Encanto Robert W Smith Program Notes -
Read these program notes aloud before the performance to set the mood:
"The word 'Encanto' is Spanish for 'spell' or 'enchantment.' In Robert W. Smith’s tone poem, we do not visit a specific place, but rather a state of mind. The music opens as if we are entering a forgotten garden at sunrise—a single flute line, alone and fragile.
Suddenly, the garden awakens. The winds dance in unexpected rhythms; the brass calls out in joyful bursts. Just as quickly, the music pulls us into a deep, lyrical song—a moment of reflection where the brass and woodwinds sing in harmony like a choir in a cathedral.
The adventure returns, faster and brighter than before. The percussion drives us toward a brilliant peak. But as all magic must, the spell slowly lifts. The sun sets. We are left with a single note, hanging in the air, reminding us that enchantment is real, even if we cannot see it." encanto robert w smith program notes
To successfully perform Robert W. Smith’s Encanto, ensure the following:
Robert W. Smith (b. 1958) is one of the most performed composers of concert band music in the 21st century. Known for his cinematic scoring and ability to make young bands sound like professional orchestras, Smith rose to fame with works like The Great Locomotive Chase, Into the Storm, and The Divine Comedy.
Encanto was written during Smith’s prolific period with Belwin-Mills (Alfred Publishing). Unlike his programmatic works that tell a specific historical story (like a train chase or a Viking saga), Encanto is an adjectival tone poem. It does not tell a story; rather, it paints the feeling of wonder. Read these program notes aloud before the performance
Key Context: Smith wrote this piece to challenge intermediate bands (Grade 3-4) not just with speed or volume, but with color. He wanted to force young players to listen to harmonies, balance textures, and produce a mature, resonant sound.
The Spanish word Encanto translates to “spell,” “charm,” or “magic.” But in the context of this piece, it refers to a place of profound beauty—a “magical” or “bewitching” space where reality feels suspended. Smith wasn’t writing about a specific plot; he was writing about a feeling of wonder.
1. The Spanish Flavor (0:00 - 0:45)
The piece opens with a punch. Listen for the bright stabs from the brass and percussion, immediately establishing a Latin flair. You will hear castanets (or a similar wood block effect) and a syncopated bass line that feels like a flamenco dance. "The word 'Encanto' is Spanish for 'spell' or 'enchantment
2. The Lyrical Theme (1:00 - 2:15)
After the explosive introduction, the woodwinds take over. Smith introduces the main melodic theme—a long, singing line that feels nostalgic yet hopeful. This is the "magic" of the encanto. It swells through the saxophones and trumpets before retreating back to the flutes.
3. The Percussion Dialogue (2:15 - 3:00)
Smith loved percussion. In the middle section, the winds drop out, and the battery (drums, cymbals, mallets) takes the stage. Listen for the interplay between the high-pitched bells (glockenspiel) and the low drums. It sounds like distant thunder or a secret ritual in the village square.
4. The Race to the Finish (3:00 - End)
The piece shifts into a coda—an intense, fast finale. The original theme returns, but now it’s chopped up, passed around the band like a hot potato, and pushed to a breathless speed. The final four measures are a wall of sound, ending with a dramatic, full-band cut-off that should leave you breathless.
The 6/8 time signature is tricky. Smith writes 2-against-3 figures constantly. For example:
Read these program notes aloud before the performance to set the mood:
"The word 'Encanto' is Spanish for 'spell' or 'enchantment.' In Robert W. Smith’s tone poem, we do not visit a specific place, but rather a state of mind. The music opens as if we are entering a forgotten garden at sunrise—a single flute line, alone and fragile.
Suddenly, the garden awakens. The winds dance in unexpected rhythms; the brass calls out in joyful bursts. Just as quickly, the music pulls us into a deep, lyrical song—a moment of reflection where the brass and woodwinds sing in harmony like a choir in a cathedral.
The adventure returns, faster and brighter than before. The percussion drives us toward a brilliant peak. But as all magic must, the spell slowly lifts. The sun sets. We are left with a single note, hanging in the air, reminding us that enchantment is real, even if we cannot see it."
To successfully perform Robert W. Smith’s Encanto, ensure the following:
Robert W. Smith (b. 1958) is one of the most performed composers of concert band music in the 21st century. Known for his cinematic scoring and ability to make young bands sound like professional orchestras, Smith rose to fame with works like The Great Locomotive Chase, Into the Storm, and The Divine Comedy.
Encanto was written during Smith’s prolific period with Belwin-Mills (Alfred Publishing). Unlike his programmatic works that tell a specific historical story (like a train chase or a Viking saga), Encanto is an adjectival tone poem. It does not tell a story; rather, it paints the feeling of wonder.
Key Context: Smith wrote this piece to challenge intermediate bands (Grade 3-4) not just with speed or volume, but with color. He wanted to force young players to listen to harmonies, balance textures, and produce a mature, resonant sound.
The Spanish word Encanto translates to “spell,” “charm,” or “magic.” But in the context of this piece, it refers to a place of profound beauty—a “magical” or “bewitching” space where reality feels suspended. Smith wasn’t writing about a specific plot; he was writing about a feeling of wonder.
1. The Spanish Flavor (0:00 - 0:45)
The piece opens with a punch. Listen for the bright stabs from the brass and percussion, immediately establishing a Latin flair. You will hear castanets (or a similar wood block effect) and a syncopated bass line that feels like a flamenco dance.
2. The Lyrical Theme (1:00 - 2:15)
After the explosive introduction, the woodwinds take over. Smith introduces the main melodic theme—a long, singing line that feels nostalgic yet hopeful. This is the "magic" of the encanto. It swells through the saxophones and trumpets before retreating back to the flutes.
3. The Percussion Dialogue (2:15 - 3:00)
Smith loved percussion. In the middle section, the winds drop out, and the battery (drums, cymbals, mallets) takes the stage. Listen for the interplay between the high-pitched bells (glockenspiel) and the low drums. It sounds like distant thunder or a secret ritual in the village square.
4. The Race to the Finish (3:00 - End)
The piece shifts into a coda—an intense, fast finale. The original theme returns, but now it’s chopped up, passed around the band like a hot potato, and pushed to a breathless speed. The final four measures are a wall of sound, ending with a dramatic, full-band cut-off that should leave you breathless.
The 6/8 time signature is tricky. Smith writes 2-against-3 figures constantly. For example: