Bandàstic
A FANTASTIC BAND CONCERT
Do you remember your first day at school? That feeling of arriving at a new place where you don't know anyone?
Then you can imagine how our protagonists feel when they arrive for their first concert and meet the Barcelona Symphonic Band: excitement and nerves, curiosity and uncertainty, laughter and lots of surprises. It's a vibrant world full of bandastic characters and incredible music!
Introduction to the zarzuela Cançó d’amor i de guerra (Song of Love and War)
Rafael Martínez Valls
First performed on 16 April 1926 at the Teatre Nou on Avinguda del Paral-lel in the Catalan capital, Cançó d’amor i de guerra is the story of a love triangle involving lovers Eloi and Francina, and Ferran, the mayor's son, who attempts to win Francina's hand in marriage.
Set in Northern Catalonia in the midst of the French Revolution, this piece, by Rafael Martínez Valls, was the Valencian composer's first major success and was banned after the Civil War.
The Circus Band
Charles Ives
This march evokes the festive atmosphere, excitement and sound of a circus band, featuring a strong percussion element and an apparent melodic simplicity.
Gradually, the movement being played by this band intersects with the music of other bands on stage until, eventually, these different performances overlap and play simultaneously. This blending of musical styles is characteristic of some of the works produced by Charles Ives, who is regarded as one of the pioneers of American composition.
Waltz no. 2 from Suite for Variety Stage Orchestra
Dmitri Xostakóvitx
Dmitri Shostakovich is widely recognised as one of the most influential composers of the 20th century, known for navigating a challenging career marked by censorship and the threat of political repression in the Soviet Union.
It is not known whether this waltz, composed for the National Jazz Orchestra of the Soviet Union, was ever performed during Shostakovich's lifetime. Nevertheless, it has become one of his best-known works, thanks to musicians like André Rieu and filmmakers like Stanley Kubrick.
The Circus Bee
Henry Filmore
More than just a march, this composition serves as a "screamer"—the type of music circus bands played at the start of a show to grab the audience's attention. It was highly sought after during the first half of the 20th century, especially in the USA. This rhythmic and brief piece features a fast tempo reminiscent of buzzing bees and has strong dynamics, making it technically demanding for musicians. It captures the lively spirit of acrobats and trapeze artists, setting the stage for their spectacular performances.
Intermission from Theatre Music
Philip Sparke
While studying, Philip Sparke played in various wind ensembles, which sparked his interest in composition and led to him receiving commissions from numerous bands across Australia, Europe, and Japan. In Theatre Music, he references the different moments on stage. The second movement, “Intermission”, is a slow, highly lyrical and poetic piece, with prominent solos for flute, alto saxophone, oboe, tenor saxophone, and trumpet.
Barn Dance & Cowboy Hymn
Philip Sparke
Philip Sparke's hymn to the cowboy forms the central part of this work. The piece also features a series of dances inspired by the Wild West, along with the sounds of people cheering and soldiers playing music. Musically, the various instrumental sections are intertwined, showcasing multiple keys along with a rich array of rhythms and tempo changes in a style that pays tribute to Charles Ives. The barn dance cited by the composer creates a festive atmosphere and is an original piece from the film Seven Brides for Seven Brothers.
Shepherd’s Hey
Percy Grainger
This piece is based on a traditional melody associated with an English folk dance known as the Morris Dance, which originated in the 15th century. Morris dancing is a group dance that features choreographed movements performed by groups of dancers. Participants often use sticks, swords, and handkerchiefs as part of their performances. The dance gained popularity in the early 20th century, which was when Percy Grainger composed this version that references shepherds and the hey, one of the dance's most characteristic movements.
Celtic Child
Bert Appermont
This piece was commissioned by the Belgian band Broederkring Houthalen and is dedicated to all children.
Its three parts are based on the world and life of children: the first part praises their creativity through a virtuosic fast tempo, the second part is a calm protest against the indifference and injustice that many children suffer, and the third part is an exciting dance with a Celtic feel that sings of the beauty of all things. It contains a part that can be sung by a soloist with a child's heart.
Charles Chaplin
Marcel Peeters
This piece is a medley of the most well-known melodies from Charles Chaplin's films, created by Marcel Peeters as a tribute to the actor. While most of Chaplin's films were silent, music played a vital role in them. Chaplin was also a musician; he played several stringed instruments, and although he was assisted by various composers, he himself composed some of the melodies you can hear in this arrangement for band.
I clowns
Nino Rota
This is a compilation of the music composed by Nino Rota for the soundtrack of Federico Fellini's film, which shares the same title.
The film, much like the music, is set in the world of the circus and presents itself as a mockumentary. The director shares his fascination with the circus and recounts his memories of the performers. Several circus performers appear on screen, including the Catalan clown Charlie Rivel and Victoria Chaplin, the daughter of the British actor.
Pallassades. Clam de joia
José R. Pascual-Vilaplana
The song Pallassades (Clowning Around) was commissioned by L'Auditori and the Barcelona Symphonic Band from its chief conductor and is dedicated to the Catalan clown Charlie Rivel.
According to the composer's own commentary, "the image of a clown, with his exaggerated make-up that means you can’t tell if he’s crying or laughing, is evoked by this musical clamour [...]. Thus, clowning around becomes the most appropriate way to face a life always lived in the company of others".
MATERIALS
Hand programme
You can download and view the Bandàstic programme by clicking the button below. You don't need to print it out; we’ll provide you with a copy when you arrive at L'Auditori.
However, take a moment now to have a good look at it. Inside, you'll find a list of all the artists working on the concert, both on and off stage, as well as the complete programme of music that will be performed throughout the show.
You'll also find illustrations by Berta Cusó depicting these works, as well as a few clues about what you and our protagonists are about to experience. Can you find the circus band? What about a bee? And a cowboy? Do you recognise the instruments played by the band? Can you identify the conductor?
Can you picture the scenes before the concert begins? And will you be able to remember everything at the end?
Oh, and if you pay close attention, you'll notice that even this programme produces sound. It makes music! How? Well... you'll have to wait and see: join us for this fantastic band concert and get ready to form part of the greatest show on earth...
TEACHING GUIDE AND MYRIORAMA
Access the teaching guide for the concert through the following links, and download and print the myriorama game to create band stories.
PARTICIPATIVE ACTIVITY
Heads up! We want you to be part of the show during the concert. It's very easy. All you have to do is follow the performers' movements and directions. You'll have to get up from your seat, and you'll need the programme that we'll give you when you come in. Unfold it, tear it, wave it and make it sound as shown in the following video.
When the piece is over, remember to fold the paper quietly and don't leave it in the hall! Keep it as a souvenir from this band experience while you go back to your seat to continue enjoying the concert.
CREDITS
Rafa Agulló, musical direction
Guillem Albà, stage direction
Pepe Reche, pedagogical direction
Barcelona Symphonic Band
Marta Asamar Garcia, Cèlia Castellano Algaba, Noèlia Fajardo Franch, Lisa Skjøth Madsen, Piero Steiner, clowns
Carla Tovias, stage movement and assistant director
Anna Boix Alvarez, lighting design
Les Pinyes Company, scenography design and construction
Created collaboratively by the performers and the directorial team.
Paulette San Martin, wardrobe
Berta Cusó, illustrator
Gloria Mas Chacori, artistic coordination
Marta del Olmo, head of the Educational Service at L'Auditori
