Souvenir Program

AMERICAN BANDMASTERS ASSOCIATION

Twenty-fourth Annual Convention

DEDICATION OF THE BAND BUILDING

SIXTY-EIGHTH ANNIVERSARY CONCERTS

The Concert Band I The First Regimental Band

UNIVERSITY OF ILLINOIS, URBANA

MARCH 5-6*7-8, 1958

A BRIEF HISTORY OF THE AMERICAN BANDMASTERS ASSOCIATION

The American Bandmasters Association was formally University of Wisconsin, Madison, Wisconsin, February 27- organized in 1929. As the result of many years' study of the March 2, 1941 problems confronting American bands and encouraged by HENRY FILLMORE the interest of a group of prominent bandmasters, including Elkhart, Indiana, June 13-15, 1947 John Philip Sousa, Edwin Franko Goldman invited a select GLENN CLIFFE BAINUM number of band directors from the United States and Can­ Sioux Falls, South Dakota, March 18-21, 1948 ada to be his guests at a luncheon and conference at the HOWARD C BRONSON Hotel Pennsylvania in New York City on July 5, 1929. Charlotte, North Carolina, March 17-18, 1949 It was at this meeting that the American Bandmasters JOHN J. RICHARDS Association was formally organized. The objects of the Asso­ University of Michigan, Ann Arbor, Michigan, March 9-12, ciation were defined as ". . . mutual helpfulness, and the 1950 promotion of better music through the instrumentality of HAROLD B. BACHMAN the band ... to secure the adoption of a universal band Washington, D.C., March 8-11, 1951 instrumentation so that band publications of all countries EARL D. IRONS will be interchangeable; to induce prominent composers of Ohio State University, Columbus, Ohio, March 7-10, 1952 all countries to write for the band; to establish for the con­ cert band a higher standard of artistic excellence than has WILLIAM D. REVELLI generally been maintained; and to do all possible to raise University of Miami, Miami, Florida, March 5-8, 1953 the standards of bands and band music." WILLIAM F. SANTELMANN United States Military Academy, West Point, New York, The charter members of the Association were Capt. February 25-27, 1954 Charles O'Neill, Albert Austin Harding, Frank Simon, R. B. Hayward, Lt. J. J. Gagnier, Lt. Charles Benter, CHARLES BRENDLER Victor J. Grabel, Arthur Pryor, and Edwin Franko Goldman. Elkhart, Indiana, February 16-19, 1955 John Philip Sousa was elected first Honorary Life Presi­ JAMES C. HARPER dent. Dr. Goldman was elected second Honorary Life Presi­ Santa Fe, New Mexico, March 7-10, 1956 dent in 1933, after retiring from the active presidency of the GEORGE S. HOWARD Association, an office he had held for four years. Dr. Pittsburgh, Pennsylvania, March 6-9, 1957 Harding was elected third Honorary Life President in 1956. MARK H. HINDSLEY On March 13, 1930, the American Bandmasters Associa­ tion was incorporated under the laws of the State of New The American Bandmasters Association has made its York. The incorporators were Edwin Franko Goldman, importance felt in the world of music, and through its in­ Victor J. Grabel, A. Austin Harding, Frank Simon, and fluence has brought bandmasters into closer contact with William J. Stannard. each other for their mutual benefit. Many problems have The first annual convention was held at Middletown, been discussed and solved, much progress has been recorded, Ohio, with Frank Simon and the American Rolling Mills many original aims realized. A definite instrumentation for Company as hosts. The following is an outline of the annual American bands has been evolved; publishers have taken conventions held by the Association, giving the place of the cognizance of this achievement of the Association, and have meeting, the date, and the name of the President elected to cooperated to the fullest extent in bringing about its uni­ serve the following year: versal acceptance. Better editions and arrangements for band have become general, as has the practice of providing full conductor's scores to at least the major numbers. Nearly all Middletown, Ohio, March 13-16, 1930 of the publishers and instrument manufacturers of the EDWIN FRANKO GOLDMAN country are associate members of the Association, and have Boston, Massachusetts, April 9-12, 1931 lent it valuable moral support. EDWIN FRANKO GOLDMAN Through its progressive leadership the American Band­ Washington, D.C., April 14-17, 1932 masters Association has done much to develop the standards EDWIN FRANKO GOLDMAN of band performance and repertory throughout America. Chicago, Illinois, August 31-September 2, 1933 Never in the history of bands or band music has such prog­ CHARLES O'NEILL ress been made in the development of original music for Toronto, Canada, April 17-21, 1934 the concert band. Prominent composers have written works HERBERT L. CLARKE for the Association; many of these excellent and enduring Cincinnati, Ohio, March 7-10, 1935 compositions have received their premieres at concerts given FRANK SIMON during the Association's conventions. Each day brings new Interlochcn, Michigan, August 6-9, 1936 works by leading composers, and the response to this new literature is noted by the ever-increasing number of music FRANK SIMON lovers attending high school, college, and professional band Milwaukee, Wisconsin, March 5-7, 1937 concerts throughout the nation. This increase of interest and ALBERT AUSTIN HARDING support is due, to a large extent, to the constant endeavors University of Illinois, Urbana, Illinois, March 21-24, 1938 of all the members of the Association. KARL L. KING Much remains to be done, but the American Band­ Fort Dodge, Iowa, February 26-March 1, 1939 masters Association feels that it may be proud of what it PETER BUYS has already accomplished, and once more dedicates itself Hagcrstown, Maryland, March 10-13, 1940 to the task of doing all in its power to promote the welfare RICHARD B. HAYWARD of bands and band music. 1 EDWIN FRANKO GOLDMAN Founder President 1929-33 Honorary Life President 1933-56

ALBERT AUSTIN HARDING President 1937-38 Honorary Life President ^

MARK H. HINDSLEY President

HERBERT N. JOHNSTON Vice-President GLENN CLIFFE BAINUM COL. GEORGE S. HOWARD Secretary-Treasurer Chairman, Board of Directors Past President Past President

BOARD OF DIRECTORS

RAYMOND F. DVORAK CAPT. SAMUEL R. LOBODA

FRANKLIN C. KREIDER GEORGE E. REYNOLDS MEMBERSHIP

HONORARY LIFE PRESIDENT ARDERN Pots, Director, Washington High School Band, Sioux Fall*, South Dakota OK. AIUVRT AUSTIN UAKMNU, Director Emeritus, University of Ulinoii Rami* EDDAR B. GANOWARR, Director, State Teachers College Bands, Bcmtdji, Minnesota HONORARY LIFE MEMBERS CAPT. J. M. GAY PER, Director of Music, The Canadian Guards Band PERCY GRAINGER, Composer. White Plains, New York DR. DON GILLIS, Composer, Forest Hills, Long Island, New York Ft Km GEO re. Composer, Santa Monica. California RICHARD FRANKO GOLDMAN, Director, The Goldman Baud Lso SOWKRRY, Composer, Chicago MORTON GOULD, Composer, New York, New York DR. RONALD D. GREGORY, Director of Bands, Indiana University HONORARY LIFE ASSOCIATE MEMBERS LEO M. HAULS, Director, Central High School Band, Grand Forks, BENNETT CHAPPIE, Middlctown. Ohio LYNN SAMS, Butscher Band Instrument Co., Elkhart, Indiana North Dakota PAUL A. IIARNER, Director, High School Band, Little town, Pennsylvania LIFE MEMBER CAPT. JAMBS C. HARPER. Director, High School Band, Lenoir, North CAW. RICHARD B. HAYWARD, Former Director, Toronto, Ontario, Con­ Carolina cert Band DEAN L. HARRINGTON, Director, High School Band, Seaford, Long Island, New York ACTIVE MEMBERS DALE C. HARRIS, Director, High School Band, Pontiac, Michigan ARTHUR J. BABICH, Director, Municipal, County, American Legion LEONARD H. HAIIO, Director of Bands, University of Oklahoma Bands, Los Angeles, California DR. ROBERT HAWKINS, Chairman, Music Department, Western State HAROLD B. BACH MAN. Director of Bands, University of Florida GLENN C. BAINUM, Director Emeritus, Northwestern University Bands College, Gunnison, Colorado WILLIAM N. BARTOW, Westfield, New Jersey (retired) HERBERT HAZELMAN, Director, High School Band, Greensboro, North DON BASSETT, Director, Municipal Band, Dayton, Ohio Carolina WALTER BEELER. Director of Bands, Ithaca College EUOENE F. HEETER, Director, Community Band, La Grange, Illinois PAUL W. BEHM, Director of Instrumental Music, Mason City, Iowa Russ D. HENEOAR, Director, Municipal Band, Sioux Falls, South Dakota DAVID BENNETT, Composer and Arranger, St. Charles, Illinois JOHN J. HBNEY, Director, High School Band, Deland, Florida JAMES BERDAHL, Director of Bands, University of California MARK H. HINDSLEY, Director of Bands, University of Illinois JOSEPH BEKGEIM. Former Director, North Division High School Band, HAROLD C. HINES, Director of Bands, Arizona State College Milwaukee, Wisconsin LT. CMDR. WILBUR HOLMES, Former Director, U.S. Navy School of CAPT. ROBERT L. BIERLY. Assistant Director, U.S. Army Field Band Music CSTDR. CHARLES BRENDLER, Leader, U.S. Navy Band DR. KARL M. HOLVIK, Director, Iowa State Teachers College Band COL. HOWARD C. BRONSON, Former Chief of Music Branch, S.S. Div., BRUCE HOUSEKNECHT, Director, High School Band, Joliet, Illinois U.S. Army NILO W. HOVBY, Former Director, Jordan Conservatory Band. Indi­ FORREST L. BUCHTEL, Composer and Arranger, Evans ton, Illinois anapolis, Indiana GREGORY BUECHE, Head of Music Department, Colorado State University COL. GEORGE S. HOWARD, Director, U.S. Air Force Band DR. PETER BUYS, Municipal Director of Music. Hagerstown, Maryland JOHN E. HOWARD, Director of Bands, University of North Dakota RAYMOND T. BYNUM, Director of Bands, McMurry College, Abilene, RUSSELL ROWLAND, Associate Professor, Woodwind Instruments, Fresno Texas State College DAVID W- HUGHES, Former Director, High School and Municipal Bands, MAURICE CALLAHAN, Director of Bands, Duluth Branch, University of Elkhart, Indiana Minnesota F/L C. O. HUNT, Director of Music, Training Command Band, Royal DR. MILBURN E. CAREY, Director of Bands, Phillips University Canadian Air Force MAC E. CARR, Director, High School Band, River Rouge, Michigan COL. EARL D. IRONS, Former Director of Bands, Arlington State Col­ CLATE CHENETTE, Former Director, Municipal Band, Waterloo, Iowa lege, Texas ED CHENETTE. Former Director, Southern College Band, Lakeland, HERBERT N. JOHNSTON, Director, Philco Corporation Band Florida L. BRUCE JONES, Director of Bands, Louisiana State University CARE CHRISTENSEN, Director Emeritus, South Dakota State College Band JAMES KERR, Director of Bands, University of Wichita PAUL CHRISTENSEN, Director, Municipal and High School Bands, Huron, KARL L. KINO, Director, Municipal Band, Fort Dodge, Iowa South Dakota EVERETT D. KISINOER, Assistant Director, University of Illinois Bands A. BERT CHRISTIANSON, Director of Bands, Central Washington College SIMON KOOYMAN, Former Director, High School Band, Clarksdale, of Education Mississippi WELDON COVINGTON, Supervisor of Instrumental Music, Director, Munic­ OTTO J. KRAUSHAAR, Director of Music, Miami Senior High School, ipal Band, Austin, Texas WILBUR CRIST, Director, Capital University and Columbus, Ohio, Con­ Florida cert Bands FRANKLIN C. KREIDER, Di rector, High School Band, Collinsville, Illinois MAI. HUGH J. CURRY, Leader, U.S. Army Band EDWIN C. KRUTH, Director, San Francisco State College Band DR. EDWARD D'ANNA, Director, Niagara Falls Concert Band LEO KUCINSKI, Director, Municipal Band, Sioux City, Iowa CAPT. THOMAS F. DARCY, JR., Former Leader, U.S. Army Band CAESAR LA MONACA, Director, Municipal Band, Miami, Florida NICHOLAS D. DERUBERTIS, Composer and Arranger, Kansas City CAPT. ROBERT L. LANDERS, Assistant Director, U.S. Air Force Band CAPT. BARRY H. DREWES, Former Assistant Director, U.S. Military PHILLIP LANO, Composer and Arranger, New York, New York Academy Band DR. JOSEPH F. LECHNYR, Director of Bands, University of Vermont JAMES W. DUNLOP, Director of Bands, Pennsylvania State University ERIK LEIDZEN, Composer and Arranger, New York, New York COL. RICHARD J. DUNN, Former Director, A.&M. College of Texas Band LOWELL LITTLE, Director, Texas State College for Women Band DR. RAYMOND P. DVORAK, Director of Bands, University of Wisconsin CAPT. SAMUEL R. LOBODA, Assistant Leader, U.S. Army Band FREDERICK C. EBBS, Director of Bands, State University of Iowa ROBERT E. LOWRY, Director of Bands, Morningside College, Sioux City, Iowa MERLE EVANS, Former Director, Ringliug Brothers Circus Band ROBERT L. MADDOX, Director of Instrumental Music, Odessa. Texas THOMAS F. FASISH, Director, DcPaul University Band DR. JOSEPH E. MADDY, President, National Music Camp, Intcrlochen, LEONARD FALCONE, Director of Bands, Michigan State University Michigan RICHARD M. FEASEL, Director, Stetson University Band, Deland, Florida JACK H. MAHAN, Director of Bands, Arlington State College. Texas FREDERICK FENNELL, Director, Eastman School of Music Wind Ensemble FRANK MANCINI, Director, Civic Band and Orchestra, Modesto, Call- fortua ROBERT E. FIELDER, Director, High School Band, Abilene, Texas A. R. MCALLISTER, JR., Director, American Legion Memorial Band, K. BERNARD FITZOKKALD, Director of Bands, University of Kentucky Joliet, Illinois LA WHENCE FOOKLSERO, Director, Bradley University Band, Peoria, Illinois FRED MOCALL, Director of Bands, University of Miami, Florida Da. PAUL VAN BonmawKN, Director. S*lwol of Education Band, jcJ HARRY MCCOMB, Former Director, High School Band. Fort toitdwdalo, Florida York University EVERETT MCCRACKEN, Former Director, Bavlur University Band WILLIAM T. VURAN, Director, High School Band, Cairo, Georgia LT. CWMt. JOHN D. MCDONALD, Head of Music Branch. S.S. Div., U.S. HAROLD WALTKRS, Composer and Arranger, ll\amifiii, Illinois Navy MANLKY K WMITCOMR. Director of BamU. Florida Slate Unit mi (y DR. DONALD K. MCGINNIS, Director, Concert Band, Ohio State Uni­ MAT, CHKSTKK E. WHITINO, Conductor, U.S. Army Field Band versity Dtwiy O. WILLY, Director of Bands, Texas Technological College J.XMKS B. MCKINNA, Director, California Youth Authority Band. lone. ARTHUR L. WILLIAMS, Dirrrior of Band*, Olirrliu * "•••!(« - * California GKOROE (•- WILSON, Vire-Presideni, National Music Camp, Interloclie lUv.u E. MCMILLEN, Director of Bands, University of Colorado Michigan LT. Cot. S, E. MRAR, Bandmaster, Fork Union, Virginia, Military KEITH L. WILSON, Director of Bands, Yale University Academy AL G. WRIOHT, Director of Bands, Purdue University JAMES L. MELICHAK, Director, Municipal Band, Cedar Falls, low* GAIT. JOHN F. YKSULAITIS, Assistant Director, U.S. Air Force Band LEONARD V. MKRKTTA, Director of Bands, Western Michigan University PAUL YODER, Composer and Arranger, Fort Lauderdale, Florida LT. HARRY H. ME USER. Assistant Director, U.S. Air Force Band At.RKRTUS L. MEYERS, Director, Muhlenberg College and Allentown ASSOCIATE MEMBERS Bands, Pennsylvania Alec Templcton, Inc., New York, Guv FRLKDMAN PETER MICHELSIN, Director of Music. Wisconsin State College. Stevens Associated Music Publishers, New York, BKMJAMIN GRVSSO Point, Wisconsin Vincent Bach Corp., Mt. Vernon, New York, VINCENT BACH CHARLES MINELLI, Director of Bands, Ohio University Bandland, Inc., Detroit, LEONARD B. SMITH ROLAND I.. MOKHLMANN, Director, Municipal Band, Cedar Rapids, Iowa C. L. Barnhouse. Inc., Oskaloosa, Iowa, C I.. BARN HOUSE, JR. E. C. MOORE, Former Director, Lawrence College Hand, Apple ton. Belwin, Inc., Rockville Center, New York. MAX WINKLER Wisconsin Big Three Music Corp., New York, £. J. MCCAULEY DR. EVERETT A. MOSES, Former Director, Municipal Band, Daytonn Boosey and Hawkes, Ltd., New York, DAVID S. ADAMS Beach, Florida Bourne, Inc., New York, HERMIT A. WALKER CAFT. W. M. MURDOCH, Director of Music, Royal Regiment of Canada Brahmstedc Music Co., Wisconsin Rapids, Wisconsin, NORMAN K JAMES R. MURPHY, Supervisor of Instrumental Music, Brownsville, Texas BRAHMSTKDT RALPH MURRAY, Director, Golden Gate Park Band, San Francisco, Brodt Music Co., Charlotte, North Carolina. CECIL BROOT California C Bruno and Son, New York. EDWIN SONPIRLD JAMES NIELSON, Director of Bands, Oklahoma City University Buescher Band Instrument Co., Elkhart, Indiana, Lao HICKLE JOHN P. PAYNTER, Director of Bands. Northwestern University Chappclt and Co., New York, Para WOOLERY CHARLES S. PETERS. Director, Grade School Bands, Joliet, Illinois Chicago Musical Instrument Co., RICHARD V, MADDEN JAMES C PFOHL, Director, Brevard Music Center, North Carolina C. G. Conn, Ltd., Elkhart, Indiana, PAUL RICHARDS GERALD R. PRRSCOTT, Former Director of Bands, University of Minnesota Dieges and Oust, New York. ROBERT G. PACKER LT. COL. FRANCIS E. RESTA, Former Director, U.S. Military Academy Educational Music Bureau. Chicago, CHARLES G. HOOVER Band Educational Music Service, New York, WILLIAM A. SAXDBERO DR. WILLI \M D. REVELU, Director of Bands, University of Michigan Elkan-Vogel Co., Philadelphia. BERNARD KOHN GEORGE E. REYNOLDS, Director, Kiltie Band, Carnegie Institute of Carl Fischer, Inc., New York, HOWARD AKERS Technology H. T. FitsSimons Co., Chicago. HARRY T. FITZSIMONS Hal Leonard Music, Inc., Winona, Minnesota. ROOER BUSMCKKR Da. MYRON E. RUSSELL, Head, Music Department, Iowa State Teachers Hansen Publications, New York, CHARLES HANSEN College Frank Hotton and Co., Elkhurn, Wisconsin, T. P. KEXEL HENRY E. SACHS, Director, Municipal Band. Denver, Colorado Humes and Berg Manufacturing Co., East Chicago, Indiana, WILLIAM BIM LT. COL. WILLIAM F. SANTELMANN, Former Leader, U.S. Marine Band I lie Instrumentalist, Evanston, Illinois, TKAVOOTT ROHNER R. LESLIE SAUNDERS, Supervisor of Music, Lebanon, Pennsylvania Neil A. Kjos Music Co., Park Ridge, Illinois, NEIL A. Kjos CLARENCE E. SAW HILL. Director of Bands, University of California at G. Leblanc, Inc., Kenosha, Wisconsin, Vrro PASCUCCI Los Angeles WILLIAM A. SCHAEFER, Director of Bands, University of Southern Cali­ Ludwig Music Publishing Co., Cleveland, MRS. ELIZABETH W. LUBWM fornia Edward B. Marks Music Corp., New York, CARI ZOEHRNS WESLEY SHEPARD, Director, Evansvillc College Band, Indiana Martin Band Instrument Co., Elkhart. Indiana, FRED HOLT/, JR. M\j. ALBERT F. SCUOEPPER, Director, U.S. Marine Band Mills Music Co., New York, MACK STARK WILLIAM P. SCHUELEH, Director, Municipal Band, Daytonn Beach, Florida Musicaua, New Haven, Connecticut, LT. A. R. TKTA FREDERICK SCHULTE, Director, Johnson Band and Racine, Wisconsin, J. W. Pepper and Son, Philadelphia, 1 IAROLD W. BVRTCH Symphony Orchestra Theodore Presser Co., Bryn Mawr, Pennsylvania, CLARENCE. A. FOY MAI. M. M. SCOTT, Chief Inspector of Bands, Canadian Army F. A. Reynolds Co., Cleveland. HKINRICH ROTH Da. FRANK SIMON, Guest Conductor, University of Arizona Band, and Professor of Brasses Rubank, Inc., Chicago, HARRY RUPI*KL, JR. LYIX SKINNER, Director, High School and Karen Temple Shrine Bands, Sam Fox Music Publish ins Co., New York, FREDERICK FOX Waco, Texas GIB SANDEEER, Washington, D.C. JOSEPH SKORNICKA, Director, Civic Band, and Supervisor of Instru­ mental Music, Milwaukee, Wisconsin P'»ul A. Scbmitt Music Co., Minneapolis, ROBERT A. Sett MITT EARL A. SI.OCUM, Director of Instrumental Music, University of North The School Musician, Joliet, Illinois, FORREST MCALLISTER Carolina H. and A. Selmer, Inc., Elkhart, Indiana, Joa GROIIMVND LEONARD B. SMITH, Director, Leonard B. Smith Band, Detroit, Michigan ORIN SKIT, Douglaston, I jung Island, New York SANDY S. SMITH, Director, Municipal Band, Milwaukee, Wisconsin Shapiro, Bernstein & Co., New York, LEWIS ROTH WALTER M. SMITH, JR., Director, High School Band, Quincy, Massa­ Somerset Music Press, Johnston, Pennsylvania, OI_\KKXOE HIIRKKU chusetts Southern Music Co., San Antonio, Texas, JOHN J. BELL RANDALL SPICK*. Director of Bands, State College of Washington Southern Music Publishing Co., New York, WLAMMAR LAKONO 11MILLION L. STEWART, Director, Municipal Band, Mason City, Iowa Summy-Birchard Publishing Co., Evanston, Illinois, RoaaaT DMIMKV WILLIAM L. STEWART, Director of Instrumental Music, Muskegon, OLIVER TRAW, Washington, D,C. Michigan LLOYD F. SWAR-ILLY, Supervisor of Instrumental Music, Duluth, Minnesota Uniforms by Ostwald, Staten Island, New York* AIKU I*H OSTWAUI Da. JAMEM M. THURMOND, Director of Bands, Lebanon Valley College, Nek Vogel, Inc., Moorhrad, Minnesota, Nam VOOKL Aanville, Pennsylvania Volkwcin Brothers, Inc., Pittsburgh, WALTER E. VOLKWKIN pWO KiciiAMU E. TOWNRRND, Former Assistant Leader, U<&* Navy Band Werd*Brodt Music Co., Madison, Wisconsin, C M. FAULHAJW* HUMAN TNIITNKR, JR., Director, Municipal Band, Oakland, ami Bo­ WFL Drum Co., Chicago, WILLIAM F. LUOWW hemian Club Band, San Francisco, California II. N. White Co., Cleveland, C. A. FKAK G THE UNIVERSITY OF ILLINOIS FIRST REGIMENTAL BAND EVERETT KISINGER, Conductor

Flutes and Piccolos Benjamin Steinberg French Horns Sarah Hofsas Dennis Lory William Douglass Cornelia Carnes Ronald Larner Elizabeth McHose William Schuemann Richard Adams Neil Wiley Margaret Dempsey Kirby Johnson Sara Wold Bass Clarinets Thomas Noggle Jerome Bacchetti Miles Nelson William Kunz Vicki Jo Soukup Lewis Simon Richard Geiger Nancy Kerr Richard Albright Peter Gilster James Riley Donald Grigsby Trombones Oboos and English Horn John Anderson David Kamm Arthur Bower Melvin Rhodes William Oyen Thomas Bonwell David Lantz Karen Doughty Saxophones Richard Gardner Sandra Rayburn Lawrence Schrik Charles Braly Max Sinkler Bassoons Edward Sweda Donald Quest Karen Fredriksen Barbara Fitzgerald John Holmes Harold Jepson Baritones Harry Simmons Conway Davis Robert Behnke Daniel Perrino Lonnie Schunk Jerry Rehberg Walter Justice Clarinets Cornets William Kisinger William Lyon Vice President Donald Robb Tubas Ruby Nyenhuis Richard Jarrard Larry Kinsella Wayne Chilcote Michael Esselstrom Richard Haines David Hutson Charles Morehead Michael Cleary Gandace Clifford Earl Dowell Frederick Stone John Clem Donald Molnar Robert Dvorak Patricia Leach Jerry Williams Richard Kesler Robert Plamondon William Wruck Percussion Marshall Mabie Larry Lewis Frank Shoufer Richard Luker Quinton Bowles Robert Tripp Arden Weiss Secretary Seth Flanders, President Glen Gullakson William Longacre Robert Gronquist Propertymaster Trumpets Roy Andreotti John Bolz Franklin Dooling Charles Rhodes Michael Brainin Susan Tazewell Peter Pappas Frank Heckler Don Lacy James Knapp Harp William Rogers Nancy Darling Gennie Zeh Ronald VanMynen Norbert Cieslewicz Karen Smith

am CONCERT PROGRAM THE FIRST REGIMENTAL BAND

OVERTURE to COLAS BREUGNON DMI™ KABAIEVSKY EVERETT KISINGER, conducting Although not so well known as Shostakovich and Pro- curtain-raiser of Kabalcvsky's opera based on Romain Rol- kofieff, Dmitri Kabalevsky is one of Russia's highly gifted land's lusty novel of life in French Burgundy during the composers. Kabalcvsky's musical style is in the Tschaikov- sixteenth century. The hero of the story has something in skian idiom with appropriate modern trimmings — which him of both Robin Hood and Francois Villon, and Kaba- is another way of saying that his music has great and im- levsky has written music admirably fitting this character, mediate appeal for the average listener. This overture is a The band transcription is by Albert Austin Harding, brisk, brilliant, and high-spirited piece, written as the

ZUEIGNUNG (DEDICATION) RICHARD STRAUSS JAMES BERDAHL, conducting Richard Strauss, a master of orchestration, expressed in success, although they are perhaps less known to the gen- his tone-poems, such as "Till Eulenspiegel," "Death and era! musical public. Zueignung provides an interesting study Transfiguration," and "Don Quixote," the whole gamut of in tone and balance as arranged for the concert band by human emotions. His art songs also achieved fame and Albert Oliver Davis.

FANFARE AND ALLEGRO CLIFTON WILLIAMS BERNARD FITZGERALD, conducting Fanfare and Allegro was the winning composition in the conductor of the concert band at that university. The first competition for the Ostwald award, offered through Fanfare displays brilliant brass work and a generous use of the American Bandmasters Association in 1956. On the percussion. The Allegro provides a marked contrast; after faculty of the University of Texas, the composer dedicated a fugal opening, it develops in contemporary style to a the number to this afternoon's conductor, who then was dynamic and exciting climax.

LITANY GREGORY BUECHE THE COMPOSER, conducting Litany suggests prayer; a prayer consisting of a series All horns in unison pronounce a modified chant of the of invocations and supplications. This work utilizes a com- Miserere (Lord Have Mercy Upon Me), suggesting a choir bination of transitional harmonies and the Gregorian modes. of monks chanting this penitential psal m.

FANTA1SIE ORIGINAL JOSEpH p,CCH, LEONARD FALCONE, euphonium LEONARD MERETTA, conducting Mr. Falcone's first solo appearance on the University of euphonium, remaining active as a soloist along with his Illinois campus was in 1931, at the forty-first anniversary conducting and administration of the Michigan State Uni- concert of the Concert Band. He has long been recognized versity Bands. as one of the nation's most distinguished artists on the

CHORALE AND ALLELUIA HOWARD HANSON HUGH MCMILLEN, conducting Chorale and Alleluia was commissioned by Edwin a fine flowing chorale. Soon the joyous Alleluia theme ap- Franko Goldman for the American Bandmasters Association, pears and is much in evidence throughout A bold statc- and ™ fi"t performed at the: West Point convention of ment of a new melody makes its appearance in the lower ^H K n°n M ^ I ' -1954',oJi I u fir8< work for ^sses * combination with the above themes The effect band by Dr. Hanson, who since 1924 has been Director of is one of cathedral bells rrliatn... ™u-.\T i *L A the Eastman School of Music. The composition opens with dignity ' & * exaUat,on» «>lemmty, and

8 University Auditorium—Thursday, March 6

PRIDE OF THE ILLINI KARL KING THE COMPOSER, conducting Dedicated to A. A, Harding and the University of Illi- established in campus tradition, nois Bands in 1928, Pride of the Illini has long been firmly

PAGEANT VINCENT PERSICHETTI THOMAS FABISH, conducting Vincent Pcrsichctti, a native of Philadelphia, received sioned by Dr. Goldman for the American Bandmasters his musical training at the Curtis Institute of Music and Association, was premiered at the Miami convention of the the Philadelphia Conservatory, and subsequently studied ABA in 1953 with the composer conducting. It opens in under Roy Harris at Colorado College. He is presently a slow tempo with a motif in the horn that is used through­ member of the faculty of the Juilliard School of Music. His out both sections of the piece. The slow chorda! section is works, which include compositions in all forms, have estab­ succeeded by a lively "parade" section introduced by the lished him as one of the most interesting and important of snare drum. the present-day American composers. Pageant, commis-

WEDDING MARCH from THE GOLDEN COCKEREL NIKOLAI RIMSKY-KORSAKOV GEORGE HOWARD, conducting As composer and conductor, Rimsky-Korsakov was the lation. Conceived as an opera, it was rewritten as an most brilliant figure of the entire neo-Russian school. He "opera-pantomime" for the famous Diaghilev ballet. The based his music on the national traditions of Russia, and music is highly original, with a strong tinge of Asiatic did much to speed the acceptance of this music throughout coloring in both the melodic outline and in the instru­ the world. The Golden Cockerel was Rimsky-Korsakov1 s mentation. The band transcription is by Dr. Harding. last opera and the one which has gained the widest circu-

WASHINGTON POST JOHN PHILIP SOUSA HOWARD BRONSON, conducting TULSA DON GIUIS LEONARD HAUG, conducting Tulsa is a symphonic poem in four sections, the first of wilderness to homestead and thence to a modern city. The which is a pastoral movement depicting the land before the third section attempts to "bring in" an oil well, and is settling of the white man. As the white pioneers enter the graphic in its portrayal of the violence of a "gusher." The scene, there is a violent struggle for possession of the land. final section is a celebration in which the whole population This struggle, filled with the energy and passion of frontier joins in a shirt-tail parade and square dance in the street. civilization, ends in victory as the land is transformed from

ABRAHAM LINCOLN EDWIN FRANKO GOLDMAN FRANKLIN KREIDER, conducting ILLINI RHAPSODY GEORGE REYNOLDS THE COMPOSER-ARRANGER, conducting George Reynolds completed this musical setting of Illi­ ing, Oskee-Wow-Woio, Edwin Franko Goldman's Illinois* nois songs and marches while a student in the doctoral President Emeritus Lloyd Morey's Academic Processional program at the University of Illinois in the spring of 1955. the March of the Illini, and Hail to the Orange, and Starting with We Are Marching for Dear Old Illini, the comes to a climax with Illinois Loyalty. composition progresses through By Thy Rivers Gently Flow­

9 L

II. OWKN RKED was born in Odessa, Missouri, and studied at the University of Missouri, Louisiana State University, and Eastman School of Music. A Louisiana he earned two degrees in music and one in French, and at Eastman the Ph.D. in composition. Among his teachers were Illinois Professors Scotl Ooldthwaite (then at Missouri) and Burrill Phillips (then at Eastman). H< has also studied privately with Roy Harris. Since 1939 he has taught a Michigan State University, where he is Chairman of Theory and Composi­ tion, and since last November Acting Head of the Music Department. Ii 1948-49 he was awarded a Guggenheim Fellowship and spent six months it Mexico, composing and studying folk music. From this period came his re markable Mexican Folk Song Symphony for band, "La Fiesta Mexicana." He has more than twenty-five published compositions for band, orchestra, stage, and chamber and choral groups, and is author of three texts in music theory,

RUSSELL HOWLAND came to the University of Illinois in 1927 from Kirks* ville, Missouri, and received the bachelor's and master's degrees in music He was solo clarinetist of the Concert Band, and became an accomplished player also on all the other woodwind instruments and several of the brasses. Later he studied clarinet with Gustave Langenus, and was a professional player with the Theatre Orchestra, New York, and on the coast to coast Orpheum Circuit. He has written and published several compositions for instrumental ensembles and band, and is in wide demand as an instrument clinician and guest conductor. His teaching experience includes positions in high schools in Madison, Wisconsin, and Ft. Collins, Colorado, the National Music Camp, and the Universities of Michigan, Southern California, and Iowa. He is presently Associate Professor of Music at Fresno State College.

ROY HARRIS was born in Lincoln County, Oklahoma, on February 12, 1898. He studied with Arthur Farwell and Modcste Altschuler in California, and with Nadia Boulanger in Paris. He has held the Guggenheim, Pasadena, Car­ negie, El Pomar, and Mellon fellowships and grants, and has received com­ missions from more than thirty symphony orchestras and other organizations. He has written 118 works, including seven symphonies, five concertos, three string quartets, three cantatas, a mass, an Easter motet, sonatas, quintets, sextets, and much choral and other music for educational ensembles. He is the recipient of three honorary degrees of Doctor of Music, and last year was elected to the Oklahoma Hall of Fame on the occasion of the fiftieth anni­ versary of statehood. In three polls he has received the highest vote for an American composer. Tributes from other composers, conductors, and critics indicate his impact on American music, such as these: "Harris writes music of a real sweep and breadth, with power and emotional depth such as only a generously built country could produce." — Aaron Copland. "The dynamic sweep and power of his music certainly suggests America's unlimited poten­ tialities. It is vast, limitless, and filled with the elemental mysteries of dark­ ness, where in fluid harmonies gigantic forms move and merge in shadowy and portcntious solemnity. With magnificent grandeur nnd relentless drive he has voiced our aspirations." — Herbert Elwcll. "I think that nobody has cap­ tured In music the essence of American life — its vitality, its greatness, its strength so well as Roy Harris. I feel the genius of his art — which is great because it so colorfully portrays the life of our people*"*— Serge Kousseviuky.

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HE UNIVERSITY OF ILLINOIS CONCERT BAND MARK HINDS LEY, Conductor

Flutes and Clarinets Contrabass Clarinets Trombones Piccolos James Fleishcr George Riggins Oliver Dubre John Reynolds Austin McDowell Mark Wellek Vice President Gerald Stone Gilbert Papp James Zuidema Bernard Steinberg Julcne Wright John Winking William Gallo Gerald Grose Barbara Cash Secretary String Basses Robert Lansford Son\ a Oyan Warren Gedstad Edith Brockman Dorothy Arndt Norman Duensing Jack Hansen Richard Larson Wesley Bentrude Francis Bowen Grace Sexton Fred Kolojay Fred Luscombe Luella Broaddus Alice Robertson Cornets Judith Smith Charles Mullett Mary Kelling Richard Vandament Baritones Barry Berman Lida Beasley Linda Wall Richard Tolley William Weddle Roger FitzGerald Faith Roubik Haskell Sexton Bon i la Wilson John Thieman Carol Dick Howard Kennedy James Frigo Bruce Huston Patricia Bell Robert James Clifford Nelson Larry Buchtel Paul Lawrisuk Sally Zachay Robert Hindsley George Geis Joe Firrantello Marty Moore Thomas Knox Tubas James Havens Copyist Ronald Ward Oboes and James Vobornik Ralph Merten Valgene Hayworth English Hern James Kelly John Skroder Copyist Edmund Williams Thomas Reeder Stephen Williams George Kooncc Donald Kush Trumpets Gene Fox Kenneth Luke James Molenaar Gerald Anderson Harvey Davis Emily Martinec Kenneth Rooker Robert Kelley Bassoons and John Nemeth Milton Mojzis Contra bassoon Henry Charles Owen West Timpani Jack Root Carol Van Horn Thomas Gauger Sanford Berry Carlyle Johnson French Herns Edwin Thayer Judson Parker David Voelpel Percussion Rule Beasley Harold Huber President Jan Bach George Frock Carl Ellis Jack McKemie Peter Arvedson Judith Frees Bass Clarinets Alfred Blatter Phyllis Younger Charles DCamp Assistant Librarian Dnnlcc Mitchell Saxophones Joseph Rice Philip Palmer Richard Snyder Patricia Davies Orland Holmes John Clark Ron Fink Jacqueline Russell Richard Baylcy Kathryn Dictcrich Robert Butku* Judy Cotter Dale Traxlcr Harp Douglas Rettig Kenneth Bonnem Gail Tummelson Roslyn Rensch DEDICATION and SIXTY-EIGHTH ANNIVERSARY CONCERT THI CONCERT BAND

THE NATIONAL ANTHIM ,-_.. EDWIN FRANKO GOLDMAN ILLINOIS , HERBERT JOHNSTON, conducting as Vice-President, The American Bandmasters Association Dr. Goldman's one-hundred-first march was dedicated to torium on January 8, 1953, the composer conducting, the University of Illinois and first performed in this audi- TOCCATA AND FUGUE IN D MINOR JOHANN SEBASTIAN BACH MARK HINDSLEY ,* conducting Some of Bach's grandest creative works are to be found is preceded by a toccata which, in the modern sense, we in his organ compositions. The Toccata and Fugue in D understand as a brilliant composition for technical display. Minor consists of a brilliant introduction, alternating slow The breadth and magnificence of this music has brought and fast, followed by the fugue, with a short subject in about its transcription from the organ score for both the sixteenth notes. The title Toccata and Fugue may be inter­ symphony orchestra and concert band. The present band preted as describing the fact that the fugue theme and transcription is by the conductor. subsidiary material constitute a toccata, not that the fugue

ANDANTE from the SYMPHONY NO. 2, ROMANTIC HOWARD HANSON GEORGE WILSON,* conducting Howard Hanson has long been one of the most im- of Music. One of the principal themes of his second sym- portant figures in the American musical world, exerting phony has become identified with the National Music Camp, widespread influence as a composer, conductor, and edu- which uses it as a signature in concerts and broadcasts. The cator. Since returning from the American Academy in band transcription is by Norman Goldberg, alumnus of the Rome in 1924 he has been Director of the Eastman School University of Illinois and of the Concert Band.

DANCE QU1NCY PORTER KEITH WILSON,* conducting Dance was written in 1932 for the Cleveland Summer band transcription was made by this evening's conductor, Orchestra. The composer is a distinguished member of the with both the permission and the encouragement of the music faculty of Yale University, a Pulitzer Prize winner in composer. 1954 for his concerto for two pianos and orchestra. The

THE WALK TO THE PARADISE GARDEN from "A Village Romeo and Juliet" FREDERICK DELIUS CLARENCE SAWHILL,* conducting Born in England of German parents, Frederick Dcliusj unique and individual styles in all music. The enchantment left home as a young man to escape a life in business, be­ of his best music has been compared "only to the poetry came a planter in Florida, then returned to Europe to of Wordsworth and the prose of Proust in a serenity and devote his life to music. He was influenced by Scandi-, sensitivity unmatched in the tonal repertories of any age." navian, British, and Negro folk song, by the orchestral The band transcription is by Albert Austin Harding. idioms of Wagner and Debussy, but evolved one of the most

SYMPHONIC SUITE CLIFTON WILLIAMS Introda — Chorale — March BRUCE JONES,* conducting Antique Dance — Jubilee MILBURN CAREY,* conducting A member of the faculty of the University of Texas, in Santa Fe. His stature was further enhanced when a year Clifton Williams entered the national band spotlight two later his Symphonic Suite won the same award and was years ago when his Fanfare and Allegro received the Ost- performed in Pittsburgh. A graduate of Louisiana State wald award through the American Bandmasters Association University, the composer inscribed the suite to his former and was performed at the annual convention of the ABA band director, L. Bruce Jones.

INTERMISSION

RENASCENCE (first performance) OWEN REED THE COMPOSER, conducting Dr. Reed writes as follows concerning his work: "Rena­ measure, is framed by the melodic interval of the perfect scence, commissioned by the University of Illinois for the fifth (perfcct fourth plus the major second) j (c) this dedication of the new Band Building, is philosophically motive is divided further into the equivalent of two equal representative of the poem Renascence by Edna St. Vincent divisions of five eighth-notes; (d) the phrases are often Millay. Symbolically the structure of this composition is five bars in length; and (e) the perfect fifth assumes im­ controlled by the number five: (a) the work is predomi­ portance as the structural unit for the vertical sonorities. nantly written in a measure signature of five-four; (b) the "In formal design, the composition deviates from the main motive, which is presented by the brass in the opening quintic relationship. The form is ternary; however, the 12 University Auditorium—Friday, March 7

contrast of the B part to the A part is primarily one of structure throughout is a development and transformation mood, tempo, and tonality. Ail melodic material is themati- of this three-note motive." rally derived from the basic motive quoted above, and the

FINALE from the SYMPHONY NO. 1 BASIL KALINNIKOV GLENN GLIFFE BAINUM,* conducting Kalinnikov's first symphony showed him to be a major a place of importance in the symphonic repertory and has creative talent but, frail from youth, he did not live long succeeded in keeping Kalinnikov's name alive. It is in­ enough to fulfill all the promise of this work; he died in fluenced by Russian folk music though it docs not appear 1901 before his thirty-fifth birthday. However, this highly that there is any literal use of a folk tune. The transcrip­ melodious and beautifully written symphony has acquired tion of the vigorous finale is by the conductor.

EXCERPTS from the PEACOCK VARIATIONS ZOLTAN KODALY Theme, Moderate — Con brio — Vivo — Andante, poco rubato — Pinole, Allegro ALBERT AUSTIN HARIpiNG, * conducting The Peacock Variations were composed for the fiftieth a symbol of freedom from the political oppression which anniversary of the Amsterdam Conccrtgcbouw Orchestra has been a part of Hungarian life for the greater part of and heard for the first time on November 23, 1939, with three centuries. The composer exploits the expressive and Willem Mengelberg conducting. Kodaly himself conducted coloristic potentialities of his theme throughout a series of the first American concert performance with the Philadel­ sixteen variations and a finale. Dr. Harding has transcribed phia Orchestra in 1946. The music takes its title from the those portions which best lend themselves to performance Hungarian folk tune on which it is based — "Fly, Peacock, by the concert band, and a further selection has been made Fly," a song whose words would seem to make the peacock for this program.

ILLINI SAGA (first performance) 'RUSSELL HOWLAND THE COMPOSER, conducting Commissioned especially for this performance, Mint lowing any conventional form. In a sense, it is through- Saga "is dedicated to all those who have contributed to the composed except that the whole is unified by A-A-B. After excellent spirit and quality of the bands at the University an A-A-B timpani recitative and some development, G-C-B" of Illinois." The composer's further description follows: appears in the horn. These two themes emerge in a short "The purpose of the music is to outline the history of percussion ensemble, and Bainum's migration to Northwest­ the bands from Dr. Harding's early days to the present ern is indicated. F-D appears, and a lengthy development time. Leading motives derived from the initials of the leads into a fugal treatment. Motives from the counter­ various directors and chief assistants have been used as the point are used to portray the establishment, during Dvorak's source for thematic material, and these themes appear in time, of another of our great traditions — Chief Illiniwek. the chronological order in which these people have served. Dvorak's move to Wisconsin is indicated, and B-B imme­ Using "Germanic license," H becomes B natural, B be­ diately appears. After a pastoral interlude, G-Eb enters. comes B flat, and ES becomes E flat. Thus we find Albert World unrest, the Pearl Harbor incident, and then we hear Austin Harding A-A-B, Glenn Gliffe Bainum G-C-B", the triumphant return to school of many bandsmen. Saw- Raymond F. Dvorak F-D, Mark H. Hindsley B-B, Clarence hill, who acted as chief assistant while Hindsley was in the E. Sawhill C-Eb, and Everett D. Kisinger E-D. Since Dr. service, now heads west to California, Appropriately with­ Harding's spirit is a permanent influence his theme recurs out notice of Dr. Harding's retirement, E joins the staff, throughout the piece. and the piece ends with open fifths showing the present "The very nature of the number prevents it from fol­ regime of Hindsley and Kisinger."

UNIVERSITY OF ILLINOIS SONGS AND MARCHES Pride of the Illini KARL KING Hall to the Orange HOWARD GREEN and HAROLD HILL March of the Illini HARRY ALFORD Illinois Loyalty THACHER GUILD RAYMOND DVORAK,* conducting Cherished in Illini tradition is the song and march its famous marching ILLINI formation. The band sings medley familiarly known as the "Three in One." It is "Hail to the Orange" a cappella, the audience joins in the particularly identified with footba 11 games, but is frequently second time, then the Illiniwek music returns for a frenzied used in various other settings. With words to the King and climactic dance by the Chief. Words to the song of the march, starting "We are marching for dear old Illini," the first march were written by this evening's conductor, who Football Band sings and marches to the end of the field, was instrumental in developing the medley and the game picks up the Indian motifs of the Alford march, breaks out "Chief Illiniwek" to lead it and returns to center field in

THE STARS AND STRIPES FOREVER JOHN PHILIP SOUSA MARK HINDSLEY,* conducting President, The American Bandmasters Association

* A present or former member of the faculty or a graduate bers and appear elsewhere in these programs: Harold of the University of Illinois, and member of The American Mines, Everett Kisinger, Lowell Little, George Reynolds. Bandmasters Association. Other Illini who are ABA mem-

13 ABA and SIXTY-EIGHTH ANNIVERSARY CONCERT THE CONCERT BAND

THE NATIONAL ANTHEM

ILLINOIS EDWIN FRANKO GOLDMAN MARK HINDSLEY, conducting as President, The American Bandmasters Association Dr. Goldman's one-hundred-first march was dedicated auditorium on January 8, 1953, the composer conducting, to the University of Illinois and first performed in this

CELEBRATION OVERTURE PAUL CRESTON Wtl.I.IAM REVELLI conducting Paul Creston is a native New Yorker of Italian parent­ was commissioned by Edwin Franko Goldman for the age. In addition to composing and teaching he has been American Bandmasters Association and was given its pre­ active at various periods as lecturer, pianist, organist, and miere at the annual convention of the ABA in Elkhart, musical director of several radio programs. Since 1934 he Indiana, on February 19, 1955, with the composer conduct­ has been organist of St. Malachy's church in New York. ing. Its title and musical content arc particularly appro­ Celebration is Mr. Crcston's third major work for band. It priate for the present occasion.

DEATH VALLEY SUITE FERDE GROFE Funeral Mountains 1849 Emigrant Train FRANK SIMON, conducting Desert Water Hole Sand Storm THE COMPOSER conducting In Death Valley Suite, the stark enchantment of this beds, their oxen scenting the desert spring, their thanks, arid land is vividly portrayed; the struggles of the early praise, and celebration. Emerging from the sand storm, the settlers, and their small triumphs, can be followed in the surviving settlers are stronger for all their ordeals, and mood and tempo of the music; woodwind, brass, and per­ build a new civilization in the wilderness. cussion are the voices that speak of the eternal threat of Commissioned by the Death Valley Association to com­ desolation from wind, sand, and sun. The music paints the memorate the one-hundredth anniversary of the discovery first glow of sunrise in the mountains, then the merciless of this bleak and beautiful area, the suite was originally rays of high noon, the purple shades of night. It tells the composed for orchestra, and recently transcribed for band story of the emigrants, lost and dying of thirst, attacked by by David Bennett. Indians, stumbling through the blinding glare of the salt

FOUR RUSSIAN FOLK fONGS ANATOL LIADOV Christmas Song The Legend of the Birds Round Dance Choral Dance RICHARD FRANKO GOLDMAN, conducting Anatol Liadov was one of the many pupils of Rimsky- is perhaps the most popular of his orchestral works. It is Korsakov and was considered by that inspired teacher to be distinguished by its gem-like clarity of workmanship, its among the greatest talents he had ever known. Like many lack of pretension, and its melodic and harmonic charm. of the members of the St. Petersburg school of composers, The simple melodies are presented with great brilliance and Liadov excelled in orchestration and gave much of his subtle color. The band transcription is by the conductor. music a national character. His suite of Russian folk songs

AD MAJOREM GLORIAM, Unlvorsltatl* Itllnorum (first performance) ROY HARRIS THE COMPOSER, conducting "When Mark Hindslcy asked me to write a symphonic "By night there is a brooding silence and an endless work to honor the occasion of the Ulini's new band build­ waiting. By day there seems to be an urgent energy, not ing, 1 began to think about how the American people have only of the youth but alio from the prairie itself. It is these built this great institution of the prairies where our own two moods which I have hoped to capture in this sym­ forefathers foraged with rifle and ax. Whenever I have the phonic work for Mark Hindslcy and his young musicians. occasion to visit this university — from whatever direction This was my inspiration: the prairies of Illinois and the or whatever time, I am impressed by the power of the people on them." — Roy Harris. earth upon which it was built and the span of the skies under which its people live.

INTERMISSION

14 University Auditorium—Saturday. March 8

MARCHE M1L1TAIRE FRANCAISE CAMHLE SAINT-SAENS EARL IRONS, conducting In his Suite Algerienne Saint-Saens exhibits his sense the final movement, and offers the suite's most striking of musical atmosphere, and records his impressions while contrasts in tone color. on a voyage to his favorite summer resort. The Marche is

SYMPHONIC SONGS FOR BAND ROBERT RUSSELL BENNETT

Serenade FREDERICK FEN N ELL, conducting

Spiritual HAROLD BACHMAN, conducting

Celebration WILLIAM SANTELMANN, conducting Robert Russell Bennett has long been famous on Broad­ a suite of dances or scenes as songs, deriving their name way as an arranger of the great musicals, particularly those from the tendency of the principal parts to sing out a of Richard Rodgers. He has also distinguished himself as fairly diatonic tunc against whatever rhythm develops in a composer in various forms and for various media. Among the middle instruments. The Serenade has the feeling of his writings for band, his Suite of Old American Dances, strumming, from which the title is obtained, otherwise it which he conducted at the ABA convention in 1950, in bears little resemblance to the serenades of Mozart. The particular has received wide acclaim. The Symphonic Spiritual may possibly strike the listener as being unsophisti­ Songs were commissioned by Kappa Kappa Psi, national cated enough to justify its title, but in performance this college band fraternity, and were first performed at the movement sounds far simpler than it really is. The Cele­ 1957 convention of the fraternity in Salt Lake City, with bration recalls an old-time County Fair with cheering Col. Santelmann conducting. throngs (in the woodwinds), a circus act or two, and the The composer writes: "Symphonic Songs are as much inevitable mule race."

PAVANE MAURICE RAVEL MANLEY WHITCOMB, conducting In 1899 Maurice Ravel, at the age of twenty-four, used Pavane for a Dead Princess, accounting by means of this the pavane, an ancient and stately dance form, as the basis title for the sober and elegiac character of the music, of one of his rarest and most delicate pieces. He called it

DANSE GENERALE from DAPHNIS AND CHLOE MAURICE RAVEL CHARLES BRENDLER, conducting Although Ravel is best known for his famous Bolero, his liant and difficult final movement from the suite. The band ballet Daphnis and Chloe is considered his most ambitious transcription is by Albert Austin Harding, and finest work. The General Dance is the extremely bril-

PORTRAIT OF THE LAND (first performance) MARK QUINN HUOH CURRY, conducting Three years ago Mr. Ernest Ostwald, an associate mem­ is meant to be exactly what the title implies, a portrait of ber of the American Bandmasters Association, established this country in musical terms. The work has a modal feel, an annual award for a major composition for band, to be and while not using actual folk themes does enjoy a pre­ chosen through a competition administered by the ABA. dominantly folk-like quality. Although constructed to be Ernest Ostwald did not live to hear the first number so performed in one movement, the basic structure is sectional, selected, but his brother Adolph, who succeeded him in the with the melodic and harmonic elements developing as ABA, has continued the award. broad variations of the opening, or 'land* theme. The The third Ostwald award composer is J. Mark Quinn work begins with a broad introduction leading into a pas­ of Chicago, a twenty-one-year-old senior at De Paul Uni­ torale section in which the main theme is presented. This is versity, studying composition under Leon Stein. Mr. Quinn followed by a lively folk dance. After a return to the intro­ began composing at the age of fourteen, wrote his first large ductory material a herald-Hke section is presented, which in work for band when a senior in high school. He has also turn leads to a phantom-like march. Following is a section written for orchestral, choral, and chamber groups and for briefly restating some of the previous material, then the jazz ensembles. Of Portrait of the Land, the composer finale, which utilizes the final variation of the main theme." writes; "This is my tenth large work for concert band. It

THE STARS AND STRIPES FOREVER JOHN PHILIP SOUSA The newly-elected President of The American Bandmasters Association, conducting

15 THE UNIVERSITY OF ILLINOIS BAND BUILDING

From the day in 1928 when the University of Illinois there are rooms for the memorial libraries of John Philip Bands moved into "temporary" quarters in the "tempo­ Sousa and Herbert L. Clarke. Another room houses the rary" Armory Annex, there has been faith in a dream of Carl Busch collection of band instruments, featuring Civil a new Band Building at Illinois. The building into which War ovcr-the-shoulder brasses, and the University's own the Bands moved last September and which is being instrument collection assembled over more than a half dedicated at this time easily fits St. Paul's definition of century. faith, "the substance of things hoped for, the evidence of Facilities for storage, issue, and care of instruments, things not seen." It stands as a symbol of the cherished uniforms, and other properties are provided and con­ band tradition at Illinois. veniently located. Bass and percussion instruments are kept in a long, closed corridor immediately to the rear of Attention to details characterizes the entire structure — the rehearsal room. Individual lockers are provided for details which are of considerable importance in the func­ players of all except these largest instruments. Air con­ tioning of the several band units comprising almost four ditioning and ventilating machinery for the building is hundred students. Central to the whole plan is, of course, housed in a mechanical equipment room doubly insulated the large band rehearsal room, acoustically engineered for from the main part of the building and in a penthouse. maximum effectiveness. The room will accommodate up Heat is supplied from the University's central power to two hundred players in the rehearsal area on permanent plant. semi-circular risers of terrazzo, marked off in sections for convenience in setting up chairs and music stands. Six Regardless of how well planned, the building could not doors permit quick and easy access to the band area. serve its complete function effectively without direction Permanent theater chairs seating eighty, also on risers, and administration. To this end, the administrative offices are installed along the wall behind the conductor's podium. have been located centrally on the first floor along the east Over one hundred folding chairs may also be set up in side of the building. The private office of Mark H. this area, making the total capacity of the room close to Hindslcy, Director of Bands, adjoins and connects with four hundred persons. Drapes in rosy tweed with the both the general office and his own studio, which in turn slightest possible glitter hang from the ceiling to the floor connects with the large library file room. On the other back of the band area. Made in ten sections to careful side of the general office is an office for Director Hindslcy's acoustical specifications, these may be drawn completely administrative assistant, Guy M. Duker, and beyond that into recesses when more sound reflection is desired. In the is the private office of Everett D. Kisinger, Assistant center of the wall opposite the conductor, at second floor Director of Bands and Director of the Football Band. level, is located a window to the radio, recording, and Next to Kisinger's office and connected with it is a studio projection booth. Five other openings are available for for the multi-phased preparation of marching perform­ television cameras by removing sealed wooden doors. ances. Director Emeritus A. A. Harding occupies an office on the second floor, where he keeps his own large group Six section rehearsal rooms and twelve individual of band transcriptions and other materials assembled practice rooms are provided in the new building, all during his long tenure. sound treated and isolated. Corridors or storage areas Architecturally, the outside of the building harmonizes completely separate the main rehearsal room from the agreeably with the modified Georgian style in which many rest of the building on both the first and second floor of the newer University buildings have been designed. It levels. is a welcome addition to the campus scene, and stands The Band library has been assigned five rooms for its with pride for the organizations which, for so long and so filing, folio work, copying, and duplication. In addition, well, have represented the highest ideals of the University. 16 CONVENTION PROGRAM

WEDNESDAY, MARCH 5 8:00 Registration, Urbana-Lincoln Hotel 10:00 General Session 11:00 The Publishers Hour (Associate Members) 1:30 General Session 3:00 Tours and Rehearsals, Band Building, Auditorium 7:30 Reception and Open House, Band Building ABA Band Sousa-Clarke-Busch memorial program Hosts — Members of University of Illinois Bands THURSDAY, MARCH 6 9:30 General Session, Urbana-Lincoln Hotel 11:00 Composers Forum, School of Music Convoca­ tion, Smith Music Hall 1:30 General Session, Urbana-Lincoln Hotel 2:30 The Instrument Manufacturers Hour (Associate Members) 4:00 Concert, The First Regimental Band, Auditorium 7:00 ABA Banquet, Urbana-Lincoln Hotel

FRIDAY, MARCH 7— DEDICATION DAY 10:00 Dedication Convocation, Auditorium 11:30 Procession to the Band Building, Presentation and Dedication Ceremonies 12:30 Dedication Luncheon, Illmi Union Ballroom 2:00 Dedication Symposium, "The Role of the Con­ cert Band," Lincoln Hall Theatre 8:00 Dedication and Sixty-eighth Anniversary Concert, The Concert Band, Auditorium

SATURDAY, MARCH 8 10:00 General Session, Urbana-Lincoln Hotel 2:30 University of Illinois Alumni Band program, Band Building 8:00 ABA and Sixty-eighth Anniversary Concert, The Concert Band, Auditorium

UNIVERSITY OF ILLINOIS BANDS

MARK H. HINDSLEY, Director EVERETT D. KISINGER, Assistant Director GUY M. DUKER, Assistant to the Director HASKELL O. SEXTON, Brasses AUSTIN J. MCDOWELL, Woodwinds JACK H. MCKENZIE, Percussion CHARLES B. DCAMP, Librarian JAMES F. FLEISHER, Assistant Mrs. ELLAMAE N. DODDS, Secretary ROLLY W. ZIMMER, Business Manager

The staff of the University of Illinois Bands and their wives, who served as a general convention committee, gratefully acknowledge the generous assistance of the many friends and colleagues who have helped make possible the activities of the twenty-fourth annual convention of the American Bandmasters Association.