Eastman School of Music - Score Yearbook (Rochester, NY)

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EASTMAN PHILHARMONIA ORCHESTRA Violin l Eden Vaning Marcus Lehmann Kenzo Azuma Katherine Shulman David Alber Marian Egge Diane Hermann Deborah Miller James Durham Rebecca Pettigrew Dana Edson Paul Krausse Sandra Dackow Matthew Okada Violin II Terry Peyton Steve Ognavic Anne Peyton Helen Coulson David Greenwalt Emily Gaines janet David Elizabeth Pistolesi Ronald Satkiewicz Aaron Appelstein Rhea Epstein Deborah Torch Viola Valerie Garabedian Iudson Griffin Christina Woehr Patricia Daly Robert Maddin Nancy Uscher James Hopkins Louise Mathews Lois Martin Raymond Helble Personnel Violoncello Catherine Lehr David Geber William Grubb Mary Ann Elder Richard Weiss Deborah Dabczynski John McClellan Yvonne Caruthers Kathleen Murphy Sally Mulholland Bass David Young William Eckfeld Theodore Pauls Nancy Becker William Bussey Russell Gill Philip Smith Flute Adah Toland Ian Harbough Janet Ferguson Linda DiMartino, picc. Oboe Melissa Bohl Faye Bailey Janelle Snell, E.H. Clarinet David Glick Robert Crowley Max Mogensen, Bass Bassoon john Hunt Arthur Stidfole Richard Hotoke, contra Horn Nicholas Smith David Angus Mary Hickson Linda Radl Ted Wills, Asst. 1 Trumpet Geoffrey Richter Allen Vizzutti Carol Warner Trombone lames Pugh Lawrence Yagodzinski Arthur Linsner Tuba john Stevens Harps jennifer Sayre Constance Harding Timpani Eugene Sittenfeld Percussion Ernest Muzquiz, lat Richard Cheadle john McNeill Bradley Stouffer Edward Moore Dean Witten -.ist ...u4'4 David Craighead i I

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The Organ Concerto by Samuel Adler is, l believe, an important landmarlc among works tor organ and orchestra, Mr. Adler's work is a partita in five sections and is characterized by a twelve-tone technique, controlled-aleatoric passages, intricate rhythmic patterns, and other compositional devices that set the work well apart from most organ concertos which lean heavily toward the traditional. The impact of the introduction, the intricate variation for percussion, the momentum of the final sec- tion, and the proportions of the whole create an overwhelming experience. As a per- tormer who has dealt largely with traditional styles and rhythms, the greatest prob- lem for me in learning the work was becoming comfortable with the varying rhythmic patterns that today s orchestra players know thoroughly, Although it has numerous technical difficulties, the concerto is idiomatically quite suitable for the organ. I have great taith in the Organ Concerto and it is my hope that it will have many perform- ances in the tuture. i David Craighead Samuel Adler, Wayne Barlow, joseph Schwantner, Theordore Price. 4 's X n 4 9 . if QM

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-,'-mmm -44 A Concert For The w York State School Music Association N e EASTMAN WIND ENSEMBLE Donald I-Iunsberger, COndL1Cf0f November Z9 PROGRAM FANFARE DANCE OVERTURE SHADOW WOOD Five poems of Tennessee Williams for soprano and wind ensemble Shadow Wood My Little One Old Men Are Pond Covenant The Last Wine Sherry Zannoth, soprano METHAPHOR5 Chou Wen-Chung III. Autumn , . . joyful, sublime IV. Winter . . . piercing, completion CALOP fMoscow Chermoushlcyl Dmitri Shostalcovitch transcribed by D. I-Iunsberger li 7 . fx 11 Ky It ' V! X, I I- ' ,: S Alan Oettinger Neil McKay Warren Benson S 2, gk, u :Wiki Don'tworry,they've alr d 1 95 Y P ayed the concert! 20 1'-9