A Summer Concert by the Medina Community

th Friday, June 14 , 2019 – 8:30p – Flag Day

Under the baton of Marcus L. Neiman John Connors, assistant conductor

In Memory – Robert James Ullery

Ice Cream Social Host – United Church of Christ, Congregational

* * * Program * * *

Anthem, The Star Spangled Banner (1889) ...... Francis Scott Key

Overture, Light (1866/1922) ...... Franz von Suppé Henry Fillmore

March, Old Glory Triumphant (1919) ...... Charles Duble

Tuba Solo, Beelzebub (1886/1912) ...... Andrea Catozzi G.H. Reeves (Laurendeau) Andrew Tatman, soloist

March, Vanished Army (1918) ...... Kenneth Alford

Mass, A Simple (1971) ...... Leonard Bernstein Michael Sweeney

Sing-Whistle-Along, On the Mall (1923) ...... Edwin Franko Goldman

March, Vimy Ridge (1921) ...... Thomas Bidgood

Piccolo Duet, Concerto in C Major, RV 533 (Mvt 1) ...... Antonio Vivaldi Charles T. Yeago

Sue McLaughlin & Amy Muhl, soloists

March, Gold Bug (1896/1924) ...... Victor Herbert

Patriotic, Armed Forces Salute ...... arr. Bob Lowden

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

Patriotic, God Bless America (1918) ...... Irving Berlin Erik Leidzén

Program subject to change

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 1

Light Cavalry Overture Franz von Suppé / Henry Fillmore

Franz von Suppé (at left) was the father of the Austrian operetta which was to reach its summit with Johann Strauss II. Like so many of his German compatriots, Suppé was a profound admirer of Offenbach. His aim was to carry the techniques of opera-bouffe in Germany and Austria. Actually, what he did was to create his own : 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. The Light Cavalry Overture, written in 1866, is martial at its best. Beginning with those wonderful fanfare calls in the brass, we are treated to one of the best examples of Saturday morning cartoon cavalry gallops imaginable. The delicate transitional sections is actually a broad Hungarian- like song guiding us back to the vigorous melody and opening brass calls and pushing us toward the “blood and guts” finale.

The Light Cavalry Overture is an energetic and lively overture from the Leichte Kavallerie, an operetta by Franz von Suppé (1819 – 1895). Suppé composed many operettas and comedies, most of which have now become obsolete. However, his overtures continue to be played in many , as well as being found in movies, cartoons and advertisements. The Light Cavalry debuted in 1866 in Vienna. During this time, Austria was about to become part of the Austro-Hungarian Empire. The citizens of Vienna were fascinated by Hungary, the land of the Gypsies, and added eastern melodies and Hungarian characters in their operas, giving their music a distinct sound. In the Light Cavalry, heroic fanfares and eastern Hungarian melodies can be heard, making it a perfect overture to a grand adventure. The Overture starts off with a brilliant fanfare played by the and brass, like a military preparing soldiers for . Then at Allegro, the violins play a theme of quick triplets, as the enemy soldiers stealthily approaching the battlefield. At Allegretto Brillante, the brass plays a galloping theme as the cavalry rides to battle, and the rest of the joins in. Then, the music changes into a minor key as the battle starts and the cavalry charges. At the end of the first battle, soldiers and their general die, and the clarinet mourns the deaths in its cadenza. A solemn Hungarian melody starts at Andantino con moto, as the people of the country mourn its lost soldiers. Allegretto Brillante returns as the cavalry regroups for another , defeating the enemy and ending the overture in a triumphant victory.1

1 http://www.ocms-yso.org/2011/09/program-notes-of-light-cavalry-overture.html

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 2

Old Glory Triumphant (March) Charles Duble

DOB – September 13, 1884 (Jeffersonville, Indiana) DOD – 1960 (Jeffersonville, Indiana)

Charles Edward Duble was born in 1884 in Jeffersonville (IN). Circus band and conductor Merle Evans remembered Duble as a tall, lanky player whose socks looked like spats, and who was always seeking an opportunity to play a practical joke on someone. He wrote about 45 marches – Bravura, the most famous, has been erroneously attributed to several other composers. Duble played trombone with various circus and minstrel bands for 23 years. He began with Sun Brothers Circus and continued with John Robinson’s Big Ten Shows, Barnum & ’s Greatest Show on Earth, Hagenbeck-Wallace, Sells-Floto, Sparks, Downie Brothers, and finally, Merle Evans the Ringling Brothers and Barnum & Bailey’s Shows.2

Old Glory Triumphant (March). While there is no dedication, the inscription indicates that the march is … as played by Ringling Brothers’ Circus Band. The march was written in 1919.

2 Smith, Norman. March music notes. Program Note Press (Lake Charles, Louisiana), 1986, p.115

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 3

Beelzebub (Tuba Solo) Andrea Catozzi / G.H. Reeves (Laurendeau)

Andrea V. Catozzi was a well -known tuba soloist in the New England area during the late 19th century. He was tuba soloist with the band in Togus, Maine, until 1887, when he joined the Salem (Massachusetts) Band in a similar capacity.

In the tuba community, a Beelzebub is a solo traditionally passed down through the section. Catozzi’s Beelzebub was the prize-winning entry in an 1886 competition for instrumental solos sponsored by the Carl Fischer Company.3

Andrew Tatman, tuba. Originally from Wadsworth (OH), Andrew is currently finishing his Masters of Music in at Ohio University in Athens, OH where he also received his Bachelors of Music in Tuba Performance (2017). This fall, Andrew will begin pursuing a in Tuba Performance at the University of Georgia in Athens, GA. Andrew has performed with regional orchestras around Ohio including the Ohio Valley Symphony (Gallipolis, OH) and the River Cities Symphony (Marietta, OH). While at Ohio University, Andrew performed with the Graduate Brass Quintet, Symphony Orchestra, and Wind Symphony which included a 2016 performance at New York’s Carnegie Hall. He is also a founding member and player of Largemouth Brass Band, a New Orleans style brass band based in Athens, OH. While at the University of Georgia, Andrew will be studying with David Zerkel, but his prior teachers include Dr. Jason Roland Smith and Bernie Williams.

3 Information supplied to this writer by William Rehrig, author of The Heritage Encyclopedia of Band Music

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 4

Vanished Army (March) Kenneth Alford

Kenneth J. Alford

Frederick Joseph Ricketts (21 February 1881 – 15 May 1945) was an English composer of marches for band. Under the pen name Kenneth J. Alford, he composed marches which are considered to be great examples of the art. He was a Bandmaster in the British Army, and Royal Marines Director of Music. Conductor Sir Vivian Dunn called Ricketts "The British March King." Ricketts’ frequent use of the saxophone contributed to its permanent inclusion in military bands.

The Vanished Army Parenthetically titled “They Never Die”, this march was written in 1918 and dedicated to the first 100,000 men who gave their lives fighting against tyranny during World I. One of the most expressive marches, it is both somber and stirring, serving as a reminder of the terrible price of the war. Alford often used fragments of familiar tunes in his marches; a portion of It’s a Long Way to Tipperary may be heard at the end of the second strain.

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 5

A Simple Song (from ‘Mass’) Leonard Bernstein / Michael Sweeney

Leonard Bernstein Born August 25, 1918 Lawrence, Massachusetts Died October 14, 1990 New York City Leonard Bernstein (August 25, 1918 – October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful in American history." 4 A Simple Song – from ‘Mass.’ Mass (formally: MASS: A Theatre Piece for Singers, Players, and Dancers) is a musical theatre work composed by Leonard Bernstein with text by Bernstein and additional text and by Stephen Schwartz. Commissioned by Jacqueline Kennedy, it premiered on September 8, 1971, conducted by Maurice Peress and choreographed by Alvin Ailey. The performance was part of the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. Mass premiered in Europe in 1973, with John Mauceri the Yale Symphony Orchestra in Vienna. Initial critical reception, including a review in the New York Times, was largely negative, but the Columbia Records recording of the work enjoyed excellent sales.5 The FBI kept a file on Bernstein because of his leftist views. In the summer of 1971, the Bureau warned the White House that the Latin text of Mass might contain anti-war messages, which could cause embarrassment to President Nixon should he attend the premiere and applaud politely. Rumors of such a plot by Bernstein were leaked to the press. According to Gordon Liddy, White House counsel John Dean stated that the work was "definitely anti-war and anti-establishment, etc." Nixon did not ultimately attend the premiere; Nixon had this decision described in the press as an act of courtesy to Jacqueline Kennedy Onassis, because he felt the formal opening "should really be her night". In the beginning, all of the performers are in harmony and agreement. During the course of the Mass, however, the street begins expressing doubts and suspicions about the necessity of God in their lives and the role of the mass. At the play's emotional climax, the growing cacophony of the chorus' complaining finally interrupts the elevation of the Body and Blood (the transubstantiated bread and wine). The celebrant, in a furious rage, hurls the sacred bread, housed in an ornate cross-like monstrance, and the chalice of wine, smashing them on the floor. At this sacrilege, the other cast members collapse to the ground as if dead while the Celebrant sings a solo. This solo blends the chorus's disbelief with his realization that he feels worn out and wonders where the strength of his original faith has gone. At the end of his song, he too collapses. A bird-like (Holy Spirit) flute solo begins, darting here and there from different speakers in the hall, finally "alighting" in a single clear note. An altar server, who was absent during the conflict, then sings a hymn of praise to God, "Sing God a Simple Song". This restores the faith of the three , who join the altar server, one by one, in his hymn of praise. They tell the Celebrant "Pax tecum" (Peace be with you), and end with a hymn asking for God's blessing. The last words of the piece are: "The Mass is ended; go in peace."

4 https://en.wikipedia.org/wiki/Leonard_Bernstein 5 https://en.wikipedia.org/wiki/Mass_(Bernstein)

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 6

Vimy Ridge Thomas Bidgood Thomas Bidgood DOB: October 7th, 1858 (Woolwick, Kent, England) DOD: March 1st, 1925 (London, England) Thomas Bidgood was born in Woolwich, Kent. His father was William John Bidgood, a master plumber, and his mother was Jane Bidgood, née Williams. His early musical training included learning the violin at the London Academy of Music, taught by Signor Erba, and in the church choir. He also learned a number of wind instruments after going to concerts given by the band of the Royal . He played the althorn and E♭ bass in the band of the 9th Kent Artillery Volunteers. While studying at the London Conservatory of Music, he won several awards for his achievements. After graduation, he worked as an orchestral conductor, teacher and composer. While working at the Beckton Gas Works he became bandmaster of the Beckton Band of the Gas, Light and Coke Company. Later he founded various theatre orchestras in addition to conducting his own professional orchestra and wind band. As a composer, he wrote entertainment music, waltzes, dances and marches.6

The was part of the Battle of Arras, in the Nord-Pas-de-Calais region of France, during the First . The main combatants were the four divisions of the in the First Army, against three divisions of the German 6th Army. The battle took place from 9 to 12 April 1917 at the beginning of the Battle of Arras, the first attack of the Nivelle , which was intended to attract German reserves from the French, before their attempt at a decisive offensive on the Aisne and the Chemin des Dames ridge further south. The Canadian Corps was to capture the German-held high ground of Vimy Ridge, an escarpment on the northern flank of the Arras front. This would protect the First Army and the Third Army farther south from German enfilade fire. Supported by a creeping , the Canadian Corps captured most of the ridge during the first day of the attack. The village of Thélus fell during the second day, as did the crest of the ridge, once the Canadian Corps overran a salient against considerable German resistance. The final objective, a fortified knoll located outside the village of Givenchy-en-Gohelle, fell to the Canadians on 12 April. The 6th Army then retreated to the Oppy–Méricourt line. Historians attribute the success of the Canadian Corps to technical and tactical innovation, meticulous planning, powerful artillery support and extensive training, as well as the inability of the 6th Army to properly apply the new German defensive doctrine. The battle was the first occasion when the four divisions of the Canadian Expeditionary Force fought together and it was made a symbol of Canadian national achievement and sacrifice. A 100-hectare (250-acre) portion of the former battleground serves as a memorial park and site of the Canadian National Vimy Memorial.7 Vimy Ridge is a military march of British origin written by Thomas Bidgood in 1921. It commemorates the 1917 Battle of Vimy Ridge during . The march is usually played on special occasions which commemorate the battle, such as Vimy Ridge Day. Vimy Ridge serves as the official regimental marchpast for the 1st Canadian Division.8

6 https://en.wikipedia.org/wiki/Thomas_Bidgood 7 https://en.wikipedia.org/wiki/Battle_of_Vimy_Ridge 8 https://en.wikipedia.org/wiki/Authorized_marches_of_the_Canadian_Armed_Forces#Vimy_Ridge

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 7

Concerto in C Major for Two Piccolos Antonio Vivaldi

Antonio Lucio Vivaldi (pictured at left) wrote many concertos for solo instruments and orchestra. Nicknamed Il Prete Rosso – “The Red Priest” because of his red hair, Vivaldi was one of the best-known Italian Baroque composers and virtuoso violinists. His influence, during his lifetime, was widespread over Europe.

The Concerto for Two Piccolos. Despite the fact that there are only 12 opus numbers, Vivaldi published more than 100 works, in that each opus contains multiple works, usually 12. Opus 10 is a collection of 6 flute concertos published in 1729-30 in Amsterdam - the first flute concertos ever published. In addition to his assigned opus numbers, there are several methods of identifying or cataloguing his music.

Charles T. Yeago is a graduate of the Ohio University School of Music where he received both a Bachelor of Fine Arts and degree. As a high school band director and music teacher for 34 years, he practiced and honed his skills as an arranger and composer. For many years he wrote marching band shows for schools in Ohio, West Virginia, Kentucky, and Maine. He also wrote many and transcriptions for and Solo instruments. After retiring from teaching he started BAS Publishing Company and started the Solo Series which features solo instruments with band accompaniment.

Sue McLaughlin (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 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. Amy Muhl (above left) has been a member of Medina Community Band since 1998. Originally from Lyme, Connecticut, moved to Ohio to study 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.

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 8

Gold Bug (March) Victor Herbert

Victor August Herbert (at left) was born in Ireland, received his education and early playing experience in German, and later earned his reputation as a cellist- composer-conductor in America. Considered by many as one of the greatest American composer-arrangers of all time, his major operettas consist of Babes in Toyland, Mlle. Modiste, The Red Mill, and Naughty Marietta.

The Gold Bug march (1896) was extracted from the operetta of the same name. The operetta, which opened at the Casino in New York in September of 1896, and closed one week later, was ill-fated from the beginning. The early demise of the musical comedy was attributed to inadequate preparations as well as to the less- than-exciting plot. The march was one of only two selections that survived the operetta. With its catchy melodies and a whistling chorus in the trio, the march proved to be one of Herbert’s most popular concert band works.

MCB Gazebo Concert – Friday, June 14th, 2019 – Program Notes – page 9

Stars and Stripes Forever (March) John Philip Sousa

John Philip Sousa

DOB: November 6th, 1854 (Washington, DC) DOD: March 6th, 1932 (Reading, PA) John Philip Sousa wrote the most famous American military marches of all time, including "Stars and Stripes Forever," earning him the nickname "the March King"; he was also known as a great bandleader, and organized the famed concert and military group, Sousa's Band. Born in Washington, D.C., on November 6, 1854, Sousa followed in the footsteps of his father, a in the U.S. Marine Corps, and enlisted by the age of 14. Before this, Sousa had studied violin with John Esputa. While active in the Marines, he composed his first march, "Salutation."

Around the age of 16, Sousa began studying harmony with G.F. Benkert, then worked as a pit orchestra conductor at a local , followed by jobs as first chair violinist at the Ford Opera House, the Philadelphia Chestnut Street Theater, and later led the U.S. Marine Corps Band (1880-1992). Although most famous for his marches, Sousa composed in other styles as well, including a waltz, "Moonlight on the Potomac"; a gallop, "The Cuckoo" (both in 1869); the oratorio "Messiah of the Nations" (1914); and scores for Broadway musicals The Smugglers (1879), Desiree (1884), The Glass Blowers (1893), (1896; which was his first real scoring success), American Maid (1913), and more.

Sousa formed his sternly organized marching band in 1892, leading them through numerous U.S. and European tours, a world tour, and an appearance in the 1915 Broadway show Hip-Hip-Hooray. Sousa's Band also recorded many sides for the Victor label up through the early '30s. His most famous marches include "The Stars and Stripes Forever" (1897), "U.S. Field Artillery March," "" (written in 1888, it became the Marine Corps anthem), "Washington Post March" (1889), "King Cotton" (1895), "El Capitan" (1896), and many more. In addition to writing music, Sousa also wrote books, including the best-seller Fifth String and his autobiography, Marching Along. Actor Clifton Webb portrayed Sousa in the movie about his life entitled Stars and Stripes Forever. The instrument the sousaphone was named after this famous composer and bandleader. ~ Joslyn Layne, All Music Guide

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).9 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 join them on the final repeat of the strain.

9 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)

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The march was performed on almost all of Mr. Sousa’s concerts and always drew tears to the eyes of the audience. The author has noted the same emotional response of audiences to the march today. The march has been named as the national march of The United States. There are two commentaries of how the march was inspired. The first came as the result of an interview on Mr. Sousa’s patriotism. According to Mr. Sousa, the march was written with the inspiration of God. “I was in Europe and I got a cablegram that my manager was dead. I was in Italy and I wished to get home as soon as possible, I rushed to Genoa, then to Paris and to England and sailed for America. On board the steamer as I walked miles up and down the deck, back and forth, a mental band was playing ‘Stars and Stripes Forever.’ Day after day as I walked it persisted in crashing into my very soul. I wrote it on Christmas Day, 1896.”10 The second, and more probable inspiration for the march, came from Mr. Sousa’s own homesickness. He had been away from his homeland for some time on tour, and told an interviewer: “In a kind of dreamy way, I used to think over old days at Washington when I was leader of the Marine Band ... when we played at all public functions, and I could see the Stars and Stripes flying from the flagstaff in the grounds of the White House just as plainly as if I were back there again.” “Then I began to think of all the countries I had visited, of the foreign people I had met, of the vast differences between America and American people and other countries and other peoples, and that flag our ours became glorified ... and to my imagination it seemed to be the biggest, grandest, flag in the world, and I could not get back under it quick enough.” “It was in this impatient, fretful state of mind that the inspiration to compose ‘The Stars and Stripes Forever’ came to me.”11

10 Taken from program notes for the week beginning August 19th, 1923. Bierley, John Philip Sousa, page 71. 11 Ibid., page 72

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