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Concert Band Performs April 27

BOONE – Appalachian State University’s Concert Band, conducted by Jay Ware and Gene Heavner, will perform on Wednesday, April 27, at 8 p.m. in Broyhill Music Center’s Rosen Concert Hall. Admission is free.

The evening will begin with “Coat of Arms,” composed in 1957 by George Kenny. This little known concert march follows the standard march format with the exception that its of contemporary harmonies creates a rich palette of sounds not typically heard in a standard march.

Francis McBeth’s “Caccia” is based on a vocal genre popular in Italy during the 14th century that often portrays scenes associated with hunting – the sport of nobility. McBeth’s theme, comprised of four notes, is stated by trumpets, low woodwinds and low brass at the beginning of the work. The theme is transformed through “voice-exchange,” tonal and rhythmic manipulation, as well as thematic juxtaposition. Though the tempo remains brisk, McBeth hints at an almost slow-motion feel via percussion interlude. The composer then layers the remaining voices, subtly returning to the original pace.

” Sub-Saharan Rhythms” was composed by David Gillingham. As the title suggests, the piece attempts to capture the spirit and emotion of the music of the sub-Saharan countries of Africa. It incorporates three folk songs that are indigenous to the region: “Maiwe,” “Wateh eh” and the joyous “Liberation Song,” which the composer acquired from a documentary film on African music. The work opens rather quietly with “Maiwe,” moves into the aggressive “Wateh eh,” marked by tribal drums, the shaker (sikera) and cow bells. After a quiet interlude, the compound meter of the “Liberation Song” drives the work to its celebration conclusion.

” Puszta: ‘Four Gipsydances'” was written by Jan van der Roost. “Puszta” is the name for arid grasslands that once covered a large part of eastern Hungary. The work, in four untitled movements, portrays the spirit of the music and dance of the Romani, later known as “gypsies.” Influences from several cultures, especially Slavic, can be heard throughout each of the four movements.

Pierre La Plante’s “American Riversongs” is based on traditional and composed music of an earlier time when the rivers and waterways were the lifelines of a growing nation. “American Riversongs” begins with a rousing setting of “Down the River,” followed by an expansive and dramatic treatment of “Shenandoah,” or “Across the Wide Missouri” as it is sometimes called. After a brief transition, a brass band plays a quadrille-like version of Stephen Foster’s “The Glendy Burk.”

Francis McBeth’s composition “Kaddish” is like the Jewish prayer for the dead. The composition was written as a memorial to J. Clifton Williams, a teacher of the composer.

Clifton Williams’ “Dedicatory Overture” was commissioned by Epsilon Upsilon Chapter of Phi Mu Alpha Sinfonia, a national honorary music fraternity, at Evansville College in Indiana.

The concert concludes with “Amparito Roca” by Jaime Texidor. This fast Spanish march is a popular pasodoble. “Amparito Roca,” which means “The Sheltered Cliff,” was dedicated to a little girl named Amparito Roca who lived in the Baracaldo region of Spain.

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