New Music Festival 2025 Program by UTSA School of Music

UTSA NEW MUSIC CONCERT PROGRAM

Wednesday, March 19, 2025 | 7:30 PM | Recital Hall

San Antonio Ambient Orchestra

In Collaboration with the UTSA SAILOR Ensemble

La Moño Rosa

Directed by Miles Jefferson Friday and Andrew Bergmann

Daniel Rios, UTSA NuMu Composition Winner

PROGRAM:

Harmony Skinner, violin

Benny Elrod, violin

Joe Caploe- Adrift in an Alien Sea

Joaquin Gomez, viola

Natalie Esquivel, ‘cello

Jared Davis- Ethereal Pyramid

Anastacia Cervantez- Are You Listening?

Compositions by Shawn Okpebholo

Brandon Davis- Guitar Tea

Wesley Uchiyama-Penix- Elidosta

Nicholas Lucero-In Lieu of Balance

Derick Penrod- Pleroma

Elias Hudson- In:Direction

Rise I. Seeds II. Deep Harmony III. Spark

Charlie Ruth Welty- Phases of Trying

Rachel Woolf, flute

Erin Mallard, oboe

Nicholas Councilor, clarinet

SAN ANTONIO AMBIENT ORCHESTRA

Sarah Wildey-Richmond, bassoon

Peter Rubins, French horn

Iker Ascanta Synthesizer *

An Echo, An Ending (from Unknown)

Andrew Bergmann Electric Guitar

Evan Feist Synthesizer

Time (from Three Psalmic Meditations)

Matthew Calvillo Electric Guitar

Joe Caploe Synthesizer, Percussion

Miles Jefferson Friday Electric Guitar

Elias Hudson Synthesizer

Crystal Jarrell Johnson, mezzo-soprano

Rami El-Farrah, soprano and alto saxophone

Nicholas Lucero Electric Guitar, Percussion

Kasandra Keeling, piano

Dan Carillo Electric Guitar

Charlie Massey Electric Guitar *

Crooked Shanks

Anastacia Cervantez Electric Guitar *

Tracy Cowden, piano

Jared Davis Electric Guitar

Derick Penrod Electric Guitar

Jackson Sray Synthesizer *

Redlin[ing] (for Pierrot and percussion)

Linda Jenkins, flute

Khyara De Jesus Synthesizer *

Nicholas Councilor, clarinet

Atreyu Dunson Synthesizer *

Braulio Gutierrez Gonzalez VJ

Wesley Uchiyama-Penix Synthesizer

Elisa Nivon, violin

Charlie Ruth Welty Electric Guitar

Yi Qun Xu, cello

Tracy Cowden, piano

Sherry Rubins, percussion

* Member of the UTSA SAILOR Ensemble

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

UTSA NEW MUSIC CONCERT PROGRAM

Wednesday, March 19, 2025 | 7:30 PM | Recital Hall

UTSA Orchestra & UTSA Choirs

La Moño Rosa

Troy Peters, conductor

Daniel Rios, UTSA NuMu Composition Winner

Tuesday, March 18th, 2025

In Moments (2024)

7:30 p.m. | Coker Methodist Church

Harmony Skinner, violin

Benny Elrod, violin

Joaquin Gomez, viola

WORLD PREMIERE

Natalie Esquivel, ‘cello

Aidan Ramos

A deepness… (born 2004)

And we dance along!

Compositions by Shawn Okpebholo

Rise

I. Seeds

Caught Up in Clouds (2016) WORLD PREMIERE

Thomas B. Yee

The Bereaved (born 1992)

The Ascent

The Transcendent

Essay for Orchestra (2022)

Earth Symphony (2021)

II. Deep Harmony

III. Spark

Rachel Woolf, flute

Erin Mallard, oboe

Nicholas Councilor, clarinet

Sarah Wildey-Richmond, bassoon

Peter Rubins, French horn

An Echo, An Ending (from Unknown)

Brief Intermission

Time (from Three Psalmic Meditations)

Crystal Jarrell Johnson, mezzo-soprano

Rami El-Farrah, soprano and alto saxophone

Michael Todd Kovell (born 1968)

Jake Runestad

Evolution (born 1986)

Ambition

Destruction

Lament

Recovery

Kasandra Keeling, piano

Crooked Shanks

Tracy Cowden, piano

Redlin[ing] (for Pierrot and percussion)

Linda Jenkins, flute

Nicholas Councilor, clarinet

Elisa Nivon, violin

Yi Qun Xu, cello

Tracy Cowden, piano

Sherry Rubins, percussion

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

UTSA NEW MUSIC CONCERT PROGRAM

UTSA School of Music Chamber Music Concert

Wednesday, March 19, 2025 | 7:30 PM | Recital Hall

UTSA School of Music Chamber Music Concert

Wednesday, March 19, 2025 | 7:30 PM | Recital Hall

La Moño Rosa

La Moño Rosa Daniel Rios (b. 2004) NuMu Student Composition Winner

Daniel Rios, UTSA NuMu Composition Winner

Harmony Skinner, violin

Lacey Elrod, violin

Harmony Skinner, violin

Lacey Elrod, violin

Daniel Rios (b. 2004) NuMu Student Composition Winner

Rise

I. Seeds

II. Deep Harmony

III. Spark

Joaquin Gomez, viola

Harmony Skinner, violin

Joaquin Gomez, viola

Benny Elrod, violin

Natalie Esquivel, ‘cello

Joaquin Gomez, viola

Natalie Esquivel, ‘cello

A Portrait of Chamber Music by Shawn E. Okpebholo

Rise

Compositions by Shawn Okpebholo

A Portrait of Chamber Music by Shawn E. Okpebholo

Shawn E. Okpebholo (b. 1981)

I. Seeds II. Deep Harmony

III. Spark

Rise

I. Seeds

II. Deep Harmony

III. Spark

Rachel Woolf, flute

Erin Mallard, oboe

Nicholas Councilor, clarinet

Erin Mallard, oboe

Nicholas Councilor, clarinet

Sarah Wildey-Richmond, bassoon

Nicholas Councilor, clarinet

Peter Rubins, French horn

Sarah Wildey-Richmond, bassoon

An Echo, An Ending (from Unknown)

Time (from Three Psalmic Meditations)

Peter Rubins, French horn

Shawn E. Okpebholo (b. 1981)

Shawn E. Okpebholo (b. 1981) Time (from Three Psalmic Meditations)

An Echo, An Ending (from Unknown)

Crooked Shanks

Time (from Three Psalmic Meditations)

Crystal Jarrell Johnson, mezzo-soprano

Rami El-Farrah, soprano and alto saxophone

Kasandra Keeling, piano

Crystal Jarrell Johnson, mezzo-soprano

Kasandra Keeling, piano

Rami El-Farrah, soprano and alto saxophone

Kasandra Keeling, piano

Crooked Shanks

Shawn E. Okpebholo (b. 1981)

Shawn E. Okpebholo

Tracy Cowden, piano

Redlin[ing] (for Pierrot and percussion)

Linda Jenkins, flute

Nicholas Councilor, clarinet

Linda Jenkins, flute

Shawn E. Okpebholo (b. 1981)

Shawn

Linda Jenkins, flute

Elisa Nivon, violin

Nicholas Councilor, clarinet

Elisa Nivon, violin

Yi Qun Xu, cello

Elisa Nivon, violin

Yi Qun Xu, cello

Tracy Cowden, piano

Yi Qun Xu, cello

Sherry Rubins, percussion

Tracy Cowden, piano

Sherry Rubins, percussion

Tracy Cowden, piano

Sherry Rubins, percussion

Please join us in the School of Music Band Hall for a post-concert community dialogue with Dr. Okpebholo hosted by Drs. Sara de Turk and Laurie Lewis from UTSA’s Center for Dialogue

Please join us in the School of Music Band Hall for a post-concert community dialogue with Dr. Okpeb hosted by Drs. Sara de Turk and Laurie Lewis from UTSA’s Center for Dialogue

(b. 1981)

E. Okpebholo (b. 1981)

UTSA School of Music Chamber Music Concert

Wednesday, March 19, 2025 | 7:30 PM | Recital Hall

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

A Portrait of Chamber Music by Shawn E. Okpebholo

PROGRAM NOTES

Written by the composer Rise

Rise, for wind quintet, unfolds as a musical narrative highlighting persistent matters of racial injustice. Imagine each movement as a mindful thread within a broader dialogue, with perspectives rooted in the themes of progress and hope. This composition underscores the importance of sowing seeds of justice and hope, expresses a yearning for profound and lasting harmony, and issues a stirring call to action.

Movement I: Seeds

In this dynamic opening movement, the wind quintet engages in vigorous interplay at times taking on an aggressive tone embodying the urgency and fervent desire to sow the seeds of change that will harvest transformed hearts.

Movement II: Deep Harmony

A subtle wordplay, this movement explores rich harmonies, creating a soundscape that envisions a world where unity among people of all backgrounds is not only commonplace but intensely embraced. Amidst these harmonies, a sweet melody an affecting song without words weaves through, capturing the longing for grace and peace and celebrating the beauty found in embracing differences.

Movement III: Spark!

The idea that a single spark can cause a lasting flame serves as the inspiration for this movement. This spirited section serves as a call to action. The early 20th-century African American song This Little Light of Mine is abstractly referenced, musically igniting the notion that our actions, no matter how small, can effect meaningful change.

An Echo, an Ending

An Echo, an Ending is the third movement of my song cycle Unknown, a five-movement work originally for mezzo-soprano, two baritones, and chamber ensemble, commemorating the 100th anniversary of the Tomb of the Unknown Soldier a memorial at Arlington National Cemetery honoring unidentified soldiers lost to war. The text, written by poet Marcus Amaker, offers a deeply personal reflection on sacrifice and remembrance.

This movement was later reimagined for mezzo-soprano, alto saxophone, and piano for Rhiannon Giddens, Julian Velasco, and Paul Sánchez as part of my album Songs in Flight

Told from the perspective of a fallen soldier, the piece is an introspective lament. As she lies on the battlefield, suspended between life and death, she wonders where she will finally find rest returning to the embrace of her earthly home or crossing into the peace of her eternal one.

Text:

If death has a sound, then I am now its echo.

Silence will soon pass through me and I will remember that I was made to have an ending.

And war, with its infinite resonance, also has boundary.

I am far from my family, but I will soon be home.

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

Time

Time is the second movement of my song set, Three Psalmic Meditations, based on three psalm texts from Holy Scripture. This movement is centered on Psalm 39:4- 7, which reflects on the fleeting nature of human life and the pursuit of wealth and success that ultimately leads to nothing. The passage expresses a longing for divine perspective, acknowledging life’s brevity and placing ultimate hope in God.

This piece was originally composed as a trio for mezzo-soprano, trumpet, and piano. The version presented here has been reimagined for countertenor, soprano, and piano, specifically for countertenor Reginald Mobley as part of my album Songs in Flight.

Below is the adapted text, drawn from the New Living Translation and the World English Bible:

Lord, remind me how brief my time on Earth will be. Remind me that my days are numbered; how fleeting my life is.

You have made my life no longer than the width of my hand. My entire lifetime is just a moment to you; at best, each of us is but a breath.

We are merely moving shadows, and all our busy rushing ends in nothing.

Dr. Shawn Okpebholo

Named the 2024 Chicagoan of the Year in Classical Music by the Chicago Tribune and one of Musical America’s Top 30 Professionals of 2023, Nigerian-American composer Shawn E. Okpebholo’s music resonates globally, earning widespread acclaim from critics and audiences alike. His GRAMMY®-nominated solo album, Lord, How Come Me Here?, reimagines Negro spirituals and American folk hymns. The press has described his music as “devastatingly beautiful” and “fresh and new and fearless” (Washington Post), “affecting” (New York Times), “lyrical, complex, singular” (The Guardian), “searing” (Chicago Tribune), “dreamy, sensual” (Boston Globe), and “powerful” (BBC Music Magazine). Okpebholo has garnered numerous accolades, including awards from the Academy of Arts and Letters, the American Prize in Composition, the Music Publishers Association, and ASCAP, and he was the inaugural honoree of the Leslie Adams-Robert Owens Composition Award.

Grants from the National Endowment for the Arts, Chamber Music America, Barlow Endowment for the Arts, Illinois Arts Council, Tangeman Sacred Music Center, The Mellon Foundation, Wheaton College, and many others have supported Okpebholo’s work. Notable commissions include those from the Chicago Symphony Orchestra, United States Air Force Strings, Copland House Ensemble, Tanglewood, Aspen, and Newport Classical Music Festivals, Philadelphia Chamber Music Society, Imani Winds, Sparks and Wiry Cries, Urban Arias, and the Kennedy Center. His art songs have been performed in concert by the Lyric Opera of Chicago, Los Angeles Opera, Fort Worth Opera, Portland Opera, and Des Moines Metro Opera. His chamber music has been presented by eighth blackbird, Copland House Ensemble, Picosa, Fifth House Ensemble, Lincoln Trio, and others. Orchestras including the Chicago, Cincinnati, and Houston Symphonies and the Lexington Philharmonic have featured his music. Okpebholo has also collaborated with renowned solo artists, including vocalists J’Nai Bridges, Lawrence Brownlee, Rhiannon Giddens, Will Liverman, Michael Mayes, Ryan McKinny, and Tamara Wilson; pianists Aldo LópezGavilán, Mark Markham, Paul Sánchez, and Howard Watkins; and instrumentalists Rachel Barton Pine, Steven Mead, and Adam Walker. His extensive artistic reach has led to

regular performances at prestigious venues such as Carnegie Hall, Wigmore Hall, Lincoln Center, Kennedy Center, Kimmel Center, and the Metropolitan Museum of Art.

PBS NewsHour and radio broadcasts across the country, including NPR’s Tiny Desk Concert and Morning Edition, SiriusXM’s “Living American” series on Symphony Hall Channel, and Chicago’s WFMT, have highlighted Okpebholo’s music. NPR selected his art song “The Rain” as one of the 100 Best Songs of 2021, one of only a few classical works to make the ranking. His compositions are featured on twelve commercially released albums, three of which are GRAMMY®-nominated.

As a pedagogue, Okpebholo has conducted masterclasses at various academic institutions worldwide, including two universities in Nigeria. His research interests have led to ethnomusicological fieldwork in East and West Africa, resulting in compositions, transcriptions, and academic lectures. He earned his master’s and doctoral degrees in composition from the College-Conservatory of Music (CCM) at the University of Cincinnati. During his upbringing, a significant part of his music education came from The Salvation Army church, where he received free music lessons regularly. Inspired by that altruism, Okpebholo is deeply passionate about music outreach to underserved communities.

Recently, he completed a residency with the Chicago Opera Theater, culminating in the premiere of his opera The Cook-Off, with librettist Mark Campbell (librettist of the Pulitzer Prize-winning opera Silent Night). Currently, he serves as the Jonathan Blanchard Distinguished Professor of Composition at Wheaton College Conservatory of Music and the Saykaly Garbulinska Composer-in-Residence with the Lexington Philharmonic. Shawn E. Okpebholo is based in Wheaton, IL, a suburb of Chicago, with his wife, violist Dorthy, and their daughters, Eva and Corinne.

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

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

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

The University of Texas at San Antonio Symphonic Band and Wind Symphony

“NuMu 2025 with Esteemed Guest Composer – Shawn E Okpebholo”

Symphonic Band – Hector Garcia, Conductor

Teeth of the Mechanism (2025)

Esperanza (2024)

Pencaps (2024)

Motherless Child (2019)

Gale and Zephyr (2023)

John Mackey (b.1973)

Jaden Hernandez

2005) Winner – 2025 Student Composition Competition

- Brief Interval for Ensemble Change -

Wind Symphony – Ron Ellis, Conductor

Jared Worman

1999) Winner – 2025 Student Composition Competition

Jared Kellman-Medina – Baritone Vocal

Thursday, March 20 th , 2025 7:30pm

UTSA School of Music Recital Hall

(b.

Shawn E Okpebholo (b 1981)

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

Symphonic Band Person n el

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

F l u t e

Charlie Hofheins

Marissa Knopf, Piccolo

Ellie MacLean

Kylie Nix

Abigail Valadez, Piccolo

O b o e

Makayla Aguilar

Hannah Pais

B a s s o o n

Jared Worman

C l a r i n e t

Ethan Aguilar

Cianna Escamilla

Jaden Hernandez

DeShona Jernigan

Ethan Mendiola

Angela Tavira

Jose Gomez, bass clarinet

S a x o p h o n e

Nicholas Zars, alto sax

Ethan Williams, alto sax

Quinn Tidwell, tenor sax

Rachel Blakeney, bari sax

T r u m p e t

Kenedy Cardenas

Xavier Contreras

Madeline Garcia

Connor Harper

Jerry Ibarra

Caleb Perry

Samuel Spencer

Delaney Cook

Francis Maille

Eloisa Payne

Marissa Torres

Caroline Foster

Nathaniel Duarte, bass trombone

Todd Lewis

Ethan Messina

Jakarri Norsworthy E u p h o n i u m

Finley Farrar

Michael Hernandez

Manuel Reyes T u b a

Joshua Sprinkle

Jayson Sumner

P e r c u s s i o n

Aleena Bermudez

Tori Bravo

Nathan Gallegos

Adam Jackson

Lio Palacios

Antonio Rios

Daniel Walker

Ethan Aguilar

Jared Worman, Music Librarian

Eva Ayala, Music Librarian

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

Spring 2025 University of Texas at San Antonio Wind Symphony

Flute / Piccolo

Joaquin Carcamo

Jazmine Dearlove

Lauren Garcia

Ana Jaud (G)

Amy Leonard

Oboe

Samuel Coleman

Logan Odom

Bassoon

Jaime Viejo

Jared Worman (also Contra Bassoon)

Clarinet

Sikander Ahmed

Sophie Anderson

Orlando Baron

Kali Crist

Sarah Hamm

Kenedy Lerma

Isabella Miranda

Bass Clarinet

Michael Lee Summers

Alto Saxophone

1 Gabriel Campa

2 Bryson Vincent

Tenor Saxophone

Parker Murray

Baritone Saxophone

Brianna Castilla

Horn

Brandon Bayer

James Gonzales

Caleb Jones

Andrew Ramirez

Myrna Ramirez

Band Staff

Jarred Worman - Music Librarian

Extra Musicians - Jacob Herrera, Richard Myers

Trumpet

Ivan Lorduy-Camargo(GA)

Gustavo Medrano

Anthony Mitcham

Raymon Saldana(M)

Karim Vazquez

Daniel Vasquez

Julian Wegland

Trombone

Eva Ayala(M)

Bradley Bolton

Brandin Castillo

Jayden Zunker-Treviono

Bass Trombone

Javier Lopez

Euphonium

Alex Guzman

Aiden Ramos

Tuba

Matthew Bruns

Kenyon McCrary (M)

Percussion

Matthew Aceves

Emilio De Leon (GA)

Erin Faehnle

Trent Fallin

Rebecca Palmer

Mark Sawyer

Ivan Ventura

Double Bass

Heriberto Ayma

Organ

Scott Rushforth

Piano

Pablo Ventura (G)

Graduate Assistants/Band Managers

Graduate students are listed with (G) above

Graduate Assistants are listed with (GA) above Band Managers are listed with (M) above

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

C o n d u c t o r s

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

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, Symphonic Band, and University 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!

R o n E l l i s serves as Director of Bands and Associate Professor of Music at The University of Texas at San Antonio. Prof Ellis conducts the UTSA Wind Ensemble, the UTSA Symphonic Band, The UTSA University Band, and the UTSA Athletic Bands. His responsibilities also include teaching graduate and undergraduate courses in conducting, wind literature, and music education. A nationally recognized guest conductor, adjudicator, and composer/arranger, his works for concert band, orchestra and choir are performed by university, community, high school and professional wind bands as well as in Carnegie Hall. He also currently serves as a music director for Walt Disney Attractions Entertainment in Orlando where he has directed the Toy Soldiers and the Student Musician Program since 1993.

He is a member of the College Band Directors National Association, Texas Music Educators Association, Texas Bandmasters Association, Florida Music Educators Association, Florida Bandmasters Association, and Phi Mu Alpha Sinfonia Music Fraternity. He is also an honorary member of Kappa Kappa Psi, Tau Beta Sigma, and Pi Kappa Lambda. Prof. Ellis received his Bachelor of Arts in Trombone Performance from the University of Central Florida and a Master of Music in Wind and Orchestral Conducting from the University of South Florida where he was a conducting student of William Wiedrich.

Named the 2024 Chicagoan of the Year in Classical Music by the C h

e and one of M u s i c a l A m e r i c a 's Top 30 Professionals of 2023, Nigerian-American composer Shawn E. Okpebholo's music resonates globally, earning widespread acclaim from critics and audiences alike. His GRAMMY®-nominated solo album, L o r d , H o w C o m e M e H e r e ? , reimagines Negro spirituals and American folk hymns. The press has described his music as "devastatingly beautiful" and "fresh and new and fearless" (W a s h i n g t o n P o s t ), "affecting" (N e w Y o r k T i m e s ), "lyrical, complex, singular" (T h e G u a r d i a n ), "searing" (C h i c a g o T r i b u n e ), "dreamy, sensual" (B o s t o n G l o b e ), and "powerful" (B B C M u s i c M a g a z i n e ). Okpebholo has garnered numerous accolades, including awards from the Academy of Arts and Letters, the American Prize in Composition, the Music Publishers Association, and ASCAP, and he was the inaugural honoree of the Leslie Adams-Robert Owens Composition Award.

Grants from the National Endowment for the Arts, Chamber Music America, Barlow Endowment for the Arts, Illinois Arts Council, Tangeman Sacred Music Center, The Mellon Foundation, Wheaton College, and many others have supported Okpebholo's work. Notable commissions include those from the Chicago Symphony Orchestra, United States Air Force Strings, Copland House Ensemble, Tanglewood, Aspen, and Newport Classical Music Festivals, Philadelphia Chamber Music Society, Imani Winds, Sparks and Wiry Cries, Urban Arias, and the Kennedy Center. His art songs have been performed in concert by the Lyric Opera of Chicago, Los Angeles Opera, Fort Worth Opera, Portland Opera, and Des Moines Metro Opera. His chamber music has been presented by eighth blackbird, Copland House Ensemble, Picosa, Fifth House Ensemble, Lincoln Trio, and others. Orchestras including the Chicago, Cincinnati, and Houston Symphonies and the Lexington Philharmonic have featured his music. Okpebholo has also collaborated with renowned solo artists, including vocalists J'Nai Bridges, Lawrence Brownlee, Rhiannon Giddens, Will Liverman, Michael Mayes, Ryan McKinny, and Tamara Wilson; pianists Aldo López-Gavilán, Mark Markham, Paul Sánchez, and Howard Watkins; and instrumentalists Rachel Barton Pine, Steven Mead, and Adam Walker. His extensive artistic reach has led to regular performances at prestigious venues such as Carnegie Hall, Wigmore Hall, Lincoln Center, Kennedy Center, Kimmel Center, and the Metropolitan Museum of Art.

PBS N e w s H o u r and radio broadcasts across the country, including NPR's T i n y D e s k C o n c e r t and M o r n i n g E d i t i o n , SiriusXM's "Living American" series on Symphony Hall Channel, and Chicago's WFMT, have highlighted Okpebholo's music. NPR selected his art song "The Rain" as one of the 100 Best Songs of 2021, one of only a few classical works to make the ranking. His compositions are featured on twelve commercially released albums, three of which are GRAMMY®-nominated.

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

As a pedagogue, Okpebholo has conducted masterclasses at various academic institutions worldwide, including two universities in Nigeria. His research interests have led to ethnomusicological fieldwork in East and West Africa, resulting in compositions, transcriptions, and academic lectures. He earned his master's and doctoral degrees in composition from the College-Conservatory of Music (CCM) at the University of Cincinnati. During his upbringing, a significant part of his music education came from The Salvation Army church, where he received free music lessons regularly. Inspired by that altruism, Okpebholo is deeply passionate about music outreach to underserved communities.

Recently, he completed a residency with the Chicago Opera Theater, culminating in the premiere of his opera T h e C o o k - O f f , with librettist Mark Campbell (librettist of the Pulitzer Prize-winning opera S i l e n t N i g h t ). Currently, he serves as the Jonathan Blanchard Distinguished Professor of Composition at Wheaton College Conservatory of Music and the Saykaly Garbulinska Composer-in-Residence with the Lexington Philharmonic.

Shawn E. Okpebholo is based in Wheaton, IL, a suburb of Chicago, with his wife, violist Dorthy, and their daughters, Eva and Corinne.

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

Compiled and Edited by Ron Ellis and Hector Garcia

John Mackey’s Teeth of the Mechanism is a relentless and ominous exploration of mechanical precision and raw intensity. Set at a steady 90 beats per minute, the pulse of the piece drives forward with an almost industrial inevitability, evoking the image of a vast, unyielding machine in motion. The music’s grinding textures and interlocking rhythmic patterns create an atmosphere of tension as if each sound is another cog in a massive unforgiving engine.

From the opening measures, the energy of Teeth of the Mechanism is in constant motion, building in power and density as it progresses. Mackey masterfully layers the ensemble to create an ever-intensifying force, pulling the listener deeper into its mechanical vortex. The work never relents, surging forward with unbroken momentum until it reaches its climactic final note an overwhelming conclusion that leaves no doubt as to the sheer power of the machine.

Program note by Prof. Hector Garcia

Jaden writes, “Growing up in south Texas with a dad who happened to be a talented musician, it was destined that I ended up in the world of music.

After joining band, picking up clarinet in middle school, then fully falling in love with music in high school, I knew I wanted to do music for a career but didn’t know which route. Education? Performance? The obvious was education. When I was still a freshman in high school, I happened to come across a free music notation program and began to start writing original music. As time passed, I began to develop my passion for writing music and started taking it more seriously teaching myself more and more about theory and writing in general. By junior year I had to fully decided I wanted to be a composer.

Now studying music composition at the University of Texas at San Antonio, and with future performances in the works, I am pursuing my dream and developing my craft everyday to write music.”

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

On E s p e r a n z a , the composer writes, "Why must the prettiest flowers bloom near harshest winters"

This is a quote I originally heard from a friend, it immediately intrigued me and I knew that there was music in this. I asked her what flower she was referring to and she told me an Esperanza flower in her backyard.

This piece tells the story about this flower. The beginning sets the scene of a garden, full of life. Then the winter approaches and the music turns dark and cold. Eventually the harsh cold destroys the garden and we are left with a dead garden. But after winter, comes spring, the piece ends on a major chord, symbolizing that the flower and the rest of the garden will grow again, and ultimately the piece is about the circle of life.

- Program note by composer

J a r e d W o r m a n is a music education student at UTSA. He’s performed with a wide range of ensembles ranging from full orchestra to jazz combos. He got his start writing music by “pushing buttons” on his parents copy of Finale music software. In high school he began arranging stand tunes for the marching band to play and continued this into his time at UTSA.

On P e n c a p s , the composer writes, “Even the most precise writer doesn’t care what happens when they close up their pen for the day. The artist doesn’t care where the paint goes when cleaning their brush. No matter how careful you are about your work, the pen cap (or brush holder, pencil case, wherever you keep your tools) is a place for controlled chaos. From the outside all is calm and concealed, but inside is a brand new world of creativity. This fast-paced concert opener explores the many ensembles that live within the wind band.”

- Program note by composer wuw

"M

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

", is a traditional spiritual. It dates back to the era of slavery in the United States. An early performance of the song was in the 1870s by the Fisk Jubilee Singers Commonly heard during the Civil rights movement in the United States, it has many variations and has been recorded widely.

The song is an expression of pain and despair as the singer compares their hopelessness to that of a child who has been torn from its parents. Under one interpretation, the repetition of the word "sometimes" offers a measure of hope, as it suggests that at least "sometimes" the singer does not feel like a motherless child.

- Program Note compiled by Ron Ellis

When I set out to create this work for wind ensemble, I decided to explore the idea of wind as a natural phenomenon, particularly its fluidity as both a dynamic and gentle force. The title of the piece, G a l e a n d Z e p h y r , refers to this exploration and my ultimate artistic response to this duality: gale, a strong wind, and zephyr, a gentle breeze.

The composition begins with a powerful solo trumpet statement, embodying the forceful onset of a gale. I imagined this section as a “musical squall” that not only portrays a violent gust of wind but also expresses its command and beauty, realized with bold brass gestures, swirling winds, and vibrant percussion.

As the piece progresses, it transitions into a slower, quasi-impressionistic middle section, reminiscent of a gentle breeze, or zephyr. Here, delicate melodies and soft harmonies take over. While I aimed to create a calmer and more tranquil soundscape, there are unexpected interruptions that calm winds can bring.

The energetic return serves as a bold and exiting climax, featuring a fierce interplay of the full ensemble, exploring the wind ensemble’s versatility.

- Program Note by composer

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

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

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.

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!

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

Special thanks to the following for their ongoing support and dedication to the UTSA Bands:

Dr. Tracy Cowden, Director, School of Music

Dr. Stacey Davis, Associate Director, School of Music

Dr. Kasandra Keeling, Associate Director, School of Music

Naomy Ybarra, Administrative Services Officer 1

Steven Hill, Administrative Associate

Jared Davis, Senior Events Manager

Jose Berrios, Marketing Coordinator

Dr. John Zarco, Director of Instrumental Ensembles

Prof. Hector Garcia – Assistant Director of Athletic Bands

Rico Gomez, Music Program Specialist, UTSA Bands

Emilio De Leon, Ivan Lorduy Camargo, 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 and Prof. Christine Debus, Keyboard Area Coordinators

Prof. Troy Peters, Director of Orchestras

Dr. Yoojin Muhn, Director of Choral Activities

UTSA School of Music Faculty

Jordan Rodriguez and Jared Worman, School of Music Librarians

UTSA Bands Managers

Mu Tau Chapter of Kappa Kappa Psi

Iota Tau Chapter of Tau Beta Sigma

UTSA Spirit of San Antonio Student Association (SOSASA)

Visit our Website

UTSA School of Music

OUT NOW OUT NOW New Edition New Edition

HELP THE UTSA CLARINET CHOIR GET TO CLARINETFEST 2025

• The UTSA Clarinet Choir has been invited to perform at the International Clarinet Association ClarinetFest this July

• ClarinetFest, the world’s largest clarinet conference, unites performers, educators, and industry professionals. UTSA Clarinet Choir will premiere works by San Antonio composers Clarisa De la Garza and Dr. Tyler M. Webster on July 13th in Fort Worth, TX.

• Premiering two new works at this international conference is a major achievement. Students will gain invaluable artistic growth, networking opportunities, and exposure to world-class performances.

Donate Here!