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JANUARY 2024
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ALLEGRO GRANT APPLICATIONS ARE DUE BY MIDNIGHT ON MARCH 1ST. 
DON'T MISS YOUR CHANCE TO GET $1000 FOR YOUR SCHOOL'S MUSIC PROGRAM!

our DONORS

LEGACY LEVEL

Gotta Go Driving School

 

DIAMOND LEVEL 

John & Deb Anderson

Moore Engineering

PLATINUM LEVEL

Cameron & Amy  Haaland

Mary Jo Christianson

Richard & Carol  Lewis

Del & Sue  Jordahl

David & Cynthia Strand

Dilworth Lions

Greg & Jill  Post

Andy &  Erin Schaaf

The Lions Club of Barnesville

Linda & Stan Bjornstad

Lisa Schock

Sanford Health

Bell Bank

Heartland Trust Company

 

GOLD LEVEL

Davis Anthony Scott

John & Marjorie Gjevre

Berkshire Hathaway Homeservices

Jane & Jerry Feigum

Paul & Deb Ott

Brian Berg

First Class Mortgage II Inc

Drekker Brewing Company

First International Bank

The Title Company

 

SILVER LEVEL 

Eckroth Music Company

Sue & Roger Reinhart

Lauren Malland

Em & Bill Laskey

Kari Natvig

Mitch Kreps

Victoria & Ken Sims

Douglas Neill

David & Virginia Stern

George & Bernadette Lies

Mary & Dana Frojen

Sue Eider

Marcy Dronen

Hannah Torgerson

Julie Snortland

Steve & Gay Blazek

Roger & Sue Reinhart

Susan Clambey

Walter & Janet Spiese

Tyler & Leah  Rebrovich

Kerri Lee

Martha Moore

Tim & Ginger Haaland

David Johnson

Ryan Dodd

Catherine & John Tesch

Patricia Belknap

Lea & William Shulstad

Carolyn Nelson

Stephanie Melquist

Robert & Bonnie Ames

Emily Kulland

Rod & Diane Jordahl

Ramona Johnson

Monte & Tiana Grise

Bill Schlossman

Gene Okerlund

Lee  Hofsommer

Natalie Lies

Alpha Roeszler

Mark Berntson

Alyson & Mark Bjornstad

Noelle & Curt Ambers

D J Colter Agency Inc

Pepper’s American Cafe

Weber Insurance Agency LLC

Schmitt Music

O’Keeffe O’Brien Lyson Attorneys

BRONZE LEVEL 

Deb & Drue  Haarsager

John & Janet Klocke

Hazel Jones

Andrew Eklund

Phillip & Angie Hermann

Tim & Laurie  Wollenzien

Gary  Barta

Keith & Adrienne Eider

Arland Jacobson

John Laskey

Kristin Leadbetter

Cassie Tremel

David Schaaf

Sherry McGuire

Warren Olfert

Dewey & Sue Uhlir

Matt Tesch

Pat Berndt

Dagne Forbes

Theresa Ulrich

Meg Bradley

Sandra & Joe Payne

Thomas Christianson

Coralie Wai

Lisa Hasbargen

Kristi Taylor-Livdahl

Genevieve Eidem

Rebecca & Derek Whitesides

Lynn Tkachuk

Dean & Erin Froslie

Kathy Frost

Sue Clambey

John Blazek

Audra & Garrett Maurer

Leon & Sherri  Stastny

Lynn Severson

Paul Liversage

Michael Redlinger

Luke Olsby

Lucille  Ott

Natalie & Duane Nelson

Lea & William Shulstad

Wilhelmine  Jacobson

Zebulon Watkins

Paul & Deb Ott

Ardell Olson

Andy & Amanda Roob

Carolie Olgard

Mark Asleson

Ashley Strukel

John Kern

Bryan Lewis

Jane Linde Capistran

Brita Watson

Jordan & Katie McCormick

Michael Olson

Deonne Varriano

Leslie Masciarelli

James Swanson

Abby & Carl Weir

Kristin Carlson

Clifford Herrick

Deidra Lies

Jan Piskacek

Dan Christianson

Karen Rebrovich

Joe Wallevand

Barb Legatt

Kris Knutson

JoLeen Eklund

Nick & Erica Hanson

Linda Boyd

Tara Troxel

Dawn Verdon

Brenda Trandem

Cathy Dunshee

Tim & Amy Johnson

Nicole Skifton

Erika Tomten

John Lamb

Dawn Gunderson

Laura Devick

John & Janet Klocke

Ashley Blazek

Carolyn Wintersteen

Alyson Jezusko

Natasha Petry

Diane Newburgh

Nicole Boice

Mikayla Kludt

HELP US KEEP OUR CONCERTS
FREE BY VISITING THE
WELCOME TABLE

OR CLICK HERE!

TODAY'S PROGRAM

Fantasia in G Major (1707/1959)

 J.S. Bach/Arr. Goldman & Leist

 

J.S. Bach composed his great Fantasia in G Major between 1703 and 1707 during his residence in Arnstadt.  The work is one of Bach’s grandest for organ, with its five-part polyphonic writing and rich harmonic sonorities.  As with many of Bach’s organ works, it is well-suited in its ability to transfer to the wind band, as is shown in this transcription by Richard Franko Goldman and Robert L. Leist as part of the Goldman Band’s repertoire for the 1957 season.  The work remains one of the great examples of transferring effectively the sound of the organ to the wind band sonority.

 

 

A Grainger Set

Percy Grainger

 Country Gardens (1919)

Colonial Song (1918)

 

Percy Grainger's original setting of Country Gardens for piano became his most popular work during his lifetime. The adventurous and imaginative setting for wind band was one of the results of the collaboration with Leopold Stokowski for an all-Grainger record. Soon afterward, Grainger reset the orchestral original with his characteristically colorful yet subtle approach to scoring. It is entirely different from the earlier setting in its use of strange dissonances, intricate rhythmic figurations and striking contrapuntal and harmonic touches. The writing requires fluency and agility from woodwinds and trumpets, with its considerable rhythmic intricacy and precision problems. Nevertheless, this is without doubt Grainger's finest version of this much-played work.

 

 

Medieval Suite (1981)

Ron Nelson

  1. Homage to Leonin

  2. Homage to Perotin

  3. Homage to Machaut

 

Composer Ron Nelson conceived the three movements of the Medieval Suite as a whole, yet each can stand alone in a concert setting.  He wrote them as tributes to some of the greatest medieval composers in Western history.  Nelson composed the three movements without directly quoting any of the masters, nor even attempting to utilize their respective styles.  Instead, he wished to establish a “sense of” each composer, producing an auditory environment that calls to mind the composers’ music.  The first movement makes use of the Gregorian chant so common to medieval music, such as that by Leonin.  One can hear it follow an arch form, both beginning and ending with chant material.  The second movement combines the rhythmic intensity, repetition, and pedal points that can be found in much of Perotin’s music.  However, interwoven with these elements are aspects of contemporary music, with its dissonance in brass fanfares.  The final movement emulates Machaut’s mastery of choral writing, with stately phrases and flowing syncopation.  The movement concludes with the same chant material from the first movement, lending a sense of arch form to the suite as a whole, as well.

 

 

Psalm for Band (1954)

Vincent Persichettti

 

According to Vincent Persichetti, the Psalm for Band “is a piece constructed from a single germinating harmonic idea.  There are three distinct sections—a sustained chordal mood, a forward moving chorale, followed by a Paean culmination of the materials.  Extensive use is made of separate choirs of instruments supported by thematic rhythms in the tenor and bass drums.”  Written in 1954, the work has maintained its freshness with its use of brass and woodwind choirs against each other and a high level of formal integrity that is not immediately apparent to the observer but is clear with repeated listenings.

 

 

Corcoran Cadets. (1890)

 John Philip Sousa

 

The Corcoran Cadets drill team was the pet of Washington, D.C., being the most notable of the drill teams which flourished there after the Civil War. It was a highly organized group; not only did they have their own band, but also a Veterans’ Association that held annual reunions. Although it is not recorded, the group probably made a formal request to John Philip Sousa for a march and this was the result. It is a typically distinctive march but also unmistakably Sousa-written.

 

 

Rikidum (1986)

Jan Van der Roost

  1. Andante moderato

  2. Allegretto con eleganza

  3. Andante con dolceza

  4. Con moto e follemento

 

“Rikud” means “dance” in Hebrew, with the “im” ending indicating plural, or dances. Rikidum is, therefore, four Jewish dances in a variety of styles that are original works that Van der Roost written in the style of the ancient dances of their namesake. The dances vary in tempo. The first is in a moderate tempo, not too fast and is more “dancelike” than an actual dance. The second and third utilize a “long-short” style of dancing with the second shifting to a fast dance almost in a furiant style, while the third retains a gentle character throughout the movement. The final dance is fast in the tradition of a Yiddish celebration, complete with vocal exhortations from the dancers (or the band, in this case).

our DIRECTOR

Warren D. Olfert is Director of Bands and Coordinator of Instrumental Music Education at North Dakota State University. His duties include conducting the NDSU Wind Symphony, teaching courses in conducting and music education (including student teacher supervision) and overseeing the graduate instrumental conducting area. He holds degrees from Florida State University (Ph.D., instrumental conducting/music education), the University of Cincinnati College-Conservatory of Music (M.M., instrumental conducting), and Bob Jones University (B.S., music education).

 

Prior to his arrival at NDSU in 1999, Dr. Olfert taught at Bowling Green State University, where he was Assistant Director of Bands and conducted the Falcon Marching Band; at Pittsburg State University in Pittsburg, Kan.; and at Cameron University in Lawton, Okla., where he was Director of Bands. During his time at NDSU, Dr. Olfert has conducted all aspects of bands at NDSU, including the concert and marching bands, pep bands and chamber winds. He has led the NDSU Concert Band and Wind Symphony on annual national tours and has produced several compact discs of the band in concert. Under his direction the Wind Symphony was invited to perform at the 2010 College Band Directors National Association North Central Regional Conference for the first time in the ensemble’s history and has performed at the North Dakota Music Educators Association Conference in 2003, 2006, 2009, 2012, and 2016. Dr. Olfert also taught at the high school level in Louisiana and Georgia, where his bands received acclaim for their performances. In 2001, Olfert started the Northern Ambassadors of Music, a European tour of students from North Dakota and Montana; since it’s inception, the tour has grown to a group of over 350 participants and staff.

 

Since his arrival, the ensemble has participated in several commissions of new works for wind band, including works by Frank Ticheli, Timothy Broege, Jocelyn Hagen, Jack Stamp and Bob Mintzer and has won praise for his interpretations of new music. Dr. Olfert has presented workshops at various conventions nationally and has served as a guest conductor, clinician and adjudicator throughout the United States. He is an active member of several organizations on the regional and national level, including the College Band Directors National Association, National Band Association, Kappa Kappa Psi, Phi Mu Alpha Sinfonia, Tau Beta Sigma, Phi Beta Mu, and is past president of the North Dakota Music Educators Association.

PERSONNEL

PICCOLO

Em Laskey

 

FLUTE

Corrie Dunshee

Deb Haarsager*

Cynthia McGuire Thiel

Nicole Quist

Lea Shulstad*

Tara Troxel

Lauren Wander Holleman

 

OBOE + ENGLISH HORN

Kathy Frost* 

Mickaela Pasch

Cameron Solberg

Kiran Tesch 

 

Bb CLARINET

Jannel Barnes

Linda Bjornstad

Rachel Danielson

Jane Feigum

Andie Kassenborg

Nicole Lee

Carol Lewis

Natalie Lies

Amy Jo Mattison

Kari Natvig

Jill Post

Sherri Stastny

Abigail Weir

Catherine Tesch*

 

Eb CLARINET

Carol Lewis

 

BASS CLARINET

Su Legatt*

Camden Loth

BASSOON

Evren Akyuz 

Lisa Schock 

 

ALTO SAXOPHONE

Erin Schaaf

Sue Reinhart*

 

TENOR SAXOPHONE

Paul Liversage

 

BARITONE SAXOPHONE

Greta Johnson

TRUMPET

Jon Anderson

Keith Eider*

Andrew Eklund

Jerry Feigum

Sean Fitzsimmons

Cameron Haaland

Shaylynn Johnson

Greg Post

HORN

Marcy Dronen

Adrienne Eider

Hazel Jones

Del Jordahl

Natalie Nelson

Marie Parker

Matt Pasch

Dave Tesch*

Rebecca Whitesides

Laurie Wollenzien

TROMBONE​

Steve Blazek

Bruce Geske

Gabrielle Helfrich

Amy Johnson*

Dave Stern

Mark Switajski

 

BASS TROMBONE

Lee Hofsommer

Connor McCormick

Andrew Roob

 

EUPHONIUM

Hannah Torgerson

Tyler Rebrovich

Timothy Wollenzien

 

TUBA

Jared Hartl

Bryan Lewis

Matt Scheerer

Carl Weir*

Derek Whitesides

 

PERCUSSION

Aaron Bedford

Dan Christianson

Sue Jordahl

Jen Kapla

Drew Robinson

Andy Schaaf*

Wade Stalboerger

* denotes section leader

WE HOPE TO SEE YOU
AT OUR NEXT PERFORMANCE!

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