June 6, 2014

Medina Community Band

Complete information on the each concert, literature performed, soloists, and guest conductors, as well as personnel for each concert can all be found on our website:


This material covers the 1st concert – Friday, June 6th, 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, Lager & Vine, or 4 ladies and more. 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.

Cancellation of concerts due to the weather will be posted on the above website!

MEDINA:  Medina Community Band will begin the 2014 summer season, a celebration of 155 years of presenting community concerts in Medina, on Friday, June 6th, 2014, at 8:30p, in Medina’s Uptown Park Square Gazebo.  

The Medina Community Band is under the baton of conductor Marcus Neiman, starting his 42th summer concert series, with associate conductors Frank Cosenza, Edward Lichtenberg and Thomas Walker. The 60 minute concert will feature works by von Suppé, Fillmore, King, Marie, Javaloyes, Mayr, and Sousa.  Medina Community Band is sponsored by the Medina Community Band Association, a standing committee of the Medina Breakfast Kiwanis Club.

Featured instrumentalists will be: Mary Ann Grof-Neiman, clarinet soloist, and Sue McLaughlin and Amy Muhl, piccolo duet soloists.  Frank Cosenza will be featured guest conductor.  The ice cream social for the evening will be presented by Medina Boy Scot Troop 514.

Featured Soloists

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.

Amy Muhl, flute soloist, (pictured at left) originally from Lyme, Connecticut, moved to Ohio to study music education at Oberlin Conservatory in 1991.  She graduated in 1995 and taught orchestra for two years at Willard City Schools.  Amy received her masters of music education from Kent State University on a scholarship, in 1998.  She then taught instrumental music at Buckeye High School, in Medina (OH) and in the fall of 1999, became the elementary band teacher for Buckeye Local Schools.  In the fall of 2001, she began teaching elementary instrumental music at Central Intermediate School in Wadsworth.  Amy also plays flute/piccolo and piano and teaches private lessons, in addition to being a member of Medina Community Band and Sounds of Sousa Band.  Amy resides in Wadsworth with her husband Frank, and two children Kenneth and Eva.

Sue McLaughlin, flute soloist, pictured at right) has been a member of the Medina Community Band since 1994 and is a former student of Deidre McGuire.  While in school, she was a member of the band, orchestra and jazz band, playing clarinet and saxophone.  In addition to playing flute and piccolo in the Medina Community Band, Sue has also performed with Marcus Neiman & The Sounds of Sousa Band, Symphony West Orchestra, and several area churches.  She works at Southwest General Health Center Emergency Department in Brunswick.  Sue lives in Medina with her two cats, Truffles and Kokopelli.

Our Conductors

Marcus L. Neiman 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, (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, (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, 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.

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.”

Franz von Suppé (at left) was the father of the Austrian operetta which was to reach its summit with Johann Strauss II.  Like so many of his German compatriots, Suppé was a profound admirer of Offenbach.  His aim was to carry the techniques of opera-bouffe in Germany and Austria.  Actually, what he did was to create his own genre:  the operetta, which placed more stress on humor and less on satire; more on tenderness and sentimentality and less on burlesque; and in which the waltz became the favorite dance form.

His 1866 operetta Tantalusqualen is a spirited version of a Greek myth portraying the trials of Tantalus, a son of Zeus and the nymph Pluto. This transcription by Dale Grotenhuis captures the lighthearted melodies, playful rhythms, and vivacious flurries that make Suppé’s overtures perennial concert favorites of audiences everywhere!

King - 1929Karl L. King (pictured at right) 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.

Aces of the Air march, was copyrighted in 1942 and was one of a number of marches placed in his “Marching to Victory” band folio, which contained 15 other march selections.  The designation of “ace” began during World War I and was awarded to a pilot who was credited with five confirmed enemy planes shot down.

Although King wrote 300 works during a half-century of composing, he rarely ran out of notes.  He did; however, run out of titles and presumably asked the Barnhouse publishers to name this march and the other 15 which he wrote for the folio and each was given a patriotic title.  These folios were widely used by military bands throughout the second world war and, now, are very popular with school bands, community bands, and professional bands of all levels.

In correspondences dated April 22nd, and November 19th, 1942, King refers to his new “Marching to Victory” folios and indicated that he originally wanted to publish the folio himself; however, was unable to raise the funds and allowed Barnhouse to publish it for royality.  The sale of the folio helped King remain solvent during that time. (Thanks to Gene Milford for additional information and pointing me to the King website).

War March of the Tartars was published by Karl King Music House, Fort Dodge, Iowa) King was 47 years old when the march was written.  The march was dedicated to Wayne State University Tartars.

Tyrolienne Arie Varie for e-flat clarinet  by Ernest Marie  and arranged by Fonse.  Aside from the fact that Marie is believed to have been a French composer and that the piece is a theme and variation of what appears to be dance pieces, little is known about he composition.

According to the soloist, a Tyrolienne is a lively peasant dance from the Tyrolean mountains in Austria.  It is also a lively song composed for or in the style of this dance, characterized by the yodel.

Birds of the Forrest, Op. 75  by Sebastian Mayr was copyrighted in 1903 and originally written for two cornets and band as a polka de concert.  The work has been popular for two piccolos, as it will be performed by the community band.  The arrangement is by Laurendeau.

Alfredo Javaloyes López  (pictured at left) was born in 1865 in Eiche, a Spanish town not far from the Mediterranean port city of Alicante.  He joined an army band as a young man and by the turn of the century was bandmaster of the 33rd Sevilla Reiment garrisoned at Cartagena.  The band played an important part in the cultural activity of that historic commercial port, thename of which derives from the Carthaginians who settled there in 223 B.C.  Javaloyes composed a number of zarzuelas, religious pieces, mazurkas, and a variety of marches.  

El Abanico – The Fan was composed in 1910 and copyrighted the next year.  The title refers to a popular café in Cartagena which had a large table built in the shape of a fan. At the beginning of the century, a number of artists, poets, novelists, intellectuals, and musicans (including Javaloyes) reportedly gathered around the table for discussions and refreshments.  The music depicts the flamenco dancer, with her clicking heels, flashing eyelashes, and swishing fan.  Like many pasodobles, it is performed with much freedom and at a slower tempo than most traditional marches. (information attributed to Paul Bierley).

Big Band Showcase Bob Lowden has created a straight ahead collection of the best of the big band era.  Included in the medley are:  Undecided; I Can’t Get Started; How High the Moon; I’ll Remember April; and, Boogie Woogie Bugle Boy.

Undecided was written by Sid Robin and Charles Shaves and published in 1938.  The first recording was made by John Kirby and the Onyx Club Boys on October 28, 1938.

I Can’t Get Started was written by Vernon Duke with lyrics by Ira Gerhswin and first heard in the theatrical production Ziefield Follies of 1936 where it was sung by Bob Hope.

How High the Moon was a jazz standard with lyrics by Nancy Hamilton and music by Morgan Lewis. It was first featured in the 1940 Broadway review Two for the Show where it was sung by AlfredDrake and Francis Cornstock.  The earliest recorded hit verson was by Benny Goodman and his orchestra and recorded on February 7th, 1940.

I’ll Remember April was another jazz standard with music written by Gene de Paul with lyrics by Patricia Johnston and Dan Raye.  It made its debut in the 1942 Abbott and Costello comedy Ride ‘Em Cowboy, being sung by Dick Foran.  

Boogie Woogie Bugle Boy was written by Don Raye and Hughie Prince and recorded at Decca’s Hollywood studios on January 2nd 1941, nearly a year before the United States entered the second world war, but after the star of a peacetime draft to expand the armed forces in anticipation of American involvement.  The most remembered version was sung by the Andrew Sisters.

Robert Lowden (1920 - 1999) was a prolific composer and arranger whose music reached far beyond the borders of his native New Jersey. He penned over 400 advertising jingles in his long career, but orchestras and bands know him for his many arrangements of popular and show tunes. Lowden studied at Temple University to be a music educator. During World War II, he served in the U.S. Army Band. He returned to his birthplace, Camden, New Jersey, to teach during the 1950s. Lowden wrote for the Somerset label and its feature group, 101 Strings. He served as the lead arranger for the Philadelphia Pops and often took a bow at performances of his works by the Ocean City Pops at the Music Pier.

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.

Fillmore - Trombone FeaturesDusty Trombone (characteristic). The characteristic was published in 1923 by The Fillmore Brothers Company (Cincinnati, Ohio).  The subtitle was “he’s da next door neighor to Bones Trombone.”

Fillmore wrote 15 characteristics, or trombone smears, over a period of 21 years.  All were ragtime pieces reflecting the minstrel show idiom of vaudeville and all were deeply in the ragtime style.

Fillmore was often called the “Father of the Trombone Smear.”

SousaStars 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

Frank Cosenza, Ed Lichtenberg and Thomas Walker, associate conductors

Friday Evening, June 6th, 2016

8:30 p.m.


National Anthem, The Star Spangled Banner (1889) Francis Scott Key/John Philip Sousa

Overture, Tantalusqualen (Tantalus' Torment) (1866) Franz von Suppé/Dale Grotenhuis

March, Aces of the Air (1952) Karl L. King

Clarinet Solo, Tyrolienne Arie Varie for e-flat clarinet   Ernest Marie/L. Fonse

Mary Ann Grof-Neiman, soloist

Pasodoble, El Abanico (1911) Alfredo Javaloyes Lópes/Hume

Piccolo Duet, Birds of the Forest, Op. 75 (1903) Sebastian Mayr/L.P. Laurendeau

Sue McLaughlin and Amy Muhl, soloists

Popular, Big Band Showcase   arr. Bob Lowden

Frank Cosenza, conductor

March, War March of the Tartars (1938) Karl L. King

Trombone Characteristic, Dusty Trombone (1923) Henry Fillmore

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

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