Sinfonia Orchestra News Fall 2004

An Introduction to Christian Howes Edward Kennedy Duke Ellington (1899- was precisely at this point in his career when 1974) serves as a fitting exemplar of master Ellington the composer began pushing the musician, bandleader, arranger and composer of boundaries of the jazz idiom and the existing “Howes is a jazz player, first and the 20th century, often referred to as the “Ameri- recording technology. Along with the beautiful, foremost—one whose solid, can Century.” Born April 29, 1899, in the Dis- sophisticated songs, moderate and up-tempo classically trained technique trict of Columbia to James Edward and Daisy dance and blues fare Ellington wrote on a steady provides the freedom to fully Kennedy Ellington, the young “Duke,” so basis, he also recorded extended compositions, express an expansive, improvisa- dubbed by his friends for his princely bearing, suites, and tone poems, which were longer than tional imagination.” was indeed coddled and catered to like a prince the three-minute side of the 78-rpm record. Don Heckman, by his tight-knit family, and especially by his Many writers feel the years around 1940 were Los Angeles Times adoring mother. a creative peak for Ellington. Contributing to that Duke Ellington absorbed the cultural influ- assessment are the following: 1) the stability of ences of his time in Washington, D.C., which the core band personnel during the thirties, 2) Christian Howes, the jazz violinist who will was the preeminent African American cultural the consistent, excellent compositional output by be performing in concert with the Philadelphia center of America during his youth. Eschewing Ellington, 3) the superior performance of the Sinfonia on December 5th of this year, began a painting career, band, 4) and outstanding life as a student of the Suzuki method. His first Ellington chose to pursue solos by the new younger “violin” consisted of a ruler taped to a Cracker music. He slowly became members like swing styl- Jack box. Maybe the ingenuity involved in the adept enough on the piano ist saxophonist Ben creation of this first makeshift instrument helped to perform the ragtime Webster, bassist Jimmy set the stage for the innovative ways in which and popular music of the Blanton, and cornetist Christian Howes now plays the violin. A child day in Washington’s local . prodigy, he played the Mendelssohn violin con- entertainment scene. After certo with the Columbus Symphony Orchestra Certainly Ellington’s a few forays to New York at the age of sixteen. Howes himself does not collaborative personality City as pianist with vari- like being called a child prodigy, however. As contributed to the alle- ous bands, he eventually far as Howes is concerned, he was “just a regu- giance of his band mem- settled there in 1923 and lar Suzuki kid who really stuck with it” and bers for what would be- began to lead his own whose curiosity about music left him wanting to come more than 30 years band, The Washingto- explore more than just the classical repertoire. of performing together, nians. By the time Howes entered college, he had won but it also facilitated the numerous competitions and was tackling the fun- Honing his skills as many wonderful, collec- damentals of composition from Baroque to Mod- bandleader, pianist and tive projects with his “al- ern. Throw some blues, rock, pop, country, and composer with The Wash- ter ego,” composer Billy jazz into that mix, and suddenly you have a vio- ingtonians, Ellington Strayhorn, whose many lin that does not sound like a violin anymore, landed a prestigious job at the Cotton Club in compositions, including Take the “A” Train, with a radically new and improvisational voice. Harlem in 1927. This began a new phase in his became so closely associated with Ellington’s career. As a result of composing and arranging band that most people attribute them to the Today, at the age of thirty-two, Howes trav- exotic shows featuring hot jazz, inculcating the Duke’s own hand. els the country playing his own eclectic blend of literature and the arts of dynamic Harlem Re- music. He has broken out of the classical mold Ellington considered his band to be “his in- naissance, and through NBC radio broadcasts and forged a spontaneous new jazz persona for strument.” Consequently, he was able to experi- from the Cotton Club, Ellington’s orchestra and himself as a musician. Howes plays a Yamaha ment at will in creating new orchestral textures compositions gained national significance and Silent Electric Violin and wields his bow like a for the unique soloists in his ensemble. Ellington prominence. Over 180 of his recordings were percussion instrument. Critics have dubbed him and his musicians toured the United States in marketed from 1927 to 1931, further increasing the “Jimi Hendrix of the violin.” private Pullman train cars, which afforded them the popularity of the Ellington Orchestra. all day rehearsals during which Ellington could Rave reviews aside, Christian Howes is also The American successes led to a European explore orchestral and formal possibilities be- a deeply thoughtful man, who was kind enough tour in 1933, of which Ellington said: “The at- yond the imagination of other band arrangers. to answer in full the many questions I had when mosphere in Europe, the friendship, and the se- In the early forties he produced works of greater writing this article. When I asked him to com- rious interest in our music shown by critics and dimensions, including the musical Jump for Joy pare the two violins, acoustic and electric, Howes musicians alike put new spirit into us.” Upon (1941) and the “tone parallel” Black, Brown and told me that his electric violin feels a lot like an their return, Ellington and his band toured as one Beige (1943). The late thirties and early forties acoustic violin when he holds it. What is differ- of the top bands of the “swing era,” 1933-1942, saw the production of dozens of short works that cont’d on pg 2 when jazz was at the height of its popularity. It cont’d on pg 2 Sinfonia News

(Christian Howes cont’d) ent are the volume and range of sound you are as a way of becoming “more capable and coop- events added fuel to the debate about such is- able to create with an electric violin. With an erative members of a world community.” sues as the merits of jazz versus “serious” mu- acoustic violin, most of your energy is concen- On Saturday, December 4th, Howes will be sic, the place of jazz in the concert hall, and trated toward creating a big sound. But with an conducting a master class for all Sinfonia musi- Ellington’s ability (or lack thereof) to compose electric violin your amplifiers do all that hard cians. It will be a session spent getting back to extended works. His growing reputation as a work for you, which enables you to put in re- the basics. As Howes pointed out, little children serious composer who happened to write for jazz serve all the energy you used to devote to pro- don’t read from a score when they sit down to orchestra led the writer Richard O. Boyer, in an ducing sound—and to concentrate instead on draw. “All they need is a crayon, paper, and their extensive 1944 profile in The New Yorker, to dub other aspects of your playing. As Howes says, imagination. . . . We don’t tell them HOW to Ellington “The Hot Bach.” “I don’t have to use as much bow, so I can play draw. We just let them create.” Howes will be Ellington continued to turn out longer works faster when I want and focus on smaller move- exploring the same themes with the Sinfonia mu- for various occasions and diverse venues. These ments of the right arm, focus on my left hand, sicians, encouraging them to celebrate their own included Harlem (1951), focus on the musical ideas themselves, etc.” creative personalities. Howes wants every mu- (1957), Tool Suite (1959), and Idiom ’59 (1959). As far as the type of sound produced by both sician to understand that he or she is a composer, Ellington also explored other outlets for his com- violins, Howes be- whether he knows it or positions, writing Night Creature (1955) for com- lieves that although an not. “Improvisation/ bined symphony and jazz orchestras, A Drum is electric violin “cannot composition is the most a Woman (1956) for a television production, and produce the SAME natural thing in the (1959) for a Hollywood sound as an acoustic world, and students film directed by Otto Preminger. Ellington’s ap- violin,” it can still only need to be allowed pearance at the 1956 Newport Jazz Festival was sound quite similar. and encouraged to be such a triumph that Time magazine’s cover story And because his violin creative on their instru- pronounced it a “turning point in a career,” dem- absolutely has to be ments for them to see onstrating that “Ellington himself had emerged amplified in order to what they’ve been from a long period of quiescence and was once cut through the bigger missing.” Howes used again bursting with ideas and inspiration.” sounds of a rock band the phrase “idiomatic From 1960 until his passing, Ellington kept or jazz band, he prefers neutrality” to describe up a relentless schedule of composing, perform- to use an electric violin that has already been set the sort of improvisation he has in mind. “Jazz, ing, recording, and traveling often to Europe, to up to be amplified—instead of just using an classical, rock, pop, or polka, it doesn’t matter acoustic violin with a microphone attached. A . . . All that matters is to create.” master of both types of violin, Howes explained Maybe Howes’ belief in the unique creative that “the degree of nuance in tone you control personality of every musician is at the core of just by playing is much greater with an acoustic his own innovative playing: “For me it’s not violin,” but that he also enjoys the ability he has about my style of playing, or how fast I play. It’s to customize the tone of an electric violin by about expressing, like a child with paper and using multiple processors. crayon, a simple, pure idea, from the heart.” For his December 5th concert with the Phila- You can listen to clips of his music and read delphia Sinfonia, Howes will be playing two fa- more about Christian Howes at his website: miliar American songs: Caravan, by Duke christianhowes.com. Ellington, and Embraceable You, by George and Ira Gershwin. Both songs have their origin in the American jazz tradition, which Howes be- Debora Lieberman, mother of Amanda lieves to be an essential part of America’s cul- Lieberman, concertmistress. tural fabric. Duke Ellington incorporated musi- (Duke Ellington cont’d) cal elements like blues and swing, which were his heritage as an African American composer, brilliantly exploited the virtuosity of Ellington’s and which are now part of our evolving heritage orchestra, among them Echoes of Harlem (1936), as Americans. And that evolving heritage is what Azure (1937), Braggin’ in Brass (1938), Battle Howes values most about American music. It of Swing, Blue Light, and The Sergeant Was Shy the Middle East and India in 1963, Japan in 1964, turns out that Christian Howes is not just a mu- (1939), Jack the Bear, Harlem Air Shaft, Con- Latin America and Mexico in 1968, and the So- sician, but a visionary, too, for he believes that certo for Cootie, Ko-Ko, and (1940), viet Union in 1971. During this time he was “the great dream of America, which is only too and Main Stem (1942). He also recorded in showered with awards, prizes, and honorary de- slowly realized through time’s progress, is that smaller musical formats, performing in small grees and celebrated both at home and abroad we grow together because of our differences and groups, duets for piano and bass, and occasion- for his musical achievements. These journeys diversity.” And as part of this growing together, ally as solo pianist. sometimes inspired new compositions, such as Howes believes that every serious musician After making his debut at Carnegie Hall on the (1964), the Latin America should have an appreciation of the blues, in much January 23, 1943, and performing there at regu- Suite (1968), the Afro-Eurasian Eclipse (1970), the same way as we appreciate Bartok’s Hun- lar intervals over the next five years, Ellington and the Goutelas Suite (1971). garian folk melodies, Beethoven’s German was inspired to write a series of large works for A series of three Sacred Concerts took place themes, or Tchaikovsky’s Russian dances. What the concert hall, among them New World A-Com- between 1965 and 1973 in various churches and Howes wants most is for all of us to embrace not ing, Perfume Suite, Deep South Suite, Liberian cathedrals, featuring Ellington’s orchestra, vo- just jazz, but all musical forms, past and present, Suite, and The Tattooed Bride. The Carnegie cont’d on pg 3 Fall 2004 Page 2 Sinfonia News (Duke Ellington cont’d) President’s Column Fall 2004 cal soloists, choirs, and dancers. Preceding this One of the charming aspects of being a fairly fewer innovations; instead, much of our focus is new development of expressing his religious new youth orchestra is that every year is an ad- on the tour. A fair amount of our fundraising will convictions was the show My People (1963) venture. (This is also one of the more challeng- be directed toward the tour. The repertoire Gary Ellington wrote for the Century of Negro ing aspects of being new.) Although we have White has chosen for the year is related to the Progress Exposition in Chicago. Ellington also developed some predictable rhythms and tradi- tour (it provides our musicians with a link to the produced new songs and instrumentals, arranged tions during our seven-year history, at the be- places we will go and prepares them for perfor- popular material ranging in style from the ginning of each year we find ourselves embarked mances en route). And a lot of our administra- Beatles’ songs to Walt Disney’s Mary Poppins upon enterprises we have not yet experienced or tive time will be devoted to forms, chaperone to Tchaikovsky’s Nutcracker Suite, and collabo- tried before. interviews, sight-seeing choices, roommate de- rated with choreographer Alvin Ailey on the bal- This year will definitely bring its own share cisions, instrument dimensions, and schedules let The River (1970). He also recorded with vari- of adventures. and timetables of all kinds. ous other musicians, among them Louis Among our predictable rhythms is the fact We anticipate many adventures along the Armstrong, Ella Fitzgerald, Coleman Hawkins, that our orchestra years alternate between being way, however—both here at home and abroad— and such younger luminaries as John Coltrane, tour years and non-tour years. This year is a tour beginning with our first concert. Charles Mingus, and Max Roach. year; last year was a non-tour year. Each year’s We’re starting our concert season early, and In his last few years, Ellington paid eloquent focus is strongly influenced by this variable. And with a bang. On December 5th, the orchestra will tribute to the individuals he had known and adventures arise in both situations. perform together with virtuoso jazz violinist, worked with throughout his career in his mem- Last year, when we were not preparing for a Christian Howes. You can read an article explor- oirs, Music is My Mistress, published in 1973, a tour, we were able to concentrate on many inter- ing the various dimensions of Christian Howes’ year before his own death from cancer on May nal upgrades, both musical and administrative. musicianship elsewhere in this newsletter. On 24, 1974. In conjunction with Gary White, our conductor Saturday, December 4th, our musicians will not and music director, the board and I were able to only rehearse with Howes at 3:00, but have the Stanley Cowell, Professor of Jazz Piano, discuss musical goals for the year ahead of time extraordinary opportunity to attend a master class Coordinator of Jazz Studies, Mason Gross and to establish a set of administrative goals for with him beginning at 2:00. Yamaha will also be School of the Arts, Rutgers University and the board of directors. These musical goals in- bringing a selection of electronic instruments to father of Sunny Cowell, viola cluded increasing the learning curve within the this master class, which Sinfonia musicians will orchestra (increasing the rate at which material be able to play. It may be obvious, but the De- is learned by our musicians) and broadening the cember 5th concert (“Classical Meets Jazz”) For further reading on Duke Ellington: The range of the musical genres or styles we present. advances one of our musical goals set the pre- Duke Ellington Reader, Oxford University Press, Both Gary White and the board agreed we should ceding year: to broaden the scope of the Sinfonia © 1993, edited by Mark Tucker. perform at the Kimmel Center. We also decided experience by introducing our orchestra mem- to increase our production and advertising, to bers to jazz idioms, improvisation, and 20th Cen- TRIVIA QUIZ start a newsletter for our various constituents, to tury American repertoire (see Stanley Cowell’s develop connections to our alumni, to broaden article about Duke Ellington here in this news- Although Schubert wrote eight our funding base by creating a fundraising/de- letter). For this concert we will also be playing symphonies, his most famous being the velopment committee within the parent popula- some of the material we plan to perform in Rus- “Unfinished,” he is perhaps best tion, to develop a database for all constituents, sia and Finland, which will give our audiences a known for his Lieder (songs). Which and finally we hoped also to hire an administra- taste of Americana. A committee of parents has of these famous songs did he later use tive assistant. worked hard to make this concert a gala event; I as the melody for a movement in a We met all of these goals over the course of believe we all need to dress up a bit! larger instrumental work? the year, except for the hiring of an administra- Thus begins our year of adventures, the larg- The first member of the orchestra tive assistant (and that will happen eventually). est of which lies ahead of us in June/early July. to e-mail Carol Brown with the cor- Along the way we even generated upgrades we We cannot imagine a better way to end our con- rect answer will receive a small prize! had not anticipated: we put a telephone in our cert season than to take our music with us to two [email protected] office (215-351-0363), which renders us acces- extraordinary but very different countries. A con- sible on rehearsal days and will put the orches- cert tour raises an orchestra’s level of perfor- tra in the phone book by May; we developed and mance: it expands the awareness of our mem- printed an orchestra brochure; we ran a slide bers, introduces us to the musical origins of some Sonata show in the Ritz theaters for six weeks last win- of the world’s greatest repertoire, and strength- Fall 2004 ter; we started an annual used tuxedo sale for ens our identity as an orchestra. It also requires Vol. 2, No. 1 our male members; and we created a stunning that we perceive ourselves as musical ambassa- new demo CD. Many of these upgrades occurred dors. Our musicians represent some of the best Published by: because a parent or a musician asked a question that America’s youth has to offer, and it is both Philadelphia Sinfonia or made a suggestion, and we liked the idea. I an honor and responsibility to export that spirit PO Box 996 thank those of you who prompted these innova- abroad . . . We are on our way! Philadelphia, PA 19105–0996 tions. They help to put us on the map. Edited by: This year, a tour year, we will certainly main- Carol Brown, President tain the upgrades we made last year, but expect Debora Lieberman Board of Directors Robert Lieberman Carol Brown Paul O’Neill Page 3 Fall 2004 Sinfonia News Slipping Slides of Satisfaction 2004-2005 Concert Season!

While sitting in music theory class recently, Philadelphia Sinfonia I had the sudden realization that I was living the 3:00 pm, Sunday, December 5, 2004 dream of my childhood. That dream included Guest Artist: Christian Howes, jazz violin eating, breathing, sleeping, and most importantly, Burlington Township Performing Arts Center, 610 Fountain Avenue, Burlington, NJ living Music. The dream was beautiful and its Driving directions: http://www.burltwpsch.org/district/commarts/directions.htm reality perfect. In fact, the reality of music is not without obstacle or flaw. But it is through the Philadelphia Sinfonia obstacles that I have learned the most. 3:00 pm, Sunday, January 30, 2005 Scrambling to the locker room to grab my First Presbyterian Church, 35 West Chelten Avenue, Germantown, PA instrument, I rushed to my first orchestra class. Driving directions: http://www.fpcgermantown.org/pages/directions.html Holding my schedule in hand, I walked in blindly, knowing nothing about the orchestra’s reputa- Philadelphia Sinfonia Chamber Orchestra tion. Tuning had already started. We began re- 10:00 am, Sunday, February 20, 2005 hearsal with introductions. We all stood up to First Presbyterian Church, 35 West Chelten Avenue, Germantown, PA say our name, city of birth, and year in school. Driving directions: http://www.fpcgermantown.org/pages/directions.html When it was my turn, I stood up, and with my normally jovial disposition said: “Hi, my name Philadelphia Sinfonia is Jacqueline Arrington, and I am a freshman flut- 3:00 pm, Sunday, February 27, 2005 ist from Philly!” Everyone giggled. As introduc- Rutgers / Camden Center for the Arts, 311 N. 5th Street, Camden, NJ tions continued, I noticed a trend. “Hi, my name Driving directions: http://rcca.camden.rutgers.edu/ is _____. I live in Michigan, and I’m a senior.” The word senior changed to masters and doc- Philadelphia Sinfonia at the Kimmel Center toral student. I leaned over to the second violin- 8:00 pm, Tuesday, March 15, 2005 ist and compared schedules to make sure I was 260 South Broad Street on the Avenue of the Arts in the right class. Here I was, only a freshman, Philadelphia, PA placed in the highest orchestra in the school. Driving directions: http://www.kimmelcenter.org/planning/findus.php What would I do? Meet the challenge feeling confident because I had trained alongside some Philadelphia Sinfonia Chamber Orchestra of the best musicians during high school. My 2:00 pm, Sunday, April 17, 2005 orchestral experiences with the Philadelphia Foulkeways at Gwynedd, 1120 Meetinghouse Road, Gwynedd, PA Sinfonia helped me conquer this first obstacle. Driving directions: http://www.foulkeways.org/Directions.html After orchestra ended, I rushed to my first lesson with my new teacher. She told me she Philadelphia Sinfonia Festival Concert wanted me to play in flute studio that afternoon. 3:00 pm, Sunday, May 1, 2005 With only three hours before studio and a Span- St. Stephen’s Episcopal Church, 19 S. Tenth Street, Philadelphia, PA ish class in between, I knew I would not have Driving directions: http://www.philadelphiasinfonia.com/directions-stephens.shtml any time to practice. It was 4:15 by the time Span- ish class ended. I rushed out of the building and took the next bus to my studio class. Stumbling into the intimate hall, I saw my teacher quaintly on a Monday, and my first day of school was here at the University of Michigan have made settled in a chair reading a book. Class started at over. me more comfortable about approaching ob- 4:30. I thought I was late, but my teacher of- In my short time here at the University of stacles, even when risk is involved. Using the fered me a chair to sit in, and shrieked: “Honey, Michigan, I have learned to absorb each day as a resources of my past experience, including my sit down and catch your breath. It’s only 4:23— lesson and use my past experiences as a crutch. years in Philadelphia Sinfonia, allows me to ap- You have plenty of time!” College is not as enigmatic or daunting as it might proach obstacles with confidence and to reveal I went into an adjacent room to warm up. As seem. See it as a playground that contains all music through my true mind’s eye. I played long, sustained tones, I thought about your favorite toys. Alone at this playground, you the piece I would perform, replaying it over and have the opportunity to pick whatever interests Jacqueline Arrington, Sinfonia ’04, flute over in my head. I walked out of the warm-up you, whether it be the monkey bars or the slip- [email protected] room and was immediately called to the stage. I ping slide. As a testing ground for passion, col- inhaled, thinking back over this first day, and lege should be like that playground. As my mu- exhaled the music that was shaped by it. I used sicology professor said, “College is supposed to Editor’s note: Jackie Arrington was a mem- my experience to help me get through this per- be fun!” ber of the Philadelphia Sinfonia from 2000 to formance. Opening my eyes, I knew my col- Having previously obtained the best musi- 2004 and flute section leader for the last three leagues understood the integrity it took to play cal and academic education possible, I assumed years. She is now a freshman flute performance for them. They knew the risk I was taking. There my transition to college life would be easy. On major at the University of Michigan School of was a moment when the music was no longer the contrary, it has been an emotionally and Music, where she studies with Amy Porter. She my own. The piece finished . . . It was 6:30 PM physically arduous process, but my experiences describes herself as “very happy” at Michigan.

Fall 2004 Page 4 Sinfonia News From the Podium Concerto Competition Versatility and flexibility have always been Mr. Howes will demystify this area of musical Winner the hallmark of the best musicians. In today’s endeavor and help our musicians understand its music scene these twin attributes have become importance. He will demonstrate that improvi- A large number of Philadelphia Sinfonia increasingly important for up-and-coming young sation is a technique that can be learned and prac- musicians competed on Saturday, October performers, who are expected to play in a wide ticed just like anything else. 30th, for the chance to perform as a soloist range of genres, everything from classical mu- December’s concert will open with a “clas- with the orchestra. While the judges found sic to jazz. It is not an entirely new idea that sical” work, The Light Cavalry Overture, by the relative talent of the competing musicians musicians need to have a variety of musical ex- Franz von Suppe. We will then perform two fa- to be high, they did declare a winner. periences and skills. The Russian composer, Igor mous jazz compositions, Duke Ellington’s Cara- Walter Park, now in his second year as a Stravinsky, and French composer, Darius van and George and Ira Gershwin’s Embrace- clarinetist with the Philadelphia Sinfonia, Milhaud, were both writing jazz suites for clas- able You, featuring Mr. Howes as soloist. It is won the competition. He will perform the first sical orchestras back in the mid-1900s. Ameri- my hope that this blend of classical music and movement of Weber’s Clarinet Concerto #1 can composer, Aaron Copeland, wrote his fa- jazz will further broaden the musicianship of this at a concert with the orchestra later this sea- mous “classical” clarinet concerto for jazz great, great orchestra, while providing an exciting and son. Walter is fourteen years old and a stu- Benny Goodman. This year the Philadelphia interesting concert for both player and audience dent in the eighth grade at Penndale Middle Sinfonia will be featuring violinist, Christian alike. School. He has been studying clarinet for six- Howes, who is equally at home playing classi- and-a-half years. His current teacher is Rie cal music or jazz, in an exciting concert that will Gary White, Conductor Suzuki. give our talented members the experience of and Music Director working with a great musician who exemplifies these versatile ideals. As a young horn player I first ventured into the world of jazz right after graduating from col- lege, when I was hired to play with a brass quin- TUX REDUX tet that specialized in Dixieland. I still remem- November 20, 2004 ber the fear that raced through me when we be- gan rehearsing a chart that called for an impro- 2:00 - 3:00 PM vised horn solo. “Where were my notes?!” All I had in front of me were chord changes. “What at St. Stephen’s Church good does that do me?” I wondered. Well, like anything else, I learned that there is an art to Attention all males and parents improvisation. There are ways to approach it and of young men in the build your skills. I entered into this experience thinking I was a “classical” musician. “Why do Philadelphia Sinfonia! I need to do this?” I kept asking myself. But I came away from my days playing Dixieland re- Bring your outgrown tuxedos to our TUX REDUX. Even if alizing that it had been my great fortune to be you’re just plain tired of your current evening/concert wear, you put into a situation that forced me to open my mind, expanded my skills, and gave me a broader will find exciting clothing at our grand resale afternoon. In- picture of the music world. cluded will be gently worn tuxedos from your fellow orchestra On Sunday, December 5th, Christian Howes members, along with gently worn clothing from “Formal will be playing two great jazz standards with the Expressions Tuxedos,” one of the largest tuxedo retailers in the orchestra, followed by a performance with his tri-state area. Auxiliary items will also be available, such as combo, but the day before he will also be pre- cumberbunds, bowties, and cufflinks. senting a master class on improvisation to our orchestra. During the course of this master class, So come and see what we have; we look forward to seeing you! It is important that we know if you want to sell a tuxedo through this event, if you have one to donate (we have heard of Echoes a couple of these), or if you want to come to browse or buy. If you plan on buying, Formal Expressions will bring a tuxedo I hope everything is going well. your size if they know about it ahead of time. They do not have Things are going great here! I graduated with a BA in saxophone performance in used tuxedos over size 44, but they can offer a good price on December 2003 and am currently something new. Anything requiring alterations will be available working on a paralegal certificate (12/ before our first concert, December 5th. Please call Ellen 04). I now work full time as a paralegal Youssefian at (856) 547-7140 in the next few days to let her at a law firm in Philadelphia know of your interest. —Jaime LaBonte, clarinet, 2003

Page 5 Fall 2004 Sinfonia News

Our Mission Philadelphia Sinfonia supports the Fall 2004 artistic growth of young musicians in the Delaware Valley by providing high- Sonata level ensemble experience in a Gary D. White, supportive educational environment. Music Director and Conductor We believe that the pursuit of Danielle Garrett, Orchestra Manager What’s Inside excellence requires performers with Board of Directors: integrity, working together toward a Intro to Christian Howes ...... Front Carol Brown, President common goal. Thus, our mission is Paul O’Neill, Vice President three-fold: to provide ensemble Duke Ellington Biography ...... Front Jean Lowery, Secretary performance opportunities for young President’s Column ...... pg. 3 Paula Troughton, Treasurer musicians, to achieve the highest level Trivia Quiz ...... pg. 3 Marvin Weinar M.D. of artistic advancement, and to educate Laurie Wood young people broadly to be strong Arrington...... pg. 4 citizens as well as responsible Philadelphia Sinfonia Concert Schedule ...... pg. 4 musicians. PO Box 996 From the Podium ...... pg. 5 Philadelphia, PA 19105-0996 We recruit from a demographically Tel. 215-351-0363 diverse student population to provide Concerto Competition ...... pg. 5 Sinfonia website: an opportunity to anyone who Echoes ...... pg. 5 www.philadelphiasinfonia.com musically qualifies and to enrich the Tux Redux...... pg. 5 e-mail via website: experience of all members of the [email protected] organization. Our Mission ...... Back

Philadelphia Sinfonia PO Box 996 Philadelphia, PA 19105-0996