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Wind Ensemble

In This Broad Earth (2015) - Steven Bryant

Pictures at an Exhibition (1874) - Modest Mussorgsky orch. Maurice Ravel/Lavender

1. Promenade 
2. The Gnome 
3. Promenade 
4. The Old Castle 
5. Promenade 
6. Tuileries 
7.  Bydlo 
8.  Promenade 
9.  Ballet of the Unhatched Chicks 
10. Samuel Goldberg and Schmuyle 
11.  Limoges - The Market Place 
12.  Catacombs 
13.  With the Dead in a Dead Language 
14. The Hut on Hen's Legs (Baba-Yaga) 
15. The Great Gate of Kiev

�Ը������� Youth Winds

Benjamin Lorenzo, Conductor 
Michael Foster, Assistant Conductor 
Darren Moskowitz, Percussion Coordinator

Everglow (2023) - Katahj Copley
Michael Foster, conductor

Annie Laurie (1895) - Arthur Pryor Arr. Albert O. Davis
Tony Russo, Euphonium

The Seal Lullaby (2004) - Eric Whitacre
Lindsay May, conductor

Diversion (1943) - Bernhard Heiden
Justin McDaniel, alto saxophone

How To Train Your Dragon (2010) - John Powell Arr. Ton van Grevenbroek

Symphonic Dance No.3 "Fiesta" (2023) - Clifton Williams

Wind Ensemble 

Benjamin Lorenzo, conductor

Flute

*Madison Jones 
Dylan Smith 
Saoirse Edelen, piccolo 
Emma Troyer 
Theresa Bremenour 
Kayla Gerber

Oboe 

*^Charlie Davis 
Sarah Write 
Owen Burgess, English Horn

Bassoon 

*Julia Fedor 
Rey Lifford 
Arian DiBiase, Contrabassoon

Clarinet 

*^ Anthony Kalanick, Eb 
Aron Kooijman 
Grace Burdorff 
Lyssi Slaughter 
Jasper Faught 
May McPherson 
Anna Hurst 
^Danilo Viquez Poveda 
^ David Mehlhope, bass

Saxophone

*James Allio, Alto 
Hayden Storey, Alto 
Usayd Ally, Alto 
Alivia Shablesky, Tenor 
Jacob Roman-Willey, Baritone

Horn 

*Tayvis Mayfield 
NJ Joshi 
Julia Ribo 
Nai’Jai Glover

Trumpet 

*^Nora Moen, piccolo 
Daniel Keller 
Nolan Miller 
Chad Wagner 
Jack Miller 
Phil Cox 
Leah Long

Trombone 

*Joey Bugos 
Mathew Raymond 
Alison Joyce 
Matthew Shrivastav 
Carson Throckmorton, Bass

Euphonium 

* Dylan Eshbaugh 
Jacob Hart 
Kristin Mickovic

Tuba 

* Draven Grimm 
Grace Bates

String Bass 

John Alexander 
Emma Thompson

Piano 

# Sarah Mellinger 

Harp 

# Rebekah Hou 

Percussion 

*^Kieran Gresko 
Rj Maroz 
Allison Perry 
Mackenzie Brown 
Derek Mickelson 
Carter Anderson

*principal 
^graduate student 
#guest

�Ը������� Youth Winds

Flute/Piccolo 

Abigail Alberta 
Hannah Crandell 
Felicia Fellenstein 
*Cindy Gao 
Robin Ingratta 
Katherine Kleman 
Madison Nutter 

Oboe 

*Corey Anderson 
Honor Brown 

Clarinet 

Barry Cheng 
Ben Donatelli 
Riley Harney 
Sara Himmelright 
Nora Kravec 
Gabriella Newingham 
Jill Saris 
*Renee Varn 
Stephen Zhe

Bass Clarinet 

Eliza Goosby 
Fayth Green 
Ryan Strebler 

Bassoon 

Ryan Carol 
*Angela Stump 

Alto Saxophone 

Donovan Green 
Jeremiah Hollinger 
Dean Hurst 
Julia Kravec 
Paul Loznianu 
*Justin McDaniel 
Blake Wynn 

Tenor Saxophone 

Nathan Morris 
Jason Rice 
Jakob Zimmermann 

Baritone Saxophone 

Justin Schmidt 

Trumpet 

Adam Beam 
*Grace Claassen 
Gabriel Coletta 
Cason Diorio 
Ryan Kapolka 
Ian Nicodemus 
Henry Niswander 
Sanura Oliver 
Emilee Short 

Horn 

Ethan Caldwell 
Drew Erdmann 
Carter Leslie 
Holley Reynolds 
Emma Weahry 

Trombone 

Eli Case 
*Aaron Evans 
Jensen Jones 
Darin Lantz
Nolan Mesmer 

Euphonium 

Luke Finley 
Emily Riedel 
*Tony Russo 
Aubree Varga 

Tuba 

DD Crytzer 
*Josh Ferda 
Jack Foster 
Milo Haren 
Addyson Stock 

Percussion 

Isaac Antos 
Gage Barrett 
Karlee Holcknecht 
Hunter Nutter 
Otto Snyder 

Piano 

Honor Brown

*Principal

Melanie Jackson — Southeast High School 

Cathy Ballard — Agnus Dei Academy of Performing Arts 

Christie Hrdlicka — Newton Falls High School 

Courtney Lambert — Cuyahoga Falls High School 

Dana Hire — Wadsworth High School 

Dustin Harris and Jennifer Culver — Cuyahoga Falls High School 

Eric Vasquez — Nordonia High School 

Garret Doty — Stanton Middle School 

Greg Newman — Stow-Munroe Falls High School 

Jim Lang — Roberts Middle School 

Brian King — Strongsville High School 

Joe Kuhlman — Tallmadge High School 

John Rodesh — Hudson High School 

John Roebke and Aundrea Flanagan — Theodore Roosevelt High School 

Mark Mauldin — Solon High School 

Michael Foster — Copley High School 

Nicholas Ratay — Walsh Jesuit High School 

Nick Hann — Chippewa Jr./Sr. High School 

Nick Penfound — Jackson-Milton High School 

Ronald Varn — Hoover High School 

Sandra Sandman — Kimpton Middle School 

Stephen Bonhag — Rootstown High School 

Theo Cebulla — James A. Garfield High School 

Tom Chiera and Montana Fassnacht — Revere High School

In This Broad Earth is a short fanfare written for and dedicated to Kevin Sedatole and the Michigan State University Wind Symphony. Inspired by beauty I witness when hiking in the Austrian Alps with my wife, Verena, the music celebrates the earth, our only home (for now). The fanfare embodies the numerous threads that have connected my life with Michigan State University over the past decade. Verena was one of Dr. Sedatole’s first conducting students at MSU, which coincided with the beginning of our relationship. I spent a great deal of time at Verena’s apartment in Spartan Village where I wrote the opening section of my Concerto for Wind Ensemble on a makeshift desk (a card table given to her by Director of Bands Emeritus John Whitwell). Over the years since, the MSU bands have performed a great deal of my music, always at the very highest level, and though I was never a student there, I have great affection and loyalty to this extraordinary school on the banks of the Red Cedar. In This Broad Earth intentionally shares musical material with my Concerto for Trombone, which I was writing simultaneously, coincidentally for Dr. Sedatole’s conducting teacher and close friend, Jerry Junkin.

 - Program Note by composer

Russian composer Modest Mussorgsky was an innovator of the Romantic period. Born to nobility, his musical education began early. He attended an elite military school in St. Petersburg, where he also studied piano and met prominent Russian composers of the day. At nineteen, Mussorgsky resigned his Imperial Guard commission to pursue a life in music, eventually supporting himself (with difficulty, family fortunes having vanished with the freeing of serfs) as a civil servant. Mussorgsky’s later life was dominated by isolation and alcoholism, from which he died, destitute, at 42. 

Much of Mussorgsky’s work was inspired by ordinary Russian life, history, and folklore. Thought by the government to be an extremist, he was one of the group of composers known as “The Five” who together created a distinct Russian style of classical music.

Pictures at an Exhibition is a musical depiction of an exhibition of artwork by Mussorgsky’s close friend Victor Hartmann, who had died suddenly the previous year. It was written as a piano suite in ten movements with a recurring Promenade theme. Nikolai Rimsky-Korsakov first published the suite in 1886, five years after Mussorgsky’s death. It was adapted for a full orchestra in 1922 by French composer Maurice Ravel, commissioned by conductor Serge Koussevitzky. Koussevitzky conducted the first performance of that arrangement in Paris in 1922, and made the first recording of it in 1930 with the Boston Symphony Orchestra. 

Each movement of the suite is based on one of Hartmann’s works. Listening to Pictures at an Exhibition, you are strolling (“Promenade”) an aural gallery, taking in both the art and Mussorgsky’s loving homage to his friend. 

The subjects of the pictures, and so the movements, range from the bucolic to the bizarre. “Gnomus” is about a sketch of a wooden nutcracker in the form of a gnome who cracks nuts in its jaws. The drawing, like others of these works, is lost to time. “Il veccio castello” portrays Hartmann’s castle in Italy. “Tuileries” evokes children frolicking and quibbling in the famous Paris garden. In “Bydlo,” a peasant drives a lumbering oxcart; “Ballet of the Unhatched Chicks,” inspired by Hartmann’s costume design for the Russian ballet Trilbi, moves us to the henhouse. “Samuel Goldenberg and Schmuÿle” were not in Mussorgsky’s original title, which was “Two Polish Jews, One Rich, the other Poor.” The music evokes haughtiness and subservience accordingly. Commercial hustle and bustle are depicted in “Limoges, the Market Place,” followed by a shadowy trek through ancient Roman “Catacombs” beneath Paris, and a mournful version of the Promenade. “The Hut on Fowl’s Legs” is about a picture of the witch Baba Yaga in a hut supported by (yes) chicken legs. Hartmann’s resplendent design for “The Great Gate of Kiev” concludes the piece with Russian grandeur.

When I first wrote Halcyon Hearts, I wrote it in a week where I was student teaching in Georgia. I wrote the piece as an exercise of thematic material and warmth in sound. The theme was passion -- passion in those you love and the things you love no matter what anyone says. 

Years later, this small piece has become a fan favorite and a piece I am thankful that gets played so much. While I was thankful, I had become restless with the constant asking for the piece or that being the only thing people would know my music for -- I lost my passion for the work. I had started to grow feelings for the piece similar to that of Radiohead and Creep. 

However recently I went back and looked at the comments left on my YouTube page and IG, read the posts from so many about this piece, and I saw the stories and all the lives this work has touched. I found what I lost -- the everlasting feeling of love and appreciation. When asked by Jennifer Compton to write a work for River Trail Middle School’s Midwest performance this year I knew what I wanted to do, Everglow.

Everglow is a continuation of the feeling from Halcyon Hearts. The definition of "everglow" is the warm feeling of love that lingers after its initial discovery. While Halcyon Hearts was about an overture about the discovery of passion, Everglow to me currently is the finale of that feeling -- what remained, what was lost and what grew from the proclamation of passion and love. 

I am forever grateful to every director, every musician, every composer, every student and every kind soul that have embraced my music that have embraced Halcyon Hearts and that have embraced my own heart. Super grateful for Jennifer Compton and River Trail Middle School for this amazing opportunity to continue a story and embark on new sounds. Thank you all for playing the work, and most importantly thank you for telling me how much this all means to you as that means the world to me. Without you all this wouldn’t have happened, and thank to you all the passion remains. The everglow lives on. 

- Program Note by composer

Annie Laurie is an old Scottish song based on a poem by William Douglas (1672?–1748) of Dumfries and Galloway. The words were modified and the tune was added by Alicia Anne Scott (ca. 1815-1900) in 1834/5 and subsequently transcribed for trombone solo with band by Arthur Pryor in 1895. 

- Program Note derived from publisher 

In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brain child of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally. Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting. 

The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation, (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.

The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. The opening poem is called The Seal Lullaby. 

I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio. I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.” 

So I didn’t do anything with it; just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) A few years later the Towne Singers commissioned the choral arrangement of it, and in 2011 I transcribed the piece for concert band. I’m grateful to them for giving it a new life, and to the schools, colleges and directors listed who have believed in this new transcription. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him. 

- Program note by composer

Diversion was composed in 1943 while Bernhard Heiden served in the U.S. Army Band during World War II. In a career that would span roughly six decades, he was to become an influential voice in writing for the saxophone, enjoying an early success with the debut of his 1937 Sonata for Alto Saxophone and Piano, widely considered to be the first sonata written expressly for the instrument. 

The music of How to Train Your Dragon by composer John Powell is perhaps the best film music of the past ten years. The beautiful animation film is sublimely supported by this music. With titles such as: This is Berk, The Downed Dragon, See You Tomorrow, Romantic Flight, Battling the Green Death and Coming Back Around, a spectacular selection has been made for both harmony and fanfare. A pleasure to play for the orchestra. 

- Program Note from publisher

Symphonic Dance #3 “Fiesta” is one of five symphonic dances commissioned by the San Antonio Symphony Orchestra to celebrate its 25th anniversary in 1964. Each of the five dances represents the spirit of a different time and place in the history of San Antonio. This dance reflects the excitement and color of the city’s many Mexican celebrations, which Williams called “the pageantry of Latin American celebration -- street bands, bull fights, bright costumes, the colorful legacy of a proud people.” The introductory brass fanfare creates an atmosphere of tense anticipation, while the bells, solo trumpet, and woodwinds herald the arrival of an approaching festival. The brass announce the matador’s arrival to the bullring, and the finale evokes a joyous climax to the festivities. Williams rescored this work for band, and it was first performed in 1967 by the University of Miami Band, where he was chairman of theory and composition. 

- Program note by California State University, Fresno, Symphonic Band concert program, 5 May 2013

Brass 

Amanda Bekeny, trumpet 
Ken Heinlein, tuba 
Benjamin Hottensmith, horn 
David Mitchell, trombone, euphonium

Percussion 

Matthew Holm 
Matthew Larson 
Nicholas Petrella

Piano 

Donna Lee 
Anna Grudskaya

Strings 

Amy Glick, violin 
Hannah Moses, cello 
James Rhodes, viola 
Bryan Thomas, double bass 

Voice 

Marla Berg 
Tim Culver 
Hannah Jencius 
Sandra Ross 
Lara Troyer 
Jay White

Ensembles 

Samir Al-Hadid, Nova Jazz 
Shawna Hinkle, Cantique 
Matthew Holm, Percussion Ensemble 
Rodney Hubbard, Gospel Choir 
Benjamin Lorenzo, Bands 
Priwan Nanongkham, Thai Ensemble 
Darin Olson, Bands 
Matthew Swope, Choirs 
Isaac Terceros, Orchestra 
Bobby Selvaggio, Jazz Ensembles 
Janine Tiffe, African Ensemble & Steel Band 

Woodwinds 

Mark DeMio, bassoon 
Suyeon Ko, flute 
Perry Roth, saxophone 
Danna Sundet, oboe 
Amitai Vardi, clarinet 

Administration and Staff 

Tony Hardin, Director of the School of Music
Sarah Labovitz, Special Assistant to the Director 
Samuel Robert, Recording Technician 
Emilee Sanor, Administrative Secretary 
Blaine Vesely, Piano Technician