District 99 and the South High School Bands are pleased to announce our tour repertoire for our performance at Carnegie Hall.
Monday
Evening, March 2, 2015, at Eight O'clock
Isaac
Stern Auditorium / Ronald O. Perelman Family Stage
COMMUNITY
HIGH SCHOOL DISTRICT 99 & BOB ROGERS TRAVEL
presents
New York Nouveau
performed by
Downers Grove North High School Symphonic Band
Downers Grove North High School Wind Ensemble
William S.
Miller, Jennifer Mullen, Brayer Teague - Conductors
Downers Grove South High School Wind Symphony
Downers Grove South High School Wind Ensemble
Greg Hensel,
Craig Roselieb, Glenn Williams - Conductors
With special guest artists:
Gaudete Brass Quintet
Don Owens, composer & conductor
Peter Wilson, violin
and distinguished alumni guest artists:
Kristin A. Bowers, clarinet
Ian Williams, piano
Lauren Wood, saxophone
Hannah Young, harp
Downers Grove
North High School Symphonic Band
ROSSANO GALANTE Mount Everest
STEVEN BRYANT The Machine Awakes
JOHN WILLIAMS Theme from “Schindler’s List”
arr. John Moss Peter Wilson, violin soloist
HENRI VIEUXTEMPS Souvenir d’Amerique
arr. Stephen
Bulla Peter Wilson, violin soloist
KARL KING Torch of Liberty
Downers Grove
South High School Wind Symphony
JOHN PHILIP SOUSA Manhattan Beach March
ed. Frederick
Fennell
ANTONIN DVORAK Finale from The New World Symphony
arr. Larry
Daehn
EARLE HAGEN Harlem Nocturne
arr. Alfred Reed Lauren Wood, saxophone soloist
LEONARD BERNSTEIN West Side Story
arr. Jay Bocook
THOMAS ALLEN Whip and Spur March
arr. Ray
Cramer
Intermission
Downers Grove
North High School Wind Ensemble
ROBERT SHELDON Metroplex
SCOTT MCALLISTER Black Dog
Kristin A.
Bowers, clarinet soloist
Hannah
Young, harp accompanist
FRANK TICHELI Angels in the Architecture
ALBERTO GINASTERA Danza Final - Malambo
arr. David John
Downers Grove
South High School Wind Ensemble
LEONARD BERNSTEIN Overture to Candide
arr. Walter
Beeler
JESS TURNER The King of Love My Shepherd Is
DON OWENS Concerto for Brass Quintet and Wind Ensemble
Movement I - Rejoice!
Ryan Berndt, trumpet
Bill
Baxtresser, trumpet
Julia
Filson, horn
Paul
Von Hoff, trombone
Scott
Tegge, tuba
MICHAEL MARKOWSKI Joy Ride
RYAN GEORGE Riff Raff
OTTO H. JACOBS The Aviation Cadet March
arr. Craig
Roselieb
District 99
Jazz Orchestra
featuring current students from North & South High
Schools, District 99 music faculty,
District 99 alumni, and special guest artists
GEORGE GERSHWIN Rhapsody in Blue
Ian Williams, piano soloist
Don
Owens, guest conductor
Notes ON THE PROGRAM
Mount Everest - Rossano
Galante
Mount Everest is comprised of robust
brass melodies, sweeping woodwind lines, and rhythmic ostinato. This
composition captures the epic grandeur and beauty of Mount Everest, the highest
mountain on earth.
Rossano Galante was born in Buffalo, NY
in 1967 and earned a degree in trumpet performance from the State University of
New York at Buffalo in 1992. He then was accepted into the film composition
program at the University of Southern California and studied with film composer
Jerry Goldsmith. Among Galante’s film credits as composer or orchestrator
include Big Fat Liar, Scary Movie 2, The Tuxedo, and Tuesdays With Morrie.
Commissions for his music have come from the Amherst Chamber Orchestra, Hofstra
University Symphonic Band, Nebraska Wind Symphony, Syracuse Symphony Youth
Orchestra, and West Genesee High School Wind Ensemble.
The
Machine Awakes - Steven Bryant
The
Machine Awakes is the sound of something not human (but of humans hands) -
something not entirely organic, but most definitely alive - waking for the
first time. From the opening swirling textures, we sense the first hesitant
sparks of thought, attempting to find form and coherence. This new machine -
sentient, aware - comes fully awake, possessed of emphatic self-determination
and unfathomable purpose.
Steven
Bryant (b. 1972, Little Rock, Arkansas) is an active composer and conductor,
with numerous works for orchestra, band, and chamber and electro-acoustic
ensembles. He studied composition with John Corigliano at The Juilliard School,
Cindy McTee at the University of North Texas, and Francis McBeth at Ouachita
University.
Theme
from “Schindler’s List” - John
Williams / arranged by John Moss
“Schindler’s
List” is Steven Spielberg’s 1993 black-and-white film based on the true story
of Oskar Schindler, a Nazi Czech businessman, who used Jewish labor to start a
factory in occupied Poland. As World War II progressed and the fate of the Jews
became apparent, Schindler’s motivations switched from profit to human
sympathy. Assisted by his accountant, Itzhak Stern, Schindler devised a plan to
employ concentration camp workers in his Czech factory, saving over 1,100 Jews
from death in the gas chambers of Auschwitz.
The
theme from the movie is performed by the solo violin, accompanied by the
ensemble. The melody evokes the emotions of grief and despair, but finds
sufficient hope to fulfill the desire for survival. The Motion Picture Academy
awarded John Williams an Oscar for the best original score for the music he
composed for the film.
Souvenir
d’Amerique - Henri Vieuxtemps /
arranged by Stephen Bulla
In
1843 at the age of twenty-three, Henri Vieuxtemps, the great French violin
virtuoso-composer, left Europe for his first American tour. He toured America for six months, from Boston
to New Orleans, but by his own admission it was not a successful series of
engagements. He found the audiences too raw, too unused to “music classique” -
with the exception of one piece. Early in the tour, Vieuxtemps had composed a
brilliant and facile set of variations on Yankee Doodle and, everywhere he
played, this “Souvenir d’Amerique” was a success. With this work, Vieuxtemps later wrote, “I
became popular and got my foot in the door, for better or worse, opening the
way for others.”
Torch of Liberty - Karl King / arranged
by James Swearingen
Composer of over 188 marches in his
lifetime, Karl King left an indelible mark on march music and on the band
world. Heavily influenced by his early years trooping as a circus musician,
many of his marches are in an up-tempo circus march style with his most
familiar being Barnum and Bailey’s
Favorite. In fact, when interviewed
in the last year of his life he referred to conducting the Barnum and Bailey
Band at Madison Square Garden as his proudest moment. In addition to circus marches, Mr. King also
composed many marches in a patriotic march style including tonight’s selection,
The Torch of Liberty, composed in
1942.
Manhattan Beach March - John Philip
Sousa / edited by Frederick Fennell
During Sousa’s lifetime, Manhattan Beach was a highly
fashionable New York summer resort, and in 1883 Sousa and his band began a long
series of engagements there. With
nineteen former members of Patrick Gilmore’s Band, a dozen or so very capable
players from Europe and some of the most outstanding artists from other bands
in his group, Sousa knew the entertainment potential of his band. David Blakely was skeptical, and it was at
the first Manhattan Beach concert series that he invited the most prominent critics
and musicians in New York to hear the band and offer criticism. Their comments were so flattering that
Blakely was convinced that Sousa was correct in his judgement. Sousa composed Manhattan Beach during the
first summer and added many operettas and other major works during subsequent
summers at the resort.
Symphony
No. 9 in e minor, Opus 95 - Finale - Antonin Dvorak / arranged by Larry
Daehn
The New World Symphony, known more properly as
Symphony No. 9 in E Minor, Op. 95: From the New World, is an orchestral work by
Antonin Dvorak that is a major milestone in the validation of American—or “New
World”—music and lore as source material for classical composition. Written
while Dvořák was living and working in New York City the symphony purportedly
incorporated the composer’s reflections on his American setting. The piece
premiered at Carnegie Hall on December 16, 1893. Arranger Larry Daehn was born
in Rosendale, Wisconsin, in 1939 and grew up on the farms of that state. He
received a B.A. in Musical Education from the University of Wisconsin at
Oshkosh in 1964 and his Masters degree in 1976 from the University of Wisconsin
at Platteville An avid admirer of Percy Grainger, he has written several
arrangements of that composer's melodies and an article on the Grainger Museum.
He is the owner of Daehn Publications.
Harlem Nocturne - Earle Hagen / arranged by
Alfred Reed
Written in 1939, this standard in the jazz repertoire
has been covered by more than 500 artists.
In addition to appearing several times on the Billboard Charts, this
song was also the theme song for the Mike Hammer television series in the late
1980’s. Composer, arranger, conductor and editor, Alfred Reed’s
life was intertwined with music almost from birth in New York City on January
25th, 1921. With over 200 published works in all media, many of which have been
on required performance lists for over 25 years, Dr. Reed is one of the
nation’s most prolific and frequently performed composers. In addition to
winning the Luria Prize in 1959, he has been awarded over 60 commissions! His
work as a guest conductor took him to 49 States, Canada, Mexico, Europe, Japan, Australia and
South America. He was the first “foreign” conductor to be invited to conduct
and record with the world famous Tokyo Kosei Wind Orchestra.Dr. Reed left New
York for Miami, Florida, in 1960, where he made his home until his death on
September 16, 2005.
West
Side Story - Leonard Bernstein / arranged by Jay Bocook
Premiered in New York City in 1957, this
milestone production marked Stephen Sondheim’s Broadway debut. Featuring a collaborative team for the ages
consisting of Leonard Bernstein, Jerome
Robbins, Stephen Sondheim and Arthur Laurents. The show is inspired by the
universal themes also found in Shakespeare’s Romeo and Juliet. This arrangement by Jay Bocook is a medley a
few of the great songs from the show, including: Maria; Tonight;
One, Hand, One Heart; Cool;
Somewhere, and America. Although the show was nominated for Best Musical in
1957, the award went to Meredith Wilson’s The Music Man. An award winning feature film was produced in
1961 featuring the incomparable Natalie Wood and Rita Moreno. The film garnered 10 of the eleven awards for
which it was nominated, including Best Picture.
A native of Clearwater, Fla., Bocook is recognized internationally as a
composer, arranger, conductor and educator. Bocook's works have been performed
at the 1984 Olympic Games in Los Angeles, the 1996 Centennial Olympic Games in
Atlanta and the 2002 Winter Olympic Games in Salt Lake City, Utah. In 2003, his
music transcriptions of noted film composer John Williams were premiered by the
U.S. Marine Band in a concert at the Kennedy Center in Washington, D.C. An
encore performance with Williams and the "President's Own" took place
in 2008. In 2009, Bocook was inducted into the Drum Corps International Hall of
Fame. He is also a member of the American Bandmasters Association.
Whip and Spur March - Thomas Allen
/ arranged by Ray Cramer
The
music of Allen reflects his life as professional musician in the world of
entertainment. He was a violinist and made his debut with a professional dance
orchestra in Massachusetts at the age of twenty. He later played in an Opera
House orchestra in Boston. He was the business manager for Edwin G. Bates
Musicians for a time, but returned to orchestra playing. Although Allen wrote a
great amount of music for a variety of dances, acrobatic acts, and short
dramatic sketches, most all is forgotten. Only a few rags and galops are still
heard in rodeos, circuses, and concerts. Some titles still occasionally heard
are General Mixup, U.S.A., Blue Streak Galop, Saddle Back Galop, Horse Marines,
Battle Royal, and Majestic. Whip and Spur Galop is usually taken in one, or a
very fast two beats per bar, thus it sounds "difficult." However,
the notes are all quarter and eighth notes, and fall easily under a player's
fingers. It is an exciting little galop, equally enjoyable for the performer
and the listener. Arranger Ray Cramer is
Director of Bands emeritus from Indiana University, spent more than 30 years
teaching music and conducting at the Jacobs School of Music at IU.
Metroplex - Robert
Sheldon
A musical portrait of
Manhattan's cityscape, Metroplex opens with a vision of the New York skyline,
tall buildings and concrete canyons. This leads to an urban jazz scene in one
of Harlem's clubs. Finally the music takes us on a wild taxi ride through the
heavy traffic of this incredible city. The skyline is seen once more as we
leave Manhattan, hopefully to return again soon.
Robert Sheldon is one of
the most performed composers of wind band music today. A recipient of numerous
awards from the American School Band Director’s Association, Phi Beta Mu and
the American Society of Composers, Authors and Publishers, his compositions
embody a level of expression that resonates with ensembles and audiences alike.
His music is performed around the world and appears on many international
concert and contest lists.
Black
Dog - Scott McAllister
Black
Dog is a rhapsody for solo clarinet and wind ensemble. The work is inspired
by classic hard rock music, particularly Led Zeppelin’s rhapsodic-style song Black Dog. The clarinet solo takes the
role of the lead singer in a hard rock band with its extreme range and emotions
juxtaposed with the pyrotechnic solos in true “Hendrix” fashion. The rhapsody
begins with a long solo cadenza which introduces most of the material in the
work. The middle section is a very slow, upward, “Stairway to Heaven” gesture. The last section of Black Dog concludes with a “head-banging” ostinato pattern that leads to
the final fiery cadenza.
Scott McAllister was born in Vero Beach,
Florida, in 1969, and completed his doctorate in composition at the Shepherd
School of Music at Rice University. McAllister has received numerous
commissions, performances, and awards throughout the United States, Europe, and
Asia. He has also been featured at the Aspen, Chautauqua, and The
Prague/American Institute Summer Festivals. McAllister has received awards,
performances, and/or commissions from ASCAP, The American Composers Orchestra,
The Rascher Quartet, I Musici de Montreal, Charles Neidich, The Verdehr Trio,
Jacksonville Symphony, Da Camera, The Ladislav Kubik Competition, The United
States New Music Ensemble, The President's Own Marine Band, The Florida Arts
Council, and The Florida Bandmaster's Association. Scott McAllister's music is
recorded on Summit Records, Naxos, ITunes and Centaur labels and his music can
be found at Lydmusic.com. Scott McAllister is Professor of Composition at
Baylor University.
Angels
in the Architecture - 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 Light
I have soared
from above
I am cloth’d
with Mother’s love.
I have come,
I have come,
To protect my
chosen band
And 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 Aleicham”) 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 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.
Danza
Final - Alberto Ginastera
The
Argentine composer Alberto Ginastera was perhaps the most influential 20th
century composer of classical music from Latin America. His contacts and influences wee broad: he
studied with Aaron Copland, taught Astor Piazzolla, and the rock group
Emerson-Lake-and-Palmer used a movement of his Piano Concerto on their album Brain Salad Surgery.
Danza Final is the final movement of Ginastera’s four-movement
orchestral suite Estancia. The dance is cast in the form of a malambo, a
dance specific to Argentina with roots dating to the 1600s. Only males are allowed to participate in this
dance, and it is often used by gauchos (cowboys) to prove their manhood. The clasping
of hands and a use of the feet akin to tap dancing are a hallmark of this
style. The composer’s Malambo, Op. 7,
for piano, composed in 1940, preceded the orchestrated version of 1941. The version for band was arranged by David
John in 1965.
Overture to Candide - Leonard Bernstein / arranged by
Walter Beeler
Candide
opened on Broadway on December 1, 1956. It was perhaps a bit too intellectual
for its first audiences, and it closed after just seventy-three performances,
seemingly successful for “classical music” performances, yet not quite
sufficient for the financial success of a Broadway show. Leonard Bernstein was
less concerned over the loss of money than the failure of a work he cared about
deeply. He is quoted to have said, “there’s more of me in that piece than
anything else I’ve done.” Indeed, with each revival, Candide has won bigger audiences. Bernstein himself recorded the
work in 1989, spending some of his last vital energy before his death the
following year.
The overture
was well received from the start, and it promptly became a very popular
curtain-raiser. Brilliantly scored, it has a certain type of vitality that is
further exclaimed by the scoring of percussion instruments with nuance and
subtlety. The xylophone, triangle, and glockenspiel are used to highlight
certain notes and to accent several tutti passages. The timpani, bass drum, and
snare drum are combined in a clever way that creates rhythmical structures
intertwined with melodic and harmony passages.
After the extremely vivid opening, which seems a bit like a horse
carriage moving at a fast speed, a middle section, lyrical and tender in
nature, arrives. The excitement created in the beginning then returns to
conclude the piece with an enhanced version of the opening material and an
acceleration of the tempo.
The King of Love My Shepherd Is - Old Irish Hymn / transcribed for band by Jess
Turner
Jess Turner was born in 1983 into a musical family. Earning a bachelor’s and master’s degree in
trumpet performance from Bob Jones University, he also studied composition and
earned several honors for his early works including 1st place in the MTNA Young
Artist Composition Contest. He has since
become a prominent young composer with over 40 works for wind ensemble,
orchestra, choir, solo and chamber ensembles to his credit.
The King of
Love . . . is an old Irish hymn tune
with a lovely text written in 1868 by Henry W. Baker, that paraphrases Psalm
23. This melody has been sung at the
funeral of Diana, Princess of Wales in 1997, but this particular arrangement
was originally conceived for choir by Dan Forrest, a prominent choral composer
and composition teacher at Bob Jones University. Jess Turner writes of his transcription; “I
was struck by its beauty and simple profundity.
It is my hope that this piece . . . will continue to impact audiences in
its wind ensemble incarnation.”
Concerto
for Brass Quintet and Wind Ensemble
- Don Owens
Movement
I - Rejoice!
Rejoice is the first movement of a Concerto for Brass Quintet and Wind Ensemble, commissioned by Craig
Roselieb, Director of Bands at Downers Grove (Illinois) High School,
specifically for the Gaudete Brass and Mr. Roselieb’s wonderful Wind Ensemble.
When I first heard some of the recordings by the Gaudete Brass I was intrigued
by their name, so I went to Google, as we all seem to do these days and learned
that Gaudete is a sacred Christmas carol, thought to have been composed in the
16th century, but also might have been created earlier in the late medieval
period. More important to me, Gaudete means rejoice in Latin. The movement is
designed to feature the virtuosity of the Gaudete Brass with give and take with
the wind ensemble. Occasionally, I’ve quoted the melody of the carol, but only
in fragments. The piece is through composed with a mixture of atonal sounds and
gestures and modal-like lines and episodes. While writing this piece, I was
constantly thinking of my late departed wife and wanted to rejoice in my memory
of our more than half a century together. Rejoice! Don Owens - October 31, 2014
joyRiDE
- Michael Markowski
Nearly ten years ago, in the summer of 2005, I was on stage at Carnegie Hall in
New York City playing alto saxophone as a senior in his high school band. The
concert lineup: Grainger, de Meij, Mackey, and just under three minutes of me.
When his band director, Jon Gomez, first received word that the high school
music department was selected to perform in New York, he asked me if he’d like
to write something to open the concert and commemorate the trip—something that
was bursting with joy. "Maybe," Gomez suggested, "it would be
cool to take something more traditional, like Beethoven's Ode To Joy, and blend
it with something more modern, like John Adams." The idea was so simple
and so astounding that the assignment excited me immediately—it excited me so
much that within ten days, he had completed the first complete draft of joyRiDE, a two-and-a-half-minute
concert opener that borrows Beethoven's infamous melody and dresses it in a
tie-dye blazer of rhythm and texture that nod humbly to John Adams's Short Ride
In A Fast Machine.
joyRiDE was the second piece of music that I'd written for
concert band, and as a 12th grader at the time, it included some beautiful
mistakes. For instance, 12th Grade Me really wanted to hold true to the spirit
of Beethoven's "Symphony No. 9" by keeping my mash-up in Beethoven's
original key of D Major. However, looking back, I realize that while D Major is
a string player's best friend, it is not so copacetic with band players, who
often prefer their tonal centers to be flat (pun intended). Luckily, Eb Major
is just up the block so for this 2014 revision, I decided it best to raise a
portion of the piece by a half-step. Other edits included re-spelling
accidentals, re-notating rhythms, filtering out an impractical 2nd Tenor
Saxophone part, re-managing the percussion forces, and polishing the overall
orchestration in a few key sections that seemed a bit sloppy. For the longest time, though, I wrestled with
whether or not I should even revise the piece—thinking that it should be kept
exactly as-is, that I should honor the original as a sort of time capsule of
myself and where I was—but I think this version finds a healthy balance between
preserving what my 18-year-old self musically intended while maximizing the
piece's playability.
-
Michael Markowski
- July 24, 2014
Riff Raff -
Ryan George
Riff Raff was born out of a recently renewed interest in
post-war jazz and big-band. The works of composers and arrangers like Kenton,
Riddle, Graettinger, Ellington, and even the jazz-inspired sounds in some of
Bernstein's symphonic music conjure up images (in my mind anyway) of the "urban
rebel" found within mid-century American pop culture. This idea of the
brooding lone figure who forges through life on their own terms can be found in
some of the fictional film characters played by James Dean and Marlon Brando or
in the hard-boiled detectives and heroes within pulp novels and film noir. What
I find interesting about these character's is the double-persona that they
usually possess. On one hand they exude an über-cool toughness and an "I
don't care what the world thinks" bravado. Yet internally there is often a
conflicted and troubled soul in need of redemption . . . Ryan George - April
25, 2012
Ryan George, Michael Markowski and Jess Turner have
recently been commissioned by the Consortium for the Advancement of Wind Band
Literature. District 99 North and South
High Schools are founding members of this consortium and are pleased to
continue this work on an ongoing basis.
The Aviation
Cadet March - Otto H. Jacobs / arranged by Craig Roselieb
Robert Jacobs was a member of the U.S. Army Air Corps
during World War II. In 1944, his
grandfather, Otto Jacobs composed a short march for piano entitled “The
Aviation Cadet March” to commemorate his grandson’s first year of service. In
2007, this march was arranged for band to commemorate another of Bob’s enduring
legacies; a youth exchange program between Germany and the United States. A longtime member of the Downers Grove
Kiwanis club, Bob was instrumental in connecting the Musikschule from
Bietigheim-Bissingen, Germany to the Community High School District 99 Music
Department through a visit in 1985 from the Musikschule Accordion Band. Since that time, hundreds of students from
both communities have shared tours and homestay experiences with each other
that have grown to include bands, string orchestras, jazz bands, and guitar and
recorder ensembles on an annual basis.
The 2007 premiere performance of this arrangement featured a combination
of the Wind Ensembles from both North and South High School together with the visiting
Jugenblasorchester (youth wind band) from the Musikschule.
Rhapsody
in Blue - George Gershwin
Paul
Whiteman encouraged George Gershwin to compose a serious “jazz concerto” for a
concert in New York City in 1924. Gershwin reportedly told Whiteman that he did
not know how to write parts for orchestra instruments. Whiteman assured him
that Ferde Grofe would take care of the orchestration. Gershwin took up the
challenge and composed the Rhapsody in Blue in about a month’s time while also
working on a musical comedy, Sweet Little Devil. Gershwin was the piano soloist
at the first performance of his Rhapsody in Blue in Aeolian Hall. Whiteman led
the orchestra, Ross Gorman played the “outrageous” clarinet part and the hall
was filled with luminaries such as Mischa Elman, Fritz Kreisler, Jascha
Heifetz, Sergei Rachmaninoff, Walter Damrosch, Leopold Stokowski, John Philip
Sousa and Igor Stravinsky.
The
performance of this work tonight represents one of the most important
educational values of Community High School District 99, that of collaboration
between faculty members, students, families and the community at large. The members of this performance ensemble
represent both current and alumni students and the entire instrumental music
faculty of both North and South High Schools.
We are also pleased to have each of our guest soloists join us, and well
as our special guest conductor, Don Owens, who has been a mentor to many of us
through his years as a Professor at Northwestern University, and his work as a
guest composer, clinician and conductor in District 99 over the years.
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