MUSICfor Aust in by Aust in

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austin civic orchestra & austin symphonic bandDecember 2, 2012 • 3 p.m. • The Long Center for the Performing Arts

ASB Board of Directors and Officers

Musical Director: Richard FloydPresident: Ron Boerger

Past President: Karen KnetenPresident Elect: Keith Chenoweth

Board of Directors:Scott Hastings

Donald McDanielCindy StoryRob Ward

Secretary: Marilyn GoodTreasurer: Sharon KojzarekLibrarian: Karen VanHooser

Assistant Director: Bill HaehnelConcert Coordinator: Kevin Jedele

Transportation Manager: Chuck EllisWebmaster: David Jones

Archivist: Tim DeFriesBusiness Manager: Dan L Wood

Thanks to our Austin hosts: Matt Atkinson, Connally High School

Director of BandsRehearsal Space/Equipment Use

ACO Board of Directors and Officers

Music Director: Lois FerrariPresident : Marcia Gillespie-Norder

Vice President : Art MonzingoTreasurer: Melissa VaukSecretary: Amy Crandell

Board of Directors: Kathleen Bohn Oscar BotelloBob BrockettNaji NorderToni Powell

Carolyn Richards-ChaconMelissa RuofChris Wike

Sherry WoodsBusiness Manager: Steve Coufal

Development Coordinator: Kathleen BohnOperations Manager: Don Thompson

Librarian: Jose Yznaga Graphic Artist: Katie Nott

Webmaster: Darren SchmidtPearl Amster Chair: Sandy Hayes

Thanks to: Westwood High School

This project is funded and supported in part by the City of Austin through the Cultural Arts Divisionbelieving an investment in the Arts is an investment in Austin’s future. Visit Austin at NowPlayingAustin.com

Richard Floyd, ASB Musical Director

In 1983 Richard Floyd was appointed State Director of Music Activities for the University Interscholastic League at the University of Texas at Austin where he coordinates all facets of secondary school music competition for some 3500 performing organizations through-out Texas. He has served as Musical Director and Conductor of the Austin Symphonic Band since 1986. Prior to his appointment at the University of Texas, he served on the faculty at the University of South Florida as Professor of Conducting, and at Baylor University.

Mr Floyd has toured extensively as a clinician, adjudicator, and conductor including appearances in 41 states and 9 foreign countries. He has held positions of leadership on many state and national committees for music education and wind music performance. At present he is a member of the John Philip Sousa Foundation Board of Directors and Chairman of the American Bandmasters Association Educational Projects Committee. Publications include co-authorship of Best Music For Beginning Band and contributing author for The Musician's Walk by James Jordon, published by GIA Publications. In addition his articles have appeared in The Instrumentalist and numerous regional and state publications. In 2006 he was featured on the GIA-produced DVD entitled Kin-dred Spirits from the series Conducting From The Inside Out. In 2002 he was named recipient of the American School Band Directors Association AA Harding Award for significant and lasting contributions to school bands in North America. The Texas Bandmasters Association has honored as Texas Bandmaster of the year in 2006, presenting him with the TBA Lifetime Administrative Achievement Award in 2008, and naming him to the TBA Hall of Fame in July, 2011.

Lois Ferrari is Professor of Music at Southwestern University in Georgetown and has been a member of the faculty since 1993. Dr Ferrari conducts the SU Orchestra and Wind Ensemble, and teaches be-ginning and advanced conducting. She also serves as host and clinician for the bi-annual SU Conductors’ Institute in instrumental conducting. As ACO Music Director, Dr Ferrari was recently named 1st runner-up for the American Prize in Conducting, community orchestra division. In addition, the ACO was selected as a finalist for the same prize in community orchestra performance. In 2010 Dr Ferrari was honored as the first woman to conduct an orchestral performance at the Long Center for the Performing Arts. She has been involved with nurturing future virtuosi through the ACO's annual Pearl Amster Youth Concerto Festival and founded the bi-annual ACO Composition Contest. She has premiered more than 20 works during the course of her career. A graduate of the Eastman School of Music, where she received a Doctor of Musical Arts degree in conducting, Dr Ferrari was a recipient of a full doctoral fellowship and was appointed Assistant Conductor of the renowned Eastman Wind Ensemble. This is Dr Ferrari's 11th season as Music Direc-tor of the ACO.

Lois Ferrari, ACO Musical Director

Peter Bay is celebrating his 15th full season as Music Director and Conductor of the Austin Symphony, and has been Music Director of the Britt Festival Orchestra in Jacksonville OR since 1993. Maestro Bay is the primary conductor for the ASO’s performances with Ballet Austin and the Austin Lyric Opera, and has made guest appearances in Europe and throughout the US.

A native of Washington DC, Mr Bay is a graduate of the University of Maryland and the Peabody Institute of Music. In 1994 he was one of two conductors selected to participate in the Leonard Bernstein American Conductors Program. He was also the first prize winner of the 1980 Baltimore Symphony Orchestra Young Conductors Competition and a prize winner of the 1987 Leopold Stokowski Competition sponsored by the American Symphony Orchestra in New York.

A Steinway artist, Anton Nel, winner of the 1987 Naumburg International Piano Competition at Carnegie Hall, enjoys a remarkable and multifaceted career that has taken him to North and South America, Europe, Asia, and South Africa. Following an auspicious debut at the age of 12 with Beethoven’s C Major Concerto after only two years of study, the Johannesburg native captured first prizes in all the major South African competitions while still in his teens, toured his native country extensively and became a well-known radio and television personality. He came to the United States in 1983, attending the University of Cincinnati, where he pursued his Masters and Doctor of Musical Arts degrees.

Highlights of Mr Nel’s nearly four decades of concertizing include performances with the Cleveland Orchestra, the symphonies of Chicago, San Francisco, Seattle, Detroit, and London, among many others. As recitalist he has appeared at Carnegie Hall, Lincoln Center, the Metropolitan Museum, and the Frick Collection in New York, at the Ambassador Auditorium in Pasadena, Davies Hall in San Francisco, and the Library of Congress in Washington, DC. Internationally he has performed recitals in major concert halls in Canada, England (Queen Elizabeth and Wigmore Halls in London), France, Holland (Concertgebouw in Amsterdam), Japan (Suntory Hall in Tokyo), Korea, and South Africa. In January, 2010 he became the first holder of the new Joe R and Teresa Lozano Long Endowed Chair in Piano at the University of Texas at Austin. Anton Nel became a citizen of the United States of America on September 11, 2003.

Trumpeter Craig Morris emerged onto the international classical music scene by winning the prestigious position of Principal Trumpet in the Chicago Symphony Orchestra, assuming that post from the legendary Adolph “Bud” Herseth in 2001.

Guest Artists

Stephanie Lange is a soprano from Topeka KS. She is a second year Master’s student in Opera Performance at the University of Texas. She received her BM degree in Vocal Performance from St Olaf College in Northfield MN where she studied under Margaret Eaves-Smith. Ms Lange’s recent performances include Vivaldi’s Gloria, Beethoven’s Mass in C Major, Handel’s Ode for St Cecilia’s Day, and Bach’s Cantata 31 and B-minor Mass. She will perform the role of Donna Elvira in Mo-zart’s Don Giovanni with the Butler Opera Center in April. She currently studies with Professor Darlene Wiley.

Next Concerts

February 9 - ACO - Titan: All Mahler Concert - Alma Thomas Theater, SU Georgetown 7:30 pmFebruary 22 - ASB - ASB & Friends, Bethany Lutheran Church 8:00 pm

March 23 - ACO - Pearl Amster Youth Concerto Festival 7:30 pmApril 27 - ASB - Middle Earth, Wind & Fire, McCallum Arts Center 8:00 pm

May 12 - ACO - Spring Concert, Bates Recital Hall UT 4:00 pmMay 12 - ASB - Mother's Day - Texas Capitol South Steps 7:00 pm

June 7, 8 -ACO Pops Concert - Zilker HIllside Theater 8:00 pmJune 16 - ASB - Father's Day - Zilker HIllside Theater 7:30 pm

July 4 - ASB - Round Rock Independence Day Festival July 6 - ASB - Bastrop Patriotic Festival

Guest Artists

Prior to his appointment in Chicago, Morris held the position of Associate Principal Trumpet in the San Francisco Symphony and Principal Trumpet in the Sacramento Symphony. He is currently the Professor of Trumpet and Chair of the Brass Program at the University of Miami, Frost School of Music, where he devotes himself to his teaching and his career as a soloist and chamber musician. A Texas native, Morris grew up in a musical family. He attended the University of Texas and the San Francisco Conservatory of Music.

McCallum Fine Arts Academy Woodwind Quintet

Ireland Hirschman, fluteSarah Greenwood, oboeSunny Hah, clarinetDamon Freitag, bassoonDanny Lopez, horn

Lobby MusiciansSouthwestern University String Quartet

Erin Weber, violinMarie Smith, violinJeffrey McKenzie, violaWilliam Danheim, cello

Program

Austin Symphonic Band, Richard Floyd, Conductor

Masque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kenneth Hesketh

Hymn to a Blue Hour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Mackey

Canzona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter MenninPeter Bay, Guest Conductor

Excursions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bruce BroughtonGuest Artist: Craig Morris, Trumpet

Angels In The Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . Frank TicheliGuest Artist: Stephanie Lange, Vocalist

Dance of the Jesters . . . . . . . . . Peter Ilyich Tchaikovsky, tr Ray E Cramer

— Intermission —

Austin Civic Orchestra, Lois Ferrari, Conductor

Romeo and Juliet Overture-Fantasy . . . . . . . . . .Peter Ilyich Tchaikovsky

Grande Tarantelle, op 67 . . . . . . . . . . . . . . . . . . .Louis Moreau GottschalkGuest Artist: Anton Nel, Piano

The Snow Maiden Suite . . . . . . . . . . . . . . . . . . .Nikolai Rimsky-Korsakov Introduction Dance of the Birds Procession of the Tzar Dance of the Tumblers

Program Notes

Masque — Kenneth Hesketh The masque has had a varied history, certainly a varied spelling (masque, maske, even maskeling). However, the historian E K Chambers in his book, "The Medieval Stage", defines the word in the following way: "A form of revel in which mummers or masked folk come, with torches blazing, into the festive hall uninvited and call upon the company to dance and dice." Reaching its height in the early 17th century, the masque became a magnificent and colorful spectacle, presented in public theaters and, with more splendor, in the royal courts. The actors personified pastoral and mytho-logical figures, with great emphasis placed on music and dance. The composer says of this work, “The above description, I think, can also serve as a description to the piece. The main theme is cer-tainly bravura and is often present, disguised, in the background. The form of the piece is a simple scherzo-trio-scherzo. Colourful scoring (upper wind solos, trumpet and horn solos alternating with full bodied tuttis) with a dash of wildness is the character of this piece – I hope it may tease both players and listener to let their hair down a little!”

Kenneth Hesketh (1968-) was born in Liverpool and studied at the Royal College of Music in London with Edwin Roxburgh, Simon Bainbridge, and Joseph Horovita. Even prior to attending the Royal College of Music, he received commissions and performances by the Royal Liverpool Philharmonic Orchestra, the National Youth Orchestra of Great Britain, and the National Children’s Orchestra, among others. A new commission from The Royal Philharmonic Society Drummond Fund will result in new work for dance that continues the use of mythic themes found in Masque. The new piece for Psappha and Phoenix Dance Theatre will be toured nationally in the UK in 2013. The work, Forms entangled, shapes collided, takes as its inspiration Greek philosophy and the theory of atomism - the idea that the world consists of two fundamental principals, atoms and void. Mr Hesketh is currently a professor at the Royal College of Music and honorary professor at Liverpool University. He also reports that early in his career he played tuba in his school band.

Hymn to a Blue Hour — John MackeyThe following comments are extracted from John Mackey’s blog. “It’s not like I’ve completely avoided slow music – but it’s not the norm, and what I didn’t have was a standalone, non-concerto work that’s simple, slow, and (hopefully) beautiful. So I gave it a shot . . . The 'hymn' part of the title immediately made sense, as the melody is so simple that it does literally sound like a hymn. The 'blue hour' is the period of twilight where there’s neither full daylight nor complete darkness . . . The piece sounds like vespers (the evening mass) at a simple Shaker church. Thus, Hymn to a Blue Hour. This work was commissioned by Mesa State College who premiered the piece on December 3, 2010 at their Best of the West 2010 festival. It is dedicated to Stephen Boelter, who, with his wife Karen Combs, established the Best of the West festival.

John Mackey (1973- ) was born in New Philadelphia, Ohio. He completed degrees at Cleveland Institute of Music and The Juilliard School before embarking on his composition career. His work is contemporary, known for its highly rhythmic and driving nature. Mackey is a frequent collaborator and his collaborations include a diverse range of artists including the US Olympic Synchronized Swim Team, that won a 2004 Bronze Medal performing to Mackey’s score, Damn. He has served residencies at a number of universities including The University of Texas and served as music director of the Parsons Dance Company from 1999-2003. He also is an avid photographer whose work regularly appears on his blog.

Canzona — Peter Mennin This brief composition, copyrighted in 1954 and published 1958, was commissioned in 1950 as part of an effort by Edwin Goldman to develop a significant repertoire for concert band. It remains a standard in the core repertoire of wind band/ensemble literature. Mennin chose the title in homage to the Renaissance instrumental forms of that name. While Gabrieli would have used strings, voices, and winds as choirs, Mennin uses the woodwinds and brasses as blocks of sound. Like the canzoni of Gabrieli, this work features contrasting, antiphonal statements from opposing voices which Mennin has combined with contemporary harmony and structure. Canzona was premiered by the Eastman Wind Ensemble, Frederick Fennel conducting, in New York on June 15, 1951.

Peter Mennin (born Mennini) (1923-1983) was an American composer and teacher. He directed the Peabody Conservatory in Baltimore and for many years led The Juilliard School succeeding Willliam Schuman in this role. In recognition of his work, Juilliard awards a Peter Mennin prize, for Outstanding Achievement and Leadership in Music. Mennin wrote six symphonies, concertos, sonatas and choral works, but Canzona is the only piece he wrote for concert band. He never associated or aligned himself with any trend or specific school of composition allowing him to create a catalog of works that stand solidly within a self-designed tradition. His style was chromatic and astringent, particularly during the end of his composition life, but was always essentially tonal, relying heavily on polyphony. Mennin once wrote on composition, "It is the total artistic statement that is of paramount importance, not the working process; it is what the music truly is, not what it is not or would like to be, that is of genuine value. With the passage of time, all that really counts is the final musical result. To the committed composer, all other matters are peripheral."

Excursions — Bruce Broughton Any trumpeter who attempts this excursion with composer Broughton needs a secure seatbelt. The composer comments: "Although not literally a programmatic piece, Excursions is based upon a tune that wanders in and out of various musical situations. After a short introduction by the soloist, the main theme is presented over a lightly ambling accompaniment. The theme travels this way and that, running into some interesting diversions along the way and eventually meeting itself where it began – at the introduction." Watch for some visits with the iconic Gershwins along the way. Excursions was premiered, with CMSgt Ronald Blais as soloist, at the Florida Music Educators Association Convention in January 1996.

Bruce Broughton (1945-) is one of the most versatile composers working today, writing in every medium, from theatrical releases and TV feature films to the concert stage and computer games. His first major film score, for the Lawrence Kasdan western Silverado, brought him an Oscar nomination. His very next project, a classically styled score for Barry Levinson's Young Sherlock Holmes, earned a Grammy nomination for the soundtrack album. Numerous TV credits include the main titles for JAG, Tiny Toon Adventures, and Dinosaurs, as well as scores for Amazing Stories, Quincy, and How The West Was Won. His score for Heart Of Darkness was the first orchestral score composed for a video game. As a conductor, his recordings of Miklós Rózsa's Ivan-hoe and Julius Caesar for Intrada records, performed by the Sinfonia of London shortly before the composer's death, have received rave reviews, as has his recording of Bernard Herrmann's riveting score for Jason and the Argonauts. Broughton is a frequent lecturer at UCLA, and currently is on faculty at the USC Thornton School of Music.

Program Notes

Angels in the Architecture — Frank Ticheli(Written by composer Frank Ticheli) Angels in the Architecture was commissioned by Kingsway International, and received its premiere performance at the Sydney Opera House on July 6, 2008 by a massed band of young musicians from Australia and the United States, conducted by Matthew George. The work unfolds as a dramatic conflict between the two extremes of human existence – one divine, the other evil. The work’s title is inspired by the Sydney Opera House itself, with its halo-shaped acoustical ornaments hanging directly above the performance stage. Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of LightI have soared from aboveI am cloth’d with Mother’s love.I have come, I have come,To protect my chosen bandAnd lead them to the promised land.

This “angel” – represented by the singer – frames the work, surrounding it with a protective wall of light and establishing the divine. Other representations of light – played by instruments rather than sung – include a traditional Hebrew song of peace (“Hevenu Shalom Aleichem”) and the well-known 16th-century Genevan Psalter, “Old Hundredth.” These three borrowed songs, despite their varied religious origins, are meant to transcend any one religion, representing the more universal human ideals of peace, hope, and love. An original chorale, appearing twice in the work, represents my own personal expression of these aspirations.

In opposition, turbulent, fast-paced music appears as a symbol of darkness, death, and spiritual doubt. Twice during the musical drama, these shadows sneak in almost unnoticeably, slowly obscuring, and eventually obliterating the light altogether. The darkness prevails for long stretches of time, but the light always returns, inextinguishable, more powerful than before. The alternation of these opposing forces creates, in effect, a kind of five-part rondo form (light – darkness – light – darkness – light). Just as Charles Ives did more than a century ago, Angels in the Architecture poses the unanswered question of existence. It ends as it began: the angel reappears singing the same comforting words. But deep below, a final shadow reappears – distantly, ominously.

Frank Ticheli (1958-) is an American composer of orchestral, choral, chamber, and concert band works. He was born in Louisiana, but has roots in Texas, graduating from L V Berkner High School in Richardson, earning his Bachelor of Music in Composition from Southern Methodist University, and teaching for a time at Trinity University in San Antonio. There he served on the board of directors of the Texas Composers Forum and was a member of the advisory committee for the San Antonio Symphony’s Music of the Americas project. He now lives in Los Angeles CA where he is a Professor of Composition at the University of Southern California. Ticheli is well known for his works for concert band, many of which have become standards in the repertoire. His music has been described as being "optimistic and thoughtful" (Los Angeles Times), "lean and muscular" (The New York Times), "brilliantly effective" (Miami Herald), and "powerful, deeply-felt, crafted with impressive flair and an ear for striking instrumental colors" (South Florida Sun-Sentinel).

Program Notes

Dance of the Jesters — Peter Tchaikovsky/Cramer Upon meeting Nikolai Rimsky-Korsakov in 1868, Tchaikovsky renewed his keen sense of musical nationalism. Inspired by the master composer, Tchaikovsky’s compositional style would forever capture the color and zest of Russian folk dance and music. The flurry, energetic drive and playful melodies associated with his ballet scores are all heard in this rare and invigorating music. This edition comes from an arrangement from the ballet, The Snow Maiden, that was originally transcribed for a Russian military band.

Ray E Cramer, emeritus director of bands Indiana University, joined the faculty of Indiana Univer-sity School of Music in the fall of 1969. In 1982 he was appointed Director of Bands, a position he held for over two decades. He is a past National President of the College Band Directors National Association, The American Bandmasters Association and has served as president of the Midwest Clinic, an international band and orchestra convention held in Chicago each December where ASB has been privileged to make three appearances.

Romeo and Juliet Overture-Fantasy — TchaikovskyConsidered by many to be one of the composer's greatest and most beloved orchestral works, Tchaikovsky's Romeo and Juliet Overture-Fantasy, after Shakespeare, did not come easily or quickly to the form we hear today. In 1869, fellow Russian composer Balakirev suggested to the young Tchaikovsky the idea of creating a concert piece based on Shakespeare's tragedy. Balakirev even went so far as to give Tchaikovsky a possible theme, keys he should use, and many other de-tails–in essence attempting to dictate the shaping of the work. Balakirev, however, was not happy with the first drafts that Tchaikovsky sent him. B y the time the piece received its first performance in 1870; the composer wasn't satisfied either and withdrew it for major revisions, finally publishing it the following summer. Ten years later Tchaikovsky revised it again and finally published the piece in its final form.

Rather than a programmatic tone-poem attempting to outline the plot of Romeo and Juliet, the Overture-Fantasy is a piece in sonata form highlighting three easy-to-follow themes of the play. The introduction, stating a chorale-like tune on the clarinets and bassoons, represents Friar Lawrence. The first main theme, complete with scurrying scales, brass and percussion, brings the deadly feud of the Montagues and Capulets to the musical stage. The lovers' passionate theme enters, followed by another bout of feuding between the families. The love theme returns with heightened intensity, at which point the coda is presented as a funeral march marked by the timpani, along with Friar Lawrence's theme representing the character whose attempts to help have turned into disaster. What Shakespeare achieves in the play, Tchaikovsky also accomplishes in the music: balance between the hatred of the clans and the passion of the young lovers. -- Linda Mack, Andrews University, Berrien Springs MI, used by permission

Grande Tarantelle for Piano and Orchestra — Louis Moreau GottschalkLouis Moreau Gottschalk (1829-1869) was born to a Jewish businessman from London and a white Haitian Creole in New Orleans, where he was exposed to a wide variety of musical traditions. At the age of 13, Gottschalk left the United States and sailed for Europe to study classical music. Returning to the United States in 1853, he traveled extensively through North, Central, and South America. By

Program Notes

the 1860s, Gottschalk had established himself as the foremost pianist in the New World. During a performance in Rio de Janeiro on November 24, 1869, he collapsed with malaria. He never recovered from the collapse, dying three weeks later.

Gottschalk’s Grand Tarantelle for Piano and Orchestra was discovered in a two-piano version among 25 other works in his personal papers shortly after his untimely death and was later arranged for piano and orchestra. The work performed today was orchestrated by William McDermott. In dance form, the curative tarantella, which is agitated in character and may last for hours or even days, is danced solo by a supposed victim of a tarantula bite. In modern music, the tarantella usually takes the form of a fast, almost erratic 6/8 dance in which the victim not only dances out the tarantula bite, but perhaps stomps a few tarantulas as well.

Suite from The Snow Maiden — Nikolai Rimsky-KorsakovFamiliar to concert audiences for Sheherazade, the Capriccio Espagnole, and The Flight of the Bumblebee, during his lifetime Rimsky-Korsakov was known chiefly through his operas. Between 1868 and 1905 he wrote no fewer than 17 major works for the stage, a few of which are remem-bered by their titles, at least – May Night, The Barber of Baghdad, Mozart and Salieri, The Snow Maiden. These operas rarely appear in Western theaters, but the music from them is often so powerful and coloristic that conductors can hardly resist excerpting them, if only to revel in the rich hues of this composer's orchestral mastery.

The Snow Maiden began its life as a "springtime fairy-tale" by Alexander Orlovsky, the 1873 premiere of which featured 19 numbers of incidental music by Tchaikovsky (later used in the bal-let). Written in verse, the play lent itself naturally to an operatic setting; Rimsky-Korsakov's four-act opera with prologue was first performed at St Petersburg's Mariinsky Theater in 1882. As in many Russian folk tales, The Snow Maiden includes both real humans and imaginary or fairy-tale figures (Bonny Spring, Grandfather Frost, Forest Sprite). The Introduction presents the land at midnight. A full moon illuminates a landscape of snow-covered peaks, thick forests, and a river. In the center is Tsar's palace, constructed of elaborately carved wood. It is spring, but the birth of the Snow Maiden 15 years ago has brought perpetual winter to the land.

Shortly afterward, Bonny Spring enters with her entourage of birds – cranes, geese, ducks, rooks, magpies, starlings, skylarks – whose shivering reminds her of the chill brought about by her dal-liance with Grandfather Frost. The birth of their love-child, Snow Maiden, angered the sun-god Yarilo. Bonny Spring implores the birds to warm themselves, which they do with the Dance of the Birds. Some play instruments, others sing (or chirp), still others dance.

The Procession of the Tsar, a stately and mysterious slow march, accompanies the gathering of the villagers to listen to the Tsar's decree. The Tsar must banish a young man who has reneged on his betrothal promise; but the decree is interrupted by the arrival of the Snow Maiden. ll marvel at her beauty. She has not yet loved, and the Tsar offers a reward for any man who can make her love him – knowing that if she falls in love she will melt, thus ending the long winter.

Amid general celebrations of spring, the villagers sing and dance. At the end of the festivities the Tsar asks for one more dance, and in rush the jesters for the vigorous "Dance of the Tumblers", one of Rimsky-Korsakov's best-known show-stoppers. – Paul Horsley

Program Notes

ASB Players

BaritoneBetsy Appleton

OboeFred BehningKristen MasonBrittany Toll

BassoonWalter Pasciak * Brian ProvostJohn Walter

Bass ClarinetSharon KojzarekRuth Lim

TrumpetEric BittnerDavid CrossWesley EllingerGeorge GreeneKevin JedeleDavid JonesNicole KachelmeierJohn KingErin Knight *Karen PennDan SchererBruce Wagner

French HornJillian BaakliniBrittany BrownLeslie BoergerRon BoergerChuck Ellis *Marilyn GoodMichael GoodJerry HayesEvan KolvoordJo OliverCarl Vidos

TromboneJohn Bodnar *Jim CrandellMark KnightDale LiningerScott MawdsleyDonald McDanielRichard PiskatorPaul PutmanKen Riley

EuphoniumAllan Adelman *Tim DeFriesNeil KingJerry SchwabJamie Yarbrough

TubaKeith ChenowethScott Hastings *Robert HeardAl MartinBuford Robins

String BassThomas Edwards

PercussionAlan ClineTamara Milliken GalbiBill HaehnelJim HubbardAdam KempKatherine LeanderRobert Ward *

PianoJeff Rudy

* Section Leader

FluteBeth BehningWade ChilesKyndra CullenNan EllisCheryl FloydSally Grant *Penny GriffyLinda LiningerBeverly LowakSara ManningKaren VanHooserKristi Wilson

ClarinetLibby Cardenas *Sally CharboneauMichael DuranDavid EasterHank FrankenbergKirk HaysRamona HeardClifton JonesKaren KnetenRegina MabryNancy MurphyNancy S NorthClary RocchiHolly ThompsonFaith WeaverJohn Wallgren

Saxophone AltoEddie JenningsBob MillerCindy StoryBrenagh Tucker *

TenorSusan AbbottSteve Neinast

ACO Players

VioloncelloJarrod Tuikka, principalTani Barr-Kermani, assistantSarah CrawfordJudy DeWittLinda EppsEve GalbraithSandy HayesOwen HofmannCecile MorganJennifer PattersonCaleb SeboldtEmma TreadwayJohn Whitney

Double BassJames Sproat, principalKathy PetheramPhillip Truitt

FluteSharon Davis, principalDarbi ElliottMarcia Gillespie-Norder, piccolo

OboeMadeline Warner, principalTrish BenfordElisa Pinno, English horn

ClarinetKathleen Bohn, co-principalGary Meyer, co-principalLaura Gorman

BassoonAmy Crandell, principalMelissa Vauk

HornKathy Nolen, principalOscar BotelloDavid ParkerToni PowellMegan Wadley

TrumpetJose Yznaga, principalKent Stuiber

TromboneAndrew Straight, principalJesse NolenRobert Tung, bass

TubaMike Lynch, principal

PercussionChris Wike, principalIan FryKyle GarzaDon Thompson

TimpaniAlan Smith, principal HarpLisa Lamb, principal

Violin ICarolyn Richards-Chacon, concertmasterMelissa Ruof, assistantBob BrockettDavid ChisumMeagan HaleSherri HollisterLynn PetroDawn SmithJulienne SmithPhilip SmithPat SurguySol Swords

Violin IIDario Landazuri, principalKyle Bryson, assistantDeborah ByersJennifer CoyleFerris DuhonDylan FeldpauschAndrew GoolsbeeGloria LeeEvan NaveDarren SchmidtCarrie Schoenert HoustonEllen Williams

ViolaEugene Gott, principalGeoff Carlisle, assistantShelley BowersKaty HamptonDavid KaplanMark LegerArt MonzingoKatie NottAmanda TofflemireRonda von SehrwaldSusan Williams

Austin Symphonic Band, founded in 1981, is composed of volunteer musicians who combine their talents and services to provide performances of artistic merit for the benefit of ASB band members,

audiences, and the Austin community. The band provides an average of 10 concerts annually throughout the Austin area and has performed on multiple occasions at conferences of the Texas Music Educators Association and Texas Bandmasters Association. Guest soloists with the band have included, among others, acclaimed tuba artist Patrick Sheridan; renowned flutist Jim Walker; former Dukes of Dixieland clarinetist Michael Sizer; and saxophonist extraordinaire Dale Underwood. To-day the Austin Symphonic Band is recognized as one of the premier adult community bands in the nation. Keynote performances in the band’s history include three concerts at the Midwest Clinic in Chicago, two appearances at the American Bandmasters Association in New Orleans and Dallas, and a 2006 performance at the Northwest International Band Clinic in Seattle. ASB was named the Official Band of the City of Austin in 1989 and was the honored recipient of the Sousa Foundation’s Sudler Scroll for outstanding achievement as a community band in 1991. In 2010 ASB performed for the Association of Concert Bands in Richardson.

ASB offers several public and community service concerts each year, including two free concerts in Austin’s famed Zilker Park Hillside Theater and one on the South Steps of the Texas State Capitol.

The Austin Civic Orchestra has been performing in the greater Austin area since 1977 and is devoted to bringing high quality music to the community and providing a musical outlet for professional and non-pro-fessional musicians alike. The ACO performs six to eight concerts each season, all of which offer programming to suit a variety of musical tastes, from traditional classics to pops and most everything in between. Each year, the ACO sponsors a concerto competition enabling young music students to compete for a music scholarship and a chance to perform with the orchestra in concert. The ACO also sponsors a biennial composition competition to encourage young composers and to debut new compositions. This season the orchestra ushered in a new and exciting concept: Embracing the Classics. Exploring the Future. Music Director Lois Ferrari believes that in order for classical music to truly realize its potential as a relevant and important art form it must embrace its future as much as its past. With this in mind, the ACO will program the usual beloved classics alongside new and eclectic works, some of which might be considered off-beat, cross-genre, or even radical.

ASB Donors

Platinum Sponsors ($1,000+)Beth & Fred Behning

Wade ChilesThe City of Austin

The City of BastropThe City of Round Rock

Hewlett-Packard Product GivingEileen & Wayne MsDildaDick & Karen VanHooser

Gold Sponsors $500-$999Eddie JenningsKaren Kneten

Silver Sponsors ($100-$499)Susan Abbott

Leslie & Ron BoergerHank Frankenberg

Marilyn Good & Dan WoodSally Grant

George GreenePenny Griffy

Hewlett-Packard Matching GrantsClifton Jones

Lone Star PercussionAl Martin

Steve NeinastCindy Story

Bruce Wagner

Bronze Sponsors ($50-$99) Wesley Ellinger

ACO Donors

Bravo ($1000+)The AM Technical Solutions, Inc. Ann Rose Corporate Fund

In memory of Dorothy and Joseph BohnThe City of Austin

Webber Family Foundation

Curtain Call ($500+)Kathleen Bohn

Faith Holmes, M.D.Louise Morse

Take a Bow ($250+)Jose Chacon and Carolyn Richards-Chacon

Melissa RuofMichael and Ann Tedesco, in honor of Dr Lois Ferrari

Applause ($100+)Mary Brockette

Dave Coyle and Dana RenoJudy DeWittJeffrey ElliottLinda Epps

David KaplanDario Landazuri

Art and Christine Monzingo, in memory of Vivian Mansell

Kathy and Jesse NolenCarrie SchoenertJulienne Smith

Jerry and Melissa VaukRonda von Sehrwald

Sherry Woods

Kudos ($10+)Trish BenfordOscar Botello

Bob and Wendy BrockettBarton and Sharon DavisFerris and Ruta Duhon

Evan NaveTony and Lynn Petro

Sol SwordsRose Taylor

Megan WadleyJohn Whitney

Concert Sponsors

Gold ($2,500 - $4,999)Duggins Wren Mann & Romero, LLP

Silver ($1,000 - $2,499) Naji S Norder and Marcia Gillespie-Norder

Student Ticket DonorsClifford and Janice Culver

James DickLouis and Joan Ferrari

Rita Jo FuquaMarvin GehrmanKathryn Mishell

Louise MorseQuintessentials Woodwind Quintet

Gary and Grace SilcottStrait Music

Tokyo Electron America____________________

Contributors ($10-$49)Tamara Milliken Galbi

Kristen MasonNancy MurphyFaith WeaverKristi Wilson

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MUSICfor Aust in by Aust in

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w w w . a u s t i n s y m p h o n i c b a n d . o r g

l o i s f e r r a r i & r i c h a r d f l o y d , d i r e c t o r s

austin civic orchestra & austin symphonic bandDecember 2, 2012 • 3 p.m. • The Long Center for the Performing Arts