Bella Perez
Bella fostered an early love for music as she grew up. From singing alongside her brother in elementary to teaching herself how to play the guitar, she surrounded herself with music. When she began sixth grade, however, she took up her first opportunity to play the flute in her school’s beginning band. Since then, through the help of her teachers, friends, and family, Bella enthusiastically undertook a variety of musical opportunities throughout the following years.
With much encouragement from her close friends, she joined her first official concert band, the Guam Territorial Band, in 2019. Since her first encounter with them, she adored the feeling of making music–especially with other musicians. Given the delightful opportunity upon joining the Tumon Bay Youth Orchestra in 2022, she eagerly performed in the pit orchestra of Guam’s production of Beauty and the Beast the following year. In March 2024, she won Gold and Command Performance for her solo during the Tumon Bay Music Festival. As Bella excitedly continues to nurture her passion for music, she understands a newfound, special cherishment for her own instrument.
Hypnosis - Ian Clarke (1964-)
Although this piece exhibits powerful, expressive climaxes and chilling long held tones of modern contemporary, Clarke, alongside David Hicks and Simon Painter, performed the first live sounds of “Hypnosis” as a popular track within a conventional set of, surprisingly, 80s rock. It wasn’t until 1994, years after the band had disbanded, that he revisited the track and developed it into a beautiful, emotionally riveting piece for flute and piano.
As the name suggests, ‘Hypnosis’ almost immediately captivates the listener through the introduction of a haunting piano bassline, which sets a sullen and almost devastating atmosphere. However, through a series of slow-moving sixteenths and complex rhythms, the subtle, gentle entrance of the flute mesmerizes the audience. This piece perfectly reflects its name–from haunting lows to chilling, emotional highs, drastic dynamic changes, and the feeling of building desperation through long held high tones, Clarke traps his audience in a beautifully evocative hypnosis.
Bella fostered an early love for music as she grew up. From singing alongside her brother in elementary to teaching herself how to play the guitar, she surrounded herself with music. When she began sixth grade, however, she took up her first opportunity to play the flute in her school’s beginning band. Since then, through the help of her teachers, friends, and family, Bella enthusiastically undertook a variety of musical opportunities throughout the following years.
With much encouragement from her close friends, she joined her first official concert band, the Guam Territorial Band, in 2019. Since her first encounter with them, she adored the feeling of making music–especially with other musicians. Given the delightful opportunity upon joining the Tumon Bay Youth Orchestra in 2022, she eagerly performed in the pit orchestra of Guam’s production of Beauty and the Beast the following year. In March 2024, she won Gold and Command Performance for her solo during the Tumon Bay Music Festival. As Bella excitedly continues to nurture her passion for music, she understands a newfound, special cherishment for her own instrument.
Hypnosis - Ian Clarke (1964-)
Although this piece exhibits powerful, expressive climaxes and chilling long held tones of modern contemporary, Clarke, alongside David Hicks and Simon Painter, performed the first live sounds of “Hypnosis” as a popular track within a conventional set of, surprisingly, 80s rock. It wasn’t until 1994, years after the band had disbanded, that he revisited the track and developed it into a beautiful, emotionally riveting piece for flute and piano.
As the name suggests, ‘Hypnosis’ almost immediately captivates the listener through the introduction of a haunting piano bassline, which sets a sullen and almost devastating atmosphere. However, through a series of slow-moving sixteenths and complex rhythms, the subtle, gentle entrance of the flute mesmerizes the audience. This piece perfectly reflects its name–from haunting lows to chilling, emotional highs, drastic dynamic changes, and the feeling of building desperation through long held high tones, Clarke traps his audience in a beautifully evocative hypnosis.