Wind Orchestra and Symphonic Winds

PRESENTS

WIND ORCHESTRA & SYMPHONIC WINDS

SUNDAY, APRIL 28TH, 3 PM

UTRGV PERFORMING ARTS COMPLEX, EDINBURG

PROGRAM

SYMPHONIC WINDS

Allison Davis, conductor

CASTLE HILL FANFARE KIMBERLY ARCHER (b 1973)

Consortium Premiere

Emily Castillo, Student Conductor Performance in dedication to Chad Dempsey

THREE AYRES FROM GLOUCESTER

HUGH M. STUART

1 The Jolly Early of Cholmondeley (1917-2006)

2. Ayre for Eventide

3. The Fiefs of Wembley

Nefi Olivares, Student Conductor

THE GOOD FIGHT NOEMI SOSA (b. 2001)

World Premiere

Noemi Sosa, UTRGV Student Composer

MOTHER EARTH

DAVID MASLANKA (1943-2017)

DIAMOND TIDE VIET CUONG

1. Moderato (b. 1990)

2. Allegro

SYMPHONIC WINDS PERSONNEL

F L U T E

J o s h u a D e L e o n

C a l e b G o n z a l e z

N i k o H e r n a n d e z

F e l i x R o d r i g u e z *

A s h l e y T a p i a

J a y l i n V e l a

E v e l y n V i l l a l o n

B A S S O O N

O r l a n d o C a s t a ñ o

A b r a h a m S a l d a n a *

C L A R I N E T

J o e l C a r d e n a s

E m i l y C a s t i l l o *

P a i g e D e l g a d o

K a r o l i n a L e a l +

A l e j a n d r o M o r e n o +

R o m a n V a l e n c i a n o +

B A S S C L A R I N E T

J o n a t h a n G u z m a n

J u l i a n M a r t i n e z +

A L T O

S A X O P H O N E

L i a m L o z a n o

R o q u e M a r t i n e z

A d r i a n R a m i r e z

R o l a n d o R o m a n *

T E N O R

S A X O P H O N E

S h e r l y n F a r i a s

J o r d a n S a l d a n a

B A R I T O N E

S A X O P H O N E

M a t t h e w A y a l a

D i e g o D o m i n g u e z

F R E N C H H O R N

D a v i d G u t i e r r e z +

A m a n d a Q u i n t a n i l l a

R o b e r t S a l a s +

J o s h u a T o r r e s

T R U M P E T

J e s u s F l o r e s

B e n j a m i n G o n z a l e z +

D a n i e l G r a n a d o s

M a r k o M u n o z

C e s a r T o v a r

T R O M B O N E

J o s e A r e l l a n o

J h o n E s c o b a r *

D a n i e l L o z a n o

C h r i s t o p h e r T r e v i ñ o

BASS TROMBONE

Julian Montalvo

Efren Zapata

EUPHONIUM

Jorge Ayala

Gilbert Moya

Steven Vallejo*

TUBA

Ralph Gonzalez

Marty Gutierrez*

Jaime Zamarripa

PERCUSSION

Edgar Facundo

De Leon+

Alexa Jolet

Michelle Molina

Ramsey Ramirez*

Roberto Adam Reyna+

Eric Salazar

PIANO

Sven Jeppensen+

DOUBLE BASS

Marisol Mejia+

*denotes section leader

+denotes guest musician

PROGRAM NOTES

Castle Hill Fanfare, 2023, Kimberly K. Archer

Kimberly K. Archer, (b. 1973), serves as Professor of Composition at Southern Illinois University Edwardsville. Archer is the first woman faculty member to receive SIUE’s highest academic rank of Distinguished Research Professor in the fine and performing arts. She is also the first woman to be commissioned by the “President’s Own” United States Marine Corp Band to write a composition (“Fanfare Politeia”) for a U.S. Presidential Inauguration, performed at the 59th Presidential Inauguration in Jan. 2021.

Castle Hill Fanfare is one of five fanfares that was commissioned by the University of Missouri St. Louis in 2023 for the 60th anniversary of the school. Archer, being from the St. Louis area and known for her amazing fanfares, was asked to be one of the composers for this consortium. Archer and the other composers of the consortium were asked to write so their fanfares can be accessible to ensembles of many levels

The actual Castle Hill is a small stretch of road that leads up to the abundant and magnificent Edinburgh Castle in the United Kingdom. Archer’s work mimics that of the geography, a brief fanfare that leads to a big “wow” at the end.

Three Ayres from Gloucester, 1969, Hugh M. Stuart

The three-movement suite by Hugh M. Stuart is perhaps the composer’s most enduring work. “Ayre” refers to a genre of solo song with lute accompaniment popular in England from the 11th to 17th centuries. The name references the city of Gloucester, west of London in England. The composition came about with Stuart’s fascination with an old 10th century couplet:

“There’s

no one quite so comely As the jolly Earl of Cholmondeley.”

The resulting movements: The Jolly Earl of Cholmondeley, Ayre for Eventide, and The Fifes of Wembley are meant to emulate early English folk songs. This piece serves as a rewarding standard for all levels of bands

PROGRAM NOTES

The Goof Fight, 2024, Noemi Sosa

One of the most significant biblical struggles of all time is the good fight referenced in 2 Timothy 4:7. This new work for band represents the constant battle between spiritual life and death faced by a follower of Jesus Christ. We are comforted in the end, knowing that the struggle will be worth it. Through the active use of drums and trumpets, as well as frequent meter changes, the piece projects the story of a Christian soldier who will receive victory and eternal life at the end of time on Earth from God for fighting the good fight.

Mother Earth, 2003/2006, David Maslanka

Mother Earth (A Fanfare) was commissioned by and is dedicated to Brian Silvey and the South Dearborn High School Band of Aurora, Indiana. It is based on the short poem by the influential medieval friar St. Francis of Assisi:

Praised by You, my Lord, for our sister, MOTHER EARTH, Who nourishes us and teaches us, Bringing forth all kinds of fruits and colored flowers and herbs.

- St Francis of Assisi

The commission was for a three-minute fanfare piece. Each piece takes on a reason for being all its own, and Mother Earth is no exception. It became an urgent message from Our Mother to treat her more kindly! My reading at the time of writing this music was For a Future to be Possible by the Vietnamese monk and teacher Thich Nhat Hanh. He believes that the only way forward is to be extremely alive and aware in our present moment, to become awake to the needs of our beloved planet, and to respond to it as a living entity. Music making allows us to come immediately awake. It is an instant connection to the powerful wellspring of our creativity, and opens our minds to the solution of any number of problems, including that of our damaged environment. My little piece does not solve the problem! But it is a living call to the wide-awake life, and it continues to be performed by young people around the world.

PROGRAM NOTES

Diamond TIde, 2015, Viet Cuong

A 2010 article published in Nature Physics details an experiment in which scientists were able to successfully melt a diamond and, for the first time, measure the temperature and pressure necessary to do so. When diamonds are heated to very high temperatures, they don’t melt; they simply turn into graphite, which then melts (and the thought of liquid graphite isn’t nearly as appealing or beautiful as liquid diamond.)

Therefore, the addition of extremely high pressure -- 40 million times the pressure we feel on earth at sea level -- is crucial to melt a diamond.

The extreme temperature and pressure used in this experiment are found on Neptune and Uranus, and scientists therefore believe that seas of liquid diamond are possible on these two planets. Oceans of diamond may also account for these planets’ peculiar magnetic and geographic poles, which do not line up like they do here on earth. Lastly, as the scientists were melting the diamonds, they saw floating shards of solid diamond forming in the pools -- just like icebergs in our oceans. Imagine: distant planets with oceans of liquid diamond filled with bergs of sparkling solid diamonds drifting in the tide...

These theories are obviously all conjecture, but this alluring imagery provided heaps of inspiration for Diamond Tide, which utilizes the “melting” sounds of metallic water percussion and trombone glissandi throughout.

The work is in two movements, which may be performed separately.

- program notes written/compiled by students in the Symphonic Winds

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 d - A 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 .

ABOUT THE CONDUCTOR

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

RONNIE RIOS, CONDUCTOR

WITH HEART & VOICE DAVID GILLINGHAM (b 1947)

LE CARNAVAL DE VENISE

JEAN BAPTISTE ARBAN

ARR. DONALD HUNSBERGER

Dr Alexander Sanso, trumpet

IRISH TUNE FROM COUNTY DERRY PERCY ALDRIDGE GRAINGER

ARR. R. KENT

RHAPSODY MARK WATTERS (b.1955)

Roman Valenciano, Baritone Saxophone

DANZON NO. 2

ARTURO MARQUEZ

TRANS OLIVER NICKEL

WIND ORCHESTRA PERSONNEL

F L U T E

L a u r a B a r b a *

M a s o n P e r e z

N a d i a V i l l a n u e v a

O B O E

L o r e n a C o r o n a d o *

B A S S O O N

J a q u e l i n e D a v i s

A r a c e l y G a r c i a *

C L A R I N E T

J o e l C a r d e n a s

A l e j a n d r o M o r e n o *

B A S S C L A R I N E T

J u l i a n M a r t i n e z *

A L T O

S A X O P H O N E

L e e M o n r e a l

A b r a h a m S a l d a ñ a *

T E N O R

S A X O P H O N E

J o n a t h a n G u z m a n

B A R I T O N E

S A X O P H O N E

R o m a n V a l e n c i a n o

T R U M P E T

A l e j a n d r o E s c a m i l l a

V i c t o r F o r t u n a *

S a r a h M a r t i n e z

J a c o b M o r a l e s

D a n i e l V e l a

R y a n M o w e r s *

F R E N C H H O R N

A l o n z o C a v a z o s *

J o h a n E s p i n o z a

A s h l e y N a v a s R o c h a

L y d i a R o d r i g u e z

BASS TROMBONE

Imanol Ruiz

EUPHONIUM

Jose Castillo*

Noah Jaramillo

TUBA

Victor Cruz*

Samuel De Leon

Azdruball Montemayor

PERCUSSION

Edgar Facundo

Oscar Lozano*

Slaton Meador

Angel Ramos

Robert Adam Reyna

Jose Tijerina

*denotes principal

T E N O R

T R O M B O N E

B e r n a b e M a r t i n e z

A l e j a n d r o S a l i n a s

J e s u a T e j e d a

L u i s V i v e r o s *

PROGRAM NOTES

With Heart and Voice, David Gillingham

With Heart and Voice was commissioned by Apple Valley High School Bands, Scott A. Jones, director (Apple Valley, Minnesota), to commemorate the 25th year of existence of this high school. Apple Valley High School's strong commitment to the arts was a major factor in my decision to take on this commission. After visiting the school in December of 2000 and meeting many of the students, faculty, and administrators, I became greatly inspired.

Thematically, the work is based on the Apple Valley High School Alma Mater, an old Spanish hymn which has made its way into most church hymnals under the name of Come, Christians, Join to Sing. It is perhaps fate that this hymn, a particular favorite of mine, happens to be the tune used for the Alma Mater. Christian Henry Bateman wrote the words for the hymn in 1843, and the first verse contains the line, "Let all, with heart and voice, before the throne rejoice". Hence, the title, With Heart and Voice What better way to celebrate 25 years of this great high school than with our "hearts" and "voices"? The "voice" in this case is the music, and the "heart" is the emotion that the music renders in celebration.

Although the work is largely celebratory in nature, it begins with a feeling of reticence and apprehension, much like the beginnings of Apple Valley High School. It was at one time only an idea or perhaps a sketch in the mind of the architect. Small fragments of the Alma Mater are heard in the opening moments of the piece. The piece gains momentum, texture and volume in this opening section, culminating in a dramatic statement of the first four notes of the theme. A calmness follows and a lyrical flute solo enters. This new material represents the uniqueness of the "mission" of a new school which will have roots in academic excellence and commitment to the visual and performing arts. The euphonium echoes the flute and soon more instruments join in, and the section culminates with a dramatic fanfare. This is followed by a transitional section with much more dissonance and the rhythmic activity, equated to the challenge of bringing life to this new school. A glorious statement of the Alma Mater follows, signifying the dedication of Apple Valley High School, twenty-five years ago. The ensuing section begins as a fugue with underlying unsettling rhythmic activity in

PROGRAM NOTES

the percussion. The obvious reference of this section is to challenge -maintaining the goals and mission of the high school. The section becomes frantic and desperate, but soon subsides into peacefulness. The peacefulness is stated by the marriage of the Alma Mater theme and the "Mission" theme...after all, for the high school to survive, it must never forget its mission. An extended finale follows, which celebrates both themes in playful, joyful, and dramatic exuberance.

Le Carnaval de Venise, Jean Baptist Arban

The Carnival of Venice is a folk tune popularly associated with the words "My hat, it has three corners". A series of theme and variations has been written for a number of solo instruments, as "show off" pieces that contain virtuoso displays of double and triple tonguing, and fast tempos.

- Program Note from Wikipedia

When Arban wrote this set of variations in the early 1860s, he may have been inspired, as well as challenged, by Niccolo Paganini's twenty variations for violin on the same air. The folklike melody has been attributed to both Paganini and the German opera composer Reinhard Keiser (1674-1739). Arban would probably also be inspired and challenged if he could hear his "Carnival" variations played by contemporary virtuosos of the tuba, euphonium, trombone, and cornet – for example, as recorded by Wynton Marsalis with Don Hunsberger and the Eastman Wind Ensemble.

- Program Note from Program Notes for Band

For Wynton Marsalis.

- Program Note from Score

Arban composed a number of virtuosic solos for cornet Many are written in the theme-and-variation form, as is the case with the Variations sur Le Carnaval de Venise. This piece is based on a popular Italian folk tune whose most familiar lyrics begin with “My hat, it has

PROGRAM NOTES

three corners.” Many composers, including the virtuoso violinist Niccolò Paganini and famed operatic composer Gioacchino Rossini, have written sets of variations based on this tune. In Arban’s piece, the cornet soloist first plays a lyrical introduction before introducing the melody. The variations which follow show off a wide range of cornet techniques from beautiful melodic playing to fast and furious double and triple tonguing.

- Program Note from the United States Marine Band concert program, 18 August 2022

Irish Tune from Country Derry, Percy Aldridge Grainger

Irish Tune from County Derry (published 1918) is based on earlier settings that date back as early as October 1902 with an essentially identical setting of this melody for wordless mixed chorus. Later versions for solo piano (1911) and string orchestra with two optional horns (1912) followed The wind band setting is cataloged as British Folk Music Setting Nr. 20, and like all his settings of British folk music is “lovingly dedicated to the memory of Edvard Grieg.” The composer’s brief program note states, “This tune was collected by Miss J. Ross, of New Town, Limavady, Co Derry, Ireland and published in The Petrie Collection of the Ancient Music of Ireland, Dublin, 1855. ”

Rhapsody, Mark Watters

Mark Watters is a six-time Emmy Award-winning composer and conductor whose diverse career spans 400 television episodes, feature films, DVDs and video games. He has served several terms as Music Governor on the Television Academy’s Board of Governors. Mark holds the distinction of serving as music director for two Olympics: the 1996 Centennial Games in Atlanta, and the 2002 Salt Lake City Winter Olympics.

His numerous appearances as guest conductor have included those with the Los Angeles Philharmonic, the Los Angeles Chamber Orchestra, the London Symphony, the Detroit Symphony and numerous others. In 2002, Mark was asked by John Williams to coconduct the Academy Awards. He conducted three tours of “Star Wars In Concert,” including Japan with the Tokyo Philharmonic

PROGRAM NOTES

Danzón No. 2, Arturo Marquez

Originally written for orchestra, Danzón No. 2 has enjoyed significant popularity on performance programs everywhere. The danzón itself was Cuban-born, from a natural synthesis of Spanish, British, and French dance forms, and this work is built on a beautiful, elegant main theme, stated on clarinet, building in intensity before erupting into passionate rhythms later.

- Program Note from publisher

The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the state of Veracruz and in the dance parlors of Mexico City.

The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No. 2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily

ABOUT THE CONDUCTOR

R o n n i e R i o s i s a m u l t i G r a m m y N o m i n a t e d M u s i c E d u c a t o r

o r i g i n a l l y f r o m A l i c e , T e x a s . H e h o l d s a B a c h e l o r s o f M u s i c

E d u c a t i o n a n d a M a s t e r s i n M u s i c E d u c a t i o n g r a d u a t i n g

S u m m a C u m L a u d e . A f t e r 2 5 y e a r s p l u s e x p e r i e n c e a s a h i g h

s c h o o l b a n d d i r e c t o r , M r . R i o s n o w s e r v e s a s t h e D i r e c t o r o f

A t h l e t i c 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 a n d w a s j u s t a p p o i n t e d t o t h e 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 B o a r d o f D i r e c t o r s

A t 2 1 , h e b e g a n t e a c h i n g i n t h e K i n g s v i l l e I S D , T X w h e r e h i s

m i d d l e s c h o o l a n d h i g h s c h o o l C o n c e r t B a n d s r e c e i v e d

c o n s i s t e n t U I L S w e e p s t a k e s A w a r d s a n d B e s t i n C l a s s

A w a r d s a t v a r i o u s s t a t e a n d n a t i o n a l f e s t i v a l s H i s J a z z

E n s e m b l e s a l s o r e c e i v e d B e s t i n C l a s s a n d n u m e r o u s

“ O u t s t a n d i n g B a n d o f t h e F e s t i v a l ” A w a r d s H e h a d A l l - S t a t e B a n d a n d J a z z B a n d s t u d e n t s a n d l e d t h e M a r c h i n g B a n d t o t h e T e x a s S t a t e M a r c h i n g B a n d C h a m p i o n s h i p s i n h i s f i n a l y e a r .

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