college of fine arts administration Benjamin E. Juarez, Dean Boston University Robert K. Dodson, Director, School of Music Jim Petosa, Director, School of Theatre Arts Tanglewood Institute Lynne Allen, Director, School of Visual Arts John Amend, Assistant Dean of Finance and Administration presents Patricia Mitro, Senior Assistant Dean of Enrollment Stephanie Trodello, Assistant Dean of Development and Alumni Relations Laurel Homer, Director of Communications

BUTI administration Phyllis Hoffman, Executive and Artistic Director Young Artists Wind Ensemble Shirley Leiphon, Administrative Director Lisa Naas, Director of Operations and Student Life David Faleris, Program Administrator Grace Kennerly, Publications Coordinator Manda Shepherd, Office Coordinator Mandy Kelly, Office Assistant Jensen Ling, Private Lessons Coordinator and Assistant to the Program Administrator David Martins, conductor Travis Dobson, Stage Crew Manager Steven Fulginiti, Paul Kinsman, Andres Trujillo, Matt Visconti, Stage Crew Shane McMahon, Recording Engineer Xiaodan Liu, Piano Technician

Young artists wind ensemble faculty and staff David Martins, Conductor H. Robert Reynolds, Conductor Jennifer Bill, Wind Ensemble Coordinator and Saxophone Coach Franziska Huhn, Young Artists Harp Program Assistant Director, Coach Samuel Solomon, Percussion Coordinator and Coach Axiom Brass Quintet, Brass Coaches and Artists-in-Residence Dorival Puccini, Jr., Colin Oldberg, Matthew Oliphant, Caleb Lambert, Kevin Harrison Sunday Vento Chiaro Quintet, Woodwind Coaches and Artists-in-Residence Joanna Goldstein, Ana-Sofía Campesino, Chi-Ju Juliet Lai, Alexandra Berndt, Anne Howarth July 14, 2013 Michael Israelievitch, Percussion Coach Jessi Rosinski, Flute Coach 2:30pm Molly Walker, Clarinet Coach Thomas Weaver, Staff Pianist Seiji Ozawa Hall Betsy Polatin, Alexander Technique Instructor Jeremiah Moon, Librarian Florence Gould Auditorium Support for the Boston University Tanglewood Seiji Ozawa Hall Institute is provided by: Tanglewood Young Artists Wind Ensemble David Martins, conductor

bernstein Slava!

Gillingham A Light Unto the Darkness

hart Cartoon

~Intermission~

grainger The Gum-Suckers March arr. Mark Rogers

welcher Zion

SPARKE The Year of the Dragon

Toccata Interlude Finale

In Memoriam

The Boston University Tanglewood Institute acknowledges with sadness the passing of Dr. Larry Jones on April 2, 2013. He was a devoted member of the BUTI Advisory Board. Larry’s love for music and This program is supported in part by awards from the Jack Kent Cooke Foundation, the Klarman Family his commitment to our young artists programs was evident in his constant presence here along with Foundation, the Surdna Foundation, the National Endowment for the Arts, the ASCAP Foundation his support for the work of his wife, Dr. Ann Howard Jones, for 17 years conductor of the Young Artists Irving Caesar Fund, Zildjian, and the Bose Foundation. Chorus. His leadership was exemplary for the planning of BUTI’s 40th anniversary celebration as was his consistently generous support for the scholarship fund. To honor him and all that he has meant to Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation BUTI, all performances for the 2013 season are dedicated to his memory with our abiding gratitude and with Falcetti Music. affection. Boston University College of Fine Arts david Martins, conductor David Martins is Professor of Music at the University of Massachusetts Lowell and The Boston University Tanglewood Institute is part of the educational and artistic pro- Adjunct Professor of Music at Boston University. He has degrees from the Eastman grams of the Boston University School of Music. Founded in 1873, the School of Music School of Music and the University of Lowell, College of Music and was a recipient of a combines the intimacy and intensity of conservatory training with a broadly based, Berkshire Music Festival Tanglewood Fellowship (now the Tanglewood Music Center). traditional liberal arts education at the undergraduate level and intense coursework at Professor Martins combines an active teaching and conducting schedule with a perfor- the graduate level. The school offers degrees in performance, composition and theory, mance career as a clarinetist performing in both orchestral and chamber music venues. musicology, music education, collaborative piano, historical performance, as well as a He is the Director of the Boston University Wind Ensemble and the University of Mas- certificate program in its Opera Institute, and artist and performance diplomas. sachusetts Lowell Wind Ensemble.

Founded in 1839, Boston University is an internationally recognized private research As the founding music director of the Rhode Island Philharmonic Youth Wind Ensem- university with more than 30,000 students participating in undergraduate, graduate, bles, Professor Martins conducted the senior division from 2002–2012, including their and professional programs. BU consists of 17 colleges and schools along with a number performance at Carnegie Hall. He is Music Director Emeritus of the Metropolitan Wind of multi-disciplinary centers and institutes which are central to the school’s research Symphony which, during his tenure of ten years, performed at the National Conference and teaching mission. The Boston University College of Fine Arts was created in 1954 of the Association of Concert Bands and commissioned numerous compositions. Dur- to bring together the School of Music, the School of Theatre, and the School of Visual ing the past several years, he has been in demand as a guest conductor and has con- ducted festival ensembles throughout the Eastern United States. From 1999 to 2006, Arts. The University’s vision was to create a community of artists in a conservatory- he served on the faculty of the Boston University Tanglewood Institute as Coordinator style school offering professional training in the arts to both undergraduate and gradu- of Wind Activities for the Young Artists Orchestra, and since the summer of 2005, has ate students, complemented by a liberal arts curriculum for undergraduate students. conducted the Boston University Tanglewood Institute Young Artists Wind Ensemble. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intel- He is a member of the clarinet section of the Boston Classical Orchestra and performs lectual activity. as a substitute with the Boston Symphony Orchestra, Boston Pops Orchestra, Boston Pops Esplanade Orchestra, and the Boston Ballet Orchestra. For twenty–five years he performed as second clarinet with the Rhode Island Philharmonic Orchestra. He has also performed with the Springfield Symphony, Pro Arte Chamber Orchestra, Boston Modern Orchestra Project, Alea III, Musica Viva, Monadnock Music Festival and New Hampshire Symphony Orchestra.

In past years, he has toured with the Philharmonia Hungarica Orchestra of Germany on their U. S. tours, the Puccini Festival Orchestra throughout Italy, and has performed six tours throughout Greece and Russia as soloist and member of the contemporary chamber ensemble Alea III. He can be heard on orchestral and chamber recordings on the CRI, Koch, Titanic, Gasparo and Albany labels. Program Notes

Leonard bernstein (1918–1990) Boston University Tanglewood Institute Slava! The Boston University Tanglewood Institute is a program within the School of Music in Leonard Bernstein, a renaissance man in his own right, is perhaps considered the American the College of Fine Arts at Boston University. musical voice of the Twentieth Century. A composer, conductor, educator, and philanthro- pist, Bernstein encapsulated in his music the sound of the American landscape during the In 1966, educational programs at Tanglewood were extended to younger students of turmoil of WWII through the anti-war movements of the 1970s with the fall of the Berlin high-school age, when Erich Leinsdorf invited the Boston University College of Fine Wall and Soviet Communism. Born in Lawrence, Massachusetts in 1918 and the son of Russian immigrants, he attended Boston Latin School, Harvard University, and the Curtis Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk- Institute of Music. In the summers of 1940 and 1941 he studied conducting at the Tangle- shires. wood Music Center with Serge Koussevitzky. During his time at Tanglewood, Bernstein was influenced deeply by Koussevitzky’s instruction as well as the musical ideals of his dear Today, the Boston University Tanglewood Institute, in its unique association with the friend Aaron Copland. Just two years later, Bernstein became instantly famous by filling Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter- in last minute for Bruno Walter for a national broadcast of the New York Philharmonic on nationally as an outstanding educational opportunity for young artists. Under the November 14, 1943. He would eventually become music director of the New York Philhar- guidance of dedicated, established professionals, and in the constant presence of the monic in 1958. Additionally, his Symphony No. 1, “Jeremiah” was premiered by the Pittsburgh Symphony in January 1944 followed by Fancy Free and On the Town by the end of the year. Boston Symphony Orchestra, young people devote themselves each summer to an Bernstein came into even further fame with the popularity of West Side Story, Candide, and artistic experience without parallel. his Mass, among many others.

Upon Koussevitsky’s retirement as director of Tanglewood in 1949, Bernstein was entrusted YOUNG ARTISTS PROGRAMS with the continued development and growth of the festival, along with Aaron Copland and the new director, Charles Munch. When Koussevitzky died two years later, Bernstein Young Artists Orchestra and Chamber Music Program took over his role as head of the orchestral and conducting programs, a position he would maintain the rest of his life. In honor of his lifelong service to the festival and the inspira- Young Artists Vocal Program tional guidance he provided for countless conductors and musicians while there, the new Young Artists Wind Ensemble and Chamber Music Program campus with the expansion of the Tanglewood Music Center main grounds was dedicated Young Artists Piano Program to Bernstein’s name. Furthermore, for the festival’s 75th anniversary in 2012, composer John Young Artists Composition Program Williams funded a multi-year project to reveal installations honoring iconic music figures Young Artists Harp Program from Tanglewood’s past. The first of the series was a statue memorializing Copland’s legacy to be followed by those of Bernstein and Koussevitsky. Bernstein’s 70th birthday celebra- tion took place at Tanglewood—the magnitude of this unprecedented tribute exhibits the profound meaning that this place held for him, and vice versa. Bernstein’s final performance INSTITUTE WORKSHOPS took place at Tanglewood two months before his death in 1990, after which the festival ar- ranged an annual memorial concert honoring his memory. Flute Workshop Saxophone Workshop Tuba/Euphonium Workshop Oboe Workshop Horn Workshop Percussion Workshop Mstislav (nickname, Slava) Rostropovich invited Leonard Bernstein to write a rousing new Clarinet Workshop Trumpet Workshop Double Bass Workshop work for the launch of his inaugural concerts as Music Director of the National Symphony Bassoon Workshop Trombone Workshop String Quartet Workshop Orchestra. The resulting overture, Slava!, was premiered with Rostropovich conducting at the Kennedy Center for the Performing Arts in Washington, D.C. on October 11, 1977.

As an homage to the event, the overture is in the style of a fanfare with themes drawn from “The Grand Old Party” and 1600 Pennsylvania Avenue. In the original orchestral version, For further information about auditions and program offerings, please contact the BUTI political speeches recorded by Bernstein, Michael Wager, Adolph Green, and Patrick O’Neal office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan- are played over top of a musical vamp complete with the sounds of cheering crowds. The glewood Main Grounds. Please call (617) 353-3386 or (413) 637-1430 (July-August). symphonic band version that is being performed tonight eliminates these pre-recorded You may also contact us via e-mail at [email protected]. tracks in its transcription by Clare Grundman. Additionally, near the end of the work, Bern- Website: http://www.bu.edu/tanglewood stein quotes the chorus from the Coronation Scene of Moussorgsky’s Boris Goudonov where the Russian word “Slava” (meaning “glory”) is sung repeatedly. With this clever reference, Bernstein pays special tribute to his friend Rostropovich, honoring his new appointment with the dedication of Slava! –Grace Kennerly David Gillingham (b. 1947) A Light Unto the Darkness Boston University Tanglewood Institute upcoming events David Gillingham earned Bachelor and Master Degrees in Instrumental Music Education from the University of Wisconsin-Oshkosh and a PhD in Music Theory and Composition Friday, July 19, 3:00pm Young Artists Wind Ensemble from Michigan State University. Dr. Gillingham has an international reputation for the works he has written for band and percussion, many of which are now considered standards in Student Chamber Music Recital the repertoire. His numerous awards include the 1981 DeMoulin Award for Concerto for Chamber Music Hall Bass Trombone and Wind Ensemble and the 1990 International Barlow Competition (Brigham Saturday, July 20, 11:00am Y young Artists Piano Program Young University) for Heroes, Lost and Fallen. Dr. Gillingham’s works have been recorded by Student Recital Klavier, Sony, Mark, White Pine, Naxos, Summit, and Centaur, and are regularly performed West Street Theatre by nationally recognized ensembles and artists across the nation. Dr. Gillingham is a Profes- sor of Music at Central Michigan University and the recipient of an Excellence in Teaching Sunday, July 21, 7:00pm Faculty Recital Series Award (1990), a Summer Fellowship (1991), and a Research Professorship (1995). He is a Axiom Brass Quintet member of ASCAP and has been receiving the ASCAP Standard Award for Composers of Trinity Church Concert Music since 1996.

Tuesday, July 23, 7:00pm Faculty Recital Series Gillingham writes of the work: vento Chiaro Trinity Church A Light Unto the Darkness was written for the Mt. Pleasant High School Symphonic Wind Wednesday, July 24, 6:00pm Young Artists Orchestra and Wind Ensemble Ensemble conducted by Roger A. Sampson, and dedicated to my daughter, Amy. The work Student Percussion Recital is an homage to the 168 victims of the Oklahoma City bombing disaster on April 19, 1995. West Street Theatre The work is in three main sections, each alluding to a different idea, setting or emotion associated with the disaster. The first section deals with the everyday routine of Oklahoma Friday, July 26, 6:00pm Faculty Recital Series City which is completely unsuspecting of the terrible fate which is knocking at the door. BSO Brass Quintet This fate interrupts the music several times during this section. The cosmopolitan nature Trinity Church of Oklahoma City is suggested through the music with references to the hustle and bustle of traffic, country western music, jazz music and the mechanistic drone of oil wells in the Saturday, July 27, 11:00am Young Artists Piano Program surrounding countryside. The ensuing section depicts the disaster itself with loud explosive Student Recital articulations in the percussion, sinister motives, driving rhythms and unyielding disso- West Street Theatre nance. The final section begins with a lament by the English horn and a mournful call by the Saturday, July 27, 2:30pm Young Artists Chorus and Orchestra flugelhorn followed by a warm, reassuring melody which culminates the movement. This final theme is significant in that it is the key to understanding this work. We must all seek to Ken-David Masur, conductor be a “light unto the darkness” — to find good amidst the evil. The “light” is within the final Tanglewood Theatre melody of this work and seeks to call our attention to 168 special, individual, and beautiful Sunday, July 28, 11:30am Young Artists Wind Ensemble souls who are now at peace. They are our “lights unto the darkness.” Student Chamber Music Recital West Street Theatre Sunday, July 28, 8:00pm Young Artists Wind Ensemble Paul hart (b. 1945) H. Robert reynolds, conductor Cartoon Tanglewood Theatre Paul Hart is acclaimed as one of Europe’s foremost contemporary musicians. A composer Monday, July 29, 7:00pm Young Artists Orchestra and arranger, with his partner Joe Campbell, Hart is Britain’s leading jingle writer and scorer Faculty Recital of music for television and feature films. In addition to music for the electronic media, Hart Trinity Church has written concert music for the London Symphony Orchestra, Royal Philharmonic Or- chestra, and The King’s Singers; however the majority of his concert works were composed for Bill Ashton and the National Youth Jazz Orchestra (NYJO). Hart played with NYJO beginning in 1971 and studied piano and composition at The Royal College of Music until For more information on our events, please contact our office at (413) 637-1431. 1973 when he left school to begin a career as a bass guitarist with John Dankworth which West Street Theatre, 45 West Street, Lenox, Massachusetts progressed into a position as Cleo Laine’s piano accompanist and jazz violinist. Later Hart Chamber Music Hall, Tanglewood Main Grounds joined Sky, a rock band largely comprised of top session musicians and whose most famous Seiji Ozawa Hall, Tanglewood Main Grounds member was classical guitarist John Williams. Tanglewood Theatre, Tanglewood Main Grounds Trinity Church, 88 Walker Street, Lenox, Massachusetts Cartoon was commissioned for the Royal Tournament Series, a hugely popular extravaganza of military and music skills held every year at Earls Court, London. In the United States, the artistically creative music of Saturday morning cartoons has long been an integral part of The Alabama Friends of BUTI every child’s life. This whimsical composition celebrates the music of this genre with the BUTI salutes the Alabama Friends, a dedicated group Allen Morrison big opening credits, the cat and mouse tease and chase, the strutting swagger, and the “Big of volunteers from the Montgomery Symphony, who Michael Mucci Finale,” appealing, of course, to the child in each of us. demonstrate their passion for classical music and arts Joan Nelsen education by providing annual BUTI scholarships to stu- Michael and Jeanne Payne dents from Alabama. BUTI is also honored to participate Michael Ritzen annually in the Montgomery Symphony’s prestigious Barbara Rosenfelt Percy grainger (1882–1961) Blount-Slawson Young Artists Competition. Henry Salz Arranged by Rogers Kevin Schmidt The Gum-Suckers March 2013 Alabama Friends Alan Schulman Harold and Jane Albritton Samuel Schulman John Bullard Gabrielle Shatan Percy Aldridge Grainger was born in Melbourne, Australia. He received his first piano les- Dorothy Cameron Paul Shimer sons from his mother. In later years he left for Europe to study at the Hoch Conservatory in Edith Crook Barbara Simkin Frankfurt where he became close friends with Busoni and then Edvard Grieg. He settled in Dr. and Mrs. Benjamin Cumbus David Solomkin London in 1901 and started his career as a concert pianist and then left for the USA, where Dorothy DiOrio Hugh Taylor he became an American citizen in 1918. He taught in Chicago and New York. Eileene Griffith Harry Thomas Carol L. Hodges Henry Walker Marian Kent Stephen Wittenberg Grainger was an experimental composer and pianist remembered for piano transcriptions Anne King Samuel Zilka and for his piano arrangements of folk songs such as Irish Tune from County Derry inspired Joan Loeb by Londonderry Air (which dates back to 1855), Molly on the Shore (1921), and instrumental Dae Miller pieces drawing on folk idioms, including Country Gardens, Green Bushes, Molly on the Shore, Mr. and Mrs. Jerome T. Moore Jr. *This list represents friends who supported the Bos- and Shepherds’ Hey. He also shared his friend Ferruccio Busoni’s vision of this “free music,” Maurice and Peggy Mussafer ton University Tanglewood Institute between July 1, devising a synthesizer and composing machine far ahead of its time. As a musician with Winifred and Charles Stakely Helen Steineker 2012 and June 30, 2013. an international reputation, Australia considers him its greatest composer; the U.S., where Mimi Thompson he lived most of his life, regards him as a music educator, composer and arranger of band Janet Waller If you are interested in joining the Friends of BUTI music; and England considers him important in the preservation and arrangement of English please contact Kelsey Mussler, Development As- folk songs. The Kenneth L. Broad Memorial Scholarship Fund sociate, at 617-353-5544 or [email protected]. You The Kenneth L. Broad Memorial Scholarship Fund awards may also make a gift online at bu.edu/giving. The term “Gum-sucker” is actually an Australian nick-name for Australians born in Victoria, a half-scholarship each year to a promising young baritone in the Young Artists Vocal Program. Founded the home state of Percy Grainger. The eucalyptus trees that abound in Victoria are called by Laura Broad in 2009, in memory of her husband – a “gums” and the young shoots at the bottom of the trunk are called “suckers”; so “gum-suck- gifted baritone and passionate supporter of the arts and Advisory board of the er” came to mean a young native son of Victoria, just as Ohioans are named “Buck-eyes”. In arts education – the fund is replenished each year by gifts The Gum-Suckers March, Grainger has used his own “Australian Up-Country-Song” melody, from members and friends of the Broad family. Boston University which typifies Australia. He also used this melody in his “Colonial Song” for two voices and Tanglewood Institute orchestra, or for military band. The march was originally composed for orchestra in the 2013 Kenneth L. Broad Memorial Scholarship Donors Esther-Ann Asch summer of 1914 in Kent, England. It was later sketched and finished into a military band ar- Robert Barnes rangement and finished in 1942. Judith Belsky Richard Balsam James Bobo Emily Borababy Typical of Grainger’s works, the march incorporates a compilation of several English folk Hester Broad Chester Douglass, Chair tunes. The piece also includes a series of unrelated chord groups that pass freely above, be- Laura Broad low and through each other without regard to the harmonic clash, a technique that is called Martin Broder Wilbur Fullbright Herta Carlin Richard Grausman double-chording. Toward the end of the piece we hear a many-voiced climax in which clat- Allison Cates tering rhythms on the percussion instruments and gliding chromatic chords on the brass are Richard Coffey Susan Grausman pitted against the long notes of the “Australian” second theme, a melodic counter-theme Gilbert and Norma D’Oliveira Ellen Highstein and a melodic bass. Rachel Donner Ellen Kazis-Walker Donald Evans Melvin Ginsberg Lucy Kim Lynne and David Harding Maureen Meister Dan welcher (b. 1948) Randie Harmon Joy McIntyre Zion Jacqueline Kingston John Lenard Beth Morrison Born in Rochester, New York in 1948, Dan Welcher has created a body of compositions in Ann and Ben Mazotas Michael Nock Peter McCallion Charles A. Stakely a variety of genres including opera, concerto, symphony, vocal literature, piano solos, and Stephen Moore chamber music. Welcher first trained as a pianist and bassoonist, earning degrees from Lynn and Paul S. Morris Winifred Stakely the Eastman School of Music and the Manhattan School of Music. He joined the Louisville Friends of the Boston University Tanglewood Institute Orchestra as principal bassoonist in 1972, and remained there until 1978, also teaching composition at the University of Louisville. He was a member of the Aspen Music Festival’s BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided faculty from 1976 to 1990. Welcher accepted a position at the University of Texas in 1978, full and partial scholarships to our gifted young artists, as well as resources for new initiatives and special programs, for the 2013 season.* where he created the New Music Ensemble and served as Assistant Conductor of the Aus- tin Symphony from 1980 to 1990. Welcher has also served as Composer-in-Residence for $100,000 and above Lucy Kim and Matthew Guerrieri the Honolulu Symphony (1990–1993) through the Meet the Composer Orchestra Residen- Jack Kent Cooke Foundation Phyllis and Harvey Klein cies Program. Klarman Family Foundation Joseph Kress Nelliana Kuh He has written over 20 works for orchestra, including Haleakala: How Maui Snared the Sun for $10,000 - $99,999 Robert Lea Narrator and Orchestra, and two symphonies. Other works include a violin concerto (com- Clovelly Charitable Trust Paul Marshall National Endowment for the Arts Dana and Yuri Mazurkevich missioned by the Aspen Music Festival for Dorothy DeLay’s 75th birthday), a piano concer- Surdna Foundation Peter McCallion to (commissioned by James Dick and the Round Top Festival), and Bright Wings: Valediction Gaelen McCormick for Large Orchestra, commissioned by the Dallas Symphony. His works for symphonic wind $1,000 - $9,999 Maryjane Minkin ensemble, notably Zion (which won the ABA/Ostwald Prize in 1996) and Symphony No. 3 ASCAP Foundation Irving Caesar Fund Shawn Morrissey (“Shaker Life”) have earned him new accolades. John A. Carey Roger Murray Chester and Joy Douglass Sandra Nicolucci Mr. and Mrs. Peter Eliopoulos Robert Pease Dan Welcher has won numerous awards and prizes from institutions including the Gug- City of Fairfax Band Association, Inc. Arthur Post genheim Foundation, National Endowment for the Arts, the Reader’s Digest/Lila Wallace David Feigenbaum and Maureen Meister Benjamin Rudnick Foundation, the Rockefeller Foundation, the MacDowell Colony, the Bellagio Center, the Leah Y. Fullinwider Sherri Rudnick American Music Center, and ASCAP. His music has been performed by over 50 orchestras, Ann and Gordon Getty Foundation Harvey and Justine Schussler including the Chicago Symphony Orchestra, Atlanta Symphony, and BBC Symphony, and Susan and Richard Grausman Emma Shook many of his works are commercially recorded. He has served on the Board of Directors of Phyllis and Robert Hoffman Georgia Shutzer Ellen Kazis-Walker Christine Standish Chamber Music America. Welcher lives in Austin, Texas and is the Lee Hage Jamail Regents Owen Kelley Bonnie Steele Professor in Fine Arts at the University of Texas School of Music. Kenneth D. Rudnick Douglas Stumberger William and Roswitha Trayes Patrick Szymanski The Composer writes: The Ushers & Programmers Fund Rosalen Vineberg Ellen and John Yates Up to $99 Zion is the fourth and final installment of a series of works inspired by national parks in the $100 - $999 Anthony Accinno western United States, collectively called “Three Places In The West.” As in the other three Deborah Aaron and Jay Cantor Jennifer Andrews works (The Yellowstone Fires, Arches, and Glacier), it is my intention to convey more an im- Jeffrey Auerbach Naomi Atkins pression of the feelings I’ve had in Zion National Park in Utah than an attempt at a pictorial Robert and Barbara Balliett Leslie Boden description. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon Daniel Balsam Jean Boglages in which the traveler is constantly overwhelmed by towering rock walls on every side—but Jeffrey Bickerstaff Kathleen Boyd it is also a place with a human history, having been inhabited by several tribes of Native George Borababy Katherine Canning Sandra Brown Bianca Carter Americans before the arrival of the Mormon settlers in the mid-nineteenth century. By the Deborah Burton Joseph Cerroni time the Mormons reached Utah, they had been driven all the way from New York State Mr. and Mrs. Salvatore Cania Serena Chao through Ohio and through their tragic losses in Missouri. They saw Utah in general as ‘a Jane Carlson David Cohen place nobody wanted’ but were nonetheless determined to keep it to themselves. Although Xu Chen Donna Convicer Zion Canyon was never a ‘Mormon Stronghold,’ the people who reached it and claimed it Marjorie Clement Robert Fishman (and gave it its present name) had been through extreme trials. Mitchell Cohen Marie Francoeur Eric Cortell Barbara and John Gordon Bruce Creditor Sally Jones It is the religious fervor of these persecuted people that I was able to draw upon in creating Emily and Michael Culler Amy E. Kawa Zion as a piece of music. There are two hymns quoted in the work: “Zion’s Walls” (which Robin Dull Craig Knox Aaron Copland adapted to his own purposes in both Old American Songs and The Tender Kathleen Dennis Faleris David Kopp Land) and “Zion’s Security,” which I found in the same volume where Copland found “Zion’s Allison Fultz Barbara Kotler Walls”—that inexhaustible storehouse of nineteenth century hymnody called “The Sacred Susan and Edward Goldstein P. and Winnie Lamour Deborah Grausman Carol and Joseph Lonero Harp.” Marian and Peter Hainsworth Donald and Marjorie Mendelsohn Lynne and David Harding Elizabeth Morrison My work opens with a three-verse setting of “Zion’s Security,” a stern tune in F-sharp minor Scott Himes Daniel Palant which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful Dmitri and Elena Ilyin Laurie Ramsey to be firm, and describing the ‘city of our God’ they hope to establish.) This melody alter- Larry G. and Ann Howard Jones Carl Saslow nates with a fanfare tune, whose origins will be revealed later in the music, until the second Rochelle Kainer Laura and Guy Shechter Yumi and Jared Klein Ira Taxin half of the piece begins: a driving ostinato based on a 3/4 to 4/4 alternating meter scheme. Jill Kessler Alan Whitney This pauses at its height to restate “Zion’s Security” one more time, in a rather obscure set- ting surrounded by freely shifting patterns in the flutes, clarinets, and percussion—until the sun warms the ground sufficiently for the second hymn to appear. “Zion’s Walls” is set in 7/8, unlike Copland’s 9/8 to 6/8 meters (the original is quite strange, and doesn’t really fit any constant meter) and is introduced by a warm horn solo with low brass accompaniment. Young Artists Wind Ensemble The two hymns vie for attention from here to the end of the piece, with glowingly optimistic “Zion’s Walls” finally achieving prominence. The work ends with a sense of triumph and Flute Saxophone Euphonium unbreakable spirit. Melissa Aleles, Tappan, NY Nicole Cipriati, Nathan Galerstein, Dunwoody, GA Steven Hao, Vancouver, B.C. Palm Beach Gardens, FL James Yoon, Greenwich, CT Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arling- Nicholas Ioffreda, Hillsborough, NJ Savannah Holmes-Farley, ton, The University of Texas at Austin, and the University of Oklahoma. It is dedicated to the Katie Scholl, Wellesley, MA Arlington, MA memory of Aaron Copland. Sara Kornfeld Simpson, Bennett Parsons, Arlington, MA Tuba San Diego, CA Karen Zhang, Wayland, MA Joshua Galerstein, Dunwoody, GA Samuel Primack, Lodi, CA William Tucker VI, Phoenix, AZ

PHILIP SPARKE (b. 1951) Horn Percussion The Year of the Dragon Oboe Michael Barcenas, Orange Park, FL E.J. Eiras-Saunders, Rockville, MD Kaitlin Pet, Glastonbury, CT Rebecca Barron, Voorheesville, NY Laura Grems, Vienna, VA Philip Sparke was born in London and studied composition, trumpet and piano at the Royal Emily Shyr, Atlanta, GA Katelyn Clement, Stormville, NY Sean Guo, Murphy, TX College of Music, where he earned an ARCM. While at the College, his first works, Concert Derek Wong, Newton Center, MA Nicolas Perez, Kennesaw, GA Prelude (brass band) and Gaudium (wind band), were published. Sparke’s first commission, Michael Stevens, East Islip, NY Michael Metz, Louisville, KY Kathryn Taylor, Stafford, VA Stella Perlic, Kirkland, WA The Land of the Long White Cloud, for the Centennial Brass Band Championships in New Zea- Adam Pol *, Lodi, NJ land led to further commissions by individual bands, various band associations and the BBC, Bassoon Noah Rosen, Sharon, MA including Slipstream, Skyrider, and Orient Express, each of which won the EBU New Music for David Burrough, Katy, TX Trumpet Band Competition. He has written for brass band championships in New Zealand, Switzer- Steven Ekert, New York, NY Arthur Abbate, Lexington, MA land, Holland, Australia and the UK, and his test pieces are constantly used for brass band August Passannante, Eliza Block, Tacoma, WA Piano competitions. The commission and eventual recording of Celebration by the Tokyo Kosei Vancouver, WA Joseph Blumberg, Lexington, MA Thomas Weaver *, Marlton, NJ Wind Orchestra led to international recognition and notable commissions such as Dance William Brechtelsbauer, Movements by the US Air Force Band which won the prestigious Sudler Prize. In addition, Greenville, NC Sparke has received the Iles Medal of the Worshipful Company of Musicians for his services Clarinet Aaron Coe, Mukilteo, WA String Bass to brass bands, the BUMA International Brass Award, and the 4barsrest.com Special Award Hope Aubrey, Sandown, NH Bret Magliola, Mahwah, NJ Victor Holmes *, San Antonio, TX for his contribution to brass music. He also won the National Band Association/William D. Hannah Bangs, Austin, TX Revelli Memorial Band Composition Contest for Music of the Spheres. His conducting and Perryn Bohler, College Park, GA Kira Eng, Moorestown, NJ adjudicating activities have taken him to most European countries, Scandinavia, Australia, Trombone Silvio Guitian, Baltimore, MD Nicholas Lee, Los Angeles, CA New Zealand, Japan, Canada and the USA. Since founding his own publication company, Paul Hafley, San Diego, CA Anglo Music Press, in May 2000, he devoted himself full-time to composing and the publi- Rodney McGhee, * denotes BUTI staff member Evan Kopca, Arlington, VA West Chester, PA cation of all his works for band. Nikki Pet, Glastonbury, CT Robyn Smith, Atlanta, GA Veronica Sedivy, Barrington, RI The Composer writes of this work: Katherine Thomas, Canton, MA Albert Xu, Needham, MA Bass Trombone Toccata opens with an arresting side drum figure and snatches of themes from various sec- Brendan Allatta, Chester, NJ tions of the band, which try to develop until a broad and powerful theme from the middle of the band asserts itself. A central dance-like section soon gives way to the return of this theme, which subsides until faint echoes of the opening material fade to a close.

Interlude takes the form of a sad and languid solo for trombone. A chorale for the whole band introduces a brief spell of optimism but the trombone solo returns to close the move- ment quietly.

Finale is a real tour-de-force for the band with a stream of rapid semi-quavers running throughout the movement. The main theme is heroic and march-like and is interspersed with lighter, more playful episodes. A distant fanfare to the sound of bells is introduced and this eventually returns to bring the work to a stirring close.

Several auxiliary instruments used in tonight’s concert are on generous loan from the Boston College Bands Program.