HOW DOES MY PROGRAMMING MEASURE UP? (part one)

Yesterday I published my first annual list for Creative Orchestral Programming in Eastern Iowa, awards that I will henceforth entitle the "Hueys."  These recognize the efforts of four ensembles--the orchestras of Dubuque, Cedar Rapids (Orchestra Iowa), Waterloo-Cedar Falls, and the Quad-Cities (Davenport et al).  In terms of overall creativity, i.e. thinking "out of the box," as well as presenting music of the United States and music of our time.  As noted, there were a few limited concerts of interest, but no orchestra shown above the rest and some were downright pedestrian in their "classical" (or masterworks, etc.) concert offerings.

It only seems appropriate that I put my own programming to the test.  Of course, when examining concert presentations by contemporary concert bands or wind ensembles, a different set of criteria might be in place.  (I know, it sounds as if I am adjusting the parameters so that my own work will be seen in a positive light.)  Still, it is generally agreed that the modern wind band lacks the depth of the repertoire when compared to the symphony orchestra.  Contributions by composers such as Mozart are limited to the wind groups of his time:  usually octets presenting "popular tunes" from his operas, although Mozart is recognized for his "serious" works for this ensemble as well.  These include the two serenades in E-flat (K. 375) and C-minor (K. 388) as well as the longest non-operatic work in his catalog, the "Gran Partita" (K. 361/370a).   Beethoven wrote a few works for wind groups as well, but the modern conception of the wind band can be attributed to the monumental works composed during the French Revolution, culminating with a tribute to those trying times, the Symphonie Funebre et Triomphale (1840) of Hector Berlioz.  Following this was the accepted golden age of the wind band, from the 1880s through the 20th century and leading to the present (more on this history in future posts).

Whereas the literature of the concert band/wind ensemble is less broad than its orchestral counterpart, it is probably as deep due to the outgrowth of activity in the educational realm and the many contemporary composers (starting particularly in the 1950s) who have deemed that the wind band is a legitimate medium for important composition.  This is a worldwide phenomenon, with compositions spanning the globe.  Always important for its many different schools of march compositions, serious works are constantly coming from Europe, particularly the low countries.  The far east, and particularly Japan, is increasing in productivity, where composers are creating exciting and challenging works for the outstanding youth wind groups of that country.  And, of course, the amount of wind music produced in the United States--in difficulty levels from very easy to vastly challenging--is definitely unsurpassed.

Thus, the wind conductor must be cognizant of his/her repertoire; there is no room for "early music specialists" or contemporary ensembles:  the wind conductor has to know it all.  Many in the field are constantly searching for the newest works, sort of a backlash to the "old days" in which much of the band's programming relied on transcriptions of orchestral works.  It is no more viable to play only original works for band as it is to totally ignore transcriptions, marches, etc.  The repertoire is both deep and eclectic, and our programming must recognize this.

Johan de Meij, b. 1953

The first concert of the Quad-City Wind Ensemble will be presented on Sunday, October 23.  Subtitled "Symphonic Moments," the program definitely follows this theme, wherein the first half is actually a model of a symphony unto itself and the second half includes an entire symphony for a small wind group.  The first half of the program lays out like this:

• (First movement) Johan de Meij (Netherlands) "Gandalf (The Wizard)," the first movement from Symphony No. 1 The Lord of the Rings.  Not to be confused with Howard Shore's film score, this work, which has become a contemporary classic, was composed from 1984-1987.
• (Second--slow--movement) Alfred Reed:  Symphonic Prelude.  This work, published in 1963, is based on the American folk melody, "Black is the Color of My True Love's Hair," and is in many ways reminiscent of the chorale preludes of J. S. Bach.
• (Third movement) Jean-Baptiste Arban (1825-1889):  Theme and Variations from Bellini's Norma, a trumpet showpiece written in the 19th century by the leading performer/composer/pedagogue of the cornet.
• (Fourth movement) Gioachino Rossini (1792-1868): Fanfara Alla Corona d'Italia (Fanfare for the Italian Crown) actually has two separate dedications, respectively dates 1863 and 1868, the latter as a gift of thanks for Rossini's receipt of the Cavalier Great Cross of the Order of the Italian Crown.  William A. Schaefer, who rediscovered the long-lost work in the archives of the British museum, states that is was written for and dedicated to Emperor Maximilian of Mexico (ruled 1864-1867) and has rescored it for contemporary concert band.
• (Fifth movement) Paul Hindemith: "March" from the Symphonic Metamorphosis on Themes from Weber's Euryanthe, transcribed with the composer's permission by Keith Wilson.

Paul Hindemith, 1895-1963

Thus this "symphony" in five movements contains all of the elements of a work of that name and embodies the traditions of the wind band, historical and contemporary.  It includes primarily works written for wind band but does not ignore the transcription: in fact, Hindemith's work may be better known in this version than in its orchestral original!

The second half of the program leads off with A Symphonic Movement, published in 1966 and composed by Czech emigre Vaclav Nelhybel.  Hundreds of this composer's works were once mainstays of the band repertoire, but his compositions have (for reasons unknown to many) have fallen out of favor, or simply are not known to younger wind band conductors.  The time is probably ripe for a renaissance of Nelhybel's music as well as that of many others of his era, for herein are the riches of the wind band tradition.

Charles Gounod, 1818-1893

An actual symphony comprises the entire middle of the second half of our program, the Petite Symphonie by Charles Gounod.  This work was actually written for an octet + flute, the Société de musique de chambre pour instruments à vent (Society of Chamber Music for Wind Instruments), a group established by French flutist Paul Taffanel.  He set out to revive the wind compositions of Mozart and Beethoven as well as encourage new compositions, as heard in this 1888 work.  It is a symphony in its truest form, with an opening movement reminiscent of Haydn (slow introduction leading to an expanded allegro), a stunning second movement featuring the flute, a lively scherzo featuring "hunting" horns, and a finale.

Berlioz (1803-1869) and musicians

The concert closes appropriately (as we began with a "first" movement) with a finale, this from the great Berlioz "Triumphal" Symphony.  Originally composed for a grand celebration of the 1830 revolution (such revolutions were commonplace in 19th century France as were commemorative festivities of their occurrence).   The work was written for a massive ensemble of over 200 players which marched through the streets of Paris during the opening "march funebre," presented the middle movement, an aria for solo trombone and ensemble, and culminated with the grand finale, an "Apotheosis," a triumphal march to which Berlioz added a chorus in 1842.  The symphony remained one of the composer's most popular works during his lifetime and has maintained a place in the modern repertoire thanks to recordings by the U.S. Marine Band and contemporary editions by Edwin Franko Goldman (which we will play) and noted conductor/musicologist David Whitwell.

One of my former teachers, when discussing what exactly makes a musical composition worthy, mentioned the all-important elements of unity and diversity:  as exhibited in a classic-period rondo.  I believe that this program offers the unifying elements of its "theme" as well as the diverse nature of the band repertoire.  However, does this concert satisfy the criteria for the modern wind band and still serve as an informative as well as "audience friendly" concert.  Of course I want to think so, as it provides works both new and old, traditional, historical and contemporary, but certainly not out of the mainstream of tonality.  I am still of the school that wants to leave the audience humming a tune or two after every performance.  I can only hope that this performance satisfies that goal as well.