Russian Sailors’ Dance
The ballet The Red Poppy was written in 1927 (revised 1949). It deals with an uprising on board a Chinese ship and the successful intervention of Russian sailors. The Russian Sailors’ Dance is the best-known excerpt from the ballet, and is founded on the popular Russian folk tune titled “Yablochka” (“Little Apple”). The dance takes the form of a series of variations on this striking song.
— Program Note by Richard Franko Goldman
O Mensche, Bewein’ Dein’ Sünde Gross, BWV 622
The unusually long chorale melody, which slowly unfolds before the listener, comes from a hymn from 1525. Extreme austerity would be fitting for the stern tone of the words, but instead Bach indulges in a wealth of ornamentation. It is as if he wants to say: it’s true that we’re a worthless bunch, but we can’t really help it. So rather than giving us a painful clip around the ears, he puts a plaster on the wound.
However, we don’t get away that easily. By putting the simple chorale melody in such comforting wrappings, Bach takes the soul even more by surprise with his unexpected harmonic twists and turns. And that was precisely his intention. In his collection of chorale preludes Harmonische Seelenlust from 1733, organist Georg Friedrich Kaufman says it in so many words: the aim of playing chorale preludes in church is to put the congregation in the right mood, so that they will then sing the chorale with even greater devotion. In 1746, Bach’s pupil Ziegler confirmed that that was exactly what he had learned from Bach: “As for playing chorales, my teacher, Kapellmeister Bach, taught me not to play the songs just like that, but in keeping with the meaning (Affect) of the words”.
So when, after a chromatic twist, Bach reaches a truly remarkable harmony in the very last bar of O Mensch, bewein dein Sünde gross, it is not without reason. In this anyway slow work, he reduces the tempo here to adagissimo, so that it becomes clear how terribly long Christ had to hang on that tortuous cross and just how painful it was. It is easy to imagine that the congregation had an enormous lump in their throat when they started singing this chorale.
— Program Note by Netherlands Bach Society
A Time to Dance
Commissioned by the Space Center Intermediate School Band, Houston, Texas, Gregory Dick, director.
For everything there is a season,
and a time for every purpose under heaven:
a time to be born, and a time to die; a time to plant,
and a time to pluck up that which is planted;
a time to kill, and a time to heal; a time to break down,
and a time to build up;
a time to weep, and a time to laugh;
a time to mourn, and a time to dance;
— Ecclesiastes III
Incantation and Dance
The present title of this work suggests a religious orientation, but not towards any of the established religions of a Western or Eastern culture. To the standard deities one offers prayers—incantations are uttered in rituals of magic, demonic rites and the conjuring up of spirits, evil and benign. The opening Incantation is full of mystery and expectation, wandering, unstable and without tonality. The Dance also begins quietly, but percussion instruments quickly begin, one by one, to drive a rhythmic pattern of incredible complexity and drive. As other instruments are added, the dance grows wilder and more frenzied. The brasses hammer out ferocious snarls—the woodwinds fly in swirling scales. Here there is no pretty tune but a paroxysm of rhythm, a convulsion of syncopation that drives on and on, mounting in tension, to a shattering climax of exaltation.
Incantation and Dance was premiered as Nocturne and Dance by Herbert Hazelman and the Greensboro High School Band on Nov. 16, 1960. The original version (saved by Hazelman) has several interesting differences, including 31 additional measures. It was programmed at the NBA convention in New Orleans in June 1995 by Robert Pouliot and the City of Fairfax Band.
— Program Note from Program Notes for Band
Following in the footsteps of Patrick Gilmore, Sousa became a popular figure at Manhattan Beach, the famous New York summer resort. One of his most lavish medals was presented to him in 1894 by the proprietor, Austin Corbin, and other shareholders. The previous season, Sousa had dedicated this march to Corbin, and one of his manuscripts is inscribed to him.
Sousa once told a reporter that the march had been derived from an earlier composition, probably The Phoenix March (1875): “I wrote Manhattan Beach while playing a summer engagement at that once-popular resort, using as the basis an old march I had composed when I was with Milton Nobles.”
Manhattan Beach became a staple of bands all over the world, but the Sousa Band performed it differently by playing the trio and last section as a short descriptive piece. In this interpretation, soft clarinet arpeggios suggest the rolling ocean waves as one strolls along the beach. A band is heard in the distance. It grows louder and then fades away as the stroller continues along the beach.
— Program Note by Paul E. Bierley
Courtly Airs and Dances
Courtly Airs and Dances is a suite of Renaissance dances which were characteristic of five European countries during the 1500s. Three of the dances (“Basse Danse,” “Pavane” and “Allemande”) are meant to emulate the music of Claude Gervaise by drawing on the style of his music as well as the characteristics of other compositions from that period.
The festival opens with a fanfare-like “Intrada,” followed by “Basse Danse” (France), “Pavane” (England), “Saltarello” (Italy), “Sarabande” (Spain) and “Allemande” (Germany)
— Program Note by Ron Nelson
An American Elegy
An 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 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.
I was moved and honored by this commission invitation, and deeply inspired by the circumstances surrounding it. Rarely has a work revealed itself to me with such powerful speed and clarity. The first eight bars of the main melody came to me fully formed in a dream. Virtually every element of the work was discovered within the span of about two weeks. The remainder of my time was spent refining, developing and orchestrating.
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.
— Program Note by Frank Ticheli
Russian Christmas Music
An ancient Russian Christmas song (Carol of the Little Russian Children), together with a good deal of original material and some motific elements derived from the liturgical music of the Eastern Orthodox Church, form the basis for this musical impression of old Russia during the jubilant Christmas season. Inasmuch as the Eastern Church does not admit instrumental music as part of its services, most of the performances of this liturgical music have been vocal in conception as well as execution.
Originally written in November 1944, Russian Christmas Music was first performed in December that year at a special concert in Denver, Colorado, by a select group of musicians from five of the leading service bands stationed in that area. Two years later, the music was revised and somewhat enlarged, and in that form was one of the three prize-winning works in the 1947 Columbia University contest for new serious music for symphonic band. The first performances of this second version subsequently took place in 1948: the first by the Juilliard Band under Donald I. Moore, and the second by the Syracuse University Symphonic Band under Harwood Simmons, to whom the work was dedicated.
— Program Note by Alfred Reed
ANDREA E. BROWN
Brown was appointed the associate director of bands at the University of Maryland, College Park in 2018. In this position, she conducts the University of Maryland Wind Ensemble (UMWE), serves as the director of athletic bands and teaches conducting. Brown is formerly a member of the conducting faculty at the University of Michigan, where she served as the assistant director of bands and was a faculty sponsor of a College of Engineering Multidisciplinary Design Project team that researched conducting pedagogy technology. She also served as the director of orchestra and assistant director of bands at the Georgia Institute of Technology in Atlanta. She is a frequent guest conductor, clinician and adjudicator in the US, Europe and Asia.
Brown completed a D.M.A. in instrumental conducting at the University of North Carolina at Greensboro (UNCG), where she was a student of John Locke and Kevin Geraldi. While at UNCG, she was both guest conductor and principal horn on UNCG Wind Ensemble's “fireworks!” and “finish line!” CDs, both released on the Equilibrium label. Brown has also had several rehearsal guides published in the popular GIA Publications series "Teaching Music Through Performance in Band." She has presented at the Midwest Clinic in Chicago; Oxford Conducting Institute; Music For All Summer Symposium; the Yamaha Bläserklasse in Schlitz, Germany; the International Computer Music Conference in Ljubljana, Slovenia; the College Music Society International Conference in Sydney, Australia; and the College Band Directors National Association (CBDNA) National Conference.
A proponent of inclusion and equity issues in the music profession, Brown is a frequent guest speaker on these topics. She currently serves on the CBDNA Diversity Committee and is a member of the Drum Corps International In Step Committee. Brown is the founder of Women Rising to the Podium, an online group of over 4,000 members supporting and celebrating women band directors. Additionally, she also serves as the chair of the Sigma Alpha Iota Women’s Music Fraternity Graduate Conducting Grant and as an advisor of the chapter at the University of Maryland, College Park.
Brown previously served on the brass and conducting instructional staff of the DCI World Champion Phantom Regiment (2004–17). Other marching organizations she has instructed include the U.S. Army All-American Marching Band, Carolina Crown and Spirit of Atlanta. Brown will serve as a music judge for Drum Corps International in the next active season, and she was nominated to become a member of the John Philip Sousa Foundation Sudler Shield Jury in 2021.
As a performer, Brown was a member of the AA Brass Quintet, which won the International Brass Quintet Competition hosted by Fred Mills at the University of Georgia. She performed with the horn sections of the Boston Brass All Stars Big Band, North Carolina Symphony, Winston-Salem Symphony and the Brevard Music Center Orchestra. Brown has studied brass performance and pedagogy with Abigail Pack, J.D. Shaw, Jack Masarie, Freddy Martin, Dottie Bennett, Randy Kohlenberg, Richard Steffen and Ed Bach.
Originally from Milan, Tennessee, Brown is a graduate of Austin Peay State University and earned a Master of Music in horn performance and a Master of Music in music education with a cognate in instrumental conducting from UNCG. Prior to her positions at Maryland, Michigan and Georgia Tech, Brown was the assistant director of bands at Austin Peay State University and taught at public schools in Milwaukee, Wisconsin, and Dallas, Texas. She is a member of Phi Kappa Phi, Pi Kappa Lambda and CBDNA. She was awarded the Rose of Honor as a member of Sigma Alpha Iota Women's Music Fraternity, and is an honorary member of Kappa Kappa Psi and Tau Beta Sigma.
CRAIG G. POTTER, assistant director of bands, joined the University of Maryland, College Park faculty in Fall 2015. At Maryland, Potter assists with the operations of the Mighty Sound of Maryland Marching Band and the Maryland Pep Bands. He is also the music director for the University Band and has served as an assistant conductor for the University of Maryland Wind Ensemble. Prior to coming to the University of Maryland, Potter served as a graduate teaching assistant at the University of Louisville. His primary duties at Louisville included assisting with the Cardinal Marching Band and concert ensembles as well as teaching conducting and marching band techniques courses. As an educator, Potter taught middle and high school band in the Catholic Diocese of Lexington (Kentucky). During his time at Lexington Catholic High School, the band earned distinguished ratings at the Kentucky Music Educators Association Concert Band Festival.
Potter remains an active performer on the tuba, with special attention to music with alternative accompaniments and electronics. He has soloed twice with the University of Maryland Wind Orchestra, most recently on David Lang’s Are You Experienced? for solo electric tuba. Potter has appeared as a soloist and clinician across the United States. He has performed in music conventions and festivals around the world, including the United States Army Tuba-Euphonium Workshop and the Jungfrau Music Festival.
Potter is a member of the College Band Directors National Association and the International Tuba-Euphonium Association. He is an alumnus of Phi Mu Alpha Sinfonia and Kappa Kappa Psi, an honorary member of Tau Beta Sigma and a Sigma Alpha Iota Friend of the Arts. Potter holds a Bachelor of Music in music education from the University of Kentucky, a Master of Music in wind conducting from the University of Louisville and a Doctor of Musical Arts degree from the University of Maryland in tuba performance. Originally from Raleigh, North Carolina, Potter lives in Laurel with his wife, Mallory, and children, Felicity and Hugh.
ALEXANDER SCOTT is pursuing a Master of Music in wind conducting at the University of Maryland, College Park where he currently serves as an instrumental conducting graduate assistant. He is a conducting student of Michael Votta, with additional mentoring from Andrea Brown and Craig Potter. In addition, he serves as interim music director for the Maryland Community Band and assistant conductor for the Bel Air Community Band.
Before coming to the University of Maryland, Scott taught for nine years at the elementary, middle and high school levels in Maryland public schools. For seven years, he was the music department chair and director of instrumental music at Meade Senior High School in Fort Meade, Maryland, where he was responsible for conducting the Concert Band, String Orchestra, Philharmonic Orchestra, Marching Band, Jazz Band, Steelband and Pit Orchestra. He also taught courses in international baccalaureate (IB) music, advanced placement (AP) music theory and guitar, and served as the school’s advisor for the Tri-M Music Honors Society.
While teaching at Meade Senior High School, Scott’s bands and orchestras consistently earned excellent and superior ratings at county and state adjudication festivals, and his marching band earned second place at the 2018 USBands Mid-Atlantic Regional Championships. His concert band was a member of a commission consortium for Anthony O’Toole’s Latin Dance Movements. Scott was a semifinalist for Music and Arts’ national Music Educator of the Year Award in 2016 and was the Maryland winner for School Band and Orchestra Magazine’s 50 Directors Who Make a Difference Award in 2018. His departmental leadership was recognized in both 2018 and 2019 by the NAMM Foundation with a Best Communities in Music Education designation.
Scott earned his M.M. in music education from the University of Michigan and his B.A. in music education from the University of Maryland, Baltimore County (UMBC). While at UMBC, Scott served as the inaugural undergraduate conducting fellow with the Wind Ensemble. Scott is a member of the National Association for Music Education, the Maryland Music Educators Association and the Flute Society of Washington.
As a woodwind specialist, Scott enjoys performing flute, clarinet and saxophone in various community and amateur ensembles in the DMV area. He also plays the double seconds steel pan in the Baltimore-based steelband sextet Charm City Steel.
CHRISTINE HIGLEY has just started her first year as a doctoral student in wind conducting at the University of Maryland, College Park, where she serves as a wind conducting graduate assistant and studies under Michael Votta.
Before coming to Maryland, Higley attended California State University, Los Angeles (CSULA), where she earned her Master of Music degree in instrumental conducting in Fall 2020, studying under Emily Moss and Christopher Gravis. In addition to her wind conducting responsibilities, Higley taught courses including “Intro to Music Education” and “Intro to Classical Music in Western Culture” at CSULA. She also served as the president of the CSULA chapter of the National Association for Music Education.
Before pursuing her graduate degrees, Higley was the band and orchestra director at Sunset Ridge Middle School in Salt Lake City, Utah, from 2014–18. She also taught elementary school beginning band and served on staff for the Copper Hills High School Marching Band.
In addition to teaching and conducting, Higley enjoys life as a horn player. She was the horn section leader for the CSULA Wind Ensemble and Symphonic Band, and has played with the Salt Lake Symphonic Winds, the Brigham Young University Idaho Symphony Orchestra and various chamber groups. She has studied with Nathan Campbell, Jon Klein and Bruce Woodward. Higley earned her B.M. in music education from BYU-Idaho.
UNIVERSITY OF MARYLAND UNIVERSITY BAND
Craig G. Potter
MARYLAND COMMUNITY BAND
THE MIGHTY SOUND OF MARYLAND MARCHING BAND
Andrea E. Brown
Craig G. Potter
Maddy Swartz - Section Leader
Aliza Jacobs - Squad Leader
Lauren Taylor - Squad Leader
Aileen Villarroel Inturias
Paige vom Saal
Erin Lea - Section Leader
Megan Gilbart - Squad Leader
Michael Reed - Squad Leader
Matt Vice - Squad Leader
Andrew Hilgendorf - Section Leader
Kate Krantz - Squad Leader
Drew Pleat - Squad Leader
Uma Vishnubhotla - Squad Leader
Abby Jones - Section Leader
Austen Fourkas - Squad Leader
Raisa Niederhelman - Squad Leader
Julia Terry - Section Leader
Christine Johnson - Squad Leader
Scarlet Neilson - Squad Leader
Sanna Sprandel - Squad Leader
Tim Freerksen - Section Leader
Brian Glover - Squad Leader
Owen Hallock - Squad Leader
AJ Muña - Squad Leader
Mia Zwally - Squad Leader
Brian Macarell - Section Leader
Kelly Deschaine - Squad Leader
Brendan Gillespy - Squad Leader
Ethan Van Amburg
Jake Bowen - Section Leader
Nick Brennan - Squad Leader
Rebecca Grant - Squad Leader
Matt Killian - Section Leader
Lucas Barton - Squad Leader
Manny Fitsum - Squad Leader
Erin McLamb - Squad Leader
Colette Lord - Section Leader
Mike Jones - Snare Squad Leader
Atticus Leibman - Tenors Squad Leader
Kaidan Hetzer - Cymbals Squad Leader
Griffin Van Doren
Jackie Juergensen - Section Leader
Griffin Barlow - Squad Leader
Elena Quartararo - Squad Leader
Lanie Nachlas - Captain
Hannah Powell - Captain
Jeremy Maytum - Percussion Instructor
Annie Kennedy - Dance Team Instructor
Suzanne Sturgis - Color Guard Instructor
Sam Ambrose - Graduate Assistant
Austin Fairley - Graduate Assistant
Kat Robinson - Graduate Assistant
Alexander Scott - Graduate Assistant
Raisa Niederhelman - Manager
Andrew Doerrler - Assistant Manager
Abel Solomon - Assistant Manager
Marketing and Information Staff
Maya Lee - Manager
Joao Pereira - Assistant Manager