WEST CITY YOUTH CONCERT BAND
Rephrygeration – Todd Stalter
A dynamic concert opener or closer cast almost entirely in the Phrygian mode. The half steps that make this scale mode so unique are celebrated both in a melodic and harmonic sense, with aggressive low brass figures, crisp and rhythmic percussion, and winding passages in the woodwind.
Nimrod – Edward Elgar, arr. Alfred Reed
Edward Elgar composed his Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations, between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme. Elgar dedicated the work “to my friends pictured within”, each variation being a musical sketch of one of his circle of close acquaintances. We will perform an arrangement of Variation IX (Adagio) “Nimrod”. The name of the variation refers to Augustus J. Jaeger, who was employed as a music editor by the London publisher Novello & Co. He was a close friend of Elgar’s, giving him useful advice but also severe criticism, something Elgar greatly appreciated.
Havana Nights – Randall D. Standridge
Havana Nights is a concert work for Wind Ensemble, but it was also conceived as a short ballet. The action takes place in the mambo clubs of Havana as our heroine (Havanna) dances her way through the night life. She encounters another young dancer and the two begin a flirtatious, seductive conversation through the art of movement. As the ballet comes to a close, Havana casts one final, gleeful look at her would-be suitor before escaping into the night.
The Melody Shop – Karl King, arr. Andrew Glover
The Melody Shop is one of Karl King’s most popular marches. The march is written in E♭, with its trio section changing keys to the subdominant A♭ as is typical for marches and polkas. Excerpts of the march are commonly used in auditions for euphoniums and baritone horns auditioning for a spot in a military band, a university band, brass bands, and city and state ensembles. King released this march in 1910. This was King’s first year as a circus musician.
INTERMISSION
Tea, coffee and supper will be served in the foyer
WEST CITY STRING ORCHESTRA
Prelude – Sergei Rachmaninoff, arr. Robert Longfield
Rachmaninoff’s “Prelude”, from Morceaux de Fantaisie Op.3, originally composed for solo piano in 1892 when Rachmaninoff was just 19 years old, is one of his most famous and hauntingly beautiful works. It showcases his distinctive lyrical style, rich harmonies, and poignant melodies.
The arrangement for string orchestra preserves the essence of Rachmaninoff’s original piano composition while adapting it to showcase the expressive capabilities of a string ensemble. The melodic and harmonic elements are divided among the sections of the orchestra, allowing for a nuanced and lush interpretation. Rachmaninoff’s intricate musical language is highlighted through the rich textures and collective voice of the strings. The piece is imbued with a sense of romanticism and emotional depth that reflects Rachmaninoff’s Russian heritage and his own personal conflicts. His use of lush chromaticism and poignant harmonies lends the piece a profound sense of longing and nostalgia. The piece is also known as the Bells of Moscow since the introduction can seem to sound like the tower bells of the Kremlin.
The Dargason, St Paul’s Suite – Gustav Holst
“The Dargason” is the fourth and final movement of Gustav Holst’s St. Paul’s Suite composed in 1912. This suite is one of Holst’s most famous works, originally written for the St. Paul’s Girls’ School orchestra, where Holst was the music director. Each movement of the suite is based on traditional English folk songs, and the “Finale” is a lively and spirited dance that concludes the suite with a burst of energy and joy.
This movement features melodies from two English folk tunes. The first one you will hear is the “Dargason”, a lively dance-like folk tune, the second is the traditional English favourite “Greensleeves”. Holst adapts the traditional melodies into a vibrant dance, characterised by robust rhythms and playful melodies, and juxtaposes them to highlight the intricate interplay between different sections of the orchestra. The movement begins with a lively and energetic theme presented by the strings, followed by variations and developments that showcase Holst’s skillful orchestration. The name ‘Dargason’ may come from an Irish legend that tells of a monster resembling a large bear that tormented the countryside, or it could be an Old English word for a fairy.
Bésame Mucho – Consuelo Velazquez, arr. James Kazik
Bésame Mucho” (“Kiss me much”) is a Latin-American bolero song that has become one of the most famous and enduring love songs of all time. It was composed in 1940 by Mexican songwriter and concert pianist Consuelo Velázquez when she was only 16 years old. The song’s romantic lyrics and melodious tune have captivated audiences around the world, and was recognized in 1999 as the most recorded and covered song in Spanish of all time. The emotional core of “Bésame Mucho” lies in its innocent yearning and passion, reflecting universal themes of love and desire. Its enduring popularity transcends cultural boundaries, making it a beloved piece in both Latin American and international musical repertoire. This arrangement of the song highlights the warmth and depth of a string instrument’s tone, and evokes a sense of intimacy and emotional resonance, allowing listeners to experience the romantic sentiments through the individually expressive voices of the violins, violas, cellos and double bass. The bows, drawn across the strings, holding on to the melody for as long as possible, taunts the listener with its impression of infinitive longing. Bésame Mucho arranged for string orchestra is a testament to the enduring power of Consuelo Velázquez’s timeless composition.
Danse Bacchanale – Camille Saint-Saëns, arr. Jamin Hoffman
The “Bacchanale” comes from Saint-Saëns’ opera Samson et Delila, composed in 1877. The opera is based on the biblical story of Samson and his seduction and betrayal by Delilah. In the 19th century, composers often drew inspiration from exotic and biblical themes, however, in France at that time it was thought to be inappropriate to stage a work of biblical roots and so the opera premiered on December 2, 1899 in Weimar, Germany. Taking its name from Bacchus, the Roman mythological god of wine and fertility, a bacchanal is a dance that emphasises indulgence and unrestrained excitement.
This arrangement for string orchestra with percussion keeps the electrifying energy and dramatic intensity that the original is renowned for. The main theme is characterised by its vital rhythms and exotic melodies, which evoke the wild atmosphere of the bacchanal. The added percussion to the strings creates visceral vibrations and an oriental colour with rhythmic elements and the use of castanets. The music alternates between moments of frenetic dance, marked by pounding rhythms and swirling melodies, and more lyrical passages that hint at the seductive allure of Delilah. The relentless rhythmic drive and vibrant orchestration build to a thrilling climax. Listen, and you will hear melodies that remind you of snakes and sand, celebration and weeping, the pulse and rhythms of suspense and betrayal.
WEST CITY CONCERT BAND
La Procession du Rocio – Joaquin Turina, arr. Alfred Reed
La Procession du Rocio was originally an orchestral work by Joaquín Turina (1882–1949), premiering in 1913 in Madrid, and transcribed and arranged for Wind Band by Alfred Reed in 1962. It is a programmatic piece, portraying a great festival, The Procession of the Dew, which takes place in Triana, Seville every June. Families participate in a great celebration, entering in coaches, dancing the Soleá and the Seguidilla, and following an image of the Virgin Mary on a golden cart drawn by oxen and accompanied by music.
The piece is divided into two distinct (but seamless) movements. Triana en Fête, or “Party in Triana” opens with this dancing and revelry, intertwining traditional flamenco and Castilian folk music. Listen for caricatures of the people who might have been there – a drunkard setting off fireworks, a hoard of small children getting in the way, parents and lovers dancing together. The second movement, La Procession, causes a sudden shift as drums and brass give a call to order, and all dancing ceases respectfully. A solo flute and religious melodies accompany the royal march; you can hear the barely contained excitement of the crowd as they pass by. As the royal procession moves towards the church, we hear the peal of bells and the Spanish national anthem playing in the brass. Once they pass, the dancing begins once more, but at length the festivities fade away.
Composer Joaquín Turina was a native of Spain, but was influenced early in his career by the impressionistic harmonies of Debussy and Ravel while studying in Paris. This brings us to our next piece, a haunting and ethereal piece by Debussy himself.
The Engulfed Cathedral – Claude Debussy
The Engulfed Cathedral (La Cathédrale Engloutie), like many of Claude Debussy’s (1862-1918) works, was first written for solo piano in 1910. An innovative French impressionist composer, he was most well known for creating soundscapes focusing on mood and atmosphere rather than details in the music itself. This piece begins with the same chord as the end of La Procession, but takes us on a different journey altogether.
This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing, from across the sea. In the beginning melody, moving in open fifths, it feels as if a ghostly figure is telling us her story: in the legend, the city of Ys has been built on land reclaimed from the sea. The city was protected by a great dike, with a locked opening. The Princess Dahut steals the key from her father and fatally opens the dike one evening and the city is inundated. The sleeping king is awoken by a saint and flees on horseback with Princess Dahut; however, the sacrifice must be made to the rising waves and the sea claims the princess.
We hear the melody is shaped with a wave-like fashion – in Debussy’s directions, gradually emerging from the mist, building to a passionate climax of this story told through music, along with the grand entrance of the church organ. Then, the cathedral slowly sinks back into the water and disappears. Only distant bells are faintly audible as a memory. Was it real or only a dream?
Rivers of Air – Jake Runestad
Our final piece, Rivers of Air, opens too with bell tones, and the creation of imagery through music. However, unlike Debussy’s work, Rivers of Air suggests something more real and present. Written by Jake Runestad in 2018, this piece can perhaps be best described with the quote inscribed at the top of every musician’s score, a reminder by the naturalist and philosopher John Muir: “How infinitely superior to our physical senses are those of the mind! The spiritual eye sees not only rivers of water but of air. …imagination gives us the sweet music of tiniest insect wings, enables us to hear, all round the world, the vibration of every needle, the waving of every bole and branch, the sound of stars in circulation like particles in the blood. Indeed, the power of imagination makes us infinite.”
Jake Runestad describes hiking through the national parks of America, and hearing the soundtrack of the landscape: the crisp whisper of wind through pine needles, the babbling of a glacial river, visions of expansive mountain ranges from thousands of feet in the air, the stoic and sacred quietness of old growth trees, exuding vivid aural colours.
Runestad writes, “…but this piece is much more than just a soundscape — it is a call for us to listen and preserve. In an age when humans are continuously separating ourselves from the Earth and from each other, Muir’s words (and actions) remind us to listen deeply to all that is around us. We are of the Earth, not separate from it — we must treat it with care, conserve it, protect it. We must remember that the earth was not created for humans to consume — it is our home and a beautiful balance of life in which all things are valid and important. Destroying our natural resources is detrimental to the health of the earth and will affect life for generations to come. Too many people have a greedy, destructive mindset with immediate gratification in mind. We must be more forward-thinking; we must be more protective of what is around us… we too can see (and hear) our own rivers of air.”
Thank You to:
- The West City Executive and Management Committees
- All of our wonderful volunteers helping behind the scenes tonight
- Massey High School and Nicholas Baldwin for making this performance space available
- Our ensemble managers: Paula Scandle, Luke Raymond and Philippa Mandeno
- Our conductors: Lauren Raby, Kali Halapua and Chad Davenport
Thank you for joining us this evening.
West City Music, Inc. is a registered charitable trust with the objective of providing musical opportunities to the West Auckland community. Donations to the organisation can be made to the following account:
12-3071-0259267-00
Donations help purchase sheet music, rent our rehearsal space, and organise events such as this one.