In case you missed the October cover of SB&O, Brian Covey (director of Lockport High School) graced the cover.  The article got me looking forward to his group’s performance on Thursday morning and they did not disappoint.  While seeing Eric Whitacre was nice, and getting to watch James Keane is always a pleasure, the exciting part was getting to hear the band perform Traffic Jam by Timothy Loest.  Tim is a great writer, educator and director and this was the first time he had one of his pieces debuted at Midwest.  Tim has become a good friend over the past two years, and it was really awesome seeing him get some big time recognition for his writing at the conference.

Dr. Pisano, Dr. Greig, and I attended the Phi Beta Mu meeting on Thursday morning, and had the opportunity to connect with a number of great directors from around the country.  It was nice getting to put a face with names, and compare notes with this international group of colleagues.   I enjoyed Lynn Cooper’s presentation “The Good, the Bad, and the Ugly: Choosing Music for Your Band” on Thursday morning following that meeting.  The one quote that struck a “chord” with me was from Bennett Reimer – “Music of high quality need not be music of high complexity”.  Too often we are tempted to pick music just out of our ensembles reach, but it need not be like that.  As Cooper shared, pick music that features both your group’s strength and weaknesses.  He also posed a list of questions to consider in the selection of music that were very insightful – and if we are doing our job, we should be asking these questions anyway!  While the Teaching Music through Performance in Band Series is great, sometimes it is better if we do the work for ourselves and sometimes we find the best songs that aren’t on any lists.  The quote by Bennett Reimer (1991) made me reflect on an older article in which he offered a succinct list of four criteria for judging quality in music.  I have found considering Reimer’s criteria of craftsmanship, sensitivity, imagination, and authenticity to be valuable in not only in selecting music for my groups to study but also as I begin writing new pieces.

A clinic by Anthony Reimer on iPods and filling them with band music was a reminder of how to fix the regret I felt after the Lockport Concert.  I thought as I exited “I wish there was a way to get my students to hear these performances”.  And there may not be a feasible way to get that done, but what can be done is make sure our rehearsal rooms have adequate listening labs where our students can gain access to high quality recordings of the band music on which we are working.  We want our students to have good musical role models – why shouldn’t we want them to have “aural” role models as well?  And why can’t that role model be an ensemble?  There are a number of companies providing free downloads of concert music that students can acess – here again we should be taking a non-traditional role and lead them to the information so they can access it!

It was also very rewarding to catch up with a number of composers whose music really speaks to me on different levels – as music lover, an educator, a conductor, and a composer.  Lockport also performed Song for Lyndsay by Andrew Boysen, Jr. As a writer and music lover, the sensitivity and expression in this piece was just wonderful.  I caught up with Andy on Friday – like Camphouse, I think Andy’s best pieces are yet to be written.  I spoke with Eric Whitacre very briefly on Wednesday night, and got to see him conduct Lockport on Thursday.  His star is certainly set as he continues to rethink and reshape orchestration practices.  It was a pleasure to get to know Chris Sharp and Erik Morales.  Chris is working on his doctorate from the University of Florida, so we had plenty to commiserate upon when comparing our pursuit of the terminal degree.  I knew only Erik through his jazz ensemble charts, but had a chance to check out a lot of his concert band works as well on Thursday while working the FJH Booth for a bit.  He is a very talented writer, and definitely knows his cuisine (It’s all about the pomegranates).  Always good spending time with Willie Owens – I have never witnessed anyone move that many CD’s in such a short amount of time.  Willie gets better every time I hear his stuff.  Brian Balmages had a big year at Midwest with a number of performances of his pieces.  The last time we spoke was “face to face” was the Skype concert, so it was nice being able to just sit down and visit a bit.  Check out Patrick Burns’ Toccata.  It is one of the best pieces for high school band I have heard in a long time.  Patrick was in the Daehn Publications booth, and he was working the crowd very well.   Julie Giroux might be the nicest person I know.  I spoke with her about Wagon Trail before the exhibits opened on Thursday.  What a talent she is!  I spent some time with Roland Barrett who has always been one on my favorites.  In undergrad, I conducted Symphonic Journey No.1 and from that point have become well acquainted with the entire catalog of his work.  I am eager to being his Fanfare and Jubilation with my groups second semester.  Is it ever a dull conversation with the quick-witted James Barnes? As we begin a inter-disciplinary revolving around The Trail of Tears, I am grateful for the time he took with me to discuss the significance of this piece in understanding what many history books ignore.  This work by Barnes is also a very important reminder that great music does not have to be difficult.  It is a substantial piece of remarkable depth worthy of study by students who want to become better people and individuals.  John Zdechlick signed my score for Chorale and Shaker Dance.  Timothy Mahr’s group performed on Friday (which included Boysen’s Unraveling – a monster piece at the grade 3 level).  Johan DeMeij and Jan Van der Roost were in the house, and I almost (albeit) accidently ran over Mark Camphouse.  Luckily, my dancer’s reflexes took over and we both averted disaster.  But that accident wasn’t nearly as bad as what could have been on Thursday around 11:43 a.m.   Where else can you wait in line to talk with Frank Ticheli only to have H. Robert Reynolds turn around and nearly run you over? Midwest, my friends.  Only at Midwest.

Reimer, B. (1991) Criteria for quality in music.  In R.A. Smith & A. Simpson (Eds.), Aesthetics and arts education (pp. 330-338). Urbana: University of Illinois Press.

One of the more interesting conversations I had over the past month was in regards to who is in fact next? ESPN’s The Magazine asks this same question each year as they look for the next greatest thing to come along in sports.  Dr. Pisano and I had this conversation a little over two weeks ago.  There is always a passing of the torch that occurs in any profession.  Sometimes it is graceful, and sometimes it is not.  Sometimes leaders make awesome exits at the top of their game (take James Keane last year at the Midwest Clinic with the Illinois Wind Ensemble), and sometimes they hold on too long (not to mention any names like Al Davis and the glorious debacle that is the Raiders).  Is there another Alfred Reed or Clifton Williams? What about a Kenneth Bloomquist or John Bourgeois?  And I say that with realization that there will never be another, but will there be someone that will accept the mantle and has earned the respect of our profession to follow in their legacy?

So who in our profession is next? Before I get to my list a disclaimer – I can only go by who I have seen, who I have worked with, who I have spoken to.  I am sure my list does not encompass all who deserve to be considered.  I don’t mean to exclude, but I will also not put out list that I can not substantiate either.  I would hope that like the Fire I lit a year or so ago about band literature, that we could open up some dialogue and start supporting others in the profession who might be utilized or contacted for someone else’s festival, music conference, a comisssion, or a clinic. 

Stick Men:

Dr. R. Tad Greig from Westminster College - My first nominee is right in my back yard, but I have really been impressed with him over the past 14 years as an educator, and conductor.  He and his Wind Ensemble will be performing this spring at our State Convention in April.  Tad’s knowledge of repertoire and his choice of engaging programs for festivals and his own students always impress me.

Dr. Stephen Gage from Youngstown State University – My second nominee is only about 35 minutes away.  I have had two students play in his youth orchestra, and have seen him work ensembles at festivals on four different occasions.  If you have never had the pleasure of watching him work a group, it is worth it.  Impeccable knowledge of his score, and he has a wonderful ability to convey the music to group.  I am most impressed with the core of his character.

Dr. Dennis Fisher from North Texas State University - The other guy at UNT.  It is hard to think of Dr. Fisher as a #2 to anybody.  I have spoken with him at both festivals at which I observed him work, and two things are readily obvious: He knows his stick work well, and he is one the sharpest education guys in our profession as well.  Dr. Corporon gets the lions share of recognition (and much of it deservedly so), but Dr. Fisher’s reputation is growing and I think he will be next.

Andrew Boysen, Jr., University of New Hampshire - Yes, yes, Boysen also writes like nobody’s business.  But I was even more impressed with him in person at an Honors Band festival two years ago.  The benefit of being a composer I definitely feel gives him an advantage on the podium in bringing another writers music to life. 

ADDENDUM!!! (updated on December 15, 2008)

Dr. Stephen Peterson, Ithaca University – I had the opportunity to observe Dr. Peterson last Thursday through Saturday with our local Honors Band.  He studided and worked with Paynter, and it was displayed brilliantly as his command of  Prelude, Siciliano, and Rondo was fantastic.  His ability to unlock and interpret a score was really impressive (loved his treatment of His Honor by Fillmore), and his personality really clicked with the ensemble.

Composers:

Mark Camphouse, George Washington University - His conception and creation of the large form of music for wind ensemble and concert bands is tremendous.  While Movement for Rosa, Watchman Tell Us of the Night, and Yosemite Autumn are just tremendous, I am convinced that his best works are yet to be created.

Patrick Burns, Montclair State University - Patrick’s writing is really taking off over the past few years.  He recently sent me a score to his score I loved well those cities… (for narrator and band) and I was really blown away. His Toccata is one of the most exciting pieces I have heard in a long time.  If you are worried this is too heady for your group, check out his Gothic Dance  and (my personal favorite) Suspended Animation.

Brian Balmages - I am somewhat envious of Brian’s position – he is a composer.  While he does handle editing for the FJH Music Company, he is really developing some fantastic pieces for ensembles of all kinds.  It was a pleasure bringing him in last year via Skype as my ensemble performed his Summer Dances.  One of the more dynamic pieces I have heard from him recently is Fusion – a multi-movement work that fuses a variety of styles.

Clinicians:

Jess Beblo, Beaver Area School District - Listen up PA educators (and those from around the world) – if you are looking a young, vibrant educator that is passionate about her work, great perspective, and understands how to put curriculum together in today’s schools contact Jess.  She presented at our PMEA in-service for District 5 this fall, and I could not have been more impressed.  She is in a great situation at her school working with two other very polished people in Susan Metelsky and Carl Newyear.

Dr. Joseph Pisano, Grove City College - We have been friends for years, but I do have to step back from time to appreciate what he has accomplished since we met in the summer of 1991.  Joe has such great vision for what our profession could become, and when you consider this whole blogger movement you start to realize this isn’t some dream – the framework is going up as manyof us are examining our practices, sharing ideas, and rethinking music education in a positive way.  And to think, all because we chose to share some thoughts on line.  The practioners of the “universal language” engaged in a global conversation.

Tim Loest – Tim has so many great works for young band.  Tim has also spent a lot of time working on method books.  Throw in some of his studies at Northwestern with some guy named Reimer, and I really think he is the total package when it comes to educational presentations for band.  If you get a chance, ask him about coal and diamonds – trust me, it will change the way you teach.  There is great depth to the core of Tim’s character, and great perspective as he is a public educator, clinician, father, and composer.

So that is the short list, or at least my list.  I would love to hear from all of you with some contributions in any category (including orchestra & chorus).  The “old guard” will always have their place, and they certainly have earned my respect and admiration.  But a new guard needs to be ready to step forward and assume the mantle of leadership in the world of music education, and as a community of professionals we need to do our part to make sure that people know about them.