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Friday, March 6 • 8:00 pmDowntown Theatre •1035 Texas Street

Fairfield

Solano Winds History n December 9, 1995, a new community band took the stage in the auditorium at Will C. Wood High School in Vacaville. Comprised of 55 volunteer musicians under the direction of Robert O. Briggs, Solano Winds performed a program of eight classic selections from the Wind Band repertoire before a very receptive audience. Briggs, the just-retired Director Emeritus of the University of California Band in Berkeley, formed the ensemble along with Bill Doherty, the first President of the organization. It was apparent to everyone in the room that this new performing group was here to stay. Now in our 20th season, Solano Winds continues to provide band members and audiences an opportunity to enjoy music making. Over the years, many things have changed: we’ve moved rehearsal spaces from Fairfield High School, to Armijo High School, to Solano Community College, to our current location at Vanden High School. Rather than using all borrowed music as we did in 1995, we now maintain our own extensive music library. And to support our growth, our donor base has grown significantly since 1995, when we started with two important donors – Gordon’s Music & Sound and the Fairfield High School Scarlet Brigade Band Boosters. During this time, though, many more things have stayed the same. Our commitment to perform high quality Wind Band literature well and to have fun while doing it has been a consistent staple of our organization. While some members have come and gone over the years, we continue to maintain a healthy blend of experienced and young musicians. Upon the passing of Bob Briggs in 2008, Bill Doherty was named as Music Director, continuing the traditions started when the band formed in 1995. Since that premiere performance at Will C. Wood High School, we’ve performed at the Fairfield Community Center, the Vacaville Performing Arts Theatre, the Lesher Center for the Arts, and the Napa Valley College Performing Arts Center. In our second season, we performed as a part of the Carmichael Park Community Band Festival, and have performed in that Festival every year since that appearance. Also in that second season, we embarked on what has become a tremendous relationship with the residents at Paradise Valley Estates, where we now perform four times each season. In 2013, we were honored with an invitation to perform at the Association of Concert Bands’ National Convention. Through all of this, our performance home has been the intimate space on Texas Street, formerly the Fairfield Center for Creative Arts, now the Downtown Theatre, of which Solano Winds is a resident company. Like any successful performing organization, we can credit our longevity to three factors: the care that our musicians place on mastering their musical performance, the appreciation consistently shown by our audiences, and the relationships that we’ve been able to build with each other over these first twenty seasons.

Welcome ave you ever watched a film or television show that did not include a musical soundtrack? Even when we’re not actively thinking about it, music provides a strong emotional underpinning to any story we might want to tell. Indeed, entire genres exist to celebrate the role that music plays in storytelling – opera, ballet, and musical theatre being chief among those genres. But music also adds an emotional element to the retelling of documentary stories. The masterful score evokes just the right response from the viewer at just the right time in the story. Tonight, Solano Winds celebrates that collaboration between storyteller and score composer. Whether written for the stage or screen, or just a depiction of a true story, music helps us all to access the emotions vital to any good story – truth or fiction.

Bill DohertyMusic Director, Solano Winds Community Concert Band

Bill Doherty – Music Director n 1994, as Bob Briggs was beginning his last year before retirement as Director of the University of California Band, Bill Doherty suggested to him that they start a community band in Fairfield. A year later, that vision became a reality as Bob founded Solano Winds. Bill served as the first President of the group and helped to formalize the behind-the-scenes workings of the band while playing principal trumpet. Upon the passing of Robert O. Briggs in September 2008, Bill was named

Music Director of Solano Winds. Bill played in the Cal Band under Bob’s leadership while earning his Bachelor of Arts in Music from the University of California at Berkeley. He taught band for eleven years, including a three-year stay at Vanden High School, before adding mathematics to his teaching credential. In addition to his high school bands, Bill conducted the Berkeley Symphonic Band from 1985 to 1989. Currently, he teaches mathematics and assists teachers in their use of instructional technology at Campolindo High School in Moraga. He lives in Fairfield with his wife, Jennifer, who teaches music in Fairfield and plays percussion in Solano Winds. Bill and Jennifer are very proud of their three talented children: Melissa, a University of Oregon graduate, now teaching dance in Redding, CA; Kevin, a 2014 graduate of the Ray Bolger Musical Theatre Program at UCLA, currently working as a actor in Southern California; and Emily, a Solano Winds alumnus who is now pursuing a degree in Music Education at Michigan State University.

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Still to come in our 20th Season:

May 15, 2015

“War & Peace”The broadest ranges of the musical emotional

spectrum, from music inspired by the Civil War, the Russian Revolution and World War II to

sounds of beauty, joy, and peace.

TONIGHT’S LIBRARY SPONSORSDanse Bacchanale – sponsored by Gordon’s Music & Sound,

Cliff Gordon, Owner

P ROGRAM

Danse Bacchanale (from “Samson and Dalila”)………………Camille Saint-SaënsTranscribed by Kenneth Singleton

Pineapple Poll (Suite from the Ballet) ….Based on the Music of Arthur Sullivan

Arranged by Charles Mackerras Arranged for Military Band by W. J. Duthoit, A.R.C.M

No. 1 Opening Number No. 2 Jasper’s Dance No. 3 Poll’s Dance No. 4 Finale

The Golden Age of Broadway (The Musicals of Rodgers and Hammerstein II)…. Music by Richard Rodgers

Lyrics by Oscar Hammerstein IIArranged by John Moss

INTERMISSION

Revelation March …………………………………………..……….…… W. Paris Chambers Edited by John R. Bourgeoiss

The Wizard of Oz ………………………………………….. Harold Arleand E. Y. Harburg Arranged by James Barnes

Of Sailors and Whales …………………………..…………………….. W. Francis McBeth

I. Ishmael II. Queenqueg III. Father Mapple IV. Ahab V. The White Whale

Narrator:David Gaut (Tuesday, March 3)

Harry Price (Friday, March 6)

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Danse Bacchanale It is not unusual for a musician to exhibit talent at a young age, but France’s Camille Saint-Saëns (1835-1921) surpassed even the young W. A. Mozart. Saint-Saëns was reading by age two, composing piano music by age three, and at ten he presented a “formal debut” recital of piano concertos by Mozart and Beethoven. For an encore he offered to play – from memory – any of Beethoven’s 32 piano sonatas! Over the course of a long and successful career, Saint-Saëns became known as an extraordinary pianist, organist (Franz Liszt proclaimed him “the greatest organist in the world”), composer (well over 200 works), and writer. He composed a dozen operas, eight symphonies, ten solo concerti (for piano, violin, and cello), over 40 chamber works, and dozens of piano pieces. In 1908 he became the first composer to write music specifically for a motion picture. His fame as a composer and performer took him to Spain, Portual, Italy, Greece, Uruguay, Scandinavia, Russia, England, and the United States. As a composer he was described as “gifted,” facile,” and “prolific,” and his music exhibited “clarity, simplicity, conciseness, balance, and freedom from exaggeration.” In Saint-Saens’s own words, “I write music as an apple-tree produces apples,” and “I live in music like a fish in water.” However, even though he lived in an era that embraced innovation, he was not a revolutionary or groundbreaking composer, but wrote in a generally conservative musical language. Perhaps for this reason, only a handful of his works remain familiar to the general concert audience. These include his Third Symphony “Organ” (1886), “Carnival of the Animals” (1886), “Danse Macabre” (1875), a few of his concertos, and the Bacchanale from “Samson and Dalila” (1877). Although he composed twelve operas, only “Samson and Dalila” met with success, and is still performed today. The Bacchanale appears as a ballet at the beginning of the opera’s final scene. It is set in the Temple of Dagon, where the Philistines are prematurely celebrating their victory over the Israelites. According to the dictionary, a bacchanialia is the “Roman festival of Bacchus,” and a “drunken revelry.” Saint-Saëns masterfully captures the exoticism of the scene, using Middle-Eastern tunes (characterized by melodic intervals of an augmented second), and a full array of colors and effects. Plus, the Bacchanale concludes with one of the most exciting codas in the orchestral repertoire. This transcription is dedicated to the Boulder (Colorado) High School Wind Ensemble, and their wonderful director, Dr. Thomas Horst.

P rogram Notes

P rogram Notes

Pineapple Poll After the copyright on Arthur Sullivan’s music expired in 1950, the English opera company Sadler’s Wells created a ballet called Pineapple Poll, based on Gilbert’s Bab Ballad, “The Bumboat Woman’s Story.” It was set exclusively to music by Sullivan, arranged by Charles Mackerras. Mackerras had played oboe in a Sydney theater that produced all but two of the Gilbert & Sullivan operas. He wove the tunes from these works together brilliantly, and listeners may well recognize melodies from Mikado, Iolanthe, Princess Ida, Patience, Ruddigore, Gondoliers, and other works in these selections.

The Golden Age of Broadway Oscar Hammerstein II was born in New York City in 1895, the child of a theatre manager, the nephew of a successful Broadway producer, and the grandson of a famous opera impresario. He studied law at Columbia University. Richard Charles Rodgers was born in New York City in 1905 and attended P.S. 166, which in 2003 was renamed in his honor. Rodgers also attended Columbia University and the Institute of Musical Art (now the Julliard School). While at Columbia, Hammerstein wrote lyrics for the popular “Varsity” shows, collaborating with another lyricist, Lorenz Hart, and a young lowerclassman, Richard Rodgers. Together, the not-yet-famous trio collaborated on the 1920 Varsity show, “Fly With Me.” Hammerstein left law school after two years to pursue a career in theatre. His first success was “Wildflower,” which he wrote along with Otto Harbach, Vincent Youmans, and Herbert Stothart in 1923. He collaborated with some of the greatest composers of his time, including Rudolf Frimi (“Rose-Marie”), Sigmund Romberg (“The Desert Song”), and George Gershwin (“Song of the Flame”). He worked with Jerome Kern on eight musicals, including their smash hit “Showboat.” Meanwhile, Rodgers continued his relationship with lyricist Hart to produce an average of two new shows every season for more than two decades. Their first Broadway show, Poor Little Ritz Girl (1920) ran for 94 performances. They spent the early 1930’s in Hollywood where they wrote films scores for the likes of Maurice Chevalier (“Love Me Tonight”), Al Jolson (“Hallelujah, I’m a Bum”), and George M. Cohan (“The Phantom President”). Rodgers and Hart then returned to New York to create a number of masterpieces – “Babes in Arms,” “The Boys

from Syracuse,” and “Pal Joey,” to name just a few. Their partnership ended with Lorenz Hart’s death in 1943. Earlier in 1943, Rodgers and Hammerstein had rejoined forces for their first collaboration since their days at Columbia. “Oklahoma!” (1943) combined Rodgers’ mastery of the musical comedy with Hammerstein’s experience in reviving the art form of the operetta into its own new genre, the musical comedy. With “Oklahoma!,” the most successful partnership in Broadway history was formed. Rodgers and Hammerstein wrote eleven musicals – nine for the stage, and one each for the large screen (“State Fair,” 1945) and television (“Cinderella,” 1957). Hammerstein died in 1960, and Rodgers continued to write music and produce shows until his death in 1979. Together, Rodgers and Hammerstein have earned dozens of awards, including Pulitzer Prizes, Oscars, Tonys, Emmys and Grammys. In 1998, Time Magazine and CBS News named Rodgers and Hammerstein as among the 20 most influential artists of the 20th century. “The Golden Age of Broadway” is a medley of some of Rodgers’ and Hammerstein’s most beloved hits, including “Bali Ha’i” (“South Pacific,” 1949), “Oklahoma” (“Oklahoma!,” 1943), “Getting to Know You” (“The King and I,” 1951), “The Carousel Waltz” (“Carousel,” 1945), and “Climb Ev’ry Mountain” (“The Sound of Music,” 1959).

Revelation March W. Paris Chambers was a well know composer, conductor, salesman, and teacher in the late 19th century, but above all else, he was a magnificent cornetist. He had exceptional range – two octaves above high C – and used beautifully controlled lip trills in the upper register while playing a simple melody. Born in Pennsylvania in 1854, he became leader of the local Keystone Cornet Band when he was 18. The group was then nicknamed “The Boy’s Band” because of the young age of the leader. He later conducted the Capital City Band and the Great Southern Band of Baltimore. For all of his praise earned as a conductor, though, his extraordinary solo cornet performances brought even more attention. On a tour of Colorado in 1892, he performed a cornet solo on the summit of Pike’s Peak. At an elevation of 14,500 feet, many struggle just to breathe there!

P rogram NotesGolden Age, cont’d.

BROADWAY

Chambers wrote 178 selections, including 124 marches, eight waltzes, eight overtures, eight instrumental solos and duets, six serenades, five dirges, four polkas, and fifteen other works. The most notable of his marches include “The Boys of the Old Brigade,” “Chicago Tribune,” “Hostrauser’s,” “March Religioso,” and “Northwind.” The John Bourgeois arrangement of “Revelation March” was written in 2002 and opened the performance by the United States Marine Band (“The President’s Own”) at the U.S. Capitol on July 30, 2014.

The Wizard of Oz Some of the most iconic songs ever written for film are from the 1939 musical fantasy, “The Wizard of Oz.” MGM had many options open to them as they cast the film. Negotiations occurred early in pre-production to cast Shirley Temple as Dorothy. That role ultimately belonged to Judy Garland. After Ed Wynn turned down the role of the Wizard, MGM entered negotiations with W.C. Fields for the role, but grew tired of his protracted haggling and gave the role to an actor under contract to MGM, Frank Morgan. Ray Bolger originally was cast as the Tin Man, but longed to play the Scarecrow instead. That role had been given to Buddy Ebsen, but when Ebsen suffered a reaction to the aluminum powder makeup he wore, Bolger got his place as the Scarecrow and Jack Haley took over as the Tin Man. Bert Lahr was signed as the Cowardly Lion early in the casting process. This overture arranged by James Barnes includes themes from “Over the Rainbow,” “Ding, Dong, the Witch is Dead,” “We’re Off to See the Wizard,” “The Merry Old Land of Oz,” and “If I Only Had a Brain.”

P rogram Notes

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Of Sailors and Whales This programmatic piece is based on five scenes from Herman Melville’s Moby Dick. It was commissioned by and is dedicated to the California Band Directors Association, Inc., and was premiered in February 1990 by the California All-State Band, conducted by the composer. The work is subdedicated to Robert Lanon White, Commander USN (Ret.), who went to sea as a simple sailor. W. Francis McBeth, one of the preeminent composers in the field of music for wind band, provided these notes for each movement:

I. Ishmael - “I go to sea as a simple sailor.”

II. Queequeg - “It was quite plain that he must be some abominable savage, but Queequeg was a creature in the transitory state - neither caterpillar nor butterfly.”

III. Father Mapple - “This ended, in prolonged solemn tones, like the continual tolling of a bell in a ship that is foundering at sea in a fog - in such tones he commenced reading the following hymn; but changing his manner towards the concluding stanzas, burst forth with a pealing exultation and joy.”

The ribs and terrors in the whale arched over me a dismal gloom WhileallGod’ssunlitwavesrolledby,andliftmelowerdowntodoom. In black distress I called my God when I could scarce believe Him mine, HebowedHiseartomycomplaint,nomorethewhaledidmeconfine. My songs forever shall record that terrible, that joyful hour, IgivetheglorytomyGod,Hisallthemercyandthepower. IV. Ahab - “So powerfully did the whole grim aspect of Ahab affect me that for the first few moments I hardly noted the barbaric white leg upon which he partly stood.” V. The White Whale - “Moby Dick seemed combinedly possessed by all the angels that fell from heaven. The birds! - the birds! They mark the spot.”

P rogram Notes

P rogram Notes

In Celebration of Solano Winds 20th Season, we are putting together a collection entitled

“FACES OF SOLANO WINDS ~ What makes our Band Community Special?”.

This will include a collection of band member biographies, and writings from band members, guest musicians, scholarship recipients, donors, music

directors, composers, and audience members. We would greatly appreciate your participation. What we are looking

for are any creative writings or artwork that express what it means to be connected to a group that creates a musical experience, from your own

perspective. This could be a poem, a brief statement or quote, sharing of personal stories from your own experience being connected to Solano Winds

or other organizations like it, or just a creative writing piece about being a part of creating music. (250 words or less) Please consider writing/creating

something and submitting it. Artwork will be printed in black and white. We ask that all entries be submitted no later than Thursday, March 26, 2015. Please include the following information with your entry. We’d prefer all

entries to be emailed, but we will also accept hard copies in the mail. Full Name: __________________________________________ Mailing Address: Email Address: Your Title: (choose from one of the following: band member, guest musician, scholarship recipient, donor, music director, composer, audience member, other specified) Yes, I give Solano Winds permission to edit and include my writing entry in their collection: Signature: ________________________________________ Date: __________

Deadline: Thursday, March 26, 2015

(Preferred) Email To: Jennifer Doherty, jendohremi@earthlink.netOr Mail To: Solano Winds, Attn: Jennifer Doherty,

P.O. Box 722, Fairfield, CA. 94533-0072

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Member Bio

Truth or Fiction? “The family that plays together, stays together.” One can research this familiar motto through Solano Winds. The Williams women – mother Michelle and daughter Katie – are both members of Fairfield’s community concert band. A clarinet-playing mother and a trumpet-playing daughter could lead to dissonance when they decide to practice in the same house, but the Williams’ home is always filled with music because it is the entire family’s passion. Both Michelle and Katie have similar goals: to be the best musician possible. Naturally, Michelle as mother has had more experience, playing the clarinet first, then majoring on tenor and alto saxophone in college. She also learned to play the flute and honed her clarinet skills by playing in the Army band, both in Maryland at Ft. George G. Meade, and at Camp Zama, Japan. A biographic profile has appeared in the Solano Winds program in December 2013. Katharine Rose Williams, Michelle and Mike’s daughter has the wisdom and versatility of a seasoned, mature musician, even though chronologically she is only fifteen years old. As part of a musical family, Katie says that music was an essential element for growth and development. Piano was her first instrument, but she opted for a trumpet so that she could perform as part of a band at school. She credits Alaska’s climate (very cold, often dark) with keeping her indoors, studying and playing new instruments, and challenging herself to become expert in trumpet, saxophone and euphonium. “I really wanted to learn to play French horn, and I tried clarinet,violin and drums, too. Flute was a once-and-last experience,” Katie confides. Katie’s extended family of band instructors was a guiding force in her life. “Mr. Honeychurch was my fifth grade band teacher,” she explains, “and when he saw how frustrated I was becoming, he found a place for me in the sixth grade band. I really appreciate all the extra things he did for me that gave me great opportunities. He is a great band director. In sixth grade we moved to Alaska, where I had Mr. Toba. Band was still frustrating but he was also a great band director. That year for a school project on I put on a little solo jazz recital. That was really hard work, but it paid off tremendously. I love jazz a lot now and I am glad that I got to experience it in sixth grade. Seventh grade I had Mr. Arms as a teacher. Seventh grade was one of the most fun years I have ever spent playing music. I had a rehearsal almost every day the whole year, and I got different things out of all of them. There was the choir, the Anchorage community band, and a youth symphony, as well as my school music program.

of Michelle and Katie Williams

Member Bio

I’ve always had a private teacher but they’ve been in the Air Force Band. So because of tours I sometimes only get a lesson about once a month. Other than that though, I’ve always had teachers. Mr. Jon Ruff started me, and without him I would not be the player I am. He pushed me and I am really glad that he did because I learned a lot. In Alaska I had Mark Nixon, who was also in the Air Force band and taught me a lot. Currently I am taking lessons with Ben Paille, who is a great player and I am learning a lot. Last year at Golden West, I had Mr. Honeychurch again. I met some really great friends and we played some great music too. I also played with Mr. Honeychurch in Alive Music Orchestra, and that was really fun too because both of my parents played in that band. My dad and brother are great, but my mother is incredible! The amount of time and money and understanding she has put into my life is something I can never repay her for. She is not only the best mom I know, but also the only mom I could ever want, because she understands how much I love music. I am so glad I get to share that part of my life with her. My mom and I definitely talk about the music we are playing . The car ride back from a rehearsal is always filled with discussion about songs that we like or maybe not like. I am really glad that I can talk to my mom about the music. We’ve both had different experiences and it is fun to share them. It is interesting when she doesn’t like a piece and I do or the other way around. I am definitely looking forward to a career playing trumpet. I have a long ways to go before I can come close to being a professional, but hopefully I can play trumpet for the rest of my life. Playing music puts you in a different place that you can’t get to any other way, and so even if I end up broke sitting on the floor of a subway station, I really hope I have my trumpet with me.” Such wit and wisdom! Katie says that playing in an adult community concert band like Solano Winds is helping her grow musically. The members are friendly and have the same respect for the music that she has. She credits Music Director Bill Doherty for letting her audition, and for encouraging her in a subtle way that does not call attention to her youthfulness. “Part of the reason I joined Solano Winds was to keep playing in such a fun environment where people get together just to play music.” Recently, Katie has taken an interest in learning to play the organ, and she has also been experimenting with bass. “If I could be a musical instrument, I would choose the bass,” she says thoughtfully. “It is a very versatile instrument that sounds and looks beautiful.” Just like Katharine Rose Williams, we imagine.

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S olano Winds PersonnelConductorBill Doherty – Math Teacher/Technology Coordinator

PiccoloCathy Pierce – Second Grade Teacher

FluteMay Dulce – Business AnalystLauren Nucum – Chemical EngineerCathy Pierce – Second Grade TeacherKari Stinnett – Social WorkNichole Strickland – StudentLeslie Williams – Student

OboeBill Aron – MusicianRenée Deeter – Musician

Eb ClarinetRenée Deeter – Musician

ClarinetRosie Aron – Special Education Instructional Assistant/NanaJulie Auman – Adjunct Music ProfessorJan Groth – Educator: ArtJennifer Holland – Pension AnalystAdrian Howley – SCC/Embry-Riddle Aero. Univ. StudentMichelle Johnson – Nurse Manager, USAF RetiredDon Meehan – Retired, Volunteer at WRMGarnet Piper-Lopez – Retired Advice Nurse/MicrobiologistRochelle Sanchez – Fitness Instructor, Dance TeacherElaine Schaefer – Retired Music TeacherInga Soule – AccountingMichelle Williams – Mom, Musician, TeacherMartha Wolf – Retired

Alto ClarinetGarnet Piper-Lopez – Retired Advice Nurse/Microbiologist

Bass ClarinetCliff Gordon – Music SalesRussell Grindle – Autism SpecialistDeborah Johnson – Retired Parole Administrator

Contra-Bass ClarinetCaitlin Olmstead – Genetic Counselor

Alto SaxophoneMelvin Brito – Office Administrator/AuditorRafael Figueroa – Stay at Home DadSamantha Johnson – Music TeacherMarcus Mills – English TeacherNathan Tedrow – Office Wizard

Tenor SaxophoneEvie Ayers – Arts Administrator Leonilo Dulce – Quality Assurance InspectorJoe Rico – Staff Engineer

Baritone SaxophoneTerry Sanchez – Retired Engineer (Toys, etc.)

TrumpetKenneth Flask – EstheticianJack Hanes – Music TeacherKori Miles – Voice TeacherChip Miller – Retired Sales RepresentativeJoe Regner – Retired Electronic EngineerKatie Williams – Student (9th Grade)Jim Wolf - Retired

HornKenneth Flask – EstheticianJack Hanes – Music TeacherKori Miles – Voice TeacherChip Miller – Retired Sales RepresentativeJoe Regner – Retired Electronic EngineerKatie Williams – Student (9th Grade)Jim Wolf - Retired

TromboneBob Evans – High School PrincipalJeff Johnstone – Economic Enrichment ScientistLarry Knowles – Retired Engineer; Generation Gap Band LeaderKim McCrea – Life Coach

EuphoniumDelbert Bump – Music Educator/ComposerRaymond Cabral – Programmer/Analyst

TubaDick Grokenberger – Retired U.S. Army, EducatorTim Mack – Retired Music Teacher, Administrator

String BassTyler Miles – Student (11th Grade)

PercussionJennifer Doherty – Music EducatorChristine Donovan – Superior Court Research AttorneyPhil Doty – Retired: Teacher, US MintWally Hunt – Band DirectorTyler Miles – Student (11th Grade)Georgina Nash – Retired Registered Nurse/Legal Nurse Consultant

TimpaniAntonio Escobedo – Music Teacher

Voice of the Solano WindsLiz Wildberger – Retired Media Specialist

S olano Winds Personnel

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S olano Winds Donors

Concert Sponsors ($1500+)

The Delong-Sweet Family FoundationThe Jelly Belly Candy CompanyParadise Valley Estates Residents CouncilPotrero Hills Landfill

Devotee ($100-$249)

Mr. and Mrs. Alfred AdamsMurray BassCol. Paul BergerotRichard and Judith BlakemoreDorothee BrownChristine and Paul CloseJohn and Patty ColeMargaret CutshallFred DanielsCecelia DohertyMr. and Mrs. Richard FeasterMarilyn FigelJohn and Charlotte GearhartPat GloverMary GrindleWilliam and Constance GumKen and Layna KinsmanKen KuraicaDorothy and Jack Lindeman

Enthusiast ($250+)

Lt. Col. Linn and Mona BensonVivian BowenRobert O. Briggs Scholarship Endow-ment FundArthur and Patricia ChildJohn and Susan ColemanBud DeLongNilo and May DulceSpike and Betty FlertzheimCharles GoldmanThomas and Nancy GuntherSamantha JohnsonBob and Terry KeckLive Music CenterMarcus MillsGloria NemsonJean RiehlBill and Elaine SmithBrandon and Kari StinnettChristine Tooby

Ed and Sue LippstreuSally LivingstonThomas Martin, Jr.Walt and Esther McDanielBarbara McKeeDuncan MillerWally and Pat MitchellBarbara PalmerJohn and Jean PetersStephen and Cathy PierceGarnet Piper-LopezMyrlee PotosnakHarry PriceBetty and Bill RawlinsonJoe and Connie RegnerMr. and Mrs. Fred SchafferFrederick SchleichMr. and Mrs. G. Ray Schoch Mary Ann Steingass

S olano Winds Donors

Y

Sid and Mary Gay WhitingLiz and Marty WildbergerRuth Wolfe, in memory of Richard D. Wolfe, M.D.Ralph W. and Daisy L. YoungCatherine Zimmerman

Admirer ($50-$99)

Become a Library Sponsor!

New this year :ou can help us defray the costs of expanding our music library by

becoming a “Library Sponsor.” Contact us at library@solanowinds.org for assistance with selecting a musical selection for our library. We

will then purchase that music in your name, imprint a perpetual note of thanks to your generosity on each musician’s copy of the music,

and include our thanks to you in our concert programs in perpetuity whenever we perform that musical selection.

Devotees (cont’d.)

Rob and Lacey ThayerRalph ThomasStephen P. TilleyOtto and Elly VasakScott and Geri VasakDr. Wayne T. Walker

Murray BassPatricia BenacquistaLucy BonnettManuel and Ina Claire EscanoSally FerejohnVirginia FisherNeil GouldEarl and Sue HandaJames HathawayMr. and Mrs. Harold JacobsJeanne Kersten Lynn LippstreuMajor Mary E. Longland

Jeanne MichaelJohn and Ann OusleyJeanne ReavisKim RodriguezShelly SandfordPaul and Elaine SchmidtAlvina SheeleySteve and Shelagh SpaffordBetty St. GeorgeJuliette ThomasElise WigtonThomas WinburnRic and Barbara Wright

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O S upport Our Band!

ur generous donors are the key to our successful community band. Ticket revenues make up less than 30% of our overall budget, and your help is always needed! Your tax deductible donation will help us in expanding our music library, commissioning a concert piece to be composed for our band, purchasing and renting musical instruments and equipment, and sponsoring guest artists at our performances.

Becoming an Admirer, Devotee or Enthusiast means you receive membership benefits. Help us spread the sound of fine concert band music throughout our community!

Admirers: $50-$99 Two concert vouchers Recognition of gift in concert program

Devotees: $100-$249 Four concert vouchers Recognition of gift in concert program

Enthusiasts: $250 and up Eight concert vouchers Recognition of gift in concert program

Concert Sponsor: $1,500 Corporations or individuals may sponsor a concert; names will be prominently displayed in advertisements and concert programs. A commemorative plaque is included. Please contact bandinfo@solanowinds.org for more information.

J

WWould you like to

play in the SOLANO WINDS?

oin our mailing list in the lobby, or send an e-mail to

bandinfo@solanowinds.org to join to get up-to-the-minute information on

programs and dates!

S Thank you!

olano Winds Community Concert Band would like to thank our donors, the Jelly Belly Candy Company,

Vanden High School, Gordon’s Music & Sound, the City of Fairfield, and the Downtown Theatre

Foundation for the Arts for their generous support.

Solano Winds Community Concert Bandwww.solanowinds.org

e rehearse Tuesdays from 7:00 to 9:30 in the Vanden High School Music Room, 2951 Markeley Lane, Fairfield, from late August through early June. If you play a band instrument, you are welcome

to join us. Band musicians of all abilities are welcome!

For more information, send an email to:sw-info@solanowinds.org for more

information, or visit our website at www.solanowinds.org.

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