Symphonic Band

Viet Cuong | Re(new)al (2019)

I have tremendous respect for renewable energy initiatives and the commitment to creating a new, better reality for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe new life into traditional ideas, and the solo quartet therefore performs on several “found” instruments, including crystal glasses and compressed air cans. And while the piece also features more traditional instruments, such as snare drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For instance, a single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are prepared with aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way, and even the accompaniment was written these ideas in mind.

Cooperation and synergy are also core themes of the piece, as I believe we all have to work together to move forward. All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed between the four soloists (for those interested, the fancy musical term for this is a hocket). The music would therefore be dysfunctional without the presence and dedication of all four members. For example, the quartet divvies up lighting-fast drum set beats in the second movement and then shares one glockenspiel in the last movement. But perhaps my favorite example of synergy in the piece is in the very opening, where the four soloists toast crystal glasses. We always toast glasses in the presence of others, and oftentimes to celebrate new beginnings. This is my simple way of celebrating everyone who is working together to create a cleaner, more efficient world.

Re(new)al is constructed of three continuous movements, each inspired by the power of hydro, wind, and solar energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the wind ensemble slowly submerges the soloists in their sound. The second movement turns each member of the quartet into a blade of a dizzying wind turbine, playing seemingly-impossible 90’s-inspired drum and bass patterns over a bass line that quotes and expands upon a few bars from one of my favorite drum and bass tracks by DJ Hype. The closing movement simulates a sunrise and evokes the brilliance of sunlight with metallic percussion instruments. This piece was originally written with a sinfonietta accompaniment, and in its original form was commissioned for the 2017 American Music Festival by David Alan Miller and the Albany Symphony’s Dogs of Desire in partnership with GE Renewable Energy. A full orchestra version was commissioned in 2018 by the Albany Symphony, and this final version for wind ensemble was commissioned by a consortium of universities and community ensembles. Heartfelt thanks to everyone who has been involved in any of the three versions of this piece.

– Note by Viet Cuong

Karel Husa | Apotheosis of this Earth (1970)

The composition of Apotheosis of this Earth was motivated by the present desperate stage of mankind and its immense problems with everyday killings, war, hunger, extermination of fauna, huge forest fires, and critical contamination of the whole environment.

In the first movement, “Apotheosis,” the earth first approaches as a point of light in the universe. Our memory and imagination approach it in perhaps the same way as it appeared to the astronauts returning from the moon. The earth grows larger and larger, and we can even remember some of its tragic moments (as struck by the xylophone near the end of the movement).

The second movement, “Tragedy of Destruction,” deals with the actual brutalities of man against nature, leading to the destruction of our planet, perhaps by radioactive explosion. The earth dies as a savagely, mortally wounded creature.

The last movement is a “Postscript”, full of the realization that so little is left to be said: the earth has been pulverized into the universe, the voices scattered into space. Toward the end, these voices — at first computer-like and mechanical — unite into the words “this beautiful earth”, simply said, warm and filled with regret…and one of so many questions comes to our minds: “Why have we let this happen?”

– Note by Karel Husa

Alexander Scriabin | Nocturne, op. 9, no. 2 (1894/1975)

Alexander Scriabin was one of the most prolific Russian composers and pianists of his time. In his early life, Scriabin’s musical language consisted of a romantic and lyrical style and was heavily influenced by pianist and composer, Frederick Chopin. However, in his later career, Scriabin developed an atonal and dissonant style of writing, separately from Schoenberg’s atonal musical system, that influenced many Russian composers during his time, such as Sergei Prokofiev and Igor Stravinsky.

Scriabin’s Prelude and Nocturne for Left Hand, op. 9, is in two movements and written for the left hand alone. Scriabin composed the piece in 1894 after injuring his right hand while preparing Franz Liszt’s Don Juan. This arrangement for band by Alfred Reed is a setting of the second movement.

– Note from Brolaga Music Publishing

Described as a “true musical talent and professional” Eric Willie has a varied career as a percussion soloist, chamber musician, orchestral player, and teacher.

Having performed on three continents, Eric has presented solo performances throughout the United States, Russia, Brasil, and Colombia. Most recently, Eric performed as soloist with the Tamborimba Ensamble in Cali, Colombia, and conducted Edgard Varese’s “Ionisation” at the III Encontro Percussivo in Recife, Pernambuco Brasil. In the United States, Eric has performed or conducted at ten Percussive Arts Society’s International Conventions (PASIC), presented at the Midwest Clinic, as well as several state days of percussion and music educator conventions.

As a chamber musician, Eric performs with the Nief-Norf Project and the Legal Wood Project. As well, as an avid promoter of new music for percussion, Eric has commissioned and/or premiered works by Christopher Adler, Michael Burritt, Doug Bristol, Eric Cha-Beach, Elliott Cole, Greg Danner, Christopher Deane, Paul Lansky, Anna Meadors, Marc Mellits, Leroy Osmon, John Psathas, Josh Quillen, Baljinder Sekhon, Adam Silverman, D.J. Sparr, Jason Treuting, Blake Tyson, Alejandro Viñao, Matt Walker, Jamie Whitmarsh, and James Wood.

Active within the Percussive Arts Society (PAS), Eric previously served as Chair of the International Percussion Ensemble Committee, President of the Tennessee Chapter, as a New Literature and Recordings Reviewer for Percussive Notes journal, and now serves as Vice President for the North Carolina Chapter of the Society. His percussion ensembles have been named winners of the 2015 and 2020 PAS International Percussion Ensemble Competition.

In addition to his talents as a classical percussionist, Eric is known for his marching percussion arranging and teaching experience. He has served on staff with the Cavaliers Drum and Bugle Corps, served as a Percussion Consultant with the Phantom Regiment Drum and Bugle Corps (2012-2013), and instructor and/or arranger for the Spirit, Southwind, Carolina Crown, and the Madison Scouts drum and bugle corps. He has also instructed for the University of North Texas “A” Line, Music City Mystique, and as Faculty for the Music for All World Percussion Symposium.

As an author and composer, his books and solo have been published by Innovative Percussion, TapSpace, and Row-Loff. The latter, his coauthored “All-Inclusive Audition Etudes” book, has been adopted for use by the North Carolina and Tennessee Music Educator’s Associations.

Currently, Eric serves as Professor of Percussion Studies at the University of North Carolina at Greensboro, where he directs a comprehensive percussion program. In addition to his teaching opportunities, Eric has served as Chair of the School of Music Faculty, as Chair of the Brass and Percussion Area, as well as a member of the Strategic Planning Committee.

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