Libertadores is a seductive and powerful piece in two section. The first section is inspired by the Amazon Forest with its characteristic landscapes, indigenous tribes, sounds and so on. The use of voice and hand percussion as part of the performer's tasks help to emulate the tribal chants, in addition to adding aural color to the piece.

 

The second section is portrays the "separatist leaders" of South America, Simon Bolivar and Jose San Martin, in the form of a March-Fanfare. The martial and triumphant main theme travels across the different instruments of the ensemble, building continuously. All the percussion gradually put on marching snares and come to the front of the band to help build to the climax of the work. It's a pretty powerful effect to see and hear.

 

Oscar Navarro is already becoming a much sought after composer in Spain in both the concert and film worlds. He's certainly one to be watching for in the coming years.

 

The Heart of the Jungle, the myths and legends of the various tribes, the Luos, the Massais, the Swahilis, and the numerous other tribes of the African continent; their rituals, prayers and dances are carried on through the generations as they continue to worship the spirits of nature with delight through the use of dance and drums. Whenever there was need, the tribes invoked the various spirits of the air, land and river to respond to their need.

Jungla is a tone poem set to these dances. There's plenty of colorful ethnic percussion throughout this piece as it drives forward though a variety of styles, dances, and invocations. I like the way Ferran uses a three note pattern in the bongos/congas during transitional material to keep the audience's attention on the rhythmic pattern that started the piece and ultimately finishes it.

This is a great extended Fanfare to open a concert with. It was originally composed for the Venezuelan Brass Ensemble, and extension of the famous Simon Bolivar Youth Orchestra of Venezuela. In addition to it's original brass ensemble format, it has been transcribed for both Wind Band and for Brass Band as well and is available in all three formats.

The piece is cast in ABA form and offers some tricky multimeter counting in the second half of the first A section. 

This piece is based on a fragment from the Bach chorale Rouse thyself, my weak spirit. It's filled with numerous transparent chamber-like sections and moments of bright brilliance.

Several composers have written works based on the spelling of Bach's name (B-A-C-H). This mini-concerto is a 6 1/2 minute work based on a variation of that, B-A-H-B. A full recording will be available in another week or so if you wish to listen to the entire work.

Australian composer Jodie Blackshaw inspiration for this work was the shape, spirit and history of Australia's prominent Murray River. The piece is in six continuous sections, and is America's first opportunity to see what her upper level compositional skills are like.