Wind Ensemble Symphony Band

Symphony Band 

Darin Olson, conductor 

Serenade (1965): Derek Bourgeois 

Jupiter (1916): Gustav Holst, trans. Curnow 

Contre Qui, Rose (1993): Morten Lauridsen, trans. Reynolds 

Ghost Apparatus (2017): David Biedenbender 

Halcyon Hearts (2021): Katahj Copley 

Wind Ensemble 

Benjamin Lorenzo, conductor 

Slava! A Political Overture (1977): Leonard Bernstein, trans. Grundman 

Elegy for a Young American (1967): Ronald LoPresti 
Lindsay May, graduate conductor 

Folk Dances (1942): Dmitri Shostakovich, arr. Reynolds 
Danilo Viquez-Poveda, graduate conductor 

Gloriosa ("Gururiyoza") Symphonic Poem for Band (1990): Yasuhide Ito 
Andrew Rothhaar, bass-baritone 
I. Oratio 
II. Cantus 
III. Dies Festus

Flute 

*Avery Phillips 
Molly Goodrich 
Karisa Atkins 
Axspen Pantaleano 
Sophia Lewis 

Oboe 

Vincent Swango 
Willa Sabelko 
Scott Sopata 

Clarinet 

*Ashley Scaife 
Kaden Wenzel 
Marina Wearley 
Reuben Grote 
Shivali Klionsky 
Eli Mowery 
Nathan Overly J
Jordan Knight, Bass 
Mia Rhome, Bass 

Saxophone 

Gold Section 

*Bryce Nagel, Alto 
Scott Sopata, Alto 
Mia Rhome, Alto 
Adam Thomas, Tenor 
Colton Boyd, Bari

Blue Section 

*Quinci Bliss, Alto 
Nicc Stewart, Alto 
Aiden Moore, Alto 
Wyatt McGowen, Tenor 
Melanie Zimmermann, Bari 

Horn 

*Maddi Long 
Harper Zerbian 
Leah Neff 

Trumpet 

*Tom Malquest 
Jaylynn Walker 
Ryan Francis 
Emma Corrigan 
Alisia Haydu 
Chris Johnson 
Jaden Forinash 

Trombone 

*Connor Dockstader 
Jaden Parker 
RJ Williams 
Braelyn O’Neil 
Kristanna Bradford

Euphonium 

Rilend Geniec 
Wyatt Goman 

Tuba 

*Jasper Faught 
Aubrey Corrigan 
Caly Martinez 
Vlad Lehendzevych 

Percussion 

*Emmalee Ursell 
Brennan Contreras 
Ryan Semancik 
Ben Balough 
Jordan Toeppe 
Damyan Kalivoshko 
Leahnna Sparling

* Principal

Flute 

*Madison Jones 
Dylan Smith 
Saoirse Edelen, piccolo 
Emma Troyer 
Theresa Bremenour 
Kayla Gerber 

Oboe/EH 

*^ Charlie Davis 
Sarah Write 
Owen Burgess 

Bassoon 

*Julia Fedor 
Rey Lifford 

Clarinet 

*^ Anthony Kalanick, Eb 
Aron Kooijman 
Grace Burdorff 
Lyssi Slaughter 
Jasper Faught 
May McPherson 
Anna Hurst 
^ Danilo Viquez Poveda 
^ David Mehlhope, bass

Saxophone 

*James Allio, Soprano/Alto 
Hayden Storey, Alto 
Usayd Ally, Alto 
Alivia Shablesky, Tenor 
Jacob Roman-Willey, Baritone 

Horn 

*Tayvis Mayfield 
NJ Joshi 
Julia Ribo 
Nai’Jai Glover 

Trumpet 

*^ Nora Moen 
Daniel Keller 
Nolan Miller 
Chad Wagner 
Jack Miller 
Phil Cox 
Leah Long 

Trombone 

*Joey Bugos 
Mathew Raymond 
Alison Joyce 
Matthew Shrivastav 
Carson Throckmorton, Bass

Euphonium 

*Dylan Eshbaugh 
Jacob Hart 
Kristin Mickovic 

Tuba 

*Draven Grimm 
Grace Bates 

String Bass 

John Alexander 
Emma Thompson 

Guitar 

Dylan Van Dyke 

Percussion 

*^Kieran Gresko 
Rj Maroz 
Allison Perry 
Mackenzie Brown 
Derek Mickelson 
Carter Anderson

* Principal

Serenade was one of Bourgeois’ earlier works, with it being composed in 1965. The work was actually composed for his own wedding to be originally performed by an organist as the guests left the main ceremony. Bourgeois wanted to be playful in this work, and instead of letting the guests walk out in a simple 2/4 time, he wrote Serenade in a fluctuating 11/8 / 13/8 time. 

The orchestration for wind band has become the most popular for this work, with it being a staple in many band rooms. Serenade is only a couple of minutes in duration, but due to Bourgeois’ colourful orchestrations and awkward time signatures, the work becomes all the more interesting. 

Opening with an off-beat accompaniment from the lower brass that’s intertwined with a syncopated motif from the tuba, the clarinets enter to establish the main theme. The melody is syncopated with the accompaniment, and accentuates the strong beats of the bar. The flutes then take over the melody, this time changing the direction of the melody. 

The flutes and clarinets then unite to play their respective themes together. The saxophones also join in here before a rumble into the main section of the piece. With the band now all playing together the work unites to play the melody. As the percussion begins to filter in, the dynamics begin to grow and the glorious melody feels more natural with every rotation. 

The unrelenting brass accompaniment doesn’t falter at all throughout the work, even in the intense climax section or at the quiet end. The music comes to a quiet close with a tambourine accompaniment before a cheeky flute flourish to end this sweet work. 

Jupiter, "the Bringer of Jollity” with its Falstaffian sense of humor, is the most popular of the movements and it conveys the astrological significance of Jupiter as benevolent and generous. Perhaps the cause of its popularity lies in the very English tune which is introduced toward the middle of the movement. Solemn and carol-like, the melody was later arranged as the hymn tune Thaxted, after the village where Holst lived for many years. Adapted to fit a poem by Sir Cecil Spring-Rice, I vow to thee, my country, the music became associated with the strong patriotic feelings resulting from the human cost of World War I. Later, the tune was incorporated in the hymn O God Beyond All Praising. It has even been used as the theme of the Rugby Union World Cup since 1991. 

In addition to his vast output of German poetry, Rainer Maria Rilke (1875-1926) composed nearly 400 poems in French. His poems on roses struck me as especially charming, filled with gorgeous lyricism, deftly crafted and elegant in their imagery. 

Contre Qui, Rose is the second movement of my choral cycle Les Chansons des Roses, on poems by Rilke, a poet whose texts were also used for my Nocturnes and Chanson Éloignée. Rilke’s poetry is often multilayered and frequently ambiguous, forcing his reader to use his or her own imagination to grasp the text. This wonderful little poem poses a series of questions, and the corresponding musical phrases all end with unresolved harmonies, as the questions remain unanswered. We have all been in situations where we have given affection and not had it returned, where attempts at communication have been unsuccessful, met by resistance or defenses of some kind. A sense of quiet resignation begins the setting as the stark harmony and melodic line, filled with unresolved suspensions and appoggiaturas, gradually build to a nine-part chord on [“on the contrary”] and then the music folds back on itself, ending on a cluster that simply fades away as does the hope of understanding the reasons for the rose’s thorny protection.

I find it interesting that many people have a proclivity toward using narratives to structure the way they listen to music. If a title or a program note does not immediately evoke a narrative, many will invent one to frame their listening experience. In some ways, video games, some more than others, also allow you to create your own narrative.

Ghost Apparatus -- a hidden network or force -- is the soundtrack for a video game that exists only in my head. The narrative for this game is up to you. From the beginning, every note, every decision has a consequence -- a cause and effect -- that sets in motion a chain of events that cannot be undone. Every note, every gesture is part of a larger puzzle; these single points of sound come together to form something bigger. It’s not apparent from the beginning, but there’s also a force working against the music, against the game. It comes in the form of a melody that emerges slowly -- just quick, dramatic swells at first -- gradually becoming longer and punctuated by low, loud pillars of sound from the low voices until, finally, the music melts into chaos and this force overtakes the music entirely.

Halcyon Hearts is an ode to love and how it affects us all. Halcyon denotes a time where a person is ideally happy or at peace, so in short Halcyon Hearts is about the moment of peace when one finds their love or passion.

The piece centers around major 7th and warm colors to represent the warmth that love bring us. The introduction – which is sudden and colorful – symbolizes the feeling of the unexpected journey it takes to find love. Using the colors and natural energy of the ensemble, we create this sound of ambition and passion throughput the work. No matter what race, gender, religion, nationality or love, we all are united with the common thread of passion from the heart. This piece was written in dedication to those who love no matter which negativity is in the world; do not allow hate and prejudice to guide the way we live our lives. Always choose love and the halcyon days will come.

Love does not delight in evil 
but rejoices with the truth, 
It always protects, always trusts, 
always hopes, always perseveres 
Love never fails.

When Mstislav Rostropovich (“Slava” to his friends) invited Leonard Bernstein to help him launch his inaugural concert as Music Director of the National Symphony Orchestra, he also asked him to write a rousing new opening piece for the festivities. This overture is the result, and the world premiere took place on October 11, 1977, with Rostropovich conducting his orchestra at the Kennedy Center for the Performing Arts in Washington, D.C.

The first theme of Slava! is a vaudevillian razz-ma-tazz tune filled with side-slipping modulations and sliding trombones. Theme two, which prominently features the electric guitar, is a canonic tune in 7/8 time. A very brief kind of development section follows, after which 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 Mussorgsky’s Boris Goudonov, where the chorus sings the Russian word “Slava!”, meaning “glory!” In this way, of course, the composer is paying an extra four-bar homage to his friend Slava Rostropovich, to whom this overture is fondly dedicated.

Elegy for a Young American is a testament to the vision and commitment of our 35th president, as well as a deeply emotional meditation on his tragic passing. The work is often described as moving through the various stages of grief: denial, anger, bargaining, depression, and acceptance. Interestingly, the idea of a codified progression of grief was not put forward until 1969, five years after the premiere, but there is no doubt that the piece travels through many of the emotional states felt by so many Americans in November of 1963. Gentle, homophonic choruses give way to discordant outbursts and massive climaxes as the composer struggles to make sense of Kennedy’s death. Finally, the anguish settles into a peaceful resolution, suggesting that even in the face of tragedy there is some room for acceptance.

Folk Dances, This popular wind band work by the Soviet-era composer Dmitri Shostakovich was originally composed in 1943 as the third movement, Dance of Youth, of My Beloved Country, Op. 63. It was first arranged for Russian bands by Mark Vakhutinskii in 1970 and edited for American bands by H. Robert Reynolds nine years later.

Gloriosa is a symphonic poem for band in three song-like movements: Oratio, Cantus and Dies Festus. This stirring and powerful homage to early Christianity in Japan during the Edo Period profoundly and eloquently states the case of cross-cultural conflict and resolution. Roman Catholic missionary Francisco Xavier introduced Christianity in the southern region of Kyushu during the 1550s; subsequently a variety of Western music arrived in Japan as well. The piece is inspired by the songs of the Kakure-Kirishitan (Crypto-Christians) of Kyushu who continued to practice their faith secretly by disguising songs so that Gregorian-like melodies and lyrics were “Japanized.” For example, the Latin word “Gloriosa” was changed to “Gururiyoza.”

This adaptation of liturgy for survival inspired Ito to write a fusion of Gregorian chant and Japanese folk music to display the most sophisticated counterpoint yet found in any Japanese composition for wind orchestra. The composer states:

“Nagasaki district in Kyushu region continued to accept foreign culture even during the seclusion period, as Japan’s only window to the outer world. After the proscription of Christianity, the faith was preserved and handed down in secret in the Nagasaki and Shimabara areas of Kyushu region. My interest was piqued by the way in which the Latin words of Gregorian chants were gradually ‘Japanized’ during the 200 years of hidden practice of the Christian faith. That music forms the basis of Gloriosa. The Gregorian chant Gloriosa begins with the words ‘O gloriosa domina excelsa super sidera que te creavit provide lactasti sacro ubere.’ The first movement, Oratio, opens with bells sounding the hymn’s initial phrases. The movement as a whole evokes the fervent prayers and suffering of the Crypto-Christians. The second movement, Cantus, showcases a brilliant blend of Gregorian chant and Japanese elements by opening with a solo passage for the ryuteki, a type of flute. The theme is based on San Juan-sama no Uta (The Song of Saint John), a 17th-century song commemorating the Great Martyrdom of Nagasaki where a number of Kyushu Christians were killed in 1622. The third and final movement, Dies Festus, takes as its theme the Nagasaki folk song Nagasaki Bura Bura Bushi."

-Program notes used from Windrep.org

Brass 

Amanda Bekeny, trumpet 
Ken Heinlein, tuba 
Benjamin Hottensmith, horn 
David Mitchell, trombone, euphonium

Percussion 

Matthew Holm 
Matthew Larson 
Nicholas Petrella

Piano 

Donna Lee 
Anna Grudskaya

Strings 

Amy Glick, violin 
Hannah Moses, cello 
James Rhodes, viola 
Bryan Thomas, double bass 

Voice 

Marla Berg 
Tim Culver 
Hannah Jencius 
Sandra Ross 
Lara Troyer 
Jay White

Ensembles 

Samir Al-Hadid, Nova Jazz 
Shawna Hinkle, Cantique 
Matthew Holm, Percussion Ensemble 
Rodney Hubbard, Gospel Choir 
Benjamin Lorenzo, Bands 
Priwan Nanongkham, Thai Ensemble 
Darin Olson, Bands 
Matthew Swope, Choirs 
Isaac Terceros, Orchestra 
Bobby Selvaggio, Jazz Ensembles 
Janine Tiffe, African Ensemble & Steel Band 

Woodwinds 

Mark DeMio, bassoon 
Suyeon Ko, flute 
Perry Roth, saxophone 
Danna Sundet, oboe 
Amitai Vardi, clarinet 

Administration and Staff 

Tony Hardin, Director of the School of Music
Sarah Labovitz, Special Assistant to the Director 
Samuel Robert, Recording Technician 
Emilee Sanor, Administrative Secretary 
Blaine Vesely, Piano Technician

Thank you to Tau Beta Sigma and Kappa Kappa Psi for your dedicated service to the Kent State Bands. Both organizations are committed to supporting bands through various forms of service, leadership development, and creating a strong sense of community for our musicians.