Wind Band Masterworks, VOLUME IEnglish Folk Song Suite (Vaughn Williams) • Fire of Eternal Glory (Shostakovich) • I Wander Deep In Thought (Grieg) • Incantation & Dance (Chance)

• Second Suite in F (Holst) • Slavic Woman’s Farewell (Agapkin) • Third Suite (Jager) • Turkey in the Straw (Rhea) • Amazing Grace (Himes) •Variations on America (Ives)

Wind Band Masterworks, VOLUME IIAria on a Chaconne (Martinson) • Come Sweet Death (Bach/Reed)

Fanfare to “La Peri” (Dukas) • La Fiesta Mexicana (Reed) • Overture to “Nabucco” (Verdi/Cailliet) • Olympic Fireworks (Stanhope) • Peterloo(Arnold) • Procession of Nobles (Rimsky-Korsakov/Leidzen)

Wind Band Masterworks, VOLUME IIIAve Maria (Schubert/Ticheli) • Blue Lake (Chance) • Commando March (Barber) • Elsa’s Procession to the Cathedral (Wagner/Cailliet) • English

Dances, Set II (Arnold) • Fanfare for the Common Man (Copland) • Festivo (Gregson) • Folksongs for Band, Set #3 (Stanhope) • Rocky Point Holiday(Nelson) • Scenes from “The Louvre” (Dello Joio) • Ye Banks & Braes O’ Bonnie Doon (Grainger)

Wind Band Masterworks, VOLUME IVA Movement for Rosa (Camphouse) • Allerseelen (Strauss/Fennell) • Colonial Song (Grainger) • Cuban Overture (Gershwin/Rogers) •

Final Covenant (Tull) • Jericho Rhapsody (Gould) • March from Symphonic Metamorphosis (Hindemith/Wilson) • Molly on the Shore (Grainger) •Parade from Pacific Celebration Suite (Nixon) • Profanation from Jeremiah (Bernstein/Bencriscutto) • Savannah River Holiday (Nelson)

Texas Music Educators Association Convention, 2003Gallant Seventh (Sousa) • Tam O’ Shanter (Arnold/Paynter) • October (Whitacre) • Don’t You See (Grantham) • Presto from Trombone Concerto

(Bourgeois) • In Memoriam (Camphouse) • Polka and Fugue from Schwanda (Weinberger/Bainum)Texas Music Educators Association Convention, 2007

Eagle Squadron (Alford) • Savannah River Holiday (Nelson) • Toccata & Fugue in D Minor (Bach/Leidzen) • Heroes, Lost & Fallen (Gillingham)Piu Jesu (Faure/Sudduth) • Profanation from Jeremiah (Bernstein/Bencriscutto)

Legacy of the March, VOLUME IAmerican Legion (Parker) • Bennet’s Triumphal (Ribble) • Chicago World’s Fair (Mader) • Courier Journal (Griffith) • Drum Major (Taylor) • GoldenBear (Richards) • H.M. Jollies (Alford) • Hostrauser’s (Chambers) • Independentia (Hall) • Kiefer’s Special (Kiefer) • Neddermeyer Triumphal (King) •Our Gallant Infantry (Edwards) • Our Glorious Emblem (DeLuca) • Our United States (Ventre) • Ponderoso (King) • Queen City (Boorn) • Radio

Waves (Jewell) • St. Julian (Hughes) • Trombone Section (Chambers) • University of North Dakota (King)Legacy of the March, VOLUME II

Action Front (Blankenburg) • Battle of the Winds (Duble) • Colossus of Columbia (Alexander) • Crusade for Freedom (Richards) • Gentry’s Triumphal(Jewell) • Gloria (Losey) • Great Little Army (Alford) • Henderson Field (King) • Mighty Mite (Mesang) • Mystic Call (King) • Northwind (Chambers)• Parade of the Champions (Yoder) • Pentland Hills (Howe) • Porter’s Catalina Band (McCaughey) • Royal Bridesmaid (Casto) • Shriner’s Parade

(DeLuca) • Sounds of Peace (von Blon) • Trafalgar (Zehle)Trooper’s Tribunal (Fillmore) • Viking (King)

Legacy of the March, VOLUME IIIB.B. & C.F. (Hume) • Garland Entrée (King) • The Boys of the Old Brigade (Chambers) • Eagle Squadron (Alford) • Quality Plus (Jewell) • Black Jack(Huffer) • The Klaxon (Fillmore) • With Sword and Lance (Starke) • Bombasto (Farrar) • Zacatecas (Codina) • Glory of the Trumpets (Brockenshire) •Glorious America (King) • Lights Out (McCoy) • Emblem of Freedom (King) • Flying Eagle (Blankenburg) • Emblem of Unity (Richards) • Olympia

Hippodrome (Alexander) • Voice of the Guns (Alford) • Rolling Thunder (Fillmore)Legacy of the March, VOLUME IV

Barnum & Bailey’s Favorite (King) • Men in Gray(Brahmstedt) • Honey Boys on Parade(Cupero) • Days of Glory (Cacavas) • Joyce’s 71st New YorkRegiment(Boyer) • Carrollton(King) • Noble Men(Fillmore) • The Vanished Army(Alford) • Bravura(Duble) • Bolivar(King) • E Pluribus Unum(Jewell) •National Emblem(Bagley) • Lt. Commander(King) • Invercargill(Lithgow) • Peacemaker(King) • Men of Ohio(Fillmore) • Purple Pageant(King) •

Inglesina(Delle Cese) • Valdres(Hanssen) • The World is Waiting for the Sunrise(Alford) • In Storm & Sunshine(Heed)Legacy of the March, VOLUME V

Army of the Nile (Alford) • Attorney General (King) • Battle Royal (Jewell) • British Eighth (Elliott) • Burr’s Triumphal (Alexander) •Chicago Tribune (Chambers) • Circus Bee (Fillmore) • Die Wacht Am Rhein (Von Blon) • Federal (Sousa) • Freischutz Quickstep (Grafulla) •Gladiator’s Farewell (Blankenburg) • Hail Miami (Richards) • New Corn Palace (King) • Pathfinder of Panama (Sousa) • Port Arthur (Seitz) •Robinson’s Grand Entrée (King) • Screamer (Jewell) • Tripoli Temple (Barnhouse) • Under the Double Eagle (Wagner) • Woody Van’s (King

All above recordings available through the Texas A&M University Band office or Markcustom.com.

OTHER TAMU WIND SYMPHONY RELEASES

Mark Custom Recording Service, Inc. • 10815 Bodine Road • Clarence, NY 14031-0406phone: 716.759.2600 • fax: 716.759.2329 • www.markcustom.com 7266-MCD � 2007

11

Dr. Timothy B. Rhea is the Director of Bands at Texas A&M University. He serves as administrative headof the instrumental music department, serves as conductor of the UniversityWind Symphony, and is the director of the nationally famous “Fightin’ TexasAggie Band.” He contributes as composer and arranger for all the ensembleswithin the TAMU Band Department. He joined the Texas A&M Universityband staff in June of 1993.

Rhea is a graduate of DeKalb, TX High School and grew up in the musicprograms of the Texas public schools. He earned the Bachelor of MusicEducation with honors from the University of Arkansas where he was a privateconducting student of Eldon A. Janzen. He earned the Master of Music inWind Conducting from Texas Tech University where he studied with the lateJames Sudduth. During his time at Tech, he served as assistant conductor ofthe University Symphonic Band and graduate assistant director and musicalarranger to the Texas Tech University Marching Band, where he worked with

Keith Bearden. Rhea was awarded the Doctor of Musical Arts in Wind Conducting and Composition fromthe University of Houston in May of 1999. In July of 1999, he was awarded the Outstanding YoungBandmaster of the Year for the state of Texas from Phi Beta Mu. In December of 2000, Dr. Ray Bowen,former President of Texas A&M University, presented Dr. Rhea with the President’s Meritorious ServiceAward to Texas A&M University.

Dr. Rhea was named conductor of the TAMU Wind Symphony in 1995. During his tenure at Texas A&MUniversity, Dr. Rhea has conducted the Wind Symphony for conventions of the Texas Music EducatorsAssociation, the College Band Directors National Association, and the American Bandmasters Association,as well as in settings such as the Meyerson Symphony Center of Dallas and the Wortham Center of Houston,and on tours which have taken the band throughout the state of Texas. On their European tours (1999,2001, 2004, 2007), Dr. Rhea has conducted the Wind Symphony during concerts in Ireland, England, Austria,Germany, and the Czech Republic. Under his direction, the Wind Symphony has released several nationallypopular compact discs, all with Mark Records in New York.

In addition to conducting, Rhea maintains a very successful career as an arranger and composer. His outputof compositions and arrangements numbers over 300. For over ten years, he maintained an extremelyactive schedule as an arranger for both university and public school marching bands. As a composer,various commissions have resulted in performances for the Texas Music Educators Association, the TexasBandmasters Association, the College Band Directors Association, the Cotton Bowl, and the Tournament ofRoses Parade. His works are published with TRN Music Publisher, RBC Music Publisher, and Arranger’sPublishing Company.

Rhea maintains a nationally active schedule as conductor, clinician, and adjudicator. He has been extendedinvitations to membership in both the prestigious American Bandmasters Association and Phi Beta Mu.Currently on the Board of Directors of the National Band Association, he additionally holds membershipsin the Texas Music Educators Association; Texas Bandmasters Association; College Band Directors NationalAssociation; Big 12 Band Directors Association; World Association of Symphonic Bands & Wind Ensembles;American Society of Composers, Authors, & Publishers; Phi Mu Alpha; Phi Kappa Phi; Pi Kappa Lambda;Kappa Delta Pi; and is an honorary member of Kappa Kappa Psi.

ABOUT THE CONDUCTOR

2

PICCOLOSarah La Cour

FLUTELeslie Daniel

CarolynDannenbaumJenny HollickMichelle HoltLeah HollowellKatie HunterKaelin Tooley

OBOEJeanna EasleyMelissa Nieves

CLARINETMaria BenvegnuRobin BradshawLeandra ChengMallory ComptonTracy Dowling

Michelle DrummMegan Ehrhardt

Brian FrenoMaria Holcomb

Alicia IsrealKatrina LaursenJessica MartinezHannah PatrickSarah PyeattKelli Quillen

Sarah SmeetonAlyssa Solis

Christine Williams

BASS CLARINETAshley CrittendenRebecca DuncanTom DuncanKaela Astley

CONTRABASSCLARINET

Rebekah Roberts

BASSOONSam BinkleyJames JettonRobin MelsonChristine Sliva

SAXOPHONEChase CaruthIan Hudson

Hunter McConnellCharles McTygueLouis RobinettBen Williams

TRUMPETTony GhinelliNick GlasseyBrian GreenDavid Lea

Meagan McGovernEric MirochnaWesley Pierce

Derek RodriquezStephanie SanchezWalter SteinkeBlake ThomsonBen Wood

HORNHolly CatanachJenna Gatza

Stephanie JessenCindy McBryde

Joseph MooreLeeAnn Reid

Kellye SchiffnerRaechel Schneider

Nicole Smith

TROMBONEJonathan AckerJoseph AlbrittonDavid Clark

James CongerDaivd Galipp

Jeremy GrahamAndrew MarcellusGarett OwensBrent Vollmar

EUPHONIUMDon DuplanJared JessenChris MooreScott Towne

TUBAJames Dixon

Sam HernandezJeff Nabors

Will NagelTimothy VireneDaniel West

PERCUSSIONPaul Clair

Tara HendersonJonathan Kiefer

Michael McWilliamsBenjaminNaberhaus

Bryan NaradovyJoann PearsonEric Sepolio

Michael Valdez

HarpSarah Gee

String BassGeorgia LombardoCasey HodgesDaniel Nicolosi

PianoSzu-Hsuan Lin

TEXAS A&M UNIVERSITYWIND SYMPHONY FALL 2005-SPRING 2007

THE TEXAS A&M UNIVERSITY BANDSDr. Timothy Rhea, Director of Bands

Lt. Colonel Jay O. Brewer, Sr. Associate Director, Texas Aggie BandMr. Travis Almany, Associate Director of Bands

Mr. Christopher Hollar, Director of Jazz EnsemblesDr. David Wilborn, Conductor, University Campus Band

Ms. Jean Stanley, Business CoordinatorColonel Ray E. Toler, Director of Bands Emeritus

Colonel Joe T. Haney, Director Emeritus, Texas Aggie Band

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The Texas A&M University WindSymphony (formerly called symphonicband) represents the top concertensemble within the TAMU BandDepartment. Unlike the band programsof most major universities, the bands atTexas A&M University presently do notcontain music majors. Auditions areopen to all students on the CollegeStation campus, which presently has anenrollment of 45,000. The major goal ofthe concert ensembles is to givestudents a pause from their academicroutine by allowing them to jointogether in a highly sophisticatedmusical environment. All concert bandmembers receive academic creditthrough the College of Liberal Arts, as

well as fulfilling university requirements for required Visual & Performing Arts credit.

By the attraction of players of extremely high quality, the bands strive to program the best in both traditional andcontemporary wind band literature. In recent years, the Wind Symphony has performed concerts for the memberships ofthe Texas Music Educators Association, the College Band Directors National Association, and the American BandmastersAssociation. The Wind Symphony regularly tours during the spring semester. Past Texas performances have included theMorton H. Meyerson Symphony Center in Dallas, and both the Wortham Center and Music Hall in Houston. The WindSymphony toured Europe in 1999, 2001, 2004, and 2007 with concert performances in England, Ireland, Germany, Austria,and the Czech Republic. In February of 2008, the ensemble will give a Friday evening concert in New York City’s CarnegieHall. The Texas A&M University Bands will host the 2009 convention of the American Bandmasters Association on theCollege Station campus. The wind symphony records regularly each year and their recordings, all with Mark Records, haveenjoyed great success on the national level.

Today’s band program at Texas A&M University includes the wind symphony, the symphonic band, the concert band, thenationally famous “Fightin’ Texas Aggie Band,” the University Orchestra, the University Jazz Ensembles, and the AggielandDance Orchestra. The total band program enrollment averages over 600 students per academic year.

TTHHEE TTEEXXAASS AA&&MM UUNNIIVVEERRSSIITTYY BBAANNDDSS• Dr. Timothy Rhea, Director of Bands• Lt. Colonel Jay O. Brewer, Sr. Associate Director, Texas Aggie Band• Mr. Travis Almany, Associate Director of Bands• Mr. Christopher Hollar, Director of Jazz Ensembles• Ms. Jean Stanley, Business Coordinator• Colonel Ray E. Toler, Director of Bands Emeritus• Colonel Joe T. Haney, Director Emeritus, Texas Aggie Band

ABOUT THE TEXAS A&M UNIVERSITY WIND SYMPHONY

Recorded at the Rudder Theater Complex on the campus of Texas A&M University, College Station, Texas on:

• November 21, 2005

• May 1, 2006

• November 20, 2006

• April 30, 2007

FOR MORE INFORMATION:

Texas A&M University BandsE.V. Adams Band Building

College Station, TX 77843-3153Phone (979) 845-3529FAX (979) 845-4733

E-mail: trhea@tamu.edu

ProducersTravis Almany,

Christpher Hollar

Recording EngineerMark J. Morette

EditingDavid St. Onge,Timothy Rhea

Graphic DesignMarkArt:

Kimberly R. CollignonJason Boldt

CREDITS

Executive ProducerDr. Timothy B. Rhea

CD Booklet Compilation Joe Moore

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20. Fiesta Flambeau (1956) Frank Sturchio (1894-1971)

Frank Sturchio was born Francesco Matteo Girolauso Sturchio in Italy in 1894. His father, Alfredo,gave Frank his first music lessons at age 5. When he was 11, he started his formal study of musicat the San Pietro A. Majeila Conservatory of Music. After moving to the U.S., Frank spent aperiod of time organizing and teaching community and factory bands. He later traveled the EastCoast as a traveling musician and played trumpet with Sousa and later on, played piano for silentmovies. After spending time at Randolph Field near San Antonio as an Army Air Corp bandsman,Sturchio went back to school and received a bachelor’s degree from our Lady of the Lake College.He then started the St. Mary’s University Band and helped the band become a permanent fixtureat the school and in San Antonio. Fiesta Flambeau is dedicated to the Fiesta Flambeau parade.St. Mary’s University band had huge involvement with the parade, and would play for the MissFiesta float. The band also played for election of Miss Fiesta.

21. March from Symphonic Metamorphosis (1943)Paul Hindemith (1895-1963)

Paul Hindemith was a conductor, violinist, educator, theoretician, and is noted as being amongthe most significant German composers of his time. In addition to dramatic works, symphonies,and numerous other orchestral pieces, Hindemith wrote much music for chamber groups,keyboard instruments, and vocal combinations. His knowledge of wind instruments is apparentin his instrumental sonatas as well as in such original and transcribed works as SymphonicMetamorphosis. Hindemith composed Symphonic Metamorphosis while teaching at YaleUniversity. Believing strongly that the work should be made available in a band version, he askedhis Yale colleague, Keith Wilson, to make the transcription. Wilson worked on the arrangementfor eighteen months and regarded it as his largest and most significant transcriptions. The marchrepresents the fourth and final movement of the complete work. The important two-barfragment which is stated by the brass at the outset, reappears and is developed at differentpoints of punctuation throughout the movement. There is also a more lyrical “trio” theme whichis repeated and developed. The form is somewhat different from that of a standard march.

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James Henry Fillmore Jr. was the most flamboyant bandsman of his time, an era that stretchedacross fifty years. During those years he probably wrote, arranged, and edited more band musicthan any other composer/bandmaster in history. Powell Crosley was the owner of Radio StationWLW in Cincinnati, while Fillmore’s Band was presenting its radio concerts over that station in thelate twenties. He was also a manufacturer of radios and a personal friend of the composer, andit was he for whom Fillmore wrote this march if 1928. This march contains one of the mostbeautiful trios ever composed.

2. George Washington Bicentennial (1930)John Philip Sousa (1854-1932)

John Philip Sousa was an arranger, a composer, a conductor, a business man, and a patriot.Although respected for all of his musical achievements, he is particularly honored for his marchesand his concert bands. Sousa developed a distinct flair for writing marches. He seemedinstinctively to know how to compose for band instruments, and his style, full of bouncingrhythms, brilliant instrumentation, and catchy tunes, has kept a large number of his marches highin the popularity polls ever since. This march was written at the request of the GeorgeWashington Bicentennial Commission of Washington, D.C., and was completed two years beforethe 1932 celebration. With Sousa conducting, the march was premiered at the Capitol Plaza bythe combined bands of the Army, Navy, and Marine Corps.

3. The Vedette (1912)Kenneth J. Alford (1881-1945)

Kenneth J. Alford was born Frederick J. Ricketts in 1881. Alford was an English bandmaster andcomposer who graduated from Kneller Hall in Twickenham, England, and later served asbandmaster of the Royal Marines from 1928-1944. Alford’s marches epitomize the steadilyswinging and moderately paced English military march. Alford’s second march, The Vedette, waspublished in 1912. A vedette is a mounted sentry placed in advance of the outposts of an armyto observe the movements of the enemy. There is some speculation that Alford used this title inreference to his active service of the North West Frontier of India where it is known that vedetteswere used by infantry regiments involved in subduing the activities of the hostile hill tribesmen.

4. The Purple Carnival (1933)Harry L. Alford (1883-1939)

Harry L. Alford’s first march was played when he was only fourteen years old. Encouraged by hisinitial success he continued to compose marches and concert works for the rest of his life. Alfordwas a prolific composer as well as arranger. Harry Alford wrote Purple Carnival in 1933,dedicating it to Glenn Cliff Bainum and the Northwestern University Band. The brass fanfare andthe idiomatic use of woodwinds show Alford’s knowledge of instrumental color and technique.

Legacy of the March Volume VI Program Notes

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16. The Spirit of the First Division (1925)Frank Frank (1892-1954)

Franz Frank began his musical training in Hungary and at an early age he was selected to attendthe Army Music School in Budapest. As a young man, his family immigrated to the United States,Franz became Frank and he enlisted in the Army. During World War I he was assigned to TheFirst Division. Frank composed several marches including the Spirit of the First Division which waswritten as a tribute to the men who served with him during the War. It is perhaps his mostpopular composition and is often played by the bands of the armed forces as well as high schoolbands throughout the United States.

17. Circus King (1916)Charles E. Duble (1884-1960)

Charles Edward Duble composed for the many circus bands of his time. He also played trombonewith various circus and minstrel bands for twenty-three years. The Circus King March wasdedicated by Duble “to my friend Jack Phillips, Musical Director, John H. Sparks’ Shows.” In 1916,when he composed this march, Duble was playing trombone in the Sparks’ Shows Band; duringhis twenty-three years of trouping he performed with at least eight circus bands. The publishersof his compositions were even more numerous. In Vol. 9, No.2, of the Boombah Herald, editorLoren D. Geiger lists thirty-one of Duble’s marches, published by sixteen different companies. Ofthese titles, not one march was composed during the last thirty-two years of Duble’s life.

18. Sons of Veterans (1909) Karl L. King (1891-1971)

One of King’s very early publications and one of his life-long favorites and most frequentlyprogrammed marches. Even though it carries no dedication, it alluded to the GAR band inCanton, originally a civil war veteran’s band. It was a very good professional band, owing muchof its success to the fact that Canton was President William McKinley’s home town and was a hotbed of political activity, thus providing lots of playing opportunities for the band. When Kingleft the Barnum & Bailey circus following the 1918 season, he returned to Canton expecting to bedrafted. However, the war ended before he was activated and King instead became director ofthe GAR band, a position he held until moving to Fort Dodge in 1921.

19. Nibelungen March Gottfried Sonntag (1846-1921)

Gottfried Sonntag was bandmaster of the 7th Bavarian Infantry Regiment at Bayreuth when he composedNibelungen March using themes from Richard Wager’s “The Ring of the Nibelung.” Using themes fromwell known operatic works as the basis of a march was common practice among march composers, asevidenced by the many works in the repertory of brass bands from this period of our musical history.Nibelungen March was an immediate success, and over the years, the piece has appeared in numerouseditions. As in the case with much band music from the distant past, no original version of the march aswritten by Sonntag is available. This recording was made from a modern edition of the march byTommy Fry.

5. Samson (1927) Karl L. King (1891-1971)

Karl King dedicated this march to Carl “Tim” Pray, an equipment manager of the King band.After observing Pray carry a huge load of cots, King commented, “Tim, what are you trying todo, pull a Samson act?” Later that night, inspired by Pray’s great determination, King sat by thelight of a kerosene lantern and wrote the march Samson. King dedicated it to Tim Pray, who wasto become one of his closest friends, and longest tenured players. King regularly programmedthe march throughout his career.

6. Glorious Victory W. M. KendallGlorious Victory is a wonderful British march written by W.M. Kendall. While it has been difficultto trace information regarding either the composer or this particular march, the original partscontain a 1947 copyright by Hawkes & Son of London. The march contains wonderful dynamiccontrasts, shifts of tonality, fanfare trumpets in the trio, and wonderful melodies andcountermelodies. This march appears on several recordings of the British service bands.

7. On the Square (1916)Frank A. Panella (1888-1954)

Frank A. Panella was known as the March King of Pittsburgh, a city in southwest Pennsylvania.He played clarinet in a number of the city’s theater orchestras and bands as a young man andlater played in the Arthur Pryor Band, the Pittsburgh Festival Orchestra, and the PittsburghSymphony Orchestra—he was also personnel manager of the latter organization for many years.First published in 1916, On the Square has been a favorite in both England and the United Statessince World War I. In 1924, for example, the U.S. Army Band played On the Square whilemarching around the baseball diamond at the initial World Series Game. In addition to thesyncopated rhythmic vigor of the first strain, this unique march concludes with a repeat of thesecond strain—in the key of the trio rather than the key of the first half.

8. Die Ehrenwache (1900)Julius Lehnhardt (1837-1913)

Julius Lehnhardt was among the early group of German march composers whose works haveinfluenced the style of military marches for all succeeding generations. Julius followed hisfather’s example as a military musician by joining the 2nd Guard Regiment Infantry Band. Hebecame well known for his compositions, being touted by his publisher, Eisoldt & Rohrkrämer ofBerlin, as “the finest and most famous German march writer.” Guard of Honor March wasLehnhardt’s opus 48. This march became very popular in the U.S. after it was published in 1900.

9. Spirit of Excellence (2007)Timothy Rhea (1967)Spirit of Excellence was commissioned by the Midland Lee High School Band, Randy Storie –

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Director, and the Odessa High School Band, Bill Hardin – Director, in honor of legendary Texasband director Bill J. Dean. Following a 29-year career in the Odessa public schools, Mr. Deanserved as director of the TAMU Symphonic Band from 1982-88. His many contributions as a banddirector and music educator throughout the state of Texas were honored with his naming asTexas Bandmaster of the Year in 1987. He is now retired and lives in College Station, Texas. Dr.Rhea tried to capture two of Bill’s great loves in a march – a pretty melody in the trio and thefeature of the clarinet section – Bill’s instrument during his days at Baylor University and duringhis time in the US Army. The TAMU Bands salute Bill for his many contributions to bandprograms throughout the state of Texas.

10. Entry of the Gladiators (1897-1900)Julius Fucik (1872-1916)

Julius Ernest William Fucik was born into a musical family in Prague, Bohemia, where he studiedat the conservatory with Bennewitz, L. Milde, and Antonin Dvorák. In 1897 Fucik began hiscareer as a military bandmaster with the 86th Infantry Regimental Band in Sarajevo, Yugoslavia,and it was during this time that he composed the famous Entry of the Gladiators March. Theoriginal title had been Grande Marche Chromatique, but Fucik was so fascinated by thedescription of gladiators entering a Roman amphitheater in Henry Sienkiewicz’s book descriptionof gladiators entering a Roman amphitheater in Henry Sienkiewicz’s book Quo Vadis?—WhitherGoest Thou? That he changed to the present title. At the present time Entry of the Gladiatorsusually refers to the heroes and heroines under the circus big top, the daring riders in the rodeo,or the muscular athletes on the playing fields.

11. Trombone King (1945)Karl L. King (1891-1971)

Karl King enjoyed a long and productive career as a composer and bandmaster. He joined“Robinson's Famous Circus” at the age of 19 as a baritone player. Karl King was a master atwriting music to match the rhythm of the acts and quickly rose to leadership positions in some ofthe most famous circus bands in the country, including the “Buffalo Bill” and the “Barnum andBailey.” He contributed more circus marches than any other composer. The Trombone King waspublished in 1945 was dedicated to Charlie Toops, and trombonist and bandmaster inWilmington, Ohio. As might be expected, the trombone part rarely calms down during thismarch— or any King march, for that matter. As a former euphonium player, King made sure thatthe low brass players shared the best melodies.

12. The Battle of Shiloh (1888)Charles L. Barnhouse (1865-1929)

Charles Lloyd Barnhouse—cornetist, conductor, composer, and publisher—lived an active andproductive life which has influenced American band music for over a century. During the latenineteenth century Barnhouse was writing and publishing music for the numerous professional

touring bands as well as for the thousands of community bands located in towns of every sizeand description. C.L. Barnhouse wrote his first band piece at the age of fourteen and at twenty-three he published his own famous work The Battle of Shiloh March. Having been born duringthe last year of the American Civil War, Barnhouse personally knew many of the veterans andsurviving family members of that disastrous conflict. The original edition of the march includedbattlefield bugle calls, sounds of the rifle firing and cannon shots. Despite its difficulty it was avery big seller in its day. It was later revised by Mr. Barnhouse in 1928, and this new arrangementby John Paynter, with its modern instrumentation, follows the 1928 edition very closely.

13. Deutschland in Waffen (1910) Hermann L. Blankenburg (1876-1956)

Hermann Louis Blankenburg was an outstanding as well as prolific composer of marches. Duringhis most productive period he averaged writing one new march (for band, salon orchestra, orpiano) every week for twenty years. Many consider him to be the German equal of John PhilipSousa, with Blankenburg often cited as “The German March King.”Deutschland in Waffen (Germany is armed) contains several of Blankenburg’s often usedtechniques to include a low brass melody contained in the second strain in 6/8 meter, euphoniumcountermelodies in the trio, and the inclusion of a well-known German melody in the final strain.

14. Supreme Triumph (1920) Fred Jewell (1875-1936)

Frederick Alton Jewell was a remarkable musician whose quiet and reserved nature would notallow him to publicize his own achievements. He expressed what he deemed important throughhis band scores, his conducting baton, and his euphonium and cornet. Due to his quiet nature,Jewell was awarded few honors before his death, but was inducted into the elite AmericanBandmasters Association. Jewell was a prolific composer with over 130 band works credited tohis own name and another fourteen to his pseudonym, J.E. Wells. Supreme Triumph opens withtwo cornet fanfares punctuated by chromatic figures from the low brass and woodwinds. A six-measure introduction (unusually long by Jewell’s standards) leads to a melody that, althoughfairly legato, contains a great deal of excitement and energy. The low brass countermelody isone of Jewell’s more challenging, featuring fast double-tongued runs and arpeggiated chords.

15. Tent City (1907) Walter P. English (1867-1916)

Walter P. English was a talented tuba player, composer, and conductor whose adult life wasalmost completely dedicated to trouping with circus bands. In 1897 English joined the thirty-two-member band of the Barnum & Bailey’s Greatest Show on Earth for a five-year tour of Europe,during that time he composed. After joining the Sells Floto Circus band in 1911 and becoming thedirector of the band the year after, English met and befriended Karl L. King, a young euphonium whohe had just hired. Most indicative of the big top, Tent City was written for the Barnum & Bailey’s Circus.

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1.The Crosley March (1928) Henry Fillmore 2:47

2.George Washington Bicentennial (1930) John P. Sousa 3:30

3.The Vedette (1912) Kenneth J. Alford 3:41

4.Purple Carnival (1933) Harry L. Alford 3:44

5.Samson (1927) Karl L. King 2:36

6.Glorious Victory W.M. Kendall 3:48

7.On the Square (1916) Frank A. Panella 2:47

8.Die Ehrenwache (1900) Julius Lehnhardt 2:36

9.Spirit of Excellence (2007) Timothy Rhea 2:41

10.Entry of the Gladiators (1897-1900) Julius Fucik 2:32

11.Trombone King (1945) Karl L. King 2:29

12.The Battle of Shiloh (1888) Charles L. Barnhouse 2:24

13.Deutschland in Waffen (1910) Hermann L. Blankenburg 3:03

14.Supreme Triumph (1920) Fred Jewell 2:17

15.Tent City (1907) Walter P. English 2:24

16.Spirit of the First Division (1925) Frank Frank 3:14

17.Circus King (1916) Charles E. Duble 2:23

18.Sons of Veterans (1909) Karl L. King 2:56

19.Nibelungen March Gottfried Sonntag 3:33

20.Fiesta Flambeau (1956) Frank Sturchio 3:11

21.March from Symphonic Metamorphosis Paul Hindemith/Wilson 4:39

THE UNIVERSITY SYMPHONIC BAND

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6025-MCD� 2005

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