Throughout time and regardless of origin, immigrants have shown a spiritual courage and resolve to survive that has found countless families suffering perilous journeys in search of safety. Many have been lost along the way. As a child of Cuban parents who fled oppression (leaving much behind to build a new life), my respect and empathy for all immigrants runs deep. Although my parents’ (still traumatic) exoduses were not by sea, several family members’ and friends’ journeys were. Throughout my life I have heard stories of near losses and rafts washing ashore, empty. I still recall the feelings since childhood- wondering who they were, and what happened to them.

This piece is in no way intended as a contemporary statement, rather as an empathic look at humanity’s struggles to protect innocent families throughout history, and a tribute to my own ancestors’ courage. Many of us are descents of immigrants at some point in our deep histories, regardless of era, or origin. During my 30 years as a public school teacher in Miami, I had countless (precious) students who suffered trauma from the dangers of their immigrant journey, and so this original composition honors displaced souls from all eras and walks of life, irrespective of hemisphere- who have fled homes, to anywhere, in search of safety for themselves and their children. The piece is written using two authentic Afro-Cuban forms: Guaguanco and Son-Montuno.

In this work, many authentic patterns are woven into the fabric of the winds as well. No prior knowledge of Afro-Latin forms is needed to achieve an authentic performance, as percussion parts are carefully crafted using a personally developed, simplified method to achieve authenticity quickly.

Each brief section represents elements of an immigrant’s story. Composer Michele Fernandez is a published composer, active guest conductor, adjudicator, oboist, and performer. Her compositions have been premiered at Midwest, CBDNA, IAJE, MEA’s, and All State and Regional events. Her jazz and symphonic band works have been published through Hal Leonard, JW Pepper, Excelcia/Kendor, Jazz Zone, her own website (Michele Fernandez Music), and other publishing companies. Michele recently retired from teaching for 30 years in the Miami area.

During her time as an educator, her senior ensembles earned top honors and gained international acclaim, performed at The Midwest Clinic in Chicago, and were part of the documentary “CBS on Sunday Morning.”

Program notes by Alex Harrington.

I’ve always loved the sea. My earliest memories of my visit to my father’s homeland, Colombia, involve the white sands of San Andres Island. Seeing the expansive horizon and realizing that every step took me into deeper waters filled my heart with a sense of awesome fear and excitement. And of course, the ocean is home to the largest mammals, whales – awesome creatures of majestic movement, nurturing spirit, and glorious songs. I have not tried to emulate whale song in this piece, but BALLENAS, Spanish for “whales,” is a meditation on the sea and these awesome creatures – a reminder of their importance to our fragile ecosystem and their need for our continued protection.

BALLENAS was written for Dr. James Hile and Elmhurst University and premiered on May 5, 2024. (notes from the composer)

Known for his energetic rhythms, rich harmonic language, and striking colors, award-winning Colombian-American composer Josh Rodriguez (b. 1982) continues to gain recognition as an emerging composer and collaborator on a national and international scale. Born in Argentina and raised in Guatemala, Mexico and the United States, Rodriguez’s musical imagination has been formed by this bilingual, multi-cultural heritage. He collaborates regularly with theatre and film directors and has received several notable concert commissions in a wide range of musical genres. Rodriguez serves as Associate Professor of Music Theory and Composition at Elmhurst University.

Richard Strauss, one of the most important composers of the late romantic era, was born in Munich in 1864. His father, Franz, played principal horn for the Bavarian court orchestra and for the premiere of many of Wagner’s operas. Richard, exposed early to great music and prominent musicians, composed his first works by the age of six. From that year until his death in 1949, he was a constant and prolific composer. By the time of the premiere of his Serenade in Eb for Winds (1882), the first of his pieces to continue in the standard repertoire, he had produced numerous compositions, including a symphony and a violin concerto.

Throughout his career he composed lieder; Allerseelen (All Soul’s Day) dates from his teenage years and remains one of his most admired works. The music reflects his interest in the music if Wagner.

“It was not until, against my father’s orders, I studied the score of Tristan, that I entered into this magical work, and later into Der Ring des Nibelung, and I can well remember how, at the age of seventeen, I positively wolfed the score of Tristan as if in a trance.” Although his father performed the music of Wagner (according to records) extremely well, he despised both the man and his music.

Albert Oliver Davis set the original music for solo voice and piano for wind band. Taking care to maintain the overall musical structure of the original lieder, Davis create an introduction and development based on an overarching motive that appears thought the entire work.

Poem Text (English Translation)

Place on the table the fragrant mignonettes, Bring in the last red asters, And let us talk of love again, As once in May.
Give me your hand to press in secret, And if people see, I do not care, Give me but one of your sweet glances, As once in May.
Each grave today has flowers and is fragrant, One day each year is devoted to the dead; Come to my heart, that I may have you again, As once in May.

Notes by Henry Kappler, drawn from the score

The Washington Post March was credited with reviving the popularity of the two-step dance in America and across Europe. As a result, it became one of Sousa’s most famous compositions, second only to his Stars and Stripes Forever, and was frequently demanded as an encore and even during performances by his bands. As its title suggests, it was commissioned by the Washington Post newspaper, to be used as part of the ceremonies in awarding the prizes in their annual essay contest for grade school children in Washington, D.C. The Centennial Edition of the march that the band is performing today draws upon the best modern scholarship to faithfully re-create Sousa’s music as he would have performed it. To produce this score, Sousa scholars Brion and Schissel have examined manuscript scores from the Sousa library, original editions of the score, parts used and marked by the Sousa band, recordings by the original Sousa band, writings from the period and verbal accounts from former Sousa band members.

I. Upon them we bestow honor…
II. They find courage where others cannot…
III. Lifelong commitment to those unknown…
IV. Triumphant service to all…

In the summer of 2023, then U.S. Marine Band Associate Director, Ryan Nowlin, approached me about a commission for “The President’s Own” U.S. Marine Band to be premiered in March of 2025 for the celebration of the 250th Birthday of the United States Marine Corps. We spoke about details and to my great excitement, Ryan indicated that I could write whatever I wanted. There would be no length restrictions, and no other restrictions as to what I could write. The work was to be suitable for our nation’s finest and oldest music ensemble to play not only for this concert, but many times in the future. In addition, the work should be appropriate to hopefully become a masterwork of the wind band repertoire. A work that many desire to play in perpetuity. With this information I set out to find the music. I have desired to write another symphony for many years. The symphony genre is one that I deeply love, and that allows for true expansion of artistic expression to an extent that allows me as a composer to be true to whatever I feel God is giving me. In late 2023, I began to pray about what the symphony should consist of. One evening as I lay in bed, praying, the words “The Sacred Cloth” came to me very vividly in my mind. I continued to pray as to what this meant. For the U.S. Marine Corps, it became very evident to me that God was leading my mind toward the symbolism of our dress blue uniform and the required traits that come with being a U.S. Marine. Most peoples from around the world recognize this iconic clothing and associate it with excellence in military skill and virtue. What struck me most about this was that the Marine dress blue uniform is a sacred cloth to all of us that are Marines.

It is an honor to wear that uniform, and to be able to call ourselves “Marine.” However, the meaning of this work goes far deeper than that. While written with this in mind, God brought my mind to many other things during the composition of this music. Mainly, that ALL people have a sacred cloth of their own. One evening when praying and considering the music as it was being created, I clearly saw a vision of my dad. My dad was not a Marine, he did serve in the Army, but long before I was ever born. My dad was a truck driver. It was this profession that provided for his family, and that allowed him to be a part of the interlocking creation of human existence. My vision was simply of him leaving our home early in the morning to go to work. He was wearing his light blue, short-sleeved button-down shirt with his name on one side, and the company he worked for on the other. He had dark navy-blue work pants on, and his black boots. I know this seems not to connect, but immediately I knew that the image I saw was representing my dad’s sacred cloth. The uniform he associated with his ability to provide for his family and be an active participant in God’s world. While not comparable to Marine dress blues in visual reception or notoriety, it was still equal to him in importance because it allowed him to provide for the needs and safety of his family and for his own life.

It then became very evident where God was leading the inspiration for the work. While the sacred cloth of the Marine Corps is the Marine uniform, and this music clearly is connected to that, we each have our own “sacred cloth.” For me, I have been out of the Corps for nearly 20 years. My sacred cloth could be the tuxedo in which I conduct concerts. It could be a suit in which I wear to attend academic conferences and the like. But most importantly, we ALL have a sacred cloth. My hope is that this music will connect with all people in whatever it is that you consider your sacred cloth. In the U.S. Marine Corps we relate certain ideas such as honor, courage, commitment, and service as being connected to what we are as Marines and that is represented by the iconic Marine uniform. However, every profession from every walk of life can connect with these words in some way, as all areas of work distinctly have all of these, and every profession in the world is important to allow our world to thrive, grow, and most importantly remain safe, and work in harmony with all of God’s creation. As you listen to this music, I ask that you consider, “What is YOUR sacred cloth?”

Dr. Thomas Bough conducts the Wind Ensemble, Wind Symphony, and Huskie Marching Band at Northern Illinois University. His 34 years of teaching experience includes 7 years as a high school band director in Mesa, Arizona. As a Yamaha artist and Denis Wick Ambassador, he leads dozens of clinics and workshops per year across the country. He has presented four times at the Midwest Clinic, twice at the International Society for Music Education, as well as the International Women’s Brass Conference, and eighteen different state music education association conferences. His compositions are published by Alfred Music, Cimarron Music Press and JW Pepper. Recent commissions include music written for Olivet Nazarene University, Kappa Kappa Psi, the Alloy Horn Quartet, the Alliance Brass Quintet, the University of San Diego, Creston High School, and Hubble Middle School. His compositions include concerti for each brass instrument. Hear his music at www.Tombough.com.