Illinois State University
College of Fine Arts
School of Music
____________________________________________________________________________________________
Symphonic Band
and
University Band
Dan Dietrich, ​conductor
Shannon Shaffer, ​conductor
​Center
This is the thirteenth program of the 2015-2016 season.
for the Performing Arts
Thursday Evening
October 6, 2016
8:00 p.m.
Program
University Band
Shannon Shaffer, ​conductor
A Tallis Prelude ​(1989)
Douglas Akey
(born 1957)
3:30
Sleep ​(2003)
Eric Whitacre
(born 1970)
5:30
Abracadabra ​(2004)
Frank Ticheli
(born 1958)
4:30
Johannes Krohn, ​conductor
Washington Post March ​(1889)
John Philip Sousa
(1854-1932)
2:30
Symphonic Band
Dan Dietrich, ​conductor
The Sinfonians ​(1960)
Lauds ​(1950)
An American Elegy ​(2000)
Clifton Williams
(1923-1976)
6:00
​Ron Nelson
(born 1929)
Frank Ticheli
(born 1958)
11:00
Overture to ​“Nabucco” ​(1841)
Giuseppe Verdi
(1813-1901)
10:00
In Storm and Sunshine ​(1885)
John Clifford Heed
(1862-1908)
2:30
Program Notes
Welcome to Illinois State University! Thank you for joining us for today’s performance of the ISU
University Band and Symphonic Band. We hope that you will enjoy our concert and that you might
consider joining us again for future performances at the ISU School of Music. Please visit
http://www.bands.illinoisstate.edu for more information. Thank you for your support!
​Douglas
Akey (b. 1957) taught elementary and junior high
band in Tempe, Arizona for eight years and is presently Music
Department Chairman at Hendrix Junior High School in Chandler,
Arizona. He was the 1985 recipient of the American School Band
Directors Association’s Stanbury Award as the outstanding young
elementary/junior high school band director in the United States. In
addition to his teaching, he also maintains an active career as a
performer and is currently principal horn in the Tempe Symphony
Orchestra. His fresh compositional style for band reflects this broad
musical background, and Queenwood Publications is proud to present
this bright talent.
- Biography courtesy of Queenwood Young Band Series
A Tallis Prelude (1989) is based on a melody written by Thomas Tallis, a sixteenth century English
composer. This melody, written in the Phrygian mode, has a powerful yet haunting quality about it. ​A
Tallis Prelude preserves the use of the Phrygian mode whenever Tallis’ theme is present, using the
relative major key for most of the original and derived themes.
The opening is in a sustained and chorale-like style. The percussion strokes in measures twelve and
fourteen should be very powerful, with the brass section swelling up over the woodwinds in measure
six. The articulations should be very strong, imitating the bell tone effect of the mallet instruments.
The ensemble should cleanly and sharply articulate all unmarked eighth notes beginning at measure
thirty-two. Use of the specified mallets in the percussion will complement the articulation in the winds.
The tenuto line on some accompanying eighth notes is used to avoid the sound of being “chopped
short,” however, there should still be a sense of space or lift at the eighth rests. The style in measures
fifty-six through seventy-one is much more lyrical. From measure 100 to the end it is especially
important to follow the dynamic markings closely, as they are often not the same for all instruments and
are designed to expose certain musical lines.
It is important that all players, especially the percussionists, pay close attention to the accents
throughout the ​Allegro ritmico section. It would be appropriate for the conductor, after the students are
comfortable playing the notes and rhythms, to conduct certain measures as though they were noted in
6/8 time.
- Program notes courtesy of Queenwood Young Band Series
​Eric
Whitacre (b. 1970) is a Grammy-winning composer and conductor, and one of the
most popular musicians of our time. His concert music has been performed throughout the world by
millions of amateur and professional musicians alike, while his ground-breaking Virtual Choirs have
united singers from over 110 different countries. A graduate of the prestigious Juilliard School of
Music, Eric was recently appointed Artist in Residence with the Los Angeles Master Chorale having
completed a five-year term as Composer in Residence at Sidney Sussex College, Cambridge
University, UK.
A sought after guest conductor, Eric has conducted choral and instrumental concerts around the globe,
including sold-out concerts with the London Symphony Orchestra, Royal Philharmonic Orchestra and
the Minnesota Orchestra.
- Biography courtesy of the composer
Sleep (2003)
In the winter of 1999 I was contacted by Ms. Julia Armstrong, a
lawyer and professional mezzo-soprano living in Austin, Texas.
She wanted to commission a choral work from me that would be
premiered by the Austin ProChorus (Kinley Lange, cond.), a
terrific chorus in which she regularly performed.
The circumstances around the commission were certainly
memorable. She wanted to commission the piece in memory of her
parents, who had died within weeks of each other after more than
fifty years of marriage; and she wanted me to set her favorite
poem, Robert Frost’s immortal ​Stopping By Woods on a Snowy
Evening, to music. I was deeply moved by her spirit and her
request, and agreed to take on the commission.
I took my time with the piece, crafting it note by note until I felt that it was exactly the way I wanted it.
The poem is perfect, truly a gem, and my general approach was to try to get out of the way of the words
and let them work their magic. We premiered the piece in Austin, October 2000, and the piece was well
received. Rene Clausen gave it a glorious performance at the ACDA National Convention in the spring
of 2001, and soon after I began receiving letters, emails, and phone calls from conductors trying to get a
hold of the work.
And here was my tragic mistake: I never secured permission to use the poem. Robert Frost’s poetry has
been under tight control from his estate since his death, and until a few years ago only Randall
Thompson (​Frostiana) had been given permission to set his poetry. In 1997, out of the blue, the estate
released a number of titles, and at least twenty composers set and published ​Stopping By Woods on a
Snowy Evening for chorus. When I looked online and saw all of these new and different settings, I
naturally (and naively) assumed that it was open to anyone. Little did I know that the Robert Frost
Estate had shut down ANY use of the poem just months before, ostensibly because of this plethora of
new settings.
After a LONG legal battle (many letters, many representatives), the estate of Robert Frost and their
publisher, Henry Holt Inc., sternly and formally forbid me from using the poem for publication or
performance until the poem became public domain in 2038.
I was crushed. The piece was dead, and would sit under my bed for the next thirty-seven years because
of some ridiculous ruling by heirs and lawyers. After many discussions with my wife, I decided that I
would ask my friend and brilliant poet Charles Anthony Silvestri (​Leonardo Dreams of His Flying
Machine, ​Lux Aurumque, ​Nox Aurumque, ​Her Sacred Spirit Soars) to set new words to the music I had
already written. This was an enormous task, because I was asking him to not only write a poem that had
the exact structure of the Frost, but that would even incorporate key words from “Stopping”, like
‘sleep’. Tony wrote an absolutely exquisite poem, finding a completely different (but equally beautiful)
message in the music I had already written. I actually prefer Tony’s poem now…
And there it is. My setting of Robert Frost’s ​Stopping By Woods on a Snowy Evening no longer exists.
And I won’t use that poem ever again, not even when it becomes public domain in 2038.
- Program notes courtesy of the composer
​Frank
Ticheli (b. 1958) is a composer whose music has
been described as being “optimistic and thoughtful” (Los Angeles
Times), “lean and muscular” ​(The New York Times), “brilliantly
effective”​(Miami Herald) and “powerful, deeply felt crafted with
impressive flair and an ear for striking instrumental colors” ​(South
Florida Sun-Sentinel). Ticheli joined the faculty of the University of Southern California’s Thornton
School of Music in 1991, where he is Professor of Composition. From 1991 to 1998, Ticheli was
Composer in Residence of the Pacific Symphony.
Ticheli is well known for his works for concert band, many of which have become standards in the
repertoire. In addition to composing, he has appeared as guest conductor of his music at Carnegie Hall,
at many American universities and music festivals, and in cities throughout the world, including
Schladming (Austria), Beijing and Shanghai, London and Manchester, Singapore, Rome, Sydney, and
numerous cities in Japan.
Ticheli received his doctoral and master’s degrees in composition from The University of Michigan.
His works are published by Manhattan Beach, Southern, Hinshaw, and Encore Music, and are recorded
on the labels of Albany, Chandos, Clarion, Klavier, Koch International, Mark and Naxos.
- Biography courtesy of University of Southern California Thornton School of Music
Abracadabra (2004)
Abracadabra was orchestrated in November of 2004 during a residency at the MacDowell Colony. The
piece is dedicated to my son, and is at once playful and serious, innocent and mischievous. A sense of
mystery pervades as the dark key of G minor is balanced by sudden shifts to bright and sunny major
keys. Throughout the composition I was thinking about magic, not in an evil or frightening sense, but
as a source of fun and fantasy. My wonderfully playful, sometimes mischievous young son was always
in the back of my mind, as were images of Halloween with its costumes and jack-o’-lanterns. As the
piece nears its conclusion, the music rushes toward what seems to be an explosive finish. But the
woodwinds interrupt, fanning out to a questioning whole-tone cluster. They are answered by a puff of
sound, a final disappearing act.
In strictly musical terms, the piece is as clear an example of musical economy as anything I’ve
composed. Almost everything is derived from the opening bars of the main theme. Indeed, virtually
every note can be traced to the main melody or its accompaniment. Because of this heightened sense of
unity, I had to choose other ways to achieve musical variety. The most important solution was through
the sudden and frequent shifts of mood, mode, and tonality.
- Program notes courtesy of the composer
​John
Philip Sousa (​ 1854-1932) was born in
Washington, D.C. on November 6, 1854. He received his early
education in Washington public schools, while simultaneously
studying music at a private conservatory. At age thirteen, he
enlisted in the U.S. Marine Band as a "boy" (apprentice) musician,
but he also continued his private music studies.
In 1880, he was appointed leader of the U.S. Marine Band and held
this position for twelve years, eventually molding the band into the
finest military band in the world. Sousa resigned from the Marine
Corps in 1892 to form his own civilian band. In a matter of months
this band assumed a position of equality with the finest symphony
orchestras of the day. People throughout the world flocked to see
"The March King" during his many American and worldwide
tours. He employed a principle that endeared him to the public: everything was played to perfection,
whether it was a classical masterpiece or a popular song.
Sousa's musical compositions represent a heritage that belongs not only to Americans, but also to vast
numbers of music lovers around the world. His influence on American musical tastes is remarkable,
and much of his influence spread abroad. The Sousa band traveled the world in 1910-1911, made four
additional tours of Europe, and annual tours of America.
Although Sousa is stereotyped as a march composer, he composed music of many forms, including
fifteen operettas. Among his many original works for band are suites, humoresques, fantasies,
descriptive pieces, and dances. In addition to the over 200 songs of his operettas, he composed seventy
other vocal works, and many of these vocal works were transcribed for use with the Sousa Band.
Sousa died suddenly following a rehearsal of the Ringgold Band in Reading, Pennsylvania on March 6,
1932.
- Biography courtesy of the Library of Congress
Washington Post March (1889) was written to help promote an essay contest sponsored by the
newspaper of the same name. With Sousa conducting, it was premiered by the U.S. Marine Band
during the distribution of the essay prizes on the Smithsonian Museum ground in Washington, D.C.
The 6/8 march happened to be appropriate for a new dance called the two-step and soon became the
most popular hit tune in both America and Europe. Although he received only twenty-five dollars for
its publication, Sousa was quickly inundated with requests for more marches. Of his 136 marches, ​The
Washington Post and ​The Stars and Stripes Forever have been the most widely known.
- Program notes courtesy of Norman E. Smith’s Program Notes for Band
​Clifton
Williams (1923–1976) was born in Traskwood,
Arkansas. He began playing French horn, piano, and mellophone
early on and played in the band at Little Rock High School. In his
senior class of 600, he was voted for being the most outstanding in
artistry, talent, and versatility.
As a professional horn player he would go on to perform with the
San Antonio and New Orleans Symphony Orchestras. Williams also
served in the Army Air Corps band as a drum major,
composing in his spare time.
He attended Louisiana State University (B.M., 1947) where he was a
pupil of Helen Gunderson and the Eastman School of Music (M.M.,
1949) where he studied with Bernard Rogers and Howard Hanson.
During his musical studies at Louisiana State University, Williams joined the fraternity Phi Mu Alpha
Sinfonia, the largest, oldest musical fraternity in America.
- Biography courtesy of Norman E. Smith’s Program Notes for Band
The Sinfonians (1960) was commissioned by the Phi Mu Alpha Sinfonia Fraternity of America. It
opens with an extended fanfare introduction before the horns state the familiar Sinfonian theme: "Hail
Sinfonia! Come, brothers, hail!" The words are by Charles Lutton set to the music of Arthur Sullivan.
The melody is then completed, embellished, and extended in the style of the composer. The work is
dedicated to Archie N. Jones, former president of the fraternity and later director of that organization's
foundation. Williams conducted the first performance at the fraternity's national convention in
Cincinnati, Ohio, in July 1960.
- Program notes courtesy of Foothill Symphonic Winds
​Ron
Nelson (b. 1929) was born December 14, 1929 in
Joliet, Illinois. He received his bachelor of music degree in 1952,
the master’s degree in 1953, and the doctor of musical arts degree
in 1957, all from the Eastman School of Music at the University of
Rochester. He studied in France at the Ecole Normale de Musique
and at the Paris Conservatory under a Fulbright Grant in 1955. Dr. Nelson joined the Brown University
faculty the following year, and taught there until his retirement in 1993.
In 1991, Dr. Nelson was awarded the Acuff Chair of Excellence in the Creative Arts, the first musician
to hold the chair. In 1993, his ​Passacaglia (Homage on B-A-C-H) made history by winning all three
major wind band compositions – the National Association Prize, the American Bandmasters
Association Ostwald Prize, and the Sudler International Prize. He was awarded the Medal of Honor of
the John Philip Sousa Foundation in Washington, DC in 1994. In 2006, he was awarded an honorary
doctorate from Oklahoma City University.
Dr. Nelson has received numerous commissions, including those from the National Symphony
Orchestra, Rochester Philharmonic, the USAF Band and Chorus, Rhode Island Philharmonic, Aspen
Music Festival, Brevard Music Center, Musashino Wind Ensemble, and countless colleges and
universities. He has also received grants and awards from The Rockefeller Foundation, the Howard
Foundation, ASCAP, and several from the National Endowment for the Arts.
Dr. Nelson has appeared as a guest composer and conductor at a large number of colleges and
universities, including Illinois, Yale, North Texas State, Western Michigan, Sam Houston, Lawrence,
Dartmouth, Southern Maine, CalTech, MIT, and Princeton.
*He should not be confused with Ronald A. Nelson, an arranger/composer of choral music.
- ​Biography courtesy of the composer
Lauds (1950) is an exuberant, colorful work intended to express feelings of praise and glorification.
Lauds is one of the seven canonical hours that were selected by St. Benedict as the times the monks
would observe the daily offices. Three (​terce, ​sext, and ​none) were the times of the changing of the
Roman guards and four (​matins, lauds, vespers, and compline) were tied to nature. ​Lauds, subtitled
Praise High Day, honors the sunrise; it is filled with the glory and
excitement of a new day.
Lauds received its world premiere by the United States Air Force Band under the direction of Lt. Col.
Alan L. Bonner at the College Band Directors National Association/National Band
Association Conference in Charlotte, North Carolina on January 24, 1992.
​- Program notes courtesy of Wind Band Literature
​Frank
Ticheli ​(1958)
*See biography above
An American Elegy (2000) was composed in memory of those who lost their lives at Columbine
High School in 1999 and in honor of the survivors. Ticheli said, "It is offered as a tribute to their great
strength and courage. I hope the work can also serve as one reminder of how fragile and precious life is
and how intimately connected we all are as human beings." Calling the work "an expression of hope,"
Ticheli incorporated the school's Alma Mater in the closing section.
- Program notes courtesy of the Claremont Winds
​Giuseppe
Verdi (1813-1901) was born Giuseppe
Fortunino Francesco Verdi in October 1813, in the community of Le
Roncole, near Busseto in the province of Parma, Italy.
Verdi first developed musical talents at a young age, after moving
with his family from Le Roncole to the neighboring town of Busseto.
There, he began studying musical composition under Vincenzo
Lavigna, a famous composer from Milan.
Verdi got his start in Italy's music industry in 1833, when he was hired as a conductor at the
Philharmonic Society in Busseto. In addition to composing, he made a living as an organist around this
time. Three years later, in 1836, Verdi wed Margherita Barezzi, the daughter of a friend, Antonio
Barezzi.
Verdi held a prominent reputation in Italy's operatic theater scene and, later, in the country's political
scene as well. He became known for his skill in creating melody and his profound use of theatrical
effect. His rejection of the traditional Italian opera for integrated scenes and unified acts only added to
his fame.
For the rest of the 1840s, and throughout the 1850s, '60s, and '70s, Verdi continued to garner success
and fame. In 1874, Verdi completed ​Messa da Requiem (best known simply as ​Requiem), which was
meant to be his final composition. He retired shortly thereafter.
- ​Biography courtesy of biography.com
Overture to Nabucco (1841) was first performed at La Scala in Milan in 1842. Verdi commented
that "this is the opera with which my artistic career really begins. And though I had many difficulties to
fight against, it is certain that Nabucco was born under a lucky star.” The opera follows the plight of the
Jews as they were assaulted, conquered, and subsequently exiled from their homeland by the
Babylonian King Nabucco (Nebuchadnezzar). The historical events are used as background for a
romantic and political plot.
​- Program notes courtesy of the Vermont Philharmonic
​John
Clifford Heed (1862-1908) was an American
composer and musician, best known for composing over sixty
marches. Born in Hackettstown, New Jersey, on April 23, 1862,
Heed began his musical career with the Hackettstown Cornet Band
at
age eleven. By age seventeen, he was the leader of this band and he
had mastered with astonishing rapidity the intricacies of harmony
and counterpoint. He became proficient on the piano and violin,
and could play most band instruments. In 1882, he had the
opportunity to travel with a noted English orchestra through the
United States. The cornetist that had come with the orchestra
became ill and was sent back to England. Heed was highly
recommended and was engaged to fill the cornetist's place. He received encomiums from the press and
public in every city and town visited. A year later, in 1883, Heed accepted an engagement to become
the leader of the Providence Brigade Band. This was a position that he held until he was called back to
New Jersey to conduct another orchestra and band. Soon thereafter, he went to Worcester,
Massachusetts and spent eight years as a teacher of bands. His next position was a cornetist for Voss's
First Regiment Band in Newark, New Jersey. It was after the Metronome article was written that Heed
went with John Phillip Sousa's band as a soloist and arranger before contracting tuberculosis in the
1890s and dying in Newark, New Jersey on February 12, 1908. He was buried near his family in Union
Cemetery in Hackettstown, New Jersey.
- ​Biography courtesy of Norman E. Smith, March Music Notes
In Storm and Sunshine (1885) belongs to a category of marches known as circus marches,
“screamers,” and “barn burners.” The fast tempo and exciting pounding rhythms are meant to
accompany the chaos and thundering hooves of four-footed animals running into a circus arena instead
of the steady, regimented pulse of men marching. Although nearly all of Heed’s marches were written
after ​In Storm and Sunshine, it has remained the most popular. In ​Storm and Sunshine, has all of the
components of a great march: a strong attention-grabbing introduction, dynamic contrasts ranging from
fortississimo down to a bar of silence, technical melodies for both treble and bass melodies, and a
melody in the last strain that everyone can remember. The piece alternates between major and minor
modes, hence the “storms” and the “sunshine.” Whether Heed had the circus in mind when he wrote
this march is unknown, but it has been a top favorite as well as a concert highlight throughout most of
the twentieth century.
​- Program notes courtesy of The University of Texas
​Dan
Dietrich holds both Bachelor's and Master's Degrees
in Music Education from Illinois State University. Dan retired in
2010 after thirty-three years of teaching, thirty of which he spent as
the Director of Bands at Illinois Valley Central High School of
Chillicothe. The IVC Band is well known around the state of Illinois
due to the quality of its well rounded program and its numerous
appearances at State and National Events. Under his direction, the
Marching Grey Ghosts were Class State Champions eleven times and
placed six times. In 2003, IVC was the first band in nineteen years to
win both its class at the State of Illinois Marching Band
Championship and the coveted Governor’s Trophy at the University
of Illinois Marching Band Festival. IVC Bands have performed at the
Holiday Bowl, Fiesta Bowl, Gator Bowl, Indy 500 Parade and Race,
Holland Michigan Tulip Festival Parade, The Kentucky Derby
Parade, the Citrus Bowl Parade, Mount Rushmore, the National Memorial Day Parade, Washington
DC, and the Hui Ana Parade in Honolulu. The IVC Band program has had up to three concert units
under his direction. The top Band, the IVC Wind Ensemble, has received only Superior Ratings at State
contests since 1980 and has been asked to perform at Illinois Music Educator’s State Convention, State
PTA, American Legion, and Township Officials Conventions. The IVC Jazz Band One has
consistently placed in the top three at the prestigious “Jazz in the Meadows” festival and was a finalist
in 2008. That same year Jazz I performed at the Illinois Music Educator’s All State Convention. The
Jazz Program has produced several All State musicians over the years, many of whom have gone on to
professional careers.
Dan served on the Illinois High School Association Music Committee and was given a Distinguished
Service Award for his efforts in re-organizing the State's Music Contests. For six years, Dan was the
Assistant to the Director of the IHSA and oversaw all their music related activities. In 2007, he received
Outstanding Music Educator Award from the National Federation of High School Associations. For
seventeen years, he was in charge of logistics and equipment for the Illinois Music Educators State
Convention in Peoria. For that service the IMEA awarded him its Distinguished Service Award in
2007. He has been a Guest Conductor, Clinician, Lecturer at schools, festivals, and workshops
throughout the Midwest. In 1999, School Band and Orchestra Magazine named Dietrich as one of its
“50 Directors that Make a Difference.” In 2003, he received the “Friend of Youth Award” from the
Optimist Club.
Mr. Dietrich is also an active performer. He has been the featured trombone soloist with the Prairie
Wind Ensemble four times. He has performed with the Peoria Symphony Orchestra, the Peoria Opera
Orchestra, the Peoria Municipal Band, the Pontiac Municipal Band, Corn Stock Theater and Peoria
Players Theater, Central Illinois Brass Band, the Central Illinois Jazz Orchestra, and the River Valley
Brass Ensemble.
Since retiring, Dan has been active as the low brass instructor for Streator, Normal West, Washington,
and Metamora High Schools, where he has over forty private students. He is an Assistant Professor of
Clinical Experiences at Illinois State University where he observes and mentors student teachers for the
music department and is now conducting the Symphonic Band.
- Biography courtesy of the conductor
University Band Personnel
Shannon Shaffer, ​conductor
Flute
Kelsey Anello
Kaity Bricker
Anamarija Dimevska
Larisa Falconer
Mary Gerbatsch
Marissa Hartke
Makenzie Heinen
Malea Holm
Jesenia Kolimas
Anna Krecklow
Hannah Maack
Maggie Miller
Amanda Rodriguez
Angela Taylor
Jessica Thurman
Anna Yakey
Oboe
Margaret Bourdon
Ye Jin Jang
Bassoon
Brandon Johnson
Ashley Peterson
Jessica Sorg
Clarinet
Alyssa Arkin
Rebecca Behrendt
Jack Blahnik
Katherine Cosenza
Bailey Craig
Melissa Fowler
Miranda Hilliard
Collin Marcum
Maddie McDonald
MaLana McCloud
Juan Moon
Ellie Phillis
Tiara Redmond
Edward Sulaitis
Terri Thomas
Bass Clarinet
Kyle Abel
Andrew Hinderliter
Saxophone
Delaney Brummel
Jeffrey Burke
Bill Darrow
Catalina Hernandez
Noelle Ortega
Michael Rickey
Jennifer Roesler
Scott Stewart
Andrew Stouffer-Lerch
Horn
Amanda England
William Felgenhauer
Erin Jessup
Trumpet
Liam Farrell
Samuel Foster
Ricky King
Elizabeth Kraus
Jamie Rago
Grace Steinke
Trombone
Hailee Brauer
Tyler Dietz
Hannah Lehmann
Scott Piekarski
Robert Skogh
Tom Sturino
Billy Wright
Luke Walker
Euphonium
Darius Echols
Ryan Guerin
Jacob Veyette
Tuba
Nick Klecki
Faith Potetti
Percussion
Benjamin Dahms
Nicole Gregor
Andrew Kenny
Mitch Martin
Kimberly Nicholson
Antonio Rodriquez
Ethan Stoneburner
Symphonic Band Personnel
Dan Dietrich, ​conductor
Flute
Brennon Best
Ivette Enriquez
Anna Howell
Melissa Fulkes
Sarah Lange
Amelia O’Donnell
Jonathan Popper
Sarah Rasmussen*
Ryan Starkey
McKayla Scroggins
Clare Takash
Meghan Wilson
Oboe
Alyssa Dees
Colleen Horne
Bassoon
Courtney Baltzer
Emma Scalf
Clarinet
Lydia Armour
Lauren Crumble*
Madison Klintworth
Caitlin Massey
Nathaniel Reginald
Andrea Ruiz
Terri Thomas
Bass Clarinet
Sam Green
Saxophone
Matthew Garbin*
Katelyn Luckett
Ben Long
Andrea McAfee
Tony Raff
Horn
Katie Battista*
Rebecca Hartmann
Laura Tam
Kristin Wooldridge
Trumpet
Amy Caulk
Tom Gloodt*
Nessa Guerra
Timothy Linden
Ben Mussell
Robin Olmsted
Noah White
Abbey Wolski
Trombone
Emma Benjamin
Darius Echols
Emanuel Guzman*
Elias Karris
Andrew Thul
Bass Trombone
Stephen Dupré
Eric Gilardon
Raahmedd Williams
Euphonium
Giovanni Avila
Matthew Fink
Greg Watson*
Tuba
Andrew Bilgri*
Jeffrey Humphrey
Michael Mayer
Jim Wellwood
Percussion
Ryan Brennan
Matt Cowsert
Laura Hanson
Jakob Kocanda
Alejandra Martinez-Aviles
Anh Nguyen
Sam Price
Daniel Rehm
Isaac Soares
Chuck Willard*
Acknowledging the important contributions of all ensemble members, this list is in alphabetical order.
*Denotes Section Leader
THANK YOU
Illinois State University College of Fine Arts
Jean Miller, ​Dean
Shari Zeck, ​Associate Dean
Laurie Merriman and Janet Tulley, ​Assistant Deans
Illinois State University School of Music
A. Oforiwaa Aduonum, ​Ethnomusicology
Allison Alcorn, ​Music History
Debra Austin, ​Voice
Mark Babbitt, ​Trombone
Elizabeth Batiuk, ​Ethnomusicology
Glenn Block, ​Orchestra and ​Conducting
Karyl K. Carlson, ​Director of Choral Activities
Renee Chernick, ​Group ​Piano
David Collier, ​Percussion ​and ​Associate Director
Andrea Crimmins, ​Music Therapy
Peggy Dehaven, ​Office Support Specialist
Gina Dew, ​Music Education Advisor
Judith Dicker, ​Oboe
Michael Dicker, ​Bassoon
Daniel Dietrich, ​Bands
Geoffrey Duce, ​Piano
Ellen Elrick, ​Music Education
Tom Faux, ​Ethnomusicology
Angelo Favis, ​Graduate Coordinator ​and ​Guitar
Timothy Fredstrom, ​Music Education
Sarah Gentry, V
​ iolin
Amy Gilreath, T
​ rumpet
David Gresham, C
​ larinet
Mark Grizzard, T
​ heory and C
​ omposition
Christine Hansen, L
​ ead Academic Advisor
Kevin Hart, J​ azz Piano and T
​ heory
Martha Horst, T
​ heory and C
​ omposition
Mona Hubbard, O
​ ffice Manager
Lauren Hunt, H
​ orn
John Michael Koch, V
​ ocal Arts Coordinator
Shela Bondurant Koehler, M
​ usic Education
William Koehler,​ String Bass and Music Education
Marie Labonville, M
​ usicology
Katie Leemhuis, V
​ oice
Katherine J. Lewis, V
​ iola
Roy D. Magnuson, T
​ heory a​ nd C
​ omposition