PLEASE
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ELECTRONIC
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DEVICES
PROGRAM
SHORELINE SYMPHONIC WINDS
Greg Flores—conductor
Night On Bald Mountain (1867)
.........................................................................................................................................................................................................................
Modest Mussorgsky (1839-­1881)
trans. William A. Schaefer
Harry’s Wondrous World (2001)
from Harry Potter and the Sorcerer’s Stone
.....................................................................................................................................................................................................................................................................
John Williams (b. 1932)
trans. Paul Lavender
Sean Yeutter—guest conductor
The Imperial March (1980)
from Star Wars: The Empire Strikes Back
.John Williams
trans. Stephen Bulla
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Our Costume Contest Winner—guest conductor
Hector Berlioz
(1803-­1869)
trans. Merlin Patterson
Symphony Fantastique: An Episode in the Life of an Artist, Op. 14 (1830)
Movement V: Dream Of A Witches’ Sabbath (Song d’une nuit du Sabbat)
.......................................................................................................................
CSULB CONCERT BAND
Jermie S. Arnold—conductor
Cycle of the Werewolf
......................................................................................................................................................................................................................................................................................................
Jeremy S. Martin (b. 1971)
Hocus Pocus
......................................................................................................................................................................................................................................................................................................................................................................
The Legend of Sleepy Hollow
..................................................................................................................................................................................................................................................................
James Syler (b. 1961)
Andrew Boysen Jr. (b. 1968)
Leland Vail—guest narrator
The Haunted Carousel
..................................................................................................................................................................................................................................................................................................................
Erika Svanoe (b. 1976)
Daniel Ramos—guest soloist
Star Wars: The Force Awakens
...........................................................................................................................................................................................................................................................................
John Williams (b. 1932)
arr. Jay Bocook (b. 1953)
PROGRAM NOTES
Night On Bald Mountain
, one of Mussorgsky’s
best-known orchestral works, was composed for the opera Mlada, which became a group effort—compiled from
separate contributions by Cesar Cui, Alexander Borodin, Nikolai Rimsky-Korsakov and Mussorgsky himself. One
of the sections assigned to Mussorgsky was “The Sacrifice of the Black Goat on Bald Mountain,” and for this
portion, the composer revised sketches for a previous work, which he called St. John’s Night on the Bald Mountain.
Mussorgsky, very proud of this music, said: “This (is a) wicked prank of mine, a really Russian and original
achievement, quite free from German profundity and routine. Born on Russian soil and nurtured on Russian
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corn!” Unfortunately, his musical friends were put off by the work’s wildness, bold orchestration, and audacious
harmonies (“I shall be told to take a Conservatory class for these,” Mussorgsky predicted). Balakirev and RimskyKorsakov delivered crushing critiques.
When the grand project of Mlada fell through, Mussorgsky decided to use his music as an orchestral intermezzo
in his own opera Sorotchinsk Fair. Regrettably, Mussorgsky had never heard any of these versions when he died of
alcohol poisoning in a Moscow sanitarium at age 42. It remained up to his colleague, Rimsky-Korsakov to put it
into its final form and in the end, it became an extraordinary orchestral tone poem. Mussorgsky himself indicated,
which Rimsky-Korsakov retained:
“Subterranean sounds of supernatural voices.
Appearance of the spirits of darkness, followed by that of Chernobog himself.
Glorification of Chernobog and celebration of the Black Mass, The Sabbath Revels.
At the height of the orgies, the bell of the village church, sounding in the distance,
disperses the spirits of darkness.
Daybreak.”
Mussorgsky stated, “The form and character of my work are Russian and original. Its tone is hot-blooded and
disorderly.” Along with its colorful orchestration and powerful harmonies, that “hot-blooded and disorderly” tone
renders a hair-raising portrayal of the witches’ revel and remains the source of the score’s appeal.
Harry’s Wondrous World
“The success of J.K. Rowling’s Harry Potter series has been a heartwarming phenomenon to all
those who love books. The worldwide reception that these works have received added greatly to
the sense of privilege that I felt when I was given the honor of composing the music for the film
version of Harry Potter and the Sorcerer’s Stone. The story’s imaginative array of wizards flying on
broomsticks and mail-delivering owls, all occupying a wondrous world of magic, offered a unique
canvas for music, and the prospect of sharing it with some part of the great army of readers who
love these books is a great joy to me.”
—John Williams
The premiere performance of Harry’s Wondrous World for concert band was conducted by John Williams as part
of the 210th anniversary concert of the United States Marine Band, July 20, 2008 at the John F. Kennedy Center for
the Performing Arts in Washington, D.C.
The Imperial March
, also called Darth Vader’s
Theme, is a recurring musical theme in the Star Wars movies. It was composed by John Williams and first appeared
in the film The Empire Strikes Back. The theme is based on the well-known funeral march from Chopin’s Piano
Sonata No. 2 in B flat minor and on Mars, the Bringer of War by Gustav Holst. One of the best-known symphonic
movie themes, it is a classic example of a leitmotiv, a recurrent theme associated with characters or events in a
drama. The Imperial March is the theme music that represents the authoritarian Galactic Empire. As Anakin
Skywalker is stripped of all individuality, he, in essence, becomes one with the Empire as Darth Vader; hence
the reason the march is often associated with him as well. The Imperial March represents all that is the Empire;
therefore, it is nearly equivalent to a galactic anthem. To the Galactic Empire, The Imperial March represents
strength, order, and control. However, to the Rebel Alliance, it is symbolic of tyranny, oppression, and hate.
Interestingly, it has evolved from its original use as an “evil” theme to widespread use as portraying power at public
events such as athletic competition.
Symphony Fantastique, Op. 14
Symphony Fantastique is programmatic and tells the story of an artist, gifted with a lively imagination, who has
poisoned himself with opium while in the depths of despair because of hopeless, unrequited love. Berlioz provided
his own program notes for each movement of the work. He prefaces his notes with the following instructions:
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“The composer’s intention has been to develop various episodes in the life of an artist, in so
far as they lend themselves to musical treatment. As the work cannot rely on the assistance of
speech, the plan of the instrumental drama needs to be set out in advance. The following program
must therefore be considered as the spoken text of an opera, which serves to introduce musical
movements and to motivate their character and expression.”
Berlioz envisioned himself as “the artist” and the work was inspired by his own unrequited love for the actress,
Harriet Smithson:
He sees himself at a witches’ Sabbath, in the midst of a hideous gathering of shades, sorcerers and
monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of
laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears
once more, but has now lost its noble and shy character; it is now no more than a vulgar dance
tune, trivial and grotesque: it is she who is coming to the Sabbath... Roar of delight at her arrival...
She joins the diabolical orgy... The funeral bell tolls, burlesque parody of the Dies Irae, the dance
of the witches. The dance of the witches combined with the Dies Irae.
The return of the idée fixe (a musical signature representing the artist’s beloved which is used throughout the
entire work) as a “vulgar dance tune” is depicted with a prominent E-flat clarinet solo. The climactic finale of the
symphony combines the somber Dies Irae melody with the wild fugue of the Ronde du Sabbat (Witches’ Round
Dance).
Leonard Bernstein described the symphony as the first musical expedition into the psychedelic because of its
hallucinatory and dream-like nature, and because history suggests Berlioz composed at least a portion of it under
the influence of opium. According to Bernstein, “Berlioz tells it like it is. You take a trip, you wind up screaming
at your own funeral.”
Cycle of the Werewolf
This interesting
work was inspired by a 1983 Stephen King story of the same name. In 1985 the story was made into a film titled
Silver Bullet. A dark opening section, reflecting the werewolf ’s character, begins with driving triplet rhythms that
introduce an ominous melody initially stated by low brass and low woodwinds. The rhythmic intensity builds as
the piece reaches a brief majestic section in major tonality that represents the arrival of a hero to fight the creature.
This is followed by a shift back to minor as the werewolf howls into the night. After a brief pause, a soft, mysterious
section depicts the hero awaiting the werewolf ’s return. The intense fight begins anew as the composition moves
to a triumphant conclusion signifying the defeat of the beast. With melodic, rhythmic, and harmonic interest
throughout, the composition includes engaging lines of similar levels of difficulty for each instrument, parts for
string bass and harp, and percussion scoring that includes parts for vibraphone and tam-tam.
Hocus Pocus
This work brings together a tarantella style in 6/8 with a march
in a minor key to evoke autumnal mischief and fun. After an introduction in the flute and percussion, theme 1
appears in the woodwinds, followed by theme 2 in the trombones. A countermelody in the upper woodwinds is
added to the trombone theme followed by a development of the introductory percussion music. To conclude, the
two themes are brought back simultaneously as the music builds to its conclusion.
The Legend of Sleepy Hollow
“The Legend of Sleepy Hollow was commissioned by the South Central Iowa Bandmasters Association for the
2003 SCIBA Honor Band. Since I was writing the piece specifically for an honor band that I was conducting, I
approached this commission differently from most. I knew that I wanted to write a piece that might be easily
programmed for other honor ensembles, at the same time filling a void that I perceive in high school level works
that utilize contemporary notation and techniques. Because the festival was only one day, I also determined that
the piece should be programmatic, allowing the players a greater opportunity to quickly grasp the “why” of some
of the unusual technical demands.
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Eventually I settled on Washington Irving’s famous story, The Legend of Sleepy Hollow, as the perfect inspiration
for the piece. The finished musical work attempts to portray specific events in the story, essentially “telling” the
tale from the point at which Ichabod Crane leaves the party at the Van Tassel’s (“It was the very witching time of
night…”) until the headless horseman throws his head at Ichabod (“It encountered his cranium with a tremendous
crash…”). The pitch material for the entire work is taken from the hymn tune, How Firm a Foundation, which
Washington Irving might have known at the time. The tune is used most prominently when Ichabod whistles at
one point in the story and sings at another, attempting to combat his fears through song, and near the end when
Ichabod sees the church in the distance.”
—Andrew Boysen, Jr.
The Haunted Carousel
Winner of the 2014
National Band Association Young Band Composition Contest, The Haunted Carousel was conceived as a piece
for band utilizing the sound of a theremin, an electronic instrument often used in old science fiction and horror
movies. The part is optional and all critical material is doubled with other instruments of the band. The theremin
part is designed to be performed live on an amplified iPad with the GarageBand application. Alfred Music
Publishing is proud to be co-sponsor of the contest and publisher of the piece.
Star Wars: The Force Awakens
Utilizing the distinctive Jedi Steps theme featured at the end of the film, combined with the rousing Finale from
the end credits, Jay Bocook authentically recreates the beauty and power of this amazing film score. Courtesy of
Mr. Williams himself, an alternate “concert ending” is provided in addition to the quiet ending as heard at the end
of the film. This arrangement features the following titles from Star Wars: The Force Awakens: The Jedi Steps and
Finale, Main Title and The Attack on the Jakku Village, March of the Resistance, and Rey’s Theme.
ABOUT
SHORELINE SYMPHONIC WINDS
Founded in 1947 by James Son, the Long Beach Community Band is one of the oldest volunteer musical
ensembles in the Southern California area. James Son, who was a baritone saxophonist in John Philip Sousa’s
band, joined the Long Beach Municipal Band in 1924. He was promoted to assistant conductor in 1939 by Herbert
L. Clarke, and also worked with Municipal Band conductors Benjamin Rolfe, John J. Richards and Eugene La
Barre. He also served as instrumental music instructor for California Public Schools for over ten years during the
late 1920s. James Son retired as Assistant Conductor of the Long Beach Municipal Band in 1953. Seeing the need
for a volunteer ensemble for the city in the post-war era, with thousands of veterans returning from WWII, Son
decided to start the LBCB. Since so many musicians were being trained in the high schools of Long Beach, and
with the veteran musicians returning from the war, fielding a quality band of trained musicians was a very easy and
well-received task. The LBCB soon grew and flourished in this environment.
Now in our 69th year, the Long Beach Community Band continues to provide a musical outlet for the citizens of
Long Beach and the surrounding communities. Also known as the Shoreline Symphonic Winds, we perform
classic wind band literature as well as contemporary film score transcriptions. This ensemble performs year-round
in the parks and city of Long Beach. For more information please visit: www.shorelinewinds.org
ABOUT
GREG FLORES
Greg Flores holds his Master of Music degree in Instrumental Conducting from the Bob Cole Conservatory
of Music where he studied with Professor Emeritus Larry Curtis and Dr. Johannes Müller-Stosch. While at
CSULB, his conducting responsibilities included conducting the University Symphony Orchestra and all major
wind groups—Concert Band, Symphonic Band, and Wind Symphony, as well as the University Brass Ensemble.
Mr. Flores was the Graduate Assistant for the University Symphony Orchestra and the advanced Undergraduate
Instrumental Conducting classes. He earned his Bachelor of Music degree in Instrumental Music and Trombone
Performance from California State University, Long Beach and was student of Jeffery Reynolds, Retired Principal
Bass Trombone with the LA Philharmonic Orchestra.
In 2008, Mr. Flores was appointed Conductor and Musical Director for the Long Beach Community Band. The
Shoreline Symphonic Winds—a 60-piece Wind Ensemble, and Blue Pacific Swing Band—an 18-piece Big Band,
are part of the Long Beach Community Band that perform free concerts in the Long Beach area.
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Prior to his work in Long Beach, Mr. Flores was the Director of Instrumental Music at Kasuo Masuda Middle School
in Fountain Valley where he directed the band and orchestra, and was the Associate Director of Instrumental
Music at Fountain Valley High School. While at FVHS, his duties included directing the marching band, jazz
ensemble, percussion ensemble, and conducting the Wind Ensemble. Mr. Flores was also the director of the music
theory program at Fountain Valley High where he developed, instituted and taught both basic music theory and
Advanced Placement music theory courses.
Mr. Flores is an accomplished arranger in the southern California area where he writes for many marching bands,
big bands, salsa, pop and funk bands. His strength of knowledge in a wide cross-section of musical styles makes
his arrangements and conducting interpretations very dynamic and expressive. Mr. Flores is also an active bass
trombonist in the Los Angeles area in the commercial and symphonic idioms.
Greg Flores is a sought-after clinician and adjudicator for marching bands, symphonic bands and jazz ensembles.
At the competitive level, he served as brass instructor for the Velvet Knights Drum and Bugle Corps from 1991
through 1996. Mr. Flores now serves as the Program Coordinator and Director of Brass Performance for the City
Sound Drum and Bugle Corps. Most recently, he was appointed by Hoshino U.S.A. (the parent corporation for
Tama Drums and Ibanez Guitars) as the Tama by Kanstul Marching Brass Product Specialist.
ABOUT
JERMIE S. ARNOLD
Dr. Jermie S. Arnold was appointed to the Bob Cole Conservatory of Music at California State University,
Long Beach as the Associate Director of Bands in the fall of 2012. Dr. Arnold is the principal conductor of the
Symphonic and Concert Bands, teaches conducting courses, and assists in the supervision of student teachers. In
2014 he received the Most Inspirational Professor Award from the California State University, Long Beach Alumni
Association.
Dr. Arnold completed his DMA in 2014 from George Mason University in Fairfax, Virginia where his primary
mentors were Mark Camphouse, Anthony Maiello, and Dennis Layendecker. He received his master’s and
bachelor’s degrees in Music Education from Brigham Young University in Provo, Utah. As an undergraduate, he
was honored with the Theodore Presser Foundation Scholarship for music educators.
Dr. Arnold’s public school teaching experience includes eight years as Director of Bands at American Fork Junior
High School in American Fork, Utah. During his tenure at American Fork, the program grew from 300 to over
450 students in four concert bands, and three jazz bands. His ensembles received superior ratings at festivals
throughout Utah each year, and the Wind Ensemble performed at the National Music Educators Conference,
the Inaugural Music for All National Middle School Festival and the Utah Music Educators Conference. His
jazz bands were recognized as among the outstanding junior high jazz bands in the state of Utah. The Utah
Music Educators Conference recognized Doctor Arnold twice, first with the Superior Accomplishment
Award in 2006 and second with the Outstanding Junior High-Middle School Music Educator Award in 2008.
While in Utah he also served as the Assistant Director of Bands at American Fork High School, with responsibilities
over the Brass and Visual aspects of the nationally recognized marching band. While he was Assistant Director
of the Marching Band, countless Regional and State competitions were won, in addition to performances at the
Presidential Inaugural Parade, the Macy’s Thanksgiving Day Parade and an invitation to perform in the Tournament
of Roses Parade.
Dr. Arnold is co-founder and emeritus Associate Conductor of the Wasatch Winds Symphonic Band, an adult
community band of over 70 members. He has presented at numerous conferences across the country and been a
guest conductor in New York, Hawaii, Utah, Idaho, and Virginia. In 2013 he was the guest conductor for the Maine
All-State Band. He has served as adjudicator at marching and concert band contests throughout the United States.
He and his wife, Amber, enjoy their children Jacob, Kyle and Bethany.
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personnel
SHORELINE SYMPHONIC WINDS Greg Flores—conductor
Piccolo
Diane Golden
Flute I
Teri Cilurso *
Georgia Higgins
Diane Golden
Flute 2
Jing Feng
Frank Canlas
Kim Bemowski
Yakshita Desai
Carlos Becerra
Oboe
Jayne Montemer
English Horn
Marc Yacoubian
E-flat Clarinet
Rachel Jerome
Clarinet 1
Daryl Golden *
Amy Cramer
Karen Kinnear
Chip Smith
Clairnet 2
Alison Levinson
Harry Bagby
Monique Ramirez
Ken Brown
Dave Conrad
William Langstaff
Clairnet 3
Michele Goodman
Susan Coutin
Manuel Flores
Walter Cabrera
Linda Borla
Sharon Pan
Horace Leftwich
Lisa Weller
Alto Clarinet
Robert Reyes
Sarah Cox
Bass Clarinet
Mark Day
Bill Fox
Bill Pernot
Soprano Saxophone
Alana Goldscheid *
Alto Saxophone
Victoria Symmonds
Keith Conner
Tenor Saxophone
Laura Lewis
Baritone Saxophone
Paul Baker
Trumpet 1
Pat Mullen *
David Williams
Joe Artinger
Trumpet 2
C.J. Sams
Sheldon Gordon
Bob Raemer
Trumpet 3
Brandon Pettis
Dion Pittman
Mike Lynch
Binnarie Yokota
Bass Trombone
Don Sawday
Steven McLaren
Steve Underwood
Euphonium
Jerry Byrd *
Bob Tukua
Sean Yeutter
Tuba
Don Burns
Leo Dittemore *
Aaron Gordon
Justin Jerome
String Bass
Sean Harvey
Horn
Nick Pastis *
Kayla Moxley
Rebecca Newgent
Dan Tyler
Eva Rovner
Harp
Gracie Sprout
Trombone
Charles Lilly *
Douglas Grieve
Paul Shivers
Harold Cannon
John Aulbach
Timpani
Riahna Bjornsen
Percussion
Steve Graves
Tsugumi Shikano
* —principal
CONCERT BAND Jermie S. Arnold—conductor
Piccolo
Kyle Dudley
Summer Wilson
Flute
Huiyoung Hong *
Rachel Baik
Cora Brewster
Guadalupe Castaneda
Maria Crowley
Kyle Dudley
Anna Felten
Melisa Lock
Brianna Maloney
Jon Megerdichian
Nora Moran
Mattie Morrison
Rebekah Redford
Rachel Runyan
Rachel Posterora
Jose Soto
Summer Wilson
Oboe
Ashley Davis *
Greg Anaya-Gasco
Alan Gabriel
Caitlin Smith
Janet Shaw
Rebecca Tarmidi
Jenascia Wilson
Clarinet
Christine Maneewongwathana *
Ivan Alcantar
Nikki Becker
Mary Columna
Andrea-Miranda Castaneda
Isabella Ferriola
Marissa Espiritu
Gail Manalastas
Felix Mares
Priscilla Ortiz
Armando Rosales
Colin Ward
Piage Whipp
Emily Williams
Yuki Yokota
Bass Clarinet
Abel Ayala
Isabel Barajas
Trumpet
Emily Carpentier *
David Alvarez
Ian Hoaglan
Hayden Ford
Ryan Furness
Cade Gotthardt
Adam Grosvirt-Dvamen
Joshua Jaros
Gerado Ramirez
Erik Salamanca
Jorge Vazquez
Bassoon
Mary Perkins *
Jacob Arnold
Antonio Davila
Saxophone
Alexis McGuire *
Rachelle A La Torre
Luis Aguilar
Michael Becker
Abril Fragoso
Shaianne Homann
Alyssa Lefevre
Bailey Mason
Emilio Morales
Jamie Morales
Mariah Perez
Vanessa Perales
Diana Sims
Horn
Gabby Baniqued *
Tzu-Han Hsu
Virgilio Manalo
Scott Morris
Alec Watt
Terrance Yuen
Trombone
Ethan Saxe *
Benjamin Beyer
Christopher Colocho
Phineas Crisp
Emmerick Doan
Chris Innes
Luke Lizotte
Stefani Perry
Alondra Preze
Sarah Sandoval
Brandon Silva
Selena Vera
Euphonium
Eliza Karpel *
Ryan Husted
Luis Gracia
Adrian Reyes
Brandon Wilson
Tuba
Cameron Johnston *
Dylan Rugg
Shawn O’Hare
Taureece Wilson
Percussion
Emmanuel Mora *
Chris Amaro
Adam Lopez
Jessica Lin
Shannon Luu
Kei Matsuo
Brian Nguyen
Quang Minh Pham
Piano
Daniel Ramos
Harp
Kendra Base
* —principal
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UPCOMING EVENTS
* Events marked with an asterisk are free with a valid Music Major Pass
•
Sunday, October 30, 2016:
Jazz Lab Band and Corner Pocket, Michael Beltran and Sean Fitzpatrick, conductors 4:00pm Daniel Recital
Hall $10/7 *
•
Thursday, November 3, 2016:
Brass Ensemble, Rob Frear, director 8:00pm Daniel Recital Hall $10/FREE
•
Friday, November 4, 2016:
Faculty Artist Recital, John Barcellona, flute 8:00pm Daniel Recital Hall $10/7 *
•
Monday, November 7, 2016:
Saxophone Ensemble, Jay Mason, director 8:00pm Daniel Recital Hall $10/7 *
•
Saturday, November 12, 2016:
Concert Jazz Orchestra and Studio Jazz Band, Jeff Jarvis, director 4:00pm Daniel Recital Hall Tickets $10/7 *
•
Friday, November 18, 2016:
Bob Cole Conservatory Symphony performing Stravinsky’s Rite of Spring, Johannes Müller-Stosch,
conductor 8:00pm Carpenter Performing Arts Center Tickets $15/10
•
Monday, November 28, 2016:
Piano Plus! Shun-Lin Chou, director 8:00pm Daniel Recital Hall $10/7 *
•
Tuesday, November 29, 2016:
Concert Band and Brass Chamber, Jermie Arnold and Rob Frear, conductors 8:00pm Daniel Recital Hall
Tickets $10/7 *
•
Wednesday, November 30, 2016:
Laptop Ensemble, Martin Herman, director 8:00pm Daniel Recital Hall Tickets $10/7 *
•
Thursday, December 1, 2016:
Wind Symphony and Symphonic Band, John Carnahan and Jermie Arnold, conductors 8:00pm Carpenter
Performing Arts Center Tickets $10/7