CORE REPERTOIRE FOR BAND. First Suite in E-flat,Op. Alfred Reed* 1921- American Armenian Dances, Set I A Festival Prelude. Orchestrations and Arrangements of Mussorgsky's 'Pictures at an Exhibition' This is an ongoing project to make the well-known chart of.

• Alfred Reed First Suite For Band

Contents. Original works This is an inclusive list of the accepted standard works written specifically for concert band or wind ensemble. Cornerstone works The following works are some of the most universally respected and established cornerstones of the band repertoire. All have 'stood the test of time' through decades of regular performance, and many, either through an innovative use of the medium or by the fame of their composer, helped establish the wind band as a legitimate, serious performing ensemble. King Lear Variations (1966) Concerto Grosso (1982) Designs, Images and Textures (1965) Lullaby for Kirsten (1985) Sounds, Shapes and Symbols (1977) Sun Paints Rainbows over the Vast Waves (1982) Latina (1964) Let the Light Shine (1978) Morning Music (1986) Concertino for Alto Saxophone and Band (1954) The Leaves Are Falling (1963) The Passing Bell (1974) Recuerdo (1966) The Solitary Dancer (1966) Symphony for Drums and Wind Orchestra (1963) Symphony No. 2, 'Lost Songs' (1983) Wings (1984) Block M (1955) Children's Overture (1964) Prelude and Fugue in F minor (1960) Newfoundland Rhapsody (1956) Quebec Folk Fantasy (1953) Snake Fence Country (1954) Introduzione, Corale e Marcia, Op.

57 (1935) (1985) Gazebo Dances (1973) (2004) Celebration Overture (1955) Do Not Go Gentle into that Good Night (1978) Fantasies on a Theme by Haydn (1968) Satiric Dances: For a Comedy by Aristrophanes (1975) Scenes from the Louvre (1966) Variants on a Medieval Tune (1963) Crystals (1985) Air for Band (1956) Toccata for Band (1957) The Klaxon (1929) Military Escort (1928) (1916) Report (1971) The Florentiner March (1907) Symphony No. 3 (1959) Heroes Lost and Fallen (1990) On the Mall (1924) Derivations (1956) Jericho (1939) Children's March (Over the Hills and Far Away) (1919) (1928) (1928) The 'Gumsuckers' March (1928) Handel in the Strand (1911) (1921) Shepherd's Hey (1918) Arabesque (2008) Kentucky 1800 (1954) Masque (1987) Merry Music (1983) In the Spring, at the Time When Kings Go Off to War (1986) Liturgical Dances (1981) To Tame the Perilous Skies (1992) On a Hymnsong of Philip Bliss (1988) Symphony No. 4 (1959) (1982) Music for a Festival (1951) Diamond Variations (1967) Esprit De Corps (1984) Third Suite (1966) Catena (1988) Symphony No. 3: Slavyanskaya (1950/rev.

1958) ' Suite (1956) Music for Woodwind and Brass (1965) For precious friends hid in death's dateless night (1988) Liturgical Music (1963) Of Sailors and Whales (1990) (1984–88) (1964) Oiseaux exotiques (1956) Antiphonale (1972) Trittico (1965) Medieval Suite (1983) Passacaglia ( Homage on B-A-C-H) (1992) Festival Fanfare March (1971) Fiesta del Pacifico (1966) Music of Appreciation (1944) Masquerade, Op. 102 (1965) Pageant, Op. 59 (1954) Parable IX, Op.

121 (1972) A Festival Prelude (1962) (1980) Commemoration Symphony (1815) Huntingtower, P. 173 (1932) Dionysiaques (1913) Diptych for Brass Quintet and Concert Band (1964) Meditation (1963) On Winged Flight (1989) Symphony for Brass and Percussion, Op. 16 (1950) Symphony No. 3 In Praise of Winds (1981) From a Dark Millennium (1981) (1990) (1889) (1890) (1908) The Pathfinder to Panama (1915) Sabre and Spurs (1918) Emperata Overture (1964) Festival Variations (1982) Flight (1984) Incidental Suite (1966) Jubilee Overture (1983) The Continental Harp and Band Report (1975) Festmusik der Stadt Wien (1943) A Solemn Music (1949) Sketches on a Tudor Psalm (1971) Caccia and Chorale (1973) Dedicatory Overture (1964) Symphonic Dance No. 3 Fiesta Festival (1962) Sinfonians (1960) Kleine Dreigroschenmusik (1929) Piece of Mind (1987) Mannin Veen (1938) Gallimaufry (1983) Illyrian Dances (1986) Sea Songs (1923) (1971) Recent works The following works are rapidly gaining acceptance as standard repertoire.

Most have been composed within the last 30 years. Lawrence Odom) (trans. Lucien Cailliet) (trans. ) Prelude, Siciliano, and Rondo (trans. John Paynter) (trans. John Paynter) Fantasia in G Major (trans.

/ Leist) Fugue a la Gigue (trans. John Paynter) (trans. Nicholas Falcone or Donald Hunsberger) (trans. Guy Duker) (trans. Gunther Schuller) Overture to ' (trans. Walter Beeler or Clare Grundman) (trans. Clare Grundman) Symphonic Dances from ' (trans.

Paul Lavender) (trans. Mark Hindsley) (trans. Mark Hindsley) Down a Country Lane (trans.

Merlin Patterson) (trans. Mark Hindsley) (trans. Walter Beeler) An Outdoor Overture (trans. Aaron Copland) Preamble for a Solemn Occasion (trans. Aaron Copland) (trans. Merlin Patterson) (trans.

Alfred Reed First Suite For Band

Leigh Steiger): IV. Finale (trans. Mark Hindsley, or Weston Nicholi) (trans. Milburn) (trans. John Krance) (trans., or Tohru Takahashi) Estancia Suite, Op. Donald Patterson) The Warriors (trans.

Frank Pappajohn), 'A Journey in Tones' (trans. Don Chown) (trans. ) A Moorside Suite (trans.

Or Denis Wright) Capriccio (trans. John Boyd) (trans. George Smith probably with the collaboration of the composer) Old Home Days (trans. Jonathan Elkus) Country Band March (trans. James Sinclair) Fugue in C Minor, from: I: Chorale (trans.

James Sinclair) Variations on ' (trans. / William Rhoads) Woodland Sketches, Op. Frank Winterbottom) (trans.

Julius Seredy or Frank Winterbottom) (trans. William Schaefer or Mark Hindsley) (trans. Mark Hindsley, or Tohru Takahashi) Procession of the Nobles from ' (trans. Mark Hindsley) (trans. Guy Duker or Yoshihiro Kimura) Overture (trans.

) Overture (trans. ) (1956) (trans. ) October (trans. Preston Mitchell) Folk Dances (trans. ) Galop from ' (trans.

Donald Hunsberger) (trans. Lucien Cailliet) Suite (trans. Guy Duker, Thomas Knox, or Lawrence Odom) (trans. Mark Rogers) / (trans.

Duthoit) (trans. Conway Brown, Yoshihiro Kimura, Mayhew Lake or Mark Williams) (trans. Frank Winterbottom) (trans. Ray Cramer) Elsa's Procession to the Cathedral from ' (trans. Lucien Cailliet) Prelude to Act III of 'Lohengrin' (trans. Mark Hindsley) ' Overture (trans. Duthoit) Overture (trans.

Mark Hindsley) Prelude to Act 1, (trans. ) Recordings of concert band literature The, begun in 1989 by while he was director of bands at the, has helped provide recordings of many of the most important and more recent pieces in the wind band literature. The recording project continues today, having followed Corporon to the.

The project continues to this day under the label GIA. Corporon's recordings exist in the form of the Teaching Music Through Performance In Band Series, Windworks Series and Composer's Collections. Still more recordings have been released by The Keystone Winds, conducted by Jack Stamp. The Keystone Winds consists of faculty, alumni and students from Indiana University of Pennsylvania.

The Wind Symphony, under Dr. Richard Fischer, has just released its twelfth recording of sacred wind music. Since the series began in 1991, the ensemble has made many premiere recordings of now widely known and played wind literature. See also.

– a list of all concert band works commissioned by, National Honorary Band Fraternity and Sorority, or chapters of either organization. External resources.

Edwin Franko Goldman Band, 1939 The need for a new library of original band music of artistic and imaginative merit became and still is the objective of all musicians who believe in the unlimited scoring potentials of the wind-percussion ensemble. The time has come to discard the old idea that a concert band is an orchestra without strings relegated to the performance of utilitarian, inferior music.

Joseph Wagner The 20th century has seen a steady growth in original literature for the wind band, especially since 1940. Significant efforts have been made to improve the band's repertoire, both in substance and originality, while creating more functional and consistent instrumentation.

However, this trend was been somewhat slow in coming. For decades the wind band relied on the orchestra for much of its repertoire because of the obvious similarities between the two.

Using orchestral transcriptions created a 'symphonic' sound for the band, and also created the tendency for composers writing original works for band to incorporate something of an orchestral style in their compositional technique. As the previous chapters note, the wind band is not just a 20th century phenomenon.

From the music of the town waits to the consorts of the Renaissance and the music of Gabrieli, to the tower music of Germany and the oboe band of Louis the XIV of the Baroque, to the Harmoniemusik of the Classical period to the French Revolution and the dawn of Romanticism, the wind band has been transformed to fit a variety of situations. But it is in the 20th century that the modern wind band finally takes its place as an art form not created to serve a strictly utilitarian function. The wind band was well respected as a concert vehicle during the age of the professional bands. The legacy of Gilmore, Sousa, and so many others was handed down to a few good ensembles - notably the Goldman Band and the military bands which have played an important role in preserving the heritage of the wind band. Many outstanding ensembles also began to form in the colleges and universities across the United States, due in no small part to the immense growth of primary school bands. But except for marches, the literature performed still almost exclusively consisted of transcriptions, primarily of orchestral works.

Marine Band, William Santelmann conducting, performing on the White House lawn on Easter Sunday, 1940 The wind band was well respected as a concert vehicle during the age of the professional bands. The legacy of Gilmore, Sousa, and so many others was handed down to a few good ensembles-notably the Goldman Band and the military bands which played such an important role in preserving the heritage of the wind band. Many outstanding ensembles also began to form in the colleges and universities across the United States, due in no small part to the immense growth of primary school bands. But except for marches, the literature performed still almost exclusively consisted of transcriptions, primarily of orchestral works. Percy Grainger In 1929, the American Bandmasters Association was formed, with Sousa elected first honorary life president. From the ABA, efforts began to spread throughout the country (largely beginning at the University of Illinois) to standardize instrumentation, rehearsal techniques, and performance practices, and to encourage new repertoire.

This atmosphere soon became the training ground for future directors. Also through the efforts of the ABA and influential conductors such as E. Goldman, the push for original band literature began. A few established composers such as Henry Cowell ( Shoonthree, 1940), Gustav Holst ( Hammersmith, 1930), Percy Grainger ( Lincolnshire Posey, 1937), and Ottorino Resphigi ( Huntingtower Ballad, 1932) responded to the need, but original concert works by American composers were still uncommon. REPERTOIRE OF THE EARLY 1940s The years during World War II saw a new wave of interest in composition for winds.

One can only conjecture as to the reasons, outside of the obvious emphasis military bands enjoyed during this period. Some of the better-known composers and compositions include: 1941 Cimarron Roy Harris Newsreel in Five Shots William Schuman Jericho Rhapsody Morton Gould 1942 Circus Polka Igor Stravinsky Legend Paul Creston 1943 March, op. 99 Sergey Prokofiev Commando March Samuel Barber Theme and Variations Arnold Schoenberg Sonatina in F Richard Strauss 1944 Fanfare for the Common Man Aaron Copland Russian Christmas Music Alfred Reed 1945 Suite Francaise Darius Milhaud Despite the increasing interest in wind composition, the potential for new repertoire was not yet completely realized. David Whitwell notices in reviewing Prescott and Chidester's Getting Better Results with School Bands, a book published in 1938 that passed through ten successive printings, that the seventeen programs suggested for mature student bands were 85% transcriptions. Whitwell observed the same trend in R. Goldman's The Band's Music, also published in 1938.

Although the first portion of the book contains an extensive list of original band music, the list of suggested repertoire found later in the book contains eight hundred works, more than 88% of which are transcriptions. Consequently, even though composers were showing greater interest in composing for winds in general, and bands specifically, over one hundred fifty major orchestral works were transcribed for band.

Alfred Reed conducting the University of Miami Wind Ensemble REPERTOIRE OF THE 1940s AND 1950s: AMERICAN COMPOSERS MAKE THEIR MARK Although original compositions were not as prevalent as one might have hoped, the band medium was gradually developing original repertoire, and American composers were showing particular interest. The next ten to twelve years would reflect ever-increasing interest of American composers in band compositions: 1946 Ballad for Band Morton Gould 1949 La Fiesta Mexicana H.

Vincent Persichetti Even with the advent of new literature, the overwhelming use of transcriptions was still common. In 1956 The Instrumentalist began a series entitled 'The Best in Band Music'. In 1958 it compiled the results of the thirty-one contributors to the column. There were, in all, 118 titles that were suggested by at least three conductors.

More than 66% of the titles were transcriptions, although those selections receiving the most notice were almost without exception original band works. REPERTOIRE OF THE 1960s Among the number of works composed in the 1960s are: 1960 Fiesta del Pacifico Roger Nixon Incantation and Dance John Barnes Chance 1962 Sinfonietta Ingolf Dahl 1963 Variants on a Medieval Tune Norman Dello Joio 1964 The Leaves are Falling Warren Benson Emblems Aaron Copland Children's Overture Eugene Bozza Trittico Vaclav Nelhybel 1965 Designs, Images, and Textures Leslie Bassett.Symphonic Dance No. 3 Clifton Williams 1966 Variations on a Korean Folk Song John Barnes Chance.Scenes from the Louvre Norman Dello Joio 1967 Variations on a Korean Folk Song John Barnes Chance Third Suite Robert Jager Elegy for a Young American Ronald Lo Presti Masquerade Vincent Persichetti 1968 Fantasies on a Theme by Haydn Norman Dello Joio Music for Prague Karel Husa Rocky Point Holiday Ron Nelson Pittsburgh Ouverture Krystof Penderecki 1969 Variations on a Theme by Robert Schumann Robert Jager.transcribed by the composer.

Ron Nelson At the present, an increasingly large amount of literature is being composed for the band medium. Admittedly, much of the new literature will not stand the test of time. But this tends to be consistent with all genres of music from any given period of music history. In trying to approach the status of the orchestral medium the band has often been frustrated by literature which is shorter in length and lighter in content.

Many of the established Americans who wrote original works for band since World War II have written substantially more literature for orchestra. While giving the band repertoire works of higher quality, some of these composers still have not always approached band composition with the same energy and musical commitment with which they approached other mediums. For instance, Barber's Commando March - albeit a very fine march - will never sustain the notoriety of his Violin Concerto. The good news is that there were many others who accepted the challenge and provided works of length and breadth, such as the symphonies by Gould, Persichetti, and Giannini, La Fiesta Mexicana by H. Owen Reed, and Lincolnshire Posy by Grainger.

As the amount of available repertoire grew, new works from the 1970s included: 1970 Apotheosis of This Earth Karel Husa 1971 The Purple Roofed Ethical Suicide Parlor Donald Erb Summer in Valley City Ross Lee Finney 1972 Sinfonia III Crucifixus a 25 Timothy Broege Elegy John Barnes Chance Chorale and Shaker Dance John Zdechlik 1973 Gazebo Dances John Corigliano 1974 The Passing Bell Warren Benson Armenian Dances Alfred Reed 1976 Kaddish Francis McBeth 1977 and the mountains rising nowhere. Joseph Schwanter Skating on the Sheyenne Ross Lee Finney 1979 Do Not Go Gently Into That Good Night Elliot Del Borgo REPERTOIRE OF THE 1980s Works written in the 1980s include: 1980 Consorts Mario Davidovsky Dialogues and Entertainments William Kraft 1981 After a Gentle Rain Anthony Iannaccone Terpsichore Bob Margolis From a Dark Millenium Joseph Schwantner 1982 Grand Pianola Music John Adams 1983 Fantasia in G Timothy Mahr 1985 Colors and Contours Leslie Bassett Winds of Nagual Michael Colgrass Symphony no. 2 David Maslanka 1987 Symphony no. Donald Grantham The quality and sophistication of wind band music in the last several decades has grown exponentially. Thick scoring and over-doubling are not as prevalent as in times past. The percussion section has at times held a position bordering on parity with the woodwinds and brass.

The palette of tonal color rising from the percussion section is enormous, with the addition of unconventional objects such as brake drums, and a variety of ethnic drums and instruments. The mallet instruments have become an integral part of band scoring, as has the piano. It is not uncommon to see harp and celeste scored in band music. Singing from the ensemble is common, as well as variety of aleatoric practices. The manner in which composers viewed the wind band was forever changed with the writing of works such as Husa's Music for Prague 1968, and especially Schwantner's and the mountains rising nowhere.

Schwantner's use of motivic development, piano, aleatoric effects, and an enormous percussion section utilizing innovative effects such as a water gong were revolutionary. The commitment from contemporary composers to write for the wind band has been most credible. More often than not in the past it was deemed fortunate to extract one or two works for band from major composers. Today it is exciting to realize that when one hears a performance by a major symphony orchestra of a work by Frank Ticheli, one can count numerous compositions of high merit written for the wind band by the same composer as well. Due to commitments from commissioning projects, grants and composition contests, the flow of new compositions for the wind band by talented, insightful composers has grown exponentially. Composers are increasingly aware that new compositions for band tend to enjoy more performances than those for orchestra.

The good news concerning the ongoing renaissance of new band literature is that there is more music being written than can be played by any one ensemble. This plethora of new literature has finally made it possible to create a standard repertoire of great music for bands. The 21st century holds the challenge for proponents of the wind band to continue to support the music endeavors of school and professional ensembles as well as to foster the creation of new literature from the most capable composers available. ENDNOTES Joseph Wagner, 'Band Scoring IS Composition', Music Journal (February, 1970) p. Leahy, 'A Question of Raison d'Etre', The School Musician 27:2 (October 1955) pp. David Whitwell, 'Three Crises in Band Repertoire', The Instrumentalist 19:8 (March 1965) pp. Paynter, 'From the Village Green to the Concert Hall and a New Kind of Music', The Instrumentalist 33:3 (October 1978) pp.

'The Best in Band Music', The Instrumentalist 12:11 (August 1958) p. James Westbrook, 'A Paradox: The Prestige of the Band Compared to the Orchestra', The Instrumentalist 33:2 (September 1978) p. PICTURE CREDITS Excerpt from The Goldman Band photograph (1939), photographer unknown, Goldman Collection IV.1. From the Edwin Franko Goldman Collection, Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland.

Used by permission. Source: Photograph of U.S. Marine Band conducted by William Santelmann on the White House lawn, photographer unknown, 1940.

From the Marine Band Archive, Marine Band Library. Used by permission. Source: Photograph of Igor Stravinsky, photographer unknown. Public domain. Source: Photograph of Percy Grainger, photographer unknown. Public domain.

Source: Photograph of Alfred Reed conducting the University of Miami Wind Ensemble, photographer unknown, 1980s. Copyright 1997-2003, University of Miami. All rights reserved. 'You may print, reproduce, retrieve, or use the information and images contained in University of Miami web pages for non-commercial, personal, or educational purposes only, provided that you (1) do not modify such information and (2) include both this notice and any copyright notice originally included with such information.' Source: Photograph of Vincent Persichetti, photographer unknown. From the web site.

Used by permission. Source: Photograph of John Barnes Chance, photographer unknown. From the Ostwald Award Archives, Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland. Used by permission. Source: Photograph of Ron Nelson, photographer unknown.

From the Ostwald Award Archives, Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland. Used by permission. Source: Photograph of Donald Grantham, photographer unknown. From the Ostwald Award Archives, Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland. Used by permission. Source: Text copyright © 2007,. This web site sponsored by and the.