of the INTERNATIONAL WOMEN?S BRASS CONFERENCE

Volume 2, Number 3 November, 1996

(WBC June 26-29, ?97

Dear Friends:

Time is fast approaching when we will all gather again to celebrate our second International Women?s Brass Conference. Mark your calendar right now - June 26 - 29, 1997, The conference will be held in St . Louis, MO. We are delighted to have Washington University as co-presenters once again for our 1997 conference.

The artists have been contacted, and all have verbally agreed to perform. (See page 5 for artists names.) Our brochure will be mailed to you very soon.

As you know, the IWBC does not put on a big ?drive? to raise money through ?dues collection?; therefore we must rely on raising money during the year of the conference. Your support is needed now and I am asking you to consider a very special opportunity. The average cost of bringing in an artist to St, Louis within the boundaries of USA is $500 for airfare and housing. The average cost to bring in an artist from outside North America is $1200. If you multiply the number of artists times the cost, you can see we have a big challenge ahead of us.

This is where you can help! Your tax deductible contribution to sponsor an artist forthe IWBC 1997 conference will help keep the conference feedown and affordable for ali of those who attend in 1997. Please take a look at the artist list and decide now to sponsor an artist or ensemble. Your name will appear in the official conference program as a sponsor of the artist(s). More than one person may sponsor the same artist. Organize a group sponsorship! Please give this request your most serious consideration.

Thank you in advance for your help

COME CELEBRATE WITH US IN 1997. SEE YOU IN ST. LOUIS !

Susan Slaughter, President The Monarch Brass {naugural Tour, 1996 ~ Reflections of a Roadie By: Kathy McKnight

Larsen?s ?Brass Flight,? written in the days leading up to the first concert ¢ 7:00 p.m. on July 2, in for the inaugural tour, offers arich meta- also revolved around the building of a Aw Oklahoma, the phor for this ensemble of women musi- new model of professional musician- heat had fallen only afew cians; Larsen had explained to the audi- ship. degrees from the day?s high of 102, and ence that she worked from the image of storm clouds had begun to gather to the the butterfly, which she read into the To explain, I must speak to why I north. My seatforthe first concert ofthe group?s name, She played with the called the members of Monarch Brass inaugural tour was a grassy spot, sur- ?Glint? of light dancing off of wings in women musicians. In my own profes- rounded by hundreds of listeners of all the first movement, by releasing whim- sional field of Spanish American litesa- ages, musicians andnon musicians alike. sical upward flightsover.a constant 3-2- ture, the word poetisas, long used to Conductor Marin Alsop cued the tim- 3 pulse; she developed a warm ?Glow? tefer to women who wrote poetry, sepa- pani, and my body and soul thrilled to ofensemble sound in the second move- rated them out from the canon of male the strength and optimism of Monarch ment, suggesting the glow of color on a poetas and degraded their art as lesser in Brass intoning Copeland's ?Fanfarefor butterfly?s wings, and explored, in the quality and importance; femininemodi- the Common Man.? The moment was third movement, the butterfly?s inexpli- fierscan havevery negative effects. The spiritual! cable flight that flutters and ?Glides? by women who play in Monarch Brass are Jaying down challenging rhythmic pat- not only the best womenbrass players in The seventeen musicians wove a terns under short, smooth melodic lines the country; they are among the best, sensual tension between vibrant solo- brass players, period. And yet, for now) of flight. I heard in this butterfly a playing and full, rich, often dangerous rebirth, a newness, a hopeful transfor- ...and hopefully not much longer... to harmonies throughout a concert of in- mation, and a musical form that de- point out that they are women serves an spiring ?older? pieces -Tomasi?s ?Fan- manded excellencefromthe players and important function in responding to the fares Liturgiques,? arrangements of offered beauty to its listeners. After the historical (mis)treatment ofwomen who Ravel and Bizet - and exciting world first movement, the composer, sitting have ventured into this male realm, a premieres. . .Libby Larsen?s ?Brass near me on the grass breathed, ?If this mistreatment which, though diminish- Flight?, Jon Deak?s ?FanfareforAnnie piece is ever performed this well again, ing, still persists. Until opportunities O?, Carolyn Bremer?s ?Throw Caution T'll be happy.? and recognition for women brass play- to the Wind.? In Bizet?s ?Carmen,? Su- ers respond to the high quality of musi- san Slaughter, Amy Gilreath and Julie These elements ofhope and trans- cianship they offer, calling attention to Landsman drew clear sweet solos from formation evoked feelings that I have the gender of top-rate players helps to and horn Marie Speziale got rarely experienced in a concert. The break stereotypes and barriers and to downanddirty while ?Struttin?withSome dream of Monarch Brass, birthed by encourage young female musicians Barbecue.? Ava Ordman spoke a hun- Susan Slaughter, has grown with the dred voices through her in the participation of the group?s members. Susan?s dream has expanded be- lyricism ofLibby Larsen.Theentire low The dream began as an effort to give yond the vital tasks of recuperating the brass section snarledraunchy chords for greatervisibility to women brassplayers history of women brass pioneers and Annie Oakley?s shooting rival Frank and to bring seldom-performed music supporting the greater inclusion of Butler, while the trumpets and horns by women composers to the audiences it women brass players in professional are- played Oakley?sjagged edged nerves as deserves. In addition to the works by nas. What] saw and felton theinaugural she stepped up to the contest. After Larsen and Bremer, pieces written by Monarch Brass tour was a remarkable whooping and clapping for Annie O.?s Joan Tower, and others arranged by model of professional ensemble work, victory, the wholebandjoined injoyous Melba Liston and Velvet Brown were of professional ethics, that offers wh? dissonances and harmonies to celebrate also featured on the tour?s concerts; but potential to transform traditional work the breaking of barriers by a pioneering much of the excitement I felt and heard relationships between men and women. woman.

i OO 2 TWBC November 1996

Pi At times, these dynamics, now, border other banished exclusionary or harshly accessibleto women and men - has prob- on the abysmal, as the stories of my critical words from the scene. Conduc- ably beenapart of her unspoken aims all brass-playing buddies reveal. tor Marin Alsop helped infuse the ambi- along, and itjust took me an intense four ance with a mutual respect through her days with thegroup to figure it out. This The women ofMonarch Brass are self-effacing comments. . . ?if you just model is one that also makes men?s fantastic musicians, whose level of ex- ignore me in measure 5, you?! do fine? participation in the International perience ranges from the long European . ...,herfinesse inthose ?oops? moments Women?s Brass Conferences essential; solo career ofCarol Dawn Reinhart and ... ?hmmm, that works nicely as a such transformation requires the contri- the prestigious chairs held for years by canon, but I was starting in bar 22?, butions ofboth women and men and will several members in this country?s top while her hands led with a precision that benefit all. to players in the initial years the musicians ate up, and her genius of their first professional jobs. An aura made the difficult and quirky segments If the inaugural tour of the Mon- of mutual respect and inclusiveness in- of the brand new pieces work magnifi- arch Brass promoted goals specifically fuses the group's work; the only exclu- cently. Listening to the exhilarating related to women, itaccomplished much sionary element of more. At least some of their ethic is the rejec- my sense of other- tion of the inter-per- worldly transport in the sonal competitiveness firstconcertcamefrom that leads to stress and sitting in the midst of divisive actions. Fol- an audience unused to lowing Susan Slaught- new music, but which er?s precedent at the became enthralled by a IWBCthree years ago, concert filled with it. Abbie Conant offered Thanks to the energy the firstmissed note of and quality of the per- @::. tourfrom half-way formance, the Norman around the world, to (OK) audience re- ensurethattherewould sponded with tremen- be no squabbling over dous enthusiasm to who had played it. ci both the new and older Spleeeah! = music and closed the Monarch Brass at University ofOklahoma Campus concertwithtwoexplo- From that mo- sive standing ovations. ment of the opening rehearsal on, the music, I felt the strongest sensation that AsI write, ithas been 62 hourssince first rule was to have fun, Hard work, the musicians were playingtheir best for | left the tour in the Will Rogers World excellence, and good humor were giv- each other, motivated not only by pro- Airport. Severe symptoms of withdrawal ens, even under impossible conditions: fessionalism, but by their genuine en- appeared 61 hours and55 minutes ago and theheat and the ensuing thunderstormin joyment of each other. continue. To allthemusicians ofMonarch the middle of the opening concert, 4:30 Brass: thankyou, from the solesofmyfeet wake-up calls and a Kansas wind that Of course, whatI see as an expan- to the tip of my nose. Susan, let me know rendered music clips and standsuseless. sion of Susan?s dream towards a new as soon as plans are drawnup for the next Mentoring, supportive suggestions, ro- modelofprofessionalism. ... this transfor- tour, so I can sign on again as your most tating of chairs from one piece to the mation of creative work through values dedicated roadie. Andcountme in for the next, and general taking-care-of-each- traditionally gendered as female, though Conference next June!

Thank You!

?The Monarch Brass Tour would not have been possible without the help and supportofthe following people and organizations: Dr. David WoodsandhisentireUniversityofOklahomastaff; Libby Larsen, John Deak,CarolynBremer,forcreatingdiverseand funcompositions; Marin Aisop and Carol Crawford who broughtthe music all together with their conducting; Joan Briccetti; Dr. Daniel Burdick; KerrFoundation and individualdonors whohelpedwiththefunding;KathyMcKnight for writingthetourarticle; each memberofMonaichBrasswho made the whole dream possible. Thank you Susan Slaughter

TWBC November 1996 Monarch Brass Personnel Donors » April to October 1996 ~ |

CONDUCTOR Over $1000 Adelaide Cherbonnier Marin Alsop The Kerr Foundation Julie Landsman BORN Susan Slaughter

Michelle Baker Metropolitan Opera $250 to $999 Nancy Goodearl Houston Orchestra Rebecca Bower *Kristin Jurkscheit Colorado Symphony Orchestrat Barbara Butler Julie Landsman Principal, Metropolitan Opera Orchestrat Charles Geyer & Barbara Butler *Anne Scharer Columbus Symphonyt Kay Nichols Eugene Pokomy Richard and Mary Ann Shaw

Amy Gilreah Peoria Symphonyt; $100 to $249 Faculty, Ulinois State University Mary Bahr Carole Dawn Reinhart International Soloist; Gienda Cloutier Faculty, Conservatory of Music, Vienna Dr. Mary Ann Craig Susan Slaughter Saint Louis Symphony Orchestrat Jan Z Duga Founder International Women?s Brass Conference Dr. Langston Fitzgerald Marie Speziate Cincinnati Symphony Orchestra}; Betty Glover Faculty, Cincinnati Conservatory of Music Theresa Hanebury Bonnie Jean Kline @ TROMBONE Norma Lain Ardash Marderosian Dr. Phyllis Graham Parr *Julie Bantin Orchestra Symphonique de Québec Dr. Carla Rutschman *Jeannie Little Faculty, James Madison University Anne Scharer *Lynn Mostoller Tulsa Philharmonic Kay D. Nicholas Northwestem Ballet Orchestra Up to $99 *Ava Ordman Grand Rapids Symphony? Velvet Brown Steven Bryant Dr. Daniel Burdick

Stacy A. Baker Vermillion Festival Brass; Faculty, Morehead State University Velvet Brown Boston Brass Quintet; Mary Dune Faculty, Bowling Green University Jo Anne Edwards PERCUSSION/ Kathleen Vaught Famer Elaina Farnsworth Angela Hunter Erin Elstner New York City Sambanditos Band; Diane Kelchner Mannes College of Music Janine Leyser Kim Shelley Faculty, St. Louis Symphony Dr, Richard & Clare Murray Community Music School; Susan Rider Free-lance percussionist Barbara Schmit Jacquelyn Sellers Mary Weber Interlochen alumna or faculty o Caroline Weick Principal, associate, or former principal Kathy Wood

TWBC November 1996 1997 IWBC Conference AWishComeTrue Participating Artists* Melba Liston, world class trombonist and arranger with the Individuals Dizzy Gillespie Orchestra, had a stroke in the mid eighties. Finding Lisa Albrecht - Acting Assistant Principal Trombone itimpossible to live alone any longer, she moved in with her aunt in New York Philharmonic California. During the process of moving Melba?s treasured Olds Michelle Baker - Second Horn, Trombone was stolen . Melbawas devastated; while she no longer Metropolitan Opera Orchestra couldplay professionally,hertrombonebroughtbackmany wonder- Rebecca Bower - Co-Principal Trombone, ful memories. Pittsburgh Symphony Kathy Brantigan - Tuba, Denver Brass Susan Slaughter, Principal Trampet ofthe Saint Louis Sym- Velvet Brown - Professor ofTuba & Euphonium, phonyOrchestrahadmetListonattheMay 1993IWBCin St.Louis. Bowling Green State University Ona recenttourtoCalifornia for aperformancewith the Saint Louis Clora Bryant - Trumpet Jazz Soloist Symphony, Susan dropped in to see her friend, Melba. When Susan Pia Bucher - Solo Trombone, learned ofthe missing trombone, she decided to try to replace it. Berne Symphony; Slokar Trombone Quartet Back in St. Louis, Slaughter contacted Roger Davenport, Abbie Conant - Professor of Trombone at the secondtromboneoftheSaint LouisSymphony,abig fan ofMelba?s, Trossingen Hochshule and aboutMelba?s stolen trombone. offered to help Dr. Mary Ann Craig - Euphonium - told him Roger Director ofBands, Montclair State University find a suitablereplacement.He locatedausedOldsTromboneand it Jan Duga, Tuba - M. Sgt., U.S. Air Force Band was purchased with the helpofRoger, Susan, and the following Langston Fitzgerald, II - Second Trumpet, IWBC friends: Dave Takach, Jeff Neville, Tim Myers, Gary Baltimore Symphony Smith, Gerry Pagano, Bili Nottelmann of Nottelmann Music Joanna Hersey, Tuba - Musician First Class Company, and Don Muckerman ofSt. Ann?sMusic. U.S. Coast Guard Band ?The trombone played great, but was sorely in need oflacquer- Angie Hunter, Euphonium - Professor ofLow Brass, ing,Susantookthetrombonetoherinstramentrepairshop ofchoice, in German Bible Institute Koenigsfeld St. LouisWoodwind & Brass Instrument Repair, and talked to the Julie Landsman - Principal Horn, ownerBillMeyers,WhenBill, also afanofMelba?s,heardabouther Metropolitan Opera Orchestra stoleninstrument, hedonatedhisservicestorepairandlacquerthe Ikuke Miura - Euphonium Soloist, Japan used, Olds Trombone. The trombone looked like new after Bill's Betty O?Hara - Trumpet and Trombone Jazz Soloist expert work was completed! Laurel Ohison - Associate Principal Horn, National Symphony ?Thetrombone was thenboxedandsentto Melbaby UPSon Eugene Pokorny - Principal Tuba, Chicago Symphony September 24. Within a few days , an excited and jubilant Melba Barbara Prugh - Trumpet Soloist calledSusanand expressedherjoy by playing some jazzynotesover Jean Rife - Natural Horn Expert the phone on hernew trombone. Lynda Robbins - Solo Trombone, A special thanks to all who helped with this project. We hope Dortmund State Opera Orchestra it brings Melba many hours of playing pleasure, and marvelous David Saltzman - Tuba, University ofMichigan memories. Marie Speziale - Associate Principal Trumpet, Cincinnati Symphony Marvin Stamm - Trumpet Jazz Soloist Debra Taylor - Trombone, New Mexico Symphony, Grant Park Symphony Matt Tropman - Euphonium, U.S. Marine Band Joan Watson - Associate PrincipalHorn, Toronto Symphony Others Interservice Tuba Euphonium Quartet Tucson Symphony Horn Section Dr. Don Greene - Sports Psychologist DIVA - No Man?s Band MONARCH BRASS * List is accurate as of 10/22/96.Due to unforeseen circumstances, we cannot guarantee that all the above performers will participate.

IWBC November 1996 Trouble-Shooting for Tone Production = By: Marie Speciale

One thing I have encountered with regard to tone pro- no place to go when you get to the top. Once you establish a duction, is that younger players sometimes have difficulty fairly open aperture, it?s easierfor the air column to set the lips moving air through the instrument, either because they are into vibration and you? re less apt to shut down completely as tight in the throat, or because their aperture is not open enough youascend into the upperregister. You? ll be able to service the to service the needs of the instrument. And, generally, what[ instrument through the middle and upper registers without do is trouble-shoot. If it happens to be an aperture problem, I feeling as though everything is comingback at you in the form look at how they are forming the embouchure. Do they indeed of resistance. Basically, there?s someplace for the air to go. have an aperture? But as soon as you shut the aperture down, as in the smile fashion or the rubber band fashion, there?s no place for the air There was a school of thought many years ago that to go and the tone quality suffers dramatically in all registers. advocated stretching the lips tightly like a rubber band to produce what was called the ?smile system? ofplaying. Over Another thing thatIhave found that has been a problem the years that?s not been proven to be the most successful way with younger players is the inefficient use of the air column. to produce a good tone. With that method, the lips are What they tend to do is deflect the air column. We all think in stretched so thinly across the teeth, and so tightly, that the terms of high and low. There is an audible vertical, as well as vibrating surface is reduced, thereby inducing more pressure a visual vertical. We see the notes on the page as being high on the embouchure. or low, We hear them as being high or low. Therefore, the tendency is to do just that with the air column, moving the air It?s best to use a combination of pulling in and pulling up or down in a somewhat vertical fashion. When that hap- out at the same time, which preserves more vibrating surface pens, you wind up deflecting the air colurmn either in the and createsalittle bit of tension in the center of the lip. In mouthpiece or in the lead pipe, thereby hitting resistance very effect, what you're doing is using the muscles around the lip quickly. The resultis a tone quality thatis thin, unfocused, and and more facial muscles to control the aperture. I encourage one that tends to shut down in the upper register. the student to use the ring of muscles around the mouthpiece to hug the mouthpiece ever so gently and, at the same time, Ifyouthinkin terms ofatonalapproach whereby the low pull out from the corners ofthe mouth and intothe cheeks. For note is six inches in front of your bell and the highnote is at example, ifyou look at a timpanist when he tunes, he tightens the other end of the room, then you?re going to have a more the twoextremeends ofthe timpani headwith the keys. Is the horizontal, rather than vertical concept. You're following pull from both sides that produces the tension for the proper through with the air column so that the air column isn?t pitch. deflected and you don?t get as much resistance.

When you pull in and out, the formation in the center lip Another analogy is to think of a good baseball player produces a shape that is not unlike that of an reed-oval- who steps up to the plate and makes contact with the baton the shaped. As the oboist plays from the lower register to the ball. He doesn?t just stop the motion of the bat when contact upper register, the opening in the reed gradually becomes is made between the bat and the ball (unless he?s bunting, of smaller. However, the (italic)shape(italic) of the aperture course). Once he hits thatball, he follows through with thebat. remains the same. This is what we, as trumpet players, strive And it?s the same type of follow through that is necessary in to do as well. To imitate that oboe reed shape, gradually supporting the tone. You must keep the air column going. closing the aperture into the upper register, but still keeping enough of an opening so that the air can pass through the lips. Deflecting the air column can do a number of things to cut down on your tone production. You?ve gota little cup that Insimplest terms, the production of the tone is when the you?re blowing into, When you're aiming air right into the is air meets the lips and sets the lips into vibration. So it?s throat of the mouthpiece, the air going into the mouthpiece N important to establish agood aperture, starting with as much unimpeded. But as soon as you start to move that air column? of an opening as is comfortable in the lower register. If you either up or down, you?re going to hit the cup part of the start with arelatively closed apertureatthebottomend,there?s mouthpiece and not the center of the mouthpiece where the

TWBC November 1996 rr rr rrr

hole is. Eventually theairis going tofind its way into thethroat ofthe mouthpiece, but not before it comes back in your face, Poem so to speak. It?s possible to move the air through the center of the mouthpiece and still have it deflected somewhere in the By Marie Speziale lead pipe. There again, it?s getting trapped and causing some As strangers we arrived production problems. There's a definite resistance there and one Friday night in June we sometimes have to be aware that in order to counteract that Friends we became resistance wejust have to really think horizontally and follow 80 very, very soon through with the air column. United in spirit with one common goal llike to have my students remove the tuning slide on the With strength and fervor instrument and, with themouthpiece in the lead pipe,just have we played so bold them blow. Not even buzz. Justblow air through the lead pipe With warmth and passion so they can get the feel ofmoving the air through the lead pipe with magnificent sensitivity withoutany resistance, so that there's nothing coming back at We spun our phrases them, just the nice easy feel ofblowing through the pipe. Then 80 soft and velvety gradually move to producing a vibration at the lip, more than With Annie D. and Frank just blowing air, letting the vibration take hold, aiming to a with Tower, Tomasai and Libby low-pitchedvibration with the concept ofactually moving the We found our uncommon voice aircolumn through the lead pipe. Thathelps a greatdealThen and celebrated our creativity when they put their tuning slide back on, they get the feel of With Marin at the helm blowing through the lead pipe without the resistance associ- ated with deflecting the air colurnn. we found ourselves bounding Rejoicing in our art

2 Since we are trouble shooting, it?s important to remem- So wonderfully resounding ber that there are a number of things to check for. Sometimes Our music took flight it might not be the embouchure, it might not be the deflection leaving all else below of the air. I once had an experience with a freshman at the And all too soon we were saying good-bye conservatory. He seemed to be doing all the right things, but when we barely had said hello wejustweren?t getting anywhere. Well, little did I realize that The tones have faded no one had informed this young man that he needed to clean the last song is past out his trumpet and mouthpiece periodically! I made an The sounds of laughter assumption that he knew to do that. One day, I checked the so quickly dashed instrument and the mouthpiece, and, oh my word! There are With smiles now memories so many things that have to be addressed, and the important with tears untold thing is to leave no stone unturned! To be remembered always the songs of our souls Associate Principal Trumpetfor the Cincinnati Sym- The Dream Team of women phony Orchestra since 1964, Marie Speziale is the first the one with such class woman trumpetplayer in a major symphony orchestra. She The girls of summer also serves as Adjunct Professor at the College-Conserva- The Monarch Brass tory ofMusicatthe University ofCincinnati. Her many solo appearances includeNBC?s ?Today?and ?Tonight? shows. 6 July 1996 During the 1969 European tour ofthe orchestra, she ap- En route KC-Cincinnati peared asa soloist withDaveBrubeck. . Change of Address?? Ninetypercent of the time, Marie SpezialeplaysaBach Stradivarius silver C trumpet, large bore, 25-H lead pipe, Please use the membership form on the with ER (enhancedresonance) anda 239 bell. Alsoasilver | back cover to let us know of any change . WBach Stradivarius, her Bb trumpet is a 37 bell, medium | in name, address, phone number, etc. large. She usesaBach 1-1/4mouthpiecewithan openthroat | Mark ?CHANGE? on form and open back,

TWBC November 1996 7 List of New Brass Works Compiled by Faye-Ellen Silverman

Abrams, Alissa, Anante forbrass quintet, (2 tpt, hn, and Carastathis, Aris. Euphemism for euphonium. (3°30") tba). 3°15? Available from composer at 2620 Avenue J, Recently published by Conners Publication. See address un- Brooklyn, NY 11210 der Al Benner.

Amis Kenneth Quintet No. 2 For Brass. (c 16) Recently Constantinides, Dinos. Mutability Fantasy for eupho- published by Frank Warren Music Service Recorded bythe nium and (5') Recently published by Conners Publica- Empire Brass. tions. See address under Al Benner. Constantinides, Dinos. Tale for trumpet, trombone and Austir, Elizabeth R. To Begin for brass quintet. 6° 47" piano. Published by Conners Publications. See above. Now available on Capstone Records (CPS-8625) on ?Eliza- beth Austin, Reflected Light.? Cooper, Constance, Bez mého Vedomi (Unbeknownst to Me) for tenor, two trumpets, and cello. (ca 13) Based on Beck, Jeremy. HoUsE miX for tuba and synthesizer.(c. letters and fragments by Kafka. Premiered by the Composers? 5) Note:The synthesizer part is an on-board sequence, trig- Ensemble of Princeton University, Steven Mackey, cond. gered by the performer. This work is also available in a (Michael Willson, ten. Wayne Dumaine and Jon Nelson, tpts version for tuba and tape, the tape part being a dub of the and John Whitfield, ve) on March 31, 1994 at Princeton sequence with additional cues employed. University?s Taplin Hall. Available from the composer at; Prermiered by Jeffrey Funderburk on April, 21, 1996 at 1400 South Joyce St., #1119, Arlington, Va 22202-1872. the Iowa Composer Forum Concert Coe College, Cedar Rapids, Ia. Available form the composer at: Universoty of Drake, Nathanial. Clementine for horn and tape. (c.15') Premiered by Greg Evans on June 22, 1996 on the Music Northern Iowa. School of Music, Cedar Falls, Iowa 50614- Under Construction concert series, NewYork, NY.?Available 0246. (319-273-2809) e-mail: beckj @ uni.edu. fromthe composer at: 543East 5th St. Apt. 11, New York, NY Benner, Al Serenade for Two for Euphonium and 10009. (212-505-9712). piano. (10°) Available from Conners Publications at 6780 State Road #57. Greenleaf, W1 54126-9738, (414-864-3165) Fletcher, Roy. Tundra for 2 euphoniums and 3 . * e-mail. ALMEI @ aol.com (May be performed with morethan one playerperpart) (8' 30") Benner, Al Serenade for Two for trombone and piano Premiered on April 5, 1996 by the University of North Texas (10?) Avialable from Conners Publications. See above. Tuba & Euphonium Choir. John Rider, cond. atthe College of Music in Denton, Texas. Available from the composer at:

Brazelton,Kitty, Come Spring forbrass quintet. (ca.22') 26311 Camelia Ct., Magnolia, TX 77355. Commissioned by TheManhattan BrassQuintet.Availablefrom thecomposerat:172.E, 7thSt.#1C, NewYork, NY 10009. (212- Fowler, Jennifer. Lament for 2 Bb euphoniums and 2 982-2471) e-mail: Kitbraz @ aol. com. bass tubas. 7-8' Available from the composer at: 21 Deodar Rd., London SW15, 2NP United Kingdom. e-mail: Bremer, Carolyn. Throw Caution To The Wind 10061 [email protected] Commissioned bythe SummerWind Festival forthe Monnarch Brass and premiered by them on July 2, 1996 in Norman, OK. Froom, David. Serenade for Trumpet and Strings for Available from the composer at: School of Music, University trumpet and string orchestra or string quintet (6'). Written for of Olahoma, Norman OK 73019. (405-325-2313) e-mail and premiered with Jeff Silberschlag, tpt and the Ciompi ebremer @ uoknor. edu Quartet with a guest bass player on April 1994 at St. Mary?s College ofMaryland. Recorded on Delos (Seattle Symphony, Broadhurst,Denise. Introduction andAllegro forbrass Schwarzcond, withJeffSilberschlag, tpt). Published by MMB Music, Inc. quintet. (c. 7?) Premiered June 25, 1996 by the St. Anthony "a Brass Quintet, St. Mark?s Lutheran Church, St. Paul, MN. Available from the composer at: 77-16 Austinn St., #5G, Guidry, Jason. Elegy for John Pater for brass ensemble Forest Hills, NY 11376 (718-261-9500). (1-3 tpt, 1-4hn, 1-2 thn. btbn,euphonium, tuba andtimpani. (5-

TWBC November £996 6?) Available from the composer at: 9638 So. Pinebrook St. the 6th International Festival of Brass on June 16, 17, 18 and Highlands Ranch, CO 80126. (303-683-1007) e-mail: 19, 1995 in Vicenza, Bagnola Mella, Mantova and Verona, jpg000!@ jove.acs.unt.edu Italy. Published by: The Newmatic Press, 200 Ridgeland Dr. No 4, Greenville, SC 29601. (864-282-0683) Jacobs, Kenneth. Ambassadors of Fortune for brass quintet. (13' 05") Recorded by Cathy Leach. Heidi Schiller, Lefkowitz. Aaron. Symphony in Eb for 12 trbs. c. 20' Calvin Smith, Don Hough and Sande MacMorran for The Premiered by PrimaToni conducting The Orlando Trombone Zyode Company at: 1101 Burton Rd., Knoxville, TN 37919- Choir ofOctober 8, 1995 at Prince ofPeaceLutheran Church, 8111 (423-588-0737) Orlando, FL Available from: Wehr:s Music House.

Jacobs, Kenneth. Night Covers All for horn and com: Lord, Carolyn. Bits and Pieces for brass quintet (c. 5?) puterized synthesizer tape (20' 52") Recorded by Clavin Premiered by the Manhattan Brass Quintet on June 22, 1996 Smith for The Zyode Company. Available from the address on the Music Under Construction concert series, New York, listed above. NY. Available from the composerat: 10 East 18th Street. 3rd floor, New York, NY 10003, (212-924-7882) James, Kevin. Andante Maestoso for alto trb. and PNO. 3.5' Available from Wehr?s Music House, 3533 Baxter McBimie, Andrew, Sonatina for Brass for brass quin- Drive, Winter Park, FL 32792-1704. Fax 407-679-0208. tet(c 12?) Commissioned and premiered by the Onyx Brass on March 16, £996attheSpitalfields MarketOpera, London, UK Joyce, Mary Ann. Fanfare on ?Te Duem? for brass Available form the composer at: 146 Iverson Road, West quintet plus optional timpani. (3' 30") Premiered by the Hamstead, London NW 2HH, UK. e-mail: udwm032 @ Alaska Brass Quintet on April20, 1994 at Davis Hall, Univer- kel.ac.uk or a.mebirnie (@ ram.ac, uk. sity of Fairbanks, AK. Available from the composer at: 88 Smith Hill Rd. Airmont, NY 10952 (914-368-1155: Fax: Mishell, Kathryn. Wax Eloquent for solo tuba (9") Premiere performance by Sy Brandon on Oct. 15, 1995 at @14-368-3647) Millersville University, Millerville. PA, Available from the Johnson, A. Paul. Swingset with Slide for brass quintet composer at: 1406 Ridgecrest Dr., Austin, TX 78746. and chamberorchestra (2/2/2/2. timp. strings). (12') Commis- sionedbytheGainsville Symphony Orchestra fortheGainsville Muir, John. The Chambered Nautilusfor tuba quartet. Brass Quintet, Premiered by these groups with Raymond 12' Available from the composer at: PO Box 4611, Green- Chobaz, cond on September 23, 1995 at the Center for wich, CT. 06831. Performing Artsat theUniversity ofFlorida. Publishedby the Muir, John. Trumpets 1,2,3 for three Bb trumpets. 4 American Composers Allience. Available from the composer. See above.

Kaminsky, Laura. Elegy for the Silenced Voice: In Ott, David. Sonata for Trombone for tenor trb. and Memoriam Michael Dash for Bb trumpet. c. 3 1/2 Commis- pno. c. 15' Recently published by Wehr?s Music House. sioned and premiered by Positive Music (Susan Radcliff) on June 21, 1995 at Washington Square Church in New York Pehrson, Joseph. Hornorarium for four horns (7') City. Available from the composer at: 11 Lamerson Rd., Premiered by the ?Flipside ensemble on the New York Art Chester, NJ 07930-2427 Ensemble consert at the Kosciuszko Foundation on May 1, 1996. Available through the Composers Concordance at: PO Katz, Marco. FivePieces by Henry Fillmore for brass Box 20548, PABT, New York, NY 10129. quintet (20 minutes for the entire set, although they can be played separately.) Available from Carl Fischer. Raheb, Jeff. Brass Quintet No. 1 6' Available from the Katz, Marco. Montuno for brass quintet. (3.5' + de- composer at 415 9th St. #3 Brooklyn, NY. 11215 (718-788- pending on whether the optional improvised sections are 7081) e-mail: jraheb @ nyh.med.cornell .edu used).Released by Almitra Music. Available from Kendor Raheb, Jeff. A Quick Glance for solo . 12° Music,Inc., Main &Grove Streets, PO Box 278, Delevan, NY 15" Available from the composer. See above. 14042 (716-492-1264; fax: 716-492-5124)

Kistoft, Mark A. Past persistence for brass quintet Continued on Next Page (10°) Commissioned and premiered by the Aurora Brass at:

IWBC November 1996 List of New Brass Works ¢. 15? Premiered by Ken Moulton, Mark Fisher, and Mike From Previous Page Brenner on October 23, 1994 at the University of Central Florida. Available from: Wehr?s Music House.

Rindfleisch, Andrew. Fanfare for Brass Quintet. (1' 25") Recently published by the Frank E. Warren Music Wheelock, Donald. Fanfare for a Festive Occasion Service. for 3 trpts, 4 hns (2 tenor, one bass), 2 tubas (tenor, bass) and percussion (4 or 5 players. (5') Commissioned for, and Risher, Tim. Ein Stern fiel in meinen Shoss (smali premiered at the inauguration of Ruth Simmons as the ninth wind ensemble, features trumpet & oboe) ¢.20' Available president of Smith College on Sept. 30, 1995. Available from Wehr?s Music House. from the composer at: Music Dept. Smith College, Northampton, MA 01063. Rowe, Monk. Cheeks (for Dizzy Gillespie) for brass brass 15?) quintet and optional percussion. (¢. 5') Availjable from the Woltmann, Chris. Brass for quintet. (c. Brass 1996 composerat:HamiltonCollege 198CollegeHillRoad, Clinton, Premiered by The Manhattan Quintet onJune 22, on series, NY 13323. Fax: (315-724-4893) the Music Under Construction concert New York, NY. Available from the composer at: 18 Myrtle Ave. Sandler, Felicia Ann Barbara. Three Short Pieces for Demarest, NJ 07627. (201-768-3375) Trumpet, (3' 05") Premiered by Janna Galloway on April 1, J. 1996 at the University of Michigan, Ann Arbor, ML Avail- Ziffrin, Marilyn, Lines and Spaces for brass quintet 7 1/2?, able from the composer at: 1102 Maiden Lane Court #101, c. Available from the composer at: PO Box. 179, Ann Arbor, MI. 48105. (313-332-3978)e-mail: Bradford, NH 03221, [email protected]

Suiter, Wendy. Meditation for Two French Hornes Board of Directors 10? Also suitable fro two ; Available from the Mary Bahr Ramona Galey composer at: 390 Clarke St., Northcote, Australia 3070 Rebecca Bower Vernon Kagarice Velvet Brown Julie Landsman Tarshis, Steve. Top ofthe World for brass quintet. (7 1/ Barbara Butler Laurel Ohlson 2?) Available from the composer at: 640West End Ave. Apt 3C, Dr. Mary Ann Craig Eugene Pokomy New York, NY 10024, (212-580-4535) Jan Duga Dr. Carla J. Rutschman Langston Fitzgerald, TL Susan Slaughter Theobald, Jim. Sonata for Trombone and Piano. (ca. Laurie Frink 16?) Published by: Wears Music House, catalog #95. Fax order: (407-679-0208) Honorary Board Trussell-Cullen, Laura. The Devils Dermish for trom- of Directors bone and piano (9' 38") Available from Frank E. Warren Music Service. JoAnn Falletta Faye-Ellen Silverman Trussell-Cullen, Layra. Totentanz for tuba and piano. Catherine French Leonard Slatkin (1' 12") Available from Frank E. Warren Music Service. Gerard Schwarz Joan Tower Gail Williams Vayo, David. Eight Poems ofWilliam CarlosWilliams for trombone (27') Commissioned by the St. Louis Symphony Officers Society for Roger Oyster, PrincipalTrombone. Premiered by Ramona Galey, Secretary Roger Oyster on April 3, 1995 at; The Sheldon Concert Hali, Susan Slaughter, President Joan Jenisch, Treasurer St. Louis, MO. (Chamber music concert series St. Louis Velvet Brown, Vice President Symphony). Available from the composer at: School of Music, Illinois Wesleyan, PO Box 2900, Bloomington, fl. 61702. Executive Director Dr. Daniel Burdick Wehr, James. Trio for Brass OP.1 for trpt, hrn and trb.

TWBC November 1996 Directory Update

April Te October 1996 dulle Bantin Eialne Fameworth .... . (rombone) Susan Rider ..... (Bass Trombone) 10960 Beach Blvd, Lot 243 4136 E, 52nd St. Apt. 807 c/o 280 Carlton St. Toronto, QUE MSA 2L5 Jacksonville, FL 32246 904/646-2960 (H) Odessa, TX 79762 CANADA Musle Tutot/Univertity of North Fiorda 935/550-4676 (H) 416/920-1279 (H) 418/640-5227 (W) Orchestre Symphonique de Quebec Betty Glov . (Bass Trombone/Tenot Tuba) Mary Ritch .. Chernin St. Esteve Ménerbes 84560 998 Divisadero #102 Margaret Brouwer FRANCE San Francisco, CA 94115. 2589 Overlook Rd, Apt. #9 011/33/90/72-3789 (H) Cleveland Helghts, OH 44106 Retired Jane Sag 216/397-9813 (H) 216/791-8000 (W) P.O, Box 1 Composer Joanna Hersey .» (Tuba) Pawn Desert, CA 92261 Head-Composition Department/ 6 Promenade St, 619/340-3174 (H) 213/654-9770 (W) Cleveland institute of Music Moosup, CT 06354 860/564-6805 (H) 860/444-8466 (W) Anne Scharer.. Adelaide Cherbonnier Coast Guard Band 724 8S. Sth St. 16 Kingsbury Pl. Columbia, OH 43206 St. Louls, MO 63112 Angela Hunter ..... we (Euphonium /Tuba) 614/481-9699 (H) Kinderweide 4 Koenigsfeld 78126 Glenda Cloutier GERMANY Pamela Schimok ... ne (TTLUMPOT) {Irumpet) 011/49/77/250-1434 (H) 13101 Sliver Eagle Tr. 5605 Mondate Rd. 011/49/77/259-38411 (FAX) Edmond, OK 73013 Knoxville, IN: 37912 405/478-2573 (H) 423/525-6484 (H) 423/525-6484 Call first Lee Hill Kavanaugh ...... (Bass Trombone) 3501 Happy Hotlow Rd. Barbara Schmit. . (Trumpet) Rosalind Cron Independence, MO 64058 8215 Kail Ridge Rd, #717 (Saxophone//Fiute) 816/650-3746 (H) Uncoin, NE_ 68506 $00S. Grammercy Pt. 402/489-3576 (H) 402/489-3576 (W) Los Angeles, CA 90020 Bonne Jean KlIne.....,..0+ .. (trumpet) 28117 Selkirk Jacquelyn Sellers .. (Hom) Jami Dauber Southfleld, MI 48076 810/569-7408 (H) 1216 E, Miles St. (Trurnpet) Ananger/Public Schoots Freelance Tucson, AZ 85719 475 W. 57th St. Apt. 23B-1 520/882-8975 (H) New York, NY 10019 Dr. Cynthia LeBlano-Gardner... (Euphonium) Prinelpal Horn/Tucson Symphony Orchestra 212/262-3637 (H) DIVA 1839 E, Laguna Dr, Tempe, AZ 85282 Jule Towner ...... » (HOrn) Unda Dempt 602/838-2183 (H) 1428 Pembridge (Hoiny Cincinnati, OH 45255 909 S. Dunn Janine Leyser.. $13/943-0311 (H) 513/621-1919 (Wy Bloornington, IN 47401 62 Bobwhite La. 513/621-2133 {FAX} 812/339-0920 (H) Hicksville, NY 11801 516/433-5166 (H) Susan Watts Sandier -{Trumpet) Jennifer Drennan 785 Lorett St. Crumpet) Loraine Marik (Trombone) Pittsburg, PA 15217 3947 Upper Saxtown Rd. 334 Downing 412/421-1062 (H) Milistadt, IL 62260 Riverside, IL 60545 618/476-1230 (H) 812/333-6267 (H) 708/447-8049 (H) Uesel Whitaker = (Trumpet) 25-29 36th St. Apt. 2-R Mary Dunn Janice Owens..... Astoria, NY 11103 (Hom) P.O, Box 42422 718/777-7280 (H) 718/777-7280 (FAX) 1322 Limekin Pike Washington, DC 20015 Lead Trumpet/DIVA Jarrettown, PA, 19025-1004 202/244-3233 (H) 202/337-2268 (FAX) 215/646-8849 (H) Wind Dept. Chait/Levine Schoo! of Music Kathy Wood (Horn) Facutty/Peabody Preparatory Freelance: 59 Trammett St. Jo Anne Edwards Martetta, GA 30064 Crumpet) Dr. Phyilis Graham Parr ...... » (irombone) 770{514-9003 (H) RD 2 80x 416 2009 Castle Ave. Freelance Johnson, VT 05656. Bloomington, IL 61701-5729 802/635-2054 (H) 802/636-1277 (W) 309/663-4145 (H) 309/766-7275 (W) 802/635-1294-4FAX} Cofounder/Constitution Brass Quintet Claudia Richards .. Crumpet) 687 Pope Rd. Kathieen Yought Famer.. (Hom) St. Augustine, FL 32084 Professor of Hom 904/471-8230 (H) Copies ofthe Directory are availablefor Pacific Lutheran Universtty 3rd Florida Regimental Bross Band $8.00from IWBC. Department of Music Tacoma, WA 98447-0003 See membershipform to order. 206/535-7607 (W) 206/535-8669 (FAX) Pacific Lutheran University

TWBC November 1996 YW