Program Note written by Cam Hope and June Meyerhofer

Gustav Holst (1874–1934) was an English composer and music educator known for his imaginative orchestration and distinctive musical style. He studied at the Royal College of Music in London and began his career as a professional trombone player before eventually becoming a teacher. Holst held prominent teaching positions at St. Paul’s Girls’ School and Morley College, where he encouraged students to explore English folk songs, choral traditions, and instrumental music. His compositions blended English musical traditions with influences from European composers and Hindu literature. His best-known orchestral work, The Planets (1918), demonstrates his ability to create vivid musical colors and expressive textures. Through his compositions and teaching, Holst made lasting contributions to both British music and music education.

Holst’s Second Suite in F for Military Band (1911) celebrates the rich tradition of English folk music. Its four movements, “March,” “Song Without Words,” “Song of the Blacksmith,” and “Fantasia on the Dargason,” each explore distinct folk melodies and musical characters. The opening movement, “March,” combines several traditional tunes, while the second movement, “Song Without Words,” features the expressive melody of “I’ll Love My Love.” The third movement, “Song of the Blacksmith,” incorporates lively rhythms and percussion to evoke the sounds of a blacksmith at work. The final movement, “Fantasia on the Dargason,” builds energy through a repeating folk tune before combining it with the familiar melody of “Greensleeves.”

One of the suite's most distinctive features is Holst’s use of orchestration to create contrasting moods and textures. The woodwinds, brass, and percussion each contribute to the character of the movements, allowing the music to shift between energetic rhythms and expressive melodies while maintaining a sense of unity through its shared folk influences. Listeners can follow how the melodies develop throughout the suite and how the musical energy changes from one movement to the next. In “Song Without Words,” the lyrical melody creates a reflective atmosphere that contrasts with the rhythmic drive of “Song of the Blacksmith.” The final movement is particularly engaging as the “Dargason” tune gradually builds before combining with “Greensleeves.”

Second Suite in F remains an important work in the wind band repertoire, combining historical significance with opportunities for musical expression. It challenges performers to maintain rhythmic accuracy, balance their sound, and communicate the unique character of each movement. Ultimately, the suite demonstrates how composers can preserve musical traditions while introducing new ideas through orchestration and arrangement, creating a work that remains meaningful for musicians and audiences today.

Program Note written by Chase Cope and Bella Rinaldi Diaz

Born and raised in the Riverina region of New South Wales, Australia, Jodie Blackshaw has dedicated over 30 years to making a significant impact in the music world. In 2020, she earned her PhD in Music Composition from the Australian National University, where she studied under Dr. Christopher Sainsbury and Dr. Craig Kirchhoff. Blackshaw is a compassionate composer and conductor, widely recognized for her creative and intensely colorful compositional style. In 2006, she won the inaugural Frank Ticheli Composition Contest with her work Whirlwind. Beyond her career in composition and conducting, Blackshaw founded the Female Band Composer Database in 2017 and the ColorFULL Music website in 2018, both aimed at encouraging greater diversity in band programs. She is also a dedicated environmental activist. In 2022, she launched her "Conservation Series," an expanding collection of works composed to raise funds and awareness for climate change and endangered species. That same year, she became chair of both the World Association of Symphonic Bands and Ensembles (WASBE) and the Emerging Composers Project. She currently serves as chair of the WASBE Composer Network for the 2026–2028 term.

Peace Dancer is dedicated to Dr. Craig Kirchhoff and was commissioned by the University of British Columbia Conducting Symposium Consortium in 2017. The work is based on the book Peace Dancer, written by Roy Henry Vickers and Robert Budd. The story centers on a song and dance created for chiefs of the Pacific Northwest Coast. Those chosen to perform are regarded as healers, reminding their communities of how they have lost their way and their love for creation. Blackshaw draws particular inspiration from the book's statement: “We have really lost our way, and we have not taught our children love and respect”. Through Peace Dancer, Blackshaw takes listeners on a journey of discovery, moving from the recognition of one's own wrongdoing to an understanding of its consequences and the remorse that follows. She illustrates this journey through four distinct sections: meditation, awakening, realization, and humility.

The piece begins with a mournful and somber atmosphere, gradually building anticipation through moments of “anxious intensity” before reaching a point of emotional release. Even after this release of tension, an underlying melancholy remains. The work concludes with moments of reflection and understanding, ultimately emphasizing the importance of moving forward with humility and grace.

Program Note written by Cameron Warner, Simon Wordsworth, and Kailin Bomely

Carlos Lalonde is a Filipino-American musician recognized as an eclectic composer whose work displays “wonderful craft and artistry” (Austin Symphonic Band) across orchestral, choral, and wind ensemble compositions. Lalonde’s music has also received critical acclaim for exploring unique themes, including society, spirituality, and the world around us, evoking thought-provoking ideas for listeners.

Although a relatively young and emerging composer, Lalonde demonstrates considerable experience and musical knowledge through their bold and engaging works. In a 2021 podcast interview, Lalonde stated that their first experiences with composition began with simple arrangements of popular songs for their school’s marching band. What initially started as a fun way to make music with friends eventually developed into a deeper appreciation for writing concert band literature and creating original compositions. Lalonde continued pursuing composition in college, earning a Bachelor of Music in Composition from Bradley University in Peoria, Illinois, and a Master of Music in Composition from Michigan State University. They are currently furthering their education by pursuing a Doctor of Musical Arts in Composition at the University of Michigan.

Lalonde’s compositions have been performed by acclaimed collegiate and professional ensembles throughout the United States and internationally. They have received numerous composition awards from organizations such as ASCAP, the Alabama Orchestral Organization, and Cantus Vocal Ensemble, among others. Lalonde has also been recognized by the Illinois Music Educators Association, presenting twice at its statewide conference. Additionally, their compositions have been included in the South Carolina Music Educators Association’s Concert Performance repertoire.

Lalonde composed Uncommon Will in 2024 for the Michigan State University Campus Band after receiving the Jere Hutcheson Large Ensemble Composition Award. The title is a direct reference to Michigan State University’s Alma Mater motto, which states: “With Uncommon Will, We Build a Far Better World”. This statement serves as the inspiration for the piece, embodying an unyielding mentality and spirit of determination. Uncommon Will portrays a determination that persists through difficult circumstances, presenting resilience not as the absence of struggle, but as the decision to rise above it.

The piece brings these ideas to life by beginning in a place of uncertainty, utilizing spacious textures and syncopated rhythms while gradually introducing additional instruments and their accompanying countermelodies. As the ensemble builds, the music reflects a determination to persevere through uncertain and difficult circumstances. The opening musical idea is reshaped and revisited multiple times, growing in intensity and becoming increasingly solidified with each appearance. As you listen, notice how the music never waits for obstacles to clear. Instead, it leans forward and keeps going. 

Program Note written by Danny Coria and Cody White

Born in 2005 in Howard County, Maryland, Bakhari S. Nokuri is an African-American composer, producer, and drummer based in Los Angeles. Growing up, Bakhari spent much of his time with his mother, who was a jazz performance major at the Peabody Conservatory. Her musical background inspired him to discover his own passion for music. Bakhari began his musical journey using music apps on his tablet, experimenting with and arranging small works for symphonies, jazz ensembles, and marching bands throughout middle and high school. During this time, he continued expanding his compositional skills, drawing inspiration from performances by the Houston Youth Chamber Orchestra, Maryland All-State Band, and the Gifted and Talented Band in Houston, as well as live jazz performances at Baltimore’s Keystone Korner and An Die Musik. Deeply passionate about composition, Bakhari regularly sought feedback through the Maryland Music Educators Association’s Young Composers Project, continuously submitting his original works. His hard work and dedication paid off, earning him five Superior ratings. In 2023, Bakhari experienced the first live premiere of his piece Prayers and Tribulation, performed by Glenelg High School. He continued his compositional journey in 2024 by leading his own big band as part of his family’s concert series, Night of Hope.

Inspired by his mother and renowned classical composers such as Leonard Bernstein, Mahler, and Hazo, as well as jazz greats including Robert Glasper, Herbie Hancock, and Chick Corea, Bakhari incorporates many of the musical elements unique to jazz into his compositions. He further expands his musical palette by incorporating influences from contemporary artists such as Thundercat and Tyler, the Creator. In one of his recent works, Afrospire, composed in 2022 and first performed nationwide in 2026, Bakhari cites Chick Corea’s La Fiesta and Stan Kenton’s Malagueña as primary inspirations. The piece also incorporates the syncopated rhythms of Afro-Cuban music and African drumming, connecting Bakhari to his African roots.

Bakhari has stated that he composed Afrospire during a challenging period in his academic career, an experience reflected throughout the work. The piece opens with a flurry of chaotic woodwind runs and gradually increasing intensity throughout the ensemble. As the music develops, increasingly intricate woodwind passages are met by bold brass themes and contrasting melodic lines, reflecting the chaos and disorder Bakhari experienced. At what seems to be the height of this intensity, the mood suddenly lightens as the ensemble's volume drops, revealing call-and-response passages between the flutes and clarinets. Supported by the saxophones, these melodic exchanges gradually build as the piece moves through each phrase. The work concludes with peaceful, sustained notes accented by woodwind trills, coming together to create the image of a shimmering star.

2026-2027

• Searching for Nostalgia

2025-2026

• Love and Nature
• Words to Live By
• Through Each Other's Eyes
• Visions on Past