 The Clarinet BBoard
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Author: Robert Moody
Date: 2005-04-06 23:48
Okay, okay! I've seen all kinds of mentioning of wonderul performances of this transcription but no references to how I can get a hold of the clarinet and band arrangement.
Any of you old timers know how I can find and get a hold of a clarinet and band copy of this transcription?
Even a clarinet and piano would be helpful at this point.
Thanks.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: diz
Date: 2005-04-07 02:22
The Tchaikovsky violin concerto arranged for clarinet and wind band, have you taken leave of your senses, Mr. Moody? But seriously, I think it's a bad idea - the whole "thing" about why the Tchaikovsky is so damned difficult for violinists (I play viola also by the way) is that it is full of lightning fast string crossings often involving double and triple stops ... simply NOT possible on the clarinet and, to be blunt - silly. Other problem, although the work is basically in D major and would be, therefore, in F on an A clarinet - the high passages are stratospheric. How do you handle the delicious stoped harmonics in the third movement ... I could go on, and on ...
I recommend you look at one of the Spohr concerti (#4's my favourite of the quartet)- if challenge you want - you'll get it with them too, plus written for the clarinet by someone who understood the clarinet.
Without music, the world would be grey, very grey.
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Author: Dan1937
Date: 2005-04-07 09:28
Diz:
Bad idea? Maybe, but have you heard the transcription of this work recorded by a clarinet soloist (James Abato, I seem to recal) and clarinet choir made up from the personnel of the Burke-Phillips All Star Concert Band (circa 1950's)? All pro players, and an amazing display of virtuosity!
BTW, Robert, I was a member of the Coninental Army Band in the early 60's -- bass clarinet and arranger. Good luck in your search.
Dan
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Author: D Dow
Date: 2005-04-07 18:08
I think such a great piece for violin would come off tacky on clarinet. It really needs the double stops.etc.(the concerto).
However, not all clarinet players are noted for having good taste and the sense to stay away from things like this.
Just my opinion...
David Dow
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Author: D Dow
Date: 2005-04-07 18:10
A great piece piece for clarinet and band is Lyn Murray's Collage for Clarinet and Band which is long out of print.
David Dow
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Author: clarinetist04
Date: 2005-04-07 18:37
If you're looking for a great challenging piece (and I emphasize challenging), check out John Heinz's Concerto for Clarinet and Band. It is not published, but is in the library of the Navy Band in DC as well as the Air Force Band (I think). Being in the Continental Band you should have very little trouble getting a hold of it. If you have Finale I can e-mail you a typeset version of the solo part if you're interested that I did for the Navy Band.
-Robert
P.S.---I did a pretty detailed search for the Tchaik. and came up empty handed.
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Author: Robert Moody
Date: 2005-04-07 20:12
Okay, okay, okay! I appreciate the responses, really, but was not looking for a chiding or advice on choices of music.
Diz wrote, "The Tchaikovsky violin concerto arranged for clarinet and wind band, have you taken leave of your senses, Mr. Moody?"
I suppose that I left my senses when I played the Zigeunerweisen, eh?
David wrote, "However, not all clarinet players are noted for having good taste and the sense to stay away from things like this."
Maybe it was my sense of taste that I left then?
But in all seriousness, David, your reply is simply an insult and I do not appreciate it. Problem with your reasoning is that I am accomplished as a player of Mozart, Brahms, Busoni, Copland, Stravinsky as well and I simply like being able to play great pieces like the Sarasate Zigeunerweisen, the Tchaikovsky Violin Concerto and whatever other transcription of great show pieces are out there. Second problem with your insinuation is that the AUDIENCES love them too!
I'm sorry it offended your senses that someone would enjoy doing something different than your interests or tastes. In reality, considering your post is more insult than contributing to the purpose of the thread, maybe you can keep those kinds of opinions to yourself in the future.
Back to Diz, "But seriously, I think it's a bad idea - the whole "thing" about why the Tchaikovsky is so damned difficult for violinists (I play viola also by the way) is that it is full of lightning fast string crossings often involving double and triple stops ... simply NOT possible on the clarinet and, to be blunt - silly. Other problem, although the work is basically in D major and would be, therefore, in F on an A clarinet - the high passages are stratospheric. How do you handle the delicious stoped harmonics in the third movement ... I could go on, and on ..."
Actually, the transcription I've heard is rather successful in capturing much of the life of the piece. Certainly I do not fool myself into thinking the clarinet can replicate the fire written so purely and distinctly for the violin, but the music is still there without the double, triple and quadruple stops. The piece is successful for other instruments than the original as well.
Thanks for responding. I'll keep looking around for the band version.
Good to hear from a former TUSCABer, Dan. I realize that it was not TUSCAB back then, but even with a name change, it's still the same family. 
Take care, everyone.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: Joel K.
Date: 2005-04-07 20:13
I heard JiHoon Chang of/and The Marine Band (President's Own) play it in November in Oxnard, CA (and a fine job he did). Do the service bands lend music to each other?
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Author: diz
Date: 2005-04-07 22:18
Robert Moody said
I suppose that I left my senses when I played the Zigeunerweisen, eh?
I don't put Zigeunerweisen in the same league as the Tchaikovsky concerto - I put it into the catagory of a musical entertainment (I'm not diminishing its worth).
Without music, the world would be grey, very grey.
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Author: ken
Date: 2005-04-08 03:25
I'll never get it, ALL the phenomenal clarinet solos out there and people still want to stray from the flock and try to be Bob Spring.
The USAF Heritage of America Band at Langley AFB (right up the road from Ft. Monroe) recorded the John Heins Clarinet Concerto in 1993 with Chuck West as guest soloist. For reference, it's on their "Aloft" CD and I have a copy of the recording, score and parts. v/r Ken
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Author: Robert Moody
Date: 2005-04-08 11:47
Ken offered, "I'll never get it, ALL the phenomenal clarinet solos out there and people still want to stray from the flock and try to be Bob Spring."
Man! You conservative, traditionalist, narrow-minded...er...wait. I'm allowing myself you be like "you" people. Let me rewind....
Would you people who feel the need to comment negatively about playing transcriptions please start your own thread to whine? I was inquiring about finding the materials and do not appreciate coming back to check for any new leads to find petty remarks about people not acting like you.
For those who continue to remark with narrow, conservative viewpoints, please keep in mind that this particular player plays the standard clarinet literature as well as transcriptions and new literature. My suggestion to you is to just go about playing your "clarinet only" music and let others do as they may.
I enjoy the notes on the page and the sounds of the produced score whether Tchaikovsky wrote it for Violin or Kazoo. I'm not concerned with your narrow views. Thanks.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: D Dow
Date: 2005-04-08 11:51
I really don't think the Tchaikovsky violin concerto was intended as a clarinet piece. On top of this why not try the Beethoven concerto...remember people like Beethoven and Tchaikovsky wrote for the instrument they had in mind. This is why these composers are so great and lesser composers are not remembered.
On top of this having done these works in there original form with orchestra I can honestly say listening to a clarinet stumble in the finale of the Tchaikovsky where the the violin is so natural ...is not my personal idea of entertainment. As to the idea my opinions are narrow I think your overstepping your boundaries a bit. If you want to play a piece not intended for the clarinet and deal with the concept of transcriptions then
fine...but maybe your the Heifitz of the clarinet and we all can't wait to hear you!
Another Piece WHICH you could do with a miliatary band is the Ebony Concerto of Stravinsky which I did last year. Great fun and alot of challenges that work musically better for the clarinet.
One also plays a musical instrument to be true to the medium of making music and respecting the rights and wishes of the composer.
Why not try the Seven Brightnesses by Peter Maxwell Davies for solo clarinet. It is a wonderful technique challenge and great music...but I doubt the audiences would appreciate the concept of the music.
Keep in mind audiences also love American Idol and if you fall in the trap of thinking you know exactly what audiences want then give them ACDC or a good Britney Spears transcription for clarinet.
Thanks for expression of your views Thanx
David Dow
Post Edited (2005-04-08 12:05)
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Author: Brent
Date: 2005-04-08 13:19
I played this transcription in high school many, many moons ago. I have no idea whether they still have it, but i could check it out. I still have the tape of myself playing it in concert with the band. This was the same year i played the Debussy Rhapsody with the regional orchestra.
If you don't yet have the music, let me know and i will see if they still have it.
Brent
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Author: Robert Moody
Date: 2005-04-08 19:06
Brent offered, "If you don't yet have the music, let me know and i will see if they still have it."
I still do not have it and would appreciate your checking if you get the chance. Thanks.
David continues, "On top of this having done these works in there original form with orchestra I can honestly say listening to a clarinet stumble in the finale of the Tchaikovsky where the the violin is so natural ...is not my personal idea of entertainment."
Assumption 1: "clarinet stumble in the finale of the Tchaikovsky "
Assumption 2: "is not my personal idea of entertainment"
I would not stumble through it because this time, unlike both performances I have done this year with the band, I have enough time to learn the piece and work it up. Secondly, while it is not your personal idea of entertainment, I have yet to see a crowd not respond in a positive manner to performances of pieces like this transcribed for clarinet.
Even after performing the Weber Concertino much more cleanly and full of expression, I did not receive the same ethusiastic response from a similar audience-type as I did from the "Zigeunerweisen" transcription for clarinet and band.
David continues, "Another Piece WHICH you could do with a miliatary band is the Ebony Concerto of Stravinsky which I did last year. Great fun and alot of challenges that work musically better for the clarinet."
While I have not performed the Ebony Concerto, I am aware of it and it is a possibility on a performance. Despite being called a concerto, it is more chamber music with clarinet prominence. It would require more time and real effort from the ensemble members than would a straight forward concerto like the Tchaikovsky. Point being, I am aware of the piece and am not avoiding it in order to do a transcription. Another point is that you are completely unaware of the situation here and my motives for wanting to perform this piece now.
Thanks for your suggestions with the pieces you mention, but I'm looking for the Tchaikovsky Violin Concerto, Finale transcription for clarinet and band. 
And just to note something David said, "...remember people like Beethoven and Tchaikovsky wrote for the instrument they had in mind. This is why these composers are so great and lesser composers are not remembered."
Absurd comparison and totally incorrect. Brahms, who I doubt anyone would argue wasn't a "great" composer, arranged his own music for different instruments in order to sell them. But note, Brahms did not arrange his clarinet sonatas for accordian or kazoo. Whether a composer had another possible timbre in mind for a solo or only a single one does not relegate the music to the trash heap if it IS transcribed for another instrument. Often times, irrelevant of the historical greatness of a composer, a good melody just works. Simple as that. The Tchaik Violin Concerto last movement...just works.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: clarinetist04
Date: 2005-04-08 20:26
Hey Ken, could you e-mail me about the Heinz Concerto? Thanks!
rbethea@andrew.cmu.edu
Hope to hear from you soon.
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Author: ken
Date: 2005-04-09 05:00
Robert Moody wrote: "Man! You conservative, traditionalist, narrow-minded...er...wait. I'm allowing myself you be like "you" people. Let me rewind...."
--If you are soloing on clarinet in a concert band setting, particularly, as an active duty military bandsmen you should recognize the importance of "organizational tradition". In the concert band, there are clear historical standards of performance, instrumentation and programming. From its roots in mid-17th century German, British, French and Irish pub and street bands to today's' modern Wind Symphonies concert bands are RICH in tradition. Influential band leaders such as Gilmore, Sousa, Fillmore and Goldman developed and established programming concepts that featured a soloist (vocal or instrumental) in the 1st half. Usually, as the 3rd piece following an opening Overture and March. Another function of an instrumental solo was not only highlighting the performer's musicality, technical skill and showmanship but showcasing the acrobatic capabilities, tonal qualities and uniqueness of the "instrument and composer who wrote for the instrument." In short, a soloist was challenged with selecting and performing an original work written expressly for their instrument, and not mutant transcriptions by famous orchestra composers.
It was also common during the late 19th Century for local (or traveling) composers to write a solo for an instrument and invest weeks and months prior to its premiere promoting their music to anyone who would come and hear it. And, unless there's a specific theme or special event that departs from the program there's a "conservative and traditionalist" order to things and transcriptions of "instrumental solos" are rare.
There's also the ethical practice of preserving the clarinet's self-entity. Again, Bob Spring is a good example. He features (or did) violin transcriptions and movements in his recitals. However, as amazing it is to behold he does so primarily (and announces it) to demonstrate his double-tonguing and circular breathing skills. It is purpose-driven, it's not selfish or self-serving --- the instrument maintains its musical sovereignty and not reduced to a testosterone trip.
String transcriptions have their place, and no doubt fun and exciting to play, but I believe sensible balance should still be adhered to. We run the risk of turning the instrument into something it's not. v/r Ken
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Author: clarnibass
Date: 2005-04-09 05:38
"remember people like Beethoven and Tchaikovsky wrote for the instrument they had in mind. This is why these composers are so great and lesser composers are not remembered."
I think this is only a very small part of it. There are much more important reasons why they are so great. Also, I doubt anyone would argue Hindemit was one of the better composers and he wrote some pieces that were not for a specific instrument.
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Author: clarinetist04
Date: 2005-04-09 14:43
>Also, I doubt anyone would argue Hindemit was one of the better >composers and he wrote some pieces that were not for a specific >instrument.
Actually, there, you are dead wrong. Would you like me to tell you why Hindemith was such a fantastic composer...one of the greats? Because he took the time (unlike SO many other composers) to learn the ins and outs of every instrument...EVERY instrument and he didn't just learn them, he learned them WELL. And as a result his pieces show such a feel and understanding of the timbres and technical side of each instrument involved that is absent in, quite frankly, most of the music we play these days. Furthermore, not only was he a fantastic composer who knew exactly what he was doing, he was also a fine teacher, another aspect of composition that is absent in most composers. That is one thing that he is known for. You obviously haven't read his books on music theory and composition. They are written clear as day in a language that anyone with a little music background could read (well, I'm being a bit generous, but you get the point).
Anywho, can we stop fighting about why he should play a piece written for clarinet? Let the man play a violin concerto! Is it a crime? I think not! Quite frankly, I'd love to hear him play it, too bad I'm in Pittsburgh and he's not.
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Author: clarnibass
Date: 2005-04-09 17:49
Clarinetist04, I actually know everything you said. A few teachers I had were Hindemit's students. I know he learned a lot of different instrument, probably every instrument he composed to. This has nothing to do with what I said. Hindemit also composed music that was not for a specific instrument. How was I "dead wrong"?
Someone said that writing specifically for the instrument is what seperates the great composers from the rest, and all I wanted to show is that there are much more important reasons that make a composer great.
I agree with you that Robert should play whatever he wants.
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Author: Robert Moody
Date: 2005-04-09 18:57
OMG! I feel like Mark must have some means to see what a person is writing and make it magically disappear after it has reached a point of no return. I had a nice little response for our friend Ken that disappeared when I went to look for Clarnibass' name. ![[mad]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie9.gif)
The short of the remark to Ken's post is that he starts with a strawman and then proceeds to tear it down with a mixture of truth and conjecture.
For those young minds who are following this, Ken's remarks about military band traditions are mixed with truth and error. Military band history (particularly in the concert setting) is jam-packed with performances of the latest transcriptions. Reading Ken's diatribe you might be taken in by the convincing manner in which he wrote it, but even your own experience and exposure will remind you...he is "dead wrong" (as our clarinetist04 put it in reply to another person).
Military bands since near the turn of the 20th century have been playing overture transcriptions like Light Calvary, Festive Overture, William Tell, Orpheus, etc., etc., etc. I'm sure you can create a list of transcriptions five times as long from your own experience that was brought about by the military band traditions. Don't be fooled into accepting as fact information merely presented convincingly--a good lesson to learn here. I wonder if Ken writes for today's news media.
Liszt's transcriptions of operatic and orchestral works to the piano were thought a wonderful thing by the public, exposing them to great literature that they might otherwise not have been able to experience. That was the middle and late 19th century. It was common in the late 19th to early 20th century (even throughout Western music history) to write a piece for a soloist and then "arrange" it for other instruments in order to sell more copies. This was often done by the original composer. Our precious Brahms Sonatas are a perfect example. Transcriptions exploded in numbers with the growing popularity of the military bands...quite the opposite of what Ken would suggest in his writing above.
Ken said, "There's also the ethical practice of preserving the clarinet's self-entity." The clarinet is a unique instrument whether it plays the notes imagined for a violin, piano or fart choir. Playing notes that Tchaikovsky imagined for a violin on clarinet does not take away from the clarinet being a clarinet, sounding like one and being remembered as one. Please don't talk to me about "clarinet ethics". Sheesh.
I reitterate, good music is good music. Liszt knew this and the piano world is better for it...even with its replete repertoire of purely unique piano music. Was the orchestra degraded when it played "Pictures at and Exhibition"? The violin concerto in question is just plain ol'd good music and fun for the audience. I have heard it on clarinet and apparently so have a number of other people and it remains good music.
"String transcriptions have their place, and no doubt fun and exciting to play, but I believe sensible balance should still be adhered to. We run the risk of turning the instrument into something it's not."
This is nothing but a ploy to soften and make acceptable the absurdity of the bits thrown into the rest of his post. It even contradicts his messages in the bulk of his post. Ken does not suggest a balance in his post, but offers it here.
This whole thread was about me asking where to find the parts for the Tchaik Violin Concerto transcription for clarinet and band and a couple of people have made it out into an "ethical" question which is absurd. I honestly had real respect for the posts of the two individuals in this thread that have tried to debunk playing the transcription. But when garbage like this is thrown out in a manner that is surely to confuse some of our younger readers absorbing information as if from the clarinet "gods", I have sincerely lost a bundle of it for them.
Congrats Ken.
Clarinetist04, you are right on about Hindemith. Probably a bad example to use in this case.
Clarnibass, I sensed "...and all I wanted to show is that there are much more important reasons that make a composer great." and I agree with you.
Heather, thanks for looking that up. Good to know you're there and responding. I did see that one out there. Unfortunately I do not think that my commander, who apparently does not know much about the history Ken spoke of, would think the piece would go over well with the audience. Thanks again though. If, through the Army, we could get a hold of it down here though, I'm sure it would be a great addition to have if such a situation needed a piece like that (i.e. a young guest soloist, etc).
Sigh.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: hrvanbeek
Date: 2005-04-09 20:42
Robert,
Several years back (when I took life way too seriously) I was very 'traditionalist' in my ideas about pieces being played on the 'correct' instrument(s).
Perhaps playing in a bapipe band for the past few years has loosened me up a bit.....but that's another story... ![[toast]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley15.gif)
These days I play violin music on the clarinet every now and again. I haven't really performed any of it....yet. It's mostly been for my own entertainment. I've even done a few transcriptions myself. It's kind of fun to see if you can play like a violin. ![[grin]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie5.gif)
I am fully aware of the vast amount of great clarinet music out there and, of course, I work on that stuff but it's nice to sort of step outside of that little world every once in a while and do something different.
I may be shunned - for the violin transcriptions or being a bagpiper....
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Author: BobD
Date: 2005-04-09 22:25
Good luck,Robert. I have enjoyed playing some of Fritz Kreisler's compositions.
Bob Draznik
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Author: ken
Date: 2005-04-10 03:32
Robert, your overall tenor and choice of words when stating your position might be better received if you would please refrain from personal attacks and unjustifiably assigning motive. I repeat, given a traditional concert band setting and instrumentation, "solo" material performed (not ensemble) albeit live or studio are compositions of the featured instrument; it is a programming tradition and function. Substituting "orchestral transcriptions" of solos of another voice is inappropriate for the venue.
I believe a "degree" of loyalty and respect should also be accorded the instrument, remaining true to the medium and its literature. That is not to suggest we shouldn't branch out and stretch the horn's horizons. I don't see this as some dogmatic, old-school quirk philosophy or taking "one's self" too seriously. It's elevating the horn and art form above one's self and becoming an integral part of something bigger and greater then ourselves.
This is a core value I instill in my own students, I do not adhere to the notion, "good music is good music" or "play what you want" as this doctrine has absolutely no foundation or require any personal responsibility. And, I can say for my years of seed planting I boast two former students currently in grad schools and earning performance degrees.
I spent 24 years in military service as clarinetist in the USAF band program, and my real time experience as soloist and supporting roles as section player attest to my viewpoint. For anyone who questions, discredits or demonizes it, they are at liberty to do so --- I sincerely wish them better luck in their own career. v/r Ken
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Author: Robert Moody
Date: 2005-04-10 03:58
Okay Ken, I will be to the point and avoid offering opinions to your remarks.
You said, "I repeat, given a traditional concert band setting and instrumentation, "solo" material performed (not ensemble) albeit live or studio are compositions of the featured instrument; it is a programming tradition and function. Substituting "orchestral transcriptions" of solos of another voice is inappropriate for the venue."
Historically and factually false. Is that better? ![[right]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie8.gif)
You said, "I believe a "degree" of loyalty and respect should also be accorded the instrument, remaining true to the medium and its literature."
This implies that I show less than I should or none in this instance and since I take my profession seriously, this is an insult. Do you understand that I am telling you that your repeated insinuation in this thread on an alternate line not related to the original pupose is taken as instigation and insult. Do you understand?
You said, "I don't see this as some dogmatic, old-school quirk philosophy or taking "one's self" too seriously."
I do.
You said, "I spent 24 years in military service as clarinetist in the USAF band program, and my real time experience as soloist and supporting roles as section player attest to my viewpoint."
I salute your service to this country. Nevertheless, your aligning your remarks of inaccurate historical reference to your military service is doing nothing to promote the reputable knowledge of others serving in the military music programs today or in the past.
Downhill...it continues downhill.
Mark and GBK, I appreciate your patience with this thread but I sincerely feel it has gone past profitable. I am close to acquiring the music and the original purpose of my posting this thread is (has) quickly diminished. If you'd like to allow Ken the last word, that is fine. I, personally, would appreicate if you would close this thread. My patience with the inaccuracies here now being aligned with military service record; of one vilifying the other is quickly meeting its end.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: D Dow
Date: 2005-04-10 12:56
Dear Robert
I am trying to keep the subject here on "music" rather than getting into a personal blurb.
The greatest problem I perceive of this Tchaikowsky transcription is in the Canzona which in the orchestral version opens with a lovely clarinet solo which soon after the violin answers...from that moment on the two are involved in a very beautiful dialogue...now in the band transcription I am trying to perceive how the clarinet opening would work with another clarinet an octave higher and simply cannot see how the contrasting color of the clarinet and violin can be replaced with two wind instruments and still be as effective.
Some transcriptions better serve instances like this and others do not. My perceptions here whether or not one agrees is there are some insurmountable problems in tone color rather than technique....in some instances arrangers scuttle projects because they have the wrong pallette...rather like a painter who is missing the right color...
I think Tchaikovsky also deserves praise for writing such a great Concerto but also for giving the clarinet such prominence in this original conception.
Hopefully the transcription is served by understanding the glorious orchestration and serving it in the spirit of a violin work.
I would also hasten to add by I feel some transcriptions serve the clarinet far better. Bach and Handel work well on the clarinet but I can say honestly that clarinetists also have to understand baroque performance practices as well before attempting such endeavors.
I also want my students and colleagues to know there are some great works out there for the clarinet without having to resort to transcriptions in order to impress or think they are furthering the "cause" of the instrument which in it's own right is magnificent.
David Dow
Post Edited (2005-04-10 15:50)
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Author: Firebird
Date: 2005-04-10 15:42
In any case, transcribing a concerto for another instrument is wrong. Would you like a flute to play Brahms Clarinet Sonata op.120? Or do you want a bassoonist to play Mozart's Clarinet Concerto?
I agree with many of the people here, that the composer wrote what he intended to sound in his mind. Surely if Tchaikovsky thought that playing on a clarinet might do equal justice to the Violin Concerto, he would have done the transcription himself no?
All of us here are musicians, and we are brought up in different ways, surely there is no need to resort to personal attacks here. What we think is right may not agree with your thoughts. If you think you are right, defend your stand, not slander others in this forum.
He who proclaims himself to be accomplished has achieved nothing at all.
Chan
Post Edited (2005-04-10 15:50)
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Author: ken
Date: 2005-04-10 16:50
Attachment: HISTORY OF THE MILITARY BAND.doc (163k)
Sample Programs (traditional line-up):
Overture: Light Cavalry-Suppe
encore El Capitan-Sousa
Cornet Solo: The Bride of the Waves-H.L.Clarke
encore I've Made My Plans for the Summer-Sousa
Charles Daval, Cornet
encore The U.S. Field Artillery-Sousa
Morris Dance Country Gardens-Grainger
encore The Washington Post-Sousa
Soprano Solo Qual guardo il cavalliere from "Don Pasquale"-Donizetti
encore The Last Rose of Summer from "Martha"-Flotow
Miss Erie Mills, Soprano
encore George Washington Bicentennial-Sousa
Selection Introduction to Act III, "Lohengrin"-Wagner
encore Semper Fidelis-Sousa
encore The Stars and Stripes Forever-Sousa
Padstrow Lifeboat – Malcolm Arnold
Suite No. 2 in F Major – Gustav Holst
Stranger on the Shore – Acker Bilk (clarinet solo)
Elizabethan Serenade – Ronald Duke
Concert Band Press Releases and Reviews (all solos composed for instrument and/or voice):
• Sousa's bandsmen were legendary virtuosos, so it was natural for Dennis Najoom to step out of the ranks to play a cornet solo, "Willow Echoes." Frank Simon, Sousa's principal cornetist, composed it; Najoom's lush tone, generous phrasing and etched rhythm did Simon justice. Linda Raymond Siegel played two deeply wacky xylophone solos, "Xylophonia" and "Log Cabin Blues."
• A more recent star of the ensemble is soprano Virginia Croskery, a winner in the Third Luciano Pavarotti International Voice Competition, a veteran of several international tours and of national as well as Broadway performances of Andrew Lloyd Webber's "Phantom of the Opera."
• Harry can coax an astonishing range of expression from it, ranging from the gentle bleating of a foghorn to rapid tootling. He ventured from solemnity in Catozzi's "Beelzebub" for Tuba
• Charleen Ayre's stylish soprano voice joined forces with the band several times, being featured on Juliet's Waltz from Gounod's "Romeo and Juliet" and on Jerome Kern's great standard, "All the Things You Are."
• Piccolo soloist Janet Axelrod was given the spotlight in August Damm's "Through the Air,"
• Trumpeters Randy Grabowski and Bryan Bennett were right on the mark with their performance of the "Side Partner" trumpet duet by J.L. Clarke.
• Northshore Concert Band of Chicago, Il
(archive ref: 1968 Newsletter) Adolph Herseth, principal trumpet, Chicago Symphony Orchestra, performs the Hydan Trumpet Concerto with the band, first of many CSO players to solo with band.
Eastman Wind Ensemble, Saturday 26 February 2005
Concert: Carnegie Hall, NYC, NY
Concerto for Trombone and Wind Ensemble (2004) by Jeff Tyzik
Mark Kellogg, Soloist on World Premire Performance
Recent USAF Concert Band Recordings:
"Fantasies and Heroes" (USAF Academy Band)
- Rose Variations for Trumpet (Cornet) and Piano, composed/arranged for
band by Robert Russell Bennett
"Fantasies and Heroes" (USAF Academy Band)
- Warsaw Concerto for Piano by Richard Addinsell
"Aloft!" (USAF Heritage of America Band)
- Concerto for Clarinet and Band, by John Heins
"The Golden Ages" (USAF Heritage of America Band)
- Solo de Concours for Clarinet, by Andre Messager
Post Edited (2005-04-10 17:31)
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Author: Robert Moody
Date: 2005-04-10 18:01
Maybe we could move this to the new thread specifically on this topic?
Ken, your post misses the gist of it all. That you can post some examples of piece for solo instrument with band written specifically for them does nothing to make your point or discourage mine. All you are doing is suggesting that I post lists of programs by military bands of soloists playing transcriptions which I refuse to gather and post for you. The simple fact that people have seen them for themselves and that I, currently at a very traditional site, have already played a transcription to much success and have heard recordings of a number of transcriptions played here, opposes your list point.
That would lead to a pointless dialogue...
Ken, "Look at my list. See?"
Robert, "Well look at my list. See?"
Ken, "Well I put my list up first."
Robert, "But my list is real too."
Blah, Blah, Blah.
I've seen your type of polemic before, Ken. I have many years of experience with persons of your technique. The simple act of posting "stuff" (and the more the better) seems to make you think it validates your point. It doesn't...in this case.
I will give you an example:
Besides the one above where you list select programs and reviews, I will offer the bolded example you highlight in the appended document to your post.
Quote:
The programme repertory of the military band, besides splendid arrangements of most of the standard works for orchestra, now has a number of works written for the medium, specially solo works for band instruments. It is obviously not possible to give a comprehensive list but trumpet solos by H. L Clarke established a viable tradition and became literature cornerstones. Ensemble compositions, first and second Suites for military band by Holst, and Vaughan Williams's Toccata Marziale are also excellent examples. The specific works for military band number in the thousands. In recent years band music in America has made a tremendous leap forward and most music arranged and composed for band can be played by both military and concert bands.
Let's actually think about what you've chosen to highlight from this person's report.
The report says, "The programme repertory of the military band, besides splendid arrangements of most of the standard works for orchestra..."
So the military band, from the beginning, before the next point of argument is offered, is based, at least in part, on arrangements (in other words, transcriptions).
The reports continues, "...now has a number of works written for the medium, specially solo works for band instruments."
Great. No-one has ever disagreed with this statement in this thread. Since this dialogue is between you and I specifically, I will repeat that I have never said that there are no pieces written for clarinet and band or written for clarinet and another accompaniment arranged for band.
If that portion of the bolded quote was intended to support your point, it does not.
The quote continues, "It is obviously not possible to give a comprehensive list but trumpet solos by H. L Clarke established a viable tradition and became literature cornerstones."
I wonder how many of these were arrangements made on previous tunes written for other specific instruments? The report does not say. How convenient.
Continuing on, "The specific works for military band number in the thousands. In recent years band music in America has made a tremendous leap forward and most music arranged and composed for band can be played by both military and concert bands."
That there is a military band repertoire written specifically for it is irrelevant to the argument that military bands play solo pieces that are transcriptions.
Despite having a significant repertoire written specifically for it, military bands continue to play transcriptions whether full orchestra to band or solo genre transcriptions.
[As an interesting aside, there is a bird sitting on my window sill singing. Now I'm wondering if it is his own original song. ]
Cutting and pasting mountains of words does not prove a point. In this case, all it means is that someone has cut-n-pasted a lot of selected words. Even just a cursory look at the text provided in support of the historical argument made here shows that it apparently was not read clearly but the poster. The text does not support their argument that military bands have a tradition that does NOT include transcriptions for solo instruments. While establishing a repertoire written specifically for the military band and instrumentalists, it says nothing to the point that the military bands continue in their tradition of playing transcriptions and arrangements whether for the band as a whole or for soloists.
Sometimes I wonder how society makes it without reading and thinking about what they're reading is actually saying...and what is is not. One can certainly see the reason spam artists continue to write emails that say, "Click here for your free iPod."
And Chan, I've listened to a Viola play the Brahms Sonata in question and I've listened to a bassoonist play the Mozart Clarinet Concerto. While sounding odd at first, I certainly took no offense to their wanting to play them. Sorry...I disagree with you.
I hope we can move this to the appropriate thread.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: GBK
Date: 2005-04-10 18:23
[ We've now rehashed the same material multiple times. It's now time to give this thread a rest. Any further debate can be carried on off-line - GBK ]
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The Clarinet Pages
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