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Commissioned by the United States Air Force Band for their elite string ensemble; Commander & Conductor,  Colonel Don Schofield

ZOOM / zo͞om / verb: move or travel very quickly

or, as I like to define:

ZOOM / zo͞om / verb: to be together when apart

Because of a global pandemic, the year 2020 will stand out in history as perhaps the most challenging year we, as a world, will have to endure in our lifetime. But even during this era, there is hope—a universal anticipation of a return to normalcy—an idea I wanted to artistically evoke in ZOOM!. This work was motivated by my desire to construct a composition that embodies a word, phrase, or idea that, in part, defines this season. "Zoom" quickly rose to the top of the list, as much of our lives and interaction with people have become centered around the video conferencing platform of the same name. Musically, most of the composition is energetic, moves quickly, and radiates joy. These attributes echo the literal meaning of the title. The title further reflects the rapid development of vaccines, restoring humanity and adding hope in a time where that sentiment was easily abandoned. The slower middle section evokes the dichotomy of being together while apart: unsatisfying in one aspect, yet, cherished.

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Kutimbua Kivumbi is a Swahili phrase that loosely means, “Stomp the Dust.” This composition was inspired by a trip to Kenya where, as a part of a sabbatical, I studied the music of the Akamba people in the Machakos region. Kenya is a colorful place, reflected visually and also in the vibrant and welcoming nature of the people. When composing the piece, I wanted to musically embody that colorful essence, demonstrated by the variety timbres and sonorities throughout the composition. Due to the diverse nature of Kenya, my experiences were vast and varied, including: visiting the slums; enjoying fast-paced Nairobian city life; taking advantage of the simple, technology- and electricity-free rural life; and even going on a safari at the foothills of Mt. Kilimanjaro. These daily (sometimes hourly) juxtaposed adventures—rapidly shifting and sometimes superimposed—added a level of unpredictability and excitement to my trip, elements I also tried to musically evoke in this work, both linearly and in terms of stratification.

The Machakos region, where I did most of my ethnomusicology study, has two short wet seasons, resulting in long dry spells throughout the year. Consequently, the terrain of the scenic plains in the low lands is extremely dusty. Many of the traditional songs and dances, especially the ones that plead for rain, are performed on the arid landscape, and as the people dance and stomp, dust rises, creating a beautiful and fascinating visual space. In this piece, I tried to musically create that unique atmosphere, using my own compositional voice and the inspired rhythms and sounds of the Akamba people.  After a ferocious percussive invitation, the work begins with a violin solo, musically depicting the leader of a call-and-response, freely singing until the rest of the people join in and sing the synchronized tune. The primary theme of this piece is an adaptation of a welcome song that was performed for me by the Akamba people. The entire experience was moving: witnessing the drumming, the call-and-response singing, the dancing on the dry land, and, yes, watching the dust rise. The work culminates with a soundscape that musically depicts one final stomp, with dust slowly rising and gaining intensity—a final plea for rain.

This recording is from the world premiere performance by the Wheaton College Symphony Orchestra (for whom the work was composed), under the direction of Dr. Daniel Sommerville.

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Shawn Okpebholo’s 'Heritage', in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties. 

The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song:

“ Ekine leleyea do obhimen la doeki nalo.

(My investment in you is paid off. Because of your hard work, your future is bright.) ”

'Heritage' is a revised version of a work previously entitled 'This is Africa', which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian.

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Performed by the Band of the Royal Belgian Navy. Composed and premiered by The United States Army Field Band.