Program Notes
Firework! by Jan Van Der Roost
In composing Firework! Jan Van der Roost has once again succeeded in creating another spectacular intro following on Flashing Winds and Signature. In just over a minute the composer shows the band off in a powerful and virtuosic manner.
- Program Note from publisher
Concertino for Clarinet and Band by Warren Barker
The Concertino for Clarinet and Band was written for the International Clarinet Association and was premiered at the CLARINETFEST 1999 in Ostend, Belgium, with soloist Robert Walzel, at that time professor of clarinet at Texas Tech University in Lubbock, Texas. Walzel was accompanied by the Band of the Belgian Guides.
The Concertino is written in three continuous sections marked Allegretto, Andante, and Allegro.
- Program Note from publisher
Suite For A Patriot by Mark Stransky
To commemorate the 250th anniversary of America, this chronological four movement suite is dedicated to both the celebration of the nation that belongs to all of us and to George Washington, the first President. It programmatically represents America’s transition from subjects of Great Britain to independence and the creation of these United States.
“Thirteen Colonies of the Crown”
The first movement opens with a brief drum cadence representing a typical British Grenadiers slow march and then introduces the main theme of the movement, the original “God Save the King/Queen” a song for two voices. Adopted in September of 1745, it still serves as the National or Royal Anthem of the United Kingdom. Franz Joseph Haydn, often referred to as “The Father of the Symphony,” was born in 1732, roughly 5 weeks after George Washington, the “Father of America.” Haydn was an active composer as the colonies grew, flourished and then sought their independence. Haydn’s music was very popular in London and his visits there yielded some of his most famous symphonies. It is not the intention of this composer to put himself in league with Haydn, but uses “God Save the King/Queen” in variation as a nod to Haydn and a reference to the style of music at the time. The Boston Tea Party was the culmination of years of frustration and is represented by the dissonant clash of “God Save the King/Queen” and “Yankee Doodle towards the end of the movement.
“George”
The Second movement celebrates George Washington. It opens with a peaceful melody using a diatonic spelling corresponding to his birth- (2-2-2-1-7-3-2) - February 22, 1732. (Instead of Do-Re-Mi-Fa-Sol-La-Ti-Do, the scale is assigned a number, 1-8). Then, “Yankee Doodle” becomes the thematic material used in this movement to honor the father of our nation. British officers applied the nonsensical lyrics to an old melody with the intention of mocking the American officers in the British army who were their allies during the French and Indian War. George Washington was one of those officers, commissioned as a Major, then attained the rank of Colonel after distinguishing himself during that war. He was never offered a commission in the British army and after the war he retired to run his plantation. If the movement at times has a melancholy feel, it serves as a tribute to Washington’s reluctance to be in the spotlight and contrarily, his willingness to serve, sacrifice and risk his life where he was needed whether as General of the army or as our first President. The piece ends on a major chord, signifying his making peace with himself as he accepted his roles and the unknown that was ahead.
“Christmas 1776-Not a Silent Night”
The third movement begins with a bugle call, short statements of Yankee Doodle and a reprise of the opening statement from the 2nd movement yielding to one of the main themes of this movement, “Chester.” The first appearance of Chester is announced with a repeat of the bugle call and the development of this new theme to highlight the dangerous night crossing of the Delaware and the march south to surprise the Hessian mercenaries. The music becomes a bit more ominous as the battle approaches and another statement of the bugle call announces the start of the battle signified by the collision of four songs, “Yankee Doodle,” “Chester,” “The British Grenadiers” and “Rule Britannia,” with the percussion providing the arrhythmic sounds of battle. The conclusion of the battle and the relative peace that followed is portrayed by the brief coda that also introduces the theme for the final movement…“America.”
“Thirteen States of America”
From colonies to states and from “God Save the King/Queen” to “America,” the transition is complete. That is depicted musically by variations on “America” and the authentic Colonial drum cadence “43rd Quickstep.” One wonders if Frances Samuel Smith, the Baptist Minister who wrote the lyrics to “America” (“My Country Tis of Thee”) in 1831 purposefully used the melody from “God Save the King/Queen” as Patriot payback for the use of “Yankee Doodle” as an insult to colonial officers by the British officers during the French and Indian War? The trials faced by the new nation are portrayed by the development of “America” in a minor mode giving way to major with back and forth modulations leading to a triumphant conclusion that celebrates the great success and inspiration which is America. The first of the two climactic endings is abruptly silent as the chimes ring out the melody to the lyrics… “Let Freedom Ring.” That is followed by a second ending portraying the always challenging road ahead.
- Program Note by composer
Flight Of The Piasa by Robert Sheldon
Flight of the Piasa was written to depict the majesty of the legendary Piasa, an enormous winged creature, and the bravery of the Illini tribe who triumphed over its reign of terror. The discovery of the Piasa dates to 1673, when the cliff drawing painted high on the bluffs was first seen by Marquette during his famous journey down the Mississippi River.- Program Note from publisher
Lincoln by John Williams arr. Jay Bocook
Steven Spielberg's powerful movie brought us an equally moving soundtrack from master composer John Williams. Effectively adapted here for the concert stage, the amazing depth and range of the music is at times poignant and understated, and at times spirited and buoyant. The melodies heard are The American Process, The People's House, and With Malice Toward None.
- Program Note from publisher
Melodious Thunk by David Biedenbender
I don’t normally like to begin program notes with dictionary definitions -- it feels pretty stuffy to me -- but it seemed appropriate for this piece, so here goes...
thunk [thuhngk] noun & verb
1. [n.] an abrupt, flat, hollow sound (example: The book landed on the floor with a thunk.); synonym: thud
2. [v.] to produce an abrupt, flat, hollow sound
3. [v.] colloquial past tense and past participle of think.
Melodious Thunk was inspired by the famous jazz pianist Thelonious Monk. Monk’s wife, Nellie Smith, nicknamed him “Melodious Thunk” because of his clunky, awkward, and brilliant(!) piano playing, and his somewhat scatterbrained and disoriented nature.
Melodious Thunk was commissioned by a consortium of bands organized by Ryan Shaw and the Cedar Springs High School Symphonic Band, including:
Birmingham Seaholm High School (MI) — Timothy Cibor
Bloomfield Hills Andover High School (MI) — Robert Ambrose
Bloomfield Hills International Academy (MI) — Robert Ash
Cedar Springs High School (MI) — Ryan Shaw
Clarkston High School (MI)— Michael Lewis
Dakota High School (MI) — Risa Hsu
Grand Ledge High School (MI)— Christopher Blackmer
Novi High School (MI) — Mark P. Hourigan
Waterford Kettering High School (MI) — R. Scott Adkins
Wisconsin Lutheran College (WI) — Terry S. Treuden
- Program Note by composer
A Mother Of A Revolution! by Omar Thomas
This piece is a celebration of the bravery of trans women, and in particular Marsha "Pay It No Mind" Johnson. Marsha is credited with being one of the instigators of the famous Stonewall uprising of June 28, 1969 -- one of the pivotal events of the LGBTQ liberation movement of the 20th century -- which is commemorated annually during the worldwide Gay Pride celebrations. Existing as a trans woman, especially a trans woman of color, and daring to live authentically, creating space for oneself in a transphobic world, is one of the bravest acts I can imagine. Over 20 trans women were murdered in the United States in 2018 alone. There is no demographic more deserving and, frankly, long overdue for highlighted heroism and bravery. The disco vibe in the latter half of the piece is meant to honor club culture, a sacred space held amongst LGBTQ persons in which to love, live, mourn, heal, strategize, connect, disconnect, and dance in defiance of those outside forces who would seek to do LGBTQ persons harm simply for daring to exist and take up space.
We pump our fists to honor the life, heroism, activism, and bravery of Marsha P. Johnson, to honor the legacy of the Stonewall revolution, to honor the memory of the trans lives violently ended due to fear and hatred, and in honor of trans women worldwide who continue to exist unapologetically and who demand to be seen.
This piece was commissioned by the Desert Winds Freedom Band, under the direction of Dean McDowell, to commemorate the 40th anniversary of the Stonewall uprising.
- Program Note by composer
Armed Forces Medley arr. Bruce Malone
This jubilant celebration pays a spirited tribute to the American military and service forces, encompassing the Coast Guard, Space Force, Air Force, Navy, Marines, and Army.
- Program Note by Michael D. Russo
The Stars and Stripes Forever by John Philip Sousa
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…”
- Program Note from Program Notes for Band
In composing Firework! Jan Van der Roost has once again succeeded in creating another spectacular intro following on Flashing Winds and Signature. In just over a minute the composer shows the band off in a powerful and virtuosic manner.
- Program Note from publisher
Concertino for Clarinet and Band by Warren Barker
The Concertino for Clarinet and Band was written for the International Clarinet Association and was premiered at the CLARINETFEST 1999 in Ostend, Belgium, with soloist Robert Walzel, at that time professor of clarinet at Texas Tech University in Lubbock, Texas. Walzel was accompanied by the Band of the Belgian Guides.
The Concertino is written in three continuous sections marked Allegretto, Andante, and Allegro.
- Program Note from publisher
Suite For A Patriot by Mark Stransky
To commemorate the 250th anniversary of America, this chronological four movement suite is dedicated to both the celebration of the nation that belongs to all of us and to George Washington, the first President. It programmatically represents America’s transition from subjects of Great Britain to independence and the creation of these United States.
“Thirteen Colonies of the Crown”
The first movement opens with a brief drum cadence representing a typical British Grenadiers slow march and then introduces the main theme of the movement, the original “God Save the King/Queen” a song for two voices. Adopted in September of 1745, it still serves as the National or Royal Anthem of the United Kingdom. Franz Joseph Haydn, often referred to as “The Father of the Symphony,” was born in 1732, roughly 5 weeks after George Washington, the “Father of America.” Haydn was an active composer as the colonies grew, flourished and then sought their independence. Haydn’s music was very popular in London and his visits there yielded some of his most famous symphonies. It is not the intention of this composer to put himself in league with Haydn, but uses “God Save the King/Queen” in variation as a nod to Haydn and a reference to the style of music at the time. The Boston Tea Party was the culmination of years of frustration and is represented by the dissonant clash of “God Save the King/Queen” and “Yankee Doodle towards the end of the movement.
“George”
The Second movement celebrates George Washington. It opens with a peaceful melody using a diatonic spelling corresponding to his birth- (2-2-2-1-7-3-2) - February 22, 1732. (Instead of Do-Re-Mi-Fa-Sol-La-Ti-Do, the scale is assigned a number, 1-8). Then, “Yankee Doodle” becomes the thematic material used in this movement to honor the father of our nation. British officers applied the nonsensical lyrics to an old melody with the intention of mocking the American officers in the British army who were their allies during the French and Indian War. George Washington was one of those officers, commissioned as a Major, then attained the rank of Colonel after distinguishing himself during that war. He was never offered a commission in the British army and after the war he retired to run his plantation. If the movement at times has a melancholy feel, it serves as a tribute to Washington’s reluctance to be in the spotlight and contrarily, his willingness to serve, sacrifice and risk his life where he was needed whether as General of the army or as our first President. The piece ends on a major chord, signifying his making peace with himself as he accepted his roles and the unknown that was ahead.
“Christmas 1776-Not a Silent Night”
The third movement begins with a bugle call, short statements of Yankee Doodle and a reprise of the opening statement from the 2nd movement yielding to one of the main themes of this movement, “Chester.” The first appearance of Chester is announced with a repeat of the bugle call and the development of this new theme to highlight the dangerous night crossing of the Delaware and the march south to surprise the Hessian mercenaries. The music becomes a bit more ominous as the battle approaches and another statement of the bugle call announces the start of the battle signified by the collision of four songs, “Yankee Doodle,” “Chester,” “The British Grenadiers” and “Rule Britannia,” with the percussion providing the arrhythmic sounds of battle. The conclusion of the battle and the relative peace that followed is portrayed by the brief coda that also introduces the theme for the final movement…“America.”
“Thirteen States of America”
From colonies to states and from “God Save the King/Queen” to “America,” the transition is complete. That is depicted musically by variations on “America” and the authentic Colonial drum cadence “43rd Quickstep.” One wonders if Frances Samuel Smith, the Baptist Minister who wrote the lyrics to “America” (“My Country Tis of Thee”) in 1831 purposefully used the melody from “God Save the King/Queen” as Patriot payback for the use of “Yankee Doodle” as an insult to colonial officers by the British officers during the French and Indian War? The trials faced by the new nation are portrayed by the development of “America” in a minor mode giving way to major with back and forth modulations leading to a triumphant conclusion that celebrates the great success and inspiration which is America. The first of the two climactic endings is abruptly silent as the chimes ring out the melody to the lyrics… “Let Freedom Ring.” That is followed by a second ending portraying the always challenging road ahead.
- Program Note by composer
Flight Of The Piasa by Robert Sheldon
Flight of the Piasa was written to depict the majesty of the legendary Piasa, an enormous winged creature, and the bravery of the Illini tribe who triumphed over its reign of terror. The discovery of the Piasa dates to 1673, when the cliff drawing painted high on the bluffs was first seen by Marquette during his famous journey down the Mississippi River.- Program Note from publisher
Lincoln by John Williams arr. Jay Bocook
Steven Spielberg's powerful movie brought us an equally moving soundtrack from master composer John Williams. Effectively adapted here for the concert stage, the amazing depth and range of the music is at times poignant and understated, and at times spirited and buoyant. The melodies heard are The American Process, The People's House, and With Malice Toward None.
- Program Note from publisher
Melodious Thunk by David Biedenbender
I don’t normally like to begin program notes with dictionary definitions -- it feels pretty stuffy to me -- but it seemed appropriate for this piece, so here goes...
thunk [thuhngk] noun & verb
1. [n.] an abrupt, flat, hollow sound (example: The book landed on the floor with a thunk.); synonym: thud
2. [v.] to produce an abrupt, flat, hollow sound
3. [v.] colloquial past tense and past participle of think.
Melodious Thunk was inspired by the famous jazz pianist Thelonious Monk. Monk’s wife, Nellie Smith, nicknamed him “Melodious Thunk” because of his clunky, awkward, and brilliant(!) piano playing, and his somewhat scatterbrained and disoriented nature.
Melodious Thunk was commissioned by a consortium of bands organized by Ryan Shaw and the Cedar Springs High School Symphonic Band, including:
Birmingham Seaholm High School (MI) — Timothy Cibor
Bloomfield Hills Andover High School (MI) — Robert Ambrose
Bloomfield Hills International Academy (MI) — Robert Ash
Cedar Springs High School (MI) — Ryan Shaw
Clarkston High School (MI)— Michael Lewis
Dakota High School (MI) — Risa Hsu
Grand Ledge High School (MI)— Christopher Blackmer
Novi High School (MI) — Mark P. Hourigan
Waterford Kettering High School (MI) — R. Scott Adkins
Wisconsin Lutheran College (WI) — Terry S. Treuden
- Program Note by composer
A Mother Of A Revolution! by Omar Thomas
This piece is a celebration of the bravery of trans women, and in particular Marsha "Pay It No Mind" Johnson. Marsha is credited with being one of the instigators of the famous Stonewall uprising of June 28, 1969 -- one of the pivotal events of the LGBTQ liberation movement of the 20th century -- which is commemorated annually during the worldwide Gay Pride celebrations. Existing as a trans woman, especially a trans woman of color, and daring to live authentically, creating space for oneself in a transphobic world, is one of the bravest acts I can imagine. Over 20 trans women were murdered in the United States in 2018 alone. There is no demographic more deserving and, frankly, long overdue for highlighted heroism and bravery. The disco vibe in the latter half of the piece is meant to honor club culture, a sacred space held amongst LGBTQ persons in which to love, live, mourn, heal, strategize, connect, disconnect, and dance in defiance of those outside forces who would seek to do LGBTQ persons harm simply for daring to exist and take up space.
We pump our fists to honor the life, heroism, activism, and bravery of Marsha P. Johnson, to honor the legacy of the Stonewall revolution, to honor the memory of the trans lives violently ended due to fear and hatred, and in honor of trans women worldwide who continue to exist unapologetically and who demand to be seen.
This piece was commissioned by the Desert Winds Freedom Band, under the direction of Dean McDowell, to commemorate the 40th anniversary of the Stonewall uprising.
- Program Note by composer
Armed Forces Medley arr. Bruce Malone
This jubilant celebration pays a spirited tribute to the American military and service forces, encompassing the Coast Guard, Space Force, Air Force, Navy, Marines, and Army.
- Program Note by Michael D. Russo
The Stars and Stripes Forever by John Philip Sousa
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…”
- Program Note from Program Notes for Band