March 2013 Concert Sneak Peak

Mark your calendars for The Concord Band's Winter Concert on March 2, 2013, with renowned pianist Michael Lewin as guest soloist!

2012–2013 Season Poster

2012–13 Lobby Poster

Review: Concord Band Presents A Tribute to Bill Toland

William M. Toland, the soul behind the Concord Band from 1962 until 1995 and a continuing influence on the hearts and minds of the musicians in the band, passed from this world in January of 2012. The band, under the direction of current Music Director Jim O’Dell and William McManus (director of the band from 1995 – 2009, now Director Emeritus), offered up their musical tribute to Bill’s memory this weekend in a stellar performance at the Bedford High School Auditorium, the school where he helped to shape the minds and spirits of a multitude of young musicians from 1957 through 1984. The program was a mosaic of compositions by Toland himself, beloved works commissioned during his tenure (from a total of 76 over the years) and other pieces he particularly favored. The evening also featured the World Premier of Elegy by Dr. McManus, a composition dedicated to the memory of Bill Toland.

The program began with Fanfare for a Festive Day by Roger Cichy. This spirited work opened a concert that was filled with energy and tonal brilliance. The band truly showed the love they hold for Bill in their enthusiastic performance and attention to intonation.

Each subsequent piece was introduced by either a member of the band or someone who has had their life touched by Bill Toland as a student or as a performer. Whether it was the words of Dan Diamond, now in his 44th year as senior percussionist with the band – as he says himself, it’s just because he got there first – or John Ferillo, a former student and currently a professional musician (in truth he has been principal oboe with the Boston Symphony Orchestra since 2001), one common thread passes through each description of how Bill touched the lives of his students and colleagues: He was always a coach, a cheerleader, a promoter of the welfare of all those with whom he worked.

Integrating Technologies to Magnify the Support of Our Mission

The Concord Band has always had several raisons d’être, but none is more important than that of bringing the best in concert band music to the community. Our principal method for doing this, of course, is through playing concerts at our permanent home at the Performing Arts Center at 51 Walden Street, Concord, at our summer home at Fruitlands Museum in Harvard and elsewhere.

The Concord Band has always taken advantage of contemporary technology to support this mission. For decades, we have offered audio recordings, initially on vinyl, and, for many years now, on CD.

Since 2008, in cooperation with Concord-Carlisle TV, we have also been making high-quality video recordings (using four cameras and professional audio) of our formal Fall and Winter concerts for presentation on CCTV’s local public access cable channel, and accessible online via CCTV’s video-on-demand website. In this article we focus on how the Concord Band is taking advantage of YouTube on the Internet and extending it to provide unprecedented pow- er in accessing videos of our performances of individual pieces of music.

YouTube, which first became available in 2005, is a free, widely-used video- hosting/sharing website, or video server, owned and operated since 2006 by Google. It is a repository for all types of short videos most commonly used for recreational purposes, ranging from pop-music videos (mostly professionally produced) to “home movie” clips, primarily (in their creators’ opinions) humorous in nature. YouTube can also be used for more serious purposes, which it supports via the ability to create YouTube channels. The Concord Band’s recently-created YouTube channel, concord.band. ma, now holds 86 video-recorded performances, extracted from videos of full- length concerts from October, 2008, through our most recent concerts.

Our YouTube channel can be used as are most other YouTube channels; i.e., by entering the name of the channel in the YouTube search box, all the videos in our channel will be available for selection. However, by integrating YouTube with spreadsheet technology, we are able to provide much more powerful support to serious members of our community—our own Band members as well as concert band musicians and conductors, music academicians, and concert band music lovers everywhere.

Performance Video Database. The integration of spreadsheet searching and sorting of the pieces in the YouTube channel, which we refer to as our Performance Video Database (PVD), makes it possible to watch videos that meet specific criteria. Examples of the kinds of selections made possible in this way include, “pieces composed by James Curnow” and “pieces commissioned by the Concord Band”.

Over time, the PVD will grow both in terms of the number of videos included (rows) and the data kept for each piece of music (columns). While the number of pieces in the PVD is relatively modest now, by the end of 2028, that number is expected to reach about 500. The number of columns is also likely to grow substantially. Some of the columns that are likely to be added next include link to program notes, composition type and solo instrument. When the first of these is added and the cor- responding links supplied, it will be possible to read directly what appeared in our printed concert program about a piece. Until composition type is entered for each piece in the PVD, it will not be possible to re- quest a list (and then watch the associated videos), for example, of all marches or overtures contained in the PVD. To see which pieces feature a particular instrument or voice, one will sort on solo instrument or search that column for, e.g., “flugelhorn”.

The implementation of the ability to manipulate the PVD was done in two stages, permitting access to the capability long before the ultimate polished version could be made available. The first version required that the PVD be distributed as an Excel spreadsheet. The names of the pieces are hyperlinks (shown in the actual spreadsheet in blue, and underscored), so that when the name of a piece is clicked on, one is taken to the corresponding video in YouTube. If anything involving selectivity is desired, the PVD can be searched and sorted before going to YouTube. Since the PVD would not change from when it was created in April, 2012, until after the upcoming Fall concert, this approach was not an unreasonable way to start.

A first publicly available version of the Performance Video Database is now on the Band’s website, concordband.org. Placing it on the Band’s website has two advantages. Since scanning and sorting the PVD and then linking to the Band’s YouTube videos is done from the Band website, it brings people to the Concord Band website who might otherwise only visit YouTube. There is much worth knowing about the Concord Band beyond our YouTube clips, as useful as they may be.

We hope that what we have done—make Concord Band YouTube videos accessible with so much more selectivity than is possible with YouTube alone—will encourage other YouTube users to do likewise.

Daniel S Diamond

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Dan Diamond is a mainstay of the Concord Band, having served for decades and wearing many hats, including Trustee, percussionist, editor, fundraiser, publisher, and producer.

Music Director Emertius, Dr William G. McManus

Dr William G. McManus
Music Director Emeritus

Dr. William McManus was Music Director of the Concord Band from 1995 to 2009. Upon his retirement as Music Director, he was named Music Director Emeritus. A graduate of the Boston Conservatory, with advanced degrees from Boston University, Dr. McManus was, until his retirement in 2001, Director of Fine and Performing Arts for the Belmont Public Schools. In 2004, he was appointed Associate Professor of Music Education at the College of Fine Arts at Boston University and was Chair of the Music Education Department until his retirement in June 2008.

The Massachusetts Music Educators Association awarded Dr. McManus the Lowell Mason Award and the Distinguished Service Award. He was also given the Conductor of the Year Award by the Massachusetts Instrumental Conductors Association. In March 2008, he received the Visionary Leadership Award, the most prestigious award given by the MMEA. In May of 2008, he was awarded the Distinguished Faculty Award by the faculty of the Boston University College of Fine Arts. In October, 2008, Dr. McManus received the Concord Band’s Lifetime Service Award.

Dr. McManus served as President of the MMEA from 1991 to 1993 and President of the Eastern Division of MENC: The National Association for Music Education from 1999 to 2001. He has been Conductor of the Boston Conservatory Wind Ensemble, the Framingham Concert Band, the 215th Army Band, and the United States Youth Wind Ensemble, and has been a guest conductor throughout the Eastern United States and Europe.

Since his retirement from Boston University, Dr. McManus has been living in Sandwich on Cape Cod where he continues to compose and arrange music for concert band and jazz ensemble. He also con- tinues to play jazz piano and saxophone, performing with several jazz bands in the Boston area.

2012 Fall Concert

A Tribute to William M. Toland

Saturday, October 27, 2012

The Concord Band 

James O’Dell, Music Director

Dr. William G. McManus, Music Director Emeritus

Program
Fanfare for a Festive Day	Roger Cichy
Pennyghael: Reflections of Scotland	William M. Toland
Welcome and introduction by Charles Learoyd,  Concord Band clarinetist (1975–present), Current Band President
Satiric Dances	Norman Dello Joio
Allegro pesante Adagio mesto Allegro spumante
Introduced by Dan Diamond, Concord Band percussionist (1970–present),  Board member (1971–present), former Band President
Eternal Father, Strong to Save	Claude T. Smith
Introduced by Chris Mudgett, Bedford High School Class of 1971,  Concord Band flutist (1975–present), former Board member and Band President
“Nimrod” from Enigma Variations	Edward Elgar; arr. Reed
Introduced by David Purinton, Concord Band clarinetist (1973–present)
Postcard	Frank Ticheli
Introduced by Keith Phinney, Bedford Director of Music (1956–1988)
Intermission
Proud Heritage	William Latham
Chester	William Schuman
Introduced by Mark Mudgett, Bedford High School Class of 1973,  Concord Band arranger (1974–1976), Concord Band trumpeter (1970’s and 1990’s)
Elegy	William G. McManus
World Premiere
Introduced and conducted by Dr. William G. McManus, Composer,  Concord Band Music Director (1995–2009), Music Director Emeritus (2009–present)
Welsh Variants	James Curnow
Introduced by Kenneth Troup, Bedford High School Class of 1962,  Concord Band percussionist (1971–present), Board member (2010–present)
El Capitan	John Philip Sousa/arr. Hindsley
Video remarks by John Ferrillo, Bedford High School Class of 1973,  principal oboist, Boston Symphony Orchestra (2001–present)
Auld Lang Syne	Trad/arr. William M. Toland

Read all notes for this program...

El Capitan

El Capitan is the best known of John Philip Sousa’s fifteen operettas. The operetta concludes with this march and in 1899 Sousa increased his band to over a hundred musicians and featured this work in a victory parade for Admiral Dewey and his returning Spanish-American war veterans. (March Music Notes, Norman E. Smith)

Fanfare for a Festive Day

The music of Roger Cichy has been frequently performed by the Concord Band. Fanfare for a Festive Day is largely based on the four opening pitches G, C, D, and F played in ascending order. Eventually, this four-note motive is joined with additional material to become the thematic material for the fanfare. Throughout the main statement of this thematic material, changing meter patterns are used to compress the phrases, thus pushing the music ahead and increasing its forward momentum. (Published Score)

Pennyghael: Reflections of Scotland

Bill Toland wrote Pennyghael: Reflections of Scotland after a trip to Scotland, which was the Concord Band’s 25th anniversary gift to him. Featuring a medley of Scottish tunes, the work begins with a sustained drone and introduces a fragment of the second theme. The first tune in march style is boldly introduced by a blaze of percussion, and quickly passes throughout each section of the band. The lyrical second tune is announced by the oboe and quickly joined by the third tune, this time introduced by the alto saxophone. After several orchestrations and modulations, the jaunty final tune whirls its way through several variations, slowly winding down back to the opening drone and a final restatement combining two of the main melodic themes. (JRO)

Satiric Dances

Satiric Dances for a Comedy by Aristophanes by Norman Dello Joio was the first work commissioned by the Concord Band. Originally written for piano, the piece was arranged for band for the commemoration on April 19, 1975, of the Bicentennial of the first military engagements of the American Revolution, in Lexington and Concord, MA. The three-movement work combines comedic and lyrical themes, sometimes edgy and angular, and at other times beautifully song-like. The final movement is an energetic romp punctuated with sixteenth note rhythmic percussion driving the theme as it is passes from section to section. (JRO)

Eternal Father, Strong to Save

Claude T. Smith was one of Bill Toland’s favorite composers. Smith’s Eternal Father, Strong to Save is a masterful work, rich in harmony, dynamics, and thematic interplay. The piece is based on the missionary hymn of the same name composed in 1860 by William Whiting, which was adopted as the official hymn of the U.S. Navy. This work opens with a brilliant fanfare. The melody of the hymn then appears in a fugue developed by the woodwinds. The brass echo the fugue until the melody once again appears played by the choir of French horns. The ensemble joins in for a finale reminiscent of the introductory fanfare. (Music Program Notes)

Nimrod

Nimrod is the fifth of fourteen variations contained in Edward Elgar’s Enigma Variations. The Nimrod variation enshrines a conversation between Elgar and his friend A. J. Jaeger (which translates to “hunter” in German). Nimrod is the great hunter of the Bible. This programmatic work reveals the composer’s masterful orchestration and was performed at Bill Toland’s request at our Winter, 2012, concert. (JRO and the Oxford Concise Music Dictionary)

Postcard

Postcard by Frank Ticheli was commissioned by the composer’s friend, colleague, and former mentor, H. Robert Reynolds, in memory of his mother, Ethel Virginia Curry. It was composed as a short energetic piece celebrating her life and a brief “postcard” as a musical reflection of her character—vibrant, whimsical, succinct. It was first performed in 1992 by the University of Michigan Symphony Band, conducted by Reynolds. (Published Score)

Chester

Chester is the third of the three movements from William Schuman’s New England Triptych, written in 1956. The tune is based on a famous American Revolutionary hymn and marching song by early American composer William Billings. In the first section Schuman introduces the first tune in the woodwinds and then in the brasses. In the next section the melody is given a more contemporary setting with mid-twentieth century rhythmic and harmonic devices utilized to sustain interest. The closing section brings back the hymnlike treatment of the theme and the work is brought to a dramatic close. (Band Music Notes, Norman Smith and Albert Stoutamire)

Elegy

William G. McManus composed Elegy in memory of William M. Toland. The work opens with a solemn memorial theme played by solo trumpet accompanied by timpani, one of the many percussion instruments Bill played. After a brief transition section, clarinets and flutes introduce a hymn-like lifecelebrating theme. Following several statements of this melody, the percussion section is featured with the timpani now playing a motif from the opening memorial theme accompanied by snare drum, bass drum and cymbals. This section leads to a majestic restatement of the celebration theme by the full band. The work closes as it began with the memorial theme played by solo trumpet, but this time accompanied by a tolling chime. (WGM)

Welsh Variants

Welsh Variants is one of several outstanding works written by James Curnow for the Concord Band. It was commissioned when the Band was under the baton of Bill Toland, and the composer conducted the world premiere on October 22, 1988, in Concord. The main theme is "Suo Gan," a traditional Welsh folk song, also featured in the film Empire of the Sun. The theme is first presented in a brilliant style by the woodwinds. Curnow then transforms the theme into a number of contrasting variations utilizing the full resources of the symphonic band, as well as featuring many solo instruments. (WGM)

A Tribute to William Toland

Bill Toland

The Concord Band’s Fall Concert at 8 pm on Saturday, October 27 will be a tribute to the group’s first Music Director, William Toland. The concert will be held at Bedford High School, where Toland was Band Director and Assistant Director of Music from 1957 to 1984.

Toland, who led the Band from 1962 to 1995, passed away in January 2012 at the age of 80.

Known in Boston’s western suburbs as a dedicated music educator, Toland earned many awards, including the DeMolay Award for Exemplary Teaching, and the Lowell Mason Award for Outstanding Leadership in Music Education from the Massachusetts Music Educators Association (MMEA). He was also active in the MMEA Northeast District festivals, often serving as host, band manager, and district band conductor.

While with the Concord Band, Bill Toland was recognized as an important contributor to the world of band music through his prolific commissions of new works for concert band, particularly his commissions of Satiric Dances (1975) and Five Concord Diversions (1987). Toland received a bachelor of music degree from Boston University in 1953, a master of music degree from B.U. in 1960, and a master of music education from the University of Massachusetts, Lowell, in 1970.

Under current Music Director James O’Dell, the Concord Band will perform Norman Dello Joio’s Satiric Dances, Toland’s own Pennyghael: Reflections of Scotland, James Curnow’s Welsh Variants, also commissioned by Toland, and more. Former Concord Band Music Director William McManus will conduct the premiere of Elegy, a tribute he wrote in Toland’s memory.

The Legacy of William M. Toland

William M. Toland

Here is the full text of a feature article, written by band member Ken Troup, on William M. Toland, Music Director Laureate of the Concord Band, submitted for the fall 2012 edition of Mass Music News, published by the Massachusetts Music Educators Association (MMEA).

If you are a band director, there’s a good chance that you have performed Satiric Dances by Norman Dello Joio. The three-movement band piece was commissioned in 1975 for the bi-centennial of the battles of Lexington and Concord by William M. Toland and the Concord Band. The piece is most associated with Toland as it was the first in a long line of works for band that he and his successors commissioned.

Bill Toland, 80, died on January 25, 2012. He was Music Director of the Concord and from 1962 to 1995, and also had a distinguished career as band director and assistant director of music at Bedford High School from 1957 through 1984. For his work in Bedford, he received the DeMolay Award for Exemplary Teaching and the Lowell Mason Award for Outstanding Leadership in Music Education from the Massachusetts Music Educators Association. Active in the MMEA Northeast District, Toland hosted the Northeast District Music Festival in 1961 with the Bedford football field literally filled with uniformed band players from the various marching bands. He was Northeast band manager frequently and in later years conducted District bands.

Review: "Brassed Off!"—Concord Band Style

The Concord Band, with special guests, the Triton Brass Quintet, provided a most enjoyable Saturday evening concert. Music Director James O’Dell’s choice of repertoire was very entertaining and well received by the almost capacity audience. Hazo’s “Go” - a lively and upbeat piece that began the concert -tested the rhythmic capabilities of the ensemble. After a bit of an unsettled start, the band did rise to the occasion and ended on a solid and somewhat more confident note.

 
The nicely played Horn opening of McBeth’s “Ishmael” from Of Sailors and Whales, truly evoked images of the open sea. The intonation within the flutes and later, the saxophones did not significantly detract from the overall performance of an otherwise lovely presentation.

Cheetham, Cheetham, Cheetham! Anything Cheetham is always a favorite! The Triton Brass Quintet delivered a top-notch performance of the “Concertino for Brass Quintet and Symphonic Band”. The ‘Allegro resoluto’ was fantastic! The Triton Brass tossed melodic lines around effortlessly as the Concord Band accompanied with confidence and familiarity. Well done!

Guest Artist Spotlight: Triton Brass

Based in Boston, Triton Brass is an exciting musical collaborative comprising five of the region's most promising young talents. Triton Brass were prize winners at the 2005 Lyon International Chamber Music Competition, 2003 Fischoff International Chamber Music Competition, and semi-finalists at the Concert Art- ists Guild Competition. Triton members are in their second year as artists-in-residence at The Boston Conservatory, where the group serves as both performers and instructors, and are proud to be faculty and co-hosts for the Atlantic Brass Quintet International Seminar.

Since receiving his Master's degree from the New England Conservatory, Steve Banzaert has been an active freelancer in the Boston area, serving as principal trumpet of the New Bedford Symphony. Steve is also an instructor at MIT and is on the faculty of Hampshire College, where he teaches electro-mechanics.

Originally from New Jersey, Andrew Sorg is a graduate of The Boston Conservatory. Andrew is an active performer, composer, chamber musician and trumpet teacher in the Boston area. He holds teaching and residency positions at Boston College, The Boston Con- servatory and The Boston University Tanglewood Institute.

Whitacre Hill (substituting tonight for Shelagh Abate) began his studies of the French horn at the age of nine with Prowell Seitzinger in Hummelstown, Pennsylvania. Whitacre continued his studies at the Eastman School of Music, the Music Academy of the West, and Northwestern University.

Wesley Hopper is a busy freelance trombonist in the Boston area, having performed with the Boston Pops, Boston Ballet, Boston Modern Orchestra Project, and countless other ensembles. He performs regularly with the National Lyric Opera, Lexington Symphony, and New Bedford Symphony.

Bass trombonist Angel Subero (substituting tonight for Jobey Wilson) attended the Conservatorio Itinerante in his native Venezuela, as well as the Boston Conservatory, and the New England Conservatory of Music, where he received the NEC Merit Award, graduating with distinction in performance.

Visit Triton Brass Quintet’s website at http://www.tritonbrass.org.

2012 Winter Concert

Brassed Off

Saturday, March 3, 2012

The Concord Band

James O’Dell, Music Director

Steven Barbas, Assistant Conductor

Triton Brass Quintet, Guest Artists

Program
…Go	Samuel R. Hazo
“Ishmael” from Of Sailors and Whales	W. Francis McBeth
Concertino for Brass Quintet and Symphonic Band	John Cheetham
Allegro resoluto Lento e espressivo Allegro vivo
Triton Brass Quintet, guest artists
“Adagio” from Concierto de Aranjuez	Joaquin Rodrigo; arr. McManus
Andrew Sorg, flugelhorn
Florentiner March	Julius Fučik; arr. Lake, ed. Fennell
Intermission
Festivo	Edward Gregson
“Nimrod” from Enigma Variations	Edward Elgar; arr. Slocum
Five Concord Diversions	James Curnow
Introduction Romance March Ballad Finale
Concord Band Commission

Read all notes for this program...

…Go

―Samuel R. Hazo (b. 1966)

This energetic and extended fanfare is actually masquerading as an overture. It is a short and powerful work containing multiple themes, irregular phrases, rhythmic play, and mixed meter that culminates in a thunderous ending and ringing percussion. …Go is Hazo’s tribute to the many band composers that influenced his writing, including Hindemith, Rodrigo, and Holst. (Source: JRO)

“Ishmael” from Of Sailors and Whales: Five Scenes from Melville

―W. Francis McBeth (1933–2012)

Commissioned and dedicated to the California Band Directors Association for the 1990 All-State Band, the first movement of this work is titled Ishmael “I go to sea as a simple sailor.” With its beautiful sustained and contemplative melody, the movement builds by a layering echo of the main theme and depicts the power, beauty, and majesty of the open seas and pioneering sailors. (Source: JRO) Performed in Memoriam.

Concertino for Brass Quintet and Symphonic Band

―John Cheetham (b. 1939)

Concertino was commissioned by the faculty brass quintet at Indiana University of Pennsylvania in 2000. Classic sonata form provides the structural format for the first movement, which opens with a fanfarelike motive. The second movement is a slow five-part rondo. This short movement leads without pause to the final movement of the work, a boisterous rondo in 6/8 time. (Source: published score)

Adagio from Concierto de Aranjuez

―Joaquin Rodrigo (1901–1999) arranged by Dr. William G. McManus

The Adagio (second movement) from the Concerto de Aranjuez for Guitar and Orchestra is a masterful arrangement set in the musical style as played by the Grimethorpe Colliery Brass Band in the film Brassed Off. With its laid-back rock style and pulsating rhythm, the work features solo flugelhorn on the beautiful theme, representing the flavor and feel of the beautiful gardens of Aranjuez, Spain. (Source: JRO)

Florentiner March (Grande Marcia Italiana)

―Julius Fučik (1872– 1916), arranged by M.L. Lake, edited by Frederick Fennell

The length and content of the Florentiner March lead one to believe that, like Sousa with his Free Lance March, Fučik must have tried to condense an operetta into a march. The march opens with a short bugle fanfare, and proceeds directly into a strain that sounds like a flighty Florentine signorina chattering to her gentleman friend from Berlin who only has time to answer a (two-note) “ja-wohl” occasionally. The march continues with another fanfare; a light, floating trio melody; an interlude; and a triumphant repeat with a challenging piccolo part. (Source: Band Music Notes, Norman Smith and Albert Stoutamire.)

Festivo

―Edward Gregson (b. 1945)

Festivo is one of English composer Gregson’s early contributions to the symphonic wind band repertoire. It is cast in rondo form with a longish introduction that announces in fragmented form some of the main ideas. The main theme is light-hearted and exuberant, heard first on clarinets but immediately tossed around the band. The first episode starts quietly but gradually adds layer upon layer of repeated fragments. The final statement of the rondo tune is heralded by tubular bells and bell-like chords in the brass, after which a short coda brings the work to an exciting conclusion. (Source: composer’s website)

“Nimrod” from Variations on an Original Theme for Orchestra, “Enigma”

―Edward Elgar (1857–1934), arranged by Earl Slocum

"Nimrod" is one of the fifteen variations presented in the work commonly referred to as the Enigma Variations. This variation draws its mood from the opening bars of Beethoven’s “Pathetique” piano sonata, second movement, and is commonly performed at solemn occasions and memorial services. Performed on May 17, 2000, by the Grimethorpe Colliery Band, we present it tonight with love, honor and affection, at the request of the family of William M. Toland. (Source: JRO)

Performed in Memoriam William M. Toland, Music Director Laureate of the Concord Band (Music Director 1962–1995).

Award-winning Triton Brass Quintet

Triton Brass Quintet

Concord, Mass., February 7, 2012—The Concord Band is thrilled to welcome five outstanding young professional musicians from the Boston area to share the stage at their Winter Concert. The award-winning Triton Brass Quintet will be guest soloists for an exciting and dynamic program, led by Music Director James O'Dell, which will take place at 8 pm on March 3, 2012 at the Performing Arts Center at 51 Walden in Concord.

The quintet will perform Five Concord Diversions for Brass Quintet and Bandby James Curnow, commissioned by the Concord Band and premiered in 1987, and the Concertino for Brass Quintet and Band by John Cheetham. In addition, the quintet's Andrew Sorg will be featured on flugelhorn in an arrangement of the Adagio movement from Joaquín Rodrigo’s Concierto de Aranjuez, arranged by Concord Band Music Director Emeritus William G. McManus.