Moxie

by Chamber Winds of South Dakota

Harmoniemusik bridges the gap between orchestral winds and the modern chamber ensemble and creates timbres that have been explored by many of the great composers - Mozart, Beethoven, and Strauss, to name a few. Chamber Winds of South Dakota explores those sounds by using the voices of today’s composers. Jonathan Newman explores the sonic possibilities with a nod to the old traditions, directly referencing French concertinos and the music of Toru Takemitsu. Others evoke the ideas of specific places and times – Alyssa Morris makes a nod to the mountains of Utah and historically significant Mormon hymns. Marie A. Douglas reacts to protests in Florida following the death of Trayvon Martin, and Nicole Chamberlain looks for personal growth in the wake of challenges faced by performing musicians during the COVID-19 pandemic. Kimberly Osberg prefers to keep her musical inspirations to herself, but her writings reference nature and the joy and vitality of life – which it’s hard not to imagine as you listen to her work.

PROGRAM NOTES

Moxie by Nicole Chamberlain [notes by the composer]

Moxie was commissioned by The Peachtree Chamber Players. The Oxford Dictionary defines moxie as someone who has character, experience, determination, and nerve. If we have gained anything since 2020 it is experience, flexibility, and determination on persevering during these challenging times. This piece is dedicated to everyone who was able to move forward in-spite of the unbelievable amount of loss and obstacles, people with moxie.

Tray by Marie A. Douglas [notes by the composer]

Cinematic, yet symphonic, the piece begins in two four time where a halftime variation of the often heard melody is introduced. After a moving fermata, the piece migrates into nine eight time, back to two four time, later to twelve eight time and finally ending where it started, in two four time, with a restatement of the original melody. “Tray” is filled with arousing glissandos from the horn and flute as well as drone sustains from all, with seemingly improvised melodic lines, and superimposed Negro Spirituals of two blatantly different tonal centers. The piece takes the listener/viewer on a vivid journey, as it depicts the controversial stalk, tussle and eventual shooting of an unarmed black teen named Trayvon Martin by a neighborhood watch volunteer one February night, as he walked back to his father’s house inside of a Central Florida subdivision. This is followed by a depiction of the trial for his murder, where the young man’s killer was found “not guilty”, as well as the moments following this trial, which came to be the earliest stages of the renowned Black Lives Matter movement in 2013.

The piece ends as it begins melodically, harmonically, and in time signature. As the piece winds down, the visual component pays homage to the lives lost due to the senseless occurrences of violence caused by the unfair stereotypes perpetuated and justified by the American caste system.

Where the Colors Fall by Alyssa Morris [abridged from notes by the composer]

Ensign Peak is best described as an “undistinguished hill” rising over a thousand feet from the northern edge of Utah’s Salt Lake Valley ...” It does not stand out in the aesthetic ways that many nearby peaks of the Wasatch range stand out. The attention Ensign Peak receives comes from its historical significance within the Mormon faith.

This dectet, “Where the Colors Fall” has been created by deconstructing the hymn ‘High on a Mountain Top” (words by Ebenezer Beesley and music by Joel H. Johnson). At bar 22 of the dectet, a descending motive is introduced. This motive is taken from the hymn and adapted to a minor mode. An additional motive from the beginning of the hymn can be found shortly after. Nearly every bar of the hymn is utilized in some way throughout the dectet. Though the pieces of the hymn will be found strewn throughout the dectet, there are also moments when the hymn is reconstructed and can be heard in complete form.

It is my hope that this dectet will illuminate the beautiful colors that can be found in this instrumentation, and that the work will pay tribute to the many sacrifices my own ancestors, and many of yours,made to get to “...the point where colors fall.”

Passing Through by Kimberly R. Osberg [notes by the composer]

Originally written in 2013, “Passing Through” explores a series of textures through simple-but-elegant musical gestures. Starting with a slow, almost meditative opening section, the winds fade in and out, creating the effect of a single, ever-evolving instrument. The flutes and clarinets soon take over as a plodding motor, allowing for the other voices to sing expressively over the ensemble.

This culminates in a palpable outburst of energy, echoing the fading ideas of the opening but at a greatly increased pace. Peppered with moments of ensemble arrivals, the piece marches into a sudden halt near the end, culminating in a final gesture that seemingly evaporates into thin air. The result is a dynamic work that showcases each instrument group, making it an ideal piece for any wind octet.

Concertino by Jonathan Newman [notes by the composer]

This “Concertino” takes the lively French chamber wind literature of the early 20th-century as its starting point, but this piece views the “French” style through an odd lens, twisting and bending the language of that neo-Classical genre in order to run the music through very different stylistic approaches. In the later movements, the Franco-survey is expanded to other inspirations – to not only the techniques of other French nationals, but also of those [Newman] considers “French” in spirit, such as Japanese composer Toru Takemitsu. In writing the piece I was particularly excited to explore these styles while juxtaposing the virtuosity of the soloist with the delicate intimacy of the chamber ensemble. The Concertino is dedicated to flutist Sarah Kruser Ambrose, for whom it was written.

ABOUT THE PERFORMERS

Chamber Winds of South Dakota

In the tradition of Mozart, Strauss, and Taffanel, the Chamber Winds of South Dakota Winds bridges the gap between chamber music and a modern wind ensemble. In that vein, they prioritize a mix of traditional works, and also works by living and underrepresented composers.

Don Linn, Artistic Director and Conductor

Dr. Don Linn is nationally recognized as an active guest conductor, adjudicator, and clinician. He has presented clinics and research at state conferences, regional CBDNA conferences, CBDNA athletic band conferences, and national CBDNA conferences. He has held faculty positions at some of the country's most prestigious programs, including the University of Oklahoma and Kansas State University. While Dr. Linn was an assistant director at Kansas State in 2015, the K-State Pride of Wildcat Land was awarded the Sudler Trophy, the highest honor a collegiate marching band could receive. Dr. Linn also served the Big 12 Band Directors Association as their secretary from 2010 – 2018.

Dr. Linn previously served as the Interim Associate Director of Bands at the University of Oklahoma, Director of Bands at Missouri Southern State University, Associate Director of Bands at Kansas State University, Director of Athletic Bands at Youngstown State University, and Director of Bands at Nottoway High School in Crewe, Virginia. He holds a doctorate in conducting from the University of Oklahoma, a master’s degree in conducting from Ball State University, and a bachelor’s degree in music education from Virginia Tech.

Elizabeth Robinson, Artistic Director and Flutist

Dr. Elizabeth Robinson joined the faculty at SDSU in 2022, where she teaches flute and courses in music theory. She is an active soloist, orchestral, and chamber performer. Among her passions is the commissioning of new music and participating in exciting chamber ensembles. Robinson has shared the stage with over a dozen orchestras and wind ensembles from coast to coast: in addition to her current position as the Marvin W. Maydew piccolo chair of the Topeka Symphony, she has held positions with the Heartland Opera, Salina Symphony, and Muncie Symphony (IN). She has performed both within the orchestra and as soloist with ensembles including the Symphony of Northwest Arkansas, Springfield Symphony (MO), Kansas State University Wind Ensemble, Wichita Grand Opera, and Colorado's MahlerFest, among many others.

In an effort to expand the flute repertoire, Robinson co-founded the Flute New Music Consortium (FNMC), and currently serves the organization as Vice President. Formed in 2013, FNMC has commissioned new works from composers such as Zhou Long, Carter Pann, Valerie Coleman, Samuel Zyman, and Reena Esmail. Further, she coordinates the organization’s annual composition competition, and is proud of collaborations with several of its winning composers. Her debut album, Aviary, was released on Aerocade Music in 2023.

Stephanie Kocher, Flute

Stephanie Kocher is the Flute Instructor and Fine Arts Outreach Coordinator for The University of South Dakota, and is active as a private teacher, adjudicator, clinician, and performer. She holds Bachelor of Music degrees in Music Education and Flute Performance from Washburn University and a Masters of Music in Flute Performance from Wichita State University. Private teachers include Peter Verhoyen, Dr. Frances Shelley, Elizabeth Singleton, and Ronn and Sylvia Boyd. In addition, she has performed in Master classes with Lois Bliss Herbine, Nicola Mazzanti, Jan Gippo, James Walker, Gary Schocker, and Michel Debost.

Kocher plays piccolo for the Sioux City Symphony Orchestra and flute with the SCSO Wind Quintet. She also regularly performs with the USD South Dakota Chamber Winds, and with the Kocher Duo, with husband C.J. Kocher on saxophone. She resides in Vermillion, SD with her husband C.J., and children Ivy and Lars.

Jennifer Wohlenhaus Bloomberg, Oboe

Dr. Jennifer Wohlenhaus Bloomberg is the principal oboist of the Des Moines Symphony, a position she has held for over 20 years. She performs frequently with many ensembles in the Des Moines/Central Iowa area such as the Polaris Wind Quintet, the Des Moines Choral Society, Des Moines Metro Opera, Des Moines Performing Arts and the Des Moines Metro Concert Band. Dr. Wohlenhaus Bloomberg holds a DMA in Oboe from the University of Iowa, a MM in Oboe Performance from the San Francisco Conservatory of Music and a BM in both Applied Music and Music with elective studies in business from Drake University. Her oboe teachers have included Mark Weiger, Jay Light and John de Lancie. In addition to performing, Dr. Wohlenhaus Bloomberg teaches oboe, bassoon, music theory and aural skills at Drake University. She also maintains a large private lesson studio, drawing students from Des Moines and the surrounding area. Former students of Dr. Wohlenhaus Bloomberg now serve as music educators, collegiate faculty and hold orchestral positions across the nation.

Robin Michelle Sweeden, Oboe

Dr. Robin Michelle Sweeden is an oboist based out of Oklahoma City, Oklahoma. Robin graduated from Baylor University with a Music Education degree and received her Masters and Doctoral degrees from the University of Oklahoma with Dan Schwartz and Lisa Harvey-Reed. Robin currently is an active performer and studio teacher in the Greater Oklahoma City area. Robin regularly performs with the Oklahoma City Philharmonic, the Norman Philharmonic, and is an active solo artist around the state of Oklahoma City. Robin currently teaches at Southern Nazarene University, Rose State College, and the University of Central Oklahoma and is an active member of the Texas Music Educators Association, the American Federation of Musicians, and The International Double Reed Society.

Michael Walsh, Clarinet

Dr. Michael Walsh is Professor of Clarinet at South Dakota State University where he also teaches Music History and Music Entrepreneurship. Walsh received his bachelor’s and master’s degrees from the University of Miami, FL. He holds the distinction as being the first student to earn the DMA degree in Clarinet Performance and Pedagogy from the University of Kansas under Dr. Larry Maxey. Walsh is a member of the Miami Clarinet Quartet which has commissioned numerous works for the ensemble and recently recorded their first album of Music by Women Composers. As a bass clarinetist with the quartet and as a soloist, he has performed at the Oklahoma Clarinet Symposium, International Clarinet Association’s Clarinetfest, the National Association of College Wind and Percussion Instructors (NACWPI) national conferences and the World Saxophone Congress. He was elected President of NACWPI in 2014 and has had the pleasure of directing their national conferences in 2014 and 2015.

Beverly Gibson, Clarinet

Dr. Beverly Gibson is a clarinet instructor at the University of South Dakota, Northwestern College, Orange City, IA and Dordt University, Sioux Center, IA as well as a chamber music instructor for Camerata, a division of the SDSYO. She is currently the Bass clarinetist/Bb clarinetist with the South Dakota Symphony Orchestra, Principal clarinetist with the Northwest Iowa Symphony Orchestra, and a chamber performer in the Curious Music Collective. She is an artist/clinician for the Buffet Crampon Corporation representing Buffet clarinets. Dr. Gibson is featured on a recording of French Canadian vocalist, Michel Chartier’s album recorded in Kent, England. Dr. Gibson has performed on clarinet and saxophone with numerous artists including the Temptations, Martha Reeves and the Vandellas, Gene Ferrari, Patti Greco, Michael Andrew, Andy Williams, the Jimmy Dorsey Orchestra, Guy Lombardo Orchestra, Stars of the Lawrence Welk Show, Henry Cuesta, Myron Floren, Don Rickles and Frankie Valli.

She has been a member of the house orchestras aboard Carnival Cruise Lines’ Fantasy and Ecstasy, Costa Cruise Lines’ Costa Classica, Holland America Cruise Lines’ Nieuw Amsterdam and a guest soloist on Cunard Cruise Lines’ Queen Victoria and Queen Elizabeth. She has performed at the Grand Teton Music Festival and the Classical Music Festival in Vienna. She has presented recitals/clinics in Japan, Singapore, Malaysia, Austria and Switzerland and for the International Clarinet Association, Music Teacher’s National Convention, Regional Saxophone Symposium and the South Dakota Bandmaster’s Association.

James Compton, Bassoon

A native of Long Beach California, James Compton discovered the bassoon in the seventh grade. He received a Bachelors of Music from the University of Southern California and also studied at The Juilliard School in New York City. Prior to joining the Omaha Symphony, James was the Principal Bassoonist for the Oklahoma Symphony. As Principal Bassoonist of the Omaha Symphony James has been a featured soloist on several occasions. Jim is currently on the faculties of University of Nebraska and the University of Nebraska-Omaha and is also a founding member of the group Bassoons Across Nebraska. When not performing on his bassoon, Jim can be found riding his bicycle on the endless supply of gravel and dirt roads this part of the country has to offer.

Martin J. Van Klompenberg, Bassoon

Originally from Holland, Michigan, Martin J. Van Klompenberg currently teaches bassoon and chamber music at the Challey School of Music at North Dakota State University. From 2013 – 2022, he served as a member of the United States Army Band program, performing with the 101st Airborne Division “Air Assault” Band (Fort Campbell, KY), the 282nd Army Band (Fort Jackson, SC), and the 323rd Army Band “Fort Sam’s Own” (Fort Sam Houston/San Antonio, TX). Prior to joining the ranks of military musicians, he attended the University of Arizona, where he obtained the Doctorate of Musical Arts degree, studying with William Dietz. He also earned degrees from Arizona State University and Western Michigan University, studying with Albie Micklich and Wendy Rose, respectively. He has also studied composition with award-winning composer Jenni Brandon.

Sam Gowen, Horn

Dr. Sam Gowen is currently the Academic Advisor, Scholarship Coordinator, Recruiting Coordinator, and Horn Instructor at South Dakota State University’s School of Performing Arts. Prior to SDSU, Dr. Gowen was Horn Artist in Residence at Valdosta State University and performed with several orchestras in the southeast region, including Sinfonia Gulfcoast, Tallahassee Symphony Orchestra, Valdosta Symphony Orchestra, Panama City Symphony Orchestra, and Northwest Florida Symphony, among others. Gowen earned her doctorate in Horn Performance at Florida State University, where she did research for her dissertation on modern evolutions of performance presentation. Her research interests are rooted in creating accessible, engaging, and welcoming environments for audiences with diverse backgrounds and varying levels of exposure to classical music repertoire and performance rituals. She completed her Master of Music in Horn Performance at Michigan State University and her Bachelor’s in Music Education and Horn Performance at The University of Georgia.

Amy Laursen, Horn

Dr. Amy Laursen is the Associate Professor of Horn and Theory at the University of South Dakota in Vermillion, where she started teaching in the fall of 2017. She completed her DMA in Horn Performance in 2015 at the University of North Texas. While at UNT, she was heavily involved in the Texas Center for Performing Arts Health. Currently, Dr. Laursen performs with the USD Chamber Winds and USD Faculty Brass Quintet, orchestras in Sioux City (IA), Sioux Center (IA), and Billings (MT), various summer municipal bands in the area, and she plays natural horn with the Orchestra of New Spain in Dallas (TX). Additionally, she is the horn player in the low brass trio, Trio di Velluto, with her husband, Dr. Todd Cranson (tuba) and her good friend, Dr. Jamie Lipton (euphonium).

The trio has commissioned new works for the ensemble and have performed at numerous regional and international conferences, including at the Brazilian Tuba and Euphonium Association National Conference held at the Escola de Música da UFPA in Belém, Brazil. Dr. Laursen and Dr. Cranson also recently put out Landscapes through Mark Records (56399-MCD) featuring music all written for the duo. Prior to teaching at USD, Dr. Laursen taught horn, theory, and music education courses at Henderson State University in Arkadelphia, AR. Additionally, she taught elementary music, band, and orchestra in Gillette, WY, and enjoys her role at USD training future music educators.

Mark Stevens, Piano

Dr. Mark Stevens serves as Assistant Professor of Piano and Director of Keyboard Studies at South Dakota State University. Dr. Stevens’ experience as a pianist ranges from traditional piano repertoire to contemporary music, including living composers. As an advocate for 20th and 21st century music, he performs a diverse range of repertoire, with a special affinity for American composers. In recital, he engages audiences through thematic programming, juxtapositions of unique repertoire, and colorful insights about music, composers, and cultural context. Dr. Stevens regularly commissions composers to write solo piano works with a special focus on accessibility for advanced piano students.

An active and dedicated teacher for two decades, Dr. Stevens has repeatedly been awarded for the quality of his instruction. His students have won more than 20 prizes in competitions including the Music Teachers National Association and South Dakota Music Teachers Association competitions, the Seattle Young Artists Music Festival, the Washington State Music Teachers Association’s State Recitalist Competition, and others. He regularly shares masterclasses and workshops for universities, professional music teaching organizations, private studios, and music academies throughout the United States.

ABOUT THE COMPOSERS

Nicole Chamberlain (Photo: Heather Damaske)

Composer and flutist Nicole Chamberlain (b. 1977) has a varied career in the arts, acquiring simultaneous bachelor degrees in Music Composition and Digital Media at the University of Georgia. Her original compositions are influenced by storytelling and visual imagery from her former day job as a web animator and designer. Chamberlain's music "heavily utilizes extended techniques [that] play into the theme or story of each piece to sonically enhance its meaning" (The Flute View). "Being a virtuoso flautist herself has informed her ability to write for the instrument with thrilling facility and endearing charm." (Gramophone Magazine). As a Powell Flutes Artist, Chamberlain has been enabled in this endeavor to perform her music to a wide audience and wouldn't trade in her Powell Conservatory 9K Aurumite Flute and a Powell Handmade Custom Grenadilla Piccolo for the world.

Currently, Chamberlain balances her time composing, teaching students, performing, and avoiding graphic design work as much as possible. She lives in Doraville with her husband, guitarist and composer Brian Chamberlain. The Chamberlains have their own independent music publishing company, Spotted Rocket Publishing (www.spottedrocket.com), and pitbull, Gerty, who longs to be a social media influencer. You can typically catch Chamberlain on any of the many social media platforms where she spends an abhorrent amount of time. For more information visit her website at www.nikkinotes.com.

Marie A. Douglas

Marie A. Douglas, a composer hailing from Atlanta, has garnered widespread acclaim for her exceptional talent in seamlessly blending genres and textures within her captivating concert stage pieces. Her music serves as a profound reflection of her inner-city upbringing and her diverse musical experiences, infusing a genuine and authentic essence into each composition. Douglas draws significant inspiration from the African Diaspora, effectively integrating elements of hip-hop and western art music idioms to create compositions that resonate with a wide range of audiences.

With her works captivating concert-goers across the United States and Canada, Marie's artistry extends beyond the stage as she collaborates with various ensembles and lends her creative prowess to the world of film music, as well as hip hop and r&b. As she embarks on a remarkable academic journey, pursuing a Doctor of Musical Arts from the University of Memphis under the guidance of distinguished mentors Kamran Ince and Albert Nguyen, her unwavering dedication to sonic innovation continues to shape the evolving tapestry of her artistic expression.

www.marieadouglas.com

Alyssa Morris

While primarily known as an award-winning oboist, Alyssa Morris is also a prolific and celebrated composer. Her chamber music is performed extensively around the world. Alyssa was a recipient of an International Barlow Composition Commission, and she was the Composer-In-Residence for the River Oaks Chamber Orchestra’s 2020-2021 season. Her music has been presented at several International Double Reed Conventions, the Japan Double Reed Society Convention, the National Flute Association Convention, the National Clarinet Association’s ClarinetFest, and the Society of Composers Inc. National Convention.

Alyssa has been commissioned to write music for the Richmond Symphony Orchestra, the U.S. Air Force Woodwind Quintet, the River Oaks Chamber Orchestra, Dr. Mark Ostoich (University of Cincinnati College-Conservatory of Music), the Sundance Trio (Brigham Young University), and Carolyn Hove (principal English horn of the Los Angeles Philharmonic) to name a few.

Her music is published by TrevCo Music Publishing and C. Alan Publishing, and has been recorded on the Blue Griffin, Centaur, Equilibrium, MSR Classics, Parma, and Tantara labels.

www.alyssamorrismusic.com

Jonathan Newman

Jonathan Newman composes music rich with rhythmic drive and intricate sophistication, creating broadly colored musical works that incorporate styles of pop, blues, jazz, folk, and funk into otherwise classical models. Trained as a pianist, trombonist, and singer, his work is informed by an upbringing performing in orchestras, singing in jazz choirs, playing in marching bands, and accompanying himself in talent shows. From opera to bubblegum pop, Newman delivers a new perspective on American concert music. The 2025 Grammy Award-nominated album Bespoke Songs features his recent chamber music song cycle setting texts in six languages by woman poets spanning two millennia. Other recent work includes Run Love Love, Run Jane Run written for the Grammy Award-winning Akropolis Reed Quintet, Nostalgia for the Kingdom for piano trio, JRB Variations for piano, the large-scale “imagined ballet” Pi‘ilani and Ko‘olau (written on a scenario by playwright Gary Winter and commissioned by the Florida State University College of Music), and a Mass for chorus, vocal trio, and chamber orchestra on texts by poet Victoria Chang, commissioned and premiered by The Choir of Trinity Wall Street. In 2016 he was appointed Chicago Youth Symphony Orchestras Composer-in-Residence; CYSO’s 2011 commission Blow It Up, Start Again has been performed by orchestras worldwide, including the Minnesota Orchestra, the Toronto Symphony, the Brussels Philharmonic, Buffalo Philharmonic, Cabrillo Festival of Contemporary Music and the Royal Philharmonic Orchestra at the 2015 BBC Proms. Newman’s ensemble transcriptions include arrangements of Beck, George Harrison, Puccini, Sufjan Stevens, Eric Whitacre, Led Zeppelin, and electronica premiered at the 2005 Lincoln Center Festival and recorded on Acoustica: Alarm Will Sound Performs Aphex Twin (Cantaloupe Records). As a MacDowell Fellow he began an opera based on the 1962 cult horror film Carnival of Souls, also in collaboration with Gary Winter. Newman holds degrees from Boston University’s School for the Arts and The Juilliard School, where he studied with composers John Corigliano and David Del Tredici. He and his spouse, the conductor Nadège Foofat, reside with their children in Virginia, where he serves as Director of Composition & Coordinator of New Music at Shenandoah Conservatory.

Kimberly R. Osberg is a Portland-based composer from Eau Claire, Wisconsin. Her projects have included dance, film, environmental sound installations, instrumental theatre, plays, opera, visual art, award ceremonies, and stage combat. She has attended several premiere festivals as a composition fellow, including the Brevard Music Festival, IRCAM’s ManiFeste, and the Aspen Music Festival. She was also a featured composer for the New Mexico Contemporary Ensemble’s Annual James Tenney Memorial Symposium, and has enjoyed performances from the National Flute Association, International Double Reed Society, National Saxophone Alliance, and International Women's Brass conferences, and over a dozen other festivals across the US.

While Kimberly is especially honored to have collaborated with musicians from the National Symphony, Dallas, Atlanta, Minnesota, Oregon, Bozeman, and Indianapolis orchestras, she is proud to collaborate with musicians at all stages of their careers–including premieres and residencies with the Minnesota Music Educators Association All-State Orchestra, New Jersey Youth Symphony, Philadelphia All-City Band, University of Northern Iowa, Pittsburg State University, and more. Learn more at kimberlyosberg.com

CREDITS

Moxie

by Chamber Winds of South Dakota

PROGRAM NOTES

ABOUT THE PERFORMERS

ABOUT THE COMPOSERS

©AEROCADE MUSIC INC