UPCOMING EVENTS

Sunday, October 15 at 7:30 p.m.: Octubafest Haas Center for Performing Arts, Sherman VanSolkema Recital Hall, Allendale Campus Wednesday, October 18 at 7:30 p.m.: Concert Band Concert - Evoking a Saturday Night at the Park Band Shell Haas Center for Performing Arts, Louis Armstrong Theatre, Allendale Campus Friday & Saturday, October 20 - 21 @ 7:30 p.m.: A Kurt Weill Cabaret, Betty Van Andel Opera Center, 1320 E. Fulton St., Grand Rapids To purchase tickets, call the Opera Center, (616) 451-2741. Sunday, October 22 @ 2:00 p.m.: A Kurt Weill Cabaret, Betty Van Andel Opera Center, 1320 E. Fulton St., Grand Rapids To purchase tickets, call the Opera Center, (616) 451-2741. Wednesday, October 25 at Noon: Arts at Noon Möller-Fraticelli Guitar Duo, Cook-DeWitt Center, Allendale Campus Wednesday, October 25 at 7:30 p.m.: University Arts Chorale and Cantate Chamber Ensemble , Cook-DeWitt Center, Allendale Campus Friday, October 27 at 7:30 p.m.: New Music Ensemble Fall Concert Haas Center for Performing Arts, Louis Armstrong Theatre

Find us on social media! Facebook, Twitter, Instagram, Snapchat @gvsumtd

Learn more about GVSU Music, Theatre, and Dance at www.gvsu.edu/mtd

The use of cameras, video cameras, or recording devices is strictly

Prohibited.

Please remember to turn off your cell phone.

Symphonic Wind Ensemble

Kevin Tutt, conductor

Saturday, October 14

7:30 PM Louis Armstrong Theatre

Thomas J. and Marcia J. Haas Center for the Performing Arts

Flourish for Wind Band (1939) Ralph Vaughan Williams (1872-1958) Hammersmith (1930) Gustav Holst (1874-1934) Nothing Gold Can Stay (2016) Steven Bryant (b. 1972) Apotheosis (2013) Ashlee Busch (b. 1986)

INTERMISSION Angels in the Architecture (2008) Frank Ticheli (b. 1958)

Caitlin Cusack, soprano solo Suite of Old American Dances (1949) Robert Russell Bennett (1894-1980) Cakewalk

Schottische Western One-Step Wallflower Waltz Rag

PROGRAM

Suite of Old American Dances

Robert Russell Bennett was born in Kansas City Missouri. He began music studies at an early age and by age 22 had moved to New York. He was immensely popular as an orches-trator and was credited with orchestrating more than 200 shows including works by com-posers such as Irving Berlin, George Gershwin, Vincent Youmans, Jerome Kern, Cole Porter, Richard Rogers and Frederick Loewe. He earned an Academy Award for his work and became known as the “Dean of American Arrangers”.

Despite his busy orchestration schedule, he found time to compose a significant number of works. Although the compositional practice at the time was to compose more non-tonal works, he preferred to write tonal music. His interest in the modern concert band came after hearing a concert in honor of Edwin Franko Goldman’s 70th birthday. After hearing the concert, Bennett remarked: “I suddenly thought of all the beautiful sounds the Ameri-can concert band could make that it hadn’t made yet. The sounds they made were so new to me after all my years with orchestra, dance bands, and tiny “combos”, that my pen was practically jumping out of my pocket begging me to give this great big instrument some-thing to play.” From that inspiration, Bennett penned Suite of Old American Dances.

The original title of the piece was Electric Park and represented a Kansas City amusement park and popular dance hall that Bennett knew from his childhood. The five movements of the composition represent the popular dances of the day and was the source of the title later supplied by the publisher.

Angels in the Architecture (notes from the score)

Angels in the Architecture was commissioned by Kingsway International, and received

its premiere performance at the Sydney Opera House on July 6, 2008 by a massed

band of young musicians from Australia and the United States, conducted by

Matthew George. The work unfolds as a dramatic conflict between the two extremes

of human existence — one divine, the other evil.

The work’s title is inspired by the Sydney Opera House itself, with its halo-shaped

acoustical ornaments hanging directly above the performance stage.

Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of Light

I have soared from above

I am cloth’d with Mother’s love. I have come, I have come,

To protect my chosen band

And lead them to the promised land.

This “angel” — represented by the singer—frames the work, surrounding it with a

protective wall of light and establishing the divine. Other representations of light —

played by instruments rather than sung—include a traditional Hebrew song of peace

(“Hevenu Shalom Aleichem”) and the well-known 16th-century Genevan Psalter,

“Old Hundredth.” These three borrowed songs, despite their varied religious origins, are meant to transcend any one religion, representing the more universal human

ideals of peace, hope, and love. An original chorale, appearing twice in the work,

represents my own personal expression of these aspirations.

In opposition, turbulent, fast-paced music appears as a symbol of darkness, death,

and spiritual doubt. Twice during the musical drama, these shadows sneak in almost

unnoticeably, slowly obscuring, and eventually obliterating the light altogether.

Darkness prevails for long stretches of time, but the light always returns, inextin-

guishable, more powerful than before. Alternation of these opposing forces creates,

in effect, a kind of five-part rondo form (light — darkness — light — darkness —

light).

Just as Charles Ives did more than a century ago, Angels in the Architecture poses the

un- answered question of existence. It ends as it began: the angel reappears singing

the same comforting words. But deep below, a final shadow reappears — distantly,

ominously.

Piccolo Hannah Petersen

Flute Candice Rohn*

Anna Vander Boon

Hannah Petersen

Abbey Trach

Mitchell Schaekel

Melissa Machusko

Alto Flute Kara Willyard

Oboe Lauren Glomb*

Olivia Martin

Emily Walker

English Horn Olivia Martin

Bassoon Benjamin Pummell*

Isabella Purosky

Eb Clarinet Jacob Bleeker

Clarinet Bryce Kyle*

Amy Zuidema

Jacob Bleeker

Alex Alcorn

Katie VanOort

Ryan Schmidt

Jennifer Soles

Courtney Allen

Alexa Villaron

Bass Clarinet Trevor Spitzley

Claire Salinas

Alto Saxophone Andrew Peters*

Darwin McMurray

Michael Jasman

John Breitenbach

Tenor Saxophone Anna Petrenko

Baritone Saxophone Derek Storey

Trumpet Erin Ray*

Ethan Lonsway

Justin Schreier

Shawn Nichols

Skye Hayes

Amy David

Horn Reed Fitzpatrick*

Timothy Lester

Eric Pasma

Erica Lumsden

Julius Beller

Trombone Elizabeth Miller*

Johnathan Tesner

Caleb Marshall

Bass Trombone Zachary Stout

Euphonium Rick Maycroft*

Nicholas Hudgins

Tuba

Matt Langlois*

Drew Moles

Guerry Love II

Percussion

Jacob Theisen*

David Hempstead

Liam Martin

Andrew Witter

Jaden McCallum

James Cortright

Keyboards Reese Rehkopf

Bass Weston Bernath

Press Officer Amy Zuidema

Applied Instrumental Faculty Richard Britsch, Horn

Arthur Campbell, Clarinet

Paul Carlson, Tuba &

Euhonium

Sookkyung Cho, Piano

Tim Froncek, Percussion

Dan Graser, Saxophone

Christopher Kantner, Flute

Helen Marlais, Piano

Victoria Olson, Bassoon

Gregrey Secor, Percussion

Marlen Vavrikova, Oboe

Mark Williams, Trombone

Alex Wilson, Trumpet * principal

PERSONNEL

PROGRAM NOTES

Hammersmith

Gustav Holst, one of England's most prominent composers, was also a professional

trombonist and a teacher of composition and organ. His music includes operas,

ballets, symphonies, chamber music, and songs. During the first World War, he was

placed in command of all English Army Bands, organizing music among the troops

under the Y.M.C.A. Army and Education program. He continued his teaching as

musical director at the St. Paul's Girls' School in the Hammersmith borough of

London. His First Suite in E-Flat, Second Suite in F, and Hammersmith are hallmarks in

the repertoire for wind ensemble; his orchestral suite, The Planets, earns high

popularity.

Imogen Holst, Gustav’s daughter and biographer, gave this insight about the composition.

Hammersmith is a Prelude and Scherzo which was commissioned by the BBC military

band in 1930. Holst afterwards rewrote it for full orchestra.

Those who knew nothing of this forty-year-old affection for

the Hammersmith district of London were puzzled at the title. The work is not

program music. Its mood is the outcome of long years of familiarity with the

changing crowds and the changing river [Thames]: those Saturday night crowds,

who were always good-natured even when they were being pushed off the pavement

into the middle of the traffic, and the stall-holders in that narrow lane behind the

Broadway, with their unexpected assortment of goods lit up by brilliant flares, and

the large woman at the fruit shop who always called him “dearie” when he bought oranges for his Sunday picnics. As for the river, he had known it since he was a

student, when he paced up and down outside William Morris‘s house, discussing Ibsen with earnest young socialists. During all the years since then, his

favorite London walk had been along the river-path to Chiswick.

In Hammersmith the river is the background to the crowd: it is a river that goes on its

way unnoticed and unconcerned.

Nothing Gold Can Stay (notes from the score)

Nature’s first green is gold, Her hardest hue to hold. Her early leaf’s a flower; But only so an hour. Then leaf subsides to leaf. So Eden sank to grief, So dawn goes down to day. Nothing gold can stay. -Robert Frost

The music is my deliberate attempt to write a chorale – something simple, beautiful, and

familiar. The deceptive surface simplicity of Robert Frost’s poem seems to coincide with this music, particularly the paradoxical descending of dawn to day, all embodying the

concept of felix culpa, or “lucky fall” – the idea that loss can bring greater good, and is in

fact necessary.

Apotheosis

Ashlee Busch is a Grand Rapids based composer, performer, and educator. Ashlee received

her Bachelor’s degree from Grand Valley State University where she studied with Bill Ryan and toured with the nationally renowned GVSU New Music Ensemble. She received her

Master’s degree from Michigan State University where she studied with Charles Ruggiero. Ashlee merges traditional and modern compositional techniques in a post-minimalist style.

She currently teaches at the Academy of Music in Grand Rapids while enjoying freelance

composing in the Grand Rapids, Lansing, and Kalamazoo areas where she has completed

residencies with local universities. Ashlee premieres her music in a variety of venues all

across Michigan in partnership with colleagues from MSU and GVSU as well as

world-renowned artists and musicians. Ashlee finds greatest satisfaction in collaborating

with artists of all genres—still art, dance, videography, poetry, culinary artistry, video

gaming, and more.

About the composition, Ashlee wrote: “Apotheosis is a humble expression of love by this

composer for those who came before in the 20th and 21st centuries and so changed the

world of music forever.”

PROGRAM NOTES

Hammersmith

Gustav Holst, one of England's most prominent composers, was also a professional

trombonist and a teacher of composition and organ. His music includes operas,

ballets, symphonies, chamber music, and songs. During the first World War, he was

placed in command of all English Army Bands, organizing music among the troops

under the Y.M.C.A. Army and Education program. He continued his teaching as

musical director at the St. Paul's Girls' School in the Hammersmith borough of

London. His First Suite in E-Flat, Second Suite in F, and Hammersmith are hallmarks in

the repertoire for wind ensemble; his orchestral suite, The Planets, earns high

popularity.

Imogen Holst, Gustav’s daughter and biographer, gave this insight about the composition.

Hammersmith is a Prelude and Scherzo which was commissioned by the BBC military

band in 1930. Holst afterwards rewrote it for full orchestra.

Those who knew nothing of this forty-year-old affection for

the Hammersmith district of London were puzzled at the title. The work is not

program music. Its mood is the outcome of long years of familiarity with the

changing crowds and the changing river [Thames]: those Saturday night crowds,

who were always good-natured even when they were being pushed off the pavement

into the middle of the traffic, and the stall-holders in that narrow lane behind the

Broadway, with their unexpected assortment of goods lit up by brilliant flares, and

the large woman at the fruit shop who always called him “dearie” when he bought oranges for his Sunday picnics. As for the river, he had known it since he was a

student, when he paced up and down outside William Morris‘s house, discussing Ibsen with earnest young socialists. During all the years since then, his

favorite London walk had been along the river-path to Chiswick.

In Hammersmith the river is the background to the crowd: it is a river that goes on its

way unnoticed and unconcerned.

Nothing Gold Can Stay (notes from the score)

Nature’s first green is gold, Her hardest hue to hold. Her early leaf’s a flower; But only so an hour. Then leaf subsides to leaf. So Eden sank to grief, So dawn goes down to day. Nothing gold can stay. -Robert Frost

The music is my deliberate attempt to write a chorale – something simple, beautiful, and

familiar. The deceptive surface simplicity of Robert Frost’s poem seems to coincide with this music, particularly the paradoxical descending of dawn to day, all embodying the

concept of felix culpa, or “lucky fall” – the idea that loss can bring greater good, and is in

fact necessary.

Apotheosis

Ashlee Busch is a Grand Rapids based composer, performer, and educator. Ashlee received

her Bachelor’s degree from Grand Valley State University where she studied with Bill Ryan and toured with the nationally renowned GVSU New Music Ensemble. She received her

Master’s degree from Michigan State University where she studied with Charles Ruggiero. Ashlee merges traditional and modern compositional techniques in a post-minimalist style.

She currently teaches at the Academy of Music in Grand Rapids while enjoying freelance

composing in the Grand Rapids, Lansing, and Kalamazoo areas where she has completed

residencies with local universities. Ashlee premieres her music in a variety of venues all

across Michigan in partnership with colleagues from MSU and GVSU as well as

world-renowned artists and musicians. Ashlee finds greatest satisfaction in collaborating

with artists of all genres—still art, dance, videography, poetry, culinary artistry, video

gaming, and more.

About the composition, Ashlee wrote: “Apotheosis is a humble expression of love by this

composer for those who came before in the 20th and 21st centuries and so changed the

world of music forever.”

Angels in the Architecture (notes from the score)

Angels in the Architecture was commissioned by Kingsway International, and received

its premiere performance at the Sydney Opera House on July 6, 2008 by a massed

band of young musicians from Australia and the United States, conducted by

Matthew George. The work unfolds as a dramatic conflict between the two extremes

of human existence — one divine, the other evil.

The work’s title is inspired by the Sydney Opera House itself, with its halo-shaped

acoustical ornaments hanging directly above the performance stage.

Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of Light

I have soared from above

I am cloth’d with Mother’s love. I have come, I have come,

To protect my chosen band

And lead them to the promised land.

This “angel” — represented by the singer—frames the work, surrounding it with a

protective wall of light and establishing the divine. Other representations of light —

played by instruments rather than sung—include a traditional Hebrew song of peace

(“Hevenu Shalom Aleichem”) and the well-known 16th-century Genevan Psalter,

“Old Hundredth.” These three borrowed songs, despite their varied religious origins, are meant to transcend any one religion, representing the more universal human

ideals of peace, hope, and love. An original chorale, appearing twice in the work,

represents my own personal expression of these aspirations.

In opposition, turbulent, fast-paced music appears as a symbol of darkness, death,

and spiritual doubt. Twice during the musical drama, these shadows sneak in almost

unnoticeably, slowly obscuring, and eventually obliterating the light altogether.

Darkness prevails for long stretches of time, but the light always returns, inextin-

guishable, more powerful than before. Alternation of these opposing forces creates,

in effect, a kind of five-part rondo form (light — darkness — light — darkness —

light).

Just as Charles Ives did more than a century ago, Angels in the Architecture poses the

un- answered question of existence. It ends as it began: the angel reappears singing

the same comforting words. But deep below, a final shadow reappears — distantly,

ominously.

Piccolo Hannah Petersen

Flute Candice Rohn*

Anna Vander Boon

Hannah Petersen

Abbey Trach

Mitchell Schaekel

Melissa Machusko

Alto Flute Kara Willyard

Oboe Lauren Glomb*

Olivia Martin

Emily Walker

English Horn Olivia Martin

Bassoon Benjamin Pummell*

Isabella Purosky

Eb Clarinet Jacob Bleeker

Clarinet Bryce Kyle*

Amy Zuidema

Jacob Bleeker

Alex Alcorn

Katie VanOort

Ryan Schmidt

Jennifer Soles

Courtney Allen

Alexa Villaron

Bass Clarinet Trevor Spitzley

Claire Salinas

Alto Saxophone Andrew Peters*

Darwin McMurray

Michael Jasman

John Breitenbach

Tenor Saxophone Anna Petrenko

Baritone Saxophone Derek Storey

Trumpet Erin Ray*

Ethan Lonsway

Justin Schreier

Shawn Nichols

Skye Hayes

Amy David

Horn Reed Fitzpatrick*

Timothy Lester

Eric Pasma

Erica Lumsden

Julius Beller

Trombone Elizabeth Miller*

Johnathan Tesner

Caleb Marshall

Bass Trombone Zachary Stout

Euphonium Rick Maycroft*

Nicholas Hudgins

Tuba

Matt Langlois*

Drew Moles

Guerry Love II

Percussion

Jacob Theisen*

David Hempstead

Liam Martin

Andrew Witter

Jaden McCallum

James Cortright

Keyboards Reese Rehkopf

Bass Weston Bernath

Press Officer Amy Zuidema

Applied Instrumental Faculty Richard Britsch, Horn

Arthur Campbell, Clarinet

Paul Carlson, Tuba &

Euhonium

Sookkyung Cho, Piano

Tim Froncek, Percussion

Dan Graser, Saxophone

Christopher Kantner, Flute

Helen Marlais, Piano

Victoria Olson, Bassoon

Gregrey Secor, Percussion

Marlen Vavrikova, Oboe

Mark Williams, Trombone

Alex Wilson, Trumpet * principal

PERSONNEL

Flourish for Wind Band (1939) Ralph Vaughan Williams (1872-1958) Hammersmith (1930) Gustav Holst (1874-1934) Nothing Gold Can Stay (2016) Steven Bryant (b. 1972) Apotheosis (2013) Ashlee Busch (b. 1986)

INTERMISSION Angels in the Architecture (2008) Frank Ticheli (b. 1958)

Caitlin Cusack, soprano solo Suite of Old American Dances (1949) Robert Russell Bennett (1894-1980) Cakewalk

Schottische Western One-Step Wallflower Waltz Rag

PROGRAM

Suite of Old American Dances

Robert Russell Bennett was born in Kansas City Missouri. He began music studies at an early age and by age 22 had moved to New York. He was immensely popular as an orches-trator and was credited with orchestrating more than 200 shows including works by com-posers such as Irving Berlin, George Gershwin, Vincent Youmans, Jerome Kern, Cole Porter, Richard Rogers and Frederick Loewe. He earned an Academy Award for his work and became known as the “Dean of American Arrangers”.

Despite his busy orchestration schedule, he found time to compose a significant number of works. Although the compositional practice at the time was to compose more non-tonal works, he preferred to write tonal music. His interest in the modern concert band came after hearing a concert in honor of Edwin Franko Goldman’s 70th birthday. After hearing the concert, Bennett remarked: “I suddenly thought of all the beautiful sounds the Ameri-can concert band could make that it hadn’t made yet. The sounds they made were so new to me after all my years with orchestra, dance bands, and tiny “combos”, that my pen was practically jumping out of my pocket begging me to give this great big instrument some-thing to play.” From that inspiration, Bennett penned Suite of Old American Dances.

The original title of the piece was Electric Park and represented a Kansas City amusement park and popular dance hall that Bennett knew from his childhood. The five movements of the composition represent the popular dances of the day and was the source of the title later supplied by the publisher.

UPCOMING EVENTS

Sunday, October 15 at 7:30 p.m.: Octubafest Haas Center for Performing Arts, Sherman VanSolkema Recital Hall, Allendale Campus Wednesday, October 18 at 7:30 p.m.: Concert Band Concert - Evoking a Saturday Night at the Park Band Shell Haas Center for Performing Arts, Louis Armstrong Theatre, Allendale Campus Friday & Saturday, October 20 - 21 @ 7:30 p.m.: A Kurt Weill Cabaret, Betty Van Andel Opera Center, 1320 E. Fulton St., Grand Rapids To purchase tickets, call the Opera Center, (616) 451-2741. Sunday, October 22 @ 2:00 p.m.: A Kurt Weill Cabaret, Betty Van Andel Opera Center, 1320 E. Fulton St., Grand Rapids To purchase tickets, call the Opera Center, (616) 451-2741. Wednesday, October 25 at Noon: Arts at Noon Möller-Fraticelli Guitar Duo, Cook-DeWitt Center, Allendale Campus Wednesday, October 25 at 7:30 p.m.: University Arts Chorale and Cantate Chamber Ensemble , Cook-DeWitt Center, Allendale Campus Friday, October 27 at 7:30 p.m.: New Music Ensemble Fall Concert Haas Center for Performing Arts, Louis Armstrong Theatre

Find us on social media! Facebook, Twitter, Instagram, Snapchat @gvsumtd

Learn more about GVSU Music, Theatre, and Dance at www.gvsu.edu/mtd

The use of cameras, video cameras, or recording devices is strictly

Prohibited.

Please remember to turn off your cell phone.

Symphonic Wind Ensemble

Kevin Tutt, conductor

Saturday, October 14

7:30 PM Louis Armstrong Theatre

Thomas J. and Marcia J. Haas Center for the Performing Arts