University of Tennessee Concert & Symphonic Bands
Tuesday, November 21, 2023 at 7:30 p.m.
University of Tennessee Concert & Symphonic Bands

Tuesday, November 21, 2023 at 7:30 p.m.

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

CONCERT BAND

Dr. Michael Stewart, conductor

Military Escort
Harold Bennett (1881-1956)
ed. Fennell

Remembering the Remarkables
Grace Baugher (b. 1995)

Tyler Hamilton, graduate conductor

J.S. Jig
Brant Karrick (b. 1960)

Matthew Waymon, graduate conductor

Vesuvius
Frank Ticheli (b. 1958)

SYMPHONIC BAND

Dr. Fuller Lyon, conductor

Mangulina
Paul Basler (b. 1963)

Alex Boone, graduate conductor

Ballad for Band
Morton Gould (1913-1996)

Give Us This Day: A Short Symphony
for Wind Ensemble
David Maslanka (1943-2017)

I. Moderately slow
II. Very fast

Concert Band

Military Escort

According to Frederick Fennell, “Military Escort has introduced more Americans to the regimental march style than any title in the vast and fascinating musical literature. And while it may not enjoy in this era of supposed musical sophistication the position it held so firmly half a century ago, it remains a classical example of effective and disarming simplicity, reflecting the innocence and charm of a bygone time in American music education.”

As Henry Filmore’s marches became more famous, he was concerned that too many works under his own name would flood the market. The name Harold Bennett became one of eight aliases used by James Henry Filmore, Jr., and was the pseudonym in 1923 when he wrote the Bennett Band Book No. 1, A Collection of Original Compositions for Band. This book of sixteen titles contained waltzes, serenades, overtures, fox trots, and marches; including Military Escort.

Remembering the Remarkables

Originally written for the 100th Anniversary of the Women’s Suffrage Movement, the composer writes about the piece, “This piece is about mountains in many forms. Metaphorically speaking, everyone has his or her own mountain to climb and for me that was a literal mountain. My New Years resolution for the year 2017 was to climb a 14er. Those who know me know that strenuous activity is not my idea of fun but I wanted this goal to stretch me. That spring I had a knee injury that caused me to go through a few months of physical therapy making it not possible for me to make the climb that year. Summer 2018 had me working toward my goal again, this time with a bit of hesitation after my injury. On a Sunday in August, I made it to the top. This experience taught me 2 things. First, that climbing a mountain has two victories: getting to the top and then getting back to the bottom again. Each had their own challenges but they were all part of the same goal. The second is that mountains have false peaks. You may think you are nearing the top only to realize you are only half way up. I found that these lessons apply to life as well and the women who were part of the suffrage movement no doubt experienced them in their journey. These remarkable women paved the way for women of the future of have the freedom to pursue the lives they want. Writing this piece is only a small tribute when compared to the gratitude they deserve.

The title, Remembering the Remarkables, was inspired by my recent trip to New Zealand. There is a mountain range called the Remarkables on the southern island that is so perfectly picturesque and inspiring that I don’t think I could ever forget them. It was here that my piece began to take shape.”

J.S. Jig

Written in October of 2006, J. S. Jig is a dance that fuses themes of J. S. Bach into a lilting 6/8 Irish Jig. The first sketch consists of the main theme, initially as a fugue, and includes a short quote of Bach’s much-loved Jesu Joy of Man’s Desiring. As the composer continued to play with the theme, experimenting with harmonies, colors and orchestration, he began to imagine old Johann himself along with some good-humored Irish musicians looking over his shoulder. He wanted them all to be pleased and like the music! To further pay homage to Bach, he decided to include the Bach chorale Was Gott tut, das ist Wohlgetan, a chorale which the composer’s father had transcribed and had become a favorite of the composer.

J. S. Jig begins with a subtle percussion groove, followed by quick exchanges of the main themes between sections of instruments. A complete statement of the jig theme is followed by a short development, a fugue and a short transition into the chorale played by the brass choir as woodwinds continue the jig idea. As the main theme returns, the orchestration becomes denser, harmonies become more dissonant and the dynamics build to a thunderous climax.

Vesuvius

Mt. Vesuvius, the volcano that destroyed Pompeii and Herculaneum in A.D. 79, is the icon of power and energy in this work. The tension and suspense of the impending cataclysm characterizes the introduction of the main themes. Driving rhythms and complex mode changes convey a mood of growing intensity that is interrupted by quotations from the Dies Irae of the medieval Requiem Mass, invoking as a symbol of death and destruction. An image of everyday village life in the towns oblivious to the impending danger, portrayed in a quiet interlude, is disturbed by the first fiery events on the mountain. A final battle of the themes builds to a state of extreme agitation, conveying the chaos of the volcanic explosions.

Symphonic Band

Mangulina

Commissioned in 2001 by ensembles at Mars Hill College, Western Carolina University, Appalachian State University, and the University of Kentucky, Mangulina is based on traditional dance rhythms from the Dominican Republic. The piece conjures up images of frenzied dancing, a “primordial” jumping up and down and stomping on the earth, sending wishes and dreams towards the heavens.

Ballad for Band

In 1946 Morton Gould somehow found a few minutes to satisfy a request from conductor Edwin Franko Goldman to write a piece for his renowned Goldman Band. The result was the reflective and sensitively scored Ballad for Band, a work inspired by African American spirituals. In an interview with Dr. Thomas Stone, Gould offered insight on how the spiritual influenced this music:

“I have always been sensitive to, and stimulated by, the sounds that I would call our “American vernacular” – jazz, ragtime, gospel, spirituals, hillbilly. The spirituals have always been the essence, in many ways, of our musical art, our musical spirit. The spiritual is an emotional, rhythmic expression. The spiritual has a universal feeling; it comes from the soul, from the gut. People all over the world react to them…I am not aware of the first time I heard them. It was undoubtedly a sound I heard as a child; maybe at a revival.”

Morton Gould offers the following additional commentary:

“Ballad for Band is basically an introverted piece that starts slowly, is linear, and has a quiet lyricism; it is not big band in the sense that there is little razzle-dazzle. A discerning listener who is programmed to appreciate the nuances and subtlety of a contemporary piece would respond favorably to this, but others merely find it from relatively pleasant to slightly boring. Only certain listeners respond to what this piece represents musically.”

It also captures the spirit of popular music and dance forms. The beauty of the melody can hide the complexities of theme exchanges within the sections of the band. Antecedent-consequent phrases play off each other and build tension. Accents, syncopation, and lively rhythmic patterns complement the lush harmonies of the chord structures.

Give Us This Day

The words “Give us this day” are, of course, from the Lord’s Prayer, but the inspiration for this music is Buddhist. I have recently read a book by the Vietnamese Buddhist monk Thich Nhat Hahn (pronounced “Tick Not Hahn”) entitled For a Future to be Possible. His premise is that a future for the planet is only possible if individuals become deeply mindful of themselves, deeply connected to who they really are. While this is not a new idea, and something that is an ongoing struggle for everyone, in my estimation it is the issue for world peace. For me, writing music, and working with people to perform music, are two of those points of deep mindfulness.

Music makes the connection to reality, and by reality, I mean a true awakeness and awareness. Give Us This Day gives us this very moment of awakeness and awareness so that we can build a future in the face of a most dangerous and difficult time.

I chose the subtitle, “Short Symphony for Wind Ensemble,” because the music is not programmatic in nature. It has a full-blow symphonic character, even though there are only two movements. The music of the slower first movement is deeply searching, while that of the highly energized second movement is at times both joyful and sternly sober. The piece ends with a modal setting of the choral melody Vater Unser in Himmelreich (Our Father in Heaven) – No. 110 from the 371 four-part chorales by Johann Sebastian Bach.

- Program note by the composer

Dr. Michael Stewart, conductor

* = principal

+ = co-principal

Flute

Aphrael Carrillo*
Joanna Gardner
Elizabeth Hamilton
Kaz Manville
JJ Nauman
Maddie Stewart
Rebecca Terc
Shelby Wilkerson

Oboe

Emma Pardo

Clarinet

Jackson Banks
Christopher Campbell
Mckinley Frees
Brooklyn Griffith+
Carter Holtmann
Chloe Levering
Hannah McGill
Courtney McHan
Mathew Mihalic
Evan Norris
Dylan Smith+
Elle Wlas

Bass Clarinet

Ploomie Messer
Jessie Williams

Bassoon

Macy Porter*
Patrick Sealy
Andrew van Dalen
Christopher Williamson

Alto Sax

Jordan Cathelyn*
Luke Robertson
Sarah Vernetti

Tenor Sax

Jordan Cannon

Bari Sax

Madigan Ashe

Trumpet

Kaleb Balinger
Jackson Daniels
Shandi Dice
Thomas Hooper
Chance Jones
Kamden Lindsay
Koehl Lindsay
Evan Mainous*
Dylan Sacksteder
Ethan Samuelson
Kara Ussery

French Horn

Emily Baker
Duncan Clever
Xander Harms
Alex Medearis
Sam Shoemaker*
Luke Warren

Trombone

Harrison Barnes
Terrance Jones*
Madison Joy
Ian Myers
Jacob Ross
Ian Searcy
Peyton Weir
Claire Werner

Euphonium

Eli Atkin
Yazeiry Perez De La Torre*
Zack Donovan

Tuba

Tommy Bond
Austin Kerr*
Ethan Mizzell
Isaiah Towns

Percussion

Olivia Baker
Colston Oldham*
David Scott
Shelton Skaggs
Kadijah Tinker

Dr. Fuller Lyon, conductor

* = principal
+= co-principal

Names listed alphabetically

Piccolo

Maddi Smith+

Flute

Sarah Cox
Julianne Moss
Ella Pinchok+
Kiernan Stuppy
Chloe Watson

Oboe

Katherine Means*
Caroline Storch

English Horn

Sam Willard

Clarinet

Absa Dia
Grace Dobrescu*
Patrick Flaherty
Lauren Goldston
Emilee Jerrell
Evan Laws
Nathaniel Palcone
Abbey Shelton

Bass Clarinet

Joshua Adedokun
Natalie Rundblade

Bassoon

Austin Hill*
Daniel Sippe

Alto Saxophone

Spencer Cassidy
Anna Caten*
Dawson May

Tenor Saxophone          

Julia Avery       

Baritone Saxophone

Preston Turner

Trumpet

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

Horn

Carson Duckworth
Sydney Flenniken
Chase Hart
Cole McFarland+
Olivia Rhines
Zac Stanislawski+

Trombone

Noah Allard
Wyatt Detrick*
Tyler Guthrie
Samuel Thomas

Bass Trombone

Chandler DeArmond

Euphonium

Sammie Beverley
Scotty Hunnicutt*

Tuba

Paul Muirhead+
Regan Rhyne+
Hudson Scott

Percussion

Nathan Caldwell
Anna Davis
Tyler Delaney
Brooke Duez
Noah Foster
Chang Gao*

String Bass

Halimah Muhammad

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, November 21, 2023 at 7:30 p.m.
University of Tennessee Concert & Symphonic Bands

Tuesday, November 21, 2023 at 7:30 p.m.

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

CONCERT BAND

Dr. Michael Stewart, conductor

Military Escort
Harold Bennett (1881-1956)
ed. Fennell

Remembering the Remarkables
Grace Baugher (b. 1995)

Tyler Hamilton, graduate conductor

J.S. Jig
Brant Karrick (b. 1960)

Matthew Waymon, graduate conductor

Vesuvius
Frank Ticheli (b. 1958)

SYMPHONIC BAND

Dr. Fuller Lyon, conductor

Mangulina
Paul Basler (b. 1963)

Alex Boone, graduate conductor

Ballad for Band
Morton Gould (1913-1996)

Give Us This Day: A Short Symphony
for Wind Ensemble
David Maslanka (1943-2017)

I. Moderately slow
II. Very fast

Concert Band

Military Escort

According to Frederick Fennell, “Military Escort has introduced more Americans to the regimental march style than any title in the vast and fascinating musical literature. And while it may not enjoy in this era of supposed musical sophistication the position it held so firmly half a century ago, it remains a classical example of effective and disarming simplicity, reflecting the innocence and charm of a bygone time in American music education.”

As Henry Filmore’s marches became more famous, he was concerned that too many works under his own name would flood the market. The name Harold Bennett became one of eight aliases used by James Henry Filmore, Jr., and was the pseudonym in 1923 when he wrote the Bennett Band Book No. 1, A Collection of Original Compositions for Band. This book of sixteen titles contained waltzes, serenades, overtures, fox trots, and marches; including Military Escort.

Remembering the Remarkables

Originally written for the 100th Anniversary of the Women’s Suffrage Movement, the composer writes about the piece, “This piece is about mountains in many forms. Metaphorically speaking, everyone has his or her own mountain to climb and for me that was a literal mountain. My New Years resolution for the year 2017 was to climb a 14er. Those who know me know that strenuous activity is not my idea of fun but I wanted this goal to stretch me. That spring I had a knee injury that caused me to go through a few months of physical therapy making it not possible for me to make the climb that year. Summer 2018 had me working toward my goal again, this time with a bit of hesitation after my injury. On a Sunday in August, I made it to the top. This experience taught me 2 things. First, that climbing a mountain has two victories: getting to the top and then getting back to the bottom again. Each had their own challenges but they were all part of the same goal. The second is that mountains have false peaks. You may think you are nearing the top only to realize you are only half way up. I found that these lessons apply to life as well and the women who were part of the suffrage movement no doubt experienced them in their journey. These remarkable women paved the way for women of the future of have the freedom to pursue the lives they want. Writing this piece is only a small tribute when compared to the gratitude they deserve.

The title, Remembering the Remarkables, was inspired by my recent trip to New Zealand. There is a mountain range called the Remarkables on the southern island that is so perfectly picturesque and inspiring that I don’t think I could ever forget them. It was here that my piece began to take shape.”

J.S. Jig

Written in October of 2006, J. S. Jig is a dance that fuses themes of J. S. Bach into a lilting 6/8 Irish Jig. The first sketch consists of the main theme, initially as a fugue, and includes a short quote of Bach’s much-loved Jesu Joy of Man’s Desiring. As the composer continued to play with the theme, experimenting with harmonies, colors and orchestration, he began to imagine old Johann himself along with some good-humored Irish musicians looking over his shoulder. He wanted them all to be pleased and like the music! To further pay homage to Bach, he decided to include the Bach chorale Was Gott tut, das ist Wohlgetan, a chorale which the composer’s father had transcribed and had become a favorite of the composer.

J. S. Jig begins with a subtle percussion groove, followed by quick exchanges of the main themes between sections of instruments. A complete statement of the jig theme is followed by a short development, a fugue and a short transition into the chorale played by the brass choir as woodwinds continue the jig idea. As the main theme returns, the orchestration becomes denser, harmonies become more dissonant and the dynamics build to a thunderous climax.

Vesuvius

Mt. Vesuvius, the volcano that destroyed Pompeii and Herculaneum in A.D. 79, is the icon of power and energy in this work. The tension and suspense of the impending cataclysm characterizes the introduction of the main themes. Driving rhythms and complex mode changes convey a mood of growing intensity that is interrupted by quotations from the Dies Irae of the medieval Requiem Mass, invoking as a symbol of death and destruction. An image of everyday village life in the towns oblivious to the impending danger, portrayed in a quiet interlude, is disturbed by the first fiery events on the mountain. A final battle of the themes builds to a state of extreme agitation, conveying the chaos of the volcanic explosions.

Symphonic Band

Mangulina

Commissioned in 2001 by ensembles at Mars Hill College, Western Carolina University, Appalachian State University, and the University of Kentucky, Mangulina is based on traditional dance rhythms from the Dominican Republic. The piece conjures up images of frenzied dancing, a “primordial” jumping up and down and stomping on the earth, sending wishes and dreams towards the heavens.

Ballad for Band

In 1946 Morton Gould somehow found a few minutes to satisfy a request from conductor Edwin Franko Goldman to write a piece for his renowned Goldman Band. The result was the reflective and sensitively scored Ballad for Band, a work inspired by African American spirituals. In an interview with Dr. Thomas Stone, Gould offered insight on how the spiritual influenced this music:

“I have always been sensitive to, and stimulated by, the sounds that I would call our “American vernacular” – jazz, ragtime, gospel, spirituals, hillbilly. The spirituals have always been the essence, in many ways, of our musical art, our musical spirit. The spiritual is an emotional, rhythmic expression. The spiritual has a universal feeling; it comes from the soul, from the gut. People all over the world react to them…I am not aware of the first time I heard them. It was undoubtedly a sound I heard as a child; maybe at a revival.”

Morton Gould offers the following additional commentary:

“Ballad for Band is basically an introverted piece that starts slowly, is linear, and has a quiet lyricism; it is not big band in the sense that there is little razzle-dazzle. A discerning listener who is programmed to appreciate the nuances and subtlety of a contemporary piece would respond favorably to this, but others merely find it from relatively pleasant to slightly boring. Only certain listeners respond to what this piece represents musically.”

It also captures the spirit of popular music and dance forms. The beauty of the melody can hide the complexities of theme exchanges within the sections of the band. Antecedent-consequent phrases play off each other and build tension. Accents, syncopation, and lively rhythmic patterns complement the lush harmonies of the chord structures.

Give Us This Day

The words “Give us this day” are, of course, from the Lord’s Prayer, but the inspiration for this music is Buddhist. I have recently read a book by the Vietnamese Buddhist monk Thich Nhat Hahn (pronounced “Tick Not Hahn”) entitled For a Future to be Possible. His premise is that a future for the planet is only possible if individuals become deeply mindful of themselves, deeply connected to who they really are. While this is not a new idea, and something that is an ongoing struggle for everyone, in my estimation it is the issue for world peace. For me, writing music, and working with people to perform music, are two of those points of deep mindfulness.

Music makes the connection to reality, and by reality, I mean a true awakeness and awareness. Give Us This Day gives us this very moment of awakeness and awareness so that we can build a future in the face of a most dangerous and difficult time.

I chose the subtitle, “Short Symphony for Wind Ensemble,” because the music is not programmatic in nature. It has a full-blow symphonic character, even though there are only two movements. The music of the slower first movement is deeply searching, while that of the highly energized second movement is at times both joyful and sternly sober. The piece ends with a modal setting of the choral melody Vater Unser in Himmelreich (Our Father in Heaven) – No. 110 from the 371 four-part chorales by Johann Sebastian Bach.

- Program note by the composer

Dr. Michael Stewart, conductor

* = principal

+ = co-principal

Flute

Aphrael Carrillo*
Joanna Gardner
Elizabeth Hamilton
Kaz Manville
JJ Nauman
Maddie Stewart
Rebecca Terc
Shelby Wilkerson

Oboe

Emma Pardo

Clarinet

Jackson Banks
Christopher Campbell
Mckinley Frees
Brooklyn Griffith+
Carter Holtmann
Chloe Levering
Hannah McGill
Courtney McHan
Mathew Mihalic
Evan Norris
Dylan Smith+
Elle Wlas

Bass Clarinet

Ploomie Messer
Jessie Williams

Bassoon

Macy Porter*
Patrick Sealy
Andrew van Dalen
Christopher Williamson

Alto Sax

Jordan Cathelyn*
Luke Robertson
Sarah Vernetti

Tenor Sax

Jordan Cannon

Bari Sax

Madigan Ashe

Trumpet

Kaleb Balinger
Jackson Daniels
Shandi Dice
Thomas Hooper
Chance Jones
Kamden Lindsay
Koehl Lindsay
Evan Mainous*
Dylan Sacksteder
Ethan Samuelson
Kara Ussery

French Horn

Emily Baker
Duncan Clever
Xander Harms
Alex Medearis
Sam Shoemaker*
Luke Warren

Trombone

Harrison Barnes
Terrance Jones*
Madison Joy
Ian Myers
Jacob Ross
Ian Searcy
Peyton Weir
Claire Werner

Euphonium

Eli Atkin
Yazeiry Perez De La Torre*
Zack Donovan

Tuba

Tommy Bond
Austin Kerr*
Ethan Mizzell
Isaiah Towns

Percussion

Olivia Baker
Colston Oldham*
David Scott
Shelton Skaggs
Kadijah Tinker

Dr. Fuller Lyon, conductor

* = principal
+= co-principal

Names listed alphabetically

Piccolo

Maddi Smith+

Flute

Sarah Cox
Julianne Moss
Ella Pinchok+
Kiernan Stuppy
Chloe Watson

Oboe

Katherine Means*
Caroline Storch

English Horn

Sam Willard

Clarinet

Absa Dia
Grace Dobrescu*
Patrick Flaherty
Lauren Goldston
Emilee Jerrell
Evan Laws
Nathaniel Palcone
Abbey Shelton

Bass Clarinet

Joshua Adedokun
Natalie Rundblade

Bassoon

Austin Hill*
Daniel Sippe

Alto Saxophone

Spencer Cassidy
Anna Caten*
Dawson May

Tenor Saxophone          

Julia Avery       

Baritone Saxophone

Preston Turner

Trumpet

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

Horn

Carson Duckworth
Sydney Flenniken
Chase Hart
Cole McFarland+
Olivia Rhines
Zac Stanislawski+

Trombone

Noah Allard
Wyatt Detrick*
Tyler Guthrie
Samuel Thomas

Bass Trombone

Chandler DeArmond

Euphonium

Sammie Beverley
Scotty Hunnicutt*

Tuba

Paul Muirhead+
Regan Rhyne+
Hudson Scott

Percussion

Nathan Caldwell
Anna Davis
Tyler Delaney
Brooke Duez
Noah Foster
Chang Gao*

String Bass

Halimah Muhammad

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.