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Wind Ensemble Concert Music Department Calendar of Events May 24, 7:00 pm Kairos & Friends Concert+ May 25, 7:00 pm Chamber Piano Music Recital* Central Washington University May 27, 8:00 pm Four Corners Horn Quartet Recital* May 28, 6:00 pm Domi Edson, double bass recital* Department of Music May 28, 7:00 pm Percussion Ensemble Concert+ presents: May 29, 6:00 pm Jazz Combo 1* May 29, 8:00 pm Jazz Combo 2* May 30, 6:00 pm Mitchell Edwards, voice recital* May 30, 7:00 pm Symphonic Bands Concert+ May 31, 3:00 pm Peregrine Spane, “How I Started a Music Festival at CWU”* May 31, 6:00 pm Joshua Lewis, voice recital* May 31, 8:00 pm Mackenzie Vigil, violin recital* June 1, 10:00 am Erik Poehlman, clarinet recital* June 1, 12:00 pm Valerie Campbell, graduate piano recital* June 1, 2:00 pm Keenan Elijah Dolan, voice recital* June 1, 4:00 pm An Afternoon of Jazz+ Wind Ensemble Concert June 1, 6:00 pm Caitlyn Woolcott-Rose, clarinet recital* June 1, 7:00 pm An Evening of Jazz+ June 1, 8:00 pm Michelle Rahn, faculty viola recital* June 2, 12:00 pm Heather Robinette, voice recital* Lewis Norfleet,conductor June 2, 2:00All pm dates and times subject to change.Isabella For the Henreiter, most recent voice recital* June 2, 3:00 pmcalendar of events,Matthew visit www.cwu.edu/music Jeroma, voice recital (Choir Room) Warren Murray, graduate conductor *June Recital 2, 3:00 Hall pm + Dr. WayneHenry S. Nordhorn, Hertz Concert pre-orchestra Hall concert $ Ticketed lecture* JuneParking 2, 4:00 is free pm every weekday after 4:30 p.m. and all day on weekends,Orchestra unless otherwise Concert+$ stated. June 2, 6:00 pm ***********************************************************Jacqueline Medina, voice recital* June 2, The7:00 Calendar pm of Events changesSeth frequently. McAlister-Mykrantz, For the most up-to-date trombone calendar, recital+ visit our website at www.cwu.edu/music or call (509) 963-1216 June 2, 8:00 pm Andrew Samuelson, percussion recital (Choir Room) June 3, 6:00 pm ***********************************************************Omar Garcia, euphonium recital* JulyPlease 12, turn 12:00 off your pm cell phone and refrain from the useJacob of any Sanders,electronic devices trumpet through recital* the duration of your visit to our facility. Thank you. July 17, 2:00 pm Geoff McKay, graduate trumpet recital* July 19, 2:00 pm ***********************************************************Chandler Little, trumpet recital* SeptemberCentral Washington 29, 2:00 University pm Music DepartmentKhaner continues Gross, to excel percussionbecause of generous recital* contributions from alumni, parents, and friends. While there are many ways to offer support Septemberthat will best 29, meet 4:00 your pm philanthropy goals, we invite youEli toMoffatt, join us in percussioncelebrating the recital* 125th Octoberanniversary 6, of 4:00 our stellarpm CWU Music DepartmentJeffrey by giving Snedeker, $125 to support faculty our horn students. recital* This Octobersupport will 12, allow 2:00 us pm to continue to provide top-tier teaching andKati training Couch, for our voice students. recital* For more information on how to achieve your giving goals, visit us at www.cwu.edu/give. October 19, 7:00 pm Thom Priest, bassoon; with Dan Lipori, bassoon; Thank you for all that you do to advance Central’s commitmentguest to excellence artist and concert* November 3, 2:00 pm connecting our world throughEmma music. Lindemeier, fl ute recital* Jerilyn S. McIntyre Music Building Concert Hall November 3, 4:00 pm Follow us on:Shayla Hetletvedt, fl ute recital* Wednesday, May 23, 2019 November 10, 3:00 pm CwuMusic-departmentJohn Pickett with CWU Faculty: 7:00 PM @CWUMusicDept Mozart Wind Quintet+ November 15, 6:00 pm Spencer Manning, trumpet recital* November 16, 2:00 pm Shaina Stuckey, voice recital* December 8, 12:00 pm Cole Lobdell, trombone recital* February 2, 2:00pm Sydney Johnson, fl ute recital* May 3, 12:00 pm Jordan Johnson, fl ute recital* May 3, 2:00 pm Emily Kraynak, fl ute recital* May 3, 4:00 pm Mao Oizumi, fl ute recital* May 3, 12:00 pm Flute Studio Recital* Program Wind Ensemble Personnel Finish Line (2006) Cindy McTee Piccolo Bass Clarinet Trombone (b. 1953) Jack Pritchard *Josephine Wells *Cole Lobdell Warren Murray, conductor Noah Pettibon Dillon Alas Flute John Joy *Elliott Westom Contra Alto Clarinet Sam Howard Emily Kraynak Steven Higbee Lindy Elggren Bass Trombone Hell’s Gate (1997) David Maslanka Emma McGuire Saxophone Seth McAlister (1943-2017) Dr. Adam Pelandini, alto saxophone *Ryan McKnight – Alto Chloe Pierce - Alto, Sop. Euphonium Jacob Krieger, tenor saxophone Oboe *Hayley Monk Jacob Krieger – Alto *Riley Lord Joe Walrath, baritone saxophone Erin McGranaghan Lane Wilkinson - Tenor Omar Garcia Henry Fernstrom – Bari English Horn Joe Walrath – Bass Tuba Erin McGranaghan *Lucas Cook Trumpet Hannah Reed Irish Tune from County Derry (1911) Percy Grainger Bassoon *Joshua Bell (1882-1961) *Brian McCarthy Tim Goei Bass Danny Ramirez Max Jones Brea Pierce Hailey Wagner Contra Bassoon Spencer Manning Piano Sam Viebrock Chandler Little Jake Houser Lincolnshire Posy (1937) Percy Grainger I. Lisbon (1882-1961) Eb Clarinet Horn Percussion II. Horkstow Grange Kris Prak *Sophie Mortensen *Aaron Rausch III. Rufford Park Poachers Joseph Bagdovitz Thomas Snedeker Ian Monahan Aaron Tuchardt IV. The Brisk Young Sailor Bb Clarinet *Mikaela Rink Evan Hagen Eli Moffatt V. Lord Melbourne Steven Higbee Tyler Ussery VI. The Lost Lady Found Kris Prak Michael Roach Sunny Lee Katelin Crowner Kyle Brooks *Principal/Section Leader dubist der helle Tag” (“Christ, you are the bright day”) – a beautiful metaphor, regardless of Lincolnshire Posy in 1937. It was premiered by the Pabst Blue Ribbon beer factory your cultural tradition, for the passage into self-awareness. I was further compelled to use this worker’s band in Milwaukee that same year on March 7. This premier was incom- tune because of the last two words of its title: “helle Tag” = “Hellgate”! plete: as is often the case today, the PBR band was not up to the challenge of the The work ends with the soul – the alto saxophone – transformed. It plays a quiet and beautiful harder movements. solo song. Wind Ensemble Composer Biographies Irish Tune from County Derry Percy Grainger (1882-1961) The tune now recognized as “Danny Boy” was virtually unknown when Grainger came across Cindy McTee (b. 1953) it in The Petrie Collection of the Ancient Music of Ireland, a work first published in 1855. Hailed by the Houston Chronicle as a composer whose music reflects acharging, churn- His discovery of the tune most likely occurred in 1901, shortly after he moved to England to ing celebration of the musical and cultural energy of modern-day America, Cindy McTee (b. embark upon a career as a solo pianist, and several years before he began collecting folksongs 1953 in Tacoma, WA) brings to the world of concert music a fresh and imaginative voice. on his own. Grainger’s first setting was for a six-part a cappella chorus, an arrangement made between 1902 and 1904. As is often the case in his folk music settings, Grainger credits his The works of Cindy McTee have received performances by leading ensembles in source, including George Petrie’s annotation to the melody: important venues throughout the world, including Carnegie Hall on five separate occasions. Among the many ensembles to have performed her music are: the Aspen For the following beautiful air I have to express my very grateful acknowledgement to Miss Festival Orchestra, the Buffalo Philharmonic, the Chamber Music Society of St. Louis, J. Ross, of New Town, Limvady, in the County of Londonderry, a lady who has made a large the China Philharmonic Orchestra, the Cleveland Orchestra, the Eastman Wind En- collection of the popular unpublished melodies of the county . .. The name of the tune unfor- semble, the Finnish Radio Symphony Orchestra, London’s Philharmonia Orchestra, tunately was not ascertained by Miss Ross, who sent it to me with the simple remark that it was the Lone Star Wind Orchestra, the Los Angeles Philharmonic, the Maryland Sym- “very old,” in the correctness of which statement I have no hesitation in expressing my perfect phony, the Moscow Philharmonic Orchestra, the National Symphony Orchestra, the concurrence. New World Symphony, the North Texas and Dallas Wind Symphonies, the Orchestre National de Lyon, the Orquestra Simfonica Illes Balears, the Pacific Symphony, the The setting for chorus was later adapted by the composer for a variety of ensembles, including Philadelphia Orchestra, the Pittsburgh New Music Ensemble, the President’s Own string orchestra, concert band, and full orchestra. Around 1920, in the midst of creating these U.S. Marine Band, the Showa Wind Symphony, Tokyo’s NHK Symphony Orchestra, orchestrations of essentially the same beautiful but straightforward arrangement, the composer the United States Army Field Band, Voices of Change, the Washington Metropolitan decided upon a radically different approach in a version he conceived for chorus, harmonium, Philharmonic, and the symphony orchestras of Baltimore, Bern, Billings, Boston, and an “elastic” combination of orchestral and/or band instruments. It is a highly chromat- Chicago, Colorado, Columbus, Dallas, Detroit, Flagstaff, Ft. Worth, Hartford, Hawaii, ic and haunting treatment that reveals Grainger at his idiosyncratic best. In a 1944 letter to Houston, Indianapolis, Nashville, Novosibirsk, Omaha, Pittsburgh, Puerto Rico, friends, the composer wrote, “Ella & I have just come from Oberlin College, Ohio, where I Rochester, San Antonio, Seattle, Shanghai, St. Louis, and Sydney. gave . my seldom-done ‘County Derry Air’ (which is the setting of ‘Irish Tune from County Derry’ written in 1920 for sing-band [chorus], organ & band—a setting which has nothing in Cindy McTee enjoyed a 30-year teaching career alongside her activities as a composer common with the 1902 setting.
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