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Sounds
from the Hudson Volume 9, Issue 2 LTC David Deitrick - Commander A Summer of Stars Spring Premiers An American Song Wins Springing into Summer
with the Jazz Knights Band Takes to the
Streets: The Inaugural Parade Fascinating Fact: On,
Brave Old Army Team While walking home one evening, the melody came to Egner. Having no paper, and afraid he would forget the tune before he arrived home, he took a pencil from his pocket and started to write music on the starched cuffs of his shirt as he walked. Lt. Egner continued to scribble on his shirt cuffs until he reached the door of his home, by which time the music for On, Brave Old Army Team was complete. A
Summer of Stars The United States Military Academy Band will open it’s millennium summer season on June 10th, 7:30 p.m. at the Trophy Point Amphitheatre. Every year, the band entertains tens of thousands at what may be the nation’s most scenic and historic concert site. In addition to the band’s own talented soloists, well known guest performers frequently appear at this outdoor venue. This summer, Band Commander Lt. Col. David Deitrick has invited two exceptional artists to appear with the Academy Band. Emil Richards to Appear with Jazz Knights July 15
American Celebration Saturday September 1st Join the men and women of the Academy band for the summer season finale on September 1st. Dubbed an “ American Celebration”, this concert is the first of several performances commemorating the bicentennial of the United States Military Academy. At 6 p.m., the Field Music group and Military Police will begin the evening with a retreat ceremony. At 6:30 p.m., swing with the Jazz Knights as they perform big band favorites. The concert band takes the stage at 8:00 p.m. with a program that will delight young and old alike. Joining the band will be Abraham Adzenyah, a master drummer from Ghana; virtuoso xylophonist Bob Becker, of Nexus fame; and Kathy Armstrong, a specialist in West African percussion. The evening culminates with booming cannons, fireworks, and the premier of Thomas Duffy’s Overture 1776, a work written specifically for the bicentennial and the Academy Band. Mr. Duffy is the director of bands at Yale University; New Haven, CT and is renowned for his original and exciting compositions. In the event of inclement weather, the rain date is Sunday, September 2nd. Come early for one of the academy’s most popular events. Spring
Premiers Major William H. L. Garlette led the U.S. Military Academy Concert Band and Hellcats in a spring concert that included the premiere of two bicentennial works. On March 18th, composers Steven Melillo and Joseph Bertolozzi were in attendance to speak about their works and hear them played in public for the first time. The selections premiered on that afternoon are part of the Academy’s ongoing project of commissioning new works to celebrate the upcoming bicentennial of the U.S. Military Academy in 2002.
The audience packed the Cadet Restaurant of Eisenhower Hall on the first sunny Sunday of 2001. They welcomed Stephen Melillo’s piece In a Cause Called “Glorious” with obvious enthusiasm. In Melillo’s words: The United States Military Academy Band, the U.S. Army's oldest active band and the oldest unit at West Point, traces its roots to the Revolutionary War... a time when a once ragtag band of gallant patriots joined defiant and brave In a Cause Called "Glorious.” With exhilaration they set forth on the Great American Adventure! From that moment on, many souls have trained to defend that first and noble principle. This work is humbly dedicated to the men and women, past and future, alive and sacrificed, who gave and continue to give of themselves in the defense of freedom. They are the modern-day knights, a long gray line of heroes serving in a perpetual cause called... “Glorious.” Stephen Melillo has scored music for twelve feature films, to include The Accused and Aurora, and for several television programs, among them General Hospital, Home Improvement, Matlock, Nightline, 20/20, Saturday Night Live, The Fresh Prince of Bel Air and Night Court. His other works range from interactive video scores to symphonies and concertos, and include a prodigious number of commissions for wind and percussion ensembles. Melillo implemented the film scoring program at the State University of New York at Purchase and has received many awards as a music educator. His pioneering, self-publishing entity known as Stormworks has produced thousands of works in just four years. After this premiere Melillo noted, “My many thanks for the fine musicians of the Military Academy Band for allowing me to share in the Academy’s two- hundredth.” Also premiered on the concert was a work for solo horn and band entitled The Contemplation of Bravery, written by Joseph Bertolozzi and featuring principal hornist Sergeant First Class Harry Ditzel. “When asked to compose a tribute,” Bertolozzi said, “I was told not to write another march but to come up with something different. I tried to introduce an introspective, meditative point of view into the genre of military music. Surely there are times when soldiers must think hard on their responsibility to perform their duty in the face of personal danger. This to me is the essence of bravery, to knowingly put yourself at risk." Though not literally programmatic, The Contemplation of Bravery expresses those feelings. The voice of the horn represents the personal, solitary thought, while the rest of the ensemble surrounds it with a landscape appropriate to evoke thoughtful reflections on the motto of West Point: Duty, Honor, Country. Joseph Bertolozzi is a composer whose career is in rapid ascent. He has composed orchestral and choral works, chamber music and solo pieces, as well as liturgical music for use in Christian and Jewish worship. His many incidental scores have enjoyed particular success, notably Waiting for Godot at the 1991 Festival Internationale de Cafe Theatre in Nancy, France. Currently, he is putting the final touches on the orchestration of his music for a ballet entitled Bosko and Admira, based on the true story of two lovers who were killed while trying to flee Sarajevo in 1993. After the concert, Mr. Bertolozzi stated, “The interpretation of my work achieved the fluidity of sound I had in mind; hearing it played in such a resonant room added to the majesty. My association with the U.S. Military Academy Band, Lieutenant Colonel Deitrick, Major Garlette and Sergeant First Class Ditzel has been nothing but a pleasure.” Other heroic efforts on this spring afternoon included the skillful playing of Paul Creston’s Concerto for alto saxophone and band, by Staff Sergeant Wayne Tice. Major Garlette also offered past and present band classics, to include Ingolf Dahl’s Sinfonietta, Igor Stravinsky’s Circus Polka and Ira Hearshen’s Divertimento. After a rousing ovation, the audience was treated to a bonus: the fiery strains of Aram Khachaturian’s Lezghinka. An
American Song Wins As the Military Academy’s bicentennial season of 2001-2002 fast approaches, the Academy Band has already participated in many events to mark this historic year. The composition contest sponsored by the Academy Bicentennial Committee was among these activities. The contest was advertised internationally last year in a flier that announced “The West Point Composition Contest,” to commemorate the bicentennial of the United States Military Academy.” The winner would receive a $5000 prize and have their work performed by the Academy Band during the bicentennial year celebrations (August 2001 – June 2002). The rules stated that the pieces “should be conceived and constructed for performance by professional, university and high school bands, thereby exposing the widest possible audience of performers and listeners to significant new band music.” The composition committee included leading university professors; the former deputy commander of the Academy Band, Lieutenant Colonel (Ret.) Virginia Allen; and the band’s commander, Lieutenant Colonel David Deitrick. After reviewing eighty-three entries from around the world, the committee declared a winner. The composition, An American Song, was written by Alan Fletcher. Dr. Fletcher attended Princeton University and the Juilliard School and studied composition with notable composers Milton Babbitt, Edward Cone and Roger Sessions. He is currently a member of the theory and composition faculty at the New England Conservatory. His works have been presented internationally by eminent performers. Among Dr. Fletcher’s awards are an ASCAP Foundation Award, the Alexander Gretchaninoff Prize in Composition, the Norton Stevens Fellowship from the MacDowell Colony, and the Sacks Memorial Prize in music from Princeton University. Fletcher writes the following about the work: “An American Song is not typical of my recent music. Once, looking at a string quartet I had brought in, Roger Sessions commented that even Schoenberg had experienced a return to tonality, but he had probably not expected ultra-tonality. In that vein, one might say that while collage is an expected procedure in late twentieth century composition, this piece represents a sort of ultra-collage. “The music is painted in the simple glowing colors of American singing…layering onto the score in a series of thin translucent glazes. The rhythms and meters float subtly free, placed so that coincidence makes for happy accidents. This is an American process of free association.” An American Song will be performed by the Academy Band during one of four concerts at Eisenhower Hall during the bicentennial year, and Dr. Fletcher’s attendance, as a guest of the band, is planned. Look in future newsletters regarding dates and times of these concerts, and make plans to attend and share in the academy’s bicentennial celebration. Springing
into Summer with the Jazz Knights
For this summer’s Trophy Point concert series, the Jazz Knights have some sensational themes and guests lined up. On Sunday, June 17th, the band will pay tribute to Duke Ellington and Count Basie with some of the most artistic big-band music of the 20th century. Our nation’s veterans will be honored on Sunday, July 1st, with music that has inspired our troops throughout the last hundred years. Emil Richards, vibraphonist-extraordinaire, will be returning for a performance with the Jazz Knights on Sunday, July 15th. Mr. Richards, having appeared with the band in previous years, has become a favorite of Trophy Point audiences. The ever-popular Joe Francis, alumnus of the Glenn Miller organization, will be singing with the band on its annual Salute to Glenn Miller, Sunday, July 22nd. On Sunday, August 12th, the Jazz Knights will take advantage of the innate command of Latin rhythms of their new percussionist, Staff Sergeant Fulgencio Medina, in a concert themed Summer Salsa. Swing-era enthusiasts won’t want to miss the group’s Salute to the Big Bands, on Sunday, July 19th. Music from the bands of Benny Goodman, Artie Shaw, and Woody Herman, as well as more contemporary leaders, will be highlighted. If you are unable to attend at least one of these Music under the Stars concerts at Trophy Point, please check the band’s “On the Road” calendar in this issue for a list of off-post performances in the Tri-State area. All concerts by the Academy Band are free and open to the public. Band
Takes to the Streets: Our nation’s tradition of presidential inaugurations goes back to George Washington and represents the peaceful transfer of power from one leader to another. The founders of this country sought a simple ceremony instead of the elaborate rituals associated with a royal coronation. The American inaugural parade custom originated in 1801, when Thomas Jefferson rode a horse from Congress' house to the president's house after he had been sworn in. For his second inaugural in 1805, President Jefferson walked from Mrs. Conrad’s boarding house to the Capitol to take his oath. He again rode a horse to the president’s mansion, accompanied by a spontaneous parade and military music. Marching in the escort for President George Walker Bush were elements of the 3rd U.S. Infantry, including the Old Guard Fife and Drum Corps and the Commander-in-Chief's Guard, dressed in colonial uniforms. The Guard actually began the military's participation at inaugurations in 1789 by escorting George Washington to the steps of the New York City Federal Building, where he took the oath of office.
This year, after a 20-year hiatus, the United States Military Academy Band once again took to the Capital District streets. Marching in the 1st Division, the West Point band led academy representatives down Pennsylvania Avenue.
“We received very little advance warning of our participation,” Hill described. “The Military District of Washington (MDW) Ceremonies Office handles the inaugural festivities. The coordination among MDW, the various U.S. Corps of Cadets agencies and our own operations section required a lot of late night work. Definitive approval did not come until just before holiday leave, at which time most of the Academy Band was in Chicago, performing at the Midwest Band and Orchestra Clinic. “Those two weeks during leave proved to be essential planning time for our commander, Lieutenant Colonel David Deitrick, and myself,” Hill continued. “Many details, large and small, needed to be discussed, approved and finalized. I signed back in from leave January 2nd, and put in full days after that. “We needed to plan drills,” Hill clarified. “With two feet of snow on the ground and much of the academy still away on leave, we had an uphill battle. We decided upon a stretch of road along the railroad tracks, down by the river. It received little traffic and could give us the uninterrupted concentration we needed to refresh out marching skills. In the event that weather made this area impassable, we had even reserved some time on a runway at nearby Stewart Airport, courtesy of the academy’s 2nd Aviation Detachment. Our band excels at precision marching on the natural grass of the West Point parade field, the Plain - even on the artificial turf at Michie Stadium. However, we seldom march street parades. I wanted our unit to look sharp. “Unique to this inaugural,” Hill pointed out, “was a ‘live fire’ drill along the parade route for the military participants. This took place January 14th, very early in the morning, to minimize traffic problems. From a drum major’s standpoint; this rehearsal parade calmed a lot of frayed nerves. The dry run was made as real as possible, complete with a soldier wearing a sign identifying him as the ‘President.’ There were a few blunders here and there, in coordinating who did what, and when.” Hill emphasized the importance of the band’s musical selections. “I spoke at length with the Army Band drum major, Sergeant Major Jim McGarity, regarding the music his group, ‘Pershing’s Own,’ planned to present during the parade. I wanted to avoid duplication. Lieutenant Colonel Deitrick and I chose marches that highlighted our unique instrumentation, namely a marching band augmented by drums and bugles. We chose: America Exultant, by Henry Filmore; Sousa’s Gallant Seventh; and Bugles and Drums, composed by E. F. Goldman. Not only did these marches use the Hellcats to good advantage, but we often play these works for football parades and cadet reviews. The honors sequence included Ruffles and Flourishes, and our own version of the The Army Goes Rolling Along, directly followed by the trio of The Official West Point March, known affectionately by the cadets as ‘The Thumper.’ “On Inauguration Day, we left our Maryland hotel bright and early for the Pentagon security check,” Hill went on. “We all went through detection devices, and ‘sniffer’ dogs roamed our buses. While we waited in the secured area, we performed for several television shows, including those hosted by Al Roker and Pat Sajak. I heard we also received good coverage by a local DC cable station. “From the Pentagon,” Hill resumed, “we traveled, via police escort, to the military Capitol Mall holding area. We welcomed the large, heated tents and refreshments served by Boy Scout & Girl Scout volunteers. The temperature hovered around the freezing mark, enhanced by a persistent drizzle. “Once we came up online,” Hill made clear, “things progressed quickly. Our drilling and rehearsal parade paid off. We watched first- hand as the new president and first lady traveled up Pennsylvania Avenue in a limousine bearing the tags USA1. Secret Service agents trotted alongside. After the Army Staff entourage and the 3rd Infantry (Old Guard) passed up the street we fell in. Our section consisted of Lieutenant Colonel Deitrick, Major Garlette, Chief Warrant Officer Hester, Sgt. Maj. Sartoris, and myself, leading the marching band and field music. Cadet Company B-4, led by Cadet Matthew Chaney, followed closely behind. Company B-4 had won the coveted drill streamer award for the previous West Point parade season, designating them the best-looking marching unit from a brigade of 32 companies. “One aspect of the parade’s meticulous organization that came to mind that day,” Hill pointed out, “was the strategic sign placement. These signs signaled when to play and when to cease playing -otherwise ‘bleed-through’ from other units would have interfered with the crowd’s overall enjoyment and the rendering of honors. For example, the famous University of Texas Longhorn Band marched directly behind our contingent. With their Texas enthusiasm and great numbers, they easily could have overpowered our performance,” Hill concluded. It was a reflection of inaugural parades past, such as that for Texas-born Dwight D. Eisenhower, who was lassoed by a rider dressed as a cowboy; and for Lyndon B. Johnson, who had a float reproducing his Texas ranch. Six other military bands, and 38 college bands and other musical units also participated. Even though the weather was cold and damp on Saturday, it turned out to be the better day of the weekend. That night, the temperature dropped precipitously and the area received seven inches of snow. The Military Academy Band stayed an extra night in their Maryland motel, safe from the snow and secure in the knowledge that they had done their best for the new president.
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Returning
to West Point by popular demand is world-class percussionist Emil
Richards. From an early age he performed professionally, and after a tour
as a U.S. Army musician, he hit the ground running and has not stopped
since. Richards’ biography reads like a Who’s Who of the entertainment
world. He has played with some of the greatest performers of the 20th
century, to include Frank Sinatra, Bing Crosby, Nat King Cole, Judy
Garland and Liza Minelli. As a Hollywood musician, he can be heard on the
sound track of countless movies, such as Doctor Zhivago, Guess Who’s
Coming to Dinner, Fatal Attraction and most of the Rocky and Star Trek
films. His numerous television credits range from The Flintones to Mission
Impossible. For many years, Richards has collected and studied percussion
instruments from around the world, and has become the definitive authority
on the diverse sounds they produce. Join the Jazz Knights as they present
this master musician.
