Eastern Shore Wind Ensem­ble con­cert is Sun­day

Record Observer - - Arts & Entertainemnt -

CH­ESTER­TOWN — The Eastern Shore Wind Ensem­ble will cel­e­brate mu­sic from dif­fer­ent parts of the world in its third con­cert of the sea­son, “A Mu­si­cal Jour­ney.”

Mu­sic Di­rec­tor Dr. Keith A. Whar­ton will con­duct this free con­cert, be­gin­ning at 4 p.m. Sun­day, March 19, at Em­manuel Epis­co­pal Church at Cross and High streets, Ch­ester­town.

The church is hand­i­capped-ac­ces­si­ble, via the ramp and au­to­matic doors on the court­house-green side of the build­ing.

Re­hearsals for the next con­cert, on May 21, will be­gin March 20. They start at 7 p.m. and run un­til 8:30 p.m. in the Washington Col­lege band room in Gibson Cen­ter for the Arts. For more in­for­ma­tion, call 410-778-2829. The ensem­ble is sup­ported par­tially by a grant from the Kent County Arts Coun­cil.

Sev­eral of the pieces on the pro­gram have a jazz theme. “Sin­gle Pe­tal of a Rose,” by Duke Elling­ton, will be played on the bass trom­bone by James Pi­leggi, ac­com­pa­nied by Vir­ginia Andrews on the pi­ano.

It is one of the seven move­ments of the “Queen’s Suite” that Elling­ton wrote for Queen El­iz­a­beth II, who was pre­sented with a sin­gle press­ing of the record­ing, which was not com­mer­cially is­sued dur­ing Elling­ton’s life­time.

“A Night in Tu­nisia,” by John “Dizzy” Gille­spie and Frank Pa­par­elli, is a jazz stan­dard that helped to pi­o­neer the Afro-Cuban style of the 1940s. The ar­range­ment played for this con­cert fea­tures the sax­o­phone sec­tion and al­ter­nates be­tween Latin and swing styles, as did the orig­i­nal.

A movie set in an ex­otic place is the ba­sis for “Themes from Lawrence of Ara­bia,” by Mau­rice Jarre. It is taken from the film of the same name and con­sists of an Ara­bian mo­tif with blaz­ing color and al­most bar­baric ef­fects plus the Lawrence theme, a melody that re­flects both his love of the desert and his in­ter­nal psy­cho­log­i­cal con­flicts.

Spain’s tragi­com­edy hero Don Quixote is cel­e­brated in “Suite from Man of La Man­cha,” by Mitch Leigh, that cap­tures the Span­ish spirit em­bod­ied in its clas­sic themes.

Spain is rep­re­sented again by “La Paloma,” a pop­u­lar Span­ish song writ­ten by the Basque com­poser Se­bastián Yradier, who died soon after com­pos­ing it and never knew just how pop­u­lar his song would be­come.

The mu­sic of cen­tral Europe is rep­re­sented by “Friska,” an ar­range­ment for band of the fi­nale from Franz Liszt’s “Hun­gar­ian Rhap­sody No. 2.” “Friska” is the name of the fast Hun­gar­ian dance that in­spired the fast sec­tion of the fi­nale.

A mytho­log­i­cal note is struck by the open­ing fan­fare from “La Peri,” bal­let mu­sic by Paul Dukas that was his last ma­jor work. It tells the story of a man’s search for im­mor­tal­ity and his en­counter with a myth­i­cal crea­ture, the Peri.

Robert W. Smith’s “Rites of Tam­buro” is an eclec­tic blend of var­i­ous mu­si­cal styles drawn from many dif­fer­ent cul­tures around the world. It uses per­cus­sion for its driv­ing force and draws upon the con­cept of cel­e­bra­tion, both litur­gi­cal and sec­u­lar, of hu­man ex­is­tence.

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