R e p o rScott Hanna, t editor Fall 2007 From the Podium Dear CBDNA Colleagues, pedagogy of teaching young conductors how to listen. A few years ago conducting the Montana All-State Greetings for the Fall! Band, I enjoyed some wonderful conversations about the teaching of undergraduate conducting with long- The fall is a time for fresh starts—the academic cal- time Florida State University choral conductor Rodney endar’s New Year Celebration. We come to the office Eichenberger. Prof. Eichenberger would keep his grade with renewed vigor and new goals with opportunities to book open on a table for the first part of the semester, again build trust and relationships with new colleagues, entering marks after conductors in the class appeared. new graduate students, and entering freshmen. It is a A few weeks into the semester an eager student noticed time for refreshing repertoire lists and syllabi, creating that everyone appeared to be making “C’s” in the class new desktop folders, agendas, and confirming calendar and anxiously asked Dr. Eichenberger, “What is it going dates. It is time for implementing ideas that come from to take to make an ‘A’ in this course?” To which the reflection time during the summer of ideas planted by professor replied, “Oh my, the ‘C’ means you conducted. conference presentations, reading, and research. This is You really want to get an ‘H,’ which means you heard.” my favorite time of year—once again filled with oppor- tunity for engaging with music and musicians every day. This scenario is repeated year after year in undergraduate conducting classes. Learning to listen critically while As the year began, I was searching for why the begin- also learning to conduct is a skill that needs further re- ning of the semester is so filled with eager anticipation search and pedagogical focus. The late Dr. Steve Paul, and I keep coming back to one principal thought. It is professor of music education at the University of Okla- the magical time for sharing musical inspirations with homa, University of Oregon, and University of Arizona, new students and colleagues. Passing on our educational commented frequently on the training of teachers and legacy to young professionals is truly a joy and privilege. conductors observing that if we trained undergraduate The special ideas we paid for in fees and time during col- performers like we traditionally trained teachers, then we lege, festivals, workshops, applied lessons, travel, CD’s would wait to have our players wait get their instruments (and LP’s!) are treasures that when shared sustain us. out until their senior year and then have eight weeks to prepare a recital! Steve’s Will Rogers-like practical side A primary source of our musical inspiration is rooted often hit the nail right on the head. You learn to teach in professional experiences through CBDNA confer- by teaching. Consequently, his curricular vision placed ences. Please open your calendar now and make sure conductors and teachers in front of class ensembles you have blocked out the dates for your division confer- through the entire undergraduate program allowing ence. Our Division officers and hosts have dedicated students time to move from self-concerned to group con- themselves to developing professional opportunities cerned. The frequency of conducting appearances has you will not want to miss! Give yourself the gift of much to do with the ability to develop listening skills. time to learn and grow. More information concern- ing regional conferences is available on cbdna.org. (contnued on page 2) 2009 CBDNA NATIONAL CONFERENCE DATES In This Issue: The University of Texas at Austin March 25 – 28, 2009 From the Podium ..................... 1 Performance applications due (postmarked) by Monday, April 7, 2008 News........................................ 2 - 4 Commissions and Premieres... 4 - 6 One of the future challenges of CBDNA is to continue developing and exchanging ideas on the teaching of Programs ................................. 7 - 10 conducting. In addition to the many practices in class- room structure and methods, a particular gap lies in the 2 - FROM THE PODIUM/NEWS FALL 2007 residence at the University of North Carolina at Char- From the Podium (continued from page 1) lotte. He can be reached at www.walterhartley.com We know that listening skills for developing Works completed since moving to North Carolina in conductors are rooted in person - July 2004: al musicianship that manifests itself in producing sound for communicating to an audi- ence. However, listening to your own sound, while 2004 related, is different than listening to multiple colors Trio Sonata for alto saxophone, cello and piano in the large ensemble. In reviewing existing con- ducting and methods textbooks only a small num- 2005 ber address a process for developing aural acuity in regard to ensemble pulse, resonance, rhythm, bal- • Nonet for Winds (woodwind, brass chamber work, ances, timbres, style, and musicality. I look forward UNCC premiere, Feb. 2006) to devoting future attention to this pedagogical gap. • Aria and Toccata for Bb clarinet and piano • Pentatonics for 3 Saxophones (ATB) The virtual world of CBDNA is growing! Webmaster • “Jordan’s Banks” for saxophone ensemble Larry Hoffman has collaborated with Stuart Sims to create a blog for members to exchange ideas and con- • Quintet for Bb Clarinet and string quartet verse electronically. I urge you to visit this site, which • Sinfonia Caroliniana (dedicated to the UNC-Char- has been jump-started by Stuart’s intriguing links and lotte Wind Ensemble, three-movement work, pub- ideas to check out as well as thought provoking articles lished by C. Alan Publications) on conducting body language and band in--or not in- • Chamber Suite for eleven players (small orches- -our culture by Gary Hill at Arizona State University. I look forward to the dynamic growth that is possible tra) from this interactive world within our profession. • Reminiscence for solo saxophone Another significant electronic evolution is that mem- 2006 bership dues may now be paid online with a credit • Trio—Sonatina for soprano and baritone saxophones card! Future innovative change will include the ability to vote electronically our future elections. Thank you and piano to Doug Stotter, Tom Verrier and Larry Hoffman as • Trio for reed (oboe, clarinet, bassoon) well as to Dick Floyd for their vision and work to take • Prelude and Dance for two soprano saxophones advantage of technology and streamline operations. and piano • Concert Music for eleven saxophones and piano As we begin the present CBDNA biennium and eventual focus for the 2009 National Conference in • Dance for two tenor saxophones Austin, I invite your ideas including research top- • Duo for tenor saxophone and piano ics, guest composer/lecturers, clinic topics, and any other item of business for the good of CBDNA. 2007 • Trio for Bb saxophones (STB) Respectfully submitted, • Shape Note Tune Variants Band (scheduled for Bill Wakefield, President UNC-Charlotte premiere, December 3, 2007) • Sinfonia Concertante for “Trio Bel Canto (alto, News tenor saxophone and piano) Saxophone ensemble and percussion WALTER HARTLEY AT 80 • Suite No. 3 for saxophone quartet (SATB) (in prog- submitted by Laurence Marks, ress) (scheduled for UNCC performance, February University of North Carolina at Charlotte 2008) Walter Hartley (b. 1927), who resides in Charlotte, NC, COLUMBUS STATE UNIVERSITY continues to be a prolific composer of wind ensemble and wind chamber music with various combinations of Columbus State University hosted their 11th Annual instruments. Dr. Hartley is an unofficial composer-in- Conductors Workshop this November featuring James F. 3 - NEWS FALL 2007 Keene (U of Illinois) and Jack Delaney (SMU) joining 2007 BRITISH ACADEMY COMPOSER AWARD Robert Rumbelow. Workshop participants and auditors CATEGORY FOR WIND OR BRASS BAND from all across the U.S. and Canada attended this popu- 5th December 2007 lar workshop. In addition to lecture sessions and panel discussions, there were three conducting sessions for the It was announced today that the 2007 Award has been participants which included the following repertoire: made to Edwin Roxburgh for his Oboe Concerto, An English Folk Song Suite - Vaughan Williams Elegy for Ur. This was commissioned by Tim Reynish • O Cool is the Valley - Persichetti as part of his series of works in memory of his third son, • Petite symphonie - Gounod and was premiered in June 2006 by Melinda Maxwell • La Creation du Monde - Milhaud and the RNCM Wind Ensemble. More information • First Suite in E-flat - Holst from Tim Reynish. The work is published by Maecenas. • Magneticfireflies - Thomas Runner up was another commission in the series, Waves • Danza de los Duendas - Galbraith and Refrains by David Horne, published by Boosey See http://music.colstate.edu/windensemble/conduc- and Hawkes. tors_workshop.asp for details. The 12th annual workshop will take place on November Elegy for Ur (2006) Edwin Roxburgh 21-22, 2008. Premiere date: June 27, 2006 Venue: Royal Northern College of Music Concert The Columbus State University Wind Ensemble and Hall conductor Robert Rumbelow are proud to announce Ensemble: RNCM Wind Ensemble their newest CD release on the Summit label. “Visions” Conductor: Timothy Reynish featuring Joseph Alessi, trombone soloist, will officially Duration: c. 14’00“ be released by Summit Records on January 1, 2008. The Ur could be described as the womb of history. It was CD features four major works with Mr. Alessi, and two a civilization which produced ‘works of art so rich works for wind ensemble alone. The repertoire on the and technically so perfect’, as Sir Leonard Woolley CD is as follows: described early Mesopotamian art. Modern Iraq inhab- • Colors - Appermont its the same soil and for several millennia the country • I wander the world in a dream of my own making has cared for its invaluable artefacts. As a result of the - Theofanidis catastrophic invasion by the USA and the UK this rich • Bright Window - David heritage was plundered and despoiled in the looting of • Refraction - Rumbelow the Iraq Museum in Baghdad.