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June 17, 2011


Medina Community Band Complete information on the each concert, literature performed, soloists, and guest conductors, as well as personnel.

This material covers the 3rd concert – Friday, June 17th, 2011, 8:30p – 9:30p

Site: Medina’s Uptown Park Square (intersections of Rts 18, 42, Broadway and Liberty Street)


Cancellation of concerts due to the weather will be posted on the website!


MEDINA:  Medina Community Band will continue the 2011 summer season, a celebration of 152 years of presenting community concerts in Medina, on Friday, June 17th, 2011, at 8:30p, in Medina’s Uptown Park Square Gazebo.  

Featured soloists on this hour-long concert will be: Sue McLaughlin, piccolo, and Denise Milner Howell, vocal soloist.  The Medina Community Band is under the baton of conductor Marcus Neiman and associate conductor Curtis Amrein.  Special guest conductors will be David Adamson, of Highland Heights (OH). The 60 minute concert will feature works by Rossini, Alexander, Liberati, Maltby, Lowry, Gershwin, Anderson, Daehn, Fillmore, and Sousa.  Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club.

Please note the following change in play list for the concert!

Star Spangled Banner (Key/Sousa)
Tancredi (Rossini/Falcone) – Curtis Amrein conducting
Southerner (Alexander) – Curtis Amrein conducting
Rondo from Clarinet Concerto (Mozart/x) – Mary Ann-Grof-Neiman, clarinet soloist
Waltz No 2. (Shostakovich/Curnow)
Manhattan Beach (Sousa)
(We Shall) Gather at the River (Lowery/Copland/Seiberling) – Denise Milner Howell, mezzo-soprano soloist
‘S Wonderful (Gershwin/Barker) – Denise Milner Howell, mezzo-soprano soloist
With Quiet Courage (Daehn) – David Adamson, guest conductor
His Honor (Fillmore) – David Adamson, guest conductor
Shoutin’ Liza Trombone (Fillmore)
Hosts of Freedom (King)
Stars and Stripes Forever (Sousa)
God Bless America (Berlin/Leidzen)

Featured Soloists

Mary Ann Grof-Neiman
(clarinetist, at left) is currently the Program Administrator of the Cleveland Institute of Music’s Preparatory and Continuing Education Division. She received her bachelor of science in music education degree from the Bowling Green State University. Ms. Grof-Neiman has served as clarinetist for the Blossom Festival Band, Lakeland Civic Band, Lakeside Symphony Orchestra, Youngstown Symphony, Erie Philharmonic, and currently performs with the Cleveland Philharmonic Orchestra, Lakewood “Home Town” Band, Medina Community Band, the Cleveland Winds, and is principal clarinetist with the Sounds of Sousa Band and the Chagrin Falls Studio Orchestra.  She maintains private studios at Baldwin Wallace College through their Conservatory Outreach Program as well as her home in Medina.  She has served the Ohio Music Education Association as a Woodwind Adjudicator for the last 18 years and is a member of AFM Local 24. She resides in Medina with her husband Marcus and their cats Dmitri and Sasha.


Denise Milner Howell
(mezzo-soprano, at right), is equally at home on the opera, musical theatre or concert stage.  Her solo engagements include performances with Opera Cleveland, Chautauqua Opera, Red {an orchestra}, Akron Lyric Opera Theatre, Tanglewood Festival, Akron Symphony Orchestra, Carousel Dinner Theatre, Sounds of Sousa Band, and Buffalo Philharmonic.  Additionally, Ms. Howell is a founding member of the vocal chamber music ensemble “Red Campion”, performing concerts throughout Ohio and offering outreach into area schools.  She can be heard in a CD release on the North/South recording label singing “Sappho Songs”, composed by Ira-Paul Schwarz.
 
In addition to performing, Ms. Howell is an active voice teacher.  She currently teaches at Ashland University, and has served on the voice faculties of the University of Akron School of Music, and the State University of New York College at Fredonia.  Ms. Howell earned a Bachelor of Fine Arts in music education from Long Island University/CW Post College, and a Master of Music degree in vocal performance from New England Conservatory of Music.  She lives in Sharon Township, Ohio with her husband, Gregg, and their two sons, Miles and Wesley.  She will be performing At the River (Lowry-Copland-Seiberling) and ‘S Wonderful  from Funny Face (Gershwin-Barker).

Guest Conductor


David N. Adamson
(at right) clarinet, saxophone, conductor.  David received his bachelor of music education degree from the Baldwin-Wallace Conservatory of Music.  His master of music degree in woodwind performance was earned from The University of Michigan.   A public school instrumental music teacher for 16 years, his bands consistently earned the highest ratings.  He adjudicates students throughout the state for the Ohio Music Education Association and works for the Ohio Foundation for Music Education, organizations for which he currently serves in the capacity of business manager and development director. Prior to his current role, he worked in music retail for 17 years and was the woodwind department chair at the Cleveland Music School Settlement. Adamson regularly performs in the northeast Ohio area on clarinet and saxophone and is a member of the Sounds of Sousa Band, the Cleveland Orchestra’s Blossom Festival Band, and the Lakewood Hometown Band. He enjoys guest conducting the Medina Community Band. He is the music director emeritus of the All Generations Band of Cleveland Heights.  He will be conducting Larry Daehn’s With Quiet Courage.

Conductors


Marcus Neiman
(left) celebrates his 39th season as conductor of the Medina Community Band.  Neiman continues in the position of interim director of concert band at Kent State University where he teaches their on-campus “Music Teaching as a Profession” course and supervises music education student teachers, serving as a part-time assistant professor.
 
He received his bachelor of science in music education degree from The University of Akron; master of music in music education degree from The University of Michigan; and, post-degree doctorial work at The Kent State University.

He is a member of the 1993-94 class of Leadership Medina County.  Neiman remains active with Ohio Music Education Association (OMEA), having served as state president of that organization from 1998-2000, and currently serves as a woodwind adjudicator and state historian.  He is the recipient OMEAs highest honor, the “Distinguished Service Award,” presented to him on January 29th, 2010.  Neiman is the artistic director and founding conductor of the professional concert band – The Sounds of Sousa Band and appears throughout the nation as a guest clinician and conductor.

Marcus and his wife Mary Ann, who is a professional clarinetist and program administrator - preparatory and continuing education department for the Cleveland Institute of Music, reside in Medina with their two cats Sasha and Dmitri. Marcus has two daughters (Nancy and Jennifer) from a previous marriage, three granddaughters, one grandson, and a godson.

Curtis Amrein
(associate conductor, at right) is the director of bands at U.L. Light Middle School in Barberton, Ohio. His responsibilities include teaching sixth, seventh, and eighth grade bands in addition to jazz and percussion ensembles. Under his direction, students at U.L. Light have received superior ratings at Ohio Music Education Association large group and solo and ensemble adjudicated events. 
Curtis received his bachelor's degree in music education from The Ohio State University in 2004, where he graduated Magna Cum Laude. While there, Mr. Amrein performed with the Symphonic Band, Wind Symphony, and Symphony Orchestra. He is a trumpet student of Timothy Leasure and was the 2004 recipient of the Richard Burkart Trumpet Award. Curtis' conducting teachers include Dr. Richard Blatti and Marcus Neiman.
Mr. Amrein serves as both an associate conductor and trumpet player with the Medina Community Band. He also performs with the Sounds of Sousa Band, also under the direction of Marcus Neiman. Curtis is an active member of the Ohio Music Educators Association, National Association for Music Education (MENC), and Ohio Education Association. The 2011 season is Curtis’ first as associate conductor of Medina Community Band.

Program Notes


Star Spangled Banner (John Stafford Smith arranged by John Philip Sousa) uses lyrics from a poem written in 1914 by Francis Scott Key, a then 35-year-old amateur poet after seeing the bombardment of Fort McHenry at Baltimore, Maryland, by Royal Navy ships in Chesapeake Bay during the War of 1812.

The poem was set to the tune of a popular British drinking song, written by John Stafford Smith for the Anacreontic Society, a London social club.  Set to Key’s poem and renamed “The Star-Spangled Banner,” it would soon become a well-known American patriotic song.  It was recognized for official use by the United States Navy in 1889 and the President in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover.
Before 1931, other songs served as the hymns of American officialdom. Most prominent among them was “Hail, Columbia” which served as the de facto national anthem from Washington’s time and through the 18th and 19th centuries.  Following the War of 1812 and subsequent American wars, other songs would emerge to complete for popularity at public events, among them “The Star Spangled Banner.”

Gioachino Rossini
(at left) occupied an unrivalled position in the Italian musical world of his time, winning considerable success relatively early in his career. The son of a horn player and a mother who made a career for herself in opera, as a boy he had direct experience of operatic performance, both in the orchestra pit and on stage. His operas from his first relative success in 1810 until 1823 were first performed in Italy. There followed a period of success in Paris, leading to his final opera, Guillaume Tell (‘William Tell’), staged in Paris in 1829. The revolution of 1830 prevented the fulfillment of French royal commissions for the theatre, but in his later life he continued to enjoy considerable esteem—both in Paris, where he spent much of his last years, and in his native Italy. There he spent the years from 1837 until 1855, before returning finally to France, where he died in 1868. The last 40 years of his life were creatively silent: no more operas issued from his pen.

Tancredi premiered in 1813 at La Fenice Theatre in Venice. The two act melodrama, by Gioachino Rossini and librettist Gaetano Rossi, based on Voltaire’s play Tancréde (1759). The overture, borrowed from La pietra del paragone, is one of the best examples of Rossini’s characteristic style and has become a regular part of the concert and recording repertoire.

While Rossini first composed the opera with ending in mind, he eventually had poet Luigi Lechi rework the libretto to emulate the original tragic ending by Voltaire.  The change, and of course Rossini’s masterful writing propelled Tancredi to the ranks of one of his greatest masterworks. The plot, so typical to the operatic trauma-drama revolves around Tancredi, an exiled and dispossessed warrior, and his beloved Amenaide.  Together the confront intrigue, suspicion, and devotion in a city beset by civil strife and facing an invading army.  The original ending has Tancredi winning the war, returning alive to marry his beloved Amenaide; unfortunately for Tancredi, but fortunately for opera fans, the revised ending has Tancredi winning the war and returning dead.

Russell Alexander
(at right) spent most of his adult life as a composer-arranger and euphonium virtuoso.  At the age of 18, Alexander joined the Belford Carnival Band.  Two years later, he joined the Barnum & Bailey’s Greatest Show on Earth as solo euphonium, composer and arranger in time for their five-year tour of Europe.  Upon his return to the United States, he joined his brothers, Newton and Woodruff, and their partner James Brady, in a musical vaudeville act called the “Exposition Four.”
  
Alexander suffered from poor health, and died in Liberty, New York at the age of 38 on October 2, 1915. Over the course of his career he composed some 31 marches, six gallops, three overtures and several other works. Several of his marches are considered standard repertoire, and remain popular to this day.

March “The Southerner” is one of Russell Alexander’s most popular compositions.  A strong introduction, interesting melodies and countermelodies, exciting modulations in the trio, and dynamic changes that lift the listener out of his seat – these are the features of this stirring march. The dedication on the original solo-cornet-conductor part was short and sweet:  “To my wife.”  Alexander wrote another march, titled The Southerners, and also dedicated it to his wife – the original manuscript, still unpublished, is at the Circus World museum in Baraboo, Wisconsin.

Wolfgang Amadeus Mozart’s
(at right) Clarinet Concerto in A Major, K. 622, was written in 1791 for the clarinetist Anton Stadler.  It consisted of the usual three movements, in a fast-slow-fast form: allegro, adagio, and Rondo: Allegro. It was also one of Mozart’s final completed works, and his final purely instrumental work (he died in the December following its completion).  The concerto is notable for its delicate interplay between the soloist and (originally) orchestra), and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part).

Mozart originally wrote the work for basset clarinet, a special clarinet championed by Stadler that had a range down to low (written) C, instead of stopping at (written) E as standard clarinets do.

Dmitri Shostakovich
was one of the most celebrated Russian composers of the 20th century.  He achieved fame in the Soviet Union under the patronage of Leon Trotsky’s chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the Stalinist bureaucracy. In 1936, the government, most probably under orders from Stalin, harshly criticized his opera Lady Macbeth of Mtsensk District, causing him to withdraw his Fourth Symphony during its rehearsal stages.  Shostakovich’s music was officially denounced twice, in 1936 and 1948, and was periodically banned.  Nevertheless, he also received the accolades and state awards and served in the Supreme Soviet of the RSFSR. Despite the official controversy, his works were popular and well received.

The Suite for Variety Orchestra (post-1956) is a suite of eight movements consisting of a collection derived from other works by the composer.  The Waltz No. 2 is a delightful and unexpected gift from the composer.

Allesandro Liberati
was born in Frascati, Italy, to Carlo and Felicetta Liberati, both musicians. A naturally gifted musician, by the time he was 12, he was already making public performances on cornet.
His acclaim spread to the United States and Patrick Gilmore invited him to appear as a special soloist in Boston (MA) for the Peace Jubilee of 1872.  The next year, Liberati was offered the directorship of the Canadian Artillery Bands in Ottawa (CA) by Lord Bufferin.  In 1875, he organized the Detroit National Guard Band and the Detroit Police Bugle Band, taking both of those organizations to the Centennial Exposition in Philadelphia in 1876.  In 1889, he organized his own concert band, Liberati’s Grand Military Band, which toured widely throughout the United States and Canada.
He still continued to play throughout his life and well into his seventies (and with wooden false teeth), he appeared as cornet soloist.

Following in the footsteps of Patrick Gilmore, Sousa became a popular figure at Manhattan Bach, the famous New York summer resort. One of his most lavish medals was presented to him in 1894 by the proprietor, Austin Corbin, and other shareholders. The previous season, Sousa had dedicated the march Manhattan Beach to Corbin, and one of his manuscripts in inscribed to him.
Sousa once told a reporter that the march had been derived from an earlier composition, probably “The Phoenix March” (1875):  I wrote ‘Manhattan Beach’ while playing a summer engagement at that once-popular resort, using as the basis an old march I had composed when I was with Milton Nobles.

Manhattan Beach became a stable of bands all over the world, but the Sousa Band performed it differently by playing the trio and last section as a short description piece.  In this interpretation, soft clarinets arpeggios suggest the rolling ocean waves as one strolls along the beach. A band is heard in the distance.  It grows louder and then fades away as the stroller continues along the beach.
Robert Lowry (pictured at left) was born in Philadelphia, Pennsylvania, on 12th March 1826.  He studied theology at the University of Lewisburg and on graduating, in 1854, became ordained as a Baptist minister. He had charge of churches in a number of places including New York, Brooklyn, West Chester, Pennsylvania and New Jersey.  In 1869 he returned to Lewisburg as a faculty member (having previously served as a professor of literature) and later went on to become its chancellor. From 1880 until 1886 he was president of the New Jersey Baptist Sunday School Union.
He is most remembered as a composer of gospel music and a hymn writer, and also worked as a music editor at the Biglow Publishing Company. He was responsible for around 500 compositions, including Beautiful River and Nothing But the Blood. Despite his success as a hymn writer, it was as a preacher that Lowry would have preferred to be recognized. He once stated: "Music, with me has been a side issue... I would rather preach a gospel sermon to an appreciative audience than write a hymn. I have always looked upon myself as a preacher and felt a sort of depreciation when I began to be known more as a composer." Lowry was married with three sons and died in Plainfield, New Jersey on 23rd November 1899.


Shall We Gather At the River? (or simply At the River) is a traditional Christian hymn, written by Robert Lowry and arranged by many including Aaron Copland.
George Gershwin
(at right) was essentially self-taught; he was first a song plugger in Tin Pan Alley and an accompanist. In his teens he began to compose popular songs and produced a succession of musicals from 1919 to 1933 (Lady, be Good!, 1924; Oh, Kay!, 1926; Strike up the Band, 1927; Funny Face, 1927; Girl Crazy, 1930); the lyrics were generally by his brother Ira (1896 1983).

‘S Wonderful  is a popular song composed by George Gershwin, with lyrics written by Ira Gershwin.  It was introduced in the Broadway music Funny Face (1927) by Adele Astaire and Allen Kearns. The song was included in the 1951 music An American in Paris where it was sung by Gene Kelly, as well as in the 1957 American musical film Funny Face, in which it was performed by Audrey Hepburn and Fred Astaire.


  
Larry Daehn was born in Rosendale, Wisconsin, in 1939 and grew up on the farms of that state. He received a B.A. in Musical Education from the University of Wisconsin at Oshkosh in 1964 and his master’s degree in 1976 from the University of Wisconsin at Platteville. He has been a teacher of music for 33 years; the last 27 of them at the New Glaris (WI) High School. A past president of the Wisconsin chapter of Phi Beta Mu, he was honored by that organization as Outstanding Bandmaster. Daehn has composed With Quiet Courage, in memory of his mother, and As Summer Was Just Beginning. An avid admirer of Percy Grainger, he has written several arrangements of that composer's melodies and an article on the Grainger Museum. He is the owner of Daehn Publications.
With Quiet Courage

Her life was heroic, but without fanfare.
She worked and hoped and inspired.
She loved and was loved.
Her life was a noble song of quiet courage.

With those words, Larry Daehn dedicated this composition to the memory of his mother. He describes her as a brave woman who raised her family through the hardships of farm life in Wisconsin. Despite the loss of both legs due to diabetes, she lived with nobility and quiet courage. She loved to sing. These qualities are evident in this composition, which was written in the summer of 1995 following Lois Daehn's death. It is a song that is passed between the horns, saxophones, a solo trumpet, percussion, and finally to the full ensemble. Building from a quiet pianissimo to the strength of a fortissimo, it concludes with the gentle chords symbolic of the open Wisconsin farmland and a full and rewarding life. With Quiet Courage was premiered by the U.S. Navy Band in our nation's capital in 1995.

Henry Fillmore was one of our most prolific composers with 256 compositions to his record and almost 800 arrangements.  He published under various pseudonyms as well as his own name: Henry Fillmore -114; Gus Beans – 2; Harold Bennett – 65; Ray Hall – 3; Harry Hartley – 6; Al Hayes – 57; Will Huff – 8; and Henrietta Moore – 1.

According to Herb Block, Henry got into a conflict with his father (who composed and published liturgical music in Cincinnati) over the kind of music that Henry was composing.  Henry liked march music and said, “I will huff and puff and I will write my own music.” Hence, the name Will Huff.

Fillmore was a true free spirit.  He was brought up by a conservative family in a conservative town.  When he couldn’t do as he wished, he ran away with a circus and played trombone in the circus band.  To top it all off, he married an exotic dancer.


His Honor (March).  The march is one of Fillmore’s most famous marches.  In 1933, the Fillmore Band had few engagements apart from several appearances at the Cincinnati Zoo.  Curiously, Henry composed few works that year, but one he did compose was this march.  Some of Fillmore’s marches, overture, and novelty pieces were composed especially for his own band of professional musicians, organized in 1927 in Cincinnati.  His Honor was one such favorite of both is band members and audience alike.  The title refers to Mayor Russell Wilson, a man who impressed the composer with his sense of humor as well as his executive ability. Wilson held office from 1930-1937.  The march was premiered August 2, 1933 at a concert at the zoo and has become one of his most frequently performed works.  With its unexpected melodic and rhythmic changes and its various performance possibilities, His Honor is still one of Fillmore’s most popular marches.”

Shoutin’ Liza Trombone
carried the subtitle “Mose Trombone’s Ah-finity.”  Recalling Henry’s early conflicts with his father about his music, it is interesting to note that this was originally titled “Hallelujah Trombone” in reference to the opening motif which is taken from Handel’s “Hallelujah Chorus.” Knowing that his hymnal-publishing father would never approve of such blasphemy, Henry recalled the first printing which did go out with the title “HallelujahTrombone” and retitled it Shoutin’ Liza Trombone.  When performing the work as a guest conductor, Henry would bring the trombone section to the front of the stage, play the introduction and, before the pick-ups to the first strain, would say to the audience.  “Let us have a moment of prayer for the trombone section.”  He would they yell “Shoot em!” and tear into the first glissando, that section marked “with pep.”

Henry Fillmore gained fame as the Father of the Trombone Smear wrote a series of 15 novelty characteristic tunes featuring trombone smears called “The Trombone Family.  Written in strong ragtime or Vaudeville style, the smear features the trombone section. Shoutin’ Liza Trombone was the eighth characteristic smear composed by Fillmore.


Ohio composer Karl King probably wrote Hosts of Freedom (1920) as a fast circus march, as a finale for the elephant act by the circus band in residence.  What is so wonderful about the march is how well it flows.

Karl Lawrence King began studying cornet at age eleven and later switched to baritone. His formal education ended around the 6th or 8th grade, but that in no way hindered his accomplishments. Through 1918, he mostly was a performer and sometimes leader of circus bands. At that time, he unsuccessfully applied to be Sousa's assistant. Sousa did, however, recommend King for a bandmaster position in the army. He reported for duty on the very day World War I ended, and he did not serve any time in active duty. After the War ended, he started his own thriving publishing business and directed various bands. For the last fifty years of his life he was always involved with music.
Stars and Stripes Forever
(John Philip Sousa – pictured at right) The march is considered the finest march ever written, and at the same time one of the most patriotic ever conceived.  As reported in the Philadelphia Public Ledger (May 15, 1897) “ ... It is stirring enough to rouse the American eagle from his crag, and set him to shriek exultantly while he hurls his arrows at the aurora borealis.”  (referring to the concert the Sousa Band gave the previous day at the Academy of Music).

The march was not quite so well received though and actually got an over average rating for a new Sousa march.  Yet, its popularity grew as Mr. Sousa used it during the Spanish-American War as a concert closer.  Coupled with his Trooping of the Colors , the march quickly gained a vigorous response from audiences and critics alike.  In fact, audiences rose from their chairs when the march was played.  Mr. Sousa added to the entertainment value of the march by having the piccolo(s) line up in front of the band for the final trio, and then added the trumpets and trombones join them on the final repeat of the strain.

The march was performed on almost all of Mr. Sousa’s concerts and always drew tears to the eyes of the audience.  The author has noted the same emotional response of audiences to the march today.  The march has been named as the national march of The United States.

There are two commentaries of how the march was inspired.  The first came as the result of an interview on Mr. Sousa’s patriotism.  According to Mr. Sousa, the march was written with the inspiration of God.

“I was in Europe and I got a cablegram that my manager was dead.  I was in Italy and I wished to get home as soon as possible, I rushed to Genoa, then to Paris and to England and sailed for America.  On board the steamer as I walked miles up and down the deck, back and forth, a mental band was playing ‘Stars and Stripes Forever.’  Day after day as I walked it persisted in crashing into my very soul. I wrote it on Christmas Day, 1896.”


The second, and more probable inspiration for the march, came from Mr. Sousa’s own homesickness.  He had been away from his homeland for some time on tour, and told an interviewer:

“In a kind of dreamy way, I used to think over old days at Washington when I was leader of the Marine Band ... when we played at all public functions, and I could see the Stars and Stripes flying from the flagstaff in the grounds of the White House just as plainly as if I were back there again.”

“Then I began to think of all the countries I had visited, of the foreign people I had met, of the vast differences between America and American people and other countries and other peoples, and that flag our ours became glorified ... and to my imagination it seemed to be the biggest, grandest, flag in the world, and I could not get back under it quick enough.”

“It was in this impatient, fretful state of mind that the inspiration to compose ‘The Stars and Stripes Forever’ came to me.”


That America’s entry into the First World War helped end it and most likely prevented a German victory is fact.  In popular music, 1917 and 1918 were almost exclusively patriotic with one of the most popular being Richard Whiting’s
Till We Meet Again.
With music written by Richard A. Whiting (at left) and lyrics by Raymond B. Egan, the song tells of the parting of a soldier and his sweetheart.  As Whiting’s sister Margaret tells it, the song was intended for a 1918 contest at a Detroit Theater.  Dissatisfied with the results, Whiting threw the manuscript in the trash.  His secretary retrieved it and showed it to their boss, publisher Jerome Remick, who submitted it in the contest, where it won top honors.





The Medina Community Band

Marcus Neiman, conductor

Friday Evening, June 17, 2011

8:30 p.m.

Program

National Anthem, The Star Spangled Banner (1931)... Francis Scott Key/John Philip Sousa

Overture, Tancredi (1813).............................................. Gioachino Rossini/Leonard Falcone
March, Southerner (1908)................................................................... Russell Alexander

Solo, Rondo from Clarinet Concerto.............................................................. (Mozart)
Mary Ann-Grof-Neiman, clarinet soloist
March, Manhattan Beach (1893)........................................................ John Philip Sousa

Dance, Waltz No. 2 (post 1956).......................................... Dmitri Shostakovich/James Curnow 
Vocal solos
  At the River (1864)....................................................................................... Robert Lowry
1954 Setting by Aaron Copland\David Seiberling

  Funny Face – ‘S Wonderful (1927).................................. George Gershwin/Warren Barker

Denise Milner Howell, mezzo-soprano soloist

Patriotic, With Quiet Courage (1995) ....................................................... Larry Daehn

David Adamson, guest conductor

March, His Honor (1934)........................................................................ Henry Fillmore
Trombone Characteristic, Shoutin’ Liza (1920) .................................... Henry Fillmore

           March, Hosts of Freedom (1920) ..................................................................... Karl L. King

National March, The Stars and Stripes Forever (1896)........................ John Philip Sousa


Patriotic, God Bless America (1938)........................................ Irving Berlin/Erik Leidzen


Medina Community Band Personnel for this concert

 Flute
  Elizabeth Jorgensen, counselor (Wads)
  J.T. Martin, HS student (Revere)
  Sue McLaughlin, sys analyst (Medina)
  Karen Rinehart, spec ed teacher (Green)

Oboe
  Crystal Gillaspy, grad assistant (Athens)

Bassoon
  Lynne Herrle, retired music teacher (Medina)

B-flat Clarinet
  Ben DiFranco, personnel mgr (Strgsville)
  Amy Dragga, grant writer (Bedford)
  Laura Nary, vocal music teacher (N Roy)
  Catherine Palcza, private music teacher (Stow)
  Vicki Smith, band director (Wadsworth)
  Andy Stefaniak, college student (Hinckley)
  Ken Stern, software engineer (Kent)

B-flat Bass Clarinet
  Al Clapp, materials receiver (Spencer) 

E-flat Alto/B-flat Tenor Saxophone
  Carly Schafer, transportation biller (Cleveland)
  David Willkom, HS student (Medina)
Horn
  Melinda Kellerstrass, music teacher (N Roy)
  Michael Robinson, music teacher (Brunswick)

Cornet
  Glenn Baughman, retired – chemist (Wads)
  Marcia Nelson-Kline, ophthalmic tech
  Mary Phillips, retired - media specialist (N Roy)
  Paul Rocco, retired - police officer (Medina)
  Russ Tietz, accountant (Akron)

Trumpet
  LuAnn Gresh, music teacher (Wadsworth)

Trombone
  John Connors, college student (Medina)
  John Fenzel, retired - telecommunications (Hinckley)
  Rod Hannah, retired – math teacher (Wads)
  Matt Stemple, (Kent)
 
Euphonium BC
  Kevin Gamin, IT specialist (Medina)
  Clayton Van Doren, HS science teacher (Lodi)

Tuba
  Megan Alcox, deputy clerk (Medina)
  Ken Pond, truck driver (Doylestown)

Percussion
  Doug Dzurilla, college student (Medina)
  Chuck Stiver, watercraft officer (Homerville)
 
Conductor
Marcus Neiman, college band director (Medina)

Associate Conductor
  Curtis Amrein, band director (Akron)