School of Music

"Tiruepieces dnd
Pieces

for Our Tirne"

Wind Symphony
Gary \M Hill, Conductor
Cindy McTee, Guest Composer
Robert Spring, Guest Artist
\Walker, Guest Artist
James
James Smart, Guest Conductor

Thursday, November 15, 2001
7:30 p.m.
Gammage Auditorium

,4ferberge"1Q""llSg"

Program
Timepiece

(2001)

.CindY McTee

(b. 1e53)
"Medusa," ftom

Concerto

for Clarinet,

Opus 137

(1986)

. Hardy Mertens

(b. 1960)

Robert Spring, Clarinet

"Engram," from Prism

(1980)

.Jacob Druckman

(t928-1997)
James Smart, Guest Conductor

INTERMISSION

The Leaues are

Falling(I964)

. . .\(/arren Benson

(6. re24)
American Flute Salute

(1997)

. . . . .David Mairs
James'Walker, Flute

"The Stars and Stripes Forever"

(1896)

. . . . . .John Philip Sousa

(r854-1932)

ii

the Kather ne

K. Herberger Col ege

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ne Arts

Notes
Timepiece

(2001)

Cindy McTee

Cindy McTee was born in Thcoma, Washington, in 1953, where she grew up surrounded by
music. Raised in a family of amateur musicians who encouraged her interest in music and the arts,
McTee began piano studies at age five with a teacher who encouraged her to improvise, and also
studied saxophone with her mother who taught her to transpose from sheet music. This background
provided a fourrdation for hel later interest in jazz and composition.
McTee completed her undergraduate work at Pacific Lutheran University (B.M. 197!) where
she studied composition with David Robbins and Thomas Clark. In the spring of 1974, she met
composer Krzysztof Penderecki, when he was a guest at a contemporary music festival held at the
university. This meeting resulted in McTee spending a year in Poland at the Academy of Music in
Cracow (1974-1975) studying with Penderecki. She credits him as both a musical and professional
influence, and it was Penderecki who encouraged his pupil to express humor in her music. \X/hile in
Poland she also had lessons with Marek Stachowski and Krystyna Moszumanska-Nazar at Cracow's
Higher School of Music. She earned her master's degree fi'om the Yale School of Music (M.M.
l978) where her teachers included Penderecki again, as well as Jacob Druckman and Bruce

MacCombie. She received a doctorate from the University of lowa (Ph.D. 1981), studying under
Richald Hervig.
From l981 to 1984, McTee taught at Pacific Lutheran University and subsequently joined
the faculty at the Universiry of North Texas, where she is Regent's Professor of Music
Composition. McTee has received a number of prestigious commissions and awards, including
a Guggenheim Fellowship (2001), a Fellowship from the National Endowment for the Arts (1994),
a Goddard Lieberson Fellowship from the American Academy of Arts and Letters (1992) and a
Fulbright-Hayes Senior Lecturer Fellowship (1990). She is currently completing her first
symphony, a commission form the National Symphony Orchestra for its 2001-2002 season and
European tour.
Timepiece denotes the celebration of the Dallas Symphony orchestra's 100th anniversaly and
the beginning of a new millenr.rium. However, the title also refers to the manner in which the
comPoser sees musical time and how that time shapes the work. According to McTee, musical

time is not like ordinary clock time, but "...more like the kind of time experienced when reading
a story. It's almost imaginaly - repeating, reversing, accelerating, decelerating, and possibly
stopping." The work begins slowly, "befole" time, and then emerges into a highly energized,
clock-like pulse. This energized pulse lasts for the remainder of the work's eight-minute duration.
The piece begins and ends on "D" for Dallas, and pitch materials are derived from octatonic and
12-tone scales.

Of

Timepiece, McTee states:

"Much of my recent thinking about music is informed by the wlitings of Carl G. Jung
who, in the words of Anthony Storr, 'felt that the whole energy of mental function'sprang
from the tension berween the oppositions ofconscious and unconscious, ofthought and
feeling, of mind and body, of objectivity and subjectiviry. So too have the integration and
reconciliation of opposing elements become important aspects of my work: the frequent use

ofcirculal patterns, or ostinatos, offer both the possibiliry ofsuspended line and the
Wind Symphony

iii

opportunity fol continuous forward movement; carefully controlled pitch systems and
thematic manipulations provide a measure of objectivity and reason, while kinetic rhythmic
str-uctures inspire bodily motion; discipline yields to implovisation; and perhaps most
importantly, humor takes its place comfortably along side the grave and earnest. I wish both
to enlighten and to entertain, to communicate wholeness, and above all, to celebrate life!"
Note by Diana Hollinger
"Medusa' from Concerto for Clarinet, Opus 137 (1986)

Hardy Mertens

Hardy Mertens was born in 1960 in Nieuwenhagen, the Netherlands. He studied
musicology at the Utrecht Universiry where he also studied composition and wind band
conducting. From 1984 to 1985, while in the Netherlands Royal Military Band, he was an
arranger and a clarinetist. Since 1990, Hardy Mertens has been a regular guest conductor with the
Singapore Wind Symphony and the Sardinian Symphonic Band, Lao Silesu. He also conducts the
Netherlands Police Band, the Philips Symphonic Band and several Dutch community bands, and
teaches band conducting at the Tilburg Conservatory.
Compositions by Mertens are rooted in the European orchestral tradition and often
influenced by folk music from different continents. Tiaditional tonality, extended melody lines,

and percussive patterns are often combined with humorous surprises and unusual sounds. This
complexity usually results in a high grade of difficulty which sometimes causes controversy with
conductors and musicians.
The third movement of Mertens' C/arinet Concerto is no exception. This programmatic
movement pictorializes the ancient creature Medusa through texture and timbre in the clarinet, as
well as the supporting materials in the ensemble. According to myth, Medusa was the daughter of
Phorkys and Keto, the children of Gaia (Earth) and Okeanos (Ocean). She was one of the three

known as the Gorgons; the other nvo sisters were Sthenno and Euryale. The only mortal of
the three, Medusa was very beautiful and lived far in the north where the sun didnt visit. Being
very curious, she wanted to see the sun, and asked the Goddess Athena for permission to visit the
south; Athena refused. Medusa became enraged and dared to say that Athena hadnt given her
sisters

permission because she was jealous of her beauty. Angered at these remarks, Athena punished
Medusa by turning her hair into snakes and cursing her, making her so ugly that who ever looked

into her

eyes would be turned to stone.
Note by Christopher Cicconi

'Engram" from Prism (1982)

Jacob Druckman

Jacob Druckman, (1928-1997),was a leading force in contemporary music in the last half of
the nventieth century. He taught composition at the Juilliard School, Brooklyn College, Yale
Universiry the Thnglewood Festival, and the Aspen Music Festival and School. He received grants
and awards from the Throne, Guggenheim, and Fulbright foundations. Most notably, he was
.l969
in
by the American Academy of Arts and Letters, and in 1970, his composition
Windorus won the Pulitzer Prize . Mr. Druckman was composer in residence with the New York

honored

Philharmonic, where he was artistic director of the Horizons Music Festivals.
His music is often categorized as "collage style," taking bits of various musical materials and
assembling them into a cohesive whole . "Engram" is a prime example of this technique . Originally
iv

The Katherine K. Herberger co leqe of Fine Arts

the third movemenr, 'After Luigi Cherubini," of his orchestral piece Prism, Drtckman
layers his own marerials, repeatedly building to a climax then giving way to a thinly scored
quorarion from Cherubinik 18th-century opera Medea. The thematic material quickly becomes
distorted, dissolving into luminous washes of sound or stamped out by lightening bolt brass

wrirren

as

entrances. Druckman says rhat the musical references to Cherubini are ultimately cast aside as the

work "drives relentlessly toward its tragic conclusion."
- Note by James Smart
The Leaues are Falling

Warren Benson

(1964)

W'arren Benson has distinguished himself in the world of contemporary music as a composer,
conductor, lecturer and writer. He is a musician who is as interested in writing music for
orchesrras, singers, chamber players and children as he is in exploring the complexities of the
world of the artist. In his compositions and international recordings, Benson is most noted for his
song cycles and pioneering work in behalf of percussionists and wind ensembles. As a conductot
an author and a lectuler, Benson has been in demand worldwide. His writings have been translated into Spanish and Japanese and he has lectured in Spanish and Greek. He also sits on the

board of direcrors of numerous musical organizations, including the Minuscule Universiry Press,
tVind Ensemble Library and the \7or1d Association
the Chestnut Blass Company, the American
for Symphonic Bands and Ensembles.
Born in 1924,hewas a professional performer by age 14.Early in his career he played
timpani in the Detroit Symphony, graduated from the University of Michigan, organized the first

touring percussion ensemble in the eastern United States (1953), received four Fuibright grants,
and was the author and director of the first pilot project of the Contemporary Music Project
(funded by the Ford Foundation). More recently, he has been commissioned by over B0 major
arrists and ensembles, including the United States Marine Band, the International Horn Society,
the Rochester Philharmonic Orchestra, the New York Choral Sociery the Bishop Ireton
Symphonic tVind Ensemble and the Kronos Quartet. He has received nlrmerous distinguished
international awards, including the John Simon Guggenheim Composer Fellowship, three
National Endowment for the Arts composer commissions and the Diploma de Honor from the
Ministry of Culture of the Republic of Argentina.
After 74 years ar Ithaca College, Benson became a Professor of Composition at the Eastman
School of Music where he was honored with an Alumni Citation of Excellence , the Kilbourn
Professorship for Distinguished Teaching, and was named University Mentor. In 1994, he was
appointed Professor Emeritus, completing a 5O-year teaching career, which began in 1943 at the
Universiry of Michigan. As a freshman at Michigan, he was the major teacher for undergraduate
and graduate percussionists and played third horn in the University Orchestra. He is listed in the
30 other
biographical dictionaries including \Yho's Who in America and Groue's Dictionary of Music.
Currently busy writing books, he is a commissioned and published poet and writer of humor-ous
fiction. Commissions for songs, chamber music and large ensembles keep him "retired to, not

first edition of Whoi \Yho in the World of Percussion,l980 to

the present, as weII as

From." as he likes to put it.
One of his compositions for band, The Leaues are Falling was inspire d by the poem "Herbst,"
or 'Autumn," from Buch Der Lieclerby Rainer Maria Rilke. The poem itself is included here as a

form ofintroduction to the piece.
Wind Svmphony

v

'Autumn"
The leaves are falling, falling as from way off,
as though far gardens withered in the skies;
rhey are lalling with denying gestures.

And in the nights the hear'y earth is falling
from all the stars down into loneliness.
\7e are all falling. This hand falls.
And look at others: it is in them all.

And yet there is one who holds this falling
endlessly gently in his hands.

Biographies
GARY\f. HILL conducts the Wind Symphony and the Chamber \finds, teaches undergraduate
and graduate conducting, and is director of the Digital Conducting Laboratory. Hill also serves as
conductor for iChamber, Phoenix's professional new music ensemble . Prior to Hill's appointment
at ASU in the Herberger College of Fine Arts School of Music, he was Director of Bands at the
University of Missouri-Kansas City Conservatory of Music, where he also selved as Music Director
for the Kansas City Youth Vind Ensemble, and conducted two professional groups: the Kansas
City Symphony Brass Ensemble and newEar, a chamber ensemble devoted to contemporary
music. Previously, he held a similar post at East Texas State University and was Associate Director
of Bands at the University of Colorado, Boulder. Hill began his teaching career in Michigan where
he served as Director of Bands for the West Bloomfield and Tlaverse City public schools.
High school, university and professional ensembles under Hill's direction have given performances for the National Band Association, the Music Educators National Conference, the College
Band Directors National Association, the International Horn Symposium, the National Flute
Association, at many state conventions, and throughout North America and Europe. Performances
conducted by him have consistently drawn praise from composers, performing musicians and
clitics alike for their insightful, inspired and cohesive realizations, and for their imaginative
programming. Ensembles conducted by Hill have recorded for composers, publishers, and
National PLrblic Radio, and have appeared "in concett" on PBS and CBS television nerworks.
As a guest conductor and clinician, appearances in ten countries and thirry states have included
performances with myriad high school honor bands, numerous college and university wind bands
and orchestras, at the Midwest International Band and Orchestra Clinic, and at the World
Association of Symphonic Bands and Ensembles' inaugural conference. During the last ten years,
he has presented over fifry workshops on conducting and rehearsal technique for instrumental
teachers of all levels and has served as a clinician for more than 800 bands and orchestras.

Hill has developed a conducting pedagogy that promotes the systematic and parallel evolution
of the musical and kinesthetic perceptions and skills utilized in conducting, thereby advancing the

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genuine articulation of musicianship through bodily actions. This has led to innovations in
nonverbal modes ofteaching from the podium and in the approach to the process ofconducting.
As the director of Arizona State Universirys Digital Conducting Laboratory, Hill is involved with
the investigation ofdigital technologies applicable to the teaching ofconducting.

A native of Michigan, Hill earned degrees in Music Education and Vind Instruments from the
University of Michigan. While at Michigan, he studied with many esteemed music educators
including Elizabeth A. H. Green, \Tilliam D. Revelli, H. Robert Reynolds, James O. Froseth and
Charles (lwen.

Hill is a member of numerous professional organizations including rhe Music Educators
National Conference, The Sociery for American Music, the Conductor's Guild and the College
Band Directors National Association, for which he hosted the Fiftieth Anniversary National
Conference (1991), as well as the joint conferences of the North Central and Southwestern
Divisions in conjunction with The Society for Amelican Music (1998), served as president of the
Southwestern Division (1989-91) and Chair of the National Commissioning Committee (19992001)and is currently National President-Elect.
ROBERT SPRING has been described as "one of this country's most sensitive and talented
clarinetists," 6y The Arizona Republic, "dazzled his audience...flawless technique", by The Clarinet
Magazine, and "a formidable soloist...played with great emotional life" by the Copenhagen,
Denmark, Po/itiken. Spring's recording of Grawemeier Award-winning-composer Joan Tower's
works for clarinet was described by The Clarinet Magazine as "tr:uly outstanding... one would be
hard pressed to find better performances of contemporary music...first rate music performed with
the highest professional standards." The Instrumenta/istmagazine says of his recolding, Dragon's
Ttngue, a CD of virtuoso music for clarinet and wind band, "His musicality and technique make
this recording a must for every CD collection l' Fanfare Magazine says of a new CD, Tarantelle, a
clarinet performance of music that the famous violinistJascha Heifetz recorded on violin, "This
recording was meant to amaze and, man, it succeeds."

JAMES \flALKER is one of the few musicians today who can cross stylistic borders with ease and
beauty. A native of Greenville, Kentucky, he comes from a family home filled with music - at age
six he began piano and flute lessons. Music continued through high school, including an interest
in 1azz, and at college where he focused on orchestra and classical flute. Valker graduated with
honors from the University of Louisville. He holds the prestigious Distinguished Alumni Award
and was also the first "Alumni Fellow" from the School of Music. Following college, Valker;'oined
the Army and was at Vest Point where he was a member of the USMA Band. He went on to be
Associate Principal Flute with the Pittsburgh Symphonl,, Principal Flute with the Los Angeles

Philharmonic and Principal Flute of the New York Philharmonic Orchestra on its 1982 South
American tour. However, the move to Los A.ngeles rekindled his interest in jazz improvisation and
by 1980, he was ready to move beyond the classical world. \falker organized a quarter featuring
flute, piano, bass and drums. This tradition-breaking group becam€ Free Flight. Many recordings
followed, along with successive "most valuable player" awards, a number one record, appearances
on NBC's Today and The Tbnight Sboru, and a demand for his master classes in the U.S., Canada,
Europe, South America, Korea, Japan and Russia. Walker is currently a full-time lecturer and
coordinator of flute at the Universiry of South California Thornton School of Music.

Wind Symphony

r.ii

Music
JAMES SMART is in his first year at Arizona State Universiry pursuing a Masters degree in
in
his
B.M.
He
received
Music.
School
of
College
Herberger
in
the
Education - Wind Insrruments
where
he
studied
Michigan
Music Education and Tiumpet Performance from the Universiry of
conducting with H. Robert Reynolds, Kevin L. Sedatole, James Tapia and Jeffrey Grogan. ln
1996, Mr. Smart received a scholarship to attend the International \Torkshop for Orchestral

Conducting in Graz, Austria, where he worked with William Larue Jones, Marvin Rabin and
Robert Culver. While at the University of Michigan he played in the Concert Band
and the Symphony Band and studied trumpet with Charies Daval. He has also played principal
rrumper in the Marrowstone Music Festival Orchestra, the U of M Campus Symphony Orchestra,
and the North Idaho Symphony. Mr. Smart taught middle school band and assisted with the
Lapeer West High School Bands for four years in Lapeer, Michigan, where his ensembles
consistently received First Division ratings at the district and state levels. His experience in Lapeer
was highlighted by a guest conducting appearance with the Lapeer

\fest Symphony Band at the

2001 Midwestern Music Educators Conference for Band and Orchestra Directors inAnnArbor's
Hill Auditorium. He would like to thank his family for the love, support and patience that they
have always offered.

\TIND SYMPHONY
Flute

Kristi Ballif

Clarinet
Adam Ballif

PE,RSONNE,L
Bass

Tirumpet

Tuba

Michael Arndt*

Scott Choate
Chuck Kerrigan*
Brad Nueman

Curtis Peacock

Monique Brouwer*
Tina Kuenzel
Ximena Mercado
Monica Sauer
Amy Tatum

Bethany Brestel
Sean Dennison
Kristin Garnaat
Guillaume Grenier-

Marmet

Erik Hasselquist
Andrew Kissling

Andrea Urrutia
Amy Verinder
Carla York

Tim

Amanda Pepping

Kelly Hayes

Klistin Stoneback
Allyn Swanson

Haas
F.ric Hansen

Heather Henderson
James Parkinson

FIorn

Melanie Carter*
Anne Henneke
Laula Medisky
Ashley Reid

Natalie Pascale

Andrey Astaiza
Ryan Semrau

Qiuintero

Anne \Tatson*

Nathan Stark*
Catherine Thompson

Bassoon
Ryan Maples*

Alto Saxoohone

Andrew Vaia
Melanie Voodward*

Steve Parker

Julian Peterson*

Zeger Verhage

Ryan Bledsoe

Chi-Hwa Wu
Tbnor Saxophone
Brina Bouriea

viii

rne Katherine K. Herberqer

Col eqe

of

F

ne Arts

Percussion
Corona

Jesse

Oboe

James

Trombone
Bob Cockrell

Baritone Saxophone
Daniel Powell

Trombone
Ben Dickenson*
Chris Niileksela

Brandt Payne
Mario Villalobos
Ryan Wiiliams

Tom Murphy*
Michael Richau
Ian Templin
Adrian Vender
Andrea Vinet