THE UNIVERSITY OF ARIZONA
Wind Ensemble
Chad R. Nicholson, conductor
Clifton Weston, graduate conductor
The University of Arizona Fred Fox School of Music
A premier university experience
in an environment of musical excellence!
The University of Arizona offers a unique experience as one of the nation’s
top 20 public research institutions. The Fred Fox School of Music’s nationally
and internationally recognized 60-member faculty is dedicated to the
development of the talents of its students. The faculty are equally at home
in the classroom, studio, or on the performance stage. Along with one-on-one
teaching and mentoring, our faculty members regularly perform in solo recitals
or as guest artists with major opera companies, symphony orchestras, ensembles,
and chamber groups. Undergraduate and graduate students are enrolled in
a wide variety of degree programs, and each year they perform in hundreds
of solo recitals, large ensemble concerts, opera productions, jazz and band
concerts, and marching band shows. Our students have opportunities to
travel and perform as ambassadors of the University of Arizona at prestigious
conferences and venues within the United States and abroad. In 2014 our top
choirs performed in Vienna’s legendary Musikverein and at Dvořák Hall in
Prague, and our jazz ensemble and student wind quintet enjoyed successful
tours in China. From bachelor to doctoral degrees, the University of Arizona
Fred Fox School of Music is a passport to a rewarding life in music.
The University of Arizona
College of Fine Arts, Fred Fox School of Music
1017 North Olive Road - P.O. Box 210004
Tucson, Arizona, 85721-0004
520-621-1655 phone · 520-621-8118 fax
music.arizona.edu
Featuring Faculty Artist
Edward Goodman
saxophone
Thursday, March 23, 2017
Crowder Hall
7:30 p.m.
COLLEGE OF FINE AR TS
Fred Fox School of Music
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The University of Arizona
Wind Ensemble
Upcoming Wind & Percussion Performances
Chad R. Nicholson, conductor
Clifton Weston, graduate conductor
Edward Goodman, saxophone
Thursday, March 23, 2017
Crowder Hall
7:30 p.m.
PROGRAM
Arizona Wind Quintet
Faculty Artists, March 28, Tuesday, 7:00 p.m., Holsclaw Hall, $Free
Guest Artist Recital & Master Class
Micah Wilkinson, trumpet – Miriam Hickman, piano
Recital: Saturday, April 8, 2017 at 7:00 p.m., Holsclaw Hall, $Free
Master Class: Saturday, April 8, 2017 at 10:00 a.m., Holsclaw Hall, $Free
UA Percussion Group
Saturday, April 15, 7:30 p.m., Crowder Hall, $5
Marche Joyeuse................................................................ Emmanuel Chabrier
(1841-1894)
arr. Fred Junkin
UA Studio Jazz Ensemble & Fox Jazz Sextet
Wednesday, April 19, 7:30 p.m., Crowder Hall, $10, 7, 5
Homage to Machaut...................................................................... Ron Nelson
(b. 1929)
Jazz Area Combo Concert
Friday, April 21, 7:30 p.m., Crowder Hall, $Free
Dreams in the Dusk........................................................David Biedenbender
(b. 1984)
Edward Goodman, saxophone
INTERMISSION
Molly on the Shore................................................................... Percy Grainger
(1882-1961)
Paris Sketches............................................................................ Martin Ellerby
(b. 1957)
I.
Saint Germain-des-Prés
II.
Pigalle
III.
Père Lachaise
IV.
Les Halles
Country Band March.................................................................... Charles Ives
(1874-1954)
arr. James B. Sinclair
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UA Concert Jazz Band & Combo
Thursday, April 20, 7:30 p.m., Crowder Hall, $5
Fred Fox Graduate Wind Quintet
Saturday, April 22, 1:00 p.m., Holsclaw Hall, $Free
Fred Fox Graduate Brass Quintet
Sunday, April 23, 7:30 p.m., Crowder Hall, $Free
UA Wind Symphony & UA Symphonic Band
Wednesday, April 26, 7:30 p.m., Crowder Hall, $5
UA Wind Ensemble
Thursday, April 27, 7:30 p.m., Crowder Hall, $10, 7, 5
Malleus Graduate Percussion Group & Rosewood Marimba Band
Saturday, April 29, 7:30 p.m., Crowder Hall, $5
UA Steel Band
Sunday, April 30, 7:30 p.m., Crowder Hall, $5
Outreach Honor Band
Saturday, May 6, 1:00 p.m., Crowder Hall, $Free
You can’t download a live musical experience.
Please join us!
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The University of Arizona Wind Ensemble
About the Artists
Flute
Miranda DeBretto*
Sarah Bosch
Michaela McGee
Chelsea Kosiba
Alysonn Hoffmann, piccolo
Trumpet
Kenneth Saufley*
Dominic Muller
Sara Ortega
Don Fuentes
Trombone
Rafael Augusto Marques*
John Collins
W. Aaron Rice
Daniel Phillips, bass
Oboe
Breann Breci*
Maya Griswold
Bassoon
Daniel Hursey*
Kyle Edwards
Kevin Milligan, contrabassoon
Euphonium
Bret Wagner
Michael Cook
Clarinet
Sophia Rechel*
Erin Pelley, e-flat
Katie Beaumonte
Sabrina Bachelier
John De La Paz, alto
Trisha Bacalso
Tuba
Taylor Guy Manning
Alan Honeker
Caroline Earnhardt
Percussion
Laura Marsh*
Tyler Berg
Michael Pratt
Sean Rees
Paris Stegall
Zachary White
Bass Clarinet
Savannah Herrera
Contrabass Clarinet
Jesús Jacquez
Harp
Xiaodi Xu
Alto Saxophone
Christine Yi*, soprano
George Rosas
Piano
Daniel Karger-Penalosa
Tenor Saxophone
Jacob Lopez
String Bass
Dallas Carpenter
Baritone Saxophone
Jeffrey Malone
Graduate Teaching Assistants
Clifton Weston
Evan Gibson
Horn
Zachary Van Houten*
Quinn Jarecki
Sean Gale
Cathy Tran
* Principal
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CHAD R. NICHOLSON is the newly appointed
director of bands at the University of Arizona
Fred Fox School of Music, where he conducts
the UA Wind Ensemble, Chamber Winds, and
instructs the undergraduate and graduate wind
conducting students. Dr. Nicholson is an active
author and pedagogue. He has published a book
designed to aid conductors in repertoire selection
and concert programming titled Great Music for
Wind Band, and he is a contributing author for
the recently published sourcebook for music
educators, Engaging Musical Practices. Nicholson
contributed to a new book edited by Gary Stith
that will provide effective rehearsal techniques
for band directors. Additionally, he has published articles in The Instrumentalist
and in eight volumes of Teaching Music through Performance in Band.”
Dr. Nicholson’s experiences as a music educator span all ages and
ensemble types, including concert and athletic groups from public
school through university levels. He has conducted many regional and
all-state groups in addition to international bands. In 2014 Nicholson
was the first conductor invited to lead the Shanghai International School
Honor Band, and in 2015 he was a member of the distinguished international
panel of adjudicators for the All-Chinese Wind Band Contest.
Nicholson is a frequent presenter and performer at regional,
national, and international conferences. Dr. Nicholson led his ensemble
in performance at the Taiwan International Band Clinic in Taipei and
at the College Band Directors National Association Eastern Division
Conference. Nicholson has presented twice at the Midwest International
Band and Orchestra Clinic in Chicago, and he will be a featured
presenter at the upcoming National Association for Music Educators
National In-Service Conference in Grapevine, Texas.
Previous to his appointment at the University of Arizona, Dr. Nicholson
served as a conductor at the University of Delaware, Indiana UniversityPurdue University Fort Wayne, and Colorado State University; he was
a public school educator in Beaverton, Oregon and Lawton, Oklahoma.
His primary conducting mentors include William Wakefield, Ken Van Winkle,
Stephen Pratt and Ray Cramer. Nicholson holds degrees from the
University of Oklahoma (BME), New Mexico State University (MM),
and Indiana University (DM).
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CLIFTON WESTON is a graduate teaching
assistant in the wind band area while pursuing
a Master of Music degree in wind conducting at
the University of Arizona Fred Fox School of
Music under the tutelage of Dr. Chad Nicholson.
This fall he is serving as coordinator and director
for the UA Outreach Honor Band, where his
duties include communication with parents,
organizing weekly lessons, supervising a staff
of fifteen, teaching advanced literature to
middle-school students, and mentoring
student conductors.
Weston earned a Bachelor of Music degree in
clarinet performance and music education in 2014 from the University
of Arizona. During his undergraduate studies, he was active within the
music education area and the UA Outreach Honor Band, where he
served as clarinet instructor and student conductor for the ensemble
under Dr. Karin Nolan. Weston studied clarinet with Jerry Kirkbride,
Suzanne Fisher and Emilie Finn. His conducting teachers included
Gregg Hanson and Kevin Holzman. During his undergraduate studies,
he was an active participant in the Wind Ensemble and Wind Symphony,
including principal clarinet of Wind Symphony. He was the recipient
of the College of Fine Arts Outstanding Senior Award in 2014. After
graduation, Weston continued to teach in the Tucson area before serving
as interim director of instrumental music at Sabino High School in 2015.
Weston continues working in Tucson-area public schools, is on staff
with the Flowing Wells High School Marching Band and gives clarinet
master classes to students of all ages.
EDWARD GOODMAN is a versatile
performer, improviser, educator, and scholar
comfortable in a wide array of musical idioms.
He holds a Doctor of Musical Arts degree from
the University of Michigan where he served as
teaching assistant to Dr. Timothy McAllister.
While at U of M, he also studied under the
legendary saxophone pedagogue Donald Sinta
and jazz saxophonist Dr. Andrew Bishop while
being a recipient of the Lawrence Teal Fellowship.
Previously, he received degrees from U of M in
saxophone performance and jazz improvisation
(MM), as well as degrees in music education
and performance from Michigan State
University (BM). His primary teachers at MSU were Distinguished
Professor Joseph Lulloff and Professor Diego Rivera.
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Traveler,” “Battle Cry of Freedom,” “The British Grenadiers,” “The Girl
I Left Behind Me,” “London Bridge,” “Marching Through Georgia,”
“My Old Kentucky Home,” “Yankee Doodle,” and quotes of two very
familiar Sousa marches. This dense but exuberant music often has
simultaneous melodies competing for the audience’s attention, and
the percussionists bringing up the rear frequently add or drop beats
as the group struggles to stay together.
– Written by James B. Sinclair
The University of Arizona Bands provide world-class musical
opportunities for students of all majors and backgrounds.
From the finest concert experiences to the thrills of
marching for nearly 60,000 fans at Arizona Stadium,
all students at the University of Arizona
can find a musical home in our
outstanding ensembles.
•••
The University of Arizona Wind Ensemble enjoys a national and
international reputation as one of the premier ensembles of its kind.
Musicians in the ensemble represent the finest wind and percussion
performers in the Fred Fox School of Music. The Wind Ensemble
explores innovative new repertoire as well as the finest of
the traditional repertoire.
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I. “Saint Germain-des-Prés”
The Latin Quarter famous for artistic associations and bohemian lifestyle.
This is a dawn prelude haunted by the shade of Ravel: the city awakens
with the ever-present sound of morning bells.
II. “Pigalle”
The Soho of Paris. This is a “burlesque with scenes” cast in the mould of
a balletic scherzo – humorous in a kind of “Stravinsky-meets-Prokofiev”
way. It is episodic but everything is based on the harmonic figuration
of the opening. The bells here are car horns and police sirens!
III. “Père Lachaise”
The city’s largest cemetery, the final resting place of many a celebrity
who once walked its streets. The spirit of Satie’s Gymnopédies –
themselves a tribute to a still more distant past – is affectionately
evoked before the movement concludes with a “hidden” quotation of
the Dies Irae. This is the work’s slow movement, the mood is one of
softness and delicacy, which I have attempted to match with more
transparent orchestration. The bells are gentle, nostalgic, wistful.
IV. “Les Halles”
A bustling finale with bells triumphant and celebratory. Les Halles is the
old market area, a Parisian Covent Garden and, like Pigalle, this is a series
of related but contrasted episodes. The climax quotes from Berlioz’s
Te Deum, which was first performed in 1855 at the church of St Eustache,
actually in the district of Les Halles. A gradual crescendo, initiated by
the percussion, prefaces the material proper and the work ends with a
backward glance at the first movement before closing with the final bars
of the Berlioz Te Deum.
Country Band March – Charles Ives
Charles Ives is recognized as one of the greatest American composers
of the twentieth century, but he did not receive such accolades during
most of his lifetime. In fact, he made his living as a successful insurance
salesman, founding an agency that would become one of the most
lucrative in the nation. It was not until late in his life that many of the
larger works he composed decades earlier were performed for the first
time. When his unique and progressive music finally saw the light of
day, however, he earned a Pulitzer Prize in 1947 for his Symphony No. 3.
Some of these unusual sounds are found in Ives’s Country Band March,
the composer’s affectionate valentine to the enthusiastic haphazardness
of the community bands he heard as a young man in Danbury. Ives
revels in the cacophony produced by these amateur musicians making
early entrances, playing “wrong notes,” and cheerfully but inappropriately
blurting out quotations of popular songs of the day, including “Arkansas
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Dr. Goodman’s performance career has led to appearances around
the globe as a soloist, chamber musician, and in various other concert
settings. He has performed at the Kennedy Center, Regional and
National Biennial North American Saxophone Alliance Conferences,
and in eight performances in and around the SaxOpen Festival in
Strasbourg, France, featuring his modern vaudeville saxophone sextet,
The Moanin’ Frogs. The Moanin’ Frogs continue to define what is
possible within a chamber setting by performing an expansive
repertoire which explores jazz, pop, and classical music. Committed to
inspiring future generations of musicians, The Moanin’ Frogs recently
entered into partnership with the Conn-Selmer Division of Education,
allowing the ensemble to give performances and interactive sessions
with students nationwide.
As a soloist, Edward was awarded first prize in the North American
Saxophone Alliance National Classical Solo Competition, and was a
winner of both Michigan State University’s and the University of
Michigan’s Concerto Competitions. He was also selected by the
University of Michigan and Michigan State University to be featured
as a soloist on their Collage Concerts in 2008, 2014 and 2016. As an
orchestral performer, Edward has performed as principal saxophonist
with the Detroit Symphony Orchestra under Leonard Slatkin, the Music
Academy of the West Orchestra under Larry Rachleff, the New World
Symphony under Jeffrey Milarsky, the Ann Arbor Symphony Orchestra
under Arie Lipsky, and the University of Michigan Symphony
Orchestra under Kenneth Kiesler. He has also performed with chamber
ensembles such as the PRISM Saxophone Quartet and the Donald Sinta
Saxophone Quartet. Edward is equally at home in jazz as a composer
and improviser, regularly performing in chamber jazz settings. He was
a regular member of The Phil Ogilvie’s Rhythm Kings, an “early jazz”
big band based in Ann Arbor, Michigan. Being an avid promoter of new
music, Edward has commissioned several pieces for the saxophone in a
variety of mediums reflecting his versatility as an artist. Edward has
given master classes and recitals at the University of Michigan, Oakland
University (Michigan), and the University of Massachusetts Amherst.
He serves on the summer faculty of both Interlochen Center of the
Arts and Blue Lake Fine Arts Camp in Michigan.
Whether on the stage, in the classroom, or in the community,
Edward Goodman embodies a commitment to musical excellence
and a determination to keep the saxophone at the forefront as a
musical medium.
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About the Music
to be with her as she lived out her final days in her childhood home.
Searching for a voice for the many emotions I was feeling, I turned to
one of my favorite poems, “Dreams in the Dusk” by the American poet
Carl Sandburg. For me, this poem captured the essence of that sacred
time at the waning of the day in a way that was beautiful and profound.
Marche Joyeuse – Emmanuel Chabrier/arr. Junkin
Emmanuel Chabrier was born on January 18th 1841 in Ambert,
Puy-de-dome, France. At the age of six, he began to play the piano,
taught by a Spanish refugee named Saporta. At age ten he was sent to
the Lycee Imperial at Clermont-Ferrand to study accompanying with
violinist Tranowski and began to try his hand at composition. In 1857
he began the study of law while also continuing his music studies.
Marche Joyeuse is the second half of a pair of orchestral pieces first
performed on November 4, 1888, in Angers, conducted by the composer.
The Marche Joyeuse is dedicated to Vincent d’Indy. The march went
through several versions before arriving at the popular orchestral
version known today. The arrangement you will hear tonight is
by Fred Junkin, a legendary school band director in Texas.
Homage to Machaut – Ron Nelson
Homage to Machaut is one third of Ron Nelson’s Medieval Suite
for wind band. The complete work honors three great masters of the
Middle Ages: Leonin (middle 12th century), Perotin (ca. 1155-1200) and
Machaut (c. 1300-1377). These are neither transcriptions of their works
nor attempts at emulating their respective styles. However, stylistic
characteristics of music from that period, including repetition of rhythmic
patterns or modes, modules of sound, use of Gregorian chant, syncopation,
and extended long pedal points are all represented.
Homage to Machaut evokes the stately, gently syncopated and flowing
sounds of this master of choral writing. The movement consists of a
statement with two repetitions, each with unique orchestration.
– Edited by Clifton Weston
Dreams in the Dusk – David Biedenbender
The composer writes: The initial inspiration for Dreams in the Dusk
came while walking on my father-in-law’s farm on a cold, snowy
evening. Situated in rural Michigan, miles from the nearest city on the
flattest land I have ever seen, I came the closest I have ever been to
feeling real silence. The silence, stillness, and peace that I found in the
fleeting moments of daylight while walking in the crisp, fresh snow was
one of the ways that I dealt with the passing of my sister-in-law, Julia
Hope Voelker, a mere 23 years old, who lost her battle with cancer in
January of 2013. Those walks at dusk became a kind of ritual for me
during the last few weeks of her life, as our family had gathered together
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Dreams in the Dusk – by Carl Sandburg
Dreams in the dusk,
Only dreams closing the day
And with the day’s close going back
To the gray things, the dark things,
The far, deep things of dreamland.
Dreams, only dreams in the dusk,
Only the old remembered pictures
Of lost days when the day’s loss
Wrote in tears the heart’s loss.
Tears and loss and broken dreams
The Wind Ensemble welcomes Assistant Professor Edward Goodman
as the featured saxophone soloist in this performance.
Molly on the Shore – Percy Grainger
The work was originally scored for string quartet and presented to
Grainger’s mother as a birthday present on July 3, 1907. The composer
published a version for orchestra in 1914, dished it up for piano in 1918,
and created a band setting in 1920. Although he based the band version
on his orchestral setting, he did make a few adjustments, such as raising
the entire work a half-step to the key of A-flat, including additional
percussion instruments, and adding material that did not exist in any
previous arrangement. It was one of the last band settings Grainger
undertook while still a member of the U.S. Army Band stationed at
Fort Hamilton, a position that allowed him to refine his technique of
scoring for band.
– Program note courtesy of U.S. Marine Band
Paris Sketches – Martin Ellerby
Martin Ellerby writes: This is my personal tribute to a city I love, and
each movement pays homage to some part of the French capital and to
other composers who lived, worked or passed through – rather as Ravel
did in his own tribute to an earlier master in Le Tombeau de Couperin.
Running like a unifying thread through the whole piece is the idea of
bells – a prominent feature of Parisian life. The work is cast in four
movements:
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