THE FLORIDA STATE UNIVERSITY College of Music presents
University Wind Orchestra
Rodney Dorsey, Director
Jason Freeman, Graduate Associate Conductor
Thursday, November 14, 2024
7:30 p.m. | Ruby Diamond Concert Hall
PROGRAM
Boom Goes the Dynamite (2023)
Nocturne (2003/2021)
Poeme du feu (1980)
Paul Dooley (b. 1983)
Zhou Tian (b. 1981)
Ida Gotkovsky
I. Majestuoso (b. 1933)
II. Prestissimo
Aria della battaglia (1567/2008)
Jason Freeman, graduate associate conductor
INTERMISSION
Andrea Gabrieli (c.1510–1586) arr. Mark Davis Scatterday
Jason Freeman, graduate associate conductor
Winds of Nagual “A Musical Fable for Wind Ensemble on the Writings of Carlos Castaneda” Michael Colgrass
I. The Desert: Don Juan Emerges from the Mountains (1932–2019)
II. Carlos Meets Don Juan: First Conversation
III. Don Genaro Appears
IV. Don Genaro Satirizes Carlos
V. Carlos Stares at the River and Becomes a Bubble
VI. The Gait of Power
VII. Asking Twilight for Calmness and Power
VIII. Don Juan Clowns for Carlos
IX. Last Conversation and Farewell
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.
Dooley: Boom Goes the Dynamite
The catchphrase “Boom Goes The Dynamite” emerged in 2005 during a chaotic sports broadcast when a Ball State University student improvised this memorable line after a script error. This experience inspired a four-minute wind band composition that captures the frantic energy of that moment through driving phrygian rhythms and vibrant instrumentation, including maracas and cymbals. The composer extends gratitude for the opportunity to write this piece for friend Tom Caneva, praising the wind ensemble’s lyrical and detailed performances as a dream for any composer.
Tian: Nocturne
Nocturne, originally the middle movement of Zhou’s string quartet, has been effectively transcribed for wind ensemble, enhancing its lyrical and reflective qualities. This arrangement highlights the romanticism and serene spirit of a cold winter night. The initiative of David Thornton to bring this transcription to life has added a unique depth to the work, drawing listeners into a mood of quiet reflection and spiritual bliss.
Gotkovsky: Poeme du feu
Throughout history, fire has held deep reverence for humanity, often intertwined with legends of its sacred origins. In Celtic tradition, a myth echoes that of Zarathustra. During the New Year, two ceremonial hearths are lit: one to signify the end of the past year and another to symbolize the mystical union of celestial and earthly elements. As villagers, along with their animals, process between the two fires, they celebrate their connection to the divine power of fire, experiencing joy and unity in its presence.
The first movement, Majestuoso, represents a colossal fire symbolizing the spring of life and the essence of creation. The second movement, Prestissimo, conveys human mastery and discovery, a force that elevates humanity to the status of creator, culminating in a fiery apotheosis—a realization of Prometheus’s desire to empower and enlighten humanity.
Gabrieli: Aria della battaglia
Aria della battaglia by Andrea Gabrieli is part of a collection of multi-voiced compositions designed for diverse instrumental ensembles. It embodies a philosophy of rediscovering and adapting music as a versatile resource for modern performance. This piece exemplifies the rich variety of wind orchestrations, contributing to the definition of the modern wind band and showcasing the full spectrum of its chamber and larger ensemble capabilities.
Colgrass: Winds of Nagual
Winds of Nagual draws inspiration from Carlos Castaneda’s writings about his 14-year apprenticeship with Don Juan Matis, a Yaqui Indian sorcerer. Castaneda initially encountered Don Juan while researching hallucinogenic plants for his anthropology thesis at UCLA. Under Don Juan’s mentorship, he learned pre-Colombian sorcery techniques aimed at discovering the creative self, which Don Juan refers to as the nagual
Each character is assigned a distinct musical theme: Juan’s theme is dark and ominous yet gentle, while Carlos’s is open, direct, and naïve. Carlos’s theme recurs throughout the piece, reflecting his experiences during long desert marches, encounters with terrifying forces, and altered states of reality. The character of Don Genaro, Juan’s playful sorcerer friend, adds a comic element with his fantastical tricks, like disappearing and reappearing. The score is rich with programmatic indications, capturing moments such as “Juan entrances Carlos with a stare,” “a horrible creature leaps at Carlos,” and
“He feels a deep calm and joy,” enhancing the narrative’s emotional depth.
Listeners don’t need to be familiar with Castaneda’s books to appreciate Winds of Nagual. The goal is not to follow a specific storyline but to evoke the mood and atmosphere of the writings. The piece aims to express the evolving relationship between a wise, ancient figure and a young man from a technological background, highlighting the mentor’s effort to nurture emotional depth in his analytical student.
In a 1991 interview, Colgrass explained that his approach to Winds of Nagual focuses on the abrupt shifts in style, mood, and tempo that reflect the essence of Castaneda’s books. He aimed to embody the contrast between humorous and terrifying moments, mirroring the unpredictable nature of the narratives. This dynamic interplay is central to conveying the emotional landscape of the work.
Wind Orchestra Personnel
Rodney Dorsey, Director
Jason Freeman, Graduate Associate Conductor
Piccolo
Jordi Banitt
Flute
Lindsey Kovach
Rachael Lawson
Kaitlyn Calcagino
Claire Park
Oboe
Rebecca Johnson *
Jordan Miller
English Horn
Andrew Swift
Bassoon
Georgia Clement *
Zach Martin
Contrabassoon
Ryder Kaya
Eb Clarinet
Dave Scott
Bb Clarinet
Hannah Faircloth *
Audrey Rancourt
Andrew Prawat
Travis Irizarry
Jenna Eschner
Jaxon Stewart
Hali Alex
Reymon Contrera
Jariel Santiago
Alto Clarinet
Morgan Magnoni
Bass Clarinet
Brad Pilcher
Contrabass Clarinet
Morgan Magnoni
Alto Saxophone
Micah Cheng
Kaeden Parks
Tenor Saxophone
Jack Blumer
Baritone Saxophone
Jennifer Fuentes
Trumpet
Easton Barham
Benjamin Dubbert
Jeremiah Gonzalez
Johniel Najera
Joshua Puente
Noah Solomon
Horn
Gio Pereira
Tommy Langston
Eric On
Luis Oquendo
Emma Brockman
Trombone
Carter Wessinger *
Justus Smith
Brent Creekmore
Euphonium
Anthony Gonzalez *
Cayden Miller
Tuba
Colin Teague *
Charlie Nelson
String Bass
Kent Rivera
Harp
Aiden Sowers
Percussion
Darci Wright
Miranda Hughes
Jackson Kowalczyk
Jessica Weinberg
Jake Fenoff
Additional personnel
Allison Acevedo, flute
Ashton Stewart, bass saxophone
Connor Altagen, trombone
Grant Keel, trombone
Kevin Li, trombone
Jordan Brown, percussion
Mackenzie Selimi, percussion