Las Vegas Academyof International Studies, Performing

& Visual ArtsPhilharmonic & Chamber Ensembles

A R e c i p i e n t S c h o o l o f N i n e G r a m m y Aw a r d s

63 Annual Midwest Clinic 2010

Las Vegas Academy PhilharmonicBrian Downey, Eric McAllister, Karl Reinarz, Directors

5:30 PM Wednesday, December 16th, 2009 – Ballroom 375 AB West

&Las Vegas Academy Philharmonic

Chamber EnsemblesKarl Reinarz, Eric McAllister, Directors

2:30 PM Thursday, December 17th, 2009 – Ballroom W-190 West

The McCormick Place WestChicago, Illinois

December 2009

Las Vegas Academy Orchestra and Music DepartmentThe Orchestra Department of the Las Vegas Academy includes 230 talented string, woodwind, brass, and percussion students who are either pursuing a career in the performing arts or are interested in improving their skills on their chosen instrument. In addition to three directors, six paraprofessionals tutor students on a regular basis. Many of our graduating seniors receive major scholarships to colleges, universities, and conservatories. Most LVA instrumentalists maintain a 3.5 GPA or higher while enrolled in eight classes each quarter, many of which are honors and advanced placement. The Las Vegas Academy Strings performed at the 2003 Midwest Clinic, the 2005 ASTA Convention in Reno, the 2006 MENC Convention in Salt Lake, and the current Philharmonic performed at the Orchestra America Festival in 2007 in the Indianapolis Symphony’s Hilbert Theater, the ASTA 2008 competition in Albuquerque and the New York Philharmonic’s Avery Fisher Hall in 2009 as a part of Distinguished Concerts International.

In addition to a reputation for musical excellence in performance, the curriculum offers major courses in band, orchestra, vocal music, guitar, jazz, Mariachi, and piano. Elective classes are offered in music theory, music technology, conducting, handbells, philharmonic orchestra, world music studies, chamber music.

The Academy is the only school in Nevada to be named a 2002 Blue Ribbon School by the US Department of Education. Additionally, the Academy is one of 15 schools nationwide to also be named a New American High School. It is one of the top schools in the U.S. for academic excellence and innovation. Of the nine GRAMMY awards the Academy has received, six have been GRAMMY Signature “Gold” Awards for excellence in music programs. The International Network of Performing and Visual Arts has recognized The Las Vegas Academy as a “STAR” school.

Philharmonic OrchestraBrian Downey, Eric McAllister, Karl Reinarz, Directors

Mark Laycock, Logan Biles, Guest Conductors5:30 PM Wednesday, December 16th, 2009 – Ballroom 375 AB West

Route 66 ....................................................................................................................................................................... Michael Daugherty

Calico Jack ............................................................................................................................................................................. Andrew Riggle La ReJouissance ............................................................................................................. George Fredric Handel/Richard Meyer Hobgoblin ...................................................................................................................................................................................... Phillip Clark

Dr. Mark Laycock – Guest Conductor, Director of Orchestras, Wichita State University

Olympic Harvest ................................................................................................................................................................. Mark O’Connor

Midwest Commission, Logan Biles – Guest Conductor, Co-Director, Las Vegas Academy Bands

Burgundian Carol .......................................................................... Attributed to Bernard De La Monnoye/Sandra Dackow

Serenata Notturno K. 239 ............................................................................................................................................... W. A. Mozart

III. Rondo

Old Ironsides ..................................................................................................................................................... Jeremy Woolstenhulme

Colonial Song .................................................................................................................................... Percy Grainger/Mark Richards

Sandstorm .......................................................................................................................................................................... Aric Branchfield

Symphony #1 ....................................................................................................................................................................... Gustav Mahler

II. Kraftig bewegt

Las Vegas Academy - Philharmonic OrchestraViolinChristopher BaltazarNicole BrownMichael Burkhardt +Steven Dixon +Linda Duan +Kaitlynn FullmerParis GriffinJohannah HagenDaniel KipnisDaniel LeoLauren Massena Caolinn Mejza *Kaylene PecoraMitchell PerillaKevin ReillyKarah Ross *Marie Syrovy Samantha ValdezDaniel Valentine +Marlo Zemartis

ViolaRachael BruniJavier Chacon *David ChavezSpencer Ingersoll *Denise Jones *Everett MiaMegan Montgomery *Shelby Rosten

CelloBriannah ArnottElizabeth Clarke *Sebastian FraserJorge Maresch *Zachary Rodriguez *Micheal RompelAdrian Smallwood *Bradley TaylorJasmine Ujifusa

BassMichael ChakosDebra HogueSummer Kodama *Ed Lacala *Gabriel Plannette

FluteHunter GrolmanAlexandra Luttrell FreemanBridget SullivanNicole Whelchel *

OboeJasmine ChenElizabeth KahanRyan Schwartz *

BassoonAimee DiazRichard Hardman, III *Lisa Mayer

ClarinetVincent Camuglia *Lynsey CookIsaiah Pickney

HornSabrina Bernstein *Marissa Diaz Tracy EcheverriNima KhanbuloukiMatt White

TrumpetMartin KingJorge Machian *Guillermo RamasasaPaul VanBeuge

TromboneBowen GassBrenden Higbie *Briah Thomas

Tuba/Bass TromboneBrandon HigginsJavier Lopez

PercussionKevin Good *Dugan HarkinsAustin PooleyJadin TredupSteven Zeller

PianoHaeun Kim

HarpKaila Leavitt

+ concertmaster * Principal

LVA Chamber EnsemblesKarl Reinarz, Eric McAllister, Directors

2:30 PM Thursday, December 17th, 2009 – Ballroom W-190 West

L’Histoire du Soldat Suite ............................................................................................................................................... Igor Stravinsky I. The Soldier’s March

Quintet for Guitar and Strings in D .......................................................................................................................... Luigi Boccherini III. “Fandango”

The Japanese Garden from Elementary Trios ....................................................................................................... Lee Burswold

Quartet for Oboe and Strings K. 370 ......................................................................................................................... W. A. Mozart III. Rondo: Allegro

Sonatina from Six Intermediate Quartets ........................................................................................... Ludwig van Beethoven/ Catherine McMichael

Quintet for Clarinet and Strings .......................................................................................................................... Johannes Brahms III. Andantino-Presto

Brother Martin ........................................................................................................................................ Gustav Mahler/Phillip Hash

Chorale from Strings Extraordinaire ......................................................... Johann Gottfried Walther/Janice McAllister

The “Trout” Quintet Op. 114 ........................................................................................................................................ Franz Schubert IV. Andantino, Theme, and Variations

At the Disco from Dance Fever ........................................................................................................................................ Thom Sharp

Quartet for Strings ......................................................................................................................................................... Claude Debussy I. Anime et tres decide

Las Vegas Academy - Chamber Ensembles

ViolinMichael BurkhardtLinda DuanDaniel LeoCaolinn MejzaDaniel ValentineMarlo Zemartis

ViolaJavier ChaconSpencer IngersollDenise Jones

CelloElizabeth ClarkeJorge MareschAdrian Smallwood

BassSummer KodamaEd Lacala

OboeRyan Schwartz

BassoonRichard Hardman, III

ClarinetVincent Camuglia

TrumpetJorge Machian

TromboneBrenden Higbie

PercussionKevin Good

GuitarLouis Syrovy

PianoHaeun Kim

Karl Reinarz Karl Reinarz studied seven years at Indiana University, graduating with degrees in Music Education and a Masters High Distinc-tion in both Viola and Strings. His violin and viola teachers during these years included former Concertmasters and Principal players of many great orchestras: Daniel Guilet, NBC Symphony and Beaux Arts Trio, Tadeusz Wronski, Warsaw Philharmonic, Victor Aitay, Chicago Symphony, Jerry Horner, Fine Arts Quartet, Abraham Skernick, Cleveland Symphony and later, Kalman Banyak, Baltimore Symphony.

Karl has taught secondary level orchestra in the South Bend, Indiana school district and, since 1982, has taught in the Las

Vegas Clark County School District, being amazed at its growth from 5 string teachers to 88 in 2009. In 87-88 he enjoyed the opportunity of directing the orchestra program at the wonderful Punahou School in Hawaii. As a former director in the CCSD youth orchestra program, 1989-2006, Karl led the senior ensemble, the Las Vegas Youth Philharmonic. Of several commissioned works dedicated to the Las Vegas Youth Orchestras in its partnership with the City of Las Vegas, the Thomas Kennedy arrangement of “Rite of Spring”, published in 2000 by Southern Music, was a particularly exciting collaboration.

In his seven years as an orchestra director at the Las Vegas Academy of Performing and Visual Arts and International Stud-

ies, he is inspired by the school’s excellent students and faculty. He was selected Nevada ASTA Orchestra Teacher of the Year 2006.

His membership in professional organizations includes, MENC, ASTA/NSOA, NMEA, and the American Federation of Musi-

cians. He has participated in the Conductors Workshop of America. Since 1975 he has been on the string faculty of the Indiana University High School Summer Music Clinic. He performs as assistant principal violist with the Las Vegas Philharmonic, and

really enjoys teaching private lessons.

Brian Downey is entering his 5th year as a music teacher at the Las Vegas Academy of International Studies, Visual, and Perform-ing Arts, and his 15th year in teaching. Mr. Downey is a graduate from the University of New Mexico where he earned a Bachelor’s

degree in Music Education.

He recently earned a Masters in Arts from Southern Oregon University in 2005 through the American Band College. While earning his undergraduate degree he was Bass Trombonist in the Santa Fe Symphony for three years, substitute for the New Mexico Symphony, as well as performing many other jobs on call.

His teaching career has taken him to positions in El Paso, TX, Rio Rancho NM, and Clark County, NV.

In 2005 Mr. Downey was named as Nevada’s “teacher that make a difference” in music education in America by String Band and Orches-tra Magazine. Mr. Downey is a former director for the Las Vegas Youth Symphony (2002-2008). In addition to his directing responsibilities, Mr. Downey has been the Clark County Band Director Association’s president from 2001-2003, and a Past President for the Nevada Music Educators Association. (2003-2009)

Brian Downey

Eric McAllister

Logan Biles

Mark Laycock

Logan Biles received his Bachelor’s Degree in Music Education from the VanderCook College of Music in Chicago, IL and his Master’s Degree in Saxophone Performance from the University of Notre Dame.

Dr. Mark Laycock is an Associate Professor of Music at Wichita State University, where he holds the Ann Walenta Faculty of Distinction Endowed Professorship. In 2007, he was recognized with the College of Fine Arts Excel-lence in Teaching Award. In addition to serving as Director of Orchestras, he is Director of Conducting.An experienced educator, he was an instructor of strings and orchestra at the middle and high school levels in the Clark County School District in Las Ve-gas, Nevada.

dlelight String Quartet, and currently the Seasons Quartet. Eric has performed in Las Vegas with performers such as: Andre Bocelli, Josh Groben, Harry Connick Jr., Itzhak Perlman, Placido Domingo, Benjamin Zander, Johnny Mathis, Smokey Robinson, Donna Summer, Rascal Flatts, Linda Eder, Alan Parcens Project, Dennis DeYoung/Styxx, Air Supply, The Scintas, Danny Gans, Frank Sinatra Jr., Mary J. Blige, and Dave Stewart/Eurythmics.Mr. McAllister has taught orchestra in the public schools since 1999. Currently, he is in his 4th year at the Las Vegas Academy of International Studies, Visual, and Performing Arts as Co-Director of the Orchestras and Chamber Ensembles.

Eric McAllister received his Bachelors of Music Education at Utah State University while studying Violin Performance with the quartet in residence, the Arcata String Quartet. He taught orchestra in Farmington, New Mexico for two years before moving to Las Vegas, Nevada. Eric received his Masters of Viola Performance while studying with Andrew Duckles and Beverly Bias at the University of Nevada Las Vegas. Eric has performed with the Utah Festival Opera company each summer since 1996, the Las Ve-gas Philharmonic since 2001, and with the other

musical organizations such as the Nevada Chamber Symphony, San Juan Symphony

in Durango Colorado, Showcase Chamber Ensemble in Farm-

ington New Mexico, The Willow Valley String

Quartet, The Can-

Currently, he teaches Band, Jazz and AP Music Theory

at the Las Vegas Academy and is pursuing his Doctor-ate in Instrumental Conducting under Professor Tom Leslie at the University of Nevada, Las Vegas.

Route 66 - Michael Daugherty Musical ideas come to me when I drive my car down an empty American highway.

There is freedom of movement and space to reflect. I meditate on my experiences as a composer of contemporary concert

music, a keyboard player in jazz, funk, and rock bands, a percussionist in drum and bugle corps, an improviser on synthesiz-

ers for silent film, an organist for county and state fairs, a pianist in cocktail bars. Route 66 is a musical reflection on Amer-

ica, as seen through my rear view mirror. Warning—objects in mirror are closer than they appear. From my perspective,

icons are fascinating because they seem close, but are meaningful only by means of temporal and spatial distance, They

create emotion because they are always in motion, never in the same place; their meanings shift to create multiple points

of view. Icons can be people, places or things: Elvis Presley, James Cagney, Jackie O, Liberace, Barbie dolls, Motown, pink

flamingo lawn ornaments, Route 66. Such icons have personal meanings for me, and a wide range of associations within

contemporary American culture. As a composer, I am inspired by these and other icons to imagine exciting new sounds

with traditional orchestral instruments. Drawing on a wide range of musical traditions, I bring the excitement and energy of

American popular culture to the concert hall. In Route 66 I create an intricate structure that is dramatic and memorable,

using a wide palette of timbres, lively rhythms, and contrapuntal complexity. Whether I am playing jazz piano or composing

concert music, I like to deviate from the middle of the road. Through an unconventional use of American icons, I open a door

to listeners, inviting them to bring their own emotions and associations into the musical experience. - Michael Daughtery

Calico Jack - Andrew Riggle is a character sketch of a pirate from the orchestra suite “Simeon”s Cove.” It should

be easy to visualize his quirky personality and the fear he evokes when listening.

La ReJouissance - George Fredric Handel/Richard Meyer George Fredric Handel/Richard Meyer One of

the last and greatest of Handel’s orchestral works, his royal fireworks music was commissioned for an English ceremony

to celebrate the end of the long and unpopular war of the Austrian succession. Plans for the festivities were to include a

tremendous display of fireworks and music of matching brilliance. Handel wished to use string instruments as well as war

like brass and winds, but the king declared that he wanted no fiddles. The first page of the original manuscript score reflects

the king’s taste, calling for 24 oboes, 9 horns, 9 trumpets, 3 timpani, 12 bassoons, and a newly invented instrument, the

contrabassoon. Subsequent performances included string instruments, added by Handel after the premiere. As far as

the fireworks were concerned, the official celebration on the evening of April 27, 1749, was not success-many fuses of the

rockets would not light, and the huge scaffolding from which the fireworks were launched caught fire!

Hobgoblin - Phillip Clark A short, spooky novelty piece perfect for a Halloween concert, Hobgoblin is playfully con-

temporary in both harmony and style (think Prokofiev). A ghoulish theme flows through mixed meters, providing rhythmic

challenges. A wide variety of bowing styles and articulations are used to portray the antics of the hobgoblin.

A special thank you to Dr. Richard McGee from the College of Southern Nevada, and associate conductor of the Las Vegas Philharmonic - for providing our program notes *

Program Notes

Olympic Harvest - Mark O’Connor I composed “Olympic Harvest” as an overture for symphony orchestra. Harvest

time is an occasion for celebration and this is celebratory music. Commissioned by The Midwest Clinic, An International

Band and Orchestra Conference, 2009 specifically for youth orchestras to perform, I had the image of students filled with

excitement and energy in my mind during the entire composing process. For the subject of the piece, I use my own “Olym-

pic Reel,” a tune I composed for the “Closing Ceremonies” at the 1996 Olympic Games in Atlanta. After a slow reflective

introduction featuring mostly wind instruments, the listener will hear the unusual orchestration of four hands on the piano,

playing up-tempo rhythmic sequences. Added into this rhythmic tapestry are various percussive bowings from the strings

chopping and lifting in a choreographed manner to provide a forum for the “reel” to enter. After the 1st violins take the tune,

it is shared by the winds on the repeat all highlighted by virtuosic 6/8 and 9/8 passages that appear at the conclusion of

the form each time it comes around. At letter F in the score, the brass will have its turn. Beginning with a staggered pair

of trumpets and a single trombone, the methodical section takes on more twists and turns as the density of the brass

instruments build. Without breaking stride, the music begins to swing like a New Orleans groove. Interwoven textures are

introduced with counter melodies and the rhythms of the reel. The four hands join and the full trap set with additional per-

cussion builds to the climax of this section before it is time for one more run through of the Olympic Reel. - Mark O’Connor,

New York City, 2009

Burgundian Carol - Bernard De La Monnoye/Sandra Dackow Often called “Patapan”, is attributed to Ber-

nard de la Monnoye (1641-1728), though it is likely older, of traditional origin. A carol originally meant a round dance, which

we associate with Christmas, but it also has older pagan roots. Burgundy is a region in north central France. “Guillo (Willie)

take your drum” refers to the tambourin, a long drum used in folk music. Other instruments and their sounds appear in the

words of the carol, as well. Most students have learned this song in elementary music classes. This piece can be played

with strings alone or with the additional percussion instruments, with parts easy enough to be played by members of the

string section. The music should be felt in cut time and quarter notes should be played at the frog, off the string, if possible.

All parts remain in first position and no extended fingerings are required.

*Serenata Notturno K. 239, III. Rondo - W. A. Mozart This delightful work for strings and timpani is the sixth

of Mozart’s serenades, composed in 1776 when Mozart was twenty years old. He was nearing the end of his residency

in his hometown of Salzburg, and was in full bloom as a composer, churning out works with amazing rapidity. In this work,

the addition of the timpani provides a certain weight to the scoring, and at times also serves to add a sense of comic satire.

The movement on today’s program is full of exuberance and innocence, capturing the spirit of all of Mozart’s serenades.

“Serenata Notturna” implies “night serenade”, and Mozart’s numerous serenades were intended to be performed in the

evening for various social functions. It was never expected that the pieces would be heard more than once. The music is

simple, direct, and optimistic, and characterizes the essence of Classical thinking, that music exists solely to entertain and

provide immediate pleasure.

Old Ironsides – Jeremy Woolstenhulme Old Ironsides was written in the summer of 2009 for the Las Vegas

Academy Orchestra in honor of their invitation to perform at The Midwest Clinic in Chicago. The USS Constitution also

known as “Old Ironsides” is a musical portrayal of the oldest commissioned naval vessel afloat in the world. The song is

divided into several sections called “The Ship” “Thoughts of Home” “Battle” and “Victory”. Old Ironsides was a 44 gun frigate,

built in Boston Massachusetts and launched in 1797, her first duties were to protect American merchant shipping dur-

ing the Quasi War with France and to defeat the Barbary pirates in the First Barbary War. The USS Constitution is most

famous for her actions during the War of 1812 when she defeated five British warships. In 1907 the Constitution was

designated a museum and in 1997 she sailed again under her own power for her 200th birthday.

Colonial Song - Percy Grainger/Mark Richards No traditional tunes of any kind are made use of in this piece,

in which I have wished to express feelings aroused by thoughts of the scenery and people of my native land (Australia), and

also to voice certain kind of emotion that seems to me not untypical of native-born Colonials in general. Perhaps it is not

unnatural that people living more or less lonely in vast virgin countries and struggling against natural and climatic hardships

(rather than against the more actively and dramatically exciting counter wills of the fellow men, as in more thickly populated

lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in

much American art; for instance in Mark Twain’s “Huckleberry Finn,” and in Stephen C. Foster’s adorable songs “My Old

Kentucky Home,” “Old Folks at Home,” etc. I have also noted curious, almost Italian-like musical tendencies in brass band

performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth

of phrasing over more subtly and sensitively varied delicacies of expression), which are also reflected here.

Sandstorm - Aric Branchfield The brash New York works creates intensity by using various modes, including B

Phrygian, and mixed meters to create a musical picture of an intense, wide-driven storm. While remaining within grade

2 technique, and introducing spiccato, this exciting musical frenzy will capture young students’ imagination and take your

audience on a gripping musical ride.

*Symphony #1, Mov. II. Kraftig bewegt - Gustav Mahler Mahler, already an accomplished conductor, was

frustrated by his lack of commercial and critical success as a composer. One of his greatest disappointments was the luke-

warm, even negative reaction to his Symphony #1, premiered in 1889. Audiences were confused by the massive breadth of

material crammed into the symphony, and he responded by making many alterations over the years – deleting the Blumine

(second of the original five movements), and adding, then deleting programmatic descriptions of the movements. Mahler

tried everything he could think of to present the music in a way that would make people like it, but they simply did not until

many years later, when the genius of his symphonic thinking would be recognized for what it was, and the symphony would

be changed forever because of his contributions. Once the four-movement structure was solidified, the second movement

scherzo was quickly recognized as the most easily accessible of the movements. It is a romping, gregarious dance, featur-

ing brilliant writing for horns and woodwinds, and marvelous orchestration throughout. To modern ears, there is much to

like, including the soaring main theme, reminding one of a drinking song, and the charming central interlude, which gives the

listener a brief glimpse of a much more intimate Mahler. A recapitulation of the main theme rounds out the movement, and

the brass trills and triangle tremolos bring the movement to a sparkling conclusion.

*L’Histoire du Soldat Suite, I. The Soldier’s March- Igor Stravinsky One of the central figures of twentieth

century music, Igor Stravinsky shifted from his Neo-Romantic roots around the time of World War I, to a more Neo-Classical

style of composition. Smaller ensembles and simpler forms ruled the day, but that did not mean that there was any lack of

complexity in the music itself. Indeed, L’Histoire is a virtuosic piece in every sense of the word, and each of the seven players

in the ensemble is challenged by the rhythmic and technical features of the work. Completed in 1918, this ballet centers

on a young Russian soldier named Joseph. In the story, he trades his violin and musical ability to the devil, in exchange for

a book that tells the future. Using the book, Joseph becomes quite wealthy, but soon realizes that the keys to his own hap-

piness are lost, and have nothing to do with money. He challenges the devil to get his violin back, and to make things the

way they were. The opening music in the ballet is “The Soldier’s March”, a lighthearted piece that sets the stage for the

encounter that will soon follow. The march is also heard later in Part One of the ballet as a reprise.

*Quintet for Guitar and Strings in D, Mov. III. “Fandango” - Luigi Boccherini In addition to his sym-

phonies and larger works, Luigi Boccherini was a prolific composer of chamber music, composing more string quartets

than even Haydn, and also writing over 130 chamber quintets. Many of these quintets featured a “soloist” along with a

standard quartet, and in this case, parts of two other cello quintets were blended and modified to feature guitar, and were

assembled into the work you will hear today. Boccherini’s style is something of an enigma; while embracing classical forms

and structures, his music often plunged into the emotional world of the Romantic period, even before Beethoven. He relied

on a fertile melodic gift to bind the works together, and in general, Boccherini’s music has a light, airy quality that is invigorat-

ing and memorable. This movement, the final part of the Guitar Quintet #4, is a true fandango, with a lively triple meter and

a prevalent guitar texture that recalls its’ Portuguese roots.

The Japanese Garden from Elementary Trios - Lee Burswold This collection contains a character sketch of

original works, which teaches basic skills like slurs and hooked bowings, all in first position, and is perfect for those first-year

students in Suzuki Book 1. The score and all parts are included.

* Quartet for Oboe and Strings K. 370 - W. A. Mozart Mozart experimented with the timbres of wood-

winds in certain orchestral settings, and some combinations were less frequently used, such as oboes and clarinets. Some

musi cians have concluded that Mozart had a problem with the oboe sound itself, but this was certainly not the case. The

combination of the oboe with strings, as employed in the Quartet for Oboe and Strings, is sublime by any standard. This

composition was written for a young, fourteen-year-old oboist named Friedrich Ramm, who had just been appointed to the

Mannheim Orchestra. Because Ramm was the inspiration for this work, it is structured to feature the oboe throughout,

almost as if it were a “ chamber concerto.” This Quartet was completed in 1781.

Sonatina from Six Intermediate Quartets - Ludwig van Beethoven/Catherine McMichael Featuring

favorites from childhood arranged for strings, this collection is great for that first chamber music in middle school, as well

as for developing counting and reading skills. The first violin part ranges to third position. Parts include optional third violin for

viola. Includes: Ballade (Burgmuller), Fantasia (Telemann), Le petit Negre (Debussy) Sonatina in A minor (Benda), Sonatina

in F (Beethoven), tarantella (Heller)

*Quintet for Clarinet and Strings - Johannes Brahms With the Mozart works already presented on this pro-

gram, it is appropriate to note that Brahms patterned his Clarinet Quintet after Mozart’s work in the same genre. Brahms

is widely considered to be the last word in Romantic chamber music, and this composition is regarded as among his finest

works in the genre. It was composed in 1891, and as with Mozart, Brahms was inspired by a contemporary virtuoso musi-

cian. In this case, the inspiration was clarinetist Richard Muhlfeld. In the movement you will hear today, Brahms creates

an engaging theme and variations. Though the clarinet is obviously prominent in many areas, at other times Brahms deftly

weaves the clarinet into the fabric of the strings, creating a charming, homogeneous texture.

Brother Martin - Gustav Mahler/Phillip Hash This is an excerpt from the third movement of Gustav Mahler’s

Symphony #1. The main theme is based on a minor key variant of the French children’s song, “Frere Jacques,” also known

as “Bruder Martin” in Germany. Written as a slow, lumbering funeral march, audiences at the 1889 premier were sur-

prised by the sad, distorted version of the familiar tune. Inspiration for this movement came from a woodcut by Moritz von

Schwind titled “The Hunter’s Funeral Procession,” as well as other Jewish and Gypsy musical traditions.

Chorale from Strings Extraordinaire - Johann Gottfried Walther/Janice McAllister This chorale is

based on a German Protestant hymn that translates as “Dear Jesus, we are here.” Johann Gottfried Walther was a Ger-

man Baroque-era music theorist, organist, composer, and cousin of J.S. Bach. He was most famous as the compiler of an

enormous German dictionary of music and musicians. Most famous as the compiler of an enormous German dictionary of

music and musicians.

*

The “Trout” Quintet Op. 114 - Franz Schubert The unique instrumentation of this quintet (piano, one violin, viola,

cello, and string bass) might cause a listener to ask “why” Schubert chose this assemblage of players instead of something

based on a conventional string quartet. The answer is simple: practicality. Schubert composed this piece in 1819, and not

for a special event, but rather a simple gathering of players who were planning to play Hummel’s quintet. Because Hummel

used the instrumentation listed above, Schubert decided to write a piece for the same group. The piece was played and

then put on a shelf until it was published, a year after the composer’s death. The movement performed today is the fourth

of five movements, and probably the most familiar. It has been quoted in television shows and films, most notably in the film

After Pilkington. As in the Brahms piece performed earlier, this movement is structured in a theme and variations. As one

listens to Schubert’s work, notice that the melody itself is less varied than in some other pieces of this type; the “variation”

comes in Schubert’s ingenious use of surprising modulatory techniques and chromatic alterations.

At the Disco from Dance Fever - Thom Sharp Dance the night away with these original compositions in a wide

variety of styles. This work, for the advanced intermediate level and above, includes opportunities for open improvisation

(written solos provided) and some swing. The book includes: At the Disco, Lindybug, Samba Sunset, Wedding Waltz, Tango

Tangerine

* Quartet for Strings - Claude Debussy Debussy had planned to compose two string quartets during the sum-

mer of 1893, but only one was actually penned, and it turned out to be the only work of this genre that Debussy ever wrote.

Perhaps part of the reason it remained the sole quartet in his collected works was the reaction to its first performance.

Critics were mixed on the work, and some were distinctly unimpressed. However, when we listen to this remarkable work

now, one cannot help but be amazed at its significance, not only to us as listeners, but to those who see this Quartet as a

gateway to the Impressionism that Debussy would bring to the world in his later works. Listen for the exotic modal scales

and the use of whole tone scales throughout. Keep in mind that this quartet is a fairly early work for Debussy (Opus 10),

and that he is still discovering his own harmonic language. Though we are only hearing the first movement today, the entire

work is built upon central themes that pervade each movement, further breaking down the Classical ideals of contrasting

themes with developments. Certainly this is a landmark composition that helps to usher us into the musical twentieth

century. Hearing Debussy’s String Quartet helps one to understand both the great composer’s psyche, but also the next

step in the evolution of music beyond Romanticism.

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Dear Friends, As Mayor, and on behalf of the citizens of the beautiful City of Las Vegas, I would like to congratulate the Las Vegas Academy of International Studies, Performing and Visual Arts on qualifying to perform at The Midwest Clinic in Chicago. Three ensembles have been selected for this honor and I am proud of the students who have worked so hard for this achievement. It is through the dedication and perseverance of many people – students, directors, parents, administrators and community members – that an honor such as this is made possible. I appreciate the outstanding work you are doing at the Las Vegas Academy of International Studies, Performing and Visual Arts. Best wishes for a memorable experience! Sincerely,

Oscar B. Goodman Mayor City of Las Vegas American City of the Year* * The City of Las Vegas received the World Leadership Award for American City of the Year, in addition to awards for our Centennial Hills Master Planned Campus and our Alternative Fuels Program. More than 400 cities across the world presented projects in a wide range of activities, highlighting the very best in modern city leadership. The awards are given to cities whose leaders have shown exceptional imagination, foresight or resilience in a number of key fields - especially cities that have reversed trends, shaken off traditional images and acted as an example and inspiration to others.

OSCAR B. GOODMANMAYOR

CITY OF LAS VEGAS

400 STEWART AVENUE

LAS VEGAS, NEVADA 89101

VOICE 702.229.6241 FAX 702.385.7960 TTY 702.386.9108

EMAIL ogoodman@lasvegasnevada.gov WEBSITE www.lasvegasnevada.gov

Thank you to William Harris Lee for providing cellos for our performances

William Harris Leewww.whlee.com

Thank you to Quinlin and Fabish for providing Basses for our performances

William Harris Lee & Co., Incwww.qandf.com

This Program is presented in accordance with CCSD Policy and Regulations 6130, Assemblies and Public Programs.

Paraprofessional StaffShanka Cisani - Violin, Robin Reinarz - Cello, Paul Firak - Bass

Marty Radunz & Sherrie Parker - Winds

Thank you to Michelle NelsonSchool district photographer

William Harris Lee & Co., Inc.

A Special Thank You to

Designers: Crystal Gutierrez, Inyoung Park, Francisco Castillo, Laura Dorniak