DOCSLIB.ORG

My Life in the Army Chuck Booker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Life in the Army Chuck Booker My Life in the Army Chuck Booker In the fall of 1971, I was newly with the ability and high musical President Johnson died and we married to Claudette [DeRocher], standards achieved by this group, took part in that service too. a trumpet player, and attending St. and I remember telling Claudette I continued with my writing Mary’s University of San Antonio, that someday, I would love to be and playing trumpet for the next majoring in Music Education. in that band. Also, while at the two years, and even did some After having dropped piano for the School of Music my son Erik Lee conducting at the Ft. Sam Houston third time, and tiring of school, I Booker was born. Playhouse Theatre. I left the Army joined the United States Army as a After graduating from the at the end of my enlistment and trumpet player. After training my School of Music I moved my moved my family to Denton assignment would be as a member family back to San Antonio and to attend North Texas State of the Fifth U.S. Army Band at started my career as a trumpeter University in the spring of 1975, Fort Sam Houston, Texas. with the 5th Army Band. It is here majoring in composition. After I entered basic training in I met future Texas band directors two months, I realized I missed January 1972 and graduated in Gary Potter and Larry Schmidt. the camaraderie and hands-on April. Claudette and I packed up Bob Howard, my best friend from excitement of an Army band so our 1965 Rambler Classic and high school, was already in the I re-enlisted into my old unit at drove to Norfolk, Virginia to the band. John Pearson, band director Ft. Sam Houston and we moved Armed Forces School of Music. I at MacArthur High School, was back to San Antonio. attended the school until the first kind enough to let me bring charts That summer, Claudette and I of September, during which time, over to try out with his band. bought a house and settled down I began to write music for the jazz Occasionally, I played gigs on (we thought) to the routine of bands that rehearsed everyday. My trumpet with Dale Schultz in the Army life. In August 1975, my first attempt was disastrous, but a Paul Elizondo Orchestra. My high Bandmaster offered me two free Navy instructor took pity on me, school band director, Al Sturchio tickets to see The Army Field pointed out my mistakes, and told commissioned me to write jazz Band of Washington, D.C. perform me to rewrite it. We did this over charts for his jazz orchestra. at Trinity University. At first I and over until I got it right. At the During Christmas 1972, declined, but at the last minute school and in my first two years President Truman was very ill decided to go. As luck would have in the Army, I must have arranged and our band was put “on alert.” it, one of my senior sergeants was at least one new piece a week. We were to support any funeral at the concert and pulled me back During my stay at the “School,” ceremonies that would be held stage at the intermission to talk the Army’s premier touring jazz at the President’s home. The day to the commander of the Band, band and part of the Army Field after Christmas we got word that Major Sam Fricano who needed a Band performed there. Known as President Truman had died. replacement for his chief arranger the Studio Band, they later were That evening we boarded a (Dave Volpe) who was retiring. renamed “the Jazz Ambassadors.” C-130 at Kelly Air Force Base and I flew to their headquarters in I was really amazed and impressed flew to Kansas. Two months later, Ft. Meade, Maryland (just outside 25 Bandmasters Review • September 2006 Texas Bandmasters Association My Life in the Army of Washington, D.C.) for the audition, and of an overabundance of energy and determined to was accepted. succeed at everything. Looking back now, I believe In March 1976, I sold my house, packed up the I must have been exasperating to my sergeants, family and drove to Ft. Meade. I immediately began especially the older ones. We all survived and they writing new music for the Field Band for their spring taught me how to be an officer. In 1978, the band tour and continued to write for the concert band. flew to West Germany for Reforger ’78. We performed I also took private composition lessons at Towson for six weeks throughout the military exercise area State University from the great jazz composer and near Frankfurt, enjoying the German hospitality— arranger, Hank Levy. Although especially the beer and I had my first two pieces schnitzel. published by Kendor Music One of the highlights of that year, I knew I wanted to my time at Fort Polk, was do more than write music for conducting the 5th Infantry the rest of my military career. Division Band at the 1980 I not only wanted to write it, Arkansas Bandmasters I wanted to conduct it, and Association conference and someday, hopefully become the performing with Harvey Director of the Studio Band. Phillips. What I remember To do that, I would have to most about Ft. Polk was that become an Army Bandmaster, a Claudette and I were blessed Warrant Officer. I asked Major with two more children, Fricano for his permission to Adam and Colleen. request admission into the In 1980 I received orders Bandmaster course. He smiled to Frankfurt, West Germany knowingly, and said, “I was wondering when as Bandmaster of the Third Armored Division. I flew you were going to get around to it.” to Germany first, and six weeks later Claudette and On the first day of December, I was accepted for the kids followed. In January 1981, the American Bandmaster training at the School of Music. In four hostages held in captivity by the Iranian government weeks, I cleared quarters, raced my family back to were released. Our band performed for their San Antonio to stay with Claudette’s parents, and flew departure from Rhein-Main Air Force Base to the to Norfolk, Virginia. The course of instruction was states. I remember conducting the band during six long grueling months. We began with eighteen “God Bless America” and suddenly found myself candidates, and only ten of us graduated. being hugged by one of the released hostages who My first assignment was at Ft. Polk, Louisiana was crying and thanking me for being there. where I spent three enjoyable years as Bandmaster of I may have cried a little bit, too. Each year the the Fifth Infantry Division Band. I was twenty-five band provided music at the World War II memorial and the youngest Bandmaster in the Army. I was full service at Margraten, Netherlands and at the annual Nijmegan Marches, also in the Netherlands. 26 Bandmasters Review • September 2006 Texas Bandmasters Association My Life in the Army In 1983 the Bookers were once again moved by The band marched in the Presidential Inauguration the Army to Brooklyn, New York where I became the Parades in 1989 and again in 1993. We performed Commander and Bandmaster of the 26th Army Band: in Tokyo, Japan in 1993 in a centennial celebration “The Army Band of New York City.” During this time of the birth of Glenn Miller. We performed at the band provided music for all visiting heads of the Midwest International Band and Orchestra state, for Mayor Koch’s city ceremonies, concerts in Conference in Chicago twice, but my favorite of all the park and at the World Trade Center. In 1986, the performances was at the 1991 Texas Bandmasters band performed for many of the activities in support Association Conference in San Antonio. of the Centennial of the Statue of Liberty. I left the military in 1993, and spent one year In May 1986, I was asked to be the Director of as Director of Bands at Fork Union Academy in the Army’s “Jazz Ambassadors.” I took about one Virginia. Our family returned home to San Antonio second to think it over and said, “When do I start?” the following year, and I became assistant editor of In August 1986, I reported to the Field Band for Southern Music Company. I finished my Masters the second time in my life and by October, I was on degree in Instrumental Conducting from the a 40-day coast-to-coast concert tour of the United University of Texas at San Antonio in 1996, and was States with the Jazz Ambassadors. appointed the acting Director of Bands at Trinity During my seven years as their director, I took University 1996-97. I received my Texas Teaching the Jazz Ambassadors on many tours throughout Certificate from Southwest Texas State University in all sections of our great country and in many parts 1997, and taught public school music until appointed of the world. In February and March of 1989, the in 1999 to my current position as Director of Bands Department of the Army sent the Jazz Ambassadors at the University of Arkansas – Fort Smith. on a 30-day tour of India performing in New Delhi, Over the years I have come to realize how Calcutta, Madras, Bombay, Bangalore, and Poona. important my 21 years in the Army Band program We even paid a visit to the great Taj Mahal. In were. There was always a sense of accomplishment; summer, the band did a 26-day tour of six countries time and freedom to learn my trade, and I strongly in western Europe which included performances at believe I served my country to the best of my the Nice Jazz Festival in France, the North Sea Jazz abilities.
Load more

Recommended publications
  • Black US Army Bands and Their Bandmasters in World War I
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent.
    [Show full text]
  • Brass Bands of the World a Historical Directory
    Brass Bands of the World a historical directory Kurow Haka Brass Band, New Zealand, 1901 Gavin Holman January 2019 Introduction Contents Introduction ........................................................................................................................ 6 Angola................................................................................................................................ 12 Australia – Australian Capital Territory ......................................................................... 13 Australia – New South Wales .......................................................................................... 14 Australia – Northern Territory ....................................................................................... 42 Australia – Queensland ................................................................................................... 43 Australia – South Australia ............................................................................................. 58 Australia – Tasmania ....................................................................................................... 68 Australia – Victoria .......................................................................................................... 73 Australia – Western Australia ....................................................................................... 101 Australia – other ............................................................................................................. 105 Austria ............................................................................................................................
    [Show full text]
  • An Investigation of Dalcroze-Inspired Embodied Movement
    AN INVESTIGATION OF DALCROZE-INSPIRED EMBODIED MOVEMENT WITHIN UNDERGRADUATE CONDUCTING COURSEWORK by NICHOLAS J. MARZUOLA Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Nathan B. Kruse Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2019 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Nicholas J. Marzuola, candidate for the degree of Doctor of Philosophy*. (signed) Dr. Nathan B. Kruse (chair of the committee) Dr. Lisa Huisman Koops Dr. Matthew L. Garrett Dr. Anthony Jack (date) March 25, 2019 *We also certify that written approval has been obtained for any proprietary material contained therein. 2 Copyright © 2019 by Nicholas J. Marzuola All rights reserved 3 DEDICATION To Allison, my loving wife and best friend. 4 TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................... 5 LIST OF FIGURES .......................................................................................................... 10 ACKNOWLEDGEMENTS .............................................................................................. 11 ABSTRACT ...................................................................................................................... 13 CHAPTER ONE, INTRODUCTION ............................................................................... 15 History of Conducting ..................................................................................................
    [Show full text]
  • American Mavericks Festival
    VISIONARIES PIONEERS ICONOCLASTS A LOOK AT 20TH-CENTURY MUSIC IN THE UNITED STATES, FROM THE SAN FRANCISCO SYMPHONY EDITED BY SUSAN KEY AND LARRY ROTHE PUBLISHED IN COOPERATION WITH THE UNIVERSITY OF CaLIFORNIA PRESS The San Francisco Symphony TO PHYLLIS WAttIs— San Francisco, California FRIEND OF THE SAN FRANCISCO SYMPHONY, CHAMPION OF NEW AND UNUSUAL MUSIC, All inquiries about the sales and distribution of this volume should be directed to the University of California Press. BENEFACTOR OF THE AMERICAN MAVERICKS FESTIVAL, FREE SPIRIT, CATALYST, AND MUSE. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England ©2001 by The San Francisco Symphony ISBN 0-520-23304-2 (cloth) Cataloging-in-Publication Data is on file with the Library of Congress. The paper used in this publication meets the minimum requirements of ANSI / NISO Z390.48-1992 (R 1997) (Permanence of Paper). Printed in Canada Designed by i4 Design, Sausalito, California Back cover: Detail from score of Earle Brown’s Cross Sections and Color Fields. 10 09 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 v Contents vii From the Editors When Michael Tilson Thomas announced that he intended to devote three weeks in June 2000 to a survey of some of the 20th century’s most radical American composers, those of us associated with the San Francisco Symphony held our breaths. The Symphony has never apologized for its commitment to new music, but American orchestras have to deal with economic realities. For the San Francisco Symphony, as for its siblings across the country, the guiding principle of programming has always been balance.
    [Show full text]
  • Open Drane Dissertation.Pdf
    The Pennsylvania State University The Graduate School AN ORAL HISTORY OF THE NAVY BAND B-1: THE FIRST ALL-BLACK NAVY BAND OF WORLD WAR II A Dissertation in Music Education by Gregory Abdul Drane © 2020 Gregory Abdul Drane Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2020 ii The dissertation of Gregory Abdul Drane was reviewed and approved* by the following: O. Richard Bundy, Jr. Professor of Music Education, Emeritus Dissertation Advisor Chair of Committee Robert Gardner Associate Professor of Music Education David McBride Professor of African American Studies and African American History Ann Clements Professor of Music Education Linda Thornton Professor of Music Education Chair of the Graduate Program iii ABSTRACT This study investigates the service of the Navy Band B-1, the first all-black Navy band to serve during World War II. For many years it was believed that the black musicians of the Great Lakes Camp held the distinction as the first all-black Navy band to serve during World War II. However, prior to the opening of the Navy’s Negro School of Music at the Great Lakes Camps, the Navy Band B-1 had already completed its training and was in full service. This study documents the historical timeline of events associated with the formation of the Navy Band B-1, the recruitment of the bandsmen, their service in the United States Navy, and their valuable contributions to the country. Surviving members of the Navy Band B-1 were interviewed to share their stories and reflections of their service during World War II.
    [Show full text]
  • ABA Past Presidents (1930-2000)
    The American Bandmasters Association Past Presidents 1930-2000 by Victor William Zajec, 2000 (Chicago, IL, March 4, 1923 - Homewood, IL, January 26, 2005) Revised by Raoul F. Camus, ABA Historian, 2017 Past Presidents of the American Bandmasters Association by Victor Zajec, Honorary Life Member and ABA Historian, was published in 2000. It was as much a history of the organization as that of the past presidents, and contained prefaces by several ABA presidents—Bryce Taylor, Stanley F. Michalski, Jr., and Edward S. Lisk. Except for the biographies, most of this information is presently available on the ABA web site. The ABA Board of Directors decided against reprinting the book and chose to put the biographies of the past presidents on the website in chronological order Additional information provided by Vincent J. Novara, curator, Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland. The American Bandmasters Association PRESIDENTS Arranged alphabetically 51. Allen, Eugene W. 1988 52. Julian, W J 1989 13. Bachman, Harold B. 1950 53. Kelly, Mark S. 1990 10. Bainum, Glenn Cliffe 1947 6. King, Karl L. 1938 47. Begian, Harry 1984 24. Kraushaar, Otto J. 1961 31. Berdahl, James E. 1968 63. Lisk, Edward S. 2000 58. Bloomquist, Kenneth G. 1995 30. Loboda, Samuel R. 1967 46. Boundy, Martin 1983 50. Long, John M. 1987 54. Bourgeois, John R. 1991 36. Mahan, Jack H. 1973 17. Brendler, Charles 1954 56. McBeth, W. Francis 1993 11. Bronson, Howard C. 1948 29. McCall, Fred W. 1966 7. Buys, Peter 1939 41. McGinnis, Donald E. 1978 3.
    [Show full text]
  • Download Booklet
    570406bk USA 12/7/07 7:36 pm Page 5 8.570406 Royal Scottish National Orchestra British Piano Concerto Foundation Formed in 1891 as the Scottish Orchestra, and subsequently known as the Scottish National Orchestra before being British Piano Concertos DDD granted the title Royal at its centenary celebrations in 1991, the Royal Scottish National Orchestra is one of Britain shares with the United States an extraordinary willingness to welcome and embrace the Europe’s leading ensembles. Distinguished conductors who have contributed to the success of the orchestra include traditions of foreign cultures. Our countries comprise the world’s two greatest ‘melting pots’, and, as Sir John Barbirolli, Karl Rankl, Hans Swarowsky, Walter Susskind, Sir Alexander Gibson, Bryden Thomson, a result, the artistic appreciation of our people has been possibly the most catholic and least nepotistic Neeme Järvi, now Conductor Laureate, and Walter Weller who is now Conductor Emeritus. Alexander Lazarev, in the world. This tradition is one that we may be extremely proud of. In the case of music, it is John who served as Principal Conductor from 1997 to 2005, was recently appointed Conductor Emeritus. Stéphane certainly one of the reasons for my own initial inspiration to become a musician and to embrace as Denève was appointed Music Director in 2005 and his first Naxos recording, which couples Roussel’s Symphony many different styles and periods as reasonably possible in one lifetime. No. 3 with the complete ballet Bacchus et Ariane (8.570245) was released in May 2007. The orchestra made an Perhaps as a result of this very enviable virtue, however, we do have a tendency to underrate the GARDNER important contribution to the authoritative Naxos series of Bruckner Symphonies under the late Georg Tintner, and artistic traditions of our own wonderful culture.
    [Show full text]
  • Conducting and Phrasing the Musical Line Texas Bandmaster's
    Conducting and Phrasing the Musical Line Texas Bandmaster’s Association, July 28, 2014 Dr. Sarah McKoinTexas Tech [email protected] I. Listen to Silence! A. Listening, Imagination and Expression 1. Connect with your inner child What is the “drama” of the work? Where is its Heart? Sing! Dance! Play!” 2. Channel your inner Spielberg Create musical Characters Conversation and dialogues Exaggerate the imagery - like reading to a child Find the story – use imaginative imagery Think like an artist Use emotional descriptors for sounds 3. Summon your musicianship Harmonic Rhythm Tempo relationships and architecture Textures Rhythmic Phrasing Note Groupings Anticrusis/crusis – To, From and At Q: Conducting is the art of translating physical gesture into sound. Is there something in female gesture as opposed to male gesture, because of the difference in the physicality, that translates into different responses from an orchestra? A: Everything we do is about gesture and the way humanity interprets gestures. The same gesture from a woman and a man is completely different. I talk to conductors a lot about trying to neutralize or de- genderize their gestures so that there are no stereotypical associations. As a woman conductor if you extend your little finger on your baton hand it looks like you’re having tea – unconsciously people will find it lightweight. If a man does it it’s usually interpreted as a gesture of sensitivity. You really have to really go through your physical vocabulary and analyze it from many different levels. – Marin Alsop II. Movement and Artistry A. Whole body conducting – combine mental sound concept with physical expression B.
    [Show full text]
  • Composition and Analysis of Symphony No. 1 by David
    14 CHAPTER II REVIEW OF THE LITERATURE Mennin Biography and Overview of his Symphonies Peter Mennin was born 17 May 1923 in Erie, Pennsylvania to parents Attilio and Amelia Mennini.45 He later Americanized his name to Mennin to help differentiate himself from his older brother, Louis, who also composed. By taking early solfeggio and piano lessons with the local musician, Tito Spantani, he reportedly learned to read music before being able to read or write.46 He also later realized he had perfect pitch. Mennin composed his first piano piece before age seven47 and attempted a symphony at age eleven.48 Other early compositions include more piano pieces and a number of songs, some of which were set to the texts of Emily Dickinson.49 Of his early musical influences, Mennin states: When I was very young, it was Verdi…The bulk of my lessons were drawn from Verdi operas. Then for a while I had had enough of Verdi, too much. Later, when I was older, I fell in love with Verdi all over again, and for good. But while I was a student Beethoven was certainly one of the dominant influences, not only for the usual good reasons—because the music was great, because it moved me emotionally—but because I could learn so much from Beethoven.50 45 Holland, "Peter Mennin, Juilliard President and Prolific Composer, Dies at 60." 46 David Ewen, American Composers a Biographical Dictionary (New York: G.P. Putnam's Sons, 1982), 449. 47 Carrington, "“for the Sake of Art”: A Talk with Peter Mennin.," 40.
    [Show full text]
  • Romantic Voices Danbi Um, Violin; Orion Weiss, Piano; with Paul Huang, Violin
    CARTE BLANCHE CONCERT IV: Romantic Voices Danbi Um, violin; Orion Weiss, piano; with Paul Huang, violin July 30 PROGRAM OVERVIEW Violinist Danbi Um embodies the tradition of the great Romantic style, her Sunday, July 30 natural vocal expression coupled with virtuosic technique. Partnered by pia- 6:00 p.m., Stent Family Hall, Menlo School nist Orion Weiss, making his Music@Menlo debut, she offers a program of music she holds closest to her heart, a stunning variety of both favorites and SPECIAL THANKS delightful discoveries. Music@Menlo dedicates this performance to Hazel Cheilek with gratitude for her generous support. ERNEST BLOCH (1880–1959) JENŐ HUBAY (1858–1937) Violin Sonata no. 2, Poème mystique (1924) Scènes de la csárda no. 3 for Violin and Piano, op. 18, Maros vize (The River GEORGE ENESCU (1881–1955) Maros) (ca. 1882–1883) Violin Sonata no. 3 in a minor, op. 25, Dans le caractère populaire roumain (In FRITZ KREISLER (1875–1962) Romanian Folk Character) (1926) Midnight Bells (after Richard Heuberger’s Midnight Bells from Moderato malinconico The Opera Ball) (1923) Andante sostenuto e misterioso Allegro con brio, ma non troppo mosso ERNEST BLOCH Avodah (1928) INTERMISSION JOSEPH ACHRON (1886–1943) ERICH WOLFGANG KORNGOLD (1897–1957) Hebrew Dance, op. 35, no. 1 (1913) Four Pieces for Violin and Piano from the Incidental Music to Shakespeare’s CONCERTS BLANCHE CARTE Danbi Um, violin; Orion Weiss, piano Much Ado about Nothing, op. 11 (1918–1919) Maiden in the Bridal Chamber March of the Watch PABLO DE SARASATE (1844–1908) Intermezzo: Garden Scene Navarra (Spanish Dance) for Two Violins and Piano, op.
    [Show full text]
  • Iowa Bandmaster Magazine
    he T Iowa Bandmaster Magazine Summer Issue 2012 Iowa Bandmaster Magazine Deadlines Fall Issue .................................... October 5, 2012 Winter Issue ................................ January 4, 2013 Conference Issue ............................ March 8, 2013 Magazine Staff Editor Advertising Dick Redman Chad Allard 1408 W. 3rd St. 3060 24th Avenue Pella, Iowa 50219 Marion, IA 52302 641-628-9380 (H) 319-550-6109 (H) [email protected] 319-377-9891 [email protected] Festival Results Denise Graettinger District News 1307 Country Meadows Dr. Elaine Menke Waverly, IA 50677 1130 Rolling Hills Ct. 319-352-4003 (H) Norwalk, Iowa 50211 319-352-2087 (S) 515-953-6214 (H) [email protected] 515-685-3330 (S) [email protected] The Iowa Bandmaster 1 Iowa Bandmasters Association, Inc. World’s Finest Bandmasters Organization www.bandmasters.org PAST PRESIDENT PRESIDENT PRESIDENT-ELECT SECRETARY TONY GARMOE PATRICK KEARNEY BRAD LAMPE STEVEN COOK 4821 TWANA DRIVE 129 N EAST STREET COMMITTEE CHAIRS MAGAZINE EDITOR DES MOINES, IA 50310-2916 OSCEOLA, IA 50213 TREASURER DICK REDMAN AARON NUSS CONFERENCE EQUIPMENT JAYSON GERTH NATHAN SLETTEN IBA MAGAZINE-OFFICIAL PUBLICATION OF THE IOWA BANDMASTERS ASSOCIATION CONFERENCE EXHIBITS vol. 71 published by Pella Printing Co., Inc., Pella, Iowa 50219 NO. 1 DAN STECKER ELECTIONS JERRY BERTRAND CONTENTS ENDOWMENT FUND GENE GROSS President’s Message . 4, 7 HISTORIAN President-Elect’s Thoughts . 5, 7 MARY CRANDELL Congratulations to Our Retiring 2011 IBA Members . 8 PARLIAMENTARIAN FRED STARK 2012 IBA Conference Photos . 9-12 WEBMASTER Open Letter to the IBA Membership . 13 ELIZABETH FRITZ IBA Conference Performance Experience . 14-15 COLLEGE AFFAIRS College Corner by Dr.
    [Show full text]
  • Notte Scarlatta
    marbutin ma' ġrajjet il-parroċċa u ma' Santa }ar[a Nru. 63 {unju 2013 Margerita. Din kienet idea tassew sabi]a, interessanti u ta' min ifa]]arha. Fl-okkazjoni ta' din il-ġrajja, wirja b]al din kienet tassew f'waqtha. Grazzi mill-qalb lil kull min ta sehemu biex din il- wirja setg]et tittella' u tant nies japprezzaw aktar il-]ajja ta' ra]alna. Hekk ikompli jikber is-sens ta' Maestro Joseph Debrincat, our bandmaster for the rabta u m]abba lejn ra]alna. Attivitajiet kulturali last fifteen years, tendered his resignation to the ta' din il-kwalità ta' min jinkoraġġihom g]aliex Society in May. Under the baton of Maestro huma mezz ta' tag]lim u edukazzjoni kulturali. Debrincat, our band progressed over the years in a Prosit mill-ġdid u grazzi. timely manner, performing in many villages all around Gozo, in Malta and even in Pisoniano, Italy and L-attivita' tal-kunsill - Notte Scarlatta. Il- Singen, Germany. banda tag]na g]amlet marċ biex ikompli The Committee and all the band wishes Maestro 8iferra] din l-okkazjoni. Il-marċ beda minn Joseph Debrincat more success in the field of music. Triq Dun Xand Aquilina, g]adda minn Pjazza Our new bandmaster is Maestro George Apap. Santa Margerita u spiċċa fi Triq Davide Cocco Maestro Apap is not a new face to our Society since Palmeri. Grazzi lill-bandisti u lil kull min ta he once used to play the clarinet with our band. We sehemu biex dan il-marċ jirnexxi. can assure him that he will be finding all the help he needs from our bandsmen and from the Committee so that our band moves forward.
    [Show full text]