Purdue Bands & Orchestras Presents
Wind Works II
FACULTY & STAFF
Jay S. Gephart.....................................................................................................Director and AI G. Wright Chair
Matthew R. Conaway......................................Professor, Director of “All-American” Marching Band
Dr. Pamela J. Nave................................................................Associate Professor, Director of Percussion
Adam Bodony..........................................................................Associate Professor, Director of Orchestras
Bethany Robinson...............................................Clinical Assistant Professor, Director of Jazz Bands
Jarrard Harris..............................................................................................................Clinical Assistant Professor
Dr. David M. Blon.......................................................................................................Clinical Assistant Professor
Dr. Lucas H. Petersen.............................................................................................Clinical Assistant Professor
Douglas R. Fletcher.............................................................................................................Director of Operations
Amy Brandfonbrener................................................................................................Chamber Music Instructor
Esther Kirgiss........................................................................................................Director of External Relations
Caitlin Cotten........................................................................Manager of Recruitment & Student Success
Humza Nasir..............................................................................................................................Multimedia Designer
Susan Lipscomb.............................................................................................Senior Administrative Assistant
Kim Delks.........................................................................................................................................Business Assistant
Adisyn Nichols..................................................................................................................Student Office Assistant
Elora Ifeguni............................................................................................................................Graphic Design Intern
Udochukwu Akorah...................................................................................................Social Media Ambassador
PROGRAM
UNIVERSITY BAND
Jay S. Gephart, conductor
Silvercrest (1986)....................................................................................................James Swearingen (b. 1947)
Balkan Seven (2018)..........................................................................................................Scott Watson (b. 1962)
Sweet New Moon (2021).........................................................................................Yukiko Nishimura (b. 1967)
Hypnotic Fireflies (2012)............................................................................................Brian Balmages (b. 1975)
Devious Dance (2024)..............................................................................................Dakota Pederson (b. 1999)
Choreography (2009)..................................................................................................Robert Sheldon (b. 1954)
SYMPHONIC BAND
Matthew R. Conaway, conductor
We Gather...
… to Perpetuate Traditions
The Red Machine (2004)................................................................................................Peter Graham (b. 1958)
… to Celebrate
John and Jim (2024).................................................................................................................Viet Cuong (b. 1990)
… to Dance
Big City Lights (2021)................................................................................................Marie A. Douglas (b. 1987)
… to be Entertained
Barnum and Bailey’s Favorite (1913).............................................................................Karl King (1891-1971)
… to Mourn, Pray, Heal, and March On ’Til Victory is Won
Of Our New Day Begun (2015).....................................................................................Omar Thomas (b. 1984)
UNIVERSITY BAND
FLUTE
Ellie Little
Luke Favorite
Ashley Webster
Kristin O’Dell
Morgan Bedwell
Ethan Bergman
Joanna Shrimp
Annalisa Hertzler
Jayla Parks
Yuvinelly Cornejo-Torres
Andreea Munteanu
Megan Koellisch
Hetasri Galla
Ashley Smock
OBOE
Andrew Nomi
Haley Overton
Mei Pitts
Madalyn Carter
BASSOON
Alaina Marks
CLARINET
Haoxuan Tong
Paiton Fyfe
Tessa Kirchner
Alex Urankar
Hanah Bradford
Gracelyn Druelinger
Loralei Sugden
Mason Shorter
Chloe Gill
Hannah Pike
Audrey Orbin
Abigail Norvell
Alexandria Green
Brendan Crawford
BASS CLARINET
David Coombs
Alexia Gil
ALTO SAXOPHONE
Claire Harris
John Hollander
Andrew Brubaker
Eli Knasinski
Owen Pilacik
Joaquin Colon
Braeden Griffin
Kylie Bolon
TENOR SAXOPHONE
Allison Schuliger
Gabe Sivertson
Nathan Valentine
BARITONE SAXOPHONE
Madeline Little
HORN
Amelia Winkelman
Britt Holly
Barbara Cabral
Rebecca Kaluf
Nicholas Biallas
Mason Engel
Dylan Chen-Becker
Niko Hamby
Alan Wang
TRUMPET
Edward Mills
Lewis Strange
Albert Scrivner
Nathan Brettnacher
Joshua Footlik
Andrew Berry
Alexander Huxhold
Noah Miller
Colton Green
Lily Brideau
Anna Tucker
Hannah Cano
Aidan Jackson
Sophia Mae Dinglasan
Tess Carter
Emmi Doty
Abigail Green
Elisa Drouhard
Ben Boardman
Emersen Milanowski
TROMBONE
Clayton Blackburn
Finnegan Kilcoyne
Ben Calleja
Shakiya Nichols
Brendan Blair
Christopher Goseski
Grant Schnolis
EUPHONIUM
Ansel Khamapirad
Ethan Hurd
Vincent Chia
Jason Delatte
Jonathan Flinn
Alexander Asfar
TUBA
Aditi Gangasani
Connor Siurek
Tarun Rajan
Connor Bohan
Jessica Emerson
John Koellisch
PIANO
Everest Hacker
PERCUSSION
Griffin Cooper
Everest Hacker
Tyler Cox
Tyler Barnett
Kriya Anumalla
Ben MarcAurele
Ava Haan
Max Weiss
Hannah Dengler
Jordan Mark
PICCOLO
Stephanie Rose
FLUTE
Kaitlyn Calland
Ian Stewart
Priya Adiga
Sasha Ilijevski
Makayla Apter-Quinn
Kalyana Kottapalli
OBOE
Amber Shen
Kat Murkes
BASSOON
Porter Stone
Christopher Gillespie
CLARINET
Daniel Shimizu
Lucas Wang
Emri Lindley
Sara Przybylski
Newt Fey
Alyssa Niuh
Kyle Ashamallah
Andrew Linerode
John Danison
Seth Berg
Sydney Chan
Braden Mekeel
BASS CLARINET
Mauricio Gonzalez
Leo Sun
SYMPHONIC BAND
ALTO SAXOPHONE
Kate Williams
Theo Do
Sanil Shetty
Joel Greig
Cameron Bryden
TENOR SAXOPHONE
Heran Miao
BARITONE SAXOPHONE
Drew Jansen
TRUMPET
Hallie Hertzler
Nadav Shalinsky
Kayla Jahnke
Keira Olds
Joshua Lear
Gasahn Chanikornpradit
Nathan Garrett
Andrew Lehner
Carter Ledbetter
George Clark
HORN
Trevor Stoyer
Charis Liu
Kaylee Gnivecki
Sharuya Bansal
Ian Ostermann
Nate Brodie
TROMBONE
Noah Desserich
Marc Miller
Carson Crays
Aaron Bernsten
Daniel Barnes
BASS TROMBONE
John Fioti
EUPHONIUM
Jebediah Lottes
Nicole Krishna
Gabe Lerner
Matthew Helms
TUBA
Daniel Li
Leah Hosler
Nathaniel Young
Owen Dunbar
Ethan Ellis
PERCUSSION
Alli Jugg
Cam Allen
Devon Anderson
Ibrahim Dabo Harden
Grant Jackson
Arthur Prudius
Hamsikasree Vedavinayagam
Leon Wang
PROGRAM NOTES
SILVERCREST - SWEARINGEN
This fine march was commissioned by the employees of Stanton’s Sheet Music of Columbus, Ohio in honor of their President, James E. Strouse, and the 25th Anniversary of the company. “Jim”, a former Ohio band director became one of the leading music dealers in Ohio and one of the most respected in the country.
- From the publisher
BALKAN SEVEN - WATSON
Balkan Seven gets its inspiration from the lively, often rhythmically asymmetric, dances of the Balkan region of Southeastern Europe - encompassing countries such as Greece, Bulgaria, Macedonia, Serbia and Croatia. ⅞ is the most popular uneven dance rhythm in all of Balkan music, especially in Macedonia, where a line dance with a 3+2+2 subdivision is prevalent. Not surprisingly, the percussion section plays a special role in creating and sustaining the feel of a rustic folk dance, and the wind players join in clapping as well! Balkan Seven was commissioned by the Orefield Middle School 7th/8th Grade Band (Orefield, PA), Mr. Peter Zimmer, Director and premiered May 2018. This Young Symphonic Series piece was a 2018 J.W. Pepper Editor’s Choice and was described as “an attractive work” in an Aug. 2018 review in The Instrumentalist.
- From the publisher
SWEET NEW MOON - NISHIMURA
“It’s been said that your wish will come true when you make it under the new moon.” Composer Yukiko Nishimura has crafted a beautifully heartfelt work with lush harmonies. Nishimura graduated from the Tokyo National University of Fine Arts and Music in 1990. One year later, she began graduate study with Alfred Reed at the University of Miami. In 1993 she went to the Manhattan School of Music for further study. She has studied composition with Atsutada Otaka, Dr. Alfred Reed, Dr. Richard Danielpour, and Giampaolo Bracali. She studied piano with Ivan Davis and Dr. Sara Davis Buechner. In 1994 she returned to Japan. Since 1996, she has given concerts consisting entirely of her own music in Japan.
HYPNOTIC FIREFLIES - BALMAGES
This creative commissioned work was inspired by the composer’s vision of an open field on a summer night, with thousands of fireflies lighting up the darkness. Intended to take listeners on a metaphorical journey, the piece envisions being hypnotized by the flashing lights from a distance before awakening in the middle of the field surrounded by their magnificent glow. A soft introduction, initially featuring piano accompanied by soft metallic sounds from percussion, represents the view of the field and the twinkling lights from a distance, The music slowly intensifies to a point that listeners soon find themselves in the middle of the field surrounded by the fireflies. Driving rhythms and thick textures represent the lights reaching their peak, before the glow and musical intensity begins to fade. The hypnotic effect occurs again as listeners are transported back to their original location observing the fireflies from afar before being engulfed by darkness and silence.
- The Instrumentalist, August 2013
DEVIOUS DANCE - PEDERSON
From the striking and somewhat sinister opening strains you’ll know immediately that this is not just a normal dance! This energetic and rhythmic work features a driving pulse throughout, along with a sprinkling of dissonances and cluster chords to create a sense of tension and excitement. The dynamic percussion writing helps propel this creative piece from start to finish.
Dakota Pederson is an Indiana composer who discovered his passion for music composition. His success flourished from an early age, winning the first annual MakeMusic Young Composers competition at age 16. From then on, he would additionally win the Claude T. Smith Composition Contest and the Association of Concert Bands Composition Contest, twice. Though he has had numerous successes in composition, he has never been formally trained in composition. As a self taught composer, Pederson has developed a composition style that focuses on a highly charged rhythm.
CHOREOGRAPHY - SHELDON
Choreography was commissioned by the 2008 ATSSB All-State Band by the Association of Texas Small School Bands. Written in overture form, the piece draws its inspiration from dance movements found in contemporary stage, ballet and theatrical productions. The piece opens with fast-paced angular gestures accompanied by rapid rhythmical punctuations before yielding to a contrasting lyrical section with long, flowing lines and many opportunities for expressive playing. The infectious beat patterns and memorable melodic content combine to make this an excellent concert opener.
- From the publisher
THE RED MACHINE - GRAHAM
The Red Machine was commissioned by the London-based Band of the Coldstream Guards. Among the band’s duties is the famous changing of the guard ceremony at Buckingham Palace where their reputation for precision marching has led to them being described as the “Red Machine.”
The music reflects the title and heritage of this fine group: from the aggressive, machine-type music of the opening, the contrasting nostalgic French-flavoured waltz through the recapitulation and vivace finale. Listeners may hear references to music associated with the band, from Holst (The Planets) through the opening phrase of the chorale Ein Feste Burg -- familiar to British Guards Bands from the troop march Les Huguenots.
- From the publisher
JOHN AND JIM - CUONG
I first heard the name Obergefell in 2015 when the case that bears it, Obergefell v. Hodges, was decided by the Supreme Court. Among the most important in history for queer Americans, this landmark ruling granted marriage rights to all same-sex couples. At that moment, Obergefell was etched in history. For those writing about the law, the name would thereafter be written in italics, and today it’s as much a shorthand for the case law of marriage equality as it is the name of a man. But at its core, the case begins with two people.
John Arthur and Jim Obergefell were married in July of 2013. They had been together in a loving relationship for 22 years, and Jim was caring for John as he faced the end stages of ALS. In the last year of John’s life, they traveled on a medical plane to Maryland -- one of just a handful of states where same-sex marriage was legal at the time -- to be married. The marriage ceremony was conducted on board the plane before they returned home to Ohio for their last months together. John passed away that October, and, because Ohio did not recognize their marriage as legal, Jim had to challenge the state in court to be listed as John’s surviving spouse on his death certificate. The state appealed, and the court battle worked its way through the legal system until 2015, when Jim and his team were victorious before the Supreme Court. Their efforts ensured that the relationships of same-sex couples, including my marriage to my husband, would be seen as equal under the law. For that I am deeply and personally grateful.
John and Jim is my effort to pay tribute to the men whose love and devotion gave rise to great change, and I do so by interpolating source material from an iconic piece of traditional wedding music: Pachelbel’s Canon in D. In my youth I adored Pachelbel’s Canon, and I learned a piano arrangement of it when I was 11 years old. For months I would play the piece every morning before school, endlessly repeating its bass line while improvising melodies when the treble clef’s music ran out. Through these explorations, I discovered some basic principles of music composition, and it was through the Pachelbel that I began composing in earnest. It was also around that time that I first learned of its use in weddings, as it was the frequent soundtrack to reality TV shows chronicling the weddings of straight couples. At the time it saddened me that music I found so beautiful was emblematic of something that, according to the law, I could never have. It feels fitting then, that in the year of my own wedding to my partner of 11 years, reframing (and perhaps reclaiming) the Pachelbel should provide the inspiration for a celebration of marriage equality.
My piece is a conversation between two alternating phrases, one of which uses melodic fragments and harmonic progressions from the Canon in D as source material. In the Canon, Pachelbel establishes a single bass line and layers it with several melodies, two of which are quite iconic but never performed simultaneously in the original. I disassembled and rewrote these to work harmoniously with one another upon the arrival of the piece’s climax, which appears after several minutes of what I think of as the music finding and piecing itself together. Ultimately, I believe John and Jim sounds like both a departure and nod to the piece that first inspired me to compose. All of this takes place in a reverberant atmosphere, where notes linger and continually echo around one another, symbolic of both the persistence and impact of people like John and Jim.
John and Jim was commissioned by The Columbus Pride Bands and the Queen City Freedom Band of Cincinnati for the 2024 Pride Bands Alliance Annual Conference, where it was premiered on July 20, 2024, by Dr. Jon Norywota and the combined concert bands. Heartfelt thanks to the Pride Bands Alliance for this opportunity to tell my story and celebrate John Arthur, Jim Obergefell, and the progress that has been made in the name of love.
- Viet Cuong, composer
BIG CITY LIGHTS - DOUGLAS
Big City Lights is a piece for wind band, inspired by the hip-hop subgenre “trap music,” which finds its roots in the composer’s home town, Atlanta, Georgia. The atonal piece has an electronic accompaniment aspect as well. There are musical elements that are meant to imitate techniques which are commonly utilized during the production of music within the genre. For example, in general the timpani performs what are intended to be “808s,” while the tuba is often performing lines that would be reserved for synthesized bass; the combination creates an often utilized distortion technique.
Other production tactics travel through the ensemble as well. Certain aspects of the orchestration are imitating automation, which place sound exclusively in different spots of the ensemble (specifically on the left or right of the conductor) Sudden and gradual ensemble crescendos are dovetailing of melodies imitate low and high pass filters and volume knobs. Additionally, the piece aims to give the performers and audience a peek into a day in the life of an Atlanta resident.
The piece begins with the high-paced “It’s Lit!” section which includes fortissimo exclamations occurring throughout the ensemble, demonstrating the hustle and bustle of the famed Atlanta traffic. The traffic sounds perform a trio with the clarinets and marimba, who depict a sense of “hurry and wait” as they endure the Atlanta traffic scene. The “Issa Vibe” section is much slower and intends to depict a night out on the town with friends, enjoying the city lights and the slightly slower paced environment.
For a short period, we return to “It’s Lit!”, followed by “Chopped and Screwed,” which is a halftime recapitulation of the main themes. “Chopped and Screwed” is a famous DJ style which a song is slowed down tremendously. The piece closes out with one final return to the original marking of “It’s Lit!” Enjoy a day in the life of an “AtLien” with Big City Lights!
-
Marie A. Douglas, composer
BARNUM AND BAILEY’S FAVORITE - KING
King wrote this march for the 32-piece Barnum and Bailey Circus Band in 1913 at the request of its director, Ned Brill. King was 22 at the time and was preparing to join the band as a euphonium player. The euphonium part in this march (and in most of his other marches) shows his love for that instrument -- he liked to hear the countermelody part “romping around.” His use of the word “favorite” in the title was a good choice. In a 1980 international Music survey, Barnum and Bailey’s Favorite ranked fourth in the top 140 marches.
- “Program Notes for Band”
OF OUR NEW DAY BEGUN - THOMAS
Of Our New Day Begun was written to honor nine beautiful souls who lost their lives to a callous act of hatred and domestic terrorism on the evening of June 17, 2015, while worshiping in their beloved sanctuary, the historic Emanuel African Methodist Episcopal Church (affectionately referred to as “Mother Emanuel”) in Charleston, South Carolina. My greatest challenge in creating this work was walking the line between reverence for the victims and their families, and honoring my strong, bitter feelings towards both the perpetrator and the segments of our society that continue to create people like him. I realized that the most powerful musical expression I could offer incorporated elements from both sides of that line - embracing my pain and anger while being moved by the displays of grace and forgiveness demonstrated by the victims’ families.
Historically, black Americans have, in great number, turned to the church to find refuge and grounding in the most trying of times. Thus, the musical themes and ideas for Of Our New Day Begun are rooted in the Black American church tradition. The piece is anchored by James and John Johnson’s time-honored song, Lift Every Voice and Sing (known endearingly as the “Negro National Anthem”), and peppered with blues harmonies and melodies. Singing, stomping, and clapping are also prominent features of this work, as they have always been a mainstay of black music traditions, and the inclusion of the tambourine in these sections is a direct nod to black worship services.
This work received its premiere on February 20, 2016, at the College Band Directors National Association (CBDNA) Conference, held at The Gaillard Center in Charleston, South Carolina. Members of the Mother Emanuel AME congregation were in attendance.
- Omar Thomas, composer
UPCOMING CONCERTS
FEBRUARY
22 | Wind Works III | 2:30 PM | Long Center for the Performing Arts
Featuring Collegiate Band II, Varsity Band, and Concert Band
22 | Wind Works IV | 7:00 PM | Long Center for the Performing Arts
Featuring the Wind Ensemble
22 | Jazz Swing Dance | 6:30 PM | Marriott Hall
27 | Orchestras | 7:30 PM | Long Center for the Performing Arts
Featuring Concert Orchestra and Philharmonic Orchestra
28 | Orchestras | 7:30 PM | Long Center for the Performing Arts
Featuring University Orchestra and Symphony Orchestra
APRIL
2 | Jazz Bands | 7:30 PM | Loeb Playhouse
Featuring Purdue Jazz Band, AMRE, Concert Jazz II, and Jazz Lab II
3 | Jazz Bands | 7:30 PM | Loeb Playhouse
Featuring Tower of Power Band, Concert Jazz I, and Jazz Lab I
17 | Spring Showcase I | 7:30 PM | Elliott Hall of Music
Featuring Campus Band and Collegiate Band I
18 | Spring Showcase II | 2:30 PM | Elliott Hall of Music
Featuring Alumni Concert Band, University Band, and Collegiate Band II
18 | Spring Showcase III | 7:30 PM | Elliott Hall of Music
Featuring Varsity Band and Symphonic Band
19 | Spring Showcase IV | 2:00 PM | Elliott Hall of Music
Featuring McCutcheon HS Band, Purdue Concert Band, and Purdue Wind Ensemble
19 | Percussion Ensemble | 7:30 PM | Loeb Playhouse
21 | Chamber Recital I | 7:00 PM | St. John’s Episcopal Church
22 | Chamber Recital II | 7:00 PM | St. John’s Episcopal Church
23 | Chamber Recital III | 7:00 PM | St. John’s Episcopal Church
MAY
1 | Orchestras | 7:00 PM | Long Center for the Performing Arts
Featuring Concert Orchestra and Philharmonic Orchestra
2 | Orchestras | 7:00 PM | Long Center for the Performing Arts
Featuring University Orchestra and Symphony Orchestra
3 | Jazz on the Hill | 2:30 PM | Slayter Center of Performing Arts
Featuring all Purdue Jazz Ensembles Visit
- www.purdue.edu/bands/events
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