Band Concert Program

Greek Folk Song Suite - Franco Cesarini

I. O Charalambis, II. Stu Psiloriti, III. Vasilikos tha jino

Franco Cesarini’s Greek Folk Song Suite is a spirited three-movement work that celebrates the rich and varied musical traditions of Greece. Each movement is based on a traditional folk tune: the first, O Charalambis, features a lively and rhythmically intricate dance in 7/8 time, typical of the kalamatianos style. The second movement, Stu Psiloriti, offers a more lyrical and reflective mood, drawing from a Cretan melody associated with the majestic Mount Psiloritis. The final movement, Vasilikos tha gino, translates to “I shall become a basil,” and incorporates the accelerating rhythms of the sirtaki dance, made famous worldwide through Greek popular culture. With colorful orchestration and authentic melodic material, Cesarini creates a vivid musical portrait of Greek folk life.

Lightning Field - John Mackey (2015)

John Mackey’s “Lightning Field” takes its title from a work of art by Walter De Maria. That work is a massive expanse of New Mexico desert, claimed and transformed by the artist via an installation of steel rods: planted in the earth and reaching toward the sky, they call down its power – literally creating man-made (or at least "man summoned") lightning storms. Like them, Mackey’s piece speaks to the ancient impulse to summon nature’s power, and the magic such acts unleash. 

Guest percussionists: Kayla Georgeson, Sara Luedtke, Nathan Soliday, Steph Willingham

Paper Cut - Alex Shapiro (2010)

What do teenagers like? Video games, TV, and movies. What do all these media have in common? Music!

I was thrilled to have a chance to add to the educational band music repertoire, thanks to the American Composers Forum's terrific BandQuest series. In my desire to compose something relevant to younger players, I decided to create a piece that sounds somewhat like a movie soundtrack, to which the musicians can imagine their own dramatic scene. I also thought it would be fun to make the kids themselves part of the action, and so "Paper Cut" has the band doing choreographed maneuvers that look as compelling as they sound. In fact, the band members don't even play their instruments until halfway into the piece.

Music isn't just melody; it's rhythm and texture as well. The unusual element of paper and the myriad sounds that can emerge from something so simple, offer a fresh view of what music-making can be and opens everyone's ears to the sonic possibilities found among everyday objects.

With a nod to environmentalism, "Paper Cut" might even remind people to avoid waste and recycle. Players can collect paper that would have otherwise ended up in the trash, and bring it to rehearsals. The piece might even be therapeutic, as students can take out their aggressions by ripping up bad grades and test scores!

Although "Paper Cut" was composed with middle schoolers in mind, it's also suited to more advanced musicians, since the paper techniques and the skill of playing against a prerecorded track are interesting for all ages. I'm delighted to introduce a new approach to concert wind band repertoire, and I hope that conductors and band members have as much fun with this piece as I had creating it.

Silver Shores - Finn Marks (2024)

Inspired by the glow of starry skies reflected on a misty lake, "Silver Shores" is a tapestry of shimmering textures underneath expansive melodies. The dark harmonies in the piece evoke the vastness of the cosmos, while a light, gentler melody weaves through the band like starlight shimmering on water.

Eternal Father, Strong to Save (Navy Hymn) - Claude T. Smith

Claude T. Smith’s Eternal Father, Strong to Save is a powerful and reverent work for concert band, based on the beloved hymn often referred to as the “Navy Hymn.” Originally written in 1860 by William Whiting and set to music by John Bacchus Dykes, the hymn has long been associated with maritime services and prayers for those in peril on the sea. Smith’s 1975 setting, commissioned for the 50th anniversary of the United States Navy Band, transforms the traditional hymn into a dynamic and expressive concert work.

The piece opens with a bold fanfare that introduces the solemnity of the theme. Smith then develops the hymn through a series of variations, including fugal passages for woodwinds and brass, and a poignant horn quartet that presents the melody in a reflective major key. The composition culminates in a full ensemble statement of the hymn, underscored by a timpani roll that leads back to the original fanfare, now in a triumphant C major. This masterful arrangement showcases Smith’s skill in blending traditional melodies with contemporary band techniques, creating a work that is both emotionally moving and musically enriching.

Le Carnaval de Venise - Jean Baptiste Arban; arr. Donald Hunsberger

featuring Jack Hill, trumpet

Jean-Baptiste Arban’s Le Carnaval de Venise is a cornerstone of the cornet and trumpet repertoire, renowned for its dazzling virtuosity and technical demands. Composed in the mid-19th century, the piece is a set of variations on a popular Neapolitan folk tune, “O Mamma, Mamma Cara,” which was also famously adapted by Niccolò Paganini for violin. Arban’s version showcases advanced techniques such as rapid tonguing, wide interval leaps, and intricate ornamentation, serving both as a concert showpiece and a pedagogical tool in his influential Complete Conservatory Method for Trumpet. 

In this arrangement for solo trumpet and wind ensemble, Donald Hunsberger expands the original piano accompaniment into a full symphonic setting, providing a rich and dynamic backdrop that enhances the soloist’s performance. This rendition gained prominence through performances by trumpet virtuoso Wynton Marsalis with the Eastman Wind Ensemble, highlighting the piece’s enduring appeal and its capacity to captivate audiences with its blend of lyrical melodies and technical brilliance.

Key West Pink! - Yukiko Nishimura

Yukiko Nishimura’s Key West Pink! is a vibrant and rhythmically engaging work for wind ensemble, inspired by the composer’s travels to the Florida Keys. Drawing from Latin and jazz influences, the piece captures the lively atmosphere and colorful charm of Key West. Nishimura describes it as “rhythmic and noisy,” reflecting the bustling energy of the island city. The composition paints an aural picture of Key West’s vibrancy, beauty, culture, and the famous pink hues that brighten its landscape.

I Dreamed a Dream - Schonberg, Bouglio, Natel, & Kretzmer; arr. Michael Brown

featuring Jori Nelson, voice

“I Dreamed a Dream,” from the acclaimed musical Les Misérables, is a poignant ballad that captures the despair and lost hopes of the character Fantine. Set in 19th-century France, the song reflects Fantine’s reminiscence of better times and her descent into hardship after losing her job and being abandoned. Composed by Claude-Michel Schönberg, with original French lyrics by Alain Boublil and Jean-Marc Natel, and English adaptation by Herbert Kretzmer, the piece has resonated with audiences worldwide since its debut.