The University of Tennessee Wind Ensemble
Thursday, October 26, 2023 at 7:30 p.m.
University of Tennessee Wind Ensemble

John Zastoupil, Conductor
with

TENNESSEE WIND SYMPHONY
John Culvahouse, Conductor

Thursday, October 26, 2023 at 7:30 p.m.

World's Fair Park

UNIVERSITY OF TENNESSEE WIND ENSEMBLE

Overture to, “Colas Breugnon” (1937/2003)
Dmitri Kabalevsky (1904-87)

Early Light (1999)
Carolyn Bremer (1957-2018)

Tyler Hamilton, graduate assistant conductor

Emblems (1964)
Aaron Copland (1900-1990)

The Melody Shop (1910)
Karl L. King (1891-1971)

TENNESSEE WIND SYMPHONY

American Overture for Band (1956)
Joseph Wilcox Jenkins (1928-2014)

Scenes from, “The Louvre” (1966)
Norman Dello Joio (1913-2008)

John Zastoupil, guest conductor

  1. The Portals
  2. Children's Gallery
  3. Kings of France
  4. Nativity Paintings
  5. Finale

Galilean Moons (1996)
Roger Cichy (b. 1956)

  1. Ganymede
  2. Callisto
  3. Io
  4. Europa

Overture to Colas Breugnon

As the son of a mathematician, Dmitri Kabalevsky was encouraged by his father to study math and economics. Kabalevsky, however, showed an early aptitude for the arts and started his formal music education at the Scriabin School of Music in Moscow when he was fourteen. He entered the Moscow Conservatory in 1925, where he studied composition with Nikolai Miaskovsky and earned a full professorship in 1939.

Kabalevsky was a composer during a period in Russia’s history that was full of stylistic constraints for artists. His music embodied the Russian government’s music ideology which was reminiscent of Russian folk songs and steered clear of modernism.

Kabalevsky’s first opera, Colas Breugnon: Master of Clamecy, was based a novel of the same name by French author Romain Rolland. The story centers on the love life of a scalawag wood carver, Colas Breugnon, who is antagonized by a villainous Duke. The spirited music in the comedic opera turns dramatic when soldiers return and introduce a plague to the village and the Duke orders the wood carvers’ statues burned. The comedy returns when the wood carver gets revenge on the Duke by carving a statue of the Duke riding backwards on a donkey for the entire village to see and enjoy. The excitement and brisk nature of the overture has not only made it a favorite in orchestra halls, but transcriptions by Harding, Beeler, and Hunsberger for wind band have also ensured its popularity in the wind band genre.

Early Light

Originally written for the Oklahoma City Philharmonic, Early Light premiered in July 1995. According to the score notes:

The material is largely derived from The Star Spangled Banner. One need not attribute an excess of patriotic fervor in the composer as a source for this optimistic homage to our national anthem; Carolyn Bremer, a passionate baseball fan since childhood, drew upon her feelings of happy anticipation at hearing the anthem played before ball games when writing her piece. The slapstick heard near the end echoes the crack of the bat on a long home run.

Emblems

In May, 1963, I received a letter from Keith Wilson, President of the College Band Directors National Association, asking me to accept a commission from that organization to compose a work for band. He wrote: 'The purpose of this commission is to enrich the band repertory with music that is representative of the composer's best work, and not one written with all sorts of technical or practical limitations.' That was the origin of Emblems. I began work on the piece in the summer of 1964 and completed it in November of that year. It was first played at the CBDNA National Convention in Tempe, Arizona, on December 18, 1964, by the Trojan Band of the University of Southern California, conducted by William A. Schaefer.

Keeping Mr. Wilson's injunction in mind, I wanted to write a work that was challenging to young players without overstraining their technical abilities. The work is tripartite in form: slow-fast-slow, with the return of the first part varied. Embedded in the quiet, slow music the listener may hear a brief quotation of a well-known hymn tune Amazing Grace, published by William Walker in The Southern Harmony in 1835. Curiously enough, the accompanying harmonies had been conceived first, without reference to any tune. It was only a chance of perusal of a recent anthology of old 'Music in America' that made me realize a connection existed between my harmonies and the old hymn tune.

An emblem stands for something - it is a symbol. I called the work Emblems because it seemed to me to suggest musical states of being: noble or aspirational feelings, playful or spirited feelings. The exact nature of these emblematic sounds must be determined for himself by each listener.

Melody Shop

This march was dedicated to E.E. Powell and Al Shortridge, owners of the Powell Music Co. Melody Shop in Canton, Ohio, King's hometown at the time. The nineteen-year-old composer was playing euphonium with Robinson's Famous Shows and was on tour much of the time, but he always enjoyed returning to Canton to see his family and friends. March researcher Robert Hoe wrote that "of all the marches ever written, this one is considered the ne plus ultra (summit of achievement) for baritone-euphonium players." Most clarinet players also appreciate the challenge in their part.

American Overture for Band

This work was composed for the United States Army Field Band while the composer was on the arranging staff for the group. The instrumentation of this work is based on the players in the Field Band. In 2003, at the request of the American Bandmaster's Association, a full score was developed by the composer in order to correct the previous versions of the work. An orchestral version of the work, done by Derry Wilson Ochoa, has been performed by the Indianapolis Symphony and Nashville Symphony.

The work was dedicated to the Army Field Band's conductor, Chester E. Whiting. It was written in a neomodal style, being flavored strongly with both Lydian and Mixolydian modes. Its musical architecture is a very free adaptation of sonata form. The musical material borders on the folk tune idiom although there are no direct quotes from any folk tunes. The work calls for near-virtuoso playing by several sections, especially the French horns, and is a favorite of advanced high school and university bands. Although American Overture was Jenkins's first band piece, it remains his most successful work and, in his words, he is "hard-pressed to duplicate its success."

Scenes from "The Louvre"

This band version of Scenes from “The Louvre” is adapted from the 1965 Emmy Award winning original film score. The five movements of this suite pay tribute to the development of the museum and feature thematic material from the Renaissance time period. The Portals begins with a low brass choir and evokes notions of the grandeur of the Louvre. The light, delicate staccato playing of the clarinets conveys the gaiety of children at play in the Children’s Gallery. Visions of state occasions and courtly dances evolve from the brass’s contrapuntal parts in The Kings of France. The religious theme In Dulci Jubilo appears in Nativity Paintings and features the solo clarinet and oboe. The Finale is introduced by a royal fanfare and bears the pomp and elegance of the era as the ensemble brings the work to a noble conclusion.

Galilean Moons

Composer Roger Cichy had not devoted his thoughts or energies to astronomy prior to composing Galilean Moons in 1996. "I had already begun a sketch of the first movement of a multi-movement work,” Cichy writes, “when I awoke one day with the name ‘Europa’ bouncing around my head. I quickly researched the topic and uncovered the four Galilean Moons of Jupiter. It's a bizarre coincidence that my initial sketch of the work's first movement, in progress before uncovering the subject, fit remarkably well the moon Ganymede.”

Each of the four Galilean Moons is unique. Cichy's work reflects these disparate qualities. Ganymede is an earth-like body harboring a system of continents, and much of the movement features the Neopolitan scale, which incorporates semitones on either side of tonic. Callisto is perhaps the most geographically inert body in the entire solar system and is depicted by a haunting melody, introduced by the alto flute, accompanied by crystal-like tones that suggest a cold, stark, lifeless landscape. Io, with its violent volcanism, is portrayed through the use of semitones and tri-tone figures in furioso bursts of musical energy. The tempo/style marking, Furioso, is continuous throughout the movement. Europa is among the most mysterious of all known celestial bodies, its warm sea sandwiched between a molten core and frozen surface crust. Cichy's makes wide use of dichotomous minor/major tonalities throughout the final movement.

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.

* = 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

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

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, October 26, 2023 at 7:30 p.m.
University of Tennessee Wind Ensemble

John Zastoupil, Conductor
with

TENNESSEE WIND SYMPHONY
John Culvahouse, Conductor

Thursday, October 26, 2023 at 7:30 p.m.

World's Fair Park

UNIVERSITY OF TENNESSEE WIND ENSEMBLE

Overture to, “Colas Breugnon” (1937/2003)
Dmitri Kabalevsky (1904-87)

Early Light (1999)
Carolyn Bremer (1957-2018)

Tyler Hamilton, graduate assistant conductor

Emblems (1964)
Aaron Copland (1900-1990)

The Melody Shop (1910)
Karl L. King (1891-1971)

TENNESSEE WIND SYMPHONY

American Overture for Band (1956)
Joseph Wilcox Jenkins (1928-2014)

Scenes from, “The Louvre” (1966)
Norman Dello Joio (1913-2008)

John Zastoupil, guest conductor

  1. The Portals
  2. Children's Gallery
  3. Kings of France
  4. Nativity Paintings
  5. Finale

Galilean Moons (1996)
Roger Cichy (b. 1956)

  1. Ganymede
  2. Callisto
  3. Io
  4. Europa

Overture to Colas Breugnon

As the son of a mathematician, Dmitri Kabalevsky was encouraged by his father to study math and economics. Kabalevsky, however, showed an early aptitude for the arts and started his formal music education at the Scriabin School of Music in Moscow when he was fourteen. He entered the Moscow Conservatory in 1925, where he studied composition with Nikolai Miaskovsky and earned a full professorship in 1939.

Kabalevsky was a composer during a period in Russia’s history that was full of stylistic constraints for artists. His music embodied the Russian government’s music ideology which was reminiscent of Russian folk songs and steered clear of modernism.

Kabalevsky’s first opera, Colas Breugnon: Master of Clamecy, was based a novel of the same name by French author Romain Rolland. The story centers on the love life of a scalawag wood carver, Colas Breugnon, who is antagonized by a villainous Duke. The spirited music in the comedic opera turns dramatic when soldiers return and introduce a plague to the village and the Duke orders the wood carvers’ statues burned. The comedy returns when the wood carver gets revenge on the Duke by carving a statue of the Duke riding backwards on a donkey for the entire village to see and enjoy. The excitement and brisk nature of the overture has not only made it a favorite in orchestra halls, but transcriptions by Harding, Beeler, and Hunsberger for wind band have also ensured its popularity in the wind band genre.

Early Light

Originally written for the Oklahoma City Philharmonic, Early Light premiered in July 1995. According to the score notes:

The material is largely derived from The Star Spangled Banner. One need not attribute an excess of patriotic fervor in the composer as a source for this optimistic homage to our national anthem; Carolyn Bremer, a passionate baseball fan since childhood, drew upon her feelings of happy anticipation at hearing the anthem played before ball games when writing her piece. The slapstick heard near the end echoes the crack of the bat on a long home run.

Emblems

In May, 1963, I received a letter from Keith Wilson, President of the College Band Directors National Association, asking me to accept a commission from that organization to compose a work for band. He wrote: 'The purpose of this commission is to enrich the band repertory with music that is representative of the composer's best work, and not one written with all sorts of technical or practical limitations.' That was the origin of Emblems. I began work on the piece in the summer of 1964 and completed it in November of that year. It was first played at the CBDNA National Convention in Tempe, Arizona, on December 18, 1964, by the Trojan Band of the University of Southern California, conducted by William A. Schaefer.

Keeping Mr. Wilson's injunction in mind, I wanted to write a work that was challenging to young players without overstraining their technical abilities. The work is tripartite in form: slow-fast-slow, with the return of the first part varied. Embedded in the quiet, slow music the listener may hear a brief quotation of a well-known hymn tune Amazing Grace, published by William Walker in The Southern Harmony in 1835. Curiously enough, the accompanying harmonies had been conceived first, without reference to any tune. It was only a chance of perusal of a recent anthology of old 'Music in America' that made me realize a connection existed between my harmonies and the old hymn tune.

An emblem stands for something - it is a symbol. I called the work Emblems because it seemed to me to suggest musical states of being: noble or aspirational feelings, playful or spirited feelings. The exact nature of these emblematic sounds must be determined for himself by each listener.

Melody Shop

This march was dedicated to E.E. Powell and Al Shortridge, owners of the Powell Music Co. Melody Shop in Canton, Ohio, King's hometown at the time. The nineteen-year-old composer was playing euphonium with Robinson's Famous Shows and was on tour much of the time, but he always enjoyed returning to Canton to see his family and friends. March researcher Robert Hoe wrote that "of all the marches ever written, this one is considered the ne plus ultra (summit of achievement) for baritone-euphonium players." Most clarinet players also appreciate the challenge in their part.

American Overture for Band

This work was composed for the United States Army Field Band while the composer was on the arranging staff for the group. The instrumentation of this work is based on the players in the Field Band. In 2003, at the request of the American Bandmaster's Association, a full score was developed by the composer in order to correct the previous versions of the work. An orchestral version of the work, done by Derry Wilson Ochoa, has been performed by the Indianapolis Symphony and Nashville Symphony.

The work was dedicated to the Army Field Band's conductor, Chester E. Whiting. It was written in a neomodal style, being flavored strongly with both Lydian and Mixolydian modes. Its musical architecture is a very free adaptation of sonata form. The musical material borders on the folk tune idiom although there are no direct quotes from any folk tunes. The work calls for near-virtuoso playing by several sections, especially the French horns, and is a favorite of advanced high school and university bands. Although American Overture was Jenkins's first band piece, it remains his most successful work and, in his words, he is "hard-pressed to duplicate its success."

Scenes from "The Louvre"

This band version of Scenes from “The Louvre” is adapted from the 1965 Emmy Award winning original film score. The five movements of this suite pay tribute to the development of the museum and feature thematic material from the Renaissance time period. The Portals begins with a low brass choir and evokes notions of the grandeur of the Louvre. The light, delicate staccato playing of the clarinets conveys the gaiety of children at play in the Children’s Gallery. Visions of state occasions and courtly dances evolve from the brass’s contrapuntal parts in The Kings of France. The religious theme In Dulci Jubilo appears in Nativity Paintings and features the solo clarinet and oboe. The Finale is introduced by a royal fanfare and bears the pomp and elegance of the era as the ensemble brings the work to a noble conclusion.

Galilean Moons

Composer Roger Cichy had not devoted his thoughts or energies to astronomy prior to composing Galilean Moons in 1996. "I had already begun a sketch of the first movement of a multi-movement work,” Cichy writes, “when I awoke one day with the name ‘Europa’ bouncing around my head. I quickly researched the topic and uncovered the four Galilean Moons of Jupiter. It's a bizarre coincidence that my initial sketch of the work's first movement, in progress before uncovering the subject, fit remarkably well the moon Ganymede.”

Each of the four Galilean Moons is unique. Cichy's work reflects these disparate qualities. Ganymede is an earth-like body harboring a system of continents, and much of the movement features the Neopolitan scale, which incorporates semitones on either side of tonic. Callisto is perhaps the most geographically inert body in the entire solar system and is depicted by a haunting melody, introduced by the alto flute, accompanied by crystal-like tones that suggest a cold, stark, lifeless landscape. Io, with its violent volcanism, is portrayed through the use of semitones and tri-tone figures in furioso bursts of musical energy. The tempo/style marking, Furioso, is continuous throughout the movement. Europa is among the most mysterious of all known celestial bodies, its warm sea sandwiched between a molten core and frozen surface crust. Cichy's makes wide use of dichotomous minor/major tonalities throughout the final movement.

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.

* = 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

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

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.