Concert Band
United States National Anthem . . . .
Bacchanale . . . . . . . . . from the Opera Samson et Dalila
The Star-Spangled Banner
Camille Saint-Saens; arranged by Andrew Balent
Alexandria Snellbaker, alto saxophone solo
ELCO High School Alma Mater . . . . . June and Harold Yeagley
Ride . . . . . . . . . . . . . . . . . . . Samuel R. Hazo
Alexandria Snellbaker, alto saxophone solo
Violin Solo
Concerto No. 5 . . . . . .
. . . . . . Wolfgang A. Mozart
Rita Shelest, violin; Tanya Topova, piano
Chorus
Concert Choir
Down to the River to Pray . . . . . . . . . . arr. Philip Lawson
Joel Logan, Sam Mountz, Heather Heilman: soloists
Every Valley . . . . . . . . . . . . .
. . . John Ness Beck
Come Travel With Me . . . . . . . . . . . . .
Scott Farthing
Hark I Hear the Harps Eternal . . . . .
arranged by Alice Parker
O Occhi, Manza Mia (O Eyes of My Beloved) . . Orlando di Lasso
Sanctus . . . . . . . . . . . . . . . . . . Craig Courtney
Men’s Chorus
J’entends le Moulin . . . . . . .
arranged by Donald Patriquin
Give Us Hope . . . . . . . . . . . . . . . . . Jim Papoulis
arranged by Francisco Nunez
Women’s Chorus
Ashley Lynch, Crystyn Hogeland, Megan Trone: soloists
Hush . . . . . . . . . . . . . . . . . . Traditional Spiritual
Concert Band
Coat of Arms – Concert March . . . . . . . . . George Kenny
Jasmine Lawrence, soloist
For Good from Wicked . . . . . . . . . . . . Stephen Schwartz
arranged by Mac Huff
Sara Hissner, Kim Martin: soloists
Chorus & Concert Band
Armed Forces – The Pride of America
arranged by Larry Clark and Greg Gilpin
Concert Band
Carmen Suite . . . . . . . . . . . .
I.
II.
III.
from the Opera Carmen
Georges Bizet; arranged by Jack Bullock
Allegro Giocoso – Entr’acte (Festive Overture)
Allegro Moderato – Votre Toast (Toreador Song)
Andantino – Les tringles des sisters tintanient
Pierce Gerhart and Darren Habecker: trumpet duet
“The Cassion Song” by Edmund L. Gruber
“The Marine’s Hymn” by Henry C. Davis
“Anchors Aweigh” by Capt. Alfred H. Miles, U.S.N. (Ret.) and
Charles A. Zimmerman
“Semper Paratus” by Capt. F. S. Van Boskerck, U.S.C.G.
“The United States Air Force” by Robert Crawford
- FINE -
ELCO Music Department
Mr. Craig A. DeVore, Middle School Instrumental
Mr. David E. Fair, High School Choral
Mr. Brian D. Klinger, Elementary Choral
Mr. Kenneth M. Krause, High School Instrumental
Mrs. Leslie Rauchut, Elementary Choral
Mr. David F. Sheaffer, Middle School Choral
Mr. Michael Stauffer, Elementary Instrumental
Acknowledgements
District Superintendent . . . . . . . Dr. Richard D. Nilsen, Ed.D.
Assistant Superintendent . . . . . . Dr. Edward J. Albert, Ed. D.
Director of Physical Plant . . . . . . . . . . Mr. George Rohr
High School Principal . . . . . . . . . . Mr. Randall A. Grove
Assistant Principal . . . . . . . . . . . . Mr. Edward J. Felty
Music Curriculum Coordinator . . . . . . . Mr. Brian D. Klinger
Performance Recording . . . . . . . . . . . . . . . Mr. Brian Trupp
. . . . . . . . . . . . ENN Crew
Upcoming Events
Tri-M Music Honor Society
A program of MENC:
The National Association for Music Education
ELCO High School Chapter 3749
Tri-M Music Honor Society is an international music honor
society for secondary school students that recognizes musical
achievements, motivates and inspires young people actively
involved in music, and strengthens school music programs.
The Tri-M Music Honor Society has been providing years of
“Service through Music” by chartering more than 5,000 senior
and junior division chapters worldwide since 1952.
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K-12 Celebrate the Arts
May 20, 2008
5:00 – 9:00 PM
High School Building
The Tri-M Music Honor Society logo is rich in symbolism.
The three M’s stand for Modern Music Masters,” the society’s
original name. Music is represented by the lyre and scroll which
denotes accomplishment and service. The five lines of the music
staff indicate the five types of membership: new student, continuing
student, alumni, faculty, and honorary – and the criteria on which they
are selected – scholarship, character, cooperation, leadership, and service.
Jazz Band & Odd-18 Concert
May 20, 2008
7:45 PM
High School Auditorium
ELCO High School
Chapter 3749 Officers:
The World of the Brothers Grimm &
Cinderalla Goes Disco
May 22, 2008
6:00 PM
High School Auditorium
Seth Moyer, President
Charles Grove, Vice President
David Behney, Treasurer Alex Snellbaker, Secretary
Pierce Gerhart, Historian
Mr. Kenneth M. Krause, Chapter Advisor
Program Notes
Ride was written as a gesture of appreciation for all of the
kind things Jack Stamp did for Samuel Hazo; ranging from his
unwavering friendship to his heartfelt advice on composition and
subjects beyond. In late April of 2002, Jack Stamp invited Samuel
Hazo to take part in a composer’s forum he had organized for his
students at Indiana University of Pennsylvania. Following the first
day of the forum, Jack invited all of the composers to his house for
dinner. Not knowing how to get to Jack’s house, Samuel was told
to follow Jack to the dinner. So Samuel and a passenger began the
fifteen minute drive, the combination of such an invigorating day
as well as trying to follow Jack at the top speed a country road can
be driven, is what wrote this piece. Ride was written and titled for
that exact moment in life when generosity and a lead foot were as
equal in their inspiration as the beautiful Pennsylvania countryside
was blurring past the car window.
The story of how Samson et Dalilia eventually reached the
stage abounds in paradox. The composer, Saint-Saens, based the
opera on a religious subject believing that religion offered nothing
more than an admirable source of art and literature. Although
Samson et Dalilia was to become his best-known opera, nearly a
quarter of a century had to elapse between the initial concept and
the first performance. Saint-Saens began work in 1868 by composing
the second act first. The premiere of the work took place November
23, 1892 at the Paris Opera. By the time of Saint-Saens death in 1921
Samson et Dalilia had played five hundred times at the Paris Opera.
The Bacchanale appears in the Third Act of the Opera in Scene
Two. There we find Samson, chained and blinded, a prisoner in
Gaza. On hearing his people, the Israelites, grieving, he begs to
God to take his life away in return for their deliverance. Philistines
enter the prison and lead him away to the Temple of Dagon in
celebration of their victory and dancing a Bacchanale; meaning a
drunken, riotous dance. Samson, praying for God’s help, enters
during the dance lead by a child, and quietly asks the child to lead
him between the two pillars that support the temple. There he feels
his old strength return and with a mighty effort pulls the pillars apart,
causing the building to collapse around him.
Program Notes
The story of Carmen is set in Seville, Spain in 1820. It is the
story of a passionate, fickle Gypsy girl, Carmen, who is one of six
major roles in the opera. The story, in all four acts, is full of action;
animated, flowing, and never dragging or uninteresting. Georges
Bizet was well-acquainted with Spanish folk lore and music through
his many visits to Spain. For Carmen, he composed a score which
is rhythmical, tuneful, and characteristic of the Gypsy life-style.
Georges Bizet (born October 25, 1838 in Paris, France) was
born of musical parents. His father was a voice teacher and
composer, and his mother an excellent pianist. It is no surprise that
his talent developed early in childhood and that he entered the Paris
Conservatory at age nine (9) to study Piano, Organ, Harmony and
Composition.
Although he wrote works for many types of musical groups, he
is probably best known for his opera, Carmen. This grand
production was first performed on March 3, 1875 and received 37
performances during that first season. As is the case with many
operas, the reception of the first performance was not enthusiastic
with both critics and public finding the opera unsatisfactory in
content and approach. However, the opera soon became a
triumphant success and was staged all over the world. Tragically,
Bizet died on the night on the 31st performance of his great work on
June 3, 1875.
“Creativity and innovation are paramount in the world
economy and key factors in addressing many challenges
that our society faces. Music education is essential for
developing a child’s creativity, and in turn will improve
our economy and our children's future.”
-Pennsylvania Music Educators Association