Summer concert series 2026
The Austin Civic Wind Ensemble celebrates America's 250th birthday this Independence Day with a program that spans the full arc of American music — from stirring marches to sweeping cinematic landscapes.
The concert opens, as tradition demands, with The Star Spangled Banner in the U.S. Armed Forces Edition, honoring those who serve.
Aaron Copland's An Outdoor Overture captures the optimism and wide-open energy that defined American concert music in the mid-twentieth century. Composed in 1938 for the High School of Music and Art in New York City, it remains one of Copland's most exhilarating works — bright, rhythmically driven, and unapologetically joyful.
John Philip Sousa's Sesquicentennial Exposition March was written for the 1926 celebration of America's 150th birthday — a natural companion to our own 250th-birthday festivities a century later.
America, the Beautiful needs no introduction, but Samuel A. Ward's beloved melody takes on new depth in a full wind ensemble setting. Similarly, F.W. Meacham's American Patrol — familiar to generations — delivers patriotic tunes with infectious energy and march-like drive.
Jay Bocook's As All the Heavens Were a Bell draws its title from Emily Dickinson and offers a more reflective moment in the program — lush harmonies and soaring melodic lines that remind us beauty is itself a form of freedom.
John Williams' The Cowboys brings the sweep of the American West to the concert stage. Originally scored for the 1972 film, this suite is packed with galloping rhythms, bold brass, and the unmistakable grandeur that has made Williams the voice of American cinema.
Noah D. Taylor's Fanfare 250 was written expressly for this milestone — a bold new work for winds and percussion honoring America's semiquincentennial.
Rossano Galante's Midnight Ride offers a dramatic retelling of Paul Revere's legendary ride — urgent, cinematic, and deeply American in spirit.
Sousa's The Stars and Stripes Forever — the official National March of the United States — needs no introduction and no justification on the Fourth of July. Sousa composed the entire march in his head aboard a transatlantic steamer in 1896, not writing a single note until he reached American soil.
