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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Table of Contents

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.