Concert Symphonic Band Directed by Mr. Brandon Dittgen and Dr. Tim Dailey Flute Bassoon Horn Monica Arnett Thomas Barnett Elliot Hore Kira Chiapelli Collin Chitwood Andrew Wilson Shann Deak * Abby Phillips Leah Dool * Trombone Cole Denlinger Alto Saxophone James Gilvary Christopher Howell Olivia Bayerl Nick Hoelmer Elise Linville Brooks Conly Vaughn Hoopes Madelyn Payne * Nathan Grilliot Aya Lewis-Rogers Jane Jetter Isaac Phillips Oboe Jakob Rauch Blake Troescher Hadley Miley Trumpet Euphonium Clarinet Alex Bell Korbin Gray Isaac Bauder Matt Bish Luke Hall * Lauren Campman Sam Earl Colin Siepman Kelsey Cote Beth Howard Megan Hartley Liam Jacobsen Tuba Taylor Horman * Isaac Jacobsohn Noah Jacobsen * Lindsey Leiving Jesse Luthy Daniel Moore Jackson Mueller Sam Mailloux Jack Prior Chloe Parrish Sophie Meredith Emily Reed * Noah Munz Claire Vonderhaar Devin Reupert Emma Roediger Alex Zimmer * denotes Senior Symphonic Band Selections Reverberations Brian Balmages The Great Locomotive Chase Robert W. Smith Arioso J. S. Bach, arr. Jacob de Haan His Honor Henry Fillmore Based entirely on a two-note motif (minor 3rd), Reverberations explores the concept of sound as it echoes throughout the ensemble. The piece opens and closes with the same two pitches, which appear throughout the work, while timbres and harmonies constantly change and evolve. While many references to minimalism do exist, the music does not strictly adhere to that style. This motif persists in reverberating throughout the ensemble. The Great Locomotive Chase is inspired by a military raid of the same name, also known as Andrews’ Raid, that occurred April 12, 1862, in northern Georgia during the American Civil War. Volunteers from the Union Army stole a train to disrupt the vital Western & Atlantic Railroad (W&A), which ran from Atlanta, Georgia, to Chattanooga, Tennessee. They were pursued by other locomotives, and the raiders were eventually captured. A few of the captured men were executed as spies, though other participants in the raid became the very first recipients of the Medal of Honor. Robert W. Smith’s creative interpretation of these events showcases extended techniques not commonly used on band instruments. All Aboard! Bach was a German composer, organist, harpsichordist, violist, and violinist whose ecclesiastical and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Cantata 156 was written for the third Sunday after Epiphany in 1729 and was first performed on January 23 of that year. Cantata 156 serves as the “prayer of one near death for release from the sickbed of punishment for sin, then for God’s aid with the sickness of the soul.” Soft, delicate, sensitive, and meant to be performed at a very slow tempo, Arioso from Cantata 156 is meant to challenge the skills of even the very best bands. Some of Fillmore's marches, overtures and novelty pieces were composed especially for his own band of professional musicians, organized in 1927 in Cincinnati. His Honor, composed in 1933 and published the following year, was one such favorite of both his band members and audiences alike. The title refers to Mayor Russell Wilson, a man who impressed the composer with his sense of humor as well as his executive ability. With its unexpected melodic and rhythmic changes and its various performance possibilities, His Honor is still one of Fillmore's most popular marches. Concert Band Directed by Mr. Brandon Dittgen and Dr. Tim Dailey Flute Bass Clarinet Trombone Nikki Banks Cooper Gunzelman Tyler Peake Liam Earnest Nick Hornsby Losanta Peebles Erin Elkowitz Cici McGinnis Bradley Rosen Rachel Howdyshell Baylie Richards Tenor Saxophone Tuba Kate Schuler Owen Frondorf Sage Gibson Elisa Voight Evan Horvath Trumpet Oboe Nate Asmus Percussion Claire Metsker Jackson Baumgartner Tim Delaney Wyatt Engle Max Begley Clarinet Caleb Grammel Dylan Uhlhorn Savannah Almer Mariah Isenhower Adam Dargis Madison Banks Davis Lewis Audrey Neal Sarah Brown Eliza O'Connell Jaden Colwell Eryan Gutierrez Aiden Parker Zamara Gordon Jayden Liffick Naomi Mooney Euphonium Amanda Smithers Braden Varner Ashley Suddith Jackson Weber Concert Band Selections Alamo March Karl L. King arr. Swearingen In A Quiet Place Bill Calhoun Music from Carmen Georges Bizet arr. Saucedo The battle of the Alamo occurred during Texas’ war for independence from Mexico. Though vastly outnumbered, the Alamo’s 200 defenders, including James Bowie and Davy Crockett, held out for thirteen days before the Mexican forces finally overpowered them. The battle became an enduring symbol of Texas’ resistance to oppression, and the battle cry of “remember the Alamo” became a popular battle cry. Dedicated to the heroes of The Alamo, Alamo March has a certain quality, making it one of King’s favorites. In a Quiet Place is a heartfelt ballad from rising composer Bill Calhoun. It was written to play tribute to Calhoun’s musical mentor, and it is the perfect vehicle to teach expressive, emotional playing. Written in a chorale-like setting, the piece challenges the students abilities to listen and perform with feeling. Georges Bizet was never to know how popular his last opera became as he died of a throat infection at the age of 36. Set in southern Spain, Carmen tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery gypsy Carmen. Among the excerpts in this piece are the celebrated Habanera, the literally seductive aria with which Carmen introduces herself. In Flower Song, Don José confesses his love to Carmen by presenting her with the flower that she gave him earlier in the opera. Finally, Toreador Song is sung by the bullfighter Escamillo as he enters in Act 2 and describes various situations in the bullring, the cheering of the crowds and the fame that comes with victory. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen's love to the glamorous toreador Escamillo, after which José kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage, broke new ground in French opera and were highly controversial. Wind Ensemble Directed by Dr. Tim Dailey Flute Alto Saxophone Trombone Elli Feldkamp Prateek Bhandari Mick Burns Taryn Hackler Katy Campman Mason Frondorf Marisa Hull Eli Fouts Nolan Hezlep Noah Jacobsen * Jack Renner Madison Kennedy Trumpet Alayna Lee * Andy Bish Tuba Emma Senter Quentin Cox JP Jones Caleb Grammel Ethan Owens Clarinet Kylie Hicks * Lawrence Ring Abby Carnithan Jessie Sears * Ashley Fissel Brooke Stinson Percussion Madelyn Jones Matthew Bateman Ellen Long Horn Nick Fischer * Maya Roediger Emily Barnhart Brayden Hamm Alec Bruns Tanner Helton Bass Clarinet Libby Mailloux Gwen Sattler Alli Mendez * Eli Williford Logan Woosley Bassoon Euphonium Christian Haghverdi * Sarah Morgan Laynie Metsker * * denotes Senior Wind Ensemble Selections The Black Horse Troop John Philip Sousa Aria di Chiesa “Pieta Signore” Alessandro Stradella Lincolnshire Posy (Selected Movements) Percy Grainger March King John Philip Sousa wrote this march in honor of Troop A, or The Black Horse Troop. This was an independent military organization which was established in Ohio after The Great Railroad Strike of 1877 amongst fears about the military’s ability to maintain law and order. The Black Horse Troop then became part of the Ohio National Guard Cavalry. At the conclusion of the first concert, just before the march was to be played, the whole of Troop A of the Ohio National Cavalry Guard rode their horses onto the stage and stood to attention behind The Sousa Band as Sousa conducted his musicians in the premiere of this elegant, triumphant march. Aria di Chiesa, or Pieta Signore, is a church aria set to music by Alessandro Stradella. Like many arias intended for performance in a church setting, the lyrics deal with repentance and forgiveness. The Italian lyrics translate to: Have mercy, Lord, on me in my remorse! Lord, have mercy, if my prayer rises to you; do not chastise me in your severity, less harshly, always mercifully, look down on me. Never let me be condemned to hell, in the eternal fire by your severity. This bunch of "musical wildflowers" (hence the title Lincolnshire Posy) is based on folksongs collected in Lincolnshire, England (one notated by Miss Lucy E. Broadwood; the other five noted by Grainger, mainly in the years 1905-1906, and with the help of the phonograph), and the work is dedicated to the old folksingers who sang so sweetly to him. Each number is intended to be a kind of musical portrait of the singer who sang its underlying melody -- a musical portrait of the singer's personality no less than of his habits of song -- his regular or irregular wonts of rhythm, his preference for gaunt or ornately arabesqued delivery, his contrasts of legato and staccato, and his tendency towards breadth or delicacy of tone. The Milford Band Program is grateful for the support of our community business sponsors: Private Lesson Teacher List Flute Liz Farney 513-320-4833 [email protected] Oboe Joe Basel 419-376-4818 [email protected] Bassoon Kristen Smith 513-805-6642 [email protected] Clarinet Miriam Culley 513-600-6505 [email protected] Saxophone Austin Atkinson 859-391-6051 [email protected] Saxophone Jonathon Nickell 270-319-3349 [email protected] Trumpet Stephen Wadsack 307-257-4087 [email protected] Trumpet Don Johnson 270-699-1751 [email protected] French Horn Linda Glover 615-692-9501 [email protected] Trombone Alex McCoy 937-823-1204 [email protected] Tuba/Baritone Andrew Jones 817-988-2783 [email protected] Percussion Brandon Dodge 941-726-2613 [email protected] All concerns or complaints relating to disability discrimination should be directed to the District's Section 504 Coordinator.