Loma Linda Academy Wind Symphony
Sacred Vespers Concert
Loma Linda University Church
March 15, 20225 • 5:00 pm
Alleluia! Laudamus Te, Alfred Reed
Composed in 1973, Alleluia! Laudamus Te was commissioned by the concert band at Malone College in Canton, Ohio. It was composed for the Third Annual Band Festival, where it received its premiere with the composer conducting.
It begins with a broad fanfare in the brass, seething with rich contrapuntal interaction. A lyrical scalar melody follows, flowing from one instrument to the next in canonic imitation. Gradually intensifying in texture, dynamics, and orchestration, the piece builds to a rich warmth, with long, broad melodic lines. In the rhythmically lively central section, a more varied orchestration features a recognizable motivic figure thrown around between different instruments while being gradually transformed.
After the first two themes are repeated in reverse order, the piece builds to a sweeping majestic climax, culminating with the entrance of the Loma Linda University organ, a fitting musical representation of the majesty of the Divine.
Light of My Soul, David R. Gillingham
Light of My Soul was commissioned by The Gustavus Adolphus College Wind Orchestra, Douglas, Nimmo, conductor, for the occasion of their 2006 European Tour.
This work is a fantasia on the hymn Fairest Lord Jesus. It begins slowly in Eb Major with quiet murmurs in the flutes and 1st clarinets underlying brass playing with motivic material taken from the first two bars of the hymn. This leads to a statement divided between the flutes and the clarinets of the 5th and 6th bars of the hymn serving as a bridge to Bb Major where the horns sing a new and expressive melody. This melody is a harmonic "partner" to Beautiful Savior, and will eventually combine with the hymn.
Trumpets are added for the final phrases of the new melody followed by a full band transition, based on the opening motive of Fairest Lord Jesus, accelerating to a new section in D Major. This new section is characterized by a sense of urgency and features fugal counterpoint on a subject derived from the first phrases of the hymn tune. Ensuing is a section featuring timpani, crotales, temple blocks and tom-toms under motives from the first phrase of the hymn heard in various harmonic guises.
The intensity grows, accelerates and modulates to E Major where the solo flute and piano play a spirited descant accompanying Beautiful Savior played by saxophone quartet. A full band transition slows down the motion, diminishes in volume and modulates to Db Major where both the Fairest Lord Jesus tune and the new melody are harmoniously combined, with oboe singing the new melody and the horns on the hymn tune.
The new melody and the hymn tune progress to a joyous and dramatic conclusion on the last phrase and then fade into a benediction begun by the flutes playing motives from the 5th bar of the hymn tune. The work ends peacefully in Db Major with bells and vibraphone echoing the earlier flute motives.
Clarinet Quartet:
Ave Verum Corpus, Wolfgang Amadeus Mozart, arranged by Daniel Dorff
Toward the end of his life, Mozart wrote one of the most simple and perfect works of his extraordinary career, a setting of the hymn Ave verum corpus. In early summer of 1791 Mozart in the midst of composing an opera (The Magic Flute) and a series of commissioned German dances, both of which were anticipated to assist with his flagging financial situation, and applying to secure the position of Kapellmeister at St. Stephen’s Cathedral in Vienna as the elderly incumbent was ill.
On the family front, his wife, Constanze, was in the last two months of her difficult sixth pregnancy and needing the benefits of the mineral springs at Baden, near Vienna; their six-year-old son Karl, went with her. Fortunately, there was a friend, Anton Stoll, living there. Stoll was a teacher and the choirmaster at the parish church in Baden. Wolfgang asked his help in finding appropriate lodgings for Constanze and Karl, then went several times during the summer to visit his wife and son.
During one of those visits on Saturday, June 18, 1791, Wolfgang wrote Ave verum corpus and gave it to Stoll as a thank-you gift. Stoll conducted its premiere the following Thursday for the celebration of the Feast of Corpus Christi.
Brass Quintet:
Amazing Grace, traditional, arranged by Luther Henderson
Originally an eighteenth-century Anglican hymn, Amazing Grace, has become one of the most well-known tunes around the world. Its simple and easily-sung melody has been worked into a wide variety of settings, from choral versions to classical instrumental arrangements to jazz ballads. This arrangement by Luther Henderson was crafted for the internationally renowned Canadian Brass and shines the spotlight on the first trumpet player in a free, blues-inspired opening passage, before transitioning to a Dixieland feel.
Aurum Tetra, Movement II: For the Beauty of the Earth, Benjamin Dean Taylor
Aurum Tetra takes its name from both Latin and Greek, translated “Golden Four”, a nod to the fact that the work is a multi-movement concerto for saxophone quartet with concert band accompaniment. The second movement, which we perform tonight, quotes the hymn For the Beauty of the Earth, first heard by the quartet alone, then taken up by the full band.
Postlude on Old Hundredth, Fred Bock, transcribed for band by Craig Mohr
All people that on earth do dwell,
Sing to the Lord with cheerful voice;
Him serve with mirth, His praise forth tell;
Come ye before Him and rejoice.
Old Hundredth is one of the best-known melodies in the Christian musical tradition. The tune, usually attributed to the French composer Louis Bourgeios (c. 1510-1560), owes its current name from an association with Psalm 100, in a translation byWIlliam Kethe titled All People that on Earth do Dwell. The melody is also sung to various other lyrics, including the Doxology Praise God from Whom All Blessings Flow.
This arrangement was originally written for organ by Fred Bock, who was one of the most recognized and respected composers, arrangers and publishers of church music in the United States. After hearing it performed several times by Loma Linda University Church organist Kimo Smith (a former colleague and dear friend of Fred Bock), Craig Mohr has transcribed it for concert band.
Woodwind Quintet:
Holy, Holy, Holy, John Bacchus Dykes, arranged by Todd Marchand
The four living creatures, each having six wings, were full of eyes around and within. And they do not rest day or night, saying: “Holy, holy, holy, Lord God Almighty, who was and is and is to come!”—Revelation 4:8
Verse 2: Holy, Holy, Holy! All the saints adore Thee,
Casting down their golden crowns around the glassy sea;
Thousands and ten thousandsworship low before Thee,
Perfect in power, in love and purity.
It is uncommon when researching hymns to find one included in just about every hymnal, with almost universally similar text. And yet this is the case with Reginald Heber’s greatest hymn, “Holy! Holy! Holy!” published in 1826. The tune for this beloved hymn is named NICAEA, after the council of Nicaea in AD 325 at which church leaders began to formulate the doctrine of the Trinity. The lyrics of verses 1 and 4 show the reason for this title, with the words “God in three Persons, blessed Trinity!”
Saxophone Quartet:
Spiritual Fantasia, two traditional spirituals arranged by G.E. Holmes
Nobody Knows the Trouble I’ve Seen and Deep River are only two among hundreds of the heartfelt songs that rose out of the experiences of enslaved African Americans. These songs convey messages of hope and resilience.
Many of them combined biblical imagery with the intense desire for freedom. For example, the Jordan River, as sung about in Deep River, is a persistent theme in Genesis and Numbers, both as a geographic location and as a boundary beyond which deliverance was possible. For enslaved Africans, deliverance meant freedom from bondage in both this life and the next.
Of Our New Day Begun, Omar Thomas
On the evening of June 17, 2015, in Charleston, South Carolina, nine people were shot and killed while studying the Bible together at theEmanuel African Methodist Episcopalian Church, the oldest black church in the southern United States All nine victims were African Americans. At the time, it was the deadliest mass shooting at a place of worship in U.S. history.
Of Our New Day Begun was written to honor those nine beautiful souls who lost their lives to this callous act of hatred and domestic terrorism.
The composer of this music, Omar Thomas, has written the following to help us understand why he wrote it and what its various musical expressions represent:
“My greatest challenge in creating this work was walking the line between reverence for the victims and their families, and honoring my strong, bitter feelings towards both the perpetrator and the segments of our society that continue to create people like him. I realized that the most powerful musical message I could offer incorporated elements from both sides of that line - embracing my pain and anger while being moved by the displays of grace and forgiveness demonstrated by the victims’ families.”
Throughout the piece you will hear the song “Lift Every Voice and Sing”, and with each verse you will experience a wide range of emotions. At first you will hear somber bitterness which drowns out fleeting glimmers of hope; then anger, frustration, rage and weariness, which words cannot fully express. In the latter half of the piece the music turns towards optimism. The “Lift Every Voice” theme grows towards a glorious final statement which transforms into a peaceful and resolute “Amen”.
The band finally settles on a unison note which grows from a distant hum to a thunderous roar, accompanied by clapping and stomping. This final crescendo represents the ceaseless marching of black Americans towards equality.
Loma Linda Academy Wind Symphony 2024-25
PICCOLO
Haley Kohltfarber
FLUTE
Emily Chun
Johanna Ty
Haley Kohltfarber
Abigail delaRoca
Rachel Javor
Rebecca Oh
Nandi Ndlela
Isabel Lee
Julian Villafuerte
Catherine Li
Francesca Garcia
Miles Dudley
OBOE
Gracie Bahri
Xander Murrain
Sophie Munongo
Natalya Mleziva
Yehbin Jeon
BASSOON
Amanda Amey-Vyskocil
Nathan Navarro
Madelyn Checo
E flat CLARINET
Sara Stevens
CLARINET
Sara Stevens
Tobias Membreno
Ezra Enciso
Katie Lee
Noah Masengi
Priscilla Alao
Ljey Fabra
Madison Ghosh
Draevyn Tan
Micah Boyce
Annabelle Stratton
Pavlo Bondarchuck
BASS CLARINET
William LaTour
SOPRANO SAXOPHONE
Joshua Solinap
ALTO SAXOPHONE
Joshua Solinap
Keith Bayeta
Milton Pantig
Josiah Cho
Alexa Hebia
TENOR SAXOPHONE
Morgan Ghosh
Joshua Valdez
BARITONE SAXOPHONE
Xavier Murrain
Valentino Corrales
TRUMPET
Ethan Kelly
Noah Kim
Ronan Tabingo
Marky Cao
Braden Chu
FRENCH HORN
(alphabetical order)
Peter Herrmann
Jacob Ko
Liana Leukert
Gared Lin
Nicholas Ocampo
TROMBONE
Owen Walls
Ivan Mleziva
Jonah Im
Kenzo Takumi
Samantha McIntosh
EUPHONIUM
Austin Harrison
Beau McElwain
TUBA
Joseph Ko
Collin Queja
Zac Rodgers
PERCUSSION
(alphabetical order)
Kai Domingo
Chloe Im
Nolan Jamison
Allison Kim
Sebastian Neri
Haena Park
Ryan Seheult
Sacred Vespers Concert
Loma Linda University Church
March 15, 20225 • 5:00 pm
Alleluia! Laudamus Te, Alfred Reed
Composed in 1973, Alleluia! Laudamus Te was commissioned by the concert band at Malone College in Canton, Ohio. It was composed for the Third Annual Band Festival, where it received its premiere with the composer conducting.
It begins with a broad fanfare in the brass, seething with rich contrapuntal interaction. A lyrical scalar melody follows, flowing from one instrument to the next in canonic imitation. Gradually intensifying in texture, dynamics, and orchestration, the piece builds to a rich warmth, with long, broad melodic lines. In the rhythmically lively central section, a more varied orchestration features a recognizable motivic figure thrown around between different instruments while being gradually transformed.
After the first two themes are repeated in reverse order, the piece builds to a sweeping majestic climax, culminating with the entrance of the Loma Linda University organ, a fitting musical representation of the majesty of the Divine.
Light of My Soul, David R. Gillingham
Light of My Soul was commissioned by The Gustavus Adolphus College Wind Orchestra, Douglas, Nimmo, conductor, for the occasion of their 2006 European Tour.
This work is a fantasia on the hymn Fairest Lord Jesus. It begins slowly in Eb Major with quiet murmurs in the flutes and 1st clarinets underlying brass playing with motivic material taken from the first two bars of the hymn. This leads to a statement divided between the flutes and the clarinets of the 5th and 6th bars of the hymn serving as a bridge to Bb Major where the horns sing a new and expressive melody. This melody is a harmonic "partner" to Beautiful Savior, and will eventually combine with the hymn.
Trumpets are added for the final phrases of the new melody followed by a full band transition, based on the opening motive of Fairest Lord Jesus, accelerating to a new section in D Major. This new section is characterized by a sense of urgency and features fugal counterpoint on a subject derived from the first phrases of the hymn tune. Ensuing is a section featuring timpani, crotales, temple blocks and tom-toms under motives from the first phrase of the hymn heard in various harmonic guises.
The intensity grows, accelerates and modulates to E Major where the solo flute and piano play a spirited descant accompanying Beautiful Savior played by saxophone quartet. A full band transition slows down the motion, diminishes in volume and modulates to Db Major where both the Fairest Lord Jesus tune and the new melody are harmoniously combined, with oboe singing the new melody and the horns on the hymn tune.
The new melody and the hymn tune progress to a joyous and dramatic conclusion on the last phrase and then fade into a benediction begun by the flutes playing motives from the 5th bar of the hymn tune. The work ends peacefully in Db Major with bells and vibraphone echoing the earlier flute motives.
Clarinet Quartet:
Ave Verum Corpus, Wolfgang Amadeus Mozart, arranged by Daniel Dorff
Toward the end of his life, Mozart wrote one of the most simple and perfect works of his extraordinary career, a setting of the hymn Ave verum corpus. In early summer of 1791 Mozart in the midst of composing an opera (The Magic Flute) and a series of commissioned German dances, both of which were anticipated to assist with his flagging financial situation, and applying to secure the position of Kapellmeister at St. Stephen’s Cathedral in Vienna as the elderly incumbent was ill.
On the family front, his wife, Constanze, was in the last two months of her difficult sixth pregnancy and needing the benefits of the mineral springs at Baden, near Vienna; their six-year-old son Karl, went with her. Fortunately, there was a friend, Anton Stoll, living there. Stoll was a teacher and the choirmaster at the parish church in Baden. Wolfgang asked his help in finding appropriate lodgings for Constanze and Karl, then went several times during the summer to visit his wife and son.
During one of those visits on Saturday, June 18, 1791, Wolfgang wrote Ave verum corpus and gave it to Stoll as a thank-you gift. Stoll conducted its premiere the following Thursday for the celebration of the Feast of Corpus Christi.
Brass Quintet:
Amazing Grace, traditional, arranged by Luther Henderson
Originally an eighteenth-century Anglican hymn, Amazing Grace, has become one of the most well-known tunes around the world. Its simple and easily-sung melody has been worked into a wide variety of settings, from choral versions to classical instrumental arrangements to jazz ballads. This arrangement by Luther Henderson was crafted for the internationally renowned Canadian Brass and shines the spotlight on the first trumpet player in a free, blues-inspired opening passage, before transitioning to a Dixieland feel.
Aurum Tetra, Movement II: For the Beauty of the Earth, Benjamin Dean Taylor
Aurum Tetra takes its name from both Latin and Greek, translated “Golden Four”, a nod to the fact that the work is a multi-movement concerto for saxophone quartet with concert band accompaniment. The second movement, which we perform tonight, quotes the hymn For the Beauty of the Earth, first heard by the quartet alone, then taken up by the full band.
Postlude on Old Hundredth, Fred Bock, transcribed for band by Craig Mohr
All people that on earth do dwell,
Sing to the Lord with cheerful voice;
Him serve with mirth, His praise forth tell;
Come ye before Him and rejoice.
Old Hundredth is one of the best-known melodies in the Christian musical tradition. The tune, usually attributed to the French composer Louis Bourgeios (c. 1510-1560), owes its current name from an association with Psalm 100, in a translation byWIlliam Kethe titled All People that on Earth do Dwell. The melody is also sung to various other lyrics, including the Doxology Praise God from Whom All Blessings Flow.
This arrangement was originally written for organ by Fred Bock, who was one of the most recognized and respected composers, arrangers and publishers of church music in the United States. After hearing it performed several times by Loma Linda University Church organist Kimo Smith (a former colleague and dear friend of Fred Bock), Craig Mohr has transcribed it for concert band.
Woodwind Quintet:
Holy, Holy, Holy, John Bacchus Dykes, arranged by Todd Marchand
The four living creatures, each having six wings, were full of eyes around and within. And they do not rest day or night, saying: “Holy, holy, holy, Lord God Almighty, who was and is and is to come!”—Revelation 4:8
Verse 2: Holy, Holy, Holy! All the saints adore Thee,
Casting down their golden crowns around the glassy sea;
Thousands and ten thousandsworship low before Thee,
Perfect in power, in love and purity.
It is uncommon when researching hymns to find one included in just about every hymnal, with almost universally similar text. And yet this is the case with Reginald Heber’s greatest hymn, “Holy! Holy! Holy!” published in 1826. The tune for this beloved hymn is named NICAEA, after the council of Nicaea in AD 325 at which church leaders began to formulate the doctrine of the Trinity. The lyrics of verses 1 and 4 show the reason for this title, with the words “God in three Persons, blessed Trinity!”
Saxophone Quartet:
Spiritual Fantasia, two traditional spirituals arranged by G.E. Holmes
Nobody Knows the Trouble I’ve Seen and Deep River are only two among hundreds of the heartfelt songs that rose out of the experiences of enslaved African Americans. These songs convey messages of hope and resilience.
Many of them combined biblical imagery with the intense desire for freedom. For example, the Jordan River, as sung about in Deep River, is a persistent theme in Genesis and Numbers, both as a geographic location and as a boundary beyond which deliverance was possible. For enslaved Africans, deliverance meant freedom from bondage in both this life and the next.
Of Our New Day Begun, Omar Thomas
On the evening of June 17, 2015, in Charleston, South Carolina, nine people were shot and killed while studying the Bible together at theEmanuel African Methodist Episcopalian Church, the oldest black church in the southern United States All nine victims were African Americans. At the time, it was the deadliest mass shooting at a place of worship in U.S. history.
Of Our New Day Begun was written to honor those nine beautiful souls who lost their lives to this callous act of hatred and domestic terrorism.
The composer of this music, Omar Thomas, has written the following to help us understand why he wrote it and what its various musical expressions represent:
“My greatest challenge in creating this work was walking the line between reverence for the victims and their families, and honoring my strong, bitter feelings towards both the perpetrator and the segments of our society that continue to create people like him. I realized that the most powerful musical message I could offer incorporated elements from both sides of that line - embracing my pain and anger while being moved by the displays of grace and forgiveness demonstrated by the victims’ families.”
Throughout the piece you will hear the song “Lift Every Voice and Sing”, and with each verse you will experience a wide range of emotions. At first you will hear somber bitterness which drowns out fleeting glimmers of hope; then anger, frustration, rage and weariness, which words cannot fully express. In the latter half of the piece the music turns towards optimism. The “Lift Every Voice” theme grows towards a glorious final statement which transforms into a peaceful and resolute “Amen”.
The band finally settles on a unison note which grows from a distant hum to a thunderous roar, accompanied by clapping and stomping. This final crescendo represents the ceaseless marching of black Americans towards equality.
Loma Linda Academy Wind Symphony 2024-25
PICCOLO
Haley Kohltfarber
FLUTE
Emily Chun
Johanna Ty
Haley Kohltfarber
Abigail delaRoca
Rachel Javor
Rebecca Oh
Nandi Ndlela
Isabel Lee
Julian Villafuerte
Catherine Li
Francesca Garcia
Miles Dudley
OBOE
Gracie Bahri
Xander Murrain
Sophie Munongo
Natalya Mleziva
Yehbin Jeon
BASSOON
Amanda Amey-Vyskocil
Nathan Navarro
Madelyn Checo
E flat CLARINET
Sara Stevens
CLARINET
Sara Stevens
Tobias Membreno
Ezra Enciso
Katie Lee
Noah Masengi
Priscilla Alao
Ljey Fabra
Madison Ghosh
Draevyn Tan
Micah Boyce
Annabelle Stratton
Pavlo Bondarchuck
BASS CLARINET
William LaTour
SOPRANO SAXOPHONE
Joshua Solinap
ALTO SAXOPHONE
Joshua Solinap
Keith Bayeta
Milton Pantig
Josiah Cho
Alexa Hebia
TENOR SAXOPHONE
Morgan Ghosh
Joshua Valdez
BARITONE SAXOPHONE
Xavier Murrain
Valentino Corrales
TRUMPET
Ethan Kelly
Noah Kim
Ronan Tabingo
Marky Cao
Braden Chu
FRENCH HORN
(alphabetical order)
Peter Herrmann
Jacob Ko
Liana Leukert
Gared Lin
Nicholas Ocampo
TROMBONE
Owen Walls
Ivan Mleziva
Jonah Im
Kenzo Takumi
Samantha McIntosh
EUPHONIUM
Austin Harrison
Beau McElwain
TUBA
Joseph Ko
Collin Queja
Zac Rodgers
PERCUSSION
(alphabetical order)
Kai Domingo
Chloe Im
Nolan Jamison
Allison Kim
Sebastian Neri
Haena Park
Ryan Seheult
