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Illinois State University
College of Fine Arts
School of Music
University Band
Symphonic Band
Daniel A. Belongia, Conductor
Amy Mikalauskas, Graduate Conductor
Krista Beddigs, Guest Conductor
David Snyder, Guest Conductor
Andy Mrozinsky, Trumpet
Center for the Performing Arts
Thursday Evening
April 23, 2015
8:00 p.m.
This is the one hundred and ninety-sixth program of the 2014-2015 season.
Please silence all electronic devices for the duration of the concert. Thank you.
University Band
Amy Mikalauskas, Graduate Conductor
Shortcut Home (1998)
Dana Wilson
(born 1946)
Ode for Trumpet (1954)
Alfred Reed
Andy Mrozinsky, trumpet
Slava (1977)
Krista Beddigs, guest conductor
Third Suite (1966)
I. March
II. Waltz
III. Rondo
Leonard Bernstein
Robert Jager
(born 1939)
~ Intermission ~
Endowed Scholarship Presentation
Symphonic Band
Daniel A. Belongia, Conductor
Prelude, Siciliano and Rondo (1963)
Two Grainger Melodies (1988)
I. Early One Morning
II. Six Dukes Went a'Fishin'
Blessed Are They (1868/1970)
Ride (2002)
Malcolm Arnold
Percy Grainger/Kreines
Johannes Brahms/Buehlman
Samuel Hazo
(born 1966)
David Snyder, Guest Conductor
Program Notes
Welcome to Illinois State University! Thank you for joining us for today’s performance of the ISU University
Band and Symphonic Band. We hope that you will enjoy our concert, and that you might consider joining us again
for future performances here at the ISU school of Music. Please visit for more
information. Thank you for your support!
Dana Wilson
(born 1946) Wilson's compositions have been
commissioned and performed by such diverse ensembles as the Chicago
Chamber Musicians, Formosa String Quartet, Detroit Chamber Winds and
Strings, Buffalo Philharmonic, Xaimen Symphony, Netherlands Wind
Ensemble, Syracuse Symphony, and Tokyo Kosei Wind Orchestra. Solo
works have been written for such renowned artists as hornists Gail Williams
and Adam Unsworth, clarinetist Larry Combs, trumpeters James Thompson
and Rex Richardson, and oboist David Weiss.
Wilson has received grants from, among others, the National Endowment
for the Arts, New York Foundation for the Arts, New England Foundation
for the Arts, New York State Council for the Arts, Arts Midwest, and Meet
the Composer. His compositions have been performed throughout the United
States, Europe, and East Asia. They have received several prizes, including
the Sudler International Composition Prize and the Ostwald Composition
Prize, as well as awards from the International Trumpet Guild and the
International Horn Society; are published by Boosey and Hawkes, Alfred Music Publishers, the American
Composers Forum, and Ludwig Music Publishers; and can be heard on Klavier, Albany, Summit, Centaur, Innova,
Meister Music, Elf, Open Loop, Mark, Redwood, Musical Heritage Society, and Kosei Recordings.
Dana Wilson holds a doctorate from the Eastman School of Music, and is currently Charles A. Dana Professor of
Music in the School of Music at Ithaca College. He is co-author of Contemporary Choral Arranging, published by
Prentice Hall/Simon and Schuster, and has written articles on diverse musical subjects. He has been a Yaddo
Fellow (at Yaddo, the artists’ retreat in Saratoga Springs, New York), a Wye Fellow at the Aspen Institute, a
Charles A. Dana Fellow, and a Fellow at the Society for Humanities, Cornell University.
[biography courtesy of]
Shortcut Home
(1998), commissioned by Hillsborough (NJ) High School, is a rousing fanfare that features
each section of the ensemble. With exciting drive and jazz-based interludes, the piece cascades towards its “home”
of C-major.
program noyes courtesy of]
Alfred Reed (1921-2005). Composer, arranger, conductor and
editor, Reed’s life was intertwined with music almost from birth in New York
City on January 25th, 1921. His parents loved music and made it part of their
daily lives; as a result Reed was well acquainted with most of the standard
symphonic and operatic repertoire while he was even in elementary school.
After beginning formal music training at the age of ten as a trumpet player, he
was already playing professionally while still in high school. Shortly after
graduating from high school, he began the serious study of harmony and
counterpoint as a prelude to composition, which had come to exercise a
stronger hold on his interest and ambition than playing. After three years at the
Radio Workshop in New York, Reed spent the next three years in service
during World War II, where, as a member of the Air Force Band, he became
deeply interested in the concert band and its music. Following his release, he
enrolled at the Juilliard School of Music to study under Vittorio Giannini. In 1948, he became a staff composer and
arranger with NBC and subsequently, with ABC, where he wrote and arranged music for radio, television, record
albums and films.
In 1953, Reed resumed his academic work and became conductor of the Baylor Symphony Orchestra. His masters
thesis was the Rhapsody for Viola and Orchestra, which was to win the Luria Prize. Two years later he accepted
the post of editor in a major music publishing firm. For the next eleven years, he became deeply concerned with
the problems of educational music at all levels of performance. In 1966, he left his position to join the faculty of
the School of Music at the University of Miami, where he developed the first four-year Music Industry program.
In 1980, following the retirement of his old friend and colleague, Frederick Fennell, he was appointed music
director and conductor of the University of Miami Symphonic Wind Ensemble.
With more than 200 published works in all media, many of which have been on required performance lists for
more than twenty-five years, Reed is one of the nation’s most prolific and frequently performed composers. In
addition to winning the Luria Prize in 1959, he was awarded more than sixty commissions. His work as a guest
conductor took him to forty-nine states, Canada, Mexico, Europe, Japan, Australia and South America. He was the
first “foreign” conductor to be invited to conduct and record with the world famous Tokyo Kosei Wind Orchestra,
and is currently the most frequently performed foreign composer in Japan.
[biography courtesy of]
Ode for Trumpet
(1954) was written for and premiered by Don Jacoby in a performance of the Texas AllState Band in 1956 at the Texas Music Educators Association Convention in Dallas. The solo trumpet part has
been edited by Jacoby. Prior to the 1950s, wind bands had to content themselves with material that was transcribed
from orchestral literature. During the 1950s and continuing today, composers began writing specifically for the
unique tonal sound of the wind or symphonic band. Ode for Trumpet maintains a concert band quality, but pays
tribute to the style of the show band or stage band features of several decades past.
[program notes courtesy of]
Leonard Bernstein (1918-1990). Few composers capture their time and become the iconic voice
of their age. Leonard Bernstein found his "voice" in the early 1940s. He projected the sound of urban and urbane
America from the period of World War II to the anti-war movements of the 1970s and the restoration of freedom
in Europe with the fall of the Berlin Wall and Soviet communism.
Writing for small ensembles, symphony orchestras, Broadway, film and
opera houses, Leonard Bernstein projected a simple message of
understanding and hope employing both complex and simple forms and
styles - yet always sounding like "Bernstein," a voice best known in his
score to West Side Story.
Exploring his output, one finds the famous and obscure works that both
are reflective of their times and also preserve and encapsulate them.
Everywhere one hears his internal struggle to sound inevitable as the
tumultuous era of the second half of the twentieth century unfolded itself.
He is as once linked with the music of Benjamin Britten and Dimitri Shostakovich as well as George Gershwin and
Aaron Copland.
While his music finds its spiritual home in his world view, his music speaks with a New York accent, even though
he was born in Massachusetts. His love affair with Europe and his sensitivity to his Russian and Jewish roots are
never far from his lyrical expressivity, with its fragile sense of optimism, its loneliness, its humor and its demand
for acceptance. All of this is wrapped in the rhythmic propulsion of a great American urban landscape. He has left
us an aural image of his time and place and, at the same time, an eternal voice of humanity.
[biography courtesy of]
Slava(1977). The first theme is a vaudevillian razz-ma-tazz tune filled with side-slipping modulations and sliding
trombones. The second theme is a canon, and after a brief development section, the two themes recur in reverse
order. Near the end, they are combined with a quotation (proclaimed by the ubiquitous trombones) from the
Coronation Scene of Moussorgsky's Boris Goudonov, where the chorus sings the Russian word "Slava!," meaning
"Glory!" In this way, the composer is paying homage to his friend Mistislav Rostropovich, called "Slava" by his
friends and to whom the overture is fondly dedicated. The overture was written to celebrate Rostropovich's
inauguration as music director of the National Symphony Orchestra in Washington, D.C.
[program notes courtesy of]
Robert Jager (born 1939) Robert Jager was born in Binghamton,
New York, and is a graduate of The University of Michigan. For four year’s he
served in the United States Navy as the Staff Arranger/Composer at the Armed
Forces School of Music. Jager taught for thirty years at Tennessee Tech
University and is now a professor emeritus from the institution and lives in
Cookeville, Tennessee.
Jager's credits comprise more than 150 published works for band, orchestra,
chorus, and various chamber combinations. He has received commissions from
some of the finest musical organizations in the world, including the Tokyo Kosei
Wind Orchestra, the Republic of China Band Association, the Minot (ND)
Symphony Orchestra, the Michigan State University Children's Chorus, the
Cumberland Children's Chorus, the universities of Arkansas, Butler, Illinois,
Michigan, Michigan State, Nebraska, Nebraska Wesleyan, Purdue, the Tennessee
Arts Commission, all five of the Washington-based military bands: Air Force,
Army, Army Field Band, Marines and Navy, and all four of the military
academies: Air Force, Army (West Point), Coast Guard, and Navy (Annapolis). In addition, he has received grants
from Meet the Composer, the Tennessee Arts Commission, and the Margaret Fairbank Jory Copying Assistance
Program of the American Music Center.
He has conducted and lectured throughout the United States, Canada, Europe, Japan and the Republic of China.
Additionally, his music has been performed by the National Symphony Orchestra of Washington, DC, the
Nashville (TN) Symphony, the Indianapolis Symphony, the Kansas City Symphony the Charlotte (NC) Symphony,
the New England Chamber Orchestra, the Oregon Mozart Players, the Bryan Symphony Orchestra of Tennessee,
the Greater Lansing (MI) Symphony, the Minot (ND) Symphony, the Virginia Symphony Orchestra of Norfolk,
and the Omsk Philharmonic in Russia.
[biography courtesy of]
Third Suite
(1966) The Third Suite was written for Mr. Leo Imperial, director of the Granby High School
Band of Norfolk, Virginia, and is dedicated to him and his very fine organization. The Suite received its first
performance in December 1965 from manuscript. The Suite is a tuneful work for band, yet it has built into it
certain elements which provide a challenge for the players and conductor. In the first movement, for example, the
steady feel and rhythm of a march are somewhat distorted by measures of unequal time values. In the “Waltz”, the
same kind of distortion of time occurs as in the previous movement, but now it is the familiar ¾ which receives the
treatment. The form of the “Rondo” is ABACABA. The movement opens with a five chord introduction in the full
band. A solo cornet states the “A” theme, followed by a mood shift to minor for the “B” theme. The “C” theme
introduced by the piccolos. After a loud timpani crash, the final “A” is heard “Presto.” This builds to a climatic
finale based on the five notes of the introduction.
[program notes courtesy of]
Malcolm Arnold (1921-2006) Born in Northampton in 1921,
Malcolm Arnold is one of the towering figures of the twentieth century, and has
a remarkable catalogue of major concert works to his credit, including nine
symphonies, seven ballets, two operas, one musical, over twenty concertos, two
string quartets, and music for brass-band and wind-band. He also wrote 132 film
scores, among these are some of the finest works ever composed for the
medium including Bridge on the River Kwai (for which, in 1958, he was one of
the first British composers ever to win an Oscar), Inn of the Sixth Happiness
(for which he received an Ivor Novello Award in 1958), Hobson’s Choice, and
Whistle Down the Wind.
Arnold began his professional musical life in July 1941 as second trumpet with
the London Philharmonic Orchestra. Acknowledged as one of the finest players
of the day, he eventually became the orchestra’s Principal Trumpet. By the end
of the 1940s he was concentrating entirely on composition. The long and close
relationship established between Arnold and the LPO continues unabated, with the orchestra performing and
recording the composer’s music widely.
In 1969, he was made a Bard of the Cornish Gorseth and was awarded the CBE in 1970. He holds honorary
doctorates of music from the Universities of Exeter, Durham and Leicester - and in America from the Miami
University, Oxford, Ohio; he was made a Fellow of the Royal College of Music in 1983 and is an Hon. R.A.M. and
an Hon. F.T.C.L. In 1985, Arnold received an Ivor Novello Award for “Outstanding Services to British Music”,
the Wavendon Award in 1985, and a knighthood in the 1993 New Years Honours List for his services to music. In
1994, the Victoria College of Music appointed Arnold as their President. In 2001, he was made a Fellow of the
British Academy of Composers and Songwriters. In 2004, he was also honoured with the Incorporated Society of
Musician’s Distinguished Musician Award “for his lifetime’s achievements as one of the greatest composers of the
20th century.” In 1989 he received the Freedom of Northampton. In 2003, he was awarded an honorary degree by
the University of Winchester. On 29th June, 2006, the University of Northampton conferred on Arnold an
honorary doctorate.
Prelude, Siciliano and Rondo
(1963), Originally composed for the standard British all-brass band and
entitled Little Suite for Brass, Op. 80, this 1979 arrangement by the late John P. Paynter brings its beautiful
character and melodies to wind ensembles. All three movements are written in short, clear, five-part song forms,
reflecting Malcolm Arnold's interest in folk songs and dances. The Prelude begins in a fanfare style and evolves
through changing keys and themes; it slowly resolves into a quiet cantabile ending. The Siciliano is true to the
character of its lilting and graceful namesake Sicilian dance; solo instruments carry the melody as brass and
woodwinds provide contrasting textures. True in style, the rollicking Rondo explodes with the prominent theme
that reappears again and again in alternation with contrasting themes.
[program notes courtesy of]
Percy Grainger (1882-1961) George Percy Aldridge Grainger,
was an Australian–born composer, arranger and pianist. His chief fame rests as a
composer of unconventional and original music that was characterized by its shift
from the standard convention. He employed meters which were irregular and
unusual. An eccentric to the core, Grainger’s private life was as celebrated and
scrutinized as his works. Born in Australia to an architect father and a domineering
mother, who was apparently a major influence in his life, his travels and studies
took him to many countries, which included his long stay in Germany and England.
He eventually settled in the United States of America. During his stay in Germany,
he developed a deep interest in Nordic music, something that he carried throughout
his life, taking measures to spread it across the globe.
It was in England that Percy Grainger established himself as a name to reckon
with in the world of music. He made his first appearance as piano soloist with
orchestra in February 1902. Something significant happened in the life of Percy Grainger in 1905; it was in this
year that he started collecting original versions of folk songs after being inspired by a lecture given by folksong
historian Lucy Broadwood. This endeavor brought in his custody a collection of over 300 folk songs, many of
which were recorded for the first time in written form. Grainger was also a pioneer in the usage of phonographs,
which he used to record these songs. He had a collection of over 200 Edison cylinders with songs of native folk
singers. It was also in this period that he composed some of his most famous pieces such as ‘Mock Morris’, ‘Molly
on the Shore’ and ‘Shepherd’s Hey’ among others. By 1911, he was confident that he had established himself as a
top pianist and started publishing his own works. In 1912, at a concert at the Aeolian Hall in London, Grainger, for
the first time, presented a concert where only his works were performed.
In 1914, when World War I broke out, Grainger, along with his mother left England for the United States. After a
few tours of the country and many concerts over two years and having applied for the citizenship, Grainger joined
the U.S army as bandsman in the Coast Artillery Corps. It was during this tenure that Grainger set to tune the piece
‘Country Gardens’, the work that tends to be associated with him more than any other works of his. In June 1918,
Grainger became a naturalized U.S. Citizen. Beginning in the late 1920s and continuing through the 1930s,
Grainger took up many projects in his role as an educator. He served as the professor of music at New York
University for the academic year 1932–1933. During this tenure, he did his best to introduce the students to a wide
range of ancient and modern works. However, it was not a happy association due to Grainger’s dislike for rigid
institutional formality and the university’s perceived lack of reception for his ideas. As a result, Grainger never
again accepted another academic post. He also refused all honorary degrees. However, he did teach at the summer
schools conducted by Interlochen International Music Camp from 1937 to 1944.
The eruption of the Second World War meant that Grainger could no longer travel abroad frequently. He spent
much of the war years doing concerts for charity. His exhaustive schedule led him to perform up to 140 concerts in
a year. This busy schedule resulted in weakened health post–war. In addition, it triggered the decline of Percy
Grainger as a composer.
[biography courtesy of]
Two Grainger Melodies
(1988) The lyrical fist setting, Six Dukes Went A-Fishin', reflects the sad and
poignant quality of the text of the folk song, which is about six dukes on a fishing party who found the body of
another duke (who had disappeared) floating in the sea. They removed the body to London and buried him where
he had been born. This transcription follows the setting for voice and piano which Grainger completed in 1912.
The setting of the second folk song, Early One Morning, is also lyrical, but scored in thin textures of accompanied
solo instruments. This transcription uses a 1950 version as its basis.
[program notes courtesy of Teaching Music Through Performance in Band]
Johannes Brahms
(1833-1897) The stature of Johannes
Brahms among classical composers is well illustrated by his inclusion among
the "Three Bs" triumvirate of Bach, Beethoven, and Brahms. Of all the major
composers of the late Romantic era, Brahms was the one most attached to the
Classical ideal as manifested in the music of Haydn, Mozart, and especially
Beethoven; indeed, Hans von Bülow once characterized Brahms' Symphony
No. 1 (1855-1876) as "Beethoven's Tenth." As a youth, Brahms was
championed by Robert Schumann as music's greatest hope for the future; as a
mature composer, Brahms became for conservative musical journalists the
most potent symbol of musical tradition, a stalwart against the "degeneration"
represented by the music of Wagner and his school. Brahms' symphonies,
choral and vocal works, chamber music, and piano pieces are imbued with
strong emotional feeling, yet take shape according to a thoroughly considered
structural plan.
The son of a double bassist in the Hamburg Philharmonic Society, Brahms demonstrated great promise from the
beginning. He began his musical career as a pianist, contributing to the family coffers as a teenager by playing in
restaurants, taverns, and even brothels. Though by his early twenties he enjoyed associations with luminaries like
violinists Eduard Reményi and Joseph Joachim, the friend and mentor who was most instrumental in advancing his
career was Schumann, who all but adopted him and became his most ardent partisan, and their esteem was mutual.
Following Schumann's death in 1856, Brahms became the closest confidant and lifelong friend of the composer's
widow, pianist and composer Clara Wieck Schumann. After a life of spectacular musical triumphs and failed loves
(the composer was involved in several romantic entanglements but never wed), Brahms died of liver cancer on
April 3, 1897.
In every genre in which he composed, Brahms produced works that have become staples of the repertory. His most
ambitious work, the German Requiem (1863-1867), is the composer's singular reinterpretation of an age-old form.
The four symphonies -- lushly scored, grand in scope, and deeply expressive -- are cornerstones of the symphonic
literature. Brahms' concertos are, similarly, in a monumental, quasi-symphonic vein: the two piano concertos
(1856-1859 and 1881) and the Violin Concerto (1878) call for soloists with both considerable technical skill and
stamina. His chamber music is among the most sophisticated and exquisitely crafted of the Romantic era; for but a
single example, his works that incorporate the clarinet (e.g., the Trio in A minor, Op. 114 and the two Sonatas, Op.
120), an instrument largely overlooked by his contemporaries, remain unsurpassed. Though the piano sonata never
held for Brahms the same appeal it had for Beethoven (Brahms wrote three to Beethoven's 32), he produced a
voluminous body of music for the piano. He showed a particular affinity for variations -- notably, on themes of
Schumann (1854), Handel (1861), and Paganini (1862-1863) -- and likewise produced a passel of national dances
and character pieces such as ballades, intermezzi, and rhapsodies. Collectively, these constitute one of the essential
bodies of work in the realm of nineteenth century keyboard music.
[biography courtesy of]
Blessed Are They
(1868/1970) Johannes Brahms was moved to write A German Requiem for chorus and
orchestra by the deaths of his friend Robert Schumann and his mother. The decision to include the word “German”
in the title is notable as is his use of German text (drawn from Martin Luther’s translation of the bible) instead of
the traditional Latin. While most requiems are written as a mass for the dead, Brahms intended this piece to serve
as consolation for the living. He avoided strict references to redemption through Christ for a non-denominational
appeal. In an expression of his intentions, Brahms stated that he could have titled the work, “A Human Requiem.”
Barbara Buehlman scored the first movement of the masterwork for concert band. The title comes from the first
movement’s choral text: “Blessed are they that mourn: for they shall be comforted. They that sow in tears shall
reap in joy. They that go forth and weep, bearing precious seed, shall doubtless come again with rejoicing,
bringing their sheaves with them.”
Samuel Hazo (born 1966) Samuel R. Hazo resides in Pittsburgh,
Pennsylvania with his wife and children. In 2003, Mr. Hazo became the first
composer in history to be awarded the winner of both composition contests
sponsored by the National Band Association. He has composed for the
professional, university, and public school levels in addition to writing original
scores for television, radio and the stage. His original symphonic compositions
include performances with actors Brooke Shields, James Earl Jones, David
Conrad, and Richard Kiley. He has also written symphonic arrangements for
three-time Grammy Award winning singer/songwriter Lucinda Williams. Mr.
Hazo’s compositions have been performed and recorded world-wide, including
performances by the Tokyo Kosei Wind Orchestra (national tour), the
Birmingham Symphonic Winds (UK) and the Klavier Wind Project’s recordings
with Eugene Migliaro Corporon. Additionally, his music is included in the
series "Teaching Music Through Performance in Band." Mr. Hazo's works have been premiered and performed at
the Music Educators’ National Conference, Midwest Band and Orchestra Clinic, World Association for
Symphonic Bands and Ensembles Convention, National Honor Band of America, National Band Association/TBA
Convention, College Band Directors’ National Association Convention and also aired in full-length programs on
National Public Radio. He has served as composer-in-residence at Craig Kirchhoff’s University of Minnesota
Conducting Symposium and has also lectured on music and music education at universities and high schools
internationally. In 2004, Mr. Hazo's compositions were listed in a published national survey of the "Top Twenty
Compositions of All Time" for wind band.
Mr. Hazo has been a music teacher at every educational grade level from kindergarten through college, including
tenure as a high school and university director. Mr. Hazo was twice named “Teacher of Distinction” by the
southwestern Pennsylvania Teachers’ Excellence Foundation. He received his bachelor’s and master’s degrees
from Duquesne University where he served on the Board of Governors and was awarded as Duquesne’s
Outstanding Graduate in Music Education. Mr. Hazo serves as a guest conductor and is a clinician for Hal Leonard
[biography courtesy of]
(2002), Hazo wrote Ride for his good friend Jack Stamp, director of bands at Indiana University of
Pennsylvania. The score describes the composer's experience following Stamp to his home, which turned out to be
a wild ride down country roads. “Since I didn't know how to get to Jack's house (also known as Gavorkna House)
from the university, he told me to follow him,” Hazo wrote. “Ride was written and titled for that exact moment in
my life when Jack Stamp's generosity and lead foot were as equal in their inspiration as the beautiful Indiana, PA,
countryside blurring past my car window.”
[program notes courtesy of]
Andy Mrozinsky
is currently a graduate student in trumpet at
Illinois State University. He holds a Bachelor of Arts in Music from
Central Washington University. Originally from Wyoming, he has
been a freelance private instructor and performer throughout his
home state
as well as Montana, Washington, New York, and
Illinois. His teachers include Neil Hansen, Rob Rumbolz, John
Harbaugh, Jay Cobel, James Stokes, and currently Dr. Amy Gilreath.
University Band Personnel
Amy Mikalauskas, Graduate Conductor
Krista Beddigs, Guest Conductor
Mary Gerbatsch
Alexa Johnson
Dana McGillivray
Shaniece Owens-Arroyo
Kaydee Parker
Elizabeth Pinkerton
Rachel Tapper
Brody Felix
Stephanie Bulthuis
Kai Yiu Chan
Beth Feldges
Rachel Flores
Kevin Greene
Jack McGrath
Stephanie Swan
Bill Darrow
Brodie Ordaz
Aaron Ruhlander
Krista Beddigs
Matt Cornwall
Amanda England
Elliot Godinez
Elizabeth Hayes
Kayleigh Manukas
Steven Franger
Steve Heiss
Sam Heppner
James Lee
Ethan Peebles
Seth Reiker
Alex Speckman
Darius Echols
Brandon Johnson
Sarah Schwarzhaupt
Brad Bedel
Zach Delegatto
Colin Frazier
Nicole Gregor
Antonio Rodriguez
Acknowledging the important contributions of all ensemble members, this list is in alphabetical order.
*Denotes Section Leader
Symphonic Band Personnel
Daniel A. Belongia, Conductor
David Snyder, Guest Conductor
Jessica Foust
Tamara Grindley*
Ashley Hahn
Frankie Kestel
Lauren Manoni
Brenna Martin
Sarah Rusmussen
Monica Soulsby
Lauren Thompson
Kaitlyn Biegelmann*
Brody Felix
Katelyn Fix
Breana Brown
Matt Cornwall
Elizabeth Hayes
Rachel Lindner
Elizabeth McGough
Savannah Robinson*
Emily Rosenquist
Anna Zaino
Joe Sturino (bass)
Christina Angle* (alto)
Kevin Buck (tenor)
Vicente Leyva (baritone)
Rachel Wolz (alto)
Laura Ziegler* (alto)
Katie Battista
Gina Daniele
Hannah Deitsch
Ariel Furgat
Collin Page
Laura Schwartz
Ryan Starkey
Emily Torrey*
Grace Zimmerman
Alexandria Clink
Emily Hartzell*
Jaclyn Heuser
Kaitlyn Orden
Mike Roberts
Alex Speckman
J.D. Hogue
Elias Karris
Justin O'Brien*
Stephen Dupre (bass)
Matt Swanson
Sean Whelan*
Aston Karner
Brandon Johnson*
Sam Stauffer
String Bass
Leah Daugherty
Tyler Bohac*
Matt Fagerland*
Bobby Kirer
Katie Klipstein
Austin Koziol
Anna Stamer
Michael Suau
Hai Chi
Acknowledging the important contributions of all ensemble members, this list is in alphabetical order.
*Denotes Section Leader
Illinois State University College of Fine Arts
James Major, Dean
John Walker, Executive Associate Dean
Sherri Zeck, Associate Dean
Pete Guither, Assistant Dean
Laurie Merriman, Assistant Dean
Janet Tulley, Assistant Dean
Illinois State University School of Music
A. Oforiwaa Aduonum, ethnomusicology
Allison Alcorn, music history
Debra Austin, voice
Mark Babbitt, trombone
Daniel Belongia, associate director of bands
Glenn Block, orchestra & conducting
Connie Bryant, bands administrative clerk
Karyl K. Carlson, director of choral activities
Renee Chernick, piano
David Collier, percussion & associate director
Andrea Crimmins, music therapy
Peggy Dehaven, office support specialist
Judith Dicker, oboe
Michael Dicker, bassoon
Geoffrey Duce, piano
Tom Faux, ethnomusicology
Angelo Favis, graduate coordinator & guitar
Sarah Gentry, violin
Amy Gilreath, trumpet
David Gresham, clarinet
Mark Grizzard, men’s glee club
Christine Hansen, academic advisor
Kevin Hart, jazz studies & theory
Martha Horst, theory & composition
Mona Hubbard, office manager
Joshua Keeling, theory & composition
John Michael Koch, vocal arts coordinator
Shela Bondurant Koehler, music education
William Koehler, string bass & music education
Adriana La Rosa Ransom, cello
Marie Labonville, musicology
Katherine J. Lewis, viola
Roy D. Magnuson, theory
Joseph Manfredo, music education
Leslie A. Manfredo, choir, music education
Tom Marko, director of jazz studies
Rose Marshack, music business & arts technology
Joe Matson, musicology & music history
Kimberly McCord, music education
Carren Moham, voice
Carlyn Morenus, piano
Joe Neisler, horn
Paul Nolen, saxophone
Maureen Parker, administrative clerk
Stephen B. Parsons, director
Frank R. Payton, Jr., music education
Kim Risinger, flute
Cindy Ropp, music therapy
Andy Rummel, euphonium & tuba
Tim Schachtschneider, facilities manager
Carl Schimmel, composition
Daniel Peter Schuetz, voice
Martin H. Seggelke, director of bands
Matthew Smith, arts technology
David Snyder, music education
Ben Stiers, percussion & assistant director of bands
Tuyen Tonnu, piano & accompanying
Rick Valentin, arts technology
Justin Vickers, voice & musicology
Michelle Vought, voice
Sharon Walsh, advisor
Band Graduate Teaching Assistants
Aaron Gradberg, Josh Hernday,
Beth Hildenbrand, Amy Mikalauskas,
Nelson Ruiz
Upcoming Illinois State University Large Instrumental Ensemble Performances
Details and links to tickets at
April 24-25, 2015
All Day-CPA
State of Illinois Invitational High School Band
April 26, 2015
Choral Collage
April 26, 2015
Wind Symphony Concert