July 12, 2013


Medina Community Band 


This material covers the 6th concert – Friday, July 12th, 2013, 8:30p – 9:30p


Site: Medina’s Uptown Park Square (intersections of Rtes. 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 their 2013 summer season, a celebration of 154 years of presenting community concerts in Medina, on Friday, July 12th, 2013, at 8:30p, in Medina’s Uptown Park Square Gazebo

The Medina Community Band is under the baton of conductor Marcus Neiman, in his 40th summer concert series, with associate conductors Edward Lichtenberg and Tommy Walker. The 60 minute concert will feature works by von Suppé, Herbert, Clarke, Fillmore, Bizet, Loewe, Bernstein, Mariquina, and Sousa.  Featured soloists will be mezzo-soprano soloist Denise Milner-Howell; and, brass solosts Jacob and Alex Prokop. Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club.

The ice cream social for the evening will be presented by SHC/The ARC.  The concert is dedicated to the memory of David Wheeler.


Conductors

Marcus Neiman (left) celebrates his 41st season as conductor of the Medina Community Band and 40th summer season.  Neiman is a part-time assistant professor of music education at Kent State University where he teaches the course “Music Education as a Profession,” supervises music education student teachers, and is responsible for outreach and recruitment for the Hugh A. Glauser School of Music.  He was interim director of the Kent State University Concert Band during the 2010-2011 academic year. In addition, he coordinates the “Let’s Talk Tunes” and “Fab Friday,” and was 2013 site chair for the Ohio Music Education Association (OMEA) District 6 junior high-middle school large group adjudicated event on Kent’s campus.

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 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 of 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. 

Edward Lichtenberg (associate conductor, pictured at right) .  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 Ohio Music Education Association (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 OMEA adjudicator 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 Teacher of gifted education for the Strongsville City Schools, performs 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 (associate conductor, pictured at left) 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 new wife, Rhonda Gail Davis.


 

 

 

 

 

 

Guest Soloists

Denise Milner Howell, (at right) mezzo-soprano, Denise Milner Howell, mezzo-soprano, 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 and offering outreach into 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, their two sons, Miles and Wesley, and daughter, Eleanor.



Twins, Jacob and Alex Prokop have been members of the Lake Band Program and have taken private lessons since the fifth grade.  Jacob’s (pictured on left side of twins to the left of this narration) teachers have included Linda Hodges, Ron Kurzen and Josh DeVore and Alex’s (pictured on right side of twins to the left of this narration) teacher has been Jack Roberts.  Both boys are three-year participants in the University of Akron’s Summer Band Camp and one-year participants in the University of Akron Brass Clinic, University of Akron Summer Band and the Kent State Stark Concert Band.  During the past school year both boys have been invited to participate in honor band opportunities on the campus's of The University of Akron and Ohio State University.  They are also members of the “Boys of Brass” Brass Quintet, an enrichment ensemble that meets after school and performs throughout the Lake community.  Over the past two years the boys have been soloists with the Canton Concert Band and the Medina Community Band.  Although playing their instruments and creating music are their primary interests, other interests include baseball, golf, and dirt bike riding.  Jacob and Alex are very fortunate to have parents (Mike and Michelle Prokop) who are extremely supportive of their children’s music education and the Lake Band Program.  

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.”

Franz von Suppé (at left) was the father of the Austrian operetta which was to reach its summit with Johann Strauss II.  Like so many of his German compatriots, Suppé was a profound admirer of Offenbach.  His aim was to carry the techniques of opera-bouffe in Germany and Austria.  Actually, what he did was to create his own genre:  the operetta, which placed more stress on humor and less on satire; more on tenderness and sentimentality and less on burlesque; and in which the waltz became the favorite dance form. 

The Light Cavalry Overture, written in 1866, is martial music at its best. Beginning with those wonderful fanfare calls in the brass, we are treated to one of the best examples of Saturday morning cartoon cavalry gallops imaginable.  The delicate transitional sections is actually a broad Hungarian-like song guiding us back to the vigorous military melody and opening brass calls and pushing us toward the “blood and guts” finale.

Victor August Herbert (pictured at right) was born in Ireland, received his education and early playing experience in Germany, and later earned his reputation as a cellist-composer-conductor in America.  Considered by many as one of the greatest American composer-arrangers of all time, his major operettas consist of Babes in Toyland, Mlle. Modiste, The Red Mill, and Naughty Marietta. 

Babes in Toyland (10-13-03, Majestic) was the first operetta Herbert completed after serving as conductor of the Pittsburgh Symphony.  The “Babes” find themselves shipwrecked through the machinations of their wicked Uncle Barnaby.  Luckily, they are stranded in Toyland, where they meet Contrary Mary, the Widow Piper and her eldest son, Tom Tom, Jill, Bo Peep, Miss Muffett, Boy Blue, Simple Simon, and a host of other Mother Goose figures as well as tree spirits, fairies, life-sized dolls, and talking flowers.  Uncle Barnaby appears to court Contrary Mary and to further his wicked schemes with the help of the nefarious Toymaker.  But Jane and Alan are aided by all their Mother Goose friends, and one by one Barnaby’s tricks are foiled.  Justice is finally meted out at a Toyland court.

By the 1890s, Herbert L. Clarke (pictured at left) was recognized as one of the leading cornetists of the time. In 1891 or 1892 he became cornet soloist in the famous 22nd Regiment (US) Band under Patrick Gilmore. In April 1893, seven months after Gilmore's death, he played with that band under Victor Herbert, and then joined John Philip Sousa's Band, where he was first a cornet soloist and eventually an assistant director. He maintained his contact with Herbert until 1897 and with Sousa until 1917. Clarke returned to Canada, where he served 1918-23 as leader of the Anglo-Canadian Leather Company (later Anglo-Canadian Concert) Band of Huntsville, Ont, and then moved to Long Beach, Cal. There he conducted the Municipal Band until shortly before his death.

Clarke recorded most of his 50-odd solo cornet compositions, including Bride of the Waves (recorded five times, the earliest in 1904), Sounds from the Hudson (1904), Caprice Brilliante (1908), Southern Cross (1911), and Stars in a Velvety Sky (1911); his performances of these and four of his other works, together with one work each by Jules Levy and Victor Herbert, were re-issued ca 1979 on Crystal Records S450. A Swiss group, Le Virtuose romantique, has recorded his Cousins and Twilight Dreams. He also composed more than 50 marches and 10 overtures for band.

Cousins, was written to show off Clarke himself on cornet and Leo Zimmerman on trombone.

Henry Fillmore (pictured at right) 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.

Stories of a connection between a car horn and the Klaxon March are factual.  Composed in 1929 and published the next year, the march (subtitled March of the Automobiles) was written for the Cincinnati Automobile Show which began at the Music Hall in January, 1930.  Fillmore also invented a new instrument for the occasion called klaxophone.  It consisted of 12 automobile horns, mounted on a table and powered by an automobile battery.

The idea caught on and car dealers across the country eagerly purchased copies of the march to promote lagging sales.  The printed dedication reads “to the producers of the klaxon automobile horn.”  Of his many compositions, Henry considered this his best march.

Georges Bizet was born in Paris, and died there at the age of thirty-seven. He is often cited as an example of the misunderstood genius driven to an early grave by an indifferent or hostile public, his death being attributed to the "failure" of Carmen. Actually, although the opera received some adverse criticism for the "indelicacy" of its subject, it met with fair success at the box office, being performed some thirty-three times in the two-month period between its premiere and the death of Bizet from a ruptured artery. Carmen came to be the most often performed opera in the world.

Don José, a young Corporal of the Guard, is betrothed to Micaëla, his childhood sweetheart. He is soon seduced and corrupted by the fiery Gypsy girl, Carmen, who works at the cigarette factory in Seville. She soon tires of him and takes up with the matador, Excamillo. Don José, in a fit of jealous rage, stabs her, and she and the curtain fall. 

Seguidilla: "Pres des remparts de Seville..." (By the Walls of Seville). Carmen has succeeded in arousing José's interest. She has also gotten herself arrested for fighting with a factory-girl, and she is in Don José's custody. Although he ties her to a chair, she vows that he will free her. She sings of meeting a certain young corporal at the cafe of Lillas Pastia, and while it is obvious that she is thinking of Don José, she taunts him with a denial. With a tacit promise to bestow her favors upon him, Carmen persuades Don José to allow her to escape. Thus begins his downfall. 

My Fair Lady hardly needs help from program notes. It is one of the most popular operettas ever produced. I say "operetta" instead of the more common "musical" because of the presence on this program of music by Offenbach and Sullivan. All three works would be called "musicals," "Singspiele," "Operas Comiques" or "operettas," depending on the country of origin. They are light operas with spoken dialogue.

My Fair Lady is one of many collaborations between Frederick Loewe (pictured at right with Lerner), who wrote the music, and Alan Jay Lerner, who wrote the words. Their first work together was The Day Before Spring, but they are better known for Brigadoon and Paint Your Wagon.

The work is derived from the play "Pygmalion," by George Bernard Shaw. The story is ultimately based on a Greek myth about the King of Cyprus, Pygmalion, who sculpted the ideal woman out of marble. He fell in love with this perfect image, and Aphrodite took pity on him, bringing the maiden to life. He named her Galatea, and we know they had a son, but we don't know how well they got on together, this perfect woman and this ordinary man.

In Shaw's play, we know what happens. Professor Higgins has taken a common Cockney girl, and "sculpted" her to perfection. So, what would she see in the likes of him? Not much, so off she goes. But Lerner and Loewe know what pleases an audience, so in this pre-ERA era, they have Eliza Doolittle quietly slip back into Henry Higgins' life.

My Fair Lady was first produced at the Shubert Theatre in New Heaven, February 4, 1956. It starred Julie Andrews, Rex Harrison, Stanley Holloway (as the Cockney father), and Robert Coote (as Professor Higgins' friend). The music was orchestrated by Robert Russell Bennett and Phil Lang. Dance music was arranged by Trude Rittman.

I Could Have Danced All Night is sung by the musical's heroine, Eliza Doolittle, expressing her exhilaration and excitement after an impromptu dance with her tutor Henry Higgins. It was first performed by Julie Andrews in the original Broadway production of My Fair Lady. In the 1964 film adaptation of the musical, the song was sung by Marni Nixon, dubbing the singing voice of Audrey Hepburn, who played Eliza Doolittle. 

Adele Adkins and Paul Epworth. Skyfall: Original Motion Picture Soundtrack
 is the soundtrack album to the 23rd James Bond film of the same name. Released by Sony Classical on October 29, 2012 in the United Kingdom and on 6 November 2012 in the United States, the music was composed by Thomas Newman. This is Newman's first Bond soundtrack, making him the ninth composer to score a Bond film. The score won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me (1977).

Unlike most other Bond soundtracks, the soundtrack album to Skyfall does not contain the title song performed by Adele. This marks only the second time that this has happened, the first being the Casino Royale soundtrack album. Despite this, Track 23 contains an instrumental interpolation of "Skyfall", written by Adele and Paul Epworth (pictured above right), as well as Track 13 that starts with a violin rendition of "Skyfall".

The band arrangement was done by Jay Bocook.


Alonzo ("Zo") Elliott (pictured at right) was educated at St. Paul's School (Concord, New Hampshire), Phillips Academy (Andover, Massachusetts), Yale University, Cambridge University, and Columbia Law School. Elliott also studied voice with De Sadler of New York and Berlin, and piano with Harry Whittemore of Manchester, New Hampshire. His best known composition is "There's a Long, Long Trail," one of the most popular songs from the era of World War I. (Elliott wrote the music; the words are by Stoddard King.) That song was not the only example of Elliott's interest in military music; he composed an opera, Top Sergeant, and he wrote an article about the background of the Civil War song "John Brown" which showed that the John Brown of the song was a soldier in Boston, not the famous abolitionist of the same name.

British Eighth March. The march was written in tribute to General Bernard Montgomery and the Eighth Army and was copyrighted in 1943 for publication in 1944.  The march was written after Montgomery’s triumphant sweep across Northern Africa in 1942 in the middle of World War II. Following the defeat of Rommel’s forces at El Alamein, Montgomery was promoted to field marshal, and he soon became the idol of the British public. In 1944, he commanded all Allied ground forces during the invasion of France, and in 1951, he became deputy commander of the Atlantic Pact nations. 

British Eighth march is one of the most performed marches on both sides of the Atlantic.  But, the rest of the story lies in the fact that Elliot, despite the British-sounding name, was in fact an American!

 


España Cañí (meaning "Gypsy Spain) is a famous pasodoble music by Pascual Marquina Narro (1873-1948) (pictured at right. The  song was written around 1925. It is also known as the Spanish Gypsy Dance. Besides its traditional use as background music in bullfights in Spain and elsewhere, it is sometimes played (refrain only) to arouse local crowds in baseball games in the United States. The Beatles in their early club days in Liverpool played the song.

Stars and Stripes Forever (John Philip Sousa – pictured at left) 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.”

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.

This was the era just before TV, when radio shows were huge, and American families sat around their radios in the evenings, listening to their favorite entertainers, and no entertainer of that era was bigger than Kate Smith. Kate was also large in size, and the popular phrase still used today is in deference to her, "Ain't over till the fat lady sings". Kate Smith might not have made it big in the age of TV, but with her voice coming over the radio, she was the biggest star of her time.

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

Ed Lichtenberg and Tommy Walker, associate conductors 

Denise Milner-Howell, featured mezzo-soprano soloist

Jacob and Alex Prokop, featured brass soloists

Friday Evening, July 12th, 2013

8:30 p.m.

 

Program

 

National Anthem, The Star Spangled Banner (1889)................. Francis Scott Key/John Philip Sousa 

Overture, Light Cavalry Overture (1866).................................. Franz von Suppé/Henry Fillmore 

March, March of the Toys (from Babes in Toyland) (1903) ................. Victor Herbert/Herbert L. Clarke 

Brass Duet, Cousins (1912) ..................................................... Herbert L. Clarke/Ray Cramer

Jacob and Alex Prokop, brass soloists 

March, The Klaxon (1930)........................................................... Henry Fillmore 

Mezzo-Soprano Solos 

    Seguidilla  from Carmen (1875) .............................................  Georges Bizet/Leonard B. Smith 

     I Could Have Danced All Night  from My Fair Lady (1956) .......  Lerner & Loewe 

Denise Milner Howell, mezzo-soprano soloist 

March, British Eighth (1943)................................................. Alonzo “Zo” Elliott 

Movie Theme, Skyfall (2011)  ................................  Adele Adkins & Paul Epworth/Jay Bocook

Pasadoble, España Cañí  (1925)..................................... Pascual Marquina Narro/Moss 

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

Patriotic, God Bless America (1917)................................................ Irving Berlin/Erik Leidzen


 

In Memory of David Wheeler