Symphonic Band Program Notes
Amparito Roca - Jamie Texidor, arr. Fagan
Although the original score of this pasodoble was reportedly written (possibly under a different title) by the British bandmaster Reginald Ridewood (1907-1942), Jaime Texidor undoubtedly copyrighted the work and arranged for its publication by Editorial Musica Moderna in Madrid and, in 1935, by Boosey & Hawkes in London. In April 1936, an ad by Boosey & Hawkes in The Musical Progress and Mail included the title Amparito Roca followed by a translation, “The Sheltered Cliff.” The present conductor of the Baracaldo Municipal Band, Juan Esteve Galán, has stated, however, that Texidor dedicated the pasodoble to a girl named Amparito (diminutive of Amparo) Roca, and that she still lives in that area. Regardless of its origin, researchers agree that Amparito Roca is still one of the band world’s most popular pasodobles.
The introduction and first strain are indicative of a bullfighter’s music, whereas the gentle, lighthearted trio section takes on the character of a couples dance, evoking the other essential element of the pasodoble. The powerful brass in the dogfight (bullfight), and the tutti texture of the maestoso section bring this piece to a grand conclusion.
The Old Red Mill - Brant Karrick
The historic red mill is known across the country as an iconic image symbolizing early America’s ingenuity and industry. Early 19th century water mills were used for grinding grains into flour, cutting timber into lumber, weaving cloth, making paper, making gunpowder, and eventually the production of electricity. Water mills were the tools to power factories and America’s growth. In early settlements and villages, water mills were not only a way of life, but also a means of survival.
Located in the western part of New York, the village of Williamsville originated at a crossroads just above Glen Falls. The water power generated by the waterfall attracted millers. The first mill was built by Jonas Williams in 1811, resulting in the village’s first name, “Williams Mills.” The mill became one of the earliest commercial manufacturers of natural cement in the United States. Cement produced at the mill was used on such notable projects as the locks on the Erie Canal. During the War of 1812, American soldiers were stationed in Williamsville. The area was home to a field hospital treating both American soldiers and British prisoners. Today, the water mill still stands tall in the picturesque hills of Erie County within the town of Amherst. The Williamsville Mill was listed in the National Register of Historic Places in 1983. The Village of Williamsville acquired the water mill in 2005 and decided to restore and re-use the mill.
The Old Red Mill is written in two connected sections. The first is a slow lyrical song representing a pleasant morning sunrise and the reverence and devotion of the town’s hard-working citizens. The second is a duple-meter dance which typifies the village at play, socializing and celebrating the fruits of their labor. The Old Red Mill was commissioned by the Casey, Heim, Mill and Transit middle schools of the Williamsville Central school district, Williamsville, NY. It is the composer’s desire to pay homage to the water mill’s historical significance on America and to recognize the efforts of the people of Williamsville to restore its venerable landmark.
Steel - Randall Standridge
Third in the composer’s “machine” series (following Afterburn and Adrenaline Engines), Steel is an energetic concert piece that contains exciting percussion writing, interesting use of syncopation, motivic development, and multiple time signature changes. Like any great composition, Steel strikes a perfect mix of variety and repetition, and is totally compelling in its melodic and rhythmic infectiousness.
Red Giant - Jorge Vargas
This fast-paced composition depicts a dying star in its final stages of existence as it expands and engulfs everything in its path. A soft, somewhat aggressive opening section builds in intensity as instruments are added. Bold melodies, powerful chords, and driving percussion are followed by a short and soft passage for upper wood- winds featuring an optional flute solo. The intensity then returns in a dramatic final section that concludes the piece.
Although the original score of this pasodoble was reportedly written (possibly under a different title) by the British bandmaster Reginald Ridewood (1907-1942), Jaime Texidor undoubtedly copyrighted the work and arranged for its publication by Editorial Musica Moderna in Madrid and, in 1935, by Boosey & Hawkes in London. In April 1936, an ad by Boosey & Hawkes in The Musical Progress and Mail included the title Amparito Roca followed by a translation, “The Sheltered Cliff.” The present conductor of the Baracaldo Municipal Band, Juan Esteve Galán, has stated, however, that Texidor dedicated the pasodoble to a girl named Amparito (diminutive of Amparo) Roca, and that she still lives in that area. Regardless of its origin, researchers agree that Amparito Roca is still one of the band world’s most popular pasodobles.
The introduction and first strain are indicative of a bullfighter’s music, whereas the gentle, lighthearted trio section takes on the character of a couples dance, evoking the other essential element of the pasodoble. The powerful brass in the dogfight (bullfight), and the tutti texture of the maestoso section bring this piece to a grand conclusion.
The Old Red Mill - Brant Karrick
The historic red mill is known across the country as an iconic image symbolizing early America’s ingenuity and industry. Early 19th century water mills were used for grinding grains into flour, cutting timber into lumber, weaving cloth, making paper, making gunpowder, and eventually the production of electricity. Water mills were the tools to power factories and America’s growth. In early settlements and villages, water mills were not only a way of life, but also a means of survival.
Located in the western part of New York, the village of Williamsville originated at a crossroads just above Glen Falls. The water power generated by the waterfall attracted millers. The first mill was built by Jonas Williams in 1811, resulting in the village’s first name, “Williams Mills.” The mill became one of the earliest commercial manufacturers of natural cement in the United States. Cement produced at the mill was used on such notable projects as the locks on the Erie Canal. During the War of 1812, American soldiers were stationed in Williamsville. The area was home to a field hospital treating both American soldiers and British prisoners. Today, the water mill still stands tall in the picturesque hills of Erie County within the town of Amherst. The Williamsville Mill was listed in the National Register of Historic Places in 1983. The Village of Williamsville acquired the water mill in 2005 and decided to restore and re-use the mill.
The Old Red Mill is written in two connected sections. The first is a slow lyrical song representing a pleasant morning sunrise and the reverence and devotion of the town’s hard-working citizens. The second is a duple-meter dance which typifies the village at play, socializing and celebrating the fruits of their labor. The Old Red Mill was commissioned by the Casey, Heim, Mill and Transit middle schools of the Williamsville Central school district, Williamsville, NY. It is the composer’s desire to pay homage to the water mill’s historical significance on America and to recognize the efforts of the people of Williamsville to restore its venerable landmark.
Steel - Randall Standridge
Third in the composer’s “machine” series (following Afterburn and Adrenaline Engines), Steel is an energetic concert piece that contains exciting percussion writing, interesting use of syncopation, motivic development, and multiple time signature changes. Like any great composition, Steel strikes a perfect mix of variety and repetition, and is totally compelling in its melodic and rhythmic infectiousness.
Red Giant - Jorge Vargas
This fast-paced composition depicts a dying star in its final stages of existence as it expands and engulfs everything in its path. A soft, somewhat aggressive opening section builds in intensity as instruments are added. Bold melodies, powerful chords, and driving percussion are followed by a short and soft passage for upper wood- winds featuring an optional flute solo. The intensity then returns in a dramatic final section that concludes the piece.