Buckets of rain this morning did not put a damper on the composition contest reading session that opened this morning’s proceedings. We heard three finalists each from grade 3 and grade 4 categories. The grade 3 pieces were played by one of yesterday’s main concert groups, the National Chiayi University Department of Music Wind Orchestra with David Shin-Wei Lin. The finalists were:
Refractions – Kevin Poelking (USA) WINNER
Tarian Overture – Chow Shern Yeo (Malaysia)
Three Balloon – Wesley Cheang (Canada)
The Poelking was primal and rhythmic with a nice lyrical touch near the end. The Yeo started lyrical before going into full dance mode with some interesting cross rhythms. The Cheang reminded me of a circus calliope at first, later adding some mixed meter and a chorale to nice effect.
The grade 4 finalists were rendered by the Landesblasorchester Baden-Würtemberg from Germany, conducted by Björn Bus – we will hear them in a feature concert tomorrow. Being a category for slightly harder music, these finalists all had some more heft and length to them.
An Eternal Glimpse for Wind Symphonic Band – Ching-Shan Chang (Taiwan)
Apotheosis – João Malha (Portugal) WINNER
Revival – Pedro Pires (Portugal)
The Chang captivated me immediately with its intense dynamic swells, extended harmonies, and relentlessly dark tone. The Malha had a similar overall feel with more emphasis on tempo shifts, including a dangerous-sounding mixed meter section that returned. The Pires was more optimistic, with big fanfare motives and a busy ostinato.
After a rainy lunchtime, we returned for a concert by the Philharmonic Wind Orchestra from Singapore, an adult volunteer ensemble directed by Leonard Tan.
Asphalt Cocktail – John Mackey
Trumpet Sonata – Kent Kennan, with soloist Chong Loo Kit
Spanish Dances – Luis Serrano Alarcon, with guest conductor Timothy Reynish
Day Break and Sunrise – Leong Yoon Pin
Betwixt and between – Lee Jia Yi
The Sisters’ Islands – Wang Chen Wei
The Mackey was a big and brash opener. The Kennan was subdued and cerebral by comparison – as a trumpet player myself, I have studied this piece for decades, and it was refreshing to hear it with the small wind band accompaniment. The Alarcon, led by wind band legend Tim Reynish, was absolutely ravishing. Its three movements each seemed to take the idea of the title to one level of symphonic abstraction, and to truly stunning effect. The Pin was a bit modernist, with something of a processional feel that gave way to a surprise fade-out ending. The Yi was something truly different, a jarring expressionist outcry driven by extended techniques on nearly every instrument. I couldn’t hum any of it back to you, but it was truly affecting. The Wei was notable for its use of traditional instruments, especially a wooden flute, drum, and ocarina, all of which sounded both idiomatic and totally polished.
We had a LONG break in the schedule after this, allowing for beer from a tent, an informal tour of Gwangju’s covered market, and a chance for an amazing dinner in which I got my chopsticks technique corrected. (“You can use the spoon, you know” the owner said with no English words at all as I tried to eat delicious soupy rice with said chopsticks.) The rain let up, so I did catch one more Fringe Festival concert in the main square, this one from a hometown band: the Gwangju Midam Youth Wind Orchestra. They opened with Holst’s First Suite! The third movement, to be exact. There followed some Swearingen, some Barnes, and something Japanese with Hollywood flare. They then brought on another youth ensemble of traditional drums and reed instruments with costumes and all. It was quite the show!
The main event of the night was the US Navy Band. I cannot be fully objective about this show because their recently-appointed conductor is my friend and former office-mate at Arizona State, Commander Robert “Seph” Coats, and gosh was I just beaming with pride as I, for the first time, saw him lead this incredible band. But I think everyone in attendance would agree that it was some level spectacular. Here is what they played:
Roman Carnival Overture – Hector Berlioz, arr. Safranek
Hands Across the Sea – John Phillip Sousa
Protector of the East Sea – Jennifer Jolley
Dreaming of the Masters III – Allan Gilliland, with trumpeter Jens Lindemann as soloist
March from Symphonic Metamorphosis – Paul Hindemith, arr. Wilson
Forged by the Sea – Stacy Garop
“Move On” from Sunday in the Park with George – Stephen Sondheim, arr. Buchanan, with Navy vocal soloists
Concerto for Wind Ensemble – Kevin Day
Encore 1: a new version of the Korean folk song “Arirang”
Encore 2: The Stars and Stripes Forever – John Philip Sousa
The Navy presented this concert in full pomp, complete with a pair of narrators and a conductorless opener that allowed Commander Coats to ceremoniously take the stage. After their opening traditional pieces, they introduced the Jolley, which was a world premiere performance. Dedicated to Korean people who defended the East Sea of the title, it built slowly with some menace. The Gilliland was an outstanding showpiece for the band and Jens Lindemann, who is legendary for his thorough, casual virtuosity and his seemingly bottomless humor. Each of the three movements paid homage to a different jazz genre, and Lindemann roamed the stage throughout, interacting directly with the ensemble, who fed off of his energy. The Hindemith, led by Commander Charles “C. S.” White, brought us back in after intermission with its colorful, sinewy counterpoint and jowely fanfares. The Garop seemed to me to be a meditation on waves of different flavors. The Sondheim gave our narrators a chance to literally sing, and they delivered impassioned performances – I wanted more! The central showpiece of the night, though, was the Day. This was my first hearing of this piece, and I was completely dazzled, especially by the first and fourth movements. The ensemble embraced each and every note (and there were LOTS) with commitment, feeling, and STYLE. It is humbling to remember that Kevin Day isn’t even 30 yet! The encores were both touching, and worked the crowd into a further frenzy after the in-your-face virtuosity of the Day. It’s often difficult to say this, but the US Navy Band made me feel proud to be an American tonight. They displayed the highest level of professionalism, artistry, and above all GRATITUDE on that stage. Thank you, WASBE and the Navy Band, for making this happen!