new themes with a consistent revisiting of the original trumpet calls before concluding in a theatrical ending.
Jenkins: American Overture for Band
Joseph Willcox Jenkins (1928–2014) was an American composer and educator. After studying with Vincent Persichetti at the Philadelphia Conservatory and Howard Hanson at the Eastman School of Music, he joined the Army and served as a composer on the arranging staff of the US Army Field Band and Armed Forces Network, as well as chief arranger for the US Army Chorus. Dr. Jenkins has an extensive catalogue of more than 200 works for winds, strings, organ, and choral music. In 1961, he joined the faculty at the Duquesne University, where he taught music theory, composition, and orchestration full time for 46 years.
Jenkins composed American Overture for Band in 1956, during his time as an arranger at the US Army Field Band and dedicated it to ensemble’s conductor, Chester E. Whiting. While American Overture for Band was Jenkins’ first piece written for concert band, it became his most popular. Jenkins is quoted as saying that he is “hard-pressed to duplicate its success.” The piece does not quote any American folk music, but instead uses the Lydian and Mixolydian modes to evoke the folk idiom. Two main themes are prominent throughout the piece. The first, an energetic melody initially stated by the French horns, consists of dotted rhythms, sixteenth notes, and accents. This is passed around and altered throughout the first half of the piece. The second melody is more lyrical in nature and features slurred notes and rhythms of longer duration. Driving sixteenth notes and quotes of the first melody are used as transitional material and lead to a final, exciting, restatement of the original melody at the piece’s end.
Giroux: One Life Beautiful
Julie Giroux (b. 1961) began composing at the age of 8 and published her first composition at the age of 13. While composing for film scores and video games she won three Emmys for “Outstanding Individual Achievement in Music Direction” and was the first woman to receive the prestigious award. She was also the first female composer to be inducted into the American Bandmasters Association in 2009. Her works are composed for many musical settings and are consistently performed nationally and internationally. Her works continue to elevate the repertoire of wind band literature, and her publishing company Musica Propria serves as a hub for a growing number of composers.
One Life Beautiful (2010) was commissioned by the immediate family of Heather Cramer Reu, following Heather’s tragic passing. In dedication to Heather, Giroux instructs that the work be performed with individual and artistic freedom driven by the performers own heart, mind, and musicality. Although expressive markings are notated in the music, this
artistic freedom ensures that no two performances of this piece will be identical. The composer includes this note about her work:
“One Life Beautiful” - The title itself is a double-entendre which in one sense is referring to the person this work is dedicated to as in “one life” that was beautifully lived. The other sense is a direct observation concluding that having only one life is what makes life so sacred, tragic and so very precious. This is an impressionistic work musically describing that condition. Shakespeare’s “sweet sorrow,” the frailty and strength of life, the meaning of what it is to truly live One Life Beautiful.
Gregson: The Sword and the Crown
Edward Gregson (b. 1945) is a native of England who studied piano and composition at London’s Royal Academy of Music, and London University. Gregson writes for orchestra, chamber ensemble, vocal/choral ensembles, and instrumental ensembles. His music is performed internationally, and continues to be featured by the BBC Philharmonic and BBC Concert Orchestras. He served as the Head of Composition and resident conductor at Goldsmith College in London, and later as a Professor of Music at the Royal Northern College of Music in Manchester. Although retired from teaching, Gregson continues to compose, guest conduct, write scholarly articles, and share his expertise all around the United Kingdom.
Commissioned by the Royal Air Force Music Services, The Sword and the Crown (1991) is a reworked symphonic suite of Gregson’s 1988 accompaniment of a theatrical display of the British Monarchy. Gregson calls on many theatrical elements such as antiphonal trumpets, two sets of timpani, “raucous” oboes, recorders, an English horn and alto flute. The first movement honors the death of Henry the V with the Requiem Aeternam, and depicts the English army marching into France for battle. The second movement shares music from the Welsh Court of Henry the IV. The final movement portrays the “war machine” and concludes with a hymn indicating Henry IV’s defeat of rebellious forces.
Mackey: Haunted Objects (Tsukumogami)
John Mackey (b.1973) is one of the most popular band composers of today. Originally from Ohio, Mackey earned the BFA from the Cleveland Institute of Music, where he studied composition with Donald Erb, and the MM from The Juilliard School, where he learned from John Corigliano. His music has won multiple composition awards, and he continues to add to his body of work through commissions from internationally recognized organizations, including the Dallas Wind Symphony, American Bandmasters Association, and BBC Singers.
Haunted Objects (Tsukumogami) is one of John Mackey’s most recent compositions for the wind band. In Japanese culture, objects gain a spirit (known as a kami) and lives of their own after existing for 100 years. These haunted objects are collectively known as tsukumogami. These spirits typically do not present much danger and are known more for their pranks. They will remind their owner that they still have a use and will haunt anyone who tries to throw them away. Mackey’s energetic, mystical, and sometimes unsettling piece follows the tsukumogami as they enter and interact with the human world. The first movement is from the perspective of the owner of the tsukumogami who is scared to realize they are surrounded by these spirits. The second movement represents the joyous and fun-loving nature of the tsukumogami as they explore the home they love. The chaotic ending of the piece symbolizes that, despite their friendly nature, the tsukumogami are a constant sense of terror for their owners.
University Concert Band Personnel
Devan Moore, Director
Collin Clark and Drew Hardy-Moore, Graduate Associate Conductors
Piccolo
Anna Todd
Flute
Taylor LaPage
Kathleen Antmann
Daniel Morgan
Nicki Howard
Kayla Crider
Queen Byrdsong
Oboe
Emma Brock
Mariana Rivera
Anna Mudgett
Abigail Saltares
Bassoon
Amelia Khanji
Megan Meese
Aspen Atwood
Brady Smith
E-Flat Clarinet
Althea Keren
B-Flat Clarinet
Rachael Malawey
Althea Keren
Thomas Oberlin
Brooke Burns
Gianna Iadeluca
Amanda Stewart
Isabelle Parsons
Jacob Lirio
Ryan Golbe
Victoria Hamilton
Jamari Richards
Bass Clarinet
Katelyn Viachec
Alto Saxophone
Gabriel Ortiz
Caitlyn Jones
Brianne Yates
Megan Langhans
Tenor Saxophone
Erin Kane
Joshua Spraker
Baritone Saxophone
Hunter Milligan
Trumpet
Kai Okamoto
Tyler Bennett
Kye Turner
Henry Hobbs
Katherine Hatfield
Preston Came
Addie Elliott
Makenna Payne
Horn
Anna Leach
Wesley Vaden
Maya Robertson
Bea Kelly
Maren Smith
Hannah Parsley
Jordyn Anderson
Trombone
Calvin Fein
Sam Mercier
Sam Cote
Blake Panepinto
Easton Fuller
Marcus Lampkin
Andrew Walker
Shane O’Sullivan
Euphonium
Kris Stottlemire
Lee Anderson
Fénix Quiñones Ramírez
Marissa Hutchins
Noah Robertson
Evan Dirlam
Karina Benton
Tuba
Braden Meyer
Grant Markiewicz
Allegra Hreschak
Devin Walmsley
Vincent Ochoa
Sam Williams
Collier McBride
Allie Nutting
Percussion
Aiden Pippin
Timothy Thomas
Caleb Blakeslee
Ethan Brink
Ethan Turner
University Symphonic Band Personnel
David Plack, Director
Andy Dubbert and Aaron Ovsiew, Graduate Associate Conductors
Piccolo
Mary Moshos
Flute
Lexi Smith*
Javier Rivera
Alexandra Kotsonis
Sophie Palm
Maya Sparks
Allie Mattice
Oboe
Peter Arbogast*
Lily Owens
Kyle Nishihori
Megan Halter
Bassoon
Lyx Abshire*
Jake Norona
Daniel Bently
Malik Roger
B-Flat Clarinet
Christian Gonzalez*
Elizabeth Kennedy
Halle Mynard
Ryan Tone
Abby Varnadoe
Joseph Eckhardt
Nia Thompson
Ryan Brabham
Madeline Mondok
Bass Clarinet
Alexei Kovalev
Aiden May
Alto Saxophone
Caleb Wolf*
Micah Mazzella
Jamari Spears-Screen
Parker Button
Tenor Saxophone
Olivia Turke
Baritone Saxophone
Jakub Zella
Trumpet
Nathan Reid*
Alisyn Jones*
Brian Ratledge
Katherine Brinkman
Max McLaughlin
Kate Moncada
Horn
Brandon Doddy*
David Pinero**
Ashlie Green
Anthony Santillan
Davis Craddock
Andrew Whitlach
Braden Tan
Brandon Bourdeau
Trombone
Ethan Colon*
Caden Ragsdale
Connor Casey
Austin Boudi
Micah Hreczkosij
Caleb Couchois
Euphonium
Elizabeth Reese*
Brendan Dominique
Maggie Shaffer
Alan Jean-Baptiste
Tuba
Xavier Gauthier*
Thomas Ambrose
Connor Kelley
Noah Bryant
Chris Bernhardt
Antiphonal Trumpet
Ben Dubbert
Johniel Najera
Piano
Bryden Reeves
Harp
Isabelle Scott
String Bass
Joshua Dennis
Percussion
Chance Douglas*
Waylon Hansel
Owen Montgomery
Cole Martin
Gabby Overholt
Sami Smith
Ethan Turner
Timothy Thomas
To Ensure An Enjoyable Concert Experience For All…
Please refrain from talking, entering, or exiting during performances. Food and drink are prohibited in all concert halls. Recording or broadcasting of the concert by any means, including the use of digital cameras, cell phones, or other devices is expressly forbidden. Please deactivate all portable electronic devices including watches, cell phones, pagers, hand-held gaming devices or other electronic equipment that may distract the audience or performers.
Recording Notice: This performance may be recorded. Please note that members of the audience may at times be included in this process. By attending this performance you consent to have your image or likeness appear in any live or recorded video or other transmission or reproduction made in conjunction to the performance.
Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five working days prior to a musical event to request accommodation for disability or alternative program format.