North Texas
Wind Symphony
Eugene Migliaro Corporon, conductor
Robert Buckley, composer-in-residence
Thursday, February 22, 2024
7:30 pm
Winspear Hall
Murchison Performing Arts Center
PROGRAM
The Pathway to the Stars (2023)............................... Robert Buckley (b. 1946)
She Looked at the Sun (2023)........................................ Luke Snyder (b. 2001)
Allegro
Allegro moderato
Allegro
world premiere
Southern Harmony (1998)................................... Donald Grantham (b. 1947)
The Midnight Cry
Wondrous Love
Exhilaration
The Soldier's Return; Thorny Desert
Passacaglia in Primary Colors (2023)............... Michael Daugherty (b. 1954)
The Dog Breath Variations (1970) ..............Frank Zappa (1940–1993)
Envelopes (1981)
Zappa, FZ, Frank Zappa and the Mustache
are marks belonging to the Zappa Family Trust.
All Rights Reserved. Used by permission.
Five hundred fifth program of the 2023–2024 season
Photography and videography
Robert Buckley (b. 1946) has a diverse career as a composer, arranger,
performer, producer, recording artist, and conductor. He has conducted
and arranged for major artists such as Michael Bublé, Bryan Adams, Celine
Dion, Our Lady Peace, Simple Plan, and Aerosmith, amongst numerous
others. He created several albums and hit songs with the number one
single, Letting Go, winning him a gold record. Buckley has scored award-
winning shows for Disney, Alliance, ABC, FOX, CBS, PBS, CBC, and Cartoon
Network. In the live stage world, he has composed music for contemporary
dance, musicals, and large-scale worldwide television events such as the
Calgary Olympics, the Victoria Commonwealth Games, the Vancouver
Olympics, and the FIFA World Cup Opening Ceremony with Cirque Du
Soleil. He has also composed This Is My Home for the Canadian Pavilion at
the World Expo. The work has been performed at every Canada Day since
its premiere and has become a Canadian tradition.
Buckley’s symphonic compositions have been performed worldwide
and his 2nd Symphony, The Seas of the Moon, was recently premiered
in Portland, Oregon. Other new compositions include Undercurrents (U.S.
premiere with the United States Marine Band) and 3rd Symphony, Quebec
Mosaic (Quebec City premiere). Buckley is a member of SOCAN, the Guild
of Canadian Film Composers, American Bandmasters Association, and The
Canadian Music Centre.
Dedicated to The Royal Canadian Air Force Band, Captain Matthew Clark
director, The Pathway to the Stars (2023) celebrates 75 years of distinguished
service to Canada. Buckley writes:
The Pathway to the Stars is a celebratory piece inspired by the
exhilaration of flight in all forms. My father was in the British Air Force
and later worked as a designer for Boeing, so I was always around
aircraft and shared his excitement about aviation. This piece takes
a cinematic approach and describes an imaginary high speed
flight far above the planet.
Once you have tasted flight, you will forever walk the earth with
your eyes turned skyward, for there you have been, and there you
will always long to return. – Leonardo Da Vinci
Luke Snyder (2001) began composing at a young age. With special interest
in orchestral, wind, and electronic music, he graduated from Lipscomb
University with a degree in commercial production, with an emphasis in
composition. He cites his major influences as Danny Elfman, John Powell,
and Michael Giacchino and he has studied under such award-winning
composers and musicians as Benjamin Blasko, Brown Bannister, Tim Lauer,
and John Mark Painter. Award-winning himself, Snyder was a finalist in the
2022 Marvin Hamlisch International Awards (Film Score category), won Best
Original Score in the Five Minute Film Festival at Lipscomb University in 2023,
won Composer of the Year at Lipscomb University in 2022, and received the
Amy Grant Award in 2021 at Lipscomb University.
She Looked at the Sun (2023) is one of Snyder’s newest works. The composer
provides this insight to his composition:
The main inspiration behind this composition is from investigating
the natural world around me. I tried to emulate the beautiful,
strange, sometimes scary, sometimes quiet and gentle qualities
of nature and its processes. The title itself, She Looked at the Sun,
explains the original idea for the piece; a young person looking up
at a tree, with such awe and curiosity. Things that are easily taken
for granted, but that are some of the most beautiful things when
noticed. I wanted to create something that felt just like that face
she made.
Born in Oklahoma, Donald Grantham (b. 1947) received a bachelor’s degree
from the University of Oklahoma, a master’s degree from the University of
Southern California, and went on to study at the American Conservatory
in France with Nadia Boulanger. He currently teaches composition as the
Frank C. Erwin Centennial Professor in Music at the University of Texas at
Austin Butler School of Music. Grantham is the recipient of numerous awards
and prizes in composition, including the Prix Lili Boulanger, the Nissim/ASCAP
Orchestral Composition Prize, Concordia Chamber Symphony’s Awards to
American Composers, a Guggenheim Fellowship, three William Revelli first
prizes from the NBA, two Ostwald Competition first prizes, and first prize in the
National Opera Association’s Biennial Composition Competition. His music
has been praised for its “elegance, sensitivity, lucidity of thought, clarity
of expression and fine lyricism” in a Citation awarded by the American
Academy and Institute of Arts and Letters.
Southern Harmony (1998) was commissioned by the Southeastern
Conference of Band Directors. Grantham shares the following notes:
In 1835, William “Singin' Billy” Walker’s songbook Southern Harmony
was first published. This remarkable collection contains, according
to its title page, “a choice collection of tunes, hymns, psalms, odes
and anthems selected from the most eminent authors in the United
States.” In fact, few of the numbers in the book are identified as
the work of a particular composer. Many are folk songs (provided
with religious texts), others are traditional sacred tunes, while some
are revival songs that were widely known and sung throughout
the South. The book was immensely popular, selling an amazing
600,000 copies before the Civil War, and was commonly stocked
“along with groceries and tobacco” in general stores across the
American frontier. From 1884 until World War II, an annual all-day
mass performance of selections from Southern Harmony, called
the “Benton Big Singing Day,” was held on the Benton, Kentucky
courthouse lawn. The event drew participants from Kentucky,
Tennessee, Missouri and Illinois.
The music of Southern Harmony has a somewhat exotic sound
to modern audiences. The tunes often use modal or pentatonic
rather than Major or minor scales. The harmony is even more
out of the ordinary, employing chord positions, voice leading
and progressions that are far removed from the European music
that dominated concert halls at the time. These harmonizations
were dismissed as crude and primitive when they first appeared.
Now they are regarded as inventive, unique, and powerfully
representative of the American character.
In his use of several tunes from Southern Harmony, the composer has
attempted to preserve the flavor of the original vocal works in a setting
that fully realizes the potential of the wind ensemble and the individual
character of each song.
There probably isn’t an orchestra or band in the world that hasn’t played
a work by GRAMMY Award-winning composer Michael Daugherty (b.
1954). Known for his ear, his wit and his imagination of how instruments
work together, his music is inspired by American idioms, mythologies and
icons. Born in Cedar Rapids, Iowa, Daugherty is the son of a dance band
drummer and the oldest of five brothers, all professional musicians. His music
has received six GRAMMY Awards, including “Best Contemporary Classical
Composition” in 2010 for Deus ex Machina for piano and orchestra and in
2016 for Tales of Hemingway for cello and orchestra. In addition to being a
frequent guest of professional orchestras, festivals and universities around
the globe, Daugherty is also professor of composition at the University of
Michigan School of Music, Theater and Dance in Ann Arbor, where he is
a mentor to many of today’s most talented young composers. He is an
alumnus of the University of North Texas where he earned his bachelor’s
degree.
With the wind version commissioned by the University of Michigan,
Passacaglia in Primary Colors (2023) was inspired by the creations of
American artist Andy Warhol (1928–1987) who often employed repetitions
of images and vibrant primary colors in his artwork. Of the work, Daugherty
writes:
Passacaglia in Primary Colors is structured as a passacaglia, one
of the most recognizable structures for musical repetition. The
main musical motive consists of 15 pulses or beats, repeated and
transformed into unpredictable tonalities and blocks of instrumental
color.
The initial orchestral version was commissioned and premiered by the
Pittsburgh Symphony Orchestra in 2021 in celebration of their 125th
anniversary. Fifteen: a Symphonic Fantasy on the Art of Andy Warhol was
inspired by the art of Warhol, famous for being the world’s most recognizable
proponent of Pop Art. Passacaglia in Primary Colors is the fifth movement
of the work.
Frank Zappa (1940–1993) was an American composer and is best described
in his own words, from The Real Frank Zappa Book:
One day I happened across an article about Sam Goody’s record
store in Look magazine which raved about what a wonderful
merchandiser he was. The writer said that Mr. Goody could sell
anything—and as an example he mentioned that he had even
managed to sell an album called Ionisation. The article went on to
say something like, “This album is nothing but drums—it’s dissonant
and terrible; the worst music in the world.” Ahh! Yes! That’s for me!
I turned the volume all the way up (in order to get the maximum
amount of ‘fi’) and carefully placed the all-purpose osmium-tipped
needle on the lead-in spiral to Ionisation. I have a nice Catholic
mother who likes to watch Roller Derby. When she heard what came
out of that little speaker at the bottom of the Decca, she looked at
me like I was out of my f-ing mind.
I bought my first Boulez album when I was in the twelfth grade: a
Columbia recording of Le Marteau Sans Maitre (The Hammer Without
a Master) conducted by Robert Craft, with Zeitmasse (Time-mass) by
Stockhausen on the other side.
I didn’t know anything about twelve-tone music then, but I liked the
way it sounded. Since I didn’t have any kind of formal training, it
didn’t make any difference to me if I was listening to Lightnin’ Slim, or
a vocal group called the Jewels, or Webern, or Varèse, or Stravinsky.
To me it was all good music.
“What do you do for a living, dad?” If one of my kids ever asked
me that question, the answer would have to be: “What I do is
composition.” I just happen to use material other than notes for the
pieces.
A composer is a guy who goes around forcing his will on unsuspecting
air molecules, often with the assistance of unsuspecting musicians. In
my compositions, I employ a system of weights, balances, measured
tensions and releases—in some way similar to Varèse’s aesthetic. The
similarities are best illustrated by comparison to a Calder mobile: a
multicolored whatchamacallit, dangling in space, that has big blobs
of metal connected to pieces of wire, balanced ingeniously against
little metal dingleberries on the other end.
The orchestra is the ultimate instrument, and conducting one is an
unbelievable sensation. Nothing else is like it, except maybe singing
doo-wop harmony and hearing the chords come out right.
I find music of the classical period boring because it reminds me of
‘painting by numbers.’ There are certain things composers of that
period were not allowed to do because they were considered to be
outside the boundaries of the industrial regulations which determined
whether the piece was a symphony, a sonata, or a whatever. All
of the norms, as practiced during the olden days, came into being
because the guys who paid the bills wanted the “tunes” they were
buying to “sound a certain way.”
It’s all over, folks. Get smart—take out a real estate license. The least
you can do is tell your students: “DON’T DO IT! STOP THIS MADNESS!
DON’T WRITE ANY MORE MODERN MUSIC!”
Information is not knowledge, knowledge is not wisdom, wisdom is
not truth, truth is not beauty, beauty is not love, love is not music.
Music is the best. – Joe’s Garage, 1979
The Dog Breath Variations (1970) is based on Dog Breath, a piece recorded
by Zappa and the Mothers of Invention on the live album, Just Another
Band from L.A. The wind setting was commissioned by The Netherlands Wind
Ensemble.
Envelopes (1981) is constructed around a harmony based on seven and eight
note chords that generate their own counterpoint as an automatic result of
the voice leading. The original track was released on the album Ship Arriving
Too Late to Save a Drowning Witch.
The wind versions of both works were made popular by the 1991 premiere
recording done by The Cincinnati University Wind Ensemble.
Eugene Migliaro Corporon is the conductor
of the North Texas Wind Symphony and
regents professor of music at the University of
North Texas. As director of Wind Studies he
guides all aspects of the program, including
the master’s and doctoral degrees in wind
conducting. Mr. Corporon is a graduate
of California State University, Long Beach
and Claremont Graduate University. His
performances have drawn praise from
colleagues, composers, connoisseurs and
music critics alike. Professor Corporon’s
career, which spans seven decades, began
in 1969 as director of instrumental music at
Mt. Miguel High School in Spring Valley,
California. He has held collegiate positions
since 1971 which include California State
University, Fullerton, University of Wisconsin,
University of Northern Colorado, Michigan State University, Cincinnati
College Conservatory of Music, and University of North Texas. His ensembles
have performed at the Midwest Clinic International Band and Orchestra
Conference, Southwestern Music Educators National Conference, Texas
Music Educators Association Clinic/Convention, Texas Bandmasters
Association Convention/Clinic, International Trumpet Guild Conference,
International Clarinet Society Convention, North American Saxophone
Alliance Conference, Percussive Arts Society International Convention,
International Horn Society Conference, National Wind Ensemble
Conference, College Band Directors National Association Conference,
Japan Band Clinic, and the Conference for the World Association of
Symphonic Bands and Ensembles.
Corporon maintains an active guest-conducting schedule and is in demand
as a conductor and teacher throughout the world. He is past president of
the College Band Directors National Association and a past member of
the World Association for Symphonic Bands and Ensembles International
Board. He has been honored by the American Bandmasters Association
and by Phi Beta Mu with invitations to membership. Corporon, a frequent
guest conductor at the Showa University of Music in Kawasaki City, Japan,
has also served as a visiting conductor at the Manhattan School of Music,
Juilliard School, Interlochen World Center for Arts Education and Aspen
Music Festival and School. He is the music director and conductor of the
Lone Star Wind Orchestra, a professional group made up of passionate
and committed musicians from the Dallas/Denton/Fort Worth metroplex.
North Texas Wind Symphony
Flute Saxophone Tuba
Cameron Bilek Tyler Brooks Jiwoong Hyun
Yoojin Kim Scott Coward Arturo Ortega
Arianna Knee Jiawei Liang Nino Vuddhananda
Hui Lam Mak Gabriel McQuade
Jessica Wu Dylan Pich Percussion
Naji Abubukker
Oboe Trumpet Tzu-Ling Hung
Madeline Lee Dayvison Costa Kayla Liptak
Hayley Monk Ben Gerkins Isaac Morgan
Hyungju Oh David Hall Patrick Overturf
McKenna Hill Jacob Thompson
Bassoon Abby Ward Maddie Wallace
Victoria Donaldson
Aaron Lukenbill Horn Piano
Donovan Neal Andrew Bennett Jiapeng Xu
Samuel Viebrock Sam Himes
Jake Osmond Harp
Clarinet Patrick Ring Acadia Ferguson
Megan DeWalt Benjamin Ruiz Margaret Anne Gunter
Anna Ferrari
Thomas Gosnell Trombone Double Bass
Charlotte MacDonald Daniel Chevallier Aiyana Armstrong
Erick Morales Nate Gardner Lillian Holder
Samara Morris Hojun Kim
Emily O'Brien Keyboards
Andrew Platz Bass Trombone David McCaulley
Lucas Shroyer Matthew Fowler
Allyson Verret Electric Guitar
Brandon Von Euphonium Andrew Getman
Hannah Weller Chris Finch
Loke Lovett Electric Bass
Brendan Nie
Members of the Wind Symphony are listed alphabetically to
acknowledge each performer's unique contribution. Every
individual is considered to be a principal player.
Internationally acknowledged as one of the premier ensembles of its kind,
the North Texas Wind Symphony is selected from the most outstanding
musicians attending the College of Music. Artistically we hope to live and
thrive right where Legacy and Tradition meet Innovation and Progress.
Wind Studies
Eugene Migliaro Corporon, Director of Wind Studies; Conductor, Wind Symphony
Andrew Trachsel, Professor of Wind Studies; Conductor, Wind Orchestra
Amy Woody, Director of Athletic Bands; Conductor, Wind Ensemble
David Childs and Raquel Rodriguez Samayoa, Conductors, Brass Band
Dachuan Cao, John Clemons, Jerianne Larson, Doctoral Conducting Associates
ME5 Aik Kee K. Steven Tan, Master’s Conducting Associate
Hannah Weller, Master's Teaching Fellow
Heather Coffin, Administrative Coordinator
Erick Morales, Alena Scott, Librarians
Lauren Chambers, Ryan Fillinger, Spencer Knutti, Sean Lasker, Aidan Olesen,
Arturo Ortega, Stage Crew
Floyd Graham, Director of Bands, Emeritus (1927–1937)
Robert Lincoln Marquis, Jr., Director of Bands, Emeritus (1937–1939)
Harry Parshall, Director of Bands (1939–1943)
Lawrence Chidester, Director of Bands (1943–1945)
Maurice McAdow, Director of Bands, Emeritus (1945–1975)
Robert Winslow, Director of Bands, Emeritus (1975–1993)
Dennis Fisher, Professor of Wind Studies, Emeritus (1982–2019)
Instrumental Studies & Jazz Studies (*Adjunct)
Mary Karen Clardy, flute Tony Baker, trombone
Elizabeth McNutt, flute Nick Finzer, trombone
Terri Sundberg, flute Natalie Mannix, trombone
*Amy Taylor, piccolo Steven Menard, trombone
Jung Choi, oboe David Childs, euphonium
Daryl Coad, clarinet *Matthew Good, tuba
Deb Fabian, clarinet Don Little, tuba
Kimberly Cole Luevano, clarinet Jeffrey Bradetich, double bass
Phillip Paglialonga, clarinet Gudrun Raschen, double bass
*Gregory Raden, clarinet Lynn Seaton, double bass
Darrel Hale, bassoon Quincy Davis, drumset
Brad Leali, saxophone *Stockton Helbing, drumset
Eric Nestler, saxophone *Steven Pruitt, drumset
Philip Dizack, trumpet Mark Ford, percussion
Adam Gordon, trumpet David P. Hall, percussion
John Holt, trumpet Paul Rennick, percussion
Rob Parton, trumpet *Sandi Rennick, percussion
Raquel Rodriguez Samayoa, trumpet Jaymee Haefner, harp
*Kyle Sherman, trumpet Adam Wodnicki, piano
Katherine McBain Jesse Eschbach, organ
Stacie Mickens, horn
College of Music Administration
John W. Richmond - Dean
Warren H. Henry - Senior Associate Dean, Academic Affairs
Kirsten Soriano - Associate Dean, Operations
Emilita Marin - Assistant Dean, Business and Finance
Raymond Rowell - Assistant Dean, Scholarships and External Affairs
Jaymee Haefner - Director, Graduate Studies
Mark Montemayor - Director, Undergraduate Studies
Joel D. Wiley - Director, Admissions
Matt Hardman - Director, Communications, Marketing and Public Relations
