This material covers the 4th concert – Friday, June 27th, 2014, 8:30p – 9:30p
Site: Medina’s Uptown Park Square (intersections of Rtes. 18, 42, Broadway and Liberty Street). We have been notified by the Mayor of Medina that there is to be no concert parking behind Marie's Cafe, Lager & Vine Gastro Pub & Wine Bar, or 4 Ladies & More Consignment Boutique. This includes lot between Lager and Vine and Four Ladies and more. The owner has posted it as private lot and tow away zone and cars will be towed.
MEDINA: Medina Community Band will continue with the 2014 summer season, a celebration of 155 years of presenting community concerts in Medina, on Friday, June 27th, 2014, at 8:30p, in Medina’s Uptown Park Square Gazebo.
The Medina Community Band is under the baton of conductor Marcus Neiman, celebrating his 42th summer concert series, with associate conductors Frank Cosenza, Edward Lichtenberg and Thomas Walker. The approximately 60 minute concert will feature works by Grundman, King, Mendelssohn, Lopez and Lopez, Erickson, Alvaraz, Galante, Berlin, and Sousa. Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club.
Featured gueat conductor will be Ohio composer and arranger Dr. Gene Milford and Frank Cosenza. Featured clarinet soloists will be Amy Dragga and Mary Ann Grof-Neiman in Mendelssohn’s Concertpiece forTwo Clarinets.
The ice cream social for the evening will be presented by the United Church of Christ.
Featured Soloists and Guest Conductor
Amy Dragga, clarinetist (pictured at left) was born and raised in the Medina area. A graduate of Highland High School and student of Vicki Smith and Mary Ann Grof-Neiman, Amy studied music education at The Ohio State University. She graduated from the University of Akron with a B.A. in English and achieved a Master of Library Science from Kent State University. Although music was always her first love, her career took a much different path. A fundraiser by trade, Amy has helped raise money for noteworthy organizations such as The Cleveland Orchestra, Cleveland Clinic, and Summa Health System. She currently serves as Director of Development for Cuyahoga Valley Scenic Railroad. She is also a brakeman on the railroad when time permits. Amy has performed with Medina Community Band since 1988 and the Sounds of Sousa Band. She resides in Bedford with her husband Bill. (June 2012).
Mary Ann Grof-Neiman, clarinetist (pictured at right) is currently the program administrator of the Cleveland Institute of Music’s Preparatory and Continuing Education Division. She received her bachelor of science in music education degree from the Bowling Green State University. Ms. Grof-Neiman has served as clarinetist for the Blossom Festival Band, Lakeland Civic Band, Lakeside Symphony Orchestra, Youngstown Symphony, Erie Philharmonic, the Chagrin Falls Studio Orchestra and currently performs with the Cleveland Philharmonic Orchestra, Lakewood Home Town Band, Medina Community Band, the Cleveland Winds, and is principal clarinetist with the Sounds of Sousa Band. She maintains private studios at Baldwin Wallace College through their Conservatory Outreach Program as well as her home in Medina. She has served the Ohio Music Education Association as a Woodwind Adjudicator for the last 25 years and is a member of AFM Local 4. She resides in Medina with her husband Marcus and their cats Dmitri and Sasha.
Featured Guest Conductor
Gene F. Milford, pictured at left, a native of Canton, Ohio, is a senior lecturer in music education at The University of Akron. An instrumental music teacher with over 30 years of experience including 23 at Edgewood High School in Ashtabula, Ohio, he conducted bands which consistently received superior ratings at Ohio Music Education Association sponsored events and performed at state and national professional conferences. Dr. Milford earned his Ph.D. in music education from Kent State University and was the recipient of a University Fellowship (1998). He has served as guest conductor, clinician, and adjudicator throughout the state, and his articles on music education have appeared in Triad, Dialogues in Instrumental Music Education and Contributions to Music Education. As a composer and arranger Dr. Milford has received numerous commissions, was the recipient of a grant from the Ohio Arts Council (1995) and an ASCAP award. Several of his compositions are currently on state required lists. He was the 2006 inductee to the Ohio Band Director’s Hall of Fame.
Marcus L. Neiman (pictured at left) has been conductor of Medina Community Band since the fall of 1972 and has served as conductor of the ensemble longer than any previous conductor in the ensemble’s history. He retired from posts held with the Medina County Schools Educational Service Center in 2010 (1980 through 2000 as fine arts consultant and 2000 through 2010 as director of fine arts tours and festivals). He was formerly director of bands at Medina High School (1972 through 1980).
He attended the Akron Public Schools, received his bachelor of science in music education degree from The University of Akron, master of music in music education degree from The University of Michigan, postgraduate hours at The Kent State University, and The University of Akron.
He was appointed as the interim assistant director of bands and administrator for the division of bands at the Hugh A. Glauser School of Music at Kent State University in May of 2010 and held that position through May of 2011. Currently, he teaches their “Music Teaching as a Profession” and “Instrumental Methods for Choral and General Music Majors” courses, supervises music education student teachers, and assists with outreach and recruiting. In addition, he has chaired the Ohio Music Education Association (OMEA) district six junior high-middle school large group adjudicated event for the 2013 and 2014 seasons at Kent State.
Prior to his arrival at Kent State University, Neiman was a part-time lecturer for the music department at Case Western Reserve University with major responsibilities of teaching their “Foundations of Music Education” course and supervising music education student teachers from April 2004 through May of 2010. He also supervised visual arts education student teachers for The University of Akron.
Neiman has served OMEA as a member of the governmental relations and adjudicated events committees, district president, vice-president, state chair for Music In Our Schools and public relations, state editor of their professional journal TRIAD, and state chair for their council of supervisors. He was elected by OMEAs membership to serve as state president from July 1, 1998 through July 1, 2000, and is currently OMEAs state historian. He was awarded OMEAs highest honor, the “Distinguished Service Award” on January 29th, 2010 at the Professional Development Conference in Cincinnati, Ohio. Neiman has been published in Music Educators National Conference journal MEJ, The Instrumentalist, The School Musician, The Music Educator, OMEAs TRIAD, FANFARE magazine, and Bands of America Newsletter. His first book, edited for MENC, entitled Life in the Music Classroom, was published by MENC in April 1992. He is listed in Marquis “Who’s Who in America (58th Edition).
Neiman has appeared with junior high/middle and high school, college and university, community bands, and American Federation of Musicians union professional bands as a guest conductor and in his characterization of famed bandmaster John Philip Sousa in Illinois, Indiana, Ohio, Michigan, New York, North Carolina, Pennsylvania, (state of) Washington, and Wisconsin. On October 15, 2004, Neiman conducted the Volga Concert Band in Saratov, Russia in a Sousa-style concert following a week’s residence in Moscow and Saratov. In addition to conducting the Medina Community Band (since 1972), he formed his own professional touring band -- The Sounds of Sousa Band -- (in 1992) to commemorate the 100th anniversary of the formation of Sousa's first non-military band. To this date he has performed for over 200,000 people in the role of Sousa.
Neiman’s goal has always been to preserve the presence and character of the traditional “town-band.” There are no auditions, membership dues or fees, or chair placements in the ensemble. Membership is open to adults who desire to continue their growth as instrumentalists. In addition, Neiman has encouraged composers to write for the band. Over the years the band has commissioned works by Douglas Court, Robert Feldbush, Stuart Ling, Edmund J. Siennicki, Tadd Russo, and David Shaffer.
Neiman is a member of numerous professional organizations including the National Association for Music Education and Ohio Music Education Association, National Band Association, Ohio Alliance for Arts Education and Ohio Citizens for the Arts. Neiman is a member of Kappa Kappa Psi (University of Michigan Nu chapter, and honorary Beta Pi at Kent State University). He is also a member of Omicron Delta Kappa (national leadership society – The University of Akron (Theta Circle).
He and his wife Mary Ann, who is a professional clarinetist and program administrator - preparatory and continuing education department for the Cleveland Institute of Music, reside in Medina with their two cats Sasha and Dmitri.
Frank T. Cosenza, assistant conductor, (pictured at right) received a bachelor of music degree from Bowling Green State University and a master of music degree from The University of Akron. He is a veteran band director of 32 years experience and retired from the West Geauga Local Schools where he was a four-time recipient of the Excellence in Education Award. He was called from retirement to serve as interim director of Athletic Bands/Concert Band at Kent State University Hugh A. Glauser School of Music for the 2012-2013 academic year where the Marching Golden Flashes performed in the MAC Conference Championship and the Go Daddy.com Bowl. His groups have performed at Severance Hall for the Northeast Ohio Wind Band Invitational, the Ohio Music Education Association State Conference, the American School Band Directors Association State Conference, Lincoln Center in New York City, and the Ohio School Boards Association Conference. Additionally, his groups have performed at the University of Akron Band Clinic, Hiram College, Cleveland Browns halftime, the Cleveland Indians and performances in Florida, Michigan, Georgia and Canada. Concert bands under his direction have received consistent superior ratings at large group contests. He has served on the Content Validation Panel for the National Board for Professional Teaching Standards and has been on the staff of American Music Abroad taking student musicians to Europe and performing in numerous countries. Mr. Cosenza is an elected member of Phi Beta Mu- International Bandmasters Fraternity and the American School Band Director’s Association. As a member of the Ohio Music Education Association, he has served as state treasurer/trustee, district president, member of music selection committees, contest chairman and current adjudicator for large group and solo & ensemble events. He has served as a clinician in Nevada and throughout Ohio and is currently an assistant director of the All-Ohio State Fair Band. Mr. Cosenza is co-principal trumpet with the W.D. Packard Concert Band and Big Band Sound of Warren, and has played with many artists including Frankie Avalon, The Manhattan Transfer, Wayne Newton, Johnny Mathis, Holiday On Ice, and the Ringling Bros. Barnum & Bailey Circus. He is a Conn-Selmer artist and maintains a private brass studio.
Edward Lichtenberg, assistant conductor, (pictured at left), Ed retired in 1998 as assistant superintendent for Midview Schools in Lorain County after 32 years in education. Before becoming assistant superintendent, Ed was a middle school administrator and director of bands at Midview, where his concert bands consistently earned superior ratings in OMEA Class “A.” Prior to working 30 years for Midview, Ed was director of instrumental music at Linden McKinley High School in Columbus.
Ed has been a member of the Medina Community Band since 1993. He was also active as an Ohio Music Education Association and as a staff member for the Ashland University Adult Music Camp. Ed has performed on clarinet or saxophone with Sounds of Sousa Band, the Lorain Pops Orchestra, the Doc McDonald Orchestra, the Tommy Dorsey Band, the Columbus Symphony Orchestra, and many small groups. He has also conducted concert bands throughout Europe for American Music Abroad.
Ed is a graduate of The Ohio State University and Kent State University, and has done post-graduate work at Ashland University, Bowling Green State University, Cleveland State University, and Kent State University. He studied clarinet with Oliver Shubert, George Waln, Robert Marcellus, and Donald McGinnis.
Ed has been married to his wife, Judy, for 45 years. Judy was supervisor of gifted education for Medina City Schools and retired in 2000. Their children, Rob and Beth (Burdick), are also active in music. Rob, a systems engineer for Level-3, has performed on trombone with the Medina Community Band and the Sounds of Sousa Band. Beth, a coordinator of gifted education for the Strongsville City Schools and North Royalton City Schools, has performed on flute with the Medina Community Band. Beth’s husband, Christopher, is assistant director of bands for North Royalton schools and has performed on trumpet with the Medina Community Band, the Sounds of Sousa Band, and many small brass ensembles.
Thomas L. Walker, assistant conductor, (pictured at right) is currently retired from teaching instrumental music in Arkansas where he taught for 37 years. He graduated from Marked Tree High School and later attended Arkansas State University in Jonesboro, AR where he received his bachelor of music education, master of music education, and specialist in community college teaching. He is currently working on his doctorate at ASU. Thomas also was a member of the Arkansas Army National Guard for 37 years. He spent his career in the Guard as a Field Wireman, Combat Engineer, Musician, First Sergeant, and Battalion Command Sergeant Major. Thomas is now living in Akron, OH with his wife, Rhonda Gail Davis.
Medina Community Band
The Medina Community Band traces its beginnings back to 1859, when a group of local residents got together (some with formal training - others without) to perform music for the community. That first "community band" was called The Medina Silver Cornet Band, probably since the instruments the musicians used were primarily "silver" cornets or percussion. Then, as now, the band performed on the public square. Medina's uptown park was set aside in 1817 and cleared in 1819. During the next two decades, the park was used as a parade ground for local militia and for town celebrations. In the 1840s, the square was enclosed with a white picket fence to keep cattle being driven to market off the square.
During the 155-years that the band has been in existence there have been 20 directors. Marcus Neiman serving the longest in that role. The band probably existed at the pleasure of the square's business community, who often funded the season and encouraged patrons to attend the concerts. The performance night has changed over the years, in most cases at the urging of the business community, and season concerts have been given on Sunday, Monday, Tuesday, Thursday, Friday, and Saturday evenings. Friday evenings have been the day of choice since the 1950s (or before).
It should be stated that the Medina Community Band was only one of many bands in Medina Community. Almost every town had its own band, and a just a few to mention were the Litchfield, Lodi, Seville, Spencer, and Wadsworth bands. There were also school bands (from both the city and county districts) and even a Boy Scout band (in Westfield Center). The Medina Community Band’s name evolved over the years as the Medina Silver Cornet Band, Medina Band, Grand Army of the Republic Band, Knights of Pythias Band, and now the Medina Community Band.
The size of the band varied from 15 to 20 musicians through the end of last century, into the 50 and 60s through the 1940-1960s, and now boasts almost 100 members on its personnel roster. It should be understood that the "band" did not always perform in the Gazebo. During those early years, the band played on various corners of the square. There was for a few years a band stand, which was destroyed by fire. The "bandstand" on the north side of the square was large enough to seat a 100 piece band (somewhat tightly, but would accommodate that size group), which the current Gazebo will only allow 30 to 35 players. The band itself determines "who will play" based on attendance at practice or business and vacation schedules.
It is interesting to note that members of the band travel from all parts of Northeastern Ohio to play with the group. Entire families (from grandparents to grandchildren are members of the band and it is most common to find husbands and wives, or parents and children playing in the group. The Medina Community Band's membership is open and there are no dues or auditions; however, members are expected to maintain a regular attendance. The band rehearses on Wednesday evenings September through July, providing three to four concerts during the fall, winter, and spring months both at home and on the road. The band also presents an 8 to 10 concert summer season in Medina's Uptown Park Gazebo.
Medina Community Band is sponsored by the Medina Community Band Association composed of members of The Medina Kiwanis Breakfast Club. Membership in Medina Community Band is open and there are no dues or auditions; however, members are expected to maintain a regular attendance.
The band rehearses on Wednesday evening from 7p until 9p in the band room of Highland High School (4150 Ridge Road, Medina) September through May; and, in the choral room of Medina High School (777 East Union Street, Medina) June through July. The band provides three to four concerts during the fall, winter, and spring months both at home and on the road. The band also presents their popular summer series every Friday, June through July, in Medina's Uptown Park Gazebo. Each year the band presents at a winter concert, annual "Sousa Style Concert," and the popular "Sousa Concert" at EHOVE Career Center (Milan, OH). For additional information on the 2013-14 concert season or Medina Community Band, contact Neiman at 330.725.8198 or MarcusNeiman@medinacommunityband.org.
Star Spangled Banner (John Stafford Smith, pictured at right, arranged by John Philip Sousa) uses lyrics from a poem written in 1914 by Francis Scott Key – pictured at right, a then 35-year-old amateur poet, after seeing the bombardment of Fort McHenry at Baltimore, Maryland, by Royal Navy ships in Chesapeake Bay during the War of 1812.
The poem was set to the tune of a popular British drinking song, written by John Stafford Smith for the Anacreontic Society, a London social club. Set to Key’s poem and renamed “The Star-Spangled Banner,” it would soon become a well-known American patriotic song. It was recognized for official use by the United States Navy in 1889 and the President in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover.
Before 1931, other songs served as the hymns of American officialdom. Most prominent among them was “Hail, Columbia” which served as the de facto national anthem from Washington’s time and through the 18th and 19th centuries. Following the War of 1812 and subsequent American wars, other songs would emerge to compete for popularity at public events, among them “The Star Spangled Banner.”
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 of the last half of the 20th Century. 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.
The Blue and the Gray: Civil War Suite - Clare Grundman was composed in 1961 for the centennial observation of the American Civil War. Nearly all of the selections in this suite were composed during war years except for "The Battle Hymn of the Republic" which was written a few years before. "The Battle Cry for Freedom" and "Marching Through Georgia" were popular tunes in the North while "Dixie", "The Bonnie Blue Flag" and "The Yellow Rose of Texas" were popular with the Confederates. The songs "Kingdom Coming", "Tenting Tonight" and "Aura Lee" were sung and loved by both sides. The treatment of these well-known melodies effectively portrays the emotions of a divided nation.
Karl Lawrence King (1891-1971), pictured at right in a 1914 picture, one of the most popular march composers of all time, had a distinguished career as a euphonium player and conductor with community and circus bands. He began composing at the age of fourteen and two years later had his first compositions accepted for publication. Today he is best known by the very difficult marches he composed for circus bands, for instance, Barnum e!r Bailey's Favorite and Robinson's GrandEntree. As well as these famous circus marches, King also composed marches for professional caliber community bands (including Carrollton and The Melody Shop) and university bands (Michigan On Parade and Hawkeye Glory, among others). In addition, he wrote three collections of marches (composed in the 1940s and '50s) for the emerging school band movement. These marches, such as Lexington, Aces of the Air, Alamo, and 45 more, were written in the recognizable King style but avoid many of the technical difficulties of his "heavy" grade marches.
The Huntress. Karl King spent nine seasons touring with circus bands, first as a baritone horn player and then as conductor and musical director He spent one season each with the Robinson Famous Shows (1910), Yankee Robinson Circus (1911), Sells-Floro Circus (1912) and Barnum & Bailey's Circus (1913, 1917, 1918). For the 1914 season he was offered the leadership of the Sells-Floto Circus band and remained in that position for three years. During the 1914 and 1915 touring seasons, Sells-Floto was combined with the "Buffalo Bill" Wild West Show, and King, whose duties included distributing mail each day, became well-acquainted with William F. "Buffalo Bill" Cody, who he considered a great gentleman and master showman. King composed music especially for the show's specialty acts, including Passing of the Red Man (dedicated "to my esteemed friend, Co. W F. 'Wild Bill' Cody"), On the Warpath, Wyoming Days, for the cowboys and Gallant Zouaves (Zouaves were French North African Infantry noted for their colorful uniforms). In the Buffalo Bill Show, they performed on horseback and played bugles.
Whether or not The Huntress was composed for the Wild West Show or another act is a matter of speculation as the work contains no dedication, which is unusual for his professional grade compositions. When asked by band historian Robert Hoe about the title, he replied in a 1970 letter, "no special story." The work was copyrighted on September 25, 1916, which would indicate that it had been composed during the 1916 season, after the Buffalo Bill Show separated from the circus.
One of his most popular marches, The Huntress has the expected melodic interest and rhythmic vitality. Unique to this march is the "ragtime" woodwind obligato for the flutes and clarinets in the trio. Ragtime was a popular style at this time and King had composed characteristic pieces or "Two-Steps" in this style; Ragged Rozey(1913), Georgia Girl (1914), Broadway One-Step, Kentucky Sunrise, and The Walking Frog (all from 1919). (Gene Milford)
Felix Mendelssohn (pictured at left), the grandson of the philosopher Moses Mendelssohn, was recognized early as a musical prodigy, but his parents were cautious and did not seek to capitalize on his talent. Early success in Germany, where he also revived interest in the music of Johann Sebastian Bach, was followed by travel throughout Europe. Mendelssohn was particularly well-received in Britain as a composer, conductor and soloist, and his ten visits there – during which many of his major works were premiered – form an important part of his adult career.
His Concertpiece, No 2 for Two Clarinets, was composed in 1832, and was originally for clarinet and Basset Horn. Written as bravura pieces, each one is a self-contained mini concerto with three movements. Heinrich Baermann and his son Carl were two of the great clarinet virtuosos of the 19th century, their artistry celebrated the length and breadth of Europe. To their friendship with Felix Mendelssohn we owe this composition.
An interesting aside, retold by Carl Baermann, who reports that the alternative title of the first piece, ‘grand duet for sweet yeast dumpling and cream puff, clarinet and basset-horn’, stems from a culinary duel fought between him and Mendelssohn in Berlin at the end of 1832. By preparing yeast dumplings and cream puffs, Baermann apparently persuaded Mendelssohn to respond to a commission that his father had given him some time earlier, encouraging him to slave away at his ‘piano stove’, while he himself busied himself in the kitchen.
Frozen: Original Motion Picture Soundtrack is the soundtrack to the 2013 Disney animated film Frozen. The soundtrack features 10 original songs written and composed by Kristen Anderson-Lopez and Robert Lopez, (pictured at left) and twenty-two score pieces composed by Christophe Beck. It features the song "Let It Go" (film version performed by Idina Menzel; single version performed by Demi Lovato), which received critical acclaim, including an Academy Award win for Best Original Song and a Critics' Choice Award for Best Song, as well as a Golden Globe Award nomination for Best Original Song.
Canadian composer Christophe Beck (pictured at right) started piano lessons at five, and by eleven he was learning Bee Gees songs by ear and performing with his first-ever band, the unfortunately-named Chris and The Cupcakes. During high school he studied piano, saxophone, and drums, and wrote many tender 80's love ballads.
While studying music at Yale, Beck wrote two musicals with his brother Jason (a.k.a. Gonzales, the Paris-based pianist-producer-TV Host-prankster), as well as an opera based on "The Tell-Tale Heart" by Edgar Allen Poe.
Upon graduation, Beck moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with Jerry Goldsmith. A personal recommendation from the legendary Buddy Baker, head of the USC Music Department, led to his first assignment for a Canadian TV series called "White Fang." Several TV series later, he was asked to score the second season of WB Network's "Buffy the Vampire Slayer". Beck received the Emmy Award for Outstanding Music Composition for his score to the "Buffy" episode, "Becoming, Part 1."
In 2000, the cheerleading comedy "Bring It On" launched Beck's film career, which has included such credits as "Under the Tuscan Sun," "Saved," "The Pink Panther," "We Are Marshall," "Year of the Dog," "What Happens in Vegas," and more recently, "The Hangover," now the highest-grossing R-rated comedy of all time.
Frozen was produced by Walt Disney Animation Studios and released by Walt Disney Pictures. It is the 53rd animated feature in the Walt Disney Animated Classics series. Inspired by Hans Christian Andersen's fairy tale The Snow Queen, the film tells the story of a fearless princess who sets off on an epic journey alongside a rugged mountain man, his loyal pet reindeer, and a hapless snowman to find her estranged sister, whose icy powers have inadvertently trapped the kingdom in eternal winter.
Frozen underwent several story treatments for years, before being commissioned in 2011, with a screenplay written by Jennifer Lee, and both Chris Buck and Lee serving as directors. It features the voices of Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, and Santino Fontana.
Two editions of the soundtrack to Frozen were released by Walt Disney Records on November 25, 2013: a single-disc regular edition, and a two-disc digipak deluxe edition (containing original demo recordings of songs and score compositions, unused outtake recordings, and instrumental versions of the film's main songs). On October 21, 2013, the soundtrack's lead single, a cover of "Let It Go" by Demi Lovato was released. Subsequent releases have been accompanied by foreign language translations of "Let It Go".
The album received widespread critical acclaim from music critics and debuted at No. 18 on the Billboard 200 chart. As of May 7, 2014, the soundtrack has sold over 2.6 million copies in the U.S. and has topped the Billboard album chart for thirteen non-consecutive weeks. The album has been certified Platinum by the Recording Industry Association of America, and peaked at No. 1 on the aforementioned chart, becoming the fourth soundtrack album from an animated film to reach that milestone. (Wikipedia)
Having been born during the last year of the American Civil War, Barnhouse personally knew many of the veterans and surviving family members of that disastrous conflict. The battle of Shiloh, with huge military blunders on both sides, turned out to be the first of the large battles and, by far, the bloodiest of the Civil War. There were over 19,000 casualties from both sides in the two-day battle. The name comes from the Shiloh Church, a meeting house southwest of the community of Pittsburg Landing, Tennessee. On Sunday, April 6, 1862, Confederate General A.S. Johnston made a daring, surprise attack, routing the Union troops commanded by the then unknown Union General Ulysses S. Grant. Johnston's death and the arrival of Union reinforcements under General D.C. Buel forced the retreat of the southern forces.
It was the mid-1800's when C. L.''Charley'' Barnhouse, (pictured at left) an 18 year old self-taught cornet player, left his West Virginia home and joined the band on one of the many small musical comedy roadshows of the day. His travels ended in Iowa where he worked as a machinist and directed bands in a number of Southern Iowa towns. In addition, he composed music for band with aspirations of publishing his own music; in 1886, the C. L. Barnhouse Co. was founded. He began his catalog by writing most of the music himself. From his prolific pen flowed wonderful marches, waltzes, rags, and concert numbers which were very popular with the community bands of the day. Now, Mr. Barnhouse is remembered for the publishing business he founded, but we are fortunate that through the re-publication of several of his best-known marches, the genius of this pioneer in the band business is being rediscovered. In the early years, Barnhouse called his publishing business HARMONY HEAVEN, and later wrote a march by the same name. (Barnhouse website)
Frank Erickson (pictured at right) was born on September 1, 1923, in Spokane, Washington and died on October 21, 1996. He began to study music – playing piano and trumpet – and compose while in high school. During World War II, he arranged for army bands and, following the war, worked as a dance band arranger while studying composition with Mario Castelnuovo-Tedesco. He received degrees from the University of Southern California, where he studied with Halsey Stevens. He taught at the University of California at Los Angeles and San Jose State College. Erickson has been music editor for several music publishers and he has more than 250 compositions and arrangements for band to his credit. Over 150 of his compositions have been published, including: Balladair, Citadel March, Fantasy for Band, First Symphony for Band, and, Second Symphony for Band.
Balladair is in a modified song form, AABCAA. This form is a hybrid of the standard song form, which has a bridge (or B section) that takes one back to the main melody. In this case, an additional phrase is placed between the returns of the melody, making the work longer and more interesting. Melodically and harmonically, Erickson is firmly rooted in the traditional diatonicsystem and has a gift for writing beautiful melody. The main melodic idea of Balladair has a large compass, extending an octave and a third. To create further interest in a relatively simple composition, Erickson uses moving inner lines to give the arrangement a fuller sound. Also, he skillfully uses doublings to make the band sound full and complete in its instrumentation. (excerpt from Teaching Music Through Performance in Band)
Suspiros de España (literally, “Sighs of Spain”) was written in the Spanish city of Cartagena in 1902. Although written as an instrumental march, it has become popular to add lyrics to the tune and it has been sung and recorded by major Spanish popular singers. The sentiment of the lyrics typically expresses the beauty of Spain and the desire of Spaniards away from home to return to its splendor. One version declares: “Glorious land of my love, blessed land of perfume and passion: Spain, in every flower at your feet sighs a heart. Woe is me! Why do I wander, Spain, from you?”
The music itself is a “pasodoble,” a type of Spanish popular march that literally translates as “two-step.” Steeped in the history of bullfighting, pasodobles are played during the entrance of the bullfighters and just before the kill. The music of Suspiros de España is, as one would expect, infused with Spanish-tinged melodies, harmonies, and rhythms.
Antonio Álvarez was a Spanish pianist and composer. Orphaned at a young age, Álvarez and his brother studied music at the National School of Music in Madrid. Álvarez was a virtuoso pianist, but he began focusing more on composition after graduation and wrote more than 20 operettas. He moved to Cartagena in 1897 and resided there until his death.
A Childhood Remembered. A native of New York, Rossano Galante (pictured at left) studied trumpet performance at the State University of New York at Buffalo. He went on to study film scoring at the University of Southern California, where he studied with composer Jerry Goldsmith (known for soundtracks to Alien, Gladiator, and the Star Trek movies). Galante’s film credits as composer or orchestrator include Big Fat Liar, Scary Movie 2, and Tuesdays with Morrie. He has received commissions from the Amherst Chamber Orchestra, the Hofstra University Symphonic Band, the Nebraska Wind Symphony, and the Syracuse Symphony Youth Orchestra.
A Childhood Remembered was performed at the 2013 Midwest Band Clinic by the Lockport Township High School Wind Symphony of Illinois. According to the composer’s program notes, the piece “was inspired by my late partner Douglas Howard Vought, a very gentle, kind-hearted man…Although the music evokes joy, energy, innocence, and hope, there is the slightest undercurrent of sadness…I believe all of us would like to re-live those joyous moments of our childhood, so close your eyes and let the music take you back to that simple time of life.”
John Philip Sousa wrote the most famous American military marches of all time, including "Stars and Stripes Forever," earning him the nickname "the March King"; he was also known as a great bandleader, and organized the famed concert and military group, Sousa's Band. Born in Washington, D.C., on November 6, 1854, Sousa followed in the footsteps of his father, a musician in the U.S. Marine Corps, and enlisted by the age of 14. Before this, Sousa had studied violin with John Esputa. While active in the Marines, he composed his first march, "Salutation."
Around the age of 16, Sousa began studying harmony with G.F. Benkert, then worked as a pit orchestra conductor at a local theater, followed by jobs as first chair violinist at the Ford Opera House, the Philadelphia Chestnut Street Theater, and later led the U.S. Marine Corps Band (1880-1992). Although most famous for his marches, Sousa composed in other styles as well, including a waltz, "Moonlight on the Potomac"; a gallop, "The Cuckoo" (both in 1869); the oratorio "Messiah of the Nations" (1914); and scores for Broadway musicals The Smugglers (1879), Desiree (1884), The Glass Blowers (1893), El Capitan (1896; which was his first real scoring success), American Maid (1913), and more.
Sousa formed his sternly organized concert band in 1892, leading them through numerous U.S. and European tours, a world tour, and an appearance in the 1915 Broadway show Hip-Hip-Hooray. Sousa's Band also recorded many sides for the Victor label up through the early '30s. His most famous marches include "The Stars and Stripes Forever" (1897), "U.S. Field Artillery March," "Semper Fidelis" (written in 1888, it became the Marine Corps anthem), "Washington Post March" (1889), "King Cotton" (1895), "El Capitan" (1896), and many more. In addition to writing music, Sousa also wrote books, including the best-seller Fifth String and his autobiography, Marching Along. Actor Clifton Webb portrayed Sousa in the movie about his life entitled Stars and Stripes Forever. The instrument the sousaphone was named after this famous composer and bandleader. ~ Joslyn Layne, All Music Guide
Gliding Girl Tango. According to a story circulated among former Sousa Band members, Sousa’s daughter Priscilla gave him the idea for his composition. She had just returned from Europe, reporting that the tango was the rage there. She gave him a demonstration by gliding around the room, and he captured her graceful motions in music. The piece as composed in 1912.
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 an over average rating for a new Sousa march. Yet, its popularity grew as Mr. Sousa used it during the Spanish-American War as a concert closer. Coupled with his Trooping of the Colors , the march quickly gained a vigorous response from audiences and critics alike. In fact, audiences rose from their chairs when the march was played. Mr. Sousa added to the entertainment value of the march by having the piccolo(s) line up in front of the band for the final trio, and then added the trumpets and trombones join them on the final repeat of the strain.
The march was performed on almost all of Mr. Sousa’s concerts and always drew tears to the eyes of the audience. The author has noted the same emotional response of audiences to the march today. The march has been named as the national march of The United States.
There are two commentaries of how the march was inspired. The first came as the result of an interview on Mr. Sousa’s patriotism. According to Mr. Sousa, the march was written with the inspiration of God.
“I was in Europe and I got a cablegram that my manager was dead. I was in Italy and I wished to get home as soon as possible, I rushed to Genoa, then to Paris and to England and sailed for America. On board the steamer as I walked miles up and down the deck, back and forth, a mental band was playing ‘Stars and Stripes Forever.’ Day after day as I walked it persisted in crashing into my very soul. I wrote it on Christmas Day, 1896.”
The second, and more probable inspiration for the march, came from Mr. Sousa’s own homesickness. He had been away from his homeland for some time on tour, and told an interviewer:
“In a kind of dreamy way, I used to think over old days at Washington when I was leader of the Marine Band ... when we played at all public functions, and I could see the Stars and Stripes flying from the flagstaff in the grounds of the White House just as plainly as if I were back there again.”
“Then I began to think of all the countries I had visited, of the foreign people I had met, of the vast differences between America and American people and other countries and other peoples, and that flag of ours became glorified ... and to my imagination it seemed to be the biggest, grandest, flag in the world, and I could not get back under it quick enough.”
“It was in this impatient, fretful state of mind that the inspiration to compose ‘The Stars and Stripes Forever’ came to me.”
Irving Berlin (pictured at right). With a life that spanned more than 100 years and a catalogue that boasted over 1000 songs, Irving Berlin epitomised Jerome Kern's famous maxim, that "Irving Berlin has no place in American music - he is American music".
Irving Berlin was born Israel Berlin in May 1888. When his father died, Berlin, just turned 13, took to the streets in various jobs, working as a busker, singing for pennies, then as a singer / waiter in a Chinatown café. In 1907 he published his first song, Marie From Sunny Italy and by 1911 he had his first major international hit, Alexander's Ragtime Band.
Over the next five decades, Irving Berlin produced an outpouring of ballads, dance numbers, novelty tunes and love songs that defined American popular song for much of the century. A sampling of just some of the Irving Berlin standards included: How Deep Is the Ocean?, Blue Skies, White Christmas, Always, Anything You Can Do, I Can Do Better, There's No Business Like Show Business, Cheek To Cheek, Puttin' On The Ritz, A Pretty Girl Is Like A Melody, Heatwave, Easter Parade, and Lets Face The Music and Dance. In a class by itself is his beloved paean to his beloved country, God Bless America.
God Bless America. The time was 1940. America was still in a terrible economic depression. Hitler was taking over Europe and Americans were afraid we'd have to go to war. It was a time of hardship and worry for most Americans.
Kate was also very patriotic. It hurt her to see Americans so depressed and afraid of what the next day would bring. She had hope for America, and faith in her fellow Americans. She wanted to do something to cheer them up, so she went to the famous American song-writer, Irving Berlin and asked him to write a song that would make Americans feel good again about their country.
When she described what she was looking for, he said he had just the song for her. He went to his files and found a song that he had written, but never published, 22 years before - way back in 1917. He gave it to Kate Smith and she worked on it with her studio orchestra. She and Irving Berlin were not sure how the song would be received by the public, but both agreed they would not take any profits from God Bless America. Any profits would go to the Boy Scouts of America. Over the years, the Boy Scouts have received millions of dollars in royalties from this song.
The Medina Community Band
Marcus Neiman, conductor
Frank Cosenza, Ed Lichtenberg and Thomas Walker, associate conductors
Friday Evening, June 27th, 2014