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OUR DONORS

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our DONORS

DIAMOND TIER ($1000 - $2499)

Moore Engineering

Jon & Deb Anderson

Gotta Go Driving School in memory of Clint Weber and Rick Weber

Andrew & Erin Schaaf

PLATINUM TIER ($500 - $999)

Dilworth Lions

Lions Club of Barnesville

Greg & Jill Post

Lisa Schock

Sherry McQuire

Bell Bank

Sanford Health

Heartland Trust

CONDUCTOR TIER ($250 - $499)

Mary Jo Christianson

John & Marjorie Gjevre

David & Cindi Strand

Kathy Frost

Susan & Roger Reinhart

Cameron & Amy Haaland

Gene & Rennitta Okerland

Em Laskey

First Class Mortgage 

Eckroth Music

The Title Company

Drekker Brewing Company

Stan & Linda Bjornstad

First International Bank & Trust

Berkshire Hathaway HomeServices

Del & Sue Jordahl

CONCERTMASTER ($100 - $249)

Lauren Malland

Monte & Tiana Grise

Victoria & Ken Sims

Patricia and Burton Belknap

Douglas Neill

Dana & Mary Frojen

Eide Bailly 

Carol & Richard Lewis

Susan Eider

Paul Ott

Susan Clambey

Buffalo Wild Wings

Red River Market

David and Virginia Stern

Schmitt Music

Natalie & Duane Nelson

Walt and Janet Spiese

Kari & Eric Natvig

Lea & Will Shulstad

Jane & Jerry Feigum

Martha Moore

Matt Tesch

Alpha Roeszler

Tuan Bui

Julie Snortland

Sandra & Joe Payne

Carolyn Nelson

Natalie Lies

Anita & Lee Hofsommer

Rod & Diane Jordahl

Alyson & Mark Bjornstad

Mark Berntson

Steve & Gay Blazek

Pepper's Sports Café

Hazel Jones

George & Bernadette Lies

D J Coulter Agency American Family Insurance

PATRON ($50 - $99)

Paul Liversage

Tyler & Leah Rebrovich

Deidra Lies

Phillip and Angie Hermann

Catherine Karppinen

Hazel Jones

Tim & Amy Johnson

Ramona Johnson

Adrienne & Keith Eider

Debra & Drue Haarsager

David Johnson

Christopher Leach

Willy Jacobson

Andrew Eklund

Michael Randle

Coralie Wai

Lisa Hasbargen

Timothy & Laurie Wollenzien

Kirstin Carlson

Kris Knutson

Cassie Tremel

Dean and Erin Froslie

David Schaaf

Sherri & Leon Stastny

Lucille Ott

Brian Tessman

Martha Moore

Fawn & Aaron Krosch

FRIEND ($25 - $49)

George & Bernadette Lies

Laurie Bruun-Mitchell

Mark Asleson

Bryan Lewis

Erika Tomten

Shelley Weidner

Deonne Varriano

Amanda & Andy Roob

John Laskey

Dagne Forbes

Kristina Lahr

Casey Hasbargen

Kristi Taylor-Livdahl

Kristin Leadbetter

Dayna Del Val

Jane Linde Capistran

Lavonne Liversage

Tania Blanich

Alyson Jezusko

Dr Masciarelli & Associates

Bruce & Nit Geske

Ardell Olson

Perry Kleven

Maureen and Jess Bartelt

Scott Jezusko

Theresa Ulrich

Warren Olfert

Carolie Olgard

MichaelRedlinger

Kelly Creighton

Catherine & John Tesch

John & Janet Klocke

Marcy Dronen

HELP US KEEP OUR CONCERTS
FREE BY VISITING THE
WELCOME TABLE

OR CLICK HERE!

PERSONNEL

PICCOLO

Em Laskey

 

FLUTE

Corrie Dunshee

Deb Haarsager*

Lea Shulstad*

Nicole Skifton

Anna Swanson

Cynthia McGuire Thiel

Tara Troxel

 

OBOE

Kathy Frost* 

Kiran Tesch 

ENGLISH HORN

Kiran Tesch

 

Bb CLARINET

Noelle Ambers

Jannel Barnes

Linda Bjornstad

Jane Feigum

Jonathan Immel

Nicole Lee

Carol Lewis

Natalie Lies

Amy Jo Mattison

Kari Natvig

Luke Olsby

Jill Post

Sherri Stastny

Abigail Weir

Beanie Stotts

Catherine Tesch*

 

Eb CLARINET

Carol Lewis

 

BASS CLARINET

Su Legatt*

Laura Sampson

 

BASSOON

Lisa Schock 

Zeb Watkins*

 

ALTO SAXOPHONE

Sue Reinhart*

Erin Schaaf

 

TENOR SAXOPHONE

Paul Liversage

 

BARITONE SAXOPHONE

Greta Johnson

TRUMPET

Jon Anderson

Keith Eider*

Andrew Eklund

Jerry Feigum

Cameron Haaland

Shaylynn Johnson

Anna Joyce

Greg Post

HORN

Marcy Dronen

Adrienne Eider

Hazel Jones

Del Jordahl

Natalie Nelson

Dave Tesch*

Rebecca Whitesides

Laurie Wollenzien

 

TROMBONE​

Steve Blazek

Bruce Geske

Amy Johnson*

Dave Stern

Mark Switajski

 

BASS TROMBONE

Lee Hofsommer

Andrew Roob

 

EUPHONIUM

Tyler Rebrovich*

Dave Strand

 

TUBA

Bryan Lewis

Duane Rossett

Carl Weir*

Derek Whitesides

 

PERCUSSION

Alana Joos

Sue Jordahl

Andy Schaaf*

Seth Schaefer

Aubrey Spangelo

Wade Salboerger

Sophia Strand

PIANO

Jill Post

* denotes section leader

TODAY'S PROGRAM

KENTUCKY HARMONY

by Donald Grantham

I. Rockbridge/Lenox

II. Hiding Place

III. Enfield/Dublin

Ananias Davisson’s Kentucky Harmony first appeared in 1816 and contained 143 shape note tunes in four-part settings. It is one of the earliest sources of what came to be known as “Southern folk hymnody,” and exerted considerable influence on the many similar collections that followed it such as The Sacred Harp and Missouri Harmony.  Composer Donald Grantham has long been attracted to the spare, rugged qualities of this music, and in a previous work for wind ensemble, Southern Harmony, employed five shape note tunes in a manner that preserved much of their original flavor.  Likewise, in his Kentucky Harmony, five tunes are employed in three movements, and at some point, in each movement using this material in a variety of ways, all of which are designed to highlight the most striking aspects of each setting.  The intention is to present a free fantasy on the original vocal models that fully utilizes the capabilities of the modern wind ensemble.  Kentucky Harmony was commissioned in honor of Paula Crider on her retirement from the University of Texas by her former students at Austin’s Crockett High School, the Austin ISD, and friends.

LA PROCESSION DU ROCIO

by Joaquin Turina, Op 9

Arranged by Alfred Reed

I. Triana en Féte

II. La Procession

Every year in Seville, during the month of June, a festival called the Procession of the Dew occurs in the section of the city known as Triana.  Joaquin Turina’s La Procession du Rocio depicts the events of that festival.  It is traditionally led by the best families of the city, who arrive in their coaches accompanied by music, dances and general merrymaking.  The sound of the flutes and drums announce the procession at which time all dancing ceases.  A religious theme is heard, mingled with the pealing of church bells and the strains of the Royal March.  The festivities resume as the procession passes and recedes, but eventually fade away.

 

MY JESUS! OH, WHAT ANGUISH

by Alfred Reed

My Jesus! Oh What Anguish is one of a group of 69 so-called “Sacred Songs and Airs” attributed to J.S. Bach, each of which exists only in the form of a single melodic line with figured bass. These pieces were first published in 1736 as the musical settings for a huge collection of 954 sacred songs and hymns. For all of its apparent simplicity of musical construction (a small two-part form, with each part repeated once), this music is deeply moving and of great expressiveness. The current setting by Alfred Reed faithfully adheres to Bach’s harmonic intentions throughout and adds virtually nothing to one of the most haunting and poignant expressions of sorrow and compassion to be found in all of Western music.

BENNET'S TRIUMPHAL MARCH

by M.H. Ribble

Melvin H. Ribble (1870-1964) was a professional cornet player in his youth in Lincoln, Nebraska, but also became known as an arranger when he moved to Chicago to write for Harry Alford.  He returned to Lincoln in 1931, where he opened his own arranging office.  Written in 1925, Bennet’s Triumphal was written in honor of Dr. John P. Bennet; while both the dedicatee and the march have nearly slipped into obscurity, the march is one with several unique characteristics, including an unusual fireworks strain that almost slips into a final strain—but not quite.

CULLODEN 

by Julie Giroux

I. Heilan Lochs, Bairns & Heather

II. I Hae Grat Tho' I Kend

III. We Toomed our Stops for the Gaudy Dodgers

The Battle of Cullodin in 1746 (also referred to as “Bloody Cullodin”) was spawned by the efforts of the Scottish “Bonnie Prince Charlie” to gain the throne. The resulting battle was brief—only thirty minutes in length—but the price paid was nearly 1,500 Scots dead on the field compared to English losses of 300. It is one of the darker days of Scottish/British history. One of the extraordinary side effects of this event was a great deal of music that swirled around the traditions that were a part of this period. When she was considering how to approach this event musically, Julie Giroux decided to focus on the folk songs, jigs and reels that were present during this time. The resulting work, Cullodin, is a large-scale, three-movement work that pays tribute to the Scottish tradition of folk song. The work is a gigantic succession of folk songs from beginning to end with very little original material throughout.

MIDWAY MARCH

by John Williams

The battle of Midway in World War II remains one of great battles in military history and represents one of the major turning points of the war.  When Hollywood decided to make a movie of the event, John Williams was asked to write the soundtrack.  In addition to the soundtrack music, Williams composed the Midway March to play as the end credits rolled and may well be the best music of the entire motion picture!  This new version for band as orchestrated by Paul Lavender retains the spirit (and all of the notes) of the original.

WE HOPE TO SEE YOU
AT OUR NEXT PERFORMANCE!