{"id":2992,"date":"2021-10-05T01:48:12","date_gmt":"2021-10-05T01:48:12","guid":{"rendered":"http:\/\/dearbornsymphony.org\/wp\/?page_id=2992"},"modified":"2026-02-20T21:45:35","modified_gmt":"2026-02-20T21:45:35","slug":"tonights-concert","status":"publish","type":"page","link":"https:\/\/dearbornsymphony.org\/wp\/tonights-concert\/","title":{"rendered":"Today’s Concert: March 27, 2026"},"content":{"rendered":"\n
<\/div>\n\n\n\n
\u201cMarch of the Toreadors\u201d from Carmen<\/em><\/td>Georges Bizet<\/td><\/tr>
\u201cThe Imperial March\u201d from The Empire Strikes Back<\/em><\/td>John Williams<\/td><\/tr>
The Gladiator March<\/td>John Philip Sousa<\/td><\/tr>
The Washington Post March<\/td>Sousa<\/td><\/tr>
Armed Forces Salute<\/td>arr. Robert Lowden<\/td><\/tr>
Victory for MSU (MSU Fight Song)<\/td>Francis Irving Lankey<\/td><\/tr>
The Victors (U of M Fight Song)<\/td>Louis Elbel<\/td><\/tr>
\u201cWide Receiver\u201d theme from NBC\u2019s Sunday Night Football<\/td>Williams<\/td><\/tr>
The Olympic Spirit<\/td>Williams<\/td><\/tr>
INTERMISSION<\/td><\/td><\/tr>
St. Louis Blues<\/td>W.C. Handy\/arr. Bill Holcombe<\/td><\/tr>
\u201cMarch\u201d from The Nutcracker<\/em><\/td>Pyotr Ilyich Tchaikovsky<\/td><\/tr>
\u201cMarch to the Scaffold\u201d from Symphonie Fantastique<\/em><\/td>Hector Berlioz<\/td><\/tr>
National Emblem March<\/td>Edwin Eugene Bagley<\/td><\/tr>
\u201cSeventy-Six Trombones\u201d from The Music Man<\/em><\/td>Meredith Wilson\/arr. Leroy Anderson<\/td><\/tr>
Radetzky March, Op. 228<\/td>Johann Strauss Sr.<\/td><\/tr>
\u201cRaiders March\u201d from Indiana Jones and the Raiders of the Lost Ark<\/em><\/td>Williams<\/td><\/tr>
The Stars and Stripes Forever<\/td>Sousa<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

View today’s full program book HERE<\/a><\/p>\n\n\n\n

Musicians<\/a> performing in today’s concert<\/p>\n\n\n\n

<\/div>\n\n\n\n

Program Notes by Ava McDowell<\/p>\n\n\n\n

Marches have existed in some form since ancient times as a means of keeping armies moving together either on the march, or in battle. Ancient Roman armies used percussion and horns to signal troop movements and boost morale.<\/p>\n\n\n\n

Through the Baroque and Classical eras (1600\u20131800), European military bands became important to each nation\u2019s identity and further developed and formalized the form, creating the march genre. Composers such as Handel, Mozart, and F. Haydn introduced the concert march for ceremonial occasions, such as Handel\u2019s March from Scipione<\/em> and Mozart\u2019s March in D Major, K. 215<\/em>.<\/p>\n\n\n\n

Moving into the Napoleonic era (1800\u20131850), marches came to symbolize military power and national pride. Prussian and French armies further developed the instrumentation, giving rise to the modern brass-heavy military band. Classical composers blended their artistic style with the military sound to build upon the concert march, as exemplified by Beethoven\u2019s Turkish March<\/em> and Franz Schubert\u2019s Marche Militaire<\/em>.<\/p>\n\n\n\n

Romantic Era (1850\u20131900) composers added charm and flair to the concert march with pieces such as Johann Strauss Sr.\u2019s Viennese-infused Radetzky March<\/em>, while the form also became the accompaniment for public celebrations, parades, and patriotic events. Marches even found their way onto the grandeur of the opera stage, as exemplified by Verdi\u2019s Triumphal March<\/em> from Aida<\/em>.<\/p>\n\n\n\n

The years 1880 to 1930 are considered \u201cThe Golden Age of Marches.\u201d Led by John Philip Sousa, Karl King, and Henry Fillmore with their iconic marches, the repertoire grew exponentially. Soon, school and community bands began forming in nearly every town.<\/p>\n\n\n\n

In the last century, marches were again adapted to include new media and tastes. Edward Elgar (Pomp and Circumstance<\/em>) and Aaron Copland (Fanfare for the Common Man<\/em>) slowed the tempo to create a grand processional, while Paul Hindemith experimented with tonality and harmony in March<\/em> from Symphonic Metamorphosis<\/em>.<\/p>\n\n\n\n

The rise of film has taken marches to another stratosphere\u2014literally\u2014with John Williams\u2019 Imperial March<\/em> from the Star Wars<\/em> franchise. Back on earth, marches have remained central to military and ceremonial events, many becoming the national anthems played at the gold medal ceremonies at the Olympics, highlighted by Williams\u2019 Olympic Fanfare<\/em>. The form will continue to evolve as traditional and global influences combine with film, television, and social media to create new and interesting variations well into the future.<\/p>\n\n\n\n

March of the Toreadors \u2013 Bizet<\/strong> <\/p>\n\n\n\n

Rarely has the premiere of an opera created as much scandal as the 1875 premiere of Bizet\u2019s Carmen<\/em>. The lusty tale of an equally lusty gypsy was deemed immoral and, for over a year, was considered a monumental failure. Today, it is the fourth most performed opera of all time. <\/p>\n\n\n\n

The opera tells the story of the fiery gypsy Carmen. Her fickle nature leads her to woo the corporal Don Jose, who later joins her band of smugglers, only to be driven to madness when her interests change and she leaves him for the matador, Escamillo. <\/p>\n\n\n\n

One of the pieces from the opera has taken on a life separate from the opera: The Toreador Song<\/em> from Act II, where Escamillo sings of his escapades in the arena in an attempt to impress Carmen. It has been used in commercials, cartoons, and parodies, as well as being the theme song for the Geelong Football Club of Melbourne, Australia.<\/p>\n\n\n\n

Imperial March \u2013 Williams<\/strong> <\/p>\n\n\n\n

Contrary to popular belief, Imperial March<\/em> did not appear until 1980 with the second film released in the Star Wars<\/em> franchise, Episode V: The Empire Strikes Back<\/em>. Replacing the subtler Imperial Motif, this march is dark and ominous, symbolizing the relentless advance of the Empire and, as Simon Trebutte described, \u201cDarth Vader in all his evil glory.\u201d It has become the musical symbol of villainy, evoking authority, power, and terror in the listener. <\/p>\n\n\n\n

Williams drew from the influence of Romantic-era composers such as Prokofiev, Wagner, and Holst, and includes Williams\u2019 usual “Easter egg” with shades of Holst\u2019s Mars, the Bringer of War<\/em> from The Planets<\/em>. The key of G minor was intentional; it is the key of darkness and drama, and this march brings all of that. <\/p>\n\n\n\n

Easily recognizable from its opening rhythm and bold motif in the percussion and low brass and winds, the march builds with the introduction of trombones and trumpets until it suddenly stops. What follows is a series of variations creating sonic images that Williams uses throughout the films to signal the presence of the Empire, and in later films and adaptations, simply anything evil.<\/p>\n\n\n\n

Imperial March<\/em> is often described as one of the most easily recognizable themes in film music with one critic calling it, \u201cdeliciously evil.\u201d Darth Vader would agree.<\/p>\n\n\n\n

The Gladiator March \u2013 Sousa<\/strong> <\/p>\n\n\n\n

While The Stars and Stripes Forever<\/em> is his most famous work, The Gladiator<\/em> (1886) was the march that truly launched Sousa’s career. It was his first major financial success, selling over a million copies of sheet music in a era before digital streaming. It possesses all the hallmarks of the “March King”: a driving rhythmic pulse, a soaring trumpet motif, and a sense of indomitable spirit. This piece served as the blueprint for the legendary Sousa Band’s sound that would eventually tour the globe.<\/p>\n\n\n\n

Washington Post March \u2013 Sousa<\/strong> <\/p>\n\n\n\n

The Washington Post<\/em> Amateur Authors\u2019 Association hosted an essay contest for schoolchildren in the spring of 1889. During the awards ceremony held on the Smithsonian grounds on June 15, 1889, with President Benjamin Harrison in attendance, Sousa conducted the premiere of the march Washington Post<\/em> owners Frank Hatton and Beriah Wilkins had commissioned, The Washington Post March<\/em>. <\/p>\n\n\n\n

The now-iconic march rapidly gained popularity, ranking second only to Sousa\u2019s The Stars and Stripes Forever<\/em>. At the time, Sousa was conductor of the United States Marine Band, affectionately known as \u201cThe President\u2019s Own.\u201d As a reflection of the march\u2019s association with the band, it too is known as \u201cThe President\u2019s Own.\u201d<\/p>\n\n\n\n

Military Salute Medley \u2013 arr. Lowden<\/strong> <\/p>\n\n\n\n

This stirring medley, arranged by Bob Lowden, honors the five branches of the United States Armed Forces. Each branch\u2019s official song is woven into a seamless tribute, from the seafaring spirit of Anchors Aweigh<\/em> to the soaring bravado of The U.S. Air Force<\/em>. It is worth noting that many of these songs began as independent marches before being officially adopted, serving as a reminder that the march form remains the heartbeat of American military tradition and service.<\/p>\n\n\n\n

MSU Fight Song \u2013 Lankey\/Sayles\/arr. O\u2019Reilly<\/strong> <\/p>\n\n\n\n

Beginning with its first victory over the University of Michigan in 1913, Michigan Agricultural College (M.A.C.) fans sang their opponents\u2019 fight songs. In early 1915, cheerleader Francis Irving Lankey and lyricist Arthur Sayles composed their own fight song. <\/p>\n\n\n\n

Based on the hymn Stand Up, Stand Up for Jesus<\/em>, the lyrics and title went through several changes as the M.A.C. became Michigan State University. The final version was copyrighted in 1919 as MSU Fight Song<\/em> and then Victory for MSU<\/em>, and has remained essentially unchanged since that time. <\/p>\n\n\n\n

Performed at all MSU events, this traditional-styled march celebrates the Spartan fighting spirit and school colors (green and white), and features audience participation with rallying cries such as \u201cFight! Fight! Rah, Team, Fight!\u201d and \u201cVictory for MSU.\u201d The lyrics also reference the Red Cedar River that runs through the heart of campus. <\/p>\n\n\n\n

There are two primary versions: the Pregame Fight<\/em> and the longer Falcone Fight<\/em>, arranged by former MSU Director of Bands, Leonard Falcone. Bleacher Report<\/em> ranks Victory for MSU<\/em> as the #6 best college fight song and described by ESPN as one of the NCAA\u2019s best fight songs.<\/p>\n\n\n\n

U of M Fight Song \u2013 Elbel\/Ravelli<\/strong> <\/p>\n\n\n\n

Some university fight songs are so iconic that one does not have to be a student, or even a fan, to know them. The University of Michigan\u2019s fight song is one of those. Regarded by most as the greatest collegiate fight song ever written, it is instantly recognized in any format in which it appears. <\/p>\n\n\n\n

Officially entitled The Victors<\/em>, U of M student Louis Elbel composed the march in celebration of the team\u2019s victory over the University of Chicago on Thanksgiving Day 1898. Elbel felt that the game \u201cshould be dignified by something more elevating, for this was no ordinary victory.\u201d He composed it on the train ride from Chicago to Ann Arbor. <\/p>\n\n\n\n

The Victors<\/em> was first performed on April 5, 1899, and again three days later at a concert by the U.S. Marine Band under the baton of John Philip Sousa. Sousa had high regard for the march, stating, \u201cNo one but a master of counterpoint could have conceived the splendid harmony that marks the composition throughout.\u201d <\/p>\n\n\n\n

Eventually, Director of Bands William Revelli (1935\u20131971) arranged it into the versions we are familiar with today. In addition to the full version, there is a shortened version that only uses the final refrain that is generally used at sporting events, pep rallies, and any other large student events.<\/p>\n\n\n\n

As the musical identity of the university, The Victors<\/em> is often heard in U of M advertising ranging from the traditional march to slower string versions. The Victors<\/em> has been ranked as the number one fight song by The Bleacher Report <\/em>and USA Today<\/em> and the number two fight song by NFL.com<\/p>\n\n\n\n

Wide Receiver Theme from NBC Football \u2013 Williams<\/strong> <\/p>\n\n\n\n

John Williams\u2019 contribution to the world of sports television is as monumental as his cinematic scores. Originally composed for NBC\u2019s NFL coverage, this theme utilizes the rhythmic precision of the march to capture the explosive, high-stakes energy of professional football. This piece demonstrates how the “classical” march form has been repurposed to drive the narrative of modern athletic competition, proving that the genre’s ability to stir adrenaline is as potent on the television screen as it was on the battlefield.<\/p>\n\n\n\n

The Olympic Spirit \u2013 Williams<\/strong> <\/p>\n\n\n\n

In a 1992 interview with Jon Burlingame, John Williams stated that his Olympic music was intended as a musical representation of \u201cthe spirit of cooperation, of heroic achievement, all the striving and preparation that go before the events, and all the applause that comes after them.\u201d <\/p>\n\n\n\n

While The Olympic Spirit<\/em> (composed for the 1988 Seoul Games) is distinct from his 1984 Fanfare<\/em>, it carries the same noble weight. Williams was up to the task of representing the noble \u201cOlympic Theme\u201d and the desire of athletes to give their best effort. The music symbolizes the spirit of competition and the humanity among the athletes of all nations, bringing the audience through the finish line to the medal stand.<\/p>\n\n\n\n

St. Louis Blues March \u2013 Handy\/Miller<\/strong> <\/p>\n\n\n\n

When \u201cFather of the Blues\u201d W.C. Handy composed Saint Louis Blues<\/em> in 1914, he had an objective \u201cto combine ragtime syncopation with a real melody in the spiritual tradition.\u201d There was one problem\u2014tango was the dance of choice that year. He related, \u201cI tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues.\u201d <\/p>\n\n\n\n

Over the next 30 years, it was featured by every prominent blues artist. Then, following his enlistment in the U.S. Army in October 1942, Glenn Miller worked on developing a big band for the Army. Miller enjoyed giving music \u201cthe big band treatment.\u201d He also ran afoul of some military purists who took exception to his eschewing Sousa marches in favor of turning blues songs into marches. <\/p>\n\n\n\n

With St. Louis Blues<\/em>, Miller added a bold march introduction to replace Handy\u2019s tango, followed by alternating march and blues-style sections. It stands today as an example of the American creative spirit to blend African American music with patriotic military music.<\/p>\n\n\n\n

March from The Nutcracker \u2013 Tchaikovsky<\/strong> <\/p>\n\n\n\n

Pyotr Ilyich Tchaikovsky\u2019s The Nutcracker<\/em> (1892) offers a brilliant example of the “miniature march.” Appearing in the first act during the Christmas party scene, this march is not one of military conquest, but of childhood wonder. Tchaikovsky softens the traditionally rigid march beats with playful woodwind interjections and staccato strings. It serves as a bridge between the formal marches of the 19th century and the character-driven marches of the theater, proving that the form can be as graceful as it is powerful.<\/p>\n\n\n\n

March to the Scaffold \u2013 Berlioz<\/strong> <\/p>\n\n\n\n

In Symphonie Fantastique<\/em> (1830), Hector Berlioz takes the march into a dark, psychological territory. In this fourth movement, the protagonist dreams he has killed his beloved and is being led to the guillotine. With the dramatic flair of the Romantic era, this piece shows the pinnacle of that drama. The music features a relentless, thumping percussion that mimics the footsteps of a doomed man, building to a terrifying climax that represents the falling blade, a stark contrast to the celebratory marches found elsewhere in this program.<\/p>\n\n\n\n

National Emblem March \u2013 Bagley<\/strong> <\/p>\n\n\n\n

Edwin Eugene Bagley was a cornetist and composer with several touring bands at the turn of the last century. During a 1902 tour with Wheeler\u2019s Band, he began composing a march for which he could not find an ending. In frustration, he put the manuscript in a box and forgot about it. <\/p>\n\n\n\n

Three years later, a member of the band found the manuscript and gave it to the rest of the musicians who secretly rehearsed it. Moments before a concert, the band surprised him with the announcement that they were playing it on that evening\u2019s concert. National Emblem<\/em> was an instant hit. The march incorporates the first twelve notes of The Star-Spangled Banner<\/em>, in duple rather than triple pulse, along with an original melody that is both stirring and easily recognizable. Sousa considered it one of the greatest marches ever written. Frederick Fennell described it \u201cas perfect a march as a march can be.\u201d<\/p>\n\n\n\n

Seventy-Six Trombones \u2013 Wilson\/Anderson<\/strong> <\/p>\n\n\n\n

Meredith Willson was a flutist in John Philip Sousa\u2019s band (1921\u20131923) where he learned the march form that would influence the structure and style of Seventy-Six Trombones<\/em>, the signature show tune from his 1957 musical, The Music Man<\/em>. <\/p>\n\n\n\n

This sales pitch, sung by the charismatic con man Harold Hill, paints a picture of a massive marching band with 76 trombones, 110 cornets, \u201cmore than a thousand reeds,\u201d and even \u201cfifty mounted cannon\u201d in an attempt to encourage the citizens of River City, Iowa, to buy his non-existent instruments. <\/p>\n\n\n\n

Meredith\u2019s catchy and entertaining melody craftily hides nods to Sousa with motifs taken from The Stars and Stripes Forever<\/em> and The Washington Post <\/em>as well as its structure. Several notables have added their flair to the march including a jazzy version from Henry Mancini (1963) and a cinematic version from John Williams (2003). Andre Rieu\u2019s orchestra plays the march as their grand entrance to performances.<\/p>\n\n\n\n

Radetzky March \u2013 Strauss Sr.<\/strong> <\/p>\n\n\n\n

Johann Strauss Sr. composed Radetzky March<\/em> in celebration of the Austrian victory at the Battle of Custoza during the First Italian War of Independence. The march premiered on August 31, 1848, and was dedicated to Field Marshal Joseph Radetzky von Radetz. <\/p>\n\n\n\n

Strauss based the opening theme on his Jubel-Quadrille, Op. 130<\/em>, with a few tonal adjustments. The secondary theme is based on the folk tune Alter Tanz aus Wien<\/em>, after hearing the soldiers singing it on their return. Originally composed in 3\/4 time, Strauss converted the melody to 2\/4 to fit the march\u2019s format, adding a touch of Viennese charm. <\/p>\n\n\n\n

The march quickly became a source of national pride and the unofficial Austrian national anthem. It has a tradition rooted in the first time Austrian soldiers heard the march; in essence, it has become an audience participation piece usually cued by the conductor. During the soft, first statement of the theme, audiences quietly clap along, followed by thunderous clapping (and sometimes stomping) on the repeat.<\/p>\n\n\n\n

Raiders March \u2013 Williams<\/strong> <\/p>\n\n\n\n

First heard in the 1981 film Raiders of the Lost Ark<\/em>, this march has become synonymous with the spirit of adventure. With John Williams\u2019 ability to evoke heroism, the Raiders March<\/em> utilizes a classic “call and response” structure between the brass and the orchestra. Williams famously presented two different potential themes to director Steven Spielberg, who simply said, “Can’t you use both?” The result is the triumphant main theme followed by the more lyrical “Marion’s Theme” bridge. It is a modern masterpiece that has secured its place alongside the great military marches of the past.<\/p>\n\n\n\n

The Stars and Stripes Forever \u2013 Sousa<\/strong> <\/p>\n\n\n\n

No concert of marches could end with any other piece. Composed by John Philip Sousa on a return voyage from Europe in 1896, he famously remarked that the music was born from a “mental band” that played the tune repeatedly in his head during the journey. <\/p>\n\n\n\n

In 1987, it was officially designated as the National March of the United States. It contains perhaps the most famous piccolo solo in history and a “Grandioso” finale that never fails to bring an audience to its feet. It is the ultimate expression of the “Golden Age,” embodying the patriotism, precision, and joy that define the American march.<\/p>\n\n\n\n

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\u201cMarch of the Toreadors\u201d from Carmen Georges Bizet \u201cThe Imperial March\u201d from The Empire Strikes Back John Williams The Gladiator March John Philip Sousa The Washington Post March Sousa Armed Forces Salute arr. Robert Lowden Victory for MSU (MSU Fight Song) Francis Irving Lankey The Victors (U of M Fight Song) Louis Elbel \u201cWide Receiver\u201d … Continue reading “Today’s Concert: March 27, 2026”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-2992","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/pages\/2992","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/comments?post=2992"}],"version-history":[{"count":77,"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/pages\/2992\/revisions"}],"predecessor-version":[{"id":5134,"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/pages\/2992\/revisions\/5134"}],"wp:attachment":[{"href":"https:\/\/dearbornsymphony.org\/wp\/wp-json\/wp\/v2\/media?parent=2992"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}