EXPERIENCE MUSIC THURSDAY SCHOLARSHIP SERIES
University of Georgia Wind Ensemble
Pounce
THURSDAY, NOVEMBER 16 at 7:30 p.m. HODGSON HALL
UGA PERFORMING ARTS CENTER 230 RIVER RD, ATHENS, GA
music.uga.edu | 706-542-3737
@ugamusic
THURSDAY SCHOLARSHIP SERIES PROGRAM Elytra (2022)
Paul Dooley (1983)
Pounce (2023)
Holly Harrison (1988)
Cheetah (2007)
Karel Husa (1921-2016)
Hymn to a Blue Hour (2010)
John Mackey (1973)
Marche Militaire Francaise (1880/1913)
Camille Saint-Saëns (1835 -1921) arr. Hindsley
PROGRAM NOTES
Elytra (2022) (10’35”) Paul Dooley (1983) Elytra was commissioned by the United States Navy Band, conducted by Captain Kenneth C. Collins for their 2022 Midwest Clinic performances and 2023 National Tour. “Originally I was inspired by the incredible naval aviation technology of the F/A-18F Super Hornets and F-14 Tomcats. But in my research, I discovered the equally impressive biological mechanics found in nature’s aviators like the fireflies, ladybugs, and other beetles. They possess elytra, a remarkable set of high-strength, lightweight wings that both protect the body and facilitate flight. The elytra soundscape “took flight” with muted brass clusters, pulsating augmented chords, scraped cymbals and bluesy melodies. In the dark middle section, I imagine one of our beetle friends burrowed into tree roots, before lifting off again, buzzing along close to earth at a high rate of speed.” Program note by the composer With the guidance of two musical parents, Paul Dooley began his musical career by playing in a wide range of genres from drum set and piano in rock and jazz groups to orchestral percussion. At age 12, he began studying composition and improvisation, and has since earned degrees in composition and mathematics from the University of Southern California, and master’s and doctorate degrees in composition from the University of Michigan. His compositions embrace not only his Western Classical heritage, but also a cross-cultural range of contemporary music, dance, art, technology and the interactions between the human and natural worlds. Dooley is a recipient of both the Sousa/ABA/ Ostwald Award and the William D. Revelli Prize.
PROGRAM NOTES
Pounce (2023) (12’) Holly Harrison (1988) When I first started writing Pounce, there was a trifecta of feline activity in my life: the adoption of a boisterous kitten, a visit to a wild cat conservation center, and Penrith Panthers, my local team, winning the National Rugby League premiership. While visiting the conservation center, I was amazed to learn that Caracals can jump up to four meters high! Add to that my new obsession with my Novation LaunchPad, and Pounce was born. This piece explores and imagines different types of pouncing behavior in cats and their ability to initiate spontaneous play. The opening sets the scene for stalking and predatory behavior, staying low and close to the ground and creeping up on potential prey. Program note by the composer Holly Harrison is an Australian composer from Western Sydney. Holly’s music is driven by the nonsense literature of Lewis Carroll, embracing stylistic juxtapositions, the visceral energy of rock, and whimsical humor. She was the Tasmanian Symphony Orchestra’s composer in residence from 2020-2022. Her music has been described as “exploding off the page,” full of “riotous energy, eclectic rhythmic complexity” and “inventive, witty, and invested with thrilling dynamism and momentum.” The recipient of numerous awards, including the 2017 Sue W. Chamber Music Competition Prize, Holly’s works have been performed at festivals across Australia, Canada, and the United States. A composition professor at The King’s School and Caroline Chisholm College, Holly also plays drum kit and percussion in the improvised rock duo Tabua-Harrison with Joey Tabua (electric guitar). Their debut record Scout is available on Psychopyjama.
Cheetah (2007) (5’45”) Karel Husa (1921-2016) Karel Husa describes Cheetah as “a portrait of a magnificent wild animal, now an endangered species -its colors, movements, power, speed – and finally, exhaustion after an unsuccessful chase.” The unique anatomical assets of the cheetah, particularly the spring-like spine and extraordinarily flexible shoulders and hips that enable strides of twenty feet and speeds of seventy-five mph, are evoked through a compositional framework perhaps inadvertently related to the Fibonacci sequence. This numerical series is fundamental to a vast array of structures, from the organization of petals on flowers to the dimensions of architectural masterworks. Its association with the proportions of the human body was illustrated most famously by Leonardo da Vinci’s Vitruvian Man. Program note adapted from The Wind Repertory Project Karel Husa was a Czech composer and conductor. His early musical training consisted of lessons on piano and violin, after which he studied composition and conducting at the Prague Conservatory from 1941-1945. His composition teacher was Jaroslav Řídký, and conducting teachers were Pavel Dědeček and Václav Talich. After completing studies in Prague, Husa attended the École Normale de Musique in Paris (1946-1951), where he continued to study composition with Arthur Honegger and conducting with Jean Fournet. He then continued his studies in conducting at the Paris Conservatoire with Eugène
PROGRAM NOTES Bigot. In 1954, Husa was appointed as Kappa Alpha Professor of Music at Cornell University, teaching composition, conducting, and orchestration until his retirement in 1992. Throughout his lifetime, Husa has been awarded two Guggenheim Fellowships (1964, 1965), the Pulitzer Prize (1969), the Friedheim Award of the Kennedy Center (1983) and the Grawemeyer Award (1993).
Hymn to a Blue Hour (2010) (8’15”) John Mackey (1973) The blue hour is an oft-poeticized moment of the day -- a lingering twilight that halos the sky after sundown but before complete darkness sets in. It is a time of day known for its romantic, spiritual, and ethereal connotations, and this magical moment has frequently inspired artists to attempt to capture its remarkable essence. This is the same essence that inhabits the sonic world of Hymn to a Blue Hour. Program note by Jake Wallace John Mackey has written for orchestras, theater, and extensively for dance, but the majority of his work for the past decade has been for wind ensembles, and his band catalog now receives annual performances numbering in the thousands. Recent commissions include works for the BBC Singers, the Dallas Wind Symphony, military, high school, middle school, and university bands across America and Japan, as well as concertos for Joseph Alessi (principal trombone of the New York Philharmonic) and Christopher Martin (principal trumpet of the New York Philharmonic). In 2014, he became the youngest composer ever inducted into the American Bandmasters Association. In 2018, he received the Wladimir & Rhoda Lakond Award from the American Academy of Arts and Letters. He resides in San Francisco, California, with his spouse, a philosopher who works on the ethics of technology and titles all of his pieces, and their cats, Noodle and Bloop.
Marche Militaire Francaise (1880/1913) (4’40”) Camille Saint-Saëns (1835 -1921), arr. Hindsley March Militaire Française is the finale of a four-movement symphonic poem, Suite Algérienne, inspired by Saint-Saëns’s trips to Algeria. Although no Algerian music was quoted in the composition, Saint-Saëns drew inspiration from the musical styles of native Algerian culture. The march has been popular independent from the other movements, and is often performed both by orchestras and wind bands. Camille Saint-Saëns was a French composer, organist, and conductor of the Romantic era. Some of his best-known works include Danse Macabre (1874), his Third (“Organ”) Symphony (1886), and The Carnival of the Animals (1886). While he was enthusiastic for modern works of his day, his own compositions followed more conventional classical tradition, and he was greatly influenced by the works of Schumann, Liszt, and Wagner. The lineage of his composition students includes Gabriel Fauré and Maurice Ravel, who were both largely influenced by Saint-Saëns and regarded him as a genius.
ARTISTIC TEAM BIOGRAPHIES Nicholas Enrico Williams is a Professor of Music and serves as the Director of Bands at the University of Georgia, where he coordinates one of the country’s largest and most comprehensive university band programs, conducts the University of Georgia Wind Ensemble, and oversees the graduate wind band conducting area. Prior to his time in Athens, he was the Director of Wind Bands at the University of Melbourne Conservatorium of Music (Melbourne, Australia). Before venturing to Australia, Dr. Williams flourished for sixteen years as the Assistant Director of Wind Studies, the Conductor of the Wind Ensemble, Brass Band, and Concert Band, as well as the Director of Athletic Bands at the University of North Texas. For a decade, he was the Conductor of the Greater Dallas Youth Orchestra Wind Symphony and continues to be a frequent guest conductor of the Dallas Winds (formerly Dallas Wind Symphony), one of America’s few professional civic wind bands. Professor Williams earned the Bachelor of Music (music education), MM (performance-conducting), and DMA (conducting) degrees from the University of North Texas. As an advocate of chamber music, Professor Williams was the founder and conductor of the East Plano Brass and was the principal guest conductor for the Harmoniemusik chamber ensemble. In the wind band world, he has been a guest conductor with the United States Navy Band; World Youth Wind Symphony at the Interlochen Arts Camp; United States Army Field Band; Royal Australian Defence Force Bands; United States Air Force Band; Dallas Winds; Lone Star Wind Orchestra; at the annual Midwest International Band and Orchestra Clinic in Chicago, Illinois; the College Band Directors National Association national and regional conferences; the Texas Bandmasters Association Convention; and the Texas Music Educators Association Annual Clinic/Convention in San Antonio, Texas. Dr. Williams is active in Australia, Canada, Europe, Southeast Asia, and the United States as a conductor, clinician, adjudicator, consultant, and arranger; his arrangements and transcriptions for wind band, percussion ensembles, drum corps, and school pageantry ensembles are performed by outstanding organizations throughout the world. A member of the Recording Academy (GRAMMYs), he is a sought-after recording session producer, associate producer, editor, and conductor, having been involved with numerous CDs and DVDs on the Klavier, Mark Records, and GIA labels.
UNIVERSITY OF GEORGIA WIND ENSEMBLE Nicholas Enrico Williams, conductor FLUTE Heesoo Jeong Rachel Lee
SAXOPHONE Addison Aycock Michael Chapa
David Ma Yinzi Zhou
Brennan Sweet Jon Erik Tripp
OBOE Marissa Ankeny Michelle Moeller Gracee Myers
TRUMPET Toby Johnson Jake Landau Victor Pires Ben Stocksdale James Vaughn Ramon Zamudio
ENGLISH HORN Xander Herman CLARINET Tan Charintranont Sarah Frois Ryan Hanling Elise Larson Allyson McKoon Daniel Park Sophie Ray Ian Robinson Taylor Spires BASS CLARINET Duncan Jourdan Ian Robinson BASSOON Hsin Cheng J.T. Holdbrooks
HORN ^Emma Barnstead ^Dawson Burnes Gracie Gambrell Joseph Johnson Anthony Parrish Sam Wells
TUBA Hunter Kane Jack Neja STRING BASS Michael Farrick PERCUSSION Rubianne Fraelle Thomas Huff Jackson Riffle Mackenzie Roquemore Patrick Sorah Alec Yeung PIANO Daijing Ren HARP Evelyn Raphael
TROMBONE Danny Alford Eli Boudreaux Ben Novo BASS TROMBONE Elizabeth Toles EUPHONIUM Tianxiang Gu Susana Rivas
CONTRABASSOON Yamilet Anariba
*Members of the University of Georgia Wind Ensemble are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors. ^Graduating member appearing in their final ensemble performance with UGA Bands
UNIVERSITY OF GEORGIA BANDS Nicholas Enrico Williams Jaclyn Hartenberger Brett Bawcum Michael C. Robinson Rob Akridge Mia Athanas R. Scott Mullen Jeremy Smith Gilbert Villagrana Caroline Wright Anthony Morris Michael Chapa Joseph Johnson Michelle Moeller Rocky Raffle
Director of Bands Associate Director of Bands Assistant Director of Bands/Director of Athletic Bands Professor/Conductor of Symphonic Band Assistant Director of Athletic Bands/Band Festivals Director Assistant Director of Athletic Bands Doctoral Conducting Associate Doctoral Conducting Associate Doctoral Conducting Associate Doctoral Conducting Associate Master’s Conducting Associate Athletic Bands Graduate Assistant Graduate Assistant Graduate Assistant Large Ensemble Office Manager
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INSTRUMENTAL FACULTY Angela Jones-Reus Reid Messich Amy Pollard D. Ray McClellan Brandon Quarles Phil Smith Brandon Craswell Jean Martin-Williams
Flute Oboe Bassoon Clarinet Saxophone Trumpet Trumpet Horn
James Naigus Joshua Bynum Matthew Shipes Timothy K. Adams, Jr. Kimberly Toscano Adams Milton Masciadri Monica Hargrave Liza Stepanova
Horn Trombone Euphonium/Tuba Percussion Percussion Double Bass Harp Piano
HUGH HODGSON SCHOOL OF MUSIC Peter J. Jutras Adrian P. Childs Brandon Craswell Amy Pollard Edith Hollander James Sewell Shaun Baer Paul Griffith Eric Dluzniewski Scott Higgins Tony Graves Dan Phipps
Director Associate Director for Graduate Studies Associate Director for Undergraduate Studies Associate Director for Performance Assistant to the Director Production and Events Manager Director of Public Relations Academic Professional, Sound Recording Academic Professional, Sound Recording Lead Piano Technician Piano Technician Sectioning Officer
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