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  • Illinois State University College of Fine Arts School of Music


    Symphonic Band


    University Band

    Dan Dietrich, conductor Johannes Krohn, conductor Shannon Shaffer, conductor

    Center for the Performing Arts Thursday Evening December 1, 2016 8:00 p.m. This is the eightieth program of the 2016-2017 season.

  • Program

    Please silence all electronic devices for the duration of the concert. Thank you.

    University Band

    Shannon Shaffer & Johannes Krohn, conductors

    Invicta (1981) James Swearingen

    (born 1947)


    Rippling Watercolors (2015) Brian Balmages

    (born 1975)


    A Longford Legend (1996) Robert Sheldon

    (born 1954)


    Lone Star Celebration (1995) James Curnow

    (born 1943)


    Symphonic Band

    Dan Dietrich, conductor

    Commemorating the Illinois State University Career of George Foeller

    A Christmas Intrada (1980) Alfred Reed


    Members from the Symphonic Wind Brass section 6:00

    Carnival of Venice (1950) Traditional

    arranged by Herbert L. Clarke

    (born 1929) (1948)


    Nutcracker Sweets (2010) Pyotr Ilyich Tchaikovsky

    arranged by Neil Corwell

    (born 1958)


    Canterbury Chorale (2010) Jan Van der Roost

    (born 1956)


    The Demon (1966) Paul Huber


    arranged by George Foeller


    Radetzky March (1885) Johann Strauss, Sr.


    arranged by George Foeller


  • Program Notes

    Welcome to Illinois State University! Thank you for joining us for todays performance of the ISU

    University Band and Symphonic Band. We hope that you will enjoy our concert and that you

    might consider joining us again for future performances at the ISU School of Music. Please visit for more information. Thank you for your support!

    James Swearingen (born 1947) James Swearingen's talents as a performer, composer/arranger

    and educator include a background of extensive training and

    experience. He has earned degrees from Bowling Green State

    University and The Ohio State University. Mr. Swearingen is

    currently Professor of Music, Department Chair of Music

    Education, and one of several resident composers at Capital

    University located in Columbus, Ohio. He also serves as a staff

    arranger for the famed Ohio State University Marching Band.

    Prior to his appointment at Capital in 1987, he spent eighteen

    years teaching instrumental music in the public schools of

    central Ohio.

    Mr. Swearingen's numerous contributions for band have been

    enthusiastically received by school directors, student performers, and audiences worldwide. With

    over 500 published works, he has written band compositions and arrangements that reflect a

    variety of musical forms and styles. Many of his pieces, including eighty six commissioned works,

    have been chosen for contest and festival lists. He is a recipient of several ASCAP awards for

    published compositions and in 1992 was selected as an Accomplished Graduate of the Fine and

    Performing Arts from Bowling Green State University. In March of 2000, he was invited to join

    The American Bandmasters Association, which is considered to be the most prestigious

    bandmaster organization in the world. Mr. Swearingen received the 2002 Community Music

    Educator Award given annually by the Columbus Symphony Orchestra. In that same year, he

    became conductor of the Grove City Community Winds. This highly talented ensemble consists of

    many fine musicians from the central Ohio area. He is a member of numerous professional and

    honorary organizations including OMEA, MENC, ASBDA, Phi Beta Mu and Pi Kappa Lambda.

    - Biography courtesy of the composer

    Invicta (1981) was composed as a tribute to Mark S. Kelly, Director of Bands at Bowling Green State University, Bowling Green, Ohio. Regarding the dedication, James Swearingen expressed

    the following; "Several times during my eighteen years of public school teaching, Professor Kelly

    provided me with educational guidance which helped to mold my career as a teacher. Needless to

    say, I owe many of my successes to this man's valuable advice."

    This composition, which utilizes ABA form, is introduced by a bold maestoso fanfare in the key

    of Bb major. The main theme (allegro con moto) is then passed back and forth between several

    sections of the ensemble. Having modulated to the key of Ab, a beautiful middle section is

    masterfully developed before an eventual return to the key of Bb. The recapitulation then allows

    the composer an opportunity to display his skill at inter-weaving previously introduced themes

    simultaneously. Invicta is another classic in the long list of Swearingen favorites.

    - Program notes courtesy of the composer

    Brian Balmages (born 1975) is an award-winning composer, conductor, producer, and performer. He holds a bachelors degree in music from James Madison University and a masters

    degree from the University of Miami in Florida. His compositions have been performed

    worldwide at the state, national, and international level. His active schedule of commissions and

  • premieres has incorporated groups ranging from elementary

    schools to professional ensembles, including the Baltimore

    Symphony Orchestra, Miami Symphony Orchestra,

    University of Miami Wind Ensemble, Boston Brass, and the

    Dominion Brass Ensemble. In 2012, Mr. Balmages

    received the prestigious Albert Austin Harding Award from

    the American School Band Directors Association. He is

    also a 2010 winner of the Harvey G. Phillips Award for

    Compositional Excellence, presented by the International

    Tuba-Euphonium Association.

    As a conductor, Mr. Balmages enjoys engagements with

    numerous all-state and regional honor bands and orchestras

    along with university and professional groups. Notable

    guest conducting appearances have included the Midwest Clinic, Western International Band

    Clinic, National Association for Music Educators, American School Band Directors Association,

    CBDNA, the Kennedy Center, and Meyerhoff Symphony Hall. He has also served as an adjunct

    professor of instrumental conducting and Acting Symphonic Band Director at Towson University

    in Maryland.

    Currently, Mr. Balmages is the Director of Instrumental Publications for The FJH Music Company

    Inc. in Fort Lauderdale, Florida. He resides in Baltimore with his wife Lisa and their two sons.

    - Biography courtesy of the Frank J. Hackinson Music Company

    Rippling Watercolors (2015) Many often underestimate the extensive colors, harmonies, and emotional range that are often

    achievable in younger ensembles. It is in this spirit that the musical lines of Rippling Watercolors

    were born. This was not meant to be a lyrical piece for younger ensembles; rather, it was written

    as a fully expressive lyrical work that happens to be playable by younger ensembles. I believe

    there is a significant difference. No phrases were truncated, no ranges were limited, and no

    rhythms were watered down for the sake of playability. This piece just happens to be attainable by

    younger groups, yet the music exists exactly as it would even if I had written this for a college


    The title comes from a range of inspiration. I often get asked about my last name. As most can

    imagine, there are very few of us left in the world. At present, my wife and I are one of only two

    couples in the United States that can carry on our family name. My cousins Ben and Carrie on the

    west coast are the other couple, and they now have two beautiful girls. We all share a lot of beliefs

    we encourage our children to be creative, spontaneous, and we enjoy watching where their

    imaginations take them. The idea for this piece came from a simple set of watercolors. When

    children get hold of these and use their imagination, the most amazing things can happen. Children

    can see things that adults never see. They open our minds as much (if not more) than we try to

    help them grow. With a little imagination, these watercolors can become a magnificent sunrise or

    sunset over the ocean, a gorgeous view from a mountaintop, or an image of a supernova in space.

    The smallest drop can change the pattern and create something entirely new, either with a brush or

    entirely within nature. It is my hope that Lily and Charlotte grow up with an infinite palette of

    watercolors, and that every drop creates a new, fantastic world.

    Rippling Watercolors was commissioned by the Springer Middle School Bands (Wilmington,

    Delaware, Robert J. Baronio, director). It is dedicated to my cousins Lily and Charlotte Balmages,

    who combined with my two boys, form the next generation of the Balmages name in the United


    - Program notes courtesy of the composer

  • Robert Sheldon (born 1954) is well known as a frequently published composer of music for bands and has

    successfully taught instrumental music in the public schools of

    Florida and Illinois. He was Assistant Director of Bands and

    Director of the Marching Band at Florida State University, where

    he was also actively involved in the music education program. He

    received his Bachelor of Music Education from the University of

    Miami in 1975 and his Master of Fine Arts in Conducting from

    the University of Florida in 1980.

    Sheldon has received numerous awards for his compositions,

    including the Volkwein Award, the American Society of

    Composers, Authors and Publishers Standard Award, and the

    Phi Beta Mu International Outstanding Bandmaster of the Year

    Award. He is one of eleven American wind band composers

    featured in Volume I of Composers on Composing Music for Band (GIA Publications, Inc., 2002).

    A Longford Legend was Sheldons first publication with Alfred Music Company, where he

    currently serves as Concert Band Editor while maintaining an active schedule composing and

    guest conducting.

    - Biography courtesy of Teaching Music through Performance in Band

    A Longford Legend (1996) was commissioned by the Normal Community West High School Band (Normal, Illinois, Lisa Preston, director). The piece was written in 1996 and premiered in

    April of that year with the composer conducting. It is based on the composers impressions of

    three poems found in a collection of Eighteenth Century Irish ballades, and is written as a tribute

    to the wonderful music of Grainger, Holst, and Vaughan Williams. Sheldon heard A Longford

    Legend, the poem that inspired the first movement of the suite, on A Writers Almanac

    broadcast on National Public Radio, read by Garrison Keillor. Taken with the potential for musical

    inspiration in the poem, he sought to find the author with the intent of writing a suite based on a

    variety of poems from the same venue. Through his research, he found that A Longford Legend

    was written by an anonymous author. He later found a collection of eighteenth century Irish street

    ballades by anonymous authors, and selected an additional two works, Young Molly Brown and

    Killyburn Brae, from this collection to complete the instrumental suite.

    - Program notes courtesy of Teaching Music through Performance in Band

    James Curnow (born 1943) is an American composer, conductor, educator, and publisher. He

    received some of his earliest training in the Salvation Army

    Instrumental Music program, a debt he later repaid as editor of

    their music publications. He undertook undergraduate studies at

    Wayne State University (BM 1966) and graduate studies at

    Michigan State (MM 1970), studying euphonium with Leonard

    Falcone and conducting with Harry Begian. His composition

    teachers were F. Maxwell Wood, James Gibb, Jere Hutchinson,

    and Irwin Fischer. He has over 400 works in his catalog, mostly

    tonal, many of which take their inspiration from literature. He

    is widely known for his symphonic band and brass band works,

    several of which have won major awards: Symphonic

    Triptych, Collage for Band (ASBDA/Volkwein, 1977,

    1979), Mutanza, Symphonic Variants for Euphonium and

  • Band (ABA/Ostwald, 1980, 1984), and Lochinvar (Coup de Vents, France, 1994). His prolific

    output for young musicians reflects his many years teaching at public school and college levels.

    He founded and presides over Curnow Music Press, Inc.

    - Biography courtesy of Grove Music Online

    Lone Star Celebration (1995) Texas is called the Lone Star State because of the single star on its flag. Through the years, the

    flags of six nations have flown over Texas. Besides the United States, these nations were Spain,

    France, Mexico, The Republic of Texas, and the Confederate States of America. On December

    29, 1845, Texas officially became the twenty-eighth state in the union. This overture is designed

    to celebrate the 150th Anniversary of this event.

    - Program notes courtesy of Curnow Music Press

    Alfred Reed (19212005) Alfred Reed, a Florida resident, is one of the most celebrated, prolific, and frequently

    performed band composers of the Twentieth Century. His

    works, over 200 of which have been published, have been on

    contest required performance lists for well over twenty years.

    He succeeded Frederick Fennell as conductor of the Miami

    University Wind Ensemble and has lived in the Miami area

    since 1960. In 1966, he joined the faculty of the School of

    Music at the University of Miami where he held a joint

    appointment in the Theory/Composition and Music Education

    departments, and developed the unique music merchandising

    degree program at the institution.

    - Biography courtesy of Community Band of Brevard

    A Christmas Intrada (1980) The celebration of the Nativity has called forth countless songs, dances, carols, plays, and

    combinations of these, involving both vocal and instrumental forces. Throughout the centuries,

    music for the Nativity has intertwined the feeling of radiant joy and infinite tenderness in many

    different ways. A Christmas Intrada represents an attempt to portray, in musical terms alone, five

    contrasting moods associated with the festivities of the Christmas season. These five sections are

    played without pause. They are: Fanfare: Christus Natus Est, for brass, chimes, bells and

    percussion only; Lullaby for the Christ Child played by the woodwind and saxophones;

    Processional of the Kings and Shepherds played by the full group; Carol for the Holy Night for

    woodwinds, saxophones and muted brass; and, finally, Wassail and Alleluia beginning with the

    bells and chimes alone, and gradually growing to include not only the full group but also

    antiphonal brass choirs, to bring the entire work to a joyous and triumphant conclusion. A

    Christmas Intrada was commissioned by the Middle Tennessee State University Band and

    dedicated to the bands who annually participate in the Contest of Champions, on the occasion of

    its twentieth anniversary (1981). The first performance took place on that occasion, at

    Murfreesboro, Tennessee, October 23, 1981, with the U.S. Marine Band, plus antiphonal brass


    - Program notes courtesy of Community Band of Brevard

    Herbert L. Clarke (born 1929) was the cornet soloist and assistant conductor for the Sousa Band between 1893 and 1917. In addition to his position with the Sousa Band, Clarke was

    also employed during his lengthy musical career as solo cornetist with the professional bands of

    Victor Herbert, Patrick Gilmore, Frederick Innes, and Ernest Neyer. In addition to his notable

  • career as cornet soloist, Clarke served as the conductor of the Reeves American Band of

    Providence, Rhode Island, the Huntsville, Ontario AngloCanadian Leather Company Band, and

    the Long Beach, California Municipal Band, a post that he held from 1923 until 1943.

    - Biography courtesy of The University of Illinois

    Carnival of Venice (1950) The band concerts of the early twentieth century, directed

    by John Philip Sousa and Arthur Pryor, were significant

    social and musical events. The audiences were dazzled and

    the skills of the musicians were often tested in works

    similar to these variations on the Carnival of

    Venice composed by Herbert L. Clarke. Although written

    after Clarke retired from his performing career, it

    embodies the difficult tonguing and perfect fingering

    Clarke knew was needed by the soloist to bring forth the

    phrasing, arpeggios, and intervals as a testimony of that

    players skills. It has become a rite of passage for many

    brass musicians. Consisting of an introduction, theme, two

    variations, and a finale, the demands on the soloist never

    stop. In the last variation, it sounds like the soloist is

    accompanying himself in multiple octaves.

    - Program notes courtesy of Foothill Symphonic Winds

    Pyotr Ilyich Tchaikovsky (1840-1893) was born in Votkinsk, Vyatka region, Russia. He played piano since the age of five; he also enjoyed his mother's playing and singing. He was a

    sensitive and emotional child, and became deeply traumatized by the death of his mother of

    cholera, in 1854. At that time he was sent to a boarding school in St. Petersburg. He graduated

    from the St. Petersburg School of Law in 1859, and then worked for three years at the Justice

    Department of the Russian Empire. In 1862-1865, he studied music under Anton Rubinstein at the

    St. Petersburg Conservatory. In 1866-1878, he was a professor of theory and harmony at the

    Moscow Conservatory. At that time he met Franz Liszt and Hector Berlioz, who visited Russia

    with concert tours. During that period, Tchaikovsky wrote his first ballet The Swan Lake, opera

    Eugene Onegin, four Symphonies, and the brilliant Piano Concerto No1.

    In 1883-1893 Tchaikovsky wrote his best

    Symphonies: No.5 and No.6, ballets The Sleeping

    Beauty and The Nutcracker, and operas The Queen of

    Spades and Iolanta. In 1888-1889, he made a

    successful conducting tour of Europe, appearing in

    Prague, Leipzig, Hamburg, Paris, and London. In

    1891, he went on a two-month tour of America,

    where he gave concerts in New York, Baltimore, and

    Philadelphia. In May of 1891 Tchaikovsky was the

    conductor on the official opening night of Carnegie

    Hall in New York. He was a friend of Edvard

    Grieg and Antonn Dvork. In 1892, he heard Gustav

    Mahler conducting his opera Eugene Onegin in

    Hamburg. Tchaikovsky himself conducted the

    premiere of his Symphony No.6 in St. Petersburg,

    Russia, on the October 16, 1893. A week later he

    died of cholera after having a glass of tap water. He was laid to rest in the Necropolis of Artists at

    St. Aleksandr Nevsky Monastery in St. Petersburg, Russia.

    - Biography courtesy of International Movie Database

  • Nutcracker Sweets (2010) is an arrangement of Nutcracker Suite for symphonic band and euphonium solo. The solo part is a virtuosic show of technical and lyrical ability. The solo adds

    another layer of excitement and interest while still staying true to the original piece.

    Tchaikovskys Nutcracker Suite is a piece of music that uses selections from his ballet simply

    titled The Nutcracker. This suite has become one of Tchaikovskys most famous works, and is his

    most widely performed piece of music. It has also become a standard part of holiday literature, and

    is a favorite for winter concerts. The two movements being performed tonight, Arabian Dance and

    Trepak have starkly contrasting styles. The first features a slow, darker melody over a drone-like

    accompaniment. The second is significantly more upbeat, and is one of the most instantly

    recognizable melodies from the suite.

    - Program notes courtesy of Illinois State University

    Jan Van der Roost (born 1956) was born in Duffel, Belgium, in 1956. At a very young age he was introduced to the

    prominent names in the concert band, fanfare band, and brass

    band repertoire which inspired him to put something on paper

    himself. He studied trombone, music history, and musical

    education at the Lemmensinstituut in Leuven (Louvain). He

    continued his studies at the Royal Conservatoires of Ghent and

    Antwerp, where he qualified as a conductor and a composer.

    Jan Van der Roost currently teaches at the Lemmensinstituut in

    Leuven (Belgium), is a guest professor at the Shobi Institute of

    Music in Tokyo, guest professor at the Nagoya University of Art,

    and guest professor at Senzoku Gakuen in Kawasaki (Japan).

    Besides being a prolific composer he is also very much in

    demand as an adjudicator, lecturer, holder of clinics and guest

    conductor. His musical activities have taken place in more than forty-five countries in four

    continents and his compositions have been performed and recorded around the world.

    - Biography courtesy of the composer

    Canterbury Chorale (1841) is a quiet piece with broad tones originally written for brass band on request of Robert Leveugle, chairman of the composers own band: Brass Band Midden Brabant

    (Belgium). The direct cause was a visit to the beautiful cathedral of the English city Canterbury, in

    which so many fine compositions sounded throughout the centuries. Eventually Van der Roost

    rescored this piece for symphonic wind band, exploring the full richness of colors of this

    formation. Besides solo phrases for several instruments, there are some massive tutti passages

    making the wind orchestra sound like a majestic organ. An ad libitum organ part adds an extra

    richness, color, and power to this piece, making it sound even more broad and grand.

    - Program notes courtesy of

    Paul Huber (1918-2001) began to compose music while still a high school student at the Collegium St.

    Fidelis in Stans. At that point his career had already been

    decided: comprehensive studies at the Zurich Conservatory

    were supplemented by tuition in composition with Nadia

    Boulanger in Paris in 1947. The young composer was asked

    at very short notice to replace the ailing J.B. Hilber who had

    been commissioned as the official composer for the Swiss

  • Music Festival in 1948. The premier of Hubers Piece Frau Musica made his name known

    throughout Switzerland overnight. Following Frau Musica, he composed over 400 works. Huber

    has received numerous prizes and honors for his compositions; for example, he received the

    Culture Award of the City of St. Gallen in 1982.

    - Biography courtesy of Katrin Dubach

    The Demon (1966) With furtive cunning and shrill impudence, the evil spirit controls the field until the people are

    startled by the suppressed intoning of the Day of Wrath and are reminded of the last judgement.

    However, the evil spirit is not yet beaten and is able to maintain himself through ever new

    disguises. A penetrating funeral march affirms once again the gloomy vision of death and justice.

    The demonic opponent is stimulated to ever more furious activity, permanently persecuted by the

    Dies Irae motive which, by threatening thematic splintering, becomes ever more forcible. The

    struggle ends unresolved, concluding with a questioning dissonance.

    - Program notes courtesy of the composer

    Johann Strauss Sr. (1804-1849) was born on the March 14, 1804, as the son of an innkeeper. The location of his

    father's inn at the Danube Channel and the neighboring harbor

    with its rafts and boats from different countries and the music

    played by the sailors, influenced Johann Sr. enthusiasm for

    popular dance music.

    After the death of both parents he began working as an

    apprentice for bookbinding in 1816 and started studying the

    violin. He got hired for the chapel of Michael Pamer as violin

    player but soon Strauss decided to become independent with his

    own orchestra. After a longer period of existential and financial

    problems he managed his breakthrough. He started to tour

    through Europe where he celebrated his popularity and he even

    played at the crowning of Queen Victoria in London.

    His success was enormous and he became conductor of the first civil regiment, where he

    composed the Radetzky Marsch.

    - Biography courtesy of

    Radetzky March (1966) Johann Strauss Sr. composed Radetsky March in honor of Field Marshal Joseph Radesky von

    Radez to commemorate his victory at the Battle of Custoza in 1848 (during the first Italian War of

    Independence). Despite its martial background, the music is more celebratory than military and

    seems more suited for the dance floor than the battlefield. It consists of an introduction followed

    by six musical figures, each of which is repeated and mixed with the next. When the chorus was

    first played for the Austrian army, the officers clapped and stomped their feet. This tradition

    continues in many venues as audiences clap rhythmically and softly during the first time the

    melody is heard, and then thunderously the second time. The Radetzky March may be Johann

    Strauss Senior's most enduring legacy

    - Program notes courtesy of the Butte Symphony

    Dan Dietrich holds both Bachelor's and Master's Degrees in Music Education from Illinois State University. Dan retired in 2010 after thirty-three years of teaching, thirty of which

  • he spent as the Director of Bands at Illinois Valley Central High

    School of Chillicothe. The IVC Band is well known around the

    state of Illinois due to the quality of its well-rounded program and

    its numerous appearances at State and National Events. Under his

    direction, the Marching Grey Ghosts were Class State Champions

    eleven times and placed six times. In 2003, IVC was the first

    band in nineteen years to win both its class at the State of Illinois

    Marching Band Championship and the coveted Governors

    Trophy at the University of Illinois Marching Band Festival. IVC

    Bands have performed at the Holiday Bowl, Fiesta Bowl, Gator

    Bowl, Indy 500 Parade and Race, Holland Michigan Tulip

    Festival Parade, The Kentucky Derby Parade, the Citrus Bowl

    Parade, Mount Rushmore, the National Memorial Day Parade,

    Washington DC, and the Hui Ana Parade in Honolulu. The IVC

    Band program has had up to three concert units under his

    direction. The top Band, the IVC Wind Ensemble, has received only Superior Ratings at State

    contests since 1980 and has been asked to perform at Illinois Music Educators State Convention,

    State PTA, American Legion, and Township Officials Conventions. The IVC Jazz Band One has

    consistently placed in the top three at the prestigious Jazz in the Meadows festival and was a

    finalist in 2008. That same year Jazz I performed at the Illinois Music Educators All State

    Convention. The Jazz Program has produced several All State musicians over the years, many of

    whom have gone on to professional careers.

    Dan served on the Illinois High School Association Music Committee and was given a

    Distinguished Service Award for his efforts in re-organizing the State's Music Contests. For six

    years, Dan was the Assistant to the Director of the IHSA and oversaw all their music related

    activities. In 2007, he received Outstanding Music Educator Award from the National Federation

    of High School Associations. For seventeen years, he was in charge of logistics and equipment for

    the Illinois Music Educators State Convention in Peoria. For that service the IMEA awarded him

    its Distinguished Service Award in 2007. He has been a guest conductor, clinician, lecturer at

    schools, festivals, and workshops throughout the Midwest. In 1999, School Band and Orchestra

    Magazine named Dietrich as one of its 50 Directors that Make a Difference. In 2003, he

    received the Friend of Youth Award from the Optimist Club.

    Mr. Dietrich is also an active performer. He has been the featured trombone soloist with the

    Prairie Wind Ensemble four times. He has performed with the Peoria Symphony Orchestra, the

    Peoria Opera Orchestra, the Peoria Municipal Band, the Pontiac Municipal Band, Corn Stock

    Theater and Peoria Players Theater, Central Illinois Brass Band, the Central Illinois Jazz

    Orchestra, and the River Valley Brass Ensemble.

    Since retiring, Dan has been active as the low brass instructor for Streator, Normal West,

    Washington, and Metamora High Schools, where he has over forty private students. He is an

    Assistant Professor of Clinical Experiences at Illinois State University where he observes and

    mentors student teachers for the music department and is now conducting the Symphonic Band.

    - Biography courtesy of the conductor

  • University Band Personnel

    Shannon Shaffer & Johannes Krohn, conductors

    Flute Kelsey Anello Kaity Bricker

    Anamarija Dimevska Larisa Falconer Mary Gerbatsch Marissa Hartke

    Makenzie Heinen Malea Holm

    Jesenia Kolimas Anna Krecklow Hannah Maack Maggie Miller

    Amanda Rodriguez Angela Taylor

    Jessica Thurman Anna Yakey


    Margaret Bourdon Ye Jin Jang


    Brandon Johnson Ashley Peterson

    Jessica Sorg

    Clarinet Alyssa Arkin

    Rebecca Behrendt Jack Blahnik

    Katherine Cosenza Bailey Craig

    Melissa Fowler Miranda Hilliard Collin Marcum

    Maddie McDonald MaLana McCloud

    Juan Moon Ellie Phillis

    Tiara Redmond Edward Sulaitis Terri Thomas

    Bass Clarinet

    Kyle Abel Andrew Hinderliter

    Saxophone Delaney Brummel

    Jeffrey Burke Bill Darrow

    Catalina Hernandez Noelle Ortega Michael Rickey Jennifer Roesler

    Scott Stewart Andrew Stouffer-Lerch


    Amanda England William Felgenhauer

    Erin Jessup

    Trumpet Liam Farrell

    Samuel Foster Ricky King

    Elizabeth Kraus Jamie Rago

    Grace Steinke

    Trombone Hailee Brauer Tyler Dietz

    Hannah Lehmann Scott Piekarski Robert Skogh Tom Sturino Billy Wright

    Euphonium Darius Echols Ryan Guerin Jacob Veyette


    Nick Klecki Faith Potetti


    Benjamin Dahms Nicole Gregor Andrew Kenny Mitch Martin

    Kimberly Nicholson Antonio Rodriquez Ethan Stoneburner

  • Symphonic Band Personnel

    Dan Dietrich, conductor


    Brennon Best Ivette Enriquez Anna Howell Melissa Fulkes Sarah Lange

    Amelia ODonnell Jonathan Popper

    Sarah Rasmussen* Ryan Starkey

    McKayla Scroggins Clare Takash

    Meghan Wilson

    Oboe Alyssa Dees

    Colleen Horne

    Bassoon Courtney Baltzer

    Emma Scalf

    Clarinet Lydia Armour

    Lauren Crumble* Madison Klintworth

    Caitlin Massey Nathaniel Reginald

    Andrea Ruiz Terri Thomas

    Bass Clarinet

    Sam Green

    Saxophone Matthew Garbin* Katelyn Luckett

    Ben Long Andrea McAfee

    Tony Raff

    Horn Katie Battista*

    Rebecca Hartmann Laura Tam

    Kristin Wooldridge


    Amy Caulk Tom Gloodt* Nessa Guerra

    Timothy Linden Ben Mussell

    Robin Olmsted Noah White

    Abbey Wolski

    Trombone Emma Benjamin

    Darius Echols Emanuel Guzman*

    Elias Karris Andrew Thul

    Bass Trombone Stephen Dupr Eric Gilardon

    Raahmedd Williams

    Euphonium Giovanni Avila Matthew Fink Greg Watson*


    Andrew Bilgri* Jeffrey Humphrey

    Michael Mayer Jim Wellwood


    Ryan Brennan Matt Cowsert Laura Hanson Jakob Kocanda

    Alejandra Martinez-Aviles Anh Nguyen

    Sam Price Daniel Rehm Isaac Soares

    Chuck Willard*

    Acknowledging the important contributions of all ensemble members, this list is in alphabetical order.

    *Denotes Section Leader