WEST CITY YOUTH CONCERT BAND
Ignition – Todd Stalter
Ignition is a blindingly fast, raucously energetic concert opener that derives its title from the consecutive rising three-note cells that are the building blocks for almost the entire work. However, the energy unleashed in the music and the imagery of the title serve both as a metaphor for the “spark” of creativity, and as a “celebration in sound” for those who find and follow their own true life’s passion and pass it along to others, “igniting” the flame for another generation. It was written for the Atlanta Youth Wind Symphony and their conductor, Scott Stewart, who have been steadfast supporters of Todd Stalter’s compositions, as a musical “Thank you!” from a grateful composer.
With Each Sunset (Comes the Promise of a New Day) – Richard L. Saucedo
Music has always been used as a way of expressing emotions or as an antidote to certain painful life encounters, and With Each Sunset functions in both ways. The work was written in memory of Jack Hensley (September 22, 1955 – September 21, 2004). Hensley was an American engineer from Marietta, Georgia, working in Iraq to support his wife and daughter, who was kidnapped and brutally slain by his captors. Hensley would have celebrated his 49th birthday the following day.
The title of the work suggests that in the darkest moments of life, there is hope for a new beginning. Specific compositional techniques are used to help reinforce the basic concept. For example, after a brief introduction, the majority of the chord progressions unfold into predominantly major sonorities. The impression conveys optimism, rather than tragedy.
Rocketship! – Kevin Day
A New Zealand Premiere! Rocketship! is an energetic concert piece formed by two sections which express energy in different ways. The first is composed of short rhythmic patterns that start quietly before building to the end of each phrase. The second section introduces a marching snare drum solo accompanied by open fifths, known as power chords, in the winds. Brief motives accompany the sustained power chords, but quickly dissipate as a new motive begins. The different sections shrink as the composition develops until they are played one after the other at the very end.
The Stormchasers – Robert Sheldon
Written in the style of a circus screamer, this original march is meant to be played at hair-raising speed to the delight of all! Featuring fanfares, flourishes and tuneful melodies, the composer’s nod to “Uncle Henry” is sure to bring a smile to anyone who loves those great Fillmore marches.
WEST CITY STRING ORCHESTRA
Waltz No. 2 – Dmitri Shostakovich
Shostakovich’s waltz has become an international icon, made popular by artists like Andre Rieu and heard prominently in Stanley Kubrick’s final film, “Eyes Wide Shut.” Taken from Shostakovich’s “Suite for Variety Orchestra,”
Crown of Roses – Pyotr Ilyich Tchaikovsky
First published in the Tchaikovsky’s collection “Songs for the Young” for voice & piano, this string orchestra arrangement passes Tchaikovsky’s melody around the ensemble, allowing each instrument section to feature throughout the piece.
El Relicario – Jose Padilla
El Relicario is one of the most famous and best loved paso dobles in the band literature. This Spanish march is traditionally performed at bullfights as the participants enter the arena. This setting retains all of the delightful rhythms and enchanting melodies of the original. Its Latin flavor is full of colorful Spanish flourish.
Andante Festivo – Jean Sibelius
Originally scored for string quartet in 1922, Andante Festivo was later rescored for string orchestra and optional timpani in 1938. The piece was premiered on New Year’s Day in 1939 as part of a live worldwide broadcast for the New York World Exhibition. Sibelius, often recognised as Finland’s greatest composer, conducted that premiere performance with the Finnish Radio Symphony Orchestra as a greeting to the world from Finland. The recording now serves as the only existing record of the composer interpreting his own work. Andante Festivo was clearly an important work to Sibelius, and it was in stark contrast to his larger form orchestral works that had dominated most of his career. The 1939 premiere was his last performance as a conductor, but the music stayed with him until the end. The piece was played at his funeral.
INTERMISSION
Tea, coffee and supper will be served in the foyer
WEST CITY REED TRIO
Jubilant Trio – Feiyang Wu
Received “Best Performance of an Original Composition” award at the 2023 Chamber Music NZ district competition
WEST CITY CONCERT BAND
Symphony No 3 “Slavyanska” – Boris Kozhevnikov
Symphony No 3 “Slavyanska” was unearthed during a five city tour by the United States Marine Band (“The President’s Own”) of the Soviet Union in 1990. During these waning months of the Cold War, the band had access to concert band repertoire never seen before by the West and smuggled some of this prized contraband back to the US.
Although composed in the late 1950s, the compositional style of this symphony is pure Classicism coloured with Romantic sentimentality reflecting the ideals of Socialist Realism. The conservative compositional language (for the 1950s) provides evidence that Boris Kozhevnikov, a Soviet-era bandmaster and conservatory professor, was equally savvy in playing Communist politics — he composed music that was conservative enough for the censors, yet zestfully Slavic and (perhaps subversively) nationalistic.
The wind band opens the first movement with a brisk and a bold slavic statement signifying greatness and power with fast tutti runs and accentuated chords in the minor key. The main theme is quickly established with a clipped dotted statement, bearing similarities to that of well known western marches, and will be repeated throughout. The piece moves to a traditional lyrical chorale with melodies taken across the ensemble. A final coda repeats the opening statement to affirm Kozhevnikov’s allegiance.
This Cruel Moon – John Mackey
John Mackey, one of the leading wind band composers of our day, composed ‘This Cruel Moon’ after being told a truncated and somewhat inaccurate version of Homer’s Odyssey involving Odysseus and Kalypso. It is Kalypso who finds Odysseus near death, washed up on the shore of the island where she lives alone. She nurses him back to health and sings as she moves back and forth with a golden shuttle at her loom. Naturally, over seven years, they become close and Kalypso records the story of their love through the weaving of a tapestry.
The piece opens with a haunting clarinet solo (Kalypso’s song) as she discovers Odysseus for the first time. As the piece develops, her song can be heard throughout the ensemble almost as a personal reflection or musical tapestry of their shared love. But one day Odysseus remembers his home and decides to return to his wife and son leaving Kalypso heartbroken. That evening she unravels the tapestry, and in an unexpected sacrifice of love, weaves it again into a sail for his ship. In the morning, she shows Odysseus a raft, equipped with enough provisions for the journey. She calls up a gentle and steady wind to carry him home. Shattered, she watches him go; he does not look back.
This composition, This Cruel Moon, is an adaptation of the middle movement of the full Wine-Dark Sea: Symphony for Band. The full symphony tells the tale of Odysseus and his journey home following his victory in the Trojan War. But Odysseus’ journey would take as long as the war itself. Homer called the ocean on which Odysseus sailed a “wine-dark sea”, and for the Greek king it was as murky and disorienting as its name; he would not find his way across it without first losing himself.
Flying Jewels – James M. David
Flying Jewels is a symphonic poem for wind ensemble that captures the complex narrative depicted in the essay of late author Brian Doyle. Its title, “Joyas voladoras” or “Flying Jewels” refers to the name given to hummingbirds by Spanish explorers when first encountering them in North America. David approached Doyle’s essay during the COVID 19 lockdowns allowing him to poignantly muse the essay’s conclusions.
The essay speaks of how intensely and passionately these tiny birds live their lives, with their hearts beating “ten times a second.” He also considers the blue whale’s giant heart, which beats as little as eight times a minute and can be heard from miles away. Ultimately the author asserts that all beings have a commonality: that we all have one heart to carry us through our struggles, victories and pleasures.
James M. David’s composition sets out to mimic the essay by depicting various heart beat rhythms of different creatures through the use of various and sometimes conflicting tempo modulations and cross rhythms.
The flute, harp, mallets and percussion are employed to evoke the imagery of the hummingbird, flitting about with bright flourishes at superhuman speeds. A reptile’s three-chambered heart is heard next with nods to the triple-meter dances of the Caribbean. At the center of the work is the human heart, which is a simple tune that slowly builds to a cadence at the heart rate of a blue whale: signified by four giant chords resounding under the ocean depths. Finally, the work recapitulates each idea while gaining speed to combine all of the tempi in an exuberant and ecstatic finale. The work was commissioned by the United States Air Force Band, commander and conductor, Col. Don Schofield.
In 2022, Flying Jewels was selected as the winner of the esteemed Revelli Composition Contest, an international competition which recognises the piece which best exemplifies their mission to further “the cause of quality literature for bands”.
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
- Nick Purvis for loaning percussion equipment
- Our ensemble managers: Paula Scandle, Luke Raymond and Philippa Mandeno
- Our conductors: Lauren Raby, Peter Sharman 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.