KSU Wind Ensemble - Kennesaw State University

Upcoming Music Events
Thursday, March 29, 2012
KSU Faculty Jazz Recital
8:00 pm • Bailey Performance Center Performance Hall
Tuesday, April 3, 2012
KSU Mixed Chamber Ensembles
8:00 pm • Bailey Performance Center Performance Hall
Wednesday, April 4, 2012
KSU Classical Guitar Ensemble
8:00 pm • Bailey Performance Center Performance Hall
Thursday, April 5, 2012
KSU Mixed Chamber Ensembles
8:00 pm • Bailey Performance Center Performance Hall
Tuesday, April 10, 2012
KSU Trombone Choir
8:00 pm • Bailey Performance Center Performance Hall
Wednesday, April 11, 2012
KSU Jazz Combos
8:00 pm • Bailey Performance Center Performance Hall
Thursday, April 12, 2012
KSU Student Composers
8:00 pm • Bailey Performance Center Performance Hall
Saturday, April 14, 2012
KSU Community & Alumni Choir
8:00 pm • Bailey Performance Center Performance Hall
For the most current information, please visit
http://www.kennesaw.edu/arts/events/
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presents
A Concerto... A Symphony... and Sousa!
featuring
KSU Wind Ensemble
David Thomas Kehler, conductor
with special guest
Bernard Flythe, tuba
Wednesday, March 28, 2012
8:00 pm
Dr. Bobbie Bailey & Family Performance Center
Eightieth Concert of the 2011-2012 Season

Kennesaw State University
School of Music
A Concerto... A Symphony... and Sousa!
featuring Bernard Flythe, tuba
Lauds, Praise High Day! (1992)
Program
Ron Nelson
(b. 1929)
Music at Kennesaw State University
Whether you are looking to become a dedicated and effective educator, seek
focused training in performance, or have a strong interest in music but want to
balance that with other academic interests, the School of Music at Kennesaw
State University offers an excellent place to challenge yourself in a nurturing and
supportive environment.
Accredited by the National Association of Schools of Music and recently
designated an All Steinway School, the School of Music offers Bachelor of
Music degrees in Music Education and Performance, as well as a Bachelor of
Arts degree in Music. The KSU music curriculum provides rigorous training in
music theory and aural skills, applied lessons, ensemble experience, and an
exposure to the history of Western music as well as world music.
Hymn to a Blue Hour (2010)
John Mackey
(b. 1973)
Concerto for Tuba (1987)
Bruce Broughton
I. Allegro moderato (b. 1945)
II. Aria
III. Allegro leggero
Bernard Flythe, tuba
Intermission
Symphony No. 4, Op. 165 (1958)
Alan Hovhaness
I. Andante Allegro (1911-2000)
II. Allegro
III. Andante, Allegro
The faculty of the School of Music consists of committed artist-teachers: a
strong core of resident faculty, complemented by distinguished members of the
Atlanta Symphony Orchestra, Atlanta Opera Orchestra and Cobb Symphony
Orchestra. Music students at KSU benefit from world-class instruction, vibrant
and challenging performance opportunities, and the chance to immerse
themselves in metropolitan Atlanta’s rich musical culture.
The School of Music presents more than 150 performances each year, from
chamber music to full orchestra, choral and wind ensemble concerts, and
musical theatre and opera productions, with repertoire from traditional classical
to modern jazz. Our state-of-the art facilities, our team of committed faculty and
staff, and the breadth of musical opportunity make KSU an exciting choice for
dedicated musicians. All this is done in a very personalized setting. For more
information about our programs, please visit us on the web at
www.kennesaw.edu/music.
The Black Horse Troop (1924)
John Philip Sousa
(1854-1932)

Kennesaw State University
School of Music Faculty
KSU Wind Ensemble personnel
Woodwinds
Robert Cronin, flute
Cecilia Price, flute
Christina Smith, flute
Elizabeth Koch, oboe
Dane Philipsen, oboe
John Warren, clarinet
Laura Najarian, bassoon
Sam Skelton, saxophone
Brass & Percussion
Thomas Hooten, trumpet
Jennifer Marotta, trumpet
Thomas Witte, horn
George Curran, trombone
Tom Gibson, trombone
Michael Moore, tuba/euphonium
Bernard Flythe, tuba/euphonium
John Lawless, percussion
Strings
Helen Kim, violin
Allyson Fleck, viola
Catherine Lynn, viola
Charae Krueger, cello
Douglas Sommer, double bass
Elisabeth Remy Johnson, harp
Mary Akerman, classical guitar
Trey Wright, jazz guitar
Marc Miller, jazz bass
Ensembles & Conductors
Leslie J. Blackwell, choral activities
Alison Mann, choral activities
Russell Young, opera & musical theatre
Eileen Moremen, opera
Michael Alexander, orchestras
John Culvahouse, wind ensembles
David Kehler, wind ensembles
Oral Moses, gospel choir
Wes Funderburk, jazz ensembles
Sam Skelton, jazz ensembles
Trey Wright, jazz
Voice
Adam Kirkpatrick
Eileen Moremen
Oral Moses
Valerie Walters
Jana Young
Russell Young, vocal coach
Piano
Robert Henry
Tyrone Jackson, jazz piano
John Marsh
David Watkins
Susan White
Soohyun Yun
Music History & Appreciation
Judith Cole
Drew Dolan
Edward Eanes
David Kehler
Alison Mann
Oral Moses
Katherine Morehouse
Music Education
Janet Boner
Kathleen Creasy
John Culvahouse
Margaret Grayburn
Barbara Hammond
Hollie Lawing
Alison Mann
Angela McKee
Richard McKee
Terri Talley
Amber Weldon-Stephens
Music Theory, Composition,
& Technology
Judith Cole
Drew Dolan
Allyson Fleck
Tom Gibson
Jennifer Mitchell
Laurence Sherr
Benjamin Wadsworth
Chamber Music
Allyson Fleck
Helen Kim
Charae Krueger
Alison Mann
Jennifer Marotta
Soohyun Yun
Ensembles in Residence
KSU Faculty String Trio
KSU Faculty Chamber Players
Atlanta Symphony Brass Quintet
Atlanta Percussion Trio
Georgia Youth Symphony Orchestra
and Chorus
Flute/Piccolo
Mia Athanas, Marietta
Holly Botella, Peachtree City
Catherine Flinchum, Woodstock
Stephanie Fudge, Acworth
Darcy Parker, Woodstock
Dirk Stanfield, Amarillo, TX
Oboe/English Horn
Harrison Bennett, Suwanee
Lisa Mason, Clyo
Alejandro Sifuentes, Lawrenceville
Clarinet
Katherine Cook, Loganville
Krista Coutts, Woodstock
Rachael Eister, Kennesaw
Ben Hoffman, Atlanta
Kadie Johnston, Buford
May Langhorne, Marietta
Christopher Malloy, Jasper
Bora Moon, Seoul, South Korea
Bass Clarinet/Contra Alto Clarinet
May Langhorne, Marietta
Christopher Malloy, Jasper
Bassoon/Contra Bassoon
Jordan Alfredson, Conyers
Jesse Carlson, Lilburn
Sarah Fluker, Decatur
Saxophone
Jason Lee Kaplan, Alpharetta
Michael LaRose, Nicholson
Devin Okey, Elberton
Christopher Otts, Augusta
Drew Paller, Marietta
Horn
David Anders, Kennesaw
Alex Depew, Acworth
Megan Gribble, Marietta
Chloe Lincoln, Kennesaw
Connor Osburn, Marietta
Trumpet
Brandon Austin, Conyers
John Thomas Burson, Acworth
Sam Coleman, Marietta
Michael Edalgo, Cordele
Tyler Elvidge, Kennesaw
Pete Hall, Covington
Jackson Harpe, Marietta
Turner Millsaps, Peachtree City
Justin Rowan, Woodstock
Trombone
George Blevins, Marietta
Robert Dixon, Ball Ground
David Lennertz, Kennesaw
Michael Lockwood, Augusta
Jordan Sellers, Marietta
Tim Settineri (Bass), Marietta
Euphonium
Kristopher Davis, Kennesaw
Greg Hicks, Lawrenceville
Michael Terry, Woodstock
Tuba
Austin Baxley, Acworth
Melinda Mason, Atlanta
Double Bass
Samantha Griffith, Marietta
Britton Wright, Lawrenceville
Percussion
Robert Boone, Augusta
Levi Cull, Richmond, VA
Ian Kennel, Acworth
Katelyn King, Kennesaw
Erik Kosman, Sturgis, MI
Katie Lawrence, Marietta
Levi Lyman, Americus
Harrison Ude, Marietta
Brandon Worley, Ball Ground
Piano/Celeste/Electric Keyboard
Joanne Allison, Gainesville
Ariel Ginn, Marietta
Harp
Tyler Hartley, Marietta
Assistant to the Director of Bands
David Collins, Sumter, SC

David Thomas Kehler
conductor
Since 2009, David Kehler has served as Director of Bands at Kennesaw State
University. Here, he oversees all aspects of the University’s band program
while serving as Music Director and Conductor of the KSU Wind Ensemble.
During his short tenure, the KSU Wind Ensemble has been featured on 90.1
FM (WABE- Atlanta public radio), and has garnered praise from composers
including Steven Bryant, Karel Husa, David Maslanka, Michael Markowski,
Scott McAllister, and Joel Puckett. In addition, the KSU Wind Ensemble was
a featured ensemble at the 2012 Southern Division College Band Directors
National Conference. Dr. Kehler also teaches courses in advanced
instrumental conducting, wind literature, and chamber music. In addition to
Professor Kehler’s KSU responsibilities, he currently serves as Interim
Conductor of the Atlanta Youth Wind Symphony during its principal
conductor’s sabbatical.
Previously, David Kehler served The University of Texas at Austin as a
Graduate Conducting Associate receiving a Doctor of Musical Arts degree.
From 2001-2009, Dr. Kehler served as Associate Conductor of America’s
Premier Windband; The Dallas Wind Symphony where he was the director of
the Dallas Wind Symphony International Fanfare Project. In addition, Dr.
Kehler conducted the Dallas Wind Symphony throughout Texas, including
the annual Labor Day Concert at the Dallas Arboretum, various Chautauqua
festivals, holiday concerts, and a formal gala presented by the United States
Armed Forces with all of the Joint Chiefs of Staff in attendance.
While in Texas, Dr. Kehler was also Founder and Conductor of the GDYO
Wind Symphony, an ensemble affiliated with the Greater Dallas Youth
Orchestras, Inc. During his ten years of service, the GDYO Wind Symphony
established itself as one of the premier youth wind ensembles in the United
States. They were a featured ensemble at the Texas Bandmasters
Association/National Band Association Convention in San Antonio, Texas,
and were heard internationally on “From the Top”, a syndicated radio
program featuring the finest young classical musicians in the country. In
addition, the GDYO Wind Symphony participated in exchange concerts with
the Atlanta Youth Wind Symphony and performed with Jeff Nelson, former
horn of the Canadian Brass. In the summer of 2008, the GDYO Wind
Symphony embarked on an extensive two-week tour of China, performing at
all of the major music conservatories throughout China and Hong Kong.
Previous university appointments were serving as Director of the Mustang
Band and Conductor of the Symphony Band at Southern Methodist
University (1995-2005), Associate Director of Bands at the University of
Rhode Island (1992-1995), and as Director of Bands at Bay City Western
High School, in Bay City, Michigan (1987-1990). Growing up in Michigan,
Dr. Kehler received his Bachelor of Music and Master of Music degrees from
Michigan State University. Professor Kehler is an active conductor and
clinician throughout the United States, and has memberships in many musical
organizations including CBDNA, NBA, MENC, GMEA and others.
The Symphony No.4 is in three movements:
1. Andante, is a hymn and fugue. The Allegro portion that follows
develop the fugue in counterpoint.
2. Allegro is a dance-trio-dance form
3. Andante espressivo is a hymn and fugue with final bell sounds
Symphony No. 4 was dedicated to William P. Snyder III and was premiered in 1959
by the American Wind Symphony of Pittsburgh, Robert Austin Boudreau conductor.
John Philip Sousa- The Black Horse Troop
John Philip Sousa was 3rd of 10 children of John Antonio Sousa (born in Spain of
Portuguese parents) and Maria Elisabeth Trinkhaus (born in Bavaria). John Philip's
father, Antonio, played trombone in the U.S. Marine band. He grew up around
military band music. Sousa started his music education, playing the violin, as a pupil
of John Esputa and G. F. Benkert for harmony and musical composition at the age of
six. He was found to have absolute pitch. When Sousa reached the age of 13, his
father, a trombonist in the Marine Band, enlisted his son in the United States Marine
Corps as an apprentice. Sousa served his apprenticeship for seven years, until 1875,
and apparently learned to play all the wind instruments while also continuing with the
violin.
Several years later, Sousa left his apprenticeship to join a theatrical (pit) orchestra
where he learned to conduct. He returned to the U.S. Marine Band as its head in 1880,
and remained as its conductor until 1892. He organized his own band the year he left
the Marine Band. The Sousa Band toured 1892-1931, performing 15,623 concerts. In
1900, his band represented the United States at the Paris Exposition before touring
Europe. In Paris, the Sousa Band marched through the streets including the Champs-
Élysées to the Arc de Triomphe – one of only eight parades the band marched in over
its forty years.
Sousa wrote 136 marches. Sousa also wrote school songs for several American
Universities, including Kansas State University, Marquette University, the University
of Michigan, and the University of Minnesota. Sousa died at the age of 77 on March
6th, 1932 after conducting a rehearsal of the Ringgold Band in Reading, Pennsylvania.
The last piece he conducted was The Stars and Stripes Forever.
The legendary conductor, Frederick Fennel writes:
The Black Horse Troop march was completed December 30, 1924 at Sousa’s Sands
Point, Long Island estate. It was played for the first time about ten months later on
October 17, 1925, at a concert of the Sousa Band in the Public Auditorium, Cleveland,
Ohio – and I was there. I had not been to such an even as this one; I remember that as
Sousa’s march was being played, Troop A rode onto the stage and stood behind the
band to the tumultuous cheering of all. The March King enjoyed a long relationship
with the men and horses of Cleveland’s Ohio National Guard Cavalry, known as
Troop A.

Numerous TV credits include the main titles for JAG, Tiny Toon Adventures, and
Dinosaurs, as well as scores for Amazing Stories, Quincy, and How The West Was
Won. Movies for television include Lucy, Bobbie's Girl, and O Pioneers!; and the
miniseries Roughing It, The Blue and the Gray, and the Emmy-nominated True
Women. He has served as a governor of the Academy of Motion Picture Arts and
Sciences and the Academy of Television Arts and Sciences, and is a board member of
ASCAP.
The Concerto for Tuba offers the tuba soloist a showcase for technical proficiency as
well as expressiveness. In addition to this concerto, he has composed other solo works
for winds, including a piccolo concerto.
Alan Hovhaness- Symphony No. 4, Opus 165
Originally named at birth, "Alan Vaness Chakmakjian,” but in 1944, changed his last
name to "Hovhaness," and at various times in his life gave various reasons for doing
so -- one being that "Hovhaness" was simply a lot easier for most people to say than
"Chakmakjian."
Alan Hovhaness was an important 20th Century American composer whose music
anticipated many future musical trends and aesthetic values. Rejecting the vogues of
Americana, serialism and atonality, he pioneered contemporary development of
archaic models and was amongst the earliest to integrate Western musical idioms with
Eastern ones, making him a pioneer of East-West 'fusion' decades before the term
'World Music' had been coined. The visionary and mystical nature of his work, often
intoxicating in its directness and simplicity, rank him as the musical progenitor to the
later, so-called New Age-ists and Spiritual Minimalists.
His parents did not particularly encourage his preoccupation with music but were
educated and cultured. Hovhaness began composing during childhood and continued
prolifically until old age, despite destroying whole periods of work with which he
became dissatisfied. In the 1930s, he studied composition at Boston’s New England
Conservatory of Music. At this time, he also became fascinated by Eastern music after
attending a performance of visiting Indian dancer Uday Shankar. In the 1940s he took
serious interest in his paternal Armenian heritage as a means for creative renewal, and
studied the works of Armenian composer Gomitas, Vartabed and Armenian liturgical
music. In the 1950s this influence receded somewhat, and in the early 1960s his trips
to India, Japan and Korea added different but equally strong exotic hues to his music.
From the 1970s onwards his style became less overtly Eastern.
Bernard Flythe
tuba
Bernard H. Flythe joined the faculty at Kennesaw State University as
Assistant Professor of Tuba and Euphonium in 2007. He also holds
teaching positions at Emory University and at the Georgia Institute of
Technology. Prior to his appointment at Kennesaw State University, Mr.
Flythe served for three years as Assistant Professor of Tuba and
Euphonium at Austin Peay State University and served four years on the
artist faculty at the Sewanee Summer Music Festival. He has also held
faculty positions at the University of Georgia, the University of Toledo, the
University of North Carolina at Chapel Hill, the University of Michigan All
State Program at Interlochen, the University of Michigan Summer Arts
Institute, and the UNC-Greensboro Summer Music Camp.
As an orchestral tubist, Mr. Flythe has performed with the Detroit
Symphony Orchestra, the Atlanta Symphony Orchestra, and the Nashville
Symphony. During the 1992-1993 season, he served as the acting principal
tubist with the North Carolina Symphony. As a chamber musician, Mr.
Flythe has performed with the Detroit Chamber Winds, the Atlanta
Symphony Orchestra Brass Quintet, and the North Carolina Symphony
Brass Quintet.
Mr. Flythe received a bachelor of music degree from the University of
North Carolina at Greensboro. He earned his master of music and his
specialist in music degrees from The University of Michigan. Mr. Flythe’s
principal tuba teachers include Fritz Kaenzig, Robert Leblanc, David
Lewis, Wesley Jacobs, and Michael Sanders.
One of the 20th century's most productive composers, Hovhaness wrote for an
unusually wide variety of musical ensembles, from small chamber music to large
orchestral works. Even allowing for all his destructive tendencies, he left over 500
published works including 30-odd concertos and around 70 designated symphonies,
several with very accomplished but highly individual scoring for large wind
ensembles.
The composer writes:
I admire the giant melody of the Himalayan Mountains, seventh-century Armenian
religious music, classical music of South India, orchestral music of Tang Dynasty
China around 700 A.D., opera-oratorios of Handel. My Symphony No. 4 probably
has the spiritual influences of the composers Yegmalian, Gomidas, Vartabed, and
Handel.

Ron Nelson- Lauds (Praise High Day!)
Ron Nelson received his bachelor of music degree in 1952, the master’s degree in
1953, and the doctor of musical arts degree in 1956, all from the Eastman School of
Music at the University of Rochester. He also studied in France at the Ecole Normale
de Musique and at the Paris Conservatory under a Fulbright Grant in 1955. Dr. Nelson
joined the Brown University faculty the following year, and taught there until his
retirement in 1993.
In 1991, Dr. Nelson was awarded the Acuff Chair of Excellence in the Creative Arts,
the first musician to hold the chair. In 1993, his Passacaglia (Homage on B-A-C-H)
made history by winning all three major wind band compositions – the National
Association Prize, the American Bandmasters Association Ostwald Prize, and the
Sudler International Prize. He was awarded the Medal of Honor of the John Philip
Sousa Foundation in Washington, DC in 1994. In 2006, he was awarded an honorary
doctorate from Oklahoma City University.
Conductor Leonard Slatkin may have described Ron Nelson best: "Nelson is the
quintessential American composer. He has the ability to move between conservative
and newer styles with ease. The fact that he's a little hard to categorize is what makes
him interesting." (Los Angeles Daily News, February 19, 1996)
The composer writes:
Lauds is an exuberant, colorful work intended to express feelings of praise and
glorification.” Lauds is one of the seven canonical hours that were selected by St.
Benedict as the times the monks would observe the daily offices. Three (terce, sext,
and none) were the times of the changing of the Roman guards and four (matins,
lauds, vespers, and compline) were tied to nature. Lauds, subtitled Praise High Day,
honors the sunrise; it is filled with the glory and excitement of a new day. The work
received its premier by the U.S. Air Force Band on January 24, 1992.
John Mackey- Hymn to a Blue Hour
Program note by Jake Wallace:
The blue hour is an oft-poeticized moment of the day - a lingering twilight that halos
the sky after sundown but before complete darkness sets in. It is a time of day known
for its romantic, spiritual, and ethereal connotations, and this magical moment has
frequently inspired artists to attempt to capture its remarkable essence. This is the
same essence that inhabits the sonic world of John Mackey's Hymn to a Blue Hour.
Programmatic content aside, the title itself contains two strongly suggestive
implications - first, the notion of hymnody, which implies a transcendent and perhaps
even sacred tone; and second, the color blue, which has an inexorable tie to American
music. Certainly Hymn to a Blue Hour is not directly influenced by the blues, per se,
but there is frequently throughout the piece a sense of nostalgic remorse and longing -
an overwhelming sadness that is the same as the typically morose jazz form. Blue also
has a strong affiliation with nobility, authority, and calmness. All of these notions are
woven into the fabric of the piece - perhaps a result of Mackey using what was, for
him, an unconventional compositional method:
"I almost never write music 'at the piano' because I don't have any piano technique. I
can find chords, but I play piano like a bad typist types: badly. If I write the music
using an instrument where I can barely get by, the result will be very different than if I
sit at the computer and just throw a zillion notes at my sample library, all of which
will be executed perfectly and at any dynamic level I ask. We spent the summer at an
apartment in New York that had a nice upright piano. I don't have a piano at home
in Austin - only a digital keyboard - and it was very different to sit and write at a
real piano with real pedals and a real action, and to do so in the middle of one of
the most exciting and energetic (and loud) cities in America. The result - partially
thanks to my lack of piano technique, and partially, I suspect, from a subconscious
need to balance the noise and relentless energy of the city surrounding me at the
time - is much simpler and lyrical music than I typically write."
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.
The piece is composed largely from three recurring motives - first, a cascade of
falling thirds; second, a stepwise descent that provides a musical sigh; and third, the
descent's reverse: an ascent that imbues hopeful optimism. From the basic
framework of these motives stated at the outset of the work, a beautiful duet
emerges between horn and euphonium - creating a texture spun together into a
pillowy blanket of sound, reminiscent of similar constructions elicited by great
American melodists of the 20th century, such as Samuel Barber. This melody
superimposes a sensation of joy over the otherwise "blue" emotive context - a
melodic line that over a long period of time spins the work to a point of catharsis. In
this climactic moment, the colors are at their brightest, enveloping their
surroundings with an angelic glow. Alas, as is the case with the magical blue hour,
the moment cannot last for long, and just as steadily as they arrived, the colors
dissipate into the encroaching darkness, eventually succumbing at the work's
conclusion with a sense of peaceful repose.
Bruce Broughton- Concerto for Tuba
One of the most versatile composers working today, Bruce Broughton writes in
every medium, from theatrical releases and TV feature films to the concert stage
and computer games.
His first major film score, for the Lawrence Kasdan western Silverado, brought him
an Oscar nomination. His very next project, a classically styled score for Barry
Levinson's Young Sherlock Holmes, earned a Grammy nomination for the
soundtrack album.
With over 20 Emmy nominations, Broughton has received a record 10, most
recently for HBO's Warm Springs. He's also won Emmys for Eloise at
Christmastime; Eloise at The Plaza; Glory & Honor; O Pioneers!; Tiny Toon
Adventures Theme Song; The First Olympics, Athens 1896, Part I; Dallas: Ewing
Blues; Dallas: The Letter; and Buck Rogers: The Satyr.
Major motion picture credits include Lost in Space; Tombstone; Miracle on 34th
Street; Carried Away; Baby's Day Out; The Presidio; Narrow Margin; Harry and
The Hendersons; Krippendorf's Tribe; Honey, I Blew Up The Kid; The Boy Who
Could Fly; the Disney animated features, The Rescuers Down Under and Bambi II,
and the two Homeward Bound adventures. He conducted and supervised the
recording of Gershwin's "Rhapsody In Blue" for Fantasia 2000.