Christopher Wilson is Artist/Assistant Professor of Trumpet at Arkansas State University in Jonesboro, Arkansas since the fall 2009 academic year. His duties include applied trumpet, trumpet methods, and performing in the Arkansas State Faculty Brass Quintet. A native of Russellville, Arkansas, Wilson completed his Bachelors Degree of Music Education and Masters Degree in Music Performance at the University of Arkansas, and received his Doctor of Musical Arts Degree from The Catholic University of America in Washington, DC. His former teachers include Wiff Rudd, Steve Hendrickson, Charles Daval, and Robert Bright. Wilson recently premiered David Sampson’s Serenade for Trumpet and Wind Ensemble at the College Band Directors National Association Convention in Las Cruces, New Mexico as well as Counterwork for Trumpet/Flugelhorn, Marimba, and Piano at the International Trumpet Guild Conference. Prior to his appointment at Arkansas State University, Wilson performed with the United States Air Force Band, Washington, DC. While a member of the United States Air Force Band, he performed and taught clinics throughout the United States and Japan, and was a tour soloist performing the Arutunian Trumpet Concerto. He has performed for numerous dignitaries and audiences around the world, including Presidents George W. Bush and Barrack Obama. In 2004, he performed at the funeral of former President Ronald Reagan. Live television broadcasts include a Veterans Day Celebration at the Strathmore Concert Hall in Bethesda, MD, which aired on PBS in 2008; and a Memorial Day at the National Capitol, which also aired on PBS in 2006 in collaboration with the National Symphony Orchestra. Additionally, Wilson has performed with the Annapolis Symphony, Annapolis Opera, Maryland Symphony, Alexandria Symphony, Concert Artists of Baltimore, North Arkansas Symphony, Arkansas Symphony, and Memphis Symphony. Dr. Wilson is a member of the International Trumpet Guild and is a Yamaha Performing Artist. Lauren Schack Clark has performed as a soloist and collaborative pianist throughout the United States and Europe. Solo performances have included recitals in Italy and at Berklee College of Music, Boston. She has collaborated with faculty members of over 20 universities throughout the world, including Eastman School of Music and the University of Michigan, and with principal symphonic players from such ensembles as the Boston Symphony. She has presented at the World Piano Conference and the MTNA National Conference, and is very active in MTNA, having served in various capacities such as Competition Chair at the Division and State levels, and as President of the Arkansas State Music Teachers Association. Her DMA is from Boston University. Dr. Clark has recorded on the Centaur and Vienna Modern Masters labels, and her book, Keyboard Theory and Piano Technique, co-authored with Brian Henkelmann, is published by Longbow Publishing. Kevin McKee (1980 - ) is an active composer, trumpeter, and educator in the DC area. His music has been played extensively throughout the US and is steadily gaining international recognition. His composition career began while in grad school at the University of Maryland with a brass quintet he wrote for his Master's degree trumpet recital. The piece, titled Escape, was very well received and with the help of his trumpet teacher, Chris Gekker, was eventually published. Centennial Horizon was commissioned by Albany trumpeter Catherine Sheridan. With two contrasting movements (Aspen Grove and Roaring Gunnison) connected by an interlude (Alpenglow), McKee captures some of the beauty and adventure of what truly is an amazing place: Colorado (the "Centennial State"). Inspired by his late grandmother’s love of that state, the first movement is an homage to her. Lauren Bernofsky's (1967 - ) catalog of compositions totals over ninety pieces, written for professional musicians as well as children, and her output includes chamber music, orchestral works, ballet, film music, and opera. She holds degrees from the Hartt School, New England Conservatory, and Boston University, where she was a student of Lukas Foss. Her music has been performed across the United States as well as in England, Wales, Canada, Norway, Iceland, Germany, Spain, Korea, New Zealand, and Australia. Notes from the Composer: Shortly after beginning my composition studies at Boston University, I realized what a great resource the school had in the Empire Brass Quintet, then in residence. For a violinist, attending Empire Brass master classes was a great way to learn about brass and how to better write for it. A student group performed a brass quintet of mine in one of these master classes, and that's how my music came to the attention of Jeff Curnow. A few years later, Jeff commissioned me to write him a recital piece. I wanted to write something that was a technical challenge, and he assured me that I got that part right! Jeff premiered Saltarello with the pianist Scott Nicholas on my Doctoral Composition Recital in Marsh Chapel of Boston University on May 9, 1995. Saltarello is published by Theodore Presser Company. Chicago area composer James Stephenson’s (1969 - ) works have been performed by leading American orchestras and hailed by critics as having “straightforward, unabashedly beautiful sounds” and "Stephenson deserves to be heard again and again!" (Boston Herald). His music incorporates a fresh and energizing sound scape that delights the audience while maintaining integrity and worthwhile challenges for the performing musicians. This rare combination has rewarded Stephenson with a host of ongoing commissions and projects. Recent collaborations include a concerto for Branford Marsalis with Rodney Mack; an exuberant fanfare for the Houston Symphony; and a concerto for the Philadelphia Orchestra’s principal trombonist, Nitzan Haroz. His landmark educational work, Compose Yourself!, has now been performed over 200 times since its creation in 2002, and will see performances by four Chicago-land orchestras this season as well. Remember Forward was written for the Principal Trumpeter of the Cincinnati Symphony Orchestra, Bob Sullivan, in loving memory of his wife Robin. In essence, this piece is a musical question. There are at times harmonies unanswered; melodies unfinished;.rhythmic ambiguity, and times of hope mixed with despair. And just as with Robin’s life, and with so many others, the piece is cut short, leaving many questions unanswered. The title is out of respect for what Bob is doing in response to his own personal tragedy; choosing to live on, using his talents to honor the memory of Robin while at the same time helping to support the search for a cure for sarcoma, so that others in the future might be spared the pain he and his family have suffered. Dr. Sy Brandon (1945 - ), professor emeritus of music from Millersville University, was recently commissioned by the Arizona Centennial Commission to compose a band composition to celebrate Arizona’s 100th anniversary of statehood. Other first prize awards include WITF-FM's 25th Anniversary Composition Contest, and Franklin and Marshall College’s Wind Ensemble Composition Contest. The Czech National Symphony Orchestra, the Philharmonia Bulgarica, and the Kiev Philharmonic have recorded his music. Sonata for Trumpet and Piano (1969) is a three-movement composition with contrasting thematic material. Much of the harmony is quartal and counterpoint plays an important role. The last movement is very energetic and jazzy. Avalon (2012) is a lyrical composition with long melodic lines. Written for Christopher Wilson, this work describes the legendary island featured in the Arthurian legend, the place where King Arthur's sword Excalibur was forged and later where Arthur was taken to recover from his wounds after the Battle of Camlann. The composition’s structure is more influenced by the rhetorical device of anaphora than by any specific musical form. Anaphora consists of a repeated sequence of words that begins a series of neighboring clauses, thereby lending them emphasis. The open motive, stated by the trumpet alone, is the anaphora phrase that represents the magical and mysterious qualities of Avalon. Throughout the composition, the trumpet and piano parts constantly interweave, creating a mostly consonant harmony along with contrapuntal tension. Rhythmic variation and slight tempo changes add interest and enable the melodic lines to develop as if someone was narrating a story about the legendary deeds of this benevolent leader. David Sampson (1951 - ) is one of the truly unique voices of his generation, enjoying performances by major orchestras, noted soloists, and internationally touring ensembles. From 1998 to 2007, he served as Composer-in-Residence of the Colonial Symphony Orchestra. His extensive output includes commissions and premieres with the National Symphony Orchestra, Aspen Music Festival, American Symphony Orchestra, New Jersey Symphony Orchestra, Akron Symphony Orchestra, Chicago Chamber Musicians, Joffrey II Ballet, American Brass Quintet, Amherst Saxophone Quartet, among others. He has been the recipient of major grants from the National Endowment for the Arts, American Academy of Arts and Letters, Chamber Music America, Barlow Endowment, Pew Charitable Trusts, New Jersey State Arts Council, Jerome Foundation, Cary Trust, and Geraldine R. Dodge Foundation. Mr. Sampson holds degrees from the Curtis Institute of Music, Hunter College, Manhattan School of Music, and the Ecoles d'Art Americaines. His music is widely published and has been recorded on Channel Recordings, Albany Records and Summit Records by a variety of soloists, ensembles and orchestras. Counterwork is a composition that concerns itself with dualities: light/dark, optimism/pessimism, extroversion/introversion. Written for and dedicated to Christopher Wilson, it is orchestrated for trumpet/flugelhorn, marimba and piano. Beginning with the extroverted side of this duality, the music is lively, strong and rhythmic. Themes, harmonies and rhythms create a sense of joy and fun along with a bit of mischievousness. After a time, the work sinks into a sense of sadness and loss with the trumpeter changing to flugelhorn, which in itself often personifies introversion. We then suddenly revert back to the light and revisit the first section with additional exploration. Later, we are again drawn back into the darkness, but this time remains for a longer period. Returning for the final time to optimism, there is an added sense of strength and purpose along with a touch of desperation. The work ends with a short, mournful return to darkness with a final cry from a muted trumpet.