What is an epic tale? Is it a fantasy adventure packed with challenges and triumphs? Is it a journey of self-discovery and natural wonder? Or is it a story of love, life, and death? Lone Star Wind Orchestra welcomed their concert goers with an exploration of all these possibilities on the evening of January 26th at the Meyerson Symphony Center in Dallas.
Steven Bryant’s Ecstatic Fanfare opened the program. Its material was lifted from a five movement piece entitled Ecstatic Waters. For the original work, Bryant studied concepts of post-humanism inspired by futurist Ray Kurzweil. Similarly, Bryant looked to the prominent Irish poet, W.B. Yeats, particularly his poem The Second Coming written soon after the devastation of World War I. The Second Coming questions the future of humankind imagining it trapped in a spinning gyre where the “falcon cannot hear the falconer” and “the centre cannot hold.” Yeats referenced both Christian beliefs and the image of a sphinx calling it “a vast image out of Spiritus Mundi” (spirit of the world). Another phrase from the poem, “ceremony of innocence,” became the title of Movement 1, and produced the music to become Ecstatic Fanfare. Bryant called it “perhaps too exuberant.” Its rhythmic brass, soaring horns, and sparkling woodwinds and percussion were a fitting start to the evening, a spotlight shone on perhaps the most epic saga of all: humanity.
On to lighter fare, filmmaker George Lucas entertained the idea for “Indiana Jones and the Raiders of the Lost Ark” around 1973, but it wasn’t until 1977 when “Star Wars” had been released and Lucas relaxed on a beach in Hawaii with Steven Spielberg that the two resolved to pursue the project. Lucas itched to create his own version of the serial TV adventures he had enjoyed growing up, and Spielberg had always been interested in James Bond films. The charismatic whip-yielding archaeologist named Indiana Jones made his mark in entertainment history when the film hit box offices in 1981. Despite the number of exciting features (a deadly rolling boulder, ancient spirits, and thousands of snakes) we know a movie’s ultimate spirit relies on its music. A favorite composer of both Lucas and Spielberg was John Williams of “Jaws” and “Star Wars” fame. When Williams originally offered two options for the Raider’s March theme, Spielberg suggested he use both. These became the main theme and the bridge. He also created a sinuous love theme for the leading lady. Williams has shared that his simplest themes often require the most effort to compose in order to “seem inevitable.” That effort pays off in Raider’s March, one of the most unforgettable tunes in film. Assistant conductor Seth Wollam conducted to cheers of recognition from the audience.
Eugene Corporon returned to the podium for An Gé Fhiáin (The Wild Goose) by Ryan George. One of the perks of working with this ensemble is frequently collaborating with composers, and to perform one of their world premieres is an even bigger honor. A surprise to the performers until the concert, the piece was commissioned by Robert Clark for Barry Knezek for his dedication to the Lone Star Wind Orchestra. Barry traveled an epic road himself when he suffered a traumatic injury in July 2013. Surgery followed by months of physical therapy brought Barry back to the stage, much to the rejoicing of his fellow musicians and friends. Not coincidentally, Barry also raises geese! The Wild Goose delved into Celtic Christian concepts of the Holy Spirit as untamable and unpredictable, represented by the goose, a bird of the same qualities. Faith was considered a lifetime pursuit, a wild chase. George captured this by layering hurried flutters of notes, static chords speeding and slowing, and short rockets of sound. Whooping calls were heard from horns and saxophones at various climaxes. But it was the offstage English horn that played the lead role of goose, especially in more introspective moments representing the Celtic belief that in certain places on Earth one could feel the transcendent presence of the divine. George also wrote a quiet chorale first in the horns and euphoniums then later growing to grand proportions. Recognizable Celtic sonorities such as bagpipes (low reeds), antiphonal drum cadences, and a full-out jig made appearances later in the piece. The goose got in the last word with an English horn and soprano saxophone growl before the final rhythm. An Gé Fhiáin combined ancient culture with modern musical twists and turns. It also highlighted commitments of special people in our own musical family here in Dallas. To listen to our performance, visit Ryan George’s website: forninemusic.com.
John Mackey’s Frozen Cathedral was premiered and inspired by Dr. John Locke and the University of North Carolina Greensboro Wind Ensemble. Locke requested the piece be dedicated to his late son J.P. who had worked and lived in Alaska and had particularly cherished “Denali,” the native name for Mt. McKinley meaning “great one.” Mackey composed with reverence for both the tragic loss and the expansive beauty of the towering mountain. He summoned a host of untraditional sonorities to achieve the mysterious icy tones of the mountain. These included crotales on timpani and tam tam stroked with superball mallets. The waterphone, a set of hollow steel discs filled with water and copper spires set vertically around its perimeter, was a particular favorite in rehearsals. It produces high-pitched fluctuating metallic pitches when scraped and took on an otherworldly quality in the balcony of the Meyerson. Mackey wrote an aggressive glistening sweep before introducing a soulful bass flute singing the minor melody that would eventually grow to mighty proportions. For the first time in performance, the powerful moments were merged with rich organ by the wonderful Mary Preston, resident organist for the Dallas Symphony Orchestra. After reaching a virtual mountaintop, the journey began all over again, this time in a hopeful major key. Tempo accelerated; mallets, harp, and celeste took on frantic interlocking rhythms; and J.P.’s instrument, trombone, called out above the ensemble in both complimenting and contradicting tones. Each time the music calmed, it immediately set its course again. After a steady climb all players mustered a second wind and surged toward the summit, filling the hall with giant chords of exultation. It was an emotional close to the first half.
Symphony No. 1 “The Lord of the Rings” by Johan de Meij is a famous work in the band world, and the books by J.R.R. Tolkien, now transformed to the big screen, are a world-wide phenomenon. De Meij was a successful arranger when someone suggested he write his own music. In response to the many short works for winds at the time, he wrote a 40 minute symphony for band. Naysayers told him publishers and ensembles would show no interest due to its length. De Meij had faith in his project, so he published it himself. After the premiere, it quickly gained notoriety and won the Sudler Composition Award. It was subsequently recorded by the London Symphony and enjoyed further success. This evening Lone Star performed 3 movements. As a special treat, Lone Star invited actor Bruce Dubose to bring Gandalf the Grey to life. Before each movement, Dubose gave dramatic readings from Tolkien’s books illustrating his endearing characters. “Gandalf” featured a noble fanfare and contemplative lyrical theme for the wise wizard. Urgent, trotting rhythms depicted the wizard on his horse, Shadowfax. “Gollum” took us on a wild ride through the world of the pitiful creature interpreted by soprano saxophone in a twisted, off-kilter tune. A breakneck double tongued section in the brass accentuated Gollum’s desperation for its “precious” ring. “Hobbits” featured a jolly dance tune embodying the charm and unlikely heroism of hobbits. It grew into a cinematic chorale and returned to Gandalf’s fanfare. The entire work faded to hushed chords as Frodo and Gandalf sailed away to the peaceful Grey Havens.
Michael Daughtery’s Niagara Falls brought the concert to a rousing close. It is a natural wonder of epic proportions, but the location also attracts a much less glamorous scene: tourism. The area is ripe with souvenir shops, haunted houses, wax museums, and hotels. Daugherty excluded nothing! He chose 4 eerie tone syllables for the title motif: “ Ni – a – gra – Falls.” Timpani pounded a second looming theme that served later as a jiving bass line in a bluesy, rock-and roll romp through the falls. Mary Preston rejoined the ensemble with pipes blaring during massive macabre chords. Daugherty layered his elements together for a final showdown and dash to the finish.
Lone Star Wind Orchestra was thrilled to return to the Meyerson Symphony Center for these “epic tales.” Please join us on April 27th at the Eisemann Center for our next adventure entitled “Wildflowers,” dedicated to Percy Grainger’s beautifully crafted works for band.
About the Author
Amy Stokes is a charter member of the Lone Star Wind Orchestra, and currently serves as horn section manager. She grew up in Memphis, TN where her father, a band director, decided she should play either horn or oboe in 6th grade band in order to earn a scholarship for college. She took naturally to horn right away and indeed received scholarships to the University of Tennessee, Knoxville where she earned a Bachelor’s Degree in Music Education. After following her husband to Dallas, she received a Master’s Degree in Music Performance from the University of North Texas, where she performed with the Wind Symphony, Symphony Orchestra, Chamber Orchestra, and many chamber ensembles. She can be heard on 11 recording projects by the North Texas Wind Symphony. She has performed with various orchestras and is an active freelancer DFW in addition to having taught private instruction in Denton, Frisco, and Flower Mound. She currently teaches horn students at Coram Deo Academy in Flower Mound. Her husband Dax, is a reference librarian at North Central Texas College and serves on the board of Lone Star Wind Orchestra. They live in Corinth with their 3 children Hannah, Chloe, and Colin. She wants to thank her teachers and mentors along the way: Jennifer Kummer, Calvin Smith, Dr. Gary Sousa, Dr. Bill Scharnberg, Eugene Corporon, and David Ryan.