COLLEGE OF FINE ARTS ADMINISTRATION

Benjamin E. Juarez, Dean Boston University

Robert K. Dodson, Director, School of Music
Jim Petosa, Director, School of Theatre Arts Tanglewood Institute
Lynne Allen, Director, School of Visual Arts
John Amend, Assistant Dean of Finance and Administration presents
Patricia Mitro, Senior Assistant Dean of Enrollment
Stephanie Trodello, Assistant Dean of Development and Alumni Relations
Laurel Homer, Director of Communications

BUTI ADMINISTRATION
Phyllis Hoffman, Executive and Artistic Director
Shirley Leiphon, Administrative Director Young Artists Wind Ensemble
Lisa Naas, Director of Operations and Student Life
David Faleris, Program Administrator
Emily Culler, Development, Alumni Relations, and Outreach Officer
Grace Kennerly, Publications Coordinator
Manda Shepherd, Office Coordinator
Mandy Kelly, Office Intern
Ben Fox, Private Lessons Coordinator
H. ROBERT REYNOLDS conductor
Travis Dobson, Stage Crew Manager
Matthew Lemmel, Greg Mitrokostas, Andres Trujillo, Matt Visconti, Stage Crew
AXIOM BRASS
Michael Culler, Recording Engineer
Shane McMahon, Recording Engineer
Xiaodan Liu, Piano Technician

YOUNG ARTISTS WIND ENSEMBLE FACULTY AND STAFF

David Martins, Conductor
H. Robert Reynolds, Conductor
Jennifer Bill, Wind Ensemble Coordinator and Saxophone Coach
Samuel Solomon, Percussion Coordinator and Coach
Axiom Brass Quintet, Brass Coaches and Artists-in-Residence
Dorival Puccini, Jr., Colin Oldberg, Matthew Oliphant, Brett Johnson, Kevin Harrison
Vento Chiaro Quintet, Woodwind Coaches and Artists-in-Residence
Friday
Joanna Goldstein, Ana-Sofía Campesino, Chi-Ju Juliet Lai, Alexandra Berndt, Anne Howarth
Michael Israelievitch, Percussion Coach July 27, 2012
Michael Sherman, Staff Pianist
Ryan Yure, Clarinet Coach 8pm
Betsy Polatin, Alexander Technique Instructor
Lauren Haley, Librarian Seiji Ozawa Hall
YOUNG ARTISTS HARP PROGRAM FACULTY
Ann Hobson Pilot, Director
Franziska Huhn, Assistant Director and Coach

DESIGN TEAM FOR SEIJI OZAWA HALL

William Rawn Associates, Architect
Lawrence Kierkegaard & Associates, Acoustician
Theatre Projects Consultants, Inc., Theatrical Consultant
 Florence Gould Auditorium SUPPORT FOR THE BOSTON UNIVERSITY TANGLEWOOD
Seiji Ozawa Hall INSTITUTE IS PROVIDED BY:
Tanglewood
Young Artists Wind Ensemble
H. Robert Reynolds, conductor
Axiom Brass

MASLANKA Traveler

SHAPIRO “Depth” from Immersion

DAUGHERTY Lost Vegas

Mirage
Fever

~Intermission~

BERNSTEIN Suite from Mass

arr. Michael Sweeney
Axiom Brass

GANDOLFI Flourishes and Meditations on a Renaissance Theme

This program is supported in part by awards from the Jack Kent Cooke Foundation, the Surdna Foundation,
MÁRQUEZ Danzón No. 2 the National Endowment for the Arts, the ASCAP Foundation Irving Caesar Fund, Zildjian, and the Bose
arr. Oliver Nickel Foundation.

Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation with
Falcetti Music.

Rehearsal space is provided In Kind by Lenox Commons.

BOSTON UNIVERSITY COLLEGE OF FINE ARTS
The Boston University Tanglewood Institute is part of the educational and artistic pro-
grams of the Boston University School of Music. Founded in 1873, the School of Music
combines the intimacy and intensity of conservatory training with a broadly based,
traditional liberal arts education at the undergraduate level and intense coursework at
the graduate level. The school offers degrees in performance, composition and theory,
musicology, music education, collaborative piano, historical performance, as well as a
certificate program in its Opera Institute, and artist and performance diplomas.
Founded in 1839, Boston University is an internationally recognized private research
university with more than 30,000 students participating in undergraduate, graduate,
and professional programs. BU consists of 17 colleges and schools along with a number
of multi-disciplinary centers and institutes which are central to the school’s research
and teaching mission. The Boston University College of Fine Arts was created in 1954
to bring together the School of Music, the School of Theatre, and the School of Visual
Arts. The University’s vision was to create a community of artists in a conservatory-
style school offering professional training in the arts to both undergraduate and gradu-
ate students, complemented by a liberal arts curriculum for undergraduate students.
Since those early days, education at the College of Fine Arts has begun on the BU
campus and extended into the city of Boston, a rich center of cultural, artistic and intel-
lectual activity.
H. ROBERT REYNOLDS conductor
H. Robert Reynolds is the Principal Conductor of the Wind Ensemble at the Thornton
School of Music at the University of Southern California where he holds the H. Robert
Reynolds Professorship in Wind Conducting. This appointment followed his retire-
ment, after 26 years, from the School of Music of the University of Michigan where he
served as the Henry F. Thurnau Professor of Music, Director of University Bands and
Director of the Division of Instrumental Studies. In addition to these responsibilities,
he has also been, for over 30 years, the conductor of The Detroit Chamber Winds and
Strings, which is made up primarily of members from the Detroit Symphony.
Robert Reynolds has conducted recordings for Koch International, Pro Arte, Caprice,
and Deutsche Grammophon. In the United States, he has conducted at Carnegie Hall
and Lincoln Center (New York), Orchestra Hall (Chicago), Kennedy Center (Washing-
ton, D. C.), Powell Symphony Hall (St. Louis), Academy of Music (Philadelphia), and
Disney Concert Hall (Los Angeles). In Europe, he conducted the premiere of an opera
for La Scala Opera (Milan, Italy), and concerts at the prestigious Maggio Musicale
(Florence, Italy), the Tonhalle (Zurich, Switzerland), and at the Holland Festival in the
Concertgebouw (Amsterdam, Holland), as well as the 750th Anniversary of the City
of Berlin. He has won the praise of composers Leslie Bassett, William Bolcom, Aaron
Copland, John Corigliano, Henryk Gorecki, Karel Husa, Gyorgy Ligeti, Darius Milhaud,
Bernard Rands, Gunther Schuller, Karlheinz Stockhausen, and many others for his inter-
pretive conducting of their compositions.
Robert Reynolds has been awarded an Honorary Doctorate from Duquesne University,
and in addition, holds degrees in Music Education and Performance from the University
of Michigan where he was the conducting student of Elizabeth Green. He began his
career in the public schools of Michigan and California prior to his positions as con-
ductor at California State University at Long Beach, the University of Wisconsin, and
the University of Michigan. He received the Citation of Merit from the Music Alumni
Association of the University of Michigan for his contributions to the many students he
has influenced during his career and the Lifetime Achievement Award from the Michi-
gan Band Alumni Association. He is also an Honorary Life Member of the Southern
California School Band & Orchestra Association.
Professor Reynolds is Past President of the College Band Directors’ National Associa-
tion and the Big Ten Band Directors’ Association. He has received the highest national
awards from Phi Mu Alpha, Kappa Kappa Psi, Phi Beta Mu, the National Band Asso-
ciation, and the American School Band Directors’ Association. He was awarded the
“Medal of Honor” by the International Mid-West Band and Orchestra Clinic and is the
recipient of a “Special Tribute” from the State of Michigan. He served for many years on
the National Awards Panel for the American Society of Composers, Authors and Pub-
lishers (ASCAP) and in 2001 received a national award from this organization for his
contributions to contemporary American music. He is also listed in the New Groves
Dictionary of American Music, and his frequent conducting appearances have included
the Eastman School of Music, New England Conservatory, Oberlin Conservatory,
Northwestern University, Manhattan School of Music, and the Detroit Symphony. This
year marks Professor Reynolds’s eighth consecutive year as conductor of the Boston
University Tanglewood Institute Young Artists Wind Ensemble.
Robert Reynolds has been a featured conductor and lecturer at international confer-
ences in Austria, Norway, Belgium, England, Holland, Slovenia, Sweden, Germany, Den-
mark, and Switzerland. He has conducted in many of the major cities of Japan, Spain,
and Sweden including concerts with the Stockholm Wind Orchestra, the Norrkoping
Symphony Orchestra and professional wind ensembles in Bilbao and Barcelona, Spain.
Many of his former students now hold major conducting positions at leading conserva-
tories and universities, and several have been National Presidents of CBDNA.
AXIOM BRASS
DORIVAL PUCCINI, JR & COLIN OLDBERG trumpets
MATTHEW OLIPHANT horn
BRETT JOHNSON trombone
KEVIN HARRISON tuba
Praised for their “high level of musicality and technical ability” and for their “clean,
clear and precise sound”, the award-winning Axiom Brass has quickly established itself
as “one of the major art music groups in brass chamber music.” As the only brass quin-
tet in 27 years to ever win the prestigious Chamber Music Yellow Springs Competition
(2012), Axiom has also been named winner of the 2008 International Chamber Brass
Competition and prize-winner of the 2010 Fischoff Chamber Music Competition, the
Preis der Europa-Stadt Passau, the Plowman Chamber Music Competition, and the Jeju
City International Brass Quintet Competition in South Korea. Axiom Brass is dedicated
to enhancing the musical life of communities across the globe and educating the next
generation of musicians.
Axiom’s commitment to education and their blend of virtuosic performances and
dynamic teaching have inspired young audiences around the nation, earning the
ensemble the 2011 Fischoff Educator Award. Their educational concert “Let’s Make
Music” has captivated thousands of elementary and middle school students in the U.S.
In 2011 the ensemble was featured as brass quintet-in-residence for the National Brass
Symposium, sharing the stage with principal brass players from the Chicago Symphony,
Boston Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orches-
tra, Los Angeles Philharmonic, and Atlanta Symphony.
Internationally recognized for their groundbreaking programming, their repertoire rang-
es from jazz and Latin music to string quartet transcriptions, as well as original com-
positions for brass quintet. Axiom Brass’ performances have captured the hearts and
imaginations of their audiences, leading the ensemble to national radio and television
appearances as well as concerts in Asia, Europe and across the U.S. Axiom’s dedica-
tion to brass repertoire has led the ensemble to commission and premiere several new
works, including recent premieres of Celestial Suite by James Stephenson and For Then
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
The Boston University Tanglewood Institute is a program within the School of Music in
the College of Fine Arts at Boston University.
In 1966, educational programs at Tanglewood were extended to younger students of
high-school age, when Erich Leinsdorf invited the Boston University College of Fine
Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk-
shires.
Today, the Boston University Tanglewood Institute, in its unique association with the
Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter-
nationally as an outstanding educational opportunity for young artists. Under the
guidance of dedicated, established professionals, and in the constant presence of the
Boston Symphony Orchestra, young people devote themselves each summer to an
artistic experience without parallel.
YOUNG ARTISTS PROGRAMS
Young Artists Orchestra and Chamber Music Program
Young Artists Vocal Program
Young Artists Composition Program
Young Artists Piano Program
Young Artists Wind Ensemble and Chamber Music Program
Young Artists Harp Seminar
INSTITUTE WORKSHOPS
Flute Workshop Saxophone Workshop Tuba/Euphonium Workshop
Oboe Workshop Horn Workshop Percussion Workshop
Clarinet Workshop Trumpet Workshop Double Bass Workshop
Bassoon Workshop Trombone Workshop String Quartet Workshop
For further information about auditions and program offerings, please contact the BUTI
office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan-
glewood Main Grounds. Please call (617)353-3386 or (413)637-1430 (July-August).
You may also contact us via e-mail at tanglewd@bu.edu.
Website: http://www.bu.edu/tanglewood
 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
UPCOMING EVENTS
Saturday, July 28, 2:30pm Young Artists Chorus and Orchestra
PAUL HAAS conductor
Seiji Ozawa Hall
Sunday, July 29, 4:00pm Ventfort Piano Recital Series
BOAZ SHARON
Ventfort Hall Mansion
Monday–Wednesday, July 30–August 1, 6:00pm Young Artists Orchestra
Student Chamber Music Recital
Chamber Music Hall
Saturday, August 4, 11:00am Young Artists Piano Program
Student Recital
West Street Theatre
Saturday, August 4, 2:30pm BUTI Honors Recital
Seiji Ozawa Hall
Sunday, August 5, 11:30am Young Artists Harp Program
Student Recital
West Street Theatre
Sunday, August 5, 2:00pm Young Artists Vocal Program
Student Recital
West Street Theatre
Sunday, August 5, 7:00pm Young Artists Composition Program
Student Recital
West Street Theatre
Monday, August 6, 11:00am Young Artists Vocal Program
Student Recital
West Street Theatre
Monday, August 6, 6:00pm Young Artists Vocal Program
Student Recital
West Street Theatre
For more information on our events, please contact our office at (413) 637-1431.
West Street Theatre, 45 West Street, Lenox, Massachusetts
Chamber Music Hall, Tanglewood Main Grounds
Seiji Ozawa Hall, Tanglewood Main Grounds
Ventfort Hall Mansion, 104 Walker Street, Lenox, Massachusetts
and Now by Laurence Bitensky. For Celestial Suite, Axiom Brass partnered with the New
York Philharmonic Brass Quintet, the Chicago Symphony Brass Quintet, the Chicago
Chamber Musicians and the Fischoff Chamber Music Society, as well as with the Digi-
tal Visualization Theater of the University of Notre Dame and Professor Keith Davis.
Highlights of Axiom’s past seasons have included: concerts in Germany, Portugal,
Spain, South Korea and Japan, a four-week residency at the Grand Tetons Music
Festival, the release of their debut album New Standards, a clinic and performance at
the 2010 Midwest Clinic, as well as recitals, masterclasses and solo appearances with
orchestras and bands around the U.S. In 2012-13, Axiom will continue its rigorous
concert schedule, taking the ensemble on their first tour of Central and South America,
and will mark their return to Europe. This season, Axiom Brass will release their next
album of the New Standards series, and release their album Sacred Brass, which will
include the world premiere recording of Celestial Suite.
Axiom Brass is an Ensemble-in-Residence at the Music Institute of Chicago and at the
Boston University Tangelwood Institute. Axiom performs exclusively on Mutec Mutes.
PROGRAM NOTES
DAVID MASLANKA (b. 1943)
Traveler
David Maslanka is an American composer from New Bedford, Massachusetts. He at-
tended the Oberlin College Conservatory where he studied composition with Joseph
Wood. He spent a year at the Mozarteum in Salzburg, Austria, and did masters and
doctoral study in composition at Michigan State University where his principal teacher
was H. Owen Reed.
Maslanka’s music for winds has become especially well known. Among his 40-plus
works for wind ensemble and band are seven symphonies, twelve concertos, a Mass,
and many concert pieces. His wind chamber music includes four wind quintets, two
saxophone quartets, and many works for solo instrument and piano. In addition, he has
written a variety of orchestral and choral pieces.
David Maslanka’s compositions are published by Carl Fischer, Inc., David Maslanka
Publications, Kjos Music Company, Marimba Productions, Inc., the North American
Saxophone Alliance, OU Percussion Press, and TrevCo Music, and have been recorded
on Albany, Reference Recordings, BIS (Sweden), Naxos, Cambria, CRI, Mark, Novisse,
AUR, Cafua (Japan), Brain Music (Japan), Barking Dog, and Klavier labels. He has
served on the faculties of the State University of New York at Geneseo, Sarah Law-
rence College, New York University, and Kingsborough Community College of the City
University of New York, and since 1990 has been a freelance composer. He now lives in
Missoula, Montana. David Maslanka is a member of ASCAP.
Traveler was commissioned by the Band Alumni Association, Delta Sigma chapter of The Alabama Friends of BUTI Allen Morrison
BUTI salutes the Alabama Friends, a dedicated group Michael Mucci
Kappa Kappa Psi, and Gamma Nu chapter of Tau Beta Sigma in honor of the retirement Joan Nelsen
of volunteers from the Montgomery Symphony, who
of University of Texas at Arlington Director of Bands, Ray C. Lichtenwalter. demonstrate their passion for classical music and arts Eli Newberger
The Composer says of the work: education by providing annual BUTI scholarships to stu- Northeast Utilities Foundation
dents from Alabama. BUTI is also honored to participate Jeanne and Michael Payne
annually in the Montgomery Symphony’s prestigious Plumb Family
“The idea for Traveler came from the feeling of a big life movement as I contemplated Blount-Slawson Young Artists Competition. Barbara Rosenfelt
my friend’s retirement. Traveler begins with an assertive statement of the chorale Henry Salz
2012 Alabama Friends Kevin Schmidt
melody “Nicht so traurig, nicht so sehr” (“Not so sad, not so much”). The chorale was Alan Schulman
Teri A. Aronov
not chosen for its title, although in retrospect it seems quite appropriate. The last part Barbara B. Britton Samuel Schulman
of a life need not be sad. It is the accumulation of all that has gone before, and a power- Dorothy D. Cameron Barbara Shepetin
Edith J. Crook Paul Shimer
ful projection into the future—the potential for a tremendous gift of life and joy. And so Barbara Simkin
Elizabeth B. Crump
the music begins with energy and movement, depicting an engaged life in full stride. At Dr. and Mrs. Benjamin J. Cumbus David Solomkin
the halfway point, a meditative quiet settles in. Life’s battles are largely done; the soul Dr. Dorothy M. DiOrio Hugh Taylor
Eileene D. Griffith Harry Thomas
is preparing for its next big step. In our hearts, our minds, our souls, we travel from life Marion Waleryszak
Mr. and Mrs. W. F. Joseph Jr.
to life to life in time and eternity.” Mr. and Mrs. James E. Klingler Henry Walker
Dae H. Miller Stephen Wittenberg
Mr. and Mrs. Jerome T. Moore Jr. Samuel Zilka
–David Maslanka
Beverly D. Ross
S. Adam Schloss Foundation, Inc.
Winifred and Charles Stakely *This list represents friends who supported the
ALEX SHAPIRO (b. 1962) Helen J. Steineker Boston University Tanglewood Institute between
Mr. and Mrs. Mose W. Stuart III July 2011 and June 2012.
“Depth” from Immersion Elisabeth P. Thompson
If you are interested in joining the Friends of BUTI
The Kenneth L. Broad Memorial Scholarship Fund
Alex Shapiro composes acoustic and electroacoustic pieces known for their lyricism please contact Emily Culler, Development, Alumni
The Kenneth L. Broad Memorial Scholarship Fund awards
and drama. Her music is heard daily in concerts and broadcasts across the U.S. and a half-scholarship each year to a promising young
Relations, and Outreach officer at 617-353-8995 or
internationally, and can be found on over twenty commercially released CDs from baritone in the Young Artists Vocal Program. Founded ecc@bu.edu.
by Laura Broad in 2009, in memory of her husband - a
record labels around the world. Educated at the Juilliard School and Manhattan School
gifted baritone and passionate supporter of the arts and
of Music as a student of Ursula Mamlok and John Corigliano, Ms. Shapiro’s honors and arts education - the fund is replenished each year by gifts ADVISORY BOARD OF THE
awards include those from The American Music Center, ASCAP, the American Com- from members and friends of the Broad family. BOSTON UNIVERSITY
posers Forum, Mu Phi Epsilon, Meet the Composer, The California Arts Council and
2012 Kenneth L. Broad Memorial Scholarship Donors
TANGLEWOOD INSTITUTE
The MacDowell Colony. Esther-Ann Asch
Leonard Atherton
Babson Capital Management
Alex is an advocate for the arts through her speaking appearances, published articles,
Robert Barnes
Richard Balsam
and community involvement. She is the national concert music representative on the James Bobo Emily Borababy
ASCAP Board of Review, is a member of ASCAP’s Symphony & Concert Committee, Laura Broad Chester Douglass, chair
Herta Carlin
serves on the Board of Directors of The MacDowell Colony, chairs the Media Council
Audrey Chereskin
Wilbur Fullbright
for New Music USA, and is the past President of the Board of Directors of the Ameri- Richard Coffey Richard Grausman
can Composers Forum Los Angeles Chapter. Raised in Manhattan and later a longtime Norma and Gilbert D’Oliveira Susan Grausman
William Davidson
resident of Malibu, California, Alex now lives on Washington State’s remote San Juan
Rachel Donner
Ellen Highstein
Island. When she’s not composing she can be found communing with sea life, as seen Barbara Garvey Ellen Kazis-Walker
on her music and photo-filled blog, www.notesfromthekelp.com and her website, www. Melvin Ginsberg Lucy Kim
Lynne and David Harding
alexshapiro.org.
Randie Harmon
Maureen Meister
Terence Heslin Joy McIntyre
The Composer writes: John Lenard Beth Morrison
Carol Lonero
Salvatore Macchia
Michael Nock
“Immersion brings listeners on a sonic journey into a private, aquatic realm. Beneath Mazotas Family Charles A. Stakely
the surface of the ocean is a world of liquid beauty and grace hidden from our eyes and Stephen Moore Winifred Stakely
Lynn and Paul Morris
FRIENDS OF THE BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided
from our imagination. Even in this habitat of life and hope, exquisite creatures remain
full- and partial scholarships for our gifted young artists, as well as resources for new initiatives and special vulnerable to events triggered from beyond their fragile sanctuary. Follow your ears and
programs, for the 2012 season.* your heart to the depths of a place we sometimes forget to look.
$100,000 and above Lynne and David Harding
Anonymous John Hecht “The sea has been a constant in my life, and I have always lived on or next to the water.
Jack Kent Cooke Foundation Gudjonson Hermannsson and Yingxing Wang From my upbringing by the rivers flanking Manhattan, to my earlier adult life on the
Surdna Foundation Yumi Kendall Pacific ocean in Malibu and Santa Barbara living on the beach and also on a sailboat, to
Lucy Kim and Dr. Matthew Guerrieri
$10,000 - $99,999 Phyllis and Harvey Klein my current existence on the Salish Sea in the Pacific Northwest where I can kayak from
National Endowment for the Arts Robert Lea my home in the San Juan Islands to outlaying atolls, I’ve spent a lot of time observing
John Carey Dana and Yuri Mazurkevich water and water-based life. I work and live in a largely glass house built on the very
Peter McCallion
$1,000 - $9,999 Maryjane Minkin edge of the sea with an enormous view from Canada to the U.S. mainland, and as I
ASCAP Foundation Irving Caesar Fund Roger Murray composed Immersion, the ocean and its fascinating wildlife were my constant compan-
Bose Foundation Carl Nathan ions. Had I not been a musician, I might have become a marine biologist; my interest in
Richard D. Carmel Charitable Remainder Trust Sandra Nicolucci
Chester and Joy Douglass Pioneer Investments these sciences is reflected by my participation on the Board of Directors of University
Mr. and Mrs. Peter Eliopoulos Andrew Price of Washington’s Friday Harbor Laboratories, a preeminent marine science research
David Feigenbaum and Maureen Meister Benjamin Rudnick center. I have a deeply fortunate life, to be a composer with an inner view to working
Ann and Gordon Getty Foundation In honor of Kenneth D. Rudnick and in memory
Susan and Richard Grausman of Diane T. Rudnick, Ph.D. scientists, and most of all, to have a window to the daily lives of wild creatures whose
Phyllis and Robert Hoffman Sherri Rudnick private existence is often beneath the surface, in the depth of the sea. I seek to share
Ellen Kazis-Walker In honor of Kenneth D. Rudnick and in memory this private world, through music.
Elizabeth and Dean Kehler of Diane T. Rudnick, Ph.D.
Margaret S. Lindsay Foundation Justine and Harvey Schussler
Joy McIntyre Fenwick Smith “Immersion would not have been possible without the endless support, enthusiasm and
Kenneth D. Rudnick Christine Standish collaborative work of Jerry Luckhardt, whose vision and assistance are deeply appreci-
In memory of Diane T. Rudnick, Ph.D. Susan Thonis
The Ushers & Programmers Fund Mr. and Mrs. Craig Vickers ated.”
In honor of Robert and Dorothy Dandridge Linda Wildes
Ellen and John Yates Carol Woolman –Alex Shapiro
$100 - $999 Up to $99
Samuel Adler Anthony Accinno
Lorraine and Curtis Anastasio Leslie Boden MICHAEL DAUGHERTY (b. 1954)
Daniel Balsam Katherine Canning
Paul Bentel Joel Caverly Lost Vegas
Phyllis Biener David Cohen
George Borababy Donna Convicer Michael Daugherty is one of the most commissioned, performed, and recorded com-
David N. Burnham Bruce Creditor
Deborah Burton Laurence and Karen Dusold posers on the American concert music scene today. His music is rich with cultural allu-
Mr. and Mrs. Salvatore Cania Jacqueline Fernandez sions and bears the stamp of classic modernism, with colliding tonalities and blocks of
Emily and Michael Culler Lawrence Fullerton sound; at the same time, his melodies can be eloquent and stirring. Daugherty has been
Jane Carlson John and Barbara Gordon
Bianca Carter Stephen Holzman hailed by The Times (London) as “a master icon maker” with a “maverick imagination,
Kimberly Cheiken Helen Holzwasser fearless structural sense and meticulous ear.” Daugherty first came to international
Marjorie Clement Amy Kawa attention when the Baltimore Symphony Orchestra, conducted by David Zinman, per-
Barbara Coburn Jane Knox
Mitchell Cohen Bruce Kozuma formed his Metropolis Symphony at Carnegie Hall in 1994. Since that time, Daugherty’s
John Connor Michael Lascoe music has entered the orchestral, band and chamber music repertory and made him,
Robin Dull Christopher Lee according to the League of American Orchestras, one of the ten most performed living
Irma and Eli Etscovitz Kathy Massa
Kathleen and Dennis Faleris Marjorie Mendelsohn American composers.
Renee Plessner Fishman, Esq. Charles Overton
Paula Folkman Brenda Patterson Daugherty is the son of a dance-band drummer and the oldest of five brothers, all
Laurel Friedman Vicki M. and John R. Rezzo
Lorraine and Wilbur Fullbright Emma Shook professional musicians. He studied music composition at the University of North Texas
Susan and Edward Goldstein Jean Stoutenborough (1972-76), the Manhattan School of Music (1976-78), and computer music at Pierre
Deborah Grausman David Talley Boulez’s IRCAM in Paris (1979-80). Daugherty received his doctorate from Yale Univer-
Marian and Peter Hainsworth Stephanie Trodello
sity in 1986 where his teachers included Jacob Druckman, Earle Brown, Roger Reynolds,
and Bernard Rands. During this time, he also collaborated with jazz arranger Gil Evans YOUNG ARTISTS WIND ENSEMBLE
in New York, and pursued further studies with composer György Ligeti in Hamburg,
Germany (1982-84). After teaching music composition from 1986-90 at the Flute Saxophone Euphonium
Melissa Aleles, Tappan, NY Kyle Herbert, Dracut, MA Vijay Dukkipati, Frisco, TX
Oberlin Conservatory of Music, Daugherty joined the School of Music at the University Jihyuk Park, Leonia, NJ Khanh Nguyen, Fremont, CA Lacy Smith, Tallahassee, FL
of Michigan (Ann Arbor) in 1991, where he is Professor of Composition and a mentor to Olivia Staton, Vienna, VA Ava Oaxaca, Arlington, VA
Anna Thompson, Wilmington, DE Tyrone Page, Baltimore, MD
many of today’s most talented young composers. Tuba
Henry Woolf, Fresno, CA
Conor Hammonds, Ossining, NY
Daugherty first gained national recognition when Blue Like an Orange (1987) won a Horn Patrick Speights, Temple, TX
Kennedy Center Friedheim Award in 1989. The work combined polyrhythmic coun- Oboe Pints Chen, Hualien, Taiwan
Katelyn Clement, Stormville, NY
terpoint with a playful use of popular music. This work established the characteristics Jonah Pearl, Brookline, MA
Justin Gaskey, Ambler, PA Percussion
of his style, a style that has been developed in such works as his Metropolis Symphony Emily Shyr, Atlanta, GA
Leah Meyer, Belmont, MA Jordan Carter, Atlanta, GA
Derek Wong, Newton Center, MA
(based on the Superman comic), Desi (based on Desi Arnaz’s “Ricky Ricardo” from I Mackenzie Newell, Grant, FL Ernest Eira-Saunders,
Love Lucy), Le Tombeau de Liberace, and Dead Elvis. Works commissioned by the Kronos Lorenzo Robb, Santa Monica, CA Rockville, MD
Antonio Guarino,
Quartet include Sing Sing: J. Edgar Hoover (1992) and Elvis Everywhere (1993) for three Bassoon Severna Park, MD
Elvis impersonators and string quartet. Daniel Fendrick, Ann Arbor, MI Trumpet Lauren Haley *, Eliot, ME
James Garth, Andover, MA Matthew Allen, Taylor Hampton, Gastonia, NC
Robert Paterson, Cypress, TX East Northport, NY Daniel Raderman, Fulton, MD
Lost Vegas (2011) was commissioned by the University of Michigan Symphony Band,
Liam Bacon, Worthington, OH Myra Snyder, New Bern, NC
Michael Haithcock, conductor, and the University of Miami Wind Ensemble, Gary Eliza Block, Tacoma, WA
Green, conductor. Lost Vegas is my musical homage to bygone days in the city of Las Clarinet Thomas Lubeck,
Vegas, Nevada. I recall the enormous neon signs punctuating the “Strip,” promoting David Angelo, Sugar Land, TX Palm Beach Gardens, FL Harp
casinos and hotels ruled by the underworld, and the massive marquees trumpeting Rhiana Caterisano, Garland, TX Jonathan Smith, Houston, TX Hope Wilk, Loudonville, NY
Erica Chang, Tenafly, NJ David Wright, Austin, TX
performances by pop music legends such as Frank Sinatra and Elvis. Performed without Julia Choi, Newport Coast, CA
pause, Lost Vegas is divided into three movements. Julia Donahue, Plainville, MA Piano
Daniel Echikson, Potomac, MD Trombone Michael Sherman *,
Mirage was inspired by my recent drive through the forbidding desert of Death Valley. Mary Fortino, Boca Raton, FL Devin Bennett, Doha, Qatar Los Angeles, CA
Hyukjoo Hwang, Newton, MA Kenton Campbell,
Located 88 miles west of Las Vegas, Death Valley is one the lowest, driest, and hottest Calvin Kim, Charlotte, NC Lawrenceville, GA
locations in North America. A serpentine oboe solo, later doubled by trumpets with Nikki Pet, Glastonbury, CT Lena Piazza-Leman,
harmon mutes, is surrounded by steamy brass chords and twisting counter-melodies Phillip Solomon, Montrose, NY String Bass
South Bend, IN Joseph Newton, Dallas, TX
played by winds and percussion keyboards. Accompanied by an ominous bass drum, Ryan Stockhausen, Lake Orion, MI
Scott Sonnenberg, Newton, MA
the music in Mirage appears and disappears, like an optical illusion one might encoun- Albert Xu, Needham, MA
ter in the scorching desert, or driving from the pitch-black darkness of Death Valley in Bass Trombone
Jahleel Smith, Atlanta, GA * denotes BUTI staff member
the dead of night toward the bright lights of Las Vegas.

The final movement, Fever, is a swinging tribute to an earlier epoch, when legendary
entertainers such as Elvis, Peggy Lee, Bobby Darin, Stan Kenton, and Frank Sinatra’s
“Rat Pack” performed in intimate and swanky showrooms of the Sands, Tropicana, and
Flamingo hotels.

Torn down long ago, the original neon signs, casinos and hotels of the Vegas “Strip”
have been replaced by impersonal, corporate glass towers. The cozy nightclubs, where
the “Rat Pack” once performed edgy material, have been replaced by large arenas,
where commercialized family entertainment is now presented. My composition for
symphony band is a trip down memory lane to an adventurous and vibrant Vegas that
once was and returns, if only for a moment, in Lost Vegas. Several auxiliary instruments used in tonight’s concert are on generous loan from
the Boston College Bands Program.
–Michael Daugherty
Márquez’s most famous composition is the Danzón No. 2. He was inspired to write
it following a trip to Malinalco with friends, experts in salon dances, with a particular
passion for the danzón. He later took trips to Veracruz and a famous salon, “Colonia”
in Mexico City and listened to classic recordings, that further helped him to internalize
the rhythms, form and melodic outline of the danzón. The composer states: “Danzón 2
is a tribute to the environment that nourishes the genre. It endeavors to get as close as
possible to the dance, to its nostalgic melodies, to its wild rhythms ... its form and its
harmonic language, it is a very personal way of paying my respects and expressing my
emotions towards truly popular music.” The piece was commissioned by the Univer-
sidad Nacional Autónoma de Mexico in 1994, and was dedicated to the composer’s
daughter, Lily. It begins as if in a café with clarinet, piano, claves, and pizzicato strings.
The oboe is drawn into the conversation punctuated by brass, and as the pace picks up,
more and more of the orchestra is drawn in. A serene middle section is followed by a
return to the main theme bringing the piece to a rousing conclusion.
–Linda Mack, Andrews University, Berrien Springs, MI. Used with permission.
LEONARD BERNSTEIN (1918–1990)
Suite from Mass
arranged for Wind Ensemble by Michael Sweeney
Bernstein’s Mass was written for the opening of the John F. Kennedy Center for the Per-
forming Arts in Washington D.C. on September 8, 1971. Subtitled “A Theater Piece for
Singers, Players, and Dancers,” the 90-minute work is based on the Liturgy of the Ro-
man Mass with additional texts by Stephen Schwartz and Leonard Bernstein. It calls for
a large pit orchestra, two choruses, boys choir, ballet company and cast, plus a march-
ing band and rock combo. Mass uses an eclectic mix of musical styles and reflects the
turmoil of the era, being viewed by some as blasphemous and by others as politically
subversive. However, in his program notes for the premiere, Bernstein states his intent
“to communicate as directly and universally as I can a reaffirmation of faith.” Over the
years it has become recognized as one of his greatest achievements, as well as one of
his most controversial.
In this suite, commissioned by the Canadian Brass and Eastman Wind ensemble,
arranger Michael Sweeney focuses on a select number of movements, often using
the brass quintet to represent the vocal lines found in the original. The striking open-
ing strains of “Alleluia” actually forecast a theme used later in “A Simple Song” (the
best-known song from Mass). “Sanctus” is characterized by thematic elements traded
between the quintet and wind ensemble, and culminates in dramatic fashion with the
pulsating “Agnus Dei.” Trumpet and trombone soloists, along with harp, are featured
prominently in “A Simple Song.” “Offertory” begins calmly, then quickly erupts with
furious and raucous enthusiasm filled with rhythmic complexity and relentless per-
cussion. As in the original, the haunting hymn “Almighty Father” brings this suite to a
close, using the same melody found in “Offertory” except now elongated and in a more
serene setting.
–Notes from the Printed Score
MICHAEL GANDOLFI (b. 1956)
Flourishes and Meditations on a Renaissance Theme
Michael Gandolfi is an American composer of contemporary music. He received the
Bachelor of Music and Master of Music degrees in composition from the New England
Conservatory of Music, as well as fellowships for study at the Yale Summer School of
Music and Art, the Composers Conference, and the Tanglewood Music Center.
Mr. Gandolfi is the recipient of numerous awards including grants from the Fromm
Foundation, the Koussevitzky Music Foundation, the John Simon Guggenheim Founda-
tion, the American Academy of Arts and Letters and the Massachusetts Cultural Coun-
cil. His music has been performed by many leading ensembles including the Boston
Symphony Orchestra, the BBC Symphony Orchestra, the San Francisco Symphony
Orchestra, the Tanglewood Music Center Orchestra, the Orpheus Chamber Orchestra,
the Saint Paul Chamber Orchestra, the Los Angeles Chamber Orchestra, Nieuw Sinfo-
nietta Amsterdam, the Pro Arte Chamber Orchestra and the Boston Modern Orches-
tra Project. He presently holds commissions from the Michael Vyner Trust (a piano
concerto), the Fromm Foundation (a saxophone concerto for Kenneth Radnovsky and
the Boston Modern Orchestra Project, 2007), the Weilerstein Trio, and Boston-based
pianist Duncan Cumming.
His music has been recorded on the Deutsche Grammophon, CRI, Innova and Klavier
labels. Additional recordings are available from USMB Recordings. Currently, he is a
faculty member of the New England Conservatory of Music and the Tanglewood Music
Center, and was a visiting lecturer on music at Harvard University in 2002, holding a
similar position there from 1996-1999.
The Composer writes of this work:
“Flourishes and Meditations on a Renaissance Theme was commissioned by The Presi-
dent’s Own United States Marine Band and is dedicated to them, their Director, Colo-
nel Michael J. Colburn and their Assistant Director, Major Jason K. Fettig.
“Flourishes and Meditations on a Renaissance Theme is a set of seven variations on an
anonymous Renaissance melody that is simply titled Spagnoletta. It is derived from a
popular melody titled Españoleta or ‘Little Spanish Tune’. I first knew this melody as
quoted by Joachin Rodrigo in his Fantasia para un gentilhombre for guitar and orchestra.
I also found this tune in the 1970’s in a collection of Renaissance songs for classical
guitar, and I have played it in that form countless times over the years. I was motivated
to probe this elegant tune with which I have been acquainted for four decades, with
the expectation that it would prompt a wealth of ideas unique to such a longstanding
relationship. The beauty and elegance of the original tune resides in its simplicity, so I
chose to present it at the outset of the piece in a clear and streamlined orchestration.
The basic nature or character of each variation is revealed in the labels that are placed
in the score:
(Theme)
Variation I. (A Cubist Kaleidoscope)
Variation II. (Cantus in augmentation: speed demon)
Variation III. (Carnival)
Variation IV. (Tune’s in the round)
Variation V. (Spike)
Variation VI. (Rewind/Fast Forward)
Variation VII. (Echoes: a surreal reprise)
“The form of Spagnoletta is AA BB and coda. This tripartite form is reflected in the
large-scale design of my piece, which is also comprised of three parts, each of which
mirrors important structural features of the original.
“The first part of Flourishes and Meditations on a Renaissance Theme consists of varia-
tions I and II. Each of these variations adheres strictly to the form of Spagnoletta.
Additionally, Variation I has a kinship to cubist painting in which various features of the
original are fragmented, framed and juxtaposed, resulting in a kaleidoscopic amplifi-
cation of its details. Variation II uses the entire Spagnoletta melody as a cantus firmus
while new melodies and lines are sounded over it; an ancient musical technique popu-
lar in medieval and renaissance times.
“The second part is comprised of variations III, IV and V. These variations are the
most wide-ranging of the set, but always maintain motivic connections to Spagnoletta.
Variations III and V are each expressed in AA form, an obvious reference to the formal
repetitions of the original. Variation IV uses motives of Spagnoletta to form a mobile
or layered ostinato, upon which a type of canon known as a ‘round’ is sounded. The
melody of this round is built with melodic motives found in Spagnoletta.
“Variations VI and VII form the third and final part of the piece and function similarly to
the coda of Spagnoletta, which introduces no new melodic material but utilizes previ-
ously heard motives in new permutations that lead to the final cadence. In this spirit,
Variation VI points in two directions: it forecasts the main texture of Variation VII while
briefly reflecting upon each variation already heard (in reverse order). Variation VII
returns to the original Spagnoletta melodies but places them in a new ‘dream-like’ envi-
ronment featuring a series of pulsating patterns and textures interwoven with strands
of each of the original melodies, all of which move the piece to a gentle close.
“While composing this piece, I experienced a wealth of rich emotions, among which
were great joy and deep satisfaction in writing for The President’s Own United States
Marine Band, the quintessential concert band of our time. I cannot overstate the signif-
icance of being called upon by this magnificent assembly of dedicated and supremely
skilled musicians. It was also profoundly moving to connect, over several centuries, to
the composer of Spagnoletta; a kindred spirit in the love of music making.”
–Michael Gandolfi
ARTURO MÁRQUEZ (b. 1950)
Danzón No. 2
arranged for Wind Ensemble by Oliver Nickel
Born in the Mexican state of Sonora in 1950, Arturo Márquez studied piano, violin and
trombone as a youth in California, and returned to Mexico for conservatory training.
Following composition studies with Jacques Castésède in Paris, he received a Fulbright
fellowship to study at the California Institute of the Arts, receiving his MA in 1990.
Throughout his compositional life he has explored new means and languages of ex-
pression evident in his various interdisciplinary works involving theater, dance, cinema
and photography. His series of Danzones combine a popular idiom of café music and
classical elements. A Danzón is a formal ballroom dance of Cuban origin still danced by
couples of an older generation in Cuba and Mexico.