MUSIC 26|27
University of Georgia
WIND ENSEMBLE NICHOLAS ENRICO WILLIAMS, conductor JACK A. EADDY, JR., guest conductor JORDAN M. FANSLER, doctoral conducting associate
PAUL HINDEMITH The Swan Turner plus:
RYAN LINDVEIT
Brilliant Brushstrokes
KATAHJ COPLEY Amerykahn Graffiti
with
MAGGIE SNYDER
viola
THURSDAY, SEPTEMBER 17 at 7:30 p.m. HODGSON CONCERT HALL
UGA PERFORMING ARTS CENTER, 230 RIVER ROAD, ATHENS, GA
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MUSIC 26|27
PAUL HINDEMITH
The Swan Turner
University of Georgia Wind Ensemble
Thursday, September 17
Nicholas Enrico Williams, Conductor
at 7:30 p.m.
Maggie Snyder, Viola
Hodgson Concert Hall
Jack A. Eaddy, Jr., Guest Conductor
UGA Performing Arts Center
Jordan M. Fansler, Doctoral Conducting Associate
PROGRAM Brilliant Brushstrokes
Ryan Lindveit
A Grainger Suite Percy Aldridge Grainger I. Six Dukes Went A-Fishing ed. R. Mark Rogers II. Early One Morning III. Molly on the Shore Jordan M. Fansler, doctoral conducting associate Lullaby for Coda
Catherine Likhuta Jack A. Eaddy Jr., guest conductor Preview Performance
Amerykahn Graffiti I. Gothika III. Playa’s Garden IV. Sarah, Sephonia, Sweet Thing, & Peaches X. Soulstice
Katahj Copley
Intermission Der Schwanendreher Paul Hindemith I. Zwischen Berg und tiefem Tal (Between Mountain and Deep Valley) II. Nun laube, Lindlein, laube! (Now Grow, Little Linden Tree, Grow) III. Variationen “Seid ihr nicht der Schwanendreher?” (Variations on the Folk Song “Are You Not the Swan Turner?”) Maggie Snyder, viola
PERFORMANCE NOTES
Brilliant Brushstrokes (6’00”) [2025] Ryan Lindveit (b. 1994) Brilliant Brushstrokes is inspired by an overwhelmingly colorful and bold painting that the Knoxville-born artist Beauford Delaney (1901-1979) painted on a fragment of his old raincoat when he was living in Paris in 1954. Delaney’s raincoat fragment overflows abstractly with swirls, rings, splotches, and lines of forest green, deep orange, bright yellow, fire-engine red, hazy gray, spacious white, peaceful azure, and deep ocean blue. Upon closer viewing, the seams and pockets of the cut-up raincoat are also visible, revealing that the fanciful artwork is the result of Delaney’s resourcefulness in the face of limited money and art supplies. Although Brilliant Brushstrokes is tightly constructed around only a few melodic gestures, the music constantly cycles through changes in instrumental texture, density, harmony, and energy. Musical phrases are often cut off abruptly with a quick down-up gesture that I view as related to the stitched seams on the raincoat. - Program Note by composer Ryan Lindveit is an American composer, conductor, and music educator. Lindveit’s music has been performed across the United States and abroad by Alarm Will Sound, “The President’s Own” United States Marine Band, the American Composers Orchestra, the Aspen Contemporary Ensemble, the Aspen Conducting Academy Orchestra, Orkest de Ereprijs, USC Thornton Symphony, USC Thornton Wind Ensemble, Donald Sinta Quartet (saxophone quartet), FearNoMusic (string quartet), and the City of Tomorrow (wind quintet), among others. His work has received recognition from BMI, ASCAP, SCI, the American Modern Ensemble, the National Band Association, Tribeca New Music, and the Texas Music Educators Association. Ryan also won both the New Music for Orchestra and New Music for Wind Ensemble competitions at the University of Southern California. He has held fellowships or residencies at the Aspen Music Festival, Mizzou International Composers Festival, ACO Underwood New Music Readings, Red Note New Music Festival, the International Young Composers Meeting (Apeldoorn, NL), Oregon Bach Festival Composers Symposium, and California Summer Music.
A Grainger Suite (8’00”) [1907/1912/1950/1998 ] Percy Aldridge Grainger (1882-1961) ed. R. Mark Rogers Percy Aldridge Grainger collected the folk song “Six Dukes Went A-Fishing” from the singing of George Gould Thorpe, during his first trip to Lincolnshire in 1905. This text
relates the story of six dukes on a fishing party who found the body of another duke (who had disappeared) floating in the sea. This transcription follows the setting for voice and piano which Grainger completed in 1912. The music is poignant, tender - yet full of pathos and deep feeling. Grainger began this setting of “Early One Morning” in 1901, but did not complete it until 1939-40, when he made three different scorings. In 1950, he made yet another version, which differs in several respects from the earlier ones. This band transcription uses the 1950 version as its basis. - Program Note by Joe Kreines In setting Molly on the Shore I strove to imbue the accompanying parts that made up the harmonic texture with a melodic character not too unlike that of the underlying reel tune. Melody seems to me to provide music with initiative, whereas rhythm appears to me to exert an enslaving influence. For that reason I have tried to avoid regular rhythmic domination in my music -- always excepting irregular rhythms, such as those of Gregorian chant, which seem to me to make for freedom. Equally with melody, I prize discordant harmony, because of the emotional and compassionate sway it exerts. - Program Note by composer Percy Aldridge Grainger was an Australian-born composer, pianist, and champion of the saxophone and the concert band. By the time he was twelve, Grainger was appearing in public recitals and studying piano with Louis Pabst. In 1895, he was persuaded to go to Germany and study at the conservatory in Frankfurt, where he remained for four years. He settled in England in 1901 as a concert pianist, and had considerable success as a touring virtuoso. Through his developing contacts, Grainger became interested in folk music and spent a good deal of time during the years of 1906-09 collecting folk-songs throughout the English countryside. He also met and played for Edvard Grieg, who was deeply impressed with his talent and encouraged his interest in folk music collecting. In 1914, Grainger left England and settled in New York, giving numerous recitals and continuing to compose before joining the army as a bandsman in 1917.
Lullaby for Coda (4:00) [2026] Catherine Likhuta (b. 1981) This piece began as a piano improvisation - a gift - after the 2025 passing of Coda, Nicholas Williams’s almost ten year old chocolate labrador dog. After hearing about Coda’s sudden death, the Lullaby for Coda was sent to Williams as a gift and a way to remember Coda, whom the composer
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met in 2024. This wind ensemble version was created at the request of Williams and the final version will be premiered at the Midwest Clinic in Chicago on December 17, 2026.
Catherine Likhuta is an Australian-based composer, pianist, and recording artist. Her music exhibits high emotional charge, programmatic nature, and rhythmic complexity. Catherine’s works have been performed throughout North America, Europe and Australia by many prominent soloists and ensembles, such as Paul Dean, Peter Luff, The Australian Voices, U.S. Army Field Band Horns, Cornell University Wind Ensemble and Wind Symphony, Queensland Conservatorium Wind Orchestra, and the Orchestra of the National Radio of Ukraine. Her pieces have been played at several international events, including two international horn symposia and the World Saxophone Congress. - Program Note by Nicholas Williams and composer
Amerykahn Graffiti (17:00) [2026] Katahj Copley (b. 1998) Graffiti has long stood at the crossroads of controversy and creativity. For some it is a sign of failure. A forecast of urban decay. But for others it is the truth—unfiltered, unapproved, and unbought. What others feared was the brilliance in the chaos, the power in color that never asked for permission to exist. Graffiti is not vandalism. It’s a conversation. It’s an expression. It’s a voice that refuses to be silent. For the artists, instead of being in society’s frame by being held within museums, they built their own—on trains, on walls, on canvases people tried to forget. Amerykahn Graffiti is an homage to that gallery. It is the canvas. It is a sonic offering. A reimagining of Mussorgsky’s Pictures at an Exhibition, painted in sound and soul, it is a journey through the Black experience— our joy, our wounds, our beauty, our rage. Each movement is a mural. Each sound, a heartbeat. Each note, a stitch in a story quilt. It moves through the sounds once called “noise” — hiphop, gospel, funk, jazz, and other black music—sounds born in basements, communities and backstreets, now cornerstones in music creation. Like graffiti, these sounds were ridiculed,
erased, and feared. But they endured. They transformed. They became the soundtrack of the human soul. Georgia native, Katahj Copley premiered his first work, Spectra, in 2017 and hasn’t stopped composing. As of now, Katahj has written over 100 works, including pieces
for chamber ensembles, wind ensembles, and orchestra. His compositions have been performed and commissioned by the Cavaliers Brass, California Band Director Association, Admiral Launch Duo, and “The President’s Own” United States Marine Band. Katahj has also received critical acclaim internationally with pieces being performed in Canada, the United Kingdom, Japan, China, and Australia. Katahj received two Bachelor of Music degrees from the University of West Georgia in Music Education and Composition in 2021. In 2023, he received his Masters in Music Composition from the University of Texas at Austin - studying with Omar Thomas and Yevgeniy Sharlat. He has recently completed his Doctor of Musical Arts Degree in Composition from Michigan State University. - Program Note by composer
Der Schwanendreher (28:00) [1935] Paul Hindemith (1895-1963) Der Schwandendreher (The Swan Turner) is a concerto for viola that occupies a place at the core of the viola concerto repertoire, along with the concertos by Walton and Bartók. The piece was composed in 1935 and premiered by the composer himself at a performance in Amsterdam in 1935. Each movement is based on a separate medieval German folk song; thus, it is sometimes referred to as the “Concerto from Old Folk Songs.” This composition draws its title from the final movement’s folk song base, Aren’t you the swan turner?. The original context of ‘swan turner’ in medieval times is that of a cook’s assistant who would turn the handle of a spit on which swans were roasting. Der Schwandendreher programmatically depicts a wandering medieval minstrel or organ grinder. This traveling musician plays an instrument such as the hurdy-gurdy, adding elaborate embellishments and rhapsodies to folk tunes. Because the instrument features a crank handle shaped like a swan’s neck, the “swan turner” is the musician turning the handle - an interpretation explicitly confirmed by the composer in the preface notes. Paul Hindemith was a German composer and educator. Hindemith studied conducting, composing, and violin with Arnold Mendelssohn and Bernhard Sekles at the Hoch Conservatory, supporting himself by playing in dance bands and musicalcomedy troupes. From 1915 until 1923 he was the
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concertmaster of the Frankfurt Opera Orchestra, and in 1929 he founded the Amar Quartet, playing viola. He was instrumental in organizing the Donaueschingen Festival, a new music festival that takes place every October in the small German town. The Donaueschingen Festival is the oldest festival for new music in the world. In the fifth year of the festival, Hindemith commissioned composers to write new works for winds, resulting in several ground-breaking compositions (amongst them Hindemith’s own Konzertmusik fur Blasorchester, Opus 41, Křenek’s Drei Lustige Märsche, and Toch’s Spiel für Blasorchester). Hindemith emigrated to the United States from Germany in 1940 and held teaching positions at Harvard and Yale Universities, becoming an American citizen in 1946. After World War II Hindemith relocated to Europe, taking a position at the University of Zurich. - Program Note by WindRep.org
MEET THE ARTISTS
Maggie Snyder viola Nicholas Enrico Williams conductor
Jack A. Eaddy, Jr. guest conductor
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, 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 has been a guest conductor with the Opole (Poland) Philharmonic Orchestra; the United States Army Band “Pershing’s Own”; United States Navy Band; United States Army Field Band; United States Air Force Band; Royal Australian Defence Force Bands; World Youth Wind Symphony at the Interlochen Arts Camp; 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. Williams is active in Australia, Canada, South America, Europe, 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, as well as UNT and UGA projects, including the 2024 release of “Never a Reason to Stop” by the University of Georgia Wind Ensemble, and the 2019 release of “FIESTAS” by the University of North Texas Wind Ensemble. In addition to his work in the recording arts, he has written several conductor study guides published in the multivolume series of Teaching Music Through Performance in Band. He was a primary consultant of the book Women of Influence in Contemporary Music and is an honorary member of Sigma Alpha Iota International Music Fraternity for women. His professional affiliations include the Georgia Music Educators Association, Australian Band and Orchestra Directors Association, Texas Music Educators Association, Texas Bandmasters Association, College Band Directors National Association, Phi Mu Alpha Sinfonia, and Phi Beta Mu, an international bandmasters fraternity.
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Violist Maggie Snyder is the Meigs Distinguished Teaching Professor of Viola at the University of Georgia, Principal Violist of the Chamber Orchestra of New York, with whom she records for Naxos, and is on the Artist-Faculty of the Brevard Music Festival. She has performed solo recitals, chamber music, concertos and as an orchestral musician throughout the United States and abroad in such halls as the Kennedy and Kauffman Centers, all three Carnegie Halls, Merkin Hall, Spivey Hall, and the Seoul Arts Center, and in the UK, Greece, Korea, and Russia. She was a semi-finalist of the 2001 Primrose International Viola Competition, made her recital debut in Weill Recital Hall at Carnegie Hall with her sister duo, Allemagnetti in 2009, and has released 5 solo recordings since 2013 on the Arabesque Label and an additional collaborative album on Parma. Most recently, she performed the opening selection on Peter Van Zant Lane’s recording Axils (Neuma)- an electroacoustic work for viola called Decalcomanie 2. All of her solo recordings feature world premiere works commissioned including works by Thomas Pasatieri, Garrett Byrnes, Kamran Ince, Libby Larsen, Gabriela Lena Frank, and Gity Razaz. Her newest recording (Women’s Work for Viola: Sounds of Discovery, released in 2025) features commissioned works by Mary Kouyoumdjian, Tessa Lark, and Sakori Dixon Vanderveer and historical works by Ruth Gipps, Kalitha Dorothy Fox, and Rebecca Clarke. That album was shortlisted for the GRAMMY nomination process in fall 2025. She has given masterclasses, clinics, and performances at universities and music schools throughout the country and abroad and has served on the faculties of West Virginia University, Ohio University, and the University of Alabama. She was the recipient of the 2018 University of Georgia’s Creative Research Medal in the Humanities and Arts, a 2023 UGA Sandy Beaver Teaching award winner, and one of three UGA professors in 2025 to receive the lifetime title of Meigs Distinguished Teaching Professor, UGA’s top honor for teaching. In October 2026, she was named the second prize winner of the Ernst Bacon Award for the Performance of American Music by the American Prize.
Jack A. Eaddy, Jr., a native of Orangeburg, SC, is the Associate Director of Bands at the University of Georgia, where he conducts the Wind Symphony and teaches undergraduate conducting in the Hugh Hodgson School of Music. Prior to his appointment at UGA, Eaddy served as Director of Athletic Bands at Western Carolina University, Assistant Director of Bands at McNeese State University and the University of South Carolina, where he assisted with athletic bands, including the award-winning, Pride of the Mountains Marching Band, Pride of McNeese Marching Band and the Carolina Band, as well as taught music education courses. Eaddy earned the Doctor of Musical Arts in Wind Conducting from the University of North Texas. He holds a Master of Music in Wind Conducting from the University of Georgia, and a Bachelor of Music Education degree from Florida State University. As Director of Bands at Oak Ridge High School, Eaddy developed a flourishing program that was recognized throughout the state of Florida for maintaining the highest standards in spite of the challenges that many of its students experienced. Eaddy received the Florida Music Educators Association Tom Bishop Award that recognizes a director in the state of Florida who has turned a program around, making a positive difference in a short amount of time. As a conductor, some of his honors include winning the 2025 American Prize in Conducting—band/wind ensemble (college/university division), and being a selected participant in the U.S. Pershing’s Own Army Band’s conducting workshop. Eaddy has earned a national reputation as a mentor to music educators and is the founder of Listen Up!!!, a professional development seminar dedicated to strengthening music education programs in urban communities and supporting the professional growth of band directors. Eaddy is a 2022 GRAMMY Music Educator of the Year finalist. Jordan M. Fansler is a conductor and music educator, pursuing a Doctor of Musical Arts at the University of Georgia. Fansler is a Doctoral Conducting Associate for UGA Bands, serving duties with the Wind Ensemble, Wind Symphony, Symphonic Band, University Band and the Redcoat Marching Band. He is a recipient of the University of Georgia Presidential Graduate Fellowship. Prior to UGA, Jordan was a Graduate Assistant at Oklahoma State University in Stillwater, Oklahoma. He was previously Director of Bands at Harold L. Richards High School in Oak Lawn, Illinois. Fansler earned his B.M.E. from the University of Illinois at Urbana-Champaign, and holds a M.M. in Wind Conducting from Oklahoma State University.
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He considers his main musical influences Nicholas Enrico Williams, Bradley Genevro, Mike Fansler, Jack A. Eaddy Jr., Michael C. Robinson, Steve Peterson, Beth Peterson, and Professor Barry Houser. His professional affiliations include the National Association for Music Education, Phi Mu Alpha Sinfonia, and Kappa Kappa Psi National Honorary Band Fraternity.
Nicholas Enrico Williams conducts the University of Georgia Wind Ensemble with special guest UGA music faculty Angela Jones-Reus, flute on April 16, 2026. Photo by Shaun Baer.
WIND ENSEMBLE University of Georgia
PERSONNEL
Nicholas Enrico Williams, Conductor
PICCOLO Jadyn Hairston FLUTE Kimberly Bateman Emily Elmore Jadyn Hairston Blair Redlinger Zoe Stewart
CLARINET Noah An
HORN Daniel Alford
EUPHONIUM
Ryan Hanling
Ava DeFilippo
Eleanor Love
Jonah Hammett
Andrew Haynes
Jonathan Mack
Riley Kuhlken
Yash Mahadkar
Wendy Menard
Zach Nguyen
Joshua Wood
Charlie Pratt
TRUMPET Cameran Butryn
CELLO
Toby Johnson
Ryan Dater
Colin Kennedy
Zachary Helms
Emily Shi Ruiwen Su
OBOE Ashlyn Long
Natalia Thorpe
Brenna Sexton
Benjamin Yun
Caleb Weber
ENGLISH HORN Ashlyn Long
Jack Rozza
BASSOON Tarryn Goldner
Antonio Urias
Zachary Howell Daniel Johnson SAXOPHONE Julien Berger John Casey Matheson Carlos Ponce Vargas Yun Qu Tan Josh White
TUBA Jacob Norris
Yeongkwang Choi
Marie Plouffe
Emma Walters Amanda Withrow
Alex Aull
TROMBONE Sean Helms
STRING BASS Peyton Lightcap Antonio Mamedio
Juwan Murphy
PERCUSSION Jakalin Bryant
Matthew Quach
Thomas Huff
BASS TROMBONE Victor Cruz Trip Drennan
Parker Johnson Carrington Lauck David MacPherson Rachel Martin Eva Panagou Dane Warren Caleb Weber
Members of the University of Georgia Wind Ensemble are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors. Doctoral Conducting Associates Jordan M. Fansler, Maria Flowers, JaQuan O. Wiley, Derik J. Wright Graduate Assistants Shengyu Cui, Ruiwen Su, Jazmyn Trujillo, Carlos Ponce Vargas Athletic Bands Graduate Assistant David MacPherson
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HUGH HODGSON SCHOOL OF MUSIC FACULTY
Felix Olschofka, Director Brandon Craswell, Associate Director, Director of Undergraduate Studies Emily Gertsch, Associate Director, Director of Graduate Studies Amy Pollard, Associate Director, Director of Performance Activities PERFORMANCE FACULTY Josh Bynum Brandon Craswell Jean Martin-Williams James Naigus *Matthew Shipes Gilbert Villagrana
trombone trumpet horn horn tuba/euphonium trumpet
Kimberly Toscano Adams * Timothy Adams
percussion percussion
John Coble Scott Cuellar Damon Denton * Grace Huang Emely Phelps Greg Satterthwaite Anatoly Sheludyakov James Weidman Alan Woo
organ piano piano piano piano piano piano piano piano
Levon Ambartsumian Shakhida Azimkhodjaeva Karen Bergmann Daniel Bolshoy Michael Heald James Kim Edward Kreitman * Milton Masciadri Maggie Snyder
violin violin strings guitar violin cello Suziki double bass viola
Gregory Broughton Jay Ivey Elizabeth Knight *Amy Petrongelli Anne Slovin
voice voice voice voice voice
* Angela Jones-Reus D. Ray McClellan Reid Messich Amy Pollard Brandon Quarles
flute clarinet oboe bassoon saxophone
BANDS Mia Athanas Brett Bawcum Jack A. Eaddy, Jr. Marcus Morris * Nicholas Enrico Williams CHOIRS * Daniel Bara Gregory Broughton Colin Mann Daniel Shafer COMMUNITY MUSIC SCHOOL & SUMMER CAMPS Stephen Fischer COMPOSITION & THEORY Adrian Childs Emily Gertsch *Emily Koh Peter Lane Dickie Lee Trinity Vélez-Justo Morgan Weeks CONDUCTING STUDIES Daniel Bara Brett Bawcum Mark Cedel Jack Eaddy Colin Mann *Nicholas Williams JAZZ STUDIES David D’Angelo Gregory Satterthwaite James Weidman
MUSIC EDUCATION *Rebecca Atkins Alison Farley Tyler Goehring Roy Legette Kristen Lynch Michael Robinson Johanna Royo Brian Wesolowski MUSIC THERAPY *Ellyn Evans Sally Ann Nichols Jenny Stull MUSICOLOGY & ETHNOMUSICOLOGY Karen Bergmann * Naomi Graber David Haas Jared Holton Jean Kidula Eleanor Price Rumya Putcha Joanna Smolko OPERA * Daniel Ellis Andrew Voelker ORCHESTRA * Mark Cedel RECORDING & STREAMING Eric Dluzniewski Jamie Tagg
*Area Chair
HUGH HODGSON SCHOOL OF MUSIC STAFF Susan McClure, Administrative Assistant to the Director
Shaun Baer Levi Dean Elizabeth Durusau Heather Gozdan-Bynum Scott Higgins Kathleen Powell Rocky Raffle James Sewell Jared Tubbs Marshall Williams Emma Wolfarth
Director of Public Relations Development Associate Music Library Manager Undergraduate Academic Advisor Senior Piano Technician Graduate Program Administrator Administrative Associate in Bands Production & Events Manager Sectioning Officer Director of Admissions Piano Technician
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MUSIC 26|27
FREE PERFORMANCE FACULTY RECITAL
GEORGIA WIND QUINTET MONDAY, SEPTEMBER 21 at 7:30 p.m. Ramsey Concert Hall Works by Claude Arrieu, Ferenc Farkas, Paul Hindemith, and Theodor Blumer.
FREE PERFORMANCE THREE ENSEMBLES PERFORM FRIDAY, SEPTEMBER 23
REPERTORY SINGERS
3:30 p.m. in Ramsey Concert Hall
WIND SYMPHONY & SYMPHONIC BAND
7:30 p.m. in Hodgson Concert Hall
FEATURED PERFORMANCE
PIANO EXTRAVAGANZA with Five Pianos
$20 - Adults $3 UGA students plus $3 transaction fee
music.uga.edu 706-542-4400
TUESDAY, SEPTEMBER 29 at 7:30 p.m. Hodgson Concert Hall Hear pianistic fireworks featuring our piano area faculty and students. With five pianos on stage as well as multiple performers sharing the same piano, you are in for a treat!
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