Jessie Montgomery: Starburst
Commissioned by the Sphinx Organization, Jessie Montgomery wrote Starburst in 2012. This one-movement piece for string orchestra is a brisk and exuberant trek through the cosmos. While grounded in the classical tradition, Starburst takes fresh and unexpected detours. Montgomery describes the work as a “play on imagery of rapidly changing musical colors” inspired by the phenomenon of a starburst--the rapid formation of new stars in a galaxy. Taking off with a low growl in the cellos, the line quickly ascends to the reaches of the violin’s upper register. The sparkling ostinato in the upper strings depicts travel through time and space. Montgomery’s study of film scoring reveals itself in this work: so illustrative of outer space, the listener isn’t merely looking through a telescope, she is soaring amongst the stars.

WORLD PREMIERE
George Meyer: In the Wild (2025)
From the composer:
Sam Bush is one of my favorite fiddle players, and the opening of this piece puts a little of what I've learned from his playing into practice. I tried to borrow from and imitate his powerfully, joyfully rhythmic use of the bow, and what I understand of his superior note choice informs mine. I also borrowed a small melodic idea from Richard Thompson's "1952 Vincent Black Lightning," a song I grew up hearing in the extraordinary Del McCoury Band's 2001 recording. It is wonderful to work with the fine players of the Army Strings, with whom I share a love for all kinds of American music. I am honored to present this piece in celebration of their 75th Anniversary.

Tchaikovsky: Serenade for Strings in C Major, Op. 48, 1st movement
Tchaikovsky wrote the Serenade for Strings in the fall of 1880 and was already an internationally celebrated composer with symphonies, concertos, operas, and a great variety of other pieces to his credit. He wrote to his patroness, Nadezhda von Meck: “My muse has been so kind that in a short time I have got through two long works: a big festival overture for the Exhibition, and a serenade for string orchestra in four movements. I am busy orchestrating them both.” The first piece was the bombastic 1812 Overture known for its programming on 4th of July concerts; the second was the charming Serenade for Strings, which he described as “a piece from the heart.” From its early sketches, Tchaikovsky believed the work would take shape as a symphony or string quartet but diverted the undertaking to a string serenade. At the time, a “serenade” was commonly known as an “evening piece” to be performed on quiet and pleasant nights for aristocrats, much like Mozart’s famous Eine Kleine Nachtmusik. He confided in Nadezhda von Meck that the first movement of the Serenade was his “homage to Mozart; it is intended to be an imitation of his style, and I should be delighted if I thought I had in any way approached my model.” Tchaikovsky went on to conduct the work throughout Europe, with performances in Prague, Paris, London, Geneva, and Berlin, as well as multiple times during his 1891 tour of America.

WORLD PREMIERE
Sheridan Seyfried: Homeward (2025)
From the composer:
It's often the case that, when composing, I write the music first and only come up with the title afterwards. Instrumental music seems to have its own sort of internal logic - its own language that doesn't need justification by other means. However, I don't object to a title if it gives the listener a reasonably good metaphor by which to comprehend the music. As I searched for such, I went over the piece many times, noticing its qualities: a feeling throughout of pulsing energy and excitement, a hint or two of danger along the way, a tranquil episode in the middle (perhaps a meadow scene?) and, eventually, a joyous conclusion. I imagined the piece could represent a journey home - motivated by a desire to be reunited with loved ones, or to see a cherished place again, we press on with determination in the face of challenges, and with joy in our hearts.

Andante moderato from String Quartet No. 1 in G Major
In 2009, while renovating a long-abandoned house outside of Chicago, a couple uncovered boxes of music manuscripts bearing the name “Florence Price.” Curious about the unfamiliar name, they investigated and discovered that their summer home had once belonged to a trailblazing composer: the first black woman to have a work performed by a major American orchestra, the Chicago Symphony. Hidden for over half a century, the manuscripts revealed a courageous artist who carved a path through the barriers of her time, leaving behind a trove of work only now beginning to receive its due. Price had grown up in the relatively cosmopolitan Little Rock, Arkansas, where a vibrant Black community thrived despite the increasingly oppressive reign of Jim Crow laws. She attended the New England Conservatory, one of the only major music schools that accepted black students at the time. After a brief period of study at the Chicago Musical College, Price recognized the city as a place where she could both advance her musical ambitions and escape the escalating racial violence in Little Rock—including lynchings and attacks that had reached her own neighborhood. In 1927, she and her family joined the Great Migration, part of the vast movement of black Americans fleeing the oppression of the South in search of safety and opportunity in the North. She arrived in the Windy City on the cusp of the Black Chicago Renaissance, a flourishing of black cultural and intellectual life that would shape the city for decades to come.

You will hear the Andante movement of her first quartet, written shortly after settling in Chicago. All four instruments open the movement warmly, like sunshine slowly unfurling. The mischievous middle section hearkens a summer night of dance and stargazing. We return where we started: somewhat heartsick, yet content.

My Favorite Things
"My Favorite Things" was first written for the 1959 Broadway musical "The Sound of Music" and later became a household name with the success of the 1965 film adaptation of the same name. The song has endured the test of time with many artists recording their own renditions, including the famous jazz saxophonist John Coltrane’s album in 1960. Accordionist SGM (ret) Manuel Bobenrieth wrote his own unique version for the Army Strings. Listen for a beautiful extended riff of the melody in the upper strings that is improvisatory and nimble.

Skylife
Skylife is a genre-blurring single-movement work for string quartet composed by David Balakrishnan, founder of the Turtle Island String Quartet. Written in the early 1990s, this groove-driven piece draws on Balakrishnan’s diverse musical background, blending elements of jazz, classical, folk, and world music. Skylife embodies the quartet’s mission to expand the string quartet tradition beyond its European classical roots.

The piece begins with a solitary violin laying down a syncopated rhythmic figure, soon joined by a wicked viola solo that sounds like it’s doing its best impression of an electric guitar. Unconventional techniques and stylistic shifts challenge the performers both technically and expressively, pushing the boundaries of what a string quartet can sound like. Though fully notated, Skylife maintains a spontaneous energy that evokes the feel of a jazz combo, with each instrument contributing its individual voice to the ensemble’s musical dialogue.

Sekstur from Vendsyssel - The Peat Dance
This piece comes from Wood Works, an album of Nordic folk tunes arranged and performed by The Danish String Quartet. Though the ensemble describes itself as “first and foremost a classical string quartet,” they exploded in popularity after digging into the roots of their local folk music tradition. Wood Works marked their first foray into this folk-inspired repertoire, bringing a fresh sound to the concert stage by pairing old Nordic fiddle melodies with newly imagined accompaniment.

The first part of this piece is based on "Den Topped Høne" (The Topped Hen), one of the most popular tunes from the Vendsyssel area of northern Denmark. It’s a Sekstur (six tour), which is a jaunty dance bearing a close resemblance to the Irish jig. The second section is based on Tørvedansen (The Peat Dance), a Danish reel originating from the Roskilde area near Copenhagen.

September Song
September Song is a ballad composed by Kurt Weill with lyrics by Maxwell Anderson. Initially written in 1938 for the Broadway musical Knickerbocker Holiday, the song was created specifically for actor Walter Huston, whose limited vocal range shaped its slow, deliberate style. Though Knickerbocker Holiday itself had a modest run, September Song quickly outshone the show, becoming a beloved standard in the Great American Songbook. The lyrics use the metaphor of the changing seasons to convey the urgency of love in life’s later years. The song’s most famous line, “Oh, it’s a long, long while from May to December, but the days grow short when you reach September,” captures a bittersweet awareness of life’s brevity and the desire to make the most of the time that remains. This arrangement, by Army Strings alumnus and accordionist Alex Smith, is a favorite in our repertoire for its ability to evoke the elegant, sophisticated sound for which the Strolling Strings are known.

Historia de un Amor
Historia de un Amor ("Love Story") is a bolero written in 1955 by Panamanian songwriter Carlos Eleta Almarán. The song was inspired by personal tragedy, as Almarán composed it following the death of his brother’s wife. The lyrics tell the story of a man mourning the loss of a great love, capturing the raw anguish of heartbreak with lines such as: “And if I can’t see you anymore, why did God make me love you? To make me suffer more.” The song first gained international recognition as part of the soundtrack to the 1956 Mexican film Historia de un Amor, starring Libertad Lamarque. It has since been translated and performed in dozens of languages around the world. This version of the song was arranged by alumnus and accordionist Sergeant Major (ret) Manuel Bobenrieth, and it is a classic of our repertoire.

Mayonaka no Door
Mayonaka no Door, known to Western audiences as “Stay With Me,” is the 1979 debut single of Japanese singer Miki Matsubara. The song’s music was composed by Tetsuji Hayashi, working in the then-emerging style of “new music,” a genre that took inspiration from Western pop, jazz, funk, and disco. With its infectious groove and soulful vocals, Mayonaka no Door has long been a favorite in Japan, but in 2020, it experienced a global resurgence when it went viral on social media, making it an international hit 41 years after its release.

Army Strings guitarist SFC Jan Knutson wrote this arrangement for a private diplomatic dinner hosted by the Chief of Staff of the Army, General Randy A. George, at his quarters in Fort Myer, VA, in honor of Japanese military leaders. Sung by SSG Virginia Lafean, "Mayonaka no Door" is an excellent example of the Army Strings’ unique mission as musical diplomats, supporting an atmosphere of connection between America and its counterpart countries.

Über den Wolken

Released in 1974 by German singer-songwriter Reinhard Mey, Über den Wolken ("Above the Clouds") is one of the most popular modern folk songs in the German-speaking world. Its iconic chorus line, “Über den Wolken muss die Freiheit wohl grenzenlos sein” (“Above the clouds, freedom must be limitless”) has become a well-known phrase in Germany. Mey, who earned his pilot’s license in 1973, was inspired to write the song based on the feelings of peace and perspective he experienced while flying. The lyrics describe how “all fears and sorrows … are hidden below [the clouds] and then everything that had appeared so big and important suddenly feels vain and small.” SFC Jan Knutson wrote this arrangement for a recent private diplomatic event, during which the Chief of Staff of the Army, General Randy A. George, hosted German military leaders at his residence in Fort Myer. Sung by SSG Peter Walker, Über den Wolken served as a fitting tribute to our guests, and its uplifting message helped set the stage for strong diplomatic relations between America and Germany.

America the Beautiful

The lyrics for America the Beautiful were written in 1893 by Katharine Lee Bates, a poet and professor who was inspired by the sweeping views from Pikes Peak in Colorado. Her words reflect a profound reverence for the country's physical grandeur, as well as its ideals of unity, humility, and grace. The music, composed by Samuel A. Ward in 1882, was originally intended for a hymn titled Materna. When paired with Bates’ poem several years later, the result was a hymn-like anthem that quickly captured the American imagination. Unlike the more martial tone of The Star-Spangled Banner, America the Beautiful offers a more contemplative vision of patriotism. This arrangement by SFC Jan Knutson brings a fresh artistic perspective to the classic. Sophisticated harmonies and delicate voicings lend the piece a subtle, dreamy atmosphere. Knutson’s use of powerful tonal shifts gives. The familiar melody takes on new depth, inviting listeners to hear the song not just as a patriotic anthem, but as a heartfelt meditation on the country’s beauty and promise.

George Meyer

Violinist/violist/composer George Meyer is equally interested in classical music and fiddle playing, and the music he writes draws on both sources. He has performed his compositions in a wide variety of settings, from the Telluride Bluegrass Festival to the 92nd Street Y. He has been commissioned by Chamber Music Northwest, Katie Hyun with Astral Artists, Mike Marshall and Caterina Lichtenberg, the Aizuri Quartet, the New York Classical Players, and Bravo! Vail.

2024-2025 highlights include the premiere of a Triple Concerto for two violins and viola with Emma Frucht, Brian Hong, and George as soloists with the New York Classical Players and Dongmin Kim in four NYC concerts. Upstream, a duo project with pianist-composer Will Healy, made its Carnegie Hall debut and recorded an album of 11 original co-compositions for release in Fall 2025.

Other projects include a duo with his father, bassist Edgar Meyer. They perform traditional, original, and co-written works and have also toured with Sam Bush and Mike Marshall. They will reunite with Marshall to tour in 2026.

He holds degrees from Harvard College and the Juilliard School, and he is a faculty member at Juilliard’s Extension Division. He is from Nashville, TN.
website: georgemeyermusic.com
Insta: @georgemeyermusic

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Sheridan Seyfried

Composer Sheridan Seyfried’s melodic and accessible style resonates with a diverse range of listeners. Firmly grounded in classical tradition, it is also influenced by styles such as New Age, Celtic, and folk.

Seyfried's orchestral, chamber, and solo works have been performed at major venues around the world, including Carnegie Hall, and have been played by musicians including violinists Ray Chen and Ida Kavafian, cellist Jonah Kim, pianist Orli Shaham, and clarinetist David Shifrin. His 2017 Double Concerto for violinists Nikki and Timothy Chooi has been broadcast nationally on American Public Media's Performance Today. Seyfried’s Sextet for clarinet, piano, and strings is frequently performed around the world, including by Belgian clarinetist Roeland Hendrikx.

Born in Philadelphia in 1984, Seyfried studied at the Curtis Institute of Music with Richard Danielpour, receiving awards for excellence in both composition and music theory. He also holds a master's degree from the Manhattan School of Music.

COL Bruce Pulver
Leader and Commander, The U.S. Army Band “Pershing’s Own”
Colonel Bruce R. Pulver, a Melbourne, Fla., native, holds a Bachelor of Music Education from the University of Southern Mississippi and a Master of Music Education from Old Dominion University. He has served the Nation in uniform for over 30 years, representing the Army in 37 countries and across nearly every U.S. state. 

As Leader and Commander of The United States Army Band “Pershing’s Own,” he has directed performances for Presidential, Congressional, and military events, including the 60th Presidential Inauguration, the NATO 75th Anniversary Summit, the Army’s 250th Birthday, and the State Funeral for President Jimmy Carter. 

Previously, he was Deputy Commander of the U.S. Army Field Band (2008-2012), commanded the U.S. Army Europe Band & Chorus in Germany (2012-2015), and served as Commandant of the U.S. Army School of Music (2015-2022), where he oversaw training for over 3,000 Soldiers. In 2021, he was named Chief of Army Bands. 

His awards include the Legion of Merit, NATO Medal, Humanitarian Service Medal, Air Assault Badge, Parachutist Badge, and German Schützenschnur in Gold. A member of the American Bandmasters Association, he also received the Colonel George S. Howard Citation of Musical Excellence. Colonel Pulver and his wife, Dianne, have two children and two grandchildren.

LTC Randy Bartel
Deputy Commander, The U.S. Army Band “Pershing’s Own”
Lieutenant Colonel Randy Bartel, a native of Marshall, Mos., began his military service in 1996 as a trumpet instrumentalist with the Quantico Marine Corps Band. He holds a Bachelor of Music Education from Central Methodist University and a Master of Music in Wind Band Conducting from the University of Missouri. Before commissioning through Officer Candidate School in 2005, he taught for four years as Director of Bands at Elsberry Public Schools. 

In his current assignment at “Pershing’s Own,” he serves as the Deputy Commander and Officer in Charge of The U.S. Army Strings. In his first assignment at “Pershing’s Own,” he served as Director of The U.S. Army Ceremonial Band and Herald Trumpets. He led performances for five U.S. Presidents, state events, and major televised programs, including the National Memorial Day Concert and A Capitol Fourth. 

His other military assignments have included serving as the Commander, U.S. Army Europe and Africa Band and Chorus; Commander, U.S. Army Training and Doctrine Command Band; Associate Bandmaster, The U.S. Army Band “Pershing’s Own;” and Band Programs Officer, U.S. Forces-Iraq. 

His awards include the Bronze Star and four Meritorious Service Medals. He and his wife, Regina, have two sons.

CPT Bonnie Alger
Associate Conductor, The U.S. Army Band "Pershing's Own"
Captain Bonnie Alger is Associate Bandmaster of The United States Army Band “Pershing’s Own” and Officer in Charge of The U.S. Army Chorus. Alger and the 34-member Army Chorus regularly provide musical support for events of national significance, including presidential inaugurations and state funerals.

Before joining the Army, Alger maintained an active schedule as a freelance musician, educator, and arts administrator throughout the D.C. metro area. She also spent two years in Abu Dhabi, where she taught choral music at an international school and played violin in the UAE National Symphony Orchestra. She has served as both a cover conductor and music librarian for the National Symphony Orchestra (USA), an adjudicator for the Association of Music in International Schools, and a clinician for universities and secondary schools across the United States.

A native of Connecticut, Alger holds a doctorate in orchestral conducting from the University of Maryland - College Park, a master’s degree in music education from the University of Southern California, a master’s degree in orchestral conducting from the University of Northern Iowa, and a bachelor’s degree from Lawrence University.

SSG Virginia Lafean
Staff Sergeant Virginia Lafean was born in Fairfax, Va. Following a move in 2007 to Basking Ridge, N.J., she completed high school at Ridge High School. She attended the Indiana University Jacobs School of Music, pursuing a bachelor's degree for three years, when a 3-month study abroad in Scotland led to a transfer to the Royal Conservatoire of Scotland in Glasgow, from which she received her Bachelor's in Music and her Master's of Music in Vocal Performance. Lafean is trained in opera and classical singing, her most notable roles being Belinda (Dido and Aeneas), Adina (L’Elisir d’Amore), and Susanna (Le Nozze di Figaro). She has received several awards for her musicality and technical ability, including the Tillet Trust Bursary Award and the Norma Grieg French Song Prize. She has sung in masterclasses with renowned singers such as Dame Ann Murray and Elizabeth Llewellyn. Lafean’s classical training serves as a foundation through which she can enjoy singing a variety of styles with sound technique. She loves performing musical theatre, art song, pop, soul, and rock, as well as many other genres. She is honored to serve her country as a member of The U.S. Army Chorus.

SSG Peter Walker
Described as a "commanding" singer by a recent Boston Globe review, and "rich voiced" and "vivid" by the New York Times, Staff Sergeant Peter Walker performs with the GRAMMY-nominated Skylark Ensemble, GRAMMY-nominated Handel + Haydn Society, GRAMMY-nominated Clarion Society Choir, Kuhmo Kamarimusiiki, Staunton Music Festival, Early Music New York, Blue Heron, Texas Early Music, Pomerium, and other ensembles, and is a founder and member of Chapter House, a duo exploring the connections between storytelling and music. He is also active as a researcher of early music, ranging from the Middle Ages through the eighteenth century, and has presented lectures on medieval and Renaissance music at Vassar College and Case Western. Walker holds degrees from Vassar College and McGill University, where he studied with Drew Minter and Sanford Sylvan.

Co-Producers: MSG Robert Martin, SFC Lisa Park 

Director of Marketing and Public Affairs: Ms. Jennifer Maly 

Librarian: SFC Christina Wensel 

Technical Support Group Leader: SGM Jon Seipp

Technical Director: SFC Matthias Bleicken 

Stage Manager: SSG Kate Walsh 

Lead Audio: SFC Alex Righter 

Audio: SSG Alan Schmiedl 

Video Lead: SFC Todd Gerlach 

Video Support: MSG Clark McDaniel, SFC Todd Gerlach, SFC Cheryl Pirard, SSG Seara Marcsis