Encore Wind Ensemble presents “Illuminations”
Encore Wind Ensemble
Jerry Luckhardt, Conductor
“Illuminations”
Apollo Unleashed - Frank Ticheli
Lasting Light - Viet Cuong
Big City Lights - Maria Douglas
A MusicConnect Concert
Program Notes
Symphony No. 2, movement 3 “Apollo Unleashed”- Frank Ticheli
The symphony's three movements refer to celestial light -- Shooting Stars, the Moon, and the Sun.
The finale, "Apollo Unleashed," is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement's title, but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach's Chorale BWV 433 (Wer Gott vertraut, hat wohl gebaut). This chorale -- a favorite of the dedicatee, and one he himself arranged for chorus and band -- serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events.
My second symphony is dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University in 2003. It was commissioned by a consortium of Dr. Croft's doctoral students, conducting students and friends as a gesture of thanks for all he has given to the profession.
Program note by Frank Ticheli
Lasting Light – Viet Cuong
Lasting Light was inspired by a visit the composer took to the Grand Canyon with his family. Mr. Cuong wanted to write a work that would reflect the sunset over the canyon, followed by the lingering sunlight, then the hazy greyish blue light of dusk, and then the light of the stars.
- Program Note from composer comments at premiere performance, 2018
Big City Lights - Marie Douglas
Big City Lights is a piece for wind band, inspired by the hip-hop subgenre "trap music", which finds its roots in the composer's home town, Atlanta, Georgia. The atonal piece has an electronic accompaniment aspect as well. There are musical elements that are meant to imitate techniques which are commonly utilized during the production of music within the genre. For example, in general the timpani performs what are intended to be "808s," while the tuba is often performing lines that would be reserved for synthesized bass; the combination creates an often utilized distortion technique.
Other production tactics travel through the ensemble as well. Certain aspects of the orchestration are imitating automation, which place sound exclusively in different spots of the ensemble (specifically on the left or right of the conductor) Sudden and gradual ensemble crescendos are dovetailing of melodies imitate low and high pass filters and volume knobs. Additionally, the piece aims to give the performers and audience a peek into a day in the life of an Atlanta resident.
The piece begins with the high-paced "It's Lit!" section which includes fortissimo exclamations occurring throughout the ensemble, demonstrating the hustle and bustle of the famed Atlanta traffic. The traffic sounds perform a trio with the clarinets and marimba, who depict a sense of "hurry and wait" as they endure the Atlanta traffic scene. The "Issa Vibe" section is much slower and intends to depict a night out on the town with friends, enjoying the city lights and the slightly slower paced environment.
For a short period, we return to "It's Lit!", followed by "Chopped and Screwed," which is a halftime recapitulation of the main themes. "Chopped and Screwed" is a famous DJ style which a song is slowed down tremendously. The piece closes out with one final return to the original marking of "It's Lit!" Enjoy a day in the life of an "AtLien" with Big City Lights!
Program note by the composer
