This material covers the 6th concert – Friday, July 11th, 2014, 8:30p – 9:30p
Site: Medina’s Uptown Park Square (intersections of Rtes. 18, 42, Broadway and Liberty Street). We have been notified by the Mayor of Medina that there is to be no concert parking behind Marie's Cafe, Lager & Vine Gastro Pub & Wine Bar, or 4 Ladies & More Consignment Boutique. This includes lot between Lager and Vine and Four Ladies and more. The owner has posted it as private lot and tow away zone and cars will be towed.
Cancellation of concerts due to the weather will be posted on the website.
MEDINA: Medina Community Band will continue with the 2014 summer season, a celebration of 155 years of presenting community concerts in Medina, on Friday, July 11th, 2014, at 8:30p, in Medina’s Uptown Park Square Gazebo.
The Medina Community Band is under the baton of conductor Marcus Neiman, celebrating his 42th summer concert series, with associate conductors Frank Cosenza, Edward Lichtenberg and Thomas Walker. The approximately 60 minute concert will feature works by Galante, Huff, Marquina, Goldman, Lopez and Anderson Lopez, King, Fillmore, and Sousa. Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club.
Featured gueat conductors will be Gene Milford and Frank Cosenza.
The ice cream social for the evening will be presented by the SHC/The ARC.
Featured Guest Conductor
Gene F. Milford, pictured at right, a native of Canton, Ohio, is a senior lecturer in music education at The University of Akron. An instrumental music teacher with over 30 years of experience including 23 at Edgewood High School in Ashtabula, Ohio, he conducted bands which consistently received superior ratings at Ohio Music Education Association sponsored events and performed at state and national professional conferences. Dr. Milford earned his Ph.D. in music education from Kent State University and was the recipient of a University Fellowship (1998). He has served as guest conductor, clinician, and adjudicator throughout the state, and his articles on music education have appeared in Triad, Dialogues in Instrumental Music Education and Contributions to Music Education. As a composer and arranger Dr. Milford has received numerous commissions, was the recipient of a grant from the Ohio Arts Council (1995) and an ASCAP award. Several of his compositions are currently on state required lists. He was the 2006 inductee to the Ohio Band Director’s Hall of Fame.
Marcus L. Neiman has been conductor of Medina Community Band since the fall of 1972 and has served as conductor of the ensemble longer than any previous conductor in the ensemble’s history. He retired from posts held with the Medina County Schools Educational Service Center in 2010 (1980 through 2000 as fine arts consultant and 2000 through 2010 as director of fine arts tours and festivals). He was formerly director of bands at Medina High School (1972 through 1980). He attended the Akron Public Schools, 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, postgraduate hours at The Kent State University, and The University of Akron.
He was appointed as the interim assistant director of bands and administrator for the division of bands at the Hugh A. Glauser School of Music at Kent State University in May of 2010 and held that position through May of 2011. Currently, he teaches their “Music Teaching as a Profession” and “Instrumental Methods for Choral and General Music Majors” courses, supervises music education student teachers, and assists with outreach and recruiting. In addition, he has chaired the Ohio Music Education Association (OMEA) district six junior high-middle school large group adjudicated event for the 2013 and 2014 seasons at Kent State. Prior to his arrival at Kent State University, Neiman was a part-time lecturer for the music department at Case Western Reserve University with major responsibilities of teaching their “Foundations of Music Education” course and supervising music education student teachers from April 2004 through May of 2010. He also supervised visual arts education student teachers for The University of Akron.
Neiman is a founding trustee and past president of both the Medina County Arts Council and Medina County Performing Arts Foundaton and has served as music director for productions by both Medina County Show Biz Company and Brusnwick Enteratinment Company. He has served as a committee member on the City of Medina Uptown Park Committee and Arts Under the Stars committee. A past member of Medina Noon Kiwanis Club he was a member of the class of ’94 Leadership Medina County. He was awarded the Leadership Medina County “Excellence in Education Leadership” in June of 2014, the sixth recipient of the award in Leadeship Medina County’s history.
Neiman has served OMEA as a member of the governmental relations and adjudicated events committees, district president, vice-president, state chair for Music In Our Schools and public relations, state editor of their professional journal TRIAD, and state chair for their council of supervisors. He was elected by OMEAs membership to serve as state president from July 1, 1998 through July 1, 2000, and is currently OMEAs state historian. He was awarded OMEAs highest honor, the “Distinguished Service Award” on January 29th, 2010 at the Professional Development Conference in Cincinnati, Ohio. Neiman has been published in Music Educators National Conference journal MEJ, The Instrumentalist, The School Musician, The Music Educator, OMEAs TRIAD, FANFARE magazine, and Bands of America Newsletter. His first book, edited for MENC, entitled Life in the Music Classroom, was published by MENC in April 1992. He is listed in Marquis “Who’s Who in America (58th Edition).
Neiman has appeared with junior high/middle and high school, college and university, community bands, and American Federation of Musicians union professional bands as a guest conductor and in his characterization of famed bandmaster John Philip Sousa in Illinois, Indiana, Ohio, Michigan, New York, North Carolina, Pennsylvania, (state of) Washington, and Wisconsin. On October 15, 2004, Neiman conducted the Volga Concert Band in Saratov, Russia in a Sousa-style concert following a week’s residence in Moscow and Saratov. In addition to conducting the Medina Community Band (since 1972), he formed his own professional touring band -- The Sounds of Sousa Band -- (in 1992) to commemorate the 100th anniversary of the formation of Sousa's first non-military band. To this date he has performed for over 200,000 people in the role of Sousa.
Neiman’s goal has always been to preserve the presence and character of the traditional “town-band.” There are no auditions, membership dues or fees, or chair placements in the ensemble. Membership is open to adults who desire to continue their growth as instrumentalists. In addition, Neiman has encouraged composers to write for the band. Over the years the band has commissioned works by Douglas Court, Robert Feldbush, Stuart Ling, Edmund J. Siennicki, Tadd Russo, and David Shaffer. Neiman is a member of numerous professional organizations including the National Association for Music Education and Ohio Music Education Association, National Band Association, Ohio Alliance for Arts Education and Ohio Citizens for the Arts. Neiman is a member of Kappa Kappa Psi (University of Michigan Nu chapter, and honorary Beta Pi at Kent State University). He is also a member of Omicron Delta Kappa (national leadership society – The University of Akron (Theta Circle). He 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.
Frank T. Cosenza, assistant conductor, (right) received a bachelor of music degree from Bowling Green State University and a master of music degree from The University of Akron. He is a veteran band director of 32 years experience and retired from the West Geauga Local Schools where he was a four-time recipient of the Excellence in Education Award. He was called from retirement to serve as interim director of Athletic Bands/Concert Band at Kent State University Hugh A. Glauser School of Music for the 2012-2013 academic year where the Marching Golden Flashes performed in the MAC Conference Championship and the Go Daddy.com Bowl. His groups have performed at Severance Hall for the Northeast Ohio Wind Band Invitational, the Ohio Music Education Association State Conference, the American School Band Directors Association State Conference, Lincoln Center in New York City, and the Ohio School Boards Association Conference. Additionally, his groups have performed at the University of Akron Band Clinic, Hiram College, Cleveland Browns halftime, the Cleveland Indians and performances in Florida, Michigan, Georgia and Canada. Concert bands under his direction have received consistent superior ratings at large group contests. He has served on the Content Validation Panel for the National Board for Professional Teaching Standards and has been on the staff of American Music Abroad taking student musicians to Europe and performing in numerous countries. Mr. Cosenza is an elected member of Phi Beta Mu- International Bandmasters Fraternity and the American School Band Director’s Association. As a member of the Ohio Music Education Association, he has served as state treasurer/trustee, district president, member of music selection committees, contest chairman and current adjudicator for large group and solo & ensemble events. He has served as a clinician in Nevada and throughout Ohio and is currently an assistant director of the All-Ohio State Fair Band. Mr. Cosenza is co-principal trumpet with the W.D. Packard Concert Band and Big Band Sound of Warren, and has played with many artists including Frankie Avalon, The Manhattan Transfer, Wayne Newton, Johnny Mathis, Holiday On Ice, and the Ringling Bros. Barnum & Bailey Circus. He is a Conn-Selmer artist and maintains a private brass studio.
Edward Lichtenberg, assistant conductor, (at left), Ed retired in 1998 as assistant superintendent for Midview Schools in Lorain County after 32 years in education. Before becoming assistant superintendent, Ed was a middle school administrator and director of bands at Midview, where his concert bands consistently earned superior ratings in OMEA Class “A.” Prior to working 30 years for Midview, Ed was director of instrumental music at Linden McKinley High School in Columbus.
Ed has been a member of the Medina Community Band since 1993. He was also active as an Ohio Music Education Association and as a staff member for the Ashland University Adult Music Camp. Ed has performed on clarinet or saxophone with Sounds of Sousa Band, the Lorain Pops Orchestra, the Doc McDonald Orchestra, the Tommy Dorsey Band, the Columbus Symphony Orchestra, and many small groups. He has also conducted concert bands throughout Europe for American Music Abroad.
Ed is a graduate of The Ohio State University and Kent State University, and has done post-graduate work at Ashland University, Bowling Green State University, Cleveland State University, and Kent State University. He studied clarinet with Oliver Shubert, George Waln, Robert Marcellus, and Donald McGinnis.
Ed has been married to his wife, Judy, for 45 years. Judy was supervisor of gifted education for Medina City Schools and retired in 2000. Their children, Rob and Beth (Burdick), are also active in music. Rob, a systems engineer for Level-3, has performed on trombone with the Medina Community Band and the Sounds of Sousa Band. Beth, a coordinator of gifted education for the Strongsville City Schools and North Royalton City Schools, has performed on flute with the Medina Community Band. Beth’s husband, Christopher, is assistant director of bands for North Royalton schools and has performed on trumpet with the Medina Community Band, the Sounds of Sousa Band, and many small brass ensembles.
Thomas L. Walker, assistant conductor, is currently retired from teaching instrumental music in Arkansas where he taught for 37 years. He graduated from Marked Tree High School and later attended Arkansas State University in Jonesboro, AR where he received his bachelor of music education, master of music education, and specialist in community college teaching. He is currently working on his doctorate at ASU. Thomas also was a member of the Arkansas Army National Guard for 37 years. He spent his career in the Guard as a Field Wireman, Combat Engineer, Musician, First Sergeant, and Battalion Command Sergeant Major. Thomas is now living in Akron, OH with his wife, Rhonda Gail Davis.
Medina Community Band
The Medina Community Band traces its beginnings back to 1859, when a group of local residents got together (some with formal training - others without) to perform music for the community. That first "community band" was called The Medina Silver Cornet Band, probably since the instruments the musicians used were primarily "silver" cornets or percussion. Then, as now, the band performed on the public square. Medina's uptown park was set aside in 1817 and cleared in 1819. During the next two decades, the park was used as a parade ground for local militia and for town celebrations. In the 1840s, the square was enclosed with a white picket fence to keep cattle being driven to market off the square.
During the 155-years that the band has been in existence there have been 20 directors. Marcus Neiman serving the longest in that role. The band probably existed at the pleasure of the square's business community, who often funded the season and encouraged patrons to attend the concerts. The performance night has changed over the years, in most cases at the urging of the business community, and season concerts have been given on Sunday, Monday, Tuesday, Thursday, Friday, and Saturday evenings. Friday evenings have been the day of choice since the 1950s (or before).
It should be stated that the Medina Community Band was only one of many bands in Medina Community. Almost every town had its own band, and a just a few to mention were the Litchfield, Lodi, Seville, Spencer, and Wadsworth bands. There were also school bands (from both the city and county districts) and even a Boy Scout band (in Westfield Center). The Medina Community Band’s name evolved over the years as the Medina Silver Cornet Band, Medina Band, Grand Army of the Republic Band, Knights of Pythias Band, and now the Medina Community Band.
The size of the band varied from 15 to 20 musicians through the end of last century, into the 50 and 60s through the 1940-1960s, and now boasts almost 100 members on its personnel roster. It should be understood that the "band" did not always perform in the Gazebo. During those early years, the band played on various corners of the square. There was for a few years a band stand, which was destroyed by fire. The "bandstand" on the north side of the square was large enough to seat a 100 piece band (somewhat tightly, but would accommodate that size group), which the current Gazebo will only allow 30 to 35 players. The band itself determines "who will play" based on attendance at practice or business and vacation schedules.
It is interesting to note that members of the band travel from all parts of Northeastern Ohio to play with the group. Entire families (from grandparents to grandchildren are members of the band and it is most common to find husbands and wives, or parents and children playing in the group. The Medina Community Band's membership is open and there are no dues or auditions; however, members are expected to maintain a regular attendance. The band rehearses on Wednesday evenings September through July, providing three to four concerts during the fall, winter, and spring months both at home and on the road. The band also presents an 8 to 10 concert summer season in Medina's Uptown Park Gazebo.
Medina Community Band is sponsored by the Medina Community Band Association composed of members of The Medina Kiwanis Breakfast Club. Membership in Medina Community Band is open and there are no dues or auditions; however, members are expected to maintain a regular attendance. The band rehearses on Wednesday evening from 7p until 9p in the band room of Highland High School (4150 Ridge Road, Medina) September through May; and, in the choral room of Medina High School (777 East Union Street, Medina) June through July. The band provides three to four concerts during the fall, winter, and spring months both at home and on the road. The band also presents their popular summer series every Friday, June through July, in Medina's Uptown Park Gazebo. Each year the band presents at a winter concert, annual "Sousa Style Concert," and the popular "Sousa Concert" at EHOVE Career Center (Milan, OH). For additional information on the 2013-14 concert season or Medina Community Band, contact Neiman at 330.725.8198 or MarcusNeiman@medinacommunityband.org.
Star Spangled Banner (John Stafford Smith arranged by John Philip Sousa) uses lyrics from a poem written in 1914 by Francis Scott Key – pictured at right, 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 compete for popularity at public events, among them “The Star Spangled Banner.”
Rossano Galante (pictured at left) studied trumpet performance at the State University of New York at Buffalo. He went on to study film scoring at the University of Southern California, where he studied with composer Jerry Goldsmith (known for soundtracks to Alien, Gladiator, and the Star Trek movies). Galante’s film credits as composer or orchestrator include Big Fat Liar, Scary Movie 2, and Tuesdays with Morrie. He has received commissions from the Amherst Chamber Orchestra, the Hofstra University Symphonic Band, the Nebraska Wind Symphony, and the Syracuse Symphony Youth Orchestra.
The Winged Stallion. This heroic composition captures the majestic beauty of the mystical winged stallion, “Pegasus.” The composition was commissioned by and dedicated to the Hofstra University Symphonic Band, Peter Boonshaft, director, and published in 2012.
Redemption. This lyric, lush, romantic composer captures the euphoria one experiences after being saved from emotional crisis. Published in 2011, the work was dedicated to the composers mother, Enrica.
William Lockwood Huff (January 16, 1875 — November 5, 1942) was a composer of band music best known for his military marches and the circus march The Squealer. He was born in Massieville, Ohio and grew up in Coalton, Ohio. He took up his father's profession as a photographer and later became an interior decorator. He briefly performed in a circus band and in the National Guard, playing cornet and alto horn. His earliest works were published during the Spanish-American War with a later spurt of activity around World War I. After the later war, he settled down in Chillicothe, Ohio where he led an Odd Fellows band until his death in 1942.
The exact number of composition written by Will Huff is uncertain, partly due to his association with Henry Fillmore. Fillmore used the named "Will Huff" as a pseudonym for several years, unaware that another composer living in the same state was also composing band music under that name. The two men met later in their lives and Fillmore's publishing company published many of the real Will Huff's compositions. (Paul Bierley)
Salute to Uncle Sam (March) was published in 1918 by the Fillmore Brothers Music Publishing Company in Cincinnati. Despite the fact that Henry Fillmore used a pseudoname of ‘Will Huff,” it appears that this march was written by the “real” William Huff. There appears to be no dedication to the march, other than the obvious salute to Uncle Sam.
Pascual Marquina (1873 - 1948) was born in the Spanish province of Zaragoza, the son of a civilian band director. His artistic talents first blossomed as a singer and later as a piccolo player. At 17, he became director of the Daroca Municipal Band. Two years later, he enlisted in the army and performed in several orchestras. His interests turned to composing and directing. Marquina studied composition in Barcelona and, in 1901, won the post of director of band battalion in Madrid. Becoming active in the lyric theater, he was named director of the orchestra at the Teatro de la Zarzuela in Madrid. He served 18 years as the musical director for the Gramophone Company later identified by the logo of Nipper and “His Master’s Voice.” Marquina composed a number of zarzuelas and marches, but his pasodoble España Cañí brought him his greatest fame. His works are steeped in the Spanish folklore and nationalism. A few schottisches, fox trots, tangos, and songs are to his credit, also. He was awarded the Victoria Cross of the Order of Great Britain for a work combining the Royal March and English anthem on the occasion of the wedding of Alfonso XIII and Victoria of Battenberg.
Por La España Cañí
España Cañí (Spanish Gypsy Dance) is one of the most recognized and performed pasodobles in the world, and is equally at home in the bull fight arena, dance hall, or concert hall. Soft, deliberate staccato patterns introduce the work that bursts forth with the bright, festive call of the trumpets. Marquina composed this work in 1925 and dedicated it to José López de la Osa, who was a designer of footwear molds and a fervent admirer of Marquina. The lyrics proclaim: “Hear my song. To you I started to fly... I bluff a woman, a gypsy like me, of beautiful dark skin and color....Savor the taste of sherry, clapping in time, and the Mirabrás bull..It is your coral lips that night and day I want to kiss.” This arrangement is by Rafael Mendez (1906 - 1981), an accomplished Mexican virtuoso solo trumpeter. Mendez was legendary for his tone, range, technique, and unparalleled double tonguing. His playing exhibited brilliant tone, wide vibrato, and clean, rapid articulation. (Program Notes – Wind Band)
Cheerio – Edwin Franklo Goldman. In speaking of his father, Richard Franko Goldman related in a broadcast interview that “the new image of the modern concert band is largely the work of one man Edwin Frank Goldman” (pictured at right). He went on to say “early in 1909 my father began to recognize that the musicians in New York who performed in the summer bands, most of whom were from the symphonies and the Metropolitan Opera, did not take the summer performances very seriously. The bands seldom rehearsed and considered the work only as a source of extra income. My father realized the enormous potential for a good wind ensemble. Subsequently in 1911 he founded a group which was initially called the New York Military Band. Later in 1920 when he was firmly established the ensemble became known as the Goldman Band”.
The Goldman Band became one of the greatest in history and Goldman’s name became synonymous with musical excellence throughout the United States. He was the dean of bandmasters and certainly one of the most celebrated that ever lived. His famous series of live free concerts in New York’s Central Park and Prospect Park in Brooklyn were heard by more people than any other series of concerts in the world. He projected the spirit of old bandstands, the feature of every old-fashioned park and village square. He helped foster through his concerts a wholesome and happy nostalgia to the people of a great metropolis.
The march Cheerio was written in October 1932 and had its first performance at a concert given on the anniversary of Sousa’s birthday, November 6, 1932. It was written as a companion piece to the composer’s famous march On the Mall. The march contains a singing and whistling refrain. It was first played over the radio as an unnamed composition and the radio listeners were asked to suggest a title. The name chosen was Cheerio.
This march is dedicated to Mrs. Mabel Rosenthal. Original program notes from June 29, 1933, concert given by the Goldman Band Special Collections in Music, The University of Maryland, College Park. Until the Guggenheim family began funding the Goldman Band in 1924, support for the band’s activities came from subscriptions, advertisements, and donations. Goldman honored many donors with new compositions dedicated especially to them. This march was dedicated to Mrs. Mabel Rosenthal. It is not clear what relationship Mrs. Rosenthal had to the Goldman Band, but it is likely she made a significant contribution to the band, resulting in the dedication mentioned in the original program notes.
Herbert N. Johnston referred to a trio of bandsmen including Patrick Gilmore, John Philip Sousa, and Edwin Franko Goldman as a “great triumvirate…which set the course of American band history…[and] which entertained and inspired the American people for over eighty years.”
The original Goldman Band was active from 1911 until Richard Goldman’s death in 1980. After sixty-nine years, the Goldman Band had existed longer than any professional American band, including the bands of Patrick Gilmore and John Philip Sousa.
The premiere performance of Cheerio was on the anniversary of John Philip Sousa’s birth and came exactly eight months after his death—March 6, 1932. Another legendary figure in American band history, Sousa was active as a bandsman for more than five decades, beginning in 1880, and was well established before the Goldman Band was conceived. Ironically, as a child, Sousa was inspired to take music more seriously after hearing a performance by the traveling musical group, the Franko Family. Goldman’s mother, Selma, was among the performers. (United States Army Field Band jacket notes)
Frozen: Original Motion Picture Soundtrack is the soundtrack to the 2013 Disney animated film Frozen. The soundtrack features 10 original songs written and composed by Kristen Anderson-Lopez and Robert Lopez, (pictured at left) and twenty-two score pieces composed by Christophe Beck. It features the song "Let It Go" (film version performed by Idina Menzel; single version performed by Demi Lovato), which received critical acclaim, including an Academy Award win for Best Original Song and a Critics' Choice Award for Best Song, as well as a Golden Globe Award nomination for Best Original Song.
Canadian composer Christophe Beck (pictured at right) started piano lessons at five, and by eleven he was learning Bee Gees songs by ear and performing with his first-ever band, the unfortunately-named Chris and The Cupcakes. During high school he studied piano, saxophone, and drums, and wrote many tender 80's love ballads.
While studying music at Yale, Beck wrote two musicals with his brother Jason (a.k.a. Gonzales, the Paris-based pianist-producer-TV Host-prankster), as well as an opera based on "The Tell-Tale Heart" by Edgar Allen Poe.
Upon graduation, Beck moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with Jerry Goldsmith. A personal recommendation from the legendary Buddy Baker, head of the USC Music Department, led to his first assignment for a Canadian TV series called "White Fang." Several TV series later, he was asked to score the second season of WB Network's "Buffy the Vampire Slayer". Beck received the Emmy Award for Outstanding Music Composition for his score to the "Buffy" episode, "Becoming, Part 1."
In 2000, the cheerleading comedy "Bring It On" launched Beck's film career, which has included such credits as "Under the Tuscan Sun," "Saved," "The Pink Panther," "We Are Marshall," "Year of the Dog," "What Happens in Vegas," and more recently, "The Hangover," now the highest-grossing R-rated comedy of all time.
Frozen was produced by Walt Disney Animation Studios and released by Walt Disney Pictures. It is the 53rd animated feature in the Walt Disney Animated Classics series. Inspired by Hans Christian Andersen's fairy tale The Snow Queen, the film tells the story of a fearless princess who sets off on an epic journey alongside a rugged mountain man, his loyal pet reindeer, and a hapless snowman to find her estranged sister, whose icy powers have inadvertently trapped the kingdom in eternal winter.
Frozen underwent several story treatments for years, before being commissioned in 2011, with a screenplay written by Jennifer Lee, and both Chris Buck and Lee serving as directors. It features the voices of Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, and Santino Fontana.
Two editions of the soundtrack to Frozen were released by Walt Disney Records on November 25, 2013: a single-disc regular edition, and a two-disc digipak deluxe edition (containing original demo recordings of songs and score compositions, unused outtake recordings, and instrumental versions of the film's main songs). On October 21, 2013, the soundtrack's lead single, a cover of "Let It Go" by Demi Lovato was released. Subsequent releases have been accompanied by foreign language translations of "Let It Go".
The album received widespread critical acclaim from music critics and debuted at No. 18 on the Billboard 200 chart. As of May 7, 2014, the soundtrack has sold over 2.6 million copies in the U.S. and has topped the Billboard album chart for thirteen non-consecutive weeks. The album has been certified Platinum by the Recording Industry Association of America, and peaked at No. 1 on the aforementioned chart, becoming the fourth soundtrack album from an animated film to reach that milestone. (Wikipedia)
Karl Lawrence King (1891-1971), pictured at left in a 1914 picture, one of the most popular march composers of all time, had a distinguished career as a euphonium player and conductor with community and circus bands. He began composing at the age of fourteen and two years later had his first compositions accepted for publication. Today he is best known by the very difficult marches he composed for circus bands, for instance, Barnum and Bailey's Favorite and Robinson's Grand Entree. As well as these famous circus marches, King also composed marches for professional caliber community bands (including Carrollton and The Melody Shop) and university bands (Michigan On Parade and Hawkeye Glory, among others). In addition, he wrote three collections of marches (composed in the 1940s and '50s) for the emerging school band movement. These marches, such as Lexington, Aces of the Air, Alamo, and 45 more, were written in the recognizable King style but avoid many of the technical difficulties of his "heavy" grade marches.
Sir Galahad was copyrighted on April 5, 1917 and dedicated “To my friend Ray Clewell.” Clewell was a Canton musician, directed church choirs and was a tenor soloist. The summer of 1917 would be King’s first season as director of the Barnum & Bailey Circus band, after three years directing the Sells-Floto band. Whether he composed it for the Sells-Floto Band or during the off season would be speculation, even the dedication would not necessarily be an indication, as it was King’s practice to compose a march and later title it for publication and dedicate it to a friend or colleague.
Sir Galahad is in the circus march style, with several of the trademarks of his music. The opening measure is a motive he had previously used in “The Melody Shop.” The extended introduction is interesting as it starts in the tonic key of E-flat, moves to C-flat, back to E-flat, jumps immediately to C major, F minor, B-flat dominate and returns to the tonic in measure eight, giving the opening an energy and color appropriate for the Big Top.
The trio is in the expected key of A-flat major, but unusual as it is not the normal sixteen or thirty-two measures, but twenty-four measures in length. After an F minor interlude or break strain the final trio statement is a tour de force of counterpoint with three melodic ideas simultaneously presented over the accompaniment, all combining to make the march a miniature musical gem.
When asked by band historian Bob Hoe about the march King replied: “All I know about Sir Galahad was that he was known as the “Stainless Knight” I just thought it would be a good title.” Sir Galahad was one of the knights of King Author’s Round Table, “perfect” in courage, gentleness, courtesy and chivalry and one of three knights who obtained the Holy Grail.
Bull Trombone has no reference that can be implied regarding the title, but from the piece’s excitement, it might lightly be a “bull in a China shop” analogy to what the trombone can do! The characteristic was the 12th of the 15 offerings written by Fillmore, written in 1924.
The subtitle did indicate the reference to the minstrel show … a cullud toreador.
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.
John Philip Sousa (pictured at left) wrote the most famous American military marches of all time, including "Stars and Stripes Forever," earning him the nickname "the March King"; he was also known as a great bandleader, and organized the famed concert and military group, Sousa's Band. Born in Washington, D.C., on November 6, 1854, Sousa followed in the footsteps of his father, a musician in the U.S. Marine Corps, and enlisted by the age of 14. Before this, Sousa had studied violin with John Esputa. While active in the Marines, he composed his first march, "Salutation."
Around the age of 16, Sousa began studying harmony with G.F. Benkert, then worked as a pit orchestra conductor at a local theater, followed by jobs as first chair violinist at the Ford Opera House, the Philadelphia Chestnut Street Theater, and later led the U.S. Marine Corps Band (1880-1992). Although most famous for his marches, Sousa composed in other styles as well, including a waltz, "Moonlight on the Potomac"; a gallop, "The Cuckoo" (both in 1869); the oratorio "Messiah of the Nations" (1914); and scores for Broadway musicals The Smugglers (1879), Desiree (1884), The Glass Blowers (1893), El Capitan (1896; which was his first real scoring success), American Maid (1913), and more.
Sousa formed his sternly organized concert band in 1892, leading them through numerous U.S. and European tours, a world tour, and an appearance in the 1915 Broadway show Hip-Hip-Hooray. Sousa's Band also recorded many sides for the Victor label up through the early '30s. His most famous marches include "The Stars and Stripes Forever" (1897), "U.S. Field Artillery March," "Semper Fidelis" (written in 1888, it became the Marine Corps anthem), "Washington Post March" (1889), "King Cotton" (1895), "El Capitan" (1896), and many more. In addition to writing music, Sousa also wrote books, including the best-seller Fifth String and his autobiography, Marching Along. Actor Clifton Webb portrayed Sousa in the movie about his life entitled Stars and Stripes Forever. The instrument the sousaphone was named after this famous composer and bandleader. ~ Joslyn Layne, All Music Guide
Stars and Stripes Forever (John Philip Sousa) 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 of 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.”
Irving Berlin (pictured at right). With a life that spanned more than 100 years and a catalogue that boasted over 1000 songs, Irving Berlin epitomised Jerome Kern's famous maxim, that "Irving Berlin has no place in American music - he is American music".
Irving Berlin was born Israel Berlin in May 1888. When his father died, Berlin, just turned 13, took to the streets in various jobs, working as a busker, singing for pennies, then as a singer / waiter in a Chinatown café. In 1907 he published his first song, Marie From Sunny Italy and by 1911 he had his first major international hit, Alexander's Ragtime Band.
Over the next five decades, Irving Berlin produced an outpouring of ballads, dance numbers, novelty tunes and love songs that defined American popular song for much of the century. A sampling of just some of the Irving Berlin standards included: How Deep Is the Ocean?, Blue Skies, White Christmas, Always, Anything You Can Do, I Can Do Better, There's No Business Like Show Business, Cheek To Cheek, Puttin' On The Ritz, A Pretty Girl Is Like A Melody, Heatwave, Easter Parade, and Lets Face The Music and Dance. In a class by itself is his beloved paean to his beloved country, God Bless America.
God Bless America. The time was 1940. America was still in a terrible economic depression. Hitler was taking over Europe and Americans were afraid we'd have to go to war. It was a time of hardship and worry for most Americans.
Kate was also very patriotic. It hurt her to see Americans so depressed and afraid of what the next day would bring. She had hope for America, and faith in her fellow Americans. She wanted to do something to cheer them up, so she went to the famous American song-writer, Irving Berlin and asked him to write a song that would make Americans feel good again about their country.
When she described what she was looking for, he said he had just the song for her. He went to his files and found a song that he had written, but never published, 22 years before - way back in 1917. He gave it to Kate Smith and she worked on it with her studio orchestra. She and Irving Berlin were not sure how the song would be received by the public, but both agreed they would not take any profits from God Bless America. Any profits would go to the Boy Scouts of America. Over the years, the Boy Scouts have received millions of dollars in royalties from this song.
The Medina Community Band
Marcus Neiman, conductor
Frank Cosenza, Ed Lichtenberg and Thomas Walker, associate conductors
Friday Evening, July 11th, 2014
National Anthem, The Star Spangled Banner (1889) Francis Scott Key/John Philip Sousa