I spent this weekend with my colleagues in the CBDNA Eastern Division at our divisional conference in Baltimore. The last time we gathered was in February, 2020 in Philadelphia. Obviously, a lot has happened (and not happened) since then, and we’ve all been forced to do some soul searching and some reckoning with a reality that has been hostile to the core component of our profession: getting large groups of people together to make music with aerosol-producing instruments. That reality this time around manifested itself in some stringent mask and vaccine requirements at our host institution, the Peabody Conservatory. And yet, it seems that this conference may signal a new beginning. Despite every obstacle thrown at us, college bands are BACK, and we’re focused on the future. Here is a thumbnail sketch of what happened.
The conference began on Friday, February 18 with the small band showcase, featuring recordings from five bands around the division (I was privileged to be part of this, representing Hartwick College.)
Westminster College (R. Tad Greig) – Il Maestoso – Wendell Yupance
Hartwick College (Andy Pease) – Nothing Gold Can Stay – Steven Bryant
Rowan University (Joseph Higgins) – Alaudidae – Christina Rusnak and Eternity in an Hour – Nicole Piunno
Towson University (Christopher Cicconi) – Carpe Diem – Jonathan Leshnoff
Stevenson University (Mark Lortz) – marching band excerpts
Mark Lortz stuck around to talk about band music grading systems. In short, they’re a bit of a mess! I also took in a presentation by Luci Disano about a fabulous new piece: Usonian Dwellings by Michael Gilbertson, based on two buildings by Frank Lloyd Wright. Another talk about Rehearsing with Imagination, feature the Syracuse University band crew, led to lunch, then a wonderful discussion with the Baltimore Symphony’s young assistant conductor, Jonathan Rush.
The rest of the day was devoted to concerts. We began with the United States Army Band “Pershing’s Own” presenting a series of chamber works in several ensemble combinations in honor of Black History Month, followed by a discussion. These were uniformly excellent and moving from the very first note.
String Quartet no. 1 slow movement (strings) – Florence Price
In the Springtime (vocal solo) – Betty Jackson King
Three Spirituals for Voices:
I Can Tell the World – Jester Hairston
My Lord What a Mornin’ – Harry T. Burleigh
Soon-Ah Will Be Done – William L. Dawson
Emma Catherine (Tuba/Euphonium quartet) – Omar Thomas
Freedmen of the Five Civilized Tribes (mixed instrumental) – Valerie Coleman
Nonet in F minor allegro energico (mixed instrumental) – Samuel Coleridge-Taylor
The Cornell Wind Ensemble went next, presenting a performance that was recorded on their campus earlier in the week (COVID restrictions prevented the group from traveling). They were represented by their director, James Spinazzola, in a program that heavily featured the music of Wynton Marsalis.
Overture to The Cowboys – John Williams, arr. Bocook
“Blues” for Clarinet and Wind Ensemble – Wynton Marsalis, arr. Spinazzola, with soloist Louis Arques
Bifrost – Jude Vaclavik
Jazz: 6 1/2 Syncopated Movements – Wynton Marsalis, arr. Spinazzola
Jubilo (The Scent of Democracy)
Ragtime
On-Again, Off-Again – Jack Frerer
The College of New Jersey Wind Ensemble, directed by Eric Laprade, were the first group to take the main stage at Peabody. They thus allowed us to see Peabody’s full COVID protocols in effect: performers were required to mask when not playing, spacing was set at at least 3 feet, and large plastic baffles were placed in front of most of the brass instruments. Even with these protections, the TCNJ program had to be broadcast in part: their planned piece for wind ensemble and 80-piece choir could not be accommodated in the space, so like Cornell, they recorded that portion of the program earlier in the week.
Splinter – Holly Harrison
For This Brave New Day – Steve Danyew
Weather – Rollo Dillworth (pre-recorded)
Weather was the centerpiece, a five-movement setting of a poem by Claudia Rankine in reaction to the murder of George Floyd. The reading of names toward the end, with audience participation, was particularly affecting.
The night ended with the Peabody Wind Ensemble itself, directed by conference host Harlan Parker.
Come Sunday – Omar Thomas
Symphony no. 1 “The Great Machine” – Robert Langenfeld
These two works occupied a full hour of spirited playing. The Thomas is already an award-winning classic in the repertoire. The Langenfeld explores what might happen if a machine became sentient, with some spoken and musical electronics.
Day 2 (Saturday, February 19) began with a mentoring session and a generous pastry spread. Morning sessions examined leadership, Arthur Meulemans’s Symphonie no. 4, silent film scoring with chamber ensembles, and more. We also heard from the faculty and students of the Tuned-In program, a youth music program that serves students in Baltimore through the Peabody Preparatory Division. A look at CBDNA’s new vision statement generated some productive discussion about our purpose in this world and at this difficult time. The general business meeting emphasized the Eastern Division’s push for greater equity and a more outward-facing presence in the world. As chair of the Small Band Programs Working Group, I hope to contribute to this realignment of values through the open forums that the division is hosting throughout the year.
Concerts occupied the remainder of the day. We were very fortunate that all of them were able to happen in person. Nazareth College, directed by Jared Chase, went first.
Heritage – Shawn E. Okpebholo (world premiere)
Unquiet Hours – David Biedenbender
Tarot – Lindsey Bronnenkant (world premiere)
It was wonderful to hear Holst’s cerebral classic brought to such vivid life. However, Tarot was the highlight of the program. Her detailed and sensitive writing, inspired by Holst, brought the ideas behind the tarot to vivid, colorful life, aided in no small measure by Chase’s conducting.
The University of Maryland Wind Ensemble came next. This second ensemble at UM was directed by Andrea Brown.
Marching Song – Gustav Holst
Serenade – Katahj Copley
Tuba Concerto – Bruce Broughton with soloist Willie Clark
Pandora Undone – Stacy Garrop
Einstein on 6th Street – Daniel Montoya, Jr.
This was another outstanding program. The Copley was a highlight: it was an accessible chamber piece in four movements for a nonet that included NO double reeds and THREE saxophones! (The UMWE did substitute on oboe for the soprano sax, to delicate effect). This is very exciting for small band directors like me, and I look forward to getting this score in my hands.
The Intercollegiate Band followed, featuring students from 20 colleges around the division (I had five of my own from Hartwick in the mix). Despite two days of intense rehearsal and travel, they took the stage with joy and energy, reflecting the gregariousness of their conductor, Carolyn Barber. They played:
Perseids – Alexandra Gardner
Give Us This Day – David Maslanka
Despite their short time together, this group seemed to understand the dynamics of this rather fussy stage particularly well, and they achieved some of the most thrilling and moving musical moments of the entire conference. By all accounts (from my students, at least) Barber empowered her players to be this musical by allowing the students to bond with each other and make their own decisions about the music. This included drawing pictures and something involving the word “pickle.” In the concert, Barber conducted only minimally, giving clarity and additional meaning to the gestures she did employ. It inspired me to look her up: I look forward to reading through her entire website and much more.
The conference ended with a concert from the Rutgers Wind Ensemble, conducted by their band team of Julia Baumanis, Todd Nichols, and Kraig Alan Williams.
Nitrous – Kevin Day
Hymn to a Blue Hour – John Mackey (chamber version)
Symphony no. 3: For David – Kimberly Archer
This was an excellent ending to the conference. It featured a compelling new voice (Kevin Day), something for small ensembles (Mackey’s reduced instrumentation Hymn), and a forward looking, monumental symphony inspired by one of the wind band’s greatest voices (David Maslanka) written by the tremendous Kimberly Archer.
After two years of relating to each other only through glowing boxes, seeing my treasured colleague-friends of the Eastern Division felt like breathing again. Sure my ears hurt from two solid days of mask wearing. But my heart is full. I am energized by the music I heard, by the connections I renewed, and by the discussions that enlivened the proceedings. I am, at last, optimistic for the future of college bands, and looking forward to the next one of these.