Spring Band Concert Program

Spirals of Light was commissioned by the South Central District Bandmasters Association of North Carolina for the 2006 9-10 All District Band, Blair Smith, director and coordinator. The work is celebratory in nature and uses the many colors of the modern wind band. A rousing fanfare motive, a ubiquitous oscillating figure, and an Irish folk-style melody provide plenty of variety for the listening audience. 

Symphonic Dance No. 3 “Fiesta” is one of five symphonic dances commissioned by the San Antonio Symphony Orchestra to celebrate its 25th anniversary in 1964. The composer rescored this work for band, and it was first performed in 1967 by the University of Miami Band.

This dance reflects the excitement and color of San Antonio’s many Mexican celebrations, what the composer called "the pageantry of Latin American celebration – street bands, bullfights, bright costumes, the colorful legacy of a proud people." The introductory brass fanfare creates an atmosphere of tense anticipation, while the bells, solo trumpet, and woodwinds herald the arrival of an approaching festival. The brass announces the matador's arrival to the bull- ring, and the finale evokes a joyous climax to the festivities.

Clifton Williams (1923–1976) was a pianist, French hornist, music theorist, conductor, prominent music educator, and leading composer of instrumental music. He attended Louisiana State University and Eastman School of Music. He also served in the Army Air Corps Band as a drum major, composing in his spare time. He taught at the University of Texas and at the University of Miami where he was chairman of theory and composition. 

"Flowers is a piece created with deep, dualistic symbolism at its core. Its various themes follow the life cycles of actual flowers as well as both humanity and individual people all as a part of something bigger. The swelling and fading of energy represent the various stages of life for both groups. Just when it seems like the end has come -  the flowers wither and people pass on - something new begins. Time marches on; life continues on in its course, but the beauty and glory of nature are not only preserved but are reborn in a similar yet new way. Creation is full of remarkable and extraordinary individuals that are all intertwined in the great circle of life, which is represented in the soloistic parts of this piece; the individualistic nature of that section gives the effect of something growing under the surface. The use of this idea to both start and end the piece creates a sense of cyclical continuation similar to that of life itself."

— program notes by courtesy of the composer

Tribute was commissioned by the Southwest Iowa Bandmasters Association and premiered by their 11-12 grade honor band in January of 2006. This chorale-style piece utilizes unanticipated tones to provide a novel excitement while also remaining almost familiar. There is a wisdom to the lines and the progression of energy feels inevitable. Soaring lines and strong foundations make for a well-rounded, enjoyable sonic experience.

A Zillion Nickels was commissioned by the consortium of Toms River High School North, East, and South; Toms River, NJ. Jonathan Grill, George Powers, Jessica Stanford, Mark Figueroa, Christopher Test, and Nichole Delnero, Directors. 
 
People who live in New Jersey have a special relationship with their shore. It symbolizes everything from childhood memories to taking your grandchildren to the same exact spot on the beach that you claimed as a teen. Throw in the amusement park and attractions, and you have a place with a deeply layered identity. Truth-be-told, every part of the Jersey shore is not representative of the hedonistic reputation the words "Jersey Shore" conjure, although that part truly does exist and there are numerous t-shirts displaying tasteless messages to prove it! Regardless of which aspect of the Jersey shore creates nostalgia, it is a part of the state that Jersey-ites own with pride. My own experience during a 1980's visit to Seaside Heights proved this to me, first-hand. 
 
Perhaps this is why they quite literally went into shock when viewing televised photos of the Jet Star roller coaster sitting in the Atlantic Ocean following Hurricane Sandy; one of the most iconic news images of all time. Ironically, that roller coaster was in the Seaside Heights area I had visited almost 30 years earlier, and just across the bridge from the Toms River schools that commissioned this piece. It could be argued that no area took a greater hit from Hurricane Sandy than the town of toms River, New Jersey.
 
Originally, the rebuilding that followed the hurricane was Commission Chair, Jon Grill's, request for the topic of the composition. Then, after I sketched ideas, I told him that the piece was shaping into a chronological mood piece about the shore with pre and post hurricane sections. Most prevalent were the sound swells symbolizing the progression and regression of the waves and tides in micro and macro lengths. There were numerous call and response themes as well as question/answer sections symbolizing how quickly we go from the present to a memory. There were peaceful sections and turbulent sections. But, of greatest importance were the sections representing hope that close the composition. 
 
The title came from my father, the Poet Laureate of Pennsylvania. Decades ago, he and I were looking out from a hotel balcony at the sun reflecting on Mediterranean Sea when said to me, "the waves glitter like a zillion nickels." He later used that line in a poem titled Soldiers Despite Ourselves.
 
While all instruments have vital parts, A Zillion Nickels emphasizes percussion. The musical feel was inspired by the drumming of percussion virtuoso, Steve Smith; perhaps the greatest call ad response drummer/musician I have ever heard. Even in his earlier days as the drummer for Journey, his drumming fulfilled the role that I tell composition students that must fulfill in their treatment; percussion must "paint" the musical work. Sometimes it accentuates, sometimes it answers, sometimes it states, sometimes it doubles and supports, sometimes it echoes, sometimes it's textural, but never should it just keep time. (Vincent Persichetti was a master of this.) Steve Smith is such a natural, his treatment of drumming is literally like listening to a musical conversation. He converses with other instruments and he converses with himself. But, at no time does he distract from the groove. Moreover, musically, he listens more than he talks. Novices think his playing is cool, and masters are humbled by it.
 
Aa a percussion major, turned teacher, turned composer . . . I can spend hours studying Internet drumming videos. After I had the main themes planned out for this piece, I came across some of my favorite Steve Smith videos, and that was the spark.

The Grid is a depiction of the electrical power network that allows our complex world to function. This work maps out a musical grid that begins as a rigid eighth note framework which becomes more free-flowing as the musical ideas develop. Illustrating the futuristic “smart city”, this work attempts to pave a path to the future in both a literal and a musical sense. Each individual part plays an essential role in allowing this musical grid to function as the music is in constant evolution throughout, similar to the development of technological innovations in the real world.

"We must accept finite disappointment, but never lose infinite hope."- Martin Luther King, Jr. 

Inspired by the juxtaposition of uncertainty and boundless optimism, Infinite Hope seeks to forge a path of faith, trust, belief, and assurance amidst a world of chaos. It reminds us that hopes and dreams are all around us, and that, as Robert Fulghum said, ". . . hope always triumphs over experience." At some point in life, most of us experience moments that truly test our resolve—either as individuals or as a society. Despite those tests, we can always look inward and outward—and refuel on the hopes within ourselves and in others. And in that very moment, we find ourselves sharing in the magic of infinite hope. 

Allie Bauer
Emily Buch
Nathaniel Crowder
Grace Daley
McKenna Friske
Kaliska Klusmeyer
Annabelle Nault
Frank Quan-Pham
Robyn Reinke
Bethany Stroh
Evi Uttech
Emily Wendorf

Ahnna Baer
Allie Bauer
Aubrey Bauer
Grace Daley
Owen Daley
Noah Gruetzmacher
Eva Kuehn
Min Larsen
Kaitlyn Oldenburg
Lauren Roedel
Henry Schapekahm
Max Swearingen
Nolan Swearingen
Emily Wendorf

Ingrid Buschkopf
Scott Cousins
Amos Ebeling
Silas Ebeling
McKenna Friske
Nathaniel Frisque
Mary Hahm
Annabelle Nault
Jonah Poston
Frank Quan-Pham
Robyn Reinke
Bethany Stroh
Nora Stroh
Eviana Uttech

Alto Sax
Lydia Harrington
Emily Wendorf

Tenor Sax
Nathaniel Frisque
Cole Kreel
Trevor Hoffman

Bari Sax
Evi Uttech

Trumpet
James Faust
McKenna Friske
Natalie Hatzung
Victor Margulius
Robyn Reinke
Henry Schapekahm

Trombone
Owen Derkowski
Tommy Doerr
Isaiah Harris
Michael McDermott

Piano
Grace Daley
Lucy Li
GUITAR
Will Lambrecht

Bass
John Handeland

Percussion
Will Eft
Jonah Poston
Frank Quan-Pham

Trumpet
James Faust
Peyris Macisak
Victor Margulius
Robyn Reinke
Henry Schapekahm

French Horn
Mac Mundt
John Handeland

Trombone
Tommy Doerr
Mary Joy Hahm
Isaiah Harris
Michael McDermott

Baritone
Zach Nath

Flute
Allie Bauer

Oboe
Eviana Uttech

Clarinet
Eva Kuehn
Anna Pufahl
Emily Wendorf

Bass Clarinet
Cheyenne McGillis

Alto Saxophone
Nathaniel Frisque
Lydia Harrington

Tenor Saxophone
Trevor Hoffman
Thomas Westendorf