THE FLORIDA STATE UNIVERSITY College of Music presents
University Concert Band
Devan Moore, Director
Caleb Miller, Graduate Associate Conductor
Kaleb Switanek, Graduate Associate Conductor and
University Symphonic Band
David Plack, Director
Keith Griffis, Graduate Associate Conductor
Aaron Ovsiew, Graduate Associate Conductor
Monday, February 2, 2026 7:30 p.m. | Opperman Music Hall
To Ensure An Enjoyable Concert Experience For All…
Please refrain from talking, entering, or exiting during performances. Food and drink are prohibited in all concert halls. Recording or broadcasting of the concert by any means, including the use of digital cameras, cell phones, or other devices is expressly forbidden. Please deactivate all portable electronic devices including watches, cell phones, pagers, hand-held gaming devices or other electronic equipment that may distract the audience or performers.
Recording Notice: This performance may be recorded. Please note that members of the audience may at times be included in this process. By attending this performance you consent to have your image or likeness appear in any live or recorded video or other transmission or reproduction made in conjunction to the performance.
Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five working days prior to a musical event to request accommodation for disability or alternative program format.
Red Rocks Fanfare (2009)
University Concert Band
John Bogenschutz (b. 1977)
In Living Color (2021) Katahj Copley (b. 1998)
Blue and Green Music (2011)
Key West Pink! (2009)
Color in the Grey (2022)
Into the Blue (2016)
The Orange Bowl (1934)
Kaleb Switanek, graduate associate conductor
Caleb Miller, graduate associate conductor
Samuel Hazo (b. 1966)
Yukiko Nishimura (b. 1967)
Kelijah Dunton (b. 1999)
Joshua Hobbs (b. 1990)
Henry Filmore (1881–1956)
INTERMISSION
University Symphonic Band
Eternal Father, Strong to Save (1975)
Illumination: Overture for Band (2013)
Keith Griffis, graduate associate conductor
Golden Hour (2025)
Fantasia for Band (1963)
Kate Warren, horn
Aaron Ovsiew, graduate associate conductor
Of Sailors and Whales: Five Scenes from Melville (1989)
Claude T. Smith (1932–1987)
David Maslanka (1943–2017)
Cait Nishimura (b. 1991)
Vittorio Giannini (1903 – 1966)
W. Francis McBeth
i. Ishmael (1933–2012)
ii. Queequeg
iii. Father Mapple
iv. Ahab
v. The White Whale
Dillard’s Polikarpov, narrator
ABOUT THE FEATURED SOLOIST
Kate Warren is an internationally acclaimed hornist and music educator currently serving as the principal horn for the Northwest Florida Symphony Orchestra and 4th horn for the Tallahassee Symphony Orchestra. Prior to these appointments she was the featured French horn soloist for the Tony and Emmy award winning Broadway show Blast! and served as a College Lecturer in Music at Ocean County College. In 2023 Kate was the Yaffe Post-Graduate Teaching Fellow for the Yale School of Music’s Music in Schools Initiative and she has previously toured with the Dallas Brass and held positions with the Tallahassee Symphony Orchestra, the Northwest Florida Symphony Orchestra, and the Sinfonia Gulf Coast.
As an educator Kate is passionate about creating resources for music students and works extensively within social media to promote music and music education through her instagram page @katewarrenmusic. Recently Kate published her second book, 3 Week Fundamentals Boot Camp, and worked with Conn & Selmer and SmartMusic to develop and record a comprehensive beginner French horn curriculum. Kate is an in-demand lecturer and researcher, regularly presenting on social media and entrepreneurship in music.
Kate is currently pursuing a Doctorate of Music at Florida State University and holds a Master of Musical Arts degree from Yale University, a Master of Music in horn performance from the New School, and a BM in horn performance from Florida State University. Her primary teachers include Michelle Stebleton, Erik Ralske, and Bill Purvis.
NOTES ON THE PROGRAM
Bogenshutz: Red Rock Fanfare
John Bogenschutz (b. 1977) is an American composer and music educator whose work for wind ensemble and concert band reflects his deep connection to the band world and the energy of performance. Originally trained in music education and active as a band director early in his career, Bogenschutz has written a number of original works for band, including Red Rocks Fanfare and Contambience Fanfare. In addition to composing, he is also known for creating Tone Deaf Comics, a band-themed comic strip that humorously celebrates the community and culture of band directors and musicians. He continues to live and work in the United States with his family, combining his interests in music, education, and the arts.
Bogenschutz took his inspiration for Red Rocks Fanfare from the Red Rocks Amphitheatre in Colorado, a natural outdoor venue surrounded by towering red sandstone formations. The music reflects this setting through strong, confident opening gestures, steady rhythmic motion, and bright, open sonorities that suggest a sense of space and scale. Rather than telling a specific story, the piece focuses on creating an atmosphere of excitement and anticipation, using bold brass writing and energetic percussion to set the tone. This fanfare invites the audience into the performance with a sense of grandeur and momentum.
Copley: In Living Color
Contemporary American composer and Georgia native Katahj Copley (b. 1998) has quickly gained attention across the United States and around the world for his music. He premiered his first composition, Spectra, in 2017 while still a student and has since written more than 100 works for chamber groups, wind ensembles, and orchestra that have been performed by universities, professional ensembles, and at international venues. Copley holds degrees in Music Education and Composition from the University of West Georgia and earned a Master of Music in Composition from the University of Texas at Austin; he is currently pursuing further graduate study in composition. In addition to composing, he is passionate about teaching young musicians and believes deeply in the emotional and expressive power of music as a shared human language.
Commissioned by the Lockport Township High School Wind Ensemble for their performance at the 75th Midwest Clinic, In Living Color was written as a reflection on the return of live music following the global pause of the COVID-19 pandemic. The piece features a blend of contemporary jazz, popular, and classical influences, drawing inspiration from the groove-based writing of modern jazz groups like Snarky Puppy, the harmonic language of George Gershwin, and elements of popular music. Throughout the work, shifting rhythms, layered textures, and contrasting instrumental colors create a sense of motion and variety, moving between energetic, groove-driven sections and more lyrical moments. These changing musical “colors” come together to form a lively and expressive celebration of performance, connection, and the renewed experience of hearing music played live.
Hazo: Blue and Green Music
Samuel R. Hazo (b. 1966) grew up in Pittsburgh, Pennsylvania, where his early experiences as a student and teacher helped shape a lifelong connection to wind band music. After earning degrees in music education from Duquesne University, he spent years in the classroom, an experience that strongly influences his approach to composing— writing music that is expressive, purposeful, and grounded in the realities of performance. His works range from introspective and lyrical to bold and dramatic, often exploring emotional depth through clear musical ideas. Hazo’s music has been performed by ensembles around the world and recognized with numerous honors, including national composition awards, and he remains an active presence in the band community as a composer, conductor, and advocate for music education.
Blue and Green Music was inspired by the 1921 abstract painting Blue and Green Music by American artist Georgia O’Keeffe, who once described the idea that “music could be translated into something for the eye.” Hazo’s composition works in reverse: he translates the visual experience of the painting back into sound, using a single musical theme that is varied and developed throughout the piece to suggest changing colors and textures.
Musically, the piece begins with delicate mallet percussion and lighter instrumental colors, gradually building through varied treatments of its central theme toward full ensemble climaxes that highlight contrast and expression. This progression from subtle timbres to richer, more powerful sonorities gives a sense of “color shifting,” mirroring the visual effect of the O’Keeffe painting.
Nishimura: Key West Pink!
Japanese composer and pianist Yukiko Nishimura (b. 1967) has established herself as one of the leading female voices writing for the medium of wind band. She holds degrees from the Tokyo National University of Fine Arts and Music, the University of Miami Frost School of Music, and the Manhattan School of Music. Her most notable compositional mentors include Dr. Alfred Reed, Atsutada Otaka, Dr. Richard Danielpour, and Giampolo Bracali. Nishumura’s compositional works have been recognized by special mention at the 15th and 26th International Competitions for Original Compositions for Band, held in Corciano, Italy and winning the sixth Aoyama Music Award, a prestigious award for recognizing excellence in music composition or performance in Japan. Nishimura has received a considerable amount of attention for her commissioning work for piano, marimba, percussion, chamber music, wind band music, and music for string instruments and orchestra.
The Florida Keys, which exists as a string of small islands, is home to the southernmost point of the continental United States. “Key West Pink” is a term closely associated with the color of the shrimp caught in Key West, as well as the iconic pink color found on much of the architecture there. Nishimura’s composition is split into two distinct sections that capture the essence of the lively, cheerful music of Latin rhythm. These unique Latin-inspired grooves cultivate an atmosphere of incredibly catchy melodies and grooves that inspire movement. Nishimura’s usage of these musical elements invites both the player and the audience to fully appreciate and immerse themselves in the delightful ethnicity of Latin culture. Key West Pink! is both a celebration of the aesthetic of the Florida Keys and its abundant cultural influences from Latin America and the Caribbean.
Dunton: Color in the Gray Kelijah Dunton (b. 1999), a South Carolina-based composer, has fully emerged as a new, exciting voice within the wind band’s compositional space. Born in Brooklyn, New York, Dunton credits his experiences in moving around the boroughs as what exposed him to people from various cultural backgrounds, which heavily informs him of his source of musical inspiration. Notable compositions include Stillwater (2019), which became popular as both band and orchestral composition, and City Knights (2018). Dunton is one of the founding members of the black composer collective known as the “Nu Black Vanguard”, where he actively advocates for the advancement and promotion of Black composers in music.
The primary message of Dunton’s Color in the Grey is a call for all people to fully embrace the innate creativity and sense of childlike imagination that we have buried deep within us. The piece was commissioned by Music & Arts and exists as a dedication to any individual who brings the joy of music to the lives of young people.
Dunton shares: “The color grey to me symbolizes the absence of expression and the imagination we succumb to while we come of age. I was lucky enough to be one of the lucky few to not have that imagination stolen away from, and this piece is a token to my appreciation of that I was given.”
The music is long and lyrical in its phrasing, yet bright and hopeful in harmonies. Its contrasts between soft and loud illuminate the kind of dynamism can be observed in a child engaging in play, projecting an idealistic inner dream world onto the sometimes-melancholy reality that we are all too familiar with in our adult lives. Dunton expounds upon his earlier claims “...when we age and transition into adulthood, we lose a lot of that wonder. That part of us goes away, or at least it is suppressed.” Color in the Grey can therefore be seen as a musical love letter to the inner child within all of us, those parts of us that yearn for a sense of adventure, exploration, and fulfillment through creating a world of our choosing.
Hobbs: Into the Blue
Joshua Hobbs (b. 1990) is an American composer, conductor, and music educator whose work for wind band reflects both his compositional training and his experience in the classroom. He has studied composition and conducting at the University of Central Florida and the University of South Florida, and his music has been performed by ensembles across the United States. Alongside his work as a composer, Hobbs is an active band director in Florida, a dual role that shapes his writing style—balancing expressive musical ideas with a practical understanding of how students learn and perform. His compositions often emphasize clarity, color, and emotional pacing, inviting performers and listeners alike into a shared musical experience.
Hobbs explores the idea of moving forward into the unknown in his composition Into the Blue by using musical color and gradual development to create a sense of depth and motion. The piece unfolds through flowing lines, shifting harmonies, and expanding textures that suggest openness and exploration, much like the visual and emotional associations of the color blue itself. Moments of reflection alternate with broader ensemble passages, allowing the music to grow naturally while maintaining a sense of calm and continuity. Rather than following a strict narrative, Into the Blue focuses on atmosphere and transformation, inviting listeners to experience the music as a journey shaped by sound, space, and expressive contrast.
Filmore: Orange Bowl
A native of Cincinnati, Ohio, James Henry Fillmore (1881-1956) was the eldest son of five children. As a boy, he had showcased natural music ability and became quite skilled in piano, guitar, violin, flute, and the slide trombone, which would become one of the instruments featured most in his later compositional works. Known as the “Father of the Trombone Smear,” Fillmore wrote 15 novelty tunes featuring the musical technique referred to as the “Trombone Family”, which included Miss Trombone, Sally Trombone, Lassus Trombone, and Shoutin’ Liza Trombone. Fillmore spent a short time as a student at the Cincinnati Conservatory of Music, before leading a job as a circus bandmaster with his wife, an exotic dancer, traveling across the United States. Fillmore later went on to enjoy a close relationship with the students at the University of Miami and their band director, Fred McCall, after moving to Miami from Cincinnati after a seemingly fatal health diagnosis. His time in association with the University of Miami and as a resident saw some of his most iconic works for band, which became the subject of several editions made by the wind band world’s most iconic conductors and arrangers, including Frederick Fennell. Fillmore is credited with composing over 250 original compositions, and approximately 750 arrangements for wind bands, some of which were written under famous pseudonyms such as Harold Bennett or Henrietta Hall.
The Orange Bowl was composed for the occasion of the DeLand High School band’s performance at the Orange Bowl Stadium in Miami, Florida in November of 1939. The composition lays out and adheres to all the conventions of a standard march form, except for the exclusion of the “dogfight” or break strain section. Fillmore’s long-time tenure as a resident of Miami inspired the composition, as well as his appearance as a regular guest conductor in the Orange Bowl football game. The Orange Bowl stands as one of Fillmore’s most popular marches.
Smith: Eternal Father, Strong to Save
Composer Claude T. Smith (1932-1987) has written more than 180 works for band, orchestra, choir, and small ensembles. He started playing trumpet in fifth grade, and as a college student, was drafted into the U.S. Army during the Korean War. After joining the Army, he won a French horn position in the 371st Army Band. Upon the completion of his service, Smith earned a Bachelor of Music Education from the University of Kansas. He
then taught instrumental music in Nebraska and Missouri and served on the faculty of Southwest Missouri State University. As a composer, he received commissions from the U.S. Air Force Band, the President’s Own Marine Band, the U.S. Navy Band, the U.S. Army Field Band, the Kansas City Youth Symphony, Springfield Symphony Orchestra, and the 1981 Missouri All-State Orchestra. His piece Flight was adapted to serve as the official march of the National Air and Space Museum in Washington, DC. An advocate for music education, Smith held leadership positions in the Missouri Bandmasters Association, National Band Association, American Bandmasters Association, and the National Association for Music Education.
Eternal Father, Strong to Save (1975) serves as the hymn for the United States Navy, and Claude T. Smith’s arrangement of it premiered in 1975 to celebrate the 50th anniversary of the U.S. Navy Band. The text of the hymn was originally written in 1860 by British poet William Whiting and was inspired by the strength of the sea he encountered during a near-death sailing experience off the coast of England. In 1861, John B. Dykes composed the tune Melita, to which Whiting’s words would be set. The earliest recorded use by the U.S. Navy was in 1879 by Lieutenant Commander Charles Jackson Train, who served as the master of the Midshipmen Choir at the Naval Academy in Annapolis, Maryland. In his arrangement, Claude T. Smith varies the tune by putting it in a minor key, writing it in fugue, and adding measures in 7/8 time to create an “uneven” feel. Then, the original hymn arrives in the French horn section before being played by the full band. Composer Francis McBeth, a contemporary of Smith, is quoted as saying, “If Claude Smith only wrote the fanfare to Eternal Father, he would still be a legend.”
Maslanka: Illumination: Overture for Band
David Maslanka (1943-2017) is among the Wind Band’s most distinctive and prolific composers. Of his nine symphonies, seven were written for band, along with more than forty other original works for winds and percussion. Maslanka’s music reflects his interest in psychology, meditation, and the human spirit. These themes are evident in Illumination, where Maslanka seeks to illuminate the creative energy of young people in this cheerful piece.
Program note by composer:
“Illumination” -- lighting up, bringing light. I am especially interested in composing music for young people that allows them a vibrant experience of their own creative energy. A powerful experience of this sort stays in the heart and mind as a channel for creative energy, no matter what the life path. Music shared in community brings this vital force to everyone. Illumination is an open and cheerful piece in a quick tempo, with a very direct A-B-A song form.
Illumination: Overture for Band (2013) was composed for the Franklin, Massachusetts public schools. The commission was started by Nicole Wright, band director at the Horace Mann Middle School in Franklin, when she discovered that my grandnephew was in her band. The piece was initially to have been for her young players, but the idea grew to make it the center of the dedication concert at the opening of Franklin’s new high school building. Rehearsals of Illumination were actually the first musical sounds made in their fine new auditorium.
Nishimura: Golden Hour
Cait Nishimura (b. 1991) is a Japanese-Canadian composer whose numerous works for band are consistently played by ensembles around the world. She earned both a Bachelor of Music and a Bachelor of Education from the University of Toronto. Before working as a full-time composer, Nishimura taught high school instrumental music, an experience she is mindful of when writing as she strives to write contemporary music that is “approachable, enjoyable, and inspiring.” In addition to her love of music, Nishimura is also very passionate about nature and the environment: writing music inspired by nature, using the proceeds of her music sales to support environmentalist causes, and using her prominent platform to promote conservation.
Golden Hour (2025) was originally written for solo French horn and piano and was commissioned by French horn players from across North America, led by Matthew Anderson. As with many of Nishimura’s pieces, Golden Hour was inspired by nature. In support of this cause, one dollar from each purchase of the piece will be donated to The Nature Conservancy of Canada. Nishimura describes below how one specific encounter in nature inspired the work:
The ‘golden hour’ is the magical period of time just before sunset when the sun is low in the sky and casts a beautiful, warm glow across the horizon. This piece was inspired by an exciting and rewarding journey through Yosemite National Park to reach the Glacier Point overlook before sundown. Driving up the steep mountain roads felt like a race against time, with the sunset already in progress. Along the way, we experienced jaw-dropping vistas over the edge of rocky cliffs; the [colors] in the sky shifted from vibrant blue and orange to hazy pink and purple. We drove through extensive areas of forest damaged by recent wildfires– a visceral reminder of the impacts of our changing climate and the need for balance in nature. When we arrived at the lookout, we were rewarded with a magnificent and exhilarating view of Half Dome and Yosemite Valley set against a glowing sky...It was perfect timing to witness the last moments of sunset before the sky faded calmly into dusk.
Giannini: Fantasia for Band
Composer Vittorio Giannini (1903-1966) was born in Philadelphia to a musical family. His mother was a violinist and his earliest teacher. His father and two sisters were opera singers, with his father founding the Verdi Opera House in Philadelphia. At the age of ten, Vittorio began studying violin and composition at the Milan Conservatory. He would later earn a degree from the Juilliard School. Giannini’s teaching career included time at his alma mater, Juilliard, as well as the Manhattan School of Music and the Curtis Institute of Music. As an educator, he taught John Corigliano, Adolphus Hailstork, and Alfred Reed. Later, he founded the North Carolina School for the Arts to serve high school and collegiate students in the southeast. As a composer, Giannini first earned fame with his opera, Beauty and the Beast, commissioned in 1938 by CBS. As his popularity grew, so did his use of harmonic language, writing increasingly dissonant and chromatic harmonies in his instrumental music. Towards the end of his life, he wrote five works for wind band. These five works, especially his Symphony No. 3, remain his most performed works.
Fantasia for Band (1963) was commissioned by the Northern Westchester and Putnam County (NY) Music Teachers’ Association. The main melodic material includes a “long-short” line that is varied throughout the piece. It is first heard in the trumpets above dissonant chords in the rest of the ensemble before being passed to the clarinets, who eventually take over most of the fast iterations. These two sections carry much of the theme, passing melody and countermelody lines back and forth. The roles continue as the piece develops, with the upper woodwinds of the ensemble joining the clarinets and the brass joining the trumpets. Fantasia for Band closes with a dramatic, slow section led by the trumpets and reminiscent of the opening of the piece.
McBeth: Of Sailors and Whales: Five Scenes from Melville
William Francis McBeth (1933-2012) was an American composer, educator, and conductor, credited with several important works for the wind band. McBeth served as a professor of music at Ouachita Baptist University in Arkadelphia, Arkansas, for over forty years, and as a band conductor and clinician in over forty-eight states in the US, as well as in several countries around the world. Noted among the most influential wind band pedagogues of all time, McBeth is credited with inventing the iconic “Pyramid of Sound” pedagogical approach to teaching sonority for wind ensembles.
Program Note from score:
Of Sailors and Whales: Five Scenes from Melville (1989) is a five-movement work based on scenes from Herman Melville’s Moby Dick. It was commissioned by and is dedicated to the California Band Directors Association, Inc., and was premiered in February 1990 by the California All-State Band, conducted by the composer. The work is sub-dedicated to Robert Lanon White, Commander USN (Ret.), who went to sea as a simple sailor.
The composer provided these notes for each movement:
I. Ishmael - “I go to sea as a simple sailor.”
II. Queequeg - “It was quite plain that he must be some abominable savage, but Queequeg was a creature in the transitory state -- neither caterpillar nor butterfly.”
III. Father Mapple - “This ended, in prolonged solemn tones, like the continual tolling of a bell in a ship that is foundering at sea in a fog -- in such tones he commenced reading the following hymn; but changing his manner towards the concluding stanzas, burst forth with a pealing exultation and joy.”
The ribs and terrors in the whale arched over me a dismal gloom
While all God’s sunlit waves rolled by, and lift me lower down to doom. In black distress I called my God when I could scarce believe Him mine, He bowed His ear to my complaint, no more the whale did me confine. My songs forever shall record that terrible, that joyful hour, I give the glory to my God, His all the mercy and the power.
IV. Ahab - “So powerfully did the whole grim aspect of Ahab affect me that for the first few moments I hardly noted the barbaric white leg upon which he partly stood.”
V. The White Whale - “Moby Dick seemed combinedly possessed by all the angels that fell from heaven. The birds! - the birds! They mark the spot ... The whale, the whale! Up helm, up helm! Oh, all ye sweet powers fair, now hug me close ... He turns to meet us ... My God, stand by me now!”
University Concert Band Personnel
Devan Moore, Director
Caleb Miller and Kaleb Switanek, Graduate Associate Conductors
Piccolo
Maya Sparks
Flute
Charis Henry
Celeste Galvez
Kathleen Antmann
Addison Peltier
Queen Byrdsong
Annabeth Brese
Kayte Warner
Emma Bennett
Oboe
Emma Brock*
Kyle Nishihori
Abigail Saltares
Mariana Rivera
Bassoon
Robin Moussier*
Aspen Atwood
Megan Meese
Sebastian Hernandez
Clarinet
Natalia Morales*
Zach Costea
Rosie Zaricki
Nora Romano
Brianna Steele
Eliza Taylor
Elizabeth Gonzalez
Abigail Flores
Norah Singletary
Anthony Cieza
Bass Clarinet
William Wagner
Saxophone
Samantha Santiesteban -Yaunner, alto*
Logan Wong, alto
Erin Kane, alto
Ellen Cohn, tenor
Gracie Snider, baritone
Trumpet
Tristan Lopez**
Preston Came**
Kye Turner
Makenna Payne
Christian Jordan
Horn
Leandro Muñoz**
Delaney Wharton**
Bea Perry
Kate Lansford
Alex Rodriguez
Trombone
Connor Casey
Andrew Walker
Mikhael Bradshaw
Reagan Lesser
Caden Ragsdale
Easton Fuller
Shane O’Sullivan, bass
Euphonium
Marcelo Guerra
Ryan Nguyen
Kyle Yakinchuk
Tuba
Devin Walmsley
Allie Nutting
Paul Van Damme
Seth Massey
Anthony Acevedo
Parker Iliff
Percussion
Timothy Thomas*
Caleb Blakeslee
Ethan Stefanski
Travis Beeton
Alex Aquino
*Principal
**Co-Principal
University Symphonic Band Personnel
David Plack, Director
Keith Griffis and Aaron Ovsiew, Graduate Associate Conductors
Piccolo
Anna Todd
Flute
Ryleigh Templeton
Kayla Crider
Sofi Velez-Santiago
Nicki Howard
Allie Mattice
Oboe
Alejandro Lopez*
Emma Druggan
Richard Wilson
Bassoon
Marcus Palermo
Benjamin Vela
Jake Noroña
Clarinet
Nathan Edwards*
Nia Thompson
Mia Guerrero
John Rodda
Nate Odom
Ryan Golbe
Amanda Stewart
Jamari Richards
Daniel Stevens
Bass Clarinet
Gabriel Dos Santos
Contrabass Clarinet
Alexei Kovalev
Saxophone
Parker Button*
Jamari Spears-Screen, alto
Caitlyn Jones, alto
Luis Angel, tenor
Jakub Zella, baritone
Trumpet
Angelo Del Oro**
Kate Moncada**
Franki Stressman
Addie Elliott
Evan Workman
Joshua Briley
Kai Okamoto
Mikey Moore
Horn
Brandon Bourdeau*
Coen Taylor
Nolan Beighley
Maren Smith
Wesley Vaden
Trombone
Micah Hreczkosij
Sam Cote
Sam Mercier
Allen Wroten
Austin Boudi
Marcus Lampkin Jr., bass
Caleb Couchois, bass
Euphonium
Darius Drullard
Lee Anderson
Karina Benton
Tuba
Sebastian Davey Bravo
Charlie Nelson
Braden Meyer
Noah Bryant
Grant Markiewicz
Allegra Hreschak
Bass
Jean-Philippe Montas
Piano
Sophia Wright
Harp
Ava Crook
Percussion
Sami Smith
Aidan Lenski
Chance Douglas
Ethan Brink
Aiden Pippin
Alex Aquino
Cole Martin
Owen Montgomery * Principal **Co-Principal
