Spring 1998

ReportReportDouglas Stotter, editor

From the Podium:

In this Issue:

News ............................................................ 2

Divisional Conference Wrap-up ................3

Premieres ....................................................7

Commissioning Corner.............................. 9

Special Feature ......................................... 10

Programs, State by State ......................... 14

Business.................................................... 21

address for submissionsDouglas Stotter, editor

CBDNA ReportMusic Department

Valdosta State UniversityValdosta, GA 31698

email-dstotter@valdosta.edu

1999 CBDNANational Conference

February 24-27, 1999The University of Texas at Austin

Omni Austin Hotel

It's 1:30am. I'm sitting in my living room watching the reflec-tion of the moon on the fresh white snow of yesterday's storm thatblanketed Colorado. With city lights far in the distance, the starkmoonlight illuminates the icy landscape, chills the night and pro-longs the face of winter beyond the first day of Spring.

This time of year always brings a dichotomy of feelings andthoughts to me. It is Spring! The end of both a semester and anacademic year is near. Score study, rehearsals and concerts havefilled my life with the happiness of sharing the art of music withwonderful students and appreciative audiences. Yet it saddens methat my last musical collaboration with so many talented, gradu-ating students is imminent. Faculty meetings, reports, budget re-quests, university politics, income taxes, auto repair, home im-provement and the need to lose at least ten unwanted pounds havefrequently distracted and annoyed me; but the academic year-endbrings closure to many of these things as well, and the others willreceive more commitment from me before summer begins. Theacademic year-end also stimulates in me reflections of my owneffectiveness as an artist, musician, teacher, colleague and friend.

As I look back on the year, I evaluate the success of the reper-toire I selected, my rehearsal techniques, my conducting and myability to motivate students. I reflect upon the scores I've studied,the books I've read, the people who have challenged me to thinknew thoughts—my growth! And it is this time of year, more thanNew Year's Eve, that I find myself making resolutions for nextacademic year. The perennial resolution I make is to give myselfmore TIME! Time to study, time for play, but most of all time forsolitude.

CREATIVITY NEEDS SOLITUDE. It needs concentrationwithout interruptions. It needs a myriad of daydreams to siftthrough until it arrives at that "certainty" that comes from the depthof the soul and inspires its destiny. A musical phrase may be bornhere or a philosophy of life. The unpredictability of solitude's gift

does not, however, lessen its value to my life. I am more centeredafter I have freed my imagination to explore eternity. I find my-self less concerned with making the world go around and moreconcerned with making it go forward. It is, therefore, solitude thatfuels the creative artist in me—that part of me which avoids rep-etition, rejects the ordinary and seeks the extraordinary.

Next academic year, I resolve to give solitude more time in mylife! And by then I will have dropped those ten pounds.

It is my wish for you, my colleagues, that the conclusion ofyour academic year be successful and fulfilling and that your nextyear have the potential for solitude. If all else fails, you might try1:30am.

Allan McMurray

2 - NEWSThe New England Conservatory Wind Ensemble performed

John Harbison’s CBDNA commission Olympic Dances on theirconcert of October 23, 1997. The performance was reviewed byall of the Boston newspapers and NEC conductor Frank Battistihas forwarded a review by Boston Herald’s dance critic, KarenCampbell:

“John Harbison’s Olympic Dances was given its Boston pre-miere by the New England Conservatory Wind Ensemble led byFrank Battisti on Thursday night. It is a colorful, meticulouslycrafted multipart suite that evokes another time and place whileremaining contemporary. . .

. . . Harbison’s score will get additional performances by theconsortium of colleges, so the life span of this particular project,in an era of one-shot deals, is terrific. Bravo.”

The Virginia Intercollegiate Band met February 12-14 at Nor-folk State University for the 23rd annual Symposium for NewBand Music. Eight Virginia colleges and universities were repre-sented in the 80 member band, which was hosted by Alzie Walker,Director of Bands at Norfolk State. The following composersattended the Symposium and conducted their own works in openreading rehearsals over the three day period:

Evan Chambers-University of Michigan, Polka NationMark Dal Porto-Texas Women’s University, GalacticaWilliam Davis-University of Georgia, Rhapsody for Oboe and

Concert BandPeter Knell-Longwood College and Virginia Commonwealth

University, Infernal WhispersElliott Schwartz-Bowdoin College, Chiaroscura: Zebra VariationsThe composers also participated in a panel discussion on their

works, careers, and other topics, as well as answering questionsfrom the group. All works were recorded during the final session.

Tim Salzman and the University of Washington have a newwebsite. Visit them at http://weber.u.washington.edu/~uwwinds/.

The University of North Carolina-Greensboro School of Mu-sic hosted the 9th Annual Carolina Band Festival and ConductorsConference on February 19-21, 1998. Two highly select highschool honor bands were chosen by a competitive audition pro-cess. The Concert Band is comprised of students currently in the9th or 10th grade and the Symphonic Band by students in the 11thor 12th grade. Each student applicant submitted a resume of hisor her performing experience and musical studies, as well as acassette tape recording. Over 360 students submitted applicationsand tape recordings for consideration this year. Students submit-ting tapes and applications represented some of the very best musicstudents from a nine state area including North Carolina, SouthCarolina, Tennessee, Virginia, West Virginia, Maryland, Pennsyl-vania, Ohio, Michigan and New York.

Two nationally known guest conductors worked with these tal-ented students as conductors of the honor bands. James Croft,Director of Bands at the Florida State University in Talahasseeguest conducted the Symphonic Band (grades 11-12). LeslieHicken, Director of Bands at Furman University in guest con-ducted the Concert Band (grades 9-10).

While student instrumentalists were participating in the Caro-lina Band Festival, many of their teachers, primarily band direc-tors, participated in a conducting workshop called the CarolinaConductors Conference. This conference began on Thursdayevening, February 19 and included lectures, demonstrations, andclinic sessions for band directors. Participants have had the op-portunity to observe and learn from Frank Wickes, Director ofBands at Louisiana State University. John R. Locke, Director ofBands at UNCG also served as a clinician conference. Croft,Hicken and Craig Whittaker, saxophone professor at UNCG,also assisted with the teaching and clinic sessions for the conduc-tors conference.

Jonathan Good, Director of Bands at Montana State Univer-sity-Bozeman, has recently published “British Literature for Sym-phonic Winds,” a selective representative listing of wind band/wind orchestra literature composed and/or published in the UnitedKingdom and the Republic of Ireland. “British Literature…waswritten to provide a resource for conductors who seek to incorpo-rate British music for wind band into their ensemble’s performancerepertoire.” The book lists more than 700 works, organized bycomposer, and identifies compositions by publisher, duration, levelof difficulty, and instrumentation. This publication also includesinformation on British composers, publishers, and British musicinformation centers. Information on this book made be obtainedby contacting the author.

Patricia Hoy and Northern Arizona University are sponsor-ing two conferences this summer:

A Multicultural Celebration of Diversity in Music conferencewill be held June 24-28. The conference will include a tribute toWilliam Grant Still, a multi-ethnic dance workshop, and specialsessions for music educators. Sessions will include internation-ally renowned speakers and performers, including conferenceconductor Ronnie Wooten, and featuring performing artist LulaWashington Dance Theatre.

Music in Education: Toward a New Millennium conference willbe held July 15-18. The conference will include special sessionsfor public school music teachers, classroom teachers, and univer-sity music professors. Featured speakers will include BennettReimer, Jeff Kimpton, Gerald Olson, Robert Duke, Martha Brady,Gail Dixon, and Susan Kempter.

For more information on these conferences contact : PatriciaHoy at Northern Arizona University, School of Performing Arts,P.O. Box 6040, Flagstaff, AZ 86011, 520-523-8002; e-mail:patricia.hoy@nau.edu

The Columbus State University (GA) hosted a WindConductor’s workshop in November. It featured clinicians DonaldHunsberger, Michael Votta, and Robert Rumbelow, director ofwind band activities at Columbus. The format was an intensiveday consisting of three lectures, two panel discussions and threeconducting sessions with three different ensembles. The work-shop was such a success that the school has committed to makingit a yearly offering. Next year’s workshop will be held on Satur-day, October 24, 1998.

DIVISIONAL CONFERENCES- 3NORTH CENTRAL andSOUTHWESTERN DIVISIONSwith the Sonneck SocietyFebruary 19-21, 1998University of Missouri-Kansas City,Gary W. Hill, host

Programs

Southern Illinois University-EdwardsvilleWind Symphony

John R. Bell, conductorA Fugal Overture................................................. Holst/SingletonCimarron......................................................................Roy Harris

Kenneth Singleton, guest conductorWaking Angels ........................................................... GillinghamCrusades ...................................................................Brett Stamps

**world premiere**Sinfonia Brevis (II) .............................................................Lukás

Arkansas State UniversityWind Ensemble

Thomas J. O’Neal, conductorRocky Point Holiday ......................................................... NelsonConcertino for Piano and Wind Ensemble........................... Husa

Theron Waddle, pianoKarel Husa, guest conductor

Apotheosis of this Earth....................................................... HusaMonk Sketches .....................................................Tom O’Connor

**premiere**

Oklahoma State UniversityWind Ensemble

Joseph P. Missal, conductorPas Redoublé ............................................................. Saint-SäensDionysiaques ....................................................................SchmittX .....................................................................Scott McAllisterFast Forward.......................................................Shafer Mahoney

Jonathan Keeble, flute**premiere**

Dance Movements............................................................. Sparke

University of AkronSymphonic Band

Robert D. Jorgensen, conductorKeynote Fanfare ................................................ Michael Golemo

**premiere**Folksongs for Band, Suite No. 3....................................StanhopeSolo de Concours .......................................................... Messager

Håkan Rosengren, clarinetMichael Golemo, conductor

Caricatures for Wind Symphony..........................Jere HutchesonFrom Maine to Oregon........................................................SousaDance Movements (IV)..................................................... Sparke

An American Collagefeaturing the University of Missouri-Kansas City

Conservatory Wind EnsembleGary W. Hill, artistic director

George Washington Bridge ............................................SchumanRag infernal (Syncopes apocalyptiques) .........................Bolcom from Twelve New Etudes for Piano

Melinda Smashey, pianoTippecanoe Quickstep ................................Henry Schmidt/Elkus

David Whitwell, conductorPastorale .................................................................... Amy Beach

Penelope Wheeler, flute; Melissa Peña, oboe;Carol Garris, clarinet; Michael Willen, bassoon;

Julia Erdmann, hornPrelude and Dance............................................................Creston

Jason Stephen, accordionPolka Nation........................................................Evan Chambers

H. Robert Reynolds, conductorBack From the Edge.........................................James Mobberley from Edges for Wind EnsembleCome Where My Love Lies Dreaming................ Stephen Foster

Susan Buehler, soprano; Douglas Niedt, guitarScherzo: The See’r ............................................ Ives/ed. SchullerAnn Street.......................................................... Ives/ed. SchullerMists ................................................................ Ives/ed. SingletonCountry Band March................................................ Ives/SinclairThree Moravian Folk Songs................................................. Husa

UMKC Heritage Chorale, Eph Ely, directorKarel Husa, conductor

Slang ........................................................................Libby LarsenBenjamin Plummer, violin; Michael Alan Isadore, clarinet;

Paul Erickson, pianoLos Chuntaes y Abre Campo (excerpt).........Traditional/Kaptain

Marimba Yajalón, Lawrence Kaptain, musical directorThe Stars and Stripes Forever .............................................Sousa

Miami UniversityWind Ensemble

Gary A. Speck, conductorMasquerade ................................................................. PersichettiSea Changes ...................................................C. James SheppardSkating on the Sheyenne ................................................... FinneySymphony No. 2 (V) ................................................... Ives/Elkus

Baylor UniversityWind Ensemble

Michael Haithcock, conductorMelody Shop ........................................................................ KingTempered Steel .....................................Charles Rochester YoungSecond Prelude ................................................. Gershwin/KranceBlue Dawn into White Heat ............................................ SchullerVariations on a Shaker Melody .......................................CoplandNight, Again ............................................................Daron HagenNew England Triptych ...................................................Schuman

4 - DIVISIONAL CONFERENCESSmall College Honor Band

“Gems for the Small College Band”Trauermusik...................................................Wagner/Votta/Boyd

Allan McMurray, conductorGhost Dance .....................................................................Hilliard

William Carson, conductorCeltic Hymns and Dances ................................................Ewazen

Jonathan Hooper, conductorMy Jesus, Oh What Anguish.......................................Bach/Reed

Craig Kirchoff, conductorSuite from Holocaust ......................................................... Gould

Reed Thomas, conductorFirst Suite in F ..............................................Thom Ritter George

James Cochran, conductor

Presentations and Panel Discussions

Forum I: A Colloquium of ComposersWilliam McGlaughlin, moderatorPanel Members:Evan Chambers, The University of MichiganDaron HagenKarel Husa, Ithaca, NYLibby LarsenJames Mobberley, UMKCCharles Rochester Young, Univ. of Wisconsin-Stevens Point

Brown Bag Lunch: The American Wind Band’s Transforma-tion from Street to Stage: Are We There Yet?Frederick Fennell, featured speaker

Conducting Session: The Internal Conductor: The FinalElementH. Robert Reynolds, clinicianassisted by members of the UMKC Conservatory Wind Ensemble

Forum II: Promoting Fidelity in Performance PracticeScott Cantrell, moderatorPanel Members:Michael Broyles, musicologist-Penn State UniversityStanley DeRusha, conductor-Butler UniversityJoseph Straus, music theorist-Queens College, New York

Forum III: Advancing Historically Informed PerformancePracticeFrank Cipolla, moderatorPanel Members:Raoul Camus, Whitestone, NYRenée Camus, Baltimore, MDDavid Whitwell, California State University-Northridge

EASTERN DIVISIONwith the Pennsylvania CollegiateBandmasters AssociationFebruary 26-March 1, 1998The Pennsylvania State UniversityO. Richard Bundy and Dennis Glocke, hosts

Programs

Pennsylvania State UniversitySymphonic Wind Ensemble

Dennis Glocke and O. Richard Bundy, conductorsSmetena Fanfare................................................................... HusaHuntingtower Ballad ...................................................... RespighiSinfonietta .............................................................................DahlFlorentiner ........................................................................... FucikBallad from Cajun Folk Songs II ...................................... TicheliProfanation .................................................................... Bernstein

Bucknell UniversitySymphonic Band

William Kenny, conductorRocky Point Holiday ......................................................... NelsonWoodland Sketches ....................................................MacDowellFolk-Tune (Sheep Shearing Song) .................. Goosens/GraingerBlue Shades ....................................................................... TicheliOlympia Hippodrome ..................................................Alexander

Syracuse UniversityWind Ensemble

John M. Laverty, conductorBradley P. Ethington, associate conductor

March Militaire Francaise ......................................... Saint-SaensGaian Visions .................................................................... TicheliConcerto for Piano and Wind Instruments (II, III) ..... Stravinsky

Sar-Shalom Strong, pianoTangents............................................................................ Wasson

Boston BrassTo the Muses! ...................................................... Daniel Godfrey

**world premiere**

Duquesne UniversityWind Symphony

Robert C. Cameron, conductorGolgotha ...............................................................................DietzDanza de los Duendes ................................................... GalbraithTwo Movements for Solo Tenor Saxophone

Lento ....................................................................Ward/LeistHumoresque .............................................................. Hartley

James Houlik, saxophoneDance of the Jesters....................................Tchaikowsky/Cramer

DIVISIONAL CONFERENCE NEWS - 5Keystone Wind Ensemble

Jack Stamp, conductorEugene Corporon, guest conductor

Fanfare for Freedom........................................................... GouldCanzona ............................................................................ MenninWatchmen, Tell Us of the Night.................................CamphouseMarch with Trumpets ..................................................... BergsmaFour Maryland Songs ......................................................... Stamp

Elizabeth Curtis, sopranoFantasia in G ........................................................................Mahr

Pennsylvania Intercollegiate BandJohn Whitwell, guest conductor

Prelude, Siciliano and Rondo...............................Arnold/PaynterThe Passing Bell............................................................... BensonMorning Star .................................................................MaslankaAmazing Grace.................................................................. TicheliDance of the Jesters....................................Tchaikowsky/Cramer

Presentations

“Conducting: The Final Element”H. Robert Reynolds, The University of Michigan

Research Session:“Mozart’s Serenade in B-flat: Musical Influences and ThematicBorrowing”—Bradley P. Ethington, Syracuse University

“Hushed Lineage: The Secret Relationships Between Dahl’sSinfonietta and the Original Version of the Concerto for Saxo-phone”—Paul Cohen, Manhattan School of Music and OberlinConservatory

“Whole Brain Listening”Eugene Corporon, University of North Texas

“Coaching Wind Chamber Music”Daryl Durran, The Pennsylvania State University

Composer/Conductor ForumTom Duffy, chair, Yale UniversityPaul Barsom, The Pennsylvania State UniversityEugene Corporon, University of North Texas

Athletic Bands RoundtableReport from Marching Band Advisory CommitteeO. Richard Bundy, The Pennsylvania State University

SOUTHERN DIVISIONM. Dale Blackwell, Jr.,Florida Community College/Jacksonvilleand Artie Clifton, Jacksonville University,conference hosts

Programs

First Coast Wind EnsembleArtie Clifton and Dale Blackwell, conductors

Concerto for Soprano Saxophone and Timpani......... Tony SteveMatthew Vance, saxophone; Tony Steve, timpani

**premiere**Songs of the British Isles ....................................Albert O. DavisGalop ......................................................................Bird/ed. Syler

James Syler, guest conductorMarche des Parachutists Belges.......................... Leemans/WileyDivertimento................................................................ PersichettiAlarums for Band...........................................................Mailman

University of FloridaWind Symphony

David A. Waybright, conductorBlue Shades ....................................................................... TicheliPrelude II for Piano .......................................................Gershwin

Douglas Maxwell, pianoFantasy Variations on Gershwin's Prelude II for Piano ................

............................................................................... Grantham**premiere**

Prelude, Fugue and Riffs............................................... BernsteinBruce Marking, clarinet

It Takes a Village ............................................................ YuponceKenneth Braodway, percussion

East Carolina UniversitySymphonic Wind Ensemble

Scott Carter, conductorLa Péri Fanfare ................................................................... DukasChorale Preludes, Op. 122 ........................Brahms/Boyd/FennellFour Maryland Songs ......................................................... Stamp

Sharon Munden, sopranoWaking Angels ........................................................... GillinghamGumsuckers March ............................................Grainger/Rogers

Murray State UniversitySymphonic Wind Ensemble

Dennis L. Johnson, conductorJohn E. Fannin, assistant conductor

Roman Wells .................................................................... JanssenPetite Symphonie .............................................................GounodDer Traum des Oenghus (II) ...............................................RudinCountry Band March..............................................................Ives

6 - DIVISIONAL CONFERENCESFlorida A&M University

Symphonic BandWilliam P. Foster, conductor

Julian E. White, associate conductorCharles S. Bing, assistant conductor

Emissary Fanfare...................................................Verdi/HastingsElsa's Procession .............................................................. WagnerProcession of Nobles.........................Rimsky-Korsakov/LeidzenRolling Thunder ..............................................................FillmoreIn the Spring ..................................................................HolsingerNocturne .................................................................Scriabin/ReedMorning, Noon, and Night in Vienna .......... von Suppe/FillmoreThe Pines of the Appian Way........................... Respighi/Leidzen

Furman UniversityWind Ensemble

Leslie W. Hicken, conductorBallistic Etude No. 1: Fanfare...............................Mark Kilstofte

**world premiere**Jubilee Overture ................................................................ SparkeIntrigues............................................................................. Makris

Robert Chesebro, clarinetDesigns, Images and Textures...........................................BassettNobles of the Mystic Shrine ...............................................Sousa

Dan A. Ellis, guest conductorSavannah River Holiday ................................................... Nelson

University of AlabamaWind Ensemble

Gerald Loren Welker, conductorSpiel.......................................................................................TochVariations on a Korean Folk Song ................................... ChanceConcertino for Four Percussion and Wind Ensemble...................

............................................................................. GillinghamGloriosa .................................................................................... ItoTill Eulenspiegel's Merry Pranks ...................... Strauss/HindsleyDance Movements............................................................. Sparke

1998 Southern DivisionIntercollegiate Band

Col. Arnald D. Gabriel, conductorThe Eagle Squadron ...........................................................AlfordLa Belle Helene Overture ................................ Offenbach/OdumThe Divine Comedy ............................................................SmithToccata.......................................................... Frescobaldi/SlocumFestival Variations ...............................................................Smith

WESTERN andNORTHWESTERN DIVISIONSMarch 12-14, 1998University of Nevada-RenoA.G. McGrannahan III, host

Programs

Southern Oregon State UniversitySymphonic Band

Cynthia Hutton, conductorSignature.................................................................Van der RoostCanticle............................................................................... StampHans Christian Anderson Suite ......................... Søren HyldgaardDiversion for Alto Saxophone and Band ..........................HeidenDer Traum des Oenghus............................................. Rolf Rudin

Utah State UniversityWind Orchestra

John Cody Birdwell, conductorPrelude, op. 34, no. 14 ........................... Shostakovich/ReynoldsLa Procession du Rocio......................................................TurinaFolksongs for Band, Set III............................................StanhopeConcertino for Four Percussion and Wind Ensemble GillinghamAfter "The Thunderer" .................................................HearschenThe Thunderer .....................................................................Sousa

Los Medanos Community CollegeConcert Band

John F. Maltester, conductorDuke of Marlborough Fanfare ....................................... GraingerWithout Warning ...............................................................MelilloOn A Hymnsong of Lowell Mason ...............................HolsingerAllegro Molto from Concerto for Piccolo .............. Vivaldi/ReedCanticle for Three Solo Flutes and Wind Ensemble....Del BorgoEsprit de Corps ..................................................................... Jager

Boise State UniversitySymphonic Winds

Marcellus Brown, conductorBritish Eighth March.......................................................... ElliottWhatsoever Things.....................................................CamphouseHell's Gate .....................................................................MaslankaFinale from Symphony No. 3............................................ Barnes

California State University, Long BeachWind Symphony

John Carnahan, conductorFanfare from Festmusic der Stadt Wien ................Strauss/FloresDances of LACA........................................ Bruce Edward Miller

**premiere**Folksongs for Band, Set II .............................................StanhopeDecline and Fall of a Bridge .........................Dankworth/Morsch

DIVISIONAL CONFERENCES - 7Pacific Lutheran University

Wind SymphonyRaydell Bradley, conductor

Symphonic Dance No. 3, op. 46 ................. Rachmaninoff/SatohRitmico and Molto Vivo from Dance Movements ........... SparkePadstow Lifeboat............................................................... ArnoldDanny Boy...................................................................TraditionalMock Morris....................................................Grainger/SimpsonApocalyptic Dreams................................................... Gillingham

California State University, StanislausWind Ensemble

Edward C. Harris, conductorDanza de los Duendes ........................................Nancy GalbraithLads of Wamphrey ......................................................... GraingerStoryville .............................................................................. SylerSamurai.....................................................................Nigel Clarke

University of Puget SoundWind Ensemble

Robert Musser, conductorThe Mad Major ...............................................Alford/ed. FennellRitmico from Dance Movements...................................... SparkeVan Gogh Portraits ......................................................Aldo ForteRondo alla marcia from Concerto for Alto Saxophone and WindOrchestra ...............................................................................DahlA Sea of Glass Mingled with Fire........................................ Jager

University of California, Los AngelesWind Ensemble

Thomas D. Lee, conductorMarche Hongroise .............................................................BerliozSymphony in B-flat ..................................................... HindemithSalvation is Created ..........................Tschesnokoff/HouseknechtHill Song No. 2 .............................................................. GraingerMolly on the Shore......................................................... GraingerBlue Shades ....................................................................... Ticheli

University of RedlandsSymphony Band

Eddie R. Smith, conductorRadetzky March ...................................................... Strauss/ReedEarly One Morning ........................................................ GraingerSix Dukes Went a Fishin' ............................................... GraingerSymphony No. 6.......................................................... PersichettiFacade................................................................................WaltonSuite from Pineapple Poll ............................................... Sullivan

Western/Northwestern Division Intercollegiate BandAllan McMurray, conductor

Overture to Candide ....................................Bernstein/GrundmanCajun Folk Songs II .......................................................... TicheliTrauersinfonie ........................................................ Wagner/BoydSoundings .......................................................................... McTee

Presentations

Clinic/Concert: Achieving Good Intonation and BalanceW. Francis McBeth, clinicianClinic ensemble: University of Nevada Wind Ensemble, A.G.McGrannahan, conductor

Clinic: Quality Band Literature Without Excessive TechnicalDemands (in two parts)

Clinic: Performance Practice for the Music of John Philip SousaKeith Brion, clinician and conductorClinic ensemble: University of Nevada Wind EnsembleSousa selections performed: Manhattan Beach, The InvincibleEagle, Washington Post, The Stars and Stripes Forever.

Clinic: Conductor Ticheli on Composer TicheliFrank Ticheli, clinicianClinic ensemble: University of Californina, Los Angeles WindEnsemble, Thomas Lee, conductor

Conference Premieres

To the Muses! by Daniel S. Godfrey received its world premiereperformance by the Syracuse University Wind Ensemble, JohnLaverty, conductor, at the Eastern Division conference. The workis a salute to the goddesses of music and dance. It was commis-sioned by a consortium of seven wind ensembles from FloridaState University, Stetson University, the University of CentralFlorida, the University of Nebraska, Western Kentucky Univer-sity, and Western Michigan University.

The Southern Illinois University-Edwardsville Wind Sym-phony, John Bell, conductor, premiered Brett Stamps’ Crusadesat the Kansas City conference. The work melds the traditionalsymphonic band sound with contemporary jazz ensemble com-plexity of rhythm. The composer writes:

“The work is an attempt to cross boundaries and couple thetraditional jazz band rhythm section with concert band winds toachieve a studio-like effect featuring the guitar as the main soloinstrument. Essentially a samba, this work was influenced by avariety of rhythmic idioms including New Orleans second line,world music especially Afro-Cuban, rhythmic breaks and con-temporary jazz. I tried to incorporate these within the instrumen-tal framework of the traditional concert band.”

Brett Stamps is Professor of Music and Director of Jazz Studiesand Studio Music Performance at Southern Illinois University-Edwardsville. He has composed and performed professionally forthe U.S. Army Field Band Jazz Ambassadors, the University ofMiami Concert Jazz Band, and the Stan Kenton Orchestra.

Monk Sketches by Tom O’Connor waspremiered at the Kansas City conferenceby the Arkansas State University WindEnsemble, Thomas O’Neal, conductor.The composer writes:

“Monk Sketches is an homage to the leg-endary jazz composer Thelonius Monk.Melodic, harmonic, and rhythmic materialfrom three original Monk tunes served asinspiration for the three movements. Thefirst movement, Needn’t, was inspired byWell You Needn’t; the second movement,Midnight, is an organic outgrowth ofRound Midnight. The final movement iscalled Chaser, and the melodic and har-monic material is generated from Monk’sfast bebop swinger, Straight, No Chaser.”

Tom O’Connor joined the music facultyat Arkansas State University in 1978. Priorto becoming Director of Jazz Studies, Dr.O’Connor served as Director of Bands. Heholds the DMA degree in compositionfrom the University of Memphis, where hestudied with Don Freund.

Edges for Wind Ensemble was writtenfor Gary W. Hill and the University ofMissouri-Kansas City ConservatoryWind Ensemble by James Mobberley. Thefirst movement, Back from the Edge , waspremiered by the Wind Ensemble at theKansas City conference. The composerdescribes the work’s creation as follows:

“This work is the result of two shatter-ing and enlightening experiences in mylife. The first was my own visit to the edgein Spring, 1995. I was attacked by the in-famous “flesh-eating bacteria,” and wentfrom healthy to very nearly dead in lessthan 36 hours. Back from the Edge stemsfrom the struggle of doctors, family mem-bers, and me to get my body and spirit backtogether again. The second movement (inprogress) mixes dreamlike states of myrecovery process with other experiences ofmine and others that are etched, like post-cards from other worlds, on my life. Thelast movement is my attempt to capture thespirit of one of my very best friends, Rob-ert Cooper, who passed away suddenly atthe woefully young age of 45. He was aman of boundless energy, fierce devotionto family and friends, and the strength ofcharacter sufficient to endure the most dif-ficult circumstances with grace and humor.The candle that burns the brightest burnsfastest.”

James Mobberley has been on the com-position faculty of the UMKC Conserva-tory of Music since 1983. He also directsthe Conservatory’s Music Production andComputer Technology Center. Since 1991he has been the Kansas City Symphony’sfirst composer-in-residence. This residencyhas been expanded to include the StateBallet of Missouri and the Paseo Academyof the Performing and Visual Arts, the lo-cal magnet school.

The Oklahoma State University WindEnsemble and conductor Joseph P. Mis-sal premiered Fast Forward by ShaferMahoney at the Kansas City conference.The work was written in 1997 for JonathanKeeble and the OSU Wind Ensemble andwas commissioned by the music organi-zations at OSU: Tau Beta Sigma, KappaKappa Psi, Phi Mu Alpha and Sigma Al-pha Iota.

Fast Forward is about 10 minutes long;it is fast and rhythmic from start to finish.The opening motive, D-E, is very impor-tant. This figure appears throughout thework, in melodies, in chords, and as a ba-sis for background accompaniment. Whenthese figures are played one after another,they create a stream of fast notes whichpropel the piece forward. The work is nota conventional soloist and ensemble dual,but rather conceived as a collaboration. Thesolo flute shares much of the materialplayed by the wind ensemble, with the twoforces working together to form a shim-mering, rhythmically-driven piece.

Shafer Mahoney is Assistant Professorof theory and composition at SUNY-NewPaltz. He holds degrees from PrincetonUniversity and the Eastman School ofMusic.

The first work to be commissioned bythe Big-12 Band Directors Association,Tempered Steel by Charles RochesterYoung, was performed by the Baylor Uni-versity Wind Ensemble, MichaelHaithcock, conductor, at the North Cen-tral/Southwest CBDNA conference inKansas City. The composer provided thesecomments on the work:

“As we grow stronger and more resil-ient through hardship, we become “tem-

8 - PREMIERESpered.” Tempered Steel is a celebration ofour triumph over these unavoidable hard-ships and obstacles that we regularly face.It rejoices in the tenacious and unrelent-ing resolve that is part of us all.

As the title musically implies, the me-tallic sonorities of the wind band are con-tinually being explored and developedthroughout the work, while the “tempest”as a symmetric hexachord that is exposedand developed through a variety of juxta-posed gestures and themes.”

Other Premieres

From Bob Garofalo:Recently my university chamber wind

ensemble gave a concert of new and com-missioned works (see program section).One of the pieces on the program is trulyoutstanding and deserves wide exposureand performance. The composition isChamber Symphony for Winds (instru-mentation: 2222/2220 pno, bass, timp, andperc). It was written by Joao GuilhermeRipper, a brilliant, young Brazilian com-poser. According to Ripper, the work wasconceived as a metaphor of the differentmusical sources that originated in LatinAmerican culture. In the first movement astrong rhythmic motive (heard on theconga drums) is contrasted with a Renais-sance-like chorale. The rhythmic motivereturns leading to the second movementwhich is comprised of different episodeslinked by flute recitatives; these sorrow-ful songs are connected to the third move-ment by a tempo change. The Finale,Brasiliana , is based on the Brazilianrhythm “frevo” and gives the piece a strongdance-like character. The composer hasindicated that the third movement may beperformed alone.

If you are interested in the piece, youcan contact the composer by e-mail at:Joao.Ripper@biohard.com.br. His mailingaddress is: Rua Dr. Otavio Kelly 32/101;20.511-280-Rio de Janiero-RJ; Brazil. Hisfax is: 011 55 21 264-6010.

UPDATEThe first act of Daron Hagen's opera was

delivered with a rousing play-through onJanuary 24, 1998 in Austin, TX. The act isvery tuneful yet highly dramatic. The in-tensity of the action is as compelling asthe music is accessible.

A quick look at the score also revealsthe composer's keen understanding of thebalance issues in dealing with the forcesof the wind band and the singers. The sec-ond act is to be delivered on April 1, 1998and we eagerly await the next step in thisprocess. The name of the opera has beenchanged from Othello to The Bandanna.Rest assured this has nothing to do withthe ensemble in the pit but the garment thatis so crucial to the tale.

More than $70,000 has been contributedtoward the project by CBDNA memberinstitutions. Our goal is in sight! It is nottoo late for you to be a part of this effortand you are encouraged to contribute viathe information below.

Remember that for even the minimumcontribution of $500 you will receive 1)recognition in the score, 2) a set of scoreand parts to the overture, and 3) a set ofscore and parts to a suite of dances to bedrawn from the wedding scene in Act Two.You will be able to select either the origi-nal version of these works or an education-ally arranged version appropriate at thegrade 4 or 5 level. We hope to have theseversions premiered at the Austin confer-ence as well as the concert production ofthe full opera. After hearing all componentsof the commissioning project, contribut-ing conductors will be able to select theversions of the two free standing worksthey feel best fits the needs of their pro-gram. What a deal!

Consortium OpportunitiesContribute to the Consortium and re-ceive the following benefits:$500—Acknowledgment in the score andone free copy of the score and parts to theoverture$1,000—Acknowledgment in the score,one free copy of the score and parts to theoverture and one free rental of band mate-rials for concert (non-staged) performance$3,000—Acknowledgment in the score,one free copy of the score and parts to theoverture, one free rental of band materials

for a concert performance and free castvocal scores for one concert performance$5,000—Acknowledgment in the score,one free copy of the score and parts to theoverture, one free rental of band materialsfor a concert performance, free cast vocalscores for one concert performance. Noroyalty fees (the equivalent of our rentalfees) will be charged by the publisher forone run of full stage productions up to fiveshows$10,000—Acknowledgment in the score,one free copy of the score and parts to theoverture, one free rental of band materialsfor a concert performance, free cast vocalscores for one concert performance. Noroyalty fees will be charge by the publisherfor one run of full stage productions up tofive shows. Free rental of stage produc-tion (sets, lights, and costumes) valued at$35,000 from Austin Lyric Opera as avail-able.

How to ContributeSend a letter of intent to:

Michael Haithcock, ChairCBDNA Commissioning CommitteeSchool of MusicPO Box 97408Baylor UniversityWaco, TX 76798

You will be invoiced from the CBDNAnational office for the amount you wish tocontribute as stated in the letter of intent.

Your letter can also request specific in-voice dates that will allow you to spreadthe payments through August 1, 1998.

For more information call MichaelHaithcock at 254-755-1011, ext. 6532or email michael_haithcock@baylor.edu

You may fax your letter of intent toMichael Haithcock at:254-755-3574.

The collaborative efforts generated inthis project break new ground for CBDNAand are creating a stir in the opera com-munity. We hope that you share the boardsexcitement.

Make your plans now to be in Austinnext February to attend the premiere. It willbe an historic evening!

COMMISSIONING CORNER - 9The Harvard University Wind En-

semble , Tom Everett, conductor, cel-ebrated Boston/Cambridge composerDaniel Pinkham’s 75th year with a con-cert on March 14, 1998. The program fea-tured the first performance of Music foran Indian Summer written for harp soloistAnn Hobson Pilot of the Boston SymphonyOrchestra and the Harvard Wind En-semble. The work will also be performedin April by The New England Conserva-tory Wind Ensemble, conducted by FrankBattisti.

Other works on the concert includedPinkam’s Crimson Flourish, written forHarvard’s 350th celebration, and his Ser-enade for Trumpet and Wind Ensemble.

The Big East Band Directors Associa-tion, comprised of band directors of theBig East Conference, commissioned AlfredReed to compose a march, appropriatelyentitled The Big East . The work has beenperformed by a number of athletic bandsin the conference and received its indoorpremiere by the Syracuse University WindEnsemble, John Laverty conducting. It willbe published by Neil Kjos in December.

address forsubmissions

Douglas Stotter, editorCBDNA Report

Music DepartmentValdosta State University

Valdosta, GA 31698

emaildstotter@valdosta.edu

An Interview with Leonard Slatkinby Frank Byrne

Leonard Slatkin is one of this generation’s most brilliant andmost active conductors. Now music director of the National Sym-phony Orchestra in Washington, he seems to go from success tosuccess. Having enjoyed a highly lauded tenure as music directorof the St. Louis Symphony, his reputation as an orchestra builderand advocate for the arts continues unabated. During his first sea-son with the National Symphony, Slatkin and the NSO won aGrammy award for their recording of John Corigliano’s SymphonyNo. 1, and were nominated for another Grammy for their record-ing of Joseph Schwantner’s Percussion Concerto. To begin theyear long celebration of the U.S. Marine Band’s Bicentennial,LtCol Timothy Foley, Director of the Marine Band, invitedLeonard Slatkin to do an entire concert with “The President’s Own”and, in Slatkin’s words, “I jumped at the chance.” He selected aprogram of mostly American music, very much in keeping withboth his advocacy of American music and the Marine Band’s his-toric role as the oldest professional musical organization in thenation. The concert was presented on Monday, January 26th, atDAR Constitution Hall in Washington to a capacity crowd of 3500.The program included the following works:

William Schuman ..............................George Washington BridgeJoseph Schwantner ......................................in evening’s stillnessVincent Persichetti .................................................. DivertimentoAaron Copland .............................................................. EmblemsNicholas Maw .................................................. American GamesSamuel Barber ................................................ Commando MarchCharles Ives ................................................ Country Band MarchJohn Philip Sousa ...................................Washington Post March

For an encore, Mr. Slatkin led the band in the national march,Sousa’s The Stars and Stripes Forever. Mr. Slatkin came back toWashington between engagements with the New York Philhar-monic, where he was also conducting the music of WilliamSchuman and Joseph Schwantner. During this period he is alsopreparing for performances of Saint Saens Samson et Dalila withthe Metropolitan Opera. Following the dress rehearsal for theMarine Band concert, Mr. Slatkin sat down with me for a fewminutes to discuss his experience and to express some thoughtsabout bands and wind music.

Frank Byrne: Tell me about your experience and backgroundwith bands.

Leonard Slatkin: I was an active member in my junior highand high school bands. In Los Angeles in the late 1950’s, publicschool arts programs were quite sophisticated and advanced. Inmy high school, which was Los Angeles High, we had three cho-ruses, two bands, and orchestra, and we had a composer in resi-dence who happened to be Peter Schikele. It also shows you adifference between then and now. Now the school is an armedcamp and music education in general in public schools world-wide, not just in this country, has declined. It’s very sad and needsto be addressed but it’s a whole other issue. The first semester of

high school season we were the marching band, and we would dothe football games. I played percussion and usually for the field Iwas assigned to the glockenspiel because the other percussionistswere mainly drummers. That is another big change that has hap-pened, you’ve moved away from the specialization world wherethe percussionists are basically able to play everything well. Then,when the next semester came and football season was over, webecame a concert band and we used to do some of the more seri-ous repertoire, within the high school limitation, and it was a goodchance to understand what was there.

I, like so many others, grew up listening to all those wonderfulrecordings with Frederick Fennell and the Eastman Wind En-semble, so there was a certain degree of history and familiaritywith the repertoire itself. Then I was for a year and a half an En-glish major at Los Angeles City College during a period of tryingto decide what to do, and I found opportunities there as well toplay in the band.

FB: Your father had some experience conducting bands didn’the?

LS: Yes, he conducted two band LP recordings, one with a groupcalled “The Concert Arts Symphonic Band.” The most famousone was called Charge and it was considered one of the most highlyprized audio demonstration discs that people used to take into hi-fi shops when they wanted to show off high end audio systems.He made a wonderful recording of the Leo Arnaud Olympic Fan-fare which was used quite extensively for the Olympics and anumber of years beyond. I went to the sessions with my fatheroccasionally, but I never used to like the sessions where bagpipeswere involved because you do not want to hear 12 bagpipes warm-ing up in the same room.

FB: Did you ever conduct your high school band?LS: In both high school and the City College I had the chance

to conduct the bands to get used to the feel of doing that. So be-fore I did orchestras, I was more involved in band work as a con-ductor. I don’t know if anyone remembers it anymore or plays it,but one piece that struck me was a very cute march called theJanuary February March by Don Gillis. Does anyone still playit?

FB: Yes, they do.LS: We used to do that all the time. And like a lot of places,

even in high school, I would say about a third of what we didwere transcriptions of either organ works or orchestral pieces. Itis intriguing to me that for the program we are doing here wewere able to play a whole program for music for wind ensemblewithout going to a transcription, not that there’s anything wrongwith it. I think you could make 50 to 100 programs of substantialmusic without resorting to transcriptions, and that is quite a re-markable turn for these ensembles. I never got heavily into whatwe might call the traditional military end of music. It just nevercame up. I remember doing research on music from the Civil Warand Revolutionary War and things like that but never got involvedactively as a performer. Now and then I will take a look at it. I

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remember speaking to the people who put together the Ken BurnsCivil War documentaries to find out about the music being used,to understand even more about the tradition, how it might havearisen and affected what was performed. It is very interesting howit could be so varied and created, and how rich the repertoire isfor wind ensembles.

FB: I know of your interest in transcriptions, especially in thework you have done with researching all the various versions ofPictures at an Exhibition. Do you feel that, while it may be pref-erable to do the original versions, that transcriptions can workeffectively for winds?

LS: Actually, I don’t feel that it is preferable to do the original.I think that everything is fair game. For instance, we all go outwith our own set of traditions regarding what we believe is au-thentic and we are mostly influenced by how we experienced worksfor the first time. I would say that the majority of works for theorgan, for instance, I never heard on the organ when I was a kid. Iheard them in piano transcriptions, orchestral transcriptions, andto this day I still prefer to listen to them that way because theyhave some pleasant reminders from my childhood and I think italso helps to introduce an audience to this music where they maynot have an opportunity in another guise. And for the players, agreat piece of music is a great piece of music no matter what youdo to it, within certain boundaries. I really feel that just the expo-sure to the actual music itself is quite enough and I have no prob-lem whatsoever dealing with the world of transcription. I ratherenjoy it. I know for the Bach year that’s coming in 2000, for En-gland I have proposed and it has been accepted that the NSO willdo a whole evening of transcriptions of Bach done by other com-posers, not Bach-Stokowski, but Bach-Elgar, Bach-Respighi,Bach-Schoenberg. Because if these composers, as serious musi-cians, wanted to do that, there is no reason that we as musiciansshould not at least listen to what they have to say. I get concernedsometimes that we lose what for some people was their way ofbeing introduced to the music in the first place. You still don’thave too much problem with people hearing pianists play Bachand Scarlatti. Some people don’t like it, but basically that is not aproblem. And is it certainly no problem for me when people startedtranscribing things for synthesizers. For wind ensembles and bandsit makes eminent sense that some of the repertoire can be mosteffective played in a different guise by a different sonority. Itdoesn’t negate the earlier version, but it only adds to it because ifthe piece holds up well in transcription it speaks volumes for theoriginal to start with. Perhaps, in some cases, who knows? Maybethe transcription is even better.

FB: You mentioned in an earlier conversation that you felt theBritish and the Americans kept the band tradition going. Tell memore about that.

LS: Since these are two of the areas of music that I do quitefrequently, nationalistic-wise, I find more and more commonalitybetween what our colleagues in England do and what we havedone. A lot of it has to do with the war, certainly. These two coun-tries managed to sustain symphonic tradition in regular perform-ing groups called symphonies that became important through this

century. And both of them through military band traditions spunoff into what is sometimes called symphonic wind ensemble orstraight out concert band works. I am sure there must be some inother parts of the world but I don’t think of it in the same way I doEngland and America. Still today in both countries you see sig-nificant works being produced specifically for these kind of en-sembles by composers in the two countries.

FB: Back when Holst and Vaughan Williams were writing, someof the works were written for professional bands but today thereis a lot of repertoire written for educational institutions. Do yousee a potential for more music being written on the professionallevel?

LS: What I think you are finding is that more composers areusing the orchestral venue to experiment and use different frame-works. So, some of the works that are emerging for wind ensembleare designed not only for use with band but for use within anorchestral concert where you might not require the strings. A prettygood example would be the Schwantner piece that we are play-ing, which seems basically to be an orchestral work without stringsand saxes. So it can comfortably be done on an orchestra pro-gram.

FB: To what degree have you programmed wind music on or-chestral concerts?

LS: I used to do that a lot in St. Louis, actually. I would do aprogram where the first half of the program would be a piece forwinds, a piece for strings, and if the pieces were not too longthere would be one for percussion as well. I think also that as wemove further into this century, the sheer virtuosity of the playersbecame a factor in the way the music was written and the idea thatthere were now so few boundaries in the technical capacity andcapabilities that the composers felt freer to write more virtuosicmaterial than even before.

FB: What were some of the wind compositions that you pro-grammed?

LS: Some of them would be somewhat traditional, some weren’t.For instance, there was a very strange piece that I did by TheodoreBerger called Rondo Ostinato which is basically like Bolero. Itwas a good piece. I used to frequently put on the Hartley Con-certo for 23 Winds, obviously the Stravinsky Symphonies of WindInstruments, the Poulenc Suite Francaise, which is only for 8 in-struments and harpsichord, but it counts. I remember doing theGrainger Lincolnshire Posy on a symphonic concert. And of courseyou have alternate works, rather major works such as in RichardStrauss...not just the small Opus 7 Serenade but the large windworks such as Invalid’s Workshop and Happy Workshop. I like theidea on a program of having these contrasts and moving throughthis direction, so it’s always been important to me.

FB: On this program, you are performing works by composerswhose orchestral repertoire you perform frequently. How do youfeel that these wind compositions compare to their orchestral rep-ertoire?

SPECIAL FEATURE - 11

LS: The music being played here is just as organic as it wouldbe at a symphonic concert. In the case of William Schuman, mostof his orchestral writing tends to divide the orchestra into blocksanyway. It’s very much brass writing versus woodwind writingversus string writing and independent percussion writing, althoughin George Washington Bridge he is able to achieve quite a re-markable set of sonorities of the massed sound. He uses the bandas a singular institution, creating layers upon layers of sound. Butyou still can separate the brass from the winds quite distinctly, soI don’t think there’s really much difference in what he was doingwith the ensemble other than just leaving out the strings in thisparticular piece. The same goes with the transcription of the Ameri-can Variations and the New England Triptych. Chester is certainlydefined that way.

The Schwantner deals primarily with colors and the unusualcharacteristics of sound that can go from one instrument to thenext. That is what he has always done. He is another one wherethe strings play quite independently of the remainder of the or-chestra no matter what work you are doing, and his use of percus-sion is quite unique. That has changed a lot in the past 20 years inwind writing. Composers like Barber, Persichetti, and MortonGould and those who wrote major works for wind ensemble usu-ally used the percussion primarily as a rhythmic device or to am-plify what the band was already doing. Composers like Schwantneruse the percussion as an almost separate group, treating them verymuch as they do in their 20th century orchestral guise as well.

The first piece of Joe’s that I knew, by the way, was ...and themountains rising nowhere. That was the first piece I actually saw,before aftertones of infinity. I programmed it early on and becameenamored with his use of colors. It is interesting that as he is get-ting older he is moving more into a minimalist structure of themusic and a little less attention to the “ah” kind of sounds andeffects that he used to put into music. I was curious to read in theprogram note for this piece that he considers this to be the secondmovement of the trilogy of the three wind pieces. It means thatover 20 something years will have passed between all three pieceshaving been completed. I suspect that he didn’t start it out as atrilogy. Persichetti....I studied with him. Both his book on har-mony and orchestration are still the landmarks to me along withthe books by Walter Piston. He was such a skilled craftsman andin a way it’s interesting that he seems to be remembered more forthe works for winds than for anything else. Certainly this piece,the Divertimento, and the Sixth Symphony are standard fare andeven people that don’t know wind music very well know aboutthese pieces. His writing for orchestra is a little bit different buthe seemed more comfortable writing for the wind and percussionidiom. He would be exemplified by the individuality of the differ-ent instrumental groups in combination with one another. It’s veryinteresting.

Then we have Copland. As his major work for wind ensemble,Emblems is one of the most unlikely, most un-Coplandist sound-ing works that I’ve ever encountered, but strikingly effective. Ofall the pieces on program, this is the one that seems the most re-lated to an orchestra piece even though it’s not conceived thatway. You can easily see how he probably was thinking of an or-chestral sonority and just took the strings out of it to place it inanother way. I could easily sit down and slightly rewrite parts of itand put strings in and see how it would work. This was a piece

that I did not know at all and it was a major surprise to me. Ithought I knew all the Copland pieces and this one I didn’t, sothat’s been interesting.

Nick Maw is very clearly comfortable in the wind aspect andpercussion writing. I’ve done two huge pieces of his, one is theOdyssey and the other the Violin Concerto, and this one at about20 minutes represents quite a change because it’s short. Odysseyis 95 minutes! It’s amazing. But he clearly seems to have had funwriting it and is very at home with the sonorities.

The Barber march...this is going to sound very strange but sincethere is not a full score I would bet that he didn’t orchestrate it. Iwould bet that he wrote basically on the keyboard or in short scoreand said to someone else, “Here, you go do it.” I would be sur-prised, not for any particular reason, it just strikes me that he mightnot have had time. This comes after the Second Symphony sohe’s had a rather major failure right before this piece. The SecondSymphony really just didn’t work, and I think he must have justsat down and had to toss this one off and assign it elsewhere.

The Ives we attribute more to James Sinclair than we do Ives inthe way the sounds come out. I put a couple of touches in that I dowhen I do roughly the same movement from Three Places in NewEngland. I don’t understand why Mr. Sinclair chose not to do themthe same way but that’s a purely personal matter. And Sousa isSousa but it is interesting for me to look at what becomes theoriginal authentic version of The Washington Post which is quitedifferent, more sparse, than what we are used to hearing.

FB: Does your conducting differ when conducting a wind band?LS: Overall, though the basic concept is not so much different

than I would have thought. I haven’t conducted a band for a longtime, certainly through a whole program. Because it was so wellprepared in advance there really wasn’t very much to do exceptmake some adjustments here and there, perhaps a tempo, phras-ing, or a dynamic. Mostly it was getting used to where everybodyis located physically on the stage and not trying to throw cueswhere they are not coming from. I even make that mistake withorchestras sometimes. But the key, as it should be in almost anymusical form, is breathing, and this time every time you give anupbeat whether it’s for the flutes or the saxes or, even the percus-sion to a certain degree, you need to physically take breath thesame way those players do.

FB: What do you feel is the most important learned skill for ayoung conductor?

LS: Going to as many rehearsals as possible and learning fromthe mistakes other conductors make. It’s really easy to go andwatch a great conductor and try to imitate what they do but youcome off as nothing but an imitation. It’s much more interesting,great or less great, to watch other conductors at work and seewhere things do not work and register in your brain and say, “I’vegot to avoid THAT from happening in the way I work.” I am surethat I make enough mistakes to fill seven volumes but, on theother side, I think more conductors need to pay attention to theactual sound that they hear, the individuality of the sound. Just aswith orchestras, obviously certain bands and wind ensembles havetheir own specific kind of sound that has been developed even

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though the personnel may or may not change. One thing lackingthese days in the orchestra world is a true cohesion within a givenensemble to make it sound different from another one. There is amore international aspect that is creeping in to orchestral playing.I don’t know if it’s the same in the band world at all but I suspectso. I think people coming out of conservatories tend to play thesame ways so as you are seeing people enter, one wants to keep acertain degree of tradition of the kind of sound that has been builtover the years. I found, for instance, here the thing that was soimpressive to me was the clarity of this ensemble. I was reallyquite taken with it. If I had to say there was a hallmark of theMarine Band, it is the clarity of the textures that seems to havebeen strived for. We are not just talking clean playing at all, butthat the sound is not overwhelmingly loud but rather more fo-cused with attention to internal balances and perhaps matters ofstructure itself. Those were the things that impressed me.

FB: Do you find there are any more balance problems with aband than an orchestra?

LS: The problem is that in some places composers who write inblock dynamics will write a good double forte for the brass and adouble forte for the woodwinds without, in many cases, realizingthat in certain registers the brass are going to obliterate the wood-winds. The measure of fine ensembles are those who know howto make those adjustments. That’s where the Schuman piece is soincredibly well done because when it starts and everyone is play-ing you can’t really differentiate the woodwinds from the brass. Itsounds like one gigantic, organic whole. I would say that is thechief problem: to keep the brass restrained enough and the wood-winds forceful enough without edginess. There is also the matterof feeling a totality of the wind sonority.

FB: There is a wide range of instrumentation among the workson the program, including works as sparse as the Schwantner orthe Maw piece.

LS: Those are just straight one-on-a-part pieces, so those are alittle easier in that sense. I was curious, and I asked one of theclarinetists, is there a rule when it’s a band piece about how manypeople play in it. And apparently there is not. You can use as manyclarinets as you want, as many saxes and we can’t quite do that inthe orchestra.

FB: There have been movements from time to time to establisha “standard instrumentation” for all new band works, which isludicrous because it would require every new work to have a pre-scribed instrumentation. It would obviously not work well.

LS: No, it wouldn’t.

FB: In 1964, Persichetti said, “Band music is the only mediumin which a new piece can be written, performed, put to immediateuse and become a staple of the repertory in a short time.” I havealso heard it said that the band was the most “new music friendly”ensemble. Do you agree?

LS: A lot of it is because the repertoire is almost exclusively

from this century. Every university with a music department has aband program where they might not have an orchestral one. In the60’s it was different because in 1964 the lines were being drawnbetween the experimentalists and twelve tone people and thosewho were conservative. That’s why people like Barber, and evento a certain degree Persichetti, were out with the academics. Ithink it has changed a bit because in the past 10-15 years there hasbeen more acceptance of certain composers because they havemoved away from frightening their audiences. Schwantner is agood example, other composers in this country include Chris Rouseand John Corigliano, who by the way, is going to turn the fanfarehe wrote for the NSO into a band piece. He wrote a fanfare for theopening of the center, it’s a good little piece called DC Fanfare,it’s based on the two notes D and C, and it’s effective. He is goingto sit down and make a band version because he sees that it wouldhave great potential. I think now that more composers have be-come audience friendly, the venue for newer music is now not soisolated for bands. I think more orchestras have gotten involvedwith Glass and Adams and other composer who are now reachingback to their audiences. The Persichetti quote was right for thetime but I think it has changed a bit.

FB: Who are the composers today, not exclusive to America,who most excite you?

LS: There are a lot of them, and I would say that the majorityare American: Joan Tower, Donald Erb, Michael Daugherty....thereare just so many out there right now. In Europe there are several.In England, Mark Anthony Turnage is a spectacular composer. Afew of the German composers are interesting. In Vienna you havecomposers like Kurt Schwertfik and H.K. Gruber and Ivan Erod.There are really some interesting people out there. I haven’t founda French one yet even though I conduct in Paris a lot, but I founda couple of Italians. One of them is named Ivan Fevele. I think theimportant thing is that they are finding an original voice for theirmusic.

FB: Do you think these composers would be open to compos-ing for winds?

LS: Absolutely, no question about it. I think chances are mostof them have already written something for winds. I would besurprised if they hadn’t. I think composers now are so fluent inthe use of the instruments themselves. They may have to learn afew things about some that they would not have known before,euphonium in particular, even cornet writing to distinguish it fromtrumpet writing for some is a problem. But I would be very sur-prised if any composer would turn anything down if it was aninteresting circumstance.

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14 - PROGRAMSPLEASE NOTE:Include your STATE and DATE OFPERFORMANCE in all submissions.

The CBDNA Executive Board and theeditor encourage program submissionsfor specific concerts in performanceorder rather than repertoire lists for se-mesters, tours, or school years. ManyCBDNA members are as interested inhow their fellow members program asthey are in what they program.Also, when sending email or computerdisk, do not use tabs, leader charac-ters, or other formatting. Submissionswill be formatted prior to publication.

CALIFORNIAPomona College Band

Graydon Beeks, conductorNovember 14 & 16, 1997

Chorale and Alleluia .......................... HansonSymphonic Mobile II .........................KessnerThe Severn Suite ......................... Elgar/ ReedCeltic Set .............................................CowellVariations on a Shaker Melody.........CoplandChamarita!............................................ NixonManhattan Beach ..................................SousaThe Billboard March...............Klohr/ Fennell

San Bernardino Valley CollegeWind Symphony

Paul L. Kardos, conductorOctober 29, 1997

Americans We ...................................FillmoreAmerica the Beautiful...............Ward/DragonAmerican Patrol ..............................MeachamStar Spangled Spectacular .... Cohan/CacavasAmerican Pioneer Suite ........................... FoxAll-American Football Medley ............Yoder2nd American Folk Rhapsody ...... GrundmanIrving Berlin Symphonic Portrait .......... AdesStars and Stripes Forever ......................Sousa

WASHINGTON, D.C.Catholic University

Chamber WindsRobert Garofalo, Music Director

Willis Rapp, conductorBrian Jones, clarinet soloist

November 19, 1997New & Commissioned Works

Overture for Winds ........... Helmut BraunlichEclat........................................... Joseph Santo

Adagio and Tarantella .............................................................Ernesto Cabvallini/Jones

Brian Jones, ClarinetChamber Symphony for Winds ......................

...........................Joao Guilherme Ripper**world premiere**

GEORGIAColumbus State University

Camerata MusicumRobert W. Rumbelow, conductor

October 16, 1997Capriccio .................................................IbertPetite Symphonie, Op. 90 ..................GounodSerenade, Op. 7 ...................................StraussAppalachian Spring...........................Copland

Columbus State UniversitySymphonic Wind Ensemble &

Chamber WindsNovember 25, 1997

Postcard ............................................... TicheliSecond Suite...........................................HolstSerenade, Op. 44 ................................ DvorakColonial Song................................... GraingerHandel In The Strand ....................... GraingerTuba Concerto...................................Gregson

Michael Moore, tuba soloist

Columbus State UniversitySymphonic Wind Ensemble

Chamber ConcertJanuary 27, 1998

Canzon a12........................................ GabrieliAgnus Dei.................................Verdi/EphrossThree Equali.................................. BeethovenChorale and Danza ...........................NelhybelLa Veillee de L’ange Gardien .............. PierneConcerto in C Maj. for Two Tpts .......VivaldiSuite in D ................................................ Bird

Columbus State UniversitySymphonic Wind Ensemble &

Chamber WindsMarch 8, 1998

Triumphal March and Ballet Music from Aida.....................................Verdi/Rumbelow

With Quiet Courage .............................DaehnSinfonia für Bläser .......................... DonizettiConcerto for Marimba ....................Maslanka

Andrew Harnsberger, marimbaSuite Francaise ..................................Milhaud

Valdosta State UniversityWind Ensemble

Douglas Stotter, conductorDecember 5, 1997

Four Scottish Dances .......................... ArnoldSalvation is Created ........................................

.................... Tschesnokoff/HouseknechtFlorentiner ............................................. FucikSuite Francaise ..................................MilhaudWedding Dance ...................... Press/Johnston

Valdosta State UniversityConcert Band and Wind Ensemble

March 5, 1998Wind EnsembleLincolnshire Posy ............................ GraingerConcert BandMorning Alleluias ............................... NelsonCajun Folk Songs................................ TicheliCajun Folk Songs II ............................ TicheliSketches on a Tudor Psalm......................Tull

INDIANABall State University

Wind EnsembleJoseph Scagnoli, conductor

February 20, 1998Declarations ................................ CamphouseConcertino for Four Percussionand Wind Ensemble ..................... GillinghamConcerto for Bassoon (I) .............. von Weber

Keith Sweger, bassoonDivertimento .........................................CichyCyrus the Great .......................................KingThe Year of the Dragon....................... Sparke

Ball State UniversityConcert Band and Wind Ensemble

H. Clay Arnett and James W. McRoy,conductors

February 19, 1998Concert BandThe Mad Major ....................................AlfordConcerto for Horn ............................HermannSun Dance ........................................... TicheliSymphony BandWilliam Byrd Suite ............................... JacobWatchman, Tell Us of the Night . CamphouseGeorge Washington Bridge..............SchumanRolling Thunder ................................Fillmore

Indiana UniversityConcert Band

David C. Woodley, conductorFebruary 10, 1998

Joyance ..................................................SmithAn Original Suite .................................. JacobSymphonic Dance #3 .......................Williams

Paul Nickolas, conductorThe Big Cage ..........................................King

PROGRAMS - 15

Tell Us!Will any of your performing organi-

zations premiere new works this year?The entire CBDNA membership wouldlike to hear about the work!

Send us program notes, informationregarding instrumentation, recordings,difficulty, and availability.

Indiana UniversitySymphonic Band

Stephen W. Pratt, conductorFebruary 10, 1998

Fantasia in G ..........................................MahrMark Duker, conductor

Tam O’Shanter Overture......Malcolm ArnoldThe Sussex Mummers Xmas Carol . GraingerHuntingtower Ballad........................ RespighiRikudium..................................Van der Roost

Indiana UniversityWind Ensemble

Ray E. Cramer, conductorFebruary 24, 1998

Aegean Festival Overture ................... MakrisCaricatures .................................... HutchesonPampeana Suite No. 3.....................GinasteraFairest of the Fair ..................................SousaSymphony on Themes of John Philip Sousa ..

................................................. HearshenYoshiaki Tanno, conductor

Little Buckaroo for Tbn and Wind Ensemble................................................ Dilorenzo

Scott Hartman, TromboneDivertimento .........................................Cichy

Indiana UniversityConcert Band

David C. Woodley, conductorMarch 3, 1998

Four Scottish Dances .......................... ArnoldWhen Jesus Wept ...........................SchumannAsuka................................................. Kushida

Yoshiaki Tanno, conductorChorale and Shaker Dance............... Zdechlik

Mark Duker, conductorSuite of Old American Dances ..........BennettThe Liberty Bell....................................Sousa

Indiana UniversitySymphonic Band

Stephen W. Pratt, conductorMarch 10, 1998

Overture for Winds ......................... DevienneHeroes, Lost and Fallen ............... GillinghamMock Morris .................................... GraingerThe Leaves are Falling....................... BensonFolksongs for Band No. 3................StanhopeFestal Scenes .............................................. Ito

ILLINOISNorthern Illinois University

All-University BandLawrence Stoffel, conductor

October 19, 1997Military March, WoO 24............... BeethovenAir for Band ..................................... EricksonAn Irish Rhapsody ........................ Grundman

Northern Illinois UniversityWind Symphony

Ronnie Wooten, conductorMark Dahl, graduate conducting associateCanzona ..............................................MenninSymphony No. 8 (I) ............. Schubert/CallietTrauersinfonie .................................... WagnerColours ..................................................Cichy

**Illinois premier**

Northern Illinois UniversityWind Symphony

Ronnie Wooten, conductorNovember 16, 1997

Dedication Overture......................... GianniniMasquerade for Band.................... PersichettiSymphony on Themes of Sousa (II) HearshenAn Original Suite .................................. Jacob

Northern Illinois UniversityWind Symphony

Ronnie Wooten, conductorKenneth G. Bloomquist, guest conductorShawn Maher, grad. conducting associate

February 24, 1998Symphony No. 3 (I) ............................... ReedAlleluia .......................................... ThompsonKyrie Gott, Heiliger Geist ............Bach/LaneLa Fiesta Mexicana (I, II) ...................... ReedNational Emblem ................................ BagleyGeorge Washingtion Bridge.............Schuman

KENTUCKYCampbellsville University

Concert BandDavid McCullough and Boyd Rexroat,

conductorsMarch 12, 1998

Overture in B-flat......................... GiovanniniLied ohne Worte ....................................RudinWhere the Black Hawk Soars ...............SmithSecond Suite in F ...................................HolstWhen Jesus Wept .............................SchumanChester..............................................Schuman

Morehead State UniversityRichard Miles, conductor

May 6, 1997Entry March of the BoyarsHalvorsen/FennellSymphony No. 3 .............................. GianniniSide Partners ........................................Clarkeand the mountains rising nowhere ..................

............................................. SchwantnerHymn of St. James .................................ClarkEnigma Variations .................... Elgar/Slocum

Murray State UniversitySymphonic Wind Ensemble

Dennis Johnson and John Fannin,conductors

February 20, 1998Quad-State Celebration....................CowherdRoman Wells ...................................... JanssenPetite Symphonie ...............................GounodCarnival of Venice................................ClarkeDer Traum des Oenghus (Part II) .........RudinCounty Band March.................................Ives

University of KentuckyWind Ensemble

Richard Clary, conductorOctober 12, 1997

Celebration ........................................GregsonDreamcatcher .........................................MaysSuite Francaise ..................................MilhaudSymphonies of Wind Instruments StravinskySymphony No. 3 .............................. Giannini

University of KentuckyWind Ensemble

Richard Clary, conductorNovember 16, 1997

Uzbek and Armenian Folk Dances ............................................................Khachaturian

Danzon-Memory ................................ BensonGazebo Dances.............................. CoriglianoDances Exotiques............................. FrancaixDance Movements .............................. Sparke

University of KentuckyConcert Band

Richard Clary and George Boulden,conductors

October 25, 1997Lauds ................................................... NelsonWatchman, Tell Us of the Night . CamphouseOriginal Suite ........................................ JacobFestal Scenes .............................................. ItoAve Maria ...............................................BieblArmenian Dances, Pt. I .......................... Reed

16 - PROGRAMSUniversity of Louisville

Symphonic BandFrederick Speck, conductor

October 5, 1997Symphony No. 2 .................................... ReedFanfare in B-flat.................................. HortonLincolnshire Posy ............................ GraingerSymphony in B-flat....................... Hindemith

Western Kentucky UniversitySymphonic Band

John C. Carmichael, conductorNovember 25, 1997

Wonderful Days March........................... IwaiQuiet City ......................Copland/HunsbergerRocky Point Holiday........................... NelsonA Walk in Jurassic Park ......................MelilloThe Cowboys .....................Williams/CurnowIrish Tune ......................................... GraingerAfrica.....................................................SmithDance of the Jesters .....Tchaikowsky/Cramer

Western Kentucky UniversityConcert Band and Wind Ensemble

Robert Hansbrough and John Carmichael,conductors

March 3, 1998Concert BandThe Thunderer .......................................SousaTrail of Tears ....................................... BarnesLindbergh Variations......................... SheldonCradlesong ...........................................BartonLight Calvary Overture......... Suppe/FillmoreWind EnsembleThree City Blocks ............................HarbisonAround the Clock........................... KallstromSymphony in B-flat....................... HindemithSymphony No. 3 (III)......................Maslanka

MASSACHUSETTSMassachusetts Wind Orchestra

Malcolm W. Rowell, Jr., Music DirectorSeptember 21, 1997

Smetana Fanfare..................................... HusaEmblems............................................CoplandTrauersinfonie .................................... WagnerSymphony for Band ...................... HindemithLincolnshire Posy ............................ GraingerAmazing Grace ................................... TicheliStars and Stripes Forever ......................Sousa

University of Massachusetts AmherstWind Ensemble and Symphony Band

Malcolm W. Rowell, Jr., conductorNovember 25, 1997

Wind EnsembleCalifornia Counterpoint ...................... McTeeSinfonietta ...............................................DahlAdagio ............................................... RodrigoFire Works ............................................. YoutzSymphony BandFestivo ...............................................GregsonA Movement for Rosa................. CamphouseFolk Songs for Band (I) ...................StanhopeBlue Shades......................................... Ticheli

MICHIGANMichigan State University

Wind SymphonyJohn L. Whitwell and John T. Madden,

conductorsSeptember 27, 1997

Fanfare on motifs of Die Gurrelieder ...........................................................Schoenberg

Second Suite in F ...................................HolstConcerto for Oboe ....................... Tcherepnin

Daniel Stopler, oboeSinfonietta ...............................................DahlDance of the Jesters ......Tchaikovsky/Cramer

Michigan State UniversitySymphony Band

David L. Catron, John T. Madden, andJohn L. Whitwell, conductors

October 5, 1997Celebration Overture..........................CrestonAve Maria ......................................Biebl/RossSymphony in B-flat (I).................. HindemithDesi ............................................... DaughertyPineapple Poll .................Sullivan/Mackerras

MONTANAMontana State University-Bozeman

Wind EnsembleJonathan E. Good, conductor

October 22, 1997Lauds ................................................... NelsonAtmospheres.......................................GollandMountain Song.................................... SparkeParis Sketches .....................................EllerbyMarsch...............................................Wengler

Montana State University-BozemanWind Ensemble

Jonathan E. Good, conductorDecember 10, 1997

Finnegan’s Wake ..................Archibald PotterWatchman, Tell Us of the Night CamphouseRonde for Isolde................................ BedfordThe Gum-Suckers March................. Grainger

Montana State University-BozemanWind Ensemble

Jonathan E. Good, conductorSpring Tour Program & March 11, 1998

Fanfare for a New Era.......................... StampCatcher of Shadows ...................Philip WilbyMountain Song.................................... SparkeA Dramatic Landscape............. John McLeodParis Sketches .....................................EllerbyLauds ................................................... Nelson

NEW JERSEYMontclair State University

Symphonic BandMary Ann Craig, conductor

New Jersey Music Educators ConferenceFebruary 21, 1998

Gvorkna Fanfare .................................. StampPineapple Poll .................Sullivan/MackerrasAdagio and Tarantella ......................Cavallini

Eun-Soo Chang, clarinetSymphony No. 3 Finale (Excerpts) ................

.................................... Mahler/ReynoldsThird Suite..............................................JagerVariations on America.....................................

............................ Ives/Schuman/Rhodes

NEW YORKAlfred University Concert Band

Marc Sackman, conductorNovember 14, 1997

His Honor ..........................................FillmorePageant .......................................... PersichettiSalute to American Jazz..................... NesticoVariations on a Shaker Melody.........CoplandWilliam Byrd Suite (I, II, and VI) ....... JacobRadetsky March ........................ Strauss/Reed

Plattsburgh State UniversitySymphonic Band

Daniel Gordon, conductorNovember 21, 1997

A Tribute to Henry Cowell (1897-1965)Cowell’s Band WorksHymn and Fuguing Tune No. 1 (1944)Celtic Set (1938)Cowell’s Piano MusicThe Banshee (1925)Little Concerto (1942) for piano and band

Pamela Reimer, pianoMusic by Composers Affiliated with CowellChapultepec (1935/67)....................... ChávezIrish Tune ......................................... GraingerVariations on “America”.................................

............................ Ives/Schuman/Rhoads

PROGRAMS - 17NORTH CAROLINAUniversity of North Carolina Greensboro

Wind EnsembleJohn R. Locke, conductor

October 9, 1997Fiesta del Pacifico................................ NixonEntry March of the BoyaresHalvorsen/BarnesSuite Francaise ..................................MilhaudSolid Men to the Front..........................SousaDance Movements .............................. SparkeDance of the Jesters ......Tchaikovsky/Cramer

University of North Carolina GreensboroWind Ensemble

John R. Locke, conductorDecember 4, 1997

Fanfare for a New Era.......................... StampMelita .....................................................KnoxDawn Flight...........................................WilbySymphonic Songs for Band ...............BennettSymphony No. 4 .............................Maslanka

University of North Carolina GreensboroWind Ensemble

John R. Locke, conductorFebruary 20, 1998

Celebrations ..................................... ZdechlikLa Fiesta Mexicana ................................ ReedThe Lads of Wamphray.................... GraingerGodzilla Eats Las Vegas! .................WhitacreDance of the Jesters ...................Tchaikovsky

Wake Forest UniversityWind Ensemble

C. Kevin Bowen, conductorDecember 2, 1997

The Hounds of Spring............................ ReedThree Chorale Preludes...................... LathamAspen Jubilee ...................................... NelsonSymphony for Wind Orchestra ........ HultgrenA Rhapsody on Christmas Carols.........SmithAmerican Salute................................... Gould

NORTH DAKOTAUniversity of North Dakota

University Band and Wind EnsembleGordon R. Brock, conductor

April 6, 1997University BandGreensleeves ......................................... ReedLlwyn Onn .............................................HoggIntrusions........................................... LekroneWind EnsembleLa Procesion del Rocio.............. Turina/ReedPrelude Op. 34, No. 14 ...................................

.......................... Shostakovich/ReynoldsMars........................................................HolstConcerto for Trombone......Grondahl/ MollerPas Redoublé..........Saint-Saëns/FrackenpohlThe Thunderer .......................................Sousa

University of North DakotaWind EnsembleNorth Dakota

Music Educators Association ConventionOctober 9, 1997

Three Intradas ..................................NelhybelScenes from “The Louvre” ............Dello JoioUniversity of North Dakota March ........KingSymphony No. 6 ........................... Persichetti

University of North DakotaUniversity Band and Wind Ensemble

Gordon R. Brock, conductorDecember 7, 1997

University BandChester................................ Billings/TolmagePuszta .......................................Van der RoostMazama ......................................... ChattawayWind EnsembleDivertimento .......................................... HusaDance of the Jesters ......Tchaikovsky/CramerNorwegian Dance Suite No. 1 .Grieg/Langlie

**premiere**Scotch Strathspey & Reel ... Grainger/Osmon

University of North DakotaUniversity Band and Wind Ensemble

Gordon R. Brock, conductorMarch 3, 1998

University BandCondacum ................................Van der RoostAustralian Up-Country Tune ..........................

.................................... Grainger/BainumCelebration of Life........................... HultgrenRikudim....................................Van der RoostWind EnsembleDer Traum des Oenghus .......................RudinWatchman, Tell Us of the Night . CamphouseGodzilla Eats Las Vegas! .................Whitacre

University of MaryWind Ensemble and Concert Band

Dennis Gowen, conductorApril 6, 1997

University Wind EnsembleFestmusik der Stadt Wien ........Strauss/BanksKonzert für Trompete (III).....Haydn/LeidzenSerenade for Alto Saxophone ....BencriscuttoFour Scottish Dances .............Arnold/PaynterUniversity Concert BandFanfare and Flourishes for a Festive Occasion

....................................................CurnowConcerto for Horn in E-flat (III).........StraussDo Not Go Gentle into that Good Night ........

................................................Del BorgoPraise to the Lord .............................NelhybelSlavonic Dance, Op. 46, No. 8 .......... Dvorak

University of MaryWind Ensemble and Concert Band

Dennis Gowen, conductorNovember 2, 1997

A Musical Journey: Land, Sea & SpaceUniversity Wind EnsembleMars............................................. Holst/SayreNight Soliloquy..................................KennanGhost Train (I)..................................WhitacreJupiter, the Bringer of Jollity...Holst/CurnowUniversity Concert BandSongs of Sailor and Sea ........................SmithTrail of Tears ....................................... BarnesStar Wars Medley................Williams/Burden

OHIOYoungstown State UniversitySymphonic Wind EnsembleStephen L. Gage, conductor

Joseph Edwards, guest conductorNovember 24, 1997

Hail Britannia!British Eighth ....................................... ElliottTam o’Shanter ........................Arnold/PaynterSuite No. 2..............................................HolstDaniel in the Lion’s Den....................McBethChildren’s March ............................. GraingerEnigma Variations .................... Elgar/SlocumBlue Bells of Scotland ...........................Pryor

Youngstown State UniversitySymphonic Wind Ensemble

Dr. Stephen L. Gage, conductorTour and OMEA Performance

January 21-22, 1998British Eighth March ........................... ElliottTam o’Shanter ........................Arnold/PaynterTerpsichore .......................................MargolisDaniel in the Lion’s Den....................McBethEnigma Variations .................... Elgar/SlocumDance of the Jesters ....Tschaikovsky/Cramer

Youngstown State UniversitySymphonic Wind Ensemble and

Concert BandDr. Stephen L. Gage, conductorJonathan E. Willis, conductor

March 2, 1998Concert BandTerpsichore and Other Renaissance FavoritesCourtly Airs and Dances.................... NelsonYear of the Dragon.............................. SparkeSymphonic Wind EnsembleLincolnshire Posy ............................ GraingerBlack Horse Troop ............................... SousaConcerto for Solo Percussionist ..........ChildsTerpsichore .......................................MargolisDance of the Jesters ................. Tschaikovsky

18 - PROGRAMSYoungstown State University

Concert and University BandsJonathan E. Willis, conductor

Dr. Stephen L. Gage, conductorChristopher Bennett, grad. asst. cond.

Thomas Resnick, grad. asst. cond.Thomas Sousa, grad. asst. cond.

March 4, 1998University BandEl Capitan March ..................................SousaHighlights from Miss Saigon...............BarkerMoorside Suite .......................... Holst/WrightOn a Hymnsong by Philip Bliss .....HolsingerAmerican Symphony ........ Kamen/ LavenderConcert BandCourtly Airs and Dances..................... NelsonThe Sinfonians .................................WilliamsAmazing Grace ................................... TicheliFairest of the Fair ..................................SousaYear of the Dragon.............................. Sparke

OKLAHOMANortheastern State University

Wind EnsembleRobert M. Carnochan, conductor

American Music ConcertOctober 2, 1997

Incantation and Dance ....................... ChanceOld Home Days............................. Ives/ElkusSymphony No. 1 ............................. BuckvichPagent ............................................ PersichettiAfter A Gentle Rain (I) ................IannaconneVariants on a Mediavel Tune .........Dello Joio

Northeastern State UniversityWind Ensemble

Robert M. Carnochan, conductorBritish Music Concert

November 20, 1997Festivo ...............................................GregsonNimrod ......................................... Elgar/ReedSecond Suite...........................................HolstFolk Song Suite.................Vaughan WilliamsLincolnshire Posy ............................ GraingerBritish Eighth ....................................... Elliott

Northeastern State UniversityConcert Band and Wind EnsembleRobert M. Carnochan, conductor

Chorales and CoplandMarch 5, 1998

Concert BandCaccia and Chorale ..........................WilliamsCanterbury Chorale ..................Van der RoostVariations on a Shaker Melody.........CoplandChorale and Alleluia .......................... HansonWind EnsembleAn Outdoor Overture ........................CoplandDown a Country Lane.......Copland/PattersonEmblems............................................Copland

Oklahoma Baptist UniversitySymphonic Band and Wind Ensemble

Jim Hansford, conductorApril 24, 1997

An Original Suite ................................. JacobDown a Country Lane (1962) ...........CoplandPie Jesu....................................Faure/SudduthVariants on a Mediaeval Tune .......Dello JoioShriek! ................................................ DunkerPrelude on a Hymn of Praise .............CurnowA Passing Fantasy ....................................TullThe Ascension .......................................SmithA Movement for Rosa................. Camphouse

Oklahoma City UniversitySymphonic Band

Matthew Mailman, conductorSeptember 23, 1997

Auf Wellingtons Sieg bei Vittoria, Op. 91 ....................................... Beethoven/Schade

Drei lustige Märsche ...........................KrenekSketches on a Tudor Psalm......................Tulland the mountains rising nowhere ..................

............................................. SchwantnerIrish Tune ......................................... GraingerThe Free Lance March..........................Sousa

Oklahoma City UniversitySymphonic Band

Matthew Mailman, conductorNovember 9, 1997

Exaltations............................Martin MailmanTrumpet Concertino, Op. 31 ............MailmanKonzertmusik für Blasorchester ... HindemithHammersmith.........................................HolstCartoon .................................................... Hart

Oklahoma City UniversitySymphonic Band

Matthew Mailman, conductorMarch 6, 1998

Slava!.............................Bernstein/GrundmanRoute 66 .................................Edward Knight

**world premiere**Concerto No. 2 for Clarinet .......... von WeberSpiel für Blasorchester............................TochSymphony No. 6 ........................... Persichetti

SOUTH CAROLINAUniversity of South Carolina

Wind Ensemble IJames K. Copenhaver, Conductor

November 3, 1997Pineapple Poll .................Sullivan/MackerrasMasquerade for Band.................... PersichettiThe Gum-Sucker’s March ............... GraingerProfanation ................ Bernstein/BencriscuttoConcertino for Four Percussionists and WindEnsemble ...................................... Gillingham

University of South CarolinaWind Ensemble II

David A. O’Shields, ConductorNovember 3, 1997

Celebrations ..................................... ZdechlikWatchman, Tell Us of the Night . CamphouseDance of the New World..................... WilsonAncient and Honorable Artillery Company ...

.......................................................Sousa

TEXASMcMurry University

Symphony BandScott L. Taube, conductor

Christmas Music from Different LandsDecember 8, 1997

Fanfare Prelude on Joy to the World .CurnowSussex Mummers Christmas Carol ................

..................................Grainger/GoldmanRiver of Life...................................... ReinekeGloria.................................................... RutterRussian Christmas Music ...................... ReedA Christmas Festival.......................Anderson

McMurry UniversitySymphony Band

Scott L. Taube, conductorTour Program

February 24, 1998Overture to Candide......... Bernstein/WheelerWith Quiet Courage .............................DaehnTexas Promenade ............................HolsingerConcerto for Flute ........................ ChaminadeChorale and Alleluia .......................... HansonShepherds Hey .....................Grainger/Rogers

Temple CollegeWind Symphony

Stephen Crawford, conductorOctober 5, 1997

Flourish .............................Vaughan WilliamsSuite from Terpsichore.. Praetorius/CrawfordKomm, Süsser Tod........................Bach/ReedPageant .......................................... PersichettiEpinicion ............................................PaulsonBlues for a Killed Kat .............................. EndThe Thunderer .......................................Sousa

Temple CollegeWind Symphony

Stephen Crawford, conductorNovember 23, 1997

Bullets and Bayonets ............................SousaAllerseelen ..........................................StraussAndante e Rondo Ongarese .....Weber/GloverFolk Song Suite.................Vaughan WilliamsAs If Morning Might Arrive ................ StampThe Gum-Sucker’s March ............... Grainger

PROGRAMS - 19The University of Texas

Wind EnsembleJerry Junkin, conductor

September 28, 1997Overture to Colas Bruegnon ...........................

......................... Kabalevsky/HunsbergerColonial Song................................... GraingerThe Gumsucker’s March ................. GraingerBizarro........................................... DaughertyDesi ............................................... DaughertyUrban Requiem ................................ Colgrass

The University of TexasWind Ensemble

Jerry Junkin, conductorOctober 29, 1997

Weiner Philharmoniker Fanfare..........StraussHerbert N. Watkins, conductor

Suite in Bb, op. 4 ................................StraussDance of the Jesters ......Tchaikovsky/CramerMorgenstern from Sternmoor ...... Rolf Rudin

Mark J. Spede, conductorMolly on the Shore .......................... Grainger

Nathan T. Prater, conductorElsa’s Procession.............. Wagner/Bourgeois

The University of TexasWind Ensemble

Jerry Junkin, conductorDecember 3, 1997

Old Wine in New Bottles...................... JacobKonzertmusik für Blasorcherter ... Hindemith

Scott S. Hanna, conductorSonata for Trumpet ............................KennanNight Soliloquy..................................Kennan

Karl Kraber, fluteSinfonische Metamorphosen ..........................

...................................Hindemith/Wilson

The University of TexasWind Ensemble

Jerry Junkin, conductorFebruary 11, 1998 and

February 12, 1998 at theTexas Music Educators Association

ConventionJig ................................................... GodfreyFantasy Variations.......................... Grantham

**world premiere**Molly on the Shore ........................Grainger -

Paula A. Crider, guest conductorSonata in F “St. Marc”..................... Albinoni

Harvey Pittel, saxophoneNiagara Falls ................................. Daugherty

**Texas premiere**Elsa’s Procession.............. Wagner/Bourgeois

The University of TexasWind Ensemble

Jerry Junkin, conductorFebruary 17, 1998 and February 19, 1998

at Carnegie Hall - New YorkJig ................................................... GodfreyMolly on the Shore .......................... Grainger

Paula A. Crider, guest conductorSonata in F “St. Marc”..................... Albinoni

Harvey Pittel, saxophoneNiagara Falls ................................. DaughertyFantasy Variations.......................... GranthamUm Mitternacht ...................................Mahler

Barbara Conrad, mezzo-sopranoElsa’s Procession.............. Wagner/Bourgeois

The University of Texas-Pan AmericanConcert Band

Dean R. Canty, conductorMarch 25, 1997

Americans We ...................................FillmoreFirst Suite ...............................................HolstTrittico ..............................................NelhybelPavane .....................................Faure/NormanBlasenfest ..................................................FryAmbrosian Hymn Variants ...................WhiteJupiter .....................................................HolstAgüero................................................. FrancoBerceuse and Finale ...................... StravinskyThe Black Horse Troop.........................Sousa

The University of Texas-Pan AmericanConcert Band

Dean R. Canty, conductorNovember 25, 1997

The Klaxon........................................FillmoreOriginal Suite ........................................ JacobAtropos ................................................WeinerVariants on a Medieval Tune .........Dello JoioPineapple Poll ................................... SullivanVariations on a Korean Folk Song..... ChanceVariations on America.................Ives/RhodesChorale and Shaker Dance............... ZdechlikSlava!...............................................Bernstein

UTAHUtah State University

Wind OrchestraJohn Cody Birdwell, conductor

Utah Music Educators ConventionFebruary 8, 1997

Kaiparowits Fanfare................Dennis Griffin**premiere**

Festive Overture....Shostakovich/HunsbergerConcerto for Clarinet and Symphonic Winds

.....................................William SchmidtNicholas Morrison, clarinet

Dance of the New World..................... WilsonFirst Suite ...............................................HolstCartoon .................................................... Hart

Utah State UniversityWind Orchestra

John Cody Birdwell, conductorApril 17, 1997

Esprit de Corps.......................................JagerEnglish Dances, Set II......................... ArnoldZion ................................................... WelcherInvincible Eagle March.........................Sousa

Utah State UniversityWind Orchestra

John Cody Birdwell, conductorMay 16, 1997

Esprit de Corps.......................................JagerEnglish Dances, Set II......................... ArnoldSilverado ....................................... BroughtonLa Fiesta Mexicana ................................ ReedPathfinder of Panama............................Sousa

Utah State UniversityWind Orchestra

John Cody Birdwell, conductorNovember 18, 1997

Celebration Overture..........................CrestonThe Vanished Army..............................AlfordElegy................................................... ChanceThe Sun Paints Rainbows on Vast Waves ......

................................................... BedfordSlavonic Dances................... Dvorak/Curnow

VIRGINIALongwood College

Concert BandGordon Ring, conductor

Charles Kinzer, alto saxophone soloistSteven Barton, guest conductor

November 18, 1997American Overture............................. JenkinsPrelude, Siciliano, & Rondo ..Arnold/PaynterSerenade for Solo Alto Saxophone and Band

............................................BencriscuttoCathedrals................................ Steven BartonGhost Train.......................................WhitacreThe Thunderer ..........................Sousa/Fennell

Radford UniversityWind Ensemble

Mark Camphouse, conductorJack Stamp, guest conductor

October 19, 1997Four Colonial Country Dances ..........CurnowTrumpet Concerto .................. Haydn/Duthoit

Paul Everett, trumpetAntithigram .......................................... StampFour Maryland Songs........................... StampSymphony No. 1 ...............................BukvichDance of the Jesters .....Tchaikowsky/Cramer

WASHINGTONUniversity of Washington

Wind EnsembleTimothy O. Salzman and

David C. Fullmer, conductorsDecember 2, 1997

Serenade No. 12 in C minor ...............MozartMolly on the Shore .......................... GraingerX ......................................Scott McAllisterNo Sun, No Shadow: Elegy for Charles Mingus

.....................................................BroegeDance Movements .............................. Sparke

University of WashingtonWind Ensemble

Timothy Salzman, conductorThomas Bingham, Richard Strauch,

Robert Ponto, James Keene,guest conductors

1998 Pacific Northwest Music FestivalFebruary 3, 1998

Medieval Suite .................................... NelsonZion ................................................... WelcherConcerto for Horn No.1......................StraussAlliances................................... Brad Warnaar

Richard Todd, Guest Horn Soloist

University of WashingtonChamber Winds

February 24, 1998David C. Fullmer, student conductor

Divertimento ................................ Karel HusaFacade..................................................Walton

Julian Patrick, Guest ReciterSinfonietta da Camera........ Salvador Brotons

University of WashingtonWind Ensemble and Concert Band

Timothy O. Salzman, conductorSymphonic Band

J. Bradley McDavid, conductorMarch 10, 1998

Concert BandProspect ........................................... La PlanteSymphonic Dance #3 Fiesta ............WilliamsSymphonic BandThe Florentiner March .......................... FucikGhost Dance .......................................HilliardChorale and Shaker Dance............... Zdechlik

David C. Fullmer, conductorWind EnsembleSuite Francaise ..................................Milhaud

Stephen D. Clickard, conductorMallets................................William O. Smith

**world premiere**Thomas Collier, vibraphone

Les Couleurs Fauves.............................. Husa

20 - PROGRAMSWISCONSIN

Silver Lake CollegeWind Ensemble

Brent Shires, conductorNovember 13, 1997

Burst of Flame.................................... BowlesDawn Breaks at the Shinto Shrine..WatanabeChildren’s March ............................. GraingerThe Merry King ............................... GraingerSuite Francaise (I, V) ........................Milhaud

Silver Lake CollegeWind Ensemble

Brent Shires, conductorDecember 7, 1997

A Carol Festival ..................................... AdesPrayer and Pantomime .Humperdinck/MaddyChildren’s March ............................. GraingerSleigh Ride ......................................Anderson

CANADAUniversity of Calgary

Wind EnsembleGlenn D. Price, conductor

Angela Row, assistant conductorOctober 26, 1997

Fanfare on Motifs from "Die Gurrelieder"...................................................Schoenberg

Allerseelen ..........................................StraussKinderszenen..................................SchumannSinfonietta ...............................................DahlMass in E Minor...............................Bruckner

University of CalgaryWind Ensemble

Glenn D. Price, conductorAngela Row, assistant conductor

December 3, 1997Gallimaufry .................................WoolfendenVariations on Mein Junges Leben .SweelinckDer Schwanendreher ..................... HindemithSymphonic Metamorphoses.......... Hindemith

University of CalgaryWind Ensemble

Glenn D. Price, conductorAngela Row, assistant conductorJanuary

27, 1998Hommage a l'Ami Papageno ........... FrancaixPetite Symphony ................................GounodFrom a Dark Millenium .............. SchwantnerDance Movements ................................ Spark

Call for ProposalsC.B.D.N.A. ThirtiethNational ConferenceFebruary 24-27, 1999

The Research Committee of the Col-lege Band Directors National Associa-tion solicits proposals for research pre-sentations (paper or poster session) forthe 1999 National Conference.

Priority will be given to currentCBDNA members or student members,but outstanding proposals from non-members will be considered.

Submissions in the broadly definedareas of wind ensemble and band his-tory, literature, aesthetics, and peda-gogy are encouraged. Submissionsconcerning use of technology and mu-sic for voices and winds are also en-couraged.

For both the paper presentations (20-minute) and the poster session, propos-als with the broadest application/appealare encouraged.

Works in progress will be consideredfor the poster session.

Papers not accepted for presentationmay be invited for the poster session.

Members are encouraged to sharethis application with their colleaguesworking in other areas, but involved inprojects of interest to C.B.D.N.A. mem-bers.

To apply for the Poster Session, sub-mit a one-page abstract.

To apply for a Paper Presentation,submit the complete paper and one-page abstract.

Submission deadline is May 1, 1998.

Please send submissions to:Nicholas Morrison, chairC.B.D.N.A. Research CommitteeUtah State University Music Dept.Logan, UT 84322-4015

Successful applicants will be notifiedby July 15, 1998.

Please include return postage if youwish for your materials to be returned.

For additional information, contactNicholas Morrison, (801) 797-3506; e-mail: nmorrison@wpo.hass.usu.edu

Submissions to the Report

Send all materials to:Dr. Douglas Stotter, editorCBDNA ReportMusic DepartmentValdosta State UniversityValdosta, GA 31698-0115

Submission deadlines:•June 1 for the Summer issue•October 1 for the Fall issue•March 1 for the Spring issue

Format preferences:•1st: Disk (MAC or PC)•2nd: send an email message todstotter@valdosta.edu•3rd: hard copies

For programs:Please include your STATE and DATE OFPERFORMANCE in all submissions.The CBDNA Executive Board and the edi-tor encourage program submissions forspecific concerts in performance order

rather than repertoire lists for semesters,tours, or school years. Many CBDNAmembers are as interested in how theirfellow members program as they are inwhat they program.

Please note: When sending email or com-puter disk, do not use tabs, leader char-acters, boldface, italics, centering, justi-fication, or other formatting. Submis-sions will be formatted prior to publica-tion.

BUSINESS - 21

Have you logged on yet?

If you haven’t had a chance to log onto our new national website, head straight for your computer and accesshttp://www.cbdna.org

Our website is organized to include seven major headings: what’s new, about cbdna, calendar, publications, commissions,repertoire, and bulletin board.

•Want to join CBDNA? Try the membership option in about CBDNA. Find lists of officers, committees, and task forcesalong with online links to the CBDNA President, Secretary and Treasurer in this section.•Interested in a convention or conducting symposium? Check out our calendar for all the latest happenings with linksproviding many details.•Wondering about our publications? Indexes feature current & past issues of the CBDNA Journal & Report. Browse our listof CBDNA commissions & repertoire pages to see where we’ve been and what we’re playing! Check out our bulletinboard for the latest requests and announcements from fellow members. See what sites are in our links pages.•Have a job opening to post? It’d be great to get openings submitted online.

What’s new?? Since December, our site has expanded to include links, technical support, current calendar info, a site visitorcounter, and recorded music. Travel to the CBDNA Commissions page and listen to the music of composer Daron Hagen.Link onto the new Bandanna Resource page and find out from the composer what’s happening with our current commis-sioning project!

What’s coming?? Look forward to an errata info page, dissertation abstracts, and a chat room. Use our online forms andwebmaster links to share your ideas for future expansion of our web site.

http://www.cbdna.org - See you online!! - Cheryl Fryer

22 - BUSINESSCOLLEGE BAND DIRECTORS NATIONAL ASSOCIATION

BOARD OF DIRECTORS MEETINGDECEMBER 19, 1997

HILTON HOTEL - CHICAGO, ILLINOIS

NATIONAL SECRETARY-TREASURER REPORT

1 ACCOUNT 0440008944, BANK ONE - AUSTIN1414 10/9 Minute Man Press (printing) 202.261415 10/9 EAM (dues notice) 1,641.151416 10/26NABDCC (dues) 50.001417 1/26 Jay Rees (dues refund) 60.001418 11/8 Patty Esfandairi (clerical) 50.001419 11/8 EAM (services) 546.791420 12/3 EAM (services) 734.211421 12/3 U. of Texas (postage) 573.061422 12/9 Patty Esfandairi (clerical) 50.001423 12/9 Doug Stotter (Fall Report postage) 291.051424 12/9 Color Plus (Fall Report) 626.001425 12/11 EAM (services) 42.741426 1/8 Pilobolus (ballet) 10,000.001427 1/8 John Harbison (commission) 25,000.001428 1/8 Patty Esfandairi (clerical) 50.001429 1/12 EAM (dues notice) 1,107.941430 1/16 Richard Floyd

(Chicago expenses-shipping/hotel services) 50.001431 1/16 Illinois College Band Directors Assn

(Schwantner Commissions) 4,000.001432 1/16 Minute Man Press (envelopes) 59.181433 1/22 Richard Floyd (honorarium) 600.001434 1/28 EAM (services) 242.021435 2/7 Hilton Hotel (Mid-West meetings) 716.051436 2/7 Patty Esfandiari (clerical) 50.001437 2/21 Longhorn Trophy (Past Presidents Plaque) 89.281438 2/21 Hilton Hotel (Mid-West meetings) 63.861439 2/25 Richard Floyd (travel) 275.001440 3/9 Jerry Junkins (dues refund) 60.001441 3/9 EAM (services) 372.141442 3/19 ASCAP (music license) 260.001443 Void1444 3/19 Pilobolus (ballet) 10,000.001445 3/19 Minuteman Press (V.P. ballot) 221.821446 4/7 Charles Young (Big 12 Commission) 2,000.001447 4/7 Patty Esfandiari (clerical) 100.001448 4/17 Dave Becker (postage) 13.751449 4/17 EAM (services) 734.671450 4/17 Doug Stotter (Spring Report postage) 380.351451 4/25 U. of Georgia Band

(national conference) 9,000.001452 5/7 Patty Esfandiari (clerical) 50.001453 5/7 Color Plus (Spring Report) 643.501454 5/7 Roberto Sierra (commission) 2,000.001455 5/7 G. Schirmer

(copy parts for Olympic Dances) 5,528.891456 5/7 Nat’l Band Assn

(refund for duplicatepayment) 80.001457 5/21 Ricahrd Floyd (stamps and postage) 66.98

1458 6/4 Patty Esfandiari (clerical) 50.001459 6/4 Novello (Sallinen commission) 1,000.001460 6/7 Chris Adams CPA (tax return) 425.001461 6/7 Bank One

(cash for C.U. Conducitng Symposium) 450.001462 Void1463 6/7 H. Robert Reynolds (C.U. Symposium) 2,250.001464 6/7 Bill Kearns (C.U. Symps=osium) 150.001465 6/7 Yo Uno (C.U. Symposium) 150.001466 6/21 Allan McMurray (travel - planning session) 285.001467 6/26 Pat Hoy (travel - planning session) 334.061468 6/26 Michaek Haithcock (commissioning project) 47.871469 6/26 Michael Haithcock (travel - planning session) 58.001470 6/26 CBDNA (open commission account) 3,000.001471 6/26 Patty Esfandiari (clerical) 50.001472 6/27 EAM (clerical) 601.161473 6/27 EAM (clerical) 772.891474 6/27 Minuteman Press (stationary) 443.861475 7/3 EAM (services) 52.561476 7/26 Color Plus (Summer Report) 538.501477 7/26 Doug Stotter (Summer Report postage) 299.521478 7/26 EAM (services) 479.781479 8/12 Binary Net (Web Site) 67.841480 8/12 Patty Esfandiari (clerical) 50.00

8/12 Bank Transfer (Hagen Commission)10,012.001481 8/22 Network Solutions (Web Site) 100.001482 8/8 Daniel Kessnes (commission) 1,650.001483 9/9 EAM (Membership Directory) 9,001.251484 9/9 Minuteman Press (membership cards) 103.891485 9/9 Patty Esfandiari (clerical) 50.00

9/11 Bank Transfer (Hagen Commission) 5,012.009/28 Bank Transfer (Hagen Commission) 15,012.00

TOTAL 131,179.87

SUMMARY

Checking Account Balance 9/30/96 45,615.64Total Deposits 10/1/96 -9/30/97 95,982.80Interest 10/1/96- 9/30/97 582.65Total Disbursements 10/1/96 - 9/30/97 (-)131,179.87Debit For Bad Check (-)195.00

Checking Balance 9/30/97 10,806.22

II. Dreyfus Liquid Assets, Inc. 039 03227479-7

Balance 10/1/96 20,373.26Interest 10/1/96- 9/30/97 989.09Transfer to checking 9/11/97 10,000.00Balance 9/30/97 11,362.35

III. Total Assets 9/30/97 22,168.57

Richard L. Floyd, National Secretary/Treasurer

BUSINESS - 23COLLEGE BAND DIRECTORS NATIONAL ASSOCIATION

1996-97 SUMMARY OF INCOME AND EXPENSESOCTOBER 1, 1996 - SEPTEMBER 30, 1997

INCOME

ACTIVE MEMBERSHIP DUES 30,060.00RETIRED MEMBERSHIP DUES 770.00PROFESSIONAL ASSOCIATE DUES 2,750.00MUSIC INDUSTRY MEMBERSHIP DUES 1,900.00STUDENT MEMBERSHIP DUES 1,060.00INSTITUTIONAL MEMBERSHIP DUES 2,475.00LIFE MEMBERSHIP DUES 1,200.00LABELS 3,745.00MISC. INCOME (incl Malcom Arnold royalties)) 1,603.00DIRECTORY ADS 6,800.00HARBISON COMMISSION 24,500.00BIG TWELVE COMMISSION 5,500.00MASLANKA COMMISSION 3,000.00INTEREST 1,572.00

TOTAL INCOME 86,935.00

EXPENSES

POSTAGE(not including publications and dues notices) 654.00PRINTING (not including JOURNAL or REPORT) 1,031.00TRAVEL 952.00CBDNA JOURNAL 0.00DIRECTORY (production and mailing) 9,001.00MEMBERSHIP SERVICES 7,323.00CLERICAL 550.00DIVISIONAL REBATES 0.00CBDNA REPORT (three issues) 2,779.00NATIONAL CONFERENCE 9,260.00CONDUCTING SYMPOSIUM (U. of Colorado) 3,000.00CHICAGO MEETINGS 830.00PILOBOLUS 20,000.00COMMISSIONS 71,263.00WEB SITE 168.00MISC. EXPENSES(dues refunds, CPA, NABCC dues, etc.) 1,364.00

TOTAL EXPENSES 128,175.00

Change of AddressPlease send changes of address to:Richard FloydUniversity of TexasBox 8028Austin, TX 78713

Old Address:

Name __________________________________

School__________________________________

Address_________________________________

City ______________ State _____ Zip _______

*****

New Address:

Name of School __________________________

School Address ___________________________

City ______________ State _____ Zip _______

Office Phone_____________________________

e-mail (if applicable) ______________________

Home Address ___________________________

City ______________ State _____ Zip _______

Home Phone _____________________________

1999CBDNA National

ConferenceFebruary 24-27, 1999

The University of Texas at AustinOmni Austin Hotel

Report823 Congress Ave Suite 1300Austin, TX 78701-2429

address for submissions

Douglas Stotter, editorCBDNA Report

Music DepartmentValdosta State University

Valdosta, GA 31698