The College of New JerseyWind Ensemble

William H. SilvesterConductor

Wind TableauxWilliam H. Silvester has a wide range of experience as a performer,conductor, clinician, adjudicator, and music educator. His back-ground includes many years in the public schools at all levels; and,as a college band director, he has appeared as a guest conductorthroughout the United States, Canada, and Europe. Just some ofthe ensembles he has conducted include the Russian Army Band,The US Army Band, The US Army Field Band, the Marine Band,The Swiss National Youth Band and numerous other professionaland college ensembles. Most recently Dr. Silvester served on theprestigious panel of adjudicators for the World Music Festival inSchladming, Austria, where he adjudicated ensembles fromthroughout the world.

On a recent international concert tour Dr. Silvester conducted to standing-room-only audiencesthroughout England and Wales in such prestigious halls as the Royal Opera House (Trent), the RoyalBallet (York) and Bridgewater Hall (Manchester.) In another similar concert tour, he conducted insold-out performances at the famed Konzerthaus in Vienna, Austria, concert location for the ViennaPhilharmonic, and other marvelous venues throughout Austria including Haag, Linz, Bad Ischel, andSalzburg.

Dr. Silvester is a published arranger with over 35 works to his credit. His arrangements of AaronCopland's Old American Songs for Boosey & Hawkes have been recorded by The US Army FieldBand and Soldier's Chorus and many other professional ensembles. His most recent transcription forBoosey & Hawkes, Cotillon, is featured in their Windependence Series and has been included in theGIA series, Teaching Musicianship through Band Performance , a series in which Dr. Silvester is fea-tured as an author. It is also the first work on this album. Dr. Silvester’s transcriptions of Christmascarols for Masters Music Publications, Inc., the wind and percussion arm of Kalmus, have been per-formed and recorded by ensembles throughout the world.

Dr. Silvester conducts the Wind Ensemble and teaches conducting and music education classes at TheCollege of New Jersey. He is also a member of the prestigious American Bandmasters Association andserves as the permanent conductor of All American Youth in Concert, European touring ensemble.

William H. SilvesterConductor

2 11

CotillonA Suite of Seven Dance Tunes Arthur Benjamin Transcribed by William H. Silvester

A “Cotillon” is a formal ball, especially one atwhich young women are presented to society.The word most likely evolved from the OldFrench term “cotillon,” meaning “petticoat.”Lyrics to a popular song of that time include, “Mydear, when I dance, does my petticoat show?”melody. The other voices join in, and the workrises and then descends to its conclusion in quiet-ly and serenely–little children at peace.

Arthur Benjamin (1893-1960) was born inAustralia. His family moved to England where heattended grammar school. He entered the RoyalCollege of Music at the age of eighteen with con-siderable piano skills and intent upon compos-ing. His many colleagues during his tenure at theRCM read like a “Who’s Who” of British musi-cians.

The Cotillon suite was written in 1938. It was pre-miered by the BBC Symphony Orchestra in itsstudio on the February 3, 1939. It is subtitled “ASuite of English Dance Tunes.” These werederived from “The Dancing Master,” a collectionof dance tunes published by Pearson and Youngin London (1719). The suite contains nine rela-tively short movements.

Tableaux de ProvenceSuite in five parts for Saxophone and WindsPaule Maurice Arranged by Alex SchillingsEdited by William H. Silvester

Paule Maurice was a female French composerwho studied with Henri Busser and the frèresGallion, winning a first prize in composition andharmony. She became a respected educator, pro-fessor of sight-reading at the Paris Conservatoire(1943), then of harmony and analysis at theNormal School of Music (1967). As a composer,her main claim to fame was to foster the reputa-tion of the saxophone - then disdained as a crudejazz instrument or at best regarded as a “specialeffect.” Motivated by her friend Marcel Mule, apioneer of the “classical” saxophone, she setabout producing music to demonstrate its capa-bility of serious musical expression.

Tableaux de Provence crept into being between1954-1959, during which period Charlie Parkerdied, and Brubeck’s Take Five was born. This pro-tracted gestation may have grown out of theLantiers’ (Maurice’s husband) and Mules’ sharedfamily holidays in that special part of southernFrance, a region whose shimmering pastoralbeauty has understandably inspired umpteenartists. The juxtaposition of evocative scenery andM. Mule’s saxophone may have been the sourceof Maurice’s inspiration, but the music also con-stitutes a real challenge, to composer and per-former alike: to express the quintessentially pas-toral through a medium that is essentially urban,both in origin and association.

The College of New Jersey Wind EnsembleWilliam H. Silvester, Conductor

Recorded in performance in Kendall Hall on the campus of The College of New Jersey, 2005-2006

Recorded by Mark KalinowskiProduced by George BalogEdited by William H. SilvesterMastered by Bruce Leek

CD Design by David AdamsSpecial thanks to Thomas Coates, Jason Patti and David Adams.

This album is dedicated to the memory of our close friend andcolleague, Alfred Reed.

It is with appreciation that we acknowledge the interest andsupport of the College's administration:Dr. R. Barbara Gitenstein, PresidentDr. Elizabeth Paul, Acting ProvostDr. James Lentini, Dean, Art, Media and Music Dr. Suzanne Hickman, Chair, Department of Music

10 3

Symphony No. 3 Alfred Reed

Commissioned in the fall of 1983 by the UnitedStates Air Force Band, work on this score did notactually begin until February of the followingyear, at which time the first sketches were com-mitted to paper and the general plan of the workbegan to take shape in the composer’s mind. Dueto the pressure of previous commitments, howev-er, work on the music proceeded slowly, and thepiece was laid aside several times during thisperiod. It was not until the end of 1985 that itcould be taken up in earnest, and the final sketchof all three movements was completed inSeptember 1987. The scoring, meanwhile, hadbegun before the final movement was fullyworked out, and was finished in February 1988.The first performance of the work took place onApril 19, 1988, at the opening concert of theMENC’s 150th annual convention in Indianapolis,Indiana, by the U.S. Air Force Band under thedirection of Lt. Col. James M. Bankhead.

The second movement is a freely developed vari-ation form based on what is probably the lastpiece of music Richard Wagner wrote before hisdeath. Intended as a private, loving tribute to hiswife, Cosima, it is called the “Porazzi” theme,named after the villa in Italy where the Wagnerfamily had been staying for several months.

Concerto for Two TrumpetsAntonio VivaldiTranscribed by Philip J. LangEdited by William H. Silvester

The Italian composer and violinist AntonioVivaldi was born on March 4, 1678 in Venice,Italy. Vivaldi was born to a poor family and had 8siblings. His father, Giovani, worked as a barberand played the violin. Vivaldi studied to be apriest. After his ordination in 1703, he embarkedon an intermittent career in the service of theOspedale della Pietà, an institution for the educa-tion of orphan, illegitimate or indigent girls, andalso an establishment with a formidable musicalreputation. He worked many years in the schooland most of his religious music was composed forthe girls to sing.

As a composer Vivaldi was prolific, with some500 concertos to his credit, in addition to a quan-tity of works for the church and for the theatre.His music was printed in Amsterdam and pub-lished all over Europe, but his music was espe-cially popular in the courts of France, Dresden,Prague and Italy.

The Baroque trumpet that Vivaldi knew was a“natural” valveless instrument and was difficultto play since the greatest number of notes wereavailable only in the highest register. At this time,the trumpet was closely associated with the rul-ing nobility and this concerto illustrates a techni-cal brilliance typical for the day. This work origi-nally included three movements, but the second,for strings only, is not included.

Alicia LindseyFlute Soloist

Alicia "Lish" Lindsey has been a member of The Eastern WindSymphony since 1999. She has also played with the HarrisburgSymphony, Lancaster Symphony, Riverside Symphonia andOrchestra Society of Philadelphia. She is currently the piccoloistwith the Pottstown Symphony and is a substitute with theAmbler and Olney Symphony Orchestras. Lish was a scholar-ship recipient to the International Foundation for Artistic andMusical Excellence (FAME) Festival. She has toured China withthe Philadelphia Youth Orchestra and was awarded a fellowship to attend the Rome(Italy) Festival Summer Institute. Lish holds a BA in English with a Music Minor(Trenton State College '99), a BM in Flute Performance (The College of New Jersey '05)and working on a Master of Arts program in Flute Performance at New YorkUniversity in the fall. Her primary teachers include Julius Baker, David DiGiacobbe,Dr. Dent Williamson, David Ancker and Ronna Ayscue.

Brian WoodwardTrumpet Soloist

Brian Woodward is a graduate of Trenton State College (TheCollege of New Jersey) where he received a Bachelors ofMusic. He is a music teacher at Community Middle School inthe West Windsor-Plainsboro School District. While teach-ing, he maintains an active freelance career performing withgroups such as the Trenton Brass, Nassau Brass and theTrenton Symphony. Mr. Woodward is currently the principaltrumpet of The Eastern Wind Symphony.

4 9

English Dances, Set IIMalcolm ArnoldTranscribed by William H. Silvester

The music of English composer Sir MalcolmArnold (1921-2006) is untaintedly tonal, unleash-ing pure Beethovianesque and Mahlerian torrentsof grandiose emotion, that audiences and musi-cians alike revere. Arnold is best known for hismany successful film scores like Bridge on theRiver Kwai and Inn of the Sixth Happiness.Arnold has also received acclaim for his sym-phonies, overtures, concertos and other orches-tral works. He is eclectic; his brand of humor anduse of musical "shock tactics" is unabashed,accompanied by top-notch melodies and colorfulorchestration characterized by extremely effec-tive writing for brass.

Arnold is also well-known for his two sets ofEnglish Dances and Scottish Dances, each a suiteof four dance pieces. The early English Dancesare more directly appealing while the ScottishDances are more subtle and interesting thoughequally simple. The music is more memorable forits tuneful nature rather than its dance character.The final movement of this set of English Dancesends with a Lento e maestoso section, giving therequisite sense of closure. Of particular notealong the way is the beautiful oboe solo of theGrazioso (third movement).

Andante and RondoFor two flutes and windsAlbert Franz DopplerArranged by Nancy and William H. Silvester

Debuting at the age of 13, Albert Franz Dopplerwas a successful flutist, composer and conductor.He worked with the German Theatre and theHungarian National Theatre and became Directorof the Vienna Court Ballet. His music containsaspects of Russian and Hungarian music and heplayed a major role in the establishment of TheHungarian Philharmonic Orchestra. Dopplerarranged Liszt's Hungarian Rhapsod ies fororchestra and his operas included Judith (his onlyGerman opera), and a Russian work entitledBenyovsky.

Doppler, who was a close friend of Schubert, iswell known for his many flute concertos andduets. As a flutist, he toured Europe many timeswith his brother and was a celebrated success. Hewas also professor of flute at the ViennaConservatory.

The Andante and Rondo , originally for twoflutes and piano, has been a favorite of flutistssince it was composed in the 1860s. This is thepremiere of the arrangement which featureswinds as the accompaniment.

David Schneider is currently serving as principal oboistin the orchestras of the Opera Company of Philadelphiaand Peter Nero and the Philly Pops. He has performedas principal oboist with Concerto Soloists ofPhiladelphia, Mozart Society of Philadelphia,Pennsylvania Ballet, Delaware Symphony, Bay AtlanticOrchestra and Trenton Symphony Orchestra. As a sub-stitute in the Philadelphia Orchestra, Mr. Schneider hasworked under the batons of Eugene Ormandy, RicardoMuti, Wolfgang Sawollisch and Christoph Eschenbach.He performed for the original Three Tenors with Luciano Pavarotti, Placido Domingoand Jose Carreras. In the commercial idiom Mr. Schneider has toured and performedwith Frank Sinatra, Tony Bennett, and Rod Stewart and recorded for Sigma Sound andGamble, Bell and Huff. Mr. Schneider has a Bachelor in Performance fromPhiladelphia Musical Academy where he studied with Stevens Hewitt an AlfredGenovese.

David SchneiderOboe Soloist

Mr. Schneider is the Professor of Oboe at The College of New Jersey. In addition to hisduties at TCNJ, Mr. Schneider has active performing schedule, maintains a thrivingprivate studio and continues to serve on the faculty of the Settlement Music School ofPhiladelphia.

8 5

Ms. Mitchell is a consummate musician performing with members of the PhiladelphiaOrchestra, Concerto Soloists of Philadelphia, Allentown, Haddonfield, and ReadingSymphonies. She has performed in the United States and Canada as a solo artist andwith various contemporary chamber ensembles. She is in constant demand as a free-lance musician in the Philadelphia area.

Kathleen MitchellSaxophone Soloist

Kathleen Mitchell is Professor of Saxophone at TheCollege of New Jersey. She is also on the faculty ofRowan University where she teaches saxophone andcoaches chamber music. She holds a Master’s degreein performance from Northwestern University and aBachelor’s degree in education from TempleUniversity. Ms. Mitchell’s primary teachers wereFrederick L. Hemke and Marshall Taylor.

Fantasia on British AirsAlfonso GibilaroTranscribed by William H. Silvester

Alfonso Gibilaro, of Italian extraction, is relatedto the conductor Sir John Barbirolli. Barbirolli,from time to time, programmed his orchestralmusic especially during the 1940s and early1950s. Gibilaro composed the Fantasia forBarbirolli’s wife, Lady Evelyn Rothwell, theworld renowned oboist. Gibilaro was a pianist insmall orchestras and ensembles and his composi-tions are of a lighter nature.

The Fantasia is a wonderfully conceived workwhich uses English folksongs as the material for asuperb oboe showcase.

The Running SetRalph Vaughan WilliamsTranscribed by William H. Silvester

Ralph Vaughan Williams was an outstandingEnglish composer of the generation between thatof Parry, Stanford and Elgar before him and thatof Walton, Tippett and Britten afterwards; also aconductor, composition teacher, lecturer onnational music, folk-song collector and editor ofworks by Henry Purcell.

The Running Set is a fantasia on jig-rhythms.Cecil Sharp, Vaughan Williams’ close friendexplains The Running Set in the following com-mentary:

“It was to be the Running Set which excited methe most at Pine Mountain (Kentucky, USA.) Icame across a most wonderful dance the otherday called The Running Set. It is a form of circu-lar country dance o f a type about which I knownothing. There is certainly nothing of the k ind inEngland at the present day and there is nothingthat I know of in any of the o ld dance books. It isa very strenuous dance for six couples andextremely complicated . In many ways the gener-al affect was not unlike that o f the Sword-Dance...When I have mastered it and analyzed it, it willprobably throw a flood o f light on the evolutionof the English Country Dance.”

6 7

David DiGiacobbeFlute Soloist

David DiGiacobbe, Professor of Flute at TCNJ, hasreceived critical acclaim for his solo, orchestral andchamber music performances. Mr. DiGiacobbe is thePrincipal Flutist with both the Lancaster Symphonyand the Harrisburg Symphony Orchestra. He is alsoflutist for the Philadelphia Orchestra Wind Quintet.A native of Philadelphia, Mr. DiGiacobbe’s principalteachers have included Renee Siebert, Julius Bakerand Jeffery Khaner.

A winner at the 1995 International Flute Symposium in Riva del Garde, Italy, he hasappeared for Italian radio and television and at several European music festivals inFlorence, Milan, Bolzano, Graz (Austria), and Maribor (Slovenia).

A noted soloist, Mr. DiGiacobbe has performed concerti from Bach and Mozart toNielsen, Boulez and Christopher Rouse among others. He recently received accoladesfor his performances of the Rouse Flute Concerto with the Lancaster Symphony in2003. Highlights of Mr. DiGiacobbe’s 2004-2005 season include performances of theRouse Flute Concerto with the Bogota Philharmonic in Columbia and performances ofthe Lowell Liebermann Flute Concerto with the Harrisburg Symphony Orchestra, andrecital appearances in Philadelphia, Montreal, Vienna, and Graz, Austria.

He spends his summers as Orchestra Manager in Austria and as Principal Flutist of theAIMS Festival Orchestra.

Gary Fienberg is Professor of Trumpet, Coordinatorof Brass Studies and Jazz Ensemble Director at TCNJ.His performing experiences range from the greatconcert halls of Europe to the orchestra pits of broad-way. His performance interests cover the completerange of possibilities for a contemporary trumpeterin classical, jazz and commercial music. He has per-formed with such artists as Aretha Franklin, RayCharles, The Manhattan Transfer, Natalie Cole, BarryManilow, The Temptations, Chet Baker, TootsThielmanns and many others.

During a nine year residence in Europe, he worked for all of the major broadcastingcompanies in both the Netherlands and in Germany, performed at the acclaimedNorth Sea Jazz Festival, and worked with both the Big Band and Symphonic Orchestraof the Nord Deutsche Rundfunk (North German Radio Orchestra).

Gary FienbergTrumpet Soloist

In 1992, Dr. Fienberg was appointed Directof of Jazz Ensembles at Carnegie MellonUniversity and then served as Assistant Head of the School of Music from 1998-2001.During this time he was a member of the acclaimed River City Brass Band , perform-ing both the Solo Cornet and Flugelhorn positions.

Dr. Fienberg earned his Master’s degree at Carnegie Mellon where he was a student ofAnthony Paquarelli, and his Ph.D. in Ethnomusicology at the University of Pittsburgh.

6 7

David DiGiacobbeFlute Soloist

David DiGiacobbe, Professor of Flute at TCNJ, hasreceived critical acclaim for his solo, orchestral andchamber music performances. Mr. DiGiacobbe is thePrincipal Flutist with both the Lancaster Symphonyand the Harrisburg Symphony Orchestra. He is alsoflutist for the Philadelphia Orchestra Wind Quintet.A native of Philadelphia, Mr. DiGiacobbe’s principalteachers have included Renee Siebert, Julius Bakerand Jeffery Khaner.

A winner at the 1995 International Flute Symposium in Riva del Garde, Italy, he hasappeared for Italian radio and television and at several European music festivals inFlorence, Milan, Bolzano, Graz (Austria), and Maribor (Slovenia).

A noted soloist, Mr. DiGiacobbe has performed concerti from Bach and Mozart toNielsen, Boulez and Christopher Rouse among others. He recently received accoladesfor his performances of the Rouse Flute Concerto with the Lancaster Symphony in2003. Highlights of Mr. DiGiacobbe’s 2004-2005 season include performances of theRouse Flute Concerto with the Bogota Philharmonic in Columbia and performances ofthe Lowell Liebermann Flute Concerto with the Harrisburg Symphony Orchestra, andrecital appearances in Philadelphia, Montreal, Vienna, and Graz, Austria.

He spends his summers as Orchestra Manager in Austria and as Principal Flutist of theAIMS Festival Orchestra.

Gary Fienberg is Professor of Trumpet, Coordinatorof Brass Studies and Jazz Ensemble Director at TCNJ.His performing experiences range from the greatconcert halls of Europe to the orchestra pits of broad-way. His performance interests cover the completerange of possibilities for a contemporary trumpeterin classical, jazz and commercial music. He has per-formed with such artists as Aretha Franklin, RayCharles, The Manhattan Transfer, Natalie Cole, BarryManilow, The Temptations, Chet Baker, TootsThielmanns and many others.

During a nine year residence in Europe, he worked for all of the major broadcastingcompanies in both the Netherlands and in Germany, performed at the acclaimedNorth Sea Jazz Festival, and worked with both the Big Band and Symphonic Orchestraof the Nord Deutsche Rundfunk (North German Radio Orchestra).

Gary FienbergTrumpet Soloist

In 1992, Dr. Fienberg was appointed Directof of Jazz Ensembles at Carnegie MellonUniversity and then served as Assistant Head of the School of Music from 1998-2001.During this time he was a member of the acclaimed River City Brass Band , perform-ing both the Solo Cornet and Flugelhorn positions.

Dr. Fienberg earned his Master’s degree at Carnegie Mellon where he was a student ofAnthony Paquarelli, and his Ph.D. in Ethnomusicology at the University of Pittsburgh.

8 5

Ms. Mitchell is a consummate musician performing with members of the PhiladelphiaOrchestra, Concerto Soloists of Philadelphia, Allentown, Haddonfield, and ReadingSymphonies. She has performed in the United States and Canada as a solo artist andwith various contemporary chamber ensembles. She is in constant demand as a free-lance musician in the Philadelphia area.

Kathleen MitchellSaxophone Soloist

Kathleen Mitchell is Professor of Saxophone at TheCollege of New Jersey. She is also on the faculty ofRowan University where she teaches saxophone andcoaches chamber music. She holds a Master’s degreein performance from Northwestern University and aBachelor’s degree in education from TempleUniversity. Ms. Mitchell’s primary teachers wereFrederick L. Hemke and Marshall Taylor.

Fantasia on British AirsAlfonso GibilaroTranscribed by William H. Silvester

Alfonso Gibilaro, of Italian extraction, is relatedto the conductor Sir John Barbirolli. Barbirolli,from time to time, programmed his orchestralmusic especially during the 1940s and early1950s. Gibilaro composed the Fantasia forBarbirolli’s wife, Lady Evelyn Rothwell, theworld renowned oboist. Gibilaro was a pianist insmall orchestras and ensembles and his composi-tions are of a lighter nature.

The Fantasia is a wonderfully conceived workwhich uses English folksongs as the material for asuperb oboe showcase.

The Running SetRalph Vaughan WilliamsTranscribed by William H. Silvester

Ralph Vaughan Williams was an outstandingEnglish composer of the generation between thatof Parry, Stanford and Elgar before him and thatof Walton, Tippett and Britten afterwards; also aconductor, composition teacher, lecturer onnational music, folk-song collector and editor ofworks by Henry Purcell.

The Running Set is a fantasia on jig-rhythms.Cecil Sharp, Vaughan Williams’ close friendexplains The Running Set in the following com-mentary:

“It was to be the Running Set which excited methe most at Pine Mountain (Kentucky, USA.) Icame across a most wonderful dance the otherday called The Running Set. It is a form of circu-lar country dance o f a type about which I knownothing. There is certainly nothing of the k ind inEngland at the present day and there is nothingthat I know of in any of the o ld dance books. It isa very strenuous dance for six couples andextremely complicated . In many ways the gener-al affect was not unlike that o f the Sword-Dance...When I have mastered it and analyzed it, it willprobably throw a flood o f light on the evolutionof the English Country Dance.”

4 9

English Dances, Set IIMalcolm ArnoldTranscribed by William H. Silvester

The music of English composer Sir MalcolmArnold (1921-2006) is untaintedly tonal, unleash-ing pure Beethovianesque and Mahlerian torrentsof grandiose emotion, that audiences and musi-cians alike revere. Arnold is best known for hismany successful film scores like Bridge on theRiver Kwai and Inn of the Sixth Happiness.Arnold has also received acclaim for his sym-phonies, overtures, concertos and other orches-tral works. He is eclectic; his brand of humor anduse of musical "shock tactics" is unabashed,accompanied by top-notch melodies and colorfulorchestration characterized by extremely effec-tive writing for brass.

Arnold is also well-known for his two sets ofEnglish Dances and Scottish Dances, each a suiteof four dance pieces. The early English Dancesare more directly appealing while the ScottishDances are more subtle and interesting thoughequally simple. The music is more memorable forits tuneful nature rather than its dance character.The final movement of this set of English Dancesends with a Lento e maestoso section, giving therequisite sense of closure. Of particular notealong the way is the beautiful oboe solo of theGrazioso (third movement).

Andante and RondoFor two flutes and windsAlbert Franz DopplerArranged by Nancy and William H. Silvester

Debuting at the age of 13, Albert Franz Dopplerwas a successful flutist, composer and conductor.He worked with the German Theatre and theHungarian National Theatre and became Directorof the Vienna Court Ballet. His music containsaspects of Russian and Hungarian music and heplayed a major role in the establishment of TheHungarian Philharmonic Orchestra. Dopplerarranged Liszt's Hungarian Rhapsod ies fororchestra and his operas included Judith (his onlyGerman opera), and a Russian work entitledBenyovsky.

Doppler, who was a close friend of Schubert, iswell known for his many flute concertos andduets. As a flutist, he toured Europe many timeswith his brother and was a celebrated success. Hewas also professor of flute at the ViennaConservatory.

The Andante and Rondo , originally for twoflutes and piano, has been a favorite of flutistssince it was composed in the 1860s. This is thepremiere of the arrangement which featureswinds as the accompaniment.

David Schneider is currently serving as principal oboistin the orchestras of the Opera Company of Philadelphiaand Peter Nero and the Philly Pops. He has performedas principal oboist with Concerto Soloists ofPhiladelphia, Mozart Society of Philadelphia,Pennsylvania Ballet, Delaware Symphony, Bay AtlanticOrchestra and Trenton Symphony Orchestra. As a sub-stitute in the Philadelphia Orchestra, Mr. Schneider hasworked under the batons of Eugene Ormandy, RicardoMuti, Wolfgang Sawollisch and Christoph Eschenbach.He performed for the original Three Tenors with Luciano Pavarotti, Placido Domingoand Jose Carreras. In the commercial idiom Mr. Schneider has toured and performedwith Frank Sinatra, Tony Bennett, and Rod Stewart and recorded for Sigma Sound andGamble, Bell and Huff. Mr. Schneider has a Bachelor in Performance fromPhiladelphia Musical Academy where he studied with Stevens Hewitt an AlfredGenovese.

David SchneiderOboe Soloist

Mr. Schneider is the Professor of Oboe at The College of New Jersey. In addition to hisduties at TCNJ, Mr. Schneider has active performing schedule, maintains a thrivingprivate studio and continues to serve on the faculty of the Settlement Music School ofPhiladelphia.

10 3

Symphony No. 3 Alfred Reed

Commissioned in the fall of 1983 by the UnitedStates Air Force Band, work on this score did notactually begin until February of the followingyear, at which time the first sketches were com-mitted to paper and the general plan of the workbegan to take shape in the composer’s mind. Dueto the pressure of previous commitments, howev-er, work on the music proceeded slowly, and thepiece was laid aside several times during thisperiod. It was not until the end of 1985 that itcould be taken up in earnest, and the final sketchof all three movements was completed inSeptember 1987. The scoring, meanwhile, hadbegun before the final movement was fullyworked out, and was finished in February 1988.The first performance of the work took place onApril 19, 1988, at the opening concert of theMENC’s 150th annual convention in Indianapolis,Indiana, by the U.S. Air Force Band under thedirection of Lt. Col. James M. Bankhead.

The second movement is a freely developed vari-ation form based on what is probably the lastpiece of music Richard Wagner wrote before hisdeath. Intended as a private, loving tribute to hiswife, Cosima, it is called the “Porazzi” theme,named after the villa in Italy where the Wagnerfamily had been staying for several months.

Concerto for Two TrumpetsAntonio VivaldiTranscribed by Philip J. LangEdited by William H. Silvester

The Italian composer and violinist AntonioVivaldi was born on March 4, 1678 in Venice,Italy. Vivaldi was born to a poor family and had 8siblings. His father, Giovani, worked as a barberand played the violin. Vivaldi studied to be apriest. After his ordination in 1703, he embarkedon an intermittent career in the service of theOspedale della Pietà, an institution for the educa-tion of orphan, illegitimate or indigent girls, andalso an establishment with a formidable musicalreputation. He worked many years in the schooland most of his religious music was composed forthe girls to sing.

As a composer Vivaldi was prolific, with some500 concertos to his credit, in addition to a quan-tity of works for the church and for the theatre.His music was printed in Amsterdam and pub-lished all over Europe, but his music was espe-cially popular in the courts of France, Dresden,Prague and Italy.

The Baroque trumpet that Vivaldi knew was a“natural” valveless instrument and was difficultto play since the greatest number of notes wereavailable only in the highest register. At this time,the trumpet was closely associated with the rul-ing nobility and this concerto illustrates a techni-cal brilliance typical for the day. This work origi-nally included three movements, but the second,for strings only, is not included.

Alicia LindseyFlute Soloist

Alicia "Lish" Lindsey has been a member of The Eastern WindSymphony since 1999. She has also played with the HarrisburgSymphony, Lancaster Symphony, Riverside Symphonia andOrchestra Society of Philadelphia. She is currently the piccoloistwith the Pottstown Symphony and is a substitute with theAmbler and Olney Symphony Orchestras. Lish was a scholar-ship recipient to the International Foundation for Artistic andMusical Excellence (FAME) Festival. She has toured China withthe Philadelphia Youth Orchestra and was awarded a fellowship to attend the Rome(Italy) Festival Summer Institute. Lish holds a BA in English with a Music Minor(Trenton State College '99), a BM in Flute Performance (The College of New Jersey '05)and working on a Master of Arts program in Flute Performance at New YorkUniversity in the fall. Her primary teachers include Julius Baker, David DiGiacobbe,Dr. Dent Williamson, David Ancker and Ronna Ayscue.

Brian WoodwardTrumpet Soloist

Brian Woodward is a graduate of Trenton State College (TheCollege of New Jersey) where he received a Bachelors ofMusic. He is a music teacher at Community Middle School inthe West Windsor-Plainsboro School District. While teach-ing, he maintains an active freelance career performing withgroups such as the Trenton Brass, Nassau Brass and theTrenton Symphony. Mr. Woodward is currently the principaltrumpet of The Eastern Wind Symphony.

2 11

CotillonA Suite of Seven Dance Tunes Arthur Benjamin Transcribed by William H. Silvester

A “Cotillon” is a formal ball, especially one atwhich young women are presented to society.The word most likely evolved from the OldFrench term “cotillon,” meaning “petticoat.”Lyrics to a popular song of that time include, “Mydear, when I dance, does my petticoat show?”melody. The other voices join in, and the workrises and then descends to its conclusion in quiet-ly and serenely–little children at peace.

Arthur Benjamin (1893-1960) was born inAustralia. His family moved to England where heattended grammar school. He entered the RoyalCollege of Music at the age of eighteen with con-siderable piano skills and intent upon compos-ing. His many colleagues during his tenure at theRCM read like a “Who’s Who” of British musi-cians.

The Cotillon suite was written in 1938. It was pre-miered by the BBC Symphony Orchestra in itsstudio on the February 3, 1939. It is subtitled “ASuite of English Dance Tunes.” These werederived from “The Dancing Master,” a collectionof dance tunes published by Pearson and Youngin London (1719). The suite contains nine rela-tively short movements.

Tableaux de ProvenceSuite in five parts for Saxophone and WindsPaule Maurice Arranged by Alex SchillingsEdited by William H. Silvester

Paule Maurice was a female French composerwho studied with Henri Busser and the frèresGallion, winning a first prize in composition andharmony. She became a respected educator, pro-fessor of sight-reading at the Paris Conservatoire(1943), then of harmony and analysis at theNormal School of Music (1967). As a composer,her main claim to fame was to foster the reputa-tion of the saxophone - then disdained as a crudejazz instrument or at best regarded as a “specialeffect.” Motivated by her friend Marcel Mule, apioneer of the “classical” saxophone, she setabout producing music to demonstrate its capa-bility of serious musical expression.

Tableaux de Provence crept into being between1954-1959, during which period Charlie Parkerdied, and Brubeck’s Take Five was born. This pro-tracted gestation may have grown out of theLantiers’ (Maurice’s husband) and Mules’ sharedfamily holidays in that special part of southernFrance, a region whose shimmering pastoralbeauty has understandably inspired umpteenartists. The juxtaposition of evocative scenery andM. Mule’s saxophone may have been the sourceof Maurice’s inspiration, but the music also con-stitutes a real challenge, to composer and per-former alike: to express the quintessentially pas-toral through a medium that is essentially urban,both in origin and association.

The College of New Jersey Wind EnsembleWilliam H. Silvester, Conductor

Recorded in performance in Kendall Hall on the campus of The College of New Jersey, 2005-2006

Recorded by Mark KalinowskiProduced by George BalogEdited by William H. SilvesterMastered by Bruce Leek

CD Design by David AdamsSpecial thanks to Thomas Coates, Jason Patti and David Adams.

This album is dedicated to the memory of our close friend andcolleague, Alfred Reed.

It is with appreciation that we acknowledge the interest andsupport of the College's administration:Dr. R. Barbara Gitenstein, PresidentDr. Elizabeth Paul, Acting ProvostDr. James Lentini, Dean, Art, Media and Music Dr. Suzanne Hickman, Chair, Department of Music

The College of New JerseyWind Ensemble

William H. SilvesterConductor

Wind TableauxWilliam H. Silvester has a wide range of experience as a performer,conductor, clinician, adjudicator, and music educator. His back-ground includes many years in the public schools at all levels; and,as a college band director, he has appeared as a guest conductorthroughout the United States, Canada, and Europe. Just some ofthe ensembles he has conducted include the Russian Army Band,The US Army Band, The US Army Field Band, the Marine Band,The Swiss National Youth Band and numerous other professionaland college ensembles. Most recently Dr. Silvester served on theprestigious panel of adjudicators for the World Music Festival inSchladming, Austria, where he adjudicated ensembles fromthroughout the world.

On a recent international concert tour Dr. Silvester conducted to standing-room-only audiencesthroughout England and Wales in such prestigious halls as the Royal Opera House (Trent), the RoyalBallet (York) and Bridgewater Hall (Manchester.) In another similar concert tour, he conducted insold-out performances at the famed Konzerthaus in Vienna, Austria, concert location for the ViennaPhilharmonic, and other marvelous venues throughout Austria including Haag, Linz, Bad Ischel, andSalzburg.

Dr. Silvester is a published arranger with over 35 works to his credit. His arrangements of AaronCopland's Old American Songs for Boosey & Hawkes have been recorded by The US Army FieldBand and Soldier's Chorus and many other professional ensembles. His most recent transcription forBoosey & Hawkes, Cotillon, is featured in their Windependence Series and has been included in theGIA series, Teaching Musicianship through Band Performance , a series in which Dr. Silvester is fea-tured as an author. It is also the first work on this album. Dr. Silvester’s transcriptions of Christmascarols for Masters Music Publications, Inc., the wind and percussion arm of Kalmus, have been per-formed and recorded by ensembles throughout the world.

Dr. Silvester conducts the Wind Ensemble and teaches conducting and music education classes at TheCollege of New Jersey. He is also a member of the prestigious American Bandmasters Association andserves as the permanent conductor of All American Youth in Concert, European touring ensemble.

William H. SilvesterConductor

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Cotillon, a suite of dance tunes - Arthur Benjamin1. Introduction & Lord Hereford ’s Delight [1:00]2. Daphne’s Delight [1:40]3. Marlboro’s Victory [1:12]4. Love’s Triumph & Jigg it E Foot [2:49]5. The Charmer [1:04]6. Nymph Divine [1:23]7. The Tattler & Argyle [2:16]

Transcribed by William H. SilvesterBoosey & Hawkes , Inc.

Tableaux de Provance - Paule Maurice8. Farandole des Jeunes Filles [2:51]9. Chanson pour ma mie [1:44]10. La Bohémienne [1:19]11. Des Alyscamps l’Ame Soupire [5:03]12. Le Cabridan [4:09]

Arranged by Alex SchillingsEdited by William H. SilvesterManuscriptKathleen Mitchell, Saxophone Solo

Symphony 3 - Alfred Reed13. Movement II [8:00]

Variations on the “Porazzi” Theme of Wagner(1882)

Composers’ Editions

Concerto for Two Trumpets- Antonio Vivaldi14. Movement I [3:07]15. Movement III [3:39]

Arranged by William H. SilvesterManuscriptDr. Gary Fienberg, Trumpet SoloBrian Woodward, Trumpet Solo

English Dances, Set II - Malcom Arnold16. Allegro non troppo [2:45]17. Con brio [1:34]18. Grazioso [1:59]19. Giubiloso [2:20]

Transcribed by William H. SilvesterManuscript

Andante and Rondo - Franz Doppler20. Andante [4:19]21. Rondo [5:08]

Arranged by William H. SilvesterManuscriptDavid DiGiacobbe, Flute SoloAlicia Lindsey, Flute Solo

22. Fantasia on British Airs - Alfonso Gibilaro [12:20]Transcribed by William H. SilvesterManuscript with permission from:Oxford University PressDavid Schneider, Oboe Solo

23. The Running Set - Ralph Vaughan Williams [5:10]Transcribed by William H. SilvesterManuscript with permission from:Oxford University Press

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