College Band Directors National Association Fall 2012 Scott S. Hanna, editor CBDNA REPORT FROM THE PODIUM This will be my final installment of From the study fellowships for women and minority wind Podium and it has been a pleasure to represent conductors and it is appropriate that CBDNA has your interests over the past year and a half. named these conducting fellowships the CBDNA Everything now is building to the National Myron “Mike” Moss Conducting Fellowships. Conference March 20-23, 2013 at the University Mike altered the values of our organization by of North Carolina at Greensboro. making us more aware that we should be inclusive. He understood that diverse and open A few weeks ago, I attended the Memorial organizations are stronger institutions that are Program at Drexel University for our colleague built to last. Thank you Mike! and friend, Mike Moss. It was a beautiful program that included moving performances by This year marks the 100th anniversary of the the Drexel Concert Band and University Chorus, founding of the Joliet Township High School a musical tribute by saxophonist Carrie Koffman, Band in Illinois: the first American high school and comments from friends, colleagues, and band according to many sources. Many of our leaders from the Drexel community. It was with habits and methods of delivering musical great pride that I attended as a contingent of instruction derive from the first decades of the speakers from CBDNA that included Tom Duffy, 20th century when high school and college bands Paula Holcomb, and Glen Adsit. became embedded into American schools. What struck me most was how all these lives; The great challenge of our time is how to adapt students, faculty members, family, friends, former our model to fit new circumstances over which landlords, African American composers, and we have little control. One need not look hard to CBDNA colleagues were woven together through find examples of change threatening the existence the common bond of one humble man who fought of once stable institutions such as American hard for the underdogs in society. Mike never did symphony orchestras and public school band anything to call attention to himself and programs. These changes are unlikely to abate everything to champion the cause of those who and our ability to preserve the institution of the may have needed a little extra boost. He lived his wind band as a centerpiece of music education personal and professional life with the same and higher education rests upon how we react to a sincerity of purpose. different environment. The 2013 National Conference will build around this theme. Through Mike’s insistence and persistence CBDNA now regularly awards 10-12 conducting The Music Education Committee will give a IN THIS ISSUE From the Podium – 1 Conferences – 5 Resources – 6 Commissions and Premieres – 2 Recordings – 6 Programs – 8 CBDNA REPORT – 2 FALL 2012 summary of the Summer Band Education 3. What musical opportunities will our Symposium and lead a discussion of ways in students have after they leave our which one can incorporate new technologies to programs, how can we improve and augment pedagogy, alternatives for increasing the increase those opportunities, and how relevance of school band programs to local can we best prepare them for the communities through social engagement, ideas musical world they will live in? for expanding involvement in music programs, and ideas for building programs based upon The value of a professional organization such as musical artistry and creativity. CBDNA is that it provides the means for sharing information, raising issues of common concern, On the other end of the spectrum will be a session and providing the mechanism through which we devoted to dialogue with leaders in the arts can solve problems. We can have meaningful outside of education so that we can better dialogue about complex problems that affect us in understand the kinds of issues they are wrestling music education and the professional music with and what they see in the future. world. And, we will STILL have enough energy to enjoy the inspiring performances we will hear, Sandwiched between public school music meet the composers who create our repertoire, programs and the professional music world are learn about matters of historical importance, and the colleges and universities that prepare music savor the companionship of our colleagues after educators, music administrators, symphony hours. musicians, composers and arrangers, conductors, and consumers of music. Not only can we I look forward to seeing you in Greensboro! influence the outcomes in music education and the professional music world through our work as Eric Rombach-Kendall conductors and teachers, our livelihood is at stake based upon what happens before students reach COMMISSIONS AND our ensembles and the kinds of opportunities in PREMIERES music our graduates find once they leave our A Kiss Before the World’s End – programs. Houston Dunleavy It is understandable that many of us wish to focus The Omaha Symphonic Winds presented the our attention within our immediate sphere of American Premiere of Houston Dunleavy's influence and on those things we directly control. concerto for viola and wind ensemble A Kiss However, if we are to leave a legacy for future Before the World's End. The violist was wind conductors and music students, we must international soloist Brett Deubner who acknowledge our role and responsibility in performed the world premiere in Melbourne last maintaining a healthy arts environment for our December. society by seeking answers to several questions: Houston Dunleavy, composer of the concerto, was a visiting composer at James Madison 1. How can we improve and expand University, The Cleveland Institute of Music, musical experiences for students Ball State University, the University of Florida, before they reach our campuses? and Georgia State University, and now is a 2. What can we do within our ensembles university music instructor and composer in and through CBDNA to improve and Melbourne, Australia. expand musical experiences for our students and our audiences? CBDNA REPORT – 3 FALL 2012 While at American University in Washington, Camerata in Ukraine. Brett Deubner’s DC, Dunleavy was journalist Daniel Pearl's voice commitment to extending the repertoire for the teacher. Houston writes, "When the news of viola is made evident by collaborations with some Danny’s death came through in 2002, I, like of today’s greatest composers such as Samuel thousands of musicians and journalists around the Adler, Lalo Schifrin, Andrew Rudin, David Del world, was rocked. It took me a long time to think Tredici and several of this generation’s leading about placing my reactions to all of this into young composers. To date, over 25 viola concerti music. At first, I wanted to write a work for and numerous solo and chamber works for viola violin, as Danny had been a violinist. However, have been written for him. when I was approached by violist Brett Deubner Concertino Caboclo – Jess Turner for a new work, I thought that a concerto for viola might have a timbral quality that could be just as Composer Jess Turner has completed a exciting as the violin, but with an extra commission for flutist Tadeu Coelho for flute and somberness that only the viola could convey." piccolo solo with wind ensemble. Concertino Caboclo is five movements, performed without The concerto, a juxtaposition of ethnic musical break, based on characters found in Brazilian elements, begins with a keening melody on the myth and legend. A consortium consisting of the penny whistle, while the second section of the bands from Bob Jones University, Clemson work, played by viola, bongos, and the entire University, Coastal Carolina University, Furman ensemble, presents constant interjections from a University, and the Hartt School of the University harsh, even barbaric set of chords which represent of Hartford have underwritten this commission. the intrusion of barbarism into Danny’s life. This The premiere was performed by the Bob Jones instability of rhythm comes to an end with a University Symphonic Wind Band. Those lament for viola and brass chorale. Over interested in getting information about Concertino descending chords, one can hear the piccolo’s Caboclo may contact the composer at keening and the Middle Eastern scales in the [email protected] or at viola, bringing the work to a quiet close. www.jesslangstonturner.com. The title, A Kiss Before the World's End, Marche Funebre – Occide Jeanty Dunleavy says, "reflects the premature end of something more than the life of a good man, as The Sacred Heart University Bands performed tragic as that was. Instead, it acknowledges the what is believed to be the US premiere of Chery: end of a world for those left behind as well, and Marche Funebre by the Haitian composer Occide the pain and loss such an end leaves in its wake." Jeanty Chery. The American Premiere is a registered event of the 11th annual Daniel Pearl World Music Days. Occide Jeanty (1860-1936) is considered to be one of Haiti’s most important classical Brett Deubner, soloist for the American Premiere, composers. Born into a musical family, Jeanty is one of this generation’s most accomplished was awarded a scholarship to study trumpet at the violists, and has inspired worldwide critical Paris Conservatory with renowned trumpet player acclaim for his powerful intensity and sumptuous and instructor Jean-Baptiste Arban. While there tone. He has performed across the United States, he also began composition lessons, but political in nine countries on four continents. Recent instability back home required him to return to performances include concerto appearances with Haiti. In 1885 he left Paris and become music the New Jersey Symphony Orchestra, the director to President Lysius Felicité Salomon Knoxville Symphony, the Filharmonic del Quito, writing music for the Palace Band in Port-au- the New Symphony of Sofia and the Kiev Prince.