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Home , English Folk Song Suite, Joseph Joachim, Ralph Vaughan Williams, The Japanese Sandman, The Lark (play), The Music Band

The Medina Community Band

Marcus Neiman, conductor

John Connors, associate conductor & Matthew Hastings, assistant conductor

Ice Cream Social Host – Medina Creative Housing

Friday Evening, July 26th, 2019 – Season Final Concert

Medina Uptown Park Square Gazebo 8:30 p.m.

Anthem, Star Spangled Banner (1889/1917) ...... Francis Scott Key John Philip Sousa

Suite, (1924) ......

Seventeen Come Sunday My Bonnie Boy Folk Songs from Somerset

March, Esprit De Corps (1878/2015) ...... John Philip Sousa

Flute Solo, La Pastorella delle Alpi (1865/2019) ...... David Seiberling

Kristin Thompson, soloist

Ragtime, Wrong Note Rag (from ) (1953/2005) ...... Ted Ricketts

John Connors, conducting

Dance, After the Cake Walk (1900-2018) ...... Robert Nathaniel Dett Lee Orean Smith/ Dana Paul Perna

March, Bullets and Bayonets (1919) ...... John Philip Sousa

Vocal Solos, Nessun Dorma (from Turandot) (1926/1994) ...... D.W. Stauffer

Vocal Solos, La Donna E Mobile (from Rigoletto) (1851/1992) ...... D.W. Stauffer Daniel Doty, tenor soloist

March, The Elephant March (1910) ...... James Ord Hume

Dance, Cha-Cha (from Four Dances from ‘’) (1957/1980) ...... Leonard Bernstein Ian Polster

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

Theme Song, Till We Meet Again (1918/1968) ...... Richard A. Whiting William Teague

Patriotic Sing-A-Long, God Bless America (1917) ...... Irving Erik William Gustav Leidzén

Program subject to change

MCB Gazebo Concert – Friday, July 26th, 2019 – Program Notes – page 1

Folk Song Suite Ralph Vaughan Williams

Ralph Vaughan Williams led a long and illustrious career as a composer. He and his close friend were considered to be late bloomers in the field of composition, but once they reached maturity, both were active in composition to the end of their lives. Vaughan Williams outlived Holst by some twenty-four years. Having studied at Cambridge and the , Vaughan Williams augmented his studies with work in the German Romantic school, studying with in Berlin, beginning in 1897. In 1908 he honed his orchestration skills while studying with the younger but more advanced in Paris. Ever aware of his slow pace to a mature level of composition, Vaughan Williams enjoyed a new stimulus when he joined the Folk-Song Society in 1904. As was the case with Holst, folk songs provided the impetus for a number of pieces, though personal interest led to further development of his own melodic and harmonic style. After World War I a new style developed which was influenced by music of the Elizabethan era of the late Renaissance, as mentioned earlier. This, in combination with his own stylistic traits, created such mystical works as the Third and . English Folk Song Suite reveals Vaughan Williams interest in and association with the folk song movement which swept through toward the close of the . His wife, Ursula, wrote: “ weaves in and out of his work all through his , sometimes adapted for some particular occasion, sometimes growing into the fabric of orchestral writings.”1 The suite English Folk Songs, was written for the Royal Military School of Music, Kneller Hall. After the first performance on July 4, 1923, The Musical Times reviewer commented, “The good composer has the ordinary monger of light stuff so hopelessly beaten.”2 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 , 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.”3 At the head of his condensed score (the only one available until the mid-1950s) the composer gave the following credits, not printed in the full score: “The tune, ‘My Bonny Boy’, is taken from ‘English Country Songs’ by kind permission of Miss. L.E. Broadwood, J.A. Fuller-Maitland Esq., and the Leadenhall Press. The tunes of ‘Folk Song from Somerset’ are introduced by kind permissions of Esq.”

1 Ursula Vaughan Williams, R.V.W.: A Biography of Ralph Vaughan Williams (London: , 1964), pp. 150-153. 2 Ibid. 3 Ibid.

MCB Gazebo Concert – Friday, July 26th, 2019 – Program Notes – page 2

Marches by 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 musician 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 theater, followed by jobs as first chair violinist at the Ford 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), El Capitan (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," "Semper Fidelis" (written in 1888, it became the Marine Corps ), "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 Bullets and Bayonets (March). More than many of Sousa’s other marches, this World War I composition has a distinctly military character. In studying the music, Sousa’ apparent inspiration by visions of battlefield glory is not difficult to imagine. But perhaps its war-like title accounted for the relative lack of popularity. There is no good record of solicitation by a specific regiment, but the march was dedicated “To the officers and men of the U.S. Infantry.” Esprit de Corps (March). Inspiration for this composition would be obvious had Sousa composed it while he was in service, but he was not. The march was not published for band until the year after he resigned from the U. S. Marine Corps. The dedication reads, “To my old friend Wilson J. Vance of Ohio.” In addition to being Sousa’s friend, Vance (1845-1911) was a Medal of Honor recipient who served with the 21st Ohio Infantry during the American Civil War. He was cited for voluntarily rescuing a wounded and helpless comrade while his command was falling back under heavy fire during the Battle of Stones River in Tennessee on December 31, 1862. Vance later became Captain, 14th U. S. Colored Troops, was the author of several books, and is buried at Arlington National Cemetery. The “Esprit de Corps” Sousa references in this march is the camaraderie, the bond of

MCB Gazebo Concert – Friday, July 26th, 2019 – Program Notes – page 3

friendship that forms between those who serve together. The dedication’s timing is not coincidental; the two were beginning to work together in 1878 on the operetta The Smugglers, for which Vance was the librettist. Reference: Paul E. Bierley, The Works of John Philip Sousa (Westerville, Ohio: Integrity Press, 1984), 50. Supplemented with information provided by Loras J. Schissel.4 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).5 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. 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.”6 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.”7

4 Paul E. Bierley, The Works of John Philip Sousa (Westerville, Ohio: Integrity Press, 1984), 50. Supplemented with information provided by Loras J. Schissel

5 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) 6 Taken from program notes for the week beginning August 19th, 1923. Bierley, John Philip Sousa, page 71. 7 Ibid., page 72

MCB Gazebo Concert – Friday, July 26th, 2019 – Program Notes – page 4

La Pastorella delle Alpi Gioachino Rossini / David Seiberling

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 , although he also wrote many songs, some and piano pieces, and some works of sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his fame. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote a total of 34 operas for the Italian stage which were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as ) and a certain amount of self-borrowing. During this period, he produced his most popular works including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa, as well as opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental color, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained; contributory factors may have been ill-health, the wealth which his success had brought him, and the rise of spectacular Grand Opera under composers such as . From the early 1830s to 1855, when he left Paris and was based in Bologna, he wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays, regularly attended by musicians and the artistic and fashionable circles of Paris, for which he wrote the entertaining pieces Péchés de vieillesse. Guests included , , Giuseppe Verdi, Meyerbeer and . Rossini's last major composition was his Petite messe solennelle (1864). He died in Paris in 1868.8 La Pastorella delle Alpi. Rossini, having composed no fewer than forty operas between the ages of nineteen and thirty-seven, wrote none in the next forty years. After Guillaume Tell was premiered at the Paris Opéra in 1829, he turned his back on the theatre and composed little else but some church music (Stabat Mater and the Petite Messe solennelle) and a succession of short vocal and instrumental works. Before moving to Bologna in 1836 (where he was to live for some twelve years), he held weekly soirées in his Parisian home, the musical fruits of which were published in 1835 under the title of Serate musicali or Soirées musicales. This publication comprises twelve songs for various voices—eight ariettas and four duets, the last of which, for tenor and bass, is not included here—to poems by the Imperial Court poet Pietro Metastasio, the most prolific of librettists, and Count Carlo Pepoli, the librettist of Bellini’s I Puritani. All these pieces are ‘salon music’, written with great elegance and often characterized by the irony and sarcasm of a composer who had already become a legend in his lifetime.

8 https://en.wikipedia.org/wiki/Gioachino_Rossini

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The Soirées musicales begins with three short, formally simple, song-like arias that Rossini called ‘canzonettas.’ In La pastorella dell’ Alpi the shepherdess’s anguish sounds strangely lighthearted, but chords interrupt the catchy tune and express grief at Aminta’s faithlessness.9 (Richard Stokes © 2008)

David Seiberling, arranger, received his B.M. and M.A. in Music Education from Appalachian State University. Between degrees he spent three years in the U.S. Army. He retired in 2001 after teaching 31 years in the North Carolina public school system. For seven years he was director of bands at North Stokes High School. The next twenty-four years were spent at Union Pines High School in Moore County. Since its inception in 1982, Seiberling has been the conductor and musical director of the Moore County , and adult band that performs four formal concerts and a Christmas program each year to large and enthusiastic audiences. In January of 2008 he organized a beginner band program for adults over the age of 50. As an arranger, Seiberling’s music has been performed by middle school bands and high school bands in the area. He has written accompaniments for solo performers, including David Vining, trombonist formerly with Cincinnati Conservatory, and background music for a solo Contemporary Christian CD. His original compositions have been performed by community bands in North Carolina and Ohio, and by The UNC Pembroke and Ohio University bands. From 2001 to 2006 Seiberling taught Orchestration/Arranging and Applied Low Brass at UNC Pembroke and is happy to be back, after a year off, teaching Orchestration/Arranging, Conducting, and Music Appreciation

Kristin Thompson, flute soloist, is a 2017 graduate of The University of Akron with a Bachelor of Science Degree. in Biomedical Engineering. She works as a Clinical Research Coordinator for her Alma Mater in addition to being a Quality & Production Engineer for Yanke Bionics in downtown Akron. While she has grown up in Medina for 25 of her 26 years, she has spent much time abroad in Spain, Germany, and Italy. She has been devoted to music for over 15 years, beginning on flute in 2002 at age 9 and progressing into piccolo studies. Her principal teachers include Kyra Kester and Heidi Ruby-Kushious. Kristin is a 2012 alumna of Medina High School where she played in Symphony Band and the Medina Marching Band for all four years, the Symphony Orchestra for two, and played in the pit orchestra, in addition to making select appearances with the Medina . High school solo performances featured Kristin with the Stardusters jazz ensemble as well as the Symphony Orchestra, where she played Vivaldi's for Flautino (piccolo). During her high school years, she was also a member of the Cleveland Youth Wind Symphony and the Cleveland Orchestra Youth Orchestra, the latter of which offered her performances alongside members of the Cleveland Orchestra flute section. While at The University of Akron, Kristin played in the Concert Band, Flute , and Symphonic Band. Currently, she plays with the Akron Pops Orchestra. She has been a member of the Medina Community Band since 2015 and was recently appointed to the Medina Community Band Association, where she serves as Social Host Chair.

9 https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67647

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Wrong Note Rag (from ) Leonard Bernstein / Ted Ricketts Leonard Bernstein Born August 25, 1918 Lawrence, Massachusetts Died October 14, 1990 New York City Leonard Bernstein 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 musicians in American history." His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading , and from his music for West Side Story, , , Wonderful Town, On the Town, On the Waterfront, his , and a range of other compositions, including three and many shorter chamber and solo works. Bernstein was the first conductor to give a series of television lectures on classical music, starting in 1954 and continuing until his death. He was a skilled pianist, often conducting piano from the keyboard. As a composer, he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works are regularly performed around the world, although none has matched the tremendous popular and critical success of West Side Story.10

Wonderful Town is a 1953 musical with book written by Joseph A. Fields and Jerome Chodorov, lyrics by Betty Comden and Adolph Green, and music by Leonard Bernstein. The musical tells the story of two sisters who aspire to be a writer and actress respectively, seeking success from their basement apartment in New York City's Greenwich Village. It is based on Fields and Chodorov's 1940 play My Sister Eileen, which in turn originated from autobiographical short stories by Ruth McKenney first published in The New Yorker in the late 1930s and later published in book form as My Sister Eileen. Only the last two stories in McKenney's book were used, and they were heavily modified. Wonderful Town premiered on Broadway in 1953, starring Rosalind Russell in the role of Ruth Sherwood, Edie Adams as Eileen Sherwood, and George Gaynes as Robert Baker. It won five , including Best Musical and Best Actress, and spawned three New York City Center productions between 1958 and 1966, a 1986 West End production and 2003 Broadway revival. It is a lighter piece than Bernstein's later works, West Side Story and Candide, but none of the songs have become as popular. This upbeat and challenging transcription for band comes from the 1953 Broadway musical Wonderful Town. Wrong Note Rag was originally written for vocal trio and orchestra. The wit and humor of Bernstein’s score as well as the familiar jazz styling of his music are light and uplifting in this short number. This is less serious than the musical writing found in his more popular West Side Story, On the Waterfront and Candide, from which came his more popular selections.11

10 https://en.wikipedia.org/wiki/Leonard_Bernstein 11 https://www.redlands.edu/globalassets/depts/music/concert-programs/15fa/symphonicbandweb111715.pdf

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After the Cakewalk Robert Nathaniel Dett / Dana Perna Robert Nathaniel Dett (October 11, 1882 – October 2, 1943), often known as R. Nathaniel Dett and Nathaniel Dett, was a composer, organist, pianist and music professor. While born in Canada, he spent most of his professional career in the United States. During his lifetime he was a leading Black composer, known for his use of African-American folk songs and spirituals as the basis for choral and piano compositions in the 19th century Romantic style of Classical music. He was among the first Black composers during the early years of the American Society of Composers, Authors and Publishers (ASCAP). His works often appeared among the programs of 's New York Syncopated Orchestra. Dett performed at Carnegie Hall and at the Boston Symphony Hall as a pianist and choir director. His position as a major pianist-composer was earned in 1914. His piece Magnolia was performed at the Samuel Coleridge-Taylor Club. On June 3 that year he performed Magnolia and In the Bottoms. The Evening Post reported that among the works on the "All Colored" program, his works were the most innovative and complimented his high level of piano skills. On December 27, 1916, he married Helen Elise Smith— the first black graduate of the Institute of Musical Art, which became the Juilliard School of performing arts. In 1918, Dett wrote of his compositional goals: Despite his having moved to the United States with his family when he was 11 years old, Robert Nathaniel Dett (1882-1943) was born in Canada where glimpses of his talent had already begun to manifest themselves at an early age. Among Dett's earliest titles was his “Characteristic March Two- Step,” After the Cakewalk. Perhaps written when Dett was just a teenager, this current edition is wholly based upon its original 1901 band publication that was arranged by Lee Orean Smith. Smith was also responsible for preparing Dett's piano solo version for publication, as well as its form for “theatre” orchestra and “mandolin club.” Owing to the fact that Smith's highly idiomatic scoring was prepared for a band of that period, this edition adapts, edits and extends Smith's instrumentation in order to make it possible for Dett's music to become available to a new generation of musicians and listeners alike. From the Concerts in the Park series by Southern Music12

Nessun Dorma (from

Turandot) Giacomo Puccini / D. W. Stauffer

Giacomo 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

12 https://www.grothmusic.com/p-68695-after-the-cake-walk-concert-band.aspx

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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. To 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.13

La Donna è mobile (from Rigoletto) Giuseppe Verdi / D.W. Stauffer Giuseppe Verdi Born October 10, 1813 Le Roncole, Italy Died January 27, 1901 Milan, Italy

Verdi’s parents were of peasant stock. While Verdi showed prodigious talent at an early age, his greatest works were produced late in his life. Though he wrote operas in his early years, operas which gained him wide recognition, they are rarely performed today. Rigoletto (1851) marked the beginning of his march to greatness which he achieved with such masterpieces as Aida, La Traviata, Otello, and Falstaff. The latter two works were created after the age of seventy. During his lifetime Verdi became a highly revered figure in his native country. During his funeral, great masses of people lined the streets of Milan to watch the procession and express their grief. A massed choir, accompanied by the La Scala orchestra directed by the young Arturo Toscani, sang Va Pensiero, “The Slaves’ Chorus”, from Verdi’s opera Nabucco. Today Verdi’s name is synonymous with Italian opera. Rigoletto is an opera in three acts (often given in four) based on ’s play Le roi s’amuse. Francesco Maria Piave wrote the libretto. Rigoletto was first performed on March 11, 1851 and was initially found to be so shocking and dangerous that censors required significant changes be made to it. La Donna è mobile (translation: women are fickle) is one of the most celebrated of arias for tenor.

13 http://www.williamsburgsymphonia.org/documents/2011MW4.pdf

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Daniel Doty is a tenor who is equally at home on the opera, theatre or concert stage. He has appeared with the symphonies in Akron (OH), Mansfield (OH), Muncie (IN), Urbana (IL), Marion (OH), and community bands in Medina and Wadsworth (OH). Performances have found him in a variety of settings from church sanctuaries to concert halls, and at such locations as the Celle di Puccini (Puccini summer home) and Severance Hall. In Akron, Daniel has appeared on the stage of Weathervane Playhouse as King Kaspar in “Amahl and the Night Visitors.” As participant of the Opera Theatre and Music Festival of Lucca, Daniel spent six weeks in the Tuscan village of Lucca (Italy) singing operatic arias at various venues associated with Lucca's most famous son, Giacomo Puccini. Mr. Doty has appeared in Master Classes with such Metropolitan Opera stars as Martina Arroyo and Angela Brown. A past Guest Artist with the Masterworks Festival, Daniel worked with David Geier, Assistant Conductor for the New York Philharmonic Orchestra. Mr. Doty holds a Bachelor of Music Education Degree from Bowling Green State University. He is also an ordained minister and holds a Master of Divinity degree from Garrett-Evangelical Theological Seminary, Evanston, IL. Currently Daniel is Senior Minister at The Bath Church, United Church of Christ in Akron, Ohio, Mr. Doty lives in Wadsworth with his wife Amy and is the proud father of Kristian, Sean, and Kaetlyn Doty. Daniel’s most recent Cleveland area performances were as Spoletta in Tosca with Cleveland Opera Theatre and Beadle Bamford in Sweeney Todd: The Demon Barber of Fleet Street with KSU Opera Theatre. In May of 2017 Daniel made his Carnegie Hall debut singing the “Hostias” solo with the Hudson Festival Orchestra and Choir in the Fauré Requiem.

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The Elephant March James Old Hume James Ord Hume Born: September 14th, 1864 (, ) Died: November 27th, 1932 (London, England) For certain works, he used the pseudonyms: William German, Paul Haake and Lilian Raymond. James Ord Hume began an active musical career in 1881 when he joined the Band of the Royal Scots Greys as a cornetist. During the next 50 years, he established an enviable record as a conductor, adjudicator, arranger, and composer of over 1,000 works for brass and wind band – including 200 marches. He was born in 1864 in Edinburgh, Scotland, the second of three sons of an army bandmaster. He was the victim of a series of accidents during his childhood, and at age nine his left arm and leg were badly hurt when a stack of planks toppled, killing three of his playmates. During a year of convalescence, he learned to play a number of toy instruments and gradually became interested in a career in music. Ord Hume became, at the age of sixteen, in 1880, a cornet at the music band of the Royal Scots Grays in Dalkeith. In 1890 he resigned from this military orchestra. He was very interested in the developments in the wind music world. A letter from 1895 to the conductor James Alexander Browne (1838-1914) of the Royal Horse Artillery Band (1870-1878) showed that in 1895 he was already a conductor of the "Band of the 3rd Durham Light Infantry" in Sunderland. used to be. Within the British army, he was requisitioned to the rank of Lieutanant-Colonel. In addition to his work as a wind music composer, he became a professional brass band conductor and a major initiator for the brass band movement. As a jury member at competitions he made a big name in Great Britain and beyond. He worked for several years in Australia and New Zealand as a jury member at brass band competitions including the "Ballarat Royal South Street" competitions of 1902 and 1924. Ord Hume was good friends with the composer Sir and conducted the orchestra in the concert that took place in 1900 in the London Crystal Palace in homage to the great composer. As a composer, he wrote to the 200 works. The spectrum ranges from the many marches - of which the BB & CF is most known - to the Bohemian Suite.14 The Elephant March. The march is considered a ‘professional level’ test piece in the European Brass Band competitions.

14 https://nl.wikipedia.org/wiki/James_Ord_Hume

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Cha-Cha from Four Dances from West Side Story Leonard Bernstein / Ian Polster 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 musicians in American history." His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for West Side Story, Peter Pan, Candide, Wonderful Town, On the Town, On the Waterfront, his Mass, and a range of other compositions, including three symphonies and many shorter chamber and solo works. Bernstein was the first conductor to give a series of television lectures on classical music, starting in 1954 and continuing until his death. He was a skilled pianist, often conducting piano concertos from the keyboard. As a composer, he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works are regularly performed around the world, although none has matched the tremendous popular and critical success of West Side Story.15

Born: November 30th, 1938. Ian Polster taught introduction to music, fundamentals of music, music composition, music education, 20th-century American music, elementary music theory, studio , and jazz styles at Wittenberg University in Springfield, Ohio, until his retirement in 2004. He is author of or contributor to more than 20 books and monographs on composition, theory, developing music skills, and micro-computer software. He has presented papers at professional meetings on electronic music, new approaches to teaching first-year music theory, and theory preparation of teachers. Polster has produced more than 100 commissioned works and has published numerous musical arrangements for major publishers. His compositions and arrangements have been recorded, broadcast, and performed by bands and orchestras throughout the world. He has been a guest conductor for many high school, college, and symphony orchestras and has presented clinics and workshops on performing, composing, and arranging. As an active professional musician, he has appeared with many of the nation's leading entertainers.

15 https://en.wikipedia.org/wiki/Leonard_Bernstein

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The principal trombonist with the Springfield Symphony Orchestra for over 40 years, Conductor of the Springfield Concert Band, and the past Conductor of the Springfield Youth Symphony, he serves as Music Director for various community theatre productions. Polster was a former member of the Stan Kenton Orchestra and its clinic staff and the orchestras of Nelson Riddle and Henry Mancini. His travels as a performer have taken him to Germany and Japan. As a guest of the Tchaikovsky National Conservatory of Music, in 1999 and 2001, he prepared and conducted the first performances of “West Side Story” in Kiev, Ukraine. Polster earned B.S., B.Mus., and M.Mus. degrees at The Ohio State University. He was Director of Instrumental Music for the Xenia City Schools, 1961-66; was an Associate Director of Bands at The Ohio State University, 1966-67; and Director of Instrumental Music and Chairman of Music Theory at Central State University, 1967-70. He joined the Wittenberg faculty in 1970. He presently serves as Assistant Director of the Ohio State University Marching Band Alumni Band.16

Till We Meet Again Richard A. Whiting Richard Armstrong Whiting (November 12, 1891 – February 19, 1938) was an American composer of popular songs, including the standards "Hooray for Hollywood", "Ain't We Got Fun?" and "On the Good Ship Lollipop". He also wrote lyrics occasionally, and film scores most notably for the standard "She's Funny That Way". Richard Whiting was born in Peoria, Illinois, into a musical family. His father, Frank Whiting, was a real estate agent and gifted violinist; his mother Blossom was a piano teacher. Together they instilled a love of music in their son and worked towards nurturing his natural gift of piano playing. He attended the Harvard Military School in Los Angeles. Upon his graduation, Whiting started a vaudeville act with his college friend Marshall Neilan. The pair briefly toured the U.S. writing songs, singing, and playing the piano. Unfortunately, neither one had the stage presence or singing talent to become full-time performers. They broke up the duo and went their separate ways: Neilan to Hollywood, where he would go on to be a very successful film director and actor, and Whiting to Detroit to try to jump-start a career as a professional songwriter. In 1913 Whiting began his career as a song plugger for Jerome H. Remick publishing company. Within a year, he was the manager of the Detroit office, being paid $25 per week. As an occasional talent scout, Whiting nurtured the careers of several songwriters from the day, most notably George Gershwin; Whiting heard Gershwin playing one day and gave him a job as a song plugger for Remick company. This act of kindness resulted in a lifelong friendship between the two powerhouse composers. To supplement his income at the time, Whiting worked with a local hotel's Hawaiian band, playing piano in light blackface, earning him an extra $10 a week. In 1914 Whiting had his first two hit songs: "I Wonder Where My Lovin' Man Has Gone" and "It's Tulip Time in Holland." The latter song became a massive hit, selling over a million copies. Whiting received none of the royalties, however, having sold off the publishing rights to Remick in exchange for a Steinway Grand. During his time at Remick Whiting had a substantial output, mostly with former bank- clerk Ray Egan, including the beloved 1918 classic, "Till We Meet Again". The song quickly became the largest sheet music seller of all time, even today: at last count the song was said to have sold over 11 million copies. Other hit songs written by Whiting during his time at Remick include "Where the Black-

16 http://ianpolster.tripod.com/bio2.htm

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Eyed Susans Grow" (1917), "The Japanese " (1920), "Bimini Bay" (1921, lyrics by Egan and Gus Kahn), "Ain't We Got Fun?" (1921, lyrics by Egan and Kahn) and "Ukulele Lady" (1925, lyrics by Kahn).17

"Till We Meet Again" is an American popular song. The music was written by Richard A. Whiting, the lyrics by Raymond B. Egan in 1918. Written during the Great War, the song tells of the parting of a soldier and his sweetheart. The title comes from the final line of the chorus:

Smile the while you kiss me sad adieu, When the clouds roll by I'll come to you, Then the skies will seem more blue, Down in lovers lane my dearie, Wedding bells will ring so merrily, Every tear will be a memory, So wait and pray each night for me, Till we meet again.

As Whiting's daughter Margaret tells it, the song was intended for a 1918 contest at a Detroit theater. Dissatisfied with the result, Whiting threw the manuscript in the trash. His secretary retrieved it and showed it to their boss, publisher Jerome Remick, who submitted it in the contest, where it won top honors. The song gained widespread popularity in Canadian traditional music circles as a result of its use as the closing number for the CBC television program Don Messer's Jubilee. It continues to be a standard ending number for Old Time dances across the country. In 1919, it was the number 1 song of the year as recorded by Henry Burr and Albert Campbell. Other artists who recorded the song include: Charles Hart & Lewis James, Gitz Rice & Vernon Dalhart, Nicolas Orlando's Orchestra, British duet Coltham & Parker, Doris Day, Albert Brunies, Kid Thomas Valentine, George Lewis, Bing Crosby and Patti Page. The song and tune was adapted by supporters of English football team, Huddersfield Town in the 1920s and is still sung by them. ("Smile Awhile")

17 https://en.wikipedia.org/wiki/Richard_A._Whiting

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