University Concert Band and Symphonic Wind Ensemble Concert, 03/04/22

Pacific Bands Concert Friday I March 4, 2022 I 7:30 pm Faye Spanos Concert Hall University Concert Band and Symphonic Wind Ensemble Featuring Bernhard Scully, horn Vu Nguyen, conductor Robert D. Brown, guest conductor

48th Performance I 2021–22 Academic Year I Conservatory of Music I University of the Pacific

CONCERT PROGRAM I MARCH 4, 2022 I 7:30 PM University Concert Band Robert D. Brown Jr., conductor Vu Nguyen, conductor The Loop (2021)

Allison Loggins-Hull (b. 1982)

Consortium Premiere

December Lullaby (2017)

Roger Zare (b. 1985)

Symphonic Wind Ensemble Vu Nguyen, conductor Masks and Machines (for 19 Musicians) (2015/2020) I.

Paul Dooley (b. 1983)

II. III.

Rhapsody for Horn, Winds, and Percussion (1995)

Jan Van der Roost (b. 1956)

Bernard Scully, horn

CONCERT PROGRAM I MARCH 4, 2022 I 7:30 PM Combined Ensembles Vu Nguyen, conductor Selections from “The Danserye” (1551/2002) Tielman Susato I. La Mourisque (1510 - 1570) II. Bergerette arr. Patrick Dunnigan IV. Fagot V. Den hoboecken VI. Ronde & Salterelle VII. Ronde & Aliud VIII. Basse danse: Mon desir IX. Pavane: La Battaille

University Concert Band The University Concert Band at the Pacific Conservatory of Music comprises students who represent music majors, minors, and non-majors from across the university. The ensemble performs literature written for a full wind band setting drawn from contemporary, transcription, and classic band repertoire.

The Concert Band performs four concerts each academic year, including collaborations with composers and high school bands. During the 2021-22 season, the ensemble will perform works by Carol Brittin Chambers, Katahj Copley, Viet Cuong, Kelijah Dunton, Roger Zare, and consortium premieres of works by Allison Loggins-Hull and Catherine Likhuta. Membership is open to all Pacific students.

Symphonic Wind Ensemble The Symphonic Wind Ensemble at the Pacific Conservatory of Music comprises students who represent a majority of music degree programs in the Conservatory. The ensemble performs at least four concerts each academic year. It provides students the opportunity to play a broad range of music for winds, brass, percussion, and keyboards drawn from a repertoire that honors the rich history of the past and looks to the future. The Symphonic Wind Ensemble has performed at Carnegie Hall, recorded at Skywalker Sound, and performed at the California All-State Music Education Conference and the Western International Band Clinic. Recent collaborations with composers include Viet Cuong, Jennifer Jolley, Giovanni Santos, Alex Shapiro, Ingrid Stölzel, and James Syler.

University Concert Band (Performers are Listed Alphabetically) Flute Ashley Bonfoey Grace Coon Logan Feece Autumn Hill Jodie Sun Victoria Wang Oboe Raquel Johnson Clarinet Kyle Chang Rachel Dolan Gerardo Lopez Emily McGann Sungeun Park Bassoon Krys Checo Justin Silva Simon Vasquez Saxophone Marc Anderson Krystle Kong Tristan McMichael Mason Weillie Trumpet Ainsley Berryhill Caleb Bonilla Kevin Hee Julia Alejandra Murillo

Horn Mary Denney Emily Fjelstrom Matthew Miramontes Trombone Victor Alcaraz, Jr. Aparna Balaji Marco Galvan Euphonium Arturo Garcia Tuba Stephen Lambert Percussion Huey Chan Ethan Chow Mallory Norman Samantha Sanchez Piano Krystle Kong

Symphonic Wind Ensemble (Performers are Listed Alphabetically) Flute Kalea Bringas Phoenix Farris Jessica Jenkins Natalie Kowalski Marcus Loya Oboe Glenn Michael Adcock Jenna Bosnick Hannah Estrella Clarinet Byron Ayala Edgard Gonzales Maggie Juarez Abigail Miller Marcus Romero Bassoon Ella Hebrard Dorian Jones Ealaph Tabbaa Tyler Van Zuiden Jordan Wier Saxophone Michael De Lashmutt Theresa Nhu Nhien Huynh Ryan Porter James Scott Horn Olivia Gideon Jada Ramos Braydon Ross Skylar Warren

Trumpet Jack Chivers Andrew Marcopulos Cristina O’Brien Kylie Ward Trombone Rebecca Growcott Matthew Miramontes Seth Neves Euphonium Brooke Farrar Tuba Domenic Jimenez Double Bass Noah Gonzales Percussion Robin Bisho Leonard Cox Jon Herbers Samantha Sanchez Emily Winsatt Double Bass Noah Gonzales Celesta Leo Chang

PERFORMER AND CONDUCTOR BIOS Bernhard Scully is an international horn soloist and pedagogue.

He is currently the Associate Professor of Horn at the University of Illinois at Urbana-Champaign and is Artistic Director of the non-profit 501(c)(3) Cormont Music. He spends most of his summer in the beautiful White Mountains of New Hampshire as both the Artistic Director of the Kendall Betts Horn Camp and as the horn player of the North Country Chamber Players. He is the former horn player of the Canadian Brass and former principal horn of the Saint Paul Chamber Orchestra. Among his many awards are top honors at numerous competitions, most notably being the first classical brass player to win a McKnight Fellowship for Performing Musicians.

As the Horn player of Canadian Brass, Bernhard annually toured the world over, is featured on many CD’s and videos, and performed in front of orchestras that included the New York Philharmonic, Philadelphia Orchestra, Detroit Symphony, Vancouver Symphony, National Arts Centre Orchestra, and the Toronto Symphony. The Canadian Brass have been featured guest artists at prestigious music events and festivals including, Music Academy of the West, Oregon Bach Festival, Banff Centre For the Arts, Texas Music Educators Convention, Midwest Band and Orchestra Clinic, Chautauqua Festival, Schleswig-Holstein Festival, NAMM Convention, and numerous others.

As Principal Horn of the Saint Paul Chamber Orchestra, Bernhard was often featured as a soloist, performing notable works by Mozart, Strauss, and Britten. He toured with the SPCO both nationally and internationally, most notably performing at Carnegie Hall. His concerts with the SPCO were broadcast weekly on National Public Radio.

He is also featured on the SPCO’s 50th Anniversary Chamber Orchestra Festival recording. Since his departure to pursue a solo and teaching career, Bernhard has returned to play guest principal horn under the acclaimed director, Pinchas Zuchermann. He has collaborated with many great North American Orchestras including the Chicago Symphony, San Francisco Symphony, Minnesota Orchestra, Cleveland Orchestra as guest principal horn, Pittsburgh Symphony as guest principal horn, and as principal horn of the Violon du Roy in Quebec City.

As a soloist Bernhard is featured on numerous recordings. His solo album, Dialogue en Francais: French Masterpieces for Horn and Piano, was featured on Minnesota Public Radio. His recording The G. Schirmer Horn Collection Volumes One, Two, and Three (Hal Leonard Publishing) includes much of the standard repertoire for horn and piano. The Instrumentalist describes these three volumes: “Scully offers musical, intuitive performances that provide a fine example for hornists of all levels. These carefully thought out publications are a good investment for future growth and belong in every horn teacher and players library.” Bernhard can be heard as a featured performer on numerous Canadian Brass CD’s. He just released his latest CD, Windows in Time, that features the premiere recording of Gunther Schuller’s “Quintet for Horn and Strings (2009)” in collaboration with the acclaimed Jupiter String Quartet. The album also includes W.A. Mozart’s “Quintet for Horn and Strings, K. 407”. Gunther Schuller produced this recording himself, and this was one of the last projects he took part in before his unfortunate passing in 2015.

As a pedagogue Bernhard has given lectures and master classes around the world and is a regular featured artist at international music conventions and festivals. He has been on the faculties at the Chautauqua Festival, Rafael Mendez Brass Institute as a member of the Summit Brass, Music Academy of the West, Brevard Music Festival, Eastman School of Music, in residence at the University of Toronto with the Canadian Brass, Madeline Island Music Camp as a member of the Prairie Winds, The North Country Chamber Players, and the Illinois Summer Youth Music Horn Week. His students now occupy positions all over the globe as performers, educators, and scholars.

His degrees are from Northwestern University (with honors), and the University of Wisconsin-Madison where he attended on a Paul Collins Distinguished Graduate Fellowship. In 2010 the University of Wisconsin awarded him a Distinguished Alumni Award for excellence in artistry. His students, including Pacific Assistant Professor of Practice in Horn Sadie Glass, now occupy positions all over the globe as performers, educators, and scholars.

PERFORMER AND CONDUCTOR BIOS Robert D. Brown, Jr. is a music educator, performer, conductor, and composer who primarily works in the San Joaquin Valley of Northern California.

He currently teaches in the Stockton Unified School District while concurrently pursuing his Master of Music in Music Education at the University of the Pacific Conservatory of Music. Robert is an ardent supporter of equal and uninterrupted access to music and arts education for all students, and he brings that strong belief to his current position as well as his previous teaching positions in the Jefferson, Liberty Union, and Lodi Unified school districts. He is also dedicated to working with community organizations to enrich musical experiences for Stockton’s underserved music lovers. An alumnus of the Conservatory, Robert graduated in 2017 with a Bachelor of Music in Music Education and a California State Teaching Credential, and he won the 2016 University of the Pacific Symphony Orchestra’s Concerto Soloist Competition.

Vu Nguyen is an Associate Professor of Music and the Director of Bands at University of the Pacific.

He conducts the Symphonic Wind Ensemble, Concert Band, and teaches courses in conducting and music education.

Dr. Nguyen maintains an active schedule as a clinician and has served as guest conductor with the United States Air Force Bands of the Golden West and Mid-America, as well as regional and all-state honor bands throughout the country. Ensembles under his direction have been invited to perform at state and national conferences, most recently at the 2020 College Band Directors National Association Eastern Division Conference.

A native of the San Francisco Bay Area, Dr. Nguyen holds degrees in conducting from the University of Washington and the University of Oregon, and a BM in music education from the University of the Pacific. Prior to his appointment at Pacific, he served as Director of Wind Ensembles and Conducting at the University of Connecticut. He began his career teaching in the public schools of San Ramon, CA. In addition to his academic career, Dr. Nguyen served as an officer in the Air National Guard (ANG) where he was the commander/conductor of the ANG Band of the West Coast, one of five such bands in the United States covering an eight-state area of responsibility.

Program Notes The Loop Allison Loggins-Hull is a flutist, composer, and producer whose work defies classification. She has been associated with acts across the spectrum of popular and classical music including Flutronix, LA Phil, Lizzo, Imani Winds, and Alarm Will Sound.

Her music is resonant with social and political themes of the current moment, encompassing motherhood, Blackness, and cultural identity.

During the 2021-22 season Allison joins the legendary Bang on a Can All-Stars for their annual People’s Commissioning Fund concert. Her compositions will be performed by the LA Phil and San Francisco Symphony, and with Flutronix she premieres two projects: Black Being at the Arts Club of Chicago, and Discourse with Carolina Performing Arts. In February, Allison performs works by herself and others at Cal Performances in Berkeley, for Alicia Hall Moran and Jason Moran’s vaunted Two Wings: The Music of Black Migration.

In 2009 she and Nathalie Joachim co-founded the critically acclaimed duo Flutronix, which was praised by The Wall Street Journal for being able “to redefine the instrument.” Similarly, MTV Iggy recognized Flutronix for “redefining the flute and modernizing its sound by hauling it squarely into the world of popular music.”

Allison is on the flute faculty of The John J. Cali School of Music at Montclair State University. She’s a teaching artist at The Juilliard School’s Global Ventures and is a former faculty member of The Juilliard School’s Music Advancement Program.

The composer writes: The Loop is inspired by Chicago and its promise to African-Americans who came to the city during The Great Migration. It opens with a train sound, representing the trains migrants took up to the city from places like Mississippi and other southern states. It also nods to Chicago’s L train, which sounds throughout the city and circles a downtown area appropriately referred to as “The Loop.” The piece is composed of musical loops and also embodies the repetitive and rhythmic nature of factory labor, which the majority of black southerners found themselves doing once they made it to the big city – including my own grandfather who worked in a can factory. The piece has a driving and determined energy, much like the spirit that is needed when anyone migrates to a new home for a better life. For fun, I added house beats (house music started in Chicago!) and the opening horn motifs are inspired by Chicago-native Kanye West’s, All of the Lights.

Program Notes December Lullaby Roger Zare has been praised for his “enviable grasp of orchestration” (New York Times) and for writing music with “formal clarity and an alluringly mercurial surface.” He was born in Sarasota, FL, and has written for a wide variety of ensembles, from solo instruments to full orchestra. Often inspired by science, mathematics, literature, and mythology, his colorfully descriptive and energetic works have been performed on five continents. Zare holds a DMA (‘12) from the University of Michigan, where he studied with Michael Daugherty, Paul Schoenfield, Bright Sheng, and Kristin Kuster. He holds degrees from the Peabody Conservatory (MM ‘09) and the University of Southern California (BM ‘07), and his previous teachers include Christopher Theofanidis, Derek Bermel, David Smooke, Donald Crockett, Tamar Diesendruck, Fredrick Lesemann, and Morten Lauridsen. Zare currently serves as instructional assistant professor of composition and theory at Illinois State University and is co-director of the RED NOTE new music festival.

The composer writes the following about December Lullaby: I grew up in Florida and never experienced the harshness or the beauty of winter until I was in my 20s. Now that I have lived farther north for over a decade, I still look forward to seeing the first snowfall each year. It rapidly transforms a bleak autumn landscape into a peaceful and delicate one, covering ragged leafless branches with a rounded cloak of snow. As you listen to this piece, imagine watching the first snow of the season while wrapped in a blanket, sipping hot chocolate next to a crackling fireplace.

Masks and Machines Paul Dooley’s music has been described as “impressive and beautiful” by American composer Steve Reich. Mr. Dooley’s 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.

At the University of Michigan, Dooley has co-directed the 2009 Midwest Composers Symposium and in 2010 was coordinator of the ONCE. MORE. Festival, a 50-year anniversary of the ONCE Festival of Contemporary Music. He studied composition primarily with composers Michael Daugherty, Bright Sheng, Evan Chambers, Frank Ticheli, Stephen Hartke, Charles Sepos and Doc Collins.

Mr. Dooley has received a wide range of prizes for his work, including: the William D. Revelli Composition Prize co-winner for Masks and Machines (2015), the 2013 Jacob Druckman Award for orchestral composition for Point Blank (2012), a 2010 BMI composer award for Gradus (2009) for solo cello, a 2008 ASCAP Morton Gould Composer Award for Dani’s Dance (2007) for piano trio, and a fellowship to the Aspen Music Festival Composition Masterclass with Christopher Rouse.

This version of Masks and Machines for 19 musicians was arranged by the composer in 2020.

He provides the following information about his composition: Masks and Machines (2015) was commissioned by a consortium of wind bands organized by Timothy Shade in honor of Gary Green’s retirement from the Frost School of Music at the University of Miami. Masks and Machines is inspired by the early twentieth century works of Bauhaus artist Oskar Schlemmer, and the Neoclassical music of Igor Stravinsky. I admire the simplicity of shapes and color in Schlemmer’s works such as the “Bauhaus Stairway” and “Triadic Ballet” as well as the renaissance and baroque musical influences in Stravinsky’s “Pulcinella.” Masks and Machines contains three contrasting character pieces featuring renaissance brass music, Baroque fortspinnung in virtuosic mallet percussion, lush oboe, clarinet and bassoon solos, and machine-like flute rips.

Program Notes Rhapsody for Horn, Winds, and Percussion Jan Van der Roost was born in Duffel, Belgium, in 1956. At a very young age he was introduced to the prominent names in the concert band, fanfare band and brass band repertoire which inspired him to put something on paper himself. He studied trombone, music history and musical education at the Lemmensinstituut in Leuven (Louvain). He continued his studies at the Royal Conservatoires of Ghent and Antwerp, where he qualified as a conductor and a composer. He currently teaches at the Lemmensinstituut in Leuven (Belgium), is special visiting professor at the Shobi Institute of Music in Tokyo, guest professor at the Nagoya University of Art and guest professor at Senzoku Gakuen in Kawasaki (Japan).

Rhapsody for Horn, Winds, and Percussion for horn and large symphonic band was composed in 1995 and commissioned by Bowling Green State University in Ohio.

In this particularly colorful work, the immense sound possibilities of the solo instrument and band are fully exploited. The piece begins with a huge glissando in which sound unites from two directions to the pitch F. This spectacular effect symbolizes the large bell of the horn and immediately sets tonal poles. The first is the F tone center (also the basic tuning pitch of the horn), and the second is the interval of a tritone from F, the B tone center. The seemingly improvisational opening passage is based on a spiraling, widening series of tones ranging from F to B. This widening effect is meant to express the soft conical bore of the horn.

An Allegro Burlesco follows, which presents a rhythmic and dynamic theme. After a short cadenza comes a slow section full of dark sounds and punctuated by ostinato accompanying patterns. Here the band has the opportunity to show its true colors.

The horn’s large concert range is also evident in this middle section. The Allegro Burlesco is resumed (with slight variation) leading to a spectacular coda, fully displaying the talents of the soloist. A reversed glissando brings the piece to a cyclical conclusion.

- Jan Van der Roost

Program Notes Selections from “The Danserye” Tielman Susato began his career as a practicing trumpeter in Antwerp, but he is best remembered today as a music publisher and entrepreneur. He possessed a longtime interest in calligraphy and typesetting, and is credited with raising the standards of published music during his life. His numerous publications consisted mainly of anthologies of various vocal works, although some editions were devoted to single composers. Susato was also widely known as a composer having published, among others, his own collection of chansons.

The Danserye is a set of instrumental dances based on popular tunes of the time, arranged by Susato and published in 1551 as Het derdemusyckboexken. With more than 50 individual dances in a variety of forms, the collection is notable for its simple textures and strict homophony. Specific instrumentation is not indicated, thus suggesting that the tunes were performed by whatever combination of winds and strings was available.

Selections from “The Danserye” is a new setting for wind band consisting of nine dances fashioned into an extended symphonic suite. The arrangement utilizes the full resources of the modern wind band, featuring various sections (or consorts of instruments) in alteration with powerful tutti passages. While the wind parts remain faithful to the original material, the dances are energized with a healthy dose of contemporary percussion effects. This blend of sound generates a new but familiar element, thus making something very modern out of music that is more than 450 years old.

- Patrick Dunnigan

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UPCOMING CONSERVATORY EVENTS Mar. 6 | 8:00am Single Reed Day Faye Spanos Concert Hall Mar. 8 | 7:30pm Electro-acoustic Duo Brittany Trotter & Kyle Bruckmann Recital Hall

Mar. 24 - 26 | 7:30pm Pacific Opera Theatre “The Threepenny Opera” Faye Spanos Concert Hall Mar. 28 | 7:30pm Guest Artist Ignace Jang Recital Hall

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