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SYMPHONIC BAND
A N D
WIND SYMPHONY
Monday, February 10, 2020
Hugh Hodgson Concert Hall │ 7:30 p.m.
Jaclyn Hartenberger Michael C. Robinson
Conductors
Emily Mariko Eng David J. Stanley
Graduate Conductors
P R O G R A M
February 10, 2020 7:30 p.m., Hodgson Hall
Symphonic BandMichael C. Robinson, conductor │ Emily Mariko Eng, graduate conductor
Through the Looking Glass Jess Langston Turner
(b. 1983)
Pacem (A Hymn for Peace) Robert Spittal
(b. 1963)
O Magnum Mysterium Morten Lauridsen
(b. 1943) trans. H. Robert Reynolds
El Camino Real Alfred Reed
(1921-2005) arr. Robert Longfield
INTERMISSION
Wind Symphony
Jaclyn Hartenberger, conductor Emily Mariko Eng and David Stanley, graduate conductors
Commando March Samuel Barber
(1910-1981)
Hommage à Rameau (Dance in the style of a Sarabande) Claude Debussy
(1862-1918) wind band setting by Donald Hunsberger
Symphony in B flat Paul Hindemith
(1895-1963)
P R O G R A M N O T E S
Through the Looking Glass (2008) (2’ 50”) Jess Langston Turner (b. 1983)
When I began composing Through the Looking Glass I knew that I wanted to write a piece that
was fantastical in nature -- a piece that would transport us into an imaginary land where anything
is possible. I chose the title Through the Looking Glass because just as Alice's doorway to
Wonderland was her "looking glass," this fanfare is a doorway to a world of musical landscapes.
The piece is constructed of two different elements: a pervasive rhythmic pattern and an entire
pitch vocabulary of only five different notes that are arranged in many different ways --
sometimes in long angular lines and other times in massive blocks of sound. Underneath all of
this is the driving rhythmic impetus that propels the piece forward. These combined elements
are meant to convey the imagery of colorful and fantastical shapes and images hurtling past the
listener as he or she is transported to a new musical world where anything is possible.
Jess Langston Turner, 2008.
Through the Looking Glass is composed to be a concert opener, bringing the audience into the
musical world created by the concert they are about to hear. In this way, this piece acts in a
similar manner to the looking glass through which Alice was able to gain access to her
wonderland. The entire three minutes of the piece consists of only five different pitches which
are constantly reconfigured into running passages, ostinati, and thrilling fanfares.
Through the Looking Glass was premiered by the Bob Jones University Symphonic Wind Band
on May 2, 2008, with Dr. Dan Turner conducting.
Pacem (2005) (3’ 50”)
Robert Spittal (b. 1963)
As is the case with most of my compositions, I wrote Pacem – A Hymn for Peace for a friend
who also happens to be a musician. The work was composed for Patrick Brooks and his wind
ensemble at Idaho State University. The thematic structures of the piece are based on the second
movement of my Consort for Ten Winds, which impressed at a chamber recording session I led
in 1999. I intended Consort to be a contemporary reflection of older music, and for the second
movement to reflect the beautiful, imitative motet style of the Renaissance composers I admire,
such as Josquin Des Prez and Palestrina. While many of the stylistic and inherently lyrical
elements of Consort are retained in Pacem (the title in Latin for "peace"), the large-scale
instrumental forces of the symphonic wind ensemble presented opportunities to expand the
music proportions of Pacem. Rather than simply an "arrangement" of the earlier chamber work.
Pacem became an original piece unto itself. The musical propositions of Pacem range from the
introspective to the epic, reflecting the scope of humanity's persistent, hopeful and often difficult
struggle toward the realization of personal and universal peace.
Pacem is a musical expression of humankind’s desire for universal peace among all people, as
well as the personal peace that comes from within. “Pacem” is the Latin word for “peace.” The
choice of Latin is significant for two reasons: 1) as a kind of tribute to the Franco-Flemish
Renaissance composers, whose music strongly influenced this work, and 2) as a symbol of the
universality of humankind’s desire for peace –- a collective desire that cuts across geographic,
religious, ethnic, historical, or other boundaries. The reflective, more peaceful moments in the
work represent our hope for personal peace. The stronger, maestoso statements of the main
theme convey a hopeful optimism for the realization of peace among all people. Other
statements are more conflicted and ambiguous and remind us that achieving universal peace
requires persistence and struggle, and that it remains an unrealized challenge in the world.
Robert Spittal, 2005.
O Magum Mysterium (1994/2003) (6’) Morten Lauidsen (b. 1943) trans. H. Robert Reynolds
Morten Lauridsen’s choral setting of O Magnum Mysterium (O Great Mystery) has become one
of the world’s most performed and recorded compositions since its 1994 premiere by the Los
Angeles Master Chorale conducted by Paul Salamunovich. The work was commissioned by
Marshall Rutter in honor of his wife Terry Knowles.
About his setting, Morten Lauridsen writes: "For centuries, composers have been inspired by the
beautiful O Magnum Mysterium text with its depiction of the birth of the newborn king amongst
lowly animals and shepherds. This affirmation of God’s grace to the meek and the adoration of
the Blessed Virgin are celebrated in my setting through a quiet song of profound inner joy."
Recordings of Lauridsen’s music have received numerous GRAMMY nominations, and the
composer was a 2007 recipient of the National Medal of Arts. H. Robert Reynolds arranged the
symphonic wind version of this popular work with the approval and appreciation of the
composer.
Translation:
O magnum mysterium
et admirabile sacramentum
ut animalia viderent Dominum
natum jacetum in praesepio!
Beata Virgo, cujus viscera
meruerunt portare
Dominum Christum. Alleluia!
O great mystery,
and wondrous sacrament
that animals should see the new-
born Lord, lying in their manger!
Blessed is the Virgin whose womb
was worthy to bear the
Lord Jesus Christ. Alleluia!
Program note by Catharine Sinon Bushan, University of Texas.
El Camino Real (1985/2013) (5’) Alfred Reed (1921-2005) arr. Robert Longfield
El Camino Real (literally "The Royal Road" or "The King's Highway") was commissioned by,
and is dedicated to, the 581st Air Force Band (AFRES) and its commander, Lt. Col. Ray E.
Toler. Composed during the latter half of 1984 and completed in early '85, it bears the subtitle
"A Latin Fantasy."
The music is based on a series of chord progressions common to countless generations of
Spanish flamenco (and other) guitarists, whose fiery style and brilliant playing have captivated
millions of music lovers throughout the world. These progressions and the resulting key
relationships have become practically synonymous with what we feel to be the true Spanish
idiom. Together with the folk melodies they have underscored, in part derived by a procedure
known to musicians as the "melodizing of harmony," they have created a vast body of what most
people would consider authentic Spanish music.
The first section of the music is based upon the dance form known as the Jota, while the second,
contrasting section is derived from the Fandango, but here altered considerably in both time and
tempo from its usual form. Overall, the music follows a tradition three-part pattern: fast-slow-
fast.
The first public performance of El Camino Real took place on April 15, 1985, in Sarasota,
Florida, with the 581st Air Force Band under the direction of Lt. Col. Ray E. Toler.
Alfred Reed, 1985.
Commando March (1943) (3’ 30”) Samuel Barber (1910-1981)
Samuel Barber, born in West Chester, Pennsylvania, was one of America’s most gifted
composers. A child prodigy, he started composing at age seven and wrote his first opera three
years later. At age fourteen he entered the prestigious Curtis Institute of Music in Philadelphia.
In the early 1930s Barber decided to study abroad and became a fellow at the American
Academy in Rome in 1935. He received numerous prizes and awards including two Pulitzer
prizes, the American Prix de Rome, three Guggenheim fellowships, an honorary Doctor of Fine
Arts degree from Harvard University, and election to the American Academy of Arts and Letters.
Barber served in the U.S. Army Air Corps during the Second World War. While assigned to the
Technical Training Command in Atlantic City, New Jersey, he was asked to compose a march
for the band stationed there. He completed Commando March in 1943 and described it as
representing a “new kind of soldier, one who did not march in straight lines” but “struck in
stealth with speed, disappearing as quickly as he came.” It was premiered by the Army Air
Forces Technical Training Command Band in Atlantic City on May 23, 1943. Serge
Koussevitzky admired the work and commissioned an orchestral version for performance by the
Boston Symphony that same year.
Program note from The President’s Own, United States Marine Band.
Hommage à Rameau (1905/2009) (8’) Samuel Barber (1862-1918) wind band setting by Donald Hunsberger
Claude Debussy was one of the most influential musical forces during the close of the
nineteenth century and the first two decades of the twentieth. Following in the footsteps of the
many innovations wrought by Richard Wagner (which Debussy at first embraced and supported,
and later, rejected as too confining), he has been acclaimed to be as important at the turn of his
centuries as Beethoven was one hundred years earlier.
His primary instrument was the piano, for which he composed and performed numerous ground-
breaking compositional techniques that marked the Impressionist period. Just after La Mer, his
most extended orchestral effort, Debussy composed the first series of Images for piano.
Hommage à Rameau (Dance in the style of a Sarabande) is the second of that three-movement
work. Debussy wrote to his publisher, “I think I may say without undue pride, that I believe
these three pieces will live and take their places in piano literature…either to the left of
Schumann…or the right of Chopin.”
The dedication to Rameau (and earlier French clavenists) speaks to Debussy’s love and
appreciation for all things French. His 1922 biographer described the work as “the most
beautiful piece for the piano since the last three sonatas of Beethoven.” It has “grandeur and
purity of architecture, gentle majesty of proportions, simplicity of effect, and extreme
refinement.”
In the present wind band setting, Debussy’s complex harmonies are set in instrumental timbres
and colors that support the simplicity of his melodic material. His vocabulary demonstrates free
use of scales and modes, including the whole-tone scale, and use of chordal structures that permit
motion among several keys in expression of complete harmonic freedom. His rhythmic sense is
equally free with constant shifting and varying of accents and phrases.
Program note adapted from Donald Hunsberger.
Symphony in B flat (1951) (18’) Paul Hindemith (1895-1963)
The Symphony for Concert Band was composed at the request of Lt. Col. Hugh Curry, leader of
the United States Army Band, and was premiered in Washington, D.C., on April 5, 1951, with
the composer conducting. This three-movement work is the only symphony that Hindemith
wrote expressly for the wind band. The suite shows Hindemith's great contrapuntal skill, and the
organized logic of his thematic material. His melodies develop ever-expanding lines, supported
through complex rhythmic variation.
Although Symphony in B flat features unique uses of dissonant chords and nonharmonic tones,
it preserves neo-classical tonality, forms, and rhythmic and melodic patterns. Short figures often
become ostinatos, providing background for broad and declamatory melodies. These melodies
often repeat phrases of uneven lengths, disturbing the even flow of the basic rhythm. Slow
sections alternate with faster material, and then combine to create another theme. It is a study of
contrasts and unifications.
The first movement is cast in sonata-allegro form, the recapitulation joining both main themes in
counterpoint. The second movement opens with an imitative duet between alto saxophone and
cornet, accompanied by a repeated chord figure. The duet theme, along with thematic material
from movement one, provides the basic material for the remainder of the movement. In the third
movement’s closing section, combined themes play underneath woodwinds repeating the
incessant chatter of the first movement. A powerful cadence is issued by the brass and
percussion.
Program note adapted from Hubert Henderson and James Jorgenson.
Paul Hindemith’s extraordinary musical life, during a period of significant world tumult,
produced a vast body of scholarly and creative work. A German, Hindemith was alternately
praised and condemned by his government. His standing with the Nazi regime was a
complicated factor as his fame grew (Mathis der Maler, Hindemith’s most well-known
orchestral work was completed in 1934). Immigrating to Switzerland and then to the United
States before World War II, Hindemith became a model for neo-classicism and respected
pedagogue in American institutions. His influence was far reaching, including helping to
legitimize the wind band medium, achieved through his Symphony in B flat.
C O N C E R T E T I Q U E T T E
Thank you for helping to create a positive performance environment for our students and
patrons. Please silence all electronic devices. We respectfully request that you refrain from
flash photography, talking, or texting during the performance. Please enter and exit only during
moments of applause.
MICHAEL C. ROBINSON serves as Professor of Music Education at the University of
Georgia. His duties include teaching courses in instrumental music education, conducting, and as
Director of the UGA Symphonic Band. Robinson previously served for eleven years as the Director of
The Sudler Trophy Award winning UGA Redcoat Marching Band.
A native of Florida, Robinson received B.M. and M.M. degrees in Music Education and a D.M.A. degree
in Instrumental Conducting from the University of Miami. Prior to the UGA appointment, he served as
Associate Director of Bands at the University of South Florida in Tampa and Director of Bands at Fort
Hays State University in Hays, Kansas. Robinson also taught eleven years in the public schools of
Florida, most notably as Director of Bands at Seminole High School in Pinellas County Florida. During
his teaching career, Robinson has received numerous honors and awards including; Pinellas County
Teacher of the Year, City of Seminole Educator of the Year, USF College of Visual and Performing Arts
Outstanding Service Award, The Orpheus Award from Phi Mu Alpha, and The Friend of the Arts award
from Sigma Alpha Iota, among others.
Robinson is active as a guest conductor, clinician and adjudicator throughout the United States. He also
has extensive experience in the marching arts having served in a variety of capacities with top DCI Drum
and Bugle corps such as the Boston Crusaders, The Cadets, Carolina Crown, Iowa Colts, Madison Scouts,
and Suncoast Sound.
A native of New Hampshire, EMILY MARIKO ENG is a second-year doctoral student at UGA,
studying conducting with Dr. Cynthia Johnston Turner. Prior to coming to UGA, she earned a Master of
Music in Conducting with honors from New England Conservatory (NEC), studying with Charles Peltz.
In 2014, she graduated summa cum laude from Brandeis University with a Bachelor of Science in
Biochemistry and Music Composition, where she was a composition student of David Rakowski.
As conductor, Emily’s experience ranges from wind ensemble to orchestra, opera to musical theater. At
UGA, she leads various department and recital ensembles and is an active collaborator with student
composers. She is also Music Director at Princeton United Methodist Church in Athens, where she leads
the choir and coordinates all musical activity. Prior to moving to Georgia, she worked with the New
England Conservatory Wind Ensemble, NEC Symphonic Winds, the North End Music and Performing
Arts Center’s Opera Project (MA), the Waltham Philharmonic Orchestra (MA), Needham Community
Theater (MA), and Brandeis University Undergraduate Theater Collective. Highlights include conducting
the world premiere of Michael Gandolfi’s Polymath, a fanfare written to commemorate NEC’s 150th
Anniversary year.
As composer, she was selected to participate in the highSCORE Composition Festival in Pavia, Italy
where she studied with Christopher Theofanidis, Amy Beth Kirsten, Dmitri Tymoczko, and Martin
Breznick. A winner of the Reiner Prize in Composition at Brandeis University, Emily’s wind ensemble
piece, Lumen, was premiered by the Waltham Philharmonic Orchestra Winds at the 2015 Leonard
Bernstein Festival of the Arts.
Emily is a member of College Band Directors National Association (CBDNA) and Pi Kappa Lambda,
Music Honor Society. She was also inducted as an honorary member of Kappa Kappa Psi.
JACLYN HARTENBERGER’s reputation bespeaks a rising regional, national, and
international presence. She is a highly sought performer, with artistry that has attracted significant
invitations throughout the world. Under her leadership, ensembles consistently perform at a high level,
and her programs are enthusiastically received. Their performances have been described as “superb,”
“praiseworthy,” “terrific,” “impressive,” and displaying “artistry.”
Jaclyn Hartenberger serves as the Associate Director of Bands and Associate Professor of Music at the
University of Georgia. In addition to serving as the conductor for the Wind Symphony, she teaches
undergraduate and graduate conducting. She received a Master of Music and Doctor of Musical Arts in
Conducting from The University of Texas at Austin. Her Bachelor of Music Education degree is from the
University of North Texas, where she performed and recorded with the prestigious UNT Wind
Symphony.
DAVID J. STANLEY is a master’s conducting student at the University of Georgia in the studio
of Cynthia Johnston Turner. A graduate assistant for the Hugh Hodgson School of Music, Mr. Stanley is
actively involved in band program planning, logistical support, performances, and instruction.
From 2014-2018, Mr. Stanley served as Director of Bands for William Fleming High School in Roanoke,
Virginia. Responsible for overseeing a class reorganization that established two concert bands,
percussion ensemble, and theory class, Mr. Stanley’s tenure facilitated enrollment and adjudication
improvements for concert, marching, and jazz programs.
Mr. Stanley earned the Bachelor of Music Education from Furman University (Greenville, South
Carolina), magna cum laude. At Furman, he studied with Dr. Leslie W. Hicken and Jay Bocook, serving
as the Paladin Regiment’s Drum Major from 2011-2014, which included leading the Basketball Band.
A native of Emory, Virginia and a product of Virginia’s public school system, Mr. Stanley is a strong
advocate for music education. His professional affiliations include the National Association for Music
Education (NAfME), the Georgia Music Educators Association (GMEA), and the College Band Directors
National Association (CBDNA). Mr. Stanley is married to Molly, who serves as an academic advisor in
the Hodgson School of Music. They reside in Athens.
S Y M P H O N I C B A N D
Flute Trumpet
Sarah Sharp (piccolo) Bishop Bryant Camille Becker Blake McBride Rebecca Speed Kylie Sengpiel
Millie Kraft Sam Berman Abby Wolfe Tyrone Griffin Robyn Anzulis Anthony Perrotto Chandler Thomas John Weidner
Sophy Macartney Quintin Peters Sarah Secrist Oboe Stephen Willoughby Carolyn Mundy Seth Lashley Jared Gilstrap
Bassoon Matthew Olson Ireland Hayes
Trombone
Clarinet Ivan Baquerizo
Carmen Smith Tylan Davis
Scott Cohen Kristina Nash
Lauren Schermerhorn Kayla Graves Sarah Kate Brewer Ana White Emily Chancellor Daniel Agramonte Markisha Fuller Wyatt Dover
Anya Kerkemeyer Alexis Cheffen Euphonium
Adna Torlo Zac Al-Radiedeh
David Knight
Alto Saxophone Emily Franklin Tuba
Karena Washington Jonathan Fuller John Mark Hatfield Derrick Wright, II
Carson Adams Todd Perry
Jaser Doja Mark Wang Griffin Haarbauer
Tenor Saxophone Andrew Kilpatrick Percussion Jonathan Castro Baritone Saxophone Brett Toutkoushian
Annabeth Hatfield Riley Maness Kira Hooper Horn Caleb Dillehay
Hannah Gould Luke Iddings Piano
Colin Baillie Jackson Johnston
Abbigail Toews
Zack Kalet
Shannon Graham
Carissa Pangilinan
Becca Brigdon
Katie Beth Fowler Justin DeFalco
Logan Brown
W I N D S Y M P H O N Y
Flute Horn
Laura Denton, Newnan, GA Laura Anne Beacham, McDonough, GA
Lizy Hoepfinger, Woodstock, GA Ethan Etheridge, Cartersville, GA
Kipling, Len, Suwanee, GA Tyler Gillespie, Greenville, SC
Vicki Lu, Norcross, GA Alex Merritt, Flowery Branch, GA
Shannon O’Donnell, Powder Springs, GA Anthony Roper, Smyrna, GA
Sarah Quayle, Richmond Hill, GA Caitlin Santos, Duluth, GA
Liz Wong, Johns Creek, GA
Ruby Yoo, Suwanee, GA Trumpet
Zach Griffin, Kennesaw, GA
Oboe/English Horn Cameron Gywnn, Lilburn, GA
Anna Grace Brown, Cumming, GA Maggi Reese Hines, Carrollton, GA
Ruby Truscott, Fayetteville, GA Hunter Mills, Athens, GA
Maggie Williams, Asheville, NC Sam Riddle, Cleveland, TN
Brandon Waugh, Cumming, GA
Bassoon
Olin Aultman, McDonough, GA Trombone
Campbell Cona, Athens, GA Assata Bellegarde, Stone Mountain, GA
Sydney Worsham, Cedar Park, TX Davis Clark, Watkinsville, GA
Iain Cooke, Cumming, GA
Clarinet Dalton Hooper, Braselton, GA
Allison Carter, Winder, GA Will Panter, Blue Ridge, GA
Reagan Finnerty, North Augusta, SC
Miaka Kemp, Warner-Robins, GA Euphonium
Jesse Norton, Athens, GA Joshua Barron, Suwanee, GA
Hannah Marston, Columbus, GA Emily Finch, Kennesaw, GA
Kat Parler, Decatur, GA Michael Van Wagenen, Suwanee, GA
Jaylen Thompkins, Atlanta, GA
McKenzie Turner, Winder, GA Tuba
Matthew Gordon, Mount Prospect, IL
Bass Clarinet Elvis Yang, Lynchburg, VA
Elizabeth Harwood, Dahlonega, GA
Piano
Soprano/Alto Saxophone Meekah Howell, Dacula, GA
Nicholas Goldfarb, Decatur, GA
Jonathan Webb, Powder Springs, GA Harp
Zoë Andrews, Atlanta, GA
Tenor Saxophone
Alexander Smith, Colbert, GA Percussion
Nicholus Jackson, Macon, GA
Baritone Saxophone William Kan, Cleveland, OH
Leigha Turner, Travelers Rest, SC Jacob Pilz, Rincon, GA
Julia Ryan, Kingsland, GA
Brendan Williams, Seneca, SC
Wind Symphony personnel listing is alphabetical.
All members serve as principal players.
U p c o m i n g U G A B a n d C o n c e r t s
Please join us for other great performances this season!
February 19 UGA University Band and Concert Band 7:30 p.m.
February 25 Hodgson Wind Ensemble 7:30 p.m.
March 18 British Brass Band 7:30 p.m.
March 21 UGA Wind Symphony 10:00 a.m.
March 27 UGA University Band and Concert Band 7:30 p.m.
April 16 Hodgson Wind Ensemble 7:30 p.m.
April 20 UGA Wind Symphony 7:30 p.m.
April 22 UGA Jazz Ensemble (Ramsey Hall) 5:30 p.m.
April 27 UGA Symphonic Band 7:30 p.m.
For information on upcoming concerts, please visit our website:
www.music.uga.edu
Join our mailing list to receive information on all concerts and recitals:
www.music.uga.edu/enewsletter
U N I V E R S I T Y O F G E O R G I A B A N D S
250 River Road │ Athens, Georgia 30602 │ 706.542.1505
ugabands@uga.edu │ www.bands.uga.edu
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