This concert was cancelled due to bad weather
This material covers the ninth concert – Friday, July 27th, 2012, 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 conclude the 2012
summer season, a celebration of 153 years of presenting community concerts in
Medina, on Friday, July 27th,
2012, at 8:30p, in Medina’s Uptown Park Square Gazebo.
The Medina Community Band is under the baton of conductor Marcus Neiman, starting his 39th summer concert series. The concert will feature works by Grundman, Agapkin, Marquina, Kelly, Goldman, and Sousa. Ron Foster, recipient of the 2011 Medina Hospital Foundation “Maestro for a Night,” will be featured guest conductor in the march The Washington Post, by John Philip Sousa. Joe Stuart and Women Sing will make a return visit to the square. Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club. Also featured will be clarinetists Libby Druesedow, Mary Ann Grof-Neiman, and Andy Stefaniak.
Marcus Neiman (left) celebrates his 40th season as conductor of the Medina Community Band and 39thsummer season. Neiman is a part-time assistant professor of music education at Kent State University where he teaches the “Music Education as a Profession” course and supervises music education student teachers. He was interim director of the Kent Concert Band during the 2010-2011 academic year, and also taught the “Instrumental Methods for Choral and General Music Majors.”
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.
Ron Foster (at right) is the 2012 Medina Hospital Foundation recipient of the “Maestro for a Night.” Born in Ironton (OH), he was a tuba player in high school and member of the Ironton High School Tigers Marching Band, Concert Band, and Dance Band. He was a business major at The Ohio State University, attended Baldwin Wallace College, and has been a resident of Medina County for 30 years.
Ron is a retired regional sales manager for Gems Sensors Division of Danaher Corporation and currently an accounts manager for Ohio Brake & Clutch Corporation, an industrial distributor of Motion Control Products. He is an active member of First Christian Church and a long-time supporter of Medina Community Band. Ron is a widower and currently resides in Medina with Casper, his cat.
He will conduct John Philip Sousa’s march The Washington Post.
One year ago, a call was put forth by Joe W. Stuart of Medina, Ohio, to gather female vocalists together and form Women Sing! The goal of Women Sing! is to bring the highest quality women’s choral music to the local community and Northeast Ohio. The group, under the direction of Mr. Stuart, consists of 20 very talented vocalists from Medina, Hinckley, Brunswick, North Royalton, and even one long distance member who travels from Detroit to sing as often as possible! This talented group of vocalists is musically versatile, performing a wide array of musical styles such as classical, swing, pop, sacred, patriotic and show tunes.
After honing their skills for a year, Women Sing! is striking out and performing in a wide array of venues. Some of these venues include opening the Cleveland Indians game with the National Anthem on July 21, 2012, singing with the Medina Community Band under the direction of Marcus Neiman during two Friday evening concerts in the Medina Square gazebo this summer, and offering their arrangement of “God Bless America” to the National Day of Prayer event this past May. During the past year, Women Sing! has also shared their music with several churches in the area and the Medina County Home. Future events are scheduling quickly and include performances for the Medina County Arts Council in the fall of 2012.
Director of Women Sing!, Joe Stuart, has a bachelor of arts in music from Charter Oak State College in New Britain, Connecticut and a performance diploma from the America Institute of Musical Studies in Graz, Austria. He has studied voice extensively under instructors from Julliard, the Metropolitan Opera, and the Chicago Conservatory of Music. During his professional career, Mr. Stuart has performed with many symphonies, opera companies, and show companies, including the Miami Opera Company, the Miami Symphony Chorus, the Atlantic Civic Opera, the Kenley Players, and the Dallas Symphony Chamber Orchestra. He has 35 years of choral conducting experience and vocal coaching to professional actors, singers, and musicians. If you would like more information on Women Sing, please contact Mr. Stuart at email@example.com.
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.”
Clare Ewing Grundman (pictured at left) (born 11 May 1913 in Cleveland, Ohio; died 15 June 1996 in South Salem, New York) is one of the most prolific and highly respected composers for band on the American scene today. He is represented in one publisher’s catalogue with nearly 50 works for band, in addition to other media.
Grundman grew up in Ohio earning both bachelor of science and master of arts degrees at The Ohio State University. From 1937 to 1941, he taught arranging, woodwind, and band at OSU and during World War II, he was a member of the US Coast Guard. He credits Manley R. Whitcomb with first encouraging him to write for band and Paul Hindemith with providing practical techniques for composition.
Grundman’s activities also include scores and arrangements for radio, television, motion pictures, ballet, and Broadway musicals. His arrangements have been used by many well-known entertainers including: Carol Channing, Marge and Gower Champion, Sid Caesar, and Victor Borge. He has taken a special interest in composition for school bands, and his works have been performed by school and college bands throughout the country.
American Folk Rhapsody No 1 – had the subtitle “Four American Folk Tunes.” The work was dedicated to Manley Whitcomb and The Ohio State University Symphonic Band. Composed in 1948, the rhapsody contained: My Little Mohee, Shantymans Life, Sourwood Mountain, and, Sweet Betsy From Pike.
Vasilij Ivanovitz Agapkin (pictured at right) was born in Sjaterovo on February 3rd, 1884 and died in Moscow on October 29th, 1964. In addition to serving in the army, he worked as a cinema pianist, playing accompaniments for silent films. Orphaned at an early age, Agapkin was unofficially adopted by a military band leader who placed the 10-year old in his ensemble, beginning his love affair with music. He later studied at the Tambov School, after which he joined the army. The loss of his parents obviously still lingered, as in 1928 Agapkin organized a brass band consisting of homeless children, many of whom later became professional musicians. Arguably, his greatest call to fame is the march Abschied der Slawin ("The Farewell of a Slavyanka"), a march dedicated to Slav women in the Balkan countries who saw their men go off to war against Turkish enslavers.
“A Slavic Farewell” was originally called “Farewell to a Slavonic Woman”, and since its premier in 1912 during World War I, it has become the best-known, best-loved march in Russia and in the surrounding independent states of the former Soviet Union. According to legend, the inspiration for this march came from Agapkin having seen newsreels of the Balkan War. During this conflict, Russian and Slavic forces fought together, and reportedly the newsreels contained poignant footage of Slavic soldiers parting with their wives and families. The march became popular in World War I, during which time Agapkin served as the music director of the Tjekan 7, a forerunner of the KGB.
The word "Slavic" in the title of the march, which otherwise invokes only Russia, is a tribute as much to the pan-Slavist ideology of the preceding century as to its transformation into Russian nationalism on the eve of WWI.
Like other iconic artifacts of the pre-1917 era, the march underwent a revival after the collapse of communism. It gave its name even to a new brand of vodka. Most notably, though, during the debates surrounding Russia's new national anthem in the 1990s, Joseph Brodsky, along with many others, including General Lebed, petitioned Boris Yeltsin to adopt "The Slavic Woman's Farewell" as the national anthem of the new Russia. Later, in 2000, during the heated controversy on the same subject under Vladimir Putin, the Yabloko Party proposed it as an alternative to both Glinka's (de fact anthem under Yeltsin) and the old Soviet workhorse.
España Cañi. Bandleader Pascual Marquiña wrote music for his band to play at bullfights in Madrid. The tune España Cañi, which means "Spanish Gypsy Dance," is in the style of a pasodoble, or two-step, and is very popular among Spanish ballroom dancers. Written in 1925, the pasodoble is often used for ballroom dancing (and among ballroom dancers, the piece is known as “the pasodoble song”) and is very commonly played (refrain only) to arouse baseball crowds. Marquiña (1869 –1971) had 69 works published.
Washington Post (John Philip Sousa – pictured at right). During the 1880’s, several Washington, DC, newspapers competed vigorously for public favor. One of those, the Washington Post, organized what was known as the Washington Post Amateur Authors’ Association and sponsored an essay contest for school children. Frank Hatton and Beriah Wilkins, owners of the newspaper, asked Sousa, then leader of the Marine Band, to compose a march for the award ceremony.
The ceremony was held on the Smithsonian grounds on June 15, 1889. President Harrison and other dignitaries were among the huge crowd. When the new march was played by Sousa and the Marine Band, it was enthusiastically received, and within days it became exceptionally popular in Washington.
The march happened to be admirably suited to the two-step dance, which was just being introduced. A dancemaster’s organization adopted it at their yearly convention, and soon the march was vaulted into international fame. The two-step gradually replaced the waltz as a popular dance, and variations of the basic two-step insured the march’s popularity all through the 1890s, and into the 20th century. Sousa’s march became identified with the two-step, and it was as famous abroad as it was in The United States. In some European countries, all two-steps were called “Washington posts.” Pirated editions of the music appeared in many foreign countries. In Britain, for example, it was known by such names as “No Surrender” and “Washington Grays.”
Next to “The Stars and Stripes Forever,” “The Washington Post” has been Sousa’s most widely known march. He delighted in telling how he had heard it in so many different countries, played in so many different ways -- and often accredited to native composers. It was a standard at Sousa Band performances and was often openly demanded when not scheduled for a program. It was painful for Sousa to relate that, like “Semper Fidelis” and other marches of that period, he received only $35 for it, while the publisher made a fortune. Of that sum, $25 was for a piano arrangement, $5 for a band arrangement, and $5 for an orchestra arrangement.
Today, at a community room in Washington, a spotlight illuminates a life-size color portrait of the black-bearded Sousa, resplendent in his scarlet Marine Band uniform.This is the John Philip Sousa Community Room in the Washington Post Building. It is the newspaper’s tribute to the man who first gave it worldwide fame.
Henry Mancini (pictured at right). The Great Race is a 1965 slapstick comedy film starring Jack Lemmon, Tony Curtis, and Natalie Wood, directed by Blake Edwards, written by Blake Edwards and Arthur A. Ross, and with music by Henry Mancini and cinematography by Russell Harlan. The supporting cast includes Peter Falk, Keenan Wynn, Dorothy Provine, Arthur O'Connell and Vivian Vance. The movie cost $12 million, making it the most expensive comedy film at the time.
The Great Race March was heard throughout the movie and functioned as a quasi-theme song. It is a straight-ahead march typical of the period the movie hoped to show.
Pie in the Face Polka. However, the movie is noted is noted for one scene that was promoted as "the greatest pie fight ever." The Technicolor pie fight scene in the royal bakery was filmed over five days. The first pastry thrown was part of a large cake decorated for the king's coronation. Following this was the throwing of 4,000 pies, the most pies ever filmed in a pie fight. The scene lasts four minutes and twenty seconds and cost $200,000 to shoot; $18,000 just for the pastry.
The pie fight scene paid homage to the early Mack Sennett practice of using a single thrown pie as comedic punctuation, but to a greater degree it was a celebration of classic movie pie fights such as Charlie Chaplin's Behind the Screen (1916), The Battle of the Century (1927) starring Stan Laurel and Oliver Hardy, and The Three Stooges' In the Sweet Pie and Pie from 1941. In his script for The Great Race Edwards called for a "Battle of the Century-style pie fight". Though Edwards used 4,000 pies over five days, many of these were used as set dressing for continuity. Laurel and Hardy used 3,000 pies in only one day of shooting, so more are seen flying through the air. Leonard Maltin compared The Great Race pie fight to The Battle of the Century and determined that Laurel and Hardy's pacing was far superior; that the more modern film suffered from an "incomplete understanding of slapstick" while the 1927 pie fight remains "one of the great scenes in all of screen comedy."
Don Ray (pictured at left). Boogie Woogie Bugle Boy. The song was written by Don Raye and Hughie Prince, and was recorded at Decca's Hollywood studios on January 2, 1941, nearly a year before the United States entered World War II but after the start of a peacetime draft to expand the armed forces in anticipation of American involvement. The flipside was "Bounce Me Brother With a Solid Four". The Andrews Sisters introduced the song in the 1941 Abbott and Costello film Buck Privates, which was in production when they made the record. Boogie Woogie Bugle Boy was nominated for an Academy Award for Best Song.
According to the lyrics of the song, a renowned Chicago, Illinois street musician is drafted into the U.S. Army during the wartime draft imposed by the Roosevelt administration. In addition to being famous, the bugler was the "top man at his craft," but the Army had little use for his talents and he was reduced to blowing the wakeup call (Reveille) in the morning. This caused the musician to become dejected: "It really brought him down, because he couldn't jam." The Cap (an Army captain—the company commander) took note of the blues man's blues and went out and conscripted more musicians to assemble a band to keep the bugler company. Thereafter, the bugler found his stride, infusing the military marches with his inimitable street flair: "He blows it eight to the bar - in boogie rhythm." Even his morning calls attain some additional flavor: "And now the company jumps when he plays reveille." But, the bugler is not only empowered, he is possibly spoiled, because thereafter, "He can't blow a note if the bass and guitar/Isn't with him."
Irving Berlin (pictured at right). With a life that spanned more than 100 years and a catalogue that boasted over 1000 songs, Irving Berlin epitomized 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. In a class by itself is his beloved paean to his beloved country, God Bless America. On Armistice Day, 1939, Kate Smith sang for the first time one of the beloved songs of our people – God Bless America by Irving Berlin.
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 left). 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.
This march, On the Mall, which encourages the audience to sing along and then whistle along at the trio, was written in 1923 for the dedication of the Elkan Naumburg Bandshell in Central Park (New York City). The title derives from the park’s spacious mall, where the bandstand is located, and where New Yorkers enjoy gathering to listen to music.
Loyal Legion (John Philip Sousa – pictured at right). The Loyal Legion March was written expressly for the 25th Anniversary of the Military Order of the Loyal Legion (MOLLUS) in 1890 by John Philp Sousa, Band Director of the United States Marine Corps. The sheet music has been placed here on the eve of the 115th annual meeting of the MOLLUS Commandery-in-Chief, to be held in St. Louis, Missouri, October 6 - 8, 2000, to commemorate the annual meeting of the MOLLUS Commandery-in-Chief which was held in St Louis, Missouri in 1890.
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 only an over-average 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.”
The Medina Community Band Marcus Neiman, conductor
Friday Evening, July 27th, 2012 8:30 p.m.
National Anthem, The Star Spangled Banner (1931)............. Francis Scott Key/John Philip Sousa
Rhapsody, American Folk Rhapsody No. 1 (1912) ................. Clare Grundman
March, A Slavic Farewell (1910).............................................. Vasilij Agapkin/John R. Bourgeois
Pasodoble, España Cañi (1925)........................................... Pascual Marquina/John Moss
March, The Washington Post (1911)............................................ KarlL. King/Andrew Glover
At the movies, The Great Race (1965)
The Great Race March ........................................................ Henry Mancini/John Moss
Pie in the Face Polka ......................................................... Henry Mancini/Johnny Vinson
Libby Druesedow, Mary Ann Grof-Neiman, Andy Stefaniak, soloists
Vocal solos Boogie Woogie Bugle Boy (1941)........................ Don Raye & Hughie Prince/Percy Hall
God Bless America (1918)....................................................... Irving Berlin/Erik Leidzen
Women Sing Joseph Stuart, conductor
Whistle & Sing-a-Long, On the Mall (1923) ................... Edwin Franko Goldman
March, Loyal Legion (1890) ............................................... John Philip Sousa
National March, The Stars and Stripes Forever (1896)......... John Philip Sousa
Patriotic, Goin’ Home (1893) (from Symphony No 9, mvt 3)..........Anton Dvorak/Jari A. Villanueva