Conductors, Composers, and World Premieres

The Music Department’s final per­for­mance for the semes­ter brought the Sym­phonic Band to stage with a night of premieres.

Con­duc­tor Pamela B. Bus­tos started the night off with “Ampar­ito Roca” by Jaime Tex­i­dor.  Swift and upbeat, the whole band pre­sented great energy in this fes­tive melody.

Next was a world pre­miere called “The Cause Effect,” com­posed and con­ducted by UW-Superior’s very own Sara Broshofske.  The piece is described as “A sig­nif­i­cant con­tri­bu­tion to free speech,” and does with a gen­tle flute solo at the begin­ning.  After those grace­ful notes were played, the wood­winds con­tin­ued the melody and then all the band joined and built in volume.

Karyn Ped­er­son con­ducted “Han­del in the Strand” by Percy Grainger.  Its light, play­ful begin­ning soon screamed with energy.  The tone on this piece was groovy like a party.  The xylo­phone in the back really gave it that spark.

After a lit­tle scene change, the university’s only brass cham­ber group, The Full Brass Jack­ets (con­sist­ing of Matthew Booth, Adam Hille, Brian Lan­glee, Zach Reuben, and Alex Ver­aguth), took the stage to per­form John Sousa’s famous march, “The Wash­ing­ton Post.”  The famil­iar tune was bright, spir­ited, and per­fect for brass.  Lis­ten­ing closely, you could hear each instrument’s part in the song as their team­work led all the way to the end.  The Full Brass Jack­ets con­tin­ued with “Three High­land Minia­tures”, three “minia­ture” pieces that proved brisk and smooth.

The UW-Superior Cham­ber Wind Ensem­ble pre­sented “Octett, Opus 216: Alle­gro Mod­er­ato” as though every instru­ment were breath­ing a conversation.

Merengue” by John Paul­son, CEO of Make­Mu­sic Inc., was quite trop­i­cal.  With mara­cas in the back­ground, relent­less wood­winds, strong brass, and drums beat­ing, it was as though you were watch­ing a dance in the Domini­can Republic.

The last song, “Psalm” was con­ducted by its cre­ator, John Paul­son, who walked out from the audi­ence and took up the conductor’s baton.  Begin­ning slow and light, a few solos were heard, and then the vol­ume expanded through the band like a bat­ter­ing pulse.  It rested back to a mod­er­ate tone, slowly build­ing itself up again, and just when you thought it ended, one instru­ment remained to carry the tune on a lit­tle further.

Michael Shaw — The Stinger
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