San antonio dances frank ticheli

You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Share this: Twitter Facebook. Like this: Like Loading An American Elegy by Frank Ticheli ». A tango mood and lazily winding lines give way to a brief but powerful climax depicting the Alamo itself. Inspired by the streets and canals of Venice, Italy, architect Robert Hugman proposed his idea of converting the San Antonio riverfront into a beautiful urban park back in the s.

In time, the evening settles in, the air cools, the mood brightens, the crowd picks up, and music is heard from every direction. Before you know it, the whole place is one giant fiesta that could go on forever. Now take a look at some pictures: here are the Alamo Gardens , then the Riverwalk. Your email address will not be published. This should be paramount in any interpretation. Lyricism and legato style are equally important here and once again, the first and second clarinets introduce the main melodic idea; however, unlike before, the music now gradually builds in intensity, culminating in a strong, passionate climax at measure Take care to pace this growth gradually and naturally throughout its course.

Tex-Mex on the Riverwalk Lightheartedness and carefree joy were in my mind throughout the creation of this heartfelt tribute to San Antonio. Note how the staccato accompaniment suddenly gives way to a heavy, sustained quality at measures 41, 57, and In all three of these spots the timpanist can pound at will, throwing caution to the wind!

Likewise, the interruptions at measures 49—50 and — should be played with great force and enthusiasm. In these two spots, the mallet glissandi must be played as loudly as possible! But not all of the interruptions are louder than the preceding music. The interludes at measures 65—72 and 89—95 serve as sudden moments of carefree humor and wit. The movement is filled with little solos that answer the main melody mm.

For example, one might be tempted to play the trumpet solo at measures 19—21 with lots of vibrato as a way of enhancing a kind of Latin flavor, but I do not personally think it wise to do so. I prefer understatement and subtlety rather than emphasis on stylistic cliches.

The dramatic arch of the movement, despite its many twists and turns, is always pointing towards the climactic conclusion. I think it is important to let out all the stops at the coda. The 16th-notes in the upper woodwinds and mallets should sound bright and powerful.

The descending brass line, beginning with the high Ab in the trumpets in bar , and ending with the low G in the trombones and euphoniums in bar , should not wither and wane during the course of its stepwise descent.

Like some colossal vessel coming in for a landing, the line should, if anything, grow in intensity as it descends. The brass glissandi in bars —4 will be achieved easily by the trombones, but the horns and trumpets may have to experiment a bit to create the illusion of a glissando.

As a trumpeter, I find it helpful to depress the valve slowly during the course of the glissando while pushing the air harder.