DePaul University Wind Ensemble



DePaul University Wind Ensemble


Donald DeRoche, conductor




Ingolf Dahl






Silvestre Revueltas


Homenaje a Frederico Garcia Lorca




Henk Badings


Concerto for Flute and Wind Symphony Orchestra




Donald Peck, flute


Heitor Villa-Lobos


Concerto Grosso for Woodwind Quartet and Wind Orchestra




Mary Stopler, flute


Robert Morgan, oboe


Julie DeRoche, clarinet


Lewis Kirk, bassoon






The last 50 years has seen an amazing explosion in both the quantity and quality of composition for wind bands and ensembles. In a frenetic effort to create new music for the medium, conductors and performers have sponsored, commissioned, and performed a staggering number of new works. It is now, after so much work has been done, that we must take time to rediscover and preserve some of the fine music this period of activity has produced. It would truly be a shame to neglect such a significant body of excellent work. It is in this spirit of preservation that we offer these “old,” sometimes forgotten, but interesting works.


Ingolf Dahl




Ingolf Dahl was born in 1912 in Germany of Swedish parents. As a young man he studied piano and composition in Cologne, Sweden and Switzerland. During the 1930's he moved to Southern California where he continued his study of composition, and earned a living by composing and arranging for films and radio He conducted contemporary music performances and became a member of the faculty at the University of Southern California in 1945. During these years he became part of a vital community of expatriate musicians including Milhaud, Toch, Krenek, Schoenberg and particularly Stravinsky. It is unfortunate that he has often been viewed as a friend of other composer s or simply an academic, because he was a gifted composer in his own right. Dahl's music is well crafted and possesses elegance, humor, power, and profundity. His music has a wide expressive range and is stylistically akin to the work of Stravinsky and Hindemith.


The following quotes are from Dahl's own introductory notes, which appear in the score. “The form of this Sinfonietta is akin to an arch or to the span of a bridge: the sections of the first movement correspond, in reverse order and even in some details, to the sections of the last. For example, the opening fanfares of the back-stage trumpets are balanced by those at the close of the work; the thematic material that ends the first movement opens the last, although in altered form. The middle movement is itself shaped like an arch: it begins with an unaccompanied line in the clarinets and ends with a corresponding solo in the alto clarinet. The center of the middle movement, which is the center of the whole work — a gavotte-like section, and the lightest music of the entire Sinfonietta — is the `key-stone' of the arch.”


Silvestre Revueltas


Homenaje a Frederico Garcia Lorca


Silvestre Revueltas was born on December 31, 1899 in Santiago Papasquiaro, Mexico. As a young man he studied violin and composition in both Mexico and the United States. While still in his twenties, he found a mentor in Carlos Chavez who helped develop his career as a conductor and performer of modern music. Because Revueltas' life has become associated with cultural and political movements, heavy drinking, and music that used popular folk forms, the truly original and expressive qualities of his work are often overlooked.


His passionate interest in poets and writers is expressed in a number of his works, especially the tribute to the Spanish writer Frederico Garcia Lorca. Lorca was a leader in the resistance to Franco during the 1930's and became a martyr to his cause. In the Homenaje a Frederico Garcia Lorca, Revueltas seeks both to define the man who was Lorca and to honor him. The Baile (dance) captures the human side of Lorca, who enjoyed playing with children, and spending evenings dancing and socializing with friends. Duelo is a mourning song for Lorca. The sadness of Lorca's passing is replaced by fond memories in the energetic Son.


Henk Badings


Concerto for Flute and Wind Symphony Orchestra


Henk Badings (1907-1987) was born in Indonesia of Dutch parents. He studied mining technology at the University of Technology in Delft, received his degree cum laude in 1931 and worked at the university until 1937. At the same time he developed his skills as a composer, studying with Willem Pijper. Beginning in 1934 he accepted a series of positions including composition teacher at the Rotterdam Conservatory, director of the High School of Music in Amsterdam, director of the Conservatory in The Hague, lecturer of composition at the organ academy of Haarlem, and lecturer at the Hochschule in Stuttgart. He also taught acoustics until 1977 at the Institute of Sonology of the University in Utrecht. In 1972 he settled as a composer in the province Noord-Brabant.


Badings very often used unusual musical scales and harmonies, including the octatonic scale (alternating major and minor seconds) and something he called the `lydo-mixolydian' mode which used the harmonic series scale from the eighth to the fifteenth overtone. In 1951 he wrote a treatise for the Royal Flemish Academy of Sciences titled “Tonaliteitsproblemen in de nieuwe muziek” (tonality problems in new music).


At the request of Robert Boudreau, Badings wrote several compositions for the American Wind Symphony Orchestra, including concert works and an interesting set of concerti and concerti grossi. The Concerto for Flute and Wind Symphony was written for that ensemble in 1963 and was premiered with flutist Jean Pierre Rampal as soloist. This short, three-movement work ranges from ethereal moodiness, to somewhat aggressive, physical statements in the brass, to a rollicking multi-meter finale.


Heitor Villa-Lobos


Concerto Grosso for Woodwind Quartet and Wind Orchestra


The Brazilian composer, Heitor Villa-Lobos was born in Rio de Janeiro in March of 1887. As a young man he studied cello and performed in his native city. He traveled a great deal and studied a little composition until, at the age of 35, he moved to Paris. While in Europe he wrote a number of works including those bearing the name Chôros, which recalled his impressions of Brazil. In 1930 he returned to Brazil where he founded the Brazilian Academy of Music and composed a vast and varied body of music.


The Concerto Grosso for Woodwind Quartet and Wind Orchestra was written in 1959 for the American Wind Symphony Orchestra. The work was premiered in the summer of that year by the AWSO with the composer on hand for the occasion. This was to be the composer's final composition, as he died on November 17, 1959. The work's first movement, Allegro non troppo, introduces the soloists and the ensemble. It ends with a cadenza for the soloists and a somewhat curious quiet final note. A sprightly, dance-like Allegretto scherzando makes a charming second movement. Although the composer lists only three movements, the third movement, Andante—molto allegro, functions as the slow movement and final movement of a four movement form. The Andante is a beautiful centerpiece for the work and is followed by the Bach-like finale. Another cadenza ends this final movement, but this time we are given the full ensemble forte finish.


Donald DeRoche


Donald DeRoche is the Chairman of the Performance Studies department at the DePaul University School of Music in Chicago. He earned degrees in music education and performance at the University of Illinois, and a Ph.D. in music education at Northwestern University. Prior to joining the faculty at DePaul, he spent three years as clarinetist with the U.S. Army Band in Washington, D.C.; two years as principal clarinetist with the Victoria (Canada) Symphony Orchestra; and six years as director of bands at Willowbrook High School in Villa Park, Illinois. In 1972 he was the guest principal clarinetist with the Alaska Festival of Music and has appeared as soloist with the Czech, Arcturus and Vancouver string quartets. In 1979 he became conductor of the DePaul Wind Ensemble, which has performed under his direction in Austria, Russia, Estonia, Poland, Ireland, and Hungary. In addition, the DePaul Wind Ensemble has been invited to perform for meetings of the College Band Director's National Association (1984 & 1992), the Music Educator's National Conference (1984), and the Illinois Music Educator's Association (1988 & 1992).


Donald Peck


Donald Peck was awarded the Theodore Thomas Medallion for distinguished Service in 1999 when he retired from the Chicago Symphony Orchestra after having served as principal flute since 1957. In those 42 years, Mr. Peck served four musical directors: Reiner, Martinon, Solti and Barenboim.


Mr. Peck has appeared as soloist with the Chicago Symphony in 124 concertos directed by 25 conductors in Orchestra Hall, Ravinia and on tour. In 1985 he gave the world premiere of Morton Gould's Flute Concerto with Sir Georg Solti conducting. The work was written for Mr. Peck, as was a flute sonata by Chicagoan William Ferris, and Lee Hoiby's Pastoral Dances for flute and orchestra. As principal flute with the CSO, Peck made more than 300 recordings with 22 conductors. He has appeared as a guest artist at the Casals Festivals with concerts in Puerto Rico, the Dominican Republic, and Carnegie Hall in New York. He has also performed in Australia, where he recorded the Mozart flute concertos for the Australian Broadcasting Commission, and at the Carmel Bach Festival in California; the Victoria International Festival in Canada; the Grand Teton Festival in Wyoming; the Tanglewood Festival in Massachusetts; and a host of orchestras from coast to coast.


A faculty member at DePaul University, Mr. Peck teaches flute and woodwind ensemble, and is a frequent guest teacher and lecturer at other colleges and universities. He has given master classes at the Juilliard School of Music and the Manhattan School of Music in New York; at the Rotterdam Conservatorium in Holland; for the Osaka Flute Club in Japan and the Sydney Flute Association in Australia; and at more than 30 universities and music groups in the United States and Canada. His annual summer session at DePaul draws many young professionals to study with him.


Mr. Peck received his early musical training in Seattle where he performed with the Seattle Youth Symphony and the Seattle Philharmonic. As a teen he played with his first teacher, Frank Horsfall, in the Seattle Symphony Orchestra. He received a scholarship to study at the Curtis Institute with William Kincaid, after which he performed with the National Symphony in Washington, D.C. and the U.S. Marine Band. He was principal flute with the Kansas City Philharmonic Orchestra for two years before joining the Chicago Symphony.


Donald Peck plays a flute handmade for him by Powell Flutes of Boston fashioned in Platinum-iridium.


Julie DeRoche


Julie DeRoche completed her B.M. in Clarinet Performance at Northwestern University where she was a student of Robert Marcellus and Clark Brody. After graduation she remained in Chicago to develop a significant career as a clarinetist. She performs regularly with the Chicago Symphony Orchestra and can be heard on that ensemble's recordings of the Strauss Die Frau Ohne Schatten (Barenboim), Bruckner Symphony No. 0 (Solti), Mahler Symphony No. 9 (Boulez), and Boulez Notations 7 and Stravinsky Le Sacre du printemps (Barenboim). Since 1994 she has toured regularly with the Chicago Symphony Orchestra in Europe, South America, and the United States, and has performed with that organization at the Ravinia Festival. In addition, she is serving full time as guest second clarinetist for the 2000-2001 Chicago Symphony Orchestra season. She also performs with chamber, opera, and ballet orchestras; chamber ensembles; and has recorded hundreds of radio and TV commercials. With her colleagues, Larry Combs and John Bruce Yeh, she performs and records with the highly regarded Chicago Clarinet Trio.


In 1983 she was appointed to the DePaul University School of Music faculty to teach applied clarinet and serve as coordinator of the Woodwind Division. In addition she has coordinated, taught at, and performed at DePaul's summer Clarinet Workshops. In 1994 she was the conference Director of the highly successful International Clarinet Association conference. Since then she has served as Treasurer of this organization and is now the ICA's President.


Ms. DeRoche has performed and given master classes throughout Europe and the United States, and is a clinician for the G. Leblanc Corporation.


Lewis Kirk


Lewis Kirk plays bassoon and contrabassoon with the orchestras of the Lyric Opera of Chicago and the Santa Fe Opera. His studies were at the Peabody Conservatory in Baltimore, at the Manhattan School of Music and privately in Berlin. Other significant influences have been the teaching of Darlene Jussilla and Louise Skinner. His previous positions include principal bassoon with the Staedtischen Orchester of Bremerhaven, Germany and second bassoon with the New Orleans Symphony. Outside of the opera pit Mr. Kirk enjoys playing with some of Chicago's finest ensembles including Concertante di Chicago, the Contemporary Chamber Players, Fulcrum Point, Symphony II, and Bach Week in Evanston. He teaches bassoon at DePaul University.


Robert Morgan


Robert Morgan is Solo English Horn of the Lyric Opera of Chicago and Principal Oboe of Music of the Baroque and of Symphony II. Formerly Principal Oboist of the Carmel California Bach Festival, he has also performed with the Guarnieri Quartet and the Chicago Symphony. He premiered the Jon Polifrone Concerto for Oboe with the Grant Park Symphony in 1998 and performed the Chicago premiere of Joan Tower's Island Prelude with the Chicago String Ensemble. He has performed numerous concertos with Music of the Baroque and other area orchestras. Several compositions have been commissioned by Mr. Morgan, including works for oboe and string trio, oboe and harpsichord, and oboe and organ. He is a founding member of the Rembrandt Chamber Players and is in a duo with organist and harpsichordist, David Schrader. Mr. Morgan also teaches oboe and English horn at DePaul University.


Mary Stolper


Mary Stolper brings a signature vibrancy and technical flair to her extensive repertoire on the flute. In September of 1999, Ms. Stolper was an invited juror and guest performer for the Third International Penderecki New Music Competition in Cracow, Poland In June of 1998, she was the featured soloist with the Czech national Symphony in Prague, an engagement during which she recorded her second compact disc, American Flute Concertos. Her first recording met with wide acclaim and featured flute music of composer Shulamit Ran. Ms. Stolper has performed and toured internationally with the Chicago Symphony Orchestra, and she is currently principal flute of both Concertanti di Chicago and the Chicago Sinfonietta chamber orchestras. She is a regular performer with the University of Chicago Chamber Players and the Chicago Chamber Musicians. For 15 years, she played assistant principal flute and solo piccolo for the Grant Park Symphony. Ms. Stolper has served on the board of the Illinois Arts Council, Musicians club of Women, Chicago Society of Composers, The National Flute Association and has served as President of the Chicago Flute Club. She is also active in Chicago's recording studios and a member of the DePaul University flute faculty. As a singer, she gave her singing and acting debut in the 1996 production of Don Quixote as the character of Sancho Panza, written by Chicago composer John Eaton.


Producers: Julie DeRoche, William Buchman, Donald DeRoche


Engineer: Thomas Miller


Editing: Thomas Miller


Mastering: Dan Steinman, Thomas Miller, Donald DeRoche


Recorded in the DePaul University Concert Hall between April, 1999 and May, 2000.


Photo of Donald DeRoche by Mary Claire.


Henk Badings' Concerto for Flute and Wind Symphony Orchestra and Heitor Villa-Lobos' Concerto Grosso for Woodwind Quartet and Wind Orchestra are published by C.F. Peters. Silvestre Revueltas' Homenaje a Frederico Garcia Lorca is published by Theodore Presser. Ingolf Dahl's Sinfonietta is published by Tetra Music.


Cover Art:William H. Johnson (1901-1970). Going to Church. ca. 1940-41. Oil on burlap. 38 1/8 x 45 1/2 in. Simthsonian American Art Museum, Washington, DC, U.S.A.


Cover Design:Bates Miyamoto Design




Heather Hill†




Elizabeth Cameron*


Sara Dickman‡


Courtney Cruz‡


Kendra Feigles#


Heather Hill#*


Rachel Mathis*


Laurie McCauley*


Caitlyn Valovick‡*




Joseph DeLuccio#


Shannon Groskreutz‡#


Megan Williamson*


Sarah Young‡*


English Horn


Shannon Groskreutz*


E Flat Clarinet


Hilary Scop†




Michael Flake*


Emily Hanslick#


Arnel G. Ignacio*


Emily Marlow*


Scott Moore#


Jeanna Nardi#*


Rebecca Pagels‡*


Phillip O. Paglialonga‡#


Kenneth Robertson*


Audrey Schadt#*


Hilary Scop#


Jennifer Stevenson*


Stephanie Wernli#


Alto Clarinet


Rebecca Pagels#


Bass Clarinet


Michelle Grotto‡#*




Theresa Brown*


Elliot Moreau#*


Erin Stodd‡#


Susan Gustafson‡*




Shelby Hoyte‡*




Aaron Irwin#


Louis Kholodovsky#*


Chris Madsen#


Nicholas Meyer#*


Michael Zakem*




Chad Craw‡*


Keri Dodds‡#


Julia Hermann*


Rebecca Hill#*


Carrie Kinghorn‡#*


Daniel Vidican#*


Lanae Williams‡#*




Michael Arndt#*


Mark Boren*


Robedrt Clarke#


William Dick‡#


Christopher Jones‡†#*


Steve Smith*


Jonathan Weber


Joel Williams‡†#*




Steve Bradley*


Matthew McDonald*


Grant Miazga*


Benjamin Perrier‡†#*


Chelsea French‡#*


Andrew Schwartz‡#




D.J. Corchin#


Matthew McDonald#




Cynthia Angelaccio‡#


Daryl Johnson†#*




Matthew Bell‡#*


Andrew Cierney*


John Hall‡†#*


Matthew Kallend‡†#


Gary Krumholz*


Paul J. Mutzabaugh‡#


Michael Pawlak*


Alyssa Smith*


David True‡†#




Paul Failla*


Walter Tambor‡†




Ann Laura Schap*




Robert Bassill†


Sarah Jacques†


String Bass


Adam Whitson†#


† = Revueltas


‡ = Badings


# = Dahl


* = Villa-Lobos






DePaul University Wind Ensemble


Donald DeRoche, conductor




Ingolf Dahl




1 Introduction and Rondo [5:44]


2 Pastorale Nocturne [7:21]


3 Dance Variations [6:51]


Silvestre Revueltas


Homenaje a Frederico Garcia Lorca


4 Baile [3:49]


5 Duelo [4:53]


6 Son [3:23]


Henk Badings


Concerto for Flute and Wind Symphony Orchestra


7 Allegro; Adagio; Vivace [13:12]


Donald Peck, flute


Heitor Villa-Lobos


Concerto Grosso for Woodwind Quartet and Wind Orchestra


8 Allegro non troppo [4:14]


9 Allegretto scherzando [4:01]


10 Andante—molto allegro [9:24]


Mary Stopler, flute ~ Robert Morgan, oboe


Julie DeRoche, clarinet ~ Lewis Kirk, bassoon


Total Time = 62:55