THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents
THE UNIVERSITY WIND ORCHESTRA Rodney Dorsey, Director Aaron Ovsiew, Graduate Associate Conductor Nicholas Nadal, Graduate Associate Conductor
“The Music of John Williams”
Friday, September 25, 2026 Seven-thirty in the Evening Ruby Diamond Concert Hall
Livestream: wfsu.org/FSUmusic
ng i t r o p p u S e Arts th
850-894-8700
www.beethovenandcompany.com 719 North Calhoun Street, Suite E Tallahassee, Florida 32303
Claire owner TomWilliamson, Buchanan, owner
PROGRAM “The Music of John Williams” Olympic Fanfare and Theme (1984)
The Cowboys (1972/2008)
John Williams (b.1932) arr. James Curnow 4’30” tr. Jay Bocook 10’
Theme from JFK (1991)
arr. Paul Lavender 5’
Midway March (1976)
arr. James Curnow 4’
“The Jedi Steps” and “Finale” from Star Wars: The Force Awakens (2015)
tr. Paul Lavender 10’
Nicholas Nadal, graduate associate conductor “Nimbus 2000” from Harry Potter and the Sorcerer’s Stone (2001)
Excerpts from Far and Away (1992)
2’30”
tr. Paul Lavender 7’30”
Aaron Ovsiew, graduate associate conductor
“Adventures on Earth” from E.T. the Extra-Terrestrial (1982)
tr. Paul Lavender 9’30”
Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.
ABOUT THE DIRECTOR Rodney Dorsey is Professor of Music at the Florida State University College of Music where he conducts the FSU Wind Orchestra and guides the graduate wind conducting program. Dorsey comes to FSU from the Indiana University Jacobs School of Music where he conducted the IU Wind Ensemble and taught graduate conducting courses. Prior to his tenure at the Jacobs School, Dorsey served on the faculties of the University of Oregon, University of Michigan, DePaul University and Northwestern University. He also gained extensive experience teaching in the public schools of Florida and Georgia. Dorsey studied conducting with Mallory Thompson, John P. Paynter, and James Croft. He was a clarinet student of Fred Ormand and Frank Kowalsky. During his conducting career, Dorsey has led performances at several prominent events including the American Bandmasters Association Convention, College Band Directors National Association North/Northwest Regional Conference, and the Bands of America National Festival. He is active as a guest conductor, clinician, and adjudicator in the United States. International engagements include Hungary, Canada, and Bulgaria. Dorsey’s commitment to community has been demonstrated by his participation on the board of directors for Music for All and the Midwest Clinic. He currently serves as the president of the Midwest Clinic. Other professional memberships include the College Band Directors National Association, National Association for Music Education, Florida Bandmasters Association, Kappa Kappa Psi, Tau Beta Sigma (honorary), Phi Mu Alpha Sinfonia, and Alpha Phi Alpha Fraternity Incorporated. Dorsey is also an elected member of the American Bandmasters Association. Most recently, Dorsey was named a Yamaha Master Educator. ABOUT THE COMPOSER John Williams has had a career spanning over seven decades and is one of America’s most prominent composers. Williams was born in 1932 in Queens, NY, just before the death of another titan of American music, John Philip Sousa. Williams’s musical tastes were shaped by his father, Johnny Williams, a jazz drummer who let his young son sit in on rehearsals for the Raymond Scott Quintet and collaborations with Bernard Herrmann. In 1948, the Williams family relocated to Los Angeles, where John attended UCLA and took composition lessons from Italian composer Mario Castelnuovo-Tedesco. In 1951, Williams joined
the United States Air Force Band, playing the piano and string bass while also serving as a conductor and arranger. After completing his military career in 1955, he moved back to New York to study piano with Rosina Lhevinne at The Juilliard School. While his intention was to become a concert pianist, he decided to focus on composition after hearing several of his peers perform, later stating, “I could write better than I could play.” In pursuit of this goal, Williams returned to Los Angeles, where he worked as a film studio orchestrator and session musician. During this time, he played for Alfred Newman, Jerry Goldsmith, and Henry Mancini. As a studio musician, he played on the soundtracks for several famous films of the late 50s and early 60s, including Peter Gunn, Breakfast at Tiffany’s, To Kill a Mockingbird, and West Side Story. He also composed music for several television shows before officially transitioning to movie scoring with the 1965 film None but the Brave. Since then, Williams has composed the scores for over 100 films. In addition to the music you will hear performed tonight by the FSU Wind Orchestra, some of Williams’ other movie credits include: Schindler’s List, Jaws, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, Lincoln, Superman, and Home Alone. For television, he has written the themes for Great Performances on PBS and NBC’s Nightly News, Meet the Press, and Sunday Night Football. For his work, he has won 25 Grammys, four Golden Globes, five Emmys, and five Academy Awards. He is the second-most-nominated person in the history of the Academy Awards, having received 54 nominations so far. Beyond his work in entertainment, Williams served as the music director for the Boston Pops Orchestra from 1980 to 1993 and remains the organization’s Laureate Conductor. He also serves as Artist-in-Residence at the Tanglewood Institute. Williams’ classical output includes two symphonies and concerti for flute, violin, clarinet, viola, oboe, tuba, cello, and horn. Williams holds honorary degrees from numerous institutions, including Harvard, Juilliard, Boston College, New England Conservatory, Eastman, Oberlin, and the University of Southern California. In 2003, he received the Olympic Order for his musical contributions to the Olympics. In 2009, he was awarded the National Medal of the Arts, the highest award the United States government grants for achievements in the arts. In 2016, he earned the Life Achievement Award from the American Film Institute. In 2018, he received the Trustees Award from the National Academy of Recording Arts and Sciences. ABOUT THE ARRANGERS Jay Bocook is an American composer, arranger, conductor, and educator whose work spans the concert band, marching band, and professional wind repertoire. A graduate of Furman University and the University of Louisiana at Monroe, Bocook served as Director of Bands at Furman before pursuing a career as a composer and arranger. His music has been heard at several Olympic Games, and he has published more than 600 original compositions and arrangements through Hal Leonard. Bocook has a particularly notable connection to the music on tonight’s program: in 2003, “The President’s Own” United States Marine Band premiered his transcriptions of John Williams’ film music at the Kennedy Center, followed by another performance with Williams and the Marine Band in 2008. Bocook
was inducted into the Drum Corps International Hall of Fame in 2009 and elected to the American Bandmasters Association in 2011. James Curnow is an American composer, conductor, arranger, and educator whose music has become a familiar part of the concert and brass band repertoire. A graduate of Wayne State University and Michigan State University, Curnow has taught instrumental music at both the public-school and university levels while maintaining an international career as a composer, conductor, and clinician. His compositions have earned numerous honors, including two Volkwein Composition Awards and two ABA/Ostwald Awards. Curnow has been commissioned to write more than 400 works, and his catalog now includes over 800 published compositions and arrangements for concert band, brass band, orchestra, choir, and chamber ensembles. He also serves as Composer-in-Residence Emeritus at Asbury University. Paul Lavender is an American arranger, composer, editor, and music publisher whose career has been closely connected with both the wind-band repertoire and the music of John Williams. He studied music theory and composition at Central Michigan University and continued his studies at the University of Michigan before building a long career with Hal Leonard. A prolific writer, Lavender has contributed more than 1,200 arrangements and compositions to the educational and concert repertoire. His longtime collaboration with Williams has included the John Williams Signature Series as well as work as an arranger and music supervisor for major concerts and special events, including anniversary performances with “The President’s Own” United States Marine Band. His extensive experience adapting orchestral music for winds is represented throughout tonight’s program. NOTES ON THE PROGRAM Olympic Fanfare and Theme John Williams composed Olympic Fanfare and Theme for the 1984 Summer Olympic Games in Los Angeles. Written to accompany an event built around extraordinary preparation, perseverance, and competition, the work seeks to capture what Williams viewed as the uplifting spirit of the Games. In his original note, he dedicated the music to the participating athletes, whose determination and discipline inspired the score. Brilliant brass writing and ceremonial fanfares establish the work’s opening character before giving way to a broad, noble theme closely associated with Olympic competition. The music received a Grammy Award in 1985 and later became part of Williams’s continuing musical association with the Olympic Games. The Cowboys The music of The Cowboys originated with Mark Rydell’s 1972 Western starring John Wayne as Wil Andersen, an aging Montana rancher forced to recruit a group of schoolboys for a 400-mile cattle drive after his regular hands leave in search of gold. What begins as an adventure gradually becomes a difficult coming-of-age story as the boys confront the
physical demands and dangers of life on the trail. Williams responded with a score filled with open sonorities, energetic rhythms, expansive melodies, and the musical language long associated with the American West. The music moves easily between the excitement of riding and roping, quieter moments on the open range, and the larger sense of adventure that drives the film. Several years after completing the movie, Williams returned to the score at the urging of his friend André Previn, who believed its themes could stand on their own in the concert hall. Williams eventually shaped the film material into “The Cowboys Overture” in 1980, and it quickly became part of his repertoire with the Boston Pops. The overture retains the film score’s sweeping Western character while presenting its principal ideas as a compact concert work. Its combination of rhythmic momentum, brilliant orchestration, and broad lyrical writing makes it one of Williams’s most recognizable non-Star Wars concert selections. Theme from JFK Oliver Stone’s 1991 film JFK follows New Orleans district attorney Jim Garrison as he investigates the assassination of President John F. Kennedy and challenges aspects of the official account surrounding the killing. The film presents a dramatized exploration of competing theories about the assassination rather than a definitive historical resolution. It received eight Academy Award nominations, including Best Picture and Best Original Score for Williams, and won for cinematography and film editing. Williams’s score balances two very different musical worlds. Much of the film is driven by tense, unsettled writing tied to the investigation and its uncertainty, while the principal theme offers a more reflective portrait of Kennedy himself. The Theme from JFK opens with a military remembrance: a restrained snare-drum figure prepares the entrance of a lyrical solo trumpet, whose melody gradually expands into a fuller, more emotional statement. Rather than recreating the violence or controversy of the film, the theme serves as a solemn musical reflection on Kennedy and the promise associated with his presidency. Midway March The 1976 film Midway dramatizes the Battle of Midway, the pivotal June 1942 naval engagement in the Pacific during World War II. Featuring an ensemble cast that included Charlton Heston, Henry Fonda, and James Coburn, the film follows both the planning and execution of the battle, in which American forces used intelligence gained from breaking portions of the Japanese naval code to anticipate the attack. Williams composed the score during a remarkable period in his career: after the enormous success of Jaws and immediately before the music that would bring him even greater recognition with Star Wars. “Midway March” distills the film’s military setting into a compact concert march. Crisp percussion, bright brass writing, and sharply articulated rhythmic figures give the piece a ceremonial quality while maintaining the energy and forward motion associated with Williams’s best-known marches. Repeated staccato gestures also serve as a musical reference to the coded communications that played such an important role in the battle. Although written for a war film, the march is less a depiction of combat than a bold musical
representation of resolve, momentum, and victory. The Jedi Steps and Finale from Star Wars: The Force Awakens Released in 2015, Star Wars: The Force Awakens returned audiences to the galaxy of the original Star Wars trilogy while introducing a new generation of characters. Set approximately thirty years after Return of the Jedi, the film centers on Rey, Finn, and the Resistance as they confront the rising First Order and search for the missing Luke Skywalker. Williams returned to score the film, expanding the musical world he had begun nearly four decades earlier with new themes for its characters while also recalling familiar ideas from the original trilogy. “The Jedi Steps” and “Finale” accompany the film’s final sequence, as Rey travels to the isolated planet Ahch-To and climbs a long stone stairway to find Luke Skywalker. Williams begins the scene with restrained, mysterious writing that mirrors both the remote landscape and the significance of Rey’s journey. The concluding credits then open the musical canvas considerably, bringing together new material, notably “Rey’s Theme,” with familiar Star Wars ideas in the grand symphonic style that has defined the series. The music follows this dramatic arc, moving from the quiet uncertainty of the final scene to the full-scale brilliance of the closing credits. Nimbus 2000 from Harry Potter and the Sorcerer’s Stone The Harry Potter books and later films of the late 1990s and early 2000s follow a young wizard as he learns to harness his magical powers at Hogwarts School of Witchcraft and Wizardry. Along the way, he makes friends, deals with school bullies, is mentored by exceptional teachers, and ultimately defeats the evil that is threatening the wizarding world. The original movie franchise, consisting of eight films, proved to be an international hit, grossing $7.7 billion worldwide, and has spawned three prequel films and an upcoming TV show set to debut later in 2026. Williams composed several melodic motifs to represent the characters, places, and magical objects of this wizarding world, the most well-known being “Hedwig’s Theme” and “Nimbus 2000.” The former depicts Harry’s devoted pet owl, and the latter, which you will hear tonight, brings his trusted broomstick to life. The Nimbus 2000 is a top-ofthe-line broomstick model Professor McGonagall gifted Harry after he earned a spot on the Gryffindor Quidditch team. The numerous melodic leaps and energetic runs of this woodwind-only piece depict the agility and excitement of Harry and his classmates as they fly over and through the grounds of Hogwarts. Excerpts from Far and Away According to John Williams himself, he “always aspired to write a film score based on an Irish subject” after seeing the 1952 movie The Quiet Man. He finally got that opportunity in 1992 when Ron Howard asked him to provide the score for his film Far and Away. The movie was inspired by the story of Howard’s grandfather, who immigrated to the US from Ireland
and participated in the Land Rush of 1893. In County Galway in 1892, Joseph Donnelly is a poor tenant farmer looking to one day own his own land. While attempting to break his lease, he meets his landlord’s daughter, Shannon, and they quickly form a friendship. Shannon tells Joseph that she does not belong in the aristocratic society of her upbringing and longs to move to America to start a new life. Together, the two travel to the US and settle in Boston. To make money, Joseph becomes a bare-knuckle fighter, and Shannon works as a burlesque dancer. The two eventually realize their romantic feelings before being discovered by Shannon’s family and being separated. Shannon and Joseph separately arrive in Oklahoma to participate in the Land Rush in 1893, eventually reconnecting, claiming their land together, and professing their love for each other. Tonight, you will hear Joseph and Shannon’s love theme, the chaos surrounding one of Joseph’s bare-knuckle fights, and, of course, the Irish-inspired melodies John Williams waited nearly 40 years to write. Adventures on Earth from E.T. the Extra-Terrestrial E.T. the Extra-Terrestrial follows the formation of a friendship between a young boy, Elliott Taylor, and a creature from another planet, whom Elliott names E.T. Stranded after his race leaves Earth to avoid being captured by the United States government, E.T. hides in the Taylors’ shed. Famously, Elliott leaves a trail of Reese’s Pieces to attract E.T. into his house, where he hides him in his bedroom. It is in Elliott’s room that E.T. showcases his ability to heal, move objects with his mind, and bring the dead back to life. As E.T. spends more time on Earth with Elliott, the pair forms an unconscious psychic bond, unknowingly feeling what the other feels. Needing to “phone home” to his people, E.T. asks Elliott and his siblings to help him build a communication device. On his way to bring E.T. to meet his people, Elliott encounters government agents and roadblocks. The soaring and emotional melodies of “Adventures on Earth” capture this exciting chase, the moment E.T. lifts Elliott’s bicycle in the air, the pair’s goodbye, and the final departure of E.T.’s ship. Typically, when recording movie soundtracks, the score is carefully aligned with an already edited film. However, after being so enchanted by John Williams’ conducting, the film’s director, Steven Spielberg, instead decided to re-edit this final sequence to match the score. The Spielberg-Williams partnership proved to be a successful one. Upon its release in 1982, E.T. became the highest-grossing film ever, passing a previous collaboration (Star Wars) before being surpassed by another (Jurassic Park). In 1994, it was added to the National Film Registry at the Library of Congress.
University Wind Orchestra Personnel Rodney Dorsey, Director Aaron Ovsiew and Nicholas Nadal, Graduate Associate Conductors Piccolo Shelby Werneth Flute Karis Brennan* Samuel Malavé Kaitlyn Calcagino Donovan Hancock Bailey Passey Oboe Gracee Myers Lorin Zamer Peter Arbogast Lee Howell English Horn Lee Howell Bassoon Jordan Vestal Dakota Jeter Diego Crisostomo Amelia Khanji Contrabassoon Amelia Khanji E-Flat Clarinet Harper Golden
B-Flat Clarinet Daniel Kim* Charlotte MacDonald* Steven Higbee Rey Rostro Kasey Cote Taylin Hamilton Zhu Zhiyao Nathan Esquenazi Althea Medenilla Bass Clarinet Xavier Williams
Trombone Dylan White Aryn Nester Landon Ellenberg Ryan Meyaard, bass Euphonium Coda Ethridge* Anthony Gonzalez Tuba Sebastian Davey Bravo* Steven Jones
Saxophone Kaiden Klingler, alto Ashton Stewart, alto Micah Mazzella, tenor Lincoln McMullen, baritone
String Bass Christopher T. McDuffie
Trumpet/Cornet Sharavan Duvvuri Jeremiah Gonzalez Avery Hoerman Max McLaughlin Grason Peterson Thana Rangsiyawaranon
Harp Noa Michaels
Horn Wyatt Gibson Allison Hoffman Kaytoya Ichoku Sarah Schwenke Coen Taylor
Piano Juan Baquero
Percussion Duke Kennedy* Joshua Santana* Caitlin Magennis Owen Montgomery Waylon Hansel Sami Smith Matt Korloch Jessica Weinberg * Principal/Co-principal
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The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 850-645-5453.
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