Samohi Concert Bands Fall Concert · PDF fileSamohi Concert Bands Fall Concert 2016 Kevin...

Fall Concert 2016 1

Samohi Concert Bands Fall Concert 2016Kevin McKeown & Terry Sakow, Directors

Concert BandHeatherwood Portrait James Barnes

Symphonic BandThe Seventh Day David Shaffer

Variations on a Korean Folk Song John Barnes Chance

Symphonic WindsAmazing Grace Frank Ticheli

Second Suite in F for Military Band Gustav HolstI. MarchII. Song Without WordsIII. Song of the BlacksmithIV. Fantasia on the ‘Dargason’

Wind SymphonyFirst Suite in Eb for Military Band Gustav Holst

I. ChaconneII. IntermezzoIII. March

An American Elegy Frank Ticheli

Eine Kleine Yiddishe Ragmusik Adam Gorb

Wind EnsembleMarch from Symphonic Metamorphosis Paul Hindemith

trans. Wilson

Hymn to a Blue Hour John Mackey

Huapango Jose Pablo Moncayoarr. Osmon

Cover art by Chloe Rudd

Fall Concert 2016Samohi Concert Bands 32

Concert BandFlute

Sabina GarciaXiomara GomezShyla Gonzalez

Kaylen GoodyearMia LevensonEmily Meyer

Indio Mulholland

OboeNora Casa

ClarinetCristian Cruz

Israel Dominguez Rivera

Bass ClarinetVaughn Mickshaw

Alto SaxophoneDakota PattersonNeyda BautistaPerla Bautista

Tenor SaxophoneZion AnsariLuke CramerRod Malek

Brennon MckinleyJustin Petrille

TrumpetEdward Cervantes

Arya CharmchiSebastian RochaDavis SanchezSamuel Sasaki

HornGabriel ColasantiMichelle Garcia

Jerry LopezOskar Veloz

TromboneJasson MartinezAnthony OramGarrett RobertsNathan Vincent

TubaJonathan Herrador

PercussionLateira FloresAlex Gulvin

Cara HenaghenJared Levin

Layth LughodKayla Mendoza

Spencer MichaelsonRahi Misra

Nicole PinedaHayden Roberts

Evie RojasDaniel Rushakoff

Symphonic BandFlute

Nicole AguirreSebastian AlcockGabriela BlattAnna Doñate

Naveen HaqueRolando Hernandez

Jonathan HirnAudrey Howard

Vanessa LinAnna Lytz

Kaitlyn MarcialVincent ResendezEmily Sandoval

Mariah Vanputten

OboeGinger MooreCole RenshawPatrick Tseng

BassoonJuan Ayala

ClarinetCatherine FarrNoah Fonck

Michael GoldmanMaya GorenAndrew Hu

Eddy MartinezAlam MoralesArchie Taylor

Bass ClarinetFreddy De PabloIsabella Gomez

Sky Hodel

Contra Alto ClarinetJoely Carrera Arenas

Alto SaxophoneAsher BurkinJack Dawson

Ziya Sing-Gu JangMatthew SasakiNathan Thorson

Dylan Wolff

Tenor SaxophoneKiyono GrayCarlos Lopez

Samuel Telanoff

Baritone SaxophoneLucas Lee

TrumpetFinlay BuchananIsabella ChuecosAndrew ChungGidon Cohen

Roland Hawkins IIISam LevensonHugo Maida

Michael MelakuAri Niknia

Daniel PachecoEzra Pogue

HornDanial Asaria

Mauricio BautistaNicholas Martin Bourne

Rosie Ramati

TromboneWilliam Browning

Seiya Takada

EuphoniumAdam ChamasCooper Colby

Matthew GutierrezStefano IngargiolaNadir Zokhrabov

TubaDavid CikvasviliMorgan JarowOscar Munoz

PercussionNicolas BellomoDaniel Canales

Khulan ErdenemunkhKensuke Fujita

Dylan GroezingerArielle MelamedShaun Morgan

Gabriel Sanchez


Symphonic WindsFlute

Felix Audelo RuizAmanda CastilloOliver Gutierrez

Iman HonardoostMadeline Johnson

Max LiewAva NickmanNatalie Safai

Mikaela SayyahLucy ShermanHannah SimonSavannah YassinJonathan Yuan

OboeKyle Kennedy

BassoonNicholas Dye

ClarinetRob Edward Atienza

Oscar CruzGavin Lai

Andrew MartinezAamir RehmanRichard SmithWilliam Wright

Alto SaxophoneVicente Puga

Nikolai RamalingamBria Stocker

Tenor SaxophoneZachary Arnold

Baritone SaxophoneTrevor Nevell

TrumpetJames Apter

Miles GravelleJack KendallJacob Miller

David Zhang

HornJohn-David RussoHoward Varner

TromboneDylan Brenner

Christian ChamorroAndrew Hanson

Connor Masterson

EuphoniumJohn BlodgettJacob Graves

TubaCarlos Edwards Palomo

Wyndham Rothblatt

PercussionNathaniel Comay

Judah HoganLucas MathiasTheo Mercier

Daniel RamirezVikram Sundar

Wind SymphonyFlute

Rachel AndersonJoey Choe

Emily KrenikMolly NovakZoe Parcells

Veronica RasmusenGunther SchwartzSarah Villalobos

OboeNoa GorgasDustin Morris

BassoonJaelen Kim

Amanda Welser

ClarinetSimeon DowningJosias Escobar

Lorenzo GordonEmma Green

Angela HernandezAva Metz

Samuel NahassEloise Schiffman-Eller

Bass ClarinetJeremy Arnold

Alto SaxophoneAlec Apter

Samuel CockrellZachary Forsyte

Marcus GeeCameron Noori

Tenor SaxophoneShrayes RamanLea Yamashiro

Baritone SaxophoneEddie Gutierrez

Fikrtemariam Moges

TrumpetDavid GotlerCaleb Kim

Amaury MoralesAlan SchlessingerMaxwell VaradyJoseph Wickline

French HornKirun CheungJackson Weill

French Horn William WisenSamuel Wittert

TromboneJacob Dreifort

Jacob Rogers-FettTupelo SullivanBrandon Turk

Oliver Zinneman

EuphoniumJohn Desmond Bunting

TubaJack Kelley

Bonnie Stewart

PercussionRyan Bunting

Michael FinkelsteinAlberto QuinteroEdward Reyes

Makaya Washington


Wind EnsembleFlute

Ila AmiriKelly BartlettMaia Dastur

Sophia LoureiroAdya MohantyAngie OuyangMelinda Zhu

OboeAutry Isom

Veronica Johnson

BassoonLauren Lee

Buddy MoenchJuan Pablo Monroy-

Amezquita

ClarinetKerby DiazRonan Gunn

Isaac IzquierdoRami MamitaBenjamin SegalSamuel Weiller

Derek Wen

Bass ClarinetAdam Katz

Kate Sonderegger

Alto SaxophoneNaveen Bahadur

Lila KropDylan Ollivier

Dingming (Dean) Zhang

Tenor SaxophoneBrian Mendez

Baritone SaxophoneJames Cohen

TrumpetOwen Doyle

Jacob HammerslyIsaac Horwitz-Hirsch

Chloe RuddJane Wickline

French HornEmma BrownCyara PinkosDuncan SmithSusanna Wise

TromboneBrandon Cohen

Natalie DiMundoMatthew Espinoza

Byron HatchJoseph Ricard

Blayne Suttonwills

EuphoniumWeston Gray

Madeleine Hammer

TubaMaxwell Dorf

George FelstinerMatthew Proft

PercussionNathan BannerAlyssa FrenchAnnie Huang

Avery KirschbaumKenji Lewis-KouryOliver Mathias

Maria Perez Mendoza

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Second Suite in F for Military BandGustav Holst (1874 - 1934), one of England’s most prominent composers, was

also a professional trombonist and a teacher of composition and organ. His music includes operas, ballets, symphonies, chamber music, and songs. During the first World War he was placed in command of all English Army Bands, organizing music among the troops under the Y.M.C.A. Army and Education program. He continued his teaching as musical director at the St. Paul’s Girls’ School in the Hammersmith borough of London. His First Suite in E-Flat, Second Suite in F, and Hammersmith are hallmarks in the repertoire for wind ensemble.

The Second Suite in F, composed in 1911, uses English folk songs and folk dance tunes throughout, being written at a time when Holst needed to rest from the strain of original composition. The opening march movement uses three tunes, the first of which is a lively morris dance. The folk song “Swansea Town” is next, played broadly and lyrically by the euphonium, followed by the entire band playing the tune in block harmonies - a typically English sound. “Claudy Banks” is the third tune, brimming with vitality and the vibrant sound of unison clarinets.

The first two tunes are repeated to conclude the first movement. The second movement is a setting for the English folk song “I’ll Love My Love.” It is a sad story of a young maiden driven into bedlam by grief over her lover being sent to sea by his parents to prevent their marriage. The Hampshire folk song, “The Song of the Blacksmith,” is the basis of the third movement, which evokes visions of the sparks from red hot metal being beaten with a lively hammer’s rhythm on the blacksmith’s anvil. The English country dance and folk song, “The Dargason,” dating from the sixteenth century, completes the suite in a manner that continues to cycle and seems to have no end. The Elizabethan love tune “GreenSleaves” is intertwined briefly and withdrawn before the final witty scoring of a piccolo and tuba duet four octaves apart.

First Suite in Eb for Military BandBorn into a musical family, Gustav Holst played piano and violin, and began

composing when he was about twelve. He served as a church organist and choirmaster. When neuritis in his right hand forced him away from the organ he took up the trombone and succeeded as an orchestral musician. Holst was influenced by socialism, and attended lectures by George Bernard Shaw with whom he shared a passion for vegetarianism. He became deeply interested in Hindu philosophy and learned Sanskrit. He dabbled in astrology, and read astrological fortunes until his death. He was appointed Director of Music at St. Paul’s Girls School in Hammersmith. He became interested in old English folksongs and Tudor composers. Holst’s compositions for wind band guaranteed him a position as the medium’s cornerstone, as seen in the many present-day programs (like tonight!) featuring his two Suites for Military Band brass sections.

An American ElegyAn American Elegy is, above all, an expression of hope. It was composed in memory

of those who lost their lives at Columbine High School on April 20, 1999, and to honor the survivors. It is offered as a tribute to their great strength and courage in the face of

Program Notes

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Heatherwood PortraitHeatherwood Portrait is one of the composers most frequently performed works. It

is an example of absolute music and does not tell a story nor is it descriptive as its title implies. The title is from the name of an apartment complex between his home and the university where he teaches.

The Seventh DayThe title of the work

is a reference to the biblical Creation account, which concludes with a satisfied Creator resting after His mighty work of creation, on The Seventh Day. As the composition develops it is possible to feel the moods of the Divine as He was in the act of Creating all that is. There is excitement, contemplation, some dissonance, the spaciousness of open chords, and the feeling of exhilaration as the last star was lit – and then the final measures depicting the great God pleased with what he had done and resting with pleasure. – Dave Crookson

Variations on a Korean Folk SongVariations on a Korean Folk Song is a major musical piece written for concert

band by John Barnes Chance in 1965. As the name implies, Variations consists of a set of variations on the Korean folk song “Arirang,” which the composer heard while in South Korea with the U.S. Army in the late 1950s. In 1966 the piece was awarded the American Bandmasters Association’s Ostwald Award.

The theme is based upon a concert Ab major pentatonic scale. At the beginning of the composition, the first part of the theme, resembling Arirang, is introduced quietly in the clarinets; the other instruments join in to play the second part. The song then consists of five variations on this theme.

Amazing GraceFrank Ticheli’s beautiful setting of Amazing Grace has become a standard part of

the band repertoire. Masterfully conveying its religious message of redemption, and ascension. Written by John Newton (1725-1807), a slave ship captain who, after years of transporting slaves across the Atlantic to the New World, suddenly saw through divine grace the evilness of his acts. The spiritual was first published in 1835, and has become one of the most beloved songs ever written.


a terrible tragedy. I hope the work can also serve as one reminder of how fragile and precious life is and how intimately connected we all are as human beings.

The work begins at the bottom of the ensemble’s register, and ascends gradually to a heartfelt cry of hope. The main theme that follows, stated by the horns, reveals a more lyrical, serene side of the piece. A second theme, based on a simple repeated harmonic pattern, suggests yet another, more poignant mood. These three moods - hope, serenity, and sadness - become intertwined throughout the work, defining its complex expressive character. A four-part canon builds to a climactic quotation of the Columbine Alma Mater. The music recedes, and an offstage trumpeter is heard, suggesting a celestial voice - a heavenly message. The full ensemble returns with a final, exalted statement of the main theme. – Frank Ticheli

Eine Kleine Yiddishe RagmusikEine Kleine Yiddishe Ragmusik is British composer Adam Gorb’s brilliant synthesis

of Scott Joplin ragtime with Jewish folk song. This combination results in a piece that conveys both the evocative yet haunting atmosphere of the 1930s Berlin cabaret scene. Each ensemble section has a chance to take the forefront in the work, with the upper woodwinds taking an especially virtuosic tour through running sixteenth-note melodies and idiomatic trills, grace notes, and lip bends.

March from Symphonic MetamorphosisGerman composer Paul Hindemith immigrated to the United States in 1940 and

became a citizen in 1946. He taught at Yale University in New Haven, Connecticut and was a major influence on many important composers of the latter half of the twentieth century. In early 1940, Hindemith began discussing the possibility of producing a ballet based on the music of composer Carl Maria von Weber (1786–1826) with the Russian ballet producer Leonide Massine. The idea intrigued Hindemith, but he and Massine clearly had different concepts of the project. Massine had envisioned simple arrangements of Weber’s melodies rather than Hindemith’s sharper and more colorful interpretations of the music. The ballet was dropped, but Hindemith did not let the music go to waste. He reworked his ideas into what became the Symphonic Metamorphosis. The first, third, and fourth movements are based on melodies from relatively obscure piano duets of Weber that Hindemith and his wife would often play together. The second movement is derived from Weber’s overture to his opera Turandot.

Symphonic Metamorphosis received its world premiere by the New York Philharmonic on January 20, 1944, with Artur Rodzinski conducting. Although it was written for orchestra, Hindemith immediately felt that it should also be available for band and requested that his Yale colleague Keith Wilson create the transcription. Since that time, the heroic March that serves as the fourth movement of the suite is often performed on its own.

Hymn to a Blue HourWith this attitude and his prodigious talent, John Mackey has become a superstar

composer among band directors. Mackey’s works for wind ensemble and orchestra

have been performed around the world, and have won numerous composition prizes. His Redline Tango, originally for orchestra and then transcribed by the composer for band, won him the American Bandmasters Assocation/Ostwald Award in 2005, making him, then 32, the youngest composer ever to recieve that prize. He won again in 2009 with Aurora Awakes.

Though not composed as a companion work to his earlier Aurora Awakes, Hymn to a Blue Hour strikes at many of the same chords, only in a sort of programmatic inversion. While Aurora Awakes deals with the emergence of light from darkness, Hymn to a Blue Hour is thematically linked to the moments just after sundown - perhaps even representing the same moment a half a world away. The opening slow section of Aurora Awakes does share some similar harmonic content, and the yearning within the melodic brushstrokes seem to be cast in the same light.

HuapangoHuapango is the unofficial second national anthem of Mexico. It was written

in 1941 by then 29-year-old Jose Pablo Moncayo (1912-1958), a composer and conductor from Guadalajara. Moncayo found his source material for the piece on a folk-song collecting trip to the villages Veracruz, where he encountered a dance called huapango. The name for this dance comes from a corruption of the Nahuatl word huapanco, which means “on top of the wooden plank”, or, more poetically, “on the dance floor”. Folk huapangos can be played in many forms, from a small chamber group to a large mariachi band, but all of them share a rhythmic playfulness with much of Mexican folk music. Moncayo uses this rhythmic flexibilty to great effect in his Huapango. He probes the boundaries of 6/8 time, often reveling in the space between duple and triple meter. His setting was based on three huapangos that he heard on his trip: “El Siquisiri”, “El Balajú” and “El Gavilancito”.

Huapango is Moncayo’s most lasting legacy in classical music. He wrote several other pieces for orchestra. He also was the conductor of the National Symphony Orchestra of Mexico from 1949 to 1954. Along with other composers like Carlos Chavez and Silvester Rivueltas, Moncayo is closely associated with the Mexican Nationalism of the period. His untimely death in 1958 is often considered the end of that era.


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Santa Monica High School Music FacultyKevin McKeown & Terry Sakow, Bands

Andy Bill, Percussion InstructorTom Whaley & Sean Pawling, Jazz BandsJoni Swenson & Jason Aiello, Orchestras

Jeffe Huls, Choral MusicMark Harris, Guitar

Naomi Sato, Instructional AideNeil Windt, Choral Accompanist

Barnum Hall Jerry Gibson, Facility Use Manager

Alan Ceccarelli, Technical Theatre CooridnatorBill Wishart, Media Services Coordinator

Devon Ausman, Theatre TechnicianAnette Bolan, Theatre Operations AssistantLewis Stout, Theatre Operations Assistant

Bud Coffey. House Manager

Malibu High School Bryon Kostors, Band

Maia Zander, Orchestra Krysta Sorensen, Choir

John Adams Middle SchoolAngela Woo, Instrumental Music

Sean Garnreiter, Instrumental MusicCecile Blanchard, Vocal/General Music Galina Baskina, Choral Accompanist

Lincoln Middle SchoolSalvador Muñoz, BandsHeather Klenk, Bands Jim Wang, Orchestras

Vanessa Counte, Choral/General Music

Santa Monica Alternative SchoolhouseRobert Anderson, Strings

Yosuke Miyoshi, Band Mike Hyziak, Jazz

Jessie Spike-Gravelle, Choral Music

SMMUSD Elementary MusicKirsten Bersch, Jar el Garcia, Susan Justin,

Sam Lorenzini, Yosuke Miyoshi, Sean Pawling, Lindsay Quiroz, Steven Ravaglioli,

Jessi Spike-Gravelle & Bruce Tellier

Santa Monica High SchoolAntonio Shelton, Principal

Catherine Baxter, Dean of StudentsHector Medrano (S), Lissette Bravo (M),

Regina Zurbano (O), Tristan Komlos (H) & Julie Markussen (I), House Principals

Santa Monica-Malibu Unified School DistrictMark Kelly, Interim Deputy Superintendent

Janece Maez, Assoc. Supt, Chief Financial OfficerDebra Moore Washington, Asst. Supt., Human Res.

Terry Deloria, Asst. Supt., Educational Services Ellen Edeburn, Dir., Secondary Curriculum

Tom Whaley, Visual & Performing Arts CoordinatorSMMUSD VAPA District Advisory CommitteeSanta Monica-Malibu Education Foundation

SMMUSD Board of EducationLaurie Lieberman, President

Ralph Mechur, Vice PresidentOscar de la Torre, Jose Escarce, Craig Foster,

Maria Leon-Vazquez & Richard Tahvildaran-Jesswein, Board Members

Santa Monica City CouncilTony Vazquez, Mayor; Ted Winterer, Mayor Pro

Tempore; Gleam Davis, Sue Himmelrich, Kevin McKeown & Pam O’Connor &

Terry O’Day, Council Members

SMAPA-Samohi BandsRichard Krop, President | Yadira Sandoval,

Treasurer | Cydney Kirschbaum, Secretary | Berkeley Sanjay, VP-Fundraising | Marci Banner,

VP-Communications | Jennifer Hammer, VP-Concert Bands | Selina Woolery Smith, VP-

Marching Band | Mudita Bahadur, VP-Jazz Marcy Hardart, SMAPA Rep; Jazz Combo | Brent Cohen,

Membership | Alisa F. Stewart, Past President | Lisa & Patrick Proft, Marching Competition

Cooridnators | Martha Lares-Huerta & Stefanie Izquierdo, Marching Competition Food | Yunilda Pacchioni-Esquivel, MB 8th Grade Night | Tava Theis, Color Guard | Anne Ling Goren, Concert Tickets | Kathleen Lamphere, Program Layout |

Jaleh Mirhashemi, Concert Café | Cynthia Pinkos, SMAPA President

Acknowledgments

8 Samohi Concert Bands

Please use file “Band Fall 2016 Cover-Print.pdf ”

Please use file “Band Fall 2016 Cover-Print.pdf ”

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