THE FLORIDA STATE UNIVERSITY College of Music presents
University Concert Band
Devan Moore, Director
Aaron Ovsiew, Graduate Associate Conductor
Kaleb Switanek, Graduate Associate Conductor and
University Symphonic Band
David Plack, Director
Collin Clark, Graduate Associate Conductor
Jacquelyn Tabone, Graduate Associate Conductor
Monday, February 3, 2025 7:30 p.m. | Opperman Music Hall
Triumphal March (1926)
Forward/Still (2023)
University Concert Band
Aaron Ovsiew, Graduate Associate Conductor
Iridessi (2023)
Zenith (2021)
Kaleb Switanek, Graduate Associate Conductor
Clarence Cameron White (1880–1960)
Omar Thomas (b. 1984)
Katahj Copley (b. 1998)
Chandler L. Wilson (b. 1984)
INTERMISSION
University Symphonic Band
Fanfare and Allegro (1956)
Creek Stomp (2023)
Jacquelyn Tabone, Graduate Associate Conductor
Dusk (2004)
Neon Nights (2023)
Chorale and Shaker Dance (1972)
Collin Clark, Graduate Associate Conductor
Clifton Williams (1923–1976)
Ben Hylton (b. 1983)
Steven Bryant (b. 1972)
Katahj Copley (b. 1998)
John Zdechlik (1937–2020)
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.
White: Triumphal March
Clarence Cameron White (1880–1960) was an American composer, violinist, and founding member of the National Association of Negro Musicians. White began his violin training at the age of six after being encouraged by his mother, Jennie Scott White – an accomplished violinist herself. Originally from Ohio, White’s family moved to Washington, DC, where he engaged with the vibrant music scenes of the local African-American community. While in DC, he studied with Will Marion Cook and Joseph Douglass, grandson of abolitionist Frederick Douglass. White studied violin at Oberlin Conservatory of Music, the alma mater of his parents, as well as the Hartford School of Music. Additionally, he studied composition with British composer Samuel Coleridge-Taylor in London and French composer Raoul Laparra in Paris. His opera Ouanga won the 1932 Bispham Medal and his orchestral work Elegy won the 1955 Benjamin Award. His music has been performed at Carnegie Hall and The Met and is known for incorporating themes from African-American spirituals and black folk music.
Triumphal March was written in response to Edwin Franko Goldman’s call to prominent composers for original band music in the 1920s. The piece exemplifies the rich harmonies, dotted rhythms, tempo changes, and chromaticism of the compositional style of the late Romantic Era. To provide a variety of timbral colors, White often asks musicians to play only the second time of a repeated passage. Played by Goldman’s Band thrice in 1927, the original band parts have since been lost. However, famous band composer and arranger Jack Stamp “reconstructed” them using White’s piano manuscript, which is what you will hear tonight.
Thomas: Forward/Still
Omar Thomas (b. 1984) is an American composer, arranger, and educator. He studied Music Education at James Madison University in Virginia before pursuing a Master’s Degree in composition from the New England Conservatory – where he studied both classical and jazz with Ken Schaphorst, Frank Carlberg, and Maria Schneider. At 23, he was appointed Assistant Professor of Harmony at Berklee College of Music. Thomas is currently an Associate Professor of Composition and Jazz Studies at The University of Texas at Austin. His music has garnered numerous awards, including the 2008 ASCAP Young Jazz Composers Award and the 2019 National Band Association/Revelli Memorial Composition Contest for his composition Come Sunday. In addition to his classical writing, Thomas has released multiple jazz albums. In 2024, he was elected to the American Bandmasters Association. He remains an active composer and champion of equality, addressing the societal issues of our time through his music.
Forward/Still
There is an inherent dichotomy built into the title of this work. The first word, ‘forward,’ implying motion while the second word, ‘still,’ implies non-motion. Equally dichotomous is the notion that while we move forward in time, there are conflicts, prejudices, tribalist tendencies, and antiquated, non-inclusive ideas that prevent us from truly moving forward that hold us still.
The first half of this work presents a hymn — or a requiem? — that is saturated with weight and burden, reflecting a level of soul weariness that sleep simply cannot fix. Realizing that the only option we have is hope-made-action, the hymn gives way to a soaring effort, seeking to resume the fight towards progress, safety, and collective humanity. The piece eases into an ending with unsettling echoes of the original hymn and a return to the very first chord which
should bring comfort and resolution yet leaves us with a feeling of uncertainty. This uncertainty is analogous to our current moment in time --one that humanity has faced at many inflection points throughout our story. If there is any lesson to be gleaned from our cyclical history of struggle and progress, however, it is that regardless how heavy, burdened, and hopeless we feel, we must move forward, still.
– Omar Thomas
Copley: Iridessi
Composer, saxophonist, and educator Katahj Copley (b.1998) has composed over 100 pieces for various ensembles. Since the premiere of his first work, Spectra (2017), Copley’s music has received global recognition in countries such as Canada, the UK, Japan, China, and Australia, with notable appearances by “The President’s Own” Marine Band. He holds degrees in Music Education and Composition from the University of West Georgia and later completed a master’s at the University of Texas at Austin. Currently, Copley is pursuing advanced studies at Michigan State University. Katahj Copley champions Black composers and views music as a powerful language for freedom, imagination, and emotional connection.
Iridessi captures the beauty of iridescence—a shifting spectrum of colors created by light’s interaction with surfaces— mirroring life’s vibrant and multifaceted nature. The piece begins with shimmering percussion, symbolizing the birth of light, and grows into an energetic, dance-like celebration driven by rhythmic beats from the ensemble. Through dynamic textures and tones, Iridessi explores a colorful journey, reflecting both gentle and radiant moments. In the end, the music fades into a delicate stillness, leaving only the shimmering percussion that was heard at the beginning of the piece—a reminder of life’s fleeting, yet luminous beauty. Iridessi is a celebration of light, color, and transformation.
Wilson: Zenith
Dr. Chandler Wilson (b. 1984), current Director of Bands at Stetson University, is a music educator, conductor, composer, and arranger. His compositions, including Legends of the Galaxy (A Cosmic Fanfare), have been performed at national festivals like the Midwest Clinic. He previously served as Associate Director of Bands and Director of Athletic Bands at Eastern Michigan University and taught at Hollywood Hills and Cooper City High Schools. Dr. Wilson’s works are published by various music companies, and he is a member of multiple professional organizations, including NAfME, CBDNA, and ASCAP. He has received numerous awards, including the Florida Bandmasters Association’s Tom Bishop Award and recognition from Who’s Who Among American Teachers, and remains an active clinician.
Zenith captures the vibrant energy and enduring influence of Dr. Julian E. White, Distinguished Professor of Music (ret.) at Florida A&M University. The piece blends rhythmic intensity with a touch of classical elegance, reflecting Dr. White’s dynamic personality and illustrious career. Embedded within the music are quotes that echo his teachings, including a reference to Part Two, No. 2 from the Unisonal Scales and Chords method book. A prominent lyrical section features How Great Thou Art, Dr. White’s favorite hymn, woven into the fabric of the work. With its bold, heroic design, this composition promises to captivate both performers and audiences alike.
Williams: Fanfare and Allegro
Clifton Williams was a distinguished American composer, educator, and musician, known for his significant contributions to the wind band repertoire. A graduate of Louisiana State University and the Eastman School of Music, Williams was encouraged by mentor Howard Hanson to compose for wind band, a path that defined his career. He later taught at the University of Texas at Austin before serving as Chair of the Theory and Composition Department at the University of Miami.
Fanfare and Allegro was the first composition to win the Ostwald Award for original band literature, presented by the American Bandmasters Association in 1956. Originally composed in 1954, the piece was revised after initial challenges in performance. It opens with a striking brass and percussion fanfare, immediately capturing the audience’s attention. The energetic allegro section follows, featuring rhythmic drive, motivic development, and bold contrasts. Williams’ masterful orchestration and dynamic interplay between instrumental voices make this work a thrilling concert opener that continues to challenge and inspire wind ensembles today.
Hylton: Creek Stomp
Ben Hylton is a composer, educator, and clinician based in Austin, Texas. He holds a Bachelor’s degree in Music Education from East Carolina University, a Master’s degree in Trumpet Performance from the University of North Carolina at Greensboro, and additional graduate studies in Jazz at Florida State University. Hylton arranges and composes for various ensembles and pageantry arts, with works featured at the Midwest Clinic. He has taught music at the elementary, middle, and high school levels across Virginia, North Carolina, and Florida, and worked with drum corps including The Madison Scouts, The Blue Knights, The Phantom Regiment, The Crossmen, and The Academy. As a performer, Hylton has played as a solo trumpeter throughout the Southeastern U.S. and the Caribbean, and with artists like Percy Sledge, Eugene Grey, Donald Brown, and Carnival Cruise Lines.
Creek Stomp draws inspiration from trail running in the Texas Hill Country, with its up-tempo “stomp” sections reflecting the rhythmic pounding of a runner’s feet on the rugged terrain. The journey takes the runner through winding trails, creeks, and lively neighborhoods, capturing the contrast between nature’s solitude and the vibrancy of city life. Reaching the top of a hill offers a brief moment of respite, overlooking the hum of the city, before the runner races back through the streets, energized by the rhythm of both the natural world and urban pulse. The track embodies the endurance, flow, and energy of this dynamic journey.
Bryant: Dusk
Steven Bryant is a versatile composer whose works blend rich harmonies, modern techniques, and expressive melodies. Studying under John Corigliano, Cindy McTee, and Francis McBeth, he has written extensively for wind ensembles and orchestras, with performances spanning the globe. Dedicated to music education, he frequently composes for young musicians.
Dusk is a reflective and atmospheric piece that captures the quiet beauty of twilight, balancing gentle serenity with the vibrant colors of sunset. It is the first in a three-part series exploring nighttime themes, followed by The Marbled Midnight Mile and First Light.
Commissioned by Langley High School Wind Symphony and conductor Andrew Gekoskie, Dusk premiered at the 2004 MENC National Convention. Its lyrical and expressive nature has made it a favorite in the wind band repertoire, celebrated for its depth and simplicity.
Copley: Neon Nights
Katahj Copley premiered his first work, Spectra, in 2017 and hasn’t stopped composing since. As of now, Copley has written over 100 works, including pieces for chamber ensembles, wind ensembles, and orchestra. His compositions have been performed and commissioned by universities, organizations, and professional ensembles, including the Cavaliers Brass, California Band Director Association, Admiral Launch Duo, and “The President’s Own” Marine Band. Copley has also received critical acclaim internationally with pieces being performed in Canada, the United Kingdom, Japan, China, and Australia. Copley received Bachelor of Music degrees from the University of West Georgia in Music Education and Composition in 2021. In 2023, he received a Master’s degree in Music Composition from the University of Texas at Austin, studying with Omar Thomas and Yevgeniy Sharlat. He is currently studying music composition at Michigan State University.
Neon Nights takes listeners on an immersive journey through a vibrant, exhilarating world of nighttime revelry, where the energy of the city pulses through every beat. Drawing deeply from Afro-Latin rhythmic traditions, the music carries listeners through the lively streets of urban nightlife, inviting them to lose themselves in the contagious rhythms that echo through the night. As the journey unfolds, the sonic landscape becomes a kaleidoscope of textures, melodies, and colors, each track building on the next as it rises and falls in a fluid dance. The music sweeps you through a world of sensory experiences, with each note and beat arriving and departing like a fleeting yet unforgettable moment on the dance floor, leaving a lasting imprint of the night’s electric energy. This piece was written for West Hall High School and for the grand opening of their new fine arts building dedicated to directors Mrs. Katy WilsonFields and Ms. Lindsey Foster.
John Zdechlik: Chorale and Shaker Dance
John Zdechlik was an American composer, conductor, and educator known for his contributions to wind band literature. He earned his Ph.D. in composition from the University of Minnesota and taught at Century College for nearly three decades. His works, performed worldwide, often feature intricate counterpoint and rhythmic energy.
Chorale and Shaker Dance, commissioned by Bloomington Jefferson High School, premiered in 1972 at the Music Educators National Conference. This piece weaves together an original chorale melody with the well-known Shaker tune “The Gift to Be Simple,” developing and intertwining both themes throughout. Woodwinds introduce the chorale before energetic variations emerge, featuring solo passages and shifting time signatures that build momentum. As the composition reaches its peak, the brass present the Shaker melody in full, accompanied by an active woodwind obbligato and a dramatic percussion presence.
A cornerstone of wind band repertoire, Chorale and Shaker Dance showcases Zdechlik’s ability to blend traditional melodies with dynamic orchestration and rhythmic vitality, making it a favorite among ensembles and audiences alike.
Piccolo
Taylor LaPage
Flute
Addison Peltier*
Anna Todd
Nicki Howard
Kayla Crider
Sofía Vélez
Mary Moshos
Oboe
Kyle Nishihori*
Emma Brock
Abigail Saltares
Mariana Rivera
Bassoon
Amelia Khanji*
Megan Meese
Aspen Atwood
University Concert Band Personnel
Devan Moore, Director
Aaron Ovsiew and Kaleb Switanek, Graduate Associate Conductors
B-Flat Clarinet
Isabelle Parsons*
Gianna Iadeluca
Althea Medenilla
Nora Romano
Brianna Steele
Mario Peña
Amanda Stewart
Ryan Golbe
Bass Clarinet
Jamari Richards
Alto Saxophone
Jakub Zella*
Erin Kane
Josie Liederman
Tenor Saxophone
Olivia Turke
Baritone Saxophone
Jamari Spears-Screen
Trumpet
Addie Elliott*
Preston Came*
Henry Hobbs
Katherine Hatfield
Makenna Payne
Kye Turner
Horn
Braden Tan*
Andrew Whitlach*
Delaney Wharton
Anna Leach
Jordyn Anderson
Leandro Muñez
Trombone
Sam Mercier*
Caden Ragsdale
Andrew Walker
Blake Panepinto
Joshua McClendon
Sam Coté
Shane O’Sullivan
Marcus Lampkin
Euphonium
Lee Anderson*
Karina Benton
Fénix Quiñones
Ramírez
Marissa Hutchins
Evan Dirlam
Marcelo Guerra
Tuba
Allegra Hreschak*
Allie Nutting
Parker Illif
Grant Markiewicz
Collier McBride
Sam Williams
String Bass
Paris Lallis
Percussion
Aiden Pippin*
Caleb Blakeslee
Ethan Brink
Noah Peterson
Timothy Thomas
Waylon Hansel
Caitlin Magennis
Ethan Turner
Jessica Weinberg
* Principal
University Symphonic Band Personnel
David Plack, Director
Collin Clark and Jacquelyn Tabone, Graduate Associate Conductors
Piccolo
Ryleigh Templeton
Flute
Allie Mattice
Sophie Palm
Daniel Morgan
Queen Byrdson
Celeste Galvez
Maya Sparks
Oboe
Megan Halter
Alejandro Lopez
Peter Arbogast
Lily Owens
Bassoon
Jake Norona
Daniel Bentley
Malik Roger
Clarinet
Halle Mynard
Christian Gonzalez-Villa
Tommy Oberlin
Abby Varnadoe
Nia Thompson
Joseph Eckhart
Rachael Malawey
Ryan Brabham
Jacob Lirio
Bass Clarinet
Elizabeth Kennedy
Alto Saxophone
Jack Blumer
Joshua Spraker
Tenor Saxophone
Lincoln McMullen
Baritone Saxophone
Caitlyn Jones
Trumpet
Nathan Reid
Kate Moncada
Tyler Bennett
Kai Okamoto
Grason Peterson
Brian Ratledge
Horn
Coen Taylor
Ant Santillan
Sarah Vaden
Maya Robertson
Maren Smith
Bea Kelly
Trombone
Micah Hreczkosij
Austin Boudi
Calvin Fein
Connor Casey
Easton Fuller
Bass Trombone
Caleb Couchois
Euphonium
Kris Stottlemire
Maggie Shaffer
Brendan Dominique
Noah Robertson
Tuba
Noah Bryant
Braden Meyer
Vincent Ochoa
Devin Walmsley
Percussion
Sami Smith
Chance Douglas
Waylon Hansel
Owen Montgomery
Ethan Turner