1: Taonga Pūoro – performed by Riki Tamanuitera Bennett
Taonga Pūoro literally means “singing treasures” in Te Reo Māori. We begin the concert with the sounds of the Hue (gourd). The Hue is a traditional instrument used to create the heartbeat of Papatūānuku (the Earth Mother) by blowing over the open mouth, and rhythms can be created by breath. Next, Riki will be playing the Vivo, a Tahitian nose flute, creating sounds that travel from Hawaiki – the traditional homeland. Later in the programme, listen out for the Ngurū Tohorā – this instrument has been made from a tooth of a sperm whale so comes from the Atua Tangaroa , creating beautiful haunting sounds.
2: Laputa: Castle in the Sky – Joe Hisaishi
Laputa: Castle in the Sky was written in 1986 by Joe Hisaishi to accompany the Studio Ghibli film of the same name. The Japanese style of film composing involves long unbroken melodies and a cinematic feel to match the events going on in the film and the main theme of this work represents the long-abandoned city of Laputa that floats in the sky. Hisaishi follows the influence of Claude Debussy and creates melodies that both follow his style of arrangement and tone. Hisaishi’s work also tends to borrow from itself developing melodies from previous compositions and this leads to him having a very clear and consistent style.
– Kate Scandle
3: Four Scottish Dances (Mvt II) – Malcolm Arnold
Arnold wrote his Four Scottish Dances in 1957 for the BBC Light Music Festival, intended to evoke Scotland with reels, snap rhythms, and instruments imitating bagpipes. Each of the four (of which the band will perform 1-3) is inspired by Scottish country folk tunes and dances. We will begin with just the 2nd movement: Vivace. This lively reel continues to rise in pitch until the “tipsy” bassoon plays it at a greatly reduced speed. The final statement returns to the original speed in the home key of E-flat.
– Sam Nicholson
4: Kamancheh – performed by Rasoul Abbasi
Kamancheh, which is one of the main string instruments in Iran and other Middle Eastern and Central Asian countries, will be used for improvisation based on traditional Persian music, specifically the Dastgah system that is a combination of ancient modes. During the performance, the transition between modes will be demonstrated, while traditional microtonal intervals and rhythmic patterns are utilized.
5: Strange Humors – John Mackey
John Mackey’s “Strange Humours” is a piece that has undergone many transformations. Originally written for string quartet, it was later transcribed for saxophones and finally rendered as a concert band piece. There is a musical heart that remains the same in all versions however: the djembe. A djembe is a traditional, hour-glassed-shaped drum, originally from Western Africa. Mackey combines this African drum with elements of Arabic musical culture. The exotic scales and the driving rhythms are sure to transport aurally you to the Middle East.
– Daniel O’Connor
6: Torn-Eriks Visa – performed by Hanna Wiskari
This arrangement is based on a traditional Swedish melody from the region of Dalecarlia. Originally it was sung by Torn-Erik who was a sexton (bell-ringer at church), cobbler as well as a fiddler. Since Torn-Erik’s days in the early 1900s it has been arranged for a variety of ensembles; choirs, symphony orchestra and wind ensemble amongst others and it is well known and loved piece in the Swedish repertoire. This rendition has been arranged by Jerker Johansson.
7: El Camino Real (The Royal Road) – Alfred Reed
This music was dedicated to the 581st Air Force Band in 1985, but this 6oo mile highway built in the early 20th century was named to commemorate the route connecting the 21 Spanish missions in California, USA. The music is based on the fiery style of Spanish flamenco guitarists. The first part of the piece reflects a dance ‘the jota’ and the second part is derived from the ‘fandango’. Overall, the music follows a traditional three-part pattern: fast-slow-fast.
– Kate Hedges
INTERVAL
8: Four Scottish Dances (Mvts I & III) – Malcolm Arnold
We revisit the Scottish Dances from Act 1, this time with two very different moods. The first, Pesante, is in the style of a slow strathspey (“strath” (valley) of the river Spey), with dotted rhythms, frequently in the inverted arrangement of the “Scottish snap.”
The third dance, Allegretto, conveys an impression of the sea and mountain scenery on a calm summer’s day in the Hebrides.
– Sam Nicholson
9: Congas and Djembe: Sounds from Ghana – performed by Yaw Asumadu
Originally from Africa, the conga is a critical instrument in Afro-Cuban music. The three sizes are quinto (smallest and highest), conga (middle), and tumba (largest and lowest). Yaw also plays a central djembe, a drum from West Africa which appeared earlier in the programme.
Yaw is joined by Hanna Wiskari and Tristan Hancock in “Drawing the Corners” (composed by Tristan Hancock). It is in 6/8 time and draws on elements of folk traditions and Nordic Jazz.
10: New York Cityscapes: African Dance – Jeff Tyzik
New York Cityscapes was composed by Jeff Tyzik as a collaboration between Canadian Brass and the Eastman Wind Ensemble as a five-movement piece depicting the multi-cultural energy and soundscape of New York. The fourth movement, African Dance, reflects New York’s connection with the slave trade in the 18th century. The language of oppression and hope is communicated via the brass quintet, particularly the lyrical solo and adlib lines in the trumpet. Haunting vocals sung by the wind band capture the evocative sounds of slaves singing at their work. Polyrhythmic African percussion is employed throughout with a “call and answer” section between the ensemble and the percussion section. There is a constant narrative in the writing that is set to make us uncomfortable; a reminder of the atrocities of the slave trade, yet the yearning and emotion in the piece places a strong reminder of how far we have come as a society.
– Neil Cording
11: Swar Kakali – performed by Basant Madhur Ensemble
Swar Kakali is based on Indian Classical Music Raaga, called “Tilang”. The performance is inspired by the “East Meets West” album released in 1967 which featured Indian Sitar Virtuoso Ravi Shankar & American Violinist Yehudi Menuhin. It is a humble tribute to the legends. The performance will feature Sargam Madhur on Sitar, Basant Madhur on Tabla , and Akhilesh Madhur on Tabla.
12: Homage to Bharat – Brian Balmages
Bhārat or Bhārat-varṣa is the alternative name for the country of India. These piece pays homage to its rich cultural traditions. Featured in our performance, is the tabla (hand drums) and the sitar (guitar-like) instrument. The piece is a juxtaposition of dreamy, ethereal sections with vigorous rhythmic motifs. In the Indian Classical tradition, pieces are constructed upon a raga, which is a similar concept to the western scale. Unlike Western European music that predominantly uses major and minor scales, there are literally hundreds of ragas, each with a unique “colour” and musical function. In other words: ragas are tied to certain occasions, times of day and year. Brian Balmages’ love of bhangra, modern Indian pop music, is evident in this piece. It is reminiscent of Bollywood film full of melodrama, vibrant colours, sumptuous sets and intricately choreographed dances.
– Daniel O’Connor
13: In Living Colour – Katahj Copley
Katahj Copley wrote In Living Colour as an ode for live music, especially music performed on the wind band stage. When the possibility of live performance was taken away in 2020 due to the global pandemic, the language of music became foreign. Now, as Copley says, a love for music has grown again – through separation, we grew stronger. The piece draws inspiration from modern jazz artists such as Snarky Puppy, American Boy singer Estelle, George Gershwin and includes a nod Four Tops “Reach Out (I’ll Be There)”. In our rendition, we invite all our guest artists to join us in a celebration of music and unity, a kaleidoscope of colour, an aural representation of the Tapestry that lives within us, and around us.
– Pip Mandeno