Georgia State University Symphonic Wind Ensemble

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					    Georgia State University
   Symphonic Wind Ensemble
     Robert J. Ambrose, conductor
     Sarah Kruser Ambrose, flute

 Atlanta Youth Wind Symphony
      Scott A. Stewart, conductor
           Carl Hall, piccolo

       EmE rson concErt hall
schwartz c EntEr for pErforming arts
   monday, march 19, 2007, 8 :00 p.m.
Georgia State University
Symphonic Wind Ensemble Program

overture to Candide (1957)                        leonard Bernstein
                                        transcribed by walter Beeler

October (2000)                                        Eric whitacre
                                                           (b. 1970)

Concertino,	op. 107 (1902)                        cecile chaminade
                    sarah Kruser ambrose, flute

Strange	Humors (2006)                                 John mackey
                                                         (b. 1974)

Atlanta Youth Wind Symphony Program
concerto for piccolo (2003)                        Bruce Broughton
   i.   fast                                              (b. 1945)
   ii.  slow, expressive
   iii. fast and light
                         carl hall, piccolo

Symphony	No.	1	“The	Lord	of	the	Rings” (1987)        Johan de meij
   i.	  Gandalf                                          (b. 1953)
	 ii.	 Lothlórien
	 iii.	 Gollum:	Sméagol
	 iV.	 Journey	in	the	Dark
	 	     a.	The	Mines	of	Moria
	 	     b. The	Bridge	at	Khazad-Dûm
   V.	 Hobbits

Georgia State University
Symphonic Wind Ensemble Program Notes
Overture to Candide
leonard Bernstein was born in lawrence, massachusetts, and studied
at harvard University and the curtis institute of music in philadelphia.
he was highly regarded as a conductor, composer, pianist, and educator.
he is probably best known to the public as the long time music director
of the new york philharmonic orchestra, for conducting concerts by
many of the world’s leading orchestras, and for writing the music for
the musical West	Side	Story. all told, he wrote three symphonies, two
operas, five musicals, and numerous other pieces. Bernstein’s politics
were decidedly left wing, but unlike some of his contemporaries, he was
not blacklisted in the 1950s. in the late 1960s and early 1970s he actively
supported groups such as the Black panthers and publicly opposed the
Vietnam war. during the 1960s, he became a well-known figure in
the United states through his series of “young people’s concerts” for
american public television. when Bernstein passed away in 1990, he
left behind a strong musical legacy that was uniquely american.
   Bernstein completed the operetta Candide in 1956. although it
never achieved mainstream popularity, the overture has earned a
part in the orchestral repertoire. since its first concert performance
on January 26, 1957, by the new york philharmonic under the
composer’s baton, the work has become one of the most frequently
performed orchestral compositions by a twentieth century american
composer. the overture incorporates tunes from the songs The	Best	
of	 All	 Possible	 Worlds, Battle	 Music, Oh,	 Happy	 We, and Glitter	
and	 Be	 Gay, and melodies composed specifically for the overture.
the overture has become a staple at the Last	 Night	 of	 the	 Proms
and was used as the theme music for The	Dick	Cavett	Show. walter
Beeler’s arrangement for wind band heard this evening maintains the
brilliance of the original orchestral version.
                          —from the New	Grove	Dictionary	of	Music

an accomplished composer, conductor, and lecturer, Eric whitacre
has become one of the most popular and performed composers of his
generation. the Los	 Angeles	 Times has praised his compositions as

“works of unearthly beauty and imagination, [with] electric, chilling
harmonies,” while the	Philadelphia	Inquirer has called him “the hottest
thing in choral music.”
   though he received no formal training before the age of eighteen,
his first experiences singing in college choir changed his life, and he
completed his first concert work, Go,	Lovely	Rose, at age twenty-one.
whitacre went on to the Juilliard school, earning a master of music
degree and studying with pulitzer prize– and oscar-winning composer
John corigliano.
   many of whitacre’s works have entered the standard choral and
symphonic repertories and have become the subject of several recent
scholarly works and doctoral dissertations. his works Water	 Night,
Cloudburst, Sleep, Lux	Aurumque, and A	Boy	and	a	Girl, are among
the most popular choral works of the last decade, and his Ghost	Train,
Godzilla	 Eats	 Las	 Vegas, and October have achieved equal success
in the symphonic wind community. to date, whitacre’s published
works have received thousands of performances and sold more than
500,000 copies worldwide. whitacre lives in los angeles with his wife,
celebrated soprano, hila plitmann, and their son.
   the composer has said the following about the piece:

     “October began at a restaurant in chicago, when i was first
     introduced to Brian anderson. Brian, a high school band
     director from fremont, nebraska, knew my work and wanted
     to commission me, but couldn’t find the finances. if i remember
     correctly, i didn’t immediately hear back from him, and i just
     assumed the gig would never materialize. about a year later i
     get this phone call from him and he says that he has put together
     a commissioning consortium of thirty high school bands from
     nebraska. thirty bands! i’ve dealt with institutional beauracracy
     for a while now and i can’t possibly imagine how he brought
     all of those people together, let alone got them to agree on a
     commission. . . . i’m quite happy with the end result, especially
     because i feel there just isn’t enough lush, beautiful music
     written for winds. October was premiered on may 14, 2000,
     and is dedicated to Brian anderson, the man who brought it all
                                                       —Eric whitacre

Concertino, op. 107
french composer and pianist cécile louise stéphanie chaminade
was born in paris in 1857. she studied at first with her mother, then
with félix le couppey, martin pierre Joseph marsick, and Benjamin
godard, but not officially, since her father disapproved of her musical
education. her first experiments in composition took place in very
early days, and she gave her first concert when she was eighteen. she
wrote mostly character pieces for piano, and salon songs, almost all of
which were published.
   her compositions were tremendous favorites with the american
public, and such pieces as the Scarf	Dance or the Ballet	No.	1	are to
be found in the music libraries of all cultured lovers of piano music.
sadly, chaminade was relegated to obscurity for the second half of the
twentieth century, her piano pieces and songs mostly forgotten.
   though commissioned by the paris conservatory in 1902, the
Concertino, op. 107 was inspired by the feelings of love the composer
had towards a male flautist friend who was engaged to another woman.
in an attempt to win the friend over, the composer presented the piece
to him on the day of his wedding. Unmoved, he went through with his
wedding as planned.
   a rhapsodic work in the romantic spirit featuring two principal
themes, the work shows a mature understanding of the flute that
emphasizes the beauty and technical qualities of the instrument.
originally written for flute and piano, the wind band version was
scored by clayton wilson in 1960.
                          —from the New	Grove	Dictionary	of	Music

Strange Humors
John mackey has a master of music degree from the Juilliard school
and a bachelor of fine arts degree from the cleveland institute of music,
where he studied with John corigliano and donald Erb, respectively.
mackey particularly enjoys writing music for dance and for symphonic
winds, and he has focused on those mediums for the past few years.
   his works have been performed at the sydney opera house, the
Brooklyn academy of music, carnegie hall, the Kennedy center, weill
recital hall, Jacob’s pillow dance festival, italy’s spoleto festival,
alice tully hall, the Joyce theater, dance theater workshop, and
throughout italy, chile, Japan, colombia, austria, Brazil, germany,
England, australia, new zealand, and the United states.
   John served as a meet-the-composer/american symphony orchestra
league “music alive!” composer in residence with the greater twin
cities youth symphony in 2002–2003 and with the seattle youth
symphony orchestra in 2004–2005. he was composer in residence
at the Vail Valley music festival in Vail, colorado, in the summer of
2004, and at the cabrillo festival of contemporary music in august
2005. mackey served as music director of the parsons dance company
from 1999 to 2003.
   Strange	 Humors represents another of mackey’s works (after
Redline	Tango) that has been transcribed for wind ensemble. the first
version of Strange	Humors was a student piece for string quartet and
djembe that mackey wrote while pursuing his graduate degree at the
Juilliard school. it was later adapted for use by the parsons dance
company, with choreography by robert Battle. its transcription came
at the behest of richard floyd on behalf of the american Bandmasters
association. the piece represents a merging of musical cultures—the
modal melodies and syncopated rhythms of middle Eastern music with
the percussive accompaniment of african drumming.
   at the heart of the work lies the pulse of the djembe, which remains
from the original version. the djembe, an hourglass-shaped drum
played with bare hands, is a major part of the customs of west african
countries such as mali and guinea, where djembe ensembles accompany
many functional celebrations of society.
   the piece opens with a sultry English horn solo, a line laced with
phrygian influence representing the “typical” melodies of the most
northeastern parts of the african continent—most notably Egypt, but
also parts of the arabian peninsula. later, the saxophones emulate the
snaking lines of the English horn. the addition of brass and auxiliary
percussion to the original orchestration makes for particular impact
during the shout sections of the piece, and the groove of the djembe
combined with the quirky rhythms throughout leaves an impression
that lingers in the listener’s mind long after its conclusion.
                                   —Jacob wallace, Baylor University

Bruce Broughton

o     ne of the most versatile composers working in films today, Bruce
      Broughton writes in every medium, from theatrical motion
pictures, television, and computer games to the concert stage, in styles
ranging from large symphonic settings to contemporary electronic
   his first major film score, a broad orchestral canvas for lawrence
Kasdan’s western Silverado, brought him an oscar nomination. his
very next assignment, a classically styled score for Barry levinson’s
Young	 Sherlock	 Holmes, resulted in a grammy nomination for the
soundtrack album.
   Broughton, composing in a broad range of styles, has written the
scores for such major motion pictures as Lost	 in	 Space, Tombstone,
Miracle	on	th	Street, Carried	Away, Baby’s	Day	Out, The	Presidio,
Narrow	 Margin, Harry	 and	 the	 Hendersons, The	 Boy	 Who	 Could	
Fly, the disney animated feature The	Rescuers	Down	Under, and the
two popular Homeward	Bound	adventures. in a lighter vein he wrote
the effervescent music for Krippendorf’s	Tribe, as well as the comedy
hit Honey,	I	Blew	Up	the	Kid! he also conducted and supervised the
recording of gershwin’s Rhapsody	in	Blue for Fantasia	000.
   with twenty-three nominations, he has received the Emmy award
a record ten times, most recently for his score for Warm	Springs. his
television credits include the main title themes for Jag, Tiny	 Toon	
Adventures, and Dinosaurs, and scores for Amazing	Stories, Quincy,
and How	 the	 West	 Was	 Won, movies for television such as Lucy,
Bobby’s	Girl, and O	Pioneers!, as well as the miniseries Roughing	It,
The	Blue	and	the	Gray, and the Emmy-nominated	True	Women. his
score for Heart	of	Darkness was the first orchestral score composed for
a video game.
   as a concert composer, he recently recorded his Fanfares,	Marches,	
Hymns,	 and	 Finale at skywalker studios with the Bay Brass, who
commissioned the work. other concert works include The	 Magic	
Horn (commissioned jointly by the chicago, seattle, and national
symphonies for the magic circle mime company); English	 Music	
for	 Horn	 and	 Strings; Three	 Incongruities, a triptych for violin and
orchestra; Tyvek	Wood, commissioned by the debussy trio, premiered
in prague in the summer of 1999; Modular	Music, composed for the
los angeles chamber orchestra; a piccolo concerto; a tuba concerto;
several chamber works such as the Toccata	 for	 Two	 Harps	 and	
Percussion, Fingerprints	 of	 Childhood	 for	 flute,	 violin,	 and	 viola, A	
Primer	for	Malachi	for	flute,	clarinet,	cello,	and	piano, as well as several
solo works for winds, most notably a Horn	Sonata composed for dale
clevenger, principal horn in the chicago symphony, and Excursions,
commissioned and premiered by the United states air force Band in
washington, d.c. as a conductor, his recordings of miklos rozsa’s
Ivanhoe and Julius	 Caesar for intrada records, performed by the
sinfonia of london shortly before the composer’s death, have received
outstanding reviews, as well as his recording of Bernard herrmann’s
unique score for Jason	and	the	Argonauts.
   Broughton is a board member of the american society of composers,
authors, and publishers; a governor of the academy of motion picture
arts and sciences; a former governor of the academy of television
arts and sciences; and a past president of the society of composers
and lyricists. he has taught film composition in the advanced film
music studies program at the University of southern california and is
a lecturer at the University of california, los angeles.
   Broughton’s music for wind band includes masters of space and
time, Excursions (for trumpet and wind ensemble), songs from the
states, a frontier overture, california legend, concerto for tuba,
and concerto for piccolo.
   for more information visit

Emmy Awards:
     Warm	Springs
     Eloise	at	Christmastime
     Eloise	at	the	Plaza
     Glory	and	Honor
     O	Pioneers!
     Tiny	Toon	Adventures theme song
     the first olympics, athens 1896, part i
     dallas:	Ewing	Blues
     dallas: The	Letter
     Buck rogers: The	Satyr

Emmy Nominations:
     the dive from clausen’s pier
     First	Monday main title theme
     true women
     JAG main title theme
     Tiny	Toon	Adventures theme song [2]

  The	Old	Man	and	the	Sea
  dallas: The	Lost	Child
  dallas: The	Search
  Two	Marriages	
  The	Blue	and	the	Gray,	Part	Two
  Quincy: Quincy’s	Wedding	Part	Two
  Hawaii	Five-0

Academy Award Nomination:

Grammy Nomination:
  Young	Sherlock	Holmes

Saturn Award:
  Young	Sherlock	Holmes

Atlanta Youth Wind Symphony Program Notes
Piccolo Concerto
Bruce Broughton wrote his Piccolo	Concerto for the twentieth annual
convention of the national flute association, which was held in
los angeles in 1992; soloist susan greenberg performed the work
at the convention on august 23, 1992. this work runs about fifteen
minutes in performance. Broughton’s original score calls for piccolo
solo, plus an orchestra of two oboes, two clarinets, two bassoons,
two horns, two trumpets, timpani, percussion (two snare drums, bass
drum, claves, xylophone, ratchet, triangle, tambourine, glockenspiel,
suspended cymbal, woodblock, guiro, temple block, maracas), harp,
piano, and strings.
   the wind version uses standard wind ensemble instrumentation
(minus strings).
   the piccolo is not only the smallest instrument in the orchestra, but
also one of the youngest, in terms of its career as a soloist. Vivaldi’s so-
called piccolo concertos were written for the sopranino recorder, not for
the small form of the transverse flute. the latter provides the orchestra
with an indispensable timbre in registers where other instruments don’t

dare to tread, but it has traditionally been thought that it cannot easily
stand on its own.
   if that perception has begun to change, that is largely due to the efforts
of one man, Jan gippo, piccolo player in the st. louis symphony since
1972, who has commissioned many new works for the instrument and
has done a great deal to encourage their performance over the years.
as a result, we can now say that a new star has been born—a tiny one
with a very big voice.
   this work has proven to be one of the most attractive additions to
what is now a fast-growing repertoire of piccolo music. in the tradition
of older hollywood composers from miklós rózsa to John williams,
Broughton pursues a successful parallel career as a writer of concert
music. he has also composed a concerto for tuba, English	Music	for	
horn	and	strings, and many other works that have been performed and
recorded to great acclaim.
   Broughton captured the special personality of the piccolo perfectly
in his three-movement concerto, in which the soloist demands our
undivided attention almost from start to finish. without so much
as a measure of orchestral introduction, the piccolo launches into a
breathtaking cascade of runs and broken chords, and is given few
moments of respite throughout the entire concerto. it also gets to play
a slower-moving lyrical melody in the first movement and a lavishly
ornamented and highly expressive instrumental aria in the second—the
part of the concerto that was unanimously singled out by reviewers
as the work’s heartpiece. the last movement is a playful romp that
returns to the mood of the first movement, but the dance-like quality
of the music is further accentuated by a strongly rhythmic orchestral
accompaniment. the concerto is in the key of d, “spiced” with a fair
amount of chromaticism (melodies and chords using half-steps that do
not officially belong to the key).

The Lord of the Rings
Johan de meij’s first symphony, The	 Lord	 of	 the	 Rings, is based on
the trilogy of that name by J. r. r. tolkien. this book has fascinated
millions of readers since its publication in 1955. the symphony
consists of five separate movements, each illustrating a personage or an
important episode from the book. the movements are:
	 I.		 Gandalf	(The	Wizard)		
	 II.		 Lothlórien	(The	Elvenwood)		
	 III.		 Gollum	(Sméagol)		
	 IV.		 Journey	in	the	Dark		
	 	        a.	The	Mines	of	Moria		
	 	        b.	The	Bridge	of	Khazad-Dûm		
	 V.	 Hobbits
the symphony was written in the period between march 1984 and
december 1987, and had its premiere in Brussels on march 15, 1988,
performed by the “groot harmonie-orkest van de gidsen” under
the baton of norbert nozy. in 1989 the symphony The	 Lord	 of	 the	
Rings was awarded first prize in the sudler international wind Band
composition competition in chicago, and a year later, the symphony
was awarded by the dutch composers fund. in 2001 the orchestral
version was premiered by the rotterdam philharmonic orchestra and
recorded by the london symphony orchestra.
   although it is not simple to summarize such an extensive and
complex work, the main outline is as follows—the central theme
revolves around a powerful ring, made by primeval forces that decide
the safety or destruction of the world. for years it was the possession
of the creature gollum, but when the ring falls into the hands of the
hobbits, the evil forces awake and the struggle for the ring commences.
there is but one solution to save the world from disaster—the
ring must be destroyed by the fire in which it was forged at mount
doom in the heart of mordor, the country of the evil lord sauron.
it is the hobbit frodo who is assigned to carry out this task, and to
assist him a group, called the fellowship of the ring, is formed under
the leadership of gandalf, the wizard. the fellowship includes hobbits
sam, peregrin, and merin; the dwarf gimli; the elf legolas; and humans
Boromir, and aragorn who is the later King. the companions are secretly
followed by gollum, who does not shun any means, however perfidious,
to recover his priceless ring. however, the companions soon fall apart,
and after many pernicious adventures and a surprising dénouement,
frodo and sam can at last return to their familiar home, the shire.
   the five movements can be explained as follows:

I.	 Gandalf	(The	Wizard)	
    the first movement is a musical portrait of the wizard gandalf,
    one of the principal characters of the trilogy. his wise and noble
    personality is expressed by a stately motif which is used in a
    different form in movements iV and V. the sudden opening of
    the allegro vivace is indicative of the unpredictability of the grey
    wizard, followed by a wild ride on his beautiful horse, shadowfax.
ii.	 Lothlórien	(The	Elvenwood)	
     the second movement is an impression of lothlórien, the
     elvenwood, with its beautiful trees, plants, and exotic birds,
     expressed through woodwind solos. the meeting of the hobbit
     frodo with the lady galadriel is embodied in a charming
     Allegretto; in the mirror of galadriel, a silver basin in the wood,
     frodo glimpses three visions, the last of which, the large ominous
     eye of lord sauron, greatly upsets him.

iii.	Gollum	(Sméagol)	
     the third movement describes the monstrous creature gollum,
     a slimy, shy being represented by the soprano saxophone. it
     mumbles and talks to itself, hisses and lisps, whines and snickers,
     is alternately pitiful and malicious, is continually fleeing and
     looking for his cherished treasure, the ring.

iV.	 Journey	in	the	Dark	
     the fourth movement describes the laborious journey of the
     fellowship of the ring, headed by the wizard gandalf, through
     the dark tunnels of the mines of moria. the slow walking
     cadenza and the fear of the group are clearly audible in the
     monotonous rhythm of the low brass, piano, and percussion.
     after a wild pursuit by hostile creatures, the orcs, gandalf is
     engaged in battle with a horrible monster, the Balrog, and falls
     from the subterranean bridge of Khazad-dûm into a fathomless
     abyss. to the melancholy tones of a Marcia	funèbre, the
     bewildered companions trudge on, looking for the only way out
     of the mines, the East gate of moria.

V. Hobbits	
   the fifth movement expresses the carefree and optimistic
   character of the hobbits in a happy folk dance; the hymn that
   follows emanates the determination and noblesse of the hobbit
   folk. the symphony does not end on an exuberant note, but is
   concluded peacefully and resignedly, in keeping with the symbolic
   mood of the last chapter, “the grey havens,” in which frodo
   and gandalf sail away in a white ship and disappear slowly
   beyond the horizon.

    Johan de meij studied trombone and conducting at the royal
conservatory of music at the hague. he has earned international fame
as a composer and arranger. his catalog consists of original compositions,
symphonic transcriptions, and arrangements of film scores and musicals.
    the Lord	 of	 the	 Rings was recorded more than twenty times and
performed by renowned orchestras such as the london symphony and
the nagoya philharmonic orchestras. his other larger compositions,
such as Symphony	No.		The	Big	Apple, T-Bone	Concerto (trombone
concerto), and Casanova (cello concerto), are also on the repertoire of the
better orchestras and bands all over the world. Casanova was awarded
first prize at the international composition competition of corciano
[italy] in 1999, and a year later, de meij won the oman international
composition prize with The	Red	Tower. de meij composed his third
and most recent symphony, Planet	Earth, at the request of the north
netherlands orchestra (nno). with reference to the premiere the
dutch press was unanimous in its praise: “compelling symphony Johan
de meij lifts nno to a great height” (de	Volkskrant); “de meij knows
how to compose, and he knows how to produce an effect”(Trouw).
    Besides composing, de meij is very active in various musical fields. he
is a trombonist with the orchestra De	Volharding (The	Perseverance)
and is a regular substitute with various other ensembles and orchestras.
he is in great demand as a guest conductor and clinician. he has
conducted concerts and led seminars in many European countries,
Japan, singapore, Brazil, and the United states.

                                     —atlanta youth wind symphony
                  notes by scott a. stewart, unless otherwise indicated

Robert J. Ambrose
robert J. ambrose is director of wind studies
and ensembles, assistant professor of music,
and division head of performance studies at
georgia state University where he conducts the
symphonic wind Ensemble, wind orchestra,
and University chamber winds, and coordinates
the master of music in wind band conducting
degree program. in addition, he teaches courses in
graduate and undergraduate conducting. prior to
this appointment, he held conducting positions at the chicago college
of performing arts and Boston college. he also served for five years as
director of instrumental music in the public schools of norwood and
monson, massachusetts.
   ambrose has a bachelor of arts degree in computer science with a
concentration in music from Boston college, a master of music degree
in music education from Boston University, and a doctor of music degree
in conducting from northwestern University. his principal conducting
teachers include mallory thompson, frank Battisti, and Eric rombach-
Kendall. in addition, he has attended classes with seiji ozawa, robert
spano, and andre previn at the tanglewood music center.
   Ensembles under the direction of ambrose have performed at carnegie
hall, spivey hall, the college Band directors national association
southern division conference, the georgia and massachusetts music
educators conferences, Boettcher hall in denver, and at the hatch
memorial shell in Boston. in addition, a recent performance of igor
stravinsky’s Symphony	 of	 Pslams under his direction has been given
repeated airings on georgia public radio.
   an ardent supporter of contemporary and avant-garde music,
ambrose is cofounder, conductor, and guitarist of the atlanta-based
contemporary music ensemble Bent frequency (www.bentfrequency.
com). hailed by Gramophone	 Magazine as “one of the brightest
ensembles on the [atlanta] scene,” and by the Atlanta	 Journal-	
Constitution as “a suddenly indispensable part of the atlanta music
scene,” this ensemble has received widespread critical acclaim for its
musical virtuosity and innovative programming.
   in 2003 ambrose cofounded the metropolitan atlanta youth wind
Ensemble (, a youth wind band comprised of fifty-two of
the most talented high school musicians from the greater atlanta area.
this ensemble performed an acclaimed program at carnegie hall in
may 2005 and is now a resident ensemble of georgia state University.
in 2006 ambrose formed the georgia chamber winds, a professional
woodwind dectet. this ensemble recently completed a recording session
of previously unreleased works of french composers and will release a
cd in 2007.
   ambrose is in great demand as a guest conductor and clinician,
and he has worked with countless college and high school bands and
orchestras throughout the United states and abroad. he recently traveled
to australia where he served as artist-in-residence and clinician for five
public schools in the Brisbane area. he serves as a staff adjudicator
for the dixie classic, gateway, all-american, southern star, music
maestro, and performing arts consultants music festivals.

   a guitarist by trade, ambrose has performed in dozens of jazz
ensembles, combos, rock bands, and pit orchestras in Boston and
chicago. his rock band hoochie suit, formed with members of the
chicago symphony orchestra, received rave reviews throughout the
chicago area and has performed for such distinguished guests as yo-
yo ma, larry combs, and daniel Barenboim.
   for three years ambrose served as coeditor of the internationally
circulated Music	 Educators	 National	 Conference	 Measurement	 and	
Evaluation newsletter. recent publications include articles in the
Bulletin	of	Historical	Research	in	Music	Education and The	Georgia	
Music	News. ambrose is a member of phi delta Kappa, the college
Band directors national association, the world association of
symphonic Bands and wind Ensembles, the music Educators national
conference, and the georgia music Educators association, and has
served on the executive board of the massachusetts instrumental
conductors association. in addition, he has been awarded the national
Band association citation of Excellence.

Sarah Kruser Ambrose
sarah Kruser ambrose is adjunct instructor
of flute at georgia state University where she
teaches applied flute, coaches chamber music, and
performs in the faculty woodwind quartet. Kruser
ambrose has a bachelor of music degree from
northwestern University and a master of music
degree from chicago college of performing arts,
both in flute performance. her primary teachers
have been chicago symphony orchestra flutists matheiu dufour,
walfrid Kujala, and richard graef. in addition, she has performed
in masterclasses for Julius Baker, Jeffrey Khaner, Jim walker, carol
wincenc, mindy Kaufmann, martha rearick, and sebastian Bell.
   Kruser ambrose is an extremely active performer. she performs with
the macon symphony orchestra and the georgia chamber winds, an
atlanta-based professional wind dectet. in addition she has performed
with the milwaukee, carrollton, and augusta opera orchestras, and is
an active freelance musician in the atlanta area. her playing can be heard
on the summit recording label. Kruser ambrose made her carnegie hall
debut as a soloist on gustav holst’s	Fugal	Concerto in may 2005.

   Kruser ambrose is a strong advocate for the creation and performance
of new music and is a core member of the avant-garde music ensemble
Bent frequency.
   this past october Kruser ambrose gave the world premiere of
Tonoi	VI, a work for solo flute written for her by nickitas J. demos. in
2007 she will premiere Jonathan newman’s Concertino for	Flute	and	
Chamber	 Winds and will be featured soloist with the georgia state
University symphonic wind Ensemble.
   Kruser ambrose is in great demand as a clinician and coach. some
of her most recent engagements include guest artist and clinician for
the atlanta flute club, section coach for the metropolitan youth
symphony orchestra and metropolitan atlanta youth wind Ensemble,
master clinician for the georgia state University high school honor
Band, and clinician for dozens of local high schools. in addition to her
teaching responsibilities at georgia state, Kruser ambrose maintains
an active private studio.

The Georgia State University School of Music
the georgia state University school of music offers one of the most
comprehensive music programs in the southeast, including exceptional
performing opportunities, world-class concert spaces, outstanding
faculty, and a distinctive focus on career development. the school of
music also offers more than $200,000 each year in scholarships and
financial assistance for qualified student musicians. more than 450
students are enrolled in its nationally recognized bachelor’s, master’s,
and phd programs. areas of concentration include performance, music
education, jazz studies, composition, music technology, and music
management. the school annually presents recitals, music workshops,
and community music concerts including performances by world-
renowned guest artists, faculty, and students in its concert halls.
   for additional information, please call the school of music at
404.651.3676 or visit online at

The Georgia State University Symphonic Wind Ensemble
Under the direction of robert J. ambrose, the georgia state University
symphonic wind Ensemble is quickly gaining recognition as one of
the finest wind bands in the region. their recent performances have
been met with critical acclaim for musical artistry and innovative
   the symphonic wind Ensemble is comprised of the finest woodwind,
brass, and percussion players in the school of music who are selected
each semester by audition. the ensemble’s repertoire is drawn from
significant literature written for wind ensemble, symphonic band, and
chamber winds. most literature is performed with one player assigned
to each part. in 2004 the ensemble was chosen to perform at both
the georgia music Educators (gmEa) in-service and the college
Band directors national association (cBdna) southern division
conferences. in 2006 the ensemble was selected to perform again at the
cBdna southern division conference, earning the coveted featured
performance spot.
   alumni of the ensemble hold positions in many of the leading
orchestras, bands, and chamber ensembles in the country. among them
are atlanta symphony orchestra musicians michael moore, tuba; Brice
andrus, principal horn; and Joseph walthall, trumpet. other notable
alumni include charles Vernon, bass trombone, chicago symphony
orchestra; peter Bond, trumpet, metropolitan opera orchestra; steven
norrell, bass trombone, metropolitan opera orchestra; and James
fonts, trumpet, pershing’s own United states army Band.
    Each year, nationally and internationally recognized artists are
featured with the ensemble as guest soloists, conductors, and composers-
in-residence. recent composer residencies include andrew rindfleisch
(2007), Jonathan newman (2006), michael colgrass (2005), Jack
stamp (2005), John harbison (2004), and david maslanka (2000).
recent guest artists include alexander mickelthwate, music director
of the winnipeg symphony (2003), and h. robert reynolds and the
detroit chamber winds and strings (2002) to name a few.
   ambrose and the symphonic wind Ensemble are committed to
commissioning new works for the wind band medium. they have
commissioned or cocommissioned nine works for winds in just four
years, including:
    Symphony	No.	1	for	Winds	and	Percussion (2003)—carolyn Bremer
    Luckie	Street	Grooves—nickitas J. demos
    Frances	et	Francis:	Mes	Deux	Amours (2003)—amir zaheri
      Tempests	are	Kind	for	Viola	and	Wind	Ensemble (2003–2004)—
         charles Knox
      Voice	of	the	City (2004–2005)—richard danielpour
      Concertino	for	Euphonium	and	Winds (2005)—Kevin Kaska
      I	wander	the	world	in	a	dream	of	my	own	making (2005)—
         christopher theofanidis
      Mr.	Atlas	(2006)—andrew rindfleisch
      Concertino	for	Flute	and	Chamber	Winds (2007)—Jonathan newman

   other prominent composers who have received recent commissions
from the ensemble include david maslanka and James syler.
   highlights for the 2006–2007 season include composer residencies
by andrew rindfleisch, Jonathan newman, and pulitzer prize–winner
leslie Bassett, a combined performance with the atlanta youth wind
symphony, and a professional recording session leading to the first
commercially released compact disc by the ensemble.

Georgia State University Woodwind,
Brass, and Percussion Faculty
sarah Kruser ambrose, flute
lara saville dahl, oboe
william fletcher forehand, bassoon
Kenneth long, clarinet/woodwind coordinator
adam pendleton, saxophone

yvonne toll, trumpet*
Jay hanselman, horn
Julie spencer, horn*
thomas gibson, trombone/brass coordinator
adam frey, euphonium
michael moore, tuba/euphonium†

stuart w. gerber, percussion cooordinator

† indicates atlanta symphony orchestra member
* indicates atlanta opera orchestra member

Georgia State University
Symphonic Wind Ensemble Roster
PICCOLO                  CONTRABASOON                   TROMBONE
courtney Beasley         Jayme smiley*                  nick dixon+
                                                        philip looney
FLUTE                    SOPRANO                        Jimmie west
courtney Beasley         SAXOPHONE
tim crump                corey francis                  BASS TROMBONE
Kelley larsson                                          matt scott
colleen mchugh           ALTO SAXOPHONE
tenecia shepherd         gary paulo                     EUPHONIUM
                         ryan reid                      sam loBue
OBOE                                                    patrick wright*
mollie Bogle*            TENOR SAXOPHONE
amanda Kranendonk        peter weber                    TUBA
                                                        martin hill
ENGLISH HORN             BARITONE                       Josh sims
amanda Kranendonk        SAXOPHONE
                         Joseph Jenkins*                PERCUSSION
E-FLAT CLARINET                                         isaac anderson
steven gooden            HORN                           Ellery trafford
                         Velma alexander                chris childs
CLARINET                 tori compton                   Josh monroe
andrew Berezo*           friends of music scholarship
                                                        marc rodriguez
marcus Brokenborough+    catherine hofius*
                                                        rafael pereira
Benjamin clarke*         annelise mccurley*
                                                        dylan Banks
steven gooden*           ashleigh rider*
diana marks*                                            STRING BASS
Brian robinson                                          Justin spengler
                         isaiah Bell
ricky saucedo+
                         dominic Bruno*                 PIANO
Kourtnea stevenson
                         Jeremy Burton+                 nicholas Johns*
                         friends of music scholarship
chris carr               sarah fishman                  BAND DEPARTMENT
danielle modrich*        sarah grant*                   GRADUATE
                         friends of music scholarship
BASSOON                  John holland+                  philip looney
stephanie Koher*         Jackie payne+                  gary paulo
John demos scholarship   autumn pethel*
Jayme smiley*                                           ENSEMBLE
                                                        Joanne Brandes

                                                        *	GSU	University	Scholar
                                                        +	AYWS	alumnus/alumna
Scott A. Stewart, conductor

s    cott a. stewart is the director of wind studies
     at Emory University, having joined the faculty
in fall 1999. he serves as music director and
conductor of the Emory wind Ensemble and the
atlanta youth wind symphony, and he teaches
courses in instrumental conducting, wind band
literature, and film music.
    a native of cicero, indiana, stewart received
a bachelor of music education and a doctor of music in conducting
from the indiana University school of music and a master of music
education from the University of texas at austin. his instructors
include ray cramer, stephen pratt, david woodley, Eugene rousseau,
and Jerry Junkin.
    stewart has served as the conductor of the Emory symphony
orchestra, principal conductor of the star of indiana–Brass theater,
assistant conductor of the Bloomington symphony orchestra, guest
lecturer and conductor at the western australia academy of performing
arts, director of instrumental music for the west Virginia governor’s
honors program, and instrumental music instructor at mccallum
high school and lamar middle school in austin, texas.
    he is a contributing research associate for volumes 2, 3, and 4 of
Teaching	Music	through	Performance	in	Band	as well as Teaching	Music	
through	Performance	of	Marches, both published by gia publications.
he has conducted several premieres and served as the recording
producer for four compact discs. recent publications include “wind
Band literature as a Vital component in the study of music history,” a
paper presented at the 2004 hawaii international conference on the arts
and humanities and 2004 internationale gesellschaft zur Erforschung
und förderung der Blasmusik in oberwelz, austria. he also has been
published in The	Instrumentalist and Music	Educators	Journal.
    recent conducting engagements include the 2004 georgia all-state
Band and performances by the atlanta youth wind symphony at the
georgia music Educators association (gmEa) in-state conference
in 2004, public radio international’s acclaimed radio show From	the	
Top	in 2004, carnegie hall in new york, and the midwest clinic in
chicago in 2005. the Emory wind Ensemble completed performance
tours of Europe in 2002 (munich, rothenburg, salzburg, insbruck,
and zurich) and 2004 (Vienne, prague, and graz), and performed at

the inauguration of Emory University president James wagner in 2004,
and the gmEa in-state conference in 2006.
   stewart is cofounder and director of Bend the twig, a nonprofit
organization that promotes the integration of character education in
music classrooms. in this role, he has appeared nationally at education
and music conferences, presented clinics for teachers and administrators,
and written on topics of character and ethics in the performing arts.
   stewart is the former manager of the indiana University summer
music clinic for high school students, where he continues to serve on
the faculty. professional memberships include the conductors guild,
college music society, national Band association, music Educators
national conference, georgia music Educators association, and the
college Band directors national association.

Carl Hall, flute

c    arl hall joined the atlanta symphony orchestra (aso) in 1984
     as piccoloist after playing in the new orleans symphony and the
florida orchestra in tampa, where he served as principal flutist for
six years. he also has played piccolo in the santa fe opera and in
the grand teton music festival. for two summers he toured with the
american wind symphony of pittsburgh performing henk Badings’s	
Flute	Concerto. in 1999 he premiered martin amlin’s Piccolo	Concerto	
at the national flute association convention in atlanta.
   hall graduated from the University of south florida in tampa,
where he began his association with the florida orchestra as a student,
playing second flute to his teacher martha rearick. he participated
in the Blossom festival school of the cleveland orchestra and in
masterclasses with marcel moyse, geoffrey gilbert, Julius Baker,
william Bennett, peter lloyd, and Jean-pierre rampal. hall also
studied privately with thomas nyfenger, maurice sharp, maxence
larrieu, and shaul Ben-meir.
   an Emory University artist affiliate since 1986, hall previously taught
at the University of central florida in orlando and the University of
tampa. his Emory recitals have been broadcast on national public
radio’s Performance	Today.

Atlanta Youth Wind Symphony

t    he atlanta youth wind symphony (ayws) was founded in 1988
     as the premier honor wind ensemble for high school youth for the
atlanta metropolitan area. its purpose is to provide a positive musical
experience for advanced instrumentalists in wind and percussion
performance. the ensemble rehearses and performs grade five and
six (collegiate- and professional-level) original wind band literature
composed over a wide span of stylistic compositional periods.
   the ayws performs four concerts annually on the Emory University
campus and has participated in commissioned compositions, premieres,
and tours. guest composers, conductors, and soloists of national
renown are invited regularly to perform with the students. the group
releases a compact disc compilation annually and has plans for a studio
recording in the near future. in spring 2006, the ayws hosted the
greater dallas youth orchestra wind symphony and will return the
exchange in march 2007 with a concert in dallas.
   the ayws is composed of approximately eighty students in these
areas: flute/piccolo, oboe, bassoon, clarinet, bass clarinet, contrabass
clarinet, alto/tenor/baritone saxophone, trumpet, horn, trombone,
euphonium, tuba, percussion, piano, and string bass.
   membership since 1988 has been drawn from approximately sixty
different high schools in cobb, gwinnett, deKalb, fulton, cherokee,
coweta, henry, clayton, rockdale, fayette, paulding, oconee,
and forsyth counties. in addition, students have traveled from as
far as warner robins, augusta, and rome, georgia, to participate.
membership is competitive by audition, and students are required to
be enrolled in their own school music programs.
   Emory University provides rehearsal and performance space and
repertoire from the instrumental music library to the ayws. the
staff of the schwartz center for performing arts provides support for
performances in the form of programs, ushering, stage management,
lights, and sound. the group rehearses monday evenings during the
school year, preparing each concert in approximately six rehearsal
periods. the group’s website is

Instrumental Music Premieres and Commissions
Venus	Palimpsest (2001), carolyn Bremer
New	Millennium,	Different	World,	New	Beginnings	(2003), roger cichy
Symphony	for	Wind	Band (2003), carolyn Bremer
Rise (2003), steven Bryant
As	the	scent	of	spring	rain	.	.	.	(2003), Jonathan newman
Redline	Tango (2004), John mackey
Courage	and	Compassion (2004), Jim Bonney
Concerto	for	Euphonium	and	Winds	(2005), Kevin Kaska
icarus (2005), richard prior
Concerto	for	Piano	and	Winds	(2006), stephen paulus
Poem (2006), todd stalter
Harlequin (2007), Bruce Broughton

Thank You to the AYWS 2006–2007 Season Sponsors
$1,000 and up—Director’s Circle
Kurt and robyn Unger

$500–$999—Platinum Level
nathan and laurie slaff
towers perrin

$250–$499—Gold Level
Bobby and Janet abraham
dr. and mrs. timothy and tamara albrecht
midtown community church
tom and peggy mcBrayer
harold and rebecca simon

$100–$249—Silver Level
dalene Eimon
grace fellowship church
rich and halle holland
Jean lee
Jean and marvin zion
david and carla zion

$50–$99—Bronze Level
patrick and connie cahill
sheila and Joe gerstein
pat and Jim sedlack

atlanta youth wind symphony is a nonprofit, 501(3)c organization.

Atlanta Youth Wind Symphony Roster
Flute                             Alto Saxophone
ridge davis (whitewater)          Jack walker (harrison)
alison Beskin (westminster)       chris cassino (harrison)
Briana oliver (lassiter)          stephen stringfellow (Brookwood)
ashley scripka (home school)      andrew zion (lassiter)
clara yang (Brookwood)
rachel meltzer (lakeside)         Tenor Saxophone
cathy Kim (peachtree ridge)       perry roth (druid hills)
win collier (westminster)         andrew Bulecza (Kennesaw mountain)
                                  Eric James (south forsyth)
Korey marshall (westminster)      Baritone Saxophone
christine sallas (salem)          Joey wytanis (north gwinnett)
colin maddox (chamblee)
sarah Baggett (milton)            Trumpet
                                  megan novak (Kennesaw mountain)
Bassoon                           tamara dworetz (north springs)
leo o’toole (lassiter)            stephanie tuck (dunwoody)
sarah abraham (westminster)       aaron lindsey (dutchtown)
megan mcBrayer (mcintosh)         luke zamprelli (collins hill)
Esther albrecht (lakeside)        graham watt (st. pius X)
                                  adam norris (centennial)
Clarinet                          samuel weintraub (norcross)
melissa howell (lassiter)         david Kilgore (Brookwood)
michelle hwang (north gwinnett)   Justin migliaccio (northview)
audrey whittle (harrison)
christine an (north gwinnett)
danielle conti (starr’s mill)     olivia sedlack (decatur)
Brad cox (grady)                  andrew creamer (Kennesaw mountain)
Kelly sargent (Brookwood)         dave adams (harrison)
hak-min lee (dunwoody)            Kyle o’Brien (dunwoody)
Brandon maffei (north oconee)     Kevin morgan (peachtree ridge)
Emily o’shea (lassiter)           Kelsey owen (Kennesaw mountain)
monica yang (Brookwood)           matt manley (mcintosh)
harrison Burks (milton)           russell mccord (fayette county)
tyler shank (central gwinnett)    alice Johnson (south forsyth)

Bass Clarinet                     Trombone
Jessica lambert (grady)           austin hollimon (southwest deKalb)
Kathryn greer (mcEachern)         James richards (milton)
Bradley nelson (grayson)          adam wamsley (milton)
                                  Keela palmer (peachtree ridge)

Atlanta Youth Wind Symphony Roster
Trombone (con’t.)                        Percussion
Barry slaff (norcross)                   michael stubbart (pope)
Josh rutledge (lassiter)                 Jimmy o’neill (Kennesaw mountain)
will partin (paideia)                    Kent hanie (starr’s mill)
alex corbitt (south forsyth)             ryan packard (dawson county)
                                         Jessica lederman (grayson)
Euphonium                                peter ciepluch (north springs)
                                         daniel wilson (Brookwood)
Kennedy wells (harrison)
                                         chris rickard (woodstock)
Blake Unger (norcross)
                                         tauseef anam (lakeview academy)
mitch Brown (south forsyth)
                                         madeleine conti (starr’s mill)
michael simon (chamblee)

Tuba                                     Bass
                                         Katie algarra (druid hills)
Kyle sargent (Brookwood)
Kait payne (lassiter)                    Piano
lloyd ferguson
   (george walton academy)               Kunal lahiry (gainesville)
grayson holland (south forsyth)
James hendricks (heritage)
Katie cahill (lassiter)                  melissa miller (Keystone)
douglas cox (Brookwood)
                                         ryan powell ‘08 Emory college

                                  Arts at Emory Box Office/Information
                                  404.727.5050 •
in consideration for other members of the audience, please turn off all
pagers and phones. photographs and recordings may not be made during a
performance without advance permission.
ushers for this program are members of music at Emory Volunteers; the
arts at Emory Volunteers; mu phi Epsilon, a professional music fraternity; and
alpha phi omega, a national service and social fraternity. call 404.727.6640
for information about ushering.
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