Music by:LorenzHindemithReedsullivan

Music by:LorenzHindemithReedsullivan

UNIVERSITY OF FLORIDA WIND SYMPHONY

DAVID A. WAYBRIGHT, CONDUCTOR

ACKNOWLEDGEMENTS

EL MURO PRODUCTION

John Laverty, ProducerJohn M. Watkins, Jr., Assistant ProducerArchie G. Birkner IV, Assistant Producer

David St. Onge, Recording, Editing & MasteringJoe MacKenzie, Cover Photography

Myda Iamiceli, Graphic Design, University Relations

Recorded May 2-3, 2010. Edited August 12, 2010

El Muro October 5, 2009. Edited October 8, 2009

Both were recorded at the Steinbrenner Band Hall on the

campus of the University of Florida.

COLLEGE OF FINE ARTS / SCHOOL OF MUSIC

Lucinda Lavelli, DeanJohn A. Duff, Director, School of Music

UNIVERSITY OF FLORIDA BAND STAFF

David A. Waybright, Director of BandsJohn M. Watkins, Jr., Associate Director of BandsArchie G. Birkner IV, Assistant Director of Bands

Scott Wilson, Director of Jazz StudiesJohn LaCognata, Doctoral Conducting Associate

Charles J. Vaughan, Doctoral Conducting AssociateDustin Burgess, Doctoral Conducting Associate

Charley Andersen, Graduate Conducting AssociateErin Cushing, Graduate Conducting Associate

Megan Hermann, Graduate Conducting AssociateShannon Kane, Graduate Conducting AssociateMichael Miller, Graduate Conducting Associate

Chelsea Negray, Graduate Conducting AssociateMary Lou Pearce, Administrative Assistant

Laura Shannonhouse, Administrative AssistantKristin Davis, LibrarianJenny McClay, Librarian

Valery Neiberger, LibrarianNicole Ross, Librarian

WIND AND PERCUSSION FACULTY

Paul Basler, Horn

Kenneth Broadway, Percussion

Joyce Davis, Trumpet

Mitchell Estrin, Clarinet

Jonathan Helton, Saxophone

Arnold Irchai, Bassoon

Arthur Jennings, Trombone

James Jenkins, Tuba/Euphonium

Leslie Odom, Oboe

Kristen Stoner, Flute

SPECIAL THANKS

Bernie Machen, President, University of Florida

Joseph Glover, Provost

Russell Robinson, Music Education Area Head

University of Florida Student Government

University Athletic Association

UF BANDS ON COMPACT DISC

canciones y DanzasRaise the Roof

stravinsky & FriendsDurian Music

The Art of the serenadeDances and Dreams

Mountain MusicFrançaise et Américaine Musique01-01-00 (Millenium concert Live)symphonies, circuses and songs

Website information:

www.ufbands.ul.edu

PROGRAM NOTES

EL MURO

Ricardo Lorenz’s compositions have received praise for their iery orchestrations, harmonic sophistication, and rhythmic vitality. These impressions have accompanied performances of his works at prestigious inter-national festivals such as Carnegie Hall’s Sonidos de las Américas, Ravinia Festival, Santa Fe Chamber Music Festival, France’s Berlioz Festival, Spain’s Festival Internacional de Música Contemporanea de Alicante, the Festival Cervantino in Mexico, and Turkey’s Uluslararasi Summer Festival among others. Ricardo Lorenz holds a Ph.D. in composition from The University of Chicago and a Master of Music degree from Indiana University. He studied composition under Juan Orrego Salas, Shulamit Ran, and Donald Erb. He taught at Indiana University, The University of Chicago, City Colleges of Chicago, and is currently Associ-ate Professor of Composition at Michigan State University. His compositions are published by Lauren Keiser Music and Boosey & Hawkes. They can also be heard on the following record labels: Arabesque Record-ings, Albany Records, Indiana University LAMC Series, Doublemoon Records (Turkey), Urtex Digital Classics (Mexico), SOMM Recordings (UK), and Cedille Records (US). “El Muro was commissioned by the American Bandmasters Association and the University of Florida. El Muro is Spanish for ‘the wall.’ At a purely musical level, the wall I imagined is a ten-minute long sound structure made up of tightly woven riffs, each suggesting a different style of Latin American music. Some of the styles I suggest are also the Colombian cumbia, the Peruvian huayno, the Mexican son, the Cuban montuno, to name a few. “At a conceptual level, El Muro is my response to how I feel about walls, whether these walls exist in reality or in our minds. I should mention that I was raised in a South American city where most homes are surrounded by walls topped with barbed wire. To put it simply, I was raised in a land of makeshift fortresses. This is how I learned early on that walls not only exist to delineate space but also to keep people away. In my own imagi-nary way, El Muro humanizes those people that walls keep away by connecting them to their longstanding cultural traditions. As an adult I learned that these traditions breed soulful, exciting and sometimes even inluential music capable of making even the most sturdy-looking wall tumble down.”

— Ricardo Lorenz (taken from the score)

Used by permission. Copyright © 2008 Lauren Keiser Music Publishing (ASCAP). All rights reserved. International Copyright Secured.2

FLUTE AND PICCOLO

Katerina Allmendinger Charley Andersen Kimberly Aron Kristin Davis Darbye-Leigh Elliott Nicole Frankel Natasha Herrera Samantha Morrill

CLARINET

Jeremiah Adriano Mikey Arbulu Dale Fedele Jenny Maclay Amanda Mihalik Keith Northover Patrick Sikes Thomas Weston Carrie White Kali Woodruff

OBOE

Megan Hermann Ariel Palau Samantha Pensis Gabriel Sanchez

BASSOON

Clarisse Benson Jill Coons Tristan Hensley Valery Neiberger Benjamin Pickos

ALTO SAXOPHONE

Laura Kerslake Jack Kinsey Brandon Bishop

TENOR SAXOPHONE

Joshua Bond David Santiago

BARITONE SAXOPHONE

Mauricio Aguero

TRUMPET

Steven Butler Dustin Burgess James DeRemer Mike Goodson John LaCognata Michael Miller Charles Russell RobertsJeff Vaughan

HORN

Rebecca Chambers Thomas Deacy Margaret Dixon Hannah Gill Jonathan Moore Jackie Perez Alexis Thompson

TROMBONE

Blair Castle Kevin Dionne Michael Eichner Kyle Steiner Matthew Varney

EUPHONIUM

Diego Aviles Robert PadillaSam Polatsek

TUBA

Zach GouzValmer HuhnRyan Sullivan Myles Stupp

STRING BASS

Ashley Dudash Lauren Kingry

PERCUSSION

Adam Ambrose Kelly Breese Erin Butler Danny Felsing Nico GalfondMichael Hughes Sean Millman Rickie Santiago

PIANO

Tane’ DeKrey

HARP

Dolly Roberts

WIND SYMPHONY PERSONNEL

7

KONZERTMUSIK FUR BLASORCHESTER, OPUS 41

Konzertmusik für Blasorchester, Opus 41 was written for the 1926 Donaueschingen Music Festival by Paul

Hindemith. Hindemith was the principal artistic advisor to the festival and decided to feature the neglected

medium of wind band composition that year. The Konzertmusik and additional original works by Ernst Pep-

ping, Ernst Toch and Ernst Krenek were all major components of that year’s event. The work was written for

a small military band and is highly virtuosic for several players, especially trumpet and lugelhorn. The work

comprises three movements: Movement 1 is entitled “Konzertante Overture,” Movement 2 is entitled “Sechs

Variationen über das lied ‘Prinz Eugen, der edle Ritter’” (Six variations on the song “Prince Eugene, the noble

Knight”), Movement 3 is entitled “Marsch.” This brass dominated work precedes the Konzertmusik, Opus 49 which features brass choir, harp and piano.

LA FIESTA MEXICANA

Dr. H. Owen Reed retired in 1976 from Michigan State University as Professor Emeritus. He was chairman of

Music Composition in the School of Music and served as Acting Head in 1957-58. Born in Odessa, Missouri in

1910, Dr. Reed enrolled in the School of Music at the University of Missouri in 1929 but transferred in 1933

to Louisiana State University. There he received his Bachelor of Music (1934) and his Master of Music (1936),

both in music composition, and a Bachelor of Arts (1937) in French. In 1937 he enrolled at the Eastman

School of Music of the University of Rochester and received his Ph.D. in music composition in 1939. Dr. Reed’s

published compositions include a variety of works for orchestra, band, voices, opera, and chamber music, plus

nine books on music theory and composition.

Subtitled A Mexican Folk Song Symphony for Concert Band, this work was written in 1949, based on experi-

ences gained during a ive-month sojourn in Mexico on a Guggenheim Fellowship. The authentic folk tunes

Reed used can be found in Chapala, Jalisco, and Guadalajara; other themes were borrowed from Gregorian

motifs and Aztec dances. The score carries this detailed description of the work by the composer.

PROGRAM NOTES

3

THE SCHOOL OF MUSIC

The School of Music, organized within the College of Fine Arts, plays an important role in the academic

and cultural life of the University and the community. The School has 35 full-time and six adjunct

faculty, serving some 400 graduate and undergraduate music majors. Degree programs include B.A.,

B.M., M.M., and the Ph.D. in Music and Music Education. Program emphasis includes performance,

music education, theory, composition, music history and literature, ethnomusicology, conducting, and

sacred music. All degree programs are accredited by NASM, NCATE, and the Southern Association of

Colleges and Schools.

WIND SYMPHONY

The Wind Symphony is the premier concert ensemble for the university band program, which includes

12 different concert and athletic band ensembles. The Wind Symphony is world renowned and has

performed throughout the United States and abroad. They have commissioned and premiered many

new works and have been instrumental in furthering the repertory of the wind band. There are many

recordings available of the Wind Symphony through Mark Records. The ensemble has performed nu-

merous concerts at many important music conferences over the past 20 years.

6

PINEAPPLE POLL

On June 24, 1842, Arthur Sullivan was born in South London. Sullivan’s father was a band conductor and rec-

ognized his young son’s talent in music. Sullivan himself attributes his early introduction to music to his father.

This strong interest led his parents to steer Sullivan into an educational path that would promote his interest.

His training began at the Royal Academy of Music which he attended until 1858. He then moved to Leipzig

where he attended the Conservatory and produced one of his irst respected works, The Light of the Harem.

Over the next few years he expanded his classical pursuits and even earned money conducting, working for

the Leeds Festival and the Royal Philharmonic until 1887.

In 1871, Fred Clay (a singer who knew both of the musicians) introduced Sullivan to W. S. Gilbert, and began a

partnership that would become one of the most successful duos in the history of musical theater. Throughout

their partnership they produced a huge body of work including such hits as: H. M. S. Pinafore, The Pirates of Penzance, Iolanthe, Princess Ida, The Mikado, Ruddigore, Yeomen of the Guard, and The Gondoliers. Though

the team was popular, successful, and most importantly full of talent, social differences between the two

musicians eventually got the best of their partnership.

The ballet Pineapple Poll is a spoof of the Gilbert and Sullivan operas. In 1950, the copyright on Sullivan’s mu-

sic expired. One of the irst to exploit this opportunity was Sadler’s Wells, who staged the ballet set exclusively

to music by Sullivan, arranged by a young Charles Mackerras. During the war, Mackerras had played oboe in

the pit of a Sydney theater, where they produced all of the Gilbert and Sullivan operas except for Utopia and

Grand Duke, the only two not represented in the ballet. Every bar of music, even the short bridge passages,

is taken from some opera. The plot is based upon “The Bumboat Woman’s Story” of Gilbert’s Bab Ballads,

which was later developed by Gilbert into H.M.S. Pinafore. The story revolves around Pineapple Poll and her

colleagues, who are all madly in love with the captain of the good ship H.M.S. Hot Cross Bun. In order to

gain admittance to the ship, they disguise themselves in sailors’ clothes, a fact which is kept secret from the

audience until near the end of the ballet.

Program notes from: www.windband.org

Biography from: www.lib.rochester.edu

PROGRAM NOTES

4

Dr. David A. Waybright received his Bachelor of Arts and Master of Arts degrees at

Marshall University and the Doctor of Musical Arts degree in orchestral conducting

from the Cincinnati College Conservatory of Music. He taught initially at Wahama

High School in Mason, West Virginia and since that time has served as Director

of Bands at Ferrum College, Plymouth State College, and Director of Bands and

Orchestra at McNeese State University. Dr. Waybright is currently Director of Bands

at the University of Florida, where he holds the rank of professor and is the head

of the conducting area. He directs the Wind Symphony and supervises the band

program and the graduate and undergraduate conducting curricula.

Dr. Waybright is in demand as a guest conductor and clinician with wind bands,

orchestras, and choirs, and has appeared in that capacity in most of the 50 states, throughout Europe, Asia,

and Australia. He has held residencies at many of the nation’s leading music schools. In addition, he is ac-

tive in the commissioning and performance of new music and has won the praise of composers such as

Dana Wilson, Michael Torke, Donald Grantham, John Corigliano, and Leslie Bassett for his interpretation of

their works. There are many recordings available featuring the University of Florida Wind Symphony under

his direction. Dr. Waybright is an elected member of the American Bandmaster Association and a lifetime

member of the World Association of Symphonic Bands and Ensembles. He is also a member of the College

Band Directors National Association, Music Educators National Conference, and Florida Music Educators As-

sociation. Ensembles under his direction have performed invited concerts of conferences sponsored by all of

those organizations. Dr. Waybright is also a member of Pi Kappa Lambda and an honorary member of Phi Mu

Alpha, Tau Beta Sigma, and Kappa Kappa Psi. He is a National Arts Associate honorary of Sigma Alpha Iota.

5

DAVID A. WAYBRIGHT, CONDUCTOR

UNIVERSITY OF FLORIDA WIND SYMPHONY

DAVID A. WAYBRIGHT, CONDUCTOR

1. El Muro [Lauren Keiser Music Publishing] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ricardo Lorenz [11:00]

Konzertmusik für Blasorchester, Op. 41 [Schott Music Corp.] . . . . . . . . . . . . Paul Hindemith 2. Konzertante Overtüre [5:25] 3. Sechs Variationen über das lied “Prinz Eugen, der edle Ritter” [6:30] 4. Marsch [2:30]

La Fiesta Mexicana [Mills Music, Inc./Alfred Publishing] . . . . . . . . . . . . . . . . . . . . H. Owen Reed 5. Prelude and Aztec Dance [9:50] 6. Mass [6:31] 7. Carnival [7:01]

Pineapple Poll (Suite from the Ballet) [Chappell & Co./Alfred Publishing] . . . . . . Arthur Sullivan/arr. Macherras 8. Opening Number [4:07] 9. Jasper’s Dance [3:32] 10. Poll’s Dance [1:29] 11. Finale [3:38]

Mark Masters • 10815 Bodine Road • Clarence, NY 14031-0406Phone: 716 759-2600 • www.markcustom.com • P 2010 • 9152-MCD

WARNING: All rights reserved. Unauthorized duplication is a violation of applicable laws.

EL M

UR

O U

NIV

ER

SIT

Y O

F F

LO

RID

A W

IND

SY

MPH

ON

Y91

52-M

CD

E

L M

UR

O

UN

IVER

SIT

Y O

F F

LO

RID

A W

IND

SY

MPH

ON

Y9152-M

CD