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 Emily Culler, Development, Alumni Relations, and Outreach Officer Grace Kennerly, Publications Coordinator Manda Shepherd, Office Coordinator Mandy Kelly, Office Intern DAVID MARTINS, conductor Ben Fox, Private Lessons Coordinator Travis Dobson, Stage Crew Manager Matthew Lemmel, Greg Mitrokostas, Andres Trujillo, Matt Visconti, Stage Crew Shane McMahon, Recording Engineer Xiaodan Liu, Technician

YOUNG ARTISTS WIND ENSEMBLE FACULTY AND STAFF David Martins, Conductor H. Robert Reynolds, Conductor Jennifer Bill, Wind Ensemble Coordinator and Saxophone Coach Molly Walker, Wind Ensemble Co-Coordinator Axiom Brass Quintet, Brass Coaches and Artists-in-Residence Dorival Puccini, Jr., Colin Oldberg, Matthew Oliphant, Brett Johnson, Kevin Harrison Friday Vento Chiaro Quintet, Woodwind Coaches and Artists-in-Residence Joanna Goldstein, Ana-Sofía Campesino, Chi-Ju Juliet Lai, Alexandra Berndt, Anne Howarth July 13, 2012 Samuel Solomon, Percussion Coordinator and Coach Michael Israelievitch, Percussion Coach 8pm Ryan Yure, Clarinet Coach Michael Sherman, Staff Pianist Seiji Ozawa Hall Betsy Polatin, Alexander Technique Instructor Lauren Haley, Librarian

DESIGN TEAM FOR SEIJI OZAWA HALL William Rawn Associates, Architect Lawrence Kierkegaard & Associates, Acoustician Theatre Projects Consultants, Inc., Theatrical Consultant Florence Gould Auditorium SUPPORT FOR THE BOSTON UNIVERSITY TANGLEWOOD Seiji Ozawa Hall INSTITUTE IS PROVIDED BY: Tanglewood Young Artists Wind Ensemble David Martins, conductor

C. WILLIAMS Caccia and Chorale

STOUT Voyager

NELHÝBEL Trittico Allegro maestoso Adagio Allegro marcato

MACKEY Sasparilla

~Intermission~

REINEKE Symphony No. 1, “New Day Rising”

City of Gold This program is supported in part by awards from the Jack Kent Cooke Foundation, the Surdna Foundation, Nocturne the National Endowment for the Arts, the ASCAP Foundation Irving Caesar Fund, Zildjian, and the Bose And the Earth Trembled Foundation. New Day Rising Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation with Falcetti Music.

Rehearsal space is provided In Kind by Lenox Commons. BOSTON UNIVERSITY COLLEGE OF FINE ARTS DAVID MARTINS, conductor

The Boston University Tanglewood Institute is part of the educational and artistic pro- David J. Martins is Professor of Music at the University of Massachusetts Lowell and grams of the Boston University School of Music. Founded in 1873, the School of Music Adjunct Professor of Music at Boston University. He has degrees from the Eastman combines the intimacy and intensity of conservatory training with a broadly based, School of Music and the University of Lowell, College of Music and was a recipient of a traditional liberal arts education at the undergraduate level and intense coursework at Berkshire Music Festival Tanglewood Fellowship (now the Tanglewood Music Center). the graduate level. The school offers degrees in performance, composition and theory, Professor Martins combines an active teaching and conducting schedule with a perfor- musicology, music education, collaborative piano, historical performance, as well as a mance career as a clarinetist performing in both orchestral and chamber music venues. certificate program in its Opera Institute, and artist and performance diplomas. He is the Director of the Boston University Wind Ensemble and the University of Mas- 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 . 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 as a substitute with the Boston Symphony Orchestra, Boston Pops Orchestra, Boston lectual activity. 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 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE

The Boston University Tanglewood Institute is a program within the School of Music in CLIFTON WILLIAMS (1923–1976) the College of Fine Arts at Boston University. Caccia and Chorale In 1966, educational programs at Tanglewood were extended to younger students of Caccia and Chorale was commissioned by the State University of Wisconsin (Stevens high-school age, when Erich Leinsdorf invited the Boston University College of Fine Point) Wind Ensemble, Donald E. Green Conductor. Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk- shires. The passing of Clifton Williams truly leaves a void in the hearts of those who knew and loved the man personally, as well as those who know and love his music...that which Today, the Boston University Tanglewood Institute, in its unique association with the brings him to life each time it is played and heard. The years 1969–1976 were veiled by Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter- failing health and depression. Yet, somehow, new music was created, in all probability nationally as an outstanding educational opportunity for young artists. Under the with the man’s suspicion of that music being his last. guidance of dedicated, established professionals, and in the constant presence of the A remarkably sensitive man, Clifton Williams’ love for living things was incredibly kind Boston Symphony Orchestra, young people devote themselves each summer to an and real. Clifton Williams, the composer, still gives us Clifton Williams, the person, as artistic experience without parallel. his music lives…the composer, so special in this way.

Caccia and Chorale is very much in the signature of Clifton Williams; however, the YOUNG ARTISTS PROGRAMS futility of the Caccia and its ultimate exhaustion into the Chorale bring us yet another dimension of this Composer. As the Caccia continues its relentless pursuit of greater Young Artists Orchestra and Chamber Music Program heights of frenzy, it is finally interrupted by a morse code-like figure (actually based Young Artists Vocal Program on the symbols for D – E – G, drawn from the initials of Donald E. Greene—see above), Young Artists Composition Program which persist over the sustained block chords of what signals the futility of the ‘chase’ Young Artists Piano Program as Dr. Williams describes it. The material found in the Chorale represents some of the Young Artists Wind Ensemble and Chamber Music Program most powerfully emotional music to come from William’s pen; not only in volume, but in the tension-maintaining harmonic structure which is as dramatic as any ff climax Young Artists Harp Seminar found in any of his music. The music leaves one with a somewhat unresolved, rest- less feeling, although the finalpp chord makes every attempt to negate this through its musical consonance. INSTITUTE WORKSHOPS

The Composer says of the work: Flute Workshop Saxophone Workshop Tuba/Euphonium Workshop Oboe Workshop Horn Workshop Percussion Workshop While it remains open to question whether the music can convey any message Clarinet Workshop Trumpet Workshop Double Bass Workshop other than a purely musical one, composers often tend to attempt philosophical, Bassoon Workshop Trombone Workshop String Quartet Workshop pictorial, or other aspects within a musical framework. Such is the case with Cac- cia and Chorale, two title words borrowed from Italian because of their allegorical significance. The first, Caccia, means hunt or chase, and is intended to reflect the preoccupation of most people in the world with a constant pursuit of materialism. The Chorale is, by contrast, an urgent and insistent plea for greater humanity, a For further information about auditions and program offerings, please contact the BUTI return to religious or ethical concepts…. office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan- glewood Main Grounds. Please call (617)353-3386 or (413)637-1430 (July-August). –James D. Wayne You may also contact us via e-mail at [email protected]. Website: http://www.bu.edu/tanglewood BOSTON UNIVERSITY TANGLEWOOD INSTITUTE JOHN STOUT UPCOMING EVENTS Voyager

Saturday, July 14, 11:00am Young Artists Piano Program Recital John W. Stout began his career in the late 1970s in the software profession. As a student at the University of Michigan, Stout wrote his first large scale programs and Student Recital became the author and developer of the popular multi-player game “Plague” using the West Street Theatre PLATO system. After fifteen years in the profession, during which time Stout worked on projects ranging from desktop publishing, payroll, space systems and intelligent Saturday, July 14, 2:30pm Young Artists Orchestra systems, he formed his own consulting business, Stout Systems. John Stout is also a RYAN MCADAMS conductor published composer and arranger, and the recipient of numerous grants, awards and Seiji Ozawa Hall commissions.

Monday, July 16, 7:30pm Ventfort Piano Recital Series The piece (Voyager) was inspired by the success of the Voyager space probe and its Young Artist Piano Program Students unprecedented expedition to the outer reaches of the solar system. Ventfort Hall Mansion Just as the Voyager space mission is an uneventful journey interrupted after long intervals by encounters with strange outer worlds, the music is a series of static sounds Tuesday, July 17, 7:00pm Faculty Recital Series with more rapidly evolving material portraying the intermittent planetary encounters. AXIOM BRASS QUINTET Trinity Church Traditional musical elements such as melody, tonality and rhythmic pulse are absent. In their place, the piece uses slowly evolving clouds of sound, which gradually change in Friday, July 20, 3:00pm Young Artists Wind Ensemble color and dynamic level. These clouds are built entirely from groups of adjacent pitches Student Chamber Music Recital called tone clusters. Chamber Music Hall The sounds in Voyager are achieved solely through changes in pitch, tone color, dynamics, and density. No electronic sounds or amplification are used. Nor are there Saturday, July 21, 11:00am Young Artists Piano Program significant extra-musical effects via unusual usages of the wind instruments, except for Student Recital the final moments of the piece where the brass players are required to softly blow air West Street Theatre through their horns without producing tone. –John W. Stout Monday, July 23, 7:00pm Ventfort Piano Recital Series CLARA SHIN with BUTI Faculty Ventfort Hall Mansion VÁCLAV NELHÝBEL (1919–1996) Trittico

Tuesday, July 24, 7:00pm Faculty Recital Series Václav Nelhýbel was a Czech composer and conductor. He studied composition and JENNIFER BILL saxophone conducting at the Prague Conservatory of Music and musicology at the universities of Trinity Church Prague and Fribourg, Switzerland. As a student, he was already affiliated with Radio Prague as composer and conductor. At age 18, he was conducting the Czech Philhar- Wednesday, July 25, 7:00pm Faculty Recital Series monic as an assistant to Rafael Kubelik. By 1948, he had become active in the Swiss Young Artists Orchestra Faculty Recital National Radio as composer/conductor and from 1950-1957, he served as co-founder Trinity Church and Music Director of Radio Free Europe in Munich. During this time he functioned as guest conductor with numerous European Orchestras, including the Vienna Philhar- For more information on our events, please contact our office at (413) 637-1431. monic, Munich Philharmonic, Bavarian Symphony, and Orchestra de la Swisse Roman- de. Beginning in 1957 he lived in the United States, becoming a U.S. citizen in 1962, and West Street Theatre, 45 West Street, Lenox, Massachusetts was active as a composer, conductor and lecturer up to his death in 1996. Chamber Music Hall, Tanglewood Main Grounds Seiji Ozawa Hall, Tanglewood Main Grounds A common trait in the Nelhýbel “sound” would seem to be a panchromatic melodic Trinity Church, 88 Walker Street, Lenox, Massachusetts system, not serial in the dodecaphonic sense, but one which has a strong relation to Ventfort Hall Mansion, 104 Walker Street, Lenox, Massachusetts one gravitational center. This relation to the ‘gravitional center ‘ generates and releases tensions which Nelhýbel calls the human element in music and is the sine qua non of The Alabama Friends of BUTI Allen Morrison communication between composer and listener. He is not a revolutionary innovator. He BUTI salutes the Alabama Friends, a dedicated group Michael Mucci of volunteers from the Montgomery Symphony, who Joan Nelsen is rather, a synthesist, bringing all of past techniques into a harmonious entity. Nelhýbel demonstrate their passion for classical music and arts Eli Newberger often employed thematic material from his Czech heritage. education by providing annual BUTI scholarships to stu- Northeast Utilities Foundation dents from Alabama. BUTI is also honored to participate Jeanne and Michael Payne Trittico was composed in 1963 for Dr. William D. Revelli who gave the first performance annually in the Montgomery Symphony’s prestigious Plumb Family Blount-Slawson Young Artists Competition. Barbara Rosenfelt of the work in the Spring of 1964, in Ann Arbor, with the Symphonic Band of the Uni- Henry Salz versity of Michigan. 2012 Alabama Friends Kevin Schmidt Teri A. Aronov Alan Schulman The first and third movements are, in several ways, related to one another: their char- Barbara B. Britton Samuel Schulman acter is brilliantly forward-moving and energetic; the main theme of the first movement Dorothy D. Cameron Barbara Shepetin Edith J. Crook Paul Shimer reappears in the culmination point of the third movement; and the instrumentation of Elizabeth B. Crump Barbara Simkin the movements is identical (standard), with the individual instruments themselves be- Dr. and Mrs. Benjamin J. Cumbus David Solomkin ing used quite similarly. Dr. Dorothy M. DiOrio Hugh Taylor Eileene D. Griffith Harry Thomas The second movement is a strongly contrasting dramatic scene with turbulent recita- Mr. and Mrs. W. F. Joseph Jr. Marion Waleryszak Mr. and Mrs. James E. Klingler Henry Walker tives and expressive woodwind solos, punctuated by low brass and percussion. The Dae H. Miller Stephen Wittenberg emphasis is on the woodwinds and the low brass; cornets and trumpets enter only at Mr. and Mrs. Jerome T. Moore Jr. Samuel Zilka the very end with an extremely intense phrase to conclude the movement. The dra- Beverly D. Ross matic character is underlined by the strong use of percussion which is extended by a S. Adam Schloss Foundation, Inc. Winifred and Charles Stakely *This list represents friends who supported the second timpani player, piano and celesta. Helen J. Steineker Boston University Tanglewood Institute between Mr. and Mrs. Mose W. Stuart III July 2011 and June 2012. –Notes from the Score Elisabeth P. Thompson If you are interested in joining the Friends of BUTI The Kenneth L. Broad Memorial Scholarship Fund please contact Emily Culler, Development, Alumni The Kenneth L. Broad Memorial Scholarship Fund awards Relations, and Outreach officer at 617-353-8995 or JOHN MACKEY (b. 1973) a half-scholarship each year to a promising young Sasparilla baritone in the Young Artists Vocal Program. Founded [email protected]. by Laura Broad in 2009, in memory of her husband - a gifted baritone and passionate supporter of the arts and John Mackey, born October 1, 1973, in New Philadelphia, Ohio, holds a Master of Music ADVISORY BOARD OF THE degree from The Juilliard School, where he studied with John Corigliano, and a Bach- arts education - the fund is replenished each year by gifts from members and friends of the Broad family. BOSTON UNIVERSITY elor of Fine Arts degree from the Cleveland Institute of Music, where he studied with TANGLEWOOD INSTITUTE Donald Erb. Mr. Mackey particularly enjoys writing music for dance and for symphonic 2012 Kenneth L. Broad Memorial Scholarship Donors winds, and he has focused on those mediums for the past few years. Esther-Ann Asch Leonard Atherton Babson Capital Management In February 2003, the Brooklyn Philharmonic premiered Mackey’s work Redline Tango Robert Barnes Richard Balsam at the BAM Opera House, with Kristjan Jarvi conducting. The Dallas Symphony, under James Bobo Emily Borababy Andrew Litton, performed the piece in both Dallas and Vail in 2004. Mr. Litton per- Laura Broad Chester Douglass, chair formed the work again in 2005, this time with the Minnesota Orchestra, and again in Herta Carlin Audrey Chereskin Wilbur Fullbright 2006 with the Bergen Philharmonic of Norway. Marin Alsop performed the work at the Richard Coffey Richard Grausman Cabrillo Festival of Contemporary Music in the summer of 2005. Mackey made a new Norma and Gilbert D’Oliveira Susan Grausman version of the work for wind ensemble in 2004—Mackey’s first work for wind band— William Davidson Rachel Donner Ellen Highstein and that version has since received over 250 performances worldwide. The wind Ellen Kazis-Walker version won the 2004 Walter Beeler Memorial Composition Prize, and in 2005, the Barbara Garvey Melvin Ginsberg Lucy Kim ABA/Ostwald Award from the American Bandmasters Association, making Mackey Lynne and David Harding the youngest composer to receive the honor. He again received the ABA/Ostwald Randie Harmon Maureen Meister Award—as well as the National Band Association’s William D. Revelli Award—in 2009 Terence Heslin Joy McIntyre for Aurora Awakes. John Lenard Beth Morrison Carol Lonero Salvatore Macchia Michael Nock Mackey served as a Meet-The-Composer/American Symphony Orchestra League Mazotas Family Charles A. Stakely “Music Alive!” Composer in Residence with the Greater Twin Cities Youth Symphony Stephen Moore Winifred Stakely in 2002-2003, and with the Seattle Youth Symphony Orchestra in 2004-2005. He Lynn and Paul Morris FRIENDS OF THE BOSTON UNIVERSITY TANGLEWOOD INSTITUTE was Composer in Residence at the Vail ValIey Music Festival in Vail, Colorado, in the BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided full- and partial scholarships for our gifted young artists, as well as resources for new initiatives and special summer of 2004, and Composer in Residence at the Cabrillo Festival of Contemporary programs, for the 2012 season.* Music in August 2005. He has held college residencies at Florida State, University of Georgia, Georgia State University, James Madison University, Kansas State Univer- $100,000 and above sity, University of Kansas, University of Florida, University of Alabama, University of Anonymous John Hecht Arizona, University of Michigan, Ohio State, Michigan State University, Texas Tech, Ball Jack Kent Cooke Foundation Gudjonson Hermannsson and Yingxing Wang Surdna Foundation Yumi Kendall State, University of Oklahoma, Arizona State, Oklahoma State University, University of Lucy Kim and Dr. Matthew Guerrieri Washington, University of Southern California, University of Texas, and many others. $10,000 - $99,999 Phyllis and Harvey Klein Mr. Mackey served as Music Director of the Parsons Dance Company from 1999-2003, National Endowment for the Arts Robert Lea and he taught at Cal State Long Beach in 2008-2009. John Carey Dana and Yuri Mazurkevich Peter McCallion $1,000 - $9,999 Maryjane Minkin John Mackey has the following to say about Sasparilla: ASCAP Foundation Irving Caesar Fund Roger Murray Bose Foundation Carl Nathan Sasparilla is my first “fully-original” work for wind ensemble. I’d written one other Chester and Joy Douglass Sandra Nicolucci wind piece prior to this (Redline Tango), but that was a transcription of an orches- Mr. and Mrs. Peter Eliopoulos Pioneer Investments David Feigenbaum and Maureen Meister Andrew Price tral work. With Sasparilla, the primary request from the commissioning consortium Ann and Gordon Getty Foundation Benjamin Rudnick was to write something “new for band,” so I approached the piece with the goal of Susan and Richard Grausman In honor of Kenneth D. Rudnick and in memory writing something that took advantage of the wonderful sounds that only a concert Phyllis and Robert Hoffman of Diane T. Rudnick, Ph.D. band can make. Ellen Kazis-Walker Sherri Rudnick Elizabeth and Dean Kehler In honor of Kenneth D. Rudnick and in memory Margaret S. Lindsay Foundation of Diane T. Rudnick, Ph.D. Sasparilla was a type of liquor served in saloons in the old west. It has since Joy McIntyre Justine and Harvey Schussler become a non-alcoholic root beer-like beverage, and if the listener happens to be Kenneth D. Rudnick Fenwick Smith under the age of 21, I suggest you choose the latter description. Whether it be from In memory of Diane T. Rudnick, Ph.D. Christine Standish bad liquor or terribly funky soda; Sasparilla tells the tale of an Old West saloon, The Ushers & Programmers Fund Susan Thonis In honor of Robert and Dorothy Dandridge Mr. and Mrs. Craig Vickers and the specific tale seems to vary, depending on the listener. Some hear a pony Ellen and John Yates Linda Wildes that drinks from a fermented trough and goes on a joyride to Tijuana. Some hear a Carol Woolman cowboy who can’t hold his drink. Some suggest the old west as viewed through the $100 - $999 eyes of the old Warner Brothers cartoons. Samuel Adler Up to $99 Lorraine and Curtis Anastasio Anthony Accinno Daniel Balsam Leslie Boden Regarding the spelling ... Although I would never be one to win a spelling bee, I Paul Bentel Katherine Canning realize that the “correct” spelling is “sarsaparilla,” but there are two other slangified Phyllis Biener Joel Caverly spellings—“sarsaparilla” and the one I have chosen, “sasparilla.” Although only one George Borababy David Cohen would win you a spelling bee, “sasparilla” looked best in print! David N. Burnham Donna Convicer Deborah Burton Bruce Creditor Mr. and Mrs. Salvatore Cania Laurence and Karen Dusold –John Mackey Emily and Michael Culler Jacqueline Fernandez Jane Carlson Lawrence Fullerton Bianca Carter John and Barbara Gordon STEVEN REINEKE (b. 1970) Kimberly Cheiken Stephen Holzman Marjorie Clement Helen Holzwasser Symphony No. 1, “A New Day Rising” Barbara Coburn Amy Kawa Mitchell Cohen Jane Knox Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of John Connor Bruce Kozuma the nation’s most sought-after pops conductors, composers and arrangers. Mr. Reineke Robin Dull Michael Lascoe Irma and Eli Etscovitz Christopher Lee is the newly appointed Principal Pops Conductor of the Toronto Symphony Orchestra, Kathleen and Dennis Faleris Kathy Massa Music Director of The New York Pops at Carnegie Hall and Principal Pops Conductor Renee Plessner Fishman, Esq. Marjorie Mendelsohn of the National Symphony Orchestra at the John F. Kennedy Center for the Perform- Paula Folkman Charles Overton ing Arts. He previously held posts as Principal Pops Conductor of the Long Beach Laurel Friedman Brenda Patterson and Modesto Symphony Orchestras and Associate Conductor of the Cincinnati Pops Lorraine and Wilbur Fullbright Vicki M. and John R. Rezzo Edward Goldstein Emma Shook Orchestra. Deborah Grausman Jean Stoutenborough Marian and Peter Hainsworth David Talley As the creator of more than one hundred orchestral arrangements for the Cincinnati Lynne and David Harding Stephanie Trodello Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic YOUNG ARTISTS WIND ENSEMBLE works Celebration Fanfare, Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare was used to commemo- Flute Saxophone Euphonium Melissa Aleles, Tappan, NY Kyle Herbert, Dracut, MA Vijay Dukkipati, Frisco, TX rate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Jihyuk Park, Leonia, NJ Khanh Nguyen, Fremont, CA Lacy Smith, Tallahassee, FL Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orches- Olivia Staton, Vienna, VA Ava Oaxaca, Arlington, VA tras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Anna Thompson, Wilmington, DE Tyrone Page, Baltimore, MD Company and are performed by concert bands around the world. A native of Ohio, Mr. Henry Woolf, Fresno, CA Tuba Reineke is a graduate of of Ohio, where he earned bachelor of music Conor Hammonds, Ossining, NY degrees with honors in both trumpet performance and music composition. Horn Patrick Speights, Temple, TX Oboe Pints Chen, Hualien, Taiwan Jonah Pearl, Brookline, MA Katelyn Clement, Stormville, NY The Composer provides the following notes: Percussion Emily Shyr, Atlanta, GA Justin Gaskey, Ambler, PA Kyle Brightwell **, Allston, MA Derek Wong, Newton Center, MA Leah Meyer, Belmont, MA I. City of Gold Mackenzie Newell, Grant, FL Jordan Carter, Atlanta, GA The symphony begins with an ominous and foreboding prologue that signifies the Lorenzo Robb, Santa Monica, CA Antonio Guarino, Severna Park, MD danger beneath the Earth and the destruction that will soon ensue. The music soon Bassoon fades into a glorious picture of at the turn of the 20th century. It is a Lauren Haley *, Eliot, ME Daniel Fendrick, Ann Arbor, MI Taylor Hampton, Gastonia, NC vibrant, colorful place where we hear the sounds of ragtime and trolley cars. The city is Trumpet James Garth, Andover, MA Matthew Allen, Daniel Raderman, Fulton, MD bustling with life and commerce. Robert Paterson, Cypress, TX East Northport, NY Myra Snyder, New Bern, NC Liam Bacon, Worthington, OH II. Nocturne Eliza Block, Tacoma, WA The second movement depicts the city on the evening of April 17th, 1906. The frenetic Clarinet Thomas Lubeck, Harp pace of the day has given way to a more peaceful, relaxed atmosphere. The people of David Angelo, Sugar Land, TX Palm Beach Gardens, FL Alyssa Katahara, McLean, VA San Francisco are blissfully unaware of the destruction to come in the ensuing hours. Rhiana Caterisano, Garland, TX Jonathan Smith, Houston, TX Bridget Walsh, Austin, TX Strains of the aria “I Try Not to Own That I Tremble” from Bizet’s opera, Carmen, are Erica Chang, Tenafly, NJ David Wright, Austin, TX Julia Choi, Newport Coast, CA wafting through the streets. Once the city is lulled to sleep, we hear the distant sound Julia Donahue, Plainville, MA of church bells tolling 5 a.m., the hour the Earthquake struck the city. This movement is Piano Daniel Echikson, Potomac, MD Trombone Michael Sherman *, segue attaca into the third movement. Mary Fortino, Boca Raton, FL Devin Bennett, Doha, Qatar Los Angeles, CA Hyukjoo Hwang, Newton, MA Kenton Campbell, III. And the Earth Trembled Calvin Kim, Charlotte, NC Lawrenceville, GA Nikki Pet, Glastonbury, CT The third movement begins in the early morning hours of April 18th, 1906. The city Lena Piazza-Leman, String Bass sleeps. Suddenly the fault line rips and the Earth begins to tear apart. Devastation and Phillip Solomon, Montrose, NY South Bend, IN Ryan Stockhausen, Lake Orion, MI Moises Carrasco, Haverhill, MA destruction ensue as the city turns to chaos caused by the tremors and aftershocks of Scott Sonnenberg, Newton, MA the earthquake. Once the first waves of aftershocks subdue, we enter a mysterious, Albert Xu, Needham, MA dreamlike state of shock. Everything seems to be in slow motion as the city crumbles Bass Trombone around us. An odd-metered march develops that signifies the soldiers marching in to Jahleel Smith, Atlanta, GA take control of the city as it burns in the aftermath of the quake. * denotes BUTI staff member

IV. New Day Rising The fourth and final movement of the symphony depicts the rebuilding of shattered lives and restoring of civilization. It begins in peaceful sadness then grows from despair **BUTI gratefully acknowledges the generous participation of Kyle Brightwell in the percussion section for this performance into restored faith and renewed hope. On the Sunday following the great earthquake, a and salutes him as alumnus, faculty member and newly appointed member of the Boston Symphony Orchestra. minister gathered his flock for an impromptu church service on a grassy knoll in Golden Gate Park. Beside the minister stood a young man with a battered cornet. His melody drew hundreds of refugees of all denominations and creeds. They repeated in solemn voice “Other refuge have I none, hangs my helpless soul on Thee; leave, oh, leave me Several auxiliary instruments used in tonight’s concert are on generous loan from not alone, still support and comfort me.” After the glorious and majestic finale, the the Boston College Bands Program. coda, or epilogue, ends quietly with the final unresolved chord signifying the danger that still lurks beneath the Earth. It can and will strike again someday.

–Steven Reineke