Chamber Symphony No. 1 Midwest Band and Orchestra Clinic 2009 ...

Official Magazine of the World Association for Symphonic Bands and Ensembles 

WASBE 

December 2009 

W RLD 

Focus on Repertoire: 

Chamber Symphony No. 1 

Midwest Band and 

Orchestra Clinic 2009

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WASBE World 

Vol. 1, No. 2 December 2009 

Retail price: 12 USD / 8 EUR 

Editor: Markus Mauderer 

Assistant Editors: Anthony Reimer, Mark Heron 

Publisher: DVO Druck und Verlag Obermayer GmbH, 

Bahnhofstr. 33, 86807 Buchloe, Germany 

Submission to WASBE World: 

Send material to: 

Markus Mauderer 

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Tel. + 49 72 22 / 77 40 30 

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Submission Deadlines: 

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The opinions expressed in all reviews and feature articles are 

solely those of the writers and should in no way be interpreted 

as reflecting official WASBE statements. 

© 2009 WASBE and/or the authors of the articles 

WASBE Board of Directors: 

Officers 

President Leon J. Bly,* Germany 

President-Elect Odd Terje Lysebo*, Norway 

Immediate Past-President Glenn D. Price,* Canada 

Secretary James Ripley,* USA 

Treasurer Marianne Halder,* Germany 

Board Members 

Virginia Allen, USA Gustavo Fontana, Argentina 

Rosa Briceño, Venezuela Fergus O’Carroll, Ireland 

Danny Carroll, Ireland Juan Ramirez,* Columbia 

James Cochran, USA Rafael Sanz-Espert, Spain 

Eugene Corporon, USA Rolf Schumacher, Switzerland 

Martin Ellerby, UK 

* indicates member of the Executive 

Rodney Winther, USA 

Cover 

The Banda Municipal de 

Bilbao conducted by Rafael 

Sanz-Espert playing the 

“Chamber Symphony No. 1”. 

Photo: BilbaoMusika 

Message from the President _________________ 4 

Midwest Clinic Chicago 

Building on a Rich History – 

Beginning a New Tradition ____ _________________ 6 

Interview 

WASBE Pioneers: Leon J. Bly ________ ___________ 9 

Portrait 

Cape Philharmonic Youth Wind Ensemble _________12 

The Conductor’s Responsibility 

by Felix Hauswirth _________________________13 

Focus on Repertoire 

A Musical Analysis of José Suñer-Oriola’s 

“Chamber Symphony No. 1 for Concert Band” ____14 

News 

WASBE International Scholarship Program ________19 

Calendar __________________________________21 

CD Reviews 

World Wind ________________________________22 

Europa Sinfonie Vol 1 & 5 _____________________22 

Innovare: A Celebration _______________________23 

Book Review 

A Guide to the Top 100 Works _________________25 

News from the Music Industry _______________26 

WASBE World 3

MESSAGE FROM THE PRESIDENT 

In my first message in the September issue 

of WASBE World, I wrote that Jim 

Cochran is chairing the taskforce “Creating a 

New Synergy between Composers, Conductors 

and Publishers”. The purpose of this 

taskforce is to get composers, conductors 

and publishers working together to improve 

the quality of the music for wind band/ 

ensemble, especially at the lower grade 

levels. 

There is a great deal more quality music 

for wind band/ensemble today as there was 

when I began my career in the 1960s. 

However, whereas the majority of the fine 

works for wind band/ensemble composed 

before the 1990s can be played by good 

amateur bands, the majority of the fine 

works composed later are only playable by 

the finest conservatory and professional 

wind bands/ensembles. There is a need for 

composers to once again heed Hindemith’s 

call for Gebrauchsmusik for the amateurs. 

This does not mean that fine works have not 

been composed for amateur groups during 

the past two decades, for there certainly 

have been many of them also. However, 

what Frank Battisti calls “the loss of a shared 

repertoire” is one of the problems that this 

taskforce probably needs to consider. 

Having grown-up in a musical family, 

where both my father and his father were 

bandmasters, the discussion of quality band 

music has been one that I have heard all of 

my life. My grandfather was a violinist who 

conducted both bands and orchestras. For 

him, the band was the poor man’s orchestra, 

but the irony is that he programmed orchestra 

concerts more like the Boston Pops than 

the Boston Symphony. Whereas my grandfather 

spent most of his adult life trying to 

come to terms with 20th Century music, my 

father simply rejected it as inferior to that of 

4 WASBE World 

the 18 th and 19 th Centuries. When I was an 

undergraduate student, I had a friend who 

was an organist; for him, there has been 

little music composed after the Baroque that 

is worth considering. 

Why do I bring this up? Because much of 

the discussion about good and bad band 

music has little to do with the inherent 

quality of the music itself and, as with all 

music, much to do with personal tastes. 

Sousa once said that he “would rather be 

the composer of an inspired march than a 

manufactured symphony.” Although not all 

of Sousa’s marches seem to be inspired, 

most would probably agree that those that 

one usually hears today are. That is unless 

one does not like marches, in which case the 

inherent quality of the music, inspired or not, 

is immaterial. 

In some countries of the world, wind 

bands are a part of the school curriculum. 

This is a wonderful way to teach applied 

music, as is participation in an orchestra or a 

choir, but if the music curriculum consists 

only of performance ensembles, children will 

be limited in their exposure to their musical 

heritage. If a young person only sings in a 

madrigal choir, he or she will not become 

familiar with the operas of Verdi or the 

symphonies of Beethoven, and if a pupil’s 

only exposure to music is playing the violin 

in a school orchestra, he or she will not learn 

about the music of Palestrina or Duke 

Ellington and probably not have a chance to 

play the symphonies by Mahler or Bruckner. 

Although wind bands have always played 

transcriptions of music of all genres, styles 

and periods as well as works originally 

composed for winds, participation in a wind 

band/ensemble, like in any other performance 

ensemble, has its limitations as a 

vehicle for teaching young people about 

great music. Simply stated, music education 

needs to consist of more than applied music. 

This, however, has little to do with the 

quality of the wind band’s repertoire and 

everything to do with a music curriculum. 

This is a problem for the music teachers in 

these countries to solve and probably should 

be peripheral to any discussions within 

WASBE. 

What is not peripheral is an honest discussion 

of the music for beginning and developing 

bands. There are two ways to train 

musicians. One is the old conservatory 

system whereby a pupil first learns to play 

his instrument and, when he becomes 

accomplished enough, plays in an ensemble. 

The other is to train pupils through a combination 

of private or group lessons and 

ensemble playing from the beginning. The 

second has become popular for training 

wind players throughout most of the world, 

and this has produced a great market for 

pedagogical music for beginning and developing 

bands. Over the past century, there has 

been a tremendous development in this 

music. If one looks at some of the first 

attempts to provide music for beginning 

bands, one must wonder how young players 

ever managed to play much of it. Today’s 

works are much more sophisticated both 

harmonically and rhythmically with playable 

parts for all instruments and usually written 

to develop certain musical skills. As pedagogical 

material, it is equal, if not superior, to 

that available for training musicians to play 

other instruments, but is it music? 

Maybe to be fair, we need to look briefly 

at the pedagogical music for string instruments 

and the piano. These materials were 

developed to a very high level during the 

19 th Century. The amount of pedagogical 

music for piano and violin is staggering. Not 

only were thousands of etudes written, but 

also a vast number of sonatinas and 

concertos by composers unknown today to 

anyone not studying these instruments. That 

will probably be the case with most composers 

writing pedagogical works for wind 

band today. 

Is it possible to write pedagogical works of 

quality? There are works for keyboard 

instruments by Bach, Schumann, Tschaikowsky, 

Bartok and others that clearly 

demonstrate that it is. However, it amounts 

to a small fraction of the pedagogical music 

that has been written for keyboard instruments. 

Are there pedagogical works for wind 

band/ensemble of quality? Certainly, and 

people like Felix Hauswirth, Eugene 

Corporon, Thomas Dvorak and Richard 

Floyd have been doing much to help identify 

it. 

Admittedly, most wind band/ensemble 

music at all levels has a shelf life of yogurt. It 

is written to be played today, because something 

else will be played next season. 

However, this is not something completely 

foreign to music history, nor is it always bad. 

Johann Sebastian Bach, Georg Philipp Telemann 

and Joseph Haydn like most other

successful composers before the 19 th 

Century were hired by their employers to 

compose and perform new works, not the 

music of the past. Even Bach’s sons did not 

perform much of the music of their father, 

considering it to be outdated. When one 

considers that Leonard Bernstein was already 

complaining fifty years ago that opera 

houses were museums, and most symphony 

orchestras are more interested in performing 

the music of the 18 th and 19 th Centuries than 

contemporary works, the wind 

band/ensemble world is an exciting place, 

where new compositions at all levels are 

awaited in expectation and eagerly sought. 

It probably would be good to put aside a 

few generalities when discussing wind band 

music. First of all, the wind band/ensemble 

has no monopoly on poor music. At the 

advent of recordings, Sir Arthur Sullivan said, 

“I am terrified at the thought that so much 

hideous and bad music will be put on 

records forever”, and he was not talking 

about band music. At best about 20% of all 

the compositions for every medium that 

were ever written can be classified as really 

good music and only about 2% as master 

works. 

Just because a composer has written music 

for symphony orchestra or the opera house 

does not mean that his music is good or that 

his compositions for wind band/ensemble 

are automatically good. In his book Wind 

Bands and Brass Bands (1985) Kevin 

Thompson says it very well: Over the years a 

few internationally renowned composers 

have contributed to the repertoire, though 

the quality of some of these works is arguable. 

Naturally wind bands impose limitations 

on composers, though no more so than 

any other ensemble. Paradoxically, when 

composers elect to limit themselves to a 

particular medium, it appears to channel 

rather than restrict their creative effort. 

There are kitsch pieces by well-known 

composers just as there are imaginative, 

interesting works by unknowns. The 

medium seems to bring out either the best 

or worst in them. 

The popularity of a composer’s works 

during his lifetime is no measure as to 

whether his music will survive or not. The 

music of Richard Eilenberg and Richard 

Schlepegrell was very popular in the 19 th and 

early 20 th century, but few today have even 

heard of them. The same is true for 

hundreds of composers. 

Being a “formula” composer does not 

make one’s music good or bad. Emile Waldteufel 

was a “formula” composer; still that 

SCORE STUDY by Felix Hauswirth 

The effectiveness of a conductor’s job largely depends on prior 

study of the score. Yet this is the single most neglected subject in 

conductors’ training programs. The idea for this 

guide came about as a result of this fact, hence 

it is entirely orientated towards practical work 

with an orchestra. 

The first part deals with the theoretical aspects 

of score study. The second part consists of an 

analysis of a real example, a programmatic work 

entitled “Pilatus” by Steven Reineke. The intention 

is that of providing an effective guide to score study aimed at 

making rehearsals more effective, thus limiting the need for unnecessary 

extra work. 

bnh414 SCORE STUDY (English) 

bnh411 PARTITURSTUDIUM (German) 

bnh412 ÉTUDE DE LA PARTITION (French) 

bnh413 STUDIO DELLA PARTITURA (Italian) 

Available in good music shops or directly from the publisher. 

does not keep anyone from playing Les Patineurs. 

Serious music is not automatically good 

music, as thousands of works well testify, 

nor is entertainment music automatically 

poor music. If this were the case, the Vienna 

Philharmonic would not perform programs 

of the music of Johann Strauss, and everyone 

would not be performing Leroy Anderson’s 

Sleigh Ride during this season. 

You may or may not agree with much of 

what I have written here, and that is fine. 

These are simply some of my observations 

and thoughts. What is much more important 

is how you can contribute to the taskforce 

“Creating a New Synergy between Composers, 

Conductors and Publishers”. The whole 

point of the taskforce is to get everyone – 

composers, conductors and publishers – 

working together constructively to make 

things better for the next generation, as Bob 

Reynolds is fond of saying. If you have 

strong feelings, insights and/or opinions on 

this subject, please get in contact with Jim 

Cochran (jcresource@aol.com); he will be 

very happy to have you as a part of his 

team. 

Leon J. Bly 

Ruh Musik AG 

Soodstrasse 53 – 8134 Adliswil – Switzerland – www.ruh.ch – contact@ruh.ch 

SCORE STUDY 

FELIX HAUSWIRTH

MIDWEST CLINIC CHICAGO 

The move to McCormick Place West: 

Building on a Rich History – 

Beginning a New Tradition 

by Richard C. Crain 

During Midwest 2008, attendees 

standing in the hallway on the third 

floor of the Chicago Hilton Hotel and Towers 

had little room to move as the Waldorf 

Room and the Williford Room were both 

filled to capacity and had “standing room 

only” for clinic sessions. As the hallway was 

full and attendees were being turned away 

by monitors, many were not able to benefit 

from the clinics being presented. Because of 

the large number of attendees wanting to 

attend concerts in the International 

Ballroom, the need for a ticket-track policy 

added to the list of growing concerns. An 

additional concern was the noise of the air 

Conference Registration 

On-Site Registration Hours 

Attendees can also register at McCormick Place West. Registration is located in 

the F1 lobby. 

Monday, December 14 6:30 p.m. – 9:00 p.m. 

Tuesday, December 15 8:00 a.m. – 8:30 p.m. 

Wednesday, December 16 8:00 a.m. – 8:30 p.m. 

Thursday, December 17 8:00 a.m. – 8:30 p.m. 

Friday, December 18 8:00 a.m. – 8:30 p.m. 

Saturday, December 19 8:00 a.m. – 11:00 a.m. 

Registration Fees 

To keep the Midwest Clinic accessible and affordable, we are pleased to offer adult and 

college student rates that have not increased since 2006. The rates for primar y and 

secondary students have been in place since 2005. 

• The educator, industry representative, and other non-student rates are $90 

(preregistration) or $100 (on-site registration). 

• The full-time college student rates are $40 (preregistration) or $45 (on-site 

registration). College students must present their school IDs when picking up their 

name badges. 

• Primary and secondary students can register (on-site only) for $15. 

On-site registration may be paid with cash, Visa, MasterCard, American Express or by 

check. Checks should be made payable to The Midwest Clinic. 

6 WASBE World 

conditioning in the Ballroom. It has been 

obvious for several years that more room 

and flexibility have been needed. However, 

any decision in 2008 to move from the 

historic site of the Hilton would have been 

most difficult. The thought of changing a 

35-year tradition in the Hilton was rather 

sobering. In August of 2008, it was my 

privilege to be asked to serve as the 

chairman of an ad hoc committee that was 

charged with making an on-site inspection 

of the recently-completed McCormick Place 

West Convention Center. The purpose of the 

committee was to investigate the possibility 

of making a recommendation to the Board 

of Directors for a possible change of venue 

for The Midwest Clinic. Midwest Board 

members Richard Dunscomb, Glenn Holtz, 

Nancy Golden, Denny Senseney, and Mark 

Kjos were members of the committee. We 

were joined by Executive Director Kelly 

Jocius and new Midwest event manager 

Anna Collinge; Dawn Young of the Chicago 

Convention and Tourism Bureau; and Gayle 

which were presented later to the full Board 

by the chairman of the committee. 

Significance of changing the venue 

The ad hoc committee met in the Chicago 

Hilton on the evening prior to our tour in 

order to develop a strategy and create a 

schedule for the tour. Since we all wanted to 

go into the actual tour of the facility with 

open minds, it was important that the 

members had no preconceived impressions. 

The members realized the significance of 

changing the venue from the Hilton to 

McCormick Place West, and the possibility 

of a move weighed heavily on the 

committee members. At that time, 2010 was 

Exhibit Booths 

Visit the F1 Exhibit Hall for More 

Displays than ever before 

• Music Publishers 

• Uniform Companies 

• Instrument Manufacturers 

• Colleges and Universities 

• Fundraising Companies 

• Festivals, Travel and Competitions 

• Music Accessory Companies 

• Recording Companies 

• Photographers 

• Stage Equipment Manufacturers 

• Music Journals 

• Software and Video Manufacturers 

and Distributors 

• Military Services 

• Performing Organizations 

• Music Camps 

• Instrumental Music Associations 

Exhibit Hours 

Wednesday, December 16 

9:00 a.m. – 5:00 p.m. 

Thursday, December 17 

9:00 a.m. – 5:00 p.m. 

Friday, December 18 

9:00 a.m. – 4:00 p.m.

The new Convention Center at the McCormick Place West 

a target date for any possible change of 

venue. Departing from the Chicago Hilton 

Hotel and Towers, we took only nine 

minutes to reach the Hyatt Hotel at 

McCormick Place West (MPW), where our 

tour began. The immense volume of MPW 

became apparent immediately as the 

committee walked across the covered air 

bridge from the Hyatt Hotel to the 

Convention Center. There are two main 

floors where meeting rooms, a large exhibit 

hall, and ballrooms are located, with a 

mezzanine second floor that contains a food 

court, a restaurant, and shipping/communication 

services. Rooms suitable for various 

kinds of clinic sessions are located on the 

first floor. Attendees will be able to 

disembark from the free shuttle buses in the 

covered bus depot and walk just a few feet 

to enter the Convention Center. Escalators 

and elevators near this entrance and 

throughout the building will transport 

directors to the second and third floors. 

Concerts will be on the third floor in the 

spacious grand ballroom, which will be 

divided into three separate halls. The center 

room will serve as an equipment-storage 

area as well as providing a sound buffer 

between the two concert venues. Since 

seating in the larger of these two concert 

halls will be more than sufficient to accommodate 

a Midwest audience, there will no 

longer be a need for a two-track ticket 

policy. The full jazz track will be held in a 

separate designated area, the Midwest Clinic 

Jazz and Chamber Center, located on the 

first floor in the southeast part of MPW, 

resulting in no conflict of scheduling 

between the jazz track and the band and 

orchestra tracks. 

The exhibit hall, which is large enough to 

accommodate all of the exhibits in one open 

area, is conveniently located directly across a 

wide hallway from the concert halls, and 

there are plans to create a refreshment area 

at the back of the exhibits for the use of 

both exhibitors and attendees. Because 

MPW was planned and built for use by 

conventions rather than as a hotel, 

unloading into MPW by exhibitors will be 

exponentially easier, more efficient, and less 

expensive than at the Hilton Hotel. The 

width of individual exhibit spaces has been 

enlarged from 8 feet to 10 feet because of 

the spacious size of the exhibit hall. After a 

lengthy tour of the MPW facilities, the 

committee returned to the Hilton for a 

debriefing session. Doug Jones, an acoustical 

engineer retained by the Midwest Board, 

gave his report on the acoustical qualities of 

the main ballroom where the concerts would 

be held. Earlier in the summer, Mr. Jones had 

made recordings of the Northshore Concert 

Band in the main ballroom. Jones stated that 

with no additional treatment of the MPW 

ballroom, the acoustical properties of this 

Highlights Of McCormick Place West 

Convenience: Everything connected with the Midwest experience will be held under 

one roof. No concerts or clinics will be held at another location. 

Housing: Since the Midwest Board and staff, exhibitors, and some clinicians will be 

housed at the Hyatt at MPW, there will be room for many more attendees to be housed 

at the Chicago Hilton. Buses will be provided for transport from the Hilton and other 

conference hotels to MPW at regular intervals at no added expense to attendees. 

Weather Protection: The walkway from the Hyatt to MPW is an enclosed walkway. The 

bus-unloading area at MPW is covered and unloads directly into the convention center. 

Attendees: Will have free bus transport from official conference hotels to MPW. There 

are spacious lobby areas outside of concert halls and clinic rooms where attendees can 

congregate between events. Spacious hallways will allow for many more attendees to 

traverse the halls at a time. 

Exhibitors: Can unload with greater ease, exhibit with lower expenses, will have food 

courts nearby, and will be located just across a hallway from the concert venues. 

Clinicians: Can present to much larger audiences because of larger facilities. Large 

Concert Halls: No need for repeating concerts or issuing tickets. 

Food Facilities: Restaurant and food courts can be found in MPW as well as a 

restaurant and a refreshment area in the Hyatt. 

WASBE World 7

MIDWEST CLINIC CHICAGO 

new facility would still be an improvement 

over both the Grand Ballroom and the International 

Ballroom in the Hilton. Even though 

the acoustics in the concert halls in 

McCormick Place West are superior to the 

Hilton ballrooms, the Board has made the 

commitment to add sound enhancement 

elements to the largest performance hall. 

With the observations of the committee 

members and armed with the reports 

presented by the various professionals 

retained for this study, the committee met 

again the next day, and the unanimous 

decision was made to call a special meeting 

of the full Midwest Board of Directors with 

the recommendation that the 2009 Midwest 

Clinic be held at McCormick Place West. The 

Board met in September and came to the 

conclusion that a move to McCormick Place 

West would allow Midwest to expand and 

would improve the Clinic in all areas of 

operation. One of the services at MPW will 

be providing free, regularly-scheduled 

shuttle service from the different hotels that 

will house attendees. 

Free shuttle system 

Since the Hyatt at McCormick Place will 

only be able to house the Midwest Board, 

staff, exhibitors, and clinicians, most 

attendees will find lodging in the Chicago 

Hilton Hotel and Towers, Palmer House, 

Essex, Blackstone, and downtown hotels. 

The Exhibit Hall has more displays than ever before 

8 WASBE World 

A free shuttle system has been set up 

between these “Midwest” hotels and MPW. 

This shuttle service will be extensive, and 

The Midwest Board made the decision to do 

whatever it takes to ensure that there will 

always be a sufficient number of buses to 

move attendees to and from MPW. 

Topcoats may even be unnecessary for 

attendees as buses will be boarded just steps 

from hotel doors and will unload in a 

covered entrance to MPW. However, there 

will be a space to check coats and parcels for 

those that need this service. Incidentally, 

parking for those who will be driving is 

ample and less expensive than at downtown 

hotels. Kelly Jocius and the Midwest office 

staff have performed a superb job of 

organizing and administering the details 

involved with this huge endeavor of moving 

an entire clinic. Every detail of this historic 

decision by the Board of Directors has been 

made with the welfare of the attendees 

being paramount. Midwest now will have 

the space and flexibility to maximize the 

offerings for attendees. With the great 

lineup of concerts and clinics and with 

special guest artists including Ellis Marsalis 

and Mark O’Connor, the 2009 Midwest 

should be the best ever. We all hope to see 

you in December at McCormick Place West. 

Everyone connected with The Midwest Clinic 

is working toward the goal of making the 

2009 experience rewarding for everyone. 

Donations to the 

WASBE Foundation 

in 2009 

Gold (USD 100 or more) 

Bert Langeler* 

Stockholms Lans Blasarsymfoniker 

Shih-Chien University Wind Orchestra 

Edizioni Musicali Wicky 

Banda de Musica Municipal de Bilbao 

Associacao Orchestra Filarmonica de 

Sao Carlos 

Maximo Ronquillo* 

Donald Lovejoy 

Kirby Fong* 

Norges Musikkorps Forbund* 

Fraser Linklater* 

Casimiro Garcio Llamas* 

*Foundation Membership 

Silver (USD 50 to 99) 

Wen-Jung Cheng 

Vladimir Mustajbasic 

Roberto Farias 

Noboru Ohgishi 

Laszlo Marosi 

Javier Miranda Medina 

Hugo Josao Lopes 

Goran Hulphers 

Gary Nyberg 

David Vandewalker 

Keith Kinder 

Karel Husa 

Jose Ignacio Petit Matias 

Jim Cochran / Shattinger Music 

Bronze (to USD 49) 

Mark Heron 

Joan Jones 

Janis Purins 

Arild Andersen 

Vicente Moncho 

Carlos Enrique Camejo Patron 

Clyde Shive 

Russell McCutcheon 

Marvin Eckroth 

José Pascual-Vilaplana 

Anthony Reimer 

Adam Hilkert 

Terence Milligan 

John W. Daniels 

Franco Brusini 

Fabian Antonio Di Mattia 

Colleen Richardson 

Anthony Houghton 

Alberto Roque 

Steven Accatino 

Mark Fonder

INTERVIEW 

WASBE Pioneers: Leon J. Bly 

by Anthony Reimer 

This is the last in a series of interviews with people who were a part of WASBE from its 

beginnings. Through these interviews commissioned by the previous editor of the WASBE 

Newsletter Don DeRoche, we hope to give our current members a sense of history and the 

philosophical point of view that gave birth to the concept of our international wind organization. 

This interview with Leon J. Bly was held during the 14 th WASBE Conference in 

Cincinnati, USA. 

Anthony Reimer: In 1981, at the time of the 

first International Conference for Symphonic 

Band & Wind Ensembles, Conductors, 

Composers and Publishers, from what I 

understand, you were just about to move to 

Germany from the United States. So first of 

all, what brought you to the Conference in 

Manchester? 

Leon J. Bly: Well, actually, I had just moved 

to Germany about three weeks prior to 

conference. Therefore, I thought it would be 

a great opportunity to go to Manchester to 

what I thought was going to be a one-time 

opportunity to get to hear bands and band 

music from around the world – and actually, 

that’s what it was. It was the first time that 

many of us had a chance to hear some band 

music from Eastern Europe as well as many 

other parts of the world, to hear bands at all 

levels perform music from their own country. 

Frank Battisti and Leon J. Bly 

There were bands at all levels performing all 

types and grades of music. It was a very 

exciting time for all of us that went, and 

because of the fact that we thought it was 

going to be a one-time-only event, many of 

us thought it absolutely necessary to be 

there. 

AR: I sometimes forget, being here at the 

14 th WASBE Conference, how far it has 

come since that first conference. You said 

there was a wide variety of music. Can you 

give me a picture of what that conference 

was like musically? 

LB: The conference was musically a real 

mixture of everything from school and 

amateur bands to fine university wind 

ensembles and professional bands as well as 

some chamber music. The days were filled 

with lots of music. There were a great many 

concerts during this conference but not a 

whole lot of other things were planned. 

There were some lectures, but this conference 

consisted mainly of concerts. In order 

to get bands to attend this conference, they 

had invited bands from as many countries as 

possible, but there was no way of selecting 

bands (as there is now for WASBE Conferences), 

so you had some average school 

bands and youth bands, you had, as I said, 

some excellent wind ensembles from universities 

and colleges in the United States, some 

very, very good community bands, and some 

community bands, again, that were average. 

In terms of the music that we heard, we 

heard everything from very fine pieces of 

music – some standard works by Hindemith 

and Husa – to music from musical shows and 

film music, marches, and a lot of popular 

music from the various countries. So in this 

case, it was a real mixture of repertoire that 

was heard and a real mixture in terms of the 

performance levels. 

AR: Do you remember how you heard about 

this initial world band conference? 

LB: I was and still am a member of CBDNA 

(College Band Directors National 

Association), and it was one of the main 

organizers of the conference, so I had gotten 

the advertising materials through the 

CBDNA. 

AR: So you became a member of WASBE 

when it was formed there, and you are one 

of the esteemed people who have a singledigit 

membership number. What took you 

from being a member to getting involved 

with service? Did someone recruit you? Did 

an opportunity come up that you took? How 

did that happen that you became more of a 

service member of WASBE? 

WASBE World 9

INTERVIEW 

LB: I think I was probably involved one way 

or another with WASBE from the very 

beginning. At the beginning of the week of 

the 1981 conference, there was some talk 

about forming an organization and doing 

that kind of conference every two or three 

or four years. At the moment when it was 

first talked about, I didn’t think it was such a 

terribly good idea. I thought it would 

probably be, for most people, terribly 

expensive to try to do this too often, and I 

wasn’t quite sure where it was heading. By 

the end of the week, things took a different 

shape, and I became much more impressed 

and excited about the whole idea, which is 

why I joined before I even left Manchester. 

That is also how I actually, at a very low level 

one could say, got involved. By the end of 

the week, Paul Yoder approached me about 

spreading the word about WASBE and, 

seeing that I was now living in Germany, 

asked if I would get involved with contacting 

the music organizations in Germany and the 

magazines there to try to get the word out. 

So I got involved at the very first with some 

PR for WASBE. 

AR: You mentioned Paul Yoder. Were there 

other people in the organization from the 

beginning that were key that you interacted 

with a lot? 

LB: I didn’t have a lot of interaction with 

people in the sense of the governing of 

WASBE at the beginning, but I did meet 

people at that first conference with whom I 

to this day, remain in contact, one of them 

being Egil Gundersen, who served as WASBE 

Treasurer for so many years. I made a lot of 

new European friends like Trevor Ford; many 

of the CBDNA people I had already known. 

AR: Later on, you got elected to the Board. 

LB: Yes, in 1991, I became a member of the 

WASBE Board. I am probably one of the few 

people who has managed to attend all the 

conferences – so this is my 14 th – and simply 

being in attendance at the conferences, one 

becomes known. I was asked about serving 

on the WASBE Board about four years 

before I finally said yes. At that time, 

because of other commitments and 

especially having a young family, I could not 

say yes, but finally I decided to accept the 

invitation to run for the Board and was 

10 WASBE World 

elected as I said in 1991. I then served on 

the Board for six years. 

AR: Then you followed that immediately by 

taking a new position: the Executive Director’s 

position. You would have been on the 

Board at the time that position was created. 

Can you tell me a little bit about the thoughts 

behind creating an Executive Director’s 

position and how that came about? 

LB: Well, actually, I more or less created my 

own monster. I saw quite early that someone 

needed to be administering this big 

operation more or less on a daily basis, and 

talked to other Board members about this 

idea. Most of it just remained talk until Felix 

Hauswirth became President Elect. At that 

time, Felix and I talked quite extensively 

about what this kind of a position should be. 

One of the biggest problems with the idea 

of having an Executive Director is that 

WASBE is a small society with a limited 

budget and has no way of really financing 

the office of Executive Director. But I worked 

with Felix on the idea of what should be 

done – what someone should be doing on a 

daily basis, how some of the work should be 

divided between the Board, the President 

and an Administrator – and we worked 

together on establishing a job description for 

an Executive Director. At the time, I did not 

have any idea that I would be the first 

person to do this job. I was expecting that it 

was going to be given to a professional 

administrator rather than a working music 

school band director. 

AR: This is a two-part question. How has 

WASBE and being involved with WASBE 

changed you – the music you program, the 

people you associate with, the way you 

approach being a music director – and how 

has WASBE in turn changed the music 

world? So the first part: how has WASBE 

changed or evolved what you do? 

LB: I was a fairly young band director at the 

time WASBE was formed, so simply having 

this interchange with colleagues at such a 

high professional level, with some of the 

finest band directors from around the world, 

helped me to grow as a musician and as a 

conductor – watching others conduct 

concerts, attending conducting workshops at 

conferences, having this kind of interaction. 

Probably the most important thing that 

happened to me professionally was – right at 

Manchester – to recognize how rich the 

wind band repertoire is. In 1981, few band 

directors looked outside of their own 

country’s borders, not only in North America 

but also within Europe – countries that are 

next to each other had their own traditions, 

their own repertoire, and had very little 

exchange and interaction with each other. I 

then realized how rich and exciting the wind 

band’s literature on an international basis 

really is. That was very exciting for me. 

Even to this day, I find that one of the most 

important things that WASBE does is to 

disseminate information about music from 

the various parts of the world. WASBE has 

done a great deal in this respect, however 

there are parts of the world where, even 

after almost 30 years, we still know so little 

about the wind band music. Today (at the 

Conference) there are sessions on band 

music in South American. Except for the 

people in Latin America, most of this music is 

totally unknown, even though we have had 

sessions on Latin American music at WASBE 

Conferences before. There is so much more 

happening there than most people in North 

Leon J. Bly, Markus 

Mauderer and 

Publisher Stefan 

Männlein (from left) 

creating the first issue 

of “WASBE World” 

at Leon J. Bly’s home 

in Stuttgart. 

Photo: Klaus Härtel

America or Europe know about. I also 

attended today a fine session about the 

band repertoire in Portugal. These are the 

kinds of things that make WASBE, for me, a 

very exciting experience. 

AR: In the time since 1991, how do you 

think WASBE, as an organization and as a 

world force, has actually changed our music 

world in your view? 

LB: These kinds of things are very hard to 

measure. The world has changed, in many 

respects, a great deal. You have to realize 

that in 1981, there was no Internet, there 

were no CDs, there were not all of the 

opportunities to hear music from other 

countries that you have today. You couldn’t 

just go online and download musical 

examples, and it was very difficult to find 

out about band music in other countries. 

That’s why conferences were then so 

important. I do think that WASBE has had, 

however, a great impact on disseminating 

the idea that there is music in other countries 

worth performing that we should know 

about, no matter which country we live in; 

that there is rich literature beyond our own 

borders. The world through various means 

has become much smaller with globalization 

or whatever you want to call it, and I think 

that WASBE has certainly had to some 

extent an impact on the world band scene. 

At least, WASBE is seen today as a possible 

resource for obtaining information on band 

music from various countries. If you know 

exactly what you want from a certain 

country, it’s not too hard to learn about it in 

other ways, but if you are a band director in 

the middle of Canada, the best way of 

finding out about music in Europe or in 

South America may be by going through 

WASBE rather than going through the Music 

Centres in each one of the countries on 

these continents. In addition to that, I think 

that WASBE has had a great deal of 

influence in certain parts of the world on 

raising standards for conductors and in 

raising performance standards. 

AR: In 2007, you were elected back on to 

the Board as President Elect as you ended 

your tenure as Executive Director. At this 

Conference, you will take over the President 

of WASBE role. What are some of the things 

that you are looking to accomplish during 

your tenure as President? 

LB: This is one of the most amazing things 

that has happened in my life to become 

President of WASBE. I never had any 

aspiration to be the President of WASBE, 

and when I look around me at all of my 

distinguished colleagues, I have to ask the 

question of how something like this could 

happen. I never intended to be the Executive 

Director. In 1981 I didn’t have any thoughts 

about being on the WASBE Board. Some 

things happen in life that we either fall into 

unexpectedly, or we are asked to do things 

and see a need to respond. 

What is probably the biggest problem for 

me with becoming President of WASBE? 

I know the workings of WASBE very well 

because of all the various positions and tasks 

that I have had. However, I see the position 

of President as being for someone with an 

artistic vision and pushing for WASBE 

leadership in the musical world, and this may 

not necessarily be one of my strongest 

points. I do have some ideas for changing a 

few aspects of our next conference to make 

it more of a working conference with all of 

the delegates being involved with various 

tasks rather than a spectator type of conference. 

I agree with our current President (Ed. 

Note: Glenn Price, at the time) who says that 

WASBE Conferences have become the Rolls 

Royce of conferences. I think that in many 

respects that is very true: the high level of 

performances, the high level of music. But I 

would like that at the next conference, we 

try to work on some of the problems that 

are facing wind bands around the world. 

I should also like to try to develop some 

ideas that may help move our whole 

movement forward in certain ways. Within 

the next few months, the WASBE magazine 

especially will be dealing with these aspects 

of things (Ed. Note: See Leon’s President’s 

Message in the September 2009 issue of 

WASBE World). The WASBE Conference 

web site will be listing these various areas; I 

think we shall see some things happening 

there. 

However, as I said before, I’m not sure 

that I am a visionary. I’m certainly not a 

visionary in the sense of someone like one of 

the founders of WASBE, Frank Battisti, 

whose vision for an organization like WASBE 

is why it exists. I see myself more as a kind 

of functionary who sees that things get done 

and that the organization runs smoothly. 

What I am hoping to do is to get some of 

the committees, networks and various 

projects that WASBE has been attempting to 

do over the years, finally moving and things 

actually happening. I probably will leave the 

office of President as the most disliked 

President who ever served because people 

not doing their job in their service position 

will probably get fired and replaced with 

someone else. 

AR: I must comment at this point that one of 

the strengths that I have seen in you is that 

administrative ability and the ability to make 

sense of administration. I sense from your 

comments that is one of the things that you 

will move forward; that the ship itself will 

run better. It’s not the vision of where the 

organization is going; we have been working 

towards a vision but sometimes we have 

gone off in all directions and it is merely 

tidying up the ship so that the next Captain 

will then be able to move forward again. Is 

that a fair comment? 

LB: That sounds fair enough. If you want me 

to be the Janitor and clean up the ship, I’ll 

accept that kind of a title. 

AR: You made reference to the Conference 

in Taiwan. It looks very much like progress is 

being made quickly, that they are really 

excited in Chiayi City about the Conference. 

Can you tell me a little bit about how preparations 

are going for that conference? 

LB: The preparations from the side of the 

people in Taiwan are moving forward very 

well. They are very excited about having the 

Conference there. It is a rather amazing 

situation in the fact that everyone from the 

Mayor of Chiayi City down to the lowest 

levels within the City government are very 

excited about making Chiayi City, at least in 

Asia, the center of the band world. They 

have been running for many years a very 

successful and very fine band festival each 

year from the end of December to the 

beginning of January. I have been there 

twice. This festival, at least in Asia, is very 

well known. They would like now to have 

WASBE there to enhance their image, as I 

said, as a band centre, as a place that not 

only provides their type of festival, but is 

also able to bring the very best of bands to 

their city. What is also amazing is the 

amount of interest in band concerts from the 

inhabitants of that city. I am sure that every 

performance that is given at the next Conference 

will be sold out simply because there is 

so much interest, especially when we bring 

very fine bands and ensembles to that 

Conference. There will be no questions 

about any vacant seats in any concert halls. 

That is one of the things that is very exciting. 

When the annual festival takes place there, 

the whole city becomes so much a part of 

that festival that you cannot walk down the 

street without seeing banners and signs 

about the festival everywhere. In two years, 

I am sure that from the time one gets off the 

train or bus at Chiayi City, one will see 

nothing but WASBE Conference posters and 

banners and hear bands everywhere. The 

City will not only become a convention 

centre where WASBE will be, but the City 

will be WASBE. 

WASBE World 11

PORTRAIT 

Cape Philharmonic Youth Wind Ensemble: 

Professional Opportunities for Disadvantaged Youth 

by John Stanley 

Since the end of apartheid in South Africa 

in 1994, the government established 

formidable measures to provide opportunities 

for a wide variety of programs for 

disadvantaged individuals who were 

formerly excluded from them. 

One remarkable measure was the creation 

of the Cape Philharmonic Youth Wind 

Ensemble along with its companion Cape 

Philharmonic Youth Orchestra. Launched in 

2003 as part of the Cape Philharmonic 

Orchestra’s development and transformation 

plan, most of the members of both youth 

ensembles come from previously disadvantaged 

communities. The members of the 

professional orchestra are committed to a 

program of teaching and training the young 


musicians as well as young conductors 

through regular workshops and one-on-one 

tuition. 

The core business of the Cape Philharmonic 

Orchestra is performing as a 

symphony orchestra of international 

standard. Their Principal Guest conductor is 

Owain Arwel Hughes. However, the 

nurturing of future musicians and the 

development of youth music in Cape Town, 

plus developing new audiences in South 

Africa, are of equal importance. 

The influence of WASBE on the 

development of the wind and percussion 

movement is becoming very encouraging. 

In September, John Stanley, charter 

member of WASBE, made his second visit to 

Cape Town again to conduct the CPO Wind 

Ensemble. His first experience was in 2005 

when he along with other WASBE members 

was invited by Ina Leuvennink to participate 

in the WASBE South Africa Conference. He 

conducted two works with the CPYWE and 

was enormously impressed with the 

potential of this enthusiastic and very 

promising ensemble. With the encouragement 

of Henriette Weber, the dynamic 

and tireless manager of the two youth 

ensembles, he returned in September this 

year to prepare and conduct a series of 

concerts for their Spring Showcase. (Yes, 

September is the beginning of spring in 

South Africa.) These were performed in the 

townships and included works by Dello Joio,

Woolfenden, Hanson, Biebl, Osser and Yi 

Chen. 

While the city was busily preparing to host 

the World Cup in 2010, John was able to 

observe the exceptional work in satellite 

training centers by music teachers provided 

by the CPO Outreach & Education Division. 

These remarkable music educators were 

successfully introducing instrumental music 

to nine-year-olds who less than two decades 

ago could not even dream of such a luxury. 

It was amazing to observe how innately 

musical these students were, becoming 

competent with western classical music 

along with their beautiful native melodies. 

These dedicated teachers were ably assisted 

by youth orchestra members, most of whom 

were from that particular township and who 

will ultimately progress into the CPYO and 

CPYWE. 

John also presented a two-day conducting 

master-class following work started by Laszlo 

Marosi and Prof. Victor Yampolsky (Northwestern 

University) over the past few years. 

A further dimension of the progress being 

made is by Sean Kierman, conductor of the 

CPYWE, who lends his talents to work with 

a special cadre of military band personnel 

from Namibia. Some members in this 

remarkable band were from Rwanda and 

spoke no English or Afrikaans. One could 

only imagine how they appreciated the 

luxury of wind band music in such a setting, 

contrasted with the conditions in their wartorn 

country. 

South Africa, like so many remote 

countries is benefiting from the support 

provided by WASBE and its efforts to raise 

the standards of performance and literature. 

The focus of the government to emphasize 

education through the arts as manifested by 

the CPO Outreach & Education program is 

beginning to pay rich dividends and serves 

as an exceptional model for initiatives in 

other locations. 

The conductor’s 

responsibility 

Stephen Budiansky’s clinic at the WASBE 

Conference in Cincinnati (or more particularly 

the reaction to it) inspired this second 

column in WASBE World. 

I refer to two of his texts: that of his clinic 

on July 10th , 2009 and his article (with 

Timothy W. Foley as co-author) in the WASBE 

Journal 2005 called ”The Quality of Repertoire 

in School Music Programs: Literature 

Review, Analysis and Discussion“ (you can 

find both texts at 

http://www.budiansky.com/music.html). 

Firstly: the clinic was given and the article 

was published for a World Association with 

participants and members from over 50 

countries around the globe. But we read 

about and listened to a mostly North 

American phenomenon. No acknowledgement 

was given anywhere about the fact 

that Budiansky‘s opinion refers only to the 

United States or North America. 

My impression is that there is a strong 

suspicion that Budiansky assumed that this is 

not just a North American, but a global 

problem. This must be the reason for his 

statement: “And it really makes me wonder 

how many people in the wind band world 

read the arts criticism that appears in serious 

newspapers and journals. I suspect they don’t 

at all.“ 

Budiansky has mistakenly transplanted his 

opinion of the North American band scene 

onto the band scene worldwide. This seems 

to me to be a sign of ignorance. 

How long will it take (despite the efforts of 

WASBE!) until we realize that the wind band 

movement exists not only between Boston 

and Los Angeles! 

Nevertheless, I have been interested in his 

main topic: ”repertoire“ for a long time. I 

have written articles, given dozens of lectures, 

and recently I finished the 8th edition of my 

book of selected repertoire for winds. 

I think we all have to focus much more on 

repertoire. Therefore I sympathize with a lot 

of points Budiansky mentioned. But it is 

absolutely wrong to think that every work of 

a ”significant composer“ is a great work. The 

list, presented by Budiansky and Tim Foley 

(table 4 in the WASBE Journal article) 

suggests this when you read it within the text. 

To speak about a ”great work“ when you talk 

about the ”Mini-Suite“ by Morton Gould is 

certainly wrong, though Gould was of course 

one of the great composers of the 20 th 

Century. The work is – no more, no less – 

pedagogical music, like a lot of the pieces by 

living composers which Mr. Budiansky 

attacked. 

The list shows also a lack of connection 

with reality: in it you will find – as grade 3 

pieces (”medium or lower difficulty“) – 

compositions like Gershwin‘s ”Rhapsody in 

Blue“ (the Grofé version) or Gershwin‘s ”An 

American in Paris“ (Krance)! 

I have problems with the fact that 

Budiansky is harsh on composers of easy and 

pedagogical music. Just as there is no 

guarantee that every piece by a ”significant 

composer“ will be a good piece, a very 

difficult work doesn‘t guarantee a composition 

of high artistic level. On this level there 

are also a lot of ”sins“. The lack of artistic 

quality in the composition will fade into the 

background because of the highly virtuosic 

playing of the ensemble. The musical content 

falls by the wayside. 

Furthermore, the fact that a recognized 

composition of high artistic quality is being 

performed, doesn‘t always guarantee a 

musical triumph. All too often I have attended 

performances of Mozart which had nothing 

to do with proper performance practice. The 

name ”Mozart“ isn‘t sufficient to guarantee 

aural pleasure. 

We should always make sure that we, as 

conductors, take sole responsibility for the 

selection of repertoire and the quality of our 

performances. It is wrong to hand the responsibility 

for that (when it suits us) to publishers 

or composers. The better we are (and the 

more famous we are), the more we have to 

be conscious of this fact. A concert by a ”big 

name“ in our business always sets an 

example. These artists should always be 

aware of the significant responsibility they 

carry. 

Why should a High School conductor from 

the USA, Canada, Singapore or Japan, a 

conductor of an amateur band in Europe or 

anywhere in the world be criticized for his 

programming or his unmusical interpretation 

of a piece, if he has used a bad example from 

one of his living idols? 

How often does it come down to the fact 

that a conductor is performing a piece 

because one of the ”big names“ recorded it 

on a CD? 

The big names of our profession have to be 

aware that they have a responsibility to set an 

example. As Winston Spencer Churchill 

(1874-1965) once said: ”The price of 

greatness is responsibility.“ 

Best wishes, 

Felix Hauswirth 

WASBE World 13

FOCUS ON REPERTOIRE 

A Musical Analysis of José Suñer-Oriola’s 

“Chamber Symphony No. 1 for Concert Band” 

Análisis de la “Sinfonía de Cámara nº 1 para Banda de Concierto” de José Suñer Oriola 

Texto original del compositor en español 

Traducción al inglés por Richard-Scott Cohen 

Original text in Spanish by the composer 

English translation by Richard Scott Cohen 

Intimismo y sensibilidad, dos sensaciones integradas en el 

postulado onomatopéyico del discurso musical, así como razonamiento 

y emotividad, son posiblemente el principal objetivo en las 

aspiraciones de un compositor. 

Intimacy and sensibility: these two sentiments are integral to any 

philosophical discourse on music. To capture these feelings, along 

with rationality and emotive impact, is perhaps the greatest 

challenge facing any composer. 

La Sinfonía de Cámara nº 1 para Banda de Concierto fue creada 

entre 2005 y 2006 a raíz de las máximas influencias de mi quinteto 

para metales Tres finestres (Tres ventanas). 

De similitud estructural pero conceptualmente diferente, el punto 

de partida de la Sinfonía de Cámara fue la referencia de las sinfonías 

italianas del siglo XVIII. Por otro lado, es justo atribuir cierta influencia 

sino de características musicales, si emocionales, al hecho de que 100 

años antes, Arnold Schoenberg escribía su Sinfonía de Cámara nº 1, 

op. 9. 

Chamber Symphony No. 1 for Concert Band was composed in 

2005-2006 and is heavily influenced by my earlier work for brass 

quintet, Tres ventanas (Three Windows). The Chamber Symphony is 

based structurally on symphonies that emerged in 18th century Italy, 

although in other aspects it has a totally different conception. It is 

also influenced in the emotional language of Arnold Schoenberg’s 

Chamber Symphony No. 1, op. 9, written 100 years earlier. 

El primer movimiento en forma Rondó (A-B-A’-C-A’’-B’-Coda) se 

presenta con el tema principal en cadencial I-IV, 

The first movement is set in rondo form (A-B-A’-C-A’’-B’-Coda). 

The first theme is presented over a I-IV cadential harmonic 

progression, 

Ejemplo 1 • Example 1 


difuminando la claridad melódica mediante suaves disonancias y el 

engaño visual de las enarmonías, solícitas a lo largo de toda la pieza. 

blurring the melodic clarity with mild dissonances and visually 

deceptive enharmonic spellings that permeate the entire work. 


El segundo tema es expuesto por una melodía secuencial interpretada 

por la flauta y en variación respondido por el tutti, 

The second theme consists of a melody which alternates sequentially 

between the flute and the full ensemble in variation, 


dando paso a la exposición en tempo Allegro del tema principal, 

empleando juegos canónicos y desplazándose transitoriamente hacia 

la forma libre C en el Lento donde su apertura en la marimba representará 

la misma secuencia del segundo tema anteriormente expuesto 

por la flauta, en rítmica diferente. 

giving way to the exposition in allegro (as in the opening theme), 

employing playful canonic imitations, and transitioning to the freeform 

C section of the movement. This lento section opens with the 

marimba using a sequential melody in similar fashion as the flute in 

the second thematic area, but employing a different rhythmic 

language. 

Esta parte central, crea su color gracias a la fusión tímbricoarmónica 

del vibráfono y la marimba, junto con los instrumentos 

dedicados al efecto base, realzando el continuo glissando de las copas 

(al tradicional efecto de la copa con agua, frotada con suave presión 

del dedo por la parte superior de ésta, se le añade la continua inclinación 

de la misma, produciendo un glissando de características particulares). 

This central section features the timbres and harmonies of the 

vibraphone and the marimba in colorful fusion with a glissando 

effect created by goblets filled with water. Building on the traditional 

method of rubbing a finger along the ridge of these glasses to

produce a sound, here they are also constantly tilted back and forth 

to vary the pitch and create a very unusual glissando effect. 

El módulo central en forma libre expuesto por el solo de flauta nos 

conduce a la reexposición del tema principal, enlazando con el 

segundo tema también en reexposición, concluyendo con una breve 

Coda. 

The solo flute passage in this central free-form section leads us 

onto the recapitulation, where the first two themes are reintroduced 

and combined, and which concludes with a brief Coda. 


La simplicidad estructural y la instrumentación transparente son 

frutos de la referencia característica hacia dos compositores. La 

creación de este movimiento tuvo lugar en el 250 aniversario del 

nacimiento de W. A. Mozart y el 100 aniversario del nacimiento de 

Dimitri Shostakovitch, por tanto, el reflejo del movimiento interválico 

de Shostakovitch y la simplicidad melódica de Mozart son una 

constante. 

The structural simplicity and the transparent instrumentation of 

this first movement are influenced by the musical styles of two 

composers. This movement was composed in the same year as the 

250 th anniversary of the birth of Mozart, and in the same year as the 

100 th anniversary of the birth of Shostakovich. With this in mind, 

this movement reflects both the intervallic style of Shostakovich, 

and Mozart’s melodic simplicity. 

El segundo movimiento, de forma libre (A-B-C-D) intenta plasmar 

la fresca calidez del carácter mediterráneo en la primera de sus 

secciones. 

The second movement is set in free-form A-B-C-D fashion. The 

first section strives to capture the freshness and warmth of the 

Mediterranean. 

En la segunda, la 

notable influencia de 

los Cantos Llanos son 

presentados por el 

fagot, 

The second section 

fuses plainchants 

presented by the 

bassoon, 


fusionándose con la metafórica representación de las místicas voces 

femeninas Búlgaras expuestas en la trompa. 

with the French horn’s metaphoric representation of the choral 

music style of the Mystical Bulgarian Women’s Voices (Le Mystère 

des Voix Bulgares). 


La tercera sección, de características transitorias, nos conduce a la 

última de éstas, la cual referencia a su vez las transparencias musicales 

que Gabriel Fauré dibuja en su Requiem. 

The third section is transitional and leads to the final section, 

which references the musical transparencies of Gabriel Fauré’s 

Requiem. 

Éste movimiento sitúa toda su emoción en los diferenciales 

referentes europeos. 

In conclusion, this second movement incorporates all of its 

emotion in a variety of European styles. 

El tercer movimiento, en forma quasi Sonata, parte con una 

explosiva introducción armónicamente en pertenencia a otra de mis 

piezas: Vasa. 

The third movement, in quasi-sonata form, leaps out with an 

explosive introduction, harmonically much like another one of my 

works, Vasa. 

La exposición, basada en la danza tradicional española Jota, es 

fragmentada por los continuos cambios de compás, los cuales 

propician una gran variedad en la acentuación musical del mismo 

tema. 

The exposition, based on the traditional Spanish dance known as 

the Jota, is fragmented by constantly changing meters that yield a 

wealth of variety in the accentuation of the theme. 

José Suñer-Oriola 

was born 1964 in El Puig, Valencia 

(Spain). He studied percussion, 

analysis, harmony and counterpoint 

at Valencia Conservatory, and 

composition with Mr. Julio Ribelles, 

advancing his studies in Barcelona 

(Spain) and Luxembourg (Luxembourg). 

He has been player and 

teacher for the San Sebastián 

Municipal Band, the San Sebastián Conservatory, the Bilbao 

Symphony Orchestra and the Gran Teatre del Liceu Symphony 

Orchestra of Barcelona. 

His compositions are published by Catalana d’Edicions 

Musicals (Spain), Rivera editores (Spain), Blas-Basen (Sweden) 

and have been performed in Europe, Japan, Australia and 

America. 

He is “Frederick Fennell Special Prize” winner in The First 

Tokyo Kosei Wind Orchestra Composition Competition 2006, 

Prix SACEM, troisième prix Coups de Vents 2008, Lille (France), 

and finalist in the 2 nd International Frank Ticheli Composition 

Contest 2009, New York (USA). 

He is a member of the Valencian Composers Association 

(COSICOVA), the Spanish General Publishers and Authors 

Association (SGAE), and the World Association for Symphonic 

Bands and Ensembles (WASBE). 

Nowadays he plays at Valencia Municipal Band and 

conducts the Societat Musical Eslava d’Albuixech. 

WASBE World 15


Primer desarrollo. 

First Development. 

Densidad en la instrumentación y clara confrontación entre las dos 

líneas expuestas con nuevos motivos en la primera de sus dos 

secciones, creando una secuencia temática del leitmotiv en la segunda 

sección. Dicha secuencia será repetida en diferentes cambios instrumentales 

y acentuación rítmica durante 13 veces, e interválicamente 

por cuartas 11 veces. 

Composed in two sections, the first section features dense instrumentation 

and a clear confrontation between two new motivic lines, 

which form the basis of the thematic sequence a la leitmotif in the 

second section. This sequence is repeated 13 times with changes in 

instrumentation and rhythmic accentuation, and 11 times with intervallic 

changes at the fourth. 


Segundo desarrollo. 

Second Development. 

Caracterizado por motivos de la introducción y el tema principal en 

su presentación, deriva en una serie de secuencias, la primera de las 

cuales es ejercida por los clarinetes en movimientos cromáticos 

descendentes y ascendentes. 

The Second Development features a series of sequences based on 

motives from the introduction and the main theme. The first of these 

sequences is performed by the clarinets, with chromatically 

ascending and descending motions. 


La segunda secuencia obedece a un constante y ordenado cambio 

de compás. 


The second sequence follows an ordered pattern of meter 

changes. 


La tercera, constituida a partir del tema principal del primer 

movimiento de la pieza, desarrolla un canon desde los instrumentos 

más graves hacia los agudos en una diferenciación interválica de 

segundas. 

The third sequence, based on the main theme from the first 

movement of the work, is fashioned as a canon at the interval of the 

second, and progresses from the lowest instruments to the higher 

ones. 


Estas tres secuencias son dominadas por un constante fluir en las 

flautas, oboes y clarinetes, mediante una melodía de característica 

latina, aportando una mezcla de las influencias populares contemporáneas 

en contraste a los temas expuestos en forma tradicional. 

These three sequences are dominated by the fluidity of the flutes, 

oboes and clarinets, and are built around a characteristically Latin 

melody featuring a mixture of contemporary popular influences in 

contrast with traditionally treated themes. 

Transición. 

Transition. 

Como súbito final al segundo desarrollo, se presenta un puente 

relajante conducido por flautas y piccolo en una melodía fragmentada 

por los tres instrumentos, que será ampliada progresivamente por los 

metales. 

As a sudden ending to the second development, the flutes and 

piccolo present a relaxing bridge with a melody that is fragmented 

by these three instruments, which is then progressively amplified by 

the brass. 


Variación del segundo desarrollo. 

Variation of the Second Development. 

Utilizando el mismo motivo que en la introducción, se desarrolla 

una variación de la melodía latina a ritmo de tango, volviendo a

presentar en los metales una variación del tema 

principal del primer movimiento, argumentando 

todo el conjunto una dominación rítmica que 

desembocará en el tema principal a tutti. 

Using the same motive from the introduction, a 

variation of this Latin melody is developed using 

the tango rhythm, while the brass present their 

own variation of the main theme from the first 

movement. This rhythmic drive dominates the 

entire group and eventually leads to a tutti 

restatement of the main theme. 

Variación del primer desarrollo. 

Variation of the First Development. 

Tomando el primer desarrollo como modelo, se 

realiza una variante de ampliación instrumental así 

como distribución rítmica diferente al acaecido en 

el anterior. Contrastando con las dos construcciones 

anteriores, esta variación difumina progresivamente 

el poder instrumental en un fino hilo que 

nos conducirá a la reexposición del tema principal. 

Taking the first development as a model, a new 

variation is created using a greater number of 

instruments and a different rhythmic treatment 

than used earlier. In contrast to the two earlier 

constructions, the instrumental power of this 

variation progressively dissolves into a fine 

thread, which leads us back to the recapitulation 

of the main theme. 

Reexposición del tema principal – Reexposición 

del primer desarrollo – Coda. 

Recapitulation of the Main Theme – Recapitulation 

of the First Development – Coda. 

Las tres partes restantes cumplen estrictamente 

su función, aplicando unas variantes, en el caso de 

la primera un sentido irónico por las flautas. En el 

segundo, por una ampliación instrumental en las 

dos secciones de las que consta, para llegar a una 

Coda que fusiona la melodía del segundo 

desarrollo con la variación del tema principal del 

primer movimiento y el tema principal de éste 

mismo, ocultando dos temas unidos en los graves 

pertenecientes el primero a mi obra Vasa y el 

segundo al Himno Español. 

The three remaining sections fulfill their traditional 

roles while employing some variation 

techniques. The first of these has the flutes set in 

a somewhat ironic tone. The second is set in two 

parts with expanded instrumentation. The coda 

merges the melody from the second development 

with both the variation of the main theme from 

the first movement and the main theme from this 

movement. At the same time, two other themes 


Richard Scott 

Cohen 

is Associate Professor 

of Music 

and Director of 

Instrumental 

Concert Ensembles 

at Ferris State 

University in Big 

Rapids, Michigan, USA. A native of Chicago, 

Cohen is a Phi Beta Kappa scholar from the 

University of Illinois, holds masters and 

doctorate degrees in conducting from 

Northwestern University, and is a former 

Fulbright Scholar to Spain. His numerous 

professional affiliations include membership 

on the boards of directors of the International 

Society for the Research & 

Promotion of Band Music (IGEB, Austria) 

and several local arts agencies. He is also 

frequent consultant to the Valencia 

Federation of Musical Societies (Spain), and 

is a former member of the Editorial Board of 

the WASBE Journal. A WASBE member since 

1987, Cohen remains active as a conductor, 

trombonist, composer, arranger, music 

adjudicator, clinician, researcher, author, 

translator and lecturer throughout the 

United States, Canada, Europe and Asia. 

are hidden in the low instruments, with the first 

coming from my composition, Vasa, and the 

other being the Spanish National Anthem. 

Referencias a estilos y formas tradicionales son 

comúnmente contrastados en un mismo trabajo 

con influencias y temáticas más actuales. El trabajo 

de los grupos instrumentales, el constante cambio 

de compás y la búsqueda de colores, caracterizan 

el virtuosismo de este movimiento. 

References to traditional forms and styles are 

contrasted repeatedly with more present-day 

materials and influences. The interchange 

between various instrumental groups, the 

constant changes in meter, and the search for 

color characterize the virtuosity of this 

movement. José Suñer-Oriola 

Agradecimientos de ejemplos musicales: 

Musical Example Credits: 

Chamber Symphony nº 1: Rivera Editores, 

Valencia, España (Spain). 

Tres finestres, quinteto de 

metales: Instituto Valenciano 

de la Música, Valencia, España 

(Spain). 

Vasa: Blas-Basen Music 

Publishing, Stockholm, Suecia 

(Sweden).

© copyright by Rivera Editores. Used by permission. All rights reserved. 

18 WASBE World

NEWS 

WASBE Looking for Camps and Students to 

Participate in International Scholarship Program 

Joseph T. Alme and Dr. Evan Feldman, Co-Chairmen 

The WASBE International Scholarship 

Program was established to assist students 

wishing to study at a music camp in a 

country other than their own. This youth 

cultural exchange would not only add to the 

students’ musical development but would 

also enable participating students to develop 

a greater understanding and appreciation of 

each other’s culture through their mutual 

interest in music. 

The scholarships include the cost of meals, 

lodging and tuition during the student’s stay 

at the camp. Each student is responsible for 

the cost of his or her own transportation to 

the music camp. Students interested in participating 

in the program should contact us at 

the address below. 

During the past 27 years (1982-2009), 

over 200 students from seventeen countries 

Wheaton College, a small, highly selective liberal arts college in Norton, 

Massachusetts, announces a full-time tenure track position for an 

Instrumental Conductor 

with an initial two-year appointment at the rank of Assistant Professor. 

This faculty member will lead two instrumental ensembles, a Chamber 

Orchestra (currently 20 members) and a Wind Symphony (40 members). 

Each ensemble rehearses weekly and performs at least one concert per 

semester. The ensembles include both student and community 

musicians, and the candidate must be able to effectively conduct students 

with varying ability levels. Additional teaching responsibilities include one 

course per semester. Candidate must be able to teach Music Theory up 

through diatonic Tonal Harmony; other courses may include a specialty of 

candidate, Conducting, Introduction to Music, or as needed to cover 

departmental offerings. Music Department faculty members typically also 

have the opportunity periodically to develop a course in an area of their 

interest in Wheaton’s interdisciplinary First-Year Seminar program, and to 

teach the departmental Senior Seminar, a capstone course which rotates 

among our faculty and offers additional opportunity for course 

development. Doctorate, Artist’s Diploma, or equivalent professional 

experience required. Ideal candidate will be able to demonstrate a track 

record of success in, and strong commitment to, teaching music within 

the context of a liberal arts education. Please submit letter of application, 

detailed c.v., and names of three referees electronically to: 

https://jobs.wheatoncollege.edu, by January 15, 2010, and please ensure 

that referees submit their letters of reference by that date. CD or DVD 

supplementary submissions should be sent to Search Committee, Music 

Department, Wheaton College, Norton, MA 02766. Any recordings sent at 

this time will be reviewed but will not be returned. Questions about the 

position may be directed to Matthew Allen, Music Department Chair 

(mallen@wheatoncollege.edu). 

For more information about Wheaton College, see http://www.wheatoncollege.edu 

Wheaton College seeks educational excellence through diversity and 

strongly encourages applications from women and men of minority 

groups. 

have participated in the International 

Scholarship Program. Music camps 

throughout the eight nations of Belgium, 

Canada, England, Finland, Norway, Sweden, 

Switzerland and the United States have 

provided the scholarships. 

If your camp is interested in providing this 

opportunity for an international student, 

please contact us. This is an excellent way of 

providing a unique opportunity for a young 

international musician while promoting your 

camp worldwide! 

Camps interested in providing scholarship 

opportunities should contact: 

Joseph T. Alme, International Scholarship 

Co-Chairman 

1930 23 rd Ave SE 

Minot, ND 58701, USA 

joe@internationalmusiccamp.com 

WASBE RECEPTION 

WASBE will have their regular 

meetings during the Midwest Band and 

Orchestra Clinic in Chicago this 

December. 

All WASBE members are welcome 

to join our reception on 

Wednesday December 16, 2009 

5:30 - 7:00 pm 

at the Hyatt Regency Ballroom C. 

See you there! 

WASBE SCHOLARSHIPS 

MADE AVAILABLE FOR 2010 

SEASON 

UNITED STATES/CANADA 

INTERNATIONAL MUSIC CAMP 

International Peace Garden, North 

Dakota/Manitoba 

Number of Scholarships: 2 

Dates: June 20-July 3, 2010 

June 27-July 10, 2010 

July 18-31, 2010 

Age Level: 15 – 18 

Contact Person: Dr. Timothy Wollenzien 

info@internationalmusiccamp.com 

Website: www.internationalmusiccamp.com 

HOW TO IMPROVE BREATH, 

VOICE AND POSTURE 

In this manual you will learn more about 

breathing, voice and posture. New means of 

control will allow you to exploit your possibilities 

more economically to the ultimate effect. 

New! 

ISBN: 9783839121351 · www.dubymusic.de 

WASBE World 19

NEWS 

Sir Simon Rattle (UK) has signed a 

contract to remain director of the Berlin 

Philharmonic until 2018. Rattle has led 

Germany‘s top orchestra since 2002. The 

orchestra has expanded its educational and 

youth outreach program, and Rattle also 

helped shepherd the change of its administrative 

structure into a foundation. 

Gustavo Dudamel (Venezuela) led the Los 

Angeles Philharmonic in the world premiere 

of John Adams’ City Noir and Mahler’s First 

Symphony for his Inaugural Gala and 

opening night concert at Walt Disney 

Concert Hall on October 8. The New York 

Times wrote that it was “an exceptional and 

exciting concert by any standard,” and that 

Dudamel’s interpretation of the Mahler was 

“probing, rigorous and richly characterized.” 

Marco Pütz’s “…then thy words will take 

wind…” for solo cello, children’s choir and 

wind orchestra was premiered by the 

University of Osnabrück Wind Orchestra 

under the direction of Jens Schröer at St. 

Kathrine’s Lutheran Church in Osnabrück on 

10 November 2009. The concert took place 

in conjunction with an exhibition of the 

paintings known as Private Tolkatchev at the 

Gates of Hell by the Russian artist Zinovii 

Tolkatchev. 

Stephen McNeff’s Creation was premiered 

by the Birmingham Conservatoire Senior 

Wind Orchestra under the direction of Guy 

Woolfenden on 27 November 2009 at 

Adrian Boult Hall at the Conservatoire. The 

work was commissioned by a BASBWE 

College Consortium. 

Kenneth Hesketh has been commissioned 

by the Birmingham Symphonic Winds to 

compose a Danceries 2. To finance its 

commissions, the Birmingham Symphonic 

Winds encourages individuals to donate £25, 

£50, or £100 or more to a commission. In 

return, the contributers are credited in the 

score of the composition, receive an 

autographed front page of the score, and 

may observe rehearsals of the Birmingham 

Symphonic Winds preparing the premiere of 

the work. 

Rachel Lockwood’s Fountains: Trafalgar 

Square Waking for woodwind dectet was 

premiered by the Royal Northern College of 

Music in Manchester on 25 October 2009. 

Lockwood sketched the piece while perched 

for one hour on the normally unoccupied 


fourth plinth in Trafalgar Square in London 

on 1 September 2009 as part of Antony 

Gormley’s project One & Other. Concerning 

the experience the composer has written: 

I work on producing new music, and 

producing a new artwork in the contest of 

another new artwork (atop a relatively 

venerable piece of architecture) was a rarely 

equalled opportunity for meta-art. The top 

of the plinth was a bizarre, as well as 

unusual, place to compose. On the plinth I 

was surrounded by all kinds of people…, 

but the height created a separation between 

my surroundings and me. I was in isolation, 

but surrounded by the bustel of Trafalgar 

Square as it woke on a truly beautiful 

morning. 

James Sclater has been commissioned by a 

consortium headed by the Mississippi Wind 

Symphony to compose a concerto for piano 

and wind band. The proposed three 

movement, 20 to 25 minute concerto is to 

be premiered in June 2010 by pianist Angela 

Willoughby and the Mississippi Wind 

Symphony. 

Heinz Friesen, noted Dutch conductor, 

received the Amstel Music Award 2009 of 

5000 on 30 August 2009 at the final 

concert of the annual Grachtenfestival aan 

de Maas, where he conducted the 

Symphonic Wind Orchestra St. Michael of 

Thorn. Friesen received the prize for his 

outstanding achievement as a conductor and 

his valuable contributions to the promotion 

of the wind orchestra. 

Andrew Boysen, Jr. has been commissioned 

by the Western and Northwestern 

Divisions of CBDNA to compose a single 

movement, Grade 4, seven to eight minute 

composition for wind band. The work will be 

premiered by the University of Nevada Wind 

Ensemble on 12 March 2010 at the Western 

and Northwestern CBDNA Conference in 

Reno, Nevada. 

Willi Vogl’s elegy for symphonic band, 

Gelobtes Land (The Promised Land), was 

premiered by the Youth Wind Band of the 

Alemannic Band Association under the 

direction of Ulrich Winzer on 4 October 

2009 at the Burghof in Lörrach, Germany. 

Jan Cober conducted the Rundfunk 

Blasorchester Leipzig on a nineteen day tour 

of China in October 2009. The 32 piece 

band played nine concerts in eight cities, 

including Beijing, Shanghai, Hangzhou, 

Ningbo, Wuhan, and Wuxi. The program 

included Mendelssohn’s Ouverture für 

Harmoniemusik, Op. 24, J.S. Bach’s Toccata 

and Fugue in D Minor, Leonard Bernstein’s 

Overture to Candide, George Enesco’s 

Rumanian Rhapsody No. 1, and Anton 

Dvoˇrák’s Slavonic Dance, Opus 46, No. 3. 

Swiss composer Oliver Waespi won the 

second prize and the Kouvola audience prize 

ex aquo at the Second Uuno Klami-Composition 

Competition in Finland for his Double 

Concerto for Guitar, Flute and Chamber 

Orchestra. This is another important 

recognition of Waespi’s work as a composer 

after the George-Enescu-Prize 2003 and the 

2005 London Scholarship of the Zuger 

Kulturstiftung Landis&Gyr. 

CBDNA invites to participate in a Wind 

Band Commission by German composer Rolf 

Rudin. The instrumentation is for Symphonic 

Wind Band, Grade 4-5. Commission Fee is 

$400 – includes score and parts. More information 

from Jim Cochran JCochran@shattingermusic.com 

The 63rd Annual Midwest Clinic will be 

held December 15-19, 2009 in Chicago, 

USA. To celebrate, The Midwest Clinic 

commissioned a new work, Olympic Harvest 

(An Orchestral Overture) for Symphony 

Orchestra, from renowned violinist, 

composer, and educator Mark O’Connor. At 

the conference, the Las Vegas Academy 

Philharmonic will have the honor of giving 

the overture its world premiere during their 

concert (Wednesday, December 16, 5:30 – 

6:30 p.m.). 

We Need Your 

Correct Address! 

As we do the daily business of WASBE, 

we use email addresses as well as home 

addresses for electronic and “hard 

copy” mailing. When your email 

address, home address, phone number, 

or website addresses change, it is very 

important that we have that information. 

The ePostcard, WASBE World 

Magazine and WASBE Journal depend 

on us having up-to-date contact details. 

The listing of that information on the 

WASBE website is also the easiest way 

for members to locate and communicate 

with each other, and it should be 

accurate, too. 

Please help us to update your information 

by contacting our Treasurer: 

Marianne Halder 

Unter Nank 32/4 

D-72461 Albstadt / Germany 

mariannehalder@web.de

CALENDAR 

International 

Wind Orchestra Festival 

The Annual International Wind Orchestra 

Festival Berlin will be held at the Admiralspalast 

in Berlin, Germany from the 12 th to 

the 16 th May 2010. The competition is 

exclusively for wind orchestra and harmonie 

orchestra. All musicians must be active 

members of the orchestra. Orchestras can 

apply to compete in three categories. For 

more information: 

Günther Lange, Eventours 

Postbus 79, 6170 AB Stein 

The Netherlands 

Tel.: +31-46-410-6565 

info@eventtours.nl 

www.eventtours.nl/index.en.html 

International Wind Music Festival 

Coups de Vents is organizing the First 

International Wind Music Festival, which will 

take place from 10 th to 14 th July 2010, on 

the Cote d’Opale (North Coast of France) 

and the 1st International Band Competition 

which will take place on 9 th and 10 th July 

2010 in towns of the Nord and the Pas-de- 

Calais regions. 

The call for submission for the festival and 

participation for the competition has 

officially started. The competition is open to 

all non-professional symphonic bands of the 

world. More than € 40 000 of prizes can be 

awarded. The participation in the competition 

implies the participation in the festival. 

But wind bands can participate only in the 

festival. 

For further information: please contact 

coupsdevents@domaine-musiques.com 

Rules and registrations (free) at: 

www.coupsdevents.com 

International Youth Music Festival 

The 11 th Annual International Youth Music 

Festival Purmerade 2010 will be held in 

Purmerend, Holland from 14 th to 18 th July 

2010. During the Purmerade, clinics will be 

organised for various instruments and 

instrument groups. The Purmerade jury 

consists of a renowned and professional 

international team. For more information: 

Michael Ryan, Public Relations 

Purmerade 2010 

publicrelations@purmerade.nl 

www.purmerade.nl 

Singapore International 

Band Festival 

The 3 rd Annual Singapore International 

Band Festival will be held at the Republic 

Cultural Center Theater and Esplanade 

Concert Hall in Singapore from 21 st to 26 th 

July 2010. WBASingapore (formerly WASBE 

Singapore) sponsors this event which 

includes competition, international band 

exchange, workshops, and outreach 

programme. The Open Division 1 st Prize is 

S$19000. Applications must be received by 

Sunday, March 28, 2010. 

For more information: 

Mr. Steven Phua, Project Director 

Rave Group Pte Ltd 

271 Bukit Timah Road #02-05 

Singapore 259708 

Tel.: +65 6747 3721, Fax: +65 6747 7052 

info@sibf.sg, www.sibf.sg 

Atlantic Music Festival 

The 2010 Atlantic Music Festival 

announces its call for entries for Fellowship 

Program applicants. Submission forms can 

be completed online at the official Atlantic 

Music Festival website (http://www. 

atlanticmusicfestival.org/the-institute) AMF 

provides complete financial coverage for 

tuition and housing during the four weeks of 

residency. The Fellowship Program is open to 

orchestral instrumentalists, guitarists, 

pianists, opera singers, one composer, one 

conductor, and one recording engineer 

between the ages of 18 and 34. Accepted 

applicants will be featured as resident artists 

at The 2010 Atlantic Music Festival. 

Deadline to submit for the U.S. and International 

applicants for the 2010 Atlantic 

Music Festival is January 4, 2010. The 

submission form and complete information 

regarding eligibility and entry rules for the 

2010 Atlantic Music Festival are available on 

the Atlantic Music Festival website. Information 

is also available through the Atlantic 

Festival by email to community@atlanticmusicfestival.org, 

or by regular mail to 

Little Feather Works, 

228 Park Ave S #31975, 

New York, NY 10003. 

For more information, visit 

http://www.atlanticmusicfestival.org 

International Youth Wind Band 

Festival Germany 

The 8 th International Youth Wind Band 

Festival of the »Bund Deutscher Blasmusikverbände« 

will be held in Wehr, Germany, 

from 8 th to 11 th April, 2010. Besides concerts 

and workshops , youth bands can participate 

in the international contest. All young bands 

and ensembles of chamber music with 

musicians up to 27 years can participate. 

Applications must be received by December 

31, 2009. For further information, visit 

www.jugendkapellentreffen2010.de 

or mail to 

Bund Deutscher Blasmusikverbände 

– Bläserjugend – 

Alois-Schnorr-Straße 10 

D-79219 Staufen 

GERMANY 

Conducting Seminars 

At the Singapore 

International 

Band Festival 

bands would be 

able to choose 

and perform 

within their most 

comfortable 

level. 

The Royal Northern College of Music 

(RNCM) in Manchester is running a 

Conductor Training Weekend from 30 th April 

to May 2 nd , 2010 with Mark Heron and 

Philippe Bach. 

Beside Mahlers 4 th Symphony and the 

Brahms Violin Concerto, participants also will 

work on the Stravinsky Octet and Mozart 

Serenade for wind octet, KV 375. More 

information from www.rncm.ac.uk/images/ 

media/docs/CWLeaflet2010.pdf 

WASBE World 21

RECORDING REVIEWS 

World Wind (Wisconsin Wind 

Orchestra, Carroll University Wind 

Symphony, Global Percussion 

Network, Trombones de Costa Rica, 

Lawrence Dale Harper, conductor); 

Mark Masters, 7393-MCD 

This recording features The Wind and Percussion 

Institute of Carroll University, a comprehensive 

program of music education and 

performance experience for the high school 

player, the college student, and the professional 

musician. The institute’s philosophy 

and that of Carroll University reflect many of 

the goals of WASBE. Thus this recording, as 

the accompanying booklet tells us, “documents 

and celebrates the commitment of 

Carroll University to global unions, international 

relationships, and a world brought 

together by the fervent power of music to 

transcend differences.” 

The CD contains three large works – Jean 

Françaix’s Sept Danses d’après ballet, Les 

Malheurs de Sophie, Andres Åstrand’s Sju 

Klingande Träd (Seven Pieces of Wood) and 

Vinicio Meza’s Concierto “Trombones de 

Costa Rica”. The Sept Danses are played by 

the Wisconsin Wind Orchestra, the resident 

professional wind ensemble at Carroll University 

and are given a wonderful performance, 

capturing all of the clearity, lightness 

and wit that Françaix’s music demands. 

Françaix wrote the ballet Les Malheurs de 

Sophie for orchestra in 1935 and transcribed 

the seven movements for double wind 

quintet in 1970. Whereas the ballet is 

seldom performed, the Sept Danses have 

become one of Françaix’s most popular and 

frequently performed chamber wind compositions. 

The recorded sound is excellent, 


letting one hear crystal clear all of the lines 

of this charming music. 

The Swedish composer Andres Åstrand is 

a percussionist and one of the three 

members of the percussion ensemble Global 

Percussion Network. His music, like that featured 

by Global Percussion Network, is 

highly improvisatorial and combines a wide 

variety of popular and classical styles. The 

seven movement, thirty-eight minute Seven 

Pieces of Wood for double wind quintet, 

double bass and percussion ensemble began 

as a four movement suite commissioned by 

the Wisconsin Wind Orchestra. The premiere 

of the work on 24 March 2007 in Waukesha, 

Wisconsin was such as success, that 

the composer quickly added three movements 

to the work. The composition creates 

a fascinating sound world with a mixture of 

avant-garde, jazz, rock and folk idioms. For 

example, the aleatoric fourth movement, 

Meditation Groove, consists of three melodies 

from which the players choose to play 

any or all in whatever order they wish and 

sets of chord progressions over an ostinato 

bass. Thus, the suite is the kind of work that 

demands complete dedication from all of the 

players, and that is exactly what Harper and 

his musicians give it. Especially in the minimalistic 

sections, there is a commitment and 

conviction rarely heard. 

The final work on this CD is Vinicio Meza’s 

three movement, eighteen and a half minute 

Concierto “Trombones de Costa Rica”. 

Meza is one of Costa Rica’s leading composers 

and writes in a wide variety of styles and 

forms, reflecting his studies in both his native 

country and in the USA. The Concierto was 

written especially for the Trombones de 

Costa Rica and the Carroll University Wind 

Symphony and provides a fine vehicle for 

demonstrating the virtuosity of this outstanding 

trombone quartet. The Latin American 

folk music influence of the first movement 

makes it quite exciting, and the trombone 

quartet is in its element. The second movement 

contains some beautiful music, but 

much of it is too predictable and for many 

probably too Romantic. The final movement, 

like the first one, is a technical show piece, 

but this one is more influenced by the music 

of North America than that of Costa Rica. 

This is a recording that you will certainly 

enjoy. The playing by the trombone and percussion 

ensembles as well as the ensembles 

of The Wind and Percussion Institute of 

Carroll University is technically precise and 

full of expression and emotion. Lawrence 

Harper and Mark Masters Records are to be 

thanked for making this disc available. 

Leon J. Bly 

Europa Sinfonie, Vol. 1 & 5 

(Pannonisches Blasorchester, Peter 

Forcher, conductor); Tyrolis Music, 

CD352 488 and CD352 543 

These are the latest two releases in the 

Pannonisches Blasorchester’s proposed series 

of six discs with symphonies for wind 

band/ensemble by European composers. 

Volume 4 was reviewed in the September 

2008 issue of the WASBE Newsletter. 

Volume 1 contains three early symphonies 

from the 18th and 19th Centuries – François- 

Joseph Gossec’s Symphonie militaire, W.70, 

Joseph Küffner’s Musique militaire ou Sinfonie, 

Opus 163, and Hector Berlioz’s Grande 

Symphonie funèbre et triomphale, Opus 15. 

Volume 5 couples Johan de Meij’s Symphony 

No. 1 “The Lord of the Rings” with Serge 

Lancen’s Manhattan Symphony. 

Gossec’s Symphonie militaire was composed 

in 1793 for open-air celebrations during 

the French Revolution. Compared with some 

of the other works composed for the Revolution, 

it is a rather humble composition 

more related to the Pre-Classical symphonies 

of the late Baroque Period than the symphonies 

of the Classical Period. However, 

Forcher and his musicians give the work an 

outstanding performance in the true Viennese 

Classical style. In fact, the performance 

is so fine that it may convince some who 

have long ignored the work to reexamine it. 

The exciting thing about a project like 

Europa Sinfonie is that one has a chance to


hear and evaluate some little known compositions. 

That certainly is the case with the 

Musique militaire ou Sinfonie, Opus 163 by 

Joseph Küffner (1776-1856). Küffner was a 

court musician in his native city of Würzburg 

until Franconia became a part of Bavaria in 

1802. He then served as bandmaster for a 

Bavarian military band and was given the 

task of reorganizing the Bavarian regimental 

bands, which led him to arranging and composing 

for them. After his retirement in 

1814, he dedicated himself to composing. 

His œuvres include an opera, seven symphonies 

for orchestra, numerous compositions 

for wind band, and over 100 works for 

guitar, many of which are still performed 

today. 

There is nothing distinguishing about 

Küffner’s music, but the Musique militaire 

ou Sinfonie, Opus 163, which was composed 

in 1825, is well crafted and worthy of 

performance. It is a true symphony, quite 

typical for the period, with a first movement 

in sonata-allegro form preceeded by a slow 

introduction, an Andante second movement 

marked Romance, a Menuetto third movement 

with a tempo marking of Allegro assai 

and a finale with the tempo marking Allegro 

ma non troppo. Forcher and his musicians 

give it a fine reading that truly captures the 

style and essence of the work. 

Berlioz’s Grande Symphonie funèbre et 

triomphale, Opus 15 was composed for a 

large wind band consisting of a minimum of 

95 wind players and 14 percussionists. For 

the performance on this CD, the size of the 

band has been reduced in the ratio of about 

five to one. Without all of the doubling in 

the originial score, the performance here is 

very clean and exact. However, substituting 

a small band for a large one makes for a thin 

sound that often lacks the drama intended 

by the composer, who never performed the 

work with less than 130 instrumentalists. 

This problem is most evident in the theatrical 

first and third movements. However, for 

those who find that bands play too loudly, 

the controlled performance of the concluding 

Apothéose may be exactly what one is 

seeking. The beginning of the second movement 

is very well played with nicely balanced 

chords. The relative lively tempo of M.M. 84 

for the Andantino, however, does not allow 

for some of this music to breathe. Whereas 

with the first two compositions on this CD, 

Forcher catches the true spirit of the works, 

his reading of this symphony does not 

always succeed in reflecting the work’s true 

character. 

Europa Sinfonie 5 contains two well 

known 20 th Century symphonies – Johan de 

Meij’s Symphony No. 1 “The Lord of the 

Rings” and Serge Lancen’s Manhattan Symphony. 

The Lord of the Rings was premiered 

by the Great Symphonic Band of the Belgian 

Guides under the direction of Norbert Nozy 

on 15 March 1988 and almost immediately 

became popular around the world. The five 

movement symphony is based on J.R.R. Tolkien’s 

novels by the same name, but it is not 

program music in the traditional sense, as it 

does not attempt to musically tell the 

complex story, but rather is a musical portrait 

of certain characters and settings found in 

the novels. 

Most readings of this symphony are quite 

Romantic, but Forcher’s refined interpretation 

is almost Neo-Classical with excellent 

control of dynamics and attention to details 

often lost in other performances. This is 

expecially true in the excellent, transparent 

playing of the second movement, 

Lothlorien, and the fourth movement, 

Journey in the Dark. Forcher’s reserved portrayal 

of Gandalf in the first movement 

reflects more of Tolkien’s description of him 

in his letters as being an angel than the gray 

wizard he is usually considered to be, while 

his playing of the third movement emphasizes 

most vividly the grotesqueness of the 

monstrous creature Gollum. In the final 

movement, the Hobbits are portrayted with 

all of their carefree, optimistic character, but 

Forcher never lets the music become superficial, 

which can happen too easily. Forcher’s 

no nonsense reading of this symphony takes 

almost five minutes off most other performances. 

Serge Lancen composed his Manhattan 

Symphony in 1961 following a trip to the 

USA. As with “The Lord of the Rings”, it 

became quite popular very quickly and 

brought Lancen international recognition. 

The first movement – Arrival at Manhattan – 

depicts Lancen’s first impressions of New 

York City as he views it from a slowly arriving 

transatlantic steamer. The other four 

movements all portray famous locations in 

Manhattan – Central Park, Harlem, Broadway, 

and the Rockefeller Building. This is a 

Frenchman’s musical impression of an American 

city, and although the influences of 

American music are obvious, this is vintage 

Lancen, steeped in French salon music. 

Forcher captures Lancen’s lean, airy style 

very well, and his choices of tempos make 

this music sparkle. 

With these two recordings, the Pannonisches 

Blasorchester has completed half of 

the proposed six recordings documenting 

European symphonies for wind band. The 

excellent quality of the playing and recorded 

sound of these first CDs make for a joyous 

anticipation of the next three. Leon J. Bly 

“Innovare: A Celebration” (University 

of Saskatchewan Wind Orchestra, 

Dr. Glen Gillis – Conductor) 

This CD entitled “Innovare: A Celebration” 

features all original wind band works 

by contemporary composers and arrangers. 

The first selection, “Ride” by American 

composer Samuel Hazo certainly showcases 

the ensemble’s energy and ability to handle 

a rhythmically challenging work. The pace 

and enthusiasm are evident from the first 

note to the last which I am sure would 

please the composer and an audience ready 

for a no holds barred introductory piece. 

The second work, “Raise the Roof” is by 

University of Michigan composition professor 

Michael Daugherty and has become one 

of his most often played wind band compositions. 

The pensive suspended cymbal/tuba 

solo entrance slowly gives way to a flute 

melody which introduces the timpani. This 

instrument, according to Mr. Daugherty, is 

the “workhorse of the piece”. While the 

intonation and security of the opening was 

much in doubt throughout, the work gained 

WASBE World 23


the proper momentum and I found the 

timpani playing quite accurate and impressive. 

The jazz styles were excellent both from 

the soloists and the various instrumental sections. 

“Radiant Joy” by Steven Bryant follows 

which garnered the winning composition at 

the 2007 National Band Association William 

D. Revelli contest. Comprised of a driving 

and vital rhythmic pulse and a tonal 

language reminiscent of the 70s/80s 

jazz/funk/fusion era, the work features baritone, 

piano and saxophone solos along with 

various members of the percussion family. 

This non stop tour de force keeps all instrumentalists 

on their toes and provides great 

fun for performer and listener alike. Some of 

the tutti faster passages got lost in the acoustics 

of the recording hall but the energy was 

nonetheless impressive and appreciated. 

David Gillingham’s “Give Us This Day” 

follows which provides us some reflection 

after all that went before on this CD. The 

title is obviously taken from the Lord’s Prayer 

however David Gillingham notes that the 

inspiration is actually from Buddhism. Light 

and introspective clarinets, interspersed with 

piano and percussion darts open the work to 

draw the listener in. The Gillingham trademark 

of darkly scored chordal sections follow 

and the Saskatchewan group handles this 

with great care and sensitivity. I appreciated 

the length and breadth of sound while not 

overdoing the written dynamics. While intonation 

in some of the softer exposed sections 

was of concern at times, (as was the 

dominance of bells and other keyboard percussion) 

the work moved inevitably towards 

the grand conclusion, a very modal rendition 

of the powerful choral setting by J.S. Bach, 


“Vater Unser IM Himmelreich”. Piccolo and 

flute intonation is of concern here as is the 

overplaying of the bass drum but there is no 

doubt that the ensemble enjoyed this one. 

1949, a young 14-year-old Luigi Zaninelli 

was brought to the famous Curtis Institute 

of Music by Gian Carlo Menotti where he 

studied with Rosario Scalero, the teacher of 

Samuel Barber and Menotti. Zaninelli later 

taught at the University of Calgary (Canada) 

and is now on the faculty of the University 

of Southern Mississippi. His work, “The 

Golden Horn” appears next on this CD. The 

piece was originally written for the famous 

trumpet soloist, Doc Severinsen. The soloist 

in this recording is a senior trumpet student 

at the University of Saskatchewan, Ryan 

Cole. It’s obvious that Mr. Zaninelli was quite 

familiar with what “Doc” was capable of 

doing on the trumpet as it is not a great 

stretch to hear the famous Tonight Show 

bandleader in these passages. Mr. Cole is to 

be congratulated on a fine rendition although 

the C trumpet does not convey to me 

the dark, almost belligerent quality that Doc 

always possessed. It truly seemed as though 

the trumpet was his slave, with Doc totally in 

charge from note one. While I am not sure 

that this work stands out among the many 

great solo pieces for trumpet and ensemble, 

it is one to consider if you have an outstanding 

trumpet soloist. 

Next is Dana Wilson’s, “Day Dreams”. 

While not a new work, it certainly is indicative 

of Dana’s creative scoring techniques 

and sometimes meandering compositional 

mind. This is not surprising since the piece is 

dedicated to and celebrates the life and work 

of Frank Battisti, WASBE founding member 

and retired faculty member of the New 

England Conservatory. Most everyone in the 

ensemble gets a chance to shine and showcase 

their talents in this one. I don’t know if 

this take was done all in one setting but 

there seems to be some fatigue in the 

players towards the end. 

More frenzy follows with another Samuel 

Hazo work entitled “Rush”. The composer 

confesses that he actually wrote “Ride II” 

and most every trait that I identified earlier 

with “Ride” you can find in this sequel. It 

might be interesting to use these works as 

bookends on a concert program. However, 

much energy would need to be saved – 

especially for this work. It is a non-stop adrenaline 

rush. 

The penultimate work on the CD is the 

“Suite on Canadian Folk Songs” by countryman 

Morley Calvert. The three movements 

feature two French Canadian folk songs 

while the middle movement is taken from a 

popular Newfoundland folk tune. Originally 

written for brass band, the wind ensemble 

setting is charming but certainly not in the 

technical range of other selections on this 

CD. Consequently, I do not feel the ensemble 

paid as strict attention to detail (intonation, 

correct notes, etc) however these do 

prove pleasant listening. 

The final work on this ambitious CD is the 

paso doble, “Sol y Sombra” by American 

George Gates and edited by Van Ragsdale. 

Although the tempo taken is a bit brisk for 

works of this genre, I enjoyed the trumpet 

solo that leads to the final section and of 

course the final Spanish flair that is so typical 

of these marches. 

Overall the CD is a fine edition to anyone’s 

collection. I am somewhat dismayed at 

times with the recording quality and the 

acoustics of the room. The percussion is 

quite prominent throughout, even when 

they shouldn’t be and much of that (no 

doubt) can be attributed to the hall. The 

band achieves a wonderful tutti wind band 

sound at times and plays with a great understanding 

of the literature before them. This is 

a wonderful tribute to their fine conductor. I 

highly recommend this CD for its vitality and 

depth of literature and challenge. 

Dennis L. Johnson

BOOK REVIEW 

Great Music for Wind Band – 

A Guide to the Top 100 Works in 

Grades IV, V, VI by Chad Nicholson. 

Galesville, MD, USA; Meredith Music 

Publications, 2009; Language: 

English; US$ 19.99; 193 pages; 

ISBN-13 978-1-57463-092-3 

Putting a title like this on a book is bound 

to make it controversial. Most wind band/ 

ensemble conductors would probably agree 

that all of the works listed in this book are 

compositions of quality. If it is all great music 

or not, time will decide. However, who 

decides which works are the top 100? 

Although a well known conductor and 

arranger in his own right, Nicholson did not 

select the “Top 100” himself, but as it states 

on the book’s cover, the compositions were 

selected by fourteen well known, current 

and past, university wind band/ensemble 

conductors in the USA: Frank Battisti, Ray 

Cramer, James Croft, Thomas Dvorak, 

Richard Floyd, Michael Haithcock, Gary Hill, 

Jerry Junkin, Craig Kirchhoff, Thomas Lee, 

Stephen Pratt, H. Robert Reynolds, Mark 

Shatterday, and Richard Strange. Thus one 

can expect a partiality for American composers, 

and one might easily argue that the 

compositions listed here are most appropriate 

for performances by collegiate wind 

band/ensembles in the USA. 

However, if one is willing to lay aside the 

American bias and the notion that these are 

the “Top 100” works, one has here an 

excellent reference book full of valuable 

information about 100 major compositions 

for the wind band/ensemble. The book is 

divided into three units according to grade 

of difficulty, and the entries are listed alphabetically 

according to composer. In addition 

to the composer, title and grade of difficulty, 

each entry includes the date of composition, 

duration, availability, publisher, information 

concerning instrumentation and any solos 

included, incipits, reference recordings, and 

helpful comments by the author. 

As always with such a catalogue, some 

readers may find a few works graded as 

more difficult or easier than they may personally 

consider them to be. For example, most 

catalogues list Richard Wagner’s Trauermusik, 

WWV73 as a Grade IV composition. 

Nicholson lists it as Grade V but presents a 

good argument for doing so. 

The Grade IV listing contains Richard 

Franko Goldman’s transcription of J.S. Bach’s 

Fantasia in G Major, John Barnes Chance’s 

Elegy, Aaron Copland’s Variations on a 

Shaker Melody, Percy Grainger’s Irish Tune 

from County Derry, Shephard’s Hey and 

Molly on the Shore, Howard Hanson’s 

Chorale and Alleluia, Gustav Holst’s two 

Suites for Military Band, Gordon Jacob’s Old 

Wine in New Bottles, and Ralph Vaughan 

Williams’s English Folk Song Suite. 

More than half of the compositions are 

listed as Grade V, meaning that they are 

playable by fine amateur bands, whereas 

most of the compositions listed as Grade VI 

need conservatory students or professional 

players in order to be performed properly. 

Among the Grade V works, one finds compositions 

for various instrumental and vocal 

combinations, such as Anton Bruckner’s 

Messe in e-Moll, Antonin Dvoˇrák’s Serenade 

in D Minor, Reynaldo Hahn’s Le Bal de Béatrice 

d’Este, Robert Kurka’s The Good 

Soldier Schweik Suite, Gustav Mahler’s Um 

Mitternacht, Wolfgang Amadeus Mozart’s 

Serenades No. 10 and No. 11, Francis Poulenc’s 

Suite Française d’après Claude Gervaise, 

Igor Stravinsky’s Symphonies of Wind 

Instruments and Richard Strauss’s Serenade, 

Opus 7 and Suite in Bb, Opus 4. 

The Grade V listing also contains a few 

transcriptions, including Donald Hunsberger’s 

transcription of Dmitri Shostakovich’s 

Festive Overture, Clare Grundman’s transcription 

of Leonard Bernstein’s Overture to 

Candide and Frank Bencrisutto’s transcription 

of the “Profanation” from the Jeremiah 

Symphony. Although three American transcriptions 

of Elsa’s Procession to the Cathedral 

by Richard Wagner are cited, no comparison 

is unfortunately presented. This is also 

the case with the various editions of the 

Ouvertüre für Harmoniemusik, Opus 24 by 

Felix Mendelssohn-Barthody, the Music for 

the Royal Fireworks by George Frederick 

Handel, and the Trauermusik, WWV73 by 

Richard Wagner. 

The other composers who have works in 

the Grade V list are Robert Russell Bennett, 

Warren Benson, Aaron Copland, Norman 

Dello Joio, David Del Tredici, Morton Gould, 

Charles Gounod, Percy Grainger, Donald 

Grantham, Paul Hindemith, Gustav Holst, 

Karel Husa, Charles Ives, Gordon Jacob, 

Darius Milhaud, Roger Nixon, Vincent Persichetti, 

Walter Piston, H. Owen Reed, 

Joaquin Rodrigo, William Schuman, Frank 

Ticheli, Fischer Tull, Ralph Vaughan Williams, 

and Dan Welcher. 

Most of the conductors who have wind 

bands/ensembles capable of performing the 

compositions listed as Grade VI will be well 

familiar with most of the compositions listed 

here. However, one does find a few works 

like Ross Lee Finney’s Skating on the Sheyenne 

and Verne Reynolds’s Scenes, which 

are not often programmed. The list also 

reminds conductors of the two great choral 

works with winds by Igor Stravinsky – the 

Symphony of Psalms and the Mass for 

Mixed Chorus and Double Wind Quintet. 

It really does not matter if the compositions 

listed in this book are everyone’s “Top 

100 Works” or not, they are all important 

works in the core repertoire of the contemporary 

wind band/ensemble, and every 

serious wind band/ensemble conductor 

should know them. This fine reference guide 

should be a part of your library. Leon J. Bly 

WASBE World 25

NEWS FROM THE MUSIC INDUSTRY 

• Alfred Publishing Co., Inc. now publishes 

Matthew Tommasini’s ASCAP/CBDNA 

Frederick Fennell Prize winning Three 

Spanish Songs for Soprano and Wind 

Ensemble as part of the Donald Hungsberger 

Wind Library. 

• Meredith Music Publications has released 

the fourth volume of A Composer’s Insight: 

Thoughts, Analysis and Commentary on 

Contemporary Masterpieces for Wind Band. 

This volume inludes eleven composers: 

Samuel Adler, David Bedford, Daniel 

Bukvich, David Del Tredici, Eric Ewazen, 

Walter Hartley, Joseph Willcox Jenkins, Joan 

Tower, Joseph Turrin, Dan Welcher, and 

Dana Wilson. 

• Molenaar Edition BV recently released 

wind band transcriptions of four major 

symphonic works: Bastiaan Blomhert’s 

transcription of Claude Debussy’s La Mer, 

Juan Mas Quiles’s transcription of Nicolai 

Rimsky-Korsakov’s Scheherazade, Desiré 

Dondeyne’s transcription of Edward Elgar’s 

Enigma Variations and Ton van Grevenbroek’s 

transcription of Modest Mussorgsky’s 

Pictures at an Exhibition. Other new publications 

include two arrangements by 

Lorenzo Della Fonte: the overture to Gioacchino 

Rossini’s La Scala di Seta and Davide 

Della Cese’s Inglesina. 

• Beriato Music now publishes Jörg 

Murschinski’s arrangement of Leroy Anderson’s 

Concerto in C for Piano and 

Symphonic Wind Orchestra. Although the 

solo part is grade 5, the wind orchestra parts 

for this three movement, twenty minute 

concerto can be played by a good grade 4 

band. 

• Scomegna has announced the publication 

of two transcriptions for wind band by 

Donato Semeraro: the Russian Easter 

Overture from Nikolai Rimsky-Korsakov and 

the Konzertstück No. 1 in F-Moll für Klarinette 

und Bassethorn, Opus 113 by Felix 

Mendelssohn-Bartholdy, which is playable 

with two B-flat clarinets. 

• Amstel Music recently published two 

transcriptions for wind band by Johan de 

Meij: the symphonic suite from the opera 

Edgar by Giacomo Puccini and the Dance of 

the Amazon by Anatoli Liadow. 


• HAFABRA Music new publications include 

five wind band transcriptions by José Schyns: 

Ballad for Flute by Carl Reinecke, Nuraghi 

by Ennio Porrino, the first suite from the 

ballet Spartacus by Aram Khatchaturian, 

Caprice Brillant on a Theme from “Jota 

Aragonesa” by Mikhail Ivanovich Glinka, 

and Polka de W.R. by Sergi Rachmaninoff. 

HAFABRA also recently published Trevor 

Ford’s arrangement of the Galatea Waltz, 

which was composed by Prince Albert, the 

Duke of Edinburgh around 1867. 

• Norsk Noteservice AS recently published 

two 19 th Century marches by Oscar Borg: 

Norsk Gard Marsj arranged by Bjorn 

Mellemberg and Revue Marsj arranged by 

Jan Eriksen. 

• Editions Robert Martin recently released 

Roger Boutry’s transcription for wind band 

of Claude Debussy’s Fêtes. 

• De Haske now publishes Tohru Takahashi’s 

transcription for wind band of Hector 

Berlioz’s Benvenuto Cellini Overture as part 

of its Great Classics Series. 

• Danzón no. 2 by Arturo Márquez was a 

very successful piece on the program of the 

Simón Bolívar Youth Orchestra of Venezuela 

conducted by Gustavo Dudamel. This work 

is now available in a transcription for 

Symphonic Wind Orchestra by Oliver Nickel, 

published by Baton Music from the Netherlands. 

• The Journal of Band Research is an official 

publication of the American Bandmasters 

Association and was begun in 1964. 

Contact for Advertising 

THANK YOU! 

Thanks to our 2009 sponsors of the 

WASBE Newsletter and WASBE World 

• World Projects (USA) 

• Biblioservice Gelderland 

(The Netherlands) 

• Mark Custom Recording Service 

(USA) 

• Yamaha (South America) 

• Kjos Publishing (USA) 

If you are interested in sponsoring 

WASBE World please contact the 

Executive Director Markus Mauderer 

Published twice a year, in the Fall and in the 

Spring, the Journal of Band Research is a 

scholarly publication devoted to band music, 

band history and band methodology in the 

world. Now 81 Back Issues on CD-ROM are 

available for purchase. More information on 

www.journalofbandresearch.org 

• How to improve breath, voice and posture 

(Books on Demand, ISBN: 9783839121351) 

by Volker Dubowy has for the first time been 

published in English. The successful book 

written by German singer and trumpet 

player Volker Dubowy covers basic 

knowledge about the human body and 

respiratory system. Easy exercises will help 

to make the musician aware of the most 

important bodily functions which then can 

be integrated in the daily training routine – 

no matter if you practice playing an 

instrument, speaking or singing for 

performance. More information on 

www.dubymusic.de 

Andrea Iven 

kölnerverlagsagentur 

Von-Quadt-Str. 179 

51069 Cologne/Germany 

T. +49 221 297708-11 

F. +49 221 297708-29 

E. andrea.iven@ 

koelnerverlagsagentur.de

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Music for Bands of all Ages and Abilities 

STANDARD OF EXCELLENCE 

In Concert 

Grades 1 – 2 ½ 

Outstanding repertoire by 

Pearson, Himes, Gott, and 

more, all correlated with the 

best-selling band method 

Standard of Excellence. 

Concert BandWorks 

Grades 3 – 4 

Standard repertoire from the 

pens of Zdechlik, Boysen, 

Hultgren, and many more . . . 

Visit www.kjos.com 

to listen to & download 

new repertoire 

or old favorites 

Conservatory Editions 


Distinguished top level works 

from Stamp, Camphouse, 

Mahr, and many more . . . 

Beginning BandWorks 

Grades 1 – 2 ½ 

Extraordinary elementary 

titles from Gazlay, Nowlin, 

Newell, and many more . . . 

For more information on any of our products please contact us at email@kjos.com 

Neil A. Kjos Music Company � www.kjos.com 

Queenwood 


Best-selling compositions 

from Edmondson and 

McGinty! 

NN0916B

Chamber Symphony No. 1 Midwest Band and Orchestra Clinic 2009 ...

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