CANADIAN BRASS + DALLAS WINDS

Jerry Junkin, Artistic Director & Conductor

In his 28th season as Artistic Director and Conductor of the Dallas Winds, Jerry Junkin is recognized as one of the world’s most highly regarded wind conductors. He has served as Music Director and Conductor of the Hong Kong Wind Philharmonia since 2003, and Principal Guest Conductor of the Senzoku Gakuen College of Music Wind Symphony in Tokyo since 2007. Additionally, 2021-2022 marks his 34th year on the faculty of The University of Texas at Austin, where he holds the Vincent R. and Jane D. DiNino Chair for the Director of Bands. There, he also holds the title of University Distinguished Teaching Professor. Previously, he served on the faculties of both the University of Michigan and the University of South Florida. In addition to his responsibilities as Professor of Music and Conductor of the Texas Wind Ensemble, he serves as Head of the Division of Conducting and Ensembles and teaches courses in conducting and wind band literature. He is a recipient of multiple teaching awards, and students of Mr. Junkin hold major positions throughout the world.

Performances under the direction of Mr. Junkin have won the praise of such notable musicians as John Corigliano, David Del Tredici, Gunther Schuller, Karel Husa, William Kraft, Jacob Druckman and Michael Colgrass, among many others. Mr. Junkin has released over 30 compact disc recordings for the Reference, Klavier and Naxos labels. The New York Times named his release on the Reference Recordings label, Bells for Stokowski, one of the best classical CD’s of the year. His performance of Circus Maximus with The University of Texas Wind Ensemble was released on the world’s first Blu Ray audio disc in 5.1 surround sound by Naxos and was nominated for a GRAMMY. During the summer of 2014, he led The University of Texas Wind Ensemble on a four week tour around the world.

Mr. Junkin is an enthusiastic advocate of public school music education, having conducted All-State bands and festivals in forty-eight states and on five continents. He spends his summers in residence at the Interlochen Arts Camp in Michigan, as well as appearing at major music festivals throughout the world.

Mr. Junkin has served as President of the Big XII Band Director’s Association and is a member of the Board of Directors of The John Philip Sousa Foundation, is Past-President of the American Bandmasters Association, and is Past President of the College Band Directors National Association. Regularly making guest appearances with ensembles such as the Tokyo Kosei Wind Orchestra and the Taipei Symphonic Winds, he continues to conduct throughout the United States in addition to multiple appearances in Japan, China, and Europe. In 2005, he was presented the Grainger Medallion by the International Percy Grainger Society in recognition of his championing of Grainger’s works, and he has received numerous career awards from Kappa Kappa Psi, Phi Beta Mu, and the Midwest Clinic, among others. Mr. Junkin is a Yamaha Master Educator.

Canadian Brass, Guest Artists

With an international reputation as one of the most popular brass ensembles today, Canadian Brass has truly earned the distinction of “the world’s most famous brass group.

Canadian Brass is: founding member Chuck Daellenbach (tuba), James Vaughen and Caleb Hudson (trumpets), Achilles Liarmakopoulos (trombone) and Jeff Nelsen (horn). Canadian Brass is represented by IMG Artists in New York.

Friends Chuck Daellenbach and Gene Watts first came together in 1970 to form a brass quintet — a chamber music setting not entirely new, but never before having garnered the success and storied career Canadian Brass would achieve over the next 40 years. Initially, Gene took on the role of developing new repertoire while Chuck was the moving force in marketing, publishing and managing the business. Three empty chairs were quickly filled and together, the group’s imagination and consummate musicianship elevated the art of the brass quintet to what it is today. Here was not only an opportunity to explore the possibilities of an all-brass chamber group but a challenge to bring the sound and the excitement of brass music to new audiences.

With a discography of over 130 albums and an extensive world-wide touring schedule, Canadian Brass is an important pioneer in bringing brass music to mass audiences everywhere. They have sold well over 2 million albums worldwide, with 1.2 million sold in the Nielsen Soundscan era alone (since 1991). They continue to score Billboard chart positions — like with their rousing recording of patriotic songs and marches, Stars & Stripes: Canadian Brass Salute America, which spent 8 weeks in the Top 25 on the Billboard Classical Chart, peaking at #2! Touring legends with an enthusiastic fan base, the Canadian Brass play to packed houses everywhere throughout the USA, Canada, Japan and Europe. They have also toured Australia, the Middle East, the Soviet Union, South America, and People’s Republic of China.

Education plays a key role in the story of Canadian Brass and each member is uniquely attuned to training the next generation of players. On their travels around the world, they often pause for masterclasses and are more than happy to work with students and young audiences. Canadian Brass was Ensemble in Residence at the University of Toronto after having been Chamber Quintet-in-Residence for many years at the Music Academy of the West in Santa Barbara, California, and has created an innovative brass summer course at the Eastman School of Music. Their support of education is also clearly viewed in their outreach and interaction with El Sistema, the acclaimed global music education program in Venezuela.

With four decades under their belts, Canadian Brass continues to thrill audiences around the world – and they don’t look like they are letting up anytime soon!

Saturday, April 2, 2022 – 8:00pm
Meyerson Symphony Center + Livestream

Fanfare

(7:45 in the Meyerson lobby)

Wiener Philharmoniker Fanfare
Richard Strauss

Dallas Winds Brass & Percussioin
Ogechi Ukazu, conductor

Program

The Star-Spangled Banner [1:45]

Carnival Overture [9:00]
Antonin Dvorak, arr. Leigh Steiger

Just A Closer Walk With Thee [4:00]
Traditional
Canadian Brass

Suite from Mass [15:00]
Leonard Bernstein, arr. Michael Sweeney
Canadian Brass

Amazing Grace [4:15]
Traditional, arr. Luther Henderson
Canadian Brass

INTERMISSION [15:00]

Home Away from Home [8:15]
Catherine Likhuta

Solo Selections [10:00]
Canadian Brass

New York Cityscape [19:35]
Jeff Tyzik
Canadian Brass

    • Traffic Jammin
    • Tango
    • African Dance
    • Tarantella

Penny Lane [3:40]
Paul McCartney, arr. Chris Dedrick
Canadian Brass

Dallas Winds Personnel

PICCOLO
Jennifer Wheeler

FLUTE
Jennifer McElroy, Principal
Julee Kim Walker

OBOE
Sharon Lacey, Principal
Ashley Flores

ENGLISH HORN
Katie Haun

E♭ CLARINET
Mary Druhan

B♭ CLARINET
Deborah Ungaro Fabian, Concertmaster
Sharon Knox Deuby, Associate Principal
Alex Yeselson
Ricky Reeves
Jeanie Murrow
Andre Canabou
Bonnie Dieckmann
Mark Arritola

BASS CLARINET
Mickey Owens

CONTRA CLARINET
Robin Owens

BASSOON
Laura Bennett Cameron, Principal
Marty Spake

CONTRABASSOON
Jeff Strong

ALTO SAXOPHONE
Donald Fabian, Principal
David Lovrien

TENOR SAXOPHONE
Roy E. Allen

BARITONE SAXOPHONE
John Sweeden

HORN
Derek Wright, Principal
Tim Stevens
Sarrah McCoy-Black
Stephanie Baron
Patrick Thomas

TRUMPET
Tim Andersen, Principal
James Sims
Howard Engstrom
Daniel Kelly
Shaun Abraham
Jared Broussard

TROMBONE
Amanda Hudson, Principal
Jonathan Gill
Barney McCollum

EUPHONIUM
Grant Jameson, Principal
David Strand

TUBA
Jason Wallace, Principal
Nick Beltchev

STRING BASS
Andrew Goins

PIANO/CELESTE
Cameron Hofmann

HARP
Naoko Nakamura

TIMPANI
Steve Kimple

PERCUSSION
Roland Muzquiz, Principal
Steve McDonald
Nate Collins
Jon Lee
Lane Harder
Beth Harcourt
Patrick Herring

PERSONNEL MANAGER
Gigi Sherrell Norwood

MUSIC LIBRARIAN
Chrystal Stevens

TECHNICAL DIRECTOR
Ramon Musquiz

FOUNDER / EXECUTIVE DIRECTOR
Kim Campbell
EXECUTIVE ASSISTANT
Grace Lovrien
DIRECTOR OF CONCERT OPERATIONS
Gigi Sherrell Norwood
DIRECTOR OF EDUCATION
Todd Toney
BOOKKEEPER
Lenore Ladwig Scott

Program Notes

Carnival Overture

Antonin Dvořák (1841 – 1904)

Antonin Dvořák was one of the first Czech composers to achieve worldwide recognition. Dvořák frequently employed rhythms and other aspects of the folk music of Moravia and his native Bohemia, following the Romantic-era nationalist example of his predecessor Bedřich Smetana.

The concert overture Carnival, Op. 92 was written in 1891 and Dvořák conducted the first performance on April 28, 1892. It is part of a “Nature, Life and Love” trilogy of overtures, forming the second part, “Life”. The other two parts are In Nature’s Realm, Op. 91 (“Nature”) and Othello, Op. 93 (“Love”).

Suite from Mass

Leonard Bernstein (1918 – 1990)

At a time when the classical music world revered European conductors, and scoffed at Americans, Leonard Bernstein leapt into the international spotlight to become the most widely recognized orchestral conductor of the late 20th century. On November 14, 1943, when guest conductor Bruno Walter fell ill, Bernstein stepped up to the podium and won rave reviews from the critics.  Overnight, Bernstein became a respected conductor and a crowd favorite.

Nor was conducting his only talent.  His one-act opera, Trouble in Tahiti, opened in 1951, followed by Candide, in 1956, and the classic American musical, West Side Story, in 1957. 

Bernstein’s MASS was a monumental 90-minute work written for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. in 1971. In this suite commissioned by the Canadian Brass and the Eastman Wind Ensemble, arranger Michael Sweeney focuses on a select number of movements, often using the brass quintet to represent the vocal lines found in the original. The striking and beautiful work includes Alleluia, Sanctus, the well-known A Simple Song, Agnus Dei, Offertory and Almighty Father.

Home Away From Home

Catherine Likhuta

I was born and raised in Kyiv, Ukraine, and then lived in the United States for eight years before moving permanently to Australia in 2012. As a result, all three countries became home to me, and I always miss them and my friends in each of them when I am away. I feel equally at home in all three. It so happened that Jason’s commission came just before my family and I went on sabbatical to Ithaca, N.Y. (our home in 2005-2009) from Australia for six months, also stopping by the Ukraine on our way there. It was a very special time, filled with somewhat forgotten youthful thrill, wonderful reunions and nostalgic experiences. It made me realize that, in a way, each of these three places is my home away from home. I reflected on that thought and also started thinking about the university freshmen students for whom I was writing the piece, who just left their parents’ nest and were finding their home away from home and their new life and community on campus. It is an exciting yet emotional time for them, and I wanted to reflect that in the piece.

The opening section of the work represents the initial excitement associated with the new beginning, somewhat similar to a plane take-off: you are strapped in and have no control over what’s going to happen next, yet somehow you know you are in for an exciting experience. You hear the engine starting, which makes your heart rate go up (mine, anyway!).

The melancholic section that follows is a moment of reflection, inspired by the experience of visiting a house where your loved ones used to live, for the first time after they are gone. The experience cannot be put into words — it can only be lived through. I have lived through it and felt like sharing it by means of music. After the initial sadness and sorrow, which are inevitable parts of this experience, your mind brings forward wonderful memories associated with these loved ones, making you sad and happy at the same time.

The next section is desperate and determined, building the tension and bringing the listener to the gutsy climax inspired by Ukrainian folk music, before returning to the original youthful, optimistic and funky opening material. The piece ends on a positive note, with a little quirky waltz surprise thrown in just before the end.

Home Away From Home was commissioned by Jason Noble for the Columbia University Wind Ensemble.

– program notes by composer

New York Cityscape

Jeff Tyzik

New York Cityscape (2008) was composed as a collaboration between Canadian Brass and the Eastman Wind Ensemble, dedicated to Mark Davis Scatterday, the current director of the Eastman Wind Ensemble. New York Cityscape is a suite of musical styles and sounds connected with New York, with each of the movements linked to a specific location.

Traffic Jammin’ (Times Square Night & Day) captures the many moods of Times Square throughout the day – from crowded and intense to empty and lonely. The contrasts are caught in rock, funk, and jazz styles, complete with a siren and police whistle. African Dance (Wall Street & East River ca. 1709), with a mood both sad and hopeful, reflects the site of the New York City slave trade in the eighteenth century. African percussion is employed throughout with a “call and answer” section between the ensemble and the percussion section. Tarantella (Mulberry Street), capturing the vivacious bustle of Little Italy, is based on the old Italian dance that was believed to cure the poisonous bite of the tarantula spider.

– University of North Texas concert program, 12 February 2019