Northeast Wisconsin Music Review

Birch Creek Music Performance Center

Symphony Series

Egg Harbor , WI

July 4, 2007

Star Spangled Percussion

Pulling things together with just two days prior rehearsal, Percussion Program Director Robert Chappell and Steel Band Director Al O’Connor fashioned a fulsome Fourth of July celebration worthy of Birch Creek’s standards. We arrived during the second number (the music began early to allow patrons to enjoy local fireworks displays later) and found the ensemble busily powering its way through the traditional theme, “The General.” A slow and solemn “Star-Spangled Banner” followed, holding up our national anthem with respect and dignity. A charming arrangement of “National Emblem” offered the tune in a brisk cakewalk with the student/faculty group well energized. By contrast, mallet ace Dan Moore introduced, in his “serious” mode (he had to have been kidding?), his affectionate and finely-limned duo of two traditional themes, “American Patrol” (a tune that pre-dated the Glenn Miller arrangement by four and a half decades) and “Shenandoah,” played on vibes in sweetly reflective layerings. For a closer to the first half, Chappell had scheduled Steve Houghton’s “The Path,” to give Demon-Drummer Vern Spevak the room for a high-protein solo. The video cam was focused in his drum set to allow the audience a close-up view of his flailing arms and feet. Spevak has made a specialty of the extended drum solo and his work here lived up fully to his estimable standards.

As music is a constant at Birch Creek, intermission was filled with steel band performances led by Al O’Connor, nicely executed, especially considering the ensemble’s short rehearsal time.

The second half opened with a riveting original composition by Robert Chappell (an American premiere), written while he on a musical journey to Costa Rico. “Sanchari’ means “wandering” and this composition, one of many by Chappell that have conspired to enhance his world-wide celebrity, tells of questing movement, both physically and spiritually. Adding to his creation of what amounts to a new genre, Chappell here melds the Indian tabla (played by the composer) with marimba (Orlando Cotto) and steel pan (Liam Teague). The parts come together with near-inevitability, each instrument feeding into the small ensemble, while retaining its unique character. “Sanchari” exudes an immediacy that neatly conceals the intricacy which lies beneath the surface. The reasons for Chappell’s having come to be on call to the entire global percussion community are vividly evident in this work, a cherishable gem whose facets all point to new directions.

Next, the Ray Charles-flavored arrangement of “ America the Beautiful” (played before by the ensemble) unfolded with soul-piercing fervor, measured and with an underlying backbeat pulse. The broad, beautiful traditional theme lends itself wonderfully to this interpretation, creating an effect as moving as any other we’ve heard.

Finally, “The Battle Hymn of the Republic” which charged through a variety of rhythmic figures (supercharged by students and faculty alike) yielded reluctantly to a zippy, high-tension quick-step version of “Stars and Stripes Forever.” The menu presented to the appreciative audience this pleasant evening met with resounding approval, sending people out to catch a Door County fireworks display smiling and talking excitedly. (Erik Eriksson)