University of Tennessee Concert & Symphonic Bands
Tuesday, October 4, 2022 at 7:30 p.m.
University of Tennessee Concert & Symphonic Bands

Tuesday, October 4, 2022 at 7:30 p.m.

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

 

 

CONCERT BAND

Dr. Fuller Lyon, conductor

Illumination (Overture for Band)   
David Maslanka (1943-2017)

Bridges
Katahj Copley (b. 1998)

“Resurrection” Theme from Symphony No. 2
Gustav Mahler (1860-1911)
arr. Gordon

 

SYMPHONIC BAND

Dr. Michael Stewart, conductor

American Salute
Morton Gould (1913-1996)
tr. Philip Lang

Come, Sweet Death
J.S. Bach (1685-1750)
arr. Alfred Reed

Ghost Train
Eric Whitacre
(b. 1970)

Eterna
Grace Baugher Dunlap (b. 1995)

Illumination

Concerning this composition, David Maslanka writes, “Illumination: Overture for Band was composed for the Franklin, Massachusetts public schools. The commission was started by Nicole Wright, band director at the Horace Mann Middle School in Franklin, when she discovered that my grandnephew was in her band. The piece was initially to have been for her young players, but the idea grew to make it the center of the dedication concert at the opening of Franklin’s new high school building. Rehearsals of Illumination were the first musical sounds made in their fine new auditorium.

“Illumination” – lighting up, bringing light. I am especially interested in composing music for young people that allows them a vibrant experience of their own creative energy. A powerful experience of this sort stays in the heart and mind as a channel for creative energy, no matter what the life path. Music shared in community brings this vital force to everyone. Illumination is an open and cheerful piece in a quick tempo, with a very direct A-B-A song form.” 

Bridges

Composed in 2022, Katahj Copley states, “While looking for more inspiration for this piece, there was this quote from Greek writer Nikos Kazantzakis I stumbled upon:

True teachers are those who use themselves as bridges over which they invite their students to cross; then, having facilitated their crossing, joyfully collapse, encouraging them to create their own.

And from there the title Bridges came to me. Bridges pays tribute to the teachers that have influenced and inspired us. This piece is dedicated to the passion and commitment of Dr. Terry Flowers and his work with the St. Philip’s School and Community Center. For nearly 40 years, Dr. Flowers’ work with St. Philip’s has influenced and inspired hundreds of students to be more than what the world sees them as. Using the styles of some of his favorite artists: Aretha Franklin and Patti LaBelle while honoring his upbringings within the Gospel world, I wanted to tell the story of the ‘superhero’ Dr. Terry Flowers. I also wanted to highlight how teachers are not only superheroes but they’re also our bridges to a brighter future.

The piece also has a section in which younger musicians take the spotlight and shine along with the ensemble, building this bridge of sound and connecting the present with the future of music.”

“Resurrection” Theme from Symphony No. 2

Gustav Mahler was a conductor and composer, and in both capacities, was one of the giants of his time. Though Mahler’s conducting career was linked primarily with opera, his compositions are principally for orchestra; he wrote nine symphonies (plus an unfinished tenth) and The Song of the Earth, a work of symphonic proportions. It has been said of him that, regardless of the performing medium he chose, all his music sings. Building on the practice of Wagner and Bruckner, Mahler used a very large orchestra, especially full in wind and percussion, and in almost half of his symphonies he requires chorus and/or solo voices.

The Second Symphony, written in 1894, has been titled the “Resurrection” Symphony because it ends with a setting of Klopstock’s poem of that name in which the orchestra is joined by mixed chorus, with soprano and contralto soloists. In this wind band arrangement, the movement has been abbreviated. The sense of the poem is “You shall rise again and live.” The music ranges from the mysterious, awesome pianissimo opening to the exultant fortissimo proclamation of salvation at the end.

American Salute

Originally written for orchestra, American Salute has become a favorite of the concert band repertoire. Using the familiar tune When Johnny Comes Marching Home as the sole melodic resource, Morton Gould demonstrates his skill in thematic development, creating a brilliant fantasy on a single tune.

Written in 1942 in the early days of World War II, it was composed at the request of a government radio program producer who wanted a “salute to America.”  The composer insisted that he had no idea that the work was destined to become a classic: “It was years before I knew it was a classic setting. What amazes me is that critics say it is a minor masterpiece, a gem. To me, it was just a setting. I was doing a million of those things.” A million may be an exaggeration, but not by much. The pace of Gould’s schedule in those days was astounding. By his own account he composed and scored American Salute in less than eight hours, starting at 6 p.m. the evening before it was due (with copyists standing by), and finishing at 2 a.m. Although the ink couldn’t have been dry, the score and parts were on the stand in time for rehearsal the next morning and ready for broadcast that evening.

Come, Sweet Death

Come, Sweet Death is one of a group of sixty-nine Sacred Songs and Airs attributed to J.S. Bach. These pieces were first published in 1736 as a part of a huge collection of 954 sacred songs and hymns assembled by Georg Christian Schemelli and edited by Bach.  In 1832, these same works were published as four-part, fully harmonized chorales.  Composer Alfred Reed created his edition of Come, Sweet Death, performed this evening, based on these four-part chorales.

Even though relatively simple in musical construction (a small, two-part form, played through twice) this music is deeply expressive and moving, which perhaps signified for the deeply religious Bach, the willing embrace of death as a final deliverance from earthly strife and entrance into eternal glory.

Ghost Train

The legend of the Ghost Train, a supernational machine that roars out of the night through forgotten towns and empty canyons, is deeply rooted in American folklore, and it was this spirit which the composer tried to capture.  Ghost Train was premiered in 1994 by the University of Nevada, Las Vegas Wind Symphony, Tom Leslie conducting.

Born in 1970, Eric Whitacre has become one of the bright stars of the American music scene.  He has received awards from ASCAP, the American Choral Directors Association, the Barlow International Foundation, and the Dale Warland Singers commissioning program.  Whitacre, who studied with John Corigliano and David Diamond, holds a Masters of Music degree from the Julliard School of Music.

Eterna

According to the composter, Eterna is a fast-paced, high-energy adventure into the vast and unknown universe above us.  Opening with heavy dissonance and syncopation, the music weaves through motifs that lead to a heroic melody and eventual entropy of thematic material.  As the piece reaches a critical point, a new, urgent tempo drives the previous material in a sprint to the finish.  Eterna was commissioned by the 2022 Olathe East Wind Ensemble from Olathe, Kansas under the direction of Jeff Smikahl.

Grace Baugher Dunlap is a Kansas born composer, horn player and music educator.  Her music is known for its memorable melodies and highlights emotional aspects of the human experience.  She is a graduate of the University of Tennessee-Knoxville with a Masters in Music Composition and Graduate Certificate in Music Theory Pedagogy.  Previously, she studied Music Composition and French Horn at Kansas State University where she later received a Graduate Certificate in Music Education.  Her music has an international presence and has made appearances at many colleges and conferences across the country including the 75th Annual Midwest Band and Orchestra Clinic in Chicago.  Grace lives in Kansas City with her husband Max (also a UTK alum), her cats Elsa and Willett, and many, many plants.

Dr. Fuller Lyon, conductor

* = principal

+ = co-principal

Piccolo

Madison Smith

Flute

Sarah Cox*
Maddie Stewart
Amanda Stawick
Shelby Wilkerson
Joanna Abbott
Julia Nauman
Holly Edwards

Clarinet

Lauren Goldston+
Evan Laws+
Hannah Brown
Chris Campbell
Kayla Brien
Hannah McGill
Claire DeFriez
Maria Vite
Chloe Levering
Raylee Mitchell

Bass Clarinet

Jessie Williams
Ploomie Messer

Bassoon

Christopher Williamson

Alto Sax

Reed McAmis*
Jake Ensor
Shane Estes

Tenor Sax

Sarah Vernetti

Bari Sax

Spencer Cassidy

Trumpet

Benjamin Petro+
Jayden Robins+
Thomas Hooper
Jack Watt
Evan Mainous
Kara Ussery
Jackson Daniels
Ian Krueger
Terence Osorio
Josh Mathison

French Horn

Sam Shoemaker*
Luke Warren
Zachary Cutler
Emily Baker
Nora Beckett
Alex Medearis
Sophie Stinnett
Jacob Trull

Trombone

Sara Fulkerson*
Olivia Baker
Tyler Guthrie
Jacob Ross
Noah Allard
Terrance Jones
Ian Searcy
Thomas Kenner
David Hernandez (Bass)

Euphonium

Scotty Hunnicutt*
Amelia Helms
Yaz Perez de la Torre
Melissa Brockett

Tuba

Ben Archibald*
Tommy Bond
Hudson Scott

Percussion

Kolsten Keene*
Lamont Monroe
Cameron Sluder
Charley Bible
Chandler DeArmond

Piano

Haiqiao Wang

Assisting Musician

Eli Garcia

Dr. Michael Stewart, conductor

* = principal

Names listed alphabetically

 

Flute

Aphrael Carrillo
Iris Fleming
Julianne Moss
Kiernan Stuppy *
Kadijah Tinker
Chloe Watson

B-flat Clarinet

Julie Bronson
McKinley Frees
Emilee Jerrell
Savannah Martin
Bryce Neely
Natalie Rundblade
Abbey Shelton
Meredith Williams *

Bass Clarinet

Devin Hopson

Bassoon

James Carnal *
Daniel Sippel

Oboe

Katherine Means *
Emma Pardo

Alto Saxophone

Tony Clark *
Matthew Sexton

Tenor Saxophone          

Joshua Sizemore             

Baritone Saxophone

Preston Turner

Trumpet

Autumn Bowling
Julia Boylan
Tiffany Braden
Christian Carroll
Matthew Dunevant
Olivia Watson
Hope Williams *

Horn

Carson Duckworth
Sydney Flenniken
Chase Hart *
Cole McFarland
Zac Stanislawski

Trombone

Jaydon Headrick *
Madison Joy
Bryce McCracken
Samuel Thomas
Matthew Walker
Ayla Williams

Euphonium

Connor Bedillion
Stephanie Hensley *

Tuba

Logan Kelly
Austin Kerr *

Percussion

Annika Blackburn
Colston Oldham
Burke Rivet*
Shelton Skaggs
Zach Swafford

Piano

Lily Witemeyer

November 17, 2022
Wind Ensemble and Hardin Valley Academy Wind Ensemble

November 22, 2022
Symphonic and Concert Bands

January 28, 2023
Conducting Workshop

February 3, 2023
ETSBOA Wind Ensemble performance

February 23, 2023
Symphonic and Concert Bands

February 28, 2023
Wind Ensemble

April 25, 2023
Wind Ensemble and Dobyns-Bennett HS Wind Ensemble

April 27, 2023
Symphonic and Concert Bands

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 School of Music, contact Chris Cox, Director of Development, 865-974-2365 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, October 4, 2022 at 7:30 p.m.
University of Tennessee Concert & Symphonic Bands

Tuesday, October 4, 2022 at 7:30 p.m.

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

 

 

CONCERT BAND

Dr. Fuller Lyon, conductor

Illumination (Overture for Band)   
David Maslanka (1943-2017)

Bridges
Katahj Copley (b. 1998)

“Resurrection” Theme from Symphony No. 2
Gustav Mahler (1860-1911)
arr. Gordon

 

SYMPHONIC BAND

Dr. Michael Stewart, conductor

American Salute
Morton Gould (1913-1996)
tr. Philip Lang

Come, Sweet Death
J.S. Bach (1685-1750)
arr. Alfred Reed

Ghost Train
Eric Whitacre
(b. 1970)

Eterna
Grace Baugher Dunlap (b. 1995)

Illumination

Concerning this composition, David Maslanka writes, “Illumination: Overture for Band was composed for the Franklin, Massachusetts public schools. The commission was started by Nicole Wright, band director at the Horace Mann Middle School in Franklin, when she discovered that my grandnephew was in her band. The piece was initially to have been for her young players, but the idea grew to make it the center of the dedication concert at the opening of Franklin’s new high school building. Rehearsals of Illumination were the first musical sounds made in their fine new auditorium.

“Illumination” – lighting up, bringing light. I am especially interested in composing music for young people that allows them a vibrant experience of their own creative energy. A powerful experience of this sort stays in the heart and mind as a channel for creative energy, no matter what the life path. Music shared in community brings this vital force to everyone. Illumination is an open and cheerful piece in a quick tempo, with a very direct A-B-A song form.” 

Bridges

Composed in 2022, Katahj Copley states, “While looking for more inspiration for this piece, there was this quote from Greek writer Nikos Kazantzakis I stumbled upon:

True teachers are those who use themselves as bridges over which they invite their students to cross; then, having facilitated their crossing, joyfully collapse, encouraging them to create their own.

And from there the title Bridges came to me. Bridges pays tribute to the teachers that have influenced and inspired us. This piece is dedicated to the passion and commitment of Dr. Terry Flowers and his work with the St. Philip’s School and Community Center. For nearly 40 years, Dr. Flowers’ work with St. Philip’s has influenced and inspired hundreds of students to be more than what the world sees them as. Using the styles of some of his favorite artists: Aretha Franklin and Patti LaBelle while honoring his upbringings within the Gospel world, I wanted to tell the story of the ‘superhero’ Dr. Terry Flowers. I also wanted to highlight how teachers are not only superheroes but they’re also our bridges to a brighter future.

The piece also has a section in which younger musicians take the spotlight and shine along with the ensemble, building this bridge of sound and connecting the present with the future of music.”

“Resurrection” Theme from Symphony No. 2

Gustav Mahler was a conductor and composer, and in both capacities, was one of the giants of his time. Though Mahler’s conducting career was linked primarily with opera, his compositions are principally for orchestra; he wrote nine symphonies (plus an unfinished tenth) and The Song of the Earth, a work of symphonic proportions. It has been said of him that, regardless of the performing medium he chose, all his music sings. Building on the practice of Wagner and Bruckner, Mahler used a very large orchestra, especially full in wind and percussion, and in almost half of his symphonies he requires chorus and/or solo voices.

The Second Symphony, written in 1894, has been titled the “Resurrection” Symphony because it ends with a setting of Klopstock’s poem of that name in which the orchestra is joined by mixed chorus, with soprano and contralto soloists. In this wind band arrangement, the movement has been abbreviated. The sense of the poem is “You shall rise again and live.” The music ranges from the mysterious, awesome pianissimo opening to the exultant fortissimo proclamation of salvation at the end.

American Salute

Originally written for orchestra, American Salute has become a favorite of the concert band repertoire. Using the familiar tune When Johnny Comes Marching Home as the sole melodic resource, Morton Gould demonstrates his skill in thematic development, creating a brilliant fantasy on a single tune.

Written in 1942 in the early days of World War II, it was composed at the request of a government radio program producer who wanted a “salute to America.”  The composer insisted that he had no idea that the work was destined to become a classic: “It was years before I knew it was a classic setting. What amazes me is that critics say it is a minor masterpiece, a gem. To me, it was just a setting. I was doing a million of those things.” A million may be an exaggeration, but not by much. The pace of Gould’s schedule in those days was astounding. By his own account he composed and scored American Salute in less than eight hours, starting at 6 p.m. the evening before it was due (with copyists standing by), and finishing at 2 a.m. Although the ink couldn’t have been dry, the score and parts were on the stand in time for rehearsal the next morning and ready for broadcast that evening.

Come, Sweet Death

Come, Sweet Death is one of a group of sixty-nine Sacred Songs and Airs attributed to J.S. Bach. These pieces were first published in 1736 as a part of a huge collection of 954 sacred songs and hymns assembled by Georg Christian Schemelli and edited by Bach.  In 1832, these same works were published as four-part, fully harmonized chorales.  Composer Alfred Reed created his edition of Come, Sweet Death, performed this evening, based on these four-part chorales.

Even though relatively simple in musical construction (a small, two-part form, played through twice) this music is deeply expressive and moving, which perhaps signified for the deeply religious Bach, the willing embrace of death as a final deliverance from earthly strife and entrance into eternal glory.

Ghost Train

The legend of the Ghost Train, a supernational machine that roars out of the night through forgotten towns and empty canyons, is deeply rooted in American folklore, and it was this spirit which the composer tried to capture.  Ghost Train was premiered in 1994 by the University of Nevada, Las Vegas Wind Symphony, Tom Leslie conducting.

Born in 1970, Eric Whitacre has become one of the bright stars of the American music scene.  He has received awards from ASCAP, the American Choral Directors Association, the Barlow International Foundation, and the Dale Warland Singers commissioning program.  Whitacre, who studied with John Corigliano and David Diamond, holds a Masters of Music degree from the Julliard School of Music.

Eterna

According to the composter, Eterna is a fast-paced, high-energy adventure into the vast and unknown universe above us.  Opening with heavy dissonance and syncopation, the music weaves through motifs that lead to a heroic melody and eventual entropy of thematic material.  As the piece reaches a critical point, a new, urgent tempo drives the previous material in a sprint to the finish.  Eterna was commissioned by the 2022 Olathe East Wind Ensemble from Olathe, Kansas under the direction of Jeff Smikahl.

Grace Baugher Dunlap is a Kansas born composer, horn player and music educator.  Her music is known for its memorable melodies and highlights emotional aspects of the human experience.  She is a graduate of the University of Tennessee-Knoxville with a Masters in Music Composition and Graduate Certificate in Music Theory Pedagogy.  Previously, she studied Music Composition and French Horn at Kansas State University where she later received a Graduate Certificate in Music Education.  Her music has an international presence and has made appearances at many colleges and conferences across the country including the 75th Annual Midwest Band and Orchestra Clinic in Chicago.  Grace lives in Kansas City with her husband Max (also a UTK alum), her cats Elsa and Willett, and many, many plants.

Dr. Fuller Lyon, conductor

* = principal

+ = co-principal

Piccolo

Madison Smith

Flute

Sarah Cox*
Maddie Stewart
Amanda Stawick
Shelby Wilkerson
Joanna Abbott
Julia Nauman
Holly Edwards

Clarinet

Lauren Goldston+
Evan Laws+
Hannah Brown
Chris Campbell
Kayla Brien
Hannah McGill
Claire DeFriez
Maria Vite
Chloe Levering
Raylee Mitchell

Bass Clarinet

Jessie Williams
Ploomie Messer

Bassoon

Christopher Williamson

Alto Sax

Reed McAmis*
Jake Ensor
Shane Estes

Tenor Sax

Sarah Vernetti

Bari Sax

Spencer Cassidy

Trumpet

Benjamin Petro+
Jayden Robins+
Thomas Hooper
Jack Watt
Evan Mainous
Kara Ussery
Jackson Daniels
Ian Krueger
Terence Osorio
Josh Mathison

French Horn

Sam Shoemaker*
Luke Warren
Zachary Cutler
Emily Baker
Nora Beckett
Alex Medearis
Sophie Stinnett
Jacob Trull

Trombone

Sara Fulkerson*
Olivia Baker
Tyler Guthrie
Jacob Ross
Noah Allard
Terrance Jones
Ian Searcy
Thomas Kenner
David Hernandez (Bass)

Euphonium

Scotty Hunnicutt*
Amelia Helms
Yaz Perez de la Torre
Melissa Brockett

Tuba

Ben Archibald*
Tommy Bond
Hudson Scott

Percussion

Kolsten Keene*
Lamont Monroe
Cameron Sluder
Charley Bible
Chandler DeArmond

Piano

Haiqiao Wang

Assisting Musician

Eli Garcia

Dr. Michael Stewart, conductor

* = principal

Names listed alphabetically

 

Flute

Aphrael Carrillo
Iris Fleming
Julianne Moss
Kiernan Stuppy *
Kadijah Tinker
Chloe Watson

B-flat Clarinet

Julie Bronson
McKinley Frees
Emilee Jerrell
Savannah Martin
Bryce Neely
Natalie Rundblade
Abbey Shelton
Meredith Williams *

Bass Clarinet

Devin Hopson

Bassoon

James Carnal *
Daniel Sippel

Oboe

Katherine Means *
Emma Pardo

Alto Saxophone

Tony Clark *
Matthew Sexton

Tenor Saxophone          

Joshua Sizemore             

Baritone Saxophone

Preston Turner

Trumpet

Autumn Bowling
Julia Boylan
Tiffany Braden
Christian Carroll
Matthew Dunevant
Olivia Watson
Hope Williams *

Horn

Carson Duckworth
Sydney Flenniken
Chase Hart *
Cole McFarland
Zac Stanislawski

Trombone

Jaydon Headrick *
Madison Joy
Bryce McCracken
Samuel Thomas
Matthew Walker
Ayla Williams

Euphonium

Connor Bedillion
Stephanie Hensley *

Tuba

Logan Kelly
Austin Kerr *

Percussion

Annika Blackburn
Colston Oldham
Burke Rivet*
Shelton Skaggs
Zach Swafford

Piano

Lily Witemeyer

November 17, 2022
Wind Ensemble and Hardin Valley Academy Wind Ensemble

November 22, 2022
Symphonic and Concert Bands

January 28, 2023
Conducting Workshop

February 3, 2023
ETSBOA Wind Ensemble performance

February 23, 2023
Symphonic and Concert Bands

February 28, 2023
Wind Ensemble

April 25, 2023
Wind Ensemble and Dobyns-Bennett HS Wind Ensemble

April 27, 2023
Symphonic and Concert Bands

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 School of Music, contact Chris Cox, Director of Development, 865-974-2365 or ccox@utfi.org.

 

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