Captain America March – Alan Silvestri

Soaring with John Williams – John Williams/Robert W. Smith

Forgotten Heros – Jeremy Bell

Avengers: Endgame – Alan Silvestri/Michael Brown

Bond…James Bond – Arranged Stephen Bulla

Miles of Blue – Brian Balmages

Music from The Incredibles – Michael Giacchino/Jay Bocook

William Tell Overture – Rossin/Robert Longfield

Conductor Ted M. Hope has served as the conductor of the Fanfare Winds and Hillsborough Community College for the past 10 year.  He was affiliated with the Hillsborough County School District for 39 years and retired as the Supervisor of Middle and Secondary Music after 19 years of service in March of 2023.  He received his Associates Degree from Hillsborough Community College, Bachelor of Music Education from Florida State University, and his Master of Music Education and Education Specialist from the University of Southern Mississippi.   He subsequently taught in the public schools for twenty years as band director at Hillsborough High School (1984-1987) and Bloomingdale High School (1987-2004).  He is a member of the Florida Bandmasters Association where he served as chairman and secretary. Mr. Hope’s professional affiliations include Music Educators National Conference, Hillsborough County Secondary Music Council, Phi Mu Alpha Sinfonia, the Bay Area Saxophone Quartet and the Hillsborough Association of School Administrators . Mr. Hope is an active clinician and adjudicator in concert band, jazz ensemble, and marching band.

Captain America March – Alan Silvestri

Bold, contrasting themes, fanfares and rhythmic drive make this march from the 2011 blockbuster action film “Captain America: The First Avenger” an exciting and distinctive field number! (Publisher notes)

Soaring with John Williams – John Williams/Robert W. Smith

You can’t think of outstanding film scores without thinking of composer John Williams. Three of his melodies that soar both literally and figuratively have been selected for this awesome work. Themes featured are: Superman March, Cadillac of the Skies, and Star Wars March. (Publisher notes)

Forgotten Heroes – Jeremy Bell

Warm and majestic, this chorale-style piece focuses on developing musicianship with flowing musical lines and supportive countermelodies. Elaborate harmonies and expressive moments create a musical memorial for all those who never saw fame or glory, but worked to make the world a better place. (Publisher notes)

Avengers Endgame – Alan Silvestri/Michael Brown

Movies just don’t get any bigger than this one, and thanks to the talents of Alan Silvestri, it features a film score to match! Effectively blending the familiar “Avengers” main theme with impressive and dramatic new material, here is a powerful medley destined to be the highlight of any concert. (Publisher notes)

Bond…James Bond – Arranged Stephen Bulla

This not-so-secret secret agent has been the inspiration for music that has become part of our musical culture for five decades. James Bond Theme; Skyfall; Nobody Does It Better; Goldfinger and Live and Let Die are presented in this powerful medley of movie themes that will appeal to all audiences. (Publisher notes)

Miles of Blue – Brian Balmages

This powerful work was written in the wake of the death of a hero whose last words and actions saved the life of his partner. With its delicate introduction, soaring theme, and assortment of colors, this piece chronicles that unforgettable drive and pays homage to the many officers that fall in the line of duty each year. (Publisher notes)

“It was something you only see on television…in movies…in newspapers and in magazines…but never in real life.

On November 4, 2016, my cousin Lisa Tuozzolo lost her husband, NYPD Sergeant Paul Tuozzolo, who was killed in a Bronx shootout. His last words and actions saved the life of his partner and he was remembered as a hero by many, including Mayor Bill de Blasio who spoke at his funeral. It was an incredibly emotional period that peaked on November 10, when nearly 20,000 police officers showed up from around the country and Canada to pay their respects and salute him one final time.

It is hard to put into words what it was like to drive from the funeral home to the church and to see streets lined with officers paying their respects – mile after mile. In addition to the nearly 20,000 officers, there were countless civilians who lined the streets with American flags, memorials, or just stood quietly paying their respects.

I asked my cousin Lisa to contribute to these notes, because no one else in the world can articulate this sacrifice better than she can. What I can share is the imagery behind the music.

When we decided to move forward with a piece to honor Paul, Lisa shared an NYPD video which is played at many of the functions she attends, including the annual Police Academy Graduation. She has become an avid speaker at events honoring her blue family, and she has also become a key figure in their efforts to support the many NYPD families who have suffered similar tragedies. She described the emotional arc of the music and the feelings it evoked. I was inspired by this emotion to create the structure of Miles of Blue.

As the music begins, it is very transparent, recalling the image of the hundreds of American flags that were set in blocks around the funeral home. It was quiet, yet overwhelmingly powerful. The procession begins, indicated by the statement of the full melody in the horns and clarinets. It is a noble-sounding melody with a touch of raw emotion always hovering above it. There is a faint allusion to a military-style cadence off in the distance and then echoing off-stage – foreshadowing the worst sound my cousin could ever hear in this situation, the strike and tone of the NYPD Pipes and Drums.

After a dramatic and powerful moment where the music embraces the heroism of the melody, the sound of the pipes and drums is fully realized. In the background, the melody of Amazing Grace is heard. This, the moment we arrived at the church, is the sound that continues to haunt my cousin to this day. I spoke with her about it before adding it to the music, but felt it was important to tell the full story of the day, including the entire series of emotions that everyone (especially Lisa) experienced.

As the music moves into a more thoughtful and tranquil setting, the audience hears Taps for the first time, performed by an off-stage trumpet player, but the musician never finishes. This is soon echoed by several antiphonal trumpeters all playing Taps at different intervals, representing the many officers that fall in the Line of Duty each year. In the case of the premiere, these antiphonal parts were performed by members of the New York City Police Band. As each person finishes, they enter the auditorium playing a triangle softly at random intervals, slowly enveloping the audience in delicate, sparkling sound. This, along with the visual presence of people in uniform, brings the piece to an emotional close.

Whenever possible, I invite ensembles to ask men and women in uniform (active or retired) to perform these antiphonal parts. I believe it helps the community to make a connection to those who risk everything to keep us safe. I know there has been a lot of negative press about police brutality and corruption. I would like to think that this piece provides the smallest glimpse into the thousands upon thousands of officers who protect us every day with kindness, dignity, respect, and compassion. And further, I hope this music draws attention to the number of first responders who lose their lives every year, risking everything to help someone in need.

Paul Tuozzolo was 41 when he was killed. He was a 19-year NYPD Sergeant who chose to be out on the streets with his colleagues protecting strangers, like you and me. He was a hero. And his wife, my cousin Lisa, has made it her mission to make sure that his sacrifice is never forgotten. I hope this music plays a small part in that mission.” (windrep.org)

Music from The Incredibles – Michael Giacchino/Jay Bocook

The Incredibles is a 2004 American computer-animated superhero film, written and directed by Brad Bird, released by Walt Disney Pictures, and was the sixth film produced by Pixar Animation Studios. The story follows a family of superheroes living a quiet suburban life, forced to hide their powers. When father Bob Parr’s yearning for his glory days and desire to help people drags him into battle with an evil villain and his killer robot, the entire Parr family is forced into action to save the world. Follow the far-fetched story of an “incredible” family of crime fighters along with their flashy music written in the campy style of a mid-1960s spy thriller. (Publisher notes, windrep.org)

William Tell Overture – Rossin/Robert Longfield

The William Tell Overture is the overture to the opera William Tell (original French title Guillaume Tell), whose music was composed by Gioachino Rossini. William Tell premiered in 1829 and was the last of Rossini’s 39 operas, after which he went into semi-retirement, although he continued to compose cantatas, sacred music and secular vocal music.

There has been repeated use (and sometimes parody) of parts of this overture in both classical music and popular media, most famously as the theme music for The Lone Ranger in radio, television and film. It was also used as the theme music for the British television series The Adventures of William Tell.

The overture, which lasts for approximately 12 minutes, paints a musical picture of life in the Swiss Alps, the setting of the opera. It was described by Berlioz (who usually loathed Rossini’s works) as “a symphony in four parts”, but unlike a symphony with its discrete movements, the overture’s parts transition from one to the next without any break.

Prelude, Dawn: The Prelude is a slow passage in E major, scored for five solo cellos accompanied by double basses. It begins in E minor with a solo cello which is in turn ‘answered’ by the remaining cellos and the double basses. An impending storm is hinted at by two very quiet timpani rolls resembling distant thunder. The section ends with a very high sustained note played by the first cello.

Storm: This dynamic section in E minor is played by the full orchestra. It begins with the violins and violas. Their phrases are punctuated by short wind instrument interventions of three notes each, first by the piccolo, flute and oboes, then by the clarinets and bassoons. The storm breaks out in full with the entrance of the French horns, trumpets, trombones, and bass drum. The volume and number of instruments gradually decreases as the storm subsides. The section ends with the flute playing alone.

Ranz des Vaches: This pastorale section in G major signifying the calm after the storm begins with a Ranz des Vaches or “Call to the Cows”, featuring the cor anglais (English horn). The horn then plays in alternating phrases with the flute, culminating in a duet with the triangle accompanying them in the background. The melody appears several times in the opera, including the final act, and takes on the character of a leitmotif. This segment is often used in animated cartoons to signify daybreak, most notably in Walt Disney’s The Old Mill.

Finale, March Of The Swiss Soldiers: The Finale, often called the “March of the Swiss Soldiers” in English, is in E major like the Prelude, but is an ultra-dynamic galop heralded by trumpets and played by the full orchestra. It alludes to the final act, which recounts the Swiss soldiers’ victorious battle to liberate their homeland from Austrian repression. Although there are no horses or cavalry charges in the opera, this segment is often used in popular media to denote galloping horses, a race, or a hero riding to the rescue. Its most famous use in that respect is as the theme music for The Lone Ranger, so famous that the term “intellectual” has been defined as “a man who can listen to the William Tell Overture without thinking of the Lone Ranger.” The Finale is also quoted by Dmitri Shostakovich in the first movement of his Symphony No. 15. (windrep.org)

Fanfare Concert Winds is a “Not for Profit” Organization. That means that all donations to our organization are 100% tax deductible.

Please consider a donation to Fanfare Concert Winds to help defray the cost of music.

Our tax number is 47-49031478.

You can give a check tonight (see Dana or Ted) OR:

You can mail a check to:
Fanfare Concert Winds
9465 Forest Hills Place
Tampa, FL 33612

Thank you for attending tonight’s concert!

VISION
The Fanfare Concert Winds will contribute to the musical culture and community throughout Hillsborough County by providing quality music performance and educational experiences for the young and the young at heart.

MISSION
• To facilitate a venue for music educators, professional and community musicians and Hillsborough Community College students to come together in a professional-level ensemble.
• To supplement the music education of the Hillsborough County Public Schools and Hillsborough Community College through clinics, side-by-side concerts, festivals and scholarships.
• To expose our members and audiences to quality musical literature.