Illinois State University
College of Fine Arts
School of Music
____________________________________________________________________________________________
Symphonic Winds
Martin H. Seggelke, Conductor
Joseph Manfredo, Conductor
Amy Mikalauskas, Graduate Conductor
Cullyn D. Murphy, Student Composer
Geoffrey Duce, Piano
__________________________________________________________________________________________
Center for the Performing Arts
Sunday Afternoon
April 19, 2015
3:00 p.m.
This is the one hundred and eighty-fourth program of the 2014-2015 season.
Program
Please silence all electronic devices for the duration of the concert. Thank you.
Four Scottish Dances, Op. 59 (1957)
Malcolm Arnold
I. Pesante
(1921-2006)
II. Vivace
transcribed by John P. Paynter
III. Allegretto
10:00
IV. Con Brio
Joseph Manfredo, conductor
Reciprocity (2014)
Cullyn D. Murphy
(born 1993)
7:00
World Premiere
Country Band March (1903)
Charles Ives
(1874-1954)
arranged by James B. Sinclair
4:00
Amy Mikalauskas, Graduate Conductor
~Intermission~
Endowed Scholarship Presentation
Rhapsody in Blue (1924/1998)
Danzón No. 2 (1993)
George Gershwin
(1898-1937)
arranged by Donald Hunsberger
17:00
Geoffrey Duce, Piano
Arturo Márquez
(born 1950)
arranged by Oliver Nickel
10:00
Program Notes
Malcolm Arnold’s (1921-2006) sixty year career has shown
him to be perhaps the most versatile and prolific of the many British
composers who emerged in the post-World War II era. Born in Northampton
in 1921, Arnold was trained as a composer and trumpeter at the Royal
College of Music from 1938 to 1941 (under Gordon Jacob for composition
and Ernest Hall for trumpet), after which he won a trumpet position with the
London Philharmonic Orchestra. After a promotion to principal trumpet in
1942, Arnold's career there was interrupted by two years of military service
and a year with Adrian Boult and the BBC Symphony. Arnold returned to
the London Philharmonic in 1946, but soon found that composition was
exercising an increasingly strong hold over his musical attention. Upon
receiving the Mendelssohn scholarship in 1948, Arnold resigned from the
orchestra to devote himself to composition on a full-time basis.
Arnold's output over the next fifty years was prodigious: nine symphonies,
twenty concertos, five ballets (including a version of Sweeney Todd in
1959), and a seemingly inexhaustible supply of smaller pieces for all kinds of ensembles. A successful secondary
career as a film composer resulted in more than eighty scores, including the Academy Award-winning Bridge on
the River Kwai. Arnold was the recipient of many public and academic honors, including honorary doctorates from
the universities of Exeter, Durham, and Leicester, and the Ivor Novello Award for "Outstanding Services to British
Music" in 1986. Named Commander of the British Empire in 1970, he was further honored in 1993 when his name
appeared among those selected as Knights of the British Empire. In 1984 Arnold moved to Norfolk, where a return
to composition saw the creation of Symphony No. 9, undoubtedly the most significant of his late works. He
remained in the county until his death in 2006. Arnold's music springs directly from roots in dance and song. His
lighter entertainment pieces are among the rare latter-day equivalents of eighteenth-century serenades and
divertimenti. As an inventor of tunes, his power seems to be inexhaustible, and he is prodigal with his gifts; the
“big” tune in the modest little Toy Symphony, for example, is just as much a winner as the many memorable
themes in the major concert works.
–Biography courtesy of Wind Repertory Project and Musical Sales Classical
Four Scottish Dances, Op. 59
(1957) was composed for the BBC Light Music Festival. There are four
dances or movements based on original melodies except one, the melody of which was composed by Robert Burns.
This work was written two years after the composition of Tam o' Shanter Op. 51 (1955) and retains some of the
vitality of that exuberant work.
The first dance is in the style of a strathspey - a slow Scottish dance in 4/4 meter – with frequent use of dotted
notes, usually in the inverted arrangement of the “Scotch snap.” It captures the atmosphere of the Highlands from
the very first bar, a bagpipe drone (imitated by trombones) accompanying a melody which has the characteristic
slow pace. The brass section plays a wonderful fanfare in semi-quaver triplets. The movement ends with a flurry of
notes followed by a comic conclusion.
The second movement is derived from the music scored for the documentary film The Beautiful County of Ayr.
This dance begins quite gently in the key of E-flat and rises a semi-tone each time it is played until the bassoon
plays it, at a greatly reduced speed, in the key of G. The final statement of the dance is at the original speed in the
home key of E-flat.
In the Allegretto, Arnold has succeeded in producing music that is more Scottish than the Scots would write. He
himself, in program notes, wrote that it is in the style of a Hebridean song. Two lovers looking across the sea to a
beautiful land of lost content. The melody is a beautiful reflection on the Scottish landscape, especially the sea and
mountains on a calm summer’s day in the Hebrides. It is perhaps one of the finest tunes that Malcolm Arnold has
composed.
The last movement is a Con Brio. This is in similar mood to the opening movement and comes as quite a contrast
to the previous dream movement. It is a Highland fling in 2/4 time and has tremendous energy. The woodwinds are
extremely busy throughout the movement. This dance makes a great deal of the use of the open-string pitches of
the violin, which is played by the saxophones in John Paynter’s arrangement. The horn players are called on to
perform a succession of grace notes that give a sense of wildness to this dance. However, this movement is very
short--a mere one minute and sixteen seconds. It comes as a fitting conclusion to this collection of dances.
–Program notes courtesy of PhilharmonicWinds.org
Cullyn D. Murphy (born 1993) is a composer, conductor,
vocalist, and educator from Champaign, Illinois. Murphy is currently
pursuing his B.M.E. in Choral Music Education and his B.M. in
Theory/Composition from Illinois State University, where he was awarded
the 2013-2014 Joshua Award scholarship for excellence in music
composition. His teachers include Roy Magnuson, Carl Schimmel, Martha
C. Horst, and Leon Harrell. Murphy is the assistant music director at
Champaign Central High School, president and arranger for the male a
cappella group Acafellaz, president of the Illinois State Composition Student
Organization, and the vice president of the Illinois State's chapter of the
American Choral Director's Association.
-Biography courtesy of composer
Reciprocity (2014)
The following program notes are from the composer:
Reciprocity is a personal reflection on the non-linear way we experience our own accomplishments throughout life.
I drew inspiration from the challenge of writing my first large ensemble piece, and more specifically from my
insecurity in handling the endless crayon box that is the wind ensemble. This frustration forced me to step back,
contemplate, and appreciate my musical experiences and how they equipped me to bridge the initially
imperceptible difficulties in writing this piece. In life, there are moments and ‘checkpoints’ where we find
significance and recognize our accomplishments. To reflect this, the piece is anchored by frequent moments of
clarity. Conversely, the events of our lives that propel us towards our accomplishments are often hidden, unnoticed
at the time or forgotten. In this same vein the ensemble hides beneath textures created by earlier events that appear
and disappear throughout the piece. The final meditation becomes a deepening appreciation for earlier motivesthose quiet life events- we hear in the piece, an attempt to evoke the Buddhist sentiment, “The greatest effort is not
concerned with results.”
Charles Ives (1874-1954)
Born in Danbury, Connecticut on October 20, 1874, Charles Ives pursued
what is perhaps one of the most extraordinary and paradoxical careers in
American music history. Businessman by day and composer by night,
Ives's vast output has gradually brought him recognition as the most
original and significant American composer of the late nineteenth and
early twentieth centuries. Inspired by transcendentalist philosophy, Ives
sought a highly personalized musical expression through the most
innovative and radical technical means possible. His father, who Ives
would later acknowledge as the primary creative influence on his musical
style, nurtured a fascination with bi-tonal forms, polyrhythm, and
quotation. Studies at Yale with Horatio Parker guided an expert control
over large-scale forms.
Ironically, much of Ives's work was not heard until his virtual retirement
from music and business in 1930 due to severe health problems. The
conductor Nicolas Slonimsky, music critic Henry Bellamann, pianist John
Kirkpatrick (who performed the Concord Sonata at its triumphant premiere in New York in 1939), and the
composer Lou Harrison (who conducted the premiere of the Symphony No. 3) played a key role in introducing
Ives's music to a wider audience. Henry Cowell was perhaps the most significant figure in fostering public and
critical attention for Ives's music, publishing several of the composer's works in his New Music Quarterly.
In 1947, Ives was awarded the Pulitzer Prize for his Symphony No. 3, according him a much-deserved modicum of
international renown. Soon after, his works were taken up and championed by such leading conductors as Leonard
Bernstein. At his death in 1954, he had witnessed a rise from obscurity to a position of unsurpassed eminence
among the world's leading performers and musical institutions.
-Biography courtesy of Music Sales Classical
Country Band March
(1903) was composed four years after Ives's graduation from Yale and five years
prior to his lucrative insurance partnership with Julian Myrick. Ives had just resigned as organist at Central
Presbyterian Church, New York, thus ending thirteen and one-half years as organist of various churches. He was,
according to Henry Cowell, “exasperated...by the routine harmony for hymns.” During this period Ives finished his
Second Symphony (1902), composed three organ pieces that were later incorporated into his Third Symphony
(1904), composed the Overture and March: “1776” and various songs and chamber pieces. Apparently, the
Country Band March received no performances and only a pencil score-sketch is in evidence today. Later, Ives
seemed very interested in this music, since he incorporated nearly all of it, in one form or another, into the
“Hawthorne” movement of Sonata No. 2 (Concord), “The Celestial Railroad” movement of the Fourth Symphony,
and especially “Putnam's Camp” from Three Places in New England.
From the “out of tune” introduction to the pandemonium, which reigns at the close, the Country Band March is a
marvelous parody of the realities of performance by a country band. While the main march theme is probably
Ives’s own, the march features an impressive list of quotations that includes “Arkansas Traveler,” “Battle Cry of
Freedom,” “British Grenadiers,” “The Girl I Left Behind Me,” “London Bridge,” “Marching Through Georgia,”
“Massa's in de Cold, Cold Ground,” “My Old Kentucky Home,” “Violets,” “Yankee Doodle,” “May Day Waltz,”
and “Semper Fidelis.” There is rarely anything straightforward about the use of this material; the tunes are
subjected to Ives's famous techniques of “poly-everything.” Of particular interest is Ives's use of ragtime elements
to enliven this already spirited march.
-Program notes courtesy of printed score
George Gershwin (1898-1937) was one of the most significant
American composers of the twentieth century, known for popular stage and
screen numbers as well as classical compositions. George Gershwin was born
Jacob Gershowitz on September 26, 1898, in Brooklyn, New York. The son of
Russian-Jewish immigrants, George began his foray into music at age eleven
when his family bought a secondhand piano for George’s older sibling, Ira. A
natural talent, it was George who took it up and eventually sought out mentors
who could enhance his abilities. He eventually began studying with the noted
piano teacher Charles Hambitzer, and apparently impressed him; in a letter to his
sister, Hambitzer wrote, “I have a new pupil who will make his mark if anybody
will. The boy is a genius.”
Throughout his twenty-three year career, Gershwin continually sought to expand
the breadth of his influences, studying under an incredibly disparate array of
teachers, including Henry Cowell, Wallingford Riegger, Edward Kilenyi and
Joseph Schillinger. After dropping out of school at age fifteen, Gershwin played
in several New York nightclubs and began his stint as a “song-plugger” in New
York’s Tin Pan Alley. After three years of pounding out tunes on the piano for
demanding customers, he had transformed into a highly skilled and dexterous composer. To earn extra cash, he
also worked as a rehearsal pianist for Broadway singers.
From 1920 to 1924, Gershwin composed for an annual production put on by George White. After a show titled
Blue Monday, the bandleader in the pit, Paul Whiteman, asked Gershwin to create a jazz number that would
heighten the genre’s respectability. Legend has it that Gershwin forgot about the request until he read a newspaper
article announcing the fact that Whiteman’s latest concert would feature a new Gershwin composition. Writing at a
manic pace in order to meet the deadline, Gershwin composed what is perhaps his best-known work, Rhapsody in
Blue. During this time, and in the years that followed, Gershwin wrote numerous songs for stage and screen that
quickly became standards, including “Oh, Lady Be Good!” “Someone to Watch over Me,” “Strike Up the Band,”
“Embraceable You,” “Let’s Call the Whole Thing Off” and “They Can’t Take That Away from Me.”
In 1935, a decade after composing Rhapsody in Blue, Gershwin debuted one of his most ambitious compositions,
Porgy and Bess. The composition, which was based on the novel Porgy by Dubose Heyward, drew from both
popular and classical influences. Gershwin called it his “folk opera,” and it is considered to not only be one of
Gershwin’s most complex and best-known works, but also among the most important American musical
compositions of the 20th century. Following his success with “Porgy and Bess,” Gershwin moved to Hollywood
and was hired to compose the music for a film titled “Shall We Dance,” starring Fred Astaire and Ginger Rogers. It
was while working on a follow-up film with Astaire that Gershwin’s life would come to an abrupt end.
In the beginning of 1937, Gershwin began to experience troubling symptoms such as severe headaches and
noticing strange smells. Doctors eventually discovered that he had developed a malignant brain tumor. On July 11,
1937, Gershwin died during surgery to remove the tumor. He was only thirty-eight.
-Biography courtesy of Biography.com
Rhapsody in Blue (1924/1998)
On January 4, 1924, Ira Gershwin brought a brief item in a New York Tribune to the attention of his younger
brother, George. Its heading read “Whiteman Judges Named. Committee Will Decide ‘What Is American Music.’”
According to the advertisement, Paul Whiteman had assembled an impressive group of musicians including Sergei
Rachmaninoff and Jascha Heifetz to witness a concert of new American music. This concert was to be presented
on the afternoon of February 12, just five weeks later. Included would be “a jazz concert” on which George
Gershwin was currently “at work.” Busy with his show Sweet Little Devil, Gershwin had not yet begun to compose
such a concerto, though he and Whiteman had casually talked about his writing a special piece for the band.
Gershwin began work on Rhapsody in Blue on January 7. Though a gifted melodist, he was ill equipped to score
the accompaniment. To assist him, Whiteman offered the services of his chief arranger, Ferde Grofé, who
completed the score on February 4. The first of five rehearsals was held immediately, during which several
modifications were made both to Gershwin’s music and Grofé’s arrangement. Most notable among these is the
change in the opening clarinet solo. Gershwin had originally written a seventeen-note slur; however, Ross Gorman
improvised the signature clarinet “wail.” According to contemporary reviews, the concert was rather dull, but
Rhapsody in Blue was received enthusiastically by the audience, which included Jascha Heifetz, Victor Herbert,
Fritz Kreisler, Sergei Rachmaninoff, John Philip Sousa, Leopold Stokowski, and Igor Stravinsky.
In the years to come, there were a number of versions of Rhapsody in Blue produced to satisfy public demand for
as many accessible renditions as possible. As the work’s popularity increased, the desire for a published large
ensemble version led to Grofé’s 1926 setting for theater orchestra. This was followed by an expansion of the
theater orchestra score for full symphony orchestra and a version for concert band, both by Grofé as well.
This edition of Rhapsody in Blue, arranged by Donald Hunsberger, preserves characteristic timbres and transparent
qualities of the orchestral setting while texturally capturing – despite the absence of strings – its innate vertical
densities. Gershwin’s personal copy of Grofé’s symphony orchestra score (housed in the Library of Congress) has
been used as its primary research source. Select string substitutions found in Grofé’s band setting have also been
incorporated along with scoring options from the manuscripts of his theatre orchestra and Whiteman Band
versions.
-Program notes by California Polytechnic State University, San Luis Obispo, Wind Ensemble
Arturo Márquez (born 1950) was born deep in the
Sonoran desert in the colonial town of Alamos, Mexico on December
20, 1950. He was named after his father, Arturo Márquez, who was of
Mexican descent from Arizona. Arturo’s father was a man of many
talents. He played the violin, was a mariachi, and worked as a carpenter
when the family needed to make ends meet. He introduced his firstborn son to music. Arturo’s father often played with a quartet, so his
first music lessons consisted of listening to the traditional music,
waltzes, and polkas they performed.
The Márquez family moved to Los Angeles, California in 1962 where
Arturo began to study violin and several other instruments at his junior
high school. He also began to compose. Márquez said, “My
adolescence was spent listening to Javier Solis, sounds of mariachi, the
Beatles, Doors, Carlos Santana, and Chopin.” At seventeen, he returned
to Sonora, and in the following year, he was named director of
Municipal Band Director in Navojoa. Márquez entered the Mexican Music Conservatory in 1970 where he studied
with Joaquin Gutierrez Heras and Federico Ibarra. Later, he received a scholarship from the French government to
study composition with Jacques Casterede in Paris. After studying in France, he received a prestigious Fulbright
Scholarship in the United States, where he obtained a MFA degree from the California Institute of the Arts.
Until the early 1990s, Márquez’s music was largely unknown outside his native country. That changed when he
was introduced to the world of Latin ballroom dancing. The movement and rhythms led him to compose a series of
pulsating Danzones. The Danzones are a fusion of dance music from Cuba and the Veracruz region of Mexico.
The most popular of the Danzones is the Danzón No. 2. It thrills audiences with its entrancing, seductive rhythms.
The Danzón No. 2 was commissioned by the National Autonomous University of Mexico (UNAM), and because
of its popularity, it is often called the second national anthem of Mexico.
Arturo Márquez works at the National University of Mexico, Superior School of Music and the National Center of
Research, Documentation, and Information of Mexican Music. He and his family live in Mexico City.
-Biography courtesy of the Concierto.org
Danzón No. 2 (1993)
The following notes are from an interview with the composer:
The history of the danzón goes back to the arrival in Cuba of the European contradance. It came in three different
ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French
colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all
of that trans-cultural process the danzón was born. This new Cuban dance, naturalized by the ‘Creoles,’ had much
more expressive freedom: the couple danced in each other's arms, and the dancing time was extended.
The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés
Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the
danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and
visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms,
its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was
fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type
of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a
touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the
embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City.
The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible
to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its
harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly
popular music. Danzón No. 2 was written on a commission by the Department of Musical Activities at Mexico’s
National Autonomous University and is dedicated to my daughter, Lily.
- Program notes courtesy of PeerMusicClassical.com
Geoffrey Duce is Assistant Professor of Piano at Illinois State
University. He has performed in New York’s Carnegie Hall, Berlin’s
Philharmonie and Konzerthaus, London’s Wigmore Hall, Manchester’s
Bridgewater Hall and Edinburgh’s Queen’s Hall, across Europe and in Japan,
Hong Kong and Canada.
Dr. Duce’s career has featured both solo and collaborative performances. As a
concerto soloist he has appeared with the Sinfonie Orchester Berlin, the
Chattanooga and Olympia Symphony Orchestras, the Edinburgh Philharmonic,
the New York Sinfonietta, and the Dundee Symphony Orchestra, and as a
chamber musician and accompanist he has recorded for BBC Radio 3 and
performed at the Edinburgh Fringe Festival. He won the Young Artists Award
from Britain’s National Federation of Music Societies, and was awarded the
Prix de Piano at the American Conservatory in Fontainebleau, France.
Prior to his appointment at Illinois State University, Dr. Duce has served on the faculty at the Manhattan School of
Music, Indiana University South Bend, and at the State University of New York at Westchester Community
College.
Originally from Scotland, Dr. Duce initially studied at the Royal Northern College of Music and Manchester
University before receiving a DAAD scholarship to the Universität der Künste, Berlin. He received his doctorate
from the Manhattan School of Music. His principal teachers have included Phillip Kawin, Ferenc Rados, Klaus
Hellwig and Renna Kellaway.
Symphonic Winds Personnel
Martin H. Seggelke, conductor
Joseph Manfredo, conductor
Amy Mikalauskas, graduate conductor
Flute
Heather Elfline
Kalie Grable*
Jennifer Jones
Cassie Metz*
Carly Piland
Trumpet
Alyson Bauman
Shauna Bracken
Tristan Burgmann*
Katie Harris
Casey Laughlin
Oboe/English Horn
Linnea Couture*
Samantha Dosek
Bridget Gondek
Trombone
Michael Genson
Chris Gumban
Jonathan Sabin*
Danny Tedeschi
Clarinet
Alex Armellino*
Lisa Frustaci
Meredith Galloway
Chris Odom
Tim Recio
Elizabeth Rennwanz
Nicha Sukkittiyanon
Bass Clarinets
Beth Hildenbrand
Andy Lucas
Bassoon
Courtney Baltzer
Katelyn Fix*
Bill Heinze
Saxophone
Mike Basile*
Devin Cano
Riley Carter*
Christine Ewald
Samantha Kubil
Adam Unnerstall
Euphonium
Derek Carter*
Andrew McGowan
Sara Sneyd
Tuba
Alex Finley*
Mitchell Jones
String Bass
Laura Bass*
Patrick Casner
Percussion
Lauren Bobarsky
Matt James*
Katie Klipstein
Rei Shorten
Katie Tollakson
Hillary Ulman
Piano
Amanda Lewis*
Horn
Maddy Bolz
Connor Bowman
Justin Johnson
Meagan Vasel
Emily Wolski*
Acknowledging the important contributions of all ensemble members, this list is in alphabetical order.
*Denotes Section Leader
THANK YOU
Illinois State University College of Fine Arts
James Major, Dean
John Walker, Executive Associate Dean
Sherri Zeck, Associate Dean
Pete Guither, Assistant Dean
Laurie Merriman, Assistant Dean
Janet Tulley, Assistant Dean
Illinois State University School of Music
A. Oforiwaa Aduonum, ethnomusicology
Allison Alcorn, music history
Debra Austin, voice
Mark Babbitt, trombone
Daniel Belongia, associate director of bands
Glenn Block, orchestra & conducting
Connie Bryant, bands administrative clerk
Karyl K. Carlson, director of choral activities
Renee Chernick, piano
David Collier, percussion & associate director
Andrea Crimmins, music therapy
Peggy Dehaven, office support specialist
Judith Dicker, oboe
Michael Dicker, bassoon
Geoffrey Duce, piano
Tom Faux, ethnomusicology
Angelo Favis, graduate coordinator & guitar
Sarah Gentry, violin
Amy Gilreath, trumpet
David Gresham, clarinet
Mark Grizzard, men’s glee club
Christine Hansen, academic advisor
Kevin Hart, jazz studies & theory
Martha Horst, theory & composition
Mona Hubbard, office manager
Joshua Keeling, theory & composition
John Michael Koch, vocal arts coordinator
Shela Bondurant Koehler, music education
William Koehler, string bass & music education
Adriana La Rosa Ransom, cello
Marie Labonville, musicology
Katherine J. Lewis, viola
Roy D. Magnuson, theory
Joseph Manfredo, music education
Leslie A. Manfredo, choir, music education
Tom Marko, director of jazz studies
Rose Marshack, music business & arts technology
Joe Matson, musicology & music history
Kimberly McCord, music education
Carren Moham, voice
Carlyn Morenus, piano
Joe Neisler, horn
Paul Nolen, saxophone
Maureen Parker, administrative clerk
Stephen B. Parsons, director
Frank R. Payton, Jr., music education
Kim Risinger, flute
Cindy Ropp, music therapy
Andy Rummel, euphonium & tuba
Tim Schachtschneider, facilities manager
Carl Schimmel, composition
Daniel Peter Schuetz, voice
Martin H. Seggelke, director of bands
Matthew Smith, arts technology
David Snyder, music education
Ben Stiers, percussion & assistant director of bands
Tuyen Tonnu, piano & accompanying
Rick Valentin, arts technology
Justin Vickers, voice & musicology
Michelle Vought, voice
Sharon Walsh, advisor
Band Graduate Teaching Assistants
Aaron Gradberg, Josh Hernday,
Beth Hildenbrand, Amy Mikalauskas,
Nelson Ruiz
Upcoming Illinois State University Large Instrumental Ensemble Performances
Details and links to tickets at www.bands.ilstu.edu
April 23, 2015
8:00pm-CPA
University Band and Symphonic Band Concert
April 24-25, 2015
All day-CPA
State of Illinois Invitational High School
Concert Band Festival
April 26, 2015
5:00pm-CPA
Wind Symphony Concert