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Illinois State University College of Fine Arts School of Music ____________________________________________________________________________________________ Symphonic Band and University Band Dan Dietrich, conductor Shannon Shaffer, conductor Center for the Performing Arts Thursday Evening October 6, 2016 8:00 p.m. This is the thirteenth program of the 2015-2016 season.

Symphonic Band and University Band - Illinois State · Symphonic Band and University Band Dan Dietrich, conductor Shannon Shaffer, conductor Center for the Performing Arts Thursday

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Illinois State University College of Fine Arts School of Music

____________________________________________________________________________________________

Symphonic Band and

University Band

Dan Dietrich, conductor Shannon Shaffer, conductor

Center for the Performing Arts Thursday Evening

October 6, 2016 8:00 p.m.

This is the thirteenth program of the 2015-2016 season.

Program

University Band

Shannon Shaffer, conductor

A Tallis Prelude (1989) Douglas Akey (born 1957)

3:30 Sleep (2003) Eric Whitacre

(born 1970) 5:30

Abracadabra (2004) Frank Ticheli

(born 1958) 4:30

Johannes Krohn, conductor

Washington Post March (1889) John Philip Sousa (1854-1932)

2:30 Symphonic Band

Dan Dietrich, conductor

The Sinfonians (1960) Clifton Williams

(1923-1976) 6:00

Lauds (1950) Ron Nelson

(born 1929)

An American Elegy (2000) Frank Ticheli

(born 1958) 11:00

Overture to “Nabucco” (1841) Giuseppe Verdi

(1813-1901) 10:00

In Storm and Sunshine (1885) John Clifford Heed

(1862-1908) 2:30

Program Notes Welcome to Illinois State University! Thank you for joining us for today’s 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 http://www.bands.illinoisstate.edu for more information. Thank you for your support!

Douglas Akey (b. 1957) taught elementary and junior high band in Tempe, Arizona for eight years and is presently Music Department Chairman at Hendrix Junior High School in Chandler, Arizona. He was the 1985 recipient of the American School Band Directors Association’s Stanbury Award as the outstanding young elementary/junior high school band director in the United States. In addition to his teaching, he also maintains an active career as a performer and is currently principal horn in the Tempe Symphony Orchestra. His fresh compositional style for band reflects this broad musical background, and Queenwood Publications is proud to present this bright talent. - Biography courtesy of Queenwood Young Band Series

A Tallis Prelude (1989) is based on a melody written by Thomas Tallis, a sixteenth century English composer. This melody, written in the Phrygian mode, has a powerful yet haunting quality about it. A Tallis Prelude preserves the use of the Phrygian mode whenever Tallis’ theme is present, using the relative major key for most of the original and derived themes. The opening is in a sustained and chorale-like style. The percussion strokes in measures twelve and fourteen should be very powerful, with the brass section swelling up over the woodwinds in measure six. The articulations should be very strong, imitating the bell tone effect of the mallet instruments. The ensemble should cleanly and sharply articulate all unmarked eighth notes beginning at measure thirty-two. Use of the specified mallets in the percussion will complement the articulation in the winds. The tenuto line on some accompanying eighth notes is used to avoid the sound of being “chopped short,” however, there should still be a sense of space or lift at the eighth rests. The style in measures fifty-six through seventy-one is much more lyrical. From measure 100 to the end it is especially important to follow the dynamic markings closely, as they are often not the same for all instruments and are designed to expose certain musical lines. It is important that all players, especially the percussionists, pay close attention to the accents throughout the Allegro ritmico section. It would be appropriate for the conductor, after the students are comfortable playing the notes and rhythms, to conduct certain measures as though they were noted in 6/8 time. - Program notes courtesy of Queenwood Young Band Series

Eric Whitacre (b. 1970) is a Grammy-winning composer and conductor, and one of the most popular musicians of our time. His concert music has been performed throughout the world by millions of amateur and professional musicians alike, while his ground-breaking Virtual Choirs have united singers from over 110 different countries. A graduate of the prestigious Juilliard School of Music, Eric was recently appointed Artist in Residence with the Los Angeles Master Chorale having completed a five-year term as Composer in Residence at Sidney Sussex College, Cambridge University, UK. A sought after guest conductor, Eric has conducted choral and instrumental concerts around the globe, including sold-out concerts with the London Symphony Orchestra, Royal Philharmonic Orchestra and the Minnesota Orchestra.

- Biography courtesy of the composer Sleep (2003) In the winter of 1999 I was contacted by Ms. Julia Armstrong, a lawyer and professional mezzo-soprano living in Austin, Texas. She wanted to commission a choral work from me that would be premiered by the Austin ProChorus (Kinley Lange, cond.), a terrific chorus in which she regularly performed. The circumstances around the commission were certainly memorable. She wanted to commission the piece in memory of her parents, who had died within weeks of each other after more than fifty years of marriage; and she wanted me to set her favorite poem, Robert Frost’s immortal Stopping By Woods on a Snowy Evening , to music. I was deeply moved by her spirit and her request, and agreed to take on the commission. I took my time with the piece, crafting it note by note until I felt that it was exactly the way I wanted it. The poem is perfect, truly a gem, and my general approach was to try to get out of the way of the words and let them work their magic. We premiered the piece in Austin, October 2000, and the piece was well received. Rene Clausen gave it a glorious performance at the ACDA National Convention in the spring of 2001, and soon after I began receiving letters, emails, and phone calls from conductors trying to get a hold of the work. And here was my tragic mistake: I never secured permission to use the poem. Robert Frost’s poetry has been under tight control from his estate since his death, and until a few years ago only Randall Thompson (Frostiana ) had been given permission to set his poetry. In 1997, out of the blue, the estate released a number of titles, and at least twenty composers set and published Stopping By Woods on a Snowy Evening for chorus. When I looked online and saw all of these new and different settings, I naturally (and naively) assumed that it was open to anyone. Little did I know that the Robert Frost Estate had shut down ANY use of the poem just months before, ostensibly because of this plethora of new settings. After a LONG legal battle (many letters, many representatives), the estate of Robert Frost and their publisher, Henry Holt Inc., sternly and formally forbid me from using the poem for publication or performance until the poem became public domain in 2038. I was crushed. The piece was dead, and would sit under my bed for the next thirty-seven years because of some ridiculous ruling by heirs and lawyers. After many discussions with my wife, I decided that I would ask my friend and brilliant poet Charles Anthony Silvestri (Leonardo Dreams of His Flying Machine , Lux Aurumque , Nox Aurumque , Her Sacred Spirit Soars ) to set new words to the music I had already written. This was an enormous task, because I was asking him to not only write a poem that had the exact structure of the Frost, but that would even incorporate key words from “Stopping”, like ‘sleep’. Tony wrote an absolutely exquisite poem, finding a completely different (but equally beautiful) message in the music I had already written. I actually prefer Tony’s poem now… And there it is. My setting of Robert Frost’s Stopping By Woods on a Snowy Evening no longer exists. And I won’t use that poem ever again, not even when it becomes public domain in 2038. - Program notes courtesy of the composer

Frank Ticheli (b. 1958) is a composer whose music has been described as being “optimistic and thoughtful” (Los Angeles Times) , “lean and muscular” (The New York Times) , “brilliantly effective”(Miami Herald) and “powerful, deeply felt crafted with impressive flair and an ear for striking instrumental colors” (South

Florida Sun-Sentinel) . Ticheli joined the faculty of the University of Southern California’s Thornton School of Music in 1991, where he is Professor of Composition. From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony. Ticheli is well known for his works for concert band, many of which have become standards in the repertoire. In addition to composing, he has appeared as guest conductor of his music at Carnegie Hall, at many American universities and music festivals, and in cities throughout the world, including Schladming (Austria), Beijing and Shanghai, London and Manchester, Singapore, Rome, Sydney, and numerous cities in Japan. Ticheli received his doctoral and master’s degrees in composition from The University of Michigan. His works are published by Manhattan Beach, Southern, Hinshaw, and Encore Music, and are recorded on the labels of Albany, Chandos, Clarion, Klavier, Koch International, Mark and Naxos. - Biography courtesy of University of Southern California Thornton School of Music Abracadabra (2004) Abracadabra was orchestrated in November of 2004 during a residency at the MacDowell Colony. The piece is dedicated to my son, and is at once playful and serious, innocent and mischievous. A sense of mystery pervades as the dark key of G minor is balanced by sudden shifts to bright and sunny major keys. Throughout the composition I was thinking about magic, not in an evil or frightening sense, but as a source of fun and fantasy. My wonderfully playful, sometimes mischievous young son was always in the back of my mind, as were images of Halloween with its costumes and jack-o’-lanterns. As the piece nears its conclusion, the music rushes toward what seems to be an explosive finish. But the woodwinds interrupt, fanning out to a questioning whole-tone cluster. They are answered by a puff of sound, a final disappearing act. In strictly musical terms, the piece is as clear an example of musical economy as anything I’ve composed. Almost everything is derived from the opening bars of the main theme. Indeed, virtually every note can be traced to the main melody or its accompaniment. Because of this heightened sense of unity, I had to choose other ways to achieve musical variety. The most important solution was through the sudden and frequent shifts of mood, mode, and tonality. - Program notes courtesy of the composer

John Philip Sousa (1854-1932) was born in Washington, D.C. on November 6, 1854. He received his early education in Washington public schools, while simultaneously studying music at a private conservatory. At age thirteen, he enlisted in the U.S. Marine Band as a "boy" (apprentice) musician, but he also continued his private music studies. In 1880, he was appointed leader of the U.S. Marine Band and held this position for twelve years, eventually molding the band into the finest military band in the world. Sousa resigned from the Marine Corps in 1892 to form his own civilian band. In a matter of months this band assumed a position of equality with the finest symphony orchestras of the day. People throughout the world flocked to see "The March King" during his many American and worldwide tours. He employed a principle that endeared him to the public: everything was played to perfection, whether it was a classical masterpiece or a popular song. Sousa's musical compositions represent a heritage that belongs not only to Americans, but also to vast numbers of music lovers around the world. His influence on American musical tastes is remarkable, and much of his influence spread abroad. The Sousa band traveled the world in 1910-1911, made four additional tours of Europe, and annual tours of America.

Although Sousa is stereotyped as a march composer, he composed music of many forms, including fifteen operettas. Among his many original works for band are suites, humoresques, fantasies, descriptive pieces, and dances. In addition to the over 200 songs of his operettas, he composed seventy other vocal works, and many of these vocal works were transcribed for use with the Sousa Band. Sousa died suddenly following a rehearsal of the Ringgold Band in Reading, Pennsylvania on March 6, 1932. - Biography courtesy of the Library of Congress Washington Post March (1889) was written to help promote an essay contest sponsored by the newspaper of the same name. With Sousa conducting, it was premiered by the U.S. Marine Band during the distribution of the essay prizes on the Smithsonian Museum ground in Washington, D.C. The 6/8 march happened to be appropriate for a new dance called the two-step and soon became the most popular hit tune in both America and Europe. Although he received only twenty-five dollars for its publication, Sousa was quickly inundated with requests for more marches. Of his 136 marches, The Washington Post and The Stars and Stripes Forever have been the most widely known. - Program notes courtesy of Norman E. Smith’s Program Notes for Band

Clifton Williams (1923–1976) was born in Traskwood,

Arkansas. He began playing French horn, piano, and mellophone early on and played in the band at Little Rock High School. In his senior class of 600, he was voted for being the most outstanding in artistry, talent, and versatility. As a professional horn player he would go on to perform with the San Antonio and New Orleans Symphony Orchestras. Williams also served in the Army Air Corps band as a drum major, composing in his spare time. He attended Louisiana State University (B.M., 1947) where he was a pupil of Helen Gunderson and the Eastman School of Music (M.M., 1949) where he studied with Bernard Rogers and Howard Hanson.

During his musical studies at Louisiana State University, Williams joined the fraternity Phi Mu Alpha Sinfonia, the largest, oldest musical fraternity in America. - Biography courtesy of Norman E. Smith’s Program Notes for Band The Sinfonians (1960) was commissioned by the Phi Mu Alpha Sinfonia Fraternity of America. It opens with an extended fanfare introduction before the horns state the familiar Sinfonian theme: "Hail Sinfonia! Come, brothers, hail!" The words are by Charles Lutton set to the music of Arthur Sullivan. The melody is then completed, embellished, and extended in the style of the composer. The work is dedicated to Archie N. Jones, former president of the fraternity and later director of that organization's foundation. Williams conducted the first performance at the fraternity's national convention in Cincinnati, Ohio, in July 1960. - Program notes courtesy of Foothill Symphonic Winds

Ron Nelson (b. 1929) was born December 14, 1929 in Joliet, Illinois. He received his bachelor of music degree in 1952, the master’s degree in 1953, and the doctor of musical arts degree in 1957, all from the Eastman School of Music at the University of Rochester. He studied in France at the Ecole Normale de Musique

and at the Paris Conservatory under a Fulbright Grant in 1955. Dr. Nelson joined the Brown University faculty the following year, and taught there until his retirement in 1993. In 1991, Dr. Nelson was awarded the Acuff Chair of Excellence in the Creative Arts, the first musician to hold the chair. In 1993, his Passacaglia (Homage on B-A-C-H) made history by winning all three major wind band compositions – the National Association Prize, the American Bandmasters Association Ostwald Prize, and the Sudler International Prize. He was awarded the Medal of Honor of the John Philip Sousa Foundation in Washington, DC in 1994. In 2006, he was awarded an honorary doctorate from Oklahoma City University. Dr. Nelson has received numerous commissions, including those from the National Symphony Orchestra, Rochester Philharmonic, the USAF Band and Chorus, Rhode Island Philharmonic, Aspen Music Festival, Brevard Music Center, Musashino Wind Ensemble, and countless colleges and universities. He has also received grants and awards from The Rockefeller Foundation, the Howard Foundation, ASCAP, and several from the National Endowment for the Arts. Dr. Nelson has appeared as a guest composer and conductor at a large number of colleges and universities, including Illinois, Yale, North Texas State, Western Michigan, Sam Houston, Lawrence, Dartmouth, Southern Maine, CalTech, MIT, and Princeton. *He should not be confused with Ronald A. Nelson, an arranger/composer of choral music. - Biography courtesy of the composer Lauds (1950) is an exuberant, colorful work intended to express feelings of praise and glorification. Lauds is one of the seven canonical hours that were selected by St. Benedict as the times the monks would observe the daily offices. Three (terce , sext , and none ) were the times of the changing of the Roman guards and four (matins, lauds, vespers, and compline ) were tied to nature. Lauds , subtitled Praise High Day , honors the sunrise; it is filled with the glory and excitement of a new day. Lauds received its world premiere by the United States Air Force Band under the direction of Lt. Col. Alan L. Bonner at the College Band Directors National Association/National Band Association Conference in Charlotte, North Carolina on January 24, 1992. - Program notes courtesy of Wind Band Literature

Frank Ticheli (1958) *See biography above An American Elegy (2000) was composed in memory of those who lost their lives at Columbine High School in 1999 and in honor of the survivors. Ticheli said, "It is offered as a tribute to their great strength and courage. I hope the work can also serve as one reminder of how fragile and precious life is and how intimately connected we all are as human beings." Calling the work "an expression of hope," Ticheli incorporated the school's Alma Mater in the closing section. - Program notes courtesy of the Claremont Winds

Giuseppe Verdi (1813-1901) was born Giuseppe

Fortunino Francesco Verdi in October 1813, in the community of Le Roncole, near Busseto in the province of Parma, Italy. Verdi first developed musical talents at a young age, after moving with his family from Le Roncole to the neighboring town of Busseto. There, he began studying musical composition under Vincenzo Lavigna, a famous composer from Milan.

Verdi got his start in Italy's music industry in 1833, when he was hired as a conductor at the Philharmonic Society in Busseto. In addition to composing, he made a living as an organist around this time. Three years later, in 1836, Verdi wed Margherita Barezzi, the daughter of a friend, Antonio Barezzi. Verdi held a prominent reputation in Italy's operatic theater scene and, later, in the country's political scene as well. He became known for his skill in creating melody and his profound use of theatrical effect. His rejection of the traditional Italian opera for integrated scenes and unified acts only added to his fame. For the rest of the 1840s, and throughout the 1850s, '60s, and '70s, Verdi continued to garner success and fame. In 1874, Verdi completed Messa da Requiem (best known simply as Requiem ), which was meant to be his final composition. He retired shortly thereafter. - Biography courtesy of biography.com Overture to Nabucco (1841) was first performed at La Scala in Milan in 1842. Verdi commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star.” The opera follows the plight of the Jews as they were assaulted, conquered, and subsequently exiled from their homeland by the Babylonian King Nabucco (Nebuchadnezzar). The historical events are used as background for a romantic and political plot. - Program notes courtesy of the Vermont Philharmonic

John Clifford Heed (1862-1908) was an American composer and musician, best known for composing over sixty marches. Born in Hackettstown, New Jersey, on April 23, 1862, Heed began his musical career with the Hackettstown Cornet Band at age eleven. By age seventeen, he was the leader of this band and he had mastered with astonishing rapidity the intricacies of harmony and counterpoint. He became proficient on the piano and violin, and could play most band instruments. In 1882, he had the opportunity to travel with a noted English orchestra through the United States. The cornetist that had come with the orchestra became ill and was sent back to England. Heed was highly recommended and was engaged to fill the cornetist's place. He received encomiums from the press and public in every city and town visited. A year later, in 1883, Heed accepted an engagement to become the leader of the Providence Brigade Band. This was a position that he held until he was called back to New Jersey to conduct another orchestra and band. Soon thereafter, he went to Worcester, Massachusetts and spent eight years as a teacher of bands. His next position was a cornetist for Voss's First Regiment Band in Newark, New Jersey. It was after the Metronome article was written that Heed went with John Phillip Sousa's band as a soloist and arranger before contracting tuberculosis in the 1890s and dying in Newark, New Jersey on February 12, 1908. He was buried near his family in Union Cemetery in Hackettstown, New Jersey. - Biography courtesy of Norman E. Smith, March Music Notes In Storm and Sunshine (1885) belongs to a category of marches known as circus marches, “screamers,” and “barn burners.” The fast tempo and exciting pounding rhythms are meant to accompany the chaos and thundering hooves of four-footed animals running into a circus arena instead of the steady, regimented pulse of men marching. Although nearly all of Heed’s marches were written after In Storm and Sunshine , it has remained the most popular. In Storm and Sunshine , has all of the components of a great march: a strong attention-grabbing introduction, dynamic contrasts ranging from fortississimo down to a bar of silence, technical melodies for both treble and bass melodies, and a

melody in the last strain that everyone can remember. The piece alternates between major and minor modes, hence the “storms” and the “sunshine.” Whether Heed had the circus in mind when he wrote this march is unknown, but it has been a top favorite as well as a concert highlight throughout most of the twentieth century. - Program notes courtesy of The University of Texas

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 Governor’s 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 Educator’s 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 Educator’s 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, conductor

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

Oboe

Margaret Bourdon Ye Jin Jang

Bassoon

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

Horn

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 Luke Walker

Euphonium

Darius Echols Ryan Guerin Jacob Veyette

Tuba

Nick Klecki Faith Potetti

Percussion

Benjamin Dahms Nicole Gregor Andrew Kenny Mitch Martin

Kimberly Nicholson Antonio Rodriquez Ethan Stoneburner

Symphonic Band Personnel

Dan Dietrich, conductor

Flute Brennon Best

Ivette Enriquez Anna Howell Melissa Fulkes Sarah Lange

Amelia O’Donnell 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

Trumpet

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 Dupré Eric Gilardon

Raahmedd Williams

Euphonium Giovanni Avila Matthew Fink Greg Watson*

Tuba

Andrew Bilgri* Jeffrey Humphrey

Michael Mayer Jim Wellwood

Percussion

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

THANK YOU

Illinois State University College of Fine Arts Jean Miller, Dean

Shari Zeck, Associate Dean Laurie Merriman and Janet Tulley, Assistant Deans

Illinois State University School of Music

A. Oforiwaa Aduonum, Ethnomusicology Allison Alcorn, Music History Debra Austin, Voice Mark Babbitt, Trombone Elizabeth Batiuk, Ethnomusicology Glenn Block, Orchestra and Conducting Karyl K. Carlson, Director of Choral Activities Renee Chernick, Group Piano David Collier, Percussion and Associate Director Andrea Crimmins, Music Therapy Peggy Dehaven, Office Support Specialist Gina Dew, Music Education Advisor Judith Dicker, Oboe Michael Dicker, Bassoon Daniel Dietrich, Bands Geoffrey Duce, Piano Ellen Elrick, Music Education Tom Faux, Ethnomusicology Angelo Favis, Graduate Coordinator and Guitar Timothy Fredstrom, Music Education Sarah Gentry, Violin Amy Gilreath, Trumpet David Gresham, Clarinet Mark Grizzard, Theory and Composition Christine Hansen, Lead Academic Advisor Kevin Hart, Jazz Piano and Theory Martha Horst, Theory and Composition Mona Hubbard, Office Manager Lauren Hunt, Horn John Michael Koch, Vocal Arts Coordinator Shela Bondurant Koehler, Music Education William Koehler, String Bass and Music Education Marie Labonville, Musicology Katie Leemhuis, Voice Katherine J. Lewis, Viola Roy D. Magnuson, Theory and Composition