UCO Wind Symphony Dr. Brian Lamb, conductor Diversions, Divinations, and Divas May 4th, 2023 featuring Dr. Chindarat Charoenwongse-Shaw, piano Dr. Tess Remy-Schumacher, cello Dr. Barbara Fox DeMaio, mezzo-soprano Dr. Dawn Marie Lindblade-Evans, clarinet PROGRAM Divertimento for Winds and Percussion (1993) Roger Cichy (b. 1956) I. Exaltation II. Follies III. Remembrance (From BL: In Memory of Stewart Dedmon) IV. Salutation Concerto for Piano and Wind Ensemble (2010) Kimberly K. Archer (b. 1973) I. Distant, pensive II. Vigorous III. Laid back IV. Forceful Dr. Chindarat Charoenwongse-Shaw, piano Dr. Tess Remy-Schumacher, cello INTERMISSION Fashion Goddess (2020) Allen Feinstein (b. 1964) I. Invocation of the Muse/Fashion Goddess II. Athena’s Song III. A Little Friendly Competition Dr. Barbara Fox DeMaio, mezzo-soprano (the UCO Wind Symphony was part of the consortium that commissioned this work) Divine Mischief (2022) John Mackey (b. 1973) I. A stranger and a game II. Disappointment, regret, regression: a waltz III. Spellbound Dr. Dawn Marie Lindblade-Evans, clarinet (the UCO Wind Symphony was part of the consortium that commissioned this work) PROGRAM NOTES Roger Cichy, is an Ohio-born, world-class composer, known for taking intangible experience and emotions, and turning them into memorable musical works.  His compositions seek to portray things such as the slow growing momentum of daybreak, the chaotic, out-of-control nature of pandemonium, and the graceful, lyrical movement of a sand dune.  Contained in his body of works are the musical descriptions of the discovery of the Titanic, the emotional atmosphere of honor and pride at the U.S. Air Force Academy, and the all-inspiring majesty of Colorado’s Pike Peak.  Conductor Dr. Matthew George lauds Cichy’s music as, “…both rich and vast.  His uncanny knack for melody and creative orchestration can be found in all his music…”  Lowell Graham, former Conductor of the U.S. Air Force Band adds, “Roger’s music is accessible, colorful and personal.” Roger’s background as a music educator plays a big role in his creations.  He holds a Bachelor of Music and Master of Arts in Music Education degree from The Ohio State University and has directed college bands at Iowa State University and the University of Rhode Island.  Musical influences in Cichy’s career include Edward Montgomery, Marshall Barnes and Joseph Levey whom he studied with at The Ohio State University. Roger’s compositions have been published by a number of publishers including C. Alan Publications, Ludwig Masters, and Daehn Publications. He has received numerous composition awards from The American Society of Composers, Authors, and Publishers (ASCAP) for serious music, and is a member of the Recording Academy, the Society of Composer & Lyricists and the National Academy of Television Arts & Sciences.  In 2016, his film score for the PBS documentary, “The American St. Nick,” earned him an Emmy. Cichy’s music has been recorded by premier ensembles such as the North Texas Wind Symphony, the United States Air Force Band, Rutgers Wind Ensemble and the University of Georgia Wind Symphony.  In 2008, Mark Masters released a CD recording of Cichy’s music titled Sounds Sketches and Ideas, which received Grammy listings in three categories.  In 2014, another Mark Masters release,  Glorious Journey, featured the music of Charles Booker and Roger Cichy.  Most recently, Cichy composed the music for the documentary films, “Remember Pearl Harbor,” narrated by Tom Selleck for the 75th Anniversary of the attack on Pearl Harbor, “Journey Home to the USS Arizona,” narrated by Matthew Broderick, “Survivors of Malmedy,” narrated by Jason Baghe, and “Lifeline: Pearl Harbor’s Unknown Hero,” narrated by Gary Sinise. The music of Roger Cichy is continually being performed throughout the United States and abroad, including Japan, England, Germany, Austria, Switzerland, Australia, Russia, Italy, Portugal, China, Czech Republic, Spain and Mexico.  In 2007, Cichy was the commissioned composer for The Premiering Sydney Music Festival held at the Sydney Opera House in Sydney, Australia. Today, Roger is a widely sought after composer for commissions writing for professional orchestras, high school, university and professional bands, choruses and film. He frequently appears as a composer-in-residence and guest conductor. Divertimento for Strings, Winds, and Percussion was commissioned by the Des Moines Symphony Orchestra and composed in the summer of 1993.  The piece, in four movements, is a tribute to three American composers, Aaron Copland, Leonard Bernstein, and George Gershwin, who were all intrigued by jazz and incorporated elements of the idiom into their music.  The use of the musical notes c (Copland), b (Bernstein), and g (Gershwin) form the nucleus for much of the thematic as well as harmonic material.  The composition uses jazz elements as the basis for a classical composition.  Extensive use is made of the flatted third, fifth, and seventh from the blues scale, both in thematic and harmonic structures.  Written meters are often altered by grouping notes in a manner that displaces normal agogic accents. Typical is the eighth note grouping of 3 + 3 + 2 in a 4/4 measure.  The interval of the seventh derived from the C-B note relationship is a prominent unifying element in each movement.  The third movement, Remembrance, strays from extensive use of the blues scale, idiomatic jazz rhythms, and extensive use of the c, b, and g note combinations.  Here, the intention is to contrast the other three movements (movement three is in the key of G, all others are in C) but continue the use of idiomatic jazz elements in the form of a jazz ballad.  The Divertimento for Strings, Winds, and Percussion was later transcribed by the composer in December of 1993, retitled Divertimento for Winds and Percussion, and performed by the Iowa State University Wind Ensemble at the College Band Directors National Association North Central Convention in Omaha.  The work immediately drew national attention and was selected to be used at the prestigious Cincinnati College Conservatory Conducting Symposium during the summer of 1994.  The work is recorded and released by the North Texas Wind Symphony on the Klavier label (Klavier KCD-11070). (Composer bio and program notes downloaded from: rogercichy.com). *********** Kimberly K. Archer is currently serving as Professor of Composition at Southern Illinois University in Edwardsville, Illinois. She teaches composition, music theory, analysis, counterpoint, and 20th century music. Past appointments include Bowling Green State University in Ohio, Western Carolina University in North Carolina, and Southeast High School in Florida. Dr. Archer holds a Bachelor of Music Education from The Florida State University, a Master of Music in Composition from Syracuse University, and a Doctor of Musical Arts in Composition from The University of Texas at Austin. Her teachers include David Maslanka, David Gillingham, Andrew Waggoner, Donald Grantham, and Charlie Carter. A specialist in music for winds and percussion, Dr. Archer has been commissioned by organizations such as: The “President’s Own” United States Marine Band The United States Air Force Band of Mid-America Kappa Kappa Psi & Tau Beta Sigma The University of Nebraska-Lincoln Illinois State University The Florida State University Summer Music Camps The Florida Bandmasters Association The International Women’s Brass Conference Consortiums of university and high school ensembles around the country Her music has been performed throughout the United States, at events including The 59th Presidential Inauguration The Midwest International Band and Orchestra Clinic The World Association of Symphonic Bands and Ensembles (WASBE) International Convention Regional conventions of the College Band Directors National Association (CBDNA) National conventions of the National Flute Association State conventions of the Nebraska State Band Association, Oklahoma Music Educators Association, and the National Band Association-Wisconsin Dr. Archer is a contributor for Composers on Composing for Band, Volume 4. In addition, her for those taken too soon .... (Symphony no. 1) is featured in an interview in the February 2004 issue of “The Instrumentalist,” titled “Kimberly Archer Turned Sadness into a Five-Movement Memorial.” She is a regular recipient of the ASCAPLUS award. Dr. Archer’s published music is available from Murphy Music Press and C. Alan Publications. Her Symphony no. 3 (Troy 1152) is recorded on Albany Records. Her Concerto for Piano and Wind Ensemble (8984-MCD), Symphony no. 2 (6669-MCD) and for those taken too soon .... Symphony no. 1 (7643-MCD) are recorded by Mark Custom Recording. Concerto for Piano and Wind Ensemble:  It was April 2007, during rehearsals for the premiere of my Symphony no. 3. The head of the consortium and my best friend, Chris Werner, asked in a quiet moment if I knew what my next project would be. I admitted feeling so fatigued it was hard to imagine composing again, but I’ve always wanted to try a piano concerto with wind ensemble. Of course, it’s one of those nearly obligatory “composer benchmarks,” like writing a string quartet. Certainly, since I do not play the piano, there is an interesting challenge inherent in approaching the instrument and proving I’m capable of writing for it. Perhaps most important, though, is that the term “piano concerto” virtually always assumes “with orchestra.” I, on the other hand, find that the timbral qualities of the piano meld particularly well with wind instruments and keyboard percussion (such as the marimba and vibraphone), and that its versatility as both a melodic and percussive instrument opens a myriad of colorful possibilities. As I began composing the first movement, a strikingly plaintive theme of equal importance to the piano emerged, which could only be for solo cello. In November 2007, Chris and I had observed rehearsals of David Maslanka’s Trombone Concerto, and were both deeply touched by the cello’s voice within the wind ensemble. At the time, I mused on what the combination of cello and euphonium (my own instrument) might sound like, tucking that away for future use. Chris, however, seemed unusually, powerfully affected. He shared with me the soundtrack to the television series “Lost” shortly after that, which also features the cello and piano, and commented often, emphatically, that the cello is for him the embodiment of loneliness. I realized as I continued working on that first idea for my own concerto that not only would this cello theme be the motivic foundation and the heart of the work, but also a loving acknowledgement of a shared solitude between Chris and me. It was only natural, then, to dedicate the finished concerto to him. (Composer bio and program notes downloaded from: kimberlyarcher.squarespace.com). *********** Allen Feinstein is a composer and conductor of classical and film music and a creator of musical theater. He is Director of Bands at Northeastern University, where he leads the Wind Ensemble. His Concerto for Euphonium and Orchestra: Swimming the Mountain won the Phillips Award for compositional excellence from the International Tuba Euphonium Association. The concerto, which was inspired by an ancient Greek poem, was recorded by Adam Frey, guest soloist for the Boston Pops, and the New Zealand Symphony, under the direction of Bruce Hangen. Feinstein composed, arranged and conducted two scores accompanying silent films on the National Film Preservation Foundation's DVD compilation Treasures 3, which examined how early filmmakers addressed social issues. The DVD set was on many 'best of' lists, including those of The New York Times, Time Magazine, and The New Yorker. His compositions for narrator and orchestra have been performed widely, including The Little Engine That Could, which has received almost 100 performances, by groups including the Milwaukee Symphony, Buffalo Philharmonic, and Virginia Symphony . His works for winds have been performed by the Banda Municipal de Jaen (Spain), and wind ensembles at the University of Connecticut, Northeastern, Harvard, Brown, Boston University, M.I.T., among many others. He has composed the score for several musicals and serves as Music Supervisor for the Hasty Pudding Theatricals at Harvard University, an organization dedicated to creating and producing a new musical each year. Fashion Goddess is a retelling of the Athena/ Arachne myth. The band accompanies the soloist in a variety of musical styles and serves as a Greek chorus. The melodic foundation of Fashion Goddess is the Seikilos Epitaph, the oldest surviving completely notated musical composition. This ancient Greek melody appears on a tombstone that dates from the first or second century C.E. The tune can be heard in the piccolo and first trumpet parts early in the first movement and in many other instruments throughout the score. As Fashion Goddess is a composition with musical theatre elements, the audience is encouraged to applaud at the end of the movements. A note from the composer: In 2018, conductor Allison Betsold approached me to write a work for band and musical theatre singer. I was honored by her request and soon realized it provided an opportunity to fill a gap in the repertoire—there are not many works in the canon that use band instrumentation, feature a musical theatre-style singer, and aspire to be theatrical and comic. Allison subsequently assembled a consortium to commission the work (and the consortium includes the University of Central Oklahoma Wind Symphony). I thank her and the commissioning ensembles for their support. I hope they have as much fun performing the piece as I had composing it. I want to express my deep appreciation to John Leonard for his many valued contributions as editor. Fashion Goddess is dedicated to Allison Betsold, in recognition of her tireless efforts in support of the piece, and for her friendship, and to the Northeastern Concert Band, the first ensemble to join in the commission, who have been joyful collaborators of mine for decades. (Composer bio and program notes taken directly from the published score of Fashion Goddess). *********** John Mackey has written for orchestras (Brooklyn Philharmonic, New York Youth Symphony), theater (Dallas Theater Center), and extensively for dance (Alvin Ailey American Dance Theater, Parsons Dance Company, New York City Ballet), but the majority of his work for the past decade has been for wind ensembles (the fancy name for concert bands), and his band catalog now receives annual performances numbering in the thousands. Recent commissions include works for the BBC Singers, the Dallas Wind Symphony, military, high school, middle school, and university bands across America and Japan, and concertos for Joseph Alessi (principal trombone, New York Philharmonic), Christopher Martin (principal trumpet, New York Philharmonic), and Julian Bliss (international clarinet soloist). In 2014, he became the youngest composer ever inducted into the American Bandmasters Association. In 2018, he received the Wladimir & Rhoda Lakond Award from the American Academy of Arts and Letters. He resides in San Francisco, California, with his spouse, A. E. Jaques, a philosopher who works on the ethics of artificial intelligence for MIT, and also titles all of his pieces; and their cats, Noodle and Bloop. Divine Mischief:  I have been asked several times if I would write a clarinet concerto, but the question only resulted in one thing: fear. I love the instrument – my grandfather was a clarinetist! – but when I was still a teenager, I heard John Corigliano’s clarinet concerto. On one hearing, I loved it so much that I decided it was my favorite piece by any living composer, and, to me, the greatest wind concerto I’d ever heard. Based on that piece, and later hearing it live, I essentially stalked Corigliano, resulting somehow not in a restraining order, but in an invitation to study with him at Juilliard. (To any aspiring composers reading this, please don’t try that.) To this day, several decades later, I consider Corigliano’s concerto an absolute masterpiece. So when asked if I’d write a concerto, I always just claimed to be busy, when in reality, I was terrified. But as my brilliant spouse Abby tells me, sometimes the reason to do something is because it’s scary. Not so long ago, Julian Bliss contacted me and asked that same question. Maybe I’d had too much tequila when he asked, or maybe I was as scared as always, but smart enough to know that if somebody at Julian’s level of skill asks you to write for them, you do it. So I agreed, and the result is “Divine Mischief.” If you see Julian play, you immediately sense his charisma. This guy is a rock star on clarinet. And if you speak to him, you may sense that maybe he could cause some trouble – all in good fun, of course. As I always do with large pieces, I discussed all of this with Abby, with whom I’d just seen the Tchaikovsky ballet, “Swan Lake.” We had the idea for Abby to write a synopsis – a story, conceived as if it were a ballet, and I would write the concerto as if it were a ballet score for her story. Inspired by Julian’s personality, Abby decided that Julian would play the role of a trickster figure, like Loki, Tom Sawyer, or Till Eulenspiegel. Below is her synopsis. I. A stranger and a game The town square is as bustling as you would expect on market day, but neither shoppers nor sellers are to be found in the stalls. All eyes are fixed on a stranger wearing peculiar clothes and carrying a spectacular instrument who has appeared as if from nowhere. The stranger surveys the waiting audience, but does not play. The throng chants a fanfare, urging the stranger to perform. The stranger begins, disastrously. The crowd cannot believe that the bearer of such an extraordinary instrument is unable to play, and vents its frustration at the horrific noises—until they transform into a delicate, lyrical melody. The audience sighs its approval. But as soon as the listeners begin to relax into the music, the stranger changes it. Slow becomes fast, discord disrupts delicacy, chaos creeps in—but only until the audience accepts the raucous new reality, at which point the player swerves again. And again. And again. The rules of the stranger’s game become clear: Follow me, as I leave you behind. II. Disappointment, regret, regression: a waltz Realizing that the only way to win this game is not to play, the crowd begins to disperse, grumbling with disappointment. The stranger replies with a slow, sad waltz of apology, pleading for the people to return. Hesitant but eventually persuaded, the townspeople join in the dance. Of course, this enchantment can’t last. Soon the stranger transforms the penance into parade and back again, making a joke of the crowd’s displeasure. III. Spellbound The townspeople revolt. The stranger again tries to tempt them with apologies, to charm them with amusements—but the angry mob has had enough, even before the stranger undermines these overtures by mocking the very idea of sincerity. Yet the stranger plays on, sure the audience will succumb eventually. When the crowd registers the depth of the stranger’s determination to toy with them, the extremity of the stranger’s appetite for amusement, they recognize the stranger at last: this is the Trickster. A plan forms. They play a snippet of a slow chorale, knowing the Trickster will echo and taunt them. And when the Trickster does just that, something happens; magic crackles in the air. The people play another snippet; the Trickster mocks them again—and that taunting echo casts a powerful spell, one that passes in shadow over the whole assemblage. The shadow is the spell seeking its target, the one the spell will condemn to perform ever more stupendous feats for the amusement of the spellcaster. Who does the shadow seek? “Whosoever displeases by failing to amuse.” But that, of course, the Trickster—the one who has spent all day taking pleasure at others’ expense, providing none in return. And so the Trickster is not only the spellcaster but also the spell’s target, self- condemned to play until the god’s own insatiable need for entertainment is satisfied. Which is to say, self-condemned to play forever. The spell takes hold; the stranger-god plays. The townspeople celebrate the performance they have been waiting for all day. Divine virtuosity pours out, turning from trickle to torrent to flood. But the deluge can do nothing to slake the god’s endless thirst, nothing to fulfill the god’s now-eternal task. The spectacle may pause, but only because ceaseless revels lose their charm. The show must go on. (And on, and on.) The player has become the plaything, the Trickster has been tricked. Or so it seems. It’s so hard to tell, with Tricksters. Program note by A. E. Jaques (Composer bio and program notes downloaded from: johnmackey.com) PERFORMER BIOS Brian Lamb, D.M.A., has served as the Director of Bands at the University of Central Oklahoma since 2001.  He conducts the Wind Symphony and the Marching Band, and teaches conducting and instrumental courses; he continues to guide all aspects of the UCO band program. Dr. Lamb made his Carnegie Hall debut in 2005, performing with UCO friend and colleague Tess Remy in the Weill Recital Hall. In 2006, Lamb and the UCO Wind Symphony performed for a full house in the Isaac Stern Auditorium at Carnegie Hall. The UCO Wind Symphony, with Lamb as conductor, has garnered international attention and acclaim from audiences, composers, and critics alike for outstanding and creative performances and for playing an active role in commissioning projects and consortiums, including work with Carter Pann, David Maslanka, Carolyn Bremer, Richard Danielpour, Michael Daugherty, Michael Colgrass, Samuel Magrill, and others. Lamb received his bachelor's degree in music education from Baylor University, a master's degree in trumpet performance and literature from the University of Notre Dame, and the doctor of musical arts degree in conducting from the University of North Texas. He has been fortunate to study with many outstanding musical mentors, including Eugene Corporon, Michael Haithcock, Gary Sousa, Larry Rachleff, Alan McMurray, Jack Stamp, Dennis Fisher, John Haynie, Barry Hopper, and William Scarlett. Prior to his UCO appointment, Dr. Lamb served as Director of Instrumental Studies at Southwest Baptist University and as director of bands and chairman of the fine arts department at James Bowie High School in Arlington, Texas. Still active as a trumpet performer, Dr. Lamb plays in the Redbud Brass Quintet, the UCO Faculty Brass Quintet.  Dr. Lamb is active as a clinician and guest conductor all over the world, and his groups have received acclaim for performances at regional, state and national conventions.  In his 22-year tenure at UCO, the Wind Symphony has been selected to perform at three College Band Directors National Association (CBDNA) Regional Conventions, and they have been the collegiate honor band at six Oklahoma Music Educators Association (OkMEA) conventions. Under Lamb’s baton, the UCO Wind Symphony has released 5 CDs on the prestigious Equilibrium label, which are available on Spotify, Apple Music, Amazon, CDBaby, and all other relevant streaming services. He has contributed several published works to various journals and textbooks, and he is the author of "Music is Magic," a children's radio program that aired on KUCO-90.1 FM. He is a member of Pi Kappa Lambda Music Honor Society, the College Band Directors National Association, Oklahoma Music Educators Association, Music Educators National Conference, and Phi Mu Alpha Sinfonia.  He was honored as a Friend of the Arts by Sigma Alpha Iota, he is an honorary member of Kappa Kappa Psi, the national band service fraternity, and he was recently inducted into the Oklahoma chapter of Phi Beta Mu, the international band directors’ fraternity. Chindarat Charoenwongse, D.M.A., is from Bangkok, Thailand, and teaches applied piano, piano pedagogy, piano literature, and coaches chamber music. She received a Bachelor of Fine and Applied Arts in Piano Performance with first class honors from Chulalongkorn University, and Performer's Diplomas from Trinity College of Music. As a Fulbright scholar, she graduated with a Master of Music in Music Education from Eastman School of Music. She obtained her Doctor of Musical Arts in Piano Performance and Pedagogy from the University of Oklahoma. She studied piano with Edward Gates, Barry Snyder, Anton Nel, Tongsuang Israngkun, and Natchar Pancharoen; and piano pedagogy with E. L. Lancaster, Jane Magrath, Tony Caramia, and Tongsuang Israngkun. Her international performances include concertos with the Faculty of Fine and Applied Arts Orchestra of Chulalongkorn University, Chulalongkorn University Symphony Orchestra for Her Royal Highness Princess Galayani Vaddhana. In June 2006, she performed as a soloist with the Thai National Symphony Orchestra to honor His Majesty the King of Thailand’s 60th Anniversary of His Accession to the Throne.  She also performed with the University of Central Oklahoma Symphony Orchestra, and most recently in 2018 with University of Central Oklahoma Chamber Orchestra. Since 2007, she has been a member of the Arcadia Piano Trio which has performed in the U.S., Canada, and Thailand.  In July 2015 the trio was invited to perform at the 11th annual Thailand International Composer Festival (TICF). Prior to joining the University of Central Oklahoma (UCO) School of Music faculty, she taught at Chulalongkorn University, Kasetsart University, and Chintakarn Music Institute where she served as the head of the piano department. An active piano pedagogy clinician, she presented both in the U.S. and Thailand workshops, master-classes and lectures for Alfred and Hal Leonard publications on various university campuses, including University of Wisconsin at Whitewater, Kansas State University, Chulalongkorn University, Kasetsart University, Mahidol University, Payap University, Rangsit University and Srinakharinwirot University. She gave many presentations on topics such as “Teaching Inner Hearing in Piano Lessons”, “Baroque Pedaling”, and “Classical Performance Practice” to the Oklahoma Music Teachers Association's State Conference, and affiliated Associations in the U.S. including Kansas Area Music Teachers Association.   In 2000, she was selected by "Who's Who of American Women" to be honored in the New Millennium publication. An active adjudicator, she has served as an adjudicator for numerous piano audition/competitions including for Oklahoma Music Teachers Association (OMTA), Texas Music Teachers Association's Young Artist Competition, Oklahoma Music Teachers Association’s MTNA (Music Teachers National Association) Young Artist Competition, Amadeus Music Festival's Twentieth Century Piano Music Competition, Oklahoma City Philharmonic Orchestra League's Piano Concerto Competition and Piano Competition. Her piano students were winners to represent Oklahoma in Music Teachers National Association’s Young Artists Piano Competitions (division/regional) in 2011, 2012 and 2013, as well as winners in Oklahoma competitions.  She also teaches pre-college piano students through UCO Central Community Music School (CCMS), and her students were winners of OMTA Junior Competitions. In Mind-Brain based education, cognition and meta-cognition, she has been applying strategies to help applied piano, piano literature and piano pedagogy students to learn and develop with transformative experience, resulting in many students’ reflective reports of their improved learning experiences and juried piano performances.  In 2017, she authored “Helping Musicians Learn” article in a publication Transforming Teaching and Learning Through Brain Science published by the University of Central Oklahoma’s Department of Educational Science, Foundation and Research, and sponsored by UCO Center for Excellence in Transformative Teaching and Learning.  Since 2016 she has been a member of the faculty Embodied Brain Education group which is currently conducting research on applying brain-based science into classroom experiences across a variety of disciplines. Chindarat has been a piano faculty at the University of Central Oklahoma since 2000 and served as the Piano Division Head during 2005-2010.  She is honored to serve as the director of the Music Outreach Program which brings music to local and global communities. Tess Remy-Schumacher, D.M.A., is a featured Solo Artist on Kitt Wakeley's 2023 GRAMMY® winning CD "An Adoption Story", the 2022 AKADEMIA Music Award Grand Prize Winner, a Global Music Award multiple silver medal winner and bronze medal winner as the Otis Trio with Dr. Dawn Lindblade-Evans and Dr. Sallie Pollack, a Native American Music Award nominee with Jerod Impichchaachaaha' Tate, and 1st prize winner at the international Carlo-Zecchi Competition in Rome. She has been a concert soloist for many years performing in Asia, Australia, Europe, and the U.S., including the Wigmore Hall in London, Jubilee Hall in Singapore, Bradley Hall in Chicago, and the Carnegie Recital Hall in New York. Among her 20+ albums are premiere recordings of David Maslanka's Cello Concerto "Remember Me" and Carter Pann's Cello Concerto "High Songs" with the UCO Wind Symphony under conductor Dr. Brian Lamb. Dr. Remy received a DMA and MM from the University of Southern California and her Artist Diploma (terminal degree) from the Musikhochschule Koeln, Germany.  Among her teachers were Boris Pergamenschikow Eleonore Schoenfeld, Lynn Harrell, and Jacqueline du Pre. Tess was a Visiting Scholar and Performance Fellow at Harvard University 2010-2012.  Previously, she was tenured faculty at James Cook University, Australia.  Currently, she is Professor for Cello and cofounder of the Brisch Center for Historical Performance at UCO.  https://www3.uco.edu/centraldirectory/profiles/5999 Barbara Fox DeMaio, D.M.A., had an International career as a Puccini and Verdi soprano, performing in theatres in Italy, Swizerland, Germany and France; Tosca, Lady Macbeth, Turandot, Aida, Norma, Abigaille in Nabucco, and also Amelia in Ballo in Maschera, Elvira in Ernani, Lucrezia in I Due Foscari, Leonora in La Forza del Destino and Odabella in La Scala's Attila directed by Riccardo Muti. Recent performances include Bolcom’s Medea, Hoiby’s Bon Appetit!, the Witch in Humperdinck’s Hansel and Gretel , Domina in Forum, Mama Rose in Gypsy, Grandma Helene in Freaky Friday, Ida Strauss in Titanic, the Principal Miss Lynch in Grease, Joanne in Company, Berta in Il Barbiere di Siviglia and Costanza in the play Enchanted April. Dr. DeMaio is an Assoc. Prof. of Voice at the University of Central Oklahoma, Founder, Executive Director Emeritus and Head of Development of Painted Sky Opera and head of the UCO MM in Vocal Pedagogy. In 2016, she was named a Member Laureate by Sigma Alpha Iota. She has presented her DMA Vocal pedagogy dissertation research on the effect of menopause on the elite singing voice in the form of workshops and presentations across the US, at La Voce Artistica in Ravenna, Italy and at The Voice Geek Conference in Colchester, England. Dawn Marie Lindblade-Evans, D.M.A, professor at the University of Central Oklahoma, joined the faculty in the fall of 2011. She also teaches for Clarinet Pro Workshops with Executive Director, Julie Linder. She has previously held positions at Southeastern Louisiana University and the Puerto Rico Conservatory of Music. She is currently serving as the State Chair Coordinator for the International Clarinet Association. An active chamber musician, she is currently a member of the Otis Trio (Tess Remy-Schumacher, cello and Sallie Pollack, piano) and the Lupine Trio (Hong Zhu, violin and Sallie Pollack, piano. An International performer, she toured China and performed and taught classes in Guangzhou, Chengdu and Beijing in 2016. She also concertized with colleagues in Bangkok, Thailand in 2019, and in Germany and Montenegro in 2022. Conference performances include the International Clarinet Association’s ‘Clarinetfest’, the Oklahoma and Dallas Clarinet Symposiums, College Music Society National and Regional Conferences, and the Society of Composers, Inc. National Conference. Lindblade-Evans studied with renowned pedagogues Elsa Ludewig-Verdehr, James Gillespie and Kimberly Cole-Luevano. Lindblade-Evans is a Selmer Paris/Conn Selmer artist and performs on Seles Présence clarinets. Lindblade-Evans is also a Performing Artist for D’Addario & Company and performs exclusively on Reserve and Reserve Classic reeds, and plays the Reserve clarinet mouthpiece (X15E). WIND SYMPHONY PERSONNEL FLUTES Naomi Tomko Del City BM Bryanna Louch Choctaw BM Karissa Denham Southmoore BME Abbie Childers Tuttle BME Nicholas Cockerill Moore BME OBOE Diana Henderson Oklahoma City MM Braeden Jermain–English horn Edmond North BME Nicholas Cockerill Moore BME BASSOONS Abbie Claussen Bartlesville BME Ryan Colcomb Tulsa Union BME Micah Adkins–contra Edmond Santa Fe BME CLARINETS Cristian Celis Justin,TX BM Kyle Nolting Mustang Math Mikayla Walker McAlester BME Sara Roark Tuttle BME Jasmine Wright Western Heights BME Fernanda Ceron Western Heights BME Roseanna Medina Chickasha BME BASS & CONTRA CLARINETS Noah Billingsley Bartlesville BME Eli Hellstern Edmond Santa Fe BME Anthony DeLozier McKinney, TX BM SAXOPHONES Jeffrey Stevenson–tenor Madison Heights, VA MM - Jazz Eric Neel–alto/soprano Edmond Memorial BME Jalon Thomas–alto Western Heights BM Jon Torres–bari Mustang Kinesiology TRUMPETS Caleb Rollins Edmond Santa Fe BM Miranda Highby Edmond Santa Fe BM Brock Lewis Choctaw BA - Music Laila Martinez Deer Creek Nursing Cameron Hadley Berryhill BME Ty Clifton Choctaw BME HORNS Blake Sullivan Mustang BME Becca Geitzenauer Enid BM Alex Hamm Checotah BM Cristalynne Burns Classen SAS BME TROMBONES Naomi Wharry Idabel BM Mason Longey Choctaw Business Mateo Rivera–bass Edmond Memorial BME Ben Curtis Norman North BM EUPHONIUM Lucas Haught Coweta BME Matthew Cardwell Mustang BME TUBA Matt Card Southmoore BME Riley Crow Cushing BME STRING BASS Aimee McRorie Edmond North MM - Jazz PERCUSSION Kyle Broadbrooks Verdigris BM Mike Hill Tulsa Union BME Zach Kimber Piedmont BME Katelynn Moore Edmond Santa Fe BME Eric Sturgeon Mounds BME Trey Brabham Mustang BME Treven Cowherd Edmond Memorial BME PIANO Huiru Hu Fujian, China MM HARP Chelsea Bushong (Faculty Guest Artist)