Everyday Heroes
Nathan Hervey
Everyday Heroes is an attempt to say “thank you” to the countless men and women in the United States military, police, fire, and EMT services who keep us safe every single day. These individuals are literally putting their lives at risk for people they don’t even know as a part of their job. As a teacher, I know that my work is important, meaningful and affects many people. However, when someone has an emergency, they don’t call me; they call these heroes. There are many ways we can thank these individuals for their service, but I wanted to use music to communicate my gratitude, and hopefully this is something that can live on in posterity for future generations of teachers and musicians to use in thanking our service men and women.
The opening is intended to sound like the opening credits of your favorite superhero movie. This is my way of recognizing the heroic nature of the work these men and women perform. The melody is intended to be memorable, and stick with you long after you hear the song. There is a slower section in the middle that acts as an “in memoriam” moment for those who’ve made the ultimate sacrifice to keep us safe. The harmony and melody used here is indicative of church hymns, something that I participate in each week at my local church. The ending features a big finish and a huge “THANK YOU!” to our veterans and first responders. I hope you enjoy this tribute to our Everyday Heroes!
– Program Note by Nathan Hervey
An American Elegy
Frank Ticheli
I was moved and honored by this commission invitation, and deeply inspired by the circumstances surrounding it. Rarely has a work revealed itself to me with such powerful speed and clarity. The first eight bars of the main melody came to me fully formed in a dream. Virtually every element of the work was discovered within the span of about two weeks. The remainder of my time was spent refining, developing, and orchestrating.
The work begins at the bottom of the ensemble’s register, and ascends gradually to a heartfelt cry of hope. The main theme that follows, stated by the horns, reveals a more lyrical, serene side of the piece. A second theme, based on a simple repeated harmonic pattern, suggests yet another, more poignant mood. These three moods — hope, serenity, and sadness — become intertwined throughout the work, defining its complex expressive character. A four-part canon builds to a climactic quotation of the Columbine Alma Mater. The music recedes, and an offstage trumpeter is heard, suggesting a celestial voice — a heavenly message. The full ensemble returns with a final, exalted statement of the main theme.
An American Elegy was commissioned by the Columbine Commissioning Fund, a special project sponsored by the Alpha Iota Chapter of Kappa Kappa Psi at the University of Colorado on behalf of the Columbine High School Band. Contributors to the Fund included members, chapters, alumni, and friends of Kappa Kappa Psi and Tau Beta Sigma National Honorary Band Fraternity and Sorority.
The work received its premiere performance by the Columbine High School Band, William Biskup, Director, Frank Ticheli, guest conductor, on April 23, 2000. Its premiere served as the centerpiece of a special commemorative concert given by the Columbine High School Band in conjunction with the University of Colorado Wind Symphony, held at Mackey Hall in Boulder, Colorado.
– Program Note by Frank Ticheli
Halcyon Hearts
Katahj Copley
- Love does not delight in evil
- but rejoices with the truth,
- It always protects, always trusts,
- always hopes, always perseveres
- Love never fails.
Halcyon Hearts is an ode to love and how it affects us all. Halcyon denotes a time where a person is ideally happy or at peace, so in short Halcyon Hearts is about the moment of peace when one finds their love or passion.
The piece centers around major 7th and warm colors to represent the warmth that love bring us. The introduction – which is sudden and colorful – symbolizes the feeling of the unexpected journey it takes to find love. Using the colors and natural energy of the ensemble, we create this sound of ambition and passion throughout the work. No matter what race, gender, religion, nationality or love, we all are united with the common thread of passion from the heart. This piece was written in dedication to those who love no matter which negativity is in the world; do not allow hate and prejudice to guide the way we live our lives. Always choose love and the halcyon days will come.
– Program Note from score
Robin Hood: Prince of Thieves Symphonic Suite
Michael Kamen / arr. Paul Lavender
Robin Hood: Prince of Thieves is a 1991 American action-adventure film based on the English folk tale of Robin Hood and loosely set in the 12th century. Directed by Kevin Reynolds and written by Pen Densham and John Watson, the film stars Kevin Costner as Robin Hood, Morgan Freeman as Azeem, Christian Slater as Will Scarlett, Mary Elizabeth Mastrantonio as Marian, and Alan Rickman as the Sheriff of Nottingham.
The film received mixed reviews from critics. It was a box office success, grossing $390.5 million worldwide, making it the second-highest-grossing film of 1991. Rickman received the BAFTA Award for Best Actor in a Supporting Role for his performance as George, Sheriff of Nottingham. The theme song (Everything I Do) I Do It for You, written by Michael Kamen, with lyrics by Bryan Adams, was nominated for the Academy Award for Best Original Song, and it won the Grammy Award for Best Song Written for Visual Media. This arrangement contains the melodies Prince of Thieves, (Everything I do) I Do It for You (Maid Marian), and The Abduction and the Final Battle at the Gallows.
– Program Note from The Ohio State University Collegiate Winds concert program, 23 April 2026
Entry of the Gladiators
Julius Fucik
Fučik composed his march, Opus 68, also known as Thunder and Blazes,between 1897 and 1900 while he was a military bandmaster in the Austro-Hungarian city of Sarajevo. The original title had been Grande Marche Chromatique, but Fučik was fascinated by the description of gladiators entering a Roman amphitheater in Henry Sienkiewicz’s book Quo Vadis? – Whither Goest Thou? that he changed to the present title. The book concerns the gladiators during the rule of the infamous and depraved Nero (A.D. 54-68); however, the Emperor Titus, who ruled from A.D. 7-81, presented an even bloodier exhibition of gladiators, wild beasts, and sea fights which involved 10,000 men and lasted 100 days.
In this march the upper brasses announce the entry followed in the second strain by the lower brasses who represent the combat. At the present time, Entry of the Gladiators usually refers to the heroes and heroines under the circus big top, the daring riders in the rodeo, or the muscular athletes on the playing fields. Although it is often played at break-neck speed, the proper original tempo is from 100 to 120 beats per minute, as most European marches are played.
– Program Note from Program Notes for Band
Symphony No.1: Lord of the Rings, V. Hobbits
Johan de Meij
The fifth movement expresses the carefree and optimistic character of the Hobbits in a happy folk dance; the hymn that follows emanates the determination and noblesse of the hobbit folk. The symphony does not end on an exuberant note, but is concluded peacefully and resigned, in keeping with the symbolic mood of the last chapter, The Grey Havens, in which Frodo and Gandalf sail away in a white ship and disappear slowly beyond the horizon.
– Program Note by Johan de Meij
Remembering the Remarkables
Grace Baugher Dunlop
This piece is about mountains in many forms. Metaphorically speaking, everyone has his or her own mountain to climb, and for me, that was a literal mountain. My New Year’s resolution for 2017 was to climb a 14-er. Those who know me know that strenuous activity is not my idea of fun, but I wanted this goal to stretch me. That spring I had a knee injury that caused me to go through a few months of physical therapy, thus making it not possible for me to make the climb that year. Summer 2018 had me working toward my goal again, this time with a bit of hesitation after my injury. On a Sunday in August, I made it to the top. I don’t think I was totally prepared to feel so exhausted and strong at the same time. I had accomplished something that I didn’t think I would actually be able to do.
This experience taught me two things. First, that climbing a mountain has two victories: getting to the top and then getting back to the bottom again. Each had their own challenges, but they were all part of the same goal. The second is that mountains have false peaks. You may think you are nearing the top, only to realize you are only halfway up.
I found that these lessons apply to life as well, and the women who were part of the suffrage movement no doubt experienced them in their journey. These remarkable women paved the way for women of the future to have the freedom to pursue the lives they want. Writing this piece is only a small tribute when compared to the gratitude they deserve.
The title, Remembering the Remarkables, was inspired by my recent trip to New Zealand. There is a mountain range called the Remarkables on the southern island that is so perfectly picturesque and inspiring that I don’t think I could ever forget them. It was here that my piece began to take shape. For a Kansas girl, mountains have really shaped my life.
– Program Note by composer
The Legend of Zelda
Koji Kondo, Shuki Levy, Haim Saban / arr. Michal Worek
The Legend of Zelda is an action-adventure game that was first developed and published by Nintendo in 1986. Players typically control a sword-wielding hero named Link, who explores the fantasy land of Hyrule, solves puzzles, fights dungeons, and works to rescue Princess Zelda from the evil villain Ganon (or Ganondorf). The main series includes over 20 original games and numerous remakes or ports, selling over 150 million copies worldwide.
– Program Notes from Wikipedia