wasbe 2015 - albums.primephonic.com

July 12–18, 2015 San Jose, California

WASBE 2015

Records

University of Wisconsin-Milwaukee

Wind EnsembleJohn Climer, conductor

Mark A. Norman, guest conductor

Tanya Kruse-Ruck, soprano

Christopher Burns, visual artist

FluteMaggie Jones, Racine, WITatiana Pearson, Hartland, WIMeredith Planton, Sheboygan, WIJanella Saad, El Paso, TXRebekah Saunders, Chicago, IL

OboeJoshua Guarisco, Sussex, WIMorgan Paradis, Chanhassen, MN

ClarinetAmanda Brittain, Germantown, WIAmy Butler, Milwaukee, WIStacy Check, Milwaukee, WIRene Edelstein, Madison, WIQuinn Oteman, Racine, WIKelly Riordan, Dousman, WIAlina Tylinski, Milwaukee, WIOlivia Valenza, Marshfield, WI

Bass ClarinetJacob Boyle, Pewaukee, WI

BassoonAdam Theune, Sheboygan Falls, WIKrystal Rutzen, Mukwonago, WIMegan Braunschweig,

Lebanon, WI

SaxophoneJulia Bustle, Franklin, WIKathleen Faracy, Delafield, WISara Fritchen, Racine, WIRobert Larry, Milwaukee, WIJacob Sweet, Mequon, WINolan Thomas, Racine, WI

HornAshley Gulbranson,

Cottage Grove, WIKurt Heins, Menomonee Falls, WIBridget Kallinger, Brookfield, WIJulie Steinbach, Mukwonago, WI

TrumpetSamuel Catania, West Allis, WISteven Ehrhardt, Fort Atkinson, WISamantha Kovach, Saukville, WIMatthew Makeever, Bozeman, MTStephon Owens, Milwaukee, WI

TromboneWilliam Akers, Twin Lakes, WIRobert Davis, Springfield, OHRoss Gordon, Grand Rapids, MITiffany Heindl, Milwaukee, WIJonah Mutronowski, Franklin, WI

Bass TromboneElena Grijalva, Pomona, CA

EuphoniumMichael Pekala, Windber, PA

TubaNicholas Psihountas,

Peachtree City, GA

PercussionLukas Hale, Waukesha, WIJennifer Kennedy, Oconto Falls, WIThomas Killian, Milwaukee, WIElizabeth Parsons, Kenosha, WISamuel Pavel, Madison, WIMatthew Silverberg, New York, NY

Assisting MusiciansMichael Adduci, oboeScott Hartman, hornBruce Olstad, piano

Graduate Conducting AssociatesRobert DavisMeredith Planton

Graduate Program AssistantsElena Grijalva, Equipment ManagerSamantha Kovach,

Youth Wind EnsembleMichael Pekala,

Equipment ManagerNicholas Psihountas,

Program ProductionJanella Saad, Head LibrarianJulie Steinbach, Publicity

Undergraduate StaffAmanda Brittain, Wind Ensemble Librarian

Bridget Kallinger, Librarian

WIND ENSEMBLE PERSONNEL

All digital photos on this disc are copyrighted and provided compliments of Kirby Fong. No images may be used without the express written permission of Kirby Fong and Mark Records.

ABOUT THE WIND ENSEMBLEThe Wind Ensemble is the premier concert band in the Peck School of the Arts. Emphasizing the single performer concept, the Wind Ensemble uses only players needed for a given piece, thus providing the greatest exposure for the exceptional musician. Members of the Wind Ensemble have performed for a distinguished list of guest conductors, composers and soloists including Vincent Persichetti, Karel Husa, Samuel Adler, Fisher Tull, John Mackey, Joseph Schwantner, Warren Benson, Michael Colgrass and Ron Nelson. Noted conductors who have led performances include James Croft, Jack Delaney, Mark Scatterday, Craig Kirchoff, Lucian Calliet, and Colonel John R. Bourgeois among others.

Recognized for their innovative programming, the Wind Ensemble performed for the 2013 National Conference of the College Band Directors National Association (CBDNA) in Greensboro, NC. The concert featured works by Gunther Schuller, Alec Wilder, Carter Pann, Donald Grantham and included a performance of Verne Reynolds’s Last Scenes for Solo Horn and Wind Ensemble with UW-Milwaukee hornist Greg Flint. The group also performed for the 2012 Wisconsin State Music Conference in Madison, WI, and the 2012 CBDNA regional conference at Central Michigan University where they premiered faculty composer Jonathan Monhardt’s Concertino for Trumpet and Wind Ensemble featuring trumpet professor Kevin Hartman.

Other prominent invitations have included the 1981 National M.E.N.C. Conference in Minneapolis, Minnesota; the 1983 National Conference of CBDNA in Atlanta, Georgia; the 1991 and 1994 North Central Divisional Conferences of CBDNA; and the Wisconsin Music Educators Conference in 1981, 1984, 1987, 1988, 1990, 1993, 1994, 1999, 2001 and 2004 and 2012. The Wind Ensemble and Symphony Band also appeared in a joint concert for the Ninth Annual Convention of the Australian Band and Orchestra Association’s Conference in Melbourne, Australia in 1996. Membership in the Wind Ensemble is open by audition to all graduate and undergraduate students at the university. Auditions take place during the first week of fall semester.

Mark Records • 10815 Bodine Road • Clarence, NY 14031-0406Ph: 716 759-2600 • www.markcustom.com • P 2015 51893-MCD

JOHN CLIMERconductorJohn Climer is Director of University Bands and Professor of Music at the University of Wisconsin-Milwaukee’s Peck School of the Arts. At UW-Milwaukee, John oversees all as-pects of the band program, guides the graduate wind conducting area, and serves as conduc-tor of the Wind Ensemble, the University’s premiere wind band. He is also serving as Music Director of UWM’s Youth Wind Ensemble program. Before his appointment in Milwaukee, he

served for fourteen years as Director of Bands at Ohio University.

As a guest conductor and clinician, Dr. Climer has led performances at numerous festivals, universities, and concert venues including the Midwest Band and Orchestra Clinic, the John F. Kennedy Center for the Performing Arts, the Eastman School of Music, and the Rocky Mountain Music Festival among others. Ensembles under his direction have performed for four conferences of the College Band Directors National Association including the 2013 National Conference in Greensboro, North Carolina, the North Dakota Music Educators Association, the Ohio Music Educators Association (1996, 1999, 2002, 2005, 2008), the Wisconsin State Music Conference, and the Society of Composers Inc. In July of 2015, the University of Wisconsin-Milwaukee Wind Ensemble performed for the 16th International Conference of the World Association for Symphonic Bands and Ensembles in San Jose, CA.

John is the recipient of the Ohio University School of Music Distinguished Teaching Award, the Ohio University College of Fine Arts Outstanding Teacher Award, and in 2007, he received the Outstanding Music Educator Alumni Award from the University of Akron. He is currently President of the North Central Division of the College Band Directors National Association and the former Editor of the Report, an online publication for members of CBDNA. He is a contributing author for the Teaching Music Through Performance in Band series and his professional memberships include Phi Kappa Phi, Pi Kappa Lambda, Kappa Kappa Psi, Phi Beta Mu, the College Band Directors National Association, and the World Association for Symphonic Band and Ensembles. His biography is published in the third edition of Who’s Who Among America’s Teachers.

Climer earned degrees from the University of Akron, the University of Cincinnati’s College-Conservatory of Music and the University of Missouri-Kansas City Conservatory of Music. His principal conducting teachers were Gary W. Hill and Terence Milligan, and he studied trombone with Edward Zadrozny, Tony Chipurn, and John Leisenring. He has served on the faculties of Ohio University, the University of North Dakota, Ohio Northern University, and Emory University (Atlanta, GA) where he also served as the conductor of the Atlanta Youth Wind Symphony.

SIGHTS SOUNDS

AND SONGS

WIND ENSEMBLEJohn Climer, conductor

Mark A. Norman, guest conductorTanya Kruse-Ruck, soprano

Christopher Burns, visual artist

World Association for Symphonic Bands and Ensembles16th International Conference

Wednesday, July 15, 3:00pmCalifornia Theater | San Jose, California

THE UNIVERSITY OF WISCONSIN–MILWAUKEE

Wind Ensemble

presents

“SIGHTS, SOUNDS and SONGS”

John Climer, conductorMark A. Norman, guest conductor

Tanya Kruse-Ruck, sopranoChristopher Burns, visual artist

World Association for Symphonic Bands and Ensembles16th International Conference Wednesday, July 15, 3:00pm

California Theater | San Jose, California


Wind Ensemble

presents







Wind Ensemble

presents







Wind Ensemble

presents






On behalf of the nearly 2,000 students and more than 250 faculty and staff of the University of Wisconsin-Milwaukee Peck School of the Arts, I thank you for the tre-mendous opportunity for our Wind Ensem-ble to perform at the 2015 International World Association for Symphonic Bands and Ensembles Conference. I am delighted that our students have the opportunity to have this exciting performance experience with this prestigious organization.

The University of Wisconsin-Milwaukee Band Program has distinguished itself through recordings, commissions, concerto competitions, and composer and artist involvement. Under the tremendous lead-ership of John Climer and Mark Norman, we are committed to student excellence and serving the needs of our students. We are proud that the University of Wiscon-sin-Milwaukee Band Program remains an active part of student life and that our large ensembles and chamber music ensembles enjoy national and international reputa-tions, performing throughout the United

States and the globe.The UW-Milwaukee Music Department is

a fully-accredited member of the National Association of Schools of Music. Our top-notch music faculty work with over 300 undergraduate and graduate majors to help them develop and launch their musical careers. The Department is part of the Peck School of the Arts, the most prolific arts provider in Wisconsin, offering more than 350 art exhibitions, dance, music, and theatre performances, and film screenings each year.

I am thrilled that our music will contrib-ute to this year’s WASBE conference and hope you will enjoy the performance!

Scott Emmons, DeanPeck School of the ArtsUniversity of Wisconsin–Milwaukee

Shots. UW-Milwaukee’s signature academic and performance programs remain on a quest for exceptional talent in our students and faculty - great cities and great urban universities have long had the arts at their core. Enjoy.

Dr. Jon Welstead, ChairPeck School of the ArtsUniversity of Wisconsin–Milwaukee

It is with great pleasure that I introduce the University of Wisconsin-Milwaukee Depart-ment of Music Wind Ensemble to the 16th International World Association for Symphonic Bands and Ensembles Conference (WASBE) in San Jose, CA this year. The Wind Ensemble is under the superb guidance of the Director of Bands, Dr. John Climer and Assistant Director of Bands, Dr. Mark Norman. Of special note, our very talented and dedicated student per-formers. Without their excellent performance we could not provide such a rich and varied program.

UWM is proud of the Wind Ensemble’s rich history of presenting superb performances for winds and pioneering presentations of new and commissioned works for Wind Ensemble. Today’s concert represents the collaborative work embraced at the Peck School of the Arts; Dr. Chris Burns (composition, digital imaging, interactive computing) in Magneticfireflies; Dr. Tanya Kruse Ruck (soprano, opera direction, musical theatre & vocal somantics) in Five Folksongs for Soprano; and Mark Norman’s pre-sentation of William Schuman’s Newsreel in Five

F r o m T h e C h a i rF r o m T h e D e a n

Magneticfireflies (2001)Augusta Read Thomas (b. 1964)

American composer Augusta Read Thomas (b. 1964) is a former professor of the Eastman School of Music and North-western University, former composer-in-resi-dence with the Chicago Symphony Orches-tra, current composer-in-residence for the New Haven Symphony, and current chair of composition at the University of Chicago. In addition to national and international acclaim, Thomas is the recipient of a variety of fellowships and her work Astral Canticle was a runner-up for the Pulitzer Prize in music in 2007. She maintains ties to the Tanglewood Festival, working to mentor composition students in the development of their craft.

Magneticfireflies (2001) is a work that explores the gamut of timbral possibilities for the wind ensemble. Instrumental color and sound gesture become the driving force behind this work. From the initial trumpet entrance to the punctuated percussive elements, short musical ideas are passed throughout the ensemble, creating constant aural interest for the listener and a chal-lenge for players. Dominated by brass bell tones, metallic percussion sounds, and flut-ter tonguing, the piece builds in intensity to a piercing unison finale. Thomas describes Magneticfireflies as “very rhapsodic, lyrical, rich and majestic, but also quite playful. One of the main intentions of this music is the juxtaposition between stark, bold, indi-vidual colors, such as a loud solo trumpet, Mahler style, with a completely blended timbre, Debussy style.”

-Augusta Read Thomas

Caricatures Suite (1996/98) Jere Hutcheson (b. 1938)

Jere Hutcheson was born in Marietta,

Georgia, in 1938. He studied composition with Frances Buxton at Stetson Univer-sity, Helen Gunderson at Louisiana State University, H. Owen Reed at Michigan State University, and Gunther Schuller, and Ernst Krenek at the Berkshire Music Center, Tanglewood, Massachusetts.

Hutcheson began his teaching career at Michigan State University in 1965. He chaired the composition area from 1975 until 1992. In addition to a large output for the band and wind ensemble media, Hutcheson has written extensively for orchestra, chorus, voice, chamber ensem-bles, and piano. The Jere Hutcheson Archive in the Library at Michigan State University holds Hutcheson’s complete compositional output (scores and record-ings), as well as many early drafts, notes on compositional processes, correspondence, etc.

Caricatures was commissioned and premiered by the Michigan State University Wind Symphony with John Whitwell as the conductor. The premiere took place in the Great Hall of the Wharton Center for the Performing Arts, East Lansing, Michigan, 1996. Hutcheson writes: “In the fifteen years prior to the commission, I had read novels, essays, poems, etc., by some of the world’s great writers. My wife and I had immersed ourselves in several art appreciation courses and had visited some of the great art museums in the US and Europe; we also loved the theatre and attended many local productions. We took in art movies on a regular basis. So, it dawned on me then and there that I might relate my motives to various creative spirits: artists, writers, actors, and composers each of whom was known because of his or her distinctive style. So, my musical caricatures would be caricatures, not of a creator’s personality or appearance, but of his or her stylistic characteristics.”

Marcel Marceau: StealthMarcel Marceau is trapped in a

AUGUSTA READ THOMASMagneticfireflies (2001)

.......................................................................................Christopher Burns, visuals

JERE HUTCHESONCaricature Suite (1996/98)

Marcel Marceau: Stealth

Edgar Allan Poe: The Pit and the Pendulum

Vincent Van Gogh: Canticle

Andy Warhol: The Giant Soup Can Machine

Camille Saint-Saëns: Scales

CHANG SU KOHLament for Wind Orchestra (1963)

BERNARD GILMOREFive Folksongs for Soprano and Band (1963)

1. Mrs. McGrath (Irish)

2. All the Pretty Little Horses (American)

3. Yerakina (Greek)

5. A Fidler (Yiddish)

..................................................................................... Tanya Kruse-Ruck, soprano

WILLIAM SCHUMANNewsreel in Five Shots (1941)

1. Horse Race

2. Fashion Show

3. Tribal Dance

4. Monkeys in the Zoo

5. Parade

............................................................................Mark A. Norman, guest conductor

....................................................................... Film compilation by Anthony Trachsel

CHARES IVES, ARR. JAMES SINCLAIRCountry Band March (c. 1903)

P r o g r a m N o t e sP r o g r a m

P r o g r a m N o t e s

completed his doctorate in conducting at Stanford. Gilmore has served on the faculties of Cornell University and Oregon State University, where he conducted the Symphony Orchestra and taught theory and composition. In 1982 he became professor of theory and composition and was the chair of the Department of Music at the University of California, Irvine.

-University of Cincinnati Wind Symphony, Songs and Dances, Mark Records, 1992. CD.

Mrs. McGrath“Oh, Mrs. McGrath,” the sergeant said,“Would you like to make a soldier out of your son, Tedwith a scarlet coat and a big cocked hat,Oh, Mrs. McGrath, wouldn’t you like that?”Wid yer too-ri-ah, fol-a-diddle-ah,too-ri-oo-ri-oo-ri-ah,wid yer too-ri-ah, fol-a-diddle-ah,too-ri-oo-ri-oo-ri-ah.Now, Mrs. McGrath lived on the shorefor the space of seven long years or more.Till she saw a ship sailing into the bay

“Here’s my son Ted would ya clear the way?”(chorus)

“Oh captain dear, where have you beenhave you been sailing on the Mediter-e-an.Oh have you any tidings of my son Ted,is the poor boy living or is he dead?”(chorus)Then up came Ted without any legsand in their place, he has two wooden pegs.She kiss’d him a thousand times or more,saying “Mother of God-it isn’t you.”(chorus)

“Oh were ye drunk or were ye blindthat ye left your two fine legs behind.Or was it walking upon the seawore your fine legs from the knees away?”

“Oh I wasn’t drunk and I wasn’t blindbut I left my two fine legs behind.For a cannon ball on the fifth of Maytook my two legs from the knees away.”

“All foreign wars I do proclaim

between Don John and the King of Spain.For I’d rather my Ted as he used to bethan the King of France and his whole navee.”

All the Pretty Little HorsesHush-a-bye, don’t you cry,go to sleepy little baby.When you wake you shall have cakeand all the pretty little horses.Black and bays, dapples and greys,coach and six o’ little horses.Blacks and bays, dapples and greys,all the pretty little horses.Hush-a-bye, don’t you cry,go to sleepy little baby.Your pa’s away, gone astray,gone and left you little lambieDaddy’s eye is runnin’ dry,he can’t cry for you like mammy.Daddy’s eye is runnin’ dry,gone and left you little lambie.

YerakinaYerakina went out to get water,to get cold water.Druga, druna, drun, drun, drun.Her bracelets rattle, her bracelets rattle.Druga, druga, druna, drun, drun, drun.And she fell into the water well,and she gave a big yell!Druga, druna, drun, drun, drun.Her bracelets rattle, her bracelets rattle.Druga, druga, druna, drun, drun, drun.Yerakina, I shall pull you out,and I shall take you as my wife.Druga, druna, drun, drun, drun.Her bracelets rattle, her bracelets rattle.Druga, druga, druna, drun, drun, drun.

A FidlerSo as the father from Yaridl,I have bought a new fiddle.Do, re, mi, fa, sol, la, si,I now play didl, di, di, di.Hold the head down,and let your eyes shine.

mysterious box. The escape route is laden with traps, but the spider-like mime finds his way.

Edgar Allen Poe: The Pit and the PendulumEdgar Allan Poe skillfully created haunt-

ing atmospheres of terror. His manipulation of phrasing and rhythm intensified mood through sound.

Vincent Van Gogh: CanticleThe great Dutch painter Vincent Van

Gogh suffered great pain. He also filled his canvasses with strength and beauty.

Andy Warhol: The Giant Soup Can MachineAndy Warhol stunned the art world with

his series of reproductions of everyday items.

Camille Saint-Saëns: ScalesCan you recall that moment in the third

movement of the Organ Symphony when the two pianos enter with a barrage of scales and arpeggios? The idea seems to me to be an intrusion on the natural form of the composition, an idea which should not have been allowed entry but at the same time, I find the idea itself appealing.

-Jere Hutcheson

Lament for Wind Orchestra (2002) Chang Su Koh (b. 1970)

Chang Su Koh (b. 1970, Osaka, Japan) graduated from the Osaka College of Music with a Degree in Composition and entered the Musik Akademie der Stadt Basel. He studied composition with Kunihiko Tanaka and Rudolf Kelterborn, and conducting with Jost Meier. He has been awarded the Asahi Composition prize, the Master Yves Leleu prize from the 1st Comines-Warneton International Composition Contest, second prize from the Suita Music Contest Com-position Section, and honorable mentions

from the Nagoya City Cultural Promotion Contest and the Zoltán Kodaly Memorial International Composers Competition. Presently, Koh teaches at Osaka College of Music and ESA Conservatory of Music and Wind Repair Academy, and is a member of the Kansai Modern Music Association.

In his review of the 2011 Taiwan WASBE Conference, noted conducted Timothy Rey-nish wrote: “Chang Su Koh was for me one of the most impressive composers…with two fine works played. Lament for Wind Orchestra [is] one of those extremely rare wind works, a slow unsentimental piece, full of senti-ment, first rate. This was also to my mind an object lesson in how to use a traditional musical language in a contemporary way. Some of this work was, dare I say it, beau-tiful, especially the development of a wind and then brass motif which reminded me of Shostakovich. This is a real piece of music, probably nearer Grade 5 then Grade 4 in its exposed writing and intensity.”

-Timothy Reynish

Five Folk Songs for Soprano (1965)Bernard Gilmore (1937-2013)

Five Folk Songs for Soprano was inspired by the folk recordings of Theodore Bikel and groups such as the Limelighters. The com-position was awarded the citation of Best Original Composition at the College Band Directors National Association biennial conference in 1967. The music serves as an excellent complement to the five songs, an especially difficult task since each song is taken from and performed in a different language. This composition was the first major work written expressly for soprano and wind ensemble.

Bernard Gilmore (1937-2013) completed his bachelor’s and master’s degrees in theory and composition at the University of California, Los Angeles. He subsequently

P r o g r a m N o t e s

make use of similar material, Ives sought deliberately to capture the inaccuracies of rhythm and intonation that he usually heard in amateur performances. The results can be wildly humorous and raucous, and affectionately nostalgic, often at the same

time. Country Band March later became part of larger works by Ives: the Symphony No. 4 and the Putnam’s Camp movement of Three Places in New England.

-Richard Franko Goldman

W i n d E n s e m b l e P e r s o n n e lFlute

Maggie Jones, Racine, WI Tatiana Pearson, Hartland, WI Meredith Planton, Sheboygan, WI Janella Saad, El Paso, TX Rebekah Saunders, Chicago, IL

OboeJoshua Guarisco, Sussex, WI Morgan Paradis, Chanhassen, MN

ClarinetAmanda Brittain, Germantown, WI Stacy Check, Milwaukee, WI Rene Edelstein, Madison, WI Quinn Oteman, Racine, WI Kelly Riordan, Dousman, WI Olivia Valenza, Marshfield, WIAmy Butler, Milwaukee, WIAlina Tylinski, Milwaukee, WI

Bass ClarinetJacob Boyle, Pewaukee, WI

BassoonAdam Theune, Sheboygan Falls, WI Krystal Rutzen, Mukwonago, WI Megan Braunschweig, Lebanon, WI

Saxophone Julia Bustle, Franklin, WI Kathleen Faracy, Delafield, WI Sara Fritchen, Racine, WI Robert Larry, Milwaukee, WI

Jacob Sweet, Mequon, WI Nolan Thomas, Racine, WI

Horn Ashley Gulbranson, Cottage Grove, WIKurt Heins, Menomonee Falls, WI Bridget Kallinger, Brookfield, WIJulie Steinbach, Mukwonago, WI

TrumpetSamuel Catania, West Allis, WI Steven Ehrhardt, Fort Atkinson, WISamantha Kovach, Saukville, WI Matthew Makeever, Bozeman, MT Stephon Owens, Milwaukee, WI

TromboneWilliam Akers, Twin Lakes, WI Robert Davis, Springfield, OHRoss Gordon, Grand Rapids, MITiffany Heindl, Milwaukee, WI Jonah Mutronowski, Franklin, WI

Bass TromboneElena Grijalva, Pomona, CA

EuphoniumMichael Pekala, Windber, PA

TubaNicholas Psihountas, Peachtree City, GA

PercussionLukas Hale, Waukesha, WI

Do, re, mi, fa, sol, la, si,I now play didl, di, di, di.Right foot forward a little,Tap the floor with the little foot.Do, re, mi, fa, sol, la, si,I now play didl, di, di, di.Mother is chortled and filled with wonder,Jascha Heifetz grows by me!Do, re, mi, fa, sol, la, si,I now play didl, di, di, di.

Newsreel in Five Shots (1941) William Schuman (1910-1992)

William Schuman’s music has the robust drive, the American melodic flavour, and the counterpoint of Harris’s, but is sleeker and more sophisticated. He was conscious of himself as an American artist and responded to fellow American artists (In Praise of Shahn for orchestra, 1969), to the landscape (New England Triptych, 1956), and to popular culture in his single opera The Mighty Casey (1953), which he revised as a cantata, Casey at the Bat (1976). But his major works are in the abstract genres of symphony (he wrote ten, of which he with-drew the first two and the fifth is for strings) and string quartet (five such). Other works include concertos for piano (1938), violin (1947), and cello (A Song of Orpheus, 1961); choral settings; and a characteristically splendid orchestration of Ives’s Variations on

‘America’. In late 1941 Schuman composed his first

work for band, entitled Newsreel in Five Shots. Schuman had always loved the sounds of bands: “I wanted to write music that could be performed by kids, because I love kids… but I got better at it after [Newsreel] because [it’s] too difficult to play in terms of musical content.” Another reason Schuman enjoyed band writing was that “it makes you feel like a citizen. Bands want new pieces. Unlike most symphony orchestras, who do new music on sufferance, bands love to do it.”

In the 1930s and early 1940s, the newsreel was an integral part of any movie going experience. It presented short snippets of the news of the day, both serious and whim-sical: “[I] thought how amusing it would be to imagine these events and write music to go with them, so I did…It was great fun to do—kind of a joke. Lukas Foss loves that piece…He never played anything of any importance that I wrote, but he loved that.”

Newsreel was premiered in 1942 by the Pennsylvania State College Band under the direction of George S. Howard, director of the United States Air Force Band. Written in five movements, whose titles depict various topics in a newsreel (“Horse Race,” “Fash-ion Show,” “Tribal Dance,” “Monkeys at the Zoo,” and “Parade”), the piece became a favorite with bands around the United States and eventually was even played by junior high school bands.”

-Joseph W. Polisi (American Muse: The Life & Times of William Schuman)

Country Band March (c. 1903) Charles Ives (1874-1954)arr. James Sinclair

Charles Ives (1874-1954) is regarded as the first truly American composer of the twentieth century. A church organist at thirteen, he later entered Yale University, studying composition with Horatio Parker. Occasionally, Ives had to hire musicians and conductors so he could hear his works performed. There was little recognition for his compositions until late in life and after his death in 1954.

The Country Band March was composed in 1903 and arranged for full band in 1973 by James Sinclair of Yale University. The piece displays some of Ives’ most distin-guishing characteristics, particularly the use of quotations of tunes that were popular in his childhood. Unlike other composers who

Percussion (continued)Jennifer Kennedy, Oconto Falls, WI Thomas Killian, Milwaukee, WI Elizabeth Parsons, Kenosha, WI Samuel Pavel, Madison, WIMatthew Silverberg, New York, NY

Assisting MusiciansMichael Adduci, oboeScott Hartman, hornBruce Olstad, piano

Graduate Conducting AssociatesRobert Davis

Meredith Planton

Graduate Program AssistantsElena Grijalva, Equipment ManagerSamantha Kovach, Youth Wind EnsembleMichael Pekala, Equipment ManagerNicholas Psihountas, Program ProductionJanella Saad, Head LibrarianJulie Steinbach, Publicity

Undergraduate StaffAmanda Brittain, Wind Ensemble LibrarianBridget Kallinger, Librarian

A b o u t t h e W i n d E n s e m b l e

The Wind Ensemble is the premier concert band in the Peck School of the Arts. Emphasizing the single performer con-cept, the Wind Ensemble uses only players needed for a given piece, thus providing the greatest exposure for the exceptional musi-cian. Members of the Wind Ensemble have

performed for a distinguished list of guest conductors, composers and soloists includ-ing Vincent Persichetti, Karel Husa, Samuel Adler, Fisher Tull, John Mackey, Joseph Schwantner, Warren Benson, Michael Col-grass and Ron Nelson. Noted conductors who have led performances include James

W i n d E n s e m b l e P e r s o n n e l

Croft, Jack Delaney, Mark Scatterday, Craig Kirchoff, Lucian Calliet, and Colonel John R. Bourgeois among others.

Recognized for their innovative program-ming, the Wind Ensemble performed for the 2013 National Conference of the Col-lege Band Directors National Association (CBDNA) in Greensboro, NC. The concert featured works by Gunther Schuller, Alec Wilder, Carter Pann, Donald Grantham and included a performance of Verne Reyn-olds’s Last Scenes for Solo Horn and Wind Ensemble with UW-Milwaukee hornist Greg Flint. The group also performed for the 2012 Wisconsin State Music Conference in Madison, WI, and the 2012 CBDNA regional conference at Central Michigan University where they premiered faculty composer Jon-athan Monhardt’s Concertino for Trumpet and Wind Ensemble featuring trumpet professor

Kevin Hartman.Other prominent invitations have

included the 1981 National M.E.N.C. Conference in Minneapolis, Minnesota; the 1983 National Conference of CBDNA in Atlanta, Georgia; the 1991 and 1994 North Central Divisional Conferences of CBDNA; and the Wisconsin Music Educators Confer-ence in 1981, 1984, 1987, 1988, 1990, 1993, 1994, 1999, 2001 and 2004 and 2012. The Wind Ensemble and Symphony Band also appeared in a joint concert for the Ninth Annual Convention of the Australian Band and Orchestra Association’s Conference in Melbourne, Australia in 1996. Membership in the Wind Ensemble is open by audition to all graduate and undergraduate students at the university. Auditions take place during the first week of fall semester.

A b o u t t h e C o n d u c t o r

John Climer is Director of University Bands and Professor of Music at the Univer-sity of Wisconsin-Milwaukee’s Peck School

of the Arts. At UWM, Dr. Climer oversees all aspects of the University Bands ensem-bles and operations, guides the graduate

wind-conducting program, and serves as conductor of the Wind Ensemble, the University’s premiere wind band. Before his appointment to UW-Milwaukee, Dr. Climer served as Director of Bands at Ohio University for fourteen years. In addition to conducting the Ohio University Wind Ensemble, he served as Director of the New Music Ensemble and taught undergraduate and graduate courses in wind literature and conducting.

Dr. Climer maintains an active schedule as a guest conductor and clinician. He has led performances at numerous festivals, universities, and concert venues including the Eastman School of Music, the Midwest Band and Orchestra Clinic, the John F. Kennedy Center for the Performing Arts, the University of South Florida, the Rocky Mountain Music Festival (Canada), Cornell University (NY), Murray State University, East Tennessee State University, Fort Hays State University and the University of Missouri-Kansas City among others. Ensem-bles under his direction have performed for three conferences of the College Band Directors National Association, the North Dakota Music Educators Association, the Ohio Music Educators Association and the Society of Composers Inc. An advocate for new music, Climer has been involved in

numerous commissioning projects lead-ing to works by composers Chen Yi, Akira Miyoshi, Warren Benson, Mark Phillips, Roberto Sierra, Walter Mays, Timothy Broege, Robert Rodriguez, Michael Schelle, John Orfe and Jonathan Monhardt.

Climer is Vice-President Elect of the North Central Division of the College Band Directors National Association and the former Editor of “The Report,” an online publication of CBDNA. He is the recipi-ent of the 1997 Ohio University School of Music Distinguished Teaching Award, the 2001 Ohio University College of Fine Arts Outstanding Teacher Award, and the 2007 Outstanding Music Educator Alumni Award from the University of Akron.

Dr. Climer earned degrees from the Uni-versity of Akron, Cincinnati’s College-Con-servatory of Music and the University of Missouri-Kansas City Conservatory of Music. His principal conducting teachers were Gary W. Hill and Terence Milligan and he studied trombone with Edward Zadrozny and Tony Chipurn. He has served on the faculties of Ohio University, the University of North Dakota, Emory University (Atlanta GA), and Ohio Northern University; he is a former conductor of the Atlanta Youth Wind Symphony.

A b o u t t h e G u e s t C o n d u c t o r Mark A. Norman has enjoyed a twenty-six year career as a conductor, tuba performer, teacher, clinician and administra-tor in collegiate and professional music programs and ensem-bles. He has been the

Director or Associate Director of Bands at the University of North Carolina School of the Arts, Washburn University, Towson University and as a Visiting Professor at the University of Michigan. In the fall of 2014, Norman will join the faculty of the Peck School of the Arts at the University of Wisconsin – Milwaukee as the Associate Director of Bands.

While at Washburn, Norman led the Washburn Wind Ensemble to performances at the 2012 College Band Directors National Association Southwest Regional Conference, the John F. Kennedy Center in Washington DC and at the 2010 and 2013 Kansas Music Educators Conferences which included the prestigious Friday Evening Concert awarded to the top wind band entry in the state. In addition, the wind ensemble and chamber winds were featured on four occasions on Kansas Public Radio and performed at the Kansas Walk of Fame induction ceremony for Senator Bob Dole. Norman and the wind ensemble were also active in com-missioning and performing new compo-sitions by composers Joel Puckett, David Maslanka, Brian Balmages, James Syler, and Barbara York during his tenure. Addition-ally, Norman founded and was the director of the school’s annual Summer Music Camp, Conductors Workshop, Music Educators Workshop, Mosaic and Children’s Concerts.

Norman is a former Tuba Instrumentalist with the U.S. Navy Band in Washington, D.C. and has performed on numerous occa-sions with the North Carolina, Charlotte,

Richmond and Topeka Symphonies. He was a member of the Washington Brass, Domin-ion Brass, Washburn Faculty Brass Quintet and the international award winning Tubas in the Sun quartet. Norman performed Eb tuba and guest conducted the Fountain City Brass Band during its 2009 tour of Great Britain where they recorded the critically acclaimed recording, Over the Rainbow and won the Scottish Open Brass Band Champi-onship.

Norman received his M.M. and D.M.A. degrees in Instrumental Conducting from the University of North Carolina at Greens-boro where he studied with John Locke and Kevin Geraldi. While at UNCG, he was the conductor of the University Band and regularly guest conducted the Wind Ensem-ble, Symphonic Band, Chamber Winds, and Brass Choir. He produced or co-pro-duced four recordings by the UNCG Wind Ensemble including Fireworks which received two Grammy Award nominations in 2010. He also received his B.M. degree in Tuba Performance at UNCG studying with David Lewis and was the first tuba performer to win the school’s Concerto Competition.

A b o u t t h e S o l o i s t Tanya Kruse Ruck holds a Bachelor of Arts degree in Music (Cum Laude) from Luther College, a Master of Music degree in Vocal Performance from the University of Cincinnati College-Conservatory of Music, and a Doctor of

Vocal Performance with a cognate in Opera Stage Directing from the same institution. Kruse Ruck has been on the voice faculty at

UWM since 2003 and previously taught at Luther College. In 2013/14 she received a UWM “Student Success Award” and “First Year Student Success Award,” recognizing her excellence in teaching. At UWM, she teaches undergraduate and graduate students including voice lessons for classical singers as well as those training in musical theatre and other contemporary styles, Italian Diction for singers, Class Voice, Song Literature, and Opera Workshop/Produc-tions. Her students are currently singing in professional musical theatre and opera

A b o u t t h e C o n d u c t o r

productions and have won top prizes in competitions such as the Czech and Slovak International Voice Competition, Hal Leonard Vocal Competition, and the NATS auditions. Most recently, her student won first prize in the upper college women division of the National Student Auditions in Boston. With Dr. Sheila Feay-Shaw (UWM Associate Professor of Music Education), Kruse Ruck won a grant to conduct research on how high school choral directors distribute technical information about the voice to their students. She presented at the Wisconsin Music Educator’s Association Convention in 2013 on “Pedagogical Approaches to Functional Anatomy Through Daily Exercises in the Choral Setting” and their poster presentation was given there in 2014. She is a past president of the Wisconsin Chapter of NATS and is also a graduate of the NATS Intern program where she studied with Dr. Scott McCoy. Currently active in oratorio, art song, and opera, Kruse Ruck has played La Contessa

(Le Nozze di Figaro) with much critical acclaim, Cio-Cio San (Madama Butterfly), Rusalka (Rusalka), Fiordiligi (Così fan tutte), and Angelica (Suor Angelica), among others. She is a past winner of the Wisconsin District Metropolitan Opera National Council Auditions and currently serves as a co-director for MONC Wisconsin. Kruse Ruck has appeared as soloist in Rossi-ni’s Petite Messe Solonnelle, Barber’s Prayers of Kierkegaard, Verdi’s Requiem, Strauss’s Vier letzte Lieder, Mozart’s Coronation Mass and Sol-emn Vespers, Vaughan-Williams’ Dona Nobis Pacem, Villa-Lobos’ Bachianas Brasilieras No. 5,and more. In the 2014/15 season, Kruse Ruck performed with the Wisconsin Philharmonic, the Milwaukee Youth Symphony Orchestra, and Milwaukee Opera Theatre. In fall of 2014, Kruse Ruck and Elena Abend (Senior Lecturer in Piano at UWM) released a CD on Albany Records titled, “Over the Fence: Songs of Elsa Respighi, Lori Laitman, and Modesta Bor,” which contains two world premiere recordings.

A b o u t t h e V i s u a l A r t i s t Christopher Burns is a composer and improviser developing innovative approaches to musical architecture. His work emphasizes trajectory, layering and intercutting a variety of audible processes to create intricate forms.

The experience of density is also crucial to his music: his compositions often incorpo-rate materials which pass by too quickly to be grasped in their entirety, and present complex braids of simultaneous lines and textures. Several recent projects incorporate

animation, choreography, and motion capture, integrating performance, sound, and visuals into a unified experience.

Christopher’s work as a music technol-ogy researcher shapes his work in both instrumental chamber music and electro-acoustic sound. He writes improvisation software incorporating a variety of unusual user interfaces for musical performance, and exploring the application and control of feedback for complex and unpredict-able sonic behavior. In the instrumental domain, he uses algorithmic procedures to create distinctive pitch and rhythmic structures and elaborate them through time. Christopher is also an avid archaeologist

of electroacoustic music, creating and performing new digital realizations of music by Cage, Ligeti, Lucier, Stockhausen, and others. His recording of Luigi Nono’s La Lontananza Nostalgica Utopica Futura with vio-linist Miranda Cuckson was named a “Best Classical Recording of 2012” by The New York Times.

A committed educator, Christopher teaches music composition and technology at the University of Wisconsin-Milwaukee. Previously, he served as the Technical Direc-tor of the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford

University, after completing a doctorate in composition there in 2003. He has stud-ied composition with Brian Ferneyhough, Jonathan Harvey, Jonathan Berger, Michael Tenzer, and Jan Radzynski.

Christopher is also active as a concert producer. He co-founded and produced the strictly Ballroom contemporary music series at Stanford University from 2000 to 2004, and has contributed to the sfSoundGroup ensemble in the San Francisco Bay Area since 2003. Since 2006, he has served as the artistic director of the Unruly Music festival in Milwaukee.

M u s i c D e p a r t m e n t & T e a c h i n g S t a f fENSEMBLESJohn Climer, Director of Bands Mark Norman, Assistant Director of Bands Zack Durlam, Director of Choirs Gloria Hansen, Assistant Director of Choirs Kenneth Daniel, Gospel Choirs Curt Hanrahan, Director, Jazz Ensemble Margery Deutsch, Community Orchestra Jun Kim, Director of Orchestras Thomas Wetzel, Director of Percussion

GUITARPeter Baime, Flamenco Guitar Beverly Belfer, Beginning Guitar Pete Billman, Jazz Guitar Elina Chekan, Intermediate Guitar, Classical René Izquierdo, Classical Guitar, Area Chair Andrew Lardner, Finger-Style Guitar John Stropes, Finger-Style, Director of Guitar Program Irina Yanovskaya, Suzuki Guitar

HARP+Ann Lobotzke

MUSIC EDUCATIONJill Kuespert Anderson

Scott Emmons Sheila Feay-Shaw, Area Chair Jon Gilliland Rodney Loren Catherine Robertson Beth Sacharski

MUSICOLOGY & ETHNOMUSICOLOGYJudith Kuhn Timothy Miller Timothy Noonan, Graduate Studies Advisor Gillian Rodger, Area Chair

MUSIC THEORY, COMPOSITION & TECHNOLOGYJames Burmeister Christopher Burns, Composition Chair Lou Cucunato William Heinrichs Jonathan Monhardt, Theory Chair Kevin Schlei Stephen Schlei Amanda Schoofs Jon Welstead, Department Chair

A b o u t t h e S o l o i s t

PIANOElena AbendLeslie Krueger Peggy Otwell, Piano Pedagogy Jeffry Peterson, Area Chair Johanna Schilling

STRINGSJohn Babbitt, String Bass/Jazz Bass

^Darcy Drexler, Violin/Viola String Pedagogy ^Stefan Kartman, Cello, String Pedagogy Area Chair Claudia Lasareff-Mironoff, Viola Bernard Zinck, Violin, Director of ICM

VOICE: OPERA & MUSICAL THEATREKerry Bieneman, Mezzo-soprano Colleen Brooks, Mezzo-soprano Tanya Kruse Ruck, Soprano, Area Co-Chair David Hoffman, Tenor

WINDS, BRASS, AND PERCUSSIONDavid Bayles, Percussion Jennifer Clippert, Flute, Woodwind Area Chair

Gregory Flint, French Horn Matthew Gaunt, Tuba/Euphonium +Beth Giacobassi, Bassoon/Contra Bassoon Curt Hanrahan, Saxophone Kevin Hartman, Trumpet, WBP Area Chair Mark Hoelscher, Trombone Linda Jones, Clarinet +Thomas Wetzel, Percussion +Todd Levy, Clarinet Katherine Young Steele, Oboe

FINE ARTS QUARTETRalph Evans, Violin Efim Boico, Violin Juan-Miguel Hernandez, Viola Robert Cohen, Cello

+ Milwaukee Symphony Orechestra ^ String Academy of Wisconsin

A d m i n i s t r a t i o nUNIVERSITY OF WISCONSIN–MILWAUKEEMark Mone, Chancellor Johannes Britz, Provost & Vice Chancellor for Academic Affairs

PECK SCHOOL OF THE ARTS: Scott Emmons, Dean Kim Cosier, Associate Dean James Burmeister, Assistant Dean Jon Welstead, Chair, Department of Music

ACKNOWLEDGEMENTSAlexandra Trumbull-Holper, Music Program Manager Rebecca Ottman, Marketing Specialist Justin Kunesh, Art Director

As Wisconsin’s only public urban research university, UWM has established an international reputation for excellence in research, community engagement, teach-ing and entrepreneurism. The Princeton Review named UWM a “2015 Best in the Midwest” university based on overall academic excellence and student reviews. An engine for innovation in southeastern Wisconsin, UWM’s economic impact is more than $1.5 billion per year in Wisconsin alone.

M u s i c D e p a r t m e n t & T e a c h i n g S t a f f

arts.uwm.edu/music

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