If you are a talented wind or percussion musician who loves to be challenged and to perform cutting-edge works for wind band, then this is the right ensemble for you. Auditions are held each semester to ensure that our members are on top of their game. We welcome all majors who win the auditions, for talent is not limited to music majors alone. Go ahead, show us what you can do!
Dr. Mark U. Reimer is conductor of the CNU Wind Ensemble and Chair of the Department of Music at Christopher Newport University. He teaches undergraduate and graduate conducting and wind literature and serves frequently as a guest conductor, clinician, and adjudicator in the United States and abroad. Dr. Reimer conducts the CNU instrumental ensembles on their international tours that have included performances in Germany, The Netherlands, Italy, France, Austria, Slovenia, and Scotland. Dr. Reimer earned the Bachelor of Music Education degree from Drake University where he was voted “Most Outstanding Senior” by the music faculty, the Master of Music degree in wind conducting and literature from the University of Cincinnati College-Conservatory of Music where he served as the Assistant Conductor of the CCM Brass Choir, and the Doctor of Music degree in wind conducting and literature from Indiana University, the first student to earn this degree. His conducting teachers include Ray Cramer, Terrence Milligan, and Don Marcouiller, and his brass teachers include Harvey Phillips, Sam Green, and Robert Weast. A recipient of an Indiana University Fellowship to Germany, Dr. Reimer founded the Journal of Performing Arts Leadership in Higher Education and has published articles in the leading international wind band magazines and journals, including the Journal of Band Research, Journal of the College Band Directors National Association, Music Educators Journal, Research and Issues in Music Education, The Instrumentalist, Journal of the World Association of Symphonic Bands and Ensembles, Alta Musica of the International Society for the Promotion and Investigation of Wind Music, American Music Teacher of the Music Teachers National Association, TUBA Journal, Conference Proceedings of the Global Awareness Society International, and the Journal of Performing Arts Leadership in Higher Education. He has presented papers in Germany, Hungary, Italy, Turkey, New York, New Orleans, San Francisco, Norfolk, Washington, D.C., and Williamsburg. Dr. Reimer is a member of the International Society for the Promotion and Investigation of Wind Music, the College Band Directors National Association, the National Association for Music Education, and the College Music Society. He is Past President of the College Division of the Virginia Music Educators Association, Past Province Governor of Phi Mu Alpha Sinfonia, an accreditation visitor for the National Association of Schools of Music, and the 2011 recipient of the CNU Alumni Society Award for Excellence in Teaching and Mentoring.
CNU Wind Ensemble
Dr. Mark Reimer, conductor
Repertoire of the CNU Wind Ensemble
Dr. Mark U. Reimer, conductor 1992-2011
|Adams, John||Short Ride in a Fast Machine|
|Alexander, Russell||Memphis the Majestic|
|Alexander, Russell||Olympia Hippodrome|
|Alexander, Russell||Patriots of the Potomac|
|Alexander, Russell||Rival Rovers|
|Alexander, Russell||The Southerner March|
|Alford, Harry||The Purple Carnival|
|Arnold, Malcolm||H.R.H. The Duke of Cambridge March|
|Arnold, Malcolm/Paynter||Prelude, Siciliano, and Rondo|
|Bach, J.S./Hunsberger||Toccata and Fugue in D Minor|
|Bach, J.S./Grainger||O Mensch, Bewein’ Dein’ Sünde Gross|
|Bagley, Edwin||National Emblem|
|Barber, Samuel||Commando March|
|Barker, Jennifer||Nobody Told Me|
|Barnes, James||Centennial Celebration Overture|
|Beethoven, Ludwig van||Three Equale|
|Bennett, Harold||Military Escort|
|Benson, Warren||The Leaves are Falling|
|Benson, Warren||The Solitary Dancer|
|Berlin, Irving||God Bless America|
|Bernstein, Leonard/Grundman||Candide Suite|
|Bernstein, Leonard/Polster||Four Dances from West Side Story|
|Bernstein, Leonard/Duthoit||Selections from West Side Story|
|Bestybaev, Adil||Idee Fixe|
|Binge, Ronald||Concerto for Alto Saxophone and Band|
|Blanquer, Amando||Concierto para Banda|
|Bruckner, Anton||Mass in E Minor|
|Buckley, Lewis||American Portrait|
|Bukvich, Daniel||Symphony Number 1|
|Casey, James||Glory of Jamestown|
|Chaminade, Cecile||Concertino, Op. 107|
|Chance, John Barnes||Variations on a Korean Folk Song|
|Clausen, René||The Midnight Ride of Paul Revere|
|Coates, Eric||The Dam Busters|
|Cook, Christopher||House Music|
|Copland, Aaron||Variations on a Shaker Melody|
|Cowell, Henry||A Curse and a Blessing|
|Creatore, Giuseppe||March Electric|
|Cupero, Edward Victor||Honey Boys on Parade|
|Daugherty, Michael||Niagara Falls|
|de Haan, Jan||Banja Luka|
|Di Marino, Roberto||Benacus|
|de Meij, Johann||Aquarium|
|de Nardis, Camille||The Universal Judgment|
|Del Tredici, David/Spede||Acrostic Song|
|Dello Joio, Norman||Scenes from the Louvre|
|Draexlmeier, Xaver/Heidler||Konzertstueck fuer Tenorhorn und Blasorchester|
|Elliot, Zo||British Eighth|
|Ewazen, Eric||Celtic Hymns and Dances|
|Ewazen, Eric||Fantasia for Seven Trumpets|
|Ewazen, Eric||Hymn for the Lost and the Living|
|Fauré, Gabriel||Chant Funéraire|
|Fillmore, Henry||Americans We|
|Fillmore, Henry||The Circus Bee|
|Fillmore, Henry||The Footlifter|
|Fillmore, Henry||The Klaxon|
|Fillmore, Henry||Rolling Thunder|
|Folio, Cindy||Living Legacy|
|Forte, Aldo||Canzonetta for Euphonium and Band|
|Forte, Aldo||Dance Suite on Spanish and Latin Rhythms|
|Frometa, Luis Maria/Osuna||Avilena|
|Fuchs, Kenneth||Christina’s World|
|Fucik, Julius||Herzegowina Marsch|
|Fucik, Julius/Lake/Fennell||Florentiner March|
|Galbraith, Nancy||Danza de los Duendes|
|Gallego, F.J. Martinez||Amigas de “La Armonica”|
|Ganne, Louis||Marche Lorraine|
|Gates, George||Sol y Sombra|
|Gerster, Ottmar||Oberhessische Bauerntaenze|
|Gershwin, George/Hunsberger||Rhapsody in Blue|
|Gillingham, David||Concerto for Four Percussion and Wind Ensemble|
|Gillingham, David||Concerto for Horn and Symphonic Band|
|Gillingham, David||Waking Angels|
|Gilmore, Bernard||Five Folk Songs for Soprano and Band|
|Glazunov, Alexander||Rêverie, Op. 24|
|Gliere, Reinhold||Russian Sailors’ Dance|
|Goldman, Edwin||The Chimes of Liberty|
|Goldman, Edwin||On the Mall|
|Gorb, Adam||Adrenaline City|
|Gorb, Adam||Yiddish Dances|
|Grafulla, Claudio||Washington Grays|
|Graham, Peter||The Red Machine|
|Grainger, Percy||Bell Piece|
|Grainger, Percy||Children’s March|
|Grainger, Percy||Colonial Song|
|Grainger, Percy||Country Gardens|
|Grainger, Percy/Sousa||Country Gardens|
|Grainger, Percy||The Gum Suckers March|
|Grainger, Percy||Irish Tune from County Derry and Shepherd’s Hey|
|Grainger, Percy||Lincolnshire Posy|
|Grainger, Percy||Molly on the Shore|
|Grainger, Percy||Ye Banks and Braes O’ Bonnie Doon|
|Gregson, Edward||Concerto for Piano and Wind|
|Gulyas, Laszlo||Music from Szek|
|Hailstork, Adolphus||American Guernica|
|Hanson, Shelley||Islas y Montanas|
|Herman, Jerry||Hello, Dolly!|
|Hesketh, Ken||Infernal Ride|
|Hindemith, Paul||Symphonic Metamorphoses|
|Hindemith, Paul||Symphony in B flat|
|Holsinger, David||Texas Promenade|
|Holst, Gustav||First Suite in Eb|
|Horovitz, Joseph||Bacchus on Blue Ridge|
|Hosay, James||1607-The Dream Comes Alive|
|Hosay, James||A Time for Heroes|
|Howe, Julia/Wilhousky||Battle Hymn of the Republic|
|Huff, Will||The Squealer|
|Hulse, Brian||Concerto for Piano and Symphonic Winds|
|Hummel, Bertold||Symphonische Ouverture|
|Hunsberger, Donald||Dancin’ into the ‘20s|
|Husa, Karel||Music for Prague 1968|
|Husa, Karel||Smetana Fanfare|
|Iannaccone, Anthony||After a Gentle Rain|
|Ives, Charles/Sinclair||Country Band March|
|Ives, Charles/Rhoads||Variations on America|
|Jacob, Gordon||The Canterbury Flourish|
|Jenkins, Joseph Willcox||American Overture for Band|
|Jewell, Fred||“Battle Royal” March|
|Jewell, Fred||E Pluribus Unum|
|Jewell, Fred||Miss Trombone|
|Jewell, Fred||The Outlook|
|Jewell, Fred||The Screamer|
|Kabelevsky, Dmitri/Hunsberger||Overture to Colas Breugnon|
|Kennan, Kent||Night Soliloquy|
|Khachaturian, Aram||To the Heroes of the Patriotic War|
|King, Karl||Circus Days|
|King, Karl||Cle Elum Eagles|
|King, Karl||Kentucky Sunrise|
|King, Karl||The Melody Shop|
|King, Karl||Robinson’s Grand Entree March|
|King, Karl||Rough Riders|
|Kling, H.||Two Little Bulfinches|
|Klohr, John||The Billboard|
|Lankester, Coby||Les Papillons|
|Latham, William||Three Chorale Preludes|
|Lauridsen, Morten/Reynolds||O Magnum Mysterium|
|Lehar, Franz||Romanza della Vilja|
|Linjshooten, Henk||Overture 2000|
|Makris, Andreas||Aegean Festival Overture|
|Marais, Marin||Le Basque|
|McBeth, W. Francis||Kaddish|
|McBeth, W. Francis||Of Sailors and Whales|
|McCoy, Earl||Lights Out|
|Melillo, Stephen||Honor, Courage, Commitment|
|Melillo, Stephen||Without Warning|
|Mertens, Hardy||Drie Ventielkes|
|Mertens, Hardy||Lest We Forget|
|Mertens, Hardy||Xenia Sarda|
|Miller, Thomas||Suite from The Hunchback of Notre Dame|
|Moncho, Vicente||de Tango|
|Nelson, Ron||Aspen Jubilee|
|Nelson, Ron||Rocky Point Holiday|
|Nixon, Roger||Fiesta del Pacifico|
|Padivy, Karol||Rumanian Dances|
|Perik, Johan||Duchi Meringue/El Perico|
|Persichetti, Vincent||O Cool is the Valley|
|Persichetti, Vincent||Parable Nr. 9|
|Persichetti, Vincent||Psalm for Band|
|Persichetti, Vincent||So Pure the Star|
|Persichetti, Vincent||Symphony for Band|
|Prokofieff, Sergei||Athletic Festival March|
|Prokofieff, Sergei||March, Op. 99|
|Pryor, Arthur/Pearson||Blue Bells of Scotland|
|Pryor, Arthur||The Whistler and His Dog|
|Ratzek, Walter||Deutsche Volkslieder|
|Reed, Alfred||El Camino Real|
|Reed, Alfred||Festive Prelude|
|Reed, H. Owen||La Fiesta Mexicana|
|Reinl, Franz||Heldische Sinfonie|
|Respighi, Ottorino||Huntingtower Ballad|
|Rimsky-Korsakov, Nicolai/Leidzen||Procession of the Nobles|
|Rimsky-Korsakov, Nicolai||Variations on a Theme of Glinka|
|Rudin, Rolf||. . . bis ins Unendliche . . .|
|Rudin, Rolf||Lied Ohne Worte|
|Rudin, Rolf||Der Traum des Oenghus, Part I|
|Rudin, Rolf||Die versunkende Stadt|
|Rudin, Rolf||Ein Wellenspiel|
|Ryden, William||Galloping Ghosts|
|Saint-Saens, Camille||Orient et Occident|
|Saint-Saens, Camille/Frackenpohl||Pas Redouble|
|San Miguel, Mariano||La Oreja de Oro|
|Scheffer, Pi||Fiesta cu tres Banda|
|Schmidt, Hugo||Die Teufelszunge|
|Schoenberg, Arnold||Theme and Variations, Op. 43a|
|Schreiner, Alexander||Immer Kleiner|
|Schuller, Gunther||Tribute to Rudy Wiedoeft|
|Schuman, William||George Washington Bridge|
|Schwantner, Joseph||In evening’s stillness . . .|
|Seitz, Roland||March Grandioso|
|Shaffer, David||Dominion of the Sky|
|Sheldon, Robert||A Longford Legend|
|Shostakovich, Dmitri/Reynolds||Folk Dances|
|Shostakovich, Dmitri/de Meij||Jazz Suite No. 2|
|Silcher, Friedrich||So nimm denn meine Hände|
|Smith, Robert W.||In a Gentle Rain|
|Sousa, John Philip||The Black Horse Troop|
|Sousa, John Philip||The Diplomat|
|Sousa, John Philip||Easter Monday on the White House Lawn|
|Sousa, John Philip||El Capitan|
|Sousa, John Philip||Fairest of the Fair|
|Sousa, John Philip||Hands Across the Sea|
|Sousa, John Philip||Nobles of the Mystic Shrine|
|Sousa, John Philip||Powhattan’s Daughter|
|Sousa, John Philip||The Stars and Stripes Forever|
|Sousa, John Philip||Washington Post|
|Sparke, Philip||Barn Dance and Cowboy Hymn|
|Sparke, Philip||Theatre Music|
|Stamp, Jack||Cloudsplitter Fanfare|
|Strauss, Richard||Parade-Marsch Nr. 1|
|Strommen, Carl||Prairie Song|
|Surinach, Carlos||Ritmo Jondo|
|Tatebe, Tomohiro||Suite on Celtic Folk Songs|
|Tchesnokov, Pavel/Erickson||Salvation is Created|
|Tchaikovsky/Cramer||Dance of the Jesters|
|Teike, Carl||Alte Kameraden|
|Ticheli, Frank||Amazing Grace|
|Van der Roost, Jan||Puszta|
|Van der Roost, Jan||Mercury|
|Vaughan Williams, Ralph||Flourish for Wind Band|
|Vaughan Williams, Ralph||Folk Song Suite|
|Vaughan Williams, Ralph||Sea Songs|
|Vaughan Williams, Ralph/Reed||Sine Nomine|
|Vaughan Williams, Ralph||Toccata Marziale|
|Verdi, Giuseppe||Di Provenza il mar il suol|
|Wagner, Joseph/Glover||Under the Double Eagle|
|Wagner, Richard||Overture to Rienzi|
|Webber, Andrew/Barker||Phantom of the Opera|
|Whitacre, Eric||Lux Aurumque|
|Whitacre, Eric||Noisy Wheels of Joy|
|White, Joseph Pollard||Floating Bridge|
|Williams, Clifton||Fanfare and Allegro|
|Williams, Clifton||The Sinfonians|
|Williams, Clifton||Symphonic Dance No. 3|
|Young, Charles||Tempered Steel|
|Zaninelli, Luigi||Five American Gospel Songs for Soprano and W.E.|
|Zaninelli, Luigi||Three Dances of Enchantment|
Course: MUSC 101 (1 credit, AICE), CNU Wind Ensemble
Tuesdays and Thursdays, 4 P.M. to 5:45 P.M.
Mark U. Reimer
Monday through Friday, 9 A.M. to 12 noon, FERG A130. Owing to my busy and unpredictable schedule as Chair, I recommend that one make an appointment if one requires my undivided attention.
An auditioned wind band that performs both on and off campus throughout the academic year. The repertoire includes a variety of musical styles, but the primary emphasis is on the masterpieces of the wind band repertoire. Students can register each semester, but no more than eight credits can be counted toward graduation. Required for music majors pursuing a Bachelor of Music degree with a concentration in either instrumental music education with an emphasis in band or instrumental performance and for music majors pursuing a Bachelor of Arts degree with a concentration in music on a wind or percussion instrument.
Goals and Objectives
1. To study and perform at the highest level the masterpieces of the wind band repertoire.
2. To instill in each performer the responsibility that he or she has to the composer.
3. To instill in each performer a sense of ownership and pride in the ensemble.
This organization is a product of each and every one of you--a tangible and artistic reflection of your time, talent, and commitment to musical excellence. My responsibility is to guide you toward achieving your highest potential as we, together, strive to recreate the intentions of the composers of whose music we perform. You will excel musically, physically, and emotionally only if you are fresh in mind, body, and spirit and open to thought, growth, and creativity.
Auditions and Seating Assignments
Auditions are held each semester for membership and seating assignments. The auditions are blind, and the initial seating assignments are based on the quality of the audition and the musical needs of the ensemble. Please be aware that your studio teacher and I will discuss on an ongoing basis your progress in the ensemble. Seating and part assignments may change during the course of the semester.
Ensemble members will be tested three times throughout the semester on selected excerpts from their assigned parts. These excerpts may or may not be announced in advance; therefore, the students should have all of their music prepared to the best of their ability. The results from these exams (Preparation and Performance, 50 percent), progress in rehearsals (Participation and Attitude, 50 percent), and attendance will be averaged and recorded on the CNU Ensemble Member Assessment Form. At the conclusion of the semester, these three composite grades will be averaged to create the final grade for the semester. Students will receive a copy of their forms. If a student misses a playing examination owing to an excused absence, then the student has one week to make up the examination. The goal of the entire assessment process is to motivate ensemble members to prepare, rehearse, and perform to their highest potential.
Playing Examination I: October 5, 2011 (music of the October 8 concert)
Playing Examination II: November 16, 2011 (music of November 21 concert)
Playing Examination III: November 30, 2011 (music of Holiday Happening)
(average of three playing examinations of 36 points each)
|A 35-36||C+ 21-23||D- 6-8|
|A- 33-34||C 18-20||F 5 or below|
|B+ 30-32||C- 15-17|
|B 27-29||D+ 12-14|
|B- 24-26||D 9-11|
CNU Ensemble Grading Rubric
The following standards have been established as a general guideline for all CNU ensembles. Each instructor may have additional requirements that affect the final grade.
Attendance is required at all rehearsals and performances. All CNU ensembles adhere to the departmental attendance policy. Late arrival, early departure, and absence from rehearsals and performances may affect the final grade, as determined by the instructor.
2. Participation and Attitude (50 percent of the final grade)
Each student is expected to come to rehearsals and performances with a singular focus to perform at the highest level of musicianship while engaged in ensemble.
Grade of A
The student consistently watches the conductor, consistently responds to the conductor’s requests, and consistently strives to perform his or her best.
Grade of B
The student usually watches the conductor, usually responds to the conductor’s requests, and usually strives to perform his or her best.
Grade of C
The student sometimes watches the conductor, sometimes responds to the conductor’s requests, and sometimes strives to perform his or her best.
Grade of D
The student seldom watches the conductor, seldom responds to the conductor’s requests, and seldom strives to perform his or her best.
Grade of F
The student almost never watches the conductor, almost never responds to the conductor’s requests, and almost never strives to perform his or her best.
3. Preparation and Performance (50 percent of the final grade)
Students are expected to prepare their ensemble music individually and outside of the rehearsals and to rehearse and perform to the best of their ability. Musical elements such as pitch, rhythm, intonation, phrasing, style, dynamics, dramatic interpretation, and memorization are expected to be mastered so that the ensemble may perform at the highest level.
Grade of A
The student consistently prepares his or her part for rehearsal and consistently performs it well. Musical elements are consistently performed correctly.
Grade of B
The student usually prepares his or her part for rehearsal and usually performs it well. Musical elements are usually performed correctly.
Grade of C
The student sometimes prepares his or her part for rehearsal and sometimes performs it well. Musical elements are sometimes performed correctly.
Grade of D
The student seldom prepares his or her part for rehearsal and seldom performs it well. Musical elements are seldom performed correctly.
Grade of F
The student almost never prepares his or her part for rehearsal and almost never performs it well. Musical elements are almost never performed correctly.
EXPECTATIONS OF THE “A” STUDENT
Attendance is perfect.
Pitch is consistently accurate.
Rhythm is consistently precise.
Dynamic markings are consistently adhered to.
Music is consistently performed with specified phrasing and style.
Parts are consistently practiced outside of rehearsal and ready for the ensemble.
Music is consistently memorized as required.
Attitude is consistently positive and enthusiastic with respect for colleagues and conductor.
EXPECTATIONS OF THE “B” STUDENT
Attendance is almost perfect.
Pitch is usually accurate.
Rhythm is usually precise.
Dynamic markings are usually adhered to.
Music is usually performed with specified phrasing and style.
Parts are usually practiced outside of rehearsal and ready for the ensemble.
Music is usually memorized as required.
Attitude is usually positive and enthusiastic with respect for colleagues and conductor.
EXPECTATIONS OF THE “C” STUDENT
Attendance is at the maximum before failing.
Pitch is sometimes accurate.
Rhythm is sometimes precise.
Dynamic markings are sometimes adhered to.
Music is sometimes performed with specified phrasing and style.
Parts are sometimes practiced outside of rehearsal and ready for the ensemble.
Music is sometimes memorized as specified.
Attitude is sometimes positive and enthusiastic with respect for colleagues and conductor.
EXPECTATIONS OF THE “D” STUDENT
Attendance is at the maximum before failing.
Pitch is seldom accurate.
Rhythm is seldom precise.
Dynamic markings are seldom adhered to.
Music is seldom performed with specified phrasing and style.
Parts are seldom practiced outside of rehearsal and ready for the ensemble.
Music is seldom memorized as specified.
Attitude is seldom positive and enthusiastic with respect for colleagues and conductor.
EXPECTATIONS OF THE “F” STUDENT
Attendance is at the maximum before failing.
Pitch is accurate almost never.
Rhythm is almost never precise.
Dynamic markings are almost never adhered to.
Music is almost never performed with specified phrasing and nuance.
Parts are almost never practiced outside of rehearsal and ready for the ensemble.
Music is almost never memorized as specified.
Attitude is almost never positive and enthusiastic with respect for colleagues and conductor.
(Adopted October, 2009)
Any student who attains more than three absences from a course that meets three or more times per week, who attains more than two absences from a course that meets twice per week, or who attains more than one absence from a course that meets once per week will automatically fail the course. In compliance with the University Catalog, the only excused absences are extended illnesses verified by a physician, university-sponsored activities documented before the absence, and extreme emergencies documented and presented to the instructor no later than the end of the next class.
Examinations will be made up only in the event that the absence is excused.
APPLIED MUSIC LESSONS
If a student in applied music is a victim of a documented illness or emergency or misses a lesson owing to a university-sponsored activity documented before the absence and contacts the instructor at least 24 hours before or after missing the scheduled lesson, then the applied instructor will make up the lesson at the instructor’s earliest convenience. An instructor, however, is under no obligation to make up the lesson if the absence is not excused. A student may be removed from an applied music lesson and assigned a grade of F for the lesson if the instructor believes that the student has not adequately prepared the assigned material.
Any student who misses a performance listed on the syllabus will automatically fail the course unless the student is a victim of a documented illness or emergency or has written permission from both the instructor and the chair of the Department of Music prior to missing the performance. In the rare case, other than a documented illness or emergency, that an absence is excused in advance, the student will be responsible for finding and, if necessary, compensating a qualified replacement approved by the instructor who must attend at least one rehearsal and the performance.
Any unexcused violation of a music scholarship agreement, including attendance, will result in the termination of the scholarship.
Absence from a performance or a dress rehearsal requires your WRITTEN EXCUSE to me and my WRITTEN APPROVAL to you BEFORE the absence is to occur. Any unapproved absence in writing from a performance or dress rehearsal will result in an automatic grade of “F” for the course.
A limited number of professional-line instruments are available on loan. Music majors, principle players, and students enrolled in applied music at CNU are given priority for use of these instruments. Students must sign an instrument loan contract and are held fully responsible for the care, safety, and proper maintenance of the instrument. Instrument lockers are available through the Department of Music.
Every wind player in the ensemble is required to bring his or her own tuner to every rehearsal and to keep it on or next to the music stand throughout the rehearsal. A tuner/metronome is preferred, for this will be practical also for use in the practice room. Failure to bring and use a tuner in rehearsal will have a negative impact on the participation grade.
Music and Folder
It is the responsibility of each student to ensure that his or her assigned music and folder are kept in a secure place and returned in excellent condition by the end of the semester. All marks on the music must be made lightly in pencil. Failure to return the music and the folder at the end of the semester will result in a grade of Incomplete until all materials have been returned. Replacement costs for missing and damaged music and folders will be assessed, and a grade of Incomplete will be given until all charges have been paid in full. Failure to have the necessary music for a rehearsal or a performance counts as an unexcused absence.
Uniforms and Demeanor
The standard dress for the CNU Wind Ensemble is a black tuxedo and a white, wing-tip tuxedo shirt for men and a long, black dress with long sleeves for women. Women may choose to wear a long, black skirt and a black blouse with long sleeves. All shoes for women must be closed-toe, all socks for men must be black, and all jewelry should be tasteful and kept to a minimum. As ambassadors of Christopher Newport University, it is imperative to maintain a professional image both on and off stage. Under no circumstance should a member of the Wind Ensemble be visibly in the audience until after the concert.
Performance Schedule, Repertoire, and AICE Objectives
Saturday, October 8, 2011:
Family Weekend Music Showcase—
What an Event! Pascal Devroye
This year’s Family Weekend Music Showcase celebrates the 50th anniversary of CNU. To honor the occasion, the Wind Ensemble will give the world premiere of Tides of Change, composed by CNU composition major Marc Hoffeditz. The work reflects the transition into adulthood and incorporates the forceful combination of winds, voice, and strings in a stirring closing to the concert. We will take this musical opportunity to also introduce to the CNU community our new director of jazz studies and professor of trumpet, Dr. Kelly Rossum, who will perform Carnival of Venice and in the trumpet trio, Three Jolly Sailormen, helping reinforce the nautical nature of the University’s founding. These works are technical showstoppers, incorporating double-and triple-tonguing, and are standard works for college-level brass performers. The concert will have a more reflective moment with our performance of the hauntingly beautiful work in a minor key, Donauwellen, featuring guest dancers, including President and Mrs. Trible, and guest soloist Prof. Mooney. Sousa’s wonderful and appropriate march, Golden Jubilee, is the perfect closing to our band segment. And opening the concert will be a work not well-known, if at all, in this country, entitled, What an Event!, a ceremonial work that is both technically challenging and exhuberant.The Wind Ensemble will again be the culmination of this special concerts, bringing together winds, percussion, strings, choirs, dancers, and special effects.
Tuesday, November 15, 2011:
Chamber Winds—Masterworks of Kurt Weill
Dr. David Sadlier, Mr. Christopher Mooney, Men’s Chorus
The Department of Music received a grant by the Kurt Weill Foundation for Music for the performance of Weill’s, Das Berliner Requiem. The work is for men’s chorus, male soloists, and small chamber wind ensemble, reminiscent of a traditional German band. The text is by German author Bertolt Brecht and is steeped in irony regarding life, death, and religion. The concert will include also a performance of Weill’s wind band arrangement of his opera, The Threepenny Opera. The music is not complex, but the thin scoring, simple tonality, tuneful melodies, and sarcasm of the text require mastery of pitch, balance, and interpretation.
Monday, November 21, 2011:
Wind Ensemble—A Tribute to the Master
Double Concerto, J.S. Bach, arr. Bell
In keeping with the German flavor of the masterworks concert, the Wind Ensemble will devote this concert to the music of German composer J.S. Bach. The transcriptions of Passacaglia and Fugue in C Minor, the Little Fugue in G Minor, Jesu, Joy of Man’s Desiring, and If Thou Be Near will be conducted by our MAT students. An arrangement of the Double Concerto for two violins was transcribed for two clarinets and wind ensemble by CNU composition major Andrew Bell. The work will showcase the talent of clarinet faculty Patti Carlson and senior Nicolas Leonard. The concert will conclude with a wonderful work by California film composer Charles Fernandez, entitled Bachus Illatus, a tribute to the German master and incorporating special lighting that intensifies throughout the course of the work.
Sunday, December 4, 2011:
Holiday Happening 2011
Adeste Fideles, Felix Mendelssohn
In its 20th year, Holiday Happening is a highly beloved CNU tradition, featuring our full array of music ensembles and top soloists. The challenge for the performers is to keep the music while also making sure that this well-known repertoire is performed well and with great enthusiasm. Through this concert, students realize music’s role in tradition and in the enrichment of the human condition.
Note: I want you to succeed in this course and at CNU. I encourage you to come see me during office hours or toschedule an appointment with questions or concerns about the course and material. If I become concerned about your course performance, attendance, engagement, or well-being, I will speak with you first. I may also submit an Institutional Referral Form that will be received by the Office of Student Success. Depending upon the nature of my concern it also may be received by the Center for Academic Success or Counseling Services. If you are an athlete then Jenny Nuttycombe will receive notice. Someone will contact you to help determine what will help you succeed. Please remember that this is a means for me to support you and help foster your success at CNU. If you believe that you have a disability, then you should make an appointment to see me to discuss your needs. In order to receive an accommodation, your disability must be on record in the Dean of Students Office, 3rd Floor David Student Union/DSU (telephone 594-7160).
Last day to withdraw: October 26, 2011.
Auditions for the Wind Ensemble are blind--the adjudicators cannot see the auditioning student. The audition consists of 1) major scales, 2) the prepared excerpt found on this page, and 3) sightreading. The entire audition lasts approximately 5 minutes. The sign-up sheet is posted on the doors to A183. Good luck!