July 30, 2010

Friday, July 30th, 2010 - Medina Community Band will perform their ninth and final concert of the 151st season on Friday, July 30th at 8:30 p.m., on Medina Courthouse Square Gazebo. 

Clarinetist
Edward Lichtenberg retired in 1998 as assistant superintendent for Midview Schools (Lorain County) after 32 years in education. Before becoming assistant superintendent, he was a middle school administrator and director of bands at Midview, where his concert bands consistently earned superior ratings in class A. Active as an Ohio Music Education Association adjudicator, Ed is a member of the Medina Community Band and the Sounds of Sousa Band and serves as a guest conductor and clinician. He is a staff member for the Ashland University Adult Music Camp. He and his wife Judy reside in Medina and are the parents of Medina Community Band members Rob and Beth (Burdick) and father-in-law to Christopher (Burdick). 

Tenor Daniel J. Doty has appeared throughout the Midwest with orchestras and opera companies. A participant of the Opera and Music Theatre Festival of Lucca, Daniel spent six weeks in the Tuscan village of Lucca, Italy singing operatic arias at various venues associated with Lucca’s most famous son Giacomo Puccini. Daniel is a frequent soloist with the Akron Symphony Orchestra and has also appeared with symphonies in Muncie, IN, Urbana, IL, Marion, OH and community bands in Medina and Wadsworth. Mr. Doty holds a Bachelor of Music Education Degree from Bowling Green State University. He has taught music in the public school systems of Ohio and Illinois. He also an ordained minister and holds a Master of Divinity degree from Garrett-Evangelical Theological Seminary, Evanston, IL. Currently Daniel serves as the Senior Minister of Trinity United Church of Christ in Wadsworth, Ohio.
 
Richard N. Stacey
was conductor of Medina Community Band for ten years (1952-1962). Stacey (pictured at left) was at one time a high school pupil of Gordon Ritter’s (who was conductor of Medina Community Band prior to Stacey) in Marietta, Ohio. Before being hired in Medina as supervisor of instrumental music, Stacey was director of music at Fredericktown, Ohio. He became principal at Medina Junior High School in 1963, and relinquished the role as director of the MCB. The last two years of Stacey’s MCB tenure, Medina Junior High School band director, James Staten directed the first half of the 1961-62 summer seasons while Stacey was at summer school in Columbus.







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.”
 

The Wanderer Overture
Karl Lawrence King was born February 21, 1891 in Paintersville, Ohio. His family moved to Xenia a short time later, and around the turn of the century, the King family moved to Canton, where young Karl would begin to develop an interest in bands and music. After receiving some instruction on the cornet, King switched to baritone. His first band experience was with the Thayer Military Band of Canton, while in his teens. In 1909 King spent some time as a member of bands in Columbus and also Danville, Illinois. While a member of these bands, King began to compose marches and other works. Beginning in 1910, King began a decade-long career as a circus musician, spending one season each as a baritone player in the bands of Robinson’s Famous Circus, Yankee Robinson Circus, Sells Floto Circus, and the Barnum and Bailey “Greatest Show On Earth.” As a composer, King was one of the most prolific and popular in the history of band music. He composed at least 291 works, including 185 marches, 22 overtures, 12 galops, 29 waltzes, and works in many other styles. Not only did he compose some of the most brilliant and famous marches for experienced bands at the professional and university levels; he also displayed a remarkable ability to compose first-rate music for younger, less experienced musicians and bands. His music continues to be performed worldwide by bands of all experience levels.


Love of Liberty March.  (W.H. Scouton) Little is known about the early years of this distinguished musician except that he was born in Monroeville, Ohio, on October 3, 1853.  A listing in an 1897 (Toledo) city directory states that he was a musician (no earlier listings).  In 1900, he became director of Strobel's Band, a well-known music organization in the Midwest at the time.  That band presented concerts and performed often for parades, balls, weddings, and funerals.  In addition to his marches, Scouton composed quadrilles, schottisches, overtures, waltzes, mazurkas, and other forms of music for piano, orchestra, and band.  Most of his works were published between 1897 and 1902, a brief period for such a large output.  It is said that he also played cornet in several circus bands.  He died of bronchial pneumonia on May 18, 1940, at the home of his daughter, Mrs. Hazel MacDonald, in Toledo.

Valse Erica
(Rudy Wiedoeft) During the period from 1900 to 1930 in America, there was a saxophone craze which made the electric guitar phenomenon of the 1960's look like nothing in comparison. The one person who best personifies this period is perhaps the biggest musical star of the 1920's, Rudy Wiedoeft. The fact that Wiedoeft is almost forgotten now takes nothing away from his essential role in establishing the saxophone in the public mind. It has often been put forward that the popularity of the Saxophone was a direct result of its use in Jazz music at the beginning of the 20th century. When one examines the historical evidence, the opposite appears to be true : the great popularity of the saxophone in the early 20th century lead to its role in Jazz and other popular music. When one looks at the facts, it seems quite evident that everything that happened after Wiedoeft would have been much more difficult if he had not lived.

12
th Street
Rag by E.L. Bowman.  Euday Louis Bowman was born on November 9, 1887, in Fort Worth, Texas.  He is famous as the composer of The Twelfth Street Rag, which he published at his own expense in 1914.  It became extremely popular, and more than 120 versions were recorded on 78 R.P.M. records.  It still ranks as one of the most popular of all rags.  Bowman is believed to have worked as a pianist in Fort Worth at one time.  He died in New York City on May 26, 1949.

12th Street Rag  was copyrighted in 1914 and 1941 by Euday L. Bowman; copyrighted in 1917 by J.W. Jenkins Sons Music Company, and later assigned to Shapiro, Bernstein & Company. 

Razzazza Mazzazza
.  Arthur Pryor was born on the second floor of the Lyceum Theatre in Saint Joseph, Missouri. He first took up music at a very young age and was playing the value trombone by age 11. By age 15, he had mastered the slide trombone and was awarded a spot in his father’s band.  He was hailed as a prodigy after that time.  Pryor went on the direct the Stanley Opera Company in Denver, Colorado until joining the John Philip Sousa Band the year it was formed (1892).  He played solo trombone with the Sousa Band for 12 years and it was estimated that he played 10,000 solos.

From 1895 until 1903, Pryor was assistant conductor of the Sousa Band.  After leaving the Sousa Band, he formed his own band, which made its debut at the Majestic Theatre in New York City on November 15, 1903.  The Pryor Band toured until 1909, when he decided to settle down and make Asbury Park (New Jersey) the home of the band.  It was at this time that he became the staff conductor and arranger for the Victor Talking Machine Company in Camden, New Jersey.  He retired from full-time conducting in 1933.   We have found no information on the reason for the title other than it was published in 1906

Roses of Picardy
is a wartime ballad written by lyricist Frederick Weatherly while he was an army officer in 1916. Set to music by Haydn Wood, it was one of the most famous songs from World War I. Introduced by soprano Elsie Griffin, the piece quickly became popular, and remained so for many years after its initial release. British soldiers had sung it when they enlisted for the Front in France and Flanders. Weatherley reportedly wrote the lyric after he had conceived an affection for a French widow while receiving protection at her home in France. Among the earliest commercial recordings were those by Ernest Pike in 1917 and John McCormack in 1919. As late as 1967 Vince Hill had a "top 20" hit with the song, which was still being performed in the first decade of the 21st century. There was also speculation that the Germans were also allegedly singing it in their own language, including the Bavarian Corps, which was Adolf Hitler's rifle regiment.

Nessun Dorma from Turandot.  In the act before this aria, Calaf has correctly answered the three riddles put to all of Princess Turandot's prospective suitors. Nonetheless, she recoils at the thought of marriage to him. Calaf offers her another chance by challenging her to guess his name by dawn. (As he kneels before her, the Nessun dorma theme makes a first appearance, to his words, "Il mio nome non sai!") If she does so, she can execute him; but if she does not, she must marry him. The cruel and emotionally cold princess then decrees that none of her subjects shall sleep that night until his name is discovered. If they fail, all will be killed. As the final act opens, it is now night. Calaf is alone in the moonlit palace gardens. In the distance, he hears Turandot's heralds proclaiming her command. His aria begins with an echo of their cry and a reflection on Princess Turandot: "None shall sleep! None shall sleep! Even you, O Princess, in your cold bedroom, watch the stars that tremble with love and with hope!"  "But my secret is hidden within me; none will know my name! No, no! On your mouth I will say it when the light shines!"

Swanee
by George Gershwin.  Al Jolson's recording of George Gershwin's Swanee. Composed in 1919, Al Jolson recorded for Columbia Records in January 1920, and it became a runaway hit.  The piece was also George Gershwin’s first real hit and the only major song in the public domain. While the term “mammy” now has racist connotations, at the time the piece was written, it only meant “nursemaid.” 

George Gershwin’s first published song, “When You Want ‘Em, You Can’t Get ‘Em,” demonstrated innovative new techniques, but only earned him five dollars. Soon after, however, he met a young lyricist named Irving Ceaser. Together they composed a number of songs including Swanee, which sold more than a million copies. 

Le Regiment de Sambre et Muse
(march) was published in 1908 by Carl Fischer, New York. One of the most famous French marches outside France is Sambre et Meuse, which is almost considered the French national march, played with bugles also in other countries. About 1870, he published his Refrains du Régiment [regimental refrains], a collection of twelve military marches of which the most famous is Sambre et Meuse, which was a musical setting of Paul Cézano's 1867 patriotic poem Le Régiment de Sambre et Meuse with motifs from the French Revolution. It refers to a mythical regiment named after the war-torn region of the rivers Sambre and Meuse in northern France and Belgium.

At the request of a senior officer, the music director of the 18th Infantry Regiment, Joseph François Rauski (1837-1910) arranged the march for military band, which was first performed in 1879 at the Place de Verdun in Pau. Rauski should be praised for its arrangement, but should not be credited as being the composer, since little new thematic material had been added. It is therefore not correct to write that Rauski "on themes from the song, composed the march." The reason for the erroneous data (including an A. Turlet, a publisher in Paris, who made a transcription for piano and small orchestra) would be that the gentlemen of the SACEM [Central Organization of Swedish Workers] stated him as being the composer. The French music historian Émile Vuillermoz writing a 1937 essay about these relations concluded "As some have decided to award a French composer 'immortality', let them do it right and not confuse one adapter's rights with the rights of the musician who really was the father of a celebrated and glorious piece of music." Unfortunately, it is also played, as a rule, in connection with the incorrect author Turlet, after an American arrangement with the incorrect title, French National Defilé March.

A side bit of history for those who know the march as The French National Defilé March used by the famed Ohio State Marching Band as they form their equally famed “Script Ohio.”  A. Turlet was erroneously credited as its composer.  According to Dr. Paul Droste, a former director of The Ohio State Marching Band, the march was chosen not because it was “exciting” or “spirited,” but rather because its length happened to fit the amount of time it took the OSU marching band to complete the field drills in forming script Ohio

Across the Field. For over 80 years, those words have helped push Ohio teams on to victory. In 1915, OSU student William A. Dougherty, Jr., set out to write the perfect fight song for his alma mater. While Carmen Ohio was already firmly in place as OSU's school song, Dougherty felt that something more exciting was needed for pep rallies and football games. And so Fight the Team Across the Field was born.

Introduced at a pep rally for the 1915 Illinois game, Fight the Team Across the Field made its Ohio Field debut at the same game. Though the lyrics are geared to the football field, it has become a rallying song for all Buckeye teams. Its strains are instantly recognized as representing the best of Ohio State, whether played in a TV commercial, a tailgate party, or a women's basketball game. While it has been arranged in many different ways and used for many purposes, its most popular appearance is at Buckeye football games. During tough drives, TBDBITL plays Fight the Team to urge the players on to victory. The players conclude every game day by singing it in the locker room at the end of it all.  Dougherty's Fight the Team Across the Field has been a symbol of the pride and excitement of The Ohio State University for more than 80 years, and it will continue to stand as a great part of this great university.

Americans We
(March).  The march is dedicated to all of us and is considered one of his very finest marches.  After resigning as director of the Syrian Temple Band, Henry formed his own professional band and one of its first engagements was at the Cincinnati Zoo. The appearance coincided with the annual “Pure Food and Health Show” and Henry is reported to have included this march on every program, sometimes announcing it as the “Purse Food and Health” march and at other times as the “Cincinnati Zoo” march. After it was broadcast on the radio, it became so popular he dedicated to publish it and then changed the title to “Americas We.”

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

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.

God Bless
America
In 1918, Irving Berlin (pictured at left) produced Yip, Yip Yaphank, an all-soldier show at Camp Yaphank. God Bless America was one of the songs in that show, but Berlin decided to delete it from the production. In 1938, Kate Smith asked Berlin to write a song for her to use in her Armistice Day radio show. Unable to write anything that satisfied him, he remembered the song from Yip, Yip Yaphank and gave her, free of charge, exclusive performing rights. She first performed it on her radio show on November 10, 1938, the last peacetime Armistice Day this country celebrated before World War II.

In 1939, both major political parties used God Bless America in their Presidential nominating conventions. Kate Smith recorded the song for Columbia and it became immensely popular. It was heard or sung at rallies, balls, and athletic events nationwide.

Berlin was a passionate patriot and did not want to profit from this patriotic song. In 1939 he copyrighted it in the names of Gene Tunney, Mrs. Theodore Roosevelt, Jr., and A. L. Berman and stipulated that all proceeds go to the Boy and Girl Scouts.

This stately and reverent song represents the thoughts of the multitudes of immigrants such as Berlin, himself, who were grateful to this country for giving them the opportunity to transcend the limitations of their old world origins.

Israel Baline, the son of a Jewish cantor, immigrated to the United States from Russia with his family in 1893. Here, he spent his early years in great poverty. In 1904, he worked as a singing waiter in Chinatown and Bowery cabarets of New York City. After a printer erroneously printed his name "Irving Berlin" on a piece of music, he chose that name for his own. In 1911, he achieved success pioneering ragtime with Alexander's Ragtime Band (originally titled Alexander and his Clarinet) and Everybody's Doin' It.

From Marcus:
Due to the band only getting in about half of our program last week, we will be amending the play list of the program a bit. 

Star Spangled Banner (Key/Sousa)
Guys and Dolls (Loesser/Custer)
Love of Liberty March (Scouton)
Tribute to Rudy Wiedoft – Mvt 1 (Wiedoft/Schuller) – Edward Lichtenberg, alto sax soloist
12th Street Rag (Bowman/Wheeler)
Razzazza Mazzazza (Pryor)
Roses of Picardy (Wood/Clark) – Dan Doty
Nessun Dorma (Puccini/Stauffer) – Dan Doty
Swanee (Gershwin/Mackie)
Caprice (Clarke) – Allie Kolberg, alto saxophone soloist
Le Regiment de Sambre et Meuse (Rauski/Seredy/Fennell) – Dick Stacey, guest conductor
Across The Field (Daugherty/Warrington) – Dick Stacey, guest conductor
Stars and Stripes Forever (Sousa)
Goin’ Home (Dvořák)

Program – Friday, July 30th, 2010

 

Anthem, Star Spangled Banner.............................. Francis Scott Key/John Philip Sousa

 

Overture, The Wanderer (1926)..................................................................... Karl L. King

 

March, Love of Liberty (1903) ................................................................. W.H. Scouton

 

Alto Saxophone Solo, Valse Erica (1917)........................... Rudy Wiedoft/Gunther Schuller

Edward Lichtenberger, soloist

 

Ragtime, 12th Street Rag (1914) ........................................... E.L. Bowman/C.E. Wheeler

 

March, Razzazza Mazzazza (1933).............................................................. Arthur Pryor

          Tenor Solos

Roses of Picardy (1918)....................................................Haydn Wood/Tom Clark

 

Nessun Dorma (from Turandot) (1926)..................... Giacomo Puccini/D.W. Stauffer

Daniel Doty, soloist

 

March, Swanee (1919)........................................................ George Gershwin/W.H. Mackie

 

         Salute to our past

 

March, Le Regiment de Sambre et Meuse (1879)..... J. F. Rauski/Frederick Fennell

 

March, Across the Field (1915)............... William A. Daugherty, Jr./John Warrington

 

Richard Stacey, guest conductor

Medina Community Band Conductor – 1952-1962

 

March, Americans We (1929).................................................. Frank Loesser/Calvin Custer

 

National March, The Stars and Stripes Forever............................ (1897) John Philip Sousa

 

Patriotic, God Bless America (1918)............................................. Irving Berlin/Erik Leidzen

 

Patriotic, Goin’ Home (1893).............................................. Anton Dvorak/Jari A. Villanueva

 


 

In loving memory of

Dennis Marshall and his wife Karen Merutka Marshall


 

 








Final as of July 25, 2010