Symphonic Band - Festive Atmospheres

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7: 3OPM UTSARECI TALHALL

THE UNIVERSITY OF TEXAS AT SAN ANTONIO COLLEGE OF LIBERAL AND FINE ARTS DEPARTMENT OF MUSIC

The University of Texas at San Antonio Symphonic Band John Zarco CONDUCTOR

Hector Garcia GUEST CONDUCTOR

PROGRAM: “Festive Atmospheres” Charles Carter (1926-99)

Overture for Winds (1959)

Pageant, Op. 59 (1953) *

Vincent Persichetti (1915-87) Hector Garcia, Guest Conductor

Conga del Fuego Nuevo (2001/2011)

Arturo Marquez (b. 1950) arr. Oliver Nickel

Acts of Congress (2020) I. The Bats of Ladybird II. Uncommon Objects III. I Love You So Much IV. Willie for President

Ryan George (b. 1978)

The Footlifter March (1928/2003)

Henry Fillmore (1881-1956) ed. Robert E. Foster

Tuesday, April 19, 2022 7:30 pm UTSA Music Recital Hall * Presented by Mr. Garcia in partial fulfillment of

the M.M. degree in Instrumental Conducting.

University of Texas at San Antonio Symphonic Band Flute / Piccolo Maira Correia de Souza Viana * Zackery Cuellar Josephine Medina Bryana Ramirez Bassoon Robin Scheffler + Jaime Viejo Clarinet Lirio Gomez Madilynne Mohr Sebastian Perez Andrea Perez Joanna Sanchez Lucas Villesca Alto Saxophone Joshua Alvarez Nicholas Zars Tenor Saxophone Noel Llanes Baritone Saxophone Joseph Cerros Horn Gavin Campos Jerry Gonzalez Eloisa Payne Matthew Stevens Trumpet Hannah Plemons Juan Ramirez Antonio Rodriguez Mary Shaw John Vasquez Daniel Vazquez

Trombone Andrew Garcia + Jorge Perez Jayden Zunker-Trevino Bass Trombone Chase Guerrero Euphonium Jordan Davis Danny Hernandez Tuba Jake Jones Kenyon McCrary Christian Tapia Percussion Margaret Burns Christian Cortez Kyle Key Juan Martinez Pazer Ortiz + Derek Ravizee Assisting Musicians Lisette Aguilar, flute Ashley Rubio, oboe Savannah Montoya, clarinet Elias Aguirre, bass clarinet Band Staff Zackery Cuellar, manager Noel Llanes, manager Hannah Plemons, manager John Vasquez, manager Jaime Viejo, manager Carlos Cruz, music librarian

* denotes graduate student + denotes senior recognition

Personnel roster is listed alphabetically to emphasize the important contribution made by each musician.

Conductors John Zarco is Director of Instrumental Ensembles and Associate Professor of Music at the University of Texas at San Antonio. His responsibilities include conducting the UTSA Symphonic Band and University Band, in addition to teaching graduate and undergraduate courses in conducting, wind literature, and music education.

Prior to his appointment at UTSA, Dr. Zarco served as Director of Bands at Millersville University in Pennsylvania and as a public school instrumental music teacher at Saratoga High School, in Saratoga, California. He received a D.M.A. in conducting from the University of Minnesota as well as B.M. (music education) and M.M. (conducting) degrees from California State University, Sacramento. Dr. Zarco has been awarded honorary memberships in the national organizations of Pi Kappa Lambda, Sigma Alpha Iota, Kappa Kappa Psi, Tau Beta Sigma, and Phi Mu Alpha Sinfonia.

In addition to his work at the university level, Dr. Zarco conducted the Youth Orchestras of San Antonio (YOSA) Symphonic Winds during their inaugural 2014-15 season. He was on the Executive Board of the Texas Music Educators Conference and is currently the TMEA Region 29 College Division Chair. His book, Rehearsing the Band, Volume 3 is published by Meredith Music Publications and is distributed by Hal Leonard. ◆

Hector Garcia is a native of San Antonio, TX, currently pursuing a master’s degree in instrumental conducting at UTSA under the mentorship of Dr. John Zarco and Professor Ron Ellis. For three years, Hector taught high school and middle school band prior to attending UTSA. As a band director, he taught brass and woodwind beginning band classes, marching band, concert band, and jazz band. In 2019, Hector led the Memorial High School Band to the National Memorial Day Parade in Washington D.C. He has a bachelor’s degree in music education from Texas State University in San Marcos, TX and his primary instrument is trumpet. A hobby of his is photography and his favorite food is sushi. _______________________________________________________________________________________________

Acknowledgements Special thanks to the following for their ongoing support and dedication to the UTSA Bands: Dr. Tracy Cowden, Chair, Department of Music Dr. Stacey Davis, Associate Chair, Department of Music Naomy Ybarra, Senior Administrative Associate Steven Hill, Administrative Associate Wesley Penix, Senior Events Manager Rolando Ramon, Marketing Coordinator Mr. Donald Marchand, Music Program Specialist, UTSA Bands Hector Garcia and Jayland Brown, UTSA Bands Graduate Assistants Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Faculty Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators Dr. Kasandra Keeling, Keyboard Area Coordinator Prof. Troy Peters, Director of Orchestras Dr. Yoojin Muhn, Director of Choral Activities UTSA Department of Music Faculty Carlos Cruz, Department of Music Librarian UTSA Bands Managers

Program Notes Compiled and Edited by John Zarco

_______________________________________________________________________________________________ Charles Carter received his Bachelor of Music degree from Ohio State University and the Master of Music degree from the Eastman School of Music, where he studied with Bernard Rogers and Wayne Barlow. When he was a senior at Ohio State, he wrote his first symphonic band composition, which was performed in concert the next year. After graduating from Eastman, Carter wrote dance band arrangements and played in show bands. In the fall of 1951, he began arranging for the Ohio State marching band and was part-time instructor of low brass. In 1953, band director Manley Whitcomb asked Carter if he wanted to go with him to Florida State University as his assistant. For the next 43 years, Carter arranged for the various bands at FSU. In 1984, he was presented with the Distinguished Service to Music award

by Kappa Kappa Psi National Band Fraternity.

Overture for Winds was given its title by the publishers. This three-part overture has remained Carter’s most popular composition for band. The opening section has a theme which is robust and rhythmic in character. The second theme, slightly slower and expressive, is a free form based on the original idea. The last section is a repetition of the opening thematic ideas, building to a final climax.

[Program note from windrep.org] ◆

Persichetti began his musical life at a young age, first studying the piano, then the organ, double bass, tuba, theory, and composition. At the age of 16, he was appointed choir director for the Arch Street Presbyterian Church in Philadelphia, a post he would hold for the next 20 years. During all of this, Persichetti was a student in the Philadelphia public schools and went to the Combs College of Music. He received a diploma in conducting from the Curtis Institute and graduate degrees from the Philadelphia Conservatory. In 1947, he joined the faculty of the Juilliard School of Music, and became the chairman of the Composition Department in 1963.

Persichetti composed for nearly every musical medium, with more than 120 published works.

Pageant was commissioned by the American Bandmaster's Association and was completed in January 1953. It is Persichetti's third work for band. It opens in slow tempo with a motive in the horn that is used throughout both sections of the piece. The slow chordal section is succeeded by a lively "parade" section introduced by the snare drum. In the final portion of the work the two principal subjects are developed simultaneously to a lively climax. The first performance of this work took place on March 7, 1953, at the ABA Convention in Miami, Florida. It was performed by the University of Miami Band, with the composer conducting.

[Program note from the composer and windrep.org] ◆

Arturo Márquez began his musical training in La Puente, California in 1966, later studying piano and music theory at the Conservatory of Music of Mexico and composition at the Taller de Composición of the Institute of Fine Arts of Mexico. He also studied in Paris privately with Jacques Castérède, and at the California Institute of the Arts with Morton Subotnick, Stephen

Mosko, Mel Powell, and James Newton. Marquez has written a series of danzones, works based on an elegant Cuban dance that migrated to Veracruz, Mexico. His Danzon No. 2 is among the most popular Latin American works to emerge since the 1950s, enhanced through its use by Gustavo Dudamel with the Simon Bolivar Youth Orchestra. In February 2006, Arturo Marquez received the Medalla de Oro de Bellas Artes (Gold Medal of Fine Arts), the highest honor given to artists by Mexico’s Bellas Artes.

Following on the success of Márquez's Danzón No. 2 adapted for band, Oliver Nickel's transcription of Conga del Fuego Nuevo (Conga of New Fire) gives an added kick to the concert band repertoire. In contrast to the elegant, sinuous Danzón, Conga is an uptempo, celebratory piece, bright and catchy, with the percussion section providing the signature kick at the end of the conga pattern. Márquez slows things down in the middle section to spotlight the first trumpet in a melody that recalls the mariachi tradition. The alto saxes pick it up and relax into a ritard ... only to be interrupted by the return of the opening material. The piece ends in fiery fashion.

[Program note from the publisher and windrep.org] ◆

Ryan George graduated from the University of Kentucky with a degree in music education.

George completed his first concert commission in 2007, and since then his works have received performances at the American Bandmasters Association Convention, the Midwest Band and Orchestra Clinic in Chicago, the Music For All (Bands of America) Concert Band Festival, the MidEurope Festival in Schladming Austria, Carnegie Hall, the National CBDNA Conference, the CBDNA/NBA Southern Division Conference, and multiple state music educator conferences. George's music is also regularly programmed by All-State, Region, Inter-Collegiate, and Honor ensembles. As a specialist in music design for marching ensembles, his work has been performed by some of the nation's elite ensembles at state, region, and national venues. George’s professional affiliations include ASCAP, the American Composer's Forum, and TMEA. He resides in Austin, Texas.

Of his piece, Acts of Congress, George writes: Congress Avenue strikes north up from the feet of Austin, Texas. It then crosses over Lady Bird Lake, splitting downtown in half before coming to a rest in the lap of the Texas State Capital building. The stretch of the avenue south of the lake, known as South Congress, is lined with shops, taco bars, hotels, tattoo parlors, live-music venues, and restaurants. It is a main artery of the city and serves as a cultural nerve center for all things Austin.

In the 17 years that my family and I have lived here this street has become a favorite jaunt of ours. And though this place has grown and evolved rapidly over the years the charm, soul, and uniqueness found in its roots still hold true … for the time being anyway. It is in the occurrences, locations, graffiti, and wall art located along Congress Avenue that this suite finds its inspiration.

1. The Bats of Ladybird. Hovering over Lady Bird Lake in downtown Austin is the Congress Avenue Bridge. From March to early October, this bridge becomes home to the largest urban

bat colony in North America due to its unique honeycomb underbelly that is the perfect size for the 1.5 million Mexican free-tailed bats to reside in every year. Around twilight these bats slowly begin to stir and awake from their midday slumber. What starts as a slow trickle eventually turns into a flood as hundreds of thousands of bats stream from their nests out into the night sky to feed on roughly 15 tons of central Texas insects. To the many locals and tourist who witness this exodus, it is one of nature’s most impressive spectacles. This movement imagines a young bat, who find themselves caught up in the pageantry, chase, and excitement of this nightly ritual. In a nod to the bat’s origins the piece pulls some from rhythms and colors found in Mexican folk music.

2. Uncommon Objects. In the middle of South Congress, there used to sit an antique store called Uncommon Objects (the store has since moved to a new location). To call it an antique store, however, doesn’t quite do it justice. It’s an emporium of transcendent junk, an odd collection of both practical objects and nostalgic trinkets. Uncommon Objects was once described as “your eccentric uncle’s attic on steroids.” To me this store is a beautiful visual representation of the unique collection of people and communities that populate Austin as well as Austin’s affinity for the quirky and different. “Keep Austin Weird” is the city’s slogan after all. Uncommon Objects explores what would happen if one were to walk into this store with a pair of sticks and begin using the random items found throughout as a kind of warehouse-sized drum-set. This movement focuses on the percussion section and utilizes glass, metal, and wood sounds set within octatonic melodic motifs and the ‘uncommon’ time signature of 7/8.

3. I Love You So Much. In 2010, local musician Amy Cook took a can of red spray paint and scripted the words “I Love You So Much” on the side of Jo’s Coffee Shop. This simple love letter, written to her partner Liz Lambert who owns Jo’s, has since become a popular viral location for many who seek to take their pictures in front of the wall with friends, family, and lovers alike. This movement is a lyrical snapshot of those thousands of relationships that have been captured by camera in front of this wall.

4. Willie for President. In 1991 Austin was dubbed the “Live Music Capital of the World” after it was discovered that it had more live music venues per-capita than anywhere else in the nation. While the city’s growth has altered that statistic over the years, the moniker has stuck around due to the city's voracious appetite for all things music. "Willie for President "is a mural painted on the side of a clothing store that pays homage to the patron saint of Austin’s music scene, Willie Nelson. This final movement tips the hat to Nelson as well as other “outlaw” rockers and singers like Stevie Ray Vaughn, Janice Joplin, and Gary Clark Jr. who have lived here and graced Austin stages over the last several decades. It also draws on the energy and passion I’ve experienced over the years following my wife around as she helps produce the massive Austin City Limits Music Festival here every fall. This movement is dedicated to her.

[Program note from the composer and windrep.org] ◆

James Henry Fillmore, Jr. was the eldest of five children. In his youth, he mastered piano, guitar, violin, and flute – as well as the trombone, which at first he played in secret; his conservative, religious father believed it was an uncouth and sinful instrument. Fillmore was

also a singer for his church choir as a boy. He began composing at 18, with his first published march, Higham, named after a line of brass instruments. Fillmore entered the Cincinnati Conservatory of Music in 1901. After this, he traveled around the United States as a circus bandmaster with his wife, an exotic dancer named Mabel May Jones. Fillmore wrote over 250 tunes and arranged hundreds more. Fillmore also published a great number of tunes under various pseudonyms such as Harold Bennett, Ray Hall, Harry Hartley, Al Hayes, and the funniest, Henrietta Hall. While best known for march music and screamers, Fillmore also wrote waltzes, foxtrots, hymns, novelty numbers, overtures and waltzes.

The Footlifter March was composed for a series of radio broadcasts sponsored by a small Cincinnati insurance agency in 1928. The company's slogan was "A penny a day" (for insurance), and the march was referred to as the "Penny-a-Day March" for the short duration of the sponsorship -- short because of the widespread depression. However, the president of the agency remarked that the piece certainly was a "footlifter," and Fillmore used the title while the work was in manuscript. During a discussion with his good friend Phil Gates at a massed band concert in Piqua, Ohio in 1930, Fillmore remarked that the most energetic "footlifters" were the best marchers. Gates then suggested the same term for a future march title – not realizing the coincidence – and the name became permanent. It was published in 1935.

[Program note from windrep.org and Program Notes for Band]

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Upcoming Events Wed, April 20, 5:00 pm Wed, April 20, 7:30 pm Thur, April 21, 5:00 pm Thur, April 21, 7:30 pm Fri, April 22, 5:00 pm Fri, April 22, 7:30 pm Sat, April 23, 5:00 pm Sat, April 23, 7:30 pm Sun, April 24, 7:30 pm

Student Recital: Derek Ravizee, percussion UTSA Wind Ensemble: Wine-Dark Sea Student Recital: Joaquin Guzman, percussion UTSA University Chorus Student Recital: Jadee Dovalina, clarinet Student Recital: Juliana Woodlee, voice Composition Studio Recital II Christian Cortez, percussion UTSA University Band

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