Table of Contents - Alfred Music Variations sur “Le Carnaval de Venise” Jean-Baptiste Arban...
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7 Variations sur “Le Carnaval de Venise” Jean-Baptiste Arban (1825–1889) Jean-Baptiste Arban, born in Lyon, France, was a highly-recognized soloist and performer on the cornet throughout France, Russia, England and Germany. He taught saxhorn at the Ecole Militaire and later was appointed to the Paris Conservatory. His primary contribution to pedagogy was his La grande méthode complète de cornet à piston et de saxhorn par Arban. The text contains a well developed system of introducing every possible technical demand for the cornet and also provides sections on The Art of Phrasing plus many duos and solos including variations on “The Carnival of Venice.” This popular song celebrates the longtime Venetian festival that is held prior to Easter and provides celebrations and parties with elaborate costumes and disguises. 30 The Debutante (Caprice Brilliant) Herbert L. Clarke (1867–1945) Herbert L. Clarke’s life and career spanned almost the entire era of great soloists contained in the Carnaval project. Born in Woburn, MA, he played in the Gilmore Band and was Solo Cornetist with the Sousa Band before serving as Conductor of the Long Beach Municipal Band (CA) for twenty years. His teaching career, which led him to develop a style of breath support which served him well in both solo and section leadership roles, also produced Technical Studies (1912), Characteristic Studies (1915), and How I became a Cornetist (1934). He was a prolific composer and arranger and used the waltz, caprice and variation forms to create his dazzling solo works that made him perhaps the greatest cornet soloist of his day. 41 Believe Me If All Those Endearing Young Charms Traditional Irish, Scottish or English Thomas Moore (1779–18152) is best known as Ireland’s favorite poet, balladeer and folk musician. He was at times an active supporter of the United Irish Society and was an active supporter of the earlier uprisings. He wrote a series of poems which he set to music- frequently with songs from earlier folk collections such as Bunting’s General Collection of Ancient Irish Music. He published many of these in his first volume of Moore’s Irish Melodies. His now well-known settings include ’Tis The Last Rose of Summer and The Harp That Once Through Tara’s Halls. Though historically set in a period two centuries ago, the verses—quaint as they may appear today— still project a pure desire and reasoning from the heart. 45 Grand Russian Fantasia Jules Levy (1838–1903) Jules Levy, considered by many as the greatest cornet soloist of his era, was born in London, where he performed as a soloist with the Grenadier Guards Band under Dan Godfrey and played in many of London’s leading theaters. He toured extensively throughout England, Europe and Russia prior to coming to America in 1865 and began performing with the Theodore Thomas Central Park Orchestra, and later as a soloist at the 1876 Philadelphia Centennial. His primary fame grew while playing with Patrick Gilmore and his Band. He wrote many solos of which the Grand Russian Fantasia remains best known; cast with an opening melodic passage, the theme is followed by two variations and a Finale, a true triple tonguing tour de force! 56 Moto Perpetuo Niccolo Paganini (1782–1840) Paganini was a major creator of string techniques that enabled him to take violin performance above and beyond that of any other violinist of the day. His techniques included extended upper registers, entire melodic lines using harmonics and double pitches, alternative tunings and self- accompanied lines with bowing in the right hand and pizzicatos in the left! Flamboyant in character and appearance, he closely allied himself to wealthy patrons who supported him without question. He wrote 20 Variations on Le Carnaval de Venise for solo violin although his greatest challenge was the solo Twenty-four Caprices. Moto Perpetuo (Allegro de Concert), for solo violin and orchestra, is a challenge for any instrument, much less cornet! Wynton utilized circular breathing to accomplish this wonderful flow of sixteenth notes. 68 ’Tis the Last Rose of Summer Traditional Irish [See Believe Me If All Those Endearing Young Charms above for biographical information on Thomas Moore.] The First Stanza to ’Tis the Last Rose of Summer reads: ’Tis the last rose of summer, Left blooming alone; All her lovely companions, Are faded and gone; No flower of her kindred, No rosebud is nigh, To reflect back her blushes, To give sigh for sigh. page Table of Contents
Transcript of Table of Contents - Alfred Music Variations sur “Le Carnaval de Venise” Jean-Baptiste Arban...
7 Variationssur“LeCarnavaldeVenise”Jean-BaptisteArban(1825–1889)
Jean-BaptisteArban,borninLyon,France,wasahighly-recognizedsoloistandperformeronthecornetthroughoutFrance,Russia,EnglandandGermany.HetaughtsaxhornattheEcoleMilitaireandlaterwasappointedtotheParisConservatory.HisprimarycontributiontopedagogywashisLa grande méthode complète de cornet à piston et de saxhorn par Arban.ThetextcontainsawelldevelopedsystemofintroducingeverypossibletechnicaldemandforthecornetandalsoprovidessectionsonThe Art of Phrasingplusmanyduosandsolosincludingvariationson“TheCarnivalofVenice.”ThispopularsongcelebratesthelongtimeVenetianfestivalthatisheldpriortoEasterandprovidescelebrationsandpartieswithelaboratecostumesanddisguises.
30 TheDebutante(CapriceBrilliant)HerbertL.Clarke(1867–1945)
HerbertL.Clarke’slifeandcareerspannedalmosttheentireeraofgreatsoloistscontainedintheCarnavalproject.BorninWoburn,MA,heplayedintheGilmoreBandandwasSoloCornetistwiththeSousaBandbeforeservingasConductoroftheLongBeachMunicipalBand(CA)fortwentyyears.Histeachingcareer,whichledhimtodevelopastyleofbreathsupportwhichservedhimwellinbothsoloandsectionleadershiproles,alsoproducedTechnical Studies(1912),Characteristic Studies(1915),andHow I became a Cornetist(1934).Hewasaprolificcomposerandarrangerandusedthewaltz,capriceandvariationformstocreatehisdazzlingsoloworksthatmadehimperhapsthegreatestcornetsoloistofhisday.
41 BelieveMeIfAllThoseEndearingYoungCharmsTraditionalIrish,ScottishorEnglish
ThomasMoore(1779–18152)isbestknownasIreland’sfavoritepoet,balladeerandfolkmusician.HewasattimesanactivesupporteroftheUnitedIrishSocietyandwasanactivesupporteroftheearlieruprisings.Hewroteaseriesofpoemswhichhesettomusic-frequentlywithsongsfromearlierfolkcollectionssuchasBunting’sGeneral Collection of Ancient Irish Music.HepublishedmanyoftheseinhisfirstvolumeofMoore’s Irish Melodies.Hisnowwell-knownsettingsinclude’Tis The Last Rose of SummerandThe Harp That Once Through Tara’s Halls.Thoughhistoricallysetinaperiodtwocenturiesago,theverses—quaintastheymayappeartoday—stillprojectapuredesireandreasoningfromtheheart.
45 GrandRussianFantasiaJulesLevy(1838–1903)
JulesLevy,consideredbymanyasthegreatestcornetsoloistofhisera,wasborninLondon,whereheperformedasasoloistwiththeGrenadierGuardsBandunderDanGodfreyandplayedinmanyofLondon’sleadingtheaters.HetouredextensivelythroughoutEngland,EuropeandRussiapriortocomingtoAmericain1865andbeganperformingwiththeTheodoreThomasCentralParkOrchestra,andlaterasasoloistatthe1876PhiladelphiaCentennial.HisprimaryfamegrewwhileplayingwithPatrickGilmoreandhisBand.HewrotemanysolosofwhichtheGrand Russian Fantasiaremainsbestknown;castwithanopeningmelodicpassage,thethemeisfollowedbytwovariationsandaFinale,atruetripletonguingtourdeforce!
56 MotoPerpetuoNiccoloPaganini(1782–1840)
Paganiniwasamajorcreatorofstringtechniquesthatenabledhimtotakeviolinperformanceaboveandbeyondthatofanyotherviolinistoftheday.Histechniquesincludedextendedupperregisters,entiremelodiclinesusingharmonicsanddoublepitches,alternativetuningsandself-accompaniedlineswithbowingintherighthandandpizzicatosintheleft!Flamboyantincharacterandappearance,hecloselyalliedhimselftowealthypatronswhosupportedhimwithoutquestion.Hewrote20 Variations on Le Carnaval de VeniseforsoloviolinalthoughhisgreatestchallengewasthesoloTwenty-four Caprices.Moto Perpetuo(AllegrodeConcert),forsoloviolinandorchestra,isachallengeforanyinstrument,muchlesscornet!Wyntonutilizedcircularbreathingtoaccomplishthiswonderfulflowofsixteenthnotes.
68 ’TistheLastRoseofSummerTraditionalIrish
[SeeBelieve Me If All Those Endearing Young CharmsaboveforbiographicalinformationonThomasMoore.]
TheFirstStanzato’Tis the Last Rose of Summerreads:
’Tisthelastroseofsummer,Leftbloomingalone;Allherlovelycompanions,Arefadedandgone;Noflowerofherkindred,Norosebudisnigh,Toreflectbackherblushes,Togivesighforsigh.
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70 TheFlightoftheBumblebeefromTsar SultanNicolaiRimsky-Korsakoff(1844–1908)
Rimsky-KorsakoffwasoneofRussia’sgreatestnationalisticleaders.SpendingmostofhislifeinSt.Petersburg,hecomposedthreesymphonies,severallargesuites(The Snow Maiden,Mlada,Scheherezade)songs,choralworksandoperas(The Maid of Pskov,Mlada,Sadko,Mozart and Salieri,The Golden Cockerel,andThe Tale of Tsar Sultan).Itisinthe2ndTableauofthelatteroperathatthe“FlightoftheBumblebee”appears;themusicwaswrittentoenableGvidon,theTsar’sson,tochangeintoaninsecttoflyawayandvisithisfather.Whilesettingsofthe“Flight…”havebeenwrittenbyRachmaninoff(piano)andJashaHeifetz(violin),thecurrentarrangementforWyntonenablesthesoloisttoalternatelyslurortonguethe105measures.
77 Napoli—VariationsonaNeopolitanSongHermannBellstedt(1858–1892)
BorninGermany,HermannBellstedtemigratedin1867toAmericawherehisfamilysettledinCincinnati,whichservedashisprimaryresidencethroughouthiscareer.Aprodigyonthecornet,heplayedwithPatrickGilmoreascornetsoloistandassistanttothefamousBenBoltand,in1904,joinedtheSousaBandplayingalongsideWalterRogersandHerbertL.Clarke(whowereknownasthefamedThreeSolitaires).UponRogers’departurefromtheBand,hebecameClarke’sstandpartner.Bellstedt’svariationsonNapolifeaturesthepopularNeopolitansong“Finiculi,Finicula”(composedbyLuigiDenzain1880)thatcelebratedthefunicularrailwaybuiltupthesideofMt.Vesuviusin1880.OtherpopularAmalfiCoastsongsinclude“‘OSoloMio”and“TornaaSorriento.”
93 FantasieBrillanteJean-BaptisteArban(1825–1889)
[SeeVariations sur Le Carnaval de VeniseonthepreviouspageforbiographicalinformationonArban.]
“FantasieBrillante,”No.3inArban’scollectionofFantasias and Variations(whichfollowthefamedCharacteristic Studies),possessesabreadthofmusicalstylesthatdemandstrictformalanalysisinadditiontointerpretativeandtechnicalrequirements.Theopeningsectionfeaturesaflowingmelodicpassagefollowedbyatechnicalpassagewithareturntothestyleoftheopeningmelody.Thethemeisthenstatedwhichleadsintothreevariationsthatemployvariantsintripletgroupings,quadruple16th-notegroupings,andfinally,theever-presenttripletonguing,onceagainaprimarytechnicalresourceutilizedinthisandotheroftheFantasias.
110 SometimesIFeelLikeaMotherlessChildTraditionalSpiritual
SometimesIfeellikeaMotherlesschild;SometimesIfeelaMotherlesschild;SometimesIfeellikeaMotherlesschild;Alongwaysfromhome;Alongwaysfromhome,Truebeliever;Alongwaysfromhome,Alongwaysfromhome.
FromAmerican Negro SpiritualsbyJ.W.JohnsonandJ.R.Johnson,1926
Thisspiritual,plusmanyothersincludingGo Down Moses;Swing Low, Sweet Chariot;Nobody Knows the Trouble I’ve Seen;andSteal Away to Jesus,arerepresentativeoftheAfrican-Americanspiritualasitexpressedfeelingsofseparation,hardnessinlivingandworkingconditions,faith,sadness,desolation,hopeandescapefromslavelifetothe“promisedland”throughemancipation.Manyothersexpressedsheerjubilationthroughdancingandrhythmiccallsandresponses.
113 ValseBrilliante(“SoundsfromtheHudson”)HerbertL.Clarke(1867–1945)
[SeeThe DebutanteonthepreviouspageforbiographicalinformationonClarke.]
Aprolificcomposerandarranger,ClarkesaidthathewasencouragedbyArthurPryor,thefamoustrombonesoloist,towritehisownsolossohecouldshowcasehisownspecialtalents.Inadditiontohavingbeenheardbythousandsofaudiencelisteners,healsorecordedmanyofhiswellknownsolosonVictor,Edison,BrunswickandColumbiarecords:Carnival of Venice;Bride of the Waves;Caprice Brilliante;Sounds of the Hudson;Southern Cross;andStars in a Velvety Sky.Otherhighlyperformedsolos(thathedidnotrecord)includeThe DebutanteandFrom the Shores of the Mighty Pacific.HewasalsoasuccessfulconductorbeginningwiththeGilmoreBandandtheSousaBandasAssistantConductor,andfinally,theLongBeachMunicipalBandinCalifornia.
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CARNAVALA 25th Anniversary!
Carnavalisacelebrationofthemastercornetsoloistsandperformersofthelate19thandearly20thcenturiesthrough a recording, touring and publication project created for Wynton Marsalis and the Eastman WindEnsemble,DonaldHunsberger,Conductor.Thisreissueoftheoriginalsolowithpianofolioandthereleaseoftheaccompanimentsforwindband,inprintand/orrental,salutesWyntonandtheperformersandconductoroftheEWE.
CornetperformersincludingJean-BaptisteArban,JulesLevy,MatthewArbuckle,W.ParisChambers,WalterRogers,HerbertL.Clarke,DelStaigers,FrankSimonsandHermanBellstedtamongmanyothers,havelongbeentheidolsforsucceedingbrassplayersduetotheirextraordinaryperformanceabilitiesandtheirinventivesoloandpedagogicalwritings.
Thesesoloists,atthebeginningofthelastcentury,wereendowedwithflowing,agiletechniquesinvolvingrapid,lightmultipletonguing,themasteryofharmonicseriesslurs,extremeregistersandespecially,theabilitytoprojectwarm,“singing,”cantabilemelodiclines.
Thethemesthatformedthefoundationfortheirvariationswereselectedbythesoloist/writersprimarilyonthebasisoftheirsimplicityandbeauty.Notonlydidtheprincipalmelodiesoffertheaudiencefeelingsofwarmthandrepose,theyespeciallyprovidedalyricalcontrasttotheflashypyrotechnicsthatsurroundedthem.
Carnavalwascreatedtosalutetheseearlierdayperformersthroughdisplayingtheuniqueabilitiesofoneoftoday’smastersoloists:WyntonMarsalis.Perhaps,itisbesttohaveWyntondescribetheeventsthatledtothisuniquecollaborativeundertaking,aswrittenbyhimintheForeword(December1988)totheoriginalpublicationofthesesolosandaccompaniments.
“This project began in 1984 when CBS Masterworks asked me to considerrecording an album of cornet masterpieces with a wind band accompaniment. IimmediatelyfeltthatthiswassomethingIwantedtodobecauseIgrewupplayingthese pieces and entered all the festivals and contests that high school playerstodayhaveavailabletothem.OneareaIwantedtoseechangedforthisrecording,however,wasthearrangements:Inparticular,theintroductionsandbreak-strainsthat today sound so “corny” because they frequently were more “filler” thansubstantivemusicalmaterial.So,duringavisit totheEastmanSchoolofMusic,where I was appearing as soloist with the Eastman Jazz Ensemble [RayburnWright, Director], I met with Donald Hunsberger, Conductor of the EastmanWindEnsembleandawellknownarranger-orchestrator.Iaskedhimtocreatenewarrangementsforthesolostobeincludedonthealbum.Theresult,asyoucanhear,andnowsee,providedanentirelynewviewofthesegreatsolos;weusedonlytheoriginalmelodiclinesandDonwroteacombinationofnewandmodifiedoriginalmaterialfortheaccompaniments.Thecadenzasarealsonew,exceptforHerbertL.Clarke’scadenzas,whereIwishedtousesomeofhisoriginalwriting.
Followingtherecording,theprojectcontinuedwithatouroftheEastCoastandCanada.TheEastmanWindEnsembleandIplayedmajorhallssuchasThePlacedesArtsinMontreal,RoyThompsonHallinToronto,Boston’sSymphonyHall,TheAcademyofMusic inPhiladelphia,KennedyCenter,Washington,CarnegieHallinNewYorkandfinishedintheEastmanTheatreinRochester.”
WyntonMarsalisNewYorkCity
AsWyntonMarsalissoclearlystatesinhisaccompanyingForeword,thedevelopmentofalyrical conceptisofutmostimportance.Heavy,over-blownattacksandtonguingwillimpedethespeedandclaritynecessaryforcleararticulationsandwillcreateawkward,orsloppy,unmusicaleffects.Whileitispossibletodevelopthetechnicalresourcestoplaythesesolos,theabilityto“singfromtheheart”isfrequentlymoredifficulttoachieve.Wyntonclearlydemonstratesinthevariouslyricalselectionsthatheindeedhasthatability.
CarnavalwasrecordedintheEastmanTheatreoftheEastmanSchoolofMusic,UniversityofRochester,inearlySeptember,1986byProducerSteveEpsteinandEngineerBuddyGraham.OriginallyissuedasCBSMasterworksLPIM42137,itwaslaterrenumberedSonyCDMK42137.NominatedforaGrammyAwardinthe“BestInstrumentalSoloistwithOrchestra”category,ithasnowbecomeavailableaswellinvariousdownloadformats.
—DonaldHunsbergerRochester,NY
September,2010WyntonandDonaldHunsbergerrelaxbetweentakesattheCBSMasterworksrecordingsessions
PhotosbyLouisOuzer.PhotoscourtesyofSpecialCollections,SibleyMusicLibrary,EastmanSchoolofMusic,UniversityofRochester
RayWrightandWynton
Wynton Marsalis
WyntonMarsalisisaninternationallyacclaimedmusician,composer,bandleader,educatorandaleadingadvocateofAmericanculture.Theworld’sfirstjazzartisttoperformandcomposeacrossthefulljazzspectrumfromitsNewOrleansrootstobeboptomodernjazz,Marsalishasexpandedthevocabularyforjazzandhascreatedavitalbodyofworkthatplaceshimamongtheworld’sfinestmusiciansandcomposers.
BorninNewOrleans,LouisianaonOctober18,1961toEllisandDoloresMarsalis,thesecondofsixsons,heexhibitedatanearlyageasuperioraptitudeformusicandadesiretoparticipateinAmericanculture.Atage14,heperformedwiththeNewOrleansPhilharmonicandduringhighschool,alsoperformedwiththeNewOrleansSymphonyBrassQuintet,NewOrleansCommunityConcertBand,NewOrleansYouthOrchestra,NewOrleansSymphony,variousjazzbandsandthepopularlocalfunkband,theCreators.
Atage17,WyntonbecametheyoungestmusicianevertobeadmittedtoBerkshireMusicCenteratTanglewoodwhere,despitehisyouth,hewasawardedtheschool’sprestigiousHarveyShapiroAwardforoutstandingbrassstudent.WyntonmovedtoNewYorkCitytoattendJuilliardin1979.ThefollowingyearWyntonseizedtheopportunitytojointheJazzMessengerstostudyundermasterdrummerandbandleaderArtBlakey.IntheyearstofollowWyntonperformedwithSarahVaughan,DizzyGillespie,SweetsEdison,ClarkTerry,SonnyRollins,RonCarter,HerbieHancock,TonyWilliams,andcountlessotherjazzlegends.
Wyntonassembledhisownbandin1981andhittheroad,performingover120concertsandworkshopseveryyearfor15consecutiveyears.ManydistinguishedjazzmusiciansoftodaywerestudentsatoneofhisworkshopsincludingJamesCarter,ChristianMcBride,RoyHargrove,HarryConnickJr.,NicholasPayton,EricReed,andEricLewis,tonamebutafew.
Wynton’sloveofthemusicofBach,Beethoven,Mozart,andothersdrovehimtopursueacareerinclassicalmusicaswell.HerecordedtheHaydn,Hummel,andLeopoldMozarttrumpetconcertosatagetwenty,adebutrecordingthatreceivedgloriousreviewsandwontheGrammyAwardfor“BestClassicalSoloistwithanOrchestra.”Hewentontorecord10additionalclassicalrecords,alltocriticalacclaim.In1986,herecordedtheCarnavalprojectwiththeEastmanWindEnsembleconductedbyDonaldHunsbergeranditwasalsonominatedfortheGrammyAwardinthe“BestClassicalSoloistwithanOrchestra”category.
WyntonhasperformedwithleadingorchestrasincludingtheNewYorkPhilharmonic,LosAngelesPhilharmonic,BostonPops,TheClevelandOrchestra,SaintLouisSymphonyOrchestra,EnglishChamberOrchestra,TorontoSymphonyOrchestra,andLondon’sRoyalPhilharmonic,workingwitheminentconductorsincluding:RaymondLeppard,CharlesDutoit,LorenMaazel,LeonardSlatkin,Essa-PekkaSalonen,andMichaelTilson-Thomas.FamedclassicaltrumpeterMauriceAndrépraisedWyntonas“potentiallythegreatesttrumpeterofalltime.”TodateWyntonhasproducedover60recordswhichhavesoldover7millioncopiesworldwideincluding3GoldRecords.
Aprolificandinventivecomposer,thedancecommunityhasembracedWynton’sinventivenesswithcommissionstocreatenewmusicforGarthFagan(Citi Movement-Griot New York),PeterMartinsattheNewYorkCityBallet(Jazz: Six Syncopated Movements and Them Twos),TwylaTharpwiththeAmericanBalletTheatre(Jump Start),JudithJamisonattheAlvinAileyAmericanDanceTheatre(Sweet ReleaseandHere…Now),andSavionGlover(Petite SuiteandSpaces).MarsaliscollaboratedwiththeLincolnCenterChamberMusicSocietyin1995tocomposethestringquartetAt The Octoroon Balls,andagainin1998tocreatearesponsetoStravinsky’sA Soldier’s TalewithhiscompositionA Fiddler’s Tale.
InhisdramaticoratorioBlood OnThe Fields,Wyntonmakesuseoftheblues,worksongs,chants,callandresponse,spirituals,NewOrleansjazz,Ellingtonesqueorchestralarrangements,andAfro-Caribbeanrhythms,andheusesGreekchorus-stylerecitationstomovetheworkalong.WyntonextendedhisachievementsinBlood On The FieldswithAll Rise,anepiccompositionforbigband,gospelchoir,andsymphonyorchestra—aclassicworkofhighart—whichwasperformedbytheNewYorkPhilharmonicunderthebatonofKurtMasuralongwiththeMorganStateUniversityChoirandtheLincolnCenterJazzOrchestra(December1999).MarsalisfurtherexpandedhisrepertoireforsymphonyorchestrawithhisSymphonyNo.3,Swing Symphony,premieredbytherenownedBerlinPhilharmonicinJune2010andperformedbytheNewYorkPhilharmonicandtheLincolnCenterJazzOrchestrainSeptember,2010.
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SteveEpstein(CBS/Sonyproducer),DonaldHunsberger,andWyntonsporttheirnewT-shirts
WyntonandtheEWEinrehearsalinCarnegieHall,March22,1987
InOctober1995,WyntonlaunchedtwomajorbroadcasteventswhenPBSpremieredMarsalis On Music,aneducationaltelevisionserieswrittenandhostedbyMarsalisonjazzandclassicalmusic.ThatsamemonthNationalPublicRadioairedthefirstofMarsalis’26-weekseriesentitledMaking the Music;theradioandtelevisionserieswereawardedthemostprestigiousdistinctioninbroadcastjournalism,theGeorgeFosterPeabodyAward.Marsalishasalsowrittenfivebooks:Sweet Swing Blues on the Road,Jazz in the Bittersweet Blues of Life,To a Young Musician: Letters from the Road,Jazz ABZ (an A to Z collection of poems celebrating jazz greats),andhismostrecentreleaseMoving to Higher Ground: How Jazz Can Change Your Life.
WyntonMarsalishaswonnineGrammyAwardsandhonorarydegreeshavebeenconferreduponWyntonbythirty-oneofAmerica’sleadingacademicinstitutionsincludingColumbia,Harvard,Princeton,HowardandYale.UnitedNationsSecretary-GeneralKofiAnnanappointedhimaUNMessengerofPeacein2001andin2005,hereceivedTheNationalMedalofArts,thehighestawardgiventoartistsbytheUnitedStatesGovernment.In1997,aWyntonMarsalisbecamethefirstjazzmusicianevertowinthePulitzerPrizeforMusicforhisepicoratorioBlood On The Fields.
In1987,Marsalisco-foundedajazzprogramatLincolnCenterInJuly1996,duetoitssignificantsuccess,JazzatLincolnCenterbecameapermanentequalpartneratLincolnCenter,alongwiththeNewYorkPhilharmonic,MetropolitanOpera,andNewYorkCityBallet.HepresentlyservesasArtisticDirectorforJazzatLincolnCenterandMusicDirectorfortheJazzatLincolnCenterOrchestrawhichhasdevelopedaninternationalagendapresentingrichanddiverseprogrammingthatincludesconcerts,debates,filmforums,dances,televisionandradiobroadcasts,andeducationalactivities.
Donald Hunsberger
DonaldHunsbergerisConductorEmeritusoftheEastmanWindEnsemble,havingservedasitsMusicDirectorfrom1965to2002.HealsoholdsthetitleProfessorEmeritusofConductingandEnsemblesattheEastmanSchoolofMusic,whereheservedformanyyearsasChairoftheConductingandEnsemblesDepartment.
Underhisleadership,theEastmanWindEnsemblecontinueditsdevelopmentasaninternationalperformancemodelinthecreationofnumerousnewworksforthewindbandprovidingaprimeexampleofcontemporaryperformancetechniquesasdemonstratedonnumerousrecordingsonSonyClassics,CBSMasterworks,MercuryRecords,DGGRecords,PhilipsandDeccaamongothers.In1987hisscoresandrecordingofCarnavalwerenominatedforaGrammyAwardintheBestSoloPerformancewithOrchestracatagory.HisfinalrecordingprojectwiththeEWEwasathreeCDset(theEastman Wind Ensemble at 50 -DHWL001CD-WBP)celebratingits50thanniversary.
Underhisdirection,theEWEperformedthroughoutJapanandSouthEastAsiain1978fortheKambaraAgencyandtheU.S.StateDepartment.SonyCorporationandEastmanKodak,Japan,sponsoredanadditionalsixtoursofJapanandTaiwanbetween1990and2000.
HeledtheEWEonUSconcerttourstoperformatnationalconferencesofMENCandCDBNA,theMidWestInternationalConferenceplusnumerousstatemeetings.Since2002hehasbeenaVisitingConductingFellowattheKunitachiCollegeofMusic,Tokyo,Japan.
Inadditiontoperformingover100premiereperformances,HunsbergerhadbeeninvolvedinwritingprojectsincludingthebooksThe Wind Ensemble and It’s Repertoire(AlfredMusicPublishingCo.),The Art of Conducting(withRoyErnst,RandomHouse),The Emory Remington Warmup Studies(AccuraMusic),andnumerousarticlespublishedineducationaljournals.Heiswellknownandrecognizedforhisinnovativescoringtechniquesforvaryinginstrumentationsofthecontemporarywindbandwithnumerouspublications.HeisthefounderandeditoroftheDonaldHunsbergerWindLibrary(WarnerBros./Alfred)andanactivecontributortotheLibrary’spublications.HisresearchintothehistoryanddevelopmentofscoringforwindbandsinAmericahasledtonumerousarticlesinWindWorks,ajournalforwindconductors,performersandcomposers.Activeinbothwindandorchestralwritingthroughouthiscareer,hecreatedaballet,Americans We,forTwylaTharpandtheAmericanBalletTheateratLincolnCenterin1996.
Hunsbergerhasbeentherecipientofnumerousawardsforresearch(HomespunAmerica:theNationalAssociationforStateandLocalHistorians),pedagogy(TheEastmanAlumniteachingAward,TheHerbertEisenhartAward;WileyHousewrightFellow,FloridaStateUniversity)andperformance(theCrystalAward,fromtheAsahiBroadcastingCompany,Osaka,Japan;theEhudEzielAward,Jerusalem,Israel)
HeisaPastpresidentoftheCollegeBandDirectorsNationalAssociationandhasservedasamemberoftheboardsofCBDNA,theWorldAssociationofSymphonicBandsandEnsemblesandtheConductor’sGuild.HecurrentlyservesasPresidentoftheBoardoftheSocietyforChamberMusicinRochester.
Intheorchestralworldhehascreatedandconductedperformancesoforchestralaccompanimentstoover18silentfilmswithfiftyorchestrasincludingtheNational,SanFrancisco,Houston,Pittsburgh,Vancouver,Utah,Virginia,SanDiego,Jacksonville,Honolulu,Winnipeg,SyracuseandNorthCarolinaSymphonyOrchestrasandtheRochester,Buffalo,KansasCityandCalgaryPhilharmonicOrchestras,amongothers.HehascreatedscoresforsuchhistoricalmasterpiecesasThe Phantom of the Opera,The Hunchback of Notre Dame,The General,The Mark of ZorroinadditiontoproducingandconductingperformancesofCharlieChaplin’sGoldrush, City LightsplusnumerousshortChaplinfavorites.In1994,heconductedthepremiereperformanceofEisenstadt’sPotemkin,withmusicbyShostakovitch,atWolfTrapwiththeNationalSymphonyOrchestra.
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