University of Tennessee Concert & Symphonic Bands
Tuesday, February 27, 2024 at 7:30 p.m.
University of Tennessee Concert & Symphonic Bands

Tuesday, February 27, 2024 at 7:30 p.m.

James R. Cox Auditorium
Alumni Memorial Building
University of Tennessee, Knoxville

CONCERT BAND

Dr. Michael Stewart, conductor

Origin
Cait Nishimura
(b. 1991)

Chant and Jubilo
W. Francis McBeth
(1933-2012)

Tyler Hamilton, graduate conductor

Aquarium
Johan de Meij
(b. 1953)

Fortress
Frank Ticheli
(b. 1958)

Alex Boone, graduate conductor

SYMPHONIC BAND

Dr. Fuller Lyon, conductor

Variations on a Korean Folk Song
John Barnes Chance
(1932-1972)

Matthew Waymon, graduate conductor

River Memoria
Kevin Day
(b. 1996)

To Sacred Summits
Kevin Poelking
(b. 1988)

Concert Band

Origin

As told by the composer, Origin was commissioned by Dr. Jeff Reynolds for the University of Toronto Wind Ensemble. As an alumna of the school and a former student of Dr. Reynolds, it was an honour to compose this short fanfare to open the 2022-23 concert season. Origin is an uplifting, empowering piece that evokes the feeling of returning home to a significant place in one’s journey, reflecting on all that has changed and all that has remained. I have come to cherish the magical full-circle experiences that occur when my music is performed in spaces that were meaningful or inspiring to me as a young musician. This piece is an ode to all the people and places that leave a lasting impact on the lives of others.

Cait Nishimura is a Japanese Canadian composer based in Waterloo, Ontario. Known for writing nature-inspired, programmatic music, Cait has established herself as a prominent voice in the concert band community. Her music has been presented at MusicFest Canada, The Midwest Clinic, and numerous other international conferences and festivals. Cait is passionate about empowering others through art, and strives to set a positive example for future generations of musicians through her creative work and her dedication to mental health awareness and environmentalism. She is an Associate Composer of the Canadian Music Centre and holds degrees in music and education from the University of Toronto.

Chant and Jubilo

William Francis McBeth was an influential composer and conductor throughout his career. McBeth began studying music from his mother at an early age and later earned his music degree from Hardin-Simmons University. From 1954 to 1956, McBeth served in the military in the 98th Army Band in Fort Rucker, Alabama and the 101st Airborne Band in Fort Jackson, South Carolina. Afterwards, McBeth attended the University of Texas and earned his master’s degree in music in 1957. Shortly after, he joined the faculty at Ouachita Baptist University in

Arkadelphia, Arkansas, where he remained until his retirement in 1996. Throughout his compositional career, McBeth wrote several important works for band such as Kaddish, Masque, and Of Sailors and Whales. Considered a standard piece in the wind band repertoire, Chant and Jubilo was commissioned by Jerry Loveall for the Four States Bandmasters Convention in Texarkana, Texas, and was first performed in January of 1962. The work is composed in two contrasting sections. The first section is reminiscent of early church organum and features a slow lyrical melody. The second section is lively and energetic and features the brass and percussion sections.

Aquarium

The suite Aquarium is Johan de Meij's third composition for symphonic band and features six tropical fishes, each of them represented by a motif, and surfacing as such in several guises. The composition consists of three movements, of which the second and third merge uninterruptedly into each other.

1. Allegretto grazioso (Neon Tetra, Electric Eel and Angelfish)
2. Andante/Adagio (Sea Horse and Zebra fish)
3. Finale: Allegro giocoso (Guppy & Co.)

The neon tetra motif functions as a kind of 'leitmotiv' and describes the beautifully coloured, frisky fish: A number of variants have been derived from this theme and will also appear in the other movements. The electric eel is fact is not represented by a motif, but by a rhythm based on the restless electric pulses made audible in some aquaria. The angel fish is represented by elegant chord clusters.

In the second movement the sea horse emerges out of the water vegetation and starts a dialogue with the zebra fish, which is represented by one melodic phrase in unison getting more and more threatening by adding parallel fifths and octaves. Simultaneously with the sea horse motif the neon tetra theme emerges, this time in 3/4 time and in Eb minor.

The third movement starts with only two instruments (trumpet and xylophone), but as it is often the case with guppies, their number rapidly increases. Piccolo and alto saxophone introduce the guppy theme, followed by several instrumental combinations. Every theme from the first movement 'swims by' once more, after which the principal motif leads us to a brilliant ending.

Aquarium was commissioned by the Dutch Music Foundation "Fonds voor de Scheppende Toonkunst.”

Fortress

Fortress was composed in 1988 and received its premiere performance by the Batawagama Youth Camp Band in Iron County, Michigan, Donald Schleicher, conductor, on June 25, 1988. In the work, the tritone is the most important harmonic interval throughout. Alteration between major triads a tritone apart occurs throughout the piece. Additionally, there are three important motives that recur throughout the work, each receiving emphasis at different times. The main idea, a dotted eighth note followed by a sixteenth note rhythm, returns often and is passed around to differing sections. The call motif, a triplet figure followed by a half note, utilizes the tritone at the end of the figure. And the legato theme, which combines slurred patterns and a wide contrasting dynamic shape, occurring over a four-measure phrase.

Symphonic Band

Variations on a Korean Folk Song

As a member of, and musical arranger for the Eighth U.S. Army Band, John Barnes Chance served in Seoul, South Korea, during the Korean War. It was during this time that he became familiar with a traditional Korean folk song called Arirang. Chance explains, “The tune is not as simple as it sounds, and my fascination with it during the intervening years led to its eventual use as the theme for this set of variations.”

Ariarang is a tune based on the pentatonic scale, and it can be dated back to the 18th century as a song of love and heartbreak. It was utilized in the 20th century as a resistance anthem during the Japanese occupation of Korea, when the singing of patriotic songs, including the national anthem, was criminalized. Chance’s set of variations, written for concert band in 1965, begins by presenting the Arirang them, and proceeds to develop it through five variations. The piece alternates between fast and slow variations, with the final variation being marked “Con Islancio” (“with impetuousness”), and it uses a variety of time signatures and rhythmic motives to alter the theme. Chance maintains the Eastern influence of the original tune through his use of the pentatonic scale, as well as prominent use of distinct percussion instruments, such as temple blocks, cymbals, and a gong.

Variations on a Korean Folk Song was awarded the Ostwald Award in 1966 by the American Bandmasters Association.

River Memoria

Commissioned by Dr. Jason Noble for his final performance as Director of Bands at Scarsdale High School, River Memoria is a lyrical work for band that depicts a flow of time and a remembrance of the beautiful moments we share making music with others. As the sun sets on this time, there will be a new light that shines through the dawn. The river of time continues to flow and new memories will be made.

To Sacred Summits

Kevin Poelking states, “To Sacred Summits is a musical representation of the mountains of Colorado. The music aims to capture their unique beauty and power. I am able to see the peaks of Rocky Mountain National Park from the window in my studio, so their influence was profound as I composed this piece of music. After all these years of the same view, I find it fascinating how dynamic the landscape can be as wind, light, clouds, snow, and fire alter the scenery.

I often think about what it was like to see these mountains for the first time; an experience that has been shared by millions of people across thousands of years. The short introduction of this piece of music represents the distant giants, seen from miles away or perhaps just being imagined from stories or images. The mystery gives way to an explosion of sound as beams of light crest the peaks, bringing the mountains and sky to life.

The piece is the culmination of musical sketches and ideas across a five-year span. The title derived from a line in the poem “Mountain Storm” by Katherine Lee Bates, who also wrote about “purple mountain majesties” in a work that was later adapted to the song America the Beautiful.

To Sacred Summits serves as a reminder to stop every now and again and marvel at the beauty in our world. We can often forget to appreciate the most wonderful things when they are right in front of us every day.”

Dr. Michael Stewart, conductor

* = principal

+ = co-principal

Flute

Madalynn Adkerson +
Aphrael Carrillo +
Isabel Favre
Faith Flanders
Joanna Gardner (picc)
Elizabeth Hamilton
Kaz Manville
JJ Nauman
Maddie Stewart
Shelby Wilkerson

Oboe

Aubrey Grace Holland

Clarinet

Jackson Banks
Brooklyn Griffith
Chloe Levering
Hannah McGill
Courtney McHan
Evan Norris
Dylan Smith
Rachel Stewart
Maria Vite *
Elle Wlas

Bass Clarinet

Ploomie Messer
Jessie Williams

Bassoon

Emily Phillips *
Macy Porter
Patrick Sealy
Andrew van Dalen
Christopher Williamson

Alto Sax

Jordan Cannon
Andrew Cook
Luke Robertson *

Tenor Sax

Sarah Vernetti

Bari Sax

Madigan Ashe

Trumpet

Brody Carter
Amanda Lindsey Coulson
Shandi Dice
Thomas Hooper
Chance Jones
Kamden Lindsay
Koehl Lindsay
Evan Mainous
Terence Osorio *
Dylan Sacksteder
Ethan Samuelson
Kara Ussery

French Horn

Emily Baker
Duncan Clever
Jacob Dozier
Sydney Flenniken
Xander Harms
Alex Medearis
Lara O’Neil
Randall Robinson
Sam Shoemaker*
Irene Staebler

Trombone

Noah Allard
David Hernandez
Thomas Kenner
Ian Myers
Jacob Ross
Ian Searcy *
Peyton Weir
Claire Werner

Euphonium

Eli Atkin
Harrison Barnes
Connor Bedillion *
Zack Donovan
Yazeiry Perez De La Torre

Tuba

Ethan Mizzell
Olivia Thomasson
Isaiah Towns *

Percussion

Olivia Baker
Carson Hutson
Kayla King
Aiden Starcher

Piano

Routong Wang

Dr. Fuller Lyon, conductor

* = principal
+= co-principal

Names listed alphabetically

Piccolo

Maddi Smith+

Flute

Sarah Cox
Kaylei Malone*
Julianne Moss
Ella Pinchok
Chloe Watson

Oboe

Katherine Means*
Caroline Storch

Clarinet

Absa Dia
Patrick Flaherty
Lauren Goldston
Carter Holtmann
Evan Laws
Jack Myers
Bryce Neely+
Joshua Zhou+

Bass Clarinet

Joshua Adedokun
Natalie Rundblade

Contrabass Clarinet

Ashley Melvin

Bassoon

Austin Hill*
Daniel Sippel

Alto Saxophone

Julia Avery*
Anna Caten

Tenor Saxophone          

Matt Sexton

Baritone Saxophone

Preston Turner

Trumpet

Matthew Dunevant
Isaac Hair+
Micah Ireland
Ian Krueger+
Dylan Mccurry
Eli Oliver
Ben Petro
Jack Watt

Horn

Carson Duckworth
Grace Estes
Chase Hart
Cole McFarland+
Olivia Rhines
Zac Stanislawski+

Trombone

Wyatt Detrick*
Tyler Guthrie
Terrance Jones
Samuel Thomas

Bass Trombone

Austin Kerr

Euphonium

Sammie Beverley
Scotty Hunnicutt*

Tuba

Tommy Bond
Paul Muirhead+
Hudson Scott+

Percussion

Nathan Caldwell
Tyler Delaney
Brooke Duez
Colston Oldham+
David Scott
Zac Swafford+

String Bass

Jase Conley

Piano

Tianran Gao

December 5, 2023
Wind Ensemble Concert

February 22, 2024
Wind Ensemble Concert

February 27, 2024
Concert Band/Symphonic Band Concert

April 10, 2024
Wind Ensemble Concert

April 25, 2024
Concert Band/Symphonic Band Concert

We hope you enjoyed this performance. Private support from music enthusiasts enables us to improve educational opportunities and develop our student artists’ skills to their full potential. To learn more about how you can support the College of Music, contact Chris Cox, Director of Advancement, 865-974-3331 or ccox@utfi.org.

 

Want to know more about the bands at the University of Tennessee? Please visit utbands.utk.edu.

University of Tennessee Concert & Symphonic Bands
Tuesday, February 27, 2024 at 7:30 p.m.
University of Tennessee Concert & Symphonic Bands

Tuesday, February 27, 2024 at 7:30 p.m.

James R. Cox Auditorium
Alumni Memorial Building
University of Tennessee, Knoxville

CONCERT BAND

Dr. Michael Stewart, conductor

Origin
Cait Nishimura
(b. 1991)

Chant and Jubilo
W. Francis McBeth
(1933-2012)

Tyler Hamilton, graduate conductor

Aquarium
Johan de Meij
(b. 1953)

Fortress
Frank Ticheli
(b. 1958)

Alex Boone, graduate conductor

SYMPHONIC BAND

Dr. Fuller Lyon, conductor

Variations on a Korean Folk Song
John Barnes Chance
(1932-1972)

Matthew Waymon, graduate conductor

River Memoria
Kevin Day
(b. 1996)

To Sacred Summits
Kevin Poelking
(b. 1988)

Concert Band

Origin

As told by the composer, Origin was commissioned by Dr. Jeff Reynolds for the University of Toronto Wind Ensemble. As an alumna of the school and a former student of Dr. Reynolds, it was an honour to compose this short fanfare to open the 2022-23 concert season. Origin is an uplifting, empowering piece that evokes the feeling of returning home to a significant place in one’s journey, reflecting on all that has changed and all that has remained. I have come to cherish the magical full-circle experiences that occur when my music is performed in spaces that were meaningful or inspiring to me as a young musician. This piece is an ode to all the people and places that leave a lasting impact on the lives of others.

Cait Nishimura is a Japanese Canadian composer based in Waterloo, Ontario. Known for writing nature-inspired, programmatic music, Cait has established herself as a prominent voice in the concert band community. Her music has been presented at MusicFest Canada, The Midwest Clinic, and numerous other international conferences and festivals. Cait is passionate about empowering others through art, and strives to set a positive example for future generations of musicians through her creative work and her dedication to mental health awareness and environmentalism. She is an Associate Composer of the Canadian Music Centre and holds degrees in music and education from the University of Toronto.

Chant and Jubilo

William Francis McBeth was an influential composer and conductor throughout his career. McBeth began studying music from his mother at an early age and later earned his music degree from Hardin-Simmons University. From 1954 to 1956, McBeth served in the military in the 98th Army Band in Fort Rucker, Alabama and the 101st Airborne Band in Fort Jackson, South Carolina. Afterwards, McBeth attended the University of Texas and earned his master’s degree in music in 1957. Shortly after, he joined the faculty at Ouachita Baptist University in

Arkadelphia, Arkansas, where he remained until his retirement in 1996. Throughout his compositional career, McBeth wrote several important works for band such as Kaddish, Masque, and Of Sailors and Whales. Considered a standard piece in the wind band repertoire, Chant and Jubilo was commissioned by Jerry Loveall for the Four States Bandmasters Convention in Texarkana, Texas, and was first performed in January of 1962. The work is composed in two contrasting sections. The first section is reminiscent of early church organum and features a slow lyrical melody. The second section is lively and energetic and features the brass and percussion sections.

Aquarium

The suite Aquarium is Johan de Meij's third composition for symphonic band and features six tropical fishes, each of them represented by a motif, and surfacing as such in several guises. The composition consists of three movements, of which the second and third merge uninterruptedly into each other.

1. Allegretto grazioso (Neon Tetra, Electric Eel and Angelfish)
2. Andante/Adagio (Sea Horse and Zebra fish)
3. Finale: Allegro giocoso (Guppy & Co.)

The neon tetra motif functions as a kind of 'leitmotiv' and describes the beautifully coloured, frisky fish: A number of variants have been derived from this theme and will also appear in the other movements. The electric eel is fact is not represented by a motif, but by a rhythm based on the restless electric pulses made audible in some aquaria. The angel fish is represented by elegant chord clusters.

In the second movement the sea horse emerges out of the water vegetation and starts a dialogue with the zebra fish, which is represented by one melodic phrase in unison getting more and more threatening by adding parallel fifths and octaves. Simultaneously with the sea horse motif the neon tetra theme emerges, this time in 3/4 time and in Eb minor.

The third movement starts with only two instruments (trumpet and xylophone), but as it is often the case with guppies, their number rapidly increases. Piccolo and alto saxophone introduce the guppy theme, followed by several instrumental combinations. Every theme from the first movement 'swims by' once more, after which the principal motif leads us to a brilliant ending.

Aquarium was commissioned by the Dutch Music Foundation "Fonds voor de Scheppende Toonkunst.”

Fortress

Fortress was composed in 1988 and received its premiere performance by the Batawagama Youth Camp Band in Iron County, Michigan, Donald Schleicher, conductor, on June 25, 1988. In the work, the tritone is the most important harmonic interval throughout. Alteration between major triads a tritone apart occurs throughout the piece. Additionally, there are three important motives that recur throughout the work, each receiving emphasis at different times. The main idea, a dotted eighth note followed by a sixteenth note rhythm, returns often and is passed around to differing sections. The call motif, a triplet figure followed by a half note, utilizes the tritone at the end of the figure. And the legato theme, which combines slurred patterns and a wide contrasting dynamic shape, occurring over a four-measure phrase.

Symphonic Band

Variations on a Korean Folk Song

As a member of, and musical arranger for the Eighth U.S. Army Band, John Barnes Chance served in Seoul, South Korea, during the Korean War. It was during this time that he became familiar with a traditional Korean folk song called Arirang. Chance explains, “The tune is not as simple as it sounds, and my fascination with it during the intervening years led to its eventual use as the theme for this set of variations.”

Ariarang is a tune based on the pentatonic scale, and it can be dated back to the 18th century as a song of love and heartbreak. It was utilized in the 20th century as a resistance anthem during the Japanese occupation of Korea, when the singing of patriotic songs, including the national anthem, was criminalized. Chance’s set of variations, written for concert band in 1965, begins by presenting the Arirang them, and proceeds to develop it through five variations. The piece alternates between fast and slow variations, with the final variation being marked “Con Islancio” (“with impetuousness”), and it uses a variety of time signatures and rhythmic motives to alter the theme. Chance maintains the Eastern influence of the original tune through his use of the pentatonic scale, as well as prominent use of distinct percussion instruments, such as temple blocks, cymbals, and a gong.

Variations on a Korean Folk Song was awarded the Ostwald Award in 1966 by the American Bandmasters Association.

River Memoria

Commissioned by Dr. Jason Noble for his final performance as Director of Bands at Scarsdale High School, River Memoria is a lyrical work for band that depicts a flow of time and a remembrance of the beautiful moments we share making music with others. As the sun sets on this time, there will be a new light that shines through the dawn. The river of time continues to flow and new memories will be made.

To Sacred Summits

Kevin Poelking states, “To Sacred Summits is a musical representation of the mountains of Colorado. The music aims to capture their unique beauty and power. I am able to see the peaks of Rocky Mountain National Park from the window in my studio, so their influence was profound as I composed this piece of music. After all these years of the same view, I find it fascinating how dynamic the landscape can be as wind, light, clouds, snow, and fire alter the scenery.

I often think about what it was like to see these mountains for the first time; an experience that has been shared by millions of people across thousands of years. The short introduction of this piece of music represents the distant giants, seen from miles away or perhaps just being imagined from stories or images. The mystery gives way to an explosion of sound as beams of light crest the peaks, bringing the mountains and sky to life.

The piece is the culmination of musical sketches and ideas across a five-year span. The title derived from a line in the poem “Mountain Storm” by Katherine Lee Bates, who also wrote about “purple mountain majesties” in a work that was later adapted to the song America the Beautiful.

To Sacred Summits serves as a reminder to stop every now and again and marvel at the beauty in our world. We can often forget to appreciate the most wonderful things when they are right in front of us every day.”

Dr. Michael Stewart, conductor

* = principal

+ = co-principal

Flute

Madalynn Adkerson +
Aphrael Carrillo +
Isabel Favre
Faith Flanders
Joanna Gardner (picc)
Elizabeth Hamilton
Kaz Manville
JJ Nauman
Maddie Stewart
Shelby Wilkerson

Oboe

Aubrey Grace Holland

Clarinet

Jackson Banks
Brooklyn Griffith
Chloe Levering
Hannah McGill
Courtney McHan
Evan Norris
Dylan Smith
Rachel Stewart
Maria Vite *
Elle Wlas

Bass Clarinet

Ploomie Messer
Jessie Williams

Bassoon

Emily Phillips *
Macy Porter
Patrick Sealy
Andrew van Dalen
Christopher Williamson

Alto Sax

Jordan Cannon
Andrew Cook
Luke Robertson *

Tenor Sax

Sarah Vernetti

Bari Sax

Madigan Ashe

Trumpet

Brody Carter
Amanda Lindsey Coulson
Shandi Dice
Thomas Hooper
Chance Jones
Kamden Lindsay
Koehl Lindsay
Evan Mainous
Terence Osorio *
Dylan Sacksteder
Ethan Samuelson
Kara Ussery

French Horn

Emily Baker
Duncan Clever
Jacob Dozier
Sydney Flenniken
Xander Harms
Alex Medearis
Lara O’Neil
Randall Robinson
Sam Shoemaker*
Irene Staebler

Trombone

Noah Allard
David Hernandez
Thomas Kenner
Ian Myers
Jacob Ross
Ian Searcy *
Peyton Weir
Claire Werner

Euphonium

Eli Atkin
Harrison Barnes
Connor Bedillion *
Zack Donovan
Yazeiry Perez De La Torre

Tuba

Ethan Mizzell
Olivia Thomasson
Isaiah Towns *

Percussion

Olivia Baker
Carson Hutson
Kayla King
Aiden Starcher

Piano

Routong Wang

Dr. Fuller Lyon, conductor

* = principal
+= co-principal

Names listed alphabetically

Piccolo

Maddi Smith+

Flute

Sarah Cox
Kaylei Malone*
Julianne Moss
Ella Pinchok
Chloe Watson

Oboe

Katherine Means*
Caroline Storch

Clarinet

Absa Dia
Patrick Flaherty
Lauren Goldston
Carter Holtmann
Evan Laws
Jack Myers
Bryce Neely+
Joshua Zhou+

Bass Clarinet

Joshua Adedokun
Natalie Rundblade

Contrabass Clarinet

Ashley Melvin

Bassoon

Austin Hill*
Daniel Sippel

Alto Saxophone

Julia Avery*
Anna Caten

Tenor Saxophone          

Matt Sexton

Baritone Saxophone

Preston Turner

Trumpet

Matthew Dunevant
Isaac Hair+
Micah Ireland
Ian Krueger+
Dylan Mccurry
Eli Oliver
Ben Petro
Jack Watt

Horn

Carson Duckworth
Grace Estes
Chase Hart
Cole McFarland+
Olivia Rhines
Zac Stanislawski+

Trombone

Wyatt Detrick*
Tyler Guthrie
Terrance Jones
Samuel Thomas

Bass Trombone

Austin Kerr

Euphonium

Sammie Beverley
Scotty Hunnicutt*

Tuba

Tommy Bond
Paul Muirhead+
Hudson Scott+

Percussion

Nathan Caldwell
Tyler Delaney
Brooke Duez
Colston Oldham+
David Scott
Zac Swafford+

String Bass

Jase Conley

Piano

Tianran Gao

December 5, 2023
Wind Ensemble Concert

February 22, 2024
Wind Ensemble Concert

February 27, 2024
Concert Band/Symphonic Band Concert

April 10, 2024
Wind Ensemble Concert

April 25, 2024
Concert Band/Symphonic Band Concert

We hope you enjoyed this performance. Private support from music enthusiasts enables us to improve educational opportunities and develop our student artists’ skills to their full potential. To learn more about how you can support the College of Music, contact Chris Cox, Director of Advancement, 865-974-3331 or ccox@utfi.org.

 

Want to know more about the bands at the University of Tennessee? Please visit utbands.utk.edu.