Myths, Magic & Mystery

Experience a dramatic afternoon of mythical legends, dark tales, and fiery music as the spirits of autumn come to life. Experience the Legend, the Magic, and the Music As the autumn weather turns stormy and twilight settles early, join us for Myths, Magic & Mystery—an afternoon of music that explores dramatic storytelling, ancient legends, and the spirits of October. Rather than standard Halloween tunes, this program dives deep into timeless tales of witches, wizards, ghosts, and the reflective beauty of autumn. From the high-energy thrill of a supernatural horseback chase to the serene, majestic colors of fall, our ensemble brings these vibrant sound worlds to life. Program Highlights Include: • Legendary Battles & Spells: Experience the iconic magic of John Williams’ Harry Potter and Kelly Bennette’s heroic Merlin. • Haunting Storytelling: Journey through a wild Scottish night in Malcolm Arnold’s Tam O'Shanter Overture and experience Randall Standridge’s cinematic Symphony No. 1: A Ghost Story. • Autumnal Reflection & Playful Wit: Soak in the warm, atmospheric warmth of Eric Whitacre’s October alongside the lively charm of Julie Giroux’s Wonderfully Wicked. • As the autumn weather turns stormy and twilight settles early, join us for Myths, Magic & Mystery—an afternoon of music that explores dramatic storytelling, ancient legends, and the spirits of October. Featured Composers & Works Scroll down to explore the stories, music, and composers behind this performance: Composer Spotlight: Randall Standridge Randall Standridge (b. 1976) received his Bachelor of Music Education from Arkansas State University, where he studied composition under Dr. Tom O'Connor, before returning to earn his Master's in Music Composition under Dr. O'Connor and Dr. Tim Crist. In 2001, he began his tenure as Director of Bands at Harrisburg High School in Harrisburg, Arkansas. He left this post in 2013 to pursue a career as a full-time composer and marching arts designer. Mr. Standridge's music is performed internationally, and he has had numerous works selected for J.W. Pepper's Editor's Choice list. His compositions Snake Charmer, Gently Blows the Summer Wind, and Angelic Celebrations have been included in the Teaching Music Through Performance in Band series, and many of his works have been performed at the prestigious Midwest Clinic in Chicago, Illinois. The Arkansas State University Wind Ensemble premiered his work Art(isms) at the 2010 CBDNA conference in Las Cruces, New Mexico, and his piece Stonewall: 1969 premiered at the National LGBA conference in 2019. His compositions Stonewall: 1969, unBroken, and Animation (Episode 1: WABBIT!) have all received honorable mentions for the American Prize in Composition. His Symphony No. 1: A Ghost Story premiered in 2023 and earned 3rd Place in the American Prize for Composition in 2025. In addition, Mr. Standridge's "unBroken Project"—a musical initiative centered on mental health—has received widespread acclaim for its musical depth and for creating opportunities to normalize conversations about mental health among music students and audiences. Beyond his work as a composer, Mr. Standridge is the owner and chief editor of Randall Standridge Music, LLC, and Grand Mesa Marching. He remains in high demand as a composer, conductor, clinician, and marching arts arranger and designer. He lives in Jonesboro, Arkansas, with his husband, Steven, and their very, very spoiled pets. About the Piece: Symphony No. 1: A Ghost Story Symphony No. 1: A Ghost Story is a four-movement work that follows the story of a deceased composer. Told from the perspective of his grieving widow, the symphony's narrative arc loosely correlates to the Kübler-Ross stages of grief. I. Unquiet (Stage of Grief: Denial) The first movement begins softly, establishing an immediate sense of dread. The widow sits alone at the piano where their spouse once played and begins to render a quiet dirge as the house creaks to life around them. The unquiet spirit of the composer surfaces in a fury, demanding to be heard. A rhythmic tapping echoes through the space—Morse code for “Here” (.... . ._. .). A flurry of activity follows as the spirit refuses to stay quietly in the grave. The first half of this movement functions as an overture for the entire work, introducing its central thematic material. A violent development ensues in the second half as a tempest rages outside; lightning flashes and thunder roars while the spirit struggles desperately to break through the veil. II. Loss (Stages of Grief: Bargaining & Depression) Beginning with a lone clarinet, the second movement finds the widow sitting in a shaft of afternoon sunlight, attempting to shake off the phantoms of the previous night. Haunted by memory, they begin to reflect on scenes from the past—feeling grief, love, nostalgia, anger, bitterness, and a fleeting hope that their loved one waits just beyond the veil. Catching a brief glimpse of his face and sensing his presence, the widow is filled with temporary wonder and joy, asking repeatedly, "Are you there?" This inquiry unleashes a wave of emotion larger than they can bear, forcing the realization that they must learn to live without him. In a whirlwind of love and loss, the movement climaxes in a piercing scream of grief before collapsing into a depressed sigh. III. Midnight (Stage of Grief: Anger) The third movement opens quietly as a clock chimes midnight. The composer's spirit stirs once more, visiting the widow in an explosive rage against the injustice of his death. A savage dance ensues as the spirit runs rampant through the house, unable to control its fury. Furniture flies, glass shatters, and the incessant knocking of “Here! Here! Here!” echoes throughout the halls. This movement prominently features the haunting and malevolent Aztec death whistle. IV. Ascent (Stage of Grief: Acceptance) Performed attacca with the third movement, the final movement begins immediately as the previous one ends. The opening dirge returns, transformed into a hopeful, luminous setting. As dawn breaks across the horizon and warm light streams through the windows, the spirit—finally accepting its fate—appears one last time. Shared in a final, ghostly embrace, the spirit ascends, leaving the earthly plane behind for whatever lies beyond. Composer's Note "The symphony owes a debt to both symphonic and cinematic traditions, particularly those of horror films. I have always loved these sounds and have never sought to distinguish one from the other. I believe all musical expression is legitimate and deserves a space in the world. It gives me great pleasure to bring a little bit of the 'dark side' to the concert hall." —Randall Standridge Composer Spotlight: Eric Whitacre Eric Whitacre (b. 2 January 1970, Reno, Nev.) is an American composer, conductor, and lecturer. About the Piece: October We will be performing October. Whitacre said this about the work: " October is my favorite month. Something about the crisp autumn air and the subtle change in light always makes me a little sentimental, and as I started to sketch, I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English Romantics (Vaughn Williams, Elgar), as I felt this style was also perfectly suited to capture the season's natural, pastoral soul. I'm quite happy with the end result, especially because I feel there just isn't enough lush, beautiful music written for winds. October was premiered on May 14th, 2000, and is dedicated to Brian Anderson, the man who brought it all together. Composer Spotlight: Sir Malcolm Arnold Sir Malcolm Arnold (October 21, 1921 – September 23, 2006) was an eminent British composer and professional trumpeter. Born in Northampton to a family of shoemakers, he was drawn to the creative freedom of jazz as a rebellious teenager.