Semper Fidelis (1888) John Philip Sousa (1854 1932)
UTSA Music Recital Hall
THE UNIVERSITY OF TEXAS AT SAN ANTONIO COLLEGE OF LIBERAL AND FINE ARTS SCHOOL OF MUSIC PRESENTS:
Incantation and Dance (1963) John Barnes(1932Chance72)
Resonances I (1991) Ron Nelson (1929 2022)
P R O G R A M : “Made in America”
Legacy Fanfare (2017) Ryan Nowlin (b. 1978)
Tuesday, September 20, 2022 7:30 pm
John Zarco C O N D U C T O R
Shenandoah (2019) arr. Omar(Thomasb.1984)
The University of Texas at San Antonio Symphonic Band
Michael Hernandez, manager
Jadee Dovalina, music librarian
Heriberto Ayma, string bass
Valeria Hernandez, percussion
University of Texas at San Antonio Symphonic Band Flute /
Kenyon McCrary, manager
Gregory Valean Daniel Vazquez
ARafaelMichaelMicahBrandinTromboneCastilloCarolineFosterAndrewGarciaRosensteinBassTromboneWilliamRegalisEuphoniumJordanDavisHernandezTubaJakeJonesZachMascorroKenyonMcCraryPercussionMargaretBurnsYahirHernandezAdamJacksonNicolasMoralesMuñozCervantesIvanVenturaAssistingMusiciansngelaMoretti, bassoon
Caroline Foster, manager
Personnel roster is listed alphabetically to emphasize the important contribution made by each musician
Alissa Esper, manager
Hayley Garcia, manager
Jaime Viejo, music librarian
MylesMaryPhilipJuanAlissaTrumpetKalebLauraMacyGavinHornNoelBaritoneJosephTenorNicholasDanielJoaquinAltoMadilynneKenedyZayahSKaliConnorClarinetAugustOboeAbigailJosephineReaganHayleyHannahPiccoloBenitezGarciaLujanMedinaValadezNaranjoBoysonCristarahHammHoughLermaMohrSaxophoneRoblesSoriaZarsSaxophoneCerrosSaxophoneLlanesCamposHarmisonNavarretteWarrenEsperRamirezScheidtShawThornton
Darion Campbell, bass clarinet
Juan Martinez, percussion Band Staff
UTSA Bands Managers
Special thanks to the following for their ongoing support and dedication to the UTSA Bands:
Conductor
Prof. Troy Peters, Director of Orchestras
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 recently completed a term as 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.
Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Faculty
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.
Rolando Ramon, Marketing Coordinator
Wesley Penix, Senior Events Manager
Dr. Stacey Davis, Acting Director, School of Music
Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators
Dr. Yoojin Muhn, Director of Choral Activities
Jadee Dovalina and Jaime Viejo, School of Music Librarians
Mr. Donald Marchand, Music Program Specialist, UTSA Bands
Hector Garcia and Jayland Brown, UTSA Bands Graduate Assistants
Dr. Kasandra Keeling, Associate Director, School of Music Naomy Ybarra, Administrative Services Officer 1 Steven Hill, Administrative Associate
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.
UTSA School of Music Faculty
Dr. Tracy Cowden, Director, School of Music
Legacy Fanfare is dedicated to Dr. Gary Ciepluch in celebration of the 25th anniversary of the Cleveland Youth Wind Symphony, with sincerest gratitude. Dr. Ciepluch’s ceaseless energy and exceptional musicianship in combination with his welcoming demeanor and content of character has made the Cleveland Youth Wind Symphony a special place where student musicians and teachers can collaborate from all over northeastern Ohio in music making and friendship. His stewardship of this program over the past twenty five years has inspired thousands of students, teachers, and future teachers including the composer, who is a proud alumnus of the organization.
[Program note from windrep.org]
Incantation and Dance suggests a religious orientation, but not towards any of the established religions of a Western or Eastern culture. To the standard deities one offers prayers in contrast, incantations are uttered in rituals of magic, demonic rites, and the conjuring up of spirits, evil and benign. The opening “incantation” is full of mystery and
Program Notes
Compiled and Edited by John Zarco
John Barnes Chance began composing while attending Beaumont High School (Beaumont, Texas) where he performed on percussion in the school band and orchestra under the direction of Arnold Whedbee. He received Bachelor and Master of Music degrees from the University of Texas, where he studied with Clifton Williams, Kent Kennan, and Paul Pisk. After studies at the University of Texas, Chance played with the Austin Symphony Orchestra, and also performed with the Fourth U.S. Army Band in San Antonio and the Eighth U.S. Army Band in Korea. After leaving the army, Chance was selected by the Ford Foundation to be a part of the Young Composers Project. From 1960 through 1962, he was composer in residence at the Greensboro, North Carolina, public schools. It was there that he composed seven pieces for school ensembles including his first work for wind band. Throughout his short career, Chance composed for band, orchestra, chorus, chamber groups and solo instruments.
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Ryan Nowlin holds both a B.M. in music education and an M.M. in music education and conducting from Bowling Green State University. He taught instrumental music at the high school level in Ohio for ten years before becoming staff arranger for “The President’s Own” United States Marine Band. In 2020, he was promoted to major, serving as associate director, education officer and executive officer. Maj. Nowlin’s music has been heard in performance at numerous White House events, including receptions and state dinners. His wind band transcriptions have been recorded on four Marine Band albums. Maj. Nowlin has received numerous awards including the James Paul Kennedy Music Achievement Award, the Mark and Helen Kelly Band Award, and the BGSU Faculty Excellence Award. In addition to his duties with the United States Marine Band, Maj. Nowlin frequently appears as a guest conductor with high school honor bands, community and municipal bands, and with university ensembles across the country.
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Born to Guyanese parents, Omar Thomas moved to Boston in 2006 to pursue a Master of Music degree in jazz composition at the New England Conservatory of Music. He is the protégé of Ken Schaphorst and Frank Carlberg, and has studied under Maria Schneider. Mr. Thomas has been commissioned to create works in both jazz and classical styles. His work has been performed by such diverse groups as the Eastman New Jazz Ensemble, the San Francisco and Boston Gay Men's Choruses, and the Colorado Symphony Orchestra. Mr. Thomas accepted a position in the composition area at the University of Texas in Austin in the fall of 2020. Previously, he was a member of both the Harmony and Music Education departments at Berklee. Mr. Thomas was an active member of the Berklee community, serving on the Diversity and Inclusion Council, the Comprehensive Enrollment
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Ron Nelson received all three of his music degrees from the Eastman School of Music at the University of Rochester. He also studied in France at the Ecole Normale de Musique and at the Paris Conservatory under a Fulbright Grant in 1955. Dr. Nelson joined the Brown University faculty the following year, and taught there until his retirement in 1993. He composed two operas, a mass, music for films and television, 90 choral works, and over 40 instrumental works. In 1993, his Passacaglia (Homage on B A C H) made history by winning all three major wind band compositions: the National Association Prize, the American Bandmasters Association Ostwald Prize, and the Sudler International Prize. Dr. Nelson was awarded the Medal of Honor of the John Philip Sousa Foundation in Washington, D.C., in 1994.
[Program
expectation, wandering, unstable and without tonality. The “dance ” also begins quietly, but percussion instruments quickly begin, one by one, to drive a rhythmic pattern of incredible complexity and drive. As other instruments are added, the dance grows wilder and more frenzied. The brasses hammer out ferocious snarls, the woodwinds fly in swirling scales. Here there is no pretty tune, but a paroxysm of rhythm a convulsion of syncopation that drives on and on, mounting in tension, to a shattering climax of exaltation. Incantation and Dance was premiered originally as Nocturne and Dance in 1960. This original version has several interesting differences, including 31 additional measures.
Resonances I represents an interesting and increasingly exciting musical texture. The six parts of this piece are made up of boxes of activity (the duration of which is solely determined by the conductor). It begins slowly, very quietly and distant, and then develops to a peak of enormous activity, intensity, and tension, each with various note combinations, aleatoric activities, or techniques employed. As the title implies, the work explores textures and sounds It was commissioned by and dedicated to the Department of Music and the Center for the Creative Arts at Austin Peay State University, Clarkesville, Tennessee. note from windrep.org]
[Program note from windrep.org]
In 1868, he enlisted in the United States Marine Corps as an apprentice in the Marine Band. He began building his formidable reputation as a bandmaster of great precision through his leadership (1880 92) of this group, which he raised to the highest standard of performance. In 1892, he formed his own band, a carefully selected group capable of equal virtuosity in both military and symphonic music; with it, he toured the United States
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Of his arrangement of Shenandoah, Mr. Thomas writes:
Shenandoah is one of the most well known and beloved Americana folk songs. Originally a river song detailing the lives and journeys of fur traders canoeing down the Missouri River, the symbolism of this culturally significant melody has been expanded to include its geographic namesake an area of the eastern United States that encompasses West Virginia and a good portion of the western part of Virginia and various parks, rivers, counties, and academic institutions found within.
Strategy Workgroup, and acting as co chair of the LGBT Allies. He was nominated for the Distinguished Faculty Award after only three years at the college, and was awarded the Certificate of Distinction in Teaching from Harvard University three times, where he served as a teaching fellow.
This arrangement recalls the beauty of Shenandoah Valley, not bathed in golden sunlight, but blanketed by low hanging clouds and experiencing intermittent periods of heavy rainfall (created with a combination of percussion textures, generated both on instruments and from the body). There are a few musical moments where the sun attempts to pierce through the clouds, but ultimately the rains win out. This arrangement of Shenandoah is at times mysterious, somewhat ominous, constantly introspective, and deeply soulful. note from the composer and windrep.org]
[Program
Back in May of 2018, after hearing a really lovely duo arrangement of Shenandoah while adjudicating a music competition in Minneapolis, I asked myself, after hearing so many versions of this iconic and historic song, how would I set it differently? I thought about it and thought about it and thought about it, and before I realized it, I had composed and assembled just about all of this arrangement in my head by assigning bass notes to the melody and filling in the harmony in my head afterwards. I would intermittently check myself on the piano to make sure what I was imagining worked, and ended up changing almost nothing at all from what I’d heard in my mind’s ear.
The son of an immigrant Portuguese father and a German mother, John Philip Sousa grew up in Washington, D.C., where from the age of six he learned to play the violin and later various band instruments. In 1867, he began to follow the career of his father as a trombonist, but he eventually took engagements as an orchestral violinist and served as a conductor. He also began composing.
UTSA School of http://music.utsa.eduMusic
Thur, Oct. 13, 7:30 pm UTSA Chamber Singers
All events are in the UTSA Recital Hall and are free admission unless otherwise indicated
[Program note from windrep.org]
Thur, Sept. 22, 7:30 pm UTSA Wind Ensemble
Semper Fidelis subsequently gained recognition as the official march of the U.S. Marine Corps. Sousa regarded it as his best march, musically speaking. It became one of his most popular marches, and he once stated that it was the favorite march of Kaiser Wilhelm II of Germany before World War I, of course. It was played by the Sousa Band in many foreign countries and always received acclaim as a well known composition. Few knew that it had been sold outright to the publisher for the unbelievably low sum of $35.
and Europe and even did a world tour. Sousa composed 136 military marches, remarkable for their rhythmic and instrumental effects.
Tues, Sept. 27, 7:30 pm UTSA Orchestra
Fri, Oct. 14, 7:30 pm String Area Recital
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It is unfortunate that President Chester A. Arthur, the man responsible for this march, did not live to hear it. In a conversation with Sousa, then leader of the U.S. Marine Band, he expressed his displeasure at the official use of the song Hail to the Chief. When Sousa stated that it was actually an old Scottish boating song, the President suggested that he compose more appropriate music. Sousa responded with two pieces, not one. First he composed Presidential Polonaise (1886). Then, two years after Arthur’s death, he wrote Semper Fidelis.
The march takes its title from the motto of the U.S. Marine Corps: “Semper Fidelis” “Always Faithful.” The trio is an extension of an earlier Sousa composition, With Steady Step, one of eight brief trumpet and drum pieces he wrote for The Trumpet and Drum (1886). It was dedicated to those who inspired it the officers and men of the U.S. Marine Corps. In Sousa’s own words: “I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico."
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