2022 CBDNA Program - UNT Wind Orchestra

G DEAN RICHMOND

reetings from your colleagues in the College of Music at the University of North Texas on the occasion of our Wind Orchestra performance here at the College Band Directors National Association (CBDNA) Southwestern Division Conference at Baylor University. I feel certain you will be inspired by our delightful students under the direction of their gifted leader, Associate Professor of Wind Studies and Chair of the Division of Conducting and Ensembles Andrew Trachsel, a distinguished colleague and UNT alumnus. We are especially pleased to feature a collaboration with the Barcelona Clarinet Players.

The Wind Studies Program at UNT continues to flourish, thanks to the brilliant leadership and exceptional focus of our faculty and staff. Highlights include the most recent release of the 12th volume of Teaching Music through Performance in Band, compiled and edited by Andrew Trachsel; the awarding of the 2021 American Prize in Band/Wind Ensemble Performance – college/university division (larger program) to the UNT Wind Ensemble under the direction of Daniel Cook; the appearance of the Green Brigade Marching Band in the St. Patrick’s Day Parade in Dublin, Ireland just last month, and the ongoing “juggernaut” of recorded wind band repertoire at UNT that continues under the inspired, visionary leadership of Director of Wind Studies and Regents Professor, Eugene Migliaro Corporon. Having recorded over 1,000 works, including many world premieres and commissions, his ensembles have released 150+ recordings on the GIA, Toshiba/EMI, Klavier, Mark, CAFUA, Donemus, Soundmark, Albany, Naxos and Centaur labels.

Thank you again for the superlative honor of this invitation to perform. We are humbled and

profoundly grateful. I wish you every success during the course of your conference and wish you every success in the coming days. For those UNT alumni in attendance, please accept our heartfelt thanks for your exceptional support during these pandemic days. If you missed it, a short recording that updates our recent progress at your alma mater can be found at thankyou.music.unt.edu. Please be sure to tune in as your time and interests permit.

Heartfelt best wishes!

JOHN W. RICHMOND, PH.D.

Professor and Dean of the College of Music University of North Texas

Sincerely,

PROGRAM NOTES

JAMES DAVID

James David (b. 1978, GA) is an internationally recognized composer who currently serves as professor of music composition at Colorado State University and is particularly known for his works involving winds and percussion. His symphonic works for winds have been performed by some of the most prominent professional and university ensembles including the United States Air Force Band, United States Army Field Band, Dallas Winds, Des Moines Symphony, Showa Wind Symphony (Japan) and North Texas Wind Symphony among many others. As a native of southern Georgia, David began his musical training under his father Joe A. David III, a renowned high school band director and professor of music education in the region. This lineage can be heard in his music through the strong influence of jazz and other Southern traditional music mixed with contemporary idioms. He graduated with honors from the University of Georgia and completed his doctorate in composition at Florida State University under Guggenheim and Pulitzer recipients Ladislav Kubik and Ellen Taaffe Zwilich.

Urban Light

About Urban Light (2021), David writes:

Urban Light is a brilliant display of colors, forward momentum, and intertwining rhythmic layers that is inspired by the iconic Los Angeles landmark of the same name. Created by conceptual art pioneer Chris Burden in 2008, the original work is an assemblage of historic streetlamps that were transplanted from various cities in California and also Portland, Oregon. The tight spacing and repetitive forms interact with the famously dynamic Los Angeles sunlight transitioning to the exciting nighttime glow of the city. Primary melodic and rhythmic motives are derived from Morse code for the word “California,” creating an asymmetrical and syncopated groove that continuously

builds in energy. Parallel “barre” chords reveal a classic rock/metal influence that reaches its zenith with a heavy percussion backbeat. Polyrhythmic layers and prismatic colors move over, around, and under each other, leading towards a hopefully thrilling and intense finale. This work was commissioned by the National Band Association for its 60th anniversary and is dedicated to my wife who introduced me to the West Coast’s beauty and spirit.

i i LINDSAY BRONNENKANT

Lindsay Bronnenkant (b. January 27, 1988, Buffalo, NY) currently studies with Mark Scatterday at the Eastman School of Music in pursuit of a doctor of musical arts degree in wind conducting. She received her master’s degree in wind conducting from the University of Michigan under the tutelage of Michael Haithcock. Her talents as a conductor have earned her several honors, including an invitation to conduct the United States Army Band “Pershing’s Own” at their 2017 Conductors Showcase. Bronnenkant is director of the Hobart and William Smith Colleges Community Wind Ensemble. Prior to her graduate studies Bronnenkant served as director of bands at the Aquinas Institute of Rochester, director of the University of Rochester Pep Band and interim conductor of the Brighton Symphony Orchestra. She is an alumna of the Nazareth College of Rochester (B.M., music education), where she studied conducting privately with Jared Chase and Nancy Strelau. She additionally holds a degree in science from the University of Rochester (B.S., brain and cognitive sciences).

Tarot

Written for and premiered by the composer conducting the Eastman Wind Ensemble during COVID-19 pandemic-restricted performance

PROGRAM NOTES

conditions, Tarot (2021) was recognized as the firstever runner-up in the National Band Association/ William D. Revelli Memorial Band Competition Contest. Regarding the work, Bronnenkant writes:

Gustav Holst was incredibly interested in Indian culture, going so far as to teach himself Sanskrit. Some evidence suggests that he tried to incorporate Indian rāgas into his works, and after investigating Holst’s resources and analyzing his Planets, I believe that Holst tried to reference rāgas that evoked similar characters to those of the planets in his suite. Holst’s access to authentic performance of Indian music was limited, however, and like many composers—especially as a British composer entrenched in modal composition during the English folk song revival of the early twentieth century—he took what he understood of rāgas and filled in the gaps with Western theoretical knowledge, resulting in the treatment of what were once rāgas as scales or modes.

I decided to compose a suite that traces Holst’s footsteps but applies his musical experimentation to a new topic: Tarot. Like astrology, Tarot cards have been used for divination and as each planet in modern astrology represents specific characteristics and personality traits, so too does each Tarot card. Some elements of the Hindustani thāts, Karnātak mēlakarta rāgas, and pitch sets Holst references in his Planets are referenced in Tarot using a similarly Western approach to portray Tarot card analogs.

In Tarot, the Fool represents someone who dives head-first through open doors with enthusiasm (and sometimes with a blissful ignorance of any looming danger). The card represents new beginnings, playfulness, naïveté and optimism. The first movement, The Fool , contains several intentionally comedic moments as the Fool, unaware of the luck manifesting from his will, manages to skip

through a minefield unharmed. The movement references the pitches of the Kalyān that are found in Jupiter , a benefic planet of good fortune, to represent the Fool’s beginner’s luck. The movement also uses the whole-tone scale hinted at in some of Holst’s themes for Uranus , a chaotic and unpredictable planet, to depict the unintentional mayhem that inevitably follows each of the Fool’s steps.

In Tarot, the suit of cups corresponds with emotional energy and the element of water. A deeply empathic soul, the King of Cups tempers his emotions by balancing his heart with his head. The King leads diplomatically through compassion. The second movement, The King of Cups, references the pitches of mēlakarta rāga Dhavalāmbari from Neptune as a nod to a fellow intuitive and ruler of the sea, and additionally employs the pitches of the Bhairavī that are found in Venus to allude to the King’s kind and gentle countenance.

The Tower represents surprise, upheaval, and destruction. It represents the collapse of structure, the crumbling of façades based on faulty foundations. The final movement references Mars, the Bringer of War with two similar pitch sets: the one Holst uses in Mars, as well as a theme that Holst may have meant to draw from, Bhairav.

i i

ERIK MORALES

Erik Morales (b. December 10, 1966, New York City, NY) is an American composer, conductor, arranger and trumpeter. Morales’s composing career began shortly after graduation from high school in 1985 in South Florida when his former band director offered to pay him to arrange music for the marching band. He studied composition at Florida International University and completed his bachelor’s degree at the University of Louisiana,

Lafayette in 1989 where he was mentored by renowned music educator Quincy Hilliard and studied trumpet with Gary Mortenson and Richard Stoelzel. Morales has composed best-selling music for many types of genres including classical, jazz and pop. His many published works encompass a large variety of styles and settings, including works for wind, orchestral, jazz and chamber ensembles and have been part of featured performances across the globe. In addition to his published works, he also is commissioned regularly by schools and organizations nationwide. Currently, Morales teaches and plays trumpet professionally in the New Orleans area in addition to maintaining an active composing and conducting schedule.

“Allegro” from Concerto for Two Trumpets

The Concerto for Two Trumpets was commissioned by a consortium organized by Professor James Ackley, University of South Carolina, for premiere performance at the 2013 International Trumpet Guild Conference in Grand Rapids, Michigan. Morales writes:

This three-movement work can be best described as a celebration of all that is great about the trumpet. In keeping with my philosophy of the importance of melody, each movement is carefully crafted to entertain and engage the listener. The piece was designed specifically for two B-flat trumpets. My goal was to have the two soloists as “equals.” So, there are several passages where both soloists are playing in unison. This fortifies the melodic passages with a deep, full-sounding chorus effect. Each soloist has an opportunity to shine. All three movements are designed to run together with little to no “break time” in between.

INTERMISSION

ii PAUL DOOLEY

Paul Dooley (b. 1983, Santa Rosa, CA) is one of the most prolific and performed composers in America today. His path has embraced not only his Western Classical heritage, but also a cross-cultural range of contemporary music, dance, art, technology and the interactions between the human and natural worlds. His music has been described as “impressive and beautiful” by American composer Steve Reich.

Dooley began his musical life listening to Beethoven, Bruce Hornsby, Nirvana and Rush. At the age of 13, Dooley began a long mentorship with singer, songwriter, improvisor and gifted counselor Gary “Doc” Collins. In high school Dooley also studied composition with Charles Sepos, before earning bachelor degrees in mathematics and music composition at the University of Southern California (2002–2007) with Frank Ticheli and Stephen Hartke, and a master and doctorate degree at the University of Michigan (2007–2013) with Michael Daugherty, Bright Sheng and Evan Chambers. A key moment occurred for Dooley in 2010 with his participation in the inaugural Mizzou International Composers Festival. The festival commissioned Dooley’s breakout work Point Blank , which was premiered by the new music ensemble Alarm Will Sound.

In 2013 Dooley joined the music faculty at the University of Michigan. He created and directs the Performing Arts Technology department’s annual Computer Music Showcase. Dooley has received a wide range of awards for his work, including the 2016 Sousa/ABA/Ostwald Award, the 2015 William D. Revelli Prize sponsored by the National Band Association, the 2013 Jacob Druckman Award from the Aspen Music Festival, and young composer awards from Broadcast Music Inc. (BMI) and the American Society of Composers, Authors and Publishers (ASCAP).

Coast of Dreams

Coast of Dreams (2014) was commissioned by a consortium of wind ensembles conducted by Paula Holcomb and organized by the State University of New York at Fredonia. This fifteen-minute work, in two movements, is a musical tribute to early Los Angeles. Dooley writes:

PROGRAM NOTES

Inspiration came when I visited El Alisal, a rustic home built by Charles Lummis in the late 1800s, located in Arroyo Seco in Northeast Los Angeles. Loomis was a Los Angeles Times journalist, an Indian rights activist, a historian, photographer, and all-around Southern California guru. When at El Alisal, I discovered one of the first California lifestyle magazines, Land of Sunshine, published by Lummis beginning in the late 19th century. I began to hear a composition in two movements as an emotional, cultural and musical exploration of this romantic vision of Southern California.

i i ÓSCAR NAVARRO

Óscar Navarro (b. 1981, Novelda, Spain) began studying the clarinet at an early age and received the bachelor’s degree from the Conservatorio Superior Oscar Espla in Alicante, Spain. Navarro is the recipient of many national and international music awards for composition and his music is performed and commissioned by many orchestral and wind ensembles throughout the globe. Navarro combines his busy agenda composing with masterclasses and lectures. He has been invited to speak at several music festivals and universities, including Chapman University, California, 25th Film Symposium Jove in Valencia, Spain, CIFICOM (Sci-Fi Film Festival of Madrid), II Symposium of Wind Ensembles of Medellin, Colombia, Music Festival of the Symphony of Manizales, Colombia, and the University of Southern California.

The Musketeers

Commissioned for the Barcelona Clarinet Players, The Musketeers is a fantasy for four clarinets and wind band inspired by Alexandre Dumas’s novel The Three Musketeers . Navarro writes:

With this fantasy I’ve attempted to musically

translate the essence of Dumas’s work, describing the main characters of the work and leaving a door open to the imagination, since it would be impossible to musically narrate the entirety of the exploits of D’Artagnan and the other three musketeers. The work is divided into four sections:

“All for one, and one for all.” This section introduces D’Artagnan and the three musketeers. Epic and grandiose music opens the score, introducing us to each of the musketeers, even representing a demonstration of D’Artagnan’s and his three faithful companions’ skills.

After this main section, we continue with “Louis XIII.” This is a much more calm and solemn section that evokes the sounds of the palace and the majesty of the benevolent King Louis XIII. This section is imbued with stately tones with the use of motifs drawn from the first section of the work, but this time with a more solemn and peaceful spirit that brings to mind the different rooms in the palace where Louis XIII lived day to day.

After the section dedicated to the French king, we move on to a new much more somber and mysterious section. It is devoted to one of the darkest characters in the novel, “Cardinal Richelieu,” a dark section, a song to evil and the negative aspects of ecclesiastical powers.

Finally, the last section of the piece, “The Adventure Begins,” leaves the door open to adventure and imagination. After this section describing the principal characters, the music takes a much more vigorous, more adventurous turn. Our group of personalities begins its escapades at this point and thus ends the work. However, it leaves open the possibility of a new chapter to follow…a story without limits forged by one of the greatest writers in history: Alexandre Dumas.

UNIVERSITY OF NORTH TEXAS

WIND STUDIES

The University of North Texas Wind Studies Area, as part of the Division of Conducting & Ensembles of the College of Music, has as its primary mission the preparation of instrumentalists and conductors for professional careers in performance and education. Our goal is to provide a program that will develop well-rounded musicians who are prepared to face the challenges of an increasingly global, rapidly changing and inevitably interconnected musical world. In addition, we are directed toward maintaining a leadership role locally, nationally and internationally.

The program serves approximately 600 undergraduate and graduate music majors. Performance opportunities include Wind Symphony, Wind Orchestra, Wind Ensemble, Brass Band, Concert Band, ConcertVersity Band, University Band, Green Brigade Marching Band and Basketball Band.

The graduate conducting program offers degrees at both the master’s and doctoral

levels. The goal is to develop conductors for professional careers in performance and education through intensive study of literature and pedagogy. The rigorous and varied curriculum prepares well-rounded conductors for successful professional careers in their chosen field. Graduate conducting associates receive practical experience working regularly with the various ensembles and appear on concert programs throughout the year. Additionally, the Conducting Associates serve in an internship capacity and are integrally involved in all administrative aspects of the Wind Studies Area.

We have an important secondary mission, which is to provide University students, staff and faculty with an avenue to continue their involvement with and connection to the performing arts. We are committed to the concept of maintaining groups that encourage those who do not have career plans in music to develop the aesthetic self in addition to the academic self. We are dedicated to the education of the whole human through our involvement in the University community at large.

MEET THE CONDUCTOR

NDREW TRACHSEL serves as the Associate Professor of Wind Studies and Chair of the Division of Conducting and Ensembles at the University of North Texas College of Music. He is the conductor of the Wind Orchestra and teaches courses in graduate and undergraduate conducting as well as the history and repertoire of the wind band. An advocate for new music, Trachsel has premiered, commissioned, or co-commissioned more than seventy new works over the past two decades. He is interested in developing innovative programming through interdisciplinarity, culminating in the establishment of the Ampersand Festival to explore new opportunities for authentic collaboration between the contemporary wind band and other creatives.

Prior to this appointment, Trachsel served as Director of Bands and Associate Professor of Conducting at Ohio University for eleven years. He was the conductor of the Wind Symphony, music director for the “Under the Elms” Summer Concert Series, Division Chair of Conducting and Ensembles, and Assistant Director for Recruitment for the School of Music. Under his artistic direction, the Ohio University Wind Symphony performed at numerous music conferences and venues, including Ireland, Rome, New York City’s famed Carnegie Hall and the College Band Directors National Association’s North Central Division Conference. The Ohio University Wind Symphony released three commercial albums on the Mark Masters label, with multiple appearances on national syndicated radio and the Grammy Entry List.

In 2019 Trachsel was named series editor of GIA Publications’ landmark Teaching Music through Performance in Band series after serving for fifteen years as the coordinator of research associates and as a contributor to eleven volumes. Trachsel is active internationally as a guest conductor, clinician, advocate, and recording producer, and holds professional or honorary memberships in a variety of music organizations at the state, national, and international levels. A native of Iowa, Trachsel received a bachelor of music education degree from Drake University and a master of music and doctor of musical arts, both in conducting, from the University of North Texas, where he studied with Eugene Migliaro Corporon and Dennis Fisher. Prior to his appointment at Ohio University, Trachsel taught in the Hugh Hodgson School of Music at the University of Georgia as an assistant director of bands and postdoctoral fellow, and for four years served as a public high school band director in central Iowa.

ANDREW TRACHSEL

PHOTO BY MICHAEL

UNIVERSITY OF NORTH TEXAS

WIND ORCHESTRA

The University of North Texas Wind Orchestra has developed an exemplary national reputation for their performances and recordings. Membership is drawn from the finest musicians attending the College of Music. The highest quality contemporary music—mixed with traditional and standard literature—make up the foundation of repertoire performed by the group. The ensemble is dedicated to playing outstanding and challenging works of diverse musical styles while furthering wind music of artistic and historical significance. The Wind Orchestra has performed at the College Band Directors National Association Southwestern Division Conference and has released more than 15 CD recordings on the Mark, Klavier, GIA, and Eurosound labels. Critical comments include “Bravo…for a resplendent performance!”; “…played with great gusto by the ensemble”; “played with brilliance!”; “the elegant sonority of this marvelous band is apparent in the slow sections”; “The attention to detail, precise intonation, and beautiful phrasing make this a compelling performance”; “WOW! Absolutely stunning!”; “…what an incredible CD! An enormously valuable addition to the band world.”

FLUTE

LYDIA BOBELL

Heyworth, IL MM Performance

DI CAO

Shanghai, China DMA Performance

DANIEL ESPERANTE*

Redlands, CA MM Performance

KIANA KAWAHARA

Pearl City, HI BM Performance

AMANDA WELCH Springfield, VA BM Performance

OBOE

HA EUN AN* Seoul, South Korea MM Performance

SUJI CHANG Seoul, South Korea MM Performance

MADISON CHURCH Hendersonville, TN BM Performance

BASSOON

VANESSA AWALT Rowlett, TX BM Performance

GEORGIA CLEMENT*

Tallahassee, FL BM Performance

COLIN HILLIARD Grapevine, TX BM Performance

AARON LUKENBILL

Cedar Park, TX BM Performance

CLARINET

SAMUEL ASH

Fort Worth, TX BM Composition/ Music Education

SOPHIA ENGLERTH

Abilene, TX BM Performance

ANNA FERRARI Alexandria, VA BM Performance

CONNOR FLATT Franklin, TN BM Performance

DAVID MOLINA

Sealy, TX BM Performance

ERICK MORALES

Laredo, TX BM Performance/ M usic Edication

ANTHONY ORR Princeton, WV BM Performance

NICHOLAS PFISTER

Bridge City, TX BM Music Education

SYDNEY RAMOS Corpus Christi, TX BM Music Education

REBECCA RICE* Fort Worth, TX MM Performance

ERIN SMITH League City, TX BM Music Education

SAM SPIDLE Round Rock, TX BM Music EdEducation

SHANE UHL

McKinney, TX BM Performance

WESLEY WYNN Austin, TX BM Music Education

SAXOPHONE

JIAWEI LIANG

Baiyin, Gansu, China MM Performance

YAFEI LIN* Chengdu, Sichuan, China DMA Performance

DYLAN SAILORS

Mont Belvieu, TX BM Music Education

LUKE VANEK

Henderson, NV BM Music Education

CATHERINE YANG Lewisville, TX BM Music Education

HORN

TRENTON CARR* Baytown, TX BM Performance

KATIE DAUGHERTY

The Woodlands, TX BM Music Education

HALEY GINN

San Antonio, TX BM Music Education

NICOLE KELLER

Fort Worth, TX BM Music Education

STEVEN PHAN El Paso, TX BM Performance

ELLYSE SANCHEZ Houston, TX BM Performance

TRUMPET

DAYVISON COSTA Limeira, São Paulo, Brazil DMA Performance

DANIEL DANCER Houston, TX BM Performance

MIKAYLA DUPONT Katy, TX MM Performance

ANDREW MORALES*

McAllen, TX BM Performance

GUILLERMO VILLA Brownsville, TX BM Performance

DAVID YOON Chino Hills, CA BM Performance

TENOR

TROMBONE

CONNOR ALTAGEN Lakeland, FL BM Performance

ROBERT CANEY Azle, TX BM Performance

TIM GEORGE Houston, TX BM Performance

KYLE ROBERTS* Conway, AR MM Performance

BASS TROMBONE

CONNOR FALLON Fort Worth, TX BM Performance

EUPHONIUM

MAX DOBSON* Saratoga Springs, UT BM Performance

SCOTT MCLAIN Plano, TX BM Music Education

JUAN RANGEL Brownsville, TX BA Music

MASON WILLY Pflugerville, TX BA Music

TUBA

PERRY BRENNAN Shakopee, MN MM Performance

JIM CALDWELL* Pearland, TX BM Performance/ Music Education

CORRIAN DEARMAN Katy, TX BM Performance

DANIEL MARTINEZ Laredo, TX BM Performance

STRING BASS

VICTORIA BOLAND Colleyville, TX BM Music Education

JOSHUA GEBHARD Fairfax, VA BM Performance

PIANO

CHUNG-SYUAN WEI Taoyaun City, Taiwan DMA Performance

ORGAN

SUNGYUN KIM Daegu, South Korea DMA Performance

GUITAR

IAN ZINECKER Republic, MO BM Performance

HARP

RAQUEL COLEMAN Edmond, OK BM Performance

PERCUSSION

NOAH AVELAR Corpus Christi, TX BM Music Education

MEGAN CAMPBELL* Suwanee, GA BM Music Education

KAILEY FILBEN Glen Dale, WV BM Performance/ Music Education

JACOB FULLINWIDER Kansas City, MO BM Music Education

EMMA KIESELHORST Beavercreek, OH BM Music Education

WYATT REED* Gallatin, TN BM Music Education

KRISH SHAHIDADPURY San Antonio, TX BM Music Education

PATRICK TIERNEY Plano, TX BM Music Education

*SECTION MANAGERS

Members of the Wind Orchestra are listed alphabetically to acknowledge each performer’s unique contribution. Every individual is considered a principal player.

BARCELONA CLARINET PLAYERS

& PAQUITO D’RIVERA

RESIDENCY SCHEDULE

NORTH TEXAS WIND ORCHESTRA

Andrew Trachsel, conductor

Thursday, March 31, 7:30 PM

Winspear Performance Hall, Murchison Performing Arts Center, Denton, TX

NORTH TEXAS WIND ORCHESTRA

AT CBDNA SOUTHWESTERN DIVISION CONFERENCE

Andrew Trachsel, conductor

Friday, April 1, 7:30 PM

Jones Concert Hall, Baylor University, Waco, TX

BARCELONA CLARINET PLAYERS & PAQUITO D’RIVERA

Wednesday, April 6, 7:30 PM

Winspear Performance Hall, Murchison Performing Arts Center, Denton, TX

NORTH TEXAS WIND SYMPHONY

Eugene Migliaro Corporon, conductor Thursday, April 7, 7:30 PM

Winspear Performance Hall, Murchison Performing Arts Center, Denton, TX

The Barcelona Clarinet Players residency is made possible in part with support from the following partners:

Javier vilaplana González, Manuel Martínez MinGuez, Martí Guasteví olives and alejandro Castillo veGa are a quartet of versatile clarinetists with a wide trajectory and number of published works. Innovation, fusion, interdisciplinarity and pedagogy are some of the concepts that best define the creative path of this ensemble. Their performances are known by their meticulous chamber work and a curated and energetic staging.

GLOBAL VENTURE FUND

Shortly after its formation, the BCP were invited to participate in the Fifth National Clarinet Congress and the Second European Clarinet Congress held in Madrid in December 2011, and later in festivals such as Festival Otoño Musical Soriano, Fira Tárrega, Fiestas de la Mercè de Barcelona, Sirga Festival of Contemporary Music and Summer Festival of Mao. They have performed at the main music halls in Spain such as Auditorio 400 from Madrid, Palau de la Música de Valencia, Auditori de Barcelona and ADDA, and in France, Austria, Belgium, the United States and Mexico.

The quartet works in close collaboration with Auditori

of Barcelona where they performed their first concert in January 2013. BCP have appeared as soloists with Banda Municipal de Palma, Banda Municipal de Bilbao, Banda Municipal de Barcelona, Banda Sinfónica de las Américas, Lone Star Wind Orchestra, North Texas Wind Symphony and worked with conductors Eugene Migliaro Corporon, Tim Reynish, José Rafael Pascual Vilaplana, Luís Serrano and Óscar Navarro among others.

BCP have recorded five albums: Toma café, with music by the great saxophonist Pedro Iturralde, Czernowitzer Skizzen with music by Alexander Kukelka, Égloga: New flamenco for clarinets and voice with music by Enric Palomar featuring the great cantor Pere Martinez and Offertorium, with works by five of the most important composers in Europe and the latest released One for All, recorded with the Lone Star Wind Orchestra and North Texas Wind Symphony conducted by Eugene Migliaro Corporon. Current projects of the BCP include the premiere of La Trace with music by José Manuel López López and the images by the videoartist Pascal Auger and two new recordings: The Black Pool Suite by Joan Vidal and a very special album with chamber music by Paquito D’Rivera.

The Paquito D’Rivera residency is made possible in part with support from the following partners:

RAQUEL SAMAYOA

RAQUEL SAMAYOA leads a dynamic and engaging career as a teacher, chamber musician, recitalist, adjudicator and solo performer. She serves as assistant professor of trumpet, and co-conductor of the Brass Band at the University of North Texas College of Music where she has taught since 2018. Samayoa additionally performs with Lantana Trio, with UNT faculty Stacie Mickens (horn) and Natalie Mannix (trombone). Samayoa was previously on faculty at Tennessee Tech University and Northern Kentucky University. Samayoa’s performances have taken her to leading venues in the United States, Russia, Finland, Australia, China, Mexico and the United Kingdom. As a member of the award-winning Seraph Brass, she tours the United States and abroad performing concerts and engaging in educational outreach performances. Samayoa is a Yamaha Performing Artist and a Denis Wick Artist and Clinician. Samayoa has presented at the College Music Society Southern Conference, Midwest Clinic, Historic Brass Society Symposium and the International Trumpet Guild Conference. She has been a guest artist at the Brass Day of the Moscow Conservatory, Brass Day of the Melbourne Conservatorium, South Texas Brass Symposium, 2019 Dallas Trumpet Workshop and 2021 Interlochen Trumpet Intensive. Her articles have been published in The Instrumentalist, The Brass Herald and the ITG Journal. In January 2020, Samayoa released her first publication with Mountain Peak Music entitled Dueling Fundamentals for Two Trumpets. She released her second solo album, Trumpet Songs (by all-female composers), with Summit Records in November 2021. An advocate for diversity and inclusion in the arts, Samayoa is on the advisory board for the Chromatic

Brass Collective (an ensemble featuring BIPOC musicians) and the Future in Music Program. As a member of Seraph Brass and Lantana Trio, she has commissioned many works by female and BIPOC composers. Raquel is the executive editor for the International Women’s Brass Conference (IWBC) Newsletter and is thrilled to be serving as a co-host for the 2022 International Women’s Brass Conference hosted by the University of North Texas College of Music. Samayoa holds the DMA in trumpet performance from the University of North Texas where she studied with renowned trumpet pedagogue, Keith Johnson. She earned the MA and bachelor’s degree in music education from West Texas A&M University where she studied trumpet with David Ritter and wind conducting with Gary Garner.

DAYVISON COSTA

Brazilian trumpeter DAYVISON

COSTA is a Doctoral Teaching Fellow at the University of North Texas. He is currently pursuing his studies in trumpet performance under Raquel Samayoa’s guidance. Costa has an active career as a freelance trumpet player in the Dallas-Fort Worth, TX area where he is the interim principal trumpet in the Las Colinas Symphony Orchestra. Prior to his position with LSO, Costa played with the Meridian Symphony Orchestra from 2019 to 2021.

As a Teaching Fellow at UNT, Costa has developed his own studio environment with his students where he teaches private lessons to undergraduate students, presents trumpet studio classes, and is part of the trumpet panel for juries and auditions where he takes part in administrative decisions. Previous to his studies at UNT, Costa earned his master’s degree in trumpet performance as a Graduate Assistant under Timothy Tesh at the University of Southern Mississippi. There, he taught applied trumpet to undergrad and graduate students, led trumpet ensembles and taught daily warmup classes. He was also the principal trumpet with the University of Southern Mississippi Symphony Orchestra, USM Wind Ensemble, and USM Jazz Lab.

Costa earned his undergraduate degree at the University of São Paulo with Sergio Cascapera. From 2015 to 2017 he was the principal trumpet of the Chamber Orchestra of the University of São Paulo where he performed the Concerto in E-flat for Trumpet and Orchestra by Joseph Haydn as soloist in 2016. In 2017 he received a scholarship from the USM Wind Ensemble to study English at the International English Institute at USM, which kindled his career as an international artist.

FACULTY & STAFF

EUGENE MIGLIARO CORPORON

Director of Wind Studies

Conductor of the Wind Symphony

Regents Professor of Music

ANDREW TRACHSEL

Associate Professor of Wind Studies

Conductor of the Wind Orchestra

DANIEL COOK

Director of Athletic Bands

Conductor of the Wind Ensemble

DAVID CHILDS

RAQUEL SAMAYOA

Conductors of the Brass Band

FLOYD GRAHAM*

Director of Bands, Emeritus (1927–1937)

ROBERT LINCOLN MARQUIS, JR.*

Director of Bands, Emeritus (1936–1945)

MARY KAREN CLARDY, flute

ELIZABETH MCNUTT, flute

*JAMES SCOTT, flute

TERRI SUNDBERG, flute

JUNG CHOI, oboe

DARYL COAD, clarinet

DEB FABIAN, clarinet

ADMINISTRATIVE COORDINATOR

Heather Coffin

DOCTORAL CONDUCTING ASSOCIATES

Slade Denman, Rob Truan, Amy Woody

MASTER’S CONDUCTING ASSOCIATE

Dachuan Cao

LIBRARIANS

Tyler Hudson, Erick Morales, Catherine Yang

STAGE CREW

Connor Altagen, James Caldwell, Amaiya Deleon, Daniel Esperante, Matthew Garcia-Perez, Erica Haas, David Molina, Steven Ohakwe, Willem Price, Molly Smit

EMERITUS FACULTY

MAURICE MCADOW*

Director of Bands, Emeritus (1945–1975)

ROBERT WINSLOW*

Director of Bands, Emeritus (1975–1993)

*Deceased

DENNIS FISHER

Professor of Wind Studies, Emeritus (1982–2019)

INSTRUMENTAL STUDIES

ERIC NESTLER, saxophone

ADAM GORDON, trumpet

JOHN HOLT, trumpet

CALEB HUDSON, trumpet

RAQUEL SAMAYOA, trumpet

*HALEY HOOPS, horn

KIMBERLY COLE LUEVANO, clarinet PHILLIP PAGLIALONGA, clarinet

*GREGORY RADEN, clarinet

DARREL HALE, bassoon

STACIE MICKENS, horn TONY BAKER, trombone

NATALIE MANNIX, trombone STEVEN MENARD, trombone

DAVID CHILDS, euphonium

*Adjunct

*MATTHEW GOOD, tuba

DON LITTLE, tuba

JEFFREY BRADETICH, double bass

GUDRUN RASCHEN, double bass

MARK FORD, percussion

*DREW LANG, percussion

PAUL RENNICK, percussion

*SANDI RENNICK, percussion

JAYMEE HAEFNER, harp

JOSEPH BANOWETZ, piano

JESSE ESCHBACH, organ

ADMINISTRATION

UNIVERSITY OF NORTH TEXAS SYSTEM

MICHAEL R. WILLIAMS Chancellor

UNIVERSITY OF NORTH TEXAS NEAL SMATRESK

President

MICHAEL MCPHERSON

Interim Provost and Vice President for Academic Affairs

COLLEGE OF MUSIC

JOHN W. RICHMOND

Professor and Dean

WARREN HENRY

Senior Associate Dean, Academic Affairs

FELIX OLSCHOFKA Associate Dean, Operations

EMILITA MARIN Assistant Dean, Business and Finance

RAYMOND ROWELL

Assistant Dean, Enrollment Management and External Affairs MARK MONTEMAYOR Interim Director, Undergraduate Studies

JAYMEE HAEFNER Director, Graduate Studies

BENJAMIN BRAND

Chair, Division of Music History, Theory and Ethnomusicology

MOLLY FILLMORE Chair, Division of Vocal Studies

STEVEN HARLOS Chair, Division of Keyboard Studies

JOSEPH KLEIN Chair, Division of Composition Studies

KIMBERLY COLE LUEVANO Chair, Division of Instrumental Studies

ROB PARTON Chair, Division of Jazz Studies

SEAN POWELL Chair, Division of Music Education

ANDREW TRACHSEL Chair, Division of Conducting and Ensembles

MATT HARDMAN

AUSTIN MARTINEZ

Director, Communications, Marketing and Public Relations

Acting Director, Recording Services

CAROL POLLARD Director, Undergraduate Advising JOEL WILEY Director, Admissions

DIANA COOLEY

Administrative Coordinator, Divisions of Conducting and Ensembles, Keyboard Studies and Vocal Studies

MATT HELLMAN Program Design, Graphic Design Specialist

ANDREW

EUGENE MIGLIARO CORPORON