All-Campus Orchestra / Concert Band – 12.10.2022
Boston University Concert Band
Dr. Jennifer Bill, conductor
Chuze Sun, Teaching Assistant
Boston University All-Campus Orchestra
Mark Miller, conductor
Maria Kurochkina, Teaching Assistant
| Symphony no. 1 “The Lord of the Rings”
Gandalf |
Johan de Meij (b. 1953) |
| Tam o’Shanter Overture, Op. 51 | Malcolm Arnold (1921-2006) arr. J Paynter |
| A Symphony of Fables
The Lion and the Mouse |
Julie Giroux (b. 1961) |
| Minor Alterations Christmas Through the Looking Glass |
David Lovrien (b. 1963) |
| — Short Intermission — | |
| Overture to The Wasps | Ralph Vaughan Williams (1872-1958) |
| Legends, Op. 59
No. 6 Allegro con moto – Moderato |
Antonín Dvořák (1841-1904) |
| The Banks of the Green Willow | George Butterworth (1885-1916) |
| Le Tombeau de Couperin
III.. Menuet |
Maurice Ravel (1875-1937) |
Rosters
Boston University Concert Band Fall 2022
| FLUTE | ||
| Amman Bhatti | CAS Biochemistry and Molecular Biology | 2023 |
| Clarice Bouvier | New England College of Optometry – Optometry Doctorate | 2025 |
| Brian Chang | ENG Mechanical Engineering | 2026 |
| Bonnie Chen | CAS Mathematics & Computer Science | 2025 |
| Eloise De Jarne | CAS Marine Science | 2026 |
| Sydnee Funai | ENG Mechanical Engineering | 2026 |
| Anita Keltcher | CAS Neuroscience | 2025 |
| Emily Kirslis | Providence College – Accounting and Spanish | 2019 |
| Kiya Klopfenstein | CFA Music Education MMusEd | 2023 |
| Jinyi Liu | QST Business Administration and Management | 2025 |
| Cynthia Lu | QST Business/Finance, CAS Mathematics/Statistics | 2026 |
| Jennifer Ortiz Valverde | CFA Music | 2024 |
| Simran Raikundalia | CAS Biochemistry | 2025 |
| Cara Ravasio | ENG Biomedical Engineering PhD | 2025 |
| Madison Soares | CAS Psychology | 2025 |
| Shruthi Sudhakar | Alum, CAS French Studies | 2020 |
| Ling Tan | MET Arts Administration MA | 2023 |
| Kendall Thomas | CAS English | 2025 |
| Yukai Wu | CAS Economics and Mathmatics | 2023 |
| Zixuan Zhou | COM Advertising, Film and Television | 2023 |
| OBOE | ||
| Ariel Narayan | CFA Theatre Arts – Design and Production | 2025 |
| Franklin Phan | CFA Music Composition | 2026 |
| Nicholas Ward | CFA Theory and Composition | 2023 |
| BASSOON | ||
| Alex Cho | CAS Computer Science | 2026 |
| Jeremy Freudberg | Alum, CAS Linguistics and Computer Science | 2019 |
| CLARINET | ||
| Tori Keefauver | CAS Neuroscience; Philosophy & Psychology | 2024 |
| John Kwon | CAS Mathematics and Philosophy | 2026 |
| Angus Li | Duke University – Biomedical Engineering | 2020 |
| Jeffrey Li | ENG Biomedical Engineering | 2024 |
| James Robson | ENG Biomedical Engineering PhD | 2025 |
| Anna Schorr | Wheelock – Education and Human Development | 2025 |
| Randy Strat | 2014 | |
| BASS CLARINET | ||
| Christopher Hyon | CAS Earth and Environmental Science | 2026 |
| ALTO SAXOPHONE | ||
| Faith Cerbo | CAS Biology | 2025 |
| Chloe Costa | CAS Marine Science | 2026 |
| Caroline Ferris | Alum, CAS Math and Computer Science | 2020 |
| Sarah Josinsky | CAS CMG Biology | 2024 |
| Megan Paul | Boston College – History | 2022 |
| Wenhao Zhou | GRS Computer Science | 2024 |
| TENOR SAXOPHONE | ||
| Eric Falley | STH Masters in Divinity | 2024 |
| Krista Woods | Alum, CAS Sociology | 2018 |
| BARITONE SAXOPHONE | ||
| Kyle Sousa | CFA Music – Ethnomusicology | 2023 |
| HORN | ||
| Jameson Beckman | COM Journalism | 2025 |
| Samantha Brayton | CAS Neuroscience and CAS Psychology | 2024 |
| Lukas Chin | ENG Computer Engineering | 2025 |
| Alicia Hamm | COM Journalism | 2026 |
| TRUMPET | ||
| Christine Fielding | CAS Biology, specializing in CMG | 2025 |
| Breanne Frank | Alum, CAS Environmental Analysis & Policy; Political Science | 2021 |
| RJ Horvat | CFA Music Theory MM | 2023 |
| Lucas Sherwin | Alum, CAS Computer Science | 2020 |
| Tyler A. Smith | Alum, ENG Mechanical Engineering | 2022 |
| Kim Sullivan | Southern Connecticut State University – Music | 2020 |
| Sebastian Wu | CAS Computer Science | 2026 |
| TROMBONE | ||
| Samantha Casey | Alum, CAS/KHC Neuroscience & Sociology | 2021 |
| Charles Cevallos | Alum, CFA Music Education, M.M. | 2022 |
| Thomas Hontz | Law JD | 2025 |
| Thuc Nguyen | ||
| EUPHONIUM | ||
| Nathaniel Hontz | LAW JD and CAS History MA | 2024 |
| Quan Minh Pham | ENG Computer Engineering | 2023 |
| TUBA | ||
| Vivek Mirchandani | CAS Neuroscience | 2025 |
| Alex Mowen | Alum, CAS Music & Archeology | 2019 |
| Brackney Pickett | GRS Astronomy PhD | 2025 |
| Colbryn Waggoner | Wentworth Institute of Technology | 2025 |
| PERCUSSION | ||
| Ian Aquino | COM Film & TV | 2023 |
| Emily Frank | COM Film & TV Studies | 2026 |
| Kat Howell | Student Affairs Professional | |
| Larissa Ireland | Alum, CAS Environmental Analysis & Policy | 2021 |
| James Kang | Alum, COM Advertising 2014, QST MBA 2020 | 2014, 2020 |
| Jenna Mascaritolo | Alum, GRS Statistical Practice MS | 2022 |
| Andrew Shulov | QST Marketing | 2024 |
| Taylor Williams | CFA Music Education | 2025 |
Boston University All-Campus Orchestra Fall 2022
Violin 1
Lyda Arevalo Gonzalez, Psychology, 2023
So Young Bae, Molecular and Cellular Biology
Michelle Bernard, Biology, 2023
Hong Yuan Cao, Economics, 2026
Jenny Cui, Chemistry, 2026
Ella Flister, Political Science, 2026
Amber Hynes, Psychology, 2025
Nathaniel Lambert, Italian & Linguistics, 2025
Blessing Martins, 1st year Graduate Student in Music Education
Sooyeong (Hailey) Na, Business Administration & Management, 2026
Carla Romney, Director of Research, CityLab
Raina Tung, Mechanical Engineering, 2024
Tianyue (Shirley) Xia, Accounting & Business Analytics, 2024
Violin 2
Sydney Aslan, Political Science, 2026
Sydney Butler, Health Science, 2024
Jessica Fessmann, Music, 2025
Morgan Hartwell, History, 2026
Allison Kim, Biology (Specialization in Cell/Molecular Biology & Genetics), 2023
Yuqiu (Rachel) Liu, Public Relations, 2023
Ksheeraja Ramanujam, Biomedical Engineering, 2026
Min (Lily) Tang, 2025
Kendall Thomas, English, 2024
Scarlett Wills, Art History, 2026
Allyson Zheng, Biology, 2024
Linxuan (Zoey) Zhou, Economics, 2026
Viola
Ryan Appleton, Business Administration & Management, 2026
Wei Qing (Janice) Cheng, Health Studies, 2024
Madelyn Duffy, Biomedical Engineering, 2026
Genevieve Duguid, 2026
Audrey Kirkley, 3rd year Graduate Student
Annalise Kratochwill, Political Science, 2025
You Wu, Psychology, 2025
Cello
Jason Bard, Mechanical Engineering, 2024
Karyna Cheung, Linguistics, 2026
Smith Graninger, Economics, 2026
Sophia Rizzo, English, 2024
Narek Sahakian, English, 2023
Ella Xu, Psychology, 2026
Bass
Ian Fitzsimons, Environmental Analysis & Policy, 2023
David Gardner, Data Science, 2026
Levi Gordon, Biochemistry & Molecular Biology, 2026
Payton Harvill, Astronomy & Physics, 2026
Alice Marchant, Mathematics, 2026
Flute
Julianna Fastiggi, International Relations, 2023
Mary Pyrdol, Graphic Design, 2023
Madison Soares, Psychology, 2025
Oboe
Barrett Schenk, Biomedical Engineering, 2025
Nicholas Ward, Theory & Composition, 2023
Clarinet
Daniel Cho, Data Science, 2025
Milos Bjelica, DMA Music Performance 2025
Bassoon
Jeanna Heezen, 1st year Graduate Student in Arts Administration
Peter Niziolek, Biomedical Engineering, 2026
Horn
Alicia Hamm, Journalism, 2026
Amir Sharipov, M.M. Music Performance, 2024
Trumpet
Xan Denker, Music Performance, 2023
Harp
Julia Crosson, Music Composition & Theory, 2025
Cecily Zhao, Music Education, 2025
Percussion
Ricardo Ferrer, M.M. Music Performance 2024
Samuel Hoffacker, M.M. Music Performance 2024
Eric Green, M.M. Music Performance 2023
Program Notes
The Lord of the Rings
Johan de Meij’s first symphony The Lord of the Rings is based on the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from the book.
GANDALF (The Wizard) The first movement is a musical portrait of the wizard Gandalf, one of the principal characters of the trilogy. His wise and noble personality is expressed by a stately motif which is used in a different form in movements IV and V. The sudden opening of the Allegro vivace is indicative of the unpredictability of the grey wizard, followed by a wild ride on his beautiful horse, Shadowfax.
HOBBITS The fifth movement expresses the carefree and optimistic character of the Hobbits in a happy folk dance, the hymn that follows emanates the determination and noblesse of the hobbit folk. The symphony does not end on an exuberant note, but is concluded peacefully and resigned, in keeping with the symbolic mood of the last chapter “the Grey Havens” in which Frodo and Gandalf sail away in a white ship and disappear slowly beyond the horizon.
Tam o’Shanter Overture
Malcolm Arnold’s Tam o’Shanter Overture was completed in March 1955 and premiered with the composer conducting in August 1955. Arnold regarded Robert Burns as one of the greatest of poets and expressed the hope that his own enjoyment of the work of the remarkable Scotsman, as reflected in this music, will encourage others to read him. The overture has a well-defined program, though one’s response to it is by no means wholly dependent on the literary background.
Commonly accepted as one of the poet’s finest works, Tam o’Shanter is the grimly humorous legend of a hard drinker who ignores his wife’s warning that he will one day be “catch’d wi’ warlocks” for his misdeeds. Late one momentous night, in tempest and roaring thunder, he sets out recklessly from the inn and drives his mare, Meg, on the homeward road. When they reach the haunted church, they witness a wild party of witches and warlocks. In an instant all is dark, and the hellish legion pursues him. If he reaches the bridge he is safe, for the fiends cannot cross running water. He narrowly escapes, but his gallant mare loses her tail, which had been grasped by a witch.
The poem concludes with the following admonition:
Now, wha’ this tale o’ truth shall read,
Ilk man and mother’s son, take heed:
Whene’er to drink you are inclin’d,
Or cutty-sarks run in your mind,
Think, ye may buy the joys o’er dear.
Remember Tam o’Shanter’s mare.
Antonin Dvorak, “Legends” Op.59, №6 Allegro con moto, C sharp minor
The composition of ten short pieces for four-hand piano dates from Dvorak’s so-called Slavic period; at the time the composer was completing his sixth symphony in D major, and the Legends could, in fact, be regarded as a kind of more intimate postscript to its idyllic atmosphere.
Dvorak wrote the entire Legends cycle during the first third of 1881 and dedicated it to leading Viennese music critic Eduard Hanslick in recognition of the latter’s enduring interest in his work. The cycle was published by Berlin firm Simrock in the summer of that year. Johannes Brahms, conductor Hans von Bulow and other eminent figures from the music circles of the day expressed their great admiration for the Legends, and so Simrock requested, as he had done before in the case of the Slavonic Dances, that Dvorak write an orchestral arrangement as well. Dvorak readily agreed and orchestrated the entire cycle in late November and early December 1881.
Ralph Vaughan Williams, Overture from Aristophanic Suite The Wasps
Early in his career, in 1909, not long before the successes that first brought him widespread accolades, he was commissioned to provide incidental music for the Cambridge Greek Play, an old tradition at the University of Cambridge wherein every three years one of the great Greek plays is given entirely in the ancient Greek language. The play chosen in 1909 was Aristophanes’ “The Wasps,” considered one the greatest comedies in theatre. The play is a rousing satire of the Athenian judiciary, with the behavior of elderly jurors generating a comparison with the eponymous insects. Having said that, Vaughan Williams’ music for the play has absolutely nothing to do with wasps or ancient Greece. Rather, it is typical of the composer’s folksong-inflected, cheerful, and witty British style. After the opening swarm of wasps, the overture lays out a bustling succession of tunes in the best traditional Vaughan Williams style: pentatonic and modal melodies, broad lyrical tunes combined polyphonically with “dancing” faster tunes—even snatches of later, well-known compositions of his. These, and the rousing ending all are harbingers of his musical maturity, and lasting significance.
Ⓒ Wm. E. Runyan
George Butterworth, The Banks of Green willow
In his short lifetime, Butterworth wrote three orchestral works, with The Banks of Green Willow being the most well-known. The main melodies found in this work are based on English folk songs, which was something of a trend between Butterworth’s English contemporaries. Whilst on a trip in the countryside with his friend Ralph Vaughan Williams, Butterworth made recordings with his phonograph of “Mr & Mrs Cranstone” of Billinghurst and David Clements of Basingstoke. The work is also based on a folk ballad of the same name. The ballad essentially tells the tale of a farmer’s daughter who falls in love with a sea-captain, becomes pregnant and runs away with him to sea, having first stolen money from her parents. She has a difficult labour on board the ship and realises that she will soon die. She asks her lover to tie her up and throw both her and her baby overboard.
Although this dark story is the basis of Butterworth’s work, the main idea of the work is to depict the resting place of the young woman and her baby after the events have unfolded.
Ⓒ Alex Burns
Maurice Ravel, Le tombeau de Couperin. Menuet and Rigaudon
The title of this piece refers to the great French composer of harpsichord music during the seventeenth and eighteenth centuries, François Couperin. A “tombeau” is the title given to an artistic tribute, in this case, not any reference to a “tomb.” Ravel had originally written the work during the early years of World War I, in which he had served as an ambulance driver. It is literally the evocation of a seventeenth-century dance suite in six movements–each entitled with one of the traditional Baroque dances. Needless to say, the dances don’t sound like Baroque music exactly, but, following the tenants of neo-classicism , Ravel has “interpreted” the earlier style through the prism of his own twentieth-century voice. Each of the movements is dedicated to a specific friend of his
that had perished in the war. Late in the war he orchestrated four of the movements–a remarkably cogent example of refined Gallic appreciation of the past.
Ⓒ Wm. E. Runyan
Biographies
in alphabetical order
