IN STERIO is a rare blending of sounds from flutists and Miyazawa Artists, Shivhan Dohse and Erica Peel. Their unique vision of fusing classical flute training with mainstream music challenges the conventional ideas of the flute sound and repertoire. In Sterio has an inimitable gift of incorporating impressive flute playing with diverse and eclectic music that is both innovative and entertaining. Their performances have been described as "creative" and "electric", noting that "the artists moved with stylistic verve", and "brought the house down and everyone wanted to hear more!"
Founded in 2007, In Sterio has performed at public schools, Universities and Flute Festivals across the country inspiring young and not-so-young musicians to find their own creative voice. Among the styles In Sterio has integrated and embraced are Irish/Folk, R&B, Funk, Country, Rock, Pop, Trance, Classical, World and New Age. The duo was invited to perform a full program of their original works at the 2011 National Flute Association Convention in Charlotte, NC after successful appearances for the past three years in Anaheim CA, NYC and Kansas City. In Sterio was honored to have been chosen as guest artists for the 2011 Florida Music Educator's Association Clinic/Conference in Tampa and have been invited back as the featured artists for the 2012 convention, as well. They performed as part of the Omaha Chamber Music Society's Music as Medicine Series for the 2009-2010 season, and have been named Touring Artists with the Nebraska Arts Council. In Sterio's diversity contributes to their popularity among classical and rock musicians alike, allowing them to feel equally at home in theatres, schools, galleries and concert halls.
Erica Peel
Erica Peel earned a Bachelor of Music degree in Flute Performance from the University of Miami in Florida, where she studied with the late Christine-Nield Capote. In 2003, she moved to Santa Barbara, CA for a year of intensive study with Jill Felber of ZAWA!, and became the Principle Flutist of The Debut Orchestra in Los Angeles. The following year, at the age of 22, Erica won the Associate Principal Flute/Piccolo position with the Honolulu Symphony and spent three years there. She is currently the Second Flutist with the Des Moines Symphony.
Erica has been a prizewinner in several competitions, including the Mid-Atlantic Young Artist Competition, the FSK Young Artist Competition, the National Flute Association's Orchestral Audition Competition, and the Florida Flute Association's Young Artist competition. She has performed with the Chicago Symphony, Omaha Symphony, Florida Philharmonic and the Music in the Mountains Festival.
Shivhan Dohse
Shivhan Dohse completed her Bachelor of Music degree at the University of Northern Iowa studying under Dr. Angeleita Floyd, and her Master's of Music Degree from the University of California Santa Barbara as Jill Felber's Teaching Assistant. While in Santa Barbara, Shivhan taught undergraduate flute lessons, directed the flute choir, coordinated the UCSB 'Flute Focus' summer seminar and performed with her Irish band, 'DannsAir'.
Shivhan is currently Principal Flute with the Ottumwa Symphony Orchestra and is the National Marketing & Sales Director for Miyazawa, USA. She also maintains a private studio and can be heard in performances with the Waterloo Cedar Falls Symphony Orchestra as well as the Dubuque Symphony Orchestra.
Broadway:
Composed the score for HOLLYWOOD ARMS by Carol Burnett and Carrie Hamilton, directed by Harold Prince.Off-Broadway:
Wrote the book, music and lyrics for OPAL (Richard Rodgers and AT&T Awards) and music, lyrics and additional dialog for HONKY-TONK HIGHWAY (Backstage and MAC Awards; directed by Gabriel Barre; also produced at Goodspeed). Wrote the music, lyrics, and concept for FLIGHT OF THE LAWNCHAIR MAN (New York Musical Theatre Festival production).
Regional:
Wrote the music, lyrics, and concept for FLIGHT OF THE LAWNCHAIR MAN/3HREE (Prince Music Theatre, Philadelphia and the Ahmanason Theatre, Los Angeles; directed by Harold Prince.) The full-length premier of FLIGHT OF THE LAWNCHAIR MAN (Goodspeed Musicals; directed by Lynne Taylor-Corbett). OPAL (George Street Playhouse and the Lyric Stage Company of Dallas; directed by Lynne Taylor-Corbett). Composed the dance and incidental music for Stephen Sondheim's BOUNCE (at the Goodman Theatre and Kennedy Center; directed by Harold Prince). Wrote the music and lyrics for ELIOT NESS IN CLEVELAND (Denver Center Theatre Company and Cleveland Playhouse; directed by David Esbjornson).
Other Work:
Worked for three years with Arthur Miller on an opera of DEATH OF A SALESMAN. Wrote five projects for Disney Feature Animation, including a project with Joss Whedon.Publications and Albums:
An abridged version of FLIGHT OF THE LAWNCHAIR MAN is part of the cast album of 3HREE on DRG Records. OPAL, HONKY-TONK HIGHWAY, and THEATRE SONGS BY ROBERT LINDSEY-NASSIF are all on Original Cast Records. OPAL and HONKY-TONK HIGHWAY are licensed by Samuel French, Inc. The piano/vocal score of HONKY-TONK HIGHWAY is published by Carlin America and is available through Hal Leonard, Inc. FLIGHT OF THE LAWNCHAIR MAN is licensed by Theatrical Rights Worldwide. Cast album of BOUNCE is on RCA. The score of HOLLYWOOD ARMS is included with the play, published by Dramatists Play Service.
Jim McDonough
http://pianofavorites.com/
The youngest of four children, Jim McDonough was born in Monticello, Iowa (population: 3,600). When Jim was seven years old, his mother grew too busy to continue taking piano lessons, so Jim stepped in to fill the spot. And he discovered a talent and love for music that propelled him into a career as a professional musician.
But the road to success wasn't without its detours. In eighth grade, an accident nearly ended his musical career. An upright piano fell and crushed three fingers on his right hand -- and nearly crushed his dreams in the process. Jim emerged from two hours of surgery with pins in his fingers and tiny fractures across his hand. But throughout more than a year of physical therapy, Jim kept playing -- with a cast on his right hand -- and concentrated on improving his performance with his left hand.
Determined to play again, he devoted nearly every spare moment to working to get back the dexterity in his right hand. The rigorous rehearsing paid off, and in ninth grade, instead of a car, Jim bought a Steinway grand piano to celebrate how far he'd come.
The night before Jim left for college, a friend who dabbled in recording asked if Jim would let him record a few songs. Jim pushed aside his suitcases and sat at the piano, plinking out a few favorite tunes.
He didn't think of the impromptu recording session again - until his family visited him at school with the news that his tape was being sold all over his hometown of Monticello. Jim parlayed the success of that first tape into a second, holiday-themed tape.
Jim graduated from Wartburg College in Iowa with a degree in Music Education, and he took a job as band director for the senior high school in Waukon, Iowa. After a year, he was offered a position at a larger school in LaPorte City, Iowa, and found himself directing two concert bands, two jazz bands, and offering private lessons.
Thrilled to be involved with music, but unimpressed with the politics of teaching, Jim decided to pursue a non-musical career -- as long as he could continue playing piano as a hobby. Jim's sister, an air traffic controller, suggested he might want to look into her profession, and Jim's interest was piqued.
After a six-month intensive training program in Eden Prairie, Minnesota, Jim was stationed at the largest air traffic facility in the world, the Chicago facility that controls airspace over seven states. He had traded his piano keyboard for a computer keyboard, monitoring the flight patterns of hundreds of planes a day. But the high-stress world of airplane traffic wasn't filling the creative need that gnawed at Jim. "There was something missing," he says.
Far from home -- and from his beloved Steinway -- Jim found himself spending his off-hours lingering at piano stores, pretending to be considering a purchase and playing as much as he could. "Music was what defined me, and I had given it up," Jim says. "It was who I was, and it had almost entirely vanished from my life."
In the summer of 2000, Jim was contacted about a job playing piano on a cruise ship. He auditioned -- over the phone! -- and was offered a two-week fill-in gig. The only catch: they needed someone immediately. Could he be on a plane at 6:30 the next morning? He decided that it was an opportunity he couldn't pass up, so he used his vacation from the air traffic center to give it a try. He loved every minute of it, and was quickly offered a full-time job on the largest cruise ship in the world.
So, after two years as an air traffic controller, Jim decided to dive headfirst into playing piano professionally. For more than two years, he performed on Royal Caribbean Cruise Lines in piano lounges, during cocktail hours, and in an 1,800-seat dining room. "I went from the most stressful job in the world -- literally -- to the least stressful job in the world," he says.
On break from the cruise line, Jim recorded his first CD, Requests, which he sold to passengers when he returned to the ship. Dry land eventually beckoned, and in 2002, he moved back to Monticello to concentrate on producing and distributing his music. In Fall 2003, he released his second album, a collection of holiday favorites called Home for Christmas.
Since then, Jim has produced ten more CDs, including:
Now in its ninth year, Jim's annual "Holiday Grande" concert tour has become a must-attend tradition for thousands of families each Christmas. The spectacular holiday stage production includes Jim at the grand piano, his 15-piece orchestra, a cast of singers and dancers, elaborate sets and costumes and the true spirit of the season.
In 2010, Jim was honored by the legendary piano maker, Steinway & Sons, naming him to its worldwide artist roster. From classical pianists like Lang Lang, to jazz stars like Diana Krall and Harry Connick Jr., to pop icons like Billy Joel, to “immortals” like Irving Berling and Cole Porter; as a Steinway Artist, McDonough joins an exclusive international list of the most accomplished and discriminating performing artists.
Today, Jim is touring the country, preparing a new CD, and working to get the word out about his music to fans from coast to coast.
Todd and Amy Schendel
http://www.brasstrio.com/live/
Trumpeter Dr. Amy Schendel currently plays with the Iowa Brass Quintet and Contrapunctus Brass Trio. Previous positions include Spoleto Festival USA, Wisconsin Brass Quintet, Madison Symphony Orchestra, Tanglewood Music Festival, National Repertory Orchestra, and Civic Orchestra of Chicago. She has also won trumpet positions with the United States Marine Band, “The President’s Own,” and the United States Air Force Ceremonial Band,Washington, D.C. As a featured guest soloist, Dr. Schendel has played with the Indiana University
Orchestra, University of Iowa Orchestra and Band, Texas Woman’s University Wind Ensemble, and many others. She has also performed extensively with Minnesota Orchestra, Wisconsin Chamber Orchestra, Orchestra Iowa, Texas Winds. Dr. Schendel has also performed in Europe with the Augsburger Philharmoniker and chamber concerts in Munich, Dachau, Augsburg, and Berlin. Recent performances include Bach Dancing and Dynamite Society, Quad Cities Symphony Brass Quintet, and as a member of the ContrapunctusBrass Trio. Upcoming concerts include performances in Iowa, South Dakota, Nebraska, Wisconsin, Texas, and Europe. Her first solo and chamber music recording, Full Power, released in 2010, features Abe Lincoln’s Song Book, written by Douglas Hill for the Contrapunctus Brass Trio and narration. Dr. Schendel has studied with John Aley, John Rommel, Robert Baca, Manny Laureano, Uwe Kleindienst, and Gary Bordner. She has degrees from University of Wisconsin-Eau Claire, Indiana University, and University of Wisconsin-Madison. While at Madison, she was a Paul J. Collins Wisconsin Distinguished Fellow and was co-author of a grant entitled Western Wisconsin Cultural Initiative, providing supplemental music performances to rural western Wisconsin school districts. Since 2009, Dr. Schendel is the trumpet professor at the University of Iowa. www.brasstrio.com
Trombonist Todd Schendel’s performance experience includes positions with theWisconsin Chamber Orchestra, Spoleto Festival Orchestra U.S.A., Contrapunctus Brass Trio, and playing extra and substitute for the National Repertory Orchestra, Madison Symphony, Orchestra Iowa, Quad Cities Symphony, and the Minnesota Orchestra. Adept in commercial settings, he has performed with Doc Severinsen, Art Garfunkel, John McDermott, Bobby Vinton, Riders in the Sky, Wayne Newton, and Solomon Douglas Swingtet. As soloist, Dr. Schendel has performed throughout the country Minnesota,
Wisconsin, Iowa, Illinois, Indiana, Texas, Michigan, California, and in the German cities of Munich, Augsburg, Dachau, and Berlin. Upcoming and recent performances include Indiana University, Texas Woman’s University, University of Iowa, Drake University, and European events at the Dachau Musiksommer Barockpicknick (Dachau, Germany) and HfM Augsburg, Leopold Mozart Zentrum (Augsburg, Germany) with the Contrapunctus Brass Trio. His first solo and chamber music recording, Full Power, released in 2010, features Abe Lincoln’s Song Book, written by Douglas Hill for the Contrapunctus Brass Trio and narration. Devoted to chamber music, Dr. Schendel has also performed with Bay View Brass, Harvey Phillips Tuba Company, and Wisconsin Brass Quintet; recent performances include the Rod Pierson Big Band, Orchestra Iowa Brass Quintet, and Contrapunctus Brass Trio. He has also appeared on Wisconsin Public Radio with the Contrapunctus Brass Trio, Wisconsin Brass Quintet, and the RounTree Ensemble, and has seen on National Public Television. Entrepreneurial pursuits include co-authoring the Western Wisconsin Cultural Initiative, a three year supplemental music education program funded by the Ira and Ineva Baldwin Endowment, J. William Fulbright Fellowship to Germany, and a Paul J. Collins Fellowship at the University of Wisconsin-Madison. Dr. Todd Schendel’s teachers include Rodney Hudson, Daniel Cloutier, Carl Lenthe, M. Dee Stewart, Daniel Perantoni, Mark Hetzler, Douglas Wright, and Kari
Sundström. He received degrees from the University of Wisconsin-Eau Claire,Indiana University-Bloomington, and University of Wisconsin-Madison. He has held positions at Texas Woman’s University, Illinois State University, Bay View Music Festival, and is currently an adjunct Assistant Professor of Trombone at University of Iowa. www.brasstrio.com
Harmony Hawks
Bio on this website: http://www.harmonyhawks.org/
Mark Forstrom - Musical Saw
www.markforstrom.com
Mark's musical career began in the late 70's and early 80's at Auburn High School in Rockford Illinois. He played first-chair trumpet in band, jazz band, and in a wind ensemble. He switched to French Horn at Rock Valley College and it was there -- during a band concert which featured a guest percussionist -- that he heard the Musical Saw for the first time. Determined to master the Saw himself, Mark took a few lessons from the percussionist and found his true calling. To find "the Perfect Saw" he took his bow to several hardware stores and began playing away. He attracted quite a crowd to be sure! (For those interested, "the Perfect Saw" ended up to be a Sears Craftsman.) Interestingly the Sears managers were so impressed that they invited him back to play Christmas carols in their tool department for their Christmas Customer Appreciation Day -- with him sitting on a raised toilet display! Over the years he's performed in more dignified settings for banquets, wedding receptions (including his own!) and appreciation events, and he even played for a crowd of thousands in Chicago as an opening act for Moody Bible Institute's acclaimed "Friday Night Sing." For the past 18 1/2 years, Mark has been one of the youth pastors at New Covenant Bible Church here in Cedar Rapids (moving this summer to Robins) where he plays in various settings, children and youth group events, senior gatherings, etc. He even sneaks in an occasional prelude in the Worship Services on "Youth Sundays!" He is honored to be playing with the Cedar Rapids Municipal Band!
Karla Goettel
http://www.karlagoettel.com/
Karla Goettel’s soprano voice serves her in a career or extraordinary range. She has toured the United States, singing opera, musical theatre, concerts with orchestra and solo recitals. Her performances have taken her from Denver, Colorado to a tour of the east coast of Florida, ending at the famed Flagler Museum in Palm Beach. Awards include national finalist in the National Opera Association Auditions and a career development grant from the Young Artist Development Fund of Cleveland, as well as twice being named an Outstanding Young Woman of America. Karla has been a frequent soloist with the Cedar Rapids Symphony Orchestra, the Cedar Rapids Concert Chorale and has performed many times with Liar’s Theatre. She held a 12-week contract with Old Creamery Theatre and has sung two principal roles with the Cedar Rapids Opera Theatre. She has also performed with the Omaha, Mankato (MN), Waterloo/Cedar Falls, Clinton, Dubuque, Wartburg and Northwest Iowa Symphony Orchestras. Karla was selected to sing for the National Governor’s Convention in July 2005 and recently sang a concert of contemporary art songs in Norfolk, Virginia. She reprised the role of The Mother in Amahl and the Night Visitors in 2006 and filmed “Karla Goettel, Love at Liars” for Iowa Public Television in 2007. Her CD, “Just Great Songs” was released at Christmastime in 2007. In September 2008 she appeared as soprano soloist in Beethoven’s 9th Symphony with the Cedar Rapids Symphony at Brucemore for an audience of over 2,600. In March of 2009 she was the soprano soloist in Fauré’s Requiem and performed for a benefit for the Cedar Rapids Opera Theatre.
Michael Daugherty
http://www.michaeldaugherty.net/
Michael Daugherty is one of the most commissioned, performed, and recorded composers on the American concert music scene today. His music is rich with cultural allusions and bears the stamp of classic mod ernism, with colliding tonalities and blocks of sound; at the same time, his melodies can be eloquent and stirring. Daugherty has been hailed by The Times (London) as “a master icon maker” with a “maverick imagination, fearless structural sense and meticulous ear.” Daugherty first came to international attention when the Baltimore Symphony Orchestra, conducted by David Zinman, performed his Metropolis Symphony at Carnegie Hall in 1994. Since that time, Daugherty’s music has entered the orchestral, band and chamber music repertory and made him, according to the League of American Orchestras, one of the ten most performed living American composers. In 2011, the Nashville Symphony’s Naxos recording of Daugherty’s Metropolis Symphony and Deus ex Machina was honored with three GRAMMY® Awards, including Best Classical Contemporary Composition. Also in 2011, Naxos released a new CD of Daugherty's orchestral music to great acclaim entitled Route 66 with Marin Alsop conducting the Bournemouth Symphony. Born in 1954 in Cedar Rapids, Iowa, Daugherty is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. He studied music composition at the University of North Texas (1972-76), the Manhattan School of Music (1976-78), and computer music at Pierre Boulez’s IRCAM in Paris (1979-80). Daugherty received his doctorate from Yale University in 1986 where his teachers included Jacob Druckman, Earle Brown, Roger Reynolds, and Bernard Rands. During this time, he also collaborated with jazz arranger Gil Evans in NewYork, and pursued further studies with composer György Ligeti in Hamburg, Germany (1982-84). After teaching music composition from 1986-90 at the Oberlin Conservatory of Music, Daugherty joined the School of Music at the University of Michigan (Ann Arbor) in 1991, where he is Professor of Composition and a mentor to many of today’s most talented young composers. Daugherty has been Composer-in-Residence with the Louisville Symphony Orchestra (2000), Detroit Symphony Orchestra (1999- 2003), Colorado Symphony Orchestra (2001-02), Cabrillo Festival of Contemporary Music (2001-04, 2006-08, 2011), Westshore Symphony Orchestra (2005-06), Eugene Symphony (2006), the Henry Mancini Summer Institute (2006), the Music from Angel Fire Chamber Music Festival (2006), and the Pacific Symphony (2010). Daugherty has received numerous awards, distinctions, and fellowships for his music, including: a Fulbright Fellowship (1977), the Kennedy Center Friedheim Award (1989), the Goddard Lieberson Fellowship from the American Academy of Arts and Letters (1991), fellowships from the National Endowment for the Arts (1992) and the Guggenheim Foundation (1996), and the Stoeger Prize from the Chamber Music Society of Lincoln Center (2000). In 2005, Daugherty received the Lancaster Symphony Orchestra Composer’s Award, and in 2007, the Delaware Symphony Orchestra selected Daugherty as the winner of the A.I. DuPont Award. Also in 2007, he received the American Bandmasters Association Ostwald Award for his composition Raise the Roof for Timpani and Symphonic Band. Daugherty has been named “Outstanding Classical Composer” at the Detroit Music Awards in 2007, 2009 and 2010. His GRAMMY® award winning recordings can be heard on Albany, Argo, Delos, Equilibrium, Klavier, Naxos and Nonesuch labels. Composer Background To say that a composer's style is unique merely states what should be true of every composer, and yet when confronted with Michael Daugherty's music one feels compelled to make this claim. Enzo Restagno, Artistic Director of Settembre Musica in Torino, Italy has written: To observe The American landscape in Michael Daugherty's company is an unforgettable experience which I had during a long nocturnal walk through the streets of New York. Naturally we talked about music, but our talk was interrupted every minute because he kept stopping ecstatically outside a show window or some public building. He wanted to call my attention to some gadget or individual abounding in symbolic value. Clothing, menus, items for everyday use, gestures, posters, billboards, photographs, and architecture, all inspired lengthy observations endowed with great insight, but, at the same time, an affectionate irony. Like the energy that radiates from the icons housed in our European museums and art galleries, Michael Daugherty's music successfully releases the poetic power of American icons. It is in part this fascination with the vernacular that sets Daugherty's music apart. By using sophisticated compositional techniques to develop his melodic motives combined with complex polyrhythmic layers, he has created a style that is bursting with energy and truly unique. Niagara Falls for symphonic winds will be the principal work considered here, though general background and performance considerations would apply to Desi and Bizarro for orchestral winds, Motown Metal for brass ensemble, Timbuktuba for euphoniums, tubas , and percussion, and UFO, Rosa Parks Boulevard and Red Cape Tango for symphonic winds. Daugherty's connection to the pop world infuses his work at every level. The inspiration for much of his music comes from icons of the American pop culture. He acknowledges his debt to pop culture, saying: "For me icons serve as a way to have an emotional reason to compose a new work. I get ideas for my compositions by browsing through second book stores, antique shops, and small towns that I find driving on the back roads of America. The icon can be an old postcard, magazine, photograph, knick-knack, matchbook, piece of furniture or roadmap. Like Ives and Mahler, I use icons in my music to provide the listener and performer with a layer of reference. However, one does not need the reference of the icon to appreciate my music. It is merely one level among many in the musical, contrapuntal fabric of my compositions." The Metropolis Symphony and Bizarro are based on the Superman story; Desi is inspired by the television character Ricky Ricardo. One hears urban Detroit in the industrial sounding Motown Metal and the courage of an Afro-American civil rights icon in the emotional charged Rosa Parks Boulevard. UFO is inspired by the unidentified flying objects that have been an obsession in American popular culture since 1947. Not surprisingly, Niagara Falls draws its inspiration not only from the falls themselves, but most importantly from the pop culture that surrounds this natural wonder. "My parents went on their honeymoon and I've visited there many time as I have in-laws in Syracuse so we stop at Niagara Falls on the way. Niagara Falls is a destination for honeymooners and its also one of the biggest capitals of tourist traps in North America. I think that to even write a piece inspired by this sort of concept is still uncommon in concert music. Yet when I am writing the music I am extremely serious about putting the notes, the dynamics and the articulations, the timbre, the structure and the counterpoint. When I compose, I think in a very structural logical way as Webern and Bach did." Daugherty's melodic material--usually short motives that are repeated in sequences or canons--frequently comes straight from jazz or Latin musical idioms with strong syncopation. Often the accompanying figures are rooted in big band jazz, whether the closely harmonized scale fragments typical of a saxophone section or the explosive interjections by the brass. All of this occurs over rhythmic ostinati or grooves in the bass and percussion sections--the classic rhythm section of pop and jazz. -- Timothy Salzman (2001) Grove Dictionary of Music Entry Daugherty, Michael (b Cedar Rapids, IA, 28 April 1954). American composer. He grew up playing the keyboard in jazz, rock and funk bands. He studied at North Texas State University (1972--6), at the Manhattan School of Music (1976--8) and at Yale University (DMA 1986), where his teachers included Earle Brown, Jacob Druckman, and Roger Reynolds. He also spent a year at IRCAM as a Fulbright Fellow (1979--80), collaborated with jazz musician Gil Evans in New York (1980--82) and studied with Ligeti in Hamburg (1982--4). After teaching composition at Oberlin College Conservatory (1986--91), he was appointed professor of composition at the University of Michigan, Ann Arbor in 1992. Daugherty first came to national attention in the USA when Snap! -- Blue Like an Orange (1987) won a Kennedy Center Friedheim Award in 1989. The work, which established the primary characteristics of his compositional style, combines rigorous polyrhythmic counterpoint with a playful and pointed use of the popular music of his youth. This lively mixture is presented in many works with a wry sense of timing, deft orchestration and a sensitivity to the spatial dimension of music. The Metropolis Symphony (1988--93) and Bizarro (1993) were inspired by Daugherty's enthusiasm for the Superman comic strip of the 1950s and 60s. The symphony inaugurated a series of works concerned with American icons. Other works in the series include Desi (1991), a Latin big band tribute to Desi Arnaz in the television show 'I Love Lucy'; the chamber work Dead Elvis (1993); and a piano concertino, Le tombeau de Liberace (1996). Works commissioned by the Kronos Quartet include Sing Sing: J. Edgar Hoover (1992), featuring the voice of the infamous FBI director, and Elvis Everywhere (1993) for three Elvis impersonators and string quartet. The chamber opera Jackie O (1997), set in the late 1960s, explores the interplay of musical idioms associated with 'high' and 'popular' culture. Daugherty has also composed a series of works dedicated to popular places in America, including Niagara Falls for band (1997), Route 66 for orchestra (1998), Sunset Strip for chamber orchestra (1999) and his symphony in three movements, Motorcity Triptych (2000).
KATY RICHTER
Katy has lived in Cedar Rapids for two years. A native Dubuquer and graduate of University of Iowa, she has performed several times on the Theatre Cedar Rapids stage, most recently as Betty Haynes in White Christmas, and will be dancing as a Hot Box Girl in Guys and Dolls this July. Other performance credits include the Hunter Fuerste American Vintage Orchestra, a member of the Cedar Rapids Follies, and performing solo jazz gigs with her favorite accompanist - her father.
WILLIAM S. CARSON
Director of Bands Coe College, Cedar Rapids, Iowa
Author: On the Path to Excellence - The Northshore Concert Band: Paynter, Buehlman, and Beyond
William S. Carson is a 1978 honors graduate of Macalester College in St. Paul, Minnesota where he completed an internship with the Minnesota Opera and conducted the Saint Paul Chamber Orchestra as a student in the ensemble's Young Conductors' Workshop. Carson continued his studies at Southern Illinois University-Carbondale where he earned a master of Music degree in 1981. After graduation, Carson directed the high school music program in Carbondale, Illinois, where his students won the coveted Illinois High School Music Association Music Sweepstakes Award in 1982. Carson then served the public schools of West Lafayette, Indiana, as high school band director and music coordinator before moving to New Hampshire to become director of jazz studies at Plymouth State College of the University System of New Hampshire. After four years in New Hampshire, Carson moved to Arizona to pursue his Doctor of Musical Arts degree at Arizona State University. Carson spent two years as a graduate assistant for the ASU Bands and an intern with the orchestra before he was appointed Director of Bands at Coe College in Cedar Rapids, Iowa. At Coe Carson conducts the concert band; teaches conducting, 20th century music history, clarinet and bass clarinet, and jazz history. From 2002 to 2007, he served as chair of the department of music. Carson completed his doctorate in 1992, which earned him the Outstanding Dissertation Award from the Council for Research in Music Education. The dissertation was also selected as a runner-up for the Fritz Thelen Prize sponsored by the Internationale Gesellschaft zur Erforschung und Forderung des Blasmusik. Carson was recently honored by selection for inclusion in Marquis Who's Who in American Education. His book, On the Path to Excellence - The Northshore Concert Band: Paynter, Buehlman, and Beyond, was published by Meredith Music in 2003, and is distributed by Hal Leonard Music. Click HERE for more information.In December 2003, Carson moderated a panel at the Midwest Band and Orchestra Clinic "The Successful Community Band: Strategies On and Off the Podium," with many of the main figures in the history of this important ensemble. Dr. Carson's research into the music of Percy Grainger has led to the creation of a new performing edition of Grainger's original band version of "Spoon River." This new edition is being prepared for publication by Southern Music. Dr. Carson has extensive experience as a guest conductor, including performances with the Marine Band of Camp LeJeune, the United States Air Force Heartland of America Band, and the United States Army Field Band. Carson also represented the North Central division of the College Band Directors National Association at the CBDNA regional convention in Kansas City in February, 1998, conducting an honor band of students from the small colleges of the middle third of the country. Dr. Carson has also had numerous international performances with the band of the Iowa Ambassadors of Music, a group with which he has traveled to Europe as a conductor and clarinetist every other summer since 2000. Carson has recently been named Associate Music Director and Associate Band Conductor of the Iowa Ambassadors. Over the years, Carson's travels as a conductor, clinician, and performer have taken him to thirty-four states and twenty foreign countries.
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