Review: TINSELTOWN TUNES with Little Rock Winds at Second Presbyterian Church in Little Rock

The Little Rock Winds captured cinematic magic with their program TINSELTOWN TUNES at the Second Presbyterian Church in Little Rock Thursday, Feb. 27. Conducted by the very entertaining Israel Getzov and accompanied by voice extraordinaire Brent Walker, their music transcended the audience through a whirlwind of iconic film scores, sweeping them from the golden age of Hollywood epics to heart-pounding action blockbusters and beloved family classics. Each piece evoked vivid memories, uniting the audience in a collective journey of nostalgia, wonder, and awe as they relived unforgettable moments from the silver screen. 

Setting the mood for what was to come, the ensemble opened with an overture-like piece entitled Salute to the Cinema by Whiting, Brown, Hupfield, and arranged by Strommen, wowing with classics including Singin’ in the Rain, As Time Goes By, A Day in the Life of a Fool, Casablanca, and Black Orpheus. You could see the joy in my neighbor’s eyes as she relived memories tied to those timeless melodies — a testament to the power of music presented by this amazing group of musicians.  

From there we heard a Henry Mancini mashup (name this tune...dada da daaaaaaaaa.....dada da daaaaaaaaa.....) before spotlighting the percussion section in Under the Sea from The Little Mermaid. That’s when the kids in the audience perked up, and then got even more excited when they launched into a montage of Alan Silvestri hits collectively named A Night at the Movies, which featured The Avengers, The Polar Express, Night at the Museum, Forrest Gump, and Back to the Future.  

Here, Narrator Walker encouraged us all to go watch Cinema Paradiso — music by Ennio Morricone — reminding us of the film's poignant story and its unforgettable score. As the Little Rock Winds played Morricone's stirring melodies, the bittersweet beauty of the music filled the room, evoking emotions that moved listeners to smiles, tears, and quiet reflection. The tender notes seemed to linger in the air, wrapping the audience in a warm embrace of nostalgia and heartfelt sentiment. 

To close out the first half of the program, they introduced Cartoon by Paul Hart as a piece that incorporated all the sounds of classic cartoons. It was a dizzying collection of zany rhythms, playful melodies, and unexpected sound effects that brought to mind scenes of animated chaos — characters slipping on banana peels, dramatic chase sequences, and comically exaggerated emotions. The musicians skillfully bounced between lively bursts of energy and moments of whimsical suspense, capturing the delightful unpredictability that defines classic cartoon scores. It was a whimsical ending that had everyone talking during intermission. 

After intermission, the next four pieces had a testosterone influence. Opening with The Magnificent Seven by Elmer Berstein, the Little Rock Winds charged forward with bold brass and driving rhythms that instantly transported the audience to the rugged frontier. Each note seemed to gallop across the room, capturing the iconic spirit of the classic Western. It was a thrilling start to a set that celebrated strength, determination, and cinematic bravado. 

Next up, we delved into the world of Bond....James Bond, in which my friend told me to hush as I was singing along to those fabulous theme songs. And not that anyone cares, but I think the theme songs are the best part of the Bond movies. The only thing that would have made this part better is if they would have had a guest vocalist in the style of Shirley Bassey. I tried, but my attempt was not appreciated. 

Moving on, we ventured Out of This World. Who doesn’t love John Williams? We blasted through Star Wars, Space Camp (I didn’t see that one), and E.T. (The Extra-Terrestrial), each piece bringing its own unique sense of wonder and excitement. The familiar opening notes of Star Wars sent a wave of energy through the audience, while E.T.'s heartwarming melodies tugged at the heartstrings. Though Space Camp was a bit of an unfamiliar journey for some, the infectious energy of Williams' music ensured that the entire piece soared into the cosmos, creating a sense of adventure and imagination that only his scores can deliver.  

Rounding out the adventure section, the Hawaii Five-O Theme by Morton Stevens brought an infectious sense of excitement as the iconic opening riff immediately had the audience ready to go surfing. As the brass and percussion delivered a bold, island-inspired sound that evoked images of surf, sand, and high-speed chases, the piece seemed to transport everyone straight to the shores of Hawaii. The rhythmic drive and vibrant energy captured the spirit of the iconic TV series, leaving the audience with a sense of anticipation and thrill, as if ready to jump into the action themselves. 

To prove they were hip with the new generation, they added in Dua Lipa’s Dance the Night from the movie Barbie. The catchy beat and lively orchestration brought a fresh, modern energy to the program, bridging the gap between classic film scores and contemporary hits. At this point, the kid next to me playing on his phone looked up and smiled, clearly recognizing the tune. It was a moment that showcased the versatility of the ensemble, and proved they could master any era.  

To finish out the show, they performed a medley from The Wizard of Oz, capturing the timeless charm and wonder of Dorothy's journey to the Emerald City. The audience was transported to a world of Ruby Slippers, flying monkeys, and unforgettable melodies, evoking a sense of childhood nostalgia. The grand finale came with the unmistakable Raiders March from Raiders of the Lost Ark, composed by the legendary John Williams. The bold brass and driving rhythms filled the room, making it the perfect conclusion, a triumphant celebration of cinema’s most thrilling moments. 

This was my second time in a short amount of time to witness the great Maestro Israel Getzov perform his magic. He is in high demand, not only in Arkansas, but nationally and internationally. His skillful conducting brings a unique energy to every performance, guiding the orchestra with precision while also infusing each piece with emotion and flair. Whether leading the Little Rock Winds through the cinematic landscapes of Hollywood or bringing a fresh interpretation to classic scores, Getzov’s mastery is undeniable. His ability to connect with both the musicians and the audience elevates every concert, leaving a lasting impression on all who have the pleasure of experiencing his work. 

Brent Walker was a delight with his introductory segments. Seriously, that was a great idea. A narrator really helps when the audience may not be as familiar with some of the works as others. His engaging and informative commentary provided context, enhancing the experience by connecting the music to its cinematic origins. His presence truly added a special touch to the concert, making the journey through the program feel like a shared adventure with the audience.  

What’s Next for the Little Rock Winds 

Thursday, March 20, 2025 – 7:30 pm 

UA-PTC CHARTS Theater 

LR Winds Chamber Players 

Michael Chance, Diversions Music Director 

 As part of the Diversions chamber music series, the Little Rock Winds presents this program showcasing the unique sound and versatility of small wind ensembles.  It is a great Diversion for the transition to the spring season. Admission is free.   

Program 

• Christer Danielsson:   Concertant Suite for Solo Tuba and Four Brass Instruments 

• David Maslanka:  Song Book for Alto Saxophone and Marimba 

• Satoshi Yagisawa:  Amazones (Tuba Quartet) 

• Etienne Crausaz:  Old Legend (Tuba Quartet) 

• Henry Mancini, arr. Lius:  Baby Elephant Walk (Trombone Quartet) 

• Darius Milhaud, tr. Stewart:  Scaramouche (Alto Saxophone and Wind Quintet) 

For more information, visit their website at https://www.lrwinds.org. 

MUSICIANS 

Piccolo -- Susan Antonetti, Principal 

Flute -- Sharon Burrall, Principal; Jo Ann Kohler 

Oboe -- Sharon Clardy, Principal 

English Horn -- Shannon Clardy, Principal 

E-Flat Clarinet -- Beth Hendrix

B-Flat Clarinet -- Janice Bengtson, Principal; Beth Hendrix, Tim Blann, Steven Davis, Mary Alice Chambers, Kristen Jackson, Tom Shuffield

Bass Clarinet -- Bob Bidewell, Principal; Carol Woolly 

Contra Bass Clarinet -- Lori Webb Mills 

Bassoon -- Maralyn Sommer, Principal; Jason Brannon 

Alto Saxophone -- Gabriel Womack, Principal; Stephen Colby 

Tenor Saxophone -- Brian Trubitt 

Baritone Saxophone -- Bryan Garay Juarez 

French Horn -- Ashley Veatch, Principal; Bryan Thomas, Alonso Corral, Elisha Johnson, Susan Detrick 

Trumpet -- Brenda Barber, Principal; Nathan McCoy, Amy Anderson Jackson, Bob Roberts, Mark Tenney, Carrie Spradlin 

Trombone -- Scott Maddox, Principal; Mike Chance

Bass Trombone -- Janet Sutton 

Euphonium -- Elizabeth Taylor-McMullen, Principal; Donnie Barkhimer 

Tuba -- Greg Lindstrom, Principal; Dalton Walls 

Percussion -- Lee Parham, Principal; Greg Warner, Gunnar Bartlett, Kevin Bierne, Zach Bishop, Jon Tomasello

Timpani -- Lee Parham

Keyboard -- Tim Blann

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