The Hot Springs/Hot Springs Village Symphony Guild is delighted to continue its 2025–2026 Classic Concert Series with “Dances and Songs for Strings, Wood and Winds: Colorful Voices in Concert,” a compelling collaboration between Little Rock Wind Symphony musicians Susan Antonetti (flute), Jonathan Tomasello (marimba and snare drum), Gabriel Womack (alto saxophone), Janice Bengston (Clarinet), Jason Brannon (Bassoon), and Arkansas Symphony Orchestra principal harpist Alisa Bekebrede (née Coffey). The chamber music concert performance is on Sunday, March 8 at 3:00 p.m. at Presbyterian Kirk in the Pines (275 Asturias Drive). General admission is $10. You may register for the event in advance on the Guild website (your email confirmation serves as your ticket) or at the door. The concert will last approximately one hour.

Overview of the Program

This program presents a vibrant journey through a diverse array of chamber and solo works, each rich in color, character, and emotion. It opens with Sergei Golovko’s Charanga Salada, a Cuban dance for flute and marimba in which the two instruments pulse with the rhythms and spirit of Cuban dance, engaging in a lively and colorful dialogue. A graceful French thread follows with Jean-Michel Damase’s Sicilienne Variée, which transforms a gentle dance theme into a series of refined and virtuosic variations for harp, and continues with Jacques Ibert’s Entr’acte, a sparkling exchange between flute and harp marked by the composer’s hallmark clarity, charm, wit, and lightness of texture. Balancing these works are pieces that span a wide range of styles and voices. Stop Speaking by Andy Akiho for snare drum and digital playback is an energetic and narrative work that blends the many sounds of the snare drum with electronic playback. In Rumble Strips, Gordon Stout uses the marimba to depict the grooves in the side of the highway that alert inattentive drivers that they’re drifting off the road, creating a vivid sense of atmosphere and sudden jolt. David Maslanka’s Song Book explores intimate, meditative moments on alto saxophone and marimba, Jenni Brandon’s Spider Suite spins whimsical tales through flute, clarinet, and bassoon, and Robert Muczynski’s Exit from his larger work Fragments concludes the program with bold, energetic interplay that leaves listeners exhilarated. Together, these works celebrate imagination, virtuosity, and the expressive power of small ensembles and solo instruments.

Program Notes

Sergei Golovko (b. 1959) -- Charanga Salada (2021) for flute and marimba

Golovko’s Charanga Salada draws inspiration from the Cuban charanga, a traditional dance ensemble style featuring flute, rhythm instruments, and vibrant syncopated patterns. The title reflects the lively spirit of Cuban dance music; salada in Spanish literally means “salty,” but in musical slang suggests something lively, spirited, or full of flavor. The flute plays a central melodic role, reflecting its historical prominence in charanga ensembles, while the marimba provides rhythmic drive and harmonic foundation. The two instruments engage in energetic musical conversation, alternating between lyrical passages and rhythmic exchanges that evoke the vitality and spirit of dance.

Interesting trivia: In traditional Cuban charanga bands, the flute was often the featured solo instrument, and audiences would sometimes attend specifically to hear the flutist, much like jazz audiences follow prominent soloists.

Jean-Michel Damase (1928–2013) -- Sicilienne Variée (1964) for harp

The title combines two French musical terms. A sicilienne (pronounced see-sil-YEN) refers to a gentle dance form originating in Sicily, characterized by a lilting, rocking rhythm. The word variée means “varied” or “with variations.” Damase presents a graceful opening theme and transforms it through a series of variations exploring different textures, expressive moods, and technical possibilities of the harp. Some variations emphasize lyrical beauty, while others highlight brilliant virtuosity and technical brilliance.

Interesting trivia: Damase’s mother was a professional harpist, and he wrote many harp works specifically with her in mind, giving him exceptional understanding of the instrument’s expressive and technical capabilities.

Jacques Ibert (1890–1962) -- Entr’acte (1935) for flute and harp

The French word entr’acte literally means “between the acts,” referring to music performed between scenes in a theatrical production while the stage is being reset. Ibert composed Entr’acte as incidental music for Eugène Labiche’s comic play Un Chapeau de paille d’Italie (The Italian Straw Hat), written in 1851. The play follows a bridegroom whose horse accidentally eats a woman’s Italian straw hat, forcing him into a frantic search across Paris to replace it before scandal erupts. Ibert’s music was performed between acts while the stage was being reset. The flute introduces elegant melodic lines, while the harp provides rhythmic vitality and harmonic color. Spanish/flamenco rhythmic influences give the piece a subtle dance-like character. The flute and harp combination evokes elegance, refinement, and lightness, perfectly matching the playful and sophisticated tone of French comedy. Originally scored for flute (or violin) and guitar (or harp), the work reflects Spanish and flamenco influences and remains one of Ibert’s most famous chamber works.

Interesting trivia: Ibert later arranged the Entr’acte as a standalone concert piece, and it became one of the most beloved works ever written for flute and harp—far more famous today than the play it originally accompanied.

Andy Akiho (b. 1979) -- Stop Speaking (2011) for snare drum and digital playback

Andy Akiho’s Stop Speaking is an innovative and theatrical work exploring the relationship between human performer and machine. The piece blends traditional snare drum sounds—including drum strokes, rim sounds, and subtle timbral effects—with electronic playback. The digital component uses voice prompts and stock keyboard sounds from a MacBook Pro, creating what appears to be an eerie dialogue between the performer and a sentient computer voice named “Vicki.” As the piece unfolds, this interaction becomes increasingly complex, blurring the boundaries between human expression and technological response. The work transforms the snare drum from a purely rhythmic instrument into a dramatic and narrative voice.

Interesting trivia: Before becoming a composer, Andy Akiho was a professional steel drum performer, and his music often reflects his fascination with rhythm, timbre, and unconventional sound sources.

Gordon Stout (b. 1952) -- Rumble Strips (2007) for marimba

Rumble Strips draws inspiration from the grooves placed along highways to alert drivers when drifting off the road. These grooves produce vibration and sound, creating a sudden and unmistakable warning. The work captures this sensation musically. The opening creates suspense through subtle rhythmic patterns and shifting textures suggesting instability and unease. This tension gradually builds before giving way to energetic outbursts, reflecting the sudden jolt experienced when encountering rumble strips. The piece showcases the marimba’s wide expressive range, from quiet resonance to brilliant rhythmic intensity.

Interesting trivia: Gordon Stout is both a composer and one of the world’s leading marimba performers, and his works are widely performed internationally.

David Maslanka (1943–2017) -- Selections from Song Book (1998) for alto saxophone and marimba

Song Book is a deeply personal collection of musical reflections—“songs without words”—expressing emotional and spiritual experiences. Maslanka described the work as music of the inner life, exploring memory, loss, love, and spiritual reflection. Unlike traditional concert works focused on technical display, these pieces are intended as emotional and spiritual statements.

Interesting trivia: Maslanka often meditated before composing and believed he was discovering music rather than inventing it.

About the Selections from Song Book

1. Song for Davy

Written in memory of Maslanka’s close friend, this movement expresses remembrance and emotional connection. Its slow pacing and lyrical lines reflect quiet acceptance rather than dramatic grief. Maslanka described many of his memorial pieces as attempts to “hold the presence” of someone through music. In this sense, the piece is less about loss itself and more about preserving emotional connection. Interpretive insight: The music often feels suspended in time, reflecting the sense that memory exists outside ordinary chronological time.

2. Lost

This movement reflects emotional searching and uncertainty. Open textures and unresolved gestures create a sense of wandering and introspection. Maslanka was deeply interested in psychological and spiritual journeys, and this movement reflects an inward search for meaning during difficult emotional periods. Interpretive insight: The sense of “lostness” in the piece is not panic, but quiet searching—like being alone in a vast landscape.

3. Hymn Tune with Four Variations

This movement draws on sacred hymn traditions. A simple hymn-like melody evolves through variations exploring reflection, expansion, struggle, and resolution, expressing spiritual searching and peace. Maslanka was deeply influenced by American Protestant hymn traditions, which he viewed as expressing universal human longing and spiritual searching for meaning, and his variations represent different perspectives on that spiritual journey. Interpretive insight: The movement is not tied to a specific religious doctrine but expresses universal themes of hope, searching, and inner peace.

Jenni Brandon (b. 1977) – Selections from Spider Suite (2014) for flute, clarinet, and bassoon

Jenni Brandon’s Spider Suite is a vivid example of programmatic chamber music—music that tells a story or depicts a scene. Each movement portrays a different moment in the life of a spider, using instrumental color, articulation, and rhythm to create imagery. These three movements form a kind of emotional arc: emergence, creation, and renewal. The spider symbolizes patience, creativity, persistence, renewal, and artistic creation. The spider becomes a symbol of artistic creation—building something fragile yet strong through careful, repeated effort.

Interesting trivia: Jenni Brandon frequently draws inspiration from storytelling, animals, and nature.

About the Selections from Spider Suite

I. Along Came a Spider

Referencing the familiar nursery rhyme phrase, this opening movement introduces the spider cautiously entering its environment. Short gestures and sudden shifts mirror the spider’s delicate, alert, and quick, unpredictable movements. The music alternates between stillness and bursts of activity, creating a sense of alertness and curiosity. The movement captures both the fragility and precision of the spider—its careful awareness of its surroundings and its readiness to act instantly. Interpretive insight: The spider is not presented as frightening, but as delicate, intelligent, and purposeful.

III. Spinning Song

This movement portrays the spider spinning its web. Repetitive rhythmic patterns reflect continuous, patient work, creating a hypnotic and focused atmosphere. This movement portrays the spider’s central act of creation: spinning its web. The title uses the word “song” intentionally—suggesting that the act of spinning is both mechanical and expressive, almost musical in itself. Repetitive rhythmic patterns in the instruments reflect the circular, continuous motion of web-building. These repeating figures create a sense of steady, patient work. Over time, these patterns evolve and expand, mirroring the gradual construction of the web itself. The music often feels hypnotic and suspended, reflecting the spider’s complete focus and the quiet concentration required for its delicate task. Interpretive insight: The web becomes a metaphor for artistic creation—built thread by thread, gesture by gesture.

V. The End of the Day . . . Begin Again

This final movement reflects the cycle of rest and renewal. The title suggests both closure and continuation—the end of one day and the beginning of the next. The music often has a calmer, more reflective character than earlier movements. Slower pacing, sustained tones, and gentle interplay between instruments suggest fatigue, stillness, and completion. However, subtle forward motion remains present. The spider’s work is never truly finished; the cycle of building, waiting, and rebuilding continues. The movement conveys a sense of quiet resilience and continuity rather than final resolution. Interpretive insight: The ending suggests not an ending, but an ongoing cycle—life continuing beyond what we hear.

Robert Muczynski (1929–2010) – Exit (from  Fragments) (1986) for flute, clarinet, and bassoon

The title Fragments refers to small musical pieces or sections, each complete in itself. The movement title Exit comes from theater terminology, indicating a character leaving the stage—suggesting a dramatic and energetic musical departure.

Interesting trivia: Muczynski also composed music for films, and his concert works often have cinematic intensity and pacing.

About the Selection from Fragments

1. The title “Exit” comes directly from theater stage directions

The word “exit” is the exact term used in plays to indicate when a character leaves the stage. Muczynski intentionally chose this title to suggest a dramatic, energetic departure, making the movement feel like a theatrical final gesture rather than a traditional musical ending. This fits especially well in concert programming—it functions almost like a curtain call.

2. Muczynski was strongly influenced by theater and film

Before focusing fully on concert music, Muczynski worked in Hollywood composing film scores, and his concert works often reflect cinematic pacing—clear structure, strong gestures, and dramatic timing. You can hear this in Exit, where musical ideas appear, interact, and disappear quickly, almost like characters in a scene.

3. Each instrument gets equal “character” status

Rather than assigning melody and accompaniment roles, Muczynski treats the flute, clarinet, and bassoon as equal dramatic voices. Musical ideas are passed rapidly between instruments, creating the impression of a lively conversation—or even playful argument. This conversational style is one of Muczynski’s signature traits.

4. The entire movement is built from very small musical ideas

Much of Exit is constructed from short motifs—sometimes only a few notes long. Muczynski recombines and transforms these fragments throughout the piece. This is why the overall work is called Fragments—it reflects his compositional technique of building larger structures from small, precise components.

5. It’s one of the most popular modern works for this instrumental combination

Although written in 1986, Fragments—especially Exit—has become a standard in woodwind chamber repertoire because it is exciting, accessible, and rewarding for audiences.

Click the link below to hear the music included in the program.

https://youtube.com/playlist?list=PLN78A1jrTu7y7VIaiesyTYX8uFAR2zkSi&si=ZfeSL5GF99daPC0t.