Young Artists Wind Ensemble

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, Piano 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 conducted 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 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

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