Gabe Jahnke - Host

Carmina Burana - Carl Orff

1. O Fortuna, velut Luna (O Fortune, variable as the moon)

3. Ecce gratum (Behold the Spring)

Concert Band

Into the Storm - Robert W. Smith

Elaina Lubeck - Flute

Waltz No. 2 - Dimitri Shostakovich, arr. James Curnow

Leander Pritzlaff - Alto Sax; Asher Kagamba - Bari Sax

How to Train Your Dragon - John Powell, arr. Sean O'Loughlin

Elaina Lubeck - Flute

Ascension - Randall D. Standridge

Audrey Kleckner - Alto Sax

Carmina Burana - Carl Orff

4. Tanz - Uf dem anger (Dance - On the lawn)

Jordan Thiel - Flute; Aaron Wise - Timpani

9. In taberna quando sumus (When we are in the tavern)

Wind Ensemble

Dragon Sky - Julie Giroux

Nolan Bumgardner - Trumpet; Alan Xie - Alto Sax

Shenandoah - Frank Ticheli

Aryanna Minor - Flute; Josstyn Durst - Alto Sax

Symphony no. 1 'The Lord of the Rings' V. Hobbits - Johan de Meij

Carmina Burana - Carl Orff

12. Ave formosissima (Hail to thee, most beautiful)

13. Fortuna Imperatrix Mundi (Fortune, Empress of the World)

Carmina Burana

Carl Orff (1895-1982)

Carl Orff’s Carmina Burana is a powerful and unforgettable work that brings medieval poetry to life through music. Written in the 1930s, the piece is based on a collection of texts from the 11th to 13th centuries, originally discovered in a Bavarian monastery. These poems, written by students, monks, and wandering scholars, explore the unpredictable highs and lows of life. Orff’s music is known for its bold rhythms, dramatic contrasts, and raw emotional power.

Our program features six of the most striking movements from the full cantata:

• 1. O Fortuna – Perhaps the most famous movement, O Fortuna opens the work with thunderous intensity. It expresses how fate—the "Empress of the World"—controls human lives, lifting some up and casting others down. The music is dramatic and relentless, setting the tone for what’s to come.
  
  

• 3. Ecce Gratum – A joyful and energetic song welcoming the arrival of spring. The lively rhythms and cheerful melody capture the sense of renewal and excitement that comes with warmer weather and new beginnings.
  
  

• 4. Tanz (Dance) – An instrumental movement that gives the choir and soloists a brief rest, Tanz is a rhythmic, medieval-inspired dance. It showcases Orff’s love of simple but powerful melodies and percussion-driven energy.
  
  

• 9. In taberna quando sumus – Translated as “When we are in the tavern,” this movement is a boisterous drinking song. It describes rowdy behavior and carefree attitudes, painting a vivid (and humorous) picture of life in a medieval inn.
  
  

• 12. Ave formosissima – This grand and soaring piece praises the beauty of a woman named Venus, blending romantic and mythological imagery. It’s one of the most melodic and uplifting parts of the suite, filled with rich harmonies and lyrical lines.
  
  

• 13. O Fortuna, Imperatrix Mundi – The suite ends as it began, returning to the iconic O Fortuna. This final statement brings the work full circle, reminding us again of fate’s unshakable grip on our lives.
  
  

Together, these movements highlight the range of human experience found in Carmina Burana—from joy and passion to chaos and destiny—all brought to life through Orff’s powerful and unforgettable music.

Into the Storm

Robert W. Smith (1958-2023)

Robert W. Smith’s Into the Storm is a dramatic and evocative concert band piece that captures the raw energy and emotional impact of a powerful winter storm. Composed in 1997, the work was inspired by the so-called “Storm of the Century,” the massive 1993 blizzard that swept across the eastern United States, affecting millions and leaving a lasting impression on those who experienced it. Smith, known for his cinematic writing and educational focus, uses vivid musical imagery to recreate the unfolding drama of the storm from beginning to end.

The piece begins with a sense of foreboding—a calm before the storm—set by low brass and ominous percussion. Gradually, the music intensifies, mirroring the building winds and swirling snow. Fast, rhythmically charged passages evoke the chaos and movement of the blizzard, while moments of stillness reflect its eerie quietude and overwhelming force. Throughout the work, Smith’s orchestration is masterful, using the full palette of the concert band to immerse listeners in a gripping narrative of nature’s might.

More than just a musical depiction of weather, Into the Storm taps into the emotional experience of confronting forces beyond our control—fear, resilience, and ultimately, awe. It's a favorite among wind ensembles for its energy, accessibility, and its powerful sense of storytelling through music.

Waltz No. 2

Dmitri Shostakovich (1906-1975), arr. James Curnow

Dmitri Shostakovich’s Waltz No. 2 is one of the most instantly recognizable and beloved pieces in the composer’s vast and varied output. Originally part of the Suite for Variety Orchestra No. 1, the waltz is often mistakenly associated with the Jazz Suite No. 2—a confusion that persisted for years due to a cataloging error. Regardless of its origins, the piece has become iconic, showcasing Shostakovich’s unique blend of irony, elegance, and theatrical flair.

Composed in the post-World War II era, the waltz is steeped in a nostalgic yet satirical charm. It evokes the grandeur of the 19th-century ballroom but filters it through a distinctly 20th-century Soviet lens. The piece opens with a haunting saxophone melody, an unusual and striking choice that sets the tone for the entire work. As the waltz unfolds, listeners are treated to a swirling dance that is at once melancholic and whimsical, noble and absurd.

This duality is central to Shostakovich’s style—his music often navigates the line between sincerity and parody, shaped by the intense political pressures he faced under Stalin’s regime. In Waltz No. 2, we hear a composer who can express irony and beauty in the same breath, crafting a work that continues to resonate with audiences around the world.

How to Train Your Dragon

John Powell (b. 1963), arr. Sean O’Loughlin

John Powell’s thrilling score for How to Train Your Dragon has become one of the most beloved film soundtracks of the 21st century. Released in 2010, the animated movie tells the story of Hiccup, a young Viking who befriends a dragon he calls Toothless, challenging the traditions of his village and discovering bravery in unexpected ways. The film’s emotional depth, sense of adventure, and stunning visuals are matched by Powell’s sweeping, cinematic music.

This arrangement by Sean O’Loughlin brings the magic of the film to the concert stage, capturing both the energy and heart of the original score. Listeners will hear soaring themes that reflect the bond between Hiccup and Toothless, as well as bold, rhythmic passages that accompany the action-packed flight and battle scenes. Powell’s music draws from a variety of influences, including Celtic folk traditions, giving it a unique sound that feels both ancient and heroic.

From the stirring main theme to the exhilarating flying sequences, this suite takes audiences on a musical journey through courage, friendship, and discovery—just like the film itself.

Ascension

Randall Standridge (b. 1976)

Ascension by Randall Standridge is a dramatic and uplifting work for concert band that captures the spirit of rising above adversity. Known for his cinematic and emotionally charged writing, Standridge composed Ascension to portray a musical journey—from darkness and struggle to light and triumph. The piece is built on a powerful narrative arc, designed to take listeners on a transformative experience through sound.

The music opens with a sense of tension and unease, reflecting moments of challenge or inner conflict. Gradually, the music builds in intensity, driven by bold rhythms, soaring melodies, and colorful orchestration. As the piece progresses, the tone shifts from dark to hopeful, culminating in a radiant and victorious finale. The ascending themes—heard in both melody and harmony—give the piece its name and capture the idea of growth, strength, and rising toward something greater.

Ascension is not just a musical work—it’s an emotional statement. It speaks to resilience, courage, and the power of pushing forward, making it especially meaningful for student performers and audiences alike.

Dragon Sky

Julie Giroux (b. 1961)

Julie Giroux’s Dragon Sky is a dynamic and imaginative work for wind band that evokes the fierce beauty and soaring power of mythical dragons flying through the heavens. Known for her colorful orchestration and vivid musical storytelling, Giroux crafts a piece that is both cinematic and deeply expressive, combining fantasy with finely honed compositional technique.

From the opening bars, Dragon Sky conjures a vast and mysterious atmosphere. The music quickly takes flight with driving rhythms, rich harmonies, and dramatic flourishes that capture the motion and majesty of dragons in flight. Melodic lines rise and fall like creatures gliding through the clouds, while intense, percussive passages evoke their strength and speed. As with many of Giroux’s works, the music seamlessly blends power with beauty, offering moments of awe and intensity alongside sweeping, lyrical phrases.

Whether imagined as a battle in the skies or simply the graceful movement of legendary creatures overhead, Dragon Sky invites performers and listeners into a world of wonder, where the boundaries of earth and sky are broken by wings of fire and wind. It’s a thrilling and inspiring piece that showcases the full range of the modern concert band.

Shenandoah

Frank Ticheli (b. 1958)

Frank Ticheli’s Shenandoah is a beautiful and heartfelt setting of the traditional American folk song, known for its haunting melody and rich emotional resonance. The song’s origins date back to the early 19th century, and while its exact meaning is debated—some interpret it as a love song, others as a farewell to the Shenandoah River or Valley—it has long been cherished as a symbol of Americana and nostalgia.

In this arrangement for concert band, Ticheli brings new depth and sensitivity to the familiar tune. The piece opens with quiet, sustained tones that suggest mist rising over the river at dawn. As the melody emerges, it is passed gently through different sections of the ensemble, gradually growing in color and intensity. Ticheli's lush harmonies and careful pacing allow the music to unfold naturally, emphasizing the longing and lyricism at the heart of the song.

Rather than reinventing the melody, Ticheli honors its simplicity, adding subtle harmonic and textural layers that bring out its emotional core. The result is a deeply moving piece that feels timeless and personal—a tribute to both American musical tradition and the beauty of restraint.

Symphony No. 1 "The Lord of the Rings" V. Hobbits

Johann de Meij (b. 1953)

Dutch composer Johann de Meij’s Symphony No. 1 “The Lord of the Rings” is a landmark work in the concert band repertoire, inspired by J.R.R. Tolkien’s epic fantasy novels. Composed between 1984 and 1987, the symphony does not follow the story chronologically but instead presents musical portraits of five key characters or scenes from the books: I. Gandalf, II. The Lothlorien, III. Gollum, IV. Journey in the Dark.  The fifth and final movement, Hobbits, offers a warm and heartfelt conclusion to the symphony.

In contrast to the darker and more dramatic earlier movements, Hobbits celebrates the simple joys, courage, and kindness of the small, peace-loving folk from the Shire. The music opens with a gentle, pastoral theme, evoking the lush green hills and peaceful life of the hobbits. A joyful dance-like section follows, full of light rhythms and playful melodies that capture their cheerful nature and love of good food, song, and friendship.

The movement also reflects deeper emotional currents. As it progresses, the music grows in richness and dignity, honoring the bravery and resilience of characters like Frodo and Sam, who play central roles in the story’s most heroic moments. The piece closes with a return to the opening theme—serene and heartfelt—offering a sense of peace, homecoming, and hope.

Wind Ensemble

Flutes - Jordan Thiel, Aryanna Minor, Isabella Windsor, Angelique Rana

Clarinets - Nelson Oliveras, Megan Brouillette

Bass Clarinets - Nina Massie, Ashley Hansen

Alto Saxophones - Alan Xie, Josstyn Durst, Audrey Kleckner, Matthew Wieler, Shane McAllister, Marisa Bryhan

Tenor Saxophones - Lacey Greicar, Gabriela Detoro

Baritone Saxophone - Gabriel Salko

Horn - Tom Schumacher

Trumpets - Nolan Bumgardner, Ethan Masmela, Jackson Wojcik, Grayson Slaminski, William Riley

Trombones - Colin Garvey, Will Brouillette, Charlotte Barnett, Bret Nersveen, Liesel Schilling, Leo Chen, Stuart Johnson

Euphoniums - Guy Walton, Francesco Grasso

Tubas - Blake Rau, Jakob Nestler

Bass - Khris Hackbarth

Percussion - Aaron Wise, Hannah Feutz, David Fandler, Max Mazzari, Lincoln Greicar, Sam Pekarske, Connor Thyes

Concert Band

Flutes - Elaina Lubeck, Addison Town

Oboe - Aryanna Minor

Clarinets - Aiden Kaestner, Hailey Godersky, Grace Domres

Alto Saxophones - Leander Pritzlaff, Audrey Kleckner, Nina Massie

Tenor Saxophone - Khris Hackbarth

Baritone Saxophone - Asher Kagamba

Trumpet - James Kelly

Trombone - Robert Kretlow

Tuba - Kellan Eberman

Percussion - Alexander Bergmann, Zachary Schumacher, Gwen Williams, Dylan Marquardt, Irene Johnson, Jack Bennett, Liam Wall

Joining Concert Band for this performance: Jordan Thiel, Megan Brouillette, Hannah Feutz, Lacey Greicar, Aaron Wise, Grayson Slaminski, Charlotte Barnett, Liesel Schilling, Francesco Grasso, Blake Rau