Illinois State University College of Fine Arts School of Music

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Symphonic Band and University Band Dan Dietrich, conductor Johannes Krohn, conductor Shannon Shaffer, conductor

Center for the Performing Arts Thursday Evening December 1, 2016 8:00 p.m. This is the eightieth program of the 2016-2017 season.

Program Please silence all electronic devices for the duration of the concert. Thank you.

University Band Shannon Shaffer & Johannes Krohn, conductors

Invicta (1981)

James Swearingen (born 1947) 6:00

Rippling Watercolors (2015)

Brian Balmages (born 1975) 4:45

A Longford Legend (1996)

Robert Sheldon (born 1954) 7:10

Lone Star Celebration (1995)

James Curnow (born 1943) 7:40 Symphonic Band Dan Dietrich, conductor

Commemorating the Illinois State University Career of George Foeller

A Christmas Intrada (1980) Members from the Symphonic Wind Brass section

Alfred Reed (1921-2005) 6:00

Carnival of Venice (1950)

Traditional arranged by Herbert L. Clarke (born 1929) 3:00

Nutcracker Sweets (2010)

Pyotr Ilyich Tchaikovsky arranged by Neil Corwell (born 1958) 5:00

Canterbury Chorale (2010)

Jan Van der Roost (born 1956) 5:00

The Demon (1966)

Paul Huber (1918-2001) arranged by George Foeller 10:00

“Radetzky” March (1885)

Johann Strauss, Sr. (1804-1849) arranged by George Foeller 2:30

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 at the ISU School of Music. Please visit http://www.bands.illinoisstate.edu for more information. Thank you for your support!

James Swearingen (born 1947) James Swearingen's talents as a performer, composer/arranger and educator include a background of extensive training and experience. He has earned degrees from Bowling Green State University and The Ohio State University. Mr. Swearingen is currently Professor of Music, Department Chair of Music Education, and one of several resident composers at Capital University located in Columbus, Ohio. He also serves as a staff arranger for the famed Ohio State University Marching Band. Prior to his appointment at Capital in 1987, he spent eighteen years teaching instrumental music in the public schools of central Ohio. Mr. Swearingen's numerous contributions for band have been enthusiastically received by school directors, student performers, and audiences worldwide. With over 500 published works, he has written band compositions and arrangements that reflect a variety of musical forms and styles. Many of his pieces, including eighty six commissioned works, have been chosen for contest and festival lists. He is a recipient of several ASCAP awards for published compositions and in 1992 was selected as an Accomplished Graduate of the Fine and Performing Arts from Bowling Green State University. In March of 2000, he was invited to join The American Bandmasters Association, which is considered to be the most prestigious bandmaster organization in the world. Mr. Swearingen received the 2002 Community Music Educator Award given annually by the Columbus Symphony Orchestra. In that same year, he became conductor of the Grove City Community Winds. This highly talented ensemble consists of many fine musicians from the central Ohio area. He is a member of numerous professional and honorary organizations including OMEA, MENC, ASBDA, Phi Beta Mu and Pi Kappa Lambda. - Biography courtesy of the composer

Invicta (1981) was composed as a tribute to Mark S. Kelly, Director of Bands at Bowling Green State University, Bowling Green, Ohio. Regarding the dedication, James Swearingen expressed the following; "Several times during my eighteen years of public school teaching, Professor Kelly provided me with educational guidance which helped to mold my career as a teacher. Needless to say, I owe many of my successes to this man's valuable advice." This composition, which utilizes ABA form, is introduced by a bold maestoso fanfare in the key of Bb major. The main theme (allegro con moto) is then passed back and forth between several sections of the ensemble. Having modulated to the key of Ab, a beautiful middle section is masterfully developed before an eventual return to the key of Bb. The recapitulation then allows the composer an opportunity to display his skill at inter-weaving previously introduced themes simultaneously. Invicta is another classic in the long list of Swearingen favorites. - Program notes courtesy of the composer

Brian Balmages (born 1975) is an award-winning composer, conductor, producer, and performer. He holds a bachelor’s degree in music from James Madison University and a master’s degree from the University of Miami in Florida. His compositions have been performed worldwide at the state, national, and international level. His active schedule of commissions and

premieres has incorporated groups ranging from elementary schools to professional ensembles, including the Baltimore Symphony Orchestra, Miami Symphony Orchestra, University of Miami Wind Ensemble, Boston Brass, and the Dominion Brass Ensemble. In 2012, Mr. Balmages received the prestigious Albert Austin Harding Award from the American School Band Directors Association. He is also a 2010 winner of the Harvey G. Phillips Award for Compositional Excellence, presented by the International Tuba-Euphonium Association. As a conductor, Mr. Balmages enjoys engagements with numerous all-state and regional honor bands and orchestras along with university and professional groups. Notable guest conducting appearances have included the Midwest Clinic, Western International Band Clinic, National Association for Music Educators, American School Band Directors Association, CBDNA, the Kennedy Center, and Meyerhoff Symphony Hall. He has also served as an adjunct professor of instrumental conducting and Acting Symphonic Band Director at Towson University in Maryland. Currently, Mr. Balmages is the Director of Instrumental Publications for The FJH Music Company Inc. in Fort Lauderdale, Florida. He resides in Baltimore with his wife Lisa and their two sons. - Biography courtesy of the Frank J. Hackinson Music Company

Rippling Watercolors (2015) “Many often underestimate the extensive colors, harmonies, and emotional range that are often achievable in younger ensembles. It is in this spirit that the musical lines of Rippling Watercolors were born. This was not meant to be a lyrical piece for younger ensembles; rather, it was written as a fully expressive lyrical work that happens to be playable by younger ensembles. I believe there is a significant difference. No phrases were truncated, no ranges were “limited,” and no rhythms were watered down for the sake of playability. This piece just happens to be attainable by younger groups, yet the music exists exactly as it would even if I had written this for a college group. The title comes from a range of inspiration. I often get asked about my last name. As most can imagine, there are very few of us left in the world. At present, my wife and I are one of only two couples in the United States that can carry on our family name. My cousins Ben and Carrie on the west coast are the other couple, and they now have two beautiful girls. We all share a lot of beliefs – we encourage our children to be creative, spontaneous, and we enjoy watching where their imaginations take them. The idea for this piece came from a simple set of watercolors. When children get hold of these and use their imagination, the most amazing things can happen. Children can see things that adults never see. They open our minds as much (if not more) than we try to help them grow. With a little imagination, these watercolors can become a magnificent sunrise or sunset over the ocean, a gorgeous view from a mountaintop, or an image of a supernova in space. The smallest drop can change the pattern and create something entirely new, either with a brush or entirely within nature. It is my hope that Lily and Charlotte grow up with an infinite palette of watercolors, and that every drop creates a new, fantastic world. Rippling Watercolors was commissioned by the Springer Middle School Bands (Wilmington, Delaware, Robert J. Baronio, director). It is dedicated to my cousins Lily and Charlotte Balmages, who combined with my two boys, form the next generation of the Balmages name in the United States.” - Program notes courtesy of the composer

Robert Sheldon (born 1954) is well known as a frequently published composer of music for bands and has successfully taught instrumental music in the public schools of Florida and Illinois. He was Assistant Director of Bands and Director of the Marching Band at Florida State University, where he was also actively involved in the music education program. He received his Bachelor of Music Education from the University of Miami in 1975 and his Master of Fine Arts in Conducting from the University of Florida in 1980. Sheldon has received numerous awards for his compositions, including the Volkwein Award, the American Society of Composers, Authors and Publisher’s Standard Award, and the Phi Beta Mu International Outstanding Bandmaster of the Year Award. He is one of eleven American wind band composers featured in Volume I of Composers on Composing Music for Band (GIA Publications, Inc., 2002). A Longford Legend was Sheldon’s first publication with Alfred Music Company, where he currently serves as Concert Band Editor while maintaining an active schedule composing and guest conducting. - Biography courtesy of Teaching Music through Performance in Band

A Longford Legend (1996) was commissioned by the Normal Community West High School Band (Normal, Illinois, Lisa Preston, director). The piece was written in 1996 and premiered in April of that year with the composer conducting. It is based on the composer’s impressions of three poems found in a collection of Eighteenth Century Irish ballades, and is written as a tribute to the wonderful music of Grainger, Holst, and Vaughan Williams. Sheldon heard A Longford Legend, the poem that inspired the first movement of the suite, on “A Writer’s Almanac” broadcast on National Public Radio, read by Garrison Keillor. Taken with the potential for musical inspiration in the poem, he sought to find the author with the intent of writing a suite based on a variety of poems from the same venue. Through his research, he found that A Longford Legend was written by an anonymous author. He later found a collection of eighteenth century Irish street ballades by anonymous authors, and selected an additional two works, Young Molly Brown and Killyburn Brae, from this collection to complete the instrumental suite. - Program notes courtesy of Teaching Music through Performance in Band

James

Curnow

(born 1943) is an American composer, conductor, educator, and publisher. He received some of his earliest training in the Salvation Army Instrumental Music program, a debt he later repaid as editor of their music publications. He undertook undergraduate studies at Wayne State University (BM 1966) and graduate studies at Michigan State (MM 1970), studying euphonium with Leonard Falcone and conducting with Harry Begian. His composition teachers were F. Maxwell Wood, James Gibb, Jere Hutchinson, and Irwin Fischer. He has over 400 works in his catalog, mostly tonal, many of which take their inspiration from literature. He is widely known for his symphonic band and brass band works, several of which have won major awards: Symphonic Triptych, Collage for Band (ASBDA/Volkwein, 1977, 1979), Mutanza, Symphonic Variants for Euphonium and

Band (ABA/Ostwald, 1980, 1984), and Lochinvar (Coup de Vents, France, 1994). His prolific output for young musicians reflects his many years teaching at public school and college levels. He founded and presides over Curnow Music Press, Inc. - Biography courtesy of Grove Music Online

Lone Star Celebration (1995) Texas is called the Lone Star State because of the single star on its flag. Through the years, the flags of six nations have flown over Texas. Besides the United States, these nations were Spain, France, Mexico, The Republic of Texas, and the Confederate States of America. On December 29, 1845, Texas officially became the twenty-eighth state in the union. This overture is designed to celebrate the 150th Anniversary of this event. - Program notes courtesy of Curnow Music Press

Alfred Reed (1921–2005) Alfred Reed, a Florida resident, is one of the most celebrated, prolific, and frequently performed band composers of the Twentieth Century. His works, over 200 of which have been published, have been on contest required performance lists for well over twenty years. He succeeded Frederick Fennell as conductor of the Miami University Wind Ensemble and has lived in the Miami area since 1960. In 1966, he joined the faculty of the School of Music at the University of Miami where he held a joint appointment in the Theory/Composition and Music Education departments, and developed the unique music merchandising degree program at the institution. - Biography courtesy of Community Band of Brevard

A Christmas Intrada (1980) The celebration of the Nativity has called forth countless songs, dances, carols, plays, and combinations of these, involving both vocal and instrumental forces. Throughout the centuries, music for the Nativity has intertwined the feeling of radiant joy and infinite tenderness in many different ways. A Christmas Intrada represents an attempt to portray, in musical terms alone, five contrasting moods associated with the festivities of the Christmas season. These five sections are played without pause. They are: Fanfare: Christus Natus Est, for brass, chimes, bells and percussion only; Lullaby for the Christ Child played by the woodwind and saxophones; Processional of the Kings and Shepherds played by the full group; Carol for the Holy Night for woodwinds, saxophones and muted brass; and, finally, Wassail and Alleluia beginning with the bells and chimes alone, and gradually growing to include not only the full group but also antiphonal brass choirs, to bring the entire work to a joyous and triumphant conclusion. A Christmas Intrada was commissioned by the Middle Tennessee State University Band and dedicated to the bands who annually participate in the Contest of Champions, on the occasion of its twentieth anniversary (1981). The first performance took place on that occasion, at Murfreesboro, Tennessee, October 23, 1981, with the U.S. Marine Band, plus antiphonal brass choirs. - Program notes courtesy of Community Band of Brevard

Herbert L. Clarke (born 1929) was the cornet soloist and assistant conductor for the Sousa Band between 1893 and 1917. In addition to his position with the Sousa Band, Clarke was also employed during his lengthy musical career as solo cornetist with the professional bands of Victor Herbert, Patrick Gilmore, Frederick Innes, and Ernest Neyer. In addition to his notable

career as cornet soloist, Clarke served as the conductor of the Reeves American Band of Providence, Rhode Island, the Huntsville, Ontario Anglo−Canadian Leather Company Band, and the Long Beach, California Municipal Band, a post that he held from 1923 until 1943. - Biography courtesy of The University of Illinois

Carnival of Venice (1950) The band concerts of the early twentieth century, directed by John Philip Sousa and Arthur Pryor, were significant social and musical events. The audiences were dazzled and the skills of the musicians were often tested in works similar to these variations on the Carnival of Venice composed by Herbert L. Clarke. Although written after Clarke retired from his performing career, it embodies the difficult tonguing and perfect fingering Clarke knew was needed by the soloist to bring forth the phrasing, arpeggios, and intervals as a testimony of that player’s skills. It has become a rite of passage for many brass musicians. Consisting of an introduction, theme, two variations, and a finale, the demands on the soloist never stop. In the last variation, it sounds like the soloist is accompanying himself in multiple octaves. - Program notes courtesy of Foothill Symphonic Winds

Pyotr Ilyich Tchaikovsky (1840-1893) was born in Votkinsk, Vyatka region, Russia. He played piano since the age of five; he also enjoyed his mother's playing and singing. He was a sensitive and emotional child, and became deeply traumatized by the death of his mother of cholera, in 1854. At that time he was sent to a boarding school in St. Petersburg. He graduated from the St. Petersburg School of Law in 1859, and then worked for three years at the Justice Department of the Russian Empire. In 1862-1865, he studied music under Anton Rubinstein at the St. Petersburg Conservatory. In 1866-1878, he was a professor of theory and harmony at the Moscow Conservatory. At that time he met Franz Liszt and Hector Berlioz, who visited Russia with concert tours. During that period, Tchaikovsky wrote his first ballet The Swan Lake, opera Eugene Onegin, four Symphonies, and the brilliant Piano Concerto No1. In 1883-1893 Tchaikovsky wrote his best Symphonies: No.5 and No.6, ballets The Sleeping Beauty and The Nutcracker, and operas The Queen of Spades and Iolanta. In 1888-1889, he made a successful conducting tour of Europe, appearing in Prague, Leipzig, Hamburg, Paris, and London. In 1891, he went on a two-month tour of America, where he gave concerts in New York, Baltimore, and Philadelphia. In May of 1891 Tchaikovsky was the conductor on the official opening night of Carnegie Hall in New York. He was a friend of Edvard Grieg and Antonín Dvorák. In 1892, he heard Gustav Mahler conducting his opera Eugene Onegin in Hamburg. Tchaikovsky himself conducted the premiere of his Symphony No.6 in St. Petersburg, Russia, on the October 16, 1893. A week later he died of cholera after having a glass of tap water. He was laid to rest in the Necropolis of Artists at St. Aleksandr Nevsky Monastery in St. Petersburg, Russia. - Biography courtesy of International Movie Database

Nutcracker Sweets (2010) is an arrangement of Nutcracker Suite for symphonic band and euphonium solo. The solo part is a virtuosic show of technical and lyrical ability. The solo adds another layer of excitement and interest while still staying true to the original piece. Tchaikovsky’s Nutcracker Suite is a piece of music that uses selections from his ballet simply titled The Nutcracker. This suite has become one of Tchaikovsky’s most famous works, and is his most widely performed piece of music. It has also become a standard part of holiday literature, and is a favorite for winter concerts. The two movements being performed tonight, Arabian Dance and Trepak have starkly contrasting styles. The first features a slow, darker melody over a drone-like accompaniment. The second is significantly more upbeat, and is one of the most instantly recognizable melodies from the suite. - Program notes courtesy of Illinois State University

Jan Van der Roost (born 1956) was born in Duffel, Belgium, in 1956. At a very young age he was introduced to the prominent names in the concert band, fanfare band, and brass band repertoire which inspired him to put something on paper himself. He studied trombone, music history, and musical education at the Lemmensinstituut in Leuven (Louvain). He continued his studies at the Royal Conservatoires of Ghent and Antwerp, where he qualified as a conductor and a composer. Jan Van der Roost currently teaches at the Lemmensinstituut in Leuven (Belgium), is a guest professor at the Shobi Institute of Music in Tokyo, guest professor at the Nagoya University of Art, and guest professor at Senzoku Gakuen in Kawasaki (Japan). Besides being a prolific composer he is also very much in demand as an adjudicator, lecturer, holder of clinics and guest conductor. His musical activities have taken place in more than forty-five countries in four continents and his compositions have been performed and recorded around the world. - Biography courtesy of the composer

Canterbury Chorale (1841) is a quiet piece with broad tones originally written for brass band on request of Robert Leveugle, chairman of the composers own band: Brass Band Midden Brabant (Belgium). The direct cause was a visit to the beautiful cathedral of the English city Canterbury, in which so many fine compositions sounded throughout the centuries. Eventually Van der Roost rescored this piece for symphonic wind band, exploring the full richness of colors of this formation. Besides solo phrases for several instruments, there are some massive tutti passages making the wind orchestra sound like a majestic organ. An “ad libitum” organ part adds an extra richness, color, and power to this piece, making it sound even more broad and grand. - Program notes courtesy of windliterature.org

Paul Huber (1918-2001) began to compose music while still a high school student at the Collegium St. Fidelis in Stans. At that point his career had already been decided: comprehensive studies at the Zurich Conservatory were supplemented by tuition in composition with Nadia Boulanger in Paris in 1947. The young composer was asked at very short notice to replace the ailing J.B. Hilber who had been commissioned as the official composer for the Swiss

Music Festival in 1948. The premier of Huber’s Piece Frau Musica made his name known throughout Switzerland overnight. Following Frau Musica, he composed over 400 works. Huber has received numerous prizes and honors for his compositions; for example, he received the Culture Award of the City of St. Gallen in 1982. - Biography courtesy of Katrin Dubach

The Demon (1966) With furtive cunning and shrill impudence, the evil spirit controls the field until the people are startled by the suppressed intoning of the “Day of Wrath” and are reminded of the last judgement. However, the evil spirit is not yet beaten and is able to maintain himself through ever new disguises. A penetrating funeral march affirms once again the gloomy vision of death and justice. The demonic opponent is stimulated to ever more furious activity, permanently persecuted by the Dies Irae motive which, by threatening thematic splintering, becomes ever more forcible. The struggle ends unresolved, concluding with a questioning dissonance. - Program notes courtesy of the composer

Johann Strauss Sr. (1804-1849) was born on the March 14, 1804, as the son of an innkeeper. The location of his father's inn at the Danube Channel and the neighboring harbor with its rafts and boats from different countries and the music played by the sailors, influenced Johann Sr. enthusiasm for popular dance music. After the death of both parents he began working as an apprentice for bookbinding in 1816 and started studying the violin. He got hired for the chapel of Michael Pamer as violin player but soon Strauss decided to become independent with his own orchestra. After a longer period of existential and financial problems he managed his breakthrough. He started to tour through Europe where he celebrated his popularity and he even played at the crowning of Queen Victoria in London. His success was enormous and he became conductor of the first civil regiment, where he composed the Radetzky Marsch. - Biography courtesy of aboutvienna.org

Radetzky March (1966) Johann Strauss Sr. composed Radetsky March in honor of Field Marshal Joseph Radesky von Radez to commemorate his victory at the Battle of Custoza in 1848 (during the first Italian War of Independence). Despite its martial background, the music is more celebratory than military and seems more suited for the dance floor than the battlefield. It consists of an introduction followed by six musical figures, each of which is repeated and mixed with the next. When the chorus was first played for the Austrian army, the officers clapped and stomped their feet. This tradition continues in many venues as audiences clap rhythmically and softly during the first time the melody is heard, and then thunderously the second time. The Radetzky March may be Johann Strauss Senior's most enduring legacy - Program notes courtesy of the Butte Symphony

Dan Dietrich holds both Bachelor's and Master's Degrees in Music Education from Illinois State University. Dan retired in 2010 after thirty-three years of teaching, thirty of which

he spent as the Director of Bands at Illinois Valley Central High School of Chillicothe. The IVC Band is well known around the state of Illinois due to the quality of its well-rounded program and its numerous appearances at State and National Events. Under his direction, the Marching Grey Ghosts were Class State Champions eleven times and placed six times. In 2003, IVC was the first band in nineteen years to win both its class at the State of Illinois Marching Band Championship and the coveted Governor’s Trophy at the University of Illinois Marching Band Festival. IVC Bands have performed at the Holiday Bowl, Fiesta Bowl, Gator Bowl, Indy 500 Parade and Race, Holland Michigan Tulip Festival Parade, The Kentucky Derby Parade, the Citrus Bowl Parade, Mount Rushmore, the National Memorial Day Parade, Washington DC, and the Hui Ana Parade in Honolulu. The IVC Band program has had up to three concert units under his direction. The top Band, the IVC Wind Ensemble, has received only Superior Ratings at State contests since 1980 and has been asked to perform at Illinois Music Educator’s State Convention, State PTA, American Legion, and Township Officials Conventions. The IVC Jazz Band One has consistently placed in the top three at the prestigious “Jazz in the Meadows” festival and was a finalist in 2008. That same year Jazz I performed at the Illinois Music Educator’s All State Convention. The Jazz Program has produced several All State musicians over the years, many of whom have gone on to professional careers. Dan served on the Illinois High School Association Music Committee and was given a Distinguished Service Award for his efforts in re-organizing the State's Music Contests. For six years, Dan was the Assistant to the Director of the IHSA and oversaw all their music related activities. In 2007, he received Outstanding Music Educator Award from the National Federation of High School Associations. For seventeen years, he was in charge of logistics and equipment for the Illinois Music Educators State Convention in Peoria. For that service the IMEA awarded him its Distinguished Service Award in 2007. He has been a guest conductor, clinician, lecturer at schools, festivals, and workshops throughout the Midwest. In 1999, School Band and Orchestra Magazine named Dietrich as one of its “50 Directors that Make a Difference.” In 2003, he received the “Friend of Youth Award” from the Optimist Club. Mr. Dietrich is also an active performer. He has been the featured trombone soloist with the Prairie Wind Ensemble four times. He has performed with the Peoria Symphony Orchestra, the Peoria Opera Orchestra, the Peoria Municipal Band, the Pontiac Municipal Band, Corn Stock Theater and Peoria Players Theater, Central Illinois Brass Band, the Central Illinois Jazz Orchestra, and the River Valley Brass Ensemble. Since retiring, Dan has been active as the low brass instructor for Streator, Normal West, Washington, and Metamora High Schools, where he has over forty private students. He is an Assistant Professor of Clinical Experiences at Illinois State University where he observes and mentors student teachers for the music department and is now conducting the Symphonic Band. - Biography courtesy of the conductor

University Band Personnel Shannon Shaffer & Johannes Krohn, conductors

Flute

Kelsey Anello Kaity Bricker Anamarija Dimevska Larisa Falconer Mary Gerbatsch Marissa Hartke Makenzie Heinen Malea Holm Jesenia Kolimas Anna Krecklow Hannah Maack Maggie Miller Amanda Rodriguez Angela Taylor Jessica Thurman Anna Yakey

Oboe

Margaret Bourdon Ye Jin Jang

Bassoon

Brandon Johnson Ashley Peterson Jessica Sorg

Clarinet

Alyssa Arkin Rebecca Behrendt Jack Blahnik Katherine Cosenza Bailey Craig Melissa Fowler Miranda Hilliard Collin Marcum Maddie McDonald MaLana McCloud Juan Moon Ellie Phillis Tiara Redmond Edward Sulaitis Terri Thomas

Bass Clarinet

Kyle Abel Andrew Hinderliter

Saxophone

Delaney Brummel Jeffrey Burke Bill Darrow Catalina Hernandez Noelle Ortega Michael Rickey Jennifer Roesler Scott Stewart Andrew Stouffer-Lerch

Horn

Amanda England William Felgenhauer Erin Jessup

Trumpet

Liam Farrell Samuel Foster Ricky King Elizabeth Kraus Jamie Rago Grace Steinke

Trombone

Hailee Brauer Tyler Dietz Hannah Lehmann Scott Piekarski Robert Skogh Tom Sturino Billy Wright

Euphonium

Darius Echols Ryan Guerin Jacob Veyette

Tuba

Nick Klecki Faith Potetti

Percussion

Benjamin Dahms Nicole Gregor Andrew Kenny Mitch Martin Kimberly Nicholson Antonio Rodriquez Ethan Stoneburner

Symphonic Band Personnel Dan Dietrich, conductor

Flute

Brennon Best Ivette Enriquez Anna Howell Melissa Fulkes Sarah Lange Amelia O’Donnell Jonathan Popper Sarah Rasmussen* Ryan Starkey McKayla Scroggins Clare Takash Meghan Wilson

Oboe

Alyssa Dees Colleen Horne

Trumpet

Amy Caulk Tom Gloodt* Nessa Guerra Timothy Linden Ben Mussell Robin Olmsted Noah White Abbey Wolski

Trombone

Emma Benjamin Darius Echols Emanuel Guzman* Elias Karris Andrew Thul

Bass Trombone

Bassoon

Courtney Baltzer Emma Scalf

Stephen Dupré Eric Gilardon Raahmedd Williams

Clarinet

Euphonium

Lydia Armour Lauren Crumble* Madison Klintworth Caitlin Massey Nathaniel Reginald Andrea Ruiz Terri Thomas

Bass Clarinet Sam Green

Saxophone

Matthew Garbin* Katelyn Luckett Ben Long Andrea McAfee Tony Raff

Horn

Katie Battista* Rebecca Hartmann Laura Tam Kristin Wooldridge

Giovanni Avila Matthew Fink Greg Watson*

Tuba

Andrew Bilgri* Jeffrey Humphrey Michael Mayer Jim Wellwood

Percussion

Ryan Brennan Matt Cowsert Laura Hanson Jakob Kocanda Alejandra Martinez-Aviles Anh Nguyen Sam Price Daniel Rehm Isaac Soares Chuck Willard*

Acknowledging the important contributions of all ensemble members, this list is in alphabetical order. *Denotes Section Leader