WIND BAND CLASSICS

RESTJ.S. BachGilbertsonTicheliMackey

The Ohio StateUniversity WindSymphony

Russel C. Mikkelson

8.572980 8

Milton Allen

Milton Allen is the Associate Director of Bands and Visiting Associate Professor ofMusic at The Ohio State University where his duties include conducting the OSUSymphonic Band and teaching courses in undergraduate instrumental conducting. Hewas previously Director of Bands and Instrumental Division Director at Eastern IllinoisUniversity. A seventeen-year veteran of the public school rehearsal room, his refreshingand practical approach to both music education and conducting has taken himthroughout the United States, Canada, and the United Kingdom as a clinician and guestconductor. Active in the commissioning and recording of new wind works for bothdeveloping and experienced bands, he has collaborated with many composers, andensembles under his direction have received numerous awards at local, state andnational levels including recognition by the United States Congress for MusicalExcellence.

Russel C. Mikkelson

Russel C. Mikkelson serves as Director of University Bands, Professor of Music(Conducting) and Area Head of Conducting and Ensembles at The Ohio StateUniversity, where he conducts the Wind Symphony, chairs the graduateconducting program, and oversees all aspects of the university’s band program.Under his direction, the OSU Wind Symphony has performed at the 2003College Band Directors National Association Convention, the 2001, 2004, 2006,2008 and 2011 Ohio Music Educators Association Conventions, and hasrecorded four CD’s. Director of the OSU Contemporary Music Festival and astaunch advocate for the creation of new works, he also serves on the AmericanBandmasters Association Commissioning Committee and has instituted aprogram of regular commissioning projects for the OSU Bands. He is PastPresident of the Big Ten Band Directors Association, a member of the CollegeBand Directors National Association, MENC, Phi Mu Alpha Sinfonia, Phi BetaMu, and an elected member of the American Bandmasters Association. He wasthe recipient of the 2005 Ohio State University School of Music DistinguishedScholar Award.

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Piccolo Rachel Haug

FluteErin Torres*Lauren WatkinsRachael YokersYoonee KimKatie KuvinChristina Roberts

OboeJessica Warren*Ashley MartinStephanie Kunz

English HornStephanie Kunz

BassoonKerry Haberkern*John GormanDavid Root

ContrabassoonDavid Root

E flat ClarinetJ.P. Thompson

ClarinetJustin Johnston*Gunnar HirtheQuintin HedrickJacqueline Bretz Katie MorellMargaret Blasko David WolfeRoss Wang

Bass ClarinetAdrienne Marshall

Alto SaxophoneMichael Torres*Casey Grev

Tenor SaxophoneJackie McCammon

Baritone SaxophoneKathleen Guarna

HornDavid Hedgecoth*Joshua RobinsonMatt MauroNick MillerCynthia Gaston

TrumpetMatthew Harriman*Ryan ColumbareTodd FesslerStuart WoodardMarc BridonJulia DeMaioMark Tegtmeier

TromboneJason Abady*Josh JamesonNathan GrahamRebecca Cichy

Bass TromboneFrank Cosenza

EuphoniumHenry Attaway*Suzie KimJames Kim

TubaBrandon Christie*Jacob Blakley

PercussionJeff Vaughn*Juan MendozaMike DillmanAmanda LyonMario MariniAlissa KirkMatthew Dockendorf

Double BassMarisa Moore

Piano/CelesteGina Kang

HarpVictoria Bill

* Principal

The Ohio State University Wind Symphony

8.57298078.572980 2

RESTMusic for Wind Band

1 J.S. Bach (1685-1750), arr. Gustav Holst, ed. Jon Mitchell:Fugue à la Gigue (Fugue in G major, BWV 577, arr. 1928) 3:20

2 Michael Gilbertson (b. 1987): Vigil (2007/2010) 9:27

3 Frank Ticheli (b. 1958): Rest (2010) 6:52In loving memory of Elling Mikkelson (1932-2005)

Frank Ticheli, arr. Gary D. Green: Symphony No. 1 (2001/2010) 30:06

4 Movement 1: Of Youth 6:375 Movement 2: Of Wisdom 8:526 Movement 3: Profanation 5:347 Movement 4: Prayer 9:03

8 John Mackey (b. 1973): Asphalt Cocktail (2009) 5:40

Publishers:

Boosey & Hawkes Music Publishers, Inc. (track 1); www.michaelgilbertson.com (track 2); Manhattan Beach Music (tracks 3-7);

www.ostimusic.com (track 8)

572980 bk Rest_572980 bk Rest 18/08/2012 12:37 Page 2

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Brian Cheney

The protégé of legendary tenor, Jerry Hadley, Brian Cheney is quickly gaining nationalacclaim for his portrayal of characters such as Nemorino in L’elisir d’amore, Edgardo inLucia di Lammermoor, Don José in Carmen, Rodolfo in La Bohème, the Duke inRigoletto, the title rôle in Candide and Tom Rakewell in The Rake’s Progress.Following his début at Carnegie Hall in 2007, he has been performing concert worksand oratorio throughout the United States. He has served as tenor soloist in piecesranging from Verdi’s Requiem and Beethoven’s Choral Symphony to Puccini’s Messadi Gloria, Mozart’s Requiem, and Mendelssohn’s Elijah, and has performed numeroustimes as a soloist at Carnegie Hall with his most recent performance in 2011performing a world première entitled Festival Te Deum composed by David Childs. Heis also an accomplished recitalist.

The Ohio State University Wind Symphony

Conducted by Russel Mikkelson, The Ohio StateUniversity Wind Symphony is widely recognizedas one of the country’s elite wind bands.Committed to the creation of new music for winds,this ensemble has commissioned music by anumber of distinguished composers. One of thegoals of the Wind Symphony is to providestudents opportunity to interact with some of theleading composers and musical minds of our time.Visitors have included such notable musicians asJohn Corigliano, Lukas Foss, KrzysztofPenderecki, Gunther Schuller, Jennifer Higdon,Frank Ticheli, John Mackey, John Stevens,Steven Bryant, David Gillingham, JonathanNewman, Roger Cichy and Percy Graingerbiographer John Bird. Graduates of the WindSymphony hold posit ions as professional

orchestral musicians, soloists, conductors, members of the Washington-based military bands, university professors,and some of the world’s leading music educators. Recordings since 1998 include Sounds, Shapes and Symbols (MarkRecords 2001), Jubilare! (Mark Records 2003), Winds of Nagual (Naxos 8.570244, 2007), and Southern Harmony(Naxos 8.572342, 2009).

6 8.5729803

J.S. Bach (1685-1750): Fugue a la Gigue (arr. Gustav Holst, ed. Jon Mitchell)(Fugue in G major, BWV 577, arr. 1928)

“In December of 1927, English composer Gustav Holstreceived a request from the Brit ish BroadcastingCorporation to compose a twelve-to-fifteen minute work inone movement for its military band. The work fulfilling thatrequest would be Hammersmith, Op. 52 (1930-31) butHolst, who had not written a note for military band sincerevising his own Second Suite in F for Military Band, Op.28, No. 2 in 1922, wanted to do a “warm-up” first. Hewrote to D. Millar Craig, director of programmes at BBC:

… If there is no immediate hurry, I would like topostpone writing this piece and first arrange oneof Bach’s Organ Fugues for military band. I havehad this at the back of my mind for many years.

The organ fugue to which Holst referred is the Fugue in Gmajor [BWV 577] from Preludes, Fugues, Fantasias andOther Pieces in Book III of the Organ Works:Bachgesllschaft. Holst himself gave the title Bach’s Fugueà la Gigue to the work. For his work, which included boththe publishing and broadcasting rights, Holst was paid 25pounds (a far greater sum in 1928 than in 2005).

Holst completed his military band version in May of1928 and on 22nd July of the same year he conducted iton a special B.B.C. Wireless Military Band broadcastfeaturing his own works. An immediate hit, Bach’s Fugueà la Gigue received “record post” from listeners. Both theorchestral and military band versions were published in1929.”

Jon Ceander Mitchell

Michael Gilbertson (b. 1987): Vigil (2007/2010)

I began composing Vigil for The Juilliard Orchestra duringthe summer of 2007. Much of the inspiration for this workwas drawn from the Vespers services of the RussianOrthodox Church. The Vespers, a nighttime service ofvigilance, inspired many native Russian composers(including Rachmaninov and Tchaikovsky) to createextended choral works for the occasion. Although nomaterial in Vigil was drawn from the music of the RussianChurch, the dark reverence of the Vespers servicesprovided a conceptual basis for this work, suggesting theexpansive soundscape I have tried to create within it.

Vigil is nocturnal and lyrical in character, structured ina large arc form. The work begins with a largo section ofextended melodies, suggesting the devotional chants ofthe Vespers. A sudden, rhythmically driven allegro sectionfollows. The work reaches an ominous climax which diesdown to reveal echoes of the melodies from the openinglargo. The music fades, and two trumpets conclude thework with an unsettling peace.

Vigil is dedicated to my dear friend, Deidre Westphal,who was diagnosed with bone cancer as I began workingon this piece, and who died shortly after its première in2008, a few weeks before her 21st birthday. I am verygrateful to Russel Mikkelson, conductor of The Ohio StateUniversity Wind Symphony, for making this transcriptionpossible.

Michael Gilbertson

Rest: Music for Wind BandJohann Sebastian Bach, arr. Gustav Holst • Michael Gilbertson • Frank Ticheli • John Mackey

572980 bk Rest_572980 bk Rest 18/08/2012 12:37 Page 6

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And for one fleeting moment, I know...I am the sound of hope,the instrument of peace,the song within the Song.

The first movement is an expression of hope. Vivid auralimages of a spring morning – bell sounds, trumpet fanfares,bright harmonies, clear textures illuminate the movementand give it a youthful energy. Themes come and go quickly,suggesting a short attention span and childlike impatience.

The second movement, despite its strong melodicand harmonic connections to the first, is in many ways itsalter-ego. Bright fanfares give way to greater lyricism.Childlike optimism yields to introspection. After a series ofvast modulations and an orchestral swell, a lengthy periodof calm follows. A repeated major chord hangs high, andbecomes an immovable block that is quietly implacable tothe pleadings of the solo bassoon. Vague recollections ofthe first movement appear like fleeting dreams.

The third movement represents a crisis of faith. Thekey of D minor is used as a symbol of darkness. Thisassociation also pays tribute to Mozart, who used the keyonly on rare occasions as a symbol of pessimism andstruggle (e.g., the appearance of the stone guest in DonGiovanni, and the unfinished Requiem Mass). The maintheme wedges upward and back again, as though dodgingsome menacing force. A contrasting middle sectionprovides an uneasy moment of respite before surrenderingto the return of the scherzo and its racing heartbeat.

The poem, sung in the last movement by solo tenor orhigh baritone, summarizes the dramatic flow of the entiresymphony. The accompanying music searches in vain forresolution, wandering from one tonal area to another (D,C, F, A, B) before finally resigning itself in the poignantkey of B minor. As an ironic gesture, the line, “naked,hungry, crying out”, is answered by a recollection of oneof the brightest moments from movement 1, nowdarkened by its new B minor context. After a moment ofvulnerability, the poem moves toward resolution, and themusic brightens once again. Darkness yields to themes oftranscendence as the singer discovers an inner light.

Frank Ticheli

John Mackey (b. 1972): Asphalt Cocktail (2009)

Several years ago, when I was living in Manhattan, I waswalking down Columbus Avenue with my good friend (andfellow composer) Jonathan Newman. Somehow, the topicof titles for pieces came up, and Newman said a title thatstopped me in my tracks there on the sidewalk: AsphaltCocktail. I begged him to let me use the title. “That titlescreams Napoleonic Testosterone Music. I was born towrite that!” I pleaded. “No,” was his initial response. Iasked regularly over the next few years, and the answerwas always the same: “No. It’s mine.” In May 2008, Iasked him once again, begging more pathetically than Ihad before, and his answer this time surprised me: “Fine,”he said, “but I’ll be needing your first-born child.” This waseasily agreeable to me, as I don’t like kids.

The resulting piece is Asphalt Cocktail, a five-minuteopener, designed to shout from the opening measure,“We’re here.” With biting trombones, blaring trumpets,and percussion dominated by cross-rhythms and backbeats, it aims to capture the grit and aggression that Iassociate with the time I lived in New York. Picture thescariest NYC taxi ride you can imagine, with the cabskidding around turns as trucks bear down from all sides.Serve on the rocks.”

John Mackey

Frank Ticheli (b. 1958): Rest (2010)

Frank Ticheli writes: Created in 2010, Rest is a concertband adaptation of my choral work, There Will Be Rest,published by Hinshaw in 2000. It was commissioned byconductor Russel Mikkelson and family, in loving memoryof his father, Elling Mikkelson (1932-2005). In making thisversion, I preserved almost everything from the original:the harmony, dynamics, even the original registration. Ialso endeavored to preserve carefully the fragile beautyand quiet dignity suggested by Sara Teasdale’s words.

With the removal of the text in the band version, I feltfree to enhance the music, most strikingly in the form of asustained climactic statement of the main theme. Thisextended climax allows the band version to transcend theexpressive boundaries of a straight note-for-note settingof the original. Thus, both versions are intimately tied andyet independent from one another, each possessing itsown strengths and unique traits.

There will be rest, and sure stars shiningOver the roof-tops crowned with snow,A reign of rest, serene forgetting,The music of stillness holy and low.I will make this world of my devisingOut of a dream in my lonely mind.I shall find the crystal of peace, – above meStars I shall find.

Sara Teasdale (1884-1933)

Frank Ticheli: Symphony No. 1(arr. Gary D. Green) (2001/2010)

Symphony No. 1 was begun in the fall of 2000 inPasadena, California, and completed the followingsummer at the MacDowell Colony in Peterborough, NewHampshire. Its four movements represent a kind ofjourney of the soul – from innocence, to introspection, todarkness, and finally to enlightenment. This concert bandversion was created in 2010 by Gary D. Green, Director ofBands at the University of Miami.

Before writing a note of music, I began jotting down alist of the kinds of sounds I wanted to evoke in thesymphony. These jottings eventually evolved into a poem.Moving from themes of hope, to peace, to crisis, andfinally to reconciliation, the poem’s four main stanzascorrespond directly to the symphony’s four movements.

I want to hear the sounds of hope – of big church bells and distant horns,Sounds that wash away the warsand arouse the human heart.A sure harmony gliding over a sea of stillness.

I want to play the sounds of peace – of sighing winds and rustling leaves,Sounds that silence troubled thoughtsand calm the spirit’s raging storms.A song of serenity from high atop an ancient hill.

But my harp is drowned by the sounds of children – Naked, hungry, crying out.Their dreams, windswept,My faith, a time-worn rock,My house of wisdom, a spider’s web.

I only know that I am longing...

And then...I catch a glimpse – an ancient tree...a soaring bird,Some eternal euphony that dances upon the light.

572980 bk Rest_572980 bk Rest 18/08/2012 12:37 Page 4

8.572980 8.5729804 5

And for one fleeting moment, I know...I am the sound of hope,the instrument of peace,the song within the Song.

The first movement is an expression of hope. Vivid auralimages of a spring morning – bell sounds, trumpet fanfares,bright harmonies, clear textures illuminate the movementand give it a youthful energy. Themes come and go quickly,suggesting a short attention span and childlike impatience.

The second movement, despite its strong melodicand harmonic connections to the first, is in many ways itsalter-ego. Bright fanfares give way to greater lyricism.Childlike optimism yields to introspection. After a series ofvast modulations and an orchestral swell, a lengthy periodof calm follows. A repeated major chord hangs high, andbecomes an immovable block that is quietly implacable tothe pleadings of the solo bassoon. Vague recollections ofthe first movement appear like fleeting dreams.

The third movement represents a crisis of faith. Thekey of D minor is used as a symbol of darkness. Thisassociation also pays tribute to Mozart, who used the keyonly on rare occasions as a symbol of pessimism andstruggle (e.g., the appearance of the stone guest in DonGiovanni, and the unfinished Requiem Mass). The maintheme wedges upward and back again, as though dodgingsome menacing force. A contrasting middle sectionprovides an uneasy moment of respite before surrenderingto the return of the scherzo and its racing heartbeat.

The poem, sung in the last movement by solo tenor orhigh baritone, summarizes the dramatic flow of the entiresymphony. The accompanying music searches in vain forresolution, wandering from one tonal area to another (D,C, F, A, B) before finally resigning itself in the poignantkey of B minor. As an ironic gesture, the line, “naked,hungry, crying out”, is answered by a recollection of oneof the brightest moments from movement 1, nowdarkened by its new B minor context. After a moment ofvulnerability, the poem moves toward resolution, and themusic brightens once again. Darkness yields to themes oftranscendence as the singer discovers an inner light.

Frank Ticheli

John Mackey (b. 1972): Asphalt Cocktail (2009)

Several years ago, when I was living in Manhattan, I waswalking down Columbus Avenue with my good friend (andfellow composer) Jonathan Newman. Somehow, the topicof titles for pieces came up, and Newman said a title thatstopped me in my tracks there on the sidewalk: AsphaltCocktail. I begged him to let me use the title. “That titlescreams Napoleonic Testosterone Music. I was born towrite that!” I pleaded. “No,” was his initial response. Iasked regularly over the next few years, and the answerwas always the same: “No. It’s mine.” In May 2008, Iasked him once again, begging more pathetically than Ihad before, and his answer this time surprised me: “Fine,”he said, “but I’ll be needing your first-born child.” This waseasily agreeable to me, as I don’t like kids.

The resulting piece is Asphalt Cocktail, a five-minuteopener, designed to shout from the opening measure,“We’re here.” With biting trombones, blaring trumpets,and percussion dominated by cross-rhythms and backbeats, it aims to capture the grit and aggression that Iassociate with the time I lived in New York. Picture thescariest NYC taxi ride you can imagine, with the cabskidding around turns as trucks bear down from all sides.Serve on the rocks.”

John Mackey

Frank Ticheli (b. 1958): Rest (2010)

Frank Ticheli writes: Created in 2010, Rest is a concertband adaptation of my choral work, There Will Be Rest,published by Hinshaw in 2000. It was commissioned byconductor Russel Mikkelson and family, in loving memoryof his father, Elling Mikkelson (1932-2005). In making thisversion, I preserved almost everything from the original:the harmony, dynamics, even the original registration. Ialso endeavored to preserve carefully the fragile beautyand quiet dignity suggested by Sara Teasdale’s words.

With the removal of the text in the band version, I feltfree to enhance the music, most strikingly in the form of asustained climactic statement of the main theme. Thisextended climax allows the band version to transcend theexpressive boundaries of a straight note-for-note settingof the original. Thus, both versions are intimately tied andyet independent from one another, each possessing itsown strengths and unique traits.

There will be rest, and sure stars shiningOver the roof-tops crowned with snow,A reign of rest, serene forgetting,The music of stillness holy and low.I will make this world of my devisingOut of a dream in my lonely mind.I shall find the crystal of peace, – above meStars I shall find.

Sara Teasdale (1884-1933)

Frank Ticheli: Symphony No. 1(arr. Gary D. Green) (2001/2010)

Symphony No. 1 was begun in the fall of 2000 inPasadena, California, and completed the followingsummer at the MacDowell Colony in Peterborough, NewHampshire. Its four movements represent a kind ofjourney of the soul – from innocence, to introspection, todarkness, and finally to enlightenment. This concert bandversion was created in 2010 by Gary D. Green, Director ofBands at the University of Miami.

Before writing a note of music, I began jotting down alist of the kinds of sounds I wanted to evoke in thesymphony. These jottings eventually evolved into a poem.Moving from themes of hope, to peace, to crisis, andfinally to reconciliation, the poem’s four main stanzascorrespond directly to the symphony’s four movements.

I want to hear the sounds of hope – of big church bells and distant horns,Sounds that wash away the warsand arouse the human heart.A sure harmony gliding over a sea of stillness.

I want to play the sounds of peace – of sighing winds and rustling leaves,Sounds that silence troubled thoughtsand calm the spirit’s raging storms.A song of serenity from high atop an ancient hill.

But my harp is drowned by the sounds of children – Naked, hungry, crying out.Their dreams, windswept,My faith, a time-worn rock,My house of wisdom, a spider’s web.

I only know that I am longing...

And then...I catch a glimpse – an ancient tree...a soaring bird,Some eternal euphony that dances upon the light.

572980 bk Rest_572980 bk Rest 18/08/2012 12:37 Page 4

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Brian Cheney

The protégé of legendary tenor, Jerry Hadley, Brian Cheney is quickly gaining nationalacclaim for his portrayal of characters such as Nemorino in L’elisir d’amore, Edgardo inLucia di Lammermoor, Don José in Carmen, Rodolfo in La Bohème, the Duke inRigoletto, the title rôle in Candide and Tom Rakewell in The Rake’s Progress.Following his début at Carnegie Hall in 2007, he has been performing concert worksand oratorio throughout the United States. He has served as tenor soloist in piecesranging from Verdi’s Requiem and Beethoven’s Choral Symphony to Puccini’s Messadi Gloria, Mozart’s Requiem, and Mendelssohn’s Elijah, and has performed numeroustimes as a soloist at Carnegie Hall with his most recent performance in 2011performing a world première entitled Festival Te Deum composed by David Childs. Heis also an accomplished recitalist.

The Ohio State University Wind Symphony

Conducted by Russel Mikkelson, The Ohio StateUniversity Wind Symphony is widely recognizedas one of the country’s elite wind bands.Committed to the creation of new music for winds,this ensemble has commissioned music by anumber of distinguished composers. One of thegoals of the Wind Symphony is to providestudents opportunity to interact with some of theleading composers and musical minds of our time.Visitors have included such notable musicians asJohn Corigliano, Lukas Foss, KrzysztofPenderecki, Gunther Schuller, Jennifer Higdon,Frank Ticheli, John Mackey, John Stevens,Steven Bryant, David Gillingham, JonathanNewman, Roger Cichy and Percy Graingerbiographer John Bird. Graduates of the WindSymphony hold posit ions as professional

orchestral musicians, soloists, conductors, members of the Washington-based military bands, university professors,and some of the world’s leading music educators. Recordings since 1998 include Sounds, Shapes and Symbols (MarkRecords 2001), Jubilare! (Mark Records 2003), Winds of Nagual (Naxos 8.570244, 2007), and Southern Harmony(Naxos 8.572342, 2009).

6 8.5729803

J.S. Bach (1685-1750): Fugue a la Gigue (arr. Gustav Holst, ed. Jon Mitchell)(Fugue in G major, BWV 577, arr. 1928)

“In December of 1927, English composer Gustav Holstreceived a request from the Brit ish BroadcastingCorporation to compose a twelve-to-fifteen minute work inone movement for its military band. The work fulfilling thatrequest would be Hammersmith, Op. 52 (1930-31) butHolst, who had not written a note for military band sincerevising his own Second Suite in F for Military Band, Op.28, No. 2 in 1922, wanted to do a “warm-up” first. Hewrote to D. Millar Craig, director of programmes at BBC:

… If there is no immediate hurry, I would like topostpone writing this piece and first arrange oneof Bach’s Organ Fugues for military band. I havehad this at the back of my mind for many years.

The organ fugue to which Holst referred is the Fugue in Gmajor [BWV 577] from Preludes, Fugues, Fantasias andOther Pieces in Book III of the Organ Works:Bachgesllschaft. Holst himself gave the title Bach’s Fugueà la Gigue to the work. For his work, which included boththe publishing and broadcasting rights, Holst was paid 25pounds (a far greater sum in 1928 than in 2005).

Holst completed his military band version in May of1928 and on 22nd July of the same year he conducted iton a special B.B.C. Wireless Military Band broadcastfeaturing his own works. An immediate hit, Bach’s Fugueà la Gigue received “record post” from listeners. Both theorchestral and military band versions were published in1929.”

Jon Ceander Mitchell

Michael Gilbertson (b. 1987): Vigil (2007/2010)

I began composing Vigil for The Juilliard Orchestra duringthe summer of 2007. Much of the inspiration for this workwas drawn from the Vespers services of the RussianOrthodox Church. The Vespers, a nighttime service ofvigilance, inspired many native Russian composers(including Rachmaninov and Tchaikovsky) to createextended choral works for the occasion. Although nomaterial in Vigil was drawn from the music of the RussianChurch, the dark reverence of the Vespers servicesprovided a conceptual basis for this work, suggesting theexpansive soundscape I have tried to create within it.

Vigil is nocturnal and lyrical in character, structured ina large arc form. The work begins with a largo section ofextended melodies, suggesting the devotional chants ofthe Vespers. A sudden, rhythmically driven allegro sectionfollows. The work reaches an ominous climax which diesdown to reveal echoes of the melodies from the openinglargo. The music fades, and two trumpets conclude thework with an unsettling peace.

Vigil is dedicated to my dear friend, Deidre Westphal,who was diagnosed with bone cancer as I began workingon this piece, and who died shortly after its première in2008, a few weeks before her 21st birthday. I am verygrateful to Russel Mikkelson, conductor of The Ohio StateUniversity Wind Symphony, for making this transcriptionpossible.

Michael Gilbertson

Rest: Music for Wind BandJohann Sebastian Bach, arr. Gustav Holst • Michael Gilbertson • Frank Ticheli • John Mackey

572980 bk Rest_572980 bk Rest 18/08/2012 12:37 Page 6

Piccolo Rachel Haug

FluteErin Torres*Lauren WatkinsRachael YokersYoonee KimKatie KuvinChristina Roberts

OboeJessica Warren*Ashley MartinStephanie Kunz

English HornStephanie Kunz

BassoonKerry Haberkern*John GormanDavid Root

ContrabassoonDavid Root

E flat ClarinetJ.P. Thompson

ClarinetJustin Johnston*Gunnar HirtheQuintin HedrickJacqueline Bretz Katie MorellMargaret Blasko David WolfeRoss Wang

Bass ClarinetAdrienne Marshall

Alto SaxophoneMichael Torres*Casey Grev

Tenor SaxophoneJackie McCammon

Baritone SaxophoneKathleen Guarna

HornDavid Hedgecoth*Joshua RobinsonMatt MauroNick MillerCynthia Gaston

TrumpetMatthew Harriman*Ryan ColumbareTodd FesslerStuart WoodardMarc BridonJulia DeMaioMark Tegtmeier

TromboneJason Abady*Josh JamesonNathan GrahamRebecca Cichy

Bass TromboneFrank Cosenza

EuphoniumHenry Attaway*Suzie KimJames Kim

TubaBrandon Christie*Jacob Blakley

PercussionJeff Vaughn*Juan MendozaMike DillmanAmanda LyonMario MariniAlissa KirkMatthew Dockendorf

Double BassMarisa Moore

Piano/CelesteGina Kang

HarpVictoria Bill

* Principal

The Ohio State University Wind Symphony

8.57298078.572980 2

RESTMusic for Wind Band

1 J.S. Bach (1685-1750), arr. Gustav Holst, ed. Jon Mitchell:Fugue à la Gigue (Fugue in G major, BWV 577, arr. 1928) 3:20

2 Michael Gilbertson (b. 1987): Vigil (2007/2010) 9:27

3 Frank Ticheli (b. 1958): Rest (2010) 6:52In loving memory of Elling Mikkelson (1932-2005)

Frank Ticheli, arr. Gary D. Green: Symphony No. 1 (2001/2010) 30:06

4 Movement 1: Of Youth 6:375 Movement 2: Of Wisdom 8:526 Movement 3: Profanation 5:347 Movement 4: Prayer 9:03

8 John Mackey (b. 1973): Asphalt Cocktail (2009) 5:40

Publishers:

Boosey & Hawkes Music Publishers, Inc. (track 1); www.michaelgilbertson.com (track 2); Manhattan Beach Music (tracks 3-7);

www.ostimusic.com (track 8)

572980 bk Rest_572980 bk Rest 18/08/2012 12:37 Page 2

WIND BAND CLASSICS

RESTJ.S. BachGilbertsonTicheliMackey

The Ohio StateUniversity WindSymphony

Russel C. Mikkelson

8.572980 8

Milton Allen

Milton Allen is the Associate Director of Bands and Visiting Associate Professor ofMusic at The Ohio State University where his duties include conducting the OSUSymphonic Band and teaching courses in undergraduate instrumental conducting. Hewas previously Director of Bands and Instrumental Division Director at Eastern IllinoisUniversity. A seventeen-year veteran of the public school rehearsal room, his refreshingand practical approach to both music education and conducting has taken himthroughout the United States, Canada, and the United Kingdom as a clinician and guestconductor. Active in the commissioning and recording of new wind works for bothdeveloping and experienced bands, he has collaborated with many composers, andensembles under his direction have received numerous awards at local, state andnational levels including recognition by the United States Congress for MusicalExcellence.

Russel C. Mikkelson

Russel C. Mikkelson serves as Director of University Bands, Professor of Music(Conducting) and Area Head of Conducting and Ensembles at The Ohio StateUniversity, where he conducts the Wind Symphony, chairs the graduateconducting program, and oversees all aspects of the university’s band program.Under his direction, the OSU Wind Symphony has performed at the 2003College Band Directors National Association Convention, the 2001, 2004, 2006,2008 and 2011 Ohio Music Educators Association Conventions, and hasrecorded four CD’s. Director of the OSU Contemporary Music Festival and astaunch advocate for the creation of new works, he also serves on the AmericanBandmasters Association Commissioning Committee and has instituted aprogram of regular commissioning projects for the OSU Bands. He is PastPresident of the Big Ten Band Directors Association, a member of the CollegeBand Directors National Association, MENC, Phi Mu Alpha Sinfonia, Phi BetaMu, and an elected member of the American Bandmasters Association. He wasthe recipient of the 2005 Ohio State University School of Music DistinguishedScholar Award.

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CMYK

Few contemporary groups are as versatile as the Ohio StateUniversity Wind Symphony, andtheir exploration of new and excitingwind music is second-to-none. Thislargely American program centerson two works by Frank Ticheli: Rest,a beguiling piece dedicated to thememory of the father of conductorRussel Mikkelson, and SymphonyNo. 1 which, in the words of thecomposer, represents ‘a kind ofjourney of the soul – from innocence,to introspection, to darkness, andfinally to enlightenment.’ MichaelGibertson’s Vigil is nocturnal andlyrical in character, while JohnMackey’s Asphalt Cocktail promisesthe scariest taxi ride of your life.There is also a real rarity fromGustav Holst.

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1 J.S. Bach (1685-1750), arr. Gustav Holst, ed. Jon Mitchell: Fugue à la Gigue (Fugue in G major, BWV 577, arr. 1928) 3:20

Milton Allen, Guest Conductor2 Michael Gilbertson (b. 1987):

Vigil (2007/2010) 9:273 Frank Ticheli (b. 1958): Rest (2010) 6:52In loving memory of Elling Mikkelson (1932-2005)

4-7 Frank Ticheli, arr. Gary D. Green: Symphony No. 1 (2001/2010) 30:06

8 John Mackey (b. 1973): Asphalt Cocktail (2009) 5:40

Brian Cheney, Tenor 7The Ohio State University

Wind SymphonyRussel C. Mikkelson

A detailed track list can be found on page 2 of the booklet.Recorded at Weigel Auditorium, Columbus, Ohio, USA, on 6th February, 2011 (tracks 1 and 3), 5th February, 2011(tracks 2 and 8), and 29th and 30th January, 2011 (tracks 4-7)Producer: Russel C. MikkelsonAssociate producer: Milton Allen • Assistant producers: John Oelrich, Matthew Dockendorf and Christina RobertsEngineer and editor: Ray DillardMastering: George Graves (The Lacquer Channel, Toronto, Ontario, Canada)Cover image by Neil Ruddy (Courtesy of Manhattan Beach Music Co.)

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