Ensemble blows crowd away

Large microphones and music stands littered the stage in preparation of the Wind Ensemble.

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By Jonathan Vela / Staff Writer

By Jonathan Vela / Staff Writer

Large microphones and music stands littered the stage in preparation of the Wind Ensemble.

In the Landis auditorium on March 11, half an hour away from performance time, performers in formal dress set up the stage.

Audience members started to trickle in and chatter took over the auditorium.

Minutes before the event, the audience had grown rapidly and they took their seats.

The anticipation could be felt in the air.

At four o’ clock the performers entered from both sides of the stage with their instruments.

In cadence they each played their instruments as the lights dimmed and the doors closed to block out the light from the sun.

The conductor took to the stage and they immediately started the performance with “Incantation and Dance” by John Barnes Chance.

The music started with an ominous tone that built suspense and volume.

As the piece progressed, it turned into a story that was both lively and powerful.

The next piece, “Lincolnshire Posy” by Percy Grainger, was split into six beautiful segments each played with the same vibrancy of the last song.

The first movement, “Lisbon,” started off cheery, similar to a stroll through the woods on a bright sunny day.

The calming melody sends a feeling of peace and serenity that can be likened to watching a sunset.

Toward the end of the movement it became more powerful yet kept its aura of serenity.

The second movement, “Horkstow Grange,” started with a classical feel that can only be described as a blast from the past.

Each moment carried with it a feeling of floating in the clouds, rising higher and higher until it slowed down toward its finish, bringing back the feeling of traveling back in time.

The third movement, “Rufford Park Poachers” carried the feeling of movement, the sort of feeling you get when you march in mass toward a goal.

The forth movement, “Brisk Young Sailor,” felt emotionally enthusiastic.

The fifth movement, “Lord Melbourne,” carried the feeling of struggle and hardship that eventually led to the top of the world.

The sixth and final movement, “The Lost Lady Found,” was reminiscent of the construction of a great empire where anything is possible and the scale is unbelievable.

The third piece held a different feel that separated itself from the others. Like its name, “October,” started out like a beautiful snowy October morning.

As the piece progressed it generated the feeling of soaring over the mountains like an eagle.

The powerful bass could be felt rippling through the seats as the piece increased in volume.

Toward its end, the piece slowed down and became smooth and peaceful.

The fourth piece, “Bushdance” by Ralph Hultgren, had a western cowboy feel which was distinctly festive, strong, and contained a powerful flow.

The fifth and final piece, “National Emblem March” by E. E. Bagley, sounded as its name suggests, patriotic and similar to the national anthem.

The whole performance was outstanding from beginning to end. The audience was riveted, some even swaying with the rhythm of the music.

At the end the performers all stood and gave a bow.

Solo Piccolo player, Patricia Folger said that she felt prepared before the show even though they only had two weeks to practice and prepare, which shows their dedication and hard work.

During the performance she felt slightly nervous, but was grateful for the loving crowd and their applause and after the show she said she felt happy it was over and that it went well.

Her favorite part, and certainly the crowds as well, was the second piece the Lincoln Tripoli. 

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