ANCHOR BAY BAND BOOSTER EXECUTIVE BOARD
Carol LaPorte, President
Barb Belanger, Vice President - Fundraising
Jessie Jensen, Vice President - Special Event Fundraising
Diane Lobbestael, Treasurer
Tim Piepenbrok, Financial Secretary
Maureen Block, Secretary
Scott A. Oranchak, Instrumental Music Director
P. David Visnaw II, Instrumental Music Director
The Anchor Bay High School
Instrumental Music Department
proudly presents the
SYMPHONIC BAND
WIND ENSEMBLE
ANCHOR BAY HIGH SCHOOL ADMINISTRATION
and the
Mr. Joseph McDonald, Principal
Mr. Victor Balaj, Assistant Principal
Mr. Donald Dziuk, Assistant Principal
Mrs. Robin Stanton, Assistant Principal
JAZZ ENSEMBLE
in a
SPRING CONCERT
UPCOMING INSTRUMENTAL MUSIC EVENTS
5/13/13 — Band Booster Meeting
5/15/13-5/1913 — Florida Trip
5/21/13 — New Marcher Registration/Orientation
5/27/13—New Baltimore Memorial Day Parade
5/30/13 — Instrumental Music Banquet (Cedar Glenn)
6/02/13 — Graduation (McMorran Auditorium, Port Huron)
6/11, 6/12, & 6/13/13 — Marching Band Pre-Camp (‘13 - ‘14 MB)
6/23/13 — Bay Rama Parade (‘13- ‘14 MB)
7/29/13-8/03/13 — Marching Band Camp @ CMU
WWW.ANCHORBAYBANDS.ORG
“LIKE” US @ WWW.FACEBOOK.COM/ANCHORBAYBANDS
Tuesday, May 7, 2013
7:30 P.M.
Anchor Bay High School Auditorium
Scott A. Oranchak, Instrumental Music Director
P. David Visnaw II, Instrumental Music Director
PROGRAM
6th HOUR SYMPHONIC BAND
Pirates of the Caribbean …..K. Badelt & H. Zimmer / arr. J. Wasson
2nd HOUR SYMPHONIC BAND
WHAT IS MUSIC?
Music is a SCIENCE
It is exact, specific; and it demands exact acoustics. A conductor’s full score
is a chart, a graph which indicates frequencies, intensities, volume changes,
melody, and harmony all at once and with the most exact control of time.
Music is MATHEMATICAL
James Horner Movie Magic ………………………arr. M. Brown
It is rhythmically based on the subdivisions of time into fractions which must
be done, not worked out on paper.
COMBINED SYMPHONIC BAND
Music is a FOREIGN LANGUAGE
First Suite in E-flat for Military Band …………………..G. Holst
Most of the terms are in Italian, German, or French; and the notation is
certainly not English—but a highly developed kind of shorthand that uses
symbols to represent ideas. The semantics of music is the most complete and
universal language.
II. Intermezzo
III. March
Music is HISTORY
WIND ENSEMBLE
Music usually reflects the environment and times of its creations, often even
the country and/or racial feeling.
Overture to “Candide”…….…...L. Bernstein / arr. Grundman
Music is PHYSICAL EDUCATION
Star Wars Epic………….……….…J Williams / arr. R.W. Smith
I. Duel of the Fates (Episode I)
II. Across the Stars (Episode II)
III. Revenge of the Sith (Episode III)
IV. Princess Lea’s Theme (Episode IV)
V. Imperial March/The Forest Battle (Episode V / IV)
VI. Star Wars Main Theme (all Episodes)
JAZZ ENSEMBLE
Afternoon in Paris ………..……………J. Lewis / arr. M. Taylor
Make Me Smile…………..………….J. Pankow / arr. J. Wasson
Immediately following tonight’s concert on stage, please join us in the cafeteria
for an afterglow and the jazz ensemble performance!
It requires fantastic coordination of fingers, hands, arms, lip, cheek, and facial
muscles, in addition to extraordinary control of the diaphragm, back, stomach,
and chest muscles, which respond instantly to the sound the ear hears and
the mind interprets.
Music is all of these things, but most of all…
Music is ART
It allows a human being to take all these dry, technical (but difficult)
techniques and use them to create emotion. That is one thing science cannot
duplicate—humanism, feeling, emotion, call it what you will.
DID YOU KNOW…
High school music students score higher on SATs in both verbal and math than
their peers. In 2001, SAT takers with coursework/experience in music performance
scored 57 points higher on the verbal portion of the test and 41 points higher on
the math portion than students with no coursework/experience in the arts.
Source: Profile of SAT and Achievement Test Takers, The College Board, compiled by Music Educators National Conference, 2001.
CONCERT ETIQUITTE
A performer's intense concentration can be interrupted by little things that may seem
trivial to audience members. The following suggestions will help audience members
show respect to the performers on stage as well as other members of the audience.
This will help the performers to do their best.
Thanks to all that have been using the Kroger Community Rewards Program to
benefit the Anchor Bay Band Boosters. This program benefits the students of the
Anchor Bay Bands by allowing our organization to receive 5% of your total purchases
at Kroger Stores. EVERYONE MUST RE-ENROLL EACH APRIL in order for our
organization to keep receiving funds from Kroger.
When To Applaud - Performers always appreciate applause, but there are appropriate
moments to applaud. In a multi-movement work, applaud after all movements are
completed. This allows the continuity of the piece to flow from one movement to the
next. “Hooting and hollering” is not appropriate in the concert setting.
Arrival Time - Leave early and allow enough time for parking and traffic. If you do
arrive late, wait by the doors until the first piece (not just a movement) is finished, then
discreetly take the nearest seat available.
Kroger has assigned the Anchor Bay Band Boosters a new NPO number of 82352
(you will need this number to register your Kroger Plus Card). There are basically
two steps to registering. Follow the directions below to get enrolled and start
benefiting the Anchor Bay Band Boosters!
Entering and Exiting the Auditorium - Never enter or exit the auditorium during a
performance. If you must enter or exit, please wait until the performance on stage has
been completed. The most appropriate times to move about are during audience
applause or set changes.
STEP 1:
 Have your Kroger Plus Card handy and register online at
www.krogercommunityrewards.com.
 If you do not yet have a Kroger Plus card, they are available at the customer
service desk at any Kroger. You can get one there.
 Click on Sign In/Register
 Most participants are new online customers, so they must click on SIGN UP
TODAY in the "New Customer?" box.
 Sign up for a Kroger Rewards Account by entering zip code, clicking on your
favorite store, entering your email address and creating a password, agreeing to
the terms and conditions
 You will then get a message to check your email inbox and click on the link
within the body of the email.
Talking - Talking should not be tolerated. It is not only distracting to the performer, but
to every person in the audience. It is just plain rude to talk (even whispering can be
heard) during a musical performance. If someone around you is talking, ask them
nicely to please stop.
STEP 2:
 After clicking on the link in the email, click on My Account and use your email
address and password to proceed to the next step.
 Click on Edit Kroger Community Rewards Information (on the right of the
page) and input your Kroger Plus Card number.
 Update or confirm your information if needed.
 Enter NPO number of 82352 (or name of organization) and select the Anchor
Bay Band Boosters from list that pops up and click on confirm.
 To verify you are enrolled correctly, you will see your organization's name on the
right side of your information page.
Other Noises - Avoid rustling your program, tapping your foot, bouncing your legs, etc.
Pagers and cell phones should be turned off. Watches set to beep on the hour should
also be turned off. These high-pitched beeps are distracting to the performers and
audience members.
Coughing - It is hard to avoid a spontaneous cough. Be prepared with some type of
cough drops or candies. Avoid cellophane wrappers. Many come with a soft waxpaper wrapping that will be much less noisy.
Taking Pictures - Refrain from taking any photographs during a performance. The
click of a camera and especially the flash are very distracting. Pictures should be
taken after the performance.
Children - Children need exposure to good music and live performances. If your
young child begins to get restless in the middle of a performance, it may be best that
you exit the auditorium until calmer times prevail.
By following basic edicts of respect and consideration, performers and the audience
will have a more pleasurable and meaningful experience as they perform and attend
live concerts. Because they have worked so hard for their performance, the students
on stage deserve to be treated with respect.
PROGRAM NOTES
PIRATES OF THE CARIBBEAN
JAMIE THIEL AND JOHN SEIFERT for her help in providing lights, sound,
and video footage for tonight’s concert.
OUR BAND BOOSTER PARENTS for organizing the afterglows at this
evening’s concert.
CAROL LAPORTE and the BAND BOOSTER EXECUTIVE BOARD for
the time dedication and volunteer service to the students of the Anchor Bay HS
Instrumental Music Program!
PROGRAM NOTES
FIRST SUITE IN E-FLAT
Gustav Holst, along with Ralph Vaughan Williams, served as the models of British
composition in the first half of the twentieth century. Holst used the traditions of
Elizabethan folk music, infused with early 20th-century compositional techniques. To
form a new British style based on melody. Characteristically, his compositions are
guided by melody, prominent at all levels of hearing. The companion work to the Suite
in E-flat is the Second Suite in F, composed two years later.
The First Suite was composed in 1909, and for the most part the only known wind
bands of the era were either Military, like the Guard Republicaine o of Paris, or touring
bands such as Sousa’s or Gilmore’s. Holst would have been familiar with t he military
bands, and his original instrumentation (including bass saxophone, cornets, trumpets,
and flugel horns) indicates the brass-heavy writing typical of military bands. The suite
uses traditional forms in all three movements, but the first movement is mislabeled as a
chaconne; it is really a passacaglia in form. It is usually considered a medium-difficulty
work, primarily due to length, the stamina required for the brasses, and the woodwind
and cornet solos.
Since Suite in E-Flat was composed in 1909, it is generally considered to be the first
significant composition approximating what is today’s standard band instrumentation it
utilizes classical forms with an occasional modern variation – for example, the use of
simultaneous recapitulation in the last movement. The trend of writing for wind bands
during the early years of this century favored imitating the military literature and major
genre, the march, and that is used here as the concluding movement. What sets this
work apart, however, is its treatment of the band as potential soloists. Many
instruments have solos, and there is frequent use of small groups of instruments being
treated as chamber ensembles. There is a strong parallel in Vaughan Williams’ Folk
Song Suite, written fourteen years later (and probably the only parallel in there early
years of modern band composition).
Pirates of the Caribbean: The Curse of the Black Pearl is a 2003 adventure fantasy
film based on the Pirates of the Caribbean ride at Disney theme parks. It was directed
by Gore Verbinskiand produced by Jerry Bruckheimer. The music of the film and this
album are both credited to composer Klaus Badelt and producer Hans Zimmer The
story follows blacksmith Will Turner (Orlando Bloom) and pirate Captain Jack
Sparrow (Johnny Depp) as they rescue the kidnapped Elizabeth Swann (Keira
Knightley) from the cursed crew of the Black Pearl, captained by Hector
Barbossa (Geoffrey Rush).
Jay Wolpert developed a script based on the theme park ride in 2001, and Stuart
Beattie rewrote it in early 2002. Around that time, producer Jerry Bruckheimer became
involved in the project; he had Ted Elliott and Terry Rossio work on the script, adding
the supernatural curse to the storyline. Filming took place from October 2002 to March
2003 in Saint Vincent and the Grenadines and on sets constructed around Los
Angeles, California.
The world premiere was held at Disneyland Resort in Anaheim, California, on June 28,
2003. The Curse of the Black Pearl was an unexpected success, with positive reviews
and grossing over $654 million worldwide. The film became the first in a series, with
two back-to-back sequels, Dead Man's Chest and At World's End, released in 2006
and 2007. The latest in the series, On Stranger Tides, was released in 2011. The
original film was nominated for five Academy Awards, including Best Actor for Depp.
The Pirates of the Caribbean, arr. by John Wasson, is a blockbuster hit that brings
with it all the swashbuckling excitement of the high seas! Crews of scurvy pirates,
cannon blasts and cursed treasure join forces in this medley of themes. Titles
include: The Medallion Calls; The Black Pearl; To The Pirate Caves; One Last
Shot; and He's A Pirate.
JAMES HONOR MOVIE MAGIC
Beginning in 1979 with “The Lady in Red”, the career of James Horner has spanned
more than 30 years and includes the film scores for some of history’s greatest movies.
In 1982, Horner saw his first real success, scoring for the major films “48 Hours” and
“Star Trek II: The Wrath of Kahn”. A winner of several awards, including two Acadamy
Awards and two Golden Globes, several of James Horner’s films have been
nominated. Nominated movies include “An American Tail”, “Aliens”, “Glory”, and
Braveheart. Horner’s most successful film scores were also two of film history’s most
successful movies with Titanic and Avatar both receiving awards as well as critical
acclaim.
In James Horner Movie Magic, Michael Brown has arranged several themes from
Horner’s movie scores. Included in this medley are themes from Avatar, Titanic, Field
of Dreams, The Mask of Zoro and The Rocketeer.
PROGRAM NOTES
PROGRAM NOTES
STAR WARS EPIC
OVERTURE TO “CANDIDE”
John Williams has been known as an eminent composer, arranger, and pianist for
many years. When he was named conductor of the Boston Pops Orchestra in 1980 he
became even more familiar to millions of television viewers in the US and abroad. For
his film scores he has received 30 Academy Award nominations, 15 Grammies, and
five Oscars.
Leonard Bernstein (1918-1990) attained sudden fame substitute-conducting the New
York Philharmonic at the age of 25. A noted composer, pianist, author, lecturer,
teacher, television personality, and cultural icon, his music is a synthesis of
compositions from the past five centuries.
John Tower Williams began learning piano at home at the age of eight—his father was
formerly a drummer in the Raymond Scott Quintet. After moving with his family to Los
Angeles in 1948, John studied piano and arranging with Bobby Van Eps. Later he
served a three-year hitch in the US Air Force, arranging for and conducting bands. In
1954, Williams went back to New York to study piano for a year with Rosina Lhevine at
the Julliard School; he also played in jazz clubs and recording studios. Returning to
California, he attended UCLA while studying composition privately with Mario
Castelnuevo-Tedesco and Arthur Olaf Andersen. For a time he was a pianist in film
studios, with such composers as Bernard Hermann, Alfred Newman, and Franz
Waxman. Williams went on to compose for television (including the Kraft Theatre
series) in the 1960s, winning two Emmy awards for his music. He also conducted,
arranged, and played piano with Columbia Records.
Williams has used serial and other avant-garde techniques in his compositions, but he
is considered a romantic traditionalist at heart. He has composed and conducted the
music for more than 75 films, including Angela’s Ashes, Born on the Fourth of July,
The Bridges of Madison County, Close Encounters of the Third Kind, ET, Home Alone
1 and 2, the Indiana Jones trilogy, Jaws (Oscar, 1975), JFK, Jurassic Park, Schindler’s
List, the Star Wars music (Star Wars, The Empire Strikes Back, Return of the Jedi, and
Phantom Menace), and Superman. Many have been recorded by the Boston Pops (27
albums by 1993) or by studio orchestras. The Star Wars album sold over four million
copies—more than any other non-pop album in recording history. Williams’ concert
pieces include two symphonies, a piece for wind ensemble, concertos for flute,
bassoon, and violin, a work for string orchestra, Olympics scores (1984, 1988, 1992,
1996), and a variety of chamber music.
Star Wars Epic, arranged Robert W, Smith, creates a musical suite that captures
several of the signature themes used throughout the Star Wars Saga. This collection
of the most recognized themes, each in a separate movement, all the audience to
experience the complete film series. The suite includes Duel of the Fates (from
"Episode I: The Phantom Menace"), Across the Stars (from "Episode II: Attack of the
Clones") and Revenge of the Sith (from "Episode III: Revenge of the Sith"), Princess
Leia's Theme (from "Episode IV: A New Hope"), Imperial March/The Forest
Battle (from "Episode V: The Empire Strikes Back" and "Episode VI: Return of the
Jedi") and Star Wars Main Theme from all six episodes.
Leonard (originally Louis) Bernstein learned tenacity and ambition from his Russian
immigrant parents. He attending the prestigious Boston Latin School, studying piano
with Heinrich Gebhard, followed by Harvard University where he took theory with
Tillman Merritt, counterpoint with Walter Piston, and orchestration with Edward B. Hill.
He continued his music education in during the summers of 1940 and 1941 at the
Curtis Institute studying conducing with Serge Koussevitsky at Tanglewood. After his
dramatic conducting debut in 1943, he co-directed the New York City Center Orchestra
and taught at Brandeis University. In 1958 he returned as conductor of the New York
Philharmonic until 1969. During that period he led 939 concerts, including 150 in 35
countries. He resigned in 1969 to devote more time to composing and guestconducting.
The Broadway musicals Candide and West Side Story came into being during the
same period. West Side Story won success from the start, but Candide has had a
troubled history. The book for the original version, written by famed playwright Lillian
Hellman, proved too dark and weighty for the show to find success in the popular
theatre. Candide had a disastrous initial run of just 73 performances. Bernstein and
several different collaborators created further versions, none entirely successful.
The Overture to Candide was premiered by the New York Philharmonic Orchestra in
1957 with Bernsteinconducting and became almost an instantaneous orchestra and
concert band staple. The work is extremely quick-paced, with a feverish excitement
that begins from the first breath of sound. Each player of the ensemble, whether an
orchestra or concert band, is required to perform with the utmost of virtuosity, and the
work requires an immensely together ensemble. Many of the meters are in seven
beats or of other non-traditional types, and they quickly change. Short, full ensemble
statements open the work, and this beginning idea intermittently appears several times
throughout the work, almost as a reminder of what has been and that it is still the same
work.
While there are some melodic ideas, as well as some wonderful harmonic textures, it is
clear that the main stylistic character of the music must be its rhythmic use. Strong
percussion accents, writing in orchestrational groupings and families such as brasses,
and harsh attacks from the ensemble as an entity are apparent throughout. The form
of the piece is as scattered as the music itself. Most of the ideas are short and
sporadic. When an idea is presented, there is usually little time for it to be developed,
but instead the music quickly changes direction to some other idea.
SYMPHONIC BAND
PICCOLO
Sydney Parus
OBOE
Danielle Edwards
FLUTE
Amanda Czostkowski
Mallory Gleason
Kathryn Haberl*
Alexis Hetzel
Kendall Jablonski*
Kelsea Kummer
Ashley Lutt
Madison Seifert*
Keili Wilson
BASSOON
Shannon Cuff
Elizabeth Powers*
CLARINET
Brianna Allor
Erin Bandemer*
Amanda Cejmer
Lauren Corneil
Ashley DeBiase*
Brooke Donnelly
LiAnne Edwards
Kelly Felcyn*
Victoria Gunst
Monika Konrad*
Renette Mahoney
Dylan McDerment
Dana Novak
Lauren Paleno
Sarah Przybylo
Kyle Root
Quinton Shoulders
BASS CLARINET
Emily Blanchette
Caroline Debrowski
Jessica Munroe
Rachel Piotruchowski
Kurtis Kowalczyk
ALTO SAXOPHONE
Kaitlynn Cesarek*
Garret Endres*
Rebecca Hait
Michael Leone
Amanda Miiller*
Michael Motloch
Amber Williams
TENOR SAXOPHONE
Abigail Lanni
Cheralill Hughes
Megan Pokropowicz
Cassondra Stewart
BARITONE SAXOPHONE
Joshua Guske
Noah LaPorte
Emma Simon
Filip Sinobad
TRUMPET
Savannah Bolotta
Devon Butler
Andrew Hill*
James Jury
Alexander Kammerer*
Aaron McNabb
Carleigh McNulty
Justin Richards
Walter Woods
WIND ENSEMBLE
FRENCH HORN
Kristen Gennety
Kylie Jensen*
Sarah Kuss
Cameron Lock
Liam Parsons
Sarah Piepenbrok
Emily Saelens
Salvatore Sagese*
TROMBONE
Matthew Burmistrzak*
Marc Demick
Noah Grimaudo
Tristan Grose*
Kendal McClintock
Katie Newkirk
Sabrina VanDyke
EUPHONIUM
Matthew Belanger
Christian Bobbish
Nickolas De Ceuninck
Alyssa MacDonald
TUBA
Christopher Burns
Lilliann Kaye
Zachery Lootens
Matthew Braffman
Chris Kiernan
PERCUSSION
Jordan Arrington
Kathryn Bidigare
Christopher Cooley
Shane Marrs
Sam Martinez
Troy Sabella
Jaclyn Scalici
Julia Sommers
Eric Stefanko
* Denotes Principal Part Players
^ Denotes Detroit Symphony Youth Ensemble
◄ MSBOA District XVI Honors Band
+ MSBOA District XVI Honors Jazz Ensemble
° CMU High School Honor’s Band
PICCOLO
Shannon Cuff
OBOE
Abigail Lobbestael
BASSOON
Alyssa DiStefano◄
FLUTE
Alison Block*
Nicole Duggan
Hannah Schmidt
Corinna Sleiman*^
Alyssa Schuetz
Angela Tezak
ALTO SAXOPHONE
Ronald Duquette*
Emily Gargulinski
William Hallendy*
Katherine Smith*
TROMBONE
Shane Foster*
Domonique Stevens° ◄
Joseph Zedan
CLARINET
Emily Blanchette*◄
Yonisha Harris*
Leacadia Herweyer
Hannah Hill
Miranda O'Connor
Emily Seigneurie
Lauren Shin
Olivia Sholtis
Rosalie Tezak
Ashley Woonton
BASS CLARINET
Alexandra DeRita
Sarah Hoef
TENOR SAXOPHONE
Filip Konjevod
BARITONE SAXOPHONE
Paige Grider◄
TRUMPET
Brandon Bilinski
Emily Miiller
Nicholas Osman*^◄
Tiara Reed
Rosemarie Reilly
FRENCH HORN
Kathryn Bidigare
Kate Gnesda*
Eric Lacerna
Rachel Wierzbowski
BASS TROMBONE
Matthew D'Angelo
EUPHONIUM
Thomas Andrews
Christopher Kiernan
TUBA
Parker Saleski
Sabrina VanDyke
DOUBLE BASS
Salvatore Sagese
PERCUSSION
Kelcie Beck
Dayton Good
Michael Hill
Mitchell Oliver
Lawrence Parisi
Robert Saad
Sean Wolschleger
JAZZ ENSEMBLE
SAXOPHONES
Emily Blanchette (Tenor)
Katherine Smith (Alto)
Billy Hallendy (Alto)
R.J. Duquette (Bari)
Paige Grider (Tenor)
TROMBONES
Matthew Burmistrzak
Kylie Jensen
Zachery Lootens
Parker Saleski (Tuba)
Sabrina VanDyke (Bass)
TRUMPETS
Brandon Bilinski
Emily Miiller
Nick Osman+
Tiara Reed
Rosemarie Reilly
PERCUSSION
Matthew Clifford
Robert Saad
Jaclyn Scalici
GUITAR
Zach Floyd
Emily Seigneurie
PIANO
Paul Hanvey
Lauren Shin
BASS
Salvatore Sagese+
Olivia Sholtis
VOCALS
Cameron Juresich