Welcome to Flyover IV

Rooster (2026)

Alex Quible (b. 2005)

Pauline Lee - Violin Anna Grass - Violin Wren Cave - Violin Madee Hall - Viola Jenna Olson - Cello Spencer Schiffbauer - Cello Gabby Notter - Double Bass “Rooster” is an energetic exploration of rhythm and sound, using plucked strings, col legno, and lively body percussion to bring the piece to life. The title reflects the playful and spirited character of the music, full of fast-paced, swinging rhythms and sharp contrasts. Without a specific story or theme, Rooster is all about having fun with unique string techniques and offering both performers and listeners something fresh and exciting. Alex Quible is a 3rd-year Composition student from Lincoln, Nebraska, and an accomplished bass guitarist, known for his rhythmic and genre-diverse compositions. With a deep appreciation for music from all backgrounds, he continues to expand his abilities through performance, collaboration, and exploring new instruments. Emphasizing joy, creativity, and curiosity, he approaches music with a sense of fun, striving to grow as a musician while embracing new opportunities. His passion for rhythm remains a driving force in his compositions and performances as he develops his musical voice.

The Hound of Ulster (2026)

Comet Smith (b. 2005)

Sean Heaton - King Conchobar Ryan Roberts - Cú Chulainn Luke Eckles - Piano Jacob Wrobel - Bodhran This piece is an excerpt from my opera, "THE HOUND OF ULSTER". The opera is due to premiere in May of 2027 as a fulfillment of my senior recital. What you will hear tonight is a piano reduction of scene two, wherein our hero, Cú Chulainn, learns from his father that the dread Queen Maeve is going to invade their homeland, and he must be sent off to train under the warrior queen Scáthach. Hailing from Omaha, Nebraska, Comet Smith is a composer whose work blends traditional musical styles with contemporary techniques. His music, often centered around storytelling, focuses on creating exciting new worlds of music for the audience to sink into. Whether he is writing orchestral, chamber, or electronic music, Comet’s compositions resonate with both depth and modernity. KING CONCHOBAR My dear son, a moment? CÚ CHULAINN What is it you need? KING CONCHOBAR Come sit down with me right here. My vision fails me, I find myself frightened. CÚ CHULAINN Father- KING CONCHOBAR I find myself frightened, I’ve been fighting sleep Your mother and I speak at night We talk of your future, we dream about Ulster CÚ CHULAINN Do you ask me to go on and fight? KING CONCHOBAR Do you feel the ground tremble beneath us? Have you heard as the spy ravens tap on the roof? Queen Maeve is beastly, Cu Chulainn, my young hound I fear you must face her quite soon. CÚ CHULAINN I’ve heard the birds at night. I weep at the fires in the distance. My heart beats in time with Ulster’s great rivers. But Father- I tremble too! I would love nothing more than to come home to you With her head on the hilt of my sword But I still fear her talons, her poisonous arrows- KING CONCHOBAR Be still, my child. You aren’t without guidance. I’ve arranged for your training with Scathach. She lives just north of Ulster on the Isle of Skye. You met her once when you were young. CU CHULAINN I’ll leave before dawn. Before the sun rises. I can’t bear to say goodbye to mother- KING CONCHOBAR You’ll be back soon enough just to tell her yourself.

Midnight Capriccio (2026)

Selene DeLong (b. Yes)

Kathryn Hardgrave - Piano Selene DeLong - Piano “Midnight Capriccio” is a four-hands piano piece originally written to be played at the Lied Center Piano Academy, although this rendition will be its premiere. The piece opens with a dark, roiling chromatic line in F minor which is quickly interrupted by an equally energetic but much more playful lydian melody in the high register of the piano. The original line soon returns, and the two ideas tussle against each other before the sound of bells marks the arrival of a dreamy, melancholic waltz. The waltz grows and meanders through various keys, eventually allowing the first themes to return in a slower, quasi-developmental section, after which the music once again swells and accelerates before being interrupted: this time by a full chorus of bells that herald a gentle, romantic chorale-like section. The waltz returns once again, visiting the opening key of F minor once more before sending the listener off with an extended, rising Ab Major chord. The piece evokes a variety of nocturnal textures, from the fear of something hiding in the bushes to the serenity of basking in the moonlight. Hopefully, you’ll be able to come up with your own story to go along with it too. Selene likes writing about things that she finds beautiful. She places emphasis on melody and expressive harmonic shifts to create colorful atmospheres that evoke the fantastical visions she sees in her head. Her works are often accompanied by senses of longing, wonder, or awe; she interprets these feelings as a sort of nostalgia for a life she’s never actually lived. She hopes that through music, these visions can be brought closer to reality, and that by doing she can inspire others to create their own beauty in the world. That is why, when listening to her works, she advises you to sit back, close your eyes and dream. <3

Short Fugues on Familiar Themes (2026)

Nate Buettner (b. 2006)

Tony Garrett - Violin Jonas Cummings - Viola Spencer Schiffbauer - Cello These are 2 short fugues inspired by the works of PDQ Bach. Sources include but are not limited to SpongeBob Squarepants, Joshua Aalampour and my washing machine. Nate Buettner is a Sophomore Composition Performance Major from Norfolk, Nebraska. He started composing in 2023 for his high school's theater department. His works explore music horizontally, making use of stratification and multiple intercepting motives.

July Baby (2026)

Sasha Watson (b. 2007)

Anna Armstrong - Alto Lucy Regnier - Alto Wren Cave - Violin Mercy Wuehler- Cello Sasha Watson - Guitar “July Baby” is a simple acoustic song featuring guitar, strings, and vocals. It started out as a folk song written for two of my friends to sing, then over time it developed into a slightly more dramatic piece. The lyrics are like a love poem, emphasizing sensory components of relationships through visual metaphors. The string parts were then added to highlight the romantic elements of the text. In terms of the predictability and song structure, it is kept simple to represent the youthfulness of this love, where it can feel calming and safe. Sasha Watson was born and raised here in Lincoln and is in her first year at the Glenn Korf School of Music. She has been studying guitar and violin for nearly a decade and has been songwriting since 6th grade. Her lyricism is the focus of every piece as she carefully crafts each part to support the message expressed in the text. She is the co-songwriter in two award winning bands that have taught her the importance of collaboration and community within music. She is excited to continue her passion for music within the composition program here at UNL.

Nuhad XNX (2026)

Charlie Smith (b. 2004)

Nuhad Khan - Tenor Saxophone Nuhad XNX is a tenor saxophone piece that will have an all-electronic backing track to it. A lot of the inspiration that comes from this piece comes from movies a such as Tron and Bladerunner. As well as artists such as Daft Punk and Kaytranada. I think it's pretty cool. Charlie Smith is a music education major and composer from Omaha, Nebraska. His main focal points regarding composition and music are Hip Hop production, folk, sampling, and electronica. He plays instruments such as the drum set and guitar. Charlie has been involved in UNL’s Repertory Jazz Ensemble and UNL Marching Band. Charlie hopes to use his college career to expand his music writing skills.

Concertino for Double BAss (2026)

Spencer Pryor (b. 2000)

Gabby Notter - Solo Double Bass Anna Grass - Violin Jack Carlson - Violin Madee Hall - Viola Jennifer Lochhead - Cello Matthew Jahnke - Double Bass This piece started as an exercise for myself in string writing. Why the bass you ask? I specifically chose the bass because I enjoy the timbre that the bass gives, I am a big fan of the sound of the cello as you will see, however for this piece I chose the bass because of its broad range. The title "Concertino" or 'Little Concerto' was used because I didn't decide on the title until the end, and with this being for a solo instrument and string orchestra, I figured that would be the best title. You'll notice in this piece that I start with a baroque style that was a quasi-inspiration from J.S. Bach. Subsequently, we fall into our first cadenza followed by a development of the original idea presented to us in the introduction. We then move into our 'second movement' that is much more lyrical and inspired by composers like John Williams. We then move into our 'third movement' which is a recapitulation of our original theme, however it is introduced by a fanfare, and it is now in the key of Bb Major.  Spencer Pryor is currently a Sophomore and has been writing music since he was 16. He transferred to UNL from UNO and this is his first semester at UNL he is currently studying trombone performance under Dr. Scott Anderson. Spencer's influences include John Williams, John Powell, Michael Giacchino, Alan Silvesteri, Howard Shore, Pyotr Tchaikovsky, and Gustav Mahler.

Can I call you? (2026)

Henry Smith (b. 2006)

Arquimedez Halsey - Marimba Liam Fitzgerald - Marimba We all need someone who we can count on, whether that be to laugh, cry, or simply just talk with. Having a support system is integral to having a happy, prosperous life. This piece embodies those people and what they do for us. Taking the form of a melancholic waltz, Can I Call You? lets the “listener” become the “listened to” and lifts us above our problems and concerns for a short while. Henry Smith is a sophomore Music Education Major from Omaha, Nebraska. Smith began his compositional journey during his freshman year of high school at the age of 14. Over the next several years, he would hone his craft into what it is today. His music has garnered praise and support from both audiences and performers alike. His wind band piece Where It Rains Diamonds was debuted by the Millard West Wind Ensemble at the 63rd Annual Nebraska State Bandmaster's Association Concert Band Convention and later performed at the finale concert for the Association of Concert Band's Omaha Regional Connection by the Nebraska Wind Symphony. His music has been sold across the US and continues to impress audiences.

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