Monday, December 11, 2017

The Baton of Death

—by Julie Ann Giroux

I collect antique conducting batons. Some are purely decorative, ceremonial or commemorative. Occasionally I find one that actually may be usable. I bought this particular baton hoping to use it. Good length, 13", didn't look to be a bad baton in general. Truth be told, this silver handled and tipped weapon of mass destruction turned out to have been sired by Satan himself. Never has there been a piece of wood more cursed or feared.

The Baton of Death
It is very slick and offers no point or area for secure grasp. I dropped it twice just getting it from my briefcase to the podium. The rehearsal room was hot, like 90 degrees hot, thermostat set for real winter cold but instead frying its participants in their own globally warmed juices. An hour into rehearsal, the baton took flight on a vigorous up beat, successfully destroying an expensive overhead stage light with a red lens cover. The area behind me was showered with red crystals, bringing to mind the High School Gym Scene from the movie Carrie. (‘They are all gonna laugh at you!’ Why yes, yes they did.) I continued to use it...

It is black and hard to see, only giving slight whispers of leadership from its tiny, unpolished solid silver tip. My beat became more implied than factual; a rarity, in today's climate, an alternative fact. Beat patterns were in step with Big Foot as he walked across the film footage; questionable as to its authenticity. It slipped beneath the waters of precision like the Loch Ness Monster, forcing many to question whether they had actually seen something or not. Reports of clear beat patterns became as rare as UFO sightings but less reliable. Cues were almost mythical. I stubbornly continued to use it...

The weight of the baton is extremely heavy for its size. If it were made of petrified wood it would be lighter than this. The solid silver tip and handle add weight, yes, but not that much. An over exuberant beat 3 of a 4 beat pattern sent the black missile off stage right with tremendous velocity and strength, successfully launching out of the sweaty, greasy, menopausal, perpetually hot flashed hand (mine), striking a lectern microphone out of its cradle which loudly bounced on, then off, the lectern, striking the floor with huge thud, then rolling off the end of the stage, meeting its demise on the cold, concrete floor with a sad clink. (Talk about ‘drop the mic…’) Damn it! I paid a fortune for this civil war period baton and I'm going to use it.

Concert—8:00. Formal Dress—The Black Baton with the Solid Silver Tip— Fear, Apprehension and Cause for Alarm —Final piece on the Program—hell of my own creation—VI. ‘Hakone Pass’, Book marks from Japan, 200+ Odd Meters at Tempi Di TearAss.

Seventy plus measures in, Satan's Stick launched on its final mission into space straight at a percussionist holding a chime mallet. Quick to react, he leaned backwards, knocking over a suspended cymbal as the Baton whizzed by him. Like the slow motion scene with Keanu Reeves in The Matrix, I watched with horror as it narrowly missed the percussionist and hit the gong dead nipple center, creating a resounding gong crash. Thanks to the speed of the piece, both the Suspended Cymbal falling to the ground and the gong crash fell on musical pulses and neither stood out as unusual occurrences. I was forced to finish out the finale using my index finger as a baton, though had the band chosen, it would have been my middle finger because we did just fine without the baton. Up yours, Silver-Tipped Weapon of Mass Destruction.

The Civil War era Black Baton with the solid silver handle and tip now permanently resides with the other ‘unusable’ Batons in my collection and like a battle returned veteran has a respected spot up front. I give it wide berth as I pass it. I am certain that place in my house is cooler than it should be. I feel eyes on my back when I leave the room as The Black Baton with the Silver Tip & Handle whispers ‘Petrificus Totalus’. This is what happens when you mistake a Wand for a Baton.


Julie Giroux, one of the finest and most prolific composers of music for wind ensemble, was born in Massachusetts, but by the time she graduated from high school, she was already a southerner, and studied music at LSU. Concord Band audiences have heard a number of her works, including Boston Liberties, commissioned by the Concord Band in 2009 and performed again last season. This brief story exposes a humorous facet of Julie that audiences may not get to see. It originally appeared as a Facebook posting earlier this year. Reprinted with permission.

Wednesday, November 1, 2017

Holiday Pops!

2017 Holiday Pops Concert Poster
Join The Concord Band for one of two "Holiday Pops" Concerts, as its celebrates the holiday season with traditional tunes and contemporary concert band music.
For Pops reservations:
  • On line: Visit Ticketstage.com, click on the “Select Performance” button and select the date that you want. Note that there is no surcharge for purchasing your tickets online, so we are encouraging you to take advantage of this service.
  • Send email to Concord Band Reservations. Be sure to specify how many tickets and which night, and include your name, email address and phone number for confirmation.
  • Leave a voice message at 978-897-9969. Be sure to specify how many tickets and which night, and leave your name and phone number for confirmation.
  • Send a check in the amount of $25 per ticket ($15 for children under 12), made out to “The Concord Band”, to Holiday Pops, Box 302, Concord, MA 01742. Be sure to specify which night, include your phone number for confirmation, and enclose an SASE if you would like the tickets mailed to you rather than picking them up at the concert.
If you place your reservations by phone or email, you MUST still mail a check in order to hold the seats. You may also include an SASE in order to receive your tickets before the night of the concert. Any unpaid tickets will be subject to re-sale at the door on the night of the concert.

Note: If this concert is snowed out, it will be rescheduled for 2:00 pm on Sunday afternoon, December 10.

Tuesday, October 31, 2017

Review: Songs and Dances

Concord Band Fall Concert

October 21, 2017 

Review by Gretchen C. D’Andrea
Music Teacher, Whitin Elementary School

Concord Band’s Songs and Dances was a musical banquet of riches. Maestro James O’Dell, the wind ensemble’s director, confidently adapted to the demands of a stylistically ambitious program. The musicians were excellent. It’s a shame all seats weren’t filled.

John Rabinowitz
alto saxophone
Saucedo’s optimistic Song and Dance was first. A buoyant theme hinted at positive possibilities. It surrendered to sassy sixties-style syncopation, ending joyously with a return to the expansive theme.

Latham’s Court Festival, well suited to the acoustics of Concord’s 51 Walden, was a modern take on antiphonal Renaissance music, with conversations between brass and woodwinds. A tart little piccolo solo danced. Dynamic changes were difficult then, but no problem for today’s instruments.

In an arrangement of Debussy’s The Girl with the Flaxen Hair, expressive saxophone soloist, John Rabinowitz, played beautifully. After the ensemble entered, the tempo moved too quickly. Delicious crescendos needed more time to develop, and felt overwhelming in the space. Nonetheless, Debussy’s unique musical tapestry was a treat.

Gilmore’s intriguing Five Folk Songs involve characters ‘dancing’ to the tunes of various constructs of society; war, the cotton industry, villagers, beauty and music. This selection was the evening’s highlight; perfect for this ensemble.

Alyssa Becker
mezzo-soprano
Balance, blend and timing are crucial elements in an ensemble. O’Dell’s skill insured instrumentation didn’t obscure text.

Alyssa Becker’s smooth mezzo-soprano coaxed lyric to life. Becker’s spinning tone, lovely on sustained notes, displayed excellent control in a hummed coda on "All the Pretty Little Horses". Use of blues in descending melodic pattern was a striking reminder of people’s plight. Clarinet solos were clean, supple; akin to vocals; oboe incandescent. A triangle sparkled brightly. Though flutes were together, "Mrs. McGrath"’s cheerful intro lacked cohesion and dragged slightly in places, yet ironic juxtaposition of text and tune was evident. At its conclusion, a slower version of the theme might better mirror the song’s mood change. "El Burro," a plaintive flute solo on unique ebony instrument was lovely.

Superfluous Havendance was possessed of frenetic, exciting charm.

Programmed last, Cajun Folk Songs was the band’s ‘Heartbreak Hill’. A solo saxophone sang true, and gorgeous themes emerged, but concentration faded, and minor intonation issues resulted. The low brass section provided anchors; centering pitch.

Cantus was entrancing-from wind chime opening to resonant conclusion. Shimmery chord changes lent an otherworldly feel; ocean background track provided a gentle wash of sound. Large moments did not overwhelm, and a sense of peace pervaded.

Audiences never tire of Copland. Players seemed to enjoy it too, for everything was tight. The trumpet solo was crisp perfection. I wish this selection was programmed last, as a joyous bookend to the Saucedo.

This community band is a treasure, providing connections in our insular world. Stravinsky said, “I haven’t understood a bar of music in my life, but I felt it.” When ensembles that are led with care play with thought and passion, music’s artistic mission is fulfilled, and we are moved.

Gretchen C. D’Andrea holds a Masters in Arts in Teaching Degree and a Bachelor of Music Performance degree in flute. Over many years, Gretchen has produced and directed musicals in both public and private school settings. Currently, Gretchen directs band and chorus, and teaches general music in Uxbridge, MA. She plays flute in the East Woodstock Community Band and loves to read in her spare time.