Untitled - Naxos Music Library

CHILLING WINDS
Notes by Steven Dennis Bodner
Peter Mennin: Canzona
The creative impulse of the composer
requires a language for expression, and
whether he chooses a vocabulary that
already surrounds him, or one that
demands new resources, it is for him to
decide... Music doesn't tolerate artificial
barriers, because it tells us that nothing is
more important than the single human
being and his ultimate development. It
humanizes the human being.
Peter Mennin, from his opening
remarks to the Sixth Congress o f the
International Music Council (1968)
Peter Mennin (1923-1983) was regarded by his
peers as not only one of America's most gifted
composers, but also as one of its most influential
musical leaders. Although often grouped with the
traditional school of American symphonists (with
such composers as Roy Harris and William
Schuman), Mennin composed in a style all his
own, as described by Barry Kopetz:
His free-spirited approach fell into no particular
school of compositional style; he allowed the
basic materials of his craft t o dictate direction,
rather than forcing ideas into a predetermined
form ... He disliked the idea of composition
schools; it was unthinkable for him to write in a
style interchangeablewith that of another composer. Mennin firmly believed that a composition
should state something personal and that it must
come from within.
Generally, his music combines an aggressive,
rhythmic energy with a lyric, though always powerful, impulse. He acknowledged the influence of
Renaissance polyphony on his penchant for writ-
ing intricate, flowing counterpoint.
After studying with Howard Hanson and
Bernard Rogers at the Eastman School of Music,
he was appointed t o the composition faculty of
the Juilliard School in 1947. He remained there
until 1958, when he was named director of the
Peabody Conservatory. In 1962 he became president of Juilliard, a position he held until his
death. During his tenure, Mennin was responsible
for the establishment of its Theater Center
(1968), American Opera Center (1970) and
Contemporary Music Festival; he also oversaw the
school's move to the Lincoln Center for the
Performing Arts in 1969. He sewed on the boards
of many organizations, including the Composers
Forum, the Koussevitzky Foundation, ASCAP, the
National lnstitute of Arts and Letters, and the
State Department Advisory Committee on the
Arts. Among his many awards were the Bearns
Prize, the first Gershwin Memorial Award, an
award from the National Institute of Arts and
Letters, and two Guggenheim Fellowships (1949,
1957).
Canzona (1951). Mennin's only work for wind
band, was commissioned by the League of
Composers and premiered by Edwin Franko
Goldman and the Goldman Band. In choosing the
title Canzona. Mennin intentionally evoked the
legacy of the Renaissance canzone of Gabrieli
(1555-1612). Mennin treats the woodwind and
brass choirs as separate and distinct units, reminiscent of Gabrieli's antiphonal music, which
exploited the acoustical properties of the
Cathedral of St. Mark in Venice. In Canzona,
Mennin creates a densely polyphonic texture by
juxtaposing broad melodic lines with powerful
rhythmic figures, all the while subtly developing
his material through such devices as canonic imitation and augmentation.
Frank Ticheli: Shenandoah
Frank Ticheli (b. 1958) is Associate Professor of
Music at the University of Southern California. He
received his Doctor of Musical Arts and Master's
degrees in composition from the University of
Michigan where he studied with Pulitzer Prize
winning composers Leslie Bassett and William
Bolcom. His works have been described as
expressing "direct emotion, creating dramatic,
visceral impact." Previously the composer-in-residence of the Pacific Symphony Orchestra, he has
won both the Goddard Lieberson Fellowship and
the Charles lves Scholarship from the American
Academy of Arts and Letters, and first prize in the
eleventh annual "Symposium for New Band
Music" in Virginia. Besides Blue Shades and this
setting of "Shenandoah." he has written numerous works for wind band, including Cajan Folk
Songs Vesuvius, Sun Dance, and a setting of
"Amazing Grace."
The origins of the American folk song
"Shenandoah" are obscure, although it is known
the folk song dates from the nineteenth century.
Today, there exist many variants of both the music
and the text, ranging from pictorial representations of the Shenandoah River in Virginia to a
story of an early settler's love for a Native
American woman, the daughter of an Iroquois
chief named Skenandoah. Ticheli offers the following comments about his setting for band:
In my setting of "Shenandoah" I was inspired
by the freedom and beauty of the folk melody
and by the natural images evoked by the words,
especially the image of a river. I was less concerned with the sound of a rolling river than with
its life-affirming energy - its timelessness... The
work's mood ranges from quiet reflection,
through growing optimism, t o profound exalta-
tion.
"Shenandoah" was commissioned by the Hill
Country (TX) Middle School Symphonic Band,
Cheryl Floyd and Brad Smith, directors, to honor
the memory of Jonathan Paul Cosentino (19841997). As Jonathan was a horn player in the Hill
Country band program, Ticheli's setting opens
with the horns qently
- . .presentinq the folk sonq.
John Barnes Chance: Variations on a Korean
Folk Song
When John Barnes Chance (1932-1972) died
at the age of 40, accidentally electrocuted in his
own back yard, he was Head of Theory and
Composition at the University of Kentucky. A
graduate of the University of Texas, Chance studied composition with Kent Kennan and Clifton
Williams. Under the auspices of the Ford
Foundation Young Composers Project, he was a
composer-in-residence in Greensboro, North
Carolina, 1960-1962. He was also timpanist with
the Austin Symphony and arranger for the Fourth
and Eighth United States Army Bands.
While sewing in Seoul, Korea with the Eighth
United States Army Band in 1958-1959, Chance
became acquainted with the popular folk song
"Arrirang," which tells the sad story of a man
forced t o abandon his lover in the name of duty.
Chance's fascination with this poignant melody
culminated in his use of it as the theme in his
Variations on a Korean Folk Song (1965), which
won the American Bandmasters Association
Ostwald Award in 1966.
The pentatonic theme of "Arrirang," described
by Chance as "not as simple as it sounds," is
stated two times before five distinct variations
and a coda. Chance referred to the first variation
as an "exploration of the 'Oriental' flavor of the
theme, making full use of gong, temple blocks,
and similarly exotic equipment, on the premise
that it might be well t o exhaust these resources
early in the game, lest the audience - their
anticipation whetted by the title - stir restlessly
in their seats, waiting for the fun." The introspective second variation is quiet and serene, with the
original melody, an exact intervallic inversion,
played by the oboe. The tune is converted into a
militant trumpet tune in the fast-step-march third
variation. The fourth variation. "the real climax of
the piece" according to Chance, is a hushed
chorale, the theme made more dignified through
its lack of embellishments. The canonic fifth and
final variation leads directly into the coda, the
theme now stated in augmentation.
Norman Dello Joio: Variants on a Mediaeval
Tune
Born in New York City, Norman Dello Joio (b.
1913) is a descendant of three generations of
Italian organists. He began his music training
early, showing remarkable aptitude and facility;
by the age of 14 he was organist and choir director of the Star of the Sea Church on City Island.
He was a student at the Juilliard School of Music
for three years before studying with Paul
Hindemith at Yale. He has served on the faculties
of Sarah Lawrence College, the Mannes College
of Music, and Boston University (where he also
served as Dean of the University's School of Fine
and Applied Arts). For 14 years, beginning in
1959, he was associated with the Contemporaty
Music Project for Creativity in Music Education
(supported by the Ford Foundation), through
which young composers were placed in high
schools throughout the United States t o write
new music for the school ensembles.
As Richard Jackson writes, "The musical influences of Dello Joio's earlier life were 19th century
-
Italian opera, Catholic church music, and the
popular music and jazz of New York in the 1920s
and 30s. Dello Joio fused elements of these to
form the vocabulary for his subsequent creative
work." His music, described by Hindemith as
"lyrical by nature," is generally quite extroverted
and colorful, while following neoclassical tendencies in its adherence to classical forms and incorporation of traditional harmonies. He has composed in practically all genres: symphonies, chamber music, choral works, modern dance and ballet scores, an opera, and others. He has won
numerous awards, including two Guggenheim
Fellowships (1943 and 1944). two New York
Music Critics' Circle Awards (1948 and 1962).
and the Pulitzer Prize in 1957 for his Meditations
on Ecclesiastes. In 1961 he was elected to the
National Institute of Arts and Letters, and in 1965
he won an Emmy Award for "outstanding music
written for television" for his orchestral score to
an NBC broadcast of "The Louvre." (Later, at the
suggestion of Kenneth Snapp, former conductor
of the Baldwin-Wallace College Symphonic Band,
he arranged music from this television score as a
five-movement suite for wind band - Scenes
from "The Louvre.")
Variants on a Mediaeval Tune (1963), commissioned by the Maty Duke Biddle Foundation for
the Duke University Band, was Dello Joio's first
work for wind band. The melody used for this
straightforward theme and variations, "In dulci
jubilo" (In sweet jubilation), has been utilized by
many composers, including Johann Sebastian
Bach (BWV 608). as a subject for variation. (In
fact, Dello Joio set this theme again four years
later in "The Nativity Paintings," the fourth movement of his Scenes from "The Louvre.') Although
the exact origins of the melody are unknown,
some of its earliest uses date back to the early
16th century and Mart~nLuther. Dello Joio's treatment of the tune, each variation contrasting in
tempo and character, serves as an exploration of
the sonic possibilities of the wind band in the
middle of the twentieth century.
Roger Nixon: Reflections
Now Professor Emeritus at San Francisco State
University, Roger Nixon (b. 1921) was elected t o
the American Bandmasters Association in 1973.
Although he has composed a cantata, a miniature opera and several works for orchestra, most
of his works were written for wind band. Before
being appointed in 1960 to the music faculty at
San Francisco State University (whose Symphonic
Band premiered many of his works), Nixon was
on the music faculty at Modesto Junior College
(1951-1959). He attended Modesto from 19381940 where he studied clarinet with Frank
Mancini, formerly of the Sousa Band. He continued his studies at the University of California at
Berkeley, where he received his B.A., M.A., and
Ph.D. degrees. His composition teachers included
Arthur Bliss, Ernest Bloch, Arnold Schoenberg and
Roger Sessions. Nixon has received several
awards, including a Phelan Award, the Neil A.
Kjos Memorial Award, and five grants from the
National Endowment for the Arts; his Festival
Fanfare March won the A.B.A. Ostwald Award in
1973.
Nixon offers the following thoughts on his
Reflections:
This music is both reflective in mood and
shape, and the general character resembles that of a chorale prelude. It is
monothematic, a germinal phrase played
by the solo flute at the outset functioning
as a basis for further melodic movement
and motival development. The work is
dedicated to the San Francisco State
University Symphonic Band, Edwin C.
Kruth, Director.
William Schuman: George Washington
Bridge
In the history of American classical music, there
can be no doubt that William Schuman (19101992) was one of the most significant composers.
most influentla1 teachers, and most important
administrators. Until 1934, though, Schuman was
a writer of popular music, including music to
lyrics by Frank Loesser. After studies at the
Salzburg Mozarteum and with such composers as
Roy Harris at Juilliard, he turned his interest exclusively to concert music. After winning an
American composition contest (in which Aaron
Copland was a member of the jury) with his
Symphony No. 2, Schuman won both the first
New York Music Critics' Circle award in 1941 (for
Symphony No. 3) and the first Pulitzer Prize in
music in 1943 (for A Free Song). He remains
among the most honored figures in American
music, having received 28 honorary degrees, two
Guggenheim fellowships (1939 and 1940), membersh~pin the National lnstitute of Arts and
Letters (1946) and later the American Academy
of Arts and Letters (1973), the first Brandeis
University Creative Arts Award in music (1957).
the Horbl~tAward from the Boston Symphony
Orchestra and Haward University (1980), the gold
medal from the American Academy and lnstitute
of Arts and Letters (1982) and a second, special
Pulitzer prize (1985).
Equally important were William Schuman's
contributions to music education. He revolutionized the way that education in music was conceived, as evidenced by his remarks to the Music
Teachers National Association Convention in
1959.
I do not believe that we have to prove the
validity of music as education. After all, the
importance of music in man's education ha been
recognized for centuries... We need not attempt
in a general way t o justify the value of music as
education. What we do need to do, however, is
t o determine which of our activities can be considered as basic t o the curriculum and constitute
significant education and which are rather in the
realm of extracurricular entertainment.
After teaching at Sarah Lawrence College
(1 935-1945) and sewing a three-year term as
director of publications at G. Schirmer, he
became president of the Juilliard School, a position he would hold for 17 years. Not only did he
invite a number of distinguished composers to
join the faculty (including Peter Mennin and
Vincent Persichetti), he began an extensive reorganization of the school - in fact, he "created"
the Juilliard School of Music by merging the
Institute of Musical Art with the Juilliard Graduate
School. During his tenure, the Juilliard String
Quartet (which became the model for many quartets-in-residence at American colleges) was
founded and, perhaps most importantly, the
"Literature and Materials of Music" curricular
program, which fused theory and history into a
single coherent four-year course, was instituted.
Schuman was a champion of the wind band
medium. In addition to George Washington
Bridge (1950). he reworked all three movements
of his New England Triptych for the wind band
and wrote several original works for band as well,
including Newsreel(1941) and American Hymn
(1981). About George Washington Bridge, subtitled "An Impression for Band," Schuman wrote
the following:
There are few days in the year when I do
not see the George Washington Bridge. I
pass it on my way to work as I drive
along the Henry Hudson Parkway on the
New York shore. Ever since my student
days when I watched the progress of its
construction, this bridge has had for me
an almost human personality, and this
personality is astonishingly varied, assuming different moods depending on the
time of day or night, the weather, the
traffic and, of course, my own moods as I
pass by.
I have walked across it late at night when
it was shrouded in fog and during the
brilliant sunshine hours of midday. I have
driven over it countless times and passed
under it on boats. Coming t o New York
City by air, sometimes I have been lucky
enough to fly right over it. It is difficult to
imagine a more gracious welcome or dramatic entry to the great metropolis.
Larry Daehn: With Quiet Courage
For 35 years Larry Daehn (b. 1939) directed
elementary and high school bands, including 27
years at New Glarus High School in Wisconsin. A
scholar of the life and music of Percy Aldridge
Grainger, he has dedicated his professional life
since 1987, as owner of Daehn Publications, to
composing and arranging music for wind band.
In correspondence with Glen Hemberger at the
University of North Texas, Daehn offers the following remarks about With Quiet Courage:
With Quiet Courage was written in memory of my mother, Lois Daehn. She
inspired many people because of her
grace, kindness, and strength. She was
born humbly, grew up poorly in the
Depression; she didn't get many "breaks"
in life. In mid-life she was struck by many
health problems. She lost much of her
eyesight and both legs to diabetes. But as
one of the speakers at her funeral said, "I
never thought of her as handicapped."
She wanted no pity. She was more concerned about those around her, that her
misfortunes might worry them. There is
not a day that I don't think of her, and
others tell me that they also remember
her often. She inspired many of us.
Whenever we face great obstacles, we
think of the courage and determination
of Lois Daehn, and we know that we can
go on and face just about anything,
because she did; because she courageously lived her life and faced her death
with quiet courage.
I tried to make the music like her: simple,
with strength, nobility, and beauty.
With Quiet Courage was premiered by the
United States Navy Band on September 16, 1995.
Dan Welcher: Zion
Professor of Composition and founderfconductor of the New Music Ensemble at the University
of Texas at Austin, Dan Welcher (b. 1948) is
quickly becoming one of the most honored living
American composers. Besides five Pulitzer Prize
nominations, he has received a Guggenheim
Fellowship (1997) and grants from the National
Endowment for the Arts, the Rockefeller
Foundation, the MacDowell Colony and the
American Music Center. He has written for a
wide variety of mediums - such as orchestra.
band, opera -and his music, described by
Joshua Kosman as "rhythmically exuberant and
graced by a lyrical undercurrent." has been performed by major ensembles throughout the
United States, including the Chicago, Saint Louis,
and Dallas symphony orchestras. His composition
teachers include Warren Benson and Samuel
Adler at the Eastman School of Music and
Ludmila Ulehla at the Manhattan School of
Music. In addition to being a composer, Welcher
is also a bassoonist; prior to joining the faculty at
the University of Texas at Austin, he served for six
years as principal bassoonist of the Louisville
Orchestra, while teaching theory and composition
at the University of Louisville.
Dedicated to the memory of Aaron Copland,
Zion was commissioned in 1994 by the wind
ensembles of the University of Texas at Arlington,
the University of Texas at Austin, and the
University of Oklahoma. Welcher offers the following notes:
Zion is the third and final installment of a
series of works for Wind Ensemble
inspired by national parks in the western
United States, collectively called "Three
Places in the West." As in the other two
works (The Yellowstone Fires and Arches),
it is my intention to convey more of an
impression of the feelings I've had in Zion
National Park in Utah than an attempt at
pictorial description. Zion is a place with
unrivalled natural grandeur, being a sort
of huge box canyon in which the traveler
is constantly overwhelmed by towering
rock walls on every side - but it is also a
place with a human history, having been
inhabited by several tribes of native
Americans before the arrival of the
Mormon settlers in the mid-nineteenth
century. By the time the Mormons
reached Utah, they had been driven all
the way from New York state through
Ohio and through their tragic losses in
Missouri. They saw Utah in general as "a
place nobody wanted" but were
nonetheless determined t o keep it to
themselves. Although Zion canyon was
never a "Mormon Stronghold," the people who reached it claimed it (and gave it
its present name) had been through
extreme trials.
It is the religious fervor of these persecuted people that I was able to draw upon
in creating Zion as a piece of music.
There are two quoted hymns in the work:
"Zion's Walls" (which Aaron Copland
adapted to his own purposes in both Old
American Songs and The Tender Land)
and "Zion's Security," which I found in
the same volume where Copland found
"Zion's Walls" -that inexhaustible storehouse of nineteenth-century hymnody
called "The Sacred Harp."
Leonard Bernstein (arr. Frank Bencriscutto):
"Profanation" from Symphony No. 1
Arguably the most famous and successful
native-born figure in the history of classical music
in the United States, Leonard Bernstein (19181990) was a composer, conductor, pianist and
pedagogue. As David Schiff writes, "he bridged
the worlds of the concert hall and musical theatre, creating a rich legacy of recordings, compositions. writings and educational institutions."
From 1958-1969, he was the music director of
the New York Philharmonic Orchestra (the first
American-born conductor to hold the position),
introducing thematic programming and creatlng
the televised Young People's Concerts. In 1973
Bernsteln gave the Norton Professor of Poetry lectures at Haward (filmed for TV and published as
The UnansweredQuestion). He won almost every
award the American music world had to offer,
except the Pulitzer Prize - among others, he was
awarded the Kennedy Center Honor for a
Lifetime of Contributions to American Culture
Through the Performing Arts, election t o the
American Academy and Institute of Arts and
Letters, 11 Emmy Awards and the Lifetime
Achievement Grammy Award from the National
Academy of Recording Arts and Sciences. A student of Walter Piston (at Harvard) and Virgil
Thomson (at the Curtis Institute), Bernstein created a musical style that was uniquely his. His most
profound influence, though, was Aaron Copland;
as Schiff continues, "Bernstein took up the Judaic
and jazz elements from 1920s Copland, which
Copland had mostly abandoned, bringing the
jazz up to date in a manner derived from Woody
Herman, and giving the prophetic, cantorial elements of early Copland a less austere, more lyrical treatment."
Bernstein achieved international prominence
through a series of events in the early 1940s. A
year after being named Sergei Koussevitzky's
assistant at Tanglewood, Bernstein was appointed
assistant conductor of the New York Philharmonic
Orchestra in 1943. When Bruno Walter, than conductor of the orchestra, was indisposed on the
evening of November 14, 1943, Bernstein
replaced him; this dramatic debut, in a concert
broadcast nationally, brought him instant fame.
He immediately followed that success with three
others. His Symphony 1 ("Jeremiah"), premiered
by the Pittsburgh Symphony Orchestra in January
1944, won the New York Music Critics' Circle
award as the best American work of the year.
Also in 1944, the ballet Fancy Free, choreographed by Jerome Robbins, was first performed
at the Metropolitan Opera House and On the
Town opened on Broadway. Not even 30 years
old, Bernstein had already catapulted to the center of the American music scene, as a conductor
and as a composer of both concert and stage
works.
Written in 1942 for a competition sponsored
by the New England Conservatory, Bernstein's
"Jeremiah" Symphony was an astonishing debut.
Although the work did not win the competition,
Fritz Reiner, Bernstein's conducting teacher at
Curtis, so admired the piece that he agreed to
premiere it with the Pittsburgh Symphony
Orchestra. (Ironically, after the Boston premiere in
February 1944, the Boston Globe, in obvious disagreement with the Conservatory, called it the
best new composition of the year.) Dedicated to
Bernstein's father, the 'Yeremiah" Symphony was
intended, according to Bernstein. to create an
"emotional quality," not relate a programmatic
story. In three movements, it is the first work of
Bernstein, born into a long line of Jewish rabbis,
to reflect his religious heritage. While the outer
movements ("Prophecy" and "Lamentation")
evoke the anxiety of the Jewish people during the
war years, the middle movement ("Profanation")
depicts, according t o Bernstein. "the chaos and
destruction brought about by the pagan corruption within the priesthood and the people."
"Profanation" is a manic scherzo, the liturgical
melody, derived from a chant used for synagogal
readings, undergoing a jagged rhythmic development.
Approved by the composer, this transcription
of "Profanation" for wind band was written by
Frank Bencriscutto (late Director of Bands at the
University of Minnesota) in 1952.
Frank Ticheli: Blue Shades
Blue Shades was written in 1996, the result of
a consortium commission of 30 high school and
university wind bands under the auspices of the
Worldwide Premieres and Commissioning Fund,
Inc. Ticheli writes the following about Blue
Shades:
In 1992 1 composed a concerto for traditional jazz band and orchestra, Playing
With Fire, for the Jim Cullum Jazz Band
and the San Antonio Symphony. That
work was composed as a celebration of
the traditional jazz music I heard so often
while growing up near New Orleans.
I experienced tremendous joy during the
creation of Playing With Fire, and my love
for early jazz is expressed in every bar of
the concerto. However, after completing
it, I knew that the traditional jazz influences dominated the work, leaving little
room for my own musical voice to come
through. I felt a strong need to compose
another work, one that would combine
my love of early jazz with my own musical style.
Four years and several compositions later,
I finally took the opportunity to realize
that need by composing Blue Shades. As
the title suggests, the work alludes to the
Blues, and a jazz feeling is prevalent however, it is not literally a Blues piece.
There is not a single 12-bar blues progression t o be found, and except for a
few isolated sections, the eighth-note is
not swung.
The work, however, is heavily influenced
by the Blues. "Blue notes" (flatted 3rds,
5th~.and 7 t h ~are
) used constantly; Blues
harmonies, rhythms, and melodic idioms
pervade the work; and many "shades of
blue" are depicted, from bright blue, to
dark, to dirty, t o hot blue.
At times, Blue Shades burlesques some of
the cliches from the Big Band era, not as
a mockery of those conventions, but as a
tribute. A slow and quiet middle section
recalls the atmosphere of a dark, smokey
blues haunt. An extended clarinet solo
played near the end recalls Benny
Goodman's hot playing style, and ushers
in a series of "wailing" chords recalling
the train whistle effects commonly used
during the era.
Massachusetts Wind Orchestra
The Massachusetts Wind Orchestra was founded in 1991 by Music Director, Malcolm W. Rowell,
Jr., and has captured the attention and participation of some 140 outstanding musicians from
throughout the East. This ensemble is now recognized as one of the finest professional ensembles
of its kind in the United States. The
Massachusetts Wind Orchestra provides quality
musical experiences to wind, brass and percussion
musicians while contributing to the cultural life of
our society.
The Massachusetts Wind Orchestra personnel
are professional musicians, educators and freelancers who have trained at many of America's
leading conservatories, colleges and universities.
The ensemble offers a unique opportunity to
experience and explore traditional and contemporary wind music while aspiring to the highest
musical standards. The Massachusetts Wind
Orchestra provides an avenue of professional
growth for its membership, and its innovative
programming honors the heritage of bands while
advancing the medium into the 2lst century
through commissions, premieres and recordings.
The MassachusettsWind Orchestra has
received critical acclaim for its creative interpretations from prominent composers Karel Husa.
Robert Stern, Michael Colgrass, David Maslanka
and John Corigliano, and has been featured several times in live broadcast on National Public
Radio's Performance Today. The ensemble regularly performs at the University of Massachusetts
Amherst Fine Arts Center Concert Hall, Boston's
Tsai Performance Center and Tanglewood's
Ozawa Hall where, on September 21, 1997, it
presented the first wind band concert in the history of Tanglewood.
Malcolm W. Rowell, Jr.
Director of Bands and Professor of Music,
Emeritus at the University of Massachusetts,
Amherst, Malcolm W. Rowell, Jr., is a strong proponent of new music, having commissioned and
premiered numerous wind compositions with the
University Wind Ensemble and Symphony Band of
which he served as principal conductor from
1980-2002.
In recognition of his professional work,
Professor Rowell has received the National Band
Association's Citation o f Excellence and the Kappa
Kappa Psi A. Frank Martin Award for his contributions t o college bands. In March 1997,
Professor Rowell was elected to The American
Bandmasters Association, the most prestigious
organization of its kind in the world. In 1979 he
was recognized for outstanding performance at
the "Band Director's Art" symposium at the
University of Michigan. He has also been frequently recognized as a University of
Massachusetts DistinguishedTeacher. In 1983 he
conducted at the World Association of
Symphonic Bands and Ensembles Conference in
Skein, Norway, and was twice selected as a conducting participant at the CBDNA National
Conducting Symposium at the University of
Colorado. Professor Rowell was invited to conduct at the 1994 National Concert Band Festival
at the Royal Northern Conservatory in
Manchester, England. He is Past-President of the
College Band Directors National Association
Eastern Division and the New England College
Band Association. He is frequently invited to serve
as guest conductor, clinician, and lecturer at state
and regional festivals throughout the United
States, England and Canada. His recordings
appear on Centaur and Albany Records.
Professor Rowell founded the University of
Massachusetts Youth Wind Ensemble and the
UMass Honor Band. He has served as Music
DirectorIConductor of the South Shore
Conservatory Summer Music Festival, Principal
Guest Conductor of the Symphonic Band and
Institute Wind Ensemble at the Hartwick Summer
Music Festival and Institute at Hartwick College,
Music Director of the Metropolitan Wind
Symphony and Visiting Conductor of the Boston
University Wind Ensemble. In the fall of 1991.
Professor Rowell was appointed Music
DirectorIConductor of the MassachusettsWind
Orchestra.
Welcher, Daehn, Bernstein and Ticheli (Blue
Shades) recorded January 17, 1999, University of
Massachusetts Amherst, Fine Arts Center, Concert
Hall
Dello Joio, Nixon, Mennin, Ticheli (Shenandoah),
Chance, and Schuman recorded January 23,
2000,University of MassachusettsAmherst. Fine
Arts Center, Concert Hall.
All works recorded by Harrison Digital
Productions, Jeff Harrison, audio engineer.
Publishers:
Peter Mennin: Canzona (Carl Fischer)
Frank Ticheli: Shenandoah and Blue Shades
(Manhattan Beach)
John Barnes Chance: Variations on a Korean Folk
Song (Boosey & Hawkes)
Norman Dello Joio: Variants on a Mediaeval Tune
(Belwin Mills)
Roger Nixon: Reflections (Mercury Music
Corporation)
William Schuman: George Washington Bridge (G.
Schirmer, Inc.)
Larry Daehn: With Quiet Courage (Daehn
Publications)
Dan Welcher: Zion (Elkan-Vogel, Inc.)
Leonard Bernstein, arr. Bencriscutto:
Profanation from Symphony No. 1 (Jaliu
Publications, Inc. - Boosey & Hawkes)
Massachusetts Wind Orchestra
Piccolo
John Zorn~g
Flute
Amy Burns
Tara Howard-North
Jennlfer Oliver
Jessica Maravel-Piccolo
Holly Sanders
Sally Tucker
Oboe
Gabr~elaYagupsky Dech
Lisa Smolen Jenkins
Lyndon Moors
English Horn
Lisa Smolen Jenkins
Bassoon
Orin Jacobs
Diane Lipartito
Blll Stoll
Contra Bassoon
Bill Stoll
E Flat clarinet
Su D'Ambrosio
Nathan Lafonta~ne
B Flat Clarinet
Elisabeth Bryant
Cara Caned1
Karen Cohan
Caroline Collins
Deborah Coon
Jul~eFreebern
Bets1 l r w ~ n
Nathan Lafontaine
Ron Lively
Douglas Metcalf
Carolyn Miller
Joel Nawalejak
Tracy Salazar
R~chardSanders
Kathryn Scott
Elizabeth Thorpe
Raymond Willard
Bass Clarinet
Gwen Winkel
Alto Saxophone
Kevln Burns
Dav~dJenk~ns
Bobby Larnbert
Angela Space
Diane Wernick
Tenor Saxophone
Stephen Ferrandino
Bar~toneSaxophone
Joshua Wolloff
Trumpet
Karen Atherton
Ron Bell
Neil Freebern
Jeffrey Hoefler
Karen LaVoie
Erich Ledebuhr
Eric Melley
Douglas Purcell
Anthony Russo
Donald Soutar
Horn
Fleur Branes
Jult Homes
Htlary Ledebuhr
Christ~neMortensen
Margot Rowland
Cathy Ryan
Kerr~eWtlson
Trombone
Timothy Atherton
Zach Barkon
Roy Campbell
Scott Pemr~ck
Ben Smar
Bass Trombone
William Carr
Scott Dunn
Euphonium
Paul Appleby
David Bussell
David P~per
Jessica W~lke
Tuba
Matthew Boucher
Matthew Gaunt
Rachel Hertzberg
Michael Milnarek
Adam Porter
M ~ h a eStephan
l
Piano
Nikki Stoia
Percussion
Daniel Albert
Peter Brogg~
Scott Bryant
Rob Flaherty
Brandon Flynn
Cindy Lees
Jenn~ferR~ce
Stephen Rice
Marc Whitman
Personnel Manager
Fleur Barnes
Librarian
Kathy Scott
Program Coordinator
Elisabeth Bryant
Percussion
Jen and Stephen Rice
Equipment Manager
Scott Bryant
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