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Welcome from the Museum Director Welcome to the 2017 edition of the fabulous “Flying Proms”. his fascinat ing aviation and arts experience takes full advantage of our beautiful rural Virginia Beach surroundings. For many of us, either wonderful “warbirds” lying or great live orchestral music alone would create a magical day. Combining the two of them in the midst of the museum’s great open spaces creates a magical family evening that we hope will be truly memorable for you. Again this year, Virginia Beach’s own “Symphonicity” will create musical magic for us as an integral part of the opening aerial ballet. For more than three decades, this community-based volunteer orchestra has been growing and develop ing into the incredibly talented and passionate group of artists that it is today. Tonight the orchestra will play, and the museum volunteer pilots will ly, some of your favorite music and planes. But there will be some new addition s as well, including what might be one of the most moving and inspiring compos itions ever written speciically to evoke the emotions of light. As you enjoy the hours leading up to the concert, please be certain to explore the museum and all of the newest exhibits. Right beside the concert area is the newly completed historic control tower. his very building is the actual control tower from the irst English airield to be turned over to the Americ an volunteers who arrived in England just months ater Pearl Harbor. Seventy-ive years ago, the airield known to the Royal Air Force as RAF Goxhill became known as USAAF Station #345- Goxhill in a ceremony attended by General Dwight Eisenho wer. Walk the corridors and rooms that were familiar to thousands of young American men and women from 1942 to 1945 and imagine the constant activity of planes and personnel. Our next mission will be to furnish the tower with the proper and historic equipment, radios, oices, and of course exhibit areas. You can support this mission with a speciic donation to the Goxhill Tower Fund. Donations of $100 or more will be rewarded with a 50-page booklet about the Goxhill experience in wartime, as well as an actual 75 year old brick from the control tower with a commemorative plate on it and a Certiicate of Authenticity. Have a wonderful evening, and then help us continue to grow by becoming an ambassador for the museum. Tell your friends that they need to discover the Military Aviation Museum! hanks for being here! Mike Potter, Director Military Aviation Museum
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A note from Symphonicity
Symphonicity is pleased to participate with the Military Aviation Museum in its annual Flying Proms event that honors the world’s war heroes and their impressive military aircrat. Symphonicity is a symphony orchestra comprised of auditioned voluntee r musicians and one of the artist-in-resident companies at the Sandler Center for the Performing Arts in Virginia Beach. he orchestra has just completed an exciting “Quest for the Best” season where conductor inalists were featured at each of our ive subscription concerts. he conductor search started over two years ago with 74 applicants from 4 continents. he ive inalists rose to the top based on their educatio n, experience, references, conducting videos and multiple interviews. At each concert, musicians and audience members were engaged in the process as they were encourag ed to submit feedback on each of the conductors, which ultimately helped in the recent selection of Symphonicity’s new Music Director. Visit Symphonicity’s website (www.sy mphonicity.org) or Facebook page to ind out who it is. he details of our upcoming 2017-2018 season will be published soon. In addition to a myriad of masterpieces, Symphonicity will open the season with the premiere of “Salute: To hose Who Serve,” a commissioned work written by award-winning American composer Adolphus Hailstork. hose who are particularly patriotic will want to attend both the opening and concluding concerts of the 2017-2018 subscription series. he subscription concerts are held on Sundays at 3 PM at the Sandler Center for the Performing Arts in Virginia Beach. he 2017-2018 dates are as follows: October 8, November 19, February 18, March 25, and May 6. For concert details and ticket information, visit our website or call 757-671-8611. If you like the beach on summer evenings, please consider joining Symphonicity for its free pops concerts on hursdays August 10th and August 24th at Neptune Festival Park, located at 31st Street and Atlantic Avenue in Virginia Beach. hese two concerts are part of the Symphony by the Sea series and will be conducte d by John Brewington, Fine Arts Coordinator of the Virginia Beach Public City Schools. Symphonicity will also perform a free Messiah Sing Along on Decemb er 23rd and a Lollipop concert for children and families on January 13th, 2018. Both are performed at the Sandler Center. We hope you enjoy today’s presentation and join us for other concerts this season. hank you for being part of the music! Lynette Andrews, Executive Director www.Symphonicity.org
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Our Guest Conductor D E N N I S J. Z E I S L E R
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DENNIS J. ZEISLER has been on the faculty of Old Dominion University in Norfolk, Virginia for 38 years, serving as Director of Bands, Professor of Clarinet and Saxophone, and Chairman of the Music Department. Under his direction, he Old Dominion University Wind Ensemble has developed into a premiere-performing ensemble. hey have recorded for TRN Music Publishers and Frank Erickson Publications and recently been featured in concerts at Carnegie Hall and the Kennedy Center. As former Chair, for iteen years, he led the steady growth of the Old Dominion University Music Department at the under-graduate and graduate levels.
Professor Zeisler has a B.M., B.M.E., and M.M. from the University of Michigan, where he was solo clarinetist of the Symphony Band, under the direction of Dr. William D. Revelli. He was solo clarinetist of the Detroit Concert Band, under the direction of Dr. Leonard Smith, and clarinet soloist with the United States Military Academy Band at West Point. Mr. Zeisler had his New York debut in Carnegie Recital Hall in May 1974 and has performed at three International Clarinet Society Conferences. He was on the faculty of Blue Lake Fine Arts Camp in Michigan, where he was principal clarinetist of the faculty orchestra and conductor of faculty and staf ensembles, and on the international conducting staf. In 1998, Professor Zeisler was awarded membership in the prestigious American Bandmasters Association. In 1999, he received the Orpheus Award from Phi Mu Alpha for, “signiicant and lasting contributions to the cause of Music in America,� and the Virginia Music Educator of the Year Award from the Virginia Music Educators Association. In 2004 he received the National Band Association Mentor Award and in 2009 was awarded a University Professorship at Old Dominion University for excellence in teaching. He is founder and conductor of the Virginia Wind Symphony, a professional wind group, comprised primarily of music educators from throughout the area of southeastern Virginia. he Virginia Wind Symphony has recorded six commercial compact discs and been featured in concert at two American Bandmasters Association Conventions (2004, 2011) and at the Midwest Band and Orchestra Clinic in Chicago (2004/2012). he Virginia Wind Symphony was the 2011 winner of the John Philip Sousa Sudler Silver Scroll Award for Adult/Community Bands. Zeisler is Past-President of the Southern Division of CBDNA, former Virginia State Chair of the National Band Association and the International Clarinet Society. He was PastPresident of NASM Region VII and is currently chair of the NBA Merrill-Jones Composition Contest and on the board of directors of the American Bandmasters Association, National Band Association (NBA) and the John Phillip Sousa Foundation. In 2012 Dennis Zeisler was elected Vice-President of the American Bandmasters Association and appointed to the Midwest Clinic Board of Directors. He is the 77th President of the American Bandmasters Association.
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he Military Aviation Museum is home to many historic military aircrat, each beautifully restored to its original glory. At today’s Flying Proms performance, you will see some of these incredible planes ly.
Flying to Flight of the Intruder
Douglas AD-4 “Skyraider” In mid-1944, the U.S. Navy was looking for a replacement for its obsolete SBD Dauntless dive-bomber. By March 1945, Douglas had redesigned, built and flown the new Dauntless II, and the Navy bought the initial production order just before the end of the war in the Pacific. The first version of the AD-1 had gradual improvements made to its design, which eventually led to the introduction of the AD-4 Skyraider in 1949. There were seven different models of Skyraiders built and several versions of each type. Skyraiders were used for combat in all weather situations, refueling, target towing, troop transportation, medical transport, photo reconnaissance, submarine detection and other missions. The final Skyraider rolled off the Douglas assembly lines in February 1957. Skyraiders continued to serve through the Vietnam War, and the Navy retired its last Skyraider in April 1968. The aircraft also served with various foreign governments such as South Vietnam, Sweden and France. The museum’s Douglas AD-4 Skyraider was built in 1949. During its first tour of duty, it was part of the VA-55 squadron that was deployed in the Korean War. Its third and final tour of active duty ended in February 1956 with the Marine Corps Squadron VMAT-20. It then spent 10 years on static display in Atlanta, Georgia, before being purchased in 1966 and restored back to flying condition. It was sold several more times, and the Military Aviation Museum acquired the plane in August 2000. In the spring of 2001, it was repainted to replicate the airplane flown by VA-195 Commanding Officer Harold “Swede” Carlson. LCDR Carlson led the VA-195 Squadron on the torpedo strike of the Hwachon Dam. The Skyraiders attack on May 1, 1951, was the last time the United States Navy used torpedoes in an actual act of war. 9
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Flying to Heavenly Slug Polikarpov Po-2 “Mule” The Polikarpov Po-2 was a generalpurpose Soviet aircraft. Originally named the U-2, it was designed by Nikolai Polikarpov to replace the U-1 trainer and Avro 504. Following his death in July 1944, it was renamed the Po-2 in his honor. The Po-2 first flew in January 1938 and more than 40,000 were built between 1928 and 1953, making it the second most produced aircraft in aviation history. It was used in liaison, ground attack, observation, training and psychological warfare. German troops called the plane the Nähmaschine or “sewing machine” due to the odd rattling noise made by the engine. The plane was used very effectively by the all-female 588th Night Bomber Regiment, “Night Witches.” Their goal was to harass enemy ground units by bombing them at night and depriving them of sleep. The museum’s Po-2 was found in a forest outside Vladivostok and restored in far eastern Russia. A handful of Po-2s are still flying today; some even with the original engine. The great numbers built and the long service time proves that this plane was truly excellent in its field. The name Mule seems extraordinarily appropriate for this little aircraft: undemanding, unglamorous, durable, efficient and forgiving. Yet at times, able to deliver a nasty kick!
Yakovlev Yak-3M The Yak-3 was a Soviet fighter plane that entered into service in 1944. It was a favorite of both pilots and ground crew because it was small, robust and easy to maintain. The Yak-3 was one of the lightest major combat fighters used by anyone during the war and was highly successful in dogfights, flying low over battlefields and engaging in dogfights below 13,000 feet. As it reached the front lines in the summer of 1944, the 91st IAP of the 2nd Army was tasked with using it to gain air superiority. They flew over 430 missions and shot down 20 Luftwaffe fighters and three Ju 87s, while only losing two Yak-3s. The Yak-3 seen at the museum today was actually recreated in 1991 by the Yakovlev company using original parts and dies in Orenburg, Russia. It is powered by an American V-12 Allison engine. 11
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Flying to Hell’s Angels
Fokker D.VII The Fokker Flugzeugwerke company began experimenting with a V-series biplane in 1916 featuring cantilever wings. In January 1918, pilots from the war front were invited to participate in a competition to test and evaluate the new fighters. Following their evaluations, the VII was modified to improve handling by elongating the rear fuselage and adding a triangular fixed vertical fin in front of the rudder. After that, Manfred von Richthofen, the Red Baron, declared the VII the best in the competition, and it was sent into production. As it began reaching the frontlines in the autumn of 1918, this biplane quickly proved to be a formidable aircraft. After the war, Germany was required to surrender all D.VIIs to the Allies, and surviving aircraft experienced widespread use for many years by the victors. The United States claimed many of the D.VIIs still in flying condition and used them for training. As the original Mercedes engines wore out, the Americans replaced them with Hall-Scott motors. The museum has two examples of D.VII airplanes in its collection, both painted in a lozenge camouflage pattern, a paint scheme commonly used by the Germans from 1917-1918. Consisting of polygons in four or five colors, Germans felt the patterns made it more difficult to distinguish the plane’s silhouette when in flight. The first D.VII the museum acquired was solid red, but after extensive restoration work in 2013-2014, it now sports a lozenge paint scheme with a dark green nose. The second D.VII was acquired in 2011, and it features a yellow nose and the lozenge camouflage. 13
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Flying to Hell’s Angels
Royal Aircraft Factory S.E.5a Undoubtable, one of the finest and most recognizable aircraft to come out of the Great War was the Royal Aircraft Factory SE-5. Having first come out of the Royal Aircraft Factory in early 1917, the SE-5 (Scout Experimental 5) was the brainchild of designers Henry Folland, and John Kenworthy. It’s design after some initial teething problems became known for its robust strength as well as its tame handling characteristics. At a time when trained pilots were in short supply, the SE-5 could make a good fighter out of even a novice pilot. Originally powered with the 150 hp Hispano Suiza engine, it was soon upgraded to the more powerful, if not less dependable 200 hp geared engine being manufactured by Wolseley Motor Company called the Viper. Once the bugs were worked out with this powerplant the SE-5A became one of the finest and most sought-after fighters of the Allied side. It was noted as one of the fastest fighters of its period with a top speed of 138 mph. Armed with both a synchronized .303 Vickers, as well as a wing mounted Lewis machine gun, it was truly a lethal machine. The SE-5A became the mount for some of Britain’s most famous aces. Albert Ball, Mick Mannock, and James McCudden all flew the SE-5 with great success. A total of 5,265 SE-5s and SE-5As were produced by six different manufacturers. The SE-5 continued on through the remainder of the war, and on with the RAF as well as several other countries for a number of years. A few were sold to civilian operators, who first developed the art of SKYWRITING using smoke. This aircraft was truly one of the outstanding machines of the First World War. The machine currently owned by the Military Aircraft Museum is a faithful replica of the SE-5A. It was originally purchased unfinished from a builder in Texas, and then completed by Vintage Aviation Services of Kingsbury, Texas. It is powered by an original American built Hispano Suiza of 180 hp. It is painted in the colors of American ace Elliot White Springs. 15
Flying to Hell’s Angels
Halberstadt CL.IV The Halberstadt CL.IV joined the German squadrons in spring 1918. The biplane was more maneuverable than the earlier model, CL.II, and it served a vital role as a ground attack aircraft. Four to six aircraft would fly in low formations over the Western Front targeting Allied infantry and artillery, clearing the way for advancing German troops. The museum’s Halberstadt was purchased from a museum in Alabama in 2006. It is powered by a modern, hidden Lycoming six-cylinder engine. The cartoon on the fuselage represents The Katzenjammer Kids, an American comic strip from the early twentieth century, which was based on a 1860s German children’s story about two mischievous boys.
Flying to A Bridge Too Far
Focke Wulf FW 190 A-8 In December of 2014, the Military Aviation Museum acquired a Focke Wulf Fw 190 A-8 from its previous owner, Bob Russell, in Camden, South Carolina. The aircraft is a Flugwerks kit built Fw 190 with a serial number of 990005. This aircraft is particularly unusual in that Russell fitted it with the four-bladed propeller, hub, engine and modified cowling from a Soviet Tupolev TU-2 bomber. This gives the aircraft a slightly unusual look, but when viewed from a short distance with the engine running, it appears to look just like an authentic Fw 190. 16
Flying to A Bridge Too Far
North American P-51D Mustang The museum’s P-51D, serial number 44-72483, was built in 1945 and was immediately sent to England where it was assigned to the Eighth Air Force. It was bought by the Military Aviation Museum in 2004 from an owner in Switzerland. It is painted as “Double Trouble Two” with black and yellow checkers on the nose to represent the aircraft flown by Deputy Commander “Wild” Bill Bailey of the 353rd Fighter Group. Bailey flew from England during World War II and named this plane “Double Trouble” for the two women he was dating back home and “Two” because it was his second Mustang.
Supermarine Spitfire The Spitfire flying today was built in 1943. The question mark on its side was painted in October 1944, when it became the personal plane of the 32nd Squadron Leader George Silvester. Silvester joked that it was “a bit of a question mark” over which squadron to assign his Spitfire, A Flight or B Flight, because as Squadron Leader, he belonged to neither. Following WWII, this aircraft was given to the Italian Air Force, and then sold to the Israeli Air Force in 1951. In 1956, Israel placed it in a playground to encourage future pilots. In 1978, it was transported to England and underwent major restoration. It was purchased by the museum in 1998.
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Flying Proms Program National Anthem Intruder March from “Flight of the Intruder” Douglas AD-4 Skyraider “Heavenly Slug” Orchestral Suite ater Vasily Solovyov-Sedoi Polikarpov Po-2 and Yakovlev Yak-3M Hell’s Angels, Symphony No. 5 in E minor, Op. 64, Andante Cantabile Royal Aircrat Factory S.E.5a, Halberstadt CL.IV, Fokker D.VII and Fokker D.VII
Basil Poledouris
Andrey Kasparov
P. I. Tchaikovsky
Orchestral Suite from “A Bridge Too Far” John Addison Focke-Wulf Fw 190A, North American P-51D Mustang and Supermarine Spitire Mk. IX World Premiere: Title March from “Midway” John Williams Grumman FM-2 Wildcat, Grumman TBM Avenger and PBY-5A Catalina
INTERMISSION Overture from “he Sea Hawk” “Flight”
Erich Wolfgang Korngold, Arr. Jerry Brubaker James Horner, Orch. J.A.C. Redford & V. Sagerquist
Title March from “High Flight”
Eric Coates
“Sea Song Fantasy”
John Wasson
Main heme from “Skyfall” Adele Adkins and Paul Epworth, Arr. J.A.C. Redford Featuring Vocalist: hea Grice “he American Frontier”
Calvin Custer
“he Stars & Stripes Forever”
John Philip Sousa
Guest Host: Mark Whall Mark comes to us from the rural countryside of England. He has flown military jets and worked in commercial aviation, and he spent 26 years as a program editor with BBC Radio. Mark is involved in the world-famous Shuttleworth Collection of historic aircraft and cars in England, where he has been a commentator for its air shows. Since first visiting the museum in 2011, Mark has been a loyal supporter and friend helping announce air shows and Flying Proms.
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Flying Proms Musician Roster VIOLINS VIOLINS
CELLOS CELLOS
• Megan Van Gomple, Concertmaster • Steve Fisher, Acting Assistant Concertmaster • Lynette Andrews, Principal Second Violin • Deborah Adams • Jessica Baker • Jaime Bertramsen • Danielle Fagan • Roger Gray • Howard Horwitz • Rebecca Houghton • Kelvin James • Irene Kohut-Ilchyshyn • Alex McConnell • Nikki Nieves • Jane O’Dea • Nick Raykhman • Chris Sacra • Alexandra Smith • Elaine Spitz • Adam Symborski
• Mary Hughes, Principal • Marguerite Alley • Charlotte Dettwiler • Marc Powell • Déborah Ramos-Smiley • David Wing
VIOLINS FLUTES • Amber Kidd, Principal • Traci Bluhm • Frank Jones
VIOLINS PICOLLO • Traci Bluhm, Acting Principal
• Christine Foust, Acting Principal • Ellen Polachek • Nancy Johnston • Jonathan Twitero
VIOLINS TRUMPETS • Robyn Card, Principal • George Wozniak • Chad McGill
VIOLINS TROMB ONES • Jay Larkin, Principal • Paul Weathers • Rick Kaulinauskas
VIOLINS OB OES • Harvey Stokes, Principal • Sandra Richards
VIOLINS VIOL AS
VIOLINS FRENCH HORNS
VIOLINS TUBA • Phil Sloan
VIOLINS PERCUSSION VIOLINS CL ARINETS
• Shirley Luu, Principal • Linda Dyer • Carlos Espinosa • Heather Garcia • Brenda Johnson • Leslie Savvas • Keara Smith • Dawn Wing
• Jo Marie Larkin, Principal • Alan Brown • Steve Clendinin
VIOLINS BASS CL ARINET
• Aaron Cook, Acting Principal • Brian Tuttle • Doug Montgomery • Gary Weaver • Dennis Northerner • Zachary Strickland
VIOLINS T YMPANI
• Alan Brown
BASSES BASSES • Alejandro G. Rosa, Principal • Joe Eriksen • Bill Hawthorne • Alex Housworth
VIOLINS BASSO ONS • Stephanie Sanders, Principal • Elizabeth Foushee
• Steve Schultz, Acting Principal
VIOLINS PIANO • Marie Bliss
Members of Symphonicity string sections voluntarily rotate their seats on a regular basis.
Featured Vocalist: Thea S. Grice Thea Grice is a proud Georgia native who relocated to Virginia Beach 10 years ago. She leads worship locally in the area and loves connecting with the community. Her talent and vibrant charisma have opened many doors for her to perform in weddings, graduation ceremonies, conventions, and countless churches and arenas along the eastern seaboard. She has had the opportunity to
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perform before the Norfolk Tides, Admirals, and on The 700 Club. Whether performing before crowds or by herself in her car on 264, she pours all that she has to offer into her music, leading to a voice that is from the depth of her soul, emanating conviction and passion, making one feel the emotion of every syllable that escapes her lips. She loves working with children and those with special needs, and is the proud wife of Andrew, and mother to her beloved dachshund.
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Flying to Midway
GRUMMAN FM-2 “WILDCAT” The FM-2 Wildcat, manufactured by Grumman Aircraft Company, had its first test flight in 1937. This retractable gear carrier-based fighter was accepted by the U.S. Navy in 1940, and in 1941, the name “Wildcat” was officially adopted. With a top speed of 322 mph, the Wildcat was out-performed by the more nimble 331 mph Japanese Mitsubishi Zero, but the Wildcat’s ruggedness and tactics gave it an air combat kill-to-loss of 6 to 1 for the entire war. The Wildcat served in many major battles during the war. Naval and Marine Corps aircraft were the fleet’s primary air defense during the Battles of Coral Sea and Midway. And land-based Wildcats played a major role during the Guadalcanal Campaign of 1942-43. The museum’s FM-2 Wildcat was built in 1944 at the General Motors/ Eastern Aircraft plant in New Jersey. It was assigned to San Pedro, California and then moved on to serve in the Philippines. After that, the Wildcat was assigned to the Norfolk region as a training aircraft, and it was transferred to the small training field in Pungo, Virginia on July 3, 1945. At the end of World War II, the aircraft was still stationed in Virginia, and it served with various training commands throughout the Navy. This Wildcat was acquired by the Military Aviation Museum in 2010 and made its first appearance back in Virginia in over 60 years at the 2010 Warbirds Over the Beach air show. It is the most original example of a Wildcat still flying today. Its folding wings are operated by small hand cranks imbedded in the wing fold mechanisms, and the retractable landing gears require 31 turns of the hand-operated wheel in the cockpit. The aircraft is powered by its original Wright R-1820 radial engine that produces 1,350 horsepower. During the war, it was armed with four 50-caliber wing mounted machine guns and could carry two 250 lb. bombs or six rockets. 21
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Flying to Midway Grumman TBM Avenger Production of the TBF Avenger began in 1941, and by June 1942, the U.S. Navy flew these planes into combat during the Battle of Midway. The Avengers were used as torpedo dive bombers to destroy enemy U-boats or shipping in glues. They were often accompanied by F4F Wildcat fighters that would strafe surfaced U-boats with gunfire forcing them to submerge, negating the U-boats’ large anti-aircraft guns. The Military Aviation Museum’s 1945 TBM-3E Avenger (BuNo 53454) was first delivered to Naval Air Station (NAS) San Diego. And after time at Guiuan Airfield (Samar Airfield) in the Philippines, Pearl Harbor, NAS San Diego, NAS Olathe at Olathe, Kansas and NAS Squantum in Boston, Massachusetts, it was transferred to NAS Norfolk, Virginia in September 1950. It remained there for seven months until leaving for Miami in April 1951 with Anti-Submarine Squadron 22. Civilian duty for the Avenger began in Boise, Idaho. The Avenger was acquired by the museum and delivered in January 2001. The current paint scheme represents the early anti-submarine markings of blue/gray upper surfaces and light gray undersides used in the Atlantic Theater.
PBY-5A “Catalina” In October 1943, two weeks after arriving at NAS San Diego, the PBY took the longest flight of its wartime career, flying 19.2 hours non-stop to NAS Norfolk. Once in Norfolk, the aircraft was accepted by Headquarters Squadron (Hedron) 5-2. Beginning in December 1943, the PBY flew wartime patrols from Agadir, French Morocco, south to the Canary Islands, north to the Strait of Gibraltar, and as far west as the Azores. Late in 1944, the squadron was transferred to the Caribbean, and at the end of that year, was transferred to NAS Quonset Point, Rhode Island, to undertake patrols and anti-submarine sweeps protecting the approaches to New York. The plane was sold to a company in Palmer, Alaska, in 1977. In 1978, bulk liquid cargo tanks were installed, allowing it to haul as much as 1,500 gallons of fuel to remote parts of Alaska. In the summer of 1999, the aircraft began its flight back to the United States to appear at the Oshkosh Air Show, but it never reached its final destination. Instead, it ended up stopping in England where it was stored until the Military Aviation Museum obtained it in late 2001. Over time, the different owners of this aircraft had changed its paint scheme, so the museum took steps to return it to its original U.S. Navy three-toned color scheme as it might have been displayed during World War II. 23
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Music Notes
Intruder March from “Flight of the Intruder”
Basil Poledouris
Composer Basil Poledouris collaborated with director John Milius on several motion pictures in the course of his career. Paramount among them was the 1991 film adaptation of Stephen Coonts’ novel, “Flight of the Intruder.” The book is told from the perspective of the aircrews of the Grumman A-6 Intruder–a two-man, all-weather, carrier-based ground-attack aircraft — as flown by the United States Navy during the Vietnam War. The protagonist is pilot Jake “Cool Hand” Grafton. Following the untimely death of Grafton’s navigator, Morgan “Morg” McPherson, he is eventually paired up with Virgil “Tiger” Cole. Cole, an experienced and seasoned navigator, aware of Grafton’s frustration over the death of McPherson, helps Grafton to plan and execute an unauthorized mission against a target in downtown Hanoi. This serious violation of the rules of engagement results in a court-martial, although all charges against them are dropped. In the film, Grafton and Cole are later shot down over Vietnam. Major Frank Allen, the pilot of a Douglas Skyraider and member of the effort to recover Grafton and Cole, is himself shot down. Dying and unable to break free from his wrecked aircraft, as a diversion, he calls in an air strike on his own position. Both film and novel conclude with the rescue of Cole and Grafton.
“Heavenly Slug”Orchestral Suite after Vasily Solovyov-Sedoi Andrey Kasparov In 1944 Joseph Stalin ordered into production a lighthearted musical comedy. Filming on “Heavenly Slug” soon commenced at Lenfilm studios, following the end of the 900-day Siege of Leningrad (1941–1944). The movie opens with Major Vasily Bulochkin, a fighter pilot of the Soviet Air Force, bailing out of his burning plane. During his subsequent convalescence, he is visited by his fellow pilot officers and friends, Senior Lieutenant Semyon Tucha and Captain Sergei Kaisarov. As they stroll through the gardens of the sanitarium, they vow not to fall in love for the duration of the war. It doesn’t take long, however, before their plans are thwarted, first by 25
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Music Notes
the pilots and staff of a women’s air squadron, and then by a young journalist, Valya Petrova. At the same time, Major Bulochkin, not yet fully recovered from his injuries, must come to terms with his new machine: the slow, old-fashioned and ungainly Polikarpov Po-2. Vasily Pavlovich Solovyov-Sedoi composed the full score for “Heavenly Slug,” among his many accomplishments as one of the Soviet Union’s greatest songsmiths. Dr. Andrey Kasparov – an award-winning composer, recording artist, concert pianist and Professor of Music at Old Dominion University – has crafted this suite for orchestra from Solovyov-Sedoi’s original themes.
Symphony No. 5 in E minor, Op. 64, Andante Cantabile from “Hell’s Angels” Pyotr Ilyich Tchaikovsky Premiered at Grauman’s Chinese Theatre in Hollywood on 24 May, 1930, “Hell’s Angels” was produced and directed by Howard Hughes. Along with Harry Parry, Hughes conceived the film’s elaborate dogfights. Paul Mantz flew as the lead stunt pilot, at the head of a mighty squadron of veteran WWI pilots. Not only were aviators of the Great War involved in this peerless production, but genuine Fokker D.VII and Royal Aircraft Factory S.E.5a fighters battled in the skies over Oakland, California. Hughes personally directed the aerial scenes from overhead, using radio communications to coordinate the flights. As many as 137 pilots were used in the film’s climactic flying sequence. And binding together this early epic was the music of Pyotr Ilyich Tchaikovsky. Tchaikovsky’s characteristic palette of orchestral sonorities drapes the musical narrative of his Symphony No. 5. There is an emotional immediacy that appeals, especially in the second movement of his Opus 64. The Andante cantabile is introduced by the low strings, setting the stage for a nostalgic French horn solo tinged with passion and longing. Yielding to more expressive solo melodies in the oboe and clarinet, the lyricism of the passage is shattered by the trumpet’s fortissimo. This herald is repeated yet more fervently by the trombones, before the movement ends in quiet solemnity. 27
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Music Notes
Orchestral Suite from “A Bridge Too Far”
John Addison
Best known today for his film scores, John Addison entered the Royal College of Music (RCM) in 1936. His education was suspended in 1939 with the outbreak of war. Addison would serve with the British XXX Corps in the 23rd Hussars. He was a tank officer at the Battle of Normandy, was wounded at Caen, and later participated in Operation Market Garden. After the war he returned to London to teach composition at the RCM. First released on 15 June, 1977, “A Bridge Too Far” was a star-studded blockbuster shot largely on location in the Netherlands. Based on Cornelius Ryan’s book of the same name, it dramatized the events of Operation Market Garden. Dozens of airworthy WWIIvintage aircraft were hired for the production, including a Supermarine Spitfire Mk. IX. As a member of the British XXX Corps, John Addison had been in the stalled Allied ground offensive that failed to reach the German lines at Arnhem. John’s personal connection to the events depicted in the film provided obvious inspiration. His score won the BAFTA in 1978. Addison prepared this original suite of music from “A Bridge Too Far” for a gala concert held to honor the film’s producer, Joseph E. Levine.
Title March from “Midway”
John Williams
In early 1942, unbeknownst to the Japanese, America had decrypted the Imperial Japanese Navy’s secret codes. The resultant intelligence aroused suspicions that Japan was plotting an ambush at Midway Atoll. Further monitoring of signals traffic gave the United States a clearer picture of when, where, and in what strength the Japanese would eventually appear. The Battle of Midway was fought from 4–7 June, 1942, six months after Japan’s attack at Pearl Harbor, Hawaii, and one month after the Battle of the Coral Sea. The United States Navy, led by Admirals Chester Nimitz, Frank Fletcher and Raymond Spruance, defeated the attacking fleet of the Imperial Japanese Navy, under Admirals Isoroku Yamamoto, Chuichi Nagumo, and Nobutake Kondo. Ultimately, these actions would exact a heavy toll on Japan and its carrier forces, thereby changing the balance of power in the Pacific. 29
Music Notes
The 1976 film portrayal of these events, “Midway” benefitted from the talents of one of Hollywood’s greatest living composers of cinematic scores, John Williams. The title march from “Midway” has since become one of his most recognized themes from the 1970s.
INTERMISSION
Overture from “The Sea Hawk” Erich Wolfgang Korngold, Arr. Jerry Brubaker In the 1940 film adaptation of Rafael Sabatini’s novel only the title from “The Sea Hawk” would survive. With Errol Flynn as the intrepid hero, Geoffrey Thorpe, the movie was set to the stirring music of Erich Wolfgang Korngold. Following the success of 1935’s “Captain Blood,” director Michael Curtiz took nearly four years to develop this follow-up for Flynn; both pictures were scored by Korngold. “The Sea Hawk” was to be the composer’s last swashbuckling adventure with Flynn at the helm, rife with swift corsairs, treacherous buccaneers and treasure on the Spanish Main.
“Flight”
James Horner, Orch. J.A.C. Redford & V. Sagerquist
The late film score composer James Horner demonstrated a deep affinity for aviation. In 2010 he was compelled to compose an original work for orchestra that would embody the essence of flight. Horner’s original concept was to create the impression of a symphony orchestra as it performed against the backdrop of a sky filled with airplanes. Sound familiar? According to Horner, the end-result was, as he put it, “the ultimate film score.” As you listen to this piece shut your eyes and picture the veteran aircraft of the Military Aviation Museum as they launch skyward, illuminating the horizon with the breathtaking beauty of flight. 31
Music Notes
Title March from High Flight
Eric Coates
Following the success of “The Dam Busters” in 1955, it seems composer Eric Coates may have mellowed. His profound dislike of film music had led him to reject initial appeals from the producers of “The Dam Busters.” However, upon having learned more about the movie, he concluded his music would make the perfect overture. He must have been more open to persuasion two years later. “High Flight” documents the experiences of a group of Royal Air Force (RAF) recruits, from classroom to cockpit, in training to become the next generation of RAF pilots. Unfortunately, Eric Coates’ eponymous title march would be one of his last original compositions. “High Flight” premiered on 12 September, 1957. Coates passed away on 21 December of that same year, aged 71.
“Sea Song Fantasy”
John Wasson
Hoist the sails! You’ll feel the wind in your face and the deck under your feet with this spirited medley of chanteys. John Wasson’s “Sea Song Fantasy” was commissioned by Symphonicity, the Symphony Orchestra of Virginia Beach, and was premiered at the opening of the Sandler Center for the Performing Arts in November of 2007. The work ranges from familiar melodies to the more obscure songs of seafarers. All are combined into an exciting work that showcases virtually every instrument in the ensemble.
Main Theme from “Skyfall” Adele Adkins & Paul Epworth, Arr. J.A.C. Redford Eon Productions approached Adele Adkins in 2011 to create the theme song for the James Bond film “Skyfall,” a task she accepted only after first having read the screenplay. With assistance from Paul Epworth, it was Adele’s intention to re-capture the mood and style of earlier Bond themes, while producing something intrinsic to the new film’s plotline. The main theme from “Skyfall” went on to win the 2012 Academy Award for Best Original Song, the first Bond theme to receive an Academy Award nomination 32
Music Notes
since “For Your Eyes Only” in 1982, and the first to win the award. Film orchestrator J.A.C. Redford has adapted his original score from “Skyfall” in this version for symphony orchestra and vocal soloist.
“The American Frontier”
Calvin Custer
During his long association with the Syracuse Symphony, the late Calvin Custer was prolific in his creation of arrangements for orchestra. “The American Frontier” incorporates several well-known titles from the Great American Songbook. “The Girl I Left Behind Me” came to these shores from Ireland and became popular with the rank and file of the United States Army in the War of 1812. “Oh! Susanna” was first made popular by Stephen Foster, before it was picked up by the “49ers” of the California Gold Rush. “Chester” was a patriotic anthem of the American Revolution. “Shenandoah” is a traditional folk song, with words added by rivermen and frontier settlers. And the lyrics of “America the Beautiful” were written by Katharine Lee Bates, a Professor of English at Wellesley College, inspired by a train trip to Colorado. First published in 1910, the words were adapted to the now familiar hymn tune by New York choirmaster Samuel A. Ward.
“The Stars and Stripes Forever”
John Philip Sousa
In 1896 John Philip Sousa and his wife, whilst vacationing in Italy, received word that Sousa’s band manager, David Blakely, had died suddenly in his Carnegie Hall office on 7 November. John P. and Jane Sousa returned quickly to the United States aboard S.S. Teutonic. The work Sousa would eventually commit to paper on his return to America was “The Stars and Stripes Forever.” For the rest of his career Sousa almost never gave a concert without performing it. In 1987 “The Stars and Stripes” was proclaimed the official march of the United States. To this day it remains a musical emblem of this nation, a phenomenon first acknowledged at its premiere in Philadelphia on 14 May, 1897, when the newspaper the “Public Ledger” reported that Sousa’s music was, “stirring enough to rouse the American eagle from his crag, and set him to shrieking exultantly.” 33
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