Roanoke Symphony Orchestra

RSO Holiday Brass saves Christmas

December 16, 2025 Zach Cooley No Comments

Inclement winter weather prevented the full Roanoke Symphony Orchestra from traveling to Wytheville to present the holiday pops concert we had eagerly anticipated on December 8. Fortunately, our good and faithful friends—the Roanoke Symphony Holiday Brass—stepped in to fill the gap, offering a replacement concert at the Millwald Theatre on Monday, December 15. Despite minor lift trouble with my handicap-accessible van that nearly kept my friend Jeremy Miller and me from attending, we arrived just in time. What followed was a sprightly, joy-filled 75-minute performance that flew by as effortlessly as last year’s concert had. From the opening note to the final encore, the evening was a delight. The program opened with an Aria in F Major by George Frideric Handel, led by my friend Jay Crone, principal trombonist of the Roanoke Symphony Orchestra and a trombone instructor at Virginia Tech. Crone shared a bit of musical history, noting that both Handel and Johann Sebastian Bach were dominant composers of the Baroque era. Though both were born in Germany and never met, Crone explained that their fates were linked in an unexpected way. “There was a man who fancied himself an oculist,” Crone told the audience, “who claimed he could cure blindness. He would perform surgeries and leave town before the bandages ever came off.” Bach underwent one such operation and did not live long afterward. The same unfortunate fate later befell Handel. The ensemble next performed A Rose Without a Thorn, a composition by King Henry VIII. The piece serves as a musical farewell to both his wife and his mistresses. Crone offered the audience a bit of dry humor to accompany the selection. “When King Henry VIII wasn’t preoccupied with chopping off heads,” he quipped, “he was actually composing music. He probably should have done more of that—life might have gone better for him and everyone around him.” Joining Crone onstage were Tom Bithell, principal trumpeter of the Roanoke Symphony Orchestra, and Jason Crafton, another Virginia Tech instructor on trumpet. Juan Berrios Rodriguez, a Virginia Tech musician who arrived in Southwest Virginia by way of Florida and the Dallas Brass, performed on both the French horn and the E-flat alto horn. Rounding out the quintet was tuba player Will Divers, a former student of Crone’s who now teaches in Botetourt County schools. Jazz arranger Zach Smith provided a buoyant New Orleans flavor to the first holiday medley of the evening, which featured The First Noel, Away in a Manger, and God Rest Ye Merry, Gentlemen. The unusually peppy arrangement set a joyful tone that carried through the remainder of the program. The next segment focused on holiday music from film and television. The group began with Let It Go from Disney’s Frozen, followed by Christmas Time Is Here—Vince Guaraldi’s beloved theme from the 1965 television special A Charlie Brown Christmas. The suite concluded with a medley from How the Grinch Stole Christmas, featuring Welcome, Christmas and You’re a Mean One, Mr. Grinch. I couldn’t help but wonder if I played a small role in that particular selection making its way into this year’s program. In last year’s review, the Grinch medley had appeared on the printed program but was not performed. After I mentioned it, Crone wrote to clarify that the program listed potential selections. This year, there was no printed set list, and at the conclusion of the medley, Crone acknowledged the moment. “I got yelled at last year for not getting this one in,” he told the audience. “I’m glad we could do it for you this year.” I assure readers there was no malice intended—only appreciation. If my gentle nudge helped secure that extra treat for this year’s concert, then everyone benefited. One of the evening’s most impressive moments came with a Christmas Medley arranged by German trombonist, Ingo Luis. The composition features songs in all twelve keys, weaving together carols such as Silent Night and O Christmas Tree. The arrangement blends jazz, classical, and even John Philip Sousa-style elements, making it extraordinarily complex. The Holiday Brass executed it flawlessly. The concert concluded with selections from Christmas Crackers, beginning with a mash-up of Jingle Bells and Deck the Halls, followed by Carol Fantasy, which incorporated O Come, All Ye Faithful, Joy to the World, Hark! The Herald Angels Sing, and O Little Town of Bethlehem. The final number was a jubilant New Orleans jazz arrangement of Just a Closer Walk with Thee. This was my first holiday-themed outing of the season. With the passing of my father, Christmas has arrived without the readiness of years past. Yet this concert proved more than worth the effort. My thanks go to Jeremy Miller for getting me there, Donnie Bales for allowing me to review the performance, and Jay Crone along with the Roanoke Symphony Holiday Brass for providing a much-needed measure of Christmas cheer—something that has been especially hard to come by this year.

Strictly Observing

Perfect night for symphony

September 30, 2025 Zach Cooley No Comments

Sunday, September 14th was an evening made to order. The weather cooperated perfectly—warm, around 80—setting a stage that felt cinematic before a single note was played. The Roanoke Symphony Orchestra, in full force, took the stage at Elizabeth Brown Memorial Park in Wytheville for a one-of-a-kind concert facilitated by the Millwald Theatre. Several hundred people gathered; my wife and I were among them, enjoying a rare date night. After a satisfying meal at Burger Express on Main Street, we strolled along the beautifully bricked Heritage Walk toward the park. By the time we arrived, twilight had settled in, and the mood was just right. The concert, in two acts lasting about 67 minutes in total, opened with the stirring strains of The Star-Spangled Banner, featuring the Roanoke Symphony Orchestra Chorus. Maestro David Stewart Wiley, who leads the Roanoke Symphony, greeted the audience with warmth. “We are honored to be your orchestra,” he said. “We are an ensemble whose geographic reach is among the largest in Virginia.” What followed was a program that wove together patriotic fare, popular film scores, and adventurous percussion—all delivered under a spacious, open sky. One of the evening’s most inventive features was the group Plastic Music, who served up drums made of plastic and sticks fashioned from drain-pipe, along with boomwhackers—tubular percussion instruments pitched to different notes. Their work in In the Hall of the Mountain King shone: those unusual instruments added texture and surprise, carrying through later numbers as a recurring highlight. Next came a five-minute medley from Titanic (1997), composed by James Horner. The Roanoke Symphony tackled both the sweeping oceanic beginning and the impending danger of the iceberg, building toward the iconic My Heart Will Go On. Principal oboist William P. Parrish Jr. was featured beautifully in that latter part; his clarion tone added poignancy to the melody. Patriotic tunes held center stage next: a spirited pairing of Yankee Doodle and You’re a Grand Old Flag, presented under the banner of Star-Spangled Spectacular by George M. Cohan. Later, they performed God Bless America and an Armed Forces salute. These numbers were colored by the rich voice of Mayar Moneir, who also delivered stirring renditions of You’ll Never Walk Alone, Feeling Good, and even Dolly Parton’s Jolene—a nod to country classicism amid the evening’s eclectic mix. The first act wound down around the 45-minute mark; the second, shorter roughly 20 minutes, opened in striking fashion with Gioachino Rossini’s William Tell Overture, once again featuring Plastic Music’s boomwhackers. One of the evening’s climaxes came with a rendition of Led Zeppelin’s Kashmir, featuring a blistering electric guitar solo by Mike Havens. Maestro Wiley had high praise. “Mike is a wonderful educator, a great guitar player, and an all-around wonderful human being,” he said. Another highlight was The Raiders March from Raiders of the Lost Ark, John Williams’s adventurous and instantly recognizable theme from the 1981 film. It opens with a bold brass fanfare, has sweeping strings, woodwinds, and the sort of rhythmic drive that captures both daring and grandeur. It’s classic Williams—heroic, cinematic, and full of energy. Toward the end of the program, the audience was treated to Alexander Borodin’s Finale from Polovsian Dances, a suite from the 19th century opera, Prince Igor. A Russian composer by night, Borodin serves as a chemist at his day job. Maestro Wiley also took time to reflect on the community and connections. He spoke of Wytheville’s history of collaboration with the Roanoke Symphony, citing Wytheville as the hometown of Ashley Hall, who got her start in the Youth Symphony and later joined Canadian Brass. He also praised Dolly Parton—not simply for her songs, but for her generosity, particularly her Imagination Library, which has given widely to her home region. In summary, Emily and I enjoyed a very special evening. We are deeply grateful to the Millwald Theatre, the Roanoke Symphony Orchestra, and Elizabeth Brown Memorial Park—not just for the beautiful atmosphere but for the unforgettable artistry. It was a night we will always treasure. I also want to thank friends at the Millwald—Mastin Paisley, Donnie Bales—for making sure I was part of this event. Supporting what they bring to our community is one of the highlights of my life and career.

Strictly Observing