William Berry, winner of the 2003 Artist Trust/Washington State Arts Commission Fellowship for music, is a musician whose career encompasses every aspect of the field. He has found success as a performer, composer, arranger, director, producer, writer, and educator. Berry is a member of ASCAP and the American Music Center, the New York advocacy group for composers, and his compositions and arrangements have been commissioned and perfoormed by professonal ensembles throughout the country.
Berry has been a member of the Spokane Symphony Orchestra since 1988 and principal trumpet for the Walla Walla Symphony Orchestra since 1997. He has appeared as a soloist with the Spokane Symphony, the Walla Walla Symphony, the Northwest Bach Festival, the Mid-Columbia Symphony, Gonzaga Univerisity's Orchestra and Wind Ensemble, the Spokane Area Children's Chorus, and the Sacramento Jazz Jubilee.
Berry has been an adjunct faculty member at Whitman College as a trumpet instructor since 2006. Since 2004 he has been brass chamber coach and trumpet instructor at the Midsummer Musical Retreat, the nation's most comprehensive camp for adult amateur musicians. He also teaches trumpet privately and has coached the brass, wind and string sections of various high school and college ensembles, including the Spokane Youth Symphony and weekly sessions with the Lewis & Clark High School trumpets since 1997. Berry has authored and performed in many educational programs, including the Shoestring 4-tet program for the Spokane Symphony. He was commissioned to create The SymFunny Paper, a music education newspaper for fifth-graders, and from 1996 to 2000 compiled and wrote these education materials.
Berry received his Bachelor of Music Performance in Trumpet 1982 from Indiana University, where he studied with Louis Davidson, Allan Dean and Charles Gorham.
The Tuba Concerto is in three movements, following the usual quick-slow-quick pattern: Allegro deciso, Lento e mesto, Allegro giocoso. The first is in a sonata form shell with two contrasting themes, the first rhythmic in character, the second lyrical. There is a reference made in the development section to the opening theme of Vaughan Williams's Tuba Concerto, but only in passing. The second movement unfolds a long cantabile melody for the soloist, which contrasts to a ritornello idea announced three times by the band/orchestra. The last movement is in rondo form, alternating the main theme with two episodes. The first of these is a broad sweeping tune, the second jazz-like in style. After a short cadenza, reference is made to the opening of the concerto, and the work ends with a triumphal flourish.
D.M.A. Tuba Performance & Wind Conducting, University of Oregon, 2010
M.M. Musc Theory, Northwestern University, 1996
B.M. Tuba Performance, Northwestern University
Torrey Lawrence joined the faculty of the Lionel Hampton School of Music at the University of Idaho in 1998. He is currently an Associate Professor of Music. His teaching duties include the tuba/euphonium studio, Concert Band, and athletic bands including the Vandal Marching Band. Prior to coming to Idaho, he was the Executive Director of the Dubuque Symphony Orchestra and taught at Clarke College, Dubuque, IA.
Though originally from Tacoma, Washington, Mr. Lawrence attended Northwestern University in Evanston, IL. There he studied with Rex Martin and earned both a Bachelor of Music and Master of Music degrees. Mr. Lawrence is currently pursuing a Doctor of Musical Arts degree in Tuba Performance and Wind Conducting at the University of Oregon, Eugene, OR, where he studies with Michael Grose and Robert Ponto.
Mr. Lawrence is currently a member of the Idaho Brass Quintet and the Walla Walla Symphony. He has also performed recently with the Spokane Symphony, Oregon Symphony (Portland), Eugene Symphony, and the Oregon Mozart Players. As a soloist he has performed over fourteen recitals throughout the West and is in demand as a clinician, adjudicator, and guest conductor.
He and his wife, Sara, live on thirty-two acres outside of Viola, Idaho, where they have home improvement projects too numerous to mention. They are supervised by their yellow Labrador and two cats. Their first child, Thomas, was born in October 2008.
The Symphony No. 3 in C minor, Op. 78, was completed by Camille Saint-Saëns in 1886 at what was probably the artistic zenith of his career. It is also popularly known as the "Organ Symphony", even though it is not a true symphony for organ, but simply an orchestral symphony where two sections out of four use the pipe organ. The French title of the work is more accurate: Symphonie No. 3 "avec orgue" (with organ).
Of composing the work Saint-Saëns said "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again."The composer seemed to know it would be his last attempt at the symphonic form, and he wrote the work almost as a type of "history" of his own career: virtuoso piano passages, brilliant orchestral writing characteristic of the Romantic period, and the sound of a cathedral-sized pipe organ.
The symphony was commissioned by the Royal Philharmonic Society in England, and the first performance was given in London on 19 May 1886, at St James's Hall, conducted by the composer. After the death of his friend Franz Liszt on 31 July 1886, Saint-Saëns dedicated the work to Liszt's memory. The composer also conducted the French premiere in January 1887.
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A native of British Columbia, Dr. Kraig Scott has served on the faculty of Walla Walla University since 1986 and as Minister of Music at the Walla Walla University Church since 1989. Scott’s responsibilities at WWU include conducting the University choirs, teaching organ and harpsichord students, serving as church organist, and overseeing all music at the University Church. In addition to these duties, Scott is an adjunct professor at Whitman College and director of music at St. Paul’s Episcopal Church.
Dr. Scott’s career in music began early, with formal study of piano at age four, violin at age six, and his first position as church organist at age eleven. Having completed the Associate of the Royal Conservatory of Toronto while still in high school he graduated from Walla Walla University in 1984 with a major in music. His advanced degrees include an MMus from the University of Oregon, an MA in musicology and DMA in organ performance from the Eastman School of Music where he studied with David Craighead, Russell Saunders, and David Higgs. At the Eastman School Scott also received the coveted Performer’s Certificate as well as the Jerald C. Graue Fellowship for outstanding work in musicological research. His choral conducting professors are David Rayl and Jonathan Reed at Michigan State University.
Active as a solo performer, Scott has made recital appearances in eleven states and ten countries in venues including Dunblane Cathedral (Scotland), the Sejong Cultural Center (South Korea), Kirkpatrick Chapel (Rutgers University), Trinity Episcopal Cathedral (Portland), Central Lutheran Church (Eugene), Lagerquist Hall (Pacific Lutheran University), and Westminster College (Salt Lake City). In 2004 he was chosen to present the annual all Bach recital on the Flentrop organ at St. Mark’s Episcopal Cathedral in Seattle. In 2008 he performed the opening recital of the 30 th annual Northwest Bach Festival in Spokane. He has presented master classes at the Eastman School of Music, Rutgers University, Pacific Lutheran University, the University of Oregon, the University of Calgary, Westminster Choir College, and for several chapters of the American Guild of Organists.
Scott greatly enjoys collaborative music making, whether as instrumentalist or conductor. He has performed frequently with Spokane’s Allegro Baroque and Beyond and appeared with Un Trio Barocco at the Madeleine Festival, held at the Cathedral of the Madeleine in Salt Lake City. He has twice served as featured continuo artist at Idaho State University’s Baroque Festival. In addition to accompaniments for numerous vocal and instrumental recitals his other collaborations include accompaniments for a choir festival with Anton Armstrong of St. Olaf College, duo-harpsichord works with Arthur Haas of New York City, and recitals with Eric Mentzel (tenor), August Denhard (lutes), Marc Vanscheeuwijck (cello), James Brown (tenor), and Elias Mokole (baritone). As a conductor Scott enjoys working with his choirs at Walla Walla University – the 80-voice University Singers and the 35-voice auditioned choir I Cantori – as well as the St. Paul’s Church Choir. In 2009 he was invited to guest conduct a special concert of the Walla Walla Choral Society. In October 2009 he was invited to Eugene, Oregon, to guest conduct the Central Lutheran Church Chorale in a festival concert. From 2004-2010 Scott served with co-founder Robert Bode of Whitman College as director of Walla Walla Baroque, an organization committed to presenting historically informed performances of early music. In this capacity he has performed with such musicians as Janet See (baroque flute), Margriet Tindemans (viola da gamba), and Arthur Haas (harpsichord).
In his free time, Dr. Scott enjoys road biking in the beautiful Walla Walla Valley, reading good books, weightlifting, and, when the winters are cold enough, playing an occasional game of outdoor pick-up hockey.