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Purpose and History

The Community Band of Brevard exists to educate its members, to entertain its audiences, and to serve its community. Our musical director is Mr. Marion Scott. Mr. Scott formed the Band in 1985 to provide a performance outlet for adult musicians in the area. Our membership, currently numbering about 80, includes people of all ages representing many occupations.

Most of our concerts have a specific theme upon which the music focuses. Those themes have often led us to include exceedingly difficult works, which we willingly do, and to include special guest artists. The Band gives several concerts throughout the year. Our concerts include many diverse musical genres, composers, and often previously unpublished works for band. Each program is planned to please a variety of musical tastes. If you would like more information about the Band, or wish to join, send us a message to info@CommunityBandOfBrevard.com or contact David Scarborough at (321) 338-6210. Like us on Facebook at Community Band of Brevard and visit our Web site at http://www.CommunityBandOfBrevard.com.

Conductor ............................................................. Marion Scott Chairman ...................................................... David Scarborough Vice Chairman ...................................................... Fran Youmans Personnel Manager ............................................. Marjorie Varuska Equipment Manager ............................................... David Douglass Business Manager .................................................... Connie Miller Publicity/Advertising Coordinator ............................... Mike Freeman Librarian ................................... Cheree Coleman, Marianne Rigolini Secretary ............................................................. Terri Poppell

Board of Directors

CBOB’S FL DEPARTMENT OF AGRICULTURE & CONSUMER SERVICES REGISTRATION NUMBER IS CH35170. A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE (800-435-7352) WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL, OR RECOMMENDATION BY THE STATE.

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Good afternoon and welcome! Today’s concert is the final performance of our 31st season. This special program has something for everyone’s musical tastes and features musical selections ranging from marches, to Broadway, to Dixieland jazz, to overtures, and includes some of your favorite Big Band hits from Glenn Miller and Benny Goodman.

As I mentioned, today's concert marks another season gone by, and I would be remiss if I did not reflect on what has contributed to the success of the Band. Without question, Marion Scott has been the most important person contributing to our success. Marion formed the Band in 1985 and today he continues on as its musical director, conductor, and main source of inspiration. We are indeed fortunate to have him at the helm.

During the past 31 seasons, our audiences have also played a major role in our success. We have seen our audiences grow from just family and friends in those early years, to packed houses in recent years. We enjoy making music, but what motivates us to continue doing it is the presence and applause of an appreciative audience.

The final key to the Band's success is its membership. Without the dedicated members you see on stage, the Band would not exist. We are volunteer musicians from all walks of life and professions. Each member of the Band has the opportunity to develop and improve his/her individual and ensemble performing skills. This has enabled the Band to keep its commitment to provide you, our audience, with entertaining concerts of music performed at the highest level of quality.

In closing, from all of us in the Community Band of Brevard, we thank you for your patronage and for attending today’s concert. We look forward to seeing you again at our 32nd season opening concert, “A New Season of Old Favorites,” to be held on Sunday, September 10, 2017. David E. Scarborough Chairman, The Community Band of Brevard

Chairman’s Message

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Concert Calendar *

*All dates, times, and venues subject to change. Join our e-mail or mailing list for concert updates, or visit www.CommunityBandOfBrevard.com. The Community Band of Brevard

All concerts below take place at Merritt Island High School Auditorium

A New Season of Old Favorites Sunday, September 10, 2017 at 3:00 PM — FREE concert A Winter Concert Sunday, December 3, 2017 at 3:00 PM — FREE concert A Celtic Festival Sunday, March 25, 2018 at 3:00 PM — FREE concert Music by the Numbers Sunday, June 10, 2018 at 3:00 PM — FREE concert

The Community Band of Brevard has been granted 501(c)(3) status by the IRS. Contributions to the Band are deductible under section 170 of the Internal Revenue Code. The Band is also qualified to receive tax deductible bequests, devises, transfers, or gifts under section 2055, 2106, or 2522 of the Code. Note that you may now contribute larger gifts for tax purposes simply by claiming your gift to The Community Band of Brevard.

Donating to The Community Band of Brevard

Membership in The Community Band of Brevard is available to anyone who currently plays, or once played, a band instrument. We do not audition new members. Please join us for rehearsals on Wednesdays at 7 P.M. in the band room at Edgewood Jr./Sr. High on Merritt Island. Call 321-338-6210 or 321-268-5312 for more info.

An Invitation

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Patrons of Note

The following patrons made significant donations during the past 12 months. This list includes only patrons we are fully aware of, and does not include the many generous, yet anonymous, patrons without whom we could not continue to exist. To all of you, we express our gratitude.

Conductor’s Circle ($1,000+) Dione Negroni-Hendrick and Don Hendrick

Ed and Kim Shinskie

Platinum Baton ($500-$999) Gold Baton ($250-$499) Harris Foundation Lt. Col. Gregory (ret) & Joyce Clark Gary and Connie Miller

Ken and Marsha Morris

Silver Baton ($100-$249) Bronze Baton ($50-$99) Daniel Acker Daniel and Mary Dooley Frances A. Bradford Patricia Fread Donald Bryan Morris and Ethel Goodmark James and Dawn Condy Edward and Dorothy Hudak Dr. Carol Cook-Koenig René Hulsker Clarice Costello Richard and Patricia Koralewicz Terry Flint George and Sally Lambert Michael Freeman Ronald and Mary Ann Lang Kerry and Nancy Goodier Tom and Donna MacDonald Parker and Barbara Holden Sandra Scott Jack and Dorothy Hollander Douglas and Patricia Zinn Sharolee Huet Raymond and Ruthann Kuhlman Mary K. Lowe Norman and Sharon Lowry Jim and Christine McKnight Susan Perez Woodrow and Ann Pitt, Jr. Thomas and Marianne Rigolini Marjorie B. Smith Bradley and Marjorie Varuska Harry Vickers, Esq.

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Our Conductor

Marion A. Scott, a native of South Carolina, taught in Brevard County, Florida schools for 39 years. From 1959 to 1965 he served as Band Director at Southwest Junior High School in Melbourne. In 1965 he founded the Merritt Island High School Band when the school opened, and directed the group unt i l 1975 . The schoo l ’ s instrumental program included a 230-piece marching band, wind ensemble, symphonic band, woodwind and brass ensemble classes, concert band, two jazz ensembles, and a jazz theory class. He retired as Director of Bands at BCC (now Eastern Florida State College), Cocoa Campus in 1999.

Mr. Scott earned his Bachelor of Science degree in Music Education from the University of Georgia, and Master of Music in Performance from the University of South Florida. His professional affiliations include Phi Beta Mu, Phi Mu Alpha, ASBDA (for which he served as State Chairman), MENC, NAJE, CBDNA, and FMEA. He has also been active in the Florida Bandmaster’s Association, in which he has held the position of District Chairman of the FBA Board of Directors, and has served on the FBA Stage Band Committee.

Mr. Scott has served as an adjudicator for concert, solo, ensemble, and stage band contests throughout Florida. He has served as Conductor/Clinician for various music festivals throughout Florida, such as the All-State Jr. College Band in 1976, All-State Reading Bands in 1977 and 1978, All-State Junior High Concert Band in 1980, Brevard All-County Junior High School Band in 1982, Hillsborough All-County High School Band in 1986, and the Brevard All-County High School Band in 1988 and 1998. In 1985 he established the Brevard Community Band (now The Community Band of Brevard).

Mr. Scott has played with many name bands, including the Harry James Orchestra, Jimmy Dorsey Orchestra, Tex Beneke Orchestra, Sammy Kaye Orchestra, Terry Myers Benny Goodman Tribute Orchestra, and others. He currently plays with the Sanford Jazz Ensemble and is the leader of the Space Coast Swing Ensemble.

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The Beachside Woodwind Quintet

The Beachside Woodwind Quintet is providing our pre-show entertainment at today’s concert. The Quintet has been performing in Brevard County since 2014. Members are Fran Youmans, clarinet; Jodi Boeddeker, flute; Nancy Anderson, oboe; Becky Atwood, French horn; and Michael McLaughlin, bassoon.

The Beachside Woodwind Quintet has performed at the King Center, Melbourne Auditorium, Melbourne Mall, Merritt Square Mall, private clubs, senior centers, churches, and other special functions. They are dedicated to presenting a variety of quality woodwind quintet music from popular to jazz to well-known classical music.

The Quintet is available for special events, holiday gatherings, business events, or occasions when a musical grop would make your day or evening special. For information on scheduling, contact Mike McLaughlin at 407-625-8382 or Nancy Anderson at 321-446-9746.

L to R: Becky Atwood, Nancy Anderson, Jodi Boeddeker, Fran Youmans, Mike McLaughlin

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Musicians

Trombone Daniel Bryan Roberta Clark Gary Roland David Scarborough † Dale Swartout Baritone/Euphonium Gerald Leach Ron Youmans * Scott Zinn † Tuba Ed Moran Percussion Dan Bryan Elizabeth Bryan Noah Bryan Steve Bryan † Suzanne Clark Russell Jones * Lee Medlin

Bass Clarinet EJ Davey Kathleen Moore-Manship Alto Saxophone Noah Bryan Louis Deal Kyle Leve Kevin Shinskie Jeff Vickers † Tenor Saxophone David Douglass Dave Jennings Baritone Saxophone Jeff Murphree French Horn Becky Atwood Becca McCullough Paul Rigolini Trumpet/Cornet Anna Bryan Bob Comer René Hulsker † Sebron Kay Ken Morris Tim Newcomb Tracy Patt James Paul Mike Torres David Wilson *

Flute/Piccolo Jodi Boeddeker Sara Bryan Kitty Colman † Mike Freeman * Bart Lipofsky * Connie Miller Jennifer Reeg Alice Reshel Margie Varuska Carolyn Ward Oboe Jane Francoeur † Dee Pait Michelle Pittman Marianne Rigolini Bassoon Mike McLaughlin Robert Sawyer

E♭ Clarinet Rudy Deal

B♭ Clarinet Elizabeth Bryan James Deal Judy Dixon Susan Eklund * Morgan Magnoni Virginia McKinney Edward Pallone (Concertmaster) Harry Vickers Maggie Woods Frances Youmans * †

* Charter Member—participated in the Band’s premiere performance on 11/21/1985

† Section Leader

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Program

** As a courtesy to fellow audience members, kindly silence all cell phones and electronic devices. **

The Star-Spangled Banner ....................................... F. Scott Key

The Klaxon March ............................................... Henry Fillmore

Selections from Phantom of the Opera .......... A. Webber/Arr. Barker

Amparito Roca .................................................... Jaime Texidor

Benny Goodman: King of Swing ........................... Arr. Paul Murtha Let’s Dance—Stompin’ at the Savoy—Moonglow—Sing, Sing, Sing

featuring Ed Pallone, clarinet

Suite of Old American Dances ...................... Robert Russell Bennett 1. Cake Walk 4. Wallflower Waltz 2. Schottische 5. Rag 3. Western One-Step

Intermission (15 minutes)

Dixieland on Stage ................................................. Bob Lowden Conducted by Ron Youmans

featuring Fran Youmans, clarinet; Marion Scott, tenor sax; James Paul, trumpet; Dave Scarborough, trombone; Ed Moran, tuba

His Honor March ................................................ Henry Fillmore

In the Miller Mood ............................... Various/Arr. Warren Barker

1. In the Mood 5. Little Brown Jug 2. Moonlight Serenade 6. At Last 3. I’ve Got a Gal in Kalamazoo 7. Anvil Chorus 4. Serenade in Blue

Fantasia on Lady of Spain .................................... Tolchard Evans

Big Bands in Concert .............................................. Bob Lowden

La Gazza Ladra Overture ......................... G. Rossini/Trans. Cailliet

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Program Notes — Crowd Pleasers

The Star Spangled Banner (Francis Scott Key) After witnessing the British attack on Fort McHenry at Baltimore on September 13-14, 1814, Key scribbled on the back of an envelope a poem he called Defense of Fort McHenry. The poem was set to the music of an 18th-century tune called To Anacreon in Heaven, renamed The Star Spangled Banner, and in 1931 was adopted by Congress as our national anthem.

The Klaxon March (Henry Fillmore) James Henry Fillmore, Jr., was the most flamboyant bandsman of his time, an era that stretched across 50 years. During those years he probably wrote, arranged, and edited more band music than any other composer/bandmaster in history. Fillmore composed over 250 works and arranged over 750 others. To keep his name from flooding the market, he composed under a total of eight names: Harold Bennett for easy pieces; Al Hayes and Will Huff for moderately easy music; and Gus Beans, Ray Hall, Harry Hartley, Henrietta Moore, and his own name for the rest. Henry Fillmore’s background in his family’s publishing house in Cincinnati led him down a variety of productive paths as a composer of hymns, popular overtures, fox trots, waltzes, marches, and a particularly lucrative specialty for his own instrument, the trombone smear. Fillmore was born in Cincinnati, Ohio, in 1881, the eldest of the five children of Anna Eliza (McKrell) and James Henry Fillmore, Sr., a partner in the Fillmore Brothers religious music publishing business. Musical (and mischievous) from childhood, he had an outstanding singing voice and was encouraged to sing in Sunday school by his father who often rewarded him with a 50-cent fee. He dabbled with piano for several years and then learned to play the flute, violin, and guitar with amazing ease. He was fascinated most of all by the slide trombone, an instrument which his father considered too evil for any righteous person to play. In addition to practicing every day, Henry also wrote much of his own music. He was educated in the Cincinnati public schools and at Miami Military Institute, a small and exclusive school in Germantown, Ohio. The Klaxon March (subtitled March of the Automobiles) was composed in 1929 for the Cincinnati Automobile Show which began at the Music Hall in January 1930. Fillmore also invented a new instrument for the occasion called a klaxophone. It consisted of 12 automobile horns, mounted on a table and powered by an

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Program Notes — Crowd Pleasers (cont.)

automobile battery. Like Tchaikovsky’s 1812 Overture cannons, the klaxophone was a bit noisy.

Selections from Phantom of the Opera (Webber/Arr. Barker) Andrew Lloyd Webber was born in 1948. He is the composer of Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, the film scores of Gumshoe and The Odessa File, Evita, Cats, Starlight Express, Requiem, The Phantom of the Opera, Aspects of Love, Sunset Boulevard, By Jeeves, Whistle Down the Wind and The Beautiful Game. He has won six Tony awards, four Drama Desk awards, three Grammies including Best Classical Contemporary Composition for Requiem in 1986, and five Laurence Olivier awards. In 1992 he was awarded a knighthood for Services to the Arts. He was inducted into the American Songwriters’ Hall of Fame and given the Praemium Imperiale award for Music in 1995. In 1996 he received the Richard Rodgers award for Excellence in Musical Theatre. In the 1997 New Year’s Honors List he was elevated to the peerage as The Lord Lloyd-Webber of Sydmonton. Also in that year, he and Sir Tim Rice were awarded a Golden Globe and an Oscar for Best Original Song for the Evita movie soundtrack. Phantom of the Opera is undoubtedly one of Andrew Lloyd Webber’s most beloved and well known musical scores. This arrangement by Warren Barker includes the memorable selections “Think of Me,” “Angel of Music,” “The Phantom of the Opera,” “All I Ask of You,” “The Point of No Return,” and “The Music of the Night.” aving debuted on October 9th, 1986 in London’s West End at Her Majesty’s Theatre, the musical first opened on Broadway at the Majestic Theater, January 1988, and was swiftly the winner of seven Tony awards, and the longest-running musical in Broadway’s history.

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Program Notes — Crowd Pleasers (cont.)

Amparito Roca (Jaime Texidor) Amparito Roca is one of the band world's most popular pasodobles. That fact belies the fact that there is much confusion about its origins. Texidor copyrighted the work and had it published in Madrid and, in 1935, in London. However there is inconclusive reason to believe it was actually written by the British bandmaster Reginald Ridewood. A Boosey and Hawkes ad in 1936 included the work as Amparito Roca, "The Sheltered Cliff". However the director of the Baracaldo band once directed by Texidor contends that Texidor dedicated the work to a girl named Amparito (diminutive of Amparo) Roca who lived in that area .

Benny Goodman: King of Swing (Arr. Paul Murtha) Benjamin David Goodman was an American clarinetist and orchestra leader known as the “King of Swing.” After early training with musicians in Chicago, he joined the Ben Pollack jazz band and made his first recording in 1926. He lived in New York City from 1929 and, in 1933–34, organized an orchestra that became one of the most popular of the swing bands. The band served as career springboards for trumpeter Harry James, drummer Gene Krupa, vibraphonist Lionel Hampton, and pianist Teddy Wilson. Orchestrations by Fletcher Henderson and later (from 1940) by Eddie Sauter contributed significantly to his success. Goodman was a very versatile performer noted not only for the technical purity of his jazz solo playing, but also for his skill as a classical clarinetist. He recorded with the Budapest String Quartet and commissioned works by the contemporary composers Béla Bartók, Paul Hindemith, and Aaron Copland.

Suite of Old American Dances (Robert Russell Bennett) Robert Russell Bennett composed the Suite of Old American Dances in 1950. This suite is an original composition for band in which the composer seeks to set the mood of a Saturday night barn dance with all the gaiety which festivity demands, recalling several of the characteristic dances remembered from childhood. The goal achieved is a genuine piece of music—not a novelty as one might expect from such a setting. Bennett has described the music as “native American dance forms … treated in a ‘riot’ of instrumental colors,” and the composition is distinguished by superb effectiveness of instrumental writing and facile flow of

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Program Notes — Crowd Pleasers (cont.)

musical ideas. The dances include: Cake Walk, Schottische, Western One-Step, Wallflower Waltz, and Rag. (source: Acton Osterling, Jr., University of Louisville) R. R. Bennett’s parents both were musicians. His father was a band director, trumpeter, violinist, and baseball player. His mother was a piano teacher. He became interested in music while recovering from polio, which he contracted at the age of four. He wrote his first work at age nine, and began conducting at age 11. He played trumpet in his father’s band and was employed as a theater organist and as a violinist-violist in an orchestra. He served as a director of U.S. Army Bands in 1918 and 1919. In the 1920’s and 30’s he spent several years studying in Europe. There he took lessons from Nadia Boulanger, perhaps the century’s most influential teacher of composition. In the 30’s and 40’s he lived in Hollywood and composed more than 30 scores for motion pictures. Between 1920 and 1976 he scored all or part of more that 300 shows. In his peak season he had 22 shows running concurrently in New York. He did arrangements for Irving Berlin, Rudolf Friml, George Gershwin, Jerome Kern, Frederick Loewe, Cole Porter, Richard Rodgers, and many others. Musical media did not limit him and his works include chamber music, operas, organ sonatas, symphonies, scores for movies and television, and pieces for band.

Dixieland on Stage (Arr. Bob Lowden) Everybody loves a Dixieland band, and this medley brings that exciting sound to the stage. Featuring a small Dixieland combo, this arrangement starts out with a rousing version of Royal Garden Blues, then slows down for Do You Know What It Means To Miss New Orleans? and closes with When The Saints Go Marchin' In.

His Honor March (Henry Fillmore) As a composer, Henry Fillmore’s irrepressible talent for marches produced a string of masterpieces uniquely of his own flavor and among the most outstanding of them is the His Honor March. Fillmore dedicated it to Mayor Russell Wilson of Cincinnati and it was probably performed for the first time by the Fillmore Band during their concerts at the Cincinnati Zoological Gardens in August of 1933. It was then copywrited by The Fillmore Brothers Company on January 22, 1934. Most likely, Fillmore never

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performed His Honor or any of his music exactly as he had approved them for publication as this would have been too confining for his imaginative and expansive musical personality.

In the Miller Mood (Arr. Warren Barker) In the Miller Mood was commissioned by the Coastal Communities of California Concert Band, directed by Donald Caneva, and premiered at the 1994 American Bandmasters Association conference in Honolulu. Warren Barker, the arranger, and, like Caneva, a member of the ABA, guest-conducted the first performance. The medley alternates between the Glenn Miller Band style and the full sound of the concert band. Titles include “In the Mood,” “Moonlight Serenade,” “I’ve Got a Gal in Kalamazoo,” “Serenade in Blue,” “Little Brown Jug,” “At Last,” and “Anvil Chorus.” Miller wrote the melody for “Moonlight Serenade” while he was studying with Joseph Schillinger in the mid-1930’s. After turning down proposed lyrics by other songwriters, he asked Mitchell Parish of “Stardust” fame to write a “moonlight” libretto as a theme for his new band in 1937. The result was one of the Miller band’s most enduring hits. The second stanza summarizes the theme song’s mood:

The stars are aglow And tonight how their light sets me dreaming. My love, do you know That your eyes are like stars brightly beaming? I bring you and sing you A moonlight serenade.

from Norman Smith’s Program Notes for Band

Fantasia on Lady of Spain (Tolchard Evans) Lady of Spain is a popular song written in 1931 by Tolchard Evans with lyrics by Erell Reaves. The song is often played on the accordion. Starting in 1947, Dick Contino popularized the song in a Horace Heidt-Philip Morris series of talent contests. This was the theme song of Myren Floren, the accordionist on The Lawrence Welk Show. The earliest recordings of this song are sung by Al Bowlly, recorded in 1931 (the year the song was written). A recording by Eddie Fisher with Hugo Winterhalter and his orchestra was made at Manhattan Center, New York City in 1952. The song

Program Notes — Crowd Pleasers (cont.)

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Program Notes — Crowd Pleasers (cont.)

has also been covered by Bing Crosby and as a guitar instrumental with Les Paul.

Big Bands in Concert (Bob Lowden) This wonderful arrangement from Bob Lowden includes classic Big Band era songs “String of Pearls,” “Satin Doll,” “Sophisticated Lady,” “Intermission Riff,” and “Opus One.”

La Gazza Ladra Overture (G. Rossini/Trans. L. Cailliet) La Gazza Ladra (The Thievish Magpie) is an opera in two acts with libretto by Giovanni Gherardini. Its first performance was on May 31, 1817 at La Scala. The story is that of a maid servant who is sentenced to death for the theft of a silver spoon that, just in the nick of time, is found to be the work of a magpie. The opera’s overture is very famous. Its use of two snare drums was an innovation in orchestration. Rossini was the son of a trumpet player. He studied in Balogna and spent most of his creative life in Venice and Milan. He composed operas as well as religious, choral, orchestral, and band works. Several of his operas are staples of the repertoire (e.g. The Italian in Algiers, The Barber of Seville, La Gazza Ladra, and William Tell). He composed at a terrific speed, completing 38 operas in 23 years. He suddenly and mysteriously quit writing operas at the age of 37 and spent 10 years completing his Stabat Mater. He ultimately settled in Paris and was the witty leader of the artistic world until his death. He was highly regarded as a cook and his dinner parties were renowned. He invented a number of recipes including Tournedos Rossini, a perennial favorite.

—————————————— Program Notes by Terri Poppell. Copyright 2017

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Check Out These Cultural Links! Brevard County is very fortunate to have many high-quality cultural organizations. Below is a list of some of these organizations with links to their Internet Web sites.

Brevard Chorale http://www.brevardchorale.org

Brevard Cultural Alliance http://www.artsbrevard.org

Brevard Symphony Orchestra http://www.brevardsymphony.com

Central Florida Winds http://www.cfwinds.org

Indialantic Chamber Singers http://www.indialanticchambersingers.org

Melbourne Chamber Music Society http://www.melbournechambermusicsociety.com

Melbourne Community Orchestra http://www.mcorchestra.org

Melbourne Municipal Band http://www.mmband.net

New Horizons Band (Melbourne) http://www.newhorizonsbandmelbourne.org

rehearses Tuesdays 9am-11am Email: briannemeth@msn.com

Space Coast Flute Choir http://www.scfo.org

Space Coast Symphony Orchestra http://www.spacecoastsymphony.org

Proudly providing Brevard County with quality musical entertainment since 1985