.

The SChool of Music

presents the 84th program of the 1989-90 season

6j'i.8
11,0
I.{" 2. '/
The University of Washington

Wind Ensemble

and

Symphonic Band ;;;

= Musical Director
TIm Salzman

Walter Welke
.'
\
Concerto Competition
,Winners \

April 24, 1990

8:00 PM, Meany Theater
free Admission

------------------------------------~~

c ) •
 Program

c~'?<;. 11('~"1A The Symphonic Band

Polonaise, Op. 49 ....... Ceq ;0.'9 ........... ANATOL LlADOV (Trans. Wilcox)

Incantation and Dance ... ( 1~.:10) ................ JOHN BARNES CHANCE

David McCuIough, Conductor

The Wind Ensemble

Concertlno for Trumpet and Band .. Q3: 3.3). . . . . .. . ... MAURICE WHITNEY .,

Michael Kane,Trumpet
Roy Cummings. Conductor

lied et SCherzo. Opus 54 .... CJ:.4 ~ ................... FlORENT SCHMm

Jacqueline Faissal. Hom

_________________~D~a~~~~~w~y,~CO~nd~~~to~r__- -____~________
13
C.A'> '::> I \ {p $'7
Concerto for Flute ......... .1~! J O. . . . . . . . . . . . . . . . . . . HENK BADINGS
Brian Fairbanks, Flute
Felix Skowronek, Conductor

Combined Bands
Allerseelen, Op.10, No.S () >........... RICHARD STRAUSS (Arr. Davis)

......~'-Ot

Da~ McCullough, Conductor

Alte Kameraden . . . . . . . .. .:{ ;. '3.~. . . . . . .. ............. .CARL TElKE

David ~,Conductor

C t,

•
program Notes
For some years at the beginning of this century Anatol Uadov (1855­
1914) was held in high regard among Russian composers. Stravinsky
later called him "the most progressive of the musicians of his generation,"
and the impresario Sergey Diaghilev wrote to him in 1909: ·We all
consider you now as our freshest and most interesting talent." This letter
was Diaghilev's invitation to Uadov to compose a new ballet he wanted
to present in Paris the next year with his Ballets Russes, to be called The
Flreblrd. After some weeks the only progress liadov had made was to
buy the music-paper and Diaghilev was obliged to look elsewhere for the
music: to the young Igor Stravinsky.
The incident confirmed a reputation for indolence that was attached
to liadov when he was 21 after his expulsion from the St. Petersburg
Conservatory, where he had studied with Rimsky-Korsakov. He was later
re-admitted and himseH became professor of harmony and composition
there.
The Polonaise, OP. 49 was Liadov's tribute to the poet Pushkin for a
memorial concert in 1899. This fively work was transcribed for concert
band just this year by Don Wilcox, Director of Bands at West Virginia
.University. - Noel Goodwin and David McCullough
The title of this piece, Incantation and Dance, suggests a religious
orientation, but not toward any of the established religions of Westem or
Eastern culture. Unlike prayers, incantations are uttered in rituals of
magic, demonic rites or festivals of conjecture. When the spirit does
come there is dancing, wild and abandoned.
The Incantation of Chance's work serves formally as an introduction.
Its low flute sounds and unstable tonal center creates an air of mystery
and expectation. Instruments are added but the general dynamic remains
hushed and anxious.
The Dance starts quietly, its complex rhythm built piece by piece in
the percussion section. The winds are added and the dance grows wilder
and more frenzied. There is no pretty tune here but instead a convulsion
of rhythmiC syncopation that leads to the dances satisfying conclusion.
- R. John Spech
Maurice Whitney, an American composer, has written several pieces
forwind ensemble and band. In the present work, Concertino for Trumpet
and Band, the first movement alternates between marcato and lyrical
passages. It also has a cadenza featured before its strong ending. The
second movement is reminiscent of the music of George Gershwin, and
leaves much of the interpretation open to the soloist. The third movement
is a showcase for the soloist's technique. Flowing runs surround a lyrical
midsection, and the movement ends impressively upbeat.

... ~
......... _.­
c • •
 Michael Kane is currently in his third year at the University of
Washington. He is a student of Roy Cummings, and is majoring in
orchestral performance. Besides playing in the Wind Ensemble, Michael
also plays in the University Symphony and Studio Jazz Ensemble. Out­
side of the University he plays principal trumpet in the Seattle Youth
Symphony, and also plays in the Seattle Philharmonic. Michael
graduated from Buena High School in Ventura, California, in 1987.
- Michael Kane

French composer Florent Schmitt (1870 - 1958) studied with Mas­

senet, Faure, and others at the Paris Conservatoire from 1889 - 1900,
winning the Prix de Rome duling his last year. Duling the next decade
he produced many of his most important works, including a massive
Plano Quintet (1902 - 1908) and the ballet La Trageclle de Salome
(1907), whose pounding rhythms foreshadow to some degree
Stravinsky's Rite of Spring.

Lied et Scherzo, Opus 54, was composed and published in 1910 and
dedicated to Paul Dukas. Although originally written for double quintet
and plincipal horn, it was premiered as an arrangement for cello and piano ,,
(with scarcely any modification in the main part) on April 26, 1911 at the
Salle des Agriculteurs. Schmitt was influenced by other composers and
borrowed impressionistic devices from Debussy and Ravel. His music is
characterized by vigor, eloquence, anti passion.

Jacqueline Faissal is a D.M.A. candidate at the University of

Washington and studies hom with David Kappy. She holds a B.MA in /
Music Performance from Florida State University (1986) and a Master's
degree in Music Performance from the University of Montana (1989).
- Jacqueline Faissal

Witness the phenomenon of a 'prophet' honored in his own home, yet

not elsewhere: Henk Badings (1907 - 1987) has'been recognized in the
Netherlands as a major composer of the twentieth-century, but his music
remains relatively unknown outside Northern Europe. In fact, if he is
known, it is more often than not for this very concerto being played this
evening. This concerto, composed in 1963, is the standard work for its
genre, being perhaps performed more often than any other concerto
written expressly for flute and band.

Interestingly enough, Henk Badings was born in Bandung, Indonesia,

of Dutch parents. Orphaned at an early age, he left for the Netherlands,
eventually studying mining engineering at the Delft Polytechnic Univer­
sity. His first symphony was composed without the aid of formal study in
composition, and was premiered by the Amsterdam Concertgebouw in
1930! He later studied composition with Willem Pijper, and eventually
taught at such institutions as the Rotterdam Conservatory, the Lyceum in
Amsterdam, the University of Adelaide in Australia, and finally the Staat­

c ¢'
•
 ·

liche Hochschule fOr Musik in Stuttgart. A great experimenter, he worked

with electronic sounds, and the 31-tone microtonal scale (as opposed to
our normal 12-tone chromatic scale) devised by the Dutch physicist
Adriaan Fokker. However the bulk of his music demonstrates a fondness
for the octatonic scale, known in Holland as the ·Pijper scale." It consists
of alternating major and minor seconds, and was extensively used by
Stravinsky throughout his career.
Tonight's concerto is strongly octatonic, with the scale itself being
directly stated a few times in the first movement. Its structure is fairly
traditional, though the three movements are played fairly strictly without
interruption. This piece also demonstrates Badings' penchant for strong
unconventional rhythms. While the first movement is rather straightfor­
ward, asymmetrical groupings dominate the bulk of the concerto. In fact,
the last movement maintains a convincing trip into the land of 11/8: think
of grouping 11 beats in one measure! I assure you, it is great fun to playl
Brian Fairbanks is a senior at the University of Washington, pursuing
a BAlBM in Music History. He has played the flute for fourteen years, his
principal teachers being Lise Mann and Felix Skowronek. A member of
the Arts and Sciences Honor Program, he attends the University on a
four-year tuition exemption granted by the Washington State Legislature
through the Washington Scholar Program. He was Co-principal Flute of
the Seattle Youth Symphony from ':;986-1989; and has been Principal
Flute of the UW Wind Ensemble since Autumn, 1989.
- Brian Fairbanks

Richard Strauss had a life-long love affair with the human voice. He
composed songs as early as 1882 at the age of 18, and completed the
Four last Songs in 1948, a total of no less than 138 songs with piano
accompaniment. It is from this early opus of 1882, dedicated to the
Munich tenor Heinrich Vogl, that Allerseelen was taken and adapted for
large symphonic band by Albert Oliver Davis. Allerseelen, or "All Souls'
Day", has been standard band fare since the transcription was published
in 1955 and the wide acceptance ofthe setting helps to fill that void. Davis
has fashioned his transcription with stylistic fidelity and this dramatic
setting is carefully framed within the Strauss original.
- Frederick Fennelf
Carl Teike (1864-1922) began his musical studies at the age of
fourteen with Paul Bottcher, conductor of the Wollin Municipal Band. At
the age of nineteen he entered the army as a musician in Ulm. But when
a new bandmaster disliked his most recent, yet unnamed, march and
suggested that he destroy it, Teike decided to resign from the army to
become a policeman. That march is now known around the world as Alte
Kameraden; "Old Comrades," and Teike is remembered as its composer.
- David McCulfough

n • t

tit' WT
 Walter Welke Conceno Competition

Walter Welke started his 45-year tenure at The University of

Washington in 1929 as conductor of the University Band and the
Men's Glee Club. He later founded the Wind Sinfonietta and
organized the marching band. 'Under his direction the bands
premiered over 50 pieces of new music for winds. It is difficult to
find a Welke program that does not include several students in
concerto settings. It is therefore fitting that the new annual wind
ensemble concerto contest. that begins with the three performan­
ces this evening, be named after Walter Welke who throughout
his lengthy tenure felt so strongly about the value of such perfor­
mances.

t.

The University Of Washington Wind Ensemble

Piccolo Ano Saxophone Euphonium

Wendy Wilhelmi Charles Davis Zach Davies
./
Flute Robert Davis Tuba
Brian Fairbanks Tenor Saxophone Craig White
Laura Dickinson Travis Ranney Kirk Smith
Oboe BarnoneSaxophone Percussion
Molly Sandvick Brad Price Brian Bogue
Jewel Cripe Trumpet DanOie
Bassoon Ron Cole Evan Buehler
Jeff Eldridge Sam Mann Alec Wilmart
Katie Jackson Michael Kane Patti Dixon
EbClarlnet Michael Baker Emily Niven
Beverly Setzer Jack Halsey String Bass
Clarinet Mat Johnson Kris Falk
Kathy Boone Horn Plano
Sue Kelleher Jackie Sue Faissal Minako Fukase
Anne Dickinson Jenny Smith
Chris Magnusson Tony Miller
Christine Bammes Andrew Kertesz
Gretchen Minton Vince Yamashiroya
Bass Clarinet Trombone
Billie Winter Andrew Hillaker
Contra-Alto Clarinet Gretchen Hopper
Vanessa Kahen Jay Bulen

C tr •
•
 The University of Washington Symphonic Band

Bass Clarinet Katherine Kino

PIccolo David Graves

Yuriko Brunelle Michael Tangen

Alto Saxophone John Boggio

Flute Doug Manis

Scott MacHattie Shannon Morgan

Cindy Baquiran Zach Davies

Lisa Gane
Stacey Councilman Baritone
Katherine Nelson
Sharon Lyons WolfVanhee
Shannon Yost
Tenor Saxophone Bill Harris
Lori Iwasaki
Kristina Espinoza TonyaMay
Debbie Voyce
Jennifer Dalton Greg Wickline
Jennifer Pritchett
Oboe Erika Odegard ruba
Baritone Saxophone Nathan Carlson
Rachelle Merza
Val Villafana Michael Kantor
David Oakley
comet Louis Figueroa
Bassoon Tad Doviak
Jenny Rohons Mark Hillard
Dale Potter Percussion
Clarinet Greg Landgraf
Doug Smith Brian Kovacevich "
Greg Wiedermeir Tammi Engstrom
Matt Whitney
Luke Von Felt Stuart McLeod
Lisa Dinkelman
Horn Tracey Pilkinton
Gretchen Swanson
KrisUn Cronin Cheryl Und.srwoo9
Jon Plummer Jeannie Galvin
Julie Lougheed Brian Graves
Julie Skeen Trombone
Kathleen Petrie Dirk Brier
Antonio Bermudez Brad Calder

Friends of Music (711/89 - 4109190)

PONCHO Daniel and Arundhati Neuman
UFEllME mENDS Mrs. V.R. Scheumann Maynard and Ellen Pennell
Seattle Foundation Andrew and Marianna Price
The Boeing Com~tIY Melville and Mary Price
Brechemin Family Foundation SUPPORTERS(!250-$999) Alan T. Robertson
William and Ruth Gerberding Gilbert J. Roth
Hans and Thelma Lehmann Anonymous
Edmund and Carolyn Littlefield James and Jane Beale Tom and Lorraine Sakata
Aura Bonell Morrison Kenneth Benshoof COtfI'RlBUTORS($50-$249)
CCNMO in Seante
PATRONS ($1 0,000·$24,9991 James and Mary Carlsen George and Lorna Aagaard
Digital Equipment ~ration George H. Allison
Meade and Deborah Emory MargaritaAndrijic
Luther and Carol Jones RiChard and Judith Evans
Donald and Linda Miller Ferdinand EberstadtFoundation GIadY.S Hall\l Arntzen
Morris and Evelyn Gorelick Renciklo A. Haggott
SPONSORS \$1000-$9,999) Richard F. Graham Henry and Helen Baliskv
Ward and Mary Ingrim
Niranjan and Shantha Efenegal
Babb Foundation Carl and Corrine Berg
David and Jane Davis Milton and Virginia Katims

Kathleen O. LOng
Andrew Biles
Edwin W. & Catherine M. Karen Gottlieb Bleaken
Davis Foundation Theodore L Malts

McCaw Foundation
Kelly and Margaret Bonham
Ramesh and Shanla Gangolli Kalman and Amy Brauner
Charles and Janet Gnltes Charles and Alice McGregor

h -t
 More Friends

James and Donna Brudvik Gerald and UndaJames JuaniaRicIIards

Charles and Carol Canfield Robert F. Jones Martinand Bernice Rind
Philip and Mary Jo Carlsen JllCqueline Karon Mrs. .bhn S. ~nson
Robert and Mary Cleland Michael and Beret Kischner Randall and Willa Jane Rockhill
Kathleen Conger Maurice and Jeane Kutner Frederick W. Root
Parker and Mffdred Cook Ladies Musical Club Ralph and Virginia Rosinbum
John and EieanorCoweiI Stan and Judy Lennard Irwin and BarfmaSarason
~ V. Curtis-Vema David C.l,I)rIg Ralph and Pearl Sdlau
Frank and Norma Del Giudice John and BarIlaraLong Seallle Civic 0 Assoc.
Helen G. Eisenb!r.g William E. Mahlik Ru1hL~
Keith and Karen ElS9nbrey Sally Mann Felix Skowronek
leonard and Enid Esham David and Marcia McCracken Karl E. Spe\I!!Ian
Margaret V. Evans Edward F. McCabe Joseph and Evelyn Steme
Fred'erick Fenster JoAnn McManus Mrs. Emmell Sunivan
Melvin and Margaret Figley Donald and Renate t.lcVittie Jean P. SWanson
ComeIiusGaddum-RosSe EvaJ. Mehaff6¥ Ronald O. Thompson
John and Dorothy Givens John and Gail Mensher Fri1s and ErIZabeth Van Oppen
William O. Goodiich Howard and Au~ Morrill Lew and Nola Wallace
Mary Ann Hagan Peter and Anna Marie Morton Christie Watson
Eleanor R. Hall Kathleen Munro BaJph and VlIlIinia Wedawood
William and Mary Hallauer Jon R. Nelson ~d alllfEIeanor Wilson
Dorothy L Harwood Rose Marie Nelson . and Janet Wilkie
Dorthea C. Hawley James L Odlin Rober! and Beulah Wood
Marijean HeutmaKer Alan and Mary-I,.ouis& Peterson Steven and Mary Jo Wright
Ranaolph and Dorothy Hokanson
James and Jayne Holland
Gustav and Claire Raaum
Joyce Renfrow
G9OIJ8 and Amy Youngstrom .,

Upcoming Concens
Collegium Muslcum; April 26 &27, 8:00 PM, Brechemin Auditoril.nn
Contemporary Group; April 30, 8:00 PM, Meany Theater
Bartq.. Ensemble; May 2, 8:99 PM, BFeeRemiR At:tsiterlt:tfW' cancelled
Faculty Recital; Arthur Grossman, bassoon; Toby Saks, cello; Carole Terry,
harpsichord; May 8, 8 PM, Brechemin Auditorium
Keyboard Debut Series; May 10,8:00 PM, Brechemin Auditorium
Vanessa; May 16 &18, 8:00 PM; May 20, 3 PM, Meany Theater
University Singers; May 21,8:00 PM, Meany Theater
PercuSSion Ensemble; May 22, 8:00 PM, Meany Studio Theater
Madrigal Singers; May 22, 8:00 PM, Meany Theater
Wind Ensemble and Symphonic Band; May 23, 8:00 PM, Meany Theater
Jazz Combos; May 24,8:00 PM, Brechemin Auditorium
SOnl Ventorum Wind Quintet; May 25, 8:00 PM, Brechemin Auditorium
French and Gennan Baroque Concert; May 29, 8:00 PM, Meany Theater

C $
•
 The School of Music and

The Imperials Music and Youth Organization

present the 66th program of the 1989-90 season 13 1 'II

fCl'o
3-1 0
The Second Annual Pacific Northwest

Concert Band Festival

Tim Salzman Musical Director

,\
'>Hijfi~IIiI • •.
Auburn Asa Mercer

..1501tIeI Cascade

Bozeman Kamiakin

Decatur McClure

Enumclaw Meany

Franklin Meridian

Issaquah Olympic

Juanita Redmond

Kentridge
lake Washington
Mt. Rainier
Roosevelt
Tahoma
Ircrr.llcsl
Woodinville UW Faculty

March 10,1990
8:00 PM, Meany Theater
Free AdmiSSion

._._._--­

c •
 D/t-r:;IF I I fbI '1

Program

C14-:.. S I J C9 20 AJunior High School Honor Band Co..:.c 0..0. e...

High School Honor Band II BuThe11
High School Honor Band I l4od.\~ ville
[Honor Bands Bf8 selected from f6SIivaJ
participantsbased on performance during the day.}
Emcee:

Greg Murray. Executive Director,

The Imperials Music and Youth Organization

.,

The University of Washington Wind Ensemble

C.fr~~ I ~t:. W e, TIm Salzman, Conductor
Heart's MusIc .......... (Oi ~ ~ 1). ................... DAVID DIAMOND
Heart's Music for symphonic band written for and dedicated to Eugene Cor­
poron and the University of Cincinatti Conservatory Wind Symphony in gratitude
for the performance and recording of David Diamond's Tantlvy written in 1989.
Tantlvy was Diamond's first composition for band, Heart's Music is his second.
Heart's Music is a single movement wor1< in two parts with an opening fanfare
and an extended chorale. The fanfare, led by the brass, is brightly scored and
is characterized by ascending sixteenth note triplets. The chime plays an
important role in outling that motivic material. The chorale is dominated by lyric
contrapuntal writing. The world premiere of this composition was given on
February 1st, 1990 by the CCM Wind Symphony and Eugene Corporon.

Concerto for Maltmba and Orchestra, Op. 34 .(. ZtJ.·~ s: v.) ..... ROBERT KURKA
I. Negro Molto
II. Adagio Expressivo
III. Allegro Con Spirito
Leigh Howard Stevens, marimba
'- \.l .2--/)
Rhythmic C8prIct ........ ( ~ . '? ............. LEIGH HOWARD STEVENS

C t 1

•
...r------------------~----.--

The University Of Washington Wind Ensemble

Ctvis Magnusson 1'rOIrIbOI1e

PICCOlO Andrew Hillaker
Wendy Wilhelmi Music, Lynnwood
Christine Bammes Music, Boston, IdA
Music. Tacoma Gretchen Hopper

Music, LittletoWf'l, co
Rut. Music, Seatffe

Brian FairbaftkS Gretchen Minton

fn{1ish, Aurora, l Jay Bulen
Music, Seatffe Music, San Diego, CA
Laura Dickinson BlISS Clan",'
Euphonium
undecided, Eugene, OR Billie Winter
Bio Eng, Bartlesville, OK zach Davies
0b0I Music, Bellevue
Molly Sandvick Cecilia Kim
Music Ed, Seatffe Tuba
Music, Kirl<Iand
COl'llrlfoAlfO CIaI1net Craig White
Jewel Cripe Music, Mt Vernon
English, Wenaldlee vanessa Kahen
Psych, Seattle Kirk Smith
8aSSOOtI
Jeff Bdridge TnIIrPf
Mech Eng, Woodinville .
\

Ron Cole PeICUSSIOn

Math, Seatffe
Music, Bellevue Brian Bogue
Katie Jackson Music, Tacoma
Sam Mann
Music, San Antonio,--TX------lfuSiC; SriOI'Iomlsh . Dan Ole
AItO~·
Michael Kane Music, Morehead, lIN
Charles DaviS
Music, Kingston Evan Buehler
Music, Seattle Music, Portland, OR
Robert DaviS Michael Baker
Music Ed, Kent Alec Wilmart
Music, Silverdale
Jack Halsey Music, Seattle
Tenor SaxophOnt Patti Dixon
TraviS Ranney Music, Kent
Mat Johnson undecided, Longview
Music Ed, BotheD
Barltont SaxophOnt Economics, Puyallup SlrfngBass
Hom KrisFaik
Brad Price
Jackie Sue FaissaJ Music, Seattle
Music Ed, Kelso
Music, Dearbom, "" PIanO
Ebelanne' YukaSasaki
Beverly Setzer Jenny Smith
Music, Spanaway Music, Tokyo, Japan
INsic/SpaIish, t.l)rroe
Pete Hodges
Clari""
Kathy Boone
Music. Lynwood
Music, Kirkland Andrew Kertesz

Sue Kelleher Elee Eng, Federal Way

"
Music, Seattle Vmce Yamashiroya
Anne Dickinson Zoology, Waipahu, HI
Inn Studies, Eugene, OR

~--____----------__n-.~'~__ .-==
;,

Pacific Northwest Concert Band Festival

Saturday, March 15
University of Washington

I]
 The School of Music

presents the 59rd program of the 1989-90 season

The University of Washington

Wind Ensemble

and

Symphonic Band

Tim Salzman Musical Director

.. .
\

. "Mary and the Thistle" Fanfare

Impressions of Cairo

Sinfonia Nobilissima

Heart's Music

Sinfonia XII

DionysiaqlJes

March 6, 1990
8:00 PM, Meany Theater

Free Admission
)

_--------1

C" t
-
Dtf1 1/. (p [0

Program

The Wind Ensemble Brass

cu ~s l I Go t\ A
"Mary ~ the thistle" Fanfare ... (( .~.I.0) ................... M. G.lANE

The Symphonic Band

Impressions of Cllro ....... (~: ~) ................ROB ERT WASHBURN

I. The Pyramids of Giza at Sunrise

II. The Bazaar of Kahn Khalili
III. The Mosque of Ibn Tulun
IV. TheNiIe

Slntonla Noblllsslma ..... ((p!.l(?') .. .................. ROBERT JAGER

David McCullough, Conductor'

Intermission

The Wind Ensemble

Heart's Music (1989) ...... (.4; ':1.7) ..................... DAVID DIAMOND

Slntonla XII (1984) ...... (r I; .S'l).................... TIMOTHY BROEGE

I. Holy Manna
11. New Topia
111. Morning
IV. Fulfilment

Dlonysiaques ........ (( q'. ~ .r), ....... , ............ FlORENTSCHMITT

*In partial fulfillment of the DMA in Instrumental Conducting

c -rt f

•
Program Notes
The pomp and circumstance of a Scottish Military Tatoo has few equals. It is a
combination of drill precision and musical fanfare. "Mary and the Thistle" Fanfare was
written by Master Sergeant M. G.lane in the spring of 1987 expressly for the Edinburgh
Tatoo. The folk tune found in the center of this work is identified in Marjory Kennedy­
Fraser's Songs of the Hebrides as Mary and the Thistle and carries the subtitle "An
Eriskay Love Lilt" in that collection. The tune is treated as aballad in the second movement
of Clare Grundman's Hebrides Suite. but here it is used in more regal fashion.
- David McCu'ough
Robert Washburn was educated at the State University of New York at Potsdam where
he is now Professor of Music. He completed a Ph.D. in composition at Eastman where
he studied with Alan Hovhaness and Bernard Rogers. Impressions of Cairo is amusical
portrait of many aspects of the Egyptian city as observed by the composer on several trips
during the 1970's. The movements are to be performed without interruption. yet each
section describes a different area in or near the city. The first movement pictures the
grandeur of the ancient tombs as dawn breaks over the desert. The second ia amusical
portrait of the busy bazaar with its market place activity and oriental influence. "The
Mosque of Ibn Tutun" begins with the suggestion of the Islamic call to prayer over the quiet
atmosphere of the Moslem place of worship. The Arabic scale pattem employed in the
solo passages of this movement utilizes a second step lowered by a quarter-tOne. The
final section, based on the Middle Eastem tune 'Lamman Bada Yatathanna" (When Your
.
\

Loved One is Gone) portrays the breadth and·majesty of the Nile and glimpses of the
I
earlier scenes reappear. - David McCuHough
The words "To J.L.J: appear over the title of the overture Sintonia Noblllsslma. It I
is the first work written by the composer after his marriage in 1968 and is dedicated to his 1
wife Joan Lucille Jager. The central andante of this three-part work uses a melody that
Mrs. Jager was very fond of during the couples courtship. Essentially neo-romantic, the I
work is in a large sonata form with both a prelude and a coda. The dramatic and
syncopated opening section contains several false climaxes and a brief fughetta. The
slow, more emotional section Of the work accounts for over half of the compositions length.
In the fllal part of the work, a fast, syncopated style abruptly returns, and the overture
ends with several deceptive. then complete chords. - David McCullough
Symphonla XII was composed in late 1983 and early 1984 and received its' premiere
on April 16th, 1984 at Campbell University in South Carolina. Campbell University is
affiliated with the Southern Baptist Denomination and accordingly, they had requested a
work from me that would either incorporate or be based upon some sort of sacred music
or hymnody. So I turned to the marvelous collection of Southern shaPed note hymns
Sacred Harp and selected four tunes from that collection. Those four tunes comprise the
tides of the four movements of the work. I endeavored to compose chorale prelude
settings of these four tunes ...in fact both movements I and II originated as settings for
brass and organ which I composed in the late 1970's. I reworked them thoroughly for
Slntonla XII and added two new settings, movements III and IV. The tunes in the Sacred
Harp which appear in shaped note fashion (each of the different diatonic notes has its
own shape) seemed to dictate a strong elemental, rather straight-forward setting. The
tunes have a very powerful modal cast to them and, of course, they are extremely

c •
 diatonic...there isan almost complete lackofchromaticism. That seemed to conIrol agreat
deal of the harmonic, vertical structures that I used. The scoring of the work, which is
unusual due to the lack of independent oboe or bassoon parts, was dictated by the
requirements of the Campbell University Wind Ensemble. The four movements are laid
out in a slow-fast-slow-fast pattern which approximates the old sonata da chiesa form of
the Baroque era. The third and fourth movements rely most heavily on the use of ostinato
while the first and second movements are more free in their treatment of the hymn tunes.
- Timothy Broege
Heart's MusIc for symphonic band written for and dedicated to Eugene Corporon and
the University of Cincinatti Conservatory Wind Symphony in gratitude for the performance
and recording of David Diamond's Tantlvy written in 1989. TanUvy was Diamond's first
composition for band, Heart's Music is his second. Heart's Music is asingle movement
work in two parts with and opening fanfare and an extended chorale. The fanfare, led by
the brass, is brightly scored and ischaracterized by ascending sixteenth note triplets. The
chime plays an important role in outling that motivic material. The chorale is dominated
by lyric contrapuntal writing. The wor1d premiere of this composition was given on
February 1st, 1990 by the CCM Wind Symphony and Eugene Corporon.
- Eugene Corporon
Rorent Schmitt (1870 - 1958) was an outsIanding French composer. He studied with
Massehet, Faure, and others at the Paris Conservatoire from 1889 to 1900, in which year
he won the Prix de Rome. During the next ~de he produced manyof his most important
works, including a'massive Plano OUIntet (1902': 1908) and the ballet La_Tragttdle ~
Salome (1907), whose pounding rhythmsloreshadow to some degree Stravinsky's Rne
of SprIng.
Dionysiques, Op. 62, was composed and published in 1914 and although it was not
one of his more celebrated works, it was the only piece Schmitt composed for military
band. It received its premiere on June 9, 1925 by the Musique Garde Republicaine in
France and its American debut in 1932 when the composer visited the United States. His
I

formative years were spent in the ambience of Impressionism, but he developed astrong,
distinctive style of his own, mainly by elaborating the contrapuntal fabric of his works and
extending the rhythmic design to intricate asymmetrical combinations.
- Jacqueline Faissa/

The University Of Washington Wind Ensemble

PIccolo EbClarlnet Cecilia Kim

Wendy Wilhelmi Beverly Setzer Contra-Alto Clllr/net
RUle C/arl""t Vanessa Kahen
Brian Fairbanks KalhyBoone Alto SuophOtHl
laura Dickinson Sue Kelleher Chartes Davis
Oboe Anne Dickinson Robert Davis
Molly Sandviek Christine Bammes Tenor SuophOtHl
Jewel Cripe Chris Magnusson Travis Ramey
& ..00II Gretchen Minton &rltoneSuophOtHl
Jeff Eldridge &ss Chi""", Brad Price
Katie Jackson Billie Winter

l~ __________________________________ '

•
 Trumpet And'8w Kertesz Percualon
Ron Cole Vince Yamashimya Brian Bogue
Sam Mann Trombone DanOie
Michael Kane Ancftw Kdlaker Evan Buehler
Michael Baker Gra1lChen Hopper Alec Wllmart
JackHa/sey JItt Bulen PaUl Dixon
Mat Johnson Euphonlum Strlllfls..
Hom lachDavies Kria Falk
Jackie Sue FaiaaaI TUN PlaIlG
Jenny Smith CraigWhiIB YukaSaaakl
Pete Hodges KirkSmilh

The University of Washington Symphonic Band

PIctHJIo Jlil8lDugheed Chris Duenow

A.ndraa Steede Antonio ~udez Brian Graves
FI_ Be. CIIIrInet Trombone
Tamara Engstrom Michael Tangen David Graves
Scott MacHaflie AIIoSuophOM BmdCaJder
LindaRunft Shannon Morgan Scott Money
Vicki Lynch StaceyCounc:ilman Dirk Brier
UsaGane John Adams Nickolas GueI1in
Shannon Y08t TMOI'SuophOM Kathy Kino
Lori Iwasaki Val ViIafana ".",...
Debbie VC'f/Ce C8Ita PIayter lachDavies

.
IIasoon . . . . . . . . .ophoM WoIfVanhee
Jenny Rohana Tammy Reilly Greg Widdine
a.dnet .
CeciiaKim
TI'UIIJIIfII ..
C8n1eDimn T=-~
linaToburin Joe Mason Nathan cartson
8riIWl Hasebe Comet Michael Kantor
Gra1IChen Swanson Mark Hilard DavldKato
KimGoffman Dale Potter Louis Figueroa
Judy Flemming Stuart Nahajski TadDoviak
Kristin Cronin Luke Von Felt Percualon
KevinMnsky Greg Wledefmeir PaUl Obcon
Elissa Mohan
Hom Keri Eves
Doug Smith
Cheryl Underwood Greg Landgraf
Jon Plummer
Jeannie Galvin Jon l.ewi8

Friends of Music (7/1/89 - 2114190)

Kenneth Ben&hoof
__!!a.1_!!oo:!'' ' ' Iiiii!!!)____ CQtAAOin Seattle
=~;,.=~FII=ENDS=____ ~SPON8ORS~

~~~W'oundaIion
William and Ruth G8lben:ling
. =~n.=n08.
Edwin W. & Calherine M. 08.
it=~=~
RiChard and Judilh EVans
Hans and Thelma Lehmann Foundation Fercftnand Ebers1adt Foundation
Edmund and 9ar!JIyn LittIeieId PONCHO Ramesh and Shanta GanaoIIi
Aura BoneD MorrisOn Mrs. V.R. Scheumann Morris and Evelyn Gcnlici
PATAONS($1o,ooo.$24,1!J11 SeattJeFoundation Richw·,-,aJ!~·~...
Meadeand~ SUPPORTERSJ!!OPI .~Vi~i:'K;ams
Luther and CaRlI Jones Anonymous Kdlleen O.LOng
Donald and linda Miller James and Jane Beale Theodore L MaIb

c
 More Friends

McCaw Foundation
Keilh and Karen Ei&enlny Jon R. Nelson
Charles and Alice ~ Leonard

and Enid Eshom Rose Marie Nelson
Daniel and Arundha~ NeUman Mamaret V. Evans James L Odlin
MavnaRl and Ellen Pennell FreOerick Fenster Alan and MarY-lDuise Peterson
Anarflfland Marianna Price Melvin and Maraaret Figley Gustav and Claire Raaum
Melville and MIlly Price ComeIiusGadcfum-Fbie ~oeRenfrow
Alan T. Roba1&On John and D!IrothY. Givens Juanita Ridlards
Gilbert J. RoIh William O. Goodrich Martin and Bemice Rind
~'1Ir
Tom and Lon"aine Sakata . Mrs. John S. Robinson
CONTlIIBUTORS(!!!2!) RandaU and Willa Jane Rockhill
Wdliam and ~ Hallauer Frederick W. Root
Gao..... and Lama .1._......1 ~LHanr.OOd ~ and Virginia Rosinbum
Gao·".. H. Allison ~v Dortheil C. ~ Irwin and Bal6uaSarason

=-~L
Randolph and Dorothv Hokanson D......... and Pearl Schau

_ott
RenciIdo~.

Hen~ and Helen BaIisky

James and Jayne Holland
Robert F. Jones
JlK:queline Karon
S8:ttle Civic Opera Assoc.
Ruth L Settern\an
Felix Skowronek
NiranJan and Sha!llha Senegal Mictiael and Beret IOschner KarlE.~
Carl and Conine Berg Ladies Musical Club Joseclh and Evelyn Sterne
Andrflfl Biles S1an and ~ Lennard Mrs. Emmett Sullivan
Karen GottliebBleaken DavidC.~ Jean P. Swanson
Kelly and ~ Bonham
Kalman and f!Omy Blamer
James and Donna Brudvik
=t
SaI"'Mann
Mahlik Long
.
Ronald O. ThomIJ69ll
Friis WId EIizabeIh Van Oppen
Lew and Nola Wallace .,
Charles and Carol Qmfield DaYfd and Marcia Mc:Cracken Christie Watson
Phil' and u ..", Jo Carlsen Edward F. MI:Cabe Ralph and Vllllinia Weclawood
RcJrtand~ Cleland
Kathleen Q)nair .
JoAnn McMartu8 RaYmond andEIeanor Wilson
Donald and RanaIe MeVitlie Ridlani and Janet Wdkie
Parker and Midred Cook EvaJ. Mllhaffa¥
Robert and Beulah Wood
John and Eleanor Cowell John and Gaillfensher
Steven and ~ Jo WIQrt
u..... V. CuI1ill-Verna Howard and ~ MorriU Gaorge WId Mrt Youngslrom
F:rik and Nanna Del Giudice Peter WId Anna Marie MorIon
Helen G. Eisenberg Kalhleen taJnro

Forteplano Recital; AMusical Poelical Club Concert; March 4, 8:00 PM,

Brechemin Audhorium
PercussIon Ensemble; March 5, 8:00 PM, Meany Studio Theater
University Wind Ensemble and Symphonic Band; March 6, 8:00 PM, Meany
Theater
New Music by Young Composers; March 7, 8:00 PM, Brechemin AuditOrium
.. . Keyboard Debut SerIes; March 8, 8:00 PM, Brechemin Auditorium
University Symphony aDd Combined ChoIuses; March 9, 8:00 PM, Meany
Theater
Concert Band festival; March 10,8:00 PM, Meany Theater
0peFa SeeR. Wefkshep; MaRIh 12. 8:99 PM, MeBRy 8ttIEJie 'theater cancelled
Studio Jazz Ensemble; March 13.8:00 PM, Meany Theater
Jean-Paul sevilla, Pianist; April 2, 8:00 PM, Brechemin Audhorium
Steven Staryk. violin and ErIc Shumsky, viola; April 3, 8:00 PM, Meany Theater
Brechemln Scholarship Winners Recital; April 9. 8:00 PM, Meany Theater

.
c .'
,
•
 The School 01 Music

presents the 43rd program 01 the 1989-90 season

The University of Washington

Wind Ensemble

and
Symphonic Band

Tim Salzman Musical Director

.,
Elegy
John Barnes Chance

Symphonic Jubilee
Joseph Wilcox Jenkins

Toccata Marziale
Ralph Vaughan Williams

Medieval Suite
Ron Nelson

February 6, 1990
8:00 PM, Meany Theater

Free Admission

c
 Program

Cass J I, S"''l> 3 4 The Symphonic Band

Elegy ..... .(9; ! 9 ! ........................... .JOHN BARNES CHANCE
David McCullough, Conductor·

Symphonic Jubilee .... ,c/7ifS.:?) ................ JOSEPH WILCOX .IENKINS

.,

The Wind Ensemble

Toccata Marzlale .....( '1.:.1 p). . . . . . . . . . . . . . . . .RALPH VAUGHAN WIllIAMS

Medieval SUite ......( /.1.: ~1.5.2 .........................RON NELSON

I. Homage to Leonin
II. Homage to Perotin
III. Homage to Machaut

Combined Ensembles
The Black Horse Troop .... (~.',.l. :?), ......................J. P. SOUSA

*In partial fulfillment of the DMA in Instrumental Conducting ..

c t'
•
Program Notes

• Elegy was written on commission, in 1971, for the West Genesee Senior
High School Band of Syracuse, New York. The piece is not intended to suggest
commentary on any single person, however friends of John Barnes Chance have
linked ns poignancy to his feelings concerning the death of IngoH Dahl in 1970.
It is at first tragic and then fitting that with the exception of the unfinished Second
Symphony this was to be the composers last composition before his accidental
electrocution while working in his back yard in lexington, Kentucky on August 16,
1972. John Barnes Chance was 39 years old at the time of his death.
This work is a scant 122 measures in length and more than han of its content
asks for simply whole notes from its performers. No tonality emerges as key
center and the work's most prominent motive is an ascending minor ninth. like
other compositions from the same composer this piece utilizes colors created
from the use of extreme low register and chord-like tremolo of the woodwinds.
long melodic lines and a wide dynamic range are used to convey the deep
emotion of this haunting composition. - David McCullough
• The composer writes that Symphonic Jubilee is really a small symphony.
The joyful abandon created by the use of shifting meters belies its rather strict
classical archHecture. The first movement is in traditional Sonata-Allegro form,
the second a motet, and the finale is described by the composer as "a cross
between Rondo and Sonata." The motet is very contrapuntal and is very similar
to the more abundant choral output of the same composer. Symphonic Jubilee
is noted as the 85th Opus of Joseph Wilcox Jenkins and yet is only his sixth work
for band. It is a bright and lively addition to the repertOire, and a special treat H
you are afrench horn player. - David McCullough
• English composer Ralph Vaughan Williams is most noted for his composi­
tions for orchestra, the theater, and chamber groups, but his works for band,like
the Folk Song Suite and Toccata Marzlale (both published in 1924),
demonstrate his unrivalled skill in scoring for this medium. Together with the two
Holst suites for band, this music forms a set which has become a traditional
cornerstone of concert band literature. Composed for the Commemoration of the
Brnish Empire Exhibition of 1924, the Toccata Marzlale is afirst-rate work by any
measurement. The opening is somewhat akin to a fanfare, the movement in
triads being especially effective. Its contrapuntal texture is determined by the
juxtaposition of brass and reed tonal masses, and occasional lyric entrances soon
give way to the primary brilliance of the basic theme. A particularly effective
phrase is that first sung by the euphonium and then by the cornet, abroad flowing
theme of wide range most effective against the constant movement of the basic
theme which is never completely lost. Skillfully woven together into a unified
whole, even though complex in rhythmic and harmonic content, the piece exploits

" •
the fundamental properties of the band's sonor~y, its virtuosity color, and places
emphasis upon fine gradations between long and short, forte and piano. Of real
contrast with his Folk SOng Suite, Toccata Marzlale has an immense non-con­
trived vigor perhaps unmatched in all band literature. - Acton Ostling, Jr.
• . Medieval Suite was wrMen in homage to three great masters of the Middle
Ages: Leonin (middle 12th century), Perotin (c. 1155 - 1200), and Machaut (c.
1300 - 1377). These are neither transcriptions of their works nor attempts at
emulating their respective styles. Rather, their music served as asort of launch­
ing pad for three pieces which draw on some of the stylistic characteristics of
music from that period, e.g., repetition of rhythmic patterns or modes, modules
of sound, proportions that produce octaves, fourths and fifths, use of Gregorian
chant, syncopation, long pedal pOints where asustained tone regulates melodic
progression.
I. Homage to Leonin evokes his sinuous melodic style and use of Gregorian
chant. His a "mood piece w in which a chant on the Dorian mode is gradually
transformed into aperfectly symmetrical eifgt-tone scale. The movement follows
the form of an arch with a large climax, after which it closes as it began. .
\

II. Homage to Perotin springs from his Viderunt - with ~s driving rhythmic
intensity. repetition. and pedal points. The opening section features insistent
dissonances in atternation with brass fanfare-like passages. A second theme
played by unison brass is written in the Aeolian mode.
III. Homage to Machaut evokes the stately, gently syncopated and flowing
sounds of this master of choral writing. The movement consists of astatement
with two repetitions. each with different instrumentation. Hcloses with the same
chant and instumental textures which opened the suite. - Ron Nelson

The University Of Washington Wind Ensemble

PIccOlO Alto Saxophone Anne Dickinson
Wendy Wilhelmi Cha~es Davis Kathy Boone
Rute Robert Davis CMs Magnusson
Brian Fairbanks TenorSaxophone Christine Bammes
Laura Dickinson Travis Ranney Gretchen Minton
Oboe BarUoneSlrophone Bass Clarinet
Molly Sandvick Brad Price Billie Winter
Jewel Cripe EbClarinet Cecilia Kim
Bassoon Beve~y Setzer Contra-Alto Clarinet
Jeff Eldgridge Clarinet Squire Dahl
Katie Jackson Sue Kelleher

C t'
•
Trumpet Andrew Kertesz Percussion
Ron Cole Vince Yamashiroya Brian Bogue
Sam Mann TromboIJI DanOie
Michael Kane Andrew Hillaker Evan Buehler
Michael Baker Gretchen Hopper Alec Wilmart
Jack Halsey Jay Bulen Patti Dixon
Mat Johnson Euphonium SlttngBlSs
Hom ZachDavis KrisFalk
Jackie Sue FaissaJ Tuba Plano
JennySmllh Craig White Minako Fukase
Pete Hodges KirkSmilh

The University of Washington Symphonic Band

PIccolo Michael Tangen Trombone
Andrea Steede Bassoon David Graves
Rut. Jenny Rohans Brad Calder
Tamara Engstrom Alto Smphone Scott Money
Scott MacHaffle Shannon Morgan Dirk Brier
Unda L. Runft Stacey Councilman Nickolas Guertin
Vicki Lynch John Adams Kalhy Kino
UsaGane TenorSUophone Baritone
Shannon Yost Val Villafana WolfVanhee
Lori Iwasaki Carla Playter Zach Davies
DebbieVoyce BIIrItone SUophone Greg WIckline
Clarinet TammyReiUy TonyaMay
Cecilia Kim Trumpet Tuba
Tina Toburin Carrie Dixon Nathan Carison
Brian Hasebe Joe Mason Michael Kantor
Gretchen Swanson COI'OIJet David Kato
Kim Gortman Mark Hilliard Louis A. Figueroa
Judy Flemming Dale Potter Tad Doviak
Kristin Cronin Stuart Nahajski Percussion
Kevin Minsky Luke Von Felt Patti Dixon
Elissa Mohan Greg Wledermeir Kerry Eves
Doug Smilh Hom Greg Landgraf
Jon Plummer Cheryl Underwood Jon Lewis
Julie Lougheed Jeannie GaMn Tracey Pilkinton
Antonio Bennudez Chris Duenow KevinWenks
Bass Clan",t Brian Graves
Vanessa Kahen

C t

•
 Friends of Music (7/1/89 - 1124190)
Gilbert J. Roth
Tom and Lorraine Sakata =t=~Long
The Boei!1ll Com~ CONTIlBUrORS(!50124!l Sally Mann
Brechemin FamilY Foundation David and Marcia McCracken
Wiltiam and Ruth G8!berding George and Loma Aagaard Edward F. McCabe
Hans and Thelma Lehmann c;eo,ge H. Allison JoAnn McManus
Edmund and ~n Unlefield Margarita Andrijic Donald and Renale McVittie
Aura Bonell MorrisOn 91adys Haug Arntzen EvaJ. Mehaffev
PATRONS (!1o,aGQ:!24,!!) Renaldo "-.I;li!ggott John and Gail Mensher
Henry and Helen Balislty Howard and Audnly terrill
Meade and Deborah Emory Niranlan and Shantha Beoegal Peter and Anna Marie Jerton
Donald and Linda Miller Carl and Corrine Berg Jon R. Nelson
SPONSORS(!1!!OO-!9,99!) Ardrew Biles Rose Marie Nelson
Karen Gottlieb Bleaken James l Odlin
BabbFoundation Kelly and Margaret Bonham Alan and Mary-Looise Peterson
David and Jane Davis Kalman and Amy Brauner Gustav and Claire Raaum
Edwin W. & Catherine M. James and Donna Brudvik ~ceRenfrow
Davis Foundation Charles and Carol Canfield Juanita Richards
PONCHO Philip and ~ Jo Carlsen Martin and Bernice Rind
MIS. V.R. Scheumann Robilrt and Maiy Cieland Alan T. Robertson
Seallle Foundation Kathleen Conger MIS. John S. Robinson
SUPPORfERS (!2so.S999) Parker and Mildred Cook Randall and W~1a Jane Rockhm
John and Eleanor Cowell Frederick W. Root
Anonymous MaryV. Curtis-Vema RaJp, and VlI]jinia Rosinbum
James and Jane Beale Lon DavidC. Irwin and Bar6a!a Sarason
Kenneth BensllJof
CCNAAO in Seallle
Fran~ and Norma Del Giudice
Helen G. Eisen.......

Ralph and Pearl Schau

Seattle Civic Opera Assoc.
.
\

James and Mary CaIIsen Keith and KarenELnbrey

Ruth L Settemian
D' itall:..· en! ('--ration Leonard and Enid Eshom FeI"lXSkowronek
~ardmdi1h~ Maraaret V. Evans Karl E. Spellman
Ferdinand E.berstadt Foundation FreOerick Fenster Joseoh and Evelvn Steme
Ramesh and Shana Ganaolli Melvin and Margare! Figley MIS. Emmett Sullivan
Morris and E~n Gorelick Comelus Gaddum-FIosSe Jean P. SWanson
Richard F. Gratiam John and Dorotl)y Givens Ronald O. ThomJl6On
Ward and u..... lnnrim William O. Goodnch Friis and Elizabeth Van Oppen
Milton and W'rUini8Kaiims u~"'Annu-an Lew and Nola Wallace
KathleenO.l.Ong Oo'~thy Llirrwood Christie Walson
Theodore L. Mar\(S Dorthea C. ~ Ralp, and Virginia Wedawood
McCaw Foundation Randolp, and Doiothy Hokanson RaVrnond and Eleanor Wilson
Charles and Alice McG­ James and Jayne HoDand Ridlard and Janet Wilkie
Daniel and Arundhati NGtinian Robert F. Jones Robert and Beulah Wood
Maynard and Ellen Pennell Jacgueline Karon Steven and Mary Jo Wright
Andrew and Marianna Price Ladies Musical Club
Melville and Mary Price Stan and Judy Lennard

Upcoming Concerts
Keyboard Debut Series; February 8, 8:00 PM, Brechemin Auditorium
University Chorale Invitational; February 9,8:00 PM, Meany Theater
Terezln Project; February 13,8:00 PM, Meany Theater
University Symphony; February 14, Meany Theater
Collegium Muslcum; February 17,8:00 PM, February 18,3:00 PM, Brechemin Auditorium
Sonl Ventorum; February 23. 8:00 PM, Brechemin Auditorium
Contemporary Group; February 26, 8:00 PM, Meany Theater
University Jazz COmbos; February 27, 8:00 PM, Brechemin Audtorium
Madrigal Singers and Collegium Muslcum, February 27. 8:00 PM. Meany Theater

n t
 presents the 79th concert of the 1988-89 season
KJ'II
,,91
The University of Washington V- 2..S"
=
Wind Ensemble
and
Symphonic Band
Musical Director
Tim Salzman

with
Guest Soloist
,\
Eric Shumsky, viola

---+--­
featuring works by

Richard Strauss
Darius Milhaud
Jean Francaix

Apri125, 1989
8:00 PM, Meany Theater

c
•
---~ . - . - -.. ---.~~--~.

Program

Serenade in E flat, op. 7 . . . . . ,~.'. . . . . . . . . RICHARD STRAUSS

Members of the UW Wind Ensemble

• The Symphonic Band •

Century Tower Ovenure .. 10.'. ............. JAMES BARNES
cJr
The Final Covenant .....1................. .FISHER TULL

Liturgical Dances
11
. . . . . . . . . . . . . . . . . . . . DAVID HOLSINGER
David McCullough, guest conductor .
\

CA-SS SfDG"A-.
GI()€"J3
Intermission
• The Wind Ensemble •
I
Suite Francalse . . . . . . . . . I.e;: . . . . . . . . . . . . DARIUS MILHAUD
I. Normandy
II. Brittany
III. lIe-de-France
IV. Alsace-Lorraine
V. Provence

Rhapsodle . . . . . . . . . 9. ~ ................ JEAN FRANCAIX

Eric Shumsky, viola

- And Members of the UW Wind Ensemble ­

Rocky Point Holiday . . . .S: . . . . . . . . . . . . . . . . RON NELSON

Program Notes
The Serenade, Opus 7 was composed in 1881·82 when Strauss was
seventeen years old. The composition brought Strauss to the' attention of
the great conductor Hans von Bulow who hired the young composer to be
his assistant conductor with the Meiningen Orchestra, launching Strauss'
well-known conducting career. The music is cast in one large movement
embracing a short sonata form. Although one of his first works, all of the
typical Straussian qualities are present - the long arching melodic lines, rich
liarmonic textures and instrumental virtuosity. The deltghtful nature of the
melodies and Strauss' knowledgeable use of the instruments make this
composition a gem in the wind instrument literature.

..

 I was first introduced to Century Tower Overture when I was asked to

serve as a rehearsal conductor for the Kinki University Concert Band in

Osaka, Japan in January of 1987. After the traditional time of tea with the

conductor and section leaders I was ushered into the rehearsal room where

the band played this particular composition. The virtuoso-level performance

skills exhibited and the disciplined atmosphere in that room is something that

I will never forget. American band repertoire of this type is extremely popular

with Japanese school bands right now ...band composers that we would

COnsider to be the "educational composers", (Alfred Reed. James Swearin­

gen. Robert Jager and others), are highly revered in Japan. (And are making

many ¥!) James Barnes is a member of the composition faculty at the

University of Kansas. - Tim Salzman

The Final Covenant was commissioned by the New Jersey Music

Educators Association and received its premiere ~rformance by the New
Jersey All-State Wind Ensemble conducted by Richard Castiglione at the
Eastern MENC meeting in Atlantic City in February of 1979. As the title
implies, the work expresses the deep religious emotions of the promises
made by God to mankind. Two thematic elements are employed: the first,
a dramatic proclamation, is introduced by horns and subsequently taken by
trumpets and woodwinds; the second plaintive theme, in the manner of a
supplication, is presented by oboes followed by flutes and clarinets. The first
theme returns leading to a climactic section by the full ensemble. A develop­
ment section focuses on fragments from the principal theme culminating In
a brief brass fanfare based on the earlier accompanying motives. The
.,
recapitulation of the principal theme brings the work to a quiet and peaceful

close. - Fisher Tull

Subtitled "Benedicamus Socii Domino" (Let Us as Companions Praise the

Lord). The Liturgical Dances begin in a reverent fashion and develops into

a brash, rhythmically vigorus, swirling dance of zealous celebration.

- David McCullough
In 1945, the publishing firm of Leeds Music commissioned Milhaud to write

an extended work for band as a part of a proposed series of new works by

contemporary composers. The result was Suite Francalse. The composer

provided the followmg notes about the work: "The five parts of this suite are

named after French provinces, the very ones in which the American and Allied

armies fought together with the French underground for the liberation of my

country - f'lormandy, Brittany, lIe-de-France {of which Paris is the center},

Alsace-Lorraine, and Provence. I used some folk tunes of the provinces. I

wanted the young Americans to hear the popular melodies of tnose parts of

France where their fathers and brothers fought." Suite Francalse was given

its first performance by the Goldman Band in 1945. It was so successfUl that

Milhaud was request8d to rescore it for orchestra, in which medium it was

first played by the New York Philharmonic.

The Rhapsodie by Jean Francaix is a delightful work for viola and winds

with harp and percussion. It is one of the only works for solo viola with a

small mixed wmd orchestra. Born in Lemans, France some 75 years ago,

Jean Francaix studied with the famous Nadia Boulanger at the time when

Copland was also studying in Paris. Francaix's music IS tonal and his style

is highly original and very witty and humorous at times. I have had the great

pleasure of meeting with Jean Francaix several times at his aprtment in Paris.

The first time was when I was to perform his beautiful string trio. When our

group arrived at his apartment. he at once made us feel welcome. His

comments regarding our performance were right to the point. and. he is a

composer who wants no more or less than he has written in the music. Sadly.

today Francaix's music is not played often enough in France. This is due ot

~he force of the comtemporary music scene in Paris. In the words of the

- -... -~ .. ------- .------~ ..-~--.-~. --_.. _--_ _---- --­

..

c * 1
•
 composer, -Tonality is not yet exploited. I still have many ideas. If the others
have not, that's their problem: Happily, however, Francaix's music is very
popular in America, and in other countnes. Essentially in one movement,
the Rhapsodie is very concise in its form. After the very sad introduction (in
a way nostalgic for the old pre-war France), a virtuosic allegro follows leading
back again to a melanchol~ section. l1irough ingenious metre changes
linking new sections, Jean Francaix takes us through his kaliedoscope-a
world of valse scherzos and of melodies reminiscent of the old French
burlesque and the nostalgia of pre-war cafes. 'love playing this work and I
feel that Jean Francaix is one of the last of the great composers still living.
- Eric ShumSky
Roc~ Point is a wind-blown seaside resort on the coast of Rhode Island.
This particular setting provided the inspiration for this composition which was
commissioned by and dedicated to the University of Minnesota Concert
Band. The work unites elements of jazz and classical construction into a
type of indigenous American style. listen intently ... it goes by in a hurry!

Wind Ensemble - Symphonic Band Concert

May 24, a:008m, Meany Theater· Wind Ensemble & Symphonic Band
"Serenade in Minor, Op. 44", A. Dvorak; "In Memorium, Dresden", Daniel
Bukvich; "Aria and Roulade", Norman Delio Joio; "Country Band March",
Charles Ives; "Solo for Flute", Timothy Broege, featuring UW Professor of Flute,
Felix Skowronek; "Report", Lubos Fiser; "The Gazebo Dances", John
Corigliano. Other repertoire to be announced.
All band concerts are free admission.

The University Of Washington Wind Ensemble

PJccoIo Chris Magnusson Gretchen Hopper

Twila McDonel Sue Kelleher t Jay Bulen

Rute Steven Beagles· Tuba

Kathleen Woodard· t Billie K. Winter Kirk Smith

TwiJa McDonel Kathy Dugan Craig White

Ewann Agenbroad Ano Clallnet Euphonium

Laura James· t Keith Teske Nathan Bastuscheck
Oboe Bass Clarinet Percussion
Laurie Bare· t Cathy Kriloff Evan Buehler
Margaret Farler· t Carol Krause Mark W. Postlewaite t
Bassoon Trumpet DanOie
Katie Jackson • t
Mathew Johnson t Diana Delashmutt
Jerry Tumer • t
Jack Halsey Ian Alvarez
Jeff Eldgridge • t
Richard Kodama Harp
Ano Saxophone Christopher Duenow Titan Rodick t
Larry Wiseman Dale Potter Celesta
Charles Davis Sam Mannt Minako Fukase
Tenor Saxophone Hom String Bass
Gayle Picken Tony Miller- t Kris Falk
Barnone Saxophone Pete Hodges· t
Brad Price Cheryl Hoffman
Clarinet Vince Yamashiroya • Strauss

Beverly Setzer t Trombone t Francaix

Anne Dickinson· Andrew Hillaker

~------------------~==.==
 The University of Washington Symphonic Band
Flute Carolyn Booth Dorsey Wyble
Lani Wollwage David Kim Keith Mckenzie
Jennifer Brandon Sheri Fingeroot Trombone
Tamara Engstrom Bass Clarinet Richard Minami
Gail Linzy Vanessa Kahen David Graves
Lori Iwasaki Bassoon Paul Crowder
Andrea Steedle Ruth Ann Duncanson Junko Kamisago
Linda L. Runft Alto Saxophone Baritone
Allison Chace Janelle Mae Crabb Susan Roehr
Koreen Seal David Katsuda WolfVanhee
Theressa Julius John Brondello Greg Wickline
Natasha Vanover Carla Playter Andree Sidwell
Carrie Murphy Ron Melencio Tuba
Oboe Tenor Saxophone Nathan Carlson
Kirsten Dasenko Val Villafana Louis A. Figueroa
Katie Miskovsky Nathaniel Blood David Kato
Clarinet Todd Grisim Lonnie Langford
Linda K. Moran Baritone Saxophone BretTaylor
Joseph H. Willis Lamberto Caro Percussion
Kevin Minsky Trumpet Diana Delashmutt ,\
Rachel Harrell Luke Von Feldt Judy Fleming
Ceci/iaJ. Kim Carrie Dixon Greg Landgraf
Gretchen Minton Kyle Hinman Jennifer Schmidt
Jodi Lengenfelder Horn Ron Maier
Karen Vasseur Cheryl Hoffman

Friends of Music
BENEFACTORS Albert andAud:r Keny
Lester and Belle evine
Stanley and Adele Golub
Robert and Margaret Graham
Brechemin Family Foundation William E. Mahlik Eva Heinitz
Hans and Thelma Lehmann Unda L Miller James and J~ne fiojland
Aura Bonell Morrison Daniel and Arundhati Neuman Kirby and Edi fiojmes
SPONSORS
John M. Paterson Clarence and Barbara Howell
~nard and Ellen Pennell Robert F. Jones
Mrs. Elmer F. Edwards raw and Marianna Price JamesR.~
John Graham Melville and Ma~rice Donald and Renate McVillie
Charles and Janet Griffes John and Mary 'nson Ruthanna C. Metzger
M~ Helene Scheumann Gilbert J. Roth Peter and Anna Marie Morton
Ont eTown Joseph Pollard While Kathleen Munro
Seattle Youth Symphony James L. Odlin
SUPPORTERS Sheffield and Patrica Phelps
CONTRIBUTORS Carl and Marian pruzan
Alumni Anonymous
FacultylStaffAnonymous Piper, Jaff~ & HopNood, Inc. Jean Foster Radford
James and Jane Beale George H. lison Alan T. Robertson
Niranjan and Shanta Senegal MargaritaAndrijic Michael and Fran Rosella
Kenneth Benshoof Carl and Corrine Berg Sam Rubinstein
James and M~ Carlsen Nicolas and Gizele Bennan Irwin and Barbara Sarason
Parker and Mil red Cook F~W.Bichon Ralph and Pearl Schau
Stuart and Renko Dempster R rt and Mary Lou Block Renee Myers Solomon
Bryant and Mildred Dunn Peter Canlis Thomas and GrellaS1imson
MuPhiE~lon Greater University Ronald O. ThomP.l!on
Gene an Marguerite Erckenbrack Chamber of Commerce
Robert and Irene Walters
Richard and JUdith Evans S. Merle Christensen WellesR.=

Kenneth and Margarett Fisher Dale and Penny DeGraff Carl B. Zy .

The Babb Foundation Robert and Je~ Evans DONORS
Ramesh and Shanta Gangolli UWFacu~Clu
John and Ann Hauberg • Melvin an Margaret Figley Don and Jane Abel
Milton and Virginia Kaltms Frederic Blanchett Foundation Arthur and Laura Arksey
 More Friends

Joseptl and Beverly AtraIade ComeliusGaddum-Rosse Hany and Ann pryde

Shah Asadullah Joan Giacomini MarC and Usa PJjde
Daniel and Violet Backman Neal D. Gordon Natalie Pryde
Michael D. ~"" Edward and Aorence Gross Thomas and Kelly Rath
Richard B. ea;;; Finn Sigurd Gundersen Eberhard K Riedel
Walterand .....ceBamum Mary Ann H~an Earl H. Robinson
AndrewBi~ Gina Marie Haines ffaIph and Virginia Rosinbum
Howard and Carol eogen Mark and Jan Hale Saridra K RuConich
Wallace and Belly BoStick WHliam and MaJy Hallauer Joel W. Schaaf
Cart Bowman Darlene E. Hamilton Kenneth H. ScheII~
Isabell ~ns Bradshaw Dor1heaCHawley Alastair and JuliaSchilebly-Black
Kalman and Amr Brauner Emest and Elaine Henlev David lawrence Schott
James and Donila BrudYik Randolp./:! and Dorothy Hokanson Elizabeth Anne Seide/huber
Edward and Vi . ia Buhn DebbieHu Scott P. Sellevold
Brent and JiI Brrdav-Carson Emest and Helen Jensen FIORaShannon
Charles and Carol Canfield Bradley and Leslie Johnson Jerrold KSherson
Phil' and MaJy Jo Carlsen Solomon Katz Robert and ~I Smith-Ecke
s:n~ and Elise Ching David and JoeIIe Keene Emmett and Elizabeth Sullivan
R;;{and Mary Cleland Maurice and Jeane Kutner Jean P. SWanson
Louise Collins Cathy M. Lacefield Diane Thome
Henry and Matilda Costanza The (adies Musical Club David and Ma!98181 Thouless
Clifton and Jessie CIOok Grace S.1.anafeIdt Jonathan M. Turner
Herbert and Gini Curt leroy and Rebecca Lehman U~United
William and Helen D~ Ann V. lemon Methoaist ChUR:h
Glen and Maren Davis William P. Mahrt Joseph and Marsha lh1acher
~E.Donovon David and Alice Malone John and linda Ward

=~=Donworth

Gerald and RosemaIY Duris

Brent and Karen McCullough
Albert and Meridith Melhart
Steve Paul Moen
Robert Dennr and Catherine Watt
Richard and Jean Weick
Du.on Layne Whitner
.,
Tom and Vi .• Dziekonski Joseph and Marlene Morin ~ and Janet Wilke
Keith and ~Eisenbrey Franitand ~aJyce Morrison George and Colleen W~loughby
~itte Cecitia EIweU Neal and Debliie O'Doan Antoiiiette Wills
Jeiry Shaw Evans John C. Paulson $tanIey and April Yantis
HarOld and GeIakIine Fardal Robert and Florence Pelton Gregory and Becky YOUIZ
Clara Kinp Floyd Helen T. Prillaman
Jo R FreKlman Curt A. Pryde

Uepomlng Concerts
Faculty Recital: Margrlet Tlndemans, viola da gamba; Carol Terry,
harpsichord, April 27, 8:00 PM, Brechemin Auditorium
Faculty Recital: Emilie Berendsen, soprano, May 3, 8:00 PM,
Brechemin Auditorium
UW Opera: The Mikado, May 11-14, 8:00 PM Thursday - Saturday.
3:00 PM. Sunday, Meany Theater
UNIVERSITY MASTERS SERIES: Patricia Mlchaellan, piano, May 16,
8:00 PM, Meany Theater
The Contemporary Group, May 17, 8:00 PM, Meany Theater
UnlversHy Percussion Ensemble, May 18, 8:00 PM, Meany Studio
Theater
Collegium Muslcum, May 19 and 20,8:00 PM, Brechemin Auditorium
UnlversHy Singers, May 22, 8:00 PM, Meany Theater
UniversHy Madrigal Singers, May 23, 8:00 PM, Meany Theater

 it. 35th pro4udion of the 1988-89 Season:

THE UNIVERSITY WIND ENSEMBLE &

B3'f&' SYMPHONIC BAND

,..-,
'9ft Tim Salzman, Conductor
Of

IN A PROGRAM OF MUSIC BY
WASHINGTON COMPOSERS
c~~ 1},l1oJ February 7, 1989, Meany Theater
DA-T;s:r If,Y02- PROGRAM

THE WIND ENSEMBLE BRASS

Suite for Brass Ensemble (19S8)............_ ..................................... Gerald Kecltley

2--) :I:, Intrada

II, 4";9S0
J) Ill. Scherzo

IY U.N.,,1s

THB~~HONICBAND

March With. Trumpets (1957)•••••••••••••••••••••••••••••••••••••••••••••••••••William. Bergsma

David McCullough, conductor

Prayer of St. Gregory.....................................................................AlaJ\ Hovhaness

Jack Halsey, trumpet soloist

INTERMISSION

THE WIND ENSEMBLE

Overture for Ban,d (1988).......................................................................JOM Heins

Concerto for Piano and Wind Instruments (19••)..............Leonard Berkowitz

I. QUARTER NOTE =84

H. EIGHTH =66
HI.QUARTER NOTE =94
Joel Salsman, piano soloist

~ Ik 6 The SeatUe Post-Intelligencer March (1895)••••••••••••••••••••••••••••••••••••••••So1. Asher

 PROGRAM NOTES
"~
Gerald Kechley received both B.A. and M.A. degrees from the University of'~hiri.i--
ton where he will be retiring at the end of this school year after a long and illustrious career as
both a teacher of composition and the past conductor of the Madrigal Singers. Hi6 principal
composition teachers were George McKay and Aaron Copland. Previously he taughl at Cen­
tralia Junior College and at the University of Michigan. The Suite for Brass was fnitten in
1958 for the brass choir at the UW conducted by Bill Cole. '
William Bergsma was born in California in 1921. He attended Stanford Upiversity
from 1938 to 1940 followed by four years at the Eastman School of Music where he studied com­
position with Howard Hanson and Bernard Rogers. In 1946 he began teaching composition at
the Juilliard School and directed the school's new department of literature and materials. In
1961 he was appointed associate dean, and in 1963 became director of the School of Music at the
University of Washington, a post he held unti11971. March With Trumpets was the first in a
series of commissions by Richard Franko Goldman in memory of his father. The first perfor­
mance of this work took place June 19th, 1957 with the Goldman Band, Richard Franko Gold­
man conducting. The piece is a straight-forward grand march in form but charts a middle course
between conservative harmonies and mid-century modernism. It shares with other Bergsma
compositions a texture both resourceful and imaginative with a strong lyric quality.
David McCullough

Alan Scott Hovhaness is an American composer of Armenian descent. He received his

collegiate musical training at the New England Conservatory of Music and his list of composi­

tions is quite impressive especially in consideration of the fact that the composer destroyed

nearly a thousand of his works in 1940. This listing includes eighteen compositions for orches­

tra as well as a large number of chamber compositions, violin pieces and piano works. While

studying traditional techniques of composition, Hovhaness has also become involved in orien­

tal musical systems which he embodies in his works, creating effects of impressionistic

exoticism.

Band Music Notes

Jack Halsey is a junior at the University of Washington, a music education major and

student of Roy Cummings.

Overture for Band was written to provide audiences with an exciting concert opener

featuring contemporary harmonies and rhythmic interest for each section of the band. Driving

rhythms in the brass and flourishing passages in the winds appear throughout the composition.

After a bold fanfare opening, the first theme is stated by horns in unison. Lyrical solos are pre­

sented for flute, oboe and clarinet throughout the middle section. The work concludes with the

return of the opening theme followed by a short, energetic coda.

John Heins

In Concerto for Piano and Wind Instruments the mood. of the first movement is, in gen­
eral, a very vigorous one, immediately set by the opening motive between soloist and tutti.
However, there are many hills and valleys of intensity with even a few somewhat lyric pas­
sages as material undergoes changes and transformations with colors and registers being
exploited. The second movement presents a serious and broadly stated melody: there then fol­
lows a set of variations on this theme in different settings and temperament ending with a vir­
tuoso-like passage in the solo piano. The theme is then returned to briefly, ending the
movement. The third movement is an unabashed rondo with a rhythmic and energetic ritor­
­
nello given out initially in the piano including short interruptions in the winds. (It is related to
the opening of the 1st movement.) The intervening passages clearly contrast with it as it makes
its several developmental returns.
Leonard Berkowitz
 Joel Salsman received his B.M.A. and M.M.A. degrees in Music from the University of
Washington. In 1963 he won the Seattle World's Fair Scholarship and Brechemin awards.
With a grant awarded through the New York Woolley Foundation, he went to Paris and for
seven years studied with Raymond Trouard. Laureate in five international piano competitions,
he held a four year French Government Scholarship and has given concerts throughout Europe.

Band Music in Early Seattle, 1870-1914

A Centennial Note
by
JoAnn Taricani

"July 4, 1870, seems to be the date when music got its first start in Seattle, at which
time the citizens proposed a grand celebration in honor of the national holiday. There was a
local brass band, composed of amateurs,1n the city at the time, but a professional musician was
almost an unknown quantity. After considerable discussion, it was decided to send to Portland
and employ the services of Professor C. E. Bray to superintend the musical part of the program
and get the local band in trim to play for the parade."
The Seattle Press-Times, July 8, 1893

Like many towns in the latter half of the nineteenth century, Seattle depended upon an
amateur brass band for virtually all of its public musical entertainment. When, in 1870, Seat­
tle's first professional musician was imported in order to upgrade the amateur ensemble, the
town's population was 1,107, or slightly less than the capacity of present-day Meany Hall
(which seats 1,2(0). Charles Bray's inaugural concerts, presented in the morning, afternoon,
and evening of July 4, 1870, were enthusiasticany received; one newspaper account, describing
the grand ball held in Yesler Pavilion that night, remarked that the event was "the gayest
as~mblage and the most recherche affair of the kind which ever took place in the Territory."

Bray remained in Seattle and continued to encourage the cultivation of musical activity
by providing instruction on various band instruments and involving many of Seattle's leading
citizens in band performances. In a retrospective interview in 1893, he contemplated the con­
trast between his first brass band and the current array of professional bands. In a little over
two decades, the quantity and quality of professional band musicians had increased dramati­
cally; by 1893, the city supported four professional bands, along with a host of other musicians,
leading one writer to editorialize that "since that time [1870], the progress to a higher stan­
dard has been steady and constant, and today Seattle musicians rank as high as any city on the
coast ... its people appreciate and patronize a good musical entertainment, as well as those
who seek to develop talent and train it in the right direction,"
One of those bands active in 1893 was Theodore Wagner's First Regiment Band. Wag­
ner's band became a Seattle institution, performing at virtually every civic, social, and
commercial occasion of any significance between the years 1889 and 1914. His arrival in the
city immediately following the devastating fire of 1888 was anything but auspicious, as he
recounted years later: "My wife and I reached Seattle the day after the big fire ... a little
local train switched us as close [as possible] to what was left of the town, and from there we
walked, I carrying the grip and my wife lugging the baby. I had a single room at the Gatch's
[the President of the University of Washington] and I had arranged to take rooms at a hotel.
Now the hotel was burned down. Mrs. Gatch, who had a big heart, took us all in."
...
For several decades, Wagner's band served much the same purpose that a symphony
orchestra does today, providing the city with an opportunity to hear selections of European
music; the band often presented arrangements of Beethoven symphonies, Rossini overtures, and
Strauss waltzes. In the summers, Wagner directed series of concerts at the Leschi and Madison
parks along Lake Washington, and he conducted pit bands at Seattle theaters throughout the
year. The Seattle Post-Intelligencer became a patron of the band, underwriting their summer
series and providing free trolley service from downtown to the lake-side parks. Not surpris­
ingly, "The Post-Intelligencer March" (included on tonight's program) became the signature
piece of Wagner's band, performed at virtually every concert.
Even after the Seattle Symphony was founded in 1903, Wagner's band maintained a
prominent position in the city. A "Silver Jubilee" concert in 1914 celebrated twenty-five years
of Wagner's contributions, reuniting over 100 former members of the band for the performance.
Many early residents of Seattle gathered for the event; U.W. Professor Edmund Meany (for
whom Meany Hall is named) introduced the band to a packed house, causing one audience
member to exclaim "Eddie Meany ... I recollect when that boy delivered milk at our house."
One reviewer reminisced that "Music was never more celestial, the girls were never prettier,
nor the nights finer than when Wagner's band used to give its Sunday night concerts at Madison
Park."
The golden era of Seattle's town bands passed with the retirement thrust upon Wagner
in 1926 by a stroke he suffered while rehearsing the band for an election-night concert. His
band members scattered, coming back together years later for one final performance in 1933: at
the funeral of Theodore Wagner.

UPCOMING CONCERTS:

February 16-19, SING FOR YOUR SUPPER, 8:00 PM Thursday-Saturday, 3:00 PM Sunday,

Brechemin Auditorium
February 22, University Chorale Invitational, 7:30 PM, Meany Theater
February 23, University Masters Series: Eric Shumsky, viola, 8:00 PM, Meany Theater
February 26, Faculty Recital: Melvyn Poll, tenor, 8:00 PM, Brechemin Auditorium
February 28, Madrigal Singers and Collegium Musicum, 8:00 PM, Meany Theater
March 2, University Jazz Combos, 8:00 PM, Brechemin Auditorium
March 6, The Contemporary Group, 8:00 PM, Meany Theater
March 7, University Percussion Ensemble, 8:00 PM, Studio Theater
March 8, University Wind Ensemble & Symphonic Band, 8:00 PM, Meany Theater
March 9, Young Composers, 8:00 PM, Meany Studio Theater
March 10, UniverSity Symphony & Combined Choruses, 8:00 PM, Meany Theater
March II, Concert Band Festival, 8:00 PM, Meany Theater
March 13 & 14, Opera Workshop, 8:00 PM, Meany Studio Theater
March 29, Brechemin Scholarship Winners Recital, 8:00 PM, Meany Theater
April 4, University Harp Ensemble, 8:00 PM, Meany Theater
April II, University Masters Series: Bisi Adeleke, Music of Nigeria, and Topeng Dance of
..
Indonesia, 8:00 PM, Meany Theater
April 14, Faculty Recital: Soni VentorumWind Quintet, 8:00 PM, HUB Auditorium
April 14, Percussion Festival, 8:00 PM, Brechemin Auditorium
April 15, Percussion Festival, 9:00 AM - 10:00 PM, Meany Studio Theater
THE UNIVERSITY OF WASHINGTON SYMPHONIC BAND

CLARINETS PICCOLO
Gretchen Minton Lani Wollwage
Sheri Fingeroot
Cecilia J. Kim
Alexander K. Lee FLUTES
Jodi Lengenfelder Tamara Engstrom
David Kim Janet Salm
Karen Vasseur Scott MacHaffie
Rachel Harrell Lori M. Iwasaki
Kim Goffman Linda L. Runft
Linda K. Moran Natasha Vanover
Doug Smith Carrie Murphy
Kevin Minsky Theressa Julius
Joseph H. Willis
Cynthia A. Biles

BASS CLARINET E FLAT CLARINET

Vanessa Kahen Sheri Fingeroot

TRUMPETS ALTO SAXOPHONES

Kyle Hinman Charles Davis
Carrie Dixon Janelle Mae Crabb
Brian Kovacevich David Katsuda
Luke Von Feldt John Brondello
AllenToso Carla Playter
Vince Westmark Ten Thompson
Renee Parisio

TENOR SAXOPHONES BARITONE SAX

Nathaniel Blood Ron Melencio

Val Villafana

BASSOONS
OBOE

Sue Kelleher
Jennifer Schmidt

Ruthann Duncanson

TROMBONES
EUPHONWMS

David Graves
Wolf Vanhee

Brad Calder
Greg Wickline

John Boggio
Andree Sidwell

PERCUSSION
HORNS
Judy Fleming
Cheryl Hoffman
Diana Delashmutt
Dorsey Wyble
John Douthitt
Matthew Underwood
Keith McKenzie

TUBAS

Louis A. Figueroa

David Kato

Bret Taylor
-
 ....",~

THE UNIVERSITY OF WASHINGTON WIND ENSEMBLE

CLARINETS PICCOLO
Beverly Setzer Corinne Maekawa
Anne Dickinson
Ouis Magnusson
Sue Kelleher FLUTES
Steven Beagles Kathleen Woodard
Kathy Dugan Corinne Maekawa
Ewann Agenbroad
BASS CLARINETS
Keith Teske
Cathy Kriloff

TRUMPETS ALTO SAXOPHONES

Mathew Johnson Larry Wiseman
Jack Halsey John Marx
Richard Kodama
Christopher T. Duenow
Dale Potter

TENOR SAXOPHONE BAlUTONE SAX

Gayle Picken Brad Price

~
BASSOONS OBOE
Katie Jackson Laurie Bare
JerryTumer Margaret Farler

j~ TROMBONES
Andrew Hillaker
EUPHONIUM
Nathan Bastucsheck
Gretchen Hopper
Jay Bulen

PERCUSSION HORNS
Evan Buehler Tony Miller
Mark W. Postlewaite Pete Hodges
William Cubbage IV Cheryl Hoffman
Dan Oie Vince Yamashiroya

TUBAS STRING BASS

Kirk Smith Kris Falk
Craig White

.~------------------------------------~------------------------

.-' 5'i!!r --.. . .

 THE WIND SINFONIETTA
William.E. Bis8e11, conductor

Wednesday, May 21, 1980 Meany Theater, 8;00 P.M.

11JIE-/....·~a:s-6 PROGRAM

CLIFTON WILLIAMS Fanfare and Allegro

PAUL HINDEMlTH Symphony in Bb
Modsrats'L'II' fast
Andantino grasioso
/:'ugu8
CECILE CHAMINADE Concertino
Kary Lowney Duxbury, * fiuu
SOUSA Karch: The Blac.k Horae Troop

INTERMISSION
77JPE*'"2- <1 'fist
GORDON JACOB Concerto for Band
A'Llegro
Adagio
AZlegro con brio
ELLIOT DEL BORGO Do Not Go Gentle into That Good Night
W. FRANCIS McBETH To Be Fed By Ravens
SOUSA March: King Cotton

*Mary Lowney Duxbury is a student of FeUx Skowronek and is a joint

rec.ipient of the Walter Welke Memorial Scholarship.

o , .
•
 .:.}
,,',( j:.

"·~x·'··

Wind Sinfonietta Personnel

Piccolo Cornet - Trumpets

Steil, Sue Murray, Rob
Hammer. Aaron
Flute Barrett, Paul
Duxbury, Mary Beauchaine. Dave
Velikonja, Maria Stremel. Dawn
Post, Patty
Hjelm, Doug French Horn
Randall, Hark
Oboe Cabodi. Lori
Swanson. Sue .Hodges, Tom
Martin, Marilee
Baritone Horn
Bassoon Pollock, Robert
Youtz. Greg
Trombone
Clarinet Buzzarte. Monique
Nelson, Jennifer
Sellevold. Scott
Smith, Barry Pitzer. Bob
Grier, Michael
Ishii, Leslie Bas8
Sloan, Kim Phillips, Ed
Bass Clarinet
Percussion
Aldridge, Brenda
Kovach. Jim
Dunbar. David
Alto Sax
Blas. George
Thomas, Chuck
Alsbury. Tom
Jude, Tim

Tenor Sax
Schroeder. Pam

Baritone Sax
Aoyama. Stan

~-- ____________________n_:_!______
. ___