The University of Tennessee Wind Ensemble
Thursday, September 28, 2023 at 7:30 p.m.
University of Tennessee Wind Ensemble

John Zastoupil, Conductor
with

INDEPENDENCE HIGH SCHOOL WIND SYMPHONY
Tyler Dieterich, Head Director
David Grayson, Assistant Director

Thursday, September 28, 2023 at 7:30 p.m.

James R. Cox Auditorium
Alumni Memorial Building

INDEPENDENCE HIGH SCHOOL WIND SYMPHONY

Illumination (2013)
David Maslanka (1943-2017)

Conducted by Tyler Dieterich

Danse Bacchanale from Samson and Delilah (1877 / 2004)
Camille Saint-Saens (1835-1921)
arr. Jay Bocook

Conducted by David Grayson

Vigils Keep (2005)
Julie Giroux (b. 1961)

Conducted by Tyler Dieterich

Colonel Bogey (1914)
Kenneth J. Alford (1881-1945)
arr. Andrew Glover

Conducted by David Grayson

UNIVERSITY OF TENNESSEE WIND ENSEMBLE

Symphony No. 2: Apollo Unleashed (2003)
Frank Ticheli (b. 1958)

Mare Tranquillitatis (2007 / 2012) 
Roger Zare (b. 1985)

Legacy, Concerto for Oboe and Wind Band (2015 / 2016) 
Oscar Navarro (b. 1981)

Jaren Atherholt, oboe soloist

Symphony No. 6: The Blue Marble (2022) 
Julie Giroux (b. 1961)

  1. The Blue Marble
  2. Voices in Green
  3. Let There Be Life

Apollo Unleashed

The final movement, Apollo Unleashed, is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement's title but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach's Chorale BWV 433 (Wer Gott vertraut, hat wohl gebaut). This chorale -- a favorite of the dedicatee, and one he himself arranged for chorus and band -- serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events. The chorale is in ternary form (ABA'). In the first half of the movement, the chorale's A and B sections are stated nobly underneath faster paced music, while the final A section is saved for the climactic ending, sounding against a flurry of 16th-notes.

My second symphony is dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University in 2003. It was commissioned by a consortium of Dr. Croft's doctoral students, conducting students and friends as a gesture of thanks for all he has given to the profession.

- Program Note by composer

Mare Tranquillitatis

I was commissioned in the summer of 2007 by Jeffrey Bishop to write a short piece for his string orchestra at Shawnee Mission Northwest High School in Kansas City. They premiered the string version of this work on February 12, 2008. In 2012, a consortium of wind ensembles around the United States commissioned a transcription of this work for band, and it was premiered throughout the 2012-2013 season.

Mare Tranquillitatis translates to "Sea of Tranquility," and is the famous location on the moon where Apollo 11 landed and the first man set foot on the lunar surface. The music seeks to capture a dichotomy of emotions -- tranquil beauty and restless isolation. All of the musical material is derived from only two ideas -- the descending fourth heard in the opening bar, and the flowing and surging melody heard not long after. These two ideas trade back and forth within a contrapuntal texture, swelling and flowing as they interact with each other. The music recedes into a quieter realm and a quartet of soloists emerges, juxtaposing the lush full textures with a delicate and intimate passage.

After many peaks and dips, the emotional arc of the piece culminates in the long-awaited return of the second theme. It grows and transforms into a sweeping gesture, bringing closure to the pent-up tension from before. What follows is an epilogue, and the piece ends with one final tender moment with the solo quartet.

- Program Note by composer

Legacy

The passage of time is something we cannot stop. We can remember moments from the past, enjoy the present and imagine the future. Along life’s path we leave indelible marks, on places, on people and there are the moments in life that leave their marks on us...

The oboe is a faithful instrument that has survived the passage of time from antiquity and to which many composers have dedicated their most profound inspiration since time long past. In the history of music great works have been dedicated to this instrument, and over time they continue to be a part of our lives.

With this concerto, I wish to leave my mark or legacy, looking to the past, the present and the future, which is symbolized in a large part of the work with a hidden “tick-tock” of a clock. This “tick-tock” transports us through various time periods of our history. We begin in the times of antiquity, at the beginning symbolized by melodic lines with an improvised quality, mysterious, ethereal, with a slight ethnic touch. Later, after having again heard the hidden “tick-tock” of the clock and a reminder of the improvised lines in the beginning of the concerto, we transition or jump to a period in which Spanish nationalist music takes the lead.

A period represented by a “gypsy” song led by the oboe and accompanied by an energetic heel stamping (generated through the percussion section) transports us to a Spain profoundly charged with emotion in which the oboe functions as the “gypsy singer” who leads a section inundated with feeling, passion and frenzied abandon.

After this glance at our Spanish roots, a new section is born with brushstrokes that remind us of the opening of the work and that transport us now to a romantic period involving great melodic lines, passion and emotion in its purest state. The oboe initiates this new section with a simple, intimate, reserved main melody which, little by little, becomes more ornate, becoming charged with emotion and power as we proceed through time until we reach the climax offered by the entire band, in which feelings overflow and reach their purest state, fading in an infinite pianissimo that is interrupted by another jump in time to the present day.

This last section, which is fresh and rhythmic, takes us to today’s music with a cinematographic style and color with suggestive band colors. The section is full of life in which we can symbolically appreciate the livelier “tick-tock” of the clock, stubborn and ever present in this last section of the work, particularly in the playful low section of the band.

Finally, I couldn’t conclude this work without a glance at the quintessential period for the oboe, the Baroque, a cadence dedicated to the great period of musical history that left so very many works for the oboe and which I could not let go unacknowledged.

After this wink to the Baroque and a grand epic cadence, a speeding, chaotic clock drags us to a lively, speeding finale in which the oboe exploits all its technical possibilities to the end, where our clock reveals the end of our travels.

- Program Note by composer

The Blue Marble

Movement I. The Big Blue Marble. It is often said that the first full imagine of Earth, “Blue Marble”, taken by Apollo 17 in 1972, was the first full picture of the planet Earth. The picture is actually upside down. It happened sometime between 4:59:05 and 5:08:14 hours after Apollo's launch as they traveled up to 25,000 miles an hour. It is the most reproduced picture in history. It became painstakingly clear to humanity just how small and vulnerable our one and only home actually is. This movement celebrates that home in a variety of ways; think of it as an abbreviated introduction to planet Earth through music.

Movement II. Voices in Green. I spent hours simply listening to the recordings of the Amazon jungle by the world-renowned sound engineer George Vlad. The recordings were made during the rainy season when humidity is at its highest and birds are the most vocal. The sounds transport you into the heart of the jungle which feels incredibly, alive. The exotic calls of the birds and the echoes from other birds of the same species, the insects, the frogs and the rain; you can practically feel and smell the rain. The rain forest has its own music. The density of growth with every shade of green, is the backdrop for this beautiful, strange opera.

I knew I wanted to write music to those sounds. I composed Voices in Green with the Amazon jungle sounds playing as my audio backdrop. It influenced every note and phrase. In my mind and heart, I was there, adding my voice to theirs. Voices in Green can be performed strictly on its own…Think of this movement as a concert taking place in the heart of the Amazon Rainforest.

Movement III. Let There Be Life. Violence, death, murder, birth, and life: I wanted to capture that commonality with music in the third and final movement. There is a recurring theme throughout the finale. It evolves, much like life on Earth. It moves through the music, transporting us from one musical setting to the next, ending in a majestic, grandiose way.

The miracle of Earth is life. It is the fragile, silken thread that holds existence together. As with the famous Blue Marble photograph, I hope this symphony reminds people just how frail and beautiful Earth is.

I hope The Blue Marble fills hearts and minds with a renewed loved for our planet, our one and only home. Earth is the one thing we all have in common. It does not belong to us. We belong to it. It is our only home and we should always treat it as such with every generation leaving it healthier and happier than the way they found it.

- Program Note by composer

John Zastoupil
Conductor, University of Tennessee Wind Ensemble

Dr. Zastoupil assumed the role of Director of Bands and tenured associate professor of music at the University of Tennessee in the fall of 2022. His primary responsibilities at UT include conducting the University of Tennessee Wind Ensemble; teaching graduate courses in  conducting, band literature; guiding the wind conducting program, and providing the administrative leadership for all aspects of the University of Tennessee’s diverse and historic band program.

Read Dr. Zastoupil's full bio here.

Jaren Atherholt
Soloist, Oboe

A native of Alaska, Atherholt has performed to stellar reviews as a featured concerto soloist with the Louisiana Philharmonic, A Far Cry, and the Hamptons Festival of Music. Atherholt served as principal oboist of the Louisiana Philharmonic for eleven seasons and has performed as guest principal oboist with the Saint Paul Chamber Orchestra, Mineria Orchestra in Mexico City and Detroit Symphony, as well as guest associate principal oboist with the Pittsburgh Symphony and Atlanta Symphony Orchestra. Atherholt spent four summers at the Marlboro Music Festival and currently performs each summer with the Grand Teton Music Festival.

She has served on the faculty of John Mack Oboe Camp, Interlochen Arts Camp, the Wintergreen Music Academy, and the Vianden International Music School in Luxemburg. Recent performances include guest principal oboist with the Chautauqua Symphony Orchestra and the International Chamber Orchestra of Puerto Rico.

* = principal

Flute

Whitney Applewhite*
Allan Cook
Rebecca Deal
Sophia Dobbie

Oboe

Matthew Barrett
Samuel Willard
Jessie Wilson

Bassoon

Ava Kroepler

Clarinet

Landen Blankenship
Anna Hutchinson
Ashley Melvin
Bryce Neely
Rafael Puga*
Lillian Smith
Troy Weatherford
Joshua Zhou

Bass Clarinet

Meredith Williams

Saxophone

Sean Keenan (tenor)
Tyler Hamilton (alto)
Brianna Mailhot (tenor)
Matthew Rhoten* (alto)
Benjamin Strobel (bari)

Horn

Rose Capooth
Caleb DeLong
Nichole Hollenbeck*
Margret Kinzer
Ben Makins
Aaron O’Donnell
Maya Siddiqui

Trumpet

Christian Carroll
Lauren Dodd
Lexy Kilgore*
Jaydon Robins
Philip Troutman
Eric Xie

Tenor Trombone

Alex Boone
Jaydon Headrick
Thomas Long
Jacob Noel*
Matthew Walker

Bass Trombone

Elijah Hoffmann

Euphonium

Brett Rodgers*
Sam Vance

Tuba

Anderson Johnson*
Cameron McKenzie
Harrison Jeffers

Percussion

Ian Alward
Ethan Booher
Ryan Comley
Lydia Dodd
Trik Gass*
Eli Garcia
Christopher Rosas

Piano

TBD

Double Bass

Jase Conley

Alto Saxophone

Samuel Crim
Morgan Lee
Cody Rhude
Elijah Sower

Baritone Saxophone

Tanner Cole
Nate McDougall

Baritone

Scott Anderson
Parker Esposito

Bass Clarinet

Ethan Munn
Vail Ensor

Bassoon

Jean Lotz

Clarinet

Joe "Quinn" Kirby
Amelia Boyd
Catherine Hill
Shayla Naik
Sophia Penland
Sophia Mangrum

Flute

Annette Teising
Johnna Graham
Evelyn Hines
Una Powers
Grace Wood
J.P. Jackson

Horn

Alice Gordy
Ashley Kamps

Percussion

Daniel Kim
Emily Lanier
Sanjay Chandramana
Adrian Williams
Wesley Boggs
Carter Marshall
Jack McMillan
Holland D'Amico

Tenor Saxophone

Owen Geary
Jayne Halterman

Trombone

Laney Rummo
Grace Lara
Cameron Lippard
Liam Perry
Brodie Moore

Trumpet

Thomas McAlhaney
Emma Oakley
Arpan Vanambathina
Caden Smith
Isaac Glenn

Tuba

Hunter Johnson
Dean Moore

Dr. Maria Fernanda Castillo, flute
Dr. Victor Chavez, clarinet
Jaren Atherholt, oboe
Ben Atherholt, bassoon
Dr. Allison Adams, saxophone
Dr. Arthur Zanin, trumpet
Dr. Katie Johnson-Webb, horn
Dr. Alex van Duuren, trombone
Dr. Alex Lapins, euphonium/tuba
Dr. Andrew Bliss, percussion
Dr. Michael Stewart, Associate Director of Bands, Director of Athletic Bands
Dr. Fuller Lyon, Assistant Director of Bands, Assoc. Director of Athletic Bands

October 3, 2023
Symphonic and Concert Bands

October 26, 2023 (World's Fair Park)
UT Wind Ensemble with the Tennessee Wind Symphony

November 20, 2023
Symphonic and Concert Bands

December 5, 2023
UT Wind Ensemble with the Farragut High School Wind Ensemble

 

Want to know more about the bands at UT? Please visit: utbands.utk.edu

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.

The University of Tennessee Wind Ensemble
Thursday, September 28, 2023 at 7:30 p.m.
University of Tennessee Wind Ensemble

John Zastoupil, Conductor
with

INDEPENDENCE HIGH SCHOOL WIND SYMPHONY
Tyler Dieterich, Head Director
David Grayson, Assistant Director

Thursday, September 28, 2023 at 7:30 p.m.

James R. Cox Auditorium
Alumni Memorial Building

INDEPENDENCE HIGH SCHOOL WIND SYMPHONY

Illumination (2013)
David Maslanka (1943-2017)

Conducted by Tyler Dieterich

Danse Bacchanale from Samson and Delilah (1877 / 2004)
Camille Saint-Saens (1835-1921)
arr. Jay Bocook

Conducted by David Grayson

Vigils Keep (2005)
Julie Giroux (b. 1961)

Conducted by Tyler Dieterich

Colonel Bogey (1914)
Kenneth J. Alford (1881-1945)
arr. Andrew Glover

Conducted by David Grayson

UNIVERSITY OF TENNESSEE WIND ENSEMBLE

Symphony No. 2: Apollo Unleashed (2003)
Frank Ticheli (b. 1958)

Mare Tranquillitatis (2007 / 2012) 
Roger Zare (b. 1985)

Legacy, Concerto for Oboe and Wind Band (2015 / 2016) 
Oscar Navarro (b. 1981)

Jaren Atherholt, oboe soloist

Symphony No. 6: The Blue Marble (2022) 
Julie Giroux (b. 1961)

  1. The Blue Marble
  2. Voices in Green
  3. Let There Be Life

Apollo Unleashed

The final movement, Apollo Unleashed, is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement's title but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach's Chorale BWV 433 (Wer Gott vertraut, hat wohl gebaut). This chorale -- a favorite of the dedicatee, and one he himself arranged for chorus and band -- serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events. The chorale is in ternary form (ABA'). In the first half of the movement, the chorale's A and B sections are stated nobly underneath faster paced music, while the final A section is saved for the climactic ending, sounding against a flurry of 16th-notes.

My second symphony is dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University in 2003. It was commissioned by a consortium of Dr. Croft's doctoral students, conducting students and friends as a gesture of thanks for all he has given to the profession.

- Program Note by composer

Mare Tranquillitatis

I was commissioned in the summer of 2007 by Jeffrey Bishop to write a short piece for his string orchestra at Shawnee Mission Northwest High School in Kansas City. They premiered the string version of this work on February 12, 2008. In 2012, a consortium of wind ensembles around the United States commissioned a transcription of this work for band, and it was premiered throughout the 2012-2013 season.

Mare Tranquillitatis translates to "Sea of Tranquility," and is the famous location on the moon where Apollo 11 landed and the first man set foot on the lunar surface. The music seeks to capture a dichotomy of emotions -- tranquil beauty and restless isolation. All of the musical material is derived from only two ideas -- the descending fourth heard in the opening bar, and the flowing and surging melody heard not long after. These two ideas trade back and forth within a contrapuntal texture, swelling and flowing as they interact with each other. The music recedes into a quieter realm and a quartet of soloists emerges, juxtaposing the lush full textures with a delicate and intimate passage.

After many peaks and dips, the emotional arc of the piece culminates in the long-awaited return of the second theme. It grows and transforms into a sweeping gesture, bringing closure to the pent-up tension from before. What follows is an epilogue, and the piece ends with one final tender moment with the solo quartet.

- Program Note by composer

Legacy

The passage of time is something we cannot stop. We can remember moments from the past, enjoy the present and imagine the future. Along life’s path we leave indelible marks, on places, on people and there are the moments in life that leave their marks on us...

The oboe is a faithful instrument that has survived the passage of time from antiquity and to which many composers have dedicated their most profound inspiration since time long past. In the history of music great works have been dedicated to this instrument, and over time they continue to be a part of our lives.

With this concerto, I wish to leave my mark or legacy, looking to the past, the present and the future, which is symbolized in a large part of the work with a hidden “tick-tock” of a clock. This “tick-tock” transports us through various time periods of our history. We begin in the times of antiquity, at the beginning symbolized by melodic lines with an improvised quality, mysterious, ethereal, with a slight ethnic touch. Later, after having again heard the hidden “tick-tock” of the clock and a reminder of the improvised lines in the beginning of the concerto, we transition or jump to a period in which Spanish nationalist music takes the lead.

A period represented by a “gypsy” song led by the oboe and accompanied by an energetic heel stamping (generated through the percussion section) transports us to a Spain profoundly charged with emotion in which the oboe functions as the “gypsy singer” who leads a section inundated with feeling, passion and frenzied abandon.

After this glance at our Spanish roots, a new section is born with brushstrokes that remind us of the opening of the work and that transport us now to a romantic period involving great melodic lines, passion and emotion in its purest state. The oboe initiates this new section with a simple, intimate, reserved main melody which, little by little, becomes more ornate, becoming charged with emotion and power as we proceed through time until we reach the climax offered by the entire band, in which feelings overflow and reach their purest state, fading in an infinite pianissimo that is interrupted by another jump in time to the present day.

This last section, which is fresh and rhythmic, takes us to today’s music with a cinematographic style and color with suggestive band colors. The section is full of life in which we can symbolically appreciate the livelier “tick-tock” of the clock, stubborn and ever present in this last section of the work, particularly in the playful low section of the band.

Finally, I couldn’t conclude this work without a glance at the quintessential period for the oboe, the Baroque, a cadence dedicated to the great period of musical history that left so very many works for the oboe and which I could not let go unacknowledged.

After this wink to the Baroque and a grand epic cadence, a speeding, chaotic clock drags us to a lively, speeding finale in which the oboe exploits all its technical possibilities to the end, where our clock reveals the end of our travels.

- Program Note by composer

The Blue Marble

Movement I. The Big Blue Marble. It is often said that the first full imagine of Earth, “Blue Marble”, taken by Apollo 17 in 1972, was the first full picture of the planet Earth. The picture is actually upside down. It happened sometime between 4:59:05 and 5:08:14 hours after Apollo's launch as they traveled up to 25,000 miles an hour. It is the most reproduced picture in history. It became painstakingly clear to humanity just how small and vulnerable our one and only home actually is. This movement celebrates that home in a variety of ways; think of it as an abbreviated introduction to planet Earth through music.

Movement II. Voices in Green. I spent hours simply listening to the recordings of the Amazon jungle by the world-renowned sound engineer George Vlad. The recordings were made during the rainy season when humidity is at its highest and birds are the most vocal. The sounds transport you into the heart of the jungle which feels incredibly, alive. The exotic calls of the birds and the echoes from other birds of the same species, the insects, the frogs and the rain; you can practically feel and smell the rain. The rain forest has its own music. The density of growth with every shade of green, is the backdrop for this beautiful, strange opera.

I knew I wanted to write music to those sounds. I composed Voices in Green with the Amazon jungle sounds playing as my audio backdrop. It influenced every note and phrase. In my mind and heart, I was there, adding my voice to theirs. Voices in Green can be performed strictly on its own…Think of this movement as a concert taking place in the heart of the Amazon Rainforest.

Movement III. Let There Be Life. Violence, death, murder, birth, and life: I wanted to capture that commonality with music in the third and final movement. There is a recurring theme throughout the finale. It evolves, much like life on Earth. It moves through the music, transporting us from one musical setting to the next, ending in a majestic, grandiose way.

The miracle of Earth is life. It is the fragile, silken thread that holds existence together. As with the famous Blue Marble photograph, I hope this symphony reminds people just how frail and beautiful Earth is.

I hope The Blue Marble fills hearts and minds with a renewed loved for our planet, our one and only home. Earth is the one thing we all have in common. It does not belong to us. We belong to it. It is our only home and we should always treat it as such with every generation leaving it healthier and happier than the way they found it.

- Program Note by composer

John Zastoupil
Conductor, University of Tennessee Wind Ensemble

Dr. Zastoupil assumed the role of Director of Bands and tenured associate professor of music at the University of Tennessee in the fall of 2022. His primary responsibilities at UT include conducting the University of Tennessee Wind Ensemble; teaching graduate courses in  conducting, band literature; guiding the wind conducting program, and providing the administrative leadership for all aspects of the University of Tennessee’s diverse and historic band program.

Read Dr. Zastoupil's full bio here.

Jaren Atherholt
Soloist, Oboe

A native of Alaska, Atherholt has performed to stellar reviews as a featured concerto soloist with the Louisiana Philharmonic, A Far Cry, and the Hamptons Festival of Music. Atherholt served as principal oboist of the Louisiana Philharmonic for eleven seasons and has performed as guest principal oboist with the Saint Paul Chamber Orchestra, Mineria Orchestra in Mexico City and Detroit Symphony, as well as guest associate principal oboist with the Pittsburgh Symphony and Atlanta Symphony Orchestra. Atherholt spent four summers at the Marlboro Music Festival and currently performs each summer with the Grand Teton Music Festival.

She has served on the faculty of John Mack Oboe Camp, Interlochen Arts Camp, the Wintergreen Music Academy, and the Vianden International Music School in Luxemburg. Recent performances include guest principal oboist with the Chautauqua Symphony Orchestra and the International Chamber Orchestra of Puerto Rico.

* = principal

Flute

Whitney Applewhite*
Allan Cook
Rebecca Deal
Sophia Dobbie

Oboe

Matthew Barrett
Samuel Willard
Jessie Wilson

Bassoon

Ava Kroepler

Clarinet

Landen Blankenship
Anna Hutchinson
Ashley Melvin
Bryce Neely
Rafael Puga*
Lillian Smith
Troy Weatherford
Joshua Zhou

Bass Clarinet

Meredith Williams

Saxophone

Sean Keenan (tenor)
Tyler Hamilton (alto)
Brianna Mailhot (tenor)
Matthew Rhoten* (alto)
Benjamin Strobel (bari)

Horn

Rose Capooth
Caleb DeLong
Nichole Hollenbeck*
Margret Kinzer
Ben Makins
Aaron O’Donnell
Maya Siddiqui

Trumpet

Christian Carroll
Lauren Dodd
Lexy Kilgore*
Jaydon Robins
Philip Troutman
Eric Xie

Tenor Trombone

Alex Boone
Jaydon Headrick
Thomas Long
Jacob Noel*
Matthew Walker

Bass Trombone

Elijah Hoffmann

Euphonium

Brett Rodgers*
Sam Vance

Tuba

Anderson Johnson*
Cameron McKenzie
Harrison Jeffers

Percussion

Ian Alward
Ethan Booher
Ryan Comley
Lydia Dodd
Trik Gass*
Eli Garcia
Christopher Rosas

Piano

TBD

Double Bass

Jase Conley

Alto Saxophone

Samuel Crim
Morgan Lee
Cody Rhude
Elijah Sower

Baritone Saxophone

Tanner Cole
Nate McDougall

Baritone

Scott Anderson
Parker Esposito

Bass Clarinet

Ethan Munn
Vail Ensor

Bassoon

Jean Lotz

Clarinet

Joe "Quinn" Kirby
Amelia Boyd
Catherine Hill
Shayla Naik
Sophia Penland
Sophia Mangrum

Flute

Annette Teising
Johnna Graham
Evelyn Hines
Una Powers
Grace Wood
J.P. Jackson

Horn

Alice Gordy
Ashley Kamps

Percussion

Daniel Kim
Emily Lanier
Sanjay Chandramana
Adrian Williams
Wesley Boggs
Carter Marshall
Jack McMillan
Holland D'Amico

Tenor Saxophone

Owen Geary
Jayne Halterman

Trombone

Laney Rummo
Grace Lara
Cameron Lippard
Liam Perry
Brodie Moore

Trumpet

Thomas McAlhaney
Emma Oakley
Arpan Vanambathina
Caden Smith
Isaac Glenn

Tuba

Hunter Johnson
Dean Moore

Dr. Maria Fernanda Castillo, flute
Dr. Victor Chavez, clarinet
Jaren Atherholt, oboe
Ben Atherholt, bassoon
Dr. Allison Adams, saxophone
Dr. Arthur Zanin, trumpet
Dr. Katie Johnson-Webb, horn
Dr. Alex van Duuren, trombone
Dr. Alex Lapins, euphonium/tuba
Dr. Andrew Bliss, percussion
Dr. Michael Stewart, Associate Director of Bands, Director of Athletic Bands
Dr. Fuller Lyon, Assistant Director of Bands, Assoc. Director of Athletic Bands

October 3, 2023
Symphonic and Concert Bands

October 26, 2023 (World's Fair Park)
UT Wind Ensemble with the Tennessee Wind Symphony

November 20, 2023
Symphonic and Concert Bands

December 5, 2023
UT Wind Ensemble with the Farragut High School Wind Ensemble

 

Want to know more about the bands at UT? Please visit: utbands.utk.edu

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.