DEDICATION FESTIVAL the KRANNERT CENTER for the PERFORMING ARTS UNIVERSITY OF ILLINOIS at Urbana-Champaign APRIL 19 to MAY 18, 1969

DEDICATION FESTIVAL 
UNIVERSITY OF ILLINOIS at Urbana-Champaign 
APRIL 19 to MAY 18, 1969 

The UN In the summer of 1962 Mr. and Mrs. Herman C. Krannert indicated their intention of making a major gift to the University of Illinois. After meeting with University President David D. Henry, they decided that their gift should fund units of a performing arts complex which had long been desired by the University. This building is the result. The Center is intended as a unified concept where music, opera, theatre, and the dance can operate both in training and performance as interrelated and complementary to one another, bringing these arts close together both for performers and for audiences. As we open this spring, we are in our infancy. There is much to be done before we can grow to the full potential that this unique struc- ture offers as a training facility and as a cultural Center, where standard works, new works, and experimentation in all fields of the performing arts can flourish side by side. We hope that the Krannert Center's varied activities will catch the imagination and merit the support of the University community and of the community of the Twin Cities. We hope to attract visitors from far afield and to become a landmark for the performing arts in the heart of the Middle West. U JOHN BURRELL

In the summer of 1962 Mr. and Mrs. Herman C. Krannert indicated 
their intention of making a major gift to the University of Illinois. 
After meeting with University President David D. Henry, they decided 
that their gift should fund units of a performing arts complex which 
had long been desired by the University. This building is the result. 
The Center is intended as a unified concept where music, opera, 
theatre, and the dance can operate both in training and performance 
as interrelated and complementary to one another, bringing these arts 
close together both for performers and for audiences. 
As we open this spring, we are in our infancy. There is much to be 
done before we can grow to the full potential that this unique struc-
ture offers as a training facility and as a cultural Center, where 
standard works, new works, and experimentation in all fields of the 
performing arts can flourish side by side. 
We hope that the Krannert Center's varied activities will catch the 
imagination and merit the support of the University community and 
of the community of the Twin Cities. We hope to attract visitors 
from far afield and to become a landmark for the performing arts in 
the heart of the Middle West. 
JOHN BURRELL 
The 

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 N R N T N [S .L TG A "T IN K is LE H LE N ¡E

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 
N 
:R 
N 
'T 
N 
rs 
.L 
re 
:A 
'T 
1N 
K 
:s 

Program Notes As it begins a second decade the University of Illinois Wind Ensemble continues to b COL and a unique organization on the local and national scene. It is one of only a few tinuing groups solely dedicated to the performance of wind orchestra musid chamber music for winds. The versatility of the Wind Ensemble, based upon the so performer premise, has established a tradition of performing chamber or large instr mentations, traditional or experimental combinations, and early through contem rary literature. Each concert represents the further establishment of a standar repertory within the vast catalogue of works for this performance medium, and co sistently includes premiere and first local performances of wind compositions. P 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 typica brilliant brass writing of the English along with an expanded percussion compleme 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 bol the position of composer in residence with the New York Philharmonic Orchestra His "King Lear Variations" for wind orchestra and percussion was performed by tha orchestra and the National Symphony although it was initially commissioned by the American Wind Symphony of Pittsburgh. Following the theme statement by sol 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 i 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 it 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 of 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 w established before his earlier works such as Three Penny Opera and the very ea "Concerto for Violin and Winds" gained attention. The concerto is a tonal dialo playing the virtuosic violin against the winds. Of special interest is the second mow ment which is made up of three connected, but varied musical entities to replace 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).........William Alwyn KING LEAR VARIATIONS (1965).. [1905-J ..David Amram [1930-) MUSIC FOR ROYAL FIREWORKS (1749).....George Frederick Handel Ouverture La Rejouissance Bourrée Menuets I and II La Paix [1685-1759) Intermission 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.

Program Notes 
As it begins a second decade the University of Illinois Wind Ensemble continues to 
a unique organization on the local and national scene. It is one of only a few 
tinuing groups solely dedicated to the performance of wind orchestra music' 
chamber music for winds. The versatility of the Wind Ensemble, based upon the a-. 
performer premise, has established a tradition of performing chamber or large i IClla 
mentations, traditional or experimental combinations, and early through cont~ 
rary literature. Each concert represents the further establishment of a stan~ 
repertory within the vast catalogue of works for this performance medium, and COIi, 
sistently includes premiere and first local performances of wind compositions. ~ 
fessor Robert Gray has been the conductor of the Wind Ensemble since its incep~ 
The opening "Fanfare for a Joyful Occasion," by Alwyn, displays the typi~ 
brilliant brass writing of the English along with an expanded percussion complelllell, 
including >..-ylophone, marimba, vibraphone, and orchestra bells, in addition to · 
traditional battery. 
David Amram is a rapidly emerging American composer who was first to 
the position of composer in residence with the New York Philharmonic Orch 
His "King Lear Variations" for wind orchestra and percussion was performed by 
orchestra and the National Symphony although it was initially commissioned by 
American Wind Symphony of Pittsburgh. Following the theme statement by 
bassoon the six variations feature different instrumental choirs - double reeds, w1 
winds, full ensemble Alla Marcia, cantus firmus treatment, percussion and brass 
closing with a full ensemble finale which tapers to the quality of the openilf 
The details behind the first performance of the "Music for Royal Fireworks" n1Ji1 
similarly to the legends surrounding the first playing of Handel's "Water Music" 
1 71 7, with one major difference: They are true. The suite exemplifies Handel in 
maturity combining techniques of an earlier Baroque period with the brilliancy 
nobility of his own inventiveness. 
Our soloist for the evening, Endre Granat, is well-known on this campus and 
ternationally for the warmth of his musicality and his brilliant virtuosity. With 
in Budapest and an Artist Diploma from the Basel Music Academy, he has 
concertmaster of the Goteborg Symphony, assistant concertmaster of the Clev, 
Orchestra, has reaped several prizes in international competitions, and has been 
the faculty of the University of Illinois since 1966. Ever broadening his concer · • 
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 
seem. His later activities as a popular composer for the musical theatre were 
established before his earlier works such as Three Penny Opera and the very 
"Concerto for Violin and Winds" gained attention. The concerto is a tonal dial, 
playing the virtuosic violin against the winds. Of special interest is the second 
ment which is made up of three connected, but varied musical entities to replace 
traditional slow movement. Evident in this work are Weill's melodic facility, 
rhapsodic quality full of musical intensity. 
Program 
FANFARE FOR A JOYFUL OCCASION 11964) . ........ William Alwyn 
11905--1 
KING LEAR VARIATIONS 11965). ................... David Amram 
11930--1 
MUSIC FOR ROYAL FIREWORKS 11749). .... George Frederick Handel 
11685-17591 
Ouverture 
Boum~e 
La Paix 
La Rejouissance 
Menuets I and II 
Intermission 
CONCERTO FOR VIOLIN AND WINDS, OPUS 12 11924) . ..... Kurt Weill 
Andante con moto 
Notturno - Cadenza - Serenato 
Allegro molto, un poco agitato 
Violin Soloist: Endre Granat 
11900-19501 
Please retain your ticket stub, as it may be checked durin.g intermission. 
The taking of photographs during performances is strictly prohibited. 

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 Darting David Tasa Thomas Fiala Ronald McWilliams TROMBONE Douglas Lemmon John Sexton Wayne Ryerson Patti Rosso Jon Cheville CLARINET-BASS CLARINET William Shontz Margene Kirkwood James McNeely Charles Yassky BASSOON-CONTRA BASSOON John Doppe Richard Scott Eugene Scholtens HORN Marsha Mattsoni James Keays Daniel Lunt Mary Lee Kurowski Steve Pierson Robert Kidd TUBA James Plondke STRING BASS Joan Frey John Monaghan James Plandke TIMPANI-PERCUSSION Cheryl Hamma Michael Udow James Theobald Robert Lintzanich Robert Rosen PIANO Baiba Nikiforous FOR THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN Dean, College of Fine and Applied Arts Director, School of Music. Chairman, Department of Theatre Acting Head, Department of Dance ALLEN S. WELLER DUANE BRANIGAN BARNARD HEWITT JANIS LEE STOCKMAN STAFF FOR THE KRANNERT CENTER FOR THE PERFORMING ARTS Director. Production Administrator Business Manager Scenic Designer. Lighting Designer Audio Director. Technical Director Production Coordinator Building Superintendent Publicity Coordinator. Advertising Public Information JOHN BURRELL ROBERT DOWNING JOHN SHEA JOHN BOYT RAY CATON JAAP SPEK BERNHARD WORKS JEAN (JOE) FAVRE + BILL NASH TERRY MOORE Herbert DoTTEN ELDON M. KNOCHE

UNIVERSITY OF ILLINOIS WIND ENSEMBLE PERSONNEL 
FLUTE-PICCOLO 
Steven Geibel 
Jill Albertson 
Pamela Sonoski 
OBOE-ENGLISH HORN 
Benjamin Woodruff 
Ann Potterson 
Lindo 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 Matteoni 
Jomes Keays 
Daniel Lunt 
Mary lee Kurowski 
Steve Pierson 
TRUMPET 
James Darling 
David Tosa 
Thomas Fiala 
Ronald McWilliams 
TROMBONE 
Douglas Lemmon 
John Sexton 
Robert Kidd 
TUBA 
Jomes Plondke 
STRING BASS 
Joan Frey 
John Monoghon 
Jomes Plondke 
TIMPANI-PERCUSSION 
Cheryl Hamma 
Michael Udow 
James Theobald 
Robert Lintzenich 
Robert Rosen 
PIANO 
Boiba Nikiforous 
FOR THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 
Dean, College of Fine and Applied Arts 
Director, School of Music . 
Chairman, Department of Theatre 
Acting Head, Department of Dance 
ALLEN s. WELLER 
D UANE B RANIGAN 
B ARNARD H EWIT T 
J ANIS LEE STOCKMAN 
STAFF FOR THE KRANNERT CENTER FOR THE PERFORMING ARTS 
Director 
Production Administrator 
Business Manager 
Scenic Designer . 
Lighting Designer 
Audio Director . 
Technical Director 
Production Coordinator 
Building Superintendent 
Publicity Coordinator 
Advertising 
Public Information 
J OHN B URRELL 
R OBERT DOWNING 
J OHN SHEA 
J OHN BOYT 
R AY CATON 
J AAP SPEK 
BERNHARD WORKS 
JEAN (JoE) FAVRE 
BILL NASH 
TERRY MOORE 
HERBERT DOTTEN 
ELDON M. KNOCHE