Klarinet Archive - Posting 000647.txt from 1997/11

From: Roger Garrett <rgarrett@-----.edu>
Subj: RE: Weber One
Date: Wed, 19 Nov 1997 10:11:39 -0500

On Wed, 19 Nov 1997, Edwin V. Lacy wrote:
> Prefering that a certain work be performed by the medium for which it was
> composed does not necessarily constitute looking down one's nose at
> concert bands. However, on the basis of their output, we can easily
> conclude that Mozart preferred the orchestra; Beethoven preferred the
> orchestra; Brahms preferred the orchestra; Mahler preferred the orchestra;
> Wagner preferred the orchestra; Tchaikovsky preferred the orchestra;
> Prokofiev preferred the orchestra; Shostakovich preferred the orchestra;
> Stravinsky preferred the orchestra, etc., etc., etc., etc.

During Mozart's time, the band was not fully formed...there was no true
bass instrument that was acceptable (the serpent may have looked
great...but...). Also, the money (what little there was) came from large
symphonic works played by full orchestras.....while Mozart wrote superb
works for winds (serenades!), and Beethoven, Mahler, Wagner, Shostakovich,
Prokofiev, and Stravinsky all wrote for the wind ensemble/band medium, the
argument that their output reflected their preferences needs to include
monetary consideration as well. However, my personal belief is that these
composers wrote in enough different genre to provide ample argument that
they preferred a diverse set of mediums.

> Still, there is no reason why great music cannot be written for almost any
> medium, including the band. However, there is a reason why the greatest
> composers have chosen to write their most significant works for the
> orchestra. It has to do with range of expression, breadth of sonic
> resources, and variety of tone and texture. In the wind section of the
> orchestra, composers have available nearly all the resources of the wind
> band, but in addition they also have the even greater variety afforded by
> the strings, as well as many possible combinations of the two.

Let's not forget, the only professional bands are those at the college
level now......and the Military Bands. When I say professional, I mean
bands that can sustain a salary that provides a living....much as the
professional orchestras. Composers now write for the ensembles that pay
the commission.....sometimes $20,000 - $40,000 for a single work.

> No amount of "orchestra bashing" can in any way diminish the worth of the
> great orchestral compositions, which continue to stand the test of time.

While someone may have been orchestra bashing (can't remember!), I hope my
posting regarding bands was not taken that way. Preference for listening
to a particular type of music should not be taken as a negative toward the
other medium. Apologies if that was the impression given by any of my
posts.

Roger Garrett
IWU