Download UNLV Symphonic Winds

College of Fine Arts presents
UNLV Symphonic Winds
Anthony LaBounty, conductor
Steve Goldeck, graduate conductor
Adam Steff, graduate conductor
Adam Hille, graduate conductor
Chaparral High School Wind Ensemble
Paul Beuning, director of bands
Carl Baker, associate director of bands
Molly Murphy, band assistant
PROGRAM
Chaparral High School Wind Ensemble
Brady Massey
(b. 1966)
Accolade
Julie Giroux
(b. 1961)
Shadow Falls
Claude T. Smith
(1932–1987)
Declaration Overture
David Gillingham
(b. 1947)
At Morning’s First Light
Robert Sheldon
(b. 1954)
Manatee Lyric Overture
INTERMISSION
UNLV Symphonic Winds
Karel Husa
(b. 1921)
Smetana Fanfare
Adam Steff, conductor
Fisher Tull
(1934–1994)
Sketches on a Tudor Psalm
Steve Goldeck, conductor
Edvard Grieg
(b. 1969)
arr. by James Curnow
The Last Spring
Adam Hille, conductor
Bruce Broughton
(b. 1945)
Turbulence
Anthony LaBounty, conductor
Stephen Turner, tuba
John Philip Sousa
(1854–1932)
People Who Live in Glass Houses
I. The Champagnes
IV. The Convention of the Cordials
Adam Hille, conductor
Thursday, April 30, 2015
7:30 p.m.
Artemus W. Ham Concert Hall
Performing Arts Center
University of Nevada, Las Vegas
PROGRAM NOTES
Jon Barbarotto is considered by many to be the “guiding spirit” of Dixie Band Camp, the oldest camp in the South and the second
oldest in the United States. Along with his good friend John Henley, who passed away a few years ago, “Mr. Bar” has been a part of
the camp for over sixty years. He has been here as a student, a director, a member of the executive board, and he serves as the camp
repairman.
Mr. Barbarotto has taught at several Arkansas schools. He is well-known throughout the state, especially for his contributions while
teaching in Brinkley and in Newport. He is a member of the Phi Beta Mu Bandmasters’ Hall of Fame and has earned the respect,
admiration, and affection of all who have known him.
Besides being an exceptional teacher, member of the community, and poker player, Jon Barbarotto has influenced countless band
directors and, as a result, hundreds of thousands of band students throughout Arkansas for decades. His love for people, his love for
music, and his strong convictions about the education of musicians have made him a legend among the musicians within Arkansas
and throughout the country.
Of his piece, Accolade, Brady Massey says this: “It was with a great deal of admiration and affection that this work was written. The
fanfare is meant to capture the boundless enthusiasm and drive that is so much a part of Mr. Barbarotto and what he stands for, and
will hopefully serve to honor him and his contributions to the world of music education.”
Program Note From the Composer
Frank Ticheli’s An American Elegy is, above all, an expression of hope. It was composed in memory of those who lost their lives at
Columbine High School on April 20, 1999, and to honor the survivors. It is offered as a tribute to their great strength and courage in the
face of a terrible tragedy. I hope the work can also serve as one reminder of how fragile and precious life is and how intimately
connected we all are as human beings.
I was moved and honored by this commission invitation, and deeply inspired by the circumstances surrounding it. Rarely has a work
revealed itself to me with such powerful speed and clarity. The first eight bars of the main melody came to me fully formed in a dream.
Virtually every element of the work was discovered within the span of about two weeks. The remainder of my time was spent refining,
developing, and orchestrating.
The work begins at the bottom of the ensemble's register, and ascends gradually to a heartfelt cry of hope. The main theme that
follows, stated by the horns, reveals a more lyrical, serene side of the piece. A second theme, based on a simple repeated harmonic
pattern, suggests yet another, more poignant mood. These three moods - hope, serenity, and sadness - become intertwined
throughout the work, defining its complex expressive character. A four-part canon builds to a climactic quotation of the Columbine
Alma Mater. The music recedes, and an offstage trumpeter is heard, suggesting a celestial voice - a heavenly message. The full
ensemble returns with a final, exalted statement of the main theme.
Program Note From the Composer
Claude T. Smith received his undergraduate training at Central Methodist College in Fayette, Missouri and at the University of
Kansas. He composed extensively in the areas of instrumental and choral music and his compositions have been performed by
leading musical organizations throughout the world. Having composed over 110 band works, 12 orchestra works and 15 choral works,
Smith has also composed solos for famous musicians such artists as "Doc" Severinsen.
Declaration Overture is dedicated to Mr. Smith's wife, Maureen and was premiered by the North Central Bandmasters Honors Band at
their 25th Anniversary Concert, November 1975, in Chillicothe, Missouri. The overture is based on variations of the opening melody.
Program Note From Stow Munroe Falls Band
David Gillingham’s At Morning’s First Light is a programmatic work that captures the serenity and beauty of daybreak. From the
opening thin layers of sound, a broad, sweeping feel emerges, sprinkled with active lines depicting nature awakening.
Program Notes from the conductor’s score
Robert Sheldon is one of the most performed composers of wind band music today. A recipient of numerous awards from the
American School Band Director’s Association, Phi Beta Mu and the American Society of Composers, Authors and Publishers, his
compositions embody a level of expression that resonates with ensembles and audiences alike. His music is performed around the
world and appears on many international concert and contest lists. Mr. Sheldon regularly accepts commissions for new works, and
produces numerous publications for concert band and orchestra each year.
Sheldon’s schedule includes many appearances as guest conductor for All-State and Regional Honor Bands. He also frequently
appears as a Music Education clinician, and has presented sessions and seminars at numerous colleges and universities as well as
state Music Education Association conferences. He has served as a conductor and clinician throughout the United States, as well as
Japan, Canada, Italy, Australia and The Republic of China, and has conducted performances of his works in New York’s Carnegie
Hall, Chicago’s Orchestra Hall, Boston’s Symphony Hall, Taipei’s National Concert Hall, Matsumoto’s Seiji Ozawa Performing Arts
Center and the Kennedy Center for the Performing Arts in Washington D.C. Mr. Sheldon is currently Concert Band Editor for Alfred
Music Publishing.
Manatee Lyric Overture is one of Sheldon’s earlier works and uses long, lyrical melodies, exciting rhythmic accompaniment patterns,
and frequent meter changes.
Program Notes From the Composer
Karel Husa’s Smetana Fanfare for Wind Ensemble was commissioned by the San Diego State University for the 1984 Festival of
Music honoring Czech composer Bedrich Smetana. It was first performed on April 3, 1984 in San Diego by the SDSU Wind Ensemble,
on the occasion of the centennial celebration of Smetana’s death. This short work uses two excerpts from Smetana’s symphonic poem
the Wallenstein’s Camp, completed in 1859 in Gotenberg, Sweden, during his exile from Prague.
Program Notes From the Conductor’s Score
Fisher Tull's scholarly self-analysis of his Sketches on a Tudor Psalm, composed in 1971, includes commentary on his evolution as
a composer and the motivation behind the work. He writes:
"Encouraged by the acceptance of Toccata (the 1970 A.B.A. Ostwald winner), I was motivated to try my hand at
another band work in theme-and-variation form similar to Variations on an Advent Hymn. I considered using a
number of tunes found in the Episcopal Hymnal, but always seemed to gravitate to Thomas Tallis's setting of the
second psalm. My reluctance to finalize this choice was caused by the awareness that Ralph Vaughan Williams
had used the same material for his Fantasia for Double String Orchestra (1910), a work with which I was quite
familiar. Nonetheless, against the advice of some of my colleagues, I decided to take the plunge."
Tull's beautiful and haunting Sketches introduces the theme with a solo alto saxophone, later punctuated by horns and fully
harmonized by the brass. He skillfully develops six motifs built upon major and minor triads using variations of tempo, rhythm and
instrumental timbre. The major climax of the piece occurs before the end in a recapitulation of the theme, peaking in intensity.
Largamente and scherzando sections conclude the final chord.
Program Notes by Roy Stahle for the Foothill Symphonic Winds
Edvard Grieg’s The Last Spring has a lovely melody and a very somber character. Grieg was born in Berge, Norway on June 15,
1843 and died in the same city on September 4, 1907. He was the most important Norwegian composer during the nationalist –
Romantic period. He is best known for his lyrical, folk song – like melodies, his works for piano and his most successful orchestral
work, the Peer Gynt Suite, based on Norwegian mythology. The Last Spring comes from Two Elegiac Melodies For String Orchestra,
opus 34. Originally composed in 1880 as two songs in his opus 33 album entitled, The Wounded Heart and Spring. For his string
orchestra transcription, Grieg revised the titles slightly to provide a better indication of its emotional content. This evening’s
performance features a treatment for concert band by noted arranger James Curnow.
Program Notes From the Conductor’s Score
Originally scored for tuba and piano, Bruce Broughton’s Turbulence for Tuba and Symphonic Winds was commissioned by Dr. Kent
Eshelman (tuba professor at Baylor University) and the Baylor University School of Music. Just under six minutes, Turbulence is a tour
de force of virtuosic playing, both by the soloist and the ensemble. The piece features a relentless, driving eighth-note pulse that is
unwavering from beginning to end, broken up only by the frequent meter changes. This evening’s performance features DMA student
and Graduate Assistant, Stephen Turner.
Program Notes by Steve Goldeck
People Who Live in Glass Houses by John Philip Sousa was first conceived as a humorous “characteristic” study for band. It was
“inspired” by various forms of alcohol and the nationalities often associated with them. In 1923, during the height of America’s raging
temperance discussions, Sousa, no teetotaler himself, inserted an additional movement White Rock and Psyches in the middle of the
suite, rescoring the work as an orchestral ballet for the revival of his operetta The Bride Elect. In this revival production, dancers were
outfitted in large bottles symbolizing the various drinks. The fourth movement, The Whiskies, is subtitled: “Scotch, Irish, Bourbon and
Rye, or The Whiskies-Scotch, Irish and Kentucky”. The complete title for the final movement is Convention of the Cordials, Wines,
Whiskies and White Rock (Convention of the Liqueurs, Wines and Whiskies). Sousa’s complete five movement orchestral version has
been recorded by Keith Brion with the Razumovsky Symphony on Naxos Sousa, On Stage
Program Notes by Keith Brion
UNIVERSITY BAND STAFF
Thomas G. Leslie, Director of Bands
Anthony LaBounty, Associate Director of Bands
Dr. Zane Douglass, Visiting Instructor of Conducting
LIBRARIAN
Erin Vander Wyst
Suzanne Morehead
INSTRUMENT INVENTORY
Erin Vander Wyst
WIND ORCHESTRA MANAGER
Dean Snavely
GRADUATE TEACHING ASSISTANTS
Adam Steff
Adam Hille
GRADUATE STAFF
Steve Goldeck
Jimmy Smerek
COMMUNITY LIAISON
Col. (U.S. Army, Ret.) Allan Ginsberg
Chaparral High School Wind Ensemble
Flute
Natalia Ayala
Artashia Carrillo
Kayla Enderle
Kelly Ramirez-Rosales
Marisol Reyes
Jasmine Rodriguez
Alto Saxophone
Christian Alire
Angel Brown
David Galvan
Raven Griego
Samantha Martinez
Jesse Perez
Oboe
Jose Guerra
Emily Stevenson
Tenor Saxophone
Kevin Ayala
Ashley Brown
Bassoon
Alicia Taschereau
Baritone Saxophone
Sterling Scott
Austin Stojanovich
Clarinet
Ursula Ardon
Paola Castillo
Matthew Fogenay
Abraham Hernandez
April Katz
Juliana Livengood
Christian Martinez
Marisol Mejia
Jadielynn SanAgustine
Briana Segovia
Vanna Tangonan
Jose Trevizo
Tania Utani
Bass Clarinet
Alexander Brown
Pedro Solis
Trumpet
Casey Bibiano
Brian Brooks
Vianey Castillo
Keaton Gunier
Michael Kuamo’o
Eduardo Madrigal-Mares
Serenity Sims
French Horn
Abraham Garcia
Tabitha Mabry
Mara Moya-Gudino
Rosalinda Rodriguez
Daniel Santiago
Josh Thomas
Trombone
Francis Judilla
Bryant McLaughlin
Jesus Perez Miranda
Ana Perez-Vargas
Euphonium
Jacob Frisch
Dylan Guthrie
Francisco Montesdeoca
Tuba
Dylan Canfield
John Caoile
Eduardo Cuevas Vargas
Juaneray Gutierrez
Percussion
Steven Batterson
Roma Cruz-Duany
Ariana Gonzalez
Kimberly Heath
Jordan Muse
Jorge Perez Lopez
Alyssa Pushard
Jynefer Quidlat
Brandon Scott
Charlene Sullivan
Judit Villar
UNLV appreciates the leadership and support of our Nevada System of Higher Education Board of Regents.
Kevin J. Page, Chair
Rick Trachok, Vice Chair
Dr. Andrea Anderson
Cedric Crear
Robert Davidson
Mark W. Doubrava, M.D.
Jason Geddes, Ph.D.
Trevor Hayes
Sam Lieberman
James Dean Leavitt
Kevin C. Melcher
Allison Stephens
Michael B. Wixom
Scott Young, Acting Chief of Staff to
the Board
UNLV Symphonic Winds
Piccolo
Brandon Denman* - Las Vegas, NV
Kim Karp – Las Vegas, NV
Bass Clarinet
Justin Marquis* - Cincinnati, OH
Alto Saxophone
Bonson Lee* - Las Vegas, NV
Justin McDonald – Las Vegas, NV
Kevin Tumbagahan – Las Vegas, NV
Flute
Brandon Denman* - Las Vegas, NV
Amber Epstein – Las Vegas, NV
Kim Karp – Las Vegas, NV
Patience Randall – Las Vegas, NV
Monique Torres – Las Vegas, NV
Tenor Saxophone
Efren Morales – Las Vegas, NV
Oboe
Erika Hill* - Ewa Beach, HI
Rachel LaRance – Henderson, NV
Jairo Pulido – San Diego, CA
Marisa Davidson – San Diego, CA
Baritone Saxophone
Brandon DeWitte – Las Vegas, NV
Trumpet
Michael Weber* - Brooklyn, NY
Juanpablo Macias – Las Vegas, NV
Bronson Pascual – Honolulu, HI
Julio Vargas – Las Vegas, NV
Rudolf Jovero – Las Vegas, NV
Chris Venegas – Las Vegas, NV
Oscar Rivera – Las Angeles, CA
Hazen Mayo – Halifax, Nova Scotia
English Horn
Jairo Pulido – San Diego, CA
Bassoon
Brock Norred* - Las Vegas, NV
Bronson Foster – Salt Lake City, UT
Issai Edge – Las Vegas, NV
Nicolas Guevara – Las Vegas, NV
Contra Bassoon
Kevin Eberle^ - Redlands, CA
B-Flat Clarinet
Isaiah Pickney* - Las Vegas, NV
Sean Myers – Las Vegas, NV
Jonathan Cannon – Bountiful, UT
Dora Ivanov – Las Vegas, NV
Matt Viton – Las Vegas, NV
Quinn Ngo – Las Vegas, NV
Jennifer Tripp-Herring – Las Vegas, NV
Emilio Rivera – San Pedro, CA
Erin Vander Wyst^ - Appleton, WI
Horn
Alina Eckersley* - Las Vegas, NV
Miguel Villarreal** - Las Vegas, NV
Trevor Stojanovich – Las Vegas, NV
Robert St. Luce – West Orange, NJ
Tom Frauenshuh – Ocala, FL
Trombone
Chandler Sison* - Honolulu, HI
Allan Quan – Las Vegas, NV
Juan Vasquez – Las Vegas, NV
Artilio LoPresti – Las Vegas, NV
Ryan Finkelstein – Los Angeles, CA
Bass Trombone
Nicholas Pino – Las Vegas, NV
Alec Fox – Las Vegas, NV
Euphonium
Keoni Sailer* - Moab, UT
Jeremy Valdez – Las Vegas, NV
Tuba
Troy Hart* – Henderson, NV
Shawn Schwerdtfeger – Las Vegas, NV
Brandon Saldivar – Las Vegas, NV
Harp
Emily Montoya – Las Vegas, NV
Timpani
Alex Tomlinson* - Broken Arrow, OK
Percussion
Luigi Ng*^ - Quezon City, Philippines
Paul De La Torre – Las Vegas, NV
Samuel Friend – Las Vegas, NV
John Melton – Escondido, CA
Michael Hoffman – Henderson, NV
*Principal
** Co-Principal
^Graduate Teaching Assistant
UNLV SYMPHONIC WINDS – MUSE 120
The UNLV Symphonic Winds (MUSE 120) is open to music and non-music majors who successfully audition into the ensemble.
Auditions are held in November for this Spring semester ensemble. Students in the ensemble perform standard wind band
literature and with an emphasis upon practical pedagogical foundations.
The Symphonic Winds is directed by Prof. Anthony LaBounty. Graduate assistants from the masters and doctoral conducting
degree programs also regularly conduct the group. In addition to regularly scheduled concerts each semester, the Symphonic
Winds performs for UNLV Commencement ceremonies and has also served as a special exhibition ensemble premiering the wind
band transcription of Sonata for Alto Saxophone by Robert Muczynski at the North American Saxophone Alliance Conference
(2011). The group has also performed with special guest soloists John McMurtery (flute), Gary Cook (percussion) and Timothy
Jones (percussion). The Symphonic Winds have also recorded numerous catalogued wind band repertoire holdings of TRN Music
Publisher, Inc., and the C.L. Barnhouse Music Publishing Company.
The Symphonic Winds serves as an excellent laboratory ensemble for undergraduate and graduate composition students,
rehearsing and recording student compositions each semester. Rehearsals are Tuesdays, Thursdays and Fridays from 8:30am9:45am. Performance in the group can satisfy requisite ensemble requirements for scholarship and non-scholarship students.
Contact Anthony LaBounty at [email protected] for more information.