The Hilton Head Symphony Orchestra, under the leadership of Music Director and Conductor Mary Woodmansee Green, will present an evening of Halloween favorites at 8 p.m. Oct. 25 at Hilton Head's First Presbyterian Church. Among the music you'll hear are:
Sir Malcolm Arnold's "Tam O'Shanter Overture," based on the 1791 narrative poem by Robert Burns. The poem tells the story of Tam O'Shanter who, after a night of drinking, is followed home by witches and warlocks with clarinets and bassoons doing bagpipe imitations and drunken dances.
Charleston Symphony Orchestra flutist Regina Helcher Yost is the featured soloist in Bruce Broughton's "Piccolo Concerto." Critic Donald Rosenberg said "Broughton's roots as a film and television composer can be discerned in the music's swift change of moods and glowing instrumental sonorities."
"Ride of the Valkyries" forms the opening of the third act of "Die WalkÃ¼re," the second opera in the Ring cycle. It depicts the Valkyries, female demi-gods that determine who will die in battle. Perhaps the most famous excerpt from all of Richard Wagner's operas, this music has been used and parodied throughout popular culture.
"Suite No. 1 from Peer Gynt" became part of Henrik Ibsen's morality play when Edvard Grieg asked him to compose incidental music. The play tells the story of the wild, self-indulgent adventures of Peer Gynt, the only son of poor peasants who leads a life of misadventure.
Composer and arranger Robert Wendel offers "A Halloween Trilogy": "The Pit and the Pendulum", depicting key moments in the short story by Edgar Allan Poe, "Trick or Treat" that harks back to a simpler time when children went from house to house yelling "trick or treat, trick or treat, give us something good to eat," and "The Ride of the Headless Horseman," based on the character from "The Legend of Sleepy Hollow" by Washington Irving.
In 1858, Jacques Offenbach, considered the creator of French operetta wrote the perennially popular "Orpheus in the Underworld." The overture is based on tunes from the opera, ending with the "can-can" melody that would later find its way into other Offenbach works and into popular culture.
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