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