Saturday, November 10th, 2012

at 7:00 p.m.

Binghamton East Middle School Binghamton, NY

Conducted by:

Dr. Jeff Jacobsen

BCO Angels (September 2011 to present)

Major Contributors

($500 & over) Cecily O’Neil &

John Patterson

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(matching funds from IBM)

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the BCO, John Hagopian)

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Laura & Robert Crounse

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Mary A. Diegert

Ruth Fisher

Karl Frandke

Don & Sharon Gould

Alicia & Karl Kuehn

Kenneth & Laura Lattimore

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Brian, Marianne, & Lauren

Myers

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The BCO wishes to thank our volunteers who donate their

time and talent in service to the orchestra. We offer many opportu-

nities for volunteering. If you are interested in getting involved with

the BCO, please contact any board member or orchestra member.

In addition to our Board of Directors, we offer thanks to our

volunteer leadership as listed below: Advertising Committee Mary Diegert & Carol Barker

Concert Recording Harold Bartz & Betsy Bartz

Grant Writer Jeff Barker

House Manager Heather Roseboom

Librarian Emily Creo

Program Committee Jonathan Lewis & Beth Lewis

Publicity Chair Rebecca Sheriff

Reception Chairs Amy Saeger & Kelsey Tombs

Stage Managers Peter Roseboom, John Ruth,

and Lynn Aylesworth

BCO Board of Directors

Laura Hine, President David Banner, Vice-President

Carol Barker, Secretary Mary Diegert, Treasurer

Jeffrey Jacobsen Nathan Raboy

Jonathan Lewis Heather Roseboom

Barry Peters Peter Roseboom

Joanne Peters Rebecca Sheriff

Thank you to the BCO Board of Directors, Maine-

Endwell School District, Jackie Kovacs, Robin Linaberry,

Maine-Endwell Middle School Custodial Staff, Binghamton

City School District, Rob Johnson, Bob Crissman, Laura Hine,

Joel Smales, East Middle School Custodial Staff, East Middle

School Tech Club, Sharon Ball, Nancy Patnode, George F.

Johnson American Legion Post 1700 Color Guard.

The

Binghamton Community

Orchestra

Now in its 29th season, the BCO still

strives to fulfill the dream of the

late Dr. John Hagopian, the

primary force behind our

founding.

"a great longing and a heartfelt need."

John Hagopian

We think he would be proud.

David L. Banner & Associates

Registered Patent Agents

P.O. Box 8859

Endwell, NY 13762

Patent Searches, Patent Applications, Patent Prosecution

Friends of the BCO:

Welcome to the 29th season of the Binghamton Community

Orchestra! The ensemble has been working diligently on the pieces

you will hear today and hope you enjoy the performance.

Our first concert – this Veteran’s Day weekend – celebrates

our great nation by featuring a potpourri of Americana for your en-

joyment; melodies celebrating the flag of our country as well as

pieces to inspire the deepest of patriotic feelings accompanied by the

words of some of our greatest leaders as they so eloquently speak of

what it means to be an American and the price we must all

acknowledge for the freedoms we are so privileged to enjoy.

Our second concert focuses on the up and coming by featur-

ing Jennifer Robble (Soprano) and Marci Rose (Piano): the winners

of the Southern Tier Music Teachers’ Association annual solo com-

petition. This always proves to be one of the most popular and well

received concerts of the season and I know the orchestra is looking

forward to the selections these fine young artists have selected.

Our closing concert (My Spanish Heart) features Matthew

Slotkin (guitar) and Craig Butterfield (bass) as they individually per-

form solos with the orchestra as well as performing together in a

unique duo they call Dez Cordas where the bass, typically a support-

ing instrument, carries the melodic line and the guitar carries the har-

monic import.

I hope you will join us for each performance of this exciting

season. I look forward to meeting with you after the concert and

hope you will share your love of this ensemble will all your friends

so we can fill the halls.

Sincerely, Jeff Jacobsen

Music Director

Dr. Jeffrey Jacobsen, Conductor

Fanfare for the Common Man Aaron Copland

You’re a Grand Old Flag Cohan/Rosenhaus

The Stars and Stripes Forever John Philip Sousa

The Star-Spangled Banner Key/Smith

Nancy Patnode, guest conductor

American Salute Morton Gould

~intermission~

Liberty for All James A. Beckel Jr.

Sharon Ball, narrator

1812 Overture Peter Ilyich Tchaikovsky

Our Conductor Dr. Jeffrey Jacobsen Dr. Jacobsen is a sought-after conductor and

clinician who has been invited to conduct orchestras at

national and international music festivals and camps. He

currently serves as Director of Orchestral Activities and

Opera at Mansfield University of Pennsylvania and has

recently been appointed as Music Director of the Bing-

hamton (NY) Community Orchestra. He has conducted

numerous All-State and All-Region Honor Orchestras in the United States and

Canada as well as professional orchestras in Europe. Dr. Jacobsen served for five

seasons as the Music Director of the Orchestra of the Pines in Nacogdoches/

Lufkin, Texas, and Director of Orchestral Activities and Opera at Stephen F. Aus-

tin State University. He founded and served as Music Director of the Blue Valley

Chamber Orchestra, a regional orchestra in the Kansas City area. Jacobsen was

affiliated with the Youth Symphony of Kansas City, initially as the Music Director

of the Symphonette and later as Music Director of the Philharmonic East Orches-

tra. He taught in public schools in Overland Park, Kansas, Boulder, Colorado and

Williamsburg, Virginia.

Dr. Jacobsen's ensembles have performed at state music conventions, and

national and international music festivals. These same ensembles consistently

earned highest ratings at competitive festivals and, at several, Dr. Jacobsen was

named outstanding director. He received the Mary Taylor Award for Excellence

in Classroom Teaching at Boulder High School and was featured twice on the

KCNC-TV's "Teachers Who Make a Difference" series. Jacobsen was the Boulder

Valley School nominee for the Sallie Mae National Teachers Award, received the

Teacher Recognition Award from the University of Kansas, and was named the

Outstanding High School Orchestra Director for the Northeast District of the Kan-

sas Music Educators Association.

Dr. Jacobsen received a Master of Science degree in music education

with a secondary emphasis in performance from the University of North Dakota

and a Doctorate of Music Education degree with a secondary emphasis in jazz

pedagogy from the University of Northern Colorado. Dr. Jacobsen was selected

for the American Symphony Orchestra League Donald Thulean conducting work-

shop with the Detroit Civic Orchestra. He was invited to the International Con-

ducting Workshop in the Czech Republic and has taken post-doctoral studies in

conducting at Northwestern University, the Cleveland Institute of Music, and the

universities of Iowa, Illinois State and South Carolina. His instructors include

William LaRue Jones, Kirk Trevor, Mariusz Smolij, Kirk Muspratt, Tsung Yeh,

and Marvin Rabin.

As a professional musician, Dr. Jacobsen has served as principal bassist

of numerous ensembles, including the Tabor Opera Company (Denver) and the

Liberty Symphony Orchestra (Missouri). Jacobsen is currently Principal Bassist

of Millennium Orchestra and a recording artist for Naxos and ERM. He per-

formed on a regular basis in the jazz clubs of Williamsburg, Kansas City and Den-

ver, and along with other members of the ensemble, received a Grammy Award

nomination for the jazz recording "Hot IV."

Nancy Patnode, guest conductor Nancy served in the United States Air Force, as an aircraft

mechanic, and is a member of the George F. Johnson

American Legion Post 1700. A violinist since the age of

eight, she played violin and flute in the Phoenix Philhar-

monic during her time of service. Nancy was a member of

the Continental Ancient Fife and Drum Corps of Endicott,

NY. She is currently a member of the 12th U.S. Infantry, a

Civil War living history unit from Syracuse, NY, partici-

pating in both local and national events portraying a musi-

cian in a regiment of the regular U.S. Army.

George F. Johnson American Legion Post 1700

Color Guard, Presenting the Flag

Barbara Beebe

Ray Beebe

James Davis

Robert Haynes

Sharon Ball, narrator Sharon is Executive Director of the Broome County Arts

Council. She directs fundraising and grants administration

for the United Cultural Fund, the arts council’s combined

campaign for the arts, as well as other programs, such as

the Heart of the Arts Awards, membership, outreach, gal-

lery exhibitions, and on-line arts information clearing-

house services. Formerly a broadcast journalist, she

worked for 15 years at National Public Radio in Washing-

ton, D. C., where she served as Senior Cultural Editor

from 1993-2002. Her previous NPR positions include mid

-day newscaster, news producer on All Things Considered, and fill-in host on

Weekend All Things Considered and Weekend Edition Sunday. Her radio experi-

ence also includes stints as talk show host, reporter, and newscaster at public and

commercial networks in the U.S., Japan, and Taiwan. Notable honors and accom-

plishments include a Case Media Fellowship at Harvard University, 1996; Society

of Professional Journalists’ Sigma Delta Chi Award, 1994; Poynter Institute for

Media Studies guest faculty and National Advisory Board member, 1993-2002;

Fetzer Institute Senior Scholar, 1998-2001. She is a contributing essayist in the

textbook “Anthropology Off the Shelf: Anthropologists on Writing”, edited by

Alisse Waterston and Maria D. Vesperi (Wiley-Blackwell 2009). She studied

Speech and English at Ohio University and George Mason University. She is a

singer-songwriter and a member of BMI. She has lived in Whitney Point, New

York with her husband, fine art photographer J W Johnston, since 2003.

Flute

Beth Wiemann, Principal

Amy Sarno

Brooke Bart (+ piccolo)

Oboe Kathleen Karlsen, Principal

King Wiemann

Clarinet

Carol Barker, Principal

Sean Denninger

Bass Clarinet

Robin DeSantis

Bassoon

Robin Hashey, Principal

Luisa Duerr

French Horn

Beth Lewis, Principal

Jeff Barker

Diana Amari

David Banner

Amanda Smith

Trumpet

Michael Steidle, Principal

Robert Crissman

John Ruth

Jonathan Sorber

Trombone

Steven Hine, Principal

Raymond Avery

Dana Tirrell

Tuba

Loren Small

Timpani

Adam Goldenberg

Percussion

Steve Goldenberg

Emily Goetz

Violin I

Douglas Diegert, Concertmaster

Peter Roseboom

Maria Sanphy

Joan Hickey

Amy Saeger

Kelsey Tombs

Michelle Swan

Violin II

James Hsia, Principal

Tamara Nist

Marian Sanphy

Lynn Aylesworth

Jiseon Kim

Lara Rogan

Melissa DeWalt

Jennifer Reyes

Betty Bayles

Viola

Laura Hine, Principal

Mary Diegert

Shelley Zacks

Laura Crounse

Cello

Ruth Fisher, Principal

Emily Creo

Alicia Kuehn

Joni Cermak

Stephanie Radzik

Cecily O’Neil

Marianne Myers

Ariel Fajardo

Bass

Elizabeth Bartlett, Principal

Jake Burdick

Tim Roossien

Julian Shepherd

Program Notes

Fanfare for the Common Man Aaron Copland (1900-1990)

Among the greatest composers America has produced, Aaron Copland

developed a spare, open orchestral sound that was used so effectively by himself

and others that it has come to be identified with the style of American music in

general. Ned Rorem, who studied with Copland at Tanglewood, recalled, "Aaron

brought leanness in musical scoring to America, which set the tone for our musical

language throughout the war. Thanks largely to Aaron, American music came into

its own."

This brief but stirring work was one of ten fanfares commissioned by con-

ductor Eugene Goossens for the Cincinnati Symphony Orchestra. The year was

1942, and Goossens' aim was to foster patriotic spirit during World War II. Cop-

land’s piece was written in response to the US entry into the Second World War

and was inspired in part by a famous 1942 speech where vice president Henry A.

Wallace proclaimed the dawning of the "Century of the Common Man". Goossens

had suggested titles such as Fanfare for Soldiers, or sailors or airmen, and he wrote

that "it is my idea to make these fanfares stirring and significant contributions to

the war effort...." Copland considered several titles including Fanfare for a Sol-

emn Ceremony and Fanfare for Four Freedoms; to Goossens' surprise, however,

Copland titled the piece Fanfare for the Common Man. Goossen wrote, "Its title is

as original as its music, and I think it is so telling that it deserves a special occasion

for its performance. If it is agreeable to you, we will premiere it in 1943 at income

tax time." Copland's reply was "I am all for honoring the common man at income

tax time."

Though the other nine fanfares have all but dropped from sight, Copland's

remains securely in the active repertoire, doubtless due in part to its all-embracing

title, but also because of the nobility of its theme. Three years after its composi-

tion, Copland took up the fanfare once more, elaborating it and incorporating it

into the finale of his Symphony No. 3.

You’re a Grand Old Flag George M. Cohan (1878-1942)

You're a Grand Old Flag was written in 1906 by George M. Cohan for his

stage musical, George Washington, Jr., as a tribute to the flag. The idea came to

him after sitting next to a Civil War veteran of Gettysburg who was folding the

flag he carried with him. He made a comment to Cohan that it was a grand old rag,

which led Cohan to the idea for the song. By then, he was a veteran vaudeville

performer, composer, actor, and dancer at the age of 26. This showstopper Ameri-

can song came to him naturally having been reared by a vaudeville Irish–Catholic

family in Providence R.I who insisted he was born on the Fourth of July, which of

course is just a wonderful legend. A leading member of Tin Pan Alley (a collec-

tion of music publishers and songwriters based in New York City at the turn of the

20th century), he was considered by many to be the father of the American musical

comedy. For his patriotic songs, FDR awarded him the Congressional Gold Medal

for his contributions to morale during WW I. An 8-foot high bronze statue of this

multi-talented person stands at Time Square at the corner of Broadway and 46th

Street.

The Stars and Stripes Forever John Philip Sousa (1854-1932)

John Philip Sousa was born in Washington, DC, son of a Portuguese im-

migrant who played trombone in the US Marine Band, which young John also

joined as an apprentice musician when he was 13. He later learned to play virtual-

ly every band instrument, including drums, fife and clarinet but never the trom-

bone.

He had been a working violinist when he joined the Marine band. About

a year earlier, young Sousa – blessed with perfect pitch and able to sight read any

music – had already formed a seven-piece dance orchestra, leading it himself on

violin.

The Marines offered him the post of Bandmaster in 1880 and under Sou-

sa, the band's standard of playing and marching improved considerably and he

began to write marches for them to play. His lifetime favorite, Semper Fideles,

was subsequently used as a dirge at his funeral and takes its title from the Marine

Corps motto.

Sousa left the Marine band in 1892 to form his own military band, com-

posed of the best musicians in the land and which became an instant international

sensation, making Sousa a millionaire at a time when a million dollars was a rare

fortune.

"Stars and Stripes Forever" had its origin on shipboard, when Sousa was

returning from Europe in 1896. He describes its creation in his autobiography: "I

began to sense the rhythmic beat of a band playing within my brain...Throughout

the whole tense voyage, that imaginary band continued to unfold the same

themes...When we reached shore, I set the measures that my brain had been play-

ing for me, and not a note of it has ever been changed."

Sousa conducted his beloved marches right up to the end of his life. He

died at age 78, the night before he was to conduct a concert in Pennsylvania.

The Star-Spangled Banner Francis Scott Key (1779-1843)

The Star-Spangled Banner by Francis Scott Key was written during the

defense of Fort McHenry in the Port of Baltimore on September 20, 1814. This

was during the War of 1812, which was fought from 1812 to 1815. The poem that

Key wrote was set to the music of "The Anacreontic Song" by John Stafford

Smith.

American Salute Morton Gould (1913-1996)

Morton Gould's music is unique in its Americanism and in the seemingly

endless wealth of creativity displayed by the composer. Like much of his music,

"American Salute" is semi-serious in nature and reflects Gould's uncanny skill in

thematic development. Using only "When Johnny Comes Marching Home Again"

for melodic resources, he contrives a brilliant fantasy. Originally written for or-

chestra and transcribed for band, "American Salute" has become a program favor-

ite for orchestras around the country.

Morton Gould (1913 - 1996) showed signs of musical talent at a very

early age. He was a phenomenally talented composer, pianist, conductor, arranger

and orchestrator. A prodigy who grew up writing music at his family's kitchen

table in New York, he eventually became one of the most influential and prolific

American composers, writing in a wide variety of musical forms, from ballet to

Broadway, classical orchestral works to film and television scores.

He began to play the piano when he was four years old, published a com-

position at the age of six, and was engaged to play piano over radio station WOR

when he was seven and at the same age he was awarded a scholarship by Frank

Damrosch, then director of the Institute of Musical Arts, forerunner of The Juil-

liard School.

At eighteen, he joined the musical staff of the Radio City Music Hall, and

at twenty-one, he became conductor and arranger for his own program on the

WOR-Mutual network. He composed more than 1000 works for radio, television,

films, the musical and ballet stage, and the concert hall. Much honored during his

lifetime, Morton Gould received a Grammy Award in 1966 for his important re-

cording of Ives's First Symphony with the Chicago Symphony Orchestra and in

1983 the American Symphony Orchestra League's Gold Baton Award. 1995

brought a Pulitzer Prize for Stringmusic, commissioned by the National Symphony

for the final season of Mstislav Rostropovich as director, preceded in 1994 by the

Kennedy Center Honor in recognition of lifetime contributions to American cul-

ture. In the same year he was Musical America's Composer-of-the­ Year.

Liberty for All James A. Beckel Jr.

(b. 1948)

Liberty for All is an orchestral piece with narration which was made pos-

sible through the American Composers Forum as part of the Continental Harmony

program. Continental Harmony links communities with composers to celebrate

the new millennium through the creation of original musical works. The program

is a partnership of American Composers Forum and the National Endowment for

the Arts, with additional funds provided by the John S. & James L. Knight Foun-

dation, Rockefeller Foundation, William & Flora Hewlett Foundation and Land

O'Lakes Foundation. Continental Harmony is an Associate Partner of the White

House Millennium Council. Liberty for All was commissioned through the Car-

mel Symphony , David Bowden Music Director and was co-premiered by the Car-

mel and Indianapolis Symphonies in dedication to the memory of Musician and

Arts Director, Fran Shoup.

Liberty for All uses quotes from the Declaration of Independence, George

Washington, Abraham Lincoln, and John F. Kennedy in a very stirring musical

setting that arouses the patriotic spirit in any American who listens to it.

1812 Overture Peter Ilyich Tchaikovsky

(1840-1893)

On that fateful September day in 1812, savage conflicts were taking

place. Napoleon's armies had penetrated deep into Russia and fought the Russians

bitterly at Borodino, driving them out of Moscow. However, the Russians were not

to be defeated and charged back into the city, driving Napoleon out - with fire.

This marked the start of the long and disastrous retreat that destroyed the once

proud "grande armée."

In 1880, the Russian composer Tchaikovsky was commissioned to write a

festive and patriotic piece to immortalize Napoleon's defeat and celebrate the liber-

ation of the Russians. Cannons would have been used during the actual conflict,

and thus, have their significance in the piece.

Tchaikovsky was well-suited to his task, with his typically Russian sensi-

tivity and excitable temperament, so freely expressed in his music. By the age of

23, he had devoted himself entirely to music. Living in poverty, he worked so

hard that he suffered greatly from disordered nerves, depression and insomnia,

with frequent nightmares about sharps and flats. His great gift for melody, bril-

liant orchestral colour and strong emotional expression quickly captured the ear of

audiences.

Beginning with the plaintive Slavic Orthodox Troparion of the Holy

Cross played by cellos and violas, the piece moves through a mixture of pastoral

and martial themes portraying the increasing distress of the Russian people at the

hands of the invading French. This passage includes a Russian folk dance, At the

Gate. At the turning point of the invasion—the Battle of Borodino—the score

calls for five Russian cannon shots confronting a boastfully repetitive fragment of

La Marseillaise. A descending string passage represents the subsequent retreat of

the French forces, followed by victory bells and a triumphant repetition of God

Preserve Thy People as Moscow burns to deny winter quarters to the French. A

musical chase scene appears, thundering with eleven more precisely scored cannon

shots. The piece has become a standard in concerts across America since Arthur

Fielder used the work to close a concert with the Boston Pops Orchestra in cele-

bration of Independence Day (but we will not be using cannons nor lighting up the

hall with simultaneous fireworks).

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