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Welcome to the Richland County High School 2022 Spring Concert featuring the Honors Wind Ensemble and the Symphonic Band.
At this time, we ask that you place your phone on silent mode to prevent any distractions during tonight's performance.
In an effort to "go green", allow for more content, and to cut back on the cost for Richland County High School to print programs the RCHS Bands concert program is going digital. However, we know that many families would still prefer a paper copy of the program as a memento. If you would like a paper copy of tonight's concert program please fill out the form found within the link below. A paper copy will be mailed to your house within a week. https://forms.gle/JT1y2pyLR1JwuCaa9
SAVE THE DATE! The 2022 Marching Band Season begins in July for the RCHS Marching Tigers. The preseason camp begins with instrument and equipment pass out on Saturday, July 23rd.
The camp is at RCHS this year from Monday, July 25th through Saturday, July 30th, and from Monday, August 1st through Saturday, August 6th. The Parent-Preview will be at our practice field on Saturday, August 6th at 6:00 PM.
PROGRAM NOTES - WESTERN FAIR BY RYAN MEEBOER
Western Fair is an energetic, uplifting piece that can be fun for both players to perform and listeners to hear. It is composed using two main melodies that are performed in many forms, combined in various fragments and supported with different harmonic backgrounds, giving it new life each time it is heard. The piece slowly builds from a simple clarinet soli into an epic, cut-time feel in the middle before driving to an exciting ending.
Ryan Meeboer is a music educator, who obtained his degree through the Ontario Institute for Studies in Education at the University of Toronto.
As a composer, he has written and arranged many pieces for concert band, jazz band, and small ensembles. His young band pieces, including 'Last Voyage of the Queen Anne's Revenge' and 'Through the Eye of the Storm', have been well received by performers, educators, and audiences, and some of his pieces have been found on festival syllabuses. As a performer, he has had experience in several groups, including concert, stage and marching bands, chamber choir, vocal jazz ensemble, acoustic duets, and the Hamilton based swing group, 'The Main Swing Connection'.
Ryan began studying music at the age of seven through private guitar lessons. During his years in elementary and secondary school, he gained experience in several families of instruments. Focusing on music education and theory (including composition and orchestration), he attended McMaster University to achieve his honours degree in music.
He is currently teaching at Alexander's Public School in Burlington, Ontario, where he continues his practices in composing and arranging.
PROGRAM NOTES - CRADLE MOON BY CARL HOLMQUIST
A setting of a lullaby tune that has been passed down through at least five generations of the composer's family. This lovely piece will take the audience on a journey through serene melody, lush harmony, and weaving countermelodies before ultimately returning to the calm setting of a child drifting off to sleep.
Carl Holmquist is a composer, conductor, and music educator. He is the Director of Bands and Fine Arts Department Chair at the H-B Woodlawn Secondary Program in Arlington, VA, where he teaches concert bands, jazz band, and music theory. He earned a BM in Music Education from St. Olaf College, where he studied conducting and composition with Timothy Mahr and Steven Amundson. He also earned a MM in Instrumental Conducting from George Mason University, where he studied with Mark Camphouse and Anthony Maiello.
As a composer, he has written numerous works for concert band, orchestra, chamber ensembles and vocal ensembles, and has been commissioned by middle school, high school, university, and community ensembles across the country. His works for band and string orchestra have been published by Alfred Publishing, C. Alan Publications , Bandworks Publications and Grand Mesa Music Publishers. Holmquist contributed a chapter to Volume 4 of the Composers on Composing for Band series, edited by Mark Camphouse and published by GIA Publications. He was one of three composers to participate in the 2008 Young Composer Mentor Project, sponsored by the National Band Association. Holmquist also received first prize in the 2006 Claude T. Smith Memorial Composition Contest for his work, Play!
In addition to his work at H-B Woodlawn, he maintains an active schedule serving as guest composer, conductor and clinician for school, community and honor ensembles and has presented at the Midwest International Band and Orchestra Clinic. Carl lives in Annandale, VA with his wife, Elizabeth, and two sons, William and Nathan.
PROGRAM NOTES - SOUL BOSSA NOVA BY QUINCY JONES, ARR. BY JOHNNIE VINSON
Known mostly for its appearance in the Austin Powers movies, this infectious instrumental hit from the 1960s is a classic and guaranteed to bring a smile whenever played. Soul Bossa Nova is a popular instrumental, composed and first performed by musician and record producer Quincy Jones. It appeared on his 1962 Big Band Bossa Nova album on Mercury Records. Jones said that it took him twenty minutes to compose the piece
An impresario in the broadest and most creative sense of the word, Quincy Jones’ career has encompassed the roles of composer, record producer, artist, film producer, arranger, conductor, instrumentalist, television producer, record company executive, magazine founder and multi-media entrepreneur. As a master inventor of musical hybrids, he has shuffled pop, soul, hip-hop, jazz, classical, African and Brazilian music into many dazzling fusions, traversing virtually every medium, including records, live performance, movies and television.
Quincy Jones was born on March 14, 1933, in Chicago, Illinois, and brought up in Seattle, Washington. While in junior high school, Jones began studying trumpet and sang in a Gospel quartet at age twelve. His musical studies continued at the prestigious Berklee College of Music in Boston, Massachusetts, where he remained until the opportunity arose to tour with Lionel Hampton’s band as a trumpeter, arranger and sometime-pianist. He moved on to New York and the musical “big leagues” in 1951, where his reputation as an arranger grew. By the mid-1950s, he was arranging and recording for such diverse artists as Sarah Vaughan, Ray Charles, Count Basie, Duke Ellington, and Dinah Washington.
In 1957, Jones decided to continue his musical education by studying with Nadia Boulanger, the legendary Parisian tutor to American expatriate composers such as Leonard Bernstein and Aaron Copeland. To subsidize his studies, he took a job with Barclay Disques, Mercury’s French distributor. Among the artists he recorded in Europe were Charles Aznavour, Jacques Brel and Henri Salvador, as well as such visitors from America as Sarah Vaughan, Billy Eckstine and Andy Williams. Jones’ love affair with European audiences continues through the present: in 1991, he began a continuing association with the Montreux Jazz and World Music Festival, which he serves as co-producer.
Jones won the first of his many Grammy Awards in 1963 for his Count Basie arrangement of “I Can’t Stop Loving You.” Jones’ three-year musical association as conductor and arranger with Frank Sinatra in the mid-1960s also teamed him with Basie for the classic Sinatra At The Sands, containing the famous arrangement of “Fly Me To The Moon.”
When he became vice-president at Mercury Records in 1961, Jones became the first high-level black executive of an established major record company. Toward the end of his association with the label, Jones turned his attention to another musical area that had been closed to blacks--the world of film scores. In 1963, he started work on the music for Sidney Lumet’s The Pawnbroker, and it was the first of his thirty-three major motion picture scores. In 1985, he co-produced Steven Spielberg’s adaptation of Alice Walker’s The Color Purple, which won eleven Oscar nominations, introduced Whoopi Goldberg and Oprah Winfrey to film audiences, and marked Jones’ debut as a film producer.
In 1990, Jones formed Quincy Jones Entertainment (QJE), a co-venture with Time Warner, Inc. The new company, which Jones served as CEO and chairman, produced NBC Television’s Fresh Prince Of Bel Air (now in syndication), and UPN’s In The House and Fox Television’s Mad TV. He is also the publisher of VIBE Magazine (as well as founder), SPIN and Blaze magazines. Also in 1990, his life and career were chronicled in the critically acclaimed Warner Bros. film, Listen Up: The Lives of Quincy Jones, produced by Courtney Sale Ross.
In 1994, Quincy Jones led a group of businessmen, including Hall of Fame football player Willie Davis, television producer Don Cornelius, television journalist Geraldo Rivera and businesswoman Sonia Gonsalves Salzman in the formation of Qwest Broadcasting, a minority controlled broadcasting company which purchased television stations in Atlanta and New Orleans for approximately $167 million, establishing it as one of the largest minority owned broadcasting companies in the United States. Quincy served as chairman and CEO of Qwest Broadcasting. In 1999, taking advantage of the rapid escalation of broadcast station values, Jones and his partners sold Qwest Broadcasting for a reported $270 million. In 1997, Quincy Jones formed the Quincy Jones Media Group.
The laurels, awards and accolades have been innumerable: Quincy has won an Emmy Award for his score of the of the opening episode of the landmark TV miniseries, Roots, seven Oscar nominations, the Academy of Motion Picture Arts and Sciences’ Jean Hersholt Humanitarian Award, twenty-seven Grammy Awards, and N.A.R.A.S.’ prestigious Trustees’ Award and The Grammy Living Legend Award. He is the all-time most nominated Grammy artist with a total of seventy-nine Grammy nominations. In 1990, France recognized Jones with its most distinguished title, the Legion d’ Honneur. He is also the recipient of the French Ministry of Culture’s Distinguished Arts and Letters Award. Jones is the recipient of the Royal Swedish Academy of Music’s coveted Polar Music Prize and the Republic of Italy’s Rudolph Valentino Award. He is also the recipient of honorary doctorates from Howard University, the Berklee College of Music, Seattle University, Wesleyan University, Brandeis University, Loyola University (New Orleans), Clark Atlanta University, Claremont University’s Graduate School, the University of Connecticut, Harvard University, Tuskeegee University, New York University, University of Miami and The American Film Institute. Jones was also named a 2001 Kennedy Center Honoree, for his contributions to the cultural fabric of the United States of America.
In 2001, Quincy Jones added the title “Best Selling Author” to his list of accomplishments when his autobiography Q: The Autobiography of Quincy Jones entered the New York Times, Los Angeles Times and Wall Street Journal Best-Sellers lists. Rhino Records released a four CD boxed set of Jones’ music, spanning his more than five decade career in the music business, entitled Q: The Musical Biography of Quincy Jones.
Celebrating more than fifty years performing and being involved in music, Jones’ creative magic has spanned over six decades, beginning with the music of the post-swing era and continuing through today’s high-technology, international multi-media hybrids. In the mid-1950s, he was the first popular conductor-arranger to record with a Fender bass. His theme from the hit TV series Ironside was the first synthesizer-based pop theme song. As the first black composer to be embraced by the Hollywood establishment in the 1960s, he helped refresh movie music with badly needed infusions of jazz and soul. His landmark 1989 album, Back On The Block--named “Album Of The Year” at the 1990 Grammy Awards-- brought such legends as Dizzy Gillespie, Ella Fitzgerald, Sarah Vaughan and Miles Davis together with Ice T, Big Daddy Kane and Melle Mel to create the first fusion of the be bop and hip hop musical traditions; while his 1993 recording of the critically acclaimed Miles and Quincy Live At Montreux, featured Jones conducting Miles Davis’ live performance of the historic Gil Evans arrangements from the Miles Ahead, Porgy and Bess and Sketches of Spain sessions, garnered a Grammy Award for Best Large Jazz Ensemble Performance. As producer and conductor of the historic “We Are The World” recording (the best-selling single of all time) and Michael Jackson’s multi-platinum solo albums, Off The Wall, Bad and Thriller (the best selling album of all time, with over forty-six million copies sold), Jones stands as one of the most successful and admired creative artists/executives in the entertainment world.
PROGRAM NOTES - FOLK SONGS FROM SOMERSET BY RALPH VAUGHAN WILLIAM, ARR. BY ED HUCKEBY
Folk Songs from Somerset, the third movement from Ralph Vaughan Williams’ English Folk Song Suite is a classic march incorporating four traditional folk songs: Blow Away The Morning Dew, High Germany, The Tree So High and John Barley’s Corn. Using both 2/4 and 6/8 meters, Vaughan Williams has created a unique educational opportunity for ensembles to contrast duple and compound meter.
He was born on 12 October 1872 in the Cotswold village of Down Ampney, where his father was vicar. Antecedents included the interconnected families of Wedgwood and Darwin. Following his father’s death in 1875 he was brought up at Leith Hill Place in Surrey and educated at Charterhouse School, the Royal College of Music and Trinity College, Cambridge. He was a pupil of Charles Stanford and Hubert Parry, later studying with Max Bruch in Berlin and Maurice Ravel in Paris.
At the turn of the century he was among the very first to travel into the countryside to collect folk songs and carols from singers, notating them for future generations to enjoy. As musical editor of The English Hymnal he composed several hymn tunes that remain popular (including Sine Nomine, “For all the Saints” and Down Ampney, “Come down O love Divine”). A long and deep friendship with Gustav Holst was a constructive relationship which was crucial to the development of both composers.
Vaughan Williams took three years off his age in order to volunteer for the army during the 1914-1918 war; after a long period of training and waiting he was sent to France in 1916, serving as a wagon orderly in the Royal Army Medical Corps. Later, he was given a commission in the Royal Garrison Artillery and found himself in charge of both guns and horses. The carnage and the loss of close friends such as the composer George Butterworth deeply affected him and influenced his music after the war.
Youthful atheism eventually settled down into cheerful agnosticism. He was widely read, and heavily influenced by poets and writers including Shakespeare, Bunyan, Blake and Walt Whitman.
Vaughan Williams was married twice: in 1897 to Adeline Fisher, and in 1953 to the poet Ursula Wood. A knighthood was offered and refused, but the Order of Merit was conferred upon him in 1935.
He died on 26 August 1958; his ashes are interred in Westminster Abbey, near Purcell. In a long and productive life, music flowed from his creative pen in profusion. Hardly a musical genre was untouched or failed to be enriched by his work, which included nine symphonies, concertos for piano, violin, oboe and tuba, five operas, chamber, ballet and film music, a large body of songs and song cycles, and various important unaccompanied and orchestral choral works. His orchestral works include such popular favourites as The Lark Ascending, Fantasia on a Theme by Thomas Tallis, Five Variants of Dives and Lazarus, The Wasps Overture and the English Folk Song Suite.
PROGRAM NOTES - MIDWAY MARCH BY JOHN WILLIAMS, ARR. BY JAMES CURNOW
Many 20th century composers have written significant music for films, including Prokofiev, Shostakovich, Milhaud, Honegger, Walton, Vaughan Williams, Aaron Copland, and Virgil Thomson. A number of composers became so thoroughly involved with the form that they are primarily identified as film composers, though many of them -- Erich Wolfgang Korngold, Miklos Rozsa, Franz Waxman, Bernard Herrmann, and John Williams, for example -- have also written many concert works or other non‑film scores.
The composer of a film score must add to his training in music theory, composition, and orchestration a sense of dramatic timing and color, an awareness of many musical styles, and an ability to choose the most appropriate and expressive treatment for a given situation, whether it be light romantic comedy (Gidget Goes to Rome), disaster epic (The Towering Inferno), a taut adventure (Jaws), science fiction (especially Star Wars), historical drama (Schindler's List), or magical fantasy (the Harry Potter films), to consider types represented among John Williams' scores over the last 40 years.
Though he has long since become a Californian who has adopted the calm, easy-going surface that easterners associate with people from the Golden State, John Williams was born a New Yorker. He moved to Los Angeles with his family in 1948, where he attended UCLA and studied composition privately with Mario Castelnuovo-Tedesco. He had already showed talent as a pianist and, after Air Force service, he returned to New York to study piano at the Juilliard School with Rosina Lhevinne. He worked as a jazz pianist and also, after returning to Los Angeles, as a pianist and orchestrator in the film studios. But more and more he turned to composing, having already worked (as assistant and orchestrator) with some of the giants of film composition. Most of his early experience was in television, but eventually he concentrated on the feature films for which he produced some of the most famous and beloved music of our time.
The Battle of Midway was a victory that some say was the turning point of the U.S. war against Japan during World War II. The jaunty nature of the march celebrates the victory but omits the high cost of a battle. The victory was so important to American morale that the name found its way into the lexicon of the country. Chicago’s Midway Airport, for example, was named for the battle. Key to the victory was the breaking of the Japanese Naval encryption codes. The war had been going badly for the U.S. and the Japanese planned to deliver a devastating blow to finish off the U.S. fleet at Midway. However, due to the U.S. Signals Intelligence breaking the Japanese encryption code, the U.S. was able to plan a counterattack that led to eventual victory, although with great loss of U.S. life.
Williams references the code in his march with a repetitive set of staccato notes in the brass. The march was composed in 1976 as part of the soundtrack for an epic movie. Despite its big-name cast, the movie was not a smashing success, but in June 1992, a more successful re-edit of the extended version aired on the CBS network commemorating the 50th anniversary of the Battle of Midway. Regardless of the success of the film, the score produced one of Williams’s most popular marches, Midway March.
PROGRAM NOTES - FIRST SUITE IN E-FLAG BY GUSTAV HOLST, EDITED BY COLIN MATTHEWS
Gustav Holst was born in Cheltenham in 1874. He began composing while at Cheltenham Grammar School and spent two months at Oxford learning counterpoint before being sent to London to study composition under Stanford at the Royal College of Music. Stanford found him hardworking but not at all brilliant and their lessons were often frustrating.
He met Ralph Vaughan Williams in 1895, the two quickly becoming friends and beginning their lifelong habit of playing sketches of their newest compositions to each other. At college he also learnt Sanskrit at University College, London and whilst he was never fluent, he was able to read from the Ramayana and the Mahabharata and to translate hymns from the Rig Veda. Holst left college in 1898, playing the trombone in the Carl Rosa Opera Company and later Scottish Opera.
He married Isobel Harrison in 1901 and taught at the James Allen's Girls' School in Dulwich for two years before being appointed Director of Music at St. Paul's Girls' School in Hammersmith in 1905, where he continued to teach until the end of his life. Holst's heavy and exhausting teaching schedule meant that time left available for composition was often fragmented.
It took him more than two years to write The Planets (1914-16), a work he never considered to be his best. The immediate success of this work was a source of consternation to the composer. Between 1920 and 1923 Holst's working life became increasingly demanding: he was teaching at the RCM and University College, Reading, as well as conducting and recording. His popularity as a composer reached its height, as indeed did the level of stress. For the whole of 1924 Holst was ordered by his doctor to cancel all professional engagements and to live in the country, where he was able to continue composing. On his return to London in 1925 he gave up all teaching except at St. Paul's.
His later works, such as the Choral Symphony (1923-4) and Egdon Heath (1927) for orchestra, which he believed to be his best, were found by critics and audiences alike to be bewildering and too 'cerebral' but Holst remained confident and unperturbed. The years from 1927 to 1933 were the most creative period of the composer's life. The town of Cheltenham organised a Holst Festival in 1927 with concerts at the Town Hall.
In his final years Holst was to remember it as the most overwhelming musical event of his life. He accepted the Howland Memorial Prize from Yale University in 1929 for distinction in the arts and the gold medal of the Royal Philharmonic Society in 1930. He was appointed visiting lecturer in composition at Harvard University in January 1932 but soon after became ill. On his return to England in the summer of that year, Holst's health continued to decline. He died on 25 May 1934.
Gustav Holst’s First Suite in E-flat for Military Band occupies a legendary position in the wind band repertory and can be seen, in retrospect, as one of the earliest examples of the modern wind band instrumentation still frequently performed today. Its influence is so significant that several composers have made quotation or allusion to it as a source of inspiration to their own works.
Holst began his work with Chaconne, a traditional Baroque form that sets a series of variations over a ground bass theme. That eight-measure theme is stated at the outset in tubas and euphoniums and, in all, fifteen variations are presented in quick succession. The three pitches that begin the work -- E-flat, F, and B-flat, ascending -- serve as the generating cell for the entire work, as the primary theme of each movement begins in exactly the same manner. Holst also duplicated the intervallic content of these three pitches, but descended, for several melodic statements (a compositional trick not dissimilar to the inversion process employed by the later serialist movement, which included such composers as Schoenberg and Webern). These inverted melodies contrast the optimism and bright energy of the rest of the work, typically introducing a sense of melancholy or shocking surprise. The second half of the Chaconne, for instance, presents a somber inversion of the ground bass that eventually emerges from its gloom into the exuberant final variations.
The Intermezzo, which follows is a quirky rhythmic frenzy that contrasts everything that has preceded it. This movement opens in C minor, and starts and stops with abrupt transitions throughout its primary theme group. The contrasting midsection is introduced with a mournful melody, stated in F Dorian by the clarinet before being taken up by much of the ensemble. At the movement’s conclusion, the two sections are woven together, the motives laid together in complementary fashion in an optimistic C major.
The March that follows immediately begins shockingly, with a furious trill in the woodwinds articulated by aggressive statements by brass and percussion. This sets up the lighthearted and humorous mood for the final movement, which eventually does take up the more reserved and traditional regal mood of a British march and is simply interrupted from time to time by an uncouth accent or thunderous bass drum note. The coda of the work makes brief mention of elements from both the Chaconne and Intermezzo before closing joyfully.
PROGRAM NOTES - ON A HYMNSONG OF PHILIP BLISS BY DAVID R. HOLSINGER
On A Hymnsong Of Philip Bliss is a radical departure of style of this composer. The frantic tempos, the ebullient rhythms we associate with Holsinger are replaced with a restful, gentle, and reflective composition based on the 1876 Philip Bliss-Horatio Spafford hymn, It Is Well with My Soul. Written to honor the retiring principal of Shady Grove Christian Academy, On A Hymnsong Of Philip Blis' was presented as a gift from the SGCA Concert Band to Rev. Steve Edel in May of 1989.
Horatio G. Spafford, a Chicago Presbyterian layman and successful businessman, planned a European trip for his family in 1873. In November of that year, due to unexpected last minute business developments, he had to remain in Chicago; but he sent his wife and four daughters on ahead as scheduled aboard the S.S. Ville du Havre. He expected to follow in a few days. On November 22, the ship was struck by the Lochearn, an English vessel, and sank in twelve minutes. Several days later the survivors were finally landed in Cardiff, Wales, and Mrs. Spafford cabled her husband, “Saved alone.” Shortly afterward, Spafford left by ship to join his bereaved wife.
It is speculated that on the sea near the area where it was thought his four daughters had drowned, Spafford penned this text with words so significantly describing his own personal grief, “When sorrows like sea billows roll...” It is noteworthy, however, that Spafford does not dwell on the theme of life’s sorrows and trials, but focuses attention in the third stanza on the redemptive work of Christ. Humanly speaking, it is amazing that one could experience such personal tragedy and sorrow as did Horatio Spafford and still be able to say with such convincing clarity, “It is well with my soul...”
Hymnwriter Philip Bliss was so impressed with the experience and expression of Spafford’s text that he shortly wrote the music for it, first published in 1876. Bliss was a prolific writer of gospel songs throughout his brief lifetime, and in most cases he wrote both the words and the music. This hymn is one of the few exceptions.
There is speculation that this was perhaps the last gospel song written by Bliss. Bliss and his wife, Lucy, were killed in a train wreck in Ashtabula, Ohio, on December 29, 1876. Most sources mention that Bliss actually escaped from the flames first, but was then killed when he went back into the train to try to rescue is wife. Neither body was ever found.
As a postscript, Bliss’s trunk was salvaged from the wreckage, and in it, evangelist D. W. Whittle found an unfinished hymn, which began, “I know not what awaits me, God kindly veils my eyes...”
David R. Holsinger (b. 26 December 1945, Hardin, Mo.) is an American composer, conductor, arranger and educator.
Prof. Holsinger, twice the recipient of the prestigious Ostwald Composition Prize of the American Bandmasters Association, was educated at Central Methodist College, Fayette, Missouri, Central Missouri State University, Warrensburg, and the University of Kansas, Lawrence. His primary composition study has been with Donald Bohlen at Central Missouri State and Charles Hoag at the University of Kansas.
In 1999, following 15 years of service as music minister, worship leader, and composer in residence to Shady Grove Church in Grand Prairie, Texas, composer/conductor Holsinger joined the School of Music faculty at Lee University, Cleveland, Tennessee, as conductor of the Lee University Wind Ensemble. Holsinger’s duties include teaching advanced instrumental conducting and composition.
Prof. Holsinger is an elected member of the American Bandmasters Association. The April 1999 issue of The Instrumentalist magazine, the world’s leading publication in its genre, contains an interview with the composer, along with two accompanying articles concerning Holsinger’s compositions. Over the past several years, Holsinger has been named a National Patron of Delta Omicron Music Fraternity, awarded the Distinguished Music Alumni Award from Central Missouri State University, Phi Mu Alpha Sinfonia’s Orpheus Award, as well as honorary memberships in Kappa Kappa Psi National Music Fraternity and the Women’s National Band Directors Association. During festivities surrounding the premiere of the composer’s The Easter Symphony, Holsinger was honored by Gustavus Adolphus College with the awarding of an honorary Doctor of Humane Letters for lifetime achievement in composition and presented the Gustavus Fine Arts Medallion, the division’s highest award, designed and sculpted by renowned artist, Paul Granlund. Holsinger was the fourth composer honored with this medal and joins a distinguished roster which includes Gunther Schuller, Jan Bender, Csaba Deak, and most recent recipient, Libby Larsen.
Over the past ten years, Holsinger served as Visiting Composer in Residence at eleven American colleges or universities, and held the Acuff Chair of Excellence in the Creative Arts at Austin Peay State University, Clarksville, Tennessee. In 1999, the Christian Instrumental Directors Association awarded Holsinger its “Director of the Year” citation. The composer was also honored with biographical inclusion in The Heritage Encyclopedia of Band Music, Vol. I and III, and in Norman Smith’s Program Notes for Band.
Holsinger's compositions have received kudos in several national competitions. He won the National Federation of Music Clubs Band Composition Contest in 1970. In 1971, The War Trilogy was awarded first place in the Kent State University Band Composition Contest. Liturgical Dances was first runner-up in both the 1981 NBA-DeMoulin and ABA-Ostwald competitions. In 1982, the ABA-Ostwald prize was awarded to Holsinger's The Armies of Omnipresent Otserf. In 1986, Holsinger's The Deathtree was a finalist in both the NBA-DeMoulin and the Sudler International Competition. His composition, 'In the Springs at the Time When Kings Go off to War won the 1986 ABA-Ostwald Prize.
PROGRAM NOTES - CONFLUENCE BY RICHARD L. SAUCEDO
The term "confluence", in geography, describes the meeting of two or more bodies of water. The merging point of the Monongahela and Allegheny Rivers is the beginning of the Ohio River, thus forming a confluence in Pittsburgh, Penn. Not far from this confluence is Belle Vernon Area High School, where the band is under the direction of Mark Surovchak. Many thanks go out to Mark, his students and to all those involved in the commission process of this new work for band.
Richard L. Saucedo (b. 1957) is an American composer, arranger, conductor and educator.
Mr. Saucedo was Director of Bands and Performing Arts Department Chairman at Carmel High School in Carmel, Indiana. Under his direction, Carmel bands received numerous state and national honors in the areas of concert, jazz, and marching. The Carmel High School Wind Symphony was invited to the Bands of America National Concert Band Festival in 1992 and 1999, and was named the Indiana State Champion concert band in 1999. The Carmel High School Marching Greyhounds, having been a consistent National finalist since 1995, was crowned the 2005 Bands of America Grand National Champion. Also in 2005, the Wind Symphony 1 was invited to perform at the prestigious Midwest Clinic in Chicago. The Indiana Bandmasters Association named Mr. Saucedo Indiana's "Bandmaster of the Year" for 1998-99.
Mr. Saucedo is a freelance arranger and composer, having released numerous marching band arrangements, concert band works and choral compositions. He is currently on the writing staff for Hal Leonard Corporation, and is constantly in demand as an adjudicator, clinician, and guest conductor for concert band, jazz band, marching band, orchestra and show choir. He has served as Music Caption Head for the Drum Corps Midwest Judges Guild, and as a brass and music judge for Drum Corps International.
Mr. Saucedo did his undergraduate work at Indiana University in Bloomington and finished his masters degree at Butler University in Indianapolis.
IT IS THAT TIME OF THE YEAR WHERE STUDENTS REGISTER FOR THE 2021-2022 SCHOOL YEAR. IN AN EFFORT TO HELP STUDENTS NAVIGATE REGISTRATION, TRI-M HONOR MUSIC SOCIETY CREATED A 4-YEAR GUIDING DOCUMENT. WE HOPE IT MAKES YOUR LIFE EASIER!
Congratulations to those that were inducted into the Richland County High School Tri-M Honor Music Society, Chapter 8170
The members of the 2021-2022 Tri-M Honor Music Society include the following (from left to right): Mr. Weitkamp, Austin Vaughn, Evan Irvin, Rylan Criag, Emma Wells, Kyle Rennier, Kali Hinterscher, & Mr. Jones. (In the front, from left to right): Victoria Zwilling & Jozalyn Houser.
Tri-M Music Honor Society, formerly known as Modern Music Masters, is a high school and middle school music honor society and is a program of the National Association for Music Education (NAfME). It is designed to recognize students for their academic and musical achievements and to provide leadership and service opportunities to young musicians. Each school has its own chapter, which is run by the student but supervised by an advisor or sponsor, usually a school teacher. There are approximately 6,200 participating chapters in several countries.
For more information pertaining to Tri-M Music Honor Society, visit https://www.rchsbands.net/tri-m-chapter-8170.html.