April 24th, 2022
Wind Ensemble
Dr. Frank Tracz, Conductor
Dr. Jack Stamp, Guest Conductor
Dr. Kelley Tracz, Guest Performer
Dr. Alyssa Morris, Guest Performer
Braedon Bomgardner, Student Performer
Wind Ensemble
Dr. Frank Tracz, Conductor
Stars and Stripes Fanfare (2014)..............................................................John Phillip Sousa (1854-1932)
arr. James M. Stephenson (b. 1969)
Percussion Concerto (2005)...............................................................................Jennifer Higdon (b. 1962)
Braedon Bomgardner, Percussion Soloist
Bandancing (2004).....................................................................................................Jack Stamp (b. 1954)
Dr. Jack Stamp, Guest Conductor
I. CITY SHUFFLE
II. TANGO
III. WALTZ
IV. SLOW DANCE
V. LAST DANCE
Of Infinity (2022)....................................................................................................Alyssa Morris (b. 1984)
***World Premiere***
Dr. Alyssa Morris, Oboe Soloist
Dr. Kelley Tracz, Oboe Soloist
I. MIRRORS
II. ETERNITIES
III. CIRCLES
La Fiesta Mexicana (1949).....................................................................Herbert Owen Reed (1910-2014)
III. Carnival
Wind Ensemble Program Notes
Stars and Stripes Fanfare (2014)..............................................................John Phillip Sousa (1854-1932)
arr. James M. Stephenson (b. 1969)
John Philip Sousa originally composed his “magnum opus” of marches on Christmas day of 1896, upon learning of the death of his friend, David Blakely, who was also manager of the Sousa Band. It was premiered in 1897, and shortly thereafter became, as declared by Congress, the official National March of the United States of America. My arrangement is more of a “transcription” but allows for extra flourish to be added within the possibilities of a group of advanced trumpet players. Thank you to Denver Dill, who commissioned this version from me in 2014.
-Program notes by composer.
Percussion Concerto (2005)...............................................................................Jennifer Higdon (b. 1962)
The 20th century saw the development of the percussion section grow as no other section in the orchestra. Both the music and the performers grew in visibility as well as in capability. And while the form of the concerto wasn’t the least bit new in the century, the appearance and growth of the percussion concerto as a genre exploded during the latter half of the century. My Percussion Concerto follows the normal relationship of a dialogue between soloist and orchestra. In this work, however, there is an additional relationship with the soloist interacting extensively with the percussion section. The ability of performers has grown to such an extent that it has become possible to have sections within the orchestra interact at the same level as the soloist. When writing a concerto, I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie) to non-pitched smaller instruments (brake drum, wood blocks, Peking Opera gong), and to the drums themselves. Not only does a percussionist have to perfect playing all these instruments, but he must make hundreds of decisions regarding the use of sticks and mallets, as there is an infinite variety of possibilities from which to choose. Not to mention the choreography of the movement of the player; where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized. No other instrumentalist has such a large number of variables to challenge and master. This work begins with the sound of the marimba, as Colin early on informed me that he has a fondness for this instrument. I wanted the opening to be exquisitely quiet and serene, with the focus on the soloist. Then the percussion section enters, mimicking the gestures of the soloist. Only after this dialogue is established does the orchestra enter. There is significant interplay between the soloist and the orchestra with a fairly beefy accompaniment in the orchestral part, but at various times the music comes back down to the sound of the soloist and the percussion section playing together, without orchestra. Eventually, the music moves through a slow lyrical section, which requires simultaneous bowing and mallet playing by the soloist, and then a return to the fast section, where a cadenza ensues with both the soloist and the percussion section. A dramatic close to the cadenza leads back to the orchestra’s opening material and the eventual conclusion of the work. Written for Colin Currie, this work is dedicated to him. Percussion Concerto was commissioned by The Philadelphia Orchestra, The Indianapolis Symphony Orchestra, and The Dallas Symphony Orchestra. This commission was made possible with support from The Philadelphia Music Project (an artistic initiative of The Pew Charitable Trusts, administered by The University of the Arts), and by a generous gift from LDI, Ltd. and the Lacy Foundation.
-Program notes by composer.
Bandancing (2004).....................................................................................................Jack Stamp (b. 1954)
In writing Bandancing, I wanted to fuse elements of popular dance to my own harmonic style -- to write a "suite of New American Dances." The first movement, “City Shuffle,” is a type of funk with frequent meter changes. I intended to write a twelve-note tango bass line for the second movement, but only got ten notes out of it. The performance should by sultry and remind the listener of the dancer in the red dress in Lord of the Dance. The waltz has been a dance for 300 years or more. As a drummer, I loved playing jazz waltzes. The third movement is a jazz waltz featuring a mini fugue. The fourth movement, “Slow Dance,” is more of a ballad than a dance and has some of the most poignant harmony found in the entire work. “Last Dance” includes a samba and a very difficult fugue. It is cyclic, as the theme from the first movement returns.
- Program notes by composer.
Of Infinity (2022)....................................................................................................Alyssa Morris (b. 1984)
Of Infinity for two oboes and wind ensemble was commissioned in 2021 by Frank Tracz and the Kansas State University Wind Ensemble. It is to be premiered in 2022 by oboe soloists Kelley Tracz and Alyssa Morris, the Kansas State University Wind Ensemble, and Frank Tracz, conductor and director. Each movement of the concerto centers one of the following infinite objects or ideas: I. Mirrors II. Eternities III. Circles
In the movement “Mirrors,” two oboes trade a small motive that shifts, grows, and morphs throughout the movement until the final climactic cadenza between the two oboes. The movement “Eternities” is based on the hymn “If You Could Hie to Kolob.” The hymn is a reflection on eternal life. The following lines come from the fifth verse of the hymn: “There is no end to glory; there is no end to love; There is no end to being; there is no death above.” The concerto concludes with “Circles,” another game of chase between two oboes. A circular, spinning motive is traded between the two soloists, one at a time and in synchronization, until all of the winds join in with the spinning motion until the raucous conclusion. Many thanks to Dr. Tracz and the KSU Wind Ensemble for the opportunity to write this work for them, and to collaborate with this truly fantastic ensemble.
-Program notes by composer.
La Fiesta Mexicana (1949).....................................................................Herbert Owen Reed (1910-2014)
Born in Missouri and educated at Louisiana State University and the Eastman School of Music, Herbert Owen Reed (1910-2014) served on the theory and composition faculty at Michigan State University from 1939 to 1976. He wrote music in a variety of genres and has especially made an impact in the wind band world, where several of his compositions are widely performed. Among these, La Fiesta Mexicana stands out as his masterpiece.
Reed came to write La Fiesta Mexicana after receiving a Guggenheim Fellowship for study in Mexico for six months in 1948-49. While there, he heard Mexican music from the many different cultures that make up the country’s heritage, including Aztec, Roman Catholic, and mariachi music. He used these various ideas, often quoting them nearly verbatim, and stitched them together with elements of his own contemporary style in La Fiesta Mexicana’s three movements. He provides conductor’s notes in the work’s score (bear in mind the composition date of 1949 while reading). The score also contains a dedication: “To Lt. Col. Williams F. Santelmann and the U.S. Maring Band,” the conductor and group that premiered the work in 1949. It further contains a subtitle: “A Mexican Folk Song Symphony for Concert Band,” making it a very early specimen of the American wind band symphony.
-Program notes from windliterature.org.
Kansas State University Wind Ensemble
Dr. Frank Tracz, Director
Flute
Jenna Dominguez
Nicole Hoppas
Jessica Minnich*
Amaya Molinar
Oboe
Lily Linville
Brielle Vollmuth*
Clarinet
Olivia Bazanos
Taton Bennett
Krissy Davis
Audrey Farrell*
Ethan Hill
Abbey Johnson
Bass Clarinet
Mark Ahlman*
Tony Rodriguez
Bassoon
Josh Brandt*
Rachel Woodbury
Contra Bassoon
Hannah Sullivan
Alto Saxophone
Hannah Mancini*
James Probst
Tenor Saxophone
Mason Ringer
Baritone Saxophone
Nosara Vargas Gamboa
Trumpet
Ann Barker
Mitchell Betancourt*
Gillian Falcon
Kyle Grimes
Caleb Niehoff
Jessica Vanstory
French Horn
Josie Anderson
Cara Dister
Braden Jones
Katie Kimmel*
Elliot Peters
Parker Smitko
Trombone
Tyler Long
William Osorio
Daniel Smith
Travis Turner*
Euphonium
Justin Koegeboehn
Trey Switzer*
Michael Walker
Tuba
Chris Hovis*
Chase Keesling
Percussion
Braedon Bomgardner
John Eldridge
Jack Johnson*
Nathan Smith
Preston Thomas
Brandon Wells
String Bass
Stephen Mitchell
Piano
Jacob Thomas
*Denotes Principal Section Player
Graduating Seniors:
Mitchell Betancourt—Norco, CA—Music Education
Braedon Bomgardner—Buhler, KS—Music Performance
John Eldridge—Lawrence, KS—Music Education
Gillian Falcon—Salina, KS—Chemical Engineering
Nicole Hoppas—Olathe, KS—Psychology and Biochemistry
Katie Kimmel—Hutchinson, KS—Master’s in Music
Justin Koegeboehn—Wichita, KS—Computer Science and Mathematics
Elliot Peters—San Antonio, TX—Computer Science
Tony Rodriguez—Olathe, KS—Music Composition
Jacob Thomas—Overland Park, KS—Music Composition
Wind Ensemble Conductor
FRANK TRACZ is Professor of Music and Director of Bands at Kansas State University. He earned his B.M.E. from The Ohio State University, the M.M. from the University of Wisconsin, Madison, and Ph. D. from The Ohio State University. He has public school teaching experience in Wisconsin and Ohio and has also served as Assistant Director of bands at Syracuse University and Director of bands at Morehead State University. Dr. Tracz has served as an adjudicator, clinician, speaker in various schools and conferences and has conducted All-State and Honor bands across the United States as well as in Canada, Singapore, South Africa, Fiji, Australia, and New Zealand.
At Kansas State he directs the Wind Ensemble and the Marching Band, teaches graduate and undergraduate conducting, advisor to Kappa Kappa Psi, Tau Beta Sigma, and the Band Ambassadors, and administers and guides all aspects of a large BIG XII comprehensive band program. Ensembles under his direction have been invited to perform at numerous State conferences, MENC, two CBDNA regional conferences, The Larry Sutherland Wind band Festival at Fresno State, Carnegie Hall, and the Kennedy Center. The marching band was awarded the prestigious Sudler Trophy in 2015. The Wind Ensemble has been invited to perform at the International Convention of the American Bandmasters Association in 2019 in Loveland, CO
Dr. Tracz is on the faculty of the Conn-Selmer Institute, adjunct faculty of the American Band College, past member of the Music Education Journal Editorial Board, contributor to the Teaching Music Through Performance In Band series, and was recently appointed Chair of the Sudler Trophy Project of the John Philip Sousa Foundation. His honors include the Stamey Award for outstanding teaching, Kansas Bandmasters Outstanding Director award, Wildcat Pride Alumni Association award, the Tau Beta Sigma Paula Crider Outstanding Band Director award, named a Lowell Mason fellow, and Phi Kappa Phi Honorary Fraternity. He has also received the Conn-Selmer Institute Hall of Fame award, the Kansas State Professorial Performance award, and was elected to the prestigious American Bandmasters Association.
Dr. Tracz is married to Geralyn, and has three daughters, Jessica Tracz Kelly, Kelley Tracz, and Carly Tracz-Morris. He also has one grandson, Caden.
Guest Conductors and Performers
JACK STAMP is Director of Band Studies Emeritus at Indiana University of Pennsylvania, where he was awarded the title of "University Professor" for the 2008-2009 academic year at IUP. This is the highest award the university gives to a professor. He is currently International Composer in Association to the Grimethorpe Colliery Brass Band and is an Honorary Patron of the Eynsford Concert Band (Kent, England). He holds a Bachelor of Science degree in Music Education from Indiana University of PA, a Master of Music degree in Percussion Performance from East Carolina University, and a Doctor of Musical Arts degree in Wind Conducting from Michigan State University where he studied with Eugene Corporon. His primary composition teacher was Robert Washburn. Additional studies include work with Fisher Tull, Evan Copley, David Diamond, Joan Tower and Richard Danielpour.
His wind band music has been both commissioned performed by major university and military bands here and abroad. He has also composed works for the Minnesota Orchestra Brass Quintet, the Uptown Brass. His primary publishers include Neil Kjos Music, C. Alan Publications, and Knightwind Music.
ALYSSA MORRIS has delighted audiences around the world with her “skillful,” “fashionable,” and “commendable” musicianship (Fanfare). Dr. Morris serves as Assistant Professor of Oboe at Kansas State University. She has appeared as a soloist in venues throughout the United States, Scandinavia, the British Isles, and Western Europe. She performed as a recitalist at the 2014 and 2016 International Double Reed (IDRS) Conventions at New York University and Columbus State University. Dr. Morris was Associate Principal Oboe of the Richmond Symphony Orchestra and has also held positions with the Utah Wind Symphony and the Utah Baroque Ensemble. She has additionally performed with the Cincinnati Chamber Orchestra, the Cincinnati Bach Ensemble, the Kentucky Symphony Orchestra, and the Utah Lyric Opera.
Regarding her equally expansive work as a composer, the American Record Guide writes that Dr. Morris’s music “stands out” as “elegant” and “imaginative.” Her chamber music is performed extensively around the world, and has been presented at five IDRS Conventions, the National Flute Association Convention, and the Society of Composers Inc. National Convention.
Dr. Morris has been commissioned to write music for the River Oaks Chamber Orchestra, the Arizona State University faculty wind quartet, the University of Cincinnati College-Conservatory of Music double reed trio, Brigham Young University’s Sundance Trio, Ohio University’s Athenia Chamber Ensemble, and Carolyn Hove (principal English horn of the L.A. Philharmonic), to name a few. Dr. Morris’s music has been recorded on the Equilibrium, Centaur and MSR Classics labels, and her compositions are published by TrevCo Music Publishing.
KELLEY TRACZ is an oboist currently based in Minneapolis. She is the Assistant Professor of Oboe at Concordia College and is very active as both a performer and educator in Minnesota and beyond. Kelley has performed with numerous orchestras across the country, including the Minnesota Orchestra, South Dakota Symphony, New World Symphony, Quad City Symphony, Brevard Music Center Festival Orchestra, Chamber Orchestra of the Triangle, Ohio Light Opera Orchestra, Greensboro Symphony, Temple Symphony Orchestra, Central Texas Philharmonic, Southwest Minnesota Orchestra, Brazos Valley Symphony, Topeka Ballet Orchestra, and more. Kelley has received fellowships to Hidden Valley Music Festival, Brevard Music Festival, Bay View Music Festival, and the Pacific Region International Summer Music Academy. Kelley has been a featured soloist with the UNC Greensboro University Band, Concordia College Symphonic Band, Austin Symphonic Band, Kansas State University Wind Ensemble, Packard Wind Band, and is also a past winner of the Midwest Double Reed Society Young Artist Competition.
As a passionate and dedicated educator, Kelley has given masterclasses and served as a clinician to young oboists and fellow music educators in Kansas, Minnesota, Michigan, North Carolina, and Texas. Students of Kelley’s have advanced to Region, Area, and All-State ensembles in Texas, and have also been accepted into various schools of music across the country, including The Eastman School of Music, UT Austin, UMKC Conservatory, and Southern Methodist University. Kelley has served as a faculty artist for the national double reed camp, Bocal Majority, and was the premier instructor for the 2017 camp in Austin, TX. She was the oboe instructor at Camp Bernstein of Blue Lakes Fine Arts Camp in Twin Lake, MI for three consecutive seasons and has served as the oboe instructor for the Kansas State University Music Camp for seven seasons.
Kelley received her Doctor of Musical Arts degree in Oboe Performance and Post Baccalaureate Certificate in Ethnomusicology from the University of North Carolina at Greensboro. During her time at UNCG, Kelley studied with Dr. Ashley Barret and served as the Teaching Assistant for the Oboe Studio. Kelley also served as a Teaching Assistant for the Ethnomusicology Department. Kelley holds her Master of Music degree from the University of Minnesota, where she was a Berneking Fellow, serving as rotating principal oboist of many of the top ensembles in the School of Music, and was a member of the school’s graduate woodwind quintet. Here she studied with former Principal Oboe of the Minnesota Orchestra, John Snow. She completed her Bachelor of Music degree at Kansas State University, studying with Nora Lewis. Kelley has also studied extensively with Andrew Parker of UT Austin.
BRAEDON BOMGARDNER has had an extensive career as a performer, performing with groups such as the KSU Wind Ensemble, Symphonic Orchestra where he’s been the Principle Player for 3 years, Latin Jazz Ensemble, Percussion Ensembles being a soloist for 2 different pieces, and the Hutchinson Symphony and Orchestra. Braedon has also spent 2 years with the Cadets Drum and Bugle Corp front ensemble, and had the opportunity to be center marimba in 2021. Braedon has placed in server competitions in Kansas, including a 2nd place performance in the K-State Honors Recital, and both 3rd and 2nd in the Kansas Day of Percussion Solo Competition. Braedon plans to attend the Jacob’s School of Music at Indiana University in the fall, where he will be pursuing a Masters in Percussion Performance.
UPCOMING EVENTS
*WIND ENSEMBLE KAUFFMAN CENTER PERFORMANCE*
Monday, April 25th, 2022—7:00pm
Kauffman Center, Kansas City, Kansas
*WIND SYMPHONY, CONCERT BAND, & UNIVERSITY BAND CONCERT*
Tuesday, April 26th, 2022—7:30pm
McCain Auditorium
*CLASSY CAT AUDITIONS*
April 29-30th, 2022
For more information, please contact Sara Evans-Heptig at sarahheptig@gmail.com
*DRUMLINE MINI CAMP*
Saturday, May 7th, 2022
For more information, please contact Jack Johnson at jackjohnson@ksu.edu
*DRUMLINE AUDITIONS*
Saturday, May 21st, and Saturday, June 4th, 2022
Fore more information, please contact Jack Johnson at jackjohnson@ksu.edu
*SUMMER MUSIC CAMP*
June 12-16th, 2022
For more information, please contact Courtney Grecu at cljensen@ksu.edu
*LEADERSHIP AND AUXILIARY CAMP*
July 10-14th, 2022
For more information, please contact Courtney Grecu at cljensen@ksu.edu
*MARCHING PRIDE CLASSIC*
Saturday, July 16th, 2022—9:00am
Colbert Hills Golf Course
For more information, please contact Courtney Grecy at cljensen@ksu.edu
