This past August members of the West Point Band travelled to Tokyo to perform at the annual International Double Reed Society Conference. While we spent the majority of our time attending the conference, Master Sgt. Glenn West, Staff Sgt. Anna Pennington, Staff Sgt. Briana Lehman, and I took a day to visit and perform at the Kiyose Children’s Home in Tokyo. I’ll be honest, before our trip I didn’t know that Japan still had orphanages, and the thought brought to mind scenes reminiscent of a Charles Dickens novel. But when we visited Kiyose, I was pleasantly surprised at the facilities of this particular children’s home. According to research done by the Japanese Ministry of Health and Labor in 2014, almost 29,000 children are living in orphanages throughout the country. Of those kids, over 14,000 had previously suffered from neglect or physical, sexual, or emotional abuse by their primary caretakers. While many orphanages can house over one hundred children, the Kiyose Children’s Home is a smaller home that enjoys support from Living Dreams. Living Dreams is a non-profit organization that provides artistic and technological training to these children. Directed by Michael Clemons, a California-born accountant, Living Dreams focuses on finding the children’s passions and strengths, not only to develop them into well-rounded individuals, but also to gain access to possible careers that might otherwise be unattainable.
The USMA Band’s double reed section made it a top priority to visit Kiyose and meet the children there. Staff Sgt. Pennington recalled, “The kids were a little shy at first, but as soon as we started playing our first tune, they were so enthusiastic! And it was a blast to work with them on their “straw-reed” craft instruments.” We presented two short performances for different age groups while at the Kiyose Children’s Home, and I had a hard time focusing on the music; they were so darn cute! Michael educated us on the Living Dreams program and while it sounded interesting, I didn’t really understand the significance of the program until the end of our second performance. While we had played Master Sgt. Reifenberg’s “American Folk Suite,” the kids had recorded the music and were then able to upload it onto a really cool movie they had made that week. This was done in a matter of minutes, which is more than I can say for navigating my Facebook newsfeed. Michael explained that Living Dreams enables these kids to “participate in 21st century learning” and gain the “skills of communication, collaboration, and seeing the world in a more holistic way.” I like to think that our visit might have given the kids another way to understand their world, through the power of music.
It comes down to this: when words fail, music can still connect people. While we didn’t speak a word of Japanese (other than “sushi please!”) and the kids couldn’t speak a word of English, it was clear that the music we played and the songs they sang were easy to understand by everyone. I’m honored to have met those kids, and while playing for the IDRS conference was a great boon for my professional development, it was our visit to the Kiyose Children’s Home that made the most impact. It reminded me that music can bridge cultural gaps in a way that diplomacy sometimes cannot. And as a member of the West Point Band, I get to do that every day.
Words by Staff Sgt. Natalie Wren
In mid-August the West Point band’s double reed section—comprised of Master Sgt. Glenn West, Staff Sgt. Anna Pennington, Staff Sgt. Briana Lehman, and myself, Staff Sgt. Natalie Wren—hopped on a plane to Tokyo where we performed for international and local audiences. At the invitation of the International Double Reed Society (IDRS), the West Point Band’s Double Reed Ensemble performed at the society’s annual international conference at the National Olympics Memorial Youth Center in Shibuya, Tokyo. The IDRS is a worldwide organization of double reed (oboe and bassoon family) musicians, academics, instrument manufacturers, and double reed enthusiasts. This society was founded in 1971 and today enjoys a membership of over 4,400 from fifty-six countries. Each year the IDRS conference draws thousands of its members from around the globe for a week of performances, master classes, and lectures by renowned oboists and bassoonists from the world’s top orchestras and universities.
As a long-time member of the IDRS (and self-acclaimed oboe nerd), to be invited to perform at the conference with my West Point colleagues was a huge honor. It was so exciting to look into the audience and see faces of musicians whose solo albums were sitting on my shelf at home. After having one day to rehearse and acclimate to the thirteen-hour time difference, our Double Reed Ensemble performed a concert with the help of guest artist Yue Chang, principal oboist of the Shanghai Philharmonic. “I was honored to be able to work with Yue. He is a truly phenomenal musician,” remarked Master Sgt. West. The concert program featured not only the musical talents of our military’s musicians, but also the premiers of special transcriptions from two of the band’s arrangers; Master Sgt. Mike Reifenberg and Staff Sgt. Noah Taylor. The program comprised Johann Hertel’s Concerto for Trumpet and Oboe (cleverly arranged by Staff Sgt. Taylor for two oboes, two bassoons, and English horn), Jan Dismas Zelenka’s Trio Sonata No. 4, Master Sgt. Reifenberg’s own double reed quartet arrangement of Americana folk tunes, “American Folk Suite,” and New York composer Dana Wilson’s “Kalamus,” for oboe and bassoon. (You can find information on “Kalamus” in a recently published article of mine, “Interpreting the Compositional Style of Dana Wilson” in The Double Reed vol. 38, 2.)
The musical showmanship and artistry by my colleagues was so inspiring, and the experience was only enhanced by our extraordinary luck to share the stage with Chinese oboist Yue Chang. Our musical collaboration with Mr. Chang summed up the general mission of the whole week: to foster a cultural exchange with experts in our field. The concert was a huge success because we introduced new music for the double reed medium to a very receptive audience. More importantly, we did so while representing the United States Army Bands. As the only professional band member represented in the conference, musicians who were otherwise unfamiliar with career opportunities in the military showed enthusiasm and amazement at the caliber of today’s military musicians. Sharing new ideas on musicianship, pedagogy, and the importance of music in an ever-evolving world culture allowed the members of the Double Reed Ensemble to return to West Point with a greater sense of purpose to educate, train, and inspire through music.
Words by Staff Sgt. Natalie Wren
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It is hard to describe the traditional depth of the West Point Graduation March. It is a collection of old Army and popular tunes that have lasted for nearly the entire age of the U.S. Military Academy at West Point. The seven songs that are represented in the march are: “Home! Sweet Home!,” 1823; “100 Days ’til June,” 1938; “Dashing White Sergeant,” 1826; “Wedding March,” 1842; “The Girl I left Behind Me,” 1810; Field Music Bugle Strain and Drum Cadence, unknown but likely 1938; and “Auld Lang Syne,” 1788.
It was Lt. Philip Egner (Bandmaster of the West Point Band from 1909 to 1934) that compiled this collection at first. He probably wished to add in the latest marches of the era to the graduation parade, so he compiled all of the old songs into one piece. In 1938, Lt. Col. Francis Resta (Bandmaster 1934-1957), added in his 100th Night Show overture song entitled “100 Days ’til June.” This version of West Point Graduation March is performed today.
So, if you really look at dates of the songs, nearly every graduate from West Point since 1802 has heard songs from this march. The one song that glues the entire Long Gray Line is “Auld Lang Syne,” dating to 1788. When Robert Burns penned the poem for “Auld Lang Syne,” it was set to a melody that was already ancient, holding the traditional folk song number #6294 of the Roud Folk Song Index. “Auld Lang Syne” is known best to celebrate the New Year at the stroke of midnight, but it is also sung at funerals, graduations, and as a farewell or ending to other occasions.
West Point Graduation March serves a military function that is unmatched when comparing it to other old West Point songs. It is the march performed during the “Sound-off” sequence at the Graduation Parade. Again, nearly every single graduating Cadet has had to stand at parade rest while the band performs this march, trooping the line in front of the U.S. Corps of Cadets.
The scenario is this: the U.S. Corps of Cadets march onto The Plain, and the firsties (aka seniors) march on for the last time of their cadet career. All of the formation is called to parade rest. The adjutant yells, “Sound-off!” The announcer then reads:
“THIS MARCH ACROSS THE FRONT OF THE LINE IS SAID TO HAVE ORIGINATED WITH THE CRUSADES. THE TROOPS OFFERING THEMSELVES FOR SERVICE WERE DRAWN UP IN A LONG FORMATION AND THE BAND COUNTERMARCHED ONLY BEFORE THOSE CHOSEN TO SERVE.”
The drum major brings instruments up and starts the slow first phrase of “Home! Sweet, Home!” The band then plays a rousing introduction to Lt. Col. Francis Resta’s 1938 100th Night Show opener “100 Days ’til June.” The band promptly steps off to march in front of the Corps of Cadets and on display for all of the parents and friends visiting West Point to see graduation events. The medley proceeds with “Dashing White Sergeant,” Mendelssohn’s “Wedding March,” and “The Girl I Left Behind Me.” As the band nears the end of the Corps, the drum major gives a counter-column signal to turn the band around. Here the field music group, the Hellcats, performs an original bugle strain and the drums continue as the band completes the counter-column. Once the counter-column is completed, the drum major gives a sharp “forward march” with the mace, and the band steps off in full step to “Auld Lang Syne.” The band proceeds to march back to its original position on the field. This march completes with the full-strain of “Home! Sweet, Home!” to finish the sound-off sequence.
Here are some historical tidbits on each song in the West Point Graduation March.
West Point Graduation March – The 1938 version compilation is by 1st Lt. Philip Egner and Lt. Col. Francis E. Resta, both Bandmasters and Teachers of Music at West Point
“Home! Sweet Home!” (1823) by Sir Henry Rowley Bishop, Lyrics by John Howard Payne – This song was reputedly banned from being played in Union Army camps during the American Civil War for being too redolent of hearth and home so as likely to incite desertion.
“100 Days ’til June” (1938) by Lt. Col. Francis E. Resta, West Point Bandmaster and Teacher of Music – This song served as the overture to the 100th Night Show in 1938. The show marks 100 days prior to graduation and encompasses the firstie (senior) class’ experience of cadet life at West Point. This song remains as a traditional work performed on modern 100th night shows. West Point graduations used to be held in June, but now graduations occur at the end of May.
“Dashing White Sergeant” (1826) Melody by Sir Henry Rowley Bishop, Words by British General John Burgoyne – In the U.S., the same song was as well-known during the Mexican War as “The Female Volunteer for Mexico.”
“Wedding March” (1842) by Felix Mendelssohn – West Point Cadets are not allowed to be married while attending the Academy. After West Point graduation, a flood of weddings occur on and off post.
“The Girl I Left Behind Me” (1810) – 1810 is the earliest known version of this melody. U.S. Army Soldiers adopted it after hearing a British prisoner singing the song during the War of 1812. The song was used by the Army as a marching tune throughout the 19th century.
Field Music Bugle Strain and Drum Cadence – The Hellcats perform, allowing the marching band and Hellcats to counter-march before those chosen to serve.
“Auld Lang Syne” (1788) – In 1788, Robert Burns penned this well-known poem and it was set to the melody of a traditional folk song known as #6294 of the Roud Folk Song Index. The traditional use of this song is to celebrate the New Year at the stroke of midnight. It is also sung at funerals, graduations, and as a farewell or ending to other occasions.
“Home! Sweet Home!” – The Marching Band returns to its original position on the field to play the full version of “Home! Sweet Home!”
The West Point Graduation Ceremony receives the most media attention of all graduation events as usually a prominent guest speaker comes to speak. The words the graduating class always cherishes come from the Cadet First Captain at the end of the ceremony: “Graduating Class, Dismissed!” Here, the class throws their hats in the air for a young child to catch or pick up as a souvenir. The West Point Band marks this moment by performing the West Point Graduation March.
Words by Sgt. Maj. Christopher D. Jones
Each year the West Point Band is proud to provide musical support for the Ellis Island Medal of Honor ceremony. Sponsored by the National Ethnic Coalition Organization, these awards are presented annually to American citizens who have distinguished themselves within their own ethnic groups while exemplifying the values of the American way of life. Past Medalists include six U.S. Presidents; one foreign President; Nobel Prize winners and leaders of industry, education, the arts, sports and government; and everyday Americans who have made freedom, liberty, and compassion a part of their life’s work.
This year marks a special significance for the West Point Band, as we will honor one of our former members, Deric Milligan, who will receive the Ellis Island Medal of Honor at this year’s ceremony on May 9 at Ellis Island.
During his time in the band, Deric served as a Hellcat bugler, sounding Taps at hundreds of military funerals and performing in a multitude of concerts. In addition to his ceremonial duties, he led the Army football production staff. However, it is Deric’s dedication and talent in another area that earns him this distinguished award. This weekend he will be recognized as co-founder and Executive Director of Inheritance of Hope, a nonprofit charity dedicated to serve families with terminally ill parents.
Midway through Deric’s tenure with the band, his life took a turn when his wife Kristen was diagnosed with a rare terminal liver cancer in 2003. After several years of coping with the challenges of raising their three young children while battling a terminal illness, he and Kristen founded Inheritance of Hope together, with the mission to inspire hope in young families who are facing the loss of a parent. The charity achieves its mission by providing life-changing Legacy Retreats, Legacy Scholarships, outstanding resources, and individual and group ongoing support – spiritually, emotionally, and financially.
Kristen lost her courageous bout with cancer in 2012, but her legacy lives on through Inheritance of Hope. “Our goal is to provide families with an experience that they will remember forever,” said Deric. “Seeing the direct impact of Inheritance of Hope on me and my children in the wake of losing Kristen has been very affirming. I can clearly see the importance of the work we’re doing on a daily basis.”
Former West Point Band trumpeter Eric Miller serves as Director of Marketing and Communications for Inheritance of Hope. A long-time family friend of Deric Milligan, Eric was invested early on in the organization, doing graphic design work and other marketing projects as needed. When Eric left the band in 2014, Deric made him a full-time job offer he couldn’t refuse, and Eric has enjoyed working for Inheritance of Hope ever since.
“It’s due to Deric’s leadership that Inheritance of Hope has become a thought leader in equipping families with the tools to thrive despite the grim circumstances surrounding terminal illness,” says Eric. “It’s been an absolute honor to not only work with Deric and the passionate team he has assembled; it’s also such a blessing to work for an organization that is truly making a difference in families across the country. The impact is profound – thanks to Deric and Kristen’s vision.”
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It started simple: perform at the opening ceremonies for the New York International Auto Show, and quickly exceeded our expectations—not only are we performing the opening, but we’ll be hosting our own booth for the entire week! We’ve been busy preparing for this promising event, and we have lots in store.
The New York International Auto Show is the largest of its kind in North America with over a million people in live attendance each year, and is also one of the most comprehensively covered media events in the world, boasting 2.6 billion total media impressions for last year’s show. Of course we would want to be a part of one of the world’s greatest public shows, but what does an auto show have to do with military and community service? As it turns out, a lot.
The opening ceremonies will take place on Saturday, April 4 at 8:30 a.m. at the Javits Center in New York City. As a part of this ceremony, Toyota will donate a RAV4 as part of its Wounded Warriors program to Staff Sergeant Alfredo de los Santos, an Army veteran and Purple Heart recipient who survived an RPG attack on his humvee in Iraq two years ago. To officially open the show, the West Point Band, along with New York Governor Andrew Cuomo, will lead a parade of vehicles, including the RAV4, through the Crystal Palace. Our own Staff Sergeant Jeremy Gaynor, who recently appeared on NBC’s The Voice, will be featured singing the National Anthem, and will then be available in our exhibit area to meet the public.
Master Sergeants MaryKay Messenger and Brian Broelmann will also perform at the opening and awards ceremonies for the National Automotive Technology Competition, a high school age competition with teams from 31 countries that culminates at the NYIAS.
We have lots to offer during the week as well. Our booth, located at northern concourse 2 near the main entrance, will be open throughout the duration of the show. If you’re around you will definitely want to check out Tune Up @ 2, a series of performances right at our booth each day at 2:00 p.m., featuring everything from bluegrass to rock, brass and string groups, and more.
And since this is an auto show after all, the USMA Class of 1955 Orange County Chopper will be on display in our area for the entire ten days, with Paul Senior himself stopping by on Saturday the 11th for an interview.
The New York International Auto Show has everything the auto industry has to offer, and then some. We look forward to seeing you there!
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If you ever ask an aspiring classical musician what he or she wants to do, the overwhelming answer is to play in a full time orchestra. The orchestra has amazing versatility, with its repertoire spanning over five centuries. The concert band too enjoys a wide spectrum of music, from Gustav Holst to David Maslanka. But if you were to ask a professional classical musician the same question, more often than not the answer is playing chamber music. Playing chamber music, usually within a small ensemble ranging from three to twelve players, challenges musicians to really take accountability for the interpretation and performance of a work. When there are only, let’s say five musicians on stage, there is no conductor there to maintain the tempo, influence balance, or guide the musical interpretation. So the musicians must take on the responsibility of leading, following, actively listening, and reacting to the music around them. It is both nerve racking and exhilarating.
The many classical chamber ensembles that comprise the West Point Concert Band include two brass quintets, tuba quartet, two woodwind quintets, steel drum band, and the list goes on. As a member of the Academy Wind Quintet (AWQ), I am proud to work with incredible musicians who challenge and inspire me to be a better musician. On January 23rd, the AWQ had the privilege of performing for 1,200 students at the Hommocks Middle School in Mamaroneck, New York. We performed a variety of music including American folk tunes, marches, several movements from Cuban-American composer Paquito d’Rivera’s Aires Tropicales, and a few movements from Maurice Ravel’s Le Tombeau de Couperin, a piece very near and dear to my heart. The kids were great; they had plenty of questions for us pertaining to our instruments, to the West Point Band, and to the cadets at the Academy. They seemed to really enjoy the music that they heard, particularly the Latin dances heard in Aires and of course the flashy piccolo solo from our national march, The Stars and Stripes Forever. Their enthusiasm was yet another example of the importance of concert music, and how live music enables people to tap into their imaginations, broaden their horizons, and participate in a collective experience. By the end of our second performance in the afternoon, I think we were all ready for a nap. But tired or not, the show goes on! The Academy Wind Quintet recently returned from our recital tour in Ohio and Kentucky, with stops at the Universities of Cincinnati, Louisville, and Kentucky, as well as the VA hospitals in Louisville and Cincinnati. We also made appearances on public radio stations WUOL of Louisville and WVXU of Cincinnati, as well as a television appearance on Louisville’s local Fox television station. To say it was exciting would be a massive understatement. Serving my country by playing great chamber music with fantastic musicians? Yes, please!
By Staff Sgt. Natalie Wren
Photo by Staff Sgt. Torin Olsen
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By Staff Sgt. Sam Ross
Today I would like to give you a detailed look into the process of auditioning for the West Point Band. As someone who has recently gone through the audition process and joined the band, hopefully my experience will provide a realistic glimpse for both the non-musician and someone who is interested pursuing a career in a military band. While auditioning can be a somewhat dizzying and even harrowing experience for some (including myself at times!), we try to make sure it’s a positive experience whether you leave with or without a new job. Like with any audition, musicians search various sources to learn of new vacancies and auditions with various ensembles. Most of these are published on websites like Musical Chairs, trade journals like the International Musician, on the ensemble’s own website and social media, through flyers distributed by the organization, or by word of mouth. As most who are in the audition circuit are in school or recent graduates, information about audition vacancies can be pretty easily obtained through their teachers, job bulletin boards, and of course, the internet. As other musicians can probably relate, there is an ever-continuing hunt for audition announcements, so we make sure ours are disseminated through all the standard means.
The West Point Band handles its auditions somewhat differently than most bands or orchestras. Many organizations hold open-call auditions that simply require résumé submission and a deposit to hold your spot for an audition time. In addition to résumé submission, our band asks the interested person to also submit an audition recording. This essentially serves as the preliminary round of the audition that would typically take place live at the audition site. The applicant is required to record a couple of pieces or excerpts that the Band designates, and then he or she has the creative freedom to put other works on the recording that showcase specific strengths for that particular vacancy. I remember being pretty excited about being able to choose what else I put on my recording. My audition was for an E-flat clarinet position (think high, possibly squeaky notes), which just happened to be the instrument I loved playing most. So making my recording was at least somewhat enjoyable! A few times recently the band has used an open call audition (often in nearby New York City) to fill a vacancy, but more often than not we stick with the recording round process.
Making an audition recording is a process in and of itself—practicing the music, buying/using a personally-owned recorder or hiring someone to record you, and having a good space in which to make the recording. Luckily for me, the time I made my recording coincided with the same time of year when many musicians make application recordings for summer music festivals and graduate schools. Still freelancing at the time, I was doing those very things to further my musical development. And since I was already knee-deep in the process for other pursuits, what was one more thing to add to the list? Once the CD was finished and submitted, there was time to breathe a bit and think about other things until hearing back from the committee. The couple weeks of wait time between the “prelims” (recordings) and the second (live) round was longer than the usual half hour at an open-call audition. Instead of waiting nervously in a holding room between rounds, I was able to chill on the couch and go on with normal life for a few weeks (all the while continuing to practice diligently, of course). After being selected from the recording round, I was invited along with a handful of others to the live audition round on site at West Point. Travel to the live audition at West Point was covered by the Army (ah, there’s some more incentive to make a recording!).
Preparing for the live audition is much like that of preparing to record, but much, if not all, of the required music for us was different. In the midst of preparing for the musical challenges the audition will provide, the invited candidate then gets in touch with a local Army recruiter to start the process of qualifying for enlistment. This ensures that the band selects an audition winner that has no obstacles between them and enlistment. Having gone through the process, it is a bit unnerving to dive into the military world without any previous experience with it. This is one main distinction of taking a military band audition versus a symphony orchestra audition—you are not potentially joining just the musical organization but the respective Armed Service as well.
The West Point Band has another tradition of holding an auditionee dinner the night before audition day. This is an informal dinner where the candidates have the chance to interact with a couple members of the band, just to socialize, and even to have questions answered about the job and what life is like in the band. I remember being strangely anxious about this, but it proved to be an enjoyable time and I learned that the members of the band were normal people. The morning of the audition, we were picked up by one of the band’s clarinetists and driven from nearby Newburgh to West Point to warm-up for the day. At this point I was already shell-shocked by the stunning beauty of the Hudson Valley as well as the brutal cold of a February morning in the northeast, but that didn’t get in the way of my ritual intake of morning coffee. (Caffeine was something I wasn’t quite willing to give up as part of my audition preparation.)
Once we made it to the band building, we drew our audition numbers and were given warm-up rooms, along with the excerpt list for the first round. I went through my usual warm-up, but didn’t overexert myself so I had plenty of energy left to play a strong audition. I would need it, as I ended up playing the entire first round list from top to bottom. In many auditions, there is simply not enough time for the committee to hear every candidate play all the prepared material, but having only a select few auditioning, the committee here was able to hear more from each individual. The first round was played to a black screen set up between the player and the committee to ensure anonymity. The screen came down for our second round, which we played following lunch with some members of the band. We again played the full list of required music, answered some questions asked by the panel, and then a one-on-one chat with the band’s senior enlisted leader. (Another portion of the audition the West Point Band has since added is a marching demonstration for the panel. Marching with instruments is a huge part of the job here, after all.)
After all of that, the nervous waiting period I described earlier took place as I pondered whether or not my life was about to change in a pretty drastic way. It was a mixed emotion winning the audition. On one hand I was suddenly met with the reality of enlisting and going through the process of basic training, but on the other hand so very relieved and excited to have secured a playing job with such a great organization.
By Staff Sgt. Phil Stehly
Photos by Staff Sgt. Chrissy Rivers
Florida: home of Disney World, delicious oranges, early bird specials, and in one week, the West Point Band.
That’s right. From November 14-17, the West Point Band will be performing in Sarasota, Florida. You gotta love Florida. My wife and I talk about becoming snowbirds down there many, many years from now. Every time I go to the Sunshine State, I am blown away. I’m not sure if it’s the driver-friendly roads or beautiful weather, but Florida and I get along famously.
But enough about me. Back to the West Point Band’s trip.
There’s a lot on the docket, including a National Cemetery dedication and performance at Patriot Plaza in Sarasota. The event will feature a variety of hosts and speeches, including best-selling author Wes Moore. Another highlight will be nationally renowned Abraham Lincoln portrayer Michael Krebs reading the words of our 16th President. The West Point Band will provide the music befitting the ceremony. It should be a meaningful and memorable performance.
Also on the agenda: educational outreach! Members of the West Point Band will share their expertise with clinics provided at a local high school.
In addition to the ceremony and clinics, the band will also perform a community concert in Sarasota at Patriot Plaza. (9810 State Road in Sarasota.) The performance will pay tribute to the nation’s veterans as only the West Point Band can do. It will mark the first public performance at Sarasota National Cemetery’s new ceremonial amphitheater. It’ll be a fun program. Selections include Midway March, Songs of the Soldier Overture, In the Mood, and a medley of Andrews Sisters tunes. For more information on the concert, visit the West Point Band Community Concert section of www.onlineregistrationcenter.com/veteranslegacysummit.
The trip will showcase the versatility of the West Point Band—one performance, the musicians sit down and play a concert of world-class classical music. The next day the band will provide ceremonial music in a sharp display of military bearing and tradition. You’ll have to trust me when I say very few musical organizations, if any, are capable of doing so many things so well as the West Point Band. (Perhaps I’m biased, but that doesn’t mean it’s not true!)
Make way for the West Point Band, Florida. We’ll be there soon.