Production Staff Benefactor David I. Clayton and

Earl Rick Stokes Producers Russell Kossman

Wayne Fleisher Patron Doug Litwin Jerry Abrams

Stage Manager James W. Budke M .D.

Michael Byrd David P. Clayton Rick De John

Sound Frank Duke

Keith Sklower Nancy L. Johnsen Steven S. Muchnick

Phil Tuggle Donald M. Padgett Jeffrey D. Stelmach Ushers Richard Twining

Aides-De-Camp Michael R. Wagner Linda A. Werner

Program Design and Robert D. Yucker

Production Donor

Wayne Fleisher Dale H. Anderson Joseph K. Beaupre

Box Office Michael Bruno

Mark Senjamin Robert C. Buehler

Rick Rowland Brian Coop Norman Ellingson

Special Assistance Jerry Geller Jerome Goldstein M .D.

Frank Duke, Les Bruno Molly G. Lawrence Publicity Wolter Leiss

Doug Litwin Mark Leno Douglas A. Litwin John Orlando Kirk Alan Pessner Paul Pukes Stephen J. Rocha William Thele, Jr. and

Gilbert Black Lewis C. Vanlier

Grand Tier Jackson Vereen

Carillon Importer s, Ltd. Dave Wharton

Dress Circle Friend

All That Jazz Douglas P. Allen

Anonymous Tamara D. Atton

Castro Station / Polk Robert R. Bocci

Gulch Saloon David G. Boker CPA

Geoff Harri s Graphics Joyce R. Barnes

Pacific Bell Raymond Barrier Donald Bird

Angel Katherine Hellman Donald James Clark Black David Cockman James M . Boland Jerry Coletti and Pat Richard E. Boles

Montcloire Jane R. Brady James C. Hormel Beth J. Bricker Estate of Elmer Robert B. Brookes

Hunsaker William J. Browder and Bruce M. Jewett and Jack L. Cook

Jomes H. Jones Merrill Budlong John Kovach and Gory C. Bruce Bunger

Moline Mork J. Busche D.D.S. Al Martino M.D. Butler and G.J. Loren D. McGlode Delgado Mark Nathan James M. Campbell M .D. Michael Sher Terrance W. Chang and Richard D. Stone Scott D. Henderson

Phyllis Chrismon and Dori M . Shimer

Wolter S. Clausen Fred Mox Collond Gory L. Dougan D.D.S. Kenneth J. Duchscherer Mary C. Dunlop Walter R. Ems P.B. Eriksen Potrick M . Ferguson James D. Franks Jonathan A. Funk Bruce Goode I I David Harrell Dosier A. Helsabeck Glenn M . Hutchinson Agar and Diana Joicks Craig D. Kauffman Lisa G. Kekuewa Michael and Saralee

Keropion Max C. Kirkeberg Grant A. Larsen Gerald M. Latimer Judith M . Little Sandra Marilyn and

Joss Eldtedge Paul Mart T. Hoover Mortin Rosemarie Maune and

Patricia A. Kiely Patrick J. McGraw Donald P. McKillop Ph.D J. Lindsy Mclean Samuel H. Medrano Donald K. Melvin Dr. Kenneth J. Mills Terence R. Mock Denis C. Moreen Jack H. Mossburg Joseph J. Pesso Jr. Darryl L. Raszl M .D. William P. Roderick John J. Roumbanis Patricia J. Savastano Marilyn Schneider Stanley David Schobert Cosey L. Scott John M . Shaugnessy Sol M. Shinder M .D. John J. Sucre Michael J. Surina Edward Van Egri Mr . & Mrs . James A .

Vohs Kevin G. Walsh Raymond A. Weaver Craig A. Zimmerman

and Thomas R. Patton Michael A . Zimmerman

• SAN FRANCISCO BAND FOUNDATION PRESENTS

A UNIQUE EVENT

San Francisco Band Foundation is supported in part by San Francisco Grants for the Arts.

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PROGRAM

Notional Anthem

The Star Spangled Banner (the audience is invited to sing the first stanza)

arr . Sousa

Marches

The Black Horse Troop Sousa

The Pride of the Wolverines

Sousa

Procession

Elsa's Procession to the Cathedral from "Lohengrin"

Wagner

Barbershop Quartet

Joyce Barnes, Beth Bricker, Steve Campbell, Mark Senjamin

Clarinet Solo

Concertino, Op. 26 von Weber

Mr. John Butler , soloist

Americana

Suite of Old American Dances 1. Cake Walk 2. Schottische 3. Western One-Step 5. Rag

Bennett

INTERMISSION 15 MINUTES

Overture

Overture for Band Mendelssohn

Vocal Solo

Gypsy Love Song from "The Fortune Teller "

Herbert Musetta's Waltz from "La Boheme"

Puccini Miss Pamela Brooks , soloist

Trumpet Solo

I've Made My Plans for the Summer

Sousa Mr . Bradley Connlain, soloist

Morch

Florentiner March

Percussion Quartet

Valley Forge

Fucik

Trudy Fulton-Smith , Jeane Red-secker , Neila Waters , Linda Werner

Harr

Finale

American Civil War Fantasy Bil ik

San Francisco Gay Freedom Day Marching Band & Twirling Corps Officers

Doug Litw in , Manager M ike Meh r, Assistant Manager

She ryl Thaler , Treasurer Gary Bryan , Librarian

Loren Henderson , Uniform Coordinator M ichael Byrd , Twirling Corps Director

San Francisco Gay

Freedom Day Bassoon Trombone Marching Band & Allen Good r ich David Malespin Twirling Corps Martyn Jones Diane Stafford

Alto Saxoph one Dan Weinstein

Conduc to r David Slatengren Euphonium Jeff Foote John West Chuck Yeo

Flute Lon S. W ri ght Michael Ellard Jay Kast Te nor Saxoph o ne Tuba Mickay Miller Bruce Jewett Scott Korb Kim Rimmer Stephen Murv in Michael L. Mehr Oboe Trump et Quentin Keith Sklower Tim Caldwell Percuss ion Clar inet Bradley Connlain Trudy Fulton-Smith

John Butler Jam ie Hops Georgee Harcus Kathy Hennig Brian Klimkowsky Loren Henderson Doug Litwin Connie Steinman David Kelsey Rick May Sheryl L. Thaler Wayne Love Mark Nathan Horn Jeane Redse cker

Stephen J. Rocha Gary J. Bryan Gary Reisch

Boss Cla r in et Doug Kimball Neila Waters Rick Rowland Frank Reyes Linda Werner

Pamela Brooks is that rare soprano who sings both Strauss and Sondheim with idiomatic ease . A popular cabaret entertainer in the San Francisco Bay Area , she has sung with several symphony orchestras includ ing Houston, St. Louis , Honolulu, Baltimore, Buffalo, Denver, Toronto , Indianapolis , Oakland and others. She has performed with the SFGFDMB & TC in the past, most notably in 1985, at the First Annual Christmas Gala and Dance Along Nutcracker . M iss Brooks was classically trained on the violin and is the recipient of bachelor 's and master 's degrees in voice from San Francisco State University.

About Tonight's Program

This concert is representative of the traditional pops concerts presented by the John Philip Sousa Band (b. 1854, d . 1932) . The unique programming includes a delightful mixture of familiar light classics , novelties, brilliant vocal and instrumental solos and , of course, great Sousa marches. The Sousa band presented this style of concert around the world from 1892- 1932, which mode Sousa and the bond pre-eminent in popular American musical entertainment . • The customary Sousa concert was never all Sousa , nor was it all marches. Sousa is credited with introducing classics to on American audience that may hove never heard works by Wagner, Strauss, Respighi and others . • Sousa was the father of the modern pops concert - his programming greatly influenced Arthur Fiedler. •Oftentimes presenting 2 concerts a day, seven days a week, the Sousa Bond rarely played outdoors . In fact , the bond only marched 4 times in its long history. Most concerts were performed in the world's greatest opera houses and concert halls . • Sousa was the first American composer of a successful Broadway show (El Capitan in 1896) .

John Philip Sousa, as conductor of the Army and Morine bonds , used The Star Spangled Banner long before it became the Notional Anthem (officially adopted by Congress in 1931 ). This 1890 arrangement is "a lo Wagner ", that is, in the style of the Overture to Tonnhouser . The Black Horse Troop was commissioned for the mounted troops of a Cleveland Notional Guard Unit . When it was premiered in 1925, the troops marched their beautiful block horses right up on stage with the bond . For several decodes, The Pride of the Wolverines was the official march of the city of Detroit . The march, one of his most demanding, was dedicated to the mayor and citizens of the city in 1926.

First performed in 1848, Elsa 's Procession to the Cathedral , with its medieval color and pageantry , prefaces her betrothal to Lohengrin, mystic knight of the Holy Grail, who hos come to deliver the people of Antwerp from the Hungarian invaders. In the operatic presentation , a large double chorus (representing the people of Antwerp) adds its praise to that of the orchestra.

Probably the most famous of all clarinet solos , Concertina , Op. 26, helped establish the clarinet as the leading instrument for the expression of Romantic music . It also added to the fame of Corl M . von Weber who was already respected as a great composer of the day . The Concertino received its first per -formance in 1811, and the SFGFDMB & TC is fortunate to present our own John Butler in tonight's performance.

Robert Russell Bennett (b. 1894, d. 1980). is responsible for creating the Broad -way sound of American theatre and establishing the instrumentation standard of the pit orchestra. In addition to the over 200 shows he orchestrated, he hos com-posed for every medium possible - television, movies , chamber and orchestral works . The Suite of Old American Dances, composed in 1950, is on original band composition depicting the Saturday night born dance of old. Bennett recalls from his childhood the gaiety and frivolity of several native American dance forms.

Felix Mendelssohn composed his Overture for Band in the summer of 1824 dur-ing his stay at the fashionable seaside resort of Doberan on the shores of the Baltic. The bathing establishment boosted of a very acceptable wind band, so acceptable that the young composer (he was only 15 at the time) felt compelled to compose this piece for one of the summer concerts. The scoring of the original edition is not too different from the instrumentation of the contemporary wind bond.

Victor Herbert's life was quite productive. For over a quarter .of a century, his name was synonymous with Broadway . He also served a short tenure as the con-ductor for the Pittsburgh Symphony and the Gilmore Concert Band (Sousa was accused of stealing many of his principal musicians from the Gilmore Bond - a

scandalous story of the day) . Herbert was the composer of Babes in Toylond and the song "Ah, Sweet Mystery of Life ." The Gypsy Love Song , from The Fortune Teller (premiered in 1898) , is said to be the greatest love song in all of operetta .

In La Boheme, the pretty, coquettish Mussetto approaches a crowd with her wealthy , aged admirer, Alcindoro. Noticing Marcello (on ex -lover) with friends , Musseto attempts to attract his attention . She sings t he waltz " Quondo me 'n vo":

Wherever I go alone along my way people stop and gaze, and everyone looks over my beauty from head to foot . And then I relish the subtle longing that appears in their eyes, and under the outward decoration they know there is hidden beauty . Thus the onrush of desire surrounds me and makes me happy! And you who know that memories consume you, you still flee from me? I know well ; your anguish you will not reveal , but you feel you could just die!

The length and content of The Florentiner, sub-t itled , Grande Marcia Italiano , suggests that Julius Fucik (like Sousa in his Free Lance Morch), tried to condense on operetta into a march . The march opens with a short bugle fanfare and then goes into a strain of repeated notes that suggests a flighty Florentine signorina chattering to her gentleman friend from Berlin who con manage to get in only on occasional " ja-wohl. " In 1916, nationalism was flourishing , marches were the pop music of the day, and it was not surprising that a Hungarian could write the ulti -mate Italian grand ma rch .

Military bands hove changed and the methodology of playing wind instru -ments hos been tested over the years , but the concept of ploying a snore or boss drum has endured without variation (at least until the advent of the matched grip, i.e., holding both sticks overhanded) . Valley Forge , by Haskell Horr , is an advanced example of the standard ized rudiments , such as poradiddles , flams , and ruffs, that evolved from soldiers relaying signals across the battle field .

Sousa 's output was extraordinary - several hundred pieces , including some comic operas and orchestral works . Also, an autobiography, three novels, an instrument methods book and the waltz, I've Made My Plans for the Summer. This is the maiden's reply to a marriage proposal. The lady dreams of happy days on Coney Island "shooting the chutes " and listening to the band ploy. She soys she may reconsider at the end of the summer . Bradley Connloin, known about town for his work w ith our bond and City Swing, is our trumpet soloist .

Sousa was the consummate patriot . If Jerry Bilik hod been around in 1900, American Civil War Fantasy may have appeared on a Sousa program . This tone poem for band , published in 1961, depicts the mood leading up the war between the states. Songs (sons Taro's Theme) of daily life from the North and South ore presented equally, building to conflict and clos ing with the hope of a perpetually -united notion .