THE BOSTON CONSERVATORY PRESENTS
Eric Hewitt, CONDUCTOR
October 9, 2011
Sunday, 8 p.m.
The Boston Conservatory Theater
Funeral Music for Queen Mary (1992)
Henry Purcell (1659–1695)
Steven Stucky (b. 1949)
What We Do Is Secret (2011) WORLD PREMIERE
Concerto for Brass Quintet and Wind Ensemble
Funded by a grant from the Barlow Endowment for
Music Composition
Triton Brass Quintet, soloists
I.
II.
III.
IV.
Lansing McLoskey (b. 1964)
Strange Notes
The Unheard Music
New York’s Alright (If You Like Saxophones…)
Rise Above
The Ringing of Golden Balconies
for Wind Ensemble, Brass Choirs and electronics (2008)
Featuring Triton Brass Quintet
Peter Gilbert (b. 1975)
INTERMISSION
Concerto for Bass Trombone and Wind Ensemble (2007)
WORLD PREMIERE of version for Wind Ensemble
Blair Bollinger, bass trombone
Jay Krush (b. 1953)
I. Brisk and flowing
II. Slow and Singing
III. Fast
Selections from “The Danserye” (1551; arr. 2002)
I. La Morisque
II. Bergerette
III. Les quatre Branles
IV. Fagot
V. Den hoboecken dans
VI. Ronde & Salterelle
VII. Ronde & Aliud
VIII.Basse danse: Mon desir
IX. Pavane: La Battaille
Tielman Susato (c. 1510–1575)
Arr. Patrick Dunnigan
This organization is funded in part by the Massachusetts Cultural Council, a state agency.
WELCOME
Welcome to the 2011–2012 Boston Conservatory Wind Ensemble season and the finale of The
Boston Conservatory’s Trombone Day! Very special thanks to Wes Hopper and Angel Subero,
whose hard work and dedication made many of today’s activities possible. Also, a very hearty
thank you and congratulations to both Lansing McLoskey and Jay Krush for their new works,
which have enhanced tonight’s program immensely. Tonight, you’ll hear trombones in many
settings performing music that spans almost four centuries. Whether performing very new
music or very old music, this instrument’s character, tone and identity have been a critical part
of our musical landscape for hundreds of years.
Eric Hewitt
Conductor, The Boston Conservatory Wind Ensemble
PROGRAM NOTES
STEVEN STUCKY: Music for the Funeral of Queen Mary
It was at the suggestion of Esa-PekkaSalonen that I transcribed this music of Purcell for the Los
Angeles Philharmonic Orchestra. I used three of the pieces heard at the funeral of Mary II of
England, who died of smallpox on December 28, 1694: a solemn march, the anthem “In the
Midst of Life We Are in Death” and a canzona in imitative polyphonic style. In working on the
project, I did not try to achieve a pure, musicological reconstruction but, on the contrary, to
regard Purcell’s music, which I love deeply, through the lens of 300 intervening years. Thus,
although most of this version is straightforward orchestration of the Purcell originals, there are
moments when Purcell drifts out of focus. My version was first performed in Los Angeles on
February 6, 1992.
—Steven Stucky
LANSING MCLOSKEY: What We Do Is Secret
I came to the world of composition via a somewhat unorthodox route. The proverbial “Three
B’s” for me were not Bach, Beethoven and Brahms, but rather The Beatles, Bauhaus and Black
Flag. My first experiences of writing music were not exercises in counterpoint, but as a guitarist
and songwriter for punk rock bands in San Francisco in the early 1980s. It was actually through
these years in the visceral world of punk that I first developed a love for classical music (but that’s
another story).
What We Do Is Secret draws its title from the seminal, influential 1978 album by the early punk
band, The Germs. Likewise, each movement is titled after the name of a song from an early Los
Angeles punk band, respectively: “Strange Notes” by The Germs, “The Unheard Music” by X, “New
York’s Alright (If You Like Saxophones…)” by Fear and “Rise Above” by Black Flag. The concerto is
an homage to these groundbreaking and influential bands and countless others like them, who
2 | Wind Ensemble
despite being lost in oblivion to the mainstream and having never achieved any semblance of
commercial success, nevertheless gave voice to the frustrations of a generation and ultimately
changed the face of popular music. Rising from the ashes of the decadent, self-indulgent ‘70s,
this was “alternative rock” before the term was co-opted by corporate record labels, MTV, Hot
Topics and Abercrombie & Fitch.
It’s important to note, however, that the piece is in no way an attempt at a “punk concerto” and
does not quote any of the punk music in a cheap, postmodern pastiche, but rather uses these
songs solely as touchstones and points of inspiration and departure.
What We Do Is Secret was commissioned for Triton Brass Quintet and the wind ensembles of The
Boston Conservatory, M.I.T. and the University of Miami Frost School of Music by the Barlow
Endowment for Music Composition at Brigham Young University. I would like to give special
thanks to Triton Brass and Eric Hewitt for making this project possible and for their unrelenting
dedication to music as a living art form.
—Lansing McLoskey
PETER GILBERT: The Ringing of Golden Balconies
The notes we hear in this piece, written by Giovanni Gabrieli in Book 1 of the Sacrae Symphoniae,
first burst forth from brass instruments stationed antiphonally around the balconies of Venice’s
legendary Basilica San Marco in the late 1500s. Now, so many years later, those notes hang there
still (though, like San Marco’s walls, they are not as crisp and straight as they used to be). Drawn,
stretched and overlapping, they clearly wear their years spent above a floating foundation in a
piazza that floods daily with aqua alta.
The ringing chords have now dispersed throughout air molecules heavy with sonic history. For
fleeting moments an attentive listener can hear the lingering triads realigning, but mostly the
remaining chords are blurred by centuries of burnishing the gold interior with their echoes.
In these persisting remnants we can hear the history of sound. Or, said another way, we can
listen to the sound of passing centuries, dripped into the fabric of tones which have outlasted
their author by 400 years.
And underneath it all, deep in those Venetian waters is still heard the Sonate Pian ‘e Forte
sounding perpetually, now emerging in a neighboring canal, now submerged beneath church
and city.
—Peter Gilbert
JAY KRUSH: Concerto for Bass Trombone
As a working tuba player, I have spent a substantial portion of my life sitting next to bass
trombonists and I have always admired the skill and dedication of those who devote such
attention and marvelous artistry to an instrument that is quite frankly even more of an unknown
to the general public than the tuba. I had been thinking about the need for another concerto
for this instrument and mentioned my interest in composing a piece to Blair Bollinger, noted
The Boston Conservatory | 3
bass trombonist with the Philadelphia Orchestra. He, to my delight, offered to play the piece at
an upcoming U.S. Army Trombone Workshop if I could complete it in time. It was done three
intensive months later and premiered by Bollinger with Maj. James Keene conducting the U.S.
Army Orchestra.
The Concerto is in three movements and unlike many of my pieces, it is pure music with no
visual or narrative content. The upbeat first movement, with its propulsive mallet percussion,
originated in a summer moment when two cars, windows open and radios blaring, passed each
other, one playing a violin concerto, the other something Latin with lots of marimbas. Most
of the ideas for the expansive second movement came during long walks with a dear friend
and her dog in a local nature preserve. For the third movement, I was thinking of the juggler’s
routine where they keep different sizes of plates rotating on top of sticks. In this case, lots of
different rhythmic divisions of “three” over music which is predominantly in “two.” There is a
lyrical melody as well, which I think of as the “smell the rose” theme; that no matter how much
spectacular technique we muster, one of our main goals is to produce beauty. The Concerto is
dedicated to Blair Bollinger and is, by extension, a fan letter to bass trombonists everywhere.
Tonight marks the premiere of the version with wind ensemble.
—Jay Krush
TIELMAN SUSATO (c. 1500–1575)/Arr. PATRICK DUNNIGAN: Selections from “The
Danserye”
Tielman Susato began his career as a practicing trumpeter in Antwerp, but he is best remembered
today as a music publisher and entrepreneur. He possessed a longtime interest in calligraphy
and typesetting and is credited with raising the standards of published music during his life.
His numerous publications consisted mainly of anthologies of various vocal works, although
some editions were devoted to single composers. Susato was also widely known as a composer
having published, among others, his own collection of chansons.
“The Danserye” is a set of instrumental dances based on popular tunes of the time, arranged by
Susato and published in 1551 as Het derdemusyckboexken. With more than 50 individual dances
in a variety of forms, the collection is notable for its simple textures and strict homophony.
Specific instrumentation is not indicated thus suggesting that the tunes were performed by
whatever combination of winds and strings were available.
Selections from “The Danserye” is a new setting for wind band consisting of nine dances
fashioned into an extended “symphonic suite.” The arrangement utilizes the full resources of
the modern wind band featuring various sections (or consorts of instruments) in alteration with
powerful tutti passages. While the wind part remain faithful to the original material, the dances
are energized with a healthy dose of contemporary percussion effects and a significant part
for acoustic guitar. This blend of sound generates a “new, but familiar element, thus making
something very modern out of music that is more than 450 years old. The arrangement was
created for the Florida State University Symphonic Band and was premiered on April 17, 2002.
The professional premiere by the Dallas Wind Symphony, Jerry Junkin conducting, was on
November 19, 2002 at the Meyerson Symphony Center in Dallas, Texas.
—Patrick Dunnigan
4 | Wind Ensemble
ABOUT THE ARTISTS
BLAIR BOLLINGER, bass trombone
soloist—enjoys a varied musical career as a
trombonist, a conductor and a teacher. He
is the bass trombonist of the Philadelphia
Orchestra. He joined the Orchestra in 1986 at
the invitation of Music Director Riccardo Muti
and enjoys the full orchestra schedule of
more than 160 concerts each year along with
many recordings and international tours,
spanning the tenures of Muti, Wolfgang
Sawallisch, Christoph Eschenbach and
Charles Dutoit.
As a soloist, Bollinger has performed
with The Philadelphia Orchestra, Atlanta
Symphony, National Symphony of Taiwan
and others. He has performed recitals and
given master classes in Brazil, Chile, China,
Holland, Israel, Japan, Korea, Poland, Taiwan
and throughout the U.S. Bollinger has been
featured at multiple international and
domestic brass conferences. As a student,
he won the 1986 Philadelphia Orchestra
Greenfield Competition and remains the only
trombonist to win this competition since
it began in 1934, as well as the only bass
trombone soloist ever with the Philadelphia
Orchestra. In March 2007, he performed the
world premiere of a bass trombone concerto
written for him by Philadelphia composer
Jay Krush with the U.S. Army Orchestra at the
Eastern Trombone Workshop. His recordings
include a solo disc, Fancy Free, for d’Note
Records, hailed by American Record Guide
as “The recording I’ve been waiting for...
an amazing display of Bollinger’s virtuoso
skills.” Other recordings are two discs with
his trombone quartet, Four of a Kind, and a
Gabrieli disc with the Canadian Brass. With
Four of a Kind, Bollinger has toured Japan,
Korea, Taiwan and the U.S. and appeared at
several trombone conferences. An active
arranger, his arrangements of music for
various string and brass ensembles are
published by Alphonse Leduc in Paris,
Ensemble Publications in New York and
Southern Music in Texas.
Bollinger is the founding music director of
the Bar Harbor Brass Week in Maine where
he conducts, performs and teaches each
summer. He is a frequent guest conductor
with the Orchestra Society of Philadelphia
and leads the Curtis Brass and Percussion
Ensemble. Bollinger also has conducted
concerts with his daughter, Robyn, as a violin
soloist both in Philadelphia and with the
DeKalb (GA) Symphony. He has conducted
many colleagues from the Philadelphia
Orchestra as soloists including concertmaster
David Kim.
A 1986 graduate of the Curtis Institute of
Music, he studied with Charles Vernon and
Glenn Dodson. Bollinger is now on faculty
at Curtis and Temple University. In addition
to teaching lessons, he conducts repertoire
classes and coaches chamber music. He
has spent recent summers performing
and teaching in the Grand Teton Music
Festival in Wyoming, Eastern Music Festival
in North Carolina, Aspen Music Festival in
Colorado, Vail Music Festival in Colorado,
Saratoga Performing Arts Center in New
York, Bar Harbor Brass in Maine, Blast of Brass
Conference in Texas and Lindenbaum Music
Festival in Seoul, Korea.
Bollinger is also active in backstage
administration work at Curtis and the
Philadelphia Orchestra. At the Orchestra
he has negotiated union contracts, served
on marketing and education committees
and currently chairs the Conductor Search
Committee. He is a member of the Board of
Trustees at Curtis and has served on many
faculty and board committees including
accreditation, academic honesty, Curriculum,
facilities, library, mission review and student
life.
ERIC HEWITT, conductor—is a saxophonist,
conductor, composer, arranger and educator
who enjoys an active and diverse musical
career that has taken him throughout the
world. Based in Boston, MA, he is the chair
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of The Boston Conservatory woodwind
department and is the music director and
conductor of The Boston Conservatory
Wind Ensemble, Sinfonietta and New Music
Festival. In recent years he has served
as the music director and conductor of
White Rabbit, an avant-garde ensemblein residence at Harvard University with
the Harvard Group for New Music from
2005–2010, as well as music director of the
Charles River Wind Ensemble in Watertown,
MA from 2005–2011. He serves presently
as the Director of the Sinfonia Orchestra at
Phillips Exeter Academy, and the director of
the Boston College High School Big Band.
He has guest conducted Dinosaur Annex
on the FROMM concerts at Harvard, Armed
Forces Music School Wind Ensemble in
Virginia Beach, Alea III, the New England
Conservatory
(NEC)
Contemporary
Ensemble, NEC’s Jordan Winds, the Firebird
New Music Ensemble of Boston and New
Music Brandeis. In May of 2007, Hewitt made
his operatic debut conducting the premiere
of Eric Chasalow’s multimedia opera, The
Puzzle Master, at Brandeis University. In
addition to his domestic activities, he has
presented performances in Ireland and the
UK, France, Belgium, Italy, Germany, Canada,
Japan,Venezuela and Cuba.
Hewitt is a founding member of the
Yesaroun’ Duo (with percussionist Samuel
Z. Solomon) and the Radnofsky Saxophone
Quartet. He has performed as soloist or
guest artist with the Boston Pops, The New
World Symphony, The Ryles Jazz Orchestra,
The FROMM Players at Harvard and The
Tanglewood Music Center. As a jazz musician,
he is the baritone saxophonist of the Ryles
Jazz Orchestra and has performed with
jazz greats Arturo Sandoval, John Faddis,
Gerry Bergonzi, George Garzone, Marvin
Stam, Slide Hampton and Phil Wilson, and
can be heard Live on VEE Records with the
Jazz Orchestra and Saxophonist Ed Calle.
Hewitt can be heard with the Boston Modern
Orchestra Project (BMOP) on several BMOP
6 | Wind Ensemble
sound recordings, as well as on the Albany,
Troy, Vee Records and Innova labels. The
Yesaroun’ Duo’s recording project, HeavyUp/
Heavy Down, was released in February
2009 on GM recordings and can be found
on iTunes. Also available on GM recordings
is Deviation, a live recording of six world
premiere performances commissioned by
The Boston Conservatory Wind Ensemble.
Passionate and experienced in all musical
styles, Hewitt is known as a champion
of the music of our time. Working as a
conductor, soloist and chamber musician,
he has presented more than 50 premieres
by dozens of composers from around the
world. He is committed to challenging
established musical aesthetics and regularly
stimulates musicians and audiences alike
by programming cutting edge music in the
context of our inherited musical tradition.
He has worked with composers Michael
Colgrass, Ken Ueno, Nico Muhly, Jefferson
Friedman, Elliott Schwartz, Lei Liang, John
Harbison, Lee Hyla, Donald Martino, William
Thomas McKinley, Evan Chambers, Karel
Husa, Bernard Rands and Gunther Schuller,
as well as dozens of up-and coming young
composers from around the world. Deeply
interested in the expression of human
existence, his performances focus on the
communication of the shared human
experience embodied in music.
Hewitt holds two degrees from the New
England Conservatory, a B.M. in saxophone
performance (2001) with Kenneth Radnofsky
and a M.M. in conducting (2003) with Charles
Peltz, both with a distinction in performance
and academic honors. From NEC he has also
received the George W. Chadwick Medal
as the single outstanding undergraduate
candidate, the Gunther Schuller Medal as
the single outstanding graduate candidate,
the Toujeé Alumni Award and the John Cage
Award for commitment to the music of our
time. In 2009, Hewitt was named Outstanding
Music Faculty by The Boston Conservatory
Student Government Association (SGA).
After a four year, live-in apprenticeship under
Gunther Schuller, he and his family now
reside in Medford, MA.
JAY KRUSH, composer—has a busy career
as a performer, composer, teacher and
conductor. He is a founding member of the
Grammy Award-winning Chestnut Brass
Company, and he has performed on tuba
and historic brasses with that ensemble for
34 years on tour that have included 49 of
the U.S. states, in addition to Europe, Asia
and South and Central America. He has also
recorded with the group 14 times on the
Naxos, Sony Classical, Albany and Newport
Classics labels, among others. He is an artistin-residence/lecturer at the Boyer College of
Music at Temple University in Philadelphia,
where he teaches tuba, euphonium, chamber
music and conducts the Contemporary
Music Ensemble. He is also tubist with the
Pennsylvania Ballet Orchestra, the orchestra
of the Conductor’s Institute at Bard College
and the Bravo Brass Quintet of the Princeton
Symphony Orchestra.
As a composer, his catalog includes more
than 70 works, including two symphonies,
concerti for bass trombone and for brass
quintet, as well as music for orchestra, wind
ensemble, chorus and a variety of chamber
ensembles and more than 100 arrangements.
He has received grants and fellowships from
the National Endowment for the Arts (NEA),
The Pennsylvania Council on the Arts, the
American Composers Forum and others.
Krush holds a B.M. in composition from the
Eastman School of Music and a M.M. in tuba
performance from Northwestern University.
LANSING MCLOSKEY, composer—has
been described as “a major talent and a deep
thinker with a great ear” by the American
Composers Orchestra; “an engaging, gifted
composer... writing smart, compelling and
fascinating music that gives strong hints of a
punk-band past” by Gramophone Magazine;
and “a distinctive voice in present day
American music.” McLoskey’s music has been
performed to critical acclaim in 13 countries
on six continents and has won more than
two dozen national and international
awards, most recently the prestigious 2011
Goddard Lieberson Fellowship from the
American Academy of Arts and Letters and
the 2011 International Joint Wind Quintet
Project Commission Competition. In 2009,
McLoskey became the only composer in
the 45 year history of the ISU New Music
Festival to win both the chamber music
and orchestral composition awards; both
blind-juried national competitions with two
independent panels.
McLoskey has received commissions from
Meet The Composer, National Endowment for
the Arts (NEA), the Barlow Endowment, Pew
Charitable Trusts, the FROMM Foundation
and SCI/ASCAP, among many others. Recent
performances include premieres in Italy,
Boston, New York, Philadelphia, Chicago,
Miami and Melbourne, Australia, as well as
performances in Aspen, Los Angeles, San
Francisco, Miami and Lima, Peru, among
others. Current commissions include
new works for the Cincinnati Vocal Arts
Ensemble, the JWQP consortium of wind
quintets, Chatham Baroque and a clarinet
concertino for the 2012 soundSCAPE Festival
in Maccagno, Italy, where he was the 2011
Composer-in-Residence.
McLoskey completed his Ph.D. at Harvard
University with additional studies at UC
Santa Barbara, the USC Thornton School
of Music and the Royal Danish Academy
of Music. An associate professor at the
Frost School of Music at the University of
Miami, he has released his music on Albany,
WergoSchallplatten, Capstone, Tantara and
Beauport Classics, and made it available
from Subito Music and ACA Publishing.
SixthSpecies, a monograph CD of his
chamber music, was released to critical praise
The Boston Conservatory | 7
in 2008, and his award-winning orchestral
work, Prex Penitentialis: The Prayer of Petrarch,
was released this spring on Albany Records.
www.lansingmcloskey.com
TRITON
BRASS
QUINTET,
Boston
Conservatory Ensemble-in-Residence—
is based in Boston, Massachusetts. It is an
exciting musical collaborative comprising
five of the region’s most promising young
talents. Prize winners at the 2005 Lyon
International Chamber Music Competition,
2003 Fischoff International Chamber Music
Competition and semi-finalists at the Concert
Artists Guild Competition, Triton Brass is
in its second year as artists-in-residence at
The Boston Conservatory, where the group
serves as both performers and instructors.
Triton is proud to be faculty and co-hosts
of the Atlantic Brass Quintet International
Seminar. Triton Brass has served as chamber
music faculty at the Boston University
Tanglewood Institute since 2005.
Among its recent performances, Triton Brass
was a headline performer at the WGBH
annual fundraising celebration, whose
audience amounted to more than 30,000
listeners. Fervent supporters of new music,
the quintet has performed multiple world
premieres in recitals throughout the U.S. and
maintains an ongoing “call-for-scores” open
to all composers and collaborators.
SHELAGH ABATE, Triton Brass Quintet,
French Horn—was born on Long Island,
New York and completed her musical studies
in New England. After finishing her B.A. at
Boston College, she went on to receive her
M.M. at the University of Massachusetts,
Amherst, and her G.D. at The New England
Conservatory of Music in Boston, where
she studied with Gus Sebring. Abate spent
five years as a busy and versatile freelance
musician in the Boston area performing
with the Boston Pops, Boston Ballet, Boston
Lyric Opera (BLO), Boston Modern Orchestra
Project (BMOP), The John Allmark Jazz
8 | Wind Ensemble
Orchestra, the Greg Hopkins Nonet and all
of New England’s regional orchestras. Abate
has held the position of principal horn with
the Vermont Symphony Orchestra, under the
direction of Jaime Laredo, since 1999. She is
also principal of the New Bedford Symphony
Orchestra and City Music Cleveland, directed
by James Gaffigan. In 2005, Abate moved
home to New York, where she was hired into
the original Broadway orchestra of Andrew
Lloyd Webber’s The Woman in White. She has
been freelancing in New York ever since.
Abate currently performs regularly on many
Broadway shows, including Mary Poppins, The
Phantom of the Opera and Wicked. She has
made several live and television appearances
with Barry Manilow, including A&E’s Live! by
Request, Good Morning America and a PBS
special set to air in fall 2011. In addition,
Abate can be heard on Trey Anastasio’s selftitled solo CD on Elektra Records. She has
performed live with Ian Anderson, Linda
Ronstadt, Olivia Newton John and many
other noted artists.
Abate is a faculty member for The Boston
Conservatory’s Summer Brass Intensive (SBI),
a new two-week seminar for brass students
debuting in summer 2012.
STEPHEN BANZAERT, Triton Brass
Quintet, trumpet—received his M.M. from
the New England Conservatory and has
since been an active freelancer in the Boston
Area, serving as principal trumpet of the New
Bedford Symphony and performing regularly
with Boston Musica Viva, Emmanuel Music
and the Portland, Albany and Vermont
symphonies. A two-time trumpet fellow
at the Tanglewood Music Center—where
he was awarded the Roger Voisin Trumpet
Prize—Banzaert
performed
under
conductors including Seiji Ozawa, Andre
Previn, James DePriest and James Conlon
and presented recitals as a member of the
Tanglewood Music Center Brass Quintet.
As a soloist, Banzaert has performed with
the Concord Chorale, Rome Symphony and
Georgia Philharmonic, performed Vivaldi’s
Concerto for Two Trumpets with Andrew Sorg
in the Isabella Stewart Gardner Museum’s
New Year’s Concert and has successfully
performed Bach’s Brandenburg Concerto No. 2
at 9am. Banzaert’s principal teachers include
Boyde Hood, Peter Chapman, Ray Mase,
Charles Schlueter and Jim Pandolfi. In his
copious spare time, Banzaert is an instructor
at M.I.T. and is on the faculty of Hampshire
College, where he teaches electromechanics.
Banzaert is a faculty member for The Boston
Conservatory’s Summer Brass Intensive (SBI),
a new two-week seminar for brass students
debuting in summer 2012.
WESLEY HOPPER, Triton Brass Quintet,
trombone—studied
at
The
Boston
Conservatory under the tutelage of Larry
Isaacson. Additional teachers include David
Finlayson, Rick Stout, Gregory Cox and
Michael Dunn. In demand as a freelance
artist, he has performed with many New
England ensembles including the Boston
POPS, Vermont Symphony, Portland
Symphony, Albany Symphony and Boston
and Rhode Island Philharmonic Orchestras.
As a soloist, he has performed both the
Wagenseil and Larson concertos with the
Boston Invitational Chamber Orchestra
and as quintet soloist with the New York
Pops. As principal trombonist of the Boston
Metropolitan Orchestra, Hopper has
appeared with Arturo Sandoval and Maynard
Ferguson. His extensive chamber music
experience has involved him with many
of the country’s finest chamber musicians
including the Atlantic Brass Quintet, Bibi
Black, David Ohanian, Wynton Marsalis and
James Jenkins.
As a music publisher, Hopper has worked
with the Boston POPS Orchestra, Warner
Brothers (Mystic River soundtrack) and
numerous artists including Cyndi Lauper,
Diana Ross, Mandy Patinkin, Ricky Martin,
Linda Eder and the Chieftains. Hopper is
currently an adjunct trombone professor at
Boston College. He is a faculty member for
Boston University’s Tanglewood Institute and
the Atlantic Brass Quintet Summer Seminar.
Additionally, Hopper is producer, recording
engineer and co-owner of S & M Industries,
an independent hip-hop record label formed
with former Triton Brass member, Andrew
Sorg.
Hopper is the program director for The
Boston Conservatory’s Summer Brass
Intensive (SBI), a new two-week seminar for
brass students debuting in summer 2012.
ANDREW SORG, Triton Brass Quintet,
trumpet—is an active performer, composer,
chamber musician and trumpet teacher
in the Boston area. Originally from New
Jersey, he began playing trumpet at the
age of eight. A graduate of The Boston
Conservatory, Sorg is a proud member
of two award-winning ensembles, The
Atlantic and Triton Brass Quintets. He is the
recipient of the bronze and silver medals at
The Fischoff Chamber Music Competition,
The Spedidum Prize at The International
Lyon Chamber Music Competition, and the
Grand Prize Winner at The New York City
Brass Conference Brass Quintet Competition.
He has also performed with The Paramount
Brass, The Innovata Brass, Bala Brass, The
Royal Brass Quintet, The Nashua Symphony
and Vermont Symphony Brass Quintets
and is a member of The Old South Brass
Ensemble. Sorg has performed with various
orchestras such as The Vermont Symphony,
The Iris Orchestra, Opera Boston, Opera
North, The Tanglewood Festival Orchestra,
The Portland Symphony, Emmanuel Music
of Boston and was a soloist with Vermont
Mozart Festival Orchestra and the Gardner
Chamber Orchestra. He has performed
under some of the world’s top conductors
and made recordings with The Vermont
Symphony, The Vermont Symphony Brass
Quintet and The Old South Brass Ensemble
The Boston Conservatory | 9
under Albany and Denouement Records.
As an educator, Sorg holds teaching and
residency positions at Boston College,
The Boston Conservatory and The Boston
University Tanglewood Institute, in addition
to running two Atlantic Brass Seminars
in San Francisco, California and Boston,
Massachusetts. He has given master classes
at The Boston Conservatory, Calvin College,
M.I.T. and has worked with The Vermont
Youth Orchestra and The Boston Youth
Orchestra. He is a former faculty member
at Boston College and Eastern Nazarene
College and his students have won first
chairs in Massachusetts Central Districts, AllState, participated in All-Eastern and gone
on to some of the top music schools in the
country. Sorg’s primary teachers are Phil
Ruecktenwald, Steve Emery, Ben Wright and
Jim Pandolfi.
Sorg is a faculty member for The Boston
Conservatory’s Summer Brass Intensive, a
new two-week seminar for brass students
debuting in summer 2012.
JOBEY WILSON, Triton Brass Quintet,
tuba—has a charismatic style of tuba
playing that has entertained audiences all
over the U.S., Canada, France and Japan.
Born and raised a prodigious golfer in
Broken Arrow, OK, he retired his golf clubs
at the age of 18 to pursue his new love
of music. After four crucial years with
Oklahoma City Philharmonic tubist Ted L.
Cox, Wilson completed his Bachelor of Music
degree from the University of Oklahoma
and moved northeast to refine his skills
with the legendary Chester Schmitz of
the Boston Symphony.
Wilson earned
his Master of Music degree from the New
England Conservatory of Music in 2001 and
has since resided in Boston as a freelance
performer and teacher. As an orchestral
musician he has performed under the batons
of Seiji Ozawa, Michael Tilson Thomas,
Stanislaw Skrowaczewski, James Conlon,
Roberto Abbado and Gunther Schuller.
Wilson currently holds the principal tuba
positions with the New Bedford Symphony,
Hingham Symphony, Lexington Symphony
and the Berkshire Symphony Orchestra. He
has also performed with the Boston Pops,
Boston Ballet, Boston Philharmonic, Albany
Symphony, Portland Symphony (ME),
New World Symphony, Tanglewood Music
Center Orchestra, and the Aspen Chamber
Symphony. Wilson is a faculty member for
The Boston Conservatory’s Summer Brass
Intensive, a new two-week seminar for brass
students debuting in summer 2012.
SPECIAL THANKS
Larry Isaacson, associate director, music division
Katy Giorgio, assistant to the director, music division
Tuaha Khan, concert manager
Angela Lickiss, performance librarian
Marina Krickler, large ensemble assistant
Stephanie McGurren and Bethanne Walker, ensemble managers
Jonathon Heyward, Chia-Li Ho, Shannon Smith, Catherine Miller and
Laurentiu Norocel, library assistants
10 | Wind Ensemble
THE BOSTON CONSERVATORY
WIND ENSEMBLE, 2011–2012
PICCOLO
Rachel Azrak, G.P.D. ‘13
Na Young Ham, G.P.D. ‘12
Stephanie McGurren, B.M. ‘12
Leia Slosberg, B.M. ‘14
FLUTE
Rachel Azrak, G.P.D. ‘13
Scott Archer, B.M. ‘13
Michel Dew, B.M. ‘13
Jessica Fennelly, B.M. ‘15
Rebecca Layton, M.MED. ‘12
Stephanie McGurren, B.M. ‘12
Allison Parramore, M.M. ‘13
Leia Slosberg, B.M. ‘14
ALTO FLUTE
Allison Parramore, M.M. ‘13
OBOE
Antony Jekov, B.M. ‘13
Christine Sallas, M.M. ‘12
Daniel Stackhouse, B.M. ‘14
Lindsey Stein, B.M. ‘15
Shandra Stiemert, B.M. ‘13
ENGLISH HORN
Amy Gollins, G.P.D. ‘13
E-FLAT CLARINET
David Dziardziel, B.M. ‘12
CLARINET
Adam Augustine, B.M. ‘13
Stephanie Clark, B.M. ‘14
Louis Coy, B.M. ‘15
Stephanie Davis, B.M. ‘14
David Dziardziel, B.M. ‘12
Cheongmoo Kang, G.P.D. ‘13
Sophie Kass, B.M. ‘15
Emily Liang, B.M. ‘14
Brittnee Pool, B.M. ‘15
Kevin Price, B.M. ‘12
Nicolas Quattrocchi, B.M. ‘12
Diana Searle, B.M. ‘13
BASS CLARINET
Stephanie Clark, B.M. ‘14
Nicolas Quattrocchi, B.M. ‘12
CONTRABASS CLARINET
Kevin Price, B.M. ‘12
BASSOON
Zhao Gao, G.P.D. ‘13
Cheng Ma ¶
Shelly Mohr, B.M. ‘12
CONTRABASSOON
Shelly Mohr, B.M. ‘12
ALTO SAXOPHONE
Karen Cubides, B.M. ‘13
Goran Daskalov, B.M. ‘14
TENOR SAXOPHONE
Joseph Neale, M.M. ‘13
BARITONE SAXOPHONE
Karen Cubides, B.M. ‘13
Rebecca Wellons ¶
HORN
Nicholas Auer, B.M. ‘14
Charles Hitt, B.M. ‘14
Kristine Rooke, B.M. ‘13
Stephanie Smith, B.M. ‘14
Yuan Tian, G.P.D. ‘13
TRUMPET
Loo Kit Chong, B.M. ‘12
Daniel Dacey, B.M. ‘14
Chun Kong Lee, G.P.D. ‘13
Mo Xi Li, G.P.D. ‘13
Yi-Ling Lin, B.M. ‘14
Catherine Miller, G.P.D. ‘13
Kevin Natoli, B.M. ‘13
PERCUSSION
Taylor Ambrosio Wood, B.M. ‘15
Tyler Flynt, B.M. ‘13
Danielle Fortner, M.M. ‘13
Michael Hardin, M.M. ‘13
Tyler Hefferon, B.M. ‘15
Standy Hung, M.M. ‘12
David Luidens, B.M. ‘13
Robert Oldroyd, B.M. ‘15
Adam Pol, B.M. ‘15
Nate Tucker, B.M. ‘12
Nicholas White, M.M. ‘13
HARP
Molly McCaffrey, M.M. ‘13
GUITAR
Eric Gaudette ¶
PIANO/CELESTE
Samuel Bagala, B.M. ‘14
BASS
Dana Christie, B.M. ‘14
¶ Guest Artist
TROMBONE
Keith Almanza, B.M. ‘12
Joseph Dupuis, B.M. ‘13
Victoria Garcia, B.M. ‘14
Leanne Hanson, B.M. ‘12
Christian Howard, B.M. ‘14
Brian Johnston, B.M. ‘15
Matthew Luhn, M.M. ‘12
BASS TROMBONE
Jeanette Velasco, B.M. ‘15
EUPHONIUM
David Kocjancich, B.M. ‘14
John Niro, B.M. ‘15
TUBA
William Rueckert, M.M. ‘13
Daniel Sanchez, B.M. ‘15
Andrew Smith, B.M. ‘12
TIMPANI
Tyler Flynt, B.M. ‘13
David Luidens, B.M. ‘13
Matthew Sharrock, G.P.D. ‘13
Nicholas White, M.M. ‘13
The Boston Conservatory | 11