Instructors put on performance of their own

The ASU Department of Visual and Performing Arts hosted a faculty recital on Wednesday, April 24, in the Eldon Black Recital Hall of the Carr Education-Fine Arts Building with free entry. The recital featured a solo trombone performance by assistant music professor and low brass ensemble director J.D. Handshoe with accompaniment by Hunter Mabery.

The first song of the evening was “Allegro Maestoso,” by Jan Koetsier. It was confessed by Handshoe that not a lot is known about this piece. The introduction from the trombone and piano was dramatic and dire before transitioning to a more serene melody that still held a serious tone. There were many escalating and de-escalating sections from both players, as well as brief individual parts where the other would soon join in. Throughout the piece, Handshoe would often take advantage of pauses to let the sound hang in the air. The ending returned to the dramatic tones from the beginning.

The second song was “Neuro,” a newer piece by American composer, educator and performer Kristi Milby. It featured two movements centered around anxious emotions, and was created to explore these feelings of anxiety and the coping mechanisms to handle them. The trombone exhibited many contrasts when it was alone. Long notes would be followed by silence, higher pitches would be met with lower ones and more long notes would alternate with short ones all the way to the end.

“New England Reveries” was the next song to be played. The composer, Neal Corwell, is a euphonium player who performed in the ceremonial band of the military, as well as the army trumpets, and has brought his music worldwide. It was noted that some may find this piece somewhat controversial as it incorporates electronic sounds as a part of it. Handshoe played a solemn tune while the speakers provided background instrumentals that sounded mysterious, peculiar and synthetic, like entering a magical forest in an old video game. Towards the middle, there was a segment where the electronics would play first, followed by the euphonium mimicking the same melody. Then, a sharp tempo increase occurred where the timbre took a turn for the triumphant before backing off again. The playing complemented the electronics while also adding gravity. The piece featured much back and forth, solos and blending.

The fourth piece was “Five Street Songs,” by businessman and actuary Charles Ives. This was an experimental piece that utilized numerous techniques, such as atonality, long before they had become widespread and was made from Ives’ nostalgia for his upbringing. The creator also took inspiration from not only his prior work, but from other familiar pieces everywhere. Additionally, lyrics for each song of this medley were provided to those in attendance. For this compilation, the piano guided the trombone in a variety of styles ranging from tranquil, slow and uplifting to strong, stoic and dynamic, but always remained spirited.

The final piece of the night was “Graveyard of the Gods.” Low brass educator and composer, Evan Zegiel, combined many styles to conceive this fusion between a bass trombone and heavy metal. The sound was intense as the melody was played in unison by the trombone alongside a guitar provided by the return of the electronics. This piece was a highlight of the night and was distinct for its hardcore atmosphere not usually associated with trombones. The rhythm was dynamic and almost always fast, but it kept up a pulse even in the slower sections. The conclusion contained a part where extensive, drawn trombone notes would contrast quick guitar riffs until the guitar ultimately shifted to also doing long notes together with the trombone to close out.

Subsequent events will be held every day until May 2 by various sections of the music department all around San Angelo. Click here for a full schedule of performances.