The University of Southern Mississippi

Wind Ensemble Dr. Catherine Rand, conductor Dr. Jonathan Yarrington, tenor

The University of Southern Mississippi College of Arts and Sciences

School of Music presents

Mannoni Performing Arts Center Thursday, April 22, 2021

8:00pm LIVE STREAM LINK

University BandsThe University of Southern Mississippi Band Program had its inception in 1920 with the founding

of the first aggregation of winds, mainly a brass ensemble for students who were training as

teachers. Its current enrollment of approximately 300 students includes members from every

possible area of study in the university. While it is primarily housed in the School of Music, the

Band Program truly is the University’s program.

There are six segments of the program that include the Wind Ensemble, Symphonic Winds,

Concert Bands, University Band, the Basketball Pep Band, and “The Pride of Mississippi”

Marching Band with an enrollment of 300 students. Each of these organizations, while having its

own distinct history, stem from the success of the Marching Band that began in the 1950s with

the hiring of Dr. Raymond Mannoni.

Each of the Band Program’s concert ensembles has its place in the education of our music

majors; however, the ensembles have also provided an outlet for students throughout the

University during both the first and second semesters. Just as the Marching Band provides a

service for football experiences, these other ensembles provide academic, recruitment, and

community services. The Wind Ensemble and the Symphonic Winds have performed for the

Mississippi Bandmasters Association state convention six times. All of the groups have provided

enhancement to community projects that include numerous appearances for various citywide

events.

As a Mississippi product, the Wind Ensemble has been featured on numerous radio broadcasts

from Public Radio Mississippi and has been the only Mississippi group that can boast of having

been aired nationally on Public Radio International’s “Performance Today.” CD’s are produced

annually to feature the bands’ musicians and are provided to recruits and Mississippi band

programs as a service. 

Concert ProgramThe USM Wind Ensemble

Dr. Catherine Rand

Fanfare for Democracy (2021) James Stephenson (b. 1969)

as the fireflies watched (2020) James Stephenson (b. 1969)

*World Premiere* I. dusk II. the gift III. in another life IV. pavane

Dr. Jonathan Yarrington, tenor

Amazing Grace (2020) Steve Danyew (b. 1983)

*World Premiere*

Symphony No. 1 “Codex Gigas” (2019) James M. David (b. 1978)

*Consortium Premiere*

III. The Great Red Dragon IV. The Holy City

Dr. Cristina Finch Espinoza, harp

Wind Ensemble PersonnelPiccolo Erin Clare Freeman, B.M.; Navarre, FL

Flute Katerina Bachevska, D.M.A.; Ohrid, Republic of

North Macedonia Sarah Rodriguez, B.M.; Meraux, LA Miracle Johnson, B.M.; Caledonia, MS

Oboe Lilia Rodriguez, B.A.; Tegucigalpa, Honduras Rut Moreno Calderón, B.A.; San, José, Costa Rica Ashley Moffatt, B.M.E.; Allen, TX

English Horn Ashley Moffatt, B.M.E.; Allen, TX

Bassoon Paula Martinez Marrugo, M.M.; Cartagena,

Colombia Jordan Vestal, B.M.; Gluckstadt, MS

Contra Bassoon Ethan Potesta, B.M.E.; Hattiesburg, MS

Bb Clarinet Adam Michael Stallings, M.M.; Marietta, GA Madison Hansen, B.M./B.S.; Biloxi, MS Savannah Tims, M.M.; Crestview, FL Brandon Rodriguez, B.M.; Meraux, LA

Bass Clarinet Heather Gering, D.M.A.; Wichita, KS

Soprano Saxophone Morgan Webster, B.M.E.; Pass Christian, MS

Alto Saxophone Morgan Webster, B.M.E.; Pass Christian, MS Chase Romans, B.M.E.; Biloxi, MS

Tenor Saxophone Juan Daniel Oviedo-Reina, M.M.; Ibagué,

Colombia

Baritone Saxophone William Andrew Austin, D.M.A.; Martin, TN

French Horn Brandon Earl Garrison, D.M.A.; Seguin, TX Robby Brandon, B.M.E.; Carriere, MS Chance Rootes, B.M.; Biloxi, MS Daniel Shelton, B.M.E.; Laurel, MS

Trumpet Caleb Guilbeau, M.M.; Ellisville, MS Ethan Farnsworth, M.M.; Lafayette, LA Matthew Thomas, B.M.; Crestview, FL Audrey Hotard, B.M.; Madisonville, LA Mariah Atwood, B.M.; Clinton, MS Trombone Caleb Owenby, M.M.; Ft. Walton Beach, FL Nicholas Dauerer, B.M.; Smyrna, TN

Bass Trombone Joseph Dunn, B.M.E.; Crestview, FL

Euphonium Peyton Sills, B.M.E.; Madison, MS Thanapol Phosut, M.M.; Bangkok, Thailand

Tuba James Fair, D.M.A.; Pace, FL Eyan Ridler, B.M.E.; Bay St. Louis, MS

Cello Patricia Rezende Vanuci, M.M.; Osasco, São

Paulo, Brasil

String Bass Ana Arosemena, M.M.; Panama City, Panama

Piano Luciana Simões, D.M.A.; Santos, São Paulo, Brasil

Percussion Nathan Sanders, D.M.A.; Hurley, MS Matthew Keegan, M.M.; New Orleans, LA Bernardo Bucheli, B.M.; Quito, Ecuador Roberto Palomeque, D.M.A.; Pijijiapan, Chiapas,

Mexico J.D. Dunklee, B.M.E.; Tupelo, MS Joshua Hale, B.M.E.; Houston, TX Justin Swearinger, D.M.A.; Bettendorf, IA

Notes(1) James Stephenson: Fanfare for Democracy

It is with pride and gratitude that I can announce that my Fanfare for Democracy was premiered on January 20, 2021, at the United States Capitol, for the Inauguration of President Joe Biden and Vice-President Kamala Harris. The fanfare was performed by “The President’s Own” United States Marine Band, conducted by Col. Jason K. Fettig.

I am honored and humbled to be a part of such a historic event.

I was inspired to write on November 7, 2020, when reflecting on the democratic process. Like so many in this country, when the announcement of the election occurred this past Saturday, there was an overwhelming sense of relief that there was finally some closure.

Given the abnormally beautiful weather (70 degrees in Chicago in November!), my wife Sally and I decided to take the dog on a long walk. Everyone was out, and there was such energy in the air. During the walk, I just couldn't get the music out of my head. I knew I had to write something celebratory.

We called some friends, and met for lunch and beers, and that's when I posted about potentially writing a fanfare. I was totally surprised by the support the idea received, and that's when I knew I HAD to write this piece. That afternoon - and a couple of beers in - I immediately went to work. We had plans that evening, but by Sunday morning, Fanfare for Democracy was completed.

Note from James Stephenson

Notes(2) James Stephenson: as the fireflies watched

Usually, when asked to produce a new work celebrating the 100th anniversary of an institution, one might expect a more celebratory result, in order to honor the occasion. I am so grateful, for personal reasons, that director Catherine Rand allowed me to write the piece of my choosing. Because what follows had to come out, and needed to be written.

Everything scored in this piece is written in memory and in honor of my father. Even every instrument chosen is in some way related to him. My mother - his wife of nearly nearly 53 years - played the flute in high school. My father played the saxophone and bassoon in high school. Trumpet was my instrument, which he/they supported entirely. My dad had a dance band in college, hence the use of two percussionists and a bass. His main instrument was piano, which I heard him play almost every day in our living room. Later in life, he picked up the cello. And finally, he was a tenor in many choirs throughout his life.

My childhood was a completely happy one. I received no arguments in whatever endeavor I chose, and most notably, my musical interests were wholeheartedly supported from the day I picked up a trumpet. Music would become something my father and I would discuss the most often whenever we got together.

With all of that being said, it was impossible for me to write this piece without the doses of sadness that accompany it throughout. I always imagined that after my "most busy years" of child-raising and professional intensity were behind me, that my dad and I would find time to get together and hang out, as fathers and sons ought to. However, my mother passed away in 2016, and he was never quite the same thereafter. Furthermore, it was the very morning after we were together for what should have been a true highlight of my career - a world premiere with the Chicago Symphony - that we awoke to the news that he had had a major stroke.

He was nearly completely debilitated, and the next year was an emotional, physical and mental challenge unlike anything I was prepared to handle. He died in April of 2020, and it is this reason that my memories of life with dad will - at least for now - forever be colored by the experiences of the last few years of his life.

And therefore, the following four movement work evolved as such:

Notes(continued)

I. dusk Memories of my Midwestern childhood, and playing catch with dad in the yard. We would stay out until I could barely see the ball anymore. And there were always fireflies. They are etched into the image in my mind forever.

Do you remember!? Do you remember the yard: how it would call us at dusk: The ball arched, I begged: Higher, Higher, higher still. The evening aged, and the only knowledge of our nocturnal pastime was the sounds of our gloves. The echoes of those nights formed my soul. The outline of your being formed my soul. The memories take their toll. As the fireflies watched. There. There. There.

Here’s. What. You. Were:

Prepared, focused, and so curious. Laziness would often make you furious Talented and oh so musical And you never gave an excuse at all

You were true to your family and your morals Never seeking any kind of laurels Hardworking, electronical Often smiled but not too comical

("‘Er ’tis", you would say)

Mmm... But so smart, so smart, so smart, smart, smart, smart, smart!

Dedicated, patient, and a genius, Gentle, Loving, even sometimes mean? Yes! Creative and entrepreneurial Calm and staid and never mercurial Your work was clothed in passion Though you weren’t the best at fashion Thoughtful and oh so kind Though your humor was hard to find

("‘Er ’ tis", you would say)

Mmm... But so smart, so smart, so smart, smart, smart, smart, smart!

II. the gift Dad was beyond smart. He invented a synthesizer! (back before they existed). He built our church organ - from scratch - which is still there nearly 60 years later. He started a company and employed 200 people at its height. This is a short movement, and there is no way I could have found all of the necessary words to describe just what a kind, gentle, and intelligent man he was. The music is set into an electronic-machine kind of character, representing the company he founded, and the engineering brain he possessed. I did include "'Er 'tis" in there - which is something he said, which to this day I have no idea what it means. And he would always snap his fingers when he couldn't figure something out. Which wasn't often.

Notes(continued)

III. in another life Even though dad had an electrical engineering degree and ran a company, his first love was always music. He would always come home after work, lie on the floor for several minutes, arms folded across his chest, and then go to the piano and play some favorite show-tunes, or requests that we might throw his way. When I got old enough to hold my own on the trumpet, I would always play tunes with him. He had a knack for playing with such innate beauty and musicality. Therefore, this movement is a departure from the "classical" format, but a most important one. It is admittedly a Broadway-esque show tune, featuring solo tenor with piano, with accompanying cello and flugelhorn at times (representing dad and me). The text portrays my frustration at not getting more time with him, so as to do and tell him the things I wish I could have.

I wish I could control it. I wish that I'd been told that our time would not be ours to plan, and you’d not understand how things unfolded.

I did my best to help you, after this test befell you, and life had thrown you a new norm, your mind would not conform, and now I want to tell you:

Chorus:

In another life, I'd still be seeking your reflections, and beseeching your directions for how to beat this strife, that has made us both so damn afflicted, leaving me the one conflicted. What do I do?

Since when I was so young, we've had this special bond with music. But now that you are gone, I shouldn't wait too long to do this. I give to you this song, to you it does belong from your son.

I thought it would seem wrong to gush and carry on when in person. I tried to be so strong, but now must wait 'til dawn, in another life.

(Repeat): I did my best to help you, after this test befell you, and life had taken a new turn, Your body would not learn, And now I want to tell you:

Chorus:

In another life, I'd still be seeking your reflections, and beseeching your directions for how we can survive.

This has made us both so damn afflicted, leaving me the one conflicted. What do I do?

Mmm. In another life. Mmm. In another life.

I tried to be so strong But now must wait ’til dawn, To see you. In another life.

Notes(continued)

IV. pavane I borrowed some of this music from my guitar concerto, which was written in the midst of his post-stroke life. This was some of the most painful, but sometimes most beautiful times in our last few years. We would spend hours together, where he couldn't express the words he wanted to say, and I would often have to help him to do the most everyday tasks. This strange intimacy is also etched into my brain. And so the solo cello part is scored in such a way to sound beautiful and (rhythmically) confused, while the music struggles to find its home key. The text is from Shakespeare's most famous sonnet: "Shall I compare thee to a summer's day?"). The traditional dance of a "pavane" seemed a good way to hearken dad's traditional values, his deeply compromised brain, and our "dance" in trying to figure out how to move forward in this new reality.

Ultimately, this entire piece is just a son trying to express his love for his dad.

Note from James Stephenson

From Shakespeare: Shall I compare thee to a summer’s day?

Shall I compare thee to a summer's day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May And summer's lease hath all too short a date.

But thy eternal summer shall not fade. Nor lose possession of that fair thou ow'st. Nor shall death brag thou wand'rest in his shade, when in eternal lines to Time thou growst.

So long as men can breathe or eyes can see. So long lives this and this gives life to thee.

There. (repeated)

James M. Stephenson

COMPOSERJIM.COM

as the fireflies watched

f o r s o l o t e n o r v o i c e a n d s m a l l c h a m b e r e n s e m b l e

Notes(3) Steve Danyew: Amazing Grace

Amazing Grace is one of those songs that has touched nearly everyone in some way. Who among us hasn’t been moved by the stirring stanzas and the soaring melody, sung or played by any number of different instruments? I remember when I was in high school I heard a college marching band play an arrangement of Amazing Grace. At that time I didn’t know the music theory behind the rich harmonies that filled the air, and it didn’t matter. The glorious sound that resonated throughout the stadium was overwhelming - it is one of those performances that reinforced my love of music, and one I’ll never forget.

So when Catherine Rand at the University of Southern Mississippi asked me to create this arrangement in celebration of their band department’s 100th anniversary, I was thrilled.

On January 30, 2020 I sat down to record a few initial ideas for the piece on my cell phone (I know this because I have a short audio recording on my phone from that date). I was letting those initial ideas and concepts ruminate during February, and in March, the COVID-19 pandemic became our new reality. I finished a few other projects before returning to Amazing Grace in May 2020, in the midst of shutdown and quarantine. Working on Amazing Grace during that time brought me a certain amount of peace that helped me navigate that uncertainty of the pandemic.

Even in January, prior to the pandemic, I had planned to start the piece in a quiet and somewhat mysterious way. I thought that perhaps this could represent several sentiments in the text of Amazing Grace, such as verse three: “Through many dangers, toils, and snares, I have already come; ‘Tis grace has brought me safe thus far, and grace will lead me home.” So I think the arc of the music reflects this idea of rising out of turmoil, and so the music begins with a certain austerity, which I felt like had to happen in order to create a journey. I also felt like this idea mirrored the hope that we would make it through this global pandemic.

When I read the full text of the hymn early on in my composition process, I was also struck by the imagery and the comfort of the 6th and final verse: “The earth shall soon dissolve like snow, the sun forbear to shine; But God, who call’d me here below, will be forever mine.”

Note from Steve Danyew

Notes(4) James M. David: Symphony No. 1 “Codex Gigas"

The second decade of the 21st century has brought forth some of humanity's greatest achievements in technology and science, but has paradoxically seen a disturbing rise in misinformation and paranoia. My first symphony attempts to deal with my own frustrations and fears about our current times through the lens of a variety of masterworks from the past.

The symphony draws inspiration from the 13th century medieval text also titled  Codex Gigas which was completed in a Bohemian monastery in the modern-day Czech Republic. Most significantly, this monastery was destroyed during the Hussite Revolution of the 15th century, which led to a long history of the work being moved and reacquired many times since its initial creation. Of particular note to my work are the large illustrations included in the text, which will serve as the basis of two of the movements. Most famously are full-page illustrations of the devil and the City of Heaven. Compositional techniques from the time period, including isorhythm and organum harmonizations, will be utilized throughout.

The Codex Gigas also has a fascinating tangential connection to contemporary wind band music through Czech-American composer Karel Husa. Music for Prague 1968, as is well-known, was based in part on medieval chant from Bohemia during the Hussite Revolution which ties it directly to the history of the Codex Gigas. The final movement will quote the chant Ye Who Are Warriors of Our God as part of its depiction of the City of Heaven. Husa's own frustrations and fears were expressed in his 1970 work Apotheosis of this Earth and my symphony will hopefully recall some of this energy and intensity as well. Ultimately, the symphony should be seen as a celebration of knowledge, reason, and intellect as we struggle to overcome our baser instincts and prejudices.

Notes(Continued)

III. The Great Red Dragon – “Draco Magnus Rufus.” The Codex Gigas has often been called "The Devil's Bible" for the huge illustration of the "devil" found on plate 290r in the work. In the symphony, the devil will be shown as a brutal and intense "infernal dance" with references to the many earlier 20th-century works inspired by folk traditions throughout Europe (including Janáček, Stravinsky, Bartók, Lutoslawski, and others). The title references a passage from the book of Revelation. This movement depicts the violence and anger that is caused by fear and ignorance, a problem that is sadly still common in the present.

IV. The Holy City - “Sanctam Civitatem.” The final movement depicts the "City of Heaven," which is another full-page illustration that faces the more well-known "devil." Here, the Hussite Hymn will be stated in a massive finale that also incorporates harmonies and timbres from Messiaen's Colors of the Celestial City. Melodic motives from the prior movements will be combined into a complex contrapuntal tapestry.

Note from James M. David

Faculty/StaffSchool of Music

Dr. Jay Dean, Director Dr. Douglas Rust, Associate Director Dr. Richard Perry, Associate Director

University Bands Dr. Catherine Rand, Director of Bands

Dr. Colin McKenzie, Associate Director of Bands; Director, The Pride of Mississippi  Dr. Travis Higa, Assistant Director of Bands, Associate Director, The Pride of Mississippi

Mr. Lawrence M. Panella, Director of Jazz Studies Mrs. Michelle Chandler, Administrative Specialist

Woodwind, Brass, and Percussion Division  Dr. Danilo Mezzadri, flute

Dr. Galit Kaunitz, oboe Dr. Jackie McIlwain, clarinet

Dr. Kim Woolly, bassoon Dr. Dannel Espinoza, saxophone 

Dr. Timothy J. Tesh, trumpet Dr. Jacquelyn Adams, horn

Dr. Ben McIlwain, trombone Dr. Richard Perry, euphonium/tuba 

Dr. John Wooton, percussion

University Bands Graduate Assistants  James Fair, D.M.A. Tuba

Caleb Guilbeau, M.M. Trumpet Kayla Moyers, M.M. Conducting

Lindsay Sandberg, D.M.A. Conducting Nathan Sanders, D.M.A. Percussion

Adam Stallings, M.M. Clarinet Justin Swearinger, D.M.A. Conducting

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