Download Winter Band Program 97a

T H E
Wooster City Schools
W O O S T E R H I G H
S C H O O L
M U S I C
D E P A R T M E N T
Dr. Mary Lou Nuzum, Acting Superintendent
Wooster High School
David Burnison, Principal
Richard Bellanco, Associate Principal
Bernadette Pachmayer, Associate Principal
Wooster City Schools Instrumental Music Faculty
Daniel Adams
Dennis Bartelheim
Douglas Bennett
Cindy Glass
Tom Long
Kelly Mollnow
James Weiser
presents
Wooster High School Music Department’s Annual
Citrus Sale
Kelly A. Mollnow, Director
Begins
Tomorrow!
January
16-28
Wooster High School Concert Band
Douglas E. Bennett, Director
Nancy Ditmer, Guest Conductor
Upcoming Events
January 26
Wooster City Schools 6th Grade Band Concert
February 4
Wooster High School Music Parents Meeting
Wayne Elementary School
Wooster High School B126/B136
February 15
Wooster High School Freshman Band
OMEA High School Solo and Ensemble Adjudicated Event
Wooster High School Symphonic Band
Daniel S. Adams, Director
Northwestern High School
February 21-23
Production of “Brigadoon”
Wooster High School Performing Arts Center
February 22
WHS Music Parents Pancake Breakfast
Wednesday, January 15, 1997, 7:30 PM
Wooster High School Commons
February 25
Concert Band Festival
Wooster High School Performing Arts Center
March 6
High School/Edgewood Orchestra Concert
Wooster High School Performing Arts Center
March 7 or 8
OMEA High School State Orchestra Adjudicated Event
Wooster High School Performing Arts Center
515 Oldman Road, Wooster
Program
Freshman Band
Symphonic Band
Fanfare, Ode, and Festival (1982)
Bob Margolis
(b. 1949)
Prospect Hymn for Band (1983)
The Southern Harmony (1835)
setting by Pierre La Plante
(b. 1943)
Chesford Portrait (1982)
James Swearingen
(b. 1947)
Concert Band
Tenth Regiment March (1897)
Robert Browne Hall
(1858-1907)
Yorkshire Ballad (1985)
James Charles Barnes
(b. 1949)
Nancy Ditmer, conductor
Overture for Winds (1959)
Charles Edward Carter
(b. 1926)
Intermission
PICCOLO
Heather Rehm
Janie Linnick
BASS CLARINET
Abby Bridger
Alicia Bickel
FLUTE
Melanie Jones
Laura Holliger
Carrie O’Planick
Heather Rehm
Katie Graf
Karen Snyder
Kellie Ferguson
Sara Yarnell
Janie Linnick
Lindsay Mueller
Beth Sands
Leila Rahnema
CONTRABASS
CLARINET
Diana Latham
OBOE
Mary Cicconetti
Susan Kost
Symphonic Band
Prelude and Celebration (1996)
James Curnow
(b. 1943)
Francois Borne
Kelly A. Mollnow, flute soloist Pamela Yarnell, piano
(1862-1929)
edited by Robert Sullivan
ENGLISH HORN
Mary Cicconetti
BASSOON
Amanda Kost
Matt Newman
Jennie Williamson
Sarah Tooley
ALTO SAXOPHONE
Scott Griffin
Jeff Welshhans
Becky Prince
Joe Zoller
Uwe Wolf
TENOR
SAXOPHONE
Jim Wicker
“Carmen” Fantasy, on themes from Bizet’s “Carmen”
Australian Up-Country Tune (1928)
Percy Aldridge Grainger
(1882-1961)
arranged by Glenn Cliffe Bainum
Mooreside March, from “A Mooreside Suite” (1928)
Gustav Holst
(1874-1934)
arranged by Gordon Jacob
All are invited to attend a reception in the commons following this
evening’s performance. Refreshments are compliments of the
Wooster High School Music Parents Association
B FLAT CLARINET
Chad Field
Taryn Miller
Abby Collier
Mary Holliger
Megan Chenevey
Katie George
Holly Hilt
Jennifer Messner
Laura Cicconetti
Kristin Saner
Laura Romig
Carmen Hackworth
BARITONE
SAXOPHONE
Adam Rozsa
CORNET-TRUMPET
Brenden Miller
Adam Girvin
Peter Campbell
Matt Swank
Doug Brown
Chris Pycraft
John Cox
Sarah Moritz
Amy Gardner
HORN
Laura Guili
Allison Palmer
Kate Hetrick
Megan Varns
Tim Nolan
TROMBONE
Andy Rozsa
Tim Hider
Will Polumbo
BASS TROMBONE
Josh Coffee
EUPHONIUM
Travis Hamill
Joel Engman
TUBA
Ben Byo
Matt Chupp
PERCUSSION
Nathan Greene
James Stanford
Jaemie Peeples
Ellen Thomas
Loren Fortner
Tim Yates
SYMPHONIC BAND
OFFICERS
President
Joe Zoller
V-Pres. Megan Chenevey
Secretary
Joel Engman
Librarian Janie Linnick
Manager
Uwe Wolf
Concert Band
FLUTE
Sarah Ritchey
Jennifer Rodda
Stacey Clark
Katie Novak
Stephanie Holmes
Angie Doty
Janet Hess
Tamara Gill
Jessie Buchholz
Bethany Evans
Wendy Murr
Dani Daubenspeck
Erin Fickes
Laura Thomas
Katie Bollinger
Carrie Romig
Meghan Boyle
Carrie Gwin
Mindy Bowman
Vikki Wickens
OBOE
Kelly Gallagher
Jeffrey Parris
BASSOON
Katie Yoders
CLARINET
Hillary Smith
Scott McManus
Brandi Engel
Shileah Cantey
Katie Mann
Jennifer McLaughlin
Kathy Bishop
Bridget Hinton
Amy Hall
Terri Carathers
Bethann Fravel
Beth Archer
Jennifer Pattie
Shannon Deeds
BASS CLARINET
Jason Potts
Tom Fenzl
ALTO SAXOPHONE
Stacey Jones
Greg Fisher
Glenn Davis
Jeremy Crossmon
David Hodge
Steven Jackson
Stephan Apple
Susan Ditch
Sean Ewing
Ollie Spires
Sarah Foreman
TENOR
SAXOPHONE
Jared Ramsey
Marc Maxhimer
Mike Breen
BARITONE
SAXOPHONE
Carmen Biggs
TRUMPET
Jay Carmony
Mari Jo Vazzo
Casey Meek
Lisa Canode
Tim Tkacz
Chuck Boyer
Martha Shellhorn
HORN
Beth Hostettler
Andy Muskopf
Natalie Chupp
Amy Richman
TROMBONE
Philip Arner
Damon Drake
Peter Swank
Logen Zimmerman
Amy Anderson
Sarah Gasbarre
EUPHONIUM
Lauren Myers
Greg Via
Curt Garnes
TUBA
Bryon Meshew
Kevin Rose
Brian Deily
Andy Thorton
Casey Emerson
PERCUSSION
Dustin McKee
Jeff Sczpanski
Ed Buchholz
John Shilling
Kevin Kesner
Program Notes
Fanfare, Ode, and Festival is a suite of Renaissance dance pieces based on music of 16th
century Paris. Each of the three movements features a distinct rhythm pattern associated with its own
dancing step. The music is strongly rhythmic and tuneful, as one would expect from dance music.
Bob Margolis was born in Staten Island, New York in 1949 and studied music at Brooklyn
College and the University of California. In 1981 he founded the publishing firm Manhattan Beach
Music. Many of his works are modern settings of melodies and musical ideas from the Renaissance
period. His works have been twice honored in composition contests by the American Bandmasters
Association.
***
Pierre La Plante was born in 1943 in Milwaukee, Wisconsin. He received his Bachelor and
Master of Music degrees from the University of Wisconsin at Madison. His teaching career includes
classroom, vocal, and instrumental music at the elementary through college levels.
Prospect is a setting of the folk song of the same name, also known as The Seaman’s Hymn.
It is simple, yet expressive; it builds slowly and steadily to a broad, quasi-fanfare finish. The melody
comes from The Southern Harmony and Musical Companion, published in Philadelphia in 1835.
This was one of the more popular “shaped note” tunebooks in 19th century America. Each of the
four pitches had its own particular notehead shape, making the music easier to read. The Southern
Harmony is also the source of the hymn tunes Amazing Grace and Rock of Ages.
***
James Swearingen is currently Associate Professor, Department Chair of Music Education, and one of several resident composers at Capital University in Columbus, Ohio. He earned
degrees from Bowling Green State University and The Ohio State University. He is active as a guest
conductor, adjudicator, and educational clinician throughout the United States, as well as Japan,
Australia, Europe, Canada, and China.
Chesford Portrait was commissioned by and also dedicated to the Bath High School Bands,
Lima, Ohio; Harry Folk and Dale Laukhuf, Directors. After a brief introduction, the main theme is
presented in turn by the flutes, clarinets and trumpets. The slower lyrical section features a beautiful
melody played by the french horns and clarinets. The main theme returns after a transition which
features the percussion section.
***
Robert Browne Hall, better known as R.B. Hall, is one of America’s most prolific early
composers of marches with over 200 to his credit, 62 of which were published. Born in Bowdoinham,
Maine in 1958, Hall spent most of his life in the New England states. Influenced by musical parents,
R.B. Hall also enjoyed a lengthy and successful career as a conductor of bands in several towns
throughout Maine and New York.
Tenth Regiment March was dedicated to the Tenth Regiment Band of Albany, New York,
presumably while he was conductor of that band. He had been invited to Albany for the specific
purpose of reorganizing the regimental band, a task at which he was very successful. R.B. Hall’s
Tenth Regiment Band in its day was considered to be one of the finest bands in the United States.
In 1901 Hall’s Band was invited to play at the Buffalo, New York Pan-American Exposition along
with other notable performing groups, including the Sousa Band.
***
Yorkshire Ballad is a three-part setting of a folk-like melody. The primary theme of the
piece is constructed from four phrases juxtaposed into one melody. Each statement of this melody
is introduced by a different group of instruments. The first statement begins softly, primarily with
woodwind voices, and builds to an emotional climax with the addition of the brass and percussion
at the conclusion of the third statement. The piececoncludes in a quiet and relaxed fashion.
James Charles Barnes was born in Hobart, Oklahoma. He received his musical training
at the University of Kansas, earning Bachelor and Master of Music degrees in Music Theory and
Composition. He is currently a Professor of Music Theory and Composition, as well as Assistant
Director of Bands at the University of Kansas. Barnes has received many awards for his composi-
tions, including the prestigious Ostwald Composition Award. He has written over 45 works for
band; notable pieces include, Symphonic Overture, Pagan Dances, Heatherwood Portrait, and
Brookshire Suite.
***
Charles Edward Carter was born in Ponca, Oklahoma. He grew up in Worthington, Ohio
and attended The Ohio State University, the Eastman School of Music, and Florida State University.
He taught low brass and was an arranger for The Ohio State University Marching Band. Later, he
went to Florida State University as an arranger for its bands and also as a professor of music theory
and composition. Carter is credited with numerous arrangements and compositions for concert
band. His well known pieces for band include, Chorale and Variations, Dance and Intermezzo,
Sonata for Winds, and Symphonic Overture.
Overture for Winds is a contemporary overture, employing a familiar three-part form. The
opening section has a light and energetic theme which is robust and rhythmic in character. The
second theme, slightly slower and expressive, is a free form based on material from the first theme.
The last section is a repetition of the opening theme, building to a majestic climax.
***
James Curnow, a native of Port Huron, Michigan, currently resides in Nicholasville,
Kentucky where he is president, composer, and educational consultant for Curnow Music Press, Inc.
With degrees from Wayne State University and Michigan State University, he has studied
euphonium with Leonard Falcone and conducting with Dr. Harry Begian.
Curnow has published well over four hundred works. Averaging eight to ten commissions
a year, his music is performed all over the world. Recent commissions include compositions for the
Tokyo Symphony Orchestra, The United States Army Band, and music for the transfer of the
Olympic Flag from Barcelona to Atlanta in preparation for the 1996 Summer Olympics.
Prelude and Celebration was commissioned by the Eastern Illinois University Bands in
commemoration of the Centennial Celebration of Eastern Illinois University.
***
Francois Borne, a professor of flute at the Toulouse Conservatory toward the end of the
19th century, is known primarily as the co-inventor of the “split E”, a device to make the high E more
responsive on Boehm’s flute. Marcel Moyse, a great flutist and teacher, recorded “Carmen”
Fantasy around 1930, but the piece did not become popular until the 1970’s. The themes from
Bizet’s opera, Carmen, form the basis for the virtuosic and humorous showpiece.
Kelly Mollnow, originally from Rochester, New York, began playing the flute in fourth
grade. In high school, she studied theory and flute at the Eastman School of Music’s Preparatory
Department. In 1995, she graduated Summa Cum Laude from Baldwin-Wallace College with a
degree in Music Education. She then attended The Ohio State University on a full fellowship and
graduated in June of 1996 with Master of Music degree in Flute Performance.
***
Percy Aldridge Grainger was born in Melbourne, Australia, studied in Germany with
Busoni, and went to London where he was chosen by Grieg to play his piano concerto in 1907. In
1914 Grainger settled in America where he spent the rest of his life as an American citizen. His
compositions, whether for piano, chorus, orchestra or band, reflect his vitality and whimsy.
The arrangement for band of Australian Up-Country Tune by Glenn Cliffe Bainum is
based on the original version by Grainger for unaccompanied voices with wordless syllables. The
choral version bears the following note by the composer:
“This piece (written for chorus in 1928) is based on a tune I wrote in 1905 called Up-Country
Song. In that tune I wished to voice Australian up-country feeling as Stephen Foster had with
American country-side feelings in his songs. I have used this same melody in my Australian
Colonial Song and in my Australian The Gumsuckers’ March. This choral version was first
sung at my wedding to Ella Viola Strom at the Hollywood Bowl, California, August 8, 1928
by the exquisite Smallman A Cappella Choir.”
Only a person of Grainger’s eccentric character would choose to be married in front of
22,000 people during the intermission of one of his concerts, in this case, at the Hollywood Bowl.
This attitude is exemplified in the originality and simple beauty of his compositions.
***
English composer, Gustav Holst was born in 1874 and died in London in 1934. One of
England’s more prominent composers, Holst was also a professional trombonist and teacher of
composition and organ. He composed operas, ballets, symphonies, chamber music, and songs. One
of his more recognized works is the orchestral suite, The Planets. His works for band, including the
First Suite in E Flat, the Second Suite in F, and Hammersmith, are considered landmark compositions for wind and percussion.
Mooreside March, arranged for concert band by another prominent British composer,
Gordon Jacob, is taken from Holst’s A Mooreside Suite, written in 1928 as a brass band contest piece.
A rising four-note theme opens the march. Constructed of perfect fourth intervals, this motive serves
as much of the basic material for the entire piece. After several contrasting sections, a grand pause
signals a majestic coda.
Freshman Band
PICCOLO
Julie Buehler
Nicole Vura
FLUTE
Elizabeth Ellcessor
Nicole Vura
Julie Buehler
Kelly Lake
Crystal Sampson
Kris Kraft
Jessica Jolly
Samantha Weaver
Miranda Miller
Sarah Napier
Tiffany Guthrie
Senovia Petty
OBOE
Caitlin Burnell
Mollie Amstutz
CLARINET
Randa Dietterich
Jenny Brodie
Jill Condry
Lindsey Howell
Colleen O’Planick
Jessica Bakerlis
Sarah Britton
Kara Willard
Manette Sandor
Kristi Wise
Cathi Gwin
CLARINET cont.
Carrie Schrader
Cyndi Smith
Ken Miles
BASS CLARINET
Jamey Cicconetti
Randi-Jo Brenner
BASSOON
Susan Howman
ALTO SAXOPHONE
Jamie Parsons
Erin Cosyn
Chris Oyer
TENOR SAXOPHONE
Jere Sisler
Trisha Diehl
BARITONE
SAXOPHONE
Andy Thompson
TRUMPET
Heidi Pettyjohn
Bobby Hammond
Ryan Lingle
Matt Prince
Tim Fluharty
Ty Bresson
Karen Henery
Emily Boyle
TRUMPET cont.
Krystal Girvin
Kelly Metcalf
HORN
Rebecca Little
Katie Plumly
Janel Troyer
Laura Muskopf
TROMBONE
Jeff Adams
Jeff Mann
Lisa Lutz
Sam Mick
EUPHONIUM
Eric Stenglein
Josh Moore
Amanda Wallace
TUBA
Joe McNeil
Josh Engman
Matt Ports
Kari Smith
PERCUSSION
Mike Boyle
Todd Fisher
Stephanie Myers
Eric Crowley
Joel Allen
Jessie McVay