Stories and Songs: UMD Wind Ensemble
Stories and Songs
UMD Wind Ensemble
Wednesday, December 8, 2021 . 8PM EST
Photo by David Andrews.
Principal People:
Andrea E. Brown, music director
Alexander Scott, graduate conductor
Willie Clark, tuba
Special Announcement:
Please note: This event will be available to view only during the performance. The video will not be available to view after the concert.
Event Attributes
Presented By
Presented By:
Accessibility:
For more information regarding accessible accommodations, please click here.
Venue:
Seating:
Estimated Length:
This performance will last approximately 90 minutes, including a 15 minute intermission.
Join us in person at The Clarice or watch the livestream from the comfort of your home.
The UMD Wind Ensemble performs a varied program with musical selections representative of stories and songs. Faculty member Willie Clark will be the tuba soloist on Bruce Broughton's Tuba Concerto.
About the UMD Wind Ensemble (UMWE):
Under the direction of Andrea Brown, UMWE performs works from the most respected repertoire written for wind band and chamber ensembles with a focus on highlighting composers from underrepresented populations.
Concessions:
The Clarice lobby concession bar Encore will not be open for food and beverage sales during this event.
Health + Safety
There may be COVID safety policies such as mask requirements in place when you attend this event. Please see our health & safety page for the most up to date information about attendance!
PROGRAM MENU: PROGRAM · PROGRAM NOTES · ABOUT THE ARTISTS
PROGRAM
Toccata Marziale
Ralph Vaughan Williams (1872–1958)
Alexander Scott, graduate conductor
Little Acorns
Bruce Broughton (b. 1945)
Pandora Undone
Stacy Garrop (b. 1952)
INTERMISSION
Tuba Concerto
Bruce Broughton (b. 1945)
I. Allegro Moderato
II. Andante Moderato
III. Allegro Leggiero
Willie Clark, tuba
Pair of Songs by Percy Grainger (1882–1961)
Colonial Song
Marching Song of Democracy
Einstein on 6th Street
Daniel Montoya, Jr. (b. 1978)
PROGRAM NOTES
A note from the music director:
Tonight we bring to the stage a collection of pieces evoking the musical expression of "Stories and Songs." Music at its most basic form, is a means of human communication. Whether it's an emotion, idea or a particular narrative, music undeniably can be a powerful vehicle for expression. Included in our program this evening, we have two works by Bruce Broughton—a name synonymous with some of the most popular music included in telling the stories of Hollywood's silver screen. We are grateful to our new UMD colleague, Lecturer Willie Clark, for joining us for tonight's performance of Broughton's Tuba Concerto. From the pair of Grainger songs, the story of Pandora and her box, to the image of Einstein enjoying the nightlife of Austin, TX, we hope you'll enjoy this evening of musical song and storytelling.
— Andrea E. Brown
Toccata Marziale (1924)
Duration: about 5 minutes
Ralph (pronounced Raphe) Vaughan Williams was born in 1872 at Down Ampney, on the borders of Gloucestershire and Wiltshire. His creative life as a composer spanned almost six decades—from the song Linden Lee of 1901 to the Symphony No. 9, composed in 1958 at age 85. During that time he wrote approximately 250 works for voice, instruments and stage. Although justifiably credited for his role in the 20th century revival of English music, his compositions have a personal message for people in every country. His music is neither conservative nor radical; it overlaps both time and category. Listeners are rarely concerned about analyzing his music; they listen and are moved.
Vaughn Williams composed a large number of choral works, including five operas, as well as chamber music, nine symphonies and concertos for oboe, tuba, violin and piano. He also wrote music for films, published a number of essays on musical subjects and in later years was a respected radio broadcaster. Fantasia on a Theme by Thomas Tallis for strings; A London Symphony; and Fantasia on a Greensleeves for flute, harp, piano and strings remain among his most popular works. His English Folk Song Suite and Toccata Marziale, both published in 1924, have become wind band classics, and are widely performed as transcriptions for orchestra.
— Bio from Program Notes for Band
Vaughan Williams is most noted for his compositions for orchestra, the theater and chamber groups, but his two works for band, the Folk Song Suite and Toccata Marziale (both published in 1924) demonstrate his unrivaled skill is scoring for this medium. Together with the two Holst suites for band, this music forms a set which has become a traditional cornerstone of concert band literature. Composed for the Commemoration of the British Empire Exhibition of 1924, the Toccata Marziale is a first-rate work by any measurement in triads being especially effective. Its contrapuntal texture is determined by the juxtaposition of brass and reed tonal masses, and occasional lyric entrances soon give way to the primary brilliance of the basic theme. Another effective phrase is that first sung by the euphonium and then by the cornet, a broad flowing theme of wide range most effective against the constant movement of the basic theme, which is never completely lost. Skillfully woven together into a unified whole, even though complex in rhythmic and harmonic convent, the piece exploits the fundamental properties of the band’s sonority, its virtuosity and color, and places emphasis upon fine gradations between long and short, forte and piano. Of real contrast with the Folk Song Suite, Toccata Marziale has an immense non-contrived vigor perhaps unmatched in all band literature.
— Program Note from Program Notes for Band
Little Acorns for Flexible Wind Band with Adaptable parts (2020)
This piece is part of the SpectaFlex series originally developed during pandemic to face the reality of socially distancing within ensembles. This allows for flexibility in orchestration and can be played with a varied combination of instruments. This performance will use an oboe, flute, trumpet, horn, bassoon and trombone.
Duration: about 9 minutes
Bruce Broughton is best known for his many motion picture scores, including Silverado, Tombstone, The Rescuers Down Under, The Presidio, Miracle on 34th Street, the Homeward Bound adventures and Harry and the Hendersons. His television themes include The Orville, JAG, Steven Spielber’s Tiny Toon Adventures and Dinosaurs. His scores for television range from mini-series like Texas Rising and The Blue and Gray to TV movies (Warm Springs, O Pioneers!) and countless episodes of television series such as Dallas, Quincy, Hawaii Five-O and How the West Was Won.
With 24 nominations, Broughton has won a record 10 Emmy awards. His score to Silverado was Oscar nominated, and his score to Young Sherlock Holmes was nominated for a Grammy. His music has accompanied many of the Disney theme park attractions throughout the world, and his score for Heart of Darkness was the first recorded orchestral score for a video game. In the spring of 2016, he arranged a commercial album of songs from motion pictures and Broadway for the multi-talented Seth MacFarlane.
Many of Broughton’s concert works have been performed by the Cleveland Orchestra; the Chicago, Seattle and National Symphonies; the Los Angeles Chamber Orchestra; the Sinfonia of London; and the Hollywood Bowl. These have included Fanfare for 16 Horns, a joining commission by the Los Angeles Philharmonic and the International Horn Society premiered at the Hollywood Bowl; Modular Music, composed for the Los Angeles Chamber Orchestra; the children’s fantasy The Magic Horn; In the World of Spirits and a Celebration Overture are among his commissioned works for symphonic winds; and Fanfares, Marches, Hymns and Finale and Masters of Space and Time are among his works for brass. Broughton has also had numerous works for chamber ensembles performed and recorded throughout the world, including his Five Pieces for Piano, recorded by pianist Gloria Cheng; Excursions for trumpet and band, recorded by trumpet virtuoso Philip Smith; and his string quartet Fancies, recorded and commissioned by the Lyris Quartet.
Broughton is currently a board member of ASCAP, a former governor of the Academy of Television Arts and Sciences and the Academy of Motion Picture Arts and Sciences, as well as a past president and founding member of the Society of Composers and Lyricists. He has taught composition and orchestration at USC’s Department of Screen Scoring in the Thornton School of Music, and at the UCLA Herb Alpert School of Music. He was composer-in-residence for 2017 at the University of North Texas College of Music.
— Bio from brucebroughton.com
Little Acorns takes its title, as well as its form, from the old English proverb, “From little acorns do mighty oaks grow.” This piece is full of “little acorns,” motifs and ideas that are introduced, worked on, put aside, re-introduced and worked on some more, until a much larger piece - the “Mighty Oak,” containing all of the little motives that grew, developed and branched out from the “Acorns” - eventually comes into being.
— Program note by Bruce Broughton
Pandora Undone from the Mythology Suite for Wind Ensemble (2016)
Duration: about 7 minutes
Stacy Garrop is a full time freelance composer from Chicago. She has written for many mediums including works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles and works for solo instruments. Storytelling is a central part of her compositions. Garrop has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival and Pittsburgh New Music Ensemble. She taught composition and orchestration full-time (Roosevelt University, 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.) and Indiana University-Bloomington (D.M.).
Pandora Undone is, in turns, both lighthearted and serious. The music depicts a young, naïve Pandora who, while dancing around her house, spies a mysterious box. She tries to resist opening it, but her curiosity ultimately gets the best of her. When she cracks the lid open and looks inside, all evils escape into the world. Dismayed by what she has done, she looks inside the box once more. She discovers hope still in the box and releases it to temper the escaped evils and assuage mankind's new burden.
— Program Note by Stacy Garrop
Tuba Concerto (1987)
Duration: about 10 minutes
Broughton originally wrote his Tuba Concerto as a sonata for tuba and 24 orchestral winds. He later rewrote it for tuba and piano, and in 2003, reworked it for tuba and full orchestra. His Tuba Concerto was originally written for the prolific Hollywood studio African American orchestral tuba player, Tommy Johnson.
— Program Note by Christine Higley
Colonial Song (1962)
Duration: about 6 minutes
As a child Percy Grainger studied piano with his mother and later with Louis Pabst (a pupil of Anton Rubinstein) and Adelaide Burkitt in Melbourne. At the age of ten he began a series of recitals which financed his study with James Kwarst in Frankfurt, Germany, in 1894. In 1903, he took a few lessons with Feruccio Busoni. In 1900, Granger began his career as a concert pianist with sensational success in such widely separated places as England, Australia and South Africa. His playing so impressed Edvard Grieg in 1906 that he was invited to the composer's home in Norway. During the summer of 1907, they rehearsed Grieg's Concerto for the Leeds Festival, but the Nordic composer died before the performance. Grainger later became known as one of the concerto's great interpreters. He immigrated to America in 1914, winning acclaim for his playing. At the outbreak of World War I, he enlisted as an army bandsman learning to play and appreciate most of the wind and percussion instruments—particularly the saxophone.
As a composer, Grainger was remarkably innovative, using irregular rhythms before Stravinsky did, pioneering in folk music collections at the same time as Barok, writing random music in 1905 and predating Varese in experimentation with electronic music. He composed, set, arranged and edited some 400 works; counting all the versions of these works, the number exceeds 1000.
— Bio from Program Notes for Band
Grainger used no traditional tunes in this piece which was written for and about the people in his native Australia. He expressed the wish to “voice a certain kind of emotion that seems to me not untypical of native-born colonials in general.” Concerning colonials he wrote the following: “Perhaps it is not unnatural that people living more or less alone in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramatically exciting counter-wills of their fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twain’s Huckleberry Finn, and in Stephen Foster’s songs. I have also noticed curious, almost Italian-like, musical tendencies in brass band performances and ways of singin in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression) which are also reflected here.”
— Program Note from Program Notes for Band
Marching Song of Democracy (1948)
Duration: about 8 minutes
Grainger was inspired to write his Marching Song of Democracy while attending the Paris Exhibition of 1900. A variety of artistic, philosophical and musical sources were involved. These included the poetry of Walt Whitman (“A Backward Glance O’er Travl’d Roads” - Leaves of Grass), a statue of George Washington, and direct first acquaintance with John Philip Sousa and his band. Grainger first conceived his Marching Song in a setting far different from standard instrumental ensembles:
“My original plan was to write my “Marching Song of Democracy” for voices and whistlers only (no instruments), and have it performed by a chorus of men, women and children singing and whistling to the rhythmic accompaniment of their tramping feet as they marched along in the open air. But a later realization of the need for instrumental color (inherent in the character of the music from the first) ultimately led me to score it for the concert-hall. An athletic, out-of-door spirit must, however, be understood to be behind the piece from start to finish.
“The vocal parts are sung to “word-less” syllables such as children use in their thoughtless singing; firstly, because I thought that a more varied and instinctive vocalism could be obtained without the use of words in music of a polyphonic nature (a freely-moving many-voicedness is the natural musical counterpart of individualistic democratic tendencies), and secondly, because I did not want to pin the music down, at each moment, to the precise expression of such definite and concrete thoughts as words inevitably convey, but aimed at devoting it, rather, to a less “mental” immersion in a general central mood…
“The work, which perhaps it might not be amiss to describe as a kind of modern and AUstralian version of the “Gloria” of a mass, carries the following dedication: “For my darling mother, united with her in loving adoration of Walt Whitman.” (Program note from the orchestral score of Marching Song of Democracy - Percy Grainger)
He began the band score on July 4, 1948, and completed it later that month while on vacation at his sister-in-law’s home in Segeltorp, Sweden. Grainger’s Marching Song is a sprawling tone poem which encapsulates the post-romantic expressive qualities of Wagner, Richard Strauss, Mahler and Bruckner. But the music is infused with Grainger’s own original compositional techniques and humanistic spirit.
In the Marching Song Grainger follows his lifelong pattern of avoiding development and recapitulation. In a manner later used by Stravinsky, Grainger introduced succeeding new themes that were capable of maintaining inherent interest and forward motion. Some of the themes were borrowed from sketches for his great orchestral work, Warriors (bar 50), and were used later in the Pastoral movement of the suite, In a Nutshell (bars 47-50 and 80-85).
Perhaps to illustrate that the “march of democracy” is unending, Grainger begins the score with a unison “C” and ends with a unison, unresolving and unrepentant, “F-sharp.” While the harmonic language includes some of Grainger’s densest chromaticism is is also colored by a clashing contrapuntal style he called “free music” -lines that soar and cross freely with little regard for harmonic results (bars 85-99).
For modern conductors, it is helpful to understand the vocal roots of this music. Instrumental performances should strive to achieve the soaring freedom of inspired vocalism. In the band setting of the Marching Song of Democracy, the composer has integrated the original choral lines into the instrumental parts.
— Program Note by Keith Brion
Einstein on 6th Street (2017)
Originally written for saxophone ensemble, Einstein on 6th Street evokes a cultural collision between the highbrow opera hall and the popular entertainment venue. At the outset of this piece, sustained notes in the baritone saxophone recall the opening progression from the iconic American opera Einstein on the Beach, written by Philip Glass and premiered nearly forty years ago on July 25, 1976. Although Glass’s opera is in four acts, its five intermezzos, also known as “Knee Plays,” are arguably the most captivating. Known for his use of repetitive motivic ideas and harmonic materials, Glass includes the counting of numbers, singing of solfeggio syllables and speaking of prose as the lyrics in Knee Play 1. Glass incorporates these materials throughout the entire work but definitely returns to the opening mood in the opera’s final section Knee Play 5. For Montoya, these two Knee Plays supply the foundation of his sax piece, as he quotes Glass directly. Not one to merely borrow someone else’s idea, however, Montoya fuses Glass’s iconic progression together with the soundscape of his hometown, Austin, Texas, specifically the downtown area known as 6th Street. Boldly nicknames “The Live Music Capital of the World,” Austin’s 6th Street offers the music lover live performances of varying genres such as country, metal, jazz, rap and indie rock. On any night of the week, music fans saunter the streets, sucking in and out of bars and restaurants, going from concert to concert. Montoya mixes elements of these popular music idioms into his work, bringing Einstein into the musical melange of the 21st century. Montoya’s piece has an ABCADAC form, and he utilizes aspects of “six” throughout, including harmonizing at the interval of a sixth below, emphasizing sale degree six and using groupings of six notes. A master of blending materials, Montoya melds a driving eighth-note rhythms with a dotted-note syncopated groove, all while allowing melodic aspects from Glass’s Einstein to shine through, in essence offering Montoya’s own version of a Knee Play--which would appropriately be called Knee Play 6.
— Program Note from Score
Daniel Montoya, Jr. is a proud and rare native of Austin, an ’80s, ’90s and ’00s music aficionado, and fully embraces his unstoppable rise to “zaddy” status. He also, occasionally, writes music (since being musically moved by his first viewing of the James Cameron film Titanic and wanting to write the music to the sequel, Titanic 2: Jack of Spades: Jack Dawson’s Revenge: This Time It’s Personal). His oeuvre spans several genres, including original pieces and arrangements for wind band, percussion ensemble and the marching arts. His works, which resound with bristling energy and color, have won numerous awards from national organizations. His education includes a master’s degree in wind conducting from Texas State University where he studied with Caroline Beatty, a master’s degree in music composition from Central Michigan University where he studied with David R. Gillingham and a baccalaureate degree in music composition from Texas State University (he fully expects to be called Grand Master Montoya, or “Montstro“). He has also studied and participated in masterclasses with such composers as Kevin Beavers, William Bolcom, Michael Ippolito, Cindy McTee, Kevin Puts, Russell Riepe and Roberto Sierra.
While not tending to Mont Shoemore, his outlandish and somewhat offensive collection of sneakers, Montoya travels around the country as an adjudicator, keynote speaker, clinician and guest conductor. His music has been performed by ensembles and institutions across the United States, including Baylor University, Brigham Young University, Indiana University, Michigan State University, University of Alabama, University of Central Florida, University of Houston, University of Michigan, University of North Texas, University of Texas at Austin, Texas State University, Texas Tech University and The United States Army Field Band. Performances of his music have included concerts at Avery Fisher Hall, the Midwest International Band and Orchestra Clinic, the Percussive Arts Society International Conference, the Texas Music Educators Association Conference, the North American Saxophone Alliance Biennial Conference and the Texas Bandmasters Association Conference, among others. When in attendance at these events, he can usually be identified by his sneakers and/or his man purse (or “murse”).
Although the closest he’s been to being a man in uniform was as a member of “The Pride of the Hill Country” and possibly some ill-advised Halloween costumes, he served as the arranger for the U.S. Army All-American Marching Band in 2012 & 2013. His involvement with marching bands engages him throughout the nation. Among the organizations that have used his compositions and arrangements on the field are champions and finalists at various state- and national-level competitions, and major Division I intercollegiate bands. Montoya is the Brass Composer/Arranger for the Madison Scouts Drum & Bugle Corps (Madison, WI) and has written and designed for the Guardians Drum & Bugle Corps (Houston, TX), Colts Drum & Bugle Corps (Dubuque, IA), Spirit of Atlanta (Atlanta, GA) and Revolution Drum & Bugle Corps (San Antonio, TX). His innovative approach to field arrangement involves imbuing new vitality and dramatic elements into his charts creating a new and vibrant musical object rather than a mere transcription of the original. Montoya currently judges for Bands of America as well as marching band contests and indoor percussion circuits across the United States.
When not reviewing sneakers on his YouTube channel, The Shoemmelier, Montoya enjoys engaging in the indigenous Austinite culture where till his dying day he will constantly correct and promote the difference between Austin and Austin-area. He is constantly mistaken for Lin-Manuel Miranda, Tony Stark and Jeff Goldblum. His sidekicks in life are his better half, known to the Twittersphere simply as “The Girl,” their daughter, known to the world as “The Heir,” and a slightly overweight puggle named Mahler. He has coined the term “portmonto” as a portmanteau of his name with the word “portmanteau” to refer to his love of making up senselessly long words (partially inspired by his love of mash-ups) and he was a fan of using hashtags on the Facebook way before it was cool. In 2018, Montoya started GENERAL EFFECT, a streetwear clothing company aimed at the marching arts.
Montoya’s music is published by C-Alan Publications, Row-Loff Productions, Tapspace Publications and his publishing company, Underwater Theme Productions/Montoya Music. He is an Artist/Educator for Innovative Percussion, Inc. and is a member of ASCAP and Phi Mu Alpha Sinfonia. He also serves on the broadcast team for the UIL Texas State Marching Band Contest and hosts Sketchbook: a podcast focusing on inspiration & process, with artists, creators and designers.
— Bio from danielmontoyajr.com
ABOUT THE ARTISTS
ANDREA E. BROWN was appointed the associate director of bands at the University of Maryland, College Park in 2018. In this position, she conducts the University of Maryland Wind Ensemble (UMWE), serves as the director of athletic bands and teaches conducting. Brown is formerly a member of the conducting faculty at the University of Michigan, where she served as the assistant director of bands and was a faculty sponsor of a College of Engineering Multidisciplinary Design Project team that researched conducting pedagogy technology. She also served as the director of orchestra and assistant director of bands at the Georgia Institute of Technology in Atlanta. She is a frequent guest conductor, clinician and adjudicator in the US, Europe and Asia.
Brown completed a D.M.A. in instrumental conducting at the University of North Carolina at Greensboro (UNCG), where she was a student of John Locke and Kevin Geraldi. While at UNCG, she was both guest conductor and principal horn on UNCG Wind Ensemble's “fireworks!” and “finish line!” CDs, both released on the Equilibrium label. Brown has also had several rehearsal guides published in the popular GIA Publications series "Teaching Music Through Performance in Band." She has presented at the Midwest Clinic in Chicago; Oxford Conducting Institute; Music For All Summer Symposium; the Yamaha Bläserklasse in Schlitz, Germany; the International Computer Music Conference in Ljubljana, Slovenia; the College Music Society International Conference in Sydney, Australia; and the College Band Directors National Association (CBDNA) National Conference.
A proponent of inclusion and equity issues in the music profession, Brown is a frequent guest speaker on these topics. She currently serves on the CBDNA Diversity Committee and is a member of the Drum Corps International In Step Committee. Brown is the founder of Women Rising to the Podium, an online group of over 4,000 members supporting and celebrating women band directors. Additionally, she also serves as the chair of the Sigma Alpha Iota Women’s Music Fraternity Graduate Conducting Grant and as an advisor of the chapter at the University of Maryland, College Park.
Brown previously served on the brass and conducting instructional staff of the DCI World Champion Phantom Regiment (2004–17). Other marching organizations she has instructed include the U.S. Army All-American Marching Band, Carolina Crown and Spirit of Atlanta. Brown will serve as a music judge for Drum Corps International in the next active season, and she was nominated to become a member of the John Philip Sousa Foundation Sudler Shield Jury in 2021.
As a performer, Brown was a member of the AA Brass Quintet, which won the International Brass Quintet Competition hosted by Fred Mills at the University of Georgia. She performed with the horn sections of the Boston Brass All Stars Big Band, North Carolina Symphony, Winston-Salem Symphony and the Brevard Music Center Orchestra. Brown has studied brass performance and pedagogy with Abigail Pack, J.D. Shaw, Jack Masarie, Freddy Martin, Dottie Bennett, Randy Kohlenberg, Richard Steffen and Ed Bach.
Originally from Milan, Tennessee, Brown is a graduate of Austin Peay State University and earned a Master of Music in horn performance and a Master of Music in music education with a cognate in instrumental conducting from UNCG. Prior to her positions at Maryland, Michigan and Georgia Tech, Brown was the assistant director of bands at Austin Peay State University and taught at public schools in Milwaukee, Wisconsin, and Dallas, Texas. She is a member of Phi Kappa Phi, Pi Kappa Lambda and CBDNA. She was awarded the Rose of Honor as a member of Sigma Alpha Iota Women's Music Fraternity, and is an honorary member of Kappa Kappa Psi and Tau Beta Sigma.
ALEXANDER SCOTT is pursuing a Master of Music in wind conducting at the University of Maryland, College Park where he currently serves as an instrumental conducting graduate assistant. He is a conducting student of Michael Votta, with additional mentoring from Andrea Brown and Craig Potter. In addition, he serves as interim music director for the Maryland Community Band and assistant conductor for the Bel Air Community Band.
Before coming to the University of Maryland, Scott taught for nine years at the elementary, middle and high school levels in Maryland public schools. For seven years, he was the music department chair and director of instrumental music at Meade Senior High School in Fort Meade, Maryland, where he was responsible for conducting the Concert Band, String Orchestra, Philharmonic Orchestra, Marching Band, Jazz Band, Steelband and Pit Orchestra. He also taught courses in international baccalaureate (IB) music, advanced placement (AP) music theory and guitar, and served as the school’s advisor for the Tri-M Music Honors Society.
While teaching at Meade Senior High School, Scott’s bands and orchestras consistently earned excellent and superior ratings at county and state adjudication festivals, and his marching band earned second place at the 2018 USBands Mid-Atlantic Regional Championships. His concert band was a member of a commission consortium for Anthony O’Toole’s Latin Dance Movements. Scott was a semifinalist for Music and Arts’ national Music Educator of the Year Award in 2016 and was the Maryland winner for School Band and Orchestra Magazine’s 50 Directors Who Make a Difference Award in 2018. His departmental leadership was recognized in both 2018 and 2019 by the NAMM Foundation with a Best Communities in Music Education designation.
Scott earned his M.M. in music education from the University of Michigan and his B.A. in music education from the University of Maryland, Baltimore County (UMBC). While at UMBC, Scott served as the inaugural undergraduate conducting fellow with the Wind Ensemble. Scott is a member of the National Association for Music Education, the Maryland Music Educators Association and the Flute Society of Washington.
As a woodwind specialist, Scott enjoys performing flute, clarinet and saxophone in various community and amateur ensembles in the DMV area. He also plays the double seconds steel pan in the Baltimore-based steelband sextet Charm City Steel.
WILLIE CLARK is a member of the United States Air Force “Ceremonial Brass” in Washington, D.C., and was a founding member of the Barclay Brass and the professional Disney tuba quartet, “The Tubafours.” Clark received his Bachelor of Music degree studying with Fritz Kaenzig at the University of Illinois and his Master of Music degree studying with David Zerkel and Fred Mills at the University of Georgia.
From the fall of 1998 to 2003, Clark served on the adjunct faculty for Stetson University. He has also served on the adjunct faculty for Bethune-Cookman College. He joined the faculty of the University of Maryland, College Park, as lecturer of tuba in Fall 2021.
As a performer, Clark has toured the United States, South America, Australia, China and Japan, as well as eighteen countries in Europe. During these travels, he performed with the China National Symphony, the Empire Brass for the Campos do Jordao Winter Music Festival and USA Tour, American Wind Symphony Orchestra, Sam Rivers’ RivBea Orchestra and Keith Brion’s New Sousa Band. In 1986, Clark was featured on the Chicago radio station WBEZ, performing The Flight of the Bumblebee.
Clark served as a low brass clinician on the European Tour with the American Wind Symphony Orchestra. You can hear him on the Tubafours’ CD, “Tubas Under the Boardwalk.” He has also recorded with the American Wind Symphony Orchestra, the United States Air Force Band, Alfred Publishing, Warner Brothers and Electronic Arts.
UNIVERSITY OF MARYLAND WIND ENSEMBLE
Music Director
Andrea E. Brown
Graduate Conductor
Alexander Scott
Flute
Courtney Adams
Lucas Howarth
Andrew Hui
Ksenia Mezhenny
Cecilia Skorupa
Piccolo
Courtney Adams
Lucas Howarth
Andrew Hui
Ksenia Mezhenny
Oboe
Zander Barrow
Katelyn Estep
Ayeesha Fadlaoui
English Horn
Katelyn Estep
Clarinet
Alexis Deifallah
Jenna Dietrich
Ava Dutrow
Kristina Nie
Nyla Ortiz
Sophia Ross
Sabrina Sanchez
Jerry Sun
Matthew Vice
Bassoon
Jolene Blair
Will Duis
Lurr Ragen
Isabela Rey
Saxophone
Colin Eng
Brandon Greenberg
Andrew Hilgendorf
Colson Jones
Hansu Sung
Horn
Alex Choiniere
Andrew Bures
Christen Holmes
Alyssa Proctor
Julia Terry
Matthew Tremba
Kaitlyn Winters
Trumpet
Allison Braatz
Maddie Hamilton
Caleb Johnson
Justin Lumpkin
Rodrigo Slone
Abel Solomon
Jacob Weglarz
Trombone
Oluwatobi Ajiboye
Austin Fairley
Brian Macarell
Pedro Martinez
Marlia Nash
Bass Trombone
Pedro Martinez
Euphonium
Thomas Lin
Tuba
Alexander Chen
Aiden Dingus
Grace Tifford
Ryan Vest
Percussion
Jason Amis
Chris Boxall
Craig Bruder
Beatriz Fanzeres
Maia Foley
Kyle Graham
Mariana Lemon
Dhruv Srinivasan
Piano
Alex Chan
Harp
Heidi Sturniolo
String Bass
Omar Martinez Sandoval
Wind Ensemble Librarian
Brad Jopek