UNLV New Horizons Band UNLV Community Concert Band

College of Fine Arts presents
UNLV New Horizons Band
UNLV Community Concert Band
Dean Snavely, conductor
Steve Goldeck, conductor
Adam Hille, conductor
Anthony LaBounty, conductor
Zane Douglass, conductor
Steve Goldeck, graduate conductor
Adam Steff, graduate conductor
A CONCERT TO BENEFIT T.A.P.P.S.
PROGRAM
John Stafford Smith
(1750–1836)
arr. by Anthony LaBounty
The National Anthem
“Star-Spangled Banner”
T.A.P.P.S. Trumpeters
Pete Bresciani, Joe Durk
Dan Johnson, Tom Wright
UNLV New Horizons Band
Michael Sweeney
(b. 1952)
Silverbrook
Traditional
arr. by Samuel Hazo
Danny Boy
Adam Hille, conductor
Erika Svanoe
(b. 1956)
The Haunted Carousel
Joshua Yelle, theremin
Dean Snavely, conductor
Albert Oliver Davis
(1920–2005)
Songs of Wales
I. Land of My Fathers, The Marsh of Ruddlan
II. Venture Gwen
III. All the Day (Folk Dance), Rising of the Lark,
Vale of Rhondda
Traditional
compiled by Paul Henneberg
(1863–1929)
Sweet Old Songs
Steve Goldeck, conductor
Leroy Anderson
(1908–1975)
Bugler’s Holiday
T.A.P.P.S. Trumpeters
Joe Durk, Dan Johnson, Tom Wright
Dean Snavely, conductor
INTERMISSION
UNLV Community Band
John Philip Sousa
(1854-1932)
Sound Off
Zane Douglass, conductor
Robert Russell Bennett
(1894–1981)
Suite of Old American Dances
2. Schottische
4. Wallflower Waltz
1. Cake Walk
Steve Goldeck, conductor
James M. Stephenson
(b. 1969)
Concerto for Cell Phone
Anthony LaBounty, conductor
Zane Douglass, cell phone
Richard Rogers
(1902–1979)
arr. Robert Russell Bennett
Victory at Sea
Adam Steff, conductor
Traditional
Taps
T.A.P.P.S. Trumpeters
Pete Bresciani, Joe Durk
Dan Johnson, Tom Wright
Bill Moffit
Armed Forces Salute
Anthony LaBounty, conductor
Thursday, April 8, 2015
7:30 p.m.
Artemus W. Ham Concert Hall
Performing Arts Center
University of Nevada, Las Vegas
Trumpeters Alliance to Perform Patriotic Services (T.A.P.P.S.)
In 2013, President Larry Ransom and Secretary Gary Cordell were asked to
perform a version of “Taps” known as “Echo Taps” at the funeral of Leonard Carpi,
a B-29 Bomber pilot during WWII and grandfather to Mr. Ransom’s wife. So moved
by the performance, members of the honor guard and Mr. Carpi’s family expressed
how they wished every veteran could get such a performance.
As the year went on, Ransom, Durk and Cordell attended other services. Some
had “Taps” performed by electronic bugle and others with live trumpeters. The
difference was clear and so was the need to do something about it. On January
2nd, 2014 T.A.P.P.S. became a non-profit corporation in the state of Nevada and is
currently operating to fulfill its mission.
T.A.P.P.S. is an organization that aims to restore the long held tradition of a live,
professional quality performance of “Taps” at the funerals of Las Vegas’ veterans.
Currently, the military is only able to provide an electronic recording of “Taps” in a
model trumpet.
We aim to hire the best and brightest musicians Las Vegas has to offer to honor
our Vets with a great performance and remember them in a manner true to their
service and sacrifice. This performance is, of course, at no cost to the fallen
veterans family.
PROGRAM NOTES
Michael Sweeney's Silverbrook was commissioned by the Silverbrook Middle School Band in West Bend,
Wisconsin, directed by Heidi Baumann-Schuppel. It was premiered by the Silverbrook Bands on March 9,
2006 with the composer conducting. Silverbrook was designed to feature a variety of styles and emotions
while exploring different orchestration combinations within the context of the young concert band. The
opening segment combines muted trumpets and xylophone on a rhythmic drone, out of which evolve a series
of chords in the clarinets and low brass. Rhythmic vitality and drive are provided primarily by the percussion
section, although brass and woodwinds also contribute pulsating figures at times.
Program Note from conductor’s score.
Danny Boy is one of over 100 songs composed to the same tune. The text is attributed to Frederic Edward
Weatherly (1848–1929), an English lawyer, songwriter and radio entertainer who had composed an earlier
(unsuccessful) version in 1910. Two years later, his sister-in-law in America sent him a tune called the
Londonderry Air. He immediately noticed that the melody was perfectly suited to his Danny Boy lyrics, and
published a revised version of the song in 1913.
This treatment for concert band was arranged by Sameul R. Hazo. Hazo has been a music teacher at every
educational grade level from kindergarten through college, including tenure as a high school and university
director. Twice named "Teacher of Distinction" by the southwestern Pennsylvania Teachers' Excellence
Foundation, he received his bachelor's and master's degrees from Duquesne University where he served on
the Board of Governors and was awarded Duquesne's Outstanding Graduate in Music Education. Mr. Hazo
serves as a guest conductor and is a clinician for Hal Leonard Corporation. He is also sponsored by Sibelius
Music Software. Recordings of his compositions appear on Klavier Records and Mark Records.
Program Notes from: http://www.standingstones.com/dannyboy.html and
http://www.samuelrhazo.com/bio.html.
Erika Svanoe’s The Haunted Carousel was conceived as a piece for band utilizing the sound of a theremin.
A theremin is an electronic instrument often used in old science fiction and horror movies from the 1940s and
50s. It was used most notably by Bernard Hermann in his score for "The Day the Earth Stood Still." The
instrument has the ability to play long glissandos, sliding seamlessly from one note to the next. This unique
characteristic combined with the electric timbre creates a very distinctive sound, which can be replicated quite
well with the use of an amplified iPad. The Haunted Carousel combines this with musical influences from
carousel organs, music boxes, and the victorian era waltz.
Program Notes from the composer
From the hills and vales of Wales have come many of the world's most melodious folk songs. Rich in vocal
tradition, the Welsh have a way of singing that is unsurpassed. These authentic folk melodies included in
Albert Oliver Davis's Songs of Wales are among their finest.
Program Notes from the conductor’s score
Originally published in 1913, Sweet Old Songs is a rarely performed medley of waltzes popular at the turn of
the twentieth century. Included in this compilation by Paul Henneberg (arranged by G.H. Reeves) are:
“When You and I Were Young, Maggie,” “My Bonnie Lies Over the Ocean,” Alice Where Art Thou,”
“Afterwards,” “Love’s Old Sweet Song,” and “Sweet and Low.”
Program Notes by Steve Goldeck
Bugler’s Holiday is one of the best-known pieces of band literature written by the bandmaster Leroy
Anderson. Anderson was born in Cambridge, Mass., and began studying piano and music at the New
England Conservatory of Music when he was 11 years old. In 1931, Anderson became director of the Harvard
Band. During his four-year tenure with this group, he composed several pieces, one of which was accepted to
be played by the Boston Pops. This piece, titled Harvard Fantasy, was a success and resulted in Anderson
becoming a regular composer for the ensemble. In 1945, the Pops’ lead trumpet player, Roger Voisin,
requested Anderson to compose an original piece for trumpet. The result was Trumpeter’s Lullaby.
It was not until 1954 that Anderson again composed a piece featuring the trumpet. He wrote Bugler’s Holiday
as a solo piece for three trumpets accompanied by a band. At that time, Anderson had his own ensemble that
was recording for Decca Records. He hoped Bugler’s Holiday would become a hit, possibly helping the group
surpass the success of their previous gold-record album released in 1951.
The solo trumpet parts in Bugler’s Holiday are written to imitate the sound of a bugle, a brass instrument
without valves that is commonly used for military calls and fanfares. Anderson intended for the soloists to
stand in front of the ensemble instead of sitting in seats among the band. Since the premiere of Bugler’s
Holiday over 60 years ago, the piece has remained a favorite among crowds and trumpet enthusiasts.
Program Notes by Travis Bender (Wind Repertory Project)
John Philip Sousa was in his fifth year as director of the United States Marine Band when this march was
composed in 1885. Sound Off, thought to be intended for ceremonial use by the Marine Band, was
dedicated to Major George Porter Houston, one of Sousa’s superiors at Marine Barracks, Washington. As he
had done on previous occasions, Sousa used a marching command as the title of his composition. The
Corps “Manual for Field Music,” published in 1935, reports that the ceremonial “Sound Off” dates from the
time of the Crusades. The musicians would march and counter-march in front of the soldiers designated for
the Crusades as a ceremony of dedication. Part of the “Sound Off” tradition is the playing of three chords
while standing fast, preceding the music actually performed on the march. The three chords are thought to
signify “three cheers” from the assembled crowds. Today, the Marine Band has eliminated the three chords
preceding the ceremonial “Sound Off” and uses only percussion to signal the march.
Program notes from the Medina Community Band, Medina, OH.
After attending a concert by the Goldman Band celebrating the 70th birthday of Goldman himself, Robert
Russell Bennett, like many of his contemporaries, began to take an interest in the wind band. Bennett's
inspiration from this concert experience resulted in his Suite of Old American Dances. Despite his
excitement, Bennett was only able to work intermittently on the Suite because of other assignments. The
Suite was shown to Dr. Goldman under the title “Electric Park,” which referred to an amusement park in
Kansas City that Bennett recalled from his childhood.
The five movements of the suite reflect popular dances of the day, hence the name the publisher later
supplied. (Bennett's original title Electric Park was never used.) "I had a nice name for it, but you know how
publishers are-they know their customers, and we authors never seem to," Bennett commented.
The dances that will be performed this evening are as follows:
Schottische
Although the title of this dance suggests that its roots lie in Scotland, the schottische is actually a German
variant of several Bohemian dances that later developed into the polka. The schottische features quick shifts
from foot to foot and a striking of the heel. These movements resemble the Scottish reel and may have
inspired the name. Because the polka was at one time called the "Scottish Waltz," it is also possible that this
earlier dance inspired its namesake. Either way, the dance came to the United States by way of England
when polka dancing became the rage among continental society in the 1840s. The music for the early
schottische was usually written in 2/4 time, and many describe the dance as simply a slow polka.
Wallflower Waltz
Although the beginning of the 20th century represented a new cultural era, replete with new dance steps, the
time-honored waltz still reigned as king of the ballroom dance scene.
Cakewalk
The cakewalk dance originated on the southern plantations, where slaves often imitated their plantation
owners. The dance or "strut" was accompanied by jig-like banjo/fiddle music, and performed by couples who,
with a backward sway, strutted in a medium high step or low kicking fashion. Plantation owners would
encourage their workers by presenting prizes for the best couples. The prize was often a cake, usually shared
with the other participants. The men would often dress in long coats with high collars and the women in frilly
gowns, to mimic their white owners.
Program notes from the conductor’s score.
James Stephenson’s Concerto for Cell Phone for “cell-phonist” and concert band was commissioned and
premiered by Captain David A. Alpar and the USAF Band of Liberty in 2009. The Concerto for Cell-Phone is
what it is! It is simply a light-hearted commentary on the ever-present, yet sometimes unfortunate interruptions
that take place in the concert hall as a result of the technological advances of the 20th and 21st centuries. As
conductor Michael Krajewski (for whom the orchestral version was initially conceived) so eloquently stated: “It
is the merging of art and technology in a very unique and meaningless way.”
Program notes by the composer.
Richard Roger’s Victory at Sea was transcribed for band in 1954 by longtime collaborator Robert Russell
Bennett and is a distillation of the sound track for the 26 half-hour television programs that aired from 1952–
1953 describing the naval action of World War II. It presents an integrated pictorial and musical history of the
epochal events pertaining to the life and death of those engaged in those events. The symphonic sweep and
depth of the score captures the moods and variations of the panoramic war at sea, all of its terror and beauty,
all of its exaltation and despair. The music describes the rolling of the boundless waters and the resolution of
the lonely ships that dare to sail upon them. A prowling U-boat finds its target. Beneath the Southern Cross,
the war in the South Atlantic is denoted by a sweeping tango, the tune of which Rodgers adapted to the song
No Other Love. The strength of a handful of Marines holding back the enemy on Guadalcanal is honored by a
rousing march. Hard work and horseplay are characterized as the GIs carry on life in the vast Pacific. A
carrier fleet steams toward the many islands of Micronesia, then the fury and violence of the assault strikes at
the senses. The battle done, the stricken planes limp back to their carriers. A solo trumpet symbolizes a
funeral at sea and the tragedy that often accompanies a conquest. A hymn of victory begins to swell and hope
for an end of the conflict grows into jubilation for the final victory at sea and the profound thanksgiving of the
sailors returning home.
Robert Russell Bennett described the experience of Victory at Sea as “orchestrating a complete Broadway
musical every ten days to two weeks, instead of three to four weeks.” Each week, the television program
explored a different aspect of the failures and triumphs of the U.S. Navy during World War II. The twenty-six
episode series became so popular that the network received complaints—viewers had to plan entire Sunday
afternoons to coordinate with the mid-afternoon airtime!
Program notes from Foothill Symphonic Winds, Los Altos Hills, CA and The United States Army Field Band
Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the
Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of
1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself,
Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought “Lights Out" was too
formal and he wished to honor his men.
This more emotive and powerful Taps was soon adopted throughout the military. In 1874 the U.S. Army
officially recognized it. It became standard at military funeral ceremonies in 1891. There is something
singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of
rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air.
The origin of the word "Taps" is thought to have come from the Dutch word for Tattoo, "Taptoe." More than
likely, "Taps" comes from the three drum taps that were played as a signal for "Extinguish Lights" when a
bugle was not used. As with many other customs, the twenty-four notes that comprise this solemn tradition
began long ago and continue to this day.
Program notes from http://usmilitary.about.com/od/theorderlyroom/a/tapshistory.htm
Bill Moffit’s Armed Forces Salute is a medley of songs from each branch of the United States armed services.
It includes, “The Caisson Song,” “The U.S. Air Force,” “Anchors Aweigh,” “Semper Paratus” and “The Marines’
Hymn.”
Program notes from the conductor’s score
UNIVERSITY BAND STAFF
Thomas G. Leslie, Director of Bands
Anthony LaBounty, Associate Director of Bands
Dr. Zane Douglass; Visiting Instructor of Conducting
LIBRARIAN
Erin Vander Wyst
Suzanne Morehead
INSTRUMENT INVENTORY
Erin Vander Wyst
WIND ORCHESTRA MANAGER
Dean Snavely
GRADUATE TEACHING ASSISTANTS
Adam Steff
Adam Hille
GRADUATE STAFF
Steve Goldeck
Jimmy Smerek
COMMUNITY LIAISON
Col. (U.S. Army, Ret.) Allan Ginsberg
UNLV New Horizons Band
Flute
Melody Bliss
Barbara Grevan-Matson
Cristy Gullet
Yukari Howard
Jolie LaChance
Jean Melby-Mauer
Sue Peterson
Joni Schmidt
Miriam Shacter
Clarinet
Eric Bockenstette, Sr.
Collen Britos
TomásGasper
Steve Robbins
Shirley Rulffes
Marie Schrader
Juli Shapiro Rousseau
Judy Smith
Bass Clarinet
John Tucker
Oboe
Anita Bockensette
Bassoon
Jessie Edge
Shawn Schwerdtfeger
Saxophone
Jim Casimir
Trumpet
Don Bradley
Michael Clark
Don Cody
Robbyn Gibson
Joe Hilger
Horn
Layban Green
Bobbie Litzinger Ginsberg
Hakan Carter
Trombone
Keith Clough
Dennis Daniel
John Morgan
Euphonium
G Liu
John Morgan
Tuba
Sam Morford
Cameron Thomas
Percussion
Enzu Chang
Linda Morgan
Joshua Yelle
Cello
Susan Maunder
The New Horizons music program originated at the Eastman School of Music (Rochester, N.Y.) in 1991 by then
chair of the department of music education, Dr. Roy Ernst. Today there are over 120 New Horizons bands,
orchestras or choral groups across the United States, Canada and Australia. “Older adults have the time and
motivation to develop musical skills rapidly. In addition, performing music – especially in large groups, can
improve health and quality of life.” Ernst noted. Ernst adds, “many gerontologists believe that music making
supports good mental and physical health as one grows older and studies indicate that participants take less
medication, have reductions in depression and loneliness and have increased strength of the immune system.”
The UNLV New Horizons Band was started in January 2006 and is under the aegis of the university bands area
within the Department of Music at the University of Nevada, Las Vegas and is offered as a non-credit course
through the UNLV Department of Educational Outreach, and as a credit (one academic credit) course for UNLV
students. In accordance with the New Horizons philosophy, this musical ensemble places a higher emphasis
upon the learning and enjoyment of music above the rigor and pressures of performance. Although musical
comprehension and appreciation are among the highest priorities, the UNLV New Horizons Band also performs
regularly throughout the academic semester both on and off the UNLV campus. The band is open to anyone with
the desire to play an instrument within the concert band idiom and is under the supervision of UNLV Associate
Professor of Music Anthony LaBounty. To register, please visit the UNLV Educational Outreach website at
[email protected]. For more information, please contact LaBounty at (702)895-3733 or
[email protected].
Rehearsals for the UNLV New Horizons Band take place each Tuesday evening (during fall and spring
semesters) from 7:00pm-9:20pm in BMC 160. Please visit unlv.edu to view a campus map, if necessary.
UNLV Community Concert Band
Piccolo
Suzanne Montabon
Flute
Melanie Addington
Diane Clarke
Linda Cofsky
Alixandre Fanizzi
Barbara Grevan-Matson
Michelle Henegan
Suzanne Montabon
Sue Ochoa
Jessica Ogburn
Cindy O’Donnell
Natalie Schibrowsky
Oboe
Marisa Davidson
Cheryl O’Donnell
Bassoon
Jessie Edge
Nicolas Guevara
B-Flat Clarinet
Melissa Carpi
Azalya Clayton
Miranda Cooper
Annie Douglass
Beth Duerden
Debbie Guy
Claudia Kistinger
Christie Leavitt
Judy Nance
Barbara Schaad
Bob Schellhase
B-Flat Clarinet (cont’d)
Amber Scruton
Linda Wischmeyer
Keith Yamamoto
Horn (cont’d)
Beatriz Csery-Blue
Patty Duffey
Roberta Litzinger-Ginsberg
Bass Clarinet
Mary Hickey
William Stalnaker
John Tucker
Trombone
Tyler Barrett
Dennis Daniel
Lawrence Lopez
Artilio Lopresti
Larry Lyon
Alto Saxophone
Abelard Banta
Adam Clough
Louann Ditmyer
Kevin Tumbagahan
Tyler Wolf
Tenor Saxophone
Suzanne Morehead
Baritone Saxophone
William Carpi
Trumpet
Gregory Davis
Jessica Foltin
Robbyn Gibson
Richard Kroeger
David Mulkey
Vivek Narang
Larry Ransom
Charles Raymond
Roar Schaad
Horn
Anabelle Bugatti
Bass Trombone
Travis Bott
Keith Clough
Juan Vasquez
Euphonium
Shawn Mapleton
Jeremy Valdez
Tuba
Cameron Thomas
Stephen Turner
Timpani
Richard Kashanski
Percussion
Stan Armstrong
Bill Cole
Trent Dang
Ethan Ewing
Richard Kashanski
David Koffman
Eddie Yervinyan
Formed in January of 1987, the UNLV Community Concert Band is under the aegis of the UNLV Bands and is
offered as a non- credit course through the UNLV Department of Educational Outreach. UNLV students may
receive academic credit at the regular per-credit rate. The band's 70-plus members range in age from college to
senior citizen. The band plays a wide variety of music and performs on and off-campus each semester. No
formal auditions are required to join, but members must have at least one year or more of high school playing
experience.
Rehearsals are held each Wednesday evening (during fall and spring semesters only) from 7:00pm-9:20pm in
BMC (Beam Music Center) room 160 on the UNLV campus. To view a campus map, please visit the unlv.edu
main website. Please contact Prof. Anthony LaBounty ([email protected]) for additional information.
Registration is $30 for all non-UNLV students. Interested persons may register on-line via the Office of
Educational Outreach. To do this, please visit UNLV Office of Educational Outreach website at:
http://edoutreach.unlv.edu, or register on-site at BMC 160 with payment.