Programs - Long Island University

C.W. Post/Long Island University
Department of Music present the
Wind
ENSEMBLE &
Symphonic
BAND
James W. McRoy, Conductor
In four performances
Clarkstown South High School - West Nyack, NY
New Paltz High School - New Paltz, NY
West Genesee High School - Camillus, NY
New York State Band Directors Association 2003 Symposium
Wyndham Syracuse, East Syracuse, NY
Programs
Thursday, March 6, 9:00 a.m.
Clarkstown South High School
West Nyack, NY
Noisy Wheels of Joy (2002)
Variations on a Theme of Glinka (1878)
Matthew Sullivan, Oboe
Symphony for Band (1956)
III. Allegretto
IV. Vivace
Fantasia in G (1983)
Be Thou My Vision (2000)
The Black Horse Troop (1924)
Suite of Old American Dances (1950)
I. Cake Walk
II. Schottische
V. Rag
Eric Whitacre
Nikolai Rimsky-Korsakov
Vincent Persichetti
Timothy Mahr
David R. Gillingham
John Philip Sousa
Robert Russell Bennett
Thursday, March 6, 1:00 p.m.
New Paltz High School
New Paltz, NY
Symphony for Band (1956)
I. Adagio allegro
II. Adagio Sostenuto
III. Allegretto
IV. Vivace
Variations on a Theme of Glinka (1878)
Matthew Sullivan, Oboe
Fantasia in G (1983)
Symphonic Movement (1966)
Salvation is Created (1957)
Ralph Schroer, Conductor
Cantus Laetus (2001)
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Vincent Persichetti
Nikolai Rimsky-Korsakov
Timothy Mahr
Vaclav Nelhybel
Pavel Chesnokov
David R. Gillingham
Programs
Friday, March 7, 1:45 p.m.
West Genesee High School
Camillus, NY
Noisy Wheels of Joy (2002)
Symphony for Band (1956)
IV. Vivace
Be Thou My Vision (2000)
Barnum and Bailey’s Favorite (1913)
Bill Davern, Conductor
Suite of Old American Dances (1950)
I. Cake Walk
II. Schottische
V. Rag
Eric Whitacre
Vincent Persichetti
David R. Gillingham
Karl L. King
Robert Russell Bennett
Friday, March 7, 8:00 p.m.
New York State Band Directors Association 2003 Symposium
Wyndham Syracuse, East Syracuse, NY
Symphony for Band (1956)
I. Adagio allegro
II. Adagio Sostenuto
III. Allegretto
IV. Vivace
Variations on a Theme of Glinka (1878)
Matthew Sullivan, Oboe
Symphonic Movement (1966)
Salvation is Created (1957)
Jack Delaney, Conductor
Cantus Laetus (2001)
Vincent Persichetti
Nikolai Rimsky-Korsakov
Vaclav Nelhybel
Pavel Chesnokov
David R. Gillingham
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C.W. POST CAMPUS – LONG ISLAND UNIVERSITY
Wind Ensemble and Symphonic Band
James W. McRoy, Conductor
C.W. Post Band Program
With over forty years of history, the band program at C.W. Post provides university students
with outstanding performance and educational opportunities, featuring on-campus performances
at Tilles Center for the Performing Arts, and off-campus performances at local venues, as well
as regional, state and national conferences. The band program has commissioned new works
from leading composers and presents the C.W. Post Band Festival at Tilles Center every other
spring. University ensembles include a flexibly instrumentated Wind Ensemble, a large, fullyinstrumentated Symphonic Band, and a Pep Band.
C.W. Post Wind Ensemble
Dedicated to presenting the finest repertoire from all musical periods to its audiences, the
Wind Ensemble draws from contemporary and historical wind works, orchestral transcriptions,
as well as standard band literature. The size and instrumentation of the Wind Ensemble is
flexible and is dictated by the demands of the music being performed. This ensemble consists
of the most outstanding wind and percussion players at the university.
C.W. Post Symphonic Band
The Symphonic Band is an 80-member concert band consisting of graduate and undergraduate
music majors, minors, as well as interested university students. The Symphonic Band performs
standard repertoire as well as the most current compositions written for concert band. A fully
instrumentated ensemble with several players per part, the Symphonic Band regularly commissions new works for band and features guest composers, conductors, and world-class soloists in
performance.
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C.W. Post Department of Music
Performance opportunities for wind and percussion students include a Symphonic Band, Wind
Ensemble, Symphony Orchestra, Chamber Orchestra, Jazz Ensemble, Jazz Combo, Brass
Ensemble, Flute Ensemble, Percussion Ensemble, Saxophone Ensemble, Merriweather Consort:
Early Music Ensemble, and Pep Band. A full series of recitals and student concerts provide opportunities for students to perform as soloists, and as part of trios, quartets, and other chamber music
combinations. In addition to workshops and masterclasses, over 75 student performances are
hosted on campus each year, with several more occurring off campus at local and regional venues.
The university is home to the C.W. Post Chamber Music Festival, celebrating its 22nd season in
2003. This three-week summer festival provides students an opportunity to learn and perform in a
variety of settings from duets to larger chamber ensembles, while being coached by a world-class
faculty. Two faculty ensembles are in-residence at C.W. Post, The Pierrot Consort, (piano, string,
and wind chamber ensemble) and the Long Island Brassworks (brass quintet). The campus is also
home to Tilles Center for the Performing Arts, Long Island’s premiere professional concert hall.
Tilles Center presents over 70 professional events each season in music, dance, and theater,
featuring world-renowned artists. The Center is also the theatrical home for many of Long
Island’s leading arts organizations, including the Long Island Philharmonic.
Set high on a hill overlooking Long Island Sound, the Fine Arts Center houses the Department
of Music, creating an intimate, conservatory-like atmosphere within the framework of a large
liberal arts university campus of 12,000 students. The quality of our programs plus the rural
beauty of the campus within a close proximity to New York City, has served as a major
attraction for perspective students. The Department offers Bachelor of Music Degrees in Music
Performance and Music Education, Bachelor of Science Degrees in Music, Music Education,
and Arts Management, Master of Arts Degrees in Music History/Literature and Music Theory/
Composition, and a Master of Science
Degree in Music Education.
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Wind Ensemble
Bass Clarinet
Brian Fort
Dennis McLoughlin
Saxophone
Brian Siemers
Joseph Steiner
Michael Talavera
Michael Schieferstein
Horn
Kimberly Goldsmith
David Hecht
Alison Schmalenberger
Piccolo
Danielle Schulman
Flute
Mishel Colella
Krista Patnode
Nazli River
Kate Stager
Oboe
Tara Mayernick
Tiffany Robinson
English Horn
Tiffany Robinson
Bassoon
Matthew Bayen
Myesha Porter
Clarinet
Dawn Cassidy
Juliette Corradino
Sean Denniger
Kelly Parra
Michelle Raffanello
Carrie Silverstein
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Trumpet
Paul Conefry
Peter Deschler
George Glikos
Alberto Ievoli
Joseph Naples
Justan Dakes
Trombone
David BentleyGarfinkel
Tony Williams
Chris Lippe
Euphonium
Paul BrunettiHuneke
Rebekka Peterson
Tuba
Erik Carlsen
Matthew Vincoli
Percussion
Bryan Crockett
Thomas DePrima
Daniel Hecht
Brian Wishin
Piano
Michael Sydor
Symphonic Band
Piccolo
Danielle Schulman
Flute
Ashley Bednarski
Rebecca Carlson
Amanda Cataldo
Mishel Colella*
Angela D’Amico
Heather DiPino
Christopher Morrison
Jennifer Murray
Krista Patnode*
Nazli River
Kate Stager
Oboe
Tara Mayernick
Meredith Mucaria
Tiffany Robinson*
Bassoon
Matthew Bayen
Rocco Cappello
Myesha Porter*
Clarinet
Renee Bacchus
Dawn Cassidy*
Melissa Cooper
Juliette Corradino
Richard Knice
Michael Kohler
Allison Kostek
Alexis Levine
Kelly Parra
Kimberlee Morritt
Michelle Raffanello
Carrie Silverstein
Bass Clarinet
Sean Denniger
Brian Fort
Dennis McLoughlin*
Alto Saxophone
Katherine Hanson
Daniel Kohler
Jessica Marte
Brian Siemers*
Joseph Steiner
Brian Walters
Tenor Saxophone
Thomas Pearce
Peter Stumme
Michael Talavera
Baritone Saxophone
Michael Schieferstein
Horn
Paul Conefry
Kimberly Goldsmith
David Hecht
Alison Schmalenberger*
Trumpet
Justan Dakes
Peter Deschler*
George Glikos
Cindy Gratton
Alberto Ievoli
Maureen Isbister
Joseph Naples
James Spera
Trombone
David Bentley-Garfinkel*
Matthew DePalma
Chris Lippe
Tony Williams
Brian Zubko
Euphonium
Paul Brunetti-Huneke
Rebekka Peterson*
Tuba
Nicholas Carbuto
Erik Carlsen*
Dierdre Pugliese
Matthew Vincoli
String Bass
Jeanette Velsmid
Percussion
Bryan Crockett
Thomas DePrima
Ernest Donable
Robert Fleming
Daniel Hecht*
Michael Sydor
Brian Wishin
Piano
Michael Sydor
Conducting Assistant
George Glikos
Administrative Assistants
Erin O’Connor
Carrie Silverstein
Library Assistants
Carrie Silverstein
Alberto Ievoli
NOTE: *Principal Player.
All members are listed in
alphabetical order.
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James W. McRoy
James W. McRoy is currently Associate
Professor of Music and Director of Bands at
Long Island University/C.W. Post. At C.W.
Post, Mr. McRoy directs all aspects of the
band program, conducting the Wind
Ensemble, Symphonic Band, and Pep Band.
Mr. McRoy teaches and coordinates the
undergraduate and graduate conducting
sequence and teaches instrumental conducting
lessons. Mr. McRoy also teaches instrumental
music education courses, and coordinates the
Brass Studies Area.
A native New Yorker, Mr. McRoy holds
bachelors and masters degrees in Music
Education from the Aaron Copland School
of Music at Queens College, CUNY. He has
taught high school band in New York for ten
years and for two years was the Associate
Director of Bands at Ball State University
in Indiana. Mr. McRoy is active on the executive board of the New York State Band
Directors Association, and is currently the 2nd
Vice President of that organization. He has
chaired numerous All-County and Area AllState ensembles, and is now an active guest
conductor, clinician, and adjudicator in both
the northeast and midwest.
Mr. McRoy has presented research at the state
level and he holds professional memberships in
Kappa Delta Pi, Music Educators National
Conference, New York State Band Directors
Association, College Band Directors National
Association, National Band Association,
College Music Society, Pi Kappa Lambda, and
Phi Mu Alpha Sinfonia.
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Matt Sullivan
Oboist, Matt Sullivan has performed extensively on four continents and is recognized
internationally as a virtuoso performer and
teacher, as well as an important advocate for
the modern oboe. The New York Times has
praised his “gorgeously lyrical playing” and the
New Yorker has called his inventive performances “the cutting edge”. As composer, his
innovative works created for oboe, English
horn and digital horn, along with his solo and
chamber music performances and compact
discs, have been featured on National Public
Radio and on Voice of America.
In addition to his active teaching and solo
recital schedule, he is a member of Musicians’
Accord, the Richardson Chamber Players
(Princeton University), The Quintet of the
Americas, the Westchester Chamber
Orchestra, First Avenue, and The Weekend
of Chamber Music Festival in Sullivan
County, New York. He serves on the faculties
of Long Island University/C.W. Post, the
European Mozart Academy (Warsaw), and the
Manhattan School of Music.
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Program Notes
Barnum and Bailey’s Favorite ~ Karl L. King (1891-1971)
Karl Lawrence King began his long career in music at the age of eleven when he bought a
cornet with money earned from selling newspapers. He soon exchanged that instrument for a
euphonium, which he began playing in the Canton, Ohio “Marine” Band (made of boys his
age), and later in the local Thayer Military Band. His only formal music instruction consisted
of four piano lessons and one harmony lesson. Even King’s academic education was brief,
ending with the eighth grade. Despite his lack of training, his first composition was published
when he was seventeen years old. In an interview years later, King said, “Whatever I learned in
composition or conducting or anything else, it was mostly by imitation, by experimentation,
and by listening to and watching good men. I think that’s one of the best ways to get an education.” King composed nearly 300 works, including serenades, overtures, rags, intermezzos,
waltzes, and gallops, as well as his 188 famous marches.
At the request of its director, the noted minstrel show cornetist, Ned Brill, King wrote this
march for the thirty-two-piece Barnum and Bailey Circus Band in 1913. King was twenty-two
at the time and was preparing to join the band as a euphonium player. The euphonium part in
this march shows his love for that instrument. His use of the word “favorite” in the title was a
good choice. In a 1980 international music survey, Barnum and Bailey’s Favorite March ranked
fourth in the top 140 marches.
Be Thou My Vision ~ David R. Gillingham (b. 1947)
David R. Gillingham is easily one of the most prolific and widely performed composers of our time.
He earned his Ph.D. in Music Theory and Composition from Michigan State University. He is an
accomplished performer on keyboard and euphonium and a gifted professor of music composition
and theory at Central Michigan University. Gillingham’s work has received hundreds of performances worldwide and has appeared on compact discs from numerous recording labels.
Gillingham bases this reverent and powerful work on the hymn tune “Be Thou My Vision” (also
known as the old Irish ballad “Slane”). It is heartfelt and expressive with an eternal message of
faith and hope. Be Thou My Vision, however, goes far beyond being an arrangement of a familiar
hymn tune. Gillingham gives moments of drama in the shimmering tonal colors provided by the
woodwinds and the
glorious brass lines that
“break through like
dazzling sunlight through
the clouds.” The work
was composed for Ray
and Molly Cramer, in
honor of their parents.
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Program Notes
The Black Horse Troop ~ John Philip Sousa (1854-1932)
John Philip Sousa was an arranger, composer, conductor, businessman, and a patriot. Born in
Washington, D.C., he received several music lessons when he was six, followed by four years of
part-time study at a nearby conservatory. Sousa’s major instrument was violin, but he also took
lessons on piano, flute, cornet, baritone, trombone and alto horn, as well as studying music
theory, harmony, and voice. At eleven he was occasionally permitted to rehearse with the
United States Marine Band, in which his father played trombone, and at thirteen he became
an apprentice musician in the Marine Corps. In 1880 Sousa was appointed leader of the
Marine Band, a position he held for twelve years before organizing his own professional band.
Sousa was honored for his marches and had a distinct flair for writing them. He seemed
instinctively to know how to compose for band instruments, and his style, full of bouncing
rhythms, brilliant instrumentation, and catchy tunes, has kept a large number of his marches
high in the popularity polls ever since.
The Black Horse Troop was completed on December 30, 1924 at Sousa’s Sands Point, Long
Island estate. It was performed for the first time on October 17, 1925 at a concert of the Sousa
Band in the Public Auditorium, Cleveland, Ohio. Sousa, a devoted horseman, enjoyed a long
relationship with the men and horses of Cleveland’s Ohio National Guard Cavalry, known as
Troop A. It was to them that The Black Horse Troop was dedicated. At its premiere, the troopers
rode their beautiful black horses onto the stage and stood behind the band to the tumultuous
cheering of all.
Cantus Laetus ~ David R. Gillingham (b. 1947)
Cantus Laetus is based on one of the most famous Gregorian Hymns, “Veni Creator Spiritus.”
The Latin title Cantus Laetus translates to “joyful noise” and is a statement of praise and
affirmation of life. The work is done in three major sections framed by an introduction and an
ending. The three middle sections feature the three families of the symphonic band: woodwinds, brass, and percussion. Cantus Laetus exploits every corner of emotion through the
coloristic and dramatic capabilities of the symphonic band.
Fantasia in G ~ Timothy Mahr (b. 1956)
Born in Reedsburg, Wisconsin, Timothy Mahr is known as a person who has ability, persistence,
and optimism. By seriously studying music at every level, he has gained an enviable reputation as a
performer, teacher, conductor, and composer. Mahr received degrees in music theory/composition
and music education at St. Olaf College in Minnesota, as well as trombone performance and
conducting at the University of Iowa. He has directed bands at Milaca High School (Minnesota)
and the University of Minnesota/Duluth. Since 1994, Mahr has been the Conductor of the St.
Olaf Band and teaches courses in composition, conducting and music education.
Fantasia in G was written for the St. Olaf College Band in Minnesota and was premiered in
January 1983. It is an unpretentious, joyful celebration for wind band. Its character is reflected
in the German subtitle, translated “Joy, Bright Spark of Divinity,” which is the opening line to
the famous “Ode to Joy.”
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Program Notes
Noisy Wheels of Joy ~ Eric Whitacre (b. 1970)
An accomplished composer, conductor, and clinician, Eric Whitacre is one of the bright young
stars in contemporary concert music. Regularly commissioned and published, Whitacre has
received composition awards from ASCAP, the Barlow International Composition Competition,
the American Choral Directors Association (ACDA), and the American Composers Forum. Last
spring he was honored with his first Grammy nomination. Whitacre received his Master of Music
in composition from the Juilliard School of Music.
Written in the tradition of the great comic operatic overtures, Noisy Wheels of Joy is just pure,
simple fun. The structure is quite formal, but the three themes (love, adventure, and buffo) are
thrown around the ensemble with wild abandon. Commissioned by the Band Composers Masterworks Consortium, it was premiered by the University of Nevada, Las Vegas Wind Symphony on
March 8, 2002 at the American Band Association Convention.
Salvation is Created ~ Pavel Chesnokov (1877-1944)
Pavel Chesnokov was a composer for the Russian Orthodox Church before the formation of the
USSR. A choral conductor and composer, he also taught Russian orthodox chant at Moscow’s
Synodal School. He became one of the most prolific of Russian church composers during the last
years of the Czarist regime. When communism took over and the government became more
powerful, they assumed greater control over what composers could write. Chesnokov was faced
with two choices: continue writing sacred music and risk losing his family, or no longer compose
music for the church. He, of course, opted to save his family and therefore never wrote another
piece of sacred music. He continued his
career in choral conducting at the Moscow
Conservatory, producing nearly 400 choral
works.
Years after Chesnokov’s death, communism fell
and the Russian Orthodox Church reopened
its doors. Salvation is Created became the
church’s unofficial anthem. It is a fine example
of Chesnokov’s harmonic and technical skill.
Adapted text from Psalm 74, the original work
has been arranged in various forms for band
and chorus. The text of the hymn is as follows:
Salvation is created in the midst of the earth
O Lord, our God
Alleluia
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Program Notes
Suite of Old American Dances ~ Robert Russell Bennett (1894-1981)
While recovering from polio, which he contracted at the age
of four, Robert Russell Bennett became interested in music,
following in the footsteps of his musical parents. He wrote
his first arrangement at nine, began conducting at eleven,
played trumpet in his father’s band, and later found employment as a theater organist and orchestra violinist-violist.
After studying with various teachers in the early 1900’s,
Bennett began a six-year period of European study, including
lessons with Nadia Boulanger who was considered the
century’s most influential composition teacher. As a composer,
Bennett wrote for every medium, from chamber music to
opera, movie and television scores to pieces for band.
Bennett derived pleasure in writing for concert band, “with
its apparently inexhaustible colors and its fabulous vitality.”
Suite of Old American Dances is an original work for band written in 1949. The composer sets the
mood of a Saturday night barn dance using several characteristic dances remembered from his
childhood years growing up on a farm near Kansas City. The dances include Cake Walk,
Schottische, Western One-Step, Wallflower Waltz, and Rag.
Symphony for Band ~ Vincent Persichetti (1915-1987)
Vincent Persichetti was one of America’s most respected 20th century composers. He began
studying piano at the age of five, and gradually added organ, double bass, tuba, theory and
composition to his music studies. At age eleven he was performing professionally as an accompanist,
radio staff pianist, and church organist. By the time he was fourteen he had composed his first
piece. Persichetti earned degrees at Combs College of Music, the Curtis Institute, and the
Philadelphia Conservatory. He taught at two of his alma maters, as well as the Juilliard School
of Music. In addition to well-known works for a variety of other media, Persichetti composed 16
major works for band.
Symphony for Band was commissioned and premiered by the Washington University Band at the
MENC: National Association for Music Education Convention in St. Louis on April 16, 1956.
The four movements of this symphony have forms with traditional implications. The opening
adagio introduces the principal theme, while the allegro resembles sonata form. The slow second
movement is based on “Round Me Falls the Night,” an original hymn by the composer. The third
movement, in trio form, serves as the traditional dance movement, and is followed by a finale in
free rondo form, which draws thematic material from the preceding movements.
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Program Notes
Symphonic Movement ~ Vaclav Nelhybel (1919-1996)
Vaclav Nelhybel was born in Polanka, Czechoslovakia in 1919. In addition to playing organ, he
studied composition and conducting at the Prague Conservatory of Music, and musicology at the
University of Prague during the same time. He then studied medieval and renaissance music at
the University of Fribourg in Switzerland. Nelhybel was known as a prolific and highly skilled
composer who considered the band as important as any other medium of musical expression.
His over 400 publications include operas, ballets and works for orchestra, chorus, and band. His
personal enthusiasm and technical proficiency were evident in his conducting as well as his
composing. Nelhybel was considered to be one of the foremost composers of significant band
music in the United States.
Although he has written several large-scale works for band, the composer described Symphonic
Movement as “my first composition for band written completely on a symphonic level.” This
single movement work continues to be one of Nelhybel’s most popular among band conductors.
Essentially a theme and variations, the opening is an intense statement of the main theme, which
alludes to the variations of the principal thematic material that follows. Dedicated to John P.
Paynter and the Northwestern University Band, the work remains an integral aspect of the band
repertoire.
Variations of a Theme of Glinka ~ Nikolai Rimsky-Korsakov
(1844-1908)
Russian composer Nikolai Andreyevich Rimsky-Korsakov
showed an early aptitude for music, but no real enthusiasm for
it. Piano lessons during childhood were his only formal studies;
in fact for the majority of his musical career he was self-taught.
Dividing his time between music and a career in the Navy,
Rimsky-Korsakov’s natural gift began to be recognized
professionally. After completing two symphonies and a fulllength opera, he was given the position of professor of practical
composition and orchestration at the St. Petersburg
Conservatory. Although less talented than his colleagues
academically speaking, Rimsky-Korsakov surpassed them in
the art of clear and colorful orchestration. His music
epitomizes the brilliance and pageantry of Czarist Russia.
Variations of a Theme of Glinka is unique to both the wind ensemble
and oboe repertoire. Being both lyrical and virtuosic, the
concerto begins with an elegant and graceful Gypsy-sounding solo
line that becomes the theme for a set of variations and cadenzas.
The work is organized into an introduction, theme, twelve
variations, and a finale. Two substantial cadenzas are laced into
the piece, and during the final cadenza Mr. Sullivan (in keeping
with cadenza tradition) has added his own “Oh Boy” to the
music, finishing the concerto with a brilliant flourish.
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Faculty
The seventy-three members of the music faculty are professionally active in the academic and
performance culture of the New York metropolitan area. Through their experience and expertise,
they provide students with a solid foundation in Music Theory and Composition, Music History
and Literature, Music Education, and Music Performance.
Administration
Lynn Croton
(Dean, School of Visual and Performing Arts)
Alexander Dashnaw (Chairmen)
Emily Cintron (Department Secretary)
Lisa Meyer (Production Coordinator)
John Meschi (Graduate Advisor)
Nancy Urbonas (Undergraduate Advisor)
Brass
Edward Albinkski (Horn)
Bruce Eidem (Trombone, Euphonium)
Peter Deschler (Trumpet, Grad. Asst.)
Christian Jaudes (Trumpet)
Jay Rozen (Euphonium, Tuba)
Conducting
Elliot Bean
Alexander Dashnaw
Susan Deaver
James W. McRoy
Jennifer Scott Miceli
Guitar
Harris Becker
Pasquale Bianculli
Steven Heim
Howard Morgan
Jazz
David Berger (Arranging and Composition)
Chris Culver (Ensembles and Composition)
Richard Iacona (Piano)
Mark Marino (Guitar)
John Ray (Bass)
Carl Strommen (Arranging and Composition)
Music Education
Elliot Bean
Peter Borst
Gwen Carroll
James Cassara
James Dragovich
Melinda Edwards
James W. McRoy
Jennifer Scott Miceli
Elise Sobol
Frances Sontag
Carl Strommen
Joseph R. Sugar
Gerald Vance
Music History,
Technology, and Theory
Carrie Culver (Theory)
Genevieve Chinn (History)
Jeffery Johnson (History)
John Meschi (Synthesizer/Midi-Sequencing)
Barbara Mohar (History)
Carl Strommen (Theory, Composition)
Stephanie Watt (Theory, Composition)
Vincent Wright (Art, Music)
Percussion
Frank Cassara (Classical)
Earl Williams (Jazz)
Piano
Eugene Feigin
David Holzman
AeRee Kim
Haewon Kim (Instrumental Coach)
Paul Kim
Walter Klauss (Organ)
Gary Klein
Angela Pistilli
Delana Thomsen
Colette Valentine (Instrumental Coach)
Stephanie Watt
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Faculty
Strings
Geraldine Agugliaro (Bass)
Maureen Hynes (Cello)
Veronica Salas (Viola)
Dale Stuckenbruck (Violin)
Bernard Zeller (Violin)
LeAnn Overton (Vocal Coach, Accompanist)
Stuart Price (Vocal Coach, Accompanist)
Anthony Pulgram
John Simmons (Vocal Coach, Accompanist)
Tara Sullivan (Alexander Technique)
Marla Waterman
Voice
Danielle Daverio
Diane Elias
Barbara Fusco-Spera
Ruth Golden
Thomas Goodheart
Lisa Holsberg
Jeffery Johnson (Director of Madrigal Singers)
Frederick Martel
Serafina Martino
Gary Norden (Vocal Coach, Accompanist)
Woodwinds
Susan Deaver (Flute)
Gilbert Dejean (Bassoon, Contrabassoon)
Joel Levy (Woodwinds)
Miriam Lockhart (Clarinet)
Karla Moe (Flute)
David Pietro (Saxophone)
Howard Rockwin (Bassoon)
Tim Ruedeman (Saxophone)
Matt Sullivan (Oboe, English Horn)
Valerie Sulzinski (Oboe, English Horn)
Acknowledgments
The C.W. Post Band Program gratefully acknowledges the C.W. Post
Department of Music and School of Visual and Performing Arts for
their support and encouragement.
Special Thanks go to:
Pamela Lenox, Associate Provost
Lynn Croton, Dean, School of Visual and Performing Arts
Alexander Dashnaw, Department of Music Chair
Chris Culver, Director of Jazz Studies and Acting Department Chair
Frank Cassara, Director of Percussion Studies
Emily Cintron, Department of Music Secretary
Lisa Meyer, Department of Music Production Coordinator
Bill Kirker, Director of Facilities and Operations
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