PRESENTS
WIND ORCHESTRA & SYMPHONIC WINDS
MONDAY, OCTOBER 9TH, 7 PM UTRGV PAC, EDINBURG
TUESDAY OCTOBER 10TH, 7 PM TSC PAC, BROWNSVILLE
PROGRAM
SYMPHONIC WINDS
Allison Davis, conductor
HALCYON HEARTS KATAHJ COPLEY (b 1998)
ASH JENNIFER JOLLEY (b. 1981)
FOLK SONG SUITE
RALPH VAUGHAN WILLIAMS
I MARCH: “Seventeen Come Sunday” (1872-1958)
II. INTERMEZZO: “My Bonny Boy”
III. MARCH: “Folk Songs from Somerset”
LETTERS KELIJAH DUNTON (b 1999)
SYMPHONIC SUITE FROM STAR TREK
MICHAEL GIACCHINO
ARR. BY JAY BOCOOK (b. 1953)
SYMPHONIC WINDS
PERSONNEL
F L U T E
J o n a t h a n G a r c i a
F e l i x R o d r i g u e z
N a d i a V i l l a n u e v a
O B O E
D r M e z r a q R a m l i *
C L A R I N E T
F e r n a n d o D e L e o n
S a m a n t h a P a d i l l a
D i o g o P e r a l e s
S A X O P H O N E
C u l l e n D o u g l a s
J o r g e G a r c i a
R o q u e M a r t i n e z
L e e M o n r e a l
R o d o l f o R o d r i g u e z
J o r d a n S a l d a ñ a
F R E N C H H O R N
R o b e r t B a u t i s t a
J o h a n E s p i n o z a
D a v i d O l g u i n
J u a n R o m e r o
T R U M P E T
D a n i e l V e l a
J o r g e C a s t i l l o *
D a v i d G u t i e r r e z *
D r . A l e x S a n s o *
T R O M B O N E
J h o n E s c o b a r
A m e l i a G o n z a l e z
D a n i e l L o z a n o
C h r i s t o p e r T r e v i ñ o
E U P H O N I U M
J o s e p h C a r d o n a
D i e g o G a r c i a
TUBA
Jesse Alvarez
Marty Gutierrez
PERCUSSION
Melani Blanco
Patricio Martinez
Dr Virginia Davis*
Dr. Jason Jones*
*denotes guest musician
PROGRAM NOTES
Halcyon Hearts, Katahj Copley
The works of composter Katahj Copley have been described as containing “heartfelt melodies combined with soulful harmonies” to an effect that is truly “fresh, emotional, and exciting.” A composer and educator, Copley was awarded his degrees in Music Education and Composition from the University of Georgia in 2021, and a master’s degree in composition from The University of Texas at Austin. Copley is currently a DMA Candidate at Michigan State University.
Katahj Copley premiered his first work in 2017 and has since been commissioned to compose for several major organizations and ensembles, including the Cavaliers Brass, California Band Director Association, and the Atlanta Wind Symphony. His works have garnered international acclaim, and “if you do not yet know his name, stand by, because soon everyone will be clamoring for his music.”
Composer’s Notes
love does not delight in evilbut rejoices with the truth it will always protect trust hope and persevere for youlove never fails.
“The effect of love on humanity is abundant and I think we forget that from time to time. Regardless of race, gender, religion, or indifference, we are all united by a common thread: passion and love.
Centered around the warmth that love brings, Halcyon Hearts takes us on an unexpected journey to find love. While this love may result to be romantic for some, to me is about the moment someone finds their passion. Using colors, natural energy, and passion, I created a sound of ambition for the ensemble
PROGRAM NOTES (cont.)
I would like to dedicate this piece to those who love all of mankind- no matter the negativity around you. Let love be love and always choose it- when you do, the halcyon days will come.”
Performance Notes
The piece starts off at a fast tempo with the woodwinds taking a hold of the melody. The piece starts off with a very bright sound and feels very energetic. The melody has a call and response between different instruments, starting from the woodwinds, trombone and euphonium, to the horns. During the middle of this piece, it slows down and the horns get this sweet, legato melody that reminds you of the feeling of falling in love. It eventually picks back up in measure 140. And it has a strong and powerful ending. Many people struggle to find what they are passionate about, it may take them months, or even years to find their passion. They may think it's one thing, but then realize later on in life that they were wrong. Or they may have multiple passions but discover them at different times in their life But eventually we all find that one thing or person that makes us fall in love and it brings us joy. This is what this piece reminds us of. This piece reminds us of the journey of finding someone or something that brings us joy and happiness.
Ash, Jennifer Jolley
A musical activist, composer Jennifer Jolley is known for her thoughtprovoking music, addressing modern issues “such as climate change, #MeToo, feminist history, and the abuses of the Putin regime.”
“Ash” is particularly meaningful from today’s perspective, and it brings to mind the devastating wildfires that took place this year in Canada and on the island of Maui. Let “Ash” take you on a journey through the desolation left in the wake of a wildfire, and keep in mind those who have been affected.
Composer’s Notes
“I never saw snowfall as a child growing up in Southern California; it was more a phenomenon that I saw in cartoons or read in children’s books.
I did, however, witness my first ash-fall when I was in elementary school I looked up into the clouded sky and saw specks of ash falling
PROGRAM NOTES (cont.)
from it. Excited but puzzled, I looked to my elementary school teacher during recess and held out my hand. “Oh, that’s ash from the wildfires,” she said. At that time, I could not comprehend how an enormous forest fire could create a small flurry of ash-flakes. Now I have the ominous understanding that something so magical and beautiful comes from something so powerful and destructive.”
Performance Notes
Throughout the piece the audience can clearly hear the dark, ominous sounds. From the oboe, to the low brass, and even from the snare drum. The dark sounds can give the audience an image in their minds about the destruction of a wildfire. And at the end of the piece you can hear all the instruments sort of come together and blend with ease. This gives a bright sound depicting the beauty in something powerful that Jolley describes.
Folk Song Suite, Ralph Vaughn Williams
Ralph Vaughan Williams is widely regarded as one of the most influential composers of the 20th century, with notable contributions to British music and the military band tradition Williams’ big success came in 1910 at the premiere of his Fantasia on a Theme of Thomas Tallis. Over his life, Williams has composed for every genre, including film music, and has made a huge name for himself that there is even a society dedicated towards understanding and appreciation of the composer.
Performance Notes
The first movement is set as an English march, and is made up of three folk songs, I’m Seventeen Come Sunday, Pretty Caroline, and Dives and Lazarus. The first two folk songs deal with similar subject matter of military men falling in love with, and marrying, beautiful women. The styles of the two songs offset each other, the first is bouncy and jovial, the second legato and cantabile The third folk song included in movement one is Dives and Lazarus. Lazarus repeatedly begs Dives, a rich man, for food but is denied. To portray the antagonism of the event, Vaughan Williams has set a firm duple meter melody in the low brass against a rigorous triple meter accompaniment in upper winds
PROGRAM NOTES (cont.)
Both folk songs used in the Intermezzo deal with love betrayed, and Vaughan Williams’s keen sense of orchestration is on full display throughout this movement. My Bonny Boy begins the movement in a lonely F dorian with sparse accompaniment. The mood shifts slightly to the folk song Green Bushes set as a somewhat playful scherzando. The pace of this folk song belies the fact that the tonal center has remained F dorian, and thus never really feels happy or jovial.
The third movement, Folk Songs From Somerset, uses four different folk songs dealing loosely with unattainable love. Blow Away the Morning Dew, describes a country boy attempting to seduce a girl who quickly outwits him. The second folk song, High Germany, is about a young English woman’s lover and her three brothers being called off to war in Germany. Thirdly, Vaughan Williams modified a version of “The Trees They Do Grow High” which deals with a young woman who has been wed by her father to a much younger boy. The final folk song is John Barleycorn which is an allegory representing the harvesting of barley, and the imbibing of its final form (beer and whisky). accompaniment in upper winds.
Letters, Kelijah Dunton Composer Biography
A young musician from Brooklyn, Kelijah Dunton has only just begun his career as a composer. Without a degree in music composition, Dunton writes “as he learns from his musical peers and experiences.”
Dunton writes the following about his work:
“My real passion and goal in life is show other young men & women like me that there are so many other ways out of that dark place we were raised into. Through music, I want to help us all rise out of the pain we had to endure as kids. I want to help save young people’s lives by setting an example of what's possible for an inner city kid like myself If I could sum up my appreciation for this community in just a few words, it would be... YOU, yes, YOU ALL saved my life. Thank you.”
PROGRAM NOTES (cont.)
Composer’s Notes
“A piece representing overcoming a romantic betrayal. My goal was to illustrate the concept as if it was a story. The "story" of the piece is "told '' from the lens of the person who was betrayed by their partner. The piece goes through several iterations of the same melody but each time it is different; taking on a different identity entirely. Sometimes, nostalgic, and reminiscent, to bitter, menacing, full of malice and regret.”
Commissioned by the College Band Directors National Association.
Symphonic Suite from Star Trek, Arr. Jay Bocook
Composer Biography
Jay Bocook (b. 1953, Clearwater, Fla.) is a composer, conductor, arranger and educator. Bocook is the director of athletic bands at Furman University in Greenville, South Carolina. He received a Bachelor of Music degree from Furman University in 1975, and went on to receive a Master of Music degree from University of Louisiana at Monroe (formerly Northeast Louisiana University). In addition to serving as Furman's director of athletic bands, Mr. Bocook works as a staff composer/arranger for Hal Leonard He is also the chief arranger for the ten-time DCI World Champion drum corps, the Cadets, and the eight-time DCA World Champion drum corps Reading Buccaneers. Mr. Bocook also conducts and composes for the Carolina Pops Orchestra.
Performance Notes
Symphonic Suite from Star Trek is an arrangement by Jay Bocook of Oscar and Grammy Award winner Michael Giacchino’s music for the 2009 Star Trek reboot with references to the original Star Trek themes by Alexander Courage and Gene Roddenberry. Other notable film scores by Michael Giacchino include Jurassic World, The Incredibles, Up, and Star Wars: Rogue One.
Symphonic Suite from Star Trek takes you on an epic musical journey of cinematic proportions through outer space, featuring a distinct Hollywood sound.
Program notes written and compiled by students in the Symphonic Winds ensemble.
ABOUT THE CONDUCTOR
D r . A l l i s o n D a v i s s e r v e s a s A s s i s t a n t P r o f e s s o r o f M u s i c E d u c a t i o n a t t h e U n i v e r s i t y o f T e x a s R i o G r a n d e V a l l e y , w h e r e s h e c u r r e n t l y t e a c h e s m u s i c e d u c a t i o n c o u r s e s a n d d i r e c t s t h e S y m p h o n i c W i n d s A n O h i o n a t i v e w i t h r o o t s i n M a s s a c h u s e t t s , D r . D a v i s h o l d s a D o c t o r o f P h i l o s o p h y i n M u s i c E d u c a t i o n f r o m t h e U n i v e r s i t y o f M i s s o u r i w i t h a C o g n a t e i n W i n d C o n d u c t i n g a n d B a n d P e d a g o g y , a M a s t e r o f M u s i c i n M u s i c E d u c a t i o n w i t h a S p e c i a l i z a t i o n i n W i n d C o n d u c t i n g f r o m B o w l i n g G r e e n S t a t e U n i v e r s i t y , a n d a B a c h e l o r o f M u s i c E d u c a t i o n f r o m B o w l i n g G r e e n S t a t e U n i v e r s i t y S h e h a s w o r k e d w i t h t o p - t i e r c o l l e g i a t e e n s e m b l e s a n d a t h l e t i c b a n d s i n b o t h t h e S o u t h e a s t e r n a n d M i dA m e r i c a n C o n f e r e n c e s s i n c e 2 0 1 8 D r D a v i s a l s o s e r v e d a s t h e W o o d w i n d D i r e c t o r f o r t h e R o c k B r i d g e H i g h S c h o o l b a n d p r o g r a m i n C o l u m b i a , M O a n d f o u n d e d t h e M i s s o u r i Y o u t h S y m p h o n i c B a n d S h e h a s h a d t h e p l e a s u r e o f s t u d y i n g w i t h D r B r i a n S i l v e y , D r W e n d y S i m s , D r A m y K n o p p s , D r K e n T h o m p s o n , a n d D r . B r u c e M o s s . D r D a v i s ’ s p r i m a r y a r e a s o f r e s e a r c h f o c u s o n i n s t r u m e n t a l c o n d u c t i n g a n d r e h e a r s a l t e c h n i q u e s , p r e s e r v i c e m u s i c e d u c a t i o n c u r r i c u l a , r e p e r t o i r e s e l e c t i o n , a n d d e m o c r a t i c p r a c t i c e s i n l a r g e e n s e m b l e s e t t i n g s H e r d i s s e r t a t i o n , A M u l t i p l e C a s e S t u d y o f P r e s e r v i c e M u s i c E d u c a t o r s E x p e r i e n c e s i n R e h e a r s a l C l i n i c , i n v e s t i g a t e d t h e e x p e r i e n c e s o f s e c o n d a r y i n s t r u m e n t a l m u s i c e d u c a t i o n m a j o r s i n a n a d v a n c e d c o n d u c t i n g a n d r e h e a r s a l s k i l l s c o u r s e . D r . D a v i s i s a c t i v e i n b o t h s t a t e a n d n a t i o n a l r e s e a r c h s e t t i n g s , p r e s e n t i n g a t c o n f e r e n c e s a n d p u b l i s h i n g i n b o t h p e e r - r e f e r e e d a n d p r a c t i t i o n e r j o u r n a l s P r i o r t o h e r u n i v e r s i t y t e a c h i n g e x p e r i e n c e , D r D a v i s t a u g h t a c o m b i n a t i o n o f s e c o n d a r y b a n d , c h o i r , g e n e r a l m u s i c , a n d m a r c h i n g b a n d i n t h e p u b l i c s c h o o l s o f O h i o . D u e t o h e r t i m e s p e n t w i t h a d i v e r s e s t u d e n t p o p u l a t i o n s , s h e h a s a d v o c a t e d f o r t h e p e r f o r m a n c e o f c o n t e m p o r a r y m u s i c b y m i n o r i t i z e d c o m p o s e r s . E n s e m b l e s u n d e r D r . D a v i s ’ s d i r e c t i o n h a v e p r e m i e r e d w o r k s b y C o r y B r o d a c k , E m i l i o J o s é G o n z á l e z , a n d Y o e l l T e w o l d e ( s t u d e n t c o m p o s e r ) , a n d s h e h a s w o r k e d c l o s e l y w i t h o t h e r a c c l a i m e d c o m p o s e r s i n c l u d i n g K a t a h j C o p l e y , K e v i n D a y , G r a c e B a u g h e r D u n l a p , K e l i j a h D u n t o n , R o s h a n n e E t e z a d y , a n d J e n n i f e r J o l l e y S h e a c t i v e l y i n t e g r a t e s t e c h n o l o g y i n b o t h l e c t u r e - b a s e d a n d e n s e m b l e - r e h e a r s a l s e t t i n g s , i n c l u d i n g u t i l i z i n g F o r S c o r e i n f u l l e n s e m b l e r e h e a r s a l s a n d f r e q u e n t l y h o s t i n g c o l l a b o r a t i v e Z o o m s e s s i o n s w i t h c o m p o s e r s , t o c r e a t e a m o r e i n t e r a c t i v e a n d e n h a n c e d s t u d e n t e x p e r i e n c e . D r . D a v i s r e g u l a r l y w o r k s a s a n a d j u d i c a t o r , c l i n i c i a n , a n d m u s i c a r r a n g e r f o r b a n d s o f a l l a b i l i t y l e v e l s a n d a g e r a n g e s a r o u n d t h e c o u n t r y .
PROGRAM
WIND ORCHESTRA
SAUL TORRES, CONDUCTOR
ASHLEY PEREZ, GRADUATE CONDUCTOR
SCHERZO FOR X WINGS
JOHN WILLIAMS ARR. LAVENDER (b. 1951)
SECOND SUITE IN F GUSTAV HOLST
I. March
II. Song without Words
III. Song of a Blacksmith
IV. Fantasia on the 'Dargason'
(1874-1934)
SYMPHONY FOR BAND PAUL HINDEMITH
I. Moderately Fast, with Vigor (1895-1963)
II. Andante Grazioso
III. Fugue (rather broad)
VETRATE DE CHIESA OTTORINO RESPIGHI
I. La fuga in Egitto ARR. SCHYNS (b. 1959)
II. San Michele Arcangelo
III. Il Mattutino di Santa Chiara
IV San Gregorio Magno
NOBLES OF THE MYSTIC SHRINE JOHN PHILLIP SOUSA
(1854-1932)
PROGRAM NOTES
Scherzo for X-Wings – John Williams
Scherzo for X-Wings (2015) is part of the latest installment of Star Wars: The Force Awakens, which was released in December 2015. The story takes place some thirty years after the conclusion of The Return of the Jedi. As old and new characters come together in the film, Williams’ score artfully weaves together familiar music from the original films with brand new themes and brilliantly highlights pivotal actions and relationships. Scherzo for X-Wings accompanies a furious battle scene featuring the iconic aerial fighters of both the Resistance and the First Order. This arrangement from the score for Star Wars: The Force Awakens was prepared especially for the "President’s Own" Marine Band.
- Program Note from University of North Texas Wind Ensemble concert program, 1 December 2016
Second Suite in F – Gustav Holst
The Second Suite consists of four movements, all based on specific English folk songs.
Movement I: March: Morris Dance, Swansea Town, Claudy Banks. "The "March" of the Second Suite begins with a simple-five note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the Morrisdance tune "Glorishears". After a brief climax, the second strain begins with a euphonium solo playing the second folk tune in the suite, Swansea Town. The theme is repeated by the full band before the trio. For the trio, Holst modulates to the unconventional sub-dominant minor of B-flat minor and changes the time signature to 6/8, thereby changing the meter. (Usually, one would modulate to sub-dominant major in traditional March form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in El Capitan), it was not commonplace ) The third theme, called Claudy Banks, is heard in a low woodwind soli, as is standard march orchestration. Then the first strain is repeated da capo.
PROGRAM NOTES (cont.)
Movement II: Song Without Words, 'I'll Love My Love'. Holst places the fourth folk song, I'll Love My Love, in stark contrast to the first movement. The movement begins with a chord from French horns and moves into a solo of clarinet with oboe over a flowing accompaniment in F Dorian. The solo is then repeated by the trumpet, forming an arc of intensity. The climax of the piece is a fermata in measure 32, followed by a trumpet pickup into the final measures of the piece.
Movement III: Song of the Blacksmith. Again, Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song A Blacksmith Courted Me. The brass section plays in a pointillistic style depicting a later Holst style. There are many time signature changes (4/4 to 3/4) making the movement increasingly difficult because the brass section has all of their accompaniment on the up-beats of each measure. The upper-woodwinds and horns join on the melody around the body of the piece and are accompanied with the sound of a blacksmith tempering metal with an anvil called for in the score. The final D major chord has a glorious, heavenly sound, which opens the way to the final movement. This chord works so effectively perhaps because it is unexpected: the entire movement is in F major when the music suddenly moves to the major of the relative minor
Movement IV: Fantasia on the Dargason. This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with an alto saxophone solo based on the folk tune Dargason; a 16th century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band. The final folk tune, Greensleeves, is cleverly woven into the fantasia by the use of hemiolas, with Dargason being in 6/8 and Greensleeves being in 3/4. At the climax of the movement, the two competing themes are placed in competing sections. As the movement dies down, a tuba and piccolo duet forms a call back to the beginning of the suite with the competition of low and high registers The name 'dargason' may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time). The dargason tormented the Irish countryside During the Irish uprising of the late 18th Century, the
PROGRAM NOTES (cont.)
dargason is supposed to have attacked a British camp, killing many soldiers. This tale aside, 'dargason' is more likely derived from an Anglo-Saxon word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as 'Sedony' (or Sedany) or 'Welsh Sedony'. Holst later rewrote and rescored this movement for string orchestra, as the final movement of his St Paul's Suite (1912), which he wrote for his music students at St Paul's Girls' School.
- Program Notes by Imogen Holst
Vetrate di Chiesa (Church Windows) – Ottorino Respighi Respighi composed Vetrate di Chiesa in 1926. The first three movements were based on Tre preludi sopra melodie gregoriane for piano, composed in 1921. Respighi consulted a literature professor, Claudio Guastalia, to help him find a title and subtitles for the orchestrated version Guastalia’s mental images upon hearing the music are the source of the quotations before each movement, which describes the drama of a major church event as depicted in the stained-glass windows of Italian churches.
1. The Flight into Egypt. The little caravan proceeds through the desert in a starry night, bearing the Treasure of the World. Respighi captures the swaying hesitation of a donkey stepping over loose stones against exotic Middle Eastern modal melody.
2. St. Michael the Archangel. And a great battle was made in the heavens; Michael and his angels fought with the dragon and his angels. But these did not prevail, and there was no more place for them in Heaven. In this mini-tone poem, the opening glissandi in the strings and fanfare in the brass are a none-too-subtle quote from Wagner -- only here for angels, not Valkyries. The melody in the lower brass is a Gregorian chant. The trombone melody appears to signal the arrival of the Archangel
3. The Matins of St. Clare. But Jesus Christ, her bridegroom, not wishing to leave her thus disconsolate, had her miraculously transported by angels to the church of St Francis, to be at the service
PROGRAM NOTES (cont.)
of Matins. St. Claire founded an order of nuns whose dedication to poverty mirrored that of St. Francis of Assisi. This quote is taken from The Little Flowers of St. Francis. Respighi creates a meditative melody, reflecting the tranquility of the monastic life. At other times when Claire was too ill to attend mass, she could visualize it on the wall of her cell. In witness whereof, in 1958 Pope Pius XII made her the patron saint of television.
4. St. Gregory the Great. Behold the Pontiff! ... Bless the Lord ... Sing the hymn to God. Alleluia! Pope Gregory (540-604) was known for his ecclesiastical writings and for what for many years was thought to be his contribution to the sung liturgy of the Catholic Church. This movement is a fantasia on one of the chants for the Gloria of the mass. It proceeds like a procession, heard in the distance, growing ever louder and more pompous.
- Program Note from Symphony Orchestra Augusta (Ga ) concert program, 27 September 2013
Symphony in B-Flat – Paul Hindemith
The Symphony for Concert Band was composed at the request of Lt Col. Hugh Curry, leader of the United States Army Band, and was premiered in Washington, D.C., on April 5, 1951, with the composer conducting. This three-movement work is the only symphony that Hindemith wrote expressly for the wind band. The suite shows Hindemith's great contrapuntal skill, and the organized logic of his thematic material. His melodies develop ever-expanding lines, and his skill in the organization and utilization of complex rhythmic variation adds spice and zest to the strength of his melodies.
Although Symphony in B-Flat features unique uses of dissonant chords and nonharmonic tones, it preserves neo-classical tonality, forms, and rhythmic and melodic patterns. Short figures are apt to form themselves into ostinatos to provide the background to broad and declamatory melodies; these melodies will often repeat characteristic phrases of awkward lengths so as to disturb the even flow of the basic rhythm. A slow section will alternate with a scherzando section, and the two will combine to form the third portion of a movement
PROGRAM NOTES (cont.)
The first movement is in sonata allegro form in three sections, with the recapitulation economically utilizing both themes together in strong counterpoint. The second and third movements develop and expand their thematic material in some of the most memorable contrapuntal writing for winds. The second movement opens with an imitative duet between alto saxophone and cornet, accompanied by a repeated chord figure. The duet theme, along with thematic material from the opening movement, provides the basic material for the remainder of the movement. The closing section of the third movement utilizes the combined themes while the woodwinds amplify the incessant chattering of the first movement. The brass and percussion adamantly demand a halt with a powerful final cadence.
The Symphony in B-Flat rivals any orchestra composition in length, breadth, and content, and served to convince other first-rank composers -- including Vittorio Giannini, Vincent Persichetti, Paul Creston, and Alan Hovhaness -- that the band is a legitimate medium for serious music.
- Program note by Hubert Henderson and James Jorgenson, and from the SUNY Potsdam Crane Wind Ensemble concert program, 22 April 2016
Nobles of the Mystic Shrine, John Phillip Sousa
Published in 1923, this concert-oriented march celebrates Sousa’s membership in the Ancient Arabic Order of the Nobles of the Mystic Shrine (Shriners). His local chapter hosted the national convention in 1923 in Washington, D.C., and Sousa conducted a band of 6,200 members in Griffith Stadium, the largest group he ever conducted. Contemporary versions of the Janissary Band (Turkish royal bodyguards) are a vital part of colorful Shrine marching units, and this march was intended to recreate the musical style of this Turkish music. The “jingling johnny” or Turkish crescent (a marching instrument with a pole hung with jingling bells), triangle, tambourine, and a heavy bass drum are highlighted, and we hear sudden fortissimo outbursts in the first section. This march is unique in that it includes a part for the harp.
- Program Note by Edward Harris
WIND ORCHESTRA PERSONNEL
F L U T E
L a u r a B a r b a
R a m i r o R a y a
C a r l o s H e r n a n d e z
C a d e n K a r r
S t e p h a n i e H e r n a n d e z
O B O E
L o r e n a C o r o n a d o
L i l i z b e t h G a r z a
B A S S O O N
A r a c e l y G a r c i a
J a q u e l i n e D a v i s
A s h l e y P e r e z
C L A R I N E T
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B e r n a b e M a r t i n e z
BASS TROMBONE
Abdiel Garcia
Imanol Ruiz
EUPHONIUM
Jose Castillo
Noah Jaramillo
Alejandro Garza
Cruz Segovia
TUBA
Victor Cruz
Azdruball Montemayor
Samuel De Leon
PERCUSSION
Oscar Lozano
Robert Adam Reyna
Edgar Facundo
Angel Ramos
Oscar Ivan Mendez
STRING BASS
Marisol Mejia
PIANO
Aharren Torres*
KEYBOARD
S A X O P H O N E
K r i s t i a n C o r o n a
A b r a h a m S a l d a ñ a
Vina Dornbusch*
*denotes guest performer
ABOUT THE CONDUCTOR
D r . S a u l T o r r e s , D i r e c t o r o f B a n d s a t t h e U n i v e r s i t y o f T e x a s R i o G r a n d e V a l l e y ( U T R G V ) , b r i n g s t o t h i s p o s i t i o n n e a r l y 2 0 y e a r s o f p r o f e s s i o n a l a n d c o l l e g i a t e e x p e r i e n c e . D r . T o r r e s s t u d i e d s a x o p h o n e i n h i s f o r m a t i v e y e a r s b e f o r e a t t e n d i n g U T P A w h e r e h e e a r n e d h i s B a c h e l o r s o f A r t s d e g r e e U p o n f i n i s h i n g h i s u n d e r g r a d u a t e d e g r e e , S a u l w a s a s u c c e s s f u l b a n d d i r e c t o r i n S o u t h T e x a s . H i s b a n d s r e c e i v e d n u m e r o u s s u p e r i o r r a t i n g s a t t h e U n i v e r s i t y I n t e r s c h o l a s t i c l e a g u e ( U I L ) M a r c h i n g . C o n c e r t , a n d S i g h t - R e a d i n g c o n t e s t s . H i s a f f i l i a t i o n s h a v e i n c l u d e d t h e T e x a s M u s i c E d u c a t o r s A s s o c i a t i o n ( T M E A ) , T e x a s B a n d M a s t e r s A s s o c i a t i o n ( T B A ) , T e x a s M u s i c A d j u d i c a t o r s A s s o c i a t i o n ( T M A A ) , T h e C o n d u c t e r s G u i l d a n d T h e C o l l e g e B a n d D i r e c t o r s N a t i o n a l A s s o c i a t i o n ( C B D N A ) . S a u l e a r n e d h i s M a s t e r ' s D e g r e e f r o m S o u t h e r n M e t h o d i s t U n i v e r s i t y i n c o n d u c t i n g w h e r e h e s t u d i e d u n d e r D r . J a c k D e l a n e y D u r i n g t h e s e y e a r s , D r T o r r e s c o l l a b o r a t e d w i t h c o m p o s e r C h r i s t o g h e r T u c k e r , i n a r e c o r d i n g s e s s i o n f o r h i s c o m p o s i t i o n L e g e n d s D r S a u l T o r r e s a l s o a s s i s t e d D r D e l a n e y w i t h t h e M e a d o w s W i n d E n s e m b l e f o r t h e i r p e r f o r m a n c e a t t h e P e r c u s s i v e A r t s S o c i e t y I n t e r n a t i o n a l C o n v e n t i o n i n A u s t i n , T e x a s . D r T o r r e s r e c e i v e d h i s D o c t o r a t e o f M u s i c a l A r t s d e g r e e f r o m t h e U n i v e r s i t y o f U t a h w h e r e h e s t u d i e d u n d e r S c o t t H a g e n D u r i n g h i s t i m e i n U t a h , S a u l h a d t h e h o n o r o f c o n d u c t i n g t h e U n i v e r s i t y o f U t a h W i n d E n s e m b l e a t t h e U t a h M u s i c E d u c a t o r s A s s o c i a t i o n C o n f e r e n c e i n S t . G e o r g e . U t a h , I n a d d i t i o n , O r . T o r r e s a s s i s t e d P r o f e s s o r H a g e n w i t h t h e i r p e r f o r m a n c e a t t h e C o l l e g e B a n d D i r e c t o r s N a t i o n a l A s s o c i a t i o n R e g i o n a l C o n f e r e n c e i n R e n o , N e v a d a A s i d e f r o m o v e r s e e i n g a l l a s p e c t s o f t h e b a n d p r o g r a m , D r S a u l T o r r e s a l s o t e a c h e s i n t h e a r e a o f c o n d u c t i n g , m a r c h i n g b a n d t e c h n i q u e s , a n d s y m p h o n i c b a n d l i t e r a t u r e .
BECOME A PATRON
U T R G V P a t r o n o f t h e A r t s h a s a r e n e w e d p u r p o s e , a l l o w i n g y o u t o i n v e s t i n t h e p r e s e n t a n d f u t u r e o f t h e A r t s i n t h e R i o G r a n d e V a l l e y ! W i t h y o u r s u p p o r t , U T R G V w i l l c o n t i n u e t o b r i n g w o r l d - c l a s s p e r f o r m a n c e s a n d e v e n t s t o t h e V a l l e y a n d t r a i n f u t u r e V a l l e y a r t i s t s . W e a r e a b l e t o b r i n g t h e s e a m a z i n g p e r f o r m e r s a n d f e a t u r e o u r o w n U T R G V f a c u l t y a n d s t u d e n t s b e c a u s e o f g e n e r o u s d o n o r s l i k e y o u . B y d o n a t i n g a s l i t t l e a s $ 1 0 0 0 p e r m o n t h , y o u w i l l b e c o m e a m e m b e r o f t h e P a t r o n o f t h e A r t s , o u r p r e m i e r e c i r c l e o f s u p p o r t e r s o f U T R G V A R T S . W i t h t h i s m e m b e r s h i p , y o u w i l l r e c e i v e d i s c o u n t e d t i c k e t s t o a l l o f o u r e v e n t s – t h e m o r e y o u d o n a t e , t h e g r e a t e r y o u r d i s c o u n t ! C l i c k h e r e t o b e c o m e a P a t r o n o f t h e A r t s .
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