Program - School of Music - The Ohio State University

SCHOOL OF MUSIC
W I N D
SYMPHONY
Russel C. Mikkelson, conductor
Scott A. Jones, guest conductor
Jonathan Waters, guest conductor
Michael Sachs, trumpet soloist
CBDNA North Central
Divisional Conference
Ball State University
Sursa Performance Hall
Muncie, Indiana
Saturday, March 1, 2014 • 8:00 pm
WELCOME from the College of Arts and Sciences at The Ohio State University
Welcome to the arts at Ohio State, where more than 1,600 undergraduate and 500 graduate students are
pursuing degrees in the visual and performing arts within one of the nation’s largest comprehensive
colleges of arts and sciences. Our students major and minor in areas such as arts management; studio
art; composition; jazz studies; visual communication design; art history; theatre; scenic and costume
design; dance; music, media and enterprise; and many more.
Home to some of the nation’s top 10 programs, all of which are nationally accredited, Ohio State is
complementing its international reputation with major renovations to every arts facility on campus and
laying plans to make the arts Ohio State’s “front door.” With the creation of a new Arts District on the
campus site of 15th Avenue and High Street, we will vastly change the School of Music facilities, with the
goal of a new recital hall and expanded rehearsal spaces for our music students and scholars. The
projected additions to the School of Music through the new Arts District build on recent improvements of
our arts facilities, most notably the multi-million dollar revitalization of Sullivant Hall that transformed the
historic, century-old building and Hopkins Hall, which was renovated inside-out.
We are expanding opportunities for our students and faculty to perform and engage with companies and
arts organizations around the world. This year our students from the School of Music performed with
Opera Columbus in “Madama Butterfly” and are touring with the opera company in another production
this spring, while students from our jazz studies program and dance program tour China to perform in
Beijing and Shanghai in 2014. Students from our theatre and English programs are working with actors
and directors from the United Kingdom’s Royal Shakespeare Company (RSC) through residencies and
performances at Stratford-Upon-Avon and in Columbus during a six-year agreement between Ohio State
and RSC. Our students and faculty participate in additional partnerships throughout the state of Ohio with
BalletMet, Columbus Symphony Orchestra, CAPA (Columbus Association for the Performing Arts), and
CATCO (Contemporary American Theatre Company).
Tonight, we’re pleased to share with you a performance by our talented student musicians of The Ohio
State Wind Symphony directed by Russel C. Mikkelson. Enjoy!
Warmly,
Mark Shanda, MFA
Dean, Arts and Humanities, College of Arts and Sciences
Professor of Theatre
WELCOME from the School of Music
I am proud to welcome you to this beautiful performance space and to this concert by our Wind
Symphony, under the direction of Dr. Russel C. Mikkelson, Director of Bands and Area Head for
Conducting and Ensembles.
Under Mikkelson’s leadership, the Ohio State University Bands have garnered national recognition and
distinction among university wind band programs. The program serves approximately 650 students from
across the campus. The concert bands serve some 275 students in four ensembles: Wind Symphony,
Symphonic Band, Collegiate Winds and University Band. These ensembles perform approximately thirtyfive concerts, on and off-campus, annually. Graduates of the Wind Symphony hold positions as
professional orchestral musicians, soloists, conductors, members of U.S. military bands, university
professors, and are some of the world's leading school music educators.
Since 1998, the Wind Symphony has premiered dozens of new works, performed for conferences at
national and state levels, toured extensively, and recorded five compact discs. REST, their latest release,
features the music of J. S. Bach, Michael Gilbertson, John Mackey, and Frank Ticheli, including a
composition by the latter - a piece Russ and his family commissioned in memory of his father, which
provides the CD’s title. The Wind Symphony has commissioned music from internationally-known
composers David Maslanka, Frank Ticheli, Eric Stokes, Dan Welcher, David Gillingham, Steven Bryant,
John Stevens, Donald Crockett, Daniel Godfrey, Michael Gilbertson, Charles Rochester Young, and
William Bolcom. In addition, it is especially gratifying to witness the premiere of a Voice, a Messenger by
Aaron Jay Kernis, and featuring world-renowned trumpeter Michael Sachs.
Today’s performance will showcase what is best about our School of Music: a passion for music-making
and a commitment to excellence by talented student musicians and a world-class faculty.
Best Regards for a Wonderful Conference!
Richard L. Blatti
Professor and Director
The Ohio State University School of Music
Wind Symphony
Russel C. Mikkelson, conductor
Scott A. Jones, guest conductor
Jonathan Waters, guest conductor
Michael Sachs, trumpet
CBDNA North Central Divisional Conference
Ball State University
Sursa Performance Hall
Muncie, Indiana
Saturday, March 1, 2014 • 8:00 p.m.
PROGRAM
Parthia in Dis (1790) • Ignace Joseph Pleyel (1757-1831) • critical edition by John Oelrich
1. Allegro
a Voice, a Messenger (2010-2012, rev. 2013) • Aaron Jay Kernis (b. 1960)
I. Morning Prayer
II. Timbrel Psalm
III. Night Prayer
IV. Monument – Tekiah, Teruah
Michael Sachs, soloist • principal trumpet, The Cleveland Orchestra
CBDNA premiere performance
INTERMISSION
Tunbridge Fair (1950) • Walter Piston (1894-1976)
Jonathan Waters, guest conductor
Colonial Song (1911/1918) • Percy Aldridge Grainger (1882-1961) • ed. Mark Rogers
Scott A. Jones, guest conductor
The Frozen Cathedral (2012) • John Mackey (b. 1973)
PROGRAM NOTES
Parthia in Dis • Ignace Joseph Pleyel, ed. John Oelrich
The Parthia in Dis was originally written as a Symphonie Concertante in Eb, Ben 111 for solo
violin, viola, cello, and oboe, the first of five works in the genre. It was first performed in
Strasbourg on the Pleyel-Schönfeld series on December 8, 1786. Pleyel’s Concertante was
immensely popular, having been published 10 times in its original setting and 79 times in
arrangements for various idioms. While some of these are for the contiguous work, many were
extractions of one or more movements. Thirty-nine copies of the work also exist in manuscript
form, none of which are the autograph.
The present edition was prepared from a set of manuscript parts for harmonie, a court and/or
civic wind band of the late 18th to early 19th centuries whose nucleus contained pairs of oboes
or clarinets (or both), horns and bassoons, and is a contiguous arrangement of the original
symphonie concertante. Two separate sets of wind parts exist for the arrangement for
harmonie. The present is based on a set, shelf mark Don.Mus.Ms. 1571 originally housed in the
Fürstlich Fürstenbergische Hofbibliothek, Donaueschingen, Germany but is now owned by the
Badische Landesbibliothek in Karlsruhe, Germany. The popularity of Pleyel during his life,
which was almost equal to that of Haydn, together with the popularity of the piece, merited this
critical edition. Representing a significant portion of the editor’s DMA document at The Ohio
State University, this edition is being published by Fountayne Editions in London.
a Voice, a Messenger • Aaron Jay Kernis
When Philip Smith asked me to write a concerto, he suggested as sources the appearance of
trumpets and its relatives in Scripture – shofar (ram’s horn), cornet, horns, etc. I developed
impressions for the work while attending Rosh Hashanah services, hearing the shofar in
person, and rereading passages from the Torah that place these instruments in a spiritual
context.
… there was thunder and lightning and a dense cloud over the mountain; there was a loud
Shofar blast, and all the people in the camp trembled. - Exodus
He manifested himself with the sound of the Shofar, the Lord amidst the sound of the
Shofar. - Psalm 47
Morning Prayer, terse and, like most of the concerto, pensive, chromatic and conflicted, calms
only at its end, when a chorale-like series of essential three-note chords intervene.
The timbrel is the Biblical forbear of the tambourine, and the title Timbrel Psalm is a play on
words. Timbre (or timbral) is commonly used by musicians to refer to the “color” of instrumental
sound. This dance-like movement is made of short phrases in a variety of timbres, much of it
lightly scored and vigorous.
Praise him with the blast of the Shofar; praise him with psaltery and harp. Praise him with
timbrel and dance; praise him with stringed instruments and reed. Praise him with
resounding cymbals; praise him with clanging cymbals. - Psalm 150
The expansive Evening Prayer features flugelhorn solo. It alternates lyrical, pensive lines with
ongoing development and dramatic clashes between soloist and ensemble, ending as
unsettled as it began.
The music of the final movement, Monument - Tekiah, Teruah does not directly imitate the
sound of a shofar but suggests the urgency of its call, and much of it is built on fanfare-like
passages. The most dramatic of the four movements, it is made of stark contrasts, bitter
harmonies and dense textures. The chorale from the opening returns at the very end, just after
the work’s most lyrical moments, and culminates in the flanking of the soloist with two other
trumpets. This suggests references in antiquity to the shofar being paired on either side by two
silver trumpets in New Year’s Day services in the second Temple in Jerusalem, before its
destruction.
Thou hast heard the sound of the Shofar, and the alarm of war; destruction follows upon
destruction. - Jeremiah
“a Voice, a Messenger” was composed in 2010 and edited in December 2012. It lasts about 25
minutes. I am grateful to the generosity of the Big Ten Band Directors Association, Philip Smith
and the New York Philharmonic in making its creation possible. Tonight marks the second
performance, and the premiere of the 2013 revised version. Its dedication reads: Written for
Philip Smith, in celebration of his three decades with the New York Philharmonic; and in
recognition of the generous and ongoing commitment to the creation of music of our time by
that great orchestra and the distinguished Big Ten Band Association.
in memory of Michael Kernis (1955-2009)
“a Voice, a Messenger” was co-commissioned by the Big Ten Band Directors Association, and
by the New York Philharmonic, made possible with a generous gift from Marie-Josée Kravis,
and with major support provided by the Francis Goelet Fund.
Tunbridge Fair • Walter Piston
Tunbridge Fair, a jazz-influenced contrapuntal tour de force, was commissioned by the League
of Composers at the suggestion of Edwin Franko Goldman and premiered by the Goldman
Band, Piston conducting, on June 16, 1950. This work, subtitled “Intermezzo for Band,” is
markedly American and depicts one of Vermont’s oldest and most cherished events, the
annual country fair at Tunbridge. The ragtime-like first theme captures the interaction of the
crowd while the lyrical second theme depicts the evening dancing at the fair. A description of
the day’s activity follows:
People from all walks of life are jostled together in the gay riotous turmoil that is
Tunbridge Fair – the back-country folk of the soil mingle with people from the
metropolitan districts; world travelers eat hot dogs at the same booth with native
Vermonters; schoolteachers from Iowa, lumbermen, truck drivers, state officials, country
storekeepers, college boys, school girls, bankers, and laborers are caught alike in the
hilarious whirl. Music is furnished throughout the day and into the night for the firelight and
candlelight dancing by Romeo’s Orchestra, composed of harp and violin assisted by
melodeon.
Colonial Song • Percy Aldridge Grainger
Originally composed for 2 voices (soprano and tenor), harp and full orchestra. Composed as
Yule gift for mother, 1911. Scored as Yule gift for mother, 1912. Rescored, early 1914. Scored for
military band, fall 1918. No traditional tunes of any kind are made use of in this piece, in which I
have wished to express feelings aroused by thoughts of the scenery and people of my native
land (Australia), and also to voice a certain kind of emotion that seems to me not untypical of
native-born Colonials in general.
Perhaps it is not unnatural that people living more or less lonelily [sic] in vast virgin countries
and struggling against natural and climatic hardships (rather than against the more actively and
dramatically exciting counter wills of their fellow men, as in more thickly populated lands)
should run largely to that patiently yearning, inactive sentimental wistfulness that we find so
touchingly expressed in much American art; for instance in Mark Twain's Huckleberry Finn, and
in Stephen C. Foster's adorable songs My Old Kentucky Home, Old Folks at Home, etc.
I have also noticed curious, almost Italian-like, musical tendencies in brass band performances
and ways of singing in Australia (such as a preference for richness and intensity of tone and
soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression),
which are also reflected here. – Percy Grainger
The Frozen Cathedral • John Mackey
The Koyukon call it “Denali,” meaning “the great one,” and it is great. It stands at more than
twenty thousand feet above sea level, a towering mass over the Alaskan wilderness. Measured
from its base to its peak, it is the tallest mountain on land in the world—a full two thousand feet
taller than Mount Everest. It is Mount McKinley, and it is an awesome spectacle. And it is the
inspiration behind John Mackey’s The Frozen Cathedral.
The piece was born of the collaboration between Mackey and John Locke, director of bands at
the University of North Carolina at Greensboro. Locke asked Mackey if he would dedicate the
piece to the memory of his late son, J. P., who had a particular fascination with Alaska and the
scenery of Denali National Park. Mackey agreed—and immediately found himself grappling
with two problems:
How does one write a concert closer, making it joyous and exciting and celebratory, while
also acknowledging, at least to myself, that this piece is rooted in unimaginable loss: the
death of a child? The other challenge was connecting the piece to Alaska - a place I'd
never seen in person. I kept thinking about all of this in literal terms, and I just wasn’t
getting anywhere. My wife, who titles all of my pieces, said I should focus on what it is that
draws people to these places. People go to the mountains—these monumental, remote,
ethereal and awesome parts of the world—as a kind of pilgrimage. It’s a search for the
sublime, for transcendence. A great mountain is like a church. “Call it ‘The Frozen
Cathedral’,” she said…I clearly married up.
The most immediately distinct aural feature of the work is the quality (and geographic location)
of intriguing instrumental colors. The stark, glacial opening is colored almost exclusively by a
crystalline twinkling of metallic percussion that surrounds the audience. Although the
percussion orchestration carries a number of traditional sounds, there are a host of
unconventional timbres as well, such as crystal glasses, crotales on timpani, tam-tam resonated
with superball mallets, and the waterphone, an instrument used by Mackey to great effect on
his earlier work Turning. The initial sonic environment is an icy and alien one, a cold and
distant landscape whose mystery is only heightened by a longing, modal solo for bass flute—
made dissonant by a contrasting key, and more insistent by the eventual addition of alto flute,
English horn and bassoon. This collection expands to encompass more of the winds, slowly
and surely, with their chorale building in intensity and rage. Just as it seems their wailing
despair can drive no further, however, it shatters like glass, dissipating once again into the
timbres of the introductory percussion.
The second half of the piece begins in a manner that sounds remarkably similar to the first. In
reality, it has been transposed into a new key and this time, when the bass flute takes up the
long solo again, it resonates with far more compatible consonance. The only momentary clash
is a Lydian influence in the melody, which brings a brightness to the tune that will remain until
the end. Now, instead of anger and bitter conflict, the melody projects an aura of warmth,
nostalgia, and even joy. This bright spirit pervades the ensemble, and the twinkling colors of
the metallic percussion inspire a similar percolation through the upper woodwinds as the
remaining winds and brass present various fragmented motives based on the bass flute’s
melody. This new chorale, led in particular by the trombones, is a statement of catharsis, at
once banishing the earlier darkness in a moment of spiritual transcendence and celebrating
the grandeur of the surroundings. A triumphant conclusion in E-flat major is made all the more
jubilant by the ecstatic clattering of the antiphonal percussion, which ring into the silence like
voices across the ice. – Program note by Jake Wallace
BIOGRAPHIES
Michael Sachs
Michael Sachs joined The Cleveland Orchestra as principal trumpet in 1988. Praised by
critics for his “spectacular chops” and “radiant tone,” he is recognized internationally as a
leading soloist, recitalist, chamber musician, teacher, author and clinician. Michael Sachs
is frequently featured as soloist with The Cleveland Orchestra. Highlights include the
1996 world premiere of John Williams’ Concerto for Trumpet, commissioned by The
Cleveland Orchestra for Mr. Sachs, with music director Christoph von Dohnanyi
conducting; the United States and New York premieres of Hans Werner Henze's Requiem
in 2000, also with Mr. Dohnanyi conducting; the March 2012 world premiere of Michael Hersch’s Night
Pieces for Trumpet and Orchestra, commissioned by The Cleveland Orchestra for Mr. Sachs, with
Giancarlo Guerrero conducting; and the August 2012 world premiere of Matthias Pintscher’s Chute
d’Etoiles (Concerto for Two Trumpets), commissioned by The Cleveland Orchestra for Mr. Sachs and Jack
Sutte, with music director Franz Welser-Moest conducting at the Lucerne Festival, with a subsequent
performance at the Salzburg Festival. Mr. Sachs has also appeared as guest soloist with numerous
orchestras and chamber groups, including the Houston Symphony Orchestra, the Louisiana Philharmonic
Orchestra, the Auckland (New Zealand) Philharmonia, The Janacek Philharmonic Orchestra (Czech
Republic), San Diego’s Mainly Mozart Festival, and the Chamber Music Society of Lincoln Center. Mr.
Sachs can be heard on over 150 recorded works with The Cleveland Orchestra, including featured
performances of Stravinsky's Histoire du Soldat, recorded for Deutsche Grammophon with Pierre Boulez,
and Ives' The Unanswered Question, recorded for London/Decca with Christoph von Dohnanyi. In 2005,
Mr. Sachs performed a recital of music for trumpet and organ with Todd Wilson as part of Severance
Hall’s Organ Recital Series. The recital was recorded and was released on CD by the Musical Arts
Association (parent organization of The Cleveland Orchestra).
Russel C. Mikkelson
Dr. Russel C. Mikkelson serves as director of University Bands, professor of music
(conducting) and area head of Conducting and Ensembles at The Ohio State University,
where he conducts the Wind Symphony, chairs the graduate conducting program, and
oversees all aspects of the university's band program. Under his direction, the Ohio State
Wind Symphony has performed at the 2003 College Band Directors National Association
Convention, the 2001, 2004, 2006, 2008, 2011 and 2013 Ohio Music Educators
Association Conventions, and has recorded five CDs: Rest (Naxos, 2012), Southern
Harmony (Naxos, 2009), Winds of Nagual (Naxos, 2007), Jubilare! (Mark Records, 2003) and Sounds,
Shapes and Symbols (Mark Records, 2000). In a 2010 review of the Southern Harmony recording,
Fanfare magazine proclaims, "The Ohio State musicians play their collective hearts out and conductor
Mikkelson shapes the music with a loving hand, wringing every last drop of emotion out of the music. If
this does not give you goose-bumps, nothing will."
Director of The Ohio State University Contemporary Music Festival and a staunch advocate for the
creation of new works, Mikkelson also serves on the American Bandmasters Association Commissioning
Committee and has instituted a program of regular commissioning projects for the Ohio State bands. He
has received praise from composers Leslie Bassett, John Corigliano, Michael Colgrass, Jennifer Higdon,
Krzysztof Penderecki, Joseph Schwantner, Gunther Schuller, Lukas Foss, Augusta Read Thomas, Frank
Ticheli and Michael Daugherty, among others, for his musical realization of their compositions. Corigliano
wrote, "Russel Mikkelson is a conductor who really understands my music, and that's rare."
Mikkelson is past president of the Big Ten Band Directors Association, a member of the College Band
Directors National Association, NAfME, Phi Mu Alpha Sinfonia, Phi Beta Mu, and is an elected member of
the American Bandmasters Association. An enthusiastic advocate of public school music education, Dr.
Mikkelson has conducted All-State Bands, Festivals, and Honor Bands across the United States and
internationally. Additionally, he serves as music director and conductor of the Heisey Wind Ensemble, a
highly skilled community band based in Newark, Ohio. He was the recipient of the 2005 Ohio State
University School of Music Distinguished Scholar Award and has published articles in The Instrumentalist
and The Journal of the Conductor's Guild. As a composer/arranger, he is published through C. Alan and
Daehn Publications.
Scott A. Jones
Scott A. Jones is associate professor of music and associate director of bands in the
School of Music at The Ohio State University in Columbus. In addition to conducting the
Ohio State Symphonic Band, he also leads the undergraduate conducting curriculum.
Prior to joining the faculty at Ohio State, Jones served as director of bands at Concordia
College in Moorhead, Minnesota. He also garnered 15 years of teaching experience in
the public schools of Apple Valley, Minnesota and Ashville, Ohio.
An ardent supporter of the “composers of today,” Jones has commissioned more than 30 new
compositions for wind band and chamber winds in the past decade. Commissioned composers include
David R. Gillingham, Augusta Read Thomas, Libby Larsen, Clark McAlister, Michael Weinstein, Adam
Gorb, Daniel Kallman, Scott McAllister, Timothy Mahr, Rolf Rudin, Lowell Liebermann, Elliott Schwartz,
Shelley Hanson, Johan de Meij, Brian Balmages, and Martin Ellerby.
A firm believer in creating opportunities for students to interact with great artists of our time, musicians
under Jones’ leadership have collaborated with artists Frederick Fennell, Eiji Oue, Aaron Jay Kernis,
Frank Battisti, Seiji Ozawa, David R. Gillingham, Augusta Read Thomas, Eddie Daniels, Frank Ticheli, Mark
Camphouse, The Empire Brass Quintet, The American Brass Quintet and a host of other distinguished
musical figures.
A native of Fairfax, Virginia, Jones received his undergraduate degree in music education from The Ohio
State University, a master’s degree in music education from the VanderCook College of Music (Chicago),
and a PhD in music from the University of Minnesota (Minneapolis). Jones was named “Music Educator of
the Year” by the Minnesota Music Educators Association, and was one of three school band conductors
from the United States selected to participate in the National Band Association International Conducting
Symposium in Rome, Italy. His guest engagements regularly include All-State Bands and Honor Bands, as
well as international engagements throughout Asia.
His professional affiliations include the National Association for Music Education, Ohio Music Education
Association, Wisconsin Music Educators Association, World Association for Symphonic Bands and
Ensembles, Iowa Bandmasters Association, College Band Directors National Association, National Band
Association, and Phi Beta Mu.
Jonathan Waters
Jonathan N. Waters proudly serves as director of The Ohio State University Marching and
Athletic Bands, a position he has held since 2012. Prior to attaining the position of
director, Waters was the assistant director of Marching and Athletic Bands from
2002-2011. He received his bachelor’s degree in music education from The Ohio State
University in 1999. Serving as graduate assistant director for the Marching Band, he
earned two master’s degrees - one in music education and another in wind band
conducting - from The Ohio State University in 2001. Waters’ duties include conducting and the
administration of The Ohio State University Marching Band and the Athletic Bands. Also, currently within
the School of Music, Waters teaches Marching Band Techniques and serves as guest conductor for
concert bands. Waters has also served as conductor for the University Band and has taught
Undergraduate Instrumental Conducting and Brass Methods. Additionally, Waters has served as codirector of the Ohio State University Marching Band Alumni. An ardent advocate for music education,
Waters is active as a clinician and guest conductor for middle school, high school, and collegiate bands
and band festivals in Ohio and nationally. He also is a speaker for The Ohio State University Alumni
Association, giving lectures and presentations to alumni groups throughout the nation. Waters is happily
married to Molly, and together they have three children, Aaron, Jacob, and Adelyn.
Aaron Jay Kernis
Winner of the coveted 2002 Grawemeyer Award for Music Composition and the 1998
Pulitzer Prize, Aaron Jay Kernis is among the most esteemed musical figures of his
generation. With his "fearless originality [and] powerful voice" (The New York Times),
Kernis is one of today's most frequently performed composers. His music, full of variety
and dynamic energy, is rich in lyric beauty, poetic imagery, and brilliant instrumental color.
Kernis' works appear prominently on orchestral, chamber, and recital programs world-wide and he has
been commissioned by many of America's foremost performers and institutions including soprano Renee
Fleming; violinists Joshua Bell, Nadja Salerno-Sonnenberg and James Ehnes (for the BBC Proms); pianist
Christopher O'Riley; guitarist Sharon Isbin; the New York Philharmonic; Philadelphia and Minnesota
Orchestras; San Francisco and Seattle Symphonies; Orpheus Chamber Orchestra, Walt Disney Company,
Rose Center for Earth and Space, and the Ravinia Festival. Recent and upcoming commissions include
works for the Santa Fe Chamber Music Festival (for David Shifrin and the Orion String Quartet), eighth
blackbird, a cello concerto for rising star Joshua Roman, and his 3rd string quartet for the Jasper Quartet.
One of America's most honored composers, Kernis was recently inducted into the American Academy of
Arts and Letters and has received countless awards and prizes throughout his career, including the 2011
Nemmers Award from Northwestern University. For ten years, he was New Music Advisor to the
Minnesota Orchestra and served as artistic director of the orchestra's Composer Institute for 15 years. He
currently teaches composition at Yale School of Music, a position he has held since 2003. Kernis' works
have been recorded on numerous labels including Nonesuch, New Albion, Koch, Naxos, Argo, Dorian,
Virgin Classics and Cedille. 2014 brings an upcoming Naxos disc, featuring pianist Andrew Russo, violinist
James Ehnes and the Albany Symphony led by David Alan Miller.
WIND SYMPHONY
Dr. Russel C. Mikkelson, Conductor
Piccolo
Rachel Haug, Winona, MN
Katie Kuvin, Loveland, OH
Alto Saxophone
Aaron Dvorak, Westlake, OH
Trevion Henderson, Houston, TX
Flute
*Rachel Haug, Winona, MN
Katie Kuvin, Loveland, OH
Diane Couzens, Elmhurst, IL
Luke Shultz, Perrysburg, OH
Erica Kodramaz, Mentor, OH
Yusuke Tanaka, Hilliard, OH
Tenor Saxophone
Bryan Glover, Worthington, OH
Oboe
*Kelli Given, Palisade, CO
Louise Vranesevic, Pittsburgh, PA
Leland Greene, Columbia, SC
Bianca Kumar, Niles, MI
English Horn
Louise Vranesevic, Pittsburgh, PA
Bassoon
*Nan-Yu Wu, Taipei, Taiwan
Evan Copeland, Copley, OH
Ashley Rohm, Brecksville, OH
Morgan Gende, Cypress, TX
Contrabassoon
Ashley Rohm, Brecksville, OH
Eb Clarinet
Zachary Dierickx, Hudson, WI
Clarinet
* Dylan Lloyd, Louisville, KY
Evan Lynch, Tucson, AZ
Annika Baake, Glenwood, IA
David Robinson, Austin, TX
Katrina Veno, Madbury, NH
Laura Turkal, Wilmington, NC
Courtney Wales, Decatur, AL
Tanya Mewongukote, Bangkok,
Thailand
Bass Clarinet
Rachel Tookolo, Carmel, IN
Laura Turkal, Wilmington, NC
Contrabass Clarinet
Courtney Wales, Decatur, AL
Baritone Saxophone
*Andrew Lawrence, Wilkes-Barre,
PA
Horn
Josh Michal, Dayton, OH
*A. Joshua Robinson, Dublin, OH
Brad Granville, Gahanna, OH
Devin Gossett, Hillsboro, OH
William Kovaleski, Rushville, OH
Faith Tessmer, Lebanon, OH
Trumpet
*Todd Fessler, Grove City, OH
Ben Joy, Pickerington, OH
Brogan Reilly, Medina, OH
John Vanderhoff, Pickerington,
OH
Jennifer Grimmer, League City, TX
Matt Urbanek, Fairfax, VA
Trombone
*Paul Christodoulou, Albuquerque,
NM
Phil Day, Milford, OH
Dan Stevens, Dublin, OH
Sean DeLong, Bay Village, OH
Bass Trombone
Mitch Filipiak, Gurnee, IL
Euphonium
*Adam Bailey, Dublin, OH
Cam Chandler, Cincinnati, OH
Andrew Desmond, Charlotte, NC
Tuba
*James Green, Cedar Hill, TX
Nick Ater, Clarksburg, OH
Hayden Biedenharn, Hilliard, OH
Percussion
*Mario Marini, Warren, OH
Naomi Marcus, Williston Park, NY
Ben Haimann, Lombard, IL
Nick Dillion, London, OH
Layne Mauldin, Rock Hill, SC
Ashley Williams, Canton, OH
Lane Summerlin, Greensboro, NC
David Counterman, Wellsville, NY
Kevie Bovaird, Pleasanton, CA
Nicholas Enz, Newton, KS
Double Bass
*Steve Patterson, Westerville, OH
Aidan Terry, Columbus, OH
Alan Mason, Olathe, KS
Piano
Quinton Jones, Columbus, OH
Harp
Jeanne Norton, Columbus, OH
Abigail Bachelor, Hilliard, OH
* denotes principal
COLLEGE OF ARTS AND SCIENCES ▪ SCHOOL OF MUSIC
College of Arts and Sciences
David C. Manderscheid, executive dean and vice provost
Mark Shanda, divisional dean, arts and humanities
School of Music
Richard L. Blatti, director
Timothy Leasure, associate director and chair of undergraduate studies
C. Patrick Woliver, associate director and chair of graduate studies
Peter J. Tender, assistant director of operations
School of Music – Wind and Percussion Faculty
Katherine Borst Jones, flute
Robert Sorton, oboe
Karen Pierson, bassoon
Caroline Hartig, clarinet
James Hill, saxophone
Timothy Leasure, trumpet
Bruce Henniss, horn
Joseph Duchi, trombone
James Akins, euphonium/tuba
Susan Powell, percussion
Joseph Krygier, percussion
Band Department Personnel
Russel C. Mikkelson, director of bands
Scott A. Jones, associate director of bands
Jonathan Waters, associate director of bands, director of marching
and athletic bands
Christopher Hoch, assistant director of bands, associate director of
marching and athletic bands
Michael Smith, assistant director of marching and athletic bands
Nicholas Enz, doctoral conducting associate
Andrew Lawrence, master’s conducting associate
Phil Day, master’s conducting associate
Evan Lynch, doctoral teaching associate
John Brennan, master’s teaching associate
Tom Cook, administrative assistant for bands
James Broadhurst, instrument room manager
Program Design • Joseph Krygier
Cover Photo Credit • Nick Fancher
THE OHIO STATE UNIVERSITY WIND SYMPHONY
Conducted by Dr. Russel C. Mikkelson, The Ohio State University Wind Symphony is widely recognized
as one of the country’s elite wind bands. Building on the proud tradition and accomplishments of the
Ohio State Concert Band, the Wind Symphony is populated by the most accomplished brass, woodwind
and percussion musicians in the School of Music. Committed to the creation of new music for winds, this
ensemble has commissioned music by composers including Frank Ticheli, William Bolcom, Aaron Jay
Kernis, David Maslanka, Eric Stokes, John Mackey, Steven Bryant, Carter Pann, Michael Gilbertson, Johan
DeMeij, Dan Welcher, David Gillingham, John Stevens, Donald Crockett, Daniel Godfrey, Charles
Rochester Young and many others.
One of the goals of the Wind Symphony is to provide students opportunity to interact with some of the
leading composers and musical minds of our time. Visitors have included such notable musicians as John
Corigliano, Lukas Foss, Krzysztof Penderecki, Gunther Schuller, Joseph Schwantner, Jennifer Higdon,
Frank Ticheli, Augusta Read Thomas, John Mackey, John Stevens, Steven Bryant, David Gillingham, and
Percy Grainger biographer John Bird. Graduates of the Wind Symphony hold positions as professional
orchestral musicians, soloists, conductors, members of the Washington-based military bands, university
professors, and some of the world's leading music educators.
Since 2000 the Wind Symphony has recorded five compact discs including Sounds, Shapes and
Symbols (Mark Records, 2001), Jubilare! (Mark Records, 2003), Winds of Nagual (Naxos, 2007), Southern
Harmony (Naxos, 2009) and Rest (Naxos, 2012). The Wind Symphony has performed at the 2003 College
Band Directors National Association Convention, the Ohio Music Educators Association Conference six
times (2000, 2004, 2006, 2008, 2011, 2013), with BalletMet Columbus (2003, 2011), and presents
numerous performances both on and off campus.
THE OHIO STATE UNIVERSITY • SCHOOL OF MUSIC
As one of the largest universities in the world, The Ohio State University offers a wealth of resources on
its beautiful campus. In the midst of this educational community, the School of Music is part of the
College of Arts and Sciences, the academic heart of the university. The school is a unit large enough to
take advantage of the endless possibilities provided by a world-class university, yet small enough to
attend to the individual needs of its students. Its faculty of more than sixty professors – including
nationally and internationally recognized performing artists, composers, scholars, and master teachers serves a student body of approximately 400 undergraduate and 200 graduate music majors, as well as
serving the needs of as many non-music majors. The school recognizes the relationship that binds music
to other academic and artistic disciplines and provides students with a comprehensive education,
preparing them for professional careers in composition, performance, scholarship, and teaching. Faculty
and students present over 300 performances annually that enrich not only the academic environment but
also the culture of the surrounding community. In keeping with the university’s broader mission, the
school is committed to nurturing the best of Ohio’s students, while maintaining excellence and diversity
by recruiting nationally and internationally.
JOIN US...
The School of Music welcomes you to campus for
hundreds of student ensemble, faculty and guest artist
performances throughout the year. Spring Semester Highlights
37th Annual Jazz Festival
Thursday–Sunday, March 27–30
Weigel Auditorium
Drums Downtown X
OSU Percussion Ensemble and Department of Dance
Friday and Saturday, April 4-5 • 8 pm
Capitol Theatre • Riffe Center
Lyric Opera presents
Britten's The Rape of Lucretia
Thursday, April 17 and Saturday, April 19
Bowen Theatre • Drake Performance Center
Youth Summer Music Programs 2014
Flute Workshop • June 15-19
Jazz Camp • June 15-19
Morning String Student Workshop • June 16-July 2
Clarinet Academy • June 22-26
Details and registration at music.osu.edu
School of Music
110 Weigel Hall
1866 College Road
Columbus, Ohio 43210