Finale Gala Concert 2024

II. Adagio

Violin, Jesse Arnt
Cello, Atlas Momier
Piano, Sona Karande

Mia Vinod, Violin
Yaikah Jow, Violin
Peyton Kani, Cello

I. Allegro

Violin I, Josie Pelster
Violin II, Emily Payne

Brass Ensemble

Henry Brooks, Tuba
Denver Lindsay, Baritone
Eva Fuhr, Trumpet
Alex Dayal, Trumpet
Bodhi Chittick, Trumpet

Flute, Ellie Littmann
Violin, Izzy
Cello, Atlas Momier

Evelyn Chen, Violin
Sruthi Maheshkumar, Violin
Naisha Garuda, Violin
Viviana Jurkovich, Cello

II. Adagio

Clarinet I, Ronja king
Clarinet II, Geo Roturier

Alto Saxophone Ensemble

Charles Jow
Damian Fuentez
Finn Trecoske Houghton

Theme

Violin, Lucas Menza
Viola, Micah Marshall
Cello, Ryan Larson

Ethan Liu, Violin
Siddarth Rajasekhakan, VIolin
William Quinlan, Cello

I. Doucement

II. Gourante

III. Menuet

Flute I, Xander Schreurs
Flute II, Ellie Littmann
Flute III, Angela Xu

Mixed Ensemble

Lyra Klinger, Flute
Evan Hingst, Percussion
Travis Plaster, Trumpet

Violin I, Jesse Arnt
Cello, Kayla Uemura

I. Allegro

Cello I, Kayla Uemura
Cello II, Atlas Momier

II. Andante

Horn, Joseph Lee
Trumpet, Connor Lindsay
Trombone, Owen Simon

I. Allegro con spirito

Violin I, Amin Benmellah
Violin II, Arthur Woodworth
Violin III, Vincent Stone
Violin IV, Evan Green

II. Allegro Assai

Violin I, Adam Wegner
Violin II, Ana Van Dusen
Viola, Finn Wootton
Cello, Kayla Uemura

Violins
Evelyn Chen
Yaikah Jow
Ethan Liu
Sruthi Maheshkumar
Siddarth Rajasekhakan
Mia Vinod

Cello
Viviana Jurkovich
Peyton Kani
William Quinlan

Based on Zydeco music and Cajun fiddling style, this clever arrangement passes tunes playfully from one section to another, sometimes over a pizzicato walking bass line.

1. Square Dance - A quick and fun fiddle tune.

2. Round Dance - Mellifluous melody played in a round.

3. Triangle Dance - Tarantella style piece featuring... The Triangle!

Flute
Lyra Klinger

Alto Sax
Damian Fuentez
Charles Jow
Finn Trekoske Houghton

Trumpet
Bodhi Chittick
Alex Dayal
Eva Fuhr
Traivs Plaster

Baritone
Denver Lindsay

Trombone
Ace DiMarco

Tuba
Henry Brooks

Percussion
Evan Hingst

Dark Energy is a piece for young band that channels a cinematic energy of light and dark. The work is set in a minor key to channel the "darkness". In momentarily modulates to a major mode to represent the contrasting light.

Robert L. Lee is an American composer and educator. He received his Bachelor’s of Music Education from Troy University and his Master’s of Music Education from the University of Southern Mississippi.

He is the director of bands at Beverlye Magnet School, in Dothan, Alabama, an accelerated academic and fine arts school for grades 6-8. His bands have consistently received superior ratings and have also been awarded the Band of Distinction Award.

Much of his research and study has focused on developing supplementary methods and practices to develop young ensembles. He has numerous published works that aim to build and improve young bands.

Apart from teaching and composing, he is also a freelance trombonist, and plays in orchestras and chamber performance venues across the southeastern United States.

Lincolnshire Posy is a piece by Percy Grainger for concert band composed in 1937 for the American Bandmasters Association. Considered Grainger's masterpiece, the 16-minute-long work is composed of six movements, each adapted from folk songs that Grainger had collected on a 1905–1906 trip to Lincolnshire, England.

Grainger wrote, "The last number of my set (The Lost Lady Found) is a real dance-song -- come down to us from the days when voices, rather than instruments, held village dancers together. Miss Lucy E. Broadwood, who collected the tune, writes of its origins as follows, in her English Traditional Songs and Carols (Boosey & Co.):"

Mrs. Hill, an old family nurse, and a native of Stamford (Lincolnshire), learned her delightful song when a child, from an old cook who danced as she sang it, beating time on the store kitchen-floor with her iron pattens. The cook was thus unconsciously carrying out the original intention of the 'ballad', which is the English equivalent of the Italian 'baletta' (from ballare, 'to dance'), signifying a song to dance-measure, accompanied by dancing.

Lost Lady Found is a quick, jumpy, straight 3/4 melody with usual accompaniment patterns. It is often conducted "in 1" rather than "in 3". This setting features a constantly repeating motif interrupted by one "bridge" section. Almost every section of the band is featured with the melody in this fast-paced finale.

Robert Sheldon's "Conundrum" takes you on a whimsical journey through a musical puzzle. A conundrum, by definition, is a question or problem with a perplexing or difficult answer. This piece reflects that spirit, presenting a series of musical ideas that twist and turn, keeping the listener guessing what will come next. The composer cleverly uses musical techniques to create a sense of mystery. Sharp melodies might be answered by unexpected harmonies, or playful rhythms could give way to moments of suspense. Pay attention to how the instruments interact, building on each other's ideas and creating a sense of conversation.

Flute
Alexander Schreurs
Ellie Littmann
Angela Tran

Oboe
Ronja King
Jacob Carrillo

Clarinet
Oliver Sitja Sichel
Sona Karande
Geo Roturier

Horn
Joseph Lee
Calvin Ahrens

Trumpet
Connor Lindsay
Gabriel Thorson

Trombone
Owen Simon

Timpani/Percussion
Abby Gabbard

Piano
Sona Karande

Violin I
Jesse Arnt
Isabella Zak
Faith Horn
Adam Wegner
Ana Van Dusen
Evan Green

Violin II
Josephine Pelster
Emily Payne
Lucas Menza
Amin Benmellah
Vincent Stone
Bella Gabbard

Viola
Finn Wootton
Micah Marshall

Cello
Altas Momier
Kayla Uemura
Ryan Larson
Arthur Woodworth

Bass
Drew Moore

The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Symphony No. 2. In the interim Brahms had written some of his greatest works, including the Violin Concerto, two overtures (Tragic Overture and Academic Festival Overture), and Piano Concerto No. 2.

The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. It is the shortest of Brahms' four symphonies; a typical performance lasts between 35 and 40 minutes.

After each performance, Brahms polished his score further, until it was published in May 1884.

Hans Richter, who conducted the premiere of the symphony, proclaimed it to be Brahms' Eroica. The symphony was well received, more so than his Second Symphony. Although Richard Wagner had died earlier that year, the public feud between Brahms and Wagner had not yet subsided. Wagner enthusiasts tried to interfere with the symphony's premiere, and the conflict between the two factions nearly brought about a duel.

His friend the influential music critic Eduard Hanslick said, "Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect."

This inspiring homage to New England pioneers is an original work in which Soon Hee Newbold challenges advancing young orchestras to focus on driving rhythms and emphatic accents. Heroic melodies abound and solos shine with attention to ensemble dynamics.