University of Texas at San Antonio University Band
Hector Garcia
“Reflections and Celebrations”
A Festival Prelude (1956)
Chorale and Alleluia (1954)
Cavata (1959)
Yorkshire Ballad (1984)
Flight of the Piasa (2008)
Alfred Reed (1921-2005)
Howard Hanson (1896-1981)
William Francis McBeth (1933-2012)
James Barnes (b. 1949)
Robert Sheldon (b. 1954)
Person n el
(Personnel roster is listed alphabetically to emphasize the important contribution made by each musician)
F l u t e
Lane Arguello
Brooklyn De La O
Madison Feiler
Megan Griggs
Elisabeth Kubena
Amy Leonard
Ellie Maclean
Ariana Thompson
C l a r i n e t
Angela Tavira
Jacob Wall
Tarynn Williams
Jo'Lyssa Zamarripa
Gabrielle Gerber, bs. cl.
S a x o p h o n e
Omar Acosta
Devin Brown
Daniel Castillo
Kaila Castro
Nicholas Gonzales
Sarah Guia
Parker Murray
Patrick Ozorio-Brace
Joaquin Robles
Quinn Tidwell
John Zuniga
Manuel Flores, t. sax
Anson Kirkland, t. sax
Seth Perez, t. sax
Mikayla Garza, b. sax
Robert Hernandez, b. sax
T r u m p e t
Nathan Bravo
Alejandro Cerda
Alissa Esper
Connor Harper
Jerry Ibarra
Jacqueline Kolada
Alyssa Mancha
Anthony Mitcham
Kaleb Mulcahy
Caleb Perry
Samuel Quezada
Michael Sidney
H o r n
Emmanuel Castillo
Delaney Cook
Andrew Gonzales
Johanna Gutierrez
Abbie Henk
Travis Niccum
Hector Rosas
Matthew Stevens
Marissa Torres
Bradley Bolton
Brandin Castillo
Kalen Griffin
Landon Kilpela
Mathew Kuttner
Jasmine Lasiter
Rodrigo Mendez
Jakarri Norsworthy
Meikhi Schwarz
Anthony Liu, bs. Tbn.
E u p h o n i u m
Trinity Evans
Jay Gomez
Andrew Kiraly
James McAfee
Angelyca Mejia
Manuel Reyes
Roland Scherer T u b a
Shea Fierro
Marc Guillen
Andres Hernandez
Abraham Pena
Joshua Sprinkle
Cameron Tait
Aleena Bermudez
Trent Fallin
Emma Fasano
Nathan Gallegos
Jacob Herrera
Brenna Kellner
Benjamin Martin
Joaquin Mata
Delylah Medina
Richard Myers
Daniel Walker
Conductor
H e c t o r G a r c i a , a native of San Antonio, Texas, is currently Assistant Director of Athletic Bands at UTSA and is the conductor of the UTSA University Band as well as the director of the UTSA Athletic Pep Band. In the fall semester, he assists directing the UTSA Spirit of San Antonio Marching Band.
Hector graduated with a master's degree in instrumental conducting from University of Texas at San Antonio in 2023 under the mentorship of Dr. John Zarco and Ron Ellis. While a graduate student at UTSA, Hector performed with the UTSA Wind Symphony and was a teaching assistant for several undergraduate courses including Conducting I & II, Marching Band Techniques, Wind Symphony, and Symphonic Band.
Prior to attending UTSA, Hector taught brass/woodwind beginning band classes, marching band, concert band, and jazz band at the high school and middle school levels for three years. He received a bachelor's degree in music studies from Texas State University in 2017. Hector’s primary instrument is trumpet and actively performs in local community bands. Hector’s professional affiliations include Texas Music Educators Association and Kappa Kappa Psi. Some of his hobbies include photography, traveling, and doing card tricks for those around him. Fun fact: his favorite food is sushi!
Program Notes
Compiled and Edited by Hector Garcia
A F e s t i v a l P r e l u d e was written in commemoration of the twenty-fifth anniversary of the Tri-State Music Festival, held annually in Enid, Oklahoma. It was given its first performance on that occasion by the Phillips University Concert Band, to whom it is dedicated, with the composer conducting. While still in manuscript, it was widely performed throughout the country, and has come to be regarded as one of this composer's most brilliant and powerful works for the modern concert band.
The music is built up entirely from one main theme and two fanfare-like figures that occur throughout the score. After an opening flourish developed from the first of these fanfare phrases, the main theme is presented in a sweeping unison by the Woodwinds, Saxophones and Cornets, with Brass interjections. This leads to the second of the fanfare figures, which builds up to another statement of the main theme by the full band. After a powerful climax, the main theme is once again stated, this time by a richly melodic texture of Woodwinds, Horns and Saxophones in a quiet, legato variation, in contrast to what has gone before. The second fanfare figure resumes, and, after building up to another climax, the main theme is presented as a processional march, with the first fanfare as a contrapuntal accompaniment. The close is a final statement of the main theme, developed in massive brass chords to a thundering conclusion.
The scoring of this work embraces the modern conception of the integrated symphonic band, with fully balanced instrumentation and the separation of the brass into three distinct tone color groups: the Horns, the Trumpet-Trombone group and the Cornet-Baritone-Tuba group. The woodwind writing is centered around the balanced clarinet choir as the basic woodwind color in the band, and the section balances and doublings are conceived as carefully as in symphonic orchestras.
[Program note from the score.]
C h o r a l e a n d A l l e l u i a was completed in January 1954 and was Dr. Hanson's first work for symphonic band. It was given its premiere on February 26th at the convention of the American Bandmasters Association at West Point with Colonel William Santelmann, leader of the U.S. Marine Band, conducting.
The composition opens with a fine flowing chorale. Soon the joyous Alleluia theme appears and is much in evidence throughout. A bold statement of a new melody makes its appearance in lower brasses in combination with the above themes. The effect is one of cathedral bells, religious exaltation, solemnity, and dignity. The music is impressive, straightforward, and pleasingly non-dissonant, and its resonance and sonority are ideally suited to the medium of the modern symphonic band.
[Program note from the score ]
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C a v a t a was commissioned by and dedicated to the Burns Junior High School Band, Lawndale, North Carolina, Dawn Taylor and Carl Rohleder, Directors, and was first performed by this excellent junior high band in the spring of 1979 with Dawn Taylor conducting.
C a v a t a is written for the younger band and is based on a motive of repeated notes, hence its title. The glockenspiel part will be easily understood. It is to be played by two people on one glockenspiel, but it can be played by one person using four mallets. Students at this age will look at the tremolo and misread it every time. Glockenspiel I in measure 1 should tremolo between A flat and B flat, Glockenspiel |I between E flat and F. The mistake that they always make is to tremolo between the two vertical notes, changing on beat three to the other two vertical notes.
The work is very straightforward and has no hidden meanings. Be sure not to make separations just because of the accents above the notes. In the three measures before G, do use your most romantic interpretation.
Dr. Francis McBeth, born March, 1933 in Lubbock, Texas, was Professor of Music and Resident Composer at Ouachita University, Arkadelphia, Arkansas. His catalog of wind music with Southern Music Company is well-known by bandmasters. As the Conductor Emeritus of the Arkansas Symphony and composer for full media, his intense interest in the wind symphony has been a shaping force in its literature and his style is much reflected in the younger composers. Residing in Arkansas the past twenty years, he was appointed Composer Laureate of that state by Governor Bob C. Riley in 1975.
[Program note from the score ]
Y o r k s h i r e B a l l a d began in the summer of 1983 with a telephone conversation between James Barnes and Tom Rhoads, who was at that time the band department manager at Southern Music Company. Rhoads suggested to Barnes that he should compose a short, easy work for young bands somewhat in the style of Percy Grainger. Barnes had recently returned from a vacation to England, where he had spent a considerable amount of time driving through the stunningly beautiful Yorkshire Dales of Norther England. He composed the work in two days.
Y o r k s h i r e B a l l a d has become the most widely performed of all James Barnes' works, selling thousands of copies all over the world. In the last 15 years, he has rescored or approved arrangements of nine other settings of the work for various ensembles: from symphony orchestra to flute ensemble, along with three different versions for solo tuba (for Patrick Sheridan). Although the piece sounds like a folksong, all musical material in the work is original.
Having conducted this work so many times over the years, Barnes decided to complete a revised version to clarify and change a few things in the piece. This revised version simplifies some scoring problems in the original version, most notably the voicing on the final E flat chord. The two eighth-note pick-ups have been changed to two half notes to ensure a better start for the horns, saxophones and clarinets.
[Program note from the composer.]
F l i g h t o f t h e P i a s a was commissioned by the Alton High School Band, Alton, Illinois, David W. Dbillinger, Director. The composition is meant to depict the majesty of the of the legendary Piasa, an enormous winged creature, and the bravery and triumph of the Illini tribe.
The Piasa Bird (pronounced pie-a-saw) is a local legend in the Alton area. Its discovery dates to 1673 when Father Jacques Marquette, in recording his famous journey down the Mississippi River with Louis Joliet, described the Piasa as a birdlike monster painted high on the bluffs along the Mississippi River, where the city of Alton, Illinois now stands. According to the diary, the Piasa "was as large as a calf with horns like a deer, red eyes, a beard like a tiger's, a face like a man, the body covered with green, red and black scales and a tail so long it passed around the body, over the head and between the legs." The creature was given its name by the Illini tribe, "The Piasa," meaning a bird that devours men.
One of the most commonly heard stories regarding this legend is that long ago there existed a birdlike creature of such great size, he could easily carry off a full grown deer in his talons. His taste, however, was for human flesh. Hundreds of warriors attempted to destroy the Piasa, but failed. Whole villages were destroyed and fear spread throughout the Illini tribe. Ouatoga, a chief whose fame extended even beyond the Great Lakes, separated himself from his tribe, fasted in solitude for the space of a whole moon, and prayed to the Great Spirit to protect his people from the Piasa.
On the last night of his fast, the Great Spirit appeared to Ouatoga in a dream and directed him to select 20 warriors, arm them each with a bow and poisoned arrow, and conceal them in a designated spot. Another warrior was to stand in an open view, as a victim for the Piasa. When the chief awoke in the morning, he told the tribe of his dream. The warriors were quickly selected and placed in ambush. Ouatoga offered himself as the victim. Placing himself in open view, he soon saw the Piasa perched on the bluff eyeing his prey. Ouatoga began to chant the death song of a warrior. The Piasa took to the air and swooped down upon the chief. The Piasa had just reached his victim when every bow was sprung and every arrow sent sailing into the body of the beast. The Piasa uttered a fearful scream that echoed down the river and died. Ouatoga was safe, and the tribe saved.
This remarkable painting has been a local landmark. The recently restored painting can be seen on the bluff just north of Alton on the Great River Road.
[Program note from the score.]
U T S A B a n d s
UTSA Students, there’s a band for you!
The 350-member "Spirit of San Antonio" Marching Band is open to all UTSA students, regardless of major. Like all college bands, the group is comprised of students of various performance backgrounds. The "Spirit of San Antonio" will perform a standard pre-game show, 4-5 different halftime shows, stand tunes, and maintain UTSA traditions, while at the same time promoting a positive learning and social environment for its members. College bands strive towards being fun and spirited organizations while still achieving a quality of performance representative of the image of the university.
U T S A W i n d E n s e m b l e
The UTSA Wind Ensemble is comprised of UTSA Students who have achieved an extreme high level of musicianship and who perform some of the most challenging music composed for wind band. Membership in this ensemble is open to all UTSA Students, regardless of major, who audition at the beginning of each semester. The UTSA Wind Ensemble maintains a vigorous performance schedule of three demanding concerts each semester as well as an ensemble tour when schedule and budget permits.
U T S A S y m p h o n i c B a n d
The UTSA Symphonic Band is made up of 45-55 outstanding wind players who perform a repertoire chosen from a variety of historical periods and for ensembles of various sizes. While the group occasionally presents pieces composed for smaller groups, much of its time is spent in the study and performance of works from the standard symphonic band repertoire. Membership is open to all students at the university who audition at the beginning of each semester.
U T S A U n i v e r s i t y B a n d
The UTSA University Band performs a wide variety of works from different composers and arrangers, in addition to maintaining an active three-concert schedule each semester. There is no formal audition required to participate; students must be able to read music and play a concert band instrument. Membership in the ensemble includes students from almost every discipline on campus. We invite all students interested in performing in this ensemble to come out and join us at the beginning of each semester!
Acknowledgements
Dr. Tracy Cowden, Director, School of Music
Dr. Stacey Davis, Assistant Director, School of Music
Dr. Kasandra Keeling, Associate Director, School of Music
Prof. Ron Ellis, Director of Bands
Dr. John Zarco, Director of Instrumental Ensembles
Naomy Ybarra, Administrative Services Officer 1
Steven Hill, Administrative Associate
Joey Berrios, Marketing Coordinator
Jared Davis, Senior Events Manager
Mr. Rico Gomez, Music Program Coordinator, UTSA Bands
Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Faculty
Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators
Prof. Troy Peters, Director of Orchestras
Dr. Yoojin Muhn, Director of Choral Activities
Dr. Jordan Boyd, Assistant Director of Choral Activities
UTSA School of Music Faculty
Jordan Rodriguez and Jared Worman, School of Music Librarians
UTSA Band Managers
Mu Tau Chapter of Kappa Kappa Psi
Nu Eta Chapter of Phi Mu Alpha
Theta Gamma Chapter of Sigma Alpha Iota
Iota Tau Chapter of Tau Beta Sigma
UTSA Spirit of San Antonio Student Association (SOSASA)
Upcoming Events
All events are in the UTSA Recital Hall and are free admission unless otherwise indicated
Monday, November 18, 2024 – Jazz Faculty Concert
Thursday, November 21, 2024 – Symphonic Band Concert
Tues -Thurs , December 3-5, 2024 – “Winterlude” Wind Symphony Concert (Dec. 5) (Ticketed event)
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Twitter: @UTSAmusic
UTSA Bands
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Clarinet Choir Concert
November 19, 2024 at 4:30pm
in the recital hall
Featuring Works by
Camille Saint-Saëns
Masamicz Amano
Percy Grainger
November, 23rd | 7:30 p.m.
