.NEELY BRUCE Variations and Interludes (1969).. Theme Variation I Interlude I Variation II Variation III Variation IV Interlude II Variation V John Schaeffer, Organ Dance II (1969).. .NANCY TOPF, BARRY BROSCH in music with presence Linda Ferreira, Vaughn Paul Siarny, Dancers James Fulkerson, Cello Charles Madden, Piano Barry Brosch, Clavichord MODERN MUSIC VI '69 Tuesday, May 20, 8:00 p.m. The Krannert Center for the Performing Arts Great Hall UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN Sunday, May 4, 1969 8:00 p.m. The School of Music of the University of Illinois presents the UNIVERSITY OF ILLINOIS WIND ENSEMBLE Robert Gray, Conductor Guest Artist: Endre Granat, Violinist 407

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Variations and Interludes (1969) .................... NEELY B 
Theme 
Variation I 
Interlude I 
Variation II 
Variation III 
Variation IV 
Interlude II 
Variation V 
John Schaeffer, Organ 
~Uci;: 
Dance II (1969) ..................... NANCY ToPF, BARRY BRoscH 
in music with presence 
Linda Ferreira, Vaughn Paul Siarny, Dancers 
James Fulkerson, Cello 
Charles Madden, Piano 
Barry Brosch, Clavichord 
MODERN MUSIC VI '69 
Tuesday, May 20, 8:00 p.m. 
The K.rannert Center for the Performing Arts 
Great Hall 
UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 
Sunday, May 4, 1969 
8:00 p.m. 
The School of Music 
of the University of Illinois 
presents the 
UNIVERSITY OF ILLINOIS 
WIND ENSEMBLE 
Robert Gray, Conductor 
Guest Artist: Endre Granat, Violinist 
'lo 7 

908 Program Notes As it begins a second decade the University of Illinois Wind Ensemble continues to be a unique organization on the local and national scene. It is one of only a few con tinuing groups solely dedicated to the performance of wind orchestra music and chamber music for winds. The versatility of the Wind Ensemble, based upon the solo performer premise, has established a tradition of performing chamber or large instru- mentations, traditional or experimental combinations, and early through contempo- rary literature. Each concert represents the further establishment of a standard repertory within the vast catalogue of works for this performance medium, and con- sistently includes premiere and first local performances of wind compositions. Pro- fessor Robert Gray has been the conductor of the Wind Ensemble since its inception. The opening "Fanfare for a Joyful Occasion," by Alwyn, displays the typically brilliant brass writing of the English along with an expanded percussion complement, including xylophone, marimba, vibraphone, and orchestra bells, in addition to the traditional battery. David Amram is a rapidly emerging American composer who was first to hold the position of composer in residence with the New York Philharmonic Orchestra. His "King Lear Variations" for wind orchestra and percussion was performed by that orchestra and the National Symphony although it was initially commissioned by the American Wind Symphony of Pittsburgh. Following the theme statement by solo bassoon the six variations feature different instrumental choirs-double reeds, wood- winds, full ensemble Alla Marcia, cantus firmus treatment, percussion and brass- closing with a full ensemble finale which tapers to the quality of the opening. The details behind the first performance of the "Music for Royal Fireworks" read similarly to the legends surrounding the first playing of Handel's "Water Music" in 1717, with one major difference: They are true. The suite exemplifies Handel in his maturity combining techniques of an earlier Baroque period with the brilliancy and nobility of his own inventiveness. Our soloist for the evening, Endre Granat, is well-known on this campus and in- ternationally for the warmth of his musicality and his brilliant virtuosity. With study in Budapest and an Artist Diploma from the Basel Music Academy, he has been concertmaster of the Goteborg Symphony, assistant concertmaster of the Cleveland Orchestra, has reaped several prizes in international competitions, and has been on the faculty of the University of Illinois since 1966. Ever broadening his concertizing, Mr. Granat will tour out of the country in the near future. The musical output of Kurt Weill has revealed itself in a reverse order, it would seem. His later activities as a popular composer for the musical theatre were well "Concerto for Violin and Winds" gained attention. The concerto is a tonal dialogue established before his earlier works such as Three Penny Opera and the very early playing the virtuosic violin against the winds. Of special interest is the second move ment which is made up of three connected, but varied musical entities to replace the traditional slow movement. Evident in this work are Weill's melodic facility, and a rhapsodic quality full of musical intensity. Program FANFARE FOR A JOYFUL OCCASION (1964).. KING LEAR VARIATIONS (1965)... William Alwyn (1905- - David Amram (1930-) MUSIC FOR ROYAL FIREWORKS (1749).....George Frederick Handel Ouverture La Rejouissance Bourrée Menuets I and II La Paix Intermission (1685-1759) CONCERTO FOR VIOLIN AND WINDS, OPUS 12 (1924)......Kurt Weill (1900-1950) Andante con moto Notturno Cadenza - Serenato Allegro molto, un poco agitato Violin Soloist: Endre Granat Please retain your ticket stub, as it may be checked during intermission. The taking of photographs during performances is strictly prohibited. 409

l\\v~ 
Program Notes ------
As it begins a second decade the University of Illinois Wind Ensemble contin 
a unique organization on the local and national scene. It is one of only a ts to be 
tinuing groups solely dedicated to the performance of wind orchestra mue':V con. 
chamber music for winds. The versatility of the Wind Ensemble, based upon :~c and 
performer premise, has established a tradition of performing chamber or large . e solo 
. d' . 1 . 1 b' · d 1 instru mentatJ.ons, tra 1tiona or expenmenta com matrons, an ear y through cont · 
rary literature. Each concert represents the further establishment of a stae~po. 
repertory within the vast catalogue of works for this performance medium an: anf 
sistently includes premiere and first local performances of wind compositions. ~on. 
fessor Robert Gray has been the conductor of the Wind Ensemble since its incepti:-
The opening "Fanfare for a Joyful Occasion," by Alwyn, displays the typical~· 
?rillia1:t brass writing of ~e Engli~h along with an expanded perc~ssion ~mplemen{ 
mcludmg xylophone, marimba, vibraphone, and orchestra bells, m addition to the 
traditional battery. 
David Amram is a rapidly emerging American composer who was first to hold 
the position of composer in residence with the New York Philharmonic Orchestra. 
His "King Lear Variations" for wind orchestra and percussion was performed by that 
orchestra and the National Symphony although it was initially commissioned by the 
American Wind Symphony of Pittsburgh. Following the theme statement by solo 
bassoon the six variations feature different instrumental choirs - double reeds, wood· 
winds, full ensemble Alla Marcia, cantus firmus treatment, percussion and brass-
closing with a full ensemble finale which tapers to the quality of the opening. 
The details behind the first performance of the "Music for Royal Fireworks" read 
similarly to the legends surrounding the first playing of Handel's "Water Mus~c" 
1717, with one major difference: They are true. The suite exemplifies H~~del in~ 
maturity combining techniques of an earlier Baroque period with the bnlhancy an 
nobility of his own inventiveness. . 
Our soloist for the evening, Endre Granat, is well-known on this campus and 1;· 
ternationally for the warmth of his musicality and his brilliant virtuosity. Withs:: 
in Budapest and an Artist Diploma from the Basel Music Academy, he has I ed concertmaster of the Goteborg Symphony, assistant concertmaster of the Cleve a:n 
Orchestra, has reaped several prizes in international competitions, and has be~\\g, 
the faculty of the University of Illinois since 1966. Ever broadening his concertJZI 
Mr. Granat will tour out of the country in the near future. . ould 
The musical output of Kurt Weill has revealed itself in a reverse order, it w well 
seem. His later activities as a popular composer for the musical theatre were early 
established before his earlier works such as Three Penny Opera and the traJogue 
"Concerto for Violin and Winds" gained attention. The concerto is a tona d1 rno~-e-
playing the virtuosic violin against the winds. Of special interest is the secon Jace tbe 
ment which is made up of three connected, but varied musical entities to and • 
traditional slow movement. Evident in this work are Weill's melodic faci 1 ' 
rhapsodic quality full of musical intensity. 
Program 
FANFARE FOR A JOYFUL OCCASION 119641 . ........ William Alwyn 
11905--l 
KING LEAR VARIATIONS 119651. •••••.••.••.••...•. David Amram 
11930--l 
MUSIC FOR ROYAL FIREWORKS (17 491. •••• George Frederick Handel 
11685-1759) 
Ouverture 
Bourree 
La Paix 
La Rejouissance 
Menuets I and II 
Intermission 
CONCERTO FOR VIOLIN AND WINDS, OPUS 12 (19241 . ..... Kurt Weill 
Andante con moto 
Notturno - Cadenza - Serenato 
Allegro molto, un poco agitato 
Violin Soloist: Endre Granat 
11900-1950) 
Please retain your ticket stub, as it may be checked during intermission. 
The taking of photographs during performances is strictly prohibited. 
4oo/ 

400 UNIVERSITY OF ILLINOIS WIND ENSEMBLE PERSONNEL FLUTE-PICCOLO Steven Geibel Jill Albertson Pamela Sanoski OBOE-ENGLISH HORN Benjamin Woodruff Ann Patterson Linda Kulwin TRUMPET James Darling David Tasa Thomas Fiala Ronald McWilliams TROMBONE Douglas Lemmon John Sexton Robert Kidd Wayne Ryerson Patti Rosso Jon Cheville CLARINET-BASS CLARINET William Shontz Margene Kirkwood James McNeely TUBA James Plondke STRING BASS Joan Frey John Monaghan Charles Yassky BASSOON-CONTRA BASSOON John Deppe Richard Scott Eugene Scholtens HORN Marsha Matteoni James Keays Daniel Lunt Mary Lee Kurowski Steve Pierson James Plondke TIMPANI-PERCUSSION Cheryl Hamma Michael Udow James Theobald Robert Lintzenich Robert Rosen PIANO Baiba Nikiforous The Krannert Center for the Performing Arts Great Hall UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN Friday, May 9, 1969 8:00 p.m. TWENTIETH CENTURY CHAMBER MUSIC 411

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UNIVERSITY OF ILLINOIS WIND ENSEMBLE PERSONNEL 
FLUTE-Pl CCOLO 
Steven Geibel 
Jill Albertson 
Pamela Sonoski 
OBOE-ENGLISH HORN 
Benjamin Woodruff 
Ann Patterson 
Linda Kulwin 
Wayne Ryerson 
Patti Rosso 
Jon Cheville 
CLARINET-BASS CLARINET 
William Shontz 
Margene Kirkwood 
James McNeely 
Charles Yassky 
BASSOON-CONTRA BASSOON 
John Deppe 
Richard Scott 
Eugene Scholtens 
HORN 
Marsha Matteani 
James Keays 
Daniel Lunt 
Mary Lee Kurowski 
Steve Pierson 
TRUMPET 
James Darling 
David Toso 
Thomas Fiala 
Ronold McWilliams 
TROMBONE 
Douglas Lemmon 
John Sexton 
Robert Kidd 
TUBA 
James Plondke 
STRING BASS 
Joan Frey 
John Monaghan 
James Plandke 
TIMPANI-PERCUSSION 
Cheryl Homma 
Michael Udaw 
James Theobald 
Robert Lintzenich 
Robert Rosen 
PIANO 
Baiba Nikiforaus 
The Krannert Center for the Performing Arts 
Great Hall 
UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 
Friday, May 9, 1969 
8:00 p.m. 
TWENTIETH CENTURY 
CHAMBER MUSIC 
LI ,,