Sometimes, a valentine need not be written in ink. On Feb. 12, the Kenyon College Symphonic Wind Ensemble held its annual Valentine’s Day Concert in Rosse Hall, offering a program that paired vibrant showpieces with reflective works. Led by Professor of Music Dane Heuchemer, the ensemble delivered an intimate performance. Before each piece, Heuchemer shared some background information about the selections. The evening thus unfolded as a meticulously crafted musical valentine conveyed through chorale.

The concert opened with “Fanfare Hayabusa” by Satoshi Yagisawa, a dynamic composition that Heuchemer explained was inspired by the peregrine falcon, its swift speed articulated in the song’s sharper accents. The piece began with a bold brass statement with immediate intensity, while crisp articulations and bright percussion from drums propelled its rhythmic drive. Fast-paced exchanges highlighted the technical demands of the composition, which the performers met assuredly. As the opener, it established a spirited atmosphere.

The ensemble then turned to the Baroque era with Bach’s Fantasia in G Major, BWV 572, transcribed by R.F. Goldman and R. Leist. Heuchemer described its origins as an organ piece, inviting the audience to envision its cathedral resonance reimagined for winds and brass. The musicians fashioned the opening with controlled precision. During the intricate middle section, distinct melodic lines wove together seamlessly, demonstrating attentive playing. The glowing conclusion filled Rosse Hall with intricate harmonies.

A highlight from the evening was “An Original Suite” by Gordon Jacob, a foundational piece in the wind band repertoire. Heuchemer outlined Jacob’s background as a British composer and former World War I prisoner who later studied and taught at the Royal College of Music. Written just before the economic crash of 1929, the suite captures the stylistic experimentation of the late 1920s. “This is usually what we practice on Tuesdays, and normally I don’t have percussion,” Heuchemer noted regarding this piece’s rehearsal process. “So they have one time through some of this.” Nonetheless, the opening march delivered a cohesive and elegant energy. The intermezzo shifted to a more intimate character, as each musician crafted their melodies with much poise over a soft accompaniment. The suite’s finale restored vitality, its animated dialogue driving to a vibrant close.

The program then moved to “St. Florian Choral” by Thomas Doss, inspired by the Austro-German Romantic tradition and the influence of Anton Bruckner— a major symphonist in late 19th-century Vienna — as well as the Austrian monastery of St. Florian. “The piece is composed as an homage, so you’ll hear both, kind of the romantic passages, as well as some of the more chromatic intensity [found in his symphonic writing],” Heuchemer mentioned. The musicians conveyed a sense of sacred grandeur through reverberant brass tones and smoothly integrated woodwind textures. Shifts in volume kept the music compelling even in the quietest passages.

To introduce a different stylistic flavor, the ensemble presented “Guadalcanal March” by Richard Rodgers, arranged by Erik Leidzén. Famous for his musical theater contributions, Rodgers’ melodic flair was evident in the bold brass writing and buoyant rhythms. The performers embraced the march’s theatrical charm, as the trumpets shone bright in the more upbeat passages, their lively tempo dictating the energy.

At the end of the program, the group incorporated a sight-reading selection picked at random by an audience member from the music folder of Heuchemer, closing with “Amazing Grace” by Frank Ticheli. Tackling new music on the spot, they were composed with minimal hiccups. A soft introduction of the hymn gradually expanded into a vibrant tune before returning to stillness. Each swell was handled with care, lending intimacy to the melody.

The Symphonic Wind Ensemble displayed impressive versatility with a wide stylistic range. Heuchemer’s insights added to the experience, and the musicians’ expressive playing animated each work. More than a showcase of skill, the Valentine’s Concert celebrated music’s capacity to cultivate connection, quite fitting for the occasion.