June 14, 2013

Medina Community Band 

This material covers the 2nd concert – Friday, June 14th, 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 the 2013 summer season, a celebration of 154 years of presenting community concerts in Medina, on Friday, June 14th, 2013, at 8:30p, in Medina’s Uptown Park Square Gazebo

The Medina Community Band is under the baton of conductor Marcus Neiman, starting his 40th summer concert series, with associate conductors Edward Lichtenberg and Tommy Walker. The 60 minute concert will feature works by Grundman, Goodwin, Anderson, Fillmore, Bizet, Loewe, Parera, Shonberg, and Sousa.  Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club.

Special featured soloists will be Mayor Dennis Hanwell, City of Medina, and mezzo-soprano voice soloist Denise Milner Howell.  The concert will be dedicated to long time Litchfield Town Band conductor Kenny Bradley.

The ice cream social for the evening will be presented by Seville Presbyterian Church.

Guest Soloist

Mayor Dennis Hanwell
, (at left) is the Mayor/Safety Director for the City of Medina. He had been the Chief of Police for the City of Medina for over twelve years. He has over 29 years of service with the City of Medina, and over 31 years of law enforcement experience. Dennis has an Associate’s Degree in Criminal Justice from the University of Akron, and a Bachelor’s Degree in Criminal Justice Administration from Tiffin University. Dennis had served as the President of the Medina County Police Chiefs’ Association for the eleven years. Dennis has had articles published in national criminal justice periodicals and has been a speaker at previous Ohio Attorney General Conferences, Safe Community Conferences, & Public Safety Director’s Conferences. Under his tenure, the City of Medina Police Department has received both state and national recognition for various community policing initiatives. Dennis currently serves as the President of the HANDS Board and the Medina County Alcohol, Drug, and Mental Health Board, as well as a member of a number of other boards and commissions.

     Dennis has been married to Chris for the past 34 years. They attend the Medina United Methodist Church and have two adult children, Jonathan and Nicole. Dennis is very committed to his spending time with his family. He enjoys gardening, yard work and caring for fruit trees along with fishing with his father. 

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.


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. 





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.”

Clare Ewing Grundman 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 - Dedicated to Manley Whitcomb and the Ohio State University Symphonic Band, this rhapsody was composed in 1948.  American folk tunes are “My Little Mohee,” “Shantymans Life,”  “Sourwood Mountain,” and “Sweet Betsy From Pike.”

Ronald Alfred Goodwin (pictured at right) was a British composer and conductor known for his film music. He scored over 70 films in a career lasting over fifty years. His most famous works included Where Eagles Dare, Battle of Britain, 633 Squadron and Operation Crossbow.

Born on February 17th, 1925, in Plymouth, Devon, Goodwin learned to play the piano and trumpet from the age of five which allowed him to join the school band. When he was nine, the family moved to Harrow, London, where he attended Willesden County School and Pinner County Grammar School, in Middlesex. From there he went on to study the trumpet in London at the Guildhall School of Music.

While working as a copyist, he formed his own orchestra in his spare time and began arranging and conducting recordings for over fifty artists, which resulted in more than 100 chart successes. He wrote his first feature film score forWhirlpool, with screenplay by Lawrence P. Bachmann. After Bachmann became executive producer at MGM-British Studios in 1959, Goodwin composed and conducted the music for most of its productions, as well as working for other film studios.

Ron Goodwin's score to The Battle of Britain encapsulates the atmosphere of the film perfectly: For the opening theme, Goodwin composed the Aces High March in the style of a traditional German military march in 6/8 time. The march places heavy emphasis on the "oom-pah" sound of tubas and lower-pitched horns on the first and second beats and has the glockenspiel double the horns in the melody. Because of the great length of this sequence, which shows a Luftwaffe general's inspection of a Heinkel squadron in occupied France, the Aces High has three separate bridges between choruses of the main theme, one of which recurs several times in a gently sentimental variation. Despite its origin in a representation of a tyrannical threat to democracy, the march has become a popular British patriotic tune, like the "Dambusters March", an adaptation was first played by a British military band in 1974 by the Corps of Drums of the Royal Pioneer Corps and is now frequently played at military parades and by marching bands in Northern Ireland. He died on January 8th, 2003.  The march is arranged for band by Larry Daehn.

All of Leroy Anderson's (pictured at left) training was on his home ground. He studied composition with States entered World War II his proficiency in French, German, Italian, Portuguese, Swedish, Norwegian, Danish and Icelandic enabled him to serve with distinction as an Army translator and interpreter. Before the war, though, he became conspicuously active as a musician: conducting the Harvard Band, teaching at Radcliffe College, becoming known around Boston as an organist, conductor, and performer on instruments as numerous as the languages he mastered.

In 1936 Arthur Fiedler, in his seventh season as conductor of the Boston Pops, was impressed by Anderson's Harvard Fantasy, a potpourri of university songs, and asked him for some new pieces for his orchestra. Fiedler's recordings of the Jazz Pizzicato and Jazz Legato brought Anderson a great deal of attention, and he was established as an orchestral arranger before he put in his wartime military service. After the war he became a regular with the Pops, as both composer and arranger; every Pops season through 1965 saw the introduction of new Anderson pieces. In addition to his dozens of elegant independent ones, he created arrangements of well known Irish tunes to form an Irish Suite, and in 1958 his musical comedy Goldilocks (with text by Jean and Walter Kerr) began a run on Broadway. Over the years some of Anderson's pieces were fitted out with words to become songs; the songs did not survive, but the music has held on firmly through various changes in public taste.

The Typewriter was transcribed by Floyd E. Werle: In this age of computers and the Internet, a piece of music paying tribute to the typewriter, which in 1950 was still an important piece of technology, might seem a bit quaint. But even computers have keyboards and it is the sound of a typewriter's keyboard that is central to this piece of music in its color and humor. Leroy Anderson was known to use a variety of objects in his scores -- like sandpaper and wood in the Sandpaper Ballet -- and thus his use of a typewriter here is hardly unusual. The work opens with a brief introduction, after which the winds present the busy, graceful main theme accompanied by the rapid, rhythmic strokes of the typewriter's keyboard. But the typist is also heard swinging the bail of the machine back to the left extreme, which, to those who remember, resulted in the sounding of a bell, a sound heard quite often throughout this two-minute piece. In the middle section, both the music and typewriter's strokes slow down a bit and turn playful. The main theme returns with the busy typewriter accompaniment to close out this delightful work.

Kenneth E. Bradley (pictured at right), 88, of Litchfield, OH passed away Sunday, October 21, 2012 at Medina Hospital. He was born in Litchfield on October 8, 1924 to Hiram Clyde and Fannie Buckingham Bradley and was a 1943 graduate of Litchfield High School. Ken was a retired farmer who loved farming the family farm, where he had resided all his life. Music was Kenny's favorite pastime, having played with the family orchestra for many years. Having that love for music, Kenny went on to direct the Litchfield Town Band for over 60 years, never missing a practice or performance. Later in life he also played with other groups around the area, doing round and square dances. Up to the day he died you could always hear Ken playing his sax for his loving wife and anyone else who would listen.

It is not known if Kenny played with, or guest conducted Medina Community Band; however, he was very special to all those who enjoy playing, or conducting, band!  It is with great honor that we perform two marches that we believe he enjoyed playing and conducting and we salute him for his dedication to making music in Medina County! 

Frederick Alton Jewell (pictured at left), born 1875 in Worthington, Indiana, was a prolific musical composer who wrote over 100 marches and screamers.  At the age of 16, Jewell ran away from home and joined the Gentry Bros. Dog & Pony Show as a euphonium player. He also played the calliope.

After making excellent impressions with successful circus officials, Jewell rose through the ranks. He eventually landed himself as the leader of the Ringling Bros. and Barnum & Bailey Circus band. He also played in or directed the Hagenbeck-Wallace Circus and the Sells-Floto Circus.

Jewell retired from circuses in 1918. He traveled to Iowa and took leadership of the Iowa Brigade Band. From there he began his own publishing company and moved back to his hometown, Worthington, and served as high school band director, as well as a steady composer of band music. He directed other local bands in Florida and Indiana also. Frederick Jewell died in 1936 at the age of 61 in Worthington.

E Pluribus Unum (One Out of Many) was published in 1917 under the C.L. Barnhouse Publishing House.  It is known that Jewell wrote a number of marches with patriotic titles.  E Pluribus Unum March was composed during the dark days of World War I.

Frederick Ellsworth Bigelow (pictured at right), a pharmacist by profession, learned to play both clarinet and saxophone.  From 1892 until 1896, he played in the Ashland, Massachusetts,Brass Band, directed by Joseph Morrisette, and in 1894, became a lifetime member of the famous SalemCadet Band, directed at the time by Jean Missud.

The march Our Director was composed in 1892 for Joseph Morrisette, the director of the Ashland Brass Band. In addition to his arrangement for band, which Jean Missud published in 1895, editions were soon issued for guitar, banjo, mandolin, flute, cornet, cello, and orchestra.

In 1916, the trio of Our Director became the fight song of Harvard College. It has since been adopted by numerous schools -- in quick time as a fight song or slowly as an alma mater. It was widely used in vaudeville and silent films (as a curtain raiser and as exit music), and it was even sung as the Battle song of Liberty during World War I. Bigelow obviously knew the right ingredients for a good march as well for a good prescription.

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. 

Les Misérables
is based on Victor Hugo's classic novel, Les Misérables is an epic saga that sweeps through three turbulent decades of 19th century French history.  It tells the story of Jean Valjean, a fugitive, who is pitted in a life-long struggle to avoid capture by the cruel and self-righteous Inspector Javert.

Originally, Les Misérables was presented as a pop opera recording in France.  The success of the recording led to it being staged in 1980 as an arena attraction in Paris at the Palais des Sports where it was a popular and critical success.  It had its English language premiere in October, 1985 at the Barbicon Theatre in London.  On Broadway, it opened at the Broadway Theater on March 12, 1987.  In October, 1990 it moved to the Imperial Theater to make way for Miss Saigon.  Les Misérables is one of the longest-running shows ever on Broadway.

Les Misérables has won 31 major awards including the 1987 Tony Award for best musical, and Best Musical honors from the New York Drama Critics Circle, The Drama Desk and The Outer Critics Circle.

Born of Hungarian parents, Claude-Michel Schönberg (pictured above left) began his career a singer, writer and producer of popular songs.  He wrote the musical score of La Revolution Francaise (Paris, 1973), Les Miserables (Palais des Sports, Paris 1980 and London 1985) and Miss Saigon (1989). Since then he has also supervised overseas productions of Les Miserables and Miss Saigon and co-produced several international cast albums of his shows. Martin Guerre, his third collaboration with Cameron Mackintosh, opened at the Prince Edward Theatre, London on July 1996 and has since been reworked at the West Yorkshire Playhouse, Leeds in December 1998.  He lives in Paris with his wife and two children. Warren Barker did the bandstration of the musical.

Henry Fillmore (pictured at right) 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.

Bull Trombone  (Characteristic).  As with almost all of Fillmore’s characteristics (trombone smears), Bull Trombone allows the trombone section to romp around the instrument and have a wonderful time in the process.

No reference 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!

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 

Mayor Dennis Hanwell, typewriter, and Denise Milher-Howell, mezzo-soprano

Friday Evening, June 14th, 2013

8:30 p.m.




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

Rhapsody, American Folk Rhapsody No. 1 (1948)..................... Clare Grundman 

March, Aces High (1943)...................................................... Ronald A. Goodwin/Larry Daehn 

Novelty, The Typewriter (1950)................................................ Leroy Anderson/Floyd Werle

Mayor Dennis Hanwell, solo typewriter 

March memories for Kenny Bradley 

     E Pluribus Unum (1917) ........................................................... Fred Jewell 

     Our Director (1895) ................................................................ F.E. Bigelow

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 

Pasodoble, El Capeo .............................................................  Antonio Parera/Harold Walters 

Musical Selections, Les Misérables  (1973).................... Claude-Michel Schonberg/Warren Barker 

Trombone Characteristic, Bull Trombone (1924) ........................... Henry Fillmore 

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

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

In memory of Kenny Bradley, conductor, Litchfield Town Band