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Aaron Copland provided the preced-ing definition in the preface of his

masterpiece for concert band, Emblems.While Copland employs the definition toexplain this work, it is a concept that hasmore global implications. In his prefaceCopland goes on to say that the wordemblem suggests to him “…musical statesof being: noble or aspirational feelings,playful or spirited feelings. The exactnature of these emblematic sounds mustbe determined for himself by each listener.”For centuries, composers who haveendeavored to convey concepts throughmusic have been limited by one insur-mountable fact: Music is a representa-tional art form. Unless a listener isinformed of the subject material of a com-position, either through a program orother visual stimulus, it is unlikely that he

or she will discern any specific extra-musi-cal message. This limitation, however, isalso music’s greatest asset as a genre.Unlike other more literal art forms thatare designed to elicit specific responses,music allows for the most personal ofreactions, a fact that Copland stressedin his efforts to educate audiences.According to Copland, “There is some-thing about music that keeps its distanceeven at the moment that it engulfs us. It isat the same time outside and away fromus and inside and part of us. In one senseit dwarfs us, and in another we master it.We are led on and on, and yet in somestrange way we never lose control.” Inthis sense, music is indeed the mostemblematic of all the arts, the form thatgives all of us the greatest freedom todecide what it “means.”

“An emblem stands for something—it is a symbol.”

- Aaron Copland

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VINCENT PERSICHETTI - Symphony

for Band (Symphony No. 6), Opus 69 (1956)

Born in Philadelphia in 1915,Vincent Persichetti began

his musical activities atage five, first studyingpiano, then organ,double bass, tuba,theory, and composi-tion. By age eleven,he was performingprofessionally as anaccompanist, radio staffpianist, orchestral musician,and church organist. At sixteen, hewas appointed organist and choir directorfor the Arch Street Presbyterian Churchin Philadelphia, a post he held for nearlytwenty years. He began composing at anearly age, and several works from his

teenage years demonstrate an astoundinglevel of sophistication and artistry.Persichetti’s affinity for winds can be

traced to his very first cataloguedcomposition, his Serenade

No. 1, Opus 1, for Winds(1929). While main-taining his array ofprofessional positions,Persichetti activelypursued his education,

first as a student inthe Philadelphia public

schools and eventually as astudent at the Combs College of

Music in Philidelphia, where he earneda bachelors degree in 1935. From the tenderage of twenty, he was simultaneously headof the theory and composition depart-ments at Combs College, a conductingmajor with Fritz Reiner at the Curtis

Historical marker outside the Curtis Institute of Music in Philadelphia, dedicated to Vincent Persichetti.

Institute of Music in Philadelphia, and apiano major with Olga Samaroff at thePhiladelphia Conservatory. Concurrentwith all of these activities, Persichettisomehow managed to continue his devel-opment as a composer through studywith a number of important Americancomposers. In 1941 Persichetti wasappointed head of the theory and compo-sition departments at the PhiladelphiaConservatory, and in 1947 was invited byWilliam Schuman to join the faculty ofThe Juilliard School of Music in NewYork City. He replaced Schuman as thechairman of the composition departmentin 1963. Persichetti composed for nearlyevery musical medium, including keyboard(piano and organ), voice, chamberensembles, concert band, and orchestra.

Symphony for Band was composed in1956 in response to a commission byWashington University in St. Louis.

Although the original $500 commissionwas for a single-movement, eight-minutework, Persichetti quickly realized that thisformat would not accommodate all hisideas and renegotiated the terms of thecommission. The composer had justfinished his Symphony for Strings(Symphony No. 5, Opus 61), and theprospect of following that effort with asymphonic work for winds was clearlyenticing. Persichetti wrote Symphony forBand when he was at the height of hiscraft, and it shares similarities with othermajor works from this period. While heexperimented with a variety of composi-tional techniques throughout his life, hismusic never strayed far from the world ofdiatonicism with its strong tonal centers.Persichetti himself identified two basictemperamental elements or personalitytraits present in his music: “gracious” and“gritty.” Indeed, these two opposingqualities function in a complementary

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fashion in nearly all Persichetti’s signifi-cant compositions. In his Symphony forBand, the majority of the grit can befound in the outer movements, both ofwhich are characterized by tremendousrhythmic activity and vitality. The workopens quietly with a pensive horn call thatimmediately establishes motivic materialthat will be developed extensively in themeasures to come. The percussion sectionaccompanies the horn with material thatalso is developed throughout the work,and this use of the percussion instrumentswas highly unusual for the time. The inte-rior movements reflect the gracious side ofPersichetti’s musical personality, featuringbeautiful, lyrical melodies that provide anideal contrast to their grittier neighbors.The melody in the second movement istaken from “Round Me Falls the Night,”an original hymn by the composer includedin his Hymns and Responses for theChurch Year, Opus 68.

ANDREA GABRIELI - Aria della battaglia

I f one wishes to trace the origins anddevelopment of wind music, the voyage

of discovery must pass through theVenetian cathedral of St. Mark’s. It wasfor this sacred space that some of theearliest and most inventive music for windswas written by two musical pioneersknown by the surname Gabrieli.Although Giovanni, the younger of thetwo, was more prolific and accomplishedand is certainly better known today, heowed a great deal of his success to hisuncle and surrogate father, Andrea.

Based upon a 1585 death register thatindicates that Andrea Gabrieli was fifty-two years old at the time of his death,one can estimate that he must have beenabout twenty-five when he first applied(unsuccessfully) for the position oforganist at St. Mark’s Cathedral in 1557.

His failed attempt may have been fortu-itous, because by the time he eventuallyobtained this position in 1566, he was amore developed and sophisticatedmusician. This growth wasdue at least in part tothe influence of Orlandede Lassus, with whomGabrieli had significantcontact during extendedvisits to NorthernEurope. Gabrieli servedSt. Mark’s for the remain-der of his life, composingin all major forms and genresof the period. His music revealstrends that would become significantelements in the development ofwestern music for centuries, such as theincreasing involvement and relianceupon instruments to support voices and

the advent of the dominant/tonic (V/I)progression. Gabrieli was also anaccomplished teacher, mentoring

important musicians such asHans Leo Hassler, Gregor

Aichinger, and of course,his famous nephew andsuccessor at St. Mark’s,Giovanni Gabrieli.

Aria della battaglia, atitle that translates

literally as “Song ofthe Battle,” is the kind of

descriptive work that was verymuch in vogue during the sixteenth

century. Many Renaissance composerswere seeking to capitalize upon the successof Clement Janequin’s celebrated “LaGuerre,” a 1520 vocal work that depictedthe Battle of Marignano in music and

St. Mark’s Cathedral in Venice, Italy, where Andrea Gabrieli served as organist from 1566 until his death in 1585.

text. Although Andrea Gabrieli did notfrequently compose in this genre, he wasaccomplished in the descriptive technique,providing musical representations of battlesounds such as martial fanfares, explosions,horse hooves, and the back and forth“dialogue” of opposing sides. UnlikeJanequin, Andrea had no text upon whichhe could rely to convey the concept of war,and his ability to suggest imagery throughinstrumental techniques alone makes Ariadella battaglia the forerunner of latermusical military scenarios such as LudwigVan Beethoven’s Wellington’s Victory andPiotr Ilyich Tchaikovsky’s 1812 Overture.

AARON COPLAND - Emblems (1964)

There is no greater figure on thelandscape of twentieth century

American music than Aaron Copland.His unofficial title, “Dean of American

Composers,” was earned through hisrelentless efforts to promote the work ofhis fellow artists and to cultivate a variedbut identifiable American “school” ofcompositional style. He was tireless in hisattempts to advance the cause of newmusic, and his work blazed a trail for sub-sequent composers. This trail began inParis, where Copland studied composi-tion with Nadia Boulanger in the 1920s.He was so exhilarated by the experiencethat he recruited other Americans to dothe same. As his fellow composers strug-gled to find their way, many would heedhis advice. Musicians ranging fromVirgil Thomson to Philip Glass wouldeventually consult with Copland’sParisian muse in their own efforts to findtheir compositional voice. While studyingwith Boulanger, Copland was impressedwith the confluence of artistic activity inParis and dreamed of achieving a similarlyfertile atmosphere in the United States.

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Soon after his return to America, whilestill struggling to make a name for himselfas a composer, Copland began a series ofventures designed to establishcollaborative efforts topromote American music.He helped establishseveral musical organi-zations, wrote exten-sively for importantmusical periodicals,and along with RogerSessions, organized theinfluential Copland-SessionsConcerts, which featured newor rarely performed American musicby composers such as Charles Ives. Whilehe was a strong advocate for new music,Copland had no desire to be a musicalelitist safely ensconced in the ivory towerof academia. He was firmly committed to

the idea that a composer should be able towrite music that is both personallyrewarding and appealing to general

audiences. He believed thateducation was a major key to

achieving this goal, andhe wrote several textsdesigned to help the“average” citizen tounderstand music,books that are still

used in music apprecia-tion courses today.

Although Copland composedin a wide variety of genres and exper-

imented with styles ranging from jazz totwelve-tone serial techniques, his music isconsistently and almost immediatelyidentifiable. Even though many present atthe 1964 première of Emblems considered

Cover from The Southern Harmony and Musical Companion, by William Walker, edited by Glenn C. Wilcox,the hymnal that contains “Amazing Grace,” referenced by Aaron Copland in Emblems.

it to be uncharacteristic of Copland, itis actually quite consistent with muchof the composer’s most highly regard-ed music. Copland’s affinity for wideintervals, sparse instrumentation, andpungent harmonies is evident through-out this work. Also present is Copland’sremarkable ability to borrow a folkmelody in a way that is simultaneouslyrespectful and original, a technique thatcountless American composers havesubsequently tried to emulate.

Copland provides the followingcomments about Emblems in his prefaceto the score:

In May 1963, I received a letter fromKeith Wilson, President of the CollegeBand Directors National Association,asking me to accept a commissionfrom that organization to compose awork for band. He wrote:

“The purpose of this commission isto enrich the band repertory withmusic that is representative of thecomposer’s best work, and not onewritten with all sorts of technical orpractical limitations.”

That was the origin of Emblems.I began work on the piece in thesummer of 1964 and completed it inNovember of that year. It was firstplayed at the CBDNA NationalConvention in Tempe, Arizona, onDecember 18, 1964, by the TrojanBand of the University of SouthernCalifornia, conducted by WilliamSchaefer.

Keeping Mr. Wilson’s injunction inmind, I wanted to write a work thatwas challenging to young playerswithout overstraining their technicalabilities. The work is tripartite in form:

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slow-fast-slow, with the return of thefirst part varied. Embedded in thequiet, slow music the listener mayhear a brief quotation of a wellknown hymn tune, “AmazingGrace,” published by William Walkerin The Southern Harmony in 1835.Curiously enough, the accompanyingharmonies had been conceived first,without reference to any tune. It wasonly a chance perusal of a recentanthology of old Music in Americathat made me realize a connectionexisted between my harmonies andthe old hymn tune.

HENRY PURCELL /STEVEN STUCKY- Funeral Music for Queen Mary

When Queen Mary II died in 1695 atage thirty-three, King William’s

instincts were to grieve for his young wifein a private ceremony. Although hercoronation had been a mere six yearsbefore her death, the public had becomequite fond of their queen and clamoredfor a public event at which they couldexpress their condolences. As a result,King William was convinced to allow astate funeral to take place. Such an eventrequired special music for not only thefuneral, but for the processional as well.Henry Purcell, England’s greatest composerof the day, had composed works forQueen Mary’s coronation as well asseveral of her birthdays, and he was theobvious choice to compose music thatwould appropriately honor this belovedmonarch’s death. Purcell’s efforts perfectlycaptured the public’s sense of grief, andhis music elicited the following commentsfrom Thomas Tudway, a contemporarywho served as professor of music at theUniversity of Cambridge:

I appeal to all that were present, as wellsuch as understood music as those thatdid not, whether they ever heardanything so rapturously fine andsolemn, and so heavenly inthe operation, which drewtears from all; and yeta plain, naturalcomposition; whichshows the power ofmusic, when ‘tisrightly fitted, andadapted to devotionalpurposes….’

T he reverence of thisresponse to Purcell’s music is notrestricted to eighteenth century professorsof music. Purcell’s works have inspiredinstrumentalists and composers forcenturies, including musicians such as

Esa-Pekka Salonen, music director ofthe Los Angeles Philharmonic, andAmerican composer Steven Stucky.Stucky was serving as composer-in-resi-

dence with the Los AngelesPhilharmonic when his

Funeral Music for QueenMary was composed in1992. The composerprovides the followinginformation concerninghis treatment of Purcell’s

music:

I t was at the suggestion ofEsa-Pekka Salonen that I

transcribed this music of Purcellfor the Los Angeles PhilharmonicOrchestra. I used three of the piecesheard at the funeral of QueenMary, who died of smallpox on

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December 28, 1694: a solemnmarch, the anthem “In the Midst ofLife We Are in Death,” and acanzona in imitative polyphonicstyle. In working on the project Idid not try to achieve a pure,musicological reconstruction but,on the contrary, to regard Purcell’smusic, which I love deeply, throughthe lens of three hundred interveningyears. Thus, although most of thisversion is a straightforward, modernorchestration of the Purcell originals,there are moments when Purcelldrifts out of focus. My version wasfirst performed in Los Angeles onFebruary 6, 1992.

Steven Stucky has been commissionedby several major symphony orchestras,including those of Chicago, St. Louis,Cincinnati, Baltimore, Philadelphia,Minnesota, and Los Angeles. He has

also written for the Rascher SaxophoneQuartet, Boston Musica Viva, and hasbeen commissioned by the KoussevitskyFoundation. In addition to composing,Stucky is active as a conductor, writer,lecturer, and teacher, and he is afrequent guest composer on collegecampuses throughout the United States.A well-known expert on the music ofthe late Polish composer WitoldLutoslawski, Stucky won the AmericanSociety of Composers, Authors, andPublishers Deems Taylor Prize for his1981 book Lutoslawski and his Music(Cambridge University Press). Stuckywas a Guggenheim Fellow in 1986 andwas composer-in-residence of the LosAngeles Philharmonic, an ensemble hestill serves as new music advisor. Stuckyis currently on the faculty of CornellUniversity in Ithaca, N.Y.

Portrait of Queen Mary II, who died of smallpox in 1695. Queen Mary reigned with her husband, William III,from April 11, 1689, until her death at age 33.

PAUL HINDEMITH -

Symphony in B-flat for Band (1951)

Perhaps the only surprise greater thanPaul Hindemith’s agreement

to guest conduct the UnitedStates Army Band in 1951was his decision to“write a little something”for the occasion. The“little something,” hisSymphony in B-flat forBand, was composed inless than a month andfinished only days before itspremière. Although the concertband has enjoyed the attention ofmajor composers in the latter half of thetwentieth century, this was not the case

when Hindemith was invited to guestconduct the U.S. Army Band. Whenasked by a New York Times reporterwhy he decided to write this work,

Hindemith provided thefollowing brief but telling

reply: “No literature forband, so I wrote some.”There was, of course,plenty of music forthe concert band in1951, but not much

in terms of whatHindemith meant by

“literature;” serious, thought-ful, and carefully composed

original music for the medium.With the composition and première ofthe Symphony in B-flat, Hindemith

emphatically demonstrated that theconcert band is an ensemble worthy ofconsideration by major composers.

Hindemith was serving on the faculty ofYale University in New Haven, Conn., atthe time of U.S. Army Band CommanderCaptain Hugh Curry's invitation, havingrelocated to the United States after beingdiscredited and threatened by the Naziregime. Hindemith had fled Germany forSwitzerland in 1938, eventually finding hisway to America in 1940. After a variety ofguest lecturing positions, the composerwas appointed a full-time member ofYale’s faculty in 1941, a position he wouldhold until 1953. Although Hindemith wasalready considered the leading Germancomposer of his generation, he was also adedicated pedagogue who was more thanqualified to offer expert instruction incomposition, traditional harmony, and thehistory of music theory. He was a demanding

teacher who had high expectations of hiscomposition students, and this oftenresulted in tense relationships. In spite of hisreputation as a difficult mentor, he attractedtalented students such as Alvin Etler, LukasFoss, Harold Shapero, and NormanDello Joio. One of Hindemith’s greatestcontributions was his pioneering work inthe study and performance of medievaland renaissance music. Although earlymusic ensembles and academic programsare now prevalent throughout the UnitedStates, knowledge and performance ofthis music, especially on authenticinstruments, was virtually non-existentprior to the creation of Hindemith’sCollegium Musicum ensemble at Yale.

Hindemith’s interest and devotion toearlier music models is obvious in hisSymphony in B-flat for Band. Althoughmany twentieth century composers haveincorporated and synthesized various

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Allemande Eating Snake by Paul HindemithPaul Hindemith did line and freehand drawings throughout his life. The drawings, whether doodles on

programs and menus or Christmas cards to his friends, reveal a sardonic sense of humor and a true artist’s eye.Allemande Eating Snake, an undated drawing of colored pencils on paper, shows the first passage of

Johann Sebastian Bach’s Partita No. 1 for Solo Violin, BWV 1001, being consumed by a snake.

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elements of earlier music into their owncompositions, Hindemith’s ability to combinebaroque counterpoint, classical form,romantic dramatic sensibility, and twentiethcentury harmony is unique and unparalleled.Hindemith was an unapologetic academicwho was fascinated with technique, andthis aspect of his mind is evident in themanner in which he extensively developsmotives and cleverly combines seeminglydisparate ideas. However, Hindemith’sunique sense of drama and humor alsopermeates his works, and it is often themanner in which Hindemith gives voice tothis non-academic side of his musicalpersonality that makes his music sodistinctive and unique. From the openingmoments of the Symphony in B-flat,which feature a pervasive five note motiveburied in the bass instruments, the shrillscrim of twittering woodwinds, and ateutonically menacing fanfare in the trumpetsand cornets, it is clear that this work has

no precedent in band music. While thereare brief moments of respite in the firstmovement, there is a relentless sense ofmomentum and agitation that constantlypushes this music forward until Hindemithfinally releases his grip. The secondmovement provides a stark contrast to thefirst with a lyrical duet between cornetand alto saxophone. This theme issimultaneously beautiful and sinister,evocative of a 1920s cabaret in Berlin.The relative tranquility of this moment isdisrupted by a maniacally frantic and, attimes, humorous scherzo that is eventuallywoven together with the opening cabaretmelody in a fashion typical of the composer.It is Hindemith the academic who is firmlyin control at the beginning of the thirdmovement’s fugue, but it is Hindemith thedramatist who unquestionably takes thereins to end the symphony in one ofthe most hair-raising conclusions in allband music.

Colonel Timothy W. Foley has servedthirty-six years with “The President’s

Own” as clarinetist from 1968-1979, Assistant Directorfrom 1979-1996, and26th Director from1996-2004.

Prior to joining “ThePresident’s Own,”Colonel Foley studiedclarinet with AnthonyGigliotti of The PhiladelphiaOrchestra while attendinghigh school in his hometown ofBerwick, Pa. After graduation, ColonelFoley studied clarinet at OberlinConservatory of Music in Ohio and, fortwo years, was a member of theAmerican Wind Symphony Orchestrain Pittsburgh.

In June 1968, Colonel Foley enlisted inthe Marine Corps and reported to“The

President’s Own” at historic MarineBarracks at 8th and I Streets in

southeast Washington, D.C.He served as assistantprincipal clarinetist foreleven years, until hewas named AssistantDirector in 1979 and

commissioned a FirstLieutenant in the Marine

Corps. Seventeen years later,on July 11, 1996, the band’s198th

birthday, then-Major Foley wasdesignated Director of “The President’sOwn,” and in September was promoted tothe rank of Lieutenant Colonel. ColonelFoley was promoted to Colonel byPresident Bill Clinton in an Oval Officeceremony held in June of 1999.

Colonel Timothy W. Foley

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For more than two centuries, theUnited States Marine Band has been

part of the events that haveshaped our nation. As “ThePresident’s Own,” itsomnipresent role hasmade it an importantthread in the fabric ofAmerican life.

Established by an Act ofCongress in 1798, theMarine Band is America’soldest professional musicalorganization. Its primary mission isunique—to provide music for the Presidentof the United States and the Commandantof the United States Marine Corps.

President John Adams invited theMarine Band to make its White

House debut on New Year’sDay, 1801, in the then-

unfinished ExecutiveMansion. In March ofthat year, the bandperformed for theinauguration of ThomasJefferson, and has

performed for everyPresidential inaugural

since that time. InJefferson, the band found its

most visionary advocate andfriend. An accomplished musicianhimself, Jefferson recognized the uniquerelationship between the band and the

He later was awarded the Legion of Meritby 31st Commandant of the MarineCorps General Charles C. Krulak.

In his first years as Director, ColonelFoley brought to the podium twodistinguished American conductors tolead entire concerts, Leonard Slatkinand Frederick Fennell, a first in MarineBand history. He continued thistradition early in the new millennium,bringing to the Marine Band podiumrenowned film composer John Williams,a recipient of multiple AcademyAwards, and one of today’s most respectedconductors, Minnesota Orchestra MusicDirector Osmo Vänskä.

I n 1998, during the Marine Band’sbicentennial year, Colonel Foleyconducted “The President’s Own” forinaugural ceremonies of the American

Classical Music Hall of Fame inCincinnati. The Marine Band was thefirst musical institution to be selectedfor the Hall of Fame. In July 2001,Colonel Foley led “The President’sOwn” in Switzerland for the 10thInternational Conference of the WorldAssociation for Symphonic Bands andEnsembles. The trip included a galaperformance at the Luzern Culture andConvention Center. In a demonstrationof Colonel Foley’s dedication to thecreation of new music for the windband, this concert featured the interna-tional première of David Rakowski’sTen of a Kind, a work commissioned by“The President’s Own” that later wasselected as a finalist for the 2002Pulitzer Prize in Music.

“The President’s Own” United States Marine Band

The John Philip Sousa baton was presented to Sousa by the Marine Band when heleft in 1892. The baton, returned to the band by Sousa’s daughters in 1953, is used

today during change of command ceremonies, and symbolizesleadership of “The President's Own.”

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like those of major symphony orches-tras, and they enlist in the U.S. MarineCorps for duty with the Marine Bandonly. Most of today’s members aregraduates of the nation’s finest musicschools, and nearly 60 percent holdadvanced degrees in music.

On July 11, 1998, the Marine Bandcelebrated its 200th anniversary with acommand performance at the WhiteHouse and gala concert at the John F.Kennedy Center for the PerformingArts in Washington, D.C., attended byPresident and Mrs. Bill Clinton. Alsoduring 1998, the Marine Band becamethe only organization to be inductedinto the inaugural class of the AmericanClassical Music Hall of Fame inCincinnati.

On July 12, 2003, the Marine Bandreturned to the Kennedy Center to celebrate

its 205th anniversary in a concertfeaturing guest conductor JohnWilliams, renowned composer ofAmerican film and concert works andlaureate conductor of the Boston PopsOrchestra.

In its third century, the Marine Bandcontinues a tradition of excellence thatearned it the title “The President’sOwn.” Whether in White Houseperformances, public concerts, ornational tours, the music of the MarineBand is the music of America.

Chief Executive by giving the MarineBand the title “The President’s Own.”

Whether performing for South Lawnarrival ceremonies, StateDinners, or receptions,Marine Band musiciansappear at the WhiteHouse more than 300times each year.These performancesrange from a soloharpist or chamberorchestra to a danceband or full concert band,making versatility an impor-tant requirement for band members.Additionally, the band participates inmore than 500 public and officialperformances annually, including con-certs and ceremonies throughout theWashington, D.C., metropolitan area.Each fall, the band travels through a

region of the United States during itsconcert tour, a century-old traditioninitiated by John Philip Sousa, theband’s legendary 17th Director.

As Director from 1880-92,Sousa brought “The

President’s Own” tounprecedented levelsof excellence andshaped the band into aworld-famous musical

organization. Duringhis tenure, the band was

one of the first musicalensembles to make sound

recordings. Sousa also began to writethe marches that earned him the title“The March King.”

“The President’s Own” continues tomaintain Sousa’s standard of excellence.Musicians are selected at auditions much

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FLUTE

MGySgt Gail Gillespie*MSgt Betsy Hill*SSgt Dawn Kulak

PICCOLO

MSgt Cynthia Rugolo

OBOE

GySgt Leslye Barrett*SSgt Shawn Welk*MSgt Mark

Christianson

ENGLISH HORN

MSgt Mark Christianson

E-FLAT CLARINET

SSgt Michelle Urzynicok

B-FLAT CLARINET

MGySgt Lisa Kadala*MGySgt Jeffrey StroufMSgt Elizabeth GishMSgt Janice SnedecorSSgt James ThomleyGySgt Vicki GotcherMSgt Randall RiffleMSgt Deborah

Hanson-GerberMGySgt Ruth

McDonaldGySgt Frederick VareMGySgt Richard HefflerGySgt John NortonSSgt William BernierGySgt Nan Lopata

BASS CLARINET

MSgt Barbara Haney*MSgt Jay NiepoetterMSgt Olive Wagner

BASSOON

MGySgt Roger Kantner*GySgt Christopher

McFarlaneGySgt Bernard Kolle

CONTRABASSOON

GySgt Christopher McFarlane

ALTO SAXOPHONE

SSgt Gregory Ridlington*SSgt Steve Longoria*

TENOR SAXOPHONE

MGySgt Irvin Peterson

BARITONE SAXOPHONE

SSgt Steven Temme

CORNET

GySgt Matthew Harding*MGySgt Andrew SchullerGySgt Susan RiderSSgt Michael MergenSSgt Joel WilliamsSSgt Jennifer Marotta

TRUMPET

MSgt Kurt Dupuis*SSgt Christopher Smith

FRENCH HORN

MSgt Max Cripe*GySgt Kristin DavidsonSSgt Gabriel GitmanMSgt Amy HornSSgt Greta Richard

EUPHONIUM

MSgt Steven Kellner*SSgt Mark Jenkins

TROMBONE

MGySgt Bryan Bourne*GySgt Charles CaseySSgt Darren Bange

BASS TROMBONE

MGySgt Patrick Corbett

TUBA

GySgt Cameron Gates*MGySgt John CradlerSSgt Franklin Crawford

STRING BASS

GySgt Glenn Dewey*

PERCUSSION

GySgt Christopher Rose MSgt Donald SpinelliGySgt Glenn PaulsonGySgt Kenneth WolinSSgt Thomas Maloy

TIMPANI

GySgt Mark Latimer*

*Principal

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Vincent Persichetti

Symphony for Band (Symphony No. 6),

Opus 69

© 1958 by Elkan-Vogel Co., Inc.

Rights administered by Theodore

Presser Company.

Used by permission.

Henry Purcell/Steven Stucky

Funeral Music for Queen Mary

© 1994 by Steven Stucky

Rights administered by Theodore

Presser Company.

Used by permission.

Andrea Gabrieli

transcribed by Giorgio F. Ghedini

Aria della battaglia

© 1954 by G. Ricordi & Co.

Rights administered by BMG Music

Publishing.

Used by permission.

ARTWORK AND PHOTOGRAPH CREDITS

The Southern Harmony and Musical Companion,

by William Walker, ed. by Glenn C. Wilcox,

University Press of Kentucky, 1993.

Vincent Persichetti Historical Marker in

Philadelphia, Pa., Pennsylvania Historical and

Museum Commission. Used with permission.

Portrait of Queen Mary II, image courtesy

of National Portrait Gallery, London.

Allemande Eating Snake, by Paul Hindemith.

Used by permission of Schott Musik International.

Unless otherwise noted, all photographs

provided by U.S. Marine Band Public Affairs.

Photograph of Basilica San Marco, Venice,

Italy, taken by Nicholas Pitt.

Photograph Vincent Persichetti Historical

marker, Philadelphia, Pa., taken by

Timothy M. Ressler.

Emblems was recorded June 21-25, 2004, at

the Rachel M. Schlesinger Concert Hall,

Northern Virginia Community College,

Alexandria, Va.

PRODUCERS

Lieutenant Colonel Michael J. Colburn,

USMC; Captain Jason K. Fettig, USMC;

and First Lieutenant Michelle A. Rakers,

USMC, U.S. Marine Band

RECORDING, EDITING,AND CD MASTERING

Master Sergeant Karl Jackson, USMC,

and Staff Sergeant Travis Gregg, USMC,

U.S. Marine Band

CD PROJECT MANAGER

Staff Sergeant Kay Green, USMC,

U.S. Marine Band

LIBRARIAN

Master Sergeant Katherine Allen, USMC,

U.S. Marine Band

CD BOOKLET NOTES

Lieutenant Colonel Michael J. Colburn,

USMC, U.S. Marine Band

CD DESIGN

Mr. Tom Klinedinst, Group T Design

Paul Hindemith

Symphony in B-flat for Band

© 1951, 1979 by Schott & Co., Ltd.

Rights administered in the United States by

European American Music Distributors LLC.

Used by permission.

Aaron Copland

Emblems

© 1965 by Aaron Copland

Rights administered by Boosey & Hawkes Inc.

Used by permission.

24

MARINE BAND RECORDINGS POLICY

The Marine Band produces recordings for educational purposes and to enhance the public

affairs and community relations programs of the Marine Corps. The recordings are distributed

free of charge to educational institutions, public libraries, and radio stations. Because

appropriated funds are used, they may not be distributed for private use and are not for sale.

Educators, librarians, and station managers may request that their educational institution,

library, or radio station be added to the CD mailing list by writing on official letterhead to:

Head, Marine Band Branch

Division of Public Affairs (PAB)

Headquarters, U.S. Marine Corps

3000 Marine Corps Pentagon

Washington, DC 20350-3000

To receive concert information and

NOTES, the Marine Band's bimonthly

newsletter, please write to:

United States Marine Band

Public Affairs Office

8th & I Streets, SE

Washington, DC 20390-5000

(202) 433-5809

www.marineband.usmc.mil