CHILLING WINDS Notes by Steven Dennis Bodner

Peter Mennin: Canzona The creative impulse of the composer requires a language for expression, and whether he chooses a vocabulary that already surrounds him, or one that demands new resources, it is for him to decide.. . Music doesn't tolerate artificial barriers, because i t tells us that nothing is more important than the single human being and his ultimate development. It humanizes the human being.

Peter Mennin, from his opening remarks to the Sixth Congress o f the

International Music Council (1968) Peter Mennin (1923-1983) was regarded by his

peers as not only one of America's most gifted composers, but also as one of its most influential musical leaders. Although often grouped with the traditional school of American symphonists (with such composers as Roy Harris and William Schuman), Mennin composed in a style all his own, as described by Barry Kopetz:

His free-spirited approach fell into no particular school of compositional style; he allowed the basic materials of his craft to dictate direction, rather than forcing ideas into a predetermined form ... He disliked the idea of composition schools; it was unthinkable for him to write in a style interchangeable with that of another com- poser. Mennin firmly believed that a composition should state something personal and that i t must come from within.

Generally, his music combines an aggressive, rhythmic energy with a lyric, though always pow- erful, impulse. He acknowledged the influence of Renaissance polyphony on his penchant for writ-

ing intricate, flowing counterpoint. After studying with Howard Hanson and

Bernard Rogers at the Eastman School of Music, he was appointed to the composition faculty of the Juilliard School in 1947. He remained there until 1958, when he was named director of the Peabody Conservatory. In 1962 he became presi- dent of Juilliard, a position he held until his death. During his tenure, Mennin was responsible for the establishment of its Theater Center (1 968), American Opera Center (1 970) and Contemporary Music Festival; he also oversaw the school's move to the Lincoln Center for the Performing Arts in 1969. He sewed on the boards of many organizations, including the Composers Forum, the Koussevitzky Foundation, ASCAP, the National lnstitute of Arts and Letters, and the State Department Advisory Committee on the Arts. Among his many awards were the Bearns Prize, the first Gershwin Memorial Award, an award from the National Institute of Arts and Letters, and two Guggenheim Fellowships (1949, 1957).

Canzona (1951). Mennin's only work for wind band, was commissioned by the League of Composers and premiered by Edwin Franko Goldman and the Goldman Band. In choosing the title Canzona. Mennin intentionally evoked the legacy of the Renaissance canzone of Gabrieli (1 555-1612). Mennin treats the woodwind and brass choirs as separate and distinct units, remi- niscent of Gabrieli's antiphonal music, which exploited the acoustical properties of the Cathedral of St. Mark in Venice. In Canzona, Mennin creates a densely polyphonic texture by juxtaposing broad melodic lines with powerful rhythmic figures, all the while subtly developing his material through such devices as canonic imi- tation and augmentation.

Frank Ticheli: Shenandoah Frank Ticheli (b. 1958) is Associate Professor of

Music at the University of Southern California. He received his Doctor of Musical Arts and Master's degrees in composition from the University of Michigan where he studied with Pulitzer Prize winning composers Leslie Bassett and William Bolcom. His works have been described as expressing "direct emotion, creating dramatic, visceral impact." Previously the composer-in-resi- dence of the Pacific Symphony Orchestra, he has won both the Goddard Lieberson Fellowship and the Charles lves Scholarship from the American Academy of Arts and Letters, and first prize in the eleventh annual "Symposium for New Band Music" in Virginia. Besides Blue Shades and this setting of "Shenandoah." he has written numer- ous works for wind band, including Cajan Folk Songs Vesuvius, Sun Dance, and a setting of "Amazing Grace."

The origins of the American folk song "Shenandoah" are obscure, although it is known the folk song dates from the nineteenth century. Today, there exist many variants of both the music and the text, ranging from pictorial representa- tions of the Shenandoah River in Virginia to a story of an early settler's love for a Native American woman, the daughter of an Iroquois chief named Skenandoah. Ticheli offers the fol- lowing comments about his setting for band:

In my setting of "Shenandoah" I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less con- cerned with the sound of a rolling river than with its life-affirming energy - its timelessness ... The work's mood ranges from quiet reflection, through growing optimism, to profound exalta-

tion. "Shenandoah" was commissioned by the Hill

Country (TX) Middle School Symphonic Band, Cheryl Floyd and Brad Smith, directors, to honor the memory of Jonathan Paul Cosentino (1984- 1997). As Jonathan was a horn player in the Hill Country band program, Ticheli's setting opens with the horns qently presentinq the folk sonq. - . .

John Barnes Chance: Variations on a Korean Folk Song

When John Barnes Chance (1932-1972) died at the age of 40, accidentally electrocuted in his own back yard, he was Head of Theory and Composition at the University of Kentucky. A graduate of the University of Texas, Chance stud- ied composition with Kent Kennan and Clifton Williams. Under the auspices of the Ford Foundation Young Composers Project, he was a composer-in-residence in Greensboro, North Carolina, 1960-1962. He was also timpanist with the Austin Symphony and arranger for the Fourth and Eighth United States Army Bands.

While sewing in Seoul, Korea with the Eighth United States Army Band in 1958-1959, Chance became acquainted with the popular folk song "Arrirang," which tells the sad story of a man forced to abandon his lover in the name of duty. Chance's fascination with this poignant melody culminated in his use of it as the theme in his Variations on a Korean Folk Song (1 965), which won the American Bandmasters Association Ostwald Award in 1966.

The pentatonic theme of "Arrirang," described by Chance as "not as simple as i t sounds," is stated two times before five distinct variations and a coda. Chance referred to the first variation as an "exploration of the 'Oriental' flavor of the theme, making full use of gong, temple blocks,

and similarly exotic equipment, on the premise that i t might be well to exhaust these resources early in the game, lest the audience - their anticipation whetted by the title - stir restlessly in their seats, waiting for the fun." The introspec- tive second variation is quiet and serene, with the original melody, an exact intervallic inversion, played by the oboe. The tune is converted into a militant trumpet tune in the fast-step-march third variation. The fourth variation. "the real climax of the piece" according to Chance, is a hushed chorale, the theme made more dignified through its lack of embellishments. The canonic fifth and final variation leads directly into the coda, the theme now stated in augmentation.

Norman Dello Joio: Variants on a Mediaeval -

Tune Born in New York City, Norman Dello Joio (b.

1913) is a descendant of three generations of Italian organists. He began his music training early, showing remarkable aptitude and facility; by the age of 14 he was organist and choir direc- tor of the Star of the Sea Church on City Island. He was a student at the Juilliard School of Music for three years before studying with Paul Hindemith at Yale. He has served on the faculties of Sarah Lawrence College, the Mannes College of Music, and Boston University (where he also served as Dean of the University's School of Fine and Applied Arts). For 14 years, beginning in 1959, he was associated with the Contemporaty Music Project for Creativity in Music Education (supported by the Ford Foundation), through which young composers were placed in high schools throughout the United States to write new music for the school ensembles.

As Richard Jackson writes, "The musical influ- ences of Dello Joio's earlier life were 19th century

Italian opera, Catholic church music, and the popular music and jazz of New York in the 1920s and 30s. Dello Joio fused elements of these to form the vocabulary for his subsequent creative work." His music, described by Hindemith as "lyrical by nature," is generally quite extroverted and colorful, while following neoclassical tenden- cies in its adherence to classical forms and incor- poration of traditional harmonies. He has com- posed in practically all genres: symphonies, cham- ber music, choral works, modern dance and bal- let scores, an opera, and others. He has won numerous awards, including two Guggenheim Fellowships (1 943 and 1944). two New York Music Critics' Circle Awards (1948 and 1962). and the Pulitzer Prize in 1957 for his Meditations on Ecclesiastes. In 1961 he was elected to the National Institute of Arts and Letters, and in 1965 he won an Emmy Award for "outstanding music written for television" for his orchestral score to an NBC broadcast of "The Louvre." (Later, at the suggestion of Kenneth Snapp, former conductor of the Baldwin-Wallace College Symphonic Band, he arranged music from this television score as a five-movement suite for wind band - Scenes from "The Louvre. ")

Variants on a Mediaeval Tune (1963), commis- sioned by the Maty Duke Biddle Foundation for the Duke University Band, was Dello Joio's first work for wind band. The melody used for this straightforward theme and variations, "In dulci jubilo" (In sweet jubilation), has been utilized by many composers, including Johann Sebastian Bach (BWV 608). as a subject for variation. (In fact, Dello Joio set this theme again four years later in "The Nativity Paintings," the fourth move- ment of his Scenes from "The Louvre. '') Although the exact origins of the melody are unknown,

some of its earliest uses date back to the early 16th century and Mart~n Luther. Dello Joio's treat- ment of the tune, each variation contrasting in tempo and character, serves as an exploration of the sonic possibilities of the wind band in the middle of the twentieth century.

Roger Nixon: Reflections Now Professor Emeritus at San Francisco State

University, Roger Nixon (b. 1921) was elected to the American Bandmasters Association in 1973. Although he has composed a cantata, a minia- ture opera and several works for orchestra, most of his works were written for wind band. Before being appointed in 1960 to the music faculty at San Francisco State University (whose Symphonic Band premiered many of his works), Nixon was on the music faculty at Modesto Junior College (1 951 -1 959). He attended Modesto from 1938- 1940 where he studied clarinet with Frank Mancini, formerly of the Sousa Band. He contin- ued his studies at the University of California at Berkeley, where he received his B.A., M.A., and Ph.D. degrees. His composition teachers included Arthur Bliss, Ernest Bloch, Arnold Schoenberg and Roger Sessions. Nixon has received several awards, including a Phelan Award, the Neil A. Kjos Memorial Award, and five grants from the National Endowment for the Arts; his Festival Fanfare March won the A.B.A. Ostwald Award in 1973.

Nixon offers the following thoughts on his Reflections:

This music is both reflective in mood and shape, and the general character resem- bles that of a chorale prelude. It is monothematic, a germinal phrase played by the solo flute at the outset functioning as a basis for further melodic movement

and motival development. The work is dedicated to the San Francisco State University Symphonic Band, Edwin C. Kruth, Director.

William Schuman: George Washington Bridge

In the history of American classical music, there can be no doubt that William Schuman (1910- 1992) was one of the most significant composers. most influentla1 teachers, and most important administrators. Until 1934, though, Schuman was a writer of popular music, including music to lyrics by Frank Loesser. After studies at the Salzburg Mozarteum and with such composers as Roy Harris at Juilliard, he turned his interest exclu- sively to concert music. After winning an American composition contest (in which Aaron Copland was a member of the jury) with his Symphony No. 2, Schuman won both the first New York Music Critics' Circle award in 1941 (for Symphony No. 3) and the first Pulitzer Prize in music in 1943 (for A Free Song). He remains among the most honored figures in American music, having received 28 honorary degrees, two Guggenheim fellowships (1 939 and 1940), mem- bersh~p in the National lnstitute of Arts and Letters (1946) and later the American Academy of Arts and Letters (1973), the first Brandeis University Creative Arts Award in music (1957). the Horbl~t Award from the Boston Symphony Orchestra and Haward University (1980), the gold medal from the American Academy and lnstitute of Arts and Letters (1982) and a second, special Pulitzer prize (1 985).

Equally important were William Schuman's contributions to music education. He revolution- ized the way that education in music was con- ceived, as evidenced by his remarks to the Music

Teachers National Association Convention in 1959.

I do not believe that we have to prove the validity of music as education. After all, the importance of music in man's education ha been recognized for centuries ... We need not attempt in a general way to justify the value of music as education. What we do need to do, however, is to determine which of our activities can be con- sidered as basic to the curriculum and constitute significant education and which are rather in the realm of extracurricular entertainment.

After teaching at Sarah Lawrence College (1 935-1 945) and sewing a three-year term as director of publications at G. Schirmer, he became president of the Juilliard School, a posi- tion he would hold for 17 years. Not only did he invite a number of distinguished composers to join the faculty (including Peter Mennin and Vincent Persichetti), he began an extensive reor- ganization of the school - in fact, he "created" the Juilliard School of Music by merging the Institute of Musical Art with the Juilliard Graduate School. During his tenure, the Juilliard String Quartet (which became the model for many quar- tets-in-residence at American colleges) was founded and, perhaps most importantly, the "Literature and Materials of Music" curricular program, which fused theory and history into a single coherent four-year course, was instituted.

Schuman was a champion of the wind band medium. In addition to George Washington Bridge (1950). he reworked all three movements of his New England Triptych for the wind band and wrote several original works for band as well, including Newsreel (1 941) and American Hymn (1981). About George Washington Bridge, subti- tled "An Impression for Band," Schuman wrote

the following: There are few days in the year when I do not see the George Washington Bridge. I pass it on my way to work as I drive along the Henry Hudson Parkway on the New York shore. Ever since my student days when I watched the progress of its construction, this bridge has had for me an almost human personality, and this personality is astonishingly varied, assum- ing different moods depending on the time of day or night, the weather, the traffic and, of course, my own moods as I pass by. I have walked across it late at night when it was shrouded in fog and during the brilliant sunshine hours of midday. I have driven over it countless times and passed under i t on boats. Coming to New York City by air, sometimes I have been lucky enough to fly right over it. It is difficult to imagine a more gracious welcome or dra- matic entry to the great metropolis.

Larry Daehn: With Quiet Courage For 35 years Larry Daehn (b. 1939) directed

elementary and high school bands, including 27 years at New Glarus High School in Wisconsin. A scholar of the life and music of Percy Aldridge Grainger, he has dedicated his professional life since 1987, as owner of Daehn Publications, to composing and arranging music for wind band. In correspondence with Glen Hemberger at the University of North Texas, Daehn offers the fol- lowing remarks about With Quiet Courage:

With Quiet Courage was written in mem- ory of my mother, Lois Daehn. She inspired many people because of her grace, kindness, and strength. She was

born humbly, grew up poorly in the Depression; she didn't get many "breaks" in life. In mid-life she was struck by many health problems. She lost much of her eyesight and both legs to diabetes. But as one of the speakers at her funeral said, "I never thought of her as handicapped." She wanted no pity. She was more con- cerned about those around her, that her misfortunes might worry them. There is not a day that I don't think of her, and others tell me that they also remember her often. She inspired many of us. Whenever we face great obstacles, we think of the courage and determination of Lois Daehn, and we know that we can go on and face just about anything, because she did; because she coura- geously lived her life and faced her death with quiet courage. I tried to make the music like her: simple, with strength, nobility, and beauty.

With Quiet Courage was premiered by the United States Navy Band on September 16, 1995.

Dan Welcher: Zion Professor of Composition and founderfconduc-

tor of the New Music Ensemble at the University of Texas at Austin, Dan Welcher (b. 1948) is quickly becoming one of the most honored living American composers. Besides five Pulitzer Prize nominations, he has received a Guggenheim Fellowship (1997) and grants from the National Endowment for the Arts, the Rockefeller Foundation, the MacDowell Colony and the American Music Center. He has written for a wide variety of mediums - such as orchestra. band, opera -and his music, described by Joshua Kosman as "rhythmically exuberant and

graced by a lyrical undercurrent." has been per- formed by major ensembles throughout the United States, including the Chicago, Saint Louis, and Dallas symphony orchestras. His composition teachers include Warren Benson and Samuel Adler at the Eastman School of Music and Ludmila Ulehla at the Manhattan School of Music. In addition to being a composer, Welcher is also a bassoonist; prior to joining the faculty at the University of Texas at Austin, he served for six years as principal bassoonist of the Louisville Orchestra, while teaching theory and composition at the University of Louisville.

Dedicated to the memory of Aaron Copland, Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. Welcher offers the fol- lowing notes:

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called "Three Places in the West." As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more of an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side - but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-nineteenth century. By the time the Mormons

reached Utah, they had been driven all the way from New York state through Ohio and through their tragic losses in Missouri. They saw Utah in general as "a place nobody wanted" but were nonetheless determined to keep it to themselves. Although Zion canyon was never a "Mormon Stronghold," the peo- ple who reached it claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecut- ed people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: "Zion's Walls" (which Aaron Copland adapted to his own purposes in both Old American Songs and The Tender Land) and "Zion's Security," which I found in the same volume where Copland found "Zion's Walls" -that inexhaustible store- house of nineteenth-century hymnody called "The Sacred Harp."

Leonard Bernstein (arr. Frank Bencriscutto): "Profanation" from Symphony No. 1

Arguably the most famous and successful native-born figure in the history of classical music in the United States, Leonard Bernstein (1918- 1990) was a composer, conductor, pianist and pedagogue. As David Schiff writes, "he bridged the worlds of the concert hall and musical the- atre, creating a rich legacy of recordings, compo- sitions. writings and educational institutions." From 1958-1969, he was the music director of the New York Philharmonic Orchestra (the first American-born conductor to hold the position), introducing thematic programming and creatlng the televised Young People's Concerts. In 1973

Bernsteln gave the Norton Professor of Poetry lec- tures at Haward (filmed for TV and published as The Unanswered Question). He won almost every award the American music world had to offer, except the Pulitzer Prize - among others, he was awarded the Kennedy Center Honor for a Lifetime of Contributions to American Culture Through the Performing Arts, election to the American Academy and Institute of Arts and Letters, 11 Emmy Awards and the Lifetime Achievement Grammy Award from the National Academy of Recording Arts and Sciences. A stu- dent of Walter Piston (at Harvard) and Virgil Thomson (at the Curtis Institute), Bernstein creat- ed a musical style that was uniquely his. His most profound influence, though, was Aaron Copland; as Schiff continues, "Bernstein took up the Judaic and jazz elements from 1920s Copland, which Copland had mostly abandoned, bringing the jazz up to date in a manner derived from Woody Herman, and giving the prophetic, cantorial ele- ments of early Copland a less austere, more lyri- cal treatment."

Bernstein achieved international prominence through a series of events in the early 1940s. A year after being named Sergei Koussevitzky's assistant at Tanglewood, Bernstein was appointed assistant conductor of the New York Philharmonic Orchestra in 1943. When Bruno Walter, than con- ductor of the orchestra, was indisposed on the evening of November 14, 1943, Bernstein replaced him; this dramatic debut, in a concert broadcast nationally, brought him instant fame. He immediately followed that success with three others. His Symphony 1 ("Jeremiah"), premiered by the Pittsburgh Symphony Orchestra in January 1944, won the New York Music Critics' Circle award as the best American work of the year.

Also in 1944, the ballet Fancy Free, choreo- graphed by Jerome Robbins, was first performed at the Metropolitan Opera House and On the Town opened on Broadway. Not even 30 years old, Bernstein had already catapulted to the cen- ter of the American music scene, as a conductor and as a composer of both concert and stage works.

Written in 1942 for a competition sponsored by the New England Conservatory, Bernstein's "Jeremiah" Symphony was an astonishing debut. Although the work did not win the competition, Fritz Reiner, Bernstein's conducting teacher at Curtis, so admired the piece that he agreed to premiere it with the Pittsburgh Symphony Orchestra. (Ironically, after the Boston premiere in February 1944, the Boston Globe, in obvious dis- agreement with the Conservatory, called it the best new composition of the year.) Dedicated to Bernstein's father, the 'Yeremiah" Symphony was intended, according to Bernstein. to create an "emotional quality," not relate a programmatic story. In three movements, i t is the first work of Bernstein, born into a long line of Jewish rabbis, to reflect his religious heritage. While the outer movements ("Prophecy" and "Lamentation") evoke the anxiety of the Jewish people during the war years, the middle movement ("Profanation") depicts, according to Bernstein. "the chaos and destruction brought about by the pagan corrup- tion within the priesthood and the people." "Profanation" is a manic scherzo, the liturgical melody, derived from a chant used for synagogal readings, undergoing a jagged rhythmic develop- ment.

Approved by the composer, this transcription of "Profanation" for wind band was written by Frank Bencriscutto (late Director of Bands at the University of Minnesota) in 1952.

Frank Ticheli: Blue Shades Blue Shades was written in 1996, the result of

a consortium commission of 30 high school and university wind bands under the auspices of the Worldwide Premieres and Commissioning Fund, Inc. Ticheli writes the following about Blue Shades:

In 1992 1 composed a concerto for tradi- tional jazz band and orchestra, Playing With Fire, for the Jim Cullum Jazz Band and the San Antonio Symphony. That work was composed as a celebration of the traditional jazz music I heard so often while growing up near New Orleans. I experienced tremendous joy during the creation of Playing With Fire, and my love for early jazz is expressed in every bar of the concerto. However, after completing it, I knew that the traditional jazz influ- ences dominated the work, leaving little room for my own musical voice to come through. I felt a strong need to compose another work, one that would combine my love of early jazz with my own musi- cal style. Four years and several compositions later, I finally took the opportunity to realize that need by composing Blue Shades. As the title suggests, the work alludes to the Blues, and a jazz feeling is prevalent - however, it is not literally a Blues piece. There is not a single 12-bar blues pro- gression to be found, and except for a few isolated sections, the eighth-note is not swung. The work, however, is heavily influenced by the Blues. "Blue notes" (flatted 3rds, 5th~. and 7 t h ~ ) are used constantly; Blues harmonies, rhythms, and melodic idioms

pervade the work; and many "shades of blue" are depicted, from bright blue, to dark, to dirty, to hot blue. At times, Blue Shades burlesques some of the cliches from the Big Band era, not as a mockery of those conventions, but as a tribute. A slow and quiet middle section recalls the atmosphere of a dark, smokey blues haunt. An extended clarinet solo played near the end recalls Benny Goodman's hot playing style, and ushers in a series of "wailing" chords recalling the train whistle effects commonly used during the era.

Massachusetts Wind Orchestra The Massachusetts Wind Orchestra was found-

ed in 1991 by Music Director, Malcolm W. Rowell, Jr., and has captured the attention and participa- tion of some 140 outstanding musicians from throughout the East. This ensemble is now recog- nized as one of the finest professional ensembles of its kind in the United States. The Massachusetts Wind Orchestra provides quality musical experiences to wind, brass and percussion musicians while contributing to the cultural life of our society.

The Massachusetts Wind Orchestra personnel are professional musicians, educators and free- lancers who have trained at many of America's leading conservatories, colleges and universities. The ensemble offers a unique opportunity to experience and explore traditional and contempo- rary wind music while aspiring to the highest musical standards. The Massachusetts Wind Orchestra provides an avenue of professional growth for its membership, and its innovative programming honors the heritage of bands while

advancing the medium into the 2lst century through commissions, premieres and recordings.

The Massachusetts Wind Orchestra has received critical acclaim for its creative interpreta- tions from prominent composers Karel Husa. Robert Stern, Michael Colgrass, David Maslanka and John Corigliano, and has been featured sev- eral times in live broadcast on National Public Radio's Performance Today. The ensemble regu- larly performs at the University of Massachusetts Amherst Fine Arts Center Concert Hall, Boston's Tsai Performance Center and Tanglewood's Ozawa Hall where, on September 21, 1997, it presented the first wind band concert in the his- tory of Tanglewood.

Malcolm W. Rowell, Jr. Director of Bands and Professor of Music,

Emeritus at the University of Massachusetts, Amherst, Malcolm W. Rowell, Jr., is a strong pro- ponent of new music, having commissioned and premiered numerous wind compositions with the University Wind Ensemble and Symphony Band of which he served as principal conductor from 1980-2002.

In recognition of his professional work, Professor Rowell has received the National Band Association's Citation o f Excellence and the Kappa Kappa Psi A. Frank Martin Award for his contri- butions to college bands. In March 1997, Professor Rowell was elected to The American Bandmasters Association, the most prestigious organization of its kind in the world. In 1979 he was recognized for outstanding performance at the "Band Director's Art" symposium at the University of Michigan. He has also been fre- quently recognized as a University of Massachusetts Distinguished Teacher. In 1983 he conducted at the World Association of

Symphonic Bands and Ensembles Conference in Skein, Norway, and was twice selected as a con- ducting participant at the CBDNA National Conducting Symposium at the University of Colorado. Professor Rowell was invited to con- duct at the 1994 National Concert Band Festival at the Royal Northern Conservatory in Manchester, England. He is Past-President of the College Band Directors National Association Eastern Division and the New England College Band Association. He is frequently invited to serve as guest conductor, clinician, and lecturer at state and regional festivals throughout the United States, England and Canada. His recordings appear on Centaur and Albany Records.

Professor Rowell founded the University of Massachusetts Youth Wind Ensemble and the UMass Honor Band. He has served as Music DirectorIConductor of the South Shore Conservatory Summer Music Festival, Principal Guest Conductor of the Symphonic Band and Institute Wind Ensemble at the Hartwick Summer Music Festival and Institute at Hartwick College, Music Director of the Metropolitan Wind Symphony and Visiting Conductor of the Boston University Wind Ensemble. In the fall of 1991. Professor Rowell was appointed Music DirectorIConductor of the Massachusetts Wind Orchestra.

Welcher, Daehn, Bernstein and Ticheli (Blue Shades) recorded January 17, 1999, University of Massachusetts Amherst, Fine Arts Center, Concert Hall Dello Joio, Nixon, Mennin, Ticheli (Shenandoah), Chance, and Schuman recorded January 23, 2000,University of Massachusetts Amherst. Fine Arts Center, Concert Hall. All works recorded by Harrison Digital Productions, Jeff Harrison, audio engineer. Publishers: Peter Mennin: Canzona (Carl Fischer) Frank Ticheli: Shenandoah and Blue Shades (Manhattan Beach) John Barnes Chance: Variations on a Korean Folk Song (Boosey & Hawkes) Norman Dello Joio: Variants on a Mediaeval Tune (Belwin Mills) Roger Nixon: Reflections (Mercury Music Corporation) William Schuman: George Washington Bridge (G. Schirmer, Inc.) Larry Daehn: With Quiet Courage (Daehn Publications) Dan Welcher: Zion (Elkan-Vogel, Inc.) Leonard Bernstein, arr. Bencriscutto: Profanation from Symphony No. 1 (Jaliu Publications, Inc. - Boosey & Hawkes)

Piccolo John Zorn~g Flute Amy Burns Tara Howard-North Jennlfer Oliver Jessica Maravel-Piccolo Holly Sanders Sally Tucker Oboe Gabr~ela Yagupsky Dech Lisa Smolen Jenkins Lyndon Moors English Horn Lisa Smolen Jenkins Bassoon Orin Jacobs Diane Lipartito Blll Stoll Contra Bassoon Bill Stoll E Flat clarinet Su D'Ambrosio Nathan Lafonta~ne B Flat Clarinet Elisabeth Bryant Cara Caned1 Karen Cohan Caroline Collins Deborah Coon Jul~e Freebern

Massachusetts Wind Orchestra

Bets1 l rw~n Douglas Purcell Nathan Lafontaine Anthony Russo Ron Lively Donald Soutar Douglas Metcalf Horn Carolyn Miller Fleur Branes Joel Nawalejak Jult Homes Tracy Salazar Htlary Ledebuhr R~chard Sanders Christ~ne Mortensen Kathryn Scott Margot Rowland Elizabeth Thorpe Cathy Ryan Raymond Willard Kerr~e Wtlson Bass Clarinet Trombone Gwen Winkel Timothy Atherton Alto Saxophone Zach Barkon Kevln Burns Roy Campbell Dav~d Jenk~ns Scott Pemr~ck Bobby Larnbert Ben Smar Angela Space Bass Trombone Diane Wernick William Carr Tenor Saxophone Scott Dunn Stephen Ferrandino Euphonium Bar~tone Saxophone Paul Appleby Joshua Wolloff David Bussell Trumpet David P~per Karen Atherton Jessica W~lke Ron Bell Tuba Neil Freebern Matthew Boucher Jeffrey Hoefler Matthew Gaunt Karen LaVoie Rachel Hertzberg Erich Ledebuhr Michael Milnarek Eric Melley Adam Porter

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