THE FLORIDA STATE UNIVERSITY College of Music presents
University Concert Band
Devan Moore, Director
Caleb Miller, Graduate Associate Conductor
Kaleb Switanek, Graduate Associate Conductor
Tuesday, March 31, 2026
7:30 p.m. | Ruby Diamond Concert Hall
PROGRAM
The Hounds of Spring (1981)
In Two Places (2016)
Caleb Miller, graduate associate conductor
All My Heart (2023)
Caleb Miller, graduate associate conductor
Imbizo (2007)
Alfred Reed (1921–2005)
Haley Woodrow (b. 1984)
Michael Markowski (b. 1986)
Julie Giroux (b. 1961)
INTERMISSION
Uplift (2023)
Mass No. 2 in E minor (1886)
Kaleb Switanek, graduate associate conductor
Play! (2008)
Kaleb Switanek, graduate associate conductor
Kevin Day (b. 1996)
Anton Bruckner (1824–1896) tr. Switanek
Carl Holmquist (b. 1983)
Mannin Veen (1933)
To Ensure An Enjoyable Concert Experience For All…
Haydn Wood (1882–1959)
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.
Reed: The Hounds of Spring
American composer Alfred Reed (1921-2005) was one of the most influential figures in the development of wind band literature during the late twentieth and early twenty-first centuries. Born in Manhattan to an Austrian family with deep musical roots, Reed began studying trumpet at the age of ten and was already performing professionally as a teenager. During World War II, he served as an arranger and musician with the 529th Army Air Force Band. After the war, Reed studied composition under Vittorio Giannini at the Juilliard School before joining the music faculty at Baylor University, where he earned both bachelor’s and master’s degrees. Later, at the University of Miami’s Frost School of Music, he served as professor of music education, theoretician, and the inaugural director of the music industry program.
In the words of Reed, “when the hounds of spring are in winters traces, a magical picture of young love in springtime, forms the basis of the present purely musical setting, in traditional three-part overture form, of this lovely paean... an attempt to capture the twin elements of the poem, exuberant youthful gaiety and the sweetness of tender love, in an appropriate musical texture.”
Commissioned by and dedicated to the John L. Foster Secondary School Concert Band of Windsor, Ontario, Canada, and its director, Gerald A.N. Brown, The Hounds of Spring is an incredibly popular standard within the wind band repertoire, characterized by its exciting, rhythmic flourishes in constantly changing forms of triple meter, and lush lyrical melodies that brings to life a musical depiction yearning and love from an 1865 excerpt of a poem by English poet Algernon Charles Swinburne (1837-1909). The composition is formatted in fast-slow-fast, which is chosen by Reed as a nod to the concert overture conventions from the early 18th century Italian operatic period. We have included the poem excerpt for your perusal below.
When the hounds of spring are on winter’s traces, The mother of months in meadow or plain Fills the shadows and windy places
With lisp of leaves and ripple of rain; Where shall we find her, how shall we sing to her, Fold our hands round her knees and cling?
O that man’s heart were as fire and could spring to her, Fire, or the strength of the streams that spring! And soft as lips that laugh and hide
The laughing leaves of the trees divide, And screen from seeing and leave in sight
The god pursuing, the maiden hid.
Woodrow: In Two Places
Haley Woodrow (b. 1984) is a lead multi-faceted musician in the areas of music composition, arranging, and music education. A North Texas-based composer, Woodrow writes for the symphonic band, chamber winds, and jazz ensembles. Her compositions have received awards and recognition from the American Bandmasters Association/ Sousa/Ostwald Composition Contest, the National Band Association, and the Texas Music Educators Association. Her music has been performed by numerous universities and community bands, as well as school-age groups on various performance stages across five continents. She holds a Master of Music Composition from Texas Christian University and Bachelor of Music in Jazz Studies from the University of Texas at Arlington, studying with notable teachers including Steve Andre, Tim Ishii, Dan Cavanagh, Bill Snodgrass, George Chave, and Blaise Ferrandino. Haley formerly taught keyboard at The King’s University and composition at Tarrant County College for several successful years.
As a program note from the composer herself, she describes In Two Places thusly:
One thing you’d never expect to do after graduating from college, getting married, and being a homeowner, is to move back in with your parents. But as it turned out, my husband and I found ourselves in this situation in the fall of 2013. Around the same time, I decided to finally follow my gut and go back to school for what I always wanted to do – music composition. Having a background as a jazz trumpet player, I luckily landed in a graduate assistant shop in the jazz department at Texas Christian University while pursuing my master’s in composition. As great as it was, I felt pulled in several directions, not having the typical schedule of a composer, but not having the life of a performance major either. In this season of my life I experienced conflicting feelings attached to experiences with adulthood vs adolescence, homogeneity vs. diversity, and the jazz approach vs the contemporary classical approach. I, in so many ways, felt literally in two places at once!
In Two Places explores the fusion between these two disciplines of music. It is tied together by motivic themes that pop across its compositional landscapes, while incorporating a driving eighth note motor. It is both technically exciting and lyrically seductive to the listener, bouncing between two distinct styles of lyricism and a show of virtuosity.
Markowski: All My Heart
Michael Markowski (b. 1986) carries with him a distinctive compositional background in music. A stout admirer of all things film, Markowski’s works for the wind ensemble actively reflect an appreciation for programmatic music heavily inspired by popular media. A native of Arizona, Markowski’s love of music began in elementary school, where he began participating in band class on the alto saxophone, and continued to play all throughout high school. Markowski went on to earn a Bachelor of Arts degree in Film from Arizona State University. Markowski’s compositional mentors include Jon Gomez and Dr. Karl Schindler. As Markowski continued to polish his voice in music, he was invited to part of the National Band Association’s Young Composer and Conductor Mentorship program. His first work for concert band, Shadow Rituals, won first prize in the Frank Ticheli composition contest in 2006. Since then, his music has garnered the attention commissioning organizations such as the College Band Directors National Association (CBDNA), Consortium of Wind Band Literature, and the Lesbian and Gay Band Association, to name a few. Markowski continues to actively compose for several independent projects, such as Nathan Blackwells “The Last Movie Ever Made”, which streams on Amazon Prime and Apple TV. Michael is a
member of ASCAP, the Recording Academy, and currently lives in Brooklyn, New York.
Markowski has opted to include his own words as part of the program notes for his composition All My Heart, included for your reference below.
I was lying in bed one night, scrolling rather lifelessly on my phone, when I came across a video a friend had shared. It was from a taped performance at the Regional Cultural Centre in Donegal, Ireland featuring Séamus McGuire lovingly playing his fiddle and Steve Cooney tenderly accompanying on his guitar. The pair had started playing a centuries-old love song from the Petrie Collection of Irish Music called “With Her Dog and Her Gun.” As I laid there listening for the first time, something inside me stirred. I could feel my heart begin to swell. Something about this song was immediately captivating and timeless and simple and easy and familiar—like I had known it all my life. I went to bed with this recording running wild in my head, with fragments of it endlessly echoing every corner of my tired body. The next day, I listened again—perhaps to see if the magic I felt the night before was still there—and again, my heart swelled. Soon enough, I realized I couldn’t get this tune out of my head! I became obsessed with it—and the striking beauty of this performance in particular—and after a while, I felt as if it was bursting my heart wide open in a way my heart hadn’t been opened before. No other melodies or themes or songs that I had been listening to or composing myself had moved me with the magnitude that this one had. It had ingrained itself deep within me, and I was completely under its spell. Within such a short time, this beautiful Irish melody had entirely consumed me and all my heart.
Giroux: Imbizo
Julie Giroux (b. 1961) is an acclaimed composer, pianist, and horn player whose works span film, television, wind ensembles, orchestras, and concert bands. Trained at Louisiana State University and mentored by John Williams, Bill Conti, and Jerry Goldsmith, she began her career in 1985, working on projects such as North and South and The Karate Kid II. A multiple Emmy winner, she was the youngest and first female recipient for Outstanding Music Direction. Since 1997, her compositions have been performed worldwide, including Carnegie Hall and presidential inaugurations. Giroux continues to compose, orchestrate, and arrange across media and ensemble formats.
Imbizo for seven percussionists and band was composed for the Argyle High School Band in Argyle, Texas, with Kelly Johnson as its director, for the occasion of the commemoration of the Midwest Clinic in 2007. Imbizo is characterized by its clear influence of traditional African music. Its score is laden with the inclusion of percussive instruments from across the African diaspora including the cajon, the djembe, gourd with shell shekeres and egg shakers to name a few. A musical imbizo is defined as a collection of modern dance forms based upon traditional African scales and harmonies. Giroux’s melodies are self-composed, but heavily informed by her exposure to the traditional music of African peoples. The essence of Africa shines through to provoke feelings of joy and unity, which creates a celebration and inspires the listener to rise from their seats and dance!
Day: Uplift
Composer, conductor, and multi-instrumentalist Kevin Day (b. 1996) has quickly become a prominent voice in contemporary wind band music. Raised in Arlington, Texas, in a family where both parents were active musicians, Day absorbed a wide mix of musical influences from an early age. He is an accomplished euphonium and tuba performer and a self-taught pianist, and his work often blends elements of jazz, minimalism, Latin music, fusion, and contemporary classical styles. Day studied at Texas Christian University, the University of Georgia, and later completed his DMA at the University of Miami, building a catalog now exceeding 150 compositions performed widely across the United States. His official biography further highlights his rapidly growing reputation and frequent collaborations with leading ensembles.
Uplift (2023) was commissioned by the Zeta Omicron and Epsilon Iota chapters of Kappa Kappa Psi and Tau Beta Sigma in celebration of their 50th anniversary at the University of Akron. Inspired by the university’s motto, “We Rise Together,” Day conceived the piece as a musical expression of collective support, joy, and shared musical purpose. Written for Dr. Galen Karriker and the University of Akron Wind Symphony, the work radiates energy from its opening measures, propelled by Day’s hallmark rhythmic drive and bright, uplifting gestures. While concise in duration, Uplift captures a spirit of optimism and forward momentum, embodying the idea that music—and community—can lift people to greater heights when they rise together.
Bruckner: Mass No. 2 in E Minor: Kyrie
Anton Bruckner (1824–1896) was one of the most distinctive musical voices of the late Romantic era, known for symphonic and sacred works that combine monumental structure with deep spiritual conviction. Born in rural Upper Austria, he grew up in a devout environment shaped by village church music and by the grand Baroque surroundings of the monastery at St. Florian, where he spent his formative years as a choirboy and eventually served as organist. Although he began his career as a schoolteacher, Bruckner’s devotion to musical study led him to pursue rigorous training in harmony and counterpoint, culminating in further study in Vienna and a teaching position at the Conservatory. His humility, piety, and lifelong dedication to craft left a profound mark on his music, which often seeks to express faith through large-scale musical architecture and luminous choral sonorities.
Originally composed for eight-part mixed chorus and fifteen wind instruments, Mass No. 2 blends Renaissance clarity with Bruckner’s emerging Romantic language. This transcription for wind band takes the opening movement, Kyrie, and begins with a quiet plea for mercy:
Kyrie Eléison Lord, have mercy
Christe Eléison Christ, have mercy
This idea is first heard through the clarinets before adding more woodwind voices. Each phrase is shaped by long, arching lines that seem to rise from stillness to show the growing plead. This sentiment is then shared by a brass choir to echo the woodwind’s plea before the two choirs combine. As the choirs combine, the movement gradually grows in intensity to a harmonious peak. Following the peak, the listener is transported back to a state of introspection before building a final time to three chords, performed three times, as an outcry for mercy. This tension is finally released and subsides as the movement comes to a close.
Holmquist: Play!
Composer, conductor, and music educator Carl Holmquist (b. 1983) composes his works with a deep commitment to school and community music-making. He serves as Director of Bands and Fine Arts Department Chair at the H-B Woodlawn Secondary Program in Arlington, Virginia, where he teaches concert bands, jazz band, and music theory. Holmquist holds a Bachelor of Music in Music Education from St. Olaf College, where he studied composition and conducting with Timothy Mahr and Steven Amundson, and a Master of Music in Instrumental Conducting from George Mason University under the guidance of Mark Camphouse and Anthony Maiello. His catalog includes works for band, orchestra, chamber ensembles, and choir, with commissions from ensembles across the United States. His music is published by Alfred, C. Alan Publications, Bandworks, and Grand Mesa, and he contributed to Volume 4 of Composers on Composing for Band. A past participant in the National Band Association’s Young Composer Mentor Project, Holmquist remains active as a guest composer, conductor, and clinician.
In 2008, Holmquist released his Symphony No. 1: A New Orleans Symphony. This piece was written as a musical narrative to showcase the devastating effect that hurricane Katrina had on New Orleans’ live performances in Jackson Square. Play!, the final movement, takes the listener on a journey of musical recovery following the storm. Piano and clarinets begin the piece to set up a rhythmic ostinato that is built upon throughout the rest of the piece. As more musicians join the texture, the community is recovering as music returns to Jackson Square. Play! culminates in a celebration of a historic city being restored to its former glory as the melody of “Come Thou Fount” is performed:
Come, thou Fount of every blessing, tune my heart to sing thy grace; streams of mercy, never ceasing, call for songs of loudest praise.
Teach me some melodious sonnet, sung by flaming tongues above. Praise the mount! I’m fixed upon it, mount of thy redeeming love.
Wood: Mannin Veen
Haydn Wood (1882–1959) grew up surrounded by music, and his early years on the Isle of Man left an unmistakable mark on his imagination. Although he was born in Yorkshire, it was the island’s songs, scenery, and close-knit musical culture that shaped his artistic identity. After studies at the Royal College of Music and further training in Brussels, he enjoyed a successful career as a violinist before turning increasingly toward composition. Wood became known for his gift for clear, memorable melody—whether writing concert works, orchestral miniatures, or the popular songs that made his name familiar to audiences across Britain. His music often carries a warmth and directness that reflects both his performing background and the folk traditions he heard throughout his youth.
That lifelong connection to Manx music lies at the heart of Mannin Veen (“Dear Isle of Man”), Wood’s best-known work for wind band. Instead of inventing new themes, he chose to weave the piece from four traditional melodies, each offering a glimpse of the island’s history and character. The opening tune, “The Good Old Way,” has a gently solemn quality shaped by the Dorian mode. It is followed by the energetic reel “The Manx Fiddler,” which lifts the music into a lively dance. A change of mood arrives with “Sweet Water in the Common,” a melody associated with old community gatherings convened to settle matters such as land and water rights. The work closes with “The Harvest of the Sea,” a hymn once sung by Manx fishermen as a prayer of thanks after returning safely to shore.
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*
Abigail Saltares
Mariana Rivera
Kyle Nishihori
Bassoon
Benjamin Vela*
Aspen Atwood
Megan Meese
Sebastian Hernandez
E-Flat Clarinet
Zach Costea*
B-Flat Clarinet
Natalia Morales*
Chloe Koe
Zach Costea
Rosie Zaricki
Nora Romano
Brianna Steele
Eliza Taylor
Elizabeth Gonzalez
Aby Flores
Norah Singletary
Anthony Cieza
Bass Clarinet
William Wagner
Saxophone
Samantha Santiesteban, soprano*
Logan Wong, alto
Erin Kane, alto
Ellen Cohn, tenor
Jamari Spears-Screen, bass
Gracie Snider, baritone
Trumpet/Cornet
Tristan Lopez*
Preston Came*
Kye Turner
Makenna Payne
Christian Jordan
Horn
Leandro Muñoz*
Delaney Wharton*
Bea Kelly
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 Ilif
Piano
Maria Herman
Percussion
Timothy Thomas
Caleb Blakeslee
Ethan Stefanski
Travis Beeton
Alex Aquino
*Principal/Co-Principal