march, 2015

sun01mar2:30 pmAmericans We2:30 pm Eisemann Center for the Performing ArtsEvent Type :Lone Star Youth Winds Concert

Event Details

BRIAN BRITT, conductor
RICHARD DEMY, euphonium
ANDREW TUCKER, guest conductor


Americans We, Henry Fillmore
Variations on “America,” Charles Ives
Symphonic Suite, Clifton Williams
In Memoriam: The Thunderer, Ira Hearshen
American Portrait, Lewis Buckley
The Stars and Stripes Forever, John Philip Sousa
An Armed Forces Salute and more!

Concert Description

The Lone Star Youth Winds begins their season with a worthy cause. Brian Britt and the Youth Winds present a patriotic concert in salute to the men and women of our Armed Forces on Sunday, March 1st, 2:30 PM at the Eisemann Center in Richardson. The program will feature masterpieces that are truly Americana like Charles Ives “Variations on “America,”” top-tapping marches like John Phillip Sousa’s “The Stars and Stripes Forever” and an Armed Forces tribute. LSWO musician and euphonium soloist Richard Demy will perform a “American Portrait” by Lewis Buckley.


folds_of_honor_4c_2014_raster_3Honoring their sacrifice, education their legacy.

Of the one million-plus dependents adversely affected by deployments to Iraq and Afghanistan, nearly nine out of 10 do not qualify for federal scholarship assistance. “Folds of Honor” seeks to meet this need by providing annual educational scholarships to the military families of those who have been killed or disabled while in active duty. These help support private education tuition, tutoring and educational summer camps for children K-12, as well as higher education tuition assistance for spouses and children. Since its founding in 2007, the organization is proud to have awarded over 7,500 scholarships, including over 2,000 in 2014 alone.

Music Samples

Guest Artist Bios

Dr. Richard Demy is a solo euphoniumist that has performed all over the world. He has given 40 recitals, and numerous master classes in churches and schools across 17 US states. He has performed a recital in the Kennedy Center, Washington DC, the Lieksa Town Hall in Lieksa Finland to name a few. He has soloed with the Blue Lake Fine Arts Wind Ensemble, Blue Lake MI and the Intermusica Wind Orchestra, Birkfeld, Austria 2013. He has lectured at the South Central Tuba and Euphonium conference on: EEG operated Neurofeedback for Musical performance enhancement; Recording Practices for the Classical Musician Lecture Recital: US Salvation Army Solo Brass Literature.

He has performed with the Dallas Symphony, Abilene Symphony, and the Midland Odessaa Symphony. An avid solo competitor, he has Won the 2012 Leonard Falconie Euphonium Artist Solo Competition, and the LSU concerto contest, as well as being a finalist in many other contests, such as the National Symphony Orchestra Concerto Competition, and the International Tuba Euphonium Conference Euphonium Artist Division. He is a member of the Lone Star Wind Orchestra.

Recently, he has received his Doctorate from the University of North Texas under Dr. Brian Bowman. His dissertation: “The Automatic Compensating Euphonium as the Ideal Choice for Performing Works Composed Originally for Ophicleide” will be the only book in the Library of Congress in the category “Historical Texts for the Ophicleide.” The dissertation will be available here once it has been officially published. Dr. Demy received his MM at George Mason University, and a BM and BME at Louisiana State University
under the tutelage of Dr. Joseph Skillen.

Program Notes

Written and compiled by Andrew and Kendal Tucker

Americans We (1929)
Henry Fillmore

Henry Fillmore was a truly American bandmaster and composer. His many marches, gallops, instrumental novelties and instrumental music accompanied many a circus presentation. Americans We is one of Fillmore’s most famous compositions. It borrows from a sentimental British tune called “Believe Me If All Those Endearing Young Charms” which was originally attributed to Irish and Scottish heritage. The song soon became part of America’s musical heritage.

Variations on “America” (1890/1969)
Charles Ives

Trans. William E. Rhoads

Variations on “America” is a witty, irreverent piece for organ which Ives composed when he was sixteen. According to his biographers, Henry and Sidney Cowell, it was played by Ives in organ recitals in Danbury and in Brewster, New York, in the same year. At the Brewster concert, his father would not let him play the pages which included canons in two and three keys at once because they were “unsuited to performance in church – they made the boys laugh out and get noisy.” This is Ives’ earliest surviving piece using polytonality. William Schuman wrote an orchestral transcription of this work in 1964, and it is this version upon which William Rhoads based his band transcription.

Symphonic Suite (1957)
Clifton Williams

The Symphonic Suite is in five movements and was commissioned by the San Antonio Symphony for its 25th anniversary in 1957. The composer had personal connections with the Symphony, having played French horn for 12 years. Later scored for concert band, the composition was awarded the Ostwald Award by the American Bandmasters Association. The solemn fanfare of the “Intrada” flows directly in the “Chorale,” which is introduced by the brass section. The tempo picks up with the “March” that is based on the work’s introductory fanfare. The “Ancient Dance” offers a change of pace with a flute with percussion accompaniment. “Jubilee” concludes the suite in an energetic manner including samples from the preceding movements.

In Memoriam: The Thunderer (1991)
Ira Hearshen

John Philip Sousa not only provided the world with an abundance of band music, he inspired others as well. Contemporary composer Ira Hearshen admits to a lifelong fascination with the music of Sousa. Stirred and fascinated as a child by the music of Sousa, he continued his love for the music. When he became a composer he felt challenged to develop a symphonic work that would pay homage to the March King. Hearshen says, “While the thought of transforming popular march music into a legitimate piece for concert stage had a lot of intellectual appeal, I figured that any attempt I made to pay homage to Sousa would be misunderstood. But artistic challenge won out and I started working… in the winter of 1990-1991.” The piece grew into a full-scale symphony, each movement based on a Sousa march. Hearshen found a unifying element to link the movements of his symphony in Sousa’s scores. “There was a 4-note melodic fragment common to virtually every tune I wanted to use, the same four notes that begin the Dies Irae portion of the Catholic Mass.: This melodic motive occurs in the trios of Hands Across the Sea and Washington Post, the introduction of Fairest of the Fair, and provides the first four notes in The Stars and Stripes Forever.

The Stars and Stripes Forever (1896)
John Philip Sousa

Ed. Keith Brion and Loras Schissel

The Stars and Stripes Forever was declared the national march of the United States of America on December 11, 1987 by President Ronald Reagan. Since its introduction in Philadelphia on May 14, 1897, The Stars and Stripes Forever has generated patriotic feelings in its audiences. Whenever the Sousa band performed The Stars and Stripes Forever, the audience would begin to rise as though it were the national anthem.


(Sunday) 2:30 pm


Eisemann Center for the Performing Arts

2351 Performance Drive, Richardson, TX 75082


Lone Star Youth Winds

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