"Masters in Music"

Ithaca College Symphonic Band

Elizabeth Peterson, Conductor
Matt Sadowski, Graduate Assistant

Ithaca College Concert Band

Mark Fonder, Conductor

Ford Hall
Friday, September 26th, 2014
8:15 pm
 Program

Ithaca College Symphonic Band

Legacies (2003) Clint Needham

(b. 1981)
4'30"
Matt Sadowski, conductor

Come, Sweet Death (1736) J. S. Bach

(1685-1750)
arr. Alfred Reed
4'

William Byrd Suite (1921) Gordon Jacob

1. Earle of Oxford's March (1891-1984)
2. Pavana 20'
3. Jhon Come Kisse Me Now
4. The Mayden's Song
5. Wolsey's Wilde
6. The Bells 

Intermission

Ithaca College Concert Band

JoyRiDE (2014) Michael Markowski

(b. 1986)
3'

Ricercare a6 (1747) BWV 1079 Johann Sebastian Bach

(1685-1750)
Trans. Clark McAlister
7'

Fantasies on a Theme by Haydn (1968) Norman Dello Joio

Theme (1913-2008)
Fantasy I - Lo Stesso Tempo 12'
Fantasy II - Adagio
Fantasy III - Allegro, Molto Spiritoso 

Handel in the Strand (1911) Percy Aldridge Grainger

(1882-1962)
arr. Richard Franko Goldman
4'
 Biographies
Elizabeth Peterson, professor of music, is the conductor of the
Ithaca College Symphonic Band and has been a member of the
music education department at the Ithaca College School of
Music since 1998. Peterson teaches instrumental conducting
and supervises instrumental student teachers at the junior
level. Additionally, she is the placement coordinator for the
Junior Instrumental Student Teaching program.  She has taught
brass and woodwind pedagogy, secondary instrumental
methods, and graduate level music education courses.
Peterson has conducted the Ithaca College Brass Choir and
All-Campus Band. Her research interests include the study of
first year music teachers and the pursuit of music and life long
learning. 

Dr. Peterson is active as a guest conductor, adjudicator, and

school music consultant in the United States and Canada. She
presents clinics at the local, state and national levels in the
field of music education. Peterson’s book,  “The Music
Teachers First Year: Tales of Challenge Joy and
Triumph”, is published by Meredith Music. 

Professor Peterson received Bachelor’s Degrees in Music

Education and English from the University of Michigan and a
Master’s Degree in Trumpet Performance and Music Education
from Northwestern University. She has a Doctor of Musical Arts
in Music Education Degree from Shenandoah Conservatory.
Peterson played trumpet in the North Shore Community Band
under the direction of John P. Paynter and studied trumpet with
Armando Ghittala and Vincent Cichowicz. 

Prior to her appointment at Ithaca College, Peterson was an

arts administrator and director of bands in the public schools of
Ohio and Illinois for ten years. She currently serves as
co-conductor of the Ithaca Concert Band, Ithaca's adult
community band. Dr. Peterson holds a number of professional
memberships including the College Band Directors National
Association, The National Association for Music Education, New
York State School Music Association, Phi Kappa Phi and Pi
Kappa Lambda (an honorary music fraternity). Peterson was
recently accepted into the American Bandmasters Association
and she is also a member of the Midwest Clinic Board of
Directors.
Mark Fonder, professor of music, is the conductor of the Ithaca
College Concert Band and has been teaching conducting and
instrumental music education courses at Ithaca College since
1989.  From 1994 to 2003, he was the Chairman of the Music
Education Department.  He is active as a guest conductor,
adjudicator, school music consultant, and clinician and has
served in these capacities throughout the United States. 
Internationally, he has guest conducted, given research
presentations or adjudicated bands in Australia, Japan, Canada,
China, Singapore, Taiwan, throughout the Euro zone and the
United Kingdom.

Dr. Fonder, a graduate of and twice a fellowship recipient at the

University of Illinois, was director of bands at Park Falls
(Wisconsin) High School and was on the faculties of the
University of Wisconsin-Green Bay and University of Texas-San
Antonio prior to coming to New York.  He has also served on the
faculties of The University of Washington, VanderCook College
and the Eastman School of Music.

Dr. Fonder authored an award-winning book, Patrick Conway

and his Famous Band (Meredith Publications, 2012) and his
research (over 30 articles) has been published in various
journals including the Music Educators Journal, Winds, Band
Directors Guide, Instrumentalist, Journal of Band Research,
Council for Research in Music Education and the Journal of
Research in Music Education.  He was chair of the Music
Educators Journal Editorial Committee from 1998-2002 and has
edited the Journal of Historical Research in Music Education
since 2003.

Dr. Fonder has played principal trombone with the Green Bay
(Wisconsin) Symphony, the Green Bay Packer Band, and the
San Antonio Brass, and for such entertainers as Robert Goulet,
Rich Little, and Rita Moreno.

In 1987, Dr. Fonder was awarded the National Band

Association-Wisconsin Chapter Citation of Excellence, in 1998,
the Ithaca College President's Recognition Award, in 2013, the
Ithaca College Faculty Excellence Award and has been the
recipient of a University of Wisconsin teaching fellowship.  He
has been elected to Phi Delta Kappa, an honorary education
fraternity, Phi Kappa Phi, an honorary scholars fraternity, Pi
Kappa Lambda, an honorary music fraternity and the
prestigious American Bandmasters Association. 
 Program Notes
Needham writes, “Legacies” was written for and premiered by
the Baldwin-Wallace Conservatory Wind Ensemble, my alma
mater. Inspiration for the work came after attending the 2003
graduation ceremony at Baldwin-Wallace College. Soon after
the ceremony I began to reflect on my time at college, which
was growing shorter and shorter, and I wondered what I might
leave behind. What was my legacy? I also wondered what my
graduating class of 2004 would leave behind collectively for
future students at the school. Stories of those who were once
students at BW began to echo in my mind, and I wondered if
future students would hear our stories as well. The idea that
our experiences at school would live on after we had left
inspired this nostalgic and spirited fanfare for wind ensemble.

Johann Sebastian Bach, widely considered one of the greatest

composers in Western musical history, created masterpieces of
choral and instrumental music, both sacred and secular. More
than 1,000 of his compositions survive, including works in
virtually every musical form and genre in use in
eighteenth-century Germany. He was a renowned organist,
composer and violinist in Germany during his lifetime. He held
positions in Weimar as court organist and Concert Master under
Duke Wilhelm Ernst (1708-1717) in Cöthen, as Kapellmeister to
Prince Leopold (1717-1723), and in Leipzig as director of music
in the churches of Saint Thomas and Saint Nicholas and cantor
of the Thomasschule (1723-1750). During his lifetime he
enjoyed greater renown as an organist than as a composer,
and although such later composers as Mozart and Beethoven
held his work in great esteem, it was not until nearly a century
after Bach’s death that the broader musical public came to
appreciate the level of craftsmanship his works embody.

“Come, Sweet Death” (Komm, Susser Tod) is one of a group of

sixty-nine so- called “Sacred Songs and Airs” attributed to J.S.
Bach, each of which exist only in the form of a single melodic
line with figured bass. These pieces were first published in
1736. There has been some disagreement among musical
scholars as to how many of these melodies were actually
written by Bach himself or if they were merely arranged by him
or even worked on by him. Since the first appearance of this
group of pieces in 1832, there have been at least eight other
editions published, and the melody of “Come, Sweet Death”
appears in all editions; its authenticity as an original work from
Bach’s own hand seems never to have been questioned by the
compilers and editors of the various editions. The music (a
small, two part-song form played through twice) is deeply
moving and expressive culminating in an exalted singing line
that perhaps signified for the deeply religious Bach the willing
embrace of death as the final deliverance from earthly strife,
and the entrance into eternal glory.

In 1923, Gordon Jacob contributed to the musical celebration of

the tercentenary of William Byrd’s death with a sensitive
setting of six pieces from the Fitzwilliam Virginal Book which he
entitled Suite: William Byrd. The pieces were selected from the
70 in the book because they seemed appropriate to the tonal
framework of the British military band.

It is an overstatement to describe each movement simply as

growing louder and more complex due to layers of
ornamentation, variation and imitation. Although Byrd utilizes
these compositional devices in all the works represented, his
genius lies in how he utilizes these effects in varying degrees to
avoid monotony. In “The Earl of Oxford’s March,” devices of
crescendo, ornamentation and imitation are clearly evident.
This first movement, marked un poco pomposo, begins its
stately procession through the two iterations of its form simply
and very quietly, growing steadily stronger and more complex
into the climactic final sections. Jacob alters the harmonic
scheme of “Pavana”, beginning each phrase in a different
tonality, yet emphasizing Bb-major in them all. “Jhon come
kisse me now,” “The Mayden’s Song” and “Wolsey’s Wilde” are
sets of variations upon an eight and two sixteen bar melodies,
respectively. Imitation and ornamentation are the primary
developmental tools in the first two, while the third follows a
more conservative approach with far less figuration and only
one variation. Jacob’s orchestration of “Wolsey’s Wilde” takes
advantage of the instrumental forces, alternating loud and soft
dynamics, and effectively utilizing the timbral possibilities of
the winds. “The Bells” is structured in large musical
paragraphs, a continuous motivic variation emanating from a
single two-note ground in the bass. The work culminates with a
tubular bell solo amidst a grandiose layering of contrapuntal
texture.
Michael Markowski graduated magna cum laude with a
Bachelor of Arts degree in Film from Arizona State University.
While Markowski has never studied music at a university, he
has studied privately with his mentors, Jon Gomez, and Dr. Karl
Schindler. However, he has continued his education by
participating in a number of programs including "the art of
orchestration" with television and film orchestrator, Steven
Scott Smalley, was invited to the National Band Association's
Young Composer and Conductor Mentorship program in 2008,
and most recently was invited to participate in the 2014
NYU/ASCAP Foundation Film Scoring Workshop in Memory of
Buddy Baker.  He has received commissions for new works
from a number of organizations including CBDNA, The
Consortium for the Advancement of Wind Band Literature, The
Lesbian and Gay Band Association, Arrowhead Union High
School and the University of Wisconsin-Milwaukee Youth Wind
Ensembles, Bethel High School, and other consortiums of
schools. Regarding JoyRiDE, this work had its inception in 2005
but underwent a recent revision. It borrows Beethoven's
famous Ode to Joy melody and dresses it in a "tie-dye blazer of
rhythm and texture that nod humbly to John Adam's Short Ride
in a Fast Machine."

Regarding Bach's Ricercare a6, eminent pianist and critic

Charles Rosen wrote, "Many musicians consider the six-voice
ricercare from ''The Musical Offering'' to be his greatest fugue. 
The theme is noble, and Bach's development has a richness
and a depth of expression that he never surpassed. It can be
appreciated above all by the performer: listening is only a poor
second for the musical experience of immersing oneself
actively in the polyphony, which here has an emotional and
physically expressive impact rarely found in a work of music. It
is a piece for meditation. The large-scale form is easy to grasp,
and the texture is full and complex, moving from one to six
voices and back with wonderful contrast. The composition does
not emphasize contrapuntal virtuosity, but rather richness of
harmony. The imaginative invention is dazzling."

Composer, organist and baseball player of professional

standards, Norman Dello Joio was descended from three
generations of Italian organists.  A student of Paul Hindemith at
Yale, Dello Joio is well established as one of the most lyrical
composers of his era. Fantasies on a Theme by Haydn was
commissioned by the Michigan School Band and Orchestra
Association and was dedicated to Leonard Falcone at his
retirement as director of bands at Michigan State University. 
The three movements are a constantly varied examination of
Haydn's basic idea.  The bubbling humor of the first and third
fantasies flank a second which is intensely lyric.  

Grainger writes about his piece, "My title was originally Clog
Dance."  But my dear friend William Gair Rathbone (to whom
the piece is dedicated) suggested the title "Handel in the
Strand, " because the music seemed to reflect both Handel and
English musical comedy (the "Strand" - a street in London - is
the home of London musical comedy) - as if jovial old Handel
were careering down the strand to the strains of modern
English popular music."  The Australian-born Grainger studied
piano in Germany and in 1901 went to London where he
became a well-known soloist and composer.  He settled in
America in 1914 and contributed to the repertoire of the wind
band in substantial and unique ways.
 Personnel
Ithaca College Symphonic Band
Piccolo Bass Clarinet Trombone
Hannah Morris Anna Goebel Steve Meyerhofer
  Daniel Wenger
Flute Alto Saxophone Skyler Roswell
Jillian Francis Katie Herrle Kristin Jannotti
Carmen Vieytez Matthew Kiel Chloe Gray
Robyn Leary Deniz Arkali Hunter Burnett
Alison Miller Matthew Snyder Samantha Considine
Diana Ladolcetta Ashley Dookie Louis Jannone
Lisa Close Kerri Barnett Nicholas Jones
Caitlin Miret   Christian Kmetz
Courtney Iava-Savage Tenor Saxophone  
  Alex Clift Euphonium
Oboe Rachel Moody Matthew Della Camera
Phoebe Ritrovato   Danielle Wheeler
Tim Nolan Baritone Saxophone  
Katelyn Swaenepoel Frank Iovine Tuba
  James Parker Jeffrey Stewart
English Horn   Cristina Saltos
Katelyn Swaenepoel Trumpet Ian Wiese
  Jon Tompkins  
Bassoon Brian Sanyshyn Percussion
Andrew Meys Alec Fiorentino Jamie Kelly
Emma Whitestone Chris Walsh James Powell
Liam Cunningham Matthew Brockman Shannon Frier
  Michael Salamone Derek Wohl
Eb Clarinet Tyler Campolongo  
Justine Call Ray Fuller Timpani
    Cory Hilton
Clarinet Horn  
Nathan Balester Tori Boell Bass
Nikhil Bartolomeo Patrick Holcomb Cara Turnbull
Vivian Becker Diana McLaughlin  
Nick Alexander Matt Ficarra Piano
Jenna DiMento Diyu Tang
Madeline Davey
Barbara Chelchowski
 Personnel
Ithaca College Concert Band
Piccolo Bass Clarinet  Horn 
Chelsea Kaye Kyle McKay  Jeremy Straus 
Lanphear Vivian Becker Jacob Morton-Black 
Shannon O’Leary 
Flute Contrabass Clarinet Josiah Spellman, Jr. 
Thomas Barkal Kyle McKay 
Stephanie Feinberg Trombone 
Jennifer Pham Soprano Saxophone Kiersten Roetzer 
Mikayla Lydon Stephanie K. Zhang  Andrew Nave 
Madeleine King Sierra Vorsheim 
Marguerite Davis Alto Saxophone  Julie Dombroski 
Jennie Ostrow Stephanie K. Zhang  Luke Kutler 
Wenbo Yin  Matthew Beeby 
Oboe Kelsey Melvin  Emily Pierson 
Samantha Rhodes Lauren Thaete 
Ellen O’Neill Chiara Marcario  Bass Trombone 
Morgan Atkins Alissa Settembrino  Steven Meyerhofer 
Meagan Priest Steve Obetz 
Tenor Saxophone 
English Horn Jocelyn W. Armes  Euphonium 
Ellen O’Neill Daniel Felix  James Yoon 
Christian Dow 
Bassoon Baritone Saxophone
Kailey Schnurman Alec Miller  Tuba 
James Smith Travis Murdock  Lucas Davey 
Aiden C. Braun Andrew Satterburg 
Cornet/Trumpet 
Contrabassoon Stephen Gomez-Peck  String Bass 
Aiden C. Braun Shaun Rimkunas  Tristen Jarvis 
Armida Rivera 
E-flat Clarinet Max Deger  Keyboards 
Justine Call Vincenzo Sicurella  Jennie Ostrow 
Mark Farnum 
Clarinet Lauren Marden  Timpani 
Maggie Nobumoto Michael Cho  Ken O’Rourke 
Mark Lam Caitlin Mallon 
Erin Dowler Percussion 
Hannah Blanchette Derek Wohl 
Katherine Filatov Nigel Croston 
Kevin Harris Daniel F. Monte 
Jamie Kelly