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Craig Morris John Adler, Trumpet Scott Davis, Horn Wan-Chun Liao, Percussion Ronald Rivera, Michael Anderson, Peter Elliot, Clarinet Guglielmo Manfredi, Horn English Horn WIND BAND CLASSICS Craig Morris is currently the Professor of Trumpet at the University of Miami, Frost Trombone Alice Esposito, Tuba Anthony McFarlane, Cristhian Rodriguez, School of Music, where he devotes himself to his teaching and his career as a soloist and Beth Behrman, Horn Giovanni Garcia, Horn Euphonium Clarinet Sam Berkstrom, Bassoon Joseph Giammalvo, Andrew McGuire, Jeremy Rogers, Clarinet chamber musician. He has been a prominent orchestral musician, most notably holding David Birrow, Percussion Bassoon Percussion Tammy Saurman, the prestigious post of Principal Trumpet in the Chicago Symphony Orchestra. He came Yehonahton Bostick- Greg Goldfarb, Flute Doug Mead, Oboe Saxophone to Chicago from the San Francisco Symphony where he held the position of Associate Epperson, Clarinet Michael Hancock, Clarinet Cara Morantz, Trumpet Tracey Siepser, Bassoon REFLECTIONS Principal for three years. Prior to joining the SFS, he was briefly a member of the Jonathan Braithwaite, Gary Heath, Euphonium Matt Mulvaney, Saxophone Caitlyn Smith, Horn Chicago Symphony Orchestra, performing as Fourth/Utility Trumpet in 1998. He has Clarinet Joel Keene, Trombone George Nicholson, Scott Smith, Oboe been a member of the Dallas Brass, an international touring brass quintet, and was Nick Bryan, Clarinet Susan Kirschbaum, Horn String Bass Rod Squance, Percussion David Maslanka: Symphony No. 3 Principal Trumpet of the Sacramento Symphony Orchestra, Opera and Ballet. He has Maria Castillo, Flute Jason Kush, Saxophone Chris O’Farrill, Trumpet Nicholas Thompson, Oboe been featured as soloist with the Chicago Symphony Orchestra, playing Bach’s Jonathan Cofino, Bassoon Robert LaDue, Percussion Stacey Osborn, Bassoon Joshua Tetreault, Trumpet Brandenburg Concerto No. 2 and Stravinsky’s L’Histoire du Soldat with Pinchas Jeff Cook, Horn Brendan Lai-Tong, Liana Pailodze, Piano Melissa Vilches, Tuba Thomas Sleeper: Trumpet Concerto Zukermann in Orchestra Hall, and giving a repeat performance of the Brandenburg at the Claire Courchene, Trombone Katie Palmer, Clarinet Nicole Warburton, Harp CSO’s summer home at the Ravinia Festival. He was also a featured soloist at Festival Trombone David Lambert, Trombone Amy Pardo, Flute Justin Zanchuk, Trumpet Miami, performing the world première of the Concerto for Trumpet by Thomas Sleeper, Cynthia Cripps, Saxophone Brandie Lane, Percussion Andrew Pettus, Saxophone Melissa Zulueta, Flute Craig Morris, Trumpet in October 2003. A Texas native, Craig Morris was raised in a musical family. His late Steve Danyew, Saxophone Angela Leffingwell, Flute Amy Pettys, Flute father, Cecil Morris, a band director and tuba player, was a major musical influence. He earned his Bachelor’s degree in music from the University of Texas, where he studied with Raymond Crisara, and his Master’s degree at Gary Green Frost Wind Ensemble at the University of Miami the San Francisco Conservatory of Music in 1991, studying with Glenn Fischthal, Principal Trumpet of the San Francisco Symphony. After returning to Texas, he studied with Don Jacoby, a former Chicago freelance artist, and Gary Green is Professor of Music and Director of Bands in the Frost School of Music at the James Wilt, Associate Principal Trumpet of the Los Angeles Philharmonic. University of Miami. In addition to supervising all band activities at UM, he is the conductor Gary Green of the Frost Wind Ensemble and Chairman of Instrumental Performance. In addition, he Frost Wind Ensemble at the University of Miami supervises all graduate conducting students in the wind and percussion area. Prior to coming to Miami, he served for ten years as Director of Bands at the University of Connecticut in The Frost Wind Ensemble at the University of Miami consists of the finest wind and percussion players at the Storrs, Connecticut. While there he was influential in commissioning and recording new work University of Miami, and performs for numerous concerts, conferences, and festivals throughout the season. for winds and percussion including Symphony No. 3 by David Maslanka and A Cornfield in Actively commissioning new music for the repertoire, the ensemble has offered world premières for such composers July and The River by William Penn. Since his arrival at the University of Miami, Gary Green as Charles Campbell, Clarke McCallister, Michael Colgrass, and James Syler. One of the guiding principles of the has continued the commissioning and performance of important new repertoire for the wind Frost Wind Ensemble is contact with leading musical minds of this time, resulting in recent residences by such ensemble. Recent commissions for composers include: David Gillingham, David Maslanka, notable musicians as James Syler, Eric Whitacre, and David Maslanka. The Wind Ensemble has released four Michael Daugherty, James Syler, Eric Whitacre, Frank Tichelli, Thomas Sleeper, H. Robert critically acclaimed compact discs on the Albany Records label. The second disc is entitled Christina’s World and Reynolds and Ken Fuchs. Urban Requiem by Michael Colgrass was commissioned by the features the commission by Kenneth Fuchs. Blue includes James Syler’s Blue, Michael Colgrass’s Dream Dancer, Philip Frost Commission Fund and has become a standard in the repertoire for wind ensemble. Among other new and the Concerto for Piano and Wind Ensemble by Thomas Sleeper. The fourth disc, entitled Ivy Green, contains compositions to be written for winds and percussion is the commission for the Frost Wind Ensemble at the Mark Camphouse’s Symphony from Ivy Green, Equus by Eric Whitacre and Ney Rosauro’s Concerto for Marimba University of Miami of Christopher Rouse’s Wolf Rounds. Gary Green is a member of the American Bandmasters and Wind Ensemble. Former members of the Frost Wind Ensemble at the University of Miami hold positions in Association, the College Band Directors Association, the Music Educators National Conference, the Florida symphony orchestras and military bands and serve as teachers and conductors throughout the world. Bandmasters Association and the Florida Music Educators Association. He received The Phillip Frost Award for Scholarship and Teaching in the Frost School of Music in 2002. He is an advocate of new music for winds and percussion. An active conductor and clinician, he has appeared with International, National and Regional Bands and intercollegiate bands in most of the fifty states. He has conducted the Texas All State Band frequently and gave the première of Lux Aurumque by Eric Whitacre with that ensemble. He has also recently conducted in Taipei, Taiwan where he appeared with the Republic of China Army Band and the Taiwan National Wind Ensemble as part of the 2005 International Band Association Festival. 8.570465 5 6 8.570465 570465 bk Reflections US 7/30/07 11:02 AM Page 2

Thomas Sleeper (b. 1956): Trumpet Concerto relationship between the trumpet and wind ensemble. David Maslanka: Symphony No. 3 Composer’s Note The third movement is a fierce and bristling fast David Maslanka (b. 1943): Symphony No. 3 Despite the vivid dream which inspired the work, it is not movement that maintains its high energy from start to programmatic in any real sense. The movements have David Maslanka was born in Symphony No. 3 was commissioned by the University of finish. It is also in a sonata form. The development Thomas Sleeper: Trumpet Concerto America. Recent performances of his work include the “end titles” that are personal but not intended to tell any New Bedford, Massachusetts, Connecticut Wind Ensemble, Gary Green, conductor. I section is a fugue which rises in power to a huge climax Concerto for Horn and Orchestra, with Stefan Jezierski, particular story. Concerto for Trumpet is gratefully in 1943. He attended the was asked to write a “major” piece yet not necessarily area. The music is fixed largely in the tonality of A Thomas Sleeper enjoys of the Berlin Philharmonic; String Quartet No. 2, by the dedicated to Gary Green. Oberlin College conservatory one as big as this. It is hard to say why a given music minor; first and second themes are in A minor. The an active dual career as Bergonzi String Quartet; Adagio, for orchestra by the The first movement, “…falling angels”, begins where he studied composition emerges at a given time. In my composing life there development begins and ends in the home key, as does composer and conductor. Shanghai Broadcasting Symphony and Sleeper’s with a violent explosion of themes from the winds and with Joseph Wood. He spent a have been “sign-post” pieces – large works that have the recapitulation. This unmoving tonal scheme His early musical training orchestration of Brahms’s Clarinet Sonata Opus 120, percussion. The solo trumpet interrupts all of this and year at the Mozarteum in erupted at fairly regular, though unpredictable, intervals. emerged and would not be derailed so I had to let it with Daryl F. Rauscher of No. 2, by the Ruse State Philharmonic in Bulgaria. begins a more lyric exposition of the melodic materials Salzburg, Austria, and did The impetus for this piece was in part my leaving happen. The tonal fixation seems to underline the the Dallas Symphony Sleeper currently resides in Miami, Florida, where in various chamber settings. An accompanied cadenza graduate work in composition university life and moving from New York City to the character of fierce power. Orchestra has influenced he is Director of Orchestral Activities and Conductor of transforms into a double development which builds to at Michigan State University Rocky Mountains of Western Montana. The mountains The fourth and fifth movements are both the “charged lyricism” the University of Miami Symphony Orchestra and the opening trumpet theme but does not actually resolve with H. Owen Reed. and the sky are a living presence. Animal and Indian lamentations though not particularly slow or “down” in and “singing” qualities Opera Theater and Music Director of the Florida Youth and return any other materials until the final movement. Maslanka’s works for winds spirits still echo strongly in this land, and these elements spirit. It is hard to describe opposites existing in the found in his music today. Orchestra. Movement two, “…the river Lethe” explores two and percussion have become have found their way into my music. same space and time. The music is joyous yet sorrowful, Sleeper began his main melodic ideas with the trumpet integrated into the especially well known. They I am very grateful to Gary Green and the University recognizing the complementary nature of life and death. professional career as a Composer’s Note ensemble rather than as protagonist. The opening include, among others, A of Connecticut for sponsoring the composition of These movements – indeed the entire Symphony – have member of Fermata, a English horn melody, which is not heard again until the Child’s Garden of Dreams for Symphonic Wind Symphony No. 3. I am especially thankful to Gary Green grown out of my perceptions of natural forces, group of composer/ Professor Gary Green, friend and colleague, asked me to end of the third movement, does provide harmonic Ensemble, Concerto for Piano, Winds and Percussion, for his ardent championing of my work in recent years especially the strong currents of old life that exist here performers who presented write something for him as he neared the “autumn” of his materials which are heard throughout the second. The the Second, Third and Fourth Symphonies, Mass for and for his avid interest in the development of this new in Montana. The music is a lamentation for the loss of an annual series of interdisciplinary concerts throughout career. I was honored, thrilled and daunted by the weight other melodic idea, presented in the solo trumpet and soloists, chorus, boys chorus, wind orchestra and organ, piece. His wonderful enthusiasm has sparked the the old direct contact with life of the earth, yet a the state of Texas. At the age of 22 he was appointed of such a task and struggled with ideas and concepts for brass goes through continuous development, being and the two Wind Quintets. Percussion works include creative process in a special way. recognition that these values still exist and can be Associate Conductor of the Dallas Civic Symphony and over two years. I began sketches for several wind and deconstructed and transformed, until the climactic Variations of ‘Lost Love’ and My Lady White: for solo Symphony No. 3 is in five movements and runs brought back into meaningful focus. The fourth the SMU Chamber Orchestra and Opera Theatre, where percussion works and finally settled on a set of songs for renewal at the end where it collapses in on itself. marimba, and three ensemble works: Arcadia II: approximately 45 minutes. The first movement is in a movement does not have an easily-labeled traditional he began studies with James Rives-Jones. While in soprano and wind ensemble. While working on the songs Movement three, “…cthonic dance” begins as a Concerto for Marimba and Percussion Ensemble, moderate tempo and follows one of my favorite form. The music moves through a series of song-like graduate school at the Meadows School of the Arts, he I had a very numinous dream as observer: In the midst of fun, asymmetric romp for the trumpet but quickly turns Crown of Thorns, and Montana Music: Three Dances schemes. It starts with the simplest scale materials and episodes, much as one might move through mountain founded Perspectives, a contemporary music ensemble, a terrible storm I caught glimpses of a frightening into a rhythmic tour de force for the entire ensemble for Percussion. In addition he has written a wide variety evolves a steady unbroken line from start to finish. It is meadows and across hills, natural vistas of great beauty which became part of that division’s curriculum. An creature – a great dark angel with mottled wings and gathering speed towards an unusual trumpet cadenza. of chamber, orchestral, and choral pieces. David in sonata form, tightly woven in character, giving it appearing and dissolving as one goes. About two-thirds active guest conductor in the United States and abroad, scales, snake-like eyes and clawed hands. With each flash The movement might have been a fully fledged rondo Maslanka’s compositions are published by Carl Fischer, something of a Baroque feel. The movement is forceful the way through is the song of the “Golden Light”. The he has appeared with numerous orchestras including the of lightning, the image shifted from this to something were it not for the sudden interruption by the “…falling Inc., Kjos Music Company, Marimba Productions, Inc., and unrelenting for most of its duration, but ends fifth movement might be called “Song of the Summer Central Philharmonic of China, San Juan (Argentina) sentient and cherubic to what one would “normally” angels” brass fanfares. These herald the actual return the North American Saxophone Alliance, and OU quietly. Day”. The character of lament is there, but the creative Symphony Orchestra, Ruse State Philharmonic and the consider “angelic” and back. Within all of this, I and resolution of the first movement themes now in a Percussion Press, and have been recorded on the The second movement is a serene and beautiful winds rise and bring an ecstatic vision of the natural China-Wuhan Symphony, which appointed him Artistic remember an intense brass fanfare with distinctive pitch more settled and intimate chamber setting while the solo Albany, Cambria, CRI, Mark, Novisse, and Klavier “nature” music, mostly for small combinations of beauty and life force. The movement ends with the Advisor in 1993. A strong advocate of new music, content. I called Gary up that day and proposed a trumpet trumpet finally returns to the opening theme of the labels. He has served on the faculties of the State instruments. I am intrigued with the magical quality of lament transformed into a song of quiet joy. Sleeper has conducted the premières of numerous works concerto for our newest faculty member – Craig Morris. second movement. This calm does not last too long and University of New York at Geneseo, Sarah Lawrence sustained pure colors. Musical sound is colorful and by American composers, including Henry Brant, Carlos We got in contact with Craig, who graciously agreed to is transformed back into the third movement themes College, New York University, and Kingsborough structural at the same time. I love a music that allows the Surinach, Robert Xavier Rodriguez and Thomas risk his Miami première on an unknown work, and the with the smooth suddenness of an afternoon tropical College of the City University of New York. He now listener to develop an intense reverie through sustained David Maslanka Ludwig. He has recorded on the Albany, Centaur, Cane, decision was made to go ahead without looking back. storm. Through call and response, the trumpet leads the lives in Missoula, Montana. David Maslanka is a sounds, while at the same time being carried through the Irida and Vienna Modern Master labels, with excellent Concerto for Trumpet is scored for expanded ensemble onto a final climax. member of ASCAP. structure of the piece. Time and timelessness join in a reviews in Fanfare and The American Record Guide. orchestral wind and percussion section and therefore can powerful way, each informing and illuminating the other. Sleeper’s compositions have been performed throughout easily be performed by either wind ensemble or orchestra. Thomas Sleeper the United States, and in Europe, Asia and South Each of the three movements explores a different

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(‘…the river Lethe’) 7:03 mysterious’ and ‘richly lyrical’, and 2007 Naxos Rights International Ltd. • Made in Canada 3 III. Vivace (‘…cthonic dance’) 5:31 includes three operas, four concertos, an David Maslanka (b. 1943): orchestral suite and three orchestral song cycles. Sleeper’s Trumpet Concerto David Maslanka • Thomas Sleeper

All titles previously released. Symphony No. 3 (1991) was written for conductor Gary Green for Symphonic Wind Ensemble 47:55 and soloist Craig Morris, who perform it 4 I. Moderate 8:30 here. David Maslanka has written a wide 5 II. Slow 8:20 variety of chamber, orchestral and 6 III. Very Fast 8:38 choral pieces, but it is his works for 7 IV. Lament: Moderate 11:57 winds and percussion for which he is 8 V. Lament: Moderate 10:30 particularly well known. Of his Symphony No. 3 the composer has Craig Morris, Trumpet* written, ‘The impetus for this piece was David Maslanka • Thomas Sleeper David Maslanka • Frost Wind Ensemble in part my leaving university life and at the University of Miami moving from New York City to the Rocky Mountains of Western Montana... Gary Green Animal and Indian spirits still echo DDD Recorded at Gusman Hall, Coral Gables, Florida, in 2004 strongly in this land, and these elements Executive producer: Dr William Hipp have found their way into my music.’ Producers: Brenton Alston, Margaret Donaghue

and C. David Ragsdale • Engineer: Bruce Leek www.naxos.com 8.570465 REFLECTIONS: 8.570465 Booklet notes: Thomas Sleeper and David Maslanka Publishers: Uroboros Music (tracks 1-3); Carl Fischer Music Publishing (tracks 4-8) Cover photograph: Swiftcurrent Lake Reflection by Mike Norton (dreamstime.com) NAXOS