Diller, Brian, (Director)

Johnson, Laura, (Graduate Conductor)

Ocean Lakes High School Wind Ensemble

Old Dominion University Wind Ensemble

Parker, Michael, (Director)

English

Old Dominion University

Old Dominion University University Theatre Sunday, February 17, 2019             3:00 PM OLD DOMINION UNIVERSITY Department of Music          Presents Old Dominion University Wind Ensemble Brian Diller, director Laura Johnson, graduate conductor with Ocean Lakes High School Wind Ensemble Michael Parker, director Suite of Old American Dances (1949)   1. Cakewalk 4. Wallflower Waltz 5. Rag Program: “Global Rhythms” Robert Russell Bennett  (1894-1981)    Baron Cimetiere's Mambo (2004)  Donald Grantham  (b. 1947) Puszta: Four Gipsy Dances (1987)  1. Andante moderato  2. Tranquillo   3. Allegro molto  4. Marcato   Jan van der Roost (b. 1956)  Archangel Raphael Who Leaves a House of Tobias (2008)  Masanori Taruya (b. 1978)  Ocean Lakes High School Wind Ensemble Laura Johnson, graduate conductor Danzón No. 2 (1994) Arturo Márquez  (b. 1950)  Intermission Dragon Rhyme (2010)   1. Mysteriously-Harmoniously  2. Energetically Chen Yi  (b. 1953)  Chale Chalo from “Lagaan” (2001)  AR Rahman (b. 1967)  arr. Brian Diller Dale Lazar, tabla Dennis Northerner, dumbeck  Piccolo Waverly Van Gundy  Flute Justine Arenas Kylee Caldwell Hailey Dauphin Analise Gonzalez Hayley Hemmings Allison O’Dell Kate Watson Esther Yi  Bassoon Shelbie Gray Nascia Phillips  Clarinet Lyric Bruner William Harrison Rachel Owen Garrett Price Eric Rhoades Zach Six  Bass Clarinet Zoey Hatfield Ben Majors   Alto Saxophone Josh Makela Matthew Pohl Alex Privette Grace Richardson Justin Santangelo Lars Wirstrom  Tenor Saxophone Kaden Bock Alex Elkins Israel Olukanni  Baritone Saxophone James Phillips Ethan Velivlis  Trumpet Ethan Boardman Lauren Chuderewicz Gabriel Gonzalez Ryan Marrero Evan Meares Xander Stebritz Carter Velivlis Theo Young      French Horn Trent Adams Kay Brennan Anthony Crispin Aaron O’Dell  Trombone Corey Coerse Maddie Pollock Ryder Robins  Euphonium Adam Caputi Gabi Hickman Jackson Varga  Tuba Thomas Beasley Gil Dolan Ashton Trexler  Percussion Sean Campbell Cadin Harn Rex Fenner Erik Lohse Kameron Martin Josh Sambo    Ocean Lakes High School Wind Ensemble Michael Parker, Director Flute Alicia Bryan Nicole Jenkins Hyorim Kim* Brook Matthews Shannon Schubert Mary Sensabaugh, piccolo  Oboe Hailey Hargis* Rebecca James* Vladislav Voscanean*  Bassoon Jonathan Carr* Hunter Lemkpa  Clarinet Emalee Alexander Avante Allen Courtney Deberry Laura Johnson* Tim Martin* Marshall Rigby Randy Smith Brianna Yevak  Bass Clarinet Roderick Gaines  Saxophone Patrick Bays Branden Garner Lawrence O’Neal Noah Payton*    Trumpet John Beckner Tim Burleigh  Elly Carlson  Austin Kopp* Alonzo Tinsley Josh Williams  Horn Andrew Broom* Nico Craig Justin Durham Eric Quick Lizzy Tait  Trombone Noah Chapman Devonte Ezell* Mason Kennedy Phil Lane, bass Jose Rodriguez  Euphonium Alex Federico* Foster Grubbs*  Tuba Brandon Berridge Eric Lavallais* Lea Sampsell Josh Sissel Percussion Ethan Cagle Jaihlen Cheatham Benton Maldonado Chris Mitchell Danny Slader Daniel Stazer Michael Vazquez Sarah Williams*  Piano Nichole Dorobanov  Librarian Austin Kopp  * Principal       Special Thanks to  Professors Marlene Ford, Patti Watters, and David Walker for  extensive sectional  coaching. Old Dominion University Wind Ensemble Players are listed in alphabetical order to emphasize each player’s contribution Dr. Brian Diller teaches conducting and directs the Wind Ensemble at Old Dominion University. He was recently awarded the Doctor of Musical Arts degree from the Univer-sity of Cincinnati College-Conservatory of Music (CCM) where he served as Music Direc-tor of the University of Cincinnati Symphony Orchestra. He has previously served on the faculties of Ithaca College and Tennessee Tech University. Diller's scholarly research centers on integrating chamber music in the school music pro-gram. He was invited to present a paper on this topic at the 2014 College Band Directors National Association Conference on Music Education. Other research on band pedagogy has appeared as an article in Teaching Music Through Performance in Band, volume 10 and two articles in Teaching Music Through Performance in Middle School Band, both published by GIA. Diller received a Masters degree in wind conducting from Ithaca College where he stud-ied conducting with Stephen Peterson and Jeffrey Meyer. From 2007-2010 he served as Associate Director of Bands at Brentwood High School in suburban Nashville, Tennes-see. Mr. Diller holds undergraduate degrees summa cum laude in Music Education and Piano Performance from Miami University (OH). While at Miami, he was honored as winner of the Undergraduate Artist Performance Competition and received the 2007 Presser Scholar prize for excellence in music scholarship and performance. An active pianist, Diller performs regularly as soloist, chamber recitalist, and studio musi-cian; he has completed additional study in piano, chamber music, and conducting at France's Fontainebleau Conservatory. Having prepared arrangements in the recording studios of A. R. Rahman, India's most celebrated film composer, Diller is also an avid arranger and his works have been performed by orchestras, wind ensembles, and choirs across the country. Experienced in the marching milieu, he has also arranged and in-structed brass with Nashville's Music City Drum Corps and various high school bands.  Michael Parker is a native of Colonial Heights, VA.  He recently graduated Cum Laude from James Madison University with a Bachelor of Music in Music Education degree.  Mr. Parker performed with a number of ensemble at JMU including the wind symphony, symphonic band, jazz ensembles, and the JMU brass band, which placed 2nd at the 2016 NABBA Championships.  He studied trumpet with Drs. Carrillo and Alhorn as well as conducting with Steven Bolstad.   Mr. Parker was also heavily active in JMU’s member marching band, the MRDs.  He served on the MRD leadership team for 3 years, including one season as drum major in 2016.  During his time with the MRDs, Parker had the opportunity to perform at a num-ber of notable venues including the Macy’s (2013) Parade, Rome New year’s parade per-forming for Pope Francis in Vatican Square (2015), the VMEA conference (2016), and the FCS national championship game (2017).  Mr. Parker was active in the music ed community at JMU, as well. In 2015, he was award-ed the Joy Hollar Costello endowed scholarship for music ed. He served as outreach com-mittee head for the JMU chapter of NAfME and was a student presenter at the 2016 VMEA conference.  Program Notes Puszta is a suite of four gypsy-style dances composed in 1987. The work is an homage to The Puszta, a vast Hungarian prairie in which Romani people (gypsies) roamed among wild horses. Though the piece is reminiscent of authentic Hungarian and Slavic folk dances, the themes and melodies of Puszta are entirely original. Puszta is characterized by its temperamental nature, as each of the dances has a unique mood, character, and dispo-sition. The dances alternate between various feelings typical of Romani music, including elation, tranquility, melancholy, and an ecstatic frenzy. Contrasting tempos, striking mood shifts, and a distinct stylistic flair make Puszta a vivacious, colorful, and captivating representation of Romani music. Archangel Raphael Who Leaves a House of Tobias is based on the story of the Archan-gel Raphael in the Book of Tobit. The composer provides the following narrative in the score:   While traveling with Raphael disguised as a human, Tobias met Sara who was  possessed by a demon. Following the instructions of Raphael, Tobias smoked  the heart and the liver of a huge fish he had caught, and Sara was exorcised.  Later, Tobias married Sara after heeding Raphael's advice, and they live happily  after. When Tobias returned home, he poured the liver juice over the blind  eyes of his father, and he regained his eyesight. Then, Raphael revealed his true  self, instructed them to write down the story, and returned to Heaven.  The piece begins mysteriously with the woodwinds, which transforms into a melody that provides an image of the vast lands and seas. The middle of the piece portrays the obsta-cles that the two faced, and the end of the piece expresses how they overcame those obsta-cles and the ending of the story, where all is resolved.  Danzon No.  2. Arturo Márquez is one of the leading composers of contemporary Mexi-can art music. The son of a mariachi musician and the grandson of a Mexican folk singer, Mexico’s musical culture enveloped Márquez from his earliest days. Following in the family tradition, he became a musician as well, studying piano, violin, and trumpet. At age sixteen he discovered his ultimate outlet of musical expression, composition, which he studied at the National Conservatory of Music of México in Mexico City.  The distinct sounds of the Mexican dance salons, which Márquez knew so well from childhood, became an important influence on his mature work. In fact, he is best known for a series of compositions based on the danzón. One of these, Danzón No. 2, is so well loved it has been referred to as a second national anthem for Mexico. Márquez provides this account of Danzón No. 2:   The idea of writing the Danzón No. 2 originated in 1993 during a trip to Ma linalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of  whom are experts in salon dances with a special passion for the danzón, which  they were able to transmit to me from the beginning, and also during later trips  to Veracruz and visits to the Colonia Salon in Mexico City. From these experi ences onward, I started to learn the danzón’s rhythms, its form, its melodic  outline, and to listen to the old recordings by Acerina and his Danzonera Or chestra. I was fascinated and I started to understand that the apparent lightness  of the danzón is only like a visiting card for a type of music full of sensuality  and qualitative seriousness, a genre which old Mexican people continue to  dance with a touch of nostalgia and a jubilant escape towards their own emo tional world; we can fortunately still see this in the embrace between music and  dance that occurs in the State of Veracruz and in the dance parlors of Mexico  City.  Dragon Rhyme As a Distinguished Professor at the University of Missouri-Kansas City Conservatory of Music and Dance, Chen Yi blends Chinese and Western traditions, transcending cultural and musical boundaries. Through doing so, she serves as an ambassador to the arts, creat-ing music that reaches a wide range of audiences, inspiring people with different cultural backgrounds throughout the world. The first movement of Dragon Rhyme is more lyrical and the second powerful. The thematic material in both movements is matched, which is used economically for devel-opment throughout the work. The instrumental texture is rich in colors, from transpar-ent and delicate to angular and strong. Taking the image of the dragon, which is auspi-cious, fresh and vivid, the music is layered and multidimensional. It symbolizes the East-ern culture. When it meets the world, it becomes part of the global family.  Chale Chalo was composed by AR Rahman, India’s most celebrated film composer. He composed the song for the film “Lagaan,” which tells the story of a rural Indian village which is deeply in debt; in order to restore the village to financial success, the villagers challenge the British colonial authorities to a game of cricket. In the film’s emotional heart, Chale Chalo tells the villagers that “No one can defeat us. Keep on moving.” 

Old Dominion University Wind Ensemble with Ocean Lakes High School Wind Ensemble: Global Rhythms

https://digitalcommons.odu.edu/cgi/viewcontent.cgi?article=1016&amp;context=musicperformance_ensembles

Old Dominion University Wind Ensemble with Ocean Lakes High School Wind Ensemble: Global Rhythms

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