Bolcom[& Friends Band • Michael Haithcock

ExEcutivE ProducEr: Frank Koonce SESSion EnginEErS: Jason Corey: Bolcom Concertos ProjEct ProducEr: Michael Haithcock Dave Schall: Stephenson, Bolcom rEcording SESSion ProducErS: Cabaret Songs, Dooley Stephen Meyer (Dooley) Editing, Mixing, And MAStEring EnginEEr: Mary Schneider (Bolcom Cabaret Songs) Dave Schall, Acoustic Sound and Courtney Snyder (Bolcom Concertos, Recording, Ann Arbor, Michigan Stephenson) grAPHic dESign: Savitski Design, rEcording Production ASSiStAntS: Ann Arbor, Michigan Madeline Aiken Joshua Anderson Production And Audio rEPlicAtion: Lindsay Bronnenkant World Class Tapes, Ann Arbor, Michigan & Giovani Briguente Bolcom[ All works recorded at Thomas Gamboa on the University of Michigan campus: David Jackson Stephen Meyer Clarinet Concerto–January 29, 2017 Joshua Roach Stephenson–September 26, 2017 Friends Nick Smith Cabaret Songs–November 14, 2017 Elliott Tackitt Dooley–February 1, 2018 FeaturI ng Trombone Concerto–November 20, 2017 University of Michigan Matt Albert–Violin Special thanks to Roger Arnett, Symphony Band Joseph Alessi–trombone EQUILIBRIUM Anna Darnell, Paul Feeny, Alizabeth Chad Burrow–clarinet Nowland, Dane Racicot, and Jonathan Michael Haithcock Smith for their support of this project. William Campbell–trumpet RECORDINGS IncludI ng musI c b y Joan Morris–Vocalist www.equilibri.com Paul Dooley and James Stephenson Logan Skelton– Bolcom[& Friends University of Michigan Symphony Band • Michael Haithcock ConCerto for Clarinet CoaSt of dreamS (2014) and Band (1988) Paul Dooley (b. 1983) William Bolcom (b. 1938) Premiere recording, band version Premiere recording, band version 9 FloWerS oF our loSt roMAnCe 1 Allegro William Campbell, Amanda Ross, 2 CAntAbile and Isaac Hopkins, Trumpet 3 SCherzo–FinAle Salvador Flores, Chad Burrow, soloist Chad Lilley, Soprano Saxophone 4 the Storyteller (2013) 10 veloCity FeStivAlS James Stephenson (b. 1969) Premiere Recording, Chamber Winds Version ConCerto for tromBone (2015) William Bolcom Matt Albert, Violin Premiere recording, band version William Campbell, Trumpet Euphonium Percussion Double Bass Participation key 11 QuASi unA FAntASiA Amanda Ross, Off-stage Trumpet riley bahin 1 colleen bernstein 2,5 conor Flynn 1,2,3,4,5 clarinet concerto 1 12 blueS Joe broom 3,4 connor darling 1,4 connor reinman 1,4,5 The storyteller 2 four CaBaret SongS (1977–1985) 13 ChArAde sean Jobes 4 anthony demartinis 4 Harp cabaret songs 3 William Bolcom elliot Polot 1,5 coast of dreams 4 Joseph Alessi, soloist nigel Fernandez 4,5 celisa gutierrez 1,4,5 Premiere recording, band version Tuba danielle gonzalez 2 celia van den bogert trombone concerto 5 5 over the PiAno matthew baker 2,4,5 andrew grossman 1, 3 2 christopher Hall 4 griffin Harvey 1,2,4,5 6 Song oF blACk MAx Piano/Celesta evan Zegiel 1 Jonathan mashburn 7 WAitin grace Zhang 1,5 1,4 8 george Timpani danielle gonzalez 4,5 tanner tanyeri 5 Joan Morris, Mezzo-Soprano casey Voss 1 cameron Wilson 4 Logan Skelton, Piano University of Michigan syMPhony B anD 21 Andrew Grossman, Drum Set univerSity of michigan Symphony BanD William Bolcom “Many years before, the late clarinetist Bolcom[Friends Clarinet ConC erto and producer David Oppenheimer had Michael Haithcock Director of Bands, Arthur F. Thurnau Professor of Music tried to arrange a commission for me University of Michigan Symphony Band • Michael Haithcock niversity of Michigan Professor from Benny Goodman which never Emeritus William Bolcom, Piccolo E-Flat Clarinet BassoonCoaSt of dreamHorn S (2014) U took place, but many “Benny-isms” recipient of the 1988 Pulitzer Prize for Onalee Kineman 1 nick Thompson1,5 John bPaulyrne 4 Dooley (b.m 1983)ichaela clague 5 crop up throughout the Concerto. The maguette ndiaye 5 Peter ecklund 2,5 nick Kneupper 1 Music, maintains an active schedule of first movement, in a sort-of Sonata- B-Flat Clarinet Premiere recording, band version ellen sauer 4,5 James campbell 3,5 daniel Fendrick 1,4 tommy militello 4 performing and composing in spite of Allegro form, nevertheless has a strong saralyn Klepaczyk 1 christopher nichols 3 Flute mickayla chapman 5 FloWerS oF our loSt roMAnCe his retirement from active teaching. Goodman nuance, as does the slow matthew Wildman 3,5 daniel skib 1,2,5 maria castillo 2,5 allison chu 1 William Campbell, Amanda Ross, maxwell stein 1,2,3,4,5 The , who assisted in 12-beat-to-the-bar slow movement. cassandra Huerta 5 nataniel Farrar 1,2,5 Contra Bassoonand Isaac Hopkins, Trumpet esther Kim 4 mary Fortino 5 yousef el-magharbel 4 Patrick Walker 1,2,5,4 preparing the band version of his “What does the word “concerto” mean Salvador Flores,evan Alto Wright Saxophone 4 Onalee Kineman 1 catherine gu 1 liam Jackson 5 Clarinet Concerto from the original to us today? The root-word meaning is, Chad Lilley, Soprano Saxophone cassandra mullenix 1 catherine Heiba 4 trevor King 1 Trumpet orchestral score in 2014, offers the of course, playing together, and there maguette ndiaye 3,4,5 anita Ho 1 andrew gilliam 1 SaxophoneveloCity FeStivAlS following introduction to the work: are no rules to be followed in writing brett Patterson 1 michelle Ho 4 salvador Flores A2,A4 Isaac Hopkins 4 neil robertson 4,5 Harry Hwang 5 Kyle mallari 1,5 “In the 1970s, the New York Philharmonic a concerto, but we may note three JonathanCon HostottleCerto B3,B5 for tromBone (2015) Kaitlynn rodriguez 3,5 taylor Isberg 4 bret magliola 1,4,5 commissioned a number of general tendencies of the genre. First, russelWilliam Kerns S1 Bolcom ellen sauer 2,5 emily Ji 5 matthew amanda ross 1,2,4,5 to write concertos for the principals in it is usually a display piece for the soloist. Jordan smith 4 Katelyn laPrarie 4 Premiere recording,Katherine band version stephen 1 KoesterS2,T3,T5,B4 each section, and I had been asked by Second, some sort of opposition of the Jordan Kauffman4 Oboe chad QulilleyAS S4,S5i unA FATrombonentASiA concerto soloist and the accompanying leo Kim 1,4 my friend, first trumpeter Gerard Schwarz, sagar anupindi 4,5 connorblue mikulaS A1 John gruber 1 ensemble is implicit, though the type cassandra nielsen 4 to write one for him. He then quit the Jonathan conjurske 1 connorCh O’AtoolerA Bs1,T4de scott Hankins 5 of confrontation varies enormously; a mickenna Keller 1,5 spencer stromquist 1 emmett rapaport T1, Zongxi li 5 orchestra to begin his career as a full- Mozart, Beethoven, Tchaikovsky, Bartók, emily Kirven 2,3 Katie Thomas1,3 T2,A5 Joseph Alessi,s soloistam silverman 1 time conductor, and it was another nick Thompson2,3,4 aaron robinson 4 chance stine B1,A3 scott Vanderbilt 4 decade before principal clarinetist or Elliott Carter concerto differs wildly Joseph Velez 1 English Horn scott Watson 4 Stanley Drucker would request a from its peers in how the dialogue is Jeremiah Quarles 1 Bass Clarinet Bass Trombone concerto, which was premiered in articulated. A third usual given—not James campbell 1,2,4 benjamin cormier 2,5 matthew Halbert 1 January of 1992 by Mr. Drucker and necessarily true in our era—is that the leo Kim 3,5 derek mitchell 1 conductor with the concerto’s basic affect should be in aJ muusse 5 New York Philharmonic. some way popular: noble, passionate, simon lohmann 4

20 BolC om & f riendS University of Michigan syMPhony B anD 1 “deep,” perhaps, but public-oriented. “The second movement, Cantabile, national recognition. In 1951, the while molding the ensemble to their (Again, there are no rules: Elgar’s continues the gently jazzy atmosphere Concert Band (the “non” marching own experiences and expertise. band) was split into two organizations: Cello Concerto, and to some extent of this work in a slow, twelve-beat, Under the baton of Michael Haithcock, the Symphony Band and the Varsity Schumann’s, are very private works.) blues-gospel, songlike mood. The last the Symphony Band has won praise movement alternates a Brazilian chorinho Band, as a way of accommodating the “My three concertos to date—for piano from a wide range of audiences, with an ebullient Ravelian waltz.” increased numbers or participating (1976), violin (1983) and the one for composers, and critics. Reviews of students and further raising the quality clarinet (1988)—are quite different The version for band was commissioned recordings on the Equilibrium label of performances. from each other in the first two aspects by Dr. J. Blake Arrington. The composer have hailed the band’s “breathtaking I mentioned, but I have clearly intended wishes to thank Patrick Morgan for his Since 1951 the University of Michigan precision” as well as its “detailed, each as a public piece. The Clarinet technical assistance in producing the Symphony Band has been among the polished, and expressive phrasing.” Concerto, a tonal work, is centered performance materials for this version. leaders of the modern wind band Critics have also praised the band’s on the key of C minor. movement in America. Through “organ-like sound quality as something For additional information, see the recordings and performances in to savor.” Professional standards of “In the opening movement, Allegro, the composer’s website: williambolcom.com prestigious venues such as New York’s performance combined with the clarinet tune is taken up by the ensemble; Carnegie Hall, the Walt Disney Concert highest artistic standard in repertoire an extended dialogue occurs, returning Jim StephenSon Hall in Los Angeles, Beijing’s National remain the hallmark of the University several times to the first theme—hardly Center for the Performing Arts, and of Michigan Symphony Band and have a surprising plan. A solo cadenza, t he Storyteller La Scala, the UM Symphony Band is been displayed around the world rather unusually, occurs around the hicago based composer Jim known for its professional quality through international tours to Russia midpoint; this is practically the only cStephenson’s The Storyteller was of performance and keen sense of (1961), Europe (1971 and 1984), and the place in the Concerto where such written to honor the extraordinary “trailblazing” in building repertoire. May 2011 tour to China. techniques as flutter-tongue and life of Adolph “Bud” Herseth, who for H. Robert Reynolds (Revelli’s successor growl-tone are used. Unlike many Members of the Symphony Band are decades was the principal trumpet of who served as Director of Bands and Romantic concertos, the dialogue grateful to the UM Office of Research and the Symphony. Herseth remains conductor of the Symphony Band from between soloist and orchestra is the administration of the School of Music, a legend among trumpet players, and 1975 to 2001) and Michael Haithcock non-adversarial and friendly in tone; Theatre and Dance for their generous for many was considered the “gold (who succeeded Reynolds in 2001) the movement ends quietly. support of this project. standard” by whom all else are judged. have continued the tradition of excellence established by Revelli,

2 BolC om & f riendS University of Michigan syMPhony B anD 19 repertoire. He is in constant demand as univerSity of michigan The composer’s “I do remember distinctly, perhaps a guest conductor as well as a resource Symphony BanD perspectives on when I was 12, one day, when I was person for symposiums and workshops a Brief hiStoriCal SketCh Herseth provide the practicing out of the famed Arban in a variety of instructional settings. In inspiration for book, getting really bored, and looking 2011, he was awarded the Distinguished he long history of the University this composition: for something else to practice. I thought Service to Music Medal by Kappa Kappa of Michigan Symphony Band to myself: ‘Well, if I’m to be principal T “I first heard Adolph Psi National Honorary Band Fraternity. began in 1927 when Leonard Falcone trumpet of the Chicago Symphony ‘Bud’ Herseth was hired as Director of Bands at the someday, I’d better learn how HE does A graduate of East Carolina University, live at roughly the University of Michigan and served as it.’ So I put the Arban book down and where he received the 1996 Outstanding age of nine or ten. My parents bought the first musician to hold the position found all of the recordings of Pictures Alumni Award from the School of Music, box seats (with chairs that swiveled!) who did not come from a military that we had in the house. I think we and Baylor University, Haithcock has for a concert at Orchestra Hall, Chicago. background. Mr. Falcone’s musical had three: perhaps a Reiner, a Solti, done additional study at a variety of I’m almost positive that the CSO skills were an integral part of his hiring and a relatively obscure one in my mind conducting workshops including the was playing Pictures at an Exhibition, as the university sought to expand the at the time—Kubelik?—where Bud Herbert Blomstedt Orchestral Conducting but it might have been Pines of Rome, scope of its band beyond the athletic accented the notes more than other Institute. The Instrumentalist, the or something else with a huge trumpet field and parade ground. Due to illness, versions—anyway, I digress. The point Michigan School Band and Orchestra part. I’d love to tell you—in Hollywood Falcone was unable to serve past 1934. is: that is the moment I consciously Association, the School Musician, the fashion—that I looked up at my decided that he would be my role Southwest Music Educator, and Winds The hiring of William D. Revelli in parents at concert’s end, with tears model. A few years later, while at the magazine have published his articles 1935 began an exciting journey for the in my eyes, and exclaimed ‘That’s my Interlochen Arts Academy, I began on conducting and wind literature. band program as Revelli brought his instrument! I need a trumpet now!’ digesting every recording I could get Professor Haithcock is an elected “national championship” standards That wouldn’t be entirely true, but my hands on: the rich Bruckner member of both the music honor society from the Hobart, Indiana High School obviously the concert left an indelible recordings with Barenboim, the Reiner Pi Kappa Lambda and the American to the University of Michigan. Fiercely impression, because trumpet did Concerto for Orchestra (I still can’t Bandmasters Association. In addition, competitive and deeply musical, become my instrument shortly hear that excerpt without expecting a he remains active in College Band Revelli launched a crusade for higher thereafter. slightly missed B-flat near the end of Directors National Association following performing standards and a “modern” the solo), the Mahler 5s, the Lieutenant his term as president (2001-2003). repertoire that catapulted the University of Michigan bands into

18 BolC om & f riendS University of Michigan syMPhony B anD 3 Kije where he apparently ran up the trumpet lesson. I never took him up on michael haithcock assumed Ensembles under Haithcock’s guidance stairs for the offstage solo just before it; I was having chop issues (probably his duties as Director of Bands and have received a wide array of critical the red light went on, etc. . . . the beginning of my path to becoming Professor of Music (Conducting) at acclaim for their high artistic standards a composer) and didn’t want to waste the University of of performance and repertoire. These “But it was one piece in particular—and his time. Truth be told, I think he had Michigan in the accolades have come through concerts probably not the one you’d expect— already given me all the lessons I would fall of 2001 after at national and state conventions, that brought me literally to tears nearly ever need, in all of those recordings, twenty-three years performances in major concert venues, every time I played it, over and over, in when he made me cry, telling his on the faculty of the UM Symphony Band’s May 2011 my dorm room up at Interlochen. That stories through his trumpet. Baylor University. tour of China, and recordings on the was Stravinsky’s Song of the Nightingale Following in the Albany, Arsis, and Equilibrium labels. with Reiner. If you don’t know it, go “Bud Herseth died on April 13, 2013. footsteps of William A review of recent recordings in Winds get it. The lyrical solo (it happens I don’t play trumpet anymore, but I D. Revelli and H. magazine proclaimed: “programming twice) is some of the most beautiful had a chance to do something for Bud, Robert Reynolds, Professor Haithcock and execution of this caliber ought to playing you will ever hear. I was all of to compose a piece in his memory. conducts the internationally renowned be available worldwide...musically about 15 years old, and I was erasing all The title comes from an article written University of Michigan Symphony impressive, giving a sense of elation” of my rock n’ roll tapes (yes, tapes!) to about Bud, an article I recall reading Band, guides the acclaimed band and while the American Record Guide record everything of Bud’s I could get while a teenager. It described how wind ensemble graduate conducting praised the “professional manner with my hands on. Ah, the power of music. Bud didn’t just play the trumpet, he program, and provides administrative which the group delivers. . . they show told a story with every note he played. “Later, in 1993, I had the fortunate leadership for all aspects of the great skill and artistry’ and proclaimed I endeavored, through the course of this opportunity to play a round of golf with University of Michigan’s diverse and the “sound of the UM Symphony Band piece, to tell the story of Bud as best I Bud. He came down to my favorite historic band program. In February of is something to savor”. could. There are subtle references to course (an hour away), and we played. 2012, he was named an Arthur Thurnau many of the famous orchestral trumpet Professor Haithcock is a leader Of course, his trumpet advice to me Professor by the University of Michigan excerpts that I listened to him play the in commissioning and premiering was to practice. We were there to play which is the University’s highest award most. Of course, the aforementioned new works for band and has earned golf, and I didn’t want to force him to for excellence in undergraduate teaching. tear-jerker is saved for the end, with the praise of both composers and talk trumpet too much. At the end of a solo offstage trumpet hearkening to conductors for his innovative the round, he offered to give me a Bud himself—one last time.” approaches to developing the band

4 BolC om & f riendS University of Michigan syMPhony B anD 17 logan skelton, Arthur F. Thurnau As a composer, Skelton has a special Originally, the two soloist were wife, Joan Morris, whose voice heavily Professor of Piano and Director of affinity for , having composed accompanied by piano. The chamber inspired and effected his own cabaret Doctoral Studies in Piano Performance nearly two hundred songs, including winds version was commissioned by compositions. The authors made clear at the University of Michigan, is a numerous song cycles, many of which the University of Michigan Symphony the artistic heritage in which they were much sought-after pianist, teacher, have been recorded commercially and Band with support from the H. Robert participating, identifying a heavily and composer whose work has performed internationally. Critics have Reynolds Commissioning Fund to German cabaret lineage from Kurt received international critical acclaim. noted the close fusion of text and celebrate the university’s bicentennial Weill and Bertolt Brecht back through music in Skelton’s songs, how words (1817–2017). Arnold Schoenberg and further back As a performer, are “. . . illuminated with brilliance still to Franz Schubert. The 24 songs’ Skelton has For additional information, see the and deep emotional power,” American fascinating blend of sophisticated concertized widely composer’s website: composerjim.com Record Guide. In Fanfare magazine rhetoric and seeming lack of refinement in the United States, reviews, Skelton as a composer of song have led to their frequent inclusion in Europe, and Asia has been singled out for his ability to both vocal recitals and theatrical revues. and has been William Bolcom “. . . plumb the depths of emotion . . . Rarely predictable but always pleasing, featured on many four CaBaret SongS these are exquisitely crafted art songs the songs tread a most delicate balance public radio and in the American tradition . . . we are in he collaboration between poet between pathos and bathos. television stations the hands of someone who lives and and composer including NPR’s Audiophile Audition, T “Over the Piano” encapsulates the entire breathes song.” William Bolcom began in the 1960s, Performance Today, All Things Considered, cycle. Over a harmonically florid when the two worked together and Morning Edition, as well as on radio A devoted teacher himself, Skelton accompaniment, which makes heavy to write the musical theater piece in China and national television in has been repeatedly honored by the use of rubato, an engaging melodic Dynamite Tonite. In the late 1970s, Romania. He has recorded numerous University of Michigan, including in line, alternating between lyricism and they renewed their working discs for Centaur, Albany, Crystal, Blue 2003 the Harold Haugh Award for parlando style, tells an intriguing tale partnership again to produce Griffin, and Naxos Records, the latter excellence in studio teaching, and with a wry final twist. The “Song of four successful volumes of Cabaret on which he performed on two most recently in 2017 with the Arthur Black Max” is something of a through- Songs over the next two decades. with fellow composer-pianist William F. Thurnau named professorship, composed “Moritat of Mack the Knife” Bolcom. among the highest honors given to Bolcom had long been performing in from Brecht and Weill’s The Threepenny faculty members at the university. this elusive genre, accompanying his Opera. “Waitin” is resignedly simple.

16 Bolcom & Friends University of Michigan syMPhony B anD 5 The set closes with a calculated He sang songs to her featured on numerous recordings. Joan morriS was born in Portland, audience-pleaser, “George,” a darkly over the piano Currently the principal trumpet of Oregon. Her musical partner and humorous tale with music that references Sang long songs to her the Ann Arbor Symphony Orchestra, husband is composer/pianist William both and Puccini (as the lyrics over the piano he previously performed as principal Bolcom. The couple specializes in older mention the most famous aria from his Low slow songs trumpet with the Chicago Symphony popular songs, opera Madama Butterfly). lusty songs of love Orchestra, the St. Louis Symphony primarily from the Loving songs of long lost lust Orchestra, the Columbus Symphony first half of the The arrangements of the first three songs just for her Orchestra, and the Rochester twentieth century, were made by Ian Frenkel, arranger just for her Philharmonic Orchestra. He has but extending for the United State Coast Guard Band. over the piano performed with many internationally beyond that to William Bolcom arranged “George” Until at last renowned conductors including include both in the summer of 2017, using the at half-past four George Solti, Ricardo Chailly, contemporary same instrumentation as Frenkel, Everybody out the door! Charles Dutoit, Christopher Hogwood, cabaret songs and and adjusted the keys of the other She asked him please Leonard Slatkin, and Carlo Maria a number of songs dating back to the three songs. play me one more Giulini, among others. American Civil War. Their recordings The following synopsis of each song is Which he did for Nonesuch, RCA, Columbia, and In a recent tour in China, Professor written by William Bolcom. The texts and as he did Arabesque include songs by the great Campbell, a Bach Artist, was are by Arnold Weinstein. Slid off the bench songwriters of the 1920s and 1930s, appointed visiting guest professor and said to her; such as Kern, Gershwin, Porter, and of trumpet at the Shenyang Over the Piano (Vol. 1) and said to her over the piano Rodgers and Hart. They also have Conservatory of Music. Professor Goodbye. performed and recorded songs by the Imagine if you will a lonely piano bar Campbell has performed and rock-and-roll team of Jerry Leiber and at 4 in the morning. The pianist has presented master classes at more Mike Stoller. Together, they taught at actually drunk every drink he was than 50 universities throughout the University of Michigan for many offered and is eight sheets to the wind. the world. An equally oiled barfly hovers, Over years. Morris’s performance style is the Piano, hoping to take him home. nuanced and vibrant, and she is noted for honoring original versions of songs with historical accuracy.

6 BolC om & f riendS University of Michigan syMPhony B anD 15 Society of Oklahoma and is on the Competition, the 2000 Artist Song of Black Max (Vol. 1) He would raise that big black hat faculty of the Sewanee Summer Music International Competition, and (As told by the de Kooning Boys) to the bigshots of the town Festival and Alpenkammermusik the 1997 Fischoff National Chamber who raised their hats right back, One day in the 1950s, Arnold was Festival in Austria. Burrow is the Music Competition. never knew they were bowing to visiting his friend Willem de Kooning’s current principal clarinetist with the Black Max. Burrow serves as an artist for Backun studio. Willem’s brother had come to Ann Arbor Symphony and regularly I’m talking about night in Rotterdam Musical Services. He plays exclusively visit from Rotterdam, where they both performs with the Detroit Symphony when the right night people of all the town on Backun, MOBA clarinets. had grown up—they had not seen each and the Michigan Opera Theatre would find what they could other for 30 years—and for Arnold’s Orchestra. He is also the former william CampBell is professor of In the night neighborhood of benefit they reminisced about the principal clarinetist of the Oklahoma trumpet at the University of Michigan Black Max. bohemian life in their home city in the City Philharmonic, the New Haven and also has served on the faculties 1930s. (Much of medieval Rotterdam There were women in the windows Symphony, Quartz Mountain Music of Ohio State University and the was bombed flat by the Nazis in the with bodies for sale Festival, the Arizona Musicfest University of Kansas. At Ohio State, Second World War and rebuilt in the dressed in curls like little girls in little Orchestra, and the past associate Professor Campbell was awarded the fifties in the same ugly style as much of dollhouse jails, professor of clarinet at Oklahoma Outstanding Professor Award by the Germany.) The artists’ and prostitutes’ When the women walked the street City University. Sphinx and Mortarboard. section of the city was the same, and with the beds upon their backs, A recent recording of Brahms and Campbell performed for seven years as there was a lively street life. One of the who was lifting up his brim to them? Schumann, with pianist Amy Cheng, principal trumpet with L’Orchestra most picaresque characters on the Black Max! was released on CD Baby. He is also Maggio Musicale Rotterdam streets was “Schweerte And there were looks for sale, the clarinetist with Trio Solari. The trio Fiorentino in Max”; this is Black Max’s portrait the art of the smile, has had a regular touring schedule Florence, Italy, “as told by the de Kooning boys. only certain people walked that around the world since 2006. Burrow conducted by He was always dressed in black – mystery mile – is the winner of prizes and awards Zubin Mehta. long black jacket, broad black hat, artists, charlatans, vaudevillians, from the 2001 Young Concert Artist He has performed sometimes a cape – men of mathematics, acrobatics and International Competition in New as soloist with and as thin, and as thin as rubber tape. civilians. York City, the 2000 Woolsey Hall Mehta, toured five Black Max. continents, and is

14 BolC om & f riendS University of Michigan syMPhony B anD 7 There was knitting-needle music Waitin (Vol. 1) continuing his Mr. Alessi was invited by the International from a lady organ-grinder musical training Trombone Association to record a solo Librettist Arnold Weinstein regularly with all her sons behind her, at Philadelphia’s disc of newly composed works, which accepted many of my word ideas, Marco, Vito, Benno (Was he strong! Curtis Institute was distributed to the Association’s sometimes exactly as I gave them to though he walked like a woman) of Music. Prior to membership of 5,000 trombonists him, and I owe the opening notes and Carlo, who was five, joining the New in early 1999 and is now available as of Waitin, among many other musical He must still be alive! York Philharmonic, Beyond the End of the Century through ideas, to Arnold. (It was only many Mr. Alessi was Summit Records. His recording of Ah poor Marco had the syph, years later that I learned that the first second trombone George Crumb’s Starchild on the Bridge and if you didn’t take the terrible cure four bars of Waitin were not Arnold’s of the Philadelphia Orchestra for four record label, featuring Mr. Alessi as those days you went crazy and died own tune but actually written by Oliver seasons and principal trombone of soloist, won a Grammy Award for and he did. Lake for a Weinstein theater piece, and L’Orchestre symphonique de Montreal 1999–2000. Other recordings featuring And at the coffin before they closed the lid, it is high time this oversight is corrected, for one season. Mr. Alessi are with the Canadian Brass. who raised his lid? with my apologies to Oliver.) Black Max. Mr. Alessi is currently on the faculty Clarinetist, Chad Burrow, has a Waitin waitin of The Juilliard School. His students multifaceted career as an educator, I was climbing on the train one day I’ve been waitin now occupy posts with many major solo artist, chamber musician and going far away to the good old U.S. A. waitin waitin all my life. symphony orchestras in the United orchestral musician. In 2009, Burrow when I heard some music underneath That light keeps hiding from me States and internationally. As a clinician was appointed to the clarinet faculty the tracks. but it someday just might bless my sight. for the Edwards Instrument Co., he also of the University of Michigan, where Standing there beneath the bridge, Waitin waitin waitin has given master classes throughout the long black jacket, broad black hat, he teaches clarinet, world and has toured Europe extensively playing the harmonica, and George (Vol. 2) as a master teacher and recitalist. He one hand free to lift that hat to me: has served as the has performed as soloist with several Black Max, Black Max, Black Max. George is a composite portrait of a director for the number of transvestite (if only in their leading concert bands, including the Michigan Chamber singing selves) falsetto singers Joan U.S. Military Academy Band at West Players. Additionally, and I knew who specialized in the Point, U.S. Army Band (Pershing’s he serves as co- female operatic repertoire. (Ira Siff’s Own), and the U.S. Marine Band artistic director for (President’s Own). the Brightmusic

8 BolC om & f riendS University of Michigan syMPhony B anD 13 the performerS playing has included work with the delicious La Gran Scena Opera Company but you gotta keep quiet Shreveport Symphony (as Concertmaster), performed in this style—not often while I sing Called “preposterously talented” the Baltimore Symphony, the Florida enough!—in New York, inspiring great and then a minute after. by Time Out Chicago, violinist and Orchestra, and a tenured position as hilarity and deep respect for the And call me Georgia. violist matt alBert is the chair of principal second violin of the Cabrillo troupe’s musicianship.) The kind of One fine day the Department of Chamber Music at Festival Orchestra. His summer festival murder mentioned in George was all too a stranger in a suit the School of Music, Theatre & Dance experiences include performances common around Christopher Street of navy blue at the University of Michigan. with the Eastern Music Festival, the when I lived in there in the 1960s. took George’s life Norfolk Chamber Music Festival, the Albert previously My friend George with a knife Ojai Music Festival, and three years as served as the used to say George had placed the artistic director of the Music in the director of Chamber Oh call me Georgia, hon, beside an apple pie he’d baked Mountains Conservatory in Durango, Music and SYZYGY get yourself a drink, and stabbed him in the middle Colorado. at the Meadows and sang the best soprano of Un bel di vedremo School of the Arts, Albert holds degrees from Oberlin in our part of town. which he sang Southern Methodist College and Conservatory, the for this particular stranger In beads, brocade and pins University, and he Cincinnati College-Conservatory of who was in the United Stated Navy. he sang if you happen in was a founding Music, and Northwestern University through the door he never locked The funeral was at the cocktail hour. member of Eighth Blackbird, with School of Music. and said, Get yourself a drink, We knew George would like that. whom he received numerous awards, JoSeph aleSSi was appointed and sang out loud Tears fell on the beads, brocades including first prizes at the Naumburg, principal trombone of the New York till tears fell in the cognac and pins Concert Artists Guild, Coleman, and Philharmonic in the spring of 1985. and the chocolate milk and gin in the coffin Fischoff Competitions, and three Although originally from Detroit, he and on the beads, brocade and pins. which was white Grammy awards for their recordings began musical studies in California because George was a virgin. When strangers happened through on Cedille Records. He has collaborated with his father, Joseph Alessi, Sr. as a his open door, Oh call him Georgia, hon, with Alarm Will Sound, Meredith high school student in San Rafael, George said, Stay. get yourself a drink. Monk and Vocal Ensemble, Seraphic California. He was a soloist with the Fire, ICE, and Wilco, and his orchestral San Francisco Symphony before

12 BolC om & f riendS University of Michigan syMPhony B anD 9 paul Dooley and all around William Bolcom of Christopher Rouse’s powerful CoaSt of d reamS southern California ConC erto for t romB one contribution to the form impressed guru. While at El me, and other recordings have shown aul Dooley’s music, described Alisal, I discovered illiam Bolcom’s Trombone a consummate musician with perfect Pas “impressive and beautiful,” one of the first WConcerto is the composer’s latest intonation, wide stylistic sense, lyrical embraces not only his Western southern California contribution to the literature for solo phrasing, and dazzling technique. Classical heritage, but also a cross- lifestyle magazines, instrument and orchestra. He has I always want to meet the performer cultural range of contemporary Land of Sunshine, previously composed concertos for I am writing for, and my meetings music, dance, art, technology, and published by piano (1976), violin (1984), clarinet with Joe gave me a focus. I hoped the interactions between the human Lummis beginning in the late 19th (1992), flute (1993), two pianos (1996), and intended that Joe’s warmth and and natural worlds. Dooley is a lecturer century. I began to hear a composition alto saxophone (1999), saxophone geniality will find their way into this in Performing Arts Technology at the in two movements as an emotional, quartet (2001), and soprano saxophone concerto, along with his interpretative University of Michigan. cultural, and musical exploration of this (2015). The Trombone Concerto, also breadth.” composed in 2015, was commissioned The composer offers the following romantic vision of southern California.” by the New York Philharmonic and the The concerto explores the trombone’s words about the inspiration behind For more information, see see the Shanghai Symphony Orchestra with diverse capabilities through an this composition: composer’s website: pauldooley.net the generous support of Edward opening movement that interweaves “Coast of Dreams is a musical tribute to Stanford and Barbara Scheulen who episodes of mysticism and vivacity, early Los Angeles. Inspiration came also funded the composer’s arrangement a slow movement with a relaxed when I visited El Alisal, a rustic home of the original version for band. rhythm-and-blues swing, and a finale built by Charles Lummis in the late in which the soloist’s rhythmically William Bolcom offers the following 1800’s, located in Arroyo Seco in liberated phrases earn forceful introduction to the piece: Northeast Los Angeles. Lummis was a responses from the accompanying Los Angeles Times journalist, an Indian “When I was informed that Joseph ensemble. rights activist, a historian, photographer, Alessi wanted a concerto from me I was delighted. His recorded performance

10 BolC om & f riendS University of Michigan syMPhony B anD 11