ASCAP/CBDNA Frederick Fennell Prize Winner Announced

Kathryn Salfelder, 21, Wins $5000 Frederick Fennell Prize in Competition for Young Composers of Concert Band Music

Kathryn Salfelder

Kathryn Salfelder

New York, NY, October 8, 2008: Frances Richard, Vice President and Director of Concert Music of ASCAP (American Society of Composers, Authors and Publishers) and William K. Wakefield, President of CBDNA (College Band Directors National Association), today jointly announced the fourth bi-annual ASCAP/CBDNA Frederick Fennell Prize winner. The competition, named for Frederick Fennell, ASCAP member and past President of CBDNA, was established to encourage gifted American composers who create new works for Concert Band. The winning work was selected via a juried national competition, which attracted submissions from eligible composers (between the ages of 18 and 30) from across the United States.

The $5000 Prize for a wind ensemble work has been awarded to Kathryn Salfelder, age 21, for "Cathedrals" for wind ensemble. The award winning work will be performed during the National CBDNA Conference at The University of Texas at Austin, March 25 – 28, 2009 by the Oklahoma State University Wind Ensemble, conducted by Joe Missal.

"Cathedrals," has been selected for publication in the Boosey & Hawkes Windependence Series and was premiered in September 2008 by Gary W. Hill and the Arizona State University Wind Bands. It will be featured in over a dozen concerts throughout the US during the 2008-2009 season. Salfelder, a native of Fair Lawn, New Jersey, is completing a Bachelor of Music degree in Composition at The New England Conservatory of Music. Her "Three Fanfares for Brass Quintet" was selected as the winning score in the 2008 New England Conservatory Honors Ensemble Competition. An accomplished performer, Ms. Salfelder is pianist for the New England Conservatory Wind Ensemble, and has appeared on New England Conservatory's Composer's Series, Tuesday Night New Music and Chamber Music concerts. She serves as associate conductor and rehearsal pianist for the Fiddlehead Theatre Company (Norwood, Massachusetts), and has twice appeared as soloist with the North Jersey Symphony Orchestra. Further information is available at

William K. Wakefield said, "CBDNA is most excited about the collaborative effort with ASCAP to continue the legacy of Frederick Fennell through cultivating and promoting new repertoire for the concert band. There are few things as powerful as celebrating art with a young, fresh, and vibrant voice."

Frances Richard said, "Frederick Fennell, a revered member of ASCAP, was devoted to building a great repertory for the Concert Band/Wind Ensembles in which he took such great pride. We are proud to commemorate his legacy by recognizing the works of outstanding young composers selected in his name."

Additional works selected for Honorable Mention by the Jury will be circulated to ensembles performing at regional CBDNA conferences.

Honorable Mention:
Jonathan Bartz, age 22, Los Angeles, California – "The Valley of the Dry Bones" for symphonic concert band
David Biedenbender, age 24, Ann Arbor, Michigan – "Stomp" for winds and percussion
Andres Carrizo, age 26, Chicago, Illinois – "Ecos Y Remansos" for concert band
Michael Cortes, age 23, San Antonio, Texas – "Europa Fanfare" for concert band and pipe organ
Elizabeth Kelly, age 26, Rochester, New York – "Ice" for electric guitar and concert band
Douglas Pew, age 28, Erlanger, Kentucky – "8 Bagatelles" for concert band
Anthony Suter, age 29, Redlands, California – "As We Shine, Singing, Over Waterless Seas" for concert band

The ASCAP composer/judges for the 2008 competition were: Derek Bermel and John Mackey. The conductor jurors were: Jerry Junkin (University of Texas at Austin); H. Robert Reynolds (University of Southern California); and Kevin Sedatole (Michigan State University).

CBDNA members are devoted to the study, teaching, and performance of music, with a particular focus on music created for the numerous kinds of wind bands found throughout today's musical landscape.

Established in 1914, ASCAP is the first and leading U.S. Performing Rights Organization (PRO) representing the world's largest repertory totaling over 8.5 million copyrighted musical works of every style and genre from more than 330,000 songwriter, composer and music publisher members.  ASCAP has representation arrangements with similar foreign organizations so that the ASCAP repertory is represented in nearly every country around the world where copyright law exists.  ASCAP protects the rights of its members and foreign affiliates by licensing the public performances of their copyrighted works and distributing royalties based upon surveyed performances.  ASCAP is the only American PRO owned and governed by its writer and publisher members.

Cathedrals (2007) by Kathryn Salfelder
Duration: 6´
Published by Boosey & Hawkes Windepenence Series

Picc, 4 Fl, 2 Ob, 6 Cl,, 2 Bsn, Sop.Alto.Ten.Bar Sax
Double Brass Choir: 2 Tpt, 2 Hn, 2 Trb, Tba (x 2 choirs)
Timp. + 4 Perc: vib, mar, bells, w. blk, tom-toms (4), crot, bd, xyl, sus cymb. (2), tam-tam, t. blks (5).
September 18, 2008
Arizona State University Wind Bands, Gary W. Hill, conductor
ASU Gammage, Tempe, AZ

Program Note:
Cathedrals is a fantasy on Gabrieli's Canzon Primi Toni from the Sacrae Symphoniae, which dates from 1597. Written for St. Mark's Cathedral in Venice, the canzon is transcribed for two brass choirs, each comprised of two trumpets and two trombones. The choirs were stationed in balconies of the church according to the antiphonal principal of cori spezzati (It. 'broken choirs'), which forms the basis of much of Gabrieli's writing.

Cathedrals is an adventure in 'neo-renaissance' music, in its seating arrangement, antiphonal qualities, 16th century counterpoint, and canonic textures. Its form is structured on the golden ratio (1: .618), which is commonly found not only in nature and art, but also in the motets and masses of Renaissance composers such as Palestrina and Lassus. The areas surrounding the golden section and its series of extrapolated subdivisions have audible characteristics, often evidenced by cadences, changes in texture, or juxtaposition of ideas.

The work is a synthesis of the old and the new, evoking the mystery and allure of Gabrieli's spatial music, intertwined with the rich color palette, modal harmonies, and textures of woodwinds and percussion.


Pauline Stack