Austin Symphonic Bandpresents

Sunday, February 19 • 4 pmAISD Performing Arts CenterRichard Floyd, Music Director

The StarsCome Out

ASB Board of Directors and Officers

Music Director: Richard FloydAssistant Music Director: Bill Haehnel

Executive Director: Amanda Turley

President: Al MartinPast-President: Erin Knight President-Elect: Marty Legè

Board of Directors:Keith Chenoweth

Jim CrandallDonald McDaniel

Kristin Morris

Treasurer: Sharon KojzarekBookkeeper: Mark Knight

Librarian: Karen VanHooserConcert Coordinator: Kevin Jedele

Transportation Manager: Chuck EllisMarketing Director: Thomas Edwards

Graphic Artist: Karen CrossWebmaster: David Jones

Archivist: Tim DeFries

Austin Symphonic BandPO Box 6472

Austin, Texas 78762(512) 956-7420

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ASB is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department. Visit NowPlayingAustin.com.

Richard Floyd, Music Director RichaRd Floyd is in his 55th year of active involvement as

a conductor, music educator, and administrator. He has enjoyed a distinguished and highly successful career at virtually every level of wind band performance from beginning band programs through high school and university wind ensembles as well as adult community bands.

Floyd recently retired as State Director of Music at The University of Texas at Austin. He now holds the title Texas State

Director of Music Emeritus. He has served as Music Director and Conductor of the Austin Symphonic Band since 1985.

Floyd is a recognized authority on conducting, the art of wind band rehearsing, concert band repertoire, and music advocacy. As such, he has toured extensively throughout the United States, Canada, Australia, and Europe as a clinician, adjudicator, and conductor including appearances in 42 American states and in nine other countries.

In 2002 he was the single recipient of the prestigious A A Harding Award pre-sented by the American School Band Directors Association. The Texas Bandmasters Association named him Texas Bandmaster of the Year in 2006 and also recognized him with the TBA Lifetime Administrative Achievement Award in 2008 and the TBA Lifetime Achievement Award in 2015.

He received the Texas Music Educators Association Distinguished Service Award in 2009 and was inducted into the Bands of America Hall of Fame and Texas Phi Beta Mu Hall of Fame in 2011. That same year he was awarded the Midwest International Band and Orchestra Clinic Medal of Honor. Most recently Floyd was elected to the National Band Association Academy of Wind and Percussion Arts and presented the Kappa Kappa Psi Fraternity Distinguished Service to Music Award.

Bill Haehnel, Assistant Director

Bill haehnel has been a Texas music educator for 35 years and is in his 14th year as Assistant Director of ASB. He has served on the music faculty at UT/Austin and as instructor of percussion at Texas Lutheran University. Haehnel retired from the classroom in May 2013 and now serves in an advisory role to band directors in the Austin ISD and as a clinician and evaluator throughout the U.S.

He is a member of the Texas Music Educators Association, Texas Band Masters Association, the College Band Directors National

Association, and the Percussive Arts Society. His marching bands, concert bands, jazz ensembles, steel drum ensembles, and percussion ensembles consistently earned superior ratings at both state and national contests as well as performance exhibitions.

Tito Carrillo, Guest ArtistTiTo Carrillo joined the University of Illinois at

Urbana-Champaign faculty in the Spring of 2006. He is a trumpeter, educator, band leader, composer, and ar-ranger. Since 1996 he has been a fixture in the Chicago jazz and Latin music scenes. The list of artists he has performed, recorded, and toured with is as varied as his skill set: Chicago heavyweights Willie Pickens, Bobby Broom, Patricia Barber, and Kurt Elling; big bands such as the Woody Herman Orchestra, Chicago Jazz Ensemble, Chicago Jazz Orchestra, and Smithsonian Masterworks Orchestra (directed by David Baker); jazz greats such as Toshiko Akiyoshi, Louis Hayes, Jon Faddis, and Vincent Herring; Salsa legends such as Andy Montaoez, Tony Vega, and Cheo Feliciano; Latin jazz giants Tito Puente and Paquito D’Rivera; and pop icons Quincy Jones and Phil Collins.

Carrillo has played some of the most prestigious venues in the world, including Chicago’s Symphony Center, Carnegie Hall, Kennedy Center, and London’s Royal Albert Hall. His work has been heard at international jazz festivals in Chicago, Telluride, Montreux (Switzerland), North Sea Jazz Festival in The Hague (Netherlands), and Pori, Finland.

As an educator, he served on the faculties at both the Chicago College of Performing Arts at Roosevelt University, as well as Northwestern University prior to his ap-pointment at Illinois. He has also brought his talents as an educator and performer to Chicago’s inner-city high schools through the Ravinia Festival’s community outreach program, the Ravinia Jazz Mentors.

Of Carrillo, the Chicago Tribune states “he has acquired a reputation as a fluid im-proviser, doubly-blessed with a warm lyric style and technique to burn.” He continues to lead his own quintet in Chicago and throughout the Midwest, as well as being an active guest soloist and clinician at various secondary and collegiate jazz programs.

Carrillo grew up in Austin and began his musical journey at Murchison Middle School. There, Carrillo played trumpet under the direction of Cheryl Floyd, ASB flutist and current director of bands at Hill Country Middle School.

Carrillo’s personal reflections about his early musical experiences are included in the information about Dreaming of the Masters III within the Program Notes section that follows.

What to Do During Intermission

What to Do After the Concert

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• Text AUSTINSYMBAND to 22828 and follow the directions, or

• Email the information below to marketing@austinsymphonicband.org, or

• Complete this form and hand it to a band member, or mail it to: ASB, PO Box 6472, Austin TX 78762

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Address:

City: State:

Zip: Email:

Get up for a stretch and enjoy the rest of the beautiful Austin ISD Performing Arts Center. Artwork created by AISD students is also on display in the lobby.

We invite you to take this time to get to know the people around you a little better. Since you’re all at this concert, you already have something in common —a love of music! Say hello and find out what brought them here.

We look forward to connecting with you in several ways. It’s as easy as 1-2-3-4!

1. Give us a shout out on your favorite social media venues! We love receiv-ing your support and online enthusiasm about our concerts (and we’re a non-profit organization, so free promotions make us extra happy!)

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PROGRAM

A Jubilant Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alfred Reed

Bill HaeHnel, ConduCTor

Ballad for Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Morton Gould

Dreaming of the Masters III . . . . . . . . . . . . . . . . . . . . . . . Allan Gilliland

TiTo Carrillo, TrumpeT

inTermission

Blue Streak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clifton Jameson Jones

Two To Tango

Tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Paulson A Little Tango Music . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Gorb

Porgy and Bess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gershwin, Heyward, and Gershwin, arr. James Barnes

Whip and Spur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas S Allen, arr. Ray E. Cramer

We appreciate your keeping all electronic devices silent and dark.

We hope you will join us in the lobby for a reception following the performance.

Thank you for joining us today! We hope you enjoy this diverse program of band literature and especially appreciate the musical artistry offered by our guest soloist Tito Carrillo.

Program Notes

A Jubilant Overture (1970) Alfred Reed (1921–2005)

In contrast to Ballad for Band, which follows it today, Jubilant Overture is in fast-slow-fast form. It features Reed’s typical lush scoring and exciting harmonies.

From 1955 to 1966 Alfred Reed was the executive editor of Hansen Publications. He was professor of music at the University of Miami, where he worked with composer Clifton Williams from 1966 until the latter’s death in 1976. Williams’s office was across the hall from Reed’s office in the UM School of Music, and Reed was chairman of the department of Music Media and Industry as well as director of the Music Industry Program at the time of his retirement. He established the very first college-level music business curriculum at the University of Miami in 1966, which led other colleges and universities to follow suit. At the time of his death, he had composition commissions that would have taken him to the age of 115.

Ballad for Band (1946) Morton Gould (1913–1996)

Morton Gould was born in the New York City suburb of Richmond Hill. At age nine he had already given his first radio broadcast and was regularly playing piano at local hotels and department stores. In 1935, New York City radio station WOR hired Gould under the job description that defined him for the next decade: music director. Gould’s responsibilities included choosing selections for each weekly broadcast, composing and arranging new selections as needed, and conducting the orchestra.

In 1946, Gould was commissioned by conductor Edwin Franko Goldman to write a piece for his renowned Goldman Band. The result was the reflective and sensitively scored Ballad for Band, a work (like Porgy and Bess) inspired by African-American spirituals. When asked about the contrasting fast middle section of the work, the composer offered a typically sardonic observation: “You stop contemplating your naval, and you start to dance.” —excerpted from notes by former Marine Band Conductor Colonel Michael J. Colburn

Dreaming of the Masters III (2010)Allan Gilliland (b. 1965)

The composer writes: My ‘Dreaming’ series arose from a desire to combine my experience as an orchestral

composer with my background as a jazz player. I wanted to write a series of jazz con-certos for soloists who were comfortable in both classical and jazz idioms. Each concerto would be inspired by the jazz greats of the instrument I was writing for and, though fully notated, would allow the player to improvise.

Dreaming III isn’t as clear cut as the rest. The obvious choices would have been a

concerto inspired by Louis Armstrong, Miles Davis, and Dizzy Gillespie but I think, because I’m a trumpet player myself, it seemed too obvious. The piece is really more of an homage to the trumpet in popular music rather than any real individuals.

101 Damnations pays homage to the trumpet in jazz starting with a slow New Orleans blues that moves into a 1940s style big band swing.

Prayer (written for flugelhorn) starts and ends with cadenza-like statements sur-rounded by colorful orchestration. The middle section is a slow groove that allows the soloist to improvise.

Lower Neighbors is a tribute to the Spanish/Latin tradition of the trumpet. I like to think of it as Herbert L. Clarke meets Tito Puente. The title refers to both the melodic gestures played by the cornet (this virtuosic section contains many upper and lower neighbor notes) as well as the fact that Latin music comes from our neighbors to the south.

Allan Gilliland, born in Darvel, Scotland, is a contemporary Canadian compos-er. He moved to Canada in 1972 and settled in Edmonton, Alberta. He received a diploma in Trumpet Jazz Studies from Humber College and degrees in performance and composition from the University of Alberta.

He has written music for solo instruments, orchestra, chorus, brass quintet, wind ensemble, big band, film, television and theatre.

His works have been performed by the Vancouver Symphony Orchestra, ProCoro Canada, the Canadian Brass, the Winnipeg Symphony Orchestra, the New York Pops, the Hammerhead Consort, and the brass section of the New York Philharmonic.

Today’s soloist Tito Carrillo offered the following as his personal reflection about his early musical experiences in Austin:

I am filled with gratitude for the first real mentor I had in music and in life apart from my par-ents, Mrs. Cheryl Floyd. Back in 1985, I entered Murchison Junior High School as an incoming 7th grader, being bussed across town from my Montopolis neighborhood home in East Austin. As an educator, Mrs. Floyd was intense, no-nonsense, focused, and yet highly encouraging. She required discipline from each of her students, something I was desperately lacking, and she had high expectations of everyone regardless of talent or ability level. It was she who encouraged me to strive to give my best effort regardless of circumstances or outcomes. It was she who put me in contact with my first private trumpet teachers, Jeff Stafford, and after he moved, Bob Cannon, who currently is principal trumpet of the Austin Symphony. It was she who brought UT pro-fessor Raymond Crisara to our little junior high school to dazzle us with his artistry and to hear some of us perform individually, an occurrence he remembered years later when I began studying with him in earnest as a music major at UT. And it was she who identified that I had a special musical gift that I should not waste.

In order to challenge me to resist becoming complacent, Mrs. Floyd invited me to join the Austin Symphonic Band under the direction of her husband Richard Floyd during my 8th grade year. This was her way of pushing me out of my comfort zone, and this gave birth to a love of music and learning that still burns in me to this day. I thoroughly enjoyed my time with ASB,

performing many concerts, and learning many of the classic repertoire for wind ensemble which I would continue to perform throughout my collegiate years. To Richard Floyd and the ASB, I wish to tell you what an honor it is to return home to perform with you all again. And to Mrs. Cheryl Floyd, from the bottom of my heart, thank you for being such an excellent teacher and profound influence in my life, not to mention the lives of countless other students who have been lucky enough to be under your guidance, tutelage, and mentorship.

Blue Streak (2014)Clifton Jameson Jones (b. 1962)

From the composer: A ‘blue streak’ usually refers to something fast or quick. For example, there was a

train named the Blue Streak that for years was the fastest scheduled freight train in the U.S. This original piece for the Austin Symphonic Band is a fast, lively overture from the fanfare-like introduction to the final coda, with one brief stop along the way. There are two thematic ideas presented in the opening exposition; in the closing section they are performed simultaneously because we’re in a hurry. Blue Streak is written for and dedicated to the Austin Symphonic Band, and its musical director Richard Floyd.

Clifton Jameson Jones is celebrating his 25th year as a member of the Austin Symphonic Band. He is a recently retired public school band director but continues to work in various schools when needed. Jones also finds time to attend Houston Grand Opera performances and travel extensively. His second passion is the railroad, and he pursues that often by volunteering with the Austin Steam Train Association.

Two to Tango (Tango, A Little Tango Music)In the late 1800s, millions of European immigrants arrived on the shores of the

Río de la Plata in South America, in the two port cities of Montevideo, Uruguay, and Buenos Aires, Argentina. Most of them were Italian and Spanish, and the vast majority were single young men looking to make their fortunes in America. They brought their music: the sweet sounds of the violin, the driving flamenco guitar, the strange mournful wail of the bandoneon; and they brought their dances: the waltz, the mazurka, the polka. They mixed them with the Argentine folk music and dance, with the Cuban habanera and with the African candombe rhythms from the freed slaves’ street parties. With very few women around, many of these young men found themselves looking for excitement in the bordello districts of the burgeoning port cities. The tango dance arose in these seedy waterfront areas from this turbulent mix, becoming a “mating dance” between barmaids and their customers in shady nightclubs. Shunned by the upper and middle classes in Argentina, it nevertheless became a sleazy fixture of urban nightlife in Buenos Aires. Young men in neighborhood gangs would practice the steps with each other in order to become skilled enough to win the attentions of a woman. A beginner would often dance the follower’s part for six months to a year before being shown how to lead.

As Argentina became very wealthy around the turn of the century, the sons of rich families would often look for adventure and excitement in the rougher parts of town, and they learned the tango as part of their escapades. Some of these young men of privilege would show off the tango as a treat for their friends on their sojourns to Paris, then the cultural capital of the world. The Parisians were shocked and titillated by this raw, sensuous dance. This led to a “tango craze” that swept all of Europe, and reached America in the years just prior to World War I. New York newspapers in 1916 featured ads from over 700 tango establishments. While the original tango was disturbing to many arbiters of good taste, a heavily sanitized version of tango found its way into the European and American dance academies, where it remains a fixture in ballroom competitions today. —notes from Deb Sclar

Tango (2014)John Paulson (b. 1948)

John Paulson received a Master of Arts in music education from the Eastman School of Music and a Bachelor of Science in music education from the University of Minnesota. The creator of SmartMusic, Paulson was founder and CEO of MakeMusic Inc., the company that develops and markets Finale and SmartMusic. In addition to serving on the Global Economic Summit of the Music Products Industry and a variety of music industry and music education task forces, he has served on the Board of Directors of the International Association of Music Merchants, the Wenger Corporation, the Saint Paul Chamber Orchestra and the American Composers Forum. He is active as a music clinician, adjudicator and guest conductor.

A Little Tango Music (2007)Adam Gorb (b. 1958)

Adam Gorb was born in Cardiff, Wales, and started composing at the age of ten. His first work broadcast on national radio was written when he was fifteen. He studied at Cambridge University (1977–1980) and the Royal Academy of Music (1991–1993), where he graduated with the highest honors including the Principal’s Prize. He has been on the staff at the London College of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000, has been the Head of the School of Composition at the Royal Northern College of Music in Manchester, England.

Porgy and Bess (1935)Words and Music by George Gershwin (1898–1937), DuBose Heyward (1885–1940), Dorothy Heyward (1890–1961), and Ira Gershwin (1896–1983), arr. James Barnes

“There is no one Porgy and Bess. It changes according to our perceptions—most obviously about race, but also about working-class versus middle-class Negro life; about gender representations; and about Eros, addiction, and religion. Most impor-

tantly, Porgy and Bess has changed because history has made it change and has made us change too.” —Margo Jefferson, former New York Times theater critic

Porgy and Bess was first performed in Boston on September 30, 1935, and featured an entire cast of classically trained African-American singers—a daring artistic choice at the time. After suffering from an initially unpopular public reception due in part to its racially charged theme, it languished until it was produced by the Houston Grand Opera in 1976 (featuring current University of Texas bass and senior lecturer in voice Donnie Ray Albert as Porgy); HGO restored the complete original score for the first time. For the first time, an American opera company, not a Broadway production company, had tackled the opera.

This production was based on Gershwin’s original full score and did not incorpo-rate the cuts and other changes Gershwin had made before the New York premiere, nor the ones made for the 1942 Cheryl Crawford revival or the 1959 film version. It allowed the public to take in the operatic whole as first envisioned by the composer. In this light, it became clear that Porgy and Bess was indeed an opera. This produc-tion won the Houston Grand Opera a Tony Award—the only opera ever to receive one—and a Grammy Award.

Following its debut in Houston, the production opened on Broadway on September 25, 1976, and was recorded in its entirety by RCA Records. This version was very influential in turning the tide of opinion about the work.

George and Ira Gershwin will always be remembered as the songwriting team whose voice was synonymous with the sounds and style of the Jazz Age. From 1924 until George’s death in 1937, the brothers wrote almost exclusively with each other, composing over two dozen scores for Broadway and Hollywood. Though they had many individual song hits, their greatest achievement may have been the elevation of musical comedy to an American art form. Concurrently with the Gershwin’s musical theatre and film work, George attained great success in the concert arena as a piano virtuoso, conductor, and composer of such celebrated works as Rhapsody in Blue, An American in Paris, and the Concerto in F.

Whip and Spur (1902)Thomas S. Allen (1876–1919), arr. Ray E. Cramer

Whip and Spur found its home in the golden era of circus bands. Known as a “screamer,” it is often played at a tempo over 200 beats per minute. Notice the last trumpet strain, which using no valves, most likely started as a bugle call.

Thomas S. Allen started his compositional journey on Tin Pan Alley and earned his living as a vaudeville composer, violinist, and theater manager. His best known song, “Fifteen Miles on the Erie Canal” has been covered by many—from elementary school choirs to Bruce Springsteen.

Program notes by David Cross

ASB Members

Cindy StoryBrenagh Tucker

BassoonBryan Chin-Foon Gabriel GallegosAmanda TurleySean Pace

Bass ClarinetKris BormanSharon Kojzarek*Ruth LimForrest Stanley-Stevens

TrumpetEric BittnerCharlie CowardDavid B. CrossWesley EllingerGary GraserGeorge GreeneKevin Jedele David JonesAllyson KellerErin Knight Todd LesterStephanie SanchezDan Scherer Bruce Wagner*

French HornJillian BaakliniLeslie BoergerRon BoergerMichelle DeVallChuck Ellis*Michael GoodEvan KolvoordKeleigh KretzMarty LegèCarl Vidos

TromboneJohn Bodnar*Jim CrandellKyle GreenJustin HammisAlan DeVallMark KnightDale LiningerScott MawdsleyDonald McDanielRichard PiskatorPaul PutmanKen Riley

EuphoniumAllan Adelman*Tim DeFriesJerry SchwabBrant Zook

TubaKeith ChenowethScott Hastings*Robert HeardAl MartinDavid Warner

String BassThomas Edwards

PercussionAlan ClineTamara Milliken GalbiLorena GarciaBill HaehnelLindsey HicksAdam KempRyan ThomasRobert Ward*

* Section Leader+ Guest Musician

FluteBeth BehningWade ChilesShirley CumbyNan EllisCheryl FloydSally GrantPenny GriffyLinda LiningerBeverly Lowak*Sara McGarryKaren Van HooserKristi Wilson

ClarinetLibby CardenasSally CharboneauTere CoatsKaren CrossHank FrankenbergByron Gifford+Kirk HaysRamona HeardClifton JonesNancy MurphyNancy S. NorthAmy PaleseBrian PetersonClary Rocchi*Betty StewartFaith Weaver

Oboe Fred BehningKristen MasonBrittany Toll

SaxophoneSusan AbbottBetsy AppletonEddie JenningsBob MillerSteve Neinast*

The Stars Come Out

About the Austin Symphonic BandUnder the baton of Music Director Richard Floyd, ASB has become one of this

nation’s premier volunteer concert bands. The band was awarded the John Philip Sousa Foundation’s coveted Sudler Silver Scroll in 1993. The band’s current season extends its tradition of bringing quality music to the Austin community with a special three-concert indoor concert series, “The Stars Come Out.” In this series, the band features nationally recognized professional musicians with Austin roots.

The band will also present free concerts on the South steps of the Capitol for Mother’s Day, on Father’s Day at Zilker Hillside Theatre, and in Round Rock and Bastrop in celebration of Independence Day.

The Austin Symphonic Band’s musicians represent a cross-section of life in Austin, and all are volunteers. With musicians ranging in age from under 25 to over 70, ASB members demonstrate that making great music is a lifelong adventure, enriching lives and the community.

The Stars Come OutNovember 13

Stephen WilliamsonPrincipal Clarinetist Chicago Symphony

February 19Tito Carrillo

Jazz Trumpet ProfessorUniv of Illinois

April 2Clint Foreman

FlutistBoston Symphony

Each concert is at 4 p.m. at the Austin ISD Performing Arts Center.

ASB SponsorsAustin Symphonic Band is pleased to acknowledge the support of the organizations and individuals listed below. Organizations that hire the band for an event help the band as much as donors—plus they offer us opportunity to do what we love!

For information about becoming a sponsor of the band visit us at www.austinsymphonicband.org

Special thanks goes to the Connally HS Band Program and Director Marc Telles for the generous hospitality of rehearsal space and equipment use.

Platinum ($1,000+)The City of AustinThe City of BastropThe City of Round Rock

Gold ($500–$999)Mark & Erin KnightBeverly Lowak (In memory of Johnny Bruner)

Silver ($100–$499)Betsy AppletonFred & Beth Behning Wade ChilesHank FrankenbergSally GrantGeorge GreenePenny GriffyEddie JenningsAl MartinDonald McDanielNancy MurphySteve Neinast

Bronze ($50–$99) Susan AbbottLibby CardenasKyle GreenClifton JonesAmanda TurleyNan Wilson (In memory of Mary Lu Farnam)

Friends ($10–$49)Sally Charboneau Kristen MasonCindy StoryFaith WeaverKristin Wilson

Matching DonationsYourCause, LLC/SamsungDell

ASB is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department. Visit NowPlayingAustin.com.

Thank You for Attending Today’s

Performance!

We hope to see you back at the AISD PAC on April 2 for the next concert in

this series, “The Stars Come Out,” featuring flutist Clint Foreman.

Mark Your Calendar for Our Future Concerts

April 2, 4 p.m. • The Stars Come Out • Clint Foreman, FlutistMay 14, 7 p.m. • Mother’s Day • State Capitol South StepsJune 18, 7:30 p.m. • Father’s Day • Zilker ParkJuly 1, 8 p.m. • Bastrop Patriotic Festival • Fisherman’s ParkJuly 4, 8 p.m. • July 4th Frontier Days • Old Settlers Park, Round Rock

community in concert