Summary
Highlights
Assistant band director Danny Brock introduces the Concert Band's program, 'Somnia Mechanica' or 'Mechanical Dreams.' He explains the narrative: being shocked into a dream state and journeying through it. The first piece, 'Scossa Elettrica' (Electric Shock) by Puccini, represents the initial shock. The subsequent three pieces are played without pause to maintain the dream narrative.
Brock describes Alex Shapiro's 'Moment' as a trippy, hypnotic tune involving a backing track and click track. This piece symbolizes falling into the dream state after the initial shock.
The second piece in the trio is Colgrass's 'Old Churches,' which utilizes modern graphic notation and aleatoric music, making each performance unique. This piece represents traversing an exotic, foreign landscape within the dream state, drawing a parallel to a Spongebob episode where Squidward travels through time.
The third piece is Steven Bryant's 'The Machine Awakes.' After journeying through the strange landscape, the dreamers encounter a massive machine. The music depicts the hesitation to press a button and the subsequent churning and awakening of the machine, similar to an old computer booting up.
Danny Brock introduces the next piece, 'Foundry' by Matthew. He thanks the music industry faculty for their assistance. 'Foundry' required 12 separate percussion lines, which involved pulling musicians from other sections. This piece signifies the machine being fully awake and actively churning, creating an industrial and mechanical sound.
Brock introduces 'Deus ex Machina' by Sandberg, explaining its meaning as 'God from the machine.' He elaborates on its origin in Greek theater and its literary use as a conflict resolution device. In the concert's narrative, this piece represents a resolution to the conflict with the machine, featuring mechanical and computerized sounds. This is Brock's final piece to conduct.
Danny Brock introduces 'Hypnotic Memories' as the concert's final piece, an epilogue to the story tonight. It is conducted by graduate student Tia and aims to evoke reflection on the journey experienced.
Alan Goodwin, the director of athletic bands and conductor of the Symphonic Band, welcomes the audience. He explains the Symphonic Band's program is informally titled 'Wanderlust,' inspired by a poem. He first discusses Nikolai Rimsky-Korsakov's 'Procession of the Nobles' from a larger work, highlighting its technical difficulty and the talent of the brass section.
Goodwin introduces J. Robert Hansen's 'Variations on a Scandinavian Sailor Song.' He shares a poem/folk song 'Salsa Darma' about a lonely sailor speaking to a swallow, conveying his longing for home and family. Hansen, a significant composer for 'Christmas at St. Olaf,' created this piece based on a simple Scandinavian theme.
Goodwin introduces Kevin Day's 'Rising Light,' a piece by a young composer he met at 19. Day provides a video explanation. He composed it in response to the rise in racist violent attacks on Asian-Americans during the COVID-19 pandemic, particularly against women, his mother among them. His goal was not a sad piece, but an unapologetic celebration and protest. He incorporated authentic melodies his mother sang to him as a child with American jazz harmonies. The title 'Rising Light' comes from a Thai festival where fears are released on lanterns, symbolizing the creative process for him. Goodwin highlights unique instruments like the alto flute, contra bassoon, and Tao drums used in the piece.
Goodwin introduces the next piece, a movement from Antonín Dvořák's Symphony No. 8 in G, specifically the 'Allegro con Brio.' He notes that while Dvořák's Ninth Symphony is more famous, the Eighth is a wonderful and underplayed work. Though subtitled 'English Symphony,' it contains distinct Czech melodies and harmonies. He announces upcoming OSU band concerts, including the Cowboy Marching Band's Christmas performance and the final OSU bands concert featuring all ensembles.
Goodwin concludes the concert with John Philip Sousa's march, 'Who's Who in Navy Blue.' He shares its background, commissioned by midshipmen at the Naval Academy for the graduating class of 1920. The march's theme revolves around a figurehead believed to be Tecumseh (actually Taman), a revered statue at the Naval Academy. The original performance included a vocal group. Goodwin recognizes two students, Tieran and Luke, who returned from a choir tour to perform.