Maritime Celebrations!
June 8th, 2025
Chorale Prelude: So Pure The Star
Vincent Persichetti (1915-1987) is one of the more celebrated wind band composers; holding composition, conducting, and piano performance, degrees from several acclaimed Pennsylvania institutions. His immense skill and knowledge led him to become faculty of the Juilliard School of Music in 1947, where he eventually became chairman of the Composition Department by 1963. Not much is written about the inspiration behind this piece, so I will share some of my own in choosing it for this performance:
Imagine a sailor presented with an opportunity for great adventure across mostly uncharted seas. The excitement of a long contract, new experiences, and potentially an opportunity to make history, are the driving force behind the sailor’s decision to sign up. In the weeks before the voyage, preparations are under way and then the doubts start to settle in the sailor’s mind. What if there isn’t anything on the other side? What if they don’t make it to their destination? “So Pure The Star” harkens to the initial feeling of navigating by the stars toward something exciting and new, but potentially deadly and dangerous. Persichetti’s use of dissonance, unresolved chords, and haunting melodies, gave rise to the story of this sailor and the emotions they could be feeling.
Sea Songs
Sea Songs is a march medley of three well-known sea shanties: Princess Royal, Admiral Benbow, and Portsmouth. This piece was originally intended to be the final movement of Vaughan William’s Folk Song Suite. This piece was chosen to depict the initial part of the journey of our sailor where everything is bright, cheerful, and by the book. Nothing could go wrong and our sailor clearly made the right choice by going on this voyage…for now…
Rhythm of the Winds
From the publisher: “The alteration of two rhythms, one syncopated and the other an after-beat pattern, form the rhythmic basis for the main theme of this composition. The syncopation comes about by accenting the first beat, the second half of the second, and the fourth beat within a 4/4 measure. This rhythmic pattern has become a staple for many contemporary band compositions. A more melodic theme follows that is punctuated by short rhythmic fragments. As the two themes are repeated, the initial musical idea continues but in a constantly varying matter.”
Our sailor is now experiencing some of the turbulence of the sea. Small storms and exciting encounters with pirates have bolstered the sailor’s confidence and sense of adventure. This voyage is everything they could have asked for! Our sailor is living out their dream as a hero “worth their salt”. Little do they know, the real storm is approaching…
The Seal Lullaby
From the composer: “In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brain child of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally. Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting. The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation, (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
Oh! Hush thee, my baby, the night is behind us, And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us, At rest in the hollows that rustle between.
Where billow meets billow, then soft be thy pillow, Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee, Asleep in the arms of the slow swinging seas!
Rudyard Kipling, 1865-1936I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio. I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”So I didn’t do anything with it; just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) A few years later the Towne Singers commissioned the choral arrangement of it, and in 2011 I transcribed the piece for concert band. I’m grateful to them for giving it a new life, and to the schools, colleges and directors … who have believed in this new transcription. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.”
The crew is having a quiet moment of reflection after some very exciting encounters with pirates and storms. They are currently homesick and missing their family, hoping they are all doing well. I relate our sailor to Eric Whitacre singing to his son, as the sailor is on the deck staring at the stars, humming this melody to themselves and remembering the family they left behind.
She Made Her Way Through Desolation
From the composer: “She Made Her Way Through Desolation started with the idea of incorporating the Morse code pattern for SOS, hiding it through rhythmic displacement in the percussion before every part aligns as the distressed vessel finally calls for help. While working on this piece I learned about the story of Grace Darling and her efforts in saving the nine surviving passengers and crew of a wrecked ship near Longstone Lighthouse in Outer Farne Islands off Northumbria England. The story of Grace and the Forfarshire seemed to fit so well with my own imagined story so I adopted it and sought to complete a piece that honored her and women like her who have run into danger for the sake of others.
How the Forfarshire ended up near Longstone lighthouse is a dramatic story on its own but our story begins as a storm engulfs the already struggling ship. I imagine the melody at 18 torepresent the passengers of the Forfarshire while 28 represents the storm that gets more and more intense as the piece progresses. At 52 the ship is wrecked upon the rocks and breaks in half leaving only a handful of survivors.
Grace’s theme is introduced at m 82 by Crotales and flute/oboe as she sees the ship broken across the rocks and sets out with her father knowing they would only be able to return if there were survivors strong enough to help them. While lives are lost beneath the waves and survivors struggle to climb to safety on the rocky outcrop their small boat skirts the storm around the island. They fight the storm to make it in time. At 161 they finally reach the survivors and begin the journey back to the lighthouse and to safety.
The story of Grace’s daring rescue was featured in newspapers across Britain. The Newcastle Chronicle reported “This perilous achievement stands unexampled in the feats of female fortitude. From her isolated abode… she made her way through desolation and impeding destruction… to save the lives of her fellow beings.”
While the title is drawn from a quote about Grace, “she” could refer to ships like the Forfarshire, (as ships are referred to as female), traveling into unimaginable danger to deliver her crew/passengers/children to safety. “She” could be Sarah Dawson, the lone surviving woman of the voyage whose two children died in her arms before they could be rescued. “She” could be any woman facing disaster and persisting. As we know today “feats of female fortitude” were and are not unprecedented, simply unrecognized and undocumented.”
Our sailor finally meets The Storm. The crew and ship battle through the night to stay afloat and many fine sailors are lost. Will they make it through the storm? Will they be rescued, or will they have to rescue themselves
Harbor Ridge Panorama
From the composer: “Harbor Ridge Panorama was commissioned by the Harbor Ridge Middle school Band, under the direction of Sheryl L. Clark, in Gig Harbor, Washington to celebrate the opening of a new addition to the school, which sits on a bluff high above the harbor. The title alludes to the view overlooking the busy harbor, with the blue waters of Puget Sound beyond, and Mt. Rainier shining brilliantly white in the distance.
All the music for this composition is directly derived from the opening 11-note motif, which musically sets the words to the school motto, “a view so great you can see the future.” The beginning represents the backdrop of Mt. Rainier, majestically dominating the view. The second section evokes the smooth waters of the harbor and sound on a calm misty morning. The finale depicts the bustle of activity in the harbor with the coming and going of the fishing fleet, yachts, and various other pleasure craft.”
The bedraggled crew barely survives the massive storm. They are bruised, spiritually broken, and following the course they had previously set in hopes it’s in the correct direction. The lookout spies a small land mass in the distance and the crew is filled with hope. Their destination is in sight! They are going to make it! The crew witness a beautiful sunset with the sight of land off in the distance; a testament to their bravery and resilience at sea.
Chanteys
From the composer: “Chanteys is an original work that recalls the music of the sea and its sailors. A jaunty opening sparkles with character and style before yielding to a pensive “Andante”. The piece closes with a spirited juxtaposition of thematic material. Expressive, entertaining and great fun to play, Chanteys is an excellent choice for contests or spring concerts.” With land in sight, clear skies, and the journey almost complete, it is time to celebrate their survival of The Storm. At least one barrel of spirits survived the encounter and the captain deems no better time to crack it open than now. The crew is in rowdy spirits as they celebrate their conquering of the storm while also paying respects to those who gave their lives so they may continue their voyage.
Hands Across The Sea March
Intended to recognize and honor all of America’s friends abroad, Sousa’s march was received so well, the audience requested it repeated three times (Bierley,1984). Sousa was inspired by a line in a play by Frere which reads “A sudden thought strikes me—let us swear an eternal friendship” which lead to the title “Hands Across The Sea” along with the intention of honoring foreign relationships.
Our sailors are heartily received at port with cheers, celebration, and a welcoming parade. Their mission and voyage are successful, their stories are shared, and life is a beautiful gift. The crew are left to celebrate in port and bask in their glory, ending their journey with their colors hoisted a little bit higher and the ocean swimming deeper in their hearts.