Pealer Recital Hall, PAC

FSU Department of Music, Theatre, and Dance presents “Groove Music”, a concert by the FSU Wind Ensemble, directed by Peter B. Lewis, on Sunday, October 12, at 3pm in the Pealer Recital Hall of FSU’s Woodward D. Pealer Performing Arts Center. Admission is $10 adult; $5 senior, military, FSU faculty & staff; and free for students & children. Tickets are available at the University Box Office, Lane University Center 203 (Hours: Monday-Friday 10 AM - 4 PM), phone 301-687-3137, or online at tickets.frostburg.edu. Tickets will also be available at the door the evening of the concert.

The Wind Ensemble will be performing Duarte’s “Equus Alatus” that was inspired by the legend and mythology of Pegasus, Jonathan Newman’s brief bombshell “Blow It Up, Start Again” (described as “riotously funky”), Hazo’s “Arabesque” (kind of Arab-like) based in the mystical sounds of Middle Eastern music, Barker’s “Bamboo Shoots and City Streets” exploring the blend between tradition (represented through the sounds of traditional Japanese music forms) and urbanization (represented through the inclusion of elements of pop, rock, metal, and jazz), William Schuman’s “George Washington Bridge” intended to evoke several images of the bridge from different perspectives, and “Unfurl” by Michael Mikulka that is sincere and expressive, but also packed with band ballad tropes.

“Equus Alatus” by Frank Duarte is inspired by the legend and mythology of Pegasus, and depicts the sensation of flying with Pegasus throughout the day, ascending and descending through a limitless sky filled with clouds, then at nighttime, the magical stallion triumphantly transforms into a constellation of stars, forming a beautiful celestial image of its immortality and awaiting its next rider.

Samuel R. Hazo’s “Arabesque” is based in the mystical sounds of Middle Eastern music; the title means “kind of Arab-like”. It is composed in three parts each borrowing a few general ideas from Arab music. “Taqasim” (tah’-zeem), meant to sound like an Arabic taqasim or improvisation; “dabka” (dupp-keh), a traditional Arabic line dance performed at celebrations; and “chorale,” a recapitulation of previous mystical themes in the composition, interwoven with a grandeur of a sparkling ending.

William Schuman set his “George Washington Bridge: An Impression for Band” in a bridge-like arch form, intended to evoke several images of the bridge from different perspectives, including a sense of the majesty and grace in the first and last sections, sprightly bits of counterpoint in the second and fourth sections that suggest the bustling traffic on the bridge’s two huge decks, and the serenity of the lyric middle section giving an impression of a more distant view of the Bridge set against the vast cityscape.

Jonathan Newman’s brief bombshell “Blow It Up, Start Again”, a transcription of the 2011 work for orchestra, was described as “riotously funky” by the “Chicago Tribune”. The score bears this scant description: “If the system isn’t working anymore, then do what Guy Fawkes tried and go anarchist: blow it all up and start again.”

Michael Mikulka writes that his original intent for “Unfurl” was as a parody of the standard 21st Century wind band ballad, but he got attached to the melody and felt it sounded too personal and emotional for a parody. Now “Unfurl” is sincere and expressive, but also packed with band ballad tropes.

“Bamboo Shoots and City Streets” by Benjamin Barker is an exploration of the blend between tradition and urbanization, inspired by bamboo shoots he saw growing in the middle of the pavement while on a walk with a friend. Barker wondered what it would sound like to tell the story of the resilience and adaptability of these bamboo shoots as they continue to grow and adapt in an ever-urbanizing environment. Tradition is represented through the sounds of traditional Japanese music forms, while urbanization is represented through the inclusion of elements of pop, rock, metal, and jazz.

Music, Performance, Recital