Masters • 10815 Bodine Road • Clarence, NY 14031-0406phone: 716.759.2600 • fax: 716.759.2329 • www.markcustom.com

OTHER TAMU BAND RELEASESWind Band Masterworks, VOLUME I

English Folk Song Suite (Vaughn Williams) • Fire of Eternal Glory (Shostakovich) • I Wander Deep In Thought (Grieg) • Incantation & Dance (Chance) • Second Suite inF (Holst) • Slavic Woman’s Farewell (Agapkin) • Third Suite (Jager) • Turkey in the Straw (Rhea) • Amazing Grace (Himes) • Variations on America (Ives)

Wind Band Masterworks, VOLUME IIAria on a Chaconne (Martinson) • Come Sweet Death (Bach/Reed) • Fanfare to “La Peri” (Dukas) • La Fiesta Mexicana (Reed) • Overture to “Nabucco”

(Verdi/Cailliet) • Olympic Fireworks (Stanhope) • Peterloo (Arnold) • Procession of Nobles (Rimsky-Korsakov/Leidzen)

Wind Band Masterworks, VOLUME IIIAve Maria (Schubert/Ticheli) • Blue Lake (Chance) • Commando March (Barber) • Elsa’s Procession to the Cathedral (Wagner/Cailliet) • English Dances, Set II(Arnold) • Fanfare for the Common Man (Copland) • Festivo (Gregson) • Folksongs for Band, Set #3 (Stanhope) • Rocky Point Holiday (Nelson) • Scenes from

“The Louvre” (Dello Joio) • Ye Banks & Braes O’ Bonnie Doon (Grainger)

Live Texas Music Educators Association Convention, 2003Gallant Seventh (Sousa) • Tam O’ Shanter (Arnold/Paynter) • October (Whitacre) • Don’t You See (Grantham) • Presto from Trombone Concerto (Bourgeois) • In

Memoriam (Camphouse) • Polka and Fugue from Schwanda (Weinberger/Bainum)

Live Texas Music Educators Association Convention, 2007Eagle Squadron (Alford) • Savannah River Holiday (Nelson) • Toccata & Fugue in D Minor (Bach/Leidzen) • Heroes, Lost & Fallen (Gillingham) • Piu Jesu

(Faure/Sudduth) • Profanation from Jeremiah (Bernstein/Bencriscutto)

Tradition: Legacy of the March, VOLUME IAmerican Legion (Parker) • Bennet’s Triumphal (Ribble) • Chicago World’s Fair (Mader) • Courier Journal (Griffith) • Drum Major (Taylor) • Golden Bear (Richards)• H.M. Jollies (Alford) • Hostrauser’s (Chambers) • Independentia (Hall) • Kiefer’s Special (Kiefer) • Neddermeyer Triumphal (King) • Our Gallant Infantry (Edwards)• Our Glorious Emblem (DeLuca) • Our United States (Ventre) • Ponderoso (King) • Queen City (Boorn) • Radio Waves (Jewell) • St. Julian (Hughes) • Trombone

Section (Chambers) • University of North Dakota (King)

Tradition: Legacy of the March, VOLUME IIAction Front (Blankenburg) • Battle of the Winds (Duble) • Colossus of Columbia (Alexander) • Crusade for Freedom (Richards) • Gentry’s Triumphal (Jewell) •

Gloria (Losey) • Great Little Army (Alford) • Henderson Field (King) • Mighty Mite (Mesang) • Mystic Call (King) • Northwind (Chambers) • Parade of theChampions (Yoder) • Pentland Hills (Howe) • Porter’s Catalina Band (McCaughey) • Royal Bridesmaid (Casto) • Shriner’s Parade (DeLuca) • Sounds of Peace (von

Blon) • Trafalgar (Zehle) • Trooper’s Tribunal (Fillmore) • Viking (King)

Tradition: Legacy of the March, VOLUME IIIB.B. & C.F. (Hume) • Garland Entrée (King) • The Boys of the Old Brigade (Chambers) • Eagle Squadron (Alford) • Quality Plus (Jewell) • Black Jack (Huffer) • The

Klaxon (Fillmore) • With Sword and Lance (Starke) • Bombasto (Farrar) • Zacatecas (Codina) • Glory of the Trumpets (Brockenshire) • Glorious America (King) •Lights Out (McCoy) • Emblem of Freedom (King) • Flying Eagle (Blankenburg) • Emblem of Unity (Richards) • Olympia Hippodrome (Alexander) • Voice of the

Guns (Alford) • Rolling Thunder (Fillmore)

Tradition: Legacy of the March, VOLUME IVBarnum & Bailey’s Favorite (King) • Men in Gray (Brahmstedt) • Honey Boys on Parade (Cupero) • Days of Glory (Cacavas) • Joyce’s 71st New York Regiment

(Boyer) • Carrollton (King) • Noble Men (Fillmore) • The Vanished Army (Alford) • Bravura (Duble) • Bolivar (King) • E Pluribus Unum (Jewell) • National Emblem(Bagley) • Lt. Commander (King) • Invercargill (Lithgow) • Peacemaker (King) • Men of Ohio (Fillmore) • Purple Pageant (King) • Inglesina (Delle Cese) • Valdres

(Hanssen) • The World is Waiting for the Sunrise (Alford) • In Storm & Sunshine (Heed)

Tradition: Legacy of the March, VOLUME VArmy of the Nile (Alford) • Attorney General (King) • Battle Royal (Jewell) • British Eighth (Elliott) • Burr’s Triumphal (Alexander) • Chicago Tribune (Chambers)• Circus Bee (Fillmore) • Die Wacht Am Rhein (Von Blon) • Federal (Sousa) • Freischutz Quickstep (Grafulla) • Gladiator’s Farewell (Blankenburg) • Hail Miami(Richards) • New Corn Palace (King) • Pathfinder of Panama (Sousa) • Port Arthur (Seitz) • Robinson’s Grand Entrée (King) • Screamer (Jewell) • Tripoli Temple

(Barnhouse) • Under the Double Eagle (Wagner) • Woody Van’s (King)

Tradition: Legacy of the March, VOLUME VIThe Crosley March (Fillmore) • George Washington Bicentennial (Sousa) • The Vedette (Alford) • Purple Carnival (Alford) • Samson (King) • Glorious Victory

(Kendall) • On the Square (Panella) • Die Ehrenwache (Lehnhardt) • Spirit of Excellence (Rhea) • Entry of the Gladiators (Fucik) • Trombone King (King) • TheBattle of Shiloh (Barnhouse) • Deutschland in Waffen (Blankenburg) • Supreme Triumph (Jewell) • Tent City (English) • Spirit of the First Division (Frank) •

Circus King (Duble) • Sons of Veterans (King) • Nibelungen March (Sonntag) • Fiesta Flambeau (Sturchio) • March from Symphonic Metamorphosis (Hindemith/Wilson)

All above recordings available through the Texas A&M University Band office or Markcustom.com.

7264-MCD

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Program Notes

1. Parade from Pacific Celebration Suite (1979)- Roger Nixon (1921- )

Roger Nixon’s unique and award-winning scores reflect his varied lifeexperiences. Among the many honors in recognition of his band works are aPhelan Award, the Neil A. Kjos Memorial Award, an ABA/Ostwald BandComposition Award, five grants from the National Endowment for the Arts, andthe 1997 Heritage American Composer Award. Roger Nixon has composedsteadily for over fifty years. He credits his own life experiences for the imageryin his band music. As a native Californian, he has composed works based onCalifornia festivals and communities. Pacific Celebration Suite was written tocommemorate the city of San Francisco’s bicentennial celebration. Parade is afanfare-march which embodies some of the imagery and spirit of the SanFrancisco Presidio with soldiers, horses, and weapons on parade during the OldSpanish Days of California.

2. Final Covenant (1994)- Fisher Tull (1934-1994)

Fisher Tull’s career encompasses a broad spectrum of musical achievementsas a performer, arranger, composer, educator and administrator. He was agraduate of North Texas State University and had an extensive career. As adistinguished composer, he has achieved national and international recognition forhis compositions as the recipient of nine ASCAP awards and the prestigiousABA/Ostwald Award, and as an educator he served many years on the faculty ofSam Houston State University. He has also achieved national and internationalrecognition for his compositions as the recipient of nine ASCAP awards and the

prestigious ABA/Ostwald Award. Final Covenant expresses the deepreligious emotions of the promises made by God to mankind. Twothematic elements are employed: the first, a dramatic proclamation, is

PiccoloLacour, Sarah

FlutesDaniel, Leslie

Dannenbaum, CarolynHollick, JennyHolt, Michelle

Hollowell, LeahHunter, KatieTooley, Kaelin

OboesEasley, JeannaNieves, Melissa

English HornParker, Staci

ClarinetsBenvegnu, MariaBradshaw, Robin Cheng, Leandra

Compton, Mallory Dowling, Tracy

Drumm, MichelleEhrhardt, Megan

Freno, BrianHolcomb, Maura

Isreal, AliciaLaursen, KatrinaMartinez, JessicaPatrick, Hannah

Pyeatt, Sarah

Quillen, KelliSmeeton, Sarah

Solis, AlyssaWillliams, Christine

Bass ClarinetsCrittenden, AshleyDuncan, Rebecca

Duncan, TomAstley, Kaela

Contrabass ClarinetRoberts, Rebekah

BassoonsBinkley, SamJetton, James

Melson, RobinSliva, Christine

SaxophonesCaruth, ChaseHudson, Ian

McConnell, Hunter McTygue, Charles

Robinett, LouisWillliams, Ben

TrumpetsGhinelli, TonyGlassey, NickGreen, BrianLea, David

McGovern, MeaganMirochna, Eric

Pierce, WesleyRodriquez, Derek

Sanchez, StephanieSteinke, WalterThomson, Blake

Wood, Ben

HornsCatanach, Holly

Gatza, JennaJessen, StephanieMcBryde, CindyMoore, JosephLeeann, Reid

Schiffner, KellyeSchneider, Raechel

Smith, Nicole

TrombonesAcker, JonathanAlbritton, Joseph

Clark, DavidConger, JamesGalipp, David

Graham, JeremyMarcellus, Andrew

Owens, GarettVollmar, Brent

EuphoniumsDuplan, DonJessen, JaredMoore, ChrisTowne, Scott

TubasDixon, James

Hernandez, SamNabors, JeffNagel, Will

Virene, TimothyWest, Daniel

PercussionClair, Paul

Henderson, TaraKiefer, Jonathan

McWilliams, MichaelNaberhaus, Benjamin

Naradovy, BryanPearson, JoannSepolio, Eric

Valdez, Michael

HarpGee, Sarah

String BassLombardo, Georgia

Hodges, CaseyNicolosi, Daniel

PianoSzu-Hsuan Lin

TEXAS A&M UNIVERSITY WIND SYMPHONYPersonnel

Fall 2005 – Spring 2007

2 11

introduced by horns and subsequently taken by trumpets and woodwinds; thesecond plaintive theme, in the manner of a supplication, is presented by oboesfollowed by flutes and clarinets. The first theme returns leading to a climacticsection by the full ensemble. A development section focuses on fragments fromthe principal theme culminating in a brief brass fanfare based on the earlieraccompanying motives. The recapitulation of the principal theme brings the workto a quiet and peaceful close.

3. Jericho Rhapsody (1939)- Morton Gould (1913-1996)

Morton Gould was involved in performing, conducting, and writing musicfor more than 75 years. In addition to several important symphoniccompositions, ballet music, and film scores, he has also composed a series ofworks for symphonic band that have earned a place in the international standardrepertoire. In Jericho Rhapsody, Gould describes the Biblical story of the captureof the city of Jericho by the Jewish people led by Joshua. After the death ofMoses, God ordered Joshua, Moses’s servant, to lead the Israelites to thePromised Land. God said to Joshua to have his warriors walk around the city’smassive walls for six days led by priests carrying trumpets and the Ark of theCovenant. On the seventh day, as God had promised, the walls collapsed whilethe priests were blowing the trumpets and the soldiers were shouting as fiercelyas possible. The city was then easily captured. This rhapsody in one movementconsists of the following parts: Prolog, Roll Chant, Chant, Dance, March and Battle,Joshua’s Trumpets, The Walls Come Tumblin’ Down and Hallelujah.

4. A Movement for Rosa (1992)- Mark Camphouse (1954- )

Mark Camphouse has an excellent reputation as a composer, conductor,teacher, and trumpet player. Camphouse grew up in a musicalenvironment. His early memories include songs his father sang to him10 3

THE TEXAS A&M UNIVERSITY BANDSDr. Timothy Rhea, Director of Bands

Lt. Colonel Jay O. Brewer, Sr. Associate Director, Texas Aggie BandMr. Travis Almany, Associate Director of Bands

Mr. Christopher Hollar, Director of Jazz EnsemblesMs. Jean Stanley, Business Coordinator

Colonel Ray E. Toler, Director of Bands EmeritusColonel Joe T. Haney, Director Emeritus, Texas Aggie Band

Recorded at the Rudder Theater Complex on the campus ofTexas A&M University, College Station, Texas on November 20, 2005

/April 30 & November 19, 2006/April 29, 2007

Executive Producer: Dr. Timothy RheaProducers: Travis Almany and Christopher Hollar

Recording Engineer: Mark J. MoretteEditing: David St. Onge and Timothy Rhea

Graphic Design by: MarkArt, Jason BoldtCD Booklet Compilation: Joe Moore

Copyright Clearances by: MarkMechanicals, Jennie Morette

This CD was recorded using AKG C-414 TL-II microphones directly into a Yamaha O1v24/96in 24 bit, directly to the Alessis ML-9600 hard disc recorder. Editing was done on the Sadie

Artimus system with waves platinum plug ins for processing.

when he was a child. Boyhood heroes, in addition to several baseball players,included Aaron Copland, Leonard Bernstein, and Adolph Herseth. A Movementfor Rosa was dedicated to Rosa Parks, who earned the title “Mother to aMovement” for her refusal to give up her seat to a white man on a segregatedcity bus in Montgomery, Alabama, in 1955. The work comprises threecontrasting sections. Section one evokes Parks’ early years in Tuskegee,Alabama. Section two portrays years of racial strife in Montgomery and thequest for social equality. Section three is one of quiet strength and serenity. Thehymn “We Shall Overcome” is heard in its entirety near the end. The work’sfinal measures serve as an ominous reminder of racism’s lingering presence inmodern American society.

5. Savannah River Holiday (1953/1973)- Ron Nelson (1929- )

Ron Nelson, professor emeritus at Brown University, has manycompositions to his credit. He began composing at the age of six and laterearned degrees in composition from the Eastman School of Music. On aFulbright Fellowship he studied at the Ecole Normale de Musique in Paris. Hiscompositions include opera, film, band, and choral music. In Savannah RiverHoliday, Nelson has written two contrasting moods alternating throughout thework. One, “gay and reckless,” opens and closes the overture. The other,“quiet and reflective,” provides a lovely lyrical balance.

6. Molly on the Shore (1920)- Percy Aldridge Grainger (1882-1961)

As a composer Grainger was remarkably innovative, using irregularrhythms before Stravinsky did, pioneering in folk music collections at the sametime as Bartok, writing random music in 1905, and predating Varese in

experimentation with electronic music. He composed, set, arranged, andedited some 400 works; counting all the versions of these works, the

The Texas A&M University BandsThe Texas A&M University Wind Symphony (formerly called symphonic

band) represents the top concert ensemble within the TAMU Band Department.Unlike the band programs of most major universities, the bands at Texas A&MUniversity presently do not contain music majors. Auditions are open to allstudents on the College Station campus, which presently has an enrollment of45,000. The major goal of the concert ensembles is to give students a pausefrom their academic routine by allowing them to join together in a highlysophisticated musical environment. All concert band members receiveacademic credit through the College of Liberal Arts, as well as fulfillinguniversity requirements for required Visual & Performing Arts credit.

By the attraction of players of extremely high quality, the bands strive toprogram the best in both traditional and contemporary wind band literature. Inrecent years, the Wind Symphony has performed concerts for the membershipsof the Texas Music Educators Association, the College Band Directors NationalAssociation, and the American Bandmasters Association. The Wind Symphonyregularly tours during the spring semester. Past Texas performances haveincluded the Morton H. Meyerson Symphony Center in Dallas, and both theWortham Center and Music Hall in Houston. The Wind Symphony touredEurope in 1999, 2001, 2004, and 2007 with concert performances in England,Ireland, Germany, Austria, and the Czech Republic. In February of 2008, theensemble will give a Friday evening concert in New York City’s Carnegie Hall.The Texas A&M University Bands will host the 2009 convention of theAmerican Bandmasters Association on the College Station campus. The windsymphony records regularly each year and their recordings, all with MarkRecords, have enjoyed great success on the national level.

Today’s band program at Texas A&M University includes the windsymphony, the symphonic band, the concert band, the nationally famous“Fightin’ Texas Aggie Band,” the University Orchestra, the UniversityJazz Ensembles, and the Aggieland Dance Orchestra. The total bandprogram enrollment averages over 700 students per academic year.4 9

Dr. Rhea was named conductor of the TAMU Wind Symphony in 1995.During his tenure at Texas A&M University, Dr. Rhea has conducted the WindSymphony for conventions of the Texas Music Educators Association, theCollege Band Directors National Association, and the American BandmastersAssociation, as well as in settings such as the Meyerson Symphony Center ofDallas and the Wortham Center of Houston, and on tours which have takenthe band throughout the state of Texas. On their European tours (1999, 2001,2004, 2007), Dr. Rhea has conducted the Wind Symphony during concerts inIreland, England, Austria, Germany, and the Czech Republic. Under hisdirection, the Wind Symphony has released several nationally popular compactdiscs, all with Mark Records in New York.

In addition to conducting, Rhea maintains a very successful career as anarranger and composer. His output of compositions and arrangements numbersover 300. For over ten years, he maintained an extremely active schedule as anarranger for both university and public school marching bands. As a composer,various commissions have resulted in performances for the Texas MusicEducators Association, the Texas Bandmasters Association, the College BandDirectors Association, the Cotton Bowl, and the Tournament of Roses Parade.His works are published with TRN Music Publisher, RBC Music Publisher, andArranger’s Publishing Company.

Rhea maintains a nationally active schedule as conductor, clinician, andadjudicator. He has been extended invitations to membership in both theprestigious American Bandmasters Association and Phi Beta Mu. Currently onthe Board of Directors of the National Band Association, he additionally holdsmemberships in the Texas Music Educators Association; Texas BandmastersAssociation; College Band Directors National Association; Big 12 BandDirectors Association; World Association of Symphonic Bands & WindEnsembles; American Society of Composers, Authors, & Publishers; Phi Mu

Alpha; Phi Kappa Phi; Pi Kappa Lambda; Kappa Delta Pi; and is anhonorary member of Kappa Kappa Psi.

number exceeds 1,000. Molly on the Shore is based on two Cork Reel tunes,“Temple hill” and “Molly on the Shore.” It remains one of Grainger’s mostpopular works. A clear example of scoring, it is a true concert showpiece. Likeall of his British folk-music settings, Molly on the Shore is “lovingly and reverentlydedicated to the memory of Edvard Grieg.”

7. Colonial Song (1918)- Percy Aldridge Grainger (1882-1961)

Grainger had no formal instruction in composition. Of himself he said, “Iregard the study of native music and close association with folk-singers(peasants, sailors, etc.) as the most fruitful influence in my creative career.” Thisfolk quality of his music, along with the brilliance as characteristic of hiscomposition as of his playing, plus an innate harmonic gift give him a high placeamong twentieth-century composers. Colonial Song is an original work andGrainger adheres to his policy of using no folktunes in his original compositions.Colonial Song is intended to reflect the people and scenery of his native Australia,in fact, he wished to convey an “emotion…of native born colonials in general.”

8. Profanation from Jeremiah Symphony (1942/1980)- Leonard Bernstein (1918-1990)

Leonard Bernstein attained sudden fame substitute-conducting the NewYork Philharmonic Orchestra at the age of 25. He became noted as a composer,pianist, author, lecturer, teacher, television personality, and cultural icon. Hismusic, particularly his “high art” Broadway shows, is a synthesis of compositionsfrom the past five centuries. The text of Jeremiah Symphony, Bernstein’s firstsymphony, is from the book of Lamentations. Profanation, the scherzo secondmovement, is based on the traditional Hebrew “Haftarah,” a biblical selectionfrom the Book of Prophets read after the parashah in the Jewish synagogue service.The music depicts a general sense of destruction and chaos brought onby pagan corruption in ancient Jerusalem. The score is dedicated to 58

Bernstein’s father. The excellent wind band transcription was completed byFrank Bencriscutto, former Director of Bands at the University of Minnesota.

9. Allerseelen (1885)- Richard Strauss (1864-1949)

A master of orchestration, Strauss expressed in his tone poems the wholegamut of human emotions. His songs also achieved fame and success, amongwhich Allerseelen became a great favorite and has been transcribed for bothorchestra and band. The art songs of Strauss achieved fame and success thesame as his well-known tone poems. Among these art songs, Allerseelen (AllSouls’ Day) became a great favorite. In this transcription for the symphonicband the melody surges throughout, much in the style of Wagner.

10. Cuban Overture (1932)- George Gershwin (1898-1937)

In mid-February 1932, American composer George Gershwin left NewYork with several friends to take a vacation in Havana, Cuba. While there hebecame fascinated with the native music of Cuba and returned to New Yorkarmed with Cuban percussion instruments and musical ideas. Gershwinprovided these program thoughts: “In my composition I have endeavored tocombine the Cuban rhythms with my own thematic material. The result is asymphonic overture, which embodies the essence of the Cuban dance. It hasthree main parts. The first part is preceded by a [forte] introduction featuringsome of the thematic material. A solo clarinet cadenza leads to a middle part,which is in a plaintive mood. It is a gradual developing canon in a polytonalmanner. This part concludes with a climax based on an ostinato of the theme inthe canon, after which a sudden change in tempo brings us back to the rumbadance rhythms. The finale is a development of the preceding material in a

stretto-life manner. This leads us back once again to the main theme.The conclusion of the work is a coda featuring the Cuban instruments of

the percussion. The band transcription was completed by Mark Rogers,publication director of Southern Music Company in San Antonio, Texas.

Dr. Timothy B. Rhea

Dr. Timothy B. Rhea is the Director of Bandsat Texas A&M University. He serves asadministrative head of the instrumental musicdepartment, conductor of the University WindSymphony, and is the director of the nationallyfamous “Fightin’ Texas Aggie Band.” Hecontributes as composer and arranger for all theensembles within the TAMU Band Department.He joined the Texas A&M University band staff inJune of 1993.

Rhea is a graduate of DeKalb, TX High Schooland grew up in the music programs of the Texas

public schools. He earned the Bachelor of Music Education with honors fromthe University of Arkansas where he was a private conducting student of EldonA. Janzen. He earned the Master of Music in Wind Conducting from TexasTech University where he studied with the late James Sudduth. During his timeat Tech, he served as assistant conductor of the University Symphonic Band andgraduate assistant director and musical arranger to the Texas Tech UniversityMarching Band, where he worked with Keith Bearden. Rhea was awarded theDoctor of Musical Arts in Wind Conducting and Composition from theUniversity of Houston in May of 1999. In July of 1999, he was awarded theOutstanding Young Bandmaster of the Year for the state of Texas from Phi BetaMu. In December of 2000, Dr. Ray Bowen, former President of TexasA&M University, presented Dr. Rhea with the President’s MeritoriousService Award to Texas A&M University.6 7

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Masters • Clarence, NY 14031-0406 Ph: 716 759-2600www.markcustom.com • Support Music, Don’t Copy.WARNING: All rights reserved. Unauthorized duplication is a violation of applicable laws.

1. Parade from Pacific Celebration Suite (1979) Kjos . . . Roger Nixon 3:52

2. The Final Covenant (1994) Boosey & Hawkes . . . . . . . . . . Fisher Tull 7:58

3. Jericho Rhapsody (1939) EMI . . . . . . . . . . . . . . . Morton Gould 11:52

4. A Movement for Rosa (1992) TRN . . . . . . . . . Mark Camphouse 11:09

5. Savannah River Holiday (1953/1973) Carl Fisher . . . . . Ron Nelson 8:38

6. Molly on the Shore (1920) Public Domain . . Percy Aldridge Grainger 4:07

7. Colonial Song (1918) Public Domain . . . . . Percy Aldridge Grainger 5:24

8. Profanation from Jeremiah Symphony (1942) Universal

. . . . . . . . . . . . . Leonard Bernstein/trans. Frank Bencriscutto 6:42

9. Allerseelen (1885) Universal Edition

. . . . . . . . . . . . . . . . . . Richard Strauss/trans. Frederick Fennell 6:56

10. Cuban Overture (1932) Warner Chapell

. . . . . . . . . . . . . . . . . . . George Gershwin/trans. Mark Rogers 9:41