Program Notes

Taku Winds and The Juneau Volunteer Marching Band

Celebrating the Fourth of July in Music

Dr. Dwayne Corbin, conductor

July 1, 2017

Star Spangled Banner                                                                                                                                                Arr. John Phillip Sousa

                                                                                                                                                                                                                                            (1854 – 1932)

Alaska’s Flag                                                                                                                                                                        Elinor Dusenbury

                                                                                                                                                                                                                                                    (b. 1938)

                                                                                                                                                                                                                                                                                                        arr. E. Madden

O Canada                                                                                                                                                                                  Calixa Lavallee

                                                                                                                                                                                                                                              (1842 – 1891)

                                                                                                                                                                                                                                                                                                                arr. V. Roy

Our 2017 concert was played on July 1, so in honor of our Canadian neighbors we played the Canadian national anthem.

AmericanFanfare                                                                                                                                                                                Rick Kirby

                                                                                                                                                                                                                                                         (b. 1945)

In this dynamic concert opener, Rick Kirby incorporates the normally hymn-like strains of America (My Country, 'Tis of Thee)into a fast and energetic fanfare. The actual melody is stated only once in its entirety, and many liberties are taken with both melodic and harmonic elements of the original.

Barnum and Bailey’s Favorite                                                                                                                                                           Karl L. King                      

                                                                                                                                                                                                                                                     (1891- 1971)

                                                                                                                                                                                                                                                                                                          arr. Andrew Glover

King wrote this march for the 32-piece Barnum and Bailey Circus Band in 1913 at the request of its director, the noted minstrel show cornetist, Ned Brill. King was 22 at the time and was preparing to join the band as a euphonium player. The euphonium part in this march (and in most of his other marches) shows his love for that instrument -- he liked to hear the countermelody part "romping around." His use of the word "favorite" in the title was a good choice. In a 1980 international Music survey, Barnum and Bailey's Favorite ranked fourth in the top 140 marches.

New Wade’N Water                                                                                                                                                                   Adolphus Hailstork

                                                                                                                                                                                                                                                              (b. 1941)

A contemporary adaptation of the traditional African American spiritualWade in the Water.

As many trained composers throughout history, Dr. Hailstork also uses folk music as his source of inspiration for his compositions. New Wade ‘N Water opens with an introduction that is constructed using a G blues scaleand mixed meter. Throughout the piece, the material from the introduction serves as an interlude between each variation of the Wade in the Water main melody. 

American Flourish                                                                                                                                                                         Robert W. Smith

                                                                                                                                                                                                                                                               (b. 1958)

Based on traditional American melodies including Yankee Doodle, When Johnny Comes Marching Home and Shenandoah, Robert W. Smith’s American Flourish is a light, yet musically substantive addition to the repertoire.

Festive Overture, Opus 96                                                                                                                                                        Dmitri Shostakovich

                                                                                                                                                                                                                                                        (1906 – 1975)

                                                                                                                                                                                                                                                                                       ranscribed by Donald Hunsberger

The Festive Overture was composed in 1954, in the period between Symphony No. 10and the Violin Concerto.Its American premiere was given by Maurice Abravanel and the Utah Symphony Orchestra on November 16, 1955. In 1956, the New York Philharmonic under Dmitri Mitropoulos presented the overture in Carnegie Hall.

A Russian band version of the overture was released in 1958 and utilized the standard instrumentation of the Russian military band, i.e., a complete orchestral wind, brass and percussion section plus a full family of saxhorns, ranging from the Bb soprano down through the Bb contrabass saxhorn. This new edition has been scored for the instrumentation of the American symphonic band.

Most probably, the work was commissioned for a gathering at the Bolshoi Theater in November of 1954, celebrating the 37th anniversary of the October Revolution. The conductor, Vasili Nebolsin, realized that he had no appropriate piece to open the high-profile concert. He approached Shostakovich, who was at the time a musical consultant at the Bolshoi. The composer set to work, and the overture was completed in three days, the individual pages of the score being taken by courier before the ink had dried to copyists waiting at the theater to create the orchestra parts. Although written in haste, the overture has proved to be one of Shostakovich’s most frequently performed works.

Persuasion                                                                                                                                                                                        Sammy Nestico

                                                                                                                                                                                                                                                               (b. 1924)

Is there an alto saxophone player alive who would not give his eye teeth to play this solo? Listen to this Sammy Nestico charmer ... it may be the source of the term "wail"!

Beginning in a moderatotempo, the sweet sound of the solo alto saxophone gets the listener interested in its after- statements of themes played by the ensemble. A short phrase in cut-time offers an interesting twist before returning to the tempo and theme of the start. It is easy to understand the persuasion of the piece after its climax of a solo cadenza and mellow ending.

Samuel Louis "Sammy" Nestico was a native of Pittsburgh, Pennsylvania, attending high school there and playing trombone in the school band. He received a degree in music education from Duquesne University in 1946. For 15 years, he was a staff arranger for the USAF Band in Washington, D. C. and for five years, the US Marine Band. He made tours with the Woody Herman and Tommy Dorsey bands and performed with the Boston Pops. His arrangements and compositions have been a part of over 60 television programs, including M*A*S*Hand Love Boat.

Golden Age of Broadway                                                                                                                                                            Richard Rogers

(The Musicals of Rodgers and Hammerstein II)                                                                                                                                                                      (1902- 1979)

                                                                                                                                                                                                                                                                                                             arr. John Moss

The grand musicals created by this legendary composing team are presented in this marvelous setting of some of the best-known songs ever to hit the Broadway stage. Includes: Bali Ha'i(South Pacific); Oklahoma(Oklahoma); Getting to Know You(The King and I); The Carousel Waltz(Carousel) and Climb Ev'ry Mountain(The Sound of Music).

Three Ayres From Gloucester                                                                                                                                                       Hugh M. Stuart

                                                                                                                                                                                                                                                    (1917 – 2006)

A three-movement suite written in the early English folksong style, this piece came into being as a result of the composer's fascination with an old 10th century couplet: "There's no one quite so comely As the Jolly Earl of Cholmondeley."

The resulting three compositions, The Jolly Earl of Cholmondeley [pronounced "Chumley"], Ayre for Eventide and The Fiefs of Wembley, are in early English folk song style and are designed to capture the mood of the peasants and their life on the fiefs of Wembley castle.

Hugh M. Stuart was born in Harrisburg, Pennsylvania where he grew up and later received his music training from Oberlin Conservatory of Music, Columbia Teachers College, Rutgers University, Newark State College, and the University of Michigan. 

Chester – Overture for Band                                                                                                                                                       William Schuman

                                                                                                                                                                                                                                                      (1910 – 1992)

The tune on which this composition is based was born during the very time of the American Revolution, appearing in 1778 in a book of tunes and anthems composed by William Billings called The Singing Master's Assistant.This book became known as Billings' Best following as it did his first book called The New England Psalm Singer,  published in 1770.  Chester was so popular that it was sung throughout the colonies from Vermont to South Carolina. It became the song of the American Revolution, sung around the campfires of the Continental Army and played by fifers on the march. The music and words, both composed by Billings, expressed perfectly the burning desire for freedom which sustained the colonists through the difficult years of the Revolution.

William Schuman (1910 - 1992), a native New Yorker, originally wrote Chester as the third movement of the New England Triptych. He developed and extended the orchestral version, making Chester into an overture for band. In the first section, Schuman introduces the tune first in the woodwinds and then in the brasses. In the next section, the melody is given a more contemporary setting with mid-twentieth century rhythmic and harmonic devices utilized to sustain interest. The closing section brings back the hymn-like treatment of the theme and the work is brought to a dramatic close.

America the Beautiful                                                                                                                                                         Samuel Augustus Ward

                                                                                                                                                                                                                                                     (1847 – 1903)

                                                                                                                                                                                                                                                                                                          arr. Carmen Dragon

The rich musical legacy that Carmen Dragon left the world usually includes his solid reputation as a consummate orchestrator. He is best remembered for the iconic arrangement of America, the Beautiful for both symphony orchestra and symphonic band. Samuel Ward's familiar tune enjoys a sumptuous feast of harmonic color and instrumental nuance.

Cheerio March                                                                                                                                                                 Edwin Franko Goldman

                                                                                                                                                                                                                                                    (1878 – 1956)

                                                                                                                                                                                                                                                                                                        arr. Johnnie Vinson

The Great Depression began in 1929 with the collapse of the stock market. Businesses failed and unemployment rose dramatically. By 1932, one in every four workers was unemployed and soup lines were common. Dust storms in the prairie states brought more hardship. President Franklin D. Roosevelt brought in the New Deal to restore people’s confidence in the government. Goldman’s Band helped New Yorkers forget their troubles with concerts on the Green at Columbia University. The CheerioMarch incorporated the gimmick of audience participation that he’d used for his march On The Mall. The trio of the march called for the audience to sing (La-la-la) or whistle along with the music. The inaugural performance was given on the anniversary of John Philip Sousa’s birthday, November 6, 1932. It was first played over the radio as an unnamed composition and the radio listeners were asked to suggest a title. The name chosen was Cheerio.

The Stars and StripeForever                                                                                                                                                   John Phillip Sousa

                                                                                                                                                                                                                                                    (1854 – 1932)

Sousa consistently stated that this march was divinely inspired and was born of homesickness. In his autobiography, Marching Along,he provides the details of its creation after he had received a cablegram in Italy that his manager, David Blakely, had died:

Aboard the Teutonic, as it steamed out of the harbor on my return from Europe in 1896, came one of the most vivid incidents of my career. As I paced the deck, absorbed in thought, suddenly I began to sense the rhythmic beat of a band playing within my brain. It kept on ceaselessly, playing, playing, playing. Throughout the whole tense voyage, that imaginary band continued to unfold the same themes, echoing and reechoing the most distinct melody. I did not transfer a note of that music to paper while I was on the steamer, but when we reached the shore, I set down the measures that my brain-band had been playing for me, and not a note of it has ever changed. The composition is known the world over as The Stars and Stripes Forever and is probably my most popular march.” (By permission of John Philip Sousa, Inc., New York City)

Paul Bierley states that The Stars and Stripes Forever is “by far the most popular march ever written, and its popularity is by no means limited to the United States.” A ten-year international march popularity survey confirms Bierley’s statement. The universal appeal of Sousa’s march is illustrated by an article in The New York Times by Harold Schonberg which tells of a tour to China by Eugene Ormandy and the Philadelphia Orchestra in 1973. After sitting politely but stonily through a program which ranged from Beethoven to Copland, the orchestra struck up The Stars and Stripes.“All of a sudden electricity permeated the hall. Faces broke into smiles; feet began tapping; there was a general air of understanding and happiness. Maybe,... (it) really is the greatest piece of music ever written by an American. In any case, it has made more friends for America than any other piece of music...”

Juneau CommunityBand,
Jun 29, 2020, 10:48 PM