Illinois State University College of Fine Arts School of Music
____________________________________________________________________________________________
Symphonic Band
and
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)
6:00
Rippling Watercolors (2015) Brian Balmages
(born 1975)
4:45
A Longford Legend (1996) Robert Sheldon
(born 1954)
7:10
Lone Star Celebration (1995) James Curnow
(born 1943)
7:40
Symphonic Band
Dan Dietrich, conductor
Commemorating the Illinois State University Career of George Foeller
A Christmas Intrada (1980) Alfred Reed
(1921-2005)
Members from the Symphonic Wind Brass section 6:00
Carnival of Venice (1950) Traditional
arranged by Herbert L. Clarke
(born 1929) (1948)
3:00
Nutcracker Sweets (2010) Pyotr Ilyich Tchaikovsky
arranged by Neil Corwell
(born 1958)
5:00
Canterbury Chorale (2010) Jan Van der Roost
(born 1956)
5:00
The Demon (1966) Paul Huber
(1918-2001)
arranged by George Foeller
10:00
“Radetzky” March (1885) Johann Strauss, Sr.
(1804-1849)
arranged by George Foeller
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!
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 bachelor’s degree in music from James Madison University and a master’s
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
group.
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
States.”
- 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 Publisher’s 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 Sheldon’s 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 composer’s 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 Writer’s 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 (1921–2005) 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
choirs.
- 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 Anglo−Canadian 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
player’s 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 Antonín Dvorák. 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.
Tchaikovsky’s Nutcracker Suite is a piece of music that uses selections from his ballet simply
titled The Nutcracker. This suite has become one of Tchaikovsky’s 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 windliterature.org
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 Huber’s 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 aboutvienna.org
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 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 & 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
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
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