Jordan E.

Kinsey, artistic director

presents

J!rney

Central Middle School

Dover, Delaware
Tuesday, October 29, 2019
7:00 PM
 Program

Fanfare for the Vienna Philharmonic Richard Strauss

(1864-1949)

Morning, Noon and Night in Vienna Franz von Suppé

(1819-1895)
arr. Henry Fillmore
ed. Robert Foster
Nicholas Greeson, conductor

Blues on An American in Paris George Gershwin

(1898-1937)
arr. Michele Mangani
Richard Foote, clarinet

Lincolnshire Posy Percy Grainger

1. Lisbon (Sailor’s Song) (1882-1961)
2. Horkstow Grange (The Miser and his Man: a local Tragedy)
3. Rufford Park Poachers (Poaching Song)
4. The Brisk Young Sailor (who returned to wed his True Love)
5. Lord Melbourne (War Song)
6. The Lost Lady Found (Dance Song)
 ~Intermission~

Dubinushka Nikolai Rimsky-Korsakov

(1844-1908)
trans. L.W. Chidester

Fantasy in French (2012) Julie Giroux

(b. 1961)
Schyler Adkins, conductor

A Mother of a Revolution! (2019) Omar Thomas

(b. 1984)

Irish Tune from County Derry Percy Grainger

(1882-1961)

Variations on a Korean Folk Song John Barnes Chance

(1932-1972)

Hands Across the Sea John Philip Sousa

(1854-1932)
From the artistic director….

Mark Twain once said, “Travel is fatal to prejudice, bigotry, and narrow-
mindedness, and many of our people need it sorely on these accounts.” Marcel
Proust said, “The real voyage of discovery consists not in seeking new landscapes,
but in having new eyes.”

Our spring concert, “ALL American,” explored all the things that make Americans
unique, and what it means to be an American in the 21st century. This fall, we
intentionally turn our gaze outward, beyond our shores, to explore all the things
that unite us to our fellow humans all around “this fragile earth, our island home.”
What we find in the music of other cultures is more familiar than foreign. It is a
cliché precisely because it is true: music is the only universal language. Hope,
heartbreak, anger, joy, injustice - most of us probably wouldn’t recognize the words
for these universal human experiences in other spoken and written languages: but
we recognize them instantly in music.

We hope you enjoy tonight’s journey. And to paraphrase T.S. Eliot, may the end of
all your exploring be to arrive where you started . . . and know the place for the
first time.

Until next time,

Program notes:

Double bassist Orin O’Brien, 84, has been a member of the New York Philharmonic since
1966. She joined under the direction of Leonard Bernstein and was the first woman to join the
orchestra. In an interview, she once said “It may sound naïve, but for a musician, playing in a
great orchestra is like being at one with the universe. The whole is greater than any one
individual, and you combine to make something that in the best concerts - sometimes even at
rehearsals - is like a religious experience.”

Of all the great orchestras in the world, it should come as no surprise that undoubtedly
the most unique is the one headquartered in the musical capital of the world and the home of
Beethoven, Mozart, Liszt, Brahms, and Mahler: the Vienna Philharmonic. Players do not
audition for the Vienna Philharmonic: they must first play for a minimum of three years in the
orchestra of the Vienna State Opera, after which they are permitted to request an application for
a position in the Philharmonic, should one become available. Since 1933, the orchestra has had
no permanent conductor. Operating under a structure of “democratic self-administration,” guest
conductors are chosen by the full orchestra membership. The current waiting list for concert
subscriptions is six years.

The Vienna Philharmonic also uses instruments, in almost every section, that are
designed differently than the “standard” instruments used in most of the world’s orchestras, they
tune to a higher pitch standard, and they incorporate an atypical approach to vibrato; resulting
in a truly unique orchestral sound.

In 1924, the orchestra held their first benefit ball to raise money for the musician’s
pension fund. They approached their friend and frequent collaborator, Richard Strauss, to write
a new fanfare to be performed as honored guests arrived for the event, and his Fanfare for the
Vienna Philharmonic has been performed at the ball every year since.

This year, we celebrate the 200th birthday of another Vienna resident, Franz von Suppé.
von Suppé was not born in Vienna, but emigrated in young adulthood from his birthplace in the
Kingdom of Dalmatia, now part of Croatia. He wrote about 30 operettas and 180 other stage
works, most of which have now fallen into obscurity, but the descriptive nature of their
accompanying overtures have made these a lasting feature of concert programs (and animated
cartoons.)

Morning, Noon, and Night in Vienna was one of over twenty scores that Franz von
Suppé composed for the theater in the years between 1843 and 1845. He was in his early
twenties, and in the employment of several different theaters in and around Vienna, where he
served as kapellmeister (music director or conductor) for the next seventeen years. It
accompanied a popular form of stage comedy, precursor of the operetta, in which the overture
need not relate to the story line: its function was to get the attention of the audience, to quiet the
house, and to set the scene for the entertainment. The original stage comedy died the natural
death of a mediocre entertainment whose form is no longer in vogue, but its charming overture
lives on. Henry Fillmore arranged Morning, Noon, and Night in Vienna for concert band in 1922,
and it has since become one of the most popular and enduring traditional overtures in the
concert band’s repertoire. Oh, and it is also the central subject of the 1959 Bugs Bunny cartoon
Baton Bunny.

In 1926, American composer George Gershwin, intrigued by the French composer Maurice
Ravel’s unusual and modern approach to harmony, traveled to Paris in hopes of studying
composition with him. After the initial audition, Ravel’s advice to Gershwin was “Why be a
second-rate Ravel when you can be a first-rate Gershwin?” Gershwin returned home, but took
with him a souvenir: new musical ideas gleaned from the soundscape of the City of Light. It was
to these sounds that he turned when he was commissioned by Walter Damrosch and the New
York Philharmonic to write a new piece following the success of his 1924 Rhapsody in Blue.
Gershwin described An American in Paris as a “rhapsodic ballet,” and stated “My purpose
here is to portray the impressions of an American visitor in Paris as he strolls about the city,
listens to the various street noises, and absorbs the French atmosphere.”

Tonight we perform an arrangement by Italian clarinetist Michele Mangani of the Blues

theme from Gershwin’s larger work, a theme that utilizes the entirely American 12-bar form to
portray the homesickness of the strolling traveler.

Nearly universally regarded by wind music scholars as the most revolutionary piece ever
written for the concert band, Percy Grainger’s Lincolnshire Posy turned the entire band world
on its head when it was first performed in 1937; and it has continued to challenge and confound
players, conductors, and scholars ever since.

It has its origins in Grainger’s fascination with the cultures and races of the world. (A
fascination that, sadly, led him to develop some unfortunate beliefs about the superiority of
Nordic races.) In studying the cultures of the world, the first place Grainger looked was to their
folksongs: “…in the folk-song there is to be found the complete history of a people, recorded by
the race itself, through the heartoutbursts of its healthiest output. It is a history compiled with
deeper feeling and more understanding than can be found among the dates and data of the
greatest historian.” In the free time between his engagements as a concert pianist, Grainger
travelled from village to village throughout the English countryside, on foot, with an Edison
Phonograph machine strapped to his back; using it to record native folksongs that had been
passed down from generation to generation but rarely notated. He eventually collected over 300
of these from throughout Great Britain, and they became the basis for most of his compositions.

When Grainger was approached by the American Bandmasters Association to compose an

original work for band, to be premiered at their convention in Milwaukee in 1937, he turned to
the folksongs he had collected in the county of Lincolnshire between 1905 and 1906. He selected
six of these, arranging them in a particular order and utilizing the unparalleled expressive power
of the wind band to create an emotional, ethical, psychological arc that explores, among others,
the human experiences of love, abandonment, injustice, tragedy, and joy.

The first song, Lisbon, tells the story of a sailor who uses his naval service as a blatant
excuse to escape the embrace of a girl who is pregnant with his child. The sailor’s smug and
cavalier voice is heard in Grainger’s incorporation of The Duke of Marlborough fanfare just at
the point in the folksong where the girl is most desperately pleading for him to stay. As she sings
of the despair of a 19th-century unwed mother, his thoughts are only of his ship’s destination:
Lisbon - where “the hills and dales were covered with pretty young girls around.”

Horkstow Grange tells the story of a foreman who beats his servant to death in the
middle of a crowded public market, with the onlookers doing nothing to prevent it.

After a tale of private abandonment, then one of public but politely ignored murder,
Grainger presents a story of injustice on the largest scale. In the first half of the 19th century, a
series of “inclosure acts” were enacted by the British parliament, with the effect of converting
approximately 6.8 million acres of “common” land in England and Wales to private ownership.
Common British citizens, who had depended on these hunting lands for generations as a primary
means of feeding their families, were now faced with the choice of breaking the law by
trespassing or watching their children starve. In 1851, a group of thirty or forty such hunters
were caught by ten gamekeepers in Lincolnshire’s Rufford Park. One of the gamekeepers was
mortally wounded in the ensuing skirmish. Four of the “poachers” were tried for his murder,
found guilty of manslaughter, and sentenced to transportation for fourteen years. As listeners to
this angst-ridden song, we are entreated to “Keep up your gallant heart, And think about those
poachers bold, that night in Rufford Park.” Rufford Park Poachers has the distinction of being
the only folksong of the six that was sung to Grainger by someone who was present (as a
teenager) at the events that inspired it, and it is the emotional climax of the suite.

Following this unsettling portrayal of gross injustice, in the last half of the set Grainger
provides three tales of parallel, and more positive, aspects of the human experience. The Brisk
Young Sailor (who returns to wed his True Love) depicts a companion tale to the one presented
in the first song. A maiden is approached in her garden by a man who she presumes to be a
stranger, only to discover that it is the sailor for whom she has been waiting for seven years to
return from sea.

Lord Melbourne was sung to Grainger by a braggadocios (and very drunk) alleged former
soldier, who regaled him with his (probably fabricated) tales of gallantry and noble exploits in
war.

In The Lost Lady Found, Grainger mirrors the tales of injustice from the first half of the
Posy with one of a man who triumphs over injustice at the last possible moment. Falsely accused
of his niece’s murder, and then the victim of mob mentality, he is moments from being hanged
when the niece appears, having been kidnapped by gypsies. The final words of the song, and
therefore of Grainger’s masterwork are:

Then from the high gallows they led him away,

The bells they did ring and the music did play,
Every house in that valley with mirth did resound,
As soon as they heard the lost lady was found!

Grainger provided his own (extremely lengthy) program note to Lincolnshire Posy, which
is paraphrased here:

Is the wind band - with its varied assortments of reeds (so much richer than the reeds of
the symphony orchestra), its complete saxophone family that is found nowhere else, its
army of brass - not the equal of any medium ever conceived? As a vehicle of deeply
emotional expression it seems to me to be unrivaled.

Lincolnshire Posy was conceived and scored by me direct for wind band in early 1937.
This bunch of “musical wildflowers” [Posy is the British equivalent of the American term
“bouquet”] is based on folksongs collected in Lincolnshire, England and the work is
dedicated to the old folksingers who sang so sweetly to me. Indeed, each number is
intended to be a kind of musical portrait of the singer who sang its underlying melody - a
musical portrait of the singer’s personality no less than of his habits of song - his regular
or irregular wonts of rhythm, his preference for gaunt or ornately arabesqued delivery,
his contrasts of legato and staccato, his tendency towards breadth or delicacy of tone.

For these folksingers were kings and queens of song! No concert singer I have ever heard
approached these rural warblers in variety of tone-quality, range of dynamics, rhythmic
resourcefulness and individuality of style. For while our concert singers (dull dogs that
they are - with their monotonous mooing and bellowing between mf and ff, with never a
pp to their name!) can show nothing better (and often nothing as good) as slavish
obedience to the tyrannical behests of composers, our folksingers were lords in their own
domain - were at once performers and creators. For they bent all songs to suit their
personal artistic taste and personal vocal resources: singers with wide vocal range
spreading their intervals over two octaves, singers with small vocal range telescoping
their tunes by transposing awkward high notes an octave down.

These musical portraits of my folksingers were tone-painted in a mood of considerable

bitterness at memories of the cruel treatment meted out to folksingers as human beings
(most of them died in poor-houses or in other down-heartening surroundings) and at the
thought of how their high gifts oftenest were allowed to perish unheard, unrecorded and
unhonoured.
 On Sunday, January 22, 1905, a crowd of some 200,000 workers and their families, led by
an Orthodox priest, marched to the Tsar’s palace in St. Petersburg. They were unarmed, and
many even carried respectful icons and pictures of the Tsar. They also carried a petition,
requesting improved working conditions in the factories of the rapidly industrializing nation,
fairer wages, and a reduction in the working day to eight hours. The Imperial family was not
even in residence at the time, but armed troops greeted the marchers with rifle fire and many
were killed. In the wake of that event (which became known as “Bloody Sunday”) workers'
rebellions broke out in many Russian cities.

Nikolai Rimsky-Korsakov, at that time the most revered member of the faculty of the St.
Petersburg Conservatory (which now bears his name), had always generally directed his
compositional efforts to apolitical fairy tales and historical figures. (The chronicling of the
Russian people’s woes was left to Shostakovich, some 40 years later.) In the case of the 1905
revolution, however, he found it impossible to remain silent - writing in his autobiography that
he felt someone had to protect the rights of the students to demonstrate, especially as disputes
between students and authorities were becoming increasingly violent. In two open letters, he
sided with the students against what he saw as unwarranted interference by Conservatory
leadership and the Russian Musical Society. Partly as a result of these two letters, approximately
100 Conservatory students were expelled and he was removed from his professorship. In defiance
of his dismissal, Rimsky-Korsakov continued teaching his students from his home.

Not long after Rimsky-Korsakov's dismissal, a student production of his opera Kashchey the
Deathless was followed with a political demonstration, which led to a complete ban on the
performance of Rimsky-Korsakov's work. Due in part to widespread press coverage of these
events, an immediate wave of outrage against the ban arose throughout Russia and abroad;
liberals and intellectuals deluged the composer's residence with letters of sympathy, and even
peasants who had not heard a note of Rimsky-Korsakov's music sent small monetary donations.
Several faculty members of the St. Petersburg Conservatory resigned in protest, including
Alexander Glazunov. Eventually, over 300 students walked out of the Conservatory in solidarity
with their teachers.

In the midst of this turmoil, both Rimsky and Glazunov composed orchestral pieces based on well
known Russian folksongs: Glazunov’s on the one we know as the "Song of the Volga Boatman,”
and Rimsky's on Dubinushka. Literally, dubinushka refers to a cudgel — a stout staff carried
by peasants and used as both a walking-stick and, when necessary, as a defensive tool or
weapon. The folksong captures the frustration of Russian laborers who use the tool of their work
to overthrow their oppressive masters. Rimsky heard workers marching along St. Petersburg's
Tverskoi Boulevard singing it during the 1905 revolution, and reconstructed it into a robust,
swaggering march that is charming and enjoyable but clearly an expression of defiance and
resolve.

After months of unrest all across Russia and a massive, 10-day-long general strike, the
revolution ended that October, when the Tsar issued a manifesto that guaranteed basic civil
liberties and established an elected parliamentary body, the duma. The Conservatory was
reconfigured with Glazunov as its director, and Rimsky was reinstated. This brief piece stands as
a document of a critical moment in Russian history and of the composer's solidarity with those
who took great risks in opposing the repressive policies of the Tsarist government.

About the next work, composer Julie Giroux writes the following:

Fantasy in French is a musical collage comprised of several well-known works by French

composers. The first task in a project of this nature is to choose which pieces you are going to
use. Sometimes you choose pieces for their contrast to each other and how, together, they will
provide good variety, flow and drive. In this case, I chose pieces that technically and emotionally
were similar. My ultimate goal was to take the five works listed below, mix them all together,
and present a piece that sounds like it was co-written by Saint-Saëns, Satie and Debussy.

Fantasy in French begins immediately with such a combination, presenting Debussy’s "Syrinx"
melody right on top of the chord progression from Erik Satie’s "Gymnopedie No. 1," then slowly it
melts into the original opening phrases of Debussy’s "Clair de Lune." In measure 28 we get a
strong presentation of the "Gymnopedie" chord progression and the melody which serves as a
counter melody to Debussy’s "Clair de Lune." Measure 37 finds the listener being tossed back
and forth from "Clair de Lune" to Saint-Saëns’ Organ Symphony and in measure 51, "Clair de
Lune" gets replaced with Saint-Saëns’ "Aquarium." The piece ends with "Clair de Lune" all by
itself, because, as one of the most beautiful pieces ever written, I owed it at least that much.

Sometimes the most meaningful and world-altering

journeys are taken by those who spend their entire adult
lives in one city. LGBT liberation activist Marsha P.
Johnson arrived in New York City’s Greenwich Village in
1963 with $15 and a bag of clothes. She was seventeen.
Over the next thirty years, Johnson became one of the
most outspoken advocates for gay rights and one of the
most prominent members of the LGBT community in New
York. She was also a pivotal figure in the 1969 Stonewall
uprising, the fiftieth anniversary of which the world
celebrated this summer. In 1992, at the age of 46,
Johnson’s body was found floating in the Hudson River.
LGBT rights pioneer Marsha P. Johnson Initially ruled a suicide, there is now strong evidence that
she was in fact murdered. In 2018, 26 transgender people
were violently killed in America, and so far in 2019 there have already been 19. The majority of
these are black transgender women.

About A Mother of a Revolution!, composer (and Delaware native) Omar Thomas has this to
say:
This piece is a celebration of the bravery of trans women, and in particular, Marsha "Pay It No
Mind" Johnson. Marsha is credited with being one of the instigators of the famous Stonewall
uprising of June 28,1969 – one of the pivotal events of the LGBTQ liberation movement of the
20th century – which is commemorated annually during the worldwide Gay Pride
celebrations. Existing as a trans woman, especially a trans woman of color, and daring to live
authentically, creating space for oneself in a transphobic world is one of the bravest acts I can
imagine. Over 20 trans women were murdered in the United States in 2018 alone. There is no
demographic more deserving, and frankly, long overdue for highlighted heroism and bravery.
The disco vibe in the latter half of the piece is meant to honor club culture, a sacred space held
amongst LGBTQ persons in which to love, live, mourn, heal, strategize, connect, disconnect, and
dance in defiance of those outside forces who would seek to do LGBTQ persons harm simply for
daring to exist and take up space.

We pump our fists to honor the life, heroism, activism, and bravery of Marsha P. Johnson, to
honor the legacy of the Stonewall revolution, to honor the memory of the trans lives violently
ended due to fear and hatred, and in honor of trans women worldwide who continue to exist
unapologetically and who demand to be seen.

This piece was commissioned by the Desert Winds Freedom Band, under the direction of Dean
McDowell, to commemorate the 50th anniversary of the Stonewall uprising.

Grainger’s Irish Tune from County Derry is offered to you this evening without additional
comment. The music speaks for itself: please allow it to take you on a journey that is yours alone.

John Barnes Chance served in Seoul, South Korea as a member of the Eighth U.S. Army Band
from 1958-59. While there, he became acquainted with the folksong Arirang, a song of love and
heartbreak that is estimated to be more than 600 years old. The Korean word “arirang” literally
means “rolling hills,” and the song relates the story of a man who is forced to leave his significant
other, despite her persistent pleas to accompany him. Chance overheard the song while riding a
public bus in Korea, and his fascination with the ancient melody (which he described as “not as
simple as it sounds”) led to its use as the theme for his 1965 Variations on a Korean Folk
Song.

Written in the wake of 1898’s Spanish-American War, John Philip Sousa inscribed the title page
of his Hands Across the Sea march with the following quotation from English diplomat John
Hookham Frere: “A sudden thought strikes me; let us swear an eternal friendship.” The march is
"addressed to no particular nation, but to all of America's friends abroad.” It premiered in 1899
at Philadelphia’s Academy of Music, and the audience demanded that it be repeated three times.
About our soloist:

Richard Foote is a retired U.S. Army bands clarinetist. He has studied

with Patty Carlson of the Virginia Symphony, Dennis Zeisler at Old
Dominion University, David Drosinos at Peabody Conservatory, and
James Mark of Prince Edward Island Symphony Orchestra. His Army
band assignments include The Army Ground Forces Band at Fort
Monroe, Virginia and Fort McPherson, Atlanta, Georgia; two tours of
duty with the 389th Army Materiel Command Band and two tours with
the 8th Army Band in Seoul, Korea. He was also recruited to play a
cross country summer tour with the United States Army Field Band in
2002. During his many army band assignments, he performed in
numerous small groups including clarinet quartets, woodwind quintets,
trios and more. He has played with numerous other ensembles which
include the Virginia Wind Symphony at Old Dominion University
(Dennis Zeisler). Currently he plays with the Virginia Grand Military
Band in Alexandria, Virginia under the direction of Loras John
Schissel, the Philadelphia Wind Symphony under the direction of Paul
Bryan (Curtis Institute), The Maryland Winds (Col. Timothy Holton,
U.S. Army retired), and the Pennsylvania Symphonic Winds (Will Hillegeist). He became a
member of Delaware Winds in spring 2019.

Rehoboth Concert Band

All Concerts Perform SUNDAYS AT 3:00 PM
October 27, 2019
“Music That Goes BOO!” at Love Creek Elementary School
December 22, 2019
“Holiday Peace Concert” at Cape Henlopen High School Theater
March 15, 2020
Benefit Concert for Women’s Education (P.E.O.) at Indian River High School
April 19, 2020
Spring Fundraising Concert for Cape Henlopen Senior Center
at Epworth United Methodist Church

For full details and summer concert info, visit

www.rehobothconcertband.org
This organization is supported, in part, by a grant from the Delaware Division of
the Arts, a state agency, in partnership with the National Endowment for the Arts.
The Division promotes Delaware arts events on www.DelawareScene.com
 Jordan E. Kinsey, artistic director
Jody E. Stein, executive director
Clayton Riepen, treasurer
Kayla Riepen, secretary
Flute Trumpet
Stacey Hartman Schyler Adkins*
Leslie Munro Jillian Bacon
Marcy Parykaza* Dylan Bottomley
Jody Stein* Chris Burkhart
Scott Zeplin David Burkhart*
Jaylah Hartsfield
Oboe/English Horn Brian Mahoney
William Clamurro Jordan Marvel
John Johnston Chris Patterson
Phoebe Walls Jessica Sawall

Clarinet Trombone
Kourtney Bastianelli David Czepukaitis
Alexa Cherico Jeremy Gaddy
Judy Durante Danielle Jones
Richard Foote Pamela Letts*
Heather Heacock Frank Gazda (bass)
Kathleen McGrath* Clayton Riepen (bass)*
Amanda Purcell
Deanna Zecchin Euphonium
Christine Kirk (bass) Glenn Friedenreich
Tim McManus (bass) Rocky Snyder

Saxophone Tuba
Rob Barbarita David Cottrell
Nicholas Greeson* Jeffrey Leager*
Callie Keen Al Start
Terry Stewart
Percussion
Bassoon Anthony Cinque
Ben Ables Aaron Cross
Rob Putt Thomas Oxbrough
Andrew McCutchon
French Horn Clayton Riepen
Max Dabby*
David Durham Piano/Harp
Jill Mears Leslie Munro
Kayla Riepen*
Donald West *advisory board member
Delaware Winds would like to think our generous donors, without whom tonight’s
concert would not be possible:

Anonymous
Chris Burkhart
Glenn Friedenreich
Nicholas Greeson
Pamela Letts
Brian Mahoney
Timothy McManus
Marcy Parykaza
Al Start
Terry Stewart
Donald West
Scott Zeplin

Special thanks also to:

Capital School District

Central Middle School

Mr. Jeffrey Leager, band director

Our friends, families, and patrons

Join the DSO, under the direction of Donald Buxton, as we perform
popular medleys of movie themes and show tunes. Explore the
shops at Dover Downs, munch on festive baked goods, sing along, tap
your toes, clap your hands! Join us for this special treat for your entire
family! Concert at 3:00 PM. Tickets available at the door. Valet parking
available.
Adults - $20
Seniors/Students/Military/
First Responders - $15
Young people 18 & under free with a paying adult

Tickets can now be purchased online at

Thi g am i ed, i a , b a g a
f m he Dela a e Di i i
a a e age c , i a e hi
f he A ,
ih
www.doversymphony.org
he Na i al E d me f he A .
The Di i i m e Dela a e a e e
.Dela a eSce e.c m. Or Call 302-492-0353
for info (may leave a message)
 Add us on Facebook for information about
auditions, upcoming concerts, etc.!
www.facebook.com/delawarewinds

And join us for our next concert, “Band Favorites”:

Björk: Overture to Dancer in the Dark
Grainger: Colonial Song
Jenkins: American Overture for Band
Persichetti: Divertimento
Beethoven: Rondino
Valerie Coleman: Umoja
Basler: Carnival
Fauré: Pavane
Chance: Elegy
Nishimura: Chasing Sunlight
Hindemith: March from Symphonic Metamorphosis

Tuesday, April 7, 2020: 7:00 PM

 Delaware Winds Mission Statement:
Delaware Winds is a semi-professional wind ensemble, comprised of
music educators, freelance musicians, and current college music
students from Delaware and surrounding states. The ensemble performs
the finest literature available for wind band, and is intentional in
programming works by under-represented voices in the wind band
medium: specifically female and African- American composers.
Delaware Winds rehearsals provide a musical outlet and networking and
professional development opportunity for current and rising music
educators.