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DTSTART;VALUE=DATE:20200710
DTEND;VALUE=DATE:20200711
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SUMMARY:Armstrong Neighbors - 150th Anniversary Season
DESCRIPTION:Celebrating 150 Years of Making Music\n1859 through 2010\n \nMedina Community Band was honored to have been the subject of a featured Armstrong Cable Television feature in 2010 celebrating the 150th year of making music for our community.  Andrew Knode produced and narrated the production that featured audience members\, band members\, and Maestro Neiman. \nPermission to use the YouTube video has been provided through the efforts of Sam Pietrangelo\, community marketing manager with Armstrong. \n  \n  \n  \n  \n \n  \n  \n 
URL:https://medinacommunityband.org/events/armstrong-neighbors-150th-anniversary-season/
CATEGORIES:Virtual Concert
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DTSTART;VALUE=DATE:20200704
DTEND;VALUE=DATE:20200705
DTSTAMP:20260423T194004
CREATED:20200610T211421Z
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SUMMARY:Virtual Concert - Tribute to Sousa
DESCRIPTION:Medina:  The Medina Community Band\, under the baton of Marcus L. Neiman\, presented their Spring Concert for 2004 on Sunday\, February 8. With Jeffrey Kehnle serving as narrator\, Christopher Burdick\, on the band director staff at North Royalton City Schools\, was featured cornetist.  Guest conductors were Dr. David Meeker\, director of bands at Cleveland State University.  The concert was a “Tribute to Sousa” concert and performed in that style. \n\nhttps://medinacommunityband.org/wp-content/uploads/2020/06/01-MCB-2-8-04-intro.m4a\nJeffrey B. Kehnle served for a long time as narrator of Medina Community Band.  His wife\, Jackie was a member of the saxophone section.  Jeff passed away to his new heavenly home October 20\, 2012 with his razor sharp mind\, delightful wit and gentle kindness still with him all the way. He was born in Louisville\, Kentucky on August 19\, 1941 to the late William Edward and Helen (Moe) Kehnle and was raised in Nashville\, Tennessee. He graduated from George Peabody College for Teachers (now the education department of Vanderbilt). He taught English in Cincinnati\, Ohio and then entered the seminary at the Hamma School of Theology at Wittenberg University and received his Master of Divinity. His first parish was in Wilmington\, Ohio and his second parish was Our Savior Lutheran Church in Hinckley\, Ohio. He was also the interim Medina County Auditor\, Medina City Service Director and he retired from FirstMerit Bank. He was a voracious reader and an active community volunteer throughout the county. Jeff enjoyed researching Medina Community Band’s history to construct his narrations.  It was an honor to have him as a friend and narrator of the band. \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/02-Star-Spangled-Banner.m4a\nFrancis Scott Key’s The Star Spangled Banner often appeared on the program of early Medina Community Band concerts.  Prior to 1931\, when it became the official national anthem\, it was performed at the end of concerts.  Following that date\, the anthem was moved to start the concerts. \n\nOverture to “Il Guarany” (Antonio Carlos Gomez/Herbert L. Clarke) \nAntonio Carlos Gomez was a highly talented child of Portuguese descent. His father\, a bandmaster and father of 25 children\, taught Carlos to play several instruments. In 1860\, he won a composition prize for which the Brazilian government paid for his musical study at the Milan Conservatory in Italy. His fame lies chiefly with his opera\, Il Guarany\, though he composed other important works as well. He died of cancer of the tongue (he was an ardent cigar smoker) not long after receiving an appointment to serve as director of a new conservatory in Pará\, Brazil. His operas usually take place in his native South America. They are somewhat in the style of Verdi and are very spirited and picturesque. The Brazilian government honored him posthumously with the issuance in 1936 of a postage stamp bearing the first few measures of Il Guarany. \nThe opera Il Guarany was first presented at La Scala in Milan on March 17\, 1870. It was an international success and Giuseppe Verdi wrote that it was the work of a true musical genius. It remains the most successful opera in Brazil. It is based on a novel by José de Alencar\, which depicts a love affair between an Amazon Indian chief from the Guaraní tribe and one of the despised Portuguese colonists. By using several tribal melodies\, Gomez successfully imparted local color to his opera. Unfortunately\, the work is not nearly as popular as it was when Sousa’s band performed it for audiences.  Yet\, it is still a brilliant and exciting overture.  The arrangement was created by Herbert L. Clarke\, John Philip Sousa’s assistant director and solo cornet soloist. \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/03-Il-Guarany-Overture.m4a\n\nENCORE – Creole Bells – March Two-Step (Jens Bodewalt Lampe) \nIt was very much in the style of Sousa to insert short encores after major works\, solos\, or ensembles\, in his concerts.  The first encore on this concert was Lampe’s Creole Bells.  \nJens Bodewalt Lampe was born into the large and musical family of Christian and Dorothea Lampe in Ribe\, Denmark\, in 1869.  A cobbler by trade\, his father played tuba and bass violin in the summers with the band at the Tivoli Theater in Copenhagen\, and several members of the family became well-known musicians.  In 1873\, when J.B. (as he was later called) was four\, his father accepted an offer to direct the Great Western Band in St. Paul\, Minnesota\, and the family moved to America.  \nIn addition to a number of military style marches\, Lampe composed many ragtime and two-step marches.  In 1900\, when Creole Belles was composed\, ragtime was beginning to be the big “noise” in American popular music.  Scott Joplin’s Maple Leaf Rag became the first ragtime sheet music best-seller in 1899.  In 1900\, the Sousa Band helped to popularize ragtime in Europe during its prolonged tour there.  Creole Belles March with its strong syncopation over a steady rhythmic accompaniment\, rapidly became a favorite with band audiences everywhere.  The Sousa Band\, with either Arthur Pryor or Herbert L. Clarke conducting\, recorded the tune five times between 1902 and 1905.   \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/04-Creole-Belles.m4a\n\nhttps://medinacommunityband.org/wp-content/uploads/2020/06/05-MCB-2-8-04-narration-1.m4a\nNarration by Jeffrey Kehnle. \nConcert Etude\, Op. 49 (Alexander Goedicke) \nAlexander Goedicke was a professor at Moscow Conservatory. With no formal training in composition\, he studied piano at the Moscow Conservatory with Galli\, Pavel Pabst and Vasily Safonov. Goedicke won the Anton Rubinstein Competition in 1900. Despite his lack of traditional guidance\, his compositional efforts were rewarded when he won the Rubinstein Prize for Composition at the young age of 23. Goedicke died at the age of 80 on 9 July 1957. \nThe Concert Etude is written along fairly “Classical Lines\,” which is not too difficult to understand since Goedicke is one of the greatest living exponents of the “Western Tradition” in Russia. The word “etude” which ordinarily connotes a dry-as-dust study is qualified with the word “concert” by the composer. It follows along the lines of the Chopin etudes for piano which have always been used both as study and concert material. \nChristopher Burdick is a band director with the North Royalton City Schools.  He directs the North Royalton High School Symphonic Band\, the Seventh & Eighth Grade Bands\, the Musical Pit Orchestra\, and assists with 6th Grade and the 2003 Rose Bowl participant\, North Royalton High School Marching Band.   Christopher is a member of the Ohio Music Education and has served as the Local Chairman for the District IV Junior High Large Group Adjudicated Event.  He also served as a director on the American Music Abroad Honors Band & Choir Tour of Western Europe in 1999.  He is originally from Boston\, NY\, a suburb of Buffalo and received his Bachelor’s at the Crane School of Music at Potsdam College.  He was a graduate assistant at Kent State and was a member of the Kent Faculty Brass Quintet while earning his master’s.   Christopher was a member of Marcus\nNeiman and the Sounds of Sousa Band as well as Medina Community Band. \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/06-Concert-Etude.m4a\n\nENCORE – Rifle Regiment (March) – John Philip Sousa \nWritten in 1886\, Sousa’s march Rifle Regiment  was dedicated to the officers and men of the Third United States Army Infantry.  Although different from Sousa’s other marches in music format\, it is regarded as one of this best efforts. \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/07-Rifle-Regiment-March.m4a\n\nhttps://medinacommunityband.org/wp-content/uploads/2020/06/08-MCB-2-8-04-narration-2.m4a\nNarration by Jeffrey Kehnle. \nJazz Prelude No. 2 (Gershwin) \nGeorge Gershwin 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).  \nPreludes \nThree Preludes are short piano pieces by George Gershwin\, which were first performed by the composer at the Roosevelt Hotel in New York City in 1926. Each prelude is a well-known example of early-20th-century American classical music\, as influenced by jazz. Gershwin originally planned to compose 24 preludes for this group of works. The number was reduced to seven in manuscript form\, and then reduced to five in public performance\, and further decreased to three when first published in 1926. Two of the remaining preludes not published were rearranged for solo violin and piano and published as Short Story. Of the other two\, the Prelude in G was eliminated by the publisher because somewhat similar music had already appeared in Gershwin’s Concerto in F. The other was excluded for unknown reasons. Gershwin dedicated his Preludes to friend and musical advisor Bill Daly. The pieces have been arranged for solo instruments\, small ensembles\, and piano. \nThe second Prelude\, in C-sharp minor\, also has the distinct flavour of jazz. The piece begins with a subdued melody winding its way above a smooth\, steady bassline. The harmonies and melodies of this piece are built on thirds\, emphasizing both the interval of the seventh and the major/minor duality of the blues scale. In the second section\, the key\, tempo\, and thematic material all change; only the similarity of style binds the two sections together. The opening melody and bass return in the final section\, more succinct but otherwise unchanged\, and the piece ends with a slow ascent of the keyboard. Gershwin himself referred to the piece as “a sort of blues lullaby.” \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/09-Jazz-Preludes_-No-2.m4a\n\nPrelude to Act III of Lohengrin (Wagner) \nLohengrin is a Romantic opera in three acts composed and written by Richard Wagner\, first performed in 1850. The story of the eponymous character is taken from medieval German romance\, notably the Parzival of Wolfram von Eschenbach and its sequel\, Lohengrin\, written by a different author\, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan tradition. (Program Notes from Wikipedia) \nLohengrin was first produced at Weimar in 1850\, under the direction of Franz Liszt. The legend of the Holy Grail was the inspiration for the story of the opera. Lohengrin\, keeper of the Holy Grail\, appears as a knight in silver armor to defend Elsa of Brabant\, unjustly accused of killing her brother\, Godfrey\, heir to the Duchy of Brabant. Victorious in combat with Telramund\, Elsa’s accuser\, Lohengrin marries Elsa\, after having extracted from her the promise that she will never inquire his name nor descent. When she\, unfortunately\, breaks her promise\, Lohengrin publicly reveals his identity as Keeper of the Holy Grail and announces that he is compelled to leave the earth since his identity is known. As he is about to leave in a boat drawn by a swan\, Telramund’s fervent supplication breaks the sorceress’ spell and Godfrey appears in his original form. As Lohengrin glides away\, Elsa falls\, unconscious\, in her brother’s arms.  (Program Note from Program Notes for Band) \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/11-Lohengrin_Prelude-to-Act-III.m4a\n\nhttps://medinacommunityband.org/wp-content/uploads/2020/06/12-MCB-2-8-04-narration-3.m4a\nNarration by Jeffrey Kehnle. \nLincolnshire Posey (Grainger) \nPercy Grainger did most of his folk song collecting in rural England during the summer months\, dead concert periods prior to the emergence of our now-feverish summer festival activities.  He made this available time count in his usual efficient way\, helping to rescue the English folk song from extension.  And\, he pursued the subject with a kind of fanaticism that one grows to know as standard with him on all subjects\, once joined. These folk song collecting journeys began in the summer of 1905 with Grainger seeking out his sources by walking on foot from town to town\, music pad in hand.  He would hastily write down in his own kind of musical shorthand what he had heard\, spending his evenings at the local inn transcribing the day’s discoveries.  Skillful though he became at this\, it bothered him that he could not immediately chart the subtleties of inflection that fascinated him so much in the highly personal interpretation of each singer.  He was struck by their individuality\, excited by their unfettered flights of creative fancy\, and admired their freedom from those shackles sometimes forged in conservatories and opera houses like those he had come to know from his studies in Frankfurt.  His “Program Note” in the Posy score contains sensitive character sketches of the folk singers whose tunes he used in the six-movement work.  On returning to London each folk song\, minutely documented\, was pasted in huge accountant’s ledgers\, now in the Grainger Museum in Australia. \nLincolnshire Posy\, which Grainger wrote in 1937\, was premiered at the American Bandmaster’s Convention in Milwaukee\, Wisconsin. Only three of the works movements were performed. Grainger called this work a “bunch of musical wildflowers”. It is based on folksongs he collected in 1905 and 1906 in Lincolnshire\, England. Grainger attempted to capture the original flavor of the British folksongs and their singers’ peculiarities of performance by using varying beat lengths and his masterful use of wind instrument scoring techniques. He acquired those techniques largely through an arrangement with Boosey\, an instrument manufacturer\, which lent him a different instrument each week so he could become familiar and experiment with it. \nLisbon \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/13-Lincolnshire-Posey_Lisbon.m4a\nHarkstow Grange \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/14-Lincolnshire-Posey_Horkstow-Grang.m4a\nLost Lady Found \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/15-Lincolnshire-Posey_Lost-Lady-Foun.m4a\nHoward Meeker joined the Cleveland State University music faculty in 1984. Prior to his retirement\, he conducted the CSU Wind Ensemble and coordinatesd the activities of the applied music area. Prior to his appointment at CSU\, Professor Meeker was Associate Director of Bands at Washington State University. He has B.Mus. and M.F.A. degrees in percussion performance from the University of Iowa\, and has done additional graduate study in wind band conducting at the Ohio State University. Professor Meeker is an active guest conductor/clinician throughout the United States and Canada. \n  \n  \n\nWhere the Black Hawk Soars (Robert W. Smith) \nWhere the Black Hawk Soars was written as a commemorative work for the dedication ceremonies of Brooke Point High School in Stafford\, Virginia. The work was inspired by the Black Hark\, the figure chosen to represent the new institution. (Program Note by composer)  Commissioned by Brooke Point High School\, Stafford\, Va.\, Ms. Anita Price\, Director of Bands. (Program Note from score) \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/16-Where-the-Black-Hawk-Soars.m4a\n\n\n \n\n\n\n\n\n \n\n\n\n\n\nRobert W. Smith (b. 1958) is one of the most popular and prolific composers in America today. He has over 600 publications in print with the majority composed and arranged through his long association with Warner Bros. Publications and the Belwin catalog. \nMr. Smith’s credits include many compositions and productions in all areas of the music field. His original works for winds and percussion have been programmed by countless military\, university\, high school\, and middle school bands throughout the United States\, Canada\, Europe\, Australia\, South America and Asia. His Symphony #1 (The Divine Comedy)\, Symphony #2 (The Odyssey)\, Symphony #3 (Don Quixote)\, Inchon and Africa: Ceremony\, Song and Ritual have received worldwide critical acclaim. His educational compositions such as The Tempest\, Encanto\, and The Great Locomotive Chase have become standards for developing bands throughout the world. \nMr. Smith’s music has received extensive airplay on major network television as well as inclusion in multiple motion pictures. From professional ensembles such as the United States Navy Band\, United States Air Force Band\, Boston Pops and the Atlanta Symphony to school bands and orchestras throughout the world\, his music speaks to audiences in any concert setting. As a conductor\, clinician and keynote speaker\, Mr. Smith has performed throughout North America\, Asia\, South America\, Europe and Australia. His music has been recorded by various ensembles and is available on CD and download through iTunes\, Amazon\, and other recorded music outlets. \nMr. Smith is the President/CEO of RWS Music Company\, exclusively distributed through C. L. Barnhouse. In addition\, he is currently teaching in the Music Industry program at Troy University in Troy\, Alabama. His teaching responsibilities are focused in music composition\, production\, publishing and business. \n\nhttps://medinacommunityband.org/wp-content/uploads/2020/06/17-MCB-2-8-04-narration-4-1.m4a\nNarration by Jeffrey Kehnle. \nArranged by Robert Lowden (1920-1998)\, “Armed Forces Salute” is a spirited medley of tunes saluting the military services of the United States with their respective songs. Mr. Lowden was born on October 23\, 1920 and died October 30\, 1998. Lowden was a prolific composer\, arranger\, and renowned clarinetist 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 to be a music educator at Temple University. During World War II\, he served in the U.S. Army Band. He 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. \n\n\n\n  \n  \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/06/18-Armed-Forces-Salute.m4a\n\n\n\nThe U.S. Army\n“The Caisson Song” – Words and music by Edmond L. Gruber\n\n\nThe U.S. Coast Guard\n“Semper Paratus” – “Always Ready”; Frances F. van Boskerck – 1938\n\n\nThe U.S. Marine Corps\n“The Marines’ Hymn\,” Music by James Offenback; words by Henry C. Davis\n\n\nThe U.S. Air Force\n“The U.S. Air Force” – Words and music by Robert Crawford – 1951\n\n\nThe U.S. Navy\n“Anchors Aweigh” – Music by Charles A. Zimmerman;vwords by George D. Lottman\, Alfred Hart Miles\, and Royal Lovell – 1907\n\n\n\n\nhttps://medinacommunityband.org/wp-content/uploads/2020/06/19-Stars-and-Stripes-Forever-March.m4a\nThe Stars and Stripes Forever (Sousa) \nWho was this man who became a musical legend during his own lifetime with such hits as Stars and Stripes Forever\, The Liberty Bell (best known as the theme song for Monty Python’s Flying Circus) and The Washington Post? Fittingly\, John Philip Sousa was born on Nov. 6\, 1854 at 636 G Street\, SE\, Washington\, D.C.\, near the Marine Barracks where his father\, Antonio\, played trombone in the U.S. Marine Band. John Philip was the third of 10 children of John Antonio Sousa (born in Spain of Portuguese parents) and Maria Elisabeth Trinkhaus (born in Bavaria). Young John Philip grew up surrounded by military band music\, and when he was just six\, he began studying voice\, violin\, piano\, flute\, cornet\, baritone\, trombone and alto horn. By all accounts\, John Philip was an adventure-loving boy\, and when at the age of 13 he tried to run away to join a circus band\, his father instead enlisted him in the Marine Band as a band apprentice. Except for a period of six months\, Sousa remained in the band until he was 20 years old. In addition to his musical training in the Marine Band\, he studied music theory and composition with George Felix Benkert\, a noted Washington orchestra leader and teacher. It was during his years in the Marines that Sousa wrote his first composition\, Moonlight on the Potomac Waltzes. Discharged from the Marines in 1875\, the 21-year-old Sousa began performing on violin\, touring and eventually conducting theater orchestras\, including Gilbert & Sullivan’s H.M.S. Pinafore on Broadway. In 1879\, Sousa met Jane van Middlesworth Bellis\, and they married on December 30\, 1879. Just a year later\, the couple returned to Washington\, D.C.\, where Sousa assumed leadership of the U.S. Marine Band. Over the next two years\, Sousa conducted the band The President’s Own\, serving under Presidents Hayes\, Garfield\, Cleveland\, Arthur and Harrison. \nThe Stars and Stripes Forever (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. (Research done by Elizabeth Hartman\, head of the music department\, Free Library of Philadelphia.  Taken from John Philip Sousa\, Descriptive Catalog of His Works (Paul E. Bierley\, University of Illinois Press\, 1973\, page 71)) \n  \n\n\n 
URL:https://medinacommunityband.org/events/click-title-to-launch-event-click-audio-arrow-to-launch-and-please-be-patient-while-audio-loads/
CATEGORIES:Free Concerts,Virtual Concert
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DTSTART;VALUE=DATE:20200626
DTEND;VALUE=DATE:20200627
DTSTAMP:20260423T194004
CREATED:20200527T135347Z
LAST-MODIFIED:20200622T202718Z
UID:2687-1593129600-1593129600@medinacommunityband.org
SUMMARY:Virtual Event - OMEA Professional Conference - 2015
DESCRIPTION:Continue to scroll down through entire page \nMedina:  The Medina Community Band\, under the baton of Marcus Neiman\, was selected to perform as a featured ensemble at the 2015 Ohio Music Education Association (OMEA) Professional Conference to be held in Cleveland on Friday\, February 6\, at 3:45p in the Cleveland Convention Center Ballroom “C.” \nMark Hensler\, director of professional development for the OMEA conference said\, Medina Community Band was selected to appear at the conference as our featured community band offering.  They were the only community band to perform at the conference from the state of Ohio. Over 130 CDs were submitted through “blind” audition by each of the sub-committees (band\, choral\, orchestra\, and jazz).  Maestro Neiman said\, We were honored and excited to be selected to perform at the OMEA conference.   \nWadsworth resident and a featured favorite vocal soloist with Medina Community Band\, Denise Milner-Howell will be featured mezzo-soprano\, singing Rossini’s Barber of Seville: Una Voce Poco Fa.  Flutist Amy Muhl\, from Wadsworth\, will be joined by clarinetist Mary Ann Grof-Neiman\, from Medina\, as featured instrumental ensemble performing Delibes Flower Song from Lakmé.  Guest conductors who will join Maestro Neiman will be Frank Cosenza\, from Mentor\, associate conductor of Medina Community Band\, conducting Galante’s Cry of the Last Unicorn and Gene Milford\, senior lecturer in music education at The University of Akron\, conducting his own arrangement of the Karl King march The Huntress.  Neiman will conduct the Dale Grotenhuis arrangement of Franz von Suppé’s overture Tantalusqualen; clarinet feature Pie in the Face Polka by Mancini from the movie The Great Race; and Lovrien’s Minor Alterations\, in addition to the Rossini and Delibes. \nFormer Medina County Commissioner and Ohio House of Representative The Honorable Steve Hambley commented: Medina County has every reason to be proud that the Medina Community Band has been selected to perform at the 2015 OMEA Professional Development Conference. Summers in Medina would not be the same without the band’s Friday night concerts in Medina’s Uptown Park Square.  The band’s hard work\, patience and practice required to make such cultural contributions to the performing arts are of immeasurable importance to the very life in our community. The immense crowds that always form in attendance of their various concerts are indeed a testament to the talent and vision of the Medina Community Band and supporting association. \nMedina Mayor Dennis Hanwell said: When I was doing the welcome to guests for the summer concerts on our Square\, I was stopped by a retired couple who lived in Pennsylvania\, but stopped in Medina for dinner. They observed people bringing their lawn chairs and blankets to sit on the Square. They came over after dinner to see what the gathering was about. The man told me the two of them have travelled across the country and have never seen such a hometown event as the Friday night band concerts and were very complimentary of the community and band for continuing to promote and host such events. I have personally witnessed the dedication\, commitment\, and preparation the individual band members undertake weekly to prepare for their performances. I want to express my thanks\, appreciation\, and gratitude for all the events the band presents in our fine community\, and especially thank Conductor Marcus Neiman for his leadership. We are truly blessed to have such a talented group of musicians among us. \nMedina Community Band Association president and bass clarinet player in the community band\, Dr. Thomas Kenat said: The Medina Community Band is living proof that there IS life after high school and college band!  As a 30+ year member of the band\, Kenat continued; Our members come from a great variety of vocations\, including quite a few music professionals\, ranging from outstanding high school students to those of us seniors who have been playing for most of our lives.  We look forward to our weekly rehearsals\, where we come together to rehearse a wide variety of challenging wind band music to perform before our very loyal and appreciative audience\, who see us as their “home town band.”  We have weekly summer concerts on Medina’s Town Square\, continuing a tradition that began in 1859\, and also present indoor concerts through the rest of the year.  \nMedina Community Band is sponsored by the Medina Community Band Association composed of members of Medina Community Band proudly supports the community band.  The 2015 board of directors for the association consists of Dr. Thomas Kenat\, president; Gail Sigmund\, vice-president; Amy Muhl\, treasurer; Sue McLaughlin\, secretary; Lee Harper\, financial secretary; directors Lu Ann Gresh\, Alan Parkhurst\, Paul Rocco\, and\, Kyle Snyder.  \n\nOverture\, Tantalusqualen (Tantalus’ Torment) (1868/2002) (Franz von Suppé/Dale Grotenhuis) \nFranz von Suppé 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. \nHis 1866 operetta Tantalusqualen (Tantalus’ Torment) 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! \n  \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/Tantalusqualen-Suppe-Grotenhuis-Live.m4a\n\nMarch\, The Huntress (1916/2014) (Karl L. King/Gene Milford) \nKarl Lawrence King\, 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 and Bailey’s Favorite and Robinson’s Grand Entree. 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. \nThe 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-Floto 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. \nWhether 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 obbligato 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) \nGene F. Milford\, guest conductor\, a native of Canton\, Ohio\, served on the faculty Music Education at The University of Akron School of Music; as well at Kent State University and Hiram College. He holds degrees from Kent State University including a Masters of Arts in Music History and a PhD in Music Education.\nA public school instrumental music educator with 30 years of experience\, his ensembles consistently received superior ratings at adjudicated events and performed at state and national professional conferences. Dr. Milford has served as guest conductor\, clinician\, and adjudicator and presented clinic sessions at regional and national conferences. His articles on music education have appeared in Triad\, The Instrumentalist\, Dialogues in Instrumental Music Education and Contributions to Music Education. As a composer and arranger he has received numerous commissions\, grants and awards and has more than 90 published works for band\, orchestra\, choir and small ensembles. A number of his compositions appear on state required lists for bands and ensembles.  His professional affiliations include the Ohio Music Education Association\, where he has served as a district president and on numerous committees at both the district and state level; American School Band Directors Association (ASBDA)\, having served as state chair\, National Band Association\, Phi Beta Mu\, Phi Kappa Lambda\, and the American Society of Composers\, Authors and Publishers (ASCAP)\, having annually received the ASCAP Plus Award. He was the 2006 inductee to the Ohio Band Directors Hall of Fame. \nx \n\nDuet\, Flower Song from Lakmé (1883/1995) (Léo Delibes/James Curnow) \nLéo Delibes – In full\, Clément-Philibert-Léo Delibes\, French opera and ballet composer who was the first to write music of high quality for the ballet. His pioneering symphonic work for the ballet opened up a field for serious composers\, and his influence can be traced in the work of Tchaikovsky and others who wrote for the dance. His own music—light\, graceful\, elegant\, with a tendency toward exoticism—reflects the spirit of the Second Empire in France. \nDelibes studied at the Paris Conservatoire under the influential opera composer Adolphe Adam and in 1853 became accompanist at the Théâtre-Lyrique. He became accompanist at the Paris Opéra in 1863\, professor of composition at the Conservatoire in 1881\, and a member of the French Institute in 1884. His first produced works were a series of amusing operettas\, parodies\, and farces in which Delibes was associated with Jacques Offenbach and other light-opera composers. He collaborated with Ludwig Minkus in the ballet La Source (1866)\, and its success led to commissions to write his large-scale ballets\, Coppélia (1870)\, based on a story of E.T.A. Hoffmann\, and Sylvia (1876)\, which is based on a mythological theme. In the meantime\, he developed his gifts for opera. The opéra comique Le Roi l’a dit (1873; The King Said So) was followed by the serious operas Jean de Nivelle (1880) and Lakmé (1883)\, his masterpiece. Known for its coloratura aria “Bell Song\,” Lakmé contains “Oriental” scenes illustrated with music of a novel\, exotic character. Delibes also wrote church music (he had worked as a church organist) and some picturesque songs\, among which “Les Filles de Cadiz” (“The Girls of Cadiz”) suggests the style of Georges Bizet. \nFlower Song from Lakmé (French: Duo des fleurs / Sous le dôme épais) is a famous duet for sopranos from Léo Delibes’ opera Lakmé\, first performed in Paris in 1883. The duet takes place in act 1 of the three-act opera\, between characters Lakmé\, the daughter of a Brahmin priest\, and her servant Mallika\, as they go to gather flowers by a river. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/Copy-of-03-Lakme-Flower-Song-Delibes-Curnow-Muhl-_-McLaughlin-Live.mp3\n  \nAmy Muhl\, flute\, has been a member of Medina Community Band since 1998.  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 in the 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 the Wadsworth City Schools.  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.  She is also treasurer of the Medina Community Band Association.  Amy resides in Wadsworth with her husband Frank\, and three children Kenneth\, Eva and Simon. \nMary Ann Grof-Neiman\, clarinet\, received her bachelor of science in music education degree from the Bowling Green State University. Ms. Grof-Neiman has served as principal clarinetist with the Sounds of Sousa Band and as clarinetist for the Blossom Festival Band\, the Cleveland Winds\, Lakeland Civic Band\, Lakeside Symphony Orchestra\, Youngstown Symphony\, Chagrin Falls Studio Orchestra and Erie Philharmonic. She currently performs with the Cleveland Philharmonic Orchestra\, Lakewood Home Town Band\, Akron Symphonic Winds and Medina Community Band\, where she serves as band librarian. She maintains private studios at Baldwin Wallace University Community Music School as well as her home in Medina. She has served the Ohio Music Education Association as a Woodwind Adjudicator for over 30 years and is a member of AFM Local 4. She resides in Medina with her husband Marcus and their cat Dmitri. \n  \n\nTone poem\, Cry of the Last Unicorn (2012) (Rossano Galante) \nA native of New York\, Rossano Galante 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. \nCry of the Last Unicorn – Fairytales are not for children. Every culture has stories\, or collected tales\, that have been inspired by romantic nationalism\, that the fairy tales of a country were particularly representative of that country and its culture. These tales are used to teach children\, and perhaps adults\, how we view our society and how we live within that society. The tale of the last unicorn\, from which Galante draws his programmatic musical offering\, The Cry of the Last Unicorn\, is the tale of a the journey we all take from childhood to adulthood. Along the road we meet many travelers and companions. Some of them will be our friends and some will not. And\, we find that the world is not always the friendly\, safe place our parents have led us to believe! Our search for the last unicorn must be viewed as our search for natural truth and all that is pure. And that search is not without danger and possible loss. The haunting beauty of Galante’s tone poem captures the beauty of the unicorn\, our journey to find her\, and the reflections we need to make along the journey. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/Copy-of-04-Cry-Of-The-Last-Unicorn-Galante-Cosenza-conducting-Live.mp3\n  \nTrumpet player\, band director\, and educator. Frank Cosenza has been heavily involved in music since the age of eight when he began studying the trumpet. He received a talent scholarship to Bowling Green State University where his performance opportunities took off. From recitals\, top 40s bands\, orchestras\, shows and backing up entertainers\, he is at home to any style of music. His teachers included: Joe Hruby\, Bernard Adelstein\, Edwin Betts\, James Stamp and Scott Johnston.  A native of South Euclid\, Ohio\, Frank has performed in many\, many varied venues\, including Severance Hall and Blossom Music Center (home of the Cleveland Orchestra)\, The Cleveland Palace and State Theaters\, Nautica Stage and a host of churches. He has taken his talents to Europe performing concerts in many different countries as well as numerous big bands\, pit bands\, orchestras and concert bands in Northeast Ohio. He has had the opportunity to play under several noted conductors including Leonard B. Smith\, Frederick Fennell and Loras Schissel. \nEqually at home in education\, Frank spent many years as a band director with great success while performing regularly on trumpet. His bands have received many superior awards including performances at State Conventions for the American School Band Directors Association and the Ohio Music Education Association. Additionally\, his groups have performed in numerous venues including Canada\, Europe and throughout the United States. His musicianship has even extended to the vocal spectrum as he has conducted choirs on several occasions. He has served the Ohio Music Education Association as State Trustee\, All-State Coordinator\, past District President\, member of music selection committees\, and adjudicator. He is a former Interim Director of Athletic Bands/Concert Band at Kent State University and previous Associate Conductor of the Medina Community Band.  Frank is currently a conductor with Lakeland Civic Band (Mentor\, Ohio) \n\nMovie Music\, Pie in the Face Polka from the Great Race (1965) (Henry Mancini/Jonnie Vinson) \nThe Great Race was a 1965 slapstick comedy film starring Jack Lemmon\, Tony Curtis\, and Natalie Wood\, directed by Blake Edwards\, written by Blake Edwards and Arthur A. Ross\, and with music by Henry Mancini and cinematography by Russell Harlan. The supporting cast includes Peter Falk\, Keenan Wynn\, Dorothy Provine\, Arthur O’Connell and Vivian Vance. The movie cost $12 million\, making it the most expensive comedy film at the time.  \nPie in the Face Polka. The movie was noted for one scene that was promoted as “the greatest pie fight ever.” The Technicolor pie fight scene in the royal bakery was filmed over five days. The first pastry thrown was part of a large cake decorated for the king’s coronation. Following this was the throwing of 4\,000 pies\, the most pies ever filmed in a pie fight. The scene lasts four minutes and twenty seconds and cost $200\,000 to shoot; $18\,000 just for the pastry. The pie fight scene paid homage to the early Mack Sennett practice of using a single thrown pie as comedic punctuation\, but to a greater degree it was a celebration of classic movie pie fights such as Charlie Chaplin’s Behind the Screen (1916)\, The Battle of the Century (1927) starring Stan Laurel and Oliver Hardy\, and The Three Stooges’ In the Sweet Pie and Pie from 1941. In his script for The Great Race Edwards called for a “Battle of the Century-style pie fight.” Though Edwards used 4\,000 pies over five days\, many of these were used as set dressing for continuity. Laurel and Hardy used 3\,000 pies in only one day of shooting\, so more are seen flying through the air. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/Copy-of-05-Pie-In-The-Face-Polka-Mancini-Vinson-Live.mp3\n  \n\nCavatina\, Barber of Seville: Una Voce Poco Fa (1816) (Gioachino Rossini/Edgar L. Barrow) \nGioachino Antonio Rossini was the son of a trumpet player.  He studied in Bologna (Italy) and spent most of this creative life in Vienna and Milan.  Among his most popular opera offers were: The Italian in Algiers\, The Barber of Seville\, and of course\, William Tell. What would Saturday morning cartoon music be without his opera offerings? Rossini composed at a terrific speed\, completing 38 operas in 23 years.  He suddenly and mysteriously quit writing operas at the age of 37 and spent ten years completing his Stabat Mater. He ultimately settled in Paris and was the witty leader of the artistic world until his death.  He was highly regarded as a cook and his dinner parties were renowned.  He invented a number of recipes\, including Tournedos Rossini\, which has become a perennial favorite. \nBarber of Seville – Una Voce Poco Fa (1816). Sometimes reality is stranger than fiction\, and often more humorous.  The opening of Rossini’s The Barber of Seville could have made a great comic open for any composer.  At the premiere performance\, one of the singers fell on his face\, causing a huge nose bleed\, while coming on-stage.  Next\, a cat got onstage and terrorized the cast with its claws.  Finally\, the tenor added a recital of Spanish guitar songs to his scene.  By this time\, the house was in an uproar.  Rossini left at intermission\, claiming to be sick!  By the second night\, things went more to plan and the opera was proclaimed a success (without nose bleeds or cats). \nIn Act 1\, Scene 2 – In keeping with the musical taste of his day\, Rossini created many heavily ornamented melodies that give the singers in The Barber of Seville ample occasion to display their vocal skills. The opera’s arias are elaborate showpieces for vocal virtuosity in the style known as bel canto\, or “beautiful song.” This singing is characterized by smooth tone\, beautiful timbre and elegant phrasing. Rosina’s Una voce poco fa (“a voice just now”) is a dazzling expression of a young woman’s intent to marry according to her own desires\, not those of her tyrannical guardian.  This aria is as dramatically meaningful as it is lovely.  I am soft\, I am gentle\, Rosina sings\, but everyone must learn that I will have my way! The quick tempo and florid trills and runs of the finale give the leading lady more than enough opportunity for vocal acrobatics while also suggesting the wily side of Rosina’s character. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/Copy-of-06-Barber-Of-Seville-Una-Voce-Poco-Rossini-Barrow-Milner-Howell-Live.mp3\n  \nDenise Milner-Howell\, mezzo-soprano soloist \nDenise Milner Howell\, mezzo-soprano\, is a versatile performer of opera\, concerts\, and recitals\, whose singing has been called “superb” (Cleveland Classical).  Ms. Howell’s solo engagements include performances with Cleveland Opera Theater\, Opera Cleveland\, Chautauqua Opera\,  Kent/Blossom Festival\, Nightingale Opera Theatre\, Akron Symphony Orchestra\, Akron Lyric Opera Theatre\, Akron Baroque\, Tanglewood Festival\, Carousel Dinner Theatre\, and Buffalo Philharmonic. Recent performances include leading roles in Little Women (Meg)\, Amahl and the Night Visitors (Mother)\, Carmen (Mercédès)\, La cambiale di matrimonio (Clara)\, Robert Ward’s The Crucible (Rebecca Nurse)\, and Iolanthe (Celia). A frequent concert soloist\, Ms. Howell has performed the alto solos in Handel’s Messiah\, Mozart Requiem\, Bach Magnificat\, Haydn Lord Nelson Mass\, Verdi Requiem\, Vivaldi Gloria and Duruflé Requiem. Additionally\, Ms. Howell is committed to the performance of new works by living composers\, and has been heard at Cleveland Ingenuity Festival and New to New York Concert Series. In addition to performing\, Ms. Howell is an active voice teacher.  She currently teaches at Cleveland Institute of Music/Case Western Reserve University\, and Kent State University Hugh A. Glauser School of Music. She lives in Sharon Township\, Ohio with her husband\, Gregg\, and their three children. \n  \n  \n\nSeasonal\, Minor Alterations (2007) (David Lovrien) – Christmas Through the Looking Glass \nMinor Alterations (2007). With the subtitle Christmas Through the Looking Glass\, Lovrien has created a unique offering of traditional secular Christmas tunes always heard in the major mode; however\, this time “not” – but rather in the minor mode.  The offerings are disguised\, layered\, morphed\, and lots more. OK\, so you didn’t catch them all\, there’s what you heard: Deck the Halls; Up on the Rooftop; Santa Claus is Coming to Town; Jolly Old St. Nicholas; Here Comes Santa Claus; We Wish You a Merry Christmas; Silver Bells; Jingle Bells; Rudolf the Red Nosed Reindeer; Sleigh Ride; Here We Come a Caroling; and\, the finale from The Nutcracker. \nDavid Lovrien has been a member of the saxophone section of Dallas Wind Symphony for over 15 years\, performing on ten of the group’s 13 compact discs and appearing several times as featured soloist.  He is also a founding member of the renowned Texas Saxophone Quartet\, the first saxophone ensemble to win the prestigious Fischoff Competition in 1988.  His compositions and arrangements have been performed throughout the world\, and his website celebrating the life and work of John Philip Sousa is recognized as the best Sousa authority on the Internet. \n  \n  \n  \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/Copy-of-07-Minor-Alterations-Lovrien-Live.mp3\n\n 
URL:https://medinacommunityband.org/events/virtual-event-omea-professional-conference-2015/
CATEGORIES:Virtual Concert
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200619
DTEND;VALUE=DATE:20200620
DTSTAMP:20260423T194004
CREATED:20200526T162229Z
LAST-MODIFIED:20200622T202758Z
UID:2630-1592524800-1592524800@medinacommunityband.org
SUMMARY:Virtual Concert - Severance Hall 2002
DESCRIPTION:Continue to scroll down through entire page \nThe Medina Community Band\, under the baton of Marcus Neiman\,  appeared in concert with the Case Western Reserve University Concert Winds and Symphony Winds\, under the baton of Dr. Gary Ciepluch\, on Sunday\, October 12\, 2002\, in Severance Music Hall (Cleveland\, OH). Medina Community Band is sponsored and supported by the Medina Community Band Association\, at the time a standing committee of the Medina Breakfast Kiwanis Club.  Don Moore was president of the Medina Community Band Association.  \nFeatured soloist was Marcia Nelson-Kline performing Frank Simon’s Willow Echoes. The Medina Community Band’s program consisted of Raymond Overture (Thomas/Safranek); El Capitan March (Sousa); Willow Echoes (Simon) with Marcia Nelson-Kline\, soloist; Scenes from The Louvre (Dello Joio); Lassus Trombone (Fillmore); and\, The Stars and Stripes Forever (Sousa). \n\nMedina Community Band Program\nSeverance Music Hall – Cleveland\, Ohio\nSunday\, October 12\, 2002\nJeffrey Kehnle\, retired vice-president at Old Phoenix National Bank (now Huntington National Bank)\, and long time narrator for Medina Community Band served as the voice of Medina Community Band. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/01-MCB-Severance-talk-intro.m4a\nAmbroise Thomas\, 1811–96\, French operatic composer\, studied at the Paris Conservatory\, receiving the Prix de Rome in 1832. He later taught composition there and became its director in 1871. Thomas wrote cantatas\, a number of ballets\, and 20 operas\, of which Le Caïd (1849\, a satire on Italian opera)\, Mignon (1866)\, and Hamlet (1868) were the most successful. Thomas’s parents were music teachers. By the age of 10\, he was already an experienced pianist and violinist. In 1828\, he entered the Paris Conservatoire\, where he studied with Jean-François Le Sueur (who also taught Berlioz) while at the same time taking piano lessons privately from the famous virtuoso Frédéric Kalkbrenner. \nRaymond.  Of the twenty operas by Ambroise Thomas\, all that remains is an overture from one of them (Raymond)\, and assorted other fragments of two others.  Thomas’ talent was a modest one.  He was more lyrical than dramatic\, more charming and graceful than passionate or profound.  He was born in Metz\, France\, on August 5\, 1811. Raymond is a rather silly operatic adaptation of the story of the Man with the Iron Mask.    It was produced in Paris on June 5\, 1851\, was a dismal failure\, and was relegated to oblivion.  Its overture\, however\, has become one of the most popular in French opera. \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/02-Raymond-Overture.m4a\n\nENCORE – El Capitan March (Sousa) – The Maestro would often perform one of his own marches as an encore during performances. One of the perennial Sousa favorites\, this march has enjoyed exceptional popularity with bands since it first appeared.  It was extracted from the most successful of the Sousa operettas\, El Capitan.  El Capitan of the operetta was the comical and cowardly Don Medigua\, the early seventeenth-century viceroy of Peru.  Some of the themes appear in more than one act\, and the closing theme of the march is the same rousing theme which ends the operetta. This was the march played by the Sousa Band\, augmented to over a hundred men and all at Sousa’s personal expense\, as they led Admiral Dewey’s victory parade in New York on September 30\, 1899.  It was a matter of sentiment with Sousa\, because the same march had been played by the band on Dewey’s warship Olympia as it sailed out of Mirs Bay on the way to attack Manila during the Spanish-American war. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/03-El-Capitan-March.m4a\nJeffrey Kehnle’s encore comments: \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/04-MCB-Severance-talk-MCB-histor.m4a\n\nMarcia Nelson Kline\, Copley resident Marcia Nelson Kline began her trumpet studies with parents Milton and Sarah Nelson\, Lloyd Haines\, and further advanced her studies with Harry Herforth and James Darling.  She is a member of Medina Community Band (since 1984) and Brass Band of the Western Reserve (since 1997) and has performed with Marcus Neiman’s Sound of Sousa Band\, Mill Street Brass Quintet\, and Cleveland Women’s Orchestra.  She is featured as a cornet soloist on Medina Community Band’s CD “Sounds of Summer”.  Marcia has an associate degree in medical assisting from The University of Akron and is retired from the Cleveland Clinic where she was an ophthalmic technician. \nFrank Simon (1889-1967) was born in Cincinnati\, Ohio.  He studied cornet under William J. Kopp and later\, Herman Bellstadt\, both charter members of the Cincinnati Symphony Orchestra and at the age of 23 performed with the CSO.  In 1914 he left the Symphony and joined the internationally renowned John Philip Sousa Band\, and in 1917 became solo cornetist and assistant conductor of that great organization.  In 1921 Simon as approached by a senior executive at Armco Steel to begin a company band.  Simon reluctantly agreed and by 1929 the Armco Band was a household name.  NBC and WLW broadcast performances every Sunday afternoon across the nation.  In addition to his work with Armco\, in 1930 Simon joined the faculty of the Cincinnati Conservatory of Music.  Frank Simon suggested to Miss Bertha Bauer that it might be a good idea to begin a band department and he would be willing to run it.  She accepted his offer and became a trendsetter.  He not only established the first band department\, but he attracted so many students to the band program at the Conservatory that Bertha Bauer frequently admitted to friends that by beginning the band department she was able to save the Conservatory from bankruptcy during the Depression.  Frank Simon was a cornet soloist with the band from 1914-1920\, and after Herbert L. Clarke retired in 1917 he assumed the assistant conductor`s position. \nPrior to his Sousa years\, he was with the Cincinnati Symphony Orchestra and Weber`s Prize Band of America. On the recommendation of foremost cornet soloist Herman Bellstedt\, he was accepted into Sousa`s Band without audition. He was an emotional man\, and this quality was reflected in his artistry. After leaving the band in 1920\, Simon founded and conducted an industrial band for the American Rolling Mill Co. (Armco) in Middletown\, Ohio. The Armco Band started as a band of amateurs and grew to a fully professional band with weekly network radio broadcasts. Simon then turned to music education. He taught at the Cincinnati Conservatory of Music and the University of Arizona and was a mentor to several students who eventually rose to the top of their profession. He was one of the first men elected to the prestigious American Bandmasters Association and later served as its president.[1] \nWillow Echoes (Cornet Solo) was published in 1920 by Fillmore Bros. Co. Willow Echoes was Frank Simon’s tour-de-force\, a solo he performed many times with the Sousa Band. It is speculated that the title reflects fond memories of many rehearsals and concerts at Willow Grove Park\, home of the Sousa Band. It is one of the most elegant works in the cornet solo repertory. Simon went to his death saying that the inspiration for Willow Echoes was Herbert L. Clarke\, famed solo cornetist with The Sousa Band.  Clarke had told him that the best soloists were those who played their own music. Simon was inspired by Willow Grove\, that pantheon of good band music.  The new piece was a hit with Mr. Sousa\, Mr. Clarke\, and the public.  Mr. Sousa commented on hearing the piece for the first time\, “This is it\, this is exactly what I’ve been looking for\, this is what I want.  You play it at the night shows.”  What more could one ask? \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/05-Willow-Echoes-Cornet-Solo.m4a\n\nJoseph John Richards was born August 27\, 1878 in Cwmavon\, Wales. His family immigrated to the United States four years later\, settling in Peterson\, Kansas. He began learning various brass instruments at the age of ten\, progressing rapidly\, playing in various amateur bands. At the age of nineteen he was appointed leader of the Norton-Jones Circus Band\, beginning a long career as bandmaster with numerous ensembles. Richards’ first composition appeared in print in 1899; during this period he began writing marches and other works\, and certainly many of his early works were first performed by the bands that he led. His career as a circus bandleader culminated with his directorship of the Ringling Bros. Circus Band from 1911 through 1918. \nDuring the circus off-seasons\, Richards attended Kansas State Teachers College and the American Conservatory of Music. Beginning in the early 1920’s\, he taught school music and directed bands in various Illinois towns through 1944. In 1945\, upon the death of Herbert L. Clarke\, he was appointed director of the famed Long Beach\, California Municipal Band\, a post he held until 1950. Subsequently\, Richards returned to Illinois in the spring and summer to lead the Mt. Morris Band while wintering in Long Beach. He died on March 16\, 1956 in Long Beach. Richards was highly regarded by his peers. He was elected to the American Bandmasters Association in 1939 and served as its president in 1948. He composed well over one hundred works that were published. Undoubtedly his most famous composition – one which enjoys great popularity today – is the marvelous “Emblem of Unity” march. \nEmblem of Unity was written in a traditional march form with slight deviations.  Of particular interest is Richards’ use of augmented sixth chords in the introduction\, as well as solo measures for the snare drum.  Possibly the most recognizable feature of the march is the prominent use of the horn section\, combined with the baritones on solo measures in the first strain.  The horns are featured again in the second strain with exposed octaves accompanied only by chromatic passages in the woodwinds and trumpet parts. The march was written while he was directing both the public school and municipal bands in Sterling\, Illinois.  Barnhouse published the march in 1941. This brilliant march\, Richard’s most popular\, was written while he was living in Sterling\, Illinois\, conducting both the high school and community bands. A classic and exciting composition\, this work is played by hundreds of school and professional bands each year. Some of the composition’s unique features include: the chord changes which precede the snare drum forzando in the introduction\, the short lower brass breaks\, and the final strain which sounds correct at either a constant\, slower\, or accelerating tempo. (Texas A&M University\, Legend of the March Volume III\, jacket notes\, Dr. Timothy Rhea\, conductor) \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/06-Emblem-of-Unity-March.m4a\n\nJeffrey Kehnle – Life after high school band. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/07-MCB-Severance-talk-musician-r.m4a\nScenes from the Louvre (Dello Joio) \nNorman Dello Joio (born Nicodemo DeGioio on 24 January 1913\, New York City; died 24 July 2008\, East Hampton\, N.Y.) was born to Italian immigrants and began his musical career as organist and choir director at the Star of the Sea Church on City Island in New York at age 14. His father was an organist\, pianist\, and vocal coach and coached many opera stars from the Metropolitan Opera. He taught Norman piano starting at the age of four. In his teens\, Norman began studying organ with his godfather\, Pietro Yon\, who was the organist at Saint Patrick’s Cathedral. In 1939\, he received a scholarship to the Juilliard School of Music\, where he studied composition with Bernard Wagenaar. \nAs a graduate student at Juilliard he arrived at the conclusion that he did not want to spend his life in a church choir loft\, and composition began to become his primary musical interest. In 1941\, he began studies with Paul Hindemith\, the man who profoundly influenced his compositional style. It was Hindemith who told Dello Joio\, “Your music is lyrical by nature\, don’t ever forget that.” Dello Joio states that\, although he did not completely understand at the time\, he now knows what he meant: “Don’t sacrifice necessarily to a system; go to yourself\, what you hear. If it’s valid\, and it’s good\, put it down in your mind. Don’t say I have to do this because the system tells me to. No\, that’s a mistake.” \nA prolific composer\, the partial list of Dello Joio’s compositions include over forty-five choral works\, close to thirty works for orchestra and ten for band\, approximately twenty-five pieces for solo voice\, twenty chamber works\, concertos for piano\, flute\, harp\, a concertante for clarinet\, and a concertino for harmonica. He has also written a number of pedagogical pieces for both two and four hands. \nDello Joio taught at Sarah Lawrence College\, the Mannes College of Music\, and was Professor of Music and Dean of the Fine and Applied Arts School of Boston University. From 1959 until 1973\, he directed the Ford Foundation’s Contemporary Music Project\, which placed young composers in high schools who were salaried to compose music for school ensembles and programs. The project placed about ninety composers\, many who successfully continued their careers. \nThe wind band version of “Scenes from the Louvre” is taken from the original score of the NBC television special that was first broadcast nationally in November\, 1964.  In September\, 1965\, the composer received the Emmy award for this score as the most outstanding music written for television in the 1964-65 season.  The five movements of this suite cover the period of the famous Paris museum’s development during the Renaissance and are based on themes from composers of that period.  The movements are titled:  The Portals\, Children’s Gallery\, The Kings of France\, The Nativity Paintings\, and Finale. The band work\, commissioned by Baldwin-Wallace College for its symphonic band\, was premiered in 1966 with the composer conducting. \nMvt 1 – The Portals \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/08-Scenes-from-the-Louvre_-I-Porta.m4a\nMvt 2 – Children’s Gallery \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/09-Scenes-from-the-Louvre_-II-Chil.m4a\nMvt 3 – The Kings of France \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/10-Scenes-from-the-Louvre_-III-Kin.m4a\nMvt 4 – Nativity Paintings \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/11-Scenes-from-the-Louvre_-IV-Nati.m4a\nMvt 5 – Finale \n\nhttps://medinacommunityband.org/wp-content/uploads/2020/05/12-Scenes-from-the-Louvre_-V-Final.m4a\n\nHenry Fillmore was one of our most prolific composers with 256 compositions to his record and almost 800 arrangements.  He published under various pseudonyms as well as his own name: Henry Fillmore -114; Gus Beans – 2; Harold Bennett – 65; Ray Hall – 3; Harry Hartley – 6; Al Hayes – 57; Will Huff – 8; and Henrietta Moore – 1.  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. \nLassus Trombone (Characteristic). The characteristic carried the subtitle “De Cullud Valet to Miss Trombone” and was Henry’s favorite of this “trombone smears.”  It was also recognized by John Philip Sousa\, who included it on every concert of his last tour with his band.  The sheet music to “Lassus Trombone” sold over two million copies. Now\, with regard to this particular composition of Fillmore\, I have played it\, conducted it\, listened to it for about 50 years\, and I use it in my jazz history class as an illustration of the syncopated patterns which made their way into the syntax of jazz.  However\, until I read Dan’s note\, I had never detected or suspected that it had any racial or ethnic overtones.  Lassus Trombone is one of the compositions recorded by the University of Illinois Symphonic Band on an album of the music of Fillmore which I mentioned yesterday. I have always assumed that the implication of the title was quite different.  In the southern United States\, there is a food substance which may be largely unknown in other regions\, called molasses.  This is a thick\, pungent\, sugary syrup\, usually a by-product of the process of extracting sugar from sugar cane.  The syrup is thick under any circumstances\, and much more so when it is cold.  A favorite saying in this part of the world is “slow as molasses in January.”  In the southern dialects\, the first syllable is sometimes elided\, producing “’lasses.”  I speculate that might be the origin of the “Lassus” in “Lassus Trombone.”  In this sense\, it would refer to the slides and glissandos (smears) which are required of the trombonists who perform it.  Pure speculation on my part\, I admit\, but it seems as likely to me as to read racism into the composition. (Program notes – The Begian Years Vol. IV) \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/13-Lassus-Trombone-Characateristic.m4a\n\nJeffrey Kehnle – Can you prove you are John Philip Sousa? \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/14-MCB-Severance-talk-Sousa.m4a\n \nIn 1896\, Sousa and his wife were vacationing in Europe when word came that David Blakely had died. The couple immediately left for home. It was on the return voyage home that Sousa was inspired to begin writing his most famous composition\, The Stars and Stripes Forever. From 1900 to 1910\, the Sousa Band toured the U.S.\, Europe\, Great Britain\, and the Canary Islands\, in the South Pacific\, strengthening its growing reputation as the most admired American band of its time. After World War I\, Sousa continued to tour with his band while championing the cause of music education for all children. He also received several honorary degrees and fought for composers’ rights\, testifying before Congress in 1927 and 1928. Sousa’s last appearance before the Marine Band was on the occasion of the Carabao Wallow of 1932 in Washington\, D.C. Sousa\, as a distinguished guest\, rose from the speaker’s table\, took the baton from Captain Taylor Branson\, the band’s director\, and led the band in The Stars and Stripes Forever. Later that year\, after conducting a rehearsal of the Ringgold Band in Reading\, Pa.\, the 77-year old Sousa passed away. The last piece Sousa had rehearsed with the band was The Stars and Stripes Forever. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/15-Stars-and-Stripes-Forever-March.m4a\nMarcus Neiman\, closing comments and thanks. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/16-MCB-Severance-talk-thanks.m4a\n\n 
URL:https://medinacommunityband.org/events/virtual-concert-severance-hall-2002/
CATEGORIES:Virtual Concert
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200612
DTEND;VALUE=DATE:20200613
DTSTAMP:20260423T194004
CREATED:20200525T210147Z
LAST-MODIFIED:20200622T203035Z
UID:2580-1591920000-1592006399@medinacommunityband.org
SUMMARY:Virtual Concert - Severance Hall 2007
DESCRIPTION:Continue to scroll down through entire page \nThe Medina Community Band\, under the baton of Marcus Neiman\,  appeared in concert with the Case Western Reserve University Concert Winds and Symphony Winds\, under the baton of Dr. Gary Ciepluch\, on Sunday\, October 14\, 2007\, in Severance Music Hall (Cleveland\, OH). Medina Community Band is sponsored and supported by the Medina Community Band Association\, at the time a standing committee of the Medina Breakfast Kiwanis Club.  Don Moore was president of the Medina Community Band Association. The concert appearance marked the second appearance of Medina Community Band\, under Neiman’s baton at Severance\, the first performance appearance being on October 12\, 2002. \nFeatured soloists are Mary Ann Grof-Neiman\, clarinet; David Adamson\, guest conductor; Marcia Nelson-Kline and Paul Rocco\, B-flat piccolo trumpet; Denise Milner Howell\, mezzo-soprano; Daniel Doty\, tenor; and Amy Thach-McArtor and Sue McLaughlin flute. \nThe Medina Community Band’s program consisted of Festive Overture\, Op. 96 (Shostakovich/Hunsberger); Suite Algerienne\, March Militaire Française\, Op. 6 (Saint-Saens); Concertino for Clarinet (von Weber/Reed) with Mary Ann Grof-Neiman\, soloist\, David Adamson\, guest conductor; Una Voca Poco Fa from The Barber of Seville (Rossini/Barrow) with Denise Milner Howell\, soloist; Concerto in C Major for Two Trumpets (Vivaldi/Lang)\, with Marcia Nelson-Kline and Paul Rocco\, soloists; Nessun Dorma from Turandot (Puccini/Stauffer)\, with Daniel Doty\, soloist; Celtic Flutes (Gable)\, with Amy Muhl and Sue McLaughlin\, soloists; Shoutin’ Liza Trombone (Fillmore); and\, The Stars and Stripes Forever (Sousa). \n\nMedina Community Band Program\nSeverance Music Hall – Cleveland\, Ohio\nSunday\, October 14\, 2007\nThe community band program opened with Daniel Doty’s narration to Shostakovich’s exciting Festive Overture\, Op. 69. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/01-MCB-10-14-07-Narration-1-Dan-Doty.m4a\n \nThe Festive Overture was composed in 1954\, in the period between Symphony No. 10 and the Violin Concerto. Its American premiere was given by Maurice Abravanel and the Utah Symphony Orchestra on November 16\, 1955. In 1956\, the New York Philharmonic under Dmitri Mitropoulos presented the overture in Carnegie Hall.  A Russian band version of the overture was released in 1958 and utilized the standard instrumentation of the Russian military band\, i.e.\, a complete orchestral wind\, brass and percussion section plus a full family of saxhorns\, ranging from the Bb soprano down through the Bb contrabass saxhorn. This new edition has been scored for the instrumentation of the American symphonic band.  The Festive Overture is an excellent curtain raiser and contains one of Shostakovich’s greatest attributes — the ability write a long sustained melodic line combined with a pulsating rhythmic drive. In addition to the flowing melodic passages\, there are also examples of staccato rhythmic sections which set off the flowing line and the variant fanfares. It is truly a “festive overture.” (Note from the score\, by Donald Hunsberger) \nThe gestation of Shostakovich’s Festive Overture has been subject to several different theories. One author claims that it was originally written in 1947\, but was suppressed by Shostakovich along with many of his compositions created during this repressive period of Soviet history. Others believe that the celebratory quality of the overture displays Shostakovich’s relief at the death of Josef Stalin (in 1953)\, whose regime had twice censored the composer and his music. Most probably\, the work was commissioned for a gathering at the Bolshoi Theater in November of 1954\, celebrating the 37th anniversary of the October Revolution. The conductor\, Vasili Nebolsin\, realized that he had no appropriate piece to open the high-profile concert. He approached Shostakovich\, who was at the time a musical consultant at the Bolshoi. The composer set to work\, and the overture was completed in three days\, the individual pages of the score being taken by courier before the ink had dried to copyists waiting at the theater to create the orchestra parts. Although written in haste\, the overture has proved to be one of Shostakovich’s most frequently performed works. (Program Note from University of North Carolina\, Greensboro\, Wind Ensemble concert program\, 19 November 2015) \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/02-Fesetive-Overture-Op-96.m4a\n\nDenise Milner-Howell offered the narration for Saint-Saëns’ march. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/03-MCB-10-14-07-Narration-2.m4a\nSaint Saëns wrote The Suite Algérienne\, Op. 60\, in 1880.  The Marche militaire française is the fourth and final movement of the suite. The Suite “Algérienne” has for its title on the score “Picturesque Impressions of a Voyage to Algeria.” In the last movement a French military march is worked up in elaborate style. A note to the score indicates that the composer not only emphasizes his joy in viewing the French garrison\, but also the security felt under its protection. Judged by the pomposity of the march rhythm\, the composer’s joy and sense of security knew no bounds in expression. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/04-March-Militaire-Francaise-Op.-6.m4a\n\nSon of a social climbing soldier of fortune (the “von” is not a title but an affectation); Carl Maria von Weber was born lame but musically gifted. Although the boy’s early essays in music were unsuccessful – leading to the elder Weber’s anger that his son was not a great prodigy – he rose to fame some years later as the composer of the revolutionary operas Der Freischutz and Euryanthe. His Concertino\, Op. 26 for Clarinet is one of the great and most popular works of the clarinetist’s repertoire. Its first performance was on April 5\, 1811 and was such a success that Weber was commissioned to write two more selections for the clarinet. These fine works established the clarinet as a leading instrument for the expression of Romantic music. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/05-MCB-10-14-07-Narration-3.m4a\n \nMary Ann Grof-Neiman\, clarinet\, received her bachelor of science in music education degree from the Bowling Green State University. Ms. Grof-Neiman has served as principal clarinetist with the Sounds of Sousa Band and as clarinetist for the Blossom Festival Band\, the Cleveland Winds\, Lakeland Civic Band\, Lakeside Symphony Orchestra\, Youngstown Symphony\, Chagrin Falls Studio Orchestra and Erie Philharmonic. She currently performs with the Cleveland Philharmonic Orchestra\, Lakewood Home Town Band\, Akron Symphonic Winds and Medina Community Band\, where she serves as band librarian. She maintains private studios at Baldwin Wallace University Community Music School as well as her home in Medina. She has served the Ohio Music Education Association as a Woodwind Adjudicator for over 30 years and is a member of AFM Local 4. She resides in Medina with her husband Marcus and their cat Dmitri. \nDavid N. Adamson\, clarinet\, saxophone\, conductor: Received his B.M.E. degree from the Baldwin-Wallace Conservatory of Music.  His M.M. degree in Woodwind Performance was earned from the University of Michigan.   A public-school instrumental music teacher for 16 years\, his bands consistently earned the highest ratings.  He adjudicated students throughout the state for the Ohio Music Education Association and works for the Ohio Foundation for Music Education\, organizations for which he previously served in the capacity of Business Manager and Development Director. He worked in music retail for 17 years and was the Woodwind Department Chair at the Cleveland Music School Settlement. Mr. Adamson performed in the northeast Ohio area on clarinet and saxophone and is a member of the Sounds of Sousa Band\, the Cleveland Orchestra’s Blossom Festival Band\, and the Lakewood Hometown Band. He enjoyed guest conducting the Medina Community Band. He is the music director emeritus of the All Generations Band of Cleveland Heights. \n  \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/06-Concertino-Op.-26-for-Clarinet.m4a\n\nThe Barber of Seville\, or The Futile Precaution\, is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais’s French comedy Le Barbier de Séville (1775). The première of Rossini’s opera (under the title Almaviva\, o sia L’inutile precauzione) took place on 20 February 1816 at the Teatro Argentina\, Rome. Rossini’s Barber has proven to be one of the greatest masterpieces of comedy within music\, and has been described as the opera buffa of all “opere buffe”. Even after two hundred years\, its popularity on the modern opera stage attests to that greatness. \nThe aria Una Voce Poco Fa is a cavatina from Act I\, Scene 2. A cavatina is a musical term\, originally meaning a short song of simple character\, without a second strain or any repetition of the air. It is now frequently applied to any simple\, melodious air\, as distinguished from brilliant arias or recitatives\, many of which are part of a larger movement or scene in oratorio or opera. (Program Note from Wikipedia) \nDenise Milner-Howell\, mezzo-soprano soloist \nDenise Milner Howell\, mezzo-soprano\, is a versatile performer of opera\, concerts\, and recitals\, whose singing has been called “superb” (Cleveland Classical).  Ms. Howell’s solo engagements include performances with Cleveland Opera Theater\, Opera Cleveland\, Chautauqua Opera\,  Kent/Blossom Festival\, Nightingale Opera Theatre\, Akron Symphony Orchestra\, Akron Lyric Opera Theatre\, Akron Baroque\, Tanglewood Festival\, Carousel Dinner Theatre\, and Buffalo Philharmonic. Recent performances include leading roles in Little Women (Meg)\, Amahl and the Night Visitors (Mother)\, Carmen (Mercédès)\, La cambiale di matrimonio (Clara)\, Robert Ward’s The Crucible (Rebecca Nurse)\, and Iolanthe (Celia). A frequent concert soloist\, Ms. Howell has performed the alto solos in Handel’s Messiah\, Mozart Requiem\, Bach Magnificat\, Haydn Lord Nelson Mass\, Verdi Requiem\, Vivaldi Gloria and Duruflé Requiem. Additionally\, Ms. Howell is committed to the performance of new works by living composers\, and has been heard at Cleveland Ingenuity Festival and New to New York Concert Series. In addition to performing\, Ms. Howell is an active voice teacher.  She currently teaches at Cleveland Institute of Music/Case Western Reserve University\, and Kent State University Hugh A. Glauser School of Music. She lives in Sharon Township\, Ohio with her husband\, Gregg\, and their three children. \n  \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/08-Barber-of-Seville_Una-Voce-Poco-f.m4a\n\nhttps://medinacommunityband.org/wp-content/uploads/2020/05/09-MCB-10-14-07-Narration-5.m4a\nAntonio Vivaldi was trained for the priesthood and ordained in 1703 but soon after his ordination ceased to say Mass. he claimed this was because of his unsure health (he is \nPortrait of Antonio Vivaldi (1678-1741). Oil on canvas\, Italian School\, 18th century. Civico Museo Bibliografico Musicale\, Bologna\, Italy. (Photo by Stefano Bianchetti/Corbis via Getty Images) \nknown to have suffered from chest complaints\, possibly asthma or angina). In 1703 he was appointed maestro di violino at the Ospedale della Pietà\, one of the Venetian girls’ orphanages; he remained there until 1709\, and held the post again\, 1711-16; he then became maestro de’ concerti. Later\, when he was away from Venice\, he retained his connection with the Pietà (at one period he sent two concertos by post each month). He became maestro di cappella\, 1735-8; even after then he supplied concertos and directed performances on special occasions. His Concerto for two trumpets was originally written in the key of C.  Please welcome Marcia Nelson-Kline and Paul Rocco in the first movement of Vivaldi’s Concerto for Two Trumpets in B-flat\, first movement. \nMarcia Nelson Kline\, Copley resident Marcia Nelson Kline began her trumpet studies with parents Milton and Sarah Nelson\, Lloyd Haines\, and further advanced her studies with Harry Herforth and James Darling.  She is a member of Medina Community Band (since 1984) and Brass Band of the Western Reserve (since 1997) and has performed with Marcus Neiman’s Sound of Sousa Band\, Mill Street Brass Quintet\, and Cleveland Women’s Orchestra.  She is featured as a cornet soloist on Medina Community Band’s CD “Sounds of Summer”.  Marcia has an associate degree in medical assisting from The University of Akron and is retired from the Cleveland Clinic where she was an ophthalmic technician. \n  \n  \nPaul V. Rocco\, originally from Brooklyn\, New York\, studied trumpet at SUNY at Fredonia\, later completing a Bachelor’s of Fine Arts Music at the University of Akron. While at The University of Akron\, he studied with Tucker Jolly and Scott Johnston\, continuing with Geoff Hardcastle after graduation. Rocco moved to Ohio to take the position of police officer for the City of Medina\, retiring in 2009 after 20 years of service.  He became a member of Medina Community Band in 1989. He also performs with the Brass Band of the Western Reserve. Rocco is presently teaching private trumpet lessons for Barberton Middle and High Schools\, and Green Middle School. He resides in Medina with wife Gayle\, son Gary\, three rescue dogs and a cat. \n  \n  \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/10-Concerto-in-B-flat-for-Two-Trumpe.m4a\n\nDenise Milner Howell introduces tenor Dan Doty. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/11-MCB-10-14-07-Narration-6.m4a\nGiacomo Puccini 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. From Turandot “Nessun dorma” Giacomo Puccini (1858-1924). In his sixties\, Giacomo Puccini decided to “strike out on new paths.” The result was Turandot\, a fantastic tale from the eighteenth century set in a mythical China. But Puccini never felt at ease with the plot: “My life is a torture because I fail to see in this opera all the throbbing life and power which are necessary in a work for the theater if it is to endure\,” he wrote in desperation. He agonized over the opera for four years\, finally dying of throat cancer before he finished the last scene. \nTo avenge the rape and death of a distant ancestress\, the Chinese princess Turandot challenges her suitors with three riddles and\, if they fail to answer them correctly\, has them beheaded. Prince Calaf has just seen Turandot on the ramparts of the palace and is instantly bewitched by her beauty. He beats Turandot at her own game. For many of the arias and ensembles\, Puccini used authentic Chinese melodies. Calaf has now challenged her to discover his true name\, agreeing to sacrifice his life if she fails.  Turandot orders the citizens of Peking to uncover Calaf’s disguise\, while he muses about the sleepless citizens\, anticipating his ultimate victory over Turandot\, but not before Liu\, his slave who adores him\, sacrifices her life in the face of torture \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/12-Turandot_Nessun-Dorma.m4a\n\nKurt Gäble was born on January 5\, 1953. In Augsburg he studied music\, fine arts and pedagogic sciences. He developed his talents as composer and arranger as an autodidact and as an expert in matters of the wind band.  The flute is an instrument of historic bearing\, as it is known in almost all cultures on earth. Some rulers considered the sound to be too erotic and immoral\, and therefore prohibited to play it. Today\, the flute has become one of the most popular instruments. The ancient Celts originally settled in southern Germany. They used this instrument to accompany their religious rites and in many of their ceremonies. Dances of Celtic-Irish nature presently undergo a true revival. “Celtic Flutes” was composed as solo for two flutes and symphonic wind band. Keeping with the style\, the piece uses authentic material of the composer in the dramaturgy of human life\, as love and suffering\, joy and hope constitute the thematic elements of this work.   \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/13-MCB-10-14-07-Narration-7.m4a\nSue McLaughlin (photo on right) has been a member of the Medina Community Band since 1994 and is a former flute 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 and The Sounds of Sousa Band\, Symphony West Orchestra\, Medina Show Biz\, St. Paul Lutheran Church orchestra\, St. Paul Lutheran Celebration Worship Team\, the Western Star Flute Choir and several other area churches.  She is retired from 24 years with Southwest General Health Center.  Sue lives in Medina with her two cats\, Truffles and Kokopelli. She has a married daughter and two wonderful grandsons!  She is section leader for the flute section\, media/public relations contact for the band and secretary of the Medina Community Band Association. \nAmy Muhl (photo on left) has been a member of Medina Community Band since 1998.  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 in the 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 the Wadsworth City Schools.  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.  She is also treasurer of the Medina Community Band Association.  Amy resides in Wadsworth with her husband Frank\, and three children Kenneth\, Eva and Simon. \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/14-Celtic-Flutes.m4a\n\nhttps://medinacommunityband.org/wp-content/uploads/2020/05/15-MCB-10-14-07.m4a\nHenry Fillmore gained fame as the Father of the Trombone Smear wrote a series of 15 novelty characteristic tunes featuring trombone smears called “The Trombone Family.  Written in strong ragtime or Vaudeville style\, the smear features the trombone section. Shoutin’ Liza Trombone was the eighth characteristic smear composed by Fillmore\, and carried the subtitle “Mose Trombone’s Ah-finity.”  Recalling Henry’s early conflicts with his father about his music\, it is interesting to note that this was originally titled “Hallelujah Trombone” in reference to the opening motif which is taken from Handel’s “Hallelujah Chorus.” Knowing that his hymnal-publishing father would never approve of such blasphemy\, Henry recalled the first printing which did go out with the title “Hallelujah Trombone” and retitled it Shoutin’ Liza Trombone.  When performing the work as a guest conductor\, Henry would bring the trombone section to the front of the stage\, play the introduction and\, before the pick-ups to the first strain\, would say to the audience.  “Let us have a moment of prayer for the trombone section.”  He would they yell “Shoot em!” and tear into the first glissando\, that section marked “with pep.” \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/16-Shoutin-Liza-Trombone.m4a\n\nhttps://medinacommunityband.org/wp-content/uploads/2020/05/17-MCB-10-14-07-Narration-9.m4a\nThe Stars and Stripes Forever (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.”  The most 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: \n“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.” \n  \nhttps://medinacommunityband.org/wp-content/uploads/2020/05/18-Stars-and-Stripes-Forever-March.m4a
URL:https://medinacommunityband.org/events/click-title-to-launch-event-click-audio-arrow-to-launch-video-and-please-be-patient-while-videos-load/
CATEGORIES:Virtual Concert
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200605
DTEND;VALUE=DATE:20200606
DTSTAMP:20260423T194004
CREATED:20200522T152411Z
LAST-MODIFIED:20200622T202913Z
UID:2542-1591315200-1591315200@medinacommunityband.org
SUMMARY:Summer 2020 Virtual Concert 1
DESCRIPTION:Continue to scroll down through entire page \nMedina Community Band will be unable to present live concerts on the Gazebo of Medina’s Uptown Park Square during the 2020 summer season due to the Coronavirus 19 Pandemic.  We will; however\, be presenting virtual concerts throughout the June and July season here on our website.  \nNotes and Rests from the Maestro.  I have lost my ability to tell which day it is – every day feels like a pandemic mini-series or a very scary version of my own “Groundhog Day.”  I have found solace in reading John Barry’s “The Great Influenza”  and it seems that what they experienced during the 1918 Pandemic isn’t too far from what we are experiencing now! With the extra time on my hands\, it seems more of my time has been devoted to playing my flute (good for my lungs and breath capacity); conducting scores for future concerts (good for my cardio-aerobic exercise); and\, finally getting out in the yard to play in the dirt (good to help remove too many pounds from inactivity).   \nWith the schools closed\, Medina Community Band rehearses in the band room at Highland Middle School have been cancelled since mid-March.  And\, of course\, with the Public Square closed to large groups\, we can’t perform.  We still haven’t figured out how to play wind instruments with face masks\, or find a space big enough to comply with social distancing.  And\, frankly\, too many of our MCB members are just scared to take the chance of risking catching the virus while rehearsing or performing.  And\, we don’t want to give it to our fans in a concert setting.  So\, we have followed what many musical organizations are doing – attempting to construct a virtual concert.  We all really miss rehearsing and performing! \nIn an article published by the Medina Sentinel on October 18 1918\, entitled “Postpone draft call on account of the flu\,” it was announced the under instructions from Washington\, Major Pealer\, state of Ohio draft office\, postponed the call for 4\,000 men to report from Ohio to Camp Wadsworth \, South Carolina\, between October 21 and 26.  The men will not be called until the epidemic has been stamped out.  Of the call for 4000 men\, 49 were selected to go from Medina County. \nMary Jane Brewer\, wrote in an April 17\, 2020\, article of Cleveland.com\, on Oct. 18\, 1918\, the Medina Gazette first reported the Spanish Flu in Medina County: “Few Genuine Cases of Flu: Although There Are a Great Many of Colds and Grip. One Death in Medina County.” “While there is a great deal of sickness in the village and county of Medina\, it is a question how many cases there are of real Spanish influenza\, the epidemic which is spreading over the country\,” the report noted. “The only death so far ascribed to influenza is that of Blake Myers\, of Spencer\, who was infected with tuberculosis and hence an easy victim.” (His sister Pauline died a week later; she also was “afflicted with tuberculosis.”) (https://www.msn.com/en-us/health/medical/coronavirus-pandemic-has-many-similarities-to-1918-flu-epidemic/ar-BB12N5VS \nA huge gathering took place on the Medina Uptown Park Square on November 7\, 1918.  Seville brought it’s band\, whose stirring music alternating with that of the Medina Band gave zest to the parade.  The parade started from the intersection of West Liberty street and the public square at 7 o’clock\, a half hour later than the scheduled time.  The line of march was taken east to Broadway\, thence south to Washington Street\, thence west to Main Street\, and back to the place of beginning.   Another\, and even bigger gathering took place on November 11\, 1918 to celebrate the actual armistice of World War I.  From the Medina Sentinel November 22\, 1918 – Influenza has broken out in Medina again and on Monday morning the school board ordered the schools closed\, and Health Officer Harding prohibited any more public meetings of any kind under further notice.  The local movie theater was permitted to give a show Monday and Tuesday nights. There will be no church services next Sunday. \nPLEASE take care\, please keep in touch\, and please know that we will be back together at some point in time.  That happened in 1918\, and it will happen in 2020.  Until we can present live concerts for you\, we will do our best to continue to post virtual concerts – or repeat those that have been posted. \nMarcus L. Neiman\, conductor\, Medina Community Band \n\nA Virtual Summer Concert by the\nMedina Community Band\nWelcome from City of Medina Mayor Dennis Hanwell\nIt is with great pride that I welcome you to the Medina Community Band’s first virtual concert season. Although the band can’t perform for you in person because of the present COVID-19 restrictions\, it important to keep this more than 160 year tradition alive.  The city is blessed to have some of the most talented musicians in our area come together for our enjoyment and we appreciate each of their respective efforts. I thank each of you for your support and interest in the renowned Medina Community Band and the Medina Community Band Association.  May God bless each of you and your families\, as well as keep you safe and healthy.  Please join me now as we enjoy the Medina Community Band in virtual concert! \nSincerely – Dennis Hanwell\, Mayor\, City of Medina \n  \n\n\n\n\nSelection \nComposer/Arranger\nConductor\nSoloist/Ensemble\nLive Performance Date\n\n\n \n \n \n \n \n\n\nThe Star Spangled Banner (1889)\nFrancis Scott Key/John Philip Sousa\nFrank Cosenza\n \nJuly 15\, 2016 – Medina Gazebo\n\n\nMarch from Folk Song Suite (1924)\nRalph Vaugh Williams\nMarcus Neiman\n \nMay 4\, 2019 – Medina HS Middle Stage\n\n\nHarlem Nocturne (1939)\nEarl Hagen/Alfred Reed\nMarcus Neiman\nThomas Lempner\nJune 8\, 2018 – Medina Gazebo\n\n\nThe Volunteers March (1918)\nJohn Philip Sousa\nMarcus Neiman\n \nMay 4\, 2018 – Medina HS Middle Stage\n\n\nThe Typewriter (1950)\nLeroy Anderson\nEdward Lichtenberg\nDennis Hanwell\nDecember 16\, 2012 – Medina HS Middle Stage\n\n\nHungarian March Rákóczy (1846)\nHector Berlioz/Leonard Smith\nMarcus Neiman\n \nMay 5\, 2019 – Medina HS Middle Stage\n\n\nThe Stars and Stripes Forever (1896)\nJohn Philip Sousa\nMarcus Neiman\n \nJune 2009 – Medina Gazebo\n\n\n \n \n \n \n \n\n\n\n  \n\n  \n \n\nTrumpet player\, band director\, and educator. Frank Cosenza has been heavily involved in music since the age of eight when he began studying the trumpet. He received a talent scholarship to Bowling Green State University where his performance opportunities took off. From recitals\, top 40s bands\, orchestras\, shows and backing up entertainers\, he is at home to any style of music. His teachers included: Joe Hruby\, Bernard Adelstein\, Edwin Betts\, James Stamp and Scott Johnston.  A native of South Euclid\, Ohio\, Frank has performed in many\, many varied venues\, including Severance Hall and Blossom Music Center (home of the Cleveland Orchestra)\, The Cleveland Palace and State Theaters\, Nautica Stage and a host of churches. He has taken his talents to Europe performing concerts in many different countries as well as numerous big bands\, pit bands\, orchestras and concert bands in Northeast Ohio. He has had the opportunity to play under several noted conductors including Leonard B. Smith\, Frederick Fennell and Loras Schissel. \nEqually at home in education\, Frank spent many years as a band director with great success while performing regularly on trumpet. His bands have received many superior awards including performances at State Conventions for the American School Band Directors Association and the Ohio Music Education Association. Additionally\, his groups have performed in numerous venues including Canada\, Europe and throughout the United States. His musicianship has even extended to the vocal spectrum as he has conducted choirs on several occasions. He has served the Ohio Music Education Association as State Trustee\, All-State Coordinator\, past District President\, member of music selection committees\, and adjudicator. He is a former Interim Director of Athletic Bands/Concert Band at Kent State University and previous Associate Conductor of the Medina Community Band.  Frank is currently a conductor with Lakeland Civic Band (Mentor\, Ohio) \nMedina Community Band has been opening concerts with our national anthem since the 1930s\, when The Star Spangled Banner was officially named as national anthem by congressional action. \n\n \nEnglish Folk Song Suite reveals Vaughan Williams interest in and association with the folk song movement which swept through England toward the close of the 19 century. His wife\, Ursula\, wrote: “Folk music weaves in and out of his work all through his life\, sometimes adapted for some particular occasion\, sometimes growing into the fabric of orchestral writings.”  The suite English Folk Songs\, was written for the Royal Military School of Music\, Kneller Hall.  Vaughan Williams had been particularly happy to undertake the Suite\, according to his wife\, as he enjoyed working in a medium new to him.  “A military band was a change from an orchestra\, and in his not-so-far off army days he had heard enough of the ‘original monger’s light stuff” to feel that a chance to play real tunes would be an agreeable and salutary experience for bandsman.” \nThe final movement of the suite\, March – Folk Songs from Somerset\, includes four songs\, each presented as successive\, contrasting themes in march style\, all taken from the titular county on the southwestern peninsula of England. It begins with a light\, jaunty melody entitled Blow Away the Morning Dew\, also known traditionally as The Baffled Knight\, which tells the story of a soldier enticed by a fair maiden\, only to be teasingly tricked at the last minute. The second folk song\, perhaps providing an answer to the first\, is a rousing war ballad dating from the War of the Spanish Succession entitled High Germany\, where a soldier attempts to entice another fair maiden to accompany him to war on the Continent. The Trio of the march\, The Tree So High\, tells the story of an arranged marriage between two children\, in a conversation between the unhappy daughter and her father. This is answered by the famous tune\, John Barleycorn\, a tale of a knight battling\, in some versions\, a miller or a group of drunkards\, all of whom want to “chop him down\,” which can be interpreted as an allegorical telling of the events in the cultivation and harvesting of barley. Finally\, the march repeats da capo\, repeating the first two melodies before closing with a flourish. \n\n \nAlto Saxophone Soloist – Thomas Lempner\, alto saxophone\, serves on faculty at Baldwin Wallace University Conservatory of Music\, Cleveland State University\, Notre Dame College\, and is a woodwind coach for the Cleveland Institute of Music Cleveland Youth Wind Symphonies. Thomas has premiered solo and chamber works for saxophone as well as recording on Palmyra Music. As a music therapist\, he has worked at the Prentiss Autism Center and has over ten years’ experience working with the urban youth population of Cleveland who have severe emotional disturbances. Thomas earned a master of music at Kent State University and earned a double bachelor’s degree in music therapy and music performance at the Baldwin Wallace College Conservatory of Music and a diploma from the Armed Forces School of Music in Little Creek\, Virginia. He is a veteran of the United States Armed Forces. And is an endorsing artist for Air Revelation and is a Conn-Selmer Performing Artist. \n“Harlem Nocturne” Earle Hagen was born in Chicago\, Illinois\, and as a boy he moved with his family to Los Angeles\, California\, where he learned to play the trombone in junior high school\, and graduated from Hollywood High School. He left home to join traveling big bands\, at age 16\, and played with Ray Noble\, and many others. While with Noble he wrote Harlem Nocturne\, on the road in 1939\, as a tribute to Duke Ellington and Johnny Hodges. The piece was later used as the theme to television’s Mickey Spillane’s Mike Hammer. \n  \n  \n\n \nSousa’s march\, “The Volunteers\,” was dedicated To Mr. E.C. Hurley\, chairman of shipping board and the ship builders of America. During World War I\, a government official asked Sousa to compose a march dedicated to the workers building ships for the war effort\, asking also that the music include the sounds of the shipyard: riveting\, sirens and anvils. Sousa responded elegantly and creatively\, composing one of his most unusual marches.  \n\n \nIn this age of computers and the Internet\, a piece of music paying tribute to the typewriter\, which in 1950 was still an important piece of technology\, might seem a bit quaint. But even computers have keyboards and it is the sound of a typewriter’s keyboard that is central to this piece of music in its color and humor. Leroy Anderson was known to use a variety of objects in his scores — like sandpaper and wood in the Sandpaper Ballet — and thus his use of a typewriter here is hardly unusual. We are delighted to feature a long-time supporter of the arts in our community\, and specifically\, Medina Community Band.  We are honored\, and delighted\, to feature Mayor Dennis Hanwell in Leroy Anderson’s “The Typewriter.” \nMayor Dennis Hanwell\, is the Mayor/Safety Director for the City of Medina. He had been the Chief of Police for the City of Medina for over twelve years. He has over 36 years of service with the City of Medina\, and over 38 years of law enforcement experience. Dennis has an Associate’s Degree in Criminal Justice from the University of Akron\, and a Bachelor’s Degree in Criminal Justice Administration from Tiffin University. Dennis had served as the President of the Medina County Police Chiefs’ Association for the eleven years. Dennis has had articles published in national criminal justice periodicals and has been a speaker at previous Ohio Attorney General Conferences\, Safe Community Conferences\, & Public Safety Director’s Conferences. Under his tenure\, the City of Medina Police Department has received both state and national recognition for various community policing initiatives. Those initiatives have now been implemented city wide under a Community Oriented Government model. Dennis has been married to Chris for 41 years this August. They have two adult children\, Jonathan and Nicole\, and two precious grandchildren\, Madison and Aiden.   \nEdward Lichtenberg (at right)\, 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 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\, 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 44 years.  \n  \n  \n  \n\n \nBerlioz composed his “Hungarian March” in 1846 for a concert in Budapest.  The march used a favorite Hungarian national tune called the Rákóczy theme\, which was named for the famous Hungarian patriot Ferenc Rákóczy.  That same year\, Berlioz incorporated this march into The Damnation of Faust\, his large-scale setting for vocal soloists\, chorus\, and orchestra of the great German dramatist Goethe’s story about a man who sells his soul to the devil in exchange for knowledge.  The Hungarian Mach begins with a trumpet fanfare\, after which the flutes and clarinets softly introduce the Rákóczy theme.  Through a long crescendo\, this theme grows steadily in power and sonority until it blazes forth in its full glory\, majestically proclaimed by the brasses and carried by them to a rousing conclusion. \n\n \n“The Stars and Stripes Forever ” (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. \nThe 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.” \nThe 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.” \nThe march evolved over its first few years of performance.  Mr. Sousa would premiere a new march and place it as an encore on the program.  It must be remembered that The Sousa Band was a concert band and performed in concert halls\, opera houses\, theaters\, and other large rooms.  Mr. Sousa would verbally make changes on the march to his players during this time.  After the march was “broken in” the changes would become standard for future performances.  It would also seem logical that changes the musicians themselves did\, either through intention or simply performance\, would also be added to the march.  There are many reasons why the “authentic” Sousa style does not appear on most editions of the march today. Prime among them are the simple fact that most publishers will not go into that much detail for the interpretation of a “march.”  Another probable cause is that Mr. Sousa was an entertainer and did not want the competition to “lift” his composition’s unique performance quality. \n\nMedina Community Band is proudly sponsored and supported by the Medina Community Band Association\, composed of members of Medina Community Band.  The board of directors consists of Lu Ann Gresh\, president; Amy Muhl\, vice president; Kristin Thompson\, financial secretary; Karen Sater\, treasurer; Sue McLaughlin\, secretary; with directors John Connors\, Dr. Thomas Kenat\, Monica Lenox\, and Gail Sigmund.  \nMembership in MCB 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 – 9p in the band room of Highland Middle School (3880 Ridge Road\, Medina).  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\, and\, spring concert.  For additional information on the 2019 concert season or Medina Community Band\, contact Neiman at 330.725.8198 or MarcusNeiman@medinacommunityband.org.
URL:https://medinacommunityband.org/events/summer-virtual-concert/
CATEGORIES:Free Concerts,Virtual Concert
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