Visual & Performing Arts
Program Notes
Jazz Ensemble & Jazz Orchestra: "Continuum"
Bluffs Ballroom, UWL Student Union
May 2, 2026 at 7:30 p.m.
Program
Jazz Ensemble
Aim High by Fred Sturm
Soloists: Joey Hirschboeck and Mica Hoverman
The Way You Look Tonight by Dorothy Fields and Jerome Kern, arr. Mark Taylor
Soloists: Lily Jenich and Mica Hoverman
Vierd Blues by Miles Davis, arr. Michael Philip
Mossman
Soloists: Lily Jenich and Joey Hirschboeck
That Warm Feeling by Sammy Nestico
Soloist: Noah Hronis
It’s All Over Now by Bobby and Shirley Womack, arr. Dirty Dozen Brass Band
Soloists: Sam Baudek, Joey Hirschboeck, Mica Hoverman, Alex White, and Noah Hornis
Silver Rush by Jessika Smith
Soloists: Gina Henningfeld, Alex White, Thomas Greany, Alex Thiessen, Dean Hanson, Noah Hronis, and Carter Manock
Jazz Orchestra
I Be Serious ‘Bout Dem Blues by John Clayton
Soloists: Tommy Vote, Annette Cortez, Cameron Steffen, Marshall Dvorak, Carson Schmidt, and Pablo Beisser De Greif
Peri’s Scope by Bill Evans, arr. Mike Tomaro
Soloists: Obi Chavolla, Tommy Vote, and Ayden Retcheski
Late Date by Melba Liston
Soloists: Neil Cline and Magnus Davidson
Reverie by Claude Debussy, arr. Melba Liston
Featured Soloist: Carson Schmidt
Annie’s Dance by Edvard Grieg and Melba Liston arr. Melba Liston
Soloists: Obi Chavolla and Ayden Retcheski
Haitian Fight Song by Charles Mingus, arr. Sy Johnson
Soloists: Svend Luke, Obi Chavolla, Jack Erickson, Gavin Dillie, Ayden Retcheski, Neil Clyne
West Point by Mike Conrad
Soloists: Obi Chavolla and Tommy Vote
Director Biography
Jon Ailabouni (he/his) is an in-demand trumpeter, composer, and educator, based in La Crosse, WI. Ailabouni’s background is steeped in Western European classical music and Black American music traditions including the blues, modern jazz, and free improvisation. Ailabouni’s creative work focuses on instrumental composition and improvisation that uses emotion and story as focal points for expression. Ailabouni's improvisation as a soloist has been described as "sharp and resourceful" (AllAboutJazz.com). Recent creative projects include his debut album of original music entitled You Are Not Alone (SkyDeck Music, 2023). Ailabouni can be heard performing regularly with Chris Merz and Shorter Stories, Mike Conrad and the Iowa Jazz Composer’s Orchestra, Isthmus Brass, and the La Crosse Jazz Orchestra. Ailabouni is a frequent clinician and guest artist including at the Jazz Education Network Conference and jazz festivals around the country.
In addition to his work as a composer and performer, Ailabouni is an emerging national leader at the intersection of jazz and liturgical traditions. He regularly serves as a guest worship director in congregations and at gatherings including synod assemblies. Ailabouni’s The Spirit is Moving: A Jazz Liturgy of Renewal and over 50 hymn arrangements in various jazz styles are available on his website, JonAilabouniMusic.com.
Ailabouni serves as the Director of Jazz Studies at the University of Wisconsin - La Crosse where he teaches the trumpet studio, courses in improvisation, and directs the Jazz Orchestra, Jazz Ensemble, jazz combos, and the Hoefer Brass Quintet.
Special Thanks
Thank you to all of the people who support the success of this concert! Special thanks to...
- Paul LaCount (AVLS Coordinator) and his team of student workers for their detail and professionalism with sound, lighting, and set up in the Bluffs Ballroom
- Hayley Harnden and University Centers for assistance with Student Union scheduling and logistics
- The UWL School of Visual & Performing Arts (Pete Rydberg, Antonio Jasiczek) for all of your program support, including marketing, poster design, ticketing and concert logistics
- David Piro - Poster Design
- Parking Services including Troy Richter and Melanie Corish and UWL Campus Police
- Joel Lindstrom - Piano Tuner
- Brett Huus - Live Sound Engineer
- Gavin Dillie and Mica Hoverman- Jazz Area Librarians
- Our facilities team including Scott Schumacher, Tom Venner and Scott Brown
- The Lowe Center housekeeping staff: Kao Lee, Mai Thao, Kia Vue, Mai Kao Xiong
- University Communications including Maren Walz, Jake Speer, Nhouchee Yang, and David Piro, Paul Rusterholz, Abbie Leithold-Gerzema
- Taylor Wilmoth, Kailey Mael, Callie Smith & everyone at the UWL Friends & Alumni Foundation
- Jonathan Borja and David Bashaw and the UWL Music Department colleagues for all their work towards creating a rich learning environment for these student musicians.
- UWL “top brass” including Chancellor James Beeby, Provost Betsy Morgan, and Dean of CASSH Karl Kunkel; the CASSH Dean’s office including Marie Moeller, Britta Osborne, Antoni Walker, and Tommy Knoche;
- All jazz area patrons, donors, parents, friends, and students.
- Finally, to the students of Jazz Ensemble and Jazz Orchestra for their musicianship, hard work, community, and soulfulness!
Support Jazz at UWL
Help us recruit the next generation of jazz artists to UWL while supporting the students playing in today’s concert. To make a tax deductible gift, follow the link here to “Music Fund” and type “jazz” in the comment box at the bottom of the page.
Symphony Orchestra: American Impressions
Annett Recital Hall, Truman T. Lowe Center for the Arts
May 3, 2026 at 4 p.m.
Message from the conductor
Dear fans, families, and friends of the UWL Wind Ensemble,
Welcome to our final concert of the spring semester! Today we honor America’s approaching semiquincentennial anniversary with a concert of all American composers and one of UWL’s own!
To open our performance, we begin with two selections from Aaron Copland. First, the symphony brass and percussion sections present the iconic Fanfare for the Common Man. Next, the full orchestra takes the stage for An Outdoor Overture. Copland’s use of perfect intervals and open scoring are evident in portraying the landscape of our country.
Next we feature a world premiere from UWL’s Victoria Ratsch titled Remembrance/Return. She’ll take the stage to introduce the piece. Victoria studies composition with Dr. David Dies. Following this work, the full symphony performs the second and third movement of Howard Hanson’s “Nordic” Symphony.
Next, we return to Copland to take a stroll Down a Country Lane. This short little work was originally penned for piano, but Copland later set it for chamber orchestra as well. One may envision a pastoral setting in the country being traveled on horseback. We’ll close this Copland set with another well-known selection from his ballet Rodeo titled “Hoe-down.” It is a wild country dance that captures the early American spirit.
At the conclusion of our concert, please join me in celebrating our graduating seniors! This is a group of which I am particularly proud, and I know they will go forth from their time at UWL and do phenomenal things!
Sincerely,
Martin I. Gaines, DMA
Program
Fanfare for the Common Man (1942) by Aaron Copland (1900-1990)
An Outdoor Overture (1938) by Aaron Copland (1900-1990)
Remembrance/Return (2026) by Victoria Ratsch (b. 2005)
I. The Sun Remembers
II. But December Returns
**World Premiere**
Symphony No. 1, “Nordic,” op. 21 (1923) by Howard Hanson (1896-1981)
II. Andante teneramente, con simplicità
III. Allegro con fuoco
Down A Country Lane (1962/1964) by Aaron Copland (1900-1990)
Hoe-Down from Rodeo (1942) by Aaron Copland (1900-1990)
Program Notes
Fanfare for the Common Man by Aaron Copland
Aaron Copland was an American composer, often referred to as "the Dean of American composers." He studied closely with the legendary pedagogue Nadia Boulanger, and his music achieved a balance between modern music and American folk styles, and the open, slowly changing harmonies of many of his works are said to evoke the vast American landscape. Copland incorporated percussive orchestration, changing meter, polyrhythms, polychords and tone rows.
In the 1970s, Copland virtually stopped composing, although he continued to conduct. In addition to composing and conducting, Copland wrote several books, including What to Listen for in Music (1939), Music and Imagination (1952), and Copland on Music (1960).
Copland was awarded the Pulitzer Prize in composition for Appalachian Spring. His scores for Of Mice and Men (1939), Our Town (1940), and The North Star (1943) all received Academy Award nominations, while The Heiress won Best Music in 1949.
About the work:
In the summer of 1942, Eugene Goosens asked eighteen American composers to contribute patriotic fanfares for performance by the Cincinnati Symphony Orchestra during its 1942-43 season. Ten of these were written for brass and percussion alone and were selected for publication. These works were not only to enrich the literature for brass and percussion but to pay tribute to all those involved in World War II. Among those composers participating were Paul Creston, Walter Piston, Howard Hanson, Deems Taylor, Virgil Thomson, Bernard Wagenaar, and Aaron Copland.
The titles were selected by the composers themselves, and it is not surprising that Aaron Copland should have chosen to do honor to the man who performs no deeds of heroism on the battlefield but who shares the labors, sorrows, and hopes of those who strive for victory. The score was written in 1943 "for the common man, who, after all, was doing all the dirty work in the war and in the army. He deserved a fanfare." Copland later used it as an integral part of his Third Symphony.
-Norman E. Smith and G. Schirmer
An Outdoor Overture by Copland
High school conductor Alexander Richter commissioned Copland to create “American music for American youth.” An Outdoor Overture was premiered by Richter in December 1938. Although written for an indoor concert, musical scenes of awe, curiosity, exploration, and play invite the audience to an outside adventure. This, however, is not strictly “light music.” Solemn fanfares and weighty marches are thoughtful moments where one might consider an adventurer’s place in the larger context of the outdoor world.
At the time of the premiere, the piece represented the beginning of changes to Copland’s overall style. Today, it is in the catalog of his most popular and oft-performed compositions (along with Billy the Kid and Appalachian Spring).
-Cynthia Johnston Turner
Remembrance/Return by Victoria Ratsch
Victoria Ratsch is a composer from Neillsville, Wisconsin. She is currently a junior at the University of Wisconsin–La Crosse pursuing a degree in Music Composition and Creation. Her music explores storytelling, memory, and connections to the natural world, often focusing on small, easily overlooked moments and the emotions they evoke.
Ratsch writes across a variety of styles and ensembles. Her past works include pieces influenced by folk traditions, chamber music such as a viola–piano duet, a work for pipe organ, and orchestral composition. Her music has been presented at local recitals and community open mic events.
Ratsch studies composition with Dr. David Dies, whose mentorship has played a crucial role in her development as a composer. Through her work, she seeks to create reflective musical spaces that invite listeners to consider the emotional resonance of everyday experiences.
Remembrance/Return is a two-movement work for string orchestra that explores the relationship between sensory experience, memory, and emotional recollection. Through contrasting musical environments, the composer examines the cyclical nature of remembering; how moments of warmth and familiarity can coexist with uncertainty and introspection.
The first movement, The Sun Remembers, unfolds as a playful and nostalgic musical landscape. Buoyant rhythms and bright string textures create a sense of warmth and motion, suggesting fleeting memories shaped by sunlight, openness, and the comforting familiarity of past experiences. The movement’s energetic character evokes the vividness with which certain moments are recalled, capturing a sense of lightness and emotional clarity.
In contrast, the second movement, But December Returns, enters a more reflective and uncertain sound world. Slower pacing, sustained dissonant harmonies, and an extended drone establish an atmosphere of suspended time. A fluid and shifting sense of meter contributes to a feeling of instability, as if memories are unfolding gradually and without clear boundaries. The movement’s introspective character reflects the more complex and weightier aspects of recollection.
Although the two movements do not share melodic material, they are unified through contrasting emotional perspectives and layered dynamic textures. Together, they suggest that memory often holds both brightness and gravity simultaneously. The work concludes without a traditional resolution, reflecting the ongoing and unresolved nature of personal recollection. Remembrance/Return invites listeners to consider how past experiences continue to shape present emotional landscapes.
Symphony No. 1 “Nordic” by Howard Hanson
Howard Hanson was an American composer, conductor, educator, music theorist, and ardent champion of American classical music. In his youth, he studied music with his mother. Later, he studied at Luther College in Wahoo, receiving a diploma in 1911, then at the Institute of Musical Art in New York City, where he studied with the composer and music theorist Percy Goetschius in 1914. Afterwards he attended Northwestern University, where he studied composition with church music expert Peter Lutkin and Arne Oldberg in Chicago. Throughout his education, Hanson studied piano, cello and trombone. Hanson received his BA degree in music from Northwestern University in 1916, where he began his teaching career as a teacher's assistant.
That same year, Hanson got his first full-time position as a music theory and composition teacher at the College of the Pacific in California, and only three years later, the college appointed him Dean of the Conservatory of Fine Arts in 1919. In 1920 Hanson composed The California Forest Play, his earliest work to receive national attention. Hanson also wrote a number of orchestral and chamber works during his years in California, including Concerto da Camera, Symphonic Legend, Symphonic Rhapsody, various solo piano works, such as Two Yuletide Pieces, and the Scandinavian Suite, which celebrated his Lutheran and Scandinavian heritage.
Hanson was the first recipient (along with Leo Sowerby) of the American Academy's Rome Prize, awarded by the American Academy in Rome, in 1921, for both The California Forest Play and his symphonic poem Before the Dawn. Thanks to the award, Hanson lived in Italy for three years. During his time in Italy, Hanson wrote a Quartet in One Movement, Lux aeterna, The Lament for Beowulf (orchestration Bernhard Kaun), and his Symphony No. 1, "Nordic", the premiere of which he conducted with the Augusteo Orchestra on May 30, 1923. It has been incorrectly stated that Hanson studied composition and/or orchestration with Ottorino Respighi, who studied orchestration with Nikolay Rimsky-Korsakov. Hanson's unpublished autobiography refutes the statement, attributed to Ruth Watanabe, that he had studied with Respighi.
Upon returning from Rome, Hanson's conducting career took off, making his premiere conducting the New York Symphony Orchestra in his tone poem North and West. In Rochester, New York in 1924, he conducted his Symphony No. 1, and this brought him to the attention of George Eastman, inventor of the Kodak camera and roll film, who chose Hanson to be director of the Eastman School of Music. Hanson held that position for forty years, turning the institution into one of the most prestigious music schools in America. He accomplished this by improving the curriculum, bringing in better teachers and refining the school's orchestras. Also, he balanced the school's faculty between American and European teachers, even when this meant passing up Béla Bartók. Hanson offered a position to Bartok teaching composition at Eastman, a position that Bartok declined as Bartok did not believe that one could teach composition. Bartok placed Hanson in a difficult position as he wished to teach piano at Eastman - Eastman had a full staff of piano instructors at the time.
In 1925, Hanson established the American Composers Orchestral Concerts. Later, he founded the Eastman-Rochester Symphony Orchestra, which consisted of first chair players from the Rochester Philharmonic Orchestra and selected students from the Eastman School, and then The Festivals of American Music followed. Hanson made many recordings with the Eastman-Rochester Symphony Orchestra, not only his own works, but also those of other American composers such as John Alden Carpenter, Charles Tomlinson Griffes, John Knowles Paine, Walter Piston, William Grant Still, and other, lesser known, composers. Hanson estimated that over 2000 works by over 500 American composers were premiered during his tenure at Eastman.
Hanson was elected as a member of the National Institute of Arts and Letters in 1935, President of the Music Teachers' National Association from 1929 to 1930, and President of the National Association of Schools of Music from 1935 to 1939. In 1946, Hanson was awarded the George Foster Peabody Award "for outstanding entertainment programming" for a series he presented on the Rochester, New York radio station WHAM in 1945.
About the work:
Written in 1922, “Nordic” Symphony is Hanson’s first symphony. Hanson was the first American to win the Prix de Rome fellowship, and lived in Italy for three years, during which time he composed this symphony. A fine example of late-Romantic tonal musical language, “Nordic” has often been described as an American gloss on the early symphonies of Sibelius. Certainly Sibelius, along with Ottorino Respighi, Bach, and Palestrina, influenced his musical style. He was never ashamed of his Nordic roots, and was the first American composer of the twentieth century to attain worldwide prominence.
Hanson conducted the “Nordic” Symphony in New York in 1924 and was invited to head the Eastman School of Music at the University of Rochester that same year. Hanson remained at Eastman the rest of his life, creating a doctorate in musical composition and building one of the finest music schools in the country.
-Nikk Pilato
Down A Country Lane by Copland
On June 29, 1962, Life Magazine featured Aaron Copland's composition Down a Country Lane. The piece was commissioned by Life in hopes of making quality music available to the common pianist and student. The work was featured along with an article title "Our Bumper Crop of Beginning Piano Players". The article explains, "Down a Country Lane fills a musical gap: It is among the few modern pieces specially written for young piano students by a major composer." Copland is quoted in the article of saying "Even third-year students will have to practice before trying it in public." Copland then explains the title: "The music is descriptive only in an imaginative, not a literal sense. I didn't think of the title until the piece was finished -- Down a Country Lane just happened to fit its flowing quality."
Copland is very descriptive in his directions on how the piece should be played. The piece begins with instructions to play "gently flowing in a pastoral mood"; a brief midsection is slightly dissonant and to be played "a trifle faster"; and the ending returns to the previous lyrical mood. Down a Country Lane was orchestrated for inclusion in a youth orchestra series and premiered on November 20, 1965, by the London Junior Orchestra.
-Merlin Patterson
“Hoe-Down” from Rodeo by Copland
This piece is a dance within a dance. Here, Copland quite literally quotes dance tunes from the 19th century Anglo-American square dance tradition. After a rhythmic introduction that invokes the open-fifth tuning of fiddles, Bonaparte’s Retreat, McLeod’s Reel, and other tunes follow in close succession -- always in a strict tempo and regular meter. The “Hoe-Down” exists in many versions, one made famous by a television commercial for beef.
-Nikk Pilato
Conductor
Dr. Martin I. Gaines proudly serves as the conductor of the UWL Wind Ensemble, Symphony Orchestra, and Concert Band as well as teaching courses in Conducting, Clarinet, and Music Education. Prior to this posting he served as the Director of Instrumental Studies at Morningside University and the Associate Director of Bands at McNeese State University. He holds degrees in conducting and music education from the University of Arizona (DMA), Middle Tennessee State University (MM), and the historic VanderCook College of Music (BMEd).
As an active conductor, clinician, and music producer, Dr. Gaines’ most recent recording project David Maslanka: Music for Wind Ensemble was released in January 2021 on the Toccata Classics Label. He has also served as producer for an album featuring the wind orchestra music of Nigel Clarke. Prior to his academic appointments, he also served as the principal conductor for the Arts Express Orchestra in Tucson, Arizona and as the founding conductor of the UArizona chamber ensemble Solar Winds.
Prior to pursuing graduate studies, Dr. Gaines taught middle and high school bands and orchestras for fifteen years in Illinois, Alabama, Georgia, and most recently in Florida. His bands have consistently received top marks from adjudicators and were often featured in clinic performance, e.g. the Southeastern Band Clinic at Troy University (2010) and the University of North Florida Invitational Festival (2010, 2014). He was also named Teacher of the Year in 2015 for Oakleaf High School (FL). Dr. Gaines holds professional memberships in CBDNA, College Music Society, College Orchestra Directors Association, International Conductor’s Guild, NAfME, National Band Association, Tau Beta Sigma, WASBE, and is a Life Member of Kappa Kappa Psi.
Previous Programs
Treble Chorus: "Songs That Cannot be Silenced"
Annett Recital Hall, Truman T. Lowe Center for the Arts
April 29, 2026 at 7:30 p.m.
Program
Treble Chorus
Dr. Kourtney R. Austin, Conductor
Joseph Louis, pianist
Festival Alleluia by Sonja Poorman (b. 1955)
Tumekuja Kuimba by Lynn Zettlemoyer (N.D.)
Andrea Juarez and Landry Kelm, Soloists
From Songs of Survival, arr. Margaret Dryburgh / ed. Norah Chambers
Captive’s Hymn by Margaret Dryburgh (1890-1945)
Largo from Symphony No. 9, “From the New World” by Antonin Dvořák (1841-1904) (Vivian Corral, soloist)
Bolero by Maurice Ravel (1875-1937)
Gather at the River, Arr. Susan LaBarr (b. 1981)
Water Fountain by Nathaniel Brenner (n.d.) & Merrill Garbus (b. 1979)
How Can I Keep From Singing, arr. Gwyneth Walker (b. 1947)
Vidi Aquam by Kevin T. Padworski (b. 1987)
With Andree Lin, Piano
Song of Miriam by Elaine Hagenberg (b. 1979)
Deer Song from Considering Matthew Shepard by Craig Hella Johnson (b. 1962)
Liv Scharfenberger, Selah Nelson, Nora Erickson, soloists
Still I Rise by Rosephanye Powell (b. 1962)
Allison Otto and Meredith Sullivan, soloists
Texts and Translations
Tumekuja Kuimba (We Have Come to Sing!) | Words and Music by Lynn Zettlemoyer
Tumekuja kuimba, tumekuja kuimba.
(We have come to sing, we have come to sing)
Imbeni (sing)
Put away your fear,
Sing it far and near,
Tell the world we’re here,
We have come to sing.
We have come to sing,
Lift your voice on high,
Let it fill the sky,
Shout it loud that we have come to sing.
Sifuni (praise)
Sing it all around,
Let the earth resound,
Let your joy abound,
We have come to praise.
Let your voices ring,
Hear them echoing,
Shout it loud that we have come to praise.
Jubilate (Rejoice!)
Gather at the River | Words and Music by Horatio G. Spafford and Robert Lowry, arranged by Susan LaBarr
When peace, like a river, attendeth my way,
When sorrows like sea billows roll;
Whatever my lot, thou hast taught me to say,
It is well, it is well with my soul.
Though Storms may still batter, though trials should come,
Let this deep assurance control,
That love hath regarded my fragile estate,
And steadies my heart and my soul.
Yes, we'll gather at the river,
The beautiful, the beautiful river;
Gather with the saints at the river
That flows by the throne of God.
And Lord, haste the day when my faith shall be sight,
The clouds be rolled back as a scroll;
The trump shall resound, and the Lord shall descend,
Even so, it is well with my soul.
It is well with my soul.
Water Fountain | Words and Music by Nathaniel Brenner and Merrill Garbus
No water in the water fountain, no side on the sidewalk.
If you say Old Molly Hare, watcha doin′ there?
Nothin’ much to do when you're goin’ nowhere.
Wooha! Wooha! Gotcha
We′re gonna get the water from your house, your house.
No water in the water fountain.
No wood in the Woodstock.
If you say old Molly Hare, watcha doin' there?
Nothin’ much to do when you're goin’ nowhere.
Wooha! Wooha! Gotcha
We′re gonna get the water from your house, your house.
Nothing feels like dying like the drying of my skin and lawn,
Why do we just sit here while they watch us wither til’ we′re gone?
I can't seem to feel it, I can′t seem to feel it,
I can't seem to feel, I′ll kneel
I′ll kneel, the cold steel,
You will ride the whip, you'll ride the crack no use in fighting back,
You'll sledge the hammer if there′s no one else to take the flak
I can′t seem to feel it, I can't seem to find it,
Your fist clenched my neck,
we′re neck and neck and neck and neck and neck and
No water in the water fountain.
No phone in the phone booth.
If you say old Molly Hare,
Watcha doin' there?
Jump back! Jump back!
Daddy shot a bear,
Wooha! Wooha! Gotcha
We′re gonna get the water from your house, your house.
I saved up all my pennies and I gave them to this special guy,
When he had enough of them he bought himself a cherry pie
He gave me a dollar, a blood-soaked dollar
I cannot get the spot out but it's okay it still works in the store.
Greasy man come and dig my well,
Life without your water is a burning hell,
Stuff me up with your home-grown rice, anything make me look nice
Se pou zanmi mwen, se pou zanmi mwen
(It’s for my friend, it’s for my friend)
And a two-pound chicken tastes better with friends
A two-pound chicken tastes better with two
And I know where to find you, so
Listen to the words I said,
Let it sink into your head
A vertigo round and round and round
Now I′m warm in your bed
How did I get ahead?
Woo!
Thread, your fingers through my hair
Fingers through my hair
Give me a dress, give me a dress
A give a thing a caress
Would-ja! Would-ja! Would-ja!
Listen to the words I say sound like a floral bouquet
A lyrical round and round and round
Okay take a picture it will last all day,
Run, your fingers through my hair
Do it ‘til you disappear,
Gimme your head gimme your head gimme your head
Head! Head! Head! Head!
No water in the water fountain
Floral bouquet a lyrical round and round and round
Okay take a picture it will last all day, hey!
Your fingers through my hair
Do it ‘til you disappear,
Wooha! Wooha!
Gotha gotcha we’re gonna get the water from your house, your house.
Gonna get the water from your house, your house,
Gonna get the water from your house!
How Can I Keep from Singing? | A Quaker Hymn arranged by Gwyneth Walker
My life flows on in endless song above earth’s lamentation.
I hear the real though distant song that hails a new creation.
Through all the tumult and the strife I hear the music ringing.
It sounds an echo in my soul, how can I keep from singing?
What though the tempest loudly roars, I hear the truth, it’s living!
What though the darkness round me close, songs in the night it’s giving!
No storm can shake my inmost calm while to that rock I’m clinging.
Since I believe that love abides, how can I keep from singing?
When tyrants tremble when they hear the bells of freedom ringing.
When friends rejoice both far and near, how can I keep from singing?
In prison cell, in dungeon dark, our thoughts to them are winging.
When friends hold courage in their heart, how can I keep from singing?
No storm can shake my inmost calm while to that rock I’m clinging.
I believe that love abides,
How can I keep from singing?
Vidi Aquam | Traditional Latin, arranged by Kevin T. Padworski
I saw water flowing from the temple,
on the right side, alleluia:
and all to whom that water came
have been saved, and they will say: alleluia!
Songs of Miriam | Words and Music by Rabbi Ruth Sohn, arranged by Elaine Hagenberg
I stand at the sea and turn to face the desert stretching endless and still.
My eyes are dazzled the sky brilliant blue.
Sunburnt sands unyielding white.
My hands turn to dove wings.
My arms reach for the sky, and I want to sing.
To sing the song rising, song rising, ah, I stop.
Where are the words? I stop
Where the melody?
In a moment of panic my eyes go blind,
I take a step without knowing a destination?
Will I falter? Will I fall?
Will the ground sink away, will I falter?
Will I fall?
The song still unformed,
How can I sing?
To take the first step, to sing a new song,
To close one’s eyes and dive into unknown waters.
For a moment knowing nothing risking all.
But then to discover the waters are friendly.
The ground is firm, the song rises again.
Out of my mouth come words lifting the wind,
I hear for the first time,
The song in my heart.
Silent, unknown, even to me.
The song in my heart.
Deer Song | Words by Michael Dennis Browne and Craig Hella Johnson, music by Craig Hella Johnson
A mist is over the mountain,
The stars in their meadows upon the air;
Your people are waiting below them,
And you know there’s a gathering there.
All night I lay there beside you,
I cradled your pain in my care.
We move through creation together,
And we know there’s a welcoming there.
Welcome, welcome, sounds the song,
Calling, calling clear.
Always with us, evergreen heart.
Whеre can we be but thеre?
I'll find all the love I have longed for,
The home that’s been calling my heart so long.
So soon I'll be cleansed in those waters,
My fevers forever be gone.
Where else on earth but these waters?
No more, no more to be torn.
My own ones, my dearest are waiting,
And I'll weep to be where I belong.
Welcome, welcome, sounds the song,
Calling, calling home.
Always evergreen, sounding the song,
Always with me, evergreen heart.
Where can I be but here?
Still I Rise | Words and Music by Rosephanye Powell
Though I have been wounded, aching heart full of pain.
Jus’ like a budding rose, my bloom is nourished by rain.
Haven’t time to wonder why, though fearful I strive.
My prayer and faith uphold me ‘til my courage arrives.
Still I rise as an eagle, soaring above every fear.
With each day I succeed, I grow strong and believe
That it’s all within my reach;
I’m reaching for the skies, bolstered by courage, yes, still I rise.Yes, it’s all within my reach; I’m reaching for the skies, yes, still I rise.
Gentle as a woman; tender sweet are my sighs.
Strength is in my tears and healing rains in my cries.
Plunging depths of anguish, I determine to strive.
My prayer and faith uphold me ‘til my courage arrives.
Though you see me slump with heartache;
Heart so heavy that it breaks.
Be not deceived I fly on birds’ wings,
Rising sun, its healing rays.
Look at me, you see a woman;
Gentle as a butterfly.
But don’t you think, not for one moment,
That I’m not strong because I cry.
Directors
Dr. Kourtney R. Austin is Assistant Professor of Voice at the University of Wisconsin-La Crosse and conducts the Treble Chorus. She earned her Ph.D. in Performing Arts Health at the University of North Texas, and also holds degrees in voice from the University of Missouri-Kansas City Conservatory of Music and music education from Northwest Missouri State University. Dr. Austin also studied Speech Pathology and Voice Science at the University of Iowa and is a Certified Vocologist. She previously used this expertise in her own business, Heartland Healthy Voices, providing vocal health seminars, voice rehabilitation, private voice lessons, and transgender voice training in Saint Louis, Missouri.
Dr. Austin was a Teaching Fellow at the University of North Texas and has held faculty positions at Midwestern State University, Grayson College, the Community Music School of Webster University, as well as serving as Artistic Director of CHARIS, The St. Louis Women’s Chorus. She is a frequent presenter of performing arts health research throughout the United States and in Australia. Her current research interests include using spectral analysis to quantify characteristics of the vocal onset as it applies to vocal efficiency and fatigue. She has presented on varying topics of performing arts health and voice science all over the world including The Voice Symposium in Shanghai, China; The Melbourne Conservatorium of Music, Australia; the University of Queensland in Brisbane, Australia; The Voice Foundation Symposium in Philadelphia; and The Performing Arts Medicine Association International Symposium. In June 2024, Dr. Austin will present her research at the National Association of Teachers of Singing National Conference in Knoxville, TN. She is a current member of PAMA, PAVA, The Voice Foundation, and NATS.
Obi Said Chavolla Barrera: Junior Saxophone Recital
Annett Recital Hall, Truman T. Lowe Center for the Arts
April 26, 2026 at 7:30 p.m.
Program
Obi Chavolla, tenor saxophone
Donna Lee by Charlie Parker (1920-1955)
Ryan Amble, drums; Leo Chavolla, bass; Tommy Vote, guitar
from Flying Colors by Arthur Schwartz (1900-1984) / Howard Dietz (1896-1983)
Alone Together
Ryan Amble, drums; Amelia Blasing, vocals; Leo Chavolla, bass; Tommy Vote, guitar
Relaxin’ by Obi Chavolla (b. 2005)
Leo Chavolla, bass
Got A Match? by Chick Corea (1941-2021)
Ryan Amble, drums; Leo Chavolla, bass; Tommy Vote, guitar
My Little Brown Book by Billy Strayhorn (1915-1967)
Ryan Amble, drums; Leo Chavolla, bass; Tommy Vote, guitar
Time Will Tell by Bobby Whatson (b. 1953)
Ryan Amble, drums; Leo Chavolla, bass; Neil Clyne, trumpet; James Shaffer, trombone; Tommy Vote, guitar
Program Notes
Charlie Parker
In the brief 35 years of his life, Charlie "Bird" Parker pioneered the jazz subgenre of bebop alongside musicians like Dizzy Gillespie. Bebop, and by extension Parker’s playing is championed by quick tempos, swing rhythms, and harmonically complex contrapuntal lines not unlike J.S. Bach’s compositions. Charlie Parker’s playing was so influential to jazz moving forward, that most any jazz musician that came after Parker had been influenced by him in some capacity. Pianist Lennie Tristano said it best in 1965 when he said, “If Charlie Parker wanted to invoke plagiarism laws; he could sue almost everybody who’s made a record in the last ten years,” and even to this day much music continues to be made with Parkers’ influence as a main ingredient. Donna Lee, a classic bebop standard and a contrafact to Back Home Again in Indiana, stands in Parker’s repertoire as one of his most well-known pieces along others like Anthropology, Blues for Alice, and Billie’s Bounce. Due to addiction to heroin and alcohol, Charlie Parker lived a short and fast life. Yet, as short of a life as he had, he immortalized himself through his musical prowess and influence so that to this day we may say “Bird lives!”
Arthur Schwartz and Howard Dietz
Having worked together on eleven Broadway shows, Arthur Schwartz and Howard Dietz created a synergy with one another that helped shape Broadway through 1930-50s. However, as much work as they did together, they also followed their own paths. Although Dietz had been interested in theatre since he was a young boy, it would not be until 1922 when he started to work for Broadway shows. Before then, he mostly held jobs in the advertising industry and as a journalist. Besides working with Arthur Schwartz, Dietz also wrote lyrics for people like Johnny Mercer and Frank Loesser. Like Dietz, Arthur Schwartz’s first professional career was not in theatre but rather in law, due to pressure from his father, an attorney. However, unlike Howard Dietz, his career outside of music did not last long, first contributing to the Broadway show, The Grand Street Follies in 1926 – only two years after he was admitted to the Bar. In 1932, Arthur and Howard collaborated to write the Broadway show Flying Colors, which included the song Alone Together. Alone Together was first popularized by Frank Luther in 1932, and like many other show tunes from Broadway, it became a jazz standard thanks to its exposure from jazz musicians like Artie Shaw, Sonny Stitt, and Ella Fitzgerald.
Obi Said Chavolla Barrera
Born in Morelia, Michoacán, Mexico to parents with Spanish, Scottish, and Native American heritage, Obi has a diverse cultural background. Additionally, having lived in both the countryside and cities in Minnesota and Wisconsin has given Chavolla a great array of perspectives with which to see the world. The overlapping and sometimes even conflicting cultures can be observed through Chavolla Barrera’s taste in music, which includes both Mexican genres like cumbia, corridos tumbados, and banda as well as genres of the United States like rock, funk, pop, and most notably, jazz. Although Obi identifies with the aforementioned genres, none provide more comfort than jazz does – not unlike how other culturally diverse figures such as Charles Mingus also expressed themselves best through jazz. Some of his most notable musical achievements include his involvement with the WSMA honor bands, his work at UWL with the Jazz Orchestra and jazz combos, and his 2025 season with the Kids From Wisconsin. In his tune Relaxin’, his influence from jazz standards like On the Sunny Side of the Street can be perceived through the harmonic content, and its laid-back feel can be traced back to influences from musicians like Sonny Rollins and Lester Young.
Chick Corea
Thanks to a high degree of technical abilities as well as an attractive creativity, Corea is often regarded as one of the best jazz keyboardists. This sentiment is further supported by his status as a nominee for 71 Grammys, 27 of which he won. His musical prowess is also recognized by his standing as a DownBeat Hall of Fame award-winner and 5 additional Latin Grammy Awards. Beyond his awards and recognitions, his impact on jazz can also be observed with compositions like 500 Miles High becoming standard jazz repertoire. As a composer of the post-bop era, Chick Corea continued to push the boundaries of Latin jazz with tunes like Spain and Armando’s Rhumba. He also pushed the boundaries of jazz with the tunes containing modal sections like Windows and jazz fusion pieces such as Got A Match?. Got a Match? is characterized by an electric sound thanks to Corea’s iconic use of the synthesizer as well as John Patitucci’s use of the electric bass. It is also recognizable by its fast tempo accompanied by a jazz-oriented harmonic progression that alludes to the blues.
Billy Strayhorn
William Thomas Strayhorn was primarily Duke Ellington’s right hand as his arranger and the creative intellect behind some of the Duke Ellington Orchestra’s greatest hits. Born in Ohio in 1915, Strayhorn pursued music from an early age, having written a musical and gigging with a trio before graduating from high school. He furthered his musical skills by studying classical music at the Pittsburgh Musical Institution. Then in 1938, he met Duke Ellington and not long after became indispensable to his band. Aside from working with Ellington, throughout his life, Billy also arranged for Lena Horne, recorded a few solo albums, and even collaborated with Luther Henderson in theatre productions. Among some of his most well-known works stand Satin Doll, Lush Life, and the signature tune of the Duke Ellington Orchestra, Take the A Train. One of his original compositions was My Little Brown Book, a vocal ballad that was later rearranged as an instrumental ballad for a big band and was also played in a quartet setting as part of the album Duke Ellington & John Coltrane. This is characteristic for its classic ballad feel as well as its complex chord relationships and notable use of the augmented fifth.
Bobby Watson
Bobby Watson, an alto saxophonist who came to prominence as a member of Art Blakey's Jazz Messengers, is one of the last jazz greats still alive at 73 years old. Before playing with Art Blakey from 1977-1981, he studied formally at the University of Miami. During his time with The Jazz Messengers, he contributed to 14 recordings of The Jazz Messengers, more than any of the other members of the group in its 35-year history. Besides playing with The Jazz Messengers, Bobby also worked with musicians such as Max Roach, George Coleman, and Sam Rivers. Later, he was asked to direct the jazz studies department at the University of Missouri-Kansas City. Now he has retired from his position as a university professor, but he continues to gig to this day. In the recording of his composition Time Will Tell, Bobby Watson’s smooth and soulful style comes through not only in his playing, but also in the composition itself. As part of the repertoire of The Jazz Messengers, a group that helped pioneer hard bop, Time Will Tell is rooted in hard bop; however, the tune also utilizes modal functions as well as more harmonically complex harmonic material.
Joint Senior Recital: Tanner Meighan (Trumpet), and Jocelyn Sveet (Horn)
Annett Recital Hall, Truman T. Lowe Center for the Arts
April 26, 2026 at 4p.m.
Program
Tanner Meighan, trumpet
Alethia Kenworthy, piano
Jocelyn Sveet, horn
Joseph Louis, piano
Concerto No. 1 in D, BWV. 972 by Johann Sebastian Bach (1685-1750)
I. Allegro
Tanner Meighan, trumpet
Alethia Kenworthy, piano
Concerto No. 3 in E-flat Major, K. 447 by Wolfgang Amadeus Mozart (1756-1791)
I. Allegro
Jocelyn Sveet, horn
Joseph Louis, piano
Fantaisie en Mi Bemol by Jospeh Edouard Barat (1882-1963)
Tanner Meighan, trumpet
Alethia Kenworthy, piano
Concertino, op. 45, no. 5 by Lars-Erik Larsson (1685-1750)
III. Allegro moderato
IV. Lento cantabile
V. Allegro vivace
Jocelyn Sveet, horn
Joseph Louis, piano
Sonate, Op. 18 by Thorvald Hansen (1847-1915)
I. Allegro con brio
II. Andante molto espressione
III. Allegro con anima
Tanner Meighan, trumpet
Alethia Kenworthy, piano
Alphorn Trio by Marc Mangen (b. 1960)
I. Blüemestruuss
V. Hochzytsmarsch
VII. Rössliriiti
Jocelyn Sveet Lucas Mathews, and Drew Sivertson, horn
Bugler’s Holiday by Leroy Anderson (1908-1975)
Michael Jensen, Tanner Meighan, and Jon Ailabouni, trumpet; Alethia Kenworthy, piano
Hunter’s Moon by Gilbert Vinter (1909-1969)
Jocelyn Sveet, horn
Joseph Louis, piano
Over the Rainbow by Harold Arlen, arr. Valter Valerio (1905-1986)
Michael Jensen, Lucas Jandt, Evelyn Lutz, Tanner Meighan, and Jon Ailabouni, trumpet
Program Notes
Johann Sebastian Bach (1685-1750) was a German composer who was known for the quality and volume of his work, having composed over 1,000 pieces. His compositional style is emblematic of the Baroque period and set for a variety of instruments, including the organ, harpsicord, flute, strings, orchestra, and choir. Concerto No. 1 in D (BWV 972) was originally composed as a concerto for solo keyboard. The arrangement of this piece is for piccolo trumpet and piano and was crafted for Alison Balsom’s album entitled Bach Works for Trumpet. The piccolo trumpet is similar to the standard Bb trumpet, but it is pitched one octave higher.
Wolfgang Amadeus Mozart (1756-1791) wrote Horn Concerto No. 3 in 1775. He began composing at just five years old and spent much of his life touring, performing, and writing music. Mozart is best known for works such as The Magic Flute, Requiem, and The Marriage of Figaro. One of the most notable features is the cadenza, where the accompaniment drops out, and the horn plays alone. During this section, the soloist has the freedom to shape the tempo, dynamics, and phrasing, allowing for personal expression.
Joseph Edouard Barat was a French composer who lived from 1882 – 1963. After Studying at the Paris Conservatory, he went on to be a military bandmaster in Lyon and later in Paris. Following his time as a bandmaster he created a school for assistant bandmasters. His work is representative of the Romantic era, with pieces mainly written for brass and woodwind instruments accompanied by piano. Fantasie en Mi Bemol is a notable piece of his for trumpet and piano for its use as a contest piece. This piece starts with a short trumpet cadenza, which leads to an Andante in E-flat minor followed by a Scherzo Allegro in E-flat major.
Concertino No. 5 was composed by Swedish composer Lars-Erik Larsson (1908-1986). Larsson studied at the Royal College of Music in Stockholm during the 1920s, where he later returned as director of music. He completed his first Symphony in 1928 and later composed Concertino No. 5 as part of a series of twelve concertinos written for different instruments. The work consists of three movements, which are unified by recurring thematic material. Together, these movements create a cohesive and engaging work that highlights both the technical skill and expressive musicality of the soloist.
Thorvald Hansen (1847-1915) was a Danish composer who composed in the Romantic style. Sonata for Cornet and Piano is a notable piece since it was one of the very first trumpet/cornet solos to come from Europe in the 20th century. This piece begins with a showcase of the technicality of the trumpet in the first movement, then transitions to a slower more emotionally driven second. The third movement closes the sonata with a bold powerful march.
Marc Mangen (b.1960) is a European composer best known for his work in jazz. Largely self-taught, he has explored new harmonic and melodic possibilities, developing a highly personal musical style. In addition to writing for jazz ensembles, big bands, and choirs, Mangen has also composed pieces for an Alphorn Trio. The alphorn, a traditional lip-reed wind instrument, is classified as a brass instrument due to its similar tonal qualities. It is a long, straight wooden natural horn with an upcurved bell. Historically, Alpine herdsmen and villagers used the instrument for daily communication and at ceremonies and festivals.
Leroy Anderson (1908 – 1975) was an American composer best known for short orchestral music, with notable pieces that include Sleigh Ride, Blue Tango, and Bugler’s Holiday. Bugler’s Holiday was premiered December 31, 1954, by the Cincinnati Symphony Orchestra. This piece features three trumpets accompanied by either an orchestra or a piano and is known for its fast tempo and technical articulation. This piece features many staggered entrances that typically lead to phrases played in harmonies mostly based on triads.
Hunter’s Moon by Gilbert Vinter (1909-1969) is a composition that highlights both technical skill and musical expression. Vinter, who was well known for writing for wind and brass instruments, originally composed this piece for a close friend. He began composing in the 1930s, and Hunter’s Moon was written in 1942. In Hunter’s Moon, Vinter explores a variety of techniques to create different sounds on the French horn. One notable example is his use of a stopped horn, which produces a brighter, more brassy tone compared to the warm, rich sound of an open horn. Throughout the piece, Vinter also plays with changing time signatures, varied rhythms, and a wide range of notes to create the feeling of a hunt or chase unfolding.
Harold Arlen (1905-1986) was an American composer whose most popular work was written for musicals and films. He is credited with over 500 compositions. “Over the Rainbow” was composed for the 1939 film The Wizard of Oz and is one of his most well-known and enduring pieces. This arrangement, by Valter Valerio, was performed at James Koeberl’s Senior Trumpet Recital. We perform it again today to honor James’ memory.
Madelyn Seiler: Senior Voice Recital
Annett Recital Hall, Truman T. Lowe Center for the Arts
April 26, 2026 at 2 p.m.
Program
Madelyn Seiler, soprano
Alethia Kenworthy, piano
Angels, Ever Bright and Fair by George Frideric Handel (1685-1759)
Das Veilchen by W.A. Mozart (1756-1791)
An Chloe by W.A. Mozart (1756-1791)
***
6 Lieder, Opus 13 by Clara Schumann (1819-1896)
Ich stand in dunklen Träumen
Sie liebten sich Beide
Liebeszauber
Der Mond kommt still gegangen
Ich hab’ in Deinem Auge
Die stille Lotosblume
~ Intermission ~
Cycle of Holy Songs by Ned Rorem (1923-2022)
1. Psalm 134
2. Psalm 142
from Gianni Schicchi by Giacomo Puccini (1858-1924)
O Mio Babbino Caro
from Anastasia by Stephen Flaherty (b. 1960)
In My Dreams
from Wicked by Stephen Schwartz (b. 1948)
For Good
Program Notes
George Frideric Handel (1685–1759)
“Angels, Ever Bright and Fair” from Theodora
Handel is often associated with grand, celebratory works, but Theodora reveals a more intimate and deeply human side of his artistry. “Angels, Ever Bright and Fair” occurs as Theodora faces death. Rather than resisting her fate, she meets it with serenity and grace, creating one of Handel’s most moving expressions of quiet courage.
Wolfgang Amadeus Mozart (1756–1791)
“Das Veilchen” and “An Chloe”
Although Mozart is best known for his operas and symphonies, his songs display the same gift for vivid characterization on a smaller, more personal scale.
- “Das Veilchen” (The Violet) is one of Mozart’s rare through-composed songs, meaning the music changes continuously with the story rather than repeating each verse. It tells of a humble violet that longs to be noticed by a beautiful shepherdess, only to be accidentally crushed beneath her feet.
- “An Chloe” provides a spirited contrast. It is an ecstatic outpouring of youthful love, with an energetic piano accompaniment that suggests a racing heart.
Together, these songs demonstrate Mozart’s remarkable ability to transform simple poetry into miniature dramas.
Clara Schumann (1819–1896)
Sechs Lieder, Op. 13
Published in 1843, these songs represent the height of Clara Schumann’s early compositional output during her marriage to Robert Schumann. Though celebrated primarily as one of the greatest pianists of the nineteenth century, Clara’s songs reveal her sensitivity to the human voice and her mastery of Romantic harmony.
- “Ich stand in dunklen Träumen” (I Stood Darkly Dreaming) opens the set with haunting stillness, portraying a lover gazing at a portrait that seems to come alive before ending in grief.
- “Sie liebten sich beide” (They Loved One Another) explores two lovers too proud to confess their feelings, their emotional distance reflected in the restrained vocal line.
- “Liebeszauber” (Love’s Magic) bursts with energy, driven by a flowing piano accompaniment that evokes birdsong and nature transformed by love.
- “Der Mond kommt still gegangen” (The Moon Rises Silently) offers a peaceful nocturne, with a rocking melody and gentle reflections on the sleeping world.
- “Ich hab’ in deinem Auge” (I Saw in Your Eyes) is a brief, tender declaration of eternal love.
- “Die stille Lotosblume” (The Silent Lotus Flower) closes the cycle in an atmosphere of mystery and longing, ending with an unresolved question: Can you understand the song?
Ned Rorem (1923–2022)
Cycle of Holy Songs
Ned Rorem was one of America’s foremost champions of art song, once declaring that “songs are the heartbeat of music.” In Cycle of Holy Songs, he gives fresh modern voice to ancient biblical texts.
- Psalm 134 is bright and rhythmic, a joyful communal call to worship.
- Psalm 142 offers a stark contrast: a tense, dissonant plea for help from a soul in despair and confinement.
Together, these settings reveal both the celebratory and anguished dimensions of spiritual life.
Giacomo Puccini (1858–1924)
“O Mio Babbino Caro” from Gianni Schicchi
One of opera’s most beloved arias, this piece comes from Puccini’s comic opera Gianni Schicchi. Lauretta pleads with her father to help secure her marriage to Rinuccio, threatening to throw herself into the Arno River if denied. Its soaring melody has made it one of Puccini’s most enduring works.
Stephen Flaherty (b. 1960)
“In My Dreams” from Anastasia
Anastasia follows Anya, a young woman suffering from amnesia who may be the lost Grand Duchess of Russia. “In My Dreams” appears early in the story as Anya resolves to search for her past. The song’s driving rhythm reflects her determination to trust the fragments of memory guiding her forward.
Stephen Schwartz (b. 1948)
“For Good” from Wicked
To conclude today’s program, this duet from the Broadway musical Wicked reflects on the lasting power of friendship. Its central message—“Because I knew you, I have been changed for good”—serves as a tribute to the mentors, colleagues, and friends who have shaped this musical journey.
Lucia Stephani: Senior Piano Recital
Annett Recital Hall, Truman T. Lowe Center for the Arts
April 26, 2026 at 12 p.m.
Program
Lucia Stephani, piano
Deux arabesques, L. 66 by Claude Debussy (1862-1918)
I. Andantino con moto
La cathédrale engloutie from Preludes, Book I by Claude Debussy (1862-1918)
Pour le piano, L. 95 by Claude Debussy (1862-1918)
I. Prélude
***
Prelude and Fugue in D Minor by Johann Sebastian Bach (1685-1750)
from The Well-Tempered Clavier, (BWV 851)
***
Luminiscencia (2021) by Arturo Rodriguez (b. 1976)
***
Hungary: Rapsodie mignonne op. 410 by Carl Koelling (1831-1914)
Lucia Stephani, primo
Carissa Maske, secondo
Program Notes
Claude Debussy (1862–1918) was a French pianist who is considered one of the first Impressionist composers. Although he hated being called impressionist (because it was first used in a derogatory way by critics towards Claude in 1874), the term has been attached to him since his assessors at the Conservatoire first applied it.
The first set you will hear features three pieces I chose from larger collections throughout Debussy’s career: the First Arabesque from the Deux Arabesques, an early work characterized by flowing lines and elegance; La cathédrale engloutie (The Sunken Cathedral) from Préludes, Book I, inspired by a legend of Ys; and the opening Prélude from Pour le piano, a three-movement suite that has been regarded as Debussy's first mature piano work.
In the First Arabesque, listen for a calm and serene mood with the gently rolling left hand and cascading notes in the right. La cathédrale engloutie evokes the story of a mythical submerged cathedral rising out of the sea. Sounds can be heard of priests chanting, bells chiming, and the organ playing until finally, the cathedral descends once again into the sea. For the Pour Le Piano, listen for distinct “gong” strikes in the left hand, representing the music and traditions of the Island of Java.
Johann Sebastian Bach (1685–1750) was a German composer of the Baroque era whose music became incredibly influential across a variety of instruments and forms. The Prelude and Fugue in D minor, BWV 851 is the sixth pair from The Well-Tempered Clavier, Book I, a collection of preludes and fugues in all 24 major and minor keys written to demonstrate the possibilities of the well-tempered tuning system. The prelude unfolds with a perpetual triplet pattern and ending in the flourish, while the sedate character of the fugue in three range is contrasted by the interjected melodic episodes. Listen for the contrast between the freedom of the prelude and the three-voice counterpoint of the fugue.
Arturo Rodriguez (b. 1976) is a Mexican born composer, conductor and pianist. In Hollywood, he has worked as conductor for major film scores like Furious7 and It Chapter 2 and has orchestrated film scores such as Lights Out and the Oscar winning documentary Free Solo. I had the pleasure of participating in a master class with Arturo in 2023, working on the very piece you will hear today. "Luminiscencia" is a slow, romantic waltz in the tradition of the romantic piano ballade and the nocturne. The title comes from the idea of two bioluminescent bodies shining and dancing together. During a masterclass at UWL, Arturo informed me that he originally wrote the first part of this work in 2011 but walked away from it for ten years and did not complete it until 2021. When listening to this piece, see if you can identify where he stopped writing, and where he returned to it ten years later.
Wind Ensemble: "American Dreams"
Annett Recital Hall, Truman T. Lowe Center for the Arts
April 25, 2026 at 7:30 p.m.
Message from the conductor
Dear fans, families, and friends of the UWL Wind Ensemble,
Welcome to our final concert of the spring semester! As the closing of concert of the ArtsFest Advance! series, we are happy to present a program honoring our nation’s semiquincentennial anniversary and featuring American composers.
Our opening selection is from a young composer who has quickly risen in popularity with bands and orchestras, Katahj Copley. His Serenade is scored for nine winds and tells the story of a couple meeting and falling in love. Next, we feature a classic band work from a seventeen-year-old, Charles Ives: Variations on “America.” The original version of this piece was set for organ and remains a frequently performed work on the instrument. In 1964, William Schuman scored the work for orchestra, and William E. Rhoads transcribed his work for band. Today, one of our outstanding senior music education majors, Gavin Dillie, guest conducts the Wind Ensemble to bring this fantastic American work to life.
We next feature one of David Maslanka’s final works before his death in 2017, California. If you are unfamiliar with his music, David’s oeuvre often featured themes and advocation for world peace, saving the environment, and ending nuclear proliferation. California, with its haunting melodies and moments of dramatic impact, celebrates “the California dream space,” noting that the thirty-first state is a place of big American dreams, a place of possibility.
Our final work is a consortium premiere from composer, Kevin Poelking. The piece was written for the National Academic Symphonic Band of Ukraine honoring the country’s tumultuous history and their ongoing conflict. It is dedicated to “Ukrainian Heroes and Defenders.” The work premiered in Ukraine last November. I encourage you to peruse the extensive program notes provided by the conductor prior to the performance to help place the piece in context.
At the conclusion of our concert, please join me in celebrating our graduating seniors! This is a group of which I am particularly proud, and I know they will go forth from their time at UWL and do phenomenal things!
Sincerely,
Martin I. Gaines, DMA
Program
Serenade for Wind Nonet (2019) by Katahj Copley (b.1998)
i. Prelude
ii. Song
iii. Waltz
iv. Dance
UWL Chamber Winds
Variations on “America” (1891/1964/1968) by Charles Ives (1874-1954)
Orchestration, W. Schuman; Transcription, W. Rhoads
Gavin Dillie, guest conductor
California (2015) by David Maslanka (1943-2017)
Intermission
Sounds, Voices, and Dreams from Ukraine (2025) by Kevin Poelking (b. 1988)
I. Sounds: The Beaten Path
II. Voices: Cherez Pole Shyrokeye (“Across the Wide Field”)
III. Dreams
**Consortium Premiere**
Program Notes
Serenade for Wind Nonet by Katahj Copley
Georgia native, Katahj Copley (he/him/his) premiered his first work, Spectra, in 2017 and hasn’t stopped composing since. As of now, Katahj has written over 100 works, including pieces for chamber ensembles, wind ensembles, and orchestra. His compositions have been performed and commissioned by universities, organizations, and professional ensembles, including the Cavaliers Brass, California Band Director Association, Admiral Launch Duo, and “The President’s Own” Marine Band. Katahj has also received critical acclaim internationally with pieces being performed in Canada, the United Kingdom, Japan, China, and Australia.
Katahj received two Bachelor of Music degrees from the University of West Georgia in Music Education and Composition in 2021. In 2023, he received his Masters in Music Composition from the University of Texas at Austin - studying with Omar Thomas and Yevgeniy Sharlat. He is currently studying music composition at Michigan State University.
Aside from composing, Katahj is an excited educator who teaches young musicians the joy of discovering music and why music is a phenomenal language.
“Music for me has always been this impactful thing in my life. It can soothe, it can enrage, it can quiet, and it can evoke emotions that are beyond me and this world we live in. I believe that music is the ultimate source of freedom and imagination. The most freedom I have had as a musician was through composing. Composition is like me opening my heart and showing the world my drive, my passion, and my soul.”
About Serenade:
This is a piece originally seen as an anti-serenade. I wanted to write about the idea of a relationship going bad. However, I took that idea and decided to go on a different route. Instead of this being a piece for the love of someone or the breakup of someone … this is the growth of a person from heartache.
The first movement is written from the perspective of someone out of a relationship, hence the rather somber beginning; however, the movement shifts into a change of mood for the person -- a more hopeful mood. Second movement is a quirky encounter between two people -- they are both shy and don’t know what the future holds for them. The third movement is a scene for a first date for the couple. The final movement begins with the clarinet and is rather slow. However, as the movement progresses, it gets faster and louder until the end. This movement represents the pacing of the couple so that they finally admit their love for one another.
-Katahj Copley
Variations on “America” by Charles Ives
Widely considered an innovator, Ives was the son of U.S. Army Bandleader, George Ives. At a young age, Ives studied organ and went on to Yale to study composition with Horatio Parker. Believing that he could not earn a living writing the music that he wanted to write, he formed a successful insurance business and composed in the evenings. Much of his music was ignored during his own lifetime, and many of his compositions were not published until decades after he had written them.
His compositional style was largely experimental but also incorporated American folk tunes and hymn songs to paint a unique tonal portrait. In 1947, he received a Pulitzer Prize for his Third Symphony (1911), after it’s debut in 1946. He died in New York City in 1954, leaving a legacy that predated most of the twentieth century innovations such as atonality, aleatoricism, polytonality, microtones, multiple cross-rhythms, and tone clusters.
Variations on "America" was originally a composition for organ. Composed in 1891 when Ives was seventeen, it is an arrangement of a traditional tune, known as My Country, 'Tis of Thee, and was at the time the de facto anthem of the United States. The tune is also widely recognized in Thomas Arne's orchestration as the British National Anthem, God Save the Queen, and in the former anthems of Russia, Switzerland, and Germany, as well as being the current national anthem of Liechtenstein and royal anthem of Norway.
The variations are a witty, irreverent piece for organ, probably typical of a “silly” teenage phenom like Ives. According to his biographers, the piece was played by Ives in organ recitals in Danbury and Brewster, New York, during the same year. At the Brewster concert, his father would not let him play the pages which included canons in two or three keys at once, because they were “unsuitable for church performance – They upset the elderly ladies and made the little boys laugh and get noisy!”
This work was transcribed for orchestra in 1964 by William Schuman and for band in 1968 by William Rhodes.
-Charles Ives and Nikk Pilato
California by David Maslanka
Dr. David Maslanka attended the Oberlin College Conservatory where he studied composition with Joseph Wood, and spent a year at the Mozarteum in Salzburg, Austria. He also did graduate work in composition at Michigan State University with H. Owen Reed. David served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough College of the City University of New York. He was a member of ASCAP.
Over the past four decades, David Maslanka has become one of America’s most original and celebrated musical voices. He has published dozens of works for wind ensemble, orchestra, choir, percussion ensembles, chamber ensembles, solo instrument, and solo voice. However, he is especially well-known for his wind ensemble works. Of his nine symphonies, seven are written for wind ensemble, and an additional forty-one works include among them the profound “short symphony” Give Us This Day, and the amusing Rollo Takes a Walk. Year after year, Maslanka’s music is programmed by professional, collegiate, and secondary school wind ensembles around the world.
When Maslanka wrote A Child’s Garden of Dreams, he was living in New York City and teaching music composition at Sarah Lawrence College and New York University. He was rapidly becoming interested in psychology, psychotherapy, and meditation, and was particularly captivated by the writings of Swiss psychiatrist Carl Jung. Maslanka began to incorporate self-hypnosis and lucid dreaming into his meditative exercises, which heavily influenced his musical thought. He began to notice specific symbols in his “mental landscape” that he translated into music. Today, Maslanka’s unique compositional technique is known for its emphasis on meditation, psychoanalysis, self-discovery, and the accession of one’s own subconscious energies. His search for spiritual and metaphysical discovery ultimately spurred him to leave New York City in 1990, and move to Missoula, Montana, where he lived and worked until his death.
Maslanka's works for winds and percussion have become especially well known. They include among others, A Child's Garden of Dreams for Symphonic Wind Ensemble, Concerto for Piano, Winds, and Percussion, the 2nd, 3rd, and 4th symphonies, Mass for soloists, chorus, boys chorus, wind orchestra and organ, and the two wind quintets. Percussion works include Variations of 'Lost Love' and My Lady White for solo marimba, and three ensemble works: Arcadia II: Concerto for Marimba and Percussion Ensemble, Crown of Thorns, and Montana Music: Chorale Variations. In addition, he has written a wide variety of chamber, orchestral, and choral pieces.
About California:
Dedicated to California Music Educators that have weathered the storm, with spirits set on new beginnings and the strongest times to come as the California All-State Music Education Conference moves to San Jose, CA in 2016.
“Music is wonderful. It lets us tell ourselves things we can’t speak out in words. It opens the dream space and lets us dream together. It lets us imagine the world as it really is, a place of vitality, power and possibility.
We live in fear of destruction, from climate change, nuclear bombs, increasing population, vanishing resources, continuous war. When the troubles are listed like this it is hard to know what we think we are doing with our seemingly simple and innocent music making.
California has always been a place of big dreams. The music of California celebrates the California dream space. There is tremendous beauty here — the forests, deserts, mountains and valleys, the ocean — and also the strength within the people and in the earth to meet the times that are upon us. Music lets us dream, and in that dream is the possibility of a new world, one in which humans live in harmony, within themselves, with all other people, with all other species, with the planet. Is this dream impossible? Are circumstances too complex? Will human nature never change? My answer to these questions is no. The dream starts somewhere. Let our music making be one such place.”
-David Maslanka
Sounds, Voices, and Dreams from Ukraine by Kevin Poelking
Mr. Poelking began his musical career as an educator, performer, and conductor. Self-taught in the craft of composition at this point, Poelking began submitting a few of his works to competitions. Many of the first performances of his works occurred outside of the United States with professional and university ensembles in Romania, Italy, France, and Spain. During this time, he also dabbled in writing music for media, working for clients including VicFirth.com, The March of Dimes, and the University of Southern Mississippi.
At the encouragement of many of his mentors, Poelking began to pursue composing music more seriously. While completing his studies in conducting at Colorado State University, Dr. Rebecca Phillips (director of bands, past president of NBA) advised Poelking to begin studying with award-winning composer Dr. James M. David. In the final year of his degree, he was named Graduate Student of the Year by the School of Music, Theatre, and Dance and won the 2018 CSU Graduate Showcase with his first piece for chamber wind ensemble.
When Poelking made the career switch to composing, he was named a winner or top finalist in several competitions including The NBA/ William D. Revelli Memorial Composition Contest (2022 finalist), The American Prize (3rd prize and two-time national semi-finalist), The Dallas Winds Fanfare Competition (2019 Winner), The Reno Pops Composer’s Showcase (2nd prize), and The Minot Symphony Orchestra Young Composer’s Competition (winner). As his music gained momentum, it caught the attention of Pulitzer-Prize Finalist Carter Pann who invited Poelking to pursue composition studies as a private student.
Poelking has received commissions from professional musicians and university ensembles around the United States. This included a new album by Dr. Stanley Curtis- U.S. Navy Band trumpet (ret.) and world premieres at major national conventions (International Trombone Festival and International Double Reed Society Conference). Poelking’s knowledge of repertoire from his experience as a conductor led to the creation of his “Chamber Winds Project”, which was cited by CBDNA (College Band Director’s National Association) as an important resource for repertoire in the genre.
In the summer of 2019, Poelking was selected from an international pool of applicants to conduct The United States Army Band “Pershing’s Own” in concert where he was awarded the band's medal "For Excellence" by leader and commander Col. Andrew Esch. He also served as the conducting fellow for the Montgomery Philharmonic for their 2016-17 season. In addition to formal studies with Rebecca Phillips, Wes Kenney, and Sandra Ragusa, he has also received instruction from H. Robert Reynolds, Michael Haithcock, Craig Kirchoff, Gary Hill, Kevin Sedatole, Emily Threinen, Pablo Saelzar, and George Etheridge.
In addition to maintaining his schedule as a regularly commissioned composer, Poelking continues teaching as a member of the Colorado State University music faculty. He also serves as composer-in-residence with the Greater Boulder Youth Orchestras. Poelking regularly visits and collaborates with ensembles, professionals, and music students. He speaks publicly, guest lectures, and writes about healthy and efficient work habits in the teaching and creative field.
About Sounds, Voices, and Dreams from Ukraine:
This work was written as a gift to the National Academic Symphonic Band of Ukraine, and their conductor, Ivan Stetskyi.
I. Sounds: The Beaten Path. This movement draws inspiration from a brief quote from Ivan Mazepa (Іван Мазепа), leader and patron of the arts who portrayed Ukraine's tumultuous history as: “O woe to the poor little seagull that hatched her babies by the beaten path."
While mostly original material, this movement uses the well-known Ukrainian folk song” A Moonlit Night” which is emphatically stated and thoroughly explored less than a minute into the work. The final four notes of this song (sol-re-me-do/ 5-2-3-1) are used as a recurring motif in this movement and throughout the entire work. These notes are presented both sequentially and in unison (creating clustered "chords"), while also being varied throughout.
Throughout my research and personal interactions, the theme of Ukraine being “small but mighty” was recurrent. In measure 19, the piccolo -- the smallest but perhaps the most acoustically prevalent instrument in the ensemble -- calls out and the ensemble responds with strength and unity. The piccolo continues to serve as this “rallying cry” and source of strength for the rest of the ensemble throughout the movement.
Near the end of the movement the audience will hear a brief quote of the Ukrainian national anthem, whose lyrics begin: “Ukraine’s freedom has not yet perished, nor has her glory…” Overall, this movement attempts to represent a proud and resilient people, even in the face of hardship and chaos.
II. Voices: Cherez Pole Shyrokeye (“Across the Wide Field”). Most famously arranged for choir by Ukrainian composer Mykola Leontovych, Cherez Pole Shyrokeye serves as a moment of healing and reflection. During the attack on Kyiv and throughout Ukraine, many citizens were forced to take shelter, often in underground bunkers. While waiting for the danger to pass, many Ukrainians found comfort and strength in singing and performing music. The resonant, echo-like sounds at the beginning of this movement attempt to convey the acoustics of the concrete underground shelters. In the distance, echoes of distorted trumpets perform a brief quote of the Ukrainian National Anthem, representing the many musicians who performed impromptu concerts in public areas throughout the city to raise the spirits of their fellow citizens.
Connecting the two movements, the four-note motif constructed from the final notes of A Moonlit Night (5-2-3-1) sounds on resonant keyboard instruments. These four pitches are presented in this order in a seemingly random rhythm. It is not until Cherez Pole Shyrokeye finds a steady pulse in the trumpet solo that we see how these four pitches fit within this melody.
The most profound moment of this work occurs just a few minutes into the music, as the “voices” of the Ukrainian people are represented by the ensemble singing. At the same time, the audience will hear an audio track that was recorded by the NASB of Ukraine in their concert hall on May 30, 2025. This recording is the voice of Pavlo Vyshebaba, a poet turned soldier who was sending communication on this project from the frontlines. He was eventually assigned to duty in Kyiv where they were able to create this recording.
The music builds in strength, representing the resilience and bravery of the Ukrainian people as they come together to support one another. There is a sense of hope when the percussion and piano enter, presenting an inversion of the four-note motif slightly altered to a major mode. The movement ends on a quiet, tense dissonance, as if asking “Was my prayer heard?”. The glockenspiel answers optimistically to end the movement.
I find the spirit of this music is exceptionally summarized from the program notes of another arrangement of Cherez Pole Shekrokeye by Women’s Bandura Ensemble of North America: “This piece embodies the eternal themes of spring, rebirth and redemption, and serves as a reminder that new beginnings are not always without pain.”
III. Dreams. This movement represents peace and hope for Ukraine: dreams of loved ones coming home and a bright future. During the time I wrote this music, Ukraine faced immense pain and difficulty, yet there are so many instances of beauty because of the people. There are weddings, art is being made, people gather together to support each other and give one another strength, and concerts (like the one this piece is written for) continue to draw crowds.
The opening chords are the four-note motif inverted (up P4, down m2, up m3) harmonized in quartal and quintal harmony. The sixteenth-note run in measure 4 is also completely constructed on this variation of the motif.
After the celebratory beginning, the music takes on a modern “groove”, inspired by the thriving popular music culture and artists in Ukraine. The music quickly becomes more contemplative, as we hear Pavlo’s poem (the final lines) return once more. Material from both movements is presented here and acknowledges the heroes, strength, tragedy, and loss.
The final minutes of this music display immense power and pride. In victory, the horns raise their bells and, once more, the ensemble cries out a small snippet of the Ukrainian National Anthem once more, inspired by the lyrics: “Upon us, fellow Ukrainians, fate shall smile once more.”
The timpanist brings the work to a commanding conclusion by emphatically stating the four-note motif that anchored the work. The final tempo marking in the conductor’s score is in Ukrainian:
“нарешті мир” (pronounced “nareshti myr”), which roughly translates to “Peace at last”.
-Kevin Poelking
Biographies
Dr. Martin I. Gaines proudly serves as the conductor of the UWL Wind Ensemble, Symphony Orchestra, and Concert Band as well as teaching courses in Conducting, Clarinet, and Music Education. Prior to this posting he served as the Director of Instrumental Studies at Morningside University and the Associate Director of Bands at McNeese State University. He holds degrees in conducting and music education from the University of Arizona (DMA), Middle Tennessee State University (MM), and the historic VanderCook College of Music (BMEd).
As an active conductor, clinician, and music producer, Dr. Gaines’ most recent recording project David Maslanka: Music for Wind Ensemble was released in January 2021 on the Toccata Classics Label. He has also served as producer for an album featuring the wind orchestra music of Nigel Clarke. Prior to his academic appointments, he also served as the principal conductor for the Arts Express Orchestra in Tucson, Arizona and as the founding conductor of the UArizona chamber ensemble Solar Winds.
Prior to pursuing graduate studies, Dr. Gaines taught middle and high school bands and orchestras for fifteen years in Illinois, Alabama, Georgia, and most recently in Florida. His bands have consistently received top marks from adjudicators and were often featured in clinic performance, e.g. the Southeastern Band Clinic at Troy University (2010) and the University of North Florida Invitational Festival (2010, 2014). He was also named Teacher of the Year in 2015 for Oakleaf High School (FL). Dr. Gaines holds professional memberships in CBDNA, College Music Society, College Orchestra Directors Association, International Conductor’s Guild, NAfME, National Band Association, Tau Beta Sigma, WASBE, and is a Life Member of Kappa Kappa Psi.
Gavin Dillie is a senior music education major attending the University of Wisconsin-La Crosse. Throughout his time at the University, Gavin has been involved in multiple ensembles including: the Jazz Ensemble, Jazz Orchestra, Screaming Eagle Marching Band, Wind Ensemble, Symphonic Band, and Symphony Orchestra. On top of this, he has conducted the Concert Band and Symphonic Band prior to conducting the Wind Ensemble.
Gavin is currently in his second semester of Field Experience at the local schools. This semester he is working with the music department at Logan High School and was at Onalaska Middle School for the previous semester. This upcoming Fall Semester, Gavin will be doing his student teaching semester before graduating in December. Gavin has held music near to his heart from a young age and while he is very involved and has a love of wind band, he credits jazz as his favorite music genre and what propelled his music career forward when he first started it in high school.
Symphonic Band: "Into the Storm"
Annett Recital Hall, Truman T. Lowe Center for the Arts
April 25, 2026 at 6 p.m.
Program
Marche Diabolique by Brian Balmages (b. 1975)
Into the Storm by Robert W. Smith (b. 1958)
Guest Conductor, Dr. Olivia Salzman-Coon
Lightning Field by John Mackey (b. 1973)
Oracles of the Sirocco by Robert Sheldon (b. 1954)
Extraordinary Machines of Clockwork and Steam by Scott Watson (b. 1962)
Conductors
Dr. Tammy Fisher is the Director of the Screaming Eagles Marching Band and Percussion Studies at the University of Wisconsin – La Crosse. In addition to directing the Screaming Eagles Marching Band and Symphonic Band, she teaches courses in instrumental music education, percussion pedagogy, and conducting.
Fisher has served as principal timpanist in the La Crosse Symphony Orchestra since October 2001. She has appeared as a percussion soloist with the La Crosse Symphony Orchestra, La Crosse Concert Band, Westby Community band and several high schools across Wisconsin and Minnesota. She is a member of the Grumpy Old Men big band jazz band as well as the Too Darn Hot and 7 Rivers Jazz bands.
Dr. Olivia Salzman-Coon is currently an Assistant Teaching Professor at the University of Wisconsin- La Crosse. She received her PhD in Music Education from the University of Oregon. She holds a Master of Music in Music Education from the University of Wisconsin-Madison and a Bachelor of Music in Music Education from the University of Oregon.
Salzman-Coon has taught general music, band, and choir at all age levels from pre-Kindergarten to 12th grade. A true cross-specialist, she has taught collegiate students seeking licensure in both general elementary and band specializations, is a Feierabend certified elementary specialist, and has conducted athletic, concert, and jazz bands at all age and ability levels. Her research interests include pre-service teacher training, teacher health, career longevity, fostering inclusive ensembles, and effective cross-specialty teaching strategies