June 28, 2013

Cancelled due to rain.

Medina Community Band 

This material covers the 4th concert – Friday, June 28th, 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 28th, 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. Soprano soloist Marla Berg will be featured and our horn section will be the featured instrumental ensemble.  The 60 minute concert will feature works by Grundman, Elliott, Bennett, King, Adkins and Epworth, Ledesma, and Sousa.  Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club.

The ice cream social for the evening will be presented by St. Paul Episcopal Church.


Marcus Neiman (pictured at right) 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 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 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 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 new wife, Rhonda Gail Davis.


Marla Berg (pictured at right) is known as a versatile performer appearing in concert, opera, operetta, and musical theater. Her opera engagements include performances with Opera Cleveland, Glimmerglass Opera, Central City Opera, Anchorage Opera, Fort Worth Opera, Kansas City Opera and Lyric Opera Cleveland.  Her roles include: Violetta in La Traviata, Pamina in Die Zauberflote, Constanze in Die Entfuhrung aus dem Serail, Miss Wordsworth in Albert Herring , Lucia in Lucia di Lammermoor and Hanna in The Merry Widow

She includes almost all of the Gilbert and Sullivan heroines in her repertory.  In concert, she has appeared with The Cleveland Orchestra The American Composers' Orchestra, the Denver Chamber Symphony, the Rockford Symphony and the Ohio Chamber Orchestra.  Ms. Berg's musical theater appearances have included Maria in West Side Story, Julie in Carousel, and Fiona in Brigadoon.  Ms. Berg's recent appearances include: Desiree in A Little Night Music with Opera Cleveland, an appearance with Verlezza Dance in a work she commissioned, choreographed by Sabatino Verlezza: "Bachianas Brasileiras".  Most recently, she has appeared with the Ashland Symphony in Carmina Burana.  Ms. Berg is an Assistant Professor of voice and Director of Opera at Kent State University.

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 (pictured at left) 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. 

Second American Folk Rhapsody - Dedicated to Manley Whitcomb and the Florida State University Band, this rhapsody was composed in 1959.  American folk tunes are “Billy Boy,” “Skip to My Lou,” and “Shenandoah.” The form generally followed is that of a short introduction, statement of the folk tunes with variations, and a short but stately coda.

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

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

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

David Bennett’s The Four Hornsmen was written in 1948.  The piece contains a mixture of styles and moods and features our horn section.

Karl L. King (pictured at left) joined the circus when he was 19 years old at a time when the circus world was in great need for composers to write special music for the various acts. King’s unique ability and uncanny knack allowed him to write and arrange just to the needs of the circus world.

King played an important role in the Iowa Band Law, state legislation giving municipalities the right to levy a small tax to support a municipal band.  He was also one of the first march composers to write special music for the growing school band programs in America. In addition to writing marches, he also wrote overtures, waltzes, and other selections that could be used for individual concerts or massed band performances.

Karl King’s march Robinson’s Grand Entry March was published in 1911 by the C.L. Barnhouse Company.  Karl had joined the Robinson’s Famous Circus the year before, in 1910, as a baritone player.  Over the next several years, he played baritone with the Yankee-Robinson (1911), Sells-Floto (directed by W.P.  English, in 1912), and the Barnum and Bailey’s Circuses (directed by Ned Brill, in 1913). 

Circus bands were the live music accompanying the acts presented by the circus. Composers like King, Fillmore, English, and others, composed new styles of music specifically for the genre.  Fanfares and grand entries (Like Robinson’s Grand Entry) brought the acts the center ring to perform; fast paced screamers accelerated the action happening while two-steps and cakewalks slowed the pace.  Yet, marches were the stable form used by circus bands.

June Twilight is a delightful waltz offering by the great march composer.

Giacomo Puccini (pictured at right) has been called the greatest composer of Italian opera after Verdi. While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the 'realistic' verismo style, of which he became one of the leading exponents.

La Bohème is an opera in four acts, composed by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger. The world premiere performance of La bohème was in Turin on February 1st, 1896 at the Teatro Regio and conducted by the young Arturo Toscanini. Since then, La bohème has become part of the standard Italian opera repertory and is one of the most frequently performed operas worldwide. 

La bohème is based on Henri Murger's novel, Scènes de la vie de bohème, a collection of vignettes portraying young bohemians living in the Latin Quarter of Paris in the 1840s. Although usually called a novel, it has no unified plot. Like the 1849 play by Murger and Théodore Barrière, the opera's libretto focuses on the relationship between Rodolfo and Mimì, ending with her death. Also like the play, the libretto combines two characters from the novel, Mimì and Francine, into a single Mimì character. Early in the composition stage Puccini was in dispute with the composer Leoncavallo, who said that he had offered Puccini a libretto that he had completed and that he felt that Puccini should defer to him. Puccini responded that he had had no idea of Leoncavallo's interest and that having been working on his own version for some time, he felt that he could not oblige him by discontinuing with the opera. Leoncavallo completed his own version in which Marcello was sung by a tenor and Rodolfo by a baritone. It was unsuccessful and is now rarely performed.

Act II.  As the men and Mimì dine at the cafe, Musetta, formerly Marcello's sweetheart, arrives with her rich (and elderly) government minister admirer, Alcindoro, whom she is tormenting. It is clear she has tired of him. To the delight of the Parisians and the embarrassment of her patron, she sings a risqué song (Musetta's waltz: Quando me'n vo' – "When I go along"), hoping to reclaim Marcello's attention. The ploy works; at the same time, Mimì recognizes that Musetta truly loves Marcello. To be rid of Alcindoro for a bit, Musetta pretends to be suffering from a tight shoe and sends him to the shoemaker to get her shoe mended. Alcindoro leaves, and Musetta and Marcello fall rapturously into each other's arms. 

George Gershwin (pictured at left) was essentially self-taught. He was first a song plugger in Tin Pan Alley and an accompanist. In his teens he began to compose popular songs and produced a succession of musicals from 1919 to 1933 (Lady, be Good!, 1924; Oh, Kay!, 1926; Strike up the Band, 1927; Funny Face, 1927; Girl Crazy, 1930); the lyrics were generally by his brother Ira (1896 1983).  His musical Rosalie (1928) was based the play by William Anthony McGuire and Guy Bolton (written for a Romberg/Gershwin Broadway musical, but filmed with all new songs by Cole Porter!

The stage Rosalie, produced by Forenz Ziegfeld, ran for 335 performances beginning January 10, 1928 at the New Amsterdam Theatre. Sigmund Romberg composed eight numbers for the show and George Gershwin seven. (Gershwin's best song in the score was How Long Has This Been Going on?) The original Rosalie was Marilyn Miller, the undisputed queen of the American musical in the twenties. Her Lt. Richard Fay was Oliver McLennan, and Frank Morgan was the original king.

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

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

The band arrangement was done by Jay Bocook. 

Florencio Rafael Ledesma (pictured at left) and Salvador Oropesa. Matador Domingo González “Dominguín” asked Oropesa to compose a pasodoble for bullfighter Domingo Ortega that would match the figure of bullfighting.  With the collaboration of Florencio Ledesma, was concluded within days the order, whose premiere took place one night in 1931 at the Café de Atocha Band by the master himself Ortega ran daily in that establishment.

The night of the premiere, at the bullfight, both bullfighter Domingo Ortega and the new pasodoble were greeted with joy and excitement. 

Charles A. Wiley did the arrangement of this composition.

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

According to Herb Block, Henry got into a conflict with his father (who composed and published liturgical music in Cincinnati) over the kind of music that Henry was composing.  Henry liked march music and said, “I will huff and puff and I will write my own music.” Hence, the name Will Huff.

Fillmore was a true free spirit.  He was brought up by a conservative family in a conservative town.  When he couldn’t do as he wished, he ran away with a circus and played trombone in the circus band.  To top it all off, he married an exotic dancer

Teddy Trombone  (Characteristic).  As with almost all of Fillmore’s characteristics (trombone smears), Teddy Trombone allows the trombone section to romp around the instrument and have a wonderful time in the process.  It was the first of the series of charateristics written by Fillmore, which began in 1908 with Miss Trombone and concluded in 1929 with Ham Trombone. Teddy Trombone, written in 1911, was the second of the series.

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.”

Antonin Dvořák’s (pictured at right) Symphony No. 9 in e minor, From the New World, Op. 95, probably best know as the New World Symphony, was composed in 1893, he the composer was director of the National Conservatory of Music of America.  It is, by far, his most popular symphony,and one of the most popular in the Romantic repertoire. 

The second movement, Largo, features a hauntingly beautiful English horn solo in the orginal orchestral setting.  The lyrics to “Goin’ Home,” were actually written by one of Dvořák’s pupils, William Arms Fisher, who adapted and arranged the Largo theme and added his own words.  Fisher wrote the following in the published Oliver Ditson Company sheet music regarding the music: The Largo, with its haunting English horn solo, is the outpouring of Dvorak's own home-longing, with something of the loneliness of far-off prairie horizons, the faint memory of the red-man's bygone days, and a sense of the tragedy of the black-man as it sings in his "spirituals." Deeper still it is a moving expression of that nostalgia of the soul all human beings feel. That the lyric opening theme of the Largo should spontaneously suggest the words 'Goin' home, goin' home' is natural enough, and that the lines that follow the melody should take the form of a negro spiritual accords with the genesis of the 


The Medina Community Band 

Marcus Neiman, conductor

Ed Lichtenberg and Tommy Walker, associate conductors 

Marla Berg, featured vocal soloist

Our Horn section, featured ensemble

Friday Evening, June 28th, 2013

8:30 p.m.




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

Rhapsody, American Folk Rhapsody No. 2 (1959)..................... Clare Grundman 

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

Horn Quartet, The Four Hornsman ..........................................  David Bennett 

Featuring our horn secction 

March, Robinson’s Grand Entry  (1911).......................................... Karl L. King 

Vocal solos, 

     Quando me'n vo (Musetta's Waltz) from La Bohéme  (1896) .. Giacomo Puccini/Leonard B. Smith 

    How Long Has This Been Going On? (from Rosalie) (1928).. George Gershwin/Warren Barker 

Marla Berg, vocal soloist 

Waltz, June  Twilight  ...............................................................  Karl L. King 

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

Pasodoble, Domingo Ortega  (1931) Florencio Rafael Ledsma & Salvador Oropesa/Charles A. Wiley 

Trombone Characteristic, Teddy Trombone (1911) ....................... Henry Fillmore 

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

Patriotic, Goin’ Home (1893)...................................................... Antonin Dvořák/Jari A. Villanueva