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Concert and Campus Bands

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The Campus Band (Corey Jahlas, conductor) and Concert Band (Roger Wu Fu, conductor) present works by Ralph Vaughan Williams, Gustav Holst, Vincent Persichetti, and William Grant Still.

Masks are required in all indoor spaces on the UW campus. Patrons must show proof of vaccination or recent negative provider-administered COVID-19 PCR test for entry to live events at Meany Hall. Individuals unable to be fully vaccinated, including children under age five and people with a medical or religious exemption, must have proof of a negative provider-administered COVID-19 PCR test (taken within 72 hours of the performance). UW staff will check for proof of vaccination and negative COVID PCR tests at the doors as a condition of entry. Proof of negative test result must come from a test provider, a laboratory or a health care provider. Home or self-administered tests will not be accepted. Details of these policies and procedures are at 


The University of Washington Concert Band

Corey Jahlas, conductor


Flourish for Wind Band (1939)......................Ralph Vaughan Williams (1872-1958)

 Second Suite in F for Military Band (1911).....................Gustav Holst (1874 – 1934)

I. March

II. Song Without Words “I’ll Love My Love”

III. Song of the Blacksmith

IV. Fantasia on the “Dargason”

 The University of Washington Campus Band

Roger Wu Fu, conductor


Divertimento for Band (1950) – Vincent Persichetti (b. 1915-1987)

I. Prologue

III. Dance

IV. Burlesque

From the Delta (1945) – William Grant Still (b. 1895-1978)

I. Work Song

II. Spiritual

III. Dance

Program Notes

Ralph Vaughan Williams was an influential British composer and folk-song collector. His powerful and expressive orchestral music is notable for its very “English” sound. His early adventures collecting folk songs in the English countryside profoundly influenced his later compositions. Along with Gustav Holst and Percy Grainger, his works for wind band form a foundation for the serious literature in that medium.

Vaughan Williams wrote Flourish for Wind Band in 1939 as the opening to the pageant Music and the People in the Royal Albert Hall in London. It was subsequently lost, only to be rediscovered and finally published in 1971. Arranger Roy Douglas created versions of the piece for brass band and for symphony orchestra, but it has become part of the basic literature of the wind band for which it was created. It opens with a simple brass fanfare. This gives way to a lyrical melody before the fanfare returns to end the piece. At just under 2 minutes long, Flourish for Wind Band is a concise gem of Vaughan Williams’s output.

Program note by Andy Pease

Gustav Holst composed his Second Suite in F in 1911, just two years after his First Suite in E-flat. Unlike the First Suite, Holst utilized actual English folk songs in the Second Suite, a practice he would utilize throughout the rest of his compositional career. The opening March utilizes a lively Morris dance, the folk song Swansea Town, and a jaunty version of Claudy Banks in 6/8 time. The third movement draws inspiration from the song A Blacksmith Courted Me and evokes sounds of a blacksmith’s hammer on an anvil and the resulting sparks from each hammer blow. The “white-hot” heat of the fire can be heard in the final D major chord of the movement. The final movement is a fantasia on a sixteenth-century English dance tune, The Dargason, which eventually competes with the Elizabethan love song Greensleeves through clever use of hemiola. The work concludes with a duet between the tuba and piccolo, recalling the competing high and low registers of the beginning measures of the suite. The Second Suite in F remains one of the most celebrated and performed pieces in the wind band repertoire.

Divertimento was premiered by The Goldman Band on June 16, 1950, with the composer conducting. The composition was begun during the summer of 1949 in El Dorado, Kansas. According to various sources, Persichetti began the work with a clash between choruses of woodwinds and brass and timpani "arguing" with both. Soon after scoring the opening, he realized that the strings were not going to become a part of this piece. In an article from 1981 Persichetti stated:

I soon realized the strings weren't going to enter, and my Divertimento began to take shape. Many people call this ensemble "band." I know that composers are often frightened away by the sound of the word "band", because of certain qualities long associated with this medium – rusty trumpets, consumptive flutes, wheezy oboes, disintegrating clarinets, fumbling yet amiable baton wavers, and gum-coated park benches! If you couple these conditions with transfigurations and disfigurations of works originally conceived for orchestra, you create a sound experience that's as nearly excruciating as a sick string quartet playing a dilettante's arrangement of a nineteenth-century piano sonata. When composers think of the band as a huge, supple ensemble of winds and percussion, the obnoxious fat will drain off, and creative ideas will flourish.   

- Program Note by William V. Johnson for the San Luis Obispo Wind Orchestra concert program, 19 March 2011

Often considered the dean of African American composers, William Grant Still was responsible for achieving many firsts as a black classical musician during his distinguished career. Not only was he the first African American to have a symphony played by a major orchestra (his renowned Afro-American Symphony), in 1936, but he was the first African American to conduct a major orchestra, have an opera premiered by a major opera company (Troubled Island, 1937), and conduct an orchestra in the deep South. From the Delta was composed in 1945 for the Goldman Band of New York City. Its three movements (Work Song; Spiritual; Dance) were meant to capture the essence of what life was like on the Mississippi Delta. Work Song illustrates a chain gang singing their way through days of hard labor. Spiritual is a more somber movement, meant to convey the pain felt by African Americans living in slavery. The final movement, Dance is the liveliest of the three movements and paints a portrait of friends coming together to celebrate one another despite their daily hardships. - program note by Garison Baker -



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Alexander Nguyen, Sr., Music Education- Vocal Emphasis, Tacoma

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Corey Jahlas, Grad., Wind Conducting, Highland, MI



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Kyra Schlezinger, Atmospheric Sciences, Burlingame CA

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Roger Wu Fu, Grad., Wind Conducting, Santiago, Chile 


Roger Wu

M.M Wind Conducting, Peabody Institute of the Johns Hopkins University, 2020
M.Ed. Education, Concordia University Irvine, 2018
B.A. Anthropology, University of California Los Angeles, 2014 

Roger Wu Fu is a Taiwanese-American conductor, teacher, and instrumentalist, born and raised in Santiago, Chile; from teaching and leading ensembles in various academic and performance settings in both California and Baltimore, music directing and conducting modern music and projects, and conducting and presenting musicology research, Roger is passionate about exploring all aspects of music, inside and outside the concert hall, performative and academic. 

Recent works include producing and music directing his original musical “Yappie: The Musical” and its concept album premiere, music directing chamber operas exploring the relationship between growth and suffering in Baltimore’s contemporary opera scene, and presenting research on instrument pedagogy, choice, and personality at Ohio State University. At the Peabody Institute of the Johns Hopkins University, Roger worked as a conductor, performer, teaching assistant and faculty substitute. Through summer conducting workshops, Roger has worked with conductors including Dr. Travis Cross, Dr. Mallory Thompson, Professor Charles Peltz, Dr. Cynthia Johnston Turner, Dr. Mark Scatterday, Professor Kevin McKeown and Dr. Mitchell Fennell. Drawing from his own varied background studying anthropology at the University of California, Los Angeles, and Wind Conducting at Peabody Institute of the Johns Hopkins University, Roger seeks to combine a high standard of musical performance with a rigorous academic approach, always seeking to explore and present music in a new and different light. 

Outside of music, Roger works with the mental health foundation Healthy Gamer by providing peer-delivered recovery support services as a group and personal coach. In his offtime, Roger enjoys being a mediocre cook, catching up on popular shows from half a decade ago, and biking. Roger is extremely excited to join the Husky family at UW, and get to know the PNW at large - Go Dawgs!

DMA conducting student Corey Jahlas

Originally from Highland, MI, Corey Jahlas is in his first year of the Doctor of Musical Arts and Instrumental Conducting program at the University of Washington, where he serves as a Graduate Student Conductor of the Husky Athletic Bands, co-conductor of the Campus Band, and assistant conductor of the Wind Ensemble.

Most recently, Corey earned his Master of Music in Wind Conducting from Central Michigan University, studying with Prof. Jack Williamson. There, he instructed the 280-member Chippewa Marching Band and served as the instructor on record for the Symphony Band and the University Band. Prior to his Master’s work, Corey taught from 2014-2017 in Oxford, MI, leading the middle school band program, the OMS Percussion Ensemble, and assisting with the OHS Wildcat Marching Band. 

Corey also holds degrees in Music Education and Music Theory and Composition from Central Michigan, where he studied euphonium with Dr. Mark Cox and composition with Dr. David Gillingham. Sharing his love for the marching arts, Corey served as Assistant Director of the Madison Scouts Drum and Bugle Corps in 2014, having marched with the group in 2011. He also serves as a clinician, arranger, and drill writer for high schools and university marching bands in Michigan, Ohio, Pennsylvania, and New Hampshire, and is the Director of the Drum Major Camp at Central Michigan University. Corey holds memberships in the National Association for Music Education, Pi Kappa Lambda, Phi Mu Alpha Sinfonia, and Kappa Kappa Psi.