Spring Band Program 98ol - Wooster High School Music Department

PICCOLO
Heather Rehm
� Katie Graf
FLUTE
Melanie Jones
Heather Rehm
� Carrie O’Planick
Sarah Ritchey
Sara Yarnell
� Katie Graf
� Kellie Ferguson
Jennifer Rodda
� Karen Snyder
� Leila Rahnema
Elizabeth Ellcessor
Janie Linnick
� Lindsay Mueller
OBOE
� Mary Cicconetti
Susan Kost
Kelly Gallagher
CLARINET
� Chad Field
Taryn Miller
Abby Collier
Katie George
Daniel Featherstone
Randa Dietterich
� Jennifer Messner
Manette Sandor
Kristin Saner
� Scott McManus
Jenny Brodie
� Laura Romig
BASS CLARINET
Abby Bridger
� Alicia Bickel
Carrie Schrader
Symphonic Band
CONTRABASS
CLARINET
Diana Latham
BASSOON
Matt Newman
� Jennie Williamson
� Sarah Tooley
Susan Howman
ALTO SAXOPHONE
� Rebecca Prince
Adam Rozsa
� Jeffrey Welshhans
� Scott Griffin
TENOR
SAXOPHONE
� Jim Wicker
Jared Ramsey
BARITONE
SAXOPHONE
Todd Wagers
CORNET/TRUMPET
� Brenden Miller
Matt Swank
Peter Campbell
Chris Pycraft
Stephanie Griffin
� John Cox
Heidi Pettyjohn
� Amy Gardner
� Doug Brown
Mari Jo Vazzo
FRENCH HORN
� Laura Guili
Allison Palmer
Rebecca Little
� Megan Varns
TROMBONE
Tim Hider
Will Polumbo
Bethany Packard
BASS TROMBONE
Pat Finn
EUPHONIUM
� Travis Hamill
Eric Stenglein
TUBA
Keeley Emerson
Casey Emerson
PERCUSSION
Nathan Greene
James Stanford
� Jaemie Peeples
Tom Rutledge
Michael Boyle
Ellen Thomas
� Allison Dick
� Tim Yates
SYMPHONIC BAND
OFFICERS
President Scott Griffin
V-Pres. Peter Campbell
Secretary Karen Snyder
Librarian John Cox
Manager Chris Pycraft
� Seniors
T H E 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
presents
Spring Band Concert
featuring
Wooster High School Freshman Band
Kelly Mollnow, Director
Wooster High School Concert Band
Douglas Bennett, Director
Wooster High School Symphonic Band
Daniel Adams, Director
Wednesday, May 20, 1998, 7:30 PM
Wooster High School Performing Arts Center
515 Oldman Road

Program
Freshman Band
Happy Times March (1997) Warren Barker
(b. 1923)
El Mirador: Scenes from a Lost Mayan Village (1988) Paul Jennings
The Muppet Movie Medley (1979) Paul Williams and Kenny Ascher
arranged by John Edmondson
A Day at the Races (1996) arranged by L. C. Harnsberger
Members of Symphonic Band
Octet in E Flat Major, Op. 103 (1792) Ludwig van Beethoven
(1770-1827)
Laura Guili and Allison Palmer, horn Mary Cicconetti and Susan Kost, oboe
Chad Field and Taryn Miller, clarinet Matt Newman and Jennie Williamson, bassoon
Concert Band
Whip & Spur March Thomas S. Allen
(1876-1919)
arranged by Ray E. Cramer
Big Band Bash (1981) Bob Lowden
Concerto for Faculty & Concert Band (1972) James Ployhar
(b. 1926)
Soloists: David Burnison, Mike Gallagher, Kevin Hennis,
Mike Hallett, Dennis Jordon, Miriam Stokes and Melanie Vinion
Symphonic Band
Lord, Guard and Guide (The Men Who Fly) (1993) Robert Jager
(b. 1939)
Slava! (1977) Leonard Bernstein
(1918-1990)
transcribed by Clare Grundman
The Stars and Stripes Forever March (1896) John Philip Sousa
(1854-1932)
PICCOLO
Julie Buehler
FLUTE
Nicole Vura
Kelly Lake
Julie Buehler
Angie Doty
Stacey Clark
Tamara Gill
Stephanie Holmes
Katie Novak
Samantha Weaver
Jessie Buchholz
Rebecca Carlson
Crystal Sampson
� Carrie Romig
� Beth Evans
Dani Daubenspeck
Katie Bollinger
� Carrie Gwin
Kris Kraft
Miranda Miller
Jessica Jolly
Senovia Petty
Sarah Napier
Tiffany Guthrie
OBOE
Caitlin Burnell
� Karen Haag
Mollie Amstutz
Concert Band
CLARINET cont.
Kara Willard
Shileah Cantey
John Mann
Kathy Bishop
Jessica Bakerlis
Kristi Wise
Abby Fair
Jamey Cicconetti
Sarah Britton
� Amy Hall
Bethann Fravel
BASS CLARINET
� Jason Potts
Randi Jo Brenner
ALTO SAXOPHONE
Jamie Parsons
Glenn Davis
� Carmen Biggs
Erin Cosyn
David Hodge
Susan Ditch
Sam Mick
Ollie Spires
TENOR
SAXOPHONE
Trisha Diehl
Jere Sisler
BARI SAXOPHONE
Stephen Apple
TRUMPET cont.
� Serena Sword
Emily Boyle
Ty Bresson
� Chuck Boyer
Martha Shellhorn
HORN
Katie Plumly
Janel Troyer
Natalie Chupp
� Erin Fickes
� Amy Richman
Laura Muskopf
TROMBONE
� Phil Arner
Jeff Adams
� Peter Swank
Amy Anderson
Lisa Lutz
EUPHONIUM
Josh Moore
� Gregory Via
Amanda Wallace
TUBA
Brian Deily
Andy Thornton
Matt Ports
Joe McNeil
Josh Engman
BASSOON
� Katie Yoders
PERCUSSION
TRUMPET/CORNET Todd Fisher
CLARINET
Bobby Hammond Jeff Sczpanski
Hillary Smith
Tim Fluharty
Ed Buchholz
Brandi Engel
� Casey Meek Stephanie Myers
Colleen O’Planick Ryan Lingle
Kevin Clinesmith
Jill Condry
Karen Henery
� Joel Miles
Carmen Hackworth Matt Prince
Kevin Kesner
Lindsey Howell Lisa Canode
Joel Allen
edited by Keith Brion Cathi Gwin
Krystal Girvin
� Seniors

FLUTE
Brenda Coffee
Jenny Kirkham
Jennifer Sellers
Stephanie Stabile
Melissa Mills
Sara Anderson
Candace Barker
Deanna Strauss
OBOE
Sara Novak
Kathy Clifton
CLARINET
Cullen Schmid
Suzi Ohlsen
Tabitha Zimmerman
Alex Sewell
Amber Fisher
Erin Fields
Laura Miller
Regan Radzinski
Jeanette Bolick
Lindsay Cherilla
BASS CLARINET
Jessie Spires
Susan Mills
Freshman Band
BASSOON
Amber Marty
ALTO SAXOPHONE
Jen Hider
Abby Stansloski
Todd Peeples
Kevin Nash
Josh Rodak
Cameron Hammond
Patrick Moore
TENOR SAXOPHONE
Denice Hall
BARITONE
SAXOPHONE
Kevin Hancock
TRUMPET
Mark Yoders
Matt Fidler
Megan Keating
Ryan Turpin
Mindy Via
Stephanie Carestia
Erica Calame
Upcoming Events
HORN
Elaine Tooley
Casey Roberts
Kate Meister
Anne Matacale
TROMBONE
Molly Moritz
Mason Shamp
Lee Croft
EUPHONIUM
Christina Caine
Bryan Moore
Michael Gifford
TUBA
Brian Hoffman
PERCUSSION
Andy Klise
Nakul Jeirath
Brandon Holman
Susan Iceman
Nick Randall
James Snyder
May 23 Big Band Dance
May 25 Memorial Day Parade and Services
May 27 Marching Percussion Tryouts
May 28 Music Awards Banquet
June 7 Commencement ~ Symphonic Band performs
Program Notes
Warren Barker is well known for his arrangements of Broadway and
American popular music for the concert band. Happy Times March, composed in 1997,
includes simple syncopated “jazz” figures designed to create a happy, festive feeling.
* * *
El Mirador: Scenes from a Lost Mayan Village, composed in 1988 by Paul
Jennings, has three separate movements. The Tigre Pyramid opens with a repeated halfstep
pattern which leads into a fanfare-like theme in the woodwinds, trumpets, and horns.
The second movement, The Loom of Time, begins with a modal melody played by solo
marimba. This mysterious melody is then played by the woodwinds and then by the
trumpets. This movement is full of interesting nontraditional harmonies. Snake Dancer
uses many percussive effects, played by members of the percussion section as well as
other members of the ensemble.
* * *
Released in 1979, The Muppet Movie was the first full-length movie featuring
the lovable Muppet characters created by the late Jim Henson. It received two Academy
Award Nominations: Best Original Song Score, and Best Original Song for Rainbow
Connection. John Edmondson’s arrangement entitled Muppet Movie Medley features
the lively Movin’ Right Along, the bluesy I Hope That Something Better Comes Along,
and the lyrical Rainbow Connection. Edmondson studied at the University of Florida and
the University of Kentucky and taught in the public schools of central Kentucky from
1960 to 1970. He is an internationally known composer and arranger with over 600
published works. His work as a guest conductor and clinician has taken him to twentyeight
states, four Canadian provinces, and Europe.
* * *
A Day at the Races, arranged by L. C. Harnsberger in 1996, is a fun medley
of “horse tunes.” The day begins with Camptown Races when suddenly the horses are
called to the post by a trumpet fanfare. The bell sounds and... THEY’RE OFF! Out in
front is an arrangement of the Light Cavalry Overture. Far behind is a beautifully
harmonized slow arrangement of Old Grey Mare. Then they’re neck and neck - the Light
Cavalry theme and the William Tell Overture (Lone Ranger) theme. In the stretch it’s the
Old Grey Mare flying on the outside in a jazzy style.
* * *
Thomas S. Allen’s music is reflective of his life as a professional musician in
the world of entertainment. His performing experiences vary from playing with symphony
orchestras, to touring as director of an orchestra for a traveling burlesque show.
Although Allen wrote a considerable amount of music for a variety of dances, acrobatic
acts and short dramatic sketches, most all is forgotten. Only a few rags and galops are still
heard in rodeos, circuses and concerts. Some titles occasionally heard include: General
Mixup, U.S.A., Blue Streak Galop, Horse Marines Battle Royal, and Majestic. Whip &
Spur March was written to be played during an old time rodeo. The recommended galop
performance tempo and style is reserved for the most exciting circus acts and rodeo rides.

Big Band Bash is a collection of standard tunes from the 1940’s “Big Band
Jazz Era”. The songs included in this medley are considered to be signature tunes for the
big bands that made them popular. Following the introduction, the medley begins with
the haunting ballad, Artistry and Rhythm, made popular by the Stan Kenton Orchestra.
Artistry and Rhythm segues into Tuxedo Junction, a WWII Era “jitterbug” favorite by the
Glenn Miller Orchestra. The mood relaxes with the ever-popular Glenn Miller standard,
Moonlight Serenade. The medley continues with the driving swing of Duke Ellington’s
Big Band and Billy Strayhorn classic, Take the “A” Train. The piece comes to a
boisterous conclusion with the trademark tune of the Count Basie Orchestra, One
O’clock Jump.
* * *
James Ployhar was born in Valley City, North Dakota. He received a
Bachelor of Science Degree from Valley City College and a Master’s Degree from
Northern Colorado University. Ployhar is considered to be one of the more prolific
composers of educational band music. Concerto for Faculty and Concert Band is a
serious addition to the repertoire of the modern wind band. The composition is written
in a classical style and is scored in four distinct sections, including a fanfare, waltz, march
and a finale. Each movement features a variety of soloists who explore the subtleties and
timberal variety of the symphonic percussion section. Our featured soloists include some
very talented members of the Wooster High School Faculty.
* * *
A graduate of the University of Michigan, Robert Jager served for four years
as Staff Arranger at the Armed Forces School of Music. Jager is the only three-time
winner of the Ostwald Award given by the American Bandmasters Association. He has
also been honored by the National School Orchestra Association, the American School
Band Directors Association, and has received the Distinguished Service to Music Medal
from Kappa Kappa Psi and the Orpheus Award from Phi Mu Alpha. In 1985, he was a
MacDowell Colony Fellow.
Lord, Guard and Guide (The Men Who Fly) was commissioned by the
Military Airlift Command Band, Scott Air Force Base, Illinois. Lt. Colonel Bruce Gilkes
was the Commander/Conductor of the MAC Band at the time of commissioning.
The hymn Quebec forms the basis for the composition. This melody is the
source of the music for the United States Air Force hymn, Lord, Guard and Guide. Using
fragments of the hymn-tune, the composition begins with gradually rising lines as the
music begins to take flight. This is followed by soaring lines and harmonies that attempt
to describe the feelings of wonder associated with being free from the earth. A quiet
interlude, primarily for solo woodwinds and percussion, portrays the serenity of life
among the clouds. Culminating the work are two settings of the hymn-tune, first for the
woodwinds alone, and then for the low woodwinds and brass in combination. A short
coda brings back fragments from the “soaring theme” and acts as an amen to the
composition.
* * *
When Mstislav Rostropovich (“Slava“ to his friends) invited Leonard
Bernstein to help him launch his inaugural concerts as Music Director of the National
Symphony Orchestra, he also asked him to write a rousing new opening piece for the
festivities. Slava! is the result, and the world premiere took place on October 11, 1977
with Rostropovich conducting his orchestra at the Kennedy Center for the Performing
Arts in Washington, D.C.
The first theme of Slava! is a vaudevillian razz-ma-tazz tune filled with slideslipping
modulations and sliding trombones. Theme two is a canonic tune in 7/8 time. A
very brief development section follows, after which the two themes recur in reverse
order. Near the end they are combined with a quotation from the "Coronation Scene' of
Moussorgsky’s Boris Goudonov, where the chorus sings the Russian word “slava!”
meaning “glory!” In this way, of course, the composer is paying an extra four-bar
homage to his friend “Slava” Rostropovich, to whom this Overture is fondly dedicated.
* * *
The initial reception of The Stars and Stripes Forever was only slightly above
average for a new John Philip Sousa march. It grew gradually in public acceptance, and
with the advent of the Spanish-American War the nation suddenly needed such patriotic
music. Capitalizing on this situation, Sousa used it with maximum effect to climax his
moving pageant, The Trooping of the Colors.
The Stars and Stripes Forever had found its place in history. There was a
vigorous response wherever it was performed, and audiences began to rise as though it
were the national anthem. This became traditional at Sousa Band concerts. It was his
practice to have the cornets, trumpets, trombones, and piccolos line up at the front of the
stage for the final trio, and this added to the excitement. Many bands still perform the
piece this way.
With passing years the march has endeared itself to the American people. The
sight of Sousa conducting his own great band in this his most glorious composition
always triggered an emotional response. The piece was expected — and sometimes
openly demanded — at every concert of the Sousa Band. Usually it was played
unannounced as an encore. Many former Sousa Band members have stated that they
could not recall a concert in which it was not played, and that they too were inspired by
looking into the misty eyes of those in the audience. That the players never tired of it is
surely a measure of its greatness.
Sousa explained to the press that the three themes of the final trio were meant
to typify the three sections of the Untied States. The broad melody, or main theme,
represents the North. The South is represented by the famous piccolo obbligato, and the
West by the bold countermelody of the trombones.
Sousa was very emotional in speaking of his own patriotism. When asked why
he composed this march, he would insist that its strains were devinely inspired. In a Sousa
Band program at Willow Grove we find this account:
Someone asked, “Who influenced you to compose Stars and Stripes Forever,”
and before the question was hardly asked, Sousa replied, “God — and I say this in all
reverence! 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.”